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Don’t miss to see the exhibition “sensing fields“ by James Turrell, currently on view at our Berlin gallery.

For the first time in Berlin, the exhibition includes a work from Turrell’s “Glass“ series. These works establish highly controlled perceptual environments in which color and light shift almost imperceptibly over extended durations. Oscillating between surface and depth, opacity and transparency, they destabilize fixed spatial coordinates and foreground perception as an active, contingent process.

An adjacent space brings together Turrell’s iconic “Still Light“ aquatint series with an archaic, almost elemental Skyspace sculpture. Created during Turrell’s extended period in Zurich, the “Still Light“ prints translate his early investigations into projection, shallow space, and perceptual thresholds into the medium of printmaking.

Since the 1960s, Turrell’s work has fundamentally redefined the relationship between light, space, and perception. At the core of his practice is the direct experience of light itself—not as a means of illumination, but as a material and spatial phenomenon that structures both space and consciousness. His works unfold over time, heightening sensory awareness and resisting immediate visual comprehension in favor of a durational experience.

The exhibition is realized in close partnership with Häusler Contemporary, our guest gallery, which has represented the artist for decades.

Exhibition views, sensing fields, max goelitz Berlin. Copyright James Turrell, courtesy Häusler Contemporary Zurich. Photos: Marjorie Brunet Plaza.

____________________
#maxgoelitzgallery
#haeuslercontemporary @haeuslercontemporary
#jamesturrell
#galleryweekendberlin @galleryweekendberlin

Don’t miss to see the exhibition “sensing fields“ by James Turrell, currently on view at our Berlin gallery.

For the first time in Berlin, the exhibition includes a work from Turrell’s “Glass“ series. These works establish highly controlled perceptual environments in which color and light shift almost imperceptibly over extended durations. Oscillating between surface and depth, opacity and transparency, they destabilize fixed spatial coordinates and foreground perception as an active, contingent process.

An adjacent space brings together Turrell’s iconic “Still Light“ aquatint series with an archaic, almost elemental Skyspace sculpture. Created during Turrell’s extended period in Zurich, the “Still Light“ prints translate his early investigations into projection, shallow space, and perceptual thresholds into the medium of printmaking.

Since the 1960s, Turrell’s work has fundamentally redefined the relationship between light, space, and perception. At the core of his practice is the direct experience of light itself—not as a means of illumination, but as a material and spatial phenomenon that structures both space and consciousness. His works unfold over time, heightening sensory awareness and resisting immediate visual comprehension in favor of a durational experience.

The exhibition is realized in close partnership with Häusler Contemporary, our guest gallery, which has represented the artist for decades.

Exhibition views, sensing fields, max goelitz Berlin. Copyright James Turrell, courtesy Häusler Contemporary Zurich. Photos: Marjorie Brunet Plaza.

____________________
#maxgoelitzgallery
#haeuslercontemporary @haeuslercontemporary
#jamesturrell
#galleryweekendberlin @galleryweekendberlin

Don’t miss to see the exhibition “sensing fields“ by James Turrell, currently on view at our Berlin gallery.

For the first time in Berlin, the exhibition includes a work from Turrell’s “Glass“ series. These works establish highly controlled perceptual environments in which color and light shift almost imperceptibly over extended durations. Oscillating between surface and depth, opacity and transparency, they destabilize fixed spatial coordinates and foreground perception as an active, contingent process.

An adjacent space brings together Turrell’s iconic “Still Light“ aquatint series with an archaic, almost elemental Skyspace sculpture. Created during Turrell’s extended period in Zurich, the “Still Light“ prints translate his early investigations into projection, shallow space, and perceptual thresholds into the medium of printmaking.

Since the 1960s, Turrell’s work has fundamentally redefined the relationship between light, space, and perception. At the core of his practice is the direct experience of light itself—not as a means of illumination, but as a material and spatial phenomenon that structures both space and consciousness. His works unfold over time, heightening sensory awareness and resisting immediate visual comprehension in favor of a durational experience.

The exhibition is realized in close partnership with Häusler Contemporary, our guest gallery, which has represented the artist for decades.

Exhibition views, sensing fields, max goelitz Berlin. Copyright James Turrell, courtesy Häusler Contemporary Zurich. Photos: Marjorie Brunet Plaza.

____________________
#maxgoelitzgallery
#haeuslercontemporary @haeuslercontemporary
#jamesturrell
#galleryweekendberlin @galleryweekendberlin

Don’t miss to see the exhibition “sensing fields“ by James Turrell, currently on view at our Berlin gallery.

For the first time in Berlin, the exhibition includes a work from Turrell’s “Glass“ series. These works establish highly controlled perceptual environments in which color and light shift almost imperceptibly over extended durations. Oscillating between surface and depth, opacity and transparency, they destabilize fixed spatial coordinates and foreground perception as an active, contingent process.

An adjacent space brings together Turrell’s iconic “Still Light“ aquatint series with an archaic, almost elemental Skyspace sculpture. Created during Turrell’s extended period in Zurich, the “Still Light“ prints translate his early investigations into projection, shallow space, and perceptual thresholds into the medium of printmaking.

Since the 1960s, Turrell’s work has fundamentally redefined the relationship between light, space, and perception. At the core of his practice is the direct experience of light itself—not as a means of illumination, but as a material and spatial phenomenon that structures both space and consciousness. His works unfold over time, heightening sensory awareness and resisting immediate visual comprehension in favor of a durational experience.

The exhibition is realized in close partnership with Häusler Contemporary, our guest gallery, which has represented the artist for decades.

Exhibition views, sensing fields, max goelitz Berlin. Copyright James Turrell, courtesy Häusler Contemporary Zurich. Photos: Marjorie Brunet Plaza.

____________________
#maxgoelitzgallery
#haeuslercontemporary @haeuslercontemporary
#jamesturrell
#galleryweekendberlin @galleryweekendberlin

Don’t miss to see the exhibition “sensing fields“ by James Turrell, currently on view at our Berlin gallery.

For the first time in Berlin, the exhibition includes a work from Turrell’s “Glass“ series. These works establish highly controlled perceptual environments in which color and light shift almost imperceptibly over extended durations. Oscillating between surface and depth, opacity and transparency, they destabilize fixed spatial coordinates and foreground perception as an active, contingent process.

An adjacent space brings together Turrell’s iconic “Still Light“ aquatint series with an archaic, almost elemental Skyspace sculpture. Created during Turrell’s extended period in Zurich, the “Still Light“ prints translate his early investigations into projection, shallow space, and perceptual thresholds into the medium of printmaking.

Since the 1960s, Turrell’s work has fundamentally redefined the relationship between light, space, and perception. At the core of his practice is the direct experience of light itself—not as a means of illumination, but as a material and spatial phenomenon that structures both space and consciousness. His works unfold over time, heightening sensory awareness and resisting immediate visual comprehension in favor of a durational experience.

The exhibition is realized in close partnership with Häusler Contemporary, our guest gallery, which has represented the artist for decades.

Exhibition views, sensing fields, max goelitz Berlin. Copyright James Turrell, courtesy Häusler Contemporary Zurich. Photos: Marjorie Brunet Plaza.

____________________
#maxgoelitzgallery
#haeuslercontemporary @haeuslercontemporary
#jamesturrell
#galleryweekendberlin @galleryweekendberlin

Don’t miss to see the exhibition “sensing fields“ by James Turrell, currently on view at our Berlin gallery.

For the first time in Berlin, the exhibition includes a work from Turrell’s “Glass“ series. These works establish highly controlled perceptual environments in which color and light shift almost imperceptibly over extended durations. Oscillating between surface and depth, opacity and transparency, they destabilize fixed spatial coordinates and foreground perception as an active, contingent process.

An adjacent space brings together Turrell’s iconic “Still Light“ aquatint series with an archaic, almost elemental Skyspace sculpture. Created during Turrell’s extended period in Zurich, the “Still Light“ prints translate his early investigations into projection, shallow space, and perceptual thresholds into the medium of printmaking.

Since the 1960s, Turrell’s work has fundamentally redefined the relationship between light, space, and perception. At the core of his practice is the direct experience of light itself—not as a means of illumination, but as a material and spatial phenomenon that structures both space and consciousness. His works unfold over time, heightening sensory awareness and resisting immediate visual comprehension in favor of a durational experience.

The exhibition is realized in close partnership with Häusler Contemporary, our guest gallery, which has represented the artist for decades.

Exhibition views, sensing fields, max goelitz Berlin. Copyright James Turrell, courtesy Häusler Contemporary Zurich. Photos: Marjorie Brunet Plaza.

____________________
#maxgoelitzgallery
#haeuslercontemporary @haeuslercontemporary
#jamesturrell
#galleryweekendberlin @galleryweekendberlin

Don’t miss to see the exhibition “sensing fields“ by James Turrell, currently on view at our Berlin gallery.

For the first time in Berlin, the exhibition includes a work from Turrell’s “Glass“ series. These works establish highly controlled perceptual environments in which color and light shift almost imperceptibly over extended durations. Oscillating between surface and depth, opacity and transparency, they destabilize fixed spatial coordinates and foreground perception as an active, contingent process.

An adjacent space brings together Turrell’s iconic “Still Light“ aquatint series with an archaic, almost elemental Skyspace sculpture. Created during Turrell’s extended period in Zurich, the “Still Light“ prints translate his early investigations into projection, shallow space, and perceptual thresholds into the medium of printmaking.

Since the 1960s, Turrell’s work has fundamentally redefined the relationship between light, space, and perception. At the core of his practice is the direct experience of light itself—not as a means of illumination, but as a material and spatial phenomenon that structures both space and consciousness. His works unfold over time, heightening sensory awareness and resisting immediate visual comprehension in favor of a durational experience.

The exhibition is realized in close partnership with Häusler Contemporary, our guest gallery, which has represented the artist for decades.

Exhibition views, sensing fields, max goelitz Berlin. Copyright James Turrell, courtesy Häusler Contemporary Zurich. Photos: Marjorie Brunet Plaza.

____________________
#maxgoelitzgallery
#haeuslercontemporary @haeuslercontemporary
#jamesturrell
#galleryweekendberlin @galleryweekendberlin

View works by Eva Hesse, placed in dialogue with contemporary artists Lukas Heerich and Rindon Johnson, now on view at @maxgoelitzgallery in Munich on the occasion of @variousothersmunich.

Spanning generations, these artists share an interest in material experimentation, occupying a space in which form emerges through process and reveals both physical and conceptual tensions. Plan your visit through 4 July via the link in bio.

1-2,4,6-7 Installation views, ‘Eva Hesse, Lukas Heerich, Rindon Johnson,’ max goelitz Munich, 2026. Photos: Dirk Tacke
3 Eva Hesse, No Title (detail), 1960
5 Eva Hesse, No Title (detail), 1961
8 Eva Hesse, No Title (detail), 1961
© The Estate of Eva Hesse

View works by Eva Hesse, placed in dialogue with contemporary artists Lukas Heerich and Rindon Johnson, now on view at @maxgoelitzgallery in Munich on the occasion of @variousothersmunich.

Spanning generations, these artists share an interest in material experimentation, occupying a space in which form emerges through process and reveals both physical and conceptual tensions. Plan your visit through 4 July via the link in bio.

1-2,4,6-7 Installation views, ‘Eva Hesse, Lukas Heerich, Rindon Johnson,’ max goelitz Munich, 2026. Photos: Dirk Tacke
3 Eva Hesse, No Title (detail), 1960
5 Eva Hesse, No Title (detail), 1961
8 Eva Hesse, No Title (detail), 1961
© The Estate of Eva Hesse

View works by Eva Hesse, placed in dialogue with contemporary artists Lukas Heerich and Rindon Johnson, now on view at @maxgoelitzgallery in Munich on the occasion of @variousothersmunich.

Spanning generations, these artists share an interest in material experimentation, occupying a space in which form emerges through process and reveals both physical and conceptual tensions. Plan your visit through 4 July via the link in bio.

1-2,4,6-7 Installation views, ‘Eva Hesse, Lukas Heerich, Rindon Johnson,’ max goelitz Munich, 2026. Photos: Dirk Tacke
3 Eva Hesse, No Title (detail), 1960
5 Eva Hesse, No Title (detail), 1961
8 Eva Hesse, No Title (detail), 1961
© The Estate of Eva Hesse

View works by Eva Hesse, placed in dialogue with contemporary artists Lukas Heerich and Rindon Johnson, now on view at @maxgoelitzgallery in Munich on the occasion of @variousothersmunich.

Spanning generations, these artists share an interest in material experimentation, occupying a space in which form emerges through process and reveals both physical and conceptual tensions. Plan your visit through 4 July via the link in bio.

1-2,4,6-7 Installation views, ‘Eva Hesse, Lukas Heerich, Rindon Johnson,’ max goelitz Munich, 2026. Photos: Dirk Tacke
3 Eva Hesse, No Title (detail), 1960
5 Eva Hesse, No Title (detail), 1961
8 Eva Hesse, No Title (detail), 1961
© The Estate of Eva Hesse

View works by Eva Hesse, placed in dialogue with contemporary artists Lukas Heerich and Rindon Johnson, now on view at @maxgoelitzgallery in Munich on the occasion of @variousothersmunich.

Spanning generations, these artists share an interest in material experimentation, occupying a space in which form emerges through process and reveals both physical and conceptual tensions. Plan your visit through 4 July via the link in bio.

1-2,4,6-7 Installation views, ‘Eva Hesse, Lukas Heerich, Rindon Johnson,’ max goelitz Munich, 2026. Photos: Dirk Tacke
3 Eva Hesse, No Title (detail), 1960
5 Eva Hesse, No Title (detail), 1961
8 Eva Hesse, No Title (detail), 1961
© The Estate of Eva Hesse

View works by Eva Hesse, placed in dialogue with contemporary artists Lukas Heerich and Rindon Johnson, now on view at @maxgoelitzgallery in Munich on the occasion of @variousothersmunich.

Spanning generations, these artists share an interest in material experimentation, occupying a space in which form emerges through process and reveals both physical and conceptual tensions. Plan your visit through 4 July via the link in bio.

1-2,4,6-7 Installation views, ‘Eva Hesse, Lukas Heerich, Rindon Johnson,’ max goelitz Munich, 2026. Photos: Dirk Tacke
3 Eva Hesse, No Title (detail), 1960
5 Eva Hesse, No Title (detail), 1961
8 Eva Hesse, No Title (detail), 1961
© The Estate of Eva Hesse

View works by Eva Hesse, placed in dialogue with contemporary artists Lukas Heerich and Rindon Johnson, now on view at @maxgoelitzgallery in Munich on the occasion of @variousothersmunich.

Spanning generations, these artists share an interest in material experimentation, occupying a space in which form emerges through process and reveals both physical and conceptual tensions. Plan your visit through 4 July via the link in bio.

1-2,4,6-7 Installation views, ‘Eva Hesse, Lukas Heerich, Rindon Johnson,’ max goelitz Munich, 2026. Photos: Dirk Tacke
3 Eva Hesse, No Title (detail), 1960
5 Eva Hesse, No Title (detail), 1961
8 Eva Hesse, No Title (detail), 1961
© The Estate of Eva Hesse

View works by Eva Hesse, placed in dialogue with contemporary artists Lukas Heerich and Rindon Johnson, now on view at @maxgoelitzgallery in Munich on the occasion of @variousothersmunich.

Spanning generations, these artists share an interest in material experimentation, occupying a space in which form emerges through process and reveals both physical and conceptual tensions. Plan your visit through 4 July via the link in bio.

1-2,4,6-7 Installation views, ‘Eva Hesse, Lukas Heerich, Rindon Johnson,’ max goelitz Munich, 2026. Photos: Dirk Tacke
3 Eva Hesse, No Title (detail), 1960
5 Eva Hesse, No Title (detail), 1961
8 Eva Hesse, No Title (detail), 1961
© The Estate of Eva Hesse

Currently on view in Munich, the exhibition “Eva Hesse, Lukas Heerich, Rindon Jonson“ unfolds as a fragmented environment in which visibility and obstruction become active sculptural and conceptual conditions.

Hosting Hauser & Wirth on the occasion of Various Others 2026, the exhibition places new works by artists Lukas Heerich and Rindon Johnson in dialogue with selected early works on paper and a painting by Eva Hesse.

Eva Hesse (1936–1970) produced a prodigious body of work in the 1960s that collapsed disciplinary boundaries and forged innovative approaches to materials, forms, and processes. On view is one of Eva Eva Hesse’s Spectre paintings (1960), whose apparition-like figures reflect a sustained examination of the self, alongside her ink drawings on paper from 1961. Created at a pivotal moment in her development, these works mark the emergence of an artistic language centered on negotiating identity through form and material.

Lukas Heerich (*1989) explores liminal tensions reflected in personal and collective narratives of protection, isolation, and power. For the exhibition, Heerich presents a group of fragile, partly in situ works that move between architecture, installation, sculpture, painting, drawing, and collage, treating each as a permeable layer, that can be opened onto the next.

Rindon Johnson (*1990 on the unceded territories of the Ohlone people, San Francisco) often works with animal-derived materials that unfold as a meditation on strength, mutability and that which is seemingly tractable. Working with rawhide, catgut, and goldbeater’s skin for this exhibition, he brings into view the dense entanglements between human and non-human bodies.

eva hesse
lukas heerich
rindon johnson

15 May – 4 July 2026

Installation views, Eva Hesse, Lukas Heerich, Rindon Jonson, max goelitz Munich 2026. Photos: Dirk Tacke.

____________________
#maxgoelitzgallery
#hauserwirth @hauserwirth
#lukasheerich @lukas.heerich
#evahesse
#rindonjohnson

Currently on view in Munich, the exhibition “Eva Hesse, Lukas Heerich, Rindon Jonson“ unfolds as a fragmented environment in which visibility and obstruction become active sculptural and conceptual conditions.

Hosting Hauser & Wirth on the occasion of Various Others 2026, the exhibition places new works by artists Lukas Heerich and Rindon Johnson in dialogue with selected early works on paper and a painting by Eva Hesse.

Eva Hesse (1936–1970) produced a prodigious body of work in the 1960s that collapsed disciplinary boundaries and forged innovative approaches to materials, forms, and processes. On view is one of Eva Eva Hesse’s Spectre paintings (1960), whose apparition-like figures reflect a sustained examination of the self, alongside her ink drawings on paper from 1961. Created at a pivotal moment in her development, these works mark the emergence of an artistic language centered on negotiating identity through form and material.

Lukas Heerich (*1989) explores liminal tensions reflected in personal and collective narratives of protection, isolation, and power. For the exhibition, Heerich presents a group of fragile, partly in situ works that move between architecture, installation, sculpture, painting, drawing, and collage, treating each as a permeable layer, that can be opened onto the next.

Rindon Johnson (*1990 on the unceded territories of the Ohlone people, San Francisco) often works with animal-derived materials that unfold as a meditation on strength, mutability and that which is seemingly tractable. Working with rawhide, catgut, and goldbeater’s skin for this exhibition, he brings into view the dense entanglements between human and non-human bodies.

eva hesse
lukas heerich
rindon johnson

15 May – 4 July 2026

Installation views, Eva Hesse, Lukas Heerich, Rindon Jonson, max goelitz Munich 2026. Photos: Dirk Tacke.

____________________
#maxgoelitzgallery
#hauserwirth @hauserwirth
#lukasheerich @lukas.heerich
#evahesse
#rindonjohnson

Currently on view in Munich, the exhibition “Eva Hesse, Lukas Heerich, Rindon Jonson“ unfolds as a fragmented environment in which visibility and obstruction become active sculptural and conceptual conditions.

Hosting Hauser & Wirth on the occasion of Various Others 2026, the exhibition places new works by artists Lukas Heerich and Rindon Johnson in dialogue with selected early works on paper and a painting by Eva Hesse.

Eva Hesse (1936–1970) produced a prodigious body of work in the 1960s that collapsed disciplinary boundaries and forged innovative approaches to materials, forms, and processes. On view is one of Eva Eva Hesse’s Spectre paintings (1960), whose apparition-like figures reflect a sustained examination of the self, alongside her ink drawings on paper from 1961. Created at a pivotal moment in her development, these works mark the emergence of an artistic language centered on negotiating identity through form and material.

Lukas Heerich (*1989) explores liminal tensions reflected in personal and collective narratives of protection, isolation, and power. For the exhibition, Heerich presents a group of fragile, partly in situ works that move between architecture, installation, sculpture, painting, drawing, and collage, treating each as a permeable layer, that can be opened onto the next.

Rindon Johnson (*1990 on the unceded territories of the Ohlone people, San Francisco) often works with animal-derived materials that unfold as a meditation on strength, mutability and that which is seemingly tractable. Working with rawhide, catgut, and goldbeater’s skin for this exhibition, he brings into view the dense entanglements between human and non-human bodies.

eva hesse
lukas heerich
rindon johnson

15 May – 4 July 2026

Installation views, Eva Hesse, Lukas Heerich, Rindon Jonson, max goelitz Munich 2026. Photos: Dirk Tacke.

____________________
#maxgoelitzgallery
#hauserwirth @hauserwirth
#lukasheerich @lukas.heerich
#evahesse
#rindonjohnson

Currently on view in Munich, the exhibition “Eva Hesse, Lukas Heerich, Rindon Jonson“ unfolds as a fragmented environment in which visibility and obstruction become active sculptural and conceptual conditions.

Hosting Hauser & Wirth on the occasion of Various Others 2026, the exhibition places new works by artists Lukas Heerich and Rindon Johnson in dialogue with selected early works on paper and a painting by Eva Hesse.

Eva Hesse (1936–1970) produced a prodigious body of work in the 1960s that collapsed disciplinary boundaries and forged innovative approaches to materials, forms, and processes. On view is one of Eva Eva Hesse’s Spectre paintings (1960), whose apparition-like figures reflect a sustained examination of the self, alongside her ink drawings on paper from 1961. Created at a pivotal moment in her development, these works mark the emergence of an artistic language centered on negotiating identity through form and material.

Lukas Heerich (*1989) explores liminal tensions reflected in personal and collective narratives of protection, isolation, and power. For the exhibition, Heerich presents a group of fragile, partly in situ works that move between architecture, installation, sculpture, painting, drawing, and collage, treating each as a permeable layer, that can be opened onto the next.

Rindon Johnson (*1990 on the unceded territories of the Ohlone people, San Francisco) often works with animal-derived materials that unfold as a meditation on strength, mutability and that which is seemingly tractable. Working with rawhide, catgut, and goldbeater’s skin for this exhibition, he brings into view the dense entanglements between human and non-human bodies.

eva hesse
lukas heerich
rindon johnson

15 May – 4 July 2026

Installation views, Eva Hesse, Lukas Heerich, Rindon Jonson, max goelitz Munich 2026. Photos: Dirk Tacke.

____________________
#maxgoelitzgallery
#hauserwirth @hauserwirth
#lukasheerich @lukas.heerich
#evahesse
#rindonjohnson

‘No Title’ (1960) is part of a group of paintings dubbed ‘Spectre’ by Luanne McKinnon, which Eva Hesse made when she was 24. At the time Hesse had just graduated from Yale School of Art, under the tutelage of Josef Albers and Rico Lebrun — one a former Bauhaus director, the other a classical trained painter. Moving on from the conflicting nature of her tutors, Hesse found the outside art world teetering on Abstract Expressionism, while Robert Rauschenberg and Jasper Johns were nudging it toward Pop and Conceptual Art.

‘The hell with them all,’ she wrote in her journal a few weeks before her graduation. ‘Paint yourself out, through and through, it will come by you alone. You must come to terms with your own work not with any other being.’

And paint she did, making about 50 oils on canvas and Masonite in the course of a year. She was living in the West Village, in her first real apartment, squeezing in studio hours around various part-time jobs. She was in therapy too, processing the events of her extraordinarily difficult childhood from fleeing Nazi German, to her parent’s divorcee and ultimately her depression prone mothers suicide. A series of tortured apparitions emerged from her brush: big, skeletal heads pressed up against the picture plane, or smaller wraiths dancing or fighting, reminiscent of works be Wilhelm de Kooning, Alberto Giacometti or Arshile Gorky.

‘No Title’ is a vulnerable canvas, using experimental brushstrokes and thick impasto; the painting depicts two loosely rendered figures positioned in lushly painted vacant pictorial space. These willowy sylphs portray an apparent disconnection between one body and another, and yet, the pictorial drama of the works would be incomplete without the presence of each figure. The palpable space or separation between the two figures may have been Hesse’s way of negotiating the relationships of the couple, whether it be the dyad of mother and child; the bond of siblings or of husband and wife.

Eva Hesse, No title, 1960, Oil on masonite, 40 x 30.5 x 0.4cm. Courtesy of Hauser & Wirth. Photos: Dirk Tacke.

____________________
#maxgoelitzgallery
#hauserwirth @hauserwirth
#evahesse

‘No Title’ (1960) is part of a group of paintings dubbed ‘Spectre’ by Luanne McKinnon, which Eva Hesse made when she was 24. At the time Hesse had just graduated from Yale School of Art, under the tutelage of Josef Albers and Rico Lebrun — one a former Bauhaus director, the other a classical trained painter. Moving on from the conflicting nature of her tutors, Hesse found the outside art world teetering on Abstract Expressionism, while Robert Rauschenberg and Jasper Johns were nudging it toward Pop and Conceptual Art.

‘The hell with them all,’ she wrote in her journal a few weeks before her graduation. ‘Paint yourself out, through and through, it will come by you alone. You must come to terms with your own work not with any other being.’

And paint she did, making about 50 oils on canvas and Masonite in the course of a year. She was living in the West Village, in her first real apartment, squeezing in studio hours around various part-time jobs. She was in therapy too, processing the events of her extraordinarily difficult childhood from fleeing Nazi German, to her parent’s divorcee and ultimately her depression prone mothers suicide. A series of tortured apparitions emerged from her brush: big, skeletal heads pressed up against the picture plane, or smaller wraiths dancing or fighting, reminiscent of works be Wilhelm de Kooning, Alberto Giacometti or Arshile Gorky.

‘No Title’ is a vulnerable canvas, using experimental brushstrokes and thick impasto; the painting depicts two loosely rendered figures positioned in lushly painted vacant pictorial space. These willowy sylphs portray an apparent disconnection between one body and another, and yet, the pictorial drama of the works would be incomplete without the presence of each figure. The palpable space or separation between the two figures may have been Hesse’s way of negotiating the relationships of the couple, whether it be the dyad of mother and child; the bond of siblings or of husband and wife.

Eva Hesse, No title, 1960, Oil on masonite, 40 x 30.5 x 0.4cm. Courtesy of Hauser & Wirth. Photos: Dirk Tacke.

____________________
#maxgoelitzgallery
#hauserwirth @hauserwirth
#evahesse

‘No Title’ (1960) is part of a group of paintings dubbed ‘Spectre’ by Luanne McKinnon, which Eva Hesse made when she was 24. At the time Hesse had just graduated from Yale School of Art, under the tutelage of Josef Albers and Rico Lebrun — one a former Bauhaus director, the other a classical trained painter. Moving on from the conflicting nature of her tutors, Hesse found the outside art world teetering on Abstract Expressionism, while Robert Rauschenberg and Jasper Johns were nudging it toward Pop and Conceptual Art.

‘The hell with them all,’ she wrote in her journal a few weeks before her graduation. ‘Paint yourself out, through and through, it will come by you alone. You must come to terms with your own work not with any other being.’

And paint she did, making about 50 oils on canvas and Masonite in the course of a year. She was living in the West Village, in her first real apartment, squeezing in studio hours around various part-time jobs. She was in therapy too, processing the events of her extraordinarily difficult childhood from fleeing Nazi German, to her parent’s divorcee and ultimately her depression prone mothers suicide. A series of tortured apparitions emerged from her brush: big, skeletal heads pressed up against the picture plane, or smaller wraiths dancing or fighting, reminiscent of works be Wilhelm de Kooning, Alberto Giacometti or Arshile Gorky.

‘No Title’ is a vulnerable canvas, using experimental brushstrokes and thick impasto; the painting depicts two loosely rendered figures positioned in lushly painted vacant pictorial space. These willowy sylphs portray an apparent disconnection between one body and another, and yet, the pictorial drama of the works would be incomplete without the presence of each figure. The palpable space or separation between the two figures may have been Hesse’s way of negotiating the relationships of the couple, whether it be the dyad of mother and child; the bond of siblings or of husband and wife.

Eva Hesse, No title, 1960, Oil on masonite, 40 x 30.5 x 0.4cm. Courtesy of Hauser & Wirth. Photos: Dirk Tacke.

____________________
#maxgoelitzgallery
#hauserwirth @hauserwirth
#evahesse

‘No Title’ (1960) is part of a group of paintings dubbed ‘Spectre’ by Luanne McKinnon, which Eva Hesse made when she was 24. At the time Hesse had just graduated from Yale School of Art, under the tutelage of Josef Albers and Rico Lebrun — one a former Bauhaus director, the other a classical trained painter. Moving on from the conflicting nature of her tutors, Hesse found the outside art world teetering on Abstract Expressionism, while Robert Rauschenberg and Jasper Johns were nudging it toward Pop and Conceptual Art.

‘The hell with them all,’ she wrote in her journal a few weeks before her graduation. ‘Paint yourself out, through and through, it will come by you alone. You must come to terms with your own work not with any other being.’

And paint she did, making about 50 oils on canvas and Masonite in the course of a year. She was living in the West Village, in her first real apartment, squeezing in studio hours around various part-time jobs. She was in therapy too, processing the events of her extraordinarily difficult childhood from fleeing Nazi German, to her parent’s divorcee and ultimately her depression prone mothers suicide. A series of tortured apparitions emerged from her brush: big, skeletal heads pressed up against the picture plane, or smaller wraiths dancing or fighting, reminiscent of works be Wilhelm de Kooning, Alberto Giacometti or Arshile Gorky.

‘No Title’ is a vulnerable canvas, using experimental brushstrokes and thick impasto; the painting depicts two loosely rendered figures positioned in lushly painted vacant pictorial space. These willowy sylphs portray an apparent disconnection between one body and another, and yet, the pictorial drama of the works would be incomplete without the presence of each figure. The palpable space or separation between the two figures may have been Hesse’s way of negotiating the relationships of the couple, whether it be the dyad of mother and child; the bond of siblings or of husband and wife.

Eva Hesse, No title, 1960, Oil on masonite, 40 x 30.5 x 0.4cm. Courtesy of Hauser & Wirth. Photos: Dirk Tacke.

____________________
#maxgoelitzgallery
#hauserwirth @hauserwirth
#evahesse

max goelitz is pleased to host Hauser & Wirth on the occasion of Various Others 2026 in Munich. The exhibition places new works by artists Lukas Heerich and Rindon Johnson in dialogue with selected early works on paper and a painting by Eva Hesse.

The exhibition thus unfolds as a fragmented environment in which visibility and obstruction become active sculptural and conceptual conditions.

Eva Hesse (1936–1970) produced a prodigious body of work in the 1960s that collapsed disciplinary boundaries and forged innovative approaches to materials, forms, and processes. On view is one of Eva Eva Hesse’s Spectre paintings (1960), whose apparition-like figures reflect a sustained examination of the self, alongside her ink drawings on paper from 1961. Created at a pivotal moment in her development, these works mark the emergence of an artistic language centered on negotiating identity through form and material.

Lukas Heerich (*1989) explores liminal tensions reflected in personal and collective narratives of protection, isolation, and power. For the exhibition, Heerich presents a group of fragile, partly in situ works that move between architecture, installation, sculpture, painting, drawing, and collage, treating each as a permeable layer, that can be opened onto the next.

Rindon Johnson (*1990 on the unceded territories of the Ohlone people, San Francisco) often works with animal-derived materials that unfold as a meditation on strength, mutability and that which is seemingly tractable. Working with rawhide, catgut, and goldbeater’s skin for this exhibition, he brings into view the dense entanglements between human and non-human bodies.

eva hesse
lukas heerich
rindon johnson

15 May – 4 July 2026

Installation views, Eva Hesse, Lukas Heerich, Rindon Jonson, max goelitz Munich 2026. Photos: Dirk Tacke.

____________________
#maxgoelitzgallery
#hauserwirth @hauserwirth
#lukasheerich @lukas.heerich
#evahesse
#rindonjohnson

Join us this Friday for Various Others 2026. We’re delighted to welcome Hauser & Wirth as our guest gallery for a presentation bringing together new works by Lukas Heerich and Rindon Johnson in dialogue with selected early works on paper and a painting by Eva Hesse.

Across generations, these artists share an interest in material experimentation, occupying a space in which form emerges through process and reveals both physical and conceptual tensions. Within this presentation, Heerich and Johnson draw on Hesse’s practice as a point of departure, reflecting on and extending themes that resonate throughout her painting and works on paper.

They respond to Hesse’s embrace of instability, nonconformity, and vulnerability, as well as her exploration of corporeality and psychological entanglement, by reconfiguring the gallery space itself. Rather than treating architecture as a neutral container, both artists engage it as a porous body. Parts of the walls are removed, exposing the infrastructure behind them, while subtle yet decisive interventions guide perception and movement. The exhibition thus unfolds as a fragmented environment in which visibility and obstruction become active sculptural and conceptual conditions.

In Hesse’s work, processes of looking and self-examination are inseparable from questions of form, fragmentation, and embodiment. Heerich and Johnson mirror these concerns through their own materials and spatial strategies, evoking a bodily experience in which the viewer becomes newly aware of presence, orientation, vulnerability, and control.

eva hesse
lukas heerich
rindon johnson

15 May – 4 July 2026

Opening
Friday 15 may
6 – 9 pm

Special opening hours during Various Others. Various Others initiates international cooperative projects between galleries, artist-run spaces and museums, hosting guests from all over the world.

Images: Eva Hesse in her Bowery Studio, 1966 © The Estate of Eva Hesse. Lukas Heerich, 2026. Photo: Studio Heerich. Rindon Johnson, 2022 Photo: Clifford Prince King.

____________________
#maxgoelitzgallery
#hauserwirth @hauserwirth
#evahesse
#lukasheerich @lukas.heerich
#rindonjohnson

Join us this Friday for Various Others 2026. We’re delighted to welcome Hauser & Wirth as our guest gallery for a presentation bringing together new works by Lukas Heerich and Rindon Johnson in dialogue with selected early works on paper and a painting by Eva Hesse.

Across generations, these artists share an interest in material experimentation, occupying a space in which form emerges through process and reveals both physical and conceptual tensions. Within this presentation, Heerich and Johnson draw on Hesse’s practice as a point of departure, reflecting on and extending themes that resonate throughout her painting and works on paper.

They respond to Hesse’s embrace of instability, nonconformity, and vulnerability, as well as her exploration of corporeality and psychological entanglement, by reconfiguring the gallery space itself. Rather than treating architecture as a neutral container, both artists engage it as a porous body. Parts of the walls are removed, exposing the infrastructure behind them, while subtle yet decisive interventions guide perception and movement. The exhibition thus unfolds as a fragmented environment in which visibility and obstruction become active sculptural and conceptual conditions.

In Hesse’s work, processes of looking and self-examination are inseparable from questions of form, fragmentation, and embodiment. Heerich and Johnson mirror these concerns through their own materials and spatial strategies, evoking a bodily experience in which the viewer becomes newly aware of presence, orientation, vulnerability, and control.

eva hesse
lukas heerich
rindon johnson

15 May – 4 July 2026

Opening
Friday 15 may
6 – 9 pm

Special opening hours during Various Others. Various Others initiates international cooperative projects between galleries, artist-run spaces and museums, hosting guests from all over the world.

Images: Eva Hesse in her Bowery Studio, 1966 © The Estate of Eva Hesse. Lukas Heerich, 2026. Photo: Studio Heerich. Rindon Johnson, 2022 Photo: Clifford Prince King.

____________________
#maxgoelitzgallery
#hauserwirth @hauserwirth
#evahesse
#lukasheerich @lukas.heerich
#rindonjohnson

Join us this Friday for Various Others 2026. We’re delighted to welcome Hauser & Wirth as our guest gallery for a presentation bringing together new works by Lukas Heerich and Rindon Johnson in dialogue with selected early works on paper and a painting by Eva Hesse.

Across generations, these artists share an interest in material experimentation, occupying a space in which form emerges through process and reveals both physical and conceptual tensions. Within this presentation, Heerich and Johnson draw on Hesse’s practice as a point of departure, reflecting on and extending themes that resonate throughout her painting and works on paper.

They respond to Hesse’s embrace of instability, nonconformity, and vulnerability, as well as her exploration of corporeality and psychological entanglement, by reconfiguring the gallery space itself. Rather than treating architecture as a neutral container, both artists engage it as a porous body. Parts of the walls are removed, exposing the infrastructure behind them, while subtle yet decisive interventions guide perception and movement. The exhibition thus unfolds as a fragmented environment in which visibility and obstruction become active sculptural and conceptual conditions.

In Hesse’s work, processes of looking and self-examination are inseparable from questions of form, fragmentation, and embodiment. Heerich and Johnson mirror these concerns through their own materials and spatial strategies, evoking a bodily experience in which the viewer becomes newly aware of presence, orientation, vulnerability, and control.

eva hesse
lukas heerich
rindon johnson

15 May – 4 July 2026

Opening
Friday 15 may
6 – 9 pm

Special opening hours during Various Others. Various Others initiates international cooperative projects between galleries, artist-run spaces and museums, hosting guests from all over the world.

Images: Eva Hesse in her Bowery Studio, 1966 © The Estate of Eva Hesse. Lukas Heerich, 2026. Photo: Studio Heerich. Rindon Johnson, 2022 Photo: Clifford Prince King.

____________________
#maxgoelitzgallery
#hauserwirth @hauserwirth
#evahesse
#lukasheerich @lukas.heerich
#rindonjohnson

max goelitz is pleased to host Hauser & Wirth on the occasion of Various Others 2026. The exhibition places new works by artists Lukas Heerich and Rindon Johnson in dialogue with selected early works on paper and a painting by Eva Hesse.

Across generations, these artists share an interest in material experimentation, occupying a space in which form emerges through process and reveals both physical and conceptual tensions. Within this presentation, Heerich and Johnson draw on Hesse’s practice as a point of departure, reflecting on and extending themes that resonate throughout her painting and works on paper.

They respond to Hesse’s embrace of instability, nonconformity, and vulnerability, as well as her exploration of corporeality and psychological entanglement, by reconfiguring the gallery space itself. Rather than treating architecture as a neutral container, both artists engage it as a porous body. Parts of the walls are removed, exposing the infrastructure behind them, while subtle yet decisive interventions guide perception and movement. The exhibition thus unfolds as a fragmented environment in which visibility and obstruction become active sculptural and conceptual conditions.

In Hesse’s work, processes of looking and self-examination are inseparable from questions of form, fragmentation, and embodiment. Heerich and Johnson mirror these concerns through their own materials and spatial strategies, evoking a bodily experience in which the viewer becomes newly aware of presence, orientation, vulnerability, and control.

eva hesse
lukas heerich
rindon johnson

15 May – 4 July 2026

Opening
Friday 15 may
6 – 9 pm

Special opening hours during Various Others.

Various Others initiates international cooperative projects between galleries, artist-run spaces and museums, hosting guests from all over the world.

____________________
#maxgoelitzgallery
#hauserwirth @hauserwirth
#evahesse
#lukasheerich @lukas.heerich
#rindonjohnson

Currently on view at max goelitz Berlin is the exhibition “sensing fields“ by James Turrell.

For the first time in Berlin, the exhibition includes a work from Turrell’s “Glass“ series. These works establish highly controlled perceptual environments in which color and light shift almost imperceptibly over extended durations. Oscillating between surface and depth, opacity and transparency, they destabilize fixed spatial coordinates and foreground perception as an active, contingent process.

An adjacent space brings together Turrell’s iconic “Still Light“ aquatint series with an archaic, almost elemental Skyspace sculpture. Created during Turrell’s extended period in Zurich, the “Still Light“ prints translate his early investigations into projection, shallow space, and perceptual thresholds into the medium of printmaking.

Since the 1960s, Turrell’s work has fundamentally redefined the relationship between light, space, and perception. At the core of his practice is the direct experience of light itself—not as a means of illumination, but as a material and spatial phenomenon that structures both space and consciousness. His works unfold over time, heightening sensory awareness and resisting immediate visual comprehension in favor of a durational experience.

The exhibition is realized in close partnership with Häusler Contemporary, our guest gallery, which has represented the artist for decades.

Exhibition views, sensing fields, max goelitz Berlin. Copyright James Turrell, courtesy Häusler Contemporary Zurich. Photos: Marjorie Brunet Plaza.

____________________
#maxgoelitzgallery
#haeuslercontemporary @haeuslercontemporary
#jamesturrell
#galleryweekendberlin @galleryweekendberlin

Currently on view at max goelitz Berlin is the exhibition “sensing fields“ by James Turrell.

For the first time in Berlin, the exhibition includes a work from Turrell’s “Glass“ series. These works establish highly controlled perceptual environments in which color and light shift almost imperceptibly over extended durations. Oscillating between surface and depth, opacity and transparency, they destabilize fixed spatial coordinates and foreground perception as an active, contingent process.

An adjacent space brings together Turrell’s iconic “Still Light“ aquatint series with an archaic, almost elemental Skyspace sculpture. Created during Turrell’s extended period in Zurich, the “Still Light“ prints translate his early investigations into projection, shallow space, and perceptual thresholds into the medium of printmaking.

Since the 1960s, Turrell’s work has fundamentally redefined the relationship between light, space, and perception. At the core of his practice is the direct experience of light itself—not as a means of illumination, but as a material and spatial phenomenon that structures both space and consciousness. His works unfold over time, heightening sensory awareness and resisting immediate visual comprehension in favor of a durational experience.

The exhibition is realized in close partnership with Häusler Contemporary, our guest gallery, which has represented the artist for decades.

Exhibition views, sensing fields, max goelitz Berlin. Copyright James Turrell, courtesy Häusler Contemporary Zurich. Photos: Marjorie Brunet Plaza.

____________________
#maxgoelitzgallery
#haeuslercontemporary @haeuslercontemporary
#jamesturrell
#galleryweekendberlin @galleryweekendberlin

Currently on view at max goelitz Berlin is the exhibition “sensing fields“ by James Turrell.

For the first time in Berlin, the exhibition includes a work from Turrell’s “Glass“ series. These works establish highly controlled perceptual environments in which color and light shift almost imperceptibly over extended durations. Oscillating between surface and depth, opacity and transparency, they destabilize fixed spatial coordinates and foreground perception as an active, contingent process.

An adjacent space brings together Turrell’s iconic “Still Light“ aquatint series with an archaic, almost elemental Skyspace sculpture. Created during Turrell’s extended period in Zurich, the “Still Light“ prints translate his early investigations into projection, shallow space, and perceptual thresholds into the medium of printmaking.

Since the 1960s, Turrell’s work has fundamentally redefined the relationship between light, space, and perception. At the core of his practice is the direct experience of light itself—not as a means of illumination, but as a material and spatial phenomenon that structures both space and consciousness. His works unfold over time, heightening sensory awareness and resisting immediate visual comprehension in favor of a durational experience.

The exhibition is realized in close partnership with Häusler Contemporary, our guest gallery, which has represented the artist for decades.

Exhibition views, sensing fields, max goelitz Berlin. Copyright James Turrell, courtesy Häusler Contemporary Zurich. Photos: Marjorie Brunet Plaza.

____________________
#maxgoelitzgallery
#haeuslercontemporary @haeuslercontemporary
#jamesturrell
#galleryweekendberlin @galleryweekendberlin

Currently on view at max goelitz Berlin is the exhibition “sensing fields“ by James Turrell.

For the first time in Berlin, the exhibition includes a work from Turrell’s “Glass“ series. These works establish highly controlled perceptual environments in which color and light shift almost imperceptibly over extended durations. Oscillating between surface and depth, opacity and transparency, they destabilize fixed spatial coordinates and foreground perception as an active, contingent process.

An adjacent space brings together Turrell’s iconic “Still Light“ aquatint series with an archaic, almost elemental Skyspace sculpture. Created during Turrell’s extended period in Zurich, the “Still Light“ prints translate his early investigations into projection, shallow space, and perceptual thresholds into the medium of printmaking.

Since the 1960s, Turrell’s work has fundamentally redefined the relationship between light, space, and perception. At the core of his practice is the direct experience of light itself—not as a means of illumination, but as a material and spatial phenomenon that structures both space and consciousness. His works unfold over time, heightening sensory awareness and resisting immediate visual comprehension in favor of a durational experience.

The exhibition is realized in close partnership with Häusler Contemporary, our guest gallery, which has represented the artist for decades.

Exhibition views, sensing fields, max goelitz Berlin. Copyright James Turrell, courtesy Häusler Contemporary Zurich. Photos: Marjorie Brunet Plaza.

____________________
#maxgoelitzgallery
#haeuslercontemporary @haeuslercontemporary
#jamesturrell
#galleryweekendberlin @galleryweekendberlin

Currently on view at max goelitz Berlin is the exhibition “sensing fields“ by James Turrell.

For the first time in Berlin, the exhibition includes a work from Turrell’s “Glass“ series. These works establish highly controlled perceptual environments in which color and light shift almost imperceptibly over extended durations. Oscillating between surface and depth, opacity and transparency, they destabilize fixed spatial coordinates and foreground perception as an active, contingent process.

An adjacent space brings together Turrell’s iconic “Still Light“ aquatint series with an archaic, almost elemental Skyspace sculpture. Created during Turrell’s extended period in Zurich, the “Still Light“ prints translate his early investigations into projection, shallow space, and perceptual thresholds into the medium of printmaking.

Since the 1960s, Turrell’s work has fundamentally redefined the relationship between light, space, and perception. At the core of his practice is the direct experience of light itself—not as a means of illumination, but as a material and spatial phenomenon that structures both space and consciousness. His works unfold over time, heightening sensory awareness and resisting immediate visual comprehension in favor of a durational experience.

The exhibition is realized in close partnership with Häusler Contemporary, our guest gallery, which has represented the artist for decades.

Exhibition views, sensing fields, max goelitz Berlin. Copyright James Turrell, courtesy Häusler Contemporary Zurich. Photos: Marjorie Brunet Plaza.

____________________
#maxgoelitzgallery
#haeuslercontemporary @haeuslercontemporary
#jamesturrell
#galleryweekendberlin @galleryweekendberlin

Currently on view at max goelitz Berlin is the exhibition “sensing fields“ by James Turrell.

For the first time in Berlin, the exhibition includes a work from Turrell’s “Glass“ series. These works establish highly controlled perceptual environments in which color and light shift almost imperceptibly over extended durations. Oscillating between surface and depth, opacity and transparency, they destabilize fixed spatial coordinates and foreground perception as an active, contingent process.

An adjacent space brings together Turrell’s iconic “Still Light“ aquatint series with an archaic, almost elemental Skyspace sculpture. Created during Turrell’s extended period in Zurich, the “Still Light“ prints translate his early investigations into projection, shallow space, and perceptual thresholds into the medium of printmaking.

Since the 1960s, Turrell’s work has fundamentally redefined the relationship between light, space, and perception. At the core of his practice is the direct experience of light itself—not as a means of illumination, but as a material and spatial phenomenon that structures both space and consciousness. His works unfold over time, heightening sensory awareness and resisting immediate visual comprehension in favor of a durational experience.

The exhibition is realized in close partnership with Häusler Contemporary, our guest gallery, which has represented the artist for decades.

Exhibition views, sensing fields, max goelitz Berlin. Copyright James Turrell, courtesy Häusler Contemporary Zurich. Photos: Marjorie Brunet Plaza.

____________________
#maxgoelitzgallery
#haeuslercontemporary @haeuslercontemporary
#jamesturrell
#galleryweekendberlin @galleryweekendberlin

We warmly congratulate James Turrell on his birthday today and are delighted to currently present a solo exhibition by the artist in collaboration with Häusler Contemporary.

Since the 1960s, Turrell’s work has fundamentally redefined the relationship between light, space, and perception. At the core of his practice is the direct experience of light itself—not as a means of illumination, but as a material and spatial phenomenon that structures both space and consciousness. His works unfold over time, heightening sensory awareness and resisting immediate visual comprehension in favor of a durational experience.

Created in 1990 for the art magazine Parkett no. 25, the edition “Squat, Juke, Carn, Alta“ comprises four aquatints that condense central concerns of Turrell’s practice into a highly focused graphic format. Printed on Zerkall paper with master printer Peter Kneubühler, the works extend the artist’s exploration of light as a spatial and perceptual phenomenon into the context of the printed page.

The significance of this edition lies in its combination of intimacy, conceptual clarity, and historical context. Parkett editions are widely recognized as key moments of collaboration between artists and critical discourse, and Turrell’s contribution is exemplary in its precision and restraint. The works demonstrate how the artist’s investigation of light as a sculptural medium can be distilled into a graphic format without losing its perceptual impact. As such, this edition represents both an entry point into Turrell’s work and a highly refined expression of his core ideas.

James Turrell, Squat, Juke, Carn, Alta; Parkett VII/XXI, 1990. Aquatint etching on Zerkall paper, 4 parts, each 49.5 × 43 cm. Copyright of the artist and courtesy of Häusler Contemporary Zurich. Photos: Marjorie Brunet Plaza.

____________________
#maxgoelitzgallery
#haeuslercontemporary @haeuslercontemporary
#jamesturrell
#galleryweekendberlin @galleryweekendberlin

We warmly congratulate James Turrell on his birthday today and are delighted to currently present a solo exhibition by the artist in collaboration with Häusler Contemporary.

Since the 1960s, Turrell’s work has fundamentally redefined the relationship between light, space, and perception. At the core of his practice is the direct experience of light itself—not as a means of illumination, but as a material and spatial phenomenon that structures both space and consciousness. His works unfold over time, heightening sensory awareness and resisting immediate visual comprehension in favor of a durational experience.

Created in 1990 for the art magazine Parkett no. 25, the edition “Squat, Juke, Carn, Alta“ comprises four aquatints that condense central concerns of Turrell’s practice into a highly focused graphic format. Printed on Zerkall paper with master printer Peter Kneubühler, the works extend the artist’s exploration of light as a spatial and perceptual phenomenon into the context of the printed page.

The significance of this edition lies in its combination of intimacy, conceptual clarity, and historical context. Parkett editions are widely recognized as key moments of collaboration between artists and critical discourse, and Turrell’s contribution is exemplary in its precision and restraint. The works demonstrate how the artist’s investigation of light as a sculptural medium can be distilled into a graphic format without losing its perceptual impact. As such, this edition represents both an entry point into Turrell’s work and a highly refined expression of his core ideas.

James Turrell, Squat, Juke, Carn, Alta; Parkett VII/XXI, 1990. Aquatint etching on Zerkall paper, 4 parts, each 49.5 × 43 cm. Copyright of the artist and courtesy of Häusler Contemporary Zurich. Photos: Marjorie Brunet Plaza.

____________________
#maxgoelitzgallery
#haeuslercontemporary @haeuslercontemporary
#jamesturrell
#galleryweekendberlin @galleryweekendberlin

We warmly congratulate James Turrell on his birthday today and are delighted to currently present a solo exhibition by the artist in collaboration with Häusler Contemporary.

Since the 1960s, Turrell’s work has fundamentally redefined the relationship between light, space, and perception. At the core of his practice is the direct experience of light itself—not as a means of illumination, but as a material and spatial phenomenon that structures both space and consciousness. His works unfold over time, heightening sensory awareness and resisting immediate visual comprehension in favor of a durational experience.

Created in 1990 for the art magazine Parkett no. 25, the edition “Squat, Juke, Carn, Alta“ comprises four aquatints that condense central concerns of Turrell’s practice into a highly focused graphic format. Printed on Zerkall paper with master printer Peter Kneubühler, the works extend the artist’s exploration of light as a spatial and perceptual phenomenon into the context of the printed page.

The significance of this edition lies in its combination of intimacy, conceptual clarity, and historical context. Parkett editions are widely recognized as key moments of collaboration between artists and critical discourse, and Turrell’s contribution is exemplary in its precision and restraint. The works demonstrate how the artist’s investigation of light as a sculptural medium can be distilled into a graphic format without losing its perceptual impact. As such, this edition represents both an entry point into Turrell’s work and a highly refined expression of his core ideas.

James Turrell, Squat, Juke, Carn, Alta; Parkett VII/XXI, 1990. Aquatint etching on Zerkall paper, 4 parts, each 49.5 × 43 cm. Copyright of the artist and courtesy of Häusler Contemporary Zurich. Photos: Marjorie Brunet Plaza.

____________________
#maxgoelitzgallery
#haeuslercontemporary @haeuslercontemporary
#jamesturrell
#galleryweekendberlin @galleryweekendberlin

We warmly congratulate James Turrell on his birthday today and are delighted to currently present a solo exhibition by the artist in collaboration with Häusler Contemporary.

Since the 1960s, Turrell’s work has fundamentally redefined the relationship between light, space, and perception. At the core of his practice is the direct experience of light itself—not as a means of illumination, but as a material and spatial phenomenon that structures both space and consciousness. His works unfold over time, heightening sensory awareness and resisting immediate visual comprehension in favor of a durational experience.

Created in 1990 for the art magazine Parkett no. 25, the edition “Squat, Juke, Carn, Alta“ comprises four aquatints that condense central concerns of Turrell’s practice into a highly focused graphic format. Printed on Zerkall paper with master printer Peter Kneubühler, the works extend the artist’s exploration of light as a spatial and perceptual phenomenon into the context of the printed page.

The significance of this edition lies in its combination of intimacy, conceptual clarity, and historical context. Parkett editions are widely recognized as key moments of collaboration between artists and critical discourse, and Turrell’s contribution is exemplary in its precision and restraint. The works demonstrate how the artist’s investigation of light as a sculptural medium can be distilled into a graphic format without losing its perceptual impact. As such, this edition represents both an entry point into Turrell’s work and a highly refined expression of his core ideas.

James Turrell, Squat, Juke, Carn, Alta; Parkett VII/XXI, 1990. Aquatint etching on Zerkall paper, 4 parts, each 49.5 × 43 cm. Copyright of the artist and courtesy of Häusler Contemporary Zurich. Photos: Marjorie Brunet Plaza.

____________________
#maxgoelitzgallery
#haeuslercontemporary @haeuslercontemporary
#jamesturrell
#galleryweekendberlin @galleryweekendberlin

We warmly congratulate James Turrell on his birthday today and are delighted to currently present a solo exhibition by the artist in collaboration with Häusler Contemporary.

Since the 1960s, Turrell’s work has fundamentally redefined the relationship between light, space, and perception. At the core of his practice is the direct experience of light itself—not as a means of illumination, but as a material and spatial phenomenon that structures both space and consciousness. His works unfold over time, heightening sensory awareness and resisting immediate visual comprehension in favor of a durational experience.

Created in 1990 for the art magazine Parkett no. 25, the edition “Squat, Juke, Carn, Alta“ comprises four aquatints that condense central concerns of Turrell’s practice into a highly focused graphic format. Printed on Zerkall paper with master printer Peter Kneubühler, the works extend the artist’s exploration of light as a spatial and perceptual phenomenon into the context of the printed page.

The significance of this edition lies in its combination of intimacy, conceptual clarity, and historical context. Parkett editions are widely recognized as key moments of collaboration between artists and critical discourse, and Turrell’s contribution is exemplary in its precision and restraint. The works demonstrate how the artist’s investigation of light as a sculptural medium can be distilled into a graphic format without losing its perceptual impact. As such, this edition represents both an entry point into Turrell’s work and a highly refined expression of his core ideas.

James Turrell, Squat, Juke, Carn, Alta; Parkett VII/XXI, 1990. Aquatint etching on Zerkall paper, 4 parts, each 49.5 × 43 cm. Copyright of the artist and courtesy of Häusler Contemporary Zurich. Photos: Marjorie Brunet Plaza.

____________________
#maxgoelitzgallery
#haeuslercontemporary @haeuslercontemporary
#jamesturrell
#galleryweekendberlin @galleryweekendberlin

We warmly congratulate James Turrell on his birthday today and are delighted to currently present a solo exhibition by the artist in collaboration with Häusler Contemporary.

Since the 1960s, Turrell’s work has fundamentally redefined the relationship between light, space, and perception. At the core of his practice is the direct experience of light itself—not as a means of illumination, but as a material and spatial phenomenon that structures both space and consciousness. His works unfold over time, heightening sensory awareness and resisting immediate visual comprehension in favor of a durational experience.

Created in 1990 for the art magazine Parkett no. 25, the edition “Squat, Juke, Carn, Alta“ comprises four aquatints that condense central concerns of Turrell’s practice into a highly focused graphic format. Printed on Zerkall paper with master printer Peter Kneubühler, the works extend the artist’s exploration of light as a spatial and perceptual phenomenon into the context of the printed page.

The significance of this edition lies in its combination of intimacy, conceptual clarity, and historical context. Parkett editions are widely recognized as key moments of collaboration between artists and critical discourse, and Turrell’s contribution is exemplary in its precision and restraint. The works demonstrate how the artist’s investigation of light as a sculptural medium can be distilled into a graphic format without losing its perceptual impact. As such, this edition represents both an entry point into Turrell’s work and a highly refined expression of his core ideas.

James Turrell, Squat, Juke, Carn, Alta; Parkett VII/XXI, 1990. Aquatint etching on Zerkall paper, 4 parts, each 49.5 × 43 cm. Copyright of the artist and courtesy of Häusler Contemporary Zurich. Photos: Marjorie Brunet Plaza.

____________________
#maxgoelitzgallery
#haeuslercontemporary @haeuslercontemporary
#jamesturrell
#galleryweekendberlin @galleryweekendberlin

Join us in Venice this week as we congratulate Jenna Sutela on representing Finland at the 61st International Art Exhibition La Biennale di Venezia 2026. The pavilion is curated by Stefanie Hessler, Director of Swiss Institute New York, and commissioned by Frame Contemporary Art Finland.

Jenna Sutela’s exhibition “Aeolian Suite“ unfolds as a multisensory environment, transforming the Finnish Pavilion — with its iconic architecture by Alvar and Elissa Aalto — into a windscape of sound and movement. Drawing on meteorological data, the composition incorporates musical instruments, including wind machines, alto, basset, and contrabass recorders, alongside recordings of winds from Venice, Helsinki, and beyond, featuring elements such as a singing bridge, clotheslines, sailing boat masts, and poplar trees. Fuzzy kinetic sculptures, arranged in a circular formation reminiscent of a wind rose, evoke microphone wind muffs.

In her practice, Jenna Sutela explores biological and computational processes — from the human microbiome to planetary systems, language, and code. Her sculptures, installations, and sound works often incorporate chance-based elements and evolving structures, existing as both live and living systems.

Her work has been presented internationally, including the New Museum, New York (2026); Castello di Rivoli, Turin (2025); Swiss Institute, New York (2023); Helsinki Biennale (2023); Haus der Kunst, Munich (2022); Shanghai Biennial (2021); Kunsthall Trondheim (2020); Serpentine Galleries, London (2019) and Moderna Museet, Stockholm (2019).

Previously, Temnikova & Kasela and max goelitz presented Jenna Sutela together at Art Cologne 2025. We are following this development with great excitement and have a selection of works available upon request.

Finnish Pavilion, Aeolian Suite, 2026. Photo: Ugo Carmeni; Portrait Jenna Sutela & Stefanie Hessler. Photo: Nadine Fraczkowski; Art Cologne 2025. Photo: Dirk Tacke; HMO nutrix, 2022. Photo: Judith Buss. dirt, max goelitz Munich, 2024. Photo: Dirk Tacke. Frieze London 2024, Temnikova & Kasela.

____________________ ⁠ ⁠
@jennasutela
@labiennale
@frame_finland

Join us in Venice this week as we congratulate Jenna Sutela on representing Finland at the 61st International Art Exhibition La Biennale di Venezia 2026. The pavilion is curated by Stefanie Hessler, Director of Swiss Institute New York, and commissioned by Frame Contemporary Art Finland.

Jenna Sutela’s exhibition “Aeolian Suite“ unfolds as a multisensory environment, transforming the Finnish Pavilion — with its iconic architecture by Alvar and Elissa Aalto — into a windscape of sound and movement. Drawing on meteorological data, the composition incorporates musical instruments, including wind machines, alto, basset, and contrabass recorders, alongside recordings of winds from Venice, Helsinki, and beyond, featuring elements such as a singing bridge, clotheslines, sailing boat masts, and poplar trees. Fuzzy kinetic sculptures, arranged in a circular formation reminiscent of a wind rose, evoke microphone wind muffs.

In her practice, Jenna Sutela explores biological and computational processes — from the human microbiome to planetary systems, language, and code. Her sculptures, installations, and sound works often incorporate chance-based elements and evolving structures, existing as both live and living systems.

Her work has been presented internationally, including the New Museum, New York (2026); Castello di Rivoli, Turin (2025); Swiss Institute, New York (2023); Helsinki Biennale (2023); Haus der Kunst, Munich (2022); Shanghai Biennial (2021); Kunsthall Trondheim (2020); Serpentine Galleries, London (2019) and Moderna Museet, Stockholm (2019).

Previously, Temnikova & Kasela and max goelitz presented Jenna Sutela together at Art Cologne 2025. We are following this development with great excitement and have a selection of works available upon request.

Finnish Pavilion, Aeolian Suite, 2026. Photo: Ugo Carmeni; Portrait Jenna Sutela & Stefanie Hessler. Photo: Nadine Fraczkowski; Art Cologne 2025. Photo: Dirk Tacke; HMO nutrix, 2022. Photo: Judith Buss. dirt, max goelitz Munich, 2024. Photo: Dirk Tacke. Frieze London 2024, Temnikova & Kasela.

____________________ ⁠ ⁠
@jennasutela
@labiennale
@frame_finland

Join us in Venice this week as we congratulate Jenna Sutela on representing Finland at the 61st International Art Exhibition La Biennale di Venezia 2026. The pavilion is curated by Stefanie Hessler, Director of Swiss Institute New York, and commissioned by Frame Contemporary Art Finland.

Jenna Sutela’s exhibition “Aeolian Suite“ unfolds as a multisensory environment, transforming the Finnish Pavilion — with its iconic architecture by Alvar and Elissa Aalto — into a windscape of sound and movement. Drawing on meteorological data, the composition incorporates musical instruments, including wind machines, alto, basset, and contrabass recorders, alongside recordings of winds from Venice, Helsinki, and beyond, featuring elements such as a singing bridge, clotheslines, sailing boat masts, and poplar trees. Fuzzy kinetic sculptures, arranged in a circular formation reminiscent of a wind rose, evoke microphone wind muffs.

In her practice, Jenna Sutela explores biological and computational processes — from the human microbiome to planetary systems, language, and code. Her sculptures, installations, and sound works often incorporate chance-based elements and evolving structures, existing as both live and living systems.

Her work has been presented internationally, including the New Museum, New York (2026); Castello di Rivoli, Turin (2025); Swiss Institute, New York (2023); Helsinki Biennale (2023); Haus der Kunst, Munich (2022); Shanghai Biennial (2021); Kunsthall Trondheim (2020); Serpentine Galleries, London (2019) and Moderna Museet, Stockholm (2019).

Previously, Temnikova & Kasela and max goelitz presented Jenna Sutela together at Art Cologne 2025. We are following this development with great excitement and have a selection of works available upon request.

Finnish Pavilion, Aeolian Suite, 2026. Photo: Ugo Carmeni; Portrait Jenna Sutela & Stefanie Hessler. Photo: Nadine Fraczkowski; Art Cologne 2025. Photo: Dirk Tacke; HMO nutrix, 2022. Photo: Judith Buss. dirt, max goelitz Munich, 2024. Photo: Dirk Tacke. Frieze London 2024, Temnikova & Kasela.

____________________ ⁠ ⁠
@jennasutela
@labiennale
@frame_finland

Join us in Venice this week as we congratulate Jenna Sutela on representing Finland at the 61st International Art Exhibition La Biennale di Venezia 2026. The pavilion is curated by Stefanie Hessler, Director of Swiss Institute New York, and commissioned by Frame Contemporary Art Finland.

Jenna Sutela’s exhibition “Aeolian Suite“ unfolds as a multisensory environment, transforming the Finnish Pavilion — with its iconic architecture by Alvar and Elissa Aalto — into a windscape of sound and movement. Drawing on meteorological data, the composition incorporates musical instruments, including wind machines, alto, basset, and contrabass recorders, alongside recordings of winds from Venice, Helsinki, and beyond, featuring elements such as a singing bridge, clotheslines, sailing boat masts, and poplar trees. Fuzzy kinetic sculptures, arranged in a circular formation reminiscent of a wind rose, evoke microphone wind muffs.

In her practice, Jenna Sutela explores biological and computational processes — from the human microbiome to planetary systems, language, and code. Her sculptures, installations, and sound works often incorporate chance-based elements and evolving structures, existing as both live and living systems.

Her work has been presented internationally, including the New Museum, New York (2026); Castello di Rivoli, Turin (2025); Swiss Institute, New York (2023); Helsinki Biennale (2023); Haus der Kunst, Munich (2022); Shanghai Biennial (2021); Kunsthall Trondheim (2020); Serpentine Galleries, London (2019) and Moderna Museet, Stockholm (2019).

Previously, Temnikova & Kasela and max goelitz presented Jenna Sutela together at Art Cologne 2025. We are following this development with great excitement and have a selection of works available upon request.

Finnish Pavilion, Aeolian Suite, 2026. Photo: Ugo Carmeni; Portrait Jenna Sutela & Stefanie Hessler. Photo: Nadine Fraczkowski; Art Cologne 2025. Photo: Dirk Tacke; HMO nutrix, 2022. Photo: Judith Buss. dirt, max goelitz Munich, 2024. Photo: Dirk Tacke. Frieze London 2024, Temnikova & Kasela.

____________________ ⁠ ⁠
@jennasutela
@labiennale
@frame_finland

Join us in Venice this week as we congratulate Jenna Sutela on representing Finland at the 61st International Art Exhibition La Biennale di Venezia 2026. The pavilion is curated by Stefanie Hessler, Director of Swiss Institute New York, and commissioned by Frame Contemporary Art Finland.

Jenna Sutela’s exhibition “Aeolian Suite“ unfolds as a multisensory environment, transforming the Finnish Pavilion — with its iconic architecture by Alvar and Elissa Aalto — into a windscape of sound and movement. Drawing on meteorological data, the composition incorporates musical instruments, including wind machines, alto, basset, and contrabass recorders, alongside recordings of winds from Venice, Helsinki, and beyond, featuring elements such as a singing bridge, clotheslines, sailing boat masts, and poplar trees. Fuzzy kinetic sculptures, arranged in a circular formation reminiscent of a wind rose, evoke microphone wind muffs.

In her practice, Jenna Sutela explores biological and computational processes — from the human microbiome to planetary systems, language, and code. Her sculptures, installations, and sound works often incorporate chance-based elements and evolving structures, existing as both live and living systems.

Her work has been presented internationally, including the New Museum, New York (2026); Castello di Rivoli, Turin (2025); Swiss Institute, New York (2023); Helsinki Biennale (2023); Haus der Kunst, Munich (2022); Shanghai Biennial (2021); Kunsthall Trondheim (2020); Serpentine Galleries, London (2019) and Moderna Museet, Stockholm (2019).

Previously, Temnikova & Kasela and max goelitz presented Jenna Sutela together at Art Cologne 2025. We are following this development with great excitement and have a selection of works available upon request.

Finnish Pavilion, Aeolian Suite, 2026. Photo: Ugo Carmeni; Portrait Jenna Sutela & Stefanie Hessler. Photo: Nadine Fraczkowski; Art Cologne 2025. Photo: Dirk Tacke; HMO nutrix, 2022. Photo: Judith Buss. dirt, max goelitz Munich, 2024. Photo: Dirk Tacke. Frieze London 2024, Temnikova & Kasela.

____________________ ⁠ ⁠
@jennasutela
@labiennale
@frame_finland

Join us in Venice this week as we congratulate Jenna Sutela on representing Finland at the 61st International Art Exhibition La Biennale di Venezia 2026. The pavilion is curated by Stefanie Hessler, Director of Swiss Institute New York, and commissioned by Frame Contemporary Art Finland.

Jenna Sutela’s exhibition “Aeolian Suite“ unfolds as a multisensory environment, transforming the Finnish Pavilion — with its iconic architecture by Alvar and Elissa Aalto — into a windscape of sound and movement. Drawing on meteorological data, the composition incorporates musical instruments, including wind machines, alto, basset, and contrabass recorders, alongside recordings of winds from Venice, Helsinki, and beyond, featuring elements such as a singing bridge, clotheslines, sailing boat masts, and poplar trees. Fuzzy kinetic sculptures, arranged in a circular formation reminiscent of a wind rose, evoke microphone wind muffs.

In her practice, Jenna Sutela explores biological and computational processes — from the human microbiome to planetary systems, language, and code. Her sculptures, installations, and sound works often incorporate chance-based elements and evolving structures, existing as both live and living systems.

Her work has been presented internationally, including the New Museum, New York (2026); Castello di Rivoli, Turin (2025); Swiss Institute, New York (2023); Helsinki Biennale (2023); Haus der Kunst, Munich (2022); Shanghai Biennial (2021); Kunsthall Trondheim (2020); Serpentine Galleries, London (2019) and Moderna Museet, Stockholm (2019).

Previously, Temnikova & Kasela and max goelitz presented Jenna Sutela together at Art Cologne 2025. We are following this development with great excitement and have a selection of works available upon request.

Finnish Pavilion, Aeolian Suite, 2026. Photo: Ugo Carmeni; Portrait Jenna Sutela & Stefanie Hessler. Photo: Nadine Fraczkowski; Art Cologne 2025. Photo: Dirk Tacke; HMO nutrix, 2022. Photo: Judith Buss. dirt, max goelitz Munich, 2024. Photo: Dirk Tacke. Frieze London 2024, Temnikova & Kasela.

____________________ ⁠ ⁠
@jennasutela
@labiennale
@frame_finland

Join us for Gallery Weekend Berlin 2026 and the exhibition “sensing fields” by James Turrell, realized in close partnership with Häusler Contemporary Zurich, our guest gallery, which has represented the artist for decades.

Since the 1960s, Turrell’s work has fundamentally redefined the relationship between light, space, and perception. At the core of his practice is the direct experience of light itself—not as a means of illumination, but as a material and spatial phenomenon that structures both space and consciousness. His works unfold over time, heightening sensory awareness and resisting immediate visual comprehension in favor of a durational experience.

For the first time in Berlin, the exhibition includes a work from Turrell’s “Glass“ series. These works establish highly controlled perceptual environments in which color and light shift almost imperceptibly over extended durations. Oscillating between surface and depth, opacity and transparency, they destabilize fixed spatial coordinates and foreground perception as an active, contingent process.

An adjacent space brings together Turrell’s iconic “Still Light“ aquatint series with an archaic, almost elemental Skyspace sculpture. Created during Turrell’s extended period in Zurich, the “Still Light“ prints translate his early investigations into projection, shallow space, and perceptual thresholds into the medium of printmaking.

Special opening hours during Gallery Weekend Berlin: Saturday, 2 May | 11 am – 6 pm and Sunday, 3 May | 11 am – 6 pm.

Exhibition views, sensing fields, max goelitz Berlin. Copyright James Turrell, courtesy Häusler Contemporary Zurich. Photos: Marjorie Brunet Plaza.
____________________
#maxgoelitzgallery
#haeuslercontemporary @haeuslercontemporary
#jamesturrell
#galleryweekendberlin @galleryweekendberlin

Join us for Gallery Weekend Berlin 2026 and the exhibition “sensing fields” by James Turrell, realized in close partnership with Häusler Contemporary Zurich, our guest gallery, which has represented the artist for decades.

Since the 1960s, Turrell’s work has fundamentally redefined the relationship between light, space, and perception. At the core of his practice is the direct experience of light itself—not as a means of illumination, but as a material and spatial phenomenon that structures both space and consciousness. His works unfold over time, heightening sensory awareness and resisting immediate visual comprehension in favor of a durational experience.

For the first time in Berlin, the exhibition includes a work from Turrell’s “Glass“ series. These works establish highly controlled perceptual environments in which color and light shift almost imperceptibly over extended durations. Oscillating between surface and depth, opacity and transparency, they destabilize fixed spatial coordinates and foreground perception as an active, contingent process.

An adjacent space brings together Turrell’s iconic “Still Light“ aquatint series with an archaic, almost elemental Skyspace sculpture. Created during Turrell’s extended period in Zurich, the “Still Light“ prints translate his early investigations into projection, shallow space, and perceptual thresholds into the medium of printmaking.

Special opening hours during Gallery Weekend Berlin: Saturday, 2 May | 11 am – 6 pm and Sunday, 3 May | 11 am – 6 pm.

Exhibition views, sensing fields, max goelitz Berlin. Copyright James Turrell, courtesy Häusler Contemporary Zurich. Photos: Marjorie Brunet Plaza.
____________________
#maxgoelitzgallery
#haeuslercontemporary @haeuslercontemporary
#jamesturrell
#galleryweekendberlin @galleryweekendberlin

Join us for Gallery Weekend Berlin 2026 and the exhibition “sensing fields” by James Turrell, realized in close partnership with Häusler Contemporary Zurich, our guest gallery, which has represented the artist for decades.

Since the 1960s, Turrell’s work has fundamentally redefined the relationship between light, space, and perception. At the core of his practice is the direct experience of light itself—not as a means of illumination, but as a material and spatial phenomenon that structures both space and consciousness. His works unfold over time, heightening sensory awareness and resisting immediate visual comprehension in favor of a durational experience.

For the first time in Berlin, the exhibition includes a work from Turrell’s “Glass“ series. These works establish highly controlled perceptual environments in which color and light shift almost imperceptibly over extended durations. Oscillating between surface and depth, opacity and transparency, they destabilize fixed spatial coordinates and foreground perception as an active, contingent process.

An adjacent space brings together Turrell’s iconic “Still Light“ aquatint series with an archaic, almost elemental Skyspace sculpture. Created during Turrell’s extended period in Zurich, the “Still Light“ prints translate his early investigations into projection, shallow space, and perceptual thresholds into the medium of printmaking.

Special opening hours during Gallery Weekend Berlin: Saturday, 2 May | 11 am – 6 pm and Sunday, 3 May | 11 am – 6 pm.

Exhibition views, sensing fields, max goelitz Berlin. Copyright James Turrell, courtesy Häusler Contemporary Zurich. Photos: Marjorie Brunet Plaza.
____________________
#maxgoelitzgallery
#haeuslercontemporary @haeuslercontemporary
#jamesturrell
#galleryweekendberlin @galleryweekendberlin

Join us for Gallery Weekend Berlin 2026 and the exhibition “sensing fields” by James Turrell, realized in close partnership with Häusler Contemporary Zurich, our guest gallery, which has represented the artist for decades.

Since the 1960s, Turrell’s work has fundamentally redefined the relationship between light, space, and perception. At the core of his practice is the direct experience of light itself—not as a means of illumination, but as a material and spatial phenomenon that structures both space and consciousness. His works unfold over time, heightening sensory awareness and resisting immediate visual comprehension in favor of a durational experience.

For the first time in Berlin, the exhibition includes a work from Turrell’s “Glass“ series. These works establish highly controlled perceptual environments in which color and light shift almost imperceptibly over extended durations. Oscillating between surface and depth, opacity and transparency, they destabilize fixed spatial coordinates and foreground perception as an active, contingent process.

An adjacent space brings together Turrell’s iconic “Still Light“ aquatint series with an archaic, almost elemental Skyspace sculpture. Created during Turrell’s extended period in Zurich, the “Still Light“ prints translate his early investigations into projection, shallow space, and perceptual thresholds into the medium of printmaking.

Special opening hours during Gallery Weekend Berlin: Saturday, 2 May | 11 am – 6 pm and Sunday, 3 May | 11 am – 6 pm.

Exhibition views, sensing fields, max goelitz Berlin. Copyright James Turrell, courtesy Häusler Contemporary Zurich. Photos: Marjorie Brunet Plaza.
____________________
#maxgoelitzgallery
#haeuslercontemporary @haeuslercontemporary
#jamesturrell
#galleryweekendberlin @galleryweekendberlin

Join us this Friday for the opening (6 – 9 pm) of “sensing fields“ by James Turrell, and visit us throughout Gallery Weekend Berlin 2026.

The presentation is realized in close partnership with Häusler Contemporary Zurich as our guest gallery, which has represented the artist for decades.

Since the 1960s, Turrell’s work has fundamentally redefined the relationship between light, space, and perception. At the core of his practice is the direct experience of light itself—not as a means of illumination, but as a material and spatial phenomenon that structures both space and consciousness. His works unfold over time, heightening sensory awareness and resisting immediate visual comprehension in favor of a durational experience.

For the first time in Berlin, the exhibition includes a work from Turrell’s “Glass“ series. These works establish highly controlled perceptual environments in which color and light shift almost imperceptibly over extended durations. Oscillating between surface and depth, opacity and transparency, they destabilize fixed spatial coordinates and foreground perception as an active, contingent process.

An adjacent space brings together Turrell’s iconic “Still Light“ aquatint series with an archaic, almost elemental Skyspace sculpture. Created during Turrell’s extended period in Zurich, the “Still Light“ prints translate his early investigations into projection, shallow space, and perceptual thresholds into the medium of printmaking.

Special opening hours during Gallery Weekend Berlin: Saturday, 2 May | 11 am – 6 pm and Sunday, 3 May | 11 am – 6 pm.

James Turrell, Elliptical Glass “First Cause”, 2024. Copyright James Turrell, courtesy Häusler Contemporary Zurich. Photo: Marjorie Brunet Plaza. Portrait James Turrell, copyright the artist, courtesy Häusler Contemporary Zurich. Photo: Florian Holzherr.

____________________
#maxgoelitzgallery
#haeuslercontemporary @haeuslercontemporary
#jamesturrell
#galleryweekendberlin @galleryweekendberlin

Join us this Friday for the opening (6 – 9 pm) of “sensing fields“ by James Turrell, and visit us throughout Gallery Weekend Berlin 2026.

The presentation is realized in close partnership with Häusler Contemporary Zurich as our guest gallery, which has represented the artist for decades.

Since the 1960s, Turrell’s work has fundamentally redefined the relationship between light, space, and perception. At the core of his practice is the direct experience of light itself—not as a means of illumination, but as a material and spatial phenomenon that structures both space and consciousness. His works unfold over time, heightening sensory awareness and resisting immediate visual comprehension in favor of a durational experience.

For the first time in Berlin, the exhibition includes a work from Turrell’s “Glass“ series. These works establish highly controlled perceptual environments in which color and light shift almost imperceptibly over extended durations. Oscillating between surface and depth, opacity and transparency, they destabilize fixed spatial coordinates and foreground perception as an active, contingent process.

An adjacent space brings together Turrell’s iconic “Still Light“ aquatint series with an archaic, almost elemental Skyspace sculpture. Created during Turrell’s extended period in Zurich, the “Still Light“ prints translate his early investigations into projection, shallow space, and perceptual thresholds into the medium of printmaking.

Special opening hours during Gallery Weekend Berlin: Saturday, 2 May | 11 am – 6 pm and Sunday, 3 May | 11 am – 6 pm.

James Turrell, Elliptical Glass “First Cause”, 2024. Copyright James Turrell, courtesy Häusler Contemporary Zurich. Photo: Marjorie Brunet Plaza. Portrait James Turrell, copyright the artist, courtesy Häusler Contemporary Zurich. Photo: Florian Holzherr.

____________________
#maxgoelitzgallery
#haeuslercontemporary @haeuslercontemporary
#jamesturrell
#galleryweekendberlin @galleryweekendberlin