Wolfgang Tillmans</a> (b. 1968) of his artist colleague <a target="_blank" href=https://www.mutualart.com/Organization/Hamburger-Kunsthalle/"/Artist/Isa-Genzken/80289E557E5E3DFC">Isa Genzken</a> (b. 1948), and both are represented with works in the exhibition. Visitors will encounter specially furnished artist rooms featuring new acquisitions by the <a target="_blank" href=https://www.mutualart.com/Organization/Hamburger-Kunsthalle/"/Organization/Hamburger-Kunsthalle/A3724623C5DDCE2B">Hamburger Kunsthalle</a>, most of them presented for the first time, as well as iconic works from the collection and others that can now be put on display thanks to a recently launched collaboration with an important private collection in Hamburg. The selected exhibits – which include paintings, drawings, photographs and installations – will be presented throughout the basement floor of the Galerie der Gegenwart.</p><p><br></p>" itemprop="description" />

Hamburger Kunsthalle</a> will shed light on the diverse facets of the theme of illusion in art, from the Old Masters to today. Ever since antiquity, artists everywhere have been making use of the »trompe-l’oeil« technique, and it was particularly popular in the Renaissance and Baroque eras. The desire for illusionistic renderings then waned during the Romantic period, but this type of art never completely disappeared from the repertoire and it continues to fascinate artists to this day. The exhibition will show how illusion means far more than merely deceiving the eye. It is manifested in the (illusionistic) self-love of Narcissus as well as in spatial illusions in architecture, in the play of concealing and revealing via the pictorial motifs of the curtain and the mask, in the meaning of the open or closed window to the world, and in depictions of visions and dreams. Based on some 150 paintings, drawings, prints, photographs, sculptures, installations and video works, the show traces the many different forms taken by hyperrealism, reality, fiction, dream, transformation and deception. Among the exhibits are major works from the Hamburger Kunsthalle as well as loans from national and international collections.</p><p><br></p>" itemprop="description" />

Hanns Kunitzberger</a>. Likeness 2002–2005« , the <a target="_blank" href=https://www.mutualart.com/Organization/Hamburger-Kunsthalle/"/Organization/Hamburger-Kunsthalle/A3724623C5DDCE2B">Hamburger Kunsthalle</a> presents expansive, multi-part works by the Austrian painter Hanns Kunitzberger (b. 1955). These works on canvas are produced in a lengthy process involving multiple overpaintings, resulting in various layers that can be glimpsed below the superimposed areas of colour. This technique lends the images a translucency that can be likened metaphorically to time shimmering through to the surface. With their very own language of colour and serial monumentality, Kunitzberger’s large-scale paintings transform the space around them. Their presentation in the domed hall of the Hamburger Kunsthalle summons memories of the great history of this setting as an exhibition venue while echoing similar experiences of paintings in space at other venues such as the Musée de l’Orangerie in Paris.</p><p>The time spent contemplating Kunitzberger’s paintings corresponds in condensed form to the time the painter spends making them. But this paradigm, which of course applies to every painting in the world, takes on a deeper meaning here: Just as the brush applied paint to the picture, so does the viewer’s gaze scan the image in search of the traces and layers it left behind on the canvas. The works thus hold the beholder in their thrall, although they are by no means narrative. Kunitzberger considers it his task to initiate a dialogue between the artwork and the people viewing it, with the artist’s personality a secondary consideration that remains hidden.</p><p><br></p>" itemprop="description" />

Oehlen (*1954) were created in the early 1990s, a second series in the early 2000s. Beginning with a laptop purchased in 1990, the first digital drawings were made and then transferred onto canvas by the painter.&nbsp; The aesthetic dictated by the technology with its typical staircases and squares became a starting point for a body of work that oscillates between cool sparseness and exuberantly varying forms.&nbsp;</p><p>The idea of producing art with the help of a computer seems thrillingly contemporary in light of current debates on artificial intelligence. Even more so, if one takes Oehlen’s artistic conclusion from his preoccupation with computer art seriously: »It has to be completed by the human hand«.</p><p>The exhibition »Computer Paintings« is being created specifically for the first floor of the Galerie der Gegenwart and in close collaboration with the artist. This rarely shown body of Albert Oehlen's works can be explored in a presentation tailored to the exhibition venue. The geometric austerity of the space of architect Oswald Mathias Ungers with its natural light is an ideal setting for a painting that resembles digital composing of music and poses questions about the mutual impact of technology and artistic expression.</p><p><br></p>" itemprop="description" />

Hamburger Kunsthalle</a>. The show provides an insight into Schröder's identity as a collector.</p><p>The title IN.SIGHT is borrowed from a photograph by <a target="_blank" href=https://www.mutualart.com/Organization/Hamburger-Kunsthalle/"/Artist/Philippe-Thomas/74E53D26CD8860F4">Philippe Thomas</a> and refers to the central themes of the exhibition. The socio-critical artistic positions from the 1970s to the present day reveal perspectives and question existing norms in relation to social spaces, architecture, gender, identity, sexuality, migration, nation-statehood and racism.</p><p><br></p>" itemprop="description" />