KUNSTFORUM International, Bd./vol. 259

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

Unsigned Untitled Undated was well received by the German language press. As well as the 10-page, in-depth interview in Kunstforum, 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. The Vienna-based art magazine Parnass also published an online article.


Project page in English >>>


Projektseite Deutsch >>>

Work Overview


90 Loopholes, 2019 / 2020

90 stretched canvases, cut and extracted circles

50 x 35 cm, in total 250 x 630 cm



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 awarded a 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.

In October 2022, Unsigned Untitled Undated made its debut in a museum, at the LWL-Museum für Kunst und Kultur, Münster, Germany. In March 2023 it was presented for the first time in a Kunstverein, at Kunstraum München in Munich. Unsigned Untitled Undated subsequently featured in Kunstforum again, in the introductory essay to its Nov.– Dec. 2023 issue.

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). In 2021, his essay Working with Artists and Curators: translating for the contemporary art world, co-authored with Sabine Bürger, appeared in Translation – Kunstkommunikation – Museum, Barbara Ahrens et al. (eds.), published by Frank & Timme Verlag, Berlin. Most recently he has translated texts for Gaming (2022), an exhibition curated by Hans Ulrich Obrist for the Julia Stoschek Foundation Düsseldorf, and all the texts for Taking Stock. Gurlitt in Review (2022) at Kunstmuseum Bern, as well as for Materializing. Contemporary Art and the Shoah in Poland (2023) at the the Munich Documentation Center for the History of National Socialism.





Okt. | Oct. 14, 2022

LWL-Museum für Kunst und Kultur


Wolfgang Ullrich: Herr Beeby, Ihr Projekt „Unsigned Untitled Undated“ ist regelrecht eine Versuchsanordnung. Sie testen das Kunstpublikum und seine Reaktionen auf ein spitzfindiges Setting, das die Logik des Kunstmarkts zum Thema hat. Gab es ein Schlüsselerlebnis, das Sie zu diesem Konzept veranlasst hat? | Weiter zum kompletten Interview >>>

Wolfgang Ullrich: Tim Beeby, your project "Unsigned Untitled Undated" is almost a kind of experiment that is testing the art audience and its reactions to a rather shrewdly conceived scenario commandeering the logic of the art market. Was there a key experience that led you to such a concept? | Read the complete interview >>>

Unsigned-Aktion am 14. Oktober 2022 im LWL-

Museum Münster, Videoclip 9:30 Min. (ohne Sound)

Unsigned event on 14 October 2022 at the LWL- Museum Münster, video clip 9:30 min. (no sound)

unsigned untitled undated

März | March 8–12, 2023

Kunstraum München

Künstlergespräch | Artist's Talk:

Tim Beeby & Wolfgang Ullrich

Ein Gespräch zwischen Tim Beeby und Wolfgang Ullrich am 12. März 2023 im Kunstraum München

A conversation between Tim Beeby and Wolfgang Ullrich on March 12, 2023 at Kunstraum München

Surfaces & Supports:

Surfaces & Supports #1a,  2023

6 pre-primed canvases, wooden stretchers, staples, screws

1x  200 x 140 cm, 1x  140 x 100 cm, 1x  100 x 70 cm, 1x  70 x 50 cm, 2x  50 x 35 cm

in total 200 x 280 cm

Surfaces & Supports #2b,  2023

5 black pre-primed canvases and 1 reverse side, wooden stretchers, staples, screws

1x  200 x 140 cm, 1x  140 x 100 cm, 1x  100 x 70 cm, 1x  70 x 50 cm, 2x  50 x 35 cm

in total 200 x 280 cm

Surfaces & Supports (ensemble 7),  2023

2 black pre-primed canvas and 1 reverse side, wooden stretchers, staples, screws

1x  100 x 140 cm, 1x  30 x 30 cm, 1x  200 x 20 cm

installation dimensions variable

Untitled (digital drawings):

Roll #1 (detail 43.2 cm x 2 m), 2022

inkjet print on a roll of Epson Enhanced Matte Paper

in total 43.2 cm x 30.5 m

Roll #2 (The History of Modern Art),  2023

inkjet print on Epson Enhanced Matte Paper

detail 43.2 x 60 cm, in total 43.2 x 1400 cm

Ink Diagram #5a,  2023

inkjet print on Epson Archival Paper

59.4 x 42 cm

Square Loophole #4, 2022

8 stretched canvases, cut and extracted circles

210 x 210 cm

KUNSTFORUM International, Bd./vol. 292


The art critic Heinz Schütz considers Unsigned Untitled Undated in terms of the signature and identity in his introductory essay to the Nov–Dec. 2023 issue of KUNSTFORUM. He situates the project in an art historical context together with such artists as Cindy Sherman and Marcel Duchamp, beginning his hypothesis with Unsigned Untitled Undated as an exemplary contemporary approach.

Heinz Schütz verweist auf Unsigned Untitled Undated im Kontext von Signatur und Identität in seiner Einleitung zum KUNSTFORUM-Band 292. Er setzt das Projekt in kunsthistorischen Zusammenhang mit Künstler:innen wie Cindy Sherman, Marcel Duchamp, u.a., wobei er Unsigned Untitled Undated als beispielhafte zeitgenössische Position an den Anfang stellt.

von Heinz Schütz

by Heinz Schütz




Black Wall Paintings, studio installation view, February 2024

Unsigned Untitled Undated

ink on pre-primed canvas

110 x 75 cm

Unsigned Untitled Undated

ink on pre-primed canvas

140 x 100 cm

Unsigned Untitled Undated

ink on pre-primed canvas

40 x 30 cm

Untitled (digital drawing) #150,  2023

inkjet print on Epson Archival Paper

59.4 x 42 cm


Ink Diagrams:

90 Loopholes, 2019 / 2020

no. 20 Gospel-Back (Nero-Front)

stretched canvases, cut and extracted circle

50 x 35 cm

Black Wall Paintings: