David Misteli

  • Lisa Holzer

    This exhibition, “I come in you,” featured the combination of pictures and text for which Lisa Holzer has become well known. In total, fifteen works from two series—“The Party Sequel (Berlin)” and “The Party Sequel (Paris),” both 2017—were exhibited together with a pair of posters bearing a text with the auspicious title I cry., 2018. I USED TO CRY A LOT AT PARTIES, Holzer admits in the text, and along with her works’ titles the statement seems to sum up what the exhibition was about: parties and crying.

    And yet, was there a party at all? The “Party Sequels” are two series of large

  • Liesl Raff

    The works in Liesl Raff’s recent show “Maximal Soft” promised to transform and mollify the unfeeling hardness of the materials of heavy industry. Typically, this meant making them anthropomorphic: The two large almond-shaped steel-plate tables at the front of the room, for example, titled Eyes 1 and Eyes 2, both 2018, had steel irises mounted on a lazy Susan, and on their rims were rows of slag, dripping plasma-cut tears of steel. Similarly, three wall-hung pieces, Head 1–3, all 2017, were constructed from bent and unevenly cut sheet steel. Their anthropomorphic appeal was underlined by their