Christoph Blase

  • “L'autre” 4th Biennale d'art Contemporain de Lyon

    Putting together a big international survey is not only a matter of knowing which works to include; it also means selecting and presenting pieces in a given space so that they work together and the show functions as something more than the sum of its parts. Harald Szeemann has had a Midas touch now for almost three decades, ever since “When Attitudes Become Form,” in 1968–69. And, unlike so many of his colleagues, he hasn’t lost it. This fourth installment of the “Biennale de Lyon,” featuring eighty-eight artists in a space the size of almost four football fields, demonstrates his aplomb with

  • without addresses

    CLICK ON the projects icon on the Documenta Internet server (www.documenta.de) and the first thing you’ll see is the page “Surfaces & Territories.” From there, it’s just another click to reach Joachim Blank and Karl Heinz Jeron’s work, without addresses—a blue street map of some nonexistent city lacking buildings, street names, or any other points of reference. Blank and Jeron are artists and programmers who have been involved for a couple of years in the construction of International City, one of the best-known and most important servers and providers in Berlin. Their site without addresses is

  • Christoph Blase

    VIRTUALLY THE BEST

    1996 was not a year for significant shows, but rather a time of searching and hoping. Two shows offering promise for the future stood out: JASON RHOADES at the Basel Kunsthalle and JÖRG SASSE at the Cologne Kunstverein. Both evidenced—in exemplary fashion—the emerging effect of new technologies on contemporary art. Rhoades’ work is a system of associations (here he drew on references from Car Wash to male genitalia) that are apt, genuine, and relevant, neither forced nor affected—and it’s the system that made for the show’s quality. The viewer entered into precisely that