THE ARMORY SHOW 2020 PREVIEW OF SELECTED WORKS - GALERIE THOMAS SCHULTE | PIER 94, BOOTH 805 5TO8 MARCH 2020
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THE ARMORY SHOW 2020
Preview of Selected Works
Galerie Thomas Schulte | PIER 94, BOOTH 805
5 to 8 march 2020
• Michael Müller, KAFH, 2019 (detail)
Artists on view Also represented Contact
Angela de la Cruz Dieter Appelt Galerie Thomas Schulte
Hamish Fulton Alice Aycock Charlottenstraße 24
Idris Khan Richard Deacon 10117 Berlin
Allan McCollum David Hartt fon: +49 (0)30 2060 8990
Michael Müller Julian Irlinger fax: +49 (0)30 2060 89910
Pat Steir Alfredo Jaar mail@galeriethomasschulte.de
Jonas Weichsel Paco Knöller www.galeriethomasschulte.de
Jonathan Lasker
Maria Loboda Gonzalo Alarcón
Iñigo Manglano-Ovalle +49 (173) 66 46 623
Robert Mapplethorpe gonzalo@galeriethomasschulte.de
Fabian Marcaccio
Gordon Matta-Clark Luigi Nerone
Michael Müller +49 (172) 30 89 076
João Penalva luigi@galeriethomasschulte.de
Leunora Salihu
Albrecht Schnider Juliane Pönisch
Iris Schomaker +49 (151) 22 22 02 70
Katharina Sieverding juliane@galeriethomasschulte.de
Juan Uslé
Stephen Willats
Robert Wilson
This brochure represents a selection of available works at our booth. For
further information about individual artists and to learn more about works
which are not represented here, please contact us.
Please note that all information in this preview can be subject to changes. 2,3
PAT STEIR
For decades, Pat Steir (born 1940 in Newark, NJ, USA) has been an
important fixture in the New York art scene. With her specific con-
cept-oriented approach Steir can be seen in the tradition of abstract
painting à la Jackson Pollock, a heritage which she combines with
her expertise in Chinese painting traditions. Since around 2000 Steir
has developed an ever more subtle method using the process of drip-
ping to create a delicate interwoven curtain-like surface texture
which has been the basis for many paintings of the years to come.
In 2019, the Barnes Foundation in Philadelphia unveiled Steir’s “Si-
lent Secret Waterfalls: The Barnes Series,” a monumental commission,
consisting of 11 new paintings that had been on view in the entrance court
of the museum for almost one year. Since October 2019 and through Sep-
tember 2020 the Hirshhorn Museum and Sculpture Garden in Washing-
ton, D.C. presents the artist’s largest site-specific commission to date: 28
new paintings spanning the entire perimeter of the museum’s second-floor
inner-circle galleries.
Pat Steir
White Moon Abyss, 2006
Oil on canvas
182.9 x 182.9 cm | 72 x 72 in
Pat Steir Red and White Six by Six, 2012/2017 Oil on canvas 182.9 x 182.9 cm | 72 x 72 in 6,7
MiCHAEL MÜLLER
Michael Müller (born 1970 in Ingelheim am Rhein, Germany) is a concep-
tual artist whose manifold, proliferating oeuvre resists any straightfor-
ward or one-way interpretation. Müller continuously broadens the meth-
ods of his artistic expression, combining works on paper with painting,
text-based work, sculpture, found objects, music, and performance, and
has even developed a cosmetic line and fashion collection. He received
great critical and curatorial attention for his Eighteen Exhibitions cycle,
which resulted in solo exhibitions at two of Germany’s most progressive
art institutions, KW Institute of Contemporary Art, Berlin, and Staatliche
Kunsthalle Baden-Baden. In 2018, he was nominated for the prestigious
Prize of the Böttcherstrasse. Most recently, Müller has been invited by
Städtische Galerie Wolfsburg to—over the course of two years—reassess
its collection, make a personal selection from the holdings of the museum
and to stage the selected works for the audience in new and innovative
ways.
Through his series of works In front and behind the glass, Müller
seeks the confrontation with the medium of painting and explores the
possibilities of creating a relationship between the paintings and the space
that surrounds them. By painting onto the glass—usually seperating
the painting and reflecting the environment in front of it—the reflective
qualities of the glass are reduced to a minimum, while its transparency
opens up the possibility of integrating the space behind the painting as
part of the work. Thus, Müller creates an optical illusion: standing in front
of the painting, the different layers of paint appear to have been applied
“in front and behind the glass.”
Michael Müller
KAFH (Vor und hinter dem Glas), 2019
Acrylic on glass
Framed: 206 x 166 x 6 cm | 81 x 65 1/3 x 2 1/3 in 8,9
Michael Müller A Letter From Kashi (Vor und hinter dem Glas), 2019 Acrylic on glass and linen Framed: 206 x 167 x 6 cm | 81 x 65 3/4 x 2 1/3 in
IDRIS KHAN
Idris Khan OBE (born 1978 in Birmingham, England) in the last few years
has become one of the UK’s most successful young artists and has also
gained great international acclaim. In 2017, he was awarded the American
Architecture Prize for the design of his Memorial Monument and Pavilion
of Honour in the new Memorial Park in Abu Dhabi. In October 2018, he
revealed a major commission of twenty-one paintings, which are now on
display in the new Albukhary Foundation Gallery of the British Museum
in London. Most recently, in October 2019, Khan’s monumental sculpture
“65,000 Photographs” was installed at the new public plaza in Blackfriars
in London and is the artist’s first permanent public artwork in the UK.
Currently, Khan is preparing a solo show for the MoCa Westport in
Connecticut. In 2022 he will stage a major solo exhibition at the Milwaukee
Art Museum in Wisconsin.
Exploring philosophical and theoretical ideas surrounding global
displacement and conflict, Khan demonstrates his profound interest in
language and meaning over a wide array of media, including painting,
sculpture, photography, works on paper or glass. Khan has developed
a unique narrative, drawing on diverse cultural sources including art,
literature, philosophy, and music. His densely-layered imagery inhabits
the space between abstraction and figuration encompassing aspects of
history, cumulative experience, and the metaphysical collapse of time into
a single moment.
Idris Khan
Quartet, 2019 (detail)
Idris Khan Quartet, 2019 Gesso and oil stick on black and white fibre print mounted on aluminum panel Framed: each 79 x 54.4 x 4 cm | 31 x 21 1/2 x 1 2/3 in 14,15
above:
Idris Khan
65,000 Photographs (Maquette), 2019
Jesmonite and steel armature
99.2 x 15 x 11.2 cm | 39 x 6 x 4 1/2 in
Edition 4/6 + 1AP
right:
Idris Khan, 65,000 Photographs at One Blackfriars, 2019
65,000 Photographs was commissioned by London Borough of Southwark as part
of the One Blackfriars Public Art Programme on behalf of St George City Limited
ALLAN MCCOLLUM
Allan McCollum (born 1944 in Los Angeles, CA, USA) is among the best
and most profound American conceptual artists and has been represented
by Galerie Thomas Schulte for almost 30 years. McCollum’s works feature
in most major museum collections in the US and world-wide, including
MoMA, the Whitney Museum of American Art, the Metropolitan Museum
of Art, Solomon R. Guggenheim Museum, The New Museum, LACMA,
the Art Institute of Chicago, The Hirshhorn Museum, Louisiana Museum
of Modern Art, Centre Pompidou, MUMOK, Vienna, and the National
Museum of Contemporary Art, Seoul.
The “Plaster Surrogates”, of which McCollum has made hundreds,
are plaster structures painted with enamel—there is no frame and there
is no canvas. They are blank paintings cast from an absent original. Allan
McCollum produces a surrogate of painting, an empty signifier that stands
“in the place of social relations, objectifying them in a displaced way,“
as George Baker has astutely put it. The surrogate fulfills the task of
painting: it facilitates aesthetic engagement and economic exchange,
produces discourse, and takes up space on the wall. It does all the things
that a painting should do. But it is not a painting. It is a fraud, a fake, a
stand-in.
On 26 March, ICA Miami presents the first US museum retrospective
for Allan McCollum. In autumn The exhibition is traveling to the Mildred
Lane Kemper Art Museum in St. Louis, Missouri.
Allan McCollum
Surrogates No III (set of 20), 1982-83
(detail)Allan McCollum Surrogates No III (set of 20), 1982-83 Enamel paint on Hydrostone Dimensions variable 20,21
ANGELA DE LA CRUZ
Angela de la Cruz (born 1965 in La Coruña, Spain) in her work confronts
the boundaries of traditional painting and sculpture by devising works,
which are “neither painting nor sculpture but something in between”
(Donald Judd). De la Cruz was nominated for the Turner Prize in 2010.
Having received the National Award for Fine Arts of her country of ori-
gin, Spain, in 2017, her work was recently on view in a major mid-career
retrospective at Azkuna Zentroa in Bilbao, traveling to the Galicia Con-
temporary Art Center in Santiago de Compostela, Spain.
In her new series “Layers” the works consists of three superimposed
layers of canvas, each painted with a square and a border in specific color
combinations. The different layers of canvas appear to fall from the frame
revealing underneath an identically glossy layer, as if the painting was
reproducing, renewing itself; a representation of a metamorphosis, so to
speak, of the picture’s own creation.
Angela de la Cruz
Layers - Small (Ultramarine Blue/
Light Blue), 2019
Acrylic and oil on canvas
70 x 50 x 7 cm | 27 1/2 x 19 2/3 x 2 3/4 inJONAS WEICHSEL
Jonas Weichsel (born 1982 in Darmstadt, Germany) creates minimalist
paintings of uncanny precision and impalpability, which upon closer in-
spection translate into sensuous, lived experiences. Early on, Weichsel
developed his unique analytical and systematic painting technique, which
he continues to pursue often combining digital and plotting techniques
with hand-painted elements to explore the possibilities and limits of paint-
ing and the boundaries between immateriality and a tangible, material
presence. His paintings inherit a deceptive simplicity and unfold their full
power only in the contemplation of the original.
As part of the exhibition Now! Painting in Germany Today a
selection of works by Jonas Weichsel had been on view in three German
instituions (Kunstmuseum Bonn, Museum Wiesbaden, Kunstsammlungen
Chemnitz) until January. The exhibition, which presents to the public a
cross section of paintings by young artists living in Germany, can still be
seen at its fourth venue at Deichtorhallen Hamburg until mid May.
Jonas Weichsel
United Europe Flag (C), 2019 (detail)Jonas Weichsel Jonas Weichsel Tc Dia (W) Ultramarinblau, 2020 (rendering) Tc Dia (G) Fluorescent Magenta, 2020 Acrylic on canvas on stiff wood, aluminium support acrylic on canvas on stiff wood, aluminium support 71 x 45 x 1.4 cm | 28 x 17 3/4 x 1/2 in 71 x 45 x 1.4 cm | 28 x 17 3/4 x 1/2 in 26,27
right:
Jonas Weichsel
Fc 180 I (Broken Pyrol), 2019
Acrylic and Uv print on canvas
180 x 116 x 2.7 cm | 70 3/4 x 45 2/3 x 1 in
above:
Jonas Weichsel
United Europe Flag (C), 2019
Silkscreen on canvas
68 x 104 x 1.3 cm | 26 3/4 x 41 x 1/2 inHAMISH FULTON
Hamish Fulton (born 1946 in London, England) is a walking artist, who
since 1972 has made works based on the experience of walking. Arguing
that “walking is an art form in its own right,” Fulton translates his walks
into photographs, drawings, small objects, and wall texts. Although only
Fulton himself experiences the walk itself, his works invite the beholder
to engage with the lived experience.
His walks have had him travel extensively to countries including
England, Scotland, Wales, Ireland, France, Italy, Switzerland, Austria,
Germany, Norway, Lapland, Iceland, Spain, Portugal, The United States,
Mexico, Canada, Peru, Bolivia, Argentina, Nepal, India, Australia, Japan,
and Tibet. Regarding the question of how to relate to the land he has been
walking, the artist states: “In 2019, it is the indigenous peoples of the
world who may guide us to a more respectful relationship with what they
call Mother Earth.”
Hamish Fulton, No Talking For 14
Days A 21 Day Wandering Walk 20
Nights Camping Beartooth Moun-
tains Of Montana USA Ending With
The September Full Moon 1997,
1997, installation at Galerie Thomas
Schulte, Berlin 2018/19Hamish Fulton Hamish Fulton Hamish Fulton Seven Pieces of Wood For a Seven Day Walk, 1996 Mountain Skyline: 21 Day Walking Journey Via The Tops Of Fuji Yama, 1988 7 parts work Seven Small Engadin Mountains Switzerland Summer, 2007 2 parts work Text on wood Text on wood Text on wood 17 x 8.5 cm | 6 2/3 x 3 1/3 in 8.3 x 31.8 cm | 3 1/4 x 12 1/2 in 9.5 x 22 cm | 3 3/4 x 8 2/3 in
Publisher Galerie Thomas Schulte GmbH Charlottenstraße 24 10117 Berlin fon: +49 (0)30 2060 8990 fax: +49 (0)30 2060 89910 mail@galeriethomasschulte.de www.galeriethomasschulte.de © 2020 the artist, the photographers and Galerie Thomas Schulte This dossier was published on the occasion of The Armory Show, New York, 2020.
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