Collezione Maramotti will present L’improduttiva, the first institutional solo show of Giulia Andreani in her native Italy. A cohesive body of new work, with large-scale paintings and watercolours, will weave together narratives, facts, and characters inspired by photographic research that the artist carried out at various archives in the city of Reggio Emilia, paying particular attention to hidden or forgotten stories of female figures in its historical, political, and cultural context.

Collezione Maramotti

A new publication documenting three of Jeremy Demester’s exhibitions at Galerie Max Hetzler in Berlin and London since 2020, as well as his 2021 exhibition at the Fondation Zinsou in Ouidah, is now available for purchase.

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When Albert Oehlen set out as a painter in the late 1970s, it was a time out of joint. Given German history, terrorism, 'No Future,' and Nineteen-Eighty-Four as well as the permanent threat of all-out nuclear war, painting could not pretend that the world was safe and sound. As the world shattered, so did painting. As all symbols, signs, and means were damaged and devoid of meaning, he unmasked painting in all its dubiousness. How is one to tell authentic gesture from blunt reproduction, genuine emotion from a disillusioned readymade copy? Oehlen accepts the shattering and transforms it into the basis of his painting. He invents an overtly fragmented image, which is as disoriented as the reality, in which it partakes. Traces, stimuli, and after-images of reality flash stroboscopically across his canvases. It is through this attitude that he has achieved an exceptional degree of painterly liberty, With each new image, he updates and renews the possibilities and impossibilities of painting, thereby granting an appropriate form to a diffuse reality. 

For the first time, Albert Oehlen has created an expansive all-over installation, spanning the entirety of the Friedrichs Foundation’s exhibition hall, into which 12 paintings have been playfully integrated.

Friedrichs Foundation

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

Crosstown Traffic, a new large-scale mosaic by Christopher Wool, is now permanently installed in the lobby of Two Manhattan West across from Moynihan Station in New York City. The mosaic, at 28 by 39 feet, is the artist's first in the medium and his largest artwork to date. Wool’s work is presented alongside a new stainless-steel sculpture by artist Charles Ray, both of which were commissioned by Brookfield Properties.

Giulia Andreani’s new tapestry Tsvi-Tsvi, 2023, depicting Rosa Luxemburg, is on view as part of the International Biennial of Saint-Paul de Vence. Under the theme ‘au hasard des oiseaux’ (at the chance of the birds), the 3rd edition of the contemporary art festival features work by 12 artists and takes inspiration from the universe and symbolism of birds.

BIS

In a series of photographs taken while on the road to Hetzler | Marfa in December 2022, artist duo Tursic & Mille capture the vast, fascinating and cinematic landscape of Southern Texas, from Marfa to the Chihuahuan desert. Alongside these special photographs, the artists’ own words further evoke their journey. 

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FRAC Normandie will present The Woods, a solo exhibition of Tursic & Mille. The artist duo’s explosive paintings superimpose images, styles and genres. By transposing photographs of flowers, models and dogs, among other subjects, Ida Tursic and Wilfried Mille transform material from our image saturated world into the traditional domain of painting. The title of the exhibition refers both to the works carved from wood and, metaphorically, to the forest of signs from which the artists draw inspiration – the images in one’s head which form an inner landscape.

FRAC Normandie

Artist duo Tursic & Mille’s painting Jeune fille vidant le contenu de son contenant, 2021, is currently on view in the group exhibition Immortelle. Bringing together emblematic artists of the French scene born in the 1970s and 80s, the exhibition presents an ambitious panorama of contemporary French figurative painting and revisits genres from history painting to portraiture, landscape, and still life. Tursic & Mille’s work renews classical portraiture by depicting a young woman, dressed in rococo–style clothing, who spills the contents of a contemporary beer bottle.

MO.CO.

Giulia Andreani’s monumental triptych Fabulation, 2023, will be on view in CHRONORAMA. Photographic Treasures of the 20th Century – the first major exhibition of masterpieces from the Condé Nast archives, recently acquired in part by the Pinault Collection.

The exhibition presents work from the 1910s to the early 1980s by more than one hundred and fifty international artists,  bringing the twentieth century to life through the events, social phenomena, and illustrious figures that marked it.

This historical selection will be put into perspective with Chronorama Redux, a project offering a contemporary look at these works from the Pinault Collection through the work of four artists: Giulia Andreani, Tarrah Krajnak, Erik N. Mack, and Daniel Spivakov. This installation will be spread over four spaces of the Palazzo Grassi, as interludes in the chronological tour of the main exhibition. Refreshing our gaze, questioning our relationship with time and images, sharing this evidence of the past: these are the challenges for the Pinault Collection, which are embodied in this first new project based on the archives of the legendary Condé Nast.

Palazzo Grassi

Twelve works representing the past decade of Giulia Andreani's practice are on view at Le Consortium Museum, Dijon as part of the biennial L'Almanach 23. The project brings together artists invited to exhibit according to a simple principle: one room, one artist. Taking place across fourteen distinct spaces, the artists offer a subjective view of international creation through paintings, sculptures, photographs, videos, and installations, presenting a specific vision for today’s contemporary art.

Le Consortium

Darren Almond’s In Light of Time, 2018, will be included in MONOMATERIAL, an exhibition at the Kunstsaele Berlin that emphasises  how artists have formulated differing relationships between objects and materiality. The  exhibition encourages visitors to consider the importance of material to an artwork’s meaning.

Kunstsaele Berlin

This comprehensive monograph shows the full range of Giulia Andreani’s work from 2011 to the present in more than 150 paintings, watercolors, and sculptures. In various shades of Payne’s gray, Andreani translates historical images into compelling representations of women, power, and society. The monograph includes texts by Flavia Frigeri and Erik Verhagen. The book is now available for purchase on the Galerie Max Hetzler publications website. 

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British artist Darren Almond has created three artworks for the new Bond Street station to commemorate the recently opened Elizabeth Line in London.The largest work, Horizon Line, is an expansive grid of fragmented numbers comprised of 144 individual hand-polished tiles cast in aluminium. The artwork is positioned over the main escalators in the entrance hall of the station, creating a landscape of continual movement and ever-changing subjectivity. At a distant point near the horizon rises a single complete number: a zero, the eternal symbol of the infinite.

In form and style, the other two works, titled Shadow Line and Time Line, draw upon the tradition of naming early British locomotives with cast bronze nameplates. Almond’s train plates, however, bear poetic phrases that offer a philosophical proposition to each passerby. Abstract in nature, the three works seek to activate a discussion around the mechanics of time and place.

Crossrail Art Programme

Giulia Andreani's work, Couragemodelle(a), 2022, will be included in a collective exhibition presenting the four nominees for the 22st edition of the renowned Prix Marcel Duchamp. Andreani is recognised for her compelling narrative references to women grappling with major historical events. The winner of the prize will revealed on 17 October. 

Centre Pompidou

Christopher Wool is part of the group show Faking the Real in Kunsthaus Graz. Faking the Real explores the question of the manipulation of realities and reveals an evolution from posters in public space through to interventions in social media. The exhibition is part of the large-scale special show The Art of Enticement, which examines 100 years of graphic design and poster art from different perspectives. 

Kunsthaus Graz

A new artist edition by Tursic & Mille, Strange Days, is now available for purchase on the Galerie Max Hetzler publications website. This illustrated calendar, with two pop-out cardboard sculptures, has been published on the occasion of the artists’ exhibition Strange Days at Galerie Max Hetzler, London, June – August 2021.

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HETZLER MARFA is pleased to present Inflection Point, 2022, a new work by Darren Almond, created as a site-specific, permanent installation for the new exhibition space.

British artist Darren Almond works in a variety of media including photography, film, installation, sculpture and painting. His diverse subjects deal with abstract ideas of time, space, history and memory and how these concepts relate and intersect. He examines the symbolic and emotional potential of objects, places and situations to produce works that have historical as well as personal resonance.

In his sculptural work, Almond often materialises notions of time or place as both real and imagined constructions. With this permanent and site-specific installation, the artist deals in both of these notions. In mathematics, a point of inflection is a point on a curve where the sign of the curvature changes. Linguistically, the inflection point is a turning point, or even a milestone. Almond’s Inflection Point, 2022, marks a specific place within the vast openness of the Texan landscape. The steel work fits into its location and almost blends with the background colours of the grasslands. The doubling of the words along the top, which are repeated in an inversion of themselves, looks like the shadow play of the bright Texan sun. As a gate, it is open to both sides, with the sentence ‘SPACE BETWEEN THOUGHTS’ readable both on arrival and on leaving the site of the exhibition space.

HETZLER MARFA is a new exhibition space opening on 26 May 2022. The programme features an annual exhibition alongside artist residencies. The space is open Thursday to Sunday from 11am to 7pm, and by appointment. It will be closed in August and will reopen in September 2022.

Darren Almond (*1971, Wigan, United Kingdom) lives and works in London. In 2005, he was nominated for the Turner Prize, and in 1996 he was awarded the Art & Innovation Prize by the Institute of Contemporary Art, London. Almond’s work has been the subject of solo exhibitions at international institutions including Jesus College, Cambridge (2019); Villa Pignatelli-Casa della Fotografia, Naples (2018); Mudam, Luxembourg (2017); Museum Sinclair Haus, Bad Homberg (2016); SCAI the Bathhouse, Tokyo (2016); Kunsthaus Graz, Graz (2015); Domaine de Chaumont-sur- Loire, Chaumont-sur-Loire (2012); Villa Merkel, Esslingen (2011); and FRAC Haute Normandie, Sotteville-lès-Rouen (2011), among others. Almond’s works are in the collections of the Art Institute of Chicago; Centre National des Arts Plastiques, Paris; Fondation Beyeler, Basel; Fonds National d’Art Contemporain, Paris; FRAC Auvergne, Clermont-Ferrand; FRAC Haute Normandie, Sotteville-lès-Rouen; Kramlich Collection, San Francisco; Musée d’Art Contemporain de Montréal, Montréal; Museum Folkwang, Essen; Museum of Contemporary Art, Chicago; Museum of Modern Art, New York; Tate, London; The Metropolitan Museum of Art, New York; Thyssen-Bornemisza Art Contemporary, Vienna; and Queensland Art Collection, Brisbane, among others.

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Works by Albert Oehlen are now represented at the group exhibition Space for Imaginative Actions at Kunstmuseum Bonn. The exhibition celebrated the museum’s thirtieth anniversary and brings together monographic and thematic works from more than forty artists. 

Kunstmuseum Bonn

We are pleased to announce that a magnificent “Altarpiece” by Jeremy Demester, L’ombre des heures, Le retable du temps, 2021, has been inaugurated at the Maison Hennessy’s barrel-making workshop, the Atelier de Tonnelleire, at its historic home in Cognac.

Translating to “The Shadow of the Hours, The Altarpiece of Time”, Demester’s monumental artwork was specially commissioned for the space. The piece is above all the fruit of an encounter between artist and artisans around all that unites them - handmade craftsmanship, the mystery of materials and the changes imparted by time. A video documenting the making of this work can be viewed on Hennessy’s YouTube channel.

Maison Hennesy

We are delighted to announce that Giulia Andreani has been nominated for the Prix Marcel Duchamp 2022, along with Iván Argote, Philippe Decrauzat and Mimosa Echard. Named after the influential artist Marcel Duchamp, this annual award distinguishes the most significant and pioneering young artists of the French art scene. The winner will be announced on 17 October 2022. A selection of works by nominated artists will be presented in a group exhibition at the Centre Pompidou in Paris, opening 4 October 2022.

Adiaf

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