Exhibitions – Gerold Miller

Casado Santapau is pleased to open the 4th solo exhibition of Berlin artist Gerold Miller at the gallery on 11 April 2024.

Gerold Miller (*1961) has been exploring questions of imagery, sculpture and space in his artistic work for 35 years. The setting of art as place and presence plays an important role in the artist’s oeuvre. It is about the viewer’s perspective on themselves and how they position themselves in space. The fusion of art object and viewer becomes an ever new process and makes simultaneity an essential factor. With his oeuvre, the artist succeeds in uniting opposing parameters such as space and time, stillness and movement, subject and object in one work of art.

A similar interpretation of this setting can also be found in the work „The Studio“ by Gustave Courbet (1855), which occupied Gerold Miller from an early age: The relationship between private and public, reality and art, and the studio as a place of intellectual encounters and dialogue described in the painting remain essential elements of the artist’s work to this day.

With this presentation, Miller is consciously connecting to his last exhibition at Casado Santapau, in which he exhibited his works in transport crates as if in a studio. In the current exhibition, the sculptures (Verstärker) are also shown in this way alongside the instant vision. A new group of works from the set series will also be presented for the first time in this context.

In this exhibition, various minimalist-conceptual approaches to the theme of image-sculpture-space come together, which are broken up by the repetition, by the staging of the works in the gallery and by the moderate dynamics of the new set. The three different groups of works bring together various decentralised levels of spatial experience and create a field of tension in which they can be read both as a whole and separately.

Gerold Miller’s work is represented in important collections and museums worldwide, such as the Nationalgalerie Berlin, Hamburger Kunsthalle, Lehnbachhaus Munich, New Orleans Museum of Art, Museo di Arte Moderna Bologna, Louisiana Museum of Modern Art, Humlebaek.

Gerold Miller lives and works in Berlin and Pistoia/ Italy.

Galeria Casado Santapau Website

Ob Philosophie, Alchemie, Religion, Esoterik, Naturwissenschaft oder Kunst: Seit Jahrhunderten beschäftigen sich unterschiedlichste Disziplinen mit der Lehre der vier Elemente. Die Idee, dass die Erde bzw. das gesamte Universum aus Feuer, Wasser, Erde und Luft zusammengesetzt ist, entsteht bereits in der Antike. Nach Aristoteles existiert zudem ein fünftes Element, das er Äther beziehungsweise Quintessenz nennt und als nichtweltlichen Stoff bezeichnet. Dennoch setzt sich die Bezeichnung der Vier-Elemente-Lehre durch, die in diesen ein Urprinzip mit transformativen Kräften erkennt, das gleichzeitig dynamisch und immer gültig ist. Diese Idee bleibt ein bedeutender Orientierungspunkt allen Wissens bis zur Aufklärung. Mit dem Aufkommen neuer Entdeckungen und Erkenntnissen in den Naturwissenschaften, im Besondern in der Chemie, wird der Begriff Element umgedeutet. Darunter versteht man nun Stoffe, die nicht weiter trennbar sind; das Periodensystem ordnet diese.

Aus heutiger Sicht scheint die Erklärung der Welt mit der Vier-Elemente-Lehre veraltet, doch die Fragen die damals gestellt wurden bleiben immer noch ungelöst: Wie entstanden Erde und Universum? Und gibt es ein Prinzip, das alles bedingt? Was passiert nach dem Tod? Diese existenziellen Fragen sind sicherlich ein Grund für die weiterhin bestehende Faszination, die mit den vier Elementen verbunden ist. So treibt die Suche nach der Quintessenz der Dinge Künstler*innen im gesamten 20. Jahrhundert an. Ihr Interesse gilt jedoch ebenfalls der Darstellbarkeit von Nichtsichtbarem wie Luft, Atmung oder Licht sowie der Faszination an Naturphänomenen überhaupt.

Die Ausstellung zeichnet in fünf Kapiteln ein facettenreiches Bild der Auseinandersetzung mit den Elementen im 20. Jahrhundert. Präsentiert werden u.a. Werke von Joseph Beuys, Marcelle Cahn, Robert Delaunay, Max Ernst, Kazuo Katase, Frantisek Kupka, Alicja Kwade, Roy Lichtenstein, El Lissitzky, Gerold Miller, Louise Nevelson, Otto Piene, Jackson Pollock, Ljubow Popowa, Thomas Ruff und Günther Uecker.

Wilhelm-Hack-Museum Website

Die Walter Storms Galerie zeigt eine “Hommage à Günter Fruhtrunk“ mit Werken von 18 international renommierten Künstlern, die zum 100. Jubiläum des Künstlers neu geschaffen wurden oder aus Sammlungen stammen. Manche der Künstler haben Fruhtrunk persönlich gekannt, andere folgten ihm als Akademielehrer oder nehmen ihn als Inspiration für ihre eigene Arbeit in Anspruch.

Steven Aalders, Jean-Marc Bustamante, Dadamaino, Ulrich Erben, Beverly Fishman, Günther Förg, Rupprecht Geiger, Raimund Girke, Giorgio Griffa, Gregor Hildebrandt, Gerhard Merz, Gerold Miller, Gary Petersen, Thomas Scheibitz, Sean Scully, Turi Simeti, Helmut Sturm, Günther Uecker.

Walter Storms Galerie Website

Opening: Friday, 1st September 2023, 6-9 PM

„Mastery, that is that patina which results from many years of tireless polishing.“
(„In Praise of Mastery“, Tanizaki Jun’ichiro)

VAN HORN is delighted to present Gerold Miller’s second solo exhibition at the gallery.
Gerold Miller is one of those artists who have pursued their work with inimitable consistency and dedication for decades. He allows himself to be impressed neither by the spirit of the times nor by current events, but directs his gaze beyond time. He works in his individual, very own timeline; his work embodies a kind of timelessness.

As important as it is to relate to current events in art, humankind’s need to experience works of transcendence beyond them is just as deep. To create and contemplate works that point beyond daily life. Gerold Miller is certainly an artist who does this. Beauty and elegance meet radicality in concept and realisation.

Humanity’s deep longing for wholeness and stillness in a crazy world resonates in Gerold Miller’s works, which capture time and devotion. In countless hours of testing different variations and endless layers of immaculate paint, the artist’s interest is less in surface than in depth. Physical reminders of the many transformations his work undergoes – between Max Bill and James Bond.

Such dedication is probably best described by the Japanese concept of „geinnin“, „a master who is far beyond mere virtuosity, although he would always be capable of it, thanks to extensive and extremely rigorous training and his relentless continued learning and education“. But vanity is foreign to a master, and he is never satisfied with himself. His apprenticeship never ends. „* The artist’s ego takes a back seat to his work.

The first time I stood in one of Gerold Miller’s spacious studios, I was impressed by the scale and consistency of his work, by his love of the very big shot and the smallest detail. Of course, there were works installed on the walls, works between image and object, between hard shining and softly glowing, beautiful and glamorous. The works that had remained in their transport boxes and were presented in them developed a presence all of their own.

These crates embody the rupture between studio and world, between the immaculateness of the objects and the everydayness of the crates. They tell of logistics, of transport routes and the professional necessities beyond pure art. The various transports have clearly inscribed their traces in the material of the crates. The „Crate“ develops its very own presence. In connection with the actual object, a new, unexpected third emerges – a modern sculpture.

These new things will be on show in the exhibition „modern sculpture“ at VAN HORN.

Daniela Steinfeld, Auckland 2023

VAN HORN Website

“What is the word for a world opened by desire, or solidarity; a word for the world of an artist in the moment they perceive the material conditions of their making, in the moment the work of art emerges as a complex that contains and exceeds their imprint; a word for the world of friendship or insurrection?”
– Astrid L’Orange, ‘No World but the world!’, exhibition text, 2023

In Ümwelt, Jonny Niesche reflects on and acknowledges the overlapping worlds of practice that surround him. From reading about the evolutionary pressures that led to different forms of eyesight Jonny began to think about the various evolutionary influences on an artist’s studio practice. This show considers the intricacies of making and surviving, and the various friendships, material conditions, insurrections, solidarities and desires of artists’ worlds…

with

Blair Thurman (US)
Greg Bogin (US)
Rosie Rose (KR)
Daniel Boccato (BR)
Vincent Szarek (US)

Tariku Shiferaw (US)
Jim Roche (AUS)
Brendan Van Hek (AUS)
Gerold Miller (GER)
Robert Moreland (US)
Florian Maier-Achen (US)
Elizabeth Pulie (AUS)
Jessica Stockholder (US)
Anselm Reyle (GER)

Len Lye (NZ)

STARKWHITE Website

Opening

Friday 9 June , from 11 am – 9 pm

Saturday 10 June, from 11 am – 8 pm

Sunday 11 June, from 11 am – 6 pm

German artist Gerold Miller works on the borderline between sculpture, relief, painting and installation. Millers «Ready-mades», «hard:edged» and «instant vision» works are experimental designs that argue with the minimal (form as constellation) and archieve the maximum (space as picture). Coolness and coldness, one of the primary interests of classical abstract «cold art» since Theo van Doesburg, finds in Miller its antagonist in the overheating of superimosed colored spotlights, a repeatedly employed excess of visual offerings.

Miller erects a bridge across the abyss that art created to seperate itself from design, fashion, music, etc. to realms hostile to art definition. In the recently realized cooperation with John Armleder, optical flooding and visual concepts from Op-Art play precisely the role that their interior-decorating surrogate claimed in the 1960s and 1970s. Millers wall floor and room objects in public and private spaces are space-space pictures in the best sense, because they dare to grasp for the hole – of the world, of space, of truth, and of the chaos, ramified like rhizomes – that we can live.

Galerie Lange + Pult Website

Website Schlossgut Schwante

Artistic Direction by Norbert Francis Attard

Participating artists: Carlos Garaicoa (CU), Gerold Miller (DE), Jurgen Ostarhild (DE), Yeoul Son (KR)

Throughout history, numbers have been known to have cultural and even magical associations. In contemporary times, numbers are fundamental to statistics and are often associated with colours in pie charts, line graphs, heat maps and other forms of data visualisation that simplify complex scientific results for communication purposes. The numerical title of this exhibition draws inspiration from a much humbler origin: an old telephone dial with numbers and letters that ‘spells out’ the initials of the four artists participating in the exhibition. Hence, Carlos Garaicoa becomes 24, Gerold Miller becomes 46, Jurgen Ostarhild is 50 and Yeoul Son is 97. The title replaces one form of identification (names) with another (numerical codes), but this seemingly arbitrary system of categorisation helps to bring to light visual, conceptual and other lines of convergence.

Born in 1967 in Havana, Cuba, the artist Carlos Garaicoa often explores the realities of urban environments, architecture and complex social issues in his work. Over the years, Garaicoa has used photography, installation and other media to portray decay, neglect and fragility. String and weights delineate a ghostly architectural geometry in the gallery space, while a wooden table transformed into sculpture highlights the violent roots of architecture, cities and social life. The artist’s powerful and thought-provoking work often uses simple materials to offer a space for reflection about conflictual relationships between people and urban landscapes. In contrast, architecture and geometrical form are simplified in the work of the German artist Gerold Miller, born in 1961 and based in Berlin and Pistoia, Italy. If Garaicoa makes us reflect about the ruins of the past, Miller presents an undefined and relatively ‘unformed’ space that exists somewhere in between painting, sculpture and architecture. Miller’s minimalist configurations do not create defined spatial parameters; rather, they point towards an infinite reimagining of space and physical environments.

The third artist included in 24. 46. 50. 97. translates these minimal colour zones into algorithmic permutations on LED screens. Born in 1956 in Überlingen, Germany, Jurgen Ostarhild makes use of light and references to computer-generated data and colour in works that respond to an ever-changing value of the crypto currency Bitcoin and the Ethereum Blockchain. Ethereum is a decentralised network that allows users to make secure transactions without the need for intermediaries such as banks. Similarly, Ostarhild’s ‘decentralised’ work projects minimalist or colour field painting into a future in which light emissions are performances of data sets that transcend the artist’s imagination. In contrast, the work of Yeoul Son (born in 1985 in Seoul, South Korea) presents natural and urban phenomena as chromatic fields and data sets. Working in a variety of media, Yeoul Son reflects about the effects of contemporary technologies on our lives and the natural world. Numerical data collection related to temperature, Covid 19 and other phenomena is expressed as colour and light, expanding the horizons of the aesthetic in the process.

In fact, all four artists included in the exhibition push the boundaries of the aesthetic by either experimenting with media, incorporating new technologies and digital realities or addressing social, political and economic issues. By pushing the limits of the known, the artists bring new ideas, perspectives, and experiences to the forefront.

Valletta Contemporary Website

The Berlin-born artist GEROLD MILLER (*1961 Altshausen, Germany) is preoccupied with the question how to leave the classical sphere of painting and liberate the invention of an image from traditional visual patterns. Radical reduction and monochrome colour areas are his response. With minimal usage of forms and colours his objects are both pictures and sculptures at the same time. Early objects from the mid-1980s, entitled Anlagen, already illustrated his considerations on the work, area and space; gloss paint, dribbled across a steel frame gave an individual status to space as part of the work of art. Steel and later aluminium replace the canvas as classical picture carriers. Total Object 347 and Total Object 354 are examples of this manner of inventing a picture. The largest work in the exhibition Total Object 347 is outstanding because of its monochrome, cherry-red varnish and brings to mind the Anlagen of the early years: the white supporting wall becomes an essential part of the artefact.

GEROLD MILLER works continuously with the means of repetition. After finding the form, he varies this as in his series Set, or in the Instant Visions, by modifying colours and sizes. Instant Vision 242 and Instant Vision 244 in our exhibition are impressive by the variation of the colours pink and red in bold combination with silver. Five Sets (666-670), of the same size in medium format, bring to mind earlier works in the series. These were based on an extremely precise and minimalistic reduced principle of composition of right-angular colour areas overlaying each other. Now the rectangles have given way to a square located in the centre of the picture which is surrounded by multi-coloured spaces. The monochrome nature of the early Sets has been replaced by polychromatic works which dilute the stringency of the forms and range from cyclamen to egg-yoke-yellow.

On the first floor of the gallery there is an exhibition within an exhibition with seven Instant Visions in small format (50 x 50 x 3.5 cm). In the formally reduced works made of aluminium and varnish GEROLD MILLER analyses questions of pictoriality in the transition zone between picture and sculpture. “He is interested in the sensitive degree to which space moves in the area, and representation becomes abstraction.” (Friederike Nymphius).

Despite the fact that the completion of the works of art involves a highly engineered process in order to achieve absolute perfection and precision, the creative act of the artist is traditional. His studies of sculpture at the State Academy of the Fine Arts in Stuttgart still have an impact nowadays. GEROLD MILLER draws by hand, without any technical aids; he makes prototypes of his works, examines the physical presence of his choice of colour in differing light situations. With the new works GEROLD MILLER demonstrates once again that with his reduced canon of form and colour he can repeatedly invent outstanding pictures.

Salzburg, April 2023

Katja Mittendorfer

Galerie Nikolaus Ruzicska Website

STARKWHITE Website

Alles Routine, nur eine Formalität, nichts Besonderes? „Reine Formsache!“ – so lautet der Titel der kommenden Ausstellung mit Werken der konstruktiv-konkreten Kunst aus der Sammlung Siegfried und Jutta Weishaupt.
Zu sehen sind künstlerische Arbeiten, die sich allein über Form, Farbe und Fläche definieren, aber dabei alles andere als „reine Formsache“ sind. Sie beruhen auf wissenschaftlichem Denken oder fordern die Wahrnehmung des Betrachtenden heraus. Neben Arbeiten von Vertreter*innen der Konkreten Kunst wie Max Bill, Verena Loewensberg und Richard Paul Lohse werden Werke von Künstler*innen gezeigt, die mithilfe mathematisch-geometrischer Formen irritierende und überraschende optische Effekte erzeugen.

Website kunsthalle weishaupt

Malerei nimmt im zeitgenössischen Kunstdiskurs immer wieder eine zentrale Stellung ein. Wie kaum ein anderes Medium steht sie für Wiederkehr und Brüche, Infragestellung und auch ständige Neuformulierung. In Berlin hat Malerei Tradition. Während das Medium an anderen Orten immer wieder für tot erklärt wurde, malte man in der geteilten Stadt und nach dem Mauerfall einfach weiter.

Die Ausstellung „Paint it all!“ („Alles Malen!“) ist ein Appell und eine Liebeserklärung an die aktuelle Berliner Malerei. Sie greift zehn bemerkenswerte Positionen heraus und will mit 15 ausgewählten Arbeiten eher Teaser als Bestandsaufnahme sein. Es gibt noch viel zu entdecken.

Berlinthemen oder ein spezieller Berlin-Stil lassen sich nicht ausmachen. Vorbei ist der alte Streit zwischen Abstraktion und Figuration, vorbei ist auch, Subkultur und Subjektivität zu einem neuen Berlin-Mythos zu verklären. Ebenso ist die sprichwörtliche Coolness der Stadt einer selbstverständlichen Internationalität gewichen. Als Folge lässt sich der Ort der Produktion kaum noch an Werken ablesen. Wie also präsentiert sich die Malerei der Stadt? In der Ausstellung vital, vielfältig, gelassen und mit einem großen Interesse an Tradition und Diskurs. Der Griff zu Pinsel und Farbe ist offenbar nach wie vor naheliegend, um sich mit der Welt und Fragen der Malerei auseinanderzusetzen.

Die ausgestellten Werke stammen aus der Sammlung der Berlinischen Galerie und sind größtenteils erstmals in den Räumen des Museums zu sehen.

Website Berlinische Galerie

Drei Farben: Blau. Drei Farben: Weiß. Drei Farben: Rot.
In Anlehnung an die gleichnamige Film-Trilogie des polnischen Regisseurs Krzysztof Kieślowski sind die drei Ausstellungshallen der Galerie jeweils einer dieser Farben gewidmet. Kuratiert von Gregor Hildebrandt und Caro Jost werden über 100 Werke von 50 verschiedenen Künstlern und Künstlerinnen gezeigt.

Johannes Albers, Olivia Berckemeyer, John Bock, Dadamaino, Edith Dekyndt, Ulrich Erben, Shannon Finley, Andi Fischer, Tim Freiwald, Sabrina Fritsch, Rupprecht Geiger, Raimund Girke, Gotthard Graubner, Nathan Randall Green, Terry Haggerty, Theresa Hecker, Gregor Hildebrandt, Benita von Hornstein, Caro Jost, KAYA (Kerstin Brätsch & Debo Eilers), Shila Khatami, Imi Knoebel, Peter Kogler, Stanislav Kolíbal, Thomas Kratz, Jürgen Krause, Peter Krauskopf, Alicja Kwade, Julia Mangold, Agnes Martin, Gerold Miller, Maurizio Nannucci, Anselm Reyle, Michael Riedel, Gerd Rohling, Cordy Ryman, Robert Ryman, Laura Sachs, Michael Sailstorfer, Karin Sander, Jan Scharrelmann, Thomas Scheibitz, Jan Schmidt, Erik Schmidt, Sean Scully, Turi Simeti, Chris Succo, Günther Uecker, Thomas Zipp, Thomas Zitzwitz

Walter Storms Galerie Website

Collection Société Générale Website

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A journey through the Plain. An expanse, monotheistic in its dedication. Flat and undulating, stretched and opened, with a prevailing horizon (zeal) and a still eeriness. Lacking agency or presenting hidden agency, the Plain is a space of singularity, of outstretched arms embracing the expanse. Abundant yet empty.

Elements of minimalist, abstract and conceptual art speak to the eerie Plain, a concept contained within the pictorial, sculptural and spatial. To focus on the pictorial — and necessarily engage with, then move on from Greenberg’s formalism and discussions surrounding his plane: the picture plane — here both optical and sculptural illusion should be in discussion. This Plain is not wholly concerned with literal or overall flatness, its power comes from an overarching dedication to singular (or few) concerns, as seen in the monochrome, sweeping minimalist aesthetics, contrived and liberal abstract notations; then there are particular conceptual and readymade refinements pointing to this Plain of eerie ambience. Each involves a combination of missing known agents and/or palpable yet hidden agents, whether that is the artist’s hand, recognisable figures or motifs, abstract enigmas, or something speculatively omnipresent — it is the feeling of a lack that starts to build the eerie landscape.

This lack is not nihilistic or nil, in the same way that the Plain is not a void in space, but rather an expansive exploration of singular or few dedicated artistic concerns. In fact, a lack can be produced from mass, where dedication is built up to the point of reduction, creating stillness, offering the viewer an eerie cry emitting from the work. Physically (formally) the pictorial eerie Plain is versatile, both flat and undulating, optical and sculptural, sometimes stretched and contorted so far that tears and holes start to appear, extending the Plain. While conceptual creations can equally evoke this cry, manipulating both object and theory to highlight the monotheistic artistic expanse and its coinciding eerie absence through new methods and methodologies. All of these works physical presence and conceptual concerns are defined by their refinement, by their dedication to the reductive Plain.

While the lack of mystery surrounding agency — and the eeriness generated — haunts these Plains, a decisive agent is welcomed after the fact, the viewer. For eeriness is only concerned with the mind, body and spirit, it is a feeling generated by a presence or lack of, by a dedication to a reduction, a resolute focus and to expansive exploration.

_{Curated by Jonny Niesche and Jack Willet}

1301SW Website

Gerold Miller creates minimal and abstract visual experiences investigating the fundamental elements of painting and sculpture in an attempt to pinpoint where sculptural space ends and the painted image begins. This project sees him oscillate between image, relief, sculpture, and architecture, all radically (and precisely) reduced to a composition of colour, line, shape and form.

For his debut exhibition with Starkwhite, Miller will present the largest display of his Monoform series to date. A group of artworks made of horizontally hung beams that talk directly to the gallery’s architecture, whilst exploring the concept of an open structure. Alongside these is a group of the artists “paintings” comprising his notorious Sets, Instant Vision and Total Object series. These works are made with aluminium or stainless steel substrates, coated in either matte or glossy lacquer to present finely shaded gradients and bold monochromatic tones.

STARK WHITE Website

Opening: 29th April, 18 – 20 h

In his first solo exhibition at Wentrup, Berlin-based artist Gerold Miller shows new works from various work series.

The enactment of art as place and reality plays a vital role in the artist’s oeuvre. It is about the viewer’s perspective on himself and how he locates himself in space in relation to it. The fusing of artwork and viewer becomes an ever-new process and makes simultaneity an essential factor. Gerold Miller succeeds in uniting space and time, standstill and movement, viewer and work in one work of art.

The wall works in the show, made of high-quality lacquer and metal, are limited to black and a few contrasting colors. They represent the consistency with which Gerold Miller formulates a radically reduced concept of pictoriality, approaching the image from the greatest possible distance so that new images emerge from the systematic reduction of creative means.

The new „Verstärker“ sculptures in Rosso Venezia marble are made in a traditional workshop in Carrara and describe a more classical understanding of sculpture. They visualize the basic conditions of sculpture: material, mass, and dimension. Their characteristic formal clarity opens them to the infinity of space. At the same time, their different material textures give the sculptures a strong physical and sensual presence.

The artist no longer offers ‚painting‘ or ’sculpture‘ in the traditional sense, but instead the premises of artistic work: sculptural space to be shaped and projection surfaces for images. Thus Gerold Miller’s works experience a conceptual-processual expansion, in which the viewer himself must do the actual image-finding.

WENTRUP Gallery Website

Mit der Serie Verstärker realisiert Gerold Miller seit 2016 freistehende Skulpturen. Diese fest auf dem Boden ruhenden Körper sind auf ihre Höhe, Breite und Tiefe reduziert und visualisieren so die Grundbedingungen von Skulptur: Material, Masse und Dimension. Die charakteristische formale Klarheit öffnet sie der Unendlichkeit des Raums, lotet dessen imaginären Grenzen aus. Ihre Eindeutigkeit, ihre variierenden Dimensionen und materiellen Beschaffenheiten verleihen den Verstärkern eine ausgeprägte körperliche wie auch sinnliche Präsenz. Die reflektierenden Körper der aus Metall hergestellten Skulpturen lassen überraschende optische Eindrücke entstehen, in denen sich Boden, Decke, gegenüberliegende Wände oder auch Außenräume auf irritierende Weise miteinander verbinden und den Raum nahezu labyrinthisch neu ordnen. Sie involvieren den zufälligen Betrachter über ihre spiegelnden Oberflächen in diesen Vorgang und lassen ihn dabei für einen flüchtigen Moment zum Akteur werden.

Mies van der Rohe Haus Website

Die große Ausstellung something new, something old, something desired stellt die bedeutende Sammlung der Gegenwartskunst in einen spannenden Dialog mit jungen Neuzugängen. Dabei widmet sie sich den aktuellen und virulenten Themen unserer Zeit: Fragen nach Verständigung und Kommunikation, Abschottung und Abgrenzung, Machtausübung und Protest, Utopie und Struktur. Auch nimmt sie (virtuelle) Welten und Wirklichkeiten anhand von Architekturentwürfen in den Blick, thematisiert das Spannungsfeld von Form und Auflösung, und zeigt Potentiale der Vernetzung in Stoff und Sprache.

Beteiligte Künstler*innen: Jan Albers, Fernando de Brito, Günter Brus, Nina Canell, Robert Cottingham, Stephen Craig, Jose Dávila, Edith Dekyndt, Thomas Demand, Simon Denny, Cordula Ditz, Simon Fujiwara, Seiichi Furuya, Zvi Goldstein, Anna Grath, Christian Haake, Raymond Hains, Almut Heise, David Hockney, Karl Horst Hödicke, Annika Kahrs, Annette Kelm, Jürgen Klauke, Hans-Jürgen Kleinhammes Bernd Koberling, Jan Köchermann, Jannis Kounellis, Jens Lausen, Jean Leppien, Almut Linde, Axel Loytved, Paul McCarthy & Mike Kelley, Annette Messager, Gerold Miller, Simon Modersohn, Robert Morris, Bruce Nauman, Cady Noland, Sigmar Polke, Tobias Putrih, Hannah Rath, Daniel Richter, Gerhard Richter, Grit Richter, Thomas Schütte, Richard Serra, Sara Sizer, Andreas Slominski, Paul Spengemann, Pia Stadtbäumer, Paul Thek, Wolfgang Tillmans, Philippe Vandenberg, Tilman Walther

Hamburger Kunsthalle Website

Reduzierte Formensprache, die Verwendung industriell gefertigter Materialien und ein hohes Maß an Oberflächenästhetik sind die Kennzeichen der Minimal Art, die Anfang der 1960er Jahre in den USA entstand. Die Ausstellung im Bucerius Kunst Forum widmet sich erstmals der sinnlichen Seite des Minimalismus. Die veränderte Wahrnehmung durch die Bewegung der Betrachter:innen im Raum, unterschiedliche Lichtstimmungen und raumgreifende Objekte erweisen die Minimal Art als eine Kunst, die für alle fühl- und erfahrbar ist.

Die Ausstellung zeigt Werke von Dan Flavin, Donald Judd, Sol LeWitt, Walter De Maria, Imi Knoebel, Charlotte Posenenske, Gerold Miller, Frank Gerritz, Jeppe Hein und weiteren Künstlerinnen und Künstlern aus bedeutenden deutschen Museen und Privatsammlungen wie der Seibt Collection.

Bucerius Kunst Forum Website

Erstmals präsentiert das Münchner Sammlerpaar Annette und Rainer Stadler eine größere Auswahl aus seiner Sammlung öffentlich. Dafür empfehlen sich die sechs Fassadenräume im Neuen Museum, die ein großes Schaufenster zum Platz bilden.

Vor vielen Jahren begann das Ehepaar, Werke von Gerold Miller zu sammeln, den sie bis heute in allen Schaffensphasen begleiten. Dieser Bestand ist ein Herzstück der Sammlung und so bespielt Miller die unteren Räume mit seinen seriellen Wandarbeiten.

Dem in Berlin lebenden Bildhauer geht es in seinen lackierten Metallwerken um die Wechselwirkung mit dem Raum. Miller öffnet die Bildflächen und bezieht die Wand mit ein, während er in der Wahrnehmung durch glänzende und matte Oberflächen differenziert.

Im Obergeschoss werden Werke von Gregor Hildebrandt, Brigitte Kowanz und Heimo Zobernig ausgestellt. So sehr sich die Künstler_innen in ihrer Bildsprache und ihrer Materialwahl auch unterscheiden, spielen für sie alle die formalen Mittel
wie Farbe, Form und die Linie eine besondere Rolle.

In erster Linie umschreibt daher doppelsinnig den Platz im Fenster und die strenge Ästhetik der gezeigten Werke.

mit Gregor Hildebrandt, Brigitte Kowanz, Gerold Miller, Heimo Zobernig

Neues Museum Nürnberg Website

Avlskarl Gallery proudly presents “Schnee fällt hinterm Berge” (“Snow falls behind the mountains”), a group show curated by Gregor Hildebrandt. The show will feature works in shades of white by a wide range of international artists:

Johannes Albers
Olivia Berckemeyer
Matthias Bitzer
Lynda Benglis
John Bock
Björn Dahlem
Amélie Esterházy
Andi Fischer
Bernard Frize
Gabriel de la Mora
Axel Geis
Raimund Girke
Gregor Hildebrandt
Leiko Ikemura
Caro Jost
Manuel Kirsch
Jürgen Krause
Alicja Kwade
Florian Meisenberg
Isa Melsheimer
Olaf Metzel
Gerold Miller
Manfred Pernice
Gerd Rohling
Anselm Reyle
Robert Ryman
Michael Sailstorfer
Karin Sander
Erik Schmidt
Chris Succo
Milen Till
John Torreano
Jorinde Voigt
Wiebke Maria Wachmann
Thomas Zipp

Gregor Hildebrandt on “Schnee fällt hinterm Berge”
“Morten asked if I would be interested in creating a show in his gallery. I was really looking forward to doing this kind of group show with works that are interesting for me. The idea comes from a private collection in my home that I’m running together with my partner. There is this one room, where we also sleep, where we have mostly white works. It started by accident with some paper pieces by Jürgen Krause and Jorinde Voigt. Then, we found out the pieces were mostly white, and I started to collect more white works, like ones by Gabriel De La Mora and a paper piece by Robert Berry. This was the starting point for the show, to create a group show with all white pieces.”

AVLSKARL GALLERY Website

Die Jubiläumsausstellung ›Friendship. Nature. Culture. 44 Jahre Daimler Art Collection‹ blickt auf die Entwicklung einer der bedeutenden internationalen Unternehmenssammlungen zurück. Aus dem Bestand von über 3.000 Kunstwerken der 1977 gegründeten Sammlung wurden etwa 100 Werke von rund 70 Künstlerinnen und Künstlern ausgewählt. Sie nehmen in einem weit gefassten Sinne Beziehungen auf zu zeitgenössischen Phänomenen im Kontext von Freundschaft, Natur und Kultur. Die Motive und Inhalte der Werke aus einem Zeitraum von 100 Jahren bilden Netzwerke und eröffnen Resonanzräume, die das Wechselspiel von Kunst und menschlichem Zusammenleben ausloten.

Daimler Art Collection Website

Preview: 13 September 2021

SEBASTIAN FATH CONTEMPORARY Website

Gerold Miller zeigt aus seiner Werkreihe Monoform eine ortsspezifische Arbeit, die mit den räumlichen und architektonischen Gegebenheiten des NAK in einen Dialog tritt und diese neu interpretiert. Parallel übereinander an der Wand angeordnete Winkelprofile aus Aluminium eröffnen einen definierten Raum, durch den die Wände des Ausstellungsraums als neue Bildräume reflektiert werden können. Das damit geschaffene Negativ lädt Besucher_innen zur Bildfindung ein. Das Objekt wird zur Begrenzung einer illusorischen und bildnerischen Räumlichkeit.
In seiner künstlerischen Arbeit reizt Gerold Miller die Grenzen von Skulptur, Architektur und Bild aus. Mit seinen Werken schafft er eine Verbindung zwischen plastischem Objekt, Raum und imaginärem Bild und bewegt sich so zwischen Minimalismus und Konzeptkunst. Mit der Werkgruppe Monoform treibt er dieses Interesse weiter voran. Dabei verlässt Miller mit der minimalistischen Skulptur einerseits die bildliche Dimension und nähert sich ihr andererseits über die konzeptuelle Idee wieder

Christine Liebich verhandelt in ihren Skulpturen die Dualismen der heutigen Zeit. Die aus Baustahl gefertigten Arbeiten befragen das Verhältnis von Kultur und Natur. In der Werkreihe Permanent Moment erstmals geradezu naturalistisch arbeitend werden pulverbeschichtete Stahl-Pusteblumen zu Symbolen der Hoffnung, Stärke und Zuversicht. Die Werke der Bildhauerin wirken fragil und bestechen zugleich durch ihre präzise zeichnerische Qualität, Leichtigkeit und Eleganz. Für Liebich sind sie als Zeichnungen im Raum zu verstehen, zeitlose Momentaufnahmen, gleichermaßen flirrend im Licht der Sonne und des Ausstellungsraums.
Die Bildhauerin hat eine einzige raumgreifend-installative Arbeit im Obergeschoss des Kunstvereins geschaffen. Zudem zeigt die Künstlerin im Außenbereich des umgebenden Parks sowie auf dem Dach und damit im öffentlichen Raum zwei weitere großformatige Skulpturen der neuen Serie Permanent Moment. Auch Gerold Miller bespielt den Außenraum mit einer Skulptur aus der Reihe der Verstärker.

Darüber hinaus erscheinen von beiden Künstler*innen neue Editionen zur Ausstellung, die während der Ausstellungsdauer im Kunstverein erhältlich sein werden.

NAK Aachener Kunstverein Website

MKK Ingolstadt Website

In „Crates“, Gerold Miller shows a retrospective containing his major works from the past five years selected from the series set, IV and TO. For this occasion, he developed a thrilling as much as simple display which was well-received throughout his past presentations. This concept emphasizes the particularly long-stretched architecture of the gallery in which the works will be arranged one after another in their unique crates. These crates will be opened as to present the works they contain. By placing these works, which were initially conceptualized as wall works, in space, they receive a sculptural quality and oscillate between appearing two-dimensional and three-dimensional. This type of display supports the exhibition’s temporary character and enhances it’s studio charm.

Website GALERÍA CASADO SANTAPAU

OPENING: Friday, 14th of May, 2021

Group show at CASSINA PROJECTS, Milano

John M Armleder – Monica Bonvicini – Martin Boyce – Valentin Carron – Andrew Dadson – N. Dash – Philippe Decrauzat – Gardar Eide Einarsson – Manuel Fois – Liam Gillick – Fernanda Gomes – Francesco João – Tarik Kiswanson – Alicja Kwade – Beth Letain – Meuser – Gerold Miller – Olivier Mosset – Francesco de Prezzo – Gerwald Rockenschaub – Monika Sosnowska – Blair Thurman – Tatiana Trouvé – Franz Erhard Walther – Heimo Zobernig

curated by Friederike Nymphius

x_minimal (across minimal) is a cross over survey of minimalistic tendencies from the late 70es until today. Each of the selected artists has developed a signature style, which distinguishes his work as an independent artistic position. Despite all differences between the single artists in terms of media, form of expression and background they connect or react with/to each other, and share in minimalism a common ground.

Essays on minimalism often begin with a discourse on its problematic definition. The difficulty in finding a widely accepted name points to a core problem of this art: it involves the most diverse theories and media and has never existed as a uniform body. The American art historian James Meyer therefore proposes to understand this movement as a „practical field“ and „critical debate“ whose main goal is to create an art that is up to the demands of its time.

In the early 1960s minimalism emerged as a new artistic movement. Formally reduced it was freed from content employing modern materials and often industrial production methods, a special focus was on the spatial qualities of the artwork. In the late 1960s the increasing politicization of society set into motion a substantial change in the way art was understood and created. Minimalism got charged with meaning and its tools got extended with participatory elements. Philosophy, politics, science, and the critical examination of social issues became important themes that were dissected, analyzed, and presented with its specific means.

Confrontation and attitude turned into a core concern of minimalism; rarely have these qualities been as important as they are today, in an epoch of permanent irritation, improvisation and upheaval in society, politics and science. Belongings, traditional identities and values are no longer reliable references, as they have to be constantly rethought. Words, definitions and certainties fail, nothing is for granted. In this time marked by the loss of orientation and deep insecurity, art offers an important rehearsal space for reflections on the current situation.

x_minimal shows that the process of questioning and expanding the premises of minimalism is still going on, giving way to a great diversity of interpretations, examinations, and appearances. As an instrument for „critical debate“ artists are again using its parameters in order to question cultural standards and to work on the gap between what is now and will be next. The formulaic definition typically employed for the minimalism ofbeeing limited to minimal means is obsolete and no longer meets today’s requirements and should be replaced by terms such as concentration or investigation. Today this discussion includes mostly contemporary issues such as LGBT, diversity, identity, migration, power relations, language, environment, and the examination of failed utopias, bringing back into focus the human dimension. In a world where there is too much of everything, focusing on a little becomes a prominent differentiator and challenge for the artists.

Each era thinks and feels differently, responding to the particular demands of its time. Hence the settings of historical minimalism cannot simply be transferred to the present. Rather, its standards must be decomposed, revised and reinterpreted so that new contents and meanings can be released. Contemporary art in particular thrives on this essential interaction with the present. Our familiar reality is dissolving. To produce an art that is freed from the present can therefore no longer be the answer. The pressing question must no longer be what could be, but what is. In uncertain times like these it is all the more important that art shows stance, awareness and commitment. The selected artists of x_minimal stand for this. The exhibited art works reflect these premises, they are radically contemporary in terms of material or media and content.

Website CASSINA PROJECTS

with Markus Amm, Gregor Hildebrandt, Wyatt Kahn, Gerold Miller, Katy Moran, Mary Ramsden, David Renggli, Robin Rhode, Jan-Ole Schiemann

The group exhibition ABSTRAKT is featuring nine artists, whose works offer different approaches to abstraction. The formal qualities of abstract artworks are significant not in themselves but as part of the work’s expressive message. Artists work by reviving and transforming archetypes from the unconscious of modern culture. Therefore, the most useful questions to ask about contemporary abstraction are: What themes and forms does it retrieve from the tradition of modern art and how have they been changed? The exhibition is combining artists that reflect different styles, materialities and visual vocabulary of abstraction.

Website WENTRUP Gallery

Group show at FS.ART, Berlin

Compressed Time is a group exhibition that has been conceived especially for FS.ART at Potsdamer Straße in Berlin. The show presents a variety of mediums including painting, sculpture and photography.

The Potsdamer Straße exemplifes the „city myth“ as a place of change, renewal, and collapse as no other street in West Berlin does. To this day, traces of diferent periods and socio-political transformations that left their mark and shaped the street can be found there, as if on a journey through time.

Considering this background, Compressed Time deals with themes such as time and the memory linked to it, socio-political events and spatial redefnitions that – as in a palimpsest – have been deposited and inscribed layer by layer in Potsdamer Straße’s arterial road. In this context, it represents all the great streets and boulevards of the world, but it also builds a case for Berlin as an art metropolis. The artistic contributions of the exhibiton all share their reference to this theme; the approaches are multifaceted and complex while also being analytic, descriptive and fctive. The artists show works in which these topics are examined directly and indirectly through metaphorical-poetic means or through subtle contextual shifts.

Website FS.ART

ASHES/ASHES is pleased to present a solo exhibition by Gerold Miller. The exhibition will be on view February 19 – March 28, 2021 with an opening on Friday, February 19th from 4–8pm. Gallery hours are Wednesday–Sunday, 12–6pm.

This is a room of spatially concerned objects, each discussing and defining their limits internally, in relation to one another — to those that came before and those which will come after — and to the space that houses them. This is a room of monochromatic tones, of blacks as black as the night sky, which retreat to the greyed-white of the eye’s sclera. This is a room of shining surfaces, the finish of a burnished onyx stone. A room of radically definitive definitions with diversity.

Within this room, objects create borders, or barriers, while others present voids — some have been filled in, others engage in total openness — and containment devices composed of themselves. Many objects touch on a number of these elements.

Housed in this room, modernist shamanic staffs adhere to the walls, while another wished to fully alchemise into phenomenological spatiality, allowing itself to distort as it fell from the pictorial support. These considerations — steely lengths, both straight and twisted, both marked by human gesture and flat as perfect industrial shadows — start to define spatial discussions. A recognition of space as extrinsic points to a total understanding of their power as objects, of how their placement articulates the marked space they fill, consume and define.

This room is punctuated by a sole circular “total” void, composed of full and half-tones of blackest ever black, looking to total spatial openness — beyond Concetti Spaziali. Like a star sitting in the flatness of darkened space, only to spiral, transform into a destructive void (a black hole), presenting a focus that nothing can escape, the moment of calm and pure emptiness before the storm. A tension so visceral. The total radial void — an open absence — offers speculative opportunity, while also talking to the very present and direct state of being (within this room, at this moment, within this space) and the particular possibilities present in this contemporaneity.

In this room, objects sit alongside and in context with examples of totality via spatial voids. They play in grey zones — literally and figuratively — exploring a space of hybrid spatial presences, but ever self-contained. These distinct objects draw you into an extension of themselves, perspectives reversed, and you find yourself within a new room. Lying down in the evening without the aid of artificial light, contemplating the endless architectural openings — homages to squares — which cast night tones of light across walls of pre-existing monochromatic gradients, punctuating their natural dimness — or inverted lightness. Light outlines new space confined within predefined space. Objects become rooms within rooms, entombing their viewers in new spatial parameters.

This is a room of radically definitive definitions with diversity.

~ Jack Willet

Website ASHES/ASHES

OPENING: Thursday, 5th of November 2020

Group show at Galería Casado Santapau, Madrid

Artists:
Gerold Miller
Anselm Reyle
Katja Strunz

Piamonte 10
28004 Madrid, Spain
T 915 320 678
info@casadosantapau.com

Website Galería Casado Santapau

Website VAN HORN

Solo Show at Galerie Lange + Pult, Auvernier

OPENING: Friday, 23rd of October 2020

galerie lange + pult is an international gallery for contemporary art with locations in Zurich and Auvernier.

galerie lange + pult was founded in 2007 by Céline Lange and Stefano Pult. For more than ten years it was located at the Löwenbräu-Areal. In March 2019 the gallery moved to its current space, located at Rämistrasse 27, in the center of Zurich, near to Kunsthaus and Kronenhalle.
The second space in Auvernier is located at Port-de-la-Côte 1, in the heart of the old town, next to lake and vineyards.

galerie lange + pult focuses on conceptual and minimal artists with a particular interest in three-dimensional works. It has a distinctive international roster of well-established artists as well as a program that supports younger artists.

Website Galerie Lange+Pult, Auvernier

Group Show with

Stefan Brüggemann, Brian Eno, Ryan Gander, Mario Garcia Torres, Linnea Goransson, Gonzalo Lebrija

WEBSITE MARCO

By Alberto Fiz

Preview su appuntamento

Opening 12.09.2020

E3 contemporary art gallery in Brescia inaugurates the new season with “BLACK MODE”, a large exhibition path, curated by Alberto Fiz, that involves Italian and foreign artists around “ BLACK ” with works present for the occasion. As Alberto Fiz states, “the exhibition represents a precious opportunity to reflect on the secret component of matter by placing ourselves in front of all the puzzles and precariousness in front of us and also system where our tools of knowledge are limited”.

From Kazimir Malevich to Alberto Burri, black is intended as an embryonic element that contains all things in power and, based on these premises, the path of a varied review unfolds and the original parts of which different approaches are compared to a same suggestion. Looking for the words of the philosopher Alain Badiou, it could be said that the black mode meets the “infinite synthesis of lights within the mysterious black”.

Sculptures, videos, installations are just some of the ways in which a real kaleidoscope of proposals and opportunities is staged that develop in a dialectical and relational dimension.

Black Mode (the title is a play on words that takes its cue from the mode of use on social networks on smartphones) therefore, it is an exhibition that intercepts the spectator’s mobile gaze attracted by the non-color, as is the case for its opposite, the White.

Black becomes a space of knowledge where Domenico Bianchi’s delicate ceremonies are found, as well as Gerold Miller ‘total objects“. The tension towards the object involves Paolo Canevari with his tires transfigured and manipulated by those opposed to the alchemical creations of Bruno Ceccobelli. Together with Davide Coltro’s electronic paintings which propose a process of progressive transformation, there are many minimalist suggestions in a context where Riccardo De Marchi’s aluminum surfaces are traced, the geometric shapes in solid graphite by Susan York. The perfect and paradoxical balances by Emmanuele De Ruvo, total surfacing by Matteo Gironi and powder-coated steel by Christine Liebich.

At the and,”BLACK” as a research perspective, but also as a tension towards infinity.

Website Galleria e3 arte contemporanea

Die Berliner Künstler Gerold Miller und Katja Strunz haben für die Galerie Walter Storms ihr erstes gemeinsames Projekt konzipiert. Beide gehören verschiedenen Generationen an und vertreten herausragende Positionen im geometrisch-abstrakten bzw. minimalistisch-konzeptuellen Bereich. In der Ausstellung lassen sie die wandbezogenen „set“ und Skulpturen aus der Serie „Verstärker“ von Gerold Miller mit den konstruktivistisch wirkenden Faltungen und Skulpturen von Katja Strunz in einen konzentrierte und zugleich spannungsvollen Dialog treten.

Website Walter Storms Galerie

OPENING: Friday, September 11th 2020

curated by Alexandra Alexopoulou, Berlin

68projects

Fasanenstrasse 68

10719 Berlin

Gerold Miller (*1961) nimmt in der Ausstellung eine besondere Position, denn der Bildhauer ist längst ein etablierter, wichtiger Berliner Künstler. Sein Beitrag zur Ausstellung trägt den Titel I LOVE KREUZBERG und ist ein Schlüsselwerk zur Beziehung des Künstlers mit der Stadt. Auf der Schwarzweiß-Fotografie zieht er eine seiner Aluminiumskulpturen der Serie instant vision auf der Oranienstrasse vor seinem Studio hinter sich her und zerkratzt sie durch den Asphalt, die Skulptur wird von der Stadt regelrecht graviert. Es ist für ihn eine Liebeserklärung an den Bezirk, in dem er fast 20 Jahre sein Atelier hatte und der sein Schaffen stark beeinflusst hat.

Website 68projects

Schloss Achberg versammelt Positionen von elf international erfolgreichen Berliner Künstlerinnen und Künstlern, die alle aus Oberschwaben stammen: Nándor Angstenberger, Angelika Frommherz, Friedemann Grieshaber, Sabine Groß, Veronike Hinsberg, Thomas Locher, Gerold Miller, Peter Pumpler, Albrecht Schäfer, Andrea Zaumseil und Francis Zeischegg.

Die raumbezogenen Arbeiten werden eigens für Schloss Achberg eingerichtet und treten in einen überraschenden Dialog mit der barocken Architektur. Die Ausstellung wird kuratiert von Prof. Dr. Martin Oswald.

Website Schloss Achberg

Die Neueinrichtung der Sammlungsräume im gesamten Erdgeschoss wagt ein Experiment. Erstmals in der 20-jährigen Geschichte des Neuen Museums werden Kunstwerke und Designobjekte unmittelbar nebeneinander ausgestellt.

In dieser gemeinsamen Ausstellung des Neuen Museums und der Neuen Sammlung, der bewährten Kooperationspartnerin in Sachen Design, werden verschiedene Felder abgesteckt. Dabei sprengt das Zusammenspiel von Kunst und Design alle kunsthistorischen Kategorien, es entsteht ein assoziativer, inspirierender Dialog.

In der Erarbeitung der neuen Sammlungspräsentation haben sich neun thematische Cluster herausgebildet. Sie belegen, dass Kunst und Design sich ganz ähnlichen Fragestellungen und Herausforderungen gegenübersehen.

Die Räume tragen Titel, die andeuten, welche Leitidee die Auswahl der Werke und Objekte bestimmte. Dabei spannt sich ein weiter Bogen, der von grundlegenden Dimensionen der Form bis zu verschiedenen Aspekten unserer Zivilisation reicht.

Website Neues Museum Nürnberg

Solo show at Cassina Projects, Milan

Openings: Thursday 12th and Saturday 14th of September 2019

Website Cassina Projects

Solo show at Eduardo Secci Contemporary, Florence

Opening: Saturday, 29th of June, 6 pm

Website Eduardo Secci Contemporary

The Sydney and Walda Besthoff Sculpture Garden at NOMA

Opening of NOMA’s expansion of the Sculpture Garden: Wednesday, May 15, from 11 am to 6 pm

The Sydney and Walda Besthoff Sculpture Garden occupies approximately five acres in City Park adjacent to the museum. The Sculpture Garden has grown from its inception in 2003 to include 64 sculptures, most of them donated to NOMA by the Sydney and Walda Besthoff Foundation. It is home to over 60 sculptures by renowned artists from around the world.

The six-acre addition features 26 new works by artists working primarily in the 21st century. Artists featured in the expansion include Larry Bell, Tony Cragg, Johan Creten, Katharina Fritsch, Frank Gehry, Jeppe Hein, Georg Herold, Thomas Houseago, Shirazeh Houshiary, Baltasar Lobo, Robert Longo, Gerold Miller, Beverly Pepper, Pedro Reyes, George Rickey, Ursula van Rydingsvard, Sean Scully, Yinka Shonibare, Frank Stella, Hank Willis Thomas, Bernar Venet, Udo Rondinone, Teresita Fernández, Elyn Zimmerman and Fred Wilson.

Website NOMA

Group show at Zembla Gallery in Hawick, Scotland with works of Martin Boyce and Gerold Miller

Opening: Saturday, 11th of May

Further details to come soon

Instagram Zembla Gallery

Im Frühjahr 2019 eröffnete die Einzelausstellung von
Gerold Miller im neuen Showroom von FS.ART am Bodensee.

Eröffnung der Ausstellung: Samstag, 23.03.2019
Laufzeit: 23.03. bis 04.05.2019

Website FS.ART

Website Galerie Lange + Pult

Opening: 22 January 2019 at 17.00

The Gallery of Fine Arts in Ostrava is holding an exhibition of works by German artists taken from the collections of the Adam Gallery, which specializes in Central European art. This special selection, which is being exhibited together for the first time, reflects the Adam Gallery’s acquisitions from the period between 2006 and 2008. One of the defining characteristics of the Adam Gallery is its long-term focus on painting, encompassing all forms of the medium. The exhibition in Ostrava is built around paintings, drawings and objects bearing the distinctively expressive personal signatures of André Butzer, Hans-Peter Thomas AKA Bara, Marcel Hüppauff, Thomas Helbig and Andrew Gilbert, complemented by the prints of Markus Selg. As a balancing counterweight to these expressive works, the exhibition also displays rationally geometric and post-conceptual pieces by Gerold Miller and Thilo Heinzmann, as well as figurative compositions by Andrea Lehmann and Christian Macketanz.

Exhibition Concept: Richard Adam, Yvona Ferencová
Text: Yvona Ferencová

The House of Arts, Ostrava

Sunday, 21th October 2018 – Sunday, 6th October 2019

Kunsthalle Weishaupt

Hans-und-Sophie-Scholl-Platz 1

89073 Ulm, Germany

Mit der Präsentation zahlreicher Neuzugänge zeigt die kunsthalle weishaupt die kontinuierliche Weiterentwicklung ihres Bestandes.

Dem Ursprung der konstruktiv geprägten Sammlung verpflichtet, setzen sich auch in der aktuellen Ausstellung moderne und zeitgenössische Positionen in Malerei und Skulptur mit der Verwendung geometrischen Formenguts sowie ihrem Spiel mit illusionistischen Effekten auseinander.
Als Fortführung der Op-Art und Minimalismus-Bewegung der 60er Jahre verstehen sich beispielsweise die Arbeiten des Schweizer Künstlers Philippe Decrauzat, die mittels eines Rasters dicht angeordneter Farblinien und -kurven mit der Flächigkeit der Leinwandmalerei brechen und damit zu optisch täuschend echt wirkenden dreidimensionalen Gebilden werden.
Mit einem Gitter aus übereinander gelagerten Farbbändern bringt Piero Dorazio, einer der wichtigsten Wegbereiter der Abstraktion in Italien, bereits in der zweiten Hälfte des 20. Jahrhunderts die Leinwand zum Vibrieren und zelebriert auf virtuose Weise die Licht- und Schattenwirkung von Farbe.
François Morellet, David Nash und Richard Long widmen sich in der Aneignung unterschiedlichster skulpturaler Techniken und Materialien aus Neonröhre, Kohle und Steinen den ursprünglichsten geometrischen Grundformen Kreis, Quadrat und Kreuz.
Die Linie als gestalterisches Element verwendet Bernar Venet in seinen kraftvollen wie gleichermaßen dynamischen Stahl-Skulpturen. Eine fünfteilige Rauminstallation bestehend aus Kreissegmenten, Gerade und Winkeln sowie eine Arbeit aus seiner berühmten Serie der Undetermined Lines verleihen dem Werk Venets eine exponierte Stellung im Rahmen dieser Sammlungspräsentation.
Im Kontrast zur überwiegend abstrakt geprägten Ausstellungskonzeption steht im Zentrum dieser Schau das politisch motivierte Werk des US-amerikanischen Künstlers Robert Longo. In der Tradition der Historienmalerei nehmen seine übergroßen Kohlezeichnungen Bezug auf Themen unserer Zeit: Religionskonflikte, Atomstreit oder Waffengesetze. eine seiner neuesten Arbeiten, monumental in Dimension und von ergreifender Wirkung, befasst sich mit der aktuellen Migrationsbewegung über die Mittelmeerroute. Seine Bilder lenken das Bewusstsein unmittelbar auf die noch ungeklärten globalen Fragestellungen der Gegenwart. Ausgang offen!
Mit diesen und vielen weiteren Künstlern zeigt die Ausstellung einmal mehr die facettenreiche Bandbreite und das hohe Niveau dieser wichtigen deutschen Privatsammlung.

Gerold Miller, Anthony Caro, Piero Dorazio, Jiri Georg Dokoupil, Günther Förg, Robert Longo, Tony Oursler, Bernard Venet u.a.

Kunsthalle Weishaupt

Friday, 26th October – Sunday, 18th November 2018

curated by, Alain le Provost

L’Atelier

1, rue Chateaubriand

44000 Nantes, France

Download PDF +

Saturday, 20th October – Friday, 21th December 2018

Galerie Lange+Pult

limmatstrasse 291
ch-8005 zürich, Switzerland

Die galerie lange + pult freut sich, die fünfte Einzelausstellung von Gerold Miller in den Zürcher Galerieräumen zu präsentieren.

Einmal mehr setzt sich Gerold Miller mit Fragen der Bildlichkeit im Grenzbereich von Skulptur und skulptural-bildhaft definierter Architektur auseinander. Seine Objekte können als Bilder gelesen werden, genauso legitim ist es aber sie als Skulpturen aufzufassen. Die präzisen, kantigen Aluminiumobjekte wirken elegant und erinnern in ihrer Industrie-Ästhetik an Werke der Minimal Art.

Die imposante „section“-Arbeit zu Beginn der Ausstellung sowie die neusten „sets“ oszillieren zwischen Abstraktion und Realität, Inhalt und Nicht-Inhalt, Bild und Objekt. Ihre frontale Ausrichtung entspricht den oberflächlichen Ästhetisierungstendenzen unserer visuellen Kultur. Zufällige Eindrücke spiegeln sich in ihren perfekt lackierten, monochromen Oberflächen wider und bewirken, dass eine Verbindung zwischen Werk und umgebender Architektur hergestellt wird: Die Leere des Monochromen wird zum Protagonisten, der alles und nichts repräsentiert, während das Zusammenspiel von mattem und glänzendem Lack sowie der kontrastierenden Farben einen virtuellen Raum hinter der Bildebene entstehen lässt.

Zudem bringen die drei „Verstärker“ – Millers erste Serie von freistehenden, nicht wandbezogenen Skulpturen – als offene Struktur die minimalen Grundbegriffe der Dreidimensionalität mit sich: Höhe, Länge und Tiefe. Die „Verstärker“ stellen damit buchstäblich ein grundlegend wiederkehrendes Thema Millers künstlerischer Forschung dar: Die unzähligen Möglichkeiten, den unendlichen Raum beschreiben zu können.

Schliesslich ergibt sich eine ausgeklügelte Kollision von Konzepten: der reale 3D-Raum der drei „Verstärker“ sowie der virtuelle Raum der „sets“ und „section“ Arbeiten, die durch ihre gegenseitige Reflexionen den Ausstellungsraum zu einem Gesamtkunstwerk komponieren lassen. Dieses offene Zusammenspiel der verschiedenen Parameter wie Raum, Leere, Form und Farbe sowie der Aspekt einer aktiven Beteiligung des Betrachters widerspricht der traditionellen Theorie des Bildes als statisches und hermetisch abgeschlossenes Objekt.

Gerold Miller (*1961) ist seit Ende der 80er Jahre weltweit in Einzel- und Gruppenausstellungen sowie in internationalen Kunstinstitutionen und öffentlichen Sammlungen vertreten wie; Borusan Contemporary, Istanbul; Bundesministerium für Kunst, Wien; CCNOA, Brüssel; Daimler Contemporary, Stuttgart / Berlin; Esbjerg Museum, Dänemark; Graphische Sammlung ETH, Zürich; Kunstsammlung Weishaupt, Ulm; Louisiana Museum of Modern Art, Dänemark; Mallorca Art Foundation, Spanien; Musée d’Art et d’histoire, Neuchâtel; Museum Ritter, Stuttgart; Société Générale, Paris; Staatsgalerie, Stuttgart; Sammlung Schauwerk, Sindelfingen; oder Museum am Ostwall, Dortmund.

Gerold Miller wurde in Altshausen, Deutschland, geboren und lebt und arbeitet in Berlin.

Website Lange + Pult

Sunday, 28th October 2018 – Sunday, 6th January 2019

Kunstmuseum Singen

Ekkehardstraße 10

78224 Singen, Germany

„Objekt. Plastik. Skulptur. 1.“ ist die erste Überblicksausstellung einer losen, grenzüberschreitenden Reihe, die das Kunstmuseum Singen der Gattung Bildhauerei rund um den Bodensee widmet. Auf zwei Etagen werden Arbeiten von 25 Künstlern gezeigt, die das Potential zeitgenössischer Bildhauerei von ca. 1990 bis heute repräsentieren – in und aus einer Region, die noch immer sehr einseitig und zuerst als Ort der Maler wahrgenommen wird.

Eine gute Gelegenheit, die ausgewählten Positionen näher kennen zu lernen, bietet die Führung mit Museumsleiter Christoph Bauer M.A., mit dem Sie gemeinsam die Ausstellung erkunden können.

Kunstmuseum Singen

Friday, 12th October – Friday, 30th November 2018

curated by, Aldo Chaparro and Alejandro Romero

Aldo Chaparro Studio

Cozumel 81 piso 1

Mexico DF, Mexico

Gerold Miller, Monika Bravo, Aldo Chaparro, Mario García Torres, Erris Huigens, Iván Krassoievitch, Ana Montiel, Jaime Pollute, Alejandro Romero, Saúl Sanchez and Ariel Schlesinger.

Wednesday, 19th September – Saturday, 20th October 2018

Curated by, Giorgio Verzotti

Nam Project

Via Giovanni Ventura 6

20134 Milan, Italy

Nam Project is pleased to present „Openness”, a group show by artists Simon Callery, Gerold Miller and Sean Shanahan

According to the modernist tradition, the artwork is what it is, it says what it says. However it is not exhausted by this definition. The artwork just represents itself, but at the same time it states, and always points toward an elsewhere. The artwork can be dismantled, its integrity disrupted, and opened up to the phenomenal space that welcomes it. In other words, the artwork englobes the space, turning from bidimensional to a three-dimensional articulation if necessary. The space included in the artwork is the real space that the observer perceives as phenomenal data, but it is also the indication of another space, which in turn becomes the object of thought, of a mental projection.

From the text Openness by Giorgio Verzotti.

Nam project

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Friday, 17th August – Wednesday, 10th October 2018

Curated by, Ryan McGiness

Harper´s Books

87 Newtown Lane, East Hampton

11937 New York, USA

Harper´s Books

Saturday, 14th April – Saturday, 7th July 2018

Galerie Walter Storms

Schellingstr. 48

80799 Munich, Germany

Gerold Miller (geb. 1961) studierte in den Achtziger Jahren an der Stuttgarter Kunstakademie im damals aktuellen Umfeld von Op Art, Hard Edge, Neo-Geo. Nach mehreren internationalen Studienaufenthalten hat er sich in Berlin niedergelassen und unterhält heute zwei große Studios und Ausstellungshallen. Er hatte Einzelausstellungen u.a. in der Nationalgalerie und dem Mies van der Rohe Haus in Berlin, und auch weltweit wird sein Werk in Galerien und Museen gezeigt und geschätzt. Seinen bisher umfangreichsten und retrospektiven Katalog publizierte 2016 die Kunsthalle Weishaupt in Ulm.

Millers Bilder sind keine Gemälde, sondern Bildtafeln mit visuellen Signalen und starker optischer Präsenz. Er greift die Erfahrungen amerikanischer Minimal Art auf und erweitert ihre Möglichkeiten mit neuer Materialität und gesteigerter Präzision. Seine Arbeiten aus Aluminium oder Edelstahl werden in einem vielschichtigen Arbeitsprozeß mehrfarbig lackiert und erzielen mit ihren kontrastierenden Farben und Formen ein subtiles Spannungsbild. Für seine aufwendigen Präsentationen kreiert Miller durch optimales Zusammenspiel der Exponate mit dem gegebenen Räumen ein stimmiges Ausstellungskonzept und zieht dabei das visuelle Erlebnis des Betrachters bewußt mit ins Kalkül.

Website Walter Storms Galerie

Wednesday, 25th April – Sunday, 8th July 2018

Private Showroom

Potsdamer Str. 102

10785 Berlin, Germany

On the occasion of Gallery Weekend 2018 and opening on March 25, FS.ART is pleased to present the exhibition ”Where Are we Now,“ curated by Friederike Nymphius featuring Berlin based artists Lothar Hempel, Gregor Hildebrandt, Bernhard Martin and Gerold Miller. Where are we now is a reference to the eponymous song by David Bowie, released in 2013. The ballad, presented by Bowie in a broken voice, describes the artist’s special relationship to the city of Berlin. The city he encountered in the 1970s is no longer there: the fall of the Wall and the ensuing „hype” that swept over Berlin have changed it in no time. Places such as Potsdamer Platz in particular are no longer what they used to be. Much as Bowie’s song, the exhibition examines the world as a place of constant change, a place where one permanently needs to re- orient and re-invent oneself.

Where are we now

New knowledge, new images spread within seconds, like a tsunami. Even the smallest piece of information disseminates in no time throughout the world. Nothing stays secret. Boundaries blur. Where does „privacy” end? And where does the public space begin? What do we want? Where do we stand? The four artists selected for the show, each in their individual practice, represent a world in which old values have become increasinlgy irrelevant and the contextualization of the self appears more and more complicated. The restlessness of daily life and an ever-changing environment provide for no stability. Many of the works in the exhibition oscillate between construction and de-construction, reflecting on the forced constant re- orientation and re-definition of the self.

Art and culture mirror these profound social changes with their own means: Artists reject the old canon and create their own ideas for a world. Gregor Hildebrandt and Gerold Miller, with subtile critique, tie into the geometric-abstract idiom of the early twentieth-century avantgardes. While Gregor Hildebrandt, by means of audiotapes, re-works music into images and spaces of commemoration, Gerold Miller in works that are deeply rooted in the present age leads us to confront the interface of real and simulated space. Alongside these positions stand Lothar Hempel and Bernhard Martin. Committed to a figurative idiom, they explore the fragility of their/our world in both a poetic and ironic way, asking the ever-existential question of „whereto?”

A fundamental curatorial element of the show is to confront a formally reduced vocabulary with an expressive-figurative language in such a way as to produce from the collision a different visual experience for each of us. The overall image that Where are we now intends to frame is fragementary and not absolut. As a concept the exhibition means to make transparent how contemporary artists, against the backdrop of constant change, develop their own „visions” of the here and now in our world. The resulting prespectives are not always new, but still surprising. As long as the sun shines….

Dr. Friederike Nymphius, 2018

Website FS.ART

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Thursday, 15th March – Saturday, 5th April 2018

C/ Piamonte, 10

28004 Madrid, Spanien

Website Casado Santapau

Thursday, 2nd November 2017 – Saturday, 10th February 2018

Cassina Projects New York

508 W 24th St, New York

NY 10011, USA

Cassina Projects is pleased to announce Gerold Miller’s first Solo exhibition in the USA

Gerold Miller’s artistic practice has transformed over the course of his career but his research has always been conceptually based. The physical appearance of the work is only important in terms of how it is presented within a space and not on its aesthetic beauty. Cassina Projects presents recent works by the artist that showcase his contemporaneity and his ability to capture and expand the spatial contexts of the subjective viewer.

Here we see works from Miller’s Monoform, Set, and Verstarker series which are all based on contemporary materials and modern techniques. By replacing the usual canvas with aluminum and paint with enamel, he is removing himself from the traditional format of painting and creating minimalist series’ that incorporate sculptural, architectural and painterly elements.

Investigating space and how we navigate space is an essential theme in Miller’s work. Like an architect, two-dimensional plans are transformed into three-dimensional objects and meticulously refined under different conditions within a physical space. The space in which the work is viewed changes as we move around it due to the reflection of the Set Series’ colored enamel on the walls and the sheer size and framing of the Monoform. These surfaces function as a catalyst for the imagination to create a virtual space that often includes a reflection of ourselves.

Like a computer screen, the vividly colored surfaces of the works reflect our surroundings back at as, allowing us to experience our spatial perception in a simulated form. What we perceive to be a new physical and three-dimensional space is then absorbed by the work’s surface and flattened into a two-dimensional image.

In this digital age, it is nearly impossible to come across a work of art that does not exist within a preexisting network of interpretations but Miller uses this to his advantage. He knowingly uses illuminating colors that are primarily seen on screens and the contrast of the lustrous and matte black of our smartphones to create works that are non-restrictive to digital and physical contexts. The location in which an art object is displayed is directly related to how it is understood. When photographed and digitally presented there are no reflections and the objectivity of the work is lost. This viewer becomes convinced that this is the way the work is supposed to be seen but they are unaware of what emerges when they are in the physical presence of the work.

Website Cassina Projects

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Friday, 20th July – Friday, 31st August 2017

Galerie Nikolaus Ruzicska

Faistauergasse 12

5020 Salzburg, Austria

In the group of works entitled SECTION, now exhibited for the first time, GEROLD MILLER expands his vocabulary with the clear, simple shape of the rectangle, up-ended on to a corner which has been cut off. Each resulting pentagon is divided into two monochrome components: black/white, red/blue and black matt/black gloss. The three large-scale works reflect the viewer as well as the surrounding space, which is dominated by free-standing sculptures called VERSTÄRKER [amplifiers]. These objects, which consist of three struts, literally amplify our spatial perception: height, width and depth illustrate vividly their three-dimensionality.

GEROLD MILLER has always used the device of repetition in his work. When he has decided on a form, he varies it – whether in his SECTION series or in the VERSTÄRKER – by modifying colour and size. Through its height of 220 cm alone, the glossy red “amplifier” draws all eyes to itself, its monochrome colouration giving it an elegant, majestic appearance. The smallest “amplifier” in our exhibition is remarkable for its bold combination of pink/red/black. The gilded, polished aluminium of further angles conveys a costly, exquisite materiality.

Apart from the fact that the production of the works entails a highly technified process in order to achieve absolute perfection and precision, the artist’s creative act is a traditional one. His study of sculpture at the Stuttgart State Academy of Art and Design is still perceptible. He draws by hand, with no technical aids, makes prototypes of his works, and tests the physical presence of his colour choice in different light situations. With SECTION and VERSTÄRKER GEROLD MILLER demonstrates once again that with his reduced canon of forms and colours he can continue to create new, outstanding compositions.

Website Galerie Nikolaus Ruzicska

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Sunday, 24th June – Thursday, 9th August 2017

Galerie Mehdi Chouakri

Fasanenstraße 61

10719 Berlin, Germany

Mehdi Chouakri is pleased to present two exhibitions of new works by Gerold MIller: “capteur d ́instant“ in the gallery on Fasanenplatz, and “amplificateur d ́espace“ on Mommsenstrasse, until September 2.

Whilst new sculptures from the “Verstärker“ series are on view at Mommsenstrasse, the series “section“ is presented for the first time on Fasanenplatz. These radical wall works represent the latest development in Gerold Miller’s production, to date the most far-reaching step of his defying attitude against traditional forms of painting and sculpture. The “section“ piece is surrounded by works from the series “set“ and “monoform“, that are characteristic of the artist’s thorough reflection on a reduced approach of representation, which he has been developing since the 1990s.

Through “section“, Gerold Miller broadens the classical concept of painting, merging the work with the architecture of the gallery space. It consists of a tilted truncated black and white square that immediately evokes the Russian avantgarde and Malevitch. The painting becomes a relief, a sculpture within the wall, which is turn changed into a pictorial space. The artist plays here with a subtle balance between the surface, the room, light and shadow, in order to question or way of seeing, his monochrome fields and black stripes both catching and withstanding the viewer’s gaze. Gerold Miller’s strategy is purely abstract, focusing solely on the materiality of the work and of the space itself.

“Verstärker“ is Gerold Miller’s first free-standing sculpture series, on view at Mommsenstrasse. The works are installed as a sculpture forest, in several sizes and finishes, that draws the limits of an imaginary space where the viewer is free to decide what to see. The absence of recognizable forms combined with the works’ strong shapes and material build a mesmerizing environment. By using a drastic reduction, the artist erases the borders of abstract painting and minimalist sculpture, hence moving these categories in a conceptual context.

Between 1984 and 1989, Gerold Miller studied sculpture at the Staatliche Akademie der Bildenden Künste in Stuttgart. Later on, he stayed in Chicago, New York, Paris and Sydney for study visits. He lives and works in Berlin since 1998, and he was awarded the international Bodensee-Kulturpreis in 2001. His works have been exhibited in numerous institutions worlwide, amongst them Nationalgalerie – Hamburger Bahnhof, Berlin; Louisiana Museum of Modern Art, Humlebæk; Kunstmuseum Stuttgart; Tel-Aviv Museum of Art; ZKM, Karlsruhe; Museo de Arte Latinoamericano, Buenos Aires; 21er Haus, Vienna; Mumok, Vienna; Fondation Cartier pour l’art contemporain, Paris; Schirn Kunsthalle, Frankfurt am Main; Opera City Gallery, Tokio; South African National Gallery, Capetown; CAPC musée d’art contemporain de Bordeaux; Kunsthalle Weishaupt, Ulm, Kunsthalle Winterthur.

Website Galerie Mehdi Chouakri

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Wednesday, 6th June – Thursday, 2nd August 2017

Galerie Mehdi Chouakri

Fasanenstraße 61

10719 Berlin, Germany

Mehdi Chouakri is pleased to present two exhibitions of new works by Gerold MIller: “capteur d ́instant“ in the gallery on Fasanenplatz, and “amplificateur d ́espace“ on Mommsenstrasse, until September 2.

Whilst new sculptures from the “Verstärker“ series are on view at Mommsenstrasse, the series “section“ is presented for the first time on Fasanenplatz. These radical wall works represent the latest development in Gerold Miller’s production, to date the most far-reaching step of his defying attitude against traditional forms of painting and sculpture. The “section“ piece is surrounded by works from the series “set“ and “monoform“, that are characteristic of the artist’s thorough reflection on a reduced approach of representation, which he has been developing since the 1990s.

Through “section“, Gerold Miller broadens the classical concept of painting, merging the work with the architecture of the gallery space. It consists of a tilted truncated black and white square that immediately evokes the Russian avantgarde and Malevitch. The painting becomes a relief, a sculpture within the wall, which is turn changed into a pictorial space. The artist plays here with a subtle balance between the surface, the room, light and shadow, in order to question or way of seeing, his monochrome fields and black stripes both catching and withstanding the viewer’s gaze. Gerold Miller’s strategy is purely abstract, focusing solely on the materiality of the work and of the space itself.

“Verstärker“ is Gerold Miller’s first free-standing sculpture series, on view at Mommsenstrasse. The works are installed as a sculpture forest, in several sizes and finishes, that draws the limits of an imaginary space where the viewer is free to decide what to see. The absence of recognizable forms combined with the works’ strong shapes and material build a mesmerizing environment. By using a drastic reduction, the artist erases the borders of abstract painting and minimalist sculpture, hence moving these categories in a conceptual context.

Between 1984 and 1989, Gerold Miller studied sculpture at the Staatliche Akademie der Bildenden Künste in Stuttgart. Later on, he stayed in Chicago, New York, Paris and Sydney for study visits. He lives and works in Berlin since 1998, and he was awarded the international Bodensee-Kulturpreis in 2001. His works have been exhibited in numerous institutions worlwide, amongst them Nationalgalerie – Hamburger Bahnhof, Berlin; Louisiana Museum of Modern Art, Humlebæk; Kunstmuseum Stuttgart; Tel-Aviv Museum of Art; ZKM, Karlsruhe; Museo de Arte Latinoamericano, Buenos Aires; 21er Haus, Vienna; Mumok, Vienna; Fondation Cartier pour l’art contemporain, Paris; Schirn Kunsthalle, Frankfurt am Main; Opera City Gallery, Tokio; South African National Gallery, Capetown; CAPC musée d’art contemporain de Bordeaux; Kunsthalle Weishaupt, Ulm, Kunsthalle Winterthur.

Website Galerie Mehdi Chouakri

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Saturday, 5th May – Friday 17th August 2017

Curated by, Hsiaosung Kok and Marli Hoppe-Ritter

Museum Ritter

Alfred-Ritter-Straße 27

71111 Waldenbuch, Germany

The exhibition „Red appears before Red“ takes around 70 works from the Marli Hoppe-Ritter Collection that highlight the different aspects of the colour red, both with regard to the sheer breadth of red tones that exist, as well as to their systematic use in concrete art. With the aspiration that came with Modernism to forge an autonomous form of art, red became one of the colour of choice for abstract painting in the early twentieth century. While attention at the Bauhaus focused on the primary colour red in its all-encompassing theory of design, pure red became a major element of a new, reduced visual language in the art of Constructivism and the de Stijl movement.

Museum Ritter, Sammlung Marli Hoppe-Ritter

Wednesday, 6th June – Tuesday, 28th August 2017

Museo d’Arte della Svizzera

Piazza Bernardino Luini 6

6900 Lugano, Switzerland

MASI lugano

Saturday, 20th January – Sunday 4th February 2017

Curated by, Dr. Friederike Nymphius and Gerold Miller

Galeria Casado Santapau

C/ Piamonte, 10

28004 Madrid, Spain

In the late 1950s and the 1960s, abstract sculptors began to experiment with a wide array of new materials and different approaches to creating their works. Surrealist imagery, a minimalistic vocabulary, combinations of modern material and unusual surfaces became characteristic for the new modernist sculpture. Until today the subject of modernist sculpture is a central concern for many artists. The art works in the exhibition mix the formal language of modernist sculpture with a strong consciousness of the presence: modern sculpture.

Group exhibition with Alexandre Arrechea, Marc Bijl, Mike Bouchet, Madeleine Boschan, Aldo Chaparro, Sylvie Fleury, Andreas Golinski, Lothar Hempel, Gregor Hildebrandt, Tarik Kiswanson, Alicja Kwade, Mathieu Mercier, Gerold Miller, Przemek Pyszczek, Anselm Reyle, Gerwald Rockenschaub, Katja Strunz, Blair Thurman, Tatiana Trouvé, Xavier Veilhan, Claudia Wieser, Heimo Zobernig.

Website Galería Casado Santapau

Monday, 10th October – Saturday, 19th November 2016

Galerie Lange+Pult

limmatstrasse 291
ch-8005 zürich, Switzerland

Website Galerie Lange + Pult

Sunday, 24th april – Sunday, 2nd October 2016

Kunsthalle Weishaupt

Hans-und-Sophie-Scholl-Platz 1

89073 Ulm, Germany

The Kunsthalle Weishaupt dedicates a comprehensive solo exhibition to the artist Gerold Miller.

More than 70 large scale works from all productive periods of the artist will be on view, amongst them early works such as Anlagen, as well as more recent series such as Monoform and set. For the first time, the new sculpture series titled Verstärker will be presented. Most of the exhibited pieces come from the Collection Siegfried and Jutta Weishaupt. They will be complemented by a selection of works from the artist’s own collection and from various European private collections.

The exhibition opens on Saturday, 23rd of April with a greeting by Kathrin Weishaupt-Theopold, director of Kunsthalle Weishaupt, and an introduction by Johan Holten, director of Staatliche Kunsthalle Baden-Baden.

Website Kunsthalle Weishaupt

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Wednesday, 20th January – Friday, 4th March 2016

Galería Casado Santapau

C/ Piamonte, 10

28004 Madrid, Spanien

In his first solo exhibition in Spain at Galería Casado Santapau, Gerold Miller will present new works of his series Monoform and set.

Website Galeria Casado Santapau

Thursday, 17th March – Sunday, 5th June 2016

Ludwig Forum

Jülicher Str. 97-109

52070 Aachen, Germany

“Brave new world“? – Visions of modernity are negotiated in the group exhibition DYSTOTAL. By dealing with the visual vocabulary of the historical avant-garde, the works collected in DYSTOTAL newly fathom the concept of the absolute or the “Gesamtkunstwerk”, from longing via empathetic upheaval to failure in stagnation. Curated by the artist group Konsortium.

Website Ludwig Forum

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Tuesday, 1st March – Sunday, 11th September 2016

Louisiana Museum of Modern Art

Gl Strandvej 13

3050 Humlebæk, Denmark

Louisiana Museum of Modern Art presents a cornucopia of international contemporary and classic works of art acquired over the past three years – more than fifty works within painting, photography, sculpture and installation.

Louisiana Museum of Modern Art

Saturday, 16th July – Sunday, 23th October 2016

Belvedere 21er Haus

Arsenalstraße 1

1030 Wien, Austria

In the reception of twentieth-century Austrian art, post-war constructive, concrete art – a major international movement – has been “pitifully sidelined” (Dieter Ronte). Yet in Austria especially there are a wide range of starting points and connections, as kinetic art, op art, concrete, conceptual and computer art all exemplify.

21er Haus

Monday, 6th September – Friday, 18th October 2015

PS projectspace

Madurastraat 72

1094 GR Amsterdam, Netherlands

PS Projectspace

Saturday, 20th March – Saturday, 30th April 2015

Galerie Nikolaus Ruzicska

Faistauergasse 12

5020 Salzburg, Austria

Seit Beginn seiner künstlerischen Tätigkeit beschäftigt sich Gerold Miller mit der Frage, wie man den klassischen Bereich der Malerei verlassen und die Bildfndung von den herkömmlichen Sehmustern befreien kann. Seine jüngste Werkgruppe Monoform bricht am radikalsten mit der gültigen Ikonographie, erklärt sie doch die Wand zum Bild und deren Begrenzung zum Objekt: zwei gleichförmige, horizontal parallel montierte Aluminiumleisten, die in den bekannten Millerschen Farben Neonrot, leuchtendes Blau oder auch in den Nicht-Farben Silber, Gold und Schwarz lackiert sind, bilden einen Rahmen für die Wand, an der sie hängen. Für den entstehenden Zwischenraum braucht es nun den Betrachter, der herausgefordert wird, den leeren Raum als Bildfäche wahrzunehmen. Nicht das Erkennen von formalen Dingen steht im Mittelpunkt, sondern das Erkennen der Materialität des Raums. Miller knüpft mit dieser Serie an seine Werkgruppe der Anlagen aus den frühen 1990er Jahren an, als seine Bildobjekte unterschiedlichste Rahmenformen darstellten, teilweise verstrebt, matt oder glänzend. Sie steckten wie auch die neuen Monoform betitelten Werke das Territorium ab, machten die tragende Wand als Raum sichtbar.

Da Gerold Miller die gezeigten Arbeiten eigens für den jeweiligen Ausstellungsraum konzipiert, sind sie perfekt an ihre Umgebung angepasst und refektieren, begrenzen und erweitern diese. Die Objekte generieren also stetig neue Bilder, die aber nicht aus sich heraus entstehen, sondern aus der Außenwelt kommen. Die Serie Set ist ein herausragendes Beispiel dafür: sie erinnert am ehesten an Millers Total Objects betitelte Werke der letzten zehn Jahre, als quadratische oder rechteckige Bildträger aus Edelstahl oder Aluminium mit polierten Oberfächen aus mehreren Schichten hochwertiger Lacke – monochrom oder mehrfarbig, jedoch immer streng geometrisch – absolute Präzision und Perfektion vermittelten. Die polierten Oberfächen sind geblieben, jedoch leuchten uns nun glänzende, hochformatige Rechtecke auf matter Grundfäche entgegen oder umgekehrt die glänzende Grundfäche umfasst ein mattes Rechteck. Durch die durchdachte, präzise Aufhängung im Ausstellungsraum spiegeln sich einerseits die Betrachter, andererseits der umgebende Raum im Kunstwerk. Das Spiel mit visuellen Täuschungen wird auf die Spitze getrieben, Erinnerungen an Besuche von Spiegelkabinetten in unserer Kindheit werden wach. Die Kunstwerke folgen der Bewegung der Betrachter, Illusion und Realität verschmelzen.

Der Begriff der Malerei bleibt für Gerold Miller jedoch bestehen. Seine Entwürfe und Modelle, die Farbgebung, die Abstimmung der Proportionen sind fest in Künstlerhand und nehmen den längsten Teil des Schaffensprozesses ein. In den Atelierwerkstätten arbeiten Spezialisten aus der Lackier- und Metallbautechnik eng mit Gerold Miller zusammen. In langen und aufwändigen Prozessen wird die Umsetzung der Entwürfe gemeinsam erarbeitet. Seit Albrecht Dürer den Begriff des Kunstwerks aus der bis dahin gültigen Begriffichkeit des Handwerks herausgelöst hat, ist die Schaffung eines solchen streng mit dem Genius des Künstlers verbunden. Gerold Miller beweist dies eindrücklich mit seinen Arbeiten. Zeitgenössische Kunst kann durchaus auf solides Handwerk aufbauen, ihre Genialität und Einzigartigkeit aber verdankt sie dem Künstler selbst.

Galerie Nikolaus Ruzicska, Salzburg

29th March 2015 – 30th April 2015

Galerie Nikolaus Ruzicska

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Friday, 12th April – Saturday, 18th Mai 2013

Giacomo Guidi Arte Contemporanea

c, Via Antonio Stoppani, 15

Milan, Italy

Giacomo Guidi Arte Contemporanea is pleased to announce the opening of the new gallery space in Rome with an exhibition of the Berlin based artist concept artist Gerold Miller.

Gerold Miller will present new Monoform and set, especially ideated for the exhibition. Both groups of works represent his ongoing occupation with a radically reduced understanding of pictoriality, which he has formulated since the very beginnings of his artistic career.

The recent series of Monoform takes inspiration from Miller’s early works of the 1990s. To date they are the most wide reaching steps taken on Miller’s path to differentiate himself from the traditional format of the ‚painting‘.

The traditional understanding of the ‚picture‘ is streched to its extremity by the Monoforms. Two equally proportioned aluminum angles are mounted parallel on the wall. They describe the boundaries of an imagined picture-space: the wall becomes a painting, and its borders become the object. The discovery of the picture-space is left to the imaginative power of the viewer. Gerold Miller nominates the wall as the ‚final ground‘, over-stepping previous borders between abstract painting and minimalist sculpture to broaden the categories of the conceptual.

Gerold Miller’s sets test the limits of representation. They operate at the margins of plane and space, light and dark – or more precisely, at the margins of the visible. Large-scale black monochrome surfaces absorb the viewer’s gaze, the contrast of flat matt and lacquer gloss, grey and silver gives rise to illusionistic new spaces behind the picture surface. Overlapping areas of color draw the viewer out into new simulated spaces, which interplay and feedback to the surface.

Some more recent sets bridge to the Monoforms. Their white surface melts with the wall while the green marks/angles on the borders of the sets insinuate the possibility of opening or limiting the space of the picture. These works are iconic for Gerold Miller’s conceptual understanding of the picture as something infinite that needs limits only to make it „tangible“.

Giacomo Guidi Arte Contemporanea

A rainbow of contemporary art at the fourth edition of the Bocconi Art Gallery, on 27 May. From Steven Scott and Jonathan Monk’s neon colors, to Ettore Spalletti’s colors on boards and Gerold Miller’s colors on plated metal; from Giorgio Rastelli’s wooden gymnasts, to the conceptual art of Lucio Fontana, Piero Manzoni, Dadamaino and Grazia Varisco, in addition to Zhang Huan and Peter Wüthrich’s photographs and Chiara Dynys’s lenticulars. And Elio Marchegiani’s black and white Grande Scacchiera, as well as dark brown steel in works by Giuseppe Spagnulo and Mauro Staccioli. These are just a few of the works of art in the fourth edition of BAG, the Bocconi Art Gallery, which will be inaugurated on Tuesday 27 May. More than 100 installations, sculptures, photographs and paintings will be exhibited on the Bocconi campus: from the historical headquarters on Via Sarfatti to the building on Via Roentgen designed by the Irish firm Grafton.

Mies van der Rohe Haus, Berlin

As part of this year’s theme “Inside and Opposite” Mies van der Rohe Haus exhibits the work of the internationally established, Berlin-based artist Gerold Miller, who was born in 1961. The exhibition can be seen from the 8th of June to the 14th of September in the listed house on the Obersee, which Mies van der Rohe designed for the printing company owner Karl Lemke in 1932.

Gerold Miller’s minimal-conceptual work is extremely reductive, both in form and colour. In his consistently radical approach to his work he has formulated a new concept, that goes beyond conventional definitions of the graphic. His objects occupy a border territory somewhere between sculpture, wall surface and space. They explore the transition between inner and outer space. The work enters into a dialogue with the architecture of the Lemke country house, where clearly defined wall surfaces define modern architectural space.

The sculptor has devised new work for the exhibition in the Mies van der Rohe House, including an installation entitled “Monoform 2“ made up of two six-metre, gold-lacquered panels for the main wall of the house. “Monoform 2” emphasizes both the two-dimensonality of the surface and the three-dimensionality of the space. It also relates to the colour and form of one of the beautiful little details of the house, the gold-bronze MR door handles.

In choosing the colours of the objects for the exhibition “Mies van der Rohe”, Gerold Miller was also prompted by the natural colours of the external space, the green of the lawn and the blue of the sky. The wall-sized glass facades allow a constant dialogue between the inside and the outside, between culture and nature. In responding to the colours of the location, Gerold Miller’s highly glossy, lacquered, neon-coloured objects take on a nearly immaterial presence.

8th June 2014 – 14th September 2014

Website Mies van der Rohe Haus

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For the tenth edition of Gallery Weekend Berlin, Mehdi Chouakri opens on May 2, 2014 a solo exhibition by the Berlin based artist Gerold Miller, titled Monoform.

Monoform is a new series of works which take inspiration from Miller’s early works of the 1990s, and are to date the most wide reaching steps taken on Miller’s path to differentiate himself from the traditional format of the ‚painting‘.

The Monoform works stretch the traditional understanding of the ‚picture‘ to its extremity. Mounted parallel on the wall, the two equally proportioned aluminum angles describe the boundaries of an imagined picture-space: the wall becomes a painting, and its borders become the object.The discovery of the picture-space is left to the imaginative power of the viewer. Gerold Miller nominates the wall as the ‚final ground‘, over-stepping previous borders between abstract painting and minimalist sculpture to broaden the categories of the conceptual.

The second group of works shown belong to Miller’s set. series, in which he tests the limits of representation.These works operate at the margins of plane and space, light and dark – or more precisely, at the margins of the visible. Large-scale black monochrome surfaces absorb the viewer’s gaze, the contrast of flat matt and lacquer gloss giving rise to illusionistic new spaces behind the picture surface. Overlapping areas of color draw the viewer out into new simulated spaces, which interplay and feedback to the surface.

Monoform and set. both represent Gerold Miller’s ongoing occupation with a radically reduced understanding of pictoriality, which he has formulated throughout his artistic career. Specifically this engages with a process of systematic reduction of the creative medium to give rise to an ascertainable picture form.

The exhibition Monoform will be accompanied by a full-color catalogue.

Galerie Mehdi Chouakri

Gerold Miller

Galeria Casado Santapau, Madrid 11.04.2024 – 01.06.2024 SOLO SHOW

Poesie der Elemente

Wilhelm-Hack-Museum, Ludwigshafen 09.03.2024 – 21.04.2025 GROUP SHOW

Hommage à Günter Fruhtrunk

Walter Storms Galerie, Munich 09.11.2023 – 23.12.2023 GROUP SHOW

Gerold Miller. Modern Sculpture

VAN HORN, Düsseldorf 01.09.2023 – 14.10.2023 SOLO SHOW

Ümwelt

STARKWHITE, Auckland 31.08.2023 – 30.09.2023 GROUP SHOW

Gerold Miller

Galerie Lange + Pult, Zürich 09.06.2023 – 22.07.2023 SOLO SHOW

Skulpturenpark Schwante, Saison 2023

Schlossgut Schwante 03.06.2023 – 15.10.2023 GROUP SHOW

24. 46. 50. 97.

Valletta Contemporary, Malta 26.05.2023 – 29.07.2023 GROUP SHOW

Gerold Miller. reset

Galerie Nikolaus Ruzicska, Salzburg 13.05.2023 – 23.06.2023 SOLO SHOW

Gerold Miller

Kappa Nöun, Bologna 30.01.2023 – 11.03.2023 SOLO SHOW

Miller to Walters: Gerold Miller and Gordon Walters

STARKWHITE, Auckland 08.12.2022 – 31.01.2023 GROUP SHOW

Reine Formsache! Konstruktiv-konkrete Kunst aus der Sammlung Weishaupt

kunsthalle weishaupt, ulm 23.10.2022 – 18.06.2023 GROUP SHOW

Paint it all! Aktuelle Malerei aus Berlin

Berlinische Galerie, Berlin 12.10.2022 – 06.02.2023 GROUP SHOW

Drei Farben: BLAU, WEISS, ROT

Walter Storms Galerie, Munich 06.07.2022 – 06.08.2022 GROUP SHOW

Sous le motif

Collection d'Art Société Générale, Paris 30.06.2022 – 30.04.2023 GROUP SHOW

AN EERINESS ON THE PLAIN

1301SW, MELBOURNE 18.06.2022 – 22.07.2022 GROUP SHOW

GEROLD MILLER

STARKWHITE, AUCKLAND 01.06.2022 – 02.07.2022 SOLO SHOW

Gerold Miller

WENTRUP Gallery, Berlin 29.04.2022 – 04.06.2022 SOLO SHOW

Verstärker

Mies van der Rohe Haus, Berlin 10.04.2022 – 25.09.2022 SOLO SHOW

something new, something old, something desired

Hamburger Kunsthalle, Galerie der Gegenwart 18.02.2022 – 15.09.2024 GROUP SHOW

Minimal Art

Bucerius Kunst Forum, Hamburg 12.02.2022 – 24.04.2022 GROUP SHOW

IN ERSTER LINIE. WERKE AUS DER SAMMLUNG STADLER

Neues Museum Nürnberg 28.01.2022 – 11.09.2022 GROUP SHOW

"Schnee fällt hinterm Berge"

AVLSKARL GALLERY, COPENHAGEN 25.11.2021 – 23.01.2022 GROUP SHOW

Friendship. Nature. Culture

Daimler Art Collection, Berlin 16.10.2021 – 29.05.2022 GROUP SHOW

Gerold Miller

SEBASTIAN FATH CONTEMPORARY, Mannheim 14.09.2021 – 30.10.2021 SOLO SHOW

Christine Liebich | Gerold Miller

NAK Neuer Aachener Kunstverein, Aachen 12.09.2021 – 31.10.2021 SOLO SHOW

[Project Gerold Miller]

Museum für Konkrete Kunst, Ingolstadt 25.07.2021 – 10.10.2021 SOLO SHOW

CAJAS

Galería Casado Santapau, Madrid 12.06.2021 – 25.07.2021 SOLO SHOW

x_minimal

Cassina Projects, Milano 15.05.2021 – 02.10.2021 GROUP SHOW

ABSTRAKT

WENTRUP GALLERY, BERLIN 30.04.2021 – 15.05.2021 GROUP SHOW

Compressed Time

FS.ART, Berlin 29.04.2021 – 10.09.2021 GROUP SHOW

Gerold Miller

ASHES/ASHES, New York 19.02.2021 – 28.03.2021 SOLO SHOW

Gerold Miller | Anselm Reyle | Katja Strunz

Galería Casado Santapau, Madrid 05.11.2020 – 31.12.2020 Group show

Gerold Miller

VAN HORN, DÜSSELDORF 31.10.2020 – 04.03.2021 SOLO SHOW

Gerold Miller

Galerie Lange + Pult, Auvernier 23.10.2020 – 19.12.2020 SOLO SHOW

INDEX

Museo de Arte Contemporáneo de Monterrey (MARCO) 01.10.2020 – 15.12.2021 GROUP SHOW

BLACK MODE

GALLERIA E3 ARTE CONTEMPORANEA, BRESCIA 12.09.2020 – 04.11.2020 GROUP SHOW

GEROLD MILLER | KATJA STRUNZ

WALTER STORMS GALERIE, MUNICH 11.09.2020 – 31.10.2020 SOLO SHOW

She Comes in Colours Everywhere

68projects, BERLIN 11.09.2020 – 31.10.2020 Group Show

BERLINER ZIMMER

SCHLOSS ACHBERG, RAVENSBURG 18.07.2020 – 25.10.2020 GROUP SHOW

Galeria Casado Santapau, Madrid
11.04.2024 – 01.06.2024 SOLO SHOW

Wilhelm-Hack-Museum, Ludwigshafen
09.03.2024 – 21.04.2025 GROUP SHOW

Walter Storms Galerie, Munich
09.11.2023 – 23.12.2023 GROUP SHOW

VAN HORN, Düsseldorf
01.09.2023 – 14.10.2023 SOLO SHOW

STARKWHITE, Auckland
31.08.2023 – 30.09.2023 GROUP SHOW

Galerie Lange + Pult, Zürich
09.06.2023 – 22.07.2023 SOLO SHOW

Schlossgut Schwante
03.06.2023 – 15.10.2023 GROUP SHOW

Valletta Contemporary, Malta
26.05.2023 – 29.07.2023 GROUP SHOW

Galerie Nikolaus Ruzicska, Salzburg
13.05.2023 – 23.06.2023 SOLO SHOW

Kappa Nöun, Bologna
30.01.2023 – 11.03.2023 SOLO SHOW

STARKWHITE, Auckland
08.12.2022 – 31.01.2023 GROUP SHOW

kunsthalle weishaupt, ulm
23.10.2022 – 18.06.2023 GROUP SHOW

Berlinische Galerie, Berlin
12.10.2022 – 06.02.2023 GROUP SHOW

Walter Storms Galerie, Munich
06.07.2022 – 06.08.2022 GROUP SHOW

Collection d'Art Société Générale, Paris
30.06.2022 – 30.04.2023 GROUP SHOW

1301SW, MELBOURNE
18.06.2022 – 22.07.2022 GROUP SHOW

STARKWHITE, AUCKLAND
01.06.2022 – 02.07.2022 SOLO SHOW

WENTRUP Gallery, Berlin
29.04.2022 – 04.06.2022 SOLO SHOW

Mies van der Rohe Haus, Berlin
10.04.2022 – 25.09.2022 SOLO SHOW

Hamburger Kunsthalle, Galerie der Gegenwart
18.02.2022 – 15.09.2024 GROUP SHOW

Bucerius Kunst Forum, Hamburg
12.02.2022 – 24.04.2022 GROUP SHOW

Neues Museum Nürnberg
28.01.2022 – 11.09.2022 GROUP SHOW

AVLSKARL GALLERY, COPENHAGEN
25.11.2021 – 23.01.2022 GROUP SHOW

Daimler Art Collection, Berlin
16.10.2021 – 29.05.2022 GROUP SHOW

SEBASTIAN FATH CONTEMPORARY, Mannheim
14.09.2021 – 30.10.2021 SOLO SHOW

NAK Neuer Aachener Kunstverein, Aachen
12.09.2021 – 31.10.2021 SOLO SHOW

Museum für Konkrete Kunst, Ingolstadt
25.07.2021 – 10.10.2021 SOLO SHOW

Galería Casado Santapau, Madrid
12.06.2021 – 25.07.2021 SOLO SHOW

Cassina Projects, Milano
15.05.2021 – 02.10.2021 GROUP SHOW

WENTRUP GALLERY, BERLIN
30.04.2021 – 15.05.2021 GROUP SHOW

FS.ART, Berlin
29.04.2021 – 10.09.2021 GROUP SHOW

ASHES/ASHES, New York
19.02.2021 – 28.03.2021 SOLO SHOW

Galería Casado Santapau, Madrid
05.11.2020 – 31.12.2020 Group show

VAN HORN, DÜSSELDORF
31.10.2020 – 04.03.2021 SOLO SHOW

Galerie Lange + Pult, Auvernier
23.10.2020 – 19.12.2020 SOLO SHOW

Museo de Arte Contemporáneo de Monterrey (MARCO)
01.10.2020 – 15.12.2021 GROUP SHOW

GALLERIA E3 ARTE CONTEMPORANEA, BRESCIA
12.09.2020 – 04.11.2020 GROUP SHOW

WALTER STORMS GALERIE, MUNICH
11.09.2020 – 31.10.2020 SOLO SHOW

68projects, BERLIN
11.09.2020 – 31.10.2020 Group Show

SCHLOSS ACHBERG, RAVENSBURG
18.07.2020 – 25.10.2020 GROUP SHOW

Mixed Zone
Dialoge Zwischen Kunst und Design

Neues Museum, Nürnberg
12.05.2020 – 12.05.2023 Group show

Gerold Miller
The Monoform Show

Cassina Projects, Milan
12.09.2019 – 21.12.2019 Solo show

Eduardo Secci Contemporary, Florence
29.06.2019 – 07.09.2019 Solo show

New Orleans Museum of Art
15.05.2019 – 15.05.2022 Group show

Martin Boyce |
Gerold Miller

Zembla Gallery, Hawick
11.05.2019 – 16.06.2019 Solo show

FS.ART Bodensee, Tettnang
23.03.2019 – 25.05.2019 Solo show

New Space At
Rämistrasse 27

Lange + Pult, Zürich
07.03.2019 – 30.03.2019 Group show

Gallery of Fine Arts, Ostrava
23.01.2019 – 24.03.2019 Group show

Ausgang offen
Neues aus der Sammlung

Kunsthalle Weishaupt, Ulm
21.10.2018 – 06.10.2019 GROUP SHOW

L'Atelier, Nantes
26.10.2018 – 18.11.2018 GROUP SHOW

Lange + Pult, Zürich
19.10.2018 – 23.12.2018 SOLO SHOW

Kunstmuseum Singen, Singen
14.10.2018 – 06.01.2019 GROUP SHOW

ALDO CHAPARRO STUDIO, MEXICO CITY
12.10.2018 – 30.11.2018 GROUP SHOW

Nam Project, MILAN
19.09.2018 – 20.10.2018 GROUP SHOW

Harper´s Books, New York
18.08.2018 – 10.10.2018 GROUP SHOW

Walter Storms Galerie, MUNICH
13.04.2018 – 07.07.2018 SOLO SHOW

F.S ART Private Showroom, Berlin
26.04.2018 – 08.07.2018 GROUP SHOW

Galeria Casado Santapau, Madrid
15.03.2018 – 05.05.2018 SOLO SHOW

CASSINA PROJECTS, NEW YORK
02.11.2017 – 10.02.2018 SOLO SHOW

GEROLD MILLER
SECTION

Galerie Nikolaus Ruzicska, Salzburg
20.07.2017 – 31.08.2017 SOLO SHOW

Gerold Miller
Capteur d'instant

Galerie Mehdi Chouakri, Berlin
24.06.2017 – 02.09.2017 SOLO SHOW

Gerold Miller
Amplificateur d'espace

Galerie Mehdi Chouakri, Berlin
06.06.2017 – 02.09.2017 SOLO SHOW

Museum Ritter, Waldenbuch
21.05.2017 – 17.09.2017 Group Show

Museo d’arte della Svizzera italiana, Lugano
24.06.2017 – 28.08.2017 GROUP SHOW

Galería Casado Santapau, Madrid
20.01.2017 – 04.03.2017 Group Show

Galerie Lange + Pult, Auvernier
10.10.2016 – 19.11.2016 SOLO SHOW

Kunsthalle Weishaupt, Ulm
24.04.2016 – 02.10.2016 SOLO SHOW

Galeria Casado Santapau, Madrid
20.01.2016 – 04.03.2016 SOLO SHOW

Ludwig Forum, Aachen
17.03.2016 – 05.06.2017 Group Show

Louisiana Museum of Modern Art, Humlebæk
01.03.2016 – 11.09.2016 Group Show

Abstract Loop Austria
Kunst und visuelle Forschung seit 1950

Belvedere 21er Haus, Vienna
16.07.2016 – 23.10.2016 Group Show