October 17, 2019–January 12, 2020
A solo exhibition of paintings by Neo Rauch at the Pitti Palace in Florence features a group of new paintings created for this special location, in addition to works dating back to 2008. The Andito degli Angiolini space inside the famous 19th-century palace provides a fitting context for the artist’s unique compositions. In his contemporary approach to the traditions of figurative painting and Surrealism, enigmatic scenes combine personal as well as universal themes and layer historical references. As the artist explained in an interview on the occasion of a solo exhibition at the gallery in London, “Painting is to me a second skin, everything I want to express has to come through this skin.” The exhibition in Florence is curated by Max Seidel and Serena Calamai, and will be accompanied by an English as well as an Italian catalogue, published by Giunti Editore.
Rauch’s first exhibition in Italy opens on the heels of a critically acclaimed survey of the artist’s drawings at the Drawing Center in New York, as well as a celebrated solo exhibition of recent paintings at David Zwirner in Hong Kong earlier this year.
April 12—July 28, 2019
Neo Rauch: Aus dem Boden/From the Floor was the first exhibition in the United States to focus on the artist’s works on paper. First presented at Des Moines Art Center in Iowa (September 28, 2018–January 6, 2019), the show has been organized by Des Moines director Jeff Fleming and Brett Littman, former executive director of The Drawing Center in New York.
Aus dem Boden/From the Floor included some one hundred and eighty large and small-scale works on paper, the majority of which had not been shown before. Like Rauch’s paintings, these works are characterized by a distinctive combination of figurative imagery and surrealist abstraction. His enigmatic compositions feature an eccentric cast of human characters, animals, and hybrids within familiar-looking but imaginary settings in which scale is often arbitrary, seeming to allude to different time zones or planes of existence. While some of the drawings are finished works in their own right, others are sketches that help to reveal the artist’s process or record an idea.
Composed using a mixture of media including paint, pen, and marker, many of Rauch’s drawings contain notes in the margins from meetings with collectors, curators, and friends. For Peter Schjeldahl, who reviewed the artist’s work in Drawing Now: Eight Propositions at MoMA QNS (The Museum of Modern Art, New York) in 2002, Rauch’s works evoke "a double sense of the verb ‘to draw’: to limn and to pull forth"—not only appropriating history and the work of other artists, but bringing them to "fractious life."
On view through May, 4, 2019 at David Zwirner in Hong Kong, Neo Rauch: Propaganda was an exhibition of new paintings by the artist. This show marked Rauch's debut solo presentation in China and was accompanied by a catalogue featuring a short story by Daniel Kehlmann. To coincide with this exhibition, the gallery presented an Online Viewing Room highlighting Neo Rauch's printmaking practice.
January 21–June 3, 2018
Neo Rauch Dromos Painting 1993-2017 presented more than 60 works tracing the artist's career from his first solo exhibition in Leipzig in 1993 up to the present day. The exhibition also included works by other artists from the private collection of Neo Rauch and his wife, Rosa Loy.
A publication accompanying the exhibition features texts by Ralph Keuning, Harald Kunde, Ulf Küster, Norman Rosenthal, and Klaus Werner.
Directed by Nicola Graef, Neo Rauch: Comrades and Companions (2016) is a documentary exploring the artist’s life and work. Filmed over three years at Rauch’s studio in Leipzig and at exhibitions in America, Asia, and Europe, the film features conversations with the artist and with his wife, Rosa Loy, among others, that offer unprecedented insight into his enigmatic practice.
Coinciding with Neo Rauch's 2014 exhibition at the New York gallery, David Zwirner Books published At the Well. The catalogue features a text by historian and curator Norman Rosenthal, as well as a reprint of the classic Brothers Grimm fairy tale The Young Giant, which Rosenthal specifically chose to further expand his analysis of the relationship between fairy tales and Rauch's work.
In 2010, Museum der bildenden Künste, Leipzig and Pinakothek der Moderne, Munich presented Begleiter, a two-venue retrospective of Neo Rauch's work. The exhibition featured 120 predominantly large-scale works from 1993 to 2010. This was the artist's first major museum survey.
Hatje Cantz published the accompanying exhibition catalogue. The two-sided book was designed to reflect the exhibition's two parts and venues, and included contributions by Rauch's long-time colleagues, including fellow artists Michaël Borremans and Luc Tuymans.
Pictured below: Installation view of Begleiter at thePinakothek der Moderne, Munich (2010)
May 22–October 14, 2007
Neo Rauch created 14 new works specifically for the exhibition para at The Metropolitan Museum of Art in New York. His solo exhibition was one in a series focused on mid-career artists, following exhibitions featuring Tony Oursler in 2005 and Kara Walker in 2006.
The title para refers to Rauch's consideration of painting's as an extension of dreaming, a parallel world to reality. On this subject, Rauch has said "For me, painting means the continuation of a dream with other means."
A bilingual catalogue in German and English accompanied the exhibition, published by DuMont Buchverlag.