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Conversations with the Collection

Showing work at National Galleries of Modern Art, Edinburgh, Scotland, in ‘Conversations with the Collection -Surface detail’ an exhibition display opened in May 2024 which focuses on recent print acquisitions https://www.nationalgalleries.org/exhibition/conversations-collection-surface-detail https://www.nationalgalleries.org/art-and-artists/artists/lotte-gertz
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Instalments, Ingleby Gallery

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https://inglebygallery-web-g9.artlogic.net/viewing-room/d3c9594f2ef34d3a8676109d959cc2f9/
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Zone Zone

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Two person exhibition with Charlie Hammond at Sipgate Shows, Dusseldorf 9.4.2022-16.6.2022 https://www.sipgateshows.de/
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Weaver’s Nest

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A new text by Olga Nowotny, accompanying the solo exhibition Weaver’s Nest at Danske Grafikeres Hus, Copenhagen, February 2022
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Weaver’s Nest

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Solo exhibition at The Danish Printmaker Association / Danske Grafikeres Hus, Copenhagen 4.2.2-22- 27.2.2022 http://danskegrafikere.org/
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Residency at The Danish Artworkshop/ Statens Værksteder for Kunst

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https://svfk.dk/project/lotte-gertz-the-carrier-bag-theory-of-fiction
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Exercises in style

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Group show with Lorna Macintyre and Alastair Dearie, part of Glasgow International, June 2021 https://glasgowinternational.org/events/alistair-dearie-lotte-gertz-lorna-macintyre-2/
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Rituals of regard and recollection

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a selection of works from the JoAnn Gonzalez Hickey Collection at Law Warschaw Gallery, Macalester College in St. Paul, Minnesota, curated by Tricia Heuring https://www.macalester.edu/gallery/rituals-of-regard/
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Neil Clements, Lauren Gault, Lotte Gertz – Low Plane reality

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3 person show curated by Andrew Mummery at Efremidis Gallery, Berlin https://efremidisgallery.com/exhibitions/1983-2/
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Paintings with legs

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A new text by Laurence Figgis, accompanying the solo exhibition ‘Migrating Eye’ Intermedia, CCA Glasgow, 2019 Paintings with Legs ‘and the world is a white laundry, where we are boiled and wrung and dried and ironed, and smoothed down’ Inger Christensen When I visit Lotte in her studio, and I look at one of her paintings, I see legs. These L-shapes have been made from cut-wood shapes smeared with ink, pressed against the calico to leave a mark (a sort of wood-cut, a sort of mono-printing). And all I can see is legs. But that seems like a heavy cumbersome word—“legs”—too cumbersome—and I keep the word to myself, until the artist says it—legs. She reminds me that, a while ago, she left the city to spend time making work in a rural place—much of her new work was made there. She has done it a few times: collapsed her studio down, and taken it away, and set it up again, in a new place. I think of an artist in transit—carrying their tools and materials and the works they are making. I think of these works and tools as a kind of language. I think of Gulliver, on his travels; […]
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