Anna-Sophie Berger at JTT

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Berger's exhibitions look like group shows, filled to the brim with objects inconsistent. If outward appearance needs consistency to "make sense," if fashion is meant as an expression of its subject, the wearer, we could draw a line from Berger's fashion discourses earlier to now: a breakdown in objects ability to communicate its subject, artist or wearer - the artistic object itself sediments its subject as an appearance - in Berger's denial of "sameness over time" - or pretty much any artistic "signature" - that thing that undergirds identity, instead the river carves new course with each exhibition amassed to the brim with disconnection and forcing a sort of refusal of the usual sense, resist the easy corralling that similarity would invoke, a person of many fabrics.


See too: Amy Sillman at Sikkema Jenkins, Darren Bader at Sadie Coles, Adriana Lara at Algus Greenspon

Anna-Sophie Berger at MUMOK

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Coming from a Bochnerian indexical or Kosuthian ontological fashion design to now what is firmly looking like art: diaspora of objects, parabolic playthings, affected benches, weight-pinned jester, Frankenstein's hat, warbled whites, set peas, objects admitting nothing but a clue like game of whispers across things. It's a fun game if you got someone to play along with, otherwise you're just sending words across space, luckily Berger seems well-attended so the objects get the attention. Ten art experts invited seventeen artists to apply, an international jury consisting of mumok director Karola Kraus, Georg Kapsch, CEO of the Kapsch Group, Eva Birkenstock, director of the Kunstverein Dusseldorf, Yilmaz Dziewior, director of the Museum Ludwig, and Stephanie Weber, curator for contemporary art at the Lenbachhaus Munich, selected the artist Anna-Sophie Berger as the first prizewinner of this new art prize.