reviews

  • Adrian Piper, Everything #5.1, 2004, gold leaf on Plexiglas. Installation view, KW Institute for Contemporary Art. Photo: Timo Ohler. © Adrian Piper Research Archive Foundation Berlin.

    the 9th Berlin Biennale

    Various Venues

    ADRIAN PIPER’S WORK Everything #5.1, 2004, installed in KW Institute for Contemporary Art for the Ninth Berlin Biennale, is a hole excised in a wall in the shape of a tombstone. A Plexiglas sheet is installed over the gap, printed with the text EVERYTHING WILL BE TAKEN AWAY. The phrase is adapted from a passage in Aleksandr Solzhenitsyn’s 1968 novel In the First Circle: “Once you have taken everything away from a man, he is no longer in your power. He is free.”

    The title Everything #5.1 suggests that the “everything” that constitutes a person can be continually revised and updated, like software.

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  • Ketuta Alexi-Meskhishvili, Invisible Majority (Eliza), 2016, ink-jet print, 17 1/2 × 21".

    Ketuta Alexi-Meskhishvili

    Galerie Micky Schubert

    Part of the unconventional beauty of Ketuta Alexi-Meskhishvili’s photographs lies in their blurring of the boundary between medium and motif; her approach to representation is intimately bound up with the inherent characteristics of the photographic medium. The artist generally works with analog technology and large-format cameras, but she also integrates digital techniques into her compositional processes. Having studied with Stephen Shore in New York, she is fully conversant with the methods of analog color photography: From operating the camera to manipulating the negative and negotiating

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  • Andy Hope 1930, Who Goes There 1, 2016, acrylic and synthetic resin lacquer on canvas, 23 5/8 × 19 5/8". From the series “Who Goes There,” 2016.

    Andy Hope 1930

    Galerie Guido W. Baudach

    Satanic imagery has proved inextinguishable in the paintings of Andy Hope 1930, from the black disk with horns that dominated Silent Running, 2005—a heavy-metal twist on Malevich’s Black Circle, 1915—to his latest show, “Black Fat Fury Road.” Twelve of its sixteen canvases, numbered excerpts from the series “Who Goes There” (all works 2016), were predominantly black, oppressively lacquered, and typically brightened only by pairs of small ruby-red triangular glyphs that read, just about, as horns glowing ominously in the surrounding glossy darkness. The paintings easily tilted toward

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