something new, something old, something desired, Hamburger Kunsthalle
February 18, 2022 – February 18, 2024
something new, something old, something desired, Hamburger Kunsthalle
February 18, 2022 – February 18, 2024
something new, something old, something desired, Hamburger Kunsthalle
February 18, 2022 – February 18, 2024
Die Bücher, Salon Berlin, Museum Frieder Burda
May 12, 2020 – October 24, 2020
Die Bücher, Salon Berlin, Museum Frieder Burda
May 12, 2020 – October 24, 2020
Annete Kelm
Helene Stöcker, „Liebe“ | 1927 Verlag der Neuen Generation, Berlin-Nikolassee | Einbandentwurf: John Heartfield, 2019
Archival pigment print
27 1/2 x 20 2/3 inches (69.9 x 52.5 cm.); framed: 28 x 21 1/4 x 1 1/2 inches (71.1 x 54 x 3.8 cm.) 47 1/4 x 35 1/2 in (120 x 90 cm)
Annette Kelm
Maria Leitner „Eine Frau reist durch die Welt“ | 1932 Agis-Verlag, Berlin-Wien | Einbandentwurf: Tom Berlie, 2019
Archival pigment print
27 1/2 x 20 2/3 inches (69.9 x 52.5 cm.); framed: 28 x 21 1/4 x 1 1/2 inches (71.1 x 54 x 3.8 cm.) 47 1/4 x 35 1/2 in (120 x 90 cm)
Annette Kelm
Green Domino, 2020
Archival pigment print
39 1/2 x 29 5/8 inches (100.4 x 75.3 cm.)
Annete Kelm
Spider Plant, 2018
Archival pigment print
47 1/4 x 35 1/2 in (120 x 90 cm)
Tomato Target, Kunsthalle Wien, Vienna
December 14, 2018 - March 24, 2019
Annette Kelm
Piano lesson, 2018
Archival pigment print
47 1/4 x 35 1/2 in (120 x 90 cm)
Annette Kelm
Big Sur, 2018
Archival pigment print
35 7/16 x 26 3/8 in (90 x 67 cm); framed: 36 1/2 x 27 5/8 x 1 9/16 in (92.7 x 70.2 x 4 cm)
Tomato Target, Kunsthalle Wien, Vienna
December 14, 2018 - March 24, 2019
Annette Kelm
Tomatoe Target, 2018
Archival pigment print
47 1/4 x 35 1/2 in (120 x 90 cm)
Tomato Target, Kunsthalle Wien, Vienna
December 14, 2018 - March 24, 2019
Annette Kelm
Knallerbsen und Feder, 2018
Archival pigment print
29 3/4 x 22 1/3 in (75.6 x 56.7 cm); framed: 30 1/2 x 23 1/2 x 1 1/2 in (77.5 x 704.9 cm)
Knots, Andrew Kreps Gallery, New York
April 7 - May 12, 2018
Annette Kelm
Found Object (Balance), 2016
C-print
5 parts total: framed: 45 9/16 x 36 7/16 x 1 9/16 each
Knots, Andrew Kreps Gallery, New York
April 7 - May 12, 2018
Knots, Andrew Kreps Gallery, New York
April 7 - May 12, 2018
Annette Kelm
Still Life with Spring, 2017
Archival pigment print
47 1/4 x 35 1/2 in (120 x 90.2 cm); framed: 48 1/4 x 36 7/16 x 1 9/16 in (122.6 x 92.6 x 4 cm)
Knots, Andrew Kreps Gallery, New York
April 7 - May 12, 2018
Annette Kelm
Proposal for Knots, 2018
Archival pigment print
39 3/8 x 29 1/2 in (100 x 75 cm); framed: 40 3/8 x 30 3/8 x 1 9/16 in (102.6 x 77.2 x 4 cm)
Annette Kelm
Geranium and Hyacinths, 2017
Archival pigment print
39 3/8 x 29 1/2 in (100 x 75 cm); framed: 40 9/16 x 30 11/16 x 1 9/16 in (103 x 78 x 4 cm)
Edition of 6, with 2 APs
Annette Kelm
Helmholtz Sirene, 2017
Archival pigment print
39 1/3 x 29 1/2 in (99.9 x 74.9 cm);
framed: 40 1/4 x 30 1/2 x 1 1/2 in (102.2 x 77.5 x 3.8 cm)
Edition of 6, with 2 APs
Leaves, Kestnergesellschaft, Hannover, Germany
March 11 - May 7, 2017
Annette Kelm
Desert Plants, 2016
Archival pigment print
33 3/4 x 27 1/2 in (85.7 x 69.9 cm)
Edition of 6, with 2 APs
Leaves, Kestnergesellschaft, Hannover, Germany
March 11 - May 7, 2017
Leaves, Kestnergesellschaft, Hannover, Germany
March 11 - May 7, 2017
Leaves, Kestnergesellschaft, Hannover, Germany
March 11 - May 7, 2017
Leaves, Kestnergesellschaft, Hannover, Germany
March 11 - May 7, 2017
Annette Kelm
Found Object (Balance), 2016
C-print
5 parts: Framed 45 5/8 x 36 3/8 in (116 x 92.5 cm) each
Edition of 6, with 2 APs
Annette Kelm
Welcome, 2016
Archival pigment print
31 1/4 x 38 1/4 in (79.4 x 97.2 cm)
Edition of 6, with 2 APs
Annette Kelm
Raddish, 2016
C-print
22 5/8 x 18 3/8 in (57.4 x 46.6 cm)
Edition of 6, with 2 APs
Annette Kelm
Square and Flowers, 2016
C-print
Framed: 38 x 26 1/3 in (96.8 x 66.8 cm)
Edition of 6, with 2 APs
Annette Kelm
Jacquard Loom Deutsches Museum Munich, 2016
C-print
Framed: 48 x 38 1/4 in (122 x 97 cm)
Edition of 6, with 2 APs
Annette Kelm, Museum of Contemporary Art Detroit
May 6 - July 31, 2016
Annette Kelm, Museum of Contemporary Art Detroit
May 6 - July 31, 2016
Annette Kelm
J’aime Paris, 2013
C-print
3 parts: 30 3/4 x 24 1/2 in (78.2 x 62.3) each 31 1/4 x 24 5/8 in (79.3 x 62.5 cm)
Edition of 6, with 2 APs
Annette Kelm
Home Home Home / Flashlight, 2015
C-print
27 3/4 x 21 2/3 in (70.5 x 55 cm) Edition of 6, with 2 APs
Annette Kelm
Home Home Home / Flashlight Dark Shadow / Window, 2015
C-print
27 3/4 x 21 3/4 in (70.5 x 55 cm)
Edition of 6, with 2 APs
Annette Kelm
Money Tree, 2015
Inkjet print
Framed: 38 1/8 x 26 7/8 in (96.8 x 68.3 cm)
Edition of 6, with 2 APs
Annette Kelm
One Dollar Right Side / Money Tree One Leaf Right, 2015
Inkjet print
Framed: 38 1/8 x 26 7/8 in (96.8 x 68.3 cm)
Edition of 6, with 2 APs
Archive, Andrew Kreps Gallery, New York
January 22nd - February 21st, 2015
Archive, Andrew Kreps Gallery, New York
January 22nd - February 21st, 2015
Annette Kelm
Institut für Zeitgeschichte-Archiv, Bestand Hannelore Mabry / Bayerisches Archiv der Frauenbewegung, Signatur ED 900, Box 531, Körperüberhang: Keine Mark, kein Dollar, kein Rubel für Waffen! DER FEMINIST / Menschenrecht statt Männerrecht, , Institute for Contemporary History Archive, Inventory Hannelore Mabry / Bavarian Archive of the Women’s Movement, Signature ED 900, Box 531, Body Overhang: No Mark, No Dollars, Not Rubles for weapons! DER FEMINIST / Human rights rather than men rights, 2014
C-print
Diptych: 34 x 30 3/8 in (86.6 x 77.1 cm) each
Edition of 6, with 2 APs
Annette Kelm
Münchner Stadtmuseum, 25.1.2013 - 15.9.2013 “Geschmackssache - Mode der 70er Jahre”, Münchner Stadtmuseum, 25.1.2013 - 15.9.2013 “A Matter of Taste - Fashion from the 1970s”, 2014
C-print
31 3/4 x 25 x 1 1/2 in (80.6 x 63.5 x 3.8 cm)
Edition of 6, with 2 APs
Espace Culturel Louis Vuitton, Munich, Germany
March 29th - August 8th, 2014
Museum of Modern Art, New York
September 14th, 2013 - January 6th, 2014
Museum of Modern Art, New York
September 14th, 2013 - January 6th, 2014
Annette Kelm
Untitled (Tulpe, Magnete), 2013
C-print
26 x 32 in (66 x 81.5 cm)
Edition of 6, with 2 APs
Kölnischer Kunstverein, Cologne, Germany
November 7th - December 21st, 2014
Annette Kelm
Thermometer, 2013
C-print
29 5/8 x 23 3/4 in (75.3 x 60.3 cm)
Edition of 5, with 2 APs
Kölnischer Kunstverein, Cologne, Germany
November 7th - December 21st, 2014
Kölnischer Kunstverein, Cologne, Germany
November 7th - December 21st, 2014
Andrew Kreps Gallery, New York
September 12th - November 2nd, 2013
Andrew Kreps Gallery, New York
September 12th - November 2nd, 2013
Andrew Kreps Gallery, New York
September 12th - November 2nd, 2013
Andrew Kreps Gallery, New York
September 12th - November 2nd, 2013
Andrew Kreps Gallery, New York
September 12th - November 2nd, 2013
Annette Kelm
Percent for Art, 2013
C-print
six parts: 28 3/8 x 19 3/4 in (72.1 x 50.2 cm) each
Edition of 5, with 2 APs
Annette Kelm
Espadrilles, U R MY BFF, LOL!, HOW R U?, 2013
C-print
31 1/4 x 25 3/4 in (79.1 x 65.6 cm)
Edition of 6, with 2 APs
Annette Kelm
Soles, LOL!, C U SOON, XO, STUFF 2 DO, 2013
C-print
31 1/4 x 24 5/8 in (79.3 x 62.5 cm)
Edition of 6, with 2 APs
Annette Kelm
Denim, Pineapple, LOL!, XO, UR MY BFF, HOW R U?, 2013
C-print
31 1/2 x 25 in (79.8 x 63.3 cm)
Edition of 6, with 2 APs
Annette Kelm
Untitled (Zweig), 2011
C-print, framed
23 1/2 x 19 3/4 in (60 x 50 cm)
Edition of 5, with 2APs
Annette Kelm
Materialtest, 2011
20 x 23 1/2 in (50.8 x 59.7 cm)
Edition of 5, with 2APs
Annette Kelm
Magnolia # 2, 2011
C-print
47 x 60 1/2 in (119.4 x 153.7 cm)
Edition of 5, with 2APs
Today, Andrew Kreps Gallery, New York
October 28th - December 22nd, 2010
Today, Andrew Kreps Gallery, New York
October 28th - December 22nd, 2010
Today, Andrew Kreps Gallery, New York
October 28th - December 22nd, 2010
Annette Kelm
Sale, 2010
C-print, framed, three parts
16 1/8 x 19 3/4 inches (40.96 x 50.17 cm)
Edition of 5, with 2APs
Annette Kelm
Untitled (Tribal), 2010
C-print
17 3/8 x 22 1/4 inches (44 x 56.5 cm)
Edition of 5
Annette Kelm
Untitled (Jahresring), 2010
C-print
27 1/4 x 32 1/2 inches (69.22 x 82.55 cm)
Edition of 5
Kunsthalle Zurich, Zurich, Switzerland
January 24th - April 26th, 2009
Kunsthalle Zurich, Zurich, Switzerland
January 24th - April 26th, 2009
KW Institute for Contemporary Art, Germany
May 3 - August 9, 2009
KW Institute for Contemporary Art, Germany
May 3 - August 9, 2009
Camera, Austria, Austria
July 10 - September 13, 2009
Camera, Austria, Austria
July 10 - September 13, 2009
Annette Kelm
Big Print #3 (Ventana Florida - Cotton Texture Fall 1949 Design Dorothy Draper, Courtesy Schumacher & Co), 2007
C-print
46 1/2 x 40 1/2 inches (118.11 x 102.87 cm)
Edition of 5, with 2 APs
In her work, Annnette Kelm is interested in the function of objects and the nature of their representation, typologies, mass production, design, and technology. Her photographs often conflate several genres into single images, or develop single motifs across serial images to combine a variety of artistic, historical, and cross-cultural references. Annette Kelm’s work will be the subject of forthcoming exhibitions at the Kunsthalle Vienna, Vienna in 2019, and the Ludwig Foundation, Aachen, Germany in 2018. Past solo exhibitions of Kelm’s work include Annette Kelm: Leaves, Kestnergesellschaft, Hannover, Germany, 2017, Detroit City/Detroit Affinities: Annette Kelm, Museum of Contemporary Art Detroit, Detroit, 2016, Dust, Kölnischer Kunstverein, Cologne, Germany, 2014, Annette Kelm, Kunsthalle Zürich, Zürich, 2009, KW – Institute for Contemporary Art, Berlin, 2009, CCA Wattis, Institute for Contemporary Art, San Francisco, 2008 and Witte de With, Rotterdam, Netherlands, 2008. In 2013, Kelm participated in New Photography, at the Museum of Modern Art, New York, and in 2011, participated in ILLUMInations, curated by Bice Curiger, the 54th International Exhibition at the Venice Biennale, Venice. Her work is held in the permanent collections of institutions including Tate Modern, London, the Museum of Modern Art, New York, Centre Pompidou, Paris, Guggenheim Museum, New York, Museum of Contemporary Art, Los Angeles, Hammer Museum, Los Angeles, the Hessel Museum of Art, Bard College, Annandale-on-Hudson, NY, Dallas Museum of Art, Dallas, Walker Art Center, Minneapolis, and Kunsthaus Zürich, among others.
In her photographs, Annette Kelm (b. 1975) explores a variety of styles and genres—still life, object, architecture, and landscape photography—while deliberately flouting their conventions.
The artist Annette Kelm always develops works in which money, consumption or economy play a role. In the exhibition in the Money Museum of the Deutsche Bundesbank, she concentrates on these topics and presents, among other things, new photographs that were taken in the Bundesbank's premises.
Objects Recognized in Flashes is the title of a group exhibition focusing on the seductive surfaces of photographs, products, and bodies. The exhibition has been created in close cooperation with the artists Michele Abeles, Annette Kelm, Josephine Pryde, and Eileen Quinlan. In the light of our largely media-determined society it asks how we approach and relate to analogue and digital images. How are relations between material and immateriality, body, screen and photographic surface are constituted? In our current consumer culture, products and questions of commodity aesthetics are becoming more and more significant. This is not without consequences for our use of photographic images. Ubiquitous advertising, marketing, and product presentation create imaginary visual standards that have now become a firm fixture of our self-representations in photos on social media platforms like Facebook and Instagram.
Annette Kelm is nominated for Kubus. Sparkda Art Prize. The prize was established jointly by the Sparda-Bank Baden-Württemberg and the Kunstmuseum Stuttgart, will be awarded for the fourth time in 2019. The prize honors an outstanding achievement in the visual arts. It is directed toward artists who were born in Baden-Württemberg or have a close connection to the state through their artistic work. The nominees, Sinje Dillenkofer, Peter Granser, Annette Kelm, and Armin Linke, will each present their work at the museum, in separate spaces.
The exhibition at Kunsthalle Wien turns the spotlight on works in which architecture, design, or constellations of seemingly mundane objects are revealed to be visual manifestations of complex genealogies. The Versuchsanstalt für Wasserbau und Schiffsbau in Berlin, an iconic building that houses facilities for experiments in fluid mechanics and ship engineering, appears in Kelm’s photograph as an abstract architectonic volume of color. In the series Friendly Tournament, the shooting targets pitted with holes and small craters where they were struck by arrows recall Lucio Fontana’s perforated canvases and offer an analysis of the interrelation between figure and ground, between three-dimensional reality and its representation, that is both intellectually astute and laconic. Yet here, too, something inscrutable remains.
"Germany is not an island" - this quote is not consciously assigned to anybody, but was and is used by different personalities in different contexts. It is clear, however, that the exhibition is intended to describe the multicultural location 'Germany', a place where everyone is welcome. And a place where all the arts can develop interdisciplinary. Art often seeks the confrontation with traditional perspectives and ideas and thus opens up spaces that also call for greater tolerance, openness and reflection. It needs no social consensus, no vote, but is first and foremost free. Politically, however, she is still, and socially-promoting power also resides in her, especially when she invokes her freedom and her obstinacy.
Fictive kinships mimic familial relationships but are ultimately defined on their own terms. Fictive Kin presents works by three contemporary artists who all construct photographic tableaux, and are united by their cultivation of modes of seeing that question conventions behind the photographic representation of three-dimensional objects. Sarah Conaway, Annette Kelm, and Kim Schoen harness the visual language of commercial art and advertising. At its most effective, advertising renders the photograph a signifier that we subconsciously identify as assuming an authoritative voice. It serves a clear purpose and delivers an inscrutable message. In the work of these artists, similar strategies are used to subversive, absurd, and philosophical ends. They communicate the arbitrariness of inherited conventions, solicit humor, and render anew the vernacular visual environment that so engulfs us that we may be unaware of it.
