Josephine Pryde

Galerie Neu | Mehringdamm

Josephine Pryde’s exhibitions always appear straightforwardly thematic, then become more and more perplexing the longer you think about them. Her recent show, “Hollow Inside,” was no exception: Her new diagrams of yoga positions—in chains mounted on Plexiglas—might seem clear enough, but then you started to wonder why multiple-exposure head shots of bewildered-looking sheep were hung on the walls around them. The photographs of staring sheep look blurry and hallucinatory; in some cases, the technique of multiple exposure creates more than two eyes. It is as if our own perplexity were materialized in their gaze.

The four aluminum-framed panes of Plexiglas come in bluish, greenish, and brownish tints reminiscent of designer sunglasses and, staggered one behind another in the gallery like yoga mats, recall Liam Gillick’s room dividers. The contrast between the Beuysian patina of the massive,

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