WANAFOTO: Germany

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24/01/26

David Lynch @ Pace Gallery, Berlin

David Lynch

Pace Gallery, Berlin

January 29 - March 29, 2026

David Lynch

untitled (Berlin), 1999

David Lynch

Tree at Night, 2019

Pace Gallery presents work by David Lynch at its gallery in Berlin. The exhibition highlights his vision across media, bringing together a select group of paintings, sculptures, watercolors, and early short films. It also includes a series of photographs taken in Berlin, touching on Lynch’s history with the German capital and Europe at large. The show precedes a major exhibition of Lynch’s work slated for fall 2026 at Pace’s gallery in the artist’s hometown of Los Angeles.

David Lynch, one of the foremost creative thinkers of our time, considered himself a visual artist first, studying painting at the Pennsylvania Academy of the Fine Arts, Philadelphia, in the late 1960s. During this period, he conceived his first “moving painting,” Six Men Getting Sick (Six Times) (1967), a multimedia work that fused painting and projection. This approach to image-making, rooted in material experimentation, remained central to his artistic practice.

A focused selection of his paintings, sculptures, watercolors, film, and photographs highlights the range of his practice and his sustained engagement with materiality. Lynch’s paintings, rife with unsettling and enigmatic images, draw on the visual language of Surrealism while also bringing together both text and storytelling. At their core is a pervasive unease that speaks to the subconscious realities of contemporary life. The watercolors—both monochrome and in the artist’s signature palette of reds, inky blues, and bursts of yellow— appear alongside paintings, each housed in frames designed by David Lynch himself. Three upright lamp sculptures made of steel, resin, plexiglass, plaster, and wood will punctuate the gallery with their uncanny illumination, each an artifact of the physical and atmospheric environments conjured by Lynch.

Photographs taken by David Lynch at abandoned industrial sites throughout Berlin in 1999 are also feature. The factory photographs, as this series is known, draw on his fascination with the aesthetic beauty and emotional aura of smokestacks, chimneys, broken windows, and heavy machinery. In the strange visual juxtapositions of this decaying urban landscape and others, David Lynch found beauty, channeling these moods into his artwork and seeking affinities wherever he traveled.

The exhibition history of Lynch’s artistic practice stretches back to 1967 and includes a solo exhibition at Leo Castelli Gallery in 1989, as well as numerous institutional shows across the globe. In 2007, the Fondation Cartier in Paris staged The Air Is on Fire, which later traveled to Milan, Moscow, and Copenhagen and was accompanied by a comprehensive exhibition catalog. The largest presentation of Lynch’s work to date, Someone Is in My House, was shown in 2018 at the Bonnefanten Museum in Maastricht, the Netherlands, and included over 500 artworks.

DAVID LYNCH

David Lynch’s prolific, nearly six-decade career spanned an extensive range of artmaking including painting, drawing, photography, printmaking, sculpture, music, and film. David Lynch has been the subject of numerous retrospectives of his work, including The Air is on Fire: 40 years of Paintings, Photographs, Drawings, Experimental Films, and Sound Creations, Fondation Cartier, Paris (2007), which traveled to La Triennale di Milano (2008); Cultural Foundation Ekaterina, Moscow (2009); and GL Strand, Copenhagen (2011); Between Two Worlds, Queensland Art Gallery, Brisbane, Australia (2015); and Someone is in my House, Bonnefantenmuseum, Maastricht, the Netherlands (2018–19). His work is held in numerous public collections, including Fondation Cartier pour l’art contemporain, Paris; Fondation Louis Vuitton, Paris; Los Angeles County Museum of Art, California; Maison Européenne de la Photographie, Paris; The Museum of Modern Art, New York; and the Würth Collection, Germany among others.

PACE BERLIN

Die Tankstelle, Bülowstraße 18, Berlin

www.pacegallery.com

16/10/25

Kids ! Between Representation and Reality @ Bucerius Kunst Forum, Hamburg

Kids ! Between Representation and Reality

Bucerius Kunst Forum, Hamburg

28 November 2025 - 6 April 2026

Caspar Netscher

A Portrait of Two Boys, ca. 1680 - 1683

Collection Bob Haboldt, Amsterdam

Jens Juel

Countess Eleonora Sophie Bille Brahe, Née Rantzau,

with her Eldest Son Henrik, 1799

Private collection

Friedrich Seidenstücker

In His Father’s Estate, ca. 1950

Pinakothek der Moderne, Munich,

Ann and Jürgen Wilde Foundation

The exhibition Kids! Between Representation and Reality at the Bucerius Kunst Forum is dedicated to the representation of children in art from the 16th to the 21st century. Six chapters approach the subject from different perspectives and show not only paintings but also photographs, works on paper, prints, media art and sculptures.

The exhibition includes works by Tizian, Anthonis van Dyck, Oskar Kokoschka, Paula Modersohn-Becker, Nobuyoshi Araki, Thomas Lawrence, Joshua Reynolds, Rineke Dijkstra, Judith Leyster, Christoph Amberger, Gerhard Richter and many more.

The multifaceted nature of the exhibition illuminates the diverse perspectives and functions of children's pictures over the centuries. Whether as a symbol of power and domination, as an expression of compassion or as snapshots of happy and sad childhoods: The depictions bear witness to the changing understanding of childhood over the centuries and at the same time illustrate the significance phase of life.

Tizian Vecellio

Double Portrait of Guidobaldo II della Rovere,

Duke of Urbino (1514–1574), and His Son,

Francesco Maria II (1549–1631), 1555

Loaned courtesy of The Klesch Collection

Nicolas Maes

Portrait of a Boy as Adonis, ca. 1670

Joshua Reynolds

Master Crewe as Henry VIII, ca. 1775

Tate Gallery, London, Lent from a Private Collection 2009

The topic of images of children reflects the values and norms of a society and their changes in a special way. Images of children can be used to draw conclusions about social structures and power relations. Origin, status, and sometimes gender play an important role here. At the same time, over the centuries, social groups have influenced each other in the staging of their children and adapted their own representations in the process. How children are shown today is therefore linked to the reception of images of children from earlier times.

The exhibition reveals such cross-references and influences from the past to the present day and also identifies recurring patterns. The exhibition thus begins with a presentation of depictions of Madonna, in which the ideas of mother-child relationships and their influence up to the present day become clear. The father, on the other hand, usually fades into the background. Only when it comes to presenting the progenitor of the family do fathers proudly and consciously show themselves at the side of their young offspring. Until modern times, intimate father-child images were a rarity.

Created in aristocratic circles around 1500, the child portrait was intended to underpin the continuity and claim to power. Against this backdrop, portraits were often created showing the successors to the throne in armor as small adults. In this way, they were prepared for the future role of general and ruler. A playful variant is the portrait historié, in which the children were depicted as ancient gods, for example. Daughters were depicted at a very young age for reasons of marriage policy. Through strategic marriage promises and early marriages, it was possible to expand one's own political influence and territorial power. In the course of the 16th century, the upper classes also portrayed their children, albeit less elaborately. In the 17th century, however, the representative and extravagant portrait of a child became increasingly popular in wider society.

Philipp Otto Runge

Portrait of Luise Perthes, 1805

Klassik Stiftung Weimar, Museums

Henri Martin

Young Peasant Girl in the Sunshine, 1890

John Stanton Ward

The Newspaper Boys, ca. 1960

Rineke Dijkstra

Julia, Amsterdam, 7 March 2022, 2022

Mauritshuis, Koninklijk Kabinet van Schilderijen, The Hague

In the 17th century in particular, Dutch and Spanish genre painters took up the motif of poor children, which still lives on today. The artists were not necessarily interested in taking a socially critical stance. It is not uncommon for children in financially disadvantaged, often precarious life situations to have a smile written all over their faces. Child labor was not fundamentally rejected either. It was seen as a positive contribution that children could make to the family income. Photographs illustrate how differently children grow up globally and structurally to this day. For many children, the street and not the nursery is the place where they come together, interact socially and play together. How the depiction of children has changed over the centuries is made particularly clear in the exhibition by the works of deceased adolescents. In the past, portraits of deceased children were the only means of preserving their memory. Today, commemoration takes place in a different way - for example through lifelike photographs that show children in happy life situations.

The most serious change, which testifies to a different conception and definition of childhood, took place at the end of the 17th century and in the 18th century. Children were now allowed their own development - as close to nature as possible and away from the adult world. The children's room also became increasingly important, and toys and special children's literature were regarded as fundamental elements of its furnishings. The theme of “being a child” is still one of the most popular pictorial themes in the visual arts today: Trying things out, pushing oneself to the limits, drawing, playing and togetherness are characteristic of the most important phase of a person's life.

BUCERIUS KUNST FORUM

Alter Wall 12, 20457 Hamburg

www.buceriuskunstforum.de

12/10/25

Grace Weaver @ Galerie Max Hetzler, Berlin - 'Mothers' Exhibition

Grace Weaver: Mothers

Galerie Max Hetzler, Berlin

11 September – 29 November 2025

Grace Weaver

Untitled (Madonna of the Pinks), 2025

Photo: def image

Galerie Max Hetzler presents Mothers, an exhibition of new paintings by Grace Weaver at Goethestrasse 2/3. This marks the artist’s fifth solo presentation with the gallery, and her first in one of the Berlin spaces.

In her latest series, Grace Weaver turns to archetypal motifs, including the mother and child, and the female nude. For Weaver, the body is not just a subject but a site – a stage on which line is choreographed in lyrical gestures, and through which emotion comes to the fore. Despite their monumental scale, Weaver’s new works disclose humble subjects and tender sentiments.

Across a series of large square-format canvases, Weaver’s mothers pose in enveloping embraces: swaying, kneeling, or cradling children in their laps. Stretching five metres in length, two paintings present the mother and child in frieze-like proportions, drawing the viewer’s eye along their sweeping arcs. Along the gallery’s far wall, a grid of twenty-six smaller canvases unfolds a chorus of female figures in tender embrace – some nurturing children, others folding their arms around themselves in bowing stances reminiscent of Eve or Aphrodite, attempting to shield their nude bodies from the viewer’s gaze. By contrast, the mother and child paintings propose a triangularity of gazes: at times either mother or child stares outward, at others they remain locked in one another’s gaze. Elongated, curving necks recall the postures of Weaver’s ‘Flowers’ series (2024). As in this earlier body of work, Weaver’s central motif is recognisable, and yet drifts towards abstraction; limbs taper into space, and abbreviated lines merely suggest garments or contours. Whether in flowers or figures, Weaver’s primary subject seems to be posture itself, used as a means to convey subtleties of mood.

Grace Weaver paints on the floor, using an all-over fresco-like process. Over a base of black, she applies watery matte washes of paint with over-sized brushes. Working wet-on-wet, the artist paints ‘in the round’, moving around the canvas as though executing a dance of deliberate, curving gestures. The saturated canvas becomes a responsive ground, absorbing each mark and resisting revision. Lines rhyme and harmonise. Surrounding the figure’s arcing outlines, haptic drips from Weaver’s overloaded brush register her movements, bringing the immediacy of drawing into painting. Grace Weaver prepares for each painting in successive ballpoint pen sketches, reducing figures to a few essential lines, so that the final act of painting proceeds in a determined choreography. The painting’s palettes – inky cobalts, pale pastels and papery cream tones – recall the materials of drawing.

Weaver’s investigation of the mother and child motif began in sketches of a diminutive fifth-century BCE Boeotian terracotta figurine of a woman nursing a young child, inspired by its formal abstraction and emotive reality. As she developed the series, references multiplied, with subsequent works drawing from Cranach’s Madonnas, with their crimped coiffure and rubbery anatomy. Throughout, Grace Weaver cites poses from Cypriot sandstone figurines, Netherlandish altarpieces, Egyptian statuettes of Isis and Horus, Orthodox Marian icons, and countless ancient Greek ‘kourotrophoi.’ Despite the breadth of influences, in their immediacy, Weaver’s paintings step outside of the specificities of time, space and allegory. Unadorned and close, they speak not of divine authority but of physical intimacy, vulnerability and a rare looseness of posture and presence.

Grace Weaver’s work is also on view as part of a joint exhibition with Günther Förg at Galerie Max Hetzler | Salon in Athens through 8 November 2025.

GRACE WEAVER (b. 1989, Vermont) lives and works in New York and Berlin. Solo exhibitions of the artist’s work have been held in international institutions including Yuz Museum, Shanghai; Neues Museum Nürnberg (both 2023–2024); Oldenburger Kunstverein; Kunstpalais Erlangen (both 2019); Kunstverein Reutlingen (2017); and DakshinaChitra, Chennai (2012). Weaver’s work has also been exhibited in group exhibitions including Oldenburger Kunstverein (2025); Yuz Museum, Shanghai (2023); Braunsfelder, Cologne; Wilhelm Hallen, Berlin; Miettinen Collection, Berlin; Neue Galerie, Gladbeck; Villa Merkel, Esslingen (all 2022); Kunstmuseum Ravensburg (2021); Galerie Wedding, Berlin (2018); ARoS Aarhus Art Museum (2016); University of Georgia (2015); Burlington City Arts (2013); Flynn Center for the Performing Arts, Burlington (2012); Colburn Gallery, University of Vermont, Burlington (2011); and Newcastle University, Newcastle upon Tyne (2010).

GALERIE MAX HETZLER

Goethestrasse 2/3, 10623 Berlin

www.maxhetzler.com

11/10/25

Hans Josephsohn and Günther Förg – A Dialogue @ Galerie Max Hetzler, Berlin

Hans Josephsohn and Günther Förg – A Dialogue

Galerie Max Hetzler, Berlin

5 September – 25 October 2025

Galerie Max Hetzler presents Hans Josephsohn and Günther Förg – A Dialogue at Potsdamer Strasse 77-87, Berlin. In this first joint exhibition of the two artists, sculptures by Hans Josephsohn with their tactile surfaces are juxtaposed with Günther Förg’s grid paintings from the 1990s. Reliefs by both artists from different decades are on display on the upper floor of the gallery.

Hans Josephsohn and Günther Förg came from different generations and only met a few times, but from the late 1990s onwards, Förg was familiar with Josephsohn’s sculptures. Following his usual practice, he studied his fellow artist's work and was especially fascinated by its materiality. Through Förg’s advocacy, Rudi Fuchs, then director of the Stedelijk Museum, became aware of the sculptor’s work, which led to Josephsohn's solo exhibition in Amsterdam in 2002.

In contrast to Förg’s keen interest in his contemporaries, Josephsohn was more solitary in his working habits. His work is characterised by a fascination with mass and forms in space, which he repeatedly recalibrated using specific and recurring shapes over the course of six decades of his career as a sculptor. Since the 1950s, the artist sought to increase the volume of his figures by working with quick-drying plaster, which he had cast in brass or bronze. Traces of his search for the perfect expression of the human body can be seen in the additions and removals of material and in the imprints of his fingers on the finished works. The sculptures are characterised by an urgent physical materiality that combines the immediacy of technique with an aesthetic of timelessness in order to capture ‘réalité vivante’ (living reality). Working from the model, he created individual half-figures, such as the works shown in this exhibition, which were created between 1995 and 2002. Some of them are named, such as Untitled (Lola), 1996, or Untitled (Madeleine), 2000, yet it is only in viewing them that their portrait-like nature can be grasped from the blurring of their forms.

Förg’s interest in Josephsohn’s sculptures related to their materiality, as well as to their uncompromising nature. When he encountered the other artist's work, he had begun to work on the shimmering grids of the paintings known in literature as ‘grid pictures.’ The proximity between painting and three-dimensionality, which Förg repeatedly explored, becomes apparent in the open, diffused structures of the grids. He was influenced by the Norwegian painter Edvard Munch (1863–1944) and his use of non-figurative elements and colour fields. These works are characterised by the painterly treatment of the canvas, the layered lines of the same colours, and the unorthodox way in which the distinction between negative and positive space threatens to dissolve. The green-black-blue cross-hatched Untitled, 1995 weaves vertical and horizontal brushstrokes into a dense pattern, forming an airy whole that appears almost like fabric when viewed from a distance. The large portrait Untitled, 1996, on the other hand, is dominated by impasto ochre grids that seem to block the view of a hidden green background close to the surface of the painting. Förg’s multifaceted approach to art is manifested in the two-dimensional works shown here through subtle allusions to structures and spaces beyond the pictorial plane, thus questioning the boundaries between the artistic disciplines of architecture, painting and sculpture.

While Josephsohn’s monumental sculptures on the lower floor of the exhibition form ‘the counterweight to our bodies,’ which Förg describes in conversation with Christoph Schenker [1] as a necessary corporeal counterpart to his painting, relief works by both artists are juxtaposed on the upper floor of the exhibition alongside a large half-figure Untitled (Ruth), 1968, and two grid paintings hanging parenthetically on each end of the room. Concrete reliefs such as Untitled, 1990 by Günther Förg hang alongside bronze reliefs of similar format such as Hans Josephsohn’s Untitled, 1974. Similarities become apparent in the dialogue between the works, in their emphasis on weight and presence. In the interplay of surface and light, the concept of the dialogical exhibition becomes tangible for the viewer.

[1] Günther Förg in conversation with Christoph Schenker, 1989, quoted in Günther Förg: Trunk Road and Branch Roads, exh. cat., Shanghai: Long Museum, 2023, p. 14.

Hans Josephsohn (1920–2012) lived and worked in Zurich. Solo exhibitions of his works have been held at international institutions, including the Musée d'Art Moderne de Paris (2024–2025); MASI – Museo d'arte della Svizzera Italiana, Lugano (2020–2021); Museum zu Allerheiligen, Schaffhausen (2020); ICA Milano (2019); Museum Folkwang, Essen (2018); Yorkshire Sculpture Park, Wakefield (2013); Lismore Castle Arts (2012); MMK Museum für Moderne Kunst, Frankfurt am Main (2008); Kolumba - Kunstmuseum des Erzbistums Köln (2005); and Stedelijk Museum, Amsterdam (2002), among other major museums. Works by Hans Josephsohn were prominently featured at the 55th Venice Biennale (2013).

Works by Hans Josephsohn can be found in the collections of the Aargauer Kunsthaus, Aarau; Kolumba – Art Museum of the Archdiocese of Cologne; Kunsthaus Zurich; Kunstmuseum St. Gallen; Museum Folkwang, Essen; Kunstmuseum Appenzell; The Metropolitan Museum of Art, New York; Musée d’Art Moderne de Paris; Museum zu Allerheiligen, Schaffhausen; MMK Museum für Moderne Kunst, Frankfurt am Main; Neue Nationalgalerie, Berlin; and Stedelijk Museum, Amsterdam.

Günther Förg (1952–2013) was born in Füssen and died in Freiburg after living and working in Areuse, Switzerland. His work has been shown in numerous solo exhibitions at international institutions, including Fondation Le Corbusier, Paris; CAC Málaga (both 2024); Long Museum, Shanghai (2023); Palazzo Contarini Polignac, Venice (2019); Stedelijk Museum, Amsterdam; Dallas Museum of Art (both 2018); Deichtorhallen, Hamburg (2015); Fundación Luis Seoane, A Coruña; Museum Brandhorst, Munich (both 2014); Museo Carlo Bilotti, Rome (2013); Essl Museum, Klosterneuburg (2008); Tokyo Museum of Contemporary Art; Musée d'Art Moderne de Paris (both 1991); and Secession, Vienna (1990), among others.

Works by Günther Förg are included in major public collections, including the Art Institute of Chicago; The Broad, Los Angeles; Centre Pompidou, Paris; Fondation Beyeler, Basel; Hamburger Bahnhof – Museum für Gegenwart, Berlin; Kunsthaus Zürich; Moderna Museet, Stockholm; Museo Nacional Centro de Arte Reina Sofía, Madrid; Museum Brandhorst, Munich; The Museum of Modern Art, New York; mumok, Vienna; Neue Nationalgalerie, Berlin; Saint Louis Art Museum; San Francisco Museum of Modern Art; Städel Museum, Frankfurt am Main; Stedelijk Museum, Amsterdam; Tate, London; and Walker Art Center, Minneapolis, to name but a few.

GALERIE MAX HETZLER

Potsdamer Strasse 77-87, Berlin

www.maxhetzler.com

01/10/25

Adam Pendleton @ Pace Gallery, Berlin - "spray light layer emerge" Exhibition

Adam Pendleton

spray light layer emerge

Pace Gallery, Berlin

September 11 - November 2, 2025

Adam Pendleton

Black Dada (D), 2025

Pace presents spray light layer emerge, an intimate selection of paintings and works on paper from Adam Pendleton’s Black Dada and Untitled (Days) bodies of work, presented across both floors of Die Tankstelle, the gallery’s new space in Berlin. The exhibition’s title, spray light layer emerge, reflects the various “acts” played out in the Black Dada paintings: materially, theoretically, poetically, and ultimately, visually.

A central figure in contemporary American painting, Adam Pendleton is known for continuously redefining the medium as it relates to process and abstraction. His paintings begin on paper by exploring the full breadth of mark-making. He layers paint, spray paint, ink, and watercolor, while integrating fragmentary text and geometric forms, often using stenciling techniques. These works on paper are photographed and then combined through a screen-printing process. Blurring distinctions between painting, drawing, and photography, the resulting paintings are tangible manifestations of his belief in painting as a powerful “visual and conceptual force.”

Pendleton’s Black Dada paintings, shown on the first floor, are conceptually rich and subtly expressionistic: thought-acts suspended in mid-flight, the ghost of an urban scrawl, the impression of dispersed and diffused light. Composed as diptychs on black-gessoed grounds, they direct attention to the fundamental attributes of painting—surface, edge, figure, ground—and to the artist’s unique approach to compositional logic and visual thought. Each painting features one or two hard-edged letters from the phrase BLACK DADA, which function as a “figure” within each composition. BLACK DADA refers to Pendleton’s ongoing exploration of conceptions of Blackness and abstraction. These textual characters hang, rest, or hover within the visual field—where drips, sprays, splatters, and other gestures play against an invisible grid set by the symmetry of the diptychs. By foregrounding the modes and methods of composition, Pendleton’s Black Dada works invite viewers to engage with and question the formal, conceptual, and material possibilities of painting itself.

Adam Pendleton is currently the subject of a major exhibition at the Smithsonian’s Hirshhorn Museum and Sculpture Garden in Washington, DC. Adam Pendleton: Love, Queen—his first solo exhibition in the city—runs from April 4, 2025, through January 3, 2027, and features new and recent paintings alongside a single-channel video. The exhibition highlights Pendleton’s singular contributions to contemporary American painting and engages with both the architecture of the museum and the historical context of the National Mall. In April 2026, Adam Pendleton will also present a solo exhibition at the Langen Foundation in Neuss, Germany.

This May, the Museum of Modern Art in New York announced its acquisition of all 35 works from Pendleton’s Who Is Queen? exhibition (2021–2022). This landmark acquisition includes paintings and drawings from the Black Dada and WE ARE NOT bodies of work, as well as three video works: Notes on Resurrection City, Notes on the Robert E. Lee Monument, Richmond VA (figure), and So We Moved: A Portrait of Jack Halberstam.

Adam Pendleton: An Abstraction

Pace Publishing, 2025

Text by Marc Glimcher

Hardcover, 160 pages, 11 ¾ × 9 ½ in.

Image courtesy of Pace

Pace published Adam Pendleton: An Abstraction. Both a document and evolution of Pendleton’s first solo exhibition at Pace New York in a decade, the volume features a new text by Marc Glimcher.

PACE GALLERY BERLIN

Die Tankstelle, Bülowstrasse 18, 10783 Berlin

www.pacegallery.com

Related Posts:

Adam Pendleton: Love, Queen

Hirshhorn Museum and Sculpture Garden, Washington DC

April 4, 2025 - January 3, 2027

Adam Pendleton: An Abstraction

Pace Gallery, New York, May 3 – August 16, 2024

David Adjaye / Adam Pendleton

Pace Gallery, Hong Kong, May 18 – Junu 30, 2021

25/09/25

Kirchner. Picasso @ LWL Museum, Münster + Kirchner Museum Davos

Kirchner. Picasso

LWL Museum, Münster

26 September 2025 - 18 January 2026

Ernst Ludwig Kirchner

Kaffeetafel (Vs), 1908

Acquired with the support of the

Landes Nordrhein-Westfalen

LWL-Museum für Kunst und Kultur

Photo: LWL / Sabine Ahlbrand-Dornseif

Ernst Ludwig Kirchner

Drei Badende am Meer, 1912-1920

Switzerland, Private Collection

Photo: Sammlung Ulmberg

Ernst Ludwig Kirchner

Tänzerin Palucca, 1929

Private Collection

Photo: Georgios Michaloudis, farbanalyse, Köln

The LWL-Museum für Kunst und Kultur in Münster presents the exhibition ‘Kirchner. Picasso’. It is the first show to explore these two singular artists and their surprising parallels in such depth.

From the vibrant life of the big city to the intimacy of the studio and the stillness of the mountains: At the beginning of the 20th century, Ernst Ludwig Kirchner and Pablo Picasso bore witness to a new era, with their works speaking of change, crisis and passion. Though they never met in person, their pictorial worlds and styles converged. 100 works from major European museums will highlight the similarities and contrasts between two of the most important modernist artists.

Ernst Ludwig Kirchner

Sängerin am Piano, 1930/31

Courtesy Galerie Henze & Ketterer, Wichtrach/Bern

Ernst Ludwig Kirchner

Blonde Frau in rotem Kleid (Bildnis Frau Hembus), 1932

Private Collection

Photo: Dominique Uldry

Ernst Ludwig Kirchner

Junkerboden, 1938

Kirchner Museum Davos,

Permanent loan from the

Rosemarie Ketterer Foundation

Photo: Kirchner Museum Davos

Ernst Ludwig Kirchner and Pablo Picasso were born just one year apart, in the German Empire and in Spain. Their paths to art differed widely, yet both shared a passion for innovation and continually reinvented their artistic expression. The exhibition opens with the biographies of Kirchner and Picasso, intertwining the lives of the two artists not only with each other, but also with the events of contemporary history. At the same time, Kirchner and Picasso are placed within the wider context of Franco-German artistic exchange.

In their works, both artists depict people in the big city: while dancing, making music, or at variety shows. It is about glamour, speed and ecstasy – but also about the hard life behind the scenes, about loneliness and poverty. The exhibition tells of both – of the fascination of the stage and of what remains hidden from the audience.

Among the most well-known works by both artists are their expressive portraits. The focus is on the likenesses of their respective life partners. These portraits also clearly illustrate the stylistic developments of Kirchner and Picasso. The subject of the bather, a symbol of insouciance and joie de vivre, is also a recurring theme in both artists’ works. Whether in the studio or in nature – the nude is a is a recurring subject in the work of both Kirchner and Picasso. The view of naked female bodies contrasted with partially clothed men raises questions about the relationship between painter and model. The studio itself also plays an important role: it is more than just a workspace – here, famous works were created, here, ideas were toyed with, life was lived, and sometimes convivial time was spent.

Finally, the exhibition sheds light on the self-staging of both artists. Kirchner in particular regularly depicted himself in self-portraits, which offer a glimpse of his personal situation at various points in time. His life as an artist, as well as his struggle with physical and psychological health, are made visible in these works. Picasso, on the other hand, used the mythological figure of the Minotaur for his self-staging and mastered the art of presenting himself through photographic self-portraits.

An exhibition by the LWL Museum für Kunst und Kultur, Münster, and the Kirchner Museum Davos, where it will be on view from 15 February through 3 May, 2026.

LWL-MUSEUM FÜR KUNST UND KULTUR

Westfälisches Landesmuseum

Domplatz 10, 48143 Münster

www.lwl-museum-kunst-kultur.de

17/09/25

Monet – Cézanne – Matisse. The Scharf Collection @ Kunstpalast, Dusseldorf

Monet – Cézanne – Matisse

The Scharf Collection

Kunstpalast, Dusseldorf

March 12 – August 9, 2026

Paul Cézanne

River Landscape with Houses, circa 1904

Oil on canvas, 65.5 x 81 cm

Pierre-Auguste Renoir

Young woman with flowered hat, 1877-1879

Pastels on paper, 48 × 43 cm

The Scharf Collection – a German private collection of French art from the nineteenth and twentieth centuries and international contemporary art – is being presented for the first time.

It continues the fourth generation of a branch of the renowned Otto Gerstenberg Collection in Berlin, which encompasses everything from the beginnings of modernism, represented by Francisco de Goya, to the French avant-garde of the second half of the nineteenth century, represented by Gustave Courbet, Edgar Degas and the entire graphic oeuvre of Henri de Toulouse-Lautrec.

Despite many wartime losses, Gerstenberg’s daughter Margarethe Scharf was able to save the majority of the collection and bequeath it to her two sons Walther and Dieter Scharf.

Following the division of the collection between the grandchildren, Walther Scharf, his wife Eve and son René developed the French focus further and added works by Claude Monet, Paul Cézanne, Pierre Bonnard, Henri Matisse and Pablo Picasso, among others.

Claude Monet

Waterloo Bridge, 1903

Oil on canvas, 65 x 100 cm

Pierre Bonnard

Vase with flowers, 1933

Oil on canvas, 99.5 x 48.5 cm

Today, René Scharf and his wife Christiane Scharf specialise in international contemporary artists, including works by Sam Francis, Daniel Richter and Katharina Grosse. With a particular interest in the boundaries of the medium of painting and the relationship between figurative and abstract pictorial worlds, they have brought the family tradition of collecting into the present day.

An exhibition by the Kunstpalast, Düsseldorf, in cooperation with the Alte Nationalgalerie, Staatliche Museen zu Berlin.

KUNSTPALAST, DUSSELDORF

Ehrenhof 4-5, 40479 Düsseldorf

www.kunstpalast.de

26/08/25

Newton, Riviera & Dialogues. Collection FOTOGRAFIS x Helmut Newton @ Helmut Newton Foundation at the Museum of Photography, Berlin

Newton, Riviera & Dialogues. Collection FOTOGRAFIS x Helmut Newton

Helmut Newton Foundation at the

Museum of Photography, Berlin

September 5, 2025 – February 15, 2026

Helmut Newton

Grand Hôtel du Cap, Marie Claire, Antibes 1972

Helmut Newton

Helmut Newton, Untitled, Saint-Tropez 1975

In summer 2022, Foundation Director Matthias Harder co-curated the solo exhibition "Newton, Riviera" with Guillaume de Sardes for the historic Villa Sauber in Monte-Carlo. It was the first time this late residence of the Newtons and the region where many iconic Helmut Newton photographs were created was given in-depth attention. A selection of that exhibition is now being presented—parallel to "Dialogues. Collection FOTOGRAFIS x Helmut Newton”—at the Berlin foundation.

At the turn of 1981/82, Helmut Newton and his wife June moved from Paris to Monte Carlo. This relocation not only changed their main residence to the French Mediterranean coast but also dramatically shifted the perspectives and backgrounds of Newton's commissioned work. From then on, it wasn't the casual or elegant Parisian chic but the more glamorous society that he photographed—often juxtaposed against the concrete walls of construction sites in Monaco as a backdrop for fashion shoots.

Newton's fascination with the French Riviera started much earlier. As early as 1964, he and June bought a small stone house near Ramatuelle, close to Saint-Tropez. From then on, they spent their summers there, engaging in intense artistic work. The exhibition unites a large number of early, sometimes unique vintage or lifetime prints. During the 1980s and 1990s, cities like Cannes and Nice were also popular locations for Newton’s striking fashion shoots. He also visited other parts of the Riviera, such as Cap d’Antibes, Saint-Jean-Cap-Ferrat, Menton, and even across the border to Bordighera, Italy. He created works across his three main genres—fashion, portrait, and nude—with the intense light in these images often playing a central role.

Helmut Newton

American Vogue, Monaco 2003

Helmut Newton

Jude Law, Monaco 2001

Helmut Newton also occasionally photographed at night from his apartment balcony in Monaco, capturing the quiet, dark sea. Similar melancholic landscape photographs were created in Berlin in the mid-1990s and culminated in one of his last gallery exhibitions titled "Sex and Landscapes" in 2001 at the Galerie de Pury & Luxembourg in Zurich, which also posthumously opened his Berlin foundation in June 2004. By presenting these large-format original prints in the current "Riviera" exhibition, the circle closes again—over 20 years later. Newton’s very last photo shoot, a fashion editorial for Italian Vogue, also took place on the Mediterranean coast of Monaco. One of the images now appears as a giant wall mural in the new exhibition, which—despite more than 100 photographs—can only offer a small glimpse of this important body of work.

Diane Arbus

The King and the Queen of a Senior Citizen Dance,

NYC, 1970

Courtesy Collection FOTOGRAFIS,

Bank Austria Kunstforum Wien

Helmut Newton

Hanna Schygulla and costume designer Edith Head,

Los Angeles 1980

In recent years, the Helmut Newton Foundation has featured not only solo and themed group exhibitions but also photographic collections—"Between Art & Fashion" (Carla Sozzani Collection, 2018) and "Chronorama" (Pinault Collection, 2024). Both were exceptionally curated and featured major icons of photographic history.

Weegee (Arthur Fellig)

The Critic – Mrs. Cavanaugh and Friend about to enter

the Metropolitan Opera House, New York 1943

Courtesy Collection FOTOGRAFIS,

Bank Austria Kunstforum Wien

Helmut Newton

Blumarine, Monaco 1994

The current collaboration with the "Collection FOTOGRAFIS" from Bank Austria Kunstforum Vienna continues this approach. It consists of over 60 diptychs. Inspired partly by the newsletter of the Collezione Ettore Molinario—which presents two photographs from the Milan collection in dialogue—selected photographs from the prestigious Viennese collection now engage in a thought-provoking visual conversation with works from the Helmut Newton Foundation archive.

Helmar Lerski

Ohne Titel, ca. 1935

Courtesy Collection FOTOGRAFIS,

Bank Austria Kunstforum Wien

Helmut Newton

Close-up, Italian Vogue, Bordighera 1982

Curators Bettina M. Busse (Kunstforum) and Matthias Harder (Helmut Newton Foundation) paired the works based on intuition and association. Two photographs are always shown side by side: portraits, still lifes, landscapes, architecture, or surrealistic fashion and nude photographs from entirely different eras. Sometimes the connection is formal, sometimes thematic. Occasionally, the pairing may seem arbitrary or humorous, but each one opens a vast imaginative space for the viewer.

Etienne Carjat

Charles Baudelaire, 1863

Courtesy Collection FOTOGRAFIS,

Bank Austria Kunstforum Wien

Helmut Newton

Jack Nicholson, Los Angeles 1985

Frank Meadow Sutcliffe

Excitement, ca. 1888

Courtesy Collection FOTOGRAFIS,

Bank Austria Kunstforum Wien

Helmut Newton

Eva Herzigová, Blumarine, Monaco 1995

"Dialogues. Collection FOTOGRAFIS x Helmut Newton" presents various facets of humanity and the evolution of social life over a century—through pairings of Newton’s photographs with works by Diane Arbus, Alfred Stieglitz, Margaret Bourke-White, Elliott Erwitt, Florence Henri, Duane Michals, Paul Strand, Man Ray, August Sander, Judy Dater, Otto Steinert, and many other renowned names in 19th- and 20th-century photography. These often complementary or contrasting image pairs have never been shown together before.

HELMUT NEWTON FOUNDATION

MUSEUM OF PHOTOGRAPHY

Jebensstrasse 2, 10623 Berlin

www.smb.museum

25/07/25

Lee Friedlander, Joseph Rodríguez, Garry Winogrand @ Museum Ludwig, Cologne - "Street Photography" Exhibition Curated by Barbara Engelbach

Street Photography

Lee Friedlander, Joseph Rodríguez, Garry Winogrand

Museum Ludwig, Cologne

Through October 12, 2025

Lee Friedlander

New York City, 1963

Gelatin silver paper, print after 1963, 22 x 32,9 cm

Museum Ludwig, Cologne

and Luhring Augustine, New York

Repro: Historisches Archiv mit Rheinischem Bildarchiv

Garry Winogrand

New York City, 1969

Gelatin silver paper, print after 1978, 22,9 x 34,2 cm

Fraenkel Gallery, San Francisco

Repro: Historisches Archiv mit Rheinischem Bildarchiv

Joseph Rodriguez

220 West Houston Street, NY 1984,

Gelatin silver paper, print after 1988, 25,2 x 37,2 cm

Repro: Historisches Archiv mit Rheinischem Bildarchiv

The street life of cities has always been a fascinating subject for photographers, who have approached it in a variety of ways, from candid images documenting urban unrest to portraits that shine a spotlight on individuals. Since the nineteenth century, cities and photography have been directly linked through the idea of modernity. With the introduction of compact cameras such as the Leica, street photography developed into its own genre in the mid-twentieth century. Small-format cameras gave photographers greater flexibility and enabled them to respond quickly while remaining discrete. They explored public space without obtruding and, in contrast to staged photography, captured candid and spontaneous moments that had previously been considered unworthy photographic subjects. Influenced by Henri Cartier-Bresson’s concept of the “decisive moment,” these photographers sought to capture the fleeting instant when light, composition, and subject aligned to convey the significance of an event.

Lee Friedlander

New York City, 1965

Gelatin silver paper, print after 1965, 22 x 32,9 cm

Museum Ludwig, Cologne

and Luhring Augustine, New York

Repro: Historisches Archiv mit Rheinischem Bildarchiv

Garry Winogrand

Untitled, from: Women are Beautiful, around 1970

Gelatin silver paper, print after 1981, 21,7 x 32,4 cm

Fraenkel Gallery, San Francisco

Repro: Historisches Archiv mit Rheinischem Bildarchiv

Joseph Rodriguez

I picked him up at a club and I took him to

Brooklyn. He was a happy camper, NY 1984,

Gelatin silver paper, print after 1988, 24,8 x 36,8 cm

Repro: Historisches Archiv mit Rheinischem Bildarchiv

This exhibition in the Photography Room at the Museum Ludwig is dedicated to three protagonists from two generations of street photography: Garry Winogrand (b. 1928 in New York, d. 1984), Lee Friedlander (b. 1934 in Aberdeen, Washington, based in New York), and Joseph Rodríguez (b. 1951 in Brooklyn, based in New York). Despite all three photographers sharing the same subject matter, each one pursues a singular approach that produces distinct results. Iconic photographs from the 1960s to the 1980s are displayed alongside lesser-known examples from each photographer’s oeuvre. All of the works on display were included in donations made by the Bartenbach Family in 2015 and Volker Heinen in 2018, or have been acquired by the Museum Ludwig since 2001.

Lee Friedlander

New York City, 1966

Gelatin silver paper, print after 1966, 22 x 32,9 cm

and Luhring Augustine, New York

Repro: Historisches Archiv mit Rheinischem Bildarchiv

Lee Friedlander

Mount Rushmore, 1969

Gelatin silver paper, print after 1969, 22 x 32,9 cm

Museum Ludwig, Cologne

and Luhring Augustine, New York

Repro: Historisches Archiv mit Rheinischem Bildarchiv

The landmark exhibition "New Documents" at the Museum of Modern Art in New York in 1967 helped launch the careers of Garry Winogrand and Lee Friedlander. Their striking photographs broke with visual conventions, such as a level horizon line or a centered main subject. Garry Winogrand frequently tilted his viewfinder, producing skewed horizon lines that offer a new view of reality and make his images appear spontaneous, as does his purposeful use of blurriness, overexposure, underexposure, and backlighting. Lee Friedlander, in turn, created compositions in which the viewer’s gaze is hindered by obstructions, such as shadows, signs, architectural elements, and streetlights, or is disoriented by reflections.

Garry Winogrand

Circle Line Statue of Liberty Ferry, New York, 1971

Gelatin silver paper, print after 1973, 21,7 x 32,4 cm

Fraenkel Gallery, San Francisco

Repro: Historisches Archiv mit Rheinischem Bildarchiv

Garry Winogrand

Untitled, from: Women are Beautiful, around 1973

Gelatin silver paper, print after 1973, 21,7 x 32,4 cm

Fraenkel Gallery, San Francisco

Repro: Historisches Archiv mit Rheinischem Bildarchiv

Garry Winogrand and Lee Friedlander, who are represented in the exhibition with twenty images each, both use photography in a self-reflective way that brings the formal aspects of photography to the fore. This encourages an analytical gaze, producing an emotional distance between the viewer and the subject, which often results in ambivalent images where the intention of the photographer remains unclear. Garry Winogrand and Lee Friedlander each developed their own distinct style, embracing originality and authorship by merging documentary photography and personal expression. While they attempted to distance themselves from photojournalism and social documentary photography, eschewing eventbased, narrative-focused, and emotionally charged imagery, Joseph Rodriguez’s work deliberately engages with these genres. He aspires to give visibility to marginalized people by communicating with his subjects and attempting to tell their stories. Many of his photographs are accompanied by short commentaries that provide information about the context in which each image was created. Joseph Rodríguez’s pictures employ unusual perspectives and surprising compositions, and his use of reflections emphasizes the subjectivity of the photographer’s empathic gaze beyond the momentariness of the shot. The exhibition features around twenty photographs from his Taxi series.

Joseph Rodriguez

East Village, NY, 1984

Gelatin silver paper, print after 1988, 25,3 x 37,4 cm

Repro: Historisches Archiv mit Rheinischem Bildarchiv

Joseph Rodriguez

Pulaski Skyway, New Jersey, 1984

Gelatin silver paper, print after 1988, 25,2 x 37,2 cm

Repro: Historisches Archiv mit Rheinischem Bildarchiv

This is the first exhibition in the new Photography Rooms at the Museum Ludwig, centrally located on the second floor.

Curator: Barbara Engelbach

MUSEUM LUDWIG

Heinrich-Böll-Platz , 50667 Köln

www.museum-ludwig.de

Street Photography - Lee Friedlander, Joseph Rodríguez, Garry Winogrand

Museum Ludwig, Cologne, May 3 – October 12, 2025