In Šejla Kamerić’s film Glück (Happiness), 2010, a city of the past mingles with a city of the present. The city is Berlin. Its streets are empty, its shutters closed: One might think of East Berlin in the days of the Wall, or soon after. A young woman enters the scene, towing a shopping cart behind her. She has gone out to the pump for water and is wheeling it home in jerricans. It would be a peculiar sight in the city today: a well-dressed woman, out fetching water. And it gives no clue as to why the film should be called Glück.

Galerie Tanja Wagner screened Kamerić’s film in the ballroom of

Produced in the wake of Nicolas Sarkozy’s scandalous move in July 2010 to “clean up” France by closing down Roma camps and orchestrating large-scale deportations, Larissa Fassler’s recent exhibition explored inequities in Parisian life by asking how and how freely individuals may navigate public spaces, and investigating the politics of failed urban planning. Sarkozy’s policy was evidence, even before the mass killings in Norway this summer, that Europe is again burdened with xenophobia-tinged questions of national identity. With drawings and sculptures, Fassler foregrounded perspectives on the