Daniel Richter @ Thaddaeus Ropac Salzburg - "Mit elben Birnen" Exhibition

Daniel Richter: Mit elben Birnen

Thaddaeus Ropac Salzburg

Through 27 September 2025

Thaddaeus Ropac Salzburg presents a new series of paintings by German artist DANIEL RICHTER. Created over the past year, these large-scale works navigate a space between figuration and abstraction, characterised by chaotic entanglements of fragmented bodies. Creature-like forms are depicted against jagged fields of colour in bright, contrasting tones, evoking a sense of rebellious energy and electric vibrancy.

Daniel Richter’s painting has been marked by a continual formal transformation since the beginning of his career. While opaque, monochrome areas of colour characterised Richter’s work of the past few years, the backgrounds of these new, intensely colourful compositions appear torn or singed. At times, the candy-coloured shapes that seem to race across the canvas are delineated by black, dense lines; at others, they seem to detach from the background or erupt across the pictorial space.

In some works, the artist leaves behind traces of his physical presence as visible fingermarks on the canvas, intensifying a heightened sense of primordial energy and unresolved conflict. ‘The dynamic in my work is mainly based on pushing and shoving, or on elements that are being confronted by each other – mingling, pushing, pulling,’ Daniel Richter explains.

The temporal and spatial indeterminacy of scenes refuses to resolve into a coherent time, place, or even pictorial space. The works appear to depict surreal landscapes of the mind or imagination rather than representations of any external world. Colours clash or recede with intense emotional charge, the bold contrasts and abstract patterns recalling the formal vocabulary of Clyfford Still. And yet, despite the underlying violence, the works convey a touching sensuality and beauty that counterbalances their restless energy.

The exhibition’s title references the opening line of Friedrich Hölderlin’s poem Half of Life, which Daniel Richter cryptically rephrases. The poem is centred around a stark contrast between idealised beauty and a world marked by emptiness. The lines, which sound almost prophetic in today’s political climate, accompanied Daniel Richter during the creation of this series. Hölderlin’s image of creaking weathervanes can be read as a symbol of the fragile, often fractured order of our time.

Friedrich Hölderlin

‘Half of Life’

With its yellow pears

And wild roses everywhere

The shore hangs into the lake,

O gracious swans,

And drunk with kisses

You dip your heads

In the sobering holy water.

Ah, where will I find

Flowers, come winter,

And where the sunshine

And shade of the earth?

Walls stand cold

And speechless, in the wind

The weathervanes creak.

The anarchic humour of his titles is typical of the artist, whose sensibility for the absurd and the drastic is also closely linked to the Hamburg music scene and punk. The city, where Daniel Richter studied under Werner Büttner from 1992 to 1996, has played a pivotal role in his life and career, serving as both a formative backdrop for his artistic development and a long-standing base from which he emerged as one of Germany’s most influential contemporary painters.

Artist Daniel Richter

Born in Eutin, Germany, Daniel Richter lives and works in Berlin. He studied at the Hochschule für bildende Künste Hamburg from 1992–96 under Werner Büttner, and later worked as an assistant to Albert Oehlen. Comprehensive solo exhibitions of Richter’s work have been held at Kunsthalle Tübingen (2023); Space K, Seoul (2022); 21er Haus, Vienna (2017); Camden Arts Centre, London (2017); Louisiana Museum of Modern Art, Humlebaek (2016); TAXISPALAIS Kunsthalle Tirol, Innsbruck (2014); Schirn Kunsthalle Frankfurt (2014); Kestner Gesellschaft, Hannover (2011); CAC Málaga and Denver Art Museum (both 2008); Hamburger Kunsthalle (2007); National Gallery of Canada, Ottawa (2005); and Kunsthalle Kiel; Kunstsammlung Nordrhein-Westfalen, Düsseldorf (2001).

Daniel Richter’s works are included in renowned collections worldwide, among them the National Gallery of Canada, Ottawa; the Louisiana Museum of Modern Art, Humlebaek; the Centre Pompidou, Paris; the Hamburger Kunsthalle; the Nationalgalerie, Berlin; the Kunstmuseum Stuttgart; the Museum of Fine Arts Leipzig; the Kunstmuseum Den Haag; the Contemporary Art Collection of the Federal Republic of Germany; the Museum of Modern Art, New York; the Denver Art Museum; and the Musée d’Art Moderne et Contemporain, Strasbourg. In 2023, the Oscar-winning director Pepe Danquart released the documentary Daniel Richter, offering a multifaceted insight into the artist’s life and work.

In December, a major retrospective will open at the Museum für Kunst und Kulturgeschichte Schloss Gottorf (until February 2026).

THADDAEUS ROPAC SALZBURG

Salzburg Villa Kast, Mirabellplatz 2, 5020 Salzburg

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Related Posts:

In English

Daniel Richter 

Kunsthalle Tübingen (2023)

Daniel Richter: Pink Flag – White Horse 

National Gallery of Canada, Ottawa (2005)

En Français

Daniel Richter. Drapeau rose – Cheval blanc

Musée des beaux-arts du Canada, Ottawa (2005)

Daniel Richter: Mit elben Birnen

Thaddaeus Ropac Salzburg, 25 July — 27 September 2025

Robert Longo @ Pace and Ropac, London - "Seachers" Exhibition

Robert Longo: Searchers 

Pace and Thaddaeus Ropac, London 

October 9 – November 9, 2024 

ROBERT LONGO

Untitled (Hunter), 2024

© Robert Longo, courtesy the artist and Pace Gallery

The idea of montage has always been in my vocabulary… When you put images next to each other, what happens? I’m not interested in pastiche or collage. I’m interested in collision. - Robert Longo, 2024

Pace and Thaddaeus Ropac present Searchers, a two-part exhibition of new work by Robert Longo, on view at both Pace and Thaddaeus Ropac’s London galleries. Each presentation includes a new Combine—monumental, five-panel multimedia wall works that return to the artist’s 1981-89 series of the same name—in addition to a large-scale charcoal drawing, a small graphite drawing, and a film. By rupturing and reassembling the symbols of a collective cultural mythology, these works advance Robert Longo’s long-standing investigation into the relationship between the individual to society.

Robert Longo is widely recognized for his ambitiously scaled, hyperrealistic charcoal drawings. These monochromatic works often depict images from art historical sources, as well as scenes of protest, civil unrest, violence, war, and other social and political events. A key figure in the Pictures Generation of the 1970s and 1980s, his critical relationship to the media culture of his formative years has only intensified amid ever-more sophisticated methods of image distribution and an increasingly tumultuous global climate. Sourcing from television, film, news photography, personal photographs, and the internet, Robert Longo carefully selects, alters, and enlarges these images, freezing their immediacy through the deliberate, time-intensive process of drawing. In doing so, he prompts viewers to reconsider their roles as consumers within today's image-saturated landscape. 

Informed by Soviet film director Sergei Eisenstein’s theory of montage and John Berger’s influential text Ways of Seeing (1972), Searchers grew out of Robert Longo’s desire for his charcoal drawings to be and do more. For the exhibitions at Pace and Thaddaeus Ropac, he has revisited his Combines, which he envisions as a tool in which to overcome the visual and conceptual limitations of two-dimensional images. Referring to Robert Rauschenberg’s earlier series of the same name, these large-scale, three-dimensional works bring together a range of materials (such as paint, stone, plaster, cast bronze, glass) and media (such as sculpture, drawing, film, photography) in a single work. The disparate parts are arranged in the way that Robert Longo believes we encounter the world: as a bombardment of images and information that pervade our environment and consciousness.

The five-panel work at Pace, Untitled (Hunter) (2024), is composed of the following, from left to right: a film still of Keanu Reeves from the movie John Wick, a hyper-violent film about vengeance; a cascading sculptural relief made up of dense vertical strips of black and red plexiglass with dangerous, irregular, and highly reflective edges; a painting using 3D printing of cut-and-pasted protest images; a video of a sparkling blue-black current installed behind a steel frame with seven horizontal openings receding in perspective; and a charcoal drawing based on a grainy telephoto image of refugees at the Belarus-Polish border, appearing like a ring from Dante's Inferno.

Internally, Robert Longo’s Combines resist simple resolution. Each constituent image of Untitled (Hunter) captures a moment of acute, visually violent motion. Their formal symbolism, suspended like a staccato edit in a film, undergoes a further stage of translation as they are entwined with their respective mediums. By applying scale and sequential structure to these familiar yet incompatible images, Longo challenges the viewer to interpret the work and, by extension, the expansive array of images that surround us. In this endeavor, Robert Longo echoes Canadian philosopher Marshall McLuhan’s theory that ‘the medium is the message,’ highlighting how these images are mediated shapes our understanding and response to them.

Accompanying the Combine at Pace is Untitled (Black Peony) (2024), a large-scale charcoal drawing. Robert Longo describes flowers as “at once feminine yet masculine; sweet yet venomous; explosive yet temporal events.” Another drawing, Untitled (After Navalny) (2024), based on a photograph of a protest following the unlawful imprisonment and subsequent death of Russian opposition leader Alexei Navalny, is also included in the exhibition. Measuring 6 x 8 1/8 inches (15.2 x 20.6 cm), this work once again transforms scale to challenge the viewer’s process of meaning-making. The final element of the exhibition is a black-and-white, ultra-fast-paced, looped film presenting the onslaught of the image storm from one day of international news: July 4, 2024. The rapid flood of images is interrupted randomly by computer-generated stops, creating an experience with no beginning and no end, only different ways of looking and seeing.

Concurrent with his exhibitions in London, Robert Longo is the subject of a major retrospective at the ALBERTINA Museum in Vienna, on view through January 26, 2025. At the Milwaukee Art Museum, Wisconsin, the artist is presenting work from the last ten years within the broader scope of his career and in comparison to other art historical genres such as history painting. This exhibition, titled The Acceleration of History, is on view from October 25, 2024, through February 23, 2025.

ROBERT LONGO - BIOGRAPHY

Robert Longo (b. 1953, Brooklyn, New York) grew up in Long Island, New York. ln 1973, Robert Longo enrolled at Buffalo State College, where he worked for artists Paul Sharits and Hollis Frampton, who introduced him to structuralist filmmaking. Along with Charles Clough, Longo also co-founded Hallwalls (1974-ongoing), an alternative non-profit art exhibition space where he organized shows and talks with artists such as John Baldessari, Lynda Benglis, Robert Irwin, Joan Jonas, Bruce Nauman, and Richard Serra. 

Robert Longo has had one-persan exhibitions at the Musée d'art moderne et d'art contemporain, Nice; Kunstmuseen Krefeld, Germany; Albertina, Vienna; Isetan Museum of Art, Tokyo; Los Angeles County Museum of Art; Museum of Contemporary Art, Chicago; and the Menil Collection, Houston. He has been included in Documenta 7 and 8, the 1983 and 2004 Whitney Biennials, and the 47th Venice Biennale. 

Continuing to work with characteristic scale, precision, and perceptiveness, Robert Longo achieves visually striking images of people, places, events, and animais. He slows his images dawn through the venerable medium of charcoal, often capturing images that would not otherwise be possible ta see with the hu man eye. Through his large-scale hyperrealistic charcoal drawings, Longo has cemented himself as a preeminent artist of his generation. His work is held in multiple collections worldwide including, The Albertina Museum, Vienna; The Art Institute of Chicago; Centre Georges Pompidou, Paris; Fogg Art Museum, Harvard University, Cambridge, Massachusetts; Los Angeles County Museum of Art; Tate Modern; London, and The Museum of Modern Art, New York. 

PACE GALLERY LONDON

5 Hanover Square, London W1S 1HQ 

www.pacegallery.com

Miquel Barceló @ Thaddaeus Ropac, London - Ceramics

Miquel Barceló: Ceramics

Thaddaeus Ropac, London

8 December 2021 – 5 February 2022

Miquel Barceló’s new works – shown in his first exhibition of ceramics in London – reveal his inventive approach to the medium. One of the most renowned Spanish artists of his generation, ceramics have long been central to his practice, which also encompasses paintings, performances and installations. Inspired by ancient techniques from Mali and his native Mallorca, Barceló’s ceramic sculptures are captured in a moment of dissolution or becoming, a state of ‘continuous transformation’. They seem to evolve before our eyes into other forms: sprouting leaves, rippling with marine life or folding in on themselves.

Each work is experimental. Each work is a trial run for another that will probably never exist. I think this is as true of my painting as my ceramics – or any other thing I make. 

— Miquel Barceló

The artist first began working with clay in the early 1990s, when he established a studio in Mali and was introduced to the ancient Dogon earthenware methods. ‘I learned the Neolithic technique,’ he explains. ‘I gathered clay from the places the potters have been going to for centuries.’ He became versed in the fundamentals of creation – ‘starting at the absolute beginning’ – using humble materials such as earth, animal dung and straw, which were baked at low heat or dried in the sun. In this way, he connected with prehistoric artistic creations, which have survived as pottery shards or paintings on cave walls. Barceló’s time in West Africa proved formative, both for his life and his work. Here, he forged an intimate connection with the earth as a material for his artworks and his body as a tool for creation. 

Traces of these unconventional beginnings are apparent in his irreverent approach to the medium and emphasis on a sense of visceral materiality. For Miquel Barceló, artistic creation is a direct way of relating to the world around him and the ceramics bear the marks of his bodily engagement: ‘When baked with wood fire, clay keeps track of every trace, no matter how slight. Even the slightest contact, a brush with the fingers, will leave a clear trace in the clay after firing.’ The central role of the body is exemplified in his Paso Doble performance, which he conceived with choreographer Josef Nadj for the Avignon Festival in 2006. Barceló describes it as ‘a way of staging the tools and gestures of my work with clay. The body as a tool. The body in positive and negative, mould and cast.’ The Paso Doble performance has since been staged in New York, Madrid, Zurich, Barcelona, Paris, Athens and Mali as a tribute to those who introduced him to the art of ceramics.

Upon returning to Mallorca, Miquel Barceló began creating ceramics in an old brick factory, using the clay from his region as his ancestors did before him. ‘The clay from my village is renowned for its whiteness and fineness,’ he recalls. ‘This clay was extracted for centuries from a little hill called Puig de Sant Nicolau where I used to play as a child. Not one pebble – a mountain of white clay, slippery as soap.’ Traditionally used to create vessels decorated with motifs such as shells, sea urchins, flowers and seahorses, this idea of ‘clay collage’ becomes something entirely new in Barceló’s hands. The vessels are intentionally deconstructed and expressively distorted, with ripples and folds or perforations that open them up to the surrounding space. In gestural, expressive strokes of paint, he depicts the simplified forms of fish and bulls, botanical and human figures, recalling the cave paintings in Lascaux where he spent time alongside palaeontologists. Miquel Barceló’s painterly approach also becomes a form of metamorphosis that bridges different media: ‘The subject of many of these works is painting, how clay becomes painting, canvas, drawing. In short, a transmutation.’ 

This idea of metamorphosis is fundamental to the artist, who recently created original watercolours for a new edition of Franz Kafka’s La Métamorphose, first published in 1915. This transformation is made manifest in his ceramics, which also undergo an alchemical change when fired in the kiln: the malleable clay becomes hardened, brittle, and may even crack due to the high heat. These chance effects are integral to his ceramics: ‘They are often fissured and I accept the cracks with joy as part of the work.’ 

The medium has become central to Miquel Barceló’s artistic production, forming the basis of several large-scale works. In 2007, he created a 280 square metre terracotta mural for the Palma de Mallorca Cathedral that addresses the biblical miracle of the loaves and the fishes. A year later, he unveiled an installation of thousands of marine stalactites which descend from the domed ceiling of the Human Rights and Alliance of Civilisations Chamber in the United Nations’ Palais des Nations in Geneva. He also created an ephemeral mural for the Bibliothèque Nationale, Paris in 2016, applying gestural smears of clay to its windows before scratching out the outlines of human and animal forms that reference prehistoric paintings.

Miquel Barceló was born in 1957 in Felanitx, on the island of Mallorca, and now divides his time between his birthplace and Paris. As a young artist, his participation in the São Paulo Biennial in 1981 and documenta 7 in Kassel in 1982 helped establish his international reputation. Deeply influenced by poetry, he exhibited more than 300 drawings illustrating Dante’s Divine Comedy at the Louvre Museum in 2004. He represented Spain at the 53rd Venice Biennale in 2009, presenting ceramics alongside his paintings. Numerous retrospectives of his work have been hosted by renowned institutions, including the Centre Pompidou, Paris; Museo Nacional Centro de Arte Reina Sofía, Madrid; and the Museo Rufino Tamayo, Mexico City. In 2019, a monographic exhibition of Miquel Barceló’s ceramics took place at the Museo Internazionale delle Ceramiche, Faenza. His solo exhibition Metamorfosis was shown at the Museo Picasso, Málaga in 2021, followed by an exhibition at the Tokyo Opera City Art Gallery in 2022.

THADDAEUS ROPAC

37 Dover Street, London W1S 4NJ

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Georg Baselitz @ Thaddaeus Ropac Séoul - Hotel garni - Exposition inaugurale

Georg Baselitz : Hotel garni

Thaddaeus Ropac Séoul 

Exposition inaugurale

Jusqu'au 27 novembre 2021

Georg Baselitz dans son atelier, 2021

© Elke Baselitz 2021

Thaddaeus Ropac Séoul a ouvert ses portes le 6 octobre 2021 avec une exposition d’œuvres nouvelles de Georg Baselitz, dont la relation historique avec la ville remonte à sa première exposition personnelle dans une institution, au musée national d’art moderne et contemporain de Corée, en 2007. Pour la première fois sont exposés douze peintures et douze dessins réalisés spécialement dans l’optique de l’ouverture du nouvel espace de la galerie à Séoul. Artiste parmi les plus importants de ce temps, Georg Baselitz a donné à l’art allemand de la seconde moitié du XXe siècle une nouvelle identité et a eu depuis 1960 une influence profonde sur l’art international. L’exposition coïncide avec l’inauguration de la rétrospective la plus importante consacrée à l’artiste à ce jour, au Centre Pompidou, à Paris.

Malgré les errances des missionnaires, les images sont demeurées différentes partout dans le monde. Mais en Corée et en Allemagne, les gens racontent des histoires semblables. Ici et là, les arts sont deux superbes monuments. Peu comparables, mais magnifiques. Aujourd’hui les images vont plus vite que les avions, et c’est passionnant. — Georg Baselitz, 2021.

Avec un vocabulaire artistique caractéristique et unique, Georg Baselitz n’a cessé de renouveler sa pratique par de constants développements formels. Dans ses peintures, l’artiste revisite les motifs de son œuvre, considérable, tout en proposant, par de subtiles références à l’histoire de l’art, une réflexion sur la signification de la peinture elle-même. Dans sa nouvelle série de toiles de grand format, Baselitz se consacre à la figure de sa femme, Elke, dont l’image occupe depuis plus de cinquante ans une place prépondérante dans l’évolution de sa pratique.

Ces nouvelles œuvres montrent la figure multipartite de Elke, sensuelle quoique abstraite, suspendue isolée dans un espace indéfini. Baselitz tire son sujet vers l’abstraction, le défamiliarise, cependant que la représentation préserve à la composition son expressivité. Afin de vider la forme de son contenu, l’artiste, depuis 1969, renverse ses compositions, révolutionnant par là même un médium qui était considéré comme conventionnel. Cette présentation originale fait osciller ses œuvres entre abstraction et figuration. Quand il peint Elke, ce geste sert également à perturber toute harmonie ou toute beauté susceptibles de s’insinuer dans le portrait d’une figure si familière pour lui.

Dans le choix du titre de son exposition, Hotel garni — mots français désignant une certaine catégorie d’hôtel bon marché —, Georg Baselitz fait référence à la scène des Demoiselles d’Avignon de Pablo Picasso à travers toute une chaîne d’associations humoristiques caractéristiques. Il s’amuse avec les mots tout en convoquant la composition agressive et la féminité peu conventionnelle d’une des plus importantes réalisations artistiques de son ancêtre historique. Ce n’est pas le premier choix de titre évoquant Picasso : Georg Baselitz s’est déjà référé à lui dans sa célèbre série Avignon, exposée à la Biennale de Venise en 2015.

Très tôt, dans les années 1960, au cours de ses séjours à Paris, il a vu les œuvres de Pablo Picasso, ainsi que celles de Jean Fautrier, Jean Dubuffet, Eugène Leroy et Wols — œuvres empreintes d’un existentialisme qui a eu des répercussions sur sa propre démarche.

Dès lors, l’esthétique matériologique de ces artistes n’a pas cessé d’influencer la pratique de Georg Baselitz. Dans ses œuvres les plus récentes, la présence physique dominante d’Elke est présentée au spectateur à travers le transfert de la couleur, introduisant un paramètre de hasard dans les compositions. Cette technique n’est pas sans évoquer les Rorschach Paintings et les Blotted Line Drawings d’Andy Warhol, mais elle fait aussi de subtiles allusions à l’expressionnisme allemand, à l’art informel français et à la liberté de la peinture abstraite américaine.

Dans les œuvres récentes impliquant la figure d’Elke, Georg Baselitz introduit des connotations existentialistes tout en s’engageant dans la bataille de la représentation, du caractère inévitable de la subjectivité et de la représentation de soi à travers un être cher. L’artiste commente : 

Je me suis toujours battu avec le fait qu’il y a quelque chose qui me gêne dans mes peintures. Ce qui m’a toujours gêné — et cela s’est maintenant considérablement amélioré — c’est le soi-disant « existentiel ». Le fait qu’il y ait quelque chose au fond de moi qui m’occupe et que je ne peux pas éliminer de mes images. Ça fait longtemps que j’essaie de m’extirper de ça. Soixante ans maintenant. Et ces vingt dernières années, je dois dire, j’y suis assez bien arrivé. Cela a fini par se résoudre.

GEORG BASELITZ

En six décennies de carrière, Georg Baselitz a constamment renouvelé sa pratique, ne se laissant jamais enfermer dans un seul et unique style identifiable. Il a redéfini les conventions des différents media dans lesquels il travaille, qu’il s’agisse de peinture, de sculpture, de gravure ou de dessin.

Né Hans-Georg Kern, à Deutschbaselitz, en Saxe, en 1938, l’artiste fréquente d’abord la Hochschule für Bildende Künste de Berlin Est. Renvoyé pour « immaturité socio-politique », il achève ses études à Berlin Ouest, entre 1957 et 1963. C’est à cette époque qu’il adopte le nom de sa ville natale. Sa première exposition personnelle, à la Galerie Werner & Katz à Berlin, déclenche un scandale et plusieurs peintures, tombées sous le coup d’accusations d’outrage aux bonnes mœurs, sont confisquées par les autorités. Se rebellant contre la domination de la peinture abstraite, ses œuvres, résolument figuratives, contenaient souvent des images choquantes destinées à obtenir du spectateur une réaction forte.

Au milieu des années 1960, Georg Baselitz peint une série de figures monumentales connues sous le nom de Helden (Héros), et commence à déconstruire les conventions picturales dans les formes fragmentées de ses Frakturbildern (Fractures). En 1969, il se met à renverser ses compositions ; une présentation originale qui révolutionne un médium alors considéré comme irrémédiablement conventionnel, et qui, depuis, est caractéristique de son œuvre. Dans les années 1970, sa méthode de peinture directement tactile, au doigt, favorise un usage plus libre de la couleur et du matériau qui deviendra primordial dans ses surfaces colorées expressionnistes des années 1980. Les années 1980 sont, pour Baselitz, une décennie phare, qui s’ouvre par la sélection de l’artiste pour représenter l’Allemagne aux côtés d’Anselm Kiefer à la Biennale de Venise ; l’occasion d’une première incursion dans la sculpture. C’est à cette période que s’établit sa notoriété internationale, alors qu’il participe à une série d’expositions de premier ordre tout autour du monde, parmi lesquelles A New Spirit in Painting (1981) à la Royal Academy of Art, à Londres, Zeitgeist (1982) au Martin-Gropius-Bau à Berlin et Expressions : New Art from Germany (1983), qui parcourt les États-Unis. Suivra sa première rétrospective américaine au musée Salomon R. Guggenheim, à New York, en 1995.

Le besoin de se renouveler est une constante évidente de la carrière de Georg Baselitz ; ainsi les Remix, réalisées en 2006, peintures dans lesquelles l’artiste reconsidère l’iconographie des travaux passés, en revenant sur ses propres motifs et en introduisant de subtiles références à l’histoire de l’art.

L’œuvre de Georg Baselitz est présente dans les collections des plus prestigieuses institutions publiques du monde entier, dont le musée national d’art moderne et contemporain de Séoul, le Centre Pompidou, Paris, la Nationalgalerie, Berlin, le Stedelijk Museum, Amsterdam, le Museum of Modern Art, New York, et la Tate, Londres, parmi beaucoup d’autres. Une rétrospective de ses sculptures s’est tenue au musée d’art moderne de la Ville de Paris (2011-12). Ses Heldenbildern (Héros) et ses Neue Typen (Nouveaux types) ont été l’objet d’une exposition au Städel Museum, à Francfort (2016), reprise au Moderna Museet de Stockholm, au Palazzo delle Esposizioni, à Rome, puis au musée Guggenheim de Bilbao. En 2018, à l’occasion de son quatre-vingtième anniversaire, la fondation Beleyer, à Basel, le Hirshhorn Museum, à Washington, D.C., puis le musée Underlinden, à Colmar, en France, lui ont consacré une vaste exposition personnelle. En 2019, Baselitz a été élu à l’Académie des Beaux-Arts, à Paris, et est devenu le premier artiste vivant à avoir une exposition à la Galleria dell’Accademia, à Venise.

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Séoul Fort Hill

2F, Fort Hill, 122-1, Dokseodang-ro, Yongsan-gu, Seoul

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