Albert Oehlen, Christopher Wool et al.

Nur nichts anbrennen lassen. New presentation of the collection (group show)
Kunstmuseum Bonn
3 June 2020 – 1 July 2022

Installation view: Nur nichts anbrennen lassen. New presentation of the collection, Kunstmuseum Bonn, 2020. Photo: David Ertl
Installation view: Nur nichts anbrennen lassen. New presentation of the collection, Kunstmuseum Bonn, 2020. Photo: David Ertl

After the great survey of painting in the exhibition Jetzt! Young Painting in Germany, the Kunstmuseum Bonn is now turning its attention once again to its own collection, which is being presented in a new way in its many and varied aspects, incorporating acquisitions and donations from recent years as well as permanent loans from private collections (KiCo, Mondstudio, Scharpff-Striebich, etc.).

At the same time, the re-hanging also provides a resonance space for the positions previously shown in Jetzt!, since the Kunstmuseum has defined painting as the focal point of its collection of contemporary art from the very beginning. Thus, a room with paintings from the 1980s provides a retrospective of the emphatic revitalization of painting and at the same time an outlook on current painting projects, for example Tobias Pils and his complex paintings, both reflective and intuitively developed. The spectrum ranges from Informel to Palermo, Gerhard Richter, Sigmar Polke and to Pia Fries, Christopher Wool and Thomas Huber.

Also the pictorial possibilities of photography are discussed, with new acquisitions of photographs by Heidi Specker and Viktoria Binschtok, which were previously shown in solo exhibitions at the Kunstmuseum, and photographs by Claudia Fährenkemper and Hartmut Neumann, who donated a comprehensive body of his work to the museum. The museum also received works by Harald Naegeli, who is not presented here as a sprayer, but with his Urwolken as a creator of utopian drawing spaces.

The video centre is showing the film Unheil (disaster) by John Bock, acquired in 2018, which invents a medieval age full of disturbing rituals. Separate rooms are dedicated to Isa Genzken and Georg Herold, two artists who refuse to be tied down by any kind of media or content, Genzken confidently improvising, Herold with irreverent humour "Nur nichts anbrennen lassen" ("Just don't scorch anything").

Kunstmuseum Bonn

Installation view: Nur nichts anbrennen lassen. New presentation of the collection, Kunstmuseum Bonn, 2020. Photo: David Ertl
Installation view: Nur nichts anbrennen lassen. New presentation of the collection, Kunstmuseum Bonn, 2020. Photo: David Ertl

Additional:

Christopher Wool et al.

Faking the Real (group show)
Kunsthaus Graz
21 September 2022 – 8 January 2023

Christopher Wool, Untitled (Billboard Graz), 1992/2019
Christopher Wool, Untitled (Billboard Graz), 1992/2019

Christopher Wool is part of the group show Faking the Real in Kunsthaus Graz. Faking the Real explores the question of the manipulation of realities and reveals an evolution from posters in public space through to interventions in social media. The exhibition is part of the large-scale special show The Art of Enticement, which examines 100 years of graphic design and poster art from different perspectives. 

Kunsthaus Graz

Christopher Wool, Untitled (Billboard Graz), 1992/2019
Christopher Wool, Untitled (Billboard Graz), 1992/2019

Albert Oehlen et al.

Space for Imaginative Actions (group show)
Kunstmuseum Bonn
8 May 2022 – 31 January 2024

Albert Oehlen, Raum für phantasievolle Aktionen, 1983, photo: Reni Hansen, Kunstmuseum Bonn,  Kunstmuseum Bonn, © VG Bild-Kunst, Bonn 2022
Albert Oehlen, Raum für phantasievolle Aktionen, 1983, photo: Reni Hansen, Kunstmuseum Bonn, Kunstmuseum Bonn, © VG Bild-Kunst, Bonn 2022

Works by Albert Oehlen are now represented at the group exhibition Space for Imaginative Actions at Kunstmuseum Bonn. The exhibition celebrated the museum’s thirtieth anniversary and brings together monographic and thematic works from more than forty artists. 

Kunstmuseum Bonn

Albert Oehlen, Raum für phantasievolle Aktionen, 1983, photo: Reni Hansen, Kunstmuseum Bonn,  Kunstmuseum Bonn, © VG Bild-Kunst, Bonn 2022
Albert Oehlen, Raum für phantasievolle Aktionen, 1983, photo: Reni Hansen, Kunstmuseum Bonn, Kunstmuseum Bonn, © VG Bild-Kunst, Bonn 2022

Albert Oehlen

The Painter, a film by Albert Oehlen, Oliver Hirschbiegel and Ben Becker

© 2020 by Albert Oehlen, Oliver Hirschbiegel and Ben Becker
© 2020 by Albert Oehlen, Oliver Hirschbiegel and Ben Becker

Under the direction of Oliver Hirschbiegel, actor Ben Becker on screen impersonates the contemporary painter Albert Oehlen and re-creates a painting that Oehlen himself and in parallel is creating step by step in the background, with the actor improvising the process in front of the camera. The finished on-screen painting is an original “Oehlen” on which the artist himself never laid hands. The off screen blueprint painting was destroyed after principal shooting had finished.

Originally planned to be a performative statement the projects developed into a fully fledged feature film of 92 minutes, crossing formal boundaries and questioning the meaning of the creative process and the struggle for authenticity on various levels.

The Painter follows the artist / actor as he is struggling and suffering along this process with us watching in joyful despair and what might happen next until the white canvas has turned into a finished painting.

The outcome is a one-man rollercoaster that appears to be a documentary but in fact is a staged and guided improvisation with the “real” process happening behind the camera. The Painter is a constant flow of the artist’s journey with elements of farce and comedy topped with emotional moments of truth...in front of and behind the camera and leaving it up to us to decide what is real and/or authentic.

Watch the trailer here.


Picture Tree International

© 2020 by Albert Oehlen, Oliver Hirschbiegel and Ben Becker
© 2020 by Albert Oehlen, Oliver Hirschbiegel and Ben Becker