#MeetTheArtist Bookpresentation at Museum Ludwig


Thurday Nov 17, 4 – 6 pm
Foyer of the Museum Ludwig

Following his major survey exhibition at Museum Ludwig in 2019, American artist Wade Guyton has published Volume 2 of the exhibition catalogue MCMXCIX – MMXIX ZWEI DEKADEN. The publication documents the installation and all 226 artworks with text contributions by Bettina Funcke, Jeanette Mundt and Kirsty Bell. The artist will present the new book in the foyer of the Museum opposite his sculpture Untitled, 2019 installed on the south terrace.


Art Cologne 2022

Hall 11.2, B – 102

Preview: November 16th, 12 – 8 pm  
Vernissage: November 17th, 11 am – 7 pm
Friday and Saturday 11 am -7 pm, So 11 am -6 pm

Image Credit: Marcel Odenbach, I think of Germany at night, 1986 © the artist, courtesy by Galerie Gisela Capitain, Cologne


Record Release Metamorfosi @ Albertusstrasse 9-11

Fri, Nov 18
6 – 8 pm

The exhibition Metamorfosi, which was on view at 
Zweigstelle Capitain in San Lorenzo in Rome, 
presented a group of works that deal with topics strongly
connected with the idea of Zweigstelle: 
dislocating the gallery space causes a change of perspective, 
a kind of confusion that helps to reestablish meaning. 

For this occasion Villa Lontana Records has
conceived a limited edition dubplate as an ephemeral trace of the
exhibition Metamorfosi. A “sonorous postcard”, 
collecting thoughts and messages from the artists: 
Jadé Fadojutimi, Wade Guyton, Jacqueline Humphries, Liza Lacroix, 
Zoe Leonard, Meuser, Marcel Odenbach, Seth Price, Stephen Prina, 
Monika Sosnowska, Kelley Walker and Christopher Williams. 
Each artist has been invited to send a recording in response to an 
hermetic sentence questioning memory.

Sounds recorded on a dubplate undergo a particular deterioration, faster
than on a classic vinyl, producing unpredictable changes of sound over
time that run parallel to the theme of metamorphosis.

Villa Lontana Records is an independent record label based in Rome which
focuses on the production of new sounds, from electroacoustic to
sonorous poetry and field recordings. The label responds to the curatorial
programme of Villa Lontana, a non-for-profit space initiated in 2018 to
create fluid platforms of encounter between ancient and contemporary practices.


Liza Lacroix 'The Wrong Man'

Debut publication published by Ligature Press, 2022

‚So desperately dull, frustrating at times and while he does have a clear message, the message itself is grounded in a violent hatred.‘


Jadé Fadojutimi: Can we see the colour green because we have a name for it?

The Hepworth Wakefield
Sep 16, 2022 – Mar 19, 2023

‘Jadé is an artist that we have been following for a few years and we acquired a work by her for the collection in 2020. She is one of the most dynamic and innovative painters of her generation with a maturity of language that far surpasses her young age. The exhibition at The Hepworth Wakefield will offer visitors an opportunity to engage with Jadé’s work within the context of our Modern British collection, creating many surprising and insightful connections.’ – Andrew Bonacina, Chief Curator


Dissonance. Platform Germany

edited by Mark Gisbourne and Christoph Tannert.

This publication surveys 81 artistic positions in the field of painting in Germany.

Following the publication of the book, Künstlerhaus Betahnien is now presenting a first exhibition with 40 selected positions.

We are pleased that Uwe Henneke is included in the catalogue and the exhibition among the artists.


Magenta Plains, New York and Galerie Gisela Capitain, Cologne now represent New York-based artist:  Liza Lacroix

In spring 2022, Lacroix will mount her first solo exhibition at Magenta Plains 
and will be included in Galerie Gisela Capitain’s presentation at Art Basel. 

Lacroix’s debut solo exhibition at Galerie Gisela Capitain is planned for 2023.

Liza Lacroix (b. 1988, Montreal, QC) has exhibited at Midnight Projects, New Jersey, NJ (2021); 
Magenta Plains, New York, NY (2021); Peana, Monterrey, MX (2018); 
M23, New York, NY (2018); AC Repair, Toronto, CA (2016); 
and Popps Packing, Hamtramck, MI (2015) 

She lives and works in New York, NY.


La Biennale di Venezia

April 23 – November 27, 2022

Galerie Gisela Capitain congratulates Jadé Fadojutimi, Charline von Heyl and Jacqueline Humphries to their participation at La Biennale di Venezia 2022.

The Milk of Dreams 
La Biennale di Venezia
59th International Art Exhibition 

Curated by Cecilia Alemani 


Ecco s'incontrano

Isabella Ducrot / Ximena Garrido-Lecca / Tobias Pils

Zweigstelle Capitain
March 5 – April 14, 2022

We are very pleased to announce the launch of the first edition of Zweigstelle Capitain. Please visit our group show Ecco s’incontrano with works from Isabella Ducrot, Ximena Garrido-Lecca and Tobias Pils in Rome.

Via dei Volsci 128, Rome
Opening Saturday March 5, 11am – 7pm

For more information on special events accompanying the exhibition, please follow us on Instagram or sign up for our newsletter.



Marcel Odenbach

In 2021 the Gesellschaft für Moderne Kunst awarded the Wolfgang Hahn Prize to Marcel Odenbach. The present publication honors the award-winner (b. 1953 in Cologne), who creates works that -experimental in form and theoretically founded in content- expose historical connections between colonialism and globalization and make the violence of the normative and representation tangible.


A Guided Walkthrough of jHΩ1:)

with artist Jacqueline Humphries and guest curator Mark Godfrey

Jacqueline Humphries: jHΩ1:)
Sept 18, 2021 – Jan 2, 2022
wexner centre of the arts

Please read transcript here


Odenbach: Ausstellungsführung mit den Kuratorinnen

Führung mit Doris Krystof durch die Ausstellung so oder so in der Kunstsammlung NRW K21

Dienstag, 9.11., 16.30 – 17.30 Uhr
Sonntag, 12.12., 12 – 13 Uhr
Sonntag, 9.1., 12 – 13 Uhr

Anmeldung erforderlich.


Gold Custody by Barbara Bloom and Ben Lerner

Barbara Bloom and Ben Lerner share a fascination with intricate dramas of framing and reframing: what happens to an image or a phrase when it is re-encountered, recontextualized, recombined — when a particular frame of reference is established or collapses? How is meaning accrued or eroded through repetition, across pages or generations? How are images or sentences enlisted in — or suddenly freed from — the construction of our personal and collective mythologies?

In this collaborative book, bringing together Bloom’s artworks and Lerner’s prose poems, these questions are rendered beautiful as they are sensitively felt, veering between the promises of abstraction — ‘the showroom of grammar, its glitter and ghosts,’ collective nouns, songs without lyrics that everyone can sing — and verbal and visual languages of extreme privacy. Other topics include: false fathers, lice, stone fruit, Casper Rappaport, color words, alephs, forever stamps, and Goethe’s corridor.



THE PRIMAVERA PROJECT is a modern-day collaboration of music and art. This digital album presents 14 new commissions by THE PRIMAVERA PROJECT for groundbraking, multi- Grammy nominated cellist Matt Haimovitz. Each composer responds to Sandro Botticelli’s enigmatic painting, Primavera, and the prophetic large-scale tryptich, Primavera 2020, by world-renowned contemporary artist Charline von Heyl.

Recorded in January 2021 at Charline von Heyl’s artist studio near downtown Marfa, Texas, the distinct and diverse contemporary compositional voices bridge the centuries, expanding and redefining the range and repetoire of the solo cello. For more information please visit


Retail Apocalypse

edited by Fredi Fischli, Niels Olsen, Adam Jasper

Shopping is history, in both senses of the word. As shopping shifts online and the economic shocks associated with the COVID-19 pandemic push bankruptcies to ­unprecedented levels, retail is facing its own version of the end of days. Retail Apocalypse presents a compendium of case studies, interventions, and object lessons rescued from the bonfire of retail culture. It ranges from Friedrich Kiesler’s display windows to Gae Aulenti’s Fiat show­rooms, from J. G. Ballard’s dystopian fantasies to TELFAR’s critical utopias, from Rem Koolhaas to Herzog & de Meuron.


Zoe Leonard's Strange Fruit again on view at Philadelphia Museum of Art

Intended to decay while on public view, “Strange Fruit” is made up of empty fruit skins that have been sutured together and sprawled across the gallery floor by the artist. The work was created in New York in the 1990s, during the early days of the ongoing global AIDS crisis, before any life-saving treatments were available. This was an era marked by tragic loss and the stigmatization of queer people and people of color, along with sex workers and drug users. In this climate of discrimination and neglect, people were dying daily, their bodies treated by the US government and healthcare industries as disposable. After the deaths of several close friends, including fellow artist David Wojnarowicz, Leonard began to sew these fruit pieces. Out of that process, over a period of six years, “Strange Fruit” emerged.

The work’s title is taken from the anti-lynching song of the same name written by Jewish-American composer Abel Meeropol and famously recorded by Billie Holiday in 1939 with lyrics like, “Southern trees bear a strange fruit / Blood on the leaves and blood at the root / Black bodies swinging in the southern breeze / Strange fruit hanging from the poplar trees.”

Recalling memento mori still-life paintings, which incorporate imagery such as fruit and flowers to symbolize life’s fragility, in this work, the process of decomposition unfolds before our eyes. Both effigy of, and elegy to, the lives of loved ones, “Strange Fruit” offers a haunting reflection on histories of violent persecution and a poignant meditation on mortality and transformation.


Christopher Williams

This four-volume set of publications focuses on Christopher Williams‘ theatrical work Stage Play, first presented in 2017 at Miller’s Studio in Zürich. Housed in a slipcase, it contains documentation and the playscript for his eponymous play, related publicity and research documents, the artist’s series of open letters, and a related interview he conducted with historian Markus Krajewski on the ceramic tile façades of post-war architecture in Cologne. In addition to two critical essays by McDonough, this publication is largest collection to date of Williams‘ writing.