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Kader Attia, Mark Dion, Andrea Fraser, Sayre Gomez, Abdulnasser Gharem, Martha Rosler, Joëlle Tuerlinckx, Zandile Tshabalala, Heimo Zobernig...

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JOËLLE TUERLINCKX
GROUP EXHIBITION

STEIGER
Predikherenbrug, Bruges, Belgium
STEIGER was installed between September 4. - 20. and hosted artists Joëlle Tuerlinckx, Peter Aers, Willem Boel and Zoro Feigl.

Joëlle Tuerlinckx, ISO SILVER 2026, 2018
A chrome-plated object floats on the water and reflects its surroundings. The façades, sky, water and passers-by appear on its surface. What becomes visible depends on the sunlight and on the position of the visitor. On navigation charts, ISO is used to indicate the regular light signal of a buoy. ISO 12, for example, refers to a twelve-second cycle. Joëlle Tuerlinckx’s work follows no fixed rhythm. Its reflection changes continuously and cannot be determined in advance. The object therefore cannot function as a recognisable marker in the way an ordinary buoy does. The title changes according to the year or duration of each presentation. The object becomes less a point of orientation in space than a record of a particular moment in time: Bruges, September 2026.

STEIGER is an artistic intervention along the Coupure, near Predikherenbrug, in Bruges. A temporary structure slopes gradually down from the quay towards the surface of the water. It brings visitors to a level that is rarely accessible within the city. The jetty is anchored in a fixed position, making fluctuations in the water level of Bruges’ canals visible. A small boat is moored at its foot. STEIGER examines how a physical change of position can also change the way we look at the city. Rather than simply adding an object to the cityscape, the project brings visitors closer to the water and makes the relationship between Bruges and its canals directly perceptible.

Text: 019.gent
Image Credit: Lars Duchateau
#joëlletuerlinckx by @nageldraxler

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a day ago

SAYRE GOMEZ
SOLO EXHIBITION

CLOSED FOREVER
📆 October 16, 2026 - January 11, 2027
📍 Site Santa Fe, Santa Fe, NM, USA

Sayre Gomez’s Closed Forever presents a selection of large-scale paintings and sculptures from the past five years, offering a focused view of the Los Angeles-based artist’s engagement with the urban landscape and the decline of late capitalism.

These conditions are echoed in urban and rural communities across the United States, challenging the myth of the “American Dream.”

Image Credit:

Sayre Gomez, “Progress Maker”, 2023, Courtesy of the Artist

#sayregomez by @nageldraxler

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2 days ago

LUKE WILLIS THOMPSON
LYON BIENNALE

📆 Exhibition: September 19 – December 13, 2026
📍 La Mulatière, Lyon, France

Originally from Fiji and New Zealand, Luke Willis Thompson addresses the scars of colonization, racism, class inequality, and the mechanisms of political and media domination within his work. Alongside his performances and sculptures, his films make these forces visible from the perspective of Indigenous populations. In 2025, the artist began a video trilogy imagining a new Oceania – one that returns power to its original inhabitants. Presented at macLYON, its third and final chapter, Te Moana-nui-a-Kiwa – ‘Pacific Ocean’ in Māori – takes us to present-day New Caledonia, amongst pro-independence Kanak activists.

- Matthieu Jacquet, Art Basel, 2026

@lukewillisthompson #lukewillisthompson

Image Credit:

1 Luke Willis Thompson, Whakamoe moeā, 2024. 2K digital video (colour, sound), duration: 21 min. Edition of 3 + 1 AP. Installation view: Sharjah Biennial 16, Old Al Diwan Al Amiri, Al Hamriyah,Sharjah. Courtesy the artist, Coastal Signs (Auckland), and Nagel Draxler (Berlin/Cologne).18th Biennale de Lyon (2026)

2 Luke Willis Thompson, Soro, 2025, 35 mm film transferred to 4K video, 3 artworks with 1 artist proof, Exhibition View at Lyon Biennale, Courtesy the artist, Nagel Draxler (Berlin/Cologne)

3 Luke Willis Thompson, Le plus proche de paradis, 2026. Exhibition View at Lyon Biennale, Courtesy the artist, Nagel Draxler (Berlin/Cologne) by @nageldraxler

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10 days ago

Martha Rosler @martharoslerstudio
will be part of
WHAT ROSE FROM THE CUT
14TH OCTOBER 2026–30TH JANUARY 2027 @gracesmews

Graces Mews presents What Rose from the Cut, a group show exploring feminist strategies of collage.

Developed collectively between Graces Mews, curator Fiona Rogers @firecracker_foto artist Justine Kurland @justinekurland_studio and collaborator and collector Sarah Miller Meigs @millermeigs the exhibition reﬂects the gallery’s interest in photographic process and the circulation and interpretation of images.
@laurabartlett_london

It brings together two signiﬁcant bodies of research: Fiona Rogers‘ publication Cut Out: A Feminist History of Photo Collage, Montage and Assemblage(Thames & Hudson and V&A, 2026) which traces the previously untold relationship between photography, feminist art and collage, from the 19th century to the present day; and Justine Kurland and Sarah Miller Meigs‘ exhibition and publication The Rose (lumber room, 2025), which expands this history of collage through ideas of circular genealogy and kinship formed through association. What Rose from the Cut features international artists whose approach to collage amplifies and contextualise one another, forming a constellation that extends our collective vision of social, political and spiritual possibilities.

Included Artists: Lotte Andersen, Genesis Baez, Anne Bean, Claude Cahun, Tammy Rae Carland, Leonora Carrington, Moki Cherry, Tee Corinne, Giana De Dier, Jazz Grant, K8 Hardy, Lubaina Himid, Kati Horna, Hannah Hughes, Liz Johnson Artur, Mari Katayama, Zofia Kulik, Justine Kurland, Linder, Dakota Mace, Spandita Malik, Alix Marie, Jacky Marshall, Aspen Mays, Qiana Mestrich, Joiri Minaya, Helina Metaferia, Rachelle Mozman Solano, Yamini Nayar, Frida Orupabo, Gina Osterloh, Martha Rosler, Sarah Sense, Sheida Soleimani, Maud Sulter, Keisha Scarville, Penny Slinger, Annegret Soltau, Divine Southgate-Smith, Sitaara Stodel, Stephanie Syjuco, Dafna Talmor, Thato Toeba, Gee Vaucher, Bindi Vora and Carla Williams. taken in Graces Mews by @nageldraxler

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13 days ago

Les Hôtes du Louvre‘, a two-person exhibition featuring Kader Attia and Elizabeth Peyton at @MuseeLouvre
through December 14.

Kader Attia and Elizabeth Peyton now share the temporary exhibition space in the Salle de la Chapelle, where the results of their respective sojourns in the museum are on display, including the new diptych by @TheKaderAttia, consisting of a video, a wooden sculpture, and mirrors, inspired by his intimate exploration of the Louvre’s collection and history. His and Peyton’s intersecting interpretations of the Louvre make manifest the wealth of resources to be found in the museum and in the works it houses.

As he walks from the suburb where he grew up to the Louvre, Kader Attia re-enacts the defining moment of his adolescence and unpacks its political significance. He anchors the visitor’s physical and temporal journey, creating a bridge that spans the divide between the Louvre as a royal residence, a revolutionary museum, an imperial palace as well as the distance to the city’s outskirts.
In the artist’s own words, ‚Coming out of the metro, walking along Rue de Rivoli and then into the Cour Napoléon, I look up at the statues of „Great Men“. No women are represented on the façades of the Louvre, only so-called illustrious officers, such as Marshal Bugeaud, who was responsible for the enfumade attacks in Algeria where resistance fighters and civilians alike were asphyxiated.
He’s lauded as a hero in France, yet embodies the monstrosity of colonialism in Algeria. A symbol of the paradox between each country’s remembrance of history and a last remaining totalitarian totem of colonialism to be toppled, for me this represents an element of our collective memory that must be shared so that those on both sides remember that colonisation was also a crime against humanity. I’ve reproduced this bust of Marshal Bugeaud from wood, a perishable organic material, so that it will, in turn, be subject to the passage of time and the gaze of passers-by. taken in Musée du Louvre by @nageldraxler

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14 days ago

Congratulations to Rhea Myers, whose work has entered the collection of the Centre Pompidou!

Her practice extends he fundamental questions this collection is dedicated to explore by probing authorship in a modern world and digital conservation in a contemporary practice.

@rheapl3x explores a radically critical yet playful interplay between technology and culture. Her art acts as a philosophical and political mirror that questions the utopias, fears and systemic flaws of modern digital society.

The acquisition includes:
„Urinal“, Edition 4/11 from the series „Certificate of Inauthenticity“, 2020
„Fragment 24“ from the series The Fractionalized Phallus, 2025
„Is Art (Token, Because“, Edition 2/16, 2024
As well as „statement“, „spots“, „yellow“ and „turtle“ from the series Self-Identifying, 2025

Many thanks to the committee @centrepompidou and especially the curators of new media Marcella Lista and Philippe Bettinelli.

Exhibition views from „The Fractionalized Phallus“, solo exhibition at Galerie Nagel Draxler in Berlin, 2025. Photos by Simon Vogel. by @nageldraxler

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15 days ago

Zeiten Zeichen Zusammenhänge

04 09 2026 – 15 11 2026

Kleidung wird Bild, eine Skulptur wird zum Darsteller.
Kalin Lindena verbindet Alltägliches mit Malerei und lässt die Grenzen zwischen Bild und Objekt verschwimmen.
Mit „Deine 20“ und „Statist: Skapade“ kehrt eine Künstlerin an den Oldenburger Kunstverein zurück, deren Praxis hier 2008 einen entscheidenden Impuls erhielt.

Kalin Lindena
Statist: Skapade (nur hier), 2008
Mixed media
215 x 60 x 60 cm

Kalin Lindena
Deine 20, 2022
Sprühlack auf Stoff (Picaldi)
168 x 148 cm

Courtesy die Künstlerin und
Galerie Nagel Draxler Berlin/Köln/Meseberg

Ausstellungsansicht Zeiten Zeichen Zusammenhänge. Oldenburger Kunstverein, 2026. Foto: Roman März, 2026.

@kalindena
@nageldraxler
@oldenburgerkunstverein

Veranstaltungen diese Woche:

Samstag 03.10. 16 Uhr
Öffentliche Führung mit Geraldine Dudek

Sonntag 04.10. 16 Uhr
Öffentliche Führung mit Dr. Myriam Bönicke

#kalinlindena #nageldraxler #oldenburgerkunstverein #exhibition oldenburg taken in Oldenburger Kunstverein by @nageldraxler

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15 days ago

LEON KAHANE
SOLO EXHIBITION

CRITICISM AND SELF-CRITICISM IN THE FREE TIME

📆 September 10 - October 31, 2026
📍Kunstverein am Rosa-Luxemburg-Platz, Berlin, Germany

According to a recent study by the Sigmund Freud Institute (ongoing since 2021), the third generation of Holocaust survivors in Germany is characterised by a mode of expression that is at once performative and scenographic, encompassing both loyalties to and conflicts with the generation of their grandparents. This takes place against the backdrop of an emerging psychological framework and the growing normalisation of everyday antisemitism.

To critically reflect oneself in the stories of one’s grandfather in order to find one’s own truth also means resisting both familial and social projections. For what lies at the centre of Kahane’s engagement is not so much what is, but how it has come to be, particularly in relation to what he calls the “rumour about the Jews”, drawing in part on the philosopher Theodor W. Adorno. In Minima Moralia (1951), Adorno referred to a fundamental misunderstanding underlying antisemitism; Kahane extends this to the experience of becoming and being Jewish today, not as a confirmation of the rumour, but as a relation to the gaze that produces it.

Image Credit:

Exhibition Views by Leon Kahane, 2026

#leonkahane by @nageldraxler

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21 days ago

Zeiten Zeichen Zusammenhänge

04 09 2026 – 15 11 2026

Material wird hier nicht zum Mittel, sondern zum Ausgangspunkt.
Aus Fäden, Stoffresten und Farbe entwickelt Michael Beutler eine Skulptur im Prozess.
Der Teppich löst sich von seiner Funktion und wird zum raumgreifenden Körper.

Michael Beutler
Teppich (Carpet 3), 2013
Stoff, Faden
ca. 13,30 x 4,50 m

Courtesy der Künstler und Galerie Nagel Draxler Berlin/Köln/Meseberg

HINWEIS:
Krankheitsbedingt bleibt der OKV am Sa, 26.09. leider geschlossen. Die Führung um 16 Uhr mit Kunstvermittlerin Geraldine Dudek entfällt leider ebenfalls.

📷 Ausstellungsansicht Zeiten Zeichen Zusammenhänge. Oldenburger Kunstverein, 2026. Foto: Roman März, 2026.

@beutler.michael
@nageldraxler
@oldenburgerkunstverein

#michaelbeutler #oldenburgerkunstverein #exhibition #oldenburg taken in Oldenburger Kunstverein by @nageldraxler

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22 days ago

ABDULNASSER GHAREM
SOLO EXHIBITION

🥂 Opening: September 10, 2026, 6 – 10 pm
📆 Exhibition: September 11 – November 14, 2026
📍 Galerie Nagel Draxler, Weydingerstraße 2/4, 10178 Berlin

This greatly anticipated solo exhibition by Abdulnasser Gharem, one of the most influential contemporary artists in the Gulf region, features three new projects: Aniconism 2026, The Unscored Goal, 2026, and The Image is a Public Menace (Neon), 2026.

Abdulnasser Gharem’s Aniconism is a brilliant reworking of history painting. With a frontrow seat to profound changes in the role of art in daily life across the region, Gharem brings his artistic vision to bear on a historic moment. By moving a contemporary scene from a Riyadh studio through the visual language of European painting and into the hands of painters in Vienna, he asks how history is pictured, who possesses the authority to represent it, and what changes when an image moves between cultures. The work stands as a pivot point, deeply rooted in the transformations unfolding around him while claiming the scale and ambition of grand history painting.

– Nato Thompson (excerpt from the essay Abdulnasser Gharem: Aniconism, 2026)

Image Credit: Abdulnasser Gharem, “The Image is a Public Menace”, Exhibition View, 2026 Photo: Simon Vogel

#abdulnassergharem by @nageldraxler

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a month ago

LONE HAUGAARD MADSEN
SOLO EXHIBITION

🥂 Opening: September 10, 2026, 6 – 10 pm
📆 Exhibition: September 11 – November 14, 2026
📍 Nagel Draxler Kabinett, Rosa-Luxemburg-Straße 33, 10178 Berlin

Lone Haugaard Madsen (born in 1974 in Silkeborg, Denmark) is one of the most relevant female artists of her generation in Scandinavia and beyond. Departing from her studies in humanistic theory of science at Aarhus University and at the Jutland Art Academy in the 1990s, she joined art school at the Vienna Academy of Fine Arts in the early 2000s with a deep skepticism regarding the question of what art can be today, and oriented towards radical institutional critique in the vein of Michael Asher or Gordon Matta-Clark. In her work, which encompasses sculpture, performance, painting and installation, she has been exploring the format she refers to as ‘spaces’ – constellations of found objects and paintings that have been ‘rubbed’ onto found canvases. Skepticism can never be eradicated from the mind of a true artist. Haugaard Madsen is not an artist who is guided by ideas, but rather by a thought process rooted in experience. Gradually, her work is shifting away from the use of various materials in space toward capturing and concentrating the aesthetic presence of these materials and spaces on the canvas using raw painterly techniques. The result is a series of profoundly deep and beautiful paintings—works of art capable of keeping pace with the doubts surrounding contemporary art in a world where contemporary thinking is in decline.

Image Credit: Lone Hausgaard Madsen, “Space#428”-Fumus”, Exhibition View, 2026 Photo: Simon Vogel

#lonehaugaardmadsen by @nageldraxler

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a month ago

SOLO EXHIBITION: NADYA TOLOKONNIKOVA

“MEMORY LOSS“

Galerie Nagel Draxler, Cologne
September 4 - October 24, 2026

Nadya Tolokonnikova is many things. Dissident and pop star, conceptual artist and punk. But above all, she is one thing: an iconoclast who creates icons of her own. A contradiction. That contradiction sits at the center of her exhibition here in Cologne. Her activist impulse migrates onto canvases and objects. The most explicit acts of iconoclasm appear in works such as SACRED CORNER—Orthodox icon reliefs from which Tolokonnikova has cut out the saints—or DUST (CABINET) and I DIDN’T SURVIVE TO BE POLITE (RELIEF), in which she either incinerates pages of Holy Scripture or glues them into a relief resembling a dirty, wrinkled blanket.

More delicate is the destructive game she plays with icons in her paintings. In works such as MOLOTOV SERVED, CHERNOBYL, and SYMBOL OF FAITH, it is the inconspicuous backgrounds, the very surfaces of the canvases, coated in fake silver leaf, that invoke the tradition of Russian Orthodox icon painting.

- Jonathan Guggenberger

Works on view:

Exhibition Views (Images 1,2,3)
“REVENGE IS BEST SERVED COLD“, „MOLOTOV SERVED“, 2026 (Image 4)
“I DIDN’T SURVIVE TO BE POLITE (RELIEF)“, 2026 (Image 5)
“DUST (CABINET)“, 2026 (Image 6)
“SACRED CORNER“, 2026 (Image 7)
Deutschlandfunk Interview with Nadya Tolokonnikova
@deutschlandfunkkultur

Link to the interview: https://www.deutschlandfunk.de/memory-loss-pussy-riot-mitglied-nadya-tolokonnikova-stellt-kunst-in-koeln-aus-100.html

Exhibition views: Simon Vogel
#nadyatolokonnikova by @nageldraxler

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a month ago