JUTTA KOETHER | CAMPOLI PRESTI

BIOGRAPHY
IMAGES
PRESS
EXHIBITION

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

Stedelijk Museum, Amsterdam

SOLO EXHIBITIONS

2018 Tour de Madame, survey exhibition, Museum Brandhorst, Munich

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 Jump into the Future – Art from the 90’s and 2000’s, Exhibition from the Thomas Borgmann donation, Stedelijk Museum, Amsterdam

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

Jutta Koether
Fantasia Colonia
Installation view
27 May – 13 August 2006
Kölnischer Kunstverein, Cologne

24 November – 22 December

24 Nov, 2007-22 Dec, 2007

Sutton Lane (Campoli Presti), Paris

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Death By Water. Death By Fire.

17 May, 2013-22 Jun, 2013

Campoli Presti, Paris

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Lucy Dodd / Jutta Koether / Nora Schultz / Viola Yeşiltaç
Death by water. Death by fire.
Curated by David Lewis
17 May – 22 June 2013
Campoli Presti, Paris

Campoli / Presti is pleased to present a show of work by four artists. Four artists: Four elements. Four walls, too. But the exhibit emphasizes mainly two: Water and fire. Water first–then fire. Not to the exclusion of earth or air, ever (how would that even be possible?) but the final fantasy here is the ringing sea. The idea being to associate the technologies of writing, and with them all the related technologies of painting, with water and watery transformation; then to add to this not only the memory of two inscriptions on two Anglophone tombs but also the image (the flicker of an icon) of a curtain of flames rising above the waves. It’s suave mari magno versus et in arcadia ego, all over again.

« This Grave / contains all that was Mortal / of a / Young English Poet / Who / on his Death Bed, in the Bitterness of his Heart / at the Malicious Power of his Enemies / Desired / these Words to be / engraved on his Tomb Stone: / Here lies One / Whose Name was writ in Water. 24 February 1821″
***

Lucy Dodd was born in 1981 in Garden City, New York. Dodd received her BFA from Art Center College of Design in 2004 and her MFA from Bard College in 2011. Dodd has been featured in numerous group shows both nationally and internationally, including Blum & Poe, Los Angeles; Meyer Kainer, Vienna; and Balice Hertling & Lewis, New York. Dodd had her first solo show at ProChoice in Vienna in 2010, and, together with musician Sergei Tcherepnin, she was part of Performa 11 in New York in 2011.

Based in Berlin and New York, Jutta Koether is also a professor at the Hochschule für bildende Künste Hamburg. As a musician, she has worked with artists such as Tony Conrad, John Miller, Tom Verlaine, Kim Gordon and the late Steven Parrino (as Electrophilia). Recent exhibitions include the Whitney Biennial and Sao Paulo Biennial, both 2012, and solo exhibitions at the Moderna Museet, Stockholm (2011), and the Van Abbemuseum, Eindhoven (2009). Her work was recently included in the Tate Modern exhibition A Bigger Splash: Painting after Performance. Her solo exhibition Seasons and Sacraments is currently on view at Arnolfini Bristol, after being exhibited at DCA, Dundee.

Nora Schultz recently had solo exhibitions at Portikus, Frankfurt (2012); Bloomberg Space, London (2011); Fondazione Giuliani, Rome (2010) and Koelnischer Kunstverein, Cologne (2009). Past group exhibitions include Version Control at Arnolfini, Bristol (2013), Ecstatic Alphabets/Heaps of Language at MoMA, New York (2012), That’s The Way We Do It at Kunsthaus Bregenz (2011), Non-Solo Show, Non-Group Show at Kunsthalle Zurich (2009), Collatéral at Confort Moderne, Poitiers (2009) and Nora Schultz / Pernille Kapper Williams at Grazer Kunstverein (2009). Schultz’ work will be included in the upcoming group exhibition I knOw yoU at the Irish Museum of Modern Art, Dublin.

Viola Yeşiltaç has exhibited works in solo and group exhibitions including Balice Hertling and Lewis, Catherine Bastide Gallery, Brussels; Laing Art Gallery, Newcastle; Am Nuden Da, London; Kunstverein Langenhagen, Bundeskunstshalle, Bonn; Kunsthalle Recklinghausen, Museum Folkwang, Essen; Sommerakademie Centrum Paul Klee, Bern; Sculpture Center, New York; Artists Space, New York, P.S.1.Contemporary Art Center, New York; Front Desk Apperatus, New York; Museum of Modern and Contemporary Art, Geneva; Galleria Civica di Arte Contemporanea, Trento; and Team 404 & John Armleder Museum of Modern Art, Shanghai.

A Moveable Feast – Part XV

17 Nov, 2014-20 Dec, 2014

Campoli Presti, Paris

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A Moveable Feast – Part XV
Jutta Koether
17 November – 20 December 2014

Campoli Presti is pleased to announce the 15th part of its cycle A Moveable Feast with the presentation of a new work by Jutta Koether, entitled Centre de recherche.

Thinking of the cycle A Moveable Feast as an occasion to share the current state of the gallery artists’ practice, Koether produced a painting installation that relates to the history of her work in the space, its different incarnations, as well as it indicates the potential development of an idea. The installation is considered as an offering, a particular moment in time of the work, in between something done and something to come.

The work can be understood within the frame of an ongoing investigation on a style that she explored during the ́80s, revisiting the whole notion of painting as an actual body. The nude that is portrayed in the painting is an excerpt of a late work by Lucian Freud. In Koether’s work the impasto is placed outside of the body instead of being used in function of the body. The female torso assumes the highly artificial shape of a balloon and works in contrast to the flesh and its materiality, which has taken an external position. It is an exploration of another type of painting that engages in a raw interaction between an opaque and a thin material.

This procedure is guided by Koether’s recent interrogation of the role of the plastically crafted medallion in Botticelli’s Portrait of a Man with a Medal of Cosimo di Medici (c. 1474) and how much this alien material presence questions the symbolic value of painting. Just as Boticelli shows off an image of the most powerful man at the time, Freud exposes the authority of the thick painted bodies that have become one of the most valuable artistic commodities, contrasting the interior experience of the studio and the hyperexposure of its value in a particular materiality.

Koether’s plank paintings, first used for the performance series ‘Grand Openings: ‘Return of the Blogs’ at MoMA in 2011, are potential structures whose position is continuously negotiated. The planks took the shape of a garland holding the space in her 2011 exhibition Mad Garland at the gallery. For A Moveable Feast, the garlands are adjusted and moved around for the occasion to work as a support system, a framing device that protects the painting from falling apart. Evoking the idea of an arcade into Koether’s next body of work, the garland becomes a portal, an announcement of future lines of research to arrive.

Jutta Koether lives and works in New York and Berlin. Her work forms part of the permanent collections of MoMA, New York; the Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA) in Los Angeles; Nationalgalerie in Berlin and Kunsthalle Bern. Her work will be included in the Shanghai Biennial this November. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013) and Arnolfini, Bristol, Moderna Museet in Stockholm (2011), Bergen Kunsthall in Norway (2008), Kunsthalle Bern in Switzerland (2007) and Koelnischer Kunstverein in Cologne (2006). She was included in the Whitney Biennial in 2012 and 2006 and in the 2012 Sao Paulo Biennial. Jutta Koether is currently a professor at the Hochschule für Bildende Künste in Hamburg.

Mad Garland

20 Oct, 2011-17 Dec, 2011

Campoli Presti, Paris

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JXXXA Leibhaftige Malerei

19 Apr, 2008-24 May, 2008

Sutton Lane (Campoli Presti), Paris

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Jutta Koether
JXXXA Leibhaftige Malerei
19 April – 24 May, 2008
Sutton Lane, Paris

This show is a proposition for an intense re-engagement with subjectivity and language in relation to painting. The proposition is not to be understood necessarily identical with its product while it is acting out something, that is trying to establish a dissident and dissonant moment to protect the painting from being instrumentalized, mediated, exchanged entirely, while it is giving itself over to all that at the same time. Yet there is an excess it insists upon, that is a believe and effort to show that: Pleasure and astonishment of painting are un-negotiable.

All grating persistent strokes. It’s the violence that draws them. All at Once.
Painting. Zone of Energy and Pain. Wild Chaos of Orgasm, the music of war, the entranced stupor of hallucinations. Only a few perceive this zone to penetrate. It was to negate any difference between good and evil, life and death, desire and fear.
Painting. Pushing Luck.
Jealous. Paranoid. Strange.
Producing crisis. Exhibits in a gesture the possibility of its being reduced to this gesture. Will take that risk. To bring painting alive.
Red Rising.
Pictures, rising and collapsing.
Rising and collapsing.
Painting excessive visual experience of blind spots and loss.
Bilder die nicht allein durch Ereignisse bestimmt sind sondern durch ein psychisch substantiell Werden.
Red Rising.
Painting of Joy. Painting of Tortured Intensity.
Painting. Itself like a Naked Body. Something offering itself frontally.
Inkarnation.
Painting itself initiates the motion of Desire itself and through it:
Die Fähigkeit des Imaginären sich selbst zu zerlegen.
Painting. Site to reveal basic conditions of knowledge and representation.
Diversity and Passion. Bilder die in einem Werden und Vergehen.
Das Rückhaltlos Geöffnete Sein.
Paintings. Bodies imagining each other.
Leap and collapse and rise yourself up, you know, like Little Richard did!
Red Rising.

Jutta Koether was born in 1958 in Cologne. The artist lives and works in New York. Exhibitions and projects (selected): Bergen Kunsthalle, Bergen, Norway (2008); Kölnischer KunstVerein, Köln (2007); Kunsthalle, Bern (2007); Reena Spaulings Fine Art, New York (2006); Whitney Biennial, New York (2006); Thomas Erben Gallery, New York (2005); Simultanhalle, Cologne (2005); Galerie Daniel Buchholz, Cologne (2004); Galerie Meerettich, Berlin (2004); P.S.1, New York (2004); Swiss Institute, New York (2002); Frankfurter Kunstverein (2003); Galerie Daniel Buchholz, Köln (2002); Galerie Freund, Vienna (2000); Pat Hearn Gallery, New York (1999); INIT-Kunsthalle, Berlin (1999).

Best of Studios

07 Oct, 2016-16 Dec, 2016

Campoli Presti, London

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Jutta Koether
Best of Studios
8 October – 17 December 2016
Campoli Presti, London

Campoli Presti is pleased to present Jutta Koether’s fifth solo exhibition with the gallery. Questioning the traditional hierarchies of painting, Koether’s work deconstructs the distinction between copy and original. Painting opens up a broader discursive space through the incorporation of performance and the appropriation of art historical subjects and positions. In Best of Studios, Koether reframes the position of painting as a resistant body whose experimental character addresses the digital condition in which painting operates.

Central to the exhibition are two large works from Koether’s recent series of Bruised Grid paintings. Grids have been used in her practice since 2000. The 12-inch square grids began in 2007 and have been shown in interaction with other figurative works or as performing agents in lectures. Koether’s gridded works thwart the geometrical landmark of Western Art while defining a field of play. By addressing the attraction between archaism and metrics, Koether’s systematic application engages the viewer in a micro-contemplation, as if the viewer was picking up pennies from the ground.

As a counterpart to the comprehensive, external perspective of painting suggested by the gridded works, K-Bild, Withers Plant and VLP Plant address the internal sphere in which art also circulates. In K-Bild the artist inscribes herself into the layers and brings language into painting. Part of Koether’s consideration of painting as an actual body, the thick, almost independent materiality of the impasto gives the work a physical, substantial appearance.

Through insisting, noisy techniques of applying paint in deliberated zones, Koether penetrates into the historical organization of painting’s different fields of passage.

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.

For further information or images please contact cora@campolipresti.com.

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

09 Jun, 2016-15 Jul, 2016

Campoli Presti, Paris

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Liz Deschenes / Jutta Koether / Daniel Lefcourt / Scott Lyall / Sean Paul / Eileen Quinlan / Blake Rayne / Reena Spaulings / Cheyney Thompson
10 June – 23 July 2016
Campoli Presti, Paris

Campoli Presti is pleased to present a group exhibition featuring works by Liz Deschenes, Jutta Koether, Daniel Lefcourt, Scott Lyall, Sean Paul, Eileen Quinlan, Blake Rayne, Reena Spaulings and Cheyney Thompson. This generation of artists, which the gallery has represented since the beginning, has markedly contributed to redefine notions on medium-specificity and artistic agency. Their work was recently included in the exhibition “Collected by Thea Westreich Wagner and Ethan Wagner” at the Whitney Museum of American Art in New York which has travelled to the Centre Pompidou in Paris and is currently on view.

Making use of the medium’s most elemental aspects, namely paper, light, and chemicals, Liz Deschenes has recently worked without a camera to produce reflective photograms. These are obtained by exposing sheets of photosensitive paper to the ambient light of night before fixing them with silver toner. Deschenes’ work is increasingly concerned with architectural and historical contexts of exhibition display. Spatial factors and tangible conditions of display become inscribed in the physicality of the artwork rendering the photograph as a framing-device that intends to ‘bracket’ the space and activate the viewer. The reflective surface of the new photograms on view engages the movements of the viewer and the surrounding architecture.

Jutta Koether’s practice often involves appropriations of literature and art history masters, negotiating questions of aesthetic consensus and of the social-economical networks in which artistic practice operates. Based on Helios and Phaeton by Nicolas Poussin, Koether’s work presented in the exhibition alludes to the geometrical landmark of Western Art while defining a field of play. Locked in the material structure around it, the figure is engaged in a broader movement, organising different zones of contact. By addressing the attraction between archaism and metrics, Koether’s systematic application of paint engages the viewer in a micro-contemplation, comparable to the visual experience of picking up pennies from the ground. The painting forms part of a broader series of works that explores the allegorical figure of Fortune’s wheel and the medieval goddess Fortuna, a metaphor of role of chance in time’s passage.

Throughout his career, Daniel Lefcourt has continually engaged the space between painting and technical imaging. Lefcourt’s work reflects on contemporary image production and the digital economy of images while negotiating the reality of material procedures. His production techniques use aspects of photography, computer modelling, digital fabrication, and sculptural casting. For his Plot Fill and Cast series, Lefcourt has used computer-controlled router, digital scanning and machining techniques as the basis for a play with written and visual communication and the languages of painting. His new body of work from 2016 collapses both series, exploring the space between writing, drawing and painting. Entirely mechanically produced, Untitled (Machine Painting), 2016 is based on geometric drawings that program the path of the brush. Developed from Lefcourt’s interest in digital technologies, the works push the boundaries of painting, juxtaposing the mechanical with the chance of the material.

Scott Lyall’s recent series of works research on the status of digital colour as a code that is constantly translated, transformed, and materialized; continually delaying or deferring its meaning. His printing technique extends this act of translation as it turns information directly into colour. The canvases are produced by combining ink and its erasure, in multiple passes, through a UV-based printer. These graphic assemblages of colour data – ‘non-images’ in a certain way – form visual atmospheres that shift depending on different viewpoints, inscribing within the process an actual experience of ‘colour’.

In Sean Paul’s Arrangement 15, Front/Top/Bottom/Right/Left/Back, a still life assembled from domestic products (cup, bowl, saucer, and plate) is marked with black squares of tape; the black squares function as tokens, which allow the spatial geometry of the still life to be discerned. Following standard practices of technical representation, used for example in the fields of architecture or product design, the still life is pictured from six perpendicular planes forming a box of views composed of the front, back, left, right, top and bottom angles. This plane then becomes the array, which informs the material images’ unfolding into lived space, or a domestic scene. Madame Leblanc, Rerversed, 2012 is based on the Ingres masterpiece “Madame Leblanc”. This print admits 4 different folds, therefore 8 possible configurations on the wall. It is imagined as being folded upon an idealized architectural plane. The type of fold represented above is mapped into a 90 degree convex angle of an existing space.

Eileen Quinlan explores photography’s capacity to be both record of physical facts and deceptive illusion. Employing analogue techniques in an era of digital manipulation, Quinlan creates atmospheric abstract images using the standard tricks of commercial film photography. Based entirely in the studio, Quinlan’s work uses pre-digital photography techniques—such as gels, strobes, smoke and mirrors—to create mesmerizing abstract compositions of light, colour, and texture. Her works recall the pure abstraction of Modernist painting, but are actually direct representations of the items used to create backdrops in commercial photography. The polaroid plays an important role in Quinlan’s practice, often employed as a first take when photographing the still lifes she stages in the studio.

Blake Rayne’s last series of paintings related to his interest in recording sequential streams of movement into painting, drawing a continuous wandering line throughout the picture plane. Rayne freely paints the line tracing the surface in an intuitive movement that recalls automatic writing techniques, evoking the wandering and errant traces of digital interfaces. His new body of work from 2016 further explores these concerns by collapsing line and process. For Untitled, 2016 a steel banding commonly used in the shipment of crates was utilized as a soft stencil to create a white looping line lightly dusted with aerated acrylic paint in layers of various colours. The paperclips that initially held the banding together were released to allow for expansion into the final shape of each of the line compositions, now appearing as silhouettes.

Reena Spaulings’ The Dealers (2007) and The New Dealers (2013) were portraits of gallerists based on images downloaded from Artforum.com’s ‘Scene & Herd’ and other art world-related websites depicting friends and professional colleagues that Spaulings worked with over the years. The portraits from 2013 – the second instalment of the series first shown at Kunsthalle Zürich in 2007 – featured a more recent generation of art dealers, exposing the increasing social interests that rule the art market by turning the traders into commodities themselves. Executed in active brushstrokes the portraits play with various features of expressionist figurative painting from the 80s, such as the preference for parody or working from found images. These irreverent portraits of prominent gallerists reflect Spaulings’ interest in art’s status as an exchangeable commodity, whilst addressing the specific displacements, social networks and ambiguities Reena Spaulings inhabits in her double identity of both artist and gallerist. The Complete Dealers features a rack with promotional postcards based on the paintings of both generations of dealers, on a display that evokes their rotating popularity and the visibility features of a retro marketing tool.

Cheyney Thompson’s work focuses on the technology, production and distribution of painting within the context of current abstract economy. Thompson presents us with a visual equivalency for the intangibly complex processes governing our economic systems. The works on paper on view are based on the « Drunken Walk » algorithm, an aleatory path that is used in financial theory to predict stock prices. The algorithm belongs to the study of certain seemingly random types of motion, from botanist Robert Brown’s 19th-century observations of pollen floating on water as well as mathematician Louis Bachelier’s early 20th-centry application of Brown to model fluctuations in stock markets. In this case the “random walk” taken by Thompson’s entity produced a new sequence of values, which he then mapped onto a path, akin to the path of a labyrinth.

***

Liz Deschenes’ work is part of the permanent collections of Centre Pompidou, Paris; MoMA, New York; Whitney Museum of American Art, New York; The Metropolitan Museum of Art, New York; The Walker Art Center, Minneapolis; The Art Institute of Chicago; Hirshhorn Museum and Sculpture Garden, Washington D.C; Corcoran Museum of Art, Washington D.C. and CCS Bard Hessel Museum, Annandale-on Hudson. Deschenes has an upcoming survey exhibition at the ICA Boston opening on 28th June. She recently had solo exhibitions at the Walker Art Center, Minneapolis and at MASSMoCA, North Adams. Deschenes’ work was recently included in Collected by Thea Westreich Wagner and Ethan Wagner at the Whitney Museum, New York and in Sites of Reason: A Selection of Recent Acquisitions at MoMA, New York. Past exhibitions include a solo exhibition at Secession, Vienna (2012-2013); the Whitney Biennial 2012 and Parcours at the Art Institute of Chicago with Florian Pumhösl (2013).

Jutta Koether was born in Cologne in 1958. She lives and works between New York and Berlin. Her work forms part of the permanent collections of MoMA, New York; the Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA) in Los Angeles; Nationalgalerie in Berlin and Kunsthalle Bern. Koether has an upcoming survey exhibition at Brandhorst Museum, Munich in 2017. Her work was part of Painting 2.0, Expression in the Information Age at Brandhorst Museum travelling to Mumok, Vienna. 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 Kölnischer Kunstverein, Cologne (2006). She was included in the Shanghai Biennial in 2014, in the Whitney Biennial in 2012 and 2006 and in the 2012 Sao Paulo Biennial.

Daniel Lefcourt lives and works in New York. His work forms part of the collection of the Whitney Museum of American Art, New York, and MOCA – Museum of Contemporary Art, Los Angeles. Lefcourt’s work was recently on view at the Whitney Museum, New York in Collected by Thea Westreich Wagner and Ethan Wagner. His work has been featured in numerous exhibitions including MoMA P.S.1; the Sculpture Center, Long Island City; ICA Philadelphia; de Young Museum, San Francisco; Malmö Konstmuseum and Kunst-Werke Berlin. In 2013 the Dia Art Foundation commissioned a web project by the artist. He received his MFA from Columbia University and is a member of the faculty of Rhode Island School of Design.

Scott Lyall is part of the collection of the Whitney Museum, New York. Lyall’s work was recently on view at the Whitney Museum, New York as part of Collected by Thea Westreich and Ethan Wagner. Past exhibitions include The Colour Ball at The Power Plant in Toronto (solo); the little contemporaries at Sculpture Center, New York (solo); When Hangover Becomes Form (with Rachel Harrison), Contemporary Art Gallery, Vancouver; Anti-Establishment, curated by Johanna Burton, at the CCS Bard Hessel Museum; Schnitte im Raum, Museum Morsbroich, Leverkusen; Tentation d’Hazard, The Montreal Biennial 2011; Collatéral, Le Confort Moderne, Poitiers; The Lining of Forgetting, Austin Museum of Art, Weatherspoon Art Museum; and SITE Santa Fe, 7th International Biennial 2008.

Sean Paul (b. 1978 in Salt Lake City, Utah) lives and works in New York. He received a MFA from Columbia University, NY. Past solo exhibitions include Communication in the Presence of Noise and Service Relations, Thomas Duncan Gallery, Los Angeles; A Moveable Feast, Part II, Campoli Presti, Paris; and Every Hair of the Bear, Front Desk Apparatus, New York and Symposium, Sutton Lane (Campoli Presti), London. Recent group exhibitions include Collected by Thea Westreich Wagner and Ethan Wagner, Whitney Museum of American Art, New York; Blueprints, Hessel Museum of Art, Annandale-on-Hudson, NY and Collatéral, Le Confort Moderne, Centre pour l’Art Contemporain, Poitiers.

Eileen Quinlan lives and works in New York. Her work is included in public collections such as MoMA, New York; the Whitney Museum of American Art, New York; Los Angeles County Museum of Art; The Museum of Contemporary Art, Los Angeles; The Metropolitan Museum of Art, New York; and FRAC (Fonds Regional d’Art Contemporain), France. Her work was recently shown at the Museum of Cycladic Art, Athens and presented at Bergen Kunsthall, Norway in 2015. It formed part of Collected by Thea Westreich Wagner and Ethan Wagner at Whitney Museum of American Art, New York (2015/16) and New Photography 2013, curated by Roxana Marcoci at MoMA, New York. Quinlan had a two-person exhibition at The Kitchen, New York in 2012 and a solo exhibition at the ICA in Boston in 2009.

Blake Rayne lives and works in New York. His work is included in the permanent collections of the Museum of Modern Art, New York; Whitney Museum of American Art, New York and Fonds Regional d’Art Contemporain, France (FRAC). His upcoming survey solo exhibition at the Blaffer Art Museum de Houston, Texas will open in October 2016. His work recently was on view at the Whitney Museum, New York in Collected by Thea Westreich Wagner and Ethan Wagner. Past exhibitions include Künstlerhaus Graz, Austria (2013), Langen Foundation, Germany (2011), Kunsthalle Bergen (2010), The Kitchen, New York (2010) and Le Confort Moderne, Poitiers (2009).

Cheyney Thompson has had solo exhibitions at the MIT List Visual Arts Center, Cambridge, Massachusetts (with an accompanying monograph), and the Kunstverein Braunschweig, Germany; and his work was included in the 2008 Whitney Biennial. Group shows include: Une Histoire, Centre Pompidou, Paris, Chat Jet – Painting ‘Beyond’ The Medium at Künstlerhaus Graz; The Indiscipline of Painting, Tate St. Ives; Systems Analysis at West London Projects and Langen Foundation, Germany; Greater New York at P.S.1 Contemporary Art Center and The Venice Biennale, Italy in 2003.

For more information or images please contact Ines Dahn ines@campolipresti.com

Serinettes. Ladies Pleasures Varying.

22 Apr, 2017-17 Jun, 2017

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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.

The Pleasure of the Text

23 Apr, 2015-23 May, 2015

Campoli Presti, London

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The Pleasure of the Text
Kerstin Brätsch, Lucy Dodd, Michaela Eichwald, Daiga Grantina, Rachel Harrison, Jutta Koether, Amy Sillman, Joan Snyder
23 April – 23 May 2015
Campoli Presti, London

Campoli Presti is pleased to present the group exhibition The Pleasure of the Text.

The Pleasure of the Text focuses on the constant flow of negotiations between predefined historical notions of artistic practices and the personal way in which they are appropriated and read. The exhibition brings together artists that question the labeling of their works and re-elaborate them on their own terms, in an often unprejudiced and receptive manner. Taking an imprudent approach to their medium and its materiality, the artists engage in an active definition of their practice that emancipates itself from theoretical expectations.

The exhibition takes its title from Roland Barthes’ 1973 book of the same name, in which the pleasure of reading exists in a derivative path, when our body follows its own ideas and destabilizes its historical, cultural and psychological assumptions. « Text means tissue, but whereas hitherto we have always taken this tissue as a product, a ready-made veil, behind which lies more or less hidden, meaning (truth), we are now emphasizing, in the tissue, the generative idea that the text is made, is worked out in a perpetual interweaving: lost in this tissue – this texture – the subject unmakes himself ».

In this re-articulation of established categories, Kerstin Brätsch (Hamburg, 1979) names one of her series Corporate Abstractions to indicate the ambivalence of artistic autonomy and marketing production strategies. Lucy Dodd (New York, 1982), uses organic and unconventional pigment and materials to create paintings that refer to an ongoing investigation into a realm of ritual and mythology. Michaela Eichwald (Cologne, 1967) subverts the historical legacy in her paintings with physically engaged autobiographical traces. Daiga Grantina (Riga, 1985) situates her works in a system of semiotics, where one can think about how words come into contact with materiality, in a general interrogation of the definition of figuration. Rachel Harrison (1966, New York) develops an eclectic sculptural language that brings together the seemingly divergent categories of minimalism and pop. Jutta Koether (Cologne, 1958) re-appropriates classical works made by male artists and questions painting’s notions of quality by playing with the formal implications of ‘bad painting’. Amy Sillman‘s (Chicago, 1956) open-ended investigations, by the form of collage, drawings, paintings, or animations disrespect the binary between abstraction and figuration. Joan Snyder (New York, 1940) detaches the use of the grid from minimalist theories and embraces narrative in abstraction.

For further information or images please contact cora@campolipresti.com

The Invisible Fourth Wall

28 Jan, 2009-28 Mar, 2009

Sutton Lane (Campoli Presti), London

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The Double Session

05 Jun, 2013-26 Jul, 2013

Campoli Presti, London

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Jutta Koether
The Double Session
5 June – 26 July 2013
Campoli Presti, London

Campoli Presti is pleased to present Jutta Koether’s third solo exhibition with the gallery. The Double Session is part of an on-going performative reading of Jacques Derrida’s 1969 lecture of the same name.

Koether has already explored Derrida’s idea of doubling within the artist’s Marriage Paintings – presented this year at Dundee Contemporary Arts and currently on show at Arnolfini, Bristol. By reproducing the subject again the artist relates it to the philosopher’s comments on Mallarmé’s mime, where the supplement constitutes the original and denies the difference between a first and a secondary truth.

Unorthodox, unruly readings and other strands of theorizing in and through painting have informed a specific kind of production within Jutta Koether’s practice. Although the format of this production for The Double Session is mainly sculptural, painting is present in a deconstructive, fluid way.

Viktoria (2013) and Luise (2013) are two works that each comprise hand-shaped basins that contain gift shop jewellery, bugs, glitter, faux-gold bars, and glass objects that float stranded in clear liquid acrylic. Streaks of colour on torn canvas strips serve to hint at painting and (what Derrida would term traces) hold within themselves the mark of a past element already marked by a relation to a future element. Mirrored walls behind Viktoria enforce a doubling of the viewer and object – prompting us to consider the literal framework through which we see and interpret the work.

Suspended in mid-air, Isabelle (2013) is a depiction of a large phallus of exaggerated proportions that are furthered by the appropriate shape of the paper and frame. Pointing from one room to another the phallus has similar dimensions to the sculpture that Louise Bourgeois holds in Robert Mapplethorpe’s iconic portrait that evokes the same outspokenly and humorous approach towards the phallic object.

Within the gallery’s stairwell, Koether has positioned a group of ‘plank paintings’ of which can potentially be positioned (viewed) horizontally as well as vertically. In the past, similar planks have constituted performative objects and here they continue their role to be physically negotiated escaping their pictorial limitations.

The Double Session considers painting as an unresolved category, a broader praxis. The meaning itself of painting disseminates, as it generates an irreducible and generative multiplicity of semantic effects. It does not rely on oppositions between original and version, natural and artificial, masculine and feminine, but rather on their re-articulation.

Jutta Koether lives and works in New York and Berlin. Her work forms part of the permanent collections of MoMA, New York; the Musée d’art moderne de la ville de Paris; Museum of Contemporary Art (MOCA) in Los Angeles; Nationalgalerie in Berlin and Kunsthalle Bern. The Arnolfini in Bristol (UK) is currently presenting a solo exhibition of the artist’s work. Koether has had solo exhibitions at DCA – Dundee Contemporary Arts (2013), Moderna Museet in Stockholm (2011), Bergen Kunsthall in Norway (2008), Kunsthalle Bern in Switzerland (2007) and Koelnischer Kunstverein in Cologne (2006). She was included in the Whitney Biennial in 2012 and 2006 and in last year’s Sao Paulo Biennial. Jutta Koether is currently a professor at the Hochschule für Bildende Künste in Hamburg.

Signatures

25 Jun, 2010-24 Jul, 2010

Sutton Lane (Campoli Presti), Paris

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SIGNATURES

25 June – 24 July 2010
Sutton Lane Paris

Marcel Broodthaers
Marcel Duchamp
Jutta Koether
Louise Lawler
Man Ray
Josh Smith
Reena Spaulings
Cheyney Thompson

‘The author is the principle of thrift in the proliferation of meaning. As a result, we must entirely reverse the traditional idea of the author. We are accustomed, as we have seen earlier, to saying that the author is the genial creator of a work in which he deposits, with infinite wealth and generosity, an inexhaustible world of significations. We are used to thinking that the author is so different from all other men, and so transcendent with regard to all languages that, as soon as he speaks, meaning begins to proliferate, to proliferate indefinitely.

The truth is quite the contrary: the author is not an indefinite source of significations that fill a work; the author does not precede the works; he is a certain functional principle by which, in our culture, one limits, excludes, and chooses; in short, by which one impedes the free circulation, the free manipulation, the free composition, decomposition, and recomposition of fiction. […] The author is therefore the ideological figure by which one marks the manner in which we fear the proliferation of meaning.

All discourses, whatever their status, form, value, and whatever the treatment to which they will be subjected, would then develop in the anonymity of a murmur. We would no longer hear the questions that have been rehashed for so long: Who really spoke? Is it really he and not someone else? With what authenticity or originality? And what part of his deepest self did he express in his discourse? Instead, there would be other questions, like these: What are the modes of existence of this discourse? Where has it been used, how can it circulate, and who can appropriate it for himself? What are the places in it where there is room for possible subjects? Who can assume these various subject functions? And behind all these questions, we would hear hardly anything but the stirring of an indifference:
What difference does it make who is speaking?’

– from What is an author? by Michel Foucault, 1969 –