Louisa Elderton

  • Left: Julia Stoschek and artist Marina Abramović. Right: Julia Stoschek, Stoschek Collection director Monica Kerkmann, MoMA director Glenn Lowry, and MoMA PS1 director Klaus Biesenbach. (All photos: Louisa Elderton)
    diary June 24, 2017

    Julia’s Child

    SOMETIMES THE UNIVERSE throws you a curveball. Like at the ten-year anniversary exhibition of the Julia Stoschek Collection in Düsseldorf, where, standing in front of Ed Atkins and Simon Thompson’s SKY NEWS LIVE, a gripping newsfeed depicted the unfolding results of the British general election. Having witnessed from afar the Westminster, Manchester, and London Bridge attacks, sandwiched by Theresa May’s hard-line Brexit rhetoric and her snap election, I was ready to give up when reading a poll predicting the biggest Tory landslide since Thatcher. (No prizes for guessing my politics.) But as

  • Sarah Sze, Timekeeper, 2016, mixed media, mirrors, wood, stainless steel, ink-jet prints, projectors, lamps, desks, stools, stone, dimensions variable. Installation view.
    picks June 19, 2017

    Sarah Sze

    American artist Sarah Sze’s immersive installation Timekeeper, 2016, renders time as a relative element that can be manipulated, layered, stalled, stretched, and compressed. You wander through what could be a mad scientist’s den, which takes the form of a three-dimensional collage incorporating a wildly higgledy-piggledy desk illuminated within a darkened room.

    Countless scraps of ripped paper are layered upon a thin metal armature. They gently blow in the wind from fans as projectors throw images of natural and urban realms, and there are even plastic potted plants on which the light beams

  • Left: Ariel Schlesinger at his Galerija Gregor Podnar exhibition. Right: Berline Biennale director Gabriele Horn, Berlin Biennale curator Gabi Ngcobo, and artist Zanele Muholi. (Photo: Bitsy Knox)
    diary May 20, 2017

    Berlin Blitz

    AT THE START OF Gallery Weekend Berlin late last month, I found myself sprinting through the streets of Neukölln. This might come as no surprise—after all, we’re in the middle of 2017’s art marathon. But this was different, and having run three blocks to try to catch the man who had just stolen my wallet, kind strangers joining my chase along the way, we cornered him in the toilet of a kneipe (a German bar) and I was reunited with my booty. A good beginning.

    There was no time to celebrate, though, as I headed to the other side of town for the launch of “Robert Motherwell Masterprints” at Kunsthalle

  • Nathalie Djurberg and Hans Berg, Dark Side of the Moon, 2017, digital video, color, sound, 6 minutes 40 seconds.
    picks April 18, 2017

    Nathalie Djurberg and Hans Berg

    References to sex pervade the culture, yet the intricacies of sexuality are deeply private. With their current exhibition here, “Who Am I to Judge, or, It Must be Something Delicious,” Nathalie Djurberg and Hans Berg upend this space with a joyous, dreamlike anxiety that’s suffused with the scatological, sensuous, and phallic.

    The exhibition’s titular sculptural installation, 2017, features cartoonish characters made of silicone and resin upon a raised platform, engaging in orgiastic debauchery. Spindly-armed acorns wrestle with a red-nosed banana; anthropomorphic turds weep aqua-blue tears; a

  • Left: Kunst-Werke director Krist Gruijthuijsen and artist Hito Steyerl. Right: Artist Monica Bonvinici, Berlin Biennale director Gabriele Horn, MoMA PS1 director Klaus Biesenbach, and artists Katharina Sieverding and Tobias Rehberger. (All photos: Louisa Elderton)
    diary December 13, 2016

    Quarter Pounder

    YOU WOULD BE HARD-PRESSED to find anyone who dresses up in Berlin—a heel over two inches, a shade that isn’t some variation of black. So the fundraiser gala a fortnight back to mark twenty-five years of Berlin’s Kunst-Werke Institute for Contemporary Art was the perfect excuse for me, a Londoner away from home, to don a dress and soak up the glamour.

    How to make an entrance? Upon arriving, each guest was passed a lapis lazuli helium-filled balloon emblazoned with the letters KW. Moving through the candlelit courtyard (home to so many artist interventions through the years) most of these either

  • Santiago Sierra, Object Measuring 600 x 57 x 52 cm Constructed to Be Held Horizontally to a Wall, 2001–16. Performance view, König Galerie, Berlin, 2016.
    picks December 09, 2016

    “The Others”

    With this curatorial presentation, after having been selected to curate the 2017 Istanbul Biennial, Elmgreen & Dragset are cementing their identity as artist-curators. Occupying a former Catholic church, the exhibition directly responds to its architecture, bringing together fifteen works by twelve contemporary artists who reimagine the portrayal of the body within Christian iconography.

    The Catholic tradition favors emotive images of Christ, images that show him in positions of suffering and pain, his body beaten and stained with blood. By contrast, this show is a monochrome and almost sterile

  • Patrick Goddard, Looking for the Ocean Estate, 2016, looped video, color, sound, 33 minutes 52 seconds.
    picks December 02, 2016

    Patrick Goddard

    A giant spider is trapped under a glass, its legs feeling around for a way out; someone talks about a nest of baby pigeons, bleached and discarded in a black garbage bag. These are two of the disturbing images from Patrick Goddard’s mockumentary-style film, Looking for the Ocean Estate, 2016, a looping video that you settle down to watch on something akin to your parent’s sofa. Goddard’s narrative focuses on a self-conscious artist—a fictionalized version of himself—seeking “authenticity.” He returns to a poorer area of London where he briefly lived, only to find it gentrifying. The artist

  • Augustas Serapinas, Housewarming (detail), 2016, wood, stove, safe, rope, cast metal, 100 x 90 x 95".
    picks October 17, 2016

    Augustas Serapinas

    Over the past twenty years, gentrification has been slowly but surely consuming East London. Local communities are often forced to relocate due to increasing rent. Augustas Serapinas’s current exhibition highlights this problem. The artist uses the story of a former locksmith evicted from the very site that the gallery temporarily occupies, before it is converted into high-end apartments.

    Serapinas creates a kind of mise en abyme, a smaller replica of the building—with identical windows and door. Peering inside, you discover a functioning sauna, complete with hot coals, towels, hanging chairs,

  • Sofia Leiby, Daschund (Welsh Figure Preference Test, D. W. Winicott Sketches, Neurological Clock Test and Medallion Test), 2016, watercolor, graphite, chalk pastel, and silk-screen on linen, 60 x 40".
    picks October 10, 2016

    Sofia Leiby

    Sometimes the insecurity of youth is palpable: Who am I? What do people think of me – of my art? With her first solo exhibition in Germany, “The Making of a Beyonder,” Sofia Leiby exposes this uncertainty and critiques the anxiety associated with the judgment of artists. Using a 1960s-era measuring device called the Torrance Test of Creative Thinking, designed by psychologist E. Paul Torrance, Leiby combines silk-screen printing, watercolor, gouache, and graphite to reproduce and embellish images from this test.

    Morning Sunrise (Barron-Welsh Art Figure Preference Test, D. W. Winicott Sketches,

  • Berlin Art Week. (All photos: Louisa Elderton)
    diary September 26, 2016

    Alphabet City

    AFTER A SUMMER of near-arctic temperatures in Berlin, the sun and art world simultaneously sprang back into action in early September, as an Indian summer guided us into the Art Berlin Contemporary (abc) fair and countless concurrent exhibitions: the fifth Berlin Art Week.

    The highlight of the calendar was Cerith Wyn Evan’s opening at Galerie Neu on a Friday night. The artist’s fourth exhibition with the gallery, he chatted away with Berlin old-timer Angela Bulloch while his suspended glass panels reflected his white neon sentences. Fast-forward a few days and Kino International hosted the official

  • Studio for Propositional Cinema, BEING OBSERVED SHE TURNS HERSELF INTO AN IMAGE FOR HIM BUT FROM WHICH HE IS CROPPED, 2016, stenciled spray paint on wall. Installation view.
    picks September 15, 2016

    Studio for Propositional Cinema

    If you arrive here during open hours only to find the door locked, the lights off, and the blinds down, don’t panic. The gallery is open: Just duck under the half-closed security gate. This is Düsseldorf-based collective Studio for Propositional Cinema’s second solo exhibition here, and it is fittingly titled “(TO THE SPECTATOR:).” A number of wall-mounted text works even address the viewer directly.

    The space’s architecture is thrown into relief by electric yellow and iridescent silver lettering in sans-serif capitals, elegantly following the lines of arched doorways and walls. Works such as

  • Christine Sun Kim and Thomas Mader, Classified Digits, 2016, HD video, color, sound, 5 minutes 28 seconds.
    picks August 11, 2016

    “Index”

    Communication begets miscommunication when codifications of language are flexible. Mounted as part of the Project Space Festival, this exhibition brings together two artist duos to investigate semantics beyond speech. Christine Sun Kim and Thomas Mader, along with Carrie McILwain and Johanna Ackva, utilize film, performance, dance, and sound to expand understanding and undermine spoken classifications.

    Projected onto a suspended screen, Kim and Mader’s video Classified Digits (all works cited, 2016) shows the artists playing the game “helping hands,” in which one’s hands are hidden behind one’s