21 July 2017


© Lindsay Lawson_featured on artfridge.de
“Half-Truths” © Lindsay Lawson

In 2016, American-born artist Lindsay Lawson hosted a symposium on objectum sexuality – a sexual preference in which a person has romantic and intimate relationships with objects. The event was part of her performance “Choreography for Crane”, presented at the site of the Humboldt Forum at the 9th Berlin Biennale. Objects play a central role in Lawson’s artistic practice, which also comprises video, animation, sculpture, photography, print and text. Often her objects appear in virtual settings. At the Thun Ceramic Residency in Bolzano she is currently working on her first clay sculptures.  

24 June 2017


Florian Graf_1 Florian Graf, Verputz oder Beton, Follow the Money, 2009
Single Page from Drawing Book 90, Courtesy the artist

In his sculptures, installations and works on paper, 1980-born Swiss artist Florian Graf explores the way we install ourselves in a changing and transient world. He creates architectural interventions (and solutions) as well as sculptural environments that allow interaction and dialogue. In this interview Florian Graf talks about his passion for drawing and the plan to show his large collection of Drawing Books. 

24 May 2017


Venice Biennale
Erwin Wurm, Ship of fools, 2017, 
Courtesy the artist & La Biennale di Venezia

Responding to a year of political turmoil: of Brexit and Trump; of crackdown in Turkey and of yet more terrorist attacks, this year’s Venice Biennale was meant as a countervailing force. French native Christine Macel set out to curate “a biennale designed with artists, by artists and for artists", wherein art serves as a "last bastion against individualism and indifference”. Lacking an overarching theme, Viva Arte Viva is divided into nine chapters: The Pavilion of Artists and Books and The Pavilion of Joys and Fears in the Central Pavilion of the Giardini; The Pavilion of the Common, - the Earth,  - the Traditions, and - the Shamans; as well as The Dionysian Pavilion; The Pavilion of Colors; and finally The Pavilion of Time and Infinity in the Arsenale. Offering artists loose realms to move within is an intriguing idea, yet its realization often underwhelms. Especially in the Central Pavilion, many works are poorly presented. Frances Starkes' Behold Man! (2013), a strong and detailed 192 x 244 cm collage, is hung in a narrow corridor that prevents visitors from beholding the work in its entirety. Too often the placement of works feels like a compromise, more than a thought through juxtaposition. The nine chapters, with their promise of openness and free space, can come to feel clichéd and banal.

9 May 2017


Philip Grözinger_Courtesy SEXAUER_Photo Marcus Schneider_artfridge7
Philip Grözinger, Courtesy Galerie SEXAUER, Photo © Marcus Schneider

Set in an utterly dystopian landscape, the paintings of Berlin-based artist Philip Grözinger reveal an imaginative universe full of little machines, wired robots and rainbows. In this universe, human beings have become uniform, balloon'ish creatures, whose protective gear turn them into hybrids between man and machine. Despite their desolate setting the images do not convey any disillusion, but they are oddly light-hearted, poetic even, and a bit sarcastic at times. Since years, Grözinger has worked on different unnamed characters and scenarios of this phantasmagorical world, creating an infinite row of sci-fi sequences and visions of our "future archaeology." In our conversation he explains where his inspiration stems from.

24 March 2017


5_Kate Strain Kate Strain. Image courtesy Renato Velarde

Following the direction of Krist Gruijthuijsen the jury of Grazer Kunstverein in Austria chose the Irish curator Kate Strain as his successor. Before moving to Graz last year, the 1983-born realised several interdisciplinary projects, mostly exploring the role of performance and performativity in today’s artistic practice. Among others, she has recently developed exhibitions at the Project Arts Centre, Dublin and the rural art space Cow House Studios, Wexford, Ireland. In Graz we talked about the concept of her first exhibition at the institution and her curatorial vision for the Grazer Kunstverein.

16 March 2017


Existing_Things "Exiting Things", performance, video, acrylic paint on canvas, COCO, Vienna, 2010 © Christian Falsnaes, courtesy of PSM, Berlin

It is both fascinating and terrifying to participate in a performance by Christian Falsnaes: the 1980-born Danish artist commands exhibition visitors to follow his demands. They ought to dance, to hug, to scream, or even to paint his paintings. And, quite surprisingly, no matter how much they expose themselves and no matter if they actually enjoy doing as they are being told, people usually follow his order. Using the spectators as his artistic material and manipulating group dynamics with painstakingly planned scripts, Falsnaes' enthusiastic and insisting persuasion moves crowds who seem to willingly follow his authority. Performative elements are, however, only one aspect of his practice, which also includes collages, drawings, sculpture and painting, which Falsnaes originally studied in Vienna. Having just moved from Berlin to New York, we spoke about his studio practice, the authorship of his works and his general desire for utterly human gestures.

23 February 2017


“To Make You Feel Comfortable” (Video still) © Julia Weißenberg

In her video “Nothing to Retain” from 2014, Julia Weißenberg investigated how much impact an architectural design from decades ago could have on the present. The site and the subject of the work is the architectural model of clubhouse for a golf club in Krefeld founded in the 1930s. The 1:1 scale model was built after 2013, to a hitherto unrealized design by Mies van der Rohe. Julia Weißenberg, who graduated from the Academy of Media Arts in Cologne in 2012, has been broadening her range of topics throughout the past 2 years, by moving from visionary architectures to the utopias of city planning.

14 December 2016


Standard_Tokyo1 Standard_Tokyo2 Tokyo HILTON hotel room and view in "Standard" © Roger Eberhard

Not many encounters between hotels and art have been so thoroughly and meticulously executed as Roger Eberhard's recent photo project "Standard". The book of the Swiss artist juxtaposes a room and the corresponding view of 32 international HILTON hotels on each double page. The location is first revealed by the end of the book. A publisher himself (bfrankbooks.com), Eberhard has a particular eye for the printed image, and uses repetition to force the reader of his book to discover patterns, familiarities and 'standards' in the hotel room. Having previously created other photo projects on hotels, we spoke about his relationship to dwellings and housings, and about "Standard".