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Thomas Struth et al.

Modern Times. Industrial Themes in Painting and Photography (group show)
Bucerius Kunst Forum, Hamburg
26 June – 26 September 2021

Installation view: Bucerius Kunst Forum, Hamburg, 2021, photo: Ulrich Perrey
Installation view: Bucerius Kunst Forum, Hamburg, 2021, photo: Ulrich Perrey

From 26 June to 26 September 2021, the Bucerius Kunst Forum will present a large-scale exhibition devoted to the handling of industrial themes in painting and photography – an absolute first. Never before has artists’ engagement with the emergence and progress of industry and the resulting changes in the landscape and working world been examined by way of a dialogue between the two media.

Modern Times. Industrial Themes in Painting and Photography brings together about 30 paintings and some 170 photographs. Based on powerful images spanning a trajectory from the early days of industrialisation to the present day, and from Romanticism to contemporary photography, the show highlights how the artistic treatment of industrial themes has developed and changed over the past 175 years. Works by Thomas Struth are included.

Bucerius Kunst Forum


Additional:

Vera Lutter, Thomas Struth et al.

Civilization: The Way We Live Now (group show)
Mucem, Marseille
19 May – 15 August 2021

Thomas Struth, Pergamon Museum 1, Berlin, 2001, 2001, © Thomas Struth
Thomas Struth, Pergamon Museum 1, Berlin, 2001, 2001, © Thomas Struth

Civilization: The Way We Live Now is an international photography exhibition of monumental scale, featuring the work of over 100 contemporary photographers from Africa, the Americas, Asia, Australia and Europe with over 200 original photographs being exhibited.

In this increasingly globalised world, the exhibition explores photographers’ representations of life in cities as its key theme and presents a journey through the shared aspects of life in the urban environment. The selected works create a picture of collective life around the world and document patterns of mass behaviour. The exhibition looks at the phenomenal complexity of life in the twenty-first century and reflects on the ways in which photographers have documented, and held a mirror up, to the world around us.

Mucem


Thomas Struth et al.

Von Erde schöner. The collection of the MGKSiegen (group show)
Museum für Gegenwartskunst Siegen, Siegen
28 May 2021 – 13 February 2022

installation view: MGKSiegen, 2021, photo: Philipp Ottendörfer
installation view: MGKSiegen, 2021, photo: Philipp Ottendörfer

The new presentation of the museum’s collection, “Von Erde schöner” (Prettier from Earth), continues the dialogue between the Lambrecht-Schadeberg Collection and the Contemporary Art Collection at MGKSiegen which began last year. The title of the exhibition is borrowed from Peter Piller’s photo series of the same name. The winner of the Rubens Promotional Award (2004) has developed his own fields of collection from a firm’s estate comprising 20,000 aerial photographs of German single-family homes. In a similar way, “Von Erde schöner” seeks connecting threads within our own collection, so highlighting a special interest in spatial themes.

The relations between natural and artificial landscapes, the relationships between people, architecture and places, and the construction of pictorial space play a role, as well as questions of distance, proximity and our personal perceptions of space. “Von Erde schöner” undertakes a cartography of the museum’s own collection. Works by Thomas Struth are included. 


MGKSiegen


André Butzer, Thomas Struth et al.

Now or Never – 50 Years LBBW Collection (group show)
Kunstmuseum Stuttgart, Stuttgart
13 November 2021 – 20 February 2022

Thomas Struth, West Broadway, Tribeca, New York, 1978, Collection LBBW, © Thomas Struth
Thomas Struth, West Broadway, Tribeca, New York, 1978, Collection LBBW, © Thomas Struth

The LBBW art collection dates back to the year 1971. The focus of the collection was initially on art from the Stuttgart and Baden-Württemberg region. At the beginning of the 1990s, the collection was expanded to include international positions. The foundation of LBBW and its development promoted the growth of the collection. “Collecting Contemporary” is the keyword today. The orientation and history of the LBBW collection show parallels to the collection of the Kunstmuseum Stuttgart. On the occasion of the LBBW anniversary and the long-standing cooperation with the art museum, outstanding works will be on display from all areas of the LBBW collection.

Kunstmuseum Stuttgart


Thomas Struth

Archive Matrix Assembly: The Photography of Thomas Struth 1978–2018 (publication)

Photo: Kris Graves
Photo: Kris Graves

Archive Matrix Assembly: The Photography of Thomas Struth 1978–2018 presents the first comprehensive, systematic theory of Thomas Struth’s main body of photographic work from its beginnings in the late 1970s until his most recent work in 2018. The book presents a unique, evolutionary understanding of the work, proposing that it has established three stages of production: archive, matrix, and assembly. Together the three stages form a developmental system that characterizes the individual photographs, their relation to their subject matter, and how they form larger, significant collections of images. The book project accomplishes three main goals: it develops a comprehensive critical reading of the work, it serves as a monograph of the artist, and it provides an extensive analysis of the photographs at all stages, including the less discussed, more recent photography, which is placed on par with the earlier work for which Struth first became internationally renowned.

Order a copy here.


Bridget Riley, Thomas Struth et al.

Oil: Beauty and Horror In The Petrol Age (group show)
Kunstmuseum Wolfsburg, Wolfsburg
4 September 2021 – 9 January 2022

No other substance has shaped societies in the twentieth and early twenty-first centuries as much as petroleum. Airplanes, tanks, and spacecraft, motorways, shopping malls and suburban settlements, nylon stockings, mountains of plastic, and vinyl – key materials and technologies, lifestyles and visions of our time owe their existence to the energy density and transformability of oil. Now, however, the dusk of the “petrol age” is looming, whereby neither can its end be precisely dated, nor its consequences adequately assessed. The exhibition Oil. Beauty and Horror in the Petrol Age therefore takes a speculative, poetic look back at the presence of the modern age of petroleum, which has lasted for roughly one hundred years. From the distance of a hypothetical future, we ask what was typical of our time, what was great and beautiful, what was ugly and terrible, and how all this is reflected in art and culture.

Fundamental here is the observation of a deep conflict: In the oil boom of the 1950s and 1960s, gasoline and kerosene, plastic, asphalt, and synthetic fibers stood for the futuristic promises of boundless mobility, individual freedom, and unrestricted transformability. Today, they are associated with global battles over resources, mountains of waste, and global warming, as well as sea and air pollution.

The exhibition focuses on all this from a fictitious archaeological distance and at the same time seeks a thematic and emotional proximity: Beyond entrenched ideology, it confronts works of art with natural science and technology, politics and everyday life, with knowledge, practices, and apparatus from chemistry, drilling, and geology, from daily working life and pop culture, from industry and cultural theory. Well-known and lesser-known works of art from the canon of Western modernism, as well as from oil-producing regions around the globe, are reappraised in the black mirror of oil and placed in relation to current artistic positions.

The exhibition focuses on the decades between the end of the Second World War and today. The cultural, technical, and geological constellations presented range, however, from the Middle Ages and antiquity to the early history of culture and life, while at the same time anticipating developments that may extend hundreds or even thousands of years into the future.

In this way, the exhibition presents the world’s first retrospective of the global modern age of petroleum.

Kunstmuseum Wolfsburg


Ai Weiwei, Jeff Elrod, Joan Mitchell, Thomas Struth et al.

Inaugural Installations: Kinder Building (group show)
The Museum of Fine Arts, Houston
21 November 2020 – 31 December 2021

Thomas Struth, Full-Scale Mock-up 3, JSC, Houston, 2017, printed 2018, inkjet print, the Museum of Fine Arts, Houston, Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund. © 2017 Thomas Struth
Thomas Struth, Full-Scale Mock-up 3, JSC, Houston, 2017, printed 2018, inkjet print, the Museum of Fine Arts, Houston, Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund. © 2017 Thomas Struth

The Nancy and Rich Kinder Building is dedicated to the Museum’s international collections of modern and contemporary art. The soaring spaces feature displays that span media encompassing painting and sculpture, craft and design, video, and immersive installations. It will open with the first comprehensive installation of these works, drawn from the collections of Latin American and Latino art; photography; prints and drawings; decorative arts, craft, and design; and modern and contemporary art.

These first installations in the Kinder Building are accompanied by eight major site-specific commissioned works that will be inaugurated at the time of the opening. Commissioned artists are El Anatsui, Byung Hoon Choi, Carlos Cruz-Diez, Ólafur Elíasson, Trenton Doyle Hancock, Cristina Iglesias, Jason Salavon, and Ai Weiwei.

Museum of Fine Arts