Lynn Guo: Can you provide some background on the Wannsee Contemporary Gallery and its mission in hosting exhibitions that tackle contemporary issues?

Avi Feldman: Wannsee Contemporary Gallery was established in September 2021, a period marked by the challenges of the COVID-19 pandemic. This timeframe, while unique and unprecedented, presented an opportunity for me to delve into a new venture. The gallery finds its home on the outskirts of Berlin, nestled in a beautiful area rich in waters and forests, at the very edge of the city.Moving to this affluent yet art-lacking neighbourhood just before the pandemic, and being restricted like everyone else due to travel limitations, sparked the idea to bring contemporary art to my immediate surroundings. As a curator deeply engaged in political, social, and economic issues, I saw this as an opportunity to make contemporary art accessible to an audience that might not have the usual exposure to it.

Thus, Wannsee Contemporary Gallery was born, a fusion of the local and the global. The name “Wannsee” reflects our locality, grounding us in the specific context, history, and social relations of the neighbourhood. Simultaneously, “contemporary” underscores our global and international outlook, emphasising openness to new artistic tendencies and a commitment to understanding the present, envisioning the future, and reflecting on the past.

Wannsee, the neighbourhood after which the gallery is named, holds significant historical weight. It served
as an island at the end of Berlin during the Cold War, with the Wall dividing it from the rest of East Germany. The area witnessed battles during World War II, and it holds deep connections to the Holocaust. These historical layers coexist with the natural beauty of lakes, forests, and wildlife, turning Wannsee into a dynamic laboratory for artistic exploration.

Wannsee Contemporary Gallery aims to bring together the past, present, and future within the realm of contemporary art. Rooted in a specific location with its unique context, history, and social relations, we strive to be a platform that fosters dialogue, reflection, and artistic exploration.

LG: What motivated and inspired you to explore the theme “I was dead on the internet” with aaajiao? How do you see the theme fitting into the broader discourse on digital fascism?

AF: Firstly, I encountered aaajiao when I participated in a residency at the Ming Contemporary Art Museum (MCAM) in 2019. This residency, spanning two months, offered me the chance to immerse myself in the arts scene in Shanghai, as well as to connect with curators and artists. During my travels to Beijing and Guangzhou, aaajiao became the first artist I met, and I was immediately captivated by his work. Despite my background not being primarily rooted in digital or internet art, my interests have always spanned various levels, particularly in the realms of political art, activism, and the intersection between art and law.

Our initial dialogue, which took place in aaajiao’s studio on an island in Shanghai, left a lasting impression. The studio’s proximity to a military base added an intriguing layer to the experience. It was the summer of 2019, a period coinciding with the student demonstrations in Hong Kong, providing a backdrop that further enriched our conversation. As we continued our discussions, I learned that aaajiao was in Berlin due to the impact of COVID-19 and was exploring the concept of being “dead on the internet.” This concept, showcased in an exhibition in China, resonated with me, leading to the idea of connecting his work with my goal of bringing diverse artists living in Berlin to the forefront.

The timing was particularly poignant as the world grappled with the COVID-19 pandemic, relying heavily on digital communication platforms. The theme of being “dead on the internet” took on profound significance during this era. It symbolised not only the loss of identity and history but also the disruption of connections, networks, and support systems. Coupled with the experience of exile, it became a multifaceted exploration of isolation and disconnection. The exhibition unfolded uniquely at our gallery, utilising a large window where aaajiao placed stickers and showcased images. This approach allowed passers-by to engage with his work without necessarily entering the gallery space, fostering a connection with the broader public. Balancing the desire to connect with the audience and respecting individual choices regarding gallery entry sparked meaningful debates within our team. The exploration of being “dead on the internet” became a lens through which we addressed the broader discourse, highlighting the profound implications of digital existence and its intersections with identity, communication, and the global socio-political landscape.

LG: Because you mentioned the audience, how do you feel the local audience engages with the theme of digital fascism or aaajiao’s artwork? Have you received any feedback from them, considering this is a new concept for the neighbourhood?

AF: Yes, indeed. Our audience is primarily local, with a focus on engaging our immediate neighbours. Introducing the theme of digital fascism and aaajiao’s artwork to this community presented a unique challenge. We are gradually expanding our reach within the neighbourhood, aiming to connect with our neighbours on a more profound level. However, given the novelty and complexity of the theme, extensive efforts were required to convey its significance.

Despite the initial hurdles, we garnered attention beyond our local sphere. There was a notable interview with aaajiao in Die Welt, a well-known Berlin newspaper, which helped convey the importance of the exhibition to a broader audience. Additionally, there was coverage in international newspapers, such as an article in Artnet. These features not only recognised the value of the exhibition but also facilitated outreach to diverse audiences.

For our local audience, the concept of digital fascism and the nuances of aaajiao’s artwork demanded thorough explanations and interpretations. I actively engaged in negotiating the exhibition’s concept with them, fostering a deeper understanding. While it presented a challenge, this process has proven to be beneficial, sparking meaningful conversations and enriching our community’s engagement with contemporary art.

LG: From your perspective, how do you see censorship impacting the message you try to deliver? Although your focus is on local communication, the internet plays a role. Does censorship prompt you to consider certain factors before approaching an artist?

AF: I am acutely aware of censorship due to my research on law and art, exploring how art can function as evidence and contribute to research. Issues like forensic architecture have long informed my practice. Naturally, like many in the art world, I stand against censorship and strive to create avenues for artists to express themselves openly. However, we face challenging times in Germany and globally. During my two months in China in 2019, particularly amidst the demonstrations, I witnessed first-hand how the art world operates under censorship. Every exhibition needed approval, and there were numerous restrictions, especially for international exhibitions. This experience deepened my concerns about censorship, which are not confined to specific regions but are prevalent globally.

While it was enlightening to observe the situation in China, I acknowledge that censorship challenges exist in Germany and elsewhere. It is a constant battle that requires negotiation with institutions, politicians, and audiences. The gallery’s purpose is to foster communication and freedom of speech on all levels. However, navigating this landscape is challenging, especially considering the limitations experienced during my time in China, where I needed a VPN to access certain websites due to censorship.

The restricted access to information in China, with a significant portion relying solely on CCP-controlled sources, underscores the limited perspectives and challenges to questioning realities. The current political landscape, including problematic regimes in China and emerging issues in Europe and the United States, poses threats to art, creativity, and freedom of expression. This concern motivates initiatives like working with students and the younger generation to address contemporary challenges.

In the context of aaajiao’s exhibition, his exploration of living as a virtual person and the aftermath of being “I was dead on the internet” highlights the need to find alternative ways of expression and life beyond the digital sphere. This perspective becomes crucial when engaging with the younger generation, often deeply immersed in the virtual world. It emphasises the importance of understanding and navigating the differences between digital and other realities, urging caution in how we approach and discuss these distinctions.

LG: aaajiao is notably candid in his approach, and as you mentioned, his journey leads back to the search for his own identity as a human being. It’s a powerful narrative.

AF: Absolutely, he is fantastic. aaajiao is remarkably honest and direct, refusing to play games with his art. When you engage in conversation with him, you receive an honesty that is straightforward, sophisticated, and gradually revealing, which is truly fantastic. I requested that he share all the details honestly, and he provided a well-thought-out account of his own artistic process. There was a talk we had here in Germany, part of the OnCurating series. I can provide more information or notes from this interview. However, sometimes, nuances may be lost in translation, particularly with English. He has so much more to explain, understand, and offer to the audience, and it can be challenging to convey the complexities of his narrative.

LG: So, were there specific elements or techniques that particularly caught your attention in terms of the impact of digital space on individual identity and the potential for manipulation and control, especially in the context of digital fascism?

AF: Absolutely. The “I was dead on the internet” project was pivotal for me. It opened up numerous questions, serving as a foundational understanding of what we aimed to showcase. Considering we launched the exhibition in May 2020, right in the heart of the COVID-19 pandemic, it was a powerful moment to present a narrative discussing digital death and existing as a virtual entity. I was captivated by the small videos displayed on those tiny screens. They held a unique abstraction, yet conveyed such a complex and concrete story simultaneously. The setting was in what seemed like a rundown apartment, likely in Shanghai, where the original images were taken. We exhibited some of the work in our kitchen, creating a fantastic juxtaposition. Those small screens, one of them titled “Censorship” if I recall correctly, were akin to tablets. Their silent presence in the kitchen was particularly intriguing. A fascinating aspect was aaajiao’s decision to place them next to the fridge. He associated the sound of the fridge from his childhood, as he used to sleep close to it. It added another layer to the videos, providing an unexpected dimension. While appearing digital and somewhat impersonal, the inclusion of the fridge sound introduced a domestic, human element. This was incredibly relevant at the time, considering people were working from their kitchens and homes during the pandemic. The decision to showcase these works in the kitchen of the gallery, typically a less noticeable area, cleverly transformed the space into another gallery. aaajiao’s ability to share personal experiences, even within a very digital medium, showcased the depth and thoughtfulness of his artistic approach.

LG: Considering the potential suppression of diversity and critical art in right-wing spaces, how does the gallery navigate potential challenges or censorship?

AF: At the moment, we seem to be under the radar. Being a small gallery situated at the edge of Berlin, we haven’t attracted much attention yet. We engage in activities within the neighbourhood, such as walks and tours, and haven’t faced any issues so far. It’s partly because we are somewhat distant, and people might not fully understand what we’re doing. It feels like a safe space for now, but the future is uncertain. If challenges arise, we’ll address them as they come. We’ve been fortunate not to encounter any problems to date.

LG: Are there upcoming projects or artists you are excited about that align with the gallery’s commitments to addressing contemporary challenges?

AF: We are currently showcasing a beautiful exhibition that, given the situation in Israel and Palestine, conveys a strong message through drawings and paintings. The exhibition fosters a space for Arab and Israeli, Muslim and Jewish, and Protestant Christian individuals to find common ground through a shared experience. The positive critiques we’ve received so far are encouraging, and we hope this is one way of shaping the future. Additionally, involving the younger generation, collaborating with students on projects in the area, and bridging the gap with a community that may not have much exposure to contemporary art is another aspect of our mission.

Avi Feldman is a curator and writer based in Tel Aviv and Berlin; working as the director of the Wannsee Contemporary Gallery, he facilitates discussions on contemporary issues through artistic expression. Feldman is also the founder of The Agency for Legal Imagination, an independent organisation devoted to investigating connections between legal and artistic concepts. In 2018, Feldman held the position of curator in residence at the Ludlow 38 MINI/Goethe-Institut Curatorial Residencies program in New York City. With a background in law, including a degree and membership in the Israeli Bar since 2005, he recently completed his PhD in Practice in Curating at the University of Reading, collaborating with the Institute for Cultural Studies in the Arts at Zurich University of the Arts.

aaajiao is active online as a media artist, blogger, activist, and programmer. aaajiao is the virtual persona of Shanghai- and Berlin-based artist Xu Wenkai. Born in 1984—the title of George Orwell’s classic allegorical novel—and in one of China’s oldest cities, Xi’an, aaajiao’s art and works are marked by a strong dystopian awareness, literati spirits, and sophistication. Many of aaajiao’s works speak to new ways of thinking, controversies, and phenomena around the Internet, with specific projects focusing on the processing of data, the blogsphere, and China’s Great Fire Wall. aaajiao’s recent projects extend his practice to various disciplines (among them, architecture, topography, and design) to capture the pulse of the young generation consuming cyber technology and living on social media.

Lynn Guo is a Chinese-Australian artist and curator born in Inner Mongolia, currently residing in Florence, Italy, where she co-founded TIAC (The International Arts & Culture Group). Initially trained in classical figurative painting, Lynn’s artistic journey has evolved to embrace contemporary expression and the essence of humanity. With a keen eye on contemporary art curation, she navigates the dynamic landscape of global art with a unique perspective. Lynn has participated in and curated art exhibitions and culture events across Europe, Australia, and China, and as an artist she won the prestigious first prize at the XIV Florence Biennale. Currently, she is furthering her studies in curatorial practices at Zurich University of the Arts.