Elmgreen & Dragset, Katharina Grosse, Jeppe Hein, Camille Henrot, Alicja Kwade, Michael Sailstorfer, Tatiana Trouvé, David Zink Yi
Found Object (Balance), 2016 | Courtesy: KÖNIG GALERIE and the artist
More often than not, there’s a befuddling narrative in the highly artificial photographs of Annette Kelm. Her use of patterned textiles reveals an unguarded interest in the stylistic developments of our post-industrial era, and often, a veritable smorgasbord of references are put on the table. Her technique is so precise, however, that it’s easy to make an alliance with the photography employed by advertising. But in Kelm’s hands, the bland genre is turned on its head. Photography, as Kelm would have it, is a means of capturing her most bizarre and fascinating outlook.
Claudia Comte is best known for her site-specific installations featuring wooden sculptural forms, set against graphic, abstract wall paintings or custom made plinth structures. Comte creates a unique system for each new body of work so that every piece relates to the particular space it is installed in. Despite such regimented schemes, Comte’s pieces are imbued with a sense of playfulness, humor, and irreverence, puncturing the solemn atmosphere connected with minimalism. The well-known work of the Swiss artist is featured here in the Chapel of St Agnes, a former Catholic Church constructed from 1964-67 in the Brutalist style by architect Werner Düttmann, whose other notable buildings include the Academy of Art in Tiergarten.
This year for the first time, St. Agnes’s garden is open to the public. The garden is divided into several parts, with unique vegetation chosen to create a special mood in each section. Titled “Gartenschau” (Garden Show), the exhibition focuses on the medium of sculpture, with works by Elmgreen & Dragset, Katharina Grosse, Camille Henrot, Jeppe Hein, Alicja Kwade, Michael Sailstorfer, Tatiana Trouvé, and David Zink Yi.
The work of neo-expressionist artist K.H. Hödicke is exhibited at the gallery on Dessauer Strasse. Interestingly, it’s the same place that served as the artist’s studio when Germany was still divided. Representing the artist’s urge of examining West Berlin’s urban environment, especially the Potsdamer Platz which is within view of the gallery, Hödicke’s paintings lyrically depict the city’s transformation during the GDR era.