The conceptual underpinning of these works has partly grown out of a specifically German architectural context. The exhibition is titled “D 13088,” after the artists’ shared studio building in Liebermannstrasse’s postal code—rooting this work in a physical location and space.
“Everything here is too large or too flat, too distant or too close,” wrote George Diez in a Der Spiegel article that summarized Berlin’s failure to creatively approach urban planning, in which he offered an emotive if grim description of the German capital. “Here, they can only manage vacant lots and demolitions. This was a garrison town; here was the Kaiser, and here was the war. Nothing is light and lively; everything is somehow off the mark.” Yet this analysis of the city is also interesting in how it reflects on artistic inspiration. The sometimes brutal landscape of prefab postwar East German buildings and lingering wasteland lots provide a different backdrop for considering ideas around spaces and objects.