In 1995 Archi Galentz bought the first painting for his collection whish had been expanding and can now be seen at InteriorDAsein Berlin counting more than 50 small- to middle-size pieces of some 30 artists developed mainly in post-Soviet period. The core of this collection is based on artists of Armenian descent coming from the avantguardistic tradition that after immigration in 90s developed a new aesthetics of concentrated and subtle abstractions. This phenomenon hasn't still been examined with scholars though artists living in such different parts of the globe as Los Angeles, Sweden, France, Russia, Berlin and Armenia simulatneously made art that belongs to the same landscape overcoming the traditional understanding of abstraction as a gesture of liberation. This collection consists of painting, prints, objects, and photography. The interest is not ethnographic but aesthetic, and the collection is enriched by pieces of some German, Japanise and Macedonian artists. It has been exposed in numerous exhibition projects in museums of contemporary art in Scopje/Macedonia, Belgrade/Serbia, and Helsinki/Finland. At the same time, the question of an art museum as a temple, a huge white cube has been examined as a relevant context for descrete authentic statements.This collection is also characterized by the individual approach each work has received as each piece has been individually framed by Archi Galentz stressing the importance of a lasting dialogue.
See examples of works: HERE.
Bedroom Wall, Berlin 2003
Please see the catalogue statement "Another one, a "personal" survival kit" from the "Situated Self. Confused, compassionate and Conflictual" catalogue below.
"Not on earth and not in heaven", MOCA, Scopje, Macedonia, 2004
The group show MOCA in Scopje was organized by a Berlin-based Macedonian artist Jovan Balov who invited Berlin-based artists of different descent. That was my first exhibition in a museum space. I (Archi Galentz) stood for a question whether I produce special works that go well in the space or look for alternatives. Instead I decided to put my works together with a number of fellow artists I already had i my collection or borrowed for the exposition. I also built a piece of private-looking wall and installed it in a museum space comparing different contexts of the exposition.
"Situated Self. Confused, compassionate and Conflictual", MoCA Belgrade and Tennis Palace Art Museum, 2005
My statement for the catalog for the Scopje exhibition was not printed because of lack of space. And next year Mika Hannula who knew about my project, invited me to participate in his co-curated who that was basically constructed as a dialogue between Scandinavian and Balkan artists. For the group shows in MOCA, Belgrade and Tennis Palace Art Museum in Helsinki I exposed my collection in dense set hung much higher than it is usually done in museums, painting the outlines of my bed ("hochbed" in German) under the collection. Again placing the tense private relation context in a public space