Harald Fricke

  • Ueli Etter

    Ueli Etter’s work seems to inhabit a zone between Minimalism and decoration. For his recent show, Etter gave the already small space an even more hermetic atmosphere, painting the walls of the gallery light beige, covering the windows, and installing halogen bulbs—causing it to resemble one of the six large drawings and watercolors on display. Addressing the theme “On a Clear Day” (in another show Etter displayed large-format silkscreen prints with the title “You Can See Forever”), the show focused on interiors drawn from memory—images that are as empty and repetitive as they are transcendent.

  • “NowHere”

    The Louisiana Museum in Humlebaek, just twenty miles north of Copenhagen, is a uniquely Danish combination of art collection and leisure park. Founded in 1958 by industrialist Knud W. Jensen, it is meant to serve as both a semiurban nature retreat and a center for classic Modernism. Every year 600,000 stroll the garden at the Louisiana and take in its 10,000-plus square meters of holdings, including works by Francis Bacon, Alexander Calder, Pablo Picasso, Andy Warhol, and Jean Dubuffet and accessible outdoor sculptures by Max Ernst and Henry Moore—and all this with a seaside view. It is this

  • New York, Chicago, San Francisco, Venice, Turin, Paris, Cologne, Berlin, Stockholm, Liverpool, London, Brisbane

    This fall, Dada finally gets its due as a stateside movement. Curated by Dada scholar Francis M. Naumann with staffer Beth Venn, the WHITNEY’s show will include Duchamp’s Bride Stripped Bare. . . , as well as more than 200 objects by American and European artists associated with the movement on this side of the Atlantic. Along with the usual suspects—Francis Picabia, Man Ray, and, lately, Florine Stettheimer—you’ll also get to see works like Baroness Elsa von Freytag-Loringhoven’s Portrait of Marcel Duchamp (feathers and a champagne glass) and a partial

  • “4th International Instanbul Biennial”

    A number of worlds overlap in Istanbul; these include Islamic fundamentalism, Eastern stock exchange, and Western capitalism. With only a half-dozen galleries in the center of town that tend to be dominated by a belated expressionism, the Istanbul Biennial represents an attempt to link up with the Western art market. Artists participating in the Biennial were thus given the opportunity to respond to an interweaving of disparate elements. But Maria Eichhorn’s billboard emblazoned with posters for alternative political parties, gay and lesbian initiatives, and other related groups—which was

  • Daniel Richter

    Discussions of German painting are inevitably problematic, since painters like Georg Baselitz and Markus Lapertz can lay as much claim to a position founded in the history of art as can their critics—artists such as Albert Oehlen and Martin Kippenberger. At any rate, each generation is faced with the same set of doubts: Is painting simply a medium of artistic expression, or can it actually engage in a debate with the history of art? It’s especially difficult to find the right criteria with which to judge Daniel Richter’s work. This Hamburg-based artist is inspired as much by mainstream popular

  • “Auftrag: Kunst”

    After reunification, even the old image-icons of the GDR (East Germany) were taken down. From the objects that decorated the waiting room at the party’s headquarters to the 10,000 paintings commissioned by the SED (United Socialist Party of Germany), memorabilia disappeared from factories, administrative offices, and organizations intended to serve the people. These works were placed in a former bank vault on the Leipziger Straße in Berlin, not far from Potsdamer Place. Put into storage it was taken out only to be stored at another site.

    All of this caused a major scandal. The media, artists,

  • Nedko Solakov

    Nedko Solakov’s installation Mr. Curator, please . . . , 1995, is the third in a series that this Bulgarian artist has devoted to the examination of the ways in which the apparatus of the museum exhibit foregrounds certain aspects of our culture and our institutions. Mr. Curator, please . . . reflects on the practice of collecting by drawing from the museum’s own holdings. The exhibition space, a chapel in Künstlerhaus Bethanien, was ideally suited to the artist’s desire to work against the grain of the art works it “collected.” The course Solakov laid out for us in the darkened chapel ended

  • Stephan Jung

    Stephan Jung’s recent exhibition seemed to encapsulate the paradoxes of German reunification. On the one hand, the gallery Eigen + Art is known in New York and Paris as a locus for underground art in what was formerly East Germany; on the other hand, it presents the work of Jung, a student of Joseph Kosuth, who initially seems more interested in conceptual issues than in making politically motivated work. Where the East German artists are concentrating more and more on video, Jung opts for a simple family scene that is not only in the tradition of realist painting but also monumental. Surrounded

  • Johannes Kahrs

    A telephone card based on Johannes Kahrs’ painting HIT, 1994, is being issued to commemorate his receipt of the International Schlumberger Award for Art. Ironically, this work is the realistic portrait of a woman who faces the viewer with closed eyes, her hands held against her ears as if to block out noise, she looks as if she is pressing her face against a pane of glass.

    In most of his works, he uses photographs from newspapers as models from which he creates large easel paintings, which have a stylistic affinity to the work of Gerhard Richter. His backgrounds disappear into a field of cloudy