June 29 - July 29, 2016
New York, 69th Street
Beginning 29 June 2016, Hauser & Wirth will present an exhibition of new paintings by the Mexico City and London-based artist Stefan Brüggemann. Spanning – and sometimes combining – sculpture, video, painting, and drawing, Brüggemann’s work deploys text in conceptual installations rich with acerbic social critique and a post-pop aesthetic. This will be Brüggemann’s first exhibition with Hauser & Wirth, and will fill the gallery’s East 69th Street townhouse with site-specific extensions of two of his best known, ongoing series: Headlines and Last Line in the Movies and Timeless. About the Exhibition On the gallery’s ground floor, Brüggemann will install ‘Headlines and Last Line in the Movies’ (2016), a new work for his signature series Headlines and Last Line in the Movies, initiated in 2009. The installation will consist of the final lines of dialogue from such classic films as Citizen Kane (1941), spray painted directly onto the walls of the gallery and overlaid with headlines drawn from news stories published by major media outlets during the week in which the work is made. Brüggemann will complement ‘Headlines and Last Line in the Movies’ with a similar installation on the third floor, where texts will be painted onto marble panels – a first use of the material by the artist. Brüggemann’s intention with the Headlines and Last Line series is to juxtapose reality and fiction in a way that throws myths into high relief: In the era of instantaneous global communication and citizen journalism, the products of the news media and the movie industry are parallels and fraternal twins that reflect our culture’s desires while manipulating and distorting our comprehension of society. On the gallery’s second floor, visitors will find ‘Timeless’ (2016), the latest addition to another ongoing conceptual series by Brüggemann. Time Paintings feature a grid of individual mirrors appliquéd with black and white vinyl letters, painted over with oil. Consisting of original text by the artist, ‘Timeless’ is Brüggemann’s anxious articulation of a contemporary society in which time has accelerated to the point at which it is no longer perceived as linear, and dissolves into abstraction.
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Spanning—and sometimes combining—sculpture, video, painting, and drawing, Stefan Brüggemann’s work deploys text in conceptual installations rich with acerbic social critique and a post pop aesthetic. Born in Mexico City and working between Mexico, London and Ibiza, the artist’s oeuvre is characterized by an ironic conflation of Conceptualism and Minimalism. In this way, Brüggemann’s practice sits outside the canon of the conceptual artists practicing in the 1960s and 1970s, who sought dematerialisation and rejected the commercialisation of art. Instead his aesthetic is refined and luxurious, whilst maintaining a punk attitude.