Despite the postponement of Art Cologne 2020, we are very pleased to present selected works online. Detailed information can be found in our viewing room and we are also available for individual consultations.

Häusler Contemporary Zurich and max goelitz present their collaborative booth for Art Cologne 2020 online with the artists Liz Deschenes, Brigitte Kowanz, Gary Kuehn, Haroon Mirza, David Reed, Keith Sonnier and James Turrell.

In March of 2020, Häusler Contemporary was reorganized, with long-term director Max Goelitz taking on the leadership of the Munich gallery and re-naming the venue after himself, max goelitz.
On this basis, a selection of artistic positions will be presented at the viewing room, represented by both galleries from Zurich and Munich and showing significant works from the 1990s by Gary Kuehn and Keith Sonnier, as well as a new work by James Turrell. The focus of the presentation is a large-format work by David Reed, which was part of his most recent museum exhibitions in Miami and Nuremberg.

This year's Art Cologne program is a consistent and contemporary continuation of the longstanding collaborative companionship and gallery work with the artists by Wolfgang Häusler and Max Goelitz.

Gary Kuehn is one of the major exponents of Process Art, who radically changed the concept of art in the 1960s. Since the beginning of his career, simple shapes such as circles, squares or triangles have formed the basis of his artistic positions, in conjunction with his interest in crafts and industrial materials.

The floor sculpture «The Sex of Heavenly Bodies» (1996) shows an open ring shape, thus exploring the tension between limitation and freedom. Formally, the wooden sculpture, coated with epoxy resin and graphite, ties in with the reduction of Kuehn's early works of «Mattress» or «Melt Pieces» from 1965-68. These works were presented on wooden blocks, inherently influencing their shapes. Kuehn borrowed the title from a cultural-anthropological essay by Claude Lévi-Strauss, who wrote about the polarity of sexes of the moon and the sun (Le sexe des astres, 1973). This reference adds an additional level of physicality and emotionality to the formally abstract work.

Keith Sonnier, who died in July 2020, rose to fame in the 1960s by expanding the traditional understanding of sculpture and using everyday materials such as neon, latex, foam or found industrial materials in his work. His continuous experimentation with light as an artistic medium resulted in sculptures and room installations with directly or indirectly illuminated elements. In the mid-1990s, Sonnier created his «Tidewater Series», illustrating his versatile use of neon tubes. In his work «Los La Butte» (1994), Sonnier combined a yellow fluorescent tube with metal, fabric and plastic objects. The playful line of the neon tube directly contrasts the objects and packagings found by the artist in the vicinity of his parents' house. The composition of the individual elements, along with the form of presentation on the base, creates a sensual and almost figurative association.

In the mid-1970s, David Reed converted the expressive gesture of the brushstroke into an artificial and highly controlled representation of «the brushstroke». While in Abstract Expressionism, the visible brushstroke was utilized for the artist's personal introspection, David Reed transformed it into an object of analysis and manipulation. For his solo exhibition at the Pérez Art Museum Miami in 2016, the artist created a four-part series of extraordinarily formatted works, shown for the first time in Europe at the New Museum in Nuremberg last year, presenting associated drawings, color studies and a video film with a manipulated scene from the pilot film for the US television series Miami Vice. The work «#659», showing at the fair, is the central work of this series and is characterized by transparent, light surfaces as well as rich yellow and blue tones in connection with striking «brushstroke» elements.

Gary Kuehn, Keith Sonnier and David Reed all have a special bond to the Rhineland through the gallery owner, art collector and co-founder of Art Cologne, Rolf Ricke, as this is where their first solo exhibitions in Europe took place.


James Turrell

We are very pleased to exclusively present an installation by James Turrell from the new series «The Circular Glass». Conceived for an everyday architectural environment, these spectacular works enable a visual and sensory experience of light as was previously reserved for larger installations by the artist. The unique pieces in this series are akin to the «Small Glass» series from 2016, which has attracted great attention from collectors and a broad public. The «Circular Glasses» too are individually programmed using the latest LED technology. Their physical structure relates to Turrell's «Shallow Space Constructions» from the late 1960s and early 1970s. The artist thus continues his long-standing exploration of the technological opportunities in relation to sensory perception practices and invites the viewer to a meditative experience.
James Turrell «The Circular Glass» | Glass, computerized LED, Aluminum, Corian | Durchmesser 120 cm, Rahmen 232.5 x 185 x 42 cm | Installation view Häusler Contemporary Zürich, 2020 | Courtesy Häusler Contemporary and the artist | photo: Florian Holzherr

Gary Kuehn

Gary Kuehn is one of the major exponents of Process Art, who radically changed the concept of art in the 1960s. Since the beginning of his career, simple shapes such as circles, squares or triangles have formed the basis of his artistic positions, in conjunction with his interest in crafts and industrial materials. The floor sculpture «The Sex of Heavenly Bodies» (1996) shows an open ring shape, thus exploring the tension between limitation and freedom. Formally, the wooden sculpture, coated with epoxy resin and graphite, ties in with the reduction of Kuehn's early works of «Mattress» or «Melt Pieces» from 1965-68. These works were presented on wooden blocks, inherently influencing their shapes. Kuehn borrowed the title from a cultural-anthropological essay by Claude Lévi-Strauss, who wrote about the polarity of sexes of the moon and the sun (Le sexe des astres, 1973). This reference adds an additional level of physicality and emotionality to the formally abstract work.
Gary Kuehn «The Sex of Heavenly Bodies», 1996 | Graphite on wood, styrofoam, epoxy | 30.5 x 114.3 cm diamter | Courtesy Häusler Contemporary and the artist
Gary Kuehn «Gesture Project», 1970 | Feltpen on linen | 75 x 50 cm | Courtesy Häusler Contemporary and the artist | photo: Dirk Tacke
Gary Kuehn «Eternal Figures», 1974 | Graphite and Paper on panel, steel | various sizes | Courtesy Häusler Contemporary and the artist | photo: Dirk Tacke

Keith Sonnier

Keith Sonnier, who died in July 2020, rose to fame in the 1960s by expanding the traditional understanding of sculpture and using everyday materials such as neon, latex, foam or found industrial materials in his work. His continuous experimentation with light as an artistic medium resulted in sculptures and room installations with directly or indirectly illuminated elements. In the mid-1990s, Sonnier created his «Tidewater Series», illustrating his versatile use of neon tubes. In his work «Los La Butte» (1994), Sonnier combined a yellow fluorescent tube with metal, fabric and plastic objects. The playful line of the neon tube directly contrasts the objects and packagings found by the artist in the vicinity of his parents' house. The composition of the individual elements, along with the form of presentation on the base, creates a sensual and almost figurative association.
Keith Sonnier | Michael Venezia «Dialogue III: Light» | Installation view Häusler Contemporary Zürich, 2020 | Courtesy Häusler Contemporary and the artist | photo: Peter Baracchi
Keith Sonnier | Michael Venezia «Dialogue III: Light» | Installation view Häusler Contemporary Zürich, 2020 | Courtesy Häusler Contemporary and the artist | photo: Peter Baracchi
Keith Sonnier «Los La Butte», Tidewater Series, 1994 | Neon and found objects | 88.9 x 43.2 x 53.3 cm | Courtesy Häusler Contemporary and the artist | photo: Genevieve Hanson

David Reed

David Reed «#665», 2014-2018 | Acrylic on polyester | 45.1 x 304.8 cm | Courtesy Häusler Contemporary and the artist | photo: Lance Brewer

In the mid-1970s, David Reed converted the expressive gesture of the brushstroke into an artificial and highly controlled representation of «the brushstroke». While in Abstract Expressionism, the visible brushstroke was utilized for the artist's personal introspection, David Reed transformed it into an object of analysis and manipulation. For his solo exhibition at the Pérez Art Museum Miami in 2016, the artist created a four-part series of extraordinarily formatted works, shown for the first time in Europe at the New Museum in Nuremberg last year, presenting associated drawings, color studies and a video film with a manipulated scene from the pilot film for the US television series Miami Vice. The work «#659», showing at the fair, is the central work of this series and is characterized by transparent, light surfaces as well as rich yellow and blue tones in connection with striking «brushstroke» elements.
David Reed «#659», 1975 / 1996-2000 / 2007-2011/2014-2016 | Acrylic and Alkyd on Polyester | 189 x 460 cm | Installation view Neues Museum Nürnberg 2019 | Courtesy Häusler Contemporary and the artist | photo: Annette Kradisch
David Reed «#732-2», 2020 | Acrylic on canvas | 193.04 x 27.94 cm | Courtesy Häusler Contemporary and the artist | photo: Peter Baracchi
David Reed «#735», 2020 | Acrylic on canvas | 193.04 x 27.94 cm | Courtesy Häusler Contemporary and the artist | photo: Peter Baracchi

Brigitte Kowanz

Brigitte Kowanz «Je suis Charlie 07.01.2015», 2020 | Neon, mirror, aluminium, lacquer | Ed. 3 | 170 x 140 x 20 cm | Courtesy Häusler Contemporary and max goelitz | photo: Simon Veres

The main theme of Brigitte Kowanz’ works is the different visual forms which light can take. In addition to language, she uses light as an artistic means, capturing it in containers, distributing it over planes or forcing it into solid formations so that it is constantly taking on new shapes. Light thus becomes both a material and a metaphor in her search for new forms in which to represent visible reality.

Since 1997 Brigitte Kowanz has been Professor at the University of Applied Arts, Vienna, AT. In 2009, she was awarded the Great Austrian State Prize for Fine Arts.
Brigitte Kowanz «Opportunity», 2017 | Neon, mirror | Ed. 3 | 90 x 90 x 19 cm | Courtesy Häusler Contemporary and the artist | photo: Studio Kowanz

Liz Deschenes

The title «FPF #1», of the two-part photogram from the series with the same name, refers to the abbreviation for «Frame Per Foot» and thus to the process of creating the work. Each photogram of the series was exposed for as long as a human foot touched the ground for a single step, the duration varying according to the gait and speed of the walker. Deschenes refers to the measure for image rates "frames per second", which describes the number of individual images of a camera that are taken per time frame. The artist uses analog photographic techniques to examine and visualize time as a physical unit. «FPF #1» is a record of the material conditions of its creation. The structure of the surface changes depending on the brightness during the exposure of the photosensitive paper and the intensity of the chemical development. The immediate reality of the photographic process takes the place of a mediating reality - in the form of a motif.
The horizontally staggered works have a monochrome mirror-like effect, which, upon closer inspection, reveal a highly individual, sensitive surface: “It changes, it oxidizes, it catches handprints if handled. It is a sensitive, vulnerable material.” Photography is no longer just a momentary snapshot, it is constantly absorbing the influences of its surroundings. Similar to Stereograph #35, FPF #1 should not be seen as a classic picture, but as an experience that is bound to space and time.

Liz Deschenes «FPF #1», 2018 | Silver gelatin photograms, two part | 21 x 133 x 7.9 cm, 21 x 99 x 8 cm, total: 56 x 225 x 8 cm | Courtesy Miguel Abreu Gallery und max goelitz | photo: Dirk Tacke
Liz Deschenes «FPF #1», 2018 | Detail | Silver gelatin photograms, two part | 21 x 133 x 7.9 cm, 21 x 99 x 8 cm, total: 56 x 225 x 8 cm | Courtesy Miguel Abreu Gallery und max goelitz | photo: Dirk Tacke

Haroon Mirza

Haroon Mirza «The Virgin Will Keep Rising» (LED Circuit Compostition #32), 2020 | Mixed media | 154 x 154 x 18 cm | Courtesy hrm199
The Pakistani-British artist Haroon Mirza is internationally renowned for his installations in which he orchestrates a complex interplay of light and electricity into a sensory multi-layered experience. These ephemeral elements are sometimes attached to technoid-seeming objects, sometimes to familiar ones such as furniture or other objects of daily life as it can be experienced in «The Virgin Will Keep Rising». Other characteristic features are interactive elements such as electricity or light impulses, sometimes also the movement of the observer, which may affect and modify the work as it can be seen in the work «Spica and Other Stars».

Haroon Mirza «Droplets (LED Circuit Composition #31)», 2020 | Mixed media | 44 x 35 cm | Courtesy hrm199
Haroon Mirza «Droplets (LED Circuit Composition #31)», 2020 | Mixed media | 44 x 35 cm | Courtesy hrm199
Haroon Mirza «Spica and Other Stars», 2019 | Mixed media | 141 x 141 cm | © Haroon Mirza; Courtesy Lisson Gallery

Works

Gary Kuehn «The Sex of Heavenly Bodies», 1996 Graphite on wood, styrofoam, epoxy | 30.5 x 114.3 cm Diameter Available
Inquiry
Gary Kuehn «Gesture Project», 1970 Feltpen on linen | 75 x 50 cm Available
Inquiry
Gary Kuehn «Eternal Figures», 1974 Graphite and Paper on panel, steel | Circle 40 x 51.4 cm, Square 48.2 x 48.2 cm, Triangle 54.6 x 54.6 cm Available
Inquiry
Keith Sonnier «Los La Butte», Tidewater Series, 1994 Neon, found objects | 88.9 x 43.2 x 53.3 cm Available
Inquiry
David Reed «#732-2», 2020 Acrylic on canvas | 193.04 x 27.94 cm Available
Inquiry
David Reed «#735», 2020 Acrylic on canvas | 193.04 x 27.94 cm Available
Inquiry
David Reed «#665», 2014–2018 Acrylic on polyester | 45.1 x 304.8 cm Available
Inquiry
David Reed «#659 (Vice and Reflection)», 1975/ 1996-2000/ 2007-2011/ 2014-2015/ 2015-2016/ 2016 Acrylic and Alkyd on Polyester | 189.2 x 459.7 cm Available
Inquiry
Brigitte Kowanz «Opportunity», 2017 Neon, Mirror | Ex. 3 | 90 x 90 x 19 cm Available
Inquiry
Brigitte Kowanz «Je suis Charlie 07.01.2015», 2020 Neon, mirror, aluminium, lacquer | Ed. 3 | 170 x 140 x 20 cm Available
Inquiry
Liz Deschenes, «FPF #1», 2018 Silver gelatin photograms, two part 21 x 132.7 x 7.9 cm, 21 x 99 x 7.9 cm Available
Inquiry
Haroon Mirza «The Virgin Will Keep Rising (LED Circuit Composition #32)», 0000 (2020) Addressable LED’s, copper tape, wire, Arduino, screen print, velccromat(?), copper rings found at CERN, canvas, XLR lead, aluminium profile | 154 x 154 x 18 cm Available
Inquiry
Haroon Mirza «Droplets (LED Circuit Composition #31)», 2020 Mixed Media | 44 x 35 cm Available
Inquiry
Haroon Mirza «Spica and Other Stars», 2019 Photovoltaic cells, leds, wire, vinyl record, copper tape, acrylic and anodised aluminium | 141 x 141 cm Sold
Inquiry
James Turrell «Circular Glass Series: Ahku», 2020 Glass, computerized LED, Aluminum, Corian | Diameter 120 cm, Frame 232.5 x 185 x 42 cm Available
Inquiry

Biography


Haroon Mirza | Courtesy hrm199 | photo: Gaia Fugazza

Haroon Mirza (1977 born in London, UK, lives and works in London, UK)

Exhibitions (Selection)
2019 «Antidotes and their Counterparts», Häusler Contemporary Zürich, CH
«Nur Skulptur», Häusler Contemporary München, DE
2018 «Haroon Mirza: reality is somewhat what we expect it to be», Ikon, Birmingham, GB *   
«Haroon Mirza: The Night Journey», Asian Art Museum, San Francisco, US *
«///» Stone Circle» (semi-permanent commission), Ballroom Marfa, TX, US *
«Dancing with the Unknown», Nikolaj Kunsthal, København, DK *
2017 «hrm199: For A Partnership Society», Zabludowicz Collection, London, GB *
«A C I D G E S T», Pérez Art Museum Miami, Miami, US *
2015 «Circuits & Sequences», Nam June Paik Art Center, Seoul, KR *
«Emerging Paradigm», Matadero, Madrid, ES *  
«Haroon Mirza/hrm199 Ltd.», Museum Tinguely, Basel, CH *
2012 The New Museum – Studio 231, New York, US  
«-{«{«{« {«--{«{«{«{«--{», Ernst Schering Foundation, Berlin, DE *
«/|/|/|/|/|/|/|/|/|/|/|/|», Spike Island, Bristol, UK
Kunst Halle Sankt Gallen, St. Gallen, CH *

* Solo Exhibitions


Brigitte Kowanz (1957 born in Vienna, AT, lives and works in Vienna, AT)

Exhibitions (Selection) 
2020 «Lost under the Surface», Museum Haus Konstruktiv, Zürich, CH *
«Lichtparcours 2020», Kunstverein Braunschweig, DE

2019 «Matter of Reflection», Häusler Contemporary Zürich, CH *
«Sichtlinien des Möglichen», Galerie der DG, München, DE *
«United in Diversity», 13. Cairo Biennale, Kairo, EG

2018 «Deutscher Lichtkunstpreis», Kunstmuseum Celle, DE *
2017 Österreichischer Pavillon (mit Erwin Wurm), 57. Biennale di Venezia, IT
2016 «NEON: The Charged Line», Grundy Art Gallery, Blackpool, GB
2015 «Light Show» Museum of Contemporary Art, Sidney, AU | Sharjah Art Foundation, Sharjah, AE
2014 «Dots and Dashes», Häusler Contemporary Zürich, CH *
«Spaces of Flow», Fernwärme Foyer - Wien Energie, Wien, AT *
2007 «Intervention ad infinitum», Belvedere, Wien, AT *
«VO_LUMEN», Kunsthalle Krems, AT *
2006 «Lichtkunst aus Kunstlicht», ZKM, Karlsruhe, DE
2001 Shanghai Art Museum, Shanghai, CN 
2000 «Farbe zu Licht», Fondation Beyeler, Basel, CH
1990 Biennale, Sydney, AU

* Solo Exhibition

Brigitte Kowanz | photo: Mato Johannik

Gary Kuehn | photo: Andrea Stappert

Gary Kuehn (1939 born in New Jersey, US, lives and works in New York, US)

Exhibitions (Selection)
2019 «Sculptura», Häusler Contemporary Zürich, CH
2018 «Niagara and Related Work», Häusler Contemporary München, DE *
«Il diletto del praticante», GAMeC - Galleria d'Arte Moderna e Contemporanea, Bergamo, IT *
2017 «Primary Structures. Meisterwerke der Minimal Art», Museum für Moderne Kunst (MMK), Frankfurt am Main, DE
«Kunst ins Leben! Der Sammler Wolfgang Hahn und die 60er Jahre», Museum Ludwig, Köln, DE
2016 «Black Paintings», Häusler Contemporary München, DE *
2014 «Gary Kuehn: Between Sex and Geometry», Kunstmuseum Liechtenstein, LI *
«Gary Kuehn: Gestures and Twists», Häusler Contemporary Zürich, CH *
2011 «Gary Kuehn. Selected Works – Four Decades», Häusler Contemporary München, DE *
2008 «Gary Kuehn – Assertive Figures/Subverted Gestures», Museum gegenstandsfreier Kunst, Otterndorf, DE *
2001 Margarete Roeder Gallery, New York, US *
1998 Galerie Ricke, Köln, DE *
1988 Galerie Jule Kewenig, Frechen, DE *
1986 Galerie Rudolf Zwirner, Köln, DE *

1980 «Berliner Serie», Württembergischer Kunstverein Stuttgart, DE *
1971 Fischbach Gallery, New York, US *
1967 Galerie Rolf Ricke, Kassel, DE *
1962 «Recent Work», Rutgers University, Douglass College, New Brunswick, US *

* Solo Exhibition


David Reed (1946 born in San Diego, CA, US, lives and works in New York, US)

Exhibitions (Selection
2019 «Vice and Reflection #2», Neues Museum Nürnberg, DE *
«ALLES FARBE! Jörn Stoya und die Sammlung des Museums Morsbroich» Museum Morsbroich, Leverkusen DE
«Frozen Gesture», Kunstmuseum Winterthur, CH

«Drawings», Kunstmuseum Winterthur, CH *
2018 «David Reed», Häusler Contemporary Zürich, CH *
2016 «Vice and Reflection – An Old Painting, New Paintings and Animations», Pérez Art Museum Miami, US *
«Painting Paintings (David Reed) 1975», The Rose Art Museum, Brandeis University, Waltham, US *
«Painting 2.0: Malerei im Informationszeitalter», Museum Brandhorst, München, DE
2015 «David Reed», Kunstmuseen Krefeld, Museum Haus Lange, DE *
«Zufallsmuster – Malerei aus der Sammlung Goetz», Haus der Kunst, München, DE
«David Reed & Mary Heilmann», Hamburger Bahnhof, Berlin, DE *
2013 «Recent Paintings», Häusler Contemporary Zürich, CH *
«Paintings 1997-2013», Häusler Contemporary Lustenau, AT
2012 «Heart of Glass, Paintings and Drawings 1967-2012», Kunstmuseum Bonn, DE *
2009 «Rewind, Fast Forward. Videokunst aus der Sammlung der Neuen Galerie Graz von 1970 bis heute», Neue Galerie, Universalmuseum Joanneum, Graz, AT

* Solo Exhibition
David Reed | photo: Mischa Scherrer

James Turrell at Roden Crater Arizona | photo: Florian Holzherr. © James Turrell
James Turrell (1943 born in Los Angeles, CA, US, lives and works in Flagstaff, AZ, US)

Exhibitions (Selection) 
2020 «The Circular Glass», Häusler Contemporary Zürich, CH *
2019 «James Turrell: Passages of Light«, Museo Jumex, Ciudad de México, MX *
2018 «The Substance of Light», Museum Frieder Burda, Baden-Baden, DE *
«The Elliptical Glass», Häusler Contemporary Zürich, CH *
«Ganzfeld ‘Aural’», Jüdisches Museum, Berlin, DE *
2017 «James Turrell», MASS MoCA – Massachusetts Museum of Contemporary Art, North Adams, MA, US *
«Immersive Light», The Long Museum, Shanghai, CN *
2015 «LightScape: James Turrell at Houghton» Houghton Hall Norfolk, GB *
2014 «James Turrell: Light Spaces», The Israel Museum, Jerusalem, IL *
2013 «James Turrell», The Solomon R. Guggenheim Museum, New York, US *
«James Turrell: The Light Inside», MFAH – The Museum of Fine Arts, Houston, US *
«James Turrell. A Retrospective», LACMA – Los Angeles Museum of Contemporary Art, Los Angeles, US *
2012 «James Turrell: Agua De Luz», Cenote Santa Maria, Yucatan, MX *
2010 «The Wolfsburg Project», Kunstmuseum Wolfsburg, DE *
2009 «The Roden Crater», Häusler Contemporary München, DE *

* Solo Exhibitions

Liz Deschenes (1966 born in Boston, US, lives and works in New York, US) 

Exhibitions (Selection) 
2020 «A changing ratio» (with Rosemarie Casturo), max goelitz, Munich, DE *
2019 «Keystone», Campoli Presti, London, UK *
«Furniture of Desire», Lie Lay Lain, New York, US 
2018 «Rates (Frames Per Second)», Miguel Abreu Gallery, New York, US *
«Liz Deschenes, Jean Prouvé and Cheyney Thompson: Carte Blanche to Campoli Presti», Galerie Patrick Seguin, London, UK
2017 «Serialities», organized by Olivier Renaud-Clement”, Hauser & Wirth, New York, US
2016 «Liz Deschenes (with Sol LeWitt)», Miguel Abreu Gallery, New York, US *
Liz Deschenes (with Sol LeWitt), Paula Cooper Gallery, New York, US *
2015 Gallery 4.1.1, MASS MoCA, North Adams, Massachusetts, US *
«Collected by Thea Westreich Wagner and Ethan Wagner», Whitney Museum of American Art, New York, US
Gallery 7, Walker Art Center, Minneapolis, US *
2014 «Stereographs #1-4 (Rise / Fall)», Miguel Abreu Gallery, New York, US *
2013 «Bracket», Campoli Presti, Paris, FR *
«Bracket», Campoli Presti, London, UK *
2012 «Liz Deschenes», Secession, Vienna, AT *
2010 «Shift / Rise», Sutton Lane, Brussels, BE *
2009 «Right / Left», Sutton Lane, Paris, FR *

* Solo Exhibitions
Liz Deschenes | photo: Stephen Faught, Miguel Abreu Gallery, New York