BODY DATA
ISABELLE ANDRIESSEN, IVANA BAŠIĆ, CAROLIN EIDNER, AGATA INGARDEN, ANGELIKA LODERER, FLORIAN MEISENBERG
Gruppenausstellung, Berthold Pott, Köln, 5. Sept. – 18. Okt. 2025
Eröffnung im Rahmen des DC OPENs: Freitag, 5. Sept. 2025, 19-21 Uhr
Die Gruppenausstellung Body Data vereint künstlerische Positionen, die den menschlichen Körper im Spannungsfeld von technologischen Entwicklungen, künstlicher Intelligenz und posthumanistischen Perspektiven neu befragen. Im Zentrum steht die Auseinandersetzung mit der Frage, wie sich unser Selbstverständnis und unsere Identität in einer Zukunft verändern, in der biologische, digitale und technologische Systeme zunehmend verschmelzen.
Während der amerikanische AI-Forscher Ray Kurzweil davon ausgeht, dass der Mensch nur durch eine Symbiose mit Künstlicher Intelligenz verhindern kann, von ihr beherrscht zu werden (DIE ZEIT, 31. Juli 2025), stellen die in der Ausstellung versammelten Werke auf subtile wie radikale Weise die Frage, welche unterschiedlichen Rollen Körper und Geist künftig einnehmen können – zwischen Utopie und Dystopie.
Isabelle Andriessen denkt in ihren performativen Skulpturen aus Keramik, Sulfaten und Stahl über ein „Danach“ des Menschen nach und entwirft hybride Formen, die organische, chemische und technologische Komponenten verbinden und sich miteinander in metamorphe Beziehungsprozesse versetzen. Auch die Arbeiten von Ivana Bašić bewegen sich an der Schnittstelle von Körper und Maschine, in denen das Menschliche bereits untrennbar mit dem Technologischen verwoben zu sein scheint. Ihre Werke unterliegen einem stetigen Verwandlungsprozess und thematisieren neben menschlichen- und nicht-menschlichen „Komponenten“ auch metaphysische Identitätsfragen. Carolin Eidner verortet den Körper in digital anmutenden Bildräumen aus Gips und Leinwand und eröffnet damit Schwebezustände zwischen apokalyptischer Leere und paradiesischer Losgelöstheit.
Agata Ingarden greift auf Materialien wie Kupfer oder Karamell zurück, die das Prozesshafte und Zirkuläre betonen. Ihre Skulpturen oszillieren zwischen Transformation und Interdependenz, indem sie Aspekte biologische Systeme – etwa Myzel-Kulturen – ebenso einbezieht wie Überwachungstechnologien oder mythische Narrative. Angelika Loderer wiederum zeigt den Körper als flüchtig-fragiles Fragment, als Zitat, das sich im Zustand permanenter Auflösung befindet.
Florian Meisenbergs Leinwand Arbeiten mit transparent wirkenden Körpern in Leinöl gemalt, verhandeln Fragen nach Selbstverortung, Begrenzung und Befreiung. Seine fragilen Figurationen verkeilt in weißen Farbfeldern eröffnen einen Denkraum zwischen körperlichem Gefangensein, perspektivischen Indifferenzen, geistigen Schwebezuständen und multiplen mentalen Verwobenheiten.
Die Ausstellung Body Data zeigt anhand der sechs ausgewählten, internationalen, jungen Künstlerpositionen, wie sehr die Vorstellung des Körpers bereits in einem paradigmatischen Zustand der Transformation steht. Zwischen organischem Erbe, technologischer Erweiterung und digitaler Projektion diskutiert die Ausstellung Szenarien einer Zukunft, in der sich die Grenzen von Mensch, Maschine und Materie endgültig auflösen könnten.
Isabelle Andriessen, geb. 1986 in NL, lebt und arbeitet in Amsterdam, Niederlande. Beispiele Ausstellungen: Kunsthal Ghent, Belgium (solo), museum MOCO Montpellier, France (group), Middelheim Museum, Antwerp, Belgium (group), Linnahall, Tallinn, Estonia (group), Moderne Museet Malmö, Sweden (group), International Triennial Cleveland, USA, De Pont Museum Tilburg, NL, Museum of Modern Art Warsaw, Poland, Stedelijk Museum, Amsteram, NL, 15th Lyon Biennale, Lyon, France, Lafayette Anticipants, Paris, France. Bevorstehende Ausstellungen: Kunsthal Trondheim, Norway (2026, solo). Isabelle wird vertreten von der Galerie Berthold Pott, Köln.
Ivana Bašić, geb. 1986 in Belgrad, Serbien, lebt und arbeitet in NYC, USA. Beispiele Einzelausstellungen: Salon of the Museum of Contemporary Art Belgrad, Serbien (2025), Schinkel Pavillon, Berlin, Germany (2024), Albion Jeune, London, UK (2025); Museum MO.CO. Montpellier Contemporain, France (2025); François Ghebaly, New York (2022); Museum of Art November Gallery, Belgrad (2018); Marlborough Contemporary, New York (2017); and Annka Kultys Gallery, London (2016). Beispiele Gruppenausstellungen: Schinkel Pavillon, Berlin (2023); Lafayette Anticipations, Paris (2023); Francesca Minini Gallery, Milan (2022); Anonymous Gallery, New York (2022); Someday Gallery, New York (2022); Galerie du Monde, Hong Kong (2022); National Gallery Prague (2021); Museum of Art and Design at Miami Dade College (2020); Lyles & King, New York (2020); Matthew Brown, Los Angeles (2020); Athens Biennal (2018); Belgrade Biennial (2018); Hessel Museum of Art, Annendale- On-Hudson (2017), … Ivana wird vertreten von der Galerie Albion Jeune, London, UK und Francesca Minini, Mailand, Italien.
Carolin Eidner, geb. 1984 in Berlin, lebt und arbeitet in Berlin, Germany. Beispiele Einzelausstellungen: Ruttkowski68, New York, USA und Paris, France, Polina Berlin Gallery, New York (Oct 2025), USA, Aurel Scheibler, Berlin, Germany, Natalia Hug, Köln, Germany, Artothek Köln, Germany, Langen Foundation Neuss, Germany, Parkhaus Düsseldorf, Germany, … / Beispiele Gruppenausstellungen: Emsdettener Kunstverein, Emsdetten, Germany (3-Personen-Ausstellung), We get closer, Stoffpavillon Cologne, Germany, Kunstverein Krefeld, Kunstverein Duisburg, Germany, Kunsthaus NRW Kornelimünster, Geramy, Bundeskunsthalle Bonn, Germany, Kunsthalle Düsseldorf, Germany … Carolin wird vertreten von der Galerie Ruttkowski68 und Aurel Schreibler, Berlin.
Agata Ingarden, geb. 1994 in Polen, lebt und arbeitet in Athens und Paris. Beispiele Ausstellungen: Museum Sztuki, Lodz, Poland (solo), Gdansk Galeria Miejska, Gdansk, Poland (solo), Triangle Asterides, Marseille, France (group), Museum Unter Tage, Bochum, Germany (group), Biennale Gwangju, South Korea, National Museum Krakow, Poland (group), Palais de Tokyo, Paris, France (group), CAPC Museum Bordeaux, France (group), Pinchuk Art Center, Kiew, Ukrania (Future Generation Art Price, winner of the Special Price), Lafayette Anticipations, Paris (France), Kunstverein Wiesbaden, Germany (group), Neue Galerie Gladbeck, Germany (group)… Agata wird vertreten von der Galerie Piktogramm Warschau und Berthold Pott, Köln. Bevorstehende Ausstellungen: Kunsthalle Appenzell, Switzerland (solo, Oct 2025), Collection Lambert, Avignon, France (solo 2026), Triangle Asterides, Marseille, France (solo, 2026).
Angelika Loderer, geb. 1984, Feldbach, Österreich, lebt und arbeitet in Wien, Österreich. Beispiele Einzelausstellungen: Sophie Tappeiner, Vienna, Austria, Belvedere 21, Vienna, Austria, CFA Berlin, Germany, Grazer Kunstverein, Graz, Austria, Secession Wien, Vienna, Austria, Salzburger Kunstverein, Salzburg, Austria, Dortmunder Kunstverein, Germany / Beispiele Gruppenausstellungen: Museum of Modern Art Salzburg, Salzburg, Austria, Albertina, Vienna, Austria, Thaddeus Ropac, Paris, France, Kunsthalle Bratislava, SVK, New Museum NY, USA, …
Angelika wird vertreten von CFA Berlin und Sophie Tappeiner, Wien, Österreich
Florian Meisenberg, geb. 1980 in Berlin, Germany, lebt und arbeitet in NYC, USA. Beispiele Einzelausstellungen: Anton Kern Gallery (the window), New York, USA, Kate MacGarry, London, UK; Provinz, Bochum, Germany; E.A Shared Space, Tbilisi, Georgia; Simone Subal Gallery, New York, USA; Kunstpaterre, Munich, Germany; Avlskarl, Copenhagen, Denmark; VR Room, Zabludowicz Collection, London, Kunstpalais Erlangen, Germany / Beispiele Gruppenausstellungen: Boros Bunker, Berlin, Germany, Philara Collection Düsseldorf, Germany, Situation Kunst, Bochum, Germany; We get Closer, Fahrbereitschaft Berlin, Germany, Insel Hombroich Kulturraum, Neuss, Germany; Künstlerhaus Bremen, Bremen, Germany; Now! Painting In Germany Today, Deichtorhallen Hamburg, Kunstmuseum Bonn, Museum Chemnitz and Museum Wiesbaden; 360: Broehan Museum, Berlin, Germany, ICA, Philadelphia, Kunstsenter, Oslo, Norway, Kiasma Finnish National Gallery, Helsinki, Finland. Florian wird vertreten von Kate MacGarry, London, UK
opening reception DC Open Weekend
Friday 5 Sept: 6-9 pm
Sat. 6 Sept: 1-7 pm
Sun. 7 Sept: 1-6 pm
Exhibition Text English:
BODY DATA
ISABELLE ANDRIESSEN, IVANA BAŠIĆ, CAROLIN EIDNER, AGATA INGARDEN, ANGELIKA LODERER, FLORIAN MEISENBERG
Group exhibition at Berthold Pott, Cologne, 5 Sept. – 18 Oct. 2025
Opening as official partner of the gallery weekend DC OPEN: Friday 5 Sept. 2025, 6-9pm
The group exhibition Body Data brings together six artistic positions that examine the human body in the context of technological developments, artificial intelligence, and posthumanist perspectives. Main questions like how our self-understanding and identity will change in a future where biological, digital, and technological systems increasingly merge.
While a main American AI researcher Ray Kurzweil believes that humans can only prevent being dominated by artificial intelligence thru a symbiosis with it (DIE ZEIT, July 31, 2025), the works gathered in the exhibition subtly and radically pose the question of what different roles body and mind can take on in the future — between utopia and dystopia.
Isabelle Andriessen contemplates a posthumanistic future in her performative sculptures made of ceramics, sulfates, and steel, creating hybrid works that combine organic, chemical, and technological components and engage in metamorphic relational processes with one another. The works of Ivana Bašić also operate at the intersection of body and machine, where the „human parts“ already seem to be fully merged with the technological ones. Her works are subject to a constant process of transformation and address, alongside human and non-human components, primarily metaphysical questions of identity and trauma. Carolin Eidner locates the body in digitally reminiscent image spaces made of plaster and canvas, thereby creating states of suspension between apocalyptic emptiness and paradisiacal liberation.
Agata Ingarden´s works consists of materials such as copper or caramel, which emphasize the processual and circular. Her sculptures oscillate between transformation and interdependences, incorporating aspects of biological systems—such as mycelium cultures—as well as surveillance technologies or mythical narratives. Angelika Loderer, on the other hand, depicts in her aluminium sculptures the body as a fleeting-fragile fragment, as a quotation that exists in a state of permanent dissolution.
In Florian Meisenberg’s works the transparent-looking bodies painted in linseed oil on canvas negotiate questions of self-positioning, limitation, and liberation. His fragile figurations placed in geometric white color fields open up associations of physical tightness, perspectival indifferences, mental states of suspension, and multiple cognitive interwoveness.
The exhibition Body Data including works of six international young artists debates how much the former manifest of the human body is in a paradigmatic state of change. Between organic heritage, technological enhancement, and digital projection, the exhibition creates scenarios of a future where the boundaries of human beings and machines could ultimately disappear.
Isabelle Andriessen, born 1986 in NL, lives and works in Amsterdam, The Netherlands. She e.g. exhibited at Kunsthal Ghent, Belgium (solo), museum MOCO Montpellier, France (group), Middelheim Museum, Antwerp, Belgium (group), Linnahall, Tallinn, Estonia (group), Moderne Museet Malmö, Sweden (group), International Triennial Cleveland, USA, De Pont Museum Tilburg, NL, Museum of Modern Art Warsaw, Poland, Stedelijk Museum, Amsteram, NL, 15th Lyon Biennale, Lyon, France, Lafayette Anticipants, Paris, France. Upcoming: Kunsthal Trondheim, Norway (2026, solo). Isabelle is represented by Berthold Pott Gallery, Cologne.
Ivana Bašić, born 1986 in Belgrade, Serbia, lives and works in NYC, USA. Solo exhibitions e.g. at Salon of the museum of Contemporary Art Belgrade, Serbia (2025), Schinkel Pavillon, Berlin, Germany (2024), Albion Jeune, London, UK (2025); museum MO.CO. Montpellier Contemporain (2025); François Ghebaly, New York (2022); Museum of Art November Gallery, Belgrade (2018); Marlborough Contemporary, New York (2017); and Annka Kultys Gallery, London (2016). Group exhibitions e.g. at Schinkel Pavillon, Berlin (2023); Lafayette Anticipations, Paris (2023); Francesca Minini Gallery, Milan (2022); Anonymous Gallery, New York (2022); Someday Gallery, New York (2022); Galerie du Monde, Hong Kong (2022); National Gallery Prague (2021); Museum of Art and Design at Miami Dade College (2020); Lyles & King, New York (2020); Matthew Brown, Los Angeles (2020); Athens Biennal (2018); Belgrade Biennial (2018); Hessel Museum of Art, Annendale- On-Hudson (2017), among others. Ivana is represented by Albion Jeune, London, UK and Francesca Minini, Milan, Italy.
Carolin Eidner, born 1984 in Berlin, lives and works in Berlin, Germany. She exhibited solo at e.g.: Ruttkowski68, New York, USA and Paris, France, Polina Berlin Gallery, NY, USA (Oct 2025), Aurel Scheibler, Berlin, Germany, Natalia Hug, Köln, Germany, Artothek Köln, Germany, Langen Foundation Neuss, Germany, Parkhaus Düsseldorf, Germany / Group exhibitions e.g.: Emsdettener Kunstverein, Emsdetten, Germany (3-person exhibition), We get closer, Stoffpavillion Cologne, Germany, Kunstverein Krefeld, Kunstverein Duisburg, Germany, Kunsthaus NRW Kornelimünster, Geramy, Bundeskunsthalle Bonn, Germany, Kunsthalle Düsseldorf, Germany … Carolin is represented by Ruttkowski68, Cologne and Aurel Scheibler, Berlin.
Agata Ingarden, born 1994 in Poland, lives and works in Athens and Paris. She e.g. exhibited Museum Sztuki, Lodz, Poland (solo), Gdansk Galeria Miejska, Gdansk, Poland (solo), Triangle Asterides, Marseille, France (group), Museum Unter Tage, Bochum, Germany (group), Biennale Gwangju, South Korea, National Museum Krakow, Poland (group), Palais de Tokyo, Paris, France (group), CAPC Museum Bordeaux, France (group), Pinchuk Art Center, Kiew, Ukrania (Future Generation Art Price, winner of the Special Price), Lafayette Anticipations, Paris (France), Kunstverein Wiesbaden, Germany (group), Neue Galerie Gladbeck, Germany (group)… Agata is represented by Berthold Pott Gallery, Cologne. Upcoming: Kunsthalle Appenzell, Switzerland (solo, Oct 2025), Collection Lambert, Avignon, France (solo 2026), Triangle Asterides, Marseille, France (solo, 2026).
Angelika Loderer, born 1984, Feldbach, Austria, lives and works in Vienna, Austria. She exhibited solo at e.g. Sophie Tappeiner, Vienna, Austria, Belvedere 21, Vienna, Austria, CFA Berlin, Germany, Grazer Kunstverein, Graz, Austria, Secession Wien, Vienna, Austria, Salzburger Kunstverein, Salzburg, Austria, Dortmunder Kunstverein, Germany / group exhibitions e.g.: Museum of Modern Art Salzburg, Salzburg, Austria, Albertina, Vienna, Austria, Thaddeus Ropac, Paris, France, Kunsthalle Bratislava, SVK, New Museum NY, USA, …
Angelika is represented by CFA Berlin and Sophie Tappeiner, Vienna, Austria
Florian Meisenberg, born in 1980 in Berlin, Germany, lives and works in NYC, USA. Solo exhibitions e.g. at Anton Kern Gallery (the window), New York, USA, Kate MacGarry, London, UK; Provinz, Bochum, Germany; E.A Shared Space, Tbilisi, Georgia; Simone Subal Gallery, New York, USA; Kunstpaterre, Munich, Germany; Avlskarl, Copenhagen, Denmark; VR Room, Zabludowicz Collection, London, Kunstpalais Erlangen, Germany / Group exhibitions include Boros Bunker, Berlin, Germany, Philara Collection Düsseldorf, Germany, Situation Kunst, Bochum, Germany; We get Closer, Fahrbereitschaft Berlin, Germany, Insel Hombroich Kulturraum, Neuss, Germany; Künstlerhaus Bremen, Bremen, Germany; Now! Painting In Germany Today, Deichtorhallen Hamburg, Kunstmuseum Bonn, Museum Chemnitz and Museum Wiesbaden; 360: Broehan Museum, Berlin, Germany, ICA, Philadelphia, Kunstsenter, Oslo, Norway, Kiasma Finnish National Gallery, Helsinki, Finland. Florian is represented by Kate MacGarry, London, UK
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MANOR GRUNEWALD Timeline Samples
24 May – 5 July 2025, opening: Sat 24 May, 6-9 pm
at Berthold Pott, Cologne
INTERVIEW by Anna-Lena Werner with Manor Grunewald
In the exhibition “Timeline Samples” at Berthold Pott Gallery in Cologne, Belgian artist Manor Grunewald revisits his own painterly archive, reconfiguring earlier works through processes of sampling, reproduction, and self-referencing. By integrating techniques from both amateur painting manuals and digital printing technologies, his practice interrogates the circulation of visual knowledge and the construction of artistic authorship — turning painting into a recursive, self-referencing system. In this conversation, Grunewald reflects on how the studio informs his decisions in exhibition-making, how intuition and iteration shape his process, and how the boundaries between professional and pedagogical image economies begin to dissolve.
Anna-Lena Werner: What is the theme of your exhibition “Timeline Samples” at Berthold Pott Gallery?
Manor Grunewald: For years, I worked with references and samples from other artists or from amateur painting books. I have hundreds of these books, including a collection of eclectic sources: historical art references, amateur watercolor and oil painting, as well as other DIY books. I started this, because I doubted my own painterly practice. All my paintings became paintings about paintings. With this show I tried to instead reference my own work from up to 15 years ago, to see how older and newer works interact with each other, literally. The newer works all belong to a series that is called “Repainting class” – a painting class for myself.
ALW: There’s almost a pedagogical gesture in that process — what did you learn in that “Repainting class”?
MG: Educating myself through the paintings and the amateur books gave me back the pleasure of painting itself – the process. I’m transferring my studio practice from Ghent into the gallery space in Cologne, where I’m testing how older and newer works come together.
ALW: Are the newer works paintings or, as much of your previous work, graphic prints?
MG: Most of the new paintings are oil paintings layered between UV prints. In the studio, I have a vertical UV-wall paint printer, which I use to print photocopies from the books in my archive. I copy pages, sort them into category boxes, such as fruit or studio paintings, trees or techniques. In a second layer, I add a color that already existed somewhere in the copies. I apply a layer of oil paint, then I print on top of it and I paint over it again.
ALW: The exhibition’s title “Timeline Samples” seems to have a double meaning, both referencing the development of your painterly practice and the way the show is installed?
MG: The title actually refers to horizontal timelines found in encyclopedia books. There are usually small images that pop up along the line. Similarly, the paintings in the space at Berthold Pott Gallery are aligned horizontally from the top of the frame. The paintings look as if they’re attached to a clothesline…
ALW: Meanwhile, other groups of paintings are installed more linearly, forming the shape of a wave. You assembled the works in groups – did you do this according to their colors?
MG: I brought around 70 works to the gallery – we selected around 45 works in the space. I try to make the same decisions that I would make in the studio. That’s why the paintings were installed along a yellow, red and a blue-toned wall.
ALW: Is there a work in the show that was decisive for the rest?
MG: There’s one small painting showing an etching of Rembrandt in his studio. I photocopied it four times over itself, as if it were a sequence – a timeline or a wallpaper. It’s a work about painting.
ALW: Many of your works address the handcraft of making art – painting, cutting, priming – and reflect these practices through other media such as sculptural or graphic approaches. Artists’ tools – a cutter, a color palette, a brush – also become motifs or objects in exhibition spaces. What interests you about this cross-referencing between artistic handcrafts?
MG: It came to me in a time when I was making large-scale abstract paintings, and people asked me about the process. It became a practical joke – answering with insight into another studio, not mine. I used images from studios photographed for amateur painting manuals or historical books; translating these images of techniques in paintings or other media.
ALW: By contrasting amateur manuals with your own studio process, your work touches on the hierarchies of artistic labor. Is this tension something you’re intentionally probing?
MG: For me, this translation questions the construct of what makes an artist “professional” or “amateur.” What qualifies someone? Harder work? More research? More knowledge? Or is it innocence, intuitiveness?
ALW: On the exhibition invitation for “Timeline Samples” you show a hand holding a brush – a recurring motif in many of your previous works. From an art historical perspective, these gestures have a long tradition of confirming the artist’s authorship and creative power. Has this context influenced how you use the motif of the hand?
MG: It’s less about the hand itself, and more about my obsession with close-ups of people doing things with their hands. In educational and practical resources – like DIY books or YouTube tutorials – you will always need to see the hands. Otherwise, you don’t understand how people are doing something.
ALW: For the past six years, you’ve run STEAMY WINDOWS – a dumpling restaurant in Ghent. Have you ever incorporated the aesthetics of cooking – such as cookbooks or cooking tutorials?
MG: Before I had the restaurant, I made like a series called “Rennie”, like the stomach-acid medication – to help digest better. I used this metaphor to reference the digestion an image: how an image appears or disappears. For that series, I used photocopies from an old-fashioned cookbook – full of greasy dishes. Because the photographs were old, the image of, say, a cheese became an abstract, organic substance – no longer resembling food, more like marble. I blew them up in scale, added them to aluminum frames, and stretched white cotton T-shirt cloth over the image, as if it had faded from too much sun exposure.
ALW: Do you see your practice as part of the context of appropriation art?
MG: I think it’s hard not to talk about appropriation art within my practice, as it questions the relevance of the original image and the outcome as another artwork. My work is not the end point of this discussion, though. This could be continued into, say, the copy of the copy. It’s the way that we process information today – especially on social media. Original information circulates and lives its own life.
ALW: Do you work intuitively or conceptually?
MG: It’s both, actually. I think the work itself develops intuitively, often emerging from a small idea. But when it comes to exhibition scenography – which I enjoy to develop with architects, like my friend Theo De Meyer – it becomes conceptual.
ALW: Shelves have often been part of the scenography in your past exhibitions. What do they represent to you? Are they recreations of a studio settings or more of an archive?
MG: I like to refer to the shelves as my “external hard disks” – a database, but in physical form. Or maybe an insight into my brain – how I try to structure ideas.
Interview by Anna-Lena Werner, May 2025
Past:
A Sudden Sense Of Liberty
Isabelle Andriessen, Thomas Arnolds, Daniel Boccato, Max Frintrop, Samuel Francois, Manor Grunewald, Agata Ingarden, Folkert de Jong, Klaus Kleine, Johanna von Monkiewitsch, Colin Penno, Benoît Platéus, Preston Pavlis, Eva Robarts, Alexander Romey, Loup Sarion, Lucia Sotnikova, Gert und Uwe Tobias
I used to think that the day would never come
I’d see delight in the shade of the morning sun
My morning sun is the drug that brings me near
To the childhood I lost, replaced by fear
I used to think that the day would never come
That my life would depend on the morning sun
(NEW ORDER, True Faith)
