Harald Fricke

  • Sanja Iveković

    The biography of Croatian artist Sanja Iveković, who was born in 1949, is characterized by enormous leaps. The Balkan wars turned her work on feminist themes into a work of mourning: At Documenta 11, one could see the installation Searching for my mother’s number, 2002–, in which the life of her mother, Nera Safarić, was told through slides and archival materials, becoming an image of resistance against the Nazi occupation (for which Safarić was deported to Auschwitz in 1942) and a symbol of the collective amnesia that has prevailed since Tito’s time.

    In Iveković’s early videos, photographs, and

  • Peter Geschwind / Gunilla Klingberg

    It is a stock complaint that the aesthetic of MTV videos, with their quick cuts and random narrative jumps, may be robbing viewers of the last shreds of their attention span. While this adolescent-targeted format seems like eye torture to some, others find the techniques of pop-music videos instructive. Swedish artist Peter Geschwind, born in 1966, edited his one-minute video loop Sound Cut, 2002, to the beat of a Dead Kennedys song. He analyzed the angry, inflammatory punk rhythm, the shape of the melody, and the various articulations of the song (verse, refrain, bridge, solo) and used these

  • Frequenzen [HZ]

    Many have observed a change in the Schirn Kunsthalle's image since Max Hollein was named director: Out with the window onto the past, in with the preoccupations of the moment. But that new image isn't quite accurate; connections between past and present remain a central concern. Running parallel to “Frequenzen [Hz]” (Frequencies), an exhibition on the relation of sound, space, and architecture curated by Jesper N. Jorgensen, there was a retrospective of the paintings of composer Arnold Schönberg. It is not only with Schönberg that sound and vision belong together. Here, even the entry area was

  • Gerwald Rockenschaub

    Any artist wishing to thematize the play between forces of culture and capital would be well advised to seek contact with the real economy. Otherwise, an analysis or critique of this relationship would be rather a bloodless proposition. What happens, though, when an artist participates directly in the creation of market value and enters into the exchange of commodities through his or her own works? Then there is very quickly talk of decoration—it's just a short step from the store windows Andy Warhol designed in New York to the kind of art that plays right into the business strategies of today's

  • “4FREE”

    The subtitle of “4FREE” holds nothing back: It promises “art-politics-science & aesthetic survival strategies,” which is unusually programmatic for Berlin. The exhibition was conceived as a laboratory that would not just exhibit finished artwork but investigate the processes that make up artistic engagement. To do so, this independent art institution, led by Waling Boers, has made use of its home base and three other spaces to present the works and projects of twenty-four artists, architects, and groups. Following the second Berlin Biennale, it succeeded in presenting an overview exhibition that

  • Via Lewandowsky

    Berlin's Mitte has lost much of its attraction for the art market. Too much tourism, too many public events, and too little profit have prompted a whole string of galleries to relocate, the latest of these being Arndt & Partner. However, the gallery's reopening exhibition of Via Lewandowsky intentionally missed the mark on reorganization: “Schiefer laufen” (“Going worse”; all works 2001) was a critical and ironic commentary on the increasing professionalization of art in Berlin.

    Because the 3,700-square-foot expanse of the gallery's new rooms reminded him of a Kunstverein, Lewandowsky created an

  • “Arbeit Essen Angst”

    More and more, art addresses the human and economic conditions of society. Since the G8 summit in Genoa, there have been efforts to formulate a viable basis for critiquing globalization in cultural as well as economic terms. This trend remains unchanged by the events of September 11; indeed, the crisis of a world defined by economic dependencies has become all the more visible.

    Up until the ’90s, the building housing the Kokerei Zollverein was used to process coal. Then the factory closed, finally reopening last year as a venue for cultural activities. In addition to the newly founded Kunstverein.

  • “Songs of Love and Hate”

    Artistic practice is becoming ever more dispersed. Now there is the “rock artist,” one who actually produces music rather than just referring to it visually. Laptop electronic artist Carsten Nicolai belongs to this circle, just as Angela Bulloch does, with her experimental and improvisational band of bass guitars. But what the two-part exhibition “Songs of Love and Hate” set out to explore was, rather, works in which art and music revolve around each other. The first installment, “Side A,” exhibited eight artists or collectives who address the fetish character of pop music Thus Astrid Küver

  • Olaf Nicolai

    IN GERMANY, the opposition between realism and abstraction has always been intertwined with the colliding political ideologies of east and west. Olaf Nicolai, an artist of East German origin, anticipates the next stage in this cultural battle with his sculpture A Portrait of the Artist as a Weeping Narcissus, 2000. By producing a life-size cast of himself, he calls up the earlier conflict around the dogma of Socialist Realism and recasts the issue by referring it to his own body. At a time when traditional approaches to painting are enjoying a boom with the vogue for a retro style of figuration,

  • Peter Pommerer

    Without mutual trust this exhibition might not have been possible. The Galerie Gebauer left its rooms to Stuttgart artist Peter Pommerer so that he could spend three weeks filling them with large-format wall drawings—knowing full well that, given his working method, he might produce anything from rhizomatic scribbling to cross-cultural ornamentation, from children’s-room fantasies to crude configurations of bodies in the spirit of art brut. But, in the end, Pommerer controlled himself: With minimal watercolor strokes and colored-pencil lines, one room was made a sort of jungle, a second inscribed

  • Robert Lucander

    Among Europeans, Finnish culture stands for melancholy and despair, for the emotional awkwardness portrayed in the films of the Kaurismäki brothers. And for unrestrained drinking. In Robert Lucander’s paintings, by contrast, one encounters an urbane, cool Finland, both youth- and style-conscious. His works are situated at the fault line where pop culture’s shimmering surfaces dissolve into a peculiar emptiness as monochrome planes of color.

    Lucander’s earlier series “Up and Down and Back Again,” 1994–95, was already concerned with the relationship between representation and the painting’s material

  • Sabine Hornig

    The boundaries between private and public space are fluid. Shopping malls, administrative buildings, and government service centers are becoming festivalized places with attached restaurants, movies, and round-the-clock bars, while the actual work done there tends to vanish into the buildings’ upper floors or side wings. Conversely, private living space is becoming increasingly officelike, thanks to telecommuting.

    For Sabine Hornig, these ambiguously differentiated places in society are symbolized by building entrances. The two model-like sculptures shown here were based on different doorways.