SUMMER BREAK:
July 15 – August 14: visits by appointment only

Sixty years are hard to put into words. Sixty works are easier.
Since 1966, Edition Block has stood for a practice in which editions were never mere reproductions, but rather autonomous artistic creations. What emerges here is not a “second-rate” work of art, but a different one, at times more defiant.
The early years coincide with a moment when the very notion of the artwork begins to shift. Fluxus, Conceptual Art, and politically motivated works seek forms that can be disseminated, that circulate, provoke, and have an impact beyond the art world. In this context, the edition becomes the ideal medium, not as a compromise, but as a strategy to make art accessible to a wider audience.
This approach continues to shape the work and commitment of Edition Block to this day. The edition is not a closed chapter, but an active player. Accordingly, the anniversary exhibition brings together alongside now-historic works by Joseph Beuys, KP Brehmer, K.H. Hödicke, Sigmar Polke, Gerhard Richter, Wolf Vostell (among others), also recent productions by Ayşe Erkmen, Mona Hatoum, Ceal Floyer, Alicja Kwade, Rosa Barba, Mariana Vassileva, and Mehtap Baydu (among others).
Over the decades, a wide range of formal and material expressions has emerged: prints, objects, artist’s books, records, and everything in between.
Sixty works, then, less a gesture of celebration than a state of work. After all, the question of what constitutes a work of art, how it circulates, and whom it reaches remains unresolved.
Fortunately.

“It is precisely in the realm of incomprehension, in the face of impossibility, that a vibrant moment emerges, tearing holes in the conventional narrative structure and opening itself up to a different sensibility.” Dorothee Diebold

At KIF – KUNST IM FENSTER, Dorothee Diebold presents a small group of light-colored, organic painting objects from her series Projection. The works are part of Diebold’s biomorphic painting, which emerged from the panel painting and simultaneously leads away from it. Forms detach from the surface, take on a physical presence and step into the space. At the same time, they remain paintings and reveal what is otherwise hidden: the back of the canvas. Her works operate in the in-between – where painting transitions into sculpture and sculpture opens up to painting. The ambiguity of their appearance creates a moment in which uncertainty itself becomes the subject.
The title When a whole group is coming too late refers to a shift in the usual sequence of events. The work can be read as a poetic digression. At the same time, it refers to the projection of the exhibition visitors themselves and captures a moment in which something surprises through deviation, comedy, and duplication, falling outside the intended framework.
Dorothee Diebold, born in 1988 in Offenbach am Main, lives and works in Berlin. She studied at the Offenbach University of Art and Design, the Bezalel Academy of Arts and Design in Jerusalem, and the University of Fine Arts Hamburg. Her works have been exhibited at venues including Haus am Lützowplatz in Berlin, the Städtische Galerie Nordhorn, and Kunsthal 44Møen in Denmark.