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Galerie Thomas Schulte

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Deutschland
Berlin
Galerie Thomas Schulte

Berlin-based gallery founded in 1991

Locations:
Charlottenstraße 24, Berlin, Germany
Potsdamerstraße 81B, Berlin, Germany It changed its name in November 2000.

Galerie Thomas Schulte was established in 1991 as Galerie Franck + Schulte. It was the first major newcomer to the reawakening art scene of the reunited German capital and received high critical acclaim from its very start. The program of represented artists centers around conceptual art and focuses on the contemporary scene since 1960. Among the best known positions of the gallery are: Alice Ayco

ck, Richard Deacon, Alfredo Jaar, Jonathan Lasker, Iñigo Manglano-Ovalle, Robert Mapplethorpe, Fabian Marcaccio, Gordon Matta-Clark, Allan McCollum, Katharina Sieverding, Juan Uslé, Stephen Willats, and Robert Wilson. Younger positions include Idris Khan, Bernhard Martin, Michael Müller, Peter Rogiers, Iris Schomaker and Leunora Salihu. Aside from its current program, the gallery has over the years dedicated one or more solo exhibition to numerous artists including the positions of Bas Jan Ader, Dieter Appelt, Richard Artschwager, Alighiero e Boetti, Chuck Close, Helmut Federle, Michael Heizer, Johannes Kahrs, Joseph Kosuth, Jannis Kounellis, Sol LeWitt, Mark Lombardi, Roxy Paine, Pipilotti Rist, Robert Smithson, and Pat Steir. Since its foundation Galerie Thomas Schulte has regularly participated in major international art fairs including Art Basel, Art Basel Miami Beach, ARCOmadrid and Armory Show New York.

04/06/2026

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JOSÉ MONTEALEGRE⁣
Vivero Enredado (Chimera)⁣
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Art Basel Parcours, Churchyard near Claraplatz, Basel, Switzerland⁣
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18 to 21 June 2026⁣⁣
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José Montealegre’s installation takes the form of a greenhouse filled with copper, bronze, and tin sculptures of plants and seeds based on 17th-century scientific drawings from Nova plantarum, animalium et mineralium Mexicanorum historia. Produced during a colonial expedition commissioned by King Philip II of Spain, the encyclopedia documented the flora of the “New World” with crucial contributions from Indigenous doctors and Náhua painters. Montealegre revisits this archive to explore the ongoing legacies of colonial appropriation and the unstable nature of historical knowledge. In Vivero Enredado (“Entangled Greenhouse”), the metallic plants slowly oxidize over time, appearing both alive and dead, historical and fictional. Through this shifting environment, the artist blurs distinctions between past and present, reality and speculation, transforming the greenhouse into a poetic reflection on memory, survival, and resistance.⁣
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Work: ⁣⁣
José Montealegre⁣
Vivero Enredado (Chimera), 2021-2026⁣
Aluminium, polycarbonate, glass, cooper, cast bronze,⁣
Dimensions variable⁣
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30/05/2026

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⁣⁣⁣⁣WALID RAAD⁣⁣⁣⁣⁣⁣
Like a rubber rung on a ladder⁣⁣⁣⁣⁣⁣
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Charlottenstrasse⁣⁣⁣⁣⁣
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Until 20 June 2026⁣
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The installation in the Corner Space is colorful and enlivened, as bursts of handwriting, like celebratory fireworks, at turns playful and threatening, are graffitied onto the walls. Through these apparently ephemeral, marginal gestures, "Festival of (In)Gratitude: Love Notes" bringsthe gallery’s interior to meet the external facades of the street outside. The writings in various scripts and languages, including English, Russian, Arabic, Hebrew, and French, disrupt and overlay one another. Referencing soldiers’ graffiti on bombs, the chaotic, layered inscriptions stage aggressive demonstrations of nationalist, imperialist, and violent sentiment that may slyly appear otherwise at times: signed with hearts and “xoxo”, with mention of gifts. In the embattled landscape contained within the frame of the gallery’s windows, bombs are simulated (“Boom, Boom”)—shouting loudly through an echoing silence. A central element within the installation is an overturned vintage Volkswagen Beetle—flipped on its back like a helpless insect, as though by excessive, explosive force. Cars and their engines have appeared elsewhere in Raad’s work in the context of war, engaging, for example, with the history of the car bomb during the Lebanese Wars. Here, the VW Beetle may also point to other references: its production as a military vehicle in N**i Germany; its pop-cultural status as the “Love Bug”; the moniker “flying Volkswagens” given to the heavy artillery shells fired by the U.S. on Beirut in the 1980s.⁣⁣
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Thanks to Sfeir-Semler Gallery for the kind cooperation.⁣⁣⁣⁣
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Work: ⁣⁣⁣⁣⁣⁣⁣
Walid Raad⁣
Festival of (In)Gratitude, 2026⁣
Mixed media installation⁣
Dimensions variable⁣
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Installation view at Galerie Thomas Schulte, photo by .de⁣⁣⁣
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28/05/2026

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⁣⁣JONATHAN LASKER⁣⁣⁣⁣⁣
Double Play⁣⁣⁣⁣⁣
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Charlottenstrasse⁣⁣⁣⁣
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Until 20 June 2026⁣
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Jonathan Lasker’s paintings are pictures in every sense. From the start of his practice in the 1970s, between the emphatically non-representational, pared-down objecthood of Minimalism and an increasingly dematerialized, conceptual turn, his work grappled with contradiction in a redefining moment for painting. While studying at the California Institute of the Arts, he initiated an analytical engagement with the medium, posing painting as a question of picturing, both in its construction and perception – opening up a line of critical inquiry that continues to inform his work today.⁣⁣
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The elements in the later works presented in the exhibition have a particularly firm presence. They are set apart from the earlier paintings here, though, at times, we may sense their beginnings — in a certain combination of colors, a certain quality of marks. The central objects are iterations of a form that has become more fixed in recent years, though its white body and wavering black outlines call back to the loose forms of some of Lasker’s earliest paintings. Their figural appearance, vaguely resembling a head with a snout, like a cartoon character, is enhanced by an inclination to read the works as portraits. In the lower right of each, this form is partially hidden behind an impastoed object that builds the picture plane outward — cross-hatched lines in primary colors, a flattened bubble-gum slab that is also head-like, and a looping black scribble. These sets of figures bring the different objects that make up Lasker’s painterly world into close correspondence, like a one-on-one conversation.⁣
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Work: ⁣⁣
Jonathan Lasker⁣
Multiple Personality, 2025⁣
Oil on canvas board⁣
30 x 24 cm ⁣
Framed dimensions:⁣
33.6 x 27.6 x 4 cm ⁣
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Installation view at Galerie Thomas Schulte, 2026, photo by .de⁣⁣
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26/05/2026

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JOSÉ MONTEALEGRE⁣⁣⁣⁣⁣⁣
Drastic Measures⁣⁣⁣⁣⁣⁣
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Potsdamer Strasse⁣⁣⁣⁣⁣
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Until 20 June 2026⁣
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A break is the intentional separation of material—by scoring and then snapping glass sheets, the material is coaxed into breaking in a specific way. On the other hand, a shatter is a material separation along its own internal fault lines. The two diverge in the specific gesture of infliction and the shape of its impact. The square ceramic tiles in "Shatterfields" are broken and rearranged through a spontaneous act, like a sudden drop, differing in each instance but always generating unpredictable, irregular cracks. The pieces are then reassembled onto a rectangular ground, but do not fit back together. A wholly new order is formed of overlaps, gaps, and jagged edges. ⁣
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Work: ⁣⁣⁣
José Montealegre⁣
Pendulum swings, 2026⁣
Broken tiles⁣
102 x 71.5 x 4.7 cm⁣
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22/05/2026

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FRANKA HÖRNSCHEMEYER⁣
Splinter⁣
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Galleri Opdahl, Stavanger, Norway⁣
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Save the Date⁣
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Opening Friday 29 May⁣
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Work: ⁣⁣⁣⁣⁣⁣
Franka Hörnschemeyer⁣
Frequency of Error, 2026⁣
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19/05/2026

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ROBERT MAPPLETHORPE⁣⁣
Le forme della bellezza⁣
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Museo dell'Ara Pacis, Rome, Italy⁣
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29 May to 4 October 2026⁣
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Robert Mapplethorpe (New York, 1946–1989) did not just photograph his subjects. He also sculpted space through the lens of his Hasselblad, imbuing each shot with an aura of absolute classicism, characterized by a geometric vision and a quest for perfection. The exhibition "Le forme della bellezza" (The Forms of Beauty), distinguished by a series of previously unseen works, focuses on the pursuit of pure form, where the human body, faces, and still lifes are treated with the same obsessive attention to light and geometry. On display is a selection of approximately 200 photographs that explore the concept of beauty as absolute perfection and formal rigor. The show is the concluding chapter of a major exhibition project that first took place in Venice, at the Stanze della Fotografia, and then in Milan, at Palazzo Reale.⁣
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Work: ⁣⁣⁣⁣⁣
Robert Mapplethorpe⁣⁣
Michael Roth, 1983⁣
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Photo by Robert Mapplethorpe © 2026 The Robert Mapplethorpe Foundation. Used with permission.⁣⁣⁣
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16/05/2026

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⁣⁣WALID RAAD⁣⁣⁣⁣⁣
Like a rubber rung on a ladder⁣⁣⁣⁣⁣
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Charlottenstrasse⁣⁣⁣⁣
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Though it may appear cheerful at first glance, the title "Better be watching the clouds again and again" hints at something ominous, an attempt to catch the unpredictable, a potential warning. The scattered flowers of different species and all varieties of color, with their own symbolic and geographic affiliations and displacements, form a landscape in bloom that slowly gives way to deeper ambiguity. The flowers frame the faces of dozens of black-and-white figures dressed in formal or military attire—highlighting and obscuring the presence of global political and military leaders of the last century. One narrative that has been associated with iterations of this work concerns Fadwa Hassoun, a fictional officer in the Lebanese Army trained as a botanist, who, during the war—an ongoing point of departure in Raad’s practice – assigned flowers as code names to politicians.⁣
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These identities, both doubled and concealed, are devoid of further context or indication. The colorless photographs, ostensibly belonging to the past yet enduring, contrast with the vibrancy and fragility of the flowers—fully alive, fully present. The photomontaged figures hover before the wall, casting varied shadows that create a gap, opening a space. Further shadows are inserted into the image, between head and flower, flower and body, adding an imaginary dimension that contributes to a heightened realism, while emphasizing a constructed nature. In juxtaposition with the flowers that disguise and subsume them, the politicians’ bodies become a kind of shadow themselves.⁣
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Thanks to Sfeir-Semler Gallery for the kind cooperation.⁣⁣⁣
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Work: ⁣⁣⁣⁣⁣⁣
Walid Raad⁣
Better be watching the clouds again and again, 2026⁣
35 pigmented inkjet prints on paper mounted on PVC⁣
Each approx.⁣
30 x 20 cm⁣
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Installation view at Galerie Thomas Schulte, photo by .de⁣⁣
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14/05/2026

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⁣⁣JONATHAN LASKER⁣⁣⁣⁣⁣
Double Play⁣⁣⁣⁣⁣
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Works from the 80s⁣
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Charlottenstrasse⁣⁣⁣⁣
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Doubles, dualities, and recurrences often run through Lasker’s decades-spanning painting practice. In "Double Play", a solo exhibition presented at Galerie Thomas Schulte, this is brought to the fore in a selection of Lasker’s large, bold paintings from the mid to late 1980s, alongside recent works distilled to small formats on white grounds. They unfold through contrasts: in forms and their shadows, silhouettes, or negative spaces; they take shape in inversions, outlines, and amplifications. At times, more systematic doublings form a shaky field of tension, becoming geometric patterns that wobble or shift.⁣
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Work (details and whole work): ⁣⁣
Jonathan Lasker⁣
Return The Favor, 1986⁣
Oil on Canvas⁣
152 x 178 x 4 cm⁣
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12/05/2026

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JOSÉ MONTEALEGRE⁣⁣⁣⁣⁣
Drastic Measures⁣⁣⁣⁣⁣
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Potsdamer Strasse⁣⁣⁣⁣
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Montealegre frequently interjects fictionalized stories to undermine the authority of those that have been prescribed or instilled with authenticity, including his own. A 15th-century-style copper armor, approximating the dimensions of his body, lies horizontally, close to the ground. Heart-shaped locks holding some of the armor’s plates together add to a sense of claustrophobic constriction, while amplifying its decorative or symbolic presence. Now only a shell, cast off, it is held together by remnants of another story. What is left is a ghostly ruin, or, perhaps, a counter proposal—a structure still to be fleshed out.⁣
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Work: ⁣⁣
José Montealegre⁣
Desterrado, 2024⁣
Copper, metal rivets, diary lockets⁣
approx. 180 x 50⁣
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Exhibition "Drastic Measures", installation view at Galerie Thomas Schulte, 2026, photo by .de⁣⁣
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06/05/2026

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ALFREDO JAAR⁣⁣⁣⁣⁣
The End of the World⁣⁣⁣⁣⁣
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La Biennale di Venezia⁣⁣⁣⁣
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9 May to 22 November 2026⁣⁣⁣⁣⁣
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At the 61st International Art Exhibition of La Biennale di Venezia, curated by Koyo Kouoh and titled "In Minor Keys", Alfredo Jaar presents The End of the World, a work that addresses the current state of our planet while offering his perspective on the ecological and political crises shaping both the present and the future.⁣
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With "The End of the World", the result of years of research supported by human geographer and political geologist Adam Bobbette, Jaar brings attention to the struggle for resources—a critical and increasingly significant factor in international conflicts. The installation demands focus on a 4×4×4 cm cube composed of layered raw materials: cobalt, rare earths, copper, tin, nickel, lithium, manganese, coltan, germanium, and platinum—ten strategic metals vital to digitalization, electromobility, high-tech applications, and storage media. Despite the growing demand for these materials, their extraction is fraught with severe human rights violations and environmental destruction.⁣
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These raw materials are not only essential for civilian technologies but also for the military sector, underpinning the functionality of modern weapons systems and high-tech armies. The importance of “rare earths” for Western supply security is starkly at odds with NATO states’ nearcomplete dependence on imports from China. Addressing strategic metals thus also provides a new perspective on current military conflicts and anticipates scenarios of future resource wars. Jaar’s examination of strategic metals culminates in the apocalyptic title of the piece.⁣
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Images: Alfredo Jaar. "The End of the World", 2023-2024, installation view, Kesselhaus, KINDL, 2024 © Alfredo Jaar / VG Bild-Kunst, Bonn, 2024, photo: Jens Ziehe, Image Two: Alfredo Jaar, "La Fin du Monde", Galerie La Patinoire Royale Bach, Brussels, Belgium⁣
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Adresse

Charlottenstraße 24
Berlin
10117

Öffnungszeiten

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