Tag Archives: Jutta Koether


I have always been interested in the potentials of misunderstandings. — Jutta Koether

A show of early work by Jutta Koether is on view in Berlin for two more weeks.


Through January 25.

Galerie Buchholz

Fasanenstrasse 30, Berlin.

Jutta Koether, Early Works 1982–1992, Galerie Buchholz, November 22, 2019–January 25, 2020, from top: Permanently Pale, 1983, oil on canvas; Untitled, 1984, charcoal on paper; Untitled, 1982, collage, acrylic and felt-tip pen on paper; Untitled, 1988, oil on canvas; Instant of Instinct, 1984, oil on canvas; Untitled, 1983, oil on canvas; Untitled, 1983, oil on canvas; Untitled, 1983, oil on canvas; Straight Girl, 1984, oil on canvas; Massen, 1991, oil on canvas; Massen, 1991, oil on canvas; You and Me Like Money and Time, 1985, oil on canvas; Untitled, 1986, oil on canvas. Images courtesy and © the artist and Galerie Buchholz.


In her performances, Jutta Koether enacts a highly specific form of entangled action centering on and around specific artworks. Embedded with performative possibility, these objects—positioned in a room, a situation, a city—circuit together in a network of language, duration, and the artist’s active negotiation between producer and produced.*


Sunday, January 5, at 2 pm.

Artists Space

11 Cortlandt Alley, New York City.

Jutta KoetherFifth Season Act, Apotheosically, Artists Space, 2012 (2); Koether (right) and Kim Gordon at the Mike Kelley opening, Geffen Contemporary at MOCA, Los Angeles, March 30, 2014, photograph by Rachel Murray.


What does a feminist exhibition on masculinity look like? This was the question asked by curators Eva Birkenstock, Michelle Cotton, and Nikola Dietrich while organizing MASKULINITÄTEN, their three-part exhibition now open in Bonn, Cologne, and Düsseldorf.

The Bonn section—curated by Cotton, head of Artistic Programmes and Content at Mudam, Luxembourg—includes work by Lynda Benglis, Judith Bernstein, Alexandra Bircken, Patricia L. Boyd, Jana Euler, Hal FischerEunice Golden, Richard Hawkins, Jenny Holzer, Hudinilson Jr., Allison Katz, Mahmoud Khaled, Hilary Lloyd, Sarah Lucas, Robert Morris, D’Ette Nogle, Puppies Puppies (Jade Kuriki Olivo), Bea Schlingelhoff, and Anita Steckel.

The Cologne section—curated by Dietrich, director of the Kölnischer Kunstverein—includes Georgia Anderson & David Doherty & Morag Keil & Henry Stringer, Louis Backhouse, Olga Balema, Gerry Bibby, Juliette Blightman, Anders Clausen, Enrico David, Jonathas de Andrade, Jimmy DeSana, Hedi El Kholti, Hilary Lloyd, Shahryar Nashat, Carol Rama, Bea Schlingelhoff, Heji Shin, Evelyn Taocheng Wang, Carrie Mae Weems, Marianne Wex, Martin Wong, and Katharina Wulff.

The presentation in Düsseldorf—curated by Birkenstock, director of the Kunstverein for the Rheinland and Westfalen, Düsseldorf—features the work of Vito Acconci, The Agency, Keren Cytter, Vaginal Davis, Nicole Eisenman, Andrea Fraser, keyon gaskin with Samiya Bashir, sidony o’neal & Adee Roberson, Philipp GuflerAnnette Kennerley, Sister Corita Kent, Jürgen Klauke, Jutta Koether, Tetsumi Kudo, Klara LidénHenrik Olesen, D.A. Pennebaker & Chris Hegedus, Josephine Pryde, Lorenzo Sandoval, Julia Scher, Agnes Scherer, Bea Schlingelhoff, Katharina Sieverding, Nancy Spero, and Evelyn Taocheng Wang.

MASKULINITÄTEN will be accompanied by a catalogue published by Koenig Books, with contributions by—among others—CAConrad, Nelly Gawellek, Chris Kraus, Quinn Latimer, Kerstin Stakemeier, Marlene Streeruwitz, and Änne Söll.


Through November 24.

Bonner Kunstverein

Hochstadenring 22, Bonn.

Kölnischer Kunstverein

Hahnenstrasse 6, Cologne.

Kunstverein Düsseldorf

Grabbeplatz 4, Düsseldorf.

Maskulinitäten, a co-operation of the Bonner Kunstverein, Kölnischem Kunstverein, and Kunstverein für die Rheinlande und Westfalen, Düsseldorf, September 1–November 24, 2019. Cologne installation photographs by Mareike Tocha, except second from top and fourth from bottom, by Katja Illner. Images courtesy and © the artists, the institutions, and the photographers.



This weekend the Mike Kelley retrospective opens at MOCA. The exhibition travelled from the Stedelijk Museum in Amsterdam to MoMA/PS1 in New York, and it ends in his hometown of Los Angeles. This is the largest exhibition of Kelley’s work, spanning his career from 1974 to early 2012. It features, “…drawings on paper, sculpture, performance, music, video, photography, and painting – exploring themes as diverse as American class relations, sexuality, repressed memory, systems of religion and transcendence, and post-punk politics…” The exhibition runs from March 31 – July 28, 2014 at The Geffin Contemporary.

Member’s Preview

Sunday March 30th from 1-6pm.

1pm – Dancers will perform Mike Kelley and choreographer Anita Pace’s Pansy Metal/Clovered Hoof from 1989

3pm – Performance by Kim Gordon and Jutta Koether