Yilmaz Dziewior

  • Yilmaz Dziewior

    “MANY PEOPLE JUST PLAY THE CHANGES; I like to change the play.” This statement—wry, gnomic, a touch haughty, and evincing a nonchalant economy of terms—seems like a good starting point for any discussion of the art of Cosima von Bonin. True enough, the words are not actually hers; they belong to Mayo Thompson, front man for the band Red Krayola. Yet the aphorism nevertheless aptly describes von Bonin’s modus operandi, which is to make work that examines and intervenes in the rules of the game—the game being art as a cultural and social practice. Moreover, to enlist Thompson here—he’s a friend


    Thomas Demand works in the eastern part of Berlin, in a blue-collar neighborhood closer to Mitte’s industrial waterfront than to its galleries and fashionable cafés. His studio is located in one of those light-manufacturing buildings typically found in the innermost reaches of Berlin courtyards. When I went to visit the studio, nearly the entire loft space was filled with giant cardboard models for his recent series “Poll,” 2001. The setup was extremely disconcerting: I couldn’t tell whether the chair or table in front of me would support even the weight of the bag I was carrying, or whether it

  • Thomas Ruff

    WHEN THOMAS RUFF’S NEW IMAGES of Mies van der Rohe’s Haus Lange and Haus Esters go on view in the newly refurbished Krefeld villas this June, the German photographer will help reinaugurate a pair of structures almost as important for the recent history of art as for architecture. Closed for more than two years to accommodate badly needed renovations, the Rhineland buildings boast an exhibition history that includes not only first institutional shows by the likes of Yves Klein, Cy Twombly, and Marcel Duchamp but appearances by everyone from Joseph Beuys and Gerhard Richter to Bruce Nauman and

  • GALA Committee

    With the revival of interventionist art practices in the ’90s, which at times decidedly refer to procedures of the ’60s and especially the ’70s, there are frequently moral pretenses at play. Art (market) mechanisms are critically scrutinized, artistic requirements analyzed, and the relationship between public and private spheres and their reciprocal influences investigated. Always, the artists are concerned to condemn prevailing power structures.

    Although the project “In the Name of the Place” deals with similar questions, it happily lacks any such moralistic disposition. In 1995, Mel Chin, then

  • Kai Althoff

    A narrative thread connects the individual works in Kai Althoff’s exhibition, “Ein noch zu weiches Gewese der Urian-Bündner (A still too soft comportment of the Urian Fraternity), 1999. In a typewritten text, Althoff tells of a fraternity of young men who have made a pact with evil. Youth, desire, and despair determine the otherworldly sphere in which they move, a sphere beyond time and corporeality. A sort of memorial to these boys’ earthly existence, the exhibition contains photos of a harmonious family and of a young, attractive, yet seemingly diabolical man, as well as sculptures in the

  • Isa Genzken

    Even though German artist Isa Genzken has received solo surveys at institutions like Krefeld's Museum Haus Lange (in 1979) and Rotterdam's Boijmans (in 1989) and was selected to participate in Documentas 7 and 9, only of late has a new generation of curators discovered her current relevance, as evidenced by her influence on a host of contemporary artists Among the is Braunschweig director Karola Grässlin, who is installing this show of twenty-five sculptures and twenty photographs dating from 1973 to the present. A catalogue including installation views of the exhibition and an essay by critic

  • Björn Dahlem

    Once a year the Kunstakademie Düsseldorf opens its doors, offering a glimpse of the students’ work. One finds that the young artists seldom work in a truly autonomous or innovative manner; often their work looks plagiarized from their teachers’. And so it was remarkable that at the open studio a year ago, a number of curators and critics spoke with unreserved enthusiasm about an installation by the then-twenty-four-year-old Björn Dahlem. Although a student of Hubert Kiecol, Dahlem’s installation had more in common with the material aesthetic of Georg Herold combined, perhaps, with that of Thomas


    The concept behind Sharon Lockhart’s latest work is straightforward enough: Shoot a thirty-minute roll of film, from a single angle, of an audience listening to a piece of music created as a score for the film in question (by composer Becky Allen) and performed live by a chorus offstage in the orchestra pit. The film blankly registers the reaction of its less-than-rapt subjects: At the outset most follow the music more or less attentively, but eventually, with nothing to look at onstage save the camera, some begin to converse, joke around, even flirt and banter with one another.

    As simple as it

  • Andreas M. Kaufmann

    In 1962, the Hungarian composer György Ligeti premiered his Poème Symphonique, a musical piece for a hundred metronomes. By positing the metronome as the performer of the concert (the pendulum weights were set so that each beat at a different speed), the work inverted the normal functions and roles of practical aids and musical instruments. Although he was perhaps not explicitly referencing Ligeti, Andreas M. Kaufmann practiced a similar reversal in his recent exhibition “Move,” distributing twenty-seven metronomes across five levels of scaffolding and the gallery floor. The uneven clicking of

  • Ed van der Elsken

    Since Ed van der Elsken’s recent turn in Catherine David's Docurnenta X, interest in the work of the Dutch photojournalist and documentary filmmaker is on the rise. Credited as a pioneer of cinema verité, van der Elsken bluntly yet sympathetically documented his immediate social environment, including (in his final film, Bye) his own approaching death in 1990. The comprehensive exhibition brings together 180 photographs, as well as dummies of his photo books, a slide show with sound, and his best-known films. An extensive catalogue, including texts by Annelie Lütgens, Hans Schoots, and Nan

  • Bas Jan Ader

    Since her appointment last February, Kunstverein Braunschweig director Karola Grässlin has breathed new life into the 168-year-old institution, producing a host of ambitious projects for the space. On the heels of exhibitions by Mike Kelley and Cosima von Bonin, Grässlin will present the first solo show of the work of Bas Jan Ader in Germany since the artist’s disappearance at sea in 1975. Curated by Christopher Müller, the exhibition includes almost all of Ader’s extant work and is sure to add momentum to the rediscovery of this Southern California–based Conceptual artist set in motion with

  • Manfred Pernice

    Inasmuch as Manfred Pernice frequently prepares site-specific installations involving containers of various types, he should enjoy Portikus—essentially a giant drum behind an ornate entryway, the sole surviving part of the Neoclassical budding shelled during World War II. For some time the enclosure and encompassing of space has been a leitmotiv in the German artist's work, and the Frankfurt show will feature his recent sculptural pieces, constructed from large barrels and canisters, as well as photos and drawings. In conjunction with the exhibition, a catalogue/artist's book (a collaboration

  • Johannes Wohnseifer

    To get to Johannes Wohnseifer’s recent exhibition, which was curated by Rita Kersting and housed in the project room of the Museum Ludwig Köln, one had to pass through the permanent collection; in the middle of Pop Art, one came up against a white nylon curtain on which “MUSEUM” was written in huge black type. Pushing the curtain aside, one entered a large room only to stop at the sight of sixteen square wood panels laid across the floor (each approximately 6.5 by 6.5 feet) and painted in colorful monochromes. The luminosity of the panels initially caused even the Carl Andre–seasoned visitor to

  • Stephen Prina

    On entering Stephen Prina’s recent exhibition, one was greeted by a monochromatic gray wall, on which the artist’s name and the title of the show had been applied at right angles to one another in large yellow letters. Mounted at the point where both met—as if it were part of a store’s product display—was a new CD, his first, titled (like the exhibition itself) “Push Comes to Love.” On a wall nearby hung a red monochrome painting, Push Comes to Love: Vivid Rose (all works 1999). This entry area, with its subtle resonances among gray, yellow, and red, created a minimal atmosphere characteristic

  • Dorothee Golz

    Success is still relatively new to thirty-nine-year-old Dorothee Golz. Things really began to happen for her in 1997, when Catherine David invited the artist to exhibit in Documenta X (where she showed Hohlwelt, 1996, a large, transparent plastic bubble). Two years down the road, Udo Kittelmann, director of the Kölnischer Kunstverein, is mounting Golz's first big solo. The exhibition brings together fifty drawings (in which the utopian and the everyday are united in humorous—and often unsettling—shapes) and three large sculptures, whose formal vocabulary borrows freely from '50s

  • “Michael Buthe: Early Drawings and Diaries”

    Until just before his death in 1994, Michael Buthe constantly shuttled between Cologne and Marrakech, and his very personal, narratively charged works garnered invitations to Documenta in 1972 and again in 1992. Although Buthe, who made vast installations, paintings, and drawings, was a central figure in German art of the '70s and '80s and exercised great influence as a teacher, this exhibition is the first large solo show of his work since his death. Here the Kunsthalle's Hans-Michael Herzog presents roughly '100 works on paper from the late '60s through 1980 together with several sketchbooks


    One chestnut of modernist architecture has been the gradual transformation of the role of the window. Once simply a source of light and a framed view of the external world, in the International Style skyscraper the window has become a semi-transparent membrane and an allover surface. Whatever view is afforded from inside to out, a reciprocal perspective isn’t guaranteed. The architectural ambivalence of such spatial boundaries is a recurrent theme in the crude sculptural models of Manfred Pernice. Comparable to architect Jean Nouvel’s facades, in which walls become screens onto which constantly

  • Jonathan Meese

    Immediately following his first solo exhibition—a crowded installation in which walls, floors, and even ceilings were strewn with photocopies, handwritten notes, film posters, album covers, and the ripped-out pages of books—Jonathan Meese, who was born in Tokyo in 1972 and now lives in Hamburg and Berlin, was invited to participate in the 1998 Berlin Biennale. On that occasion, he offered a slightly different version of his original piece, filling a large space with another “allover” installation. For the length of its run, the artist spent a lot of time at the exhibition—casually talking or

  • Candice Breitz

    Candice Breitz’s first works to cause a sensation were the photos in her “Ghost” series, 1996, in which she took generic South African postcards featuring staged shots of half-naked African women in traditional costume and then painted over the women’s skin with correction fluid. For the “Rainbow” series, 1996, she made collages in which she combined images (clipped out of porno magazines) of the body parts of white women with those of African women in native dress. In works like these, Breitz, who was born in Johannesburg in 1972, addresses themes of racial discrimination, sexism, and the exotic

  • Christian Philipp Müller

    Christian Philipp Müller’s recent exhibition, “Imagetransfer,” offered a manifold consideration of “place,” addressing Cologne’s status as a city of culture, issues of cultural sponsorship, and the often freighted relationship between economic and cultural activities. The show consisted principally of two installations featuring framed drawings, file folders, and high, white plinths that could stand alone as Minimalist sculpture.

    In both works, the drawings were hung in a grid formation on a wall in front of which Müller posed one of the white podiumlike stands. Two campaigns produced by the