Ali Fitzgerald

From this Author

Maryna Baranovska and “Madame Oktopus”

Madame Oktopus is both the name of Maryna Baranovska’s solo exhibition at AJL Art in Berlin and her folk-alter-ego.  The title painting looms large over the exhibition space on Potsdamerstr. and alludes to the entire show’s genesis; a collection of paintings birthed with thick impasto confidence.  Like a lot of Baranovska’s works, Madame Oktopus, occupies the strange and cool split between narrative construction and painterly[.....]

The Berlin Biennale 2012

To transport an Occupy movement to the sanitized dominion of a museum is, as my art historian friends would say, problematic.  This year’s incarnation of the Berlin Biennale (the seventh) has thus far received anemic reviews, with some hinting at real vitriol.  The exhibition is partly as curator Artur Zmijewski envisioned it; full o’ problems.  In interviews Zmijewski offers cryptic monologues about equally cryptic solutions.[.....]

Evil Dead 2 at Horton Gallery Berlin

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  Horton Gallery, with its evocatively titled two-person show Evil Dead 2, pays homage to Romero’s glorious second stab by exploring expansive and ever-mutable revision.  The setup seems sitcom-like; two artists and friends from Brooklyn display their process-heavy paintings shoulder to shoulder in a kind of Oscar/Felix cohabitation.  Matt Jones is deep and celestial (the messy one), while gallery-mate Kadar Brock aims towards a final[.....]

You Killed Me First: the Cinema of Transgression at Kunst-Werke

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You Killed me First (1985), one of Richard Kern’s longer films starring David Wojnarowicz and Lung Leg, could be read as a clear teenage allegory of the Cinema of Transgression itself.  A girl (Lung leg) bristles at the religious directives of her parents, asserting her right to personhood outside demure hairstyles and turkey dinners, constructing voodoo dolls and entertaining other manners of dark drawing in[.....]

Utopia, Romance, and “Young Art” at the Hamburger Bahnhof Museum

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This winter the Hamburger Bahnhof’s exhibitions are (mostly) devoted to artists influenced by utopian architecture, a decision made to coincide with Tomás Saraceno’s Cloud Cities, an investigation into sustainable living that borrows heavily from the language of visionary architects and futurists like Buckminster Fuller. Saraceno’s “biospheres” are fun, enormous and inviting, with long lines of art-goers waiting for a moment of awkward repose over the Bahnhof’s hangar. [.....]

Thumb Cinema – Amy Sillman at Capitain Petzel, Berlin

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Amy Sillman’s new suite of paintings at Capitain Petzel are large and spatial, with an airiness well-suited to the glass paneled façade of her new Berlin gallery. Sillman’s latest canvasses still have the brute gestural force of a paint-conjured “id,” but also possess a kind of nimbleness and play alluded to in the exhibition’s title, Thumb Cinema.  Her palette is quiet, with lavender and forest[.....]