For Immediate Release 14 October 2011
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Martha Jungwirth Albert Oehlen Opening
Galerie Mezzanin Karin Handlbauer 63, rue des Maraîchers CH -∂205 Geneva T + 4∂ 22 328 38 02 [email protected] www.galeriemezzanin.com Martha Jungwirth Albert Oehlen Opening: 23.03.2017 Exhibition: 24.03.-13.05.2017 -- This exhibition is a project between Martha Jungwirth and Albert Oehlen. As I know Albert now quite for a long time, I asked him if he wants to do an exhibition with Martha Jungwirth. Aware that he honours Martha’s work a lot. Albert Oehlen was choosing the works of Martha what you see in the exhibition. Karin Handlbauer Martha Jungwirth was born in 1940 in Vienna, Austria, she lives and works in Vienna. She had solo exhibitions at Secession, Vienna, Austria (with Franz Ringel, 1972) ; Museum des 20. Jahrhunderts, Vienna, Austria (1976) ; documenta 6, Fridericianum, Kassel, Germany, (1977) ; Künstlerhaus Klagenfurt, Austria (1982) ; Museum der Moderne – Rupertinum, Salzburg, Austria (1991) ; Kulturhaus der Stadt Graz, Austria (1999) ; Malfluchten, Museum Moderner Kunst – Stiftung Wörlen, Passau, Germany (1999) ; Künstlerhaus Klagenfurt, Austria (2000) ; Kunsthaus Mürz, Mürzzuschlag, Austria (2008) ; Stadtmuseum Bruneck, Italy (2011) and Kunsthalle Krems, Austria (2014). Jungwirth’s work belongs to known private and institutional collections in US and Europe such as Rubell Family Collection (USA) ; The Barnes Foundation (Philadelphia, USA) ; Albertina (Vienna, Austria) ; Mumok (Vienna, Austria) ; Joanneum (Graz, Austria) ; Lentos (Linz, Austria) ; Rupertinum (Salzburg, Austria) ; Collection City of Vienna (Austria) ; Essl Collection (Klosterneuburg, Austria) ; Museum Angerlehner (Wels, Austria) ; Sammlung Liaunig (Vienna / Neuhaus) ; Sammlung Wemhöner (Berlin / Herfort) ; Sammlung Dichand (Vienna). Albert Oehlen was born in 1954 in Krefeld, Germany and currently lives and works in Switzerland. -
Albert Oehlen
Galerie Max Hetzler Berlin | Paris | London ALBERT OEHLEN Spiegelbilder (1982 – 1990) London: 41 Dover Street, 26 September – 16 November 2019 Galerie Max Hetzler, London is delighted to announce the exhibition Albert Oehlen: Spiegelbilder. Bringing together singular paintings from a significant early series in Albert Oehlen’s oeuvre, this will be the first exhibition dedicated to the Spiegelbilder (‘Mirror Paintings’) in the UK. The exhibition coincides with a major solo show of the artist’s work at the Serpentine Gallery, London, which opens on 2 October 2019. Spanning eight years, from 1982 – 1990, the Spiegelbilder series straddles a decisive period for the artist, during which he moved from the crude figuration and “bad painting” of the late 1970s and early 80s, towards non- objective painting in the late 1980s. Through the Spiegelbilder, Oehlen cemented his reputation for subverting painting conventions. “This mirror idea allowed me to make an ‘original’ invention, but one that is bearable because it is so hackneyed.” –– Albert Oehlen One of Oehlen’s earliest bodies of work, the Spiegelbilder are distinguished by actual pieces of mirror collaged onto the surface of the canvas, highlighting the artist’s unconventional approach to painting from the outset. Although visually distinct, there is an attitude and approach in these paintings towards colour, light, scale and line that carries through later series. Belonging to the Spiegelbilder are some of Oehlen’s first self-portraits, a primary example of which will also be exhibited. Many of the works in the series depict domestic interiors and politically-charged exteriors in a palette of muted colours. -
Exhibition Booklet to the Exhibition Albert Oehlen. Malerei
8. 6.–20. 10. 2013 English museum moderner kunst stiftung ludwig wien Introduction Albert Oehlen is not only one of the most infl uential but also one of the most controversial painters of our time. Born in 1954 in Krefeld, Germany, he has since the end of the 1970s been a key fi gure in the resurgent discussion about the contemporary relevance of painting. The artist has worked systematically to bring painting into confl ict on several fronts — with its own history, with its clichés and its missed opportunities, and also with the ubiquity of images from the worlds of advertising and pop. Painting may have been declared dead, but Oehlen attempts to give it back its freshness and complexity — not by sweeping under the carpet the attacks it has been subjected to and the controversies surrounding its tradition, but rather by making painting itself the live site where they unfold. His forays into pop culture and advertising, trash and computer aesthetics, as well as into political iconography are methodically brought into the overall context of a crafted and composed image. It is as if Oehlen were continually outwitting painting. Oehlen brings the medium’s internal and external enemies — from the avant-garde to new technologies — into his work, while fi nding devious ways to smuggle in tropes as beauty and virtuosity. The exhibition at mumok shows several groups of the artist’s works, beginning with early works from the 1980s such as the “Mirror Paintings,” collages, and paintings featuring mannequins, as well as two of the so-called “Tree Pictures.” Around 1990, a programmatic turn towards abstraction took place in Oehlen’s practice, evident in the artist’s “post-nonrepresentational” works and the “Computer Paintings.” On Level 3, works from the series “Gray Paintings” are on view, along with “Poster Paintings.” The most recent work in the show is presented on Level 4 — a large-format series made between 2010 and 2012, on view here for the fi rst time, in which Oehlen meshes together actionist painting and collaged elements. -
Tramonto Spaventoso April 22–June 5, 2021 456 North Camden Drive, Beverly Hills
Tramonto Spaventoso April 22–June 5, 2021 456 North Camden Drive, Beverly Hills Albert Oehlen in his studio, Ispaster, Spain, 2020. Artwork © Albert Oehlen. Photo: Esther Freund March , Gagosian is pleased to present Tramonto Spaventoso, an exhibition by Albert Oehlen comprising the second part of his version of the Rothko Chapel in Houston as well as other new paintings. The first part of the project—consisting of four paintings that mirror the imposing scale of the Color Field compositions in the Chapel while opposing Rothko’s contemplativeness with their frenetic energy— was exhibited at the Serpentine Galleries, London, in –. Both parts make up the work Tramonto Spaventoso (–). Oehlen uses abstract, figurative, and collaged elements to disrupt the histories and conventions of modern painting. By adding improvised components, he unearths ever-new possibilities for the genre. While championing self-consciously amateurish “bad” painting, Oehlen continues to infuse expressive gesture with Surrealist attitude, openly disparaging the quest for reliable form and stable meaning. In the large-scale canvases on view at the Beverly Hills gallery, Oehlen employs acrylic, spray paint, charcoal, and patterned fabric to interpret and transform John Graham’s painting Tramonto Spaventoso (Terrifying Sunset, –), a work by the Russian-born American modernist painter that he discovered in the s and has been fascinated with ever since. Using Graham’s puzzle-like painting as a vehicle for repeated interpretation, Oehlen reconfigures elements in diverse and absurdist ways across multiple compositions. The exhibition, which goes by the same title, is therefore in part an homage to the earlier, lesser-known artist. Reworking motifs from Graham’s original, including a mermaid and a man sporting a monocle and a Daliesque handlebar moustache, Oehlen improvises on his source. -
Daniel Richter
GALERIE THADDAEUS ROPAC DANIEL RICHTER SPAGOTZEN SALZBURG VILLA KAST 24 Saturday - 28 Saturday Parallel to Daniel Richter's solo exhibition in the Salzburg Rupertinum Museum of Modern Art, presenting works created in connection with Daniel Richter's stage-set for Vera Nemirova's production of Alban Berg's Lulu, the Galerie Thaddaeus Ropac, in its first collaboration with Richter, is showing his latest series of works. Under the title Spagotzen, a neologism coined by the artist, the exhibition comprises fifteen works showing mysterious figures bathed in an artificial light typical of Richter, against a sometimes seismographically linear background. They seem like actors on a stage, engaged in strange kinds of interaction. Richter's new block of works is distinguished on the one hand by an innovative, graphic, almost secessionist style, the paint applied like varnish, and on the other by a novel orientation towards the world of symbolism at the turn of last century, the mysticism of Odilon Redon and Félix Vallotton's compositions dominated by flat areas of black and white contrasts. "Ultimately, there is no difference between abstract and figurative painting – apart from particular forms of their decipherability. But the problems of organising paint on surface always remain essentially the same. In both cases, it is the same method that makes its way through various forms." Thus Daniel Richter commented in 2004 on his change from abstract to representational painting – a personal turn-round which he carried out at the turn of the century. Born in 1962, the artist has shaped painting in Germany since the 1990s as few others have done. -
Download Jana Schröder Press Packet
JANA SCHRÖDER [email protected] WWW.MIERGALLERY.COM 7277 SANTA MONICA BOULEVARD LOS ANGELES, CA, 90042 T: 323-498-5957 Jana Schröder’s art-making practice seeks to question the validity of traditional painting gestures. Her work is a meditation on process and repetition, refusing the need to derive or represent intellectual meaning solely for the sake of being meaningful. She achieves this by creating an interaction of overlapping colors and layers of paint that create meaning not only on the basis of the gestures that created them, but also through their references to everyday acts of handwriting and scribbling. She uses oil paints to slowly transition initials, signatures and abbreviations onto a large-scale canvas, and by doing so, she manages to isolate and highlight their sheer form. In other paintings, the indelible pencil, with its absurd chemical nature (it irrevocably fades when exposed to sunlight), serves as the perfect platform for expressing gestures freely and as a finalizing act. Jana Schröder (b. 1983, Brilon, Germany; lives and works in Düsseldorf) studied at the Kunstakademie Düsseldorf under Professor Albert Oehlen. She has been included in numerous solo and group exhibitions at wellknown institutions, such as the Kunstmuseum Bonn, Germany; Kunstverein Heppenheim, Germany; T293, Rome; Natalia Hug, Cologne; Pinakothek der Moderne, Munich and the Yves Klein Archives, Paris. SELECTED WORKS Jana Schröder Kadlites L20, 2019 Acrylic, graphite and lead on canvas 94 1/2 x 78 3/4 in, 240 x 200 cm Jana Schröder Specshift L1, 2020 Acrylic and oil on canvas 94 1/2 x 78 3/4 in, 240 x 200 cm Jana Schröder PR2, 2017 Copying pencil and oil on paper 79 x 59 in, 200 x 150 cm Jana Schröder Spontacts DL13, 2015 Copying pencil and oil on canvas 78.7 x 61 in, 200 x 155 cm Jana Schröder Spontacts Ö12, 2014 Oil on canvas 70.9 x 59 in, 180 x 150 cm Jana Schröder Kadlites L5, 2018 Acrylic, graphite and lead on canvas 94 1/2 x 78 3/4 in, 240 x 200 cm (JSR19.008) INSTALLATION VIEWS Installation View of Jana Schröder Kadlites (March 16–April 27, 2019). -