Haus der Kunst
    Prinzregentenstrasse 1
    September 14 - January 27

    Curated by Ulrich Wilmes

    “For All the Beloved in the World,” the catchy tagline of the upcoming Jörg Immendorff retrospective at Haus der Kunst, is taken from the titles of several paintings from the artist’s late-1960s corpus that feature two recurring figures: big blossoms in red, orange, and yellow hues, and big babies painted “red,” “yellow,” and “brown.” Kitsch and uncanny, cute and offensive, these works exemplify the disconcerting ambivalence that traverses Immendorff’s important oeuvre. From his early activities across a range of media while in the orbit of Joseph Beuys to his later paintings, evocative of a post-World War II George Grosz, Immendorff offers a rude commentary on the unhappy complicity of flower power, free love, and consumer capitalism in the West German “economic miracle.” This retrospective promises to unpack Immendorff’s provocative career with more than one hundred pieces, accompanied by a catalogue that will include contributions from Pamela Kort, Manuel Borja-Villel, Okwui Enwezor, and curator Ulrich Wilmes.

  • “Jutta Koether: Tour de Madame”

    Museum Brandhorst
    Kunstareal Theresienstrasse 35a
    May 18 - October 21

    Curated by Achim Hochdörfer and Tonio Kröner

    Jutta Koether is an itch I’ve been scratching since 1992, when she summoned me, the then-new editor of this publication, to a room on a gold-coast block of Manhattan’s Ninth Street to announce her arrival as a painter on the New York scene. What to make of the canvas unfurled on the floor—its curiously hand-­hating facture and disagreeable neo-expressionist aftertaste? Something (begin with the fact that this “neo-expressionist” was improbably a woman) told me that the game was more evolved than said painted ciphers would admit. It involved the subtle but un­mistakable doubleness in the way Koether “worked” the ritual of the studio visit, just as she had the art-world network in luring me there. Two-plus decades later, the relationship of social stagecraft to painterly particulars remains central to her wager. The degree to which the latter materializes the former is the nut that this timely survey of more than 150 works will need to crack. Travels to Mudam Luxembourg, February–May 2019.

  • “Vivan Sundaram: Disjunctures”

    Haus der Kunst
    Prinzregentenstrasse 1
    June 29 - October 7

    Curated by Deepak Ananth

    A newspaper photograph of a dead man lying in the street during the Hindu–Muslim riots of 1992 and 1993 was the point of departure for Vivan Sundaram’s multimedia installation Memorial, 1993/2014. Sundaram’s interest in the photograph both as a document and as evidence of political violence is an important part of the narrative for his exhibition at Haus der Kunst; it is equally emblematic of the artist’s ongoing deliberations on the subjects of history, memory, and the archive. The show will also bring to the fore Sundaram’s experiments in drawing, painting, sculpture, installation, and video dating from 1968 to 2015. An accompanying catalogue published by Prestel—with contributions by Ananth, Okwui Enwezor, Andreas Huyssen, Katya García-Antón, and Ashish Rajadhyaksha—will further illuminate Sundaram’s practice and strategies.