Galerie Nagel Draxler

20/08/2026

Summer is coming to an end and so does the current solo exhibition by Anna Ridler.
„Trace Remains“ is on view in our Cologne gallery until August 21st.

One of the traces that Anna Ridler is following in this presentation is the one of local newspapers:
„Final Edition“ (2020/2026) is a two-part work that shows the impact of the closure of local newspapers across the USA. Screenshots of the Street View of the newspaper offices before and after closure show the decimation of the physical infrastructure and are shown as a fine art print diptych. Accompanying this is a large-format print listing the name of every local newspaper across the USA that has closed since 2004. This date, which coincides with the launch of Facebook and the growing popularity of services like Craigslist, also marks the beginning of the decline and closure of around a fifth of all local newspapers across the United States, whose business models, heavily reliant on advertising revenue, could not compete.

We recommend reading further about Anna’s work and this show in her interview with Right Click Save editor Louis Jebb. The text is part of Right Click Save’s quarterly digest, Art & Tech Q2.

Exhibition images by Simon Vogel.

17/08/2026

KADER ATTIA
GROUP EXHIBITION

ZEITFRAGEN. SAMMLUNG TRIFFT GEGENWART

📆 Exhibition: August 8 – November 15, 2026
📍Kunstmuseum Ravensburg
Burgstraße 9, 88212, Ravensburg, Germany

„In his artistic work, Kader Attia explores the interrelationships between culture, politics, and identity. Central to this is his concept of „repair”, which he also addresses in the five wooden busts from the series “Culture, Another Nature Repaired“ (2014/2023–2024). The starting point was photographs of wounded World War I soldiers. At that time, the use of new weapon technologies — such as machine guns and grenades — led to a massive increase in severe facial injuries; in France, the term “Gueules cassées” (“smashed faces”) emerged.”

The Selinka Collection at the Kunstmuseum Ravensburg comprises 20th-century works with a focus on German Expressionism—a movement that emerged during a period of political upheaval, new forms of artistic expression, and societal change. The exhibition series “Zeitfragen. Sammlung trifft Gegenwart“ (The Questions of the Contemporary: Collection Meets Present) fosters a dialogue between selected works from the collection and contemporary art, revealing both continuities and ruptures across different generations and contexts.

Image Credit: Kader Attia, “Culture, Another Nature Repaired”, 2014/2023-2024 ©️Galerie Nagel Draxler

25/07/2026

15/07/2026

KENNY SCHACHTER
SERIES OF SCULPTURES AND TALKS

📍Super Mountain Market
Via Stredas 4a, 7500 St. Moritz, Switzerland
📆 July 10 – August 15, 2026
https://www.superstmoritz.com/

Cubism: cubes & conversations

In his solo exhibition “Phone Face” at Nagel Draxler Gallery in Cologne (August–October 2024), artist Kenny Schachter presented a series of multi-functional aluminum cube sculptures that bridged the worlds of contemporary art and industrial design. Each of these minimalist cubes featured cutout lettering that spelled out specific words tied directly to computers, digital culture, and modern technology. Engineered to be hybrid objects, the works transcended purely passive viewing by serving a dual purpose: they were simultaneously high-art sculptures and functional seating elements for gallery visitors.

The conceptual framework of the cubes draws deep inspiration from the legacy of German conceptual pioneer Joseph Beuys, specifically his radical notion that teaching and the dissemination of ideas constituted his greatest artistic achievement. By turning these technology-themed sculptures into usable chairs, Schachter manifested Beuys’s philosophy of democratic, social sculpture where art sparks dialogue and collective learning. The physical act of sitting on the cubes transforms the viewer into an active participant, encouraging public interaction and intellectual exchange regarding our relationship with the digital tools that define modern life.

schachter
Image: Kenny Schachter

11/07/2026

MARTHA ROSLER
GROUP EXHIBITION
„Marilyn Monroe. I Feel Like I Know Her, but Sometimes My Hands Bend Backward“
📍Krupa Art Foundation
Rynek 27/28, 50-069 Wrocław, Poland
📆 July 15 – October 25, 2026
🥂 July 15, 7 pm
Exhibition co-organized by Hala Stulecia

“The collection of photographs by Milton H. Greene consists of images of stars of American cinema. Portraits of iconic figures from the first half of the 20th century— now increasingly less recognizable, increasingly distant. And yet at the center of the collection one star still shines with such intensity that it is commonly believed to be an archive of her photographs. Everyone else dissolves in her light. Everyone — including the author of the photographs—fades in the presence of Marilyn Monroe.

In dialogue with Greene’s photographs, we present works by contemporary artists working across different media, who experiment with the theme of the image—also its new forms emerging within internet culture—the boundaries of intimacy, and the tension between authenticity and performed identity.

— Krupa Art Foundation

Artists:
Arvida Byström, Eli Cortiñas, Ana Viktoria Dzinic, Milton H. Greene, Alison Jackson, Martina Menegon, BORA, Paulina Pawłowska, Erin Robinson, Martha Rosler, Gregor Różański, Bert Stern, Łukasz Stokłosa

Curators:
Natalia Barczyńska, Monika Łuszpak-Skiba, Katarzyna Młyńczak-Sachs, Łukasz Rusznica

Work on display: Cargo Cult, from the series Body Beautiful, or Beauty Knows No Pain, 1966-72

09/07/2026

Heimo Zobernig
Exhibition Display

📍Belvedere 21
Arsenalstraße 1, 1030 Wien
📆 Exhibition: July 10 – Oktober 4, 2026
🥂 Opening: July 9, 2026, 7 pm - 9 pm, with a Performance by Uli Aigner

STELLPROBE

“More than 150 works of art are gathered at Belvedere 21 for a “Stellprobe”—a tentative, intuitive arrangement that reveals new relationships between the works. The title stems from a suggestion by Heimo Zobernig and is borrowed from the theater, where it marks an intermediate step in the development of a production. The large-scale exhibition spans the ground floor, upper floor, Blickle Cinema, and sculpture garden and is dedicated to the acquisitions and donations of the past ten years: as a retrospective, an insight into the collection’s strategy, and a temporary blueprint for a possible future museum. In doing so, the museum presents itself not only as a place of preservation, but also as a place of contemporaneity, of the ongoing continuation of art history and artistic production.

The exhibition presents the collection not as a closed body of work, but as an open structure. The juxtaposition of works from different periods, contexts, and media within Heimo Zobernig’s striking architectural setting opens up new connections and surprising interpretations, according to Luisa Ziaja, chief curator and head of collections at the Belvedere.

The display, conceived by Heimo Zobernig, creates a bold link between the two exhibition levels and actively engages with the specific characteristics of the atrium building designed by Karl Schwanzer. For his large-scale installation, Zobernig uses secondhand set pieces from the Vienna Volkstheater’s prop warehouse.“

– Belvedere 21 (Translated by Galerie Nagel Draxler

Images:
1. Exhibition view STELLPROBE, Belvedere 21, Vienna, Foto Archiv HZ
2. & 3. Exhibition view STELLPROBE, Image: Johannes Stoll / Belvedere 21, Vienna

08/07/2026

Till Krause, Mirjam Thomann, Mark Dion
📍Nagel Draxler Kabinett
Rosa-Luxemburg-Street., 33, 10119 Berlin
📆 Exhibition: July 4 – August 29, 2026

some random spot nearby

GROUP EXHIBITION with Till Krause, Mirjam Thomann, Mark Dion

Starting point for the group exhibition some random spot nearby is the publication Travel Bureau by Mark Dion and Daniel Maier-Reimer. The book, perceived as a manifesto of focused observation, is dedicated to the collaboration between the two artist friends. When Dion was invited by Maier-Reimer to present and reflect upon Maier-Reimer’s art, which consists of journeys often documented in a single photograph, Dion decided to present four of the artist’s travels: Lapland Autumn 1990, Kaliningrad Peninsula 2001, Tyrrhenian Sea to Adria 2013 and Journey to Mount Etna 2022. This resulted in Travel Bureau, a spatial installation conceived as a travel agency. Continue reading on https://nagel-draxler.de/exhibition/some-random-spot-nearby/

Image Credits: Simon Vogel

03/07/2026

ABDULNASSER GHAREM
GROUP EXHIBITION
“GLASSTRESS 2026” curated by Adriano Berengo, Joanna De Vos and Umberto Croppi

📍 Ca’ Tron, Venezia, Italy
📍 Fondazione Berengo Art Space, Murano, Italy
📆 Exhibition: July 12 – November 22, 2026
http://www.fondazioneberengo.org/ | http://www.berengo.com/

with
“The Unsecured Goal“, 2026
Courtesy of the Artist & Galerie Nagel Draxler Berlin/Cologne/Meseberg

“The Unscored Goal” presents a real, regulation size football, fully covered with layers of repeated rubber official stamps. While the ball retains its original form, it is transformed into a surface marked by symbols of authority, documentation, and validation. The stamps draw from everyday bureaucratic language such as “Approved,” “Rejected,” “Under Review,” and “Confidential” used to regulate and legitimize processes. Through this transformation, the work reflects the intersection of sport and bureaucratic systems, where the ball shifts from a tool for scoring into a surface that may obscure the goal itself.

The version that will be presented for Glasstress 2026 is made from casted glass.

1. The Unscored Goal, 2026
Print

2. The Unscored Goal, 2026
Football, rubber-stamps

3. 4. The Unscored Goal, 2026
Video still

01/07/2026

Till Krause, Mirjam Thomann, Mark Dion
GROUP EXHIBITION

📍Nagel Draxler Kabinett
Rosa-Luxemburg-Street., 33, 10119 Berlin
📆 Exhibition: July 4 – August 29, 2026
🥂 Opening: July 3, 2026, 6 – 9 pm 

some random spot nearby

Starting point for the group exhibition “some random spot nearby” is the publication “Travel Bureau” by Mark Dion and Daniel Maier-Reimer. The book, perceived as a manifesto of focused observation, is dedicated to the collaboration between the two artist friends. The importance of creative collaboration played a further role when Dion and Maier-Reimer invited Till Krause to design the publication with the aim of documenting the Travel Bureau exhibition in a book.

Drawing on the four-part structure of Dion’s installation, four authors, including Mirjam Thomann, were commissioned to respond to one of four journeys. This group exhibition then, in turn, brings together three artists from the gallery who played a role in the making of the publication. In a simple approach, each artist has developed their contribution to the book into something new for the exhibition.

26/06/2026

JONAS FAHRENBERGER
SOLO EXHIBITION

📍Techne Sphere Leipzig, Leipzig, Germany
Niemeyerstraße 2–5, 04179 Leipzig
📆 Exhibition: June 27 – July 7, 2026
🥂 Opening: Saturday, 27.06.2026, 4–8 p.m.

IMMERHIN SOMMER

“Immerhin Sommer” presents new paintings and sculptural works by Jonas Fahrenberger. Just under a year after his last major solo exhibition at the a&o Kunsthalle Leipzig, this presentation focuses on a present in which inflation, social uncertainty, and growing social discontent increasingly shape everyday life.

The title picks up on a phrase that functions like a casual consolatory saying: Immerhin Sommer. It comes up in conversations, in crises, in situations where things are largely not okay and yet life goes on. The harsh reality of the present is not eliminated, but made bearable for a moment. One may no longer go on vacation, but at least they’re sitting in a beer garden. At the supermarket checkout, one calculates, weighs options, and makes sacrifices—yet they still try to make the best of it.

Starting from these everyday situations, the exhibition turns its attention to broader questions of work, consumption, political exhaustion, and resistance. It explores strike culture, work environments, and strategies of defiance, as well as the moment when protest is co-opted, smoothed over, or aestheticized. When does resistance become a pose? When does discontent lose its edge? And what remains of political energy when it is subsumed into the surface of society?

Immerhin Sommer describes a state between relief and repression. Putting on a good face despite the odds — a phenomenon that is no longer merely private but has taken on a societal form.


Exhibition Views: Jonas Fahrenberger