Photo Credit

PRESS CONTACT

On this page, we have compiled all media-related information and press documents regarding exhibitions at the Fridericianum. Please contact us if you have any questions, require additional material, or would like to schedule an interview:

Press Contact:
documenta und Museum Fridericianum gGmbH
Head of Communication and Marketing
Johanna Köhler
+49 561 70727-2520 / press@fridericianum.org

Communication Fridericianum
Naomi Deutschmann
+49 561 70727-2526 / press@fridericianum.org

Press Releases

  • Oct 26, 2020, Press Release
    Illumination of the Fridericianum with a film by Trisha Baga

    Trisha Baga: Hope
    Tuesday, November 3, 2020, 7 pm
    Fridericianum, Friedrichsplatz 18, 34117 Kassel, Germany

    Under the title Hope, Trisha Baga will illuminate the Fridericianum in Kassel on November 3, 2020, with a film produced especially for the occasion. The work is a reflection on the state of our world today and, more specifically, a commentary on the U.S. presidential election taking place on the same date. Here, the artist, born in Venice, Florida, in 1985 and now living in New York, emphasizes her confidence in the future and ongoing change while remaining acutely aware of the prevailing challenges the world faces, as hope is not just about joyful expectation. The title can also be read as a reference to the political advisor Hope Hicks, who tested positive for COVID-19 in October 2020 before the virus was also detected in President Donald Trump and his wife, First Lady Melania Trump.

    The approximately eight-minute film, which will be projected onto the facade of the Fridericianum in an endless loop using a series of powerful projectors, is characterized by a nonlinearity. Its point of departure is a series of shots in which Baga can be seen creating a clay model of the White House—a building that shares similar architectural features with the Fridericianum. These scenes are juxtaposed with footage of the clay replica in ruins. As the film progresses, the wreckage of this edifice becomes a projection screen on which various moving and fragmented images intermittently appear, including snippets showing President Donald Trump’s Twitter account, online news coverage of the COVID-19 pandemic, forest fires, the opening passage of the U.S. Constitution, speleologists equipped with spotlights, and snails making love. Over and over, the bright light of a scanner travels across the surface of this model of the presidential residence and seat of government, accompanied by the sounds of the data collection device.

    Baga’s film reflects the markedly contrasting events, aspects, and moods of the present moment, which combine to form a new sense of unity within the work. The result is an echoing declaration in which, like in most of the artist’s works, the boundaries between film, painting, sculpture, and architecture, between the work of art and its surroundings, blur. The relevance of Baga’s themes is underscored through the work’s specific form of presentation as a widely visible illumination, one that gives rise to a resounding call for both hope and action.

    We are pleased to be able to offer you a digital press interview with Trisha Baga in advance. If you are interested, please let us know by Thursday, October 29, 2020.

    The event takes place under the guidance of required hygiene regulations.

  • Oct 23, 2020, Press Invitation
    Presentation of the new outdoor sculptures by Alexandra Bircken

    Alexandra Bircken: Top down / Bottom up
    Presentation: Saturday, October 31, 2020, 3 pm
    Fridericianum, Friedrichsplatz 18, 34117 Kassel, Germany

    Press Preview: Thursday, October 29, 2020, 11.30 am (the artist will be present)
    Speakers:
    Dr. Sabine Schormann, General Director of documenta und Museum Fridericianum gGmbH
    Moritz Wesseler, Director of the Fridericianum 

    We look forward to your participation. Please register under press@fridericianum.org.

    Over the portico of the Fridericianum in Kassel, between the allegories of architecture and philosophy, a shimmering green figure is caught in a handstand. It is a lacquered aluminum sculpture that was created especially for this location by the artist Alexandra Bircken, who was born in Cologne in 1967 and now lives in Berlin. The work immortalizes the action of a young gymnast, captured by Bircken with great precision using a 3D scanner to create a mold from which the sculpture was cast. The gymnast’s thrust-back head, straining arms, and taut, straight, upraised legs, convey the body tension that enables the dainty acrobat to defy gravity at great heights. The figure can be studied in more detail down below, where a counterpart to the roof-top gymnast is installed in the square in front of the Fridericianum. Situated a few meters from the portico steps, this second aluminum sculpture, cast from the same mold and also painted green, is identical to the high-flying acrobat above. However, unlike the figure on the roof, the one on the cobblestones is rotated 180 degrees: rather than balancing on her hands, she rises from the ground on the tips of her toes, her upraised, angled hands seemingly carrying the firmament. This pair of balancing gymnasts converses with and yet also counters the classical architecture of the Fridericianum and the outdoor sculptures from past documenta exhibitions installed around Friedrichsplatz. Titled Top down / Bottom up, these two sculptures form a single unit in a finely tuned interplay directly tied to Bircken’s investigations into the physical and psychological parameters of objects and beings, which she articulates in a unique, intense, and often surreal language of form.

    The Fridericianum’s Interventions series invites artists to develop site-specific works that activate, accentuate, or transform previously unused spaces and visitor transit areas of the museum beyond the regular exhibition spaces. These site-specific works that include wall works, outdoor sculptures, and sound installations, remain on display for an extended period of time, with some becoming permanent features of the building.

    The press preview takes place under the guidance of required hygiene regulations.

  • Sep 22, 2020, Press Invitation
    Tarek Atoui at the Fridericianum

    Waters’ Witness
    October 3, 2020 – January 17, 2021
    Opening Weekend: Saturday, October 3, 2020, 11 am–7 pm and Sunday, October 4, 2020, 11 am–6 pm
    Fridericianum, Friedrichsplatz 18, 34117 Kassel, Germany

    Press Preview: Thursday, October 1, 2020, 11.30 am  (the artist will be present)
    Speakers:
    Dr. Sabine Schormann, General Director of documenta und Museum Fridericianum gGmbH
    Moritz Wesseler, Director of the Fridericianum

    We look forward to your participation. Please register under press@fridericianum.org

    Tarek Atoui comprehensively exploits the potential of sound art, which lies at the heart of his practice. He is not only interested in how audio events or sounds develop an acoustic effect. Equally important to him is how these phenomena can be perceived with sensory organs other than the ear, how they act as a catalyst for human interaction, and how they relate to social, historical, or spatial parameters. The point of departure for his works is usually comprehensive anthropological, ethnological, musicological, or technical research, which results in the realization of instruments, listening rooms, performances, or workshops, thus constituting an exceptionally multifaceted oeuvre.

    The Fridericianum presents Waters’ Witness, the first solo exhibition in Germany of the work of Atoui, who was born in Beirut in 1980 and now lives in Paris. The show is based on Atoui’s ongoing project I/E, where the artist has been researching and documenting the sounds of ports in Athens, Abu Dhabi, Singapore, Porto, and Beirut since 2015, processing and transforming these recordings into works. Previously separate components of this project are brought together in Kassel, where audio recordings from the harbors of Athens and Abu Dhabi are combined with materials—marble blocks and steel girders—gathered from each site to form a single unit with the surrounding space. In Waters’ Witness, space, sound, and objects become physically and sensorially perceptible, creating a basis for multi-layered associations, memories, and (self)-reflections.

    The installation is complemented by The Tables of Contents (2020). In this work, presented to the public for the first time, the central themes of participation, education, and experimentation in Atoui’s work are clearly articulated. Here, two apparatuses in the form of tables, as indicated by the title, are equipped with various objects that can be operated, including pottery discs, metal pins, and springs, as well as specially constructed instruments. Under expert guidance, visitors can use these objects to actively generate new sounds and modify existing ones. These sounds then flow into the exhibition, becoming part of the installation and inspiring new contributions and interventions.

    Tarek Atoui’s career as an artist, who studied contemporary music from 2000 to 2003 at the Conservatoire national français in Reims, has been closely linked to the city of Kassel. In 2012 he participated in dOCUMENTA (13), realizing the performance Metastable Circuit 1 in the urban space of the city and installing La Lutherie, an artistic musical experiment, in the Orangerie. Atoui has participated in numerous exhibitions and projects at international venues, including the Tate Modern in London (2016), the Fundação de Serralves in Porto (2018), the Solomon R. Guggenheim Museum in New York (2019), and the 58th Venice Biennale (2019). The artist was recently awarded the Suzanne Deal Booth / FLAG Art Foundation Prize, and in response to this, a solo exhibition of Atoui’s work will take place at the Sharjah Art Foundation parallel to the show at the Fridericianum.

    The presentation in Kassel is generously supported by Hessische Kulturstiftung: “Natural and artificial sounds penetrate our ears every day. The artist Tarek Atoui makes the origins of this multifaceted, differentiated world of sound tangible. Visitors to the exhibition at the Fridericianum will gain an impression of the complex network of sounds as an expression of social norms, individuals, and designed and natural environments. With his sound installations and instruments, the artist brings to our ears the results of his musical experiments while also testing the other senses for their acoustic tuning.” Eva Claudia Scholtz, Managing Director of the Hessische Kulturstiftung

    In addition, the exhibition is patronized with a lot of commitment by the Bureau des arts plastiques of the Institut français and the French Ministry of Culture.

  • Sep 4, 2020, Press Release
    Press announcement: Tarek Atoui

    The Fridericianum presents Waters’ Witness, the first solo exhibition in Germany of Tarek Atoui

    Tarek Atoui: Waters‘ Witness
    October 3, 2020 – January 17, 2021

    Press Preview: Thursday, October 1, 2020, 11.30 am
    Opening: Saturday, October 3, 2020, 11 am – 7 pm

    Tarek Atoui comprehensively exploits the potential of sound art, which lies at the heart of his practice. He is not only interested in how sound events or noises develop an acoustic effect. Equally important to him is how these phenomena can be perceived with sensory organs other than the ear, how they act as a catalyst for human interaction, and how they relate to social, historical, or spatial parameters. The point of departure for his works is usually extensive anthropological, ethnological, musicological, or technical research, which results in the realization of instruments, listening rooms, performances, or workshops.

    The Fridericianum presents Waters’ Witness, the first solo exhibition in Germany of the work of Tarek Atoui, an artist who was born in Beirut in 1980 and now lives in Paris. The show is based on Atoui’s ongoing project I/E, where the artist has been documenting the sounds of city ports, including Athens, Abu Dhabi, Singapore, Porto, and Beirut, since 2015. Previously separate components of this research are brought together in Kassel, where audio recordings from different ports are combined with materials—marble blocks and steel girders—gathered from each site to form a single unit in the surrounding space. This arrangement is accompanied by Tables of Content, a group of works around which the central theme of participation in Atoui’s work coalesce. Atoui’s works have been shown at dOCUMENTA (13) in Kassel (2012) and the 58th Venice Biennale (2019). Parallel to Kassel, a show on the artist’s work will open in autumn 2020 at the Sharjah Art Foundation in the United Arab Emirates.

    With the kind support of the Cultural Foundation of Hesse (Hessische Kulturstiftung), the Bureau des arts plastiques the Institut français and the French Ministry of Culture.

  • May 7, 2020, Press Release
    Reopening

    The Fridericianum to reopen. Forrest Bess exhibition to be extended. New education formats and special projects go online. Karl Holmqvist starts realization of the artwork Existential Staircase/Existenzielles Treppenhaus.

    Tuesday, May 12, 2020, sees the Fridericianum open to the public again. Furthermore, in view of the positive feedback and international media response, the exhibition on the life and work of Forrest Bess has been extended until September 6, 2020.

    In order to further convey the work of this visionary painter, the Fridericianum is now offering live guided tours of the exhibition via Instagram on Wednesdays (5 pm / in English) and Sundays (3 pm / in German). The series FF – Live at the Fridericianum, which normally includes performances, concerts, and lectures, is also launching an alternative, digital program. Every month, the website (www.fridericianum.org) as well as the museum’s social networks will publish specially produced short films by international artists such as Juliette Blightman (Great Britain), Keren Cytter (Israel), Dan Bodan (Canada) and Yu Ji (Hong Kong), who have responded in a variety of creative ways to the current situation caused by the pandemic. Taking a similar approach is a special project by Swedish artist Karl Holmqvist. Following the museum’s reopening, Holmqvist will proceed with the realization of a site-specific work Existential Staircase/Existenzielles Treppenhaus in the stairwell of the building, providing legitimate space  for questions around meaning.

    Commenting on these developments, Director Moritz Wesseler said: “We are happy the Fridericianum can finally be opened to visitors again. Furthermore, we have managed to extend the much-acclaimed Forrest Bess exhibition and initiate a multifaceted, digital education program. Art and culture are important components of social life. We hope that through our activities we will be able to contribute to the development of alternative perspectives and new freedom of thought against the backdrop of the current discussion about the pandemic—in Kassel and far beyond.”

    In order to protect the Fridericianum’s audience from the coronavirus (COVID-19), certain safety rules apply during visits. These include limiting the number of visitors, respecting social distancing rules, and adhering to hygiene regulations. Separate information about the reopening of the café will be provided at a future date. Further information on these measures can be found on the website (www.fridericianum.org) and by calling the following information hotline: + 49 (0)561- 70727-20.

    Digital Tours: Wednesdays (5 pm / in English) and Sundays (3 pm / in German) via Instagram Live: @fridericianum
    FF – Digital: Currently: Juliette Blightman (Great Britain); May: Keren Cytter (Israel); June: Dan Bodan (Canada); July: Yu Ji (China).
    Karl Holmqvist Existential Staircase/Existenzielles Treppenhaus: Once the realization process is complete, the project will be presented at a press event, to which you will receive a separate invitation.

  • Jan 31, 2020, Press Invitation
    Forrest Bess at the Fridericianum

    Forrest Bess
    February 15 – May 3, 2020
    Opening: Friday, February 14, 2020, 7 pm

    Press Preview: Thursday, February 13, 2020, 11 am

    Speakers:
    Dr. Sabine Schormann, General Director of documenta und Museum Fridericianum gGmbH
    Moritz Wesseler, Director of the Fridericianum

    We look forward to your participation. Please register under press@fridericianum.org.

    The Fridericianum presents the first exhibition of the work of American painter Forrest Bess in Germany for over thirty years

    The exhibition at the Fridericianum presents the remarkable and unusual work of Forrest Bess to a wider German audience for the first time since 1989. By featuring over seventy works from institutional and private collections, the artist’s development is mapped from his early conventional, figurative formulations through to his so-called “visionary” paintings—the biomorphic abstractions—that make up the main body of his work. Furthermore, by exhibiting selected correspondence and other archival material, Bess’s biography is carefully traced while at the same time providing a background to his art theoretical approaches, the handling of his homosexuality, and his theories of hermaphroditism. This insight into the life and work of an artist who has found a considerable following among contemporary artists, such as Tomma Abts, James Benning, Robert Gober, Richard Hawkins, Henrik Olesen, and Amy Sillman, strongly highlights Bess’s relevance to the present day.

    Forrest Bess: Life and Work

    The painter Forrest Bess, born in 1911 in Bay City, Texas, where he also died in 1977, is considered an outstanding yet little understood figure in American postwar art. Both his work and lifestyle conformed little to the conventions of the day. He thus led a rather secluded existence from the second half of the 1940s on the Gulf of Mexico where he worked as a catcher and seller of fish bait. During this time, Bess began to systematically produce small-format paintings which encapsulated “visions” that appeared to him on the threshold between waking and sleep. These works, which he exhibited fairly regularly from 1951, feature symbols, shapes, and spaces that are not clearly decipherable and which can be located in the field of biomorphic abstractions. For Bess, subconscious experiences and humanity’s collective memory manifested themselves in these pictorial worlds. Accordingly, he pursued the exploration of his visions like an intense piece of research. He studied texts on mythology, art history, psychology, and sexual science that he articulated in countless records and correspondence without ever unravelling the mystery of his creativity. Over time he came to the conclusion that he could attain immortality by uniting the male and the female. In the 1950s this belief ultimately led to personal medical interventions on his own genitals, through which he tried to become a pseudo-hermaphrodite.
    For Bess artistic work was closely related to life itself, which, conveyed with his intensity and specificity, can be seen as a feature distinguishing him from artists like Barnett Newman, Jackson Pollock, Mark Rothko, or Clyfford Still—who like him exhibited at the legendary Betty Parsons Gallery. However, it is not only from this perspective that we can discern a difference to these artists who are today considered the main exponents of Abstract Expressionism. The intimate format of Bess’s paintings is in direct contrast to the monumentality of his colleagues’ works. Furthermore, his work is neither marked by a recognizable style nor characterized by any form of stringent development. Even though Bess’s works, as abstractions, fit perfectly into the context of contemporary art history, his “visionary” pictures nevertheless tread their very own path. It is precisely this aspect that has played a considerable role in making him a point of reference for generations of subsequent artists.

    After his death Bess gained recognition in the form of various institutional solo exhibitions. Marking the start of this was a presentation at the Whitney Museum of American Art in New York in 1981, followed by a touring exhibition in 1988 to the Museum of Contemporary Art in Chicago and the San José Museum of Art in San José, concluding at the Museum Ludwig in Cologne in 1989. This was followed in 2013–14 by the exhibition Seeing Things Invisible which toured to the Menil Collection in Houston, the Hammer Museum in Los Angeles, the Neuberger Museum of Art in Purchase, as well as the Berkeley Art Museum and Pacific Film Archive in Berkeley. Together with Robert Gober’s initiated juxtaposition of Bess’s writings and works in the context of the Whitney Biennial 2012, the tour formed a high point in the reception of this visionary painter. The exhibition at the Fridericianum follows on from these shows and, for the first time since 1989, updates the reception of Forrest Bess’s work in the German context.

    The exhibition is funded by the German Federal Cultural Foundation.

  • Oct 22, 2019, Press Release
    Press Release and -Invitation: Rachel Rose

    Exhibition: Rachel Rose
    October 26, 2019–January 12, 2020
    Fridericianum, Friedrichsplatz 18, 34117 Kassel, Germany

    Press preview: Friday, October 25, 2019, 11.30 am (the artist will be present)
    Opening: Friday, October 25, 2019, 7 pm
    Please register at: press@fridericianum.org

    In Rachel Rose’s first large-scale solo exhibition in Germany, the artist (born New York, 1986) will present a selection of her video installations and a new series of sculptures at the Fridericianum in Kassel.
    In recent years, Rose has quickly risen to prominence for her compelling video installations and films. This selective overview of Rose’s practice, which focuses on moving images, is comprised of five works: Sitting Feeding Sleeping (2013), Everything and More (2015), Lake Valley (2016), Autoscopic Egg (2017), and Wil-o-Wisp (2018). Complemented by a group of new sculptures, this makes the exhibition at the Fridericianum the largest presentation of the artist’s work to date. 
    Not only characteristic of Rose’s approach to art making, these works can be seen as individualized responses to subject matter particular to her interests. While these differ in each, she often explores how our relationship to landscape, storytelling, and belief systems are inseparably linked to one another. From supernaturalism in the modern era in Wil-o-Wisp to possible futures put forward by contemporary sciences in Sitting Feeding Sleeping, the artist reveals commonalities toward concepts of mortality. Meanwhile, works such as Lake Valley and Everything and More imagine alternate sensory experiences – from abandonment in children’s stories to zero gravity in outer space – that contribute to our understanding of what it means to be human. As such, this exhibition traces how Rose visualizes fundamentally existential concerns, using the past to address how present conditions shape our conceptions of impermanence.

    Rose uses a wide range of filmic techniques to realize her work. From collaging footage to, most recently, narrative filmmaking, she draws from and contributes to a long history of cinematic innovation. Yet, irrespective of these different approaches, the artist has developed a consistent method of projection and installation to immerse and affect the viewer’s physical and psychological experience of moving image and sound.
    Alongside her moving image works, a new series of sculptural objects made from glass and various minerals will be shown at the Fridericianum. These originate from the egg form, which often appears in Rose’s work; most recently as physical manifestations featured in Autoscopic Egg and the glass-blown lenses Optical Eggs (2018–19) that accompany the video installation of Wil-o-Wisp. From the collectively titled series Born (2019–), nine specially produced pieces will be displayed in a separate oval-shaped room designed specifically for this exhibition. While the symbol of the egg is typically regarded as a sign of fertility, reproduction, and transformation, these sculptures nevertheless encapsulate Rose’s working methodology since they are derived from and connect to several key aspects of her recent practice, namely the history of glass, topography, and the collaging of materials – subjects and techniques she often revisits.

  • May 28, 2019, Press Invitation
    Fridericianum kicks off exhibition program with Lucas Arruda and Ron Nagle

    Exhibitions
    Lucas Arruda “Deserto-Modelo”
    Ron Nagle “Euphoric Recall“
    June 6 to September 8, 2019

    Press Preview: Tuesday, June 4, 2019, 11.30 am
    Fridericianum, Friedrichsplatz 18, 34117 Kassel

    Speakers:
    Welcome address: Dr. Sabine Schormann, Director Genaral documenta und Museum Fridericianum gGmbH
    Introduction: Moritz Wesseler, Director Fridericianum
    Exhibition tour with Moritz Wesseler
    We look forward to your participation.
    Please register under press@fridericianum.org

    The Exhibitions:
    The exhibitions “Deserto-Modelo” by Lucas Arruda and “Euphoric Recall“ by Ron Nagle mark the beginning of the program put together by the new Fridericianum director Moritz Wesseler.
    With Lucas Arruda and Ron Nagle, the Fridericianum is presenting two artists who represent very disparate aspects of current art production and who are at decidedly different phases in the development of their artistic/intellectual voices.
    Whereas the former’s chosen path is painting, he hails from South America and by the time he had reached his early 30s had already formulated a remarkably lucid oeuvre, one which is now starting to receive international attention, the latter is a sculptor, has his roots in North America and with a consistent oeuvre spanning six decades can be considered a master of his métier. What they have in common is a passionate and even obsessive devotion to their chosen themes and areas of work, which accounts for the singularity of the art they produce.
    The presentation of the work of Arruda and Nagle will be followed, in October 2019, by a comprehensive show of the oeuvre of artist Rachel Rose, who was born in 1986 and works with time-based media and sculpture, and in February 2020 by an exhibition of the work of painter Forrest Bess, who died in 1977. It will be the largest European show on Bess’ work in over 30 years. As such, with his new program for the Fridericianum Moritz Wesseler is on the one hand focusing attention on those artists who have to date been denied a platform in Germany in the institutional context, and, on the other, offering everyone an opportunity to rediscover historical positions that were for a long time obscured, despite having great relevance for current discourse.

    Lucas Arruda “Deserto-Modelo”
    “Deserto-Modelo” is the title of the Fridericianum’s presentation of the first larger-scale institutional solo show by the artist Lucas Arruda, who was born in São Paulo in 1983.
    Arruda’s work comprises paintings, prints, light installations, slide projections and films. It reflects his intensive, dedicated examination of a wide spectrum of subjects, ranging from the conceptual framework of the genre that is painting to the existential conditions of life itself.
    A particular feature of Arruda’s praxis is his portrayal of landscapes and seascapes, although his work never references specific locations. On the contrary, he is concerned with capturing those imaginary places evoked by thoughts of landscapes and seascapes, and with looking into the light conditions, atmospheres and emotions connected with them.
    However, many of his works are characterized by such a degree of abstraction that the reference to a landscape is only suggested by the horizon lines that are present to varying extents.
    Independent of the degree of their legibility, his visual formulations give rise to a moment of deceleration and concentration, which, in these increasingly fast-paced times we live in, takes us by surprise and, with its insistent yet peaceful power, raises not least the question as to which rhythms life follows in this globalized world.

    Ron Nagle “Euphoric Recall“
    For more than six decades now, Ron Nagle has been producing works characterized by the fact that they manifest a maximum height of 20 cm. Despite their limited heights, these works, made among other things of ceramics, plastics, glazing agents and car paint, boast a presence and an effect which could hardly be more impressive.
    This accounts for the unique status of Nagle’s work within the sculpture genre and results from his works’ interplay of unusual shapes, diverse colors and tactile surfaces. Accordingly, in his objects, shapes with an organic feel to them meet architectural elements, brightly gleaming colors are confronted with unobtrusive, restrained hues and rough, porous surfaces contrasted with high-gloss ones.
    His work is not only uncommonly fresh, soulful and sophisticated; it is also mysterious and sometimes surreal. Nagle moreover provides his work with additional levels of meaning by furnishing it with elaborate titles which are usually characterized by a great propensity for wordplay and humor.
    “Euphoric Recall“ at the Fridericianum is the first solo show in Germany by Nagle, who was born in San Francisco in 1939. An artist book is being published to mark the show, which is being realized in cooperation with the Vienna Secession.

  • Apr 30, 2019, Press Release
    Fridericianum kicks off exhibition program with Lucas Arruda and Ron Nagle

    Exhibitions
    Lucas Arruda “Deserto-Modelo”
    Ron Nagle “Euphoric Recall“
    June 6 to September 8, 2019

    Press preview: Tuesday, June 4, 2019, 11.30 am
    Opening: Wednesday, June 5, 2019, 7 pm

    The exhibitions “Deserto-Modelo” by Lucas Arruda and “Euphoric Recall“ by Ron Nagle mark the beginning of the program put together by the new Fridericianum director Moritz Wesseler.

    With Lucas Arruda and Ron Nagle, the Fridericianum is presenting two artists who represent very disparate aspects of current art production and who are at decidedly different phases in the development of their artistic/intellectual voices. Whereas the former’s chosen path is painting, he hails from South America and by the time he had reached his early 30s had already formulated a remarkably lucid oeuvre, one which is now starting to receive international attention, the latter is a sculptor, has his roots in North America and with a consistent oeuvre spanning six decades can be considered a master of his métier. What they have in common is a passionate and even obsessive devotion to their chosen themes and areas of work, which accounts for the singularity of the art they produce.
    The presentation of the work of Arruda and Nagle will be followed, in October 2019, by a comprehensive show of the oeuvre of artist Rachel Rose, who was born in 1986 and works with time-based media and sculpture, and in February 2020 by an exhibition of the work of painter Forrest Bess, who died in 1977. It will be the largest European show on Bess’ work in over 30 years. As such, with his new program for the Fridericianum Moritz Wesseler is on the one hand focusing attention on those artists who have to date been denied a platform in Germany in the institutional context, and, on the other, offering everyone an opportunity to rediscover historical positions that were for a long time obscured, despite having great relevance for current discourse.

    Lucas Arruda “Deserto-Modelo”
    “Deserto-Modelo” is the title of the Fridericianum’s presentation of the first larger-scale institutional solo show by the artist Lucas Arruda, who was born in São Paulo in 1983. Arruda’s work comprises paintings, prints, light installations, slide projections and films. It reflects his intensive, dedicated examination of a wide spectrum of subjects, ranging from the conceptual framework of the genre that is painting to the existential conditions of life itself.
    A particular feature of Arruda’s praxis is his portrayal of landscapes and seascapes, although his work never references specific locations. On the contrary, he is concerned with capturing those imaginary places evoked by thoughts of landscapes and seascapes, and with looking into the light conditions, atmospheres and emotions connected with them. However, many of his works are characterized by such a degree of abstraction that the reference to a landscape is only suggested by the horizon lines that are present to varying extents. Independent of the degree of their legibility, his visual formulations give rise to a moment of deceleration and concentration, which, in these increasingly fast-paced times we live in, takes us by surprise and, with its insistent yet peaceful power, raises not least the question as to which rhythms life follows in this globalized world.

    Ron Nagle “Euphoric Recall“
    For more than six decades now, Ron Nagle has been producing works characterized by the fact that they manifest a maximum height of 20 cm. Despite their limited heights, these works, made among other things of ceramics, plastics, glazing agents and car paint, boast a presence and an effect which could hardly be more impressive. This accounts for the unique status of Nagle’s work within the sculpture genre and results from his works’ interplay of unusual shapes, diverse colors and tactile surfaces. Accordingly, in his objects, shapes with an organic feel to them meet architectural elements, brightly gleaming colors are confronted with unobtrusive, restrained hues and rough, porous surfaces contrasted with high-gloss ones. His work is not only uncommonly fresh, soulful and sophisticated; it is also mysterious and sometimes surreal. Nagle moreover provides his work with additional levels of meaning by furnishing it with elaborate titles which are usually characterized by a great propensity for wordplay and humor.
    “Euphoric Recall“ at the Fridericianum is the first solo show in Germany by Nagle, who was born in San Francisco in 1939. An artist book is being published to mark the show, which is being realized in cooperation with the Vienna Secession.

Press Images

Please use this material only in the context of current reporting on the Fridericianum and include all captions and copyright information provided upon publication. A maximum of 72 dpi is allowed for Internet publications.

Tarek Atoui
October 3, 2020 – January 17, 2021

Rumpf eines Containerschiffs und Stahlträger im Hafen von Abu Dhabi (2017), Tarek Atouis Hände bei der I/E-Performance im Louvre, Paris (2013), Marmorstein / Container ship hull and steel rails in Abu Dhabi ports (2017), Tarek Atoui’s hands during I/E performance at the Louvre, Paris (2013), marble stone, Foto / Photo: © Alexandre Guirkinger

Download

Tarek Atoui: Waters’ Witness, Ausstellungsansicht / Installation view, © Tarek Atoui, Fridericianum, Foto / Photo: Andrea Rossetti

Download

Tarek Atoui: Waters’ Witness, Ausstellungsansicht / Installation view, © Tarek Atoui, Fridericianum, Foto / Photo: Andrea Rossetti

Download

Tarek Atoui: Waters’ Witness, Ausstellungsansicht / Installation view, © Tarek Atoui, Fridericianum, Foto / Photo: Andrea Rossetti

Download

Tarek Atoui: Waters’ Witness, Ausstellungsansicht / Installation view, © Tarek Atoui, Fridericianum, Foto / Photo: Andrea Rossetti

Download

Tarek Atoui: Waters’ Witness, Ausstellungsansicht / Installation view, © Tarek Atoui, Fridericianum, Foto / Photo: Andrea Rossetti

Download

Performance Tarek Atoui, Tarek Atoui: Waters’ Witness at the Fridericianum, 2020 © Tarek Atoui, Fridericianum, Foto / Photo: Andrea Rossetti

Download

Performance Tarek Atoui, Tarek Atoui: Waters’ Witness at the Fridericianum, 2020 © Tarek Atoui, Fridericianum, Foto / Photo: Andrea Rossetti

Download

Tarek Atoui, Ausstellungsaufbau / exhibition setup Waters’ Witness, Fridericianum, September 2020
Foto / Photo: Nicolas Wefers

Download

Tarek Atoui, Ausstellungsaufbau / exhibition setup Waters’ Witness, Fridericianum, September 2020
Foto / Photo: Nicolas Wefers

Download

Tarek Atoui, Ausstellungsaufbau / exhibition setup Waters’ Witness, Fridericianum, September 2020
Foto / Photo: Nicolas Wefers

Download

Tarek Atoui, The GROUND, Mixed Media, 58. Internationale Kunstausstellung / 58th International Art Exhibition – La Biennale di Venezia, May You Live In Interesting Times, mit freundlicher Genehmigung / Courtesy La Biennale di Venezia
Foto / Photo: Andrea Avezzù

Download

Tarek Atoui, Ansicht der Performance / view of the performance The Reverse Collection 2014–2016 in den / at the Tanks, Tate Modern, London, 2016, it freundlicher Genehmigung des Künstlers / Courtesy of the artist und / and Tate Modern, London, 2016
Foto / Photo: Thierry Bal

Download

Robert Aiki Aubrey Lowe, C. Lavender, Keith Fullerton, Chuck Bettis, C. Spencer Yeh, Tarek Atoui and Victoria Shen, Tarek Atoui: Organ Within,
Solomon R. Guggenheim Museum, New York,
27. Juni / June 27, 2019
Foto / Photo: Enid Alvarez © Solomon R. Guggenheim Foundation

Download

Bildnachweis / Image Credit:

Tarek Atoui, mit freundlicher Genehmigung des Künstlers / Courtesy of the artist Foto / Photo: © Matteo Bellomo Fabrica

Download

Tarek Atoui und Chris Watson Hydrophone am Strand neben dem Hafen von Elefsina auswerfend, I/E-Projekt, Juni 2015 / Tarek Atoui and Chris Watson launching Hydrophones on the beach next to Elefsina port, I/E project, June 2015
Foto / Photo: Alexandre Guirkinger

Download

Chris Watson nimmt durch einen Marmorstein im Tempel von Elefsina auf / recording through a marble stone at the temple of Elefsina. I/E project. Juni / June 2015.
Foto / Photo: Alexandre Guirkinger

Download

Eric La Casa bei der Aufnahme der Stadt Abu Dhabi von einem Fischerboot auf dem Fischmarkt aus, November 2017 / Eric La Casa recording the city of Abu Dhabi from a fisherman boat at the Fish Market, November 2017
Foto / Photo: Alexandre Guirkinger

Download

Hydrophone von Chris Watson nehmen das Summen des Hafens durch die Vibration des Tores auf, Athen, Juni 2015 / Hydrophones of Chris Watson recording the hum of the port through the vibration of the gate, Athens, June 2015
Foto / Photo: Alexandre Guirkinger

Download

Alexandra Bircken
Top Down / Bottom Up

Alexandra Bircken, Top down / Bottom up, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum © Alexandra Bircken,  Fridericianum, Foto / Photo: Nicolas Wefers

Download

Alexandra Bircken, Top down / Bottom up, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum © Alexandra Bircken,  Fridericianum, Foto / Photo: Nicolas Wefers

Download

Alexandra Bircken, Top down / Bottom up, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum © Alexandra Bircken,  Fridericianum, Foto / Photo: Nicolas Wefers

Download

Alexandra Bircken, Top down / Bottom up, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum © Alexandra Bircken,  Fridericianum, Foto / Photo: Nicolas Wefers

Download

Alexandra Bircken, Top down / Bottom up, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum © Alexandra Bircken,  Fridericianum, Foto / Photo: Nicolas Wefers

Download

Alexandra Bircken, Berlin 2019, Foto / Photo: Albrecht Fuchs

Download

Alexandra Bircken, Top down / Bottom up (Detail), 2020, Modell / Model

Download

Alexandra Bircken, Top down / Bottom up (Detail), 2020, Wachsmodell / Wax model, Foto / Photo: Albrecht Fuchs

Download

Alexandra Bircken, Top down / Bottom up (Detail), 2020, Wachsmodell / Wax model, Foto / Photo: Albrecht Fuchs

Download

FF – Live at the Fridericianum

Trisha Baga: Hope, 2020. Fridericianum, Kassel. © The artist, Fridericianum, Foto / Photo: Andrea Rossetti

Download

Trisha Baga: Hope, 2020. Fridericianum, Kassel. © The artist, Fridericianum, Foto / Photo: Andrea Rossetti

Download

Trisha Baga: Hope, 2020. Fridericianum, Kassel. © The artist, Fridericianum, Foto / Photo: Andrea Rossetti

Download

Trisha Baga: Hope, 2020. Fridericianum, Kassel. © The artist, Fridericianum, Foto / Photo: Nicolas Wefers

Download

Trisha Baga: Hope, 2020. Fridericianum, Kassel. © The artist, Fridericianum, Foto / Photo: Nicolas Wefers

Download

Trisha Baga: Hope, 2020. Fridericianum, Kassel. © The artist, Fridericianum, Foto / Photo: Nicolas Wefers

Download

Trisha Baga: Hope, 2020. Fridericianum, Kassel. © The artist, Fridericianum, Foto / Photo: Andrea Rossetti

Download

Trisha Baga: Hope, 2020. Fridericianum, Kassel. © The artist, Fridericianum, Foto / Photo: Nicolas Wefers

Download

Trisha Baga: Hope, 2020. Fridericianum, Kassel. © The artist, Fridericianum, Foto / Photo: Andrea Rossetti

Download

© Trisha Baga

Download

© Trisha Baga

Download

© Trisha Baga

Download

Trisha Baga © MATTO Studio. Published in MATTO magazine issue two 2019.

Download

Laure Prouvost © Neel Creates Photography

Download

Dan Bodan © Julia Burlingham

Download

Karl Holmqvist
Existential Staircase / Existenzielles Treppenhaus

Karl Holmqvist: Existential Staircase / Existenzielles Treppenhaus, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum, Photo: Andrea Rossetti

Download

Karl Holmqvist: Existential Staircase / Existenzielles Treppenhaus, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum, Photo: Andrea Rossetti

Download

Karl Holmqvist: Existential Staircase / Existenzielles Treppenhaus, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum, Photo: Andrea Rossetti

Download

Karl Holmqvist: Existential Staircase / Existenzielles Treppenhaus, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum, Photo: Nicolas Wefers

Download

Karl Holmqvist: Existential Staircase / Existenzielles Treppenhaus, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum, Photo: Nicolas Wefers

Download

Karl Holmqvist: Existential Staircase / Existenzielles Treppenhaus, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum, Photo: Nicolas Wefers

Download

Karl Holmqvist: Existential Staircase / Existenzielles Treppenhaus, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum, Photo: Andrea Rossetti

Download

Karl Holmqvist: Existential Staircase / Existenzielles Treppenhaus, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum, Photo: Andrea Rossetti

Download

Forrest Bess
February 15 – September 6, 2020

Forrest Bess: Untitled (No. 5), 1949 © The artist and Collection Mickey Cartin

Download

Forrest Bess: Untitled (#6), 1957 © The artist. Privatsammlung / Private collection, Courtesy Modern Art, London, Foto / Photo: Robert Glowacki

Download

Forrest Bess: Untitled (#11), 1957 © The artist. Privatsammlung / Private collection, Courtesy Franklin Parrasch Gallery, New York, Foto / Photo: Kent Pell

Download

Forrest Bess: Untitled (The Spider), 1970 © The artist. Privatsammlung / Private collection, Courtesy Modern Art, London, Foto / Photo: Robert Glowacki

Download

Forrest Bess: Untitled (No. 13), 1950 © The artist. Privatsammlung / Private collection, New York, Foto / Photo: Stewart Clements

Download

Forrest Bess: Untitled (No. 7), 1957 © The artist. Privatsammlung / Private collection, Courtesy Modern Art, London, Foto / Photo: Robert Glowacki

Download

Richard Hawkins: Proposal for a monument, 2019 © Courtesy the artist and Greene Naftali, New York, Foto / Photo: Marten Elder

Download

Forrest Bess: Untitled (No. 31), 1951 © The artist. Courtesy Andrew Masullo, Foto / Photo: Wilfred J. Jones

Download

James Benning: After Bess, 2014 © James Benning. Courtesy the artist and neugerriemschneider, Berlin

Download

Photo of Forrest Bess, 1956 © Kirk Hopper

Download

Forrest Bess, Ausstellungsansicht / Installation view, © Fridericianum, Foto / Photo: Andrea Rossetti

Download

Forrest Bess, Ausstellungsansicht / Installation view, © Fridericianum, Foto / Photo: Andrea Rossetti

Download

Forrest Bess, Ausstellungsansicht / Installation view, © Fridericianum, Foto / Photo: Andrea Rossetti

Download

Forrest Bess, Ausstellungsansicht / Installation view, © Fridericianum, Foto / Photo: Andrea Rossetti

Download

Forrest Bess, Ausstellungsansicht / Installation view, © Fridericianum, Foto / Photo: Andrea Rossetti

Download

Rachel Rose

© Fridericianum, Ausstellungsansicht / Installation View „Rachel Rose“, Foto / Photo: Andrea Rossetti

Download

© Fridericianum, Ausstellungsansicht / Installation View „Rachel Rose“, Foto / Photo: Andrea Rossetti

Download

© Fridericianum, Ausstellungsansicht / Installation View „Rachel Rose“, Foto / Photo: Andrea Rossetti

Download

© Fridericianum, Ausstellungsansicht / Installation View „Rachel Rose“, Foto / Photo: Andrea Rossetti

Download

© Fridericianum, Ausstellungsansicht / Installation View „Rachel Rose“, Foto / Photo: Andrea Rossetti

Download

© Fridericianum, Ausstellungsansicht / Installation View „Rachel Rose“, Foto / Photo: Andrea Rossetti

Download

Rachel Rose: Lake Valley, 2016, Still, © Rachel Rose, Courtesy of the artist, Pilar Corrias Gallery, London und / and Gavin Brown’s enterprise, New York / Rome

Download

Rachel Rose: Sitting Feeding Sleeping, 2013, Still, © Rachel Rose, Courtesy of the artist, Pilar Corrias Gallery, London und / and Gavin Brown’s enterprise, New York / Rome 

Download

Rachel Rose: Sitting Feeding Sleeping, 2013, Still, © Rachel Rose, Courtesy of the artist, Pilar Corrias Gallery, London und / and Gavin Brown’s enterprise, New York / Rome

Download

Rachel Rose: Everything and More, 2015, Still, © Rachel Rose, Courtesy of the artist, Pilar Corrias Gallery, London und / and Gavin Brown’s enterprise, New York / Rome

Download

Rachel Rose: Everything and More, 2015, Still, © Rachel Rose, Courtesy of the artist, Pilar Corrias Gallery, London und / and Gavin Brown’s enterprise, New York / Rome

Download

Rachel Rose: Autoscopic Egg, 2017, © Rachel Rose, Courtesy of the artist und / and Gavin Brown’s enterprise, New York / Rome, Foto / Photo: Lance Brewer

Download

Rachel Rose: Autoscopic Egg, 2017, © Rachel Rose, Courtesy of the artist und / and Gavin Brown’s enterprise, New York / Rome, Foto / Photo: Lance Brewer

Download

Rachel Rose: Wil-o-Wisp, 2018, Still, © Rachel Rose, Courtesy of the artist, Pilar Corrias Gallery, London und / and Gavin Brown’s enterprise, New York / Rome 

Download

Rachel Rose: Wil-o-Wisp, 2018, Still, © Rachel Rose, Courtesy of the artist, Pilar Corrias Gallery, London und / and Gavin Brown’s enterprise, New York / Rome

Download

Rachel Rose, Foto / Photo: Landon Nordeman

Download

Fridericianum

Foto / Photo: Nils Klinger

Download

Moritz Wesseler, Köln 2018, © Albrecht Fuchs, Köln

Download