13.
December 2009 – 31. January 2010
Damien Deroubaix – Die Nacht / The Night
The exhibition by Damien Deroubaix (*1972 in Lille, lives
in Berlin) offers a comprehensive overview of his most recent
large-format works on paper. Also on display are woodcuts
and sculptures, as well as installations created specially
for the exhibition. The exhibition tour was conceived in collaboration
with the Saarland Museum and the Kunstmuseum St. Gallen. Esslingen
is its second port of call.
The iconography of Damien Deroubaix’s works draws on
the cosmos of subcultures, particularly that of punk and hardcore
music. Damien Deroubaix reshapes this repertoire marked by
graphic symbols – death’s heads, swastikas, violence
and sexualised images – and relocates all its provocation
and mockery into a dreamlike, disconnected context.
Responding to this work demands brutal directness rather than
sensitivity, and this is how his work is orchestrated. The
pictorial language is clear and hard-edged – as with
all successful caricatures.
The artist is sponsored by Cultures France and la force de
l'art (Délégation aux Arts Plastiques; DAP).
The Esslingen exhibition is also sponsored by the Institut
Français, Stuttgart.
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7.
February – 7. March 2010
KUNST: »DAS INTEGRALE SPIEL«
KURT LEONHARD ZUM 100. GEBURTSTAG
7.
February – 7. March 2010
"Tobias Rosenberger:
The Grand Defender -
Theatermaschinen und -modelle"
28.
March – 6. June 2010
„Man Son 1969. Vom Schrecken der Situation“
Villa Merkel and Bahnwärterhaus
With works from:
Mario
Asef, Achim Bitter, Günter Brus, Joe Colemann, Dellbrügge
& de Moll, Peter Friedl, Till Gerhard, Gerhard Halbritter,
Elmar Hess, Laura Honse, Stephan Huber, Stefan Hunstein, Susann
Klein, Elena Kovylina, Thomas Kunzmann, Sigalit Landau, Almut
Linde, Stefan Micheel, Aurelia Mihai, Ronald Nameth, Bruce
Nauman, Karin Missy Paule, Susi Pop, Astrid Proll, Chris Reinecke,
Annamaria und Marzio Sala, Andreas Seltzer, Cindy Sherman,
Die Tödliche Doris, Susanne Weirich und aus der Graphischen
Sammlung Max Beckmann, Charles Gaines, Martin Kippenberger
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