picks December 03, 2018

Anna-Sophie Berger

A couple steps connect the halves of this exhibition hall; it is here, in this zone of architectural transition, that Anna-Sophie Berger has chosen to position the cluster of modular objects that make up the nucleus of “Don’t smoke” (all works 2018). Each piece is named after a country in the EU, and, wrapped in color-block polar fleece, looks vaguely functional, like human-size Legos. Mounted on rollers and interlinked by hooks and eyes, together they create a large-format piece evoking a landscape of scratching posts for cats. Deutschland (Germany) takes the form of a black-red-gold staircase,

print November 2018

Michael Kienzer

Poised between lightness and presence, between impromptu conception and deliberate creative choice, between the construction of sculpture in the moment and its perpetual disintegration, Michael Kienzer’s practice typically performs a balancing act. In his exhibition “grau und farbig” (gray and colorful), the Vienna-based artist gave another bravura demonstration of his mastery of sculptural precision.

Entering the gallery, the visitor was welcomed by a fourteen-foot-tall wall object bearing the programmatic title Weiß auf Weiß (Zeichnung Vol 6) (White on White [Drawing Vol. 6]) (all works cited,

picks October 15, 2018

Sheila Hicks and Judit Reigl

Sheila Hicks and Judit Reigl both believe that change is the only constant that shapes our world. Accordingly, their exhibition here is characterized by a pulsation that can also be described as life—and which, in turn, is marked by change. Hicks and Reigl live in Paris and have been active as artists for more than half a century (Hicks was born in Nebraska in 1934, Reigl in Hungary in 1923), and they are now brought together by curator Julia Garimorth for “Panta Rhei,” a show that correlates form, material, and wisdom.

The image of a changeable river suggests itself especially in Reigl’s series

print September 2018

John Cornu and Peter Downsbrough

If many alternative art venues are tucked away in backyards or basements, attic, as the name suggests, sits at the other end of the spectrum—it occupies the top floor of a building that used to be home to a publishing company. The floor has recently been taken over by several galleries and transformed into one of the Belgian capital’s contemporary art hubs. After entering the imposing edifice and climbing the stairs, the visitor found herself not in a refined white cube but in a kind of garret room, where it quickly became clear that this dual presentation of works by John Cornu and Peter

picks August 28, 2018

Anna Artaker and Tatiana Lecomte

This museum’s well-known collection of anatomical wax models from the Medical University of Vienna is brought into the present in this exhibition. Anna Artaker explores the legibility of the human face by exhibiting death masks from the Josephinum’s holdings as readymades. Without labels or commentary, faces from the late nineteenth to early twentieth centuries mingle in this untitled installation, demonstrating the impossibility of visually differentiating Aryan and Jewish peoples, despite ideas propagated by racist Nazi pseudoscience. Meanwhile, Artaker’s frottage Freud’s Tomb in London, 2018,

picks May 07, 2018

Haim Steinbach

Mojave, vitamin kick, tree frog 1, garden gnome, sunflower. For eswürdesoaussehen (itwouldlooklikethis), 2018—which consists of fictive names and thirteen color swatches painted on the wall—Haim Steinbach portrays not only the hues of everyday objects but also the ideas and representations connected to them.

This exhibition hosts plenty of actual objects, too—they’re motley and freighted with cultural significance, and Steinbach has been amassing them for a good three decades. That they exist not to sate the artist’s pack-rat passions but rather to serve the analysis of their own implications in

picks April 12, 2018

Sophie Thun

As one approaches the gallery, it is not immediately clear that the life-size analog color photograph Rain on pane (all works cited, 2018) is not actually Sophie Thun. She stands, so it appears, behind the closed door, holding a remote shutter release while perhaps taking stock of passersby in the historic city center. Her surroundings duplicate what is behind the photographic paper: the gallery space. The construction and representation of the female self is as much a theme in Thun’s work as the illusionistic methods of mimesis in mise en abyme and trompe l'oeil, or the technological preconditions

picks December 04, 2017

“Quote / Unquote. Between Appropriation and Dialogue”

In these times of discussing renewable energy, where better to house an exhibition on citation as artistic strategy—the recycling and recuperation of content, in other words—than a former power plant? As part of Lisbon’s Museum of Art, Architecture, and Technology, the Tejo Power Station ranks among modernity’s most striking monuments, and if it has long been an ideal site to consider the appropriation and reclamation of images, texts, and ideas, such investigations have taken on even more urgency as of late.

Noé Sendas looks at echoes in art-historical contexts when he brings self-portraits

picks October 12, 2017

Toni Schmale

At the end of a corridor, the work dipstation (all works 2017) provides the prelude to an exhibition in which today’s rituals around self-improvement take center stage. A slab of dark-gray concrete, mounted to the wall and sized to human scale, is juxtaposed with a black metal bar. No chin-ups are possible here, fat burning isn’t allowed, muscles can’t be trained—the equipment has been reduced to pure form.

The main section of the installation by Toni Schmale is further equipped with supposed tools of optimization: first there is ach ach ach, featuring stanchions on the left and right of each of

picks June 29, 2017

Martin Beck

What makes an exhibition? How do the individual elements come together, and how does new meaning unfold as a result? What praxis must a curator follow in order to deploy the “gestures of showing,” as described by Mieke Bal, so that they can be experienced and construed by the public? Martin Beck’s art moves within this constellation of questions and complicates them. His latest show of sculptures, videos, drawings, artists’ books, and installations also includes works he selected by Eadweard Muybridge and Julie Ault, which appear as references to Beck’s own output. Beck has additionally curated

picks May 18, 2017

Sonia Leimer

When visitors step onto the white performance floor that Sonia Leimer has installed in “Autoterritorium”—a piece that extends via slender pathways right up to the walls, adding a second floor to the exhibition space—not only is their own tread softened (the material gives way under the pressure of bodies), but they also inevitably become a component of the show. Indeed, they complete the exhibition. One could characterize the other objects on view also as performative sculptures. Eroberung des Nutzlosen (Conquest of the Useless), 2016, is made up of movable stainless-steel parts based on objects

picks April 03, 2017

Tatsuo Miyajima

A permanent becoming—as opposed to an ultimate being—is a central theme in Tatsuo Miyajima’s latest exhibition, as high-flying as the topic may be. Throughout, Miyajima’s work elegantly conjures the river of time as the only constant. “LIFE (complex system)” presents three pieces sharing the same title in the main gallery: Life (complex system) no. 1, no. 7, and no. 10, all 2017. Together, they offer digital LED counters on circuit boards that are held in sterile steel casings and ordered into grids. Connected via a microcomputer and vein-like cables, these units react to one another; they are

picks March 24, 2017

Agatha Gothe-Snape

On the fifty-third floor of Mori Tower—the tallest building in the Roppongi district—to be unable to look out over Tokyo is agonizing. Agatha Gothe-Snape must have felt similarly when she conceived her exhibition for the almost windowless space of the Mori Art Museum. She explores the notion of the window as a metaphor for that which both joins and separates, an element which contributes to the site-specificity of her installation. The spectrum of works on view, which grew from her research in Tokyo, includes videos, digital prints, and sound recordings, as well as sculptures and other spatial

picks March 03, 2017

Juergen Teller

What do Charlotte Rampling and William Eggleston have in common? Both can be found in this show of Juergen Teller’s large-format prints. Teller is also seen posing naked on the back of a donkey. In another image, Eggleston, with a cigarette in one hand and a camera around his neck, stands before a pink gorilla, whose gaze he attempts to reciprocate. In a third work, Rampling holds a fox in her hands while sitting barefoot in front of a wall of fair-faced concrete; a pair of shoes lie on a large ashtray beside her. These photographs seem simultaneously casual and staged—and this is classic Teller,

picks February 20, 2017

Andreas Fogarasi

Just how many exhibitions there are in this show, with the promising title “Exhibition/s,” is open to debate. On the other hand, that Andreas Fogarasi always addresses the functionality and logic of exhibiting in his own artistic practice, or makes them the main object of investigation, is clearly staked out. Focusing on works from the past five years, the show considers the intersection of architecture, design, and visual arts. Questions as to how cities and the events generated in and by them are transformed into images, which then inscribe themselves in the collective memory, run like a red

picks February 12, 2017

Hans Weigand

Like living creatures, the waves scurry over the surface of the sea—a viewer can hardly escape their delicacy. Like living creatures, these fleeting apparitions in Hans Weigand’s latest exhibition move through the gallery. Here, the artist exhibits large-format watercolors with india ink on wood with surprising subjects, in the style of Katsushika Hokusai. It is, however, not the actual graphics that are to be seen but rather the wooden blocks with backgrounds and surfaces that shimmer in mauve and ocher tones. The image brought forth from the wood—wave riders and their boards, for instance—are

picks August 30, 2016

Sterling Ruby

Gold leaf meets synthetic fiber, wood marquetry meets Formica, and steel meets oil paint: In the Winter Palace of the Belvedere, Sterling Ruby collides with the Late Baroque opulence marking the residence of Prince Eugene, field commander and diplomat for the Habsburgs. With works ranging from mobiles to sculptures to wall hangings, the artist not only contrasts the historic masonry on a material level with the everyday of the twenty-first century but also carries that past thematically into the now.

In the antechamber are two CANDLES,—both 2015, elongated fabric sculptures—one standing on end,

picks August 29, 2016

Pakui Hardware

Neringa Černiauskaitė and Ugnius Gelguda are interested in putting concepts, temporal horizons, technologies, and other disparate and apparently unaffiliated elements into relation, as is demonstrated by their collective moniker, Pakui Hardware, under which the artists from Lithuania have been operating since 2014. Pakui is, according to the artists, the speedy attendant of a Hawaiian goddess; is one of the myths of our postdigital condition.

With Vanilla Eyes, 2016, the young duo presents an extensive installation accessible to visitors in the lower level of the museum. It is fascinatingly slick

picks June 30, 2016

Tobias Pils

How multifaceted, rich in variants, and rhythmic can a concentration on black, white, and shades of gray be? For a demonstration, see Tobias Pils’s exhibition here. The artist, who lives in Vienna, draws the beholder of his work into a cosmos of painterly and graphic forms—structures and gestures that, the moment they are applied to canvas or paper, seem to vanish. The most distinct quality in Pils’s works is his play with ambivalence: The towering image Untitled (Yes&no) (all works cited, 2016), for instance, initially presents itself through illustrations of varying perspectives but is flattened

picks March 11, 2016

Maria Anwander

With a white neon sign, Maria Anwander stages the central question of her exhibition. Untitled (Why art now), 2014, hangs over the entrance to the space and receives visitors with the titular phrase, a sentiment that at first appears innocent enough but becomes ever more dominant and pointed as the exhibition progresses. The second neon work a visitor encounters, Untitled (and what for?), 2014, finishes the question of the first and is no less critical. Between them is a whole series of works that deal with the art market, institutions, and the process of understanding aesthetic practice.

In the

Franz Thalmair