Works by Giulia Andreani, Glenn Brown, Jeff Koons, Victor Man and Paul McCarthy are included in Copyists, an exhibition at the Centre Pompidou-Metz, in collaboration with the Musée du Louvre, Paris. Dedicated to the creativity of copyists, this unique group exhibition explores the history of copying as a central facet of classical tradition, used as a tool for learning about the canon of art history, as much as its techniques and stories. By absorbing the expertise and mastery of prior generations of artists, copying offers a pathway to knowledge, creation and innovation.

For this exhibition, a number of contemporary artists were invited to make copies of works at the Musée du Louvre, following in the footsteps of their predecessors. Viewers are invited to perform an act of decoding, investigation and understanding, juggling old forms and new. Featuring works by painters, draughtsmen, sculptors, video artists, designers and writers, Copyists mediates the tension between originality and duplication.

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The Freud Museum, London, presents The Sight of Something, a joint exhibition by Glenn Brown and Mathew Weir, exploring the significance of psychoanalysis in the artists’ practices. Sigmund Freud observed in his 1922 essay ‘Medusa’s Head’ that childhood terrors can be triggered by ‘the sight of something.’ British artists Brown and Weir explore the rich ambiguity of this phrase through a selection of drawings, paintings and sculptures in dialogue with objects and artefacts throughout the Freud Museum.

A central theme of this project is mark-making, most evident in drawing and the inscription of lines, which is connected to psychoanalysis through the act of uncovering traces of the past. Here, the act of drawing becomes a means of revealing and grappling with hidden or altered experiences. Brown and Weir’s images are never fixed or absolute; like memory they are constructed, layered and distorted – shaped as much by absence and forgetting as by what is seen and remembered.

A catalogue will accompany the exhibition with an essay by Darian Leader.

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Works by Glenn Brown are featured in Insights Into the Inside: Nicaea, a group exhibition at Schloss Bruck | Museum Der Stadt Lienz. The exhibition brings together the work of around thirty artists to explore the inner messages, connectedness and hope that can be recognised and experienced through spiritual aspects of contemporary art. Centring around the coexistence of temporal and eternal forms, the exhibition draws on the Council of Nicaea, convened by Emperor Constantine exactly 1700 years ago, to explore the role and accessibility of images – in other words, a look inward.

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The Brown Collection, London, presents The Laughing Stock of the Heartless Stars, an exhibition showcasing 70 diverse artworks by 28 artists over 500 years of Art History. Alongside these works, most of which have never been on public display, a new work by Glenn Brown is also on view. Curated by Brown and Edgar Laguinia, the exhibition explores humanity's relentless pursuit of significance in a universe without inherent meaning. Numerous works celebrate the beauty of nature, such as Henri Fantin-Latour's Roses Thé, 1874, while more contemporary works address environmental awareness and the transcience of nature. Brown's work skillfully confronts this intricate tension. A multitude of Brown's creations embody states of transition, decay, and the blurred line between artificial and organic forms.

The Brown Collection

In his paintings, sculptures and drawings, Glenn Brown confronts the history of art with a contemporary understanding of paint’s materiality and a barbed sense of colour. Numbered and signed by the artist, this Collector’s Edition treats the viewer to a close encounter with Brown’s eye-deceiving renderings of brushstrokes from sources between Sci-Fi and the Old Masters.

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The catalogue accompanying Glenn Brown’s double exhibition The Real Thing, currently on view at the Sprengel Museum and Landesmuseum Hannover until 18 June 2023, is now available for purchase. This publication condenses the key ideas of the exhibition, which presents Brown’s work alongside a selection of historical masterworks from the two collections. In this way, Brown brings continuities and contrasts from 500 years of painting into a contemporary dialogue. The publication contains new texts by Jurriaan Benschop, Katja Lembke, and Reinhard Spieler, as well as a conversation with the artist.

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