A.K. Dolven’s paintings are moving—in both senses of the word. The Norwegian artist, who resides in Berlin and London, started out as a painter, but in recent years she began using video as well. While the paintings reveal a Minimalist aesthetic, the videos offer resonant figurative images taken from the history of painting. Dolven’s fidelity to this tradition, in spite of her turn to video, was affirmed this year in Berlin when she was awarded the Fred Thieler prize for painting—making her both the first woman and the first artist using video to be so recognized. Whatever the medium, Dolven

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