N. Schmidt, Pferdegasse 19, 48143 Münster, Skulptur Projekte Münster 2017, LWL-Museum für Kunst und Kultur, Münster, Germany

10.06.2017 - 01.10.2017

More info: https://www.skulptur-projekte.de

Alles was Recht ist, Schloss Pöggstall, Waldviertel, Austria

01.04.2017 - 12.11.2017

Moving is in every direction, Hamburger Bahnhof - Museum für Gegenwart, Berlin, Germany, Curators: Gabriele Knapstein, Anna-Catharina Gebbers

17.03.2017 - 17.09.2017

Kindergarten, Museo Universitario Arte Contemporáneo, Ciudad de México, Mexico

11.02.2017 - 23.07.2017

Street in the dying village at the Garzweiler brown coal mining site
© Gregor Schneider / VG Bild-Kunst Bonn


Invisible City, Onassis Cultural Centre / Fast Forward Festival, Omonia Square, Athens, Greece

08.05.2017 - 21.05.2017

Photo: Stavros Petropoulos / Alaska

Photo: Stavros Petropoulos / Alaska

Photo: Gregor Schneider

Athens 2017, hand painted water colour on mesh fabric hanging above the ground, mesh fabric, metal construction towers, metal ropes, water tanks and weights (4600qm, H max = 1000 cm), Omonia Square, Athens, Greece 08.05.2017 - 21.05.2017
curator: Katia Arfara
© Onassis Cultural Centre/Fast Forward Festival, Gregor Schneider / VG Bild-Kunst Bonn

One of Germany's most controversial visual artists, Gregor Schneider, transforms Omonia Square into a place of shelter, a neutral zone hidden from attackers and the watchful eye of Google maps alike.

Omonia Square, in the heart of downtown Athens, is going to look somewhat different for a while, thanks to the eminent German artist. Schneider, who won the Golden Lion at the 2001 Venice Biennale, is preparing a work for the Onassis Cultural Centre's Fast Forward Festival 4, entitled Invisible City, it employs the art of camouflage. In fact, Schneider's entire oeuvre seeks to balance the visible and the invisible as he explores the relationship between private and public space, the imaginary and the real. The poetics of architecture, the many faces of the cityscape, are summarized in his work in the simple statement that "cities could be different if we could design and build them differently". He also references cities which offer a safe haven to the imagination in this era of perturbing transparency and the networked documentation of reality, a safe place where the concepts of surveillance, control, visibility and recognition seem to lose their dominance, albeit only for a time and in his work.

The use to which he puts camouflage in his Athenian action is bound up with the historic square's invisibility from above. The artist was inspired by the famous camouflaged locations of World War II like the aircraft factories on America's West Coast which were covered by gigantic sacks for the duration of the war for fear of Japanese bombing raids. His is a practice which, by protecting and camouflaging, distorts the image of the actual urban environment, meaning the appearance and reception of reality.

The artist:

One of Schneider's most important projects is Haus u r, which he started in 1985. In it, he has transformed his family home by creating copies of rooms within the original rooms of his home with their floors, walls, ceiling and doors. The hidden gaps between the actual rooms and their copies become mysterious, hollow places. Although visitors of the house report about claustrophobic experience in the disturbing normality, Schneider himself avoids interpretation, emphasizing instead the concepts of addition and the inessential or unnecessary. He said once: I do not know whether the house is a refuge or dungeon.

Other projects have provided much attention and social relevant discussions, such as his twin houses Die Familie Schneider (2004), the project Cube (2005), the High Security Isolation Cells (2005), his Dying Room (2007), his Temple in Kolkata (2011) or the pulverized Nazi Goebbels birthplace (2014). In Athens, Schneider goes back to the high-political public space. What is today a public space and what a private space? He presented 21 Beach Cells in 2007 on popular Bondi beach in Sydney, Australia. For 21 Beach Cells, Schneider placed 21 wire cells on the beach containing sun loungers and umbrellas, thereby combining relaxation and recreation with restriction and incarceration in a highly iritating way. He asked: What kind of space does a person needs to feel free?

Gregor Schneider, a leading visual artist, sculptor and exponent of conceptual art with existential dimensions, was born in 1969 in the city of Rheydt in North Rhine-Westphalia— which also happens to have been the home town of Nazi Germany's propaganda chief, Joseph Goebbels. Schneider was interested in art from a very early age. He staged his first solo show, the darkly entitled "Teenage Depression" (Pubertäre Verstimmung), aged just sixteen at the Kontrast gallery in Mönchengladbach. Between 1989 and 1992, he studied at the Fine Art Academies of Düsseldorf, Münster and Hamburg. In the early 90s, his work began to earn recognition and to be included in exhibitions at important galleries and major museums.

As a teenager, Schneider's first job was at the cemetery in his home town. As he said a few years ago in an interview for the Guardian: "I used to carry coffins from the church to the hole in the ground. It was a well-paid job, mainly because no one wanted to do it. The other people I worked with were an alcoholic and a disabled man".

More info: http://www.sgt.gr


Concept - Design: Gregor Schneider
Curator of the Project: Katia Arfara
Curation and Architectural Design by: Giota Passia, Panagiotis Roupas
Τechnical Αssistant: Kamil Jackiewicz
Comission: Onassis Cultural Centre-Athens / Fast Forward Festival

Special thanks to: Municipality of AThens, Hellenic Ministry of Culture and Sport, George Zongolopoulos Foundation

Schwarz Weiss, Galerie Löhrl, Mönchengladbach, Germany

11.03.2017 - 13.05.2017

Wall before Wall, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland GmbH, Bonn, Germany (Solo) (Cat)

02.12.2016 - 19.02.2017

(20 x 20 x 2,5m each cell 4 x 4 x 2,5m (LxWxH)), Kaldor Art Projects, Bondi Beach, Sydney 28.09.2007 - 21.10.2007
© Gregor Schneider / VG Bild-Kunst Bonn

The Art and Exhibition Hall of the Federal Republic of Germany has the pleasure to invite you for the opening of the exhibition

Gregor Schneider. Wall before Wall

Thursday, 1st of December 2016, at 7 pm.


Rein Wolfs
Director of Bundeskunsthalle

Ulrich Loock
Curator of the exhibition

Gregor Schneider, born in 1969, is an internationally renowned radical artist whose work frequently gives rise to heated debate. Working in different media, he has developed a complex and self-referential oeuvre that crosses recent German history with the dystopian places of personal existence. In the mid-1980s the artist began building complete rooms inside of existing rooms, the new room replicating the space that houses it. Since then he has created a large body of spatial constructions that divests everyday places of their familiarity. In 2001 he won the Golden Lion of the Venice Biennale for his installation Haus u r in the German Pavilion. The installation consisted of a total of twenty-four rooms of his childhood home in Rheydt, which has been central to his creative practice since 1985 and which he has gradually developed in different directions. For the Bundeskunsthalle the artist is designing a display that traces the course of his career in key works: a selection of paintings (1982-1985) and the documentation of early works (1984-1985) are followed by complete rooms from Haus u r as well as recent works involving culturally and historically important buildings. Films, duplicate sculptures and staged situations with actors complete the presentation.

Seats are limited. The opening ceremony will be broadcasted to the foyer while the exhibition can be visited throughout the evening. Please note, the exhibition can only be visited by a small number of people at the same time.

More info: www.bundeskunsthalle.de/en/exhibitions/gregor-schneider.html

Kunst- und Ausstellungshalle der Bundesrepublik Deutschland GmbH
Museumsmeile Bonn
Friedrich-Ebert-Allee 4
53113 Bonn

P +49 228 9171–200
F +49 228 234154

Opening hours: Tuesday and Wednesday: 10 am – 9 pm, Thursday to Sunday: 10 am – 7 pm

Sammlung Viehof, Halle für aktuelle Kunst & Sammlung Falckenberg, Hamburg, Germany

01.10.2016 - 22.01.2017

Wolke und Kristall, K20K21 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany

24.09.2016 - 08.01.2017

Mikro Makro - Das Große im Kleinen entdecken, Nordrhein-Westfälische Akademie der Wissenschaften und der Künste, Düsseldorf, Germany, Curator: Rozbeh Asmani

31.10.2016 - 02.12.2016

30 Jahre Günther-Peill-Stiftung, Leopold-Hoesch-Museum, Düren, Germany

04.09.2016 - 20.11.2016

Mindestens ein Gedanke zu..., Kunsthalle Bremerhaven, Bremerhaven, Germany

27.08.2016 - 18.09.2016

Works from a Collection, Guidocosta Projects, Turin, Italy (Cat)

08.06.2016 - 10.09.2016

Ralf Berger und Gregor Schneider

02.07.2016 - 02.09.2016

Ralf Berger and Gregor Schneider
Privatsammlung Rosi und Rudolf Dahmen /
The Rosi and Rudolf Dahmen Collection

Privatsammlung Rosi und Rudolf Dahmen is the eponymous title of the first showing at Rosi and Rudolf Dahmen’s new space in Düsseldorf. As an inaugural event for this special place they have invited the art-interested public to view for the first time a sampling from their collection. – The project at Engerstrasse 56 unites artists’ studios with the couple’s private residence.
What is thus in a double sense an opening, is set to enrich the North Rhine-Westphalian capital by an innovative format of what both, a home and a collection of contemporary art, can be; an entity of a new kind.
The launching show is devoted to the work of Gregor Schneider and Ralf Berger, whose pieces take on the existential issues of human life at the juncture(s) of video, performance and interventions into given spaces.

It was in Mönchengladbach that Rosi Dahmen, b. 1952, an independent business administrator, and Rudolf Dahmen, b.1948, a lawyer, first discovered their passion for collecting. In 2003 they were among the co-founders of the Kunstverein there. Since 2001 they have been converting a factory site in Mönchengladbach as a space for artists’ studios and music rooms. While still at Mönchengladbach, they also became dedicated observers of the artistic activities of artist fellows Ralf Berger and Gregor Schneider, from their beginnings on. Since 2015 the collector couple have been living in Düsseldorf, at the one-time Squash Center at Engerstrasse 56. Having refurbished the site of some 1500 square metres as a complex comprising artists’ studios and their own apartment/collection they are now delighted to introduce the project to the art-interested public.

The exhibition will open with a private view for an invited public on 2 July 2016.

Homebase, Kai 10, Düsseldorf, Germany (Cat)

08.04.2016 - 23.07.2016
Invitation card Gregor Schneider, Düsseldorf
Invitation card Gregor Schneider, Düsseldorf

With a touch of pink, with a bit of violet, with a hint of green, Konrad Fischer Galerie, Düsseldorf, Germany

03.06.2016 - 20.07.2016

BRD, Haubrok Foundation, Berlin, Germany

28.04.2016 - 16.07.2016

"Wen juckt Zensur heute noch?" fällt auf Wunsch des Künstlers aus "weil es eh keinen juckt" / "Who cares about censorship?" does not take place due to the artists "because no one cares."

u r 10, (with inventory) KAFFEEZIMMER "Wir sitzen, trinken Kaffee und schauen einfach aus dem Fenster"
Rheydt 1993, rotating room within a room, plaster boards and chipboards on a wooden construction with posts and wheels, 1 engine, 2 doors, 1 window, 1 lamp, 1 cupboard, grey wooden floor, white walls and ceiling, detached, ca. 35 - 105 cm distance to the outer room, window looking south (246 x 289 x 234 cm (L x W x H), S 1,8 - 35cm), HAUS u r, Rheydt, Germany 1985 - today
© Gregor Schneider / VG Bild-Kunst Bonn

Dienstag, 10. Mai 2016, 18 Uhr

Gregor Schneider


Vorhandene Räume (meist bewohnbare Innenräume) baut Schneider in Form, Funktion und Aussehen im Maßstab 1:1 nach. Zusätzlich werden diese Räume fotografiert und gefilmt. Die dargestellten Räume haben häufig einen persönlichen Bezug zum Künstler, die gleichwohl gesellschaftlich relevante Bezüge aufzeigen können.

Seine gebauten Räume und Projekte haben für viel Aufsehen und Diskussionen gesorgt, etwa sein »Haus u r 1985 - heute« (dafür wurde er im Jahre 2001 mit dem Goldenen Löwen der Biennale in Venedig ausgezeichnet), das Projekt »Cube« oder der »Sterberaum«. Seit Anfang der 1990er Jahre arbeitete er mit Räumen in Galerien und Museen.
Gregor Schneider beschrieb 1996 seine Arbeitsweise wie folgt: „es ist als wandere man durch die Schichtungen und Schalungen des eigenen Hirns und gehe dort den Mechanismen der Wahrnehmung und des Wissens nach“.

Tuesday, 10th May 2016, 6:00 p.m.

Gregor Schneider

Double life

Schneider reconstructs existing rooms (usually habitable rooms) in form, function and appearance at a 1:1 scale. Additionally, these rooms are photographed and filmed. The depicted rooms often bear a personal relationship to the artist, and yet they can also show socially relevant references.

His built spaces and projects have attracted much attention and provoked controversy, such as his Haus u r (for which he received the Golden Lion at the Venice Biennale in 2001), the project Cube, and The Dying Room. Since the early 1990s he has worked with spaces in galleries and museums.

Gregor Schneider describes in 1996 his working methods as follows: “It is as if one were to wander through the layers and undulations of one’s own brain in pursuit of the mechanisms of perception and knowledge”.

Wen juckt Zensur heute noch? / Who cares about censorship today?

(graphic elaboration) CUBE BERLIN
Hamburger Bahnhof - Museum für Gegenwart, Berlin
© Gregor Schneider / VG Bild-Kunst Bonn

Dienstag, 10. Mai 2016, 18 Uhr

Gregor Schneider

Wen juckt Zensur heute noch?

Vom CUBE vor dem Hamburger Bahnhof in Berlin über TOTLAST im Lehmbruck Museum Duisburg bis zu IT'S ALL RHEYDT in der Karlskirche zur Documenta in Kassel.

Der Künstler Gregor Schneider berichtet aus seiner eigenen Praxis
Seinen privat initiierten künstlerischen Vorhaben stellt er Arbeiten im öffentlichen institutionellen Ausstellungsbetrieb gegenüber.

Tuesday, 10th May 2016, 6:00 p.m.

Gregor Schneider

Who cares censorship today?

From CUBE (Hamburger Bahnhof / Berlin) via TOTLAST (Lehmbruck Museum Duisburg) to IT’S ALL RHEYDT (during Documenta at Karlskirche / Kassel).

Artist Gregor Schneider reports from his own experience.
He contrasts his privately initiated artistic projects with works within the public, institutional exhibition system.

Tania Bruguera with Gregor Schneider

Hear her voice!
For human rights and the freedom of art in CUBA!

Photo: Gregor Schneider, 23rd May 2015 20:12 La Habana, CUBA