Michael Krebber’s works—comprising not only painting but also artist’s books, arrangements of readymades, and texts—might be identified as symptoms of a diffidence that is interrupted only temporarily, in order to produce material effects, but without allowing for artistic progress. Formats, procedures, and references recur only to continually suspend development. To borrow the terminology of literary scholar Joseph Vogl, one might designate Krebber’s stance as a veritable “system of hesitation” that results in a “specific limbo” in which “opposing forces” simultaneously motivate and block one

What remains after humans disappear and nature takes over? The photographs of Friederike Brandenburg take up this question. One of the dozen images in this show (all Untitled, and from the series “Zurückgelassen” [Left Behind], 2007–), shows a light blue car amid a sea of green; the vehicle is almost covered by ferns. On its left is a broadleaf tree, on its right a fat conifer. At first glance one almost misses the car, but upon closer examination it looks like a 1970s or ’80s model—in any case not a vehicle of recent vintage. The car is a modern-day memento mori.

Landscape here becomes a form