• Sergej Jensen, Untitled, 2011, pastel on canvas, 19 5/8 x 19 5/8".

    Sergej Jensen

    Galerie Neu | Mehringdamm

    To many, the work shown in Sergej Jensen’s exhibition “Master of Color” must seem like a radical act of refusal: painting that celebrates its own absence. The predominantly large and midsize pictures exhibited here consist chiefly of various fabrics, often of several different types, that have been sewed or appliquéd together and then stretched on wooden frames or slats. Painting in the strictest sense is used only sporadically, and is often a minimal, almost incidental element. For viewers familiar with Jensen’s art, this will come as no surprise: He has been working for years on similarly

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  • Viktoria Binschtok, World of Details (balance + white woman), 2011, framed color photo- graph 27 x 22 1/2“; ink-jet print on MDF plate, 7 x 10 1/4”.

    Viktoria Binschtok


    With the advent of Street View, Google introduced a new logic––if not a new language––to photography. Artists swiftly responded by using this massive image map as a site for appropriation as well as an inspiration for artistic forms and functions. “World of Details,” Viktoria Binschtok’s contribution to this fruitful dialogue, fluidly incorporates the merits of the new technology and supplements a parallel constellation of images of the artist’s own creation. The Russian-born, Berlin-based artist’s appropriated images derive from 2009, two years into Street View’s history, and depict people on

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  • Sofie Bird Møller, Untitled, 2011, collage on steel engraving, 10 1/2 x 8".

    Sofie Bird Møller


    There are artists you go on referring to as painters even when they produce works without a lick of paint. One such artist is Sofie Bird Møller, who has now created an installation composed of thirty-three collages, each Untitled (all works 2011). No paint to be found anywhere here, but there are but plenty of allusions to paintings. The collages are based on reproductions of paintings by Raphael, Giorgione, Dürer, and others in a nineteenth-century catalogue of the collection of the Alte Pinakothek in Munich. Taking these black-and-white engravings as her raw materials, the artist added color

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  • View of “Anna K.E.,” 2011.

    Anna K.E.

    Figge von Rosen Galerie | Berlin

    “Gone Tomorrow”—the exhibition title alone says a lot. Only the future can determine what happens in the past. All the longing and nostalgia we project onto yesterday can come face-to-face with all the utopian ideas of a brighter—but why brighter?—tomorrow. Nowhere in the tradition of Western art has the idea of utopia been more concretely expressed than in the realm of architecture. From Claude-Nicolas Ledoux and Etienne-Louis Boullée at the time of the French Revolution to Le Corbusier, the ambassador of modernity, architecture has concerned itself with creating spaces for a

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