Jens Asthoff

  • picks October 15, 2013

    Paul Winstanley

    The title of British painter Paul Winstanley’s current exhibition, “Art School,” is also the name of paintings on view of art-academy interiors across Great Britain, based on photographs he shot of the spaces. If traditions of landscape art have long informed Winstanley’s work, so too has the genre of the interior. His art typically portrays spaces and furnishings, as well as traces of their use, but almost never includes people: For the artist, a bare setting suffices, creating a focus on absence—an atmosphere in which mirror images of an implicitly lived existence arise out of stillness.

    With

  • Stefan Panhans

    Stefan Panhans’s art has been very present of late, with two overlapping shows as well as a public work: In Hamburg, the exhibition “The Long Goodbye (Pre-Afterwork-Ok-Clubset”) took place at Dorothea Schlueter, while the art-in-public-space project The Long Goodbye (Pre-Afterwork-Ok-Clubset) Casino, 2013, is on view at Steintorplatz in the city center; in Berlin, “Untitled & Items for Possible Video Sets: FW Run/SORRY Homestory,” an exhibition of the artist’s photographs and videos, was on display at FeldbuschWiesner Gallery.

    The situation at Dorothea Schlueter looked like a stage setup—one

  • picks September 09, 2013

    Jochen Lempert

    In the early 1990s, Jochen Lempert, who had spent fifteen years working as a biologist, began making black-and-white prints of natural beings and phenomena that were related to his studies. He has since developed a rich and complex oeuvre. His latest exhibition surveys his output, illustrating the formation of his technique as well as presenting an intricate look at his methods, such as the creation of visual analogies.

    Technically, Lempert’s process in the darkroom is markedly traditional, yet he also experiments, often intervening directly in the image production process. Take the photogram

  • Erina Matsui

    In “Road Sweet Road,” her first exhibition in Germany, the Japanese artist Erina Matsui showed seven paintings, three wall objects, and a video, in addition to the installation Road Sweet Road mit Künstlerhaus Bethanien (all works 2013), which was literally and thematically its centerpiece, and lent its title to the show as a whole. The psychedelic quality of Matsui’s imagery simultaneously alienates and fascinates: In her self-portraits, for instance, she combines attributes that typify the Japanese idea of kawaii, or “cute,” with surreal deformations. Throughout her oeuvre, Matsui represents

  • Nina Könnemann

    The “Illuminations” of Blackpool have been a tradition for more than 120 years. An English seaside town that drew early waves of mass tourism, Blackpool reinvented itself—after a slow season in 1879—as an early adapter of electrification. Since then, it has transformed into a flashy sea of light for a few weeks each fall. At its inception, the display must have been spectacular and new, but these days it seems an antiquated curiosity, conjuring a British Las Vegas with the feel of a folk festival: garish, colorful, loud—and extraordinarily popular. Not only are streets and buildings

  • Natalie Czech

    Rudolf Zwirner, legendary gallery owner, art dealer, and curator, and Dorothea Zwirner, art historian and author, regularly use their private residence in Berlin-Grunewald to put on (public) solo shows of younger artists. They recently picked Natalie Czech, in whose poetic conceptual photographs image and word subtly dovetail. For this show, the

    artist selected works from her series “Hidden Poems,” begun in 2010. Nine pieces in various formats were distributed among several rooms in the house, sometimes displayed in discreet proximity to works from the couple’s private collection.

    “Hidden Poems”

  • picks August 09, 2012

    Antony Gormley

    Antony Gormley is fascinated by the figure in space, the human form being his central theme and motif. For his latest exhibition, the artist has hung an enormous black platform—some eighty feet wide and one hundred and sixty feet long—from the ceiling by steel cables; it hovers approximately twenty-six feet above the floor. Visitors are invited to climb onto the space via a side staircase and wander about its seamlessly wrought, reflective surface. Gormley’s work affords new views of the hall itself, and the reflective surface casts a mirrored view of the visitors, which, coupled with the fact

  • Andrea Winkler

    The architecture of Gerhardsen Gerner is unusual: It is situated in a barrel vault under a commuter-rail bridge. The front window affords a view of the Spree, which flows past at nearly floor level, and visually opens the room and immerses it in shimmering daylight. The sacral austerity of the lines of its arches; the coarse, whitewashed walls; and the flickering river light were well matched by Andrea Winkler’s exhibition “Patricia.” Her delicate, space-structuring works are complex three-dimensional collages, using sculptural elements such as metal chains as well as multicolored decorative

  • picks January 04, 2012

    Rocco Pagel

    Rocco Pagel’s latest work affords itself a slightly old-fashioned inflection––one closely connected to its radicality, which insists on the beauty of its subject. In “Belle Poule” the Berlin-based painter presents views of nature. Landscape appears in wide expanses and is often dissolved in color, almost to the point of disappearing, while his subjects––plants, trees, groves, but also seascapes with cloudy or clear broad skies––seem as though they are washed in light. Yet Pagel is also charmed by the gradual absence of luminosity; the atmospheres in his new paintings are not always soaked in

  • Sergej Jensen

    To many, the work shown in Sergej Jensen’s exhibition “Master of Color” must seem like a radical act of refusal: painting that celebrates its own absence. The predominantly large and midsize pictures exhibited here consist chiefly of various fabrics, often of several different types, that have been sewed or appliquéd together and then stretched on wooden frames or slats. Painting in the strictest sense is used only sporadically, and is often a minimal, almost incidental element. For viewers familiar with Jensen’s art, this will come as no surprise: He has been working for years on similarly

  • picks December 18, 2011

    Inge Krause

    Inge Krause’s latest exhibition includes portions of four new series of drawings, as well as an early Polaroid work. Krause has until now been known primarily for her unique process of painting: She pours numerous fine transparent layers of acrylic, with only occasionally a minimal pigmentation; the resulting paintings have the most delicate nuances of color and an inconceivable dimension of depth. The current exhibition, completely devoid of paintings, shows how Krause translates such qualities into the medium of drawing while preserving its autonomy. For her drawings, she has developed a

  • picks December 04, 2011

    Holger Niehaus

    Holger Niehaus’s latest exhibition features still lifes of flower and object arrangements. His subjects are simplified and refined, and they are thoroughly marked by a heightened sobriety. But this quality––something that Niehaus has also explored in his earlier works––does nothing to disturb their opulence and gorgeousness. On the contrary, it is often precisely through this tension that an impression of the arcane is established.

    Nearly all of the works are strictly concentrated on the subject. In a pack shot manner, Niehaus often displays the object against a white background, producing a