Sweet Sixteen: Celebrating 16 years of Capitain Petzel
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Overview
On the occasion of Capitain Petzel’s sixteenth anniversary, the gallery is excited to present Sweet Sixteen, a group exhibition celebrating the artists who have been integral to its program since its inception in 2008.
The collaborative vision of Gisela Capitain and Friedrich Petzel has united artists from both galleries on an international scale, resulting in ambitious exhibitions and the development of an original program. Sweet Sixteen pays homage to the diverse and highly distinct artistic practices that have been instrumental in shaping the gallery’s identity and evolution.
The anniversary exhibition aims to showcase a diverse array of works by artists that are emblematic of their respective practices, while also presenting pieces that challenge preconceived notions. Surprising contributions include a carpet created by Charline von Heyl, poetry coupled with drawings by Christopher Williams, a large-scale window installation by Matt Mullican, and a sound installation by Peter Piller.
The focal point of the souterrain exhibition space will be Robert Longo’s 2022 film Sea of Change, An Homage to Winslow Homer. This film, rendered in Longo’s signature monochrome color scheme and composed of slowed-down, looped footage of waves crashing on the East Coast of the United States, pays tribute to Homer, an artist known for his idyllic rural scenes and dramatic New England coastlines. Longo’s film, rich with movement and the reality of changing tides, as well as a soundtrack made up of earthquakes, bombs crashing, and buildings collapsing, is paired with Sean Landers’ painted seascapes, which equally draw on the work of the celebrated American painter and playfully echo the feelings of solitude present in his work.
Also included are new works by Amy Sillman, featuring a canvas painting alongside a series of works on paper. Both are characteristic of the artist’s distinctive conceptual approach to abstraction and figuration, where constant experimentation and revision is key, making the process of creation as significant as the finished work.
Among the selection are new works by the gallery’s younger positions in the program, including the highly idiosyncratic practices of Austin Martin White and Stefanie Heinze, both of whom had solo presentations recently at Petzel Gallery. A new painting by Sanya Kantarovsky captures the artist’s distinctive painterly sensibility, embodying a profound sense of intimacy and pointing to the different psychological states of the figures.
The exhibition will also highlight one of our key historic positions, Maria Lassnig, represented by works on paper. Drawing, for its degree of immediacy, was described by Lassnig as ‘closest to the idea‘, and is considered to be of utmost importance in the context of the artist’s oeuvre.
The exhibition will feature contributions by Yael Bartana, Ross Bleckner, Barbara Bloom, Isabella Ducrot, Stefanie Heinze, Charline von Heyl, Sanya Kantarovsky, Sean Landers, Maria Lassnig, Robert Longo, Malcolm Morley, Sarah Morris, Matt Mullican, Laura Owens, Peter Piller, Amy Sillman, Monika Sosnowska, Austin Martin White, and Christopher Williams.
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Installation Views
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Bleckner’s paintings are honest, to a fault about their condition, which is the condition of painting without trust. This can be extremely moving, the surfaces seemed punished into songfulness. The best of them could make you weep, without knowing quite why.
– Peter Schjeldahl, Art Critic
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Charline von Heyl claims to want to make newness with newness since she can't enter the memory of the brush - which, like water, is shamanic and full of energy. The tension she conjures up requires so much attention and spontaneity that she would not be able to follow a simple method or apply readymade recipes. In any case, she announces this intention which isn't devoid of courage or grandeur. She will pursue the difficult route of tackling a new history every day.
– Franck Gautherot, Director of Le Consortium Museum, Dijon
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Each drawing is a would-be oil painting, for I never repeat any drawing as an oil painting, they are autonomous. My drawings have more freedom and more mobility in them than the oil paintings because I find a sheet of paper that has to rest on something hard easier to position, be it on my knees, on my belly in bed, on the table, on the floor, on the chair, and I myself can take up all sorts of positions in front of it, which cannot be done at all with a mounted canvas, or only with difficulty. The drawing is closest to the idea.
– Maria Lassnig
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Maria LassnigDie befristete Zeit (Limited Time), 1997Pencil and acrylic on paperTitled and dated rectoPaper dimensions:
62.6 x 44.8 cm / 24.7 x 17.6 inches
Framed dimensions:
81 x 65.9 cm / 31.9 x 26 inches -
Maria LassnigMännerbund (Men’s League), 1997Pencil and acrylic on paperSigned, titled and dated rectoPaper dimensions:
69.6 x 49.6 cm / 27.4 x 19.5 inches
Framed dimensions:
91.8 x 71.7 cm / 36.1 x 28.2 inches
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When I first tried painting the ocean in the early 1990s [...] it was quite difficult to do even though I was at the beach in Amagansett, NY, looking at the ocean every day. So I turned to the American painter Winslow Homer to learn from. This dog and ocean series was based on him.
– Sean Landers
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Malcolm Morley's blues are extraordinary. Card-table flat and infinite, they collapse all sense of proximity. At once remote and wild with their gnarly collisions of space and time, Morley's paintings induce a sublime kind of nausea.
– Dana Schutz
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It’s a very strange feeling to move through a city. You have all these experiences at once. It’s not one thing or the other. It’s flickering back and forth. And I think this happens in all cities.
– Sarah Morris
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Amy Sillman
Untitled, 2023Acrylic, ink and oil crayon on paper
Five parts
Paper dimensions:
Each 59.1 x 42.5 cm / 23.3 x 16.8 inches
Framed dimensions:
Each 67.3 x 50.6 cm / 26.5 x 19.9 inches -
More recently, I started thinking about shape. I’ve never read a book on shape. I’ve read books on gesture; I’ve read tons of books on color, surface, field, ground, representation, abstraction. But I’ve never read a book on what a shape is. I like shapes. So I was making all of these round ones. And then I thought, “I guess they’re people.”
– Amy Sillman
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Owens resists monolithic thinking, and for over a decade her work has remained notably diffuse, evoking subjects ranging from those innate to painting such as the formal operations of perspectival space, to more general phenomena such as storytelling and the cyclical patterning of nature. The only predictable element in Owen’s practice is the medium of painting itself, which in her expert hands remains seemingly immune from repeated threats of demise, or, worse, irrelevancy.
– Gloria Sutton, Art Historian
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Works
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Matt MullicanUntitled, 2024Vinyl464 x 332 cm
182.7 x 130.7 inches -
Barbara BloomSteinway Piano Carpet, 2010Wool rug228.5 x 183.5 cm
90 x 72.2 inchesEdition of 15 -
Austin Martin Whiteferris wheel, 2024Ink, watercolor and tempera on Arches 140Signed and dated versoPaper dimensions:
220.5 x 223.5 cm / 86.8 x 88 inches
Framed dimensions:
232.4 x 231.1 cm / 91.5 x 91 inches -
Ross BlecknerEverytime I Read, 2023Oil on linenSigned, titled and dated verso213.4 x 152.4 cm
84 x 60 inches -
Charline von HeylAfter Zenge, 2016Hand-knotted, dyed by Artisan Weavers in Nepal, Tibetan wool and linen, 150 knots/ inch274.3 x 228.6 cm
108 x 90 inchesEdition of 20 + 3 AP -
Monika SosnowskaUntitled (Squeezed Market Stand), 2023Steel, paint130 x 360 x 300 cm
51.2 x 141.7 x 118.1 inches -
Malcolm MorleyP-40 Warhawk Soaring, 2013Oil on linenSigned rectoImage dimensions:
61 x 76.2 cm / 24 x 30 inches
Framed dimensions:
65.6 x 80.6 cm / 25.8 x 31.7 inches -
Maria LassnigDie befristete Zeit (Limited Time), 1997Pencil and acrylic on paperTitled and dated rectoPaper dimensions:
62.6 x 44.8 cm / 24.7 x 17.6 inches
Framed dimensions:
81 x 65.9 cm / 31.9 x 26 inches -
Maria LassnigMännerbund (Men’s League), 1997Pencil and acrylic on paperSigned, titled and dated rectoPaper dimensions:
69.6 x 49.6 cm / 27.4 x 19.5 inches
Framed dimensions:
91.8 x 71.7 cm / 36.1 x 28.2 inches -
Amy SillmanPersons of Interest, 2023-2024Acrylic and oil on linenSigned, dated and titled verso149.9 x 139.7 cm
59 x 55 inches -
Sanya KantarovskyMeadow, 2024Oil on linenSigned, titled and dated verso90 x 70 cm
35.4 x 27.6 inches -
Stefanie Heinzea 2 Sie, 2018-2019Oil and acrylic on linenSigned, dated and measurements verso195 x 155 cm
76.8 x 61 inches -
Stefanie HeinzeO.T. (Nail Salon), 2023Ink on paper, collaged28.2 x 22.6 cm
11.1 x 8.9 inches -
Isabella DucrotTendernesses II, 2024Pastel, pigments, pencil and collage on paperSigned and dated recto156 x 98 cm
61.4 x 38.6 inches -
Isabella DucrotTendernesses IV, 2024Pastel, pigments, pencil, silver and collage on paperSigned and dated recto167 x 98 cm
65.8 x 38.6 inches -
Robert LongoStudy for Cowboy Hat, 2012Ink and charcoal on vellumSigned, titled and dated versoImage dimensions:
40.6 x 50.2 cm x 16 x 19.7 inches
Framed dimensions:
77.2 x 84.1 cm / 30.4 x 33.1 inches -
Isabella DucrotTendernesses I, 2024Pastel, pigments, pencil, silver and collage on paperSigned and dated recto166 x 98 cm
65.4 x 38.6 inches -
Isabella DucrotTendernesses III, 2024Pastel, pigments, pencil, silver and collage on paperSigned and dated recto166 x 98 cm
65.4 x 38.6 inches -
Laura OwensUntitled, 2002Acrylic, oil on canvas86 x 91.5 cm
33.9 x 36 inches -
Yael BartanaERETZ (LAND), 2023Neon145 x 55 cm
57.1 x 21.6 inchesEdition of 3 + 2 AP -
Christopher WilliamsUntitled (Provisional Prop), 2021Enamel paint, glass, aluminum and felt57 x 57 cm
22.5 x 22.5 inchesEdition of 6 -
Christopher WilliamsFemme, monument, 1970. Kunstgießerei Bonvicini, Verona. Bronze, 250 x 100 x 50 cm. Museum Frieder Burda, Baden-Baden. Bronze with black patina, signed and numbered with engraving 'Miro EA 2' June 9th, 2010, 2010Gelatin silver printPaper dimensions:
60.3 x 50.5 cm / 23.7 x 19.9 inches
Framed dimensions:
96.5 x 85.1 cm / 38 x 33.5 inchesEdition of 10 -
Christopher WilliamsTypographic Poem (Promotional Pamphlet, Paste-Up), 2024Schöllerhammer drawing cardboard Duria matt, 250 g, Glama Microdraft highly transparent, drawing paper 82 g/m2, multifunctional paper 80 g/m2, printing pencil rotring 0.5 mm and 0.3 mm, Staedler pigment liner 0.3 mm35 x 25 cm
13.8 x 9.8 inches -
Christopher WilliamsTypographic Poem (Press Kit, Paste-Up), 2024Schöllerhammer drawing cardboard Duria matt, 250 g, Glama Microdraft highly transparent, drawing paper 82 g/m2, multifunctional paper 80 g/m2, printing pencil rotring 0.5 mm and 0.3 mm, Staedler pigment liner 0.3 mm35 x 50 cm
13.7 x 19.8 inches -
Christopher WilliamsTypographic Poem (Press Kit, Paste-Up), 2024Schöllerhammer drawing cardboard Duria matt, 250 g, Glama Microdraft highly transparent, drawing paper 82 g/m2, multifunctional paper 80 g/m2, printing pencil rotring 0.5 mm and 0.3 mm, Staedler pigment liner 0.3 mm35 x 50 cm
13.7 x 19.8 inches -
Christopher WilliamsTypographic Poem (Press Kit, Paste-Up), 2024Schöllerhammer drawing cardboard Duria matt, 250 g, Glama Microdraft highly transparent, drawing paper 82 g/m2, multifunctional paper 80 g/m2, printing pencil rotring 0.5 mm and 0.3 mm, Staedler pigment liner 0.3 mm35 x 50 cm
13.7 x 19.8 inches -
Christopher WilliamsTypographic Poem (Promotional Graphics, Paste-Up), 2024Schöllerhammer drawing cardboard Duria matt, 250 g, Glama Microdraft highly transparent, drawing paper 82 g/m2, multifunctional paper 80 g/m2, printing pencil rotring 0.5 mm and 0.3 mm, Staedler pigment liner 0.3 mm35 x 50 cm
13.7 x 19.8 inches -
Christopher WilliamsTypographic Poem (Promotional Pamphlet, Paste-Up), 2024Schöllerhammer drawing cardboard Duria matt, 250 g, Glama Microdraft highly transparent, drawing paper 82 g/m2, multifunctional paper 80 g/m2, printing pencil rotring 0.5 mm and 0.3 mm, Staedler pigment liner 0.3 mm35 x 25 cm
13.8 x 9.8 inches -
Sarah MorrisBank of China [Hong Kong], 2024Household gloss paint on canvasSigned, titled and dated verso122 x 122 cm
48 x 48 inches -
Yael BartanaLight to the Nations – Generation Ship, 20243D printing, stainless steel, PETG (thermoplastic polyester), PA12 (nylon polymer), with mirroring base57 x 85 cm
22.4 x 33.5 inchesEdition of 10 -
Amy SillmanUntitled, 2023Acrylic, ink and oil crayon on paperInitialed and dated recto; signed and dated versoPaper dimensions:
59.1 x 42.5 cm / 23.3 x 16.8 inches
Framed dimensions:
67.3 x 50.6 cm / 26.5 x 19.9 inches -
Amy SillmanUntitled, 2023Acrylic and ink on paperInitialed and dated recto; signed and dated versoPaper dimensions:
59.1 x 42.5 cm / 23.3 x 16.8 inches
Framed dimensions:
67.3 x 50.6 cm / 26.5 x 19.9 inches -
Amy SillmanUntitled, 2023Acrylic and ink on paperInitialed and dated recto; signed and dated versoPaper dimensions:
59.1 x 42.5 cm / 23.3 x 16.8 inches
Framed dimensions:
67.3 x 50.6 cm / 26.5 x 19.9 inches -
Sean LandersYellow Dog at Dawn, 2023Oil on linenSigned and dated verso132.1 x 177.8 cm
52 x 70 inches -
Peter PillerUntitled (from the series “Transferfenster”), 2024Pigment print, unframedSigned verso156 x 106 cm
61.4 x 41.7 inchesEdition of 1 + 1 AP -
Robert LongoUntitled (Sea of Change, An Homage to Winslow Homer), 2022Quicktime Movie, black and white with stereo audio, 10:35 min, looped4096 x 1716 pixelsEdition of 3
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Press
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