Galerie nächst St. Stephan Rosemarie Schwarzwälder curated by Martin Germann
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Martin Germann works as independent curator and lives in Cologne/Germany. Recently he co-curated “Another Energy: Power to Continue Challenging - 16 Women Artists from around the World” together with Mami Kataoka at Mori Art Museum, Tokyo, and a solo exhibition with Thomas Ruff at the National Museum of Fine Arts Taiwan, focusing on work produced after 1989. Upcoming projects include a comprehensive solo show with Oliver Laric at OCAT Shanghai, and the first museum presentation in Asia of late Belgian painter Raoul De Keyser at M Woods in Beijing. Martin Germann also serves as a Curatorial Advisor for the Aichi Triennale in 2022. From 2012-2019 he was leading the artistic department of S.M.A.K., the Municipal Museum of Contemporary Art in Ghent, Belgium, as senior curator. During his tenure could establish “From the Collection”, a permanent and dynamic format for collection presentations and worked on major acquisitions, as well as numerous solo and thematic group shows. For ‘Lili Dujourie: Folds in time’ (2015), he received an AICA award for Belgium’s best exhibition. In earlier stages he was curator at Kestner Gesellschaft Hanover (2008-2012). Before this, he worked for the 3rd Berlin Biennial for Contemporary Art (2003-2004), and directed the program of ‘Gagosian Gallery, Berlin’ for the 4th Berlin Biennial of Contemporary Art’ (2005-2006). He published many exhibition catalogues and monographies and his writing has appeared in magazines such as 032c, Frieze, or Mousse. He is board member of “Etablissement d’en Face” in Brussels and I-AC Villeurbanne’s acquisition committee.

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Galerie nächst St. Stephan Rosemarie Schwarzwälder is glad to announce a solo exhibition by Chinese artist Zhang Peili (*1957, Hangzhou). With a selection of works bridging the last thirty years of his practice, the show presents, how Zhang reacts to and reflects on the socio-political fabric of present-day’s global society from-out China. In the exhibition, a selection of Zhang’s early epochal video works produced between 1988 and 1996 is echoed by excerpts of a recent project which is premiered in Europe, namely the full scan of the artists’ skeleton, organs, and body data into marble, travertine, white onyx, along with further translations of individual data and information into representations. This literal “body of work” is questioning the global status of the individual in the same way as it makes use of cutting-edge technology of all sorts.