Travis Jeppesen

  • picks March 30, 2016

    Mary Reid Kelley

    Like a lot of artists of late, Mary Reid Kelley’s practice is essentially writing-based. In “The Minotaur Trilogy,” 2013–15, the series of videos made in collaboration with husband Patrick Kelley that comprises the core of this exhibition, the endearingly nerdy Reid Kelley plays all the characters in a black-and-white cartoon poets’ theater straight out of Ancient Greece, spouting verse boldly—and cleverly—penned in heroic couplets. She’s selected as her subject the half-man, half-bull figure from Greek mythology that has been called upon as muse by artists throughout the ages, most memorably,

  • picks March 23, 2016

    “The Way Things Go”

    Watching Peter Fischli and David Weiss’s film The Way Things Go, 1987, it seems like a prescient indicator of the twenty-first century’s concern with speculative realism. Inanimate objects seem to be magically endowed with human agency in the film, their movements and interactions setting off a chain reaction: A tire rolls over a series of seesaw ramps, eventually bumping into a miniature car carrying a lit candle, which is propelled forward into a set of firecrackers, which then explode, lighting a nearby fuse, and flames spit forward, igniting a patch of oil . . . and so on for half an hour.

  • picks March 18, 2016

    Pil and Galia Kollectiv

    Reflecting their research into R.D. Laing’s anti-psychiatry movement, the latest work by the London-based Israeli duo Pil and Galia Kollectiv, titled Progress Report from the Strategic Sanctuary for the Destruction of Free Will, 2016, is an exhibition and ongoing piece. On the ground floor, a monitor screens scenes from a film being made—on the day I visited the gallery, I watched performers dressed in neo-futuristic costumes of white cardboard outlined in black, re-enacting the jerky, robotic movements taken from video footage of patients undergoing psychedelic counseling and other forms of

  • picks March 18, 2016

    Steve Reinke

    In spite of the severe challenges posed by this gallery’s Berlin premises—as a model of a haute-bourgeois Altbau (old building) apartment, great, but as a place for showing art, it sucks—Steve Reinke has managed to pull off a pretty good show consisting of drawings, needlepoints, and a selection of the films for which he is best known, as well as two new ones: Boy Needs a Friend, 2015, and Welcome to David Wojnarowicz Week, 2016. The title of the show, “The Genital is Superfluous,” serves as a sardonic indication of Reinke’s always intriguing lo-fi collage technique. Stream-of-theory voice-overs

  • picks March 08, 2016

    Dong Qichang

    The late-Ming-dynasty painter Dong Qichang was a great synthesizer of earlier styles, and so it makes sense that the current exhibition, at the world’s foremost collection of classical Chinese art, sheds equal light on his activities as a collector and connoisseur, as these pursuits were inseparable from his own artistic output. For instance, his small painting Exotic Peaks and White Clouds, ca. 1611—which consists of a solitary pointed peak rising above a bed of mist, while below is a blurred conglomeration of trees and some implied thatched houses—can be compared here with the innovative “

  • picks March 02, 2016

    Simon Fujiwara

    Simon Fujiwara’s exhibition “White Day” showcases a number of his projects from recent years together with archival objects from assorted collections, in a large-scale presentation that seems to want to annihilate the boundary separating creation from curation. An antique mask of Stalin is situated in the same room as a fan made after Japan’s defeat in World War II, from currency used by the Japanese during their wartime occupation of the Philippines. Elsewhere, Fujiwara plays the role of commissioner, as in the series of oil paintings titled “Lactose Intolerance,” 2015, depicting glasses of

  • film February 26, 2016

    Life, or Something Like It

    “I WANT TO THROW KING KONG off the Empire State Building!” shrieks Sion Sono in A Man’s Flower Road, an epic of shrieking, absurdist retardation from 1986. The film was recently restored for “Hachimiri Madness,” a series of Japanese “punk” movies from the 1970s and ’80s, an indisputable highlight of this year’s Berlinale.

    Okay, so maybe not all of the series’ films directly reference the noisy punk and garage rock that their makers were listening to at the time, but it doesn’t matter: They are great odes to youth, or at least that period when the contents of the self are often uncontainable and

  • film February 21, 2016

    Genius Bar

    EXCUSE THE FRAGMENTARY NATURE of the following ruminations, but I am now halfway through a ten-day binge of jet-lagged cinematic submission, synaptically haggard and synesthetically nullified, yet somehow alert enough to grind out a few words on my laptop. So trumpets and timpani if you please, here are some first impressions of the sixty-sixth Berlin International Film Festival:

    Lots of films about artists and writers (mostly writers), in both documentary and biopic format, including Emily Dickinson, Robert Frank, Oda Jaune, and Paul Celan and Ingeborg Bachmann, to name a few. Many seem less

  • picks February 09, 2016

    Philippe Garrel

    Philippe Garrel was a teenage filmmaking prodigy—he wrote and directed his first feature at the age of sixteen, under the influence of the 1960s films of François Truffaut and Jean-Luc Godard. Since then, Garrel has made over two dozen more features, with the latest—L’ombre des femmes (In the Shadow of Women, 2015)—premiering last year at Cannes.

    In Seoul, Garrel is being honored with a cinematic retrospective that includes many of his early and more obscure films, as well as an exhibition at one of the city’s most prestigious contemporary-art institutions. The latter consists of three works

  • picks February 04, 2016

    Michel Verjux

    You walk up a flight of stairs to access the gallery and as you enter, you are nearly blinded: this is Face à face/à revers (source au sol) (Face to face/to back [ground source]) (all works 2016) by Michel Verjux. A circle of white light is projected onto the same wall as the entrance, and when the door is opened to allow visitors in, the circle breaks and the light projects into the hallway or onto you as you walk into and through it.

    Verjux makes sculptures with light. Nothing else is needed. Is this a reduced means of expression? No: With a circle, one can say everything. A circle, after all,

  • picks January 27, 2016

    Markus Bacher

    Markus Bacher’s latest exhibition consists of five large-scale multipaneled paintings. The most successful of these is the triptych “Vagabond” (all works 2015), with a reduced palette of mainly black and white. In the center, an Edvard Munchian splatter-smear of a figure frowns haltingly against a background blur—the smoke of a hostile crowd? It would fit the painting’s overall heavy existential burden. The other two panels are abstract, as they tend to be chez Bacher; the larger one on the left is a white powdery peach with a grimace of yellow and two black stripes on the bottom while the

  • picks January 04, 2016

    Markus Lüpertz

    For his current exhibition here, Markus Lüpertz spent many hours at the museum—which holds Berlin’s collection of classical sculpture—fixedly making drawings based on one work in the collection: a wooden Apollo, 1615–16, by Ludwig Münstermann. And, indeed, you can see why: The figure’s curved, moon-shaped face, with its look of alarm accentuated by a pointy beard, is almost overbearing in its expressiveness.

    It is no coincidence that Münstermann first became a subject of interest among German art historians during the height of Expressionism, and it is also unsurprising that Lüpertz, one of the

  • picks December 29, 2015

    Ed Ruscha

    You would be forgiven for not realizing you had just walked into an Ed Ruscha exhibition: His latest series, “Metro Mattresses,” 2015, looks completely different from his previous work. But does it really represent a complete break? The perennial on-the-road artist, Ruscha noticed discarded mattresses littering the sidewalks while driving around Los Angeles. He began photographing them, amassing quite a collection, and then re-created the images using acrylic paints and colored pencils on museum boards.

    Ruscha’s draftsmanship is photorealist precise and the images are sublime—always mysterious,

  • picks December 28, 2015

    Rolf-Gunter Dienst

    Little known outside of Germany, Rolf-Gunter Dienst has had a prolific career, not only as a painter but also as a publisher and an editor, in addition to being considered one of the most important German art critics of the past century. From 1992 until his retirement in 2008, he was a professor at the Academy of Fine Arts in Nuremberg. This expansive exhibition focuses on Dienst’s early gouaches and oil paintings, most of which are on paper, that are largely composed of calligraphic squiggles and marks arranged in horizontal lines as an asemic writing. An untitled gouache on paper work from

  • picks December 03, 2015

    Ann Veronica Janssens

    Yellow, blue, pink: The three colors, projected from somewhere above, fade and bleed into one another as you move through them. However, you are only aware of what color you are several seconds after the fact—there is a delay between your arrival in one state and that knowledge hitting your brain, disoriented as you are by everything else that is happening to you perceptually as you wander through the mist, the fog . . .

    Ann Veronica Janssens’s yellowbluepink, 2015, is the name of this thing you’re walking through. It consists of mist and light, contained within an airtight room. You have to

  • picks November 25, 2015

    Ceal Floyer

    Ceal Floyer’s practice consists of tiny gestures that consistently add up to a sum of intrigue and joviality. There are only five works in her current exhibition, and they’re enough. The show is all about boundaries: so much fun to trespass, so confusing in their essential arbitrariness. One is a row of small black rectangular objects running all the way across the floor, forming a mini wall. Are they dominos? We assume so, given the title, Domino Effect (all works 2015), and their appearance in profile, though we cannot see their faces to confirm that they have dots, as they are packed in a

  • picks November 18, 2015

    Peter Stauss

    Peter Stauss’s latest exhibition features a recurring figure he calls the Dutch Master, which, with his wide-brimmed hat, may or may not be a reference to Vincent van Gogh. This is less an art-historical gag, though, than a vehicle with which the artist might move through the static formats of painting and sculpture, positing the body as an ever-morphing entity that is reinvented each time it finds itself being depicted. In Dutch Master (Menu) (all works cited, 2015), one of the four large-scale oil paintings on plywood displayed here, parts of the artist-figure’s body have been blasted apart

  • picks November 05, 2015

    Jia

    One of Mao Zedong’s more insidious achievements in mainland China was the Chinese character simplification program. With the supposed intent of improving literacy, the program reduced the number of strokes deployed in writing characters, effectively neutering the written language’s pictographic and ideographic content. A lesser known component of the initiative was the elimination of nearly two thirds of all Chinese characters from official use. Naturally, this was also done for ideological purposes; it becomes quite difficult to voice certain thoughts that might be unpleasant to the ears of

  • picks November 02, 2015

    Joan Miró

    This exhibition is an enriching supplement to the major retrospective currently on view at the Kunsthaus Zürich, offering a glimpse of a lesser-known Joan Miró with works spanning each decade of the artist’s career. While the Kunsthaus show provides a crowd-pleasing survey of paintings in his canonical style, this one goes deeper in proving just how multifaceted Miró was as an artist.

    The sheer range of media here rouses us to the depth of the artist’s formal curiosity, with examples of his work in sculpture, drawing, and mixed-media collage, as well as textile-based assemblages that Miró called

  • picks October 19, 2015

    “Site, Specific, Objects”

    Brazil and Croatia might be continents apart, but they share a strong history of Concretism. This exhibition brings together three artists rooted in these locales working in the same tradition, each with a distinctive approach to abstraction. Goran Petercol is the most gestural of the bunch: His Reaches and Half of Interspace (all works cited, 2015), for instance, is a large charcoal drawing consisting of black horizontal and vertical lines intersecting to form both upper- and lower-case T shapes, eventually concluding with a rendering of a large phallic crayon at the right end. His Halves of