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Art review

Boros Collection #4: Time capsule of contemporary art

Housed in Mitte's most famous bunker, the Boros Collection will remain as is until 2026.

Bunny Rogers. Photo: Boros Collection, Berlin © NOSHE

When compared with the frenetic turnaround of the art world, it’s astounding to think that this latest hanging at the Boros Collection will be staying up until 2026 – you have to feel for the tour guides.

As you would imagine, there is a bleakness to this former Second World War bunker. The lack of sunlight gives the impression that you’re miles under the earth; time stops here, as Alicja Kwade’s sporadically turning clock makes clear.

You’ll be familiar with a lot of the featured artists here, the high-flying Berlin residents bunkering down in this time capsule of contemporary art. At points the walls are a whopping three metres thick, and the rooms roughened textures perhaps encourage the tendency to choose slick, clean, conceptually-tight artworks.

Anne Imhof’s scratched canvases, sound-tracked by crushing death metal chords encapsulate this neat, alchemical material interplay. There are some delightful surprises; Jean-Marie Appriou’s figures are a fairytale in themselves; the crippled mannequins of Berenice Olmedo are exquisitely distressing. Alienation from our own bodies is the theme of this hang, which partly explains Anna Uddenberg’s tedious selfie-loving statues.

Nonetheless, it’s a stylish and well-arranged collection of works that is at its best when it sidelines en vogue names in favour of its own peculiar oddness.

The former bunker on the corner of Albrechtstraße and Reinhardtstraße is home to the Boros Collection. Photo: IMAGO / Reiner Zensen