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    • 1
      • Verlag der Buchhandlung
        Walther König

      • Museumsbesucher 1:8
      • MARGRET: CHRONIK EINER AFFAIR
      • Linder: Frau / Objekt
      • Teile
      • I Love You, Stupid
      • Voyeur
      • Elfie Semotan
      • Katalog / Catalogue
      • Light Show
      • All-in-One
      • The Corrupt Show and
        The Speculative Machine
      • The Ancients Stole All Our Great Ideas
    • 2
      • Verlag der Buchhandlung
        Walther König

      • Katharina Grosse
      • Metric, Pedestal, Landlord,
        Cabengo, Recit
      • BE NICE SHARE EVERYTHING HAVE FUN
      • Geschenkpapiere
      • A Smile for You
      • STREIFEN & GLAS
      • Kippenberger! No Cry
      • Hier
      • in My Room
      • Von Aalto bis Zumthor
      • Peter Fischli & David Weiss
      • To Do
    • 3
      • Verlag der Buchhandlung
        Walther König

      • Futurospective Architecture
      • Side by Side
      • Tempo rubato
      • space that saw
      • Lautlos
      • Orlando Orlando
      • Serpentine Gallery Pavilion 2013
      • The Grace of a Gesture - Biennale di Venezia 2013
      • Strippenzieher
      • Phenotype
      • This Hammer Means Business
      • Zeichnungen für lange Bilder
    • 4
      • Verlag der Buchhandlung
        Walther König

      • Good Vibrations
      • Al Araba Al Madfuna
      • Utopie beginnt im Kleinen
      • 800 Views of Airports
      • Whatever Happened to Sex in Scandinavia?
      • AR - Artistic Research
      • Urs Fischer
      • Malerei
      • Livre d'image / Bilderbuch
      • AUF ZEIT. Wandbilder. Bildwände
      • dOCUMENTA (13) Editionen

      NELSON, MIKE

      space that saw

      2012 | 108 pages, hardcover | ISBN 978-3-86335-292-9
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Ramshackle doors and windows, raw steel girders, crumbling walls, dark stairwells and narrow, worn wooden stairs are all that remains of the dilapidated 1920s variety theater that has been rediscovered in Berlin Mitte. It is in these spaces, clearly marked by past decades, that the British artist Mike Nelson has made subtle, narrative interventions. At first they are hard to recognize, but they change the beholder's perception, leading them back to themselves. A carpenter's workshop seems long abandoned and traces of human activity can still be made out, yet this is, in fact, a construct of the artist, just like the spotlit theater stage. The highlight is a fragile light well à la James Turrell, which leads back outside into the Berlin sky, right in the middle of the book.
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