Contents page 1 — pictures that mean the world page 2 — Tilman Knop, Thorsten Tenberken and Philippe Vandenberg On a page is read Completely from the sockets

Florian Slotawa: Stuttgart views. Deichtorhallen, to 20. January

The exhibition is a joke. But a really good one. The Berlin artist Florian Slotawa borrowed approximately 80 sculptures from the collection of the state gallery in Stuttgart – a polished egg, Ernst Barlach’s stroller, a standing Madonna with child from the year 1500, a bust of Paula Modersohn-Becker, a kneeling Venus in marble, a neon tube work by Dan Flavin – what comes together, when a guard of curators are equipped with the necessary resources. The borrowed sculptures he transported in the Northern of the two Deichtorhallen and arranged them there. The space looks as the works of art would be climbed from the Base and had seen for themselves what was going on. And this of course leads to grotesque scenes: The statues are standing together in groups, some make a Polonaise, Paula Modersohn-Becker looking at a half-naked Venus blatantly on the buttocks. In the rear part of a 25-Meter tube is made of brass, the beginning and the end of infinity by Walter De Maria, around the corner is a Porsche with the brass head of Toni Freeden parked in the driver’s seat.

Slotawa has also made a few custom pieces, such as his OBI-Picasso, a reproduction of the bathers with the utensils from the hardware store. It’s fun, here, through, walk, because you can feel the power of the ideas contained in the works of art, and you do not need exceptionally, worship times. Only the standing Madonna with child looks in the face of this lack of reverence for something lost.
Florian Zinnecker

All tight: This photo of Hong Kong Michael Wolf “Architecture of Density” © Florian Slotawa, photo: Henning Rogge/VG Bild-Kunst, Bonn 2018 Against the egalitarianism

Michael Wolf: Life in Cities. Deichtorhallen, house of Photography, up to 3. March

Hamburg is not a big city. It is impressive to see in Life, in Cities in the house of Photography. The exhibition shows the Work of Michael Wolf, an award-winning press photographer. He has reported for the star from Asia, he became known for his shimmering shots of megacities such as Hong Kong (comes with bacon belt is estimated at 7.4 million inhabitants), Chicago (9.2 million) and Tokyo (38 million).

This article dates back to the TIME no 48/2018. Here you can read the entire issue.

Wolf interested in how people live in these cities and survive as you struggle with the working conditions and their Dignity. For the series The Transparent City, he photographed the glass facades of the office towers of Chicago. At first glance, one sees only smoothness and Shine. However, Wolf is isolated from these architecture views, small Details, which he enlarged so much, that they are to the eye visible in the first place: people who are visible behind the panes of glass. You RUB your eyes, don’t support their heads, happy you. From secretly photographed portraits of the series Tokyo Compression . It shows people who are pushed into the Tokyo subway during rush hour together.

Michael Wolf collects not only pictures, but also objects, urban ready-mades, art from wire coat hangers, Chinese laundries, decorated their previous owner and deformed. From bulk and single-use products were so values objects. It is crooked and unique – claim against the egalitarianism of the megacities. the
Oskar Piegsa

gray full set empty: “Untitled Image” by the Syrian artist Khaled Barakeh © Khaled Barakeh Mediated suffering

Khaled Barakeh: the blue hour. Museum of arts and crafts, to 13. January

it is no Matter how late, in this room day and night are always the same distance from each other. The Moment in between is how this exhibition: the blue hour. It shows a time of Transition, a time of the blur. The view falls on the blue shimmering projections of palaces and landmark. There are the silhouettes of buildings, which are printed in the Syrian passport in the pages, stamped in the collective identity. But the projections on the wall are fleeting, flickering, disappearing. In the passports of the Syrians still existing monuments have long since been destroyed.

Syrian artist Khaled Barakeh brings the reality of the Syrian misery to the Museum. More precisely: In a single space in the Museum for arts and crafts. The exhibition is highly concentrated, many of the works on a little square, almost gets the art of this as something Threatening.

Barakeh studied in Damascus at the Academy of painting, his works have affected to make their origin in the concrete suffering of his people, you, to be without concern of art. Barakeh works with different media, the exhibition brings together sculptures, photographs and installations. And while one wonders whether the blobs of Color on the canvas to remind you, perhaps, to Jackson Pollock, one learns that there is no canvas, but a cushion cover is, in a made-up woman inside was crying. the
Xaver von Cranach