OEHLEN, PENDLETON, POPE.L, SILLMAN

Goethestraße 2/3, 10623 Berlin
4 November 2021 – 29 January 2022

Exhibition Page >

Galerie Max Hetzler is pleased to announce the group exhibition Oehlen, Pendleton, Pope.L, Sillman at Goethestraße 2/3, in Berlin. This group exhibition is accompanied by a solo exhibition of Adam Pendleton’s work at Galerie Max Hetzler, Paris, which explores iterative procedures of writing and gesture in the artist’s drawings.

Oehlen, Pendleton, Pope.L, Sillman seeks to draw forth specificities and divergences from within a selection of paintings and drawings by four artists. These are works with an affinity for complications of painterly gesture and dynamics of generative feedback. In each case, the work is not primarily an index of the hand, but a space in which handiwork is swept up by a process, a performance, a technology, or some other unfolding that exceeds it. Albert Oehlen’s software presets and computer/paint mimesis; Adam Pendleton’s redoubled brushwork, spray-painted language, and typographic fragments; Pope.L’s intimately scaled nonrepresentational bastards on eraser; Amy Sillman’s grid of non-figurative animation components: all are works in flux, in states of continuous making and remaking.

While all announce themselves, to some extent, as paintings or drawings, all simultaneously involve themselves in the “non-painterly” by serialising the gesture, multiplying it, dispersing it, bringing it in and out of phase. But it is not a matter of similar or synchronised processes. On the contrary, the works evince disparate positions and intentions concerning the transformation and translation of sources, the functions of writing and overwriting, and the critical role of abstraction. By bringing these works together, the exhibition aims to autonomise them.

Over the course of more than four decades Albert Oehlen (*1954, Krefeld) has questioned the methods and means of painting, raising a sense of awareness of the medium which he aims to reinvent and to reshape, always in opposition to traditional hierarchies. Through his various styles, orders and mediums, Oehlen has been expanding the notion of painting to “what he wants to see”. From inkjet printers to computer-aided design programs and references to the pixelated lines of computer screens, Oehlen has incorporated new technologies into his work, all the while altering the parameters which he set for himself by imposing obstacles and challenges. In this way, he attests to the infinite combinations of form made possible through painting, and shows that these combinations can be manipulated at the artist’s will to produce novel perceptual challenges for the viewer.

Albert Oehlen lives and works in Switzerland. Since 1981, the artist has been exhibiting regularly at Galerie Max Hetzler. Oehlen’s work has been shown in numerous solo exhibitions at institutions including the Serpentine Galleries, London; Kunstmuseum St. Gallen, St. Gallen; and Museum Brandhorst, Munich (all 2019); Aïshti Foundation, Beirut; and Palazzo Grassi, Venice (both 2018); Museo Nacional de Bellas Artes, Havana (2017); Cleveland Museum of Art, Cleveland; and Guggenheim, Bilbao (2016); New Museum, New York; and Kunsthalle Zürich (both 2015); mumok, Vienna (2013); Musée d'Art Moderne de la Ville de Paris, Paris (2009); Whitechapel Gallery, London (2006); and MOCA, Miami (2005); among others. The artist's work is in the collections of the Museum Brandhorst, Munich; The Broad, Los Angeles; Centre Pompidou, Paris; The Cleveland Museum of Art, Cleveland; Fondation Louis Vuitton, Paris; Institut Valencià d’Art Modern, Valencia; Los Angeles County Museum of Art, Los Angeles; MUDAM, Luxembourg; Musée d’art moderne de la Ville de Paris, Paris; Museum of Contemporary Art, Chicago; Museum of Contemporary Art – MOCA, Los Angeles; Museum für Moderne Kunst, Frankfurt/Main; Museum Ludwig, Cologne; Tate, London; Staatliche Kunstsammlung Dresden; and The Museum of Modern Art, New York, among others.

Artist Page >

Adam Pendleton (*1984, Richmond, VA) is a New York-based artist. In his paintings, drawings, and other works, Pendleton uses letters, words, drips, splatters, sprays, and collected images as primary materials. His work is a kind of continuous writing, in which language and gestural marks are recorded, transposed, and overwritten. Blurring the edges between modes of viewing and reading, between representation and abstraction, and between painting, drawing, and photography, Pendleton’s work is a visual philosophy of incomplete postulates. In 2008, he began to articulate his work through the idea of Black Dada, a visual project and ever-evolving inquiry into the relationships between blackness, abstraction, and the avant-garde.

Adam Pendleton's work is held in public collections including The Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; The Studio Museum in Harlem, New York; Carnegie Museum of Art, Pittsburgh; Museum of Contemporary Art, Chicago; Museum of Contemporary Art, San Diego; and Tate, London, among others. His current exhibition Who Is Queen?, at the Museum of Modern Art in New York, opened in September and will be on view until 21 February 2022.

Artist Page >

Pope.L (*1955, Newark, NJ) is known for his multidisciplinary practice, which encompasses performance, painting, writing, installation, video and sculpture to highlight binaries, contraries and preconceived notions embedded within contemporary culture. From the 1970s onwards, Pope.L enacted often arduous, provocative and absurdist performances and interventions in public spaces. The artist's latest works are of intimate format and were made in response to Robert Ryman and his relationship with material, process and scale. Pope.L is interested in the tactility of material and his own interventions with it. About 12 standard sized Blick art erasers are assembled in a grid form and framed to become both the material and substrate of the work. The abstracted compositions of text, landscape and assemblage are completed by an elongated signing of Ryman’s name.

Pope.L lives and works in Chicago, IL. The artist's first performances occurred on the street, and later at venues such as the Anthology Film Archives (1981), Just Above Midtown (1983), Franklin Furnace (1991), The Sculpture Center (2000), all in New York; Mobius, Boston (2000); Shinjuku Station, Tokyo (2001); Diverse Works, Houston (2003); Cleveland Institute of Art, Ohio (2004); Baltic Centre for Contemporary Art, Gateshead Quays, UK (2005); MIT, Boston (2006); New Museum, New York (2010); Prospect 2, New Orleans (2011); Museum of Modern Art, New York (2011, 2012, 2019); Performa, New York (2013); Walker Art Center, Minneapolis (2014, 2016); Contemporary Arts Museum, Houston (2014); Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, Chicago (both 2015); and Whitney Biennial, New York (2017), among others.

Amy Sillman (*1955, Detroit, MI) considers drawing to be the point of departure for all her work. The artist does, however, explore more gestural modes of production in her inkjet-printed and silkscreened canvases, zines and also, more recently, in her animated iPhone videos, in which she brings her digitally drawn figures to life, as a reflection of her preferred media of painting and drawing and their respective boundaries. Sillman's distinctive artistic practice operates at the juncture between the abstract and the figurative. The artist's large-scale, gestural oil paintings, as well as her finer drawings, are layered and complex reflections on themes such as physicality, language and interrelativity, often with a humorous and cartoonish effect. For the 2015 work shown here, Sillman created 100 bathtub drawings emphasising her idiosyncratic formal-pictorial approach. Amy Sillman currently lives and works in New York.

Since 2015, Sillman has been the professor of painting at the Städelschule in Frankfurt am Main. Sillman’s work has been the subject of numerous solo exhibitions at institutions including The Arts Club of Chicago, Chicago; Camden Arts Centre, London; Albright Knox Art Gallery, Bufalo, New York; Drawing Center, New York; Portikus, Frankfurt am Main; and Kunsthaus Bregenz, Austria. Beginning at the Institute of Contemporary Art, Boston in 2014, Sillman’s solo exhibition, "one lump or two," travelled to the Aspen Art Museum in Colorado and the Center for Curatorial Studies at Bard College, New York. The artist's works are held in the public collections of such prominent institutions as Art Institute of Chicago, Chicago; Brooklyn Museum, New York; Hirshhorn Museum and Sculpture Garden, Washington D.C.; Metropolitan Museum of Art, New York; Museum of Modern Art, New York; and the Whitney Museum of American Art, New York.

Works

Albert Oehlen
Untitled, 1992 / 2004
silkscreen, acrylic and oil on canvas
230 x 180 cm.; 90 1/2 x 71 1/8 in.

Albert Oehlen
Untitled, 1994
silkscreen, acrylic and oil on canvas
280 x 520 cm.; 110 x 205 in.

Albert Oehlen
Untitled, 1992 / 2004
silkscreen, acrylic and oil on canvas
230 x 180 cm.; 90 1/2 x 71 1/8 in.

Installation view: Oehlen, Pendleton, Pope.L, Sillman, Galerie Max Hetzler, Berlin, 2021

Albert Oehlen
Untitled, 1994
silkscreen, acrylic and oil on canvas
280 x 520 cm.; 110 x 205 in.

Installation view: Oehlen, Pendleton, Pope.L, Sillman, Galerie Max Hetzler, Berlin, 2021

Albert Oehlen
Untitled, 1997
silkscreen, acrylic and oil on canvas
193.5 x 270 cm.; 76 1/8 x 106 1/4 in.

Adam Pendleton
Untitled (WE ARE NOT), 2021
silkscreen ink on canvas
244 x 305 cm.; 96 x 120 in.

Albert Oehlen
Untitled, 1997
silkscreen, acrylic and oil on canvas
193.5 x 270 cm.; 76 1/8 x 106 1/4 in.

Installation view: Oehlen, Pendleton, Pope.L, Sillman, Galerie Max Hetzler, Berlin, 2021

Adam Pendleton
Untitled (WE ARE NOT), 2021
silkscreen ink on canvas
244 x 305 cm.; 96 x 120 in.

Adam Pendleton
Untitled (WE ARE NOT), 2021
silkscreen ink on canvas
244 x 305 cm.; 96 x 120 in.
Installation view: Oehlen, Pendleton, Pope.L, Sillman, Galerie Max Hetzler, Berlin, 2021

Adam Pendleton
Untitled (WE ARE NOT), 2021
silkscreen ink on canvas
244 x 305 cm.; 96 x 120 in.

Adam Pendleton
Black Dada Drawing (A), 2021
silkscreen ink on paper, in artist's frame
96.4 x 77.2 x 3.8 cm.; 38 x 30 3/8 x 1 1/2 in.

Adam Pendleton
Untitled (WE ARE NOT), 2021
silkscreen ink on canvas
244 x 305 cm.; 96 x 120 in.

Installation view: Oehlen, Pendleton, Pope.L, Sillman, Galerie Max Hetzler, Berlin, 2021

Adam Pendleton
Black Dada Drawing (A), 2021
silkscreen ink on paper, in artist's frame
96.4 x 77.2 x 3.8 cm.; 38 x 30 3/8 x 1 1/2 in.

Adam Pendleton
Black Dada Drawing (A), 2021
silkscreen ink on paper, in artist's frame
96.4 x 77.2 x 3.8 cm.; 38 x 30 3/8 x 1 1/2 in.
Installation view: Oehlen, Pendleton, Pope.L, Sillman, Galerie Max Hetzler, Berlin, 2021

Adam Pendleton
Black Dada Drawing (A/A), 2021
silkscreen ink on paper, in artist's frame
96.4 x 77.2 x 3.8 cm.; 38 x 30 3/8 x 1 1/2 in.

Adam Pendleton
Black Dada Drawing (B), 2021
silkscreen ink on paper, in artist's frame
96.4 x 77.2 x 3.8 cm.; 38 x 30 3/8 x 1 1/2 in.

Adam Pendleton
Black Dada Drawing (A/A), 2021
silkscreen ink on paper, in artist's frame
96.4 x 77.2 x 3.8 cm.; 38 x 30 3/8 x 1 1/2 in.

Adam Pendleton
Black Dada Drawing (A/A) (detail), 2021
silkscreen ink on paper, in artist's frame
96.4 x 77.2 x 3.8 cm.; 38 x 30 3/8 x 1 1/2 in.
Installation view: Oehlen, Pendleton, Pope.L, Sillman, Galerie Max Hetzler, Berlin, 2021

Adam Pendleton
Black Dada Drawing (B), 2021
silkscreen ink on paper, in artist's frame
96.4 x 77.2 x 3.8 cm.; 38 x 30 3/8 x 1 1/2 in.

Installation view: Oehlen, Pendleton, Pope.L, Sillman, Galerie Max Hetzler, Berlin, 2021

Adam Pendleton
Black Dada Drawing (C/A), 2021
silkscreen ink on paper, in artist's frame
96.4 x 77.2 x 3.8 cm.; 38 x 30 3/8 x 1 1/2 in.

Adam Pendleton
Black Dada Drawing (L/K), 2021
silkscreen ink on paper, in artist's frame
96.4 x 77.2 x 3.8 cm.; 38 x 30 3/8 x 1 1/2 in.

Adam Pendleton
Black Dada Drawing (C/A), 2021
silkscreen ink on paper, in artist's frame
96.4 x 77.2 x 3.8 cm.; 38 x 30 3/8 x 1 1/2 in.

Installation view: Oehlen, Pendleton, Pope.L, Sillman, Galerie Max Hetzler, Berlin, 2021

Adam Pendleton
Black Dada Drawing (L/K), 2021
silkscreen ink on paper, in artist's frame
96.4 x 77.2 x 3.8 cm.; 38 x 30 3/8 x 1 1/2 in.

Adam Pendleton
Black Dada Drawing (L/K) (detail), 2021
silkscreen ink on paper, in artist's frame
96.4 x 77.2 x 3.8 cm.; 38 x 30 3/8 x 1 1/2 in.
Installation view: Oehlen, Pendleton, Pope.L, Sillman, Galerie Max Hetzler, Berlin, 2021

Pope.L
Family Name: Booger, 2021
acrylic, ballpoint pen, marker, ink, white glue, debris and hair on gum erasers, in artist’s wood frame
17.6 x 12.4 x 2 cm.; 6 7/8 x 4 7/8 x 3/4 in.

Installation view: Oehlen, Pendleton, Pope.L, Sillman, Galerie Max Hetzler, Berlin, 2021

Pope.L
Bild Hate, 2021
interference paint, gum eraser, ink, ballpoint pen, china marker, hair, debris and painter's tape on gum erasers, in artist’s wood frame
17.5 x 12.5 x 4.5 cm.; 6 7/8 x 4 7/8 x 1 3/4 in.

Pope.L
Bild Hate (detail), 2021
interference paint, gum eraser, ink, ballpoint pen, china marker, hair, debris and painter's tape on gum erasers, in artist’s wood frame
17.5 x 12.5 x 4.5 cm.; 6 7/8 x 4 7/8 x 1 3/4 in.
Installation view: Oehlen, Pendleton, Pope.L, Sillman, Galerie Max Hetzler, Berlin, 2021

Pope.L
Split Cock, Wick, Universe Or Dimensional Portal, I’m Not
Sure, Do I Have To Choose?, 2021
acrylic, oil, ink, plastic brush cap, hair, debris, marker and painter's tape on gum erasers, in artist’s wood frame
17.6 x 12.4 x 4 cm.; 6 7/8 x 4 7/8 x 1 5/8 in.

Pope.L
Split Cock, Wick, Universe Or Dimensional Portal, I’m Not
Sure, Do I Have To Choose?
(detail), 2021
acrylic, oil, ink, plastic brush cap, hair, debris, marker and painter's tape on gum erasers, in artist’s wood frame
17.6 x 12.4 x 4 cm.; 6 7/8 x 4 7/8 x 1 5/8 in.

Pope.L
Studie Bastard, 2021
acrylic, ink, white glue, debris, hair, ballpoint pen, gum eraser, and push pin on gum erasers, in artist’s wood frame
17.7 x 12.6 x 3 cm.; 7 x 5 x 1 1/8 in.

Pope.L
Studie Bastard (detail), 2021
acrylic, ink, white glue, debris, hair, ballpoint pen, gum eraser, and push pin on gum erasers, in artist’s wood frame
17.7 x 12.6 x 3 cm.; 7 x 5 x 1 1/8 in.

Pope.L
Wem Ich Was When, 2021
water-absorbent toy penguin, acrylic, ink, ballpoint pen and debris on gum erasers, in artist’s wood frame
17.5 x 12.5 x 4.6 cm.; 6 7/8 x 4 7/8 x 1 3/4 in.

Pope.L
Wem Ich Was When (detail), 2021
water-absorbent toy penguin, acrylic, ink, ballpoint pen and debris on gum erasers, in artist’s wood frame
17.5 x 12.5 x 4.6 cm.; 6 7/8 x 4 7/8 x 1 3/4 in.

Pope.L
Aber, 2021
acrylic, graphite, china marker, marker and ink on gum erasers, in artist’s wood frame
17.6 x 12.7 x 2.5 cm.; 6 7/8 x 5 x 1 in.

Installation view: Oehlen, Pendleton, Pope.L, Sillman, Galerie Max Hetzler, Berlin, 2021

Pope.L
Studie Zwischen 'Donut', 2021
ballpoint pen, gum eraser, ink, hair, paper and plastic on gum erasers, in artist’s wood frame
17.8 x 12.7 x 3.7 cm.; 7 x 5 x 1 1/2 in.

Pope.L
Studie Zwischen 'Donut' (detail), 2021
ballpoint pen, gum eraser, ink, hair, paper and plastic on gum erasers, in artist’s wood frame
17.8 x 12.7 x 3.7 cm.; 7 x 5 x 1 1/2 in.
Installation view: Oehlen, Pendleton, Pope.L, Sillman, Galerie Max Hetzler, Berlin, 2021

Pope.L
Selfie Knowledge And Inner Being, 2021
acrylic, ballpoint pen, post-it, white glue, debris, hair and gum eraser on gum erasers, in artist’s wood frame
17.6 x 12.5 x 2 cm.; 6 7/8 x 4 7/8 x 3/4 in.

Pope.L
Bastard Schreiben, 2021
acrylic, marker, gum eraser, debris, ballpoint pen and hair on gum erasers, in artist’s wood frame
17.6 x 12.6 x 3 cm.; 6 7/8 x 5 x 1 1/8 in.

Pope.L
Bastard Schreiben (detail), 2021
acrylic, marker, gum eraser, debris, ballpoint pen and hair on gum erasers, in artist’s wood frame
17.6 x 12.6 x 3 cm.; 6 7/8 x 5 x 1 1/8 in.

Pope.L
Earth To Seite, 2021
acrylic, ballpoint pen, white glue, debris, gum eraser and hair on gum erasers, in artist's wood frame
17.5 x 12.6 x 6 cm.; 6 7/8 x 5 x 2 3/8 in.

Pope.L
Earth To Seite (detail), 2021
acrylic, ballpoint pen, white glue, debris, gum eraser and hair on gum erasers, in artist's wood frame
17.5 x 12.6 x 6 cm.; 6 7/8 x 5 x 2 3/8 in.

Pope.L
Illegitimate, 2021
charcoal, acrylic, interference paint, ink, white glue, ballpoint pen, debris and hair on gum erasers in artist’s wood frame
17.5 x 12.5 x 4.1 cm.; 6 7/8 x 4 7/8 x 1 5/8 in.

Pope.L
Page Or Maybe John Berryman, 2021
acrylic, marker, ballpoint pen, gum eraser, hair and graphite on gum erasers, in artist’s wood frame
17.7 x 12.7 x 4.6 cm.; 7 x 5 x 1 3/4 in.

Pope.L
Page Or Maybe John Berryman (detail), 2021
acrylic, marker, ballpoint pen, gum eraser, hair and graphite on gum erasers, in artist’s wood frame
17.7 x 12.7 x 4.6 cm.; 7 x 5 x 1 3/4 in.

Pope.L
Bastard #1, 2021
smudge, plaster repair, artwork removed
dimensions variable

Pope.L
Bastard #2, 2021
smudge, plaster repair, artwork removed
dimensions variable

Amy Sillman
100 from The Bathtub Drawings, 2015
ink and gouache on paper, suite of 100 drawings
overall: 239.5 x 712 cm.; 94 1/4 x 280 1/4 in.
each: 47.9 x 35.6 cm.; 18 7/8 x 14 in.