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Rudolf Stingel

Rudolf Stingel, Untitled, 1986 Oil on canvas, 71 × 86 ¾ inches (180.3 × 220.3 cm)© Rudolf Stingel

Rudolf Stingel, Untitled, 1986

Oil on canvas, 71 × 86 ¾ inches (180.3 × 220.3 cm)
© Rudolf Stingel

Rudolf Stingel, Untitled (Instructions), 1990 Photograph, 59 ⅛ × 78 ¾ inches (150 × 200 cm)© Rudolf Stingel

Rudolf Stingel, Untitled (Instructions), 1990

Photograph, 59 ⅛ × 78 ¾ inches (150 × 200 cm)
© Rudolf Stingel

Rudolf Stingel, Untitled, 1994 Pigmented cast polyurethane rubber compound, 13 ⅜ × 10 ¼ × 1 ⅝ inches (34 × 26 × 4 cm)© Rudolf Stingel

Rudolf Stingel, Untitled, 1994

Pigmented cast polyurethane rubber compound, 13 ⅜ × 10 ¼ × 1 ⅝ inches (34 × 26 × 4 cm)
© Rudolf Stingel

Rudolf Stingel, Untitled, 1999 Styrofoam, 94 ¼ × 96 ⅛ inches (239.4 × 244 cm)© Rudolf Stingel

Rudolf Stingel, Untitled, 1999

Styrofoam, 94 ¼ × 96 ⅛ inches (239.4 × 244 cm)
© Rudolf Stingel

Rudolf Stingel, Untitled, 2000 Styrofoam, 96 × 192 × 4 inches (243.8 × 487.7 × 10.2 cm)© Rudolf Stingel

Rudolf Stingel, Untitled, 2000

Styrofoam, 96 × 192 × 4 inches (243.8 × 487.7 × 10.2 cm)
© Rudolf Stingel

Rudolf Stingel, Untitled, 2002 Celotex insulation board, wood, and aluminum, 95 × 92 ¾ inches (241.3 × 235.6 cm)© Rudolf Stingel

Rudolf Stingel, Untitled, 2002

Celotex insulation board, wood, and aluminum, 95 × 92 ¾ inches (241.3 × 235.6 cm)
© Rudolf Stingel

Installation view, Rudolf Stingel, Museum of Contemporary Art, Chicago, January 27–May 27, 2007 © Rudolf Stingel

Installation view, Rudolf Stingel, Museum of Contemporary Art, Chicago, January 27–May 27, 2007

© Rudolf Stingel

Rudolf Stingel, Untitled, 2008 Oil and enamel on linen, 83 × 67 inches (210.8 × 170.2 cm)© Rudolf Stingel

Rudolf Stingel, Untitled, 2008

Oil and enamel on linen, 83 × 67 inches (210.8 × 170.2 cm)
© Rudolf Stingel

Rudolf Stingel, Untitled, 2010 Oil and enamel on canvas, 130 × 185 inches (330 × 470 cm)© Rudolf Stingel

Rudolf Stingel, Untitled, 2010

Oil and enamel on canvas, 130 × 185 inches (330 × 470 cm)
© Rudolf Stingel

Rudolf Stingel, Untitled, 2010 Oil on canvas, 131 × 102 inches (333 × 259 cm)© Rudolf Stingel

Rudolf Stingel, Untitled, 2010

Oil on canvas, 131 × 102 inches (333 × 259 cm)
© Rudolf Stingel

Rudolf Stingel, Untitled, 2010 Oil on canvas, 132 × 180 ¾ inches (335.3 × 459.1 cm), Broad, Los Angeles© Rudolf Stingel

Rudolf Stingel, Untitled, 2010

Oil on canvas, 132 × 180 ¾ inches (335.3 × 459.1 cm), Broad, Los Angeles
© Rudolf Stingel

Rudolf Stingel, Untitled, 2012 Oil and enamel on canvas, 95 × 76 inches (241.3 × 193 cm)© Rudolf Stingel

Rudolf Stingel, Untitled, 2012

Oil and enamel on canvas, 95 × 76 inches (241.3 × 193 cm)
© Rudolf Stingel

Rudolf Stingel, Untitled, 2015 Oil and enamel on canvas, 95 × 76 inches (241.3 × 193 cm)© Rudolf Stingel

Rudolf Stingel, Untitled, 2015

Oil and enamel on canvas, 95 × 76 inches (241.3 × 193 cm)
© Rudolf Stingel

Rudolf Stingel, Untitled, 2016 Electroformed copper, plated nickel, and stainless steel, 47 ¼ × 47 ¼ inches (120 × 120 cm)© Rudolf Stingel

Rudolf Stingel, Untitled, 2016

Electroformed copper, plated nickel, and stainless steel, 47 ¼ × 47 ¼ inches (120 × 120 cm)
© Rudolf Stingel

About

I wouldn’t know where to say intervention stops and destruction begins. 
—Rudolf Stingel

From his captivatingly realistic oil paintings to his innovative use of Celotex, Styrofoam, carpet, and aluminum, Rudolf Stingel challenges traditional notions of what constitutes a painting. Often dealing with subjects of time, memory, and perception, he embraces industrial materials and ornamental design as vehicles for formal exploration and provoked coincidence, whereby the final state of certain installations is determined by the participation of the viewer.

Born in Merano, Italy, Stingel grew up in the Tyrolean Alps, a mountainous region where Austria, Italy, and Switzerland meet. In 1989, he completed Instructions, a limited-edition manual explaining (in several languages) how to make one of his silver paintings, abstract canvases with undertones of red, yellow, or blue. In his screenprints of these years, Stingel created impressions using folded and creased tulle, then sprayed over the compositions with silver spray paint.

In 1991, Stingel installed a bright orange carpet in Daniel Newberg Gallery, activating the space in an unprecedented way. Confronted with empty white walls, visitors instead could consider the pictorial qualities of the architectural interior.  Two years later, at the Biennale di Venezia, Stingel installed a red-orange carpet on the wall, further commenting on the power of display. And in 2004, his site-specific installation Plan B incorporated Stingel’s career-long interest in patterns and repetition, covering the floors of Grand Central Terminal’s Vanderbilt Hall in industrially printed pink and blue floral carpet.

The tensions between wall and floor, tactility and illusion run throughout Stingel’s oeuvre. In 1994, he created a series of monochromatic works cast in polyurethane, rubber compound, aluminum, or bronze. Boldly colored, the works are cast from sections of shag carpets, yet they hang on the wall like minimalist paintings. These were followed by the Styrofoam works of the late nineties and early 2000s. Panels of pink, white, blue, or green Styrofoam (often featuring their industrial logos) become platforms for Stingel’s patterns and gestures: from more mechanical grids of circles and ellipses to meandering lines and footprints.

In 2001, for his solo exhibition at the Museo d’Arte Moderna e Contemporanea in Trento, Italy, Stingel lined every available surface of one of the rooms of the museum with metallic Celotex insulation board and visitors drew, wrote, and made imprints on the surface of the reflective silver paneling. Eschewing the preciousness of the artist’s unique mark in favor of the collective gestures of thousands of viewers, Stingel repeated this participatory installation at the 50th Biennale di Venezia (2003); Palazzo Grassi, Venice, (2006); and at his retrospective at the Museum of Contemporary Art, Chicago (2007), which traveled to the Whitney Museum of American Art, New York, later that year.

Since 2005 Stingel has been painting photorealistic portraits of himself and others, as well as captivating views of mountains and sunsets. His first series of photorealistic self-portraits, Untitled (After Sam) (2005–06), was painted after black-and-white photographs of Stingel taken by American photographer Sam Samore. These were followed by paintings based on photographs of Stingel as a young man, both in black-and-white and in color, each painting capturing details such as the scratches and creases of the original printed photographs. These works enter into dialogue with Stingel’s metallic paintings based on carpet patterns, Damask wallpaper, chain link fences, and more.

Stingel’s site-specific exhibitions have become increasingly immersive, as he transforms galleries and museums into total works of art. His exhibition Live at the Neue Nationalgalerie, Berlin (2010) included a wall-to-wall black-and-white carpet printed with an image of an Agra rug, a huge crystal chandelier, and hyperrealistic paintings of the Alps; and at Palazzo Grassi in 2013, he covered the floors and walls with a carpet printed with the pattern of an older Oriental rug, and hung both abstract and photorealistic paintings over it, creating a subdued, all-encompassing environment for his work.

In 2015 Stingel embarked on a series of eight consecutive installations at Gagosian’s Park & 75 gallery in New York, conceived as a single monumental exhibition. In Part I (2015) Stingel presented large oil paintings with multicolored impressions of a Chintamani carpet and a small portrait on paper of a youthful Franz West; Part II (2016) included gold paintings with a chain-link pattern, a small grisaille portrait of Ernst Ludwig Kirchner, and white wall-to-wall carpeting; in Part III (2016) featured large photorealist canvases layered with colorful carpet patterns; Part IV (2016) was a single silver monochrome triptych derived from images of Plan B at Grand Central; Part V (2016) paired a small photorealist portrait with ornate gold paintings; Part VI (2016) consisted of gleaming silver panels cast from sections of inscribed Celotex from previous installations; and both Part VII (2016) and Part VIII (2016–17) presented paintings based on a mural by Ludwig Bemelmans in New York’s Carlyle Hotel.

In 2017, for a private presentation at Casa Malaparte in Capri, Stingel showed multicolored, metallic canvases reminiscent of his early silver paintings—as if the earlier canvases were reflecting some of the spectral color of his more recent sunset works. Stingel’s series continue to build upon and depart from one another, expanding definitions of art and authorship along the way.

Rudolf Stingel

Artwork © Rudolf Stingel

Fairs, Events & Announcements

Rudolf Stingel. Photo: Lina Bertucci

In Conversation

Rudolf Stingel
Udo Kittelmann

Sunday, May 26, 2019, 6:30pm
Fondation Beyeler, Riehen/Basel
www.fondationbeyeler.ch

On the occasion of the opening of Rudolf Stingel’s exhibition at the Fondation Beyeler, the artist will speak with curator Udo Kittelmann about his work. To view a live-stream of the event, visit the Fondation Beyeler’s Facebook page. To attend the event, purchase tickets at fondationbeyeler.ch.

Rudolf Stingel. Photo: Lina Bertucci

Rembrandt van Rijn, Self-Portrait with Two Circles, c. 1665, English Heritage, The Iveagh Bequest (Kenwood, London). Photo: Historic England Photo Library

Tour

Visions of the Self: Rembrandt and Now
In partnership with English Heritage

Thursday, April 25, 2019, 6pm
Gagosian, Grosvenor Hill, London

Gagosian director and art historian Richard Calvocoressi will lead a tour of the exhibition Visions of the Self: Rembrandt and Now at Gagosian, Grosvenor Hill, London. Calvocoressi will take a look at postwar and contemporary masters of self-representation, anchoring the conversation to an important Rembrandt masterpiece included in the exhibition, Self-Portrait with Two Circles (c. 1665). The event has reached capacity. To join the wait list, contact londontours@gagosian.com.

Rembrandt van Rijn, Self-Portrait with Two Circles, c. 1665, English Heritage, The Iveagh Bequest (Kenwood, London). Photo: Historic England Photo Library

Damien Hirst, Truffle, 2016 © Damien Hirst and Science Ltd. All rights reserved, DACS 2018

Art Fair

artgenève

January 31–February 3, 2019, booth B19
Palexpo, Geneva
www.artgeneve.ch

Gagosian is pleased to participate in artgenève 2019, with modern and contemporary artworks by Georg Baselitz, Chris Burden, Urs Fischer, Romuald Hazoumè, Damien Hirst, Sally Mann, Olivier Mosset, Steven Parrino, Giuseppe Penone, Richard Serra, Rudolf Stingel, Spencer Sweeney, Mark Tansey, Tatiana Trouvé, Tom Wesselmann, Franz West, and others.

To receive a PDF with detailed information on the works, please contact the gallery at inquire@gagosian.com. To attend the fair, purchase tickets at artgeneve.ch. To preview our booth, go to artsy.net.

Download the full press release in English or French

Damien Hirst, Truffle, 2016 © Damien Hirst and Science Ltd. All rights reserved, DACS 2018

See all News for Rudolf Stingel

Museum Exhibitions

Rudolf Stingel, Untitled, 2013 © Rudolf Stingel. Photo: Christopher Burke Studio

Opening this Week

Rudolf Stingel

May 26–October 6, 2019
Fondation Beyeler, Riehen/Basel
www.fondationbeyeler.ch

Since the late 1980s, Rudolf Stingel has approached painting in a conceptual and self-reflective way, exploring its possibilities and media-specific boundaries in the interplay of artistic approaches, materials, and forms. The accidental traces of time emerge in his works, as do conscious references to his own production process. This is the first museum exhibition in Europe to present Stingel’s important series of works from all periods of his career. New works were created for the exhibition.

Rudolf Stingel, Untitled, 2013 © Rudolf Stingel. Photo: Christopher Burke Studio

Rudolf Stingel, Untitled (Alpino, 1976), 2006, Pinault Collection © Rudolf Stingel. Photo by Stefan Altenburger

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Dancing with Myself

April 8–December 16, 2018
Punta della Dogana, Venice
www.palazzograssi.it

Dancing with Myself explores the importance of the artist’s role as an actor in and subject of his own creations, from the 1970s to today. The exhibition brings together a great range of artistic practices, languages, cultures, geographic origins, generations, and experiences, establishing a tension between different artistic approaches. Work by Urs Fischer, Cindy Sherman, and Rudolf Stingel is included.

Rudolf Stingel, Untitled (Alpino, 1976), 2006, Pinault Collection © Rudolf Stingel. Photo by Stefan Altenburger

Jeff Koons, Rabbit, 1986 © Jeff Koons.Photo by Nathan Keay © MCA Chicago

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We Are Here

August 19, 2017–April 1, 2018
Museum of Contemporary Art Chicago
mcachicago.org

In honor of the Museum of Contemporary Art’s fiftieth anniversary, the museum presents We Are Here, a three-part exhibition drawn from its collection. I Am You gathers works that question how we relate to and shape our environments; You Are Here examines how the role of the viewer has changed over time; and We Are Everywhere showcases artists who borrow from popular culture. Work by Richard Artschwager, Francis Bacon, Chris Burden, Ellen Gallagher, Andreas Gursky, Michael Heizer, Jasper Johns, Jeff Koons, Takashi Murakami, Bruce Nauman, Richard Serra, Cindy Sherman, Rudolf Stingel, Andy Warhol, and Franz West is included.

Jeff Koons, Rabbit, 1986 © Jeff Koons.
Photo by Nathan Keay © MCA Chicago

Installation view, Wild West, Austrian Cultural Forum, New York, September 20, 2017–January 22, 2018. Artwork © Urs Fischer and © Rudolf Stingel. Photo by David Plakke/ACFNY

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Wild West

September 19, 2017–January 22, 2018
Austrian Cultural Forum, New York
www.acfny.org

Wild West is a group exhibition commemorating the dynamic legacy of the late Austrian artist Franz West. Curated by former West collaborator Andreas Reiter Raabe, the show consists of works by Franz West, his New York–based contemporaries, including Urs Fischer and Rudolf Stingel, and commissioned works by emerging artists from both New York and Austria.

Installation view, Wild West, Austrian Cultural Forum, New York, September 20, 2017–January 22, 2018. Artwork © Urs Fischer and © Rudolf Stingel. Photo by David Plakke/ACFNY