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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

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

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 found inside was enchanting: Sealed into the gallery by a translucent white curtain were forty canaries, of different varieties, darting around the space, creating sudden bursts of movement as they swooped and soared in groups, performing their own kind of choreography, among the objects on

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