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Thomas Struth

Bernd, Hilla and the Others: Photography from Düsseldorf (group show)
Huis Marseille, Museum for Photography, Amsterdam
9 March - 3 June 2018

In the spring of 2018 Huis Marseille will be devoted to the so-called Düsseldorfer Photoschule, photographers who studied at the Dusseldorf Art Academy under Bernd and Hilla Becher or their successors Thomas Ruff and Andreas Gursky. The photographic vision of Bernd and Hilla Becher was so influential and successful that these photographers – also known as the Becher-Schüler – have left their stamp on contemporary photography from the mid-1970s onwards. Huis Marseille has a considerable collection of photographs from the Dusseldorf school. These will be presented in the exhibition alongside early, mostly unknown work by photographers such as Höfer, Ruff and Struth, as well as more recent work by young and upcoming photographers.

Huis Marseille, Museum for Photography, Amsterdam


Additional:

Thomas Struth

Titian and the Renaissance in Venice (group show)
Städel Museum, Frankfurt
13 February – 26 May 2019

Thomas Struth, Galleria dell’Accademia 1, Venedig 1992, 1992 © Thomas Struth
Thomas Struth, Galleria dell’Accademia 1, Venedig 1992, 1992 © Thomas Struth

In the spring of 2019, the Städel Museum will devote itself to one of the most momentous chapters in the history of European art: Venetian Renaissance painting. At the beginning of the sixteenth century, the artists of the lagoon city – first and foremost the young Titian (ca. 1488/90–1576) – developed an independent strain of the Renaissance relying on purely painterly means and the impact of light and colour. This new approach caused a sensation in Venice, and its exponents were soon spreading the innovations outside the city republic as well. In the 1540s, yet another highly talented young generation – now embodied by Jacopo Tintoretto and Paolo Veronese – came on the scene to vie for commissions in Venice.

In its various sections the exhibition introduces selected characteristic aspects of Venetian painting from the sixteenth century – for example the atmospherically charged landscape depictions that heralded landscape painting as a genre in its own right, the ideal likenesses of beautiful women (“Belle Donne”), or the importance of colour for the art of the Venetians. With more than a hundred masterworks from international collections, the show is the first in Germany to present a first-rate, thematically structured panorama of Venetian Renaissance painting.

The large-scale exhibition features more than twenty examples by Titian alone – the figure who held the key position in the Venetian art scene all his life – and thus the most extensive selection of his works ever before on display in Germany. It also presents works by Giovanni Bellini (ca. 1435–1516), Jacopo Palma il Vecchio (1479/80–1528), Sebastiano del Piombo (ca. 1485–1547), Lorenzo Lotto (ca. 1480–1556/57), Jacopo Tintoretto (ca. 1518/19–1594) and Paolo Veronese (1528–1588). The exhibition offers comprehensive insights into the artistic and thematic spectrum of the Renaissance in Venice and elucidates why so many widely differing artists of later centuries looked back to works of this period again and again for orientation.

Städel Museum, Frankfurt


Thomas Struth

Nature & Politics (solo show)
MAST Foundation, Bologna
1 February - 28 April 2019

Thomas Struth, Sorghum, Danforth Plant Science Center, St. Louis 2017, 2017 © Thomas Struth
Thomas Struth, Sorghum, Danforth Plant Science Center, St. Louis 2017, 2017 © Thomas Struth

Darren Almond, Thomas Struth et al.

Wilderness (group show)
Schirn Kunsthalle, Frankfurt
1 November 2018 - 3 February 2019

Darren Almond, Fullmoon@Cerro Chaltén, 2013 © Darren Almond
Darren Almond, Fullmoon@Cerro Chaltén, 2013 © Darren Almond

The wilderness returns to art! And it does so at a time when the blank spaces on the world map have largely disappeared and an “untouched natural state” virtually only exists in the form of areas designated as nature reserves. The search for the last open spaces, the expedition as an artistic medium, and post-human visions of a world devoid of people characterize the works of many contemporary artists alongside the renegotiation of the relationship between individual and beast. The SCHIRN is dedicating an extensive thematic exhibition to this recurring fascination and presents works of art from 1900 to the present. With important pieces by some 30 artists – inlcuding Tacita Dean, Mark Dion, Jean Dubuf­fet, Max Ernst, Asger Jorn, Geor­gia O’Keeffe, Gerhard Richter, Frank Stella, Thomas Struth, Henri Rous­seau und Carle­ton E. Watkins – it not only sheds light on the phenomenon of the wilderness in terms of iconography, but also shows it as a principle and motor of artistic creative work. Artists have repeatedly been drawn to that which is wild, untamed, uncultivated since the beginning of the aesthetic modern age. The “wilderness” has always also served as a projection surface for anything that was different and foreign, for the longing for a primordial life beyond the boundaries of civilization. In today’s “Anthropocene,” the utopia of a natural state remote from culture and human influence seems anachronistic. And yet the examination of traditional images and fictions of wilderness seems more alive than ever before.

Schirn Kunsthalle, Frankfurt


Günther Förg, Thomas Struth et al.

Light Sensitive 2: Photography from the Schaufler Collection (group show)
SCHAUWERK, Sindelfingen
15 April 2018 - 6 January 2020

Thomas Struth, Grosse Tannen Am Eschberg - N°13, Winterthur 1992, 1992 © Thomas Struth
Thomas Struth, Grosse Tannen Am Eschberg - N°13, Winterthur 1992, 1992 © Thomas Struth

Contemporary photography from the Schaufler Collection will be on display from September 2017 at the SCHAUWERK Sindelfingen. The museum will link this show to the LICHTEMPFINDLICH exhibition of 2011, which had presented the large collection of this medium to the public for the first time in the impressive space of the former high rack warehouse in the SCHAUWERK. This lofty storage space inspires with its revolving ramp, which extends over 15 metres upward: an exhibition place par excellence for photography, with spectacular visual axes for viewing from near and afar.

Along with major works from the first exhibition, LICHTEMPFINDLICH 2 will also display photographs that previously haven’t been shown, so that a more comprehensive representation of the contemporary photography collection can occur. The main interest of the collectors Peter Schaufler and Christiane Schaufler-Münch is not directed toward the medium and its history per se, but leans more toward the fascination that arises from certain motifs, pictorial inventions, and their formal transformations.

The classic genres of photography—nude, portrait, landscape, architecture, or industry—are mirrored in the works, but are often citations or stages of conceptual processes. Most of the protagonists within the context of this collection have left behind the conventional framework of photography.

SCHAUWERK, Sindelfingen