The Städel Museum will present 27 of Rineke Dijkstra’s works in a solo exhibition, including 21 images from her ‘Beach Portraits’ series which drew international attention, establishing her as one of the most influential photographers in contemporary art. Works from the ‘Streets’ series and a self-portrait of the artist are also featured in the exhibition. What at first appear to be snapshots are in fact carefully composed photographs captured within a search for the essence of human existence. It is with these sensitive encounters that the artist raises questions about authenticity and truthfulness in portrait photography.

Städel Museum

The Berlinische Galerie will host a solo show of work by Rineke Dijkstra. Giving an overview of her practice from the 1990s to the present-day, Still – Moving explores the theme of ‘transition’, featuring series such as ‘New Mothers’, ‘Bullfighters’ and ‘Almerisa’. ‘The Park series’, partly created in Berlin’s Tiergarten, will also be presented, alongside never-before-seen photographs from the artist’s archives. Since the early 1990s, Dijkstra has produced an impressive body of photographic and video work, offering a contemporary take on the genre of portraiture. By isolating her subjects from their context and focusing on subtle glimmers of individuality, Dijkstra encourages viewers to look closely at people in various different stages of transition.

Berlinische Galerie

Le Consortium, Dijon, will host the first ever joint exhibition of Carroll Dunham and Laurie Simmons. The exhibition offers an opportunity to see two significant bodies of work respectively created by the painter and photographer over the past thirty years. Envisioned as a ‘marriage’ of two monographic exhibitions, the presentation brings together some twenty works each by Dunham and Simmons, thus providing a chance to see their work together and discover possible connections. 

Born a few months apart in 1949, Dunham and Simmons’ respective careers developed in the 1980s, each quickly attaining a significant place in the New York and international avant-garde scene. They met in 1977 and were married in 1983. Their bodies of work have been developing in tandem for forty years in their studios at their home in Connecticut. ‘[Laurie] has been making photographs and I’ve been making paintings, the ways in which our work can be talked about in relation to each other has been overlooked,’ says Carroll Dunham.

Le Consortium

SALON Magazine presents a marvellous feature, which brings to the fore André Butzer’s recent institutional exhibitions in Italy, Spain, Japan and Austria, complemented by 7 hand-drawn sketches reminiscent of the displays at the Museo Novecento, Museo Stefano Bardini, Museo Nacional Thyssen-Bornemisza, Museum of the Light and St Nikolaus.

Katharina Grosse has unveiled her first ever work in glass, Ein Glas Wasser, bitte (A Glass of Water, Please), developed especially for the Museum Reinhard Ernst in Wiesbaden. Comprising a large stained-glass wall weighing several tonnes, the work harnesses the complementary colours blue and orange to examine ‘how these colours mix, cross, repel, disturb and enrich each other in a watery state.’ As the artist states: ‘This energy has a transformational power that can inspire and excite all who are in front of or behind the glass wall. It shows that the world is in flux.’

Museum Reinhard Ernst

For her exhibition Shifting the Stars, Katharina Grosse will occupy the Centre Pompidou-Metz’s monumental Grande Nef, a space that soars to a height of more than 20 metres. Some 8000 m² of fabric suspended from the ceiling by enormous knots will form a new space inside the gallery, taking the form of billowing drapery whose exuberant colours and energy will spill out from the Grande Nef onto the forecourt of the Centre Pompidou-Metz. The exhibition invites visitors to pass through a screen of paint,  plunging them into Grosse’s world of colour and movement.

Centre Pompidou Metz

Published in conjunction with the artist’s first solo exhibition at Galerie Max Hetzler, Berlin: Spectrum Without Traces, 17 March – 30 April 2023.

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A new publication focusing on Carroll Dunham's pivotal ‘Green Period.,’ is available for purchase now. Bringing together prints, drawings, and paintings created by the artist between 2018 and 2022, the publication gives an overview of one of his most distinctive bodies of works. Using the colour green as a pictorial and expressive tool, Dunham depicts figures in an archaic world of his own making. In these ‘figurative’ works he explores themes of intimacy, race, sex, and aging, as well as his own graphic and painterly languages.

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This new publication provides a compelling overview of exhibitions of André Butzer at Galerie Max Hetzler since his first with the gallery in 2003, charting his 17 solo and 10 group exhibitions in Berlin, Paris and London. Installation views and large-format illustrations of all exhibited works are accompanied by contemporary texts including reviews and catalogue essays.​ The book is now available for purchase on the Galerie Max Hetzler publications website. 

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Made in close collaboration with the artist, this unprecedented huge-format survey presents the future and origins of his painting according to André Butzer. From his early works of “Science Fiction Expressionism” that centered around a cast of figures at home both in space and in culturally occupied Europe, to his exploration of abstraction’s far limits in the seemingly black N-Paintings, Butzer emerges as an ever-inventive colorist who finds a new beginning in each work.

This is the first book first to span the full range of André Butzer’s oeuvre from 1999 to 2021, the works’ progression gaining an almost musical drive of development, return, and new beginnings. The plates are interspersed with contemporary quotes from the artist that illuminate his idiosyncratic stance as a background to the work, as well as photos from his archives. The introductory essay, written by Hans Werner Holzwarth, investigates the different work phases, and places the artist’s ideas in a wider discourse of abstraction and figuration after the end of either genre. And, most importantly, the book’s pristine, huge-format illustrations fully evidence the finesse as a colorist that place this artist among the internationally most recognized painters of his generation.

“Expressionism was about going back to nature and nakedness, about inner more than outer space. Now we can give this field a new task—to be informed by seriality, post-industrialism, and modern mankind’s artificiality. So I include organic and non-organic parts, fake nature and fake human. Titian said painting is about flesh and water, and I say it is about flesh and lemonade.”

— André Butzer

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TASCHEN

All good things come in threes and so do André Butzer’s collected writings. The third volume is elegantly sharp and poignant. Editor Alexander Linn continues to explore the unique fictitious universe, Butzer calls »NASAHEIM«. Boldly touching on the latter’s own work and biography, art history as well as music in numerous letters, in-depth conversations and poems. Guided by the simple question: What is real?, Butzer searches for »the actual location of painting, the space in-between. It’s a very esoteric but easy to understand conception of truth.«

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Edition Linn