Ghost Image
Curated by Krist Gruijthuijsen
Alexander Basil, Pablo Bronstein, Elijah Burgher, Michael Buthe, Daniel Correa Mejía, Anders Dickson, Hervé Guibert, Christoph Hänsli, Almut Heise, Hortensia Mi Kafchin, Pierre Klossowski, Sholem Krishtalka, Karen Lamassonne, Jannis Marwitz, Piotr Nathan, Paul P., Maaike Schoorel, Helen Verhoeven, Amelie von Wulffen

10 September – 2 November 2024

Works

Maaike Schoorel
Toothbrushes
2024
Oil on linen with pigments, copper and silver leaf
50 × 45 cm

Paul P.
Untitled
2012
Drypoint and chine collé on paper
26.5 × 19.5 cm
AP 2 of 2

Alexander Basil
Untitled
2024
Oil on canvas
55 × 65 cm

Almut Heise
Portrait E.H.
1970
Oil on canvas
74 × 62 cm

Pierre Klossowski
Ganymède au col marin
1986
Colored pencil on paper
215 × 130 cm

Daniel Correa Mejía
El Otro, El Enigmatico
2024
Oil on jute
80 × 100 cm

Show more works

Pablo Bronstein
Chromolithograph
2023
Ink and acrylic on paper, artist frame
109 × 87 × 4 cm

Almut Heise
Mädchen vor Toilettenspiegel (rosa-grüne Kacheln)
2006
Oil on canvas
110 × 60 cm

Pierre Klossowski
Socrate interrogeant Charmide
1984
Colored pencil on paper
87 × 150 cm

Piotr Nathan
Der Blick
1987–2014
Oil on canvas, cocktail dress and clothes hanger
118 × 65 cm

Paul P.
Untitled
2011
Drypoint and chine collé on paper
26.5 × 19.5 cm
Edition 9 of 9

Piotr Nathan
Interpretation of Dreams
2004
Organic materials and various pens on lacquer painted wood under acrylic glass, iron bench frame
50 × 185 × 59 cm

Piotr Nathan
Neue Romantik-Schriften zu den Leidenschaften des 20. Jahrhunderts: Die Jungs
1993
organic materials and various pens on lacquer painted wood, integrated photographs by David Armstrong, iron feet and hinges
200 × 85 × 43 cm

Piotr Nathan
Interpretation of Dreams
2004
Organic materials and various pens on lacquer painted wood under acrylic glass, iron bench frame
50 × 184 × 65 cm

Anders Dickson
Suchet: The Bride’s Notary
2024
Cardboard, magic sculpt, aqua resin, enamel paint, acrylic, felt, wire, mylar plastic, wood filler, wood glue, paper, duct tape, flocking and aluminum
25 × 40 × 64 cm

Karen Lamassonne
Soul Food
2024
Acrylic on paper
132 × 102 cm

Sholem Krishtalka
Ghost
2022
Oil on canvas
80 × 60 cm

Hervé Guibert
Vertiges, rue du Moulin-Vert
1984
Silver gelatin print
22.5 × 14.7 cm

Michael Buthe
Untitled
1965–66
Book, hardcover; half clothbound; diverse materials on squared paper, wrapped in textile cord and masking tape
22 × 16 × 4 cm to 36.5 × 16 × 4 cm

Christoph Hänsli
Monde perdu #15
2019–20
Oil on canvas
25 × 32 cm

Christoph Hänsli
Monde perdu #10
2019–20
Oil on canvas
25 × 32 cm

Elijah Burgher
The Golden Ass
2024
Watercolor and colored pencil on paper
72.6 × 111.5 cm

Jannis Marwitz
Untitled
2024
Tempera and wax on canvas
45 × 35 cm

Jannis Marwitz
Untitled
2023
Tempera on cardboard
15 × 20 cm

Amelie von Wulffen
Untitled (Tree hugger)
2017–20
Oil on canvas
100 × 80 cm

Daniel Correa Mejía
Real refugio
2022
Oil on linen
22 × 35 cm

Helen Verhoeven
Inside Girl After
2013-2023
Oil and acrylic on canvas, mounted on panel
77 × 62 cm

Hortensia Mi Kafchin
Ghost Landscape
2024
Oil on canvas
100 × 80 cm

About

Galerie Judin is pleased to present a very special group exhibition for this year’s Art Week, celebrating the merits of parting KW director Krist Gruijthuijsen and sweetening the departure of this brilliant curator for us left-behind Berliners.

The French author and photographer Hervé Guibert once wrote “My body, due to the effects of lust or pain, has entered a state of theatricality, of climax, that I would like to reproduce in any matter possible: by photo, by video, by audio recording. It’s a laboratory that I offer up as a performance…”. He wrote this knowing his life was coming to an end due to his HIV/AIDS condition. Guibert wrote about photography, particularly about the photographs that are not taken. He was interested in the psychology beyond the frame of an image.

Guibert pooled his according thoughts and writings in a collection of essays, titled Ghost Image. Perhaps the most affecting text relates to the day on which Guibert’s mother, usually shy in front of a camera, agreed to have her portrait taken. She was forty-five and stood, as we are told, on the threshold between beauty and old age. She allowed her hair, mostly worn up in tight curls, to be taken down, washed and combed by her son. The intimacy of this moment is palpable, and it becomes clear that on this day mother and son were actually collaborating with one another to create a special moment in their relationship. However, Guibert failed to properly load the camera and the fruits of their shared endeavor resulted in nothing more than a blank slate of film.

The exhibition Ghost Image takes the example of Guibert’s intimacy with his mother as a starting point to question the representation of the self beyond the grasp of an image, one that is fueled by the depiction of memory and loss and rendered through the lens of painting. With each of the many artists responding to this subject in his or her own way, the show presents a loose and intuitive testament to the complexities of self-presentation and, in particular, questions our understanding of memory and depiction.

The show will be accompanied by a comprehensive and complimentary brochure which will be available at the gallery during the course of the exhibition.