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| Galerie Michael Janssen | |
|---|---|
| Name | Galerie Michael Janssen |
| Established | 1991 |
| Founder | Michael Janssen |
| Locations | Cologne; Berlin; Seoul |
| Notable artists | Thomas Schütte; Katharina Grosse; Anish Kapoor; Isa Genzken; Günther Förg |
Galerie Michael Janssen is a contemporary art gallery founded in 1991 by Michael Janssen in Cologne, later expanding to Berlin and Seoul. The gallery represents and exhibits an international roster of artists across painting, sculpture, installation, photography, and video, and participates in major art fairs, collaborations with museums, and public commissions. Its program has linked postwar European practices with younger generations, engaging with institutions, collectors, curators, and critics across the global art world.
From its founding in Cologne in 1991, the gallery developed alongside institutions and events such as the Museum Ludwig, Kunsthalle Düsseldorf, Kunstmuseum Bonn, Documenta, and the Venice Biennale. Early exhibitions intersected with figures from the postwar period including Joseph Beuys, Gerhard Richter, Sigmar Polke, Anselm Kiefer, and Georg Baselitz, while later programming referenced artists like Marina Abramović, Matthew Barney, Jeff Koons, Cindy Sherman, and Doris Salcedo. The gallery expanded to Berlin amid the 1990s and 2000s cultural shifts involving Hamburger Bahnhof, Neue Nationalgalerie, Berlin Biennale, and collaborations with collectors associated with Documenta 11 and patrons linked to Kunstmuseum Basel. International outreach included connections to institutions such as MoMA, Tate Modern, Centre Pompidou, Guggenheim Bilbao, and Whitney Museum of American Art, and involvement in fairs like Art Basel, Frieze Art Fair, FIAC, TEFAF, and Expo Chicago.
The Cologne space situated the gallery within a network that included Kölnischer Kunstmarkt and nearby galleries like those of Michael Werner, Galerie Eigen+Art, Galerie Max Hetzler, and Gladstone Gallery. The Berlin venue engaged with neighborhoods linked to Kreuzberg, Mitte, and institutions such as Hamburger Bahnhof and Neue Berliner Räume. Expansion to Seoul aligned the gallery with projects and institutions like National Museum of Modern and Contemporary Art, Korea, Seoul Museum of Art, Busan Biennale, and the Korean Pavilion at the Venice Biennale. Architectural interventions and exhibition design have referenced practice of architects and designers connected to OMA, Herzog & de Meuron, David Chipperfield, Renzo Piano, and scenographies comparable to those used by Zaha Hadid and Tadao Ando.
The gallery’s program has shown established and emerging artists whose careers intersect with major figures and movements: postwar artists associated with Fluxus, Minimalism, and Arte Povera such as John Cage, Donald Judd, Lucio Fontana, Alberto Burri; sculptors like Antony Gormley and Richard Serra; painters and installation artists such as Kerry James Marshall, Brice Marden, Ellsworth Kelly, Philip Guston, Helen Frankenthaler; contemporary practitioners including Wolfgang Tillmans, Andreas Gursky, Ai Weiwei, Takashi Murakami, Yayoi Kusama, Pierre Huyghe, Ragnar Kjartansson, Kiki Smith, Allora and Calzadilla, Shirin Neshat, Dan Flavin, James Turrell, Roni Horn, Sarah Morris, Julie Mehretu, Tacita Dean, Thomas Demand, Rosemary Trockel, Isa Genzken, Katharina Grosse, and Thomas Schütte. The gallery curated survey exhibitions and solo presentations that referenced the critical dialogues surrounding shows at Stedelijk Museum, Serpentine Galleries, Palais de Tokyo, Haus der Kunst, and Fondation Beyeler.
Curatorial strategies have included thematic group shows, monographic retrospectives, and collaborative projects with curators from Centre Georges Pompidou, Neue Galerie, Haus am Waldsee, Kunsthalle Wien, Fondation Cartier, and The Arts Club. The gallery organized off-site commissions and public projects in partnership with municipal programs like Berlin Art Week and initiatives linked to Kulturstiftung des Bundes and international residency programs such as DAAD Artists-in-Berlin Program and exchanges resembling those of Skowhegan School of Painting and Sculpture and ISCP. Educational and discursive programming brought together critics and writers from publications like Artforum, Frieze, ArtReview, The Burlington Magazine, and Art in America.
Works circulated through the gallery entered prominent collections including Tate Collection, Museum of Modern Art (New York) collection, Solomon R. Guggenheim Museum collection, Centre Pompidou collection, Guggenheim Bilbao collection, Stedelijk Collection, Bayer Collection, and private collections associated with patrons who support institutions like Ludwig Collection, Pinault Collection, Saatchi Collection, Rubell Family Collection, and M+ Museum acquisitions. The gallery produces catalogues and scholarly publications collaborating with authors and editors affiliated with Thames & Hudson, Hatje Cantz, Phaidon Press, Sternberg Press, and academic presses linked to Yale University Press and MIT Press.
Critical reception in outlets such as The New York Times, The Guardian, Le Monde, Die Zeit, Frankfurter Allgemeine Zeitung, El País, Corriere della Sera, and Der Spiegel positioned the gallery within debates about market dynamics exemplified at Art Basel, Frieze and auction houses like Christie’s and Sotheby’s. Its influence is noted in institutional collaborations with curatorial departments at MoMA PS1, Guggenheim Museum Bilbao, Tate Modern, and programmatic exchanges that echo shifts in collecting practices at the National Gallery of Art and contemporary curatorial trends fostered by biennials such as the São Paulo Art Biennial and Istanbul Biennial.
Category:Art galleries in Germany