• United Artists for Europe
    May 21, 2019 - May 23, 2019

    Performance | Talks | Exhibition


    Inspired by a Manifesto Written by Bernard-Henri Lévy on European Ideals, Values and Culture

    21 MayExhibition Opening - Artworks Donated by Artists Committed to the Cause
    22 MayBernard-Henri Lévy's One-off Performance of Looking for Europe
    22 MayHans Ulrich Obrist in Conversation with Novelist Adam Thirlwell 


    Join us for a highlight of the United Artists for Europe initiative, the one-off performance of Bernard-Henri Lévy's one-man play, Looking for Europe, at Ely House. Occurring one day before the European elections, the French philosopher will perform his final representation of the play surrounded by the United Artists for Europe artworks, following a successful tour of twenty European cities. Looking for Europe is rewritten for each show in order to address the political context of each European country, making it a one-of-a-kind performance. The play will be presented in French with English subtitles. 

    TUESDAY 21 MAY, 6:30PM 
    Galerie Thaddaeus Ropac, 37 Dover Street, London
    Opening cocktail and exhibition preview of artworks donated by the United Artists for Europe.

    Galerie Thaddaeus Ropac, 37 Dover Street, London
    Hans Ulrich Obrist, Artistic Director, Serpentine Galleries, and novelist Adam Thirlwell will discuss literature as a multilingual art form, creolisation, portable Europes, and the construction of multiple identities.


    WEDNESDAY 22 MAY, 6:30-8PM
    Galerie Thaddaeus Ropac, 37 Dover Street, London
    Bernard-Henri Lévy will stage a one-off performance of his new one-man play Looking for Europe.

    THURSDAY 23 MAY, 12-4PM
    Galerie Thaddaeus Ropac, 37 Dover Street, London


    Artists, thinkers and actors will create a forum for debate and discussion concerning the state of Europe today, and the place of art and culture within this context.

    More than ever, Europe needs benchmarks so that people can recall not only its utility but its unity … More than ever, it is urgent to demonstrate that Europe is not only a place for the free circulation of ideas, people and goods but also for a shared artistic, aesthetic and cultural heritage. Bernard-Henri Lévy

    Based on an original idea by renowned French intellectual Bernard-Henri LévyUnited Artists for Europe demonstrates artists’ devotion to European ideals, values and culture. So far over thirty contemporary European artists have committed to the cause by signing a manifesto written by Lévy and donating a work of art to be auctioned to raise funds to support arts-related European cultural projects.

    On 3 June, the donated works will be auctioned by Simon de Pury at Maison Assouline, with all proceeds distributed by The Hexagon Society, organisers of United Artists for Europe.


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    February 9, 2019 - February 9, 2019
    Paris Pantin

    Dans le cadre de l’exposition Minimal Monumental, Ghislain Mollet-Viéville, agent d’art et critique d’art, proposera sa lecture de l’art minimal américain en s'appuyant sur le travail des principaux artistes de ce mouvement: Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt, John McCracken, Robert Morris et Fred Sandback.

    Dès les années 1970, Ghislain Mollet-Viéville a largement contribué à faire connaitre l’art minimal en France, notamment en animant des rencontres avec la scène artistique parisienne recevant dans son appartement rue Beaubourg qui servait également de showroom à son importante collection d’art minimal et conceptuel, faisant partie désormais des collections du Mamco à Genève.

    Lors de son intervention à la galerie de Pantin, Ghislain Mollet-Viéville évoquera les grandes lignes de ce mouvement révolutionnaire.

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  • Taipei Dangdai 2019 | Booth D07
    January 18, 2019 - January 20, 2019
    Taipei Nangang Exhibition Center, Hall 1 (4th Floor)
    No. 1, Jingmao 2nd Road, Nangang District, Taipei City

    We look forward to welcoming you to Galerie Thaddaeus Ropac’s booth at the inaugural edition of Taipei Dangdai, Taiwan’s first international art fair. Highlights will include important historical works from the 1980s by Georg Baselitz, Gilbert & George, Robert Mapplethorpe and Andy Warhol, as well as new works by Lee Bul, Robert Longo and Yan Pei-Ming. The gallery will also be offering significant works by Ali Banisadr, Tony Cragg, Jules de Balincourt, Adrian Ghenie, Antony Gormley, Alex Katz, Anselm Kiefer, Daniel Richter and Erwin Wurm, among others.

    我們期待在第一屆台北當代藝術博覽會的 Galerie Thaddaeus Ropac 展位中歡迎您。本次博覧會也是台灣有史以來的第一次世界藝術博覧會。本次藝術博覽會將展出包括格奧爾格·巴澤利茨 (Georg Baselitz)、吉爾伯特和喬治 (Gilbert & George)、羅伯特·梅普爾索普 (Robert Mapplethorpe) 和安迪·沃霍爾 (Andy Warhol) 的八十年代重要歷史性作品,以及李昢 ( Lee Bul)、羅伯特·隆戈 (Robert Longo) 和嚴培明的最新作品。本藝術畫廊也會展出阿里·巴尼薩德爾 (Ali Banisadr)、托尼·克拉格 (Tony Cragg)、吉爾·德·貝蘭庫爾 (Jules de Balincourt)、阿德里安·吉尼 (Adrian Ghenie)、安東尼·戈姆利 (Antony Gormley)、亞歷克斯·卡茨 (Alex Katz)、安塞爾姆·基弗 (Anselm Kiefer)、丹尼爾·里希特 (Daniel Richter) 和爾溫‧烏爾文 (Erwin Wurm) 等人的重要作品。

    In contrast to his crowded cityscapes from the preceding decade, German artist Daniel Richter’s Monday Morning (2012) features a lone green figure teetering dangerously on the edge of a mountain precipice. Richter’s works from this period employ a linear vocabulary, used here to define the contours of the mountains, and a hallucinogenic colour palette. With its solitary traveller and emphasis on the sublimity of nature, Monday Morning reveals the influence of German Romanticism.

    德國藝術家丹尼爾里希特 (Daniel Richter)的「星期一早上(2012年)」描繪著一個孤獨的綠色人物站在山崖邊緣的險象環生搖晃景象,這與其十年前的擁擠城市景觀作品形成鮮明的對比。里希特在這一時期的作品採用線性詞彙來定義山脈的輪廓,以及充滿幻覺的色彩。「星期一早上」以孤獨的旅行者來強調崇高而雄偉的大自然,揭示了該作品深受德國浪漫主義的影響。

    In Suzanne (2018), Chinese painter Yan Pei-Ming depicts a female figure, stripped to the waist, but wearing the black stockings and white cap that suggest a housemaid’s uniform. The title references the Biblical tale of Susanna, who was secretly observed by the Elders while bathing, and became a frequent Old Master subject. In Yan Pei-Ming’s retelling, the female nude is rendered in gestural strokes and drips of paint, with the viewer cast in the role of voyeur. Yan Pei-Ming’s paintings will be shown alongside those of Gustave Courbet at the Musée Courbet, Ornans, from 10 June – 20 September 2019.

    中國畫家嚴培明「蘇珊 (2018)」描繪的是一個女性形象,她的衣服脫至腰間,並穿著黑色絲襪和白色帽子,暗示所穿的是一套女傭制服。這個標題所引用的是聖經中蘇珊在洗澡時被長老秘密窺視的故事,而這個故事已成為古老大師經常採用的主題。嚴培明在複述這個故事時,女性的裸體以描畫姿勢的筆觸和油漆滴落的方式來呈現,讓觀眾扮演著偷窺者的角色。嚴培明的畫作將於 2019 年 6 月 10 日至 9 月 20 日在 Ornans 的 Musée Courbet 畫廊與古斯塔夫庫爾貝 (Gustave Courbet)的作品一起展出。

    Lee Bul’s Untitled Yet (2018) forms part of her recent series of velvet and silk paintings, in which the Korean artist creates ethereal abstract forms using organic materials including flower petals and strands of her own hair. Strongly linked to natural forms and the human body, Bul’s painting treads a fine line between beauty and abjection. Related works were included in Bul’s recent retrospective at the Hayward Gallery, London and Martin-Gropius-Bau, Berlin.

    韓國藝術家李昢 (Lee Bul)「無題(Mekamelencolia - Velvet)」(2018年)是她最近的絲印畫系列的一部分,作品中使用有機材料創造出空靈的抽象感覺,包括花瓣、珍珠母和她自己的頭髮。李昢的繪畫與自然形態和人體緊密相連,在美與賤斥 (abjection) 之間劃出了一條細線。該系列的相關作品被收錄在李昢最近在倫敦海沃德畫廊和柏林 Martin-Gropius-Bau 畫廊的回顧展中。

    Der Bote [The Messenger] (1982) epitomises German artist Georg Baselitz’s turn towards religious iconography in the 1980s, representing traditional Biblical scenes in a radically new way. The title suggests associations with the Annunciation, when the angel Gabriel appeared before the startled Virgin Mary to tell her she would bear the son of God. In this work, Baselitz’s uniquely iconoclastic blend of abstraction and figuration results in a deeply ambiguous scene, with the monumental, brightly-coloured figure appearing in relief against an indeterminate dark background. Baselitz was the subject of a major retrospective at the Fondation Beyeler, Riehen and Hirschhorn Museum, Washington, D.C., to coincide with his 80th birthday last year.

    信差 (Der Bote [The Messenger])(1982 年)展示了德國藝術家格奧爾格·巴澤利茨 (Georg Baselitz) 在上世紀八十年代轉向宗教圖像誌,他以一種激進的全新方式來代表傳統的聖經場景。這個標題是指天使報喜,即當天使加百列出現在驚嚇的聖母瑪利亞面前,告訴她將懷有上帝的兒子。在這作品中,巴澤利茨將抽象和形象以其獨特的反偶像崇拜方式融合起來,營造了一個非常模糊的場景,而巨大、色彩鮮豔的人物則在模糊的黑暗背景下浮現出來。巴澤利茨是去年華盛頓特區基耶勒基金會,里恩和赫希霍恩博物館的一次重大回顧展的主題,而這年他也剛好 80 歲。

    Gilbert & George’s historic Food from The Believing World Series (1983) exemplifies the London-based duo’s newfound use of models other than themselves in their work and their attempt to counter negative stereotypes about male adolescents as hoodlums. In this 15-part photomontage, the upright figures of the artists in their characteristic suits are surrounded by three disembodied heads, their mouths agape as if singing or shouting. Gilbert & George were among the first Western artists to have major success in Asia, through their touring China Exhibition in 1993, extending the global reach of their “Art for All” ethos. Their work is the subject of the retrospective Gilbert & George: The Great Exhibition (1971-2016), currently on view at LUMA, Arles, and travelling to Moderna Museet, Stockholm; Astrup Fearnley Museum, Oslo and the Reykjavik Art Museum.

     吉爾伯特和喬治 (Gilbert & George)「歷史性食物」來自他們的「幻想世界系列」(1983),對於這個總部位於倫敦的二人組合,該作品是展現他們在其作品中使用自己以外的其他新模特兒的一個例子,以及他們試圖對男性青少年作為流氓的負面刻板印象作出反抗。在這個由 15 個部分組成的蒙太奇照片作品中,藝術家們穿著他們的特色西裝直立著身形,而圍繞著他們的是三個沒有身軀並張大著嘴巴像是在唱歌或大喊大叫的頭部。吉爾伯特和喬治 (Gilbert & George) 是最早在亞洲取得重大成功的西方藝術家之一,他們在 1993 年的中國巡迴展覽中,擴大了他們的「全人類共享的藝術」精神的全球影響力。他們的作品主題是吉爾伯特和喬治 (Gilbert & George) 之回顧 :The Great Exhibition(1971-2016,該批作品目前正在阿爾勒的當代藝術館展覧,並將會前往斯德哥爾摩的當代美術館;挪威的阿斯楚普費恩利現代藝術博物館,奧斯陸和雷克雅未克藝術博物館展出。


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    October 6, 2018 - October 7, 2018
    Salzburg Villa Kast

    Anlässlich der diesjährigen Langen Nacht der Museen wird der österreichische Künstler Gerwald Rockenschaub am Samstag, den 6. Oktober von 23.00 – 01.00 Uhr in der Galerie auflegen.

    Das Werk des österreichischen Künstlers Gerwald Rockenschaub (*1952) wird seit den frühen 1980er Jahren stets mit dem Begriff des Neo-Geo verbunden. Durch die Prinzipien der radikalen Reduktion und Konzentration werden abstrakte Codes und Muster aus der Alltagswelt auf ihre wesentlichen Elemente heruntergerechnet. Seine raumgreifenden Objekte, die auf das klassische Tafelbild rekurrierenden Intarsien und Reliefs sowie seine raumbezogenen Installationen entstehen auf der Basis eines Bezugssystems zwischen Minimal Art, Popkultur und Architektur.

    Ein avancierter Produktionsbegriff im Hinblick auf den Gebrauch und die Aneignung moderner Technologien ist dabei eines der hervorstechendsten Merkmale seiner Methode. Als einer der ersten Künstler überhaupt bediente sich Gerwald Rockenschaub einer Formensprache, in der computergenerierte Grafiken Einzug erhielten. Gerwald Rockenschaub war zudem viele Jahre international als DJ elektronischer Musik tätig, was sich in der technoiden Ästhetik seiner Werke und oft auch im Titel von Werken und Ausstellungen widerspiegelt.


    Einlass nur mit gültigem Ticket, erhätlich an der Abendkasse.

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    July 9, 2018 - July 9, 2018
    London ELY HOUSE

    37 Dover Street, W1S 4NJ


    Chaired by CATHERINE PETITGAS, Chair of the Tate International Committee, collector, patron and art historian in conversation with ANKE KEMPKES, the exhibition's curator, renowned expert on female avant-garde artists EWA OPALKA, Polish critic and curator with focus in feminist visual art theory SARAH WILSON Professor, Courtauld Institute of Art

    ‘For a long time we accepted a history that was one-sided. Now we see that it was a very incomplete picture. It is important now to close the gaps and to bring back the contribution of women artists to the history of the neo-avant-garde.’ Anke Kempkes

    Join us at Galerie Thaddaeus Ropac London for an after-hours gallery opening of Land of Lads, Land of Lashes featuring the ground-breaking work of three pioneering avant-garde artists of the 1960s and 70s Rosemarie CastoroWanda Czelkowska and Lydia Okumura.

    Our esteemed guest speakers will discuss how the context of today's shifting political and cultural landscape has now enabled these artists to receive widespread critical acclaim and increasing recognition. The talk will explore the connections between these pioneering female artists and their practice across the three distinct cultural geographies of New York, São Paulo and Warsaw, and how each artist has succeeded in expanding the boundaries - and our understanding - of classical minimalism.

    Modern sculpture’s use of industrial materials evokes a decidedly romantic notion of masculine middle class labor, one that artists like Jackson Pollock and Carl Andre used to posit themselves as the artistic “everyman.” This is why, perhaps more so than any other artistic medium, sculpture is wrought with gendered nuances and contradictions.
    Scotti Hill on Lydia Okumura, 2017

    Register via our Eventbrite page at https://bit.ly/2tSEpiL

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  • Art Basel 2018
    June 14, 2018 - June 17, 2018
    HALLE 2.0 | STAND B1

    Galerie Thaddaeus Ropac is showing Slug (1961), a work from the Combine series (1954-64), and Rumor (1980), from the Spread series (1975-83), from the Robert Rauschenberg artist estate, represented by the gallery since 2015. Combine is a term Rauschenberg coined to describe a synthesis of sculpture and painting. These works, either free-standing or hung on the wall, characteristically contain ordinary objects from everyday life and their three-dimensionality expresses a sense of invasion into the viewer's space. Although Rauschenberg never considered himself a representative of Pop Art, the integration of everyday objects into the context of high culture was undoubtedly an epoch-making act.

    "It is neither Art for Art, nor Art against Art. I am for Art, but for Art that has nothing to do with Art. Art has everything to do with life, but it has nothing to do with Art." Robert Rauschenberg

    Rauschenberg’s statement can also be applied to the Spread series, inspired by the wide expanses of the American landscape and the aesthetic of fabric coverings, these works are some of Rauschenberg's most monumental pictures.

    Painted in the revolutionary year 1968, Georg Baselitz's Ein zerrissener Hund, aufwärts [A Fractured Dog, Upwards] exemplifies his Fracture Paintings series, which heralded the artist's distinctive inversion of the motif. Here, the dog motif is carved up like a jigsaw puzzle, the pieces partly staggered. These paintings attest Baselitz's shift towards the analytical aspect of painting: his attempt to create an order for his strongly emotional, expressive painting, with the aim of finding a regulating structure. The content became of secondary importance and thus, during this period, the purely formal aspect of his art took precedence over the iconography. Reminiscent of a wigwam constructed with five fragments of legs, Baselitz’s final cast of his bronze sculpture Zero Dom (2015) is presented here. John-Paul Stonard writes of the patina chosen by Baselitz for the matt black surfaces: "They betray the light-absorbing wood from which they were originally carved; memory falls into them, rather than drama out of them." Indeed, Baselitz's black bronze sculptures have, at times, the appearance of early archaeological discoveries.

    Elizabeth Peyton also makes an appearance in the form of a small, sensitively executed portrait, typifying her unique combination of Old Master classicism and contemporary audacity. A mythical link between subject and artist is evident in this work.

    As the history of the gallery is closely and personally associated with the legendary artist figure Joseph Beuys, it was a great honour to announce the gallery’s representation of his artistic estate this last April. Here we are showing a rare sculpture entrusted to us directly from his estate: Junges Pferdchen [Young Horse] (1955/86) is a wax figure of a horse in its opened plaster cast, which Beuys had placed in a showcase shortly before his death. Horses always occupied an important part of Beuysian iconography – one might recall his legendary performance Iphigenie/Titus Andronicus, where Beuys, wrapped in a fur coat, recited to a white horse passages from Goethe and Shakespeare. This 1969 performance in Frankfurt undisputedly belongs to the crowning art-historical moments of the young German Federal Republic.


    In this year's Art Unlimited, Galerie Thaddaeus Ropac presents two projects. German Minimalist imbued artist Wolfgang Laib, on the one hand, presents an installation consisting of a wooden framework with seven simplified, inaccessible wax boat sculptures, entitled You will go somewhere else (1997/2005), inviting the viewer to meditate on the voyage to unknown earthly and spiritual destinations. On the other, Robert Longo, one of the foremost representatives of the Pictures Generation, shows his planet-like Death Star II (2017/18), a sphere consisting of 40,000 cartridge cases, hanging from the ceiling. It symbolises the increasing number of deaths by shooting in the USA over the past year. A Death Star, created in 1993, was considerably smaller. In this work, abstract, dry statistics assume a brutal, poignant form.

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  • Paris Gallery Weekend
    May 26, 2018 - May 27, 2018
    Paris Marais & Paris Pantin

    Galerie Thaddaeus Ropac is pleased to announce its participation to the 5th edition of Paris Gallery Weekend which host this year a total of 44 galleries.
    On this occasion our Paris Marais and Paris Pantin galleries will be open Saturday 26 May from 10 am to 7 pm and Sunday 27 May from 12 pm to 6 pm.


    Special events: 

    Booksigning Yan Pei-Ming, Paris Marais, 4-5pm

    Opening Patrick Neu, Paris Marais, 5-7pm

    Talk Sydney Picasso on Anselm Kiefer and iconoclasm, Paris Pantin, 3-4pm








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  • Art Cologne 2018
    April 19, 2018 - April 22, 2018
    Kölnmesse, Messeplatz 1
    Halle 11.2 | Stand A3

    We are pleased to share with you a preview of this year’s highlights, presented at our stand A3 in Halle 11.2. After visits to many studios and collections, we will show a selection of works by Miquel Barceló, Georg Baselitz, Joseph Beuys, Marc Brandenburg, Tony Cragg, VALIE EXPORT, Gilbert & George, Alex KatzImi Knoebel, Robert Longo, Robert Mapplethorpe, Irving Penn, Arnulf Rainer, Robert Rauschenberg, Daniel Richter, James Rosenquist and Erwin Wurm.

    Georg Baselitz is represented with two new paintings. One of the paintings is in dark charcoal tones; while in the other shades of white dominate. Both paintings feature an inverted male nude, shown from the trunk downwards, descending – or rather, ascending – a staircase. Here, the artist refers to Marcel Duchamp's Nude descending a Staircase, No.2 (1912) – a work which marks Duchamp's departure from painting and a new beginning within his œuvre. In these works Baselitz addresses the topic of late work and age – which can signify two things: departure and new beginning. To mark Baselitz’s 80th birthday, the Fondation Beyeler, in collaboration with the Hirshhorn Museum and Sculpture Garden in Washington D.C. is holding a comprehensive retrospective with works spanning 58 years of his oeuvre.

    In Paris, at the start of this year, we held our first exhibition on VALIE EXPORT, a pioneer of media and performance art. Curated by Caroline Bourgeois, the show Body Configurations 1972 – 1976 was the start of our collaboration with the artist, who has been represented by the gallery since October 2017. The focus was on her Body Configurationsa series of conceptual photographs in which she uses her own body to measure, divide and reconfigure urban space, to inscribe herself in it and appropriate it. "Arrangements of the body's elements are postures, revelations, or expressions of inner states",says VALIE EXPORT.

    Ginger Beard (2015) is the title of a work consisting of twelve elements by Gilbert & George, from the series THE BEARD PICTURES, created between 2015 and 2017. In these powerful, brightly-coloured images, the beard is used as a secular and religious symbol of our time: the beard as an emblem of "hip" millennials, as an expression of political religiosity or power. Mask-like and bearded, Gilbert & George stare straight ahead out of orange leaves or from behind a wire-mesh fence that covers the entire picture, inevitably evoking associations with current political events.

    The Lotte Art Museum in Seoul is currently hosting Alex Katz's first solo museum exhibition in Korea. Besides numerous portraits from Katz's œuvre, his latest series, CK and Coca-Cola, are presented institutionally for the first time. We are delighted to show a canvas from the latter series in Cologne. Two women in bathing-costumes stand back to back in front of a monochrome Coca-Cola-red canvas, looking in opposite directions in and out of the frame. The twin-like appearance of the two suggests a mirror image. In Coca-Cola Girl 12 (2018), the artist once again explores the boundary between realism and abstraction. Long before the protagonists of Pop Art, such as Andy Warhol, Katz adopted the principle of seriality, thus influencing an entire generation. There is always some reference in his works to the history of American painting, and with Coca-Cola, he sets a further point of reference to the American world of consumerism and advertising, in the development of which Coca-Cola has played a considerable role over the past 130 years.

    The earliest works on view this year are Irving Penn’s Small Trades (1950-51). Instead of showing the workers in their habitual workplace, he decided to photograph them in a studio on the rue de Vaugirard in Paris. The subjects posed with their tools in the neutral space of the studio; this lends a certain timelessness to their portraits. Later, Penn extended the series in London and New York, gradually establishing a kind of typology. Today, the Small Trades series is regarded as one of his most comprehensive series, and is currently on show in the major retrospective Irving Penn: Centennial in the famous exhibition venue for photography C/O Berlin, following the Metropolitan Museum of Art, New York and the Grand Palais, Paris.

    Robert Rauschenberg's Spindle (Urban Bourbon) (1989) is divided vertically in two parts, one white, the other red; showing different kinds of urban constructions with spindles and the concomitant wires or cables. The motifs of construction crane and windmill, also to be found in other series of Rauschenberg’s from this period, are uniquely combined here. The Urban Bourbon series (1988-1996) stands out through the intense colouration and through the specificity of their medium: they are printed on enamelled aluminium featuring expressionistic brush-strokes. Rauschenberg's works from those years are often inspired by travels he made in the course of his long-term ROCI project (Rauschenberg Overseas Culture Interchange) and his fascination with urban scenes.

    We find a similar intensity of colour in James Rosenquist's Hot Sauce (2005), in which the artist shows an everyday element, a plate of spaghetti, in front of a background motif which is at first hard to distinguish, but which on closer inspection turns out to be lava. Rosenquist's works are often puzzling, challenging the viewer to ask what specific combinations of motifs might signify. The major retrospective James Rosenquist: Painting as Immersion at the Museum Ludwig, Cologne, which focused particularly on the cultural, social and political dimensions of this pop artist's work, has just enjoyed great success.

    We hope this gives you some insight into this year's programme, and we look forward to welcoming you in Cologne. Our teams in Salzburg, London and Paris are always ready to provide further details.

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  • Feminism in Art: 1918 to 2018
    February 13, 2018 - February 13, 2018
    London ELY HOUSE

    Jennifer Higgie and Griselda Pollock will discuss the ways feminism and art have related over the last century - sold out

    13 Feb 2018
    7:00pm - 9:00pm
    Galerie Thaddaeus Ropac - Ely House
    37 Dover Street
    W1S 4NJ London

    Frieze Academy presents 'When Feminism met Art and when Art met Feminism: 1918 to 2018'.

    In the year of the centenary of the vote for women, it is timely to explore how the emancipation of women has been expressed in art. What has one hundred years of art meant for the art women have produced, as well as for the art representing women’s lives. How closely has it mirrored the politics of the last century?

    Shifting the paradigm of art history has involved much more than adding women and their history ­to existing categorisation. It has led to wholly new ways of conceptualizing what we study. It has raised the question of what is feminism within the confines of art.

    Griselda Pollock and Jennifer Higgie will discuss and aim to bridge the rupture in the mid-twentieth century between political and cultural radicalism of the suffrage and suffragette movements 1900-1918 and the intense feminist engagement with art after 1960 in order to reconsider some of the misapprehensions about feminist thought, political and aesthetic radicalism in what was termed ‘the century of women’.

    The talk will be held at Ely House, which has a long and chequered history. Built in 1776 by the leading architect Sir Robert Taylor, it has played host to everyone from clergymen to writers, poets, and suffragettes. The building was a meeting point for the avant-garde, artists and intellectuals until the American Red Cross moved in during the Second World War.


    Jennifer Higgie is the Editorial Director of frieze and the editor of Frieze Masters Magazine

    Griselda Pollock is Professor of Social and Critical Histories of Art and Director of the Centre for Cultural Analysis, Theory and History (CENTRECATH) at the University of Leeds. Committed to creating and extending an international, postcolonial, queer feminist analysis of the visual arts, visual culture and cultural theory, she is currently researching issues of trauma and the aesthetic, Aby Warburg's concept of the pathos formula, and the concept of concentrationary memory in relation to the Arendtian critique of totalitarianism. She is also writing on the cultural memory of feminism, on the image-making and creative agency of Marilyn Monroe, on Van Gogh and Memory of Place, and the theoretical writings of artist Bracha Ettinger.   Her most recent publications include After-affects I After-images: Trauma and Aesthetic Transformation (Manchester, 2013);  Art in the Time-Space of Memory and Migration (Freud Museum and Wild Pansy Press, 2013). Her most recent monograph, Charlotte Salomon: The Nameless in the Theatre of Memory (Yale, 2018) is being launched on 6 March in London.

    Image: Mary Beth Edelson, Some Living American Women Artists / Last Supper, 1972. Courtesy: Balice Hertling, LLC, New York / The SAMMLUNG VERBUND Collection, Vienna  © Mary Beth Edelson.

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    May 4, 2017 - October 14, 2017
    Sammlung Goetz
    Oberföhringer Straße 103
    D - 81925 Munich

    In contrast to radical Minimal Art, Gerwald Rockenschaub (*1952) has never distanced himself from popular culture; rather, the artist has continually sought a cross-over between art, design, media and everyday life. He freed the minimalistic concept from its rigid rules and created an individual "funky minimalistic" style. In addition to developing an independent artistic position, Rockenschaub also works as an internationally successful DJ. Art and music are a fruitful symbiosis. His early Neo-Geo style paintings have exactly the format of LP covers. In Base 103, he continues the artistic dialogue surrounding the creative freedom of minimal art pursued in the exhibition "FarbRaumKörper" using other means and as an extension into the space.


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