Christopher Wool’s work will be on view in See Stop Run West Texas from May 2025, for a two-year period. The exhibition presents a new chapter of See Stop Run, a survey of Wool’s work from the past decade which was exhibited in 2024 at 101 Greenwich St, New York, on the 19^th floor of an unoccupied space in the heart of the financial district.

Housed in the historic Brite Building, See Stop Run West Texas continues to explore connections between Wool’s work and the context in which it is shown. In Marfa, where Wool’s sculptural practice originated, these relationships will be central to the installation. In addition, three large outdoor sculptures will be on view. Curated in collaboration with Anne Pontégnie, both of these installations emphasise Wool’s complex image-making process and the interconnectivity between mediums: painting, sculpture, photography and mosaic.

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Work by Giulia Andreani is included in the group exhibition Peintures fraîches in the Galerie du temps of the Louvre-Lens, a unique space in the museum which encourages dialogue between different artistic forms, technologies and temporalities. The exhibition invites viewers to journey through a ‘River of Time’, bringing together a selection of works which span over 5,000 years of art history. Within the presentation, Andreani’s painting Les Cafus (Europe et Cadmos), 2024, draws inspiration from archival documents to question history and its reception through time. Working in her distinctive palette of Payne’s Grey, Andreani reimagines two female miners, ‘cafus’, who worked underground in the area surrounding the Louvre-Lens, built as it is on a former mining site. Here, the presence and unseen strength of these women is reactivated.  

Louvre-Lens

The Hamburger Kunsthalle presents its first solo exhibition devoted to Albert Oehlen. Oehlen’s Computer Paintings, a rarely exhibited group of works, will be presented on the first floor of the Galerie der Gegenwart in an arrangement determined in close collaboration with the artist. Oehlen initiated his first computer paintings in the early 1990s, and a second series in the early 2000s, based on drawings he made on a computer which he then transferred to canvas. The technological aesthetic of the computer screen would have far-reaching implications as the point of departure for a complex body of work that oscillates between cool austerity and imaginative formal exuberance. 

In light of today’s debate on artificial intelligence, the idea of producing art with the help of a computer has exciting current relevance, and it becomes even more topical if we take to heart the conclusions Oehlen has drawn from his engagement with computer art, such as: ‘The work must then be finished by the human hand.’

Hamburger Kunsthalle

This monograph was published on the occasion of Guilia Andreani’s solo exhibition, L’improduttiva at Collezione Maramotti, Reggio Emilio, 2023–2024. Featuring a cohesive body of new work, the book also includes a selection of archival sources and essays by Lucrezia Calabro Visconti, curator at Pinacoteca Agnelli in Turin, Emanuele Coccia, philosopher, and Sara Piccinini, Director of Collezione Maramotti.

Mousse Publishing

Artist duo Tursic & Mille have collaborated with Louis Vuitton to develop a design for the French luxury brand’s fifth Artycapucines collection. Reconceptualising the idea of image overload, the duo’s reimagining of the Capucines bag is based on their 2021 painting Tenderness. The artists’ note: ‘Once it leaves the workshop, it begins a life of its own, as well as it should.’ 

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A new publication documenting three of Jeremy Demester’s exhibitions at Galerie Max Hetzler in Berlin and London since 2020, as well as his 2021 exhibition at the Fondation Zinsou in Ouidah, is now available for purchase.

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Albert Oehlen’s monumental sculpture Ömega Man, 2023, is now on view to the public in Weidingen, where it emerges from the vast landscape of the Südeifel. Its simplified form and slightly raised steel bars, recessed into their concrete casting, evoke the lightness of a drawing. Here, the persistent importance of the line in Oehlen’s work becomes evident, appearing simultaneously curved and controlled. In this work, the artist uses elements which are both abstract and figurative to critically examine the history and conventions of contemporary art, all the while continuing to acknowledge the importance of classical models. Massive yet fragile in its isolation, Oehlen's Ömega Man appears like a monument from the future. Omega, the last letter of the Greek alphabet, is here written with an umlaut, thereby referring to the artist’s own name. 

Stiftung zur Förderung Zeitgenössischer Kunst in Weidingen

Crosstown Traffic, a new large-scale mosaic by Christopher Wool, is now permanently installed in the lobby of Two Manhattan West across from Moynihan Station in New York City. The mosaic, at 28 by 39 feet, is the artist's first in the medium and his largest artwork to date. Wool’s work is presented alongside a new stainless-steel sculpture by artist Charles Ray, both of which were commissioned by Brookfield Properties.

This comprehensive monograph shows the full range of Giulia Andreani’s work from 2011 to the present in more than 150 paintings, watercolors, and sculptures. In various shades of Payne’s gray, Andreani translates historical images into compelling representations of women, power, and society. The monograph includes texts by Flavia Frigeri and Erik Verhagen. The book is now available for purchase on the Galerie Max Hetzler publications website. 

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British artist Darren Almond has created three artworks for the new Bond Street station to commemorate the recently opened Elizabeth Line in London.The largest work, Horizon Line, is an expansive grid of fragmented numbers comprised of 144 individual hand-polished tiles cast in aluminium. The artwork is positioned over the main escalators in the entrance hall of the station, creating a landscape of continual movement and ever-changing subjectivity. At a distant point near the horizon rises a single complete number: a zero, the eternal symbol of the infinite.

In form and style, the other two works, titled Shadow Line and Time Line, draw upon the tradition of naming early British locomotives with cast bronze nameplates. Almond’s train plates, however, bear poetic phrases that offer a philosophical proposition to each passerby. Abstract in nature, the three works seek to activate a discussion around the mechanics of time and place.

Crossrail Art Programme

A new artist edition by Tursic & Mille, Strange Days, is now available for purchase on the Galerie Max Hetzler publications website. This illustrated calendar, with two pop-out cardboard sculptures, has been published on the occasion of the artists’ exhibition Strange Days at Galerie Max Hetzler, London, June – August 2021.

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HETZLER MARFA is pleased to present Inflection Point, 2022, a new work by Darren Almond, created as a site-specific, permanent installation for the new exhibition space.

British artist Darren Almond works in a variety of media including photography, film, installation, sculpture and painting. His diverse subjects deal with abstract ideas of time, space, history and memory and how these concepts relate and intersect. He examines the symbolic and emotional potential of objects, places and situations to produce works that have historical as well as personal resonance.

In his sculptural work, Almond often materialises notions of time or place as both real and imagined constructions. With this permanent and site-specific installation, the artist deals in both of these notions. In mathematics, a point of inflection is a point on a curve where the sign of the curvature changes. Linguistically, the inflection point is a turning point, or even a milestone. Almond’s Inflection Point, 2022, marks a specific place within the vast openness of the Texan landscape. The steel work fits into its location and almost blends with the background colours of the grasslands. The doubling of the words along the top, which are repeated in an inversion of themselves, looks like the shadow play of the bright Texan sun. As a gate, it is open to both sides, with the sentence ‘SPACE BETWEEN THOUGHTS’ readable both on arrival and on leaving the site of the exhibition space.

HETZLER MARFA is a new exhibition space opening on 26 May 2022. The programme features an annual exhibition alongside artist residencies. The space is open Thursday to Sunday from 11am to 7pm, and by appointment. It will be closed in August and will reopen in September 2022.

Darren Almond (*1971, Wigan, United Kingdom) lives and works in London. In 2005, he was nominated for the Turner Prize, and in 1996 he was awarded the Art & Innovation Prize by the Institute of Contemporary Art, London. Almond’s work has been the subject of solo exhibitions at international institutions including Jesus College, Cambridge (2019); Villa Pignatelli-Casa della Fotografia, Naples (2018); Mudam, Luxembourg (2017); Museum Sinclair Haus, Bad Homberg (2016); SCAI the Bathhouse, Tokyo (2016); Kunsthaus Graz, Graz (2015); Domaine de Chaumont-sur- Loire, Chaumont-sur-Loire (2012); Villa Merkel, Esslingen (2011); and FRAC Haute Normandie, Sotteville-lès-Rouen (2011), among others. Almond’s works are in the collections of the Art Institute of Chicago; Centre National des Arts Plastiques, Paris; Fondation Beyeler, Basel; Fonds National d’Art Contemporain, Paris; FRAC Auvergne, Clermont-Ferrand; FRAC Haute Normandie, Sotteville-lès-Rouen; Kramlich Collection, San Francisco; Musée d’Art Contemporain de Montréal, Montréal; Museum Folkwang, Essen; Museum of Contemporary Art, Chicago; Museum of Modern Art, New York; Tate, London; The Metropolitan Museum of Art, New York; Thyssen-Bornemisza Art Contemporary, Vienna; and Queensland Art Collection, Brisbane, among others.

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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

We are pleased to announce that a magnificent “Altarpiece” by Jeremy Demester, L’ombre des heures, Le retable du temps, 2021, has been inaugurated at the Maison Hennessy’s barrel-making workshop, the Atelier de Tonnelleire, at its historic home in Cognac.

Translating to “The Shadow of the Hours, The Altarpiece of Time”, Demester’s monumental artwork was specially commissioned for the space. The piece is above all the fruit of an encounter between artist and artisans around all that unites them - handmade craftsmanship, the mystery of materials and the changes imparted by time. A video documenting the making of this work can be viewed on Hennessy’s YouTube channel.

Maison Hennesy

We are delighted to announce that Giulia Andreani has been nominated for the Prix Marcel Duchamp 2022, along with Iván Argote, Philippe Decrauzat and Mimosa Echard. Named after the influential artist Marcel Duchamp, this annual award distinguishes the most significant and pioneering young artists of the French art scene. The winner will be announced on 17 October 2022. A selection of works by nominated artists will be presented in a group exhibition at the Centre Pompidou in Paris, opening 4 October 2022.

Adiaf

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