Eyes-towards-the-dove features special coverage on Gallery Weekend Berlin, 2013 by Grégoire Blunt
and Emmy Skensved.  I  met Grégoire and Emmy last year at dOCUMENTA (13) while sunning myself
on the veranda of an opening night party. Since the art world is incredibly small, it just so happened that
Emmy was covering the expansive exhibition in Kassel, Germany for Whitehot Magazine
(dOCUMENTA (13) Sound Words, Jun 2012) whom I also occasionally write for. We hit it off on both a
professional (having similar artistic tastes and views) and personal level. I have since visited their gorgeous
Berlin based live/work space several times and wrote about Emmy’s artwork here. I am honored to have
them contributing to the journal and hope you enjoy the coverage as well. xoGallery Weekend Berlin was held April 26th – April 28th, 2013 and featured 51 galleries and 51 openings.
As most of the world now knows, Berlin is teeming with contemporary art and artists, below is a selection
from the openings and events that recently took place.

Gallery Weekend Berlin
by: Grégoire Blunt and Emmy Skensved

Max Eulitz @ Satellit Berlin

This was one of the most curious objects we came across on the entire Gallery Weekend. During the
boom years shortly before the financial crisis, a wave of mediocre commercial galleries opened their
doors in poshly renovated warehouses behind the Hamburger Bahnhof. Almost as fast as the Prosecco
ran out, they were gone. Now the bulldozers have arrived and the entire lot is set for demolition. In the
context of this boom to bust locale, it seems fitting that recent art-school graduate Max Eulitz made a
most curious dumpster find: a discarded carpet-piece by artist Sarah Morris, left behind no doubt in the
speedy exodus. Salvaging what he could from the heap, a strip of carpet was cut out and given new
life as a bench top and finally exhibited in what will probably be the location’s last exhibition. It was
initially disconcerting to see how one day’s luxury goods can be discarded so quickly, but ultimately,
Eulitz’s piece is a positive affirmation of a creative cycle that continuously adapts and re-invents itself.

Marie-Luise Marchand @ Satellit BerlinJudging by the fact that several of the artworks in the above-mentioned group show were almost
completely trashed when we visited the morning after the opening, it looked like it had been a good party.

Aleksandra Domanovic @ Tanya Leighton
With “The Future Was At Her Fingertips” Aleksandra Domanovic explores the contributions that
women have made to the development of prosthetic limbs, Cybernetics, the Internet and virtual reality.
The 3D-printed sculptures of artificial hands placed throughout the gallery not only recall this lengthy
history but also point toward future possibilities.


Barbara K. Prokop and Niels Betori Diehl @ Deutsche Bank KunstHalle

On the absolute periphery of the art world, was the second installment of the Deutsche Bank’s
‘KunstHalle,’ a massive 24-hour group exhibition open the anyone ‘artistically inclined’ and willing
to contribute a wall-work. The thinly veiled marketing campaign proved so successful that hundreds,
possibly thousands, of artists stood in the cold in up to three hour long queues to drop off their work,
evidencing a popular need for creative expression in a public setting. In the overwhelming wash of
images, the above-pictured piece managed to point out the futility of expression and protest from
within the well-defined parameters or confines of an external institution.

United Visual Artists @ Photography Playground


Jeongmoon Choi Photography Playground

Sponsored by a large camera company, ‘Photography Playground’ featured an impressive 7000 square
meters of exhibition space. Despite the company’s heavy-handed marketing strategy, a few artists’ works
managed to hold their own. Both Jeongmoon Choi and United Visual Artists used light to create
spectacular and immersive spatial environments.


Jon Rafman @ Future Gallery
Jon Rafman’s show at Future Gallery presents a series of objects that evoke questions about the motivation
and methods used for archiving information. In this exhibition he combines both old and new technologies,
transferring information from the digital to the material and vice versa. What results are objects, like the
antiquated slide carousel projecting images from Google Street View, which bind the virtual and the actual,
the contemporary and the outdated, and create a strange hybridized form.

Oscar TuazonSchinkel Pavillion
Using common building materials Tuazon constructed a series of sculptures that effectively played off
the challenging octagonal shape of the pavilion. Dividing the space into sections using drywall, metal
beams, glass, mirrors and fluorescent lights, he created an architectural intervention that re-routed the
traffic flow and transformed the pavilion. With the DIY quality of the construction and the introduction
of window blinds and doors, Tuazon’s work lent the pavilion a human scale, making it feel more like a
domestic space than an exhibition venue.


Rachel Niffenegger-Tinder @ Club Midnight

A bone-like armature stands in the middle of the gallery with an incised gauzy painting draped on
top. In the corner hang a series of similar fabric pieces that the artist exchanges with the central work
over the course of the opening. A make-shift table sits nearby, presenting an array of trinket-like
objects. Rachel Niffenegger-Tinder’s work eludes easy categorization, straddling painting and sculpture,
fashion and art, exhibition and performance.

Jessie Holmes and Trevor Lee Larson @ Kurfürstenstrasse 1414

During Gallery Weekend, the second storey of Douglas Gordon’s new complex was taken
over by students from Frankfurt’s Städelschule, for an evening of performance.
Most captivating was a collaboration between Jessie Holmes and Trevor Lee Larson.
Holmes’ silent film of scenes without characters was accompanied by a live score written
and performed by Trevor Lee Larson. Reminiscent of a Kenneth Anger film, this piece was

entrancing and offered viewers a much-needed break from the white-cube gallery shows.


Trisha Baga @ Société

In Trisha Baga’s installation at Société empty paint buckets, drop sheets and other forms of debris were
strewn around the gallery. In amongst these props stood vertical screens with projections of art works in
the process of being made. What’s more, these projections required polarizing 3D glasses for proper
viewing. Looking through the glasses, the videos came alive, appearing to jump off the screen into the
gallery, competing with the real objects that surrounded them, creating a mesmerizing collision of real
and illusionistic space.

Thanks again to Grégoire and Emmy.
More soon!