Famed Kretzschmar | Schellbach | Thomaneck
	Since 2003, the artist cooperative Famed has appeared in various contexts in the art world, applying various different artistic methods and approaches. The term "Famed" reflects fame as a prime aspiration and motivation driving the making of art whilst also functioning as the group´s logo and label. In their work, Famed disclose fame as an amalgam of different forces and value systems within the field of art, factors whose effects can hardly be predicted, let alone be calculated beforehand. By extension, a central preoccupation of Famed´s work addresses the possibility of the autonomy of art. In highly accurate interventions and actions within the context of both established art institutions, as well as the less hospitable domain of off-spaces, Famed reveals the hard facts of the trade. They investigate the valorisation of the artwork as it passes into the possession of the collector, as well as necessary ties to non-institutional off-grounds through the acceptance and affirmation of institutional forces. Famed make symbolic actions become "real", seeking to transcend the boundaries of physical pain as they put the tattoo of the Famed logo up for auction.		Although works by Famed are site specific, depending on interaction with the spectator, their completion does not require active audience participation. Significantly, it is the openness of the unresolved process that serves as an exemplary generator of meaning – a lack of demand means that supply, with all the problems this implies, is left hovering in a state of limbo. Famed critically reflect the relationship between aspects of performance and permanence inhabiting a work of art – be it via temporary installations or by means of fetish-like products. But does that bring us any closer to the secret of fame as an artist? Basing one´s career as an artist on the claim of ideational values (not yet safeguarded by exchange against material and/or immaterial counter-values, in turn requiring endorsement through a growing acceptance by the art business) not only bears witness to a certain tendency to take risks, but more importantly reflects a clear awareness of the valorisation mechanisms at work within the field of art. For one thing is certain – only who plays the game can come out on top. Tina Schulz
	Deutsche Version		Exhibitions
	DAS IST PROGRAMM STEINLE CONTEMPORARY KURFÜRSTENSTR. 29 80801 MUNICH 06/01/2010 - 07/15/2010		ALLEGORIE UND VERSPRECHEN COLUMBUS ART FOUNDATION SPINNEREISTR. 7 (HALLE 14) 04179 LEIPZIG 07/02/2010 - 08/15/2010