Anna Oppermann, Anders sein (Irgendwie ist sie so anders...), 1970–1986 / Installation view, Serpentine Gallery, London, 1981 © Courtesy Nachlass Anna Oppermann and Galerie Barbara Thumm
Anna Oppermann. A Retrospective
Dec 13, 2023 – Apr 1, 2024
Bonn, Germany

The German conceptual artist Anna Oppermann (1940–1993) left a significant body of work waiting to be rediscovered. The exhibition presents her extensive oeuvre – from early pencil drawings to vibrantly coloured mixed-media works and one of her last major pieces. Following her studies at the Hamburg University of Fine Arts, she became an important and unique figure on the German art scene from the late 1960s onwards. Her participation in documenta 6 and documenta 8 in Kassel secured her early international recognition.

Her early artistic work from the 1960s reveals her preoccupation with Surrealism, Dadaism, and Pop Art, as well as her intense interest in questions of perception. The development and expansion of a theme as a collage on the pictorial plane or beyond the edge of the picture and into the surrounding space led to her first picture-space collages from 1968 onwards, such as Being a Housewife.

Her main body of work is characterised by the disclosure of the artistic process and her reflections, which flow into arrangements of notes, drawings, photographs, printed matter, and objects; language is also an essential component of her work alongside the pictorial. To this end, she coined the term “ensemble” – process-based spatial collages that encompass both the installed work and the underlying method: “What I call an ensemble results from the application of a certain method, is a documentation of this method and is always also a reflection aid for further investigations in the sense of the method. ”

[ . . . ]

Anna Oppermann’s works are both the expression of a process of self-questioning and an “offer of communication” on fundamental social and general human issues. Posthumously, her ensembles are transferred to the present in a so-called Interpretive New Installation. This practice is based on both previous installations and the artistic method itself, aware of Oppermann’s openness and generosity in dealing with her work. The exhibition is curated by Susanne Kleine and Anna Schäffler. It is a cooperation with the estate of Anna Oppermann. The administration of the estate is the responsibility of Barbara Thumm.

  • Patrick Weldé: Freiheit
    Goswell Road

    On the occasion of our exhibition with Weldé at CFAlive Milan L’AMOUR TOUJOURS, we publish a new edition of the previously sold-out book that we produced with Weldé in 2017, FREIHEIT. All of the photographs in FREIHEIT were taken by Weldé on disposable cameras between 2011-2015. They show a tender side to the artist and his friend circle, and the purest form of trust. (more…)

  • Berlinde De Bruyckere: No Life Lost
    Feb 3 – May 26, 2024
    Gustavsberg, Sweden

    Belgian artist Berlinde De Bruyckere’s large-scale sculptures and installations of wax, wood, textile, metal and horse hide are executed in an unmistakable artistic style. Grappling with the existential human condition, De Bruyckere’s work addresses human vulnerability and fragility, desire and suffering, resilience and transformation. Opening on February 3, the comprehensive exhibition No Life Lost is the first presentation of the work of De Bruyckere in Sweden. (more…)

  • Bára Prášilová: Circles

    The first comprehensive book by photographer and visual artist Bára Prašilová summarizing her work over the past 15 years. The editor of the book, Thomas Beachdel, characterizes her work as “pictures of wonder” balancing on the edge of beauty and strangeness, reality and fantasy, tenderness and violence, which stems from the author’s sense of the absurd. (more…)