December 20, 2011
By Anna-Lena Werner
Last Friday the Boutique-Raum für temporäre Kunst was packed with a massive amount of people, visiting the Vernissage of "Vor Gott ist alle Kunst scheiße II" - a group show with emerging 22 artists, curated by 1981er and Format:C. It was so packed, that one couldn't even really see the art. Furtunately, there are some installation views, documenting the one-day-show, which was an amazing event - proving that Cologne's art scene is quickly recovering from its Berlin-emigration-trend.
December 8, 2011
By Amy Sherlock
all images Courtesy ShowStudio
Centred on a contextually apt if overly facile preoccupation with the corporeal, the show’s star-studded ranks include Mapplethorpe’s heroic, photographic rendering of the male body as structural form, Leigh Bowery-esque bondage gear from fashion’s enfant terrible, Gareth Pugh, and painter Anj Smith’s darkly surreal portrait, R.F. This is a show about fetishisation, about the overwhelming objectness of the body and its perverse, almost excessive presence.
December 4, 2011
By guest blogger
from above: view to Saadiyat Island, Abu Dhabi Art, Keith Haring $4.5mln work at Galerie Enrico Navarra, UAE Pavillion by Sir Norman Foster
Abu Dhabi Art positions itself as a boutique-sized platform for the contemporary art: fewer galleries and a reasonable size of exhibition space. It is possible to see the entire fair in an hour. Boutique also means the most prominent international art galleries that bring selections of the most popular works by their best artists. This new context had a positive effect on the fair’s programme of talks and exhibitions. This year, the visitors had a chance to encounter iconic art dealers, such as Larry Gagosian and David Zwirner. There was also a wide range of contemporary artists, from the young Algerian star Adel Abdessemed to the market leaders, such as Jeff Koons. The discussion about the position of the Middle Eastern art scene within the global art world that included Peter Sloterdijk and Salah Hassan was another pleasant surprise of this year’s public programme.
December 1, 2011
By Anna-Lena Werner
Hase, Feierlichkeit III, Feierlichkeit II, Feierlichkeit I, Haus, all images produced in 2011, Courtesy the artist and Figge von Rosen Galerie, Berlin
Perhaps, we all share a love-hate relationship with christmas: We start christmas shopping with ambition and thoughts for our loved-ones, but eventually we find ourselves just right in the middle of a capitalistic christmas-hell. The Swiss artist Nic Hess (*1968) temporarily transformed into Santa's Little Helper and now confronts us with this ambiguity. His current exhibition "Season's Greetings" at Figge von Rosen Gallery in Berlin de-mystifies the tradition and even forces a cute hare to hysterically escape the christmas madness through the concrete wall.
The Christmas tree "Feierlichkeit II" is projected onto the wall via an old-school overhead projector and a loop-holed Aldi bag. Therefore, it decodes this comforting and holy symbol literally into something quite flat - simply by juxtaposing it to the discounter-shopping bag. His center piece, titled "House", seems to imitate a ginger bread and, again, plays with symbols of familiar brands. Hess' cynical view, however, doesn't only point at others' stupidity, but rather ironically comes back to himself - or should I say, to his large-scaled noses. Well, Happy Christmas then.