Friedemann Heckel’s new publication is entitled “Konversationen” (Conversations). It consists of 75 drawings created since the start of 2020. The conversations take place both between the bodies, gazes, and gestures of the figures that Heckel invents and from page to page.

Until 29 January we will be showing Friedemann Heckel’s new book and a selection of the original drawings.
The gallery, located at Mulackstraße 14 in Berlin-Mitte, will be open every Saturday, 12–6 pm and by appointment.

„A Mental Masquerade – When Brian O’Doherty was a female art critic: Mary Josephson’s collected writings“ gathers work by art critic Mary Josephson, most of it written between 1971 and 1973.
Mary Josephson does not exist. She is one of the many alter egos of notorious artist and theorist Brian O’Doherty, looking to liberate himself from the intellectual constraints of malehood and the social constraints of the art world. Josephson was a brilliant observer, a witty and fearless writer. Her reviews shed a light on New York’s art scene in 1970s.

Edited by Thomas Fischer and Astrid Mania; published by Spector Books; designed by Saira Hussain and Julia Guther, Studio Workshop.

This publication was made possible with the support of the Schuermann Foundation.

“To eggs and other shells” associatively combines artistic works around the leitmotif of a vessel or container. A sculpture, a piece of furniture, a room, an architecture, or an idea: they all engage in a relationship with the human body or are part of an action and/or a process. They also interrogate classical artistic forms or the relationship between a utility object and an art object.

With works by Joachim Bandau, Charlotte Dualé, Konstantin Grcic, HC, Aglaia Konrad, Federico Maddalozzo, Thomas Schütte and Kathrin Sonntag.

“I dreamed I was leaving on a trip but I forgot my money” serves as a leitmotif of sorts for this exhibition that offers insight into Kasper König’s private collection. The curator never saw himself as a collector, and yet he gathered works of all kinds over the decades: souvenirs and spontaneous purchases, Jahresgaben, exchanged works, and the odd present. In this collection, which emerged en passant, his preference for the conceptual encounters works sometimes with a bizarre sense of humor; unknown artists are placed alongside now established ones. Behind these pictures and objects, which are closely linked to his biography and companions along the way, there are countless tales to be told. The work by Jonathan Borofsky that lends the exhibition its title refers to a moment of conceptual new beginnings and being on the road. By keeping open where the journey might lead, the title also stands for openness and curiosity, which has always been the inspiration for Kasper König and his work.