• View of “Marc Camille Chaimowicz,” 2014. Foreground: Manfred Pernice, Parkstück 6, 2010. Background: Marc Camille Chaimowicz, works individually titled and dated.

    Marc Camille Chaimowicz

    Galerie Neu

    Marc Camille Chaimowicz usually imagines interior spaces for human inhabitation; for the exhibition “Forty and Forty,” he instead created an environment for “free-range” canaries to inhabit. The installation incorporated two works each by Klara Liden and Manfred Pernice alongside several of his own. As I approached the gallery—situated in a stark concrete building in the courtyard of a typical Berlin Plattenbau (a kind of housing block built from prefabricated concrete slabs) in Mitte—I was drawn toward the space by the high-pitched birdsong that rang through the open door. What I

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  • Jay Chung and Q Takeki Maeda, untitled (detail), 2014, paper, 8 1/4 × 11 3/4".

    Jay Chung and Q Takeki Maeda

    Isabella Bortolozzi Galerie

    There wasn’t much to see in this exhibition: just four works spread throughout the gallery’s three rooms. The first was Monika (all works 2014), a large, rough-hewn stone, set on a mantelpiece; the second, Ulrike, the silhouette of the interior space of an arch, cut from a sheet of rubber; and the third, down the corridor past the offices, a color woodblock print with pastel-colored wood grain, titled Lena. The names represent three generations of women: Monika, the wife of the legendary Düsseldorf gallerist Alfred Schmela; the couple’s daughter Ulrike; and their granddaughter Lena Brüning (who

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  • View of “Park McArthur,” 2014. From left: Black & White Plaid Commode, Breakfast Commode, Pink Love Commode, Calvin Klein Commode (detail), 2014; Passive Vibration Isolation 4, 2014.

    Park McArthur

    Lars Friedrich

    Park McArthur’s exhibition “Passive Vibration Isolation” needed just three straightforward elements to broach a topic both urgent and far-reaching. In Lars Friedrich’s new, though perhaps temporary, ground-floor space, five loading-dock bumpers hung on the walls surrounding five steel stands draped with pajama pants. Extending a narrative concerning access that McArthur had already introduced with “Ramps,” her widely acclaimed exhibition at Essex Street in New York last year, “Passive Vibration Isolation” looked at the interaction between a body and the environment it inhabits. Here, access led

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