• Joachim Bandau, Der Späher (The Spy), 1974, glass-fiber-reinforced polyester, lacquer, anodized aluminum, iron wheels, 87 3/4 × 21 3/4 × 33 1/2".

    Joachim Bandau

    Galerie Thomas Fischer

    Joachim Bandau is nearly eighty, his Berlin dealer very young by comparison. Agewise, they are not the only unlikely couple on the city’s art scene. It seems as if the younger generation has been gradually discovering elder or even recently deceased artists with hitherto modest curatorial or commercial recognition. Just recently, Daniel Marzona even opened his gallery with the work of Bernd Lohaus (1940–2010), more famous as a gallerist (Wide White Space, Antwerp) than as a sculptor.

    But what motivates these alliances? Clearly not the allure of a household name. In some instances, a mature oeuvre

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  • View of “Pictures, Before and After – An Exhibition for Douglas Crimp,” 2014.

    “Pictures, Before and After – An Exhibition for Douglas Crimp”

    Galerie Buchholz | Berlin

    At a time when influencing artists’ exposure is one of the few powers left to a writer, the artist list for an exhibition in Douglas Crimp’s honor read like a testament to his point of view. The checklist of more than thirty artists, whom Crimp has variously written about, curated into exhibitions, worked for, or befriended, placed Joseph Cornell, Marcel Broodthaers, and Agnes Martin alongside Charles James, the Cockettes, Antonio Lopez, and others. Comprising hours of video, many pages of text, and dozens of artworks, “Pictures, Before and After – An Exhibition for Douglas Crimp” was organized

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