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Ruttkowski68 Contemporary art gallery

DÜSSELDORF:Save the dateHENRIK GODSKCarnivalesqueOctober 31 – December 13Opening Reception :Friday, October 306–8pmHenri...
27/10/2026

DÜSSELDORF:

Save the date

HENRIK GODSK
Carnivalesque

October 31 – December 13

Opening Reception :
Friday, October 30
6–8pm

Henrik Godsk (b. 1975 in Hjørring, DK) presents his fourth solo exhibition, Carnivalesque, at Ruttkowski;68 in Düsseldorf.

The exhibition is comprised of new paintings, installations and sculptural objects that were all made for the space in Dūsseldorf. The title of the exhibition refers to the thinker and theorist Mikhail Bakhtin, who in his literary and cultural studies used the medieval carnival as a metaphor for what he called “the Carnivalesque”. “The Carnivalesque” can be described as a ritualistic spectacle where traditional ideas, hierarchies and power structures are suspended, so that a coexistence of different social registers and cultural expressions arises.

Henrik Godsk, who is a seventh generation traveller and is part of the Scandinavian traveller- and circus-family Hertzberg, began decorating fairground facades from a very early age. The folkloric aesthetics from his founding years are still present in his work, which also contains a wide range of art historical references, ranging from Renaissance and Baroque court painting to modernism. In “Carnivalesque”, these aesthetic expressions are brought together in an exhibition, which presents new paintings, objects and sculptural installations that all relate to each other.

Credits :
Henrik Godsk
The Fortuneteller
2026
Oil on canvas
160 x 120 cm | 63 x 47¼ in

NEW YORK:Save the dateLoren MunkTime & PlaceNovember 7 - December 17Opening receptionFriday, November 6, 6-8pmLoren Munk...
25/10/2026

NEW YORK:

Save the date

Loren Munk
Time & Place
November 7 - December 17

Opening reception
Friday, November 6, 6-8pm

Loren Munk (b. 1951, Salt Lake City, Utah) returns to Ruttkowski;68 with Time & Place, his second solo exhibition with the gallery.

Art history is messy. It doesn’t unfold neatly through movements, masterpieces, and famous names. It happens in studios, galleries, bars, and neighborhoods, wherever artists gather, argue, borrow ideas, and shape each other’s work. Loren Munk’s paintings map this artistic life, packed with names, places, dates, and connections. They are dense, obsessive, sometimes overwhelming, and alive with the conviction that art history is attributable to many more people than the history books typically acknowledge.

A Westerner by birth, Munk has made New York his home and laboratory for more than four decades, both as a participant in and chronicler of its art scene. California provides a counterpoint, the two coasts forming what he calls the “geographic parentheses” of American art. From Ferus Gallery in Los Angeles to studios of Coenties Slip in Manhattan, Munk examines what these artistic communities shared, where they diverged, and how ideas cross-pollinated. In Tribeca, Triangle Below Canal, he maps the neighborhood where the exhibition takes place, inviting viewers to consider their own place in its evolving history.

For all their influence, the creative communities Munk depicts are fragile. Studios close, galleries relocate, and the energy that once defined a neighborhood shifts as artists find their way elsewhere. No artwork can fully capture a community in flux, and every work is necessarily incomplete. For Loren Munk, the painting is “the physical residue of this energy.”

Portrait:
Nils Müller

Artwork
:
Loren Munk
Tribeca, Triangle Below Canal
2024-2026
Oil on linen
182.9 x 213.4 cm | 72 x 84 in

PARIS:In the occasion of Art Basel Paris 2026, we cordially invite you to join us for an apéro drinks at Ruttkowski;68 P...
18/10/2026

PARIS:

In the occasion of Art Basel Paris 2026, we cordially invite you to join us for an apéro drinks at Ruttkowski;68 Paris.

Stefan Sagmeister & Meuser
Finally, a Good Exhibition

Monday, 19 October
5 — 8 PM

8 Rue Charlot
75003 Paris

Stefan Sagmeister (b. 1962 in Bregenz, AT; lives and works in New York, US) presents his first duo exhibition, Finally, a Good Exhibition, in dialogue with Meuser (b.1947 in Essen, DE; lives and works in Karlsruhe, DE), at Ruttkowski;68 in Paris. This is a continuation of Finally, Something Good, his solo exhibition at Gaîté Lyrique.

Meuser has been pulling his material out of scrapyards since the 1970s. Sagmeister’s came from the attic of the house he grew up in: unsold paintings from his great-great-grandparents‘ antique store. Neither artist starts with a blank surface, and neither hides where the material came from. Meuser’s welds stay visible, as does the old painting under Sagmeister’s color fields.

The difference is what each asks of the viewer. Meuser studied with Beuys and then drew a line under all that theory, turning to steel painted signal yellow or railway brown. His forms do not explain themselves. Sagmeister’s paintings work the other way: the geometry carries a number, and the viewer should leave knowing something new about poverty or democracy.

There is some irony here: Beuys believed art could change how a society thinks. His student went to the scrapyard, and the designer ended up closer to the program.

Put together, the two bodies of work make one claim: things written off as useless still have a long life ahead of them. It is the same argument Sagmeister’s concurrent show at Gaîté Lyrique makes about the world.

Heather Bause RubinsteinUnderworld (for Harry)2026Oil and oil stick on canvas140 x 210 cm,55 x 82 in
15/10/2026

Heather Bause Rubinstein
Underworld (for Harry)
2026
Oil and oil stick on canvas
140 x 210 cm,
55 x 82 in

DÜSSELDORF:Michael Günzer & Fabian TreiberIm GerinneUntil 25.10.2026Fabian Treiber (b. 1986, lives and works in Stuttgar...
14/10/2026

DÜSSELDORF:

Michael Günzer & Fabian Treiber
Im Gerinne

Until 25.10.2026

Fabian Treiber (b. 1986, lives and works in Stuttgart, DE) and Michael Günzer (b. 1982, lives and works in Ulm, DE) present their first duo exhibition Im Gerinne with Ruttkowski;68 in Düsseldorf.

The exhibition brings together two painters connected less by a shared subject than by a common interest in the conditions under which images acquire meaning. Both work from existing visual worlds – Günzer from photographs and stagings circulating through media, politics, popular culture, and social networks; Treiber from remembered images, everyday spaces, and collective visual memory. Rather than reproducing these sources, both understand painting as a way of testing, transforming, and ultimately rethinking the images from which they begin.

While Günzer examines the performative mechanisms of power by placing public figures in absurd, fragile, or aggressive constellations, Treiber explores the instability of perception. His spaces are structured less by linear perspective than by the logic of visual memory.

The title Im Gerinne refers to the street where Michael Günzer lives, a place that has quietly become part of the artists‘ shared history. The word itself suggests both a location and a process – something shaped through repeated movement rather than fixed definition. In much the same way, the paintings in the exhibition emerge through the reworking of images that already have histories of their own.

If Treiber paints the stages, settings, and spaces left open to projection, Günzer populates them with figures whose presence exposes the absurdities and tensions embedded in contemporary image culture. Together, their works exist in constant conversation, unsettling and reshaping the very images from which they take their point of departure.

NEW YORK:Now extended through October 24Matt McCormickLong Distance CallJoin Matt for a limited-run poster release on Sa...
11/10/2026

NEW YORK:

Now extended through October 24

Matt McCormick
Long Distance Call

Join Matt for a limited-run poster release on Saturday, October 24

Ruttkowski;68
46 Cortlandt Alley
New York, NY 10013

Matt McCormick
Cowboy Movie
2026
Oil and inkjet on canvas
Diptych
274.3 x 243.8 cm | 108 x 96 in

Photo: Matt McCormick Studio

TÜBINGEN:Opening reception Tonight, FridayOctober 97 pmLARS EIDINGERPresent Perfect. In dialogue with the collection.Ku...
09/10/2026

TÜBINGEN:

Opening reception
Tonight, Friday
October 9
7 pm

LARS EIDINGER
Present Perfect. In dialogue with the collection.
Kunsthalle Tübingen

October 10, 2026 – February 28, 2027

Actor and photographer Lars Eidinger has been capturing reality for over thirty years—first with his camera, then with his smartphone. With an eye for particulars, he conveys reality as it is. His wandering attention guides him to photograph the overlooked oddities of everyday life: a stone sculpture lacking hands, placed at the edge of a path; geometrically trimmed trees and hedges; passersby who seem to be doppelgängers. Eidinger’s photographed moments and scenes may appear incidental, but they convey immediate, undistorted truths about the human condition and cut deep into Western affluence—exposing raw existential emotions, needs, and rituals of people today as they truly are.

In Present Perfect, Kunsthalle Tübingen places Lars Eidinger’s photographs, videos, and selected groupings from his visual anthropological work in dialogue with artworks by other artists—all curated in close cooperation with the artist himself. This exhibition is the first to present Eidinger’s works alongside iconic pieces from the Kunsthalle, organized into thematic groups.

Credits:
Lars Eidinger
Shanghai, 2024
Courtesy of the artist and Ruttkowski;68

PARIS:Save the dateStefan Sagmeister & MeuserFinally, a Good ExhibitionOpening ReceptionSaturday, October 106 – 8 PM11.1...
08/10/2026

PARIS:

Save the date

Stefan Sagmeister & Meuser
Finally, a Good Exhibition

Opening Reception
Saturday, October 10
6 – 8 PM

11.10.26 – 08.11.26

Stefan Sagmeister (b. 1962 in Bregenz, AT; lives and works in New York, US) presents his first duo exhibition, Finally, a Good Exhibition, in dialogue with Meuser (b.1947 in Essen, DE; lives and works in Karlsruhe, DE), at Ruttkowski;68 in Paris. This is a continuation of Finally, Something Good, his solo exhibition at Gaîté Lyrique.

Meuser has been pulling his material out of scrapyards since the 1970s. Sagmeister’s came from the attic of the house he grew up in: unsold paintings from his great-great-grandparents‘ antique store. Neither artist starts with a blank surface, and neither hides where the material came from. Meuser’s welds stay visible, as does the old painting under Sagmeister’s color fields.

The difference is what each asks of the viewer. Meuser studied with Beuys and then drew a line under all that theory, turning to steel painted signal yellow or railway brown. His forms do not explain themselves. Sagmeister’s paintings work the other way: the geometry carries a number, and the viewer should leave knowing something new about poverty or democracy.

There is some irony here: Beuys believed art could change how a society thinks. His student went to the scrapyard, and the designer ended up closer to the program.

Put together, the two bodies of work make one claim: things written off as useless still have a long life ahead of them. It is the same argument Sagmeister’s concurrent show at Gaîté Lyrique makes about the world.

Courtesy of the artists and Ruttkowski;68.

;68

COLOGNE:Save the dateDie Qualität der Malerei (The Quality of Painting)Curated by Georg ImdahlWith works by:Alex Wissel,...
08/10/2026

COLOGNE:

Save the date

Die Qualität der Malerei (The Quality of Painting)
Curated by Georg Imdahl

With works by:
Alex Wissel, Carolin Eidner, Finn Froböse

Opening reception
Friday, October 9
6-8pm

October 10 – December 19

Ruttkowski;68 presents The Quality of Painting (Die Qualität der Malerei), an exhibition curated by Georg Imdahl bringing together works by Alex Wissel (b. 1983, DE), Carolin Eidner (b. 1984, DE), and Finn Froböse (b. 1997, DE).

Must painting, to draw attention to itself, still proclaim its own death, its eternal end? Must it reach “transitively” beyond the picture frame into the room, then stand beside itself (David Joselit) and belong to a particular network in order to convince? Does it need, in the context of western art (Westkunst) and beyond, a fitting image, a catchy label? Can its quality (or qualities) be grasped only by someone who understands it as part of a “formation” (Isabelle Graw)? Is its economic exploitability an integral component of its DNA?

What makes a good painting? Does that judgment belong solely to the right viewer, the appropriate interpreter, the knowledgeable connoisseur?

Questions upon questions, which the exhibition The Quality of Painting (Die Qualität der Malerei) seeks to raise, hopefully without producing unambiguous answers. Rather, the presentation aims to kindle the voluptas of viewing, in the full conviction that the works of Carolin Eidner, Finn Froböse, and Alex Wissel are open, substantial, and reflective enough to demonstrate the vitality of painting to our eyes, and that it, highly alive, stands within a long, continuous “deep history” (Hans-Jürgen Hafner), which reaches just as far back behind modernism as it is capable of looking into a distant future.

Fabian TreiberWhat´s He Building (Sphere)2026Acrylic, ink, oil crayon, paper and pastels on linen170 x 190 cm 66 7/8 x 7...
01/10/2026

Fabian Treiber
What´s He Building (Sphere)
2026
Acrylic, ink, oil crayon, paper and pastels on linen
170 x 190 cm
66 7/8 x 74 3/4 in

Adresse

Grabbeplatz 2
Düsseldorf
40213

Öffnungszeiten

Donnerstag 11:00 - 19:00
Freitag 11:00 - 19:00
Samstag 11:00 - 19:00
Sonntag 11:00 - 19:00

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