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DTSTART;TZID=Europe/Berlin:20241128T190000
DTEND;TZID=Europe/Berlin:20241128T190000
DTSTAMP:20260504T075701
CREATED:20241018T080946Z
LAST-MODIFIED:20241122T083255Z
UID:45926-1732820400-1732820400@ludwigforum.de
SUMMARY:Free Movement? Migration and Mobility in Eastern Europe through the lens of contemporary art.
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/free-movement-migration-and-mobility-in-eastern-europe-through-the-lens-of-contemporary-art/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/10/Eleonore-de-montesquiou-Eksperiment-Katya-still-2020.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20241125T193000
DTEND;TZID=Europe/Berlin:20241125T193000
DTSTAMP:20260504T075701
CREATED:20241113T114558Z
LAST-MODIFIED:20241121T095047Z
UID:46139-1732563000-1732563000@ludwigforum.de
SUMMARY:‘Monday Evening Talk’ with Tim Ingold (Anthropologist\, Aberdeen)
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/monday-evening-talk-with-timothy-ingold-anthropologist-aberdeen/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/11/MAG-2024_Tim-Ingold_04_sm-Kopie.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20241119T180000
DTEND;TZID=Europe/Berlin:20241119T180000
DTSTAMP:20260504T075701
CREATED:20241113T102051Z
LAST-MODIFIED:20241113T133934Z
UID:46143-1732039200-1732039200@ludwigforum.de
SUMMARY:Studio visit with Ayo Akingbade and Apparatus 22
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/studio-visit-with-ayo-akingbade-and-apparatus-22/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/07/BorderlandResidents_web.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20241105T190000
DTEND;TZID=Europe/Berlin:20241105T190000
DTSTAMP:20260504T075701
CREATED:20240930T092435Z
LAST-MODIFIED:20241028T102615Z
UID:45430-1730833200-1730833200@ludwigforum.de
SUMMARY:Forum Literatur: Die Projektoren. Reading with Clemens Meyer
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/forum-literatur-die-projektoren-reading-with-clemens-meyer/
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/10/LF_ForumLiteratur_CM_Digital_S1519-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20241028
DTEND;VALUE=DATE:20250303
DTSTAMP:20260504T075701
CREATED:20240726T063909Z
LAST-MODIFIED:20250204T120140Z
UID:44740-1730073600-1740959999@ludwigforum.de
SUMMARY:Rune Mields. Der unendliche Raum – dehnt sich aus
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/rune-mields-der-unendliche-raum-dehnt-sich-aus/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/07/IMAGE_13-e1730112680337.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20241027T120000
DTEND;TZID=Europe/Berlin:20241027T180000
DTSTAMP:20260504T075701
CREATED:20240930T091733Z
LAST-MODIFIED:20241008T164305Z
UID:45419-1730030400-1730052000@ludwigforum.de
SUMMARY:Opening: Rune Mields. Der unendliche Raum – dehnt sich aus
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/opening-rune-mields-der-unendliche-raum-dehnt-sich-aus/
CATEGORIES:Event
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20241027T000000
DTEND;TZID=Europe/Berlin:20251109T000000
DTSTAMP:20260504T075701
CREATED:20250502T125234Z
LAST-MODIFIED:20250502T130507Z
UID:48065-1729987200-1762646400@ludwigforum.de
SUMMARY:Kunstverein Gegenverkehr – Zentrum für aktuelle Kunst e.V.
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/kunstverein-gegenverkehr-zentrum-fuer-aktuelle-kunst-e-v/
LOCATION:Ludwig Forum für Internationale Kunst Aachen
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2025/05/2024.10.28_Ludwig-Forum-121.web_.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20240929T130000
DTEND;TZID=Europe/Berlin:20240929T203000
DTSTAMP:20260504T075701
CREATED:20240924T154134Z
LAST-MODIFIED:20240924T155204Z
UID:45365-1727614800-1727641800@ludwigforum.de
SUMMARY:Soft Illusion x Inner Fields @ Ludwig Forum Aachen
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/soft-illusion-x-inner-fields-ludwig-forum-aachen/
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/09/DRUCK-VERSION-FINAL-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240928
DTEND;VALUE=DATE:20240930
DTSTAMP:20260504T075701
CREATED:20240717T142722Z
LAST-MODIFIED:20240926T103557Z
UID:44622-1727481600-1727654399@ludwigforum.de
SUMMARY:Aachener Kunstroute 2024
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/aachener-kunstroute-2024/
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/07/logo-2024_neu-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20240922T140000
DTEND;TZID=Europe/Berlin:20240922T140000
DTSTAMP:20260504T075701
CREATED:20240629T055653Z
LAST-MODIFIED:20240913T094236Z
UID:44439-1727013600-1727013600@ludwigforum.de
SUMMARY:Walk through Manheim with Silke Schatz
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/walk-through-manheim-with-silke-schatz/
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/06/Silke-Schatz_Ann_Manheim-Calling_Foto-Silke-Schatz-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20240912T180000
DTEND;TZID=Europe/Berlin:20240912T180000
DTSTAMP:20260504T075701
CREATED:20240906T082708Z
LAST-MODIFIED:20240906T083703Z
UID:45255-1726164000-1726164000@ludwigforum.de
SUMMARY:Terrestrial Perspectives – Guided tour with Fanny Hauser
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/terrestrial-perspectives-guided-tour-with-fanny-hauser/
CATEGORIES:Event,Guided tour
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/09/2024.05.28_Ludwig-Forum-63.web_.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20240905T180000
DTEND;TZID=Europe/Berlin:20240905T180000
DTSTAMP:20260504T075701
CREATED:20240819T092038Z
LAST-MODIFIED:20240903T143929Z
UID:45062-1725559200-1725559200@ludwigforum.de
SUMMARY:Fragments of a Reality That Once Was – Guided tour with curator Galina Dekova
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/fragments-of-a-reality-that-once-was-guided-tour-with-curator-galina-dekova/
CATEGORIES:Event,Guided tour
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/09/2024.05.28_Ludwig-Forum-53.web_.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20240829T190000
DTEND;TZID=Europe/Berlin:20240829T190000
DTSTAMP:20260504T075701
CREATED:20240711T135131Z
LAST-MODIFIED:20240829T091629Z
UID:44540-1724958000-1724958000@ludwigforum.de
SUMMARY:Forum Literatur: Reading with Helene Hegemann
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/forum-literatur-reading-with-helene-hegemann/
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/07/LF_ForumLiteratur_HH_Digital_S75_RZ15-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240816
DTEND;VALUE=DATE:20240819
DTSTAMP:20260504T075701
CREATED:20240801T074616Z
LAST-MODIFIED:20240801T074946Z
UID:44891-1723766400-1724025599@ludwigforum.de
SUMMARY:KIMOKO
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/kimoko/
CATEGORIES:Event
ATTACH;FMTTYPE=image/png:https://ludwigforum.de/wp-content/uploads/2024/08/all_artist_kioaf24_headbanner.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20240815T180000
DTEND;TZID=Europe/Berlin:20240815T180000
DTSTAMP:20260504T075701
CREATED:20240709T073200Z
LAST-MODIFIED:20240709T091655Z
UID:44517-1723744800-1723744800@ludwigforum.de
SUMMARY:Fragments of a Reality That Once Was – Guided tour with curator Galina Dekova
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/fragmente-einer-wirklichkeit-die-einmal-war-kuratorinnenfuehrung-mit-galina-dekova/
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/07/DSC_4577.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240701
DTEND;VALUE=DATE:20250113
DTSTAMP:20260504T075701
CREATED:20240629T050627Z
LAST-MODIFIED:20241028T103633Z
UID:44398-1719792000-1736726399@ludwigforum.de
SUMMARY:On the Volcano
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/on-the-volcano/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://ludwigforum.de/wp-content/uploads/2024/06/2024_LudwigForum_aufdemVulkan_1400x998.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240701
DTEND;VALUE=DATE:20260101
DTSTAMP:20260504T075701
CREATED:20240724T055137Z
LAST-MODIFIED:20250425T080714Z
UID:44660-1719792000-1767225599@ludwigforum.de
SUMMARY:Earth\, Moon\, Sun: Restoration Laboratory Nam June Paik
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/earth-moon-sun-restoration-laboratory-nam-june-paik/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/07/Peter-Ludwig-mit-Nam-June-Paik_Foto-Heinz-Lohmann_web-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20240630T140000
DTEND;TZID=Europe/Berlin:20240630T140000
DTSTAMP:20260504T075701
CREATED:20240604T074319Z
LAST-MODIFIED:20240604T075133Z
UID:44060-1719756000-1719756000@ludwigforum.de
SUMMARY:Terrestrial Connections
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/terrestrial-connections/
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/06/WhatsApp-Image-2024-05-30-at-14.50.36-gedreht.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20240630T110000
DTEND;TZID=Europe/Berlin:20240630T180000
DTSTAMP:20260504T075701
CREATED:20240625T092848Z
LAST-MODIFIED:20240820T112014Z
UID:44296-1719745200-1719770400@ludwigforum.de
SUMMARY:Summer kick-off at Ludwig Forum
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/summer-kick-off-at-ludwig-forum/
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/06/4277_13_MuseumPlus_web.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20240620T170000
DTEND;TZID=Europe/Berlin:20240620T170000
DTSTAMP:20260504T075701
CREATED:20240604T062637Z
LAST-MODIFIED:20240604T062826Z
UID:44046-1718902800-1718902800@ludwigforum.de
SUMMARY:Terrestrial Perspectives – Guided tour with Lisa Oord (in English)
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/terrestrial-perspectives-guided-tour-with-lisa-oord-in-english/
CATEGORIES:Event,Guided tour
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20240613T170000
DTEND;TZID=Europe/Berlin:20240613T170000
DTSTAMP:20260504T075701
CREATED:20240604T061629Z
LAST-MODIFIED:20240604T062524Z
UID:44042-1718298000-1718298000@ludwigforum.de
SUMMARY:Terrestrial Perspectives – Guided tour with Lisa Oord (in German)
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/terrestrial-perspectives-guided-tour-with-lisa-oord/
CATEGORIES:Event,Guided tour
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20240609T120000
DTEND;TZID=Europe/Berlin:20240609T120000
DTSTAMP:20260504T075701
CREATED:20240528T105630Z
LAST-MODIFIED:20240531T164049Z
UID:43965-1717934400-1717934400@ludwigforum.de
SUMMARY:Each One Another - Book talk with Rachel Haidu followed by a conversation with Ulrike Müller
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/each-one-another-book-talk-with-rachel-haidu/
CATEGORIES:Event
ATTACH;FMTTYPE=image/png:https://ludwigforum.de/wp-content/uploads/2024/05/rachel-ulrike-bild.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20240606T190000
DTEND;TZID=Europe/Berlin:20240606T190000
DTSTAMP:20260504T075701
CREATED:20240105T091503Z
LAST-MODIFIED:20240531T104358Z
UID:41253-1717700400-1717700400@ludwigforum.de
SUMMARY:Forum Literatur: Karl May. Reading with Enis Maci & Mazlum Nergiz
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/forum-literatur-karl-may-reading-with-enis-maci-mazlum-nergiz/
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/01/LF_ForumLiteratur_EMMN_digital14-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240526
DTEND;VALUE=DATE:20250428
DTSTAMP:20260504T075701
CREATED:20240510T144428Z
LAST-MODIFIED:20250409T101313Z
UID:43327-1716681600-1745798399@ludwigforum.de
SUMMARY:Terrestrial Perspectives
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/terrestrial-perspectives/
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://ludwigforum.de/wp-content/uploads/2024/05/poster-final-screenshot_o-Logos.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20240522T190000
DTEND;TZID=Europe/Berlin:20240522T190000
DTSTAMP:20260504T075701
CREATED:20240507T135700Z
LAST-MODIFIED:20240508T150800Z
UID:43271-1716404400-1716404400@ludwigforum.de
SUMMARY:Lecture by Harald Kunde: Presence & Intervention.
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/lecture-by-harald-kunde-double-wall-projects/
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/05/DoubleWallProjects_Kruger.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20240516T190000
DTEND;TZID=Europe/Berlin:20240516T190000
DTSTAMP:20260504T075701
CREATED:20240506T153432Z
LAST-MODIFIED:20240506T155127Z
UID:43180-1715886000-1715886000@ludwigforum.de
SUMMARY:Chance Encounter Reloaded - Performance with Katalin Ladik and Zsolt Sőrés aka Ahad
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/chance-encounter-reloaded-performance-with-katalin-ladik-and-zsolt-sores-aka-ahad/
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/05/Ladik-Sores-performance_photo-by-Rudolf-Szilagyi.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20240428T120000
DTEND;TZID=Europe/Berlin:20240428T120000
DTSTAMP:20260504T075701
CREATED:20240410T125132Z
LAST-MODIFIED:20240423T065746Z
UID:42831-1714305600-1714305600@ludwigforum.de
SUMMARY:Artist Lecture by Ulrike Müller
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/artist-lecture-by-ulrike-mueller/
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/04/Ulrike-Mueller_Monument-To-My-Paper-Body_2024_Foto-Mareike-Tocha.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20240425T190000
DTEND;TZID=Europe/Berlin:20240425T190000
DTSTAMP:20260504T075701
CREATED:20240105T090629Z
LAST-MODIFIED:20240423T065257Z
UID:41234-1714071600-1714071600@ludwigforum.de
SUMMARY:Forum Literatur: Daddy Issues. Reading with Dino Pešut
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/forum-literatur-daddy-issues-reading-with-dino-pesut/
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/01/LF_ForumLiteratur_DinoPesut_Instagram_FB4-scaled.jpg
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BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20240404T183000
DTEND;TZID=Europe/Berlin:20240404T183000
DTSTAMP:20260504T075701
CREATED:20240327T122938Z
LAST-MODIFIED:20240327T132915Z
UID:42638-1712255400-1712255400@ludwigforum.de
SUMMARY:AI in the Museum? Book Presentation „Training the Archive“
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/ai-in-the-museum-book-presentation-training-the-archive/
CATEGORIES:Event
ATTACH;FMTTYPE=image/png:https://ludwigforum.de/wp-content/uploads/2024/03/231117_TTA_Publikation_Umschlag_01-1-1375x2048-1.png
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BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20240314T193000
DTEND;TZID=Europe/Berlin:20240314T193000
DTSTAMP:20260504T075701
CREATED:20240313T103418Z
LAST-MODIFIED:20240313T110451Z
UID:42464-1710444600-1710444600@ludwigforum.de
SUMMARY:Lecture by Yuri Leiderman
DESCRIPTION:Opening: Thursday\, July 10\, 2025\, 6pm For over four decades\, New York born and based artist Rochelle Feinstein (b. 1947\, Bronx\, NY) has mined the conventions of abstraction in the context of rapidly shifting cultural\, political\, and media landscapes by integrating a wide range of media—including printmaking\, photography\, sculpture\, collage\, digital techniques\, and everyday materials such as cardboard\, tape\, trolleys\, and shopping bags. Feinstein is not a gestural painter in the traditional sense. Rather\, she is fascinated by the painted gesture as a bearer of meaning within the vocabulary of abstraction. Her compositions emerge through complex\, additive\, and technologically mediated processes: UV printing\, collages or digitized sketches that simulate painterly spontaneity. For Feinstein\, painting becomes a critical tool to interweave image\, language\, and social conditions. With The Today Show\, the Ludwig Forum Aachen—in cooperation with the Secession in Vienna and Kunsthaus Glarus—is presenting Rochelle Feinstein’s first institutional solo exhibition in the Rhineland. Featuring around 30 large-scale new works\, created primarily between 2021 and 2025\, the exhibition offers profound insights into Feinstein’s rigorous engagement with abstraction. The exhibition opens with the large-scale diptych Tagged (2019)\, which features historical photographs of boxing matches held in Rome and Milan during the mid 1930s to the mid 1940s under Italian fascism. Feinstein reproduced the photographs as silkscreen prints\, arranged them in filmstrip-like grids across the canvas\, and painted additional grids in rainbow hues. The images document  popular sporting events\, yet they subtly allude to everyday social structures within a state of exception. The boxing match becomes a metaphor for ongoing conflict—an allegory for Feinstein’s own artistic practice—which both draws on and disrupts the traditions of abstract painting. In the centre of the exhibition is a group of paintings created in 2024 using layered and combined techniques. While working on them\, Feinstein serendipitously encountered the collage series Eleven Ways to Use the Words to See (1976/77) by New York painter Lee Krasner (1908–1984). Krasner’s series exemplifies her method of “recycling”: repurposing and reworking her own earlier artworks\, titled after verb tenses and grammatical modes. In Present Perfect\, Present Continuous\, Simple Present\, and Present Conditional (LK)\, for instance\, Feinstein has echoed this approach by combining painted canvases with collaged screen printed fragments on muslin\, which are\, in turn\, based on ink brushstrokes made on composition paper. Both in dialogue with Krasner and grounded in a deep engagement with the present—reflected in the exhibition’s title The Today Show—these paintings translate various present tenses into visual abstractions. The site-specific installation Curtains (2025)\, produced especially for the Ludwig Forum\, further explores this logic. Here\, brushstrokes in Feinstein’s characteristic rainbow spectrum\, a recurring element since 2017\, are repeated as patterns printed on fabric. Hung in the form of a curtain\, the work guides visitors through the exhibition while simultaneously marking its end. With The Today Show\, Feinstein is bringing her full range of painterly gestures and artistic strategies\, developed across different series and projects\, together for the first time. Techniques previously deployed in specific contexts—such as the rainbow palette\, painterly gestures mediated through collage and screen print\, the grid\, or the use of photographic imagery—are now interwoven in a comprehensive and cohesive manner. The exhibition captures Feinstein’s multilayered techniques and material combinations as snapshots of the present moment. Her work\, she suggests\, is “…as much about painting as it is about the social and political upheaval we’re living through.” Feinstein activates abstraction as a relational field: her works consistently emerge in an ever evolving present of politics\, pop culture\, and art history. “My work is not a placebo for trauma\, self-care\, or healing\, nor does it offer illusionistic space—I leave that to others. My hope is to open up a space for reflection on the current state of culture\, conveyed through the language of painting.” The title The Today Show not only alludes\, with irony\, to the popular US morning infotainment show\, but also critiques the increasing collapse of news and entertainment—a phenomenon Feinstein addresses via artistic means. The Today Show marks the conclusion of a multipart exhibition cycle at the Ludwig Forum Aachen dedicated to abstract painting. It began in 2023 with Ulrike Müller’s Monument to My Paper Body (whose wall paintings remain on view) and continues with Amy Sillman’s Oh\, Clock! (on view through August 31\, 2025). Curated by Eva BirkenstockCuratorial assistance: Miriam Schmidt   Credits: Rochelle Feinstein\, ROYGBIV (Richard of York Gave Battle In Vain)\, 2018. Courtesy of the artist. 								\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n							\n			\n						\n		\n						\n				\n					\n		\n					\n		\n				\n						\n					\n			\n						\n				\n									Download Exhibition Booklet (PDF)
URL:https://ludwigforum.de/en/event/lecture-by-yuri-leiderman/
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://ludwigforum.de/wp-content/uploads/2024/03/Odesa.-Fragment-205-Y.-Leiderman-A.-Silvestrov-2015.jpg
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