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    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
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Current Exhibition

Albert Oehlen EXHIBITED AT THE SAATCHI GALLERY

Descending Hot Rays
Albert Oehlen
Descending Hot Rays

2003

Oil on canvas

280 x 300 cm
Albert Oehlen’s paintings are neither beautiful nor seductive. Their self-consciously brutal surfaces seem to be corrupted from within, a perversion of the paintings they might have been.

In Descending Hot Rays, Albert Oehlen’s monotone canvas occupies a space between representation and abstraction, his forms and textures converging not to create an illusion, but a suggestion of invention.

Traditional painterly expression is infused with a steely reference to technology. His work offers a raw confrontation with the deficiencies of visual language. Albert Oehlen doesn’t use paint to convey meaning, but rather to explore the possibilities of the medium’s ‘function’.
Black Rationality
Albert Oehlen
Black Rationality

1982

Latex on canvas

260x 190 cm
Black Rationality appropriates the tones and equestrian subject of historical painting and re-renders them as a punk-ethic effigy. The skeletons of the horses provide a Picasso-like motif. Seemingly two paintings in one, Black Rationality is a painting in conflict. Albert Oehlen sets up the flatness of an abstract expressionist ground; the figures are placed as a separate layer creating an illusion of perspective.

In an optical contention between surface and depth, Albert Oehlen exposes the limitations of both abstraction and representation to denounce and eulogise artistic tradition. In a literal depiction of a graveyard, Albert Oehlen presents painting as a hallowed myth, resonant beyond its expiration.
Fibreglass Scroll
Albert Oehlen
Fibreglass Scroll

2004

Oil on canvas

270 x 220 cm
Albert Oehlen’s paintings humorously critique the hallowed respect and predominant values of traditional painting. In Fibreglass Scroll, his sensitively treated surface adopts the ephemeral radiance of Abstract Expressionism, alluding to an aura of mysticism and spirituality.

Devoid of colour, Albert Oehlen’s passionate brushwork becomes a hollow gesture; his black and white palette relegates the sincerity of painting to the annals of history. Stylised flat shapes float above Albert Oehlen’s painterly field, transforming his abstract composition to a Picasso-like animal, uncontrollably wild and dumb.
Mirage of Steel
Albert Oehlen
Mirage of Steel

2003

Oil on canvas

280 x 340 cm
Albert Oehlen relishes the sensitivity of his medium in this celebration of painterly illusion: puddles and washes convey a refracted, dreamlike sensibility, while almost recognisable objects emerge and dissolve against the fluid ground. An explicit confession of deception, Albert Oehlen creates a convincing sense of space: a purely abstract fabrication boldly exposing its own construction.
Peon
Albert Oehlen
Peon

1996

Oil on canvas

191.5 x 191.5cm
Oehlen approaches painting with the uncontrollability of Touretteïżœs syndrome. Chaotic and visually overloaded, Peon exudes an earnest conviction undermined by its own frantic expression. Elements of composition and style undulate with individual promise. Together, they are mutually rejective compounds violently clamouring for attention. Oehlen presents an image of breakdown: painting in its most agitated state, clawing for meaning and reason.
Titankatze Mit Versuchstier (Titanium Cat With Laboratory Tested Animal)
Albert Oehlen
Titankatze Mit Versuchstier (Titanium Cat With Laboratory Tested Animal)

1999

Oil on canvas

209 x 300 cm
Titanium Cat
 reads like a page torn from a 1950’s exhibition catalogue: an exaggeratedly expressionistic painting entirely stripped of colour. Rendered defunct from the start, Albert Oehlen revels in its self-styled retardation. A decoded script of interrupted image and muted texture, takes its pleasure in contrast and surface.
Untitled
Albert Oehlen
Untitled

1993

Oil on canvas

200 x 200cm
Oehlen describes his paintings as "post-non-representational". Through exploring and challenging the tropes and expectations of conventional abstraction, he strives to reconstitute a contemporary meaning for art as an independently articulate form. In works such as Untitled, Oehlen lavishes the picture plane with a clich’d exaggeration of painterly expression. Awkwardly encumbered, the sophistication of Untitled lies in its audacity, teetering on the razor edge between misfortune and masterpiece.
Untitled
Albert Oehlen
Untitled

1989

Oil on Canvas

213.5 x 162.5cm
Albert Oehlen is a master of ironic wit and his paintings are elaborate strategies of provocation. In Untitled, Albert Oehlen subverts the authority of the avant-garde, creating an abstraction of dumbed-down abjection. His painting poses as a deceptive icon of aesthetic contemplation, punctuated with flirtatious eyes returning the viewer’s gaze.
The Greeting
Albert Oehlen
The Greeting

2003

Oil and Inkjet Print on Wood

208 x 280cm

(Collaboration with Jonathan Meese)
In a collaborative process made simple, Albert Oehlen provides the photographic material and both artists take turns painting around it. None of these works are immediately recognisable as Albert Oehlen or Meese, and that’s what makes them so good. Like a nuclear fusion, the two become one; an invincible super-artist refining the best qualities of both.

The Greeting is a ridiculous portrait of a lumpy gangly-armed housewife waving about a feather duster/penis, teetering on glamour model’s legs. They render her almost obscenely repulsive, but the sexual delusion of the male gaze is inevitable: the artists’ collage in a mirror to peek up her dress.
Situation
Albert Oehlen
Situation

2003

Oil and inkjet on wood

208 x 280cm

(Collaboration with Jonathan Meese)
Albert Oehlen and Jonathan Meese both make paintings about failure: of the function of art, politics and ideological systems. Working collaboratively, they explore these terrains in a hard-hitting and overtly humorous way. Situation creates a highly sexed still life: a mangled-faced female figure reduced to tits and a brain. Dealing with issues of visual ideals and sexual politics, their cyborg superwoman is less an archetype of perfection than the suggestive abstract sculptures on the plinth beside her.
DJ Techno
Albert Oehlen
DJ Techno

2001

Mixed media on canvas

360 x 340cm
Oehlen re-contextualises painting as an expanded field. His most recent works are often produced through computer-generated design, incorporating collaged elements of photography and ink-jet printing as a means to explore new territories of representation and reception. DJ Techno combines pop emblems with Kandinsky-like expressionism to create an image with synaesthetic effect, alluding to sensations other than the visual.
Piece
Albert Oehlen
Piece

2003

Oil on Canvas

280 x 340cm
In Piece, Albert Oehlen combines aspects of figurative sexuality, mechanical distance and painterly abstraction. It’s a bastard hybrid of painting, incorporating smooth polished forms, heavy brushwork, and the implied photo-gloss of airbrush. The end result is more like a collage than a painting: a loud and exasperating argument in different tongues, promising never to be resolved for lack of a common idiom.
Untitled
Albert Oehlen
Untitled

1989

Oil on canvas

200 x 200cm
Albert Oehlen describes his paintings as ‘post-non-representational’. Through exploring and challenging the tropes and expectations of conventional abstraction, he strives to reconstitute a contemporary meaning for art as an independently articulate form.

In works such as Untitled, Albert Oehlen lavishes the picture plane with a clichéd exaggeration of painterly expression. Awkwardly encumbered, the sophistication of Untitled lies in its audacity, teetering on the razor edge between misfortune and masterpiece.
Storm
Albert Oehlen
Storm

2004

Oil and Inkjet Print on Wood

208 x 280cm

(Collaboration with Jonathan Meese)
Describing their merger as a courtly affair of awkward politeness punctuated by artistic embarrassment, Albert Oehlen & Jonathan Meese unite forces as a way to expand both practice and dialogue. Like a conceptual game of tennis, an artwork is begun, and then bantered back and forth until it gains a life of its own. For the artists, it’s a way to accept loosing control over a work, explore the possibility of spontaneous action and reaction, and stamp out self-indulgent excess like a bad habit. The end results are both breathtaking and funny. Storm cheekily sets computer-generated porn as the hot-bod for a wild-armed monstress: a goddess of violent temper and salvation.
Interior
Albert Oehlen
Interior

1998

Oil on Canvas

238 x 238 cm
Albert Oehlen denies Interior both colour and pictorial subject. Instead, he offers the canvas as a rudimentary plan, a crude impression of possibility. By denying customary modes of critique, Albert Oehlen questions how the function and value of painting might be developed outside a historical hierarchy of aesthetics and form.

Albert Oehlen's BIOGRAPHY

Born in 1954, Krefeld, Germany
Lives and works in Cologne and La Palma



SOLO EXHIBITIONS


2010
Albert Oehlen, Alfonso Artiaco, Naples, Italy
Albert Oehlen, Fingermaleriei, Emil Schumacher Museum, Hagen, Germany

2009
Albert Oehlen, Museo de Capodimonte, Naples, Italy
Albert Oehlen, Luhring Augustine, New York
Albert Oehlen, Computer Paintings, Skarstdt Gallery, New York
Albert Oehlen, A Vanguard with Decorum-new works on paper, Corbett vs. Dempsey, Chicago, IL

2008
Albert Oehlen, Galerie Nathalie Obadia, Paris
Albert Oehlen, Galerie Max Hetzler, Berlin
Albert Oehlen, 2008, Galeria Juana de Aizpuru, Madrid
Paintings 1988-2008, John Berggruen Gallery, San Francisco

2007
Albert Oehlen, Galerie BÀrbel GrÀsslin, Frankfurt/Main

2006
Albert Oehlen, Painter of Light, Luhring Augustine, New York
I Will Always Champion a good painting, Whitechapel, London
I Will Always Champion a bad painting, Arnolfini, Bristol
Albert Oehlen, Museum Dhondt-Dhaenens, Deurle
Albert Oehlen, Galerie Max Hetzler, Berlin, Germany
Albert Oehlen, I Know Whom You Showed Me Last Summer, Museum of Contemporary Art, Miami, FL

2005
Spiegelbilder 1982-1985, Max Hetzler, Berlin, Germany
New Paintings and Collages, Thomas Dane, London
Albert Oehlen, Galerie Nathalie Obadia, Paris
RennkostĂŒm y los U.D.O.s,GalerĂ­a Juana de Aispuru, Madrid
Albert Oehlen, FRAC Auvergne- Ecuries de Chazerat, Clermont-Ferrand
Paintings 1980-1981, Skarstdt Fine Art, New York
Albert Oehlen, Thomas Ammann Fine Art, New York
Albert Oehlen, Malerei, 1980-2004, Selbstportrait mit 50 Millionenfacher Lichtgeschwindigkeit, Kunstahalle, NĂŒrnberg, NĂŒrnberg.
Secession. Albert Oehlen, Vienna, Austria

2004
Albert Oehlen, Galeria Fortes Vilaca, Sao Paulo, Brazil
Spezialbilder (with Jonathan Meese), Galerie Max Hetzler, Berlin; Contemporary Fine Arts, Berlin
Albert Oehlen, Malerei 1980-2004, Selbstportrait mit 50millionenfacher, Musée Cantonal des Beaux-
Arts Lausanne, Switzerland; traveled to Domus Artium 2002, Salamanca; Kunsthalle Nuremberg
Albert Oehlen, Salzburger Kunstverein, Salzburg, Austria.
Albert Oehlen, The Good Life, Nolan/Eckman Gallery, New York
Albert Oehlen, Luhring Augustine, New York
Albert Oehlen, Galerie Gisela Capitain, Cologne

2003
Albert Oehlen, Alfonso Artiaco, Naples, Italy
Vier Germalde. Schallplattenexistenz Weg Gruntone Material Auf Abruf 2001, Galerie Max Hetzler,
Berlin, Germany
Albert Oehlen, Galerie BÀrbel GrÀsslin, Frankfurt/Main
Tree-Drawings, Richard Telles Gallery, Los Angeles

2002
Galerie Nathalie Obadia, Paris
Galerie Max Hetzler, Berlin, Germany
Galerie Catherine Bastide, Brussels, Belguim
Alfonso Artiaco, Naples, Italy
MusĂ©e d’Art Moderne et Contemporain de Strasbourg, Strasbourg
Albert Oehlen, Luhring Augustine, New York
Self Portraits, Skarstedt Fine Art, New York

2001
Checkers, Galerie Baerbel Graesslin, Frankfurt
Pinturas y Dibujos, Galeria Juana de Aizpuru, Madrid
Albert Oehlen, Illington Kerr Gallery, Calgary
Albert Oehlen, Kerlin Gallery, Dublin
Painting and Collages”, Patrick Painter, Inc., Santa Monica, CA
Albert Oehlen, Art & Public, Geneva
Terminale Erfrischung. Computercollagen und Malerei, Kestner-Gesellschaft, Hanover, Germany

2000
Albert Oehlen, Bernier / Eliades Gallery, Athens
Malerei," Kunsthalle Vierseithof, Luckenwalde
Hande weg von der Liebe, Galerie Ascan Cron, Hamburg
Hore auf zu arbeiten, die Erregung nimmt Dir die Kraft“, Gisela Capitain, Cologne
Das Privileg, Galerie Max Hetzler, Berlin
Der Ritt der Sieben Nutten. Das war Mein Jahrhundert,
Stadtisches Museum Abteiberg, Monchengladbach
Albert Oehlen, Patrick Painter, Inc, Santa Monica
Kestner Gesellschaft, Hannover

1999
Luhring Augustine, New York
Wings Of Chickens, Noaln / Eckman Gallery, New York
Galerie Barbel Graßlin, Frankfurt
Galerie Bleich-Rossi, Graz
Lord, Pferdeflusterer, Antichrist,” Galeria Juana de Aizpuru, Madrid

1998
Galerie Freund/Wind, Vienna, Austria
Galerie Mikael Anderson, Copenhagen, Denmark
Galerie Barbel Grasslin, Frankfurt, Germany
Galerie Max Hetzler, Berlin (with Georg Herold)
Margo Leavin Gallery, Los Angeles
Galerie Nathalie Obadia, Paris. France

1997
Albert vs. History, Kunsthalle Basel, Basel, Switzerland
Stedelijk Museum, Amsterdam
Sala Rekalde, Bilbao
Galleri K, Oslo
Lass spielen (Vergessene Kinder) , Galerie Max Hetzler, Berlin
Baladas Heavy, Galerie Gisela Capitain, Koln, Germany
Auchenbach Kunstausstellungen, Dusseldorf
Albert Oehlen. Malerei, Kunsthalle Vierseithof, Luckenwalde

1996
IVAM, Centre de Carme, Valencia
Obras Recientes, Galeria Juana de Aizpuru, Madris, Spain
Luhring Augustine, New York

1995
Galerie Max Hetzler, Berlin
Abortion of the Cool, Gesellschaft fĂŒr Gegenwartskunst, Ausburg
Margo Leavin Gallery, Los Angeles
Recent Paintings, The Renaissance Society at the University of Chicago, Chicago

1994
Villa Arson, Nice
Galerie Borgmann-Capitain, Koln
Painting, Deitchtorhallen, Hamburg

1993
K-Raum Daxer, Munich
Galerie Barbel Grasslin, Frankfurt
Galerie Samia Saouma, Paris
Galeria Juana de Aizpuru, Madrid
Salzburger Kunstverein, Salzburg
Galerie Peter Pakesch, Vienna

1992
Bruno Brunnet Fine Art, Berlin
Galerie Max Hetzler, Koln
Luhring Augustine, New York
Galeria Juana de Aizpuru, Sevilla, Madrid
Film Festival Koln, Koln

1991
Galerie Max Hetzler, Koln
Luhring Augustine, New York
Drawings, Luhring Augustine Hetzler, Santa Monica
Galerie Giesela Capitain, Koln

1990
Galerie Peter Pakesch, Vienna
Galerie Isy Brachot, Brussels
Galerie Grasslin-Erhardt, Frankfurt
Friedrichshof, Zurndorf
Galerie Max Hetzler, Koln
Realidad Abstracta (with Markus Oehlen), Universidad Internacional Menendez Pelayo, Santander

1989
Obras Recientes (with Martin Kippenberger), Galeria Juana de Aizpuru, Madrid
Luhring Augustine Hetzler, Santa Monica
Galerie Grasslin-Erhardt, Frankfurt/Main
Galerie Bleich-Rossi, Graz
Forum Stadtpark, Graz

1988
Galerie Max Hetzler, Cologne
Galerie Gisela Capitain, Cologne

1987
AbrĂ€umung-Prokrustische Malerei 1982-84 Kunsthalle ZĂŒrich, ZĂŒrich
Kunsthalle Zurich, Zurich
Der Übel, Grazer Kunstverein, Graz
Galerie Bleich-Rossi, Graz
Galerie Grasslin-Erhardt, Frankfurt
Galerie Max Hetzler, Koln
Scenery for “Tannhauser”, performed at Bremen Opera, Bremen
Galerie Ascan Crone, Hamburg

1986
Galerie Borgmann-Capitain, Cologne
Das Geld, Galerie Max Hetzler, Cologne
CCD Galerie, Dusseldorf
Sonnabend Gallery, New York
Galerie Six Friedrich, Munich
Maximilian Verlag-Sabine Knust, Munchen
Galerie Borgmann-Capitain, Cologne
Galerie Klein, Bonn

1985
Galerie Ascan Crone, Hamburg
Albert Oehlen 5
Galerie Six Friedrich; Maximilian Verlag-Sabine Knust, Munchen

1984
Galerie Paul Andriesse-Helen Van der Meij, Amsterdam
Galerie Max Hetzler, Koln
My Mother was a Friend of the Enemy of the People, Galerie Peter Pakesch, Vienna

1983
Galerie Rudolf Zwirner, Koln
Ewige Feile, Maximilian Verlag-Sabine Kunst, Munchen

1982
Forum Kunst, Rottweil
Galerie Arno Kohnen, Dusseldorf
Galerie Max Hetzler, Stuttgart
Galerie Ascan Crone, Hamburg

1981
Bevor ihr malt, mach ich das lieber, Galerie Max Hetzler, Stuttgart
Galerie Magers, Bonn


GROUP EXHIBITIONS


2011
Untitled (Painting), Luhring Augustine, New York, NY.

2010
Group Show, screening, London, UK
Filmschönheit, curated by Albert Oehlen, Greene Naftali Gallery, New York, New York; Galerie
Mezzanin, Vienna, Austria.
Kunst der 80er. Eine Dusseldorfer Perspektive, Kunst Sammlung Nordrhein Westfalen, K21, Dusseldorf
Picture Industry (Goodbye to all that), regen projects, Los Angeles, CA
Rise of the Rad, The Torrance Museum, Torrance, CA
Summer Group Show, Skarstedt Gallery, New York, NY
The Library of Babel: In and Out of Place, Zabludowicz Collection, London, UK
Twenty Five, Luhring Augustine, New York, NY

2009
Art of Two Germanys: Cold War Culture, LACMA, Los Angeles, CA
Looking Back, the 4th White Columns Annual, White Columns, New York
Sixty Years, Sixty Works, Art From the Federal Republic of Germany, Martin Gropius Bau, Berlin, Germany
Self-Portraits, Skarstedt Gallery, New York

2008
Always There, Galerie Max Hetzler, Berlin
Bad Painting-good art, Museum Moderner Kunst, Stiftung Ludwig Wien, Vienna, Austria
Out Of Storage I, Peintures choisies de la collection, Mudam Luxembourg Musée d'Art Moderne
Grand-Duc Jean, Luxembourg, Switzerland.
The Immediate Touch:German, Austrian and Swiss Drawings from St. Louis Collections, 1946-2005, Saint Louis Art Museum
Summer Exhibition, Skarstedt Gallery, New York
Museum moderner Kunst, KĂ€rnten

2007
Accidental Painting, perry Rubenstein Gallery, New York
Concrete Works, Mitchell-Innes & Nash, New York
Dedica, Palazzo delle Arti Napoli, Naples, New York
High Lights, Galerie Mikael Anderson, Berlin, Germany
Irreversible, Stellan Holm Gallery, New York, NY
Kommando Freiderich Hölderin Berlin, Galerie Max Hetzler, Berlin, Germany
Leg Show, Patrick Painter Inc, Santa Monica, CA
Passion for Art, Essl Museum, Klosterneubrunn
Summer Show, John Berggruen Gallery, San Francisco, CA
The Lath Picture Show, Friedrich Petzel Gallery, New York
Super Vision, The Institute of Contemporary Art, Boston, MA

2006
Colour Aside, Luhring Augustine, New York, NY
Dedica 1986-2006, Vent’anni della galleria Alfonso Artiaco, PAN/Palazzo della Arti, Naples
Idees de la peinture:Hommage a Marin Barre, Galerie Nathalie Obadia, Paris
Gods in Exile: Salvador DalĂ­, Albert Oehlen, et al, Kunsthaus Graz, Germany
Make Your Own Life:Artist In and Out of Cologne, Institute of Contemporary Art, Philadelphia
The Power Plant, Toronto, Henry Art Gallery, University of Washington, Seattle, Museum of Contemporary Art, Miami
Surprise, Surprise, Institute of Contemporary Arts, London
Works on Paper, Patrick Painter Inc, Santa Monica, CA, USA
Gods in Exile: Salvador DalĂ­, Albert Oehlen, et al., Kunsthaus Graz, Germany
Vous ĂȘtes ici (You are here)FRAC, France
Grid < > Matrix, Mildred Lane Kemper Art Museum, St Louis
Faster! Bigger! Better!Museum fur Neue Kunst, ZKM Karlsruhe
Eldorado, Musee d’Art Moderne Grand Duc jean, Luxembourg
Darren Almond, Albert Oehlen:Time 2 Kill, Galerie Max Hetzler, Berlin

2005
CollecciĂłn Alfonso Artiaco: Out of Sight Out of Mind, Palacio de SĂĄstago, DiputaciĂłn Provincial de Zaragoza, Spain
Self Portraits, Skarstedt Fine Art, New York.
Works on paper, Galerie Max Hetzler, Berlin
Groundswell. Constructing the Contemporary Landscape, MOMA, New York, NY
The Triumph of Painting, Saatchi Gallery, London, UK
La Nouvelle Peinture Allemande, CarrĂ© d’Art, MusĂ©e contemporain, NĂźmes
Private / Corporate II. Works from the DaimlerChrysler and Heliod Spiekermann Collections, DaimlerChrysler Contemporary and Haus Huth, Berlin

2004
Spezialbilder. Albert Oehlen. Jonathan Meese, Galerie Max Hetzler, Berlin. Traveling to: Contemporary Fine Arts, Berlin
Paintings, gallery K, Oslo, Norway
Kommando Friedrich Schiller, Detroit
German Drawings of the Late 20th Century, Nolan / Eckman Gallery, New York, NY
Garden Eden, Galerie zur Eroffnung, Frankfurt, Germany
Pixels, Stellan Holm Gallery, New York
Hot Ice. Recent Painting from the Scharpff Collection, Hamburg Kunsthalle, Germany
ColecciĂłn Taschen, Museo Nacional Centro de Art Reina SofĂ­a, Madrid
26a.Bienal de SĂŁo Paulo, SĂŁo Paulo
Was Melerei heute ist, Opelvillen RĂŒsselheim
Berlin-Moskau / Moskau-Berlin 1950-2000, Martin-Gropius-Bau Berlin; State Tretjakov Gallery, Moscow

2003
Biennale d’Art Contemporain de Lyon 2003, Lyon, France
Painting Pictures: Painting and Pictures in the Digital Age, Kunstmuseum Wolfsburg, Germany
Heißkalt. Aktuelle Malerei aus der Sammlung Scharpff, Kusthalle Hamburg: travelled to Staatsgalerie Stuttgart
Lieber zu viel als zu wenig, Neue Gesellschaft fĂŒr Gegenwart, Berlin
Outlook, Benaki Museum, Technopolis, The Factory, Athens
Actionbutton, Hamburger Bahnhof-Museum fĂŒr Gegenwartskunst, Berlin
EXPRESSIV! Foundation Beyler, Riehen
Obsessive Malerei, Ein RĂŒckblick auf die Neuen Wilden, Museum fĂŒr Neue Kunst, ZKM Karlsruhe

2002
Klopfzeichen. Kunst und Kultur der 80er Jahre in Deutschland, Museum der bildenden Kunste, Leipzig
Los excesos de la mente, Centro Andaluz de Arte ContemporĂĄneo, Sevilla
Painting On the Move, Kunstmuseum, Museum fĂŒr Gegenwartskunst Basel, Kunsthalle Basel
Prophets of Boom. Werke aus der Sammlung Schurmann, Staatliche Kunsthalle Karlsruhe

2001
Abbild. Recent Portraiture and Depiction, Steirischer Herbst, Landesmuseum Joanneum, Graz
Works on paper, Kerlin Gallery, Dublin
Vom Eindruck zum Ausdrunk, GrÀsslin Collection, Deichtorhallen Hamburg
Zivilier Ungehrosam, Falckenberg Collection, Hanover

2000
Der Ritt der sieben Nutten – das war mein Jahrhundert (with Markus Oehlen) StĂ€dtisches Museum Abteiberg, Mönchengladbach
Biennale Buenos Aires, Buenos Aires
Painting on the Move. A Century of Contemporary Painting (1900-2000), Kunstmuseum, Basel, Switzerland
La Prima Idea: Aktuelle Malerei auf Papier, Graphische Sammlung der ETH Zurich, Switzerland
Glee: Painting Now, The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut; Palm Beach
Institute of Contemporary Art, Lake Worth, Florida
Salon, Delfina, London
It May Be a Year of Thirteen Moons But It’s Still the Year of Culture, Transmission Gallery, Glasgow
In Between, Expo 2000, Hanover

1999
Decades in Dialogue: Perspectives on the MCA Collection, Museum of Contemporary Art, Chicago
Visualizing Digiteracy: Considering Current Technologies, Memphis College of Art, TN
Digital sites, Numark Gallery, Washington, DC
My Name: Sammlung Falckenberg, Museum of Fien Arts Leipzig, Germany
Sammlung Essl:The First View, Klosterneuburg, Vienna
Die Sammlung Paul Maenz, Neues Museum Weimar

1998
Heimo Zobernig, Bonner Kunstverein, Galerie fur Zeitgen, Kunst Leipzig, Kunstverein, Munchen
Recollection, Kunstverein Graz
Fast Forward – Image, Kunstverien, Hamburg
Group Painting Show, Friedrich Petzel Gallery
Georg Herold / Albert Oehlen, Galerie Max Hetzler, Berlin
Visualizing Digiteracy: Considering Current Technologies, Memphis College of Art, TN
Selbstportraits, Galerie Barbel Grasslin, Frankfurt
Fast Forward Archives, Kunstverein in Hamburg
Luhring Augustine, New York
Galerie K, Oslo

1997
Colleccio d’Art Contemporani Fundacio “la Caixa”, Barcelona
Display, Charlottenborg Exhibition Hall, Copenhagen, Denmark
Deutshlandbilder – Kunst aus einem geteilten Land, Martin-Gropius-Bau, Berlin

1996
On paper II, Schmidt Contemporary Art, St Louis
Change of Scene X, Museum fur Moderne Kunst
Peinture-Peinture. Galerie Samia Saouma, Paris
Provins-Legende, Museet for Samtidskunst, Roskilde

1995
Albert Oehlen and Christopher Williams, The Wexner Center for the Arts, Columbus, OH
Redefining Convention: German Art Now, Haines Gallery, San Francisco
Dancing Girls, Stedelijk Museum, Amsterdam
XL, Galerie Borgmann- Capitain, Koln
Luhring Augustine, New York
Smells Like Vinyl, Roger Merians Gallery, New York
Malerei, Galerie Max Hetzler, Berlin

1994
Galleri K, Oslo
Return Of The Hero, Luhring Augustine, New York

1993
Zeitsprunge: Collection of Rudolf und Ute Scharpff”, Wilhelm-Hack Museum, Ludwigshafen
Drawing The Line Against AIDS, The Peggy Guggenheim Collection, Venice
Der zerbrochene Spiegel, Kunsthalle, Vienna; Deichtrohallen, Hamburg

1992
Works on Paper: Forg, Gonzalez-Torres, Kilimnik, Kippenberger, Nares, Oehlen, Pensato, Prina, Wool,
Luhring Augustine, New York
Works On Paper, Herold, Oehlen, Wool, Jack Hanley Gallery, San Francisco
Museum fur Modern Kunst, Frankfurt
Allegories for Modernism: Contemporary Drawings, Museum of Modern Art, New York
Works On Paper, Jim Schmidt Contemporary Art
Museum fur Moderne Kunst, Frankfurt
Ars Pro Domo, Museum Ludwig, Koln
Dirty Data: The Collection of Wilhelm Schurmann, Ludwig Forum fur Internationale Kunst
Landscape Untitled:Halley, Oehlen, Wool, Galerie Senda, Barcelona
Greatest Hits, Daniel Buchholz, Koln
Felix Gonzales-Torres, Albert Oehlen, Christopher Williams, Margo Leaving Gallery, Los Angeles

1991
Metropolis, Martin Groupius-Bau, Berlin
Gulliver’s Travels, Galerie Sophia Ungers, Koln
Herbert Brandl, Albert Oehlen, Christopher Wool, Galerie Peter Pakesch, Vienna

1990
Galerie Giesela Capitain, Koln
Prints and Multiples, Luhring Augustine Hetzler, Santa Monica.
Signatures, Grazer Kunstverein, Graz.
Art of The Eighties, Neue Galerie am Landesmuseum Joanneum, Graz
Galerie Max Hetzler, Ausstellungsraum Alsdorfer, Koln

1989
Refigured Painting: The German Image 1960-1980, The Toledo Museum of Art, Toledo
Guggenheim Museum, New York
Williams College Museum, Williamstown
Georg Herold, Albert Oehlen, Christopher Wool, The Renaissance Society at the University of Chicago, Chicago
Bilderstreit Widerspruch, Einheit und Fragment in der Kunst seti 1960,” Museum Ludwig in den
Rheinhallen der Messe, Koln
New Figuration: German Painters 1960-80”, Kunstmuseum Dusseldorf, Dusseldorf; Kusthalle Schirn,
Frankfurt
Galerie Peter Pakesch, Wien.
Galerie Christine et Isy Brachot, Brussel.
German Photography form the 70’s and 80’s, Galerie Ursula Schurr, Stuttgart
Galerie Grasslin-Erhardt, Frankfurt

1988
Exchange, Guinness Hop Store, Dublin
Work in History-History in Work, Kunsthaus und Kunsterverein Hamburg, Hamburg
The Light of the Other Side, Galerie Monika Spruth, Koln
The Binational:german and American Art of the Eighties, StĂ€dtische Kusthalle – Kunstsammlung
Nordrhein Westfalen – Kunstverein Dusseldorf, Dusseldorf
Museum of Fine Arts Boston, Boston
The Minneapolis Institute of Fine Arts, Minneapolis
Contemporary Arts Museum, Sarah Campbell Blaffer Gallery, Houston
Architecture in Today’s Painting, Deutshes Architekturmuseum, Frankfurt
Galerie Kammer, Hamburg
BRD, Abstract Tendencies in New German Art, Karl Bornstein Gallery, Santa Monica
Martin Kippenberger and Albert Oehlen , Galeria Juana de Aizpuru, Sevilla
Photographic Work From Koln, Kolnischer Kunstverein, Koln
New Prints from Germany, The Saint Louis Art Museum, Saint Louis
Albert Oehlen, Marcus Oehlen, Martin Kippenberger, Werner Buttner, Galerie Susan Wyss, Zurich.

1987
We Do What We Want:Young German Art, Galerie Schipka
Q.U.I ((with Werner BĂŒttner, Martin Kippenberger, Markus Oehlen), Centre National des Arts Plastique, Villa Arson, Nice
Room Enough, Suermondt-Ludwig Museum, Aachen
25 Years of Business:The Collection of Ileana Sonnabend, CAPC Musee d’art Contemporain de
Bordeaux, Bordeaux; Centro de Atre Reina Sofia, Madrid.
Broken Neon, Steirischer Herbst 87, Forum Stadtpark, Graz; Galerie Christoph Durr, Munchen; Galerie
Sylvana Lorenz, Paris.
Multiples, Galerie Daniel Buchholz, Koln

1986
German Contemporary Artists, Galerie Comicos, Lisbon
Strength and Weakness in Realationships, Museum am Ostwall, Dortmund
New German Art from the Ludwig Collection, Aachen, Haus Metternich, Koblenz
Initiative 86, Galerie Richard Foncke, Gent
Maybe We Can Have Our Mothers back! Kunstverein Hamburg, Hamburg; Institute of Contemporary Art, London.
Prints 1970-85, Grazer Kunstverein, Graz; Galerie Im Stadthaus, Klagenfurt; Kunsthalle Wilhelmshaven, Wilhelmshaven.
What it is, Tony Shafrazi Gallery, New York

1985
Hoevel Schoonheid kunnen wij verdragen, Bonnefantenmuseum, Maastricht
Galerie Bleich-Rossi, Graz (with Martin Kippenberger)
Kunsthalle Bielefeld, Bielefeld; Kunsthalle Tubingen, Tubingen.
O.M. Ungers: Seven Rooms under the seven points of the Architecture of John Ruskin, Kolnischer Kunstverein, Koln
To Genezareth by Harley, Evangelishe Akademie, Hamburg (with Werner Buttner).
Two Houses, Galerie Wanda Reiff, Maastricht (with Werner Buttner)
Studio D, Tubingen (with Werner Buttner, Martin Kippenberger, Markus Oehlen.

1984
Truth Is Work, Museum Folkwang , Essen.
Balance, Neue Galerie of Joanneum, Graz; Museum Villa Stuck, Munchen; Forum for Real Art, Galerie
Krinzinger, Innsbruck; Rheinisches Landesmuseum, Bonn.
Galerie Six Friedrich, Munchen
Deep Looks, Hessisches Landesmuseum, Darmstadt
Origen y Vision: Nueva Pintura Alemana, Centre Culturalde la Caixa de Pensiones, Barcelona; Palacio Velazquez, Madrid.
Werner BĂŒttner, Martin Kippenberger, Albert Oehlen, Markus Oehlen, Metro Pictures, New York.
The Kindness of Custom, CCD Galerie, Dusseldorf
Galerie Thomas Borgmann, Koln (with Martin Kippenberger)
Von Hier Aus, MessegelĂ€nde DĂŒsseldorf

1983
Galerie Max Hetzler, Stuttgart
Galerie Rudigier Scuttle, Munchen
Galerie Peter Pakesch, Wien
Absprunge, Hamburger Kunsthalle, Hamburg
James Dean/Louis de Funes” (with Martin Kippenberger), Buchandlung Weil, Hamburg.
Photo Collage, Realismus Studio 24 der Neuen Gesellschaft fur Bildende Kunst, Berlin.
Wood and Linoleum Today, Oldenburger Kunstverein, Oldenburg.
Women in My Fathers Life (with Martin Kippenberger) Galerie Klein, Bonn

1982
Galerie Rudiger Schottle, Munich.
Twelve Artists in Germany, Kunsthalle Basel; Museum Boymans-van Beuningen, Rotterdam.
You Must Go Over Seven Bridges, Kutscherhaus, Berlin.
Geile Feige-Feige Geile, (with Georg Herold), Galerie Arno Kohnen, Dusseldorf.
Galleria Silvio Baviera, Cavigliano (with Martin Kippenberger).
Capri by Night (with Martin Kippenbereger) Galerie Tanja Grunert, Stuttgart.
Signal Right-Turn Left, (with Werner Buttner), Realismus Studio 21 der Neuen Gesellschaft fur Bildende Kunst, Berlin.
Cream for Hamburg, Ausstellungsraum Fettstrasse, 7a, Hamburg.
Young Painters in Germany, Galleria d’Arte Moderno, Bolonga.
Tendenzen 82, Ulmer Museum, Ulm
Turin by Night, (with Martin Kippenberger) Dr. Z Dacic, Tubingen.
Orgon-Kiste by Night” (with Martin Kippenberger), Galerie Max Hetzler, Stuttgart.

1981
Germany Review I, Lothriger Strasse, Munchen
Germany Review II, Im Klapperhof, Koln
Young Art in West Germany, Galerie Max Hetzler, Stuttgart
Gegen-Bilder, Badischer Kunstverein, Karlsruhe

1980
Nuovo Imagine, 16th Triennale, Milan
Finger fur Deutschland, Atelier Jorg Immendorf, Dusseldorf
Kunstausstellungen Gutenbregstrasse, Stuttgart.
Galerie Paul Maenz, Koln.

1979
Kunstlerhaus, Hamburg (with Georg Herold)
Mode Nervo, Kunstlerhaus, Hamburg; Galerie Arno Kohnen, Dusseldorf.

1978
Galerie Arno Kohnen, Dusseldorf (with Markus Oehlen)
Who’s Afraid of the Hamburg Disease?, Galerie Grotlisch, Munchen.