The Vienna-based artist, who brought solo show Growing Horns to New York’s Ludlow 38, has written an accompanying exhibition text from her studio over a period of time, but always in the present tense. It is made up of fragments that construct or acknowledge the construction of living, being in a studio, listening to things around her, sitting “in the yard catching the last sun rays trying out a little bit of ‘outside’, when actually everything in this yard is a fake outside”. She occasionally ties in moments of pop references like leaving her “preference for Tina Turner” at home, and noting that: “Kim and Kanye, I know you are tired of loving of loving with nobody to love”.
It’s a lonely and conscious existence wrapped up in noticing the ephemerality of everything on the one hand, and on other taking the time to write it all down.
This will be the form of one of the works in the Prince of Wales, a video made of short clips recorded over more than two years on a phone camera, reached via an iron ladder. The second part, on the ground floor will contain Berger’s sculptural work.
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