{"id":46560,"date":"2024-12-17T12:51:24","date_gmt":"2024-12-17T11:51:24","guid":{"rendered":"https:\/\/ludwigforum.de\/?post_type=tribe_events&p=46560"},"modified":"2025-04-14T16:55:41","modified_gmt":"2025-04-14T14:55:41","slug":"amy-sillman-oh-clock","status":"publish","type":"tribe_events","link":"https:\/\/ludwigforum.de\/en\/event\/amy-sillman-oh-clock\/","title":{"rendered":"Amy Sillman. Oh, Clock!"},"content":{"rendered":"\t\t
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Amy Sillman<\/strong>
Oh, Clock! <\/strong><\/em>
March 22 \u2013 August 31, 2025<\/strong>
Opening: Friday, March 21, 2025, 7pm<\/strong><\/p>

Oh, Clock!<\/em> is the first major solo exhibition in Germany by the New York-based painter Amy Sillman (born 1955, Detroit). Drawing on her long and distinguished engagement with painting and its history both on and beyond the canvas, the show offers a comprehensive exploration of the artist\u2019s highly versatile and hybrid systems of artmaking.<\/p>

Oh, Clock!<\/em> is composed of two parts: Part one of the exhibition features a focused selection of Sillman\u2019s work from the past decade, including twenty-four paintings, more than three hundred drawings, prints and collages, several large installations, and digital animations. The second part is a curatorial project by the artist, featuring hand-painted walls intervening diagonally in exhibition rooms, hung with dozens of works chosen from the Ludwig Collection in Aachen.<\/p>

Since the early 1990s, Sillman has been probing painting by means of material and conceptual investigations. She borrows from cut-and-paste poetics, the logic of books and film, and music-inspired techniques such as improvisation, and the use of a score as a kind of instruction manual. Her artistic development was shaped by the context of New York in the 1970s and the artistic examinations of that period between the visual and the verbal, and between personal and political modes of critical thinking. Rather than orienting herself toward a superficial critique of painting as a \u201ccommercial\u201d medium, Sillman looked to predecessors who pursued experimental forms in art, philosophy, poetry, and film. At the same time, the artist has always had a strong bond to a historical tradition of abstraction, in such work as Gertrude Stein\u2019s writing and the animations of Robert Breer. Throughout her work, artists such as Philip Guston, Lee Krasner, Joan Mitchell, Eva Hesse, Nancy Spero, Elizabeth Murray, Ida Applebroog, and Jack Whitten continue to serve as central points of reference for her thinking. As the art historian Jenny Nachtigall writes in her exhibition catalogue essay, her drawings and paintings occupy \u201cthe liminal space between words and images, abstraction and expression, meaning and feeling.\u201d Sillman\u2019s painterly gestures negotiate fixed categories and moments of ambivalence, fragility, affect, and doubt.<\/p>

The title Oh, Clock!<\/em> refers to Sillman\u2019s long-standing interest in exploring painting as a timebased medium. Each work charts different units and modes of time; the large-scale canvases are both intuitively and analytically constructed over long periods of up to a year, during which time they are repeatedly drawn, destroyed, and ultimately reworked layer by layer. \u201cThere is time in the paintings\u2014the time of their creation, which remains largely hidden from the viewer. I like to expose the under-layers to think about how time is wrapped up in them,\u201d explains the artist. Unfurled drawings track Sillman\u2019s moment-bymoment process; she uses mechanical mean\u2014animation and printmaking\u2014to create orchestrations of time within architecture. Temporary Object<\/em> (2023\u201325), shown in the foyer of the exhibition on a long shelf, unearths the many changes that occurred in the making of one single painting through a series of printed diagrams, without ever showing the final painting itself. In Untitled (Frieze for Venice)<\/em> (2021), Sillman sequences time in a choreographed room-size cycle of works made over the course of two years. \u201cI always cut, ruin, dub over, erase, add, scrape, bring back, continue, reverse. The digital gave me a useful tool in being able to go both forward and backward in time \u2026 not just accumulatively forwards as in a painted surface.\u201d The viewer of the exhibition Oh, Clock!<\/em> finds themself in an \u201cendless cycle of a time spiral,\u201d as art historian Julia Bryan-Wilson notes; it is a cycle in which Sillman endlessly expands and reconstitutes histories of painting anew.<\/p>

Curated by Eva Birkenstock
Curatorial assistance: Mailin Haberland and Anna Marckwald<\/p>

The exhibition is a cooperation with Kunstmuseum Bern.<\/p>

The exhibition is accompanied by the publication<\/a><\/span> Amy Sillman. Oh, Clock!<\/em>, with contributions by Julia Bryan-Wilson, Sabeth Buchmann, Rose Higham-Stainton, Michelle Kuo, Jenny Nachtigall, and a conversation with Amy Sillman, Eva Birkenstock, and Kathleen B\u00fchler, published by Verlag der Buchhandlung Walther und Franz K\u00f6nig.<\/p>

The exhibition is generously supported by Peter and Irene Ludwig Foundation, Victor Rolff Stiftung, Sparkassen-Kulturstiftung Rheinland, and Jugend- und Kulturstiftung der Sparkasse Aachen.<\/p>

Image: Amy Sillman, UGH for 2023 (Torsos)<\/em>, 2023-24. Courtesy of the artist.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Download Exhibition Booklet (PDF)<\/a><\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Amy Sillman Oh, Clock! March 22 \u2013 August 31, 2025 Opening: Friday, March 21, 2025, 7pm Oh, Clock! is the first major solo exhibition in Germany by the New York-based […]<\/p>\n","protected":false},"author":17,"featured_media":47292,"template":"","meta":{"_acf_changed":false,"_lmt_disableupdate":"no","_lmt_disable":"","_tribe_events_status":"","_tribe_events_status_reason":"","footnotes":""},"tags":[],"tribe_events_cat":[14],"class_list":["post-46560","tribe_events","type-tribe_events","status-publish","has-post-thumbnail","hentry","tribe_events_cat-exhibition","cat_exhibition"],"acf":[],"_links":{"self":[{"href":"https:\/\/ludwigforum.de\/en\/wp-json\/wp\/v2\/tribe_events\/46560","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ludwigforum.de\/en\/wp-json\/wp\/v2\/tribe_events"}],"about":[{"href":"https:\/\/ludwigforum.de\/en\/wp-json\/wp\/v2\/types\/tribe_events"}],"author":[{"embeddable":true,"href":"https:\/\/ludwigforum.de\/en\/wp-json\/wp\/v2\/users\/17"}],"version-history":[{"count":25,"href":"https:\/\/ludwigforum.de\/en\/wp-json\/wp\/v2\/tribe_events\/46560\/revisions"}],"predecessor-version":[{"id":47896,"href":"https:\/\/ludwigforum.de\/en\/wp-json\/wp\/v2\/tribe_events\/46560\/revisions\/47896"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ludwigforum.de\/en\/wp-json\/wp\/v2\/media\/47292"}],"wp:attachment":[{"href":"https:\/\/ludwigforum.de\/en\/wp-json\/wp\/v2\/media?parent=46560"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ludwigforum.de\/en\/wp-json\/wp\/v2\/tags?post=46560"},{"taxonomy":"tribe_events_cat","embeddable":true,"href":"https:\/\/ludwigforum.de\/en\/wp-json\/wp\/v2\/tribe_events_cat?post=46560"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}