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Anselm Kiefer

Exodus

November 12–December 23, 2022
555 West 24th Street, New York

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Installation video

Installation view with Anselm Kiefer, Yeẓi’at Miẓrayim (2020–21) Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation view with Anselm Kiefer, Yeẓi’at Miẓrayim (2020–21)

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 with Anselm Kiefer, Danaë (2016–21) Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation view with Anselm Kiefer, Danaë (2016–21)

Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation view Artwork © Anselm Kiefer. Photo: Rob McKeever

Installation view

Artwork © Anselm Kiefer. Photo: Rob McKeever

Works Exhibited

Anselm Kiefer, des Malers Atelier (The Painter’s Studio), 2021 Emulsion, oil, acrylic, shellac, gold leaf, and chalk on canvas, 129 ⅞ × 224 ⅜ inches (330 × 570 cm)© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, des Malers Atelier (The Painter’s Studio), 2021

Emulsion, oil, acrylic, shellac, gold leaf, and chalk on canvas, 129 ⅞ × 224 ⅜ inches (330 × 570 cm)
© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, Danaë, 2016–21 Emulsion, acrylic, oil, shellac, gold leaf, coal, metal, and wires on canvas, 12 feet 5 ⅝ inches × 43 feet 7 ⅝ inches (3.8 × 13.3 m)© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, Danaë, 2016–21

Emulsion, acrylic, oil, shellac, gold leaf, coal, metal, and wires on canvas, 12 feet 5 ⅝ inches × 43 feet 7 ⅝ inches (3.8 × 13.3 m)
© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, Nehebkau, 2021 Emulsion, oil, acrylic, shellac, fabric, metal, terracotta, and chalk on canvas, 149 ⅝ × 149 ⅝ inches (380 × 380 cm)© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, Nehebkau, 2021

Emulsion, oil, acrylic, shellac, fabric, metal, terracotta, and chalk on canvas, 149 ⅝ × 149 ⅝ inches (380 × 380 cm)
© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, Für E.T.A. HOFFMANN (For E.T.A. HOFFMANN), 2021 Emulsion, oil, acrylic, shellac, gold leaf, metal, terracotta, clay, fabric, paintbrush, charcoal, and chalk on canvas, 110 ¼ × 224 ½ inches (280 × 570 cm)© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, Für E.T.A. HOFFMANN (For E.T.A. HOFFMANN), 2021

Emulsion, oil, acrylic, shellac, gold leaf, metal, terracotta, clay, fabric, paintbrush, charcoal, and chalk on canvas, 110 ¼ × 224 ½ inches (280 × 570 cm)
© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, Für E.T.A. HOFFMANN: der goldene Topf (For E.T.A. HOFFMANN: The Golden Pot), 2021 Emulsion, oil, acrylic, shellac, metal, clay, chalk, and gold leaf on canvas, 110 ¼ × 149 ⅝ inches (280 × 380 cm)© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, Für E.T.A. HOFFMANN: der goldene Topf (For E.T.A. HOFFMANN: The Golden Pot), 2021

Emulsion, oil, acrylic, shellac, metal, clay, chalk, and gold leaf on canvas, 110 ¼ × 149 ⅝ inches (280 × 380 cm)
© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, EXODUS, 2022 Emulsion, oil, acrylic, shellac, gold leaf, sediment of electrolysis, metal, rope, and paper on canvas, 259 ¼ × 299 ¼ inches (660 × 760 cm)© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, EXODUS, 2022

Emulsion, oil, acrylic, shellac, gold leaf, sediment of electrolysis, metal, rope, and paper on canvas, 259 ¼ × 299 ¼ inches (660 × 760 cm)
© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, EXODUS, 2022 Emulsion, oil, acrylic, shellac, gold leaf, sediment of electrolysis, and fabric on canvas, 149 ⅝ × 220 ½ inches (380 × 560 cm)© Anselm Kiefer. Photo: Georges Poncet

Anselm Kiefer, EXODUS, 2022

Emulsion, oil, acrylic, shellac, gold leaf, sediment of electrolysis, and fabric on canvas, 149 ⅝ × 220 ½ inches (380 × 560 cm)
© Anselm Kiefer. Photo: Georges Poncet

About

I have been a stranger in a strange land.
—Exodus 2:22

Gagosian is pleased to announce Exodus, an exhibition of new work by Anselm Kiefer in New York and Los Angeles, to open on November 12 at 555 West 24th Street, New York, and on November 19 at Gagosian at Marciano Art Foundation, 4357 Wilshire Boulevard, Los Angeles.

The large-scale paintings on view in New York and Los Angeles employ a wide range of materials including paint, terra-cotta, fabric, rope, wire, found objects, sediment of electrolysis, and metal—including copper and gold leaf. Mixing the abject and the exalted, these works are imbued with gesture, a sense of metamorphosis, and alchemical symbolism.

Kiefer’s syncretic approach to materials extends to his understanding of history, literature, and mythology as forces that inform the present. In this new body of work, he incorporates inscriptions in Hebrew from the book of Exodus, with thematic references to its narrative blended with a diversity of other sources. Full of symbolic thresholds between peoples, places, and times, the paintings are metaphysical allegories that meditate on loss and deliverance, dispossession and homecoming.

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Michael Govan and Anselm Kiefer

In Conversation
Anselm Kiefer and Michael Govan

On the occasion of his exhibition Anselm Kiefer: Exodus at Gagosian at Marciano Art Foundation in Los Angeles, the artist spoke with Michael Govan about his works that elaborate on themes of loss, history, and redemption.

Hans Ulrich Obrist’s Questionnaire: Anselm Kiefer

Hans Ulrich Obrist’s Questionnaire: Anselm Kiefer

In this ongoing series, curator Hans Ulrich Obrist has devised a set of thirty-seven questions that invite artists, authors, musicians, and other visionaries to address key elements of their lives and creative practices. Respondents make a selection from the larger questionnaire and reply in as many or as few words as they desire. For the fourth installment, we are honored to present the artist Anselm Kiefer.

Jerome Rothenberg in a chair

In Conversation
Jerome Rothenberg and Charles Bernstein

Gagosian and Beyond Baroque Literary | Arts Center hosted a conversation between poets Jerome Rothenberg and Charles Bernstein inside Anselm Kiefer’s exhibition Exodus at Gagosian at Marciano Art Foundation, Los Angeles. Rothenberg and Bernstein explored some of the themes that occupy Kiefer—Jewish mysticism, the poetry of Paul Celan, and the formulation of a global poetics in response to the Holocaust—in a discussion and readings of their poetry.

Anna Weyant’s Two Eileens (2022) on the cover of Gagosian Quarterly, Winter 2022

Now available
Gagosian Quarterly Winter 2022

The Winter 2022 issue of Gagosian Quarterly is now available, featuring Anna Weyant’s Two Eileens (2022) on its cover.

Darkly lit road, trees, and building exterior at La Ribaute, Barjac, France.

Anselm Kiefer: Architect of Landscape and Cosmology

Jérôme Sans visits La Ribaute in Barjac, France, the vast studio-estate transformed by Anselm Kiefer over the course of decades. The labyrinthine site, now open to the public, stands as a total work of art, reflecting through its grounds, pavilions, and passageways major themes in Kiefer’s oeuvre: regeneration, mythology, memory, and more. 

Two dress sculptures in the landscape at Barjac

La Ribaute: Transitive, It Transforms

Camille Morineau writes of the triumph of the feminine at Anselm Kiefer’s former studio-estate in Barjac, France, describing the site and its installations as a demonstration of women’s power, a meditation on inversion and permeability, and a reversal of the long invisibility of women in history and myth.