Manfred Pernice’s exhibition “blubber(t)” opened in a room filled with wooden boxes of varying sizes stacked one on top of the other like pyramids, lacquered in solid-white blocks and lines of colors such as turquoise, fluorescent lime green, and deep purple. Positioned on these were knickknacks: a brass elephant, a Captain Bluebear figurine, and a seagull ornament. Some boxes, left unpainted and unstacked, looked more like crates; others had scenes from the African plains stenciled on them, complete with animal silhouettes, trees, and sunsets. The grouping seemed to evoke civilization and imperialism, popular culture, and historical trade routes that channel the flow of goods and people.
In the next room, two sculptures, Coca Cola and K+K (2) (all works cited, 2012), looked like enlarged versions of those flattened crates in the first room, within which internal grids have been
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