Moritz Scheper

  • picks June 02, 2017

    Arne Schmitt

    As is often the case with Arne Schmitt’s photographs, the selection of them here can be mistaken, at first glance, for architecture photography. But his sober black-and-white works, which combine an engagement with architecture and city planning in low-key compositions without gimmicks, go far beyond that. In this exhibition, the shots are the tip of an iceberg of invisible research activity.

    The series “In new Splendor,” 2017, examines the built heritage of an insurance group in the northwest of Cologne’s city center, which Schmitt reveals to be the point of intersection for different discourses.

  • picks March 15, 2017

    Michael Krebber

    Over the course of his three-decade career, Michael Krebber has successfully adopted postures of refusal that render him an almost Bartleby-esque figure at times. Nonetheless, his current midcareer retrospective in Bern dispenses with these strategies and allows viewers a comprehensive overview of his work.

    Even though several installations are on display in this show, titled “The Living Wedge,” Krebber insists upon the painting component of his practice and succeeds in bringing attention to his canvases. The logic of seriality, which, more than anything else, characterizes Krebber’s method in

  • picks December 05, 2016

    Joëlle Tuerlinckx

    For Joëlle Tuerlinckx, the making and showing of art are connected in an inherently infinite circle. In her latest exhibition, “Nothing for Eternity,” she breaks through institutional authority. Here, the artist stages the ground floor of the museum as a site of experimental activity and assembly—in short, as a studio. Appropriately, the final gallery of the show is completely lined with silver chocolate wrappers, which naturally evokes Billy Name’s design for the Factory. Beyond this, the silver foil draws a correlation between the chocolate-producing countries of Switzerland and Tuerlinckx’s

  • picks November 29, 2016

    Ines Doujak

    Ines Doujak had a reputation for making aggressively explicit work well before her sculpture Not Dressed for Conquering / HC 04 Transport, 2010––which depicted a former Spanish king copulating with a dog––cost three people their jobs at MACBA last year. It is not unusual for Doujak’s work to mine the intersection of textiles, fashion, and violence, as well as globalized relations of production, power and colonialism. It is therefore surprising that her solo exhibition in Stuttgart, also titled “Not Dressed for Conquering,” seems somewhat reserved throughout, even though Doujak does not shy away

  • picks June 13, 2016

    Yngve Holen

    No matter where the German-Norwegian sculptor Yngve Holen’s works have been seen in recent years, they always focus on the pressure exerted by high-tech machines on a curiously absent human body. Even this solo exhibition “VerticalSeat”––named for the notion of a cheap airline offering only standing seats in order to squeeze more passengers onto a plane––demonstrates once again how technology looks back at its creator. Factory-fresh headlights for buses or motor scooters turn into a series of four works titled “Hater Headlight” (all works 2016), hateful-looking techno-fetish items placed as