
The Bad Ones Don’t Deserve It
Albert Oehlen in conversation with Max Dax.
I’ve always been looking for trouble.
—Albert Oehlen.
Gagosian is pleased to present an exhibition of new paintings by Albert Oehlen. For his first show at the gallery in London since 2016, Oehlen continues to explore the rich possibilities and the future of painting. He riffs on fragments, forms, and entire motifs of his imagination in a manner that echoes both the sampling of a musical composition and the mechanisms of cinematography. These references are the vehicles for vivid painterly invention.
Oehlen’s images are divided, repeated, and distorted to conjure a new pictorial narrative. His original source is reimagined; it is at times decipherable, and at others annihilated. The subject of these paintings is, arguably, unimportant; it is the act of transferring images into a new state that is now significant. The result is sometimes a regular, repeated composition that follows from one section to the next. Yet in other paintings, he chooses much more irregular twists and turns, filled with different possible shapes and endings. There is no barrier between abstraction and figuration, improvisation and control, only the endless potential of the medium.

Albert Oehlen in conversation with Max Dax.

On the occasion of Willem de Kooning: Endless Painting, curated by Cecilia Alemani and comprising paintings from 1944 through 1986 and two sculptures, the Quarterly revisits a conversation between Albert Oehlen and John Corbett from 2013. The pair reflect on de Kooning’s late work and its lasting influence on them.

The artist speaks with Mark Godfrey about his new paintings, touching on the works’ relationship to John Graham, the Rothko Chapel, and Leigh Bowery.

The Summer 2021 issue of Gagosian Quarterly is now available, featuring Carrie Mae Weems’s The Louvre (2006) on its cover.

Albert Oehlen speaks to Mark Godfrey about a recent group of abstract paintings, “academic” art, reversing habits, and questioning rules.
This film by Albert Oehlen, with music by Tim Berresheim, takes us inside the artist’s studio in Switzerland as he works on a new painting.

Hans Ulrich Obrist interviews the artist on the occasion of his recent exhibition at the Serpentine Galleries, London.

The artist met with art historian Christian Malycha to discuss his newest paintings.

The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.

At the Palazzo Grassi, Venice, a career-spanning exhibition of paintings by Albert Oehlen, entitled Cows by the Water, went on view in the spring of 2018. Caroline Bourgeois, the curator of the exhibition, discusses how the show was organized around the artist’s relationship to music.