• Adrian Ghenie
    Recent Releases


    Adrian Ghenie, ‘the world’s most exciting painter under the age of 50’ according to Jackie Wullschlager, Chief Art Critic for the Financial Times, was recently the subject of a  landmark exhibition at the Hermitage museum, I have turned my only face. We are pleased to announce the launch of the much-anticipated catalogue co-published by the Hermitage and the gallery, as well as a comprehensive monograph spanning his painting practice since 2014 published by Hatje Cantz, and a literary essay by French writer Yannick Haenel from Actes Sud. 

    On this occasion we have made Ghenie’s interview by Dimitri Ozerkov from the Hermitage catalogue available to read in full, as well as excerpts from the gallery’s recent publications on the artist. 

    In her article on the role of nature paintings in times of crisis, Jackie Wullschläger highlights the visionary landscapes by Adrian Ghenie, the ‘Romanian maestro of dystopian scenography’ (article available here).


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    Adrian Ghenie: I have turned my only face

    Co-published with The State Hermitage Museum, St. Petersburg, Russia
    Introduction by Mikhail Piotrovsky, texts by Dimitri Ozerkov, Anastasiia Veialko, conversation between Adrian Ghenie and Dimitri Ozerkov

    Take a virtual tour of the Hermitage’s Dutch collection which inspired the artist.

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    Adrian Ghenie: Paintings 2014 to 2019

    Published by Hatje Cantz
    Edited by Juerg Judin

    A comprehensive monograph tracing the development of the artist’s practice from 2014 and featuring new scholarship by art historians Pamela Kort and Michael Peppiatt, with a text by Juerg Judin.  

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    Adrian Ghenie: Déchaîner la peinture

    Published by Actes Sud | Beaux-Arts
    Essay by Yannick Haenel

    An inspired and feverish essay on Adrian Ghenie’ (The Art Newspaper) by French writer Yannick Haenel which reflects on painting in an age of image saturation and flux.

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    Explore our Adrian Ghenie publications


    Read In Praise of Shadows, Conversation Between Adrian Ghenie and Dimitri Ozerkov

    As a boy Adrian Ghenie came across a catalogue of 17th and 18th century Dutch paintings from the Hermitage Museum, which had a profound effect on him, forming the basis for his encyclopaedic knowledge of art history. In his solo exhibition at the Hermitage, the artist’s new works reference the paintings of the Old Masters in an artistic homage to the museum’s collection.


    The balance of the canvas is like the twisting branches of trees: they grow from all sides, here and there they meet at right angles, but they never intertwine and never get tangled. – Dimitri Ozerkov

     

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    Exhibition views, 'I Have Turned My Only Face', The State Hermitage Museum, St. Petersburg, Russia, 2019




     

    Read a poem by Ghérasim Luca in light of Adrian Ghenie’s Jungles in Paris paintings

    The title Jungles in Paris is drawn from Henri Rousseau’s exhibition at Tate Modern in 2005–06, which inspired Ghenie’s series of works exploring the juxtaposition of urban Paris with the wild, untethered jungle. Alongside his paintings, the publication includes Ghenie’s collages and charcoals that reveal his approach to composition and movement. It opens with Self-Shadowing Prey (c. 1989), a visually forceful poem by Romanian-born, Paris-based writer Ghérasim Luca (1913–1994) which resonates with Ghenie’s sensibility and iconography.

     

    Adrian Ghenie: Jungles in Paris

    Galerie Thaddaeus Ropac, Paris Marais, 2018
    Poem by Ghérasim Luca

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    Exhibition views, Jungles in Paris, Galerie Thaddaeus Ropac, Paris Marais, 2018


     

    Read a passage from curator Luca Massimo Barbero’s essay on The Battle Between Carnival and Feast

    Adrian Ghenie experiments with colour in ten paintings produced specifically for his exhibition at the Palazzo Cini in Venice. Here, Ghenie’s abstract figural paintings are presented alongside a text by art historian Luca Massimo Barbero which envisions Ghenie’s work as a shifting, unstable battleground in which sparring ideas and images confront the tradition of European painting.

    The chronicle of the new portraits breaks in like a battle. The sudden lightning, the liquefying construction, the portrait like an impossible, yet true mask. Painting as the drama of a feast. – Luca Massimo Barbero 

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

    Adrian Ghenie: The Battle Between Carnival and Feast

    Palazzo Cini, Venice, 2019
    Text by Luca Massimo Barbero

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    Exhibition views, The Battle Between Carnival and Feast, Palazzo Cini, Venice, coinciding with the 58th Venice Biennale, 2019