ALBERT OEHLEN, ADAM PENDLETON

Oehlen, Pendleton, Pope.L, Sillman (publication)
Published by Galerie Max Hetzler Berlin | Paris | London / Holzwarth Publications, 2023

Photo: def image
Photo: def image

The new catalogue published on the occasion of the group exhibition Oehlen, Pendleton, Pope.L, Sillman, on view at Galerie Max Hetzler, Berlin from 4 November 2021 until 29 January 2022, is now available for purchase. Alongside installation views and high-resolution images, the publication includes a conversation between Amy Sillman, Adam Pendleton, and Isabelle Graw.

Learn more

Photo: def image
Photo: def image

Additional:

ADAM PENDLETON

Love, Queen (solo show)
Hirshhorn Museum and Sculpture Garden, Washington, D.C.
4 April 2025 – 3 January 2027

Adam Pendleton, WE ARE NOT (Composition), 2024, photo: courtesy of © Studio Pendleton
Adam Pendleton, WE ARE NOT (Composition), 2024, photo: courtesy of © Studio Pendleton

Adam Pendleton’s institutional solo exhibition, Adam Pendleton: Love, Queen, will open at the Hirshhorn Museum and Sculpture Garden, Washington, D.C., on 4 April 2025. This landmark exhibition will highlight Pendleton's unique contributions to American painting and serve as an anchor for the museum's 50th anniversary celebration. Adam Pendleton: Love Queen will include new and recent paintings from multiple bodies of work as well as a single-channel video work.

Hirshhorn Museum and Sculpture Garden, Washington, D.C.

Adam Pendleton, WE ARE NOT (Composition), 2024, photo: courtesy of © Studio Pendleton
Adam Pendleton, WE ARE NOT (Composition), 2024, photo: courtesy of © Studio Pendleton

ALBERT OEHLEN

Computer Paintings (solo show)
Hamburger Kunsthalle
13 September 2024 – 2 March 2025

Installation view: Computer Paintings, Hamburger Kunsthalle, 2024, © Albert Oehlen / VG Bild-Kunst, Bonn 2024 © Hamburger Kunsthalle, photo: Fred Dott
Installation view: Computer Paintings, Hamburger Kunsthalle, 2024, © Albert Oehlen / VG Bild-Kunst, Bonn 2024 © Hamburger Kunsthalle, photo: Fred Dott

The Hamburger Kunsthalle presents its first solo exhibition devoted to Albert Oehlen. Oehlen’s Computer Paintings, a rarely exhibited group of works, will be presented on the first floor of the Galerie der Gegenwart in an arrangement determined in close collaboration with the artist. Oehlen initiated his first computer paintings in the early 1990s, and a second series in the early 2000s, based on drawings he made on a computer which he then transferred to canvas. The technological aesthetic of the computer screen would have far-reaching implications as the point of departure for a complex body of work that oscillates between cool austerity and imaginative formal exuberance. 

In light of today’s debate on artificial intelligence, the idea of producing art with the help of a computer has exciting current relevance, and it becomes even more topical if we take to heart the conclusions Oehlen has drawn from his engagement with computer art, such as: ‘The work must then be finished by the human hand.’

Hamburger Kunsthalle

Installation view: Computer Paintings, Hamburger Kunsthalle, 2024, © Albert Oehlen / VG Bild-Kunst, Bonn 2024 © Hamburger Kunsthalle, photo: Fred Dott
Installation view: Computer Paintings, Hamburger Kunsthalle, 2024, © Albert Oehlen / VG Bild-Kunst, Bonn 2024 © Hamburger Kunsthalle, photo: Fred Dott

ALBERT OEHLEN

Malerei: Selected Works from the Collection (solo show)
Espace Louis Vuitton, Beijing
24 May – 27 October 2024

Installation view: Malerei: Selected Works from the Collection, Espace Louis Vuitton, Beijing, 2024 © Adagp, Paris 2024, photo: Sun Shi / Louis Vuitton, courtesy of the artist and Fondation Louis Vuitton
Installation view: Malerei: Selected Works from the Collection, Espace Louis Vuitton, Beijing, 2024 © Adagp, Paris 2024, photo: Sun Shi / Louis Vuitton, courtesy of the artist and Fondation Louis Vuitton

Albert Oehlen: Malerei features six paintings made by the artist over thirty years from Fondation Louis Vuitton’s collection: Untitled (1992–2005), Mission Rohrfrei (1996), Rasieren (2005), Rock (2009), Untitled (2017) and Ömega Man 23 (2022). The works – many of which are on view for the first time – are presented as part of the Fondation’s Hors-les-murs, a programme which introduces the collection to international audiences in major cities. The presented selection reveals Oehlen’s long and boundary pushing engagement with the history of abstract painting.

Espace Louis Vuitton

Installation view: Malerei: Selected Works from the Collection, Espace Louis Vuitton, Beijing, 2024 © Adagp, Paris 2024, photo: Sun Shi / Louis Vuitton, courtesy of the artist and Fondation Louis Vuitton
Installation view: Malerei: Selected Works from the Collection, Espace Louis Vuitton, Beijing, 2024 © Adagp, Paris 2024, photo: Sun Shi / Louis Vuitton, courtesy of the artist and Fondation Louis Vuitton

ALBERT OEHLEN et al.

Toward the Celestial: ICA Miami’s Collection at 10 Years
Institute of Contemporary Art, Miami
3 May – 1 November 2024

Installation view: Toward the Celestial: ICA Miami's Collection at 10 years, Institute of Contemporary Art, Miami, 2024, photo: Zachary Balber
Installation view: Toward the Celestial: ICA Miami's Collection at 10 years, Institute of Contemporary Art, Miami, 2024, photo: Zachary Balber

Work by Albert Oehlen is on view in Toward the Celestial: ICA Miami’s Collection at 10 Years. Organised on the occasion of the ICA Miami’s tenth anniversary, the exhibition brings together works from its permanent collection highlighting the museum’s programmatic development, as well as recent commissions and previously unshown works. The exhibition journeys from microscopic to macroscopic images in order to explore the dimension of time and orders of scale.

Institute of Contemporary Art

Installation view: Toward the Celestial: ICA Miami's Collection at 10 years, Institute of Contemporary Art, Miami, 2024, photo: Zachary Balber
Installation view: Toward the Celestial: ICA Miami's Collection at 10 years, Institute of Contemporary Art, Miami, 2024, photo: Zachary Balber

ALBERT OEHLEN

Ömega Man, 2023 (outdoor sculpture) 
Stiftung zur Förderung Zeitgenössischer Kunst in Weidingen / Rodenhof
On view from 15 July 2023

Albert Oehlen, Ömega Man, 2023, photo: def image
Albert Oehlen, Ömega Man, 2023, photo: def image

Albert Oehlen’s monumental sculpture Ömega Man, 2023, is now on view to the public in Weidingen, where it emerges from the vast landscape of the Südeifel. Its simplified form and slightly raised steel bars, recessed into their concrete casting, evoke the lightness of a drawing. Here, the persistent importance of the line in Oehlen’s work becomes evident, appearing simultaneously curved and controlled. In this work, the artist uses elements which are both abstract and figurative to critically examine the history and conventions of contemporary art, all the while continuing to acknowledge the importance of classical models. Massive yet fragile in its isolation, Oehlen's Ömega Man appears like a monument from the future. Omega, the last letter of the Greek alphabet, is here written with an umlaut, thereby referring to the artist’s own name. 

Stiftung zur Förderung Zeitgenössischer Kunst in Weidingen

Albert Oehlen, Ömega Man, 2023, photo: def image
Albert Oehlen, Ömega Man, 2023, photo: def image

ADAM PENDLETON

Who Is Queen? Vols. 1–5 (publication)
Published by DABA, New York
October 2022

Image: © Hopscotch Reading Room, Berlin
Image: © Hopscotch Reading Room, Berlin

Published on the occasion of the artist’s solo show Adam Pendleton: Who Is Queen? at the Museum of Modern Art, New York, 2021–2022, the 5 volume book series Who Is Queen? adapts conversations between pairs of notable writers, theorists, philosophers, and musicians into contrapuntal texts. Transcripts of the original dialogues are intertwined with archival photographs and external texts.

DABA Press

Image: © Hopscotch Reading Room, Berlin
Image: © Hopscotch Reading Room, Berlin

ALBERT OEHLEN

The Painter, a film by Albert Oehlen, Oliver Hirschbiegel and Ben Becker

© 2020 by Albert Oehlen, Oliver Hirschbiegel and Ben Becker
© 2020 by Albert Oehlen, Oliver Hirschbiegel and Ben Becker

Under the direction of Oliver Hirschbiegel, actor Ben Becker on screen impersonates the contemporary painter Albert Oehlen and re-creates a painting that Oehlen himself and in parallel is creating step by step in the background, with the actor improvising the process in front of the camera. The finished on-screen painting is an original “Oehlen” on which the artist himself never laid hands. The off screen blueprint painting was destroyed after principal shooting had finished.

Originally planned to be a performative statement the projects developed into a fully fledged feature film of 92 minutes, crossing formal boundaries and questioning the meaning of the creative process and the struggle for authenticity on various levels.

The Painter follows the artist / actor as he is struggling and suffering along this process with us watching in joyful despair and what might happen next until the white canvas has turned into a finished painting.

The outcome is a one-man rollercoaster that appears to be a documentary but in fact is a staged and guided improvisation with the “real” process happening behind the camera. The Painter is a constant flow of the artist’s journey with elements of farce and comedy topped with emotional moments of truth...in front of and behind the camera and leaving it up to us to decide what is real and/or authentic.

Watch the trailer here.


Picture Tree International

© 2020 by Albert Oehlen, Oliver Hirschbiegel and Ben Becker
© 2020 by Albert Oehlen, Oliver Hirschbiegel and Ben Becker

ADAM PENDLETON

Pasts, Futures, and Aftermaths: Revisiting the Black Dada Reader (publication)

In 2011, artist Adam Pendleton assembled Black Dada Reader, a compendium of texts, documents and positions that elucidated a practice and ethos of “Black Dada.” Resembling a school course reader, the book was a spiral-bound series of photocopies and collages, originally intended only for personal reference, and eventually distributed informally to friends and colleagues. The contents—an unlikely mix of Hugo Ball, W.E.B. Du Bois, Adrian Piper, Gertrude Stein, Sun Ra, Stokely Carmichael, Gilles Deleuze—formed a kind of experimental canon, realized through what Pendleton calls “radical juxtaposition.” In 2017, Koenig Books published the Reader in a hardcover edition, with newly commissioned essays and additional writings by the artist.

A decade later, Pendleton has composed another reader, building upon the constellation of writers, artists, filmmakers, philosophers and critics that emerged in the first volume, and sketching out new potential forms and vectors for Black Dada. Along with new source texts—from Toni Cade Bambara to Piet Mondrian to Clarice Lispector to Achille Mbembe—Pendleton has included conversations with some of the figures whose writing and work were featured in the earlier Reader: Thomas Hirschhorn, Ishmael Houston-Jones, Joan Jonas, Lorraine O’Grady, and Joan Retallack.

Get your copy here.