KOW, Berlin, 29 April – 30 JulyCandice Breitz’s film installations come with the ponderous air of a media-studies department already about them. They roughly divide into appropriated clips of celebrities and of ordinary people imitating them. Think of those odd glitches in Jean-Luc Godard’s early films, when characters would jadedly fix their gaze on the camera, as if to say, I know I’m in a film, and what of it? In Breitz’s work, Godard’s exception is the stifling rule: everything is…
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