Galerie Tanit Munich is pleased to announce Und Doch, a solo exhibition by John Armleder. This exhibition features new works that challenge conventional artistic hierarchies through unexpected juxtapositions and playful subversions.

John Armleder (b. 1948, Geneva) is a defining figure in postwar art and one of Switzerland’s most influential contemporary artists. Over five decades, his work has fluidly traversed multiple artistic movements, creating a dynamic interplay between conceptual precision and playful experimentation. His early involvement with the Groupe Ecart, influenced by Fluxus and the radical ideas of John Cage, laid the groundwork for a career marked by irreverence, innovation, and a refusal to adhere to a singular aesthetic. Moving seamlessly between painting, sculpture, installation, design, and performance, Armleder merges seemingly disparate traditions—from Dada to Abstract Expressionism—treating each exhibition as a distinct and unpredictable artistic intervention.

His latest exhibition at Galerie Tanit Munich, Und Doch (And Yet), embodies this paradoxical approach, balancing control with spontaneity, intention with accident. Expanding on his lifelong engagement with materiality, abstraction, and conceptual play, the works in Und Doch blur the boundaries between painting, sculpture, and installation. The juxtaposition of industrial, Kitsch, and organic materials—whether through a glossy, effervescent surface disrupted by unexpected textures or the insertion of a ready-made object—creates a tension between aesthetic autonomy and the absurdity of found elements.

Unconventional materials, such as a fried egg, Christmas ornaments or book shelves, challenge traditional notions of painting, transforming each piece into an event rather than a static object. Armleder’s ability to evoke art historical traditions—from Abstract Expressionism to Minimalism—while simultaneously subverting them with humor and controlled randomness is at the core of Und Doch. The exhibition’s title itself suggests contradiction, reflecting the open-ended, unresolved nature of his practice. Through this body of work, Armleder reasserts his role as a radical observer of visual culture, inviting viewers to embrace the unpredictable beauty of disorder.