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.

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Joan Mitchell, No Room at the End , 1977, oil on canvas, 281 x 361 cm. © The Estate of Joan Mitchell. Courtesy: Fondation Louis Vuitton, Paris

Joan Mitchell, No Room at the End, 1977, oil on canvas, 281 x 361 cm. © The Estate of Joan Mitchell. Courtesy: Fondation Louis Vuitton, Paris

Fortunate Fall

At Fondation Louis Vuitton, Barry Schwabsky asks if a side-by-side look at Claude Monet and Joan Mitchell does not incidentally reveal how little their work had in common.

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Senga Nengudi performing Air Propo at Just Above Midtown, 1981. Courtesy: Senga Nengudi

Senga Nengudi performing Air Propo at Just Above Midtown, 1981. Courtesy: Senga Nengudi

Organization vs. Institution

MoMA looks back on the New York gallery Just Above Midtown (1974–86), a hub for Black abstract and conceptual artists long omitted from the canon.

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View of Matthew Gasda, Dover , Beckett’s, New York, 22 Januar 2023. Photo: Matthew Weinberger

View of Matthew Gasda, Dover, Beckett’s, New York, 22 January 2023. Photo: Matthew Weinberger

Tainted Love: on Matthew Gasda’s “Dover”

Is the tragic hero even possible in 2023? Not really. But Matthew Gasda’s latest play does confront us with the moral quandaries that come with drama, conflict, and power games.

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Still from LuYang, DOKU the Self , 2022, 3D animation film, 36 min. All images © LuYang. Courtesy: LuYang and Société, Berlin

Still from LuYang, DOKU the Self, 2022, 3D animation film, 36 min. All images © LuYang. Courtesy: LuYang and Société, Berlin

The Many Lives

New video works at Palais Populaire starring LuYang’s hyperreal, reincarnating avatar spell out their street-styled vision of mortal, spiritual, and virtual realms.

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Galli, oft sieht man die Zitrone kaum (Often, One Hardly Sees the Lemon), 1989, acrylic, emulsion and chalk on nettle, 150 x 180 cm

Galli, oft sieht man die Zitrone kaum (Often, One Hardly Sees the Lemon), 1989, acrylic, emulsion and chalk on nettle, 150 x 180 cm. All images © VG Bild-Kunst, Bonn 2022. Courtesy: Galli and Kraupa-Tuskany Zeidler, Berlin. Photos: def image

Post-anthro Dust-ups

At Galli’s latest show with Kraupa-Tuskany Zeidler, Martin Herbert discerns a shift in the painter’s understanding of the body, from a site of conflict to a grounds for empathy.

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All images: View of “Die Sein: Para Psychics,” Ludwig Forum, Aachen, 2022. Courtesy: Kerstin Brätsch, Gladstone Gallery, Brussels, and Ludwig Forum, Aachen. Photos: Mareike Tocha

All images: View of “Die Sein: Para Psychics,” Ludwig Forum, Aachen, 2022. Courtesy: Kerstin Brätsch, Gladstone Gallery, Brussels, and Ludwig Forum, Aachen. Photos: Mareike Tocha

The Magic of Barely Noticeable Breaks

At the Ludwig Forum Aachen, Kerstin Brätsch’s colored-pencil drawings call on the goddess Inanna to complicate our hierarchies of interpretation.

Discourse

Miu Miu, fall 2022 ready-to-wear collection. Photo: Filippo Fior

Miu Miu, fall 2022 ready-to-wear collection. Photo: Filippo Fior

User Error: Neostalgia

Forget Y2K; the 2010s are already back again. But retromania leads us down into a labyrinth of data horror, writes Adina Glickstein in her February column.

People

Still from Will Benedict and Steffen Jørgensen, The Restaurant, Season 2 , 2022, HD video, 39:05 min. Courtesy: Will Benedict, Steffen Jørgensen, and Centre d’Art Contemporain Genève

Still from Will Benedict and Steffen Jørgensen, The Restaurant, Season 2 (detail), 2022, HD video, 39:05 min. Courtesy: Will Benedict, Steffen Jørgensen, and Centre d’Art Contemporain Genève

Rolling the Mudball: An Interview with Will Benedict

Fresh off a retrospective at Centre d’Art Contemporain Genève, the artist speaks to Mitchell Anderson about trying to prove the hard materiality of time.

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Paula Rego, The Dance , 1988, acrylic on paper on canvas, 213.5 x 274.5 cm.  © Ostrich Arts Ltd. Courtesy: Ostrich Arts Ltd and Victoria Miro, London

Paula Rego, The Dance, 1988, acrylic on paper on canvas, 213.5 x 274.5 cm. © Ostrich Arts Ltd. Courtesy: Ostrich Arts Ltd and Victoria Miro, London

Getting Even

At Kestner Gesellschaft’s retrospective of Paula Rego, Kristian Vistrup Madsen eulogizes her unmasking of how women suffer and prevail through suffering.

Discourse

“The Happy Nut.” Courtesy: Kindred Black

“The Happy Nut.” Courtesy: Kindred Black

WORN OUT: Stay Ethereal

For her first column of 2023, Cara Schacter looks under the soft, draped gown of fashion’s obsession with everything angelic.

Discourse

Fourtnight Battlepass perform at Rash NYE, 2023. Photo: Nolan Kelly Mitchell

Fourtnight Battlepass perform at Rash NYE, 2023. Photo: Nolan Kelly

Comfort Noise

Minutes to midnight, Nolan Kelly wonders if hyperpop is a nostalgic rehash of too-recent hits, or a consolation for a culture exhausted by novelty-seeking?

"Talk remains cheap – which doesn’t mean we should buy it"

-Ella Plevin

Outrage Inactivism

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