Natalie Du Pasquier at Exile, Berlin

"Project for a surface"
Gouache and photocpy on paper, 71,5 x 51,5 cm (framed), 1982

"Project for a textile (1982)"
Digital print, 74,5 x 103 cm , 2006

"The Big Game"
Ink on paper, 70 x 100 cm, 2006

"project for carpet"
Letraset and goauche on paper, 71,5 x 37 cm (framed), 1983

"Entrance piece of furniture for Memphis"
Color pencil and felt pen on paper, 35 x 50,5 cm (framed), 1985

"Project for a scarf"
Gouache on paper, 39 x 37 cm (framed), 1983

"Project for a vase for two flowers"
Color crayon on paper, 31 x 22,5 cm (framed), 1983

"Fruit bowl (Objects for the electronic age)"
Color crayon on paper, 22,5 x 31 cm (framed), 1984

"Project for a textile for memphis"
Felt pen on paper, 31 x 43,5 cm (framed) , 1985

"Vase (Objects for the electronic age)"
Color crayon on paper, 43,4 x 31 cm (framed), 1982

"Project for a carpet"
Gouache on paper, 21 x 42,5 cm (framed), 1983

"Untitled"
Oil on paper, 35 x 37 cm , 2010

"Untitled"
Oil on paper, 25 x 32 cm, 2010

„Untitled“
Oil on paper, 33 x 48 cm , 1998

"Untitled"
Oil on paper, 35 x 30 cm , 2010

"Untitled"
Ink on paper, 20 x 29,5 cm, 2007

"Untitled"
Color pencil on cut-out paper, 45,5 x 13 cm , 2013

"Untitled"
Color pencil on paper, 70 x 50 cm, 2015

"Untitled"
Color pencil on paper, 50 x 70 cm, 2011

"Untitled"
Color pencil on paper, 50 x 70 cm, 2010

"Citta"
silkscreen print, 70 x 50 cm, 1984. Edition 82/100

"Untitled"
Ink and gouache on paper, 65 x 50 cm , 2006

"Untitled"
Color pencil on paper, 50 x 70 cm, 2011

"Untitled"
Color pencil on paper, 50 x 70 cm, 2010

"Untitled"
Color pencil on paper, 50 x 70 cm, 2009

"Untitled"
Color pencil on paper, 50 x 70 cm, 2013

"Untitled"
Goauche and ink on paper, 64 x 50 cm, 2006

"Untitled"
Gouache and color pencil on paper, 70 x 50 cm 2009

"Untitled"
Ink on paper, 100 x 210 cm, 1997

"Project for a surface"
Gouache and photocpy on paper, 71,5 x 51,5 cm (framed), 1982

"Project for a textile (1982)"
Digital print, 74,5 x 103 cm , 2006

"The Big Game"
Ink on paper, 70 x 100 cm, 2006

"project for carpet"
Letraset and goauche on paper, 71,5 x 37 cm (framed), 1983

"Entrance piece of furniture for Memphis"
Color pencil and felt pen on paper, 35 x 50,5 cm (framed), 1985

"Project for a scarf"
Gouache on paper, 39 x 37 cm (framed), 1983

"Project for a vase for two flowers"
Color crayon on paper, 31 x 22,5 cm (framed), 1983

"Fruit bowl (Objects for the electronic age)"
Color crayon on paper, 22,5 x 31 cm (framed), 1984

"Project for a textile for memphis"
Felt pen on paper, 31 x 43,5 cm (framed) , 1985

"Vase (Objects for the electronic age)"
Color crayon on paper, 43,4 x 31 cm (framed), 1982

"Project for a carpet"
Gouache on paper, 21 x 42,5 cm (framed), 1983

"Untitled"
Oil on paper, 35 x 37 cm , 2010

"Untitled"
Oil on paper, 25 x 32 cm, 2010

„Untitled“
Oil on paper, 33 x 48 cm , 1998

"Untitled"
Oil on paper, 35 x 30 cm , 2010

"Untitled"
Ink on paper, 20 x 29,5 cm, 2007

"Untitled"
Color pencil on cut-out paper, 45,5 x 13 cm , 2013

"Untitled"
Color pencil on paper, 70 x 50 cm, 2015

"Untitled"
Color pencil on paper, 50 x 70 cm, 2011

"Untitled"
Color pencil on paper, 50 x 70 cm, 2010

"Citta"
silkscreen print, 70 x 50 cm, 1984. Edition 82/100

"Untitled"
Ink and gouache on paper, 65 x 50 cm , 2006

"Untitled"
Color pencil on paper, 50 x 70 cm, 2011

"Untitled"
Color pencil on paper, 50 x 70 cm, 2010

"Untitled"
Color pencil on paper, 50 x 70 cm, 2009

"Untitled"
Color pencil on paper, 50 x 70 cm, 2013

"Untitled"
Goauche and ink on paper, 64 x 50 cm, 2006

"Untitled"
Gouache and color pencil on paper, 70 x 50 cm 2009

"Untitled"
Gouache and color pencil on paper, 70 x 50 cm 2009

"Untitled"
Ink on paper, 100 x 210 cm, 1997

Nathalie du Pasquier
THE BIG GAME
30.5. – 27.6.

Exile
Köpenicker Straße 39
10179 Berlin

The exhibition is a non-linear trip through 35 years of artistic practice. Focusing exclusively on works on paper, "The Big Game" begins with drawings from the early 1980s – done for the design group Memphis of which Du Pasquier was a founding member – and follows her creative journey until today. Instead of focusing on defining periods within her oeuvre the exhibition describes the artist’s creative universe, pointing to connections, references, re-visits, fragmentations and quotations.

- PRESS TEXT -

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.

Views

#76

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.

"Not even an early evening series on Austrian TV could have got away with that"

Exhibition Histories: "Please Love Austria!"

Natalie Du Pasquier at Exile, Berlin

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