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Minimal / Conceptual:
Dorothee and Konrad Fischer and the Art Scenes in the 1960s and 1970s
January 22, 2022 - March 13, 2022


Minimal art and Conceptual art are two trends which brought about decisive changes to art in the latter half of the twentieth century. Minimal art developed mainly in the US and is characterised generally by its use of industrial materials and ready-made articles such as metal plates and fluorescent lights, simple geometric forms like squares and cubes and their repetition, etc. Conceptual art, which emerged after Minimal art and spread internationally during the same period, emphasized the artist's thoughts more than the material work produced by the artist. In Conceptual art, the idea or concept was considered the most important element in art.

Konrad Fischer, who studied at the Kunstakademie Düsseldorf and was active as an artist, promptly showed an understanding of the artists demonstrating these new trends. Together with his wife Dorothee, he opened an exhibition space in Düsseldorf in 1967. There, through innovative processes, they realised exhibitions together with young American and European artists. Rather than having the completed works sent from the artist's studio, Dorothee and Konrad Fischer had the artist come to produce the works in Düsseldorf. Alternatively, based on instructions sent by the artist, Fischer would carry out the production and display of the works together with craftsmen or engineers at the exhibition space.

Dorothee and Konrad Fischer collected works by the artists whose exhibitions they had undertaken and, at the same time, kept multifarious archive materials such as letters, instruction notes, and drawings concerning the production process. These works and archive materials have been acquired in recent years by the Kunstsammlung Nordrhein-Westfalen, Düsseldorf, as the Dorothee and Konrad Fischer Collection and Archive.

The exhibition travels to
Hyogo Prefectural Museum of Art, Kobe 26 March - 29 May 2022

Wolfgang Laib and Richard Long
at Diriyah Biennale: Feeling the Stones
11.12.2021 - 11.03.2022

The Diriyah Biennale Foundation has announced Monday the theme for Saudi Arabia’s first contemporary art Biennale titled “Feeling the Stones”.It is inspired by the idea of “crossing the river by feeling the stones,” a slogan that emerged during the 1980s as a metaphor for action at a time of social and economic transformation. The Biennale will take place at JAX district in Diriyah from Dec.11, 2021 to March 11, 2022.

Philip Tinari, director and chief executive of UCCA Center for Contemporary Art in Beijing and curator of the Biennale, said: “We hope that this exhibition will expose new generations of viewers to global contemporary art, not just as a mode of visual expression but as a space for critical thinking. The art scene in Saudi Arabia finds itself at a crucial juncture, and art has an important role to play in reflecting on key issues of the moment.”

photo: Courtesy the artist

Thomas Schütte 
Georg Kolbe Museum Berlin
19.11.2021 - 22.02.2022

The exhibition at the Georg Kolbe Museum comprises around 30 sculptures and numerous works on paper - including works created as recently as 2021. These are complemented by a selection of conceptual-architectural models with which the artist has been addressing the revolutionary spatial principles of modernism for many years. Whether organic-figurative or space-creating and abstract, all of Schütte's works can be read as a call to acknowledge the complexity of cultural-historical dynamics, discourses, and modes of representation. With multi-layered, historically conscious representations that are both radical and sensitively differentiated, Thomas Schütte addresses questions that are closely linked to the research work of the Georg Kolbe Museum. And it is not least the direct reference to Kolbe's former context of activity, today's museum and former sculptor's studio, that makes his work experienceable in a completely new way.

photo: Courtesy the artist and Konrad Fischer Galerie

Daniel Buren
Pavoisé - travail in situ
Palais de l'Élysée
While the FIAC is just starting and the capital is buzzing again with multiple artistic initiatives, let's throwback to the exceptional work Pavoisé by Daniel Buren at the Palais de l’Élysée.

Photos-souvenirs : Daniel Buren, Pavoisé, travail in situ, jardin d’hiver • winter garden, Palais de l’Élysée, Paris, septembre • September 2021. Détails • Details

© DB-ADAGP Paris, 2021. Photo. DR. Courtesy the artist and kamel mennour, Paris/London

Riachard Long
BANG! City Festival of the Big Bang
at Museum Leuven
22.10.2021 - 20.03.2022

Richard Long has primarily made walking the medium for his art, with nature and wilderness landscapes his main inspiration. In making long walks around the world, he often makes sculptures along the way, marks of passage and transformation. His work in geometric shapes emphasise both the order and diversity of the cosmos. They can be considered as metaphors for existence and reflect his ideas about travel, places, distance, time, space and movement.

BANG! is a city festival organised by KU[N]ST Leuven in collaboration with players from the cultural, scientific and tourist sectors. In this context M will host another exhibition ‘Imagination of the universe’ aside from the Richard Long exhibition. Central to these exhibitions is man's amazement at the creation of the cosmos.

Photo: Achim Kukulies

Edith Dekyndt
at 91.530 Le Mar
ais, Château du Marais, near Paris

For Visitation Zone  Edith Dekyndt engaged in parallel acts of preservation; making visible a bed of segments of dust and dirt accumulated on-site over the years on top of which she placed glass vitrines filled with fermented products (tied to the region’s pickling heritage). It serves as a reminder that in giving presence to the neglected we might uncover the processes that decelerate time, offering a potential to heal thoughts and map out an alternative existence for imagining another future.

Photo: Courtesy the artist and Konrad Fischer Galerie

Minimal / Conceptual:
Dorothee and Konrad Fischer and the Art Scenes in the 1960s and 1970s
October 9, 2021 - January 10, 2022

Minimal art is known as a trend in art which developed mainly in the US during the 1960s. Its use of industrial materials and ready-made items such as brick, metal plates, or fluorescent lights and its compositions employing and repeating simple geometric forms like squares and cubes can be cited as general characteristics of this trend.

In Conceptual art, which appeared after Minimal art and spread during the same period, the idea of the work is more important than the actual object produced. The most significant element in art was considered to be the idea or concept. Without being limited to any particular form, diverse mediums and forms ranging from language, photographs, videos, printed matter, daily use commodities, or natural things to the artist’s own body were employed.

The gallery Konrad Fischer opened in Düsseldorf in 1967 became one of the international bases where such new tendencies in art were introduced. While making contacts with young artists in the US and Europe, Fischer realized exhibitions through unconventional processes. Rather than paying a huge sum to transport the finished works from abroad, he invited the artists themselves to Düsseldorf and had them create their works there. Alternatively, based on instructions provided by the artist, Fischer and engineers, etc. would undertake the execution and installation of the display.

The exhibition is co-organized by and based on works from the Kunstsammlung Nordrhein-Westfalen, Düsseldorf.

Carl Andre, Cloud & Crystal / Lead Body Grief Song (Wolke & Kristall / Blei Leib Leid Lied), 1996
Kunstsammlung Nordrhein-Westfalen, Düsseldorf
© Carl Andre / VAGA at ARS, NY / JASPAR, Tokyo 2021

Permanent public sculpture commission for the Engineering Department at the University of the West of England

The University of the West of England Engineering Department, Video interview with Professor Ioannis Ieropoulos, whose research alongside the bodies of electricity generating bacteria inspired Nanowires, 18th November 2021

The University of the West of England Engineering Department, Video interview with Alice Channer, 18th November 2021

Nanowires, 2021
Sand-Cast, Painted, Vapor-Blasted and Chromed Aluminium;
Rolled and Mirror-Polished Aluminium Tube
5 parts each approx 433 x 77-51 cm

photo: Courtesy the artist and Konrad Fischer Galerie

Takeoka Yuji 
友達と – “tomodachi to”.
With friends (Group exhibition) at Kunsthalle Düsseldorf
21.08.2021 - 24.10.2021

curated by Alicia Holthausen and Gregor Jansen.

Some 8,400 Japanese people currently live in Düsseldorf—the largest Japanese community in Germany and the third-largest in Europe after London and Paris. In addition to numerous Japanese companies, institutions, businesses and initiatives, the Japanese influence is also evident in the city’s art scene: since the 1960s, more than three hundred artists of Japanese origin have completed their studies at the Kunstakademie Düsseldorf.

The members of the Japanese community have established friendships with the people of Düsseldorf. In 2021, the Japanese-German friendship will also officially commemorate its 160th anniversary. In the context of this anniversary year, the Kunsthalle Düsseldorf thus aims to celebrate friendship and invited five of its friends of Japanese origin to a joint group exhibition.

Each of these artists associated with the Düsseldorf Art Academy was in turn asked to invite an artist friend of his or her own to the group show.

Artists: Takeoka Yūji, Nara Yoshitomo, Murase Kyōko, Andō Yukako, Kinoshita Ryō, Karin Sander, Nakahara Masao, Anca Muresan, Magdalena Jetelová und Arakawa Sōya

Photo: Katja Illner

Lethality and Vulnerability 
part of Afterness (Group), a series of major new commissions by Artangel at Orford Ness, UK
1st July - 30th October 2021

Artangel, Afterness (Group), project information


Lethality and Vulnerability,
Rolled Aluminium Tube; Mirror Polished, Lazer Cut
Folded and Welded Aluminium Sheet
Approx 628cm x 550cm x 273cm

photo: Courtesy the artist and Konrad Fischer Galerie

Charlotte Posenenske and Gregor Schneider
THE WAY WE ARE 3.0 (Group exhibition) at Museum für moderne Kunst Weserburg
20.03.2021 - 23.01.2022

curated by Ingo Clauß and Janneke de Vries

The exhibition brings together more than 190 works from different eras and contexts and addresses both contentual and formal issues. Seven thematic areas formulate artistic approaches to depicting the human being, develop a current picture of Germany, engage in multifaceted play with everyday life or the medium of the book, and investigate minimalist tendencies, photographic procedures or aesthetic contradiction. Moreover, spaces devoted to Kapwani Kiwanga, Joyce Pensato, Claudia Piepenbrock and Norbert Schwontkowski offer a dense array of insights into four artistic procedures with quite diverse emphases. And with Mel Chin an artist’s bar even makes an appearance.

Photo: Courtesy the artist and Konrad Fischer Galerie

After a six-year renovation phase, the New National Gallery in Berlin, built by Mies van der Rohe, will reopen on August 22, 2021.

The weekend from August 20 to 22 will be accompained by the SUNDAY OPEN featurin Mies in Mind, organized by INDEX Berlin.

Konrad Fischer Galerie Berlin participates with a selection of Thomas Ruff "l.m.v.d.r.".

The different motifs have been executed in various formats, editions and as chromogenic prints and stereo photos.The works on show at Konrad Fischer Galerie Berlin are the Riehl House built in 1907 for the philosopher Alois Riehl in Potsdam, being the first contract for the young architect, the Werner House, built in 1917 for the engineer Ernst Werner and his wife, and the Lemke House, built in 1932 for Mr & Mrs Lemke in Alt Hohenschönhausen. The Lemke House was the last project Mies realized before leaving Germany in 1938. The house is used today as the Mies van der Rohe House, Berlin.

Gallery hours August 20-22:

Friday 11 a.m. to 7 p.m.
Saturday 11 a.m. to 7 p.m.
Sunday 10 a.m. to 6 p.m.

Thomas Ruff, h.l.b.01 (2001), C-Print, from the series l.m.v.d.r., Haus Lemke, Berlin Alt-Hohenschönhausen, built by Mies van der Rohe in 1932
Photo: Courtesy the artist and Konrad Fischer Galerie

Peter Buggenhout at Kunstenfestival Watou 2021

curated by Benedicte Goesaert, Chantal Pattyn and Peter Verhelst

Poperine, Belgium

03.07.2021 - 05.09.2021

The 40th edition represents movement, harmony, humanity and intensity. ‘Watou 2021’ is as an outstretched hand to experience poetry and visual art with brains, senses and feelings, thus being filled with the multi-layered nature of art. ‘Watou 2021’ starts from within mankind himself. The curators ask themselves the question: What is our role and position in this world?

Photo: Courtesy the artist and Konrad Fischer Galerie

Thomas Schütte

Hütte (2016-2021)

Kunsthaus Zug, Daheimpark

ab 18. Juni 2021

Der markante und für alle Besucher offene Holzbau, der für fünf Jahre in unmittelbarer Nachbarschaft zum Kunsthaus Zug bleiben wird, passt sich sorgsam in die Anlagen des Daheimparks ein - ein schwebender Pavillon, eine offene Bühne für das Sehen der Umgebung.
Den Daheimpark wählte der Künstler selbst als Standort aus. Humorvoll spielt der Titel mit dem Namen des Künstlers. Das Werk „Hütte“ in Zug ist die erste langfristige Realisation einer Schütte-Architektur in der Schweiz.

Photo: Courtesy the artist and Konrad Fischer Galerie

Rita McBride

Mirrors and Windows (Group) at Sammlung Philara

18.06.2021 - 03.10.2021

Rather than reproducing further gender-based territories, the exhibition's formal set up is aimed at creating a multi-voiced space of diverse, brilliant artistic approaches and experiences. The works featured at the Philara Collection bear similarities in how they question their own position and draw boundaries to and reflect on power structures at the time of their creation. This includes practices of negotiating gendered role attributions, addressing the interaction of private and public policies, questioning traditional language conventions and prerogatives of interpretation and implementing strategies of appropriation and exertion of influence. Alongside renowned positions of contemporary art, the exhibition highlights works by women as yet remaining unknown to a larger audience, since they were only marginally registered by the system of their time or their recognition was carried over into the present less prominently.

Photo: Courtesy the artist and Konrad Fischer Galerie

Bernd & Hilla Becher

Photo & Druckgraphik

Kunstarchiv Kaiserswerth

12.06.2021 - 19.12.2021

Photographien von Bernd und Hilla Becher werden Druckwerken aus dem Gebrauchskontext von Präsentationen und Publikationen gegenübergestellt, die die Entwicklung ihres einflussreichen Werkschaffens wie auch die Rezeptionsgeschichte exemplarisch vor Augen führen. Der Blick auf Plakate, Kunstdrucke, Bücher, Broschüren, Zeitschriften, Einladungskarten in Kombination mit analog gefertigten Photographien vermittelt einen lebhaften Eindruck der vielen Auftritte und Lesarten, die die Motivwelt der Bechers zwischen den 1960er- und 2010er-Jahren international durchlaufen hat.

Photo: Bernd & Hilla Becher, Gasbehälter Wetter, 1969, Gasbehälter Bonn, 1992, b/w photography © Estate Bernd & Hilla Becher

Bruce Nauman

Stedelijk Museum Amsterdam

from 5 June 2021

Throughout his career, Nauman has relentlessly challenged the possibilities of what art may be, and directly confronts viewers with their own physical and mental presence. The exhibition is a non-chronological journey through Nauman’s multifaceted oeuvre, and allows visitors to experience his sculptures, neon works, films, video works, sound recordings, text and works on paper, highlighting themes the artist endlessly revisits.

The exhibition is organised by the Stedelijk Museum Amsterdam and Tate Modern, London in collaboration with Pirelli Hangar Bicocca, Milan.

Curated by Leontine Coelewij, Curator Contemporary Art Stedelijk Museum Amsterdam, Martijn van Nieuwenhuyzen, former Curator Contemporary Art Stedelijk Museum Amsterdam, Andrea Lissoni, former Senior Curator (International Art), Film, Tate Modern, Nicholas Serota, former Director Tate and Katy Wan, Assistant Curator, Tate Modern.

Photo: Courtesy the artist and Konrad Fischer Galerie

Edith Dekyndt

Active Threads (Group), KAI10 | ARTHENA FOUNDATION, curated by Julia Höner

08.05.2021 - 05.09.2021

The international group exhibition Active Threads at KAI 10 | ARTHENA FOUNDATION inquires into the social and political relevance of textiles today. It explores how textile fabrics still function as extremely effective means of communication, even in our present digital era. The exhibition documents the ways in which fabric and textile techniques can contain political messages, decor can be transformed into radical symbolism, or fabrics can store memories and preserve our material environment. It thus becomes evident in just how many ways textiles can serve as catalysts of societal and cultural processes. In an increasingly virtualised world lacking tactile encounters, the exhibition Active Threads invites us to a diverse sensual experience of the material qualities inherent in art.

KAI 10 | ARTHENA FOUNDATION, Foto: Achim Kukulies

Juergen Staack

Sound and Silence
Der Klang der Stille in der Kunst der Gegenwart

Kunstmuseum Bonn

27.05.2021 - 05.09.2021

Die Ausstellung Sound and Silence widmet sich dem Thema der Stille und des Schweigens im Feld der aktuellen Bildenden Kunst. Die Präsentation wird im Blick auf das Jubiläum des 250. Geburtstags von Ludwig von Beethoven realisiert und nimmt den fortschreitenden Prozess seiner Ertaubung als Ausgangspunkt für die grundsätzliche Frage nach dem Verhältnis von Klang und Stille, der produktiven und zugleich zerstörerischen Kraft des Schweigens und der Unmöglichkeit einer völligen Stille.

Photo: Courtesy the artist

Giuseppe Penone

The Listener 

as Special Event of the 17th International Architecture Exhibition - La Biennale di Venezia

Presented by the Vuslat Foundation

Until 21 November 2021

Photo: Sebastiano Pellion di Persano, courtesy Vuslat Foundation and the artist

Bruce Nauman

Contrapposto Studies

Palazzo Grassi - Punta della Dogana

23.05.2021 - 09.01.2022

The exhibition in Venice is focused on a series of recent video installations that Nauman has developed in the last five years and are related to a single channel video from 1968, “Walk with Contrapposto.” The show includes a comprehensive survey of that series along with a number of earlier performances, installations and videos that provide the overall context for the recent work. From the 1960s to today, Bruce Nauman has constantly experimented with different artistic languages – from photography to performance, sculpture and video – to explore and mine their potentialities in a body of work that relentlessly explores the human condition while interrogating the very definition of what constitutes artistic practice.

Photo: Courtesy the artist and Konrad Fischer Galerie

Tony Cragg at Houghton Hall

19.05.2021 - 26.09.2021

Major works by Tony Cragg are shown in the grounds and historic interiors of Houghton Hall in Norfolk. The exhibition, curated by the artist himself, includes large-scale bronze and steel sculptures sited in the gardens and grounds, and smaller pieces shown in the State rooms and gallery spaces of the house. Several new works have been made specifically for the exhibition.

Photo: Pete Huggins

Aleana Egan

small field

Künstlerhaus Bremen

08.05.2021 - 18.07.2021

In small field entwirft Aleana Egan ein Setting aus abstrakten Skulpturen, die sich zu vielschichtigen Konstellationen zusammenfügen – Materialien wie Metalle, Holz, Pigmente und Stoffe verweisen auf ihre eigenen Eigenschaften und bleiben dennoch unkonkret: In ihrer Unbestimmtheit lösen die Objekte vielmehr immaterielle Momente aus – Ideen, Gedanken, Gefühle, Stimmungen, Energien und Beziehungen sowohl zueinander als auch zwischenmenschlich, die sich in Formen manifestieren und das Innere nach außen kehren. Latente Anspielungen werden in bildhauerische Gesten übersetzt sichtbar und rücken das Prozesshafte ins Zentrum.

Photo: Courtesy the artist and Konrad Fischer Galerie

Alice Channer

Sculpture in The City 2021 (Group), City of London, UK

June 2021 - May 2022

The 10th Edition of Sculpture in the City will launch 15 June 2021. Further details will be made available on the website and social media channels in coming weeks.

Participating artists include: Alice Channer, Almuth Tebbenhoff, Bram Ellens, Elisa Artesero, Eva Rothschild, Guillaume Vandame, Isabella Martin, Jake Elwes, Jun T. Lai, Laura Arminda Kingsley, Laure Prouvost, Mark Handforth, Mike Ballard, Oliver Bragg, Regitze Engelsborg Karlsen, Rosanne Robertson, Ruth Ewan, Tatiana Wolska

Photo: Courtesy the artist and Konrad Fischer Galerie

Alice Channer

Liverpool Biennial 2021: The Stomach and The Port (Group), curated by Manuela Moscoso, Liverpool, UK

19 May - 27 June 2021

Alice Channer presents a series of sculptures and pleated fabric prints at The Lewis’s Building. In the assembled works, Channer mimics a geological process that happens on a massively non-human scale using industrial processes that operate on a human scale – a deliberate conflation of scales and kinds of body. Loosely resembling natural rock formations, such as ammonite fossils, Channer’s large-scale sculptures represent the passing and scale of geological time. Bone-shaped structures, created by the application of multiple distortion, stretching and casting techniques, show strata-like ridges on their surfaces.

Photo: Achim Kukulies

Peter Buggenhout

nicht geheur

Kunstmuseum Reutlingen

01.05.2021 - 12.09.2021

Peter Buggenhout describes his hybrid sculptures as "abject things" that reject any classification, including those as artistic works: found objects, waste and technical but also organic materials such as pig's blood, cow's stomachs and horsehair are joined and worked on until a certain degree of abstraction is achieved, which still tempts identification but at the same time prevents it. Buggenhout's sensual sculptures therefore appear as essential counterparts that are uneasy and odd. For this major exhibition in Reutlingen, the artist produces a new group of works from the "eternal material" that has been wandering through the ages: marble.

Photo: Courtesy the artist and Konrad Fischer Galerie

Thomas Ruff

after.images - WORKS 1989-2020

National Taiwan Museum of Fine Arts

27.03.2021 - 04.07.2021

The exhibition curated by Martin Germann and the show is conceived as a spatial network of museum galleries with five visitor friendly thematic chapters to understand and to read Ruffs practice from various angles, Working in Series: Tableaux chinois, Turning Points in the History of Photography, Astronomy, Genre and Press, in which many of the issues interfere.

Photo: Courtesy the artist, © VG Bild-Kunst, Bonn

Paul Czerlitzki

LOSE ENDEN (Group exhibition) at Kunsthalle Bern

27.03.20211 - 16.05.2021

curated by Valérie Knoll and Julia Künzi

The artists brought together in Lose Enden are writing the latest chapters in the history of painting, while not necessarily regarding themselves as painters. In contrast to the practice of preceding generations, their differences are less likely to be expressed in gestures of hesitation and scepticism. Many draw upon an abundance of resources, acutely aware of the formidable conventions with which they are engaging. Faced with the prospect of having to add to the vast system of images, narratives and ideas, they seem to exhibit a remarkable self-confidence. Something has changed. Only ten years ago, painting was being discussed in terms of its capacity to reproduce circuits of social and economic power – networks were detaching it from what it referred to. In Lose Enden, the relationships emerging from beneath the surface appear neither to be restricted to particular networks, nor entirely distinct from others. Notions of this kind, conceived in metaphors of digital complicity, have bottomed out. Relationships tend again to be thought of in isolation from each other, as if people were watching each other at work in their glass studios, rather than actually meeting and exchanging ideas.

Photo: Achim Kukulies

Thomas Schütte

Skizzen zum Projekt Großes Theater

Skulpturenhalle Neuss

30.04.2021 - 01.08.2021

Photo: Luise Heuter, © VG Bild-Kunst, Bonn 2021

Hanne Darboven
Der Regenmacher


Hanne Darboven, who described herself as a writer and composer, is one of the most important artists of the 21st century. At the center of her work is the writing and making visible of time as a way of experiencing and coping with reality. "My work is a recording in the sense of being there, it is working through," Darboven formulated as early as 1966 and throughout her life developed her very own contribution to Conceptual Art and Minimal Art. Until her death in 2009, the artist lived and worked in seclusion in Hamburg in a studio that resembled a Wunderkammer.

The MKM is showing four large work cycles from the Ströher Collection, comprising around 2,000 individual works. They are exemplary for Hanne Darboven's thinking and work and are complemented by biographical insights. The central work Der Regenmacher (The Rainmaker, 1985) is on view for the first time after 20 years in its entirety with all 1,386 sheets.

Mario Merz

at Dia:Beacon
Riggio Galleries, Beacon, New York

long-term exhibition

Dia Art Foundation presents a long-term exhibition of work by Mario Merz, opening fall 2020, at Dia Beacon in Beacon, New York. Featuring recent acquisitions, the exhibition includes Teatro cavallo (Horse Theater, 1967) and Tavola spirale (Spiral Table, 1982) alongside historical loans from collections in the United States and the Fondazione Merz in Turin. Using recycled organic and industrial materials, the artist developed a highly imaginative iconography and recast timeless forms, such as the igloo and table, in installations that envision the interdependency of individuals, society, and the natural environment. Spanning the late 1950s through the mid-1980s, the exhibition revisits Merz’s key forms and motifs, distinctive use of neon, and deployment of the Fibonacci sequence—where each number equals the sum of the two that precede it—for the structure of his installations. This will be his first solo institutional presentation in the United States in years.

Paloma Varga Weisz

19.05.2021 - 20.06.2021

Le Consortium
Curated by Eric Troncy

Erected in the Consortium Museum’s “White Box,” Glory Hole takes the shape of a large-scale rustic cabin, in which the roughly-assembled boards made of dark wood let slip through a few rays of light emanating from the inside. The artwork, which was shown for the first time in 2015 at the Salzburg Kunstverein (Austria) and presented more recently at the Bonnefanten Museum in Maastricht (Netherlands, 2019), is inspired by the artist’s research in the Austrian countryside, where the cabin was collected and later transported to its subsequent exhibition spaces.

Impressive yet impenetrable, the installation is activated by the visitors’ curiosity. To discover
its contents, viewers are invited to approach
the structure and look inside through its various suggestive apertures—gaps in construction, and the glory holes intended for that exact purpose.

Through the viewers’ inquisitive eyes, two dimly
lit rooms are revealed, featuring several wholly fabricated characters. Two human-size puppets, reduced to mechanical sexual gestures, are animated by cables hanging from the ceiling. With a face distorted by a prominent penis, agitated by repetitive jerks, one of the sculptures embodies a ludicrous, exacerbated virility. The presence of two taxidermy monkeys adds to the absurdity of this mise-en-scène.

Wolfgang Plöger

. [edit]

Japanisches Palais, Dresden
14.11.2020 - 22.02.2021

curated by Björn Egging and AdA Archiv der Avantgarden

For his upcoming solo exhibition Wolfgang Plöger kindly asks for your support in sending him test prints from your own printers. 

As a thank-you all participants will receive a copy of a dirt print edition.


Charlotte Posenenske: Work In Progress

MUDAM Luxembourg

10.10.2020 – 10.01.2021


Jessica Morgan und Alexis Lowry
Die Ausstellungspräsentation im Mudam wird kuratiert von Clément Minighetti
Assistiert von Sarah Beaumont

Die Ausstellung Charlotte Posenenske: Work in Progress wird organisiert von der Dia Art Foundation in Beacon, New York, in Zusammenarbeit mit dem MACBA in Barcelona, der Kunstsammlung Nordrhein-Westfalen in Düsseldorf und dem Mudam Luxemburg – Musée d’Art Moderne Grand-Duc Jean.

Bruce Nauman
Tate, London

07.10.2020 - 21.02.2021

Bruce Nauman is a restlessly inventive artist. Since the late 1960s he has continually tested what an artwork can be, by reshaping old forms and creating new ones. His ground-breaking works using sound, film, video and neon have influenced generations of artists.

This is the first major exhibition of his work in London in more than 20 years. It allows visitors to engage with the artist’s universe through immersive installations with a strong emphasis on sound and moving image, as well as poetic sculptures and neon pieces.

Major works like Double Steel Cage Piece 1974, Anthro/Socio (Rinde Spinning) and Clown Torture 1987 highlights Nauman’s distinctive preoccupations and how he incessantly revisits them – yet never repeats himself.

Exhibition organised by Tate Modern and Stedelijk Museum Amsterdam in collaboration with Pirelli HangarBicocca, Milan

Photo: Helge Mundt, © VG Bild-Kunst, Bonn 2020

Group Exhibition "Wände / Walls"
Kunstmuseum Stuttgart

26.09.2020 – 31.01.2021

u.a. Daniel Buren, Sol LeWitt, Bruce Nauman, Charlotte Posenenske, Thomas Schütte, Lawrence Weiner

The exhibition WÄNDE I WALLS brings together works from 1966 to today, in which the spatial boundary of the wall is thematized on various levels of meaning. In their works, artists such as Monica Bonvicini and Yoko Ono highlight the most fundamental function of walls—that of inclusion and exclusion. On the one hand, walls stand for the protection of the individual, while on the other hand they can confine and deny access. As a space-creating architectural element, they help to determine our living spaces and are involved in identity-forming processes. Artists such as Ernst Caramelle and Bruce Nauman visualize this by understanding the wall as a reacting counterpart or by giving it human characteristics. In turn, works by Jeewi Lee and Sol LeWitt, among others, address the so-called white cube as a common form of presentation of modern and contemporary art. They demonstrate how the white walls of the exhibition space influence the effect and perception of art.




Thomas Ruff

12.09.2020 - 07.02.2021

Thomas Ruff (*1958) is one of the most internationally significant artists of his generation. Already as a student of the photographers Bernd and Hilla Becher at the Kunstakademie Düsseldorf in the early 1980s, he chose a conceptual approach to photography. His work, which explores a wide variety of genres and historical varieties of photography, represents one of the most versatile and surprising positions within contemporary art. The extensive exhibition at K20 focuses on image series from two decades in which the artist hardly ever picked up a camera himself. Instead, he used existing photographic material from a wide variety of sources for his often large-format images.

Bruce Nauman
Skulpturenhalle Neuss

04.09.2020 – 13.12.2020
curated by Dieter Schwarz

Bruce Nauman thinks in models - in the form of possibility - and therefore drawing takes on a central function in his work and in this exhibition. Drawings illustrate the essential, they refer to the conceivable. Drawing as well as models are stylistically unbound and open up spaces for the imagination.

Gregor Schneider
2020 (Based on an idea for Berlin in 2006)

Plaza del Mercado, Logroño, Spain

Gregor Schneider’s installation Kreuzweg (Way of the Cross), currently on display at St. Mathhews Church in Berlin, is a dark black passageway in the shape of a cross. The cross-shaped structure has four openings, one in each of its ends, through which the viewer can enter and exit. The shape of the cross is fully obtainable only from an aerial, God-like point of view. Upon entering the passageway, the viewer loses the formal contour of the structure, as the contour of his/her own body becomes blurred, melting into the indefinite blackness surrounding it, in which the distinction between one’s own outer/physical and inner/psychological space is no longer clear.

Gregor Schneider
Tote Räume / Dead Spaces
West Den Haag (former American Embassy), Den Haag, Netherlands

Curator: Marie-José Sondeijker

29.08. - 06.12.2020

West Den Haag is thrilled to announce Tote Räume, Gregor Schneider‘s first solo exhibition in the Netherlands. Acknowledged as a groundbreaking artistic proposition, Schneider’s work can be regarded also as prophetic in a time of mandatory social distancing since it is based on mechanisms of physical isolation. Unfolding a sequence of rooms, sculptures, human figures, photos and videos spanning four decades of radical art making, the exhibition is arranged in response to, and exchange with, the original function of its building as the U.S. Embassy in the Netherlands from 1959 until 2018.


Daniel Buren
Illuminare lo spazio, lavori in situ e situati

GAMeC – Galleria d’Arte Moderna e Contemporanea di Bergamo 

09.07. - 01.11.2020

The exhibition curated by Lorenzo Giusti will gather a selection of the new fiber optic works created by the artist. Luminous fabrics, in which the geometric motifs characteristic of the artist's research alternate, will inhabit the central space of the room, creating a path of great visual intensity, capable of renewing the surrounding environment by activating an unprecedented dialogue with the paintings and ancient frescoes on the walls. Presented for the first time in Italy, Buren's fiber optic works are the most advanced result of an artistic research carried out for over fifty years.

Paloma Varga Weisz: Bumped Body

at Henry Moore Institure, Leeds

13.03.20 - 03.01.2021

Spanning over twenty years, work from throughout her career is on display. The exhibition features a diverse cast of characters; from early works such as Wilde Leute (Wild Bunch), a series of ceramics that take the form of fantastical creatures, to later pieces such as Beulenmann (Bumpman) and the fragmented body of Waldfrau (Women of the Forest).

The exhibition also includes over forty of her watercolours and drawings which present a world of masquerades, disguises and role reversals. Paloma Varga Weisz’s starting point for this poetic and narrative work is often her own life experiences, yet it also reflects wider themes of identity, societal ‘norms’ and historical stereotyping.

Growing up in Germany, her artist father was a major influence on her future artistic career. She was classically trained, learning woodcarving and modelling in Bavaria, before studying in Düsseldorf, where she lives and works today.



Cristina Iglesias

Royal Academy Architecture Prize 2020

For three years, the Royal Academy Architecture Prize has been awarded to an individual whose work inspires and instructs the discussion, collection or production of architecture in the broadest sense.

Cristina Iglesias invites us to look, not just at buildings, but at the spaces between them.

With cities home to more and more people, generous public space is increasingly necessary for reflection and respite. Iglesias’s works exist in dialogue with the buildings around them, but go further in inviting their audiences – city dwellers – to contemplate their surroundings through the introduction of running water and naturalistic imagery reminiscent of fallen leaves.