no time for big essays, as usual, but let me share some notes about the event that we announced to you.

Benedikt Braun reminded me of something i heard about last week, the principle in modern architecture to design a house according to a fridge. Femke Dekkers had some twisted new perspectives on the production and reproduction of space basically doubling the production of visuality. The object that Ekachai Eksaroj constructed as an adorned fragment of a pool became a border between the people communicating over it, it became more a border you could step over, more a line than a block. Enrico Freitags aesthetic reminded me of Velazques’ Hilanderas and ringed the bell of #production conditions of feminity, that was one of the central reading lines that i followed in this fair. Oliver Gröne was one of those harder to research because he is not on the artist list on the website, but his forest painting is very distinct in his visuality of layers that you can zoom in, so I found the name quite easy afterwards. With Matthias Hamann I also enjoyed the picture behind the wall, this particular fold under the shoulder juxtaposed to the face evokes a complex and erotic body guesture complementing the faciality. With the little figure carried by her hair or rather by wind getting a grip in the sculpture that is her hair of Volker März it was about production conditions of feminity again for me: the relation of the stability of your haircut to your stability in life (like in the short story by Ingeborg Bachmann in Simultan where her open hair moves free as she flees the shop). Sebastian Mejia had the space topic going also, with all the neat references and jokes in the details of his flat production of a museum. In Karin Michalski’s Alphabet of Feeling Bad it is said: Numbness is a feeling too. Agreed. The most direct thematization of the topic of production conditions of feminity was Hatice Karadağ’s painting of little girl in an ornamental world with her face hidden, riding a sewing machine. One also thematizing hair style as sculpture, but more for the log of recuperations was Ginters Krumholcs’ Martins sculpture. I like that Lea Kutz presentation of a queering of hair styles ignored the beard. There were some attempts to work on the wall as a feature, such as the lettrism of Stefan Lenke, and the tape styles of Jochen Rotteveel (tape graffiti is at the art fair even before tape streetart?). And there were unusable products, like Jürgen Paas’ paper blocks that you cannot tear off because they are art and the heads of Samuel Salcedo that seem to introduce to sit on but, dito.