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Albert Oehlen, Bridget Riley et al.

On With The Show (group show)
Kunsthalle Nürnberg, Nuremberg
7 December 2017 - 25 February 2018


Additional:

Bridget Riley

Black & White. Painting from Dürer to Eliasson (group show)
Museum Kunstpalast, Düsseldorf
22 March - 15 July 2018

Grey, “the ideal colour “, according to Gerhard Richter. Artists have always been drawn to a world devoid of colour. By concentrating on black and white they encourage the viewer to take a fresh perspective on existing patterns of perception and artistic modes of presentation. Comprising around 80 works spanning a period of 700 years – painting, glass painting, photography, prints and drawings – the exhibition offers a comprehensive overview of the special fascination exerted by black-and-white painting. Ranging from medieval grisaille works to Ólafur Elíasson’s light installation “Room for one colour”, the exhibition explores the question of the visual power of the reduced colour palette.

Museum Kunstpalast, Düsseldorf


Albert Oehlen

Albert Oehlen and Peppi Bottrop: Line packers” (dual exhibition)
Marciano Art Foundation, Los Angeles
1 March - June 2018

Albert Oehlen and Peppi Bottrop, installation view, Marciano Art Foundation, 2018. Photo: Julian Calero. Courtesy of the artists and Marciano Art Foundation, Los Angeles
Albert Oehlen and Peppi Bottrop, installation view, Marciano Art Foundation, 2018. Photo: Julian Calero. Courtesy of the artists and Marciano Art Foundation, Los Angeles

The Marciano Art Foundation presents Line Packers”, a special exhibition, conceived by Cornelius Tittel, of two German painters Peppi Bottrop (b. 1986, Bottrop) and Albert Oehlen (b. 1954, Krefeld). Beginning March 1, the foundation’s Lounge Gallery will feature Bottrop’s line-drawing paintings responding to the architecture of the Lounge Gallery itself alongside works from Oehlen’s Computer Paintings, a series that the artist began in the early 1990s, which is now regarded as a turning point for contemporary painting.

Bottrop’s work is conceived as a meditation on his hometown, a once prominent coal mining and rail center in the Ruhr region. Bottrop employs charcoal—a metaphor for what once powered the world, and a nod to the now-defunct mechanical industry—in an expansive wall-drawing engraved into slabs of Fermacell, a material now replacing sheetrock or gypsum used in the construction of institutional architecture.

Oehlen’s Computer Paintings, which will be affixed to Bottrop’s walls, made between 1992 and 2008, exemplify Oehlen’s pioneering role as one of the first contemporary painters to explore the nascent capabilities and limits of drawing and line-making through the use of a now-rudimentary Texas Instruments computer. The wall-drawings and supports by Bottrop juxtaposed with Oehlen’s Computer Paintings suggest new possibilities for the line in painting. This line, embedded materially into the Fermacell walls, offers a proposition for the medium of painting to re-define itself. The two autonomous, yet mutually-dependent works establish a place of intensive communication and self-exploration, supporting one another in this single, temporary unification that looks to Wilshire Blvd. and Los Angeles, a city that is just as easily defined by its own lines of interstate and highway infrastructure.

Accompanying this exhibition will be a new text by the arts writer and science fiction novelist, Mark von Schlegell.

Marciano Art Foundation, Los Angeles


Bridget Riley

Bridget Riley: Paintings from the 1960’s to the Present (solo show)
Kawamura Memorial DIC Museum of Art, Sakura
14 April - 26 August 2018

Bridget Riley, From Here, 1994 © Bridget Riley 2018, all rights reserved. Courtesy David Zwirner, New York / London.
Bridget Riley, From Here, 1994 © Bridget Riley 2018, all rights reserved. Courtesy David Zwirner, New York / London.

British artist Bridget Riley (born 1931) gained recognition beginning in the 1960's for her abstract paintings that employ geometric patterns in order to produce optical vibrations. Riley began her career painting landscapes in the style of Georges Seurat following early artistic studies that were largely informed by Old Masters painting, Impressionism, and Pointillism which led to a dramatic change in her style. Entering the 1960s, her work became fully abstract and she utilized a reduced palette of only black and white. In 1967, Riley introduced color into her work, generating what would become a signature series of paintings that juxtapose undulating bands of color to create a strong visual sensation of movement within the picture plane. This unique style would secure her a place of recognition in the art world. Since then, Riley has continued to innovate and to create works that privilege the interaction of color and form to produce strong optical sensations that appeal to so many viewers.

In an attempt to highlight the sustained brilliance of Riley’s art, this exhibition presents more than 30 paintings that span her career—including key examples of her black-and-white works of the 1960s, stripe paintings of the 1970s, curve paintings of the 1990s, in addition to her more recent wall paintings. As such, this is the first full-scale exhibition of Riley’s work in Japan in 38 years.

Kawamura Memorial DIC Museum of Art, Sakura


Albert Oehlen

Cows by the Water (solo show)
Palazzo Grassi, Venice
8 April 2018 - 6 January 2019

Albert Oehlen, Untitled, 2016. Courtesy of the artist and Pinault Collection
Albert Oehlen, Untitled, 2016. Courtesy of the artist and Pinault Collection

From Sunday 8 April 2018, Palazzo Grassi presents Cows by the water, a personal exhibition dedicated to German artist Albert Oehlen (1954, Krefeld, Germany) and curated by Caroline Bourgeois.

The exhibition lays out a path dedicated to Albert Oehlen’s production through a selection of approximately 85 works, including some lesser-known ones, created between the 1980's and today. The works brought together come from the Pinault Collection as well as from other major private collections and international museums.

Cows by the water path is not chronological but rather suggests a syncopated rhythm between various genres and periods, thereby underlining the central role played by music in the artist’s practice. Music emerges as a real metaphor of his work method, where contamination and rhythm, improvisation and repetition, density and harmony of sounds become pictorial gestures.

Albert Oehlen (1954, Krefeld, Germany) reveals himself to be a major figure of contemporary painting thanks to his artistic research in constant evolution, dedicated to experiments and to overcoming formal limits rather than to the subject represented.

The artist’s work has already be presented in exhibitions around the world, including at the Museo Nacional de Bellas Artes in Havana in 2017, the Cleveland Museum of Art in 2016, the New Museum in New York in 2015, the Kunstmuseum in Bonn in 2012 and the Musée d’Art Moderne de la Ville de Paris in 2009. 'Cows by the water' in Venice is his largest monographic one to date.

Palazzo Grassi, Venice


Bridget Riley

Bridget Riley (solo show)
The Chinati Foundation, Marfa
6 October 2017 - 2019

Bridget Riley, Royal Liverpool University Hospital, 1983, as wall painting, Bolt of Colour, 2017. Courtesy Chinati Foundation, Marfa, Texas. ©Bridget Riley. All rights reserved. Photo: Alex Marks
Bridget Riley, Royal Liverpool University Hospital, 1983, as wall painting, Bolt of Colour, 2017. Courtesy Chinati Foundation, Marfa, Texas. ©Bridget Riley. All rights reserved. Photo: Alex Marks

In October 2017 the Chinati Foundation will inaugurate a large new multicolored wall painting by Bridget Riley. The artwork has been conceived specifically for the museum’s special exhibition building and will encompass the entire U-shaped enclosure. The work will debut during Chinati Weekend, October 6 through 8, and remain on view through 2019.

For more than fifty years Bridget Riley has pursued a rigorous, open-ended, and self-renewing inquiry into the constituent elements of abstract painting. She established her reputation in the early and mid-1960s with visually dizzying black-and-white works and then, through a slow step-by-step process later that decade, began to explore the properties of color. Throughout her career, Riley has developed paintings through the accumulation and distribution of particular forms—vertical and horizontal stripes, circles, triangles, and rhomboids, curving bands—that move rhythmically across the surface of a painting. The works create luminous visual fields that are difficult to take in all at once and that seem to shimmer, blink, and glow in an indeterminate space between the viewer and the actual surface of the painting. Over the course of her career, Riley’s explorations of the possibilities of a given template of shapes and colors have prompted further investigations, and she often returns to forms she has used earlier in order to test them in new contexts.

Riley’s first wall painting was made in response to a 1979 invitation from the Royal Liverpool Hospital to conceive a work for its walls. Riley devised a visual scheme featuring horizontal ribbons of color, running the lengths of the hospital corridors. The palette, like that of her paintings at the time, was inspired by a 1980 trip to the pyramids and tomb paintings of ancient Egypt. Of this color scheme Riley later wrote: “The Ancient Egyptians had a fixed palette. They used the same colors—turquoise, blue, red, yellow, green, black and white—for over 3,000 years….In each and every usage these colors appeared different but at the same time they united the appearance of the entire culture. Perhaps even more important, the precise shades of these colors had evolved under a brilliant North African light and consequently they seemed to embody the light and even reflect it back from the walls.”

Riley completed the design for the Royal Liverpool Hospital in 1983. In the years since, she has made many more wall paintings, including a work for two floors of St. Mary’s Hospital in London in 1987, with a third floor completed in 2014. In addition to these commissions, Riley has made wall drawings for numerous museum and gallery exhibitions and collections in the U.S., the U.K., and Europe.

Riley’s wall painting for Chinati will be the artist’s largest work to date and span six of the eight walls of the building. As referenced in the work’s title, Wall Painting, Royal Liverpool Hospital 1983–2017, the mural revisits Riley’s Egyptian palette and establishes a continuity between the design for the Royal Liverpool Hospital and the new work for Chinati. It is inspired in part by similarities in size and spatial orientation in the sites of each project and affinities between the brilliant light and palette the artist witnessed in Egypt and the high desert landscape in which the Chinati Foundation is situated.

Riley draws inspiration from nature—not as a subject to be depicted but as a play of perceptions and sensations. She has written: “For me nature is not landscape, but the dynamism of visual forces—an event rather than an appearance. These forces can only be tackled by treating color and form as ultimate identities, freeing them from all descriptive or functional roles.” Riley’s paintings make plain how they were made yet induce optical effects that supersede their physical qualities, demonstrating a rapport with works in Chinati’s permanent collection by artists of her generation such as Donald Judd, Dan Flavin, and Robert Irwin. Her wall painting for Chinati will merge art and architecture and release the potentiality of color in harmony with many of the works in the museum’s collection.

The Chinati Foundation, Marfa