Nicolaus Schafhausen

GCC, Achievements in Figures, Figure A: Amalgamated City (detail), 2013, digital video, wallpaper, 13' 1 1/2“ × 98' 5 1/8”. From “Speculations on Anonymous Materials.”

1 “SPECULATIONS ON ANONYMOUS MATERIALS” (FRIDERICIANUM, KASSEL; CURATED BY SUSANNE PFEFFER) Announcing a high threshold for risk by giving pride of place to the collective GCC’s kitsch sci-fi mural, which loomed over the museum’s atrium, Pfeffer inaugurated her tenure as the Fridericianum’s director with one of the most thought-provoking exhibitions I’ve seen in some time. Precisely installed, the show allowed viewers to examine each piece discretely and also to trace a kind of spatial narrative—Pamela Rosenkranz’s water bottles, for example, were followed by Yngve Holen’s sculptures based on 3-D scans of raw meat, in a graceful segue from commodity form to what might be called commodity formlessness. Pfeffer’s decision to investigate postmillennial metaphysics (new materialism, etc.) through the lens of a contemporary art exhibition was a brave and exciting beginning for

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