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Günther Förg, Albert Oehlen, Julian Schnabel et al.

Paintings from the 1980s and 1990s. MUDAM Collection (group show)
MUDAM, Luxembourg
29 September 2018 - 7 April 2019

Albert Oehlen, Bobo Alegre, 1996 © Photo: Rémi Villaggi. Courtesy of the artist and MUDAM, Luxembourg
Albert Oehlen, Bobo Alegre, 1996 © Photo: Rémi Villaggi. Courtesy of the artist and MUDAM, Luxembourg

The Mudam Collection is the most important collection of contemporary art in Luxembourg. Resolutely international in its scope and ambition, the collection's holdings consist of close to 700 works of art in all media by artists from Luxembourg and around the world. The constitution of the collection traces back to the first acquisitions for the museum in the 1990s, the creation of the Museum of Modern Art Grand-Duc Jean Foundation in 1998, and the opening of the Museum in 2006. The majority of works in the collection date from 1989 to the present.

Starting in the autumn of 2018, Mudam launches a new cycle unveiling the museum’s collection and its history. This first chapter features a rich selection of paintings from the 1980s and 1990s. It presents the diversity of possibilities offered by the medium in terms of a history of painting.

MUDAM, Luxembourg


Additional:

Albert Oehlen

UNFERTIG (solo show)
Kunstmuseum St. Gallen, St. Gallen
6 July - 10 November 2019

Das Trio Kippenberger, Büttner, Oehlen stand am Beginn einer Malerei, die sich als „bad painting“ genüsslich gegen modernistische Zwänge und eine neue Lust nach „wilden“ Bildern auflehnte. Die Ausstellung im Folkwang-Museum, 1984, Wahrheit ist Arbeit wurde zum Manifest, wobei Oehlen sich mehr für die Malerei interessierte, die ab da zum eigentlichen Thema seiner Arbeit wurde. Albert Oehlen (*1954 Krefeld) studierte in Hamburg bei Claus Böhmler und Sigmar Polke. Von 2000 bis 2009 hatte er eine Professur an der Kunstakademie Düsseldorf inne. Mit seiner Frau Esther Freund und seiner Tochter Maya lebt er seit 2002 in Gais. Er ist der Region dadurch eng verbunden – und dies ganz natürlich, parallel zu seiner globalen Ausstellungspraxis als einer der bedeutendsten Vertreter experimenteller Malerei.

Sein enger Bezug zur Musik und zahlreiche Kooperationen sind bezeichnend für sein Schaffen. Seine Bilder mit figurativen, abstrakten und computerbasierten Elementen sind von einer lockeren Distanziertheit, die nicht selten einen bissigen Humor verrät. Seine weite Perspektive und seine Innovationsfreude sind sprichwörtlich. In diesem Sinne wird Albert Oehlen für die Lokremise ein Projekt entwickeln, das auf ganz neuen Arbeiten basiert, die auf Materialien von 1981 ruhen.

Kunstmuseum St. Gallen, St. Gallen


Julian Schnabel

Julian Schnabel (solo show)
Hall Art Foundation | Schloss Derneburg Museum, Holle
April - October 2019

Julian Schnabel, Untitled (Treatise on Melancholia), 1989 © Julian Schnabel
Julian Schnabel, Untitled (Treatise on Melancholia), 1989 © Julian Schnabel

The Hall Art Foundation is pleased to announce an exhibition by American artist Julian Schnabel to be held at its Schloss Derneburg location. Considered to be a figurehead in the resurgence of painting in the late 1970’s, Schnabel continues to create gestural and highly charged work that appropriates ancient and modern literary and cultural references, while conflating the boundary between figuration and abstraction. This exhibition brings together 7 large-scale bronze sculptures installed both indoors and on the adjacent property, together with a series of monumental paintings on found tarpaulin.

In the five part series, Untitled (Treatise on Melancholia) (1989), Schnabel paints on olive green tarpaulin, a material traditionally used by the military, and first sourced by the artist in 1985 while he worked in Mexico. Bold applications of vinyl paint (gesso) are juxtaposed against horizontal bands of heavy and opaque fabric that have been sewn together. With no discernible foreground or background, the intersecting white shapes that might otherwise suggest a landscape or still life, are abstracted.

Untitled (Treatise on Melancholia) (1989), presents a solitary abstract form floating within an undefined field spread over 5 panels. The found tarpaulin is marked with various stains and indentations, traces from its earlier life in Mexico. Schnabel's untraditional selection of material and use of vinyl paint highlights the notion of gesture as both a physical act and as idea.

The Cuartel de Carmen in Seville, Spain is a monastery that was built in 1492 and had been occupied by the military in the beginning of 20th century and abandoned in 1978.  For this exhibition Schnabel made 24 tarp paintings which he considered to be 24 stations of the cross.  In 1979, Schnabel began to incorporate bronze elements in his paintings, and later progressed to monumental sculpture in the early 1980s. Idiota (1989) was first assembled in situ at the Cuartel de Carmen.  This cruciform (or battle standard) was built entirely from material collected from the barracks. A large piece of bronze cast from a slab of wood acts as the standard and displays the title, “IDIOTA” above a series of Spanish names, “Carmen Romero,” “Manuel Benitez,” among others, are the names inscribed on the cross and bronze flags that hang from each arm. The work signifies Schnabel’s affinity for linguistic reference, and for the formal and pictorial quality of the letters themselves.  Besides being an appreciation for those who helped him make the sculpture.

Several bronze sculptures include autobiographical or literary references. MacBeth (1989) is a somber figure cast from a weathered wooden log, bluntly carved into a sulking head and torso and placed on a planked platform. The title of the sculpture, Si Tacuisses (1990) is a shortening of the Latin phrase that continues “…philosophus mansisses” (If you had kept your silence / you would have stayed a philosopher). Or, in other words, “If you had kept your mouth shut they wouldn’t know how dumb you are.” The bronze is cast from the stump of a palm tree, a common icon in Schnabel’s work, realistically rendered with tiny roots on its base and upward growing branches at its peak. A speech bubble assigns an anthropomorphic quality to the work. The declaration, “I went to Tangiers and had dinner with Paul Bowles”, references the American expatriate composer and author, then living in Morocco.

Hall Art Foundation


Albert Oehlen

Jonathan Meese, Albert Oehlen, Daniel Richter. Works from the Hall Collection (group show)
Hall Art Foundation | Schloss Derneburg Museum, Holle
April - October 2019

Albert Oehlen, Conduction 11, 2011. Courtesy Hall Art Foundation © Albert Oehlen
Albert Oehlen, Conduction 11, 2011. Courtesy Hall Art Foundation © Albert Oehlen

The Hall Art Foundation is pleased to announce a group exhibition, Jonathan Meese, Albert Oehlen, Daniel Richter: Works from the Hall Collection, to be held at its Schloss Derneburg location. Organized in collaboration with the artists, the exhibition will include over fifty paintings, sculptures and works on paper by Jonathan Meese, Albert Oehlen and Daniel Richter from the Hall and Hall Art Foundation collections.

Hall Art Foundation


Julian Schnabel

The Passion (group show)
Hall Art Foundation | Schloss Derneburg Museum, Holle
April - October 2019

The Hall Art Foundation is pleased to announce a group exhibition, The Passion, to be held at its Schloss Derneburg location. Installed throughout the cloister of the former monastery, the show examines the use of Christian iconography in contemporary art, while paying homage to Schloss Derneburg’s long ecclesiastical history. The show will feature approximately one hundred paintings, sculptures, videos, photographs and works on paper by twenty-nine artists. All the works come from the Hall and Hall Art Foundation collections.

Derneburg has a long history. Once a fortified dwelling, it was ceded to the Bishopric of Hildesheim during the 12th century. For the next 700 hundred years it then served as the home of various religious orders: first Augustinian nuns, then Cistercian nuns. During the Reformation, the Protestant Dukes of Brunswick took over Derneburg and it became a Lutheran establishment for “young ladies”.  With the Restoration, control of Derneburg reverted to the Bishopric of Hildesheim and the property was developed into a large and prosperous Cistercian monastery. Most of the current structures date from this period.

Derneburg was secularized at the start of the 19th century when the Prussians took control of this part of Germany. At the end of the Napoleonic wars, and following the Congress of Vienna, ownership of Derneburg passed to the Anglo-Hanoverian Dukes of Münster who engaged the Hanoverian architect Georg Ludwig Friedrich Laves to convert the property into their country seat which they then used as a showcase for their extensive collection of art and other artifacts. In 1974, Georg and Elke Baselitz acquired Schloss Derneburg from the Münster family and it became the Baselitz home and studio for the next thirty odd years.

In 2006, the Baselitz’s sold Derneburg to the Halls who then also acquired the adjacent Derneburg Domain (which had been sold to the State of Lower Saxony by the Münsters at the end of WWII). During restorations to the property, dozens of graves were discovered in the old cloister. These were carefully cataloged as part of a detailed archaeological study. The graves (and their corporeal contents) remain in place to this day. While the Schloss is reputed to be haunted by some of these earlier inhabitants, all indications are that this spectral presence is wholly benign.

Hall Art Foundation


Albert Oehlen

Hyper! A Journey into Art and Music (group show)
Halle für Aktuelle Kunst, Deichtorhallen, Hamburg
1 March – 11 August 2019

Albert Oehlen, Schuhe, 2008. Photo: Jörg von Bruchhausen © Albert Oehlen/VG Bild-Kunst, Bonn 2019
Albert Oehlen, Schuhe, 2008. Photo: Jörg von Bruchhausen © Albert Oehlen/VG Bild-Kunst, Bonn 2019

Sound, vision, film, a destroyed piano: What happens when musicians make use of ideas and strategies from the art world? And what kind of pictures result when painters are influenced by music? To be interested in other people’s lives, to follow the unknown, to copy it, to use it in one’s own work – in short, to cross-map between the worlds of music and the visual arts: this is the subject of the exhibition HYPER! A JOURNEY INTO ART AND MUSIC curated by Max Dax, the former editor-in-chief of Spex and Electronic Beats.

The exhibition at the Deichtorhallen Hamburg and the accompanying program of musical events at the Elbphilharmonie includes more than 40 international artists and musicians who explicitly work between ​​the disciplines of art and music and – often unnoticed by their audiences – decisively integrate references from both these areas into their art.

The multimedia exhibition will include classic works such as Peter Saville’s groundbreaking album cover for New Order’s 1983 masterpiece Power, Corruption and Lies as a mural, highlight the importance of Emil Schult’s narrative, minimalist imagery, on which the cover of Kraftwerk’s 1974 album Autobahn was based, and feature Cyprien Gaillard’s acclaimed 3D installation Night Life from 2015. The influence of Richard Wagner on the work of the performance artist Christoph Schlingensief, who died in 2010, will be shown, as well as a related video installation by Alexander Kluge. The mutual influences between music and art will be illustrated with examples by Albert Oehlen and Scooter, Thomas Scheibitz and Melvins, as well as Daniel Blumberg. Photographs and video works by Andrea Stappert, Sven Marquardt, Andreas Gursky, The KLF, Mark Leckey, and Bettina Pousttchi will lend the exhibition a documentary dimension. Significant collaborations between Tabea Blumenschein and Wolfgang Müller, Katharina Grosse and Stefan Schneider, as well as works by Rosemarie Trockel and Thea Djordjadze, Radenko Milak, and Bettina Scholz created specifically for Hyper! will make the exhibition a unique survey of the overlapping fields of music and art.

Deichtorhallen, Hamburg


Günther Förg

Who's afraid of bauhaus? Kritische Reflexionen zum 100. (group show)
Museum Ratingen, Ratingen
15 February - 12 May 2019


Günther Förg

Photographic Recall: Italian Rationalist Architecture in Contemporary German Art (group show)
Anderson Gallery, University at Buffalo, Buffalo
9 February - 12 May 2019

How do contemporary artists use photography to engage with Italian architecture of the fascist era? What lures them today into the remains of this “rationalist” style? Where is the tipping point between a self-proclaimed, critical observation and complicity with Mussolini’s propaganda project of the 1920s-40s?

These and other questions occupy the minds of the seven artists in “Photographic Recall.” The exhibition is the first to showcase these mostly German photographers, all independently drawn to Italian rationalist architecture and urban spaces. The work by Caterina Borelli, Johanna Diehl, Günther Förg, Eiko Grimberg, Thomas Ruff, Hans-Christian Schink and Heidi Specker represents themes that vary in style from street photography and lush interiors to synthetic architectural documentation and carefully pre-planned and measured urban scenes.

Their use of media ranges from analog to digital processes, black-and-white to color imagery, and a variety of works made in series. Each artist engages these built environments with his/her own visual language, demonstrating photography’s intense involvement with aesthetic and conceptual trends in contemporary art of the past three decades.

Anderson Gallery, University at Buffalo, Buffalo


Albert Oehlen

TRANCE (solo show)
Aïshti Foundation, Beirut
22 October 2018 - End of September 2019

Albert Oehlen, installation view, Aïshti Foundation, Beirut, 2018. Photo: def image. Courtesy of the artist and Aïshti Foundation, Beirut
Albert Oehlen, installation view, Aïshti Foundation, Beirut, 2018. Photo: def image. Courtesy of the artist and Aïshti Foundation, Beirut

Aïshti Foundation is delighted to present Trance, an exhibition in three parts where Albert Oehlen plays simultaneously the role of the artist, the curator and the collector.

One of the most respected painters today, Albert Oehlen has explored the possibilities of painting since the 1980's, constantly questioning its methods and means through an ever-evolving style and technique. At the core of his practice are the limitations he imposes on himself as a point of departure, in order to have 'something to push against' and thereby expand and redefine our understanding of painting.

Oehlen's practice began with figurative paintings, which were defying the context of the 1980's were minimal and conceptual art prevailed. His provocative position, subjects and manner have been linked to the notion of Bad Painting throughout the early 1980's alongside artists such as Werner Büttner and Martin Kippenberger. Oehlen has moved towards abstract painting in the late 1980's, continuously redefining his own vocabulary. His first abstract paintings were notably followed by black and white computer-based paintings, collaged canvases with fragments of advertising posters and paint applied on top, Fingermalerei (Finger Paintings) in the 2000's and paintings fully covered with poster cutouts. The survey exhibition ranges from early figurative works from the 1980's till his 2018 series on a bright yellow background. Many of the works on display in the building designed by David Adjaye are monumental in scale.

The works demonstrate Oehlen's creative strength, seemingly questioning the legacy of the anterior generation of artists such as Gerhard Richter and Sigmar Polke who, like Oehlen, innovated and redefined painting.

Highlights of the show include the artist’s own version of the Rothko Chapel that features large rectangular collages, serving as a critique of our consumer societies, along Tree Paintings and Elevator Paintings.

Dialoguing with Oehlen works, pieces from his personal collection gathering artists he admires such as Martin Kippenberger, Daniel Richter or André Butzer are presented alongside works from Elham and Tony Salamé's collection which include works by Richard Prince, Christopher Wool, Etel Adnan, Fouad Elkoury, Franz West and Jana Schröder in a group show curated by the artist himself. 

Aïshti Foundation, Beirut