Yilmaz Dziewior

  • Joep van Lieshout

    One could find everything needed to live—or at least survive—in Joep van Lieshout’s recent exhibition. The artist had filled the museum’s oblong space with a long series of objects that incorporated various household items, including everything from kitchen appliances (even one intended to be used in pig-butchering, along with dried sausages) to a water closet.

    At first glance, one might assume that van Lieshout’s new works are merely symptoms of the current vogue for “furniture art.” His counters, bathtubs, and cabinets, his built-in sleep and work stations, are at once aestheticized and

  • Komar & Melamid

    Vitaly Komar and Alexander Melamid first captured public attention through their large-scale installations dealing with the history of Russia and send-ups of Socialist Realist painting. For the past few years the pair has been carrying out poker-faced surveys of aesthetic likes and dislikes, statistically sorted by age, gender, income level, and profession, in an attempt to suss out the kind of art the public loves best and hates most. In an exhibition curated by Evelyn Weiss, the images the pair have created from survey data in thirteen countries around the globe—including the USA, Russia,

  • Follow Me

    Along the route between the German towns of Buxtehude and Cuxhaven, billboards by Douglas Gordon, Gillian Wearing, Jane and Louise Wilson, and others will direct motorists to concurrent shows of British art this fall. Kunstverein Hannover director Eckhard Schneider’s project brings British art to some unusual venues: on the shore of the North Sea (Antony Gormley at the Niedersächsisches Wattenmeer National Park), aboard a former freighter (Anish Kapoor at Stade Kunstverein), and stuck in the spokes of a mill (Mark Quinn at the Kunstverein Kehdingen). Other artists participating are Alan Charlton,

  • Deutschlandbilder

    Blockbuster shows seem to be the rage in Berlin these days, and Eckhart Gillen’s survey of 400 works by almost eighty German artists from 1933 to the present is no exception. In a first for a show of this size, Gillen presents artists from the former West Germany alongside those from the DDR (including Gerhard Altenbourg, Bernhard Heisig, and Werner Tübke, who went their own way, the curator argues, despite the official line). One highlight: the first public hanging of the works from René Block’s celebrated collection, donated in 1967 to a planned museum in the Czech city of Lidice but consigned

  • Jürgen Drescher

    While he was a student during the early ’80s, Jürgen Drescher collaborated with Reinhard Mucha on the creation of a temporary bar in the Kunstakademie Düsseldorf. This work, which served as a meeting place for students, was both an artistic intervention and a functioning bar. Drescher and Mucha later revisited this idea with Modell. Konrad Fischers Bar, 1981, a piece with an even stronger sculptural character.

    Like the Düsseldorf bar-project, Drescher’s recent installation, entitled Ich nehme mit einem eigenen Raum am Rheinischen Karneval teil (I participate with my own space in the Rhenish

  • Markus Oehlen

    Markus Oehlen has somewhat ironically characterized his paintings as “Informal Pop,” and this phrase sums up one’s initial impression of the work: bright colors in multiple layers and apparently hasty gestures combine to create an almost psychedelic effect. The paintings are not quite what they seem, however; on closer examination, one realizes that their apparent spontaneity is the result of an elaborate process.

    Oehlen creates linoleum cuts and then projects the patterns onto the canvas, drawing the projected shapes with meticulous care, adding still more and more layers, using felt-tip pens

  • OPENINGS: TOBIAS REHBERGER

    TOBIAS REHBERGER IS NO LONGER a secret in his native Germany. The thirty-year-old artist, whose frequently collaborative output includes drawings, paintings, and sculpture as well as installations consisting of handmade, everyday objects that evoke groovy ’60s and ’70s furnishings, has already appeared in numerous museum and Kunstverein shows. He’s contributed to exhibitions like “Backstage” and “Manifesta I” (for which he sent identically clad club kids wandering throughout the Rotterdam show’s various sites) and will appear in the upcoming “Skulpturenprojekte Münster” (his initial proposal to

  • “Renzo Piano Building Workshop”

    “Interactive” is the key word in this presentation of eight of Renzo Piano’s high-tech projects. Curator Giulio Macchi has illustrated the genesis of the works with models, blueprints, material samples, and films, and visitors can explore particular aspects of these simulated work sites (from the architect’s use of materials or light to integration into nature) through books, computers, CD-ROMS, and CAD programs. Internet hookups with the Office of Architects in Genoa allow viewers to send specific queries to Piano himself, and current construction sites in Berlin,

  • Cologne

    FORGET THE FABLED RIVALRY with Düsseldorf that animated the thoughts of Kölners from the ’60s through the ’80s. The new Tom to Cologne’s Jerry is Berlin, but judging by the pervasive spirit of resignation, this particular game of cat-and-mouse is all but up. The topic of discussion, so it seems, throughout Cologne today is the city’s waning appeal as a center for contemporary art. A number of galleries, like Galerie Busche and Max Hetzler, have already left for the promise of Berlin, while others—among them, Schipper & Krome and Béla Jarzyk—have announced intentions to follow suit. Add to this

  • Walter Dahn

    As a member of the artists’ collective Mülheimer Freiheit (Mülheim freedom) during the early ’80s, Walter Dahn was one of the leading figures among the so-called Neue Wilden, whose neo-Expressionist paintings, with their vivid coloration and primitivistic narratives, brought the movement such fame. In 1984, however, Dahn moved almost entirely away from painting with brushes and paint, choosing instead to follow in the tradition of his teacher Joseph Beuys by creating installations and performing at various sites.

    For some time now, painting has again formed an integral part of Dahn’s project. At

  • New York, Chicago, San Francisco, Venice, Turin, Paris, Cologne, Berlin, Stockholm, Liverpool, London, Brisbane

    MAKING MISCHIEF: DADA INVADES NEW YORK

    This fall, Dada finally gets its due as a stateside movement. Curated by Dada scholar Francis M. Naumann with staffer Beth Venn, the WHITNEY’s show will include Duchamp’s Bride Stripped Bare. . . , as well as more than 200 objects by American and European artists associated with the movement on this side of the Atlantic. Along with the usual suspects—Francis Picabia, Man Ray, and, lately, Florine Stettheimer—you’ll also get to see works like Baroness Elsa von Freytag-Loringhoven’s Portrait of Marcel Duchamp (feathers and a champagne glass) and a partial

  • Simone Westerwinter

    The announcement for Simone Westerwinter’s recent show in Cologne—her first solo exhibition in this city—depicted a man who’s already shown keen interest in her work: Udo Kittelmann, director of Cologne’s Kunstverein. Kittelmann smiles affably into the camera as he sits in his office, holding a telephone receiver. The card doesn’t give the slightest clue as to his identity—only the initiated would have known who he was, though even they probably wouldn’t have immediately understood the connection to Westerwinter’s show. Only on viewing a piece entitled I love curators, 1995, which includes photos

  • Carsten Höller

    The windowless room on the ground floor of the Hamburg Kunstverein is lit by few light sources, so when Carsten Höller put up a large round sign with the inscription “Glück” (Happiness) at the entrance to his recent installation, he created a very particular mood. Intriguing if fairly unobtrusive music filled the room: this was the sound track from Jean-Luc Godard’s Le Mépris (Contempt, 1963), which Willer used as the accompaniment to a video that depicted a small child and a man, boisterously romping. Spontaneous feelings of warmth for this child were prompted by what biologists call the “

  • Miriam Cahn

    Miriam Cahn’s works on paper, in which she uses either charcoal or colored chalk, often seem to have been made in great haste. Her fleeting gestures suggest an effort to give form to thoughts and emotions in as direct a manner as possible, and the almost unbearable urgency of the images that appear point to a restless, doubt-ridden artistic practice.

    The large works in charcoal generally involve Cahn’s whole body. Only by kneeling on the sheets of drawing paper can the entire surface be worked; as a result, she leave traces of her hands, arms, and legs. Cahn’s process has been compared to Pollock’s

  • Birgit Jung-Schmitt

    In her recent show, which combined photography, video, and object art, Birgit Jung-Schmitt examined the themes of family, gender, and sexuality in works that centered on hair. The two-piece photographic work entitled Friseuse mit biographischem Angebot (Hairdresser with biographical proposal, 1994), for example, depicted the artist standing next to a table spread with hairdressing implements, as well as a board covered with photos documenting her hairstyles since her childhood. Jung-Schmitt filled in the hairstyles, wherever they appeared, with black retouching-fluid, rendering them at once

  • Andrea Rostásy

    At first glance, the sculptures of Berlin artist Andrea Rostásy are mere simulations of ordinary objects. Some of these pieces, which have been created out of wood, pressboard, or synthetic materials such as imitation leather, may seem similar in spirit to the found and constructed artifacts of the Swiss artist duo Fischli and Weiss. Yet, despite the careful craftsmanship and realistic coloration which at first glance causes them to appear to be either readymade objects or canny re-creations, the motivation behind her sculptures is fundamentally different. By subtly altering the proportions of

  • Lukas Duwenhögger

    A penchant for the old-fashioned and the decorative, combined with a certain mannered artificiality, are often considered hallmarks of camp. Lukas Duwenhögger’s oil paintings, which hark back to the painterly style of the 19th-century plein air painters, are made up of just such traits. In his work he fondly indulges relationships between light and shadow, and his colors glow like those of Gustave Caillebotte. Small details, such as the spread fingers of a man smoking as he crosses the street, or a hand languidly resting on a hip, evoke the mood of the 19th-century dandy as much as the self-conscious

  • Vadim Zakharov

    For his recent show “Der Letzte Spaziergang Durch die Elysischen Felder” (The last walk through the elysian fields) 36-year-old Russian artist Vadim Zakharov transformed Cologne’s Kunstverein into an indoor park. Amid newly planted “meadows” of grass he laid down gravel paths and set out small trees to give the space an outdoor ambiance. Yet any assumption that this was meant as a serious simulation of nature, or even of a landscaped garden, was quickly dispelled by various surreal elements within the installation. A file folder with a jet of water spurting out of it, for example, might well

  • Jorge Pardo

    Though the use of everyday objects has become something of a fetish in contemporary art, Jorge Pardo’s most recent installation goes beyond mere fashion. As early on as the stairway leading up to the gallery, the visitor was greeted by Pardo’s “benches,” stools upholstered in orange fabric—works somewhere between Minimalist sculpture and ’70s furniture. They draw their intermediary position from the fact that they can be used both as ordinary utilitarian objects-in fact, for the duration of this exhibition, the gallery’s regular chairs were replaced by Pardo’s stools—and as art objects. Their

  • Inez van Lamsweerde

    After depicting naked, sexless women with sweaty hands and feet and three-year-old girls with men’s mouths, the Dutch artist Inez van Lamsweerde has turned to photographing men. At first glance, the large-format, sharp photographs of Rob, Marcel, Klaus, and Andy are less spectacular than the previous work. The men dressed in yellow polo shirts lie down in front of a neutral white background, as if they were gently falling to the ground. Their rapt expressions—eyes closed, mouths slightly open—make these men seem lascivious in a way that does not correspond to masculine role models. What is absent