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

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.

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.

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 

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.

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

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.

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 theprimaveraproject.com.

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.

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.

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.