MAI 36 GALERIE

Now Open in Shanghai: “Screen Wrestling” by Zang Kunkun. A solo exhibition organised in collaboration with Amber Contemporary. ⁠
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Qu Yuan, No. 20, Lane 56⁠
Jianguo Road⁠, Shanghai⁠
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The works in this exhibition were created with simple colours, such as red, blue, yellow and green—the basic colours of the screen, to construct seemingly complex pictorial images from. Most of the works are embedded with painterly elements referring to a “screen.” In some pieces, simple diagonal divisions create screens with extreme perspectives that appear unfamiliar, unrecognizable, or deliberately concealed, even though certain features—such as “TV stands” or “ultra-thin LCD bezels”—hint at the image of a television. Thus, instead of understanding the works as “screens,” it might be more appropriate to see them as visual languages, whether simple or complex, shaped by the imagery of screens.⁠
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On view through December 04.

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Exhibition Views, “Screen Wrestling” by Zang Kunkun⁠ in collaboration with Amber Contemporary.

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Opening Tomorrow in Zurich: “Shave And a Haircut, Two Bits.” by Gowoon Lee.⁠
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🕸️Opening Reception: Thursday Nov 07, 6 PM.⁠
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36.1 projects is excited to present a solo show by Gowoon Lee (*1991, South Korea). Lee navigates the tension between ultra-recognizable images and abstraction by isolating objects from familiar cartoon narratives. The ‘singular’ images that are depicted in Lee’s work function almost like words in her visual language, enabling the arrangement or combination of the paintings to create larger narratives. By incorporating universal motifs that resonate across different cultures and backgrounds, Lee creates a shared emotional language, shaping individual encounters into a sense of unity and encouraging dialogue and reflection on common human experiences.⁠
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@36.1projects

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Gowoon Lee
Cobweb, 2024
Oil on canvas
110 x 85 cm
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Photo Credits: Simon Persson⁠
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Opening in Zurich: “That Is All There Is, Perception and Memory” by Koenraad Dedobbeleer⁠.
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💡Opening Reception: Thursday, Nov 07, 6 PM⁠
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Mai 36 Galerie is pleased to announce their 4th solo exhibition with Koenraad Dedobbeleer (*1975, Belgium) on two floors of the Mai 36 townhouse. Throughout the exhibition everyday objects are freed from their typical functions and are reassessed through their recontextualization. Koenraad Dedobbeleer constructs references that act as perceptual traps. The artefacts we encounter here, may appear familiar but may also have the ability to unsettle. They are riddled with subtle allusions, ironic commentaries, and art-historical references, designed and arranged in response to the architecture in which they are placed.
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Koenraad Dedobbeleer⁠
Revel in the Everyday, 2020⁠
Powder-coated steel, painted wood⁠
120 x 45 x 28 cm⁠
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Opening at Mai 36 Madrid: A solo exhibition by Matt Mullican, focusing on his large-scale rubbings.⁠
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Opening Reception: Saturday November 16, 5 PM.⁠
Calle Sancho Dávila 14.⁠
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The exhibition is organized in dialogue with two concurrent solo exhibitions by Matt Mullican in Spain, at ProjecteSD Barcelona and 1MiraMadrid with each venue offering a distinct perspective on Mullican’s practice spanning over five decades.

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Detail of Untitled (Model), 2022 by Matt Mullican⁠

Detail of Untitled (Coal), 2014 by Matt Mullican⁠

Detail of Untitled (Element and Empty Interior), 2014 by Matt Mullican⁠

Detail of Untitled (Behind the picture and details I), 2021 by Matt Mullican⁠
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We are delighted to present a solo exhibition “Screen Wrestling” by Zang Kunkun (*1986, China) in our new temporary space in Shanghai, in collaboration with Amber Contemporary. ⁠
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📍Opening Wednesday November 06, 4 PM . ⁠
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Qu Yuan, No. 20, Lane 56⁠
Jianguo Road⁠
Shanghai⁠
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We look forward to see you there ✨
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Zang Kunkun⁠
Upright (II), 2017⁠
brick structure: 200 x 22 x 19 cm⁠
cowhide: 24.5 x 20.5 x 20 cm ⁠
ready made floor cement brick, copper foil wire, cowhide, stainless steel⁠
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We are delighted to announce that Christoph Rütimann is awarded with the Willy Reber Art Prize 2024.⁠ The Prize is awarded, every two years, to artists living in Switzerland in the fields of painting, sculpture, graphics and ceramics.
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Award Ceremony⁠
Thursday, Nov 07 at 6 PM⁠
Bündner Kunstmuseum Chur ⁠
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Christoph Rütimann is one of the most important Swiss artists of his generation. His artistic approach to the world including drawing, painting, sculpture, photography and video and performance constitutes a performative measuring of that world. Colour becomes his counterpart, and his tracking shots travel through it along lines that are to be found everywhere. Rütimann’s drawings are also line works that point beyond the edge of the paper and, as a theme passing from one medium to another, find their way into the world of the videos, where they even reflect on the concept of a contemporary painting as they appear on the screen.⁠

Former Award Winners:
H.R. Giger 2007, Corsin Fontana 2009, Franz Gertsch 2011, Pipilotti Rist 2014, Rolf Iseli 2016, Beat Zoderer 2018, Annelies Strba 2020, Gerda Steiner & Jörg Lenzlinger 2022.
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Christoph Rütimann‘s performance at Bellelay abbey, 2021⁠
Credits: Pino Wegmüller⁠
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Christoph Rütimann⁠
Chi ha detto che il giallo non è bello, 1983/89⁠
signed, dated and numbered recto⁠
c-print, mounted on aluminum⁠
35 parts, each 71.6 x 101.8 x 4.5 cm⁠
Edition of 3 + 1 AP⁠
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Exhibition Views, Christoph Rütimann: behind glass, Mai 36 Galerie, 2024⁠
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We are pleased to announce the 4th solo exhibition with Koenraad Dedobbeleer (*1975, Belgium) across two gallery floors. ⁠
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💡Opening Reception: November 07, 6 PM⁠
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Koenraad Dedobbeleer creates sculptures, objects, in-situ installations and photographs teeming with associations, tongue-in-cheek commentaries and art historical references. The artist places the focus firmly on everyday objects, which he modifies and recontextualises. He does this by means of methods such as deconstruction and manipulation, so that the contextual shifts and transformations of these everyday objects and motifs prompt the viewer to question the essential quality of things and their existence within newly created frames of reference.⁠
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Koenraad Dedobbeleer⁠
Edges around Nothing, 2024⁠
(Marie Wabbes, La soupe ça fait grandir, 2003, Paris, L’École des loisirs)⁠
Archival pigment print on Baryta paper in artist’s frame⁠
55 x 65 x 4 cm⁠
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Koenraad Dedobbeleer⁠
Egalitarian but Elusive Desiderata of Beauty, 2024⁠
Hand blown glass, electrical cord, Light bulb, hardware and brass⁠
37 x 67 cm⁠
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We are excited to announce a solo exhibition by Gowoon Lee (*1991, South Korea) at 36.1 projects.⁠
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⭐️ Opening Reception: Thursday Nov 07, 6 PM.⁠


@36.1projects
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Detail of Night Flowers, 2024 by Gowoon Lee⁠
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Detail of Smash, 2024 by Gowoon Lee⁠
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Detail of Greedy Hands, 2024 by Gowoon Lee⁠
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Detail of Gem, 2024 by Gowoon Lee⁠
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Photo Credits: Simon Persson

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Last Day: Pia Fries - blau und rau

pours oil paints from cans, squeezes them from tubes or presses, and molds the viscous paint into reliefs. By rotating and turning the canvases, she lets diluted colors flow into each other in streaks. By shaking and striking, she makes the color vibrate. She mixes, layers, smudges, and furrows the material using brushes, spatulas, rakes, and specially developed tools.

📍Join us until Today at 5 PM

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Details of the current exhibition by Pia Fries - blau und rau.
Photo Credits: Pascal Sigrist


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Jacobo Castellano is the last artist featured in our group exhibition “Everywhere It Goes”.

📍On view through this Saturday, October 26.⁠
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Jacobo Castellano (1976, Jaén, Spain) delves into the intersection of memory and materiality with his evocative sculptures and installations. Castellano’s works often feature reclaimed wood, discarded objects, and other found materials, which he meticulously assembles to create pieces rich with historical and emotional resonance. His art is imbued with a sense of nostalgia, capturing the essence of forgotten stories and past lives. Castellano’s approach to sculpture emphasizes the tension between permanence and decay, inviting viewers to reflect on the passage of time and the layers of meaning embedded in everyday objects. Through his unique vision, Castellano radiates a contemplative energy, transforming the mundane into profound explorations of human experience and memory.⁠
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Jacobo Castellano⁠
Sin título (Untitled), 2017⁠
wood, oil, iron, acrylic and linen⁠
191 x 114 x 119 cm⁠
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Exhibition Views: “Everywhere It Goes”, Mai 36 Galerie, 2024
Photo: Peter Baracchi

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Silvia, Sylvie and Silvana by Zoe Koke

Zoe Koke (1989, Calgary, Canada) channels her deep connection to the natural world through her multifaceted works that span photography, sculpture, and installation. Her art is characterized by a profound sensitivity to the environment, often incorporating organic materials such as plants, soil, and natural fibers. Koke’s pieces evoke a sense of timelessness and transience, exploring themes of growth, decay, and renewal. By merging natural elements with human artifacts, she creates compelling narratives that reflect on our relationship with the earth. Her work radiates a quiet, yet powerful energy, urging viewers to reconsider their own interactions with the natural world and the fleeting nature of existence.

The group exhibition “Everywhere It Goes” is on view through this Saturday, October 26.

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Exhibition Views: “Everywhere It Goes”, Mai 36 Galerie, 2024
Photo: Peter Baracchi

Zoe Koke
Sylvie, 2024
signed and dated verso
oil and acrylic on canvas
137 x 178 cm

Detail of Silvana, 2024 by Zoe Koke

Zoe Koke
Silvana, 2024
signed and dated verso
oil and acrylic on canvas
127 x 152 cm

Zoe Koke
Silvia, 2024
signed and dated verso
oil and acrylic on canvas
137 x 178 cm

Detail of Silvia, 2024 by Zoe Koke

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SENSITIVE SKINS, curated by and in collaboration with .art.

The second room brings together works by Magnus Plessen, Robert Mapplethorpe, Richard Artschwager, John Baldessari, General Idea and Lawrence Weiner.

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Via della Spiga 48, Milan
On View through December 06

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Exhibition Views, SENSITIVE SKINS, curated by Antonio Grulli, in collaboration with CIRCOLO.
Photo: .eu

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Last day Paris to visit our cabinet presentation dedicated to Italian photographer
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Booth B51⁠
Grand Palais⁠
Oct 16 - Oct 20⁠
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His photographs convey a yearning for a distinctly classical aesthetic, which he explores in perfectly composed images while at the same time introducing a counterpoint in the form of often dreary scenarios which he stylizes, heightens and distils into a view that might be described as Melancholia Italiana. The image of Italian life he projects is one of emptiness, longing and absence by creating a form of expression that was in keeping with the mood of the day and reflected the Italian view of their own country and the wider world. The compositional perfection contrasts with a reality that falls far short of it, in images harboring both social criticism and hope. This is what made, and still makes, Luigi Ghirri such an outstanding representative of his time⁠
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Luigi Ghirri⁠
Capri (Serie: Paesaggio Italiano), 1982⁠
with certificate⁠
c-print, vintage⁠
image 20.7 x 30.5 cm⁠
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Installation Views, Mai 36 Galerie at Art Basel 2024⁠

Luigi Ghirri
Modena (Serie: Kodachrome), 1971
with certificate
mat c-print, vintage
image 15.9 x 23.7 cm

Luigi Ghirri
Modena (Serie: Il Paese dei Balocchi), 1974
with certificate
semimat c-print, vintage
image 16.8 x 25 cm

Installation Views, Mai 36 Galerie at Art Basel 2024⁠

Luigi Ghirri
Napoli (Serie: Paesaggio Italiano), 1981
with certificate
mat c-print, vintage
image 20.2 x 30 cm

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Matt Mullican Paris.

Grand Palais | Booth B51⁠
Oct 16 - Oct 20⁠

Mullican’s work, ranging from performance to installation to computer-generated images, and from sculpture to drawing above all, examines the methods used by humankind to interpret reality, feel empathy for images and project itself onto them. He attempts to define reality and its representations through an artistic systemization and encyclopaedic approach of collecting, creating and ordering elements. Over the years, he has designed a personal language made of formal and symbolic elements combined with a declension of five recurrent colours (green, blue, yellow, black, and red), each referring to a different type of perception.

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Installation Views, Mai 36 Galerie at Art Basel Paris 2024⁠. Photo Credits: Andrea Rossetti⁠

Matt Mullican
Untitled (Explosion with Details), 2022
signed and dated verso
oilstick, acrylic on canvas, rubbing
diptych
each 100 x 200 x 4 cm

Matt Mullican
Untitled (Stick Figures), 1974
signed and dated verso
rapidograph on paper
4 parts, each 35.6 x 21.6 cm

Matt Mullican
Untitled (Glenn: Stick Figure Framed), 2024
signed and dated verso
acrylic and oil stick rubbing on canvas
175 x 100 x 4 cm

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Peter Hujar on view for Oh La La! at Paris,

An initiative focused on exploring themes such as love, eroticism, history, the legacy of Surrealism, and Q***r identity.⁠ We are therefore excited to present three vintage prints by Peter Hujar. Peter Hujar photographed his subjects with a profound sensitivity and psychological depth. Uncompromising and occasionally somber, he captured intellectuals, luminaries, and members of New York City’s subculture in moments of unguarded vulnerability. Hujar openly embraced male sexuality and was unafraid to confront themes of death and dying.

📍Discover the selection in our booth, B51.⁠
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Peter Hujar is currently on view at the Venice Biennale ⁠with the exhibition of the legendary Portraits in Life and Death. Comprising the complete set of 41 photographs reproduced in the 1976 book, Portraits in Life and Death. The exhibition is curated by Grace Deveney, David C. and Sarajean Ruttenberg Associate Curator of Photography and Media at the Art Institute of Chicago.⁠
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Peter Hujar⁠
Gary Schneider Doing Headstand, 1989⁠
signed, titled and dated verso in pencil by Stephen Koch, for the Peter Hujar Archive; estate and copyright stamp verso in ink⁠
vintage gelatin silver print⁠
37.1 x 37.5 cm⁠
©️ Peter Hujar Archive / Artists Rights Society (ARS)⁠
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Peter Hujar⁠
John Kelly (II), 1981⁠
signed, titled and dated verso in pencil by Stephen Koch, for the Peter Hujar Archive; estate and copyright stamp verso in ink⁠
vintage gelatin silver print⁠
37.1 x 37.1 cm⁠
©️ Peter Hujar Archive / Artists Rights Society (ARS)⁠
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Peter Hujar⁠
Lower Manhattan from the Harbor, 1976⁠
signed, titled and dated verso in pencil by Stephen Koch, for the Peter Hujar Archive; estate and copyright stamp verso in ink⁠
vintage gelatin silver print⁠
37.1 x 37.1 cm⁠
©️ Peter Hujar Archive / Artists Rights Society (ARS)⁠
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Installation Views, Mai 36 Galerie at Art Basel Paris 2024⁠.⁠
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Installation Views, Peter Hujar: Portraits in Life and Death, Santa Maria della Pietà, 2024. Photo: Lorenzo Palmieri
©️ Peter Hujar Archive / Artists Rights Society (ARS)⁠
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Magnus Plessen, “Doppelportrait Sarah und ich (blau) / (gelb)” 2024. On view in our booth Paris.

Grand Palais | Booth B51⁠
Oct 16 - Oct 20⁠

Magnus Plessen creates paintings that seamlessly blend abstraction and representation. Employing a wide variety of painterly techniques and dynamic compositions, his works explore themes of perception, structure, materiality, and impermanence. Figures slip in and out of focus, either static or caught in a blurred rush of movement.

These are two of his most recent works, which portrait himself and his wife Sarah.

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Magnus Plessen
Doppelportrait Sarah und ich (blau), 2024
signed and dated verso
oil and charcoal on canvas
60 x 50 x 4.5 cm

Magnus Plessen
Doppelportrait Sarah und ich (gelb), 2024
signed and dated verso
oil and charcoal on canvas
60 x 50 x 4.5 cm

Installation Views, Mai 36 Galerie at Art Basel Paris 2024⁠. Photo Credits: Andrea Rossetti⁠

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Now Open: Paris. Join us at Booth B51.⁠
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Grand Palais⁠
Oct 16 - Oct 20⁠
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Featuring works by:⁠
John Baldessari ⁠
Jacopo Benassi ⁠
Irma Blank ⁠
Koenraad Dedobbeleer ⁠
General Idea ⁠
Peter Hujar ⁠
Pia Fries ⁠
Magnus Plessen ⁠
Matt Mullican ⁠
Poppy Jones ⁠
Kentaro Kawabata ⁠
Markus Saile ⁠
Maia Ruth Lee⁠ ⁠
Michel Pérez Pollo ⁠
Thomas Ruff⁠ ⁠
& more⁠
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With cabinet by Luigi Ghirri ⁠
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Installation Views, Mai 36 Galerie at Art Basel Paris 2024⁠
Photo Credits: Andrea Rossetti⁠
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White Tulips (Wednesday), 2024 by Poppy Jones. On view this week Paris.

Grand Palais | Booth B51⁠
Oct 16 - Oct 20⁠

works offer a set of personal fragments, an abbreviated autofictional record of the culture at large. Her process is led by intuition and the paintings emerge from the artist soaking up impressions of the things that surround her and photographing them. Their photographic origin lends them a poignancy – they capture a time of day, the angle of a shadow, dust motes in a ray of light.⁠ A windowsill, an open book, a zipped jacket, a lit candle, flowers drooping in a vase. Her works present a kind of incomplete inventory, a partial view, or a portrait of someone just out of shot.⁠ Jones works on silk, suede or cotton, in canvases sometimes cut from her own garments or items she has sourced online. These materials are often true to the images themselves as well as being connected to her life.⁠

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Poppy Jones
White Tulips (Wednesday), 2024
signed & dated verso
oil and watercolor on suede, aluminum frame
42 cm x 59.5

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