Galerie Thomas Schulte presents (Ex)Urban Futures of the Recent Past, an exhibition featuring films and photographs by Gordon Matta-Clark, curated by David Hartt. The title highlights Matta-Clark’s critical engagement with large-scale urban initiatives meant to combat urban decay, contrasting with his approach to city reinvention, while the term "exurban" reflects the blurred boundaries of modern cities, critiquing the full commodification of architecture. Hartt focuses on three films Automation House (1972), Open House (1972), and City Slivers (1976)—three films that markedly highlight a more human scale in manifold, experimental approaches—accompanied by photographs from the series Walls (1972).

(Galerie Thomas Schulte Potsdamer Strasse Potsdamer Strasse 81B, 2nd floor 10785 Berlin, Germany)

With Compressing Light, Galerie Thomas Schulte presents its first solo exhibition of Nancy Haynes, featuring a selection of small-scale paintings from her ongoing library series (2017 – ). Intimate linen canvases of slightly varying dimensions that approximate those of a book, the paintings tend towards the monochromatic, emptied out, yet subtly geometric. In their subtlety, however, they speak volumes.

At Galerie Thomas Schulte, Franka Hörnschemeyer presents her walk-in sculptural installation Blindtext (2009), alongside a selection of drawings in the gallery’s Corner Space. Composed of aluminum honeycomb panels on top of a raised platform, the labyrinthine structure takes the form of a hexagon. Echoed by the gallery’s exterior architecture, its presence is foregrounded as a space within a space. The tall display windows and the work’s vertical, reflective metal panels interact with one another, with viewers, and with passersby on the street outside – in an oscillation between obstructed views and moments of seeing through different structural layers. Within this system of relations, spaces are opened up in between, offering an experiential engagement with how our built environment is shaped and the ways that it, in turn, shapes us.

Galerie Thomas Schulte is pleased to present a group exhibition bringing artists from the gallery’s program since its establishment in the early 1990s together with newer positions in its recently opened space at Mercator-Höfe on Potsdamer Straße. Everything but the Kitchen Sink takes an expanded view. It describes an approach: one that is comprehensive, yet open to further elaboration. The exhibition features works by nine artists, produced from the late ‘80s to today, across a variety of media and materials. Shared among them is a certain inclination towards embellishment, even as they remain rooted in ubiquity and the everyday. Together, they invite reflection on the intricacies of an object’s relationship to its meaning – an interplay between an apparent matter-of-factness and what it might serve to obscure. 

With The World: A Moment in Time (2024), Allan McCollum revisits his sweeping, poignant installation Each and Every One of You (2004) – marking the occasion of the work’s 20th anniversary. Presented by Galerie Thomas Schulte for the first time in Germany, the new work takes a more expansive view, adapting to shifts in the geo-political landscape and societal discourses of the two decades since its initial conception.

Like its predecessor, The World: A Moment in Time comprises 1200 framed digital prints, each containing a different given name. It departs from the first iteration, however, in two significant ways. For the original work, McCollum drew on data from the U.S. Census Bureau, compiling names commonly used in the country at the time and breaking them up according to the 600 most popular female names and the 600 most popular male names. In contrast, the new work is a collection of the most common names worldwide and forgoes distinctions based on gender – resultantly absent of binary classifications or any other breakdown into discrete categories. Within this constellation, the prominent occurrence of names, for example, of Chinese, Hispanic, Indian, or Muslim origin, also visualizes current demographic statistics. In updating the work in this way, McCollum reflects on its place in an increasingly global society, while considering topics of inclusivity within the contemporary art context in which it is situated – and beyond. 

Galerie Thomas Schulte is pleased to present Richard Deacon’s upcoming exhibition "About Us” in the Corner Space. The show brings together the artist’s fundamental mediums of drawing and sculpture, featuring two works: an almost life-size steel sculpture along with an intricate black and white wall drawing. While both works showcase his mastery of materials and mediums, they also offer a unique glimpse into two decades of Deacon’s analytical form language and innovative artistry.

Galerie Thomas Schulte is pleased to present the group exhibition “Pictorial Resonance”. In a collaborative effort of Fabian Marcaccio and Jonas Weichsel, the show brings together a diverse selection of painterly positions, united by the primary preoccupation to investigate and critically renegotiate the possibilities of painting today. Alongside paintings by Marcaccio and Weichsel, the exhibition includes works by Polly Apfelbaum, Kerstin Brätsch, Marieta Chirulescu, Paul Czerlitzki, Friederike Feldmann, Wade Guyton, Toulu Hassani, Nancy Haynes, Jürgen Krause, Jonathan Lasker, Iulia Nistor, Blinky Palermo, David Reed, Pieter Vermeersch, and Dan Walsh. In the gallery’s Corner Space, a site-specific wall painting by Ernst Caramelle will be on view. 

Galerie Thomas Schulte presents “Naturphilosophie”, an exhibition of new works by David Hartt. For his second solo exhibition at the gallery, Hartt expands on an ongoing body of work, continuing his engagement with themes related to dominant systems of knowledge and representation, and corresponding processes of marginalization and displacement. Reproduced as photogravures or translated as tapestries, the works comprise images of plants photographed at various sites in northern Europe – in the Netherlands, Sweden and Germany. Bringing these peripheral, non-human agents into focus, the images reflect on how our environment, and the life present in it, has been shaped by human activity and ideals of the past – as well as their resonances today. 

The room looks empty and well it should, we’ve emptied it out, removed the loose signifiers, the misleading flourishes of expressivity, and the garish color of mystic systems. To occupy space is after all a political act and we’re not going anywhere once you’ve invited us in.  We’ll pierce the walls like infrastructure, mixing our DNA into the fabric of the space, we’ll create recombinant hybrid structures that barricade the doors and manifest a barbed perimeter. We’ll make ruthless and contaminated things, as they are, in their actuality, anchored against semantic drift.

Vertical, as in right-side up or upside down. It may be a matter of perspective; a position in relation to something else. The title of Paco Knöller’s exhibition, “Senkrecht durch den Augenblick (Vertically through the Moment)”, indicates a direction, a relationship, a motion – a moving through. 

In “Narrativas Circulares”, Galerie Thomas Schulte presents an installation of recent works by José Montealegre in the Corner Space and adjacent window front. 

In "Medieval Neon", Galerie Thomas Schulte presents two expansive light installations by Bethan Huws in the gallery’s Corner Space and adjacent front room. 

In this year's last exhibition at Galerie Thomas Schulte, Leunora Salihu presents a selection of sculptural works and drawings, in which she renegotiates her themes of space, gravity, and abstraction. 

Galerie Thomas Schulte presents Fabian Marcaccio: Flex-Paintants⁠—the artist’s fifth solo exhibition with the gallery⁠—featuring new sculptural "Flex-Paintants" in the main space, and digital "Animation Paintants" in the Corner Space. 

Once, Rebecca Horn placed her Peacock Machine inside a classicist temple on an island in a park. The artist created this large mechanical sculpture in 1982 for documenta 7 in Kassel. For the 40th anniversary, the artwork will be on display in the Corner Space of Galerie Thomas Schulte. 

Galerie Thomas Schulte is pleased to present the second exhibition of sculptures and works on paper by Fred Sandback. Interactive and transparent as they are, his sculptures, which are made of yarn stretched between two fixed points, are basically outlines that develop their presence in space and can be physically experienced – as "a drawing that is habitable”, as Sandback once said.

Julian Irlinger presents his second solo exhibition at Galerie Thomas Schulte with A Smile with One Tooth. The work is based on his correspondence with the owner and heiress of the monument-protected Tuteur House, the exhibition space and seat of the gallery, and her husband. 

In a multi-part installation conceived for Galerie Thomas Schulte’s Corner Space, Jonas Weichsel presents 30 new paintings from his Interstellar Paintings series. The series is the latest iteration of Weichsel’s intensive color explorations, in which he meticulously mixes, composes and arranges color to form complex relationships–­–here, resulting in a continuous, immersive spatial gradient. 

In the new exhibition Oblivion by Iris Schomaker at Galerie Thomas Schulte, the artist presents her most recent series of works on paper. Her unframed large-scale works depict landscapes, figures, and animals. The motifs serve to reproduce a specific atmosphere, for which Schomaker has developed her very own formal and pictorial language. 

Galerie Thomas Schulte is pleased that Franka Hörnschemeyer has accepted an invitation to present her work at the gallery for the second time. This autumn’s exhibition divides the space into two spheres: on the ground of the Corner Space, the artist has erected one of her spatial sculptures made of rusty-red lattice walls that partition the space. Her work, "Transponder 1121", hovers above the sculpture, suspended from the gallery’s nine-meter-high ceiling.

Galerie Thomas Schulte is very pleased that Abraham Cruzvillegas has accepted the invitation to realize a new site-specific work for the gallery to first be presented during Art Week Berlin 2021. The colorful installation "Unbetiteltes Tautologisches Selbstportrait" stretches across the two nine-meter high walls of the Corner Space and consists of boxes of shapes and sizes the bottoms of which are painted in thirty-four different color hues.

Galerie Thomas Schulte is very pleased that Abraham Cruzvillegas has accepted the invitation to realize a new site-specific work for the gallery to first be presented during Art Week Berlin 2021. The colorful installation "Unbetiteltes Tautologisches Selbstportrait" stretches across the two nine-meter high walls of the Corner Space and consists of boxes of shapes and sizes the bottoms of which are painted in thirty-four different color hues.

Galerie Thomas Schulte is showing two new sculptures by Richard Deacon. The two large-scale works in stainless steel with the ambiguous title "Fourfold Way" belong to a series of skeletal sculptures on which the British sculptor has been working since around 2008.