Sunnyi Melles rezitiert Gedichte
    October 3, 2020 - October 3, 2020
    Salzburg Villa Kast

    SAMSTAG, 3. OKTOBER 2020, 11 UHR

    Am letzten Tag der Anselm Kiefer Ausstellung, die der Künstler Walther von der Vogelweide gewidmet hat, rezitiert Sunnyi Melles Gedichte des Minnesängers und beschließt damit den dritten Teil der Veranstaltungsreihe. 

    Als legendäre Buhlschaft an der Seite von Helmuth Lohner im Jedermann und in der Titelrolle in Jean Racines Phädra bei den Salzburger Festspielen ist Sunnyi Melles neben ihren zahlreichen Theaterrollen – unter anderen am Bayerischen Staatsschauspiel und dem Wiener Burgtheater – auch aus Spielfilmen bekannt, wie dem oscarnominierten Film 38 – Auch das war Wien unter der Regie von Wolfgang Glück und zuletzt als Gräfin in Stefan Ruzowitzkys Narziss und Goldmund

    Sunnyi Melles erhielt zahlreiche Preise und Auszeichnungen und ist Mitglied der Bayerischen Akademie der Schönen Künste, sowie der Schweizerischen, der Österreichischen und der Europäischen Filmakademie. Sie ist Trägerin des Bayerischen Verdienstordens und erhielt 2005 den Nestroy-Preis als „Beste Schauspielerin“. Sie ist nach Gustaf Gründgens und Martin Benrath als bedeutendste Schauspielerin ihrer Zeit Trägerin der Satyr-Knöpfe von Goethes Rock. Zudem ist sie Programmdirektorin der Jüdische Kulturtage München.

    Um die Einhaltung der aktuellen Sicherheitsbestimmungen zu garantieren bitten wir um Anmeldung unter +43 (0) 662 / 881393 oder per E-Mail an salzburg@ropac.net

    Abbildung: Foto © Karl Lagerfeld / Sunnyi Melles

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  • Imran Qureshi
    Imran Qureshi at the Brent Biennial 2020
    September 19, 2020 - December 13, 2020
    Brent Biennial: Ealing Road Library, HA0 4BA, United Kingdom

    Visit Imran Qureshi's commission for the first Brent Binnial at the Library at Ealing Road, Wembley, United Kingdom. Bringing his unique visual language to the public spaces of the library, Qureshi will install a series of site-specific works throughout the space, including a new iteration of And they Still Seek Traces of Blood, a series of large-scale works on paper and a display of painted manuscripts referencing the art of Mughal miniatures. 

    Brent Biennial 2020 tells the stories of Brent then, now and tomorrow – and of the people who have been made and shaped by the borough, this year's London Borough of Culture. 

    Visit the Brent Biennial here

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    Exhibition Dedicated To Supporting Young Artists
    September 12, 2020 - July 26, 2020
    Paris Pantin

    60 Artists Selected By Jeune Création To Show Works At The Large-Scale Pantin Gallery Space In September 2020

    All Sales Proceeds To Go Directly To The Artists And Their Galleries 

    Galerie Thaddaeus Ropac is delighted to announce that it will dedicate its 2,000m2 exhibition space at the Paris Pantin gallery to an exhibition that will support young and emerging artists and galleries. The Ropac gallery's infrastructure will promote the exhibition of 60 international artists selected to participate by the Jeune Création committee, to foster much-needed sales of their work at a critical time. The show will be on view from 12-26 September 2020 with all sales proceeds going directly to the artists and their galleries.
    Thaddaeus Ropac comments, 'This is an unprecedented time for so many, but within our art world community it is particularly challenging for the next generation of artists and young galleries. By offering our largest gallery space and our full infrastructure to present work by 60 young artists we can support those in our community who are most in need.'
    Jérémy Chabaud, director of Jeune Création, states, 'In this troubled period of health crisis, Galerie Thaddaeus Ropac and Jeune Création unite with vigour and reinforced solidarity to celebrate the 70th edition of Jeune Création and affirm their support to artists. Everyone will be invited to create, reflect and act together in favour of creative freedom.'

    About Jeune Création

    Founded in 1949, Jeune Création has been supporting young emerging artists for over 70 years. Their exhibition presents the works of around 60 artists, in addition to a varied program of performance, photography and video, reflecting the diversity of current practices and bringing the total of participating artists to about a hundred. The selection committee comprises artists from previous editions and specially appointed guest panellists, and independent prizes are awarded. This is the third occasion that Galerie Thaddaeus Ropac has collaborated with Jeune Création.

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  • Gilbert & George
    From July 11, 2020

    Gilbert & George invited Julia Peyton-Jones to their house in East London where they live and work. The artists conducted a tour of their studio presenting models and catalogues of two of their current exhibitions, describing how they make their pictures in addition to showing their work in progress on their latest series entitled ‘The New Normal’ as well as other projects which are underway.

    The conversation covered the artist’s work over nearly six decades since their meeting in 1967 as students at St. Martin's School of Art. Working under the credo 'Art for All', Gilbert & George maintain that their art and life are inseparable. Gaining critical acclaim for their legendary performance 'The Singing Sculpture' in 1970 they have created a body of work which consistently reflects the world around them and the time in which it was made.


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    From July 11, 2020
    Complementing the large-scale exhibition currently on view in our Paris Pantin Gallery, a curated selection from Dimensions of Reality: Female Minimal is now accessible on Vortic Collect, a recently launched application featuring exhibitions on an extended reality platform.
    To view the exhibition, please download the Vortic Collect app here
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    Projekt zur Unterstützung junger KünstlerInnen
    July 7, 2020 - August 1, 2020
    Salzburg Villa Kast

    Galerie Thaddaeus Ropac Salzburg is launching an initiative to offer support for young artists during the current Covid-19 pandemic. A grant of five thousand euros will be awarded to a minimum of twenty young visual artists with a special link to the Salzburg region. The Salzburger Kunstverein, under the direction of Séamus Kealy, will act as a partner and contact for all applications and will be responsible for the selection process. 

    We kindly ask young visual artists who have run into financial difficulties to submit their applications directly to the Salzburger Kunstverein by 1 August 2020 (click here for further details). 


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  • Emilio Vedova Foundation
    Past | Present

    In honour of Germano Celant (1940–2020), we look back at the last exhibition he curated, Emilio Vedova at the Palazzo Reale, Milan (6 December 2019 – 9 February 2020), a major retrospective to mark the centenary of the Italian artist’s birth. The two first worked together on the occasion of Vedova’s 1984 exhibition in Venice, described by Celant as ‘an intense experience which initiated a forthright and sincere conversation about his work which would be extended into a friendship and collaboration over the years that followed, through to his death in 2006.’

    In the historical setting of the Palazzo Reale’s Sala delle Cariatidi, which still bears the scars of bombardment during WWII, this exhibition was conceived as a dialogue between two key periods of Vedova’s work: his Plurimi of the 1960s, and the large Tondi and floor-mounted Dischi from the 1980s. The relationships between these works, amplified through the innovative use of mirrors in the space, conjured the ‘clash of situations’ that was so central to Vedova’s vocabulary.

    Emilio Vedova’s work, I wrote in 1984, is not easily manageable, and trying to take it in from only one angle risks neutralising it. Instead, accepting it in all its complexity means losing oneself in an archipelago of islands and volcanic atolls, subject to the fluctuations of the tides of time. […] There is nothing monistic about Vedova: he is heterogeneous. He doesn’t proceed in a tame fashion but by friction and collision. He shreds the rules to retie the Gordian knot of painting and painted sculpture. – Germano Celant

    Read Celant’s full curatorial statement here.

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  • Antony Gormley


    Galerie Thaddaeus Ropac has included Antony Gormley's drawing SET V (2018) in a dedicated viewing room 'Artworks Benefiting Those Affected By Covid-19' in the inaugural online Frieze Viewing Room, New York edition.

    Each gallery has chosen one artwork and a charity to support through the funds from the sale of this work, and Galerie Thaddaeus Ropac will donate 100% of proceeds from the sale of Antony Gormley's drawing to the World Health Organisation.




    Artwork: Antony Gormley, SET V, 2018. Carbon and casein on paper. 38.2 x 27.9 cm (15.04 x 10.98 in). 


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    This week’s Culinary Arts section reflects on how the kitchen is also a political and gendered space. 

    In her seminal film Invisible Adversaries (1976) VALIE EXPORT problematizes the gendered imbalance of domestic tasks. ‘One of of the richest avant-garde features of the 1970s’ (J. Hoberman) the film presents a woman’s struggle to retain her sense of self against hostile alien forces that appear increasingly ubiquitous, colonizing the minds of all those around her.

    Like the hostile alien forces, society’s expectations of women also present a threat to the female sense of self. In the film, the kitchen becomes a hostile space. A specific scene showing the preparation of a meal conveys the automated and oppressed experience of womanhood. Through skillful montage and poignant imagery, VALIE EXPORT shocks the viewer out of patriarchal patterns of thought. 



    As we are all trapped in our houses during lockdown, the home is becoming an increasingly violent place for many people. Domestic abuse cases are rising rapidly, calls are ‘up 25% since lockdown’ in the UK according to the BBC and more than 32 % in France according to Reuters. If you would like to donate to help those who are affected we have linked charities below: 




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  • Rosemarie Castoro Estate

    In a short clip released by the Centre Pompidou, Christine Macel, Chief Curator of Contemporary Art, explains the subtle feminist innuendo of Rosemarie Castoro's artwork Armpit Hair (1972) following the museum's acquisition. 

    Working in close dialogue with minimal art, American artist Rosemarie Castoro (1939–2015) declared herself ‘a paintersculptor’, transcending the medium-specificity of painting by giving the brushstroke a sculptural quality, enlarged to an enormous scale within the surrounding architecture. 

    In Armpit Hair (1972), a single giant brushstroke stretches across the wall, extending itself through its impressive scale with a uniformly applied, thick impasto. The rapidity of execution of the imagined brushstroke contrasts with the laborious process of its construction, as it was carefully crafted out of Masonite, wood, gesso, graphite and modelling paste. In this work, Castoro plays out the fantasy of being ‘a giant caught in a building’, performing gigantic brushstrokes in her studio that are also stand-ins for her own body parts.

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