I first heard about the photographer Tobias Zielony from my doctor, who told me to write my master thesis in art history about him instead of Dutch photographer Rineke Dijkstra. He considered his approach to photographing young people, also the main subject of Dijkstra, to be more interesting. Despite me rejecting my doctor’s suggestion, Zielony stayed in my mind since this conversation and naturally I was interested to see his new work Jenny Jenny exhibited at Berlinische Galerie. The just recently finished series portrays different women, without any of them being clearly identified as _the_ Jenny, in what supposedly is their working and living environment. The photographs quickly identify them as sex workers, many of them are taken at night or in artificial, often deep red light, many of them semi- or completely nude, posing for the camera. Additionally, their job is mentioned in the press text to the exhibition.
I went to Venice to attend the opening of the 2013 Biennale last week, and despite the dreary weather and the long lines in front of everything of interest, I’m already planning to go again in two years. Nevertheless, the exhibition “Il Palazzo Enciclopedico” in the Arsenale and the Central Pavillon, that was curated by Massimiliano Gioni, and the more than 80 participating countries with exhibitions in the Giardini and in spaces spread all over the city, is still on view until November and should be a must-see for everyone interested in contemporary art. See my personal best-of here:
First, I have to tell you that you won’t actually be able to visit this location just anytime. I’m still telling you about it, because I want you to know about this place and be aware of how good it is just so next time they open, you’ll be the first to get there. It’s the studio of artist Michel Majerus, who died in 2002 in the Luxembourg plane crash, and left a stunning oeuvre telling a lot of stories about Berlin, the 90ies and even today.
Many words come to mind when you try to describe the new Anish Kapoor exhibition that opened at Martin-Gropius-Bau last Friday: spectacular, impressive, sensational, amazing, are only a few examples. All of these expressions have a special connotation and a second meaning when you dig a little deeper into their origins. All of these expressions also perfectly describe the experience of being inside this reinvented museum space, but leave you asking whether all of this is might be a little bit too much and a little too, well, spectacular.
It’s not easy to make a good documentary film about an artist. In the case of Evelyn Schels’ Georg Baselitz too little distance and too much admiration leave too little space for an unbiased audience approach. In the case of Marina Abramović: The Artist is Present, we are basically watching Abramović perform herself, which makes Matthew Akers’ and Jeff Dupre’s film portrait an entertaining PR-vehicle for the artist, but not an original documentary film.