©Courtesy of Artists & Diskurs Berlin





Erik Andersen



13.05. - 26.05.21




Scroll down for German



With the exhibition Crucial Decisions, Erik Andersen once again considers the process of decision making, from the decisions that weigh on us from day to day, to the structural ones that may be outside of our control. Illustrative of this, is the new large-scale, wall-mounted sculpture, Besser Vertikal 02. Like Andersen’s practice more broadly, his latest work — which takes the form of an oversized stack of paper with permanently curling edges — investigates materiality and process, emptiness and possibility. Rendered emphatically from opaque black epoxy resin and made weighty in its scale, Besser Vertikal 02 is concerned with the status and position of physical news and media and processes in the present. At the same time, it questions the possibilities a seemingly blank sheet of paper may open up — the prospects and limitations such a medium might hold in our digital, pandemic age. Here, Andersen draws not only on the particularity of our current reality but also the very process of making: art, decisions, rules. We, too, are enlisted as participants in the unfolding of this process: faced with limitless paths and no prescribed destination, with the prospect of infinity or else oblivion, as we navigate the uncertainty of the encounter that has been set before us.


Erik Andersen (b. 1977, Freiburg, Germany) lives and works in Berlin. Working in sculpture, installation and painting, Andersen often employs fiberglass and epoxy resin, exploring the nature, processes, and ambiguity of his materials. Through a semi-abstract, minimalistic visual language and tactile surfaces, his work often treads the line between two-dimensional and three-dimensional space, playing on physicality and movement, while promoting the interaction of the viewer. Andersen’s work has been featured in exhibitions in Germany, Europe and the US. His work is currently on view in the group exhibition, Come Back Stuttgart, at Galerie Valentien, Stuttgart, and will be featured in the upcoming Jeonnam International SUMUK Biennale, South Korea (2021).





In der Ausstellung Crucial Decisions beschäftigt sich Erik Andersen einmal mehr mit dem Prozess der Entscheidungsfindung: von den Entscheidungen, die uns von Tag zu Tag beschäftigen, bis hin zu den strukturellen Entscheidungen, die sich außerhalb unserer Kontrolle befinden können. Ein Beispiel hierfür ist die neue großformatige, an der Wand befestigte Skulptur Besser Vertikal 02. Wie Andersens Praxis im Allgemeinen, untersucht auch sein neuestes Werk - das die Form eines überdimensionalen Papierstapels mit sich beständig kräuselnden Rändern hat - Materialität und Prozess, Leere und Möglichkeit. Durch opakes schwarzes Epoxidharz betont materiell und in seinem Maßstab gewaltig wirkend, beschäftigt sich Besser Vertikal 02 mit dem Status und der Position von physischen Medien und Prozessen in unserer Gegenwart. Gleichzeitig hinterfragt sie die Möglichkeiten, die ein scheinbar unbeschriebenes Blatt Papier eröffnen kann - die Aussichten und Grenzen, die ein solches Medium in unserem digitalen, pandemischen Zeitalter haben kann. Andersen bezieht sich dabei nicht nur auf die Spezifik unserer gegenwärtigen Lebenswirklichkeit, sondern auch auf den Prozess des Schaffens von Kunst, Regeln und Lösungen. So werden auch wir als Teilnehmende in die Entwicklung dieses Prozesses einbezogen: Konfrontiert mit endlosen Pfaden ohne vorgeschriebenes Ziel, der Aussicht auf das Unendliche oder das Vergessen, während wir uns durch das Ungewisse der Begegnung navigieren, die vor uns ausgebreitet wurde.


Erik Andersen (geb. 1977, Freiburg, Deutschland) lebt und arbeitet in Berlin. Andersen bewegt sich im Bereich der Skulptur, Installation und Malerei, verwendet dabei häufig Fiberglas und Epoxidharz, um die Natur, die Prozesse und die Ambiguität seiner Materialien zu erforschen. Durch eine halb-abstrakte, minimalistische Bildsprache und taktile Oberflächen bewegen sich seine Arbeiten oft an der Grenze zwischen zwei- und dreidimensionalem Raum und spielen mit Körperlichkeit und Bewegung, fordern dabei Betrachter zur Interaktion auf. Andersens Arbeiten waren bereits in Ausstellungen in Deutschland, Europa und den USA zu sehen. Derzeit sind seine Arbeiten in der Gruppenausstellung Come Back Stuttgart in der Galerie Valentien, Stuttgart, zu sehen und werden Teil der kommenden Jeonnam Internatonal SUMUK Biennale, Südkorea (2021) sein.






©Courtesy of Artists & Diskurs Berlin



Artists Websites







Due to the increasing spread of COVID-19 REAL, SYMBOLIC, IMAGINARY  postponed to a later date. We will continue to update the information on this website as well as through our social media channels.



Zinu KIM

Jeewi LEE


Alexej PARYLA 

Lorina SPEDER 


LI Zhenhua



‘I began with the Imaginary, I then had to chew on the story of the Symbolic ... and I finished by putting out for you this famous Real’ – Jacques Lacan


The title of this project Real, Symbolic, Imaginary, is inspired by Jacques Lacan’s three psychoanalytic orders. These fundamental dimensions need to be discussed not only in the aspects of psychical processes but also in understanding the real-life of North Koreans.


While South Korea is understood in various perspectives with its active interaction around the world, North Korea is often seen unilaterally and passively through mass communications or clips from foreign visitors. There have been several recent exhibitions abroad on North Korea, in Gwangju and at the Busan Biennial. Artworks from North Korea were presented, and some were even by a North Korea defectors. Most of the time, North Korea’s political issues, ideology and armaments are what catch the eye of the outer worlds. However, the general populations’ lives, their dreams, families, love, and friendships, are barely known. The DISKURS Berlin project aims to turn away from what is known, reported and sensationalized and turns instead toward the people, the mundane and the daily lives of North Koreans.


Hence, political ideology will be excluded from the project. The invited artists from South Korea and Berlin will explore materials from North Korea collected on a research trip by Jung Me Chai, they include linguistic books, modern comics, medical books, movies and television series. The artists will use these source materials and their artistic practice to present the audience with original artworks that actively interprets the daily lives of North Koreans, escaping from current perceptions of the country. Moreover, they will enter into a critical examination of these concepts and open up a dialogue that moves beyond monolithic narratives.


Last year Berlin celebrated 30 years since the fall of the Berlin Wall. Through its history, Berlin is now seen as a symbol of freedom and liberal expression.

Real, Symbolic, Imaginary expects the positive synergy between the exhibition and the symbolic place Berlin.


The project Real, Symbolic, Imaginary attempts to transport an emancipatory alternative into the public consciousness in this critical era. It will be a platform where two worlds of North and South Korea meet and understand each other for the better.


Jung Me Chai





















































Druckversion Druckversion | Sitemap
© DISKURS Berlin