Reviews of Berlin Gallery Weekend 2014


Art May, 5 2014 A Recap of Berlin Gallery Weekend 2014 By

Following our comprehensive guide to this year’s Berlin Gallery Weekend, we present a recap of this past weekend’s most popular exhibitions. Beginning in Mitte, we checked out Katja Novitskova’s latest post-Internet work at Kraupa-Tuskany Zeidler Gallery before moving on to Sprüth Magers where an entire wing was dedicated to Philip-Lorca diCorcia’s iconic Hustlers series. Afterwards, we stopped by CFA Gallery, located directly across Berlin’s famous Museum Island, to take in “Maximalism” featuring the work of Borden Capalino, Sachin Kaeley, Rosy Keyser, Sam Moyer and Kaari Upson. Located one floor above, Christian Rosa’s solo presentation “Love’s Gonna Save the Day” left a lasting impression on us. Later on, we headed to Johann König to see Michael Sailstorfer’s Antiherbst in full before checking out Coming II by Jessica Jackson Hutchins. Of course much more was seen throughout and with most shows running for at least a few more weeks, we recommend checking out a few more exhibitions. Filed under:Photography: Ryan Hursh for





Gallery Weekend Berlin: Post-poor, Post-sexy

An installation by Pae White at Neugerriemschneider (all photos by the author for Hyperallergic)

BERLIN — Gallery Weekend Berlin wrapped up its tenth edition on Sunday evening. What began in 2004 as a small group of local gallerists teaming up to lure outside collectors to the “Land of Poor but Sexy” for one weekend has grown from 21 to 50 galleries in the past decade. Its model — each gallery mounting its best show and shuttling VIPs between galleries in sponsored black BMW sedans instead of making them trudge through packed art-fair corridors — has spawned imitators around the world, most of whom (Vienna, Chicago) just don’t have Berlin’s cool factor. Gallery Weekend is still going strong and moving into the future — in numbers and prestige, that is. More than a few dealers have told me over the years that GWB can be their highest sales weekend (even more so than major art fairs like Art Basel). Word on the street this weekend was that double the visitors came (20,000 versus 10,000 last year) and many shows sold well, like Gerold Miller at Mehdi Chouakri and Chris Martin at KOW.

Friedrich Teepe’s sculptural manipulations of canvas at Arratia Beer (click to enlarge)

But this year, in terms of the art on view, I felt catapulted into the past. After popping into a dozen galleries on and near the Potsdamer Strasse hub on Friday, I realized that the exhibitions I liked best were showing decades-old work. I knew that Philip Guston at Aurel Scheibler would be great — the show is a lean presentation of drawings and paintings from the 1960s to late 1970s showing Guston’s move from abstraction and figuration. But I was surprised to find Friedrich Teepe’s sculptural manipulations of canvas, and studies thereof, at Arratia Beer (beautiful stuff, most from the 1970s), The Living Theater’s Julian Beck at Supportico Lopez (1950s), primitivist sculptures by Lynn Chadwick at Blain | Southern (1970s again), even the late Swiss artist Friedrich Kuhn’s 1960s paintings at Tanya Leighton (an Glasgow-educated English dealer known for her work with trendy emerging artists).

Over at Sprüth Magers in Mitte was Reinhard Mucha’s sprawling and jaw-dropping work group FRANKFURTER BLOCK in the gallery’s main hall (the work itself covers decades; it’s dated 1981–2014). Also at Sprüth Magers was Philip Lorca DiCorcia’s seminal photography series Hustlers, a haunting set of portraits of male prostitutes taken in Los Angeles in the 1990s.


Installation shot from Georges Adéagbo, "Les artists et l'écrtiture"...! at Wien Lukatsch.

Okay, with 50 participating galleries, plenty of new art was on view as well: notable were Liam Gillick’s excellent but oh-so-cold show at Esther Schipper; a perfect install of Adam McEwan sculptures on Capitain Petzel’s ground floor, a funky 20-year anniversary group show at Galerie Neu’s new space in former housing project heating block, then there’s David Claerbout’s meditative films at Johnen Galerie, Pae White at Neugerriemschneider, and Chris Martin’s psychedelic paintings at KOW. But the presence of so much history made me wonder whether some galleries were playing it safe, or hoping for higher prices with established positions on this flushest of Berlin sales weekends. There were moments in which I felt like I was moving between Art Basel’s main hall ground floor (modernist art by lots of dead artists) and upper level (contemporary work whose paint might still be drying).

Claire Fontaine, Arbeit Macht Kapital (K font), 2004, Galerie Neu

A pleasant surprise on a rainy Friday morning was an odd mashup of local and global sensibilities: At Wien Lukatsch, Berlin-based Benin-born artist Georges Adéagbo shows vitrines and full-room collages that are explosions of associations consisting of writings, musings, photocopies, and everyday objects (many of them from Africa, others from Berlin’s GDR era). Initially seeming way too kitschy, these assemblages and their associations suck the viewer into the artist’s complex world, which mixes high culture and low, north and south, east and west.

Gallery Weekend's Michael Neff (who runs GWB VIP program), Maike Cruse (GWB CEO, former communications director at Art Basel) and Nicolas de Quatrebarbes (Managing Director of Audemars Piguet Germany) giving dinner speeches at Tempelhof airport's museum plane.

Speaking of east and west, the Saturday night gala dinner for 1,000 people in the vast departures hall of the decommissioned Tempelhof airport — a Third Reich edifice still used for events, and guests were invited to walk into a vintage plane (one of the “raisin bombers” from the Berlin airlift) — was a fitting celebration for the past decade of gallery development here, at least for the galleries involved (which pay around 8,000 euros to cover the costs for fancy dinners and cocktails and overall organization).

"20 Years Galerie Neu" at Neu's new venue, here, Karl Holmqvist's Untitled (2012) elephant dung, Cosima von Bonin's THE MK2 FORMULA (ART & IDEAS + SMOKE (CVB & MICHEL WÜRTHLE), 2010- 2014, and Jana Euler's Untitled 2, 2014, on wall.

One bone of contention in the scene has always been that participating in Gallery Weekend Berlin is by invitation only, and if you’re not invited, well, you’re out. Berlin as a city has changed dramatically in the last decade; its art world has both matured (it’s interesting to see how artistic positions shift in ten years, and these days no one seems to mind the black Beamers shuttling visitors, which so irked us in the mid-2000s), and, obviously, fragmented into sometimes disparate subscenes.

But where to now (besides hitting the shows I missed but still want to see, like Jessica Jackson Hutchins at Johann König)? Berlin’s layers of history are starting to include the recent past — Berlin Mayor Klaus Wowereit’s now-tired statement “poor but sexy” is, after all, a decade old as well. Walking around Gallery Weekend this time, I couldn’t help asking myself — what comes after poor but sexy?

Gallery Weekend Berlin took place May 2–4 throughout Berlin, but many of the shows continue past the weekend event. Please check with the galleries for exhibition closing dates.


by Astrid Mania

May 5, 2014

Gallery Weekend Berlin

VARIOUS LOCATIONSBerlinMay 2–4, 2014

Klaus vom Bruch (b. 1952) is something like this Gallery Weekend’s wicked fairy godmother. Even though he and his gallery SASSA TRÜLZSCH were rightfully invited to participate in the event’s tenth anniversary, vom Bruch’s “In the Future …” series (2008–14) casts some rather sardonic prophesies upon the (art) world. In this utopia/dystopia, prospects are pretty grim for everyone. But after a tour around the galleries, you really hope he’s wrong, especially when he posits: “In the future art dealers will be very lonesome.” As in Berlin, it is still the dealers that dig out the treasures of recent art history and stage positions that you don’t see (enough of) in public institutions.

Just take the wonderful Zofia Kulik (b. 1947). ŻAK | BRANICKA made photographic prints from her 1970/71 diploma work, which were originally 35mm slides. Demonstrating the artist’s early and rigorous turn towards an art that takes the body as its material and starting point, this exhibition titled “Instead of Sculpture – Sequences 1968–71” features work made at a time when her native country of Poland was still under communist rule, and so was the art. Or Geta Brătescu (b. 1926) at Galerie Barbara Weiss who, under the rigid Ceaușescu regime in Romania, also resorted to the intimacy of the body and the mundane; however, her paintings and drawings unleash the forces of many a mythological creature at the same time. Sadly, and just as predictably, the works of these two significant figures are among the very few established, female artists on display at the height of Berlin’s gallery season this year, reflecting the art market’s unfortunate status quo.

Thankfully, there was also American artist Lutz Bacher at Galerie Buchholz, whose work looked a bit like a softer Cady Noland, with her assertion of an aggressively male, Go-West-mentality. Bacher’s crude “Bison” sculptures (2012), her “Homer” series (2013) of Greek soldiers off-duty, and “Yamaha” (2010–12), uncannily automated organ music, coalesced into an almost psychoanalytical simulacrum of male behavior—without resorting to a word of Freudian language.

Still, Julian Beck’s drawings and paintings dating to the period 1944–58 at Supportico Lopez were another Gallery Weekend gem. Beck (1925–1985), mostly known for co-birthing New York’s The Living Theatre in 1947, evidently also had a healthy practice in the visual arts. His rather intimately-scaled, and often vibrant and colorful works are clearly infused by Tachism, but, owing to their clothesline-style presentation, look little more dated than last year. ARRATIA BEER, in contrast, introduced the ascetic work of the late Friedrich Teepe (1929–2012) from Osnabrück, an art world hermit who based his sober and serene work from the 1970s and 80s on stretching, folding, and shaping canvases.

This was no doubt the Gallery Weekend of contemporary art’s parents or even grandparents, and it was hard not to feel nostalgic about the urgency or intransigency that characterizes so many of these works. And some of these qualities seemed to have rubbed off on the gallerists as well. While in recent years, resorting to the old boys’ club (albeit always including one or two exceptional women) often looked little more than playing it safe, exhibitions this year seemed a lot more spirited. There was even the odd presentation of video works, which require—as demonstrated by any art fair or market survey—a bit of faith and bravery. But with a classic like American site-specific artist Gordon Matta-Clark (1942–1978), you really can’t go wrong. Galerie Thomas Schulte’s presentation of the 1970s Matta-Clark films, which document his incisive interventions within the urban space and structure, was both an homage to the artist and something like an overview of his work. With Peruvian artist Antonio Paucar, who  lives in Berlin, and Belgian artist David Claerbout, Galerie Barbara Thumm and Johnen Galerie ventured, respectively, into more recent work of performance-based or hypno-narrative video art. Carlier|gebauer even risked a themed group show—“Memory Palaces”—a rarity by Gallery Weekend standards, and Galerie Wien Lukatsch had their premises turned into the geo-eclectic worlds of Beninese sculptor Georges Adéagbo (b. 1942), who, though internationally renowned, is not a Berlin household name.

Having said all that, it didn’t feel as if painting ruled, and there was very little that would have fallen into the “over-the-sofa” category. You certainly wouldn’t attach the label “flatware” to Berlin-based Dominik Sittig’s heavy builds with their scabbed and chapped surfaces at Galerie Nagel Draxler or to Brooklyn-based Chris Martin’s glittering collages and hallucinogenic reflections on pop (music) and American abstract art at KOW. And then there was grandmaster Philip Guston (1913–1980), as featured by Aurel Scheibler, who offset Guston’s chewing-gum palette with two darker, somber canvases, The Light (1960) and Winter II (1961). It surely was also the manageable, nearly intimate size of presentations like Guston’s that—compared to many size-matters museum and certainly size-matters-even-more dealer shows—added to the allure and accessibility of these artists, making you feel more like you’re welcomed by family than greeted by imposing ancestors.

So, what were the youngsters up to? Doing what kids do…  playing with their gadgets. New York-based artist Hugh Scott-Douglas, for instance, worked around the software that prevents most scanners from reading and digitizing bank notes. He found that many a bill is, when in use, imprinted with mysterious signs or stamps that semiotics simply can’t grasp. (In somewhat shadier economies, they might also function as an ad-hoc communication system. But this is only a guess.) These marks, however, override the anti-scanning software and now form the seemingly abstract, ornamental patterns of Scott-Douglas’s large-format “Chopped Bills” prints (2013) at Croy Nielsen. At Kraupa-Tuskany Zeidler, Katja Novitskova—a participant in the (in)famous “Speculations on Anonymous Materials” exhibition at Kassel’s Fridericianum who currently lives in Amsterdam—takes a similar “Blow Up”-style approach. She looks at the cognitive patterns that rule perception, whether that of humans or intelligent machines. Her exhibition starts with the conspiracy theories that evolve around NASA’s Mars images, which some people tend to over-scrutinize. Yet, instead of analyzing or deconstructing the mechanisms that feed these fantasies, Novitskova adds to the confusion by inhabiting Pattern of Activation (on Mars)(2014), a live video projection of a Martian landscape, with unexpected life forms. (She, in fact, set it up herself in an in-house photography studio, but the viewer has no indication of this.) And at WENTRUP, Florian Meisenberg covers the walls with Photoshop’s transparency grid, which becomes the surface for “Somewhere sideways, down, at an angle, but very close {about:blank}” (2014), his series of raw canvases with sparse, but thick and oily painterly elements. They serve as a backdrop for his smartphone-format screens with videos likeWembley, farewell my Concubine (2013) of (computer) surfaces.


It’s not at all as if the so-called post-internet generation would make the work of the older artists look like bores. Rather, we could imagine that this data-processing-like take on the world might satiate the lingering appetite for the raw and analog, almost DIY approach of a generation that still knows the materiality of 35mm slides and celluloid. This Gallery Weekend certainly had a strong, back-to-the-roots feeling, a longing for the familiar, and the economically sound. And while the attendant social events are under pressure to top last year’s locations (and, admittedly, they do), most galleries were content with their own premises—with the exception of Isabella Bortolozzi. This is a gallerist who simply has a knack for finding the more unusual spaces. She spread her generation-spanning shows across multiple venues (some temporary and semi-public), with Pierre Klossowski’s “Catholic-homoerotic” exorcisms in a picturesquely dilapidated apartment upstairs on Bülowstraße, Seth Price’s conceptual paintings downstairs in a corner-shop-pharmacy-turned-art-paradise (EDEN EDEN), and Wu Tsang’s intense video installation A day in the life of bliss (2014), featuring performer boychild at her gallery’s permanent space on Schöneberger Ufer. So, all in all, this was a very adult celebration of Gallery Weekend’s anniversary, but art world years surely don’t convert to human years.


Astrid Mania is a critic based in Berlin.

Klaus vom Bruch, In the Future Art Dealers will be Very Lonesome, 2014.

1Klaus vom Bruch, In the Future Art Dealers will be Very Lonesome, 2014.

View of Zofia Kulik, “Instead of Sculpture – Sequences 1968-71,” ŻAK | BRANICKA, Berlin, 2014.

2View of Zofia Kulik, “Instead of Sculpture – Sequences 1968-71,” ŻAK | BRANICKA, Berlin, 2014.

Geta Brătescu, The Gate, 1991.

3Geta Brătescu, The Gate, 1991.

Lutz Bacher, Homer, 2013.

4Lutz Bacher, Homer, 2013.

View of Julian Beck, “Now in Paradise – 1944/1958,” Supportico Lopez, Berlin, 2014.

5View of Julian Beck, “Now in Paradise – 1944/1958,” Supportico Lopez, Berlin, 2014.

View of Georges Adéagbo, "Les artistes et l'écriture ..!," Galerie Wien Lukatsch, Berlin, 2014.

6View of Georges Adéagbo, “Les artistes et l’écriture ..!,” Galerie Wien Lukatsch, Berlin, 2014.

Philip Guston, Untitled, 1979.

7Philip Guston, Untitled, 1979.

View of Hugh Scott-Douglas, “eyes without a face,” Croy Nielsen, Berlin, 2014.

8View of Hugh Scott-Douglas, “eyes without a face,” Croy Nielsen, Berlin, 2014.

View of Katja Novitskova, “Spirit, Curiosity and Opportunity,” Kraupa-Tuskany Zeidler, Berlin, 2014.

9View of Katja Novitskova, “Spirit, Curiosity and Opportunity,” Kraupa-Tuskany Zeidler, Berlin, 2014.

View of Florian Meisenberg, "Somewhere sideways, down, at an angle, but very close," WENTRUP, Berlin, 2014.

10View of Florian Meisenberg, “Somewhere sideways, down, at an angle, but very close,” WENTRUP, Berlin, 2014.

View of Seth Price, EDEN EDEN, Berlin, 2014.

11View of Seth Price, EDEN EDEN, Berlin, 2014.

View of Wu Tsang, “A day in the life of bliss,” Galerie Isabella Bortolozzi, Berlin, 2014.

12View of Wu Tsang, “A day in the life of bliss,” Galerie Isabella Bortolozzi, Berlin, 2014.

  • 1Klaus vom Bruch, In the Future Art Dealers will be Very Lonesome, 2014. Archival inkjet print on satin paper, 111 x 137 cm. Image courtesy of SASSA TRÜLZSCH, Berlin.
  • 2View of Zofia Kulik, “Instead of Sculpture – Sequences 1968-71,” ŻAK | BRANICKA, Berlin, 2014. Image courtesy of ŻAK | BRANICKA, Berlin.
  • 3Geta Brătescu, The Gate, 1991. Collage and tempera on paper, 157 x 180 x 4 cm. Image courtesy of Galerie Barbara Weiss, Berlin.
  • 4Lutz Bacher, Homer, 2013. Black-and-white photograph from a series of 45, 20.32 x 25.4 cm. Image courtesy of Galerie Buchholz, Berlin and Cologne.
  • 5View of Julian Beck, “Now in Paradise – 1944/1958,” Supportico Lopez, Berlin, 2014. Image courtesy of Supportico Lopez, Berlin.
  • 6View of Georges Adéagbo, “Les artistes et l’écriture ..!,” Galerie Wien Lukatsch, Berlin, 2014. Image courtesy of Galerie Wien Lukatsch, Berlin. Photo by Nick Ash.
  • 7Philip Guston, Untitled, 1979. Oil on canvas, 121.9 x 106.6 cm. Image courtesy of Aurel Scheibler, Berlin. © the Estate of Philip Guston.
  • 8View of Hugh Scott-Douglas, “eyes without a face,” Croy Nielsen, Berlin, 2014. Image courtesy of Croy Nielsen, Berlin. Photo by Joachim Schulz.
  • 9View of Katja Novitskova, “Spirit, Curiosity and Opportunity,” Kraupa-Tuskany Zeidler, Berlin, 2014. Image courtesy of Kraupa-Tuskany Zeidler, Berlin.
  • 10View of Florian Meisenberg, “Somewhere sideways, down, at an angle, but very close,” WENTRUP, Berlin, 2014. Image courtesy of WENTRUP, Berlin.
  • 11View of Seth Price, EDEN EDEN, Berlin, 2014. Image courtesy of the Galerie Isabella Bortolozzi, Berlin. Photo by Nick Ash.
  • 12View of Wu Tsang, “A day in the life of bliss,” Galerie Isabella Bortolozzi, Berlin, 2014. Image courtesy of Galerie Isabella Bortolozzi, Berlin. Photo by Nick Ash.

Berlin Gallery Weekend 2014

The Berlin Gallery Weekend has reason to celebrate: 2014 marks its tenth anniversary and the selected gallery tour is luring the audience with shows by 50 participating galleries dispersed throughout the city.

Unsurprisingly, it’s difficult to strike resembling curatorial choices in the participating parties in a weekend that is built around attracting buyers, dealers and collectors to the city, wooing them with dinners and lavish parties, and providing the general audience with an overload of book launches, performances and talks about collecting and the art market. However, two things stood out: A more research-based and historical approach and a clear interest in painting.

In line of the former, Blain|Southern presents “the largest ever international survey” of English artist and sculptor Lynn Chadwick. With a heavy focus on his bronze sculptures tilting back and forth between the figurative and the abstract, the show explores a 50-year career in a triptych of exhibitions in Berlin, London and New York.

Installation view: Lynn Chadwick at Blain Southern

Another retrospective – though it concerns a contemporary artist – is found at Helga Maria Klosterfelde who chose to display all of German artist Christian Jankowski’s editions, dating back to 1992 marking the beginning of his career. A multi-media installation of records, photos, prints, and a guitar shaped CD player titled And your bird can sing (2008) in the front room leave it up to the viewer to mark discrepancies and overlaps in his work. To further engage and activate the audience, video editions such as Die Jagd (1992) and Mein Leben als Taube (1996) can be viewed upon request in the back room.

Installation view: Christian Jankowski “Wasser, Käse, Feuer” at Helga Maria Klosterfelde

Tanya Leighton‘s space highlights the creative collaboration and first ever showing alongside each other of the post-war Swiss artist and design couple Robert and Trix Haussmann.

Installation view: Friedrich Kuhn and Robert and Trix Haussmann at Tanya Leighton

Robert and Trix Haussmann, ‘Lehrstück’, 1987/2014

A brave choice and valuable effort by guest curator Eva Wilson, can be found at Arratia, Beer that engages in the work of fairly unknown German artist Friedrich Teepe, who passed away in 2012. Here, the discipline of painting is put to the test; Teepe experiments with the canvas as a starting point for spatial and sculptural forms by folding, cutting and sewing fabric over the stretcher focusing on corporality of both the work and the body that consumes it.

Installation view: Friedrich Teepe at Arratia, Beer

Björn Dahlem, Orbits of High Velocity Stars at Guido W. Baudach

It is no news that the search for unexplored processes in and around the painterly form continues and that painted abstraction has become a new focal point. Both Sommer & Kohl and Supportico Lopez located next to each other dab into this, the latter (again) from a more historical standpoint of paintings created between 1944 and 1958 by Julian Beck who headed The Living Theater, a collective of artists and film-makers, and the former with large scale canvasses by contemporary Swedish artist Andreas Eriksson.

Andreas Eriksson, Untitled, 2013

Installation view: Julian Beck “Now in Paradise” at Supportico Lopez

Julian Beck at Supportico Lopez

His patchwork paintings composed of dark greens and different shades of brown are no landscape paintings, yet that is exactly what they evoke. In stark contrast with Eriksson’s blurred lines are the meticulous ink and gouache drawings by Moroccan/French artist Achraf Touloub for whom Plan B has organized his first ever solo show. When viewing from a distance, the delicate lines are barely noticeable, but when approaching the work it bombards you with shapes and figures seemingly growing out of the paper in front of your very eyes.

Achraf Touloub, Converted Memory (2014) at Plan B

Achraf Touloub, Untitled (Landscape Stream), 2014

Apart from galleries, many art locals open up their private spaces, gardens and courtyards to offer new ways of engaging the audience in the event. However, the Potsdamerstrasse and it’s immediate surroundings are becoming more dense with gallery space and keep proving to be the expanding hub of Berlin’s gallery scene.

Gallery Weekend Berlin
May 2 – 4, 2014




David Claerbout at Johnen


Gallery Weekend Berlin 2014 0

Jurriaan Benschop

Gallery Weekend Berlin, May 2-4, 2014, most shows remain open into June

Fifty galleries joined forces for the 10th edition of the Berlin Gallery Weekend and opened new exhibitions on Friday night to stay open all weekend. As a consequence all art institutions in Berlin opened doors to profit from the extra traffic in town. A tour through this year’s edition proves that the gallery weekend is a success and Berlin can stop lamenting that it lost it’s art fair, since it doesn’t need one anymore. There are good shows, there are all kinds of events and there are visitors. Instead of walking through an art supermarket, the gallery weekend offers the chance to see real exhibitions, with the specifics of the gallery space involved and also the city becomes part of the experience, while moving through Berlins different neigborhoods.

Philip Guston at Aurel Scheibler

The most dense gallery area is currently the Potsdamer Strasse where several galleries reshaped the buildings of Tagesspiegel newspaper and others moved into stylish residential apartments around the corner at Schöneberger Ufer. The highlight of this year’s gallery weekend can be found here: Philip Guston at Aurel Scheibler gallery. The heart of the show are 7 paintings and 3 drawings that are considered to be late works by the artist. There is a drawing with pointed hoods, like the Ku Klux Klan wears them. As in a lot of Gustons work, scary things look funny. The artist moved in his painting between abstraction and an existential, cartoon like figuration and made clear that all these things, unlike some people thought, go well together in one person. Initially the response to his late work was hostile, but meanwhile Guston has gained the status of a painter’s painter – an example to be studied.

Björn Dahlem at Guido Baudach

At Guido Baudach gallery Björn Dahlem has build a structure of an ongoing wooden lat curving through the space, going around columns, with a bouquet of lamps at both ends. The artist researched for this sculpture high velocity stars. He has an interest in things that cannot be really observed or grasped, since they are too small, like an atom, or too big, like a galaxy. But as an artist he can approach and picture them, a bit like scientists do, through models.

Andreas Eriksson at Sommer and Kohl

Sommer and Kohl shows the work of Swedish painter Andreas Eriksson who paints from natural motives close at hand slow and well considered formations of colour. The two very large size works seems to be the trophies here, they could be called abstract trees.

Friedrich Teepe at Arratia Beer

Arratia Beer shows the work of a German artist that passed away in 2012, Friedrich Teepe. For him the way to relate to painting was to change the shape of the canvas, and make “spatial paintings” out of them.

Isaac Julien at Sammlung Wemhöner

A nice surprise in the side programs was an artist talk with Isaac Julien in the temporary showroom of the collector Wemhöner, in the Osram Höfe in Wedding. The London based artist commented on his latest work ‘Playtime’ and his interest in the speed of life, as it is defining our days, for instance in split second stock market trade. His movie developed against the background of the bank crisis in 2008 and touches on the way the financial system shapes the lives of people and can imprison them or make lonely.

Francois Morrelet at Jordan / Seydoux

In the Augustrasse Jordan/Seydoux shows limited editions by François Morellet, some departing from the irrational number π. The artist engages in playful systematics that define the composition of a work, such as ’16 huitièmes de cercle au hasard’, from 2008.

David Claerbout at Johnen

David Claerbout shows three new works at Johnen Galerie in Berlin Mitte. His movie ‘Travels’ is made on basis of therapeutic music by Eric Breton, meant to relieve stress. Claerbout created his visual response to this music in a movie that develops as a walk into the forest. It’s an artificial and ‘too real’ looking forest. To view this movie he created a kind of relax room, where you can sit and lay down on pillows. All works in the show slow down the pace of every day life. They require a kind of synchronisation in looking at them, and they also irritate because of that; there are people leaving the movie. After seeing the work though, and once outside the gallery, it strikes how quiet the street in the heart of Berlin is on a Saturday afternoon. The main sound is a bird song. To notice this may well be an effect of Claerbout’s work.



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