Jenny Holzer, Barbara Kruger, Louise Lawler, Cindy Sherman, Rosemarie Trockel @ Sprüth Magers

Barbara Kruger, Untitled (Project for Dazed and Confused), 1996, print mounted on foamcore, Courtesy Sprüth Magers

Barbara Kruger, Untitled (Project for Dazed and Confused), 1996, print on foamcore, Courtesy Sprüth Magers

Installation view, Jenny Holzer, Barbara Kruger, Louise Lawler, Cindy Sherman, Rosemarie Trockel, Sprüth Magers, Berlin

Jenny Holzer, I saw them strip a man … Text: Living (1980-1982), 1981 Enamel on metal, hand-painted sign: black on white, © Jenny Holzer / VG Bild-Kunst, Bonn, 2015 Courtesy Sprüth Magers

Jenny Holzer, Living: Someone wants to cut a hole in you … Text: Living (1980-82), 1981 Hand-painted enamel on metal sign: red on white, © Jenny Holzer / VG Bild-Kunst, Bonn, 2015 Courtesy Sprüth Magers

Installation view, Jenny Holzer, Barbara Kruger, Louise Lawler, Cindy Sherman, Rosemarie Trockel, Sprüth Magers, Berlin

Louise Lawler, (Bunny) Sculpture and Painting (adjusted to fit), 1999 / 2015, Adhesive wall material, Dimensions variable, © Louise Lawler, Courtesy Sprüth Magers and Metro Pictures

Rosemarie Trockel, Cluster I-Bachelor’s Luck, 2015, 22 digital prints on alu dibond, installation view, Sprüth Magers, Berlin, 2015 © Rosemarie Trockel / VG Bild-Kunst, Bonn, 2015, Courtesy Sprüth Magers

Installation view, Jenny Holzer, Barbara Kruger, Louise Lawler, Cindy Sherman, Rosemarie Trockel, Sprüth Magers, Berlin

Cindy Sherman, Untitled, 2015, Three dye sublimation metal prints, © Cindy Sherman, Courtesy Sprüth Magers and Metro Pictures

Installation view, Jenny Holzer, Barbara Kruger, Louise Lawler, Cindy Sherman, Rosemarie Trockel, Sprüth Magers, Berlin

Barbara Kruger, Untitled (Project for Dazed and Confused), 1996, print mounted on foamcore, Courtesy Sprüth Magers

Barbara Kruger, Untitled (Project for Dazed and Confused), 1996, print on foamcore, Courtesy Sprüth Magers

Installation view, Jenny Holzer, Barbara Kruger, Louise Lawler, Cindy Sherman, Rosemarie Trockel, Sprüth Magers, Berlin

Jenny Holzer, I saw them strip a man … Text: Living (1980-1982), 1981 Enamel on metal, hand-painted sign: black on white, © Jenny Holzer / VG Bild-Kunst, Bonn, 2015 Courtesy Sprüth Magers

Jenny Holzer, Living: Someone wants to cut a hole in you … Text: Living (1980-82), 1981 Hand-painted enamel on metal sign: red on white, © Jenny Holzer / VG Bild-Kunst, Bonn, 2015 Courtesy Sprüth Magers

Installation view, Jenny Holzer, Barbara Kruger, Louise Lawler, Cindy Sherman, Rosemarie Trockel, Sprüth Magers, Berlin

Louise Lawler, (Bunny) Sculpture and Painting (adjusted to fit), 1999 / 2015, Adhesive wall material, Dimensions variable, © Louise Lawler, Courtesy Sprüth Magers and Metro Pictures

Rosemarie Trockel, Cluster I-Bachelor’s Luck, 2015, 22 digital prints on alu dibond, installation view, Sprüth Magers, Berlin, 2015 © Rosemarie Trockel / VG Bild-Kunst, Bonn, 2015, Courtesy Sprüth Magers

Installation view, Jenny Holzer, Barbara Kruger, Louise Lawler, Cindy Sherman, Rosemarie Trockel, Sprüth Magers, Berlin

Cindy Sherman, Untitled, 2015, Three dye sublimation metal prints, © Cindy Sherman, Courtesy Sprüth Magers and Metro Pictures

Installation view, Jenny Holzer, Barbara Kruger, Louise Lawler, Cindy Sherman, Rosemarie Trockel, Sprüth Magers, Berlin

Installation view, Jenny Holzer, Barbara Kruger, Louise Lawler, Cindy Sherman, Rosemarie Trockel, Sprüth Magers, Berlin

Installation view, Jenny Holzer, Barbara Kruger, Louise Lawler, Cindy Sherman, Rosemarie Trockel, Sprüth Magers, Berlin

Installation view, Jenny Holzer, Barbara Kruger, Louise Lawler, Cindy Sherman, Rosemarie Trockel, Sprüth Magers, Berlin

Jenny Holzer, Barbara Kruger, Louise Lawler, Cindy Sherman, Rosemarie Trockel

17/09/2015 – 21/10/2015

Sprüth Magers
Oranienburger Straße 18, Berlin
Viewing Hours: Tuesday – Saturday, 11am – 6pm

See more Information here.

Discourse

Yves Saint Laurent at the press conference for his first retrospective 25 Years of Design, Metropolitan Museum, New York, 1983. © Roxanne Lowit. Photo: Roxanne Lowit

Yves Saint Laurent at the press conference for his first retrospective, “25 Years of Design,” Metropolitan Museum, New York, 1983. © Roxanne Lowit. Photo: Roxanne Lowit

Museum à la mode

A short history of luxury designer retrospectives – of Armani, YSL, Alexander McQueen, et al – and their more experimental counterparts illuminates 20th-century ideas of nation-building and fashion’s many possible futures.

Views

Eva & Franco Mattes, Half Cat (2021) and Untitled (Yellow Cable Tray) (2021), installation view, Frankfurter Kunstverein, 2023. © Frankfurter Kunstverein. All images courtesy: the artists and Apalazzo Gallery, Brescia. Photos: Melania Dalle Grave, DSL Studio

Eva & Franco Mattes, Half Cat and Untitled (Yellow Cable Tray), both 2021. Installation view, Frankfurter Kunstverein, 2023. © Frankfurter Kunstverein. All images: © Frankfurter Kunstverein. Courtesy: the artists and Apalazzo Gallery, Brescia. Photos: Melania Dalle Grave, DSL Studio

The Nine Lives of Cat Memes

What parts of online life can’t we see, and why? Eva & Franco Mattes’s largest solo show to date sheds light on the internet’s dark corners – and posits peer-to-peer ways out.

People

Portrait of Lauren Elkin, 2022. © Sophie Davidson. Courtesy: Penguin Random House

Portrait of Lauren Elkin, 2022. © Sophie Davidson. Courtesy: Penguin Random House

Beyond You-Go-Girl Celebration: An Interview with Lauren Elkin

The author of Art Monsters (2023), which takes up women artists whose works reflect the experiences and insights of their own bodies, historicizes the stakes of the unruly feminine.

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Charlotte Salomon, Self-portrait , 1940, gouache. © Charlotte Salomon Foundation. Courtesy: Collection of the Jewish Museum, Amsterdam

Charlotte Salomon, Self-portrait, 1940, gouache. © Charlotte Salomon Foundation. Courtesy: Collection of the Jewish Museum, Amsterdam

Everything Leads Back to Love

At Lenbachhaus, Munich, Charlotte Salomon’s monumental proto-graphic novel Leben? Oder Theater? chronicles the comic minutiae and sweeping tragedies of its author’s too-short life.

Discourse

Left: Celine Fall 2021 (Hedi Slimane). Right: Celine Spring 2014 (Phoebe Philo)

Left: Celine Fall 2021 (Hedi Slimane). Right: Celine Spring 2014 (Phoebe Philo)

Theory of Style: On Getting Rid

How do clothes “become” us? If the goal is to look effortlessly like ourselves, is style subtraction? In her August column, Joanna Walsh looks at what to lose when choosing minimalism.

Discourse

Allen Jones, Table , painted fiberglass, resin, mixed media, glass, and tailor-made accessories, 61x 130 x 76 cm

Allen Jones, Table, 1969, painted fiberglass, resin, mixed media, glass, and tailor-made accessories, 61x 130 x 76 cm. Courtesy: the artist

Aesthetics of Coercion: On Neo-Feudalism in Contemporary Art

In an age of burgeoning techno-feudalism, do artistic uses of kink aesthetics work as immunizations against societal violence, or do they amount to just another cope?

Views

Andrea Bowers, Grief Hope , 2020, neon, 124 x 304 x 10 cm. Courtesy: the artist and Capitain Petzel, Berlin

Andrea Bowers, Grief Hope, 2020, neon, 124 x 304 x 10 cm. Courtesy: the artist and Capitain Petzel, Berlin

Terrible Stories, Beautifully Written

Andrea Bowers and Mary Weatherford’s duo show at Capitain Petzel, Berlin harmonizes their requiems of eco-grief while insisting on the power of simply taking note.

Views

View of “Project for a New American Century,” Whitney Museum of American Art, 2023. Photo: Ron Amstutz

View of “Project for a New American Century,” Whitney Museum of American Art, 2023. Photo: Ron Amstutz

Josh Kline’s “Project for a New American Century”

In New York, a mid-career retrospective at the Whitney recaps Josh Kline’s horrorcore journalization of the 21st-century precariat.

People

Portrait of Milo Rau. Photo: Daniel Seiffert

“My leadership model is permanent revolution”: An interview with Milo Rau

Wiener Festwochen’s new artistic director unpacks Vienna’s relationship with being provoked, making grotesque demands onstage, and the theater as a total democracy.

Discourse

Photo: Adina Glickstein

User Error: Preliminary Materials for a Theory of the Girl Dinner

Barely sated, Adina Glickstein gets to the bottom of a TikTok culinary trend.

Views

View of “Nuit américaine,” WIELS, Brussels, 2023. Courtesy: the artist and WIELS, Brussels. Photo: We Document Art

View of “Nuit américaine,” WIELS, Brussels, 2023. Courtesy: the artist and WIELS, Brussels. Photo: We Document Art

Sad Girl Autumn

An exhibition at WIELS, Brussels, discloses that Marc Camille Chaimowicz’s perpetual-sunset sentimentality is no longer a provocation, but a favorite hue in the mood ring of pop.

"The 80s was the last period when low self-esteem was a normative response to authority"

Essay: The Last Great Era of Low Self-Esteem

Jenny Holzer, Barbara Kruger, Louise Lawler, Cindy Sherman, Rosemarie Trockel @ Spr&uuml;th Magers

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Jenny Holzer, Barbara Kruger, Louise Lawler, Cindy Sherman, Rosemarie Trockel @ Sprüth Magers