You are walking through the imposing halls of a courthouse when you notice, glimpsing through the portholes in the court doors, that all the judges are women.
Berlin Art Week – a five-day platform for culture centered around two art fairs – became a strange lens through which to view the city and its people. For this reason, film and photography initially stood out – uniquely capable of showing people to one another, with some measure of nuance and complexity.
Krist Gruijthuijsen opened his first season as director and chief curator at Berlin’s KW Institute for Contemporary Art with works by the South African artist Ian Wilson (b. 1940) and three correlated solo exhibitions by Hanne Lippard, Adam Pendleton, and Paul Elliman.
Art Without Death: Russian Cosmism, at Haus der Kulturen der Welt in Berlin, comprises a film trilogy by Anton Vidokle, an exhibition of Russian avant-garde curated by Boris Groys, and a new installation by Arseny Zhilyaev to brings us straight into the visual and philosophical depths of Cosmism.
A small crowd of people is entering a freight elevator, the backstage entrance to an empty, gray, linoleum-coated floored space. The performance begins to unfold through the movements of some dancers interspersed in the crowd, who become identifiable by their subtle motions.