Albert Oehlen presents Badende, 2026, an artist edition made in collaboration with TEXTE ZUR KUNST. Translating to ‘bather’, Oehlen’s figure is embedded in a turquoise background reminiscent of the Mediterranean, picking up on a trope from the history of painting returned to by artists from Paul Cézanne to Pablo Picasso. Yet if Oehlen’s Badende is steeped in the history of painting, his figure appears to be trying with her irreverent gestures to wash this heritage off her body like ballast. On the one hand, Oehlen stages a kind of painterly unconcern with traditional art historical genres; on the other hand, he brings them back for a captivating and entertaining encore. This work is presented in an edition of 100 + 20 AP + 2 PP.

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Works by Ida Ekblad and Albert Oehlen are included in When I’m In My Painting, a group exhibition at The Twist, Kistefos Museum, Jevnaker. Taking its title from Jackson Pollock’s well-known reflection on becoming fully immersed in the act of creation, the exhibition foregrounds the moment when making becomes inseparable from meaning. It traces how contemporary abstract artists navigate the shifting space between intention and spontaneity, testing the boundaries of mark, movement and surface.

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Works by Matthew Barney, Glenn Brown, Victor Man, Danielle Mckinney and Albert Oehlen are included in the inaugural exhibition, Don’t have hope, be hope! at Isola di San Giacomo, the new location of the Fondazione Sandretto Re Rebaudengo in Venice. San Giacomo will become a place for producing artistic projects and hosting research and discussions on art, music, cinema, theatre and contemporary culture. Surrounded by the delicate ecosystem of the lagoon, the island will serve as a laboratory for ecological reflection, where the principles of sustainability and energy transition will be put into practice.

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Published on the occasion of the artist’s ​​solo exhibition Endless Summer, at Galerie Max Hetzler and Gagosian, Paris from 20 October – 20 December 2025.

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Published on the occasion of the solo exhibition Schweinekubismus, at Galerie Max Hetzler, Berlin from 14 September – 2 November 2024.

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Albert Oehlen’s work is included in Post-Atomic Abstraction, a collection presentation in room 203 at The Museum of Modern Art, New York. During the final years of the Cold War and in the decades that followed, artists in Germany and the United States faced a brave – and contradictory – new world. The presentation brings together artists’ responses to this period of transition, where the push and pull between the prewar and post-atomic worlds fostered novel paths toward abstraction.

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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

The new catalogue published on the occasion of the group exhibition Oehlen, Pendleton, Pope.L, Sillman, on view at Galerie Max Hetzler, Berlin from 4 November 2021 until 29 January 2022, is now available for purchase. Alongside installation views and high-resolution images, the publication includes a conversation between Amy Sillman, Adam Pendleton, and Isabelle Graw.

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