Only two years after completing his studies at the Städelschule in Frankfurt, Jeronimo Voss has just had his first solo show in a Berlin gallery, “Восстание рыбаков” (Revolt of the Fishermen). Its subject: the ghosts of history and their manifestation in art. Appropriately enough, his method was illusion—smoke and mirrors. Nothing was as it seemed. The six translucent, framed prints that welcomed the visitor in the main room of the gallery, Invitation (Восстание рыбаков) (Invitation [Revolt of the Fishermen]), 2011, proved to consist of separate, overlapping transparent pictures, dramatically

A few surprises awaited visitors to Pierre Huyghe’s show “Influants” even before they entered the gallery. The evening of the opening, for example, there was a little crowd assembled at the entrance: People were being allowed to enter only one at a time. A young man standing guard asked each visitor his or her name. And as soon as the visitor discreetly answered, he opened the door to admit the guest, announcing his or her name in a loud voice. It was certainly a bit embarrassing to be presented as one of the attractions—at least until it was the turn of the next guest to suffer the same

To describe Mario Pfeifer’s A Formal Film in Nine Episodes, Prologue & Epilogue, 2010, in a formal manner, as the work’s title suggests we should, one would have to say that it involves slow-paced action, sweeping camera movements, a diversity of real-world sounds, frequent swatches of vivid blues, and intermittent yellows. Shot in 35 mm on location in Mumbai, the footage has been transferred to digital video. In this, Pfeifer’s first solo gallery exhibition, four screens presented the work’s ten short sequences—not eleven, as the title might indicate—which, with their consistent