Among the new abstract sculptures in Vincent Fecteau’s exhibition in Berlin were the largest that the artist has made until now. They are even bigger than his wall-mounted works exhibited at greengrassi in London in 2010, but all of these new painted sculptures sat on pedestals––three smaller-scale ones (all Untitled, 2011, and previously shown at last year’s Whitney Biennial) on standard rectangular plinths and four larger ones (all Untitled, 2012) on tabletops. The materials—such as foamcore and cardboard—and manageable scale of Fecteau’s previous, similarly displayed works led them

Rudolf Zwirner, legendary gallery owner, art dealer, and curator, and Dorothea Zwirner, art historian and author, regularly use their private residence in Berlin-Grunewald to put on (public) solo shows of younger artists. They recently picked Natalie Czech, in whose poetic conceptual photographs image and word subtly dovetail. For this show, the
artist selected works from her series “Hidden Poems,” begun in 2010. Nine pieces in various formats were distributed among several rooms in the house, sometimes displayed in discreet proximity to works from the couple’s private collection.

“Hidden Poems”

For his exhibition “Durchsicht” (Vista), Thomas Florschuetz selected seven photographs from several different series, yet perspective played a central role in all of them. Also, many involved a tension between a monumental aesthetic and everyday reality (or functionality). In Untitled (Wonder Valley) #01, 2010, for instance, the open facade of a ruined building reveals a small window with a view of a mountain landscape, a glimpse of scenic beauty in an otherwise unprepossessing picture. Here, perspective makes the image appear less real; actual depth is compressed and hence reads as abstract.