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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

Albert Oehlen, Hill and Guly Rider, 2018 © 2018, ProLitteris, Zurich
Albert Oehlen, Hill and Guly Rider, 2018 © 2018, ProLitteris, Zurich

The trio of Kippenberger, Büttner, and Oehlen marked the beginning of the style of “bad painting,” which playfully rebelled against modernist constraints and a new desire for “wild” pictures. The 1984 exhibition Wahrheit ist Arbeit at the Folkwang Museum served as a manifesto and marked Oehlen’s turn toward painting, which went on to become the true subject of his work.

Albert Oehlen (*1954, Krefeld) studied in Hamburg with Claus Böhmler and Sigmar Polke. From 2000 to 2009 he held a professorship at the Kunstakademie Düsseldorf. Since 2002 he lives in Gais with his wife Esther Freund and their children. He is thus closely linked to the region, alongside his exhibitions around the world as one of the most important figures of experimental painting.

His work is characterized by his close connection to music and numerous collaborations. His pictures with figurative, abstract, and computer-based elements show a loose detachment that often reveals a biting humor. His broad perspective and innovativeness are proverbial. Albert Oehlen will develop a project for the Lokremise based on entirely new works using materials from 1981.

Kunstmuseum St. Gallen, St. Gallen


Albert Oehlen

«Der innere Spiegel. Gespräche mit der Kunstsammlerin Ursula Hauser» (book launch)

Albert Oehlen, Hill and Guly Rider, 2018 © 2018, ProLitteris, Zurich
Albert Oehlen, Hill and Guly Rider, 2018 © 2018, ProLitteris, Zurich

Loredana Sperini, Albert Oehlen, Michaela Unterdörfer, Laura Bechter and Roland Wäspe in conversation.

10 July 2019, 6.30 pm

Lokremise, Kunstmuseum St. Gallen


Günther Förg

Förg in Venice (solo show)
To coincide with the 58th Venice Biennale
The Dallas Museum of Art at Palazzo Contarini Polignac, Venice
11 May - 23 August 2019

Günther Förg, Förg in Venice, installation view, Palazzo Contarini Polignac, Venice © Estate Günther Förg, Suisse. Courtesy the estate and Hauser & Wirth. Photo: Lorenzo Palmieri
Günther Förg, Förg in Venice, installation view, Palazzo Contarini Polignac, Venice © Estate Günther Förg, Suisse. Courtesy the estate and Hauser & Wirth. Photo: Lorenzo Palmieri

The Dallas Museum of Art (DMA) will present an exhibition of works by Günther Förg (1952-2013) at the Palazzo Contarini Polignac in Venice, during the Biennale Arte 2019. An official Collateral Event of the 58th International Art Exhibition of La Biennale di Venezia, Förg in Venice follows the Dallas presentation of Günther Förg: A Fragile Beauty, the first American museum exhibition devoted to the artist in more than three decades, organized by the Dallas Museum of Art in collaboration with the Stedelijk Museum, Amsterdam in 2018. Developed in close collaboration with the Estate of Günther Förg, Förg in Venice brings together over 30 pieces from the artist’s multidisciplinary practice – focusing on his paintings and lesser known sculptural work – to reflect on the expansive and intuitive methods of this manifold, intellectual artist.

Dallas Museum of Art


Julian Schnabel

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

Julian Schnabel, installation view, Hall Art Foundation | Schloss Derneburg Museum, Derneburg, 2019. Photo: Stefan Neuenhausen. Courtesy of the artist and Hall Art Foundation
Julian Schnabel, installation view, Hall Art Foundation | Schloss Derneburg Museum, Derneburg, 2019. Photo: Stefan Neuenhausen. Courtesy of the artist and Hall Art Foundation

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


Günther Förg

If I was a rich girl (group show)
Kunst Raum Riehen, Riehen
23 March - 30 June 2019


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


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