Arno Beck


*1985 Bonn
2006–2015 Kunstakademie Düsseldorf, master student Prof. Eberhard Havekost
  Lives and works in Bonn

Grants / Scholarships

2019 Studio Grant, Bonner Kunstverein
2017 Art Residency‚Espositivo, Madrid
2015 Jahresstipendium der Best Gruppe, Düsseldorf
2010 Hogan Lovells Kunstförderpreis
2009 3. Preis der KÖ-Galerie, Düsseldorf
2003 Jugendkunstpreis des BBK Bonn Rhein-Sieg e.V.

Group exhibitions

2024 BEL ÉTAGE, Evelyn Drewes | Galerie x galerie burster, Berlin
  À LA RECHERCHE DE VERA MOLNAR, Museum Ludwig, Ungarn
  Concept Line, DAM Projects, Berlin
2023 Art Cologne, Cologne
  Cherries On Top, Galerie Judith Andreae, Bonn
2022 Unter Freunden: Eine persönliche Ausstellung aus dem Bergischen, Kunst und Raum 21 e.V., Krefeld
  Elb/Hängung #1, Villa am Elbhang, Hamburg
  Chronicles 5, Modem Centre for Modern and Contemporary Arts, Debrecen, Hungary
  Vier Jahre Kanya & Kage, Kanya & Kage Art Space , Berlin
  Better Call Mark, Galeria Fran Reus, Palma de Mallorca, Spain
  XY, Galerie Rundgaenger, Frankfurt am Main
  Chronicles 4, Galerie Droste KPM, Berlin
  LO(L) - Embodied Language, Kunsthaus Hamburg
  Command + Control + Q, DAM Projects, Berlin
  Das eigene im Fremden, Museum Bensheim
2021 Exquisit, Schaufenster, Berlin
  Don’t put all your Becks in one Basket, Galerie Schierke Seinecke, Frankfurt
  Salon der Gegenwart, Springer Quartier, Hamburg
  D'Arte, Marian Cramer Projects, Amsterdam, Netherlands
  Interleaving, Galerie Falko Alexander, Cologne
  Shotgun Wedding, Kanya Kage Art Space, Berlin
  The, Suzanne Tarasiève Galerie, Paris, France
  Rewilding, Nino Mier Gallery, Los Angeles, USA
  Apophenia, Culturgest, Porto, Portugal
  Hyperbole, Galleria Nicola Pedana, Caserta, Italy
  Googol, Artemis Galerie, Lissabon, Portugal
  The Artist is Online, König Galerie, Berlin
  darktaxa project - The Berlin constellation, Office Impart, Berlin
  Watchlist 2, Galerie Droste, Wuppertal
2020 Delete History, Galeria Fran Reus, Palma de Mallorca, Spain
  Surprize, Kunsthalle Düsseldorf
  Drawing Wow, Kunstaele, Berlin
  Dig-It-All, Dam Gallery, Berlin
  Decade, Mariam Cramer Projects, Amsterdam, Netherlands
  Mixed Pickles 7, Ruttkowski;68, Cologne
  Re-Decoders, Onomato, Düsseldorf
  Darktaxa-Project: The Frankfurt-Constellation, Galerie Schierke Seinecke, Frankfurt
  All In/7, Galerie Falko Alexander, Cologne
2019 Jahresgaben, Bonner Kunstverein, Bonn
  Too Many I In Digital, Marian Cramer Projects, Amsterdam, Netherlands
  Screengrabs, Joshua Liner Gallery, New York, USA
  Illusion Natur, Museum Sinclair-Haus, Bad Homburg
  Errorsmith, Pop68, Cologne
  Summer Mixer, Joshua Liner Gallery, New York, USA
  Summer Splash 5, Dam Gallery, Berlin
  Crystal Math, Galerie Schierke Seinecke, Frankfurt
  Photon / Icon, Galerie Falko Alexander, Cologne
  All In/6, Galerie Falko Alexander, Cologne
2018 Benefit Auction, Neuer Aachener Kunstverein, Aachen
  10 Marginal Years, Foxy Production, New York, USA
  La Bodega Y Màs, Little Havanna, Miami, USA
  Mixed Pickles 4- Michael Horbach Stftung, Cologne
  Watchlist, Evelyn Drewes | Galerie, Hamburg
  Banz Und Bowinkel, Arno Beck, Dominik Halmer, Galerie Falko Alexander, Cologne
  Antifurniture Store, Fortnight Institute, New York, USA
  Signs, Creatures And Forms, Ambacher Contemporary, Munich
  This Is Not, Galerie Ampersand, Cologne
  In The Future, Collyer Bristow Gallery, London, UK
  Digital Provocateur / The Wrong, New Digital Art Biennale, Cidade Das Artes, Rio De Janeiro, Brasil
2017 Heartwork, K21, Düsseldorf
  The Wrong Club, Galerie Ampersand, Cologne
  Die Digitale, Low Tech Art, Weltkunstzimmer, Düsseldorf
2017 Would I Rather Watch This As A Movie?, Galerie Golestani, Düsseldorf
  Metaspace, Galerie Ampersand, Cologne
  Push Start, Galerie Rundgænger, Frankfurt
  All In/V, Galerie Ampersand, Cologne
  Homeoffice, Salonabend, Bochum
2016 Escapism, Kö Galerie, Düsseldorf
  Syntax Error, Galerie Ampersand, Cologne
  Farbe Muss Gesehen Werden, Galerie Golestani, Düsseldorf
  Fenster 16, Galerie Golestani, Düsseldorf
  Gedruckte Bilder, Kunstbahnhof Eller, Düsseldorf
  Low Tech, Galerie Rundgænger, Frankfurt
2015 Interface, Best Gruppe, Düsseldorf
  All In/IV, Galerie Ampersand, Cologne
  Schlaraffenland, Hilbertraum, Berlin
  All In/3, Galerie Ampersand, Cologne
2014 Schlaraffenland, Alte Börse, Berlin
2013 All In/2, Galerie Ampersand, Cologne
2012 Wiedersehen, Galerie Ampersand, Cologne
  Gruppenausstellung, Galerie Ampersand, Cologne
  Nkotb, Bespoke, Düsseldorf
  Kunstakademie Düsseldorf, Projekt 8, Copenhagen, Denmark

Solo exhibitions

2024 My Name Is In Your Mouth, Lab, Evelyn Drewes | Galerie, Hamburg
2022 Zen Them To Hell, Nino Mier Gallery, Los Angeles, USA


In my prints and paintings I deal with forms of digital representation and the analog transfer of these visual worlds into the real pictorial space.
Basically, I start from a classical painterly attitude, which, however, has increasingly developed over time into a conceptual view of a post-digital painting. Here I use the regularities of a painterly pictorial language which, however, does not manifest itself in classical painterly forms of expression. The goal of this transformation process is to counter the fleetingness of digital impressions with an analog form of representation that can be experienced physically.
The surface structure and haptics play a decisive role in the materialization of the digital templates. The images move at the interface of virtual computer worlds and manual, artistic forms of expression. The interplay of the handmade and the digital, I try to implement and process in different media. Analog and digital representation interpenetrate each other and my hand interferes just at the point where the machine claims its area of competence for itself. Through handwork, the perfection of the machine is undermined and the "error" becomes a conceptually important component that reveals the manufacturing process. Here, I am interested in the tension between planned order and welcome breakouts from a static system that create a vibrant color space.
The time-consuming process of transferring the image data is another important aspect of my work. The digital imagery I deal with is designed for the fastest possible speed of reception, which contrasts strongly with the rather laborious and complicated work process that can be read in my images. It is also important to note that each image is produced only once, despite the potential for print reproduction. The fleetingness of the digital is charged with the aura of the unique.
In the case of the wood prints, I am fascinated by the specific aesthetics of these, in conjunction with the digital motifs - especially the contrasts of the organic materiality and feel of the wood in contrast to the cool, digital cyber world of the screen. For the prints, I use 32 different colors based on the color palette of the Gameboy Color game console released in 1998. The resulting mosaic prints confront a raster aesthetic of digital perfection with the awkward shifts and superimpositions of an analog implementation. In the series of typewriter pictures I type the motifs using different letters and characters, line by line on the paper. For this purpose, I have developed a concept of representation that allows me to create different gray values by superimposing different combinations of letters. The typewriter is thus transformed into a design tool that no longer strings together text information in a given reading direction on a two-dimensional plane, but creates an image space with depth spatiality. The tool, which was actually developed to standardize handwriting or to accelerate the reception process of writing, is now used as a pictorial design tool in a deliberately slowed down production process. In terms of motifs, I use contemplative landscapes, which I implement in as naturalistic a manner as possible and overlay with coarse pixelated elements from older computer games. What interests me most about the graphics of older games is that the individual pixel is still perceptible as an atomic, form-giving element and thus creates a certain distance to the viewer, while today's forms of representation are increasingly designed for immersion and the closest possible proximity to the object of the image. The different modes of representation exist on the picture surface in a seamless coexistence and form a new unity comparable to an augmented reality.
Overall, I understand my artistic work as a performative, artisanal process of transforming image objects that originate from a sphere of accelerated image reception. In doing so, I attempt to combine representational techniques and motifs that do not actually belong together. Through this materialization and contextual displacement, an atmosphere of contrariety is created, in which fleetingness and contemplation are reconciled.