• Anna Oppermann

    Galerie Barbara Thumm

    “Somewhere in this world, complexity must still be valued.” Anna Oppermann (1940–1993) wrote these words midway through a brief yet prolific career during which she endured the disdain of many critics perplexed by the large, unruly installations she called “ensembles.” Consisting of hundreds of photographs, drawings, annotations, found objects, and scraps of paper, these works, meant to change every time they are shown, seem to unflinchingly portray an obsessive impulse to accumulate words and images in a chaotic and hermetic manner. But despite a position of relative marginality—partly due to

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  • Meng Huang


    The Chinese painter Meng Huang is on an exploratory path. In his recent “Flyover” series, 2008–, he approaches the human form in five stages, almost as if crossing a mountain, first painting the whole figure from below, then moving in to show the hunched body from a closer vantage point, next attaining a bird’s-eye view, descending again through the details, and finally looking at the same face of a human again, but from a changed perspective.

    Meng’s new series “Helmut: Five Faces of Man,” 2010, part of the broader “Flyover” series, was made while the artist was in residence at the castle of

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  • Rebecca Ann Tess

    Figge von Rosen Galerie | Berlin

    Not long ago, German foreign minister Guido Westerwelle married his boyfriend of many years. Chancellor Angela Merkel sent her personal congratulations. Christopher Street Day—a gay pride celebration—is a familiar occurrence in major German cities. All this might lead you to think that the question of identity politics insofar as it touches on sexual preference has been laid to rest in Germany. Wrong, says artist Rebecca Ann Tess. Difference is desirable; it’s good for the bottom line in the fashion and design industries, there’s even room for it in the political sphere, and it helps tabloid

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