Petzel Gallery is pleased to announce an exhibition of new paintings by Charline von Heyl, in her first solo exhibition since her presentation at the 2022 Venice Biennale, on view from September 8th to October 28th at Petzel’s Chelsea location. This will be von Heyl’s tenth solo exhibition at the gallery.
But what does ‘work’ mean? Work, he thought, is something in which material is next to nothing, structure almost everything; something that rotates on its axis without the help of a flywheel; something whose elements hold one another in suspense; something open and accessible to all, which cannot be worn out by use.
(Peter Handke, The Afternoon of a Writer)
Becoming is an antimemory.
It is a question of a model that is perpetually in construction or collapsing, and of a process that is perpetually prolonging itself, breaking off and starting up again (…) [an] acentered, non-hierarchical, non-signifying system without a General and without an organizing memory or central automaton, defined solely by a circulation of states (…) a continuous, self-vibrating region of intensities whose development avoids any orientation toward a culmination point or external end.”
(Deleuze and Guattari, A Thousand Plateaus)
I don’t paint ideas, I paint the unattainable ‘forever.’ Or ‘fornever,’ it amounts to the same. More than anything else, I paint painting.”
(Clarice Lispector, Água Viva)
Clarity is of no importance because nobody listens and nobody knows what you mean no matter what you mean, nor how clearly you mean what you mean. But if you have vitality enough of knowing enough of what you mean, somebody and sometime and sometimes a great many will have to realize that you know what you mean and so they will agree that you mean what you know, what you know you mean, which is as near as anybody can come to understanding anyone.”
I… could not drop the Bells whose jingling cooled my Tramp.
(Emily Dickinson, Letter to T.W. Higginson, 7 June 1862)
Charline von Heyl was born in Germany in 1960 and has lived in the United States since 1996. She studied painting in Hamburg and Düsseldorf and participated in the Cologne-based art scene in the 1980s. She currently divides her time between New York, NY and Marfa, TX.
Von Heyl’s first survey show was at Le Consortium, Dijon in 2009. Her first U.S. museum show was at the Dallas Museum of Art in 2005 and her first US survey was at the Institute of Contemporary Art in Philadelphia in 2011.
Her work has been exhibited both in the United States and abroad, including solo museum exhibitions at the Deichtorhallen Hamburg, Germany (2018); Hirshhorn Museum and Sculpture Garden, Washington DC (2018); the Museum Dhondt-Dhaenens, Deurle, Belgium (2018); Corbett vs. Dempsey, Chicago (2015); the Tate Liverpool, United Kingdom (2012); the Kunsthalle Nurnberg, Germany (2012); Le Consortium, Dijon, France (2009), and the Vienna Secession, Vienna, Austria (2004), among many others.
Her work has been included in group exhibitions at Greene Naftali, New York (2019); Kunsthalle Nürnberg, Germany (2017); Gladstone Gallery, New York (2018); The Institute of Contemporary Art Chicago (2016); Museum Brandhorst, Munich (2015); The Museum of Modern Art, New York (2014); Sculpture Center, New York (2011), and The Hammer Museum in Los Angeles (2008), among many others.
Von Heyl’s works are in the collections of the Musee d’Art Moderne de la Ville de Paris; the Tate, London; the Museum of Contemporary Art, Los Angeles; the Hammer, Los Angeles; the Museum of Modern Art, New York; The Guggenheim Museum, New York; the Institute of Contemporary Art, Boston; and the San Francisco Museum of Modern Art, among others.