Gallery for contemporary art
Berlin | Paris | Seoul 서울 Esther Schipper founded the gallery in 1989 in Cologne. In 1997 the gallery relocated to Berlin.
Through more than three decades of continuous exhibition practice, the gallery has established itself as a major force not only in Germany but in an international context, with offices in Paris and Seoul and representatives in France, Spain, the United States, Latin America, South Korea, Taiwan and China. The gallery holds up to ten gallery exhibitions as well as multiple off-site projects each ye
Through more than three decades of continuous exhibition practice, the gallery has established itself as a major force not only in Germany but in an international context, with offices in Paris and Seoul and representatives in France, Spain, the United States, Latin America, South Korea, Taiwan and China. The gallery holds up to ten gallery exhibitions as well as multiple off-site projects each ye
Wie gewohnt öffnen
https://www.youtube.com/watch?v=IRdG-YuF0F4
EXOTOURISME
HOLORAMA 5
INTERPRETED, PRODUCED
& MIXED BY JULIEN PEREZ
A FILM BY DOMINIQUE GONZALEZ-FOERSTER
& VIRTUAL LIGHTNING BOX
PRODUCED BY VEGA FOUNDATION
2022
EXOTOURISMEHOLORAMA 5INTERPRETED, PRODUCED & MIXED BY JULIEN PEREZA FILM BY DOMINIQUE GONZALEZ-FOERSTER& VIRTUAL LIGHTNING BOXPRODUCED BY VEGA FOUNDATION2022
Timeline photos
Inside The Petit Palais Paris: An Encounter With Ugo Rondinone’s Meditation On Nature https://ift.tt/9BsZDrt
Berlin | Join us today, 5-8pm for 's exhibition Panoramism and the Abstract Sector, the artist's tenth solo exhibition with the gallery.
On view is a captivating environment that includes a 30-meter long 180°-degree curved panorama, especially conceived for the exhibition, which draws on the history of Berlin in the 20th century. Its imagery spills over onto a custom-printed carpet with printed pillow books.
Panoramism and the Abstract Sector continues the artist’s creation of an artistic, emotional and intellectual genealogy, begun at the in 2021 and at the this past summer.
Concurrently to Panoramism and the Abstract Sector, Esther Schipper presents and Gonzalez-Foerster’s project Une Valise Transféministe, first presented at the , Paris in 2019.
Une Valise Transféministe is an ensemble composed of different suitcases, books and a film.
The film gathers photographic excerpts of feminist, le***an, q***r, anarcho-libertarian, and trans texts. A visual representation of shared reading, the film poses (and seeks to give one possible answer to) the question of how text and books can be exhibited. All the texts depicted in the film recur as physical books in the three suitcases. The three used suitcases are filled with sets of books from different eras and represent history, development and legacy of feminist and transfeminist thought.
Link in bio for more on each exhibition.
Exhibition view: Dominique Gonzalez-Foerster, Panoramism and the Abstract Sector, Esther Schipper, Berlin, 2022. © VG Bild-Kunst, Bonn 2022. Photo ©
Berlin | Join us Friday October 28, 5-8pm for 's exhibition Panoramism and the Abstract Sector, the artist's tenth solo exhibition with the gallery.
On view will be a captivating environment that includes a 30-meters long 180°-degree curved panorama, especially conceived for the exhibition, which draws on the history of Berlin in the 20th century. Its imagery spills over onto a custom-printed carpet with printed pillow books.
Panoramism and the Abstract Sector continues the artist’s creation of an artistic, emotional and intellectual genealogy, begun at the in 2021 and at the this past summer.
Concurrently to Panoramism and the Abstract Sector, Esther Schipper presents and Gonzalez-Foerster’s project Une Valise Transféministe, first presented at the , Paris in 2019.
Une Valise Transféministe is an ensemble composed of different suitcases, books and a film.
The film gathers photographic excerpts of feminist, le***an, q***r, anarcho-libertarian, and trans texts. A visual representation of shared reading, the film poses (and seeks to give one possible answer to) the question of how text and books can be exhibited. All the texts depicted in the film recur as physical books in the three suitcases. The three used suitcases are filled with sets of books from different eras and represent history, development and legacy of feminist and transfeminist thought.
Link in bio for more on each exhibition.
Image 1: Photo © Paul B. Preciado and Dominique Gonzalez-Foerster
Image 2: © Dominique Gonzalez-Foerster
Wir gedenken Rodney Graham, der nun im Alter von 73 Jahren starb. In den vergangenen Jahren konnten wir seine Werke in verschiedenen Ausstellungen präsentieren, zuletzt 2021 in „Scratching the Surface“. Eines seiner größeren Stücke in unserer Sammlung ist „School of Velocity“, das eine gleichnamige Klavierübung mit Galileis Gleichung der Beschleunigung fallender Objekte kombiniert. Dies führt zu einem langsamer werdenden Klavierstück mit immer längeren Pausen zwischen den Noten.
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Rodney Graham, School of Velocity, 1993; Nationalgalerie im Hamburger Bahnhof; Fotonachweis: Staatliche Museen zu Berlin, Nationalgalerie, 2015 / Thomas Bruhns
Photos from General Idea's post
Anri Sala on taking care of the ambiguity of things
At the Bourse de Commerce – Pinault Collection in Paris, the Albanian-born artist again plays with (...)
Photos from Ocula's post
https://www.artnews.com/art-in-america/aia-reviews/rosa-barba-esther-schipper-1234642634/
Art in America on Rosa Barba's exhibition at Esther Schipper
Continuing through Saturday, October 15.
In physically reworking the basic means of producing light and image—film strips and projectors—Barba explores the magic of how things work.
Photos from CCC OD - centre de création contemporaine olivier debré - Tours's post
Photos from CCC OD - centre de création contemporaine olivier debré - Tours's post
Photos from General Idea's post
Studio Visit with Berlin Artist Rosa Barba | Berlin Art Link
After six years of renovation, the Neue Nationalgalerie will open its doors to the public. Berlin-based artist Rosa Barba will have the first exhibition.
Photos from General Idea's post
[Ce week-end au CCC OD]
Découvrez la nouvelle exposition : "Weavers" de Rosa Barba 🤩
Samedi et dimanche à 16h30 : un médiateur vous propose une visite commentée de l'exposition, pour en savoir plus 😉 Et c'est sans réservation !
📷 Aurélien Mole
Esther Schipper
Timeline photos
Comme un poisson dans l'eau 🐟
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Les poissons de Philippe de Parreno occupent le deuxième étage. Ils ont déjà conquis petits et grands, venez les saluer !
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Philippe Parreno, Quasi Objects: My Room is a Fish Bowl, AC/DC Snakes, Happy Ending, Il Tempo del Postino, Opalescent acrylic glass podium, Disklavier Piano, 2014-2022
Photos from General Idea's post
C'est le jour J !
L'exposition "Weavers" de Rosa Barba ouvre à 17h !
Nous vous accueillons gratuitement jusqu'à 20h pour découvrir cette exposition créée en partenariat avec l'atelier Calder à Saché (37) 🥳
Venez nombreux.ses 😉
Esther Schipper
Tivemos o prazer em colaborar com a exposição Jacques Douchez & Norberto Nicola na Esther Schipper, em Berlim. Organizada por Olivier Renaud-Clément, a mostra apresenta trabalhos históricos dos artistas que, coletivamente, operaram um estúdio de tapeçaria em São Paulo, o Atelier Douchez-Nicola, entre 1959 e 1980.
Inspirados pela prática da tapeçaria como forma tridimensional, que combina fibras naturais finamente tecidas com volumes escultóricos abstratos, as peças realizadas de forma independente marcam um capítulo chave na história da arte brasileira. Inspirado por suas extensas viagens, o trabalho de Nicola muitas vezes combina técnicas e materiais de culturas indígenas ao artesanato europeu. Por sua vez, a dedicação de Douchez à abstração é evidente nas construções geométricas robustas, mas que reservam rigor e equilíbrio.
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We had the pleasure to collaborate with the exhibition Jacques Douchez & Norberto Nicola at Esther Schipper in Berlin. Organized by Olivier Renaud-Clément, the show features historic works by the artists who collectively operated a tapestry studio in São Paulo, the Atelier Douchez-Nicola, between 1959 and 1980.
Inspired by the practice of tapestry as a three-dimensional form that combines finely woven natural fibers with abstract sculptural volumes, the independently made pieces mark a key chapter in the history of Brazilian art. Inspired by his extensive travels, Nicola's work often combines techniques and materials from indigenous cultures with European craftsmanship. In turn, Douchez's dedication to abstraction is evident in geometric constructions that are robust yet reserved for rigor and balance.
Photos from 국립현대미술관's post
Rosa Barba, Radiant Exposures opens tonight, 6-9pm!
The exhibition’s title, Radiant Exposures, alludes to this dichotomy as well: it draws attention to the threshold of creation and destruction at which everything exists. Thus, while the exposure of celluloid must be controlled in order to produce the image—let in too much light into the (analog) camera and the encoded images are lost—this balance also holds true for our existence and the future of the planet, as both “radiance” and “exposure” carry in them a certain threat in times of climatic crises. At the same time, the title also introduces the beauty and timelessness of the cosmos and alludes to Barba’s continued research into the overlaps of film and astronomy.
Link in bio for further info.
Exhibition view: Rosa Barba, Radiant Exposures, Esther Schipper, Berlin, 2022. © Rosa Barba / VG Bild-Kunst, Bonn 2022. Photo © Andrea Rossetti
Join us tomorrow, Friday September 9, 6–9pm for the opening of Radiant Exposures, Rosa Barba’s first solo exhibition with the gallery. On view will be films and works using film as sculptural and painterly medium.
In Radiant Exposures, Rosa Barba () introduces an exhibition architecture with two angled walls that steers visitors through the space and also provides a structure in which Barba’s films are screened and the artist’s sculptural works installed in a carefully orchestrated setting.
And don't miss the 123rd edition of , with Rosa Barba. The event at is free and will screen three of Barba's films. Friday September 16, from 11:59pm.
Videoart at Midnight is a partner of , September 14—18.
Link in bio for further info and teaser film!
Rosa Barba, Off Splintered Time, 2021 (detail), glass, motors, 35mm film, LED light, 70 x 80 x 80 cm (sculpture).
Photo ©
More installation views from the General Idea restrospective at the National Gallery of Canada — Reconstructing Futures, 1977 — the green room from the 1984 Miss General Idea Pavillion, fully equipped for everything a burgeoning media celebrity needs as they prepare to parade themselves in front of the adoring audience of the 1984 Miss General Idea Pageant!
More installation views from the restrospective at the — Reconstructing Futures, 1977 — the green room from the 1984 Miss General Idea Pavillion, fully equipped for everything a burgeoning media celebrity needs as they prepare to parade themselves in front of the adoring audience of the 1984 Miss General Idea Pageant!
BERLIN – exhibition openings and screenings tonight!
Link in bio for further information and ongoing exhibitions in Berlin.
Tonight, 6-9pm on Prinzenallee are two exhibition openings -
DELIVERY HERO with Isa Melsheimer and Oliver Mark ( & ) at .berlin.
At 's artist-run project space Melsheimer presents ceramic works and a Wardian case alongside photography from Oliver Mark.
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MANCHE TRUGEN FEDERN, with at . Flavien will present drawings along side works by Sibylle Bergemann, Astrid Bauer, Moritz Frei, Gerrit Frohne-Brinkmann, Tine Furler, Mia Kleier, Alicja Kwade, Andy Hope 1930, Ida Tursic & Wilfried Mille, Stefan Rinck, Gerd Rohling, Anne Waak & Janne Gärtner, Jenny Rosemeyer
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At , will screen Rosa Barba ()'s Inside the Outset: Evoking a Space of Passage, 2021. 7pm. Free.
Rosa Barba creates specific devices to explore the way in which film articulates the space. Based on an open-air cinema installation she made in Cyprus, Rosa Barba made a film about this device reflecting surrounding landscapes. The installation, conceived as a meeting point for all the communities of the island, underlines the capacity of art to create spaces for interaction and coexistence. In a landscape of shadows, emergences and disappearances.
Image 1: Left: Oliver Mark, Museo IV/01, 2022, C-Print, 210 x 150 cm
Center: Isa Melsheimer, Gulbenkian, 2022, ceramic, glaze, 45 x 35 x 35 cm
Right: Oliver Mark, Delivery Hero VI, 2021, C‑Print on Alu-Dibond, 47 x 57 cm (unframed), 65 x 70,50 cm (framed)
Exhibition view: Isa Melsheimer and Oliver Mark, Delivery Hero, Open Berlin, Berlin, 2022. Photo © Oliver Mark
Image 2: Jean-Pascal Flavien, discussion, 2016, red pencil on paper, 24,5 x 32,7 cm (9 5/8 x 12 7/8 in) (unframed), 39 x 45,5 x 2,5 cm (15 3/8 x 17 7/8 x 1 in) (framed). © the artist
Image 3: Rosa Barba, Inside the Outset: Evoking a Space of Passage, 2021 Open-air cinema sculpture. United Nations Buffer Zone, Deryneia, Cyprus. Courtesy the artist and Point Centre for Contemporary Art, Nicosia. Photo: Marios Stylianou. © Rosa Barba.
Don't miss Ugo Rondinone, vocabulary of solitude at Museo Tamayo, through September 4, 2022.
Ugo Rondinone is recognized as one of the great voices of his generation, an artist who proposes trenchant reflections on nature and the human condition while establishing a formal and organic vocabulary in which he fuses a variety of sculptural and pictorial traditions. His generous and expansive vision of nature has resulted in an extensive range of two- and three-dimensional objects, installations, videos, and performances. His hybrid forms, inspired by ancient and modern sources, exude pathos and humor and point to the most pressing issues of our time, where modernist achievements and archaic expression intersect.
Rondinone's practice unfolds the complexity of seemingly simple phenomena or objects such as day and night, natural and artificial, vulnerability and strength, dichotomies that are deeply interrelated and that function as organizing principles of his work. The artist explores aspects of human experience and perception that are linked to the sensations that we intuitively or culturally assign to these distinctions. In his work, symbols and cultural constructs, images, and words that make their way across communication systems, latitudes, and historical moments, are devices that Rondinone constantly analyses and uses, drawing on the capacity of each person to respond to them from a visceral and primal place.
Further info via link in bio.
Exhibition view: Ugo Rondinone, vocabulary of solitude, Museo Tamayo, Mexico City, 2022.
Photography by Gerardo Landa and Eduardo López (GLR Estudio). Courtesy of Museo Tamayo.
Now open! Summer ’22, a group exhibition with works by Sarah Buckner, Ann Veronica Janssens, Sojourner Truth Parsons, Cemile Sahin, Julia Scher, Sun Yitian and Tao Hui. On view will be works in a range of media, among them installation, film, sculpture and painting.
Please note that from August 1–14 the gallery will be open Wednesday through Friday, 12–6pm.
Esther Schipper is pleased to present Summer ’22, a group exhibition with works by Sarah Buckner, Ann Veronica Janssens, Sojourner Truth Parsons, Cemile Sahin, Julia Scher, Sun Yitian and Tao Hui. On view will be works in a range of media, among them installation, film, sculpture and painting.
Summer ’22 brings together artistic approaches which, though employing a variety of media, share an impulse to transform personal observations and political concerns into formally striking, incisive works of art.
Cemile Sahin and Tao Hui conceived expansive environments in which their multi-channel video works are presented. Both artists draw on contemporary narrative conventions familiar from TV and digital media channels. Their presentations are markedly different: Tao Hui’s 2017 Hello Finale! Is organized in a strict grid with functional, office-like seating, each short video screened individually. Shot in nine different locations in Kyoto, and featuring local actors speaking in Japanese, the work evokes, through its mises-en-scène, the visual tropes of Japanese television. Cemile Sahin’s Bad People, Bad News, 2021, on the other hand, screens her three-channel video as part of a colorful, industrial-looking construction with beach chairs. An overall narrative, centered on the story of three Kurdish women who celebrate Sadam Hussein’s death together annually, is formed about nations, dictatorships, monuments, terror, and questions about power and interpretive sovereignty, original and fake. Both works share a certain affectless air that seems more a symptom of trauma rather than an indication of indifference.
The subjects of the new paintings by Sarah Buckner and Sojourner Truth Parsons remain ambiguous: Paintings with enigmatic motifs evoke the impression of an emotional subtext but do not resolve their narrative tension or give away their mystery. The graphic clarity of Parsons’ compositions functions as a misdirection, as color and shape remain in continuous flux, oscillating between representation and abstraction. Buckner’s representations of fantastic figures feel both open-ended and precisely observed, as they appear to emerge from a fully formed narrative of which viewers can only catch a momentary glimpse. Sun Yitian’s large-scale Gun without Bullets juxtaposes the playful quality of an inflatable toy with the violent potential of a deadly weapon. Combining a glossily painted lush surface of a digitally rendered object with vaguely ominous iconography is characteristic of the young Chinese artist’s practice.
Another artistic approach is represented by Ann Veronica Janssens’ Umbrella, 2020. A thatched roof with a feathery crown, the work’s entire surface has been covered with gold leaf. With its references to the effects of the sun’s energy, symbolized by the use of gold leaf, Umbrella encapsulates both individual and far-reaching global ecological concerns in a single object combining formal restraint and great beauty. Julia Scher’s pioneering historical work, Hidden Camera (Rhizome) from 1991/2018, finally, employs humor to draw our attention to the issue at hand: our long-standing surveillance by technological apparatuses, here hidden in plain sight in greenery. In addition, the work plays on the ambivalence between anxiety of being surveilled and taking pleasure in observing and being observed.
The exhibition’s title partakes in an apparent contradiction of form and content that runs through the presented works: Summer ’22 is thus perhaps best encapsulated in the deceptive playfulness of Sahin’s bright beach chairs, which encourage relaxed lounging, while watching a film about the enduring power of images.
Images 1, 4: Julia Scher
Hidden Camera (Rhizome), 1991/2018
JVC camcorder, bracket, grass plant, plant pot, two monitors with live feed and archival video footage, dimensions variable, Frieze London 2019: 90 x 200 x 120 cm (plinth), plant: 40 cm high approx. Photos © Andrea Rossetti
Images 2, 5: Tao Hui, Hello, finale!, 2017, 9 channel HD video installation (color, sound), duration: 38:13 min. Still, photo © the artist
Images 3: Sun Yitian, Gun without bullets, 2022, acrylic on canvas, 150 x 150 cm each (4 parts), 150 x 600 cm.
Photos from ArtReview's post
Join us at artmonte-carlo 2022, booth 08, where we present works by:
Angela Bulloch
Etienne Chambaud
Simon Fujiwara
Liam Gillick
Ann Veronica Janssens
Isa Melsheimer
Philippe Parreno
Sojourner Truth Parsons
Ugo Rondinone
At l'Esplanade, the outdoor sculpture Pentagon Totem: High Five by Angela Bulloch is on view during the fair.
Link in bio for further information on our booth and concurrent exhibition in the area.
Booth views: artmonte-carlo 2022. Photos © Sebastiano Pellion di Persano
Join us for the opening of Summer '22 at Esther Schipper!
Thursday July 21, 6–9pm.
Special opening hours August 1–14, Wed–Fri 12–6pm
This summer Esther Schipper is pleased to present Summer '22, an exhibition of works from Sarah Buckner, Ann Veronica Janssens, Sojourner Truth Parsons, Cemile Sahin, Julia Scher, Sun Yitian and Tao Hui.
Summer ’22 brings together artistic approaches which, though employing a variety of media, share an impulse to transform personal observations and political concerns into formally striking, incisive works of art. Like the summers of recent years, many of the works presented hold a contradiction within them between their bright, shimmering forms and the darker undertones of their content.
https://www.estherschipper.com/exhibitions/1026-summer-22-with-sarah-buckner-sojourner-truth-parsons-cemile-sahin/
Julia Scher, Wonderland continues through Friday July 15 at Maison Populaire.
https://www.maisonpop.fr/wonderland-julia-scher
Between 1996 and 1997, Julia Scher photographed seven children wearing pink uniforms: Lena, Grace, Andy, Andre, Brandon, Jodi and Zoë. Some of them held up batons or gas masks, others just stared defiantly at the camera. In the following months, Scher enlarged these images and integrated them into an installation which traveled and evolved in time: 1997, Chicago; 1998, New York; 2000, Bordeaux ; 2018–2019, Berlin. Over the years, the principle has remained the same: a child-sized control desk surrounded by distorting mirrors bathed in twilight-colored lights. The recorded voice of the artist warns the audience: “There are live cameras filming you [...] Attention. Your size may change”. This is Wonderland, an upside-down world where children watch over adults downsized in the reflections of mirrors.
Wonderland is the second part of The Artificial Kid series of exhibitions and events at . This multimedia environment where children act as authority figures, plays on the context of the Maison Populaire, whose members are largely children encouraged to leave their parents on the doorstep and where teenagers are considered adults from the age of 13. Created for children, Wonderland parodies adults' attitudes towards protection or threat, and their own infantilization in surveillance contexts.
Curator: Elsa Vettier
Founded in 1966 in Montreuil, Maison Populaire is a cultural center dedicated to popular education. Focusing on research and experimentation, Maison Populaire hosts an art center and each year invites a different curator for a cycle of exhibitions and events.
Exhibition views: Julia Scher, Wonderland, Maison Populaire, Montreuil, 2022. Photos © Aurélien Mole
'...' has opened at Tropez, Sommerbad Humboldthain! The exhibition includes artwork by eight artists including Isa Melsheimer.
Outdoor sculptures and (video) installations translate the effects of various crises and social injustice into tangible images. ... responds to the speechlessness in the face of current world events and quotes the three dots familiar from messenger services that appear whenever the person on the other side is writing.
https://tropeztropez.de/exhibition-2021-2/
Exhibition views: '...', Tropez, Sommerbad Humboldthain, Berlin, 2022. Photos © Ink Agop
Don’t miss "What you see is not what you get" (22 Exhibitions) at – continuing through Saturday, July 16.
For this solo exhibition KarinSander has gathered different works from her oeuvre and from these she has curated 22 exhibitions. Sander has carefully packed these particular, individual selections into transport crates and then closed them; the crates offer protection and sometimes contain instructions regarding the various, small- and large-format art works they hold. The exhibits are well kept in their transport crates, present in the gallery space but eluding visibility. Each transport box has its own size, bears its unique title, lists the materials used in the works, and contains what goes with the installation of the works and the respective exhibition.
The tension between visibility and presence is also a motif of the new augmented reality exhibition conceived by Karin Sander. Visitors can use VR glasses to visit other exhibitions in the gallery virtually. For this piece, she had works 3D scanned and virtually installed on the walls. This visible, albeit in AR, presentation provides a counterpoint to the 22 physically present exhibitions – it lets visitors see works that are not physically present, while the works in the shipping crates are present but not visible. Thus, visual information meets augmented reality, the narrative of physical and conceptual content superimposed on the presence of augmented reality: “What you see is not what you get”.
Image 1, 3-5: Exhibition views: Karin Sander, "What you see is not what you get" (22 exhibitions), Esther Schipper, Berlin, 2022.
Photos ©
Image 2: Karin Sander, AR-1, 2022 (AR still image) Augmented Reality exhibition. Exhibition view: Karin Sander, “What you see is not what you get” (22 exhibitions), Esther Schipper, Berlin, 2022
Courtesy the artist, ETH Zurich and Esther Schipper, Berlin
© Karin Sander / VG Bild-Kunst, Bonn 2022
Image 6:
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Dive into a whole Who-niverse of new works, ranging from collage, drawing, painting and sculpture to stop-motion animation, next week at #FriezeNewYork! Esther Schipper and Simonfujiwara are bringing @whothebaer to Booth A06 of Frieze New York! Want to learn more about Who? Click the link in bio to see where in the world Who the Bær has been, including in Milan with Fondazione Prada, Berlin with Esther Schipper, and the world over with CIRCA! Frieze New York 2022 Booth A06 The Shed 545 West 30th Street New York, NY 10001 May 18 – 22, 2022 #SimonFujiwara #WhotheBaer #WhotheBær #Whoseum #Frieze #NewYork #EstherSchipper Images: Simon Fujiwara, Who’s Immersed in Identity Soup? (Class, Gender, Race, Sexuality), 2022, paper collage, set of 4 framed works, 93 x 53 cm each (unframed), 99,6 x 59,6 x 3,5 cm each (framed) Photos © CHROMA
"...with my drawings I extend what I am looking for in the films and the installations which is a way of reconnecting the virtual to the tactile..." - David Claerbout At Esther Schipper, Claerbout presents two films along with works on paper relating to the two films The Close, 2022, and Aircraft (F.A.L.), 2015-21. On view through May 28, 2022. https://www.estherschipper.com/exhibitions/1010-hemispheres-david-claerbout/ Videos: ArtBeats Photos: 1. The Close set image (3 1 2 4), 2021–2022 Pencil, watercolor and China ink on Fine Art inkjet print on Hahnemühle etching paper 61 x 82,7 cm (unframed) 80,5 x 99,5 x 4 cm (framed) Photo © Jörg von Bruchhausen 2. The Close set image (SWAP), 2021–2022 Pencil, watercolor and China ink on Fine Art inkjet print on Hahnemühle etching paper 61 x 120,6 cm (unframed) 78,8 x 135,9 x 4 cm (framed) 3. Aircraft set image (Latent as Life), 2021–2022 Pencil, watercolor and China ink on Fine Art inkjet print on Hahnemühle etching paper 61 x 110,4 cm (unframed) 81,7 x 129,4 x 4 cm in) (framed) 4. Aircraft set image (Swan Song), 2022 Pencil, watercolor and China ink on Fine Art inkjet print on Hahnemühle etching paper 61 x 108 cm (unframed) 81,5 x 127,5 x 4,5 cm (framed) © VG Bild-Kunst, Bonn, 2022. Photos © Jörg von Bruchhausen #DavidClaerbout #Hemispheres #TheClose #AircraftFAL #EstherSchipper
Opening Friday April 29, 6–9pm David Claerbout, Hemispheres at Esther Schipper as part of Gallery Weekend Berlin and on view through May 28, 2022. In this film Claerbout takes us through his practice and the ideas behind the two works, The Close, 2022, and Aircraft (F.A.L.), 2015-21, that he is presenting at Esther Schipper. Extended opening hours for Gallery Weekend Berlin on Saturday, April 30 and Sunday, May 1, 11am–7pm Esther Schipper is pleased to present Hemispheres, David Claerbout's first solo exhibition with the gallery, which will open for Gallery Weekend Berlin. On view will be two large-scale video projections: The Close, 2022, and Aircraft (F.A.L.), 2015-21. The title of the exhibition refers to the two sides of the brain, which each process information differently, yet complement each other’s functions to create consciousness; likewise, the two works presented in the exhibition have disparate themes, but together represent reciprocal parts of Claerbout’s practice. #DavidClaerbout #Hemispheres #TheClose #AircraftFAL #EstherSchipper #GalleryWeekendBerlin Video: artbeats
This Saturday, 12-7pm, Esther Schipper is pleased to partner with ANDREAS MURKUDIS and participate in a Saturday Charity Market in the Mercator Höfen (Potsdamer Strasse 77-87) in collaboration with the non-profit organisation FONDAMENT. Esther Schipper and neighbouring stores and galleries as well as brands from the general MURKUDIS assortment are kindly supporting the event by donating merchandise, sharing the project with their network and by assisting our sales team on the day of the event. Available for purchase will be clothing, accessories, design objects, artworks, literature and cosmetics all at special prices. The full proceeds will be donated to local charities: Be an Angel e.V., Moabit hilft e.V. and Mensch Mensch Mensch e.V.. All three focus on supporting people affected by war and political conflict. The current global situation reminds us how important it is to show solidarity to those that have been forced to leave their homes behind due to war and turmoil. Fortunately, there exists a wide network of organisations and individuals in Berlin who dedicate their time to help displaced people – and have been doing so for many years. In these times, these charities are in particular need of financial support. FONDAMENT – a non-profit organisation that focusses on supporting people in need from the creative industry and beyond – assisted in planning and coordination of the Saturday Charity Market. Thanks to the participants’ generosity, all together we can offer premium objects – ranging from clothing to furniture and books – for special prices at our Saturday Charity Market. The full proceeds will be donated. 30 stalls will be spread across the courtyard of Mercator Höfe. With help of volunteers, we will sell the donated goods, as well as food and drink. Here, too, all proceeds will be donated to the aforementioned charities. DJs Roma Saplin and Gael, who are members of the ∄ Club community in Kyiv, will play live sets to accompany the M
Watch now! Jac Leirner talks about the ideas and inspirations behind the works in her exhibition Us Horizon at @estherschipperberlin. Exhibition continues through April 14, 2022. Exhibition film by ArtBeats #JacLeirner #UsHorizon #EstherSchipper
Watch now! Simon Fujiwara talks Who the Baer, identity, cultural appropriation and his latest exhibition Once Upon a Who?, at Esther Schipper. Whotique in collaboration with Highsnobiety. The exhibition continues through Saturday February 26, 2022. Exhibition film by Art Beats #SimonFujiwara #WhotheBaer #WhotheBær #Whotique #EstherSchipper
Join us for an exclusive gallery visit with artist @simon.fujiwara, who will take you on a unique in-person tour of his latest @whothebaer exhibition Once Upon a Who? Saturday February 12, 2022 – 2pm, at @estherschipperberlin – For those who are not in Berlin, the tour will also be broadcast live on Zoom (link in bio to register) #SimonFujiwara #ArtistTour #WhotheBaer #WhotheBær #Whotique #EstherSchipper Simon Fujiwara Who‘s Only Whoman?, 2021 Sculpture: wood, cardboard, paper, adhesive tape, gears, motors, magnets, cabling, metal, Plexiglas, ready-made, pedal switch Plinth: wood, Plexiglas, speakers, amplifier, media player, servo box, wiring, lock, switch Duration of song: 1:16 min. 235 x 162 x 75 cm (sculpture) 12,5 x 14,5 x 27 cm (pedal switch) Simon Fujiwara, Once Upon a Who?, Esther Schipper, Berlin, 2022 Video: @artbeatsberlin
Watch now! Behind-the-scenes of @simon.fujiwara working hard on the artworks in his upcoming show, Once Upon a Who?, at @estherschipperberlin! We hope you can join us in the Whoniverse in January! Meanwhile, you can follow @whothebaer on Instagram. Film by @artbeatsberlin #simonfujiwara #whothebaer #whothebær #EstherSchipper #Berlin
Welcome to the Esther Schipper Holiday Bookstore! Starting today we will bring you 24 gift ideas, one each day till December 24, which you will find in our dedicated advent calendar on our website and on our @estherschipperbookstore Instagram account. The selection gathers new works, limited editions, as well as latest publications and artists' books. This weekend, the gallery is participating in Sunday Open, with special opening hours on December 5 from 12 - 6 pm. The bookstore and gallery are open Tue–Sat, 11–6. For Day 1 of the Holiday Bookstore we present Angela Bulloch, What Do You Think?, 2021 The work playfully combines Angela Bulloch's multiple Melancholyflower from 2017—a cast in resin of a long-stemmed head of cauliflower in bright orange—with a sculpture made of modular geometric elements based on pentagonal shapes from the artists new body of work. By positioning the orange head of Melancholyflower to suggest a likeness with a microphone, the geometric sculpture takes on an anthropomorphic quality. Angela Bulloch What Do You Think?, 2021 Fine-Art pigment print on Hahnemühle Ultra Smooth paper 42 x 29,7 cm (16 1/2 x 11 3/4 in) (unframed) Edition of 20 plus 8 artist's proofs (#2/20) EUR 420.00 incl. taxes – Enquire via link in bio. EUR 800.00 incl. taxes, when bought as a set with Angela Bulloch, A Show of Deference, 2021 Image: Angela Bulloch, What Do You Think?, 2021 Fine-Art pigment print on Hahnemühle Ultra Smooth paper 29,7 x 21 cm (unframed), edition of 20. © the artist #EstherSchipper #EstherSchipperBookstore #HolidayGifts #Winter #WinterHolidays #Christmas #Weihnachten #Weihnachtsgeschenke #geschenke https://www.estherschipper.com/viewing-room/33-24-gift-ideas-from-esther-schipper/
Watch now! Angela Bulloch discusses her exhibition Animal Vegetable Mineral, at Esther Schipper. The exhibition is open Tue-Sat, 11-6 and continues through December 18, 2021. It is kindly supported by the Stiftung Kunstfonds, NEUSTART KULTUR program. Exhibition film by Art Beats #AngelaBulloch #AnimalVegetableMineral #EstherSchipper #Berlin #Exhibition #BerlinExhibition #Ausstellung #BerlinAusstellung #stiftungkunstfonds
Currently on view at Frieze London 2021, Booth B04, Dynamic Stereo Drawing Machine is the latest iteration in Angela Bulloch's major body of work: Drawing Machines (1990–ongoing). The work is an automated machine that draws on a sheet of paper placed on the wall. Two metal rails hold the mechanism that executes the drawing: a longer horizontal and a shorter movable vertical part. The latter one holds a pen that is pulled across the surface of the wall by combining horizontal, vertical, and elliptical movements. A small metal box on the right contains the apparatus that steers the machine. Angela Bulloch, Dynamic Stereo Drawing Machine, 2020, sound-activated drawing machine, ink, metal rails and electronic motor, paper, 170 x 300 cm approx. Photos © Eberle & Eisfeld. Video © @andrea_rossetti_archive #AngelaBulloch Frieze London Booth B04 13 Park Square W Regent's Park, London NW1 October 13 – 17, 2021 With works by #MattiBraun #EtienneChambaud #SimonFujiwara #whothebaer #WhoTheBær #RyanGander #AndrewGrassie #AnnVeronicaJanssens #UgoRondinone Frieze #friezeo #friezeofficial #friezeLondon #FriezeWeek #EstherSchipper #London
Philippe Parreno's The Owl in Daylight, 2020 is presented by @estherschipperberlin and @gladstone.gallery at @artbasel #Unlimited, Booth U15. Entirely conceived in high-end computer-generated imagery, The Owl in Daylight is a ‘work-in-motion’ by Philippe Parreno. In constant evolution, it is composed of multiple visual sequences controlled and juxtaposed using Bronze technology, a model of artificial intelligence developed by musicians Lexx and Gwilym Gold, and scientist Mick Grierson. This moving tableau depicts a landscape bordered by a body of water. If at first glance the image seems static, subtle changes of light, temporality, and atmospheric conditions appear little by little. When transitioning between two sequences, the image of sometimes blinks, flickers, as if the entity controlling it was hesitating. The AI controls both the animation and the soundtrack of the film. Philippe Parreno used Bronze initially in 2019 as part of his site-specific commission for MoMA, creating what he describes as an ‘autopoietic system, responding to itself and its surroundings endlessly.’ The work takes its title from an unfinished Philip K. Dick novel that he was writing at the time of his death in 1982. #PhilippeParreno Excerpt: Philippe Parreno, The Owl in Daylight, 2020, digital video (color, sound), player, optional: sound element (The Speaker, 2020, highly-directional speakers, mounting panel, rotating arm, DMX controller, amplifier, transformer, cables, sound card, The Owl in Daylight: duration variable The Speaker: 175 x 85 x 68,8 cm, edition of 6. Booth view: Art Basel Unlimited, Basel, 2021. Video © @andrea_rossetti_archive
Rosa Barba, In a Perpetual Now at the Neue Nationalgalerie, Berlin. The Neue Nationalgalerie celebrates its reopening after six years of renovation with a solo exhibition by Rosa Barba. Under the title In a Perpetual Now, Barba presents key works of her oeuvre from the years 2009–2021, her new film Plastic Limits and three new sculptures created for the exhibition. An expansive steel structure—referring in its architectural design to Mies van der Rohe's early project, Brick Country House—hosts 15 of Barba's cinematic and sculptural works. Specially produced for the architecture of the Neue Nationalgalerie, this major solo exhibition follows the principle of cinematic montage, which plays a pivotal role in the artist’s work as well as her conceptual approach to cinema itself. Video: Rosa Barba, In a Perpetual Now, Neue Nationalgalerie, Berlin, 2021. Exhibition film by MONA productions
Last Days! Etienne Chambaud – Inexistence closes Saturday, August 28. In this video, Etienne Chambaud talks through his exhibition at Esther Schipper. Filmed and edited by MONA productions
Who’s Online! is an online experience conceived in close collaboration with artist Simon Fujiwara as part of his major exhibition Who the Bær currently on view at Fondazione Prada, Milan through September 27, 2021. In this unique digital experience, Fujiwara has conceived an interactive tour of the exhibition that brings viewers into the world of Who the Bær - an original cartoon character he created in 2020. Using a specially developed technique that presents the exhibition tour as a user driven stop-frame animation, audiences dive into the coming-of-age story of a cartoon bear in search for an authentic self in a world of images. While the physical exhibition Who the Bær brings viewers into a giant labyrinthine cardboard structure in the shape of a bear, the interactive digital experience broadens the scope of the exhibition with detailed images, animations and artist interviews. Whether you have already visited the exhibition or are experiencing it remotely for the first time, Who’s Online! is a digital experience that offers unprecedented perspectives into the original universe of Who the Baer. Discover the Who the Bær digital experience on your mobile phone via this link: https://who.fondazioneprada.org/
