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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:
Communications, Fridericianum
Carina Wolf
press@fridericianum.org

Press Releases

  • Jun 15, 2023,
    Kerstin Brätsch at the Fridericianum

    Kerstin Brätsch
    MIMIKRY


    Press Preview: Thursday, January 19, 2023, 11.30 am 
    Speaker:
    Moritz Wesseler, Director of the Fridericianum. 
    Kerstin Brätsch is available for questions.

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

    Press release: Kerstin Brätsch 
    Opening: Friday, January 20, 7 pm

    The Fridericianum presents MIMIKRY by Kerstin Brätsch, the most recent work in its series of interventions. Specially developed for the rotunda at the heart of the kunsthalle, the complex, expansive installation by this Hamburg-born artist forms the new surroundings of the café located there. It follows café installations realized by Brätsch at the Museum of Modern Art in New York in 2019 and the LUMA Foundation in Arles in 2021.  
    MIMIKRY reflects a piece of Earth’s history whose colossal dimensions form the scarcely comprehensible context of human existence. Rocks, sediments, and fossils become a functional part of the café’s interior as wallpaper, window curtains, translucent room dividers, and sculptural tables. The past is pulled into the present—an impression reinforced by numerous depictions of dinosaurs. The past, whose deposits Brätsch reconstructs using contemporary materials, includes planetary prehistory as well as the artist’s own work history. The installation’s title picks up on this dovetailing. Mimicry refers to the imitation of visual, auditory, or olfactory signals by living beings to deceive other living beings for survival. In MIMIKRY, the artist performs this process figuratively upon herself. The patterns, ornamentation, and surface structures of the installation reference earlier works that themselves take imitation as their theme. These are, on one hand, the marblings from the series Unstable Talismanic Renderings (2014–present), which simulate rock formations, among other things. On the other hand, these are the motifs reminiscent of petrified brushstrokes from the Fossil Psychics (Stucco Marmo) series (2017–present), which at the Fridericianum are printed onto polymorphic tabletops of cast stone that rest on colorful iridescent legs. Toying with imitation, materials reflecting the most varied qualities, and diverse production processes, Brätsch “sediments” her painterly practice and explores artistic survival strategies. On the borderline between art and functional design, she meets the viewer with a twinkle in her eye as an eminently contemporary dinosaur. Hence, MIMIKRY not only invites visitors of all ages to linger. It also offers audiencesan unusual engagement with time and temporality, as well as with questions about the nature of art.

  • Dec 9, 2021, Press Release
    Moritz Wesselerʼs Tenure as Fridericianum Director now Extended

    documenta und Museum Fridericianum gGmbH is delighted to announce that Moritz Wesseler’s tenure as Director of the Fridericianum has been extended by its Supervisory Board to 2027.

    Since 2019 Wesseler has presented in Kassel highly acclaimed solo exhibitions by artists who previously had not been offered a broad platform in Germany in an institutional context – such as Ron Nagle, Rachel Rose or Tarek Atoui. With this specific focus he consolidates and enhances the status of the North Hessian metropolis as a location for artistic and creative innovation and experimentation.

    A further focal point of his activities is the elaboration and implementation of retrospective exhibitions on historical stances. For instance, the to date most comprehensive show on the creativity of the “visionary painter” Forrest Bess presented an artistic position that is of great relevance for numerous artists as well as for the pressing socio-political discourses of the present.

    The various exhibition projects are accompanied by multifaceted educational and event programs tailored to different ages and interest groups. These are held in the form of guided tours, lectures or workshops at the Fridericianum, as well as via podcasts and interview or documentary films in the digital space. The institution’s activities are thus made even more visible on an international level and sustainably rooted in people’s consciousness. This phenomenon could be seen, for example, on US election day 2020 in the illumination of the Fridericianum by filmmaker and painter Trisha Baga, which received attention far beyond Germany’s borders.

    Currently, the Kunsthalle is presenting solo exhibitions by the artists Toba Khedoori and Martine Syms. For the period following documenta fifteen, Wesseler is planning, amongst other things, to leverage the building and adjacent Friedrichsplatz even more comprehensively with site-specific interventions such as the so-called “green Greta” by Alexandra Bircken, in parallel to diverse and international exhibitions.

  • Jul 1, 2021, Press Release
    Martine Syms at the Fridericianum

    Martine Syms: Aphrodite’s Beasts
    July 3, 2021 – January 9, 2022
    Opening: Saturday, July 3, 2021, 11 am – 7 pm
    Fridericianum, Friedrichsplatz 18, 34117 Kassel

    Press Preview: Thursday, July 1, 2021, 11.30 am
    Speakers:
    Dr. Sabine Schormann, General Director of documenta und Museum Fridericianum gGmbH
    Moritz Wesseler, Director of the Fridericianum

    Born in 1988 in Los Angeles, Martine Syms has, in the last few years, emerged as one of the central and indeed defining figures in the recent international discourse on art and culture. In her interdisciplinary practice, which spans film, photography, installation, performance, and writing, the artist explores manifold, compelling questions in order to map out new perspectives on life and society. Through precise observation and in-depth research, Syms addresses the representation and reception of US-American identities and cultures, the theories and realities of feminism, conditions of interpersonal communication, and the impact of digital media on everyday life. Characterized by both conceptual and pop approaches, her work displays a distinct sense of humor without diminishing its urgency and relevance. Specifically developed for Kassel, the exhibition Aphrodite’s Beasts presents a comprehensive overview of the artist’s practice in Germany for the first time. Forming the backbone of the show are three film works that at times bear the stamp of expansive installations. Ugly Plymouths, a work created in 2020, introduces the exhibition. On three large flat screens mounted on poles, brief, sometimes intimate footage of everyday life in Los Angeles is used to narrate a one-act play whose title picks up on a phrase from the poem Hollywood by Beat poet Bob Kaufman (1925–1986). Syms’s protagonists are Hot Dog, Doobie, and Le Que Sabe, whose voices overlay the film singly or in conversation and speak of their daily concerns, promises, and temptations. Their utterances reference the form and content of text and voice messages of the digital age, revealing the simultaneous possibility and impossibility of communication and social interaction. Ugly Plymouths has strong immersive qualities, not least through the accumulation of sound and moving image and its embedding in a space flooded with red light.

    In contrast, the work Lesson LXXV, realized in 2017, generates an entirely different effect. Presented in an endless loop, the silent film shows the artist in three-quarter profile against a plain black background. In the sequence, which lasts for only a few seconds, milk pours down Syms’s face, hairline, thin braids, and torso. Occasionally, the blinking of her down-turned eyes can be made out, while on her chin, smaller and larger drops repeatedly follow gravity or seemingly defy the Earth’s pull. Despite the barely perceptible action, a silent power is exuded by the image, recalling depictions of icons. However, the starting point of Lesson LXXV is a more secular theme. Here, the artist refers to the demonstrations against racist violence in the United States and other parts of the world, where protestors often pour milk over their faces to relieve the pain caused by the deployment of tear gas. The work thus suggests a highly political impetus that, due to its specific formulation, potentially offers a timeless appeal to humanity. At the same time, Syms contextualizes her production within art history by presenting the film on a flat screen mounted horizontally atop a cuboid sitting on the floor referencing Minimal Art. Running counter to the standard palette of the prominent art movement of the 1960s, the cuboid and adjacent windows are rendered in a deep purple, alluding to the women’s movement, Alice Walker’s 1982 novel The Color Purple,andthe hue’s manifold meanings within the LGBTQIA community.

    Just as Syms positions herself at the center of Lesson LXXV, acting as the conveyor of a message, she also takes on the role of protagonist in the film DED, completed in 2021. Thus, in the approximately sixteen-minute work presented as a screen projection, she appears in the form of an avatar created using a 3D scan of her body. Against the backdrop of an unfathomably vast space structured only by a horizon line, the viewer experiences Syms undergoing a constant alternation between life and death, resurrection and demise. Sometimes she dies as a result of a gushing emptying of the contents of her stomach or esophagus, sometimes through the use of a firearm or knife, and at others through a fall from a great height or an implosion. Over and over again, the animated figure manages to come back to life, regaining its strength to get up and keep going. These dramatic sequences are at times accompanied by a rousing pop composition in which Syms’s vocals metaphorically describe the various facets of life in the twenty-first century and the elementary conditions and questions of humanity that accompany it. The line MY BEATING HEART can be heard as well as I’VE BEEN WAITING FOR YOU HERE and I WANT TO GIVE AND RECEIVE.

    Caught somewhere between life and death, hope and despair, power and powerlessness, DED evokes a grotesque, at times surreal image that certainly reflects the current atmosphere of global crises and catastrophes. With its observations, questions, demands, and fantasies, the work marks the closing point of the exhibition and offers impetus for an everlasting search. FIND A WAY can accordingly be read both on a frieze-like, luminous banner on the façade of the Fridericianum and on the strap weavings of the chairs that flank Syms’s cinematic works, alongside a group of six photographs. The latter feature the similarly deliberate, empathetic, cursory gaze that also informs the footage in Ugly Plymouths at the start of the exhibition.

  • 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.

  • 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.

  • 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.
For requests on images beyond this selection, as well as photography or filming requests please contact the Fridericianum Communications Department: press@fridericianum.org.

Fridericianum

Melvin Edwards

Ulla Wiggen

DIAGONAL PRESS LIBRARY

Tauba Auerbach

Rosemarie Trockel

Kerstin Brätsch

Roberto Cuoghi

Toba Khedoori

Martine Syms

Alexandra Bircken

FF – Live at the Fridericianum

Karl Holmqvist

Vincent Fecteau

Tarek Atoui

Forrest Bess

Rachel Rose

Fridericianum

Moritz Wesseler, Kassel, 2021 © Albrecht Fuchs, Köln

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Moritz Wesseler, Kassel, 2021 © Albrecht Fuchs, Köln

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Foto / Photo: Nils Klinger

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Melvin Edwards

August 31, 2024

Melvin Edwards: SOME BRIGHT MORNING
Film: Nana Adusei-Poku im Gespräch mit Melvin Edwards / Film: Nana Adusei-Poku in conversation with Melvin Edwards, 2024
(Ansicht Filmraum / Screening room view, Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti
© documenta und Museum Fridericianum gGmbH

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Melvin Edwards: SOME BRIGHT MORNING
Mit den Werken (v.l.n.r.) / With the works (left to right):
Untitled, 2004
Yene, 2004
Africanista Angle for Cobos, 1970–1980
Ginau Tabaski, 2006
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti
© Melvin Edwards, documenta und Museum Fridericianum gGmbH
Courtesy Alexander Gray Associates, New York; Stephen Friedman Gallery, London; Galerie Buchholz, Berlin

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Melvin Edwards: SOME BRIGHT MORNING
Mit den Werken / With the works:
Untitled, ca. 1974
Untitled, ca. 1974
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti
© Melvin Edwards, documenta und Museum Fridericianum gGmbH
Courtesy Alexander Gray Associates, New York; Stephen Friedman Gallery, London; Galerie Buchholz, Berlin

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Melvin Edwards: SOME BRIGHT MORNING
Mit den Werken (v.l.n.r.) / With the works (left to right):
Adeoli Goacoba, 1988
“Look through minds mirror distance and measure time” – Jayne Cortez, 1970
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti
© Melvin Edwards, documenta und Museum Fridericianum gGmbH
Courtesy Alexander Gray Associates, New York; Stephen Friedman Gallery, London; Galerie Buchholz, Berlin

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Melvin Edwards: SOME BRIGHT MORNING
Mit Werken der Serie / With works from the series:
Lynch Fragments, 1963
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti
© Melvin Edwards, documenta und Museum Fridericianum gGmbH
Courtesy Alexander Gray Associates, New York; Stephen Friedman Gallery, London; Galerie Buchholz, Berlin

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Melvin Edwards: SOME BRIGHT MORNING
Mit Werken der Serie / With works from the series:
Lynch Fragments, 1963
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti
© Melvin Edwards, documenta und Museum Fridericianum gGmbH
Courtesy Alexander Gray Associates, New York; Stephen Friedman Gallery, London; Galerie Buchholz, Berlin

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Melvin Edwards: SOME BRIGHT MORNING
Mit den Werken (v.l.n.r.) / With the works (left to right):
Tan Ton Dyminns, 1974
Augusta, 1974
Felton, 1974
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti
© Melvin Edwards, documenta und Museum Fridericianum gGmbH
Courtesy Alexander Gray Associates, New York; Stephen Friedman Gallery, London; Galerie Buchholz, Berlin

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Melvin Edwards: SOME BRIGHT MORNING
Mit dem Werk / With the work:
Para Nossa Conexão (For Our Connection), 2019
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti
© Melvin Edwards, documenta und Museum Fridericianum gGmbH
Courtesy Alexander Gray Associates, New York; Stephen Friedman Gallery, London; Galerie Buchholz, Berlin

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Melvin Edwards: SOME BRIGHT MORNING
Mit den Werken (vom Vordergrund nach hinten) / With the works (front to back):
Homage to the Poet Léon-Gontran Damas, 1978–1981
Some Bright Morning, 1963
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti
© Melvin Edwards, documenta und Museum Fridericianum gGmbH
Courtesy Alexander Gray Associates, New York; Stephen Friedman Gallery, London; Galerie Buchholz, Berlin

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Melvin Edwards: SOME BRIGHT MORNING
Mit dem Werk / With the work:
“Look through minds mirror distance and measure time” – Jayne Cortez, 1970
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Nicolas Wefers
© Melvin Edwards, documenta und Museum Fridericianum gGmbH
Courtesy Alexander Gray Associates, New York; Stephen Friedman Gallery, London; Galerie Buchholz, Berlin

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Melvin Edwards: SOME BRIGHT MORNING
Mit dem Werk / With the work:
Other Implications, 1970
Sammlung von / Collection of Lonti Ebers, New York
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Nicolas Wefers
© Melvin Edwards, documenta und Museum Fridericianum gGmbH
Courtesy Alexander Gray Associates, New York; Stephen Friedman Gallery, London; Galerie Buchholz, Berlin

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Melvin Edwards: SOME BRIGHT MORNING
Mit dem Werk / With the work:
“Look through minds mirror distance and measure time” – Jayne Cortez, 1970
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Nicolas Wefers
© Melvin Edwards, documenta und Museum Fridericianum gGmbH
Courtesy Alexander Gray Associates, New York; Stephen Friedman Gallery, London; Galerie Buchholz, Berlin

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Melvin Edwards: SOME BRIGHT MORNING
Mit Werken der Serie / With works from the series:
Lynch Fragments, 1963
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Nicolas Wefers
© Melvin Edwards, documenta und Museum Fridericianum gGmbH
Courtesy Alexander Gray Associates, New York; Stephen Friedman Gallery, London; Galerie Buchholz, Berlin

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Melvin Edwards: SOME BRIGHT MORNING
Mit den Werken / With the works:
Untitled, ca. 1974
Aquarell und Tinte auf Papier / Watercolor and ink on paper
Coco Vari Providence, 2017
Stahl und Stacheldraht / Steel and barbed wire
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Nicolas Wefers
© Melvin Edwards, documenta und Museum Fridericianum gGmbH

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Melvin Edwards: SOME BRIGHT MORNING
Mit dem Werk / With the work:
Augusta, 1974
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Nicolas Wefers
© Melvin Edwards, documenta und Museum Fridericianum gGmbH
Courtesy Alexander Gray Associates, New York; Stephen Friedman Gallery, London; Galerie Buchholz, Berlin

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Melvin Edwards: SOME BRIGHT MORNING
Mit den Werken (v.l.n.r.) / With the works (left to right):
Agricole, 2016
Some Bright Morning, 1963
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Nicolas Wefers
© Melvin Edwards, documenta und Museum Fridericianum gGmbH
Courtesy Alexander Gray Associates, New York; Stephen Friedman Gallery, London; Galerie Buchholz, Berlin

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Melvin Edwards: SOME BRIGHT MORNING
Mit dem Werk / With the work:
Agricole, 2016
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Nicolas Wefers
© Melvin Edwards, documenta und Museum Fridericianum gGmbH
Courtesy Alexander Gray Associates, New York; Stephen Friedman Gallery, London; Galerie Buchholz, Berlin

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Melvin Edwards: SOME BRIGHT MORNING
Mit dem Werk / With the work:
Homage to Oba Ewuare II of Benin City, Nigeria, 20162017
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Nicolas Wefers
© Melvin Edwards, documenta und Museum Fridericianum gGmbH
Courtesy Alexander Gray Associates, New York; Stephen Friedman Gallery, London; Galerie Buchholz, Berlin

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Melvin Edwards: SOME BRIGHT MORNING
Mit den Werken (v.l.n.r.) / With the works (left to right):
Zim OK (Working in Zimbabwe), 1996
Homage to Oba Ewuare II of Benin City, Nigeria, 20162017
Adeoli Goacoba, 1988
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Nicolas Wefers
© Melvin Edwards, documenta und Museum Fridericianum gGmbH
Courtesy Alexander Gray Associates, New York; Stephen Friedman Gallery, London; Galerie Buchholz, Berlin

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Melvin Edwards: SOME BRIGHT MORNING
Mit dem Werk / With the work:
Adeoli Goacoba, 1988
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Nicolas Wefers
© Melvin Edwards, documenta und Museum Fridericianum gGmbH
Courtesy Alexander Gray Associates, New York; Stephen Friedman Gallery, London; Galerie Buchholz, Berlin

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Melvin Edwards: Melvin Edwards
Mit Werken aus der Serie / With works from the series: Lynch Fragments (1963–)
Installationsansicht / Installation view: Galerie Buchholz, Berlin 2017
© Der Künstler / The artist
Courtesy der Künstler / the artist; Alexander Gray Associates, New York; Stephen Friedman Gallery, London; Galerie Buchholz, Berlin

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Porträt Melvin Edwards, 2023
Foto: Albrecht Fuchs
© Der Künstler / The artist, documenta und Museum Fridericianum gGmbH

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Melvin Edwards: Untitled, 1974
Aquarell und Tinte auf Papier / Watercolor and ink on paper
46,4 × 61 cm
Foto / Photo: Stephen White & Co
© Der Künstler / The artist
Courtesy der Künstler / the artist; Alexander Gray Associates, New York; Stephen Friedman Gallery, London; Galerie Buchholz, Berlin

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Melvin Edwards: Untitled, ca. 1974
Aquarell und Tinte auf Papier / Watercolor and ink on paper
46 × 61 cm
© Der Künstler / The artist
Courtesy der Künstler / the artist; Alexander Gray Associates, New York; Stephen Friedman Gallery, London; Galerie Buchholz, Berlin

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Melvin Edwards: Untitled, ca. 1974
Aquarell und Tinte auf Papier / Watercolor and ink on paper
46 × 61 cm
Foto / Photo: Jens Ziehe
© Der Künstler / The artist
Courtesy der Künstler / the artist; Alexander Gray Associates, New York; Stephen Friedman Gallery, London; Galerie Buchholz, Berlin

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Melvin Edwards: Some Bright Morning, 1963
Geschweißter Stahl / Welded steel
36.2 × 23.5 × 12.7 cm
© Der Künstler / The artist
Courtesy der Künstler / the artist; Alexander Gray Associates, New York; Stephen Friedman Gallery, London; Galerie Buchholz, Berlin

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Melvin Edwards: La Luta, 2007
Geschweißter Stahl / Welded steel
33,5 × 28 × 19 cm
Foto / Photo: Mark Blower
© Der Künstler / The artist
Courtesy der Künstler / The artist; Alexander Gray Associates, New York; Stephen Friedman Gallery, London; Galerie Buchholz, Berlin

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Melvin Edwards: I Remember, 1978
Geschweißter Stahl / Welded steel
64 x 25 x 24 cm
Foto / Photo: Mark Blower
© Der Künstler / The artist
Courtesy der Künstler / the artist; Alexander Gray Associates, New York; Stephen Friedman Gallery, London; Galerie Buchholz, Berlin

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Melvin Edwards: Alteration, 2002
Geschweißter Stahl / Welded steel
25,4 × 15,2 × 15,2 cm
Foto / Photo: Jeffrey Sturges
© Der Künstler / The artist
Courtesy der Künstler / the artist; Alexander Gray Associates, New York; Stephen Friedman Gallery, London; Galerie Buchholz, Berlin

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Melvin Edwards: Adeoli Goacoba, 1988
Edelstahl in 2 Teilen / Stainless steel in 2 parts
Teil 1 / Part 1: 297,2 × 195,6 × 119,4 cm; Teil 2 / Part 2: 207 × 222,3 × 91,4 cm
(Installationsansicht / Installation view: Melvin Edwards, Sam Gilliam, and William T. Williams: Epistrophy
April 1–April 30, 2022
540 West 25th Street, New York, NY 10001)
Foto / Photo: Kyle Knodell Photography courtesy Pace Gallery
© Der Künstler / The artist
Courtesy der Künstler / the artist; Alexander Gray Associates, New York; Stephen Friedman Gallery, London; Galerie Buchholz, Berlin

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Ulla Wiggen

February 24, 2024

Ulla Wiggen: OUTSIDE / INSIDE
Mit den Werken (links nach rechts) / With the works (left to right):
Passage, 2016
Sammlung der Familie / Collection of Family Pataky, Courtesy Belenius, Stockholm
Golem I, 2016
Privatsammlung / Private collection, Stockholm
The face of mind, 2016
Statens konstråd
Iris XII, 2019
Privatsammlung / Private collection
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti
© Ulla Wiggen, documenta und Museum Fridericianum gGmbH

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Ulla Wiggen: OUTSIDE / INSIDE
Mit den Werken (links nach rechts) / With the works (left to right):
Passim, 2014
Courtesy Belenius, Stockholm
Procenum, 2013
Privatsammlung / Private collection, Sweden
Världsatlas III, 2017
Privatsammlung / Private collection
Gyrus, 2014
Privatsammlung, Schweden / Private collection, Sweden
Vestibulum, 2013
Firestorm Foundation
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti
© Ulla Wiggen, documenta und Museum Fridericianum gGmbH

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Ulla Wiggen: OUTSIDE / INSIDE
Mit den Werken (links nach rechts) / With the works (left to right):
Sfinx, 1969
Sammlung / Collection of Daniel Buchholz & Christopher Müller, Köln / Cologne
Radar, 1968
Region Stockholm County Council
Någonstans, 1969
Stockholm‘s city art collection
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti
© Ulla Wiggen, documenta und Museum Fridericianum gGmbH

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Ulla Wiggen: OUTSIDE / INSIDE
Mit den Werken (links nach rechts) / With the works (left to right):
Iris XXVIII Albin, 2023
Firestorm Foundation
Iris XIX Lena, 2021
Courtesy Belenius, Stockholm
Iris XVII Peter, 2020
Privatsammlung / Private collection, Sweden
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti
© Ulla Wiggen, documenta und Museum Fridericianum gGmbH

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Ulla Wiggen: OUTSIDE / INSIDE
Biografie von / Biography of Ulla Wiggen
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti
© Ulla Wiggen, documenta und Museum Fridericianum gGmbH

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Porträt / Portrait Ulla Wiggen, Foto / Photo: Albrecht Fuchs

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Ulla Wiggen: OUTSIDE / INSIDE
Mit dem Werk / With the work: Den röda TV:n, 1967
Moderna Museet, Stockholm
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti
© Ulla Wiggen, documenta und Museum Fridericianum gGmbH 

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Ulla Wiggen: OUTSIDE / INSIDE
Mit dem Werk / With the work: TRASK, 1967
Moderna Museet, Stockholm. Ankauf / Purchase 1968
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti
© Ulla Wiggen, documenta und Museum Fridericianum gGmbH 

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Ulla Wiggen: OUTSIDE / INSIDE
Mit dem Werk / With the work: Horisonten, 1969
Sammlung des / Collection of the Norrköpings Konstmuseum
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti
© Ulla Wiggen, documenta und Museum Fridericianum gGmbH 

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Ulla Wiggen: OUTSIDE / INSIDE
Mit dem Werk / With the work: Iris Hanna XIV, 2019
Moderna Museet, Stockholm. Ankauf 2020 gefördert durch die / Purchase 2020 funded by The Sten Eckedals and Majken Eckedals Foundation
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti
© Ulla Wiggen, documenta und Museum Fridericianum gGmbH 

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OUTSIDE / INSIDE
Filmraum „Kino 2“: Von Venedig nach Kassel – Cecilia Alemani über Ulla Wiggen / Screening room „Cinema 2“: From Venice to Kassel – Cecilia Alemani about Ulla Wiggen, 2024
(Installationsansicht / Installation view Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti
© documenta und Museum Fridericianum gGmbH

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Ulla Wiggen: Iris XVIII Line, 2020, Acryl auf MDF / Acrylic on MDF, 113,5 × 119 cm, RAF SIMONS COLLECTION, Antwerpen / Antwerp, Foto / Photo: Jens Ziehe, Berlin, Courtesy Galerie Buchholz

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Ulla Wiggen: Iris XII, 2019, Acryl auf MDF / Acrylic on MDF, 73 × 76 cm, Privatsammlung / Private collection, Foto / Photo: Lothar Schnepf, Courtesy Galerie Buchholz

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Ulla Wiggen: Sfinx, 1969, Acryl auf Hartfaserplatte / Acrylic on masonite, 93 × 76 cm, Sammlung / Collection Daniel Buchholz und / and Christopher Müller, Köln / Cologne, Foto / Photo: Jens Ziehe, Berlin Courtesy Galerie Buchholz

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Ulla Wiggen: Två, 2017, Acryl auf MDF / Acrylic on MDF, Sammlung von Hilde Retzlaff / Collection of Hilde Retzlaff, Stockholm, Foto / Photo: Die Künstlerin / The artist

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Ulla Wiggen: Den röda TV:n, 1967, Acryl auf Hartfaserplatte / Acrylic on masonite, 89 × 116 cm, Moderna Museet, Stockholm. Übertragen 2013 von der / Transferred 2013 from Statens konstråd, Foto / Photo: Åsa Lundén, Moderna Museet-Stockholm

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Ulla Wiggen: Passage, 2016, Acryl und Blattgold auf Leinwand / Acrylic and gold leaf on canvas, 75 × 90 cm, Sammlung der Familie Pataky / Collection of Family Pataky, Courtesy Belenius, Stockholm, Foto / Photo: Die Künstlerin / The artist

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Ulla Wiggen: Simultantolkning, 1965, Acryl auf Hartfaserplatte / Acrylic on masonite, 110,3 × 155,2 cm , Moderna Museet, Stockholm. Ankauf / Purchase 2012, © Ulla Wiggen/Bildupphovsrätt 2024, Foto / Photo: Åsa Lundén, Moderna Museet-Stockholm

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Ulla Wiggen: Templum, 2015, Acryl und Blattgold auf Leinwand / Acrylic and gold leaf on canvas, 41 × 42 cm, Öffentliche Kunstsammlung der Region Skåne / Public Art Collection of Region Skåne, Foto / Photo: Helene Toresdotter

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Ulla Wiggen: Sorores, 2014, Acryl auf Leinwand / Acrylic on canvas, 30 × 40 cm, Privatsammlung / Private collection, Foto / Photo: Die Künstlerin / The artist

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Ulla Wiggen: Conscientia, 2014, Acryl und Blattgold auf Leinwand / Acrylic and gold leaf on canvas, 34 × 33 cm, Privatsammlung / Private collection, Foto / Photo: Die Künstlerin / The artist

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Ulla Wiggen: Vestibulum, 2013, Acryl auf Leinwand / Acrylic on canvas, 29 × 41 cm, Firestorm Foundation, Foto / Photo: Die Künstlerin / The artist

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Ulla Wiggen: Procenum, 2013, Acryl auf Leinwand / Acrylic on canvas, 22 × 19 cm, Privatsammlung, Schweden / Private collection, Sweden, Foto / Photo: Die Künstlerin / The artist

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Ulla Wiggen: Horisonten, 1969, Acryl auf Hartfaserplatte / Acrylic on masonite, 75 × 52 cm, Sammlung des Norrköpings Konstmuseum / Collection of the Norrköpings Konstmuseum, Foto / Photo: Norrköpings Konstmuseum, Per Myrehed

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Ulla Wiggen: TRASK, 1967, Acryl auf Hartfaserplatte / Acrylic on masonite, 148,6 × 78,3 cm, Moderna Museet, Stockholm. Ankauf / Purchase 1968, Foto / Photo: Åsa Lundén, Moderna Museet-Stockholm

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Ulla Wiggen: Sändare, 1968, Acryl auf Hartfaserplatte / Acrylic on masonite, 45 × 100 cm, Privatsammlung / Private collection, Foto / Photo: Die Künstlerin / The artist

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Ulla Wiggen: Kretslopp II, 1967, Acryl auf Hartfaserplatte / Acrylic on masonite, 25 × 20 cm, Privatsammlung, Schweden / Private collection, Sweden, Foto / Photo: Die Künstlerin / The artist

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Ulla Wiggen: Kanalväljare, 1967, Acryl auf Hartfaserplatte / Acrylic on masonite, 60 × 80 cm, Privatsammlung / Private collection, Foto / Photo: Jens Ziehe, Berlin, Courtesy Galerie Buchholz

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Ulla Wiggen: Kretsfamilj, 1964, Gouache auf Gaze, montiert auf Hartfaserplatte / Gouache on gauze, mounted on masonite, 35 × 30 cm, Bonnier Group Art Collection, Foto / Photo: Die Künstlerin / The artist

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Ulla Wiggen: Förstärkare, 1964, Gouache auf Gaze, montiert auf Hartfaserplatte / Gouache on gauze, mounted on masonite, 35 × 25 cm, Privatsammlung / Private collection, Stockholm, Foto / Photo: Die Künstlerin / The artist

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DIAGONAL PRESS LIBRARY
July 15, 2023

DIAGONAL PRESS LIBRARY
(Installationsansicht / Installation view: Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti © Tauba Auerbach, documenta und Museum Fridericianum gGmbH

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DIAGONAL PRESS LIBRARY
(Installationsansicht / Installation view: Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti © Tauba Auerbach, documenta und Museum Fridericianum gGmbH

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DIAGONAL PRESS LIBRARY
Mit der Serie / With the series:
Map Projections I – X, 2020
(Installationsansicht / Installation view: Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti © Tauba Auerbach, documenta und Museum Fridericianum gGmbH

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Tauba Auerbach: Six Rotationally Symmetric Periodic Ribbon Ornaments for Architecture, 2022
12 Seiten, Offsetdruck, Spiralbindung / 12 pages, offset print, coil binding
91,44 × 20,32 cm
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Diagonal Press, New York

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Tauba Auerbach: Pilot Wave Induction II, 2018
Zwei Bände, je 60 Seiten / Two volumes, 60 pages each
HP Indigo-Druck auf ungestrichenem Papier / HP Indigo print on uncoated paper
Scheibeneinband aus Metall und Kunststoff / Metal and plastic disc binding
Vierteilige Box nach Maß / Custom four-part box
Klettverschluss, Aufkleber / Velcro, stickers
33,02 × 17,78 × 3,81 cm
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Diagonal Press, New York

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Tauba Auerbach: Pilot Wave Induction II, 2018
Zwei Bände, je 60 Seiten / Two volumes, 60 pages each
HP Indigo-Druck auf ungestrichenem Papier / HP Indigo print on uncoated paper
Scheibeneinband aus Metall und Kunststoff / Metal and plastic disc binding
Vierteilige Box nach Maß / Custom four-part box
Klettverschluss, Aufkleber /Velcro, stickers
33,02 × 17,78 × 3,81 cm
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Diagonal Press, New York

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Tauba Auerbach: Reciprocal Score, 2015
8 Akkordeon gefaltete Seiten / 8 accordion folded pages
10 lb Plotter geschnittenes Bristolpapier / 10 lb plotter-cut Bristol paper
Handgestempelt mit eigenen Gummistempeln im Haus / Hand stamped with custom rubber stamps in-house
Krawattenbindung aus Baumwollköper / Cotton twill tape
29,21 × 21,91 cm
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Diagonal Press, New York

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Tauba Auerbach: Reciprocal Score, 2015
8 Akkordeon gefaltete Seiten / 8 accordion folded pages
10 lb Plotter geschnittenes Bristolpapier / 10 lb plotter-cut Bristol paper
Handgestempelt mit eigenen Gummistempeln im Haus / Hand stamped with custom rubber stamps in-house
Krawattenbindung aus Baumwollköper / Cotton twill tape
29,21 × 21,91 cm
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Diagonal Press, New York

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Tauba Auerbach: The Gold Church, 2015
48 Seiten / 48 pages
Schwarzer Laserdruck auf gelbem Papier / Black laser print on yellow paper
Spulenbindung / Coil binding
25,4 × 19,05 cm
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Diagonal Press, New York

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Tauba Auerbach: The Gold Church, 2015
48 Seiten / 48 pages
Schwarzer Laserdruck auf gelbem Papier / Black laser print on yellow paper
Spulenbindung / Coil binding
25,4 × 19,05 cm
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Diagonal Press, New York

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Tauba Auerbach: Peanopoem 0, 2022
2 Seiten, Offsetdruck / 2 pages, offset print
35,56 × 10,8 cm
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Diagonal Press, New York

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Tauba Auerbach: Peanopoem I, 2022
2 Seiten, Offsetdruck / 2 pages, offset print
35,56 × 10,8 cm
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Diagonal Press, New York

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Tauba Auerbach: Map Projection VI – Stereographic (North America Surrounds), 2020
Offsetdruck / Offset printing
68,58 × 99,06 cm
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Diagonal Press, New York

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Tauba Auerbach: Ribbon Calligraphy Metallic Typeface (Bottom) Type Specimen Poster
Schriftart entworfen 2019, gedruckt 2021 / Typeface designed 2019, printed 2021
Siebdruck auf Papier / Screen print on paper
62,23 × 49,53 cm (doppelseitig / double sided)
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Diagonal Press, New York

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Tauba Auerbach: Ribbon Calligraphy Metallic Typeface (Bottom) Type Specimen Poster
Schriftart entworfen 2019, gedruckt 2021 / Typeface designed 2019, printed 2021
Siebdruck auf Papier / Screen print on paper
62,23 × 49,53 cm (doppelseitig / double sided)
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Diagonal Press, New York

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Tauba Auerbach: Japanese Maille Type Specimen Poster
Schriftart entworfen 2014, gedruckt 2015 / Typeface designed 2014, printed 2015
Siebdruck auf Papier / Screen print on paper
62,23 × 49,53 cm (doppeltseitig / double sided)
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Diagonal Press, New York

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Tauba Auerbach: Up Died OG Type Specimen Poster
Schriftart entworfen 2010, gedruckt 2013 / Typeface designed 2010, printed 2013
Siebdruck auf Papier / Screen print on paper
62,23 × 49,53 cm (doppelseitig / double sided)
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Diagonal Press, New York

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Tauba Auerbach: Unfolded Tesseract, 2017
3D-bedrucktes Nylon, Bristolkarton, Gummistempel / 3D printed nylon, Bristol board box, rubber stamp
9,53 × 15,24 cm
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Diagonal Press, New York

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Tauba Auerbach: Noloid, 2015
3D-gedrucktes Nylon / 3D printed nylon 
Pappröhre, mit eigenem Gummistempel gestempelt / Cardboard tube, stamped with custom rubber stamp in-house
8,9 × 13,34 cm
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Diagonal Press, New York

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Tauba Auerbach: Japanese Maille Pin, 2015
Zinkdruckgusslegierung und weiche Emaille / Diecast zinc alloy and soft enamel
Einfacher oder doppelter Gummirücken / Single or double rubber back
7,97 × 1,34 cm
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Diagonal Press, New York

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Tauba Auerbach: Periodic Domain Pin I (Blue), 2016
Zinkdruckgusslegierung und weiche Emaille / Diecast zinc alloy and soft enamel
Einfacher oder doppelter Gummirücken / Single or double rubber back
7,62 × 2,54 cm 
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Diagonal Press, New York

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Tauba Auerbach: 2nd Iteration Frozen Fountain Curve Pin, 2016
Zinkdruckgusslegierung und weiche Emaille / Diecast zinc alloy and soft enamel
Einfacher oder doppelter Gummirücken / Single or double rubber back
6,99 × 5,08 cm
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Diagonal Press, New York

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Tauba Auerbach: Fractal Flag III, 2017
Lasergeschnittene Nylonflaggen / Laser cut nylon flags
86,4 × 154,94 cm
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Diagonal Press, New York

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Tauba Auerbach
July 15, 2023

Tauba Auerbach: TIDE
Mit Werken aus der Serie / With works from the series: Spontaneous Lace, 2023
(Installationsansicht / Installation view: Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti © Tauba Auerbach, documenta und Museum Fridericianum gGmbH

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Tauba Auerbach: TIDE
(Installationsansicht / Installation view: Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti © Tauba Auerbach, documenta und Museum Fridericianum gGmbH

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Tauba Auerbach: TIDE
(Installationsansicht / Installation view: Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti © Tauba Auerbach, documenta und Museum Fridericianum gGmbH

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Tauba Auerbach: TIDE
(Installationsansicht / Installation view: Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti © Tauba Auerbach, documenta und Museum Fridericianum gGmbH

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Tauba Auerbach: TIDE
Mit dem Werk / With the work:
7S, 7Z, 1S, 2Z, 2019
(Installationsansicht / Installation view: Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti © Tauba Auerbach, documenta und Museum Fridericianum gGmbH

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Tauba Auerbach: TIDE
Mit Werken aus den Serien / With works from the series:
Foam, 2023 und / and Org, 2022–23
(Installationsansicht / Installation view: Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti © Tauba Auerbach, documenta und Museum Fridericianum gGmbH

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Tauba Auerbach: TIDE
Mit Werken aus der Serie / With works from the series:
Foam, 2023
(Installationsansicht / Installation view: Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti © Tauba Auerbach, documenta und Museum Fridericianum gGmbH

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Tauba Auerbach: TIDE
Mit Werken aus der Serie / With works from the series: Ligature Drawing, 2016–2023
(Installationsansicht / Installation view: Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti
© Tauba Auerbach, documenta und Museum Fridericianum gGmbH

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Tauba Auerbach: TIDE
Mit dem Werk / With the work:
Pilot Wave Induction IV (I+III), 2023
(Installationsansicht / Installation view: Fridericianum, Kassel)
Foto / Photo: Andrea Rossetti © Tauba Auerbach, documenta und Museum Fridericianum gGmbH

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Tauba Auerbach: Extended Object (detail), 2021
Acryl auf Leinwand, Holzkeilrahmen / Acrylic on canvas, wood stretcher
35,6 × 45,7 cm
© Tauba Auerbach, Lance Brewer (Foto / Photo)
Courtesy STANDARD (OSLO)

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Tauba Auerbach: Extended Object, 2021
Acryl auf Leinwand, Holzkeilrahmen / Acrylic on canvas, wood stretcher
35,6 × 45,7 cm
© Tauba Auerbach, Lance Brewer (Foto / Photo)
Courtesy STANDARD (OSLO)

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Tauba Auerbach: Extended Object, 2020
Acryl auf Leinwand, Holzkeilrahmen / Acrylic on canvas, wood stretcher
35,6 × 45,7 cm
Danjuma Collection
© Tauba Auerbach, Lance Brewer (Foto / Photo)
Courtesy STANDARD (OSLO)

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Tauba Auerbach: Extended Object, 2018
Acryl auf Leinwand in Aluminiumrahmen / Acrylic on canvas in aluminum frame
35,6 × 45,7 cm
Sammlung / Collection Lisa and Steven Tananbaum
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Paula Cooper Gallery, New York

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Tauba Auerbach: Org (detail), 2023
Geflochtene Glasperlen / Woven glass beads
5,1 × 204,5 × 105,1 cm
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Paula Cooper Gallery, New York

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Tauba Auerbach: Org, 2023
Geflochtene Glasperlen / Woven glass beads
12,7 × 179,1 × 58,4 cm
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Paula Cooper Gallery, New York

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Tauba Auerbach: Org, 2022
Geflochtene Glasperlen / Woven glass beads
5,1 × 144,8 × 15,2 cm
Privatsammlung / Private Collection, New York
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Paula Cooper Gallery, New York

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Tauba Auerbach: Grain – Cantor Fret Slice II, 2018
Acryl auf Leinwand, Holzkeilrahmen / Acrylic on canvas, wood stretcher
Fondazione Sandretto Re Rebaudengo
© Tauba Auerbach, Lance Brewer (Foto / Photo)
Courtesy STANDARD (OSLO)

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Tauba Auerbach: Grain – Cantor Fret Slice II (detail), 2018
Acryl auf Leinwand, Holzkeilrahmen / Acrylic on canvas, wood stretcher
Fondazione Sandretto Re Rebaudengo
© Tauba Auerbach, Lance Brewer (Foto / Photo)
Courtesy STANDARD (OSLO)

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Tauba Auerbach: Grain – Meander Strike I, 2021
Acryl auf Leinwand, Holzkeilrahmen / Acrylic on canvas, wood stretcher
152,4 × 114,3 cm
© Tauba Auerbach, Lance Brewer (Foto / Photo)
Courtesy STANDARD (OSLO)

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Tauba Auerbach: Grain – Mandelbrot Quartet Escape (Ventrella Variation), 2022
Acryl auf Leinwand, Holzkeilrahmen / Acrylic on canvas, wood stretcher
152,4 × 114,3 cm
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Paula Cooper Gallery, New York

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Tauba Auerbach: Pilot Wave Induction IV (I +III) (video still), 2023
Vierkanaliges HD-Video / Four channel HD video; Farbe, Ton / color, sound
9′18′′ (looped)
Kamera / Camera: Rafe Scobey-Thal; Schlagzeug / Percussion: Greg Fox
© Tauba Auerbach

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Tauba Auerbach: Pilot Wave Induction IV (I +III) (video still), 2023
Vierkanaliges HD-Video / Four channel HD video; Farbe, Ton / color, sound
9′18′′ (looped)
Kamera / Camera: Rafe Scobey-Thal; Schlagzeug / Percussion: Greg Fox
© Tauba Auerbach

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Tauba Auerbach: Spontaneous Lace, 2023
Ofengeformtes Glas in Aluminiumarmatur / Kiln-formed glass in aluminum armature
121,9 × 25,4 × 1 cm
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Paula Cooper Gallery, New York

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Tauba Auerbach: Spontaneous Lace (detail), 2023
Ofengeformtes Glas in Aluminiumarmatur / Kiln-formed glass in aluminum armature
121,9 × 25,4 × 1 cm
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Paula Cooper Gallery, New York

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Tauba Auerbach: Spontaneous Lace, 2023
Ofengeformtes Glas in Aluminiumarmatur / Kiln-formed glass in aluminum armature
76,2 × 21,3 × 1 cm
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Paula Cooper Gallery, New York

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Tauba Auerbach: Spontaneous Lace (detail), 2023
Ofengeformtes Glas in Aluminiumarmatur / Kiln-formed glass in aluminum armature
76,2 × 21,3 × 1 cm
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Paula Cooper Gallery, New York

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Tauba Auerbach: Ligature Drawing, 28 August 2021, 2021
Tinte und Datumsstempel auf Papier / Ink and date stamp on paper
81,6 × 68,6 cm
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Paula Cooper Gallery, New York

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Tauba Auerbach: Ligature Drawing, 29 March 2021, 2021
Tinte und Datumsstempel auf Papier / Ink and date stamp on paper
81,6 × 68,6 cm
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Paula Cooper Gallery, New York

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Tauba Auerbach: Foam, 2023
Acryl auf Dibond / Acrylic on Dibond
40,6 × 61 cm
Privatsammlung / Private Collection, New York
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Paula Cooper Gallery, New York

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Tauba Auerbach: Foam (detail), 2023
Acryl auf Dibond / Acrylic on Dibond
40,6 × 61 cm
Privatsammlung / Private Collection, New York
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Paula Cooper Gallery, New York

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Tauba Auerbach: Foam, 2023
Acrylic on Dibond / Acrylic on Dibond
152,4 × 228,6 cm
© Tauba Auerbach, Steven Probert (Photo)
Courtesy Paula Cooper Gallery, New York

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Tauba Auerbach: Foam, 2023
Acryl auf Dibond / Acrylic on Dibond
152,4 × 228,6 cm
Sammlung / Collection Glenn and Amanda Fuhrman, New York
Courtesy the FLAG Art Foundation
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Paula Cooper Gallery, New York

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Tauba Auerbach: 7S, 7Z, 1S, 2Z, 2019
Stahl, Glas, Seife, Blei, Aluminium, Schlauchpumpe, PVC, Motoren, Solarzellen, Batterie, Elektronik, Strom / Steel, glass, soap, lead, aluminum, peristaltic pump, pvc, motors, solar panels, battery, electronics, current
Dimensionen variabel / Dimensions variable
© Tauba Auerbach, Charles Benton (Foto / Photo)
Courtesy the Artist’s Institute at Hunter College, New York

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Tauba Auerbach: A Flexible Fabric of Inflexible Parts (detail), 2015
Borosilikatglas auf Tisch aus Aluminium, Holz und Farbe / Borosilicate glass on table of aluminum, wood and paint
11 spiralförmige Komponenten / 11 helical components:  jeweils / each 7,6 × 7,6 × 80 cm
Tisch / Table: 59,7 × 213,4 × 213,4 cm
© Tauba Auerbach, Steven Probert (Foto / Photo)
Courtesy Paula Cooper Gallery, New York

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Rosemarie Trockel
February 21, 2023

Rosemarie Trockel: Victoria, 2021, Cappuccino Ober- und Untertasse / Cappuccino Cup and Saucer © Rosemarie Trockel, documenta und Museum Fridericianum gGmbH, Nicolas Wefers (Foto / photo)

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Rosemarie Trockel: no Rules, 2021, Espresso Ober- und Untertasse / Espresso Cup and Saucer © Rosemarie Trockel, documenta und Museum Fridericianum gGmbH, Nicolas Wefers (Foto / photo)

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Kerstin Brätsch
January 20, 2023

Porträt Kerstin Brätsch © Andrea Rossetti

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Installation view, Kerstin Brätsch: MIMIKRY, 2023, Fridericianum, Kassel © documenta und Museum Fridericianum gGmbH, the artist. Photo: Nicolas Wefers

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Installation view, Kerstin Brätsch: MIMIKRY, 2023, Fridericianum, Kassel © documenta und Museum Fridericianum gGmbH, the artist. Photo: Nicolas Wefers

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Installation view, Kerstin Brätsch: MIMIKRY, 2023, Fridericianum, Kassel © documenta und Museum Fridericianum gGmbH, the artist. Photo: Nicolas Wefers

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Kerstin Brätsch: Towards an Alphabet_ Dino Rorschach, 2022 © the artist, documenta und Museum Fridericianum gGmbH

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Kerstin Brätsch: Towards an Alphabet_ Dino Runes (Kassel Version), 2020/2022, Wallpaper (detail) © the artist, documenta und Museum Fridericianum gGmbH, Photo: Nicolas Wefers

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Kerstin Brätsch: Fossil Psychic table model, 2022, Cardboard, paper, hotglue, 12 individual elements, scale: 1:5 © the artist, documenta und Museum Fridericianum gGmbH, photo: Nicolas Wefers

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Kerstin Brätsch: Fossil Psychics table models, 2022 © the artist. Photo: Nicolas Wefers

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Kerstin Brätsch: Fossil Psychics table models, 2022, Cardboard, paper, hotglue, 12 individual elements, scale: 1:5 © the artist, documenta und Museum Fridericianum gGmbH, photo: Nicolas Wefers

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Kerstin Brätsch: Towards an Alphabet_ Dino Runes (Kassel Version), 2020/2022, Wallpaper (detail) © the artist, documenta und Museum Fridericianum gGmbH, Photo: Nicolas Wefers

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Kerstin Brätsch: Fossil Psychic for Christa (Stucco Marmo), 2020 – 2021, Plaster, pigment, glue, wax and oil on honeycomb, felt 111,8 x 148,9 cm © the artist. Photo: Daniele Molajoli

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Kerstin Brätsch: Fossil Psychic for Christa (Stucco Marmo), 2020, Plaster, pigments, glue, wax and oil on honeycomb, felt 109.9 x 140 cm © the artist. Photo: Daniele Molajoli

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Roberto Cuoghi
December 3, 2022 – May 29, 2023

Porträt / Portrait Roberto Cuoghi © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist, Hauser & Wirth and Galerie Chantal Crousel

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Roberto Cuoghi in Zusammenarbeit mit matali crasset / Roberto Cuoghi in collaboration with matali crasset (Installationsansicht / Installation view Fridericianum, Kassel) © Roberto Cuoghi, documenta und Museum Fridericianum gGmbH, Photo: Andrea Rossetti

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Roberto Cuoghi (Installationsansicht / Installation view Fridericianum, Kassel), Leihgabe / Loan Hauser & Wirth © Roberto Cuoghi, documenta und Museum Fridericianum gGmbH, Photo: Andrea Rossetti

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Roberto Cuoghi: Imitatio Christi, 2017, (Installationsansicht / Installation view Fridericianum), Leihgabe/ Loan Galerie Chantal Crousel, © Roberto Cuoghi, Museum Fridericianum gGmbH, Photo: An

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Roberto Cuoghi: Imitatio Christi, 2017, (Installationsansicht / Installation view Fridericianum), Privatsammlung / Private collection, © Roberto Cuoghi, Museum Fridericianum gGmbH, Photo: Andrea Rossetti

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Roberto Cuoghi: Imitatio Christi, 2017, (Installationsansicht / Installation view Fridericianum), Privatsammlung / Private collection, © Roberto Cuoghi, Museum Fridericianum gGmbH, Photo: Andrea Rossetti

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Roberto Cuoghi: Imitatio Christi, 2017, (Installationsansicht / Installation view Fridericianum), Privatsammlung / Private collection, © Roberto Cuoghi, Museum Fridericianum gGmbH, Photo: Andrea Rossetti

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Roberto Cuoghi: Imitatio Christi, 2017, (Installationsansicht / Installation view Fridericianum), Privatsammlung / Private collection, © Roberto Cuoghi, Museum Fridericianum gGmbH, Photo: Andrea Rossetti

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Roberto Cuoghi: SS(XCVP)s, 2019, (Installationsansicht/ Installation view Fridericianum, Kassel), Privatsammlung / private collection, Hauser & Wirth Collection Services, © Roberto Cuoghi, documenta und Museum Fridericianum gGmbH, Foto: Andrea Rossetti

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Roberto Cuoghi: SS(IISh)c, 2019 Keramik, Messing, Nylon, Eisen, Kaugummi / Ceramic, brass, nylon, iron, chewing gum 75 x 110 x 40 cm © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist and Hauser & Wirth

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Roberto Cuoghi: SS(IIISh)o, 2019 Messing / Brass 160 x 100 x 34 cm © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist and Galerie Chantal Crousel, Paris

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Roberto Cuoghi: Šuillakku, 2008 Sound Installation Dokumentationsfoto der Vorbereitung von Šuillakku, Castello di Rivoli / Documentary photograph during the preparation of Šuillakku, Castello di Rivoli © Roberto Cuoghi, Foto / Photo: Alessandra Sofia

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Roberto Cuoghi: Ether en Flocons, 2018 Agar Agar, Gelatine / Agar agar, gelatine 10 verschiedene Elemente, je / 10 different elements, each 70 x 50 x 20 cm © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist and Hauser & Wirth

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Roberto Cuoghi: Imitatio Christi, 2019 Agar Agar, Filz / Agar agar, felt 167 x 80 x 20 cm © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist and Galerie Chantal Crousel

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Roberto Cuoghi: Imitatio Christi, 2017 Installationsansicht / Installation view La Biennale di Venezia. © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist, Hauser & Wirth and Galerie Chantal Crousel

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Roberto Cuoghi: Imitatio Christi, 2017 Installationsansicht / Installation view La Biennale di Venezia. Privatsammlung / Private collection © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist, Hauser & Wirth and Galerie Chantal Crousel

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Roberto Cuoghi: Imitatio Christi, 2017 Installationsansicht / Installation view La Biennale di Venezia. Privatsammlung / Private collection © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist, Hauser & Wirth and Galerie Chantal Crousel

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Roberto Cuoghi: Imitatio Christi, 2017 Installationsansicht / Installation view La Biennale di Venezia. Privatsammlung / Private collection © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist, Hauser & Wirth and Galerie Chantal Crousel

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Roberto Cuoghi: Imitatio Christi, 2017 Installationsansicht / Installation view La Biennale di Venezia. Privatsammlung / Private collection © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist, Hauser & Wirth and Galerie Chantal Crousel

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Roberto Cuoghi: SS(IVP)c, 2016 Keramik / Ceramic 27 × 25 × 22 cm © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist, Hauser & Wirth and Galerie Chantal Crousel

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Roberto Cuoghi: Imitatio Christi, 2017 Installationsansicht / Installation view La Biennale di Venezia. Privatsammlung / Private collection © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist, Hauser & Wirth and Galerie Chantal Crousel

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Roberto Cuoghi: SS(XCIVP)c, 2018 Keramik, Porzelan, mit Kerakim ummanteltes Aluminium / Ceramic, porcelain, ceramic-coated aluminium, glass, aluminum 243 individuelle Keramikelemente, Maße variabel / individual ceramic elements, size variable © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist and Hauser & Wirth

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Roberto Cuoghi: SS(XCP)c, 2018 Keramik, Straussenei, Mehl / Ceramic, ostrich egg, flour 45 x 103 x 76 cm Privatsammlung / Private collection © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist, Hauser & Wirth and Galerie Chantal Crousel

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Dokumentation von Putiferio / Documentation of Putiferio, DESTE Foundation Project Space, Hydra 2016. Foto / Photo: Fanis Vlastaras & Rebecca Constantopoulou

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Dokumentation von Putiferio / Documentation of Putiferio, DESTE Foundation Project Space, Hydra 2016. Foto / Photo: Maria Markezi

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Dokumentation von Putiferio / Documentation of Putiferio, DESTE Foundation Project Space, Hydra 2016. Foto / Photo: Maria Markezi

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Porträt / Portrait matali crasset Foto / Photo: Julien Jouanjus

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Porträt / Portrait matali crasset, Foto / Photo: Julien Jouanjus

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Roberto Cuoghi: SS(XCVP)c, 2019 Keramik, Eisen, Wollpullover, Filz / Ceramic, iron, woolen
sweater, felt, 260 x 280 x 60 cm, Privatsammlung / Private collection, Hauser & Wirth, Collection Services, © Roberto Cuoghi, Foto / Photo: Alessandra Sofia.

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Roberto Cuoghi: Scale Model of SS(XCVP)c, 2019 Filz / Felt 75 x 75 x 15 cm Privatsammlung / Private collection © Roberto Cuoghi, Foto / Photo: Alessandra Sofia Courtesy the artist, Hauser & Wirth and Galerie Chantal Crousel

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Toba Khedoori
October 9, 2021 – February 20, 2022

Installationsansicht / Installation view, Fridericianum, 2021 © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)

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Installationsansicht / Installation view, Fridericianum, 2021 © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)

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Installationsansicht / Installation view, Fridericianum, 2021 © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)

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Installationsansicht / Installation view, Fridericianum, 2021 © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)

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Installationsansicht / Installation view, Fridericianum, 2021 © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)

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Toba Khedoori: Untitled (overpass), 1994, Öl und Wachs auf Papier / Oil and wax on paper, 335,2 x 609,7 cm, Privatsammlung / Private Collection © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)

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Toba Khedoori: Untitled, 2020, Öl, Graphit und Wachs auf Papier / Oil, graphite, and wax on paper
243,8 x 350,5 cm Sammlung / Collection Filip Engelen and Ann Gillis, Belgien / Belgium © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)

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Toba Khedoori: Untitled, 2019–2020, Wachs, Graphit und Öl auf Papier / Wax, graphite, and oil on paper
248,9 x 218,4 cm Privatsammlung, Schweiz / Private Collection, Switzerland © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)

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Toba Khedoori: Untitled (buildings/windows), 1994, Öl und Wachs auf Papier / Oil and wax on paper, 335,28 cm 609,6 cm, Sammlung von / Collection of Jeffrey Deitch © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photos)

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Toba Khedoori: Untitled (hole), 2013 Öl auf Leinen / Oil on linen 112,4 x 121 cm Emanuel Hoffmann-Stiftung, Depositum in der Öffentlichen Kunstsammlung Basel © Toba Khedoori, Emanuel Hoffmann-Stiftung, Depositum in der Öffentlichen Kunstsammlung Basel, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)

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Toba Khedoori: Untitled, 2021, Öl, Graphit und Wachs auf Papier / Oil, graphite, and wax on paper 350,5 x 495,3 cm © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)

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Toba Khedoori: Untitled (branches 1), 2011–2012 Öl auf Leinen / Oil on linen 80,6 x 105,1 cm Privatsammlung / Private Collection, Courtesy David Zwirner © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)

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Toba Khedoori: Untitled (white fireplace), 2005 Öl und Wachs auf Papier / Oil on waxed paper 358,1 x 490,2 cm Privatsammlung / Private Collection, Courtesy David Zwirner
© Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)

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Toba Khedoori: Untitled (tile), 2014 Öl auf Leinen / Oil on linen 60,3 x 95,6 cm Emanuel Hoffmann-Stiftung, Depositum in der Öffentlichen Kunstsammlung Basel
© Toba Khedoori, Emanuel Hoffmann-Stiftung, Depositum in der Öffentlichen Kunstsammlung Basel, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)

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Toba Khedoori: Untitled (chain-link fence), 1996, Öl und Wachs auf Papier / Oil and wax on paper, 335,3 x 586,7 cm
Privatsammlung / Private Collection © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)

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Toba Khedoori: Untitled (window), 1999, Öl und Wachs auf Papier / Oil and wax on paper, 365,8 x 609,6 cm, Emanuel Hoffmann-Stiftung, Depositum in der Öffentlichen Kunstsammlung Basel © Toba Khedoori, Emanuel Hoffmann-Stiftung, Depositum in der Öffentlichen Kunstsammlung Basel documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)

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Toba Khedoori: Untitled, 2018, Öl auf gewachstem Papier / Oil on waxed paper, 243,8 x 335 cm, Sammlung von / Collection of Alex Hank © Toba Khedoori, documenta und Museum Fridericianum gGmbH, photo: Andrea Rossetti

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Installationsansicht / Installation view, Fridericianum, 2021 © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photos)

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Installationsansicht / Installation view, Fridericianum, 2021 © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)

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Toba Khedoori: Untitled (window), 1999, Emanuel Hoffmann-Stiftung, Depositum in der Öffentlichen Kunstsammlung Basel (Installationsansicht / Installation view, Fridericianum, 2021) © Toba Khedoori, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photo)

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Toba Khedoori: Untitled (stick), 2005, Öl und Wachs auf Papier / Oil and wax on paper, 360,7 x 203,2 cm ALBERTINA, Wien – Dauerleihgabe der Österreichischen Ludwig-Stiftung für Kunst und Wissenschaft © Toba Khedoori, ALBERTINA, Wien – Dauerleihgabe der Österreichischen Ludwig-Stiftung für Kunst und Wissenschaft

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Toba Khedoori: Untitled (clouds), 2005, Öl und Wachs auf Papier / Oil and wax on paper, 328,9 x 203,2 cm, Sammlung von / Collection of Adam Sender © Toba Khedoori, photo: Fredrik Nilsen. Courtesy Regen Projects Los Angeles, and David Zwirner

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Toba Khedoori in ihrem Studio in Los Angeles, 1995 / Toba Khedoori in her Los Angeles studio, 1995
© Toba Khedoori, Courtesy Regen Projects, Los Angeles and David Zwirner, Rachel Khedoori (Foto / Photo)

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Martine Syms
July 3, 2021 – February 20, 2022

Martine Syms: Ded, 2021 (Installationsansicht / Installation view Aphrodite’s Beasts), Fridericianum, Kassel, 2021 © Martine Syms, documenta und Museum Fridericianum gGmbH. Andrea Rossetti (photo)

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Martine Syms: Aphrodite’s Beasts (Installationsansicht / Installation view), Fridericianum, Kassel, 2021 © Martine Syms, documenta und Museum Fridericianum gGmbH. Andrea Rossetti (photo)

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Martine Syms: Ugly Plymouths, 2020 (Installationsansicht / Installation view Aphrodite’s Beasts), Fridericianum, Kassel, 2021 © Martine Syms, documenta und Museum Fridericianum gGmbH. Andrea Rossetti (photo)

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Martine Syms: The path is long and winding, 2021 (Installationsansicht / Installation view), Fridericianum, Kassel, 2021 © Martine Syms, documenta und Museum Fridericianum gGmbH. Foto / Photo: Nicolas Wefers

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Martine Syms, 2021 © Martine Syms

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Martine Syms: The path is long and winding, 2021 (Installationsansicht / Installation view), Fridericianum, Kassel, 2021 © Martine Syms, documenta und Museum Fridericianum gGmbH. Foto / Photo: Nicolas Wefers

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Martine Syms: The path is long and winding, 2021 (Installationsansicht / Installation view), Fridericianum, Kassel, 2021 © Martine Syms, documenta und Museum Fridericianum gGmbH. Foto / Photo: Nicolas Wefers

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© Martine Syms, Courtesy Sadie Coles HQ and Bridget Donahue Gallery

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Martine Syms: Ugly Plymouths [still] , 2020 , 3 channel video. © Martine Syms, courtesy Sadie Coles HQ, London, and Bridget Donahue, New York.

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Martine Syms: Ugly Plymouths [still] , 2020 , 3 channel video. © Martine Syms, courtesy Sadie Coles HQ, London, and Bridget Donahue, New York.

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Martine Syms, Lesson LXXV, 2017 (Installationsansicht / Installation view), Public Art Fund, Time Square, New York, 6. Feburar – 5. März 2017 / February 6 – March 5, 2017 © Martine Syms, courtesy Public Art Fund and Sadie Coles HQ, London

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Martine Syms: Ugly Plymouths [still] , 2020 , 3 channel video. © Martine Syms, courtesy Sadie Coles HQ, London, and Bridget Donahue, New York.

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Martine Syms: Lesson LXXV [still], 2017. © Martine Syms, courtesy Sadie Coles HQ, London

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Martine Syms, August 2018 © Martine Syms, courtesy Sadie Coles HQ, London. Foto / Photo: Taylor Rainbolt

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Martine Syms, 2017 © Martine Syms, courtesy Cultured Magazine and Sadie Coles HQ, London. Foto / Photo: Manfredi Gioacchini

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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

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

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

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

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Alexandra Bircken, “Top down / Bottom up”, 2020, eine Auftragsarbeit des / a work comissioned by the Fridericianum © Alexandra Bircken, Fridericianum, Foto / Photo: Andrea Rossetti

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

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

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

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

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

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

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

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FF – Live at the Fridericianum

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

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

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

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

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

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

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

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

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

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© Trisha Baga

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© Trisha Baga

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© Trisha Baga

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

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Laure Prouvost © Neel Creates Photography

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Dan Bodan © Julia Burlingham

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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

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

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

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

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

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

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

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

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Vincent Fecteau
April 3 – September 5, 2021

Installationsansicht / Installation view, Fridericianum, 2021 © Vincent Fecteau, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photos)

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Installationsansicht / Installation view, Fridericianum, 2021 © Vincent Fecteau, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photos)

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Installationsansicht / Installation view, Fridericianum, 2021 © Vincent Fecteau, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photos)

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Installationsansicht / Installation view, Fridericianum, 2021 © Vincent Fecteau, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photos)

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Installationsansicht / Installation view, Fridericianum, 2021 © Vincent Fecteau, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photos)

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Installationsansicht / Installation view, Fridericianum, 2021 © Vincent Fecteau, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photos)

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Installationsansicht / Installation view, Fridericianum, 2021 © Vincent Fecteau, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photos)

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Installationsansicht / Installation view, Fridericianum, 2021 © Vincent Fecteau, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photos)

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Installationsansicht / Installation view, Fridericianum, 2021 © Vincent Fecteau, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photos)

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Installationsansicht / Installation view, Fridericianum, 2021 © Vincent Fecteau, documenta und Museum Fridericianum gGmbH, Andrea Rossetti (photos)

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Vincent Fecteau: Untitled, 2014. © Courtesy of the Artist and Galerie Buchholz, greengrassi, Matthew Marks Gallery. Foto / Photo: Ron Amstutz.

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Vincent Fecteau: Untitled, 2020. © Courtesy of the Artist and Galerie Buchholz, greengrassi, Matthew Marks Gallery.

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Vincent Fecteau: Untitled, 2020. © Courtesy of the Artist and Galerie Buchholz, greengrassi, Matthew Marks Gallery.

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Vincent Fecteau: Untitled, 2019. © Courtesy of the Artist and Galerie Buchholz, greengrassi, Matthew Marks Gallery.

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Vincent Fecteau: Untitled, 2008. © Courtesy of the Artist and Galerie Buchholz, greengrassi, Matthew Marks Gallery.

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Vincent Fecteau: Untitled, 2015. © Courtesy of The Artist and
Galerie Buchholz, greengrassi, Matthew Marks Gallery. Foto / Photo: Ian Reeves

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Vincent Fecteau: Untitled, 2006. © Courtesy of the Artist and Galerie Buchholz, greengrassi, Matthew Marks Gallery.

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Vincent Fecteau: Untitled, 2015. © Courtesy of the Artist and Galerie Buchholz, greengrassi, Matthew Marks Gallery. Foto / Photo: Ian Reeves

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Vincent Fecteau: Untitled, 2000. Private collection, London. © Courtesy of the Artist and Galerie Buchholz, greengrassi, Matthew Marks Gallery. Foto / Photo: farbanalyse.

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Vincent Fecteau: Shirley Temple Room #1, 1994. © Courtesy of the Artist and Galerie Buchholz, greengrassi, Matthew Marks Gallery. Foto / Photo: Aaron Wax

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Vincent Fecteau: Dramatization (Ausstellungkopie/exhibition copy, 2019), 1994. © Courtesy of the Artist and Galerie Buchholz, greengrassi, Matthew Marks Gallery. Foto / Photo: Aaron Wax

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Vincent Fecteau: Chorus #2, 1994. © Courtesy of the Artist and Galerie Buchholz, greengrassi, Matthew Marks Gallery. Foto / Photo: Aaron Wax

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Vincent Fecteau, Fridericianum, 2021 © Vincent Fecteau, documenta und Museum Fridericianum gGmbH, Nicolas Wefers (photo)

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Tarek Atoui
October 3, 2020 – May 24, 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

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

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

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

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

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

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

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

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

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

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

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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

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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

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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

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Bildnachweis / Image Credit:

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

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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

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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

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Tarek Atoui, Chris Watson neben der Persephone-Höhle im Tempel von Elefsina (Griechenland) / next to Percephone cave in the Temple of Elefsina (Greece). Juni / June 2015. Foto / Photo: Alexandre Guirkinger

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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

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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

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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

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Forrest Bess
February 15 – September 6, 2020

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

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Photo of Forrest Bess, 1956 © Kirk Hopper

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

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

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

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

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

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Rachel Rose

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

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

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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

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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 

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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

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Rachel Rose, Foto / Photo: Landon Nordeman

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