032c is excited about Berlin Gallery Weekend—it’s the event’s 10th anniversary! Here are our recommendations:
Sprüth Magers Berlin
Philip-Lorca diCorcia – Hustlers
Between 1990 and 1992, Philip-Lorca diCorcia, funded by a National Endowment for the Arts fellowship, made multiple trips to Los Angeles to scout locations, invent scenarios, and ultimately find male prostitutes that would agree to pose for his camera. The last task proved to be the easiest—diCorcia simply used his fellowship money to pay the men whatever price they charged for their most typical service—and ultimately prompted a complaint of misuse of government funds. The resulting series, today called Hustlers, was both a breakthrough for the artist and a key episode in the now familiar mode of photography that occupies a semi-fictive space between street and stage. The historical specificity and taxonomic impulse of the project are declared in the title of each photograph: the subject is identified by his name, age, place of birth, and the money he received for agreeing to pose.
Christian Rosa – Love’s Gonna Save The Day
Just after CFA’s successful pop-up store, the gallery on Museum Island is opening two shows. The group show Maximalism is a provocation against the today’s oversimplification of references to minimalism. Not an affront to minimalism, it’s against an art business that is increasingly determined by trends. Brazlian painter CHRISTIAN ROSA’s solo presentation, Love’s Gonna Save the Day, is all about beginnings (and false impressions). The first signs of movement are his medium. Everything appears as if in a raw state, be it the “gray matter” of the canvas or the whole range of possibilities it offers: color as stain, line as trace, form as clear symbol, square, squiggle, point or moment, made of a single quality, like a word of one syllable – everything remains on the initial level of formulation and participates only in this “preliminary form.” Basquiat comparisons have already been made.
David Ostrowski – Emotional Paintings
“The future is bright for Ostrowski.”
“I imagine going into the studio. A neon sign hangs on the wall flashing the word ‘surprise.’ When I ask myself who painted my own works, I know it’s a good painting,” says DAVID OSTROWSKI. “The whole world and life itself is a big mistake. But of course the world also has its beautiful parts and sometimes life can be pretty fun—sometimes!” The Cologne-based artist has become known for his spare, sullied canvases that negotiate between abstraction and expressionism, willful awkwardness and accident. Ostrowski (b. 1981) completed his studies under Albert Oehlen at the Kunstakademie Dusseldorf in 2009, the year he also lost almost every painting he ever made due to a devastating electrical fire. For the upcoming summer issue of 032c, Ostrowski juxtaposed a series of works with archival images he’s collected for source material.
Amy Lien & Enzo Camacho – Who Do You Love?
It’s difficult to imagine a scenario of impossible exchange, now that data has become the global general equivalent. Artists Amy Lien and Enzo Camacho will play multicultural diplomat. But whose power does this serve, really? If connectivity defines the paradigm that continuously disappoints, perhaps it’s because we forget that a point of contact is also a point of separation. To view a wall begs the question of how you stand in relation to it. Who do you love?
Ned Vena – Menace II Société
Ned Vena once said, “To make two separate paintings from one gesture was an attempt to embrace the feeling that I was making the same painting over and over again. To diffuse the unique and singular results of the individual works and create two objects from an individual process.” See the American artist’s solo show at Société in Schöneberg.
Robert and Trix Haussmann, Friedrich Kuhn
ROBERT and TRIX HAUSSMANN are a Swiss architectural duo in their eighties, best known for their “manierismo critico” approach to interior design, and recipients of the Swiss Confederation’s Grand Prix Design in 2013. FRIEDRICH KUHN, who died in 1972, was both a celebrated painter in Zurich’s circles and a renowned troublemaker, notorious for complicating the lives of his neighbors. The three were friends, but their work has never been shown together.
Galerie Daniel Buchholz
Lutz Bacher – Homer
LUTZ BACHER’s work is disturbing, humorous, and heartbreaking. She shows a new suite of 14 photographs and sculptures in one of three parallel shows (the other two having already opened in Buchholz’s Cologne spaces).
Cory Archangel – Dances For The Electric Piano
The Berliner Philharmoniker presents the German premiere of CORY ARCANGEL’s Dances For The Electric Piano at the Berliner Philharmonie. The composition will be performed solo on a Korg M1 electric piano—a technology famous for its use in classic rave / trance piano from the late 1980s to 2000s.
Galerie Isabella Bortolozzi
Wu Tsang – A day in the life of bliss
New York-based artist WU TSANG presents a 2-channel film entitled A day in the life of bliss, which simultaneously explores cinematic and performative narrative. The film follows BLIS (played by Boychild), who inhabits a “near future” world in which our social media avatars and online personas developed their own hive-minded consciousness called LOOKS. BLIS is a celebrity-collaborator by day and underground performer by night, who discovers her ability to challenge the Looks. It’s a melodrama with sci-fi genre tropes and body politic. On Saturday, Boychild will perform at Chesters at midnight, followed by Nguzunguzu, Lotic, and KABLAM.
Michael Sailstorfer – Antiherbst
For the fourth exhibition in the former St. Agnes Church, MICHAEL SAILSTORFER has chosen to large-format project a tree immediately in front of the former altar-area in the central nave. Alluding to the epitome of Nature, it’s also about the limitation of objects. The tree on view was laboriously maintained bynSailstorfer and his team over several weeks during the autumn. The tree shed the first of its leaves, these were conserved, dyed green and re-attached with thin cable ties. This long-term performance was documented on film and post-edited so as to eliminate those sequences in which the ongoing work-processes were visible. In Sailstorfer’s words, the result is “only the image of the tree, whose leaves change, move, and seem ever more unreal and artificial, but, in contrast to the trees in the background, do not fall to the ground.”