The first impression one got from Jean-Pascal Flavien’s exhibition “Ballardian House” was of having entered an artificial reality that was a mirror image of our own. The large-scale ballardian four, 2015–17, for instance, with its cleanly traced forms and precise economy of space, at first appeared to be a house, but its function is more sculptural than architectural. By incorporating textual elements—short passages from the work of the British writer J. G. Ballard—into the piece, Flavien opened up yet another space to the imagination. Put generally, Flavien paraphrased and abstracted

Built in a Brutalist style, the former Saint Agnes Church that is now the König Galerie is anything but a neutral gallery space. The hanging paintings on the high walls of its nave can easily, perhaps too easily, bring out any spiritual aspirations the works may harbor. Norbert Bisky wisely—and humbly, even if some of his paintings appear to be the opposite of modest—chose to resist this temptation. The twenty-six works in this show, “Trilemma,” were presented on three double-sided walls of increasing size, designed for the occasion and placed zigzag in the nave. This arrangement seemed