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carlier | gebauer

carlier | gebauer Founded in 1991 by Ulrich Gebauer and co-directed with Marie-Blanche Carlier since 1997, the gallery aims to promote international contemporary art.

Its program reveals an affinity towards aesthetic and conceptual research which indicates formulations of political awareness in the fields of installation and in the image, through film, photography, painting and drawing. Rather than following a specific theoretical theme, the gallery offers its artists a platform on which to experiment. This allows for a broad spectrum of sometimes antinomical v

Its program reveals an affinity towards aesthetic and conceptual research which indicates formulations of political awareness in the fields of installation and in the image, through film, photography, painting and drawing. Rather than following a specific theoretical theme, the gallery offers its artists a platform on which to experiment. This allows for a broad spectrum of sometimes antinomical v

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30/06/2022

ELSEWHERE: Aernout Mik's solo exhibition at , opens on Thursday, 7 July 2022.⁠

The SCHIRN is presenting Aernout Mik’s video instal­la­tion "Double Bind" (2018), as well as the work "Threshold Barriers" (2022), which was conceived specially for the exhi­bi­tion. Both works pursue the notions and dynamics of secu­rity and threat, power and power­less­ness in public space and enter into dialogue with each other at the SCHIRN.⁠

In "Double Bind" (shown here), the artist addresses the pres­ence of armed units from the national secu­rity appa­ratus. They move around the city in apparent isola­tion and without direct contact to passersby.⁠

🎥: Aernout Mik, Double Bind, 2018, 3 screen projection with sound, duration: 41.48 min on loop

21/06/2022

NEW PUBLICATION! "Ann Veronica Janssens, Michel François", published by .press⁠

Since meeting in 1985, Ann Veronica Janssens and Michel François have orbited each other, drawing close at times and growing distant at others. Ann Veronica Janssens, Michel François stages an intimate dialogue between their work, tracing the “muted liaisons and subtle tensions,” as writes Palais de Tokyo director Guillaume Désanges, which course below the surface of two remarkably distinct oeuvres. In addition to one-hundred-sixty artworks, this landmark publication gathers an extensive collection of research and personal photographs across four decades of practice.⁠

Book Launches & Signings:⁠

Palais de Tokyo⁠
Thursday, 23 June 2022, 6.30 – 8.30 pm⁠

Saint Martin Bookshop⁠
Saturday, 25 June 2022, 6pm – late⁠

Collection Lambert, Avignon⁠
Thursday, 1 July 2022, 6.30 – 8.30 pm⁠



09/06/2022

ART BASEL: We are pleased to announce our participation in from 16–19 June, Booth K8, presenting works by: ⁠

Cecilia Edefalk⁠
Luis Gordillo⁠
Asta Gröting⁠
Pakui Hardware⁠
Arturo Herrera⁠
Iman Issa⁠
Tarik Kiswanson⁠
Julie Mehretu⁠
Laure Prouvost⁠
Jessica Rankin⁠
Nida Sinnokrot⁠
Maria Taniguchi⁠

,

OPENING SOON! We are pleased to announce the group exhibition, "Looking Through the Threshold", opening Friday 29 April ...
26/04/2022

OPENING SOON! We are pleased to announce the group exhibition, "Looking Through the Threshold", opening Friday 29 April 2022, 6 – 10 pm, on the occasion of .⁠

Celebrate Gallery Weekend Berlin at our block party, together with , on Friday 29 April, 2022, 6 – 10 pm!⁠

Image: Thomas Schütte, Goldene Ringe, detail, 1981/2022, adhesive foil, dimension variable, rings 10,5 cm each.⁠
Exhibition view: Thomas Schütte Works 1975–1981, Skulpturenhalle, Neuss/Holzheim, 2022⁠
Photo © Luise Heuter⁠

01/04/2022

"What Can Today's Architecture Do for You?"⁠

On 16 March 2022 the panel discussion "What Can Today's Architecture Do for You" at the saw Pritzker prize winner () Francis Kéré (), the artist Asta Gröting () and the architecture and design critic Oliver Wainwright () discussing the social relevance of architecture and how art and architecture influence each other.⁠

Here, Asta ⁠Gröting speaks about her "Berliner Fassaden" series. The facade "Gropiusbau", 2016 is currently on view in the exhibition "Standing" at carlier | gebauer, Berlin. ⁠

Follow the link in bio to watch the full talk, available until 8 April, 2022. ⁠

31/03/2022

ON VIEW: Aernout Mik's 2002 film "Park" currently on view in the group exhibition "Standing". ⁠

"In 'Park' the classic leisure subject of Arcadian happiness is taken for a spin in a contemporary urban park, where a half-dozen cheerful dogs get involved in the action. That action consists of a couple of dozen people jumping up and down among the verdant trees (or resting from the loony play). Mik's camera jumps with them, in gentle, floating vertical rises and falls.⁠

The odd scene, shown in rear-screen projection on a free-standing wall, is uncannily captivating. Generating a queasy exhilaration, it erases the transparency of typical camera images, which rely on illusion. Mik instead makes moving pictures in which the pictures move in a wholly unexpected way". - Christopher Knight⁠

Video: Aernout Mik, Park, 2002, 1 channel video installation, loop

30 YEARS! ⁠⁠We’re continuing our journey through the last 30 years of the gallery with the 1999 and 2005 solo exhibition...
20/03/2022

30 YEARS! ⁠

We’re continuing our journey through the last 30 years of the gallery with the 1999 and 2005 solo exhibitions by Fred Tomaselli.⁠

Here, Ulrich Gebauer shares his memories about the two exhibitions:⁠

⁠”Fred Tomaselli was discovered by Marie-Blanche at Anne de Villepoix. His psychedelic collages of heterogeneous materials aligned perfectly with our understanding of a vocabulary of forms as an expression of an analysis of society and a result of a stance.

Until this day Fred Tomaselli is one of the most influential American artists.”

Images (l–r): Fred Tomaselli, Web, 1999; ⁠
Butterfly Effect, 1999; Screen Saver, 1999; Ephidriac, 1994; Exhibition view, carlier | gebauer, Berlin, 2005; Organism, 2005; Study for Millennium Phosphene Bloom, 2005; Exhibition view, carlier | gebauer, Berlin, 2005; Study for Big Hummingbird, 2004; Little Bird, 2005⁠

ELSEWHERE: "Oscar Muñoz: Invisibilia " at  is the first retrospective of Muñoz's work in the United States. ⁠⁠Since the ...
16/03/2022

ELSEWHERE: "Oscar Muñoz: Invisibilia " at is the first retrospective of Muñoz's work in the United States. ⁠

Since the late 1980s, Muñoz has sought to reinvent the medium of photography through non-traditional materials and techniques. While he doesn’t consider himself a photographer, Muñoz strives to “hacer memoria”—“make memory”—in his works by turning photographic processes inside out: “I am interested in the instant and the processes that occur so that an image can become consolidated, or not, in memory.”⁠

"Invisibilia" is on view through Sunday, June 5, 2022.⁠

Exhibition views: Oscar Muñoz: Invisibilia, Blanton Museum of Art, The University of Texas at Austin, 2022⁠

13/03/2022

SUNDAY OPEN! We are pleased to announce our participation in SUNDAY OPEN organized by presenting the group exhibition "Standing", today 13 March, 2022, from 12 to 6 pm.⁠

Directed by Friedrich Meschede and with a colour scheme by Enzo Zak Lux, the exhibition brings together a variety of artistic perspectives.⁠

30 YEARS! ⁠⁠We’re continuing our journey through the last 30 years of the gallery with the 1998 solo exhibition “C.V. C*...
11/03/2022

30 YEARS! ⁠

We’re continuing our journey through the last 30 years of the gallery with the 1998 solo exhibition “C.V. C**t Vernacular” by Tracey Emin:⁠

Here, Marie-Blanche Carlier shares her memory about the exhibition:⁠

"On a tranquil afternoon at the gallery in the Torstrasse in the 90’s, at a time where we were a two person enterprise spending most of our time there, the bell rings. It is Sunday. Tracey (Emin), Manuel Bonig and his dog are downstairs asking if they can come up. ⁠
I had written Tracey after a trip to Paris and my marvel at the discovery of Tracey’s drawings at the Galerie Philippe Rizzo. We hadn't heard back and here she was. We stayed cool, opened a bottle of wine and started to talk, cautiously not evoking the “why we”, and “how come she”, and acting as if this would be the most natural thing to do, noticing that Tracey was scanning the space already while sitting there with us and mentioning which type of works would be where and how many of them and which size... the show was decided. ⁠

It was an extra-ordinary show. Free, straightforward, not laboured, raw, emotional, generous, poetic, precise. All walls were painted pale blue and covered with her beautiful rageous, witty, desperate poetry mixed with figuration, plenty of drawings, a room that was painted entirely in a dark blue and filled with her voice confessing how it all began in the film “C.V. C**t Vernacular” (1997). A photograph of her previous performance while painting naked in the room at the Galleri Andreas Brändström in Sweden was in the third room. The gallery was permanently full of visitors. We opened with a gigantic Turkish dinner cooked at the gallery by our friend Driss to honour Tracey’s Turkish dad. Mat Collishaw, Damien Hirst, and other friends from London came.”⁠

30 YEARS!⁠⁠We’re continuing our journey through the last 30 years of the gallery with the 1998 solo exhibition “Delft Hy...
04/03/2022

30 YEARS!⁠

We’re continuing our journey through the last 30 years of the gallery with the 1998 solo exhibition “Delft Hydraulics” by Tacita Dean.⁠

Here, Tacita Dean shares some words on the work “Delft Hydraulics”:⁠

“We had to wait a year before Polish scientists with a grant from the European Community needed to use a wave machine. The Dutch no longer had a use for them and they stood to one side, ‘replaced’ by the banks of computer screens and brightly coloured graphics showing the erosion of Venice by the sea. We were sent to meet them at their most northerly outpost in De Voorst, some two hours drive from Delft itself. It was a campus on reclaimed land: huge hangars down wooded tracks and false ponds with boardwalks. At lunch time, all the employees took a constitutional walk through the grounds. We would come across them in pairs or as groups as we drove recklessly around trying to orientate ourselves. The canteen, I remember, made me sad: it was a cliché of unfulfilment and routine, with pink and brown blancmange sprinkled with hundreds and thousands.⁠

At the side of one of these hangars was the wave machine: elegant, functioning and full of rich green water. The Polish scientists, Mr Swidzinski and Mr Swieczkowski, were standing in wellingtons carefully placing a lattice of finely attached blue marbles on a sloping surface at one end of the machine."⁠

Images (l–r): (l–r) Tacita Dean, Delft Hydraulics, 1996, 16mm black and white film with optical sound, 3 minutes; Mosquito (Magnetic), 1997, magnetic track and chinagraph, 9.5 x 428 cm, The British Council; Trying to Find the Spiral Jetty, 1998, audiotape, 27 minutes⁠

What to do in the face of a war that is so close? Should we cancel an exhibition and isolate ourselves? Probably there i...
03/03/2022

What to do in the face of a war that is so close? Should we cancel an exhibition and isolate ourselves? Probably there is no right decision in this moment, but there are actions that we can do that make a small contribution to the situation. ⁠

Tomorrow, at the exhibition opening of “Standing”, we will sell our 30th anniversary tote bags and donate 100% of all proceeds to Aktionsbündnis Katastrophenhilfe. The gallery will also make a contribution towards the final donation.⁠

30 YEARS!⁠ ⁠ ⁠⁠We’re continuing our journey through the last 30 years of the gallery with the 1998 solo exhibition “The ...
25/02/2022

30 YEARS!⁠ ⁠ ⁠

We’re continuing our journey through the last 30 years of the gallery with the 1998 solo exhibition “The Architect” by Luc Tuymans. ⁠

Here, Marie-Blanche Carlier reflects on the exhibition:⁠

“This was our first show with Luc Tuymans. It took place in the Torstrasse. The gallery was located in this old private apartment in the eastern part of Berlin. The privacy and the history of the place was a trigger for the exhibition, enhancing the ambiguity of the painting evoking a deceptive warmth and intimacy.⁠

The painting titled “The Architect” depicted Albert Speer sitting in the snow during a ski getaway with his family. It was made from a photograph that Luc took from a home movie, most likely shot by Albert Speer's wife.”⁠

 

In addition to our main booth at , we are also participating in  40+1 section of ARCOmadrid 2022, curated by María Inés ...
25/02/2022

In addition to our main booth at , we are also participating in 40+1 section of ARCOmadrid 2022, curated by María Inés Rodríguez,.rubira and Francesco Stocchi, presenting a selection of works by Michel François and Iman Issa. ⁠

Visit our presentation until Sunday, 27 February 2022.⁠

Photos: ⁠

Visit us at ARCOMadrid from 23–27 February, 2022, Booth 9C10, presenting works by:⁠⁠Michel François⁠Luis Gordillo⁠Asta G...
24/02/2022

Visit us at ARCOMadrid from 23–27 February, 2022, Booth 9C10, presenting works by:⁠

Michel François⁠
Luis Gordillo⁠
Asta Gröting⁠
Pakui Hardware⁠
Richard Mosse⁠
Laure Prouvost⁠
Jessica Rankin⁠
Erik Schmidt⁠
Thomas Schütte⁠
Nida Sinnokrot⁠

: Harriet Korman is an American abstract painter based in New York City. For the works shown in the group exhibition 8/X...
21/02/2022

: Harriet Korman is an American abstract painter based in New York City. For the works shown in the group exhibition 8/###, Korman has chosen symmetrical orders for her latest cycle of paintings, in which she breaks up their regularity with painterly gestures. ⁠

"8/###" is on view through Wednesday, 23 February, 2022. ⁠

Shown here (l–r): Untitled, 2016-2018, oil on canvas,⁠
76,2 x 101,6 cm; Untitled, 2016, oil on canvas, 101,6 x 132 cm; Untitled, 2016–2018, oil on canvas, 101,6 x 132,8 cm⁠

We are pleased to be participating in the 40+1 section of ARCOmadrid 2022, curated by María Inés Rodríguez,.rubira and F...
19/02/2022

We are pleased to be participating in the 40+1 section of ARCOmadrid 2022, curated by María Inés Rodríguez,.rubira and Francesco Stocchi, presenting a selection of works by Michel François and Iman Issa. ⁠

Visit our presentation from 23–27 February 2022.⁠

Shown here (l–r): Michel François, Sculpture aveugle, 2015, aluminium, white lacquer, 21,5 x 30 x 20,5 cm; Iman Issa, Self Portrait (Self as William S. Burroughs), 2019, from the series Proxies, with a Life of Their Own, 3-d print, acrylic, epoxy, paint, metal poles, text panel under glass (12 x 7 cm)⁠

17/02/2022

ARCOMADRID: We are pleased to announce our participation in ARCOmadrid 2022, from 23–27 February, 2022, Booth 9C10, presenting works by:⁠

Michel François⁠
Luis Gordillo⁠
Asta Gröting⁠
Pakui Hardware⁠
Richard Mosse⁠
Laure Prouvost⁠
Jessica Rankin⁠
Erik Schmidt⁠
Thomas Schütte⁠
Nida Sinnokrot⁠

ELSEWHERE: ⁠"For me, I always want to be able to make something new from my sculptures in the future. I don’t like the i...
09/02/2022

ELSEWHERE: ⁠"For me, I always want to be able to make something new from my sculptures in the future. I don’t like the idea that once the sculpture is finished, it’s done, and it's here forever… Like something living, I want my sculptures to change and evolve." – Caroline Mesquita recent interview with ’s Caitlin Duerler Chávez. Read the full interview at the link in bio.⁠

._.mesquita's solo exhibition "Noctambules" is on view at the ​until 13 March 2022.⁠

Photos: .m.fleming⁠

ELSEWHERE: Laure Prouvost's work "MOOTHERR", (2021) is included in the group exhibition "MOTHER!" at Kunsthalle Mannheim...
05/02/2022

ELSEWHERE: Laure Prouvost's work "MOOTHERR", (2021) is included in the group exhibition "MOTHER!" at Kunsthalle Mannheim () until 2 June, 2022.⁠

The international exhibition “MOTHER!” shows how art has conveyed changing perceptions of motherhood from Old Masters and early avant-garde artists to the present day and concentrates on the period when the feminist revolution challenged the traditional role assigned to women. ⁠

Photo: Kunsthalle Mannheim; Elmar Witt⁠


: Over a fifty-year career, Paul Mogensen has explored painting through mathematical progressions and classical ratios i...
02/02/2022

: Over a fifty-year career, Paul Mogensen has explored painting through mathematical progressions and classical ratios in structured arrangements of squares, rectangles and lines; through an engagement with the wall and negative space; and through color straight from the tube. ⁠

In the current group exhibition "8/###", Mogensen replaces pictorial composition with simple progressions, which he counteracts through the⁠
arrangement of elements and choice of colors. ⁠

"8/###" is on view at carlier | gebauer, Berlin, through 23 February, 2022.⁠

Shown here (l–r): Paul Mogensen, Untitled, 2020, Sat green oil and carmine pink ink, 183 x 183 cm; No title, 2018, Cadmium orange oil and dilute carmine ink on canvas, 152,4 x 152,4 cm⁠

: Thomas Schütte works against the background of the figurative sculptural tradition with a repertoire of heads that he ...
27/01/2022

: Thomas Schütte works against the background of the figurative sculptural tradition with a repertoire of heads that he constantly reinterprets and transforms through their implementation into ceramics, through his choice of dimension and glaze.⁠

Thomas Schütte makes evocative, often disturbing alterations to familiar forms of expression like memorial portraiture and figurative sculpture. His work explores the human condition, offering a critical perspective on social, cultural, and political issues and visually eloquent commentary on memory, loss, and the difficulty of memorializing the past.⁠

The sculpture "Großer Frauenkopf, D", is currently on view in the group exhibition "8/###" through 23 February, 2022. ⁠

Photos: ⁠

: Laure Prouvost’s “In your own time, tingalong, tingalong, Who’s been here since I’ve been gone?" is a sculptural body ...
26/01/2022

: Laure Prouvost’s “In your own time, tingalong, tingalong, Who’s been here since I’ve been gone?" is a sculptural body that turns with the wind atop a monumental tower behind Brussels-South station for the 2021 edition of . ⁠

Prouvost’s copper weathervane oversees an illuminated sign suggesting that you too can let yourself be carried away by the elements and be more in tune with the directions they are guiding you towards. ⁠

Trains directly altered our experience of time by introducing synchronised clocks in the stations, which replaced the different local times. Considering the parallel histories of the Industrial Revolution and women’s emancipation movements in the nineteenth century, Prouvost wonders how one can substitute the forces of control that regulate the way we move in the world with softer, more intimate and unpredictable currents. Floating among the clouds, her visionary oracle is a harbinger of a world that privileges multiple viewpoints.⁠

Photo: GRAYSC⁠

   

: Richard Mosse is included in the group exhibition "TI ZERO" at ⁠. , through 27 February, 2022. ⁠⁠The research of the a...
24/01/2022

: Richard Mosse is included in the group exhibition "TI ZERO" at ⁠. , through 27 February, 2022. ⁠

The research of the artists involved in "T Zero" is configured as a venue for debate, for discarding or overturning the themes and paradigms of our contemporary world: profiling and automation, the frontiers of medical genetics, global warming, ecological reconversion, forecasting models and spillover. ⁠

Through direct collaboration with scientists and research institutes, and making the best possible use of the sweeping opportunities offered by technology, these artists transcend the current moment of applied research and using the imaginative strength proper to the work of art they configure unique and occasionally dystopic visions of the potential future.⁠

Shown here: Richard Mosse⁠, Parasa indetermina with Aretaon asperrimus, 2019; Organ, 2019, both from the series "Ultra"⁠

30 YEARS!⁠⁠This week we’re continuing our journey through the last 30 years of the gallery with the 1997 solo exhibition...
21/01/2022

30 YEARS!⁠

This week we’re continuing our journey through the last 30 years of the gallery with the 1997 solo exhibition and photo series "Berlinbilder" by Jean-Luc Moulène.⁠

Here, Marie-Blanche Carlier shares her thoughts about the work (German text in comments) : ⁠

"I met Jean-Luc in 1996, when he was a DAAD scholarship holder in Berlin for a year. The gallery was still called Galerie Gebauer then. I worked freely on various art projects, one was the production of a supplement with Jean-Luc's paintings for a daily newspaper, together with Ulrike Kremeier. The supplement appeared in the .die_tageszeitung on 20th December, 1996. ⁠

Shortly thereafter in 1997, documenta X by Catherine David published one of Jean-Luc’s color photographs for the first time after the taz supplement, in the , without a title or context, as an enigmatic image out of format that was later posted on public billboards, acting like large advertisements, in the city of Kassel. later he produced an image book in the form of a telephone directory consisting only of pictures of the Excideuil community. ⁠

Jean-Luc intended to address the community with his photo works, through their format but also through the unclassifiable subjectivity of their subject matter. ⁠

“Berlinbilder” was his first gallery exhibition shortly after the DAAD stay. The city was in a state of transition. Visually – construction sites everywhere, content-wise – projection surfaces for all types of visions for the future. This series of photographs distanced itself from both clichés and shows instead the permanent, the foundation, that what is always there has not changed until today. There are many street floors that you walk on, they are restrained images, the city of Berlin is a hard place which does not reveal itself to you quickly, they show something of a mood without saying much, a tristesse in transition.⁠

Jean-Luc spoke of this series of photographs as 'tableaux'. Their heavy dark frames intentionally gave them an object-like presence, like building blocks of a construction of the subjectively perceived reality of Berlin's public spaces."

: Since the early 1990s, Brooklyn-based artist Rachel Harrison has developed a visual language at once citational and ab...
19/01/2022

: Since the early 1990s, Brooklyn-based artist Rachel Harrison has developed a visual language at once citational and abstract, built up of three-dimensional shapes that tempt recognition but exist, in the artist’s words, as “forms that can’t be described.” ⁠

Form-conscious and rigorous in her engagement with sculpture, Harrison stretches its formal framework by choosing heterogeneous materials that reflect the work and their ostensibly improvisational treatment.⁠

Rachel Harrison's, "Open Mic", 2015, is currently on view in the group exhibition "8/###" through 23 February 2022. ⁠

:⁠ Pakui Hardware's work "Underbelly" is currently on view in the group exhibition “The Modern Exorcist” at Taipei Fine ...
18/01/2022

:⁠ Pakui Hardware's work "Underbelly" is currently on view in the group exhibition “The Modern Exorcist” at Taipei Fine Arts Museum.⁠

The exhibition as a whole is founded on the underlying idea of techno-animism, evoking the constantly escalating influence of the central premises of posthumanism, including technologically generated “Second Life” entities, virtual bodies, networks of informationized economic systems generated by high-speed algorithms, and the chain of connections joining people to objects and other species, thus producing an illusion of multiple perceptions. ⁠

“The Modern Exorcist” is on view at the through 6 March, 2022.⁠

: Luis Gordillo established himself as a pioneer of artistic experimentation with his unique use of figuration and color...
17/01/2022

: Luis Gordillo established himself as a pioneer of artistic experimentation with his unique use of figuration and color. He has a deep interest in psychoanalysis and is constantly looking for new ways of expression, utilizing photography and other image reproduction methods alongside traditional painterly techniques. Over his fifty-year career Luis Gordillo has risen to become one of Spain’s most prolific painters and one of the leading figures of abstract art in the country.⁠

In the current group exhibition "8/###", Gordillo’s painting revolves around the figure, which he takes from a wide variety of sources and breaks up and deepens in a complex program of reflections, doublings, and displacements.⁠

These works are currently on view in the group exhibition 8/### until 23 February, 2022.⁠

Photos: ⁠

30 YEARS! ⁠⁠This week we’re continuing our journey through the last 30 years of the gallery with the 1997 solo exhibitio...
14/01/2022

30 YEARS! ⁠

This week we’re continuing our journey through the last 30 years of the gallery with the 1997 solo exhibition by Hans Hemmert, "Jugend ohne Gummistiefel / Youth Without Wellingtons”.⁠

Here, Hans Hemmert shares his thoughts on the exhibition:⁠

“The hat idea was a hybrid between an ordinary plastic construction helmet and the elegant, high Stetson cowboy hat of Eric "Hoss" Cartwright from the TV western series BONANZA of the 1960/70s. It was for me, on one hand, an open image on the building boom of Berlin, and on the other hand, the Bonanza mood of the then soon-to-be bursting Internet bubble of the late 90s. ⁠

Young, smart startup people in Berlin Mitte drive home in a Porsche and met this "strange" group of vernissage guests in front of the gallery door in Torstrasse.⁠


Die Hut-Idee war ein Hybrid zwischen einem ordinären plastik-Bauhelm und dem eleganten, hohen Stetson Cowboyhut von Eric „Hoss" Cartwright der TV-Westernserie BONANZA der 60/70iger Jahre. Es war für mich ein offenes Bild für einerseits den Bauboom Berlins und andererseits die damaligen Bonanza-Stimmung der kurz darauf platzenden Internetblase der ausgehenden 90iger Jahre.⁠

Junge, smarte Startupper in Berlin Mitte fahren im Porsche nachhaus und begegnen in der Torstrasse dieser „fremdartigen" Gruppe von Vernissage-gäste vor der Galerietür."⁠

Images: Jugend ohne Gummistiefel, 1997, 100 hard PVC helmets. Exhibition view: Galerie Gebauer Berlin ⁠

:⁠⁠“…From the research on the body, I came to the soul.⁠It is a conversation about physical intimacy. Deborah Levy calle...
06/01/2022

:⁠

“…From the research on the body, I came to the soul.⁠
It is a conversation about physical intimacy. Deborah Levy called it a “sculptural autopsy… I want to give things a name. How does the space between people look like with all the hidden parts, how could feelings look like, or how do the undersides of vehicles look like. My materials try to present all these things which connect people and they question what a community could look like.” – ⁠

Asta Gröting in conversation with Nicolas Vamvouklis () for Features #3 — January 2022 of . ⁠

Read the full interview in English and Italian at the link in bio!⁠

Portrait: Angelika Platen⁠

: ⁠⁠Thomas Schütte's solo exhibition at the  comprises around 30 sculptures and numerous works on paper—including some f...
05/01/2022

: ⁠

Thomas Schütte's solo exhibition at the comprises around 30 sculptures and numerous works on paper—including some from 2021. Also included is a selection of conceptual-architectural models with which the artist has been addressing the modernism’s revolutionary spatial principles for many years. ⁠

Whether organic-figurative or space-creating and abstract, Thomas Schütte’s oeuvre can be read as a summons to recognise the complexity of cultural-historical dynamics, discourses and modes of representation.⁠

On view through 20 February 2022. ⁠

Photo: Roman März⁠

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OPENING SOON! We are pleased to announce the group exhibition, "Looking Through the Threshold", opening Friday 29 April 2022, 6 – 10 pm, on the occasion of .⁠

Celebrate Gallery Weekend Berlin at our block party, together with , on Friday 29 April, 2022, 6 – 10 pm!⁠

Image: Thomas Schütte, Goldene Ringe, detail, 1981/2022, adhesive foil, dimension variable, rings 10,5 cm each.⁠
Exhibition view: Thomas Schütte Works 1975–1981, Skulpturenhalle, Neuss/Holzheim, 2022⁠
Photo © Luise Heuter⁠
"What Can Today's Architecture Do for You?"⁠

On 16 March 2022 the panel discussion "What Can Today's Architecture Do for You" at the saw Pritzker prize winner () Francis Kéré (), the artist Asta Gröting () and the architecture and design critic Oliver Wainwright () discussing the social relevance of architecture and how art and architecture influence each other.⁠

Here, Asta ⁠Gröting speaks about her "Berliner Fassaden" series. The facade "Gropiusbau", 2016 is currently on view in the exhibition "Standing" at carlier | gebauer, Berlin. ⁠

Follow the link in bio to watch the full talk, available until 8 April, 2022. ⁠

ON VIEW: Aernout Mik's 2002 film "Park" currently on view in the group exhibition "Standing". ⁠

"In 'Park' the classic leisure subject of Arcadian happiness is taken for a spin in a contemporary urban park, where a half-dozen cheerful dogs get involved in the action. That action consists of a couple of dozen people jumping up and down among the verdant trees (or resting from the loony play). Mik's camera jumps with them, in gentle, floating vertical rises and falls.⁠

The odd scene, shown in rear-screen projection on a free-standing wall, is uncannily captivating. Generating a queasy exhilaration, it erases the transparency of typical camera images, which rely on illusion. Mik instead makes moving pictures in which the pictures move in a wholly unexpected way". - Christopher Knight⁠

Video: Aernout Mik, Park, 2002, 1 channel video installation, loop
30 YEARS! ⁠

We’re continuing our journey through the last 30 years of the gallery with the 1999 and 2005 solo exhibitions by Fred Tomaselli.⁠

Here, Ulrich Gebauer shares his memories about the two exhibitions:⁠

⁠”Fred Tomaselli was discovered by Marie-Blanche at Anne de Villepoix. His psychedelic collages of heterogeneous materials aligned perfectly with our understanding of a vocabulary of forms as an expression of an analysis of society and a result of a stance.

Until this day Fred Tomaselli is one of the most influential American artists.”

Images (l–r): Fred Tomaselli, Web, 1999; ⁠
Butterfly Effect, 1999; Screen Saver, 1999; Ephidriac, 1994; Exhibition view, carlier | gebauer, Berlin, 2005; Organism, 2005; Study for Millennium Phosphene Bloom, 2005; Exhibition view, carlier | gebauer, Berlin, 2005; Study for Big Hummingbird, 2004; Little Bird, 2005⁠

ELSEWHERE: "Oscar Muñoz: Invisibilia " at is the first retrospective of Muñoz's work in the United States. ⁠

Since the late 1980s, Muñoz has sought to reinvent the medium of photography through non-traditional materials and techniques. While he doesn’t consider himself a photographer, Muñoz strives to “hacer memoria”—“make memory”—in his works by turning photographic processes inside out: “I am interested in the instant and the processes that occur so that an image can become consolidated, or not, in memory.”⁠

"Invisibilia" is on view through Sunday, June 5, 2022.⁠

Exhibition views: Oscar Muñoz: Invisibilia, Blanton Museum of Art, The University of Texas at Austin, 2022⁠

SUNDAY OPEN! We are pleased to announce our participation in SUNDAY OPEN organized by presenting the group exhibition "Standing", today 13 March, 2022, from 12 to 6 pm.⁠

Directed by Friedrich Meschede and with a colour scheme by Enzo Zak Lux, the exhibition brings together a variety of artistic perspectives.⁠

30 YEARS! ⁠

We’re continuing our journey through the last 30 years of the gallery with the 1998 solo exhibition “C.V. C**t Vernacular” by Tracey Emin:⁠

Here, Marie-Blanche Carlier shares her memory about the exhibition:⁠

"On a tranquil afternoon at the gallery in the Torstrasse in the 90’s, at a time where we were a two person enterprise spending most of our time there, the bell rings. It is Sunday. Tracey (Emin), Manuel Bonig and his dog are downstairs asking if they can come up. ⁠
I had written Tracey after a trip to Paris and my marvel at the discovery of Tracey’s drawings at the Galerie Philippe Rizzo. We hadn't heard back and here she was. We stayed cool, opened a bottle of wine and started to talk, cautiously not evoking the “why we”, and “how come she”, and acting as if this would be the most natural thing to do, noticing that Tracey was scanning the space already while sitting there with us and mentioning which type of works would be where and how many of them and which size... the show was decided. ⁠

It was an extra-ordinary show. Free, straightforward, not laboured, raw, emotional, generous, poetic, precise. All walls were painted pale blue and covered with her beautiful rageous, witty, desperate poetry mixed with figuration, plenty of drawings, a room that was painted entirely in a dark blue and filled with her voice confessing how it all began in the film “C.V. C**t Vernacular” (1997). A photograph of her previous performance while painting naked in the room at the Galleri Andreas Brändström in Sweden was in the third room. The gallery was permanently full of visitors. We opened with a gigantic Turkish dinner cooked at the gallery by our friend Driss to honour Tracey’s Turkish dad. Mat Collishaw, Damien Hirst, and other friends from London came.”⁠

30 YEARS!⁠

We’re continuing our journey through the last 30 years of the gallery with the 1998 solo exhibition “Delft Hydraulics” by Tacita Dean.⁠

Here, Tacita Dean shares some words on the work “Delft Hydraulics”:⁠

“We had to wait a year before Polish scientists with a grant from the European Community needed to use a wave machine. The Dutch no longer had a use for them and they stood to one side, ‘replaced’ by the banks of computer screens and brightly coloured graphics showing the erosion of Venice by the sea. We were sent to meet them at their most northerly outpost in De Voorst, some two hours drive from Delft itself. It was a campus on reclaimed land: huge hangars down wooded tracks and false ponds with boardwalks. At lunch time, all the employees took a constitutional walk through the grounds. We would come across them in pairs or as groups as we drove recklessly around trying to orientate ourselves. The canteen, I remember, made me sad: it was a cliché of unfulfilment and routine, with pink and brown blancmange sprinkled with hundreds and thousands.⁠

At the side of one of these hangars was the wave machine: elegant, functioning and full of rich green water. The Polish scientists, Mr Swidzinski and Mr Swieczkowski, were standing in wellingtons carefully placing a lattice of finely attached blue marbles on a sloping surface at one end of the machine."⁠

Images (l–r): (l–r) Tacita Dean, Delft Hydraulics, 1996, 16mm black and white film with optical sound, 3 minutes; Mosquito (Magnetic), 1997, magnetic track and chinagraph, 9.5 x 428 cm, The British Council; Trying to Find the Spiral Jetty, 1998, audiotape, 27 minutes⁠

What to do in the face of a war that is so close? Should we cancel an exhibition and isolate ourselves? Probably there is no right decision in this moment, but there are actions that we can do that make a small contribution to the situation. ⁠

Tomorrow, at the exhibition opening of “Standing”, we will sell our 30th anniversary tote bags and donate 100% of all proceeds to Aktionsbündnis Katastrophenhilfe. The gallery will also make a contribution towards the final donation.⁠

30 YEARS!⁠ ⁠ ⁠

We’re continuing our journey through the last 30 years of the gallery with the 1998 solo exhibition “The Architect” by Luc Tuymans. ⁠

Here, Marie-Blanche Carlier reflects on the exhibition:⁠

“This was our first show with Luc Tuymans. It took place in the Torstrasse. The gallery was located in this old private apartment in the eastern part of Berlin. The privacy and the history of the place was a trigger for the exhibition, enhancing the ambiguity of the painting evoking a deceptive warmth and intimacy.⁠

The painting titled “The Architect” depicted Albert Speer sitting in the snow during a ski getaway with his family. It was made from a photograph that Luc took from a home movie, most likely shot by Albert Speer's wife.”⁠

 
In addition to our main booth at , we are also participating in 40+1 section of ARCOmadrid 2022, curated by María Inés Rodríguez,.rubira and Francesco Stocchi, presenting a selection of works by Michel François and Iman Issa. ⁠

Visit our presentation until Sunday, 27 February 2022.⁠

Photos: ⁠

Visit us at ARCOMadrid from 23–27 February, 2022, Booth 9C10, presenting works by:⁠

Michel François⁠
Luis Gordillo⁠
Asta Gröting⁠
Pakui Hardware⁠
Richard Mosse⁠
Laure Prouvost⁠
Jessica Rankin⁠
Erik Schmidt⁠
Thomas Schütte⁠
Nida Sinnokrot⁠

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