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June 2 – October 28, 2018
In the Land of Drought
1st Rīga Biennial, Riga (solo show)
The 1st Rīga Biennial will reflect on the phenomenon of change – how it is anticipated, experienced, grasped, assimilated and dealt with at this time of accelerated transitions and the increasing speeding up of our lives. 
Julian Rosefeldt will present his 1-channel film In the Land of Drought (2015/17). It confronts the relationship between man and his impact on the world. Set to atmospheric sounds and a pulsating hum, the 43-minute piece looks back from an imagined future upon the post-Anthropocene: the aftermath of significant human influence on Earth.
For further information see:
Julian Rosefeldt, In the Land of Drought, 2015/17 © Julian Rosefeldt and VG Bild-Kunst, Bonn 2018
May 29 – August 12, 2018
Julian Rosefeldt. Manifesto
Hungarian National Gallery, Budapest (solo show)
For the first time Julian Rosefeldt's 13-channel film installation Manifesto (2015) will be presented in Hungary. Manifesto pays homage to the moving tradition and literary beauty of artist manifestos, ultimately questioning the role of the artist in society today. Manifesto draws on the writings of Futurists, Dadaists, Fluxus artists, Suprematists, Situationists, Dogme 95 and other artist groups, and the musings of individual artists, architects, dancers and filmmakers.
For further information see:
Julian Rosefeldt, Manifesto, 2015 © Julian Rosefeldt and VG Bild-Kunst, Bonn 2018
May 22 – June 23, 2018
The Swap
König London, London (solo show)
On the surface, The Swap (2015) appears to parody a scene from a classic gangster film of covert dodgy dealings, yet Rosefeldt’s manipulation thrusts it into contemporary reality. Set at a deserted container terminal, two rival mobs pull up in cars, about to perform the familiar briefcase exchange of concealed goods. Clad in leather, guns poised; Rosefeldt plays once again with our stereotypical expectations, luring the viewer into a sense of familiarity until an unpredictable turn challenges our perception and exacerbates seemingly subtle aspects of their behaviour.
For further information see:
Julian Rosefeldt, The Swap, 2015 © Julian Rosefeldt and VG Bild-Kunst, Bonn 2018
April 24 – September 29, 2018
Hollywood and other Myths
Tel Aviv Museum of Art, Tel Aviv (group show)
With Pierre Bismuth, Aukje Dekker, Teresa Hubbard / Alexander Birchler, Jesper Just, Tom Pnini, Guido van der Werve and Francesco Vezzoli.
The exhibition focuses on the increasing affinity between video and cinema. The total rejection of Hollywood style and cinematic language of the 1960s and 1970s gradually turned in the 1990s to complex relations of enchanted fascination and dismissal. All the cinematic characteristics that made cinema into a thrilling medium are present here: high-volume emotions, high production value and a rich, all-encompassing soundtrack.
Julian Rosefeldt presents his five-channel film installation American Night (2009). It reflects upon the Western film genre by combining ‘the myth of the frontier’ with allusions to today’s hegemonial foreign policy in the USA.
For further information see:
Julian Rosefeldt, American Night, 2009 © Julian Rosefeldt and VG Bild-Kunst, Bonn 2018
March 18 – August 28, 2018
The Fall of the Stars: Julian Rosefeldt | Albrecht Dürer | Johannes Gerson
Draiflessen Collection, Mettingen
Apocalyptic conceptions of the end of the world have fascinated mankind for centuries. This exhibition brings together two pictorially powerful visions of the end of time: Julian Rosefeldt’s work In the Land of Drought (2015/2017) and Albrecht Dürer’s illustrations for the Book of Revelation.
In his video installation, Julian Rosefeldt depicts a post-apocalyptic imaginary future in which man is inescapably confronted with the consequences of the overexploitation of the Earth’s resources. More than five-hundred years before Rosefeldt created his work, Albrecht Dürer illustrated the Bible’s foretelling of the end of the world with fifteen woodcuts. First published in 1498, the fanciful yet fear-inducing series responded to the mood of gloom and doom that prevailed as the turn of the century approached. Roughly contemporaneous with Dürer’s series is a Dutch printed edition of the eschatological proclamations of the theologian Jean Gerson. Provided with fifteen sequences of naive, vivid illustrations, this little book is a practical demonstration of the way in which people were to envision the portents of the end of the world and the Last Judgment.
For further information see:
Julian Rosefeldt, In the Land of Drought, 2015/2017 © Julian Rosefeldt and VG Bild-Kunst, Bonn 2018