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Anselm Kiefer

Next Year in Jerusalem

November 6–December 18, 2010
West 24th Street, New York

Installation view Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation view

Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation view Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation view

Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation view Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation view

Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation view  Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation view

Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation view  Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation view

Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation view Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation view

Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation view Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation view

Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation view  Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation view

Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation view Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation view

Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation video

Installation video

Works Exhibited

Anselm Kiefer, Die Schechina, 2010 Painted resin dress, glass shards, steel, numbered glass disks, and wire, in inscribed glass and steel vitrine, 179 ⅛ × 82 ¾ × 82 ¾ inches (455 × 210 × 210 cm)© Anselm Kiefer

Anselm Kiefer, Die Schechina, 2010

Painted resin dress, glass shards, steel, numbered glass disks, and wire, in inscribed glass and steel vitrine, 179 ⅛ × 82 ¾ × 82 ¾ inches (455 × 210 × 210 cm)
© Anselm Kiefer

Anselm Kiefer, San Loreto, 2009–10 Oil, emulsion, acrylic, and shellac on canvas, 185 × 220 ½ × 3 ⅞ inches (470 × 560 × 10 cm)© Anselm Kiefer

Anselm Kiefer, San Loreto, 2009–10

Oil, emulsion, acrylic, and shellac on canvas, 185 × 220 ½ × 3 ⅞ inches (470 × 560 × 10 cm)
© Anselm Kiefer

Anselm Kiefer, Winterwald, 2010 Oil, emulsion, acrylic, shellac, ash, torn bushes, synthetic teeth, and snakeskin on canvas, in glass and steel frames; in 3 parts; overall: 130 ¾ × 226 ¾ × 13 ¾ inches (332 × 576 × 35 cm)© Anselm Kiefer

Anselm Kiefer, Winterwald, 2010

Oil, emulsion, acrylic, shellac, ash, torn bushes, synthetic teeth, and snakeskin on canvas, in glass and steel frames; in 3 parts; overall: 130 ¾ × 226 ¾ × 13 ¾ inches (332 × 576 × 35 cm)
© Anselm Kiefer

Anselm Kiefer, Flying Fortress, 2010 Airplane engine, steel, photographs, lead, and oil, emulsion, acrylic, and shellac on clay on canvas, in inscribed glass and steel vitrine, 94 ½ × 169 ¼ × 90 ⅝ inches (240 × 430 × 230 cm)© Anselm Kiefer

Anselm Kiefer, Flying Fortress, 2010

Airplane engine, steel, photographs, lead, and oil, emulsion, acrylic, and shellac on clay on canvas, in inscribed glass and steel vitrine, 94 ½ × 169 ¼ × 90 ⅝ inches (240 × 430 × 230 cm)
© Anselm Kiefer

Anselm Kiefer, Ararat, 2010 9 lead boats, wire, and oil, emulsion, acrylic, shellac, and clay on canvas, in inscribed glass and steel vitrine, 114 ⅛ × 216 ½ × 90 ⅝ inches (290 × 550 × 230 cm)© Anselm Kiefer

Anselm Kiefer, Ararat, 2010

9 lead boats, wire, and oil, emulsion, acrylic, shellac, and clay on canvas, in inscribed glass and steel vitrine, 114 ⅛ × 216 ½ × 90 ⅝ inches (290 × 550 × 230 cm)
© Anselm Kiefer

Anselm Kiefer, die Sefiroth, 2010 Burned books, wire, steel, and numbered and inscribed glass disks, in inscribed glass and steel vitrine, 91 × 51 ¼ × 51 ¼ inches (231 × 130 × 130 cm)© Anselm Kiefer

Anselm Kiefer, die Sefiroth, 2010

Burned books, wire, steel, and numbered and inscribed glass disks, in inscribed glass and steel vitrine, 91 × 51 ¼ × 51 ¼ inches (231 × 130 × 130 cm)
© Anselm Kiefer

Anselm Kiefer, Kältestrom, 2010 Plaster-coated thorn bushes, plaster refrigerator, and resin ice cubes, in inscribed glass and steel vitrine, 126 ⅝ × 51 ¼ × 51 ¼ inches (322 × 130 × 130 cm)© Anselm Kiefer

Anselm Kiefer, Kältestrom, 2010

Plaster-coated thorn bushes, plaster refrigerator, and resin ice cubes, in inscribed glass and steel vitrine, 126 ⅝ × 51 ¼ × 51 ¼ inches (322 × 130 × 130 cm)
© Anselm Kiefer

Anselm Kiefer, Fitzcarraldo, 2010 Oil, emulsion, acrylic, shellac, ash, thorn bushes, resin ferns, synthetic teeth, lead, and rust on canvas, in glass and steel frames; in 4 parts; overall: 130 ¾ × 302 ⅜ × 13 ¾ inches (332 × 768 × 35 cm)© Anselm Kiefer

Anselm Kiefer, Fitzcarraldo, 2010

Oil, emulsion, acrylic, shellac, ash, thorn bushes, resin ferns, synthetic teeth, lead, and rust on canvas, in glass and steel frames; in 4 parts; overall: 130 ¾ × 302 ⅜ × 13 ¾ inches (332 × 768 × 35 cm)
© Anselm Kiefer

About

There is a special border, the border between art and life that often shifts deceptively. Yet, without this border, there is no art. In the process of being produced, art borrows material from life, and the traces of life still shine through the completed work of art. But, at the same time, the distance from life is the essence, the substance of art. And, yet, life has still left its traces. The more scarred the work of art is by the battles waged on the borders between art and life, the more interesting it becomes.
—Anselm Kiefer

Gagosian is pleased to present Next Year in Jerusalem, Anselm Kiefer’s first exhibition in New York since 2002.

The exhibition centers around the installation Occupations, which transforms the series of photographs from 1969 in which Kiefer appears making the Hitlergruß in front of European sites of historical significance. Inside a steel enclosure, seventy-six photographs, newly printed in large scale, are mounted on lead and hung slightly apart, one in front of the other, on thick metal hooks. While the mass of images can be sensed, the arrangement is only partially visible through open doors in the sides of the container. This imposing structure contains Kiefer’s provocative act, literally and imaginatively, to remind us of what has happened and what can still happen in the world. Occupations is a visceral confrontation between history and the present that is lodged in the stuff of memory.

Kiefer has transformed the space that surrounds Occupations into a labyrinth of glass and steel vitrines, some more than twenty feet high. Each vitrine is a tableau of organic and inorganic material—cotton dresses, palms, bushes, an airplane fuselage, and burned books. They appear like ancient reliquaries with titles inscribed directly on the glass. In these works, Kiefer inverts the historical and ritualistic connotations of his chosen materials, particularly lead. In Valentinus, named for the second-century Gnostic theologian, lead buckets and chains are juxtaposed with synthetic diamonds and wire; in Die Schechina a disembodied white dress is molded to an invisible female figure and pierced by glass shards and numbered glass disks, in reference to one of the ten Kabbalistic markers of spiritual presence.

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