I spent the weekend in Berlin.
So today I am a man of few words.
Luckily I am a man of pictures.
Here’s some stuff from a few of the shows I saw there.
First up, the extraordinary Pictures, Before and After – An Exhibition for Douglas Crimp, at Galerie Buchholz.
It honours the life of Douglas Crimp, an American art historian, curator and activist who is celebrating his 70th birthday.
The show brings together art and artefacts of those he has touched.
A lithograph by Agnes Martin.
Crimp curated a show my Martin in the 1970s.
In the same room, TII-338 by Daniel Buren.
Crimp was working at the Guggenheim in NYC when Buren’s monumental Peinture-Sculpture was removed from the central atrium, before the opening of a show titled Guggenheim International Exhibition, in which it was meant to be included.
Some installation views of Peinture-Sculpture.
Crimp worked with Charles James.
The show includes two of the sketches by Antonio Lopez of Charles James’s work.
They are called Ribbon Cape Drawing 1 and 2 from 1974 – I can’t remember which is which.
In the next room, a monitor is playing Trisha’s Wedding by The Cockettes.
The opening titles.
It’s a 30-odd minute long reenactment of the wedding of Tricia Nixon from 1971.
Among the guests are HRH Queen Elizabeth.
Prince Charles copping off with Mick Jagger.
Eartha Kitt was a special guest.
The Kennedy Sisters performed a special number.
That’s Jackie in the white in the middle.
The service is a joy.
Then Eartha Kitt goes and puts something in the punch before the party.
I watched it all the way through.
Before me, some other guy had done the same.
Half an hour in headphones stood by a screen.
Here’s a trailer.
On a screen nearby, film of Robert Smithson’s Spiral Jetty.
In a vitrine nearby, bound Ellsworth Kelly lithographs.
And so it continues.
Alvin Baltrop’s photo of Pier 52 – Gordon Matta Clark’s Days End building, with a naked man just visible in the doorway.
Another work by Alvin Baltrop.
Arnold Schwarzenegger at the Whitney Museum’s performance series Articulate Muscle: The Male Body in Art, from 1976.
So much more stuff.
The show is incredible.
It’s on until 31 October – go go go if you happen to be in Berlin, click here for more etcetc.
Douglas Crimp has a memoir out next year too – super exciting.
Let’s move on.
A new show by Mike Bouchet has just opened at Peres Projects.
It’s titled Power Lunch.
This one’s Uptown 2.
World Legend 2.
Teachers and Students.
Kim K. Jacuzzi.
Then over at KW, there’s an insanely unbelievable new work by Ryan Trecartin made with his longterm collaborator Lizzie Fitch.
IT’S SO GOOD.
There’s a main film over a few different screens in a cinema room with the seats taken out.
In their place are camper beds and the like.
My camper bed was really comfy.
The film seems to be about them not believing they’re able to roam in this building at night, that they should get in the elevator, where the snacks are, and then whether you call shit “poop”.
As well as three million other things.
Some pics from during the film.
At one point they were in a room of tents.
OMG only a week or so till Lizzie Fitch and Ryan Trecartin open at the Zabludowicz collection in London.
One more show.
Colourbox: Music of the group (1982-1987).
It’s at Wolfgang Tillmans gallery Between Bridges.
The first in a series of exhibitions giving a dedicated space to the playback of recorded music.
As in, you go into a room, sit in a chair, and listen to music on super high spec equipment.
In this instance, the work of Colourbox.
It was so amazing.
I never listened to Colourbox as a kid.
I only went as far as Pixies on 4AD.
But it’s the sort of music that probably sounds better as an adult anyway.
Posting YouTube clips of the songs played would kind of defeat the object.
There are three songs on a loop.
looks like we’re shy one horse/shoot out; sleepwalker; just give ‘em whisky.
The show is on until 25 October – go if you can.
Wolfgang has also put together and designed a CD of sixteen tracks only available at the show.
I saw him later that night.
He said he chose three tracks for the show rather than play the whole 16 to make the experience easier.
Or at least I think that’s what he said.
It was very late at night.
Here’s the CD.
I’m listening to it now.
Thank you, Berlin.