Rosemarie Trockel

Rosemarie Trockel

 

Rosemarie Trockel (*1952) is widely regarded as the most important and influential conceptual artist in Germany. Her sculptures, collages, ceramics, knitted works, drawings and photographs are noted for their subtle social critique and range of subversive, aesthetic strategies—including the reinterpretation of “feminine” techniques, the ironic shifting of cultural codes, a delight in paradox, and a refusal to conform to the commercial and institutional ideologies of the art system. The Cologne-based artist has been associated with the gallery since 1982.

 

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Trockel made her mark in the 1980s with a series of machine-knitted wool paintings that superficially mimic the aesthetics of abstract paintings. They are rendered in monochrome or feature rhombic patterns, checks, stripes and classic knitting patterns, but also speech bubbles, trademarks including “Made in Western Germany” or the Woolmark, and logos such as the Playboy bunny or hammer and sickle. Rife with art-historical references, they draw upon Pop, minimalism, Op art and modernist abstraction. Trockel confronted the patriarchal dominance of the art world with a material more evocative of womanly housework than an artistic medium—one that was associated with virtuous diligence and had historically been used to temper women’s imagination and ambitions.

Trockel’s sculptures are characterized by a similar interplay of virtuosic irony, aesthetic-analytical sensitivity and socio-political provocation. One example are Trockel’s iconic hotplate works, for which she transforms the hotplates on electric cookers into wall reliefs, floor objects or sculptures that resemble loudspeakers and record players. The artist’s sculptural oeuvre spans from the so-called Schizo-Pullover (1988), a sweater with two necklines, to Jesus figures whose sex is revealed under a loose loincloth. It also includes a series of “animal homes” that playfully imagine dwellings for animals, going so far as to convert a wig into a House for Lice (1994). The artist has also been designing so-called Moving Walls since the early 2000s, works made of coated aluminum discs that are attached to a wall like moving sequins, transforming the wall into a picture surface that refracts light in various ways. The artist’s objects are almost always defined by a focus on the viewer’s particular physical experience in their perceptive interaction with the artwork. Constantly shifting, they undermine viewers’ understanding of objects so as to generate new, unforeseen meanings.

Trockel’s oeuvre is fueled both materially and conceptually by a constant process of collecting, overwriting and re-ordering. This impulse becomes clearly apparent in her more recent Cluster (2015–present) works, which consist of digitally reconfigured photographs that the artist recombines with idiosyncratic logic to form a kind of visual diary for various exhibitions. Or in her more recent collages, for which she applies various materials to painted wooden frames in an assemblage-like arrangement. Some of these materials quote her own works, a method that allows her to bring her radically open, free and constantly changing creative process to the fore. Trockel regards the artwork as an unstable aggregate of form and concept, deploying this radical instability to dismantle a range of cultural categories, rules and dogmas.

 

Works
Rosemarie Trockel
Rosemarie Trockel
Untitled, 1985

Rosemarie Trockel
Untitled, 1985
Wool (beige – black) on canvas, plexi glass frame
65.4 × 65.5 × 3 cm
25 3/4 × 25 7/8 × 1 1/8 inches

Rosemarie Trockel
Rosemarie Trockel
In einer Nacht von Schwarz zu Weiß, 2007

Rosemarie Trockel
In einer Nacht von Schwarz zu Weiß, 2007
Ceramics, glazed
62 × 69 × 34 cm
24 1/2 × 27 1/4 × 13 1/2 inches

Rosemarie Trockel
Rosemarie Trockel
Shutter 2, 2010

Rosemarie Trockel
Shutter 2, 2010
Ceramics, glazed
95 × 68 × 5 cm
37 1/2 × 26 3/4 × 2 inches

Rosemarie Trockel
Rosemarie Trockel
Divided we laugh, 2016

Rosemarie Trockel
Divided we laugh, 2016
Acrylic wool on canvas, framed in plexi glass
120 × 100 cm
47 1/4 × 39 3/8 inches

Rosemarie Trockel
Rosemarie Trockel
Pinstripe 1, 2016

Rosemarie Trockel
Pinstripe 1, 2016
Acrylic wool on canvas, framed in plexi glass
50 × 50 × 5 cm
19 3/4 × 19 3/4 × 2 inches

Rosemarie Trockel
Rosemarie Trockel
CLUSTER II - Prisoner of Yourself, 2015

Rosemarie Trockel
CLUSTER II – Prisoner of Yourself, 2015
19 digital prints on alu dibond
240 × 452 cm
94 1/2 x 178 inches

Rosemarie Trockel
Rosemarie Trockel
Ageism, 2005

Rosemarie Trockel
Ageism, 2005
Plaster, steel, plastic, cotton
40 x 60 x 26.4 cm
15 3/4 x 23 5/8 x 10 3/8 inches

Rosemarie Trockel
Rosemarie Trockel
Untitled, 2005

Rosemarie Trockel
Untitled, 2005
Wood, paint, fake hair, fabric, metal, plastic
41 × 31 × 36 cm
16 1/8 × 12 1/8 × 14 1/8 inches

Rosemarie Trockel
Rosemarie Trockel
Untitled, 2002

Rosemarie Trockel
Untitled, 2002
Wool (patchwork) on canvas
180 × 400 cm
70 3/4 × 157 1/2 inches

Rosemarie Trockel
Rosemarie Trockel
Untitled, 1991

Rosemarie Trockel
Untitled, 1991
Iron, enamel coated steel, 6 hot plates
150 x 125 x 10 cm
59 x 49 1/8 x 4 inches

Rosemarie Trockel
Rosemarie Trockel
Replace Me, 2011

Rosemarie Trockel
Replace Me, 2011
Acrystal, steel, wool, plastic, mixed media
80 × 420 × 71 cm
31 1/2 × 165 3/8 × 28 inches

Rosemarie Trockel
Rosemarie Trockel
Replace Me, 1994/2010

Rosemarie Trockel
Replace Me, 1994/2010
Mixed media
68 × 58 × 4.8 cm
26 3/4 × 22 7/8 × 2 inches

Rosemarie Trockel
Rosemarie Trockel
Childless Figure, 1970/2011

Rosemarie Trockel
Childless Figure, 1970/2011
Mixed media
92 × 134 × 4.8 cm
36 1/8 × 52 3/4 × 2 inches

Rosemarie Trockel
Rosemarie Trockel
No Woman No Cry, 2000

Rosemarie Trockel
No Woman No Cry, 2000
50 Aluminium plates (Dibond)
414 × 509 cm (50 plates)
163 x 200 3/8 inches (50 plates)

More views
Rosemarie Trockel
Rosemarie Trockel
Wette gegen sich selbst, 2005

Rosemarie Trockel
Wette gegen sich selbst, 2005
Mixed media
14 × 44 × 22 cm
5 1/2 × 17 1/4 × 8 5/8 inches

Rosemarie Trockel
Rosemarie Trockel
My Dear Colleagues, 1986

Rosemarie Trockel
My Dear Colleagues, 1986
Wool (red-white), plastics
51 × 40 × 8 cm
20 × 15 3/4 × 3 1/8 inches

Rosemarie Trockel
Rosemarie Trockel
Untitled (Was wäre, wenn es Freud nicht gegeben hätte), 1992

Rosemarie Trockel
Untitled (Was wäre, wenn es Freud nicht gegeben hätte), 1992
Wool (orange, black), wire, cotton
ø 45 cm
ø 17 3/4 inches

Details
Rosemarie Trockel

Rosemarie Trockel
Untitled, 1985
Wool (beige – black) on canvas, plexi glass frame
65.4 × 65.5 × 3 cm
25 3/4 × 25 7/8 × 1 1/8 inches

Rosemarie Trockel
Untitled, 1985
Rosemarie Trockel

Rosemarie Trockel
In einer Nacht von Schwarz zu Weiß, 2007
Ceramics, glazed
62 × 69 × 34 cm
24 1/2 × 27 1/4 × 13 1/2 inches

Rosemarie Trockel
In einer Nacht von Schwarz zu Weiß, 2007
Rosemarie Trockel

Rosemarie Trockel
Shutter 2, 2010
Ceramics, glazed
95 × 68 × 5 cm
37 1/2 × 26 3/4 × 2 inches

Rosemarie Trockel
Shutter 2, 2010
Rosemarie Trockel

Rosemarie Trockel
Divided we laugh, 2016
Acrylic wool on canvas, framed in plexi glass
120 × 100 cm
47 1/4 × 39 3/8 inches

Rosemarie Trockel
Divided we laugh, 2016
Rosemarie Trockel

Rosemarie Trockel
Pinstripe 1, 2016
Acrylic wool on canvas, framed in plexi glass
50 × 50 × 5 cm
19 3/4 × 19 3/4 × 2 inches

Rosemarie Trockel
Pinstripe 1, 2016
Rosemarie Trockel

Rosemarie Trockel
CLUSTER II – Prisoner of Yourself, 2015
19 digital prints on alu dibond
240 × 452 cm
94 1/2 x 178 inches

Rosemarie Trockel
CLUSTER II - Prisoner of Yourself, 2015
Rosemarie Trockel

Rosemarie Trockel
Ageism, 2005
Plaster, steel, plastic, cotton
40 x 60 x 26.4 cm
15 3/4 x 23 5/8 x 10 3/8 inches

Rosemarie Trockel
Ageism, 2005
Rosemarie Trockel

Rosemarie Trockel
Untitled, 2005
Wood, paint, fake hair, fabric, metal, plastic
41 × 31 × 36 cm
16 1/8 × 12 1/8 × 14 1/8 inches

Rosemarie Trockel
Untitled, 2005
Rosemarie Trockel

Rosemarie Trockel
Untitled, 2002
Wool (patchwork) on canvas
180 × 400 cm
70 3/4 × 157 1/2 inches

Rosemarie Trockel
Untitled, 2002
Rosemarie Trockel

Rosemarie Trockel
Untitled, 1991
Iron, enamel coated steel, 6 hot plates
150 x 125 x 10 cm
59 x 49 1/8 x 4 inches

Rosemarie Trockel
Untitled, 1991
Rosemarie Trockel

Rosemarie Trockel
Replace Me, 2011
Acrystal, steel, wool, plastic, mixed media
80 × 420 × 71 cm
31 1/2 × 165 3/8 × 28 inches

Rosemarie Trockel
Replace Me, 2011
Rosemarie Trockel

Rosemarie Trockel
Replace Me, 1994/2010
Mixed media
68 × 58 × 4.8 cm
26 3/4 × 22 7/8 × 2 inches

Rosemarie Trockel
Replace Me, 1994/2010
Rosemarie Trockel

Rosemarie Trockel
Childless Figure, 1970/2011
Mixed media
92 × 134 × 4.8 cm
36 1/8 × 52 3/4 × 2 inches

Rosemarie Trockel
Childless Figure, 1970/2011
Rosemarie Trockel

Rosemarie Trockel
No Woman No Cry, 2000
50 Aluminium plates (Dibond)
414 × 509 cm (50 plates)
163 x 200 3/8 inches (50 plates)

Rosemarie Trockel
No Woman No Cry, 2000
Rosemarie Trockel
Rosemarie Trockel

Rosemarie Trockel
No Woman No Cry, 2000 (detail)

Rosemarie Trockel
No Woman No Cry, 2000
Rosemarie Trockel
Rosemarie Trockel

Rosemarie Trockel
No Woman No Cry, 2000 (detail)

Rosemarie Trockel
No Woman No Cry, 2000
Rosemarie Trockel

Rosemarie Trockel
Wette gegen sich selbst, 2005
Mixed media
14 × 44 × 22 cm
5 1/2 × 17 1/4 × 8 5/8 inches

Rosemarie Trockel
Wette gegen sich selbst, 2005
Rosemarie Trockel

Rosemarie Trockel
My Dear Colleagues, 1986
Wool (red-white), plastics
51 × 40 × 8 cm
20 × 15 3/4 × 3 1/8 inches

Rosemarie Trockel
My Dear Colleagues, 1986
Rosemarie Trockel

Rosemarie Trockel
Untitled (Was wäre, wenn es Freud nicht gegeben hätte), 1992
Wool (orange, black), wire, cotton
ø 45 cm
ø 17 3/4 inches

Rosemarie Trockel
Untitled (Was wäre, wenn es Freud nicht gegeben hätte), 1992
Details
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Current and Upcoming
Rosemarie Trockel
Copyright © 2015 Fondazione Prada. All rights reserved.

Stop Painting
Group Exhibition
Fondazione Prada, Venice
Through November 21, 2021

Stop Painting is an exhibition conceived by artist Peter Fischli on view at the historic palazzo of Ca’ Corner della Regina, Fondazione Prada’s Venetian venue, from May 22–November 21, 2021. The press preview will take place on Wednesday, May 19th. Described by Peter Fischli as “a kaleidoscope of repudiated gestures,” the project explores a series of specific ruptures within the history of painting in the last 150 years, intertwined with the emergence of new social factors and cultural values. The exhibition also intends to understand if the current digital revolution can also cause a new crisis of painting or, on the contrary, contribute to its renewal. Fischli identified five radical ruptures caused by technological and social changes that marked artistic paradigm shifts through rejection and reinvention of painting.

Link

Face à Arcimboldo
Group Exhibition
Centre Pompidou-Metz
Through November 22, 2021

You who go, wandering through the world,
Curious to see high and amazing wonders,
Come here, where you will find…

These words, intended for the visitors of the garden of fantastic sculptures in Bomarzo, could just as well welcome the audience of the exhibition Arcimboldo Face to Face, presented at Centre Pompidou-Metz from May 29 to November 22, 2021.

Conceived in a dialogue between Maurizio Cattelan and Chiara Parisi, director of Centre Pompidou-Metz and curator of the exhibition with Anne Horvath, Arcimboldo Face to Face offers an unprecedented journey, away from any chronology, into the meandering thought and timeless vocabulary of this mysterious sixteenth century painter.

Link
Rosemarie Trockel
Exhibition graphic Face à Arcimboldo © M/M (PARIS) - Giuseppe Arcimboldo, Les Quatre Saisons, Le Printemps, 1573. Paris, musée du Louvre, département des Peintures. Photo © RMN-Grand Palais (musée du Louvre) / Jean-Gilles Berizzi
Rosemarie Trockel
Haydar Koyupinar, © Bayerische Staatsgemäldesammlungen, installation view, Au rendez-vous des amis, Pinakothek der Moderne

Au rendez-vous des amis. Klassische Moderne im Dialog mit Gegenwartskunst aus der Sammlung Goetz
Group Exhibition
Pinakothek der Moderne, Munich
Through January 16, 2022

With its multitude of startling new artistic styles, Modernism has remained a source of inspiration for successive generations of later artists. It paved the way for the liberation of perspective, proportion, and colour from formal verisimilitude. This living legacy is vividly reflected in the new display of modern art from our own collection, now presented in relation to 80 contemporary works from the Goetz Collection. The joint display leads to a broadening of artistic media, away from the traditional collection core of paintings to include photography, sculpture, and textile art. Many of the more recent artists also take a critical look at this legacy of Western culture and question how art, then and now, deals with the body, gender, and identity. The show features the art of Francis Bacon, Max Beckmann, Louise Bourgeois, Fischli Weiss, Rodney Graham, Wassily Kandinsky, Ernst Ludwig Kirchner, Franz Marc, Pablo Picasso, Oskar Schlemmer, Rosemarie Trockel, Woty Werner, Andrea Zittel, and many more.

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Crip Time
Group Exhibition
MMK Museum für Moderne Kunst, Frankfurt am Main
September 2021

In a world that builds on unceasing bodily functionality, mobility, availability, and their constant expansion, every form of dysfunctionality leads to immediate exclusion or is declared in need of treatment. The violence inherent to norm-ative conceptions of the body, and thus to education, labor, architecture, medicine, and pharmacology, is fatal. Human beings are constantly restricted and disabled by social barriers. Accessibility, however, is the basis for participation and justice. Sickness is not an individual but a collective societal matter. Health is not only a medical but also a political terrain on which social power relations play out.
Individual autonomy is a myth. Recognition of our mutual dependence, however, can help us rethink society. Rather than constant availability, the term “crip time” is based on the idea of multiple needs. Changed temporalities can come about, new forms of care and connection can develop, and a different way of thinking and perceiving can take hold.
The order of the day is to understand the vulnerability of our bodies as something constitutive. It is our vulnerability that makes us sensitive, perceptive, and different from one another.

Link
Rosemarie Trockel
Rosemarie Trockel, A Day in Bed, 2018
Rosemarie Trockel
Astrid Klein, Normale Wahnvorstellung, 1983

Jetzt oder nie – 50 Jahre Sammlung LBBW
Group Exhibition
Kunstmuseum Stuttgart
November 13, 2021–February 20, 2022

On the occasion of the 50th anniversary of the LBBW Collection and the long-standing cooperation with the Kunstmuseum Stuttgart, outstanding works from the LBBW Collection will be presented in a major special exhibition. For the first time, the entire spectrum of the LBBW Collection will be on display, from classical modern art to contemporary positions.

Works by Nevin Aladağ, Georg Baselitz, Willi Baumeister, Otto Dix, Anselm Kiefer, Astrid Klein, Josephine Meckseper, A. R. Penck, Elizabeth Peyton, Neo Rauch, Martha Rosler, Thomas Ruff, Cindy Sherman, Wolfgang Tillmans, Rosemarie Trockel and Anna Witt, among others, will be on display.

Link
Exhibitions at Sprüth Magers
Rosemarie Trockel

Eau de Cologne
Rosemarie Trockel, Cindy Sherman, Jenny Holzer, Barbara Kruger, Louise Lawler, Astrid Klein, Marlene Dumas, Kara Walker, Cady Noland
March 27–April 12, 2019
Hong Kong

Eau de Cologne began as a series of exhibitions and three publications, organized by Monika Sprüth between 1985 and 1989, which sought to create a new dialogue around contemporary art. The exhibitions introduced a select group of young women artists, each of whom individually represented powerful attitudes and practices.

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Rosemarie Trockel / Thea Djordjadze
Un soir, j’ai assis la beauté sur mes genoux. And I found her bitter. And I hurt her.
July 7–August 26, 2017
Berlin

Un soir, j'ai assis la beauté sur mes genoux. And I found her bitter and I hurt her is a joint exhibition by the long-time collaborators Rosemarie Trockel and Thea Djordjadze. It is the first time that the two installations from 2007 and 2008 are on view in Berlin. The works have an allegorical nature that explores a number of themes pertinent to contemporary art. Issues around the boundaries of media, and the artwork as a fixed concept are called into question, as well as the exhibition space as a representational frame.

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Rosemarie Trockel
Rosemarie Trockel

Eau de Cologne
Rosemarie Trockel, Cindy Sherman, Jenny Holzer, Barbara Kruger, Louise Lawler, Jenny Holzer / Lady Pink
June 28–August 20, 2016
Los Angeles

The group show Eau de Cologne at Sprüth Magers in Los Angeles features work from the late 1970s to 2016 by Jenny Holzer, Barbara Kruger, Louise Lawler, Cindy Sherman and Rosemarie Trockel. The exhibition at Sprüth Magers’ recently-opened Los Angeles gallery is a follow–up to its predecessor in Berlin last year. It sheds light on key topics in these artists’ works, but also the specific history of the gallery and its connection to these important female figures of an art that subtly addresses women’s roles in very different ways.

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Eau de Cologne
Rosemarie Trockel, Cindy Sherman, Jenny Holzer, Barbara Kruger, Louise Lawler
September 17–October 21, 2015
Berlin

This group exhibition at Sprüth Magers Berlin shows works from the early 1980s to 2015 by Jenny Holzer, Barbara Kruger, Louise Lawler, Cindy Sherman and Rosemarie Trockel. These five artists have been working with Monika Sprüth since the foundation of her gallery in Cologne in the early 1980s and have been closely connected to the gallery ever since.

Rosemarie Trockel

Selections: Morris, Trockel, Holzer & Pink
Jenny Holzer / Lady Pink, Robert Morris, Rosemarie Trockel
April 8–May 28, 2011
Berlin

Rosemarie Trockel
Rosemarie Trockel

Rosemarie Trockel / Thea Djordjadze
Un soir, j’ai assis la beauté sur mes genoux. And I found her bitter. And I hurt her.
March 6–April 19, 2008
Munich

“Un soir, j'ai assis la beauté sur mes genoux. And I found her bitter and I hurt her,” presents a collaboration between Thea Djordjadze and Rosemarie Trockel. Having realized several exhibition projects together in the past, the two artists seek each time to address concerns about the processes of artistic creation, questioning the freedoms and limitations it entails. Drawing the title of the exhibition from Arthur Rimbaud’s poem `La Saison en Enfer´the artists equally challenge and subvert our expectations of art – what we think it should provide and the promise of beauty we often expect it to entail.

Rosemarie Trockel / Thea Djordjadze
Un soir, j’ai assis la beauté sur mes genoux. And I found her bitter and I hurt her.
October 9–November 10, 2007
London

Having realized several exhibition projects together in the past, the two artists seek each time to address concerns about the processes of artistic creation, questioning the freedoms and limitations it entails. Drawing the title of the exhibition from Arthur Rimbaud’s poem ’La Saison en Enfer’ the artists equally challenge and subvert our expectations of art – what we think it should provide and the promise of beauty we often expect it to entail.

Playing with the scale and vitrine like qualities of the front gallery the first installation is constructed so that the virtually monochrome canvases appear to be floating on water, their surfaces reflected against the black painted walls of the gallery. The elements of the construction overwhelm and simultaneously dissolve into the background so the whole work itself almost eludes the viewer.

Rosemarie Trockel
Rosemarie Trockel

Mondi Possibili
Thea Djordjadze, Peter Fischli  David Weiss, Claus Föttinger, Thomas Grünfeld, Jenny Holzer, Stefan Kern, Joseph Kosuth, Louise Lawler, Michail Pirgelis, Michelangelo Pistoletto, Thomas Scheibitz, Andreas Schulze, Cindy Sherman, Rosemarie Trockel, Franz West
January 17–April 7, 2006
Cologne

As part of the PASSAGEN, the supporting programme of the International Furniture Fair in Cologne, at the beginning of the year Monika Sprüth and Philomene Magers present a new edition of the exhibition “Mondi Possibili”. The works on display deal with the subject of furniture from a variety of angles: as citation, as homage, as adaptation, or as copy. Others are usable objects that hardly differ from their reference objects in the domain of design or furniture.

Rosemarie Trockel
April 24–June 19, 2004
Cologne

Rosemarie Trockel
Rosemarie Trockel

Shadow and Light
Richard Artschwager, John Baldessari, Matthew Barney, George Condo, Walter Dahn, Olafur Eliasson, Martin Fengel, Peter Fischli  David Weiss, Dan Flavin, Sylvie Fleury, Gilbert & George, Dan Graham, Thomas Grünfeld, Andreas Gursky, Stefan Hirsig, Jenny Holzer, Axel Kasseböhmer, Stefan Kern, Karen Kilimnik, Astrid Klein, Louise Lawler, Anne Loch, Paul Morrison, Jean-Luc Mylayne, Bruce Nauman, Manuel Ocampo, Nam June Paik, Hirsch Perlman, Lari Pittman, Barbara Probst, Gerhard Richter, Ed Ruscha, Robert Ryman, Frances Scholz, Andreas Schulze, Cindy Sherman, Paul Sietsema, Rosemarie Trockel, Kara Walker, Andy Warhol, Christopher Wool, Martin Wöhrl, Philip-Lorca diCorcia
July 26–August 31, 2003
Salzburg

Monika Sprüth and Philomene Magers will open a temporary space in Salzburg together with their London partner Simon Lee for the duration of the Salzburg Festival. One of the main reasons for this was the fact that the galleries are traditionally closed in August and that exhibition operations are shut down, but at the same time cultural life is at its peak in Salzburg, not far from our Munich location. It makes sense to contribute something to the cultural climate with a precisely formulated group exhibition and at the same time to reach a sophisticated international audience.

20th Anniversary Show
John Baldessari, Alighiero Boetti, George Condo, Walter Dahn, Thomas Demand, Thea Djordjadze, Peter Fischli  David Weiss, Sylvie Fleury, Andreas Gursky, Jenny Holzer, Gary Hume, Axel Kasseböhmer, Karen Kilimnik, Astrid Klein, Barbara Kruger, Louise Lawler, Jean-Luc Mylayne, Nina Pohl, Richard Prince, Ed Ruscha, Frances Scholz, Andreas Schulze, Cindy Sherman, Rosemarie Trockel, Andrea Zittel, Philip-Lorca diCorcia
April 25–October 18, 2003
Cologne

In 1983, Monika Sprüth opened her Cologne based gallery with a solo show by Andreas Schulze. Starting from the idea to establish a forum for young and unknown artists, the central focus of the gallery concept was developed in the discourse of the 80s. The gallery program was completed by recourses to artistic attitudes of the last 40 years. This research, motivated by reflection on contemporary art history, was more and more realized in cooperation with Philomene Magers who directed her Bonn gallery since 1992. After a few years of loose cooperation, Monika Sprüth Gallery and Philomene Magers Gallery aligned with each other after, and together the Monika Sprüth / Philomene Magers Gallery opened up in Munich in 1999.

Rosemarie Trockel
Rosemarie Trockel

Things
Peter Fischli  David Weiss, Rosemarie Trockel, Richard Artschwager
November 8–December 20, 2002
Munich

Rosemarie Trockel
Miles
November 7, 1997–January 24, 1998
Cologne

Rosemarie Trockel
Rosemarie Trockel

Rosemarie Trockel
Zeichnungen 1981-1990
February 22–April 23, 1994
Cologne

Tutto Tondo
Curtis Anderson, Guglielmo Aschieri, Donald Baechler, John Baldessari, Ilaria Bona, Angela Bulloch, George Condo, Walter Dahn, Jürgen Drescher, Peter Fend, Peter Fischli  David Weiss, Anne Loch, Piero Manzoni, Annette Messager, A. R. Penck, Gerhard Richter, Salvo, Andreas Schulze, Rosemarie Trockel
February 4–March 13, 1993
Cologne

Rosemarie Trockel

A. R. Penck, Rosemarie Trockel
A. R. Penck at Monika Sprüth Galerie, Rosemarie Trockel at Galerie Michael Werner
June 8–June 30, 1990
Cologne

Rosemarie Trockel
Rosemarie Trockel

Künstler der Galerie
Peter Fischli  David Weiss, Rosemarie Trockel, George Condo, Axel Kasseböhmer, Cindy Sherman, Jenny Holzer, Barbara Kruger, Anne Loch, Andreas Schulze, Thomas Wachweger, Milan Kunc, Ina Barfuss
June 13–July 15, 1987
Cologne

Rosemarie Trockel
November 13, 1986–January 30, 1987
Cologne

Rosemarie Trockel
Rosemarie Trockel

Rosemarie Trockel
May 3–June 30, 1984
Cologne

Rosemarie Trockel
Skulptur – Zeichnung
March 11–April 12, 1983
Cologne

Rosemarie Trockel
Press

WHAT-IF COULD-BE
Cashier D’art, article by Joan Simon, 2013

58th Venice Biennale Review: Brilliance and Bluster
Frieze, review by Jennifer Higgie, May 9, 2019

Always Judge a Book by Its Cover:
Parkett, article by Christian Rattemeyer, December 2014

Rosemarie Trockel’s Idea of Relief
Parkett, article by Brigid Doherty, December 2014

Blocked Access: Rosemarie Trockel’s Recent Ceramic Works
Parkett, article Gregory H. Williams, December 2014

Less Sauvages than Others: Rosemarie Trockel’s ‘A Cosmos’
Afterall, review by Brigid Doherty, Spring 2014

Interior Motives
Cahiers D’Art, article by Bridgid Doherty, 2013

Wie feministisch sind Rosemarie Trockels Objekte?
Parkett, article by Anne M. Wagner, 1992

Biography

Since the early 1980s, Rosemarie Trockel (*1952, Schwerte) has been one of the most versatile and pioneering female artists in contemporary art. Her collages, knitting pictures, sculptures, installations and film works embark upon investigations into social role-models, gender-specific behavior and cultural codes that she combines with discourses from philosophy, theology, and the natural sciences. In these works, Trockel investigates both contemporary and historical discourses concerning artistic and social identity. Her feminist perspective challenges the concept of the male artistic genius and formulates an emphatic criticism both of the art world and of restrictive social norms with regard to social and sexual identity. Her first exhibitions took place at the galleries Monika Sprüth Cologne and Philomene Magers Bonn, both in 1983. Recent solo shows include Moderna Museet Malmö (2018/19), Pinacoteca Giovanni e Marella Agnelli in Torino (2016), Kunsthaus Bregenz (2015), travelling exhibition at Museo National Centro de Arte Reina Sofia, Madrid, at the New Museum New York and Serpentine Gallery, London (2012/2013) and Wiels Brussels, Culturegest Lisboa, Lisbon and Museion Bozen, Bolzano (2012/2013). Her 2005 retrospective Post-Menopause took place at the Museum Ludwig Köln, Cologne and at Maxxi, Rome. In 1999 she became the first female artist to represent Germany at the Venice Biennial, and in 1997 she took part in the documenta X at Kassel. 

Education
1974–78 Kölner Werkschulen (Professor Werner Schriefers)
Teaching
1998–2015 Professor, Staatliche Kunstakademie Düsseldorf
Awards, Grants and Fellowships
2014 Roswitha-Haftmann-Preis, Zurich
2011 Kaiserring der Stadt Goslar
2010 Peter-Weiss-Preis der Stadt Bochum
2008 Kunstpreis der Landeshauptstadt Düsseldorf, Dusseldorf
2006 Gallery of Honor of Westphalia (with Annette von Droste-Hülshoff)
2004 Wolfgang-Hahn-Preis, Gesellschaft für Moderne Kunst am Kölner Museum Ludwig, Cologne
2001 Kulturpreis, Cologne
1999 Internationaler Kunstpreis der Kulturstiftung der Stadtsparkasse München, Munich
1999 Deutscher Pavillon, La Biennale di Venezia, Venice
1998 Staatspreis des Landes Nordrhein-Westfalen, Dusseldorf
1998 Preisträgerin der Günther-Peill-Stiftung, Dueren
1992 Konrad-von-Soest-Preis, Muenster
1991 Fruhtrunk-Preis, Akademieverein München, Munich
1989 Ströher-Preis, Frankfurt
1985 Stipendium des Kulturkreises der deutschen Wirtschaft, Cologne
1984 Arbeitsstipendium der Stiftung Kunstfonds zur Förderung der zeitgenössischen bildenden Kunst, Bonn
Public Collections
Busch Reisinger Museum, Boston
Centre Pompidou, Paris
De Pont Stichting, Tilburg
Glenstone Museum, Potomac, MD
Kunstmuseum Basel
Kunstsammlung Nordrhein-Westfalen
MACBA, Barcelona
Museo Jumex, Mexico
Museum für Moderne Kunst, Frankfurt
Museum Ludwig, Cologne
Museum of Modern Art, New York
Museum Kunst Palast, Dusseldorf
Moderna Museet, Stockholm
Pinakothek der Moderne, Munich
San Francisco Museum of Modern Art
Städel Museum, Frankfurt
Tate, London
The Art Institute of Chicago