Welcome to International Paneling!
Image by Horster
by Wolf Vest
Berlin, May 2021
If you are here, then you have made it through the impossible web of our digital reality. Awesome! Congrats!
International Paneling is the place where the repulsed and resigned come for respite and some pathetic laughs. Published monthly, but on no strict dates or timelines, our offerings hope to help you cope with the retarded reality that is the current state of the media, thought, argument—basic communication, even.
Thanks to everyone’s newfound ability to get high off of whatever specific kind of online info they choose to ingest, the world of social discourse has corroded. We, here at International Paneling, observe these happenings with wry exhaustion and sadly bitter delight. And what comes out is what lies ahead!
Oh yes, we cover the “news,” as it is. Or as we see it. Reviews, opinions, as well and occasional reports from our friends in cities across the USA and Europe will grace our digital pages. We are based in Berlin but will oftentimes be coming at you from “New” New York City and other places yet to be determined by our vaccination status and travel restrictions.
If you write or create cartoons, or other types of content, reach out to us and hopefully we can work together. We plan to publish for as long as it is fun. Then we will also disappear into the internet ether. So, for now, let’s take as a deep breath as is possible and let the dance begin…
Shorty of the Month: Daniela Kostova, "Princess Beauty," 2020
Available until May 29th, 2021
More info on her current show at STRUCTURA GALLERY in Sofia, Bulgaria:
Short Takes on Coronavirus and the Art Scene
By Leo Kuelbs
Berlin, May 2021
As we all know, this past year has been difficult for all types of service and artistic professionals. The team at International Paneling talked to dozens of gallerists, curators and artists during the lock down period, as well as a variety of other business owners, and the mood was surprisingly mixed. Beginning last summer, creative freelancers in Germany were given thousands of euros; in most cases, much more than they would hope to make through the sales of their own works in a year. Also, if their studio conditions were appropriate, they were free to work with less distractions. In short, as long as the virus wasn’t completely full on in their areas, life was a little better than normal. That having been said, the isolation of the colder months has mounted and the need to get out and socialize/see work has exploded.
Image by Horster
One positive side was that some creatives were not tempted to “network” while guzzling free or super cheap wine or beer.
A positive/negative for art scenesters, especially in Berlin, was the closure/limited access to art galleries and their myriad openings and events. One positive side was that some creatives were not tempted to “network” while guzzling free or super cheap wine or beer. Having witnessed this phenomenon many times, I can tell you it was with relief that one was spared a year of this display and temptation. Another crazy positive was that many testing centers moved into quiet art spaces, not only providing gallery runners with a much-needed cash infusion, but also providing a greater variety of a sites which helped ease the testing burden. Again, this was witnessed mostly in Berlin, but I believe the same things happened around Europe and in the states, in some cases.
The negative side is clearly the lack of access for viewers, artists and gallerists to their natural habitat. The virus is said to have initially impacted those entities with a pre-existing condition. As many relationships ended, also too many creative spaces will fold, and some creative professionals will adapt to fit the evolving times. It’s not like the video art market was burning up before the virus anyway! Also, it’s clear that the pool of collectors is tiny and massively over fished. Some months of quiet contemplation may have come in handy. Rare opportunities presented themselves in such areas as frozen property prices and reduced rents, though uncertainty and lack of access to travel made some of these “benefits” rather tricky options to take advantage of.
What about online shows? The jury is generally still out, but clear positives include, not only from home, digital access, but ease of set up, low installation costs and international access for interested parties. Typical in person shows are really only geared towards a local audience, while online shows offer interested partys access to artists without travel hassles. And, sometimes it is the only option, and it is certainly better than nothing. Negatives are obvious and especially felt during a lockdown when getting out and being around others is really a huge need. Recently I was at a group show held in a church, so the space and masking needs were less restrictive and the experience of being out and seeing work with others was as good (or perhaps even better) than the works included in the show. In any case, I was grateful and visited twice.
As the lockdown goes on in most parts of Europe, the USA is seemingly moving into the vaccinated light. It is with cautious optimism that we hope everyone else will follow, but the situations in India and Brazil force us to recall just how far off the virus seemed last January, when it seemed confined to China. The “new normal” we will awaken to has yet to completely reveal itself. It seems that art openings and events will not return to the old normal for some time, if ever. Meanwhile, friends in the service industry, bars, in this case, wonder if a year away from their wares and wiles will cause permanent changes to the psyches of their clientele. Will the demand return? Or, as the dance crowd seems intent on, will things return to resounding super normal once the opportunities arise? And, what happens if it does? I just heard that cruise lines are massively booked in the months ahead, so we shall see how this grand experiment plays out.
As we keep looking for the positives and begin to hope again, we should realize that more types of global problems are coming more frequently. And a “new normal” isn’t something we should simply wait for, but something we should have a voice in and help to create. It’s going to be “all hands on deck” all of the time for the foreseeable future. Being careful will also expand from dealing with the pandemics and catastrophes themselves to staying healthy (stress management and exercise) while doing so. In short, the new normal is totally abnormal.
A Typical Tyrolean Cemetery., Natural Habitat of a Taphophile. Photograph by JCO
Graveyard Strolls with JCO
I. How my Taphophilia helped my dad to find an old friend
By JCO
Berlin, May 2021
Many people are scared of cemeteries, probably because they remind them of their own morality. Whereas to me, they are a place of retreat. As far as I can remember, I’ve been drawn to graveyards like moths to light, bees to honey, zombies to human brains? One could argue I am a weirdo and maybe I am, but I just can't help it. I stroll through graveyards like museums: I take my time, stop in front of almost every tombstone and carefully read the inscriptions.
I am a so called “taphophile” and over the years I've experienced touching, funny, and unusual encounters on my regular graveyard strolls. This is one of my stories:
His name was Isidor and his enormous eyebrows made him somewhat of a local celebrity.
A few years ago, I was in Termeno (South Tyrol) with my dad. My dad had been there in his teenage years, so obviously he was excited to return. We didn't stay at the same hotel that my dad stayed at with his father years before, but since Termeno is one of those small "everyone knows everyone" villages, he thought it wouldn't hurt to ask our receptionist about the friendly warden he had met many years ago.
His name was Isidor and his enormous eyebrows made him somewhat of a local celebrity. The receptionist told my dad that he had died a few years before. Obviously this was sad news. My dad was hoping to see Isidor again, to somehow relive the past. But at the same time, my dad wasn’t surprised with his death.
On the next following days, we explored the area. We visited the local vineyards, went hiking for hours and, besides our nightly tipsiness, managed to find our hotel rooms - the local wine is really very good.
I barely remembered the conversation my dad had with the receptionist on our first night, when we passed a beautiful old cemetery on our way to another wine tasting. I asked my dad to stop the car, so I could have a quick look. He pulled over reluctantly and asked me to be quick.
In order to have a better control over my time management, my dad got out of the car with me. It was one of those graveyards where they have pictures of the deceased on every tombstone.
With my impatient dad walking next to me, I didn’t analyze every tombstone like I usually would. Sometimes I even skipped a row or two to save time. But then one picture caught my eye: a black and white photography of a middle-aged man with the bushiest eyebrows I've ever seen. I remember cracking some silly joke like, “Dad, look at this guy’s eyebrows! I wonder if he kept them as pets!” My dad took a closer look and after a moment of realization he shouted “It’s him! That’s Isidor!“
The inscription of the tombstone was barely readable but we were able to decipher the first name - Isidor. It was him. My dad returned to our car smiling. After all these years he did manage to see Isidor once again. Ever since, my dad has joined me happily on my graveyard strolls.
Yes, one might think that this was all a big coincidence. But I prefer not to.
Drama at the latest IG5 Meeting!
What of Chronos?
The “Red Seat of Power” awaits Chronos. But what of Chronos himself? Image by Georgie Junior
By Georgie Junior
Brownstar Planet, May 2021
The stage is set for the Annual Conference of the Intergalactic G5 on Planet BM2, aka “The Brownstar,” but where is Counsel Leader, Chronos? His ship was last seen cruising in hyper drive off the moons of Zontar 12. “His ship (The Galactoid) seemed to be using extra Hypon Orbs, which is a little strange,” said Dragor 47, an IG5 spokescreature. “But being a Master of Time, as Chronos is, it’s no surprise that he likes to party. I expect him to swagger in at any moment!”
Other IG5 officials expressed varying levels of concern over the fate of Chronos. “Perhaps he slipped through a wormhole, as one does when traveling from Sector 7,” Princess Googlabor told Intergalactic Paneling, “or else he could be on one of his famous benders. Who knows? Maybe he will wake up in Vegar Province with not a parsec to his name!”
Vice Commander Slaktor struck a more ominous tone, “Chronos is a fool and deserves whatever fate awaits him!” Then he laughed and ate a small lizard!
“Chronos is a fool and deserves whatever fate awaits him!” Then he laughed and ate a small lizard!
“Chronos is a master of time, but don’t confuse him with the father of Zeus, or he goes off,” said Blepbort Four, the trusty droid in charge of hosting the Intergalactic leaders at the luxurious “Slopes of Chokolati,” human ski park. “If someone made that mistake, Chronos could have accidentally set of a complete ionic/pantonic reversal, resulting in a negative time transference! Then, who knows where Chronos and crew may be now? They could literally be ANYWHERE!”
If Chronos doesn’t appear, then the fragile alliance between the Gleepglopulins and the Pharsac Hoardes may not hold! Intergalactic Paneling will stay on this troubling story and keep you updated as the unfolding continues.
Three Questions with Artist, Sean Smuda
New Online Show “#NO” is Mid-career Magick!
By Leo Kuelbs
Former Minnesotan and current Berliner, Sean Smuda’s new online show “#NO,” is a mid-career retrospective including sculpture, video and photo collages. Known for his history in photography, as well as his unique conceptual positions, Sean’s move to Berlin provided a whole new range of perspectives from which to compare and contrast versions of reality.
On the occasion of this well-realized installation in the digital world, we asked Sean a little bit about himself and the new show. The three questions are:
1. Why did you decide to move from the USA to Berlin?
2. What’s different, in your experience, being in Berlin as opposed to Minneapolis?
3. Tell us what you like about your online show.
See video interview below as well as a link to #NO
Other Online Exhibitions we like:
Image by Christopher Winter from the “Changing Landscape” show at Karl Oskar in Berlin. Through May 31st.
Artists include: Said Baalbaki, Stefano Bosis, Amrita Dhillon, Peter Doig, GODsDOGs, Halina Hildebrand, Jann Holstein, Émile Kirsch, Magdalena Morey, Claudia Rega, Nina Rodin, René Schoemakers, Drew Simpson, Michael Stecky, Emilie Trice, Peter Wilde, Christopher Winter
“changing landscape”
“Figuratively Speaking”
Curated by Amir Fattal at Am Tacheles, Berlin
Artists: Aline Alagem, Sabatino Cersosimo, Amir Fattal, Alona Harpaz, Roey Victoria Heifetz, John Isaacs, Jason McGlade, Andrew Moncrief, Maria Naidyonova, David Nicholson, Dennis Scholl, Alex Tennigkeit, Lars Theuerkauff, Peter Wilde
“International Paneling”
Issue1/Volume 1
Monthly; Berlin/NYC/ONLINE
Submissions and Questions:
lkuelbscollection@gmail.com