unsigned untitled undated

KUNSTFORUM International Bd./vol. 259

Tim Beeby – Ein Streitgespräch mit Wolfgang Ullrich | Tim Beeby – A Debate with Wolfgang Ullrich

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Is it the signature that turns a piece of work into art? Galerie Vayhinger based in Singen, Germany, and the artist Tim Beeby have ventured an experiment in Berlin, Vienna, and Cologne. The idea behind “Unsigned Untitled Undated,” as Helena Vayhinger explains, is quite simple: “'Unsigned' offers visitors to the exhibition the opportunity of taking a work from Tim Beeby's series 'Inks' free of charge.” Alternatively they can have the canvas signed, titled, and dated, and acquire them at prices starting at €1400. All the signed canvases will be digitally catalogued, whilst the unsigned ones remain undocumented. Such a strategy may be equally surprising to both layperson and expert. Below, the Leipzig-based art historian Wolfgang Ullrich enters into a debate with Tim Beeby, currently living and working in Essen, Germany. Alternating between astonishment and disbelief, he nevertheless doggedly digs deeper, such as when he asks, “Aren't you proposing from the outset that a person who is only taking an unsigned canvas is going to feel some sense of deficiency? That this 'for free' will inevitably be perceived as the bargain option, which will always be inferior in comparison to an official purchase of a work? So that consequently the bargain hunter is unable to have the same aesthetic experience as the collector?” The discussion, which was carried out by email, concludes with the artist optimistically speculating, ”But what if…?”

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"Unsigned Untitled Undated" was well received by the German language press. As well as the 10-page, in-depth interview in Kunstform, articles also appeared in Germany's prestigous weekly broadsheet DIE ZEIT, and the regional newspaper Südkurier, the former contextualizing the project among similar ones by renowned contemporary artists, and the latter employing a much longer art historical perspective. In addition the Vienna-based art magazine Parnass published an online article.

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UNSIGNED UNTITLED UNDATED INSTALLATION VIEWS:

CONTACT:

E-mail: tim.beeby@t-online.de

Tel: ++49 (0) 201 774020


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Tim Beeby – Work Overview


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Loopholes:

90 Loopholes, 2019 / 2020 (detail)

no. 90 Bolero Back (Gian-Back), stretched canvases, cut and extracted circle

50 x 35 cm

90 Loopholes, 2019 / 2020

90 stretched canvases, cut and extracted circles

50 x 35 cm, in total 250 x 630 cm

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Folds:

Folds #9, 2016

ink on 4 pre-primed canvases

each 35 x 50 cm, in total 170 x 50 cm

Folds Diptych (pre-primed), 2020

ink on 2 pre-primed canvases

each 200 x 140 cm, in total 200 x 280 cm

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Inks:

Information (Surplus), 2014

ink on pre-primed canvas

50 x 35 cm

Ink Diptych #4, 2017

ink on pre-primed canvas

each 50 x 35 cm, in total 50 x 70 cm

9 Canvases, 2017

13 pre-primed canvas

each 50 x 35 cm, in total approx. 230 x 160 cm

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Info:


Tim Beeby is a visual artist and translator for galleries and art museums based in Essen, Germany


He studied at Cambridge College of Arts and Technology (now Anglia Ruskin University, Cambridge, UK) and Leicester Polytechnic (now De Montfort University, Leicester, UK). In 2000 he was an award winner at the European Painting Prize in Ostend, Belgium, leading to a solo exhibition at the Museum voor Schone Kunsten in Ostend the following year. His abstract work debuted in “Second Nature,” a group show he co-curated for Galerie Vayhinger, Radolfzell, Germany in 2014. His project “Unsigned Untitled Undated” has, to date, been shown in a series of four-day events in Berlin (November 2017), Vienna (June 2018), and Cologne (September 2018), leading to extensive coverage in the German language press, including an article in the prestigious weekly German broadsheet DIE ZEIT and a comprehensive 10-page interview in the German art magazine Kunstforum.


As a translator he has made extensive contributions to the catalogues for “Skulptur Projekte 2017,” Münster, Germany; and “A-Z. The Marzona Collection,” Hamburger Bahnhof – Museum for Contemporary Art, Berlin (2017); as well as translating the complete catalogue for “10 Americans. After Paul Klee,” Zentrum Paul Klee, Bern (2017) / Phillips Collection, Washington DC (2018). Most recently he has translated several essays for the catalogues accompanying solo exhibitions by Thomas Schütte (2019) and Peter Fischli (2020) at Kunsthaus Bregenz in Austria.



CONTACT:

E-mail: tim.beeby@t-online.de

Tel: ++49 (0) 201 774020


Loophole Diagram #1, 2020

inkjet print on archive paper

59.4 x 42 cm

Folds #14, 2016

ink on pre-primed canvas

200 x 140 cm

Frames:

Frames #2, 2020

50 wooden canvas stretchers 50 x 35 cm, 25 wooden canvas stretchers 30 x 40 cm

2 stained wood and glass picture frames, each 84 x 64 x 3.5 cm

in total approx. 116 x 170 x 90 cm

Frames #3, 2020

stained wood and glass picture frame

84 x 64 x 3.5 cm


Frames #1, 2020

50 wooden canvas stretchers 50 x 35 cm, 25 wooden canvas stretchers 30 x 40 cm

in total approx. 50 x 100 x 90 cm


Frames #4, 2020

wooden frame, glass, screws, paper, self-adhesive tape, traces of paint

89 x 94 x 2.5 cm


The Painting Studio, 2017 (detail)

8 inkjet prints on canvas, various inkjet prints on paper (29.7 x 21 cm), various wooden frames (70 x 50 – 140 x 100 cm)

ink on wall, (42 x 29.7 cm), various rolls of canvas with masking tape and marker pen)


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