André Butzer

Växjö Konsthall, Växjö, 20 January - 19 March 2017 (group show)

Butzer and Talborn are two artists whose main medium is painting, which was the starting point for their work. Nowadays painting is seen as one of many artistic techniques, but for a small group of artists painting is a specifically advanced discourse composed of centuries of accumulated knowledge moving through all of art history up to the present day. Seen as such, painting is a medium that takes time to learn and demands a kind of stubbornness and particular kind of willpower of those who wish to develop the medium. Both Butzer and Talborn are artists who obstinately reexamine the conditions of painting.

There are many problems and possible solutions within the medium of painting. It can be seen as a composite in which cognition meets vision. Our vision affects how we understand the world around us and what it consists of. Painting might be able to change our way of seeing things and thereby also affect our understanding of the outer world. For many painters, painting is a daily action and for others it is mainly a means of creating an image. How can a medium that has such strong links to art history still work as a possibility to observe the contemporary world for many artists?

Växjö Konsthall, Växjö


André Butzer

André Butzer (solo show)
IKOB, Museum für zeitgenössische Kunst, Eupen
14 January - 27 May 2018

André Butzer

André Butzer (solo show)
Museum of the Light at Yoshii Foundation, Hokuto
July - September 2018

André Butzer, Jeff Koons et al.

Hope and Hazard: A Comedy of Eros, curated by Eric Fischl (group show)
Hall Art Foundation, Vermont
6 May - 26 November 2017

The Hall Art Foundation is pleased to announce a group exhibition curated by American artist Eric Fischl to be held in its galleries in Reading, Vermont from 6 May – 26 November 2017.  Approximately sixty-five artists are represented in Hope and Hazard: A Comedy of Eros, which includes over eighty paintings, photographs, works on paper and sculptures selected by Fischl from the Hall and Hall Art Foundation collections. In this fresh and provocative show, Fischl illustrates the absurd extremes associated with romantic and sexual love. Desire, passion, vulnerability, disappointment, pleasure and torment are expressed as a Greek or Shakespearian comedy – epic and tragic, hopeful and hazardous.

Hall Art Foundation, Vermont

André Butzer, Günther Förg et al.

Aftermieter (group show)
Haus Modräth - Räume für Kunst, Kerpen
23 April 2017 - 15 November 2018

Installation view. Courtesy Haus Mödrath. Photo: Simon Vogel.
Installation view. Courtesy Haus Mödrath. Photo: Simon Vogel.

Haus Mödrath - Räume für Kunst will open in April 2017 with the exhibition Aftermieter (Day Roomer), curated by Veit Loers. Quite a few of the about 20 participating international artists have visited Mödrath and are working on their ideas. The focus is on the house itself: civilization and domesticated nature. An abysmal transformation on many levels: from society to individual, from resident to artefact, from animalism to altruism, from artistic strategy to epiphany, from Günther Förg to Eva Kotátková, from Kris Lemsalu to Neil Beloufa – all the way from the cellar to the attic. Next to internationally renowned artists like Andreas Slominski, Michaela Eichwald, Georg Herold, Ed Atkins or Katja Novitskova there are new and re-discoveries like Ajay Kurian and Eric Bainbridge. Several site-specific works will be exclusively produced for this premiere.

Haus Mödrath

André Butzer, Günther Förg, Frank Nitsche, Albert Oehlen, Christopher Wool et al.

Abstract Painting Now! (group show)
Kunsthalle Krems, Krems
2 July - 5 November 2017

André Butzer, Untitled, 2014. Photo: Johannes Plattner Courtesy the artist and Galerie Bernd Kugler, Innsbruck
André Butzer, Untitled, 2014. Photo: Johannes Plattner Courtesy the artist and Galerie Bernd Kugler, Innsbruck

Featuring some sixty different art positions, the exhibition Abstract Painting Now! will place the focus on the present-day international situation of the nonrepresentational easel painting, covering the full range of a still significant painterly practice. The historical basis of the show is the development that followed upon Abstract Expressionism, carried above all by Gerhard Richter and Sigmar Polke. While the former after a period of agony, in which his grey “Inpaintings” were created, turned to the beautiful and seemingly expressive, the latter used abstraction as an ironic paraphrase, thus commenting on the veracity of the brush stroke as a mark of the artist self.

Kunsthalle Krems