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Albert Oehlen, Christopher Wool et al.

Hartung and the lyrical painters
Fonds Hélène & Édouard Leclerc, Landerneau
11 December 2016 - 17 April 2017

In partnership with the Fonds Hélène et Édouard Leclerc pour la Culture of Landerneau (Finistère, France), the Hartung-Bergman Foundation is organizing the exhibition “Hartung and the Lyrical Painters”, curated by Xavier Douroux, director of the art center Le Consortium (Dijon, France), which will run from December 11 to April 17, 2017.

The 60 artworks spanning a period from the 30’s to the 80’s, and including 20 paintings never shown before, were lent by the Foundation in order to create an exhibition that would not solely be dedicated to Hand Hartung, but rather, aims at giving an esthetic, historical, as well as critical overview of what is called “lyricism” by displaying Hartung’s works along with the works of seventeen other artists.
Hartung has long been associated with this term dating from the post-war period. It characterizes a spontaneous and gestural abstraction in which the free expression of a subject, unleashed from its boundaries, dominates. Through this exhibition, an in-depth analysis of Hartung’s “lyricism”, which paradoxically mixes freedom of gesture and controlled construction, will be displayed. To this end, Xavier Douroux has conceived a scenography that intertwines the works of the French-German painter with those of the artists traditionally considered as members of post-war “lyricism”, starting with Jean Degottex, Georges Mathieu and Gérard Schneider, and including those of contemporary artists such as Albert Oehlen, Christopher Wool and Shirley Jaffe, who recently passed away.

One conclusion comes to mind from this historical mapping offered to the public: “Lyricism” goes well beyond Paris in the years 1945-1960. It is also the predominant idea arising from the dialogue between Hans Hartung and those artists, whether they came from the German, French, American, or culture-bridging scenes like Cy Twombly, the American artist shaped by Antic references, who produced a major part of his work in Italy.
The artists displayed alongside Hans Hartung are: Joe Bradley, Jean Degottex, Willem De Kooning, Helen Frankenthaler, Adolph Gottlieb, Simon Hantaï, Shirley Jaffe, Georges Mathieu, Albert Oehlen, Sigmar Polke, Gérard Schneider, Gérard Traquandi, Cy Twombly, Charline Von Heyl, Fritz Winter, Christopher Wool, and Yves Zurstrassen.

Fondation Hartung Bergman, Antibes


Additional:

Albert Oehlen

Art in the Age of the Internet, 1989 to Today (group show)
Institute of Contemporary Art, Boston
7 February - 20 May 2018

Albert Oehlen, Untitled, 2008. Collection of Bridgitt and Bruce Evans, Boston
Albert Oehlen, Untitled, 2008. Collection of Bridgitt and Bruce Evans, Boston

Art in the Age of the Internet, 1989 to Today examines how the Internet has radically changed the field of art, especially in its production, distribution, and reception. The exhibition comprises a broad range of works across a variety of mediums—including painting, performance, photography, sculpture, video, and web-based projects—that all investigate the extensive effects of the Internet on artistic practice and contemporary culture. Themes explored in the exhibition include emergent ideas of the body and notions of human enhancement; the Internet as a site of both surveillance and resistance; the circulation and control of images and information; possibilities for new subjectivities, communities, and virtual worlds; and new economies of visibility initiated by social media.

Institute of Contemporary Art, Boston


Albert Oehlen

Albert Oehlen and Peppi Bottrop: Line packers” (dual exhibition)
Marciano Art Foundation, Los Angeles
1 March - June 2018

Albert Oehlen and Peppi Bottrop, installation view, Marciano Art Foundation, 2018. Photo: Julian Calero. Courtesy of the artists and Marciano Art Foundation, Los Angeles
Albert Oehlen and Peppi Bottrop, installation view, Marciano Art Foundation, 2018. Photo: Julian Calero. Courtesy of the artists and Marciano Art Foundation, Los Angeles

The Marciano Art Foundation presents Line Packers”, a special exhibition, conceived by Cornelius Tittel, of two German painters Peppi Bottrop (b. 1986, Bottrop) and Albert Oehlen (b. 1954, Krefeld). Beginning March 1, the foundation’s Lounge Gallery will feature Bottrop’s line-drawing paintings responding to the architecture of the Lounge Gallery itself alongside works from Oehlen’s Computer Paintings, a series that the artist began in the early 1990s, which is now regarded as a turning point for contemporary painting.

Bottrop’s work is conceived as a meditation on his hometown, a once prominent coal mining and rail center in the Ruhr region. Bottrop employs charcoal—a metaphor for what once powered the world, and a nod to the now-defunct mechanical industry—in an expansive wall-drawing engraved into slabs of Fermacell, a material now replacing sheetrock or gypsum used in the construction of institutional architecture.

Oehlen’s Computer Paintings, which will be affixed to Bottrop’s walls, made between 1992 and 2008, exemplify Oehlen’s pioneering role as one of the first contemporary painters to explore the nascent capabilities and limits of drawing and line-making through the use of a now-rudimentary Texas Instruments computer. The wall-drawings and supports by Bottrop juxtaposed with Oehlen’s Computer Paintings suggest new possibilities for the line in painting. This line, embedded materially into the Fermacell walls, offers a proposition for the medium of painting to re-define itself. The two autonomous, yet mutually-dependent works establish a place of intensive communication and self-exploration, supporting one another in this single, temporary unification that looks to Wilshire Blvd. and Los Angeles, a city that is just as easily defined by its own lines of interstate and highway infrastructure.

Accompanying this exhibition will be a new text by the arts writer and science fiction novelist, Mark von Schlegell.

Marciano Art Foundation, Los Angeles


Albert Oehlen

Cows by the Water (solo show)
Palazzo Grassi, Venice
8 April 2018 - 6 January 2019

Albert Oehlen, Untitled, 2016. Courtesy of the artist and Pinault Collection
Albert Oehlen, Untitled, 2016. Courtesy of the artist and Pinault Collection

From Sunday 8 April 2018, Palazzo Grassi presents Cows by the water, a personal exhibition dedicated to German artist Albert Oehlen (1954, Krefeld, Germany) and curated by Caroline Bourgeois.

The exhibition lays out a path dedicated to Albert Oehlen’s production through a selection of approximately 85 works, including some lesser-known ones, created between the 1980's and today. The works brought together come from the Pinault Collection as well as from other major private collections and international museums.

Cows by the water path is not chronological but rather suggests a syncopated rhythm between various genres and periods, thereby underlining the central role played by music in the artist’s practice. Music emerges as a real metaphor of his work method, where contamination and rhythm, improvisation and repetition, density and harmony of sounds become pictorial gestures.

Albert Oehlen (1954, Krefeld, Germany) reveals himself to be a major figure of contemporary painting thanks to his artistic research in constant evolution, dedicated to experiments and to overcoming formal limits rather than to the subject represented.

The artist’s work has already be presented in exhibitions around the world, including at the Museo Nacional de Bellas Artes in Havana in 2017, the Cleveland Museum of Art in 2016, the New Museum in New York in 2015, the Kunstmuseum in Bonn in 2012 and the Musée d’Art Moderne de la Ville de Paris in 2009. 'Cows by the water' in Venice is his largest monographic one to date.

Palazzo Grassi, Venice