It’s circa 1960, and some people are once again starting to say painting is dead. In its terminal state, the monochrome, it has transformed into an exercise in rendering space and void. But at the same time, in Sweden, Torsten Andersson (1926–2009) is frantically attempting a resuscitation. His painting Molnen Mellan Oss (The Clouds Between Us), 1966, although not on view at Galerie Nordenhake, lent its name to this exhibition, in testimony to the decisive role it played in concluding a period the artist termed his “struggle for language.”

Among the works on display, Ljuskrona av trä (Chandelier

Alejandro Cesarco’s exhibition “These Days” centered on two recent videos, Learning the Language (Present Continuous I) and Learning the Language (Present Continuous II) (all works cited, 2018), installed as rear projections in the two alcove-like side galleries in the larger of Tanya Leighton’s two Berlin spaces. Each video was accompanied by a photograph, respectively Margarita’s Music Book (Spes Vitae) and Untitled (Double). Problems of language and translation, citation and repetition, have long been central to Cesarco’s work. As suggested by their titles, both videos are concerned with