MICHAEL RAEDECKER
GRIMM
M
ichael Raedecker once remarked that he was among the first painters to benefit from the
disappearance of the avant-garde. Indeed: for the greater part of the twentieth century, painters
sought to justify their profession. Their medium was constantly being pronounced dead; they struggled with the competition generated by photography and conceptual art. But at the start of the 1990s more and more young painters arrived at a very simple conclusion: painting has no special, lofty raison d’être at all. A painting is simply an image, just as a photograph or a film still is. But it does happen to be an image into which an incredible amount of inventiveness and complexity and stratification can be incorporated, and its long tradition could be considered an added benefit. From this perspective, working with paint and canvas is no limitation but rather a form which offers a great number of other possibilities. That realization, combined with the new sense of liberation, prompted the resistance of a generation of young artists who no longer felt the need to justify the use of their medium – they saw freedom and seized it with both hands. Anything was possible, so why couldn’t their work include the culture of television, comic strips and other ‘low’ art on which they had grown up? All that mattered was the persuasiveness of their paintings. In many respects Michael Raedecker was perfectly consistent with that generation. He hadn’t planned on being an artist: having first studied fashion, it wasn’t until he faced difficulties with this that he decided, fairly abruptly, to start painting in the early 90s. Raedecker’s first painterly experiments involved ‘transferring’ magazine photographs to canvas; this gave rise to depictions that might indeed have been composed on the basis of trivial sources, but due to their stratified quality, and the clashing of different worlds, they nonetheless assumed a beautiful, intangible complexity. Raedecker didn’t arrive at the definitive form of his work, however, until he became aware that he could best justify painting to him- self if he had to put effort into it. Put hours into it. Focus. Concentration. And what is a classic way of making hours go by? Embroidery! That’s how Raedecker began embroidering on his paintings from 1993 onward. Soon he was adding other techniques to this: gluing threads to the canvas, letting paint flow across it, using tufts of wool and glue. In his paintings the various techniques represent very different worlds, and yet these always merge utterly seamlessly. The latter is particularly the consequence of Raedecker’s very clear awareness of how his highly personal world should look. A typical painting by Raedecker shows a tranquil and mysterious landscape, void of people; and there is a sense that something could happen at any moment, although what this is remains an enigma. At the same time Raedecker’s world avoids traditional logic, in a manner reminiscent of Twin Peaks, but so subtly that we scarcely notice it at first. As in kismet: a landscape, one of art’s oldest themes, but painted as though the painter is looking at the world from a drone (in 1999!). We see no horizon. Trees surround a pond, but their shadows are cast in all sorts of directions – as if light is emanating from the pond. What’s going on here?
Kismet means something to the effect of destiny – Raedecker borrowed the word, he said, from a song in the Elvis Presley film (‘the worst Elvis film ever’) Harum Scarum. At the same time the painting fits very much into the tradition of Dutch landscape painting by artists such as Hercules Seeghers and Philips Koninck; and they might also bring to mind heavily computer-animated disaster films in which water suddenly becomes light. Michael Raedecker | kismet | 1999
It has everything. Yet the predominant impression that lingers is landscape
as a dream. A vision. The edges of the painting still have a very naturalistic appearance – threads and lines resemble dry grass or dead tree roots. The embroidered stones are very pronounced; and the same can be said of the treetops, made from tufts of coarse, green wool. The painting’s main force of attraction, however, is its big white puddle. Because of the natural surroundings, it’s easy to believe that this is a lake; but a mere squint is enough to make us realize that it could also simply be a puddle of poured paint. Then again, the water is so white that it seems to give off light – this could instantly explain the shadows. On the other hand, if that is indeed the case, the puddle is no lake but a hole from which light shines – it draws the world inward. This gives the scene an ominous, almost apocalyptic quality in combination with the centrifugal force of the trees around the lake. Kismet is a painting that shows the calm before the storm, the moment before everything changes. But as long as we’re ignorant of what that is, Raedecker implies, we can keep on dreaming. -Hans den Hartog Jager
2017 - 2018
installation view | cntrl | GRIMM | Amsterdam (NL) | 2018
T
he process behind Raedecker’s most recent paintings is a complex series of archaeological strata. First, the artist applies painted marks
and washes to a primed canvas. Next, the canvas is coated in acrylic medium, to which he sticks a found photographic image, reproduced on paper using a standard inkjet printer. Once the medium has absorbed the ink, and the image has been transferred, he tears away the paper, and gets to work with his hallmark lengths of thread, sometimes stitching them through the canvas, sometimes suspending them in the sticky, drying medium, almost as though he were creating a low relief sculpture. What is remarkable, here, is how many different temporalities combine on the surface of a single artwork: the considered application of pigment, the immediacy (and, perhaps, post-production drag) of digital photography, the speedy and indiscriminate chemical reaction that precipitates the image transfer, and the patient labour of summoning up a motif with thread. If these works feel disorienting, even a little uncanny, this should come as no surprise. Here, time –painterly time, lens-based time, computer processing time– is determinedly out of joint.
MICHAEL RAEDECKER pause, 2018
MICHAEL RAEDECKER metamood, 2018
With their palette of deep blues, gloomy purples, and dark pinks, the paintings in this series have a crepuscular, dream-like quality. In one, a pale tree looms out of the twilight, its canopy cropped as though by a camera’s viewfinder, the spaces between its branches describing a network of verticals and horizontals, reminiscent of Piet Mondriaan’s early, arboreal canvases. In a second, a row of eight empty chairs await human habitation, while a series of white, glowing spheres float in the dim space behind them, perhaps a cinema’s house lights, perhaps fog-dulled street lamps, perhaps UFOs. What is about to happen here? A briefing? A film screening? An alien landing? Whatever it is, it appears to be intended for only a few, select eyes. A third painting depicts a burning house, smoke rising from its rooftop in great whorls of white thread. Given its Prussian blue ground, and the abstract, seemingly photogram-derived forms that both assert and obscure its surface, this work might be a mutant species of cyanotype, a photographic process used in the reproduction of architectural blueprints. However, while a blueprint anticipates a building’s creation, this work memorialises a building’s destruction. A beginning, here, is also an end. -Tom Morton
MICHAEL RAEDECKER psywar, 2017 collection Ekard Collection
MICHAEL RAEDECKER remote, 2018 (left) emblem, 2018 (right)
installation view | cntrl | GRIMM | Amsterdam (NL) | 2018
MICHAEL RAEDECKER compulsion, 2018
MICHAEL RAEDECKER demo (psywar), 2017 collection De Nederlandsche Bank (NL)
MICHAEL RAEDECKER session, 2016 (left) natural selection, 2015 (right)
2015-2016
installation view | camoflauge | GRIMM | Amsterdam (NL) | 2016
C
hairs, curtains, potted plants, a floor lamp: the objects depicted in Michael Raedecker’s new paintings are familiar things. Mute witnesses
of our daily lives - the countless hours we’ve forgotten, the split seconds we will remember forever - they have the quality of stage props in an unending domestic saga. We might imagine them absorbing time like a flower absorbs sunlight, or a rag absorbs a stain. I have used the word ‘paintings’, but this requires some qualification. None of these images have been made using a brush, and only some of them employ paint. Raedecker’s curtains are formed from bolts of thin, rumpled cotton steeped in watered-down acrylic, which (in an echo of Morris Louis’ colour field canvases) has sunk into the fibres, the uneven density of its distribution creating areas of shadow: the runching of material around a curtain rail, say, or its billowing in the breeze from an unseen window. The artist’s potted plants are also the product of paint-bathed swatches of fabric, collaged on the surface of the work. Look closely at their fronds – cut into shapes that are by turns diagrammatically leaf-like, and veer towards abstraction - and we see that some of them bear printed patterns, as though living vegetable matter was mimicking, chameleon like, the qualities of commercial textile. Maybe this should not be so surprising. Nature, here, has been domesticated, conquered, potted - this new camouflage is appropriate to our human world. Here and there in these paintings, passages of Raedecker’s signature stitching appear, summoning up a lampshade, or a spidery tendril. The threading of wool through canvas is, of course, slow, meticulous work. Looking at these images, we might reflect on how quickly a cheese plant grows, or a minute passes on an empty afternoon.
installation view | camoflauge | GRIMM | Amsterdam (NL) | 2016
MICHAEL RAEDECKER performance, 2016
MICHAEL RAEDECKER flat, 2015
If the needle is a cautious instrument, then the scissors with which Raedecker hacks out his chair works from bolts of grey fake fur operate decisively, and at speed. Unlike the application of pigment with a paintbrush, this is a process that is subtractive rather additive. As with stone carving, it is a one shot deal, with no second chances - make a mistake, and the whole image collapses back into the fabric’s plush. Viewed from afar, these works appear as though they have been chiseled from concrete, or created by stirring a finger in wet cement, and it is only when we draw closer that we see how the direction of their agitated fibres has created light and shade, positive and negative space. For all that they are wall-mounted, they feel heavy, obedient to gravity, footed – like the objects they depict – on solid ground. While Raedecker’s curtains, plants, and floor lamp be-long to the domestic sphere, there is something institutional about his chairs. They might furnish a hospital, or a prison, or a school assembly hall, their particular arrangement – blocking our path like a burly security guard, grouped in a cosy, nudging pair – hinting at whole worlds of human use. (There is an echo, here, of Francis Bacon’s papal thrones, and Andy Warhol’s Electric Chair, 1963). Perhaps, though, we might also imagine them as scenery in a minimalist stage production. Fake fur, of course, is nothing if not theatrical - an understudy for life. If Raedecker’s new work is, to a degree, about still-ness, the longeurs between events, then in one image something more dramatic appears to spark. In front of a charcoal-coloured curtain, a fire licks upwards, threatening to consume the fabric in its peachy flames. But this is still a painting, though, somewhere in which space might be compressed like a breathless lung, and time (and its sister, narrative) stands necessarily still. Curtains suggest the stage, but in Raedecker’s work they never open. All the drama we can expect is right here on the picture plane. It is more than enough. - Tom Morton
installation view | camoflauge | GRIMM | Amsterdam (NL) | 2016
MICHAEL RAEDECKER public relations, 2016
MICHAEL RAEDECKER species of origin, 2016 collection Gemeentemuseum Den Haag (NL) with support of the BankGiro Loterij
MICHAEL RAEDECKER front, 2016
2011 - 2014
installation view | record | Galerie Max Hetzler | Berlin (DE) | 2014
MICHAEL RAEDECKER pillar, 2014
T
he paintings presented in this exhibition, mostly from 2014, pick up both new motifs and those of previous works, creating new contexts
among each other. For the first time, Raedecker works on different textiles and fabrics and thus expands his practices by introducing a ‘ready-made’ surface. Fabrics, printed with floral or plaid patterns, partly replace the canvas and refer to embroidery as the essential technique of his works. By indicating possible patterns and elements of an unseen interior, such as wallpapers, curtains or blankets, the textiles both complement and disturb the embroidered motifs of suburban houses and skylines. Raedecker further explores this practice by cutting the canvases into strips, rearranging and finally stitching them back together. The hereby fragmented works intensify the impression of an alienated setting and allow new, compelling compositions. For Raedecker, paintings capture a certain mood, thus saving a particular moment, however banal. The title of the exhibition, record, refers to this process. The painting as a recording device, an evidence from our time. Similar to music, paintings always range from cheerful to melancholic, instantly transforming the atmosphere, setting the emotional tone
installation view | record | Galerie Max Hetzler | Berlin (DE) | 2014
MICHAEL RAEDECKER plot, 2014
MICHAEL RAEDECKER mimicry, 2014
MICHAEL RAEDECKER upside, 2013
MICHAEL RAEDECKER place, 2013
MICHAEL RAEDECKER gravity, 2013
MICHAEL RAEDECKER plot, 2012-13
installation view | Remember Everything | Galerie Max Hetzler | Berlin (DE) | 2013
MICHAEL RAEDECKER presentation, 2012
MICHAEL RAEDECKER strip, 2012
installation view | tour | Sprengel Museum | Hanover (DE) | 2014
MICHAEL RAEDECKER repeat, 2011 collection Museum Voorlinden (NL)
2009 - 2013
installation view | Michael Raedecker | Galerie Max Hetzler | Berlin (DE) | 2010
T
he starting point are found images out of our visual culture that give a classical feel as something recognisable helps us to step into the work;
the convergence of familiar and strange, often contributing to create different layers of complexity. In some paintings suburban architectures suggest failed utopia. At times textiles become both medium and subject; cloths, towels, linen and lace being themes largerly represented. The colours are reduced to grey and the narrative as well as the titles are restrained. Transparency and fastness show the original sketch. Paintings look scratched, faded, and as if large sections of the image have been erased. These are simplified, yet nothing is perfectly clinical. Depictions are brief and sketchy while drawing appears more persistant than paint. Embroidery threads are used to accentuate some drips or splashes of paint, which creates a balance between control and coincidence and leads to a certain tension. Intimacy and distance appear to be ever present making his paintings truly intriguing. His chosen medium, embroidery, could be viewed as a reaction to more cenceptual postures and proves to be a relevent combination of high and low art. The freedom that emanates from them contributes to the strong physical presence of his paintings.
installation view | Michael Raedecker | Galerie Max Hetzler | Berlin (DE) | 2010
MICHAEL RAEDECKER logic, 2011
installation view | tour | Sprengel Museum | Hanover (DE) | 2014
MICHAEL RAEDECKER show, 2013
MICHAEL RAEDECKER blink, 2012 collection Berezdivin Collection (PR)
MICHAEL RAEDECKER supply, 2011
MICHAEL RAEDECKER stock, 2011 collection Stichting Art Service (NL)
installation view | Michael Raedecker | Galerie Max Hetzler | Berlin (DE) | 2010
MICHAEL RAEDECKER detour, 2010
installation view | Michael Raedecker | Galerie Max Hetzler | Berlin (DE) | 2010
MICHAEL RAEDECKER superficial, 2009 collection ARG London (UK)
2009
installation view | line-up | Camden Arts Centre | London (UK) | 2009
MICHAEL RAEDECKER opposite, 2009
1997 - 2009
installation view | tour | Wilhelm Hack Museum | Ludwigshafen am Rhein (DE) | 2013
MICHAEL RAEDECKER on, 2008 collection Gemeentemuseum Den Haag (NL)
MICHAEL RAEDECKER show, 2008 collection ARG London (UK)
MICHAEL RAEDECKER nameless, 2007 collection Ekard Collection (NL)
MICHAEL RAEDECKER tipping point, 2007 collection TATE (UK)
MICHAEL RAEDECKER therapy, 2005
MICHAEL RAEDECKER penetration, 2005
MICHAEL RAEDECKER brilliant gloom, 2004 collection Art Institute of Chicago (US)
MICHAEL RAEDECKER destructive superstition, 2004
MICHAEL RAEDECKER that’s the way it is, 2003
installation view | Where’s the Madness You Promised me | Hudson Valley MOCA | Peekskill, NY (US) | 2019
MICHAEL RAEDECKER galloping growth, 2003
MICHAEL RAEDECKER the reflex, 2003 collection Gemeentemuseum Den Haag (NL)
installation view | forevernevermore | Salzburger Kunstverein | Salzburg (DE) | 2004
MICHAEL RAEDECKER incomplete, 2002
MICHAEL RAEDECKER close, 2001
MICHAEL RAEDECKER highlight, 2000
MICHAEL RAEDECKER ins and outs, 2000 collection Museum No Hero (NL)
installation view | tour | Sprengel Museum | Hanover (DE) | 2014
MICHAEL RAEDECKER beam, 2000
MICHAEL RAEDECKER web, 2000
MICHAEL RAEDECKER radiate, 2000
MICHAEL RAEDECKER blind spot, 2000
MICHAEL RAEDECKER sensoria, 2000
MICHAEL RAEDECKER zone, 2000
MICHAEL RAEDECKER down, 2000
MICHAEL RAEDECKER pitch, 2000 collection Van Abbemuseum (NL)
MICHAEL RAEDECKER phantom, 1999
installation view | forevernevermore | Salzburger Kunstverein | Salzburg (DE) | 2004
MICHAEL RAEDECKER kismet, 1999 collection Van Abbemuseum (NL)
MICHAEL RAEDECKER hollow hill, 1999
MICHAEL RAEDECKER mirage, 1999 collection Walker Art Gallery (UK)
MICHAEL RAEDECKER the practice, 1998
MICHAEL RAEDECKER monument, 1998 collection British Council (UK)
MICHAEL RAEDECKER reverb, 1998
MICHAEL RAEDECKER haze, 1998
MICHAEL RAEDECKER spot, 1998 collection TATE (UK)
MICHAEL RAEDECKER pinch, 1998
MICHAEL RAEDECKER overnight, 1998 collection TATE (UK)
MICHAEL RAEDECKER abstract, 1998 collection Museum Voorlinden (NL)
installation view | tour | Sprengel Museum | Hanover (DE) | 2014
MICHAEL RAEDECKER behind the scenes, 1997
MICHAEL RAEDECKER episode, 1997
installation view | tour | Sprengel Museum | Hanover (DE) | 2014
MICHAEL RAEDECKER still, 1997
MICHAEL RAEDECKER scene, 1997
MICHAEL RAEDECKER the getaway, 1997
MICHAEL RAEDECKER occluded, 1997
MICHAEL RAEDECKER still life (2), 1995
MICHAEL RAEDECKER headquarters, 1995
MICHAEL RAEDECKER special bonus, 1994 collection Gemeentemuseum Den Haag (NL)
MICHAEL RAEDECKER great expectations, 1993-94 collection De Nederlandsche Bank (NL)
MICHAEL RAEDECKER shout it out loud, 1993 collection Museum MORE (NL)
MICHAEL RAEDECKER flaming youth, 1993
MICHAEL RAEDECKER alive too, 1993 collection Museum MORE (NL)
MICHAEL RAEDECKER sweet pain, 1993
MICHAEL RAEDECKER sonata bunch, 1993
MICHAEL RAEDECKER fair haven, 1993
S
ince the 1990’s Michael Raedecker (1963 Amsterdam, NL) receives international recognition for his paintings depicting conventional forms
such as landscapes, still lifes, draperies, ruins or houses with a totally unconventional technique. His combination of classical painting and forms of sewing, stitching and embroidering allows a particular engagement with the way texture and physicality can determine a surface. The stitched threads structure his paintings, highlight details and function within the interaction of color and imagery as both connecting and fragmenting means. Raedecker chooses familiar motifs, like everyday objects, fabrics or generic architecture to generate a certain atmosphere rather than to create a narrative context. Thus, his works develop a distinct formal language that uses figuration as an artistic means among others, leaving space for the viewer’s own associations. “Raedecker’s images are hand-embroidered onto washed-out grounds – all shadows, dust and pale ill light – that sprout occasional hairy clumps of fibre, or bear deep and fraying puncture wounds. Here and there, we encounter a paint drip, or its stitched double. As peripheral as they might seem, these meticulous, labour-intensive pictorial elements are key to understanding the artist’s playful way with temporality. A drip, of course, occurs in a split second, and is the product of accident or chance, while replicating it in thread is a long procedure that requires a measure of planning. […] If this is to some degree a joke about intention, its humour is deepened when we consider it in light of the traditional idea of the painterly genius, producer of single, unrepeatable brush strokes (the crinkled line of a smile, the fleck of light in the eye) that make the canvas come miraculously alive.” - Tom Morton
Michael Raedecker was born in Amsterdam and currently lives and works in London. He received his BA in Fashion Design from the Gerrit Rietveld Academy, Amsterdam (1985-1990), continued his curriculum at the Rijksakademie van Beeldende Kunsten, Amsterdam (1993–1994), and at Goldsmiths College, London (1996–1997.) In 2000, Raedecker was shortlisted for the Turner Prize. Raedecker had his first solo exhibition at Galerie Nouvelles Images in The Hague in 1998. Recent solo exhibitions include cntrl (2018) and camouflage (2016) both at GRIMM, Amsterdam; record at Galerie Max Hetzler, Berlin (2014); tour at Sprengel Museum, Hannover (2014) and Wilhelm-Hack-Museum, Ludwigshafen am Rhein (2013); volume at Hauser & Wirth, London (2012); line-up at Musée d’Art Contemporain de Nîmes, Nîmes (2010), Camden Arts Center, London (2009) and Gemeentemuseum, The Hague (2009).
studio view | London (UK)
MICHAEL RAEDECKER
GROUP EXHIBITIONS
Born 1963 in Amsterdam (NL) Lives and works in London (UK)
2019 Where is the Madness You Promised Me, Hudson Valley MOCA, New York (US) A Time Capsule Continued. Completing the two-part survey of all 270 works made by artists for Parkett - 1984 - 2017, Parkett Exhibition Space, Zurich (CH) Freedom, the fifty key Dutch artworks since 1968, curated by Hans Den Hartog Jager, Museum de Fundatie, Zwolle (NL)
EDUCATION 1997 MA Fine Art, Goldsmiths College, London (UK) 1994 Rijksakademie van Beeldende Kunsten, Amsterdam (NL) 1990 BA Fashion Design, Gerrit Rietveld Academie, Amsterdam (NL)
2016 camouflage, GRIMM, Amsterdam (NL)
2018 Out of Office, Singer Laren, Laren (NL) Collezione MAXXI. Lo Spazio dell’Immagine, MAXXI, Rome (IT) In-house exhibition, curated by Jorg Grimm, Manifesta, Amsterdam (NL) Image and Sight – Seeing in Modernism, Wilhelm Hack Museum, Ludwigshafen am Rhein (DE) De Meest Eigentijdse Schilderijen Tentoonstelling, Dordrechts Museum, Dordrecht (NL) LOSS, Hydra School Projects, Hydra (GR)
2014 tour, Sprengler Museum, Hannover (DE) Michael Raedecker, Galerie Max Hetzler, Berlin (DE)
2017 Nature Morte, Guildhall Art Gallery, London (UK) Zwanzig, Galerie Barbara Thumm, Berlin (DE)
2013 tour, Wilhelm Hack Museum, Ludwigshafen am Rhein (DE) tour, Andrea Rosen Gallery, New York (US)
2015 Le Fil Rouge, Espace Louis Vuitton, Munich (DE); traveling to Espace Louis Vuitton Paris (FR) and Tokyo (JP)
2012 volume, Hauser & Wirth, London (UK)
2014 The Hidden Picture, Cobra Museum Of Modern Art, Amstelveen (NL) Halftone: Through the Grid, Galerie Max Hetzler, Berlin (DE)
SOLO EXHIBITIONS 2019 GRIMM, New York, NY (US) [Forthcoming] 2018 cntrl, GRIMM, Amsterdam (NL)
2010 Michael Raedecker, Galerie Max Hetzler, Berlin (DE) line-up, Carré d’Art- Musée d’Art Contemporain de Nîmes, Nimes (FR) Michael Raedecker, GEM, Museum voor Aktuele Kunst, The Hague (NL) 2009 line-up, Camden Arts Center, London (UK) line-up, Gemeentemuseum Den Haag, The Hague (NL) fix, Andrea Rosen Gallery, New York (US) 2007 Michael Raedecker, Hauser & Wirth, London (UK)
2013 Wonder, Museum Kranenburgh, Bergen (NL) Cobra to Dumas. Collection De Heus-Zomer, Singer Museum, Laren (NL) Still Life from 17th and 21st Century, Buitenplaats Beeckestijn, Velsen-Zuid (NL) Rijksakademie in Collectie, Mondriaantoren, Amsterdam (NL)
2006 up, Andrea Rosen Gallery, New York (US)
2012 Pencil and Paper, Poppy Sebire, London (UK) Through an Open Window: Contemporary Art from the Rabo Art Collection, Institut Néerlandais, Paris (FR)
2005 show, The Douglas Hyde Gallery, Dublin (IE); Hauser & Wirth, London (UK); Hauser & Wirth Zürich, Zurich (CH)
2011 Façade: Through a Glass Darkly, National Glass Centre, Sunderland (UK)
2004 forevernevermore, Salzburger Kunstverein, Salzburg (DE) Michael Raedecker, Knoxville Museum of Art, Tennessee (US)
2010 Art, curated by Michael Craig-Martin, Haas & Fuchs Gallery, Berlin (DE) Changing Times – New Worlds, Gemeentemuseum Den Haag, The Hague (NL)
2003 That’s the Way It Is, Andrea Rosen Gallery, New York (US) instinction, Museum für Gegenwartskunst, Basel (CH) 2002 sensoria, The Approach, London (UK) instinction, Centro Nazionale per le Arte Contemporaneo, Rome (IT) 2001 instinctive travels, Andrea Rosen Gallery, New York (US) 2000 ins and outs, The Approach, London (UK) tronies, One In The Other, London (UK) 1999 extract, Van Abbe Museum, Eindhoven (NL) outtakes, Galerie Michael Janssen, Cologne (DE) 1998 New Paintings, The Approach, London (UK) cover, Stedelijk Museum Bureau Amsterdam, Amsterdam (NL) Solo, Galerie Nouvelles Images, The Hague (NL)
2009 A New Romance, The Ada Street Gallery, London (UK) State of Mind, Pinacoteca Giovanni e Marella Agnelli, Turin (IT) The Other Shore: Contemporary Art from The Netherlands, curated by Raj Bowie, Maurice van Valen, Temporary space, London (UK) 2008 Faces, Eleni Koroneou Gallery, Athens (GR) Paintings: 1936 – 2008, The Approach W1, London (UK) Always There. Part 2, Galerie Max Hetzler, Berlin (DE) Expenditure, Busan Biennale (SK) 2007 Effigies, Stuart Shave Modern Art, London (UK) Imagination Becomes Reality: An Exhibition on the Expanded Concept of Painting, Works from the Goetz Collection, ZKM Museum für Neue Kunst, Karlsruhe (DE) Exhibition on the Expanded Concept of Painting, Works from the Goetz Collection, curated by Ingvild Goetz, Stephan Urbaschek and Gregor Jansen, Sammlung Goetz, Munich (DE) Very Abstract and Hyper Figurative, Thomas Dane Gallery, London (UK) Painting Now!, Kunsthal Rotterdam, Rotterdam (NL) Old School, Hauser & Wirth, London (UK)
2006 The Trace of a Trace of a Trace, Perry Rubenstein Gallery, New York (UK) The Sublime is Now!« das Erhabene in der Zeitgenössischen Kunst, Museum Franz Gertsch, Burgdorf (DE) Imagination wird Wirklichkeit Teil III, Sammlung Goetz, Munich (DE) The Triumph of the Painting. Part Three, from the Saatchi Gallery, Leeds City Art Gallery London (UK) Le Nouveau Siècle, Museum van Loon, Amsterdam (NL) Flutter, curated by Michael Raedecker, The Approach, London (UK) 2005 Imagination wird Wirklichkeit Teil II, Sammlung Goetz, Munich (DE) Landscape Confection, Wexner Center for the Arts, Columbus; Contemporary Arts Museum, Houston; Orange County Museum of Art, Newport Beach (US) The Triumph of Painting. Part Three, Saatchi Gallery, London (UK) Hanging by a Thread, curated by Nina Arias and Jose Diaz, The Moore Space, Miami (US) SLOW ART, Contemporary Art from The Netherlands and Flander’, Museum Kunst Palast, Düsseldorf (DE) 2004 About Painting, The Tang Teaching Museum and Art Gallery at Skidmore College, New York (US) The Biennale of Sydney, Sydney (AU) Edge of the Real – A Painting Show, Whitechapel Art Gallery, London (UK) Nederland Niet Nederland, Van Abbe Museum, Eindhoven (UK)
Mountain and Valley, Cubitt, London (UK) Ways of Living, RMIT Project Space, Carlton (US) A Pallid House, Gallery W139, Amsterdam (NL) Graceland’s Palace, Sungkok Art Museum, Seoul (SK) 1998 Cluster Bomb, Morrison & Judd, London (UK) Beige & Sneakers, Büro Friedrich, Berlin (DE) Die Young – Stay Pretty, ICA Institute of Contemporary Art, London (UK) Home and Away, Gavin Brown’s Enterprise, New York (US) Loose Threads, Serpentine Gallery, London (UK) Sunshine Breakfast: John Chilver, Paul Morrison, Michael Readecker and David Thorpe, Galerie Michael Janssen, Cologne (DE) Graceland’s Palace, Museum Le’Omanut, Ein Harod (IL) 1997 In de sloot...Uit de sloot, Stedelijk Museum, Amsterdam (NL) World of Painting, Unit, London (UK) Graceland’s Palace, Galerie Fruchtig, Frankfurt (DE); Museum Le’Ornanut, Ein Harod (IL); Sungkok Art Museum, Seoul (SK) 1996 Transparencies, Galerie Nouvelles Images, The Hague (NL) 9 Painters, De Begane Grond, Utrecht (NL) 1994 Puber Alles, Stedelijk Museum, Amsterdam (NL) Prix de Rome 1994, Arti et Amicitiae, Amsterdam (NL) Germinations 8: Young European Artists, Academie St. Joost, Breda (NL)
2003 Dirty Pictures, The Approach, London (UK) Painting Pictures. Painting and Media in the Digital Age, curated by Gijs van Tuyl and Annelie Lütgens, Kunstmuseum Wolfsburg, Wolfsburg (DE)
SELECTED COLLECTIONS
2002 The Galleries Show, The Royal Academy, London (UK) Sidewinder, curated by Gerard Hemsworth, (a British Council International Touring Exhibition), Centre of International Modern Art, Kolkata (IN); India Habitat Centre, New Delhi (IN); Coomaraswamy Hall, Prince of Wales Museum of Western India, Mumbai (IN) Painting as a Foreign Language, Edificio Cultura Inglesa/Centro Brasileiro Britânico, São Paolo (BR)
Museum Museum Voorlinden (NL)
2001 Post Nature: Nine Dutch Artists, Biennale di Venezia, curated by Jaap Guldemond and Marente Bloemheuvel, Venice (IT), Stedelijk Museum, Amsterdam (NL), Van Abbemuseum, Eindhoven (NL) Painting at the Edge of the World, Walker Art Center, Minneapolis (US) Vantage Point, Irish Museum of Modern Art, Dublin (IR) Far From Us, Annet Gelink Galerie, Amsterdam (NL) 2000 Turner Prize, Tate Britain, London (UK) Twisted: Urban and Visionary Landscapes in Contemporary Painting, Van Abbemuseum, Eindhoven (NL) The British Art Show 2000, (National Touring Exhibitions to Edinburgh, Cardiff, Southampton, Birmingham) (UK) Landscape, ACC Galerie, Weimar (DE); MOMA, Rio de Janeiro (BR); Museo de Arte de São Paulo (BR); Galleria Nazionale d’arte Moderna, Roma (IT) Peter Doig – Michael Raedecker, Galeria Raucci, Santa Maria, Naples (IT) From a Distance: Landscape in Contemporary Art, Institute of Contemporary Art, Boston (US) 1999 John Moores Painting Prize, Walker Art Centre, Liverpool (UK) The Passion and the Wave, 6th Istanbul Biennial, Istanbul (TR) Trouble Spot: Painting, NICC/MUHKA Museum van Hedendaagse Kunst, Antwerp (DE) Examining Pictures, Whitechapel Art Gallery, London (UK); Museum of Contemporary Art, Chicago (US); Armand Hammer Museum, Los Angeles (US) Galerie Barbara Thumm, Berlin (DE) New Neurotic Realism, The Saatchi Gallery, London (UK)
Tate Britain, London (UK) Guggenheim Museum, New York (US) The Saatchi Gallery, London (UK) Gemeentemuseum Den Haag, The Hague (NL) Van Abbemuseum, Eindhoven (NL) ABN AMRO Art Collection (NL) AkzoNobel Art Collection (NL) British Art Council, London (UK) Ekard Collection (NL) ENECO Art Collection (NL) ING Art Collection (NL) MAXXI National Museum of XXI Century Arts, Rome (IT) Museum van Bommel van Dam, Venlo (NL) De Nederlandsche Bank (NL) Rabo Art Collection (NL) Astrup Fearnley Museum, Oslo (NO) Walker Art Gallery, Liverpool (UK) AWARDS / NOMINATIONS 2000 Turner Prize 1999 John Moores Painting Prize 1994 Prix de Rome 1994 John Moores Award 1993 Koninklijke prijs voor de schilderkunst