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Galerie Nagel Draxler

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Berlin
Galerie Nagel Draxler

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Galerie Nagel Draxler was founded in Cologne in 1990 and operates in Berlin, Cologne and Meseberg.

Weydinger Str. 2-4
10178 Berlin
Tel.: +49 (0)30-4004 2641
Fax: +49 (0)30-4004 2642
Email: [email protected]

Brüsseler Str. 85
50672 Köln
Tel.: +49 (0)221-257 0591
Fax: +49 (0)221-257 0592
Email: [email protected]

15/10/2026

JOËLLE TUERLINCKX
GROUP EXHIBITION

STEIGER
Predikherenbrug, Bruges, Belgium
STEIGER was installed between September 4. - 20. and hosted artists Joëlle Tuerlinckx, Peter Aers, Willem Boel and Zoro Feigl.

Joëlle Tuerlinckx, ISO SILVER 2026, 2018
A chrome-plated object floats on the water and reflects its surroundings. The façades, sky, water and passers-by appear on its surface. What becomes visible depends on the sunlight and on the position of the visitor. On navigation charts, ISO is used to indicate the regular light signal of a buoy. ISO 12, for example, refers to a twelve-second cycle. Joëlle Tuerlinckx’s work follows no fixed rhythm. Its reflection changes continuously and cannot be determined in advance. The object therefore cannot function as a recognisable marker in the way an ordinary buoy does. The title changes according to the year or duration of each presentation. The object becomes less a point of orientation in space than a record of a particular moment in time: Bruges, September 2026.

STEIGER is an artistic intervention along the Coupure, near Predikherenbrug, in Bruges. A temporary structure slopes gradually down from the quay towards the surface of the water. It brings visitors to a level that is rarely accessible within the city. The jetty is anchored in a fixed position, making fluctuations in the water level of Bruges’ canals visible. A small boat is moored at its foot. STEIGER examines how a physical change of position can also change the way we look at the city. Rather than simply adding an object to the cityscape, the project brings visitors closer to the water and makes the relationship between Bruges and its canals directly perceptible.

Text: 019.gent
Image Credit: Lars Duchateau

14/10/2026

SAYRE GOMEZ
SOLO EXHIBITION

CLOSED FOREVER
📆 October 16, 2026 - January 11, 2027
📍 Site Santa Fe, Santa Fe, NM, USA

Sayre Gomez’s Closed Forever presents a selection of large-scale paintings and sculptures from the past five years, offering a focused view of the Los Angeles-based artist’s engagement with the urban landscape and the decline of late capitalism.

These conditions are echoed in urban and rural communities across the United States, challenging the myth of the “American Dream.”

Image Credit:

Sayre Gomez, “Progress Maker”, 2023, Courtesy of the Artist

06/10/2026

LUKE WILLIS THOMPSON
LYON BIENNALE

📆 Exhibition: September 19 – December 13, 2026
📍 La Mulatière, Lyon, France

Originally from Fiji and New Zealand, Luke Willis Thompson addresses the scars of colonization, racism, class inequality, and the mechanisms of political and media domination within his work. Alongside his performances and sculptures, his films make these forces visible from the perspective of Indigenous populations. In 2025, the artist began a video trilogy imagining a new Oceania – one that returns power to its original inhabitants. Presented at macLYON, its third and final chapter, Te Moana-nui-a-Kiwa – ‘Pacific Ocean’ in Māori – takes us to present-day New Caledonia, amongst pro-independence Kanak activists.

- Matthieu Jacquet, Art Basel, 2026

lukewillisthompson

Image Credit:

1 Luke Willis Thompson, Whakamoe moeā, 2024. 2K digital video (colour, sound), duration: 21 min. Edition of 3 + 1 AP. Installation view: Sharjah Biennial 16, Old Al Diwan Al Amiri, Al Hamriyah,Sharjah. Courtesy the artist, Coastal Signs (Auckland), and Nagel Draxler (Berlin/Cologne).18th Biennale de Lyon (2026)

2 Luke Willis Thompson, Soro, 2025, 35 mm film transferred to 4K video, 3 artworks with 1 artist proof, Exhibition View at Lyon Biennale, Courtesy the artist, Nagel Draxler (Berlin/Cologne)

3 Luke Willis Thompson, Le plus proche de paradis, 2026. Exhibition View at Lyon Biennale, Courtesy the artist, Nagel Draxler (Berlin/Cologne)

03/10/2026

Martha Rosler martha rosler studio
will be part of
WHAT ROSE FROM THE CUT
14TH OCTOBER 2026–30TH JANUARY 2027 Graces Mews

Graces Mews presents What Rose from the Cut, a group show exploring feminist strategies of collage.

Developed collectively between Graces Mews, curator Fiona Rogers Fiona Rogers artist Justine Kurland Justine Kurland and collaborator and collector Sarah Miller Meigs Sarah Miller Meigs the exhibition reﬂects the gallery’s interest in photographic process and the circulation and interpretation of images.
Laura Bartlett

It brings together two signiﬁcant bodies of research: Fiona Rogers‘ publication Cut Out: A Feminist History of Photo Collage, Montage and Assemblage(Thames & Hudson and V&A, 2026) which traces the previously untold relationship between photography, feminist art and collage, from the 19th century to the present day; and Justine Kurland and Sarah Miller Meigs‘ exhibition and publication The Rose (lumber room, 2025), which expands this history of collage through ideas of circular genealogy and kinship formed through association. What Rose from the Cut features international artists whose approach to collage amplifies and contextualise one another, forming a constellation that extends our collective vision of social, political and spiritual possibilities.

Included Artists: Lotte Andersen, Genesis Baez, Anne Bean, Claude Cahun, Tammy Rae Carland, Leonora Carrington, Moki Cherry, Tee Corinne, Giana De Dier, Jazz Grant, K8 Hardy, Lubaina Himid, Kati Horna, Hannah Hughes, Liz Johnson Artur, Mari Katayama, Zofia Kulik, Justine Kurland, Linder, Dakota Mace, Spandita Malik, Alix Marie, Jacky Marshall, Aspen Mays, Qiana Mestrich, Joiri Minaya, Helina Metaferia, Rachelle Mozman Solano, Yamini Nayar, Frida Orupabo, Gina Osterloh, Martha Rosler, Sarah Sense, Sheida Soleimani, Maud Sulter, Keisha Scarville, Penny Slinger, Annegret Soltau, Divine Southgate-Smith, Sitaara Stodel, Stephanie Syjuco, Dafna Talmor, Thato Toeba, Gee Vaucher, Bindi Vora and Carla Williams.

03/10/2026

Martha Rosler martha rosler studio
will be part of
WHAT ROSE FROM THE CUT
14TH OCTOBER 2026–30TH JANUARY 2027 Graces Mews

Graces Mews presents What Rose from the Cut, a group show exploring feminist strategies of collage.

Developed collectively between Graces Mews, curator Fiona Rogers Fiona Rogers artist Justine Kurland Justine Kurland and collaborator and collector Sarah Miller Meigs Sarah Miller Meigs the exhibition reﬂects the gallery’s interest in photographic process and the circulation and interpretation of images.

It brings together two signiﬁcant bodies of research: Fiona Rogers‘ publication Cut Out: A Feminist History of Photo Collage, Montage and Assemblage(Thames & Hudson and V&A, 2026) which traces the previously untold relationship between photography, feminist art and collage, from the 19th century to the present day; and Justine Kurland and Sarah Miller Meigs‘ exhibition and publication The Rose (lumber room, 2025), which expands this history of collage through ideas of circular genealogy and kinship formed through association. What Rose from the Cut features international artists whose approach to collage amplifies and contextualise one another, forming a constellation that extends our collective vision of social, political and spiritual possibilities.

Included Artists: Lotte Andersen, Genesis Baez, Anne Bean, Claude Cahun, Tammy Rae Carland, Leonora Carrington, Moki Cherry, Tee Corinne, Giana De Dier, Jazz Grant, K8 Hardy, Lubaina Himid, Kati Horna, Hannah Hughes, Liz Johnson Artur, Mari Katayama, Zofia Kulik, Justine Kurland, Linder, Dakota Mace, Spandita Malik, Alix Marie, Jacky Marshall, Aspen Mays, Qiana Mestrich, Joiri Minaya, Helina Metaferia, Rachelle Mozman Solano, Yamini Nayar, Frida Orupabo, Gina Osterloh, Martha Rosler, Sarah Sense, Sheida Soleimani, Maud Sulter, Keisha Scarville, Penny Slinger, Annegret Soltau, Divine Southgate-Smith, Sitaara Stodel, Stephanie Syjuco, Dafna Talmor, Thato Toeba, Gee Vaucher, Bindi Vora and Carla Williams.

02/10/2026

Les Hôtes du Louvre‘, a two-person exhibition featuring Kader Attia and Elizabeth Peyton at
through December 14.

Kader Attia and Elizabeth Peyton now share the temporary exhibition space in the Salle de la Chapelle, where the results of their respective sojourns in the museum are on display, including the new diptych by , consisting of a video, a wooden sculpture, and mirrors, inspired by his intimate exploration of the Louvre’s collection and history. His and Peyton’s intersecting interpretations of the Louvre make manifest the wealth of resources to be found in the museum and in the works it houses.

As he walks from the suburb where he grew up to the Louvre, Kader Attia re-enacts the defining moment of his adolescence and unpacks its political significance. He anchors the visitor’s physical and temporal journey, creating a bridge that spans the divide between the Louvre as a royal residence, a revolutionary museum, an imperial palace as well as the distance to the city’s outskirts.
In the artist’s own words, ‚Coming out of the metro, walking along Rue de Rivoli and then into the Cour Napoléon, I look up at the statues of „Great Men“. No women are represented on the façades of the Louvre, only so-called illustrious officers, such as Marshal Bugeaud, who was responsible for the enfumade attacks in Algeria where resistance fighters and civilians alike were asphyxiated.
He’s lauded as a hero in France, yet embodies the monstrosity of colonialism in Algeria. A symbol of the paradox between each country’s remembrance of history and a last remaining totalitarian totem of colonialism to be toppled, for me this represents an element of our collective memory that must be shared so that those on both sides remember that colonisation was also a crime against humanity. I’ve reproduced this bust of Marshal Bugeaud from wood, a perishable organic material, so that it will, in turn, be subject to the passage of time and the gaze of passers-by.

01/10/2026

Congratulations to Rhea Myers, whose work has entered the collection of the Centre Pompidou!

Her practice extends he fundamental questions this collection is dedicated to explore by probing authorship in a modern world and digital conservation in a contemporary practice.

Rhea Myers explores a radically critical yet playful interplay between technology and culture. Her art acts as a philosophical and political mirror that questions the utopias, fears and systemic flaws of modern digital society.

The acquisition includes:
„Urinal“, Edition 4/11 from the series „Certificate of Inauthenticity“, 2020
„Fragment 24“ from the series The Fractionalized Phallus, 2025
„Is Art (Token, Because“, Edition 2/16, 2024
As well as „statement“, „spots“, „yellow“ and „turtle“ from the series Self-Identifying, 2025

Many thanks to the committee Centre Pompidou and especially the curators of new media Marcella Lista and Philippe Bettinelli.

Exhibition views from „The Fractionalized Phallus“, solo exhibition at Galerie Nagel Draxler in Berlin, 2025. Photos by Simon Vogel.

25/09/2026

LEON KAHANE
SOLO EXHIBITION

CRITICISM AND SELF-CRITICISM IN THE FREE TIME

📆 September 10 - October 31, 2026
📍Kunstverein am Rosa-Luxemburg-Platz, Berlin, Germany

According to a recent study by the Sigmund Freud Institute (ongoing since 2021), the third generation of Holocaust survivors in Germany is characterised by a mode of expression that is at once performative and scenographic, encompassing both loyalties to and conflicts with the generation of their grandparents. This takes place against the backdrop of an emerging psychological framework and the growing normalisation of everyday antisemitism.

To critically reflect oneself in the stories of one’s grandfather in order to find one’s own truth also means resisting both familial and social projections. For what lies at the centre of Kahane’s engagement is not so much what is, but how it has come to be, particularly in relation to what he calls the “rumour about the Jews”, drawing in part on the philosopher Theodor W. Adorno. In Minima Moralia (1951), Adorno referred to a fundamental misunderstanding underlying antisemitism; Kahane extends this to the experience of becoming and being Jewish today, not as a confirmation of the rumour, but as a relation to the gaze that produces it.

Image Credit:

Exhibition Views by Leon Kahane, 2026

Adresse

Weydingerstraße 2/4
Berlin
10178

Öffnungszeiten

Dienstag	11:00 - 18:00
Mittwoch	11:00 - 18:00
Donnerstag	11:00 - 18:00
Freitag	11:00 - 18:00
Samstag	11:00 - 18:00

Telefon

+493040042641

Website

http://www.nagel-draxler.de/

Benachrichtigungen

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