REVIEWS

/ STEFAN HEIDENREICH
View of Sherrie Levine’s “15 White Moonlight Paintings,” Jablonka Galerie, Cologne, 2016.
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Stefan Heidenreich

A church, before being appropriated for something beyond its original purpose, needs to undergo a ritual called “profanation.” The procedure is a sort of reverse engineering of the initial consecration. What once belonged to a god is handed back to human life. “And if ‘to consecrate’ (sacrare) was the term... continue reading
View of KwieKulik’s “The Monument Without a Passport,” Žak | Branicka, Berlin, 2016.
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Stefan Heidenreich

Resistance is a two-sided relation. It may also include more players, as we will discuss shortly. But losing its counterpart puts it in a difficult place. All political art has to deal with this dialectic entanglement. In 1976, artists Zofia Kulik and Przemysław Kwiek were summoned to the Polish Ministry of... continue reading
View of Bojan Šarčević, "In The Rear View Mirror,” BQ, Berlin, 2015.
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Stefan Heidenreich

For this show, knowing too much before seeing may not be helpful, and may even spoil your viewing experience. Bojan Šarčević is an artist who doesn’t like to wrap his art in too much information. Objects and works are supposed to stand for themselves. At his show at Berlin’s BQ,... continue reading
Reena Spaulings, Later Seascapes 7, 2015.
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Stefan Heidenreich

We are all told again and again that in a more or less distant future, machines will take over—either in the form of an inverted big bang, a type of singularity, or over the course of a gradual transition. Even creative jobs will not be safe from the robot’s omnipotence.... continue reading
View of “Let The Body Be Electric, Let There Be Whistleblowers,” Dan Gunn, Berlin, 2014.
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Stefan Heidenreich

There is a problem facing the history of media: that time can not be represented independently of the technologies of information. We cannot simply write a historical account of technical inventions, because these inventions themselves structure the temporality of events and processes in our world. This is, at least, according... continue reading
“Semiotics of the Kitchen. What Happened After”

STIGTER VAN DOESBURG, Amsterdam

View of “Semiotics of the Kitchen. What Happened After,” Stigter van Doesburg, Amsterdam, 2014.
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Stefan Heidenreich

When a speech act contradicts what is said, this is called a performative contradiction. In the mid-1970s, the fight for women’s rights found itself in an inconsistency of this kind, when the general logic of gender construction was cast into doubt. By mapping a useless alphabetical order onto kitchen tools,... continue reading

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