Meeting the tremendous spatial demands of König Galerie, a former cathedral in Berlin, is the immensity of Helen Marten’s labour. The effort put forth to collect, build and present her work filled me with awe, and relief. This wasn’t going to be just another quick romp. When encountering Marten’s installation, you might first embrace the intense overall structure. But then the body follows the eye inside the work, into the infinite realm of small things and materials, which seem equally recognizable and strange. The installation is comprised of three sections, or rooms or environments. However, not one of these terms is accurate as they seep into each other in proximity and the way that objects found first in the “bathroom” later reappear in the “garden,” and again in the “workshop.” Marten’s colour palette is one of fairy tales: cream, peach, lavender, aquamarine, camel, yellow and white, all of which render an anthro-poetic tale of sociocultural development from the perspective of someone who has a special relationship to language and form, art and craft, and the real and imaginary. Keep Reading
Mika Rottenberg’s eccentric visual narratives use video and sculpture to create relations among seemingly unrelated economies, collapsing space, time and subjectivities. In her exhibition “Bowls Balls Souls Holes” at Sprueth Magers in Berlin, Rottenberg investigates the cyclical nature of luck under the auspices of capitalistic culture. Featuring her signature eccentricity, the exhibition analyzes and reveals the patterns of production and consumption while confusing the boundaries between interior and exterior. Keep Reading
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