If you’re going to make a day out of visiting Berlin’s newly reopened galleries, I highly recommend bookending your stops with ’s
double bill at Barbara Wien
and Daniel Marzona. At the very least, consider making the three-kilometer trek from one space to the other by foot. Taking its name from the descriptions of Morse code signals, “Dits Dahs” interrogates the notion of structural magic. Much like Morse, can one object originate in one place, but be transported to another?
Through a series of ersatz wires hooked up to generators, Canell creates her own sonic codes. In Daniel Marzona’s space near Friedrichstrasse (a point in the history of divided Berlin that served as its own portal), five of these wires vibrate at different frequencies, aided and hindered by objects like pistachio shells, press-on nails, tiny bolts, pennies, and pull tabs. One jingles, another chatters, still another resonates at a low purr. Where are the impulses triggered by the generator sent? Barbara Wien is home to four additional cables, some bearing similar trappings, others kitted out with twigs, string, tinsel, and receipts. Each carries its own name, a sort of NATO phonetic alphabet that relies on Negative Hair and Semi-automated Skink Tail (both 2020) in place of “Roger” and “Wilco.”
Barbara Wien also houses several more pieces as part of the series including works incorporating organic clay (Gurgler
,both 2020), rain drains, or fiber-optic board cabinet doors. Like any
work, the beauty of Canell’s pieces is experienced in person, in the present moment.