In Helicopter, Ackermann presents a gyrating distortion. Glimpsed from above, his ‘map’ is more graphic than topographical: any sense of real space has been compressed to the flatness of a logo. Among the steely refined greys of a mountainside reclusion are the stripy steppes of a vineyard and a plastic sunset. It’s only the ‘flat-pack’ patio furniture that suggests a luxury villa and not just the abstraction of affluence.

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