Since the 1970s, Nil Yal­ter has been work­ing as a pi­oneer of so­cial­ly en­gaged and tech­ni­cal­ly ad­vanced art. In pain­ter­ly col­lages as well as mon­tages and videos, the Turk­ish artist in­te­grates pho­tos, draw­in­gs, and re­ports by work­ers and mi­grants. Her strong en­gage­ment with the top­ics of fe­mi­n­ism, mi­gra­tion, and re­pres­sion have led to a re­dis­cov­ery of the eigh­ty-year-old artist by in­ter­na­tio­n­al mu­se­ums and col­lec­tions over the past five years. She in­te­grates the voic­es of the sub­jects of her works in a unique way and finds a con­sis­tent­ly per­sua­sive aes­thet­ic form. In 2019, the Mu­se­um Lud­wig will now host the Turk­ish artist’s first ma­jor sur­vey ex­hi­bi­tion.

The ex­hi­bi­tion is or­ganized by the Mu­se­um Lud­wig in co­op­er­a­tion with the Cen­ter for Cu­ra­to­rial Studies, Hes­sel Mu­se­um, Bard Col­lege, An­nan­dale-on-Hud­son, New York.

In the 1990s, a new art scene formed in Cologne: new gal­leries were opened by the likes of Chris­tian Nagel, the mag­azine Texte zur Kunst was found­ed, and an artist col­lec­tive ran the al­ter­na­tive ex­hi­bi­tion space Frie­sen­wall 120. The Rhine­land—in an in­ten­sive exchange with New York—de­vel­oped in­to one of the in­tel­lec­tu­al cen­ters of the de­cade. Alex­an­der Schröder fol­lowed th­ese de­vel­op­ments from Ber­lin. To­day Schröder’s col­lec­tion ex­em­pli­fies the idiosyn­crat­ic and sen­su­al side of the 1990s and 2000s, which were shaped by Con­cep­tu­al Art. It de­mon­s­trates the sig­ni­f­i­cance of artist groups and col­lab­o­ra­tions in chang­ing con­stel­la­tions at the time. Now Alex­an­der Schröder has do­nat­ed sub­s­tan­tial works from his col­lec­tion to the Mu­se­um Lud­wig by artists such as Kai Al­thoff, Cosi­ma von Bonin, Tom Burr, Lukas Duwen­hög­ger, Isa Gen­zken, and Danh Võ. The ex­hi­bi­tion will pre­sent them to the public along with works from the mu­se­um’s col­lec­tion, with a fo­cus on art at the turn of the twen­ty-first cen­tu­ry.

Born in 1972, the Amer­i­can artist Wade Guy­ton has cre­at­ed a con­cep­tu­al­ly con­sis­tent and re­fresh­ing­ly idiosyn­crat­ic oeu­vre for more than two de­cades. He is best known for his large-scale can­vas paint­in­gs made with a con­ven­tio­n­al ink­jet prin­t­er, with icon­ic mo­tifs such as flames, the let­ters X and U, and front pages of The New York Times web­site. Af­ter ac­quir­ing sev­er­al of the artist’s works for the col­lec­tion, the Mu­se­um Lud­wig is host­ing a ma­jor sur­vey ex­hi­bi­tion in 2019 that will pre­sent his oeu­vre from the be­gin­n­ing of his ca­reer to his most re­cent works. Guy­ton plays a key role in the ar­tis­tic en­gage­ment with im­ages in the dig­i­tal age. He com­bines tra­di­tio­n­al vi­su­al me­dia, such as primed can­vas, with dig­i­tal print­ing pro­cess­es so that de­lib­er­ate de­gra­da­tions lead to aes­thet­i­cal­ly as­ton­ish­ing re­sults. On the oc­ca­sion of the ex­hi­bi­tion, a full ca­t­a­logue of the artist’s so­lo ex­hi­bi­tions will be pub­lished with texts by Jo­han­na Bur­ton, Yil­maz Dziewior, Michelle Kuo, and Ker­stin Stake­mei­er.