21.01.22 — 21.03.22

Opening 21.01

6-9 pm


From 21 January 2022 the Mario Iannelli Gallery is pleased to present the second part of the progressive exhibition in three parts by Felix Kiessling, Sarah Schönfeld and Philip Topolovac running from 15 December 2021 to 21 March 2022.


Philip Topolovac presents a new version of the “I’ve never been to Berghain” work together with two new cork models of techno clubs that have made the history of Berlin, the "Bunker" in the former Reichsbahnbunker now home to the Boros Collection and the first “Tresor Club” located in the former Wertheim Warehouse in Leipziger Platz.


"I've never been to Berghain", an edition of which Topolovac made some samples, was exhibited for the first time in the Mario Iannelli Gallery in the group exhibition "Anatomy of Restlessness" (2016) and, subsequently in highly resonant group exhibitions celebrating the combination of art and music in a mutual influenced field as an extraordinary vehicle of culture production and global communication. (Night Fever. Designing Club Culture 1960 - Today at the Vitra Museum, Weil am Rhein and then at the Centro Pecci, Prato; Hyper - a journey into art and music, Deichtorhallen, Hamburg; Electro, Cité de la Musique, Paris).
The edition on display is smaller than the first edition and it was previously exhibited at the Design Museum in London.


The work brings back to a contemporary art narrative and the market of the eighteenth-century era of the Grand Tour in which the monumental cork models architectures of Rome were the most accurate representations of these places, also used for academic purposes and not only for collectors and admired alongside the genre of an architectural drawing of the "Vedute" in vogue at the time a genre with which even Philip Topolovac ventured with the "Berghain - Vedute" edition also on display. Some of these models are currently kept in the Collections near Aschaffenburg (Bavaria) and in the Wilhelmshöhe Castle in Kassel.


For its reputation nowadays, anyone who goes to Berlin should visit the Berghain in their trip, if they wish to, if they manage to pass and get in upon the selection at the entrance, in any case, it can be observed from outside in the context of the city. Indeed, its reality does not differ much from many other buildings in Berlin that have undergone new destinations and given birth to new realities. This practice is a constant in the mutation process due to the history and social dynamics of urban gentrification.
The sense of appropriation of these places in Philip Topolovac's work starts promptly from the change in the site's functionality. Berghain was a former power station, and its name comes from the "crasis" of the two districts - one in the east and one in the west of Berlin - that border it. It was born as a symbol of trespassing and blending.


The baroque cork models are appropriations, are "souvenirs" symbolising the reproduction of that culture that travel and make a location famous while those of Topolovac is an appropriation of a place with a claim of historicity and, at the same time, it opens to its legend and mythology, to the imagination of a site, to its energy and its history.
They are relics of monuments, hinting at what can be found beyond when the society that built them no longer exists. All three buildings depicted in the models have roots in German history and have been used as spaces for techno culture. Not only perfect for isolating sound, but these places have also become spaces of freedom and reconstruction of reality.
Topolovac reproduces them in an ancient cork skin to isolate and symbolise the experience inside, which thus remains so unutterable and eternal.

Read more Close