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2020

09.12.2020-30.01.2021

Babysteps into Masochism
Emanuel Layr
Vienna, Austria

10.09.2020-07.11.2020

Fate of a cell / Η Τύχη ενός Κυττάρου
Martinos
Athens

19.09.2020-31.10.2020

Ice to Gas
Pedro Cera
Lisbon

11.09.2020-17.19.2020

Various Others
Sperling, München
Munich, Germany

09.11.2019-08.03.2020

R.M.M. Rockefeller Center
Rockefeller Center
New York, NY

09.11.2019-08.03.2020

L’homme qui marche
Kunsthalle Bielefeld
Bielefeld, Germany

2019

27.09.2019―26.01.2020

My Fetish Years
Museum für Gegenwartskunst
Frankfurt, Germany

11.01.―16.02.2019

Germanic Artifacts
Bortolami
New York, USA

2018

13.10.―22.12.2018

Positioner
Matthew Marks
Los Angeles, USA

15.05.―21.07.2018

THEMOVE
Emanuel Layr Gallery
Vienna, Austria

03.03.―13.05.2018

An Idea of Late German Sculpture; To The People Of New York, 2018
Kunsthalle Zürich
Zürich, Switzerland

09.03.―22.07.2018

Between The Waters
Whitney Museum of Art
New York, USA

17.03.―28.04.2018

Embrassade
Fons Welters
Amsterdam, Netherlands

2017

19.01.―08.04.2017

Year Of The Monkey
Galerie Emanuel Layr
Rome, Italy

28.04.―30.07.2017

SCHREI MICH NICHT AN, KRIEGER!
Schirn Kunsthalle
Frankfurt, Germany

09.04.―30.05.2017

Vertical Gardens
Antenna Space
Shanghai, China

03.06.―03.09.2017

Die Kommenden
Sprengel Museum
Hannover, Germany

14.09.―25.10.2017

in awe
Kunsthalle Exnergasse
Vienna, Austria

06.2017

Art Basel Parcours
Art Basel
Basel, Switzerland

2016

07.06.―11.09.2016

Outrageous Acts and Everyday Rebellions
Kaufmann Repetto
Milan, Italy

28.01.―27.02.2016

RUN, RUN, RUNWAY
Golsa
Oslo, Norway

27.02.―26.03.2016

Heartbreak Highway
Real Fine Arts
New York, USA

17.06.―27.08.2016

My History of Flow
S.A.L.T.S.
Basel, Switzerland

04.07.―16.09.2016

fat center trash land 1―7, 2016
Small scale Sculpture triennial Fellbach
Fellbach, Germany

09.09.―05.11.2016

Fieber
Emanuel Layr Gallery
Wien, Austria

04.07.―16.09.2016

In Bed with M/L Artspace
9th Berlin Biennale
Berlin, Germany

03.12.2016―12.02.2017

Available Light
Kunstverein Braunschweig
Braunschweig, Germany

2015

2015

Surrounding Audience
The New Museum Triennial
New York, USA

09.2015

Emerging Artist Fellowship Exhibition
Queens
New York, USA

26.02.―04.04.2015

Looking at you (revived) again
Off Vendom
New York, USA

28-05.―16.05.2015

One step away from further Hell
Vilma Gold
London, UK

23.11.2015―08.01.2016

National Gallery 2―Empire Map
Chewday’s
London, UK

22.02.―05.04.2015

The problem today is not the other but the self
MINI/Goethe-Institut Ludlow 38
New York, USA

2014

09.05.2014-19.07.2014

Warm Math
Balice Hertling, New York
New York

05.2014

Frieze New York
Frieze Art Fair at Randall’s Island
New York, USA

02.05.―07.06.2014

Bloomington: Mall Of America
Bortolami Gallery
New York, USA

27.04.―01.06.2014

YES, I’M PREGNANT
Skulpturen museum Glaskasten
Marl, Germany

22.03.―17.05.2014

Geburt und Familie
White Flag Projects
Saint Louis, USA

08.―09.2014

Piracanga Freedom?
Two Hotel, Piracanga Beach
Bahia, Brazil

06.06.―14.08.2014

Chat Jet (Part 2), Sculpture in Reflection
Künstlerhaus KM
Austria

06.06.―03.08.2015

Revelry
Kunsthalle Bern
Bern, Switzerland

13.09.―18.10.2014

DIE
Parisa Kind
Frankfurt, Germany

2013

14.12.2013-08.02.2014

Soft Wear
Sandy Brown
Berlin

24.02.―21.04.2013

From One Artist To Another
Kunstverein Wiesbaden
Germany

13.09.―18.10.2013

On Thomas Bayrle
The Artist’s Institute
New York, USA

05.2013

The Doors
Skulpturenpark Köln
Köln, Germany

27.06.―09.08.2013

Freak Out
Greene Naftali Gallery
New York, USA

27.09.―09.11.2013

Love of Technology
Museum of Contemporary Art
North Miami, USA

2012

05.02.2012-22.04.2012

Hang Harder
Neuer Aachener Kunstverein
Aachen, Germany

12.2012

Lena Henke: First Faces, book launch at Karma Books, New York
Karma
New York, NY

01.06.―29.07.2012

Core, Cut, Care
Oldenburger Kunstverein
Germany

14.09.―21.10.2012

H․ H․ Bennett, Lena Henke and Cars
1857
Oslo, Norway

2011

15.06.―07.08.2011

Andrei Koschmieder puts
Real Fine Arts
New York, NY

23.04.―18.06.2011

Schlangen im Stall, “snakes in the barn”
Galerie Parisa Kind Frankfurt
Frankfurt am Main, Germany

2010

05.2010

WIR UEBER UNS
Neue Alte Bruecke Frankfurt
Frankfurt am Main, Germany

08.2010

you have four eyes, (First ladies)
V 8
Karlsruhe, Germany

10.2010

Scandinavian blonde
Mousonturm
Frankfurt, Germany

28.11.2009 - 23.02.2010

Stone Temple Playground Collection
Kornhauschen Aschaffenburg
Aschaffenburg, Germany

28.11.2009 - 23.02.2010

Tokyo Hotel und deine Mutter
Literaturhaus
Frankfurt, Germany

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28-05.―16.05.2015
One step away from further Hell
Vilma Gold
London, UK





The new and newer bodies of work shown by Marie Karlberg and Lena Henke at Vilma Gold are provocatively ‘feminine’. Less on display, though, is their recourse to a determined, hypostasized anger. I’m not sure the duo would say so themselves; after all, are girls – is anyone – allowed to admit to anger anymore? And would such an anti-productive disclosure preclude activity?

The femininity in question is not the perpetual fecundity in nuce of a Venus of Willendorf, which may nonetheless be invoked by the bulbous, vulvar motifs of Henke’s hoof-like sculptures; there is a certainly a displaced repression in their Freudian — Anna’s — nod to girls’ horses. There is some trash, too: the way the city washes itself.

Neither is such ‘femininity’ enclosed by the flatness and washing-way of another contemporary vulgate: the figuration of post-authentic selfhood. Karlberg’s twenty Ikea mirrors are embossed with graphics – of the renaissance motif of Death and the Maiden; or of the artist’s naked body, if it can still be said to be hers. In these mirrors, strolling as through a salon, we glimpse in passing Henke’s urban obelisks, which recall physical dividers of personal space in those areas that are private/public (Starbucks). These have a surprising effect of domesticized, solid tar.

Is there a gradually ossifying fontanel on view? Karlberg’s flush, inflamed series of watercolors is a bestiary of men and monsters depicting states of corporeal derangement. Charged, Boccaccian, grotesque, odalisque, these tableaux New-yorkais are neutralized in part, though, by their cool mounting on black rubber, then packaged in turn in a gelatinous transparent plastic. ‘Are you – Nobody – too?’; ‘Who’s the Bosch here?’

Is it impudent to mention the prickly empathy of a nail salon? Yes. Then again one speaks of mirrors with an impunity that is the hallmark of sterilization. Some tubes are tied. Karlberg and Henke’s works are dual, and speak to conjoined hair, Rosemarie and a metaphorology of cloven hoofs. Leaving the room, or evading the discussion, the cigarette-smoking viewer is delivered back to his solipsism, speaking on Bluetooth or shouting at himself.



‘Á une Passante’

When the flights and projects began, I counted myself both lucky and deserving. No one said anything, nobody middled. I came to see this as a lack of comment, commitment. Eureka, Europa. Little did I know I was being coaxed into what in the turbulent 2040s would be termed ‘Lumpenprekariat’.
Arriving in London on a late, post-pilot flight, I found the tube closed. The island region was interminably unnavigable and empty in the most hostile manner. I asked a red bus driver how to get to the undeservedly and mercilessly far region of C– where I was to stay. My collaborator was not answering; this was before iMessage; he was asleep. The driver suggested I might be better convenienced by finding a nearby hostel. There was one by the British Library.
Longly I wandered the empty tubular streets toward the fleet-footed urn of sleeping books. I came upon a smoking woman and asked her where the library is. – You do know it’s closed, she said cleverly. She was an illustrator who lived in H–. It’s not like that, she said to her male roommate on the phone while we rode the bus back to her flat.
After I woke up gratefully and mercifully on her couch, her roommate served me tea, and the subject of conversation turned to his front teeth. They had recently gone missing, been punched out on his way to work by a fast cyclist on his own way to work. The roommate was calm and quaint and normal about it, serving me English breakfast in their illustrative garden. The possibility of kindness. I never saw either of them again.
This was before cruelty became algorithmic, incarcerated or invisible. I like to tell people stories about stupid/coincidental actions, or bad or failed experiences, to remind them that such lapses were once possible, and that their disappearance is not desirable, either. Kindness is possible. Yes, I am Christian. My answer to the suggestion that all should enter an economy of communicability, sex or money (exchange) – a libidinal economy – is ‘no.’ Whether you can meaningfully separate such an attempt from that economy is a different, though interesting, question.
Centuries earlier, the suicide Josef Kramhöller (A.W.M.) was in Hell. During and before this he photographed his finger grease on the windows of upscale London boutiques to express he was angry and invisible. A slight (sic) of hand. Why vilify that anger? Aught such anger be excised, like the roommate’s teeth, or might we angels distinguish between two kinds of hell?

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