Wiesbaden, Germany

Julian Eicke and Thomas Bo Nilsson, Betreutes Leben Ezzelino Live Cams (Assisted Living Ezzelino Live Cams), 2018. Performance view. Carlotta Monty Meyer. From the Wiesbaden Biennale. Photo: Jeva Griskjane.

Wiesbaden Biennale

Various venues

Julian Eicke and Thomas Bo Nilsson, Betreutes Leben Ezzelino Live Cams (Assisted Living Ezzelino Live Cams), 2018. Performance view. Carlotta Monty Meyer. From the Wiesbaden Biennale. Photo: Jeva Griskjane.

New York has drugstores in old movie palaces, Detroit has its grand parking lots. For the duration of this exhibition, the provincial German city of Wiesbaden had a drive-in theater in its principal theater, as well as a fully functioning supermarket in the building’s neo-Baroque foyer. Deli refrigerator units, fair-trade coffee, fruits, vegetables, and in-store advertising partially obscured the grand room’s oil paintings, stucco, and ornate mirrors. This installation wasn’t credited to an artist but was commissioned from the supermarket chain REWE by Maria Magdalena Ludewig and Martin Hammer, curators of “Bad News,” the second iteration of the Wiesbaden Biennale, a ten-day-long hybrid of theater and art. A relational-aesthetics readymade, the store served as a theatrical performance created from the rituals of everyday life, playing out the endgames of both the ideology of

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