ARCO MADRID 2020 Preview of Selected Works

Galerie Thomas Schulte | booth 9D07 SPECIAL PROJECT: Alfredo Jaar

26 february to 1 march 2020

• Alfredo Jaar, Public Interventions (Studies on Happiness: 1979-1981), 1981 (detail) Artists on view Also represented Contact Alice Aycock Dieter Appelt Galerie Thomas Schulte Angela de la Cruz Richard Deacon Charlottenstraße 24 Rebecca Horn Hamish Fulton 10117 Julian Irlinger David Hartt fon: +49 (0)30 2060 8990 Alfredo Jaar Paco Knöller fax: +49 (0)30 2060 89910 Idris Khan Jonathan Lasker [email protected] Maria Loboda Iñigo Manglano-Ovalle www.galeriethomasschulte.de Allan McCollum Robert Mapplethorpe Michael Müller Fabian Marcaccio Julia Ben Abdallah Leunora Salihu Gordon Matta-Clark PA to Thomas Schulte Iris Schomaker João Penalva [email protected] Juan Uslé Albrecht Schnider Katharina Sieverding Gonzalo Alarcón Pat Steir +49 (173) 66 46 623 Jonas Weichsel [email protected] Stephen Willats Robert Wilson Eike Dürrfeld +49 (172) 30 89 074 [email protected]

Luigi Nerone +49 (172) 30 89 076 [email protected]

Nick Schulte +49 (172) 30 89 073 [email protected]

This brochure represents a selection of available works at our booth. For further information about individual artists and to learn more about works which are not represented here, please do not hesitate to contact us.

Please note that all information in this preview can be subject to changes. 2,3 ALICE AYCOCK Works by Alice Aycock (born 1946, Harrisburg, PA, USA) can be found in the collections of MoMA, the Whitney Museum of American Art, the Brooklyn Museum, the Louis Vuitton Foundation, LACMA, the National Gallery of Art, Washington D.C., and many others. She first gained inter- national recognition in 1977 with her contribution to documenta 6. Much of Aycock’s work in both the public and private spheres has been a meditation on the philosophical ramifications of technology from the simplest tool (the arrowhead and the plow) to the computer. Like many of her more recent works, her sculpture “Alien Twister” incorpo- rates the images of references to energy in the form of spirals, whirlwinds, whirlpools and spinning tops and in particular visualizes the movement of wind energy. It also relates to a series of monumental sculptures, which were first presented in a spectacular installation on New York’s Upper East Side in 2014 under the title Park Avenue Paper Chase. In the summer of 2020 a selection of these sculptures will be pre- sented by the recently founded Princess Estelle Cultural Foundation at Royal Djurgården in Stockholm.

Alice Aycock Alien Twister, 2018 Aluminum, powder coated white 213.4 x 189.8 cm | 84 x 74 3/4 in Edition 1/3 + 1AP Alice Aycock Alien Twister, 2018 Alice Aycock Aluminum, powder coated white Fortress of Solitude, 2019 213.4 x 189.8 cm | 84 x 74 3/4 in Digital inkjet print on fine art paper Edition 1/3 + 1AP 210.8 x 126.4 cm | 83 x 49 3/4 in 6,7 REBECCA HORN Rebecca Horn (born 1944, Michelstadt, ) is one of a generation of German artists who came to international prominence in the 1980s, practicing body art and working in different media, including perfor- mance, installation art, sculpture and film. She is one of very few artists who participated in documenta on four separate occasions and throughout her career has received numerous awards including Kaiserring der Stadt Goslar, Praemium Imperiale Tokyo, Pour le Mérite for Sciences and the Arts and, most recently in 2017, the Wilhelm Lehmbruck Prize. During 2019, two major exhibitions of her work took place simultaneously at Metz and Museum Tinguely in Basel. Galerie Thomas Schulte opened with a solo exhibition by Rebecca Horn in 1991. Having collaborated on several other exhibition projects over the years, the gallery is very proud to be able to announce the opening of a solo exhibition showing some of the artist’s most well-known kinetic sculptures from the 1990s alongside new works (Friday, 1 May 2020).

Rebecca Horn Der Traum des Chinesen, 2006 Glass, steel, stone, butterfly, elec- tronic parts, motor, branch cast in bronze, on glass 151 x 100 x 30 cm | 59 1/2 x 39 1/3 x 11 3/4 in Rebecca Horn Rebecca Horn Untitled, 2015 Untitled, 2015 Acrylic and pencil on paper Acrylic and pencil on paper 40 x 30 cm | 15 3/4 x 11 3/4 in 40 x 30 cm | 15 3/4 x 11 3/4 in Framed: 64 x 52 cm | 25 1/4 x 20 1/2 in Framed: 64 x 52 cm | 25 1/4 x 20 1/2 in 10,11 IDRIS KHAN Idris Khan OBE (born 1978, Birmingham, England) in the last few years has become one of the UK’s most successful young artists and has also gained great international acclaim. In 2017, he was awarded the American Architecture Prize for the design of his Memorial Monument and Pavilion of Honour in the new Memorial Park in Abu Dhabi. In October 2018, he revealed a major commission of twenty-one , which are now on display in the new Albukhary Foundation Gallery of the British Museum in London. Most recently, in October 2019, Khan’s monumental sculpture “65,000 Photographs” was installed at the new public plaza in Blackfriars in London and is the artist’s first permanent public artwork in the UK. Currently, Khan is preparing a solo show for the MoCa Westport in Connecticut. In 2022 he will stage a major solo exhibition at the Milwaukee Art Museum in Wisconsin. Exploring philosophical and theoretical ideas surrounding global displacement and conflict, Khan demonstrates his profound interest in language and meaning over a wide array of media, including painting, sculpture, photography, works on paper or glass. Khan has developed a unique narrative, drawing on diverse cultural sources including art, literature, philosophy, and music. His densely-layered imagery inhabits the space between abstraction and figuration encompassing aspects of history, cumulative experience, and the metaphysical collapse of time into a single moment.

Idris Khan Lost Happiness, 2019 Digital C-type print on aluminum 238 x 180 cm | 93 2/3 x 70 3/4 in Framed: 251.3 x 193.4 x 7.6 cm | 99 x 76 1/4 x 3 in Edition 7/7 + 2AP 12,13 Idris Khan White Window; April 2017 - January 2019, 2019 Bromide print 127 x 101.6 cm | 50 x 40 in Framed: 148.6 x 123.2 x 7 cm | 58 1/2 x 48 1/2 x 2 3/4 in Edition 5/7 + 2AP 14,15 Idris Khan Quartet, 2019 Gesso and oil stick on black and white fibre print mounted on aluminum panel 77.3 x 52.7 x 1.5 cm | 30 1/2 x 20 3/4 x 2/3 in Framed: 79 x 54.4 x 4 cm | 31 x 21 1/2 x 1 2/3 in Angela de la cruz Angela de la Cruz (born 1965 La Coruña, Spain) in her work confronts the boundaries of traditional painting and sculpture by devising works, which are “neither painting nor sculpture but something in between” (). De la Cruz was nominated for the Turner Prize in 2010. Having received the National Award for Fine Arts of her country of origin, Spain, in 2017, her work was recently on view in a major mid-career retrospective at Azkuna Zentroa in Bilbao, traveling to the Galicia Contemporary Art Center in Santiago de Compostela, Spain. In her new series “Layers” the works consists of three superimposed layers of canvas, each painted with a square and a border in specific color combinations. The different layers of canvas appear to fall from the frame revealing underneath an identically glossy layer, as if the painting was reproducing, renewing itself; a representation of a metamorphosis, so to speak, of the picture’s own creation.

Angela de la Cruz Layers - Small (Sap Green/Brilliant Pink), 2019 Acrylic and oil on canvas 70 x 50 x 7 cm | 27 1/2 x 19 2/3 x 2 3/4 in 18,19 Angela de la Cruz Angela de la Cruz Angela de la Cruz Layers - Large (Cadmium Yellow/ Light Yellow), 2019 Layers - Large (Titanium White/Off White), 2019 Layers - Large (Red/Brilliant Pink), 2019 Acrylic and oil on canvas Acrylic and oil on canvas Acrylic and oil on canvas 153 x 153 x 21 cm | 60 1/4 x 60 1/4 x 8 1/4 in 153 x 153 x 21 cm | 60 1/4 x 60 1/4 x 8 1/4 in 153 x 153 x 21 cm | 60 1/4 x 60 1/4 x 8 1/4 in 20,21 MICHAEL MÜLLER Michael Müller (born 1970, Ingelheim am Rhein, Germany) is a conceptual artist whose manifold, proliferating oeuvre resists any straightforward or one-way interpretation. Müller continuously broadens the methods of his artistic expression, combining works on paper with painting, text-based work, sculpture, found objects, music, and performance, and has even developed a cosmetic line and fashion collection. He received great critical and curatorial attention for his Eighteen Exhibitions cycle, which resulted in solo exhibitions at two of Germany’s most progressive art institutions, KW Institute of Contemporary Art, Berlin, and Staatliche Kunsthalle Baden-Baden. In 2018, he was nominated for the prestigious Prize of the Böttcherstrasse. Most recently, Müller has been invited by Städtische Galerie Wolfsburg to—over the course of two years—reassess its collec- tion, make a personal selection from the holdings of the museum and to stage the selected works for the audience in new and innovative ways. Through his series of works In front and behind the glass, Müller seeks the confrontation with the medium of painting and explores the possibilities of creating a relationship between the paintings and the space that surrounds them. By painting onto the glass—usually seperating the painting and reflecting the environment in front of it—the reflective qualities of the glass are reduced to a minimum, while its transparency opens up the possibility of integrating the space behind the painting as part of the work. Thus, Müller creates an optical illusion: standing in front of the painting, the different layers of paint appear to have been applied “in front and behind the glass.”

Michael Müller Asahreppur, 2018/19 Lacquer and acrylic on glass 186.5 x 146 cm | 73 1/2 x 57 1/2 in Framed: 186.5 x 146 x 6 cm | 73 1/2 x 57 1/2 x 2 1/3 in 22,23 Michael Müller Dekonstruktion von Radikal 10, 2018/19 Acrylic and lacquer on Belgian linen and glass 185.5 x 145.5 x 6 cm | 73 x 57 1/4 x 2 1/3 in Framed: 185.5 x 145.5 x 6 cm | 73 x 57 1/4 x 2 1/3 in 24,25 ALLAN MCCOLLUM Allan McCollum (born 1944, Los Angeles, CA, USA) is among the best and most profound American conceptual artists and has been represented by Galerie Thomas Schulte for almost 30 years. McCollum’s works feature in most major museum collections in the US and world-wide, including MoMA, the Whitney Museum of American Art, the Metropolitan Museum of Art, Solomon R. Guggenheim Museum, The New Museum, LACMA, the Art Institute of Chicago, The Hirshhorn Museum, Louisiana , Centre Pompidou, MUMOK, Vienna, and the National Museum of Contemporary Art, Seoul. The “Plaster Surrogates”, of which McCollum has made hundreds, are plaster structures painted with enamel—there is no frame and there is no canvas. They are blank paintings cast from an absent original. Allan McCollum produces a surrogate of painting, an empty signifier that stands “in the place of social relations, objectifying them in a displaced way,“ as George Baker has astutely put it. The surrogate fulfills the task of painting: it facilitates aesthetic engagement and economic exchange, produces discourse, and takes up space on the wall. It does all the things that a painting should do. But it is not a painting. It is a fraud, a fake, a stand-in. On 26 March, ICA Miami presents the first US museum retrospective for Allan McCollum. In autumn The exhibition is traveling to the Mildred Lane Kemper Art Museum in St. Louis, Missouri.

Allan McCollum Fifteen Plaster Surrogates, 1983/1985 Enamel paint on cast Hydrostone Allover dimensions variable (approx. 160 x 160 cm | approx. 63 x 63 in) JUAN USLÉ Juan Uslé (born 1954 in Santander, Spain) has developed a rich painterly oeuvre that operates in the space between pure abstraction and emo- tionally intense subjective expression. Since the early 1980s he sought to create paintings informed—on a meta-narrative level—by his personal experience, while also reflecting the fundamental rules of his pictorial vocabulary. Uslé participated in the 51st Venice Biennale and exhibited at documenta in 1992. In 2002, he was awarded the National Award for Fine Arts, Spain. His work is part of various public collections, including Museo Reina Sofía, Foundation “La Caixa”, Museum Boijmans van Beuningen, MUMOK, Migros Museum, MUDAM, Pinakothek der Moderne, Staatsgalerie Stuttgart, Moderna Museet, New York Public Library, Serralves Museum, Sammlung Goetz, Marugame Hirai Museum, Museo de Bellas Artes de Santander, and the Saatchi Collection.

Juan Uslé Sur Cruzado, 2018/19 Vinyl dispersion and dry pigment on canvas 56 x 41 cm | 22 x 16 1/4 in 28,29 IRIS SCHOMAKER Iris Schomaker (born 1973, Stade, Germany) is known for her originally unframed, often large-scale paintings on paper of landscapes and figures. To her, the images represented in the paintings themselves are secondary to the themes she explores through the process of painting. Herein, she focusses on forms of representation, the potential of painting, and the reproduction of atmospheric content. These themes find expression in Schomaker’s own visual language, which is characterized by the tension between figurative representation and painterly abstraction. Schomaker’s palette is quiet, with little divergence between pastel hues and black, white and grey tones. The softness of her palette gives her work a drawing-like quality, which is emphasized further by pencil marks and other left-over traces of the working process. Iris Schomaker studied finearts in Kiel and Hamburg, as well as in Trondheim and Bergen in Norway. She has participated in various na- tional and international exhibitions, including Kunstverein Schwimmhalle Schloss Plön (2016), Beijing International Art Biennale (2015), Mediation Biennal, Poznan (2014), Museum Sinclair-Haus, Bad Homburg (2014), Frankfurter Kunstverein (2013), Kunsthaus Stade (2013), Berlinische Galerie (2007; 2010), Schloss Salzau (2009), Staatliche Galerie, Zoppot (2001), and Villa Manin in Passariano (2001). Her works can be found in several public and many private collections.

Iris Schomaker Untitled, 2017 Oil and watercolour on paper 240 x 161 cm | 94 1/2 x 63 1/2 in Framed: 242.2 x 165 x 5 cm | 95 1/3 x 65 x 2 in 30,31 Iris Schomaker Iris Schomaker Untitled, 2020 Untitled, 2020 Watercolour and oil on paper Watercolour and oil on paper 51.6 x 44 cm | 20 1/3 x 17 1/3 in 51.6 x 44 cm | 20 1/3 x 17 1/3 in Framed: 65 x 59 x 4 cm | 25 2/3 x 23 1/4 x 1 1/2 in Framed: 65 x 59 x 4 cm | 25 2/3 x 23 1/4 x 1 1/2 in 32,33 Leunora Salihu Leunora Salihu (born 1977, Prishtina, Kosovo) works with various ma- terials, often combining and relating two different materials, either to create tension or harmony within a piece of work. In her ceramics, the inherent tension, however, first and foremost resides in the relationship between the whole and the individual parts. In the fashion of a modular construction, Salihu uses the rhythmic repetition of an array of round and square elements to create an irresolvable link between the form and its compound segments, thus opening a vast and complex field of associations ranging from architecture, furniture and design to the anatomy of insects, their hives or nests—associations that place Salihu’s work on the verge of the uncanny. The ceramics bear titles that are as short and thus obtuse as the objects they refer to—titles rendering the work reminiscent of sur- realist riddles. Turm (Tower), Kette (Chain), Bogen (Arc) and Propeller highlight the contradiction intrinsic to the work: Ceci n’est pas un… the objects are not what their titles so readily promise: neither the propeller turns, nor the joints of the chain move. Leunora Salihu studied at the Academy for Fine Arts in Prishtina, Kosovo. In 1999, she fled to Germany, moving her studies to the Muthesius Kunsthochschule in Kiel and then further to the Art Academy in Düssel- dorf, where she worked with Tony Cragg, and from which she graduated in 2009. Since then, she has received several awards and has been included in a number of group exhibitions at institutions including The National Gal- lery of Kosovo (2017), Philara Stiftung (2015), Herzliya Museum of Con- temporary Art (2015), Temporary Art Centre, Eindhoven (2015), Museum Kunstpalast Düsseldorf (2014/15), and Kunstraum Düsseldorf (2012). Salihu’s first noteworthy solo exhibitions were in 2011/12 at the Lehm- bruck Museum in and very recently at the K21 Kunstsammlung Nordrhein-Westfalen (2017). In June 2018, another solo exhibition opened at the Museum Lothar Fischer in Neumark i.d.OPf., which awarded her the Lothar-Fischer-Preis 2017. Currently, Salihu is preparing a solo show at the private collection Philara in Düsseldorf opening in May and a second solo show at Tony Cragg’s Foundation and sculpture park in Wuppertal starting in Septem- ber.

Leunora Salihu Bogen, 2016 Aluminum 204 x 45 x 30 cm | 80 1/3 x 17 3/4 x 11 3/4 in JULIAN IRLINGER Julian Irlinger (born 1986, Erlangen, Germany) works with found objects and images. In 2017, he graduated with an MFA from the Städelschule, Frankfurt. Previously, from 2011 to 2014, he studied fine art at the Hochschule für Grafik- und Buchkunst in Leipzig, Germany, and received his BA in art history in 2011 from the Friedrich-Alexander-Universität Erlangen-Nürnberg. In 2018, he was one of the participants of the Whitney Museum Independent Study Program. The Wilhelm Hack Museum invited him for a solo exhibition in 2019. His first institutional solo exhibition was hosted by the Kunsthalle in 2017. His work has also been included in exhibitions at the Kunsthalle Baden-Baden, Kunsthalle Wien, Nassauischer Kunstverein, and Kunstverein Leipzig. Julian Irlinger’s project Subjects of Emergency is dedicated to the reconstruction of a historical relation between aesthetics and ideology in artistic production. The artist’s source material is banknotes of the emergency currency which circulated during inflation in Germany (1918- 1923) as a parallel currency to the Mark of the Reichsbank. Printed on the bills were pictures by artists, which often had political backgrounds. The details of the money reproduced by Irlinger have a seductive quality and show a subtle sense of humor as well as the dark side of the pop culture of the Weimar Republic.

Julian Irlinger Fragments of a Crisis: Resources, 2018 Pigment print and plexiglas Framed: 168.4 x 135.4 x 3.5 cm | 66 1/3 x 53 1/3 x 1 1/3 in Edition 1/2 + 1AP 36,37 MARIA LOBODA Maria Loboda (born 1979, Krakow, Poland) composes installations and sculptures with which the artist investigates cultural codes, represented by pictorial signs and the grammar of various materials and objects. Throughout her work, Loboda engages with the historical narratives attributed to certain objects and juxtaposes them with contemporary interpretations and modern references in order to address the transformation of meaning of objects and images, tracing their paths from conveyance to encounter. Her research stems from the fields of poetry and history and leads to a formal equation of language and materiality, whose interactions she examines and uses in order to question what they express beyond their common readings. Loboda thus, through the deconstruction and reorganisation of common forms and symbols, has become a unique voice in what is described as contemporary archaeology. As a kind of re- enacting of semiotics, Loboda’s works are subversive as well as critical towards power structures. Maria Loboda studied at the Städelschule in Frankfurt a.M., where between 2003 and 2008 she was a student of Mark Leckey. From 2015 to 2016, she taught as a guest lecturer at Hochschule der Bildenden Künste, Zurich. Loboda’s wide-ranging exhibition activities encompass the 58th Venice Biennale (2019), Taipei Biennial (2014), and documenta 13 (2012). Important solo exhibitions include Schirn Kunsthalle, Frankfurt a.M. (2018/19), Ujazdowski Castle Centre for Contemporary Art, Warsaw (2019), Kunsthalle Basel (2017), Institut d’art contemporain, Villeurbanne (2017), The Power Plant, Toronto (2016), and Palais de Tokyo, (2012). Furthermore, she has participated in numerous group exhibitions, including Contemporary Art Center, Singapore (2018), MADRE, Naples (2018), Modern Art Oxford (2016), Sprengel Museum Hannover (2015), Bundeskunsthalle, Bonn (2015), Ludlow 38, New York (2012), MMK in Frankfurt, a.M. (2010). From November 2019 to January 2020 Galerie Thomas Schulte presented Woman observing the Alpha Persei Cluster, Maria Loboda’s first exhibition project with the gallery.

Maria Loboda, Woman observing the Alpha Persei Cluster, Galerie Thomas Schulte, 16 November 2019 to 11 January 2020 Maria Loboda Maria Loboda Some mysteries have no clues #1, 2019 Some mysteries have no clues #3, 2019 Stainless steel Stainless steel 17.5 x 8.1 x 7.9 cm | 7 x 3 1/4 x 3 in 17.5 x 11.1 x 8.5 cm | 7 x 4 1/3 x 3 1/3 in 40,41 ALFREDO JAAR At the booth at ARCOmadrid 2020, Galerie Thomas Schulte presents as a special project a group of rarely presented, early works of Alfredo Jaar (born 1956, Santiago de Chile) created from the late 1970s throughout the 1980s that deal with his birthplace, Chile, and the aftermath of the 1973 Chilean coup d’état. In Jaar’s interventions in public space at that time, he sought to take forms of resistance that had been developed in other countries, adapted them artistically in Chile, and asserted their im- possibility. Or he prompted contemplation about individual and national situations by asking people on the street, “Are you happy?” He carried out elaborate questionnaire actions about happiness, later put on display as statistical diagrams. Alfredo Jaar’s work has been shown extensively around the world. To date more than fifty monographic publications have been published on his work. Jaar became a Guggenheim Fellow in 1985 and a MacArthur Fellow in 2000. Most recently, in 2019, he was awarded the Josef Svoboda Prize, Macerata, Italy. In the previous year, he received the 11th Hiroshima Art Prize. In 2006, he received Spain’s Premio Extremadura a la Creación. He has participated in the biennales of Venice (1986; 2007; 2009; 2013), São Paulo (1985; 1987; 2010), Sydney (1990), Istanbul (1995), and Johan- nesburg (1997), as well as in documenta (1987; 2002). Retrospectives of his work were organised in 2012 in Berlin by the Neue Gesellschaft für bildende Kunst, in 2014 at the Museum of Contemporary Art Kiasma in Helsinki, and in 2015/16 at the Museum of Contemporary Art in Marseille. Important solo exhibitions include Yorkshire Sculpture Garden (2017), Wits Art Museum, Johannesburg (2016), The San Diego Museum of Art (2014), Malmö Konsthall (2013), the Art Institute of Chicago (2011), and KW Institute of Contemporary Art in Berlin (2009).

Alfredo Jaar September 11, 1973 (Coke), 1982 6 pigment prints mounted on 3mm Dibond Framed: each 80.6 x 66 cm | 31 3/4 x 26 in Edition 1/3 + 2AP 42,43 Alfredo Jaar A Logo for America, 1987 5 pigment prints mounted on Dibond Framed: each 96.5 x 96.5 cm | 38 x 38 in Overall dimensions: 96.5 x 482.6 cm | 38 x 190 in Edition 3/6 + 3AP Alfredo Jaar Public Interventions (Studies on Happiness: 1979-1981), 1981 8 pigment prints mounted on Dibond Framed: each 111.8 x 111.8 cm | 44 x 44 in Overall dimensions: 223.5 x 447 cm | 88 x 176 in Edition 1/3 + 2AP 46,47 Alfredo Jaar Alfredo Jaar Cien Anos de Soledad (No realmente), 1985 Faces, 1982 Neon 11 C-prints mounted on museum board 36 x 152 cm | 14 1/4 x 59 3/4 in Framed: each 50.8 x 73.7 cm | 20 x 29 in Edition 2/10 + 3AP Edition 3/3 + 2AP 48,49 Publisher Galerie Thomas Schulte GmbH Charlottenstraße 24 10117 Berlin fon: +49 (0)30 2060 8990 fax: +49 (0)30 2060 89910 [email protected] www.galeriethomasschulte.de

© 2020 the artists, the photographers and Galerie Thomas Schulte

This dossier was published on the occasion of ARCOmadrid 2020.