Franz Thalmair

  • Haim Steinbach, Untitled  (cookie  jar,  Jamaican  head,  Stormtrooper,  dog  chew),  2016, mixed media, 26 1/2 x 55 7/10 x 13 1/2".
    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

  • Sophie Thun, While holding (passage closed) (Y110,8M17,4D+59F8m18,142CA3T69,2b100l240), 2018, analogue color photography, photogram, metal and magnets, approx. 138 x 197”.
    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

  • View of “Quote / Unquote. Between Appropriation and Dialogue,” 2017–2018.
    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

  • Toni Schmale, ach ach ach, 2017, concrete and steel, each 47 x 24 x 44".
    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

  • View of “rumors and murmurs,” 2017.
    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

  • Sonia Leimer, Ohne Titel (Asphalt) (Untitled [Asphalt]), 2015, asphalt, dimensions variable.
    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

  • View of “LIFE (complex system),” 2017.
    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

  • View of “Agatha Gothe-Snape,” 2017.
    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

  • Juergen Teller, Frogs and Plates No. 20, 2016, color photograph, 10 x 8".
    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,

  • Andreas Fogarasi, Study Desk (Two Tiles from a Specific Place, Three Specific and Unspecific Samples), 2017, plywood, wall paint, steel consoles, ceramic tiles, tile cement, candle wax, tin, sealing wax, resin, 53 x 39 x 13".
    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

  • View of “Hans Weigand,” 2017.
    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

  • View of “Sterling Ruby,” 2016
    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,