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Jozef Robakowski LOKAL_30 Can an artistic practice developed in resistance to--or maybe simply out of disregard for--one ideological system prove equally defiant in another? The answer is a resolute yes [...]

Joachim Bandau GALERIE THOMAS FISCHER Joachim Bandau is nearly eighty, his Berlin dealer very young by comparison. Agewise, they are not the only unlikely couple on the city's art scene. [...]

Those in power--or those striving for it--often resort to the force of images. Art historian Martin Warnke posits that in the past, rulers might have paid more attention to the [...]

TANYA LEIGHTON GALLERY Let Anita Bryant be muted. Yes, I admit that deep down in my heart, the image of Bryant, singer and notorious campaigner against gay rights, taking a [...]

BERLIN Anna Oppermann GALERIE BARBARA THUMM Any one of Anna Oppermann's 'ensembles' is something like a woman-made big bang. Originating in a physical and conceptual nucleus, it expands in space [...]

It may seem far-fetched to describe a visit to a Conceptual art exhibition as an Alice in Wonderland experience. If the effect of Heinrich Dunst's show was somewhat dizzying or [...]

Why are we so in love with the art of the 1960s and '70s? Maybe because in our times of nostalgia and ironic detachment, it promises to satisfy a very [...]

Robin Bruch MATHEW Objects in this exhibition may have been more complicated than they appeared. Robin Bruch's prosaically titled exhibition 'Major Works on Paper (1972-1985) II' looked like yet another [...]

BERLIN Ruth Wolf-Rehfeldt CHERT When a political system collapses, many an artistic practice goes down with it. This is obviously the case for those who were affiliated with the ruling [...]

GALERIE THOMAS SCHULTE Austrian writer Robert Musil's most famous character, the 'man without qualities' known to readers only as Ulrich, spends an entire novel stumbling through .the year 1913. a [...]

There was a lot of ancestor worship at Gallery Weekend Berlin this year. Showing the likes of Gordon Matta-Clark (at Galerie Thomas Schulte), Philip Guston (Aurel Scheibler), or Lynn Chadwick [...]

LUDWIG FORUM FOR INTERNATIONALE KUNST Nancy Graves is probably best remembered for her life-size, ostensibly realistic camel sculptures. When, in the late 1960s, iiber-collector Peter Ludwig discovered his passion for [...]

SUPPORTICO LOPEZ How to write about Henri Chopin? How to do justice to an artist who devoted himself to the purification of language? How to honor beautiful, brilliant works when [...]

There's always a lot of Rodney Graham in a Rodney Graham show. In 'Rodney Graham: Canadian Humourist,' however, we often seemed to be seeing the artist unmasked, even though he [...]

GALERIJA GREGOR PODNAR Vadim Fain makes art. 'Well,' you might ask, 'so what else is new?' As empty as the statement may sound, it really encapsulates Fgkin's practice: His objects [...]

GALLRIE THOMAS FISCHER So they still exist, these miraculous little shows in Berlin's galleries, when, for a little while, commercial spaces shake off the unbearable lightness of the mercantile world [...]

'The back of magic' is what writer Diana Evans calls that area of the theater behind the stage where, as she says, the black hat and the rabbit are stored. [...]

The article characterizes the works of German artist Judith Hopf who uses humor and the concept of stupidity in her installation art particularly in addressing social and political issues and behavioral norms.

The article discusses censorship and freedom of speech in contemporary art in reference to moral and religious values of western as well as Islamic society. Other topics mentioned in this article include the relationship of democracy and arts, the ban of showcasing several art objects due to their alleged violation of religious values, as well as the German constitution.

The article discusses a quote from the book "Komar & Melamid," by Russian-born American conceptualist artists Vitaly Komar and Alexander Melamid, which says that irony is a mystery, which is distinguished from the general Western post-modern era view. A discussion is also presented on Arnold Böcklin's painting "Toteninsel," or the Isle of the Dead, which the article considers to be of the best known examples of such a economically motivated self-variation. Examples of other paintings such as one of Lenin proclaiming the Soviet power, which is available in several versions. Also, each version differs from one another.

The article reviews the art exhibition "Szpula energetyczna" featuring works of artist Józef Robakowski held at the art gallery Lokal_30 in Warsaw, Poland as of January 2016.

The article reviews an exhibition on German artist Joachim Bandau titled "Joachim Bandau - Figuren und Geräte" at the Galerie Thomas Fischer in Berlin, Germany.

The article reviews the art exhibition "Rosta," which will feature window designs and artworks by various artists and artisans including Amshei Niurenberg and Aleksandr Rodchenko, held at the Galerie Thomas Flor in Düsseldorf, Germany, in early 2014.

The article reviews the exhibition "Tatsächliche Vermutungen" (Real Assumptions), featuring the works of Peter Piller in Berlin, Germany in 2011-2012.

The article focuses on the fifth edition of ART-KYIV Contemporary fair in Kiev, Ukraine in November 2011. It notes the host of the Mystetskyj Arsenal Cultural-Art and Museum Complex on the Ukraine Biennale in 2012. It mentions the aspirational scheme of the Arsenal in launching a new museum which features both contemporary art and exhibits from the country's past. It also states the plan of businessman Victor Pinchuk in creating a private museum in the country.

The article reviews the 2016 exhibition which features Anna Oppermann's installation "Paradoxe Intentionen," comprised of paintings, photographs and drawings, among others, at the Galerie Barbara Thumm in Berlin, Germany.

The article reviews the art exhibition by Charlotte Posenenske held at the Mehdi Chouakri gallery in Berlin, Germany.

The article reviews a 2015 art exhibition by Robin Bruch at Mathew in Berlin, Germany.

The article reviews an exhibition of typewriter works and one video by German artist Ruth Wolf-Rehfeldt titled "SIGNS FICTION" at the art gallery Chert in Berlin, Germany.

The article reviews an unnamed art exhibition that featured various sculptures and other works by the artist Friedrich Teepe, held at the Arratia Beer gallery, located in Berlin, Germany, in 2014.

The article reviews the exhibition "Installation Leck," featuring the works of artists' collective FORT at Galerie Crone in Berlin, Germany.

The article discusses issues related to the art scene in Berlin, Germany, including the city's mayor, Klaus Wowereit's initiation of an art exhibition, artist Artur Zmijewski's role as the curator of the 2012 Berlin Biennale, and observations on the relationship between art and politics in the city.

The article reports on the development of art fairs. Before, art fairs are plain and simple events. Recently, contemporary art markets, in particular, tend to be keen on participating in and shaping the art debate, and more fairs are turning into all-service providers, complete with panel discussions, lounges, performances, events and the special exhibition.

The article reviews the exhibition “Dalmine (and other industry extract-arrangements),” by artist James Beckett at the Lüttgenmejer gallery in Berlin, Germany from September 5-October 4, 2008.

The article highlights the developments of several art galleries in Berlin, Germany. Art collectors Gisela Capitain and Friedrich Pretzel have teamed up to open a new gallery in Karl-Marx Allee. Philomene Magers and Monika Sprüth galleries which are operating across Germany have also made a joint venture to branch out in the region.

The article reviews the exhibition "Change" featuring installations by Claire Fontaine at Galerie Neu in Berlin, Germany.

The article profiles artist Annika Ström. According to the article, her videos, low-fi songs document and sentimental pop songs are seldom exalted in art galleries. Ström has released an album "The Missed Concert," which features several interviews of people who have missed her very short performances. It is stated that her championing of losers is an act of resistance in a power-oriented environment.

The article reviews the exhibition of the works of Manfred Kuttner at Johann König Gallery in Berlin, Germany.

The article highlights the art galleries and other places that art lovers can visit during the Berlin Biennial on May 2-4, 2008 in Germany. Art enthusiasts can make a tour at Neue Nationalgalerie, one of the biennial's venues, and they can check out the exhibition "Gebrochener Zahn" at Kreuzberg's Mehringdamm 72. Visitors who want to have a break from the arts are suggested to visit Tempelhof Airport, Café St. Oberholz at Rosenthaler Platz and Karl-Marx-Allee.

The article reviews the exhibition of the art installation "Untitled," by Danh Vo at the Brandenburgischer Kunstverein in Potsdam, Germany.

The article reviews artist Omer Fast's video installations titled "The Casting" at the Arratia, Beer gallery in Berlin, Germany from October 27 to November 30, 2007.