Aaron Bogart

  • Hélène Delprat

    The title of Hélène Delprat’s first solo exhibition in Berlin, “TO SLEEP TO DIE, NO MORE,” can be understood as a reflection of the ways in which we are touched by our cultural past without necessarily knowing it. It sounds like a misremembered line from Shakespeare or some other poetic phrase we no longer fully understand but still recognize as part of our linguistic heritage. This type of slippery relation to our past is also found in Delprat’s phantasmagoric painterly compositions, which take historical and cultural references and distill them into an idiom uniquely her own, yet somehow

  • Andro Wekua

    Andro Wekua often presents his haunting collages, paintings, sculptures, and enigmatic, nonlinear films in stagelike settings. In his largest exhibition to date, “All Is Fair in Dreams and War,” the Georgian-born artist continued his multimedia approach with a mise-en-scène of imagery and objects that articulated a familiar yet strange story. The main exhibition space was filled with works that took up motifs and techniques, such as the head and body in sculpted and painted form, previously used by Wekua. The first work one saw on entering the show was Blue Hold, 2017–18, a hanging, glazed

  • Leda Bourgogne

    Skin is the interface through which we experience the world. It both protects us and makes us vulnerable. This dichotomy of embodiment was explored in dynamic ways in Leda Bourgogne’s first solo exhibition in Berlin, “Skinless,”which featured works that treat the surface of painting and sculpture as a skin that mirrors our own in its susceptibility and its capacity for resistance.

    Hung prominently in the gallery next to the main entrance was the painting that lent its name to the exhibition (all works cited, 2018). Made from stretched, beige-colored fabric, it has a small bleached patch toward

  • Franco Mazzucchelli

    Air is the stuff breath is made of. It is also a prime element in the delightful sculptures and wall works of Franco Mazzucchelli, whose first solo exhibition in Germany, “Pneuma,” offers a snapshot of the Italian artist’s long career devoted to perceptively questioning our physical and financial interactions with sculpture and with the very nature of the art object.

    Born in Milan in 1939, Mazzucchelli has been working with plastics, such as polyurethane, polyester resin, and inflatable PVC, since 1964, when he started to make sculptures using these synthetic materials. In the series “A. to A.,”

  • Ahmet Öğüt

    One enters KOW on its upper floor, emerging onto a landing that during “Hotel Résistance,” Ahmet Öğüt’s first solo exhibition at the gallery, offered an initial and striking glimpse of a bronze statue, just over three feet high, of a man looking down at something invisible pulling at his pant leg. Placed on a plinth that rose sixteen feet from the gallery space below, the sculpture was both close and out of reach, familiar yet vague, like some strived-for ideal—setting a tone that resonated throughout Öğüt’s perceptive and thought-provoking show.

    Looking at the figure while descending the

  • picks March 01, 2013

    Tillman Kaiser

    Over the past year, the content of Tillman Kaiser’s paintings—abstract patterns coupled with graphic elements—has changed only in the details, yet the shapes of the works themselves have evolved from traditional rectangular and square canvases to complex, fractal-looking geometries. In his current exhibition, “Hermetische Melancholie II” (Hermetic Melancholy II), Kaiser continues his exploration of this process of kaleidoscopic expansion, but he has also forced the contents back onto smaller canvases, while pushing the rectilinear forms of the older canvases out into the gallery space with

  • picks February 07, 2013

    Natalie Häusler

    Combining sound, painting, text, and sculptural elements, Natalie Häusler’s latest exhibition, “Case Mod,” blurs the division between engaging with an artwork sensorially and approaching it cerebrally. Spreading across the gallery’s floor is a Color Field painting consisting of cardboard tiles washed in vibrant acrylic paint. Titled Subway/Monika (floor piece) (all works 2012), the piece evokes the Emergency Broadcast System image that used to flash across television screens. Hung on the gallery wall are ten sculptures: Each is made of broken stained glass and consists of shelves on which an

  • picks December 16, 2012

    Karin Sander

    Some things are characterized by what isn’t there, like a specter whose haunting presence is felt despite its lack of visibility. Karin Sander’s exhibition, “h = 400 cm,” draws the viewer’s attention to seldom seen features of an exhibition space, like the space behind gallery walls, by pointing out what was there all along—in this case, just another wall. Her works may signpost the hidden, but they also generate an aesthetic experience through absence.

    In a gallery intervention, Umgelegt (Turned Over) (all works 2012), two walls have been shorn from the foundational wall and folded down,

  • picks October 03, 2012

    Eduardo Basualdo

    What happens when we arrive at an exhibition and, instead of finding some object or objects on which to focus our viewing experience, the object itself frustrates that effort? This is what happens when engaging with Eduardo Basualdo’s The End of Ending, 2012—which does have to be engaged with, consisting as it does of a large black object that almost fills the entire gallery. The piece imposes itself not only into the gallery, but also into the viewer’s personal viewing space with its striking scale, which has a decentralizing effect by forcing the navigation around the work to act as a new

  • picks August 30, 2012

    Valentin Ruhry

    Freud’s notion of the uncanny is not necessarily something one would associate with Minimalist sculpture. But Valentin Ruhry’s current exhibition, “Falsche Universalismen” (False Universalisms), delivers just such a feeling of the alienated familiar. In his video Working the City, 2007–12, Ruhry wheelbarrows piled-up pieces of plaster fallen from the opera house in Skopje, Macedonia, to a gallery space, where he forms a pile of his own and leans the wheelbarrow on it. Such odd positioning of familiar materials creates an intimate atmosphere where we are unlikely to recognize just how accustomed

  • picks July 15, 2012

    Manish Nai

    The title of Manish Nai’s current exhibition, “Compact,” couldn’t be more appropriate. The artist has managed to squeeze the colorful clothes of his wife, son, and other family members into seven small, seven-and-a-half-inch-square cubes. He has also compressed scrap aluminum into a small cube and into a piece resembling the shape of a canvas, and has crushed together dyed black jute to a similar canvaslike form. Amid all this crushing and condensing, Nai too has convincingly packed in many different artistic influences—from Donald Judd to Larry Bell to Piero Manzoni—while maintaining a link

  • picks June 11, 2012

    Markus Muntean and Adi Rosenblum

    Walking into the main room of Muntean/Rosenblum’s exhibition “Nemesims” is like walking into a television or film set; there are the plastic-looking walls of a grey house without a roof, an empty door frame for an entrance, a bedroom with a cozy-seeming wooden bed, and a small front yard, but no camera. This set, along with three smaller installations, is based on the video game The Sims, a life-simulation game where players maintain stasis and increase the happiness of a suburban family by providing them with more and more consumer goods, including artworks. For its part, this exhibition seeks

  • picks May 24, 2012

    Jonas Burgert

    Jonas Burgert’s paintings and sculptures in “Gift gegen Zeit” (Poison Against Time) draw the viewer into a world in which everyone has lost their sense of “narrative gravity”—to borrow philosopher Daniel Dennett’s phrase for the mechanism through which one’s conception of self is produced. The environment Burgert’s gaunt beings inhabit, and which helps to orient their lives, is in ruins. But more than that is gone. They have lost themselves; these blank-faced creatures are just going through the motions of their everyday lives, automatons in a world free of teleology. Suchtpuls (Addicted to

  • picks April 23, 2012

    Urs Fischer

    Urs Fischer’s exhibition “Skinny Sunrise,” which spans fifteen years of work, won’t wow as previous exhibitions have—there is no hole in the floor, no house of bread. Fischer is known for his excavation and alteration abilities, for his talent of turning the viewing experience into a carnivalesque activity, but this exhibition is impressive for more subtle reasons: It provides a chance to see the artist’s concerns beyond monumentality. While unsettling the stability of a space in a grand way can throw the viewer for a loop, masking any potential aesthetic an artwork may have, that sort of bravado

  • picks April 09, 2012

    Thomas Kratz

    Completely abandoning the figuration of his earlier work, Thomas Kratz’s latest exhibition, “No Tracks. No Traces,” provokes personal engagement with the surface of the paintings. The palpable fleshiness of a single, peachy-colored pastel on aluminum, Nude, 2011, heightens one’s visual awareness through the familiarity of the color and its corporeality. But when we recognize flesh, we often want more than to look at it, and the remaining eleven paintings in this exhibition are best viewed in relation to more than one bodily sense. Indeed, each possesses the power to awaken the viewer’s sensorium.

  • picks February 13, 2012

    Matti Braun

    For over ten years Matti Braun has blended diverse artistic media, such as Asian textiles, handblown glass, and photography, producing work that highlights the integrative abilities and ambiguities of culture. In “Ave Vala,” Braun continues to merge techniques, this time generating sixteen variously sized paintings by stretching silk as one would ordinary canvas, and then dripping and dropping plain fabric dye onto the material. The results are abstract compositions of complex cloudlike shapes reminiscent of Paul Jenkins’s lyrical abstractions; Braun’s multicolored shapes pull us into their