Berlin-based artist Michael S. Riedel has been confusing audiences for years now, drawing them into a world of echoes, afterimages, and replicas in which nothing is simple or straightforward. Using strategies of doubling and inversion, reversal and distortion, Riedel creates a kind of parallel universe of “filmed films” and “clubbed clubs”—simulacra that are never merely mechanical copies but rather creative restagings, displaced facsimiles of architectural structures, or any number of other miming recontextualizations of artworks and cultural situations. A few examples: At Moscow’s Lenin Museum in 2005, Riedel revisited a classic work by Joseph KosuthOne and Three Chairs, 1965—and tweaked it in more ways than one, the most significant twist being that the chairs, rather than funcioning merely as objects for contemplation, were used in a performance. For an exhibition at Frankfurt’s

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