Yilmaz Dziewior

  • Nicolaus Schafhausen

    Nicolaus Schafhausen only officially takes over at the FRANKFURTER KUNSTVEREIN this month, but he’s already off to a running start. In September, the thirty-three-year-old former director of the Künstlerhaus Stuttgart organized “Starter,” a night of performances, readings, videos, and concerts by artists including Jonathan Meese, Liam Gillick, Daniel Pflumm, and Stephen Prina. He followed that event up with “User-surface City,” which brought artists, designers, urbanists, and art theorists to the recently renovated building for a series of lectures. It’s an interdisciplinary, theoretically

  • Richard Long

    Kunstverein director Eckhard Schneider, known for championing contemporary British art, now presents a forty-piece survey of fifty-three-year-old Richard Long’s career, including his very latest work. Long’s engagement with disparate media takes center stage as sculptures, text works, photographs, and murals are exhibited side by side. Given the artist’s long-standing interest in natural phenomena, it is no surprise that Long produced a 100-meter, site-specific work for Hannover’s light-flooded Orangerie. The catalogue, with a preface by the curator, takes the form of an artist’s book, the

  • Marcel Odenbach

    Only after receiving institutional recognition in the US did Marcel Odenbach’s work start getting the attention it deserves in Germany. Now the artist’s hometown museum is honoring him with a large-scale exhibition. For this overdue show, a new piece, one of Odenbach’s most ambitious projects to date, is slated to fill the entire Kunstverein. Consisting of four large video projections, the installation addresses the artist’s own youth and the catalysts of his politicization (especially the slaying of student activist Benno Ohnesorg by the West German police, the Vietnam War, and the civil rights

  • Mike Kelley

    Directly inside the entrance to the gallery in Mike Kelley’s recent show, one stumbled on The Keep (all works 1998), a trashy, scrap-wood hut issuing hollow “UFO sounds.” Its interior, visible through various slits, chicken wire, and a small spyglass, featured rows of glass containers drenched in colored light.

    Kelley is frequently preoccupied with how authority, particularly schools, affects individuals; his earlier piece Educational Complex, 1995, reflected the constrictive influence of his own art teacher. Like that work, the large installation Sublevel, which lent its name to this show, is

  • Isa Genzken

    Although Isa Genzken’s recent exhibition was dominated by the five wooden towers displayed in the gallery’s main space, the show also included three books of collages, and a wall assemblage made of crushed household appliances. That these efforts represent a fundamental departure in the artist’s oeuvre becomes clear when they are compared to such earlier series as the “Epoxidharz,” 1992 (translucent sculptures made from epoxy), and “The Hat and Lamp Sculptures,” 1992–96 (objects that turn slowly on their axes with the aid of a small motor), sets of pieces that were all fabricated according to

  • Marijke van Warmerdam

    The Museum Ludwig’s eagerly anticipated new project space was inaugurated this spring with three installations by the thirty-nine-year-old artist Marijke van Warmerdam. Jochen Poetter, who has been the museum’s director since October 1997, hopes to use the space to respond with flexibility and immediacy to the latest trends in contemporary art. In this respect, the choice of artist was significant: van Warmerdam’s work has appeared at the Venice Biennale, the Kwangju Biennial, and Documenta X, and she has also had solo shows at the Vienna Secession and the Museum for Contemporary Art in Zurich.

  • I Love New York

    In Germany, LA rules when it comes to hot new art. So it’s all the more surprising that the director of the Museum Ludwig, Jochen Poetter, should focus a whole show on New York’s contemporary scene, featuring work from the last five years by some twenty-five artists. Here the theme, “crossovers,” applies to style, media, and disciplines, and Poetter is mounting work by well-known artists such as Mark Dion, Dan Graham, Felix Gonzalez-Torres, and Jack Pierson alongside that of artists still little seen in Germany (e.g., Doug Aitken, Cheryl Donegan, Mariko Mori, Sarah Morris, Piotr Uklanski, and

  • Douglas Gordon

    Few artists of his generation have been as feted as Douglas Gordon. He’s won the Turner and the Premio 2000 at the Venice Biennial and is in the running for this year’s Hugo Boss Prize. This first large survey on the continent of his work, organized by Kunstverein director Eckhard Schneider, should show what the fuss is all about. Along with such well-known pieces as List of Names and Something between my mouth and your ear, new work will be unveiled. (Those who pine for more can travel to Cologne, where a separate show will honor Gordon as the recipient—surprise!—of the Central Art Prize.) A

  • Gregor Schneider

    Gregor Schneider’s career is notable for a number of reasons. Five years ago, at the tender age of twenty-five, he was given a solo show at a major gallery in Cologne, and only a few years later he had another at the Kunsthalle Bern. Despite Schneider’s early success, his work has received little attention in art publications. One possible reason for this is that his work doesn’t resemble much art that is currently seen in galleries; another is that photographs of his installations tend to be as unspectacular as the work itself. Since he was a teenager, Schneider has been continually rebuilding

  • Leipzig’s new art center

    WHEN THE GALERIE für Zeitgenössische Kunst Leipzig opens its doors in mid-May, it’ll become the first new institution devoted to contemporary art in the states that made up the former East Germany. The kickoff will feature two exhibitions that presage the Galerie’s activities to come. The ground floor show, “ONTOM”—an invented word the institution is licensing from Adib Fricke’s language project The Word Company—will focus on pieces and projects that highlight the role of the viewer in completing the work. This strategy is central to much of what will be on view, including contributions from

  • Jason Rhoades

    At least since last year’s Lyon Biennale, Jason Rhoades has been one of the most sought-after young artists in Europe. Now, Eva Meyer-Hermann, director of the Kunsthalle Nürnberg, has landed the artist’s first German solo show. While the installation is bringing together some of Rhoades’ earlier works, the Kunsthalle’s seven rooms will be crammed with artifacts prepared (or, better, collected) just for this show. In characteristic fashion, Rhoades binds his personal, hermetic obsessions and his concerns with the history of Western art and culture. It’s no wonder then that the show’s accompanying

  • May ’98

    Under the auspices of the Friends of the Wallraf-Richartz Museum and the Ludwig Museum, this ambitious show (Too works by twenty-four artists) tracks the evolution of contemporary art over the last three decades. Curators Brigitte Oetker and Christiane Schneider, who adroitly put together last year’s site-specific “Kunst in der Leipziger Messe,” hope to show the impact of the art of the ’60s and ’70s on the generations that followed—with particular emphasis on the fate of social and political utopianism. Among the contemporary artists included are Cosima von Bonin, Angela Bulloch, Olafur Eliasson,

  • Franz Ackermann

    Franz Ackermann’s site-specific installation Songline, 1998, is another milestone in the rigorous development of his work. In previous shows, Ackermann deployed street scenes and topographical maps as metaphors for movement, travel, and urban existence; here he constructed a space through which the viewer can move. He built freestanding plaster dividers inside the actual walls of the museum, so that one initially experienced the work as an architectural intervention, a hermetic space-within-a-space reminiscent of the living-cells created by the French artist Absalon.

    Entering the installation

  • Ettore Sottsass

    In 1972, when Ettore Sottsass was invited to participate in the landmark show “Italy: The New Domestic Landscape,” his project undertook nothing less than the complete reorientation of popular attitudes toward domestic space. Sottsass chose to work with conventional furnishings or appliances intended for kitchens, bedrooms, and bathrooms, placing these elements into container modules fitted with wheels. His presentation took the form of nine fiberglass containers, an accompanying text, and exhibits illustrating possible uses for the modules.

    Five of the original nine containers and the displays

  • Cosima von Bonin

    Although for many of her generation Cosima von Bonin is a central figure in the Cologne art scene, some have been struck more by her persona and by her artistic approach than by the work itself. This is perhaps in part because (like the late Martin Kippenberger) von Bonin has often integrated objects made by friends into her own projects. She has also been involved in collaborative performances and installations, especially with artist Kai Althoff. Von Bonin’s recent exhibition “Löwe im Bonsaiwald” (Lion in the bonzai forest), the first in several years to contain only her own work, thus marked

  • Philip-Lorca diCorcia

    Philip-Lorca diCorcia’s compelling new urban sociological portraits arc reminiscent of his “Hollywood” series of 1990–92, which consisted of images of male prostitutes and drug addicts in Los Angeles, each titled after the subject’s name and the fee he requested to serve as a model. Because of his affinity for certain social milieus, diCorcia’s work has often been associated with that of photographers like Nan Goldin, Mark Morrisroe, or Jack Pierson. Unlike those artists, however, who often live among the communities they document, his approach is typically detached though equally impressive.


  • Andrea Fraser

    One of the first things a visitor to the Sprengel Museum encounters are signs explaining the history of the institution and its collection. In her large-scale project, Andrea Fraser changes all that—sort of. Installing video and display boards, she’ll inform visitors about the museum’s meaning and evolution in her signature deadpan fashion. For the project, curated by the Sprengel’s Dietmar Elger, she’s sifted through documents pertaining to the history of the institution, and her video features appearances by the museum’s director, the cultural commissioner for Hannover, and a government official

  • Pipilotti Rist

    Few other young Swiss artists are in as much demand internationally as Pipilotti Rist. Most recently she's been invited to guest-edit an issue of the prestigious cultural magazine du and even named artistic director of “Expo Schweiz 2001.” Britta Schmitz, chief curator of the Hamburger Bahnhof, has arranged for Rist's first solo show in Germany, a site-specific room-size installation titled Remake of the Weekend. Earlier works by the artist, including Ever is Over All, her much discussed contribution to the 1997 Venice Biennale, will also be presented as part of the institution's permanent

  • Jochen Klein

    The first solo exhibition of work by Jochen Klein—an artist who died last summer from AIDS-related causes—was especially tragic because of the great promise it revealed. Klein was only thirty at the time of his death. After studying at the Munich Academy of Art, he traveled to New York, where he became a member of Group Material. This was not the first time he took a theoretical approach to artmaking: in Munich he had participated in group exhibitions at the Munich Kunstverein dealing with utopian design and gender. Together with Thomas Eggerer (with whom he collaborated on theoretical texts),

  • Heimo Zobernig

    With its limited colors and forms, Heimo Zobernig’s installation Ein Fernsehstudio für UTV (A television studio for UTV, 1997) could be read in part as an ironic commentary on Minimalism. A painting with broad stripes also hinted at Zobernig’s interest in color theory, but in the context of the installation, it became a test pattern on a television screen. The colors of the stripes (white, yellow, dark blue, green, dark red, medium red, blue, and black) reappeared on eight monochrome Styrofoam rectangular blocks that were strewn around the space. While Zobernig intended the blocks to serve as