Januar 2020

selected WORKs

Exhibitiontext by Moritz Scheper
Exhibitiontext by Dr. christoph Schreier
Exhibitiontext by Anna Fricke

mobil +49-173 835 8334


Berthold Pott
An der Schanz 1 a
50735 Köln
mobil +49-151 2403 4477


Colin Penno

Born 1980 in Muelheim Ruhr, Germany                           groupshows (selection)
Lives and works in Essen, Germany
                                                              2020   Charity Auction, Exhibition, Sotheby´s, Vienna, AU
2003 – 2010 studies Graphicdesign and Photography             2019   DEW21 Artprice Exhibition at Museum Ostwall,
at Folkwang University of Arts, Essen                                Dortmunder U, DE
                                                              2019   Cosmoscow, Art Fair ,Gallery Osnova, Moscow, RU
2005 –2008 founding the off-space project „Hartmut“           2019   „Neighbours Vol. 8“ Riot Gallery, Ghent, BE
                                                              2018   „Homeland 2“ Gallery Berthold Pott, DE
2006 – 2007 studies and traveling in Central America          2018   „Wunderkammer“ groupshow, Aarhus, DK
                                                              2017   „Attitudes in Painting“, Lepsien Art Foundation, DE
                                                              2017   Art Cologne with Gallery Berthold Pott, DE
2010 Diploma with distinction at Folkwang
                                                              2016   „Thresher,“ Geukens De Vil, Antwerp, BE
University of Arts
                                                              2016   „Space Invaders“, Hotel van Walsum, Rotterdam, NL
                                                              2016   Auction-exhibition at Museum Dhondt Dhaenens,
2010 - 2015 studies Art at Kunstakademie Düsseldorf
                                                                     (MDD), Ghent, BE
with Prof. Martin Gostner & Georg Herold
                                                              2016   Sunday-S Gallery, Copenhagen, DK
                                                              2016   CODE Art Fair, with Gallery Berthol Pott,
2015 „Meisterschüler“ (master class) of Martin Gostner
                                                                     Copenhagen, DK
                                                              2016   Art Brussels with Gallery Berthold Pott, BE
                                                              2016   Hort Family Collection Show, USA
                                                              2015   COFA Contemporary, Cologne, DE
Grants/ Residencies
                                                              2015   „#4“, McKinsey & Company, Düsseldorf (Catalog), DE
                                                              2014   „Politics of Surface“, Gallery Berthold Pott, DE
2019    DEW21 Artprice, Shortlist + Exhibition at
                                                              2014   An der Schanz, Wilsberg von Monkiewitsch, DE
        Museum Ostwall, Dortmunder U, DE
                                                              2013   „Abstract on Paper,“ Gallery Berthold Pott, DE
2015    Strabag Artaward International (short List)
                                                              2012   „Auf dem Boden der Tatsachen“, Kunsthaus Essen,DE
2015    The Cabin, Studio Residency, LA
                                                              2012   „Totale 2“, Maschienenhaus, Essen, (Catalog), DE
2014    Max-Ernst Stipendium (short List, last 3)             2012   „5 Jahre Bau–Schau“ - Baustelle Schaustelle, Essen, DE
                                                              2011   „Arbeit nervt“, Künstlerhaus, Dortmund, (Catalog), DE
                                                              2011   „Stay one moment as you are in the tired pose where
soloshows                                                            pleasure touched you“, Szobart Offspace Project,
                                                                     Budapest, HU
2020    „Roma 275“, Gallery Berthold Pott, DE                 2011   „The second act“, De Brakke Grond, Amsterdam, NL
2019    „Dapple & Dazzle“ (Duoschow)                          2011   „Sunsets“, Gallery DREI, Cologne, (Catalog), DE
        Gallery Osnova, Moscow, RU                            2010   „Sense of wonder“, Dortmunder U, (Catalog), DE
2018    Independent Art Fair, Brussels, BE                    2010   Gallery Minken & Palme, Berlin, DE
2018    „Intershop“ Kunstverein Heppenheim, DE                2010   „Construction Derby“, Loge, Essen, DE
2017    DAMA with Gallery Berthold Pott, Turin, IT            2010   Sugary Photographs with Tricks, Poses and
2017    „MOB“, Gallery Berthold Pott, DE                             Effects – a Festival on Photography, FotoMuseum
2016    Nada NYC, with Gallery Berthold Pott, USA                    & NICC, Antwerpen, (Catalog), BE
2015    The Cabin, Los Angeles, USA                           2009   „Viel“, Galerie Mikro, Düsseldorf, DE
2015    „Limbo“, Gallery Berthold Pott, DE                    2009   „Version“, Weisser Salon, Chicago, USA
2014    „Inside Out“, Bleichhäuschen, Rheda-Wiedenbrück, DE   2009   „The Grain of the Voice“, LCC Gallery, London,
2013    Walzwerk Null, Düsseldorf, DE                                (Catalog), UK
2013    „Square Dance“, Gallery Berthold Pott, DE
2010    Kunst im Wohnraum, Essen, DE
2010    „Construction Derby,“ ( Duoshow) Loge, Essen, DE
2008    „Einer muss dran Glauben“ (Duoshow),
        Bau-Schau, Essen, DE
2008    Gallery Mikro, Düsseldorf, DE
„Roma 275“, SOLOexhibition at Gallery Berthold Pott. Cologne, DE, 2020
„Roma 275“, SOLOexhibition at Gallery Berthold Pott. Cologne, DE, 2020
hancda, 2020

detail                                                 detail

ink, oil, acrylic, cardboard, wood, on plywood panel
ca. 247 X 172 cm
Elago, 2020

detail                                       detail

spray paint on epoxy on fibreglass mesh on
plywood panel, ca. 172 X 191cm
mpoe & Spigen, 2020

detail                                      detail

studio groundfloor PVC on playwood panel,   ink, dirt, epoxy, on plywood panel,
ca. 172 X 69 cm                             ca.172 X 120 cm
2020                                        2020
bozon & idoer, 2020

detail                                          detail

chalkboard paint on plaster on plywood panel,   spray paint on plaster & acrylic on plywood
ca. 172 x 121 cm                                panel, ca. 172 x 121 cm
2020                                            2020
untitled, Aluminium, 2020

detail                                              detail

aluminium metall casts of leftover fragments
from plywood panels emerged during the process of
working on previous wallobjects.
untitled, Aluminium, 2020
Exhibitiontext for „roma 275“ by Moritz Scheper

What should we do with the title Roma 275? Every thought, every possible reference to the eternal
city is muddled by the ostensibly random numbering, which can hardly be associated with Rome in
any meaningful way. Roma 275 sounds like a designation within a family of products, a denotation
as a mere unit of order, which stands in an arbitrary relationship to that which it supposedly deno-
tes. This is interesting in several respects for Penno’s exhibition of the same name. When contem-
plating his new series of wall objects, their peculiar shapes immediately catch the eye. They are not
– as they never are with Penno – shaped canvases. This quickly drawn terminology obscures more
than it illuminates, for first of all, no canvas is used here; second, the works are hastily categorized as
paintings, which they perhaps do not even strive to be; and third, and most important: since Stella,
shaped canvases have transferred the assertion of an inner tension, an inner vitalism, to their outer
edges in a kind of energetic model, whereas in Penno’s work it becomes a shoe. Obviously, the forms
of these wall objects does not result from the surface, but rather seem to stand on their own, to come
from a different context. They are probably cropped images of commercial
goods, commodities, the dimensionality of which, already levelled by photography, becomes even
more graphic, even flatter when reduced to the outer edges. The form as found footage now provides
a surface that initially means a reduced spatial extension of an object that can no longer be recons-
tructed. In this respect, here, as in the product name Roma 275, an arbitrary relationship between
form and surface is indicated which, in this case, however, instigates an activity that perhaps strives
to fight against the unrelatedness of arbitrariness. For Penno acts out the traces of dimensionality,
which play into the surface via the contours, within the surfaces, almost as if, contrary to Stella, he
wanted to define the interior from the edges. Using coloured plaster, fibreglass mesh, paint- splatte-
red linoleum or cardboard strips which serve as pallets, he builds up the surfaces, which are always
reminiscent of painting supports, but consistently work against their own flatness. The permanent
self-quotation of the painterly facets within his own practice – the remains of pallets, painterly mar-
kings in plaster or plays with moiré with the help of mesh – undermines any one-sided reading by
suggesting that the passage from the surface into space is by all means reversible. Even more interes-
ting, however, are the loops, which thus become visible in Penno’s works and
working method: He does not exclude waste, by-products, and collateral processes, but rather feeds
them back into production at later points in time. The completely splattered linoleum floor of the
studio becomes a pictorial surface, while the cardboard pallets are subjected to a process of refine-
ment. What was cut away during the creation of older works will later be returned to the exhibition
space as a cast, which once again opens the theme of surface/space. In this ‘sculpturisation’ of for-
mer cut scraps of image carriers, however, it almost seems as if no frictional energy should be lost.
Penno is not concerned with upcycling or sublimation per se, but always with a complicated preoc-
cupation with indexicality beyond simple moments of derivation such as traces and imprints. In this
respect, the technocratic title Roma 275 possibly stands for the problem of a disconnectedness that
stands on its own, which is not based on a before and on which no after can be built.
„Dapple & Dazzle“, at Gallery Osnova. Moscow, RU, 2019
SCIRT & SCEM, 2019

ink, oil, acrylic, dirt on canvas
130 X 164 cm , 124 X 168 cm
scomone, scometu, scomtri, 2018

detail                             detail

ink, oil, acrylic, on canvas
tryptich ca. 400 X 230 cm
untitled-edition, 2018

ink, oil, acrylic on canvas
ca. 100 X 70 mm each
„DAMA“, SOLOPRESENTATION WITH Gallery Berthold Pott, TURIN, 2017

ink, oil, acrylic, screenprint on printed fabric
ca. 245 X 170 cm

detail SCEELO                                      detail SCAIL

ink, oil, acrylic, screenprint on printed fabric
ca. 175 X 215 cm
„INTERSHOP“, SOLOexhibition at Kunstverein Heppenheim, 2018
„INTERSHOP“, SOLOexhibition at Kunstverein Heppenheim, 2018
Exhibitiontext for „INTERSHOP“ by Dr. Christoph Schreier
Kunstmuseum Bonn, DE

‘Intershop’ – Installation-Based Painting at the Kunstverein Heppenheim

A possible misunderstanding should be countered right from the start: Although Colin Penno’s
three-dimensional pictorial objects allude to the model of the ‘shaped canvas’, they do not strive to
conform to its strict definition. Within the discourse of painting, this term describes the congru-
ence of motif and form as found in the early works of the American painter Frank Stella. There, to
give one example, accurately painted, V-shaped line constructions add up to form a V-shaped picto-
rial corpus, creating a stringent, inherently logical pictorial structure.

Penno neither searches for nor desires such a harmonization of formal values. Instead, for some
years now, he has been dealing with the frictional energy that can result from the juxtaposition and
opposition of the three-dimensional form and the coloured ‘formulation’, or rather, the painterly
‘clothing’ of the pictorial object. In long series of trials, the pictorial form is developed as a silhou-
ette on the computer and then cut out of a Styrodur and plywood picture support with the help of a
jigsaw. These forms can resemble ornamental letters or comic-like speech bubbles; in any case, the
three-dimensional shape retains its own intrinsic formal value, even when – in a second step – it is
generally covered with oil on canvas, which, independent of the picture support, adheres to its own
compositional principles. In contrast to the haptics of the three-dimensional form, Penno lends the
‘skin’ of his painterly surfaces a colouristic depth – and, what is more, he often uses serial motifs,
such as stripes, to downplay the boundaries of the three-dimensional form.

When viewing Penno’s works, one thus oscillates between the perception of the overall form and
the concentration on the rich painterly inner worlds, whereby alternative views are also dependent
on the viewer’s standpoint. When one approaches the Kunstverein from the town centre, for ex-
ample, one first sees the polygonal relief of the pictorial objects in the large ‘display windows’. Only
after entering the exhibition space does one then see the coloured front side of the pictorial objects,
which, from a different vantage point, might also be the reverse side. For Penno, there is no valid or
in any way privileged viewpoint, since his works represent an inconclusive challenge to our vision.
We can never be sure if we are indeed viewing their front side, since we could just as easily imagine
that they have turned their backs on us. They thus remain unwieldy, resistant and defiant – even
vis-à-vis the space itself, which could actually provide enough wall space for the presentation of
the works. But Penno does not wish to subordinate his works to the circumstances of the space,
to integrate them smoothly into the architecture, since he is well-aware that paintings are nomads
with an uncertain status. The most visible sign of this is their installation in front of the windows
of the former commercial building, which functions today as an art venue: It provides the pictorial
objects with an escape route, a leap into the world outside. Painting can thus be defined as a delicate
balance, a complex search for itself, which has liberated itself from the many certainties one would
normally attribute to the medium.

Text: Dr. Christoph Schreier,
(Deputy Director, Kunstmuseum Bonn)

detail                             detail

ink, acrylic, oil, dirt oncanvas   ink, acrylic, oil, dirt oncanvas
ca. 200 X 140 cm                   ca. 140X100 cm
2019                               2019

detail                                        detail

ink, oil, acrylic, Linoleum-print on canvas
ca. 180 X 120 cm

detail                                             detail

ink, oil, acrylic, screenprint on printed fabric
ca. 180 X 230 cm
Scup							Sca

detail                                        detail

ink, acrylic, oil, linoleum-print on canvas   ink, acrylic, oil, screenprint on printed fabric
ca. 120 X 90 cm                               ca. 120 X 90 cm
2018                                          2018

ink, oil, acrylic, sticker on canvas
ca. 210 X 140 cm
„MOB“, SOLOSHOW AT Gallery Berthold Pott, cologne, 2017
Exhibitiontext for „MOB“ by Anna Fricke, Museum Folkwang, Essen, DE

Prismatic colours shine through under the surface of the broken form of Colin Penno’s ‘shaped can-
vas’. Painted over – you could almost say inundated with black paint – a tension between the contra-
ry layers of colour builds up on the surface of the large panel painting SCABO. It triggers a longing
for what is absent, which is equivalent to a manifestation of actual beauty. Penno clearly increases
this degree of absence in the white, L-shaped work SCIT, which hangs adjacently and appears as
though it has detached itself from SCABO. This ‘fragment’ – and this once again demonstrates the
potency of the panel painting in the Western tradition and, with this, in the Western perception –
can barely stand on its own on the wall. Instead, it refers to a void, or to be more precise to the rec-
tangular form of the painting. One is instinctively tempted to insert the piece, as though in a puzzle,
into the form of SCABO; but it doesn’t fit, it refuses to – the impulse thwarts itself.

A constant theme of this new series, which is being presented for the first time in this constellation,
are the interrelationships, transitions, and breaks between painting and its expansions into space,
even into sculpture. Penno plays through this with numerous variants. In this context, his smaller
amorphous wall piece are, in a certain sense, ‘convivial’; they extend the dialogue between two
works. A pair with two nearly identical incisions, which declare the wall behind as part of the pain-
ting; oddly-shaped, seemingly incidental contours call to mind communicating tubes, the connec-
tion of which is not visible. Were one to lay them over each other like fitting elements, they would
create an optical illusion. Their difference becomes increasingly obvious, and the idea merges into
irregularity and shapelessness. For the Untitled Grip-Painting, Penno uses grip tape, which ensu-
res the slip resistance of skateboards. Simultaneously repellent and fascinating, this challenges the
viewer and tempts him through the shimmering colourfulness that lies behind. The pair, SCAT and
SCUTA, protrude far out into the space; the reliefs conceal more than they reveal and ultimately
manifest themselves in another pair of free-standing sculptures consisting of cut-outs stacked on
top of each other.

Penno unleashes strong dynamics between the works of the dyads and their relationship to the
other pairs. The forms that illusorily wander through the space appear coincidental, but have actu-
ally been painstakingly planned and composed on the computer with drawings. Penno applies the
paint to the works while they lie on the floor; not seldom do they initially spend a lot of time in this
horizontal position – footprints and other traces provide evidence of this genesis. Despite all the
preparatory work, Penno sees chance and the production process as being variable and precisely
for this reason also as meaningful, in the sense that they provide meaning. He explores the form of
the panel painting and its sculptural expansion into space as a kind of anti-panel-painting. Here as
well, one finds the raster dots that call to mind the silkscreen process but have actually been applied
manually by Penno. And the printed fabrics that serve as the painting support form one of the many
substances of the images that lie and endure in the absent layers – barely audible.

Text: Anna Fricke
(Curator, Folkwang Museum, Essen, DE)

detail                        detail

mixed media on canvas
335 X 260 cm & 242 X 156 cm
Scat							Scuta

detail                               detail

oil, screenprint, pastel on canvas   oil, screenprint, pastel woodprint on canvas
138 X 110 cm                         158 X 125 cm
2017                                 2017

detail                                       detail

ink,oil, spraypaint, screenprint on fabric
140 X 197 cm
Scoop							Scipa

detail                                   detail

ink, acrylic, oil, woodprint on canvas   ink, acrylic, oil, woodprint on canvas
148 X 85 cm                              158 X 85 cm
2017                                     2017


oil, ink,acrylic, screenprint, woodprint on canvas
250 X 75 cm
untitled							 untitled

detail                                            detail

oil, acrylic, pastel, griptape, composite panel   oil, acrylic, pastel, griptape, composite panel
165 X 132 cm                                      170 X 145 cm
2017                                              2017

griptape, oil, spraypaint, screenprint
200 X 140 cm
Scape							Scipl

detail                    detail

ink, acrylic, oil, dirt   ink, acrylic, oil, dirt, woodprint
162 X 140 cm              170 X 135 cm
2017                      2017
Scol							Scuat

detail               detail

acrylic, oil, dirt   ink, acrylic, oil, , woodprint, dirt
170 X 103 cm         200 X 140 cm
2017                 2017, 2018

ink, acrylic, oil, dirt
200 X 173 cm
„Limbo“, SOLOSHOW, Gallery Berthold Pott, cologne, 2015
untitled stripes 29					SPOC 46

detail                                          detail

ink, oil, screenprint on sewn parts of canvas   ink, bleach, oil, screenprint on sewn parts of canvas
200 X 140cm                                     200 X 140cm
2015                                            2016
SPOC 34							SPOC 35

detail                                        detail

ink, oil, woodprint on sewn parts of canvas   ink, oil, woodprint on sewn parts of canvas
200 X 140cm                                   200 X 140cm
2016                                          2016
untitled Stripes 9					untitled Stripes 19

detail                                                   detail

ink, acrylic, oil, screenprint on sewn parts of canvas   ink, acrylic, oil, screenprint on sewn parts of canvas
200 X 140cm                                              200 X 140cm
2015                                                     2015
C1							                                  bitumen painting no. 8

detail                                     detail                                detail

ink, screenprint on sewn parts of canvas   bitumen, ink, screenprint on canvas
200 X 140cm                                200 X 140cm
2015                                       2015
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