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Almond, Darren: All Things Pass

Almond, Darren: Terminus

Arnolds, Thomas

Brown, Glenn: Dessins

Brown, Glenn

Butzer, André

Demester, Jérémy: Fire Walk With Me

Dienst, Rolf-Gunter: Frühe Bilder und Gouachen

Ecker, Bogomir: You’re Never Alone

Förg, Günther

Galerie Max Hetzler: Remember Everything

Galerie Max Hetzler: 1994–2003

Hains, Raymond

Hatoum, Mona (Kunstmuseum
St. Gallen)

Eric Hattan Works. Werke Œuvres 1979–2015

Hattan, Eric: Niemand ist mehr da

Herrera, Arturo: Series

Herrera, Arturo: Boy and Dwarf

Hilliard, John: Accident and Design

Holyhead, Robert

Horn, Rebecca / Hayden Chisholm: Music for Rebecca Horn's installations

Kahrs, Johannes: Down ’n out

Koons, Jeff

Kowski, Uwe: Paintings and Watercolors

La mia ceramica

Larner, Liz

Mahn, Inge

Marepe

Mosebach, Martin / Rebecca Horn: Das Lamm (The Lamb)

Neto, Ernesto: From Sebastian to Olivia

Niemann, Christoph

Oehlen, Albert (Paintings 2014)

Oehlen, Albert: Interieurs

Oehlen, Albert: Mirror Paintings

Oehlen, Albert: Luckenwalde

Oehlen, Albert | Schnabel, Julian

Phillips, Richard: Early Works on Paper

Prince, Richard: Super Group

Riley, Bridget: Measure for Measure. New Disc Paintings

Riley, Bridget: The Stripe Paintings 1961–2012

Riley, Bridget: Paintings and Related Works 1983–2010

Sammlung im Wandel: Die Sammlung Rudolf und Ute Scharpff

Smith, Josh: Abstraction

Tunga: Laminated Souls

de Waal, Edmund: Irrkunst

Warren, Rebecca

Wool, Christopher (2017)

Wool, Christopher: Road

Wool, Christopher: Westtexaspsychosculpture

Wool, Christopher: Yard

Zhang Wei

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Albert Oehlen: Luckenwalde
With a text by Christoph Tannert


German
Brochure, stapled
24 x 30 cm
24 pages
8 glued color plates
978-3-935567-00-8
20.00 Euro

 

 

This catalogue displays in large-formatted, excellently printed plates eight paintings of a group of works which were created on La Palma in 1996 and which, previous to the exhibition in Luckenwalde, were only displayed one time, namely in 1997 in the Kunsthalle Basel.


“When Oehlen assigns pictures titles such as Pity, Monk and Nun, Spirit and Time, tomorrow—questionable, (in the) Lachrymatory Sac, Copper Acetate, Stellar Refuse and Mishandling of the Blues to a series of eight monumentally formatted rhythm-boxes, possibly in a hubristic access of Romantic enthusiasm, then irony undoubtedly flickers forth from behind this decision: may the academic picture-interpreter become once and for all muddled in the labyrinth of his own helpless attempts at explanation. In the end, painting—a gesture that cannot be outsmarted, that preserves the seeking of the painter’s hand, that is impenetrable like a jungle—remains a rock over which Stoic interpretation should stumble.” — Christoph Tannert

 

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In collaboration with Galerie Max Hetzler, Berlin