Initiative Münchner Galerien zeitgenößischer Kunst

 

Galerie Jahn und Jahn

Baaderstr. 56 B and C • 80469 M
Tel +49 89 41 41 82 80
 www.jahnundjahn.cominfo@matthiasjahn.net
Tue–Fri 10 am–6 pm • Sat 11 am–2 pm
and by appointment

 

Baaderstr. 56
80469 M

Current exhibitions

Your Mask (Part III aus der Ausstellungstrilogie „Don’t Forget Your Mask“)

28.07.2020 - 14.08.2020
Baaderstraße 56 B
Sebastian Dacey
Hedwig Eberle
Hermann Nitsch
Stefan Vogel

Baaderstraße 56 C
Lutz Braun
Matthias Dornfeld
Ioan Grosu
Erwin Pfrang
Paula Rego

 

 
 

Upcoming exhibitions

Friedrich G. Scheuer

Friedrich G. Scheuer

12.09.2020 - 10.10.2020
Der Rhythmus bloßer Linien, ein Beziehungsgeflecht korrespondierender Farbformen, die Physiognomie einer Struktur vermitteln Existenzielles, ohne auf Reales zu zu verweisen. (...)
Das Wesen der Bilder ist ihre ästhetische Substanz, ihre Wirklichkeit ein selbstbezogenes Sein, offen für jeden, der seinen Augen traut. Bilder zeigen, wie Malerei das ästhetische Potential von Welt und Mensch zum Vorschein bringt.
Friedrich G. Scheuer: Sehen lesen (Unmöglich), München 2006, 27/28.

Friedrich G. Scheuer
Ohne Titel, 2020
Acryl auf Leinwand
100 x 80 cm
Courtesy of the artist and Jahn und Jahn, Munich

Baaderstr. 56 B

 
 

Joker

12.09.2020 - 10.10.2020
Marcel Broodthaers
Rasmus Nilausen
Caragh Thuring
Troels Wörsel

Baaderstr. 56 C
 

Past exhibitions

Forget (Part II: Don’t Forget Your Mask)

Forget (Part II: Don’t Forget Your Mask)

07.07.2020 - 25.07.2020
William N. Copley
Isa Genzken
Konrad Klapheck
Karin Kneffel
Gerhard Richter

Konrad Klapheck
Einer und Viele, 1961
Öl auf Leinwand
110,3 x 95,5 cm
Courtesy: Jahn und Jahn, München, © VG Bild-Kunst, Bonn, 2020

Baaderstr. 56B
 

Forget (Part II: Don’t Forget Your Mask)

Forget (Part II: Don’t Forget Your Mask)

07.07.2020 - 25.07.2020
Baaderstraße 56 C
Karel Appel
Georg Baselitz
Karl Bohrmann
Georg Fuchssteiner
Henri Michaux
Alexi Tsioris

Karel Appel,
Figures, 1960 (KA/P 1)
Collage aus gebrauchten Plakaten auf Karton
collage of used affiches on cardboard
100 × 100 cm
 

Don‘t (Part I aus der Ausstellungstrilogie „Don’t Forget Your Mask“)

16.06.2020 - 04.07.2020
Thomas Arnolds
Heinz Butz
Michael Croissant
Wolfram Erber
Julius Heinemann
Imi Knoebel
Barry Le Va
Ernst Wilhelm Nay
Kirsten Ortwed
Fred Sandback

 
 

Navid Nuur

Navid Nuur

What is lost in time will be found by time

13.03.2020 - 30.05.2020
Baaderstr. 56 C

Just as time is an expression of perception and change, the artistic cosmos of Navid Nuur remains in constant movement, permanently being formed by drawings, paintings, sculptures, and installations. Nuur himself describes his works as “interimodules”: module in reference to the works’ conceptuality and the interrelationship between different elements, and interim as an indicator of being in-between, a temporary state of transition. Starting from matter as the substance of all things, Nuur investigates almost like an alchemist the nature of art and the world by focusing his attention on materiality and by revealing diverse manifestations, without failing to simultaneously reflect on the complex notion of time.

Following the renovation and brief reopening of the Stedelijk Museum, Amsterdam, in 2010, Nuur had already written the sentence chosen as the title of the current exhibition “What is lost in time will be found by time” with a piece of brick from the museum building on a wall. He also used this statement in a three-part drawing, which can be seen in the exhibition in the form of delicate writing on a white ground and as further prints that appear and disappear through layers of crosshatching. The works oscillate between visible and invisible; the process of searching and discovering implied by the title can be transferred onto the drawings. Moreover, they represent a historical document, referring to each other not only formally but also temporally, and at the same time grappling with the medium itself. On the one hand, there are drawings; on the other, the classical drawing process is overcome and – using chalk and graphite – a trace, a text made in the past, is uncovered.

Recontextualization as well as processes of discovery and rediscovery are characteristic of Nuur’s approach. In his "marbled paintings" he imitates marbling techniques with gesso, a binding agent consisting of plaster and chalk. However, this is not used in the typical sense as the ground for a painting, but rather as the end product. Nuur consistently questions the means of production of painting in his process-based works. Contrary to expectations, the marbled pattern with its fine white lines was not created by a brush or pen, but by a process of applying and scraping. These works as well as the colored "marbled paintings", in which Nuur worked with fluorescent paint, produce their own unique mood. The arabesques seem to develop their own lives and find themselves in constant motion, similar to the way that "broken ellipse", filled with blue gas, suggests unity. Nuur’s works encourage a new way of seeing. Phenomena of perception are of central concern to the artist.

Nuur’s artistic approach is intuitive; his works often emerge freely and autonomously. In this way his focus lies on various parameters of art, and he experiments with elements such as color, light, and heat. His ceramic sculptures, which allow him a more open way of dealing with form than his paintings, are understood first and foremost as a collection of minerals whose shapes are influenced by different factors, such as the process of firing. Nuur creates new layers of meaningful content that go beyond the mere function of a vessel. A particular magic is also produced by ancient rocks which the artist positions in the here and now using magnets and iron dust.

Navid Nuur (born 1976 in Tehran, lives and works in The Hague) was given the Royal Award for Painting in Amsterdam in 2011, and in 2013 – together with Adrien Ghenie – he received the Discovery Prize at Art Basel Hong Kong. The Marta Herford is currently showing the solo exhibition "Hocus Focus". In April, a solo exhibition will follow at the Kunstmuseum Den Haag, The Hague. Works by the artist can be found in significant collections including the Stedelijk Museum, Amsterdam, Musée National d’Art Moderne/The Centre Pompidou, Paris, Neuer Berliner Kunstverein, Berlin, and the Kunsthalle Zurich.

 

 
 

Sebastian Dacey

Sebastian Dacey

13.03.2020 - 30.05.2020
Baaderstr. 56 B

 
 

Norbert Tadeusz

Norbert Tadeusz

24.01.2020 - 29.02.2020
Norbert Tadeusz
ohne Titel (Nilfisk), 1989
Öl auf Leinwand
120 x 95 cm
© VG Bild-Kunst, Bonn, 2020

 

 

 
 

Frank Auerbach, Lucian Freud, Paula Rego

Frank Auerbach, Lucian Freud, Paula Rego

Prints

24.01.2020 - 29.02.2020
 

Greater than the Sum

Greater than the Sum

25.10.2019 - 14.12.2019
Baaderstr. 56 C

Kerstin Brätsch
Michaela Eichwald
Helen Marten
Sarah Ortmeyer
Laure Prouvost

 

 

 
 

Isa Genzken

Isa Genzken

Collagen

25.10.2019 - 14.12.2019
Baaderstr. 56 B

Isa Genzken
ohne Titel, 2016
Fotos, Papier, Karton, Münze, Acryl, Glitter, Metall-, Papier- und Kunststoff-klebeband, Kunststofffolie
99 × 95 cm
© VG Bild-Kunst, Bonn, 2019

 

 

 

 
 

Computer und Papier

14.09.2019 - 12.10.2019
Various Others (Baaderstr. 56 C)

Thomas Baldischwyler
Soyon Jung
Albert Oehlen
Laura Owens
Avery Singer
Felix Thiele

 

 
 

Rudi Tröger

Rudi Tröger

13.09.2019 - 19.10.2019
Rudi Tröger, 1929 in Marktleuthen geboren, hat ein umfassendes Werk geschaffen, das in seiner Art einzigartig ist. Oszillierend zwischen Gegenständlichkeit und Abstraktion, arbeitet Tröger seit den frühen 1960er-Jahren mit den traditionellen Sujets Landschaft, Porträt und Stillleben, die er immer wieder überarbeitet und auf malerische Problemstellungen hin untersucht. Dabei schafft er Zusammenhänge und Bezüge, die die eigentlich unterschiedlichen Gattungen verschmelzen lassen. Der Malprozess ist ihm wichtig, nicht so sehr das Resultat, wenngleich der Blick in unendlich poetische, manchmal auch melancholische Bildräume gezogen wird.
1985 verlegte die Galerie Fred Jahn das Werkverzeichnis der Druckgrafik Rudi Trögers und stellte seine Arbeiten, die sich in national und international bedeutsamen Museums- und Privatsammlungen befinden, in regelmäßigen Abständen aus. Anlässlich seines 90. Geburtstags zeigt die Galerie Jahn und Jahn Werke aus den Jahren 1965 bis 2019. Zu der Ausstellung erscheint ein umfangreicher Katalog im Sieveking Verlag mit Texten von Siegfried Gohr

Rudi Tröger
Kinderbild N. und A., 1960
Öl auf Leinwand
84 x 97,5 cm
Courtesy: Rudi Tröger und Jahn und Jahn, München

 
 

Lutz Braun

Lutz Braun

Im Licht der gehemmten und geleugneten Möglichkeiten

05.07.2019 - 09.08.2019
Baaderstr. 56 C

Lutz Braun
Wolfsburg, Acryl auf Leinwand
170 × 190 cm

 

 
 

Karl Bohrmann

Karl Bohrmann

05.07.2019 - 09.08.2019
Baaderstr. 56 B

Karl Bohrmann
Landschaft mit Fahne, 1991
Collage, Ölkreide, Kugelschreiber auf Briefumschlag
30,8 × 22,8 cm

 

 
 

Imi Knoebel

Imi Knoebel

Tafelbilder

17.05.2019 - 26.06.2019
Baaderstr. 56 C

Imi Knoebel
Tafel DXCIII, 2018
Acryl, Aluminium, Holz
35,7 x 25,4 x 4,3 cm
Foto: Ivo Faber
© VG Bild-Kunst, Bonn, 2019

Imi Knoebel’s Tafelbilder (panel paintings) achieve their maximum efect through focused positioning and minimalist reduction. In addition to a diversity of colors, from gold leaf through to bright orange or dark blue, materiality and the application of paint contribute in particular to the complexity of these monochrome works. The viewer’s gaze is almost completely absorbed by the changing brush marks on the shiny aluminum surface. Material, color, and form create a tense contrast. Although the panels are classed as individual pieces, they should also be considered in relation to the other works. Knoebel, who devised the installation concept for his exhibition at Jahn und Jahn, stated: “When I do an exhibition, I simply try to create a new work from the pieces that I already have or that I bring together.”[1] At the center of this process is the act of seeing itself; the artist creates a space for experiences that enables new perspectives.

Although the term ‘Tafelbilder’, which has been taken as the exhibition title, may appear relatively classical, Knoebel’s artistic approach could hardly be more progressive. For more than fve decades this former student of Beuys has been dealing with the subject of painting, its function, and meaning. How can a traditional ‘Tafelbild’ be interpreted in a contemporary way and thus expand the idea of painting? Knoebel was greatly inspired by the theories of Kazimir Malevich and his infuential Black Square (1915), which marked the “frst non-representational expression of perception” [2] in painting and therefore a new starting point. Grounded in abstract art, Knoebel has created series of works that explore questions of design, surface, and the structure of space, but also the relationship between work and viewer. Photography and light have been taken into consideration to the same extent as material images, found objects, or installations. In the mid-1970s, Knoebel introduced color to his practice, exemplifed by pieces like 24 Farben für Blinky – 24 Colors for Blinky (1977). Since then, he has demonstrated a keen awareness of color in terms of its nuances, variation, and rhythm. Characteristic of Knoebel’s works are references to earlier pieces, their development, and reimagining. New paintings are permanently being produced.

Imi Knoebel (born 1940 in Dessau, lives and works in Dusseldorf) studied in Joseph Beuys’s class at the Kunstakademie Düsseldorf from 1964 – as did Rainer Giese, with whom he adopted the common name ‘Imi’ (meaning: Ich mit ihm – I with him). In 1972, the Stedelijk Museum in Amsterdam dedicated a solo exhibition to him. Following this, he took part in the documenta 5-8 (1972-1987) and had solo shows in important museums and institutions, among them the Kunstsammlung Nordrein-Westfallen; K21, Dusseldorf; Kunstmuseum Wolfsburg, Wolfsburg; Neue Nationalgalerie and Deutsche Guggenheim, Berlin; Dia:Beacon, New York; Kestner Gesellschaft, Hanover; Haus der Kunst, Munich; and Kunstmuseum Bonn, Bonn. In 2018, the Museum Haus Konstruktiv, Zurich, presented a large solo exhibition of his work. Fred Jahn has been working with the artist since 1971, at that time for Galerie Heiner Friedrich, and has shown his work numerous times.

[1] Exhibition cat. Kunstmuseum Wolfsburg. Imi Knoebel: Werke 1966–2014. Bielefeld 2014, 28. [2] Malevich, Kazimir: Die gegenstandslose Welt. Bauhausbücher 11, Munich 1927, 74.

 

 
 

Willi Baumeister

Willi Baumeister

17.05.2019 - 26.06.2019
Baaderstr. 56 B

Willi Baumeister
Flämmchen, 1931
Öl auf Leinwand
57 x 43,5 cm
© VG Bild-Kunst, Bonn, 2019

Willi Baumeister was part of an innovative generation of artists who happened to be born in the 1880s. Among them were Georges Braque, Fernand Léger, Pable Picasso, Ernst Ludwig Kirchner, Max Pechstein, and Oskar Schlemmer. Baumeister had a lively exchange with the avant-garde artists of his time and close friendships with some of them. In the era of National Socialism, during which Baumeister was banned from working and exhibiting, he lived a secluded life, working mainly on drawings. Around 1943, he wrote the infuential avant-garde text The Unknown in Art, which would not be published until 1947. This was the subject that Baumeister would explore all his life.

In direct cooperation with the Willi Baumeister Foundation in Stuttgart, responsible for the artist’s entire estate, regular exhibitions have taken place in our gallery spaces since 2001. The current selection for this exhibition covers the years 1928 to 1955 and has its own additional focal points. The motifs found in an earlier group of works from the 1920s and 1930s refect Baumeister’s friendship and intellectual afnity with Oskar Schlemmer and Otto Meyer-Amden. During their shared time as students they each investigated the simplifed human fgure, assembled from various parts in their own way.
A further group of works consists of drawings of sports people which eventually morph into free compositions with linear forms. They were made at the end of the 1930s and highlight Baumeister’s development from an emphasis on fguration to a focus on playful movements in open space. If movement had so far been rooted to one point, then this dynamic increasingly spread across the whole image: dispersal through small forms. To some extent, it becomes clear what Baumeister builds on – the human fgure, mechanics and kinetics – and where he turns: towards abstract painting. Through this connection, non-European, archaic, and prehistoric cultures fnd a place in his work: not as a quotation, not as a narrative representation of past or foreign worlds, old myths, or legends, but as an image of “the present state of civilisation”[1], as a symbiosis “behind whose facade the outlines of the past and lost cultures become visible” [2]. The tactile surface of the material becomes signifcant. Cultural connotations are to be found a priori within it: “The artist does not search within himself, but rather allows the unknown to appear through contact with the surface of the work.” [3] The group of works from the 1940s is comprehensive and draws from the theme of archaic, African and Chinese cultures, or references to Greek mythology, such as in Guardians of Hades and Giants. The late work of the 1950s, in contrast, consists of drawings with fantastical titles such as Phantom and Montaru. The artist developed an entirely unique visual language: a language that unites both memories of the collective world and his personal perception, embedded in the contemporary and the modern. [4]

Willi Baumeister (1889 – 1955 Stuttgart) is considered an important representative of abstract painting and a signifcant source of inspiration for various art movements after 1945. From 1927 to 1933 he taught at the Frankfurter Kunstgewerbeschule, later the Städelschule, and took part several times in the documenta (1955, 1959 and 1964) as well as in the Venice Biennale (1948 and 1952). His works have been exhibited internationally and can be found in important public and private collections around the world. Since 2005 the Baumeister Archive has resided in the Kunstmuseum Stuttgart. As a research center, it oversees the artist’s entire estate. [5]

[1] Baumeister, Willi: Das Unbekannte in der Kunst, Cologne 1960, 150.
[2] Boehm, Gottfried: Willi Baumeister, Stuttgart 1995, 23.
[3] Exhibition cat. Willi Baumeister, Galerie Fred Jahn, Munich 2001, 11.
[4] See: Boehm 1995, 23-24 f.[5] Willi Baumeister Stiftung, https://www.willi-baumeister.org

 

 

 
 

Alexi Tsioris

Alexi Tsioris

Cosmic Fruits

15.03.2019 - 27.04.2019
 

Heinz Butz

Heinz Butz

15.03.2019 - 27.04.2019
Heinz Butz
Ohne Titel, 1970
Kunstharz auf Spanplatte
28,6 × 21,5 cm
Foto: Lea Gryze, Berlin, in: Heinz Butz, Sieveking Verlag, München 2018

 
 

Thomas Arnolds

Thomas Arnolds

Ort und Hall

25.01.2019 - 02.03.2019
(Baaderstr. 56C)

“But what really caught his attention was a tall, light-blue flower which moved him with its broad, shiny leaves. […] He saw nothing but the blue flower and observed it for a long time […].“ Novalis, Heinrich von Ofterdingen, 1802 (1)
In a magical blue, the proliferating branches of a tree stretch across the surface of a painting. Depicted in thick, monochromatic lines of color, as if applied directly from the tube, the vegetation separates from the surface, interrupting the two-dimensionality of the work. Consequently, the lush materiality of the tree creates tension in relation to the flat geometric forms and background shadows that are also present in the piece. In a different work there is the suggestion of an interior with an abstract table and bonsai; other paintings, however, give no clear evidence of whether it is a landscape, an interior, or a bonsai still life that can be seen.
Just as the bonsai imitates its natural archetype in miniature form, it can also be trained to grow in various directions and deviate from this archetype. It is in this way that Thomas Arnolds explores the central questions of painting, playing with principles of repetition and variation, reduction and redundancy, accumulation and concentration. Parts, either blurred or finely painted, contrast with other distinctive gestures. Materiality, surface, and structure are the leading parameters in Arnolds’s investigation of painterly processes. While he creates plasticity through impasto paint application, in his two-dimensional oil paintings, he negates central perspective and therefore spatial representation. At the same time Arnolds also always understands painting as a site of confrontation.
After exploring painterly concerns in his early years using the primary colors red, yellow, and blue, he eventually expanded his palette and experimented with these in monochromatic works. In his new work, alongside the non-colors black and white, Arnolds focuses on blue and its various hues. Aspects of the symbolism of colors interest him as much as metaphysical phenomena. As such, the image of the blue flower, as introduced by Novalis into Romantic literature, symbolizes the pursuit of eternity and the unattainable – ideas which the artist allows to resonate within his paintings. In other works, Arnolds’s architectural subjects come to the fore: using the motif of a column base, as it relates to the classical order of columns and its neoclassical references, he traces moments of inflection, bending, and stretching. One thing is certain: in his painterly exploration of nature, culture, and architecture, Arnolds creates his own blueprint.
Thomas Arnolds (born 1975 in Geilenkirchen, lives and works in Cologne) initially completed an apprenticeship as a mason and sculptor before studying under Walter Dahn at the Braunschweig University of Art. Apart from solo shows at the Kunstverein Reutlingen or currently at the Leopold-Hoesch Museum in Düren, works by Arnolds have been shown internationally, including in cities, such as Los Angeles, Beirut, and Dubai. His work can be found in prestigious collections, such as the Kunstmuseum Bonn, the Leopold-Hoesch Museum, Düren, and the Museum Boijmans van Beuningen in Rotterdam, where Arnolds has previously exhibited.

(1) Tieck, Ludwig and Fr. Schlegel (ed.) (1826): Novalis Schriften, fourth edition, Berlin: Reimer, 7-8.

 
 

Konrad Klapheck

Konrad Klapheck

25.01.2019 - 02.03.2019
(Baaderstr. 56B)

Konrad Klapheck
The Audience, 2008
Acryl auf Leinwand
170 × 130 cm
© VG Bild-Kunst, Bonn, 2019

A typewriter with a small logo that reads Titan, “the old-fashioned manufacturer“(1), could be considered the most famous subject of the German painter Konrad Klapheck. Born in 1935, Klapheck has produced painterly as well as graphic works in which everyday technical objects and machines lead surreal lives as the protagonists of his images. The familiar becomes strange, the everyday becomes uncanny. At the beginning of the 21th century, figuration in the form of the portrait found its way into Klapheck’s work. He also began painting concert scenes portraying the greatest musicians of the jazz world.
Alongside each painting Klapheck creates a drawing. In doing this, he has developed a technique on cardboard which calls to mind the classical preparation of large (wall) paintings from the Renaissance.2 The drawings are made in charcoal and pencil, less frequently in colored pencil, on canvas or (transparent) paper. The image is worked out to such an extent that it could no longer be considered a preliminary sketch. It is an independent drawing, the same size as the planned painting. Here the lines are revealed based on imaginary vanishing points. Their composition becomes legible in relation to the surfaces. Resultantly, various features come into focus such as dynamism, stasis, repetition, mass, emphasis, perspective, and choice of extract. But more than this, the reduction to a linear structure elucidates the tension on the surface of the painting. As an invitation to the art audience to take a look behind the scenes, there is a sense of directly participating in the creative process.
Galerie Jahn und Jahn presents a wide selection of drawings whose motifs range from diverse technical apparatus and machines to the concerts of famous jazz musicians. Individual paper works are shown in direct comparison with their colorful counterparts, the paintings.
Konrad Klapheck participated in the fourth and sixth documenta, and from 1979 to 2002 he was a professor at the Kunstakademie Düsseldorf. He has categorically refused numerous prizes for his artistic production throughout his life. Klapheck is generally considered one of the pioneers of the post-war avant-garde. His works have been shown internationally and can be found in important private as well as public collections including Kunstsammlung Nordrhein-Westfalen, Dusseldorf, Hamburger Kunsthalle, Hamburg, Sprengel Museum Hannover, and Museum Ludwig, Cologne.

(1) Quote Konrad Klapheck, in: Exhibition cat. Menschen und Maschinen. Bilder von Konrad Klapheck, Kunsthalle Recklinghausen, Recklinghausen 2006, 84.(2) Exhibition cat. Konrad Klapheck. Das graphische Werk, Kunstfoyer, Versicherungskammer Kulturstiftung, Munich 2015, 10.

 

 
 

Julius Heinemann

Julius Heinemann

Double Exposure

26.10.2018 - 08.12.2018
Baaderstraße 56 C

 
 

Karel Appel

Karel Appel

Tête en carton

26.10.2018 - 08.12.2018
Baaderstraße 56 B

Karel Appel
Untitled, 1963
Collage, Aquarell und Farbkreide auf Papier, auf Leinwand montiert
90 × 120 cm
© Karel Appel Foundation | VG Bild-Kunst, Bonn, 2018

 

 
 

Various Others

Various Others

15.09.2018 - 13.10.2018
Baaderstraße 56 C

Ioan Grosu, Lucian Indrei, Mirela Moscu und David Nuur
Collaborating with Galerie Max Hetzler (Berlin/Paris/London) and Lateral ArtSpace (Cluj/Romania) on this unique occasion, Jahn und Jahn is pleased to present works by Lucian Indrei (*1983), Mirela Moscu (*1986) and Navid Nuur (*1976) alongside gallery artist Ioan Grosu (*1985). Whether in paintings, collages, wall pieces or installations: Each of these artists individually explores notions of the image, its processes and perception, thereby revealing new layers of meaning.

 
 

Georg Fuchssteiner

Georg Fuchssteiner

Nebelleben

15.09.2018 - 20.10.2018
Baaderstraße 56 B

Georg Fuchssteiner
Zelt, 2017
Aquarell
22,6 x 31,3 cm
 

Georg Fuchssteiner

Georg Fuchssteiner

Nebelleben

15.09.2018 - 20.10.2018
Georg Fuchssteiner
Zelt, 2017
Aquarell
22,6 x 31,3 cm

 
 

40 + 10 + 1

40 + 10 + 1

Group exhibition on the Jubilee

21.07.2018 - 11.08.2018
Fred Jahn (40 years)
Matthias Jahn (10 years)
Jahn und Jahn (1 years)

On 20 July 2018 Jahn und Jahn open an impressive exhibition, boasting works by luminaries including Gerhard Richter, Sigmar Polke and Georg Baselitz alongside those by younger artists from the gallery programme, such as Matthias Dornfeld, Hedwig Eberle and Ioan Grosu. Coupled with a summer party, the show celebrates a particularly significant anniversary: in 1978, 40 years ago, Fred Jahn established his gallery at 10 Maximilianstraße, ten years ago his son Matthias opened his own gallery at 56 Baaderstraße and, finally, only a year has passed since the newly-merged Galerie Jahn und Jahn relocated here with two adjacent exhibition spaces.

Fred Jahn has written gallery history with his decade-long involvement in the art scene: a constant of the gallery landscape in Munich with an international reputation. In 1968 he became a freelancer for Galerie Heiner Friedrich and from 1971 was a partner there. The programme at that time focussed on Richter, Polke and Palermo as well as on the Americans. In 1972/73, Jahn was managing director and partner of Edition der Galerie Heiner Friedrich in Munich.

Until the end of the nineties, within the context of his own gallery, he made a name for himself with a series of publishing projects. He was, for instance, the publisher and author of important graphic catalogues on the work of contemporary artists. Two further interests which were pursued throughout the eighties and nineties were African sculpture (supported by Jens Jahn) and Japanese ceramics (supported by Gisela Jahn). Moreover, from around 1980 the gallery programme put particular emphasis on Hermann Nitsch and Arnulf Rainer, and the collaboration with Gerhard Richter and Georg Baselitz steadily developed. There was an increased focus on works on paper which resulted in important presentations of artists of classical modernism including Willi Baumeister, Henri Michaux, Otto Meyer-Amden, Ernst Wilhelm Nay, Richard Oelze and Francis Picabia. In addition, numerous thematically structured shows added diversity to the exhibition programme. Alongside the great names of contemporary art, Fred Jahn also devoted himself to less internationally prominent artists - many from around Munich and south Germany, to whom he has remained loyal for years. Karl Bohrmann, Heinz Butz, Oskar Coester, Erwin Pfrang, Friedrich G. Scheuer, Rudi Tröger and Katharina von Werz are just a few examples.

From 2008, following his education at the Munich Academy of Fine Arts, Matthias Jahn began his activities as a gallerist at 56 Baaderstraße. Here he prioritised the work of younger generation artists who, in some cases, would show publicly for the first time. The recently merged Galerie Jahn und Jahn, which opened one year ago, ushers in a new phase in the history of the gallery. With Tim Geissler, Matthias Jahn has found a like-minded advocate for the field of contemporary art. Space-related projects of a highly experimental nature explore new exhibition formats and create dialogues with older positions from the gallery programme. The room layout, which is considerably larger than the intimate exhibition space at Maximilianstraße, is ideal for the presentation of monumental formats as well as small-scale works and drawings. Jahn und Jahn’s successful presence at relevant art fairs is an emphatic reflection of these broadened expectations for the gallery.

 
 

Troels Wörsel

Troels Wörsel

18.05.2018 - 30.06.2018
Baaderstrasse 56 C

Troels Wörsel
Ohne Titel, 2017
Acryl auf Leinwand, Aluminiumleisten, Schraubzwingen
240 × 200 cm

 

 

 
 

Matthias Dornfeld

Matthias Dornfeld

18.05.2018 - 30.06.2018
Baaderstrasse 56 B

Matthias Dornfeld
Cinzano, 2018
Öl und Acryl auf Leinwand
195 × 300 cm

 

 
 

Ernst Wilhelm Nay

Ernst Wilhelm Nay

1948–1951

23.03.2018 - 09.05.2018
Ernst Wilhelm Nay
Pilgrim, 1951
Gouache über Bleistift auf Aquarellkarton
23,9 × 15,9 cm
© VG Bild-Kunst, Bonn

Baaderstrasse 56 B

 
 

A. R. Penck

A. R. Penck

Transformer

23.03.2018 - 09.05.2018
A. R. Penck
Transformer, 1987
Filz, 105 × 110 × 100 cm
© VG Bild-Kunst, Bonn

Zur Ausstellung erscheint ein Katalog

Baaderstrasse 56 C

 
 

The way you read a book is different to how I tell you a story

The way you read a book is different to how I tell you a story

26.01.2018 - 10.03.2018
group show with Carlos Amorales, Karel Appel, Marlon de Azambuja, Alessandro Balteo Yazbeck, Lenora de Barros, Willi Baumeister, Pauline Beaudemont, Heinz Butz, Esther Ferrer, Cristina Garrido, Julius Heinemann, Per Kirkeby, Konrad Klapheck, Oliver Laric, Victor Leguy, Sarah Lehnerer, Bruno Moreschi, Eduardo Navarro, Hermann Nitsch, Letícia Parente, Laure Prouvost, Enrique Radigales, Paula Rego, Daniel Steegmann Mangrané, Eduardo Terrazas, Alexi Tsioris and Stefan Vogel
Curated by Marta Ramos-Yzquierdo
Heinz Butz
Ohne Titel, 2007

Bleistift und Farbstift auf Papier

Foto: Ulrich Gebert, Copyright: Galerie Jahn und Jahn GmbH & the artist
Baaderstraße 56 C

 

 
 

Hedwig Eberle

Hedwig Eberle

Neue Arbeiten auf Papier

01.12.2017 - 13.01.2018
Baaderstr. 56 C / Showroom

 
 

Plan View

Plan View

01.12.2017 - 13.01.2018
Groupshow with
Josef Albers
Thomas Arnolds
Heinz Butz
André Butzer
Wolfram Erber
Julius Heinemann
Imi Knoebel
Barry Le Va
Lawrence Power
Fred Sandback
Al Taylor
Richard Tuttle
Johannes Tassilo Walter

Baaderstraße 56 C
 

Arbeiten Gehen

Arbeiten Gehen

01.12.2017 - 13.01.2018
Eine Ausstellung der Galerie BRD mit Beiträgen von
Viktoria Binschtok
Christin Kaiser
Nina Power
Moritz Sänger
Arne Schmitt
Carsten Tabel
Felix Thiele
Mierle Laderman Ukeles
Jens Ullrich
Tilman Walther

Baaderstr. 56 b

 
 

Stefan Vogel

Stefan Vogel

was blieb das bleibt

07.10.2017 - 18.11.2017
Baaderstraße 56 C

Stefan Vogel,
was blieb das bleibt, 2017
Schreibmaschine, Transparentpapier, Kopie
29,7 × 21 cm

 
 

Albert Oehlen

Albert Oehlen

07.10.2017 - 18.11.2017
Baaderstraße 56 B

Albert Oehlen,
Ohne Titel, 2013
signiert "A. Oehlen 83"
Papier, Folie, Tusche, Bleistift auf Papier
29,6 × 21 cm

 
 

Pauline Beaudemont

Pauline Beaudemont

Macchia Aperta

14.07.2017 - 16.09.2017
Courtesy the Artist | Pauline Beaudemont

 
 

Markus Lüpertz

Markus Lüpertz

Studien zu einer Skulptur

14.07.2017 - 16.09.2017
Markus Lüpertz
Ohne Titel, 2015
Mischtechnik auf Papier
45 × 33 cm
 

Peter Müller

Peter Müller

Broschen

06.07.2017 - 15.07.2017
Peter Müller
Rechteck, 2006
Gold 900, Turmalin grü
3,7 x 3,1 cm
Foto: Thomas Dashuber

Last Exhibition of Galerie FRED JAHN  in Maximilianstraße.
New space in Baaderstraße 56 B und C with Galerie Fred Jahn and Galerie JAHN UND JAHN
 

Ioan Grosu

Ioan Grosu

Galopp

19.05.2017 - 08.07.2017
Ioan Grosu
Ohne Titel, 2017
Collage, Folie, Radierfarbe auf Papier
29,7 × 21 cm

 

 
 

Imi Knoebel

Imi Knoebel

Zeichnungen 1972–1990

19.05.2017 - 08.07.2017
Imi Knoebel
Ohne Titel, 1972
Graphit auf Papier
29,7 × 21 cm

 
 

Alexi Tsioris

Alexi Tsioris

Flaum & Splitter

27.01.2017 - 04.03.2017
Alexi Tsioris
untitled (2016)
linoleum cut on paper
61 x 86 cm

Tsioris’s work finds its materialization – be it in the transferal of the monotype into sculptures or prints – in the moment just before dissolution, thus inserting the non static into the static. An initial idea is mirrored back and forth so often that it slips away entirely: layering and rewriting takes place; vestiges of the process exist under these layers and are kept in their state of dissolution. Tsioris embraces an idea and begins to break it down, to atomise it. He pushes it towards an edge and in the moment when it, the idea, teeters on this edge, threatening to tip over, he creates a form – in the metaphorical sense ‘fuzz and splinters’ emerge.
(Txt. Auszug Christoph Sehl)
 

Sebastian Dacey

Sebastian Dacey

That gharstly draft

18.11.2016 - 21.01.2017
Sebastian Dacey
ohne Titel, 2016
Öl auf Leinwand
64,9 x 49,8 cm

Sebastian Dacey's second solo exhibition at Galerie Jahn is built around new, large-format textile assemblages. The painted duvetyne and linen fabrics, at times intact, at times torn or holed, overlap one another in multiple layers.The starting point for some of these works is the painting of a concrete motif. The work is then turned around to reveal its reverse, becoming transformed in the process into an abstract piece. The heavily applied oil paint saturates the material, drawing forms and patterns in flecks of colour.

In other works, the materiality of the textile is emphasised by a minimalist form of painting that creates a distinctive contrast to the diverse found objects, three dimensional works made from towels, or the hanging trotters of wild boar that otherwise occupy the spaces of the gallery. Dacey's work is characterized by fractures and transitions. The way in which the different materials are installed, and the arrangement of the individual coloured fabrics, produces levels of overlay that create the impression of depth and of space.

The exhibition includes a number of canvas works and works on chromolux paper, the serial character of which is stressed through the form of presentation.Despite diverse motifs, from abstract grids and lattice structures through to landscapes and scientific descriptions of plants, the binding element is the omnipresent purple-black oil paint.
 

Martin Gross & Julius Heinemann

Martin Gross & Julius Heinemann

Radio City

21.10.2016 - 12.11.2016
"Radio City" is an exhibition by the artists Martin Groß and Julius Heinemann.
The starting point for the exhibition at Galerie Jahn is the intersection of certain themes in each artistic practice. Both living in London, the artists have taken such connections as the grounds for producing works which, although very different aesthetically, step into a productive dialogue. For the exhibition, the artists have developed drawings and site-specific installations.

© Julius Heinemann

 

 
 

Georg Fuchssteiner

Georg Fuchssteiner

Im Weg

09.09.2016 - 08.10.2016
Drawing, painting and abstraction between abstraction and representation.The complex work of Georg Fuchssteiner (b. 1982) reflects his continous curiosity and openness to art, music and literature. He makes paintings that deal with personal experiences and impressions while also referencing fantastical imagery. As well as realistically worked paintings he makes works that tend towards abstraction. In these paintings and drawings, figurative elements appear within the densely pictorial space.

Georg Fuchssteiner
Illusionistischer Balkon, 2015
Acryl, Kasein und Öl auf Leinwand
141,5 x 116 cm
 

„Finite Turne“

„Finite Turne“

29.07.2016 - 13.08.2016
Pauline Beaudmont
Lars Breuer
Janine Eggert/Philipp Ricklefs
Martin Groß
Julius Heinemann
Alexi Tsioris
Stefan Vogel
Elisabeth Wieser
Benjamin Zuber
 

Michael Biber

Michael Biber

Poly

24.06.2016 - 23.07.2016
We cordially invite you to our opening of the exhibition Poly by Michael Biber within the context of Art Weekend 2016. We look forward to seeing you on Friday, June 24th, 2016 from 6 until 9 pm at Baaderstraße 56b, 80469 Munich. Please join the concert by One Chord Wonders and Riksha Ride on Saturday, June 25th (2- 3 pm).

opening hours during Artweekend 2016:
Fri., June 24th, 6-9 pm
Sat., June 25th, 11-6 pm
Sun., June 26th, 11-6 pm

Poly is Michael Biber's third solo exhibition and brings together his most recent series of work. His complex painting is composed of many layers.
Biber applies oil color to Alu-Dibond sheets. The ground is formed by a number of such panels that are configured to create a large surface that is joined together with screws.
In this way a rhythmic composition is formed. The resulting seams create a grid of lines. The screws used in the construction are left visible, interposing rhythmic points in the whole- they link with one another. In his painting, industrial and mundane base materials combine. Nitro-frottages from digital pattern prints blend with the organic oil painting that is applied to the constructed surface.

 
 

Lutz Braun

Lutz Braun

Spuk ist die Absicht

19.05.2016 - 18.06.2016
Lutz Braun's exhibition Spuk ist die Absicht characterizes the present as being a threshold moment – as what seems to be "the situation before the leap"*. The artist shows a dystopia that, at the end of its process of civilization, has exhausted its resources and production of meaning. But furthermore, he provides a glimpse into a sphere in which human society has crossed a line into another modality.
Braun's ambiguous paintings and sculptures transform our familiar world into what appears to be melancholy fear scenarios of fading away, sublimating into new circumstances. These are more than just degeneration, decay or destruction because the artist presents his visions in a non-mediated, gentle and sometimes even humorous way. His post-apocalyptic setting manifests itself in the fresh, transparent color of a spring-like awakening.
* Améry, Jean: Hand an sich legen. Diskurs über den Freitod, Klett Verlag, Stuttgart 1976
Excerpt of the exhibition text by Thomas Grötz
 

Philipp Rössle

Philipp Rössle

And the peaches and the mangos

18.03.2016 - 30.04.2016
 

Raymond Gantner

Raymond Gantner

26.02.2016 - 18.03.2016
Additional space:
Residenz (Residenzstraße 1, 80333 München)
(Entrance opposite Pfälzer Weinstub´n)
Opened:
Wed–Fri 2–6 pm
Sat, 27.02. and 19.03. 2016, 11 am –2 pm
and by appointment

Raymond Gantner
o.T., 2016
Fotogramm und Fotochemie auf Fotopapier
50,7 x 60,9 cm
 

Thomas Arnolds

Thomas Arnolds

29.01.2016 - 05.03.2016
Thomas Arnolds
ohne Titel, 2015
250 x 200 cm
Öl auf Leinwand
 

Christoph Stepan

Christoph Stepan

Fotografien

15.01.2016 - 23.01.2016
Christoph Stepan
Redentore, 2015
155 x 205 cm
Archival Pigment Print (Ed. of 5)
 

Matthias Dornfeld

Matthias Dornfeld

"Donnerstag"

13.11.2015 - 19.12.2015
 

stickyfingers

stickyfingers

Collagen

22.10.2015 - 07.11.2015
Michael Biber
Karl Bohrmann
Raymond Gantner
Ioan Grosu
George Grosz
Barry Le Va
Benjamin Röder
Philipp Rößle
Elisabeth Wieser

 

 
 

Mirko Tschauner & Lars Breuer

Mirko Tschauner & Lars Breuer

Schwarze Taube

11.09.2015 - 17.10.2015
 
 

Hedwig Eberle

Vitamin C

26.06.2015 - 25.07.2015
 

Lutz Driessen

08.05.2015 - 14.06.2015
 

Veit Kowald

solo show

30.01.2015 - 07.03.2015
 

Ioan Grosu

31.10.2014 - 20.12.2014
 

Sebastian Dacey

Sebastian Dacey

Too many friends

12.09.2014 - 18.10.2014
Sebastian Dacey,
Fotografie, 2014

 
 

Banja Sachau, Gotscha Gosalishvili, Veit Kowald, Maximilian Rossner

27.03.2014 - 03.05.2014
 

Michael Biber

07.02.2014 - 15.03.2014
 

Georg Fuchssteiner

alles über zeit

09.11.2013 - 14.12.2013
 

Stefan Pfeiffer und Arne Glauche

Stefan Pfeiffer und Arne Glauche

sometimes coincidences kick your ass

18.10.2013 - 02.11.2013
 

Philipp Rößle

Philipp Rößle

Reveille

13.09.2013 - 12.10.2013
Abbildung:
Philipp Rößle
Nightcall, 2013
Öl auf Leinwand
160 x 160 cm

Jalousien, Palmen - Palmen, Jalousien. Philipp Rößle entwirft malend Gesten der Leichtigkeit - auf der Suche nach dem einfachen Bild, das dem ersten klaren Gedanken kurz nach dem Erwachen gleicht. 
Der Blick aus dem Fenster. Palmen hinter Jalousien. Listen to Cliff Martinez. Ein gesetztes "Reveille", mit leichter Geste auf's Papier geworfen.
Friedemann Heckel
 

Es ist schon alles gesagt, nur noch nicht von allen.II

Es ist schon alles gesagt, nur noch nicht von allen.II

28.06.2013 - 27.07.2013
Michael Biber, CHristoph Blawert, Emanuel Eckl, Jakob Egenrieder, Wolfgang Flatz, Olaf Metzel, Norbert Schwontkowski
 

Matthias Dornfeld

Matthias Dornfeld

XX 776

17.05.2013 - 22.06.2013
 

Konstrakt

Konstrakt

Group Show

05.04.2013 - 11.05.2013
Tim Bennett
Michael Conrads
Stefan Lenhart
 

Lutz Braun

Lutz Braun

Die Zukunft liegt in Ruinen

08.02.2013 - 16.03.2013
 

Berthold Reiß

Berthold Reiß

Antinomia

23.11.2012 - 22.12.2012
Der Titel Antinomia verweist auf Streit, die Einladungskarte auf Krieg. Immanuel Kant nennt Antinomie den „Widerstreit der transzendentalen Ideen“. Die Karte bezieht sich auf die Schlacht von Pydna 168 vor Christus oder allgemein auf den Gegensatz von Griechen und Römern in der Antike.

Besonders die Aquarelle von Berthold Reiß hat man als „schön“ beschrieben und zugleich betont, dass sich diese Schönheit nicht oder nicht rational fassen läßt. Der Kurator David Elliott schreibt über die Aquarelle von Berthold Reiß in der 17. Biennale von Sydney, 2010: „Die Schönheit dieser Blätter liegt in ihrer Reduktion, die farbigen Flächen darin scheinen eine Art spirituelles Wunder zu verbergen.“ Cassy Smith findet zu der Einzelausstellung Tanagra in der Galerie Jahn Baaderstraße, 2010 die einfache Formel: „The logic is irrelevant, the beauty is imperative.“

Welcher Streit geht diesem Imperium voraus? Der Vortrag von Berthold Reiß handelt vom römischen Imperium, seinem kriegerischen Entstehen, vor allem aber von seinem inneren Widerspruch: Schon das Wort „Imperium“ heißt zunächst „Befehl“, dann erst „Reich“. Die Rede vom Imperium findet die bekannte Erfahrung, dass die wirkliche Welt unserem Konzept von ihr gewissermaßen selbst widerspricht, in der Antike.

Die Antike wird so zum Modell der Moderne. Die Arbeit von Berthold Reiß kann diese Übertragung, die die Frage nach Identität seit der römischen Wahl des griechischen Vorbilds geprägt hat, von neuem verkörpern. Diese Möglichkeit, sich selbst im Anderen zu entdecken, wird von der direkten Identifikation mit sich selbst nicht nur historisch abgelöst, sondern dauernd verdunkelt. Denn der eigene Ausdruck muß sich behaupten als Zweifel an allem Anderen, als Skepsis, nicht als Kritik. Berthold Reiß spricht dagegen von der Außenwelt und von der Geschichte, aber scheinbar nicht von sich selbst. Die Ausstellung Antinomia zeigt dieses scheinbare Fehlen von Ausdruck als Ausdruck einer kritischen Beschreibung von Identität. Diese Kritik stellt sich dar als Archäologie. Es ist, als ob der Schutt weggeräumt würde, den die authentische Behauptung um einen Kern herum angehäuft hat, weil sie immer meinte, den Kern selber zu treffen.

In der Ausstellung Antinomia stellen sich Außenwelt und Geschichte dar als Forum und als Archiv. Auf dem Forum konfrontiert Berthold Reiß neue, großformatige Bilder auf Leinwand mit früheren Arbeiten. Diese sind teilweise Modelle zu realisierten großen Wandarbeiten und zu einer Skulptur. Zwei neue Skulpturen sind lesbar als Modelle römischer Architektur. Das Archiv umfasst Aquarelle, die auf ihre Weise ein Reich der Schönheit verkörpern.

Forum und Archiv, Außenwelt und Geschichte, Gegenwart und Vergangenheit tauschen sich aus. In Antinomia ist das Reich der Schönheit nicht nur als einzelne Erscheinung verkörpert. Es erscheint vor allem als mögliche Zukunft.
 

Hedwig Eberle

Hedwig Eberle

Within

19.10.2012 - 17.11.2012
 

Tim Bennet, Sebastian Dacey 

Tim Bennet, Sebastian Dacey 

All Things Bright And Broken

14.09.2012 - 13.10.2012
Gemeinschaftsarbeit
Tim Bennett & Sebastian Dacey, 2012,
Filzstift auf Papier, 21 x 14,8 cm
 

Ioan Grosu

Ioan Grosu

"Welcome to the unknown"

28.06.2012 - 31.07.2012
 

Mirko Tschauner

Mirko Tschauner

„Staub Tschauner“

16.05.2012 - 23.06.2012
 

„MMMHCI“

„MMMHCI“

13.04.2012 - 12.05.2012
Michael Biber, Christian Blawert, Michael Conrads, Hedwig Eberle, Ioan Grosu, Monika Michalko
 

Matthias Lehrberger

Matthias Lehrberger

Simulacron

08.03.2012 - 07.04.2012
Matthias Lehrberger