Berlin’s gallery-run annual exhibition, Art Berlin Contemporary (abc) has an altogether different feel to many of the fairs on the circuit. 2016 highlights include Erwin Wurm, Kenny Scharf and Markus Selg.
This year’s abc is an altogether quieter affair than last year, taking up one instead of two of Station Berlin’s large spaces, and featuring just over 60 galleries. This change in scale has been one of the most talked-about aspects of the fair. Sitting between the enormous events of Basel and, Frieze and FIAC on the annual calendar, the different structure of abc and the surrounding Berlin Art Week, Berlin Biennale and many show openings around the city can feel like a relief. While the size of the fair has decreased, the majority-German galleries have plenty of space each to show their single-artist shows.
Erwin Wurm is a definite highlight with König Galerie, his wibbly-edged Curry Van sitting at the back of the space behind some expectedly pervy-looking sausage figures and phallic gherkin sculptures. Across the way, the fruits—or breads—of Ryan Estep’s recent wheat-growing experiments are displayed at Dublin’s Ellis King; husks of wheat, final loaves baked from his produce, and mushroom-like sleeves of the winter jackets he wore in his Brooklyn studio while the project went on.
Just behind, Kenny Scharf’s installation with Galerie Hans Mayer beckons people in; crammed floor-to-ceiling with neon objects (telephones, spaceman figurines and televisions given the same vibrant coating as their neighbouring and less recognisable forms), there are definite elements of Enter the Void to it.
Markus Selg’s Primitive Data is proving a hit with visitors, a vibrant green screen with roaring flames projected onto it, which also captures the shadows of those who move behind it—some unsuspectingly as they cross through, others, queueing to pose for an iPhone snap. Despina Stokou has rifled through her friends iPhones for her works at Berlin’s Galerie EIGEN + ART, using the most used symbols (obviously aubergines feature highly) in paintings that eventually appear rather sinister, a mass of knives, smilies, guns and blood red hearts.
