Andreas Schulze

Andreas Schulze. Photo: Philip Emde

 

Andreas Schulze (*1955) is one of the great individualists of German painting. The artist’s unique painting style defamiliarizes basic design and architectural forms, with a cryptic pictorial repertoire that oscillates between gentle irony and friendly affirmation, menace and comfort. It exposes the blind spots of middle-class life and ironizes the pretensions of contemporary art. The Cologne-based artist has been associated with the gallery since 1983.

 

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Since the beginning of his career on the Cologne scene in the 1980s, Schulze’s work deliberately situates itself outside of common painterly trends, attitudes and affiliations. Despite contacts to the Neue Wilde (New Fauves) of the Mülheimer Freiheit group and other Cologne artists, the painter developed his own distinctive way of painting that combines the representational with the absurd.

His repertoire of middle-class emblems thrives on the almost brazen simplicity of their pictorial settings. The “subjects” of these renderings include such commonplace things as peas, geraniums, fruit or porcelain dishes. Everyday objects such as sofas, cars, windows, rocks or Mars bars are arranged in humorous tableaux. Shaded geometric and biomorphic sausage-like shapes are contrasted with spherical color gradients in the background. Built-in kitchen cabinets, absurd pipe constructions or the kind of fringed roller found in a car wash are interspersed with abstracted household objects and the occasional indoor plant. Interiors and landscapes merge. Prefabricated houses are captured in an oblique bird’s eye view. In series that he revisits again and again, Schulze paints pictures of spheres and windows. His car paintings resemble assemblages of car doors, bumpers, and windshields, masterfully-painted yet quite possibly cobbled together by a mischievous child. Although primarily active as a painter, Schulze has repeatedly expanded his artistic universe to include sculptures and installations. He has also designed lamps and carpets himself and staged living room interiors on floor paintings that can resemble a lawn or a street intersection.

For all his independence, Schulze brings a multitude of art historical references to the fore: from Oskar Schlemmer’s Triadisches Ballett (Triadic Ballet) to Pop, surrealism and naïve painting. Yet he also defies the avant-garde propensity for assuming a superior stance of profundity. Balancing on the fine line between representation and abstraction, he carves out our collective pictorial understandings of miscellaneous everyday objects while simultaneously subjecting them to a kind of humorous destabilization. The objects are recognizable as such, and yet they also resemble patterns, designs or ornaments. They always exude something almost surreal; infused with an intrinsic logic of painterly comedy, they often have the look of something puffed-up and soft, if not inflated.

In radically simplifying his everyday subjects and thereby depriving them of their already rather banal meaning, Schulze forces viewers to question their fundamental nature. His work alternates between familiarity and strangeness and seems to express a fear of our increasingly complex society. It is an oeuvre that seems to make fun of middle-class trappings and their fetishization while also showing great sympathy and understanding about the need for such fetishes.

 

Andreas Schulze: Nebel im Wohnzimmer
Kunstmuseum St. Gallen, March 6–May 17, 2015
Film by Julia Martinez /art-tv.ch 2015

Works
Andreas Schulze
Andreas Schulze
Untitled (Self-portrait), 2002

Andreas Schulze
Untitled, 2002
Acrylic on nettle cloth
220 × 350 cm (2 parts)
86 5/8 × 137 7/8 inches (2 parts)

Andreas Schulze
Andreas Schulze
Untitled (The Duchess of Urbino), 2019

Andreas Schulze
Untitled (The Duchess of Urbino), 2019
Acrylic on nettle cloth
200 × 170 cm
78 3/4 × 67 inches

Andreas Schulze
Andreas Schulze
Untitled (Vacanze 22), 2017

Andreas Schulze
Untitled (Vacanze 22), 2017
Acrylic on nettle cloth
170 × 230 cm
67 × 90 1/2 inches

Andreas Schulze
Andreas Schulze
Untitled, 1982

Andreas Schulze
Untitled, 1982
Acrylic on nettle cloth
270 × 600 cm (3 parts)
106 1/4 × 236 1/8 inches (3 parts)

Andreas Schulze
Andreas Schulze
Untitled (Sea Vista 6), 2015

Andreas Schulze
Untitled (Sea Vista 6), 2015
Acrylic on nettle cloth
140 × 160 cm
55 1/8 × 63 inches

Andreas Schulze
Andreas Schulze
Untitled (Cheerful Octopus), 2015

Andreas Schulze
Untitled (Cheerful Octopus), 2015
Acrylic on nettle cloth
110 × 100 cm
43 1/4 × 39 3/8 inches

Andreas Schulze
Andreas Schulze
Untitled (Window with blue frame), 2019

Andreas Schulze
Untitled (Window with blue frame), 2019
Acrylic on nettle cloth
100 × 100 cm
39 3/8 × 39 3/8 inches

Andreas Schulze
Andreas Schulze
Untitled (Green animal from below), 2014

Andreas Schulze
Untitled (Green animal from below), 2014
Acrylic on nettle cloth
160 × 160 cm
63 × 63 inches

Andreas Schulze
Andreas Schulze
Untitled (Ich kaufe nichts), 2004

Andreas Schulze
Untitled (Ich kaufe nichts), 2004
Acrylic on nettle cloth
200 × 440 cm (2 parts)
78 3/4 × 173 1/4 inches (2 parts)

Andreas Schulze
Andreas Schulze
Untitled (Colorful Wesseling 12), 2016

Andreas Schulze
Untitled (Colorful Wesseling 12), 2016
Acrylic on nettle cloth
200 × 200 cm
78 3/4 × 78 3/4 inches

Andreas Schulze
Andreas Schulze
Untitled (Charlie Browner), 2014

Andreas Schulze
Untitled (Charlie Browner), 2014
Acrylic on nettle cloth
170 × 230 cm
67 × 90 1/2 inches

Andreas Schulze
Andreas Schulze
Untitled (Sofa mit Weinberg II), 2003

Andreas Schulze
Untitled (Sofa mit Weinberg II)
Acrylic on nettle cloth
200 × 360 cm (2 parts)
78 3/4 × 141 3/4 inches (2 parts)

Andreas Schulze
Andreas Schulze
Untitled, 1982

Andreas Schulze
Untitled
Acrylic on nettle cloth
200 × 400 cm (2 parts)
78 3/4 × 157 1/2 inches (2 parts)

Andreas Schulze
Andreas Schulze
Glasses, 1984

Andreas Schulze
Glasses, 1984
Acrylic on nettle cloth
200 × 400 cm (2 parts)
78 3/4 × 157 1/2 inches (2 parts)

Andreas Schulze
Andreas Schulze
Untitled, 1982

Andreas Schulze
Untitled, 1982
Acrylic on nettle cloth
240 × 400 cm (2 parts)
94 1/2 × 157 1/2 inches (2 parts)

Details
Andreas Schulze

Andreas Schulze
Untitled, 2002
Acrylic on nettle cloth
220 × 350 cm (2 parts)
86 5/8 × 137 7/8 inches (2 parts)

Andreas Schulze

Andreas Schulze
Untitled (The Duchess of Urbino), 2019
Acrylic on nettle cloth
200 × 170 cm
78 3/4 × 67 inches

Andreas Schulze

Andreas Schulze
Untitled (Vacanze 22), 2017
Acrylic on nettle cloth
170 × 230 cm
67 × 90 1/2 inches

Andreas Schulze

Andreas Schulze
Untitled, 1982
Acrylic on nettle cloth
270 × 600 cm (3 parts)
106 1/4 × 236 1/8 inches (3 parts)

Andreas Schulze

Andreas Schulze
Untitled (Sea Vista 6), 2015
Acrylic on nettle cloth
140 × 160 cm
55 1/8 × 63 inches

Andreas Schulze

Andreas Schulze
Untitled (Cheerful Octopus), 2015
Acrylic on nettle cloth
110 × 100 cm
43 1/4 × 39 3/8 inches

Andreas Schulze

Andreas Schulze
Untitled (Window with blue frame), 2019
Acrylic on nettle cloth
100 × 100 cm
39 3/8 × 39 3/8 inches

Andreas Schulze

Andreas Schulze
Untitled (Green animal from below), 2014
Acrylic on nettle cloth
160 × 160 cm
63 × 63 inches

Andreas Schulze

Andreas Schulze
Untitled (Ich kaufe nichts), 2004
Acrylic on nettle cloth
200 × 440 cm (2 parts)
78 3/4 × 173 1/4 inches (2 parts)

Andreas Schulze

Andreas Schulze
Untitled (Colorful Wesseling 12), 2016
Acrylic on nettle cloth
200 × 200 cm
78 3/4 × 78 3/4 inches

Andreas Schulze

Andreas Schulze
Untitled (Charlie Browner), 2014
Acrylic on nettle cloth
170 × 230 cm
67 × 90 1/2 inches

Andreas Schulze

Andreas Schulze
Untitled (Sofa mit Weinberg II)
Acrylic on nettle cloth
200 × 360 cm (2 parts)
78 3/4 × 141 3/4 inches (2 parts)

Andreas Schulze

Andreas Schulze
Untitled
Acrylic on nettle cloth
200 × 400 cm (2 parts)
78 3/4 × 157 1/2 inches (2 parts)

Andreas Schulze

Andreas Schulze
Glasses, 1984
Acrylic on nettle cloth
200 × 400 cm (2 parts)
78 3/4 × 157 1/2 inches (2 parts)

Andreas Schulze

Andreas Schulze
Untitled, 1982
Acrylic on nettle cloth
240 × 400 cm (2 parts)
94 1/2 × 157 1/2 inches (2 parts)

Details
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Current and Upcoming
Andreas Schulze
Andreas Schulze, Untitled (High cloud of filth), 2015
Photo: Timo Ohler, Copyright VG Bild-Kunst Bonn

Wolken in der zeitgenössischen Kunst
flüchtig – zeichenhaft – bedrohlich
Oldenburger Kunstverein, Oldenburg
May 15–August 16, 2020

Even as a meteorological phenomenon, clouds remain a mystery to this day. For weather and climate researchers, insufficient knowledge about their formation and development is a major reason for their uncertain analyses and forecasts. Clouds trigger sensations and reflections; they can appear massive and at the same time fleeting. This exhibition includes painting, photography, sculpture and installation that explores this phenomenon without confining the riddle of clouds into too narrow a structure.

Link

What is the difference?
Andreas Schulze
Abbaye Saint André, Centre d`art contemporain, Meymac
July 4–October 11, 2020

Où est la différence ? – Du 4 juillet au 11 octobre 2020.
Parité, complémentarité, statuts, genre, sont au coeur des débats. Prenant la balle au bond sous la forme d’une question, l’exposition jouera sa partition avec des œuvres et des créations in situ dialoguant en binôme.

Link
Andreas Schulze
Andreas Schulze, Untitled (Vacanze) 25, 2017
Photo: Jochen Arentzen, Copyright VG Bild-Kunst Bonn
Exhibitions at Sprüth Magers
Andreas Schulze

Andreas Schulze
Traffic Jam
November 15–December 23, 2016
Los Angeles

The visible also always conveys the invisible. All the more so in the cheerful world of consumerism, in which we live today. The more perfect its surfaces, the more its opposites also seem to resonate – the suppressed and the absurd. No painter has understood this better than Andreas Schulze. The Cologne based artist, who has been associated with the gallery since 1983 and a professor at the Kunstakademie in Düsseldorf since 2008, examines the most mundane objects from his personal surroundings.

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Andreas Schulze
Stau
July 28–August 29, 2015
Berlin

The visible also always conveys the invisible. All the more so in the cheerful world of consumerism, in which we live today. The more perfect its surfaces, the more its opposites also seem to resonate – the suppressed and the absurd. No painter has understood this better than Andreas Schulze. The Cologne based artist, who has been associated with the gallery since 1983 and a professor at the Kunstakademie in Düsseldorf since 2008, examines the most mundane objects from his personal surroundings.

Read more
Andreas Schulze
Andreas Schulze

Andreas Schulze
Looking and Listening
June 28–August 17, 2013
London

In his second solo show at the London gallery, the artist will present two ceramic sculptures alongside a selection of paintings, depicting landscapes inspired by the artist’s recent expedition to the island of Sicily. Schulze has been recognised as an inventor of new pictorial worlds, having developed an autonomous and unmistakable visual language with which to explore various interior views of society. A fundamental theme in the artist’s work is the power of painting to create illusion, giving multifaceted treatment to the theme of the interplay between being and appearance, reality and staging in the medium of painting.

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Andreas Schulze
March 2–April 13, 2013
Berlin

In his third solo show at the Berlin gallery, the artist will present two ceramic sculptures alongside a selection of paintings, depicting landscapes inspired by the artist’s recent expedition to the island of Sicily. Schulze has since been recognised as an inventor of new pictorial worlds, having developed an autonomous and unmistakable visual language with which to explore various interior views of society. A fundamental theme in the artist’s work is the power of painting to create illusion, giving multifaceted treatment to the theme of the interplay between being and appearance, reality and staging in the medium of painting.

Read more
Andreas Schulze
Andreas Schulze

Malerei der 80er Jahre
Andreas Schulze, Richard Artschwager, Ashley Bickerton, Albert Oehlen, Malcolm Morley
curated by Albert Oehlen
November 9, 2012–January 12, 2013
Berlin

Andreas Schulze
January 15–March 23, 2011
Berlin

Ever since the 1980s, Andreas Schulze has focused on various interior views of our society. Most often, his works depict everyday landscapes and bourgeois idylls which he constructs as subtle, parallel worlds to reality. His early paintings consist of intensely colored compositions in which the dimensions of sculptural globes and other geometrical forms are shifted and inner pictorial perspectives constantly change. In the exhbition, Schulze is presenting his works in a specific setting within the exhibition space, which thereby becomes a component of the suggestive pictorial spaces. The arrangement interweaves real and fictional space, and develops a productive interplay between painting and installation.

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Andreas Schulze
Andreas Schulze

Andreas Schulze
July 2–August 21, 2010
Berlin

At the center of the installation is the model of a miniature city from Schulze's collection of model trains. The walls of the exhibition room are covered with wallpaper and surround the model like a landscape; posters advertise the tourist attractions of Saxony and Dresden. With this model, however, it is a matter not of a true-to-reality representation, but of a fictional cityscape which is drawn from personal and narrated memories, information conveyed by the media, and associational set-pieces. Similarly as in other works, Andreas Schulze is concerned here with an approach to reality, with the possibilities of its representation and the emphasizing of the artificiality of this depiction.

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Andreas Schulze
Flowers & Landscapes
June 3–August 28, 2009
London

Presenting five ceramic sculptures and two major new paintings, the exhibition showcases the appealing complexity and subversive luminosity of Schulze’s craft, a practice which has earned him widespread respect and extensive influence amongst both his contemporaries and younger artists for over three decades. Dominating the exhibition are two large-scale paintings which typify Schulze’s vibrant and powerful visual style. While stylistically Schulze’s paintings have often echoed and indeed drawn on a Modernist painting tradition which stretches back to artists such as Giorgio de Chirico, conceptually and attitudinally his work is suffused with the postmodern sensibility of his contemporaries. Juxtaposed against the Unheimliche atmosphere of Schulze’s paintings are his more playful and ebullient, yet nonetheless ironic evocations of the Gemütlich in the ceramic sculptures.

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Andreas Schulze
Press

Es ist immer was dahinter. Andreas Schulze
Blau, article by Hans-Joachim Müller, July-August 2015

Cool heisst doch auch nur angepasst
AD Architectural Digest, September 2011

Andreas Schulze
Frieze, article by Jörg Heiser, October 2010

350. Stunde im July 2010. Nach dem Feierabend der Abstraktion
Textezurkunst, article by Gunnar Reski, July 15, 2010

Der Idiot der Familie
Parkett, articles Wilfried Dickhoff, 1986

Biography

Andreas Schulze (*1955, Hanover) lives in Cologne. Amongst others, his works were on display in the solo exhibition at Kunsthalle Bielefeld (2018); the touring exhibition at Villa Merkel in Esslingen (2014), Kunstmuseum St. Gallen (2015) and Kunstmuseum Bonn (2014); Schirn Kunsthalle Frankfurt (2014); Falckenberg Collection, Hamburg and Leopold-Hoesch-Museum, Dueren (both 2010); Monika Sprüth Galerie, Cologne (1983). Schulze’s works have been represented in important exhibitions, including Städel Museum Frankfurt (2015); Deichtorhallen, Hamburg (2000); Triennale di Milano (1997); Kunstforeningen, Copenhagen (1988); MoMA – Museum of Modern Art, New York (1984) and Tate Britain, London (1983). 

Education
1976–78 Gesamthochschule Kassel (Painting class)
1978–83 Staatliche Kunstakademie Düsseldorf, Dusseldorf (Professor Dieter Krieg)
1983 Master student with Professor Dieter Krieg
Teaching
2008– Professor of Painting, Staatliche Kunstakademie Düsseldorf, Dusseldorf
Awards, Grants and Fellowships
2010 Cologne Fine Art Prize
1997 Sprengel-Preis für Bildende Kunst, Niedersächsische Sparkassenstiftung, Hanover
Public Collections
Deichtorhallen Hamburg
Henkel - The Art Collection, Dusseldorf
KAI 10 / Arthena Foundation, Dusseldorf
Kunstmuseum St. Gallen
Kunstmuseum Bonn
Kunstsammlung der Provinzial Rheinland Versicherung, Dusseldorf
Kunstakademie Düsseldorf, Dusseldorf
Leopold-Hoesch-Museum, Dueren
Ludwig Forum für Internationale Kunst, Aachen
Museum Ludwig, Cologne
Sammlung der ehemaligen Dresdner Bank, Frankfurt
Sammlung Deutsche Bank, Frankfurt
Sammlung Landesbank Baden-Württemberg, Stuttgart
Sammlung Martin Sanders
Villa Merkel, Esslingen