November 24, 2017 – May 28, 2018
All the Words for Rock. Nature and Conflict
Fundación Helga de Alvear, Cáceres (group show)
One of the Helga de Alvear Collection’s main “lines of force” consists of a large number of works that have nature as a focus or subject for argument. Many of these are included in this exhibition, under the shelter of a verse by the poet Gary Snyder (one of the great contemporary interpreters of this matter). In All the Words for Rock, nature is reviewed from different points of view: from contemplation to action, from the formal to the symbolic. Reviewed in a strict sense, or reconstructed (as in certain paintings, videos or sculptures).
Julian Rosefeldt presents his 4-channel film installation Requiem (2007), that takes place in the Brazilian jungle. The paradisiac notion of the rainforest obtains an apocalyptic dimension; utopia merges into dystopia. Literally read as a requiem for the dying rainforest, the work is further an allegory of the futility of human existence, the death of the subject, the extinguishing of the individual within the impenetrable, incomprehensible jungle of context.
The exhibition is curated by Julián Rodríguez.

For further information see:

Julian Rosefeldt, Requiem, 2007 © Julian Rosefeldt and VG Bild-Kunst, Bonn 2017 



October 18, 2017 – January 7, 2018

Julian Rosefeldt: Manifesto
National Gallery, Prague (solo show)

The National Gallery in Prague will present Rosefeldt’s widely known 13-channel film installation Manifesto (2015) and additionally exhibit a selection of original artist manifestos.

The film installation 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, Dogma 95 and other artist groups, and the musings of individual artists, architects, dancers and filmmakers. Passing the ideas of Claes Oldenburg, Yvonne Rainer, Kazimir Malevich, André Breton, Sturtevant, Sol LeWitt, Jim Jarmusch, and other influencers through his lens, Rosefeldt has edited and reassembled thirteen collages of artists’ manifestos.

The exhibition is curated by Adam Henryk Budak. 

The exhibition is part of the Echoes of the Czech-German Cultural Spring 2017 – the cultural initiative of the Embassy of the Federal Republic of Germany in Prague, Goethe-Institut in Prague, Czech-German Fund for the Future and the Czech centres in Berlin and Munich in cooperation with the Ministry of Culture and the Ministry of Foreign Affairs of the Czech Republic.

For further information see:

Julian Rosefeldt, Manifesto, 2015 © Julian Rosefeldt and VG Bild-Kunst, Bonn 2017



October 5 – December 2017
Julian Rosefeldt: Deep Gold
König Archiv & Souvenir, London
Julian Rosefeldt’s film Deep Gold (2013/2014) will be included in the opening presentation of König’s new space close to Regent’s Park in London. The black-and-white film recalls a grotesque version of the 'Golden Age'. It functions as a fictional insert in Buñuel’s original movie, in which the two protagonists, played by Lya Lys and Gaston Modot, try to fulfil their lust for each other, but are constantly separated or disturbed by various obstacles.
For further information see:
Julian Rosefeldt, Deep Gold, 2013/2014 © Julian Rosefeldt and VG Bild-Kunst, Bonn 2017



September 20 – December 31, 2017

Julian Rosefeldt. Manifesto. Works 2005–2017
HOW Art Museum, Shanghai (solo show)

The HOW Art Museum presents with its inaugural exhibition the first comprehensive and institutional solo show of Julian Rosefeldt in China since 2012. Comprising five film installations and 21 photo works, it renders the most important aspects of his artistic production over the past 12 years visible.

The recent and widely known work Manifesto (2015) marks the heart of the exhibition. Next to this central piece, Rosefeldt’s two most recent film works are presented: The Swap (2015) and In the Land of Drought (2015/2017) comment upon recent discourses debating the future of our planet and society. Rosefeldt previously addressed modern man’s alienation from nature in works such as the 3-channel installation Clown (2005) or brought the relationship between man and nature to another level when demonstrating the strong boundaries between the notions of nature, arts and politics as they once appeared during the period of German Romanticism with the work The Ship of Fools (2007).

For further information see:

Julian Rosefeldt, The Swap, 2015 © Julian Rosefeldt and VG Bild-Kunst, Bonn 2017