Vanessa Joan Müller

  • Amelie von Wulffen, Untitled, 2022, oil on canvas, 39 3⁄8 × 31 1⁄2".

    Amelie von Wulffen

    If there is such a thing as painterly autofiction—fictionalized autobiographical painting that explores representation’s effect on the “I”—then the work of Amelie von Wulffen fits the bill. In an eclectic accumulation of styles and references, the artist maneuvers her way through art history, feeling out the possibilities of a voice that could speak about a contemporaneity shadowed by the past, while also reflecting her own position within that present context.

    For her 2021 retrospective at the KW Institute for Contemporary Art in Berlin, von Wulffen transformed the exhibition space into a

  • Peter Friedl

    Peter Friedl doesn’t care much about institutional expectations. So there’s a good chance that this retrospective exhibition, which includes some 230 works spanning the past forty years—from childhood drawings to recent installations, videos to wall paintings—will reveal both the problems linked to the “musealization” of artistic practice and the Berlin-based artist’s doubts regarding formal categorization. Unclassifiable as it is, his multimedia oeuvre often treats genre as a concept and children’s games as articulations of the social and political. In the accompanying