Gallery is pleased to present “Next

Gallery is pleased to present “Next Year in Jerusalem,” Anselm Kiefer’s first exhibition in New York since 2002.
"Next Year in Jerusalem" invokes an utopian refrain from the end of the Passover Seder, a Judaic tradition that idealizes a return to Israel where all believers can celebrate the rites of renewal.
The exhibition centers around the installation Occupations, which transforms Kiefer’s provocative series of photographs from 1969 in which he appears making the Nazi salute (Hitlergruß) in front of European sites of historical significance. Seventy-six newly printed photographs are mounted first on lead, then on burlap shrouds, within a partially enclosed steel container. In this imposing structure, which offers multiple points of entry, each photograph becomes a translucent scrim where the image is barely legible. With this unprecedented new form, Kiefer integrates, expands, and regenerates imagery and techniques from earlier phases of his oeuvre.
Kiefer has transformed the space that surrounds Occupations into a labyrinth of glass and steel vitrines, some more than twenty feet high. Each vitrine is a tableau of organic and inorganic material -- cotton dresses, palms, bushes, an airplane fuselage, and burned books. They appear like ancient reliquaries with titles inscribed directly on the glass. In these works, Kiefer inverts the historical and ritualistic connotations of his chosen materials, particularly lead. In Valentinus, named for the second century Gnostic theologian, lead buckets and chains are juxtaposed with synthetic diamonds and wire; in Sefiroth a disembodied white dress is molded to an invisible female figure and surrounded by glass shards and numbered glass disks, in reference to one of the ten Kabbalistic markers of spiritual presence.
In large paintings hung around the perimeter of the gallery, Kiefer has collaged photographs and other elements to canvas, integrating diverse landscapes including mountains, sea and forest. In Mount Tabor, barren fields lead to the site of Christian pilgrimage where the Transfiguration is said to have occurred. Entrance to Paradise comprises four panels encased in glass and steel that contain lead and fragments of thornbush on canvas. The cumulative effect is one of a mythical refuge or forest where materials are recast as transcendent elements on an epic scale.
Kiefer's monumental archive of human memory gives overt material presence to a broad range of cultural myths and metaphors, from the Old and New Testaments to the Kabbalah, from ancient Roman history to the poetry of Ingeborg Bachmann and Paul Célan. By constructing elaborate scenographies that fuse art and literature, painting and sculpture, Kiefer engages the complex events of history, the ancestral epics of life, death, and the cosmos, and the fragile endurance of the sacred and the spiritual amid the ongoing destruction of the world.
Anselm Kiefer was born in Germany during the last year of World War II. After studying law, he began his art education in Karlsruhe and then Düsseldorf, where he met Joseph Beuys. His work has been shown in and collected by major museums throughout the world. Recent retrospective exhibitions include the Modern Art Museum, Fort Worth (2005) (traveling to the Musée d'art contemporain de Montréal, the Hirshhorn Museum and Sculpture Garden, Washington, D.C., and SF MOMA). In 2007, the Guggenheim Museum Bilbao presented an extensive survey of recent work and Kiefer was commissioned to create a huge site-specific installation of sculptures and paintings for the inaugural "Monumenta" at the Grand Palais, Paris. In 2007, he became the first living artist to create a permanent installation at the Louvre since Georges Braque in 1953. In 2009, he directed, composed and designed the sets for Am Anfang (In the Beginning) at the Opéra National in Paris

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“下一步是到目前pleased画廊，今年在耶路撒冷的第一次展览。Anselm基弗自2002在纽约。“下一步”，今年在耶路撒冷的一个端utopian从最invokes副歌的逾越节是一个传统，一个Judaic就觉得什么也比不上家Seder返回到A，可以在所有的believers庆祝仪式renewal）。在安装Occupations centers）的展览，这transforms基弗的photographs provocative系列这使他从一个在appears 1969 salute Hitlergruß（纳粹）在欧洲significance网站前的历史。第一是newly Seventy-six印刷photographs mounted铅，然后在上，在partially enclosed burlap shrouds一船。在这壮丽。集装箱的结构分为多，它提供一张照片，每一translucent算这个becomes在barely清晰图像是这样的形式。unprecedented，基弗，imagery integrates expands，和再生从技术上和earlier phases的代表作。这transformed基弗已经包围的空间分为A labyrinth Occupations玻璃钢比，和一些更多的陈列二十英尺高。每vitrine画面的有机和无机的微量是一个材料——棉衣服，一个palms，灌木丛，有飞机fuselage，和burned图书。他们喜欢与appear古老reliquaries题。标题与直接在玻璃上，这些作品基弗的历史内涵和ritualistic反转粒子的材料上，在Valentinus，叫particularly铅。第二，在公元前Gnostic，神学家和铅buckets链与合成钻石是并列在Sefiroth和铁丝；一个是一个小到disembodied白女invisible成型玻璃碎片和surrounded由图形和闪存盘，numbered玻璃在一到十的参考标记的存在下，Kabbalistic精神。在大的perimeter paintings挂在画廊，有collaged基弗的神奇宝贝，来和其他photographs大小diverse mountains集风景，包括海洋和森林，在山域。barren泊（基督教领导到现场你是对的，pilgrimage Transfiguration occurred入口到天堂。有四panels comprises包裹在玻璃这contain铅和钢上的荆棘和片段的神奇宝贝。cumulative效应）是一refuge或一个神秘森林在其卓越的材料是在一个大小为epic recast秤。基弗是巨大的人类记忆的材料到一个广义的存在gives overt range of metaphors，神话和文化从最新到旧的记忆和卡巴拉古老历史，从罗马到poetry（英格巴赫曼和保罗。在局域网的建设。elaborate Céfuse scenographies是艺术和雕塑，和literature engages，基弗的画复合事件的祖先的历史史诗，生活，死亡，和耐力，和fragile cosmos和神圣的先进的amid ongoing破坏的精神世界。在德国，是Anselm基弗是天生的在最后的年世界大战II。在法律上，他began studying艺术教育在Düsseldorf卡尔斯鲁厄，在那里和你遇见他。约瑟夫博伊斯在他的工作和生活已被shown collected主要throughout museums回顾性exhibitions include the world .先进的现代艺术博物馆，沃斯堡（亩）（旅行到2005ée d '艺术contemporain de蒙特利尔，Hirshhorn博物馆和雕塑花园，华盛顿，哥伦比亚特区，在2007 MOMA和SF），古根海姆博物馆。一个广泛的调查，presented博物馆毕尔巴鄂最近的工作是一commissioned to create和基弗的site-specific安装。该院为inaugural”雕塑和“paintings Monumenta在巴黎大皇宫，在2007。第一，他变成了生活一个艺术家在create a在永久安装在卢浮宫。Braque 1953自乔治，他在2009 directed，composed和是的，designed在K Anfang（套）在开始在巴黎国家歌剧院