Harald Fricke

  • Ricarda Roggan

    Ricarda Roggan is decidedly different from the current crop of young artists from Leipzig, who favor a decoratively painted amalgamation of Photoshop realism and sampled figures. Roggan’s photographs, which were included in last year’s Berlin Biennial, are characterized by a brittle reductionism close to the documentary style of the ’70s. She studied at Hochschule für Grafik und Buchkunst Leipzig with Timm Rautert, whose photographic reportage of factories beginning in the ’60s greatly influenced the way that daily life was presented artistically in West Germany.

    Born in Dresden in 1972, Roggan

  • Lucas Lenglet

    In a short period of time, Dutch artist Lucas Lenglet has created a unique and memorable trademark out of some familiar references: The geometric construction of the tank traps he uses in his installations appears to refer to Sol LeWitt’s metal grid structures. In the tradition of Dan Graham, Lenglet makes particular reference to architecture. The spaces he builds—their shelving systems, their seating arrangements, and the added photographs of buildings—are always conceived as an extension of what Lenglet calls his “archaeology of action.”

    This exhibition brings together several ensembles of

  • Nevin Aladag

    In her videos and photographs, Nevin Aladag works in a poetic documentary style where nothing is “told” but a great deal is “shown.” This clearly defined artistic concept matches its subject matter: Aladag, born in 1972 in Van in eastern Turkey and now living in Berlin, often focuses on foreignness and self-determination as they are experienced by young people of Turkish origin in Germany today. Demarcation and amalgamation, the search for cultural roots and social connection: Aladag is trying to create individual meaning within the larger context of the production of identity. She is interested

  • Chiharu Shiota

    Chiharu Shiota, born in Osaka in 1972, settled in Germany in 1996, initially to study with Marina Abramović; she has lived in Berlin since 1997. Her path of development is paradigmatic for its time: Her studio rooms in Mitte were in a building formerly occupied by squatters; later she participated in exhibitions that focused on her Japanese heritage, underscoring Berlin’s new multiculturalism and openness in its dealings with foreigners. Shiota soon found herself growing uneasy about this reference to alterity, though. “Often, when there’s a show here, people who come to look think, ‘Ah, a

  • Fernando Bryce

    Fernando Bryce is driven by an archaeological interest. The artist, who was born in Lima, Peru, in 1965 and has lived in Berlin since the late ’80s, has amassed an archive of drawing series—some comprising nearly five hundred pieces, all on standard-format paper—that include among their subjects individual historical figures as well as complex phenomena such as the Spanish Civil War, the Cuban revolution, and general political developments in South America after World War II. In them, Bryce pursues the strategy Walter Benjamin ascribed to the chronicler in his “Theses on the Philosophy of

  • “Project Migration”

    Today’s European Union is at once ambitious and reticent, incorporating former Eastern Bloc countries while fortifying itself against African and Asian immigration. Launched in 2002, “Project Migration” focuses on corresponding cultural change. Following a film and lecture program, this fall will see the opening of a group show curated by Kunstverein director Rhomberg and von Osten, a professor at Zürich’s Hochschule für Gestaltung und Kunst. They’ve chosen seventy artists, including Kutlug Ataman and Ann-Sofie Sidén, who confront the economic,

  • Stefan Hirsig

    Stefan Hirsig’s collages are the persistence of painting through different means. In his earlier paintings and murals, the Berlin artist, born in 1966, had already assimilated the Pop aesthetic: Sports-car chassis and electronic gadgets or rumpled jeans and hands with painted fingernails were combined with citations from art of the last forty years—a few streaks of color à la Morris Louis here, cool graphics reminiscent of James Rosenquist there, all delicately layered. In Hirsig’s new work, this play of cultural codes is further intensified. At the center of the eighteen collages shown here

  • Ernesto Neto

    Right before his exhibition at Max Hetzler, the Brazilian sculptor Ernesto Neto was suddenly inspired to add two photographs to his three floor sculptures. He took the film with him to Berlin, reworked its motifs on a computer there, and sent the collages thus created to a local firm that produced Cibachrome prints for him. The result is a kaleidoscopic close-up of gray and ocher patterned paving blocks in Rio de Janeiro whose individual, hand-hewn stones seem to move in waves. The titles that Neto chose for these impressions of the Brazilian city are as elusive as they are precise: The information

  • Marc Brandenburg

    Since the mid-’90s, Marc Brandenburg has worked toward an iconography that, originating in a repertoire of personal motifs, has grown to encompass politics and public space. His small-scale drawings start from snapshots or occasionally postcard or magazine images, sometimes distorted on the computer before being sketched freehand. But the original compositions disappear into the material of the drawing. In the place of clear contour comes a soft line that levels the difference between figure and space. The presentation here multiplied this strategy in which the fixed, momentary exposure is

  • Marko Lehanka

    Although Marko Lehanka considers himself a sculptor, many of his early works were computer based, and in the early ’90s he participated in exhibitions with a new-media focus. Yet you’d never suspect such beginnings from his exhibition “Schöne Gruß vom Country-Boy” (Best Regards from Country Boy): Lehanka’s scenario resembled a garage cram-packed with carved wooden objects, reliefs made of sawed-off surfboards, a few canvases done in the style of thrift-shop paintings, and even a sculpture of an Italian wine god and a standing grill. There was hardly a trace of technology; instead, an expressive

  • Stefan Thiel

    The term excess is a fitting one for the artistic praxis of Stefan Thiel. But this excess is also always expressed paradoxically—as a state that can hardly be communicated, let alone attained by an observer. For instance, Thiel, born in 1965, once translated hard-core pornographic stories into Braille and sealed them under glass, so that the surface of the paper was visible but its contents inaccessible, even to the blind. All debauchery remained hidden in the abstract scoring on its surface. Thiel subsequently used this embossing method to render the Marquis de Sade’s 120 Days of Sodom in

  • Peter Robinson

    Born in New Zealand a descendant of the Maori, Peter Robinson has been living in Germany for several years now. His work has been represented at the Johannesburg (1997) and Venice (2001) biennials and more recently in exhibitions like Media_City Seoul and the 8th Baltic Triennial of International Art in Vilnius, both last year. Undoubtedly, Robinson fits the profile of the artist as global player; he is a “migrateur” in the emphatic sense in which curator Hans-Ulrich Obrist used the term at the end of the ’90s. As might be expected, Robinson has been enormously interested in examining the new