Preview February 4, 2024, 3-6 p.m.
Exhibition duration: February 4th – March 16th, 2024
The Düsseldorf artist Dieter Nuhr is showing his fifth solo exhibition at Galerie Obrist. While the photographic aspects of his artistic work were previously the focus, new elements are now being added: Nuhr works with digital brushes, combining them with photographic material, patterns and structures, he paints with data. Layer by layer, images emerge from photographs that seem like paintings, an intention that also emerged in Nuhr’s purely photographic works. In the new pictures, their own disappearance is now recorded, so to speak. Just as the memory of an event or a place gradually slips away from our memory and actually only exists in the snapshot from back then, Nuhr’s pictures also show us how an image that was actually captured and perceived disappears before our eyes and merges indivisible with other picture elements. A text from the Osthaus Museum in Hagen says: “What is photographed is lost, only to be re-constructed in the painting process. Images slip away and re-form themselves.”
With works by WIEBKE BARTSCH – MARCELA BÖHM – (E.) TWIN GABRIEL SIMONE HAACK – ANNEGRET SOLTAU
Even today, women artists who become mothers have to grapple with the question of how motherhood is presented to the outside world. Because it almost seems to be a flaw: making art and being a mother is unthinkable for many art practitioners. Career pauses and career breaks are literally expected and it is doubted whether art can still be created professionally under the conditions of a baby. As in every profession, it is about the question of the compatibility of work and motherhood and whether the art world is not subject to special peculiarities. In one way or another, each of the participating artists in this exhibition has experienced it.
The exhibition also poses the question of how one’s own child and family influence artistic work. Annegret Soltau was one of the first contemporary artists to reflect on her motherhood and her family in her own work, and that was a scandal in the male-dominated art world of the 1970s. Today, the insult is more subtle, with some female artists simply not talking about their motherhood. And why not: children hardly ever appear in the biographies of male colleagues. The exhibition is the prelude to a more in-depth examination of the topic, which will be followed by further events and a publication by 2024.
CHILD AS A BRUSH Making art, being a mother
With Wiebke Bartsch, Marcela Böhm, (E.) Twin Gabriel, Simone Haack, Annegret Soltau
Opening 28 October 2022, 7 p.m. Duration of the exhibition: 29.10.-26.11.22
(E.) Twin Gabriel: Child as a brush (Kooperatorka), 2007. Camera performance, digitized Super-8 film
Annegret Soltau: Erinnerung (Memory), 1980. Video work
Marcela Böhm: Strom, 2022. Oil on canvas, 150 x 90 cm
Our exhibition is a tribute to the great French artist Christian Boltanski, who passed away last July. We show selected editions in which various aspects of his work come to light.
The art of Christian Boltanski, who was born in Paris in 1944, is shaped by memories of the Holocaust and the reconstruction of his own past. In the cramped, half-dark spaces that he created in his installations, with the props that anonymously referred to people and their fates, the musty mountains of clothing, the stacked zinc crates and the patinated black-and-white photographs, he created an oppressive atmosphere of personal concern that was difficult to bear is. These installations have become icons of the art of memory.
He also acted subversively, because in one of his most important works, the 1200-photo installation Menschlich from 1994, he mixed portraits of the deceased victims with pictures of German soldiers and SS people, of perpetrators. As part of his exhibition at the Kunstmuseum Wolfsburg in 2013, Boltanski said: “I no longer know who is the perpetrator and who is the victim. It just so happens that a man can love his child and kill another child at the same time. Everyone has what it takes to turn into a devil from time to time. But even the devil sometimes takes a break.” – A commentary on the horrors of war, which has unfortunately become very topical again. Boltanski had Ukrainian roots himself, and we will miss his artistic statement in these times. The exhibition features signed photogravures and lithographs that were edited in a small edition.
Christian Boltanski. Editions.
Opening: Friday, May 6, 2022, 7 p.m.
May 7 – June 18, 2022
Obrist Gallery is happy to announce the fourth solo exhibition by Dieter Nuhr. Most of the shown pictures were taken in 2019 and are now presented fo the first time. Since the recent exhibition two years ago Nuhr went on long-distance journeys for several times, and made his subtle discoveries in Georgia and Iran among others. In his photographs Nuhr opens windows to a graceful and strange world, which in the end remains inapproachable, and here he has developed a very personal and recognizable form of expression in his pictures.
Dieter Nuhr
New Photographs
25 January – 7 March, 2020
Opening Reception Saturday, 25 January 2020, 6 p.m.
Obrist Gallery is happy to announce the third solo exhibition by Dieter Nuhr. Since the recent exhibition two years ago Nuhr went on long-distance journeys for several times, and made his subtle discoveries in Moldavia, Georgia and Mexico among others, like the East German province. In big sized photographs Nuhr opens windows to a graceful and strange world, which in the end remains inapproachable, and here he has developed a very personal and recognizable form of expression in his pictures.
An exhibition booklet has been published.
In cooperation with Museum Villa Stahmer, Georgsmarienhütte
Dieter Nuhr has been supporting SOS Children´s Villages for many years. Some of his artwork was created during his visits in SOS Children´s Villages. In his current exhibition, among others, artwork from Mexico and Georgia will be displayed. You, as well, can support SOS Children´s Villages with your donations:
“I am fascinated by images which are inexplicably deep and incomprehensible – also for me – and which throw the audience off balance. In reality, the view of things is more important than the actual things. When I’m working with the camera, it’s always the echo of inner images which guides my view of a certain sujet or a certain light situation” says Mannheim photographer Peter Schlör about his work. Since the 1980s he has worked in black and white and has developed an inimitable signature which has made him one of the extraordinary photo artists in Germany.
Peter Schlör. Light Fall.
March 18 – May 6, 2017.
Opening March 17, 2017, 7 p.m.
Gallery Obrist is happy to show new photoworks by Shinichi Tsuchiya from recent years. The Japanese photo artist – who has been called to be a Master Student of Thomas Ruff in 2006 and who has received the Akademiebrief of the Düsseldorfer Kunstakademie in 2008 – has been living in Japan again since 2011: In the year of the nuclear desaster he returned to his homeland. An incidence which shocked the whole world had its deepest impact especially on Japan. And since then some new aspects are to be found in the work of Tsuchiya which we want to introduce in our exhibition. Simultaneously to his solo show at the Mito Arts Foundation at Ibaraki, Japan, we present Tsuchiya’s first solo exhibition in Europe after this time.
Shinichi Tsuchiya
Fukushima. New Photoworks.
30 April – 18 June, 2016
Opening Reception Friday, 29 April, 2016, 7 p.m.
Gallery Obrist is happy to announce the second solo exhibition by Dieter Nuhr, called “Foreign Terrain“.
While the artist is known to many as a comedian and, with that, for his use of words, the medium of photography allows for a different form of expression. He studied fine arts at the former Folkwang School in Essen and has ever since been invested in photography alongside his stage performances; he understands himself as a multimedia artist.
The works in “Foreign Terrain II“ show landscape motifs from various areas of the world but through the selected frame one is unable to geographically localize the scenes. In his photographs Nuhr is interested in places and moments where movement and standstill overlap: a glacier which is covered with linens to prevent it from melting or a cloud formation almost completely covering a mountain area. Not a specific location is relevant to the artist but instead the form and structure of a certain view.
Dieter Nuhr prints his motifs on canvas which inevitably results in a comparison with painting: the matte surface does not show a reflection und therefore annuls the boundary between viewer and image. The contours seem softer and bring the viewer closer in contact with the atmospheric nature. The viewer becomes the photographer’s accomplice both in observing and in experiencing.
With that Dieter Nuhr takes part in the ongoing photographic discourse about individual observation, perception and documentation. The choice of the frame is both an autonomous as well as an influenced decision in dialogue with the landscape that he visits.
An exhibition booklet has been published.
>Dieter Nuhr
Foreign Terrain II
27 February – 23 April, 2016
Opening Reception 26 February, 2016, 6.30 p.m.
One year after our first exhibition with Dieter Nuhr we now show the announced second part of “Foreign Terrain”. While in 2015 urban motives were the focus of the exhibition, we now present landscapes.
Dieter Nuhr
Foreign Terrain II
27 February – 23 April, 2016
Opening Reception 26 February, 2016, 6.30 p.m.
One year after our first exhibition with Dieter Nuhr we will soon show the announced second part of “Foreign Terrain”. While in 2015 urban motives were the focus of the exhibition, we will now present landscapes.
Dieter Nuhr
Foreign Terrain II
27 February – 23 April, 2016
Opneing Reception 26 February, 2016, 6.30 p.m.
At the same time to his upcoming exhibition at Museum Folkwang Obrist Gallery shows works by German photographer Detlef Orlopp (*1937). Orlopp was a student of Otto Steinert in Saarbruecken, and he moved with Steinert to Folkwangschule Essen in 1959. Nevertheless he is only partly a supporter of Steinert’s “Subjektive Fotografie”, because of its formative and experimental character. Orlopp has developed his very own style from nature, and dedicates his analogous black-and-white photography mainly to landscapes.
Detlef Orlopp. Photography.
14 March – 18 April, 2015
Opening Reception 13 March, 2015, 7 p.m.
“Each form has its own means of expression. With language I can be ironic, but through the pictorial language the world seems more serious to me.”, says well-known humorist Dieter Nuhr about the two great creative poles in his life. Beyond the stage world he devotes his time to photography. His work does not represent a collection of travel impressions , instead he offers an insight that moves away from the everyday life perspective and into foreign countries and cultures. However, in doing so, he never illustrates the obvious beauty or a romanticized version of an exotic place. Nuhrs photography depicts the foreign, the detail, offering an exemplification of the „big picture“. Furthermore, Nuhr explores architectural structures between the antagonism of inside and outside spaces. These depictions are often characterized by a striking surface structure that is marked by an almost haptic-seeming impasto on the relief-like façade, which developed over the years and thus have become cultural seismographs and authentic witnesses of time.
We cordially invite you to our upcoming exhibition with Andy Scholz: “Dust In The Air”. We will be showing new photoworks of the Essen based artist, which come up from a study trip to North Dakota, USA, lasting for several months. In his works Scholz turns towards landscape for the first time. CV Andy Scholz
Andy Scholz – Dust In The Air.
10 May – 21 June, 2014
Opening Reception 9 May, 7 p.m.
From October 11 to November 9 Obrist Gallery will exhibit selected works by renown Mannheim-based photo artist Peter Schlör. His recent works have a pictorial approach. The artist uses natural phenomena like the sea, clouds, mountains or forests, to achieve a painterly surface in his pictures: the different structures and consistencies assemble to abstract picture worlds.
In these works Peter Schlör detaches himself from the documental element of photography and devotes himself to contentual and aesthetic questions. For his photographs Peter Schlör awaits the moment when nature assembles in a perfect composition for his image structure. On the one hand it is the might of nature which he wants to capture; on the other hand these moments are chosen in a way that makes them resemble a painter’s brushwork. The very bulky, voluminous clouds in some of his pictures are precisely elaborated by the light. Cloud veils and misty haze, which are creating a poetic and often mythical impression, are applied specifically in contrast to the sharp outlines of forests and rocks. The deprivation of colors abstracts the motif from its reality and emphasizes the significance of the form language. Thus they are no longer reflections of nature but rather compositions of various surface impressions.
(Excerpts from a text by Dana Weschke)
PETER SCHLÖR: Black & Wide
12 Oct. – 9 Nov., 2013
Opening Reception Friday, 11 Oct., 2013, 7 p.m.
In the WAZ Westdeutschen Allgemeinen Zeitung of 22 January, 2013, there is a review of our current exhibition Transient by David Lynch, text by Martina Schürmann, photograph Kerstin Kokoska.
David Lynch: Transient.
Photographs.
16 March – 20 April, 2013
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