Current Exhibitions

Karen Kilimnik – The Kingdom of the Renaissance – New York

Karen Kilimnik
The Kingdom of the Renaissance
January 20–March 18, 2023

New York

The Kingdom of the Renaissance, an exhibition of works by Karen Kilimnik and her old master predecessors, curated by Mireille Mosler. Inspired by a range of sources, from old masters to pop culture, Kilimnik conjoins elements to construct her own universe. From the Prague menagerie in the thirteenth century through to celebrities' pooches, the artist transports her inner imaginary world through source material procured from magazines and museum postcards. Early works on paper from the 1980s, oil sketches and recent paintings are paired with Renaissance sculptures, paintings and drawings.
Reinhard Mucha – Kasse beim Fahrer – Berlin

Reinhard Mucha
Kasse beim Fahrer
November 26, 2022–March 25, 2023

Berlin

Sprüth Magers is pleased to announce a solo exhibition by Reinhard Mucha opening in the fall at the Berlin gallery. Mucha is one of the most influential sculptors and conceptual artist of his generation. For decades he has succeeded in combining formal rigor, conceptual clarity and witty irony with the richness and delicacy of painterly and sculptural details. His work contains moments of contemporary history, personal history, and his previous pieces cross and intersect with discourses in art as well as other social systems.
Thomas Ruff – d.o.pe. – Berlin

Thomas Ruff
d.o.pe.
November 26, 2022–March 25, 2023

Berlin

Monika Sprüth and Philomene Magers are pleased to announce d.o.pe., Thomas Ruff’s solo exhibition of new works at the Berlin gallery. With the d.o.pe. series, Thomas Ruff once again immerses into the world of mathematics and additionally evokes his personal experience with psychedelic art of the 1960s and 1970s. Featuring fractal patterns that the artist generates with a specialized software program and prints on industrial carpets, the works illustrate Ruff’s constant striving to visually express the beauty of mathematics while representing his interest in the possibility of generating images that appear natural but are produced artificially. The connection that fractals are both natural and artificial structures reinforced the artist in his ongoing investigation of human perception. By further recalling the highly detailed and exuberant Northern Renaissance style of artists such as Hieronymus Bosch and Matthias Grünewald, Ruff interprets d.o.pe. as a reference to the fact that there are no limits to the artistic imagination.