Umělec magazine 2002/4 >> Berlin List of all editions.
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Year 2002, 4
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Umělec magazine 2002/4


Karel Císař | news | en cs

Arndt & Partner

In his work for Kassel documenta XI, Thomas Hirschhorn occupied himself with thinking about Georges Battaille; this year he devoted his individual exhibition Doppelgarage at gallery Arndt & Partner to the work of Friedrich Nietzsche. Like in the Battaillian series, besides a hybrid sculpture from recycled material — among which this time his landscapes with giant mushrooms and models of railways especially stand out — he also used texts by the young philosopher Marcus Steinweg. They were one of the fundamental building elements of the whole installation.

c/o Atle Gerhardsen

Impressive exposition, whose title Perfect Timeless Repetition was taken from Ellis’ book Glamorama, connected works of artists of different generations and expressive tools. The two extremes of conceptual art showed works by classic Sol LeWitt and young British Ceal Floyer, living in Berlin. She grasped the topic of the exhibition using minute drawing where, using a pen, she wrote “again and” again and again untill complete obliteration The work of Peter Friedl Untitled (Berlin) consisted of the number 68 painted on the wall upside down in reference to the political events between years 1968 and 1989. Michal Majerus, who died last year not even thirty-five years old during an airplane accident, was represented by nine paintings, inspired by the world of mass media. Rikrit Tiravanija made a childishly unskilled attempt of emulation of his handwriting in neon and Liam Gillick who also presented himself in two independent expositions in galleries Schipper & Krome and Max Hetzler II, attached one of his celluloid frames to the ceiling .

Gallery Barbara Thumm

Just before her works are to be included in a group exhibition in Walker Art Centre in Minneapolis, young British artist Bridget Smith prepared an individual exposition for her Gallery Barbara Thumm in Berlin. Like in her previous photographic projects in which she concerned herself with the interiors of cinema halls and Las Vegas architecture, she applies herself here to the analysis of specific virtual environments. The details in the hotel room, changing room in a gym, stylish boudoir, romantic bathroom or race stable clearly reveal that in reality they are scenes for shooting pornographic films.
Karel Císař



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