Jenny Nachtigall

  • picks June 09, 2014

    Zofia Kulik

    Filmic images do not function as representations of external phenomena, observed philosopher Gilles Deleuze in his key study on cinema. These images are instead concrete realities of movement and time. Strictly speaking, Zofia Kulik’s latest solo exhibition, “Instead of Sculpture – Sequences 1968-71,” doesn’t feature film or sculpture, but a body of early photographs. Filmic registers suffuse these works, however, and serve to interrogate both the classical genre of sculpture and its gendered tradition.

    Among photographs of objects and materials, as in Bundle Tower, a three-part series depicting

  • “Geographies of Contamination”

    Our moment seems to be characterized by a drive toward the dissolution of the hierarchical subject–object relation in favor of a “flat ontology,” in which all things and matters (human or not) are situated on the same plane of existence. Cocurated by Vincent Honoré (director of David Roberts Art Foundation) and writers Laura McLean-Ferris and Alexander Scrimgeour, “Geographies of Contamination”was a snapshot of an art field in which new materialisms and post-Internet theories flourish.

    The best entry into the show’s framework of dedifferentiation and pollution of diverse systems, which the notion

  • picks November 18, 2013

    Judith Hopf

    In Judith Hopf’s latest solo exhibition, “Testing Time,” a cubic structure made of fabric is suspended from the ceiling. Open at the top and bottom, the bulky cube hovers at eye level. Trying to enter the black box, viewers circle around it like they would a Minimalist object, searching in vain for an entrance. One must access it counterintuitively by bending down and slipping into the space, where the show’s central piece, a contemporary adaption of the film Le Bateau de Léontine (Betty’s Boat), 1911, by Romeo Bosetti, is on view on a single screen.

    The heroine in Hopf’s Lily’s Laptop (all works

  • picks May 21, 2013

    Özlem Altin

    Continuing her ongoing exploration of how bodies take on signification and of how images move, Özlem Altin’s solo show functions as a choreography of objects and images that perform the role of subjects and yet reverberate a sense of loss of the very subjecthood they seem to animate. The exhibition’s entry point is Untitled (Mädchen im Baum), 2013, two almost identical black-and-white photo prints, depicting a human figure suspended from the branch of a tree (photographs the artist took with her mobile phone, that were digitally altered and then printed on photopaper). From one image to the

  • picks October 18, 2012

    Anna Möller

    In her current solo exhibition, Anna Möller revisits the conceptual rhetoric of light, glass, and steel through sculptural installations that operate in the gallery space like concrete poetry. At the center of her show sit three steel constructions, titled no half measure, NO scratching on the surface #1 - #3, 2012. Resembling partially assembled vitrines, the black steel structures support transparent glass plates on which handwriting is engraved. If display cases are meant to concentrate attention, the spatial arrangement of these works disperses it again. Viewers are invited to move around

  • picks July 09, 2012

    Alice Creischer

    For her debut gallery exhibition, artist and theorist Alice Creischer has created a reference-heavy site of production, where viewers are invited to navigate through a two-room multipart installation that is as captivating as it is convoluted. The focus of her whimsical new body of work is a paper balloon with a protruding tube, titled Receiver; it is a component of the section In einem Theater, Namens The Establishment of Matters of Fact (In Theaters, Named The Establishment of Matters of Fact) (all works 2012). Loosely modeled after a vacuum pump that scientist Robert Boyle invented in the

  • picks June 18, 2012

    Amalia Pica

    Multi-hued festoon lighting dangles over the entrance to Amalia Pica’s debut exhibition in the UK. Spreading diagonally across the foyer from one wall to another, Inside, outside and across, 2006/2012, draws the viewer into the exhibition space, where the festoon is haphazardly attached to the wall and the bulbs are stripped of color, radiating a white light. The chromatic shift that happens in the transition from one space to another speaks to a schism between celebratory lived experience and the institutionalized sphere of art, a theme that is at the heart of Pica’s show.

    The invisible center

  • picks May 17, 2012

    Brian O’Doherty

    Brian O’Doherty’s overdue solo debut in Germany centers around Portrait of Marcel Duchamp, a series of objects that begin with a cardiogram O’Doherty made of the famed French artist in 1966. On entering the show, viewers encounter Duchamp Boxed, 1968, the original electrocardiographic tracing, rolled up like a scroll in a small blue-gray cardboard box. The thin red lining and blue sheath inside the box evoke the delicate tissues and arteries inside the absent body that haunts O’Doherty’s “portrait.”

    From the cardiograph, O’Doherty (a trained doctor) also made Portrait of Marcel Duchamp: Lead 1,