September 19, 2014


ABC Berlin / Art Berlin Contemporary 2014 / featured on artfridge / courtesy the artists & galleries / photo © Wojciech Bakowski, booth STEREO, Warsaw ABC Berlin / Art Berlin Contemporary 2014 / featured on artfridge / courtesy the artists & galleries / photo © Analia Saban (Detail), booth Sprüth Magers, Berlin, London ABC Berlin / Art Berlin Contemporary 2014 / featured on artfridge / courtesy the artists & galleries / photo © Luc Fuller, booth Rod Barton, London 
all images: courtesy the artist and the gallery / photos © artfridge / Lars Petersen

Art Berlin Contemporary (in short "ABC) opened its 7th edition last Thursday. The fair – that suggests itself as an art exhibition – has been directed by Maike Cruse for the second time and presents 111 galleries, of which most are based in Germany. Known for offering a big selection of large scale works, ABC continues to show extensive installations and sculptures. Even painters spread out through the exhibition space, such as the up-and-coming American artist Luc Fuller (Rod Barton), who we interviewed this year in June (read the interview here).

September 16, 2014


OLAFUR ELIASSON "RIVERBED" at Louisiana Museum in Denmark / courtesy Louisiana and the artist / © Olafur Eliasson / photo © artfridge & Anna-Lena Werner OLAFUR ELIASSON "RIVERBED" at Louisiana Museum in Denmark / courtesy Louisiana and the artist / © Olafur Eliasson / photo © artfridge & Anna-Lena Werner all images: Olafur Eliasson "Riverbed" at Louisiana Museum, Denmark (20.8.2014 - 4.1.2015) / Courtesy the artist and Louisiana Museum, © Olafur Eliasson / photos ©

It feels like there is hardly a nature phenomenon left that the well-known Danish-Icelandic artist Olafur Eliasson has not approached or visualised yet. For his current outside-in installation "Riverbed" he turned the south-wing of Louisiana Museum in Humlebæk (Demark) into a wet and rocky landscape that embeds a small stream of water floating through three large rooms. The official purpose: a merging of art, architecture and an imitation of nature. But that agenda seems familiar and – let's be honest – has really been done before. The question is: Does the past devalue the work?

September 4, 2014


Ian Homerston_Courtesy and Copyright the artist / and Courtesy Cole Gallery London Ian Homerston_Courtesy and Copyright the artist / and Courtesy Cole Gallery London all works by Ian Homerston / Copyright and courtesy the artist & courtesy Cole London // all photos by Plastiques

The British 1984-born painter Ian Homerston looks at his works as explorations in combinations: Colour, material and form are repeatedly confronted and subsequently withdrawn or reintegrated. Often consisting of photographic emulsion and paint, the works' surfaces at his current show 'Whereas' at COLE in London discuss the issue of temporality during the artistic production. Ian, who studied at the Royal College of Art and the Wimbledon College of Art in London, engages in the exhibition space by using his paintings as to consider their self-reflexivity and site-specificity. In a short interview we asked him about his ideas, his interventions and about how he questions formats, timings and display methods.

August 28, 2014


Nadine Fecht_Courtesy and Copyright the artist_6 Nadine Fecht_Courtesy and Copyright the artist_9 all works by Nadine Fecht / Courtesy and Copyright Nadine Fecht

A couple of years ago, just having graduated from the Berlin University of the Arts as a Meisterschülerin of Stan Douglas and Lothar Baumgarten, Nadine Fecht already proofed that she knows how to play with expectations, disappointment and experience. Her work “53 beginnings” which references John Cage, features 53 beginnings of different vinyl records compiled on one single vinyl pressing. It gathers the pops and crackling right before the first song starts from 53 different sources, the seconds before the first sound appears; the nondescript segment the tone arm needs to cover until it reaches the actual content of the vinyl. 
Nadine Fecht's art is based on “The Practice of Drawing” – which is also the title of a group show she is currently participating in with her work “noise” (2014) at Gallery 5020 in Salzburg, Austria. In the first part of her solo show „adopt a revolution“ at FELDBUSCHWIESNER in Berlin, shown in July and August, she stroke a rather political note. Also her contribution to the exhibition „Money Works Pt. 2“ at the Haus am Lützowplatz – opening on August 29 – has a political implication. It was about time to talk to the Berlin-based artist.

August 21, 2014


EDDIE BERNAYS 9 Katharina Fengler, 'EDDIE BERNAYS 9', 2014, photo by Foort Fotografie / Courtesy and © the artist

What is the difference between being an artist and becoming an artist? Which way is the right one to balance success and individual artistic expression? Is there something like predestination? Berlin-based artist Katharina Fengler can openly discuss and reflect these questions. Holding a degree in Photography from Zurich University of Arts, the 1980-born artist returned to Germany's capital in order to explore different conceptual and cross-disciplinary approaches for her work. Her strikingly colourful art ranges from two dimensional paintings to side-specific installation work. Frequently displayed internationally, Katharina currently exhibits the solo show SWEETNESS at CACTUS Contemporary Art Space in Liverpool and has an upcoming show at BLOK Art Space in Istanbul together with John von Bergen. In our interview Katharina talked about her practice with air-brush and salt dough, her inspiration and why being an artist is a day-to-day decision.

August 12, 2014


Johanna von Monkiewitsch / Studio visit / all works copyright and courtesy johanna von monkiewitsch
courtesy and © Johanna von Monkiewitsch

Having spent a while of her childhood in Los Angeles, Johanna von Monkiewitsch formed a strong sense for light situations and how these influence our perception, our memory and our emotion. Since her studies at the HBK in Braunschweig, where she also grew up, Johanna thus developed a unique technique of capturing and staging elusive compositions of light and shadow. While materiality is a defining aspect of her art, Johanna's works withdraw themselves from any categorisation or stylistic genre: her photographs are sculptural, her folding technique is graphical, her motif is painterly. She employs a formal language that is cleaner than clean, so that small irregularities determine the character of each work, encouraging the viewer to engage in the material's surface. Between the visual rationality and the contextual emotion incorporated in every single work, Johanna continuously challenges the notion of reality and deception. During the interview in her Cologne-based studio, which she received through a scholarship by Kölnischer Kunstverein, the 1979-born artist talked about her practice with paper and photography, her inspiration and her art's resistance to classification.

July 20, 2014


Mark Corfield-Moore_Klasse Neugebauer_UDK_2014 Mark Corfield-Moore (wall object) and Moritz Nehrkorn (sculpture), Klasse NeugebauerAndreas Foncerrada_Klasse Lewandowsky_UDK_2014 Andreas Foncerrada, Klasse Lewandowsky Lisa Peters_Klasse Möbus_UDK_2014 Lisa Peters, Klasse Möbus Gary Schlingheider_UDK_2014 Gary Schlingheider
all  works courtesy and © the artists // photo credit:

How does art reflect current politics? When are old trends replaced by new ones? What do young artists expect from the effect of their work on the spectatorship? Which art is, and which art will be interesting for the market? When hoping to find the slightest answer to any of these questions one of the best places to observe future tendencies are degree shows from art academies. The current Rundgang at UDK (Universität der Künste) in Berlin, for example, offers a pretty interesting overview on what young Berlin-based artists are interested in.