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Galerie Thomas Schulte

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Deutschland
Berlin
Galerie Thomas Schulte

Berlin-based gallery founded in 1991

Locations:
Charlottenstraße 24, Berlin, Germany
Potsdamerstraße 81B, Berlin, Germany It changed its name in November 2000.

Galerie Thomas Schulte was established in 1991 as Galerie Franck + Schulte. It was the first major newcomer to the reawakening art scene of the reunited German capital and received high critical acclaim from its very start. The program of represented artists centers around conceptual art and focuses on the contemporary scene since 1960. Among the best known positions of the gallery are: Alice Ayco

ck, Richard Deacon, Alfredo Jaar, Jonathan Lasker, Iñigo Manglano-Ovalle, Robert Mapplethorpe, Fabian Marcaccio, Gordon Matta-Clark, Allan McCollum, Katharina Sieverding, Juan Uslé, Stephen Willats, and Robert Wilson. Younger positions include Idris Khan, Bernhard Martin, Michael Müller, Peter Rogiers, Iris Schomaker and Leunora Salihu. Aside from its current program, the gallery has over the years dedicated one or more solo exhibition to numerous artists including the positions of Bas Jan Ader, Dieter Appelt, Richard Artschwager, Alighiero e Boetti, Chuck Close, Helmut Federle, Michael Heizer, Johannes Kahrs, Joseph Kosuth, Jannis Kounellis, Sol LeWitt, Mark Lombardi, Roxy Paine, Pipilotti Rist, Robert Smithson, and Pat Steir. Since its foundation Galerie Thomas Schulte has regularly participated in major international art fairs including Art Basel, Art Basel Miami Beach, ARCOmadrid and Armory Show New York.

18/06/2026

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JOSÉ MONTEALEGRE⁣⁣
Vivero Enredado (Chimera)⁣⁣
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Art Basel Parcours, Churchyard near Claraplatz, Basel, Switzerland⁣⁣
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18 to 21 June 2026⁣⁣⁣
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"Vivero Enredado" (Entangled Greenhouse) consists of a greenhouse populated by copper, bronze, and tin sculptures modeled on 16th-century botanical drawings from Nova Plantarum Animalium et Mineralium Mexicanorum Historia (1628). Originally commissioned by the Spanish crown to catalogue the resources of the Americas and assess their economic value, the study relied heavily on the knowledge of local physicians and three Náhua painters. Despite its significance, the project was ultimately dismissed by the Spanish king as overly complex. By revisiting this source material, Montealegre draws attention to histories of appropriation and knowledge extraction. His metallic plants gradually oxidize over time, appearing as spectral descendants of their historical counterparts—neither fully alive nor entirely inert. Calendars positioned outside the greenhouse suggest an alternative temporality, while the artificial climate within creates subtle ambiguities: real water condenses on artificial glass, and distinctions between living and dead, authentic and fictional, begin to dissolve. The work creates a space where colonial archives, speculative futures, and ecological memory converge. In doing so, it reflects on the history and politics of scientific representation and their continuing impact on the present.⁣
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Work: ⁣⁣⁣
José Montealegre⁣⁣
Vivero Enredado (Chimera), 2021-2026⁣⁣
Aluminium, polycarbonate, glass, cooper, cast bronze,⁣⁣
Dimensions variable⁣⁣
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Installation view at Parcours, photo by .de⁣
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17/06/2026

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ART BASEL⁠⁣⁣⁣⁣
Booth C03 ⁣⁣⁣⁣⁣⁣⁣
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In his painting "Meddle", 2025, Walsh continues his process-oriented approach to generating images that are reduced in vocabulary yet layered in intricate systems. Initially appearing as smooth, minimalist patterns of discrete units, they gradually reveal disruptions, irregularities, and gentle traces.⁣
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These compositions are structured around geometric, grid-like rows and columns, where the images’ cells soften at the edges, becoming fluid and, at times, taking the form of pods or capsules. Accumulations of time, paint, and form produce continuous shifts: from vibrant juxtapositions of color and alternations of black and white that recall classical optical illusions, to faint changes in contrast and nuanced gradients. In this square, medium-scale canvas, seriality and its subtle variations playfully unfold, as the image envelops us in its visual world—seemingly constructing its own internal logic only to subvert it.⁣
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Work: ⁣⁣
Dan Walsh⁣
Meddle, 2025⁣
Acrylic on canvas⁣
140 x 140 cm⁣
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16/06/2026

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ART BASEL⁠⁣⁣⁣
Booth C03 ⁣⁣⁣⁣⁣⁣
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The nucleus of each of Adams’ luscious canvases revolves around an amalgamation of soft-edged geometric forms and bordering lines. At the forefront, though, of these vertically orientated compositions, is color. Densely saturated and replete with tonality, the artist’s palette appears both boundless and carefully contained.⁣
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Every painting begins with a charcoal drawing, through which Adams establishes spatial balance and a sense of immediacy that carries into her use of color. Built up in translucent, linear layers, her brushwork generates a steady, continuous rhythm, activating the surface without excess.⁣
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“I strive to create a literal vibration”, Adams says, “something that is energetically alive, that will lift us up.” Her tessellating, primarily triangular forms structure the composition while allowing for subtle shifts and variations. Spring Song (2026) exemplifies this approach: a cluster of diamond shapes anchors the central axis, forming part of a recurring compositional framework in Adams’ oeuvre. These interlocking shapes are not abstracted from figuration but emerge from her sustained engagement with pattern as a universal language. As Adams notes, pattern “offers common ground,” appearing across cultures and histories, and pointing toward shared visual rhythms that transcend boundaries. ⁣⁣
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Work: ⁣
Marina Adams⁣
Spring Song, 2026 (detail and installation view)⁣
Acrylic on linen⁣
102 x 89 cm⁣
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16/06/2026

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ART BASEL⁠⁣⁣
Hall 2.0 | Booth C03⁠⁣⁣
18 – 21 June 2026⁠⁣⁣
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Galerie Thomas Schulte is delighted to return to Art Basel 2026 for our 36th consecutive year of participation. We invite you to take a first look at the works we are presenting at the 2026 edition of the fair, featuring Marina Adams, Angela de la Cruz, Richard Deacon, David Hartt, Lena Henke, Rebecca Horn, Julian Irlinger, Alfredo Jaar, Cosima zu Knyphausen, Jonathan Lasker, Maria Loboda, Robert Mapplethorpe, Allan McCollum, José Montealegre, Albrecht Schnider, Katharina Sieverding, Juan Uslé and Jonas Weichsel. ⁣
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Image Top: Galerie Thomas Schulte Booth at Art Basel 2026, photo by .de⁣
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15/06/2026

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ART BASEL⁠⁣
Hall 2.0 | Booth C03⁠⁣
18 – 21 June 2026⁠⁣
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We are delighted to be participating in Art Basel 2026. Our presenation features works by Marina Adams, Angela de la Cruz, Richard Deacon, David Hartt, Lena Henke, Rebecca Horn, Julian Irlinger, Alfredo Jaar, Cosima zu Knyphausen, Jonathan Lasker, Maria Loboda, Robert Mapplethorpe, Allan McCollum, José Montealegre, Albrecht Schnider, Katharina Sieverding, Juan Uslé, and Jonas Weichsel.⁠⁣
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We invite you to discover a selection of new and historical works presented at this year's fair.⁠⁣ Follow the link in our bio for the preview.⁣
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Artist's works in order of appearance: Angela de la Cruz, Albrecht Schnider, Dan Walsh, Allan Mccollum, Marina Adams, Maria Loboda, Lena Henke, David Hartt, Rebecca Horn.⁠⁣
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15/06/2026

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ART BASEL⁣
Booth C03 ⁣⁣⁣⁣⁣
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One of the work presented at our booth will be Rebecca Horn’s "Im Inneren des Muschelgehäuses gefangen". It belongs to the group of kinetic sculptures in which, since the early 1990s, shells and snails have taken on central roles in quiet yet powerful choreographies. As in her Austern Piano works, Horn combines organic found objects with mechanics, sound, and movement, creating a tension-filled interplay between natural form and technical choreography.⁣
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The 2020 sculpture is made of seashells, a motor, electronic components, brass, and steel. Two enlarged shells face each other on slender rods, almost like two beings engaged in a cautious conversation. Their smooth, pale surfaces evoke the sea, while the metallic elements and exposed technology simultaneously place them within a constructed, artificial realm.⁣
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One of the shells remains open and motionless, while the other moves slowly and rhythmically toward its counterpart. Again and again, it seeks proximity. Yet the crucial moment never arrives: a minimal distance prevents the tips of the two forms from touching.⁣
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To see a presentation of the works follow the link in our bio.⁣⁣⁣⁣
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Work: ⁣⁣⁣⁣⁣
Rebecca Horn⁣
Im Inneren des Muschelgehäuses gefangen, 2020⁣
Shells, motor, electronic device, brass, steel⁣
25 x 75 x 46 cm⁣
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13/06/2026

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FINAL WEEK⁣
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JOSÉ MONTEALEGRE⁣⁣⁣⁣⁣⁣⁣
Drastic Measures⁣⁣⁣⁣⁣⁣⁣
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Potsdamer Strasse⁣
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WALID RAAD⁣⁣⁣⁣⁣⁣
Like a rubber rung on a ladder⁣⁣⁣⁣⁣⁣
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JONATHAN LASKER⁣⁣⁣⁣⁣⁣
Double Play⁣⁣⁣⁣⁣⁣
Works from the 80s⁣⁣
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Charlottenstrasse⁣⁣⁣⁣⁣
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Don't miss the chance to visit our current exhibitions, which are all ending on Saturday 20 June. ⁣
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Works: ⁣
José Montealegre⁣
Morning Star, 2026⁣
Globe, crucifixion nails, chain, hammer grip⁣
23 x 70 x 20 cm⁣
Plinth: 30 x 70 x 30 cm ⁣
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Jonathan Lasker⁣
Cultural Promiscuity, 1986⁣
Oil on canvas⁣
193 x 254 cm⁣
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Walid Raad⁣
Festival of (In)Gratitude, 2026⁣
Mixed media installation⁣
Dimensions variable⁣
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All images: installation views at Galerie Thomas Schulte, 2026, photo by .de⁣
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11/06/2026

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⁣⁣JONATHAN LASKER⁣⁣⁣⁣⁣⁣
Double Play⁣⁣⁣⁣⁣⁣
⁣Works from the 80s⁣⁣
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Charlottenstrasse⁣⁣⁣⁣⁣
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Final Days
Until 20 June 2026⁣
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The early works featured here are rooted in a period in which Lasker’s self-reflexive, conceptual approach to painting began to coalesce. It was during the mid ‘80s that Lasker developed his ongoing working method of composing detailed painted oil studies, which are then transformed and scaled to the dimensions and medium of large paintings. More than a duplication of a single image, this deliberate process brings two into coexistence, each carrying marks of distinct origin — from the expressively intuitive to the precisely controlled. As the artist has described: “a mark in two speeds”.⁣
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Work: ⁣⁣⁣
Jonathan Lasker⁣
Romance With Modulation, 1986⁣
Oil on canvas⁣
137.2 x 182.9 x 3.18 cm⁣
54 x 72 x 1 1/4 in⁣
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10/06/2026

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⁣⁣JOSÉ MONTEALEGRE⁣⁣⁣⁣⁣⁣
Drastic Measures⁣⁣⁣⁣⁣⁣
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Potsdamer Strasse⁣⁣⁣⁣⁣
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Until 20 June 2026⁣
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The plant sculptures are based on illustrations from the book "Nova Plantarum Animalium et Mineralium Mexicanorum Historiae", which was published in the 16th century: a taxonomy of plants in the “New World” for the purpose of relaying them back to Europe. For the book, Spanish naturalist Francisco Hernández de Toledo traveled through central Mexico and compiled more than 3000 specimens, commissioning illustrations from indigenous artists. His descriptions combined comparisons to “Old World” plants in Latin with names and classifications in indigenous languages like Nahuatl.⁣
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The artist describes his path through "Nova Plantarum" as a sort of circular narrative in its own right, with the book’s contents always seeming to refer back to itself —establishing its own frame of reference. The titles of Montealegre’s sculptures even refer to the page numbers where the specific plants are found in the book, rather than to the names of the plants or scientific categories. In his sculptural translations, these pages open up a space, in which the plants are able to take on new life. Rescaled and freed from their two-dimensional frames, their delicate appearance is countered by their material durability – unfolding a book as sculpture.⁣
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Work: ⁣⁣⁣
José Montealegre⁣
Clippered in the wrong season (página 00/3), 2026⁣
Wood, copper, tin, jewelry setting, oil paint⁣
44 x 14 x 12 cm⁣
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10/06/2026

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JONAS WEICHSEL⁣⁣⁣⁣
IMAGE AS SYSTEM⁣⁣ - Artist Talk⁣⁣⁣⁣
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Today⁣⁣
10 June 2026, 3 pm
HFBK Hamburg, Germany⁣⁣⁣⁣, Room 106, Finkenau 42 (Filmhaus)⁣⁣⁣⁣
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As part of his workshop IMAGE AS SYSTEM, Jonas Weichsel discusses key issues in his painting practice.⁣⁣
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Drawing on selected groups of works, the artist offers insight into his working methods and the development of his visual systems. The focus is on repetition, structure, perception, and the relationship between digital and analog image-making processes.⁣⁣
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Through his works, Weichsel explores how images are organized through minimal shifts, serial processes, and structural decisions, and how perception changes within these processes.⁣⁣
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The lecture views painting as a form of image production that responds to contemporary visual conditions and addresses questions of materiality, reproduction, and image stability.⁣⁣
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Jonas Weichsel lives and works in Frankfurt am Main. His works have been exhibited at venues including the Kunstmuseum Bonn, MMK Frankfurt, Josef Albers Museum Bottrop, and Oldenburger Kunstverein. ⁣⁣
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Work:⁣⁣⁣⁣
Jonas Weichsel
Conceptual, 2026
Pigment print and acrylic on canvas
160 x 116 x 4 cm
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Portrait:⁣⁣
Jonas Weichsel, 2026⁣⁣
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Adresse

Charlottenstraße 24
Berlin
10117

Öffnungszeiten

Dienstag	12:00 - 18:00
Mittwoch	12:00 - 18:00
Donnerstag	12:00 - 18:00
Freitag	12:00 - 18:00
Samstag	12:00 - 18:00

Telefon

+493020608990

Webseite

http://www.galeriethomasschulte.com/

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