CHRISTIAN BONNEFOI
LIZ DESCHENES
ROE ETHRIDGE
JUTTA KOETHER
DANIEL LEFCOURT
VALENTINA LIERNUR
JASON LOEBS
SCOTT LYALL
NICK MAUSS
CHARLES MAYTON
JOHN MILLER
OLIVIER MOSSET
SEAN PAUL
JULIA PHILLIPS
EILEEN QUINLAN
BLAKE RAYNE
CLEMENT RODZIELSKI
CHRISTOPH RUCKHÄBERLE
NORA SCHULTZ
AMY SILLMAN
REENA SPAULINGS
JOANNE TATHAM & TOM O’SULLIVAN
CHEYNEY THOMPSON

JUTTA KOETHER

Born 1958 in Cologne, Germany

Lives and works in New York


PUBLIC COLLECTIONS

The Whitney Museum of American Art, New York

MoMA – The Museum of Modern Art, New York

Musee d’Art moderne de la Ville de Paris, Paris

Nationalgalerie, Berlin

Kunsthalle Bern, Switzerland

MOCA – Museum of Contemporary Art, Los Angeles


SOLO EXHIBITIONS

2018 Survey exhibition, Museum Brandhorst, Munich travelling to Serralves Museum, Porto        

2017 «Serinettes. Ladies Pleasure Varying», Campoli Presti, Paris

2016 «Best of Studios», Campoli Presti, London

«Zodiac Nudes», Galerie Buchholz, Berlin

2015 «Fortune», Bortolami, New York

2014 «Maquis» Galerie Francesca Pia, Zurich

«A Moveable Feast – Part XV», Campoli Presti, Paris

«Champrovement», Reena Spaulings, New York

2013 «Un établissement aux Folies-Koethère», Établissement d’en face projects, Brussels

«Cycle 1. Jutta Koether. Viktoria, Luise, Isabelle», Praxes, Berlin

«The Double Session», Campoli Presti, London

«Seasons and Sacraments», Arnolfini, Bristol

«Seasons and Sacraments», Dundee Contemporary Arts, Dundee

2012 «The Fifth Season», Bortolami, New York

2011 «Mad Garland», Campoli Presti, Paris

«The Thirst», Moderna Museet, Stockholm

«Berliner Schluessel», Galerie Daniel Buchholz, Berlin

2009 «Lux Interior», Reena Spaulings Fine Art, NYCYork

«Sovereign Women in Painting», Susanne Vielmetter Los Angeles Projects, Los Angeles

2008 «New Yorker Fenster», Galerie Daniel Buchholz, Cologne

«The fact that you bet on red does not mean that black is not still there», Galerie Francesca Pia, Zurich

«JXXXA Leibhaftige Malerei», Sutton Lane (Campoli Presti), Paris

«No.5», Kunsthall Landmark, Bergen, Norway

«Touch and Resist», Song Song, Vienna

«Leibhaftige Malerei JXXXA», Bergen Kunsthall, Bergen, Norway

2007 «Anderungen aller Art», Kunsthalle Bern, Bern, Switzerland

2006 «love in a void», Akademie der Bildenden Kunste, Vienna

«Fantasia Colonia», Kolnischer Kunstverein, Cologne

«Volume 13», Susanne Vielmetter Los Angeles Projects, Los Angeles

2005 «Very Lost Highway», Simultanhalle, Cologne

«extreme harsh», Ausstellungsraum Ursula Werz, Tubingen

«I Is Had Gone», Thomas Erben Gallery, New York

Kim Gordon and Jutta Koether, Talk and Performance, Tate Modern, London

«Her Noise», South London Gallery, London

«Hysterics (Male)», Susanne Vielmetter Los Angeles Projects, Culver City, CA

2004 «Fresh Aufhebung – Kunstlerisches Interesse am philosphisch verneinten Wunderglauben», Kolnischer Kunstverein, Cologne

«Allein, Allein», Galerie Meerrettich, Berlin

«Fresh Aufhebung», 371 Grand Street, New York

2003 «The Club in the Shadow», in collaboration with Kim Gordon, Kenny Schachter conTEMPorary, New York

«desire is war», Galerie Meerrettich, Berlin

«Europe Extreme III: Farbenfieber», Performance, Pro qm, Berlin

2002 «Extremes Europa», Galerie Daniel Buchholz, Cologne

2000 «Ladies of the Rope», Galerie Daniel Buchholz, Cologne

«Zur grunen schenke-funf uhr nachmittags. die geheimen Bilder», Galerie Freund, Wien

1999 «sun/ny», Pat Hearn Gallery, New York

1998 «Billet-Doux», Galerie Daniel Buchholz, Cologne

«Songs of New York & c», Pat Hearn Gallery, New York

1996 «after shows», Pat Hearn Gallery, New York

«Warmer Stern», Galerie Daniel Buchholz, Cologne

1995 «frontage», Pat Hearn Gallery, New York

1993 «Unter», Galerie Bruno Brunnet, Berlin

«Affective Import: Antibodies I-V», Pat Hearn Gallery, New York

1992 «100% Malerei», Galerie Sophia Ungers, Cologne

1991 «Massen. Malerei und Versammlung», Generali Foundation, Vienna

«Kissing the Canvas», Pat Hearn Gallery, New York

«The Halal File», Standard Graphik, Vienna

«Koether», Galerie Bleich-Rossi, Graz

1989 «20 Minuten», Galerie Monika Spruth, Cologne

1987 «The Things Art Makes», Galerie Bleich-Rossi, Graz

«Werkschau Jutta Koether», Kunstraum Stuttgart, Stuttgart

1985 «Road to Cairo», CC Galerie, Graz

«Keeping the Issues Alive», Galerie Janrig, Krefeld


GROUP EXHIBITIONS

2017 «Exhibition from the Thomas Borgmann donation», Stedelijk Museum

«Zeitgeist», Mamco, Geneva

2016 Campoli Presti, Paris

«Putting Rehearsals to the Test», Leonard & Bina Ellen Gallery, SBC Gallery of  

«Contemporary Art and VOX», centre de l’image, Montreal

 «Painting 2.0: Expression in the Information Age», curated by Achim Hochdörfer, David Joselit, and Manuela Ammer, Mumok, Vienna

«La Collection Thea Westreich Wagner et Ethan Wagner», Centre Pompidou, Paris

«Fantasie», Halle fuer Kunst Lüneburg, Germany

«Spring Awakening», Galerie Francesca Pia, Zurich

2015 «Collected by Thea Westreich Wagner and Ethan Wagner», Whitney Museum of American Art, New York

«Painting 2.0: Expression in the Information Age», curated by Achim Hochdörfer, David Joselit and Manuela Ammer, Museum Brandhorst, Munich

«The Pleasure of the Text», Campoli Presti, London

«The Radiants», curated by Jacob King and UNITED BROTHERS, Bortolami, New York

2014 «10th Annual Shanghai Biennial», Shanghai, China

«Beating around the bush Episode #4», Bonnefantenmuseum, Maastricht

«New Dawn», curated by Leidy Churchman, Silberkuppe, Berlin

«No Drink No Talk Just Beautiful», On Stellar Rays, New York

2013 «Chat Jet», Künstlerhaus, Graz

«Death by water. Death by fire» (curated by David Lewis), Campoli Presti, Paris

«Lies About Painting», Moderna Museet Malmö, Malmö, Sweden

«NYC 1993: Experimental Jet Set, Trash and No Star», New Museum, New York

«Catch as Catch Can», Locks Gallery, Philadelphia, PA

2012 «A Bigger Splash: Painting After Performance», Tate Modern, London

«São Paulo Biennial 2012, São Paulo Museum of Art, São Paulo «Whitney Biennial», Whitney Museum of American Art, New York

«Blues for Smoke», The Museum of Contemporary Art, Los Angeles, CA; Whitney Museum of American Art, New York, NY

«Louise Despont, Jutta Koether, Alicja Kwade, Anj Smith, Marianne Vitale, Unica Zuern», Ibid Projects, London, UK

2011 «Grand Openings Return of the Blogs», MoMA, New York Louise Despont, Jutta Koether, Alicja Kwade, Anj Smith, Marianne Vitale, Unica Zuern, Ibid Projects, London, UK

2010 «Steirischer Herbst», Graz

2009 «Sonic Youth etc: Sensational Fix», Kunsthalle, Düsseldorf

«We improve your work», Sandra Beurgel Galerie, Berlin

«27 Senses», KUBE Museum, Aalesund

«modern modern», Chelsea Art Museum

«The Practice of Joy before Death. It would not be a party without you», Die Stoerung, Scaramouche Gallery, NYC

«Bijoux de Famille», Galerie Chantal Crousel, Paris

«Celebration», Isabella Bortolozzi Galerie, Berlin

2008 «Reena Spaulings: Courbet your enthusiasm», Galerie Chantal Crousel, Paris

«Grand Openings», performance at Bumbershoot 08, The Henry Art Gallery, Seattle

«Nichts IST AUFREGEND. Nichts IST SEXY. Nichts IST NICHT PAEINLICH», Museum Modern Kunst Stiftung Ludwig Wien ( MOMOK )

«Her Noise Archives», Badischer Kunstverein, Karlsruhe

«Black Noise, A tribute to Steven Parrino», Ile des Impressionistes, Chatou

«Light is a kind of rhythm (part 2)», Glaspavillon, Berlin

«Jutta Koether / John Miller», Neuer Berliner Kunstverein, Berlin Artists Space, New York, (Performance)

Altered State of Paint, Dundee Contemporary Arts, Dundee

CA.BU. + BA.D.AL.MO, Galerie Thoman Flor, Dusseldorf

2007 «Feminist Legacies and Potentials in Contemporary Art Practice:If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution Part II», Museum of Contemporary Art, Antwerp

«If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution Part», Utrecht, Netherlands

«Epileptic Seizure Comparison» Green Naftali, New York

«24 November – 22 December», Sutton Lane (Campoli Presti), Paris

«Jutta Koether / Rodney McMillian», Susanne Vielmetter Berlin Projects, Berlin

«From the Audible to the Visible», Galerie Frank Elbaz, Paris

«Stubborn Materials», Peter Blum Gallery, New York

«Lost and Found. Von Verlusten und Strategien der kulturellen Selbstermachtigung», Shedhalle Zurich

«Bastard Creature» (1 of 3 parts of «La Marque Noir: Steven Parrino»), Palais de Tokyo, Paris

«Painting as Fact – Fact as Fiction», dePury & Luxembourg, Zurich

«Dead Already», Reena Spaulings Fine Art, New York

«Symbolismus und die Kunst der Gegenwart», von der Heydt-Museum Wuppertal

«Shandyismus – Autorschaft als Genre – Ausstellungsgesprach», Secession, Wien, Kunsthaus Dresden

«zwischen zwei toden between two deaths», Zentrum fur Kunst und Medientechnologie, Karlsruhe

«For the People of Paris», Sutton Lane (Campoli Presti), Paris

«Quotidian», BUIA Gallery, New York

«What we do is secret», Blancpain Art Contemporain, Geneva, Switzerland

2006 «If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution», de Appel, Amsterdam

«Hot Spring..In Autumn», Galerie Krinzinger, Vienna

«Music is a better noise», P.S.1 Contemporary Art Center, Long Island City

«Grand Openings», Performance at Echigo-Tsumari Art Triennal, Nigata-ken, Japan

«Gifts go in one direction», Apexart, New York

«Bring the war home», Elizabeth Dee Gallery, New York

«An Ongoing Low-Grade Mystery», Paul Cooper Gallery, New York

«Metalist Moment», Performance, Herald St, London

«Make your own life», Institute of Contemporary Art, University of Pennsylvania, Philadelphia, the Power Plant, Toronto, Canada, Henry Art Gallery, University of Washington, Seattle, Museum of Contemporary Art, North Miami, Florida, 2006/2007

«Love Letter», Herald St, London

«Galerie Daniel Buchholz at Metro Pictures», Metro Pictures Gallery, New York

«The Dimes of March», Reena Spaulings Fine Art, New York

«The Subversive Charm of the Bourgeoisie», Van Abbemuseum, Eindhoven

«Whitney Biennial 2006», Whitney Museum, New York

«TBILISI 3. / Let’s stay alive till monday», Tbilisi, Georgia, October – November, 2006

«Reena Spaulings – Bialystoker», Sutton Lane (Campoli Presti), London

«Replay – The Aesthetics of Art and Music/Punk», MAGASIN – Centre National d’Art Contemporaine de Grenoble, Grenoble, France

2005«Painters Without Paintings and Paintings Without Painters», Orchard Gallery, New York

«Performa 05», Performa, New York

«Blankness is not a Void», Standard, Oslo

«Afterall», Apexart, New York

«Trade», White Columns, New York

Reena Spaulings, Haswellediger Gallery, New York

2004 «Jetzt und zehn Jahre davor», KW Institute of Contemporary Art, Berlin

«Rheinschau», Cologne

«Teil 1 Müllberg», Galerie Daniel Buchholz, Cologne

«Publish and be damned», Cubitt, London

«Born to be a Star», Künstlerhaus Wien

«The Big Nothing», ICA Philadelphia

«The personal is political, und peinlich», Kunsthalle Exnergasse, Vienna

«Curious Crystals of Unusual Purity», P.S.1, New York

2003 «Fresh Aufhebung, Performance im Rahmen d. Ausst. Dass die Kšrper sprechen, auch das wissen wir seit langem», Generali Foundation, Vienna

«Vom Horror der Kunst, Steirischer Herbst», Grazer Kunstverein, Graz

«20th Anniversary Show, Monika Sprüth – Philomene Magers, Cologne

«The Melvins», Anton Kern Gallery, New York

«Lordship and Bondage», Columbia University, New York

«Girls Gone Wild», Brownyn Keenan, New York

«Black Bonds», Jutta Koether and Steven Parrino, Swiss Institute, New York

«Catholic», Guild and Greyshkul, New York

«Wild Nights: Remembering Colin de Land», CB’s Gallery», New York

«The Club in the Shadow», (collaborative installation and musical performances with Kim Gordon), Kenny Schachter Contemporary, New York «deutschemalereizweitausenddrei», Frankfurter Kunstverein, Frankfurt/Main

«Holler Color Holler», Special Event in the Backroom of Greene Naftali, New York

2002 «Unknown Pleasures», Daniel Reich, New York

2000 «Kims Bedroom», MU Art Foundation/De Witte Dame, Eindhoven

«Prophecies», Swiss Institute, New York

«Hex Enduction Hour by the Fall», Team Gallery, New York, curated by Bob Nickas

1999 «Malerei», INIT-Kunsthalle, Berlin

1998 «Brushholder Value», Westfälischer Kunstverein, Münster

«Mary Heilmann, Joan Jonas, Jutta Koether, Monique Prieto», Pat Hearn Gallery, New York

1997 «Thomas Emde, Isabell Heimerdinger, Jutta Koether: No Strangers to Paradise, Three German Artists in California», Newspace, Los Angeles

1996 «A / Drift», Bard College, Annandale-on-Hudson, New York, curated by Joshua Decter

«Painting the Extended Field», Magasin 3, Center for Contemporary Art, Malmö

«Screen», Friedrich Petzel Gallery, New York, curated by Joshua Decter

«Ooo La La!: Twelve Members of the New York Art World Select Twelve Emerging Women Artists», Soho 20, New York

1995 «When Techno Turns to Poetry», Kunstwerke, Berlin

«Joy of Painting, Here, New York», curated by Ami Arnault and Alix Lambert

1994 «Spielverderber», Forum Stadtpark, Graz

«Rehearsal for frontage, innerhalb von ‘Taste Venue’», Pat Hearn Gallery, New York

«Dysfunction USA», Arthur Rogers Gallery, New Orleans, LA, curated by Bob Nickas and Peter Halley

«Reflex: Die Neunziger», Wiener Secession, Wien, curated by Martin Prinzhorn

«The Use of Pleasure», Terrain Gallery, San Francisco, curated by Bob Nickas

1993 «The Good, the Bad and the Ugly», Galerie Jousse Cequin, Paris, curated by Peter Hopkins

«Malerei 2000», Wien, curated by ARTFAN

«June», Galerie Thaddaeus Ropac, Paris

«Abstract for Affective Import», Whitney Museum of American Art, Independent Study Program Annual Open Studio Competition, New York

«Parralax View: Cologne-New York», P.S. 1 Institute for Contemporary Art, New York, curated by Daniela Salvioni

«X- Art Foundation», Blast Art Benefit, New York

Galerie Christian Nagel, Cologne, curated by Cosima von Bonin and Michael Krebber

1992 «7 Rooms, 7 Curators», Institute for Contemporary Art, New York, curated by Lois Nesbitt

«Projezioni», Buchholz & Buchholz, Cologne (von Gregorio Magnani)

«1968», Le Consortium, Dijon, curated by Bob Nickas

Bruno Brunnet Fine Arts, Berlin (with Merlin Carpenter, Michael Krebber, Cosima von Bonin)

Galerie Laage Salomon, Paris (mit L. Joubert)

«Massenverhältnisse – Standards», Galerie Sophia Ungers, Cologne

«The Inside Job, part of The Real Thing», Water Bar, New York, organized by Eric Oppenheim

1991 «Regard sur la Jeune Creation Allemande, 36», Salon de Montrouge, Montrouge

«Koether – Malerei 2», 90 a.s.o., Auvers-sur-Oise, curated by Francoise Claire Prodhon and Alain Reinaudo

«Auf Tod folgt Tod, part of The Köln Show, 9 Kölner Galerien, Cologne

1989 «Hypostatics», Kunstverein MŸnchen, curated by minimal club, Munich

1987 «…of Everyday Life, part of the exhibition Broken Neon», Forum Stadtpark, Graz, curated by Martin Kippenberger

«Information in Jutta Koether», Wiener Secession, Vienna

«Spectacle of the West», La Maquina Espanola, Sevilla (with Bettina Semmer and Rosemarie Trockel)

«Practical Relations of Everyday Life», Raum Lothringer Stra§e, Munich

1986 «Terminal Islands», Forum Stadtpark, Graz, curated by Diedrich Diederichsen

1985 «Trockel Semmer Koether», La Grande Serre, Rouen (with Bettina Semmer and Rosemarie Trockel)


PUBLICATIONS / CATALOGUES

2013 Jay Sanders, Michael Sanchez & Jeff Nagy, Graham Domke, and Axel Wieder, Seasons and Sacraments, Dundee Contemporary Arts / Arnolfini

2012 Elisabeth Sussman and Jay Sanders (ed.), Whitney Biennale, 2012 (cat.)

Simpson Bennett, Blues for Smoke, The Museum of Contemporary Art, Los Angeles

2011 Rosalind Krauss, Hal Foster, Benjamin H. D. Buchloh and David Joselit Yve-Alain Bois

Art Since 1900: Modernism, Antimodernism, Postmodernism. Second addition, 2011

2010 On Sonic Youth, with Alan Licht, in Sonic Youth etc. Sensational Fix, Cologne: Walther Koenig

2009 Blend special Times 3 Jo Baer – Lynda Benglis – Jutta Koether, exhib. cat.: Trio Exhibition

2009 Van Abbemuseum, Netherlands Jun-Oct

2007 Koether, Jutta, Black Noise, artist book Nr. 19 of Black Noise, publ. by Ecart-Publications, Geneva

Burton Johanna, Witness to Her Art, with essay Oh ah The fire! By Mrs. Benway 1985, Bard College, pp. 205, March

2006 Koether, Jutta, exhib. cat., Kölnischer Kunstverein, Cologne 2006 / Kunsthalle Bern, Bern

2003 Desire is War, copy-book-catalogue, Cologne, New York, open edition

1997 Vielmetter, Susanne (ed.),Thomas Emde, Isabell Heimerdinger, Jutta Koether: No Strangers to Paradise, Three German Artists in California. Newspace, Los Angeles.

1996 Kairos. Texte zur Kunst und Musik, Berlin: Edition ID-Archiv

1994 Prinzhorn, Martin (ed.),The Use of Pleasure. Die Neunziger. Karen Kilimnik, Jutta Koether, Marlene McCarthy. Wiener Secession

1993 The Inside Job. Galerie Bleich-Rossi, Graz 1992 100% Malerei. Niemand ist eine Frau. Galerie Sophia Ungers, Cologne

1991 Massen. EA Gnerali Foundation, Vienna

1990 Graw, Isabelle (ed.), The Köln Show

1989 20 Minuten – 20 Minutes. Galerie Monika Sprüth, Cologne

1987 Kandl, Koether, Stanzel. Wiener Secession, Kunstverein Wien, Galerie Bleich-Rossi, Graz

Koether, Trockel, Semmer, La Maquina Espanola, Sevilla

Balkon
, Raum Lothringer Straße, Munich

1986 Diedrich Diederichsen, steirischer herbst ‘86, Forum Stadtpark, Graz Road to Cairo, CC Galerie, Graz

1985 Trockel Semmer Koether, La Grande Serre, Rouen

Road to Cairo, CC Galerie Graz/Barbara Jandrig Galerie, Krefeld

 

BIBLIOGRAPHY

2016 Benjamin Buchloh, «A conversation with Jutta Koether», OCTOBER 157, Summer 2016, pp. 15–33

2015 Churner, Rachel. «Jutta Koether at Bortolami», Artforum, September

Koether, Jutta. «Fortune», Texte Zur Kunst, June 2015, pp. 144-149

2013 Sherman, Sam. «Jutta Koether at the Arnolfini / Campoli Presti», Artforum, August

Rinebold, Mary. «Critic’s Picks: Jutta Koether at Campoli Presti», Artforum, July

Jeffrey, Moira. «Jutta Koether creates a modern incarnation of a classic at DCA», The Scotsman, February 17

«Painting over the years», Herald Scotland, February 9

Rice, Katie. «Jutta Koether @ DCA,» The Skinny, March 1

Robinson, Ben. «Jutta Koether: Seasons and Sacraments», Interface, February

2012 Marcus, Daniel. «Jutta Koether at Bortolami», Art in America, September 17

Heinrich, Will. «Facing the Truth: Alice Neel: Late Portraits & Still Lifes,» at David Zwirner and «Jutta Koether: The Fith Season,» at Bortolami, Gallerist NY, June 12

Jutta Koether «The Fifth Season», Mousse Magazine, June 10

Vogel,Carol. «Biennial Tweaks Its Boundaries», The New York Times, February 6

2011 «Jutta Koether – Interview with Kim Gordon», Flash Art, January/February Issue Cairns, Steven, «Jutta Koether» Critic`s Pick, Artforum, January Tang, Jo-ey, «Jutta Koether», This Is Tomorrow, November 22

2010 Fox, Dan. «XXX Macarena (From the Nursery/Primary Information, 2010)», Frieze, Issue 130, April

2009 Lewitt, Sam. «Pyrrhic Victories», Texte zur Kunst, September, Issue 75

Joselit, David. «Painting Beside Itself», October Magazine, Fall, No. 130

Latimer, Quinn. «In Other Words», Frieze, September, 9

Max Dahn and Martin Hossbach. «Entspannt in den Konjunkturen der Sympathie», Spex, # 318, January/February

2006 Jutta Koether and Alan Licht. «On Sonic Youth», in exhibition cat. Sonic Youth etc. Sensational Fix

Jürgen Hafner, Hans. «Das Einmaleins der Stunde Null», Artnet Magazine, 21. November

Lowndes, Sarah. «Altered States of Paint», Frieze, September

Koether, Jutta. «Now, Then! Now, Then! Now, Then!», Artforum, September

Didi-Hubermann, Georges. «Anschaulich Werden», Texte zur Kunst, June, issue 70

Trezzi, Nicola. «Jutta Koether», FlashArtOnline.com, February 15

Yablonsky, Linda. «Poll Positions», Artforum.com, February 6

2007 Beasley, Mark. «Sympathy for the Devil: Art and Rock and Roll Since 1967», Artforum.com, December

Blum, Peter. «Stubborn Materials», Artforum, November

Zucker, Seth. «Reena Spaulings», Radical Art, 2007

«Between two deaths at ZKM», artnews.info, May 25

Catrin Lorch. «Niemand is een vrouw, De antiautortaire kunst van Jutta Koether», Metropolis M, #2 April/May

«AH, Jutta Koether in der Kunsthalle», Kunst Bulletin 3/07

«Jutta Koether, Shirly», Born to be a Star, Exhibition catalogue K/Haus, Vienna

Stefan Wagner. «Jutta Koether», Flash Art, March/April

Alice Henkes. «Bern:Jutta Koether in der Kunsthalle», Kunstbulletin, February 23

Paulina Szczesniak. «Kampf gegen die geschmackliche Langeweile», Tages Anzeiger Zürich, February 8

Alan Licht. «Sound Art: Beyond Music, Between Categories», Rizzoli International Publications

Nicola Schröder. «Ohrenbetäubende Entgrenzung», Ensuite, #3, February 3

Barbara Miesch. «Statements zur Malerei», Aargauer Zeitung, January 25

Stefanie Christ.«Wirre Klangwelten im Dunkeln», Berner Zeitung, January 22

Alice Henkes.«Grellrote Sternennächte», Der Bund, January 9

Barbara, Miesch. «Jutta Koether in der Kunsthalle Bern – Gestische Malerei im Prüfstand – Kritik», Schweizer Depeschenagentur, January 19

«Jutta Koether – Aenderungen Aller Art», Indepth Arts News, January

«Jutta Koether in Bern», www.kunstmarkt.com, January

Stefanie, Christ. «Crossover-Kunst», Berner Oberländer, January 18

«Mehr als «nur» Künstlerin», Kulturagenda, January 11

«Jutta Koether – Kunsthalle Bern», www.art-in.de, January 10

Verwoert, Jan. «Use Me Up», Metropolis M, No.1

«Oh ah The fire! By Mrs. Benway 1985», catalogue text in Witness to Her Art

Smith, Roberta. «In these Shows, the Material is the Message», New York Times, August 10

Parrino, Steven. «Bastard Creature», Palais de Tokyo, Summer

Savei, Nadja. «Make Your Own Life», ArtUS, January/February

Dorothee Baer-Bogenschütz. «Bloß keine Diskurs – Kacke», Kunstzeotung, January 5 2006 Thomann, Mirjam. «Du bist nicht allein / Ein Roundtablegespräch mit Stephan Geene, Jutta Koether, Markus Müller, Bernadette Van-Huy und Antek Walczak, moderiert von Mirjam Thomann», Texte Zur Kunst, September

Verwoert, Jan. «The Days of Our Lives», Artforum, Issue 103, November/December

Verwoert, Jan. «Masters and Servants or Lovers»

ICA Gallery Notes, «Make Your Own Life: Artist’s in & Out of Cologne»

Myers, Holly. «A message in the starkness», Los Angeles Times, August 18

Brooks, Amra. «Must See Art», LA Weekly, August 2

Krajewski, Michael. «Im Fantasialand der Malerei», Stadt Revue, July

Dzuverovic, Lina. «Cross Plattform: Jutta Koether», WIRE, June

Imdahl, Georg. «Manet, Courbet, van Gogh und sie», Kölner Stadt-Anzeiger, May 27/28

Simpson, Bennett. «Make Your Own Life, Artists In & Out of Cologne»

Wirth, Heidrum. «Der Nachtmaler und die Lichtprinzessin», Kölnische Rundschau, pp.27, May 25th

Nickas, Bob. «Jutta Koether», ArtForum, May

Huber, Gauthier. «Flash-back sur Steven Parrino», Kunst-bulletin, April

ESM, «Jutta Koether», Whitney Biennial 2006, Day for Night

Tepel, Oliver. «Hallo Wände – Sven Johne / Fergus Greer / Jutta Koether W/ Steven Parrino», in: Spex, #296, No. 03

Jutta Koether. «Martin Kippenberger», Interview, Flash Art, No. 247, March-April, first published in Flash Art, No. 156, January-February 1991

Graw, Isabelle. «Peripheral Vision», Artforum, March 2006

«Jutta Koether on Martin Kippenberger», in: Tate etc., Issue 6, Spring

2005 «Jutta Koether – Interview 1994», Mike Kelley: Interviews, Conversations and Chit-Chat (1986-2004) ed. John C. Welchmann, Zürich: JRP Ringier

«Jutta Koether: Heart of Noise», Texte zur Kunst, iss. 60, December

«Die 80er Jahre sind unter uns/The 80ies are in our midst. Roundtable Gespräch/Discussion with John M. Armleder, Benjamin H.D. Buchloh, Werner Büttner, Isabelle Graw, Kasper König,Jutta Koether and Thomas Ruff, moderated by Philipp Kaiser», Flashback (exhibition catalogue), Kunstmuseum Basel

«Rita Vitorelli in conversation with Jutta Koether», Spike, no. 05, Autumn

Blasi, Johanna Di. «Alles verfließt mit allem», in: Kölner Stadt-Anzeiger, No. 210, September 9

«Jutta Koether: Very Lost Highway», in: Stadt Revue, 09/2005

Gilligan, Melanie. «Kollektive Erhebung. Über das Projekt Orchard in New York», Texte zur Kunst, Issue 59, September

«Arbeiten von Jutta Koether bei Werz», Schwäbisches Tagblatt, Tuesday, August 9

Egger, Christian. «When bands turn into the art of noise», Spike Art Quarterly, No. 4, Summer

Smith, Roberta. «Jutta Koether, Thomas Erben Gallery», The New York Times, Friday, April 15

Leffingwell, Edward. «Jutta Koether at Thomas Erben», Art in America, June/July

Avgikos, Jan. «Jutta Koether, Thomas Erben Gallery», Artforum, Summer

Gilligan, Melanie. «Ich Ist War Weg. Jutta Koether in der Thomas Erben Gallery», New York, Texte zur Kunst, June

Koether, Jutta / Bob Nickas, «Dark Star», Artforum, No. 7, March

Koether, Jutta/ Kim Gordon: «Trading Post!», Trade – The W.C. # 1, exhibition catalogue, February 4 – March 12

2004 Koether, Jutta. «Alles in Allem, Interview mit Karl Lagerfeld», Texte zur Kunst, December

Koether, Jutta. «Sondersphärig! Zwanzig Minuten vor der Marc-Jacobs-Show», Texte zur Kunst

Egger, Christian. «Interview mit Jutta Koether», Löhfelm, No. 7, November

Koether, Jutta. «Shirly», Born to be a star, Ausst. Broschüre, Künstlerhaus Wien
2003 «Jutta Koether & c», Helvetica, Vienna, issue 4, 9/2003

«Roundtable: Barney im Abspann. Eine Gesprächsrunde mit Tom Holert, Gertrud Koch, Jutta Koether, Sebastian Schipper und Tom Tykwer», Texte zur Kunst, issue 51, September

Smith, Roberta. «Girls Gone Wild. Bronwyn Keenan Gallery, 3 Crosby Street, SoHo,Through July 11», The New York Times, Weekend, 4 July

«Galleries-SoHo. Girls Gone Wild», The New Yorker, 30 June

Koether, Jutta. «All alone (1957). Fautrier in den Vereinigten Staaten», Texte zur Kunst, Issue 50

Nickas, Bob. «How to write about … Jutta Koether», Afterall, issue. 07

Groetz, Thomas. «Unfinished Sympathies: On Jutta Koether’s art», Afterall, issue. 07

Graw, Isabelle. «Peripher im Zentrum – Jutta Koether», in: Isabelle Graw, Die bessere Hälfte. Künstlerinnen des 20. und 21. Jahrhunderts, Cologne: DuMont

Schafhausen, Nicolaus (ed.), deutschemalereizweitausenddrei, exhibition catalogue, Frankfurter Kunstverein, Frankfurt/Main
2002 Koether, Jutta. «Lyrik-Ecke», Texte zur Kunst, issue 48, December

Cotter, Holland. «The Heavenly Tree Grows Downward», The New York Times, 20 September

Koether, Jutta. «Illustration – avocation – illustration», Ecstatic Peace, Issue 5, July

Koether, Jutta. «GoGoGo», Ecstatic Peace, Issue 4, Summer

Koether, Jutta. «Found Artist N.Y.», Starship, Issue 5, Spring

2001 Koether, Jutta. «Teaser’s Trail», Ecstatic Peace, Issue 3, Winter

Koether, Jutta. «Mali Thep», Ecstatic Peace, Issue 3, Winter

Koether, Jutta. «Nur dass nicht. Bruchstücke einer Performance von Jutta Koether», in: Carl Hegemann (ed.), Erniedrigung geniessen. Kapitalismus und Depression III, Alexander Verlag Berlin

Koether, Jutta. «The Life They Make Me Lead», Ecstatic Peace, Issue 1, Spring

Lintzel, Aram. «Wenn der Hammer ins Meer sinkt», Frankfurter Allgemeine Zeitung, Berliner Seiten, January 3

Lintzel, Aram. «No Trouble No Energy No Energy No Life Jutta Koether spielt, spricht und hämmert zu ihren Bildern», in: Carl Hegemann (ed.), Erniedrigung geniessen. Kapitalismus und Depression III, Alexander Verlag, Berlin

1998 Miller, John. «Prozeß-Expressionismus», Texte zur Kunst, Issue 8, No.29, March

1997 Saltz, Jerry. Time-Out New York, No. 108

Cotter, Holland. «Art in Review: Jutta Koether», The New York Times, October 4

Pedersen, Victoria. «Gallery Go Round: Jutta Koether», Paper Magazine, October

McCollum, William. «Jutta Koether at Pat Hearn Gallery», artnet.com, October

Levin, Kim. «Voice Choices: Galleries: Jutta Koether», The Village Voice, September 30

1996 Koether, Jutta. «Transidentity Express 2. Versuch über die Schnittstellen von Kunst und Musik», Kunstforum International, Issue 135, October

Diederichsen, Diedrich. «Echte Massen werden zur Tapete, das ist ihr Schicksal. Ein Gespräch mit Jutta Koether über Archäologie, Kopfbedeckungen, Künstlertum, Malerei und die

«Massen als Opfer», Kunstforum International, Issue 135

Kelley, Mike. «Jutta Koether: ‘100 % Malerei’ oder Wie aus Musik Malerei wird und umgekehrt», Kunstforum, Issue 134, May/September

Schmerler, Sarah. «Art in Review: Jutta Koether», Time Out, New York, March

Cotter, Holland. «Jutta Koether: aftershows», The New York Times, February

1995 Siegel, Jeanne. «Jutta Koether at Pat Hearn», ARTIS, March/April

Levin, Kim. «Choices: Jutta Koether», The Village Voice, February 28

Smith, Roberta. «Jutta Koether», The New York Times, February 24

Koether, Jutta. «Deliratio III So frei», Spex, October

1993 Levin, Kim. «Choices: Jutta Koether», The Village Voice, June 29

«Goings On About Town», The New Yorker, June 21

Smith, Roberta. «Jutta Koether», The New York Times, June

Smith, Roberta. «German Art Still Breathes the Air of Ideas», The New York Times, April 23

Corris, Michael. «Punishment and Decoration: Art in an Age of Militant Superficiality», Artforum, April

Koether, Jutta, D. Diederichsen. «Achtung Baby: Pressing the Flesh. Jutta Koether and Diedrich Diederichsen on News from Germany», Artforum, April

Zahm, Olivier. «Jutta Koether – Laurent Joubert», Artforum, February

Koether, Jutta, D. Diederichsen. «Achtung Baby. Diedrich Diederichsen and Jutta Koether on Springtime for Hitler», Artforum, January

1990 Koether, Jutta. «Halal; Hans Nieswandt», The Halal File, Texte zur gleichnamigen CD,Cologne, Standard Graphik

1988 Titz, Walter. «Michael Krebber/ Jutta Koether», Artscribe, January-February

1985 «Jutta Koether, Smell of Female», Exhibition catalogue Trockel, Semmer, Koether, La Grande Serre, Rouen

Group exhibition celebrating Thea Westreich and Ethan Wagners donation to the Whitney and Pompidou

09 Jun, 2016-15 Jul, 2016

Campoli Presti, Paris

Best of Studios

07 Oct, 2016-16 Dec, 2016

Campoli Presti, London

Serinettes. Ladies Pleasures Varying.

22 Apr, 2017-17 Jun, 2017

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Press release

Jutta Koether
Serinettes. Ladies Pleasures Varying.
22 April – 17 June 2017
Campoli Presti, Paris

Campoli Presti is pleased to announce Jutta Koether’s sixth solo exhibition with the gallery, Serinettes. Ladies Pleasures Varying.
Following her installation in Paris as part of the gallery’s series of exhibitions A Moveable Feast in 2014, the artist takes the gallery’s ground floor and third floor as a platform to map painting’s position in an extended space that delineates both their continuity and their intervals of silence.

Within the frame of her unruly readings of male masterpieces, Koether takes Jean-Siméon Chardin’s La Serinette from 1753 as a point of departure to think about painting as an organic apparatus that embodies varying functions. Chardin’s work depicts a young woman that interrupts her needlework to play the serinette, an organ that artificially imitates birds’ sounds to teach them how to sing in isolation from their environment. Koether’s installation in two different series of rows reinstates Chardin’s genre scene to form a space chord, a continual, stretched-out sound that gathers the vastness of a space.

The first group of seven paintings that form part of the installation in the gallery’s ground floor, titled pique-niques (1), continues Koether’s investigation on painting as an actual body in which the crusty, crass, glittery and crude present themselves all at once and form an independent materiality. The over determined shape of the canvases is cancelled out and loaded in rich shades of red, pink and gold until loosing their point of balance and activating their movement into different angles.

On the third floor of the gallery space, Koether presents pique-niques (2), a series of seven black paintings that follow the embedding of sense and existence into the material of paint matter itself. In the same way as in her red paintings, black is a colour Koether has returned to repeatedly since the 1990’s. The properties of the material, like in the heart-shaped canvases, bring together the work’s physical qualities with the artist’s physical processes. Dim or profuse lighting proposes a scale of textures and different assimilations of form into the black. Through a number of references to art historical figures, Koethers follows a process of ongoing signatures, reinstalling painting through painting.

Jutta Koether (1958) lives and works in New York and Berlin. Koether has an upcoming survey exhibition at Museum Brandhorst, Munich (2018) that will travel to the Serralves Museum, Portugal. Her work forms part of the permanent collections of MoMA, New York; The Whitney Museum of American Art, New York; Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA), Los Angeles; Nationalgalerie, Berlin and Kunsthalle Bern. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013); Arnolfini, Bristol (2013); Moderna Museet, Stockholm (2011); Bergen Kunsthall, Norway (2008); Kunsthalle Bern, Switzerland (2007) and Koelnischer Kunstverein, Cologne (2006). Her work was included in the 2014 Shanghai Biennial; in the Whitney Biennials in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

The Pleasure of the Text

23 Apr, 2015-23 May, 2015

Campoli Presti, London