ROBERT MAPPLETHORPE SELECTED BY ROBERT WILSON - GALERIE THOMAS SCHULTE 14MARCH TO 18 APRIL 2020 - GALERIE ...
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Robert Mapplethorpe
Selected by Robert Wilson
Galerie Thomas Schulte
14 March to 18 April 2020
• Robert Wilson, 1981, silver gelatin print
Framed: 61 x 58.5 x 2.5 cm | 24 x 23 x 1 in
“I met Robert Mapplethorpe in a supermarket on Myrtle Avenue in Contact
Brooklyn in 1966. We were both students at Pratt Institute. I was in my Galerie Thomas Schulte
last years and Bob (I knew him at the time as Bob) was in his first years. Charlottenstraße 24
I was staging one of my first “theatrical” works, a kind of happening 10117 Berlin
down the street of the supermarket at the Peerless Movie House. I had Phone: +49 (0)30 2060 8990
rented the house at midnight for $25, and had asked about 20 people, Fax: +49 (0)30 2060 89910
all non-professionals, to be in the performance. When I met Bob in the mail@galeriethomasschulte.de
supermarket, I asked him if he would like to be in the stage work. He www.galeriethomasschulte.de
said yes. This was long before he ever thought about photography, or
had made photos. In 1976, Bob photographed me and Phil Glass at his Gonzalo Alarcón
studio on Bond Street. I was always attracted to Bob’s photographs be- +49 (173) 66 46 623
cause they are classically constructed tracing a golden triangle, dealing gonzalo@galeriethomasschulte.de
with his compositions of simple, straight, diagonal or circular lines. The
mathematics and geometry behind his work is the same geometry that Eike Dürrfeld
visual artists have been tracing for centuries. His lighting was simple and +49 (172) 30 89 074
masterful. To me it was like Jacques-Louis David—always cold, never eike@galeriethomasschulte.de
too romantic.”
Luigi Nerone
—Robert Wilson, February 2020 +49 (172) 30 89 076
luigi@galeriethomasschulte.de
Juliane Pönisch
juliane@galeriethomasschulte.de
This brochure represents a selection of the works in the exhibition.
For further information and to learn more about works which are not
represented here, please do not hesitate to contact us. 2,3
A Season In Hell
Une Saison En Enfer
Published by Little, Brown and Company in 1986.
By Arthur Rimbaud, translation by Paul Schmidt.
Night in Hell / Nuit de L’Enfer
1.
I’ve just swallowed a huge mouthful of poison. Blessed, blessed, blessed
the advice I was given! My guts are on fire. The power of the poison twists
my arms and legs, cripples me, knocks me to the ground. I’m dying of
thirst, I’m suffocating, I can’t call out. This is hell, eternal damnation! See
how the flames rise! I can burn the way I ought to. Do it to me, demon!
J’ai avalé une fameuse gorgée de poison. — Trois fois béni soit le conseil qui
m’est arrivé ! — Les entrailles me brûlent. La violence du venin tord mes
membres, me rend difforme, me terrasse. Je meurs de soif, j’étouffe, je ne
puis crier. C’est l’enfer, l’éternelle peine ! Voyez comme le feu se relève ! Je
brûle comme il faut. Va, démon!
2.
Shut up, you shut up! Everything here is shame. Have mercy! Lord, I’m
afraid. I thirst, I thirst! Argh! Childhood, grass and rain, the puddle on
the paving stones, moonlight when the clock struck twelve... The devil is
in the clock tower at midnight. Mary! Holy Virgin!... hate my stupidity.
Tais-toi, mais tais-toi!... C’est la honte… Pitié ! Seigneur, j’ai peur. J’ai
soif, si soif ! Ah ! l’enfance, l’herbe, la pluie, le lac sur les pierres, le clair
de lune quand le clocher sonnait douze… le diable est au clocher, à cette
heure. Marie ! Sainte-Vierge !… — Horreur de ma bêtise.
Milton White, 1983
Silver gelatin print
Framed: 61 x 58.5 x 2.5 cm
4,5 24 x 23 x 1 in
Amaryllis, 1977 Frank Diaz, 1980 Silver gelatin print Silver gelatin print Framed: 61 x 58.5 x 2.5 cm | 24 x 23 x 1 in Framed: 61 x 58.5 x 2.5 cm | 24 x 23 x 1 in 6,7
II - Deliriums: Alchemy of the Word / II - Délires: Alchimie du Verbe
3.
Far from birds, from flocks and country girls
What did I drink, there on my knees,
Surrounded by tender hazelnut trees
In a warm green mist of afternoon?
I looked like a strange signboard for an inn.
A storm went driving through the sky. Soon,
That evening, the water vanished on virgin sands,
The winds of God dropped hailstones into the ponds.
Then I saw gold, and wept, but could not drink.
Loin des oiseaux, des troupeaux, des villageoises,
Que buvais-je, à genoux dans cette bruyère
Entourée de tendres bois de noisetiers,
Dans un brouillard d’après-midi tiède et vert !
Je faisais une louche enseigne d’auberge.
Un orage vint chasser le ciel. Au soir
L’eau des bois se perdait sur les sables vierges,
Le vent de Dieu jetait des glaçons aux mares ;
Pleurant, je voyais de l’or—et ne pus boire.—
Derrick Cross, 1983
Silver gelatin print
Framed: 61 x 58.5 x 2.5 cm
10,11 24 x 23 x 1 inDerrick Cross, 1983 Derrick Cross, 1982 Silver gelatin print Silver gelatin print Framed: 61 x 58.5 x 2.5 cm | 24 x 23 x 1 in Framed: 61 x 58.5 x 2.5 cm | 24 x 23 x 1 in 12,13
Belly Button, 1986 Carnations, 1978 Silver gelatin print Silver gelatin print Framed: 61 x 58.5 x 2.5 cm | 24 x 23 x 1 in Framed: 61 x 58.5 x 2.5 cm | 24 x 23 x 1 in 16,17
Derrick Cross, 1983 Derrick Cross, 1982 Silver gelatin print Silver gelatin print Framed: 61 x 58.5 x 2.5 cm | 24 x 23 x 1 in Framed: 61 x 58.5 x 2.5 cm | 24 x 23 x 1 in 18,19
(“A Song From The Highest Tower”) / (“Chanson de la Plus Haute Tour”)
4.
Let it come, let it come,
The season we love!
I have waited so long
That at length I forget,
And leave unto heaven
My fear and regret;
A sick thirst
Darkens my veins.
Let it come, let it come,
The season we love!
So the green field
To oblivion falls,
Overgrown, flowering
With incense and weeds
And the cruel noise
Of dirty flies.
Let it come, let it come,
The season we love!
Qu’il vienne, qu’il vienne,
Le temps dont on s’éprenne.
J’ai tant fait patience
Qu’à jamais j’oublie.
Craintes et souffrances
Aux cieux sont parties.
Et la soif malsaine
Obscurcit mes veines.
Qu’il vienne, qu’il vienne,
Le temps dont on s’éprenne.
Telle la prairie
À l’oubli livrée,
Grandie, et fleurie
D’encens et d’ivraies,
Au bourdon farouche
Des sales mouches.
Qu’il vienne, qu’il vienne,
Le temps dont on s’éprenne. Lily, 1979
Silver gelatin print
Framed: 61 x 58.5 x 2.5 cm
20,21 24 x 23 x 1 inApartment Windows, 1977 Chest / Livingston, 1988 Silver gelatin print Silver gelatin print Framed: 61 x 58.5 x 2.5 cm | 24 x 23 x 1 in Framed: 61 x 58.5 x 2.5 cm | 24 x 23 x 1 in 22,23
Tit Profile, 1980 New Orleans Interior, 1982 Silver gelatin print Silver gelatin print Framed: 61 x 58.5 x 2.5 cm | 24 x 23 x 1 in Framed: 61 x 58.5 x 2.5 cm | 24 x 23 x 1 in 26,27
5.
I love the desert, burnt orchids, secondhand stores, lukewarm drinks. I
dragged myself through stinking backstreets, and with my eyes closed, I
offered myself to the sun, the god of fire.
J’aimai le désert, les vergers brûlés, les boutiques fanées, les boissons tiédies.
Je me traînais dans les ruelles puantes et, les yeux fermés, je m’offrais au
soleil, dieu de feu.
(“Hunger”) / (“Faim”)
6.
Beneath a bush the wolf will howl.
Spitting bright feathers
From his fest of fowl:
Like him, I devour myself.
Le loup criait sous les feuilles
En crachant les belles plumes
De son repas de volailles :
Comme lui je me consume.
7.
That’s all over. Today I know how to recognize beauty.
Cela s’est passé. Je sais aujourd’hui saluer la beauté.
Farewell / Adieu
8.
I will be free to possess the truth in a single body and a single soul.
il me sera loisible de posséder la vérité dans une âme et un corps.
Donald Cann, 1982
Silver gelatin print
Framed: 61 x 58.5 x 2.5 cm
28,29 24 x 23 x 1 inFlower Arrangement, 1984 Alistair Butler / Torso, 1980 Platinum print Silver gelatin print Framed: 87.5 x 73.5 cm | 34 1/2 x 29 in Framed: 63 x 63 cm | 24 3/4 x 24 3/4 in 30,31
New Orleans Interior, 1982 Armpit/Livingston, 1988 Silver gelatin print Silver gelatin print Framed: 61 x 58.5 x 2.5 cm | 24 x 23 x 1 in Framed: 61 x 58.5 x 2.5 cm | 24 x 23 x 1 in 32,33
Publisher
Galerie Thomas Schulte GmbH
Charlottenstraße 24
10117 Berlin
Phone: 0049 (0)30 20 60 89 90
www.galeriethomasschulte.de
Photo Credits
Installation views © Stefan Haehnel
All Mapplethorpe images © Mapplethorpe Foundation.
Used by permission.
© 2020 Galerie Thomas Schulte
This dossier was published on the occasion of the exhibition
Mapplethorpe: Selected by Robert Wilson (14 March to 18 April 2020).You can also read
