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Nahmad Contemporary

Spiegelbilder

  • Albert Oehlen
  • 415a5d17 97c6 4d70 8b82 d2bebaadff3b

Press for Spiegelbilder

Current Exhibitions at Nahmad Contemporary


Spiegelbilder

  • Albert Oehlen
  • Opens: Nov. 05, 2019
  • Closes: Dec. 21, 2019
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Hard Feelings

  • Felix Gonzalez-Torres,
  • Wade Guyton,
  • David Hammons,
  • Donald Judd,
  • Barbara Kruger,
  • Cady Noland,
  • Steven Parrino,
  • Richard Prince,
  • Cindy Sherman,
  • Andy Warhol,
  • Christopher Wool,
  • Sturtevant,
  • Opens: Sep. 11, 2019
  • Closes: Oct. 26, 2019
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

A Selection of Collages

  • Kurt Schwitters,
  • Opens: Jul. 02, 2019
  • Closes: Aug. 23, 2019
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Jean-Michel Basquiat | Xerox

  • Jean-Michel Basquiat,
  • Opens: Mar. 12, 2019
  • Closes: May. 31, 2019
  • Reception: Mar. 12, 2019
  • Hours: 6 - 8pm
  • Admission: free

Monumental Paintings

  • Georges Mathieu,
  • Opens: Jan. 11, 2019
  • Closes: Feb. 23, 2019
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

(UN)COVERED: Miró | Hammons

  • Joan Miró,
  • David Hammons,
  • Opens: Sep. 12, 2018
  • Closes: Nov. 17, 2018
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Five Years at Nahmad Contemporary

  • Jean-Michel Basquiat,
  • Daniel Buren,
  • Alberto Burri,
  • Lucio Fontana,
  • Wade Guyton,
  • Hans Hartung,
  • Joan Miró,
  • Gustave Moreau,
  • Albert Oehlen
  • Sigmar Polke,
  • Richard Prince,
  • Mark Rothko,
  • Egon Schiele,
  • Rudolf Stingel,
  • Antoni Tàpies,
  • Cy Twombly,
  • Andy Warhol,
  • Christopher Wool,
  • Opens: May. 01, 2018
  • Closes: Jun. 09, 2018
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Hans Hartung

  • Hans Hartung,
  • Opens: Jan. 12, 2018
  • Closes: Mar. 17, 2018
  • Reception: Jan. 12, 2018
  • Hours: 6 - 8pm
  • Admission: free

Grau

  • Albert Oehlen
  • Opens: Nov. 07, 2017
  • Closes: Dec. 23, 2017
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

Monochrome: A Dialogue Between Burri, Fontana, Klein, Manzoni, and Stingel

  • Alberto Burri,
  • Lucio Fontana,
  • Yves Klein,
  • Piero Manzoni,
  • Rudolf Stingel,
  • Opens: May. 02, 2017
  • Closes: Jun. 10, 2017
  • Reception:
  • Hours: 6 - 8pm
  • Admission: free

When

Nov 05 - Dec 21, 2019


Where

Nahmad Contemporary

  • 980 Madison Avenue, Third Floor, New York NY 10075 Map
  • 646.449.9118

About

Nahmad Contemporary is delighted to announce Albert Oehlen: Spiegelbilder, the first exhibition in US dedicated to the significant works that comprise Albert Oehlen's series of Spiegelbilder (‘Mirror Paintings’). The show is comprised of two concurrent presentations, one at Galerie Max Hetzler in London, on view through November 16, 2019, and one at Nahmad Contemporary in New York, opening on November 5, 2019. The exhibition coincides with a solo show of the artist’s work at the Serpentine Gallery, London (Oct.2, 2019– Feb.2, 2020.)

Spanning eight years, from 1982 – 1990, this series straddles a decisive period for the artist, during which he moved from the crude figuration and “bad painting” of the late 1970s and early 80s, towards non-objective painting in the late 1980s. Through the Spiegelbilder, Oehlen cemented his reputation for subverting painting conventions.

One of Oehlen’s earliest bodies of work, the Spiegelbilder (‘Mirror Paintings’) are distinguished by actual pieces of mirror collaged onto the surface of the canvas, highlighting the artist’s unconventional approach to painting from the outset. Although visually distinct, there is an attitude and approach in these paintings towards colour, light, scale and line that carries through later series. Belonging to the Spiegelbilder are some of Oehlen’s first self-portraits, primary examples of which will also be exhibited.

Many of the works in the series depict domestic interiors and politically-charged exteriors in a palette of muted colours. With titles alluding to Germany’s past and the incorporation of social and political spaces such as museums, staircases and brick walls as barrier motifs, Oehlen demonstrates his ability to turn controversy into cliché.

“I only used mirrors in pictures depicting rooms, so that the viewer can place himself in the room. These rooms were chosen not on the basis of design, or architecture, or any other such criteria, but on the basis of their meaning, which I attribute to them in relation to society. Museum, apartment, Hitler’s headquarters, things like that: a summons to appear in the picture.” –– Albert Oehlen

Outsmarting painted pictorial reality with actual mirrored reality, the Spiegelbilder redefine the limits of the medium, drawing us in physically through their reflective qualities. Ambiguous in their presentation of socio-political spaces, the works provide early insight into Albert Oehlen’s idiosyncratic approach to painting through an ever-evolving style and technique.


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