Since the publication of his essay “Inside the White Cube” in 1976 Brian O‘Doherty has been a key figure in the discourse around the presentation forms of contemporary art. The exhibition “From Electrocardiogram to Rope Drawing” has been conceived to make a representative selection of Brian O‘Doherty’s multi-faceted oeuvre accessible in Germany for the first time. Along with his series “Portrait of Marcel Duchamp”, drawings, prints and various other objects will be shown, all demonstrating the importance of the line in O‘Doherty’s work. For the exhibition Brian O‘Doherty will also create a special installation, a so-called “Rope Drawing”.

Curators: Boris Hars-Tschachotin, Thomas Fischer

Photography has always been a medium of doubt. Where is the boundary between oneself and the other? Where does the border lie, where can it be reinforced, where can it be erased? The group exhibition “Private” features works that distance themselves from the familiar and embrace the unknown. Pictures of objective conquest, family therapy, brief intimacy and political or private mission are created on the street, at home and in the indeterminate locations in between. At times everything is revealed at once, at times almost nothing at all.

With works by Dirk Braeckman, Seiichi Furuya, Jacob Holdt, Larry Sultan, Mette Tronvoll and Tobias Zielony.
Curator: Martin Germann

“Mémoires” is the title of a visual labor of memory that the Japanese photo­grapher currently living in Graz, Seiichi Furuya, has been carrying out since the late 1980s. In numerous exhibitions and artist’s books Furuya combines portraits of his deceased wife with pictures from their travels together and places of residence, and these images are presented in ever changing con­stellations and contexts. The pictures from East Berlin, where Furuya lived from 1984 to 1987, are an exceptional document, featuring a vivid interplay between the private and public, between personal vision and documentary detachment. This is the first time that the artist’s work has been presented in Berlin.

Sebastian Stumpf’s interventions in public spaces are ephemeral and serial, acrobatic and comical. The city is his terrain, from its architectural utopias to its circulatory zones. In contrast to the urban flâneur, Stumpf explores the city through bodily engagement. He jumps over railings, climbs up trees, and throws himself under closing garage doors. In his photographs and video projections, the temporary occupation of space is immediately followed by his disappearance from the image. For the exhibition “Highwalk”, Sebastian Stumpf will create a new site-specific work.