Rebecca Warren

Galerie Max Hetzler | Oudenarder Strasse

Rebecca Warren’s presentation at last year’s exhibition at Tate Britain of the artists shortlisted for the 2006 Turner Prize consisted of two distinct types of sculpture, and the same was true of “Come Helga, This Is No Place for Us,” her first solo show in Berlin. On the one hand, there were three floor-based works consisting of roughly modeled, vaguely biomorphic, but ultimately amorphous sculptures of unfired clay set atop white pedestals. Vigorously worked, they are marked by traces of pale color that add warmth and atmosphere. Considerably more abstract than much of Warren’s previous work in this medium—though perhaps even more overtly sensual—they recall a whole tradition of manually expressive sculpture, from the early ceramics of Lucio Fontana through Willem de Kooning’s bronzes and those of William Tucker to Franz West’s plaster “Paßstücke.” On the other hand, there were four

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