Merlin carpenter

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Born 1967 in Pembury, UK

Lives and works in London

1986-89, Central St. Martins, London

Solo Exhibitions

"The Opening," dépendance, Brussels

"The Opening," Simon Lee Gallery, London


"The Opening," Galerie Mitterrand + Sanz, Zürich

"The Opening," Galerie Christian Nagel, Berlin

"The Opening," Overduin and Kite, Los Angeles


"The Opening," Reena Spaulings Fine Art, New York

"Relax It's Only a Bad Cosima von Bonin Show," Galerie Bleich-Rossi, Vienna

"Sounds of War," Galerie Edward Mitterrand, Geneva


"A Roaring RAMPAGE of Revenge," Reena Spaulings Fine Art, New York

Galerie Christian Nagel, Cologne

"Look What You Made Me Do," Bergen Kunsthall, Bergen, Norway


"Nueva Generacion," Distrito 4, Madrid

"Take It Easy Default," M-Project, Paris

"Children of the Projects," American Fine Arts, Co., New York

"When in Doubt Blame the Victim," with Jeremy Glogan, Galerie Bleich-Rossi, Graz, Austria

"The Making of 1945, 1997," screening at the McAllister Institute, New York

"Militant," Galerie Christian Nagel, Cologne

"My Father, the Castaway," WhiteCube, Kunstakademi Bergen, Norway


"When You Drain the Pool, You Don't Consult the Frogs First," Magnani, London

Galerie Max Hetzler, Berlin

"As a Painter I Call Myself the Estate of," Secession, Vienna

"VOLVO," Galerie Bleich-Rossi, Graz, Austria

"Survivors," Galerie Christian Nagel, Cologne


"Doppelganger," The Top Room, London

"Chant No 1," Galerie Max Hetzler, Berlin

Friedrich Petzel Gallery, New York


"Voluntary Effort," Tom Solomon's Garage, Los Angeles


Friedrich Petzel/Nina Borgmann, New York


"Meet You by the Strange Twisted Old Oak Tree on the Secluded Knoll at Dawn in Your Swimming Trunks and I'll Tell You Something Secret (Don't Be Late)," with Nils Norman, Galerie Z, Göttingen, Germany

"Les Jeunes," Bruno Brunnet Fine Arts, Berlin

"Meadow/Wiese," Galerie Max Hetzler, Cologne


"Electric," organised by Galerie Grässlin-Ehrhardt, Pavillon Ryszard Varisella, Frankfurt

"To the extreme," Fettstrasse 7A (Birgit Küng), Zürich

"Crusade," Münzstrasse 10, Hamburg

Selected Group Exhibitions

"Sonic Youth etc.: Sensational Fix," Malmö Konsthall, Sweden and Kunsthalle Dusseldorf

"Untitled (History Painting)," University of Michigan Museum of Art, Ann Arbor, MI

"WIR VERBESSERN IHRE ARBEIT," Galerie Sandra Bürgel, Berlin


"The Coma Lounge," The Collective Gallery, Edinburgh

"Congratulations You Are Represented By Nang Gallery," Nang Gallery, London

"Sonic Youth etc.: Sensational Fix," Museion, Bolzano, Italy

"Buy No Wino Buy Lino By Bono," Hats Plus, London

"Painting: Now and Forever, Part II," Greene Naftali Gallery and Matthew Marks Gallery, New York

"How Can You Represent When You Can't Pay the Rent," The New Dome, London

"Zodiac 3000," International Project Space, Birmingham, UK

"DO WHAT THY WILLT," Nang Gallery, London

"Elegance," Kölnischer Kunstverein, Cologne

"Genesis I'm Sorry," with Melanie Gilligan, Greene Naftali Gallery, New York

"LIVE HUMANS," The George Tavern, London

"Make Your Own Life: Artists In and Our of Cologne," curated by Bennett Simpson, ICA Philadelphia, PA

"slow burn," curated by Jonah Freeman, Galerie Edward Mitterrand, Geneva


Orchard, New York

"The Top Room: A Retrospective," Chelsea Space, London

"TOTAL ASBO," Pogo Cafe, London

"Miradas y conceptos en la colección Helga de Alvear," MEIAC, Badajoz, Spain

"Islands of Glory In Streets Caked With the Faeces of Decadence," Nang Gallery, London


Werkleitz Biennale, Halle, Germany

"Edge of the Real," Whitechapel Gallery, London

"Wild Nights: Remembering Colin de Land," CB's 313 Gallery, New York

"Messe in der Galerie," Galerie Christian Nagel, Cologne

Frieze Art Fair, Galerie Christian Nagel booth, London

"Haupt- und Nebenwege," Galerie Christian Nagel, Cologne

"Malerei II Ausstellung Nulldrei," Galerie Christian Nagel, Cologne


"Art Crazy Nation Show, MK G," Milton Keynes Gallery, London


"Favoritin," Danzigerstr. 44, Berlin

"Jewels-in-Art," Galerie Bleich-Rossi, Graz, Austria

"Works on Aluminum Selected by Paper," WhiteCube, Kunstakademi Bergen, Norway

"Musterkarte," Goethe-Institut, Centro Cultural Conde Duque, Galería Elba Benítez, and Galería Heinrich Ehrhardt, Madrid

"Girlfriend," curated by Sarah Morris, Galerie für Zeitgenössiche Kunst, Leipzig

"21st Gear," The Top Room, London

"It May be a Year of Thirteen Moons But it's Still the Year of Culture," Transmission Gallery, Glasgow

"Drawings," Taché-Lévy Gallery, Brussels

"Part One," Magnani, London


"Painting Lab," Entwistle Gallery, London

"Malerei," INIT Kunsthalle, Berlin

Robert Prime, London

Taché-Lévy Gallery, Brussels

"Art Club Berlin," Mies van der Rohe Pavilion, Barcelona

"Art Club Berlin," Berlin Art Forum

"The Message is the Medium," Castle Gallery, College of New Rochelle, New Rochelle, NY


"The Ideal Place," Haags Centrum Voor Aktuelle Kunst, The Hague

"Sarah Staton's Supastore Boutique," Laure Genillard Gallery, London

"Untitled Group Show," Metro Pictures, New York

Sammlung Volkmann, Berlin

"Museum auf Zeit," Fridericianum Museum, Kassel


"London Photo Race," Friesenwall 120, Cologne

"Galerie Fettsack," Friesenwall 120, Cologne

"A Show by Kiron Khosla," The Long Gallery, Chelsea Old Town Hall, London

Bruno Brunnet Fine Arts, Berlin

Paris Bar, Berlin

Luhring Augustine Gallery, New York

"Fallen und Fallen Lassen," Galerie Bleich-Rossi, Graz, Austria


"Peace and anarchy & I love form but she doesn't love me & strange flowers & homage to Schnabel equals freedom and fun forever," 64-65 Guilford St., London

"Heimspiel," Kunstverein in Hamburg

"Rotation - Art Critic's Art," Galerie Esther Schipper, Cologne

Other Projects

Poster Studio, London



merlinstore, merchandising website

Nang Gallery, London

Selected Reviews
"Die Malerei gibt es nicht," Achim Hochdörfer and Isabelle Graw, Texte zur Kunst, no. 77, March 2010

"High Price," Isabelle Graw, Berlin/New York: Sternberg Press, 2010, pp. 214, 221

"Event / not event - Merlin Carpenter at dépendance," Catherine Chevalier, May, no. 2, October 2009

"The Opening," Luk Lambrecht, Knack (Belgium), July 14, 2009

"Holy Terror, Mike Sperlinger, Texte zur Kunst, no. 74, June 2009

Martin Coomer, Merlin Carpenter - The Opening, ART REVIEW, Summer 2009, p. 124.

Matthew Collings, An Artist of Our Time, MODERN PAINTERS, Summer 2009, p. 18.

Louisa Buck, Biting the hand that feeds you, THE ART NEWSPAPER, May 2009, p. 47.

Emiko Terazono, Kunst ist Kapital, FINANCIAL TIMES, 9. April 2009, p. 18.

Scott Reyburn, Banks Attacked at Art Show as London Galleries Fight to Survive, BLOOMBERG.COM, 7. April, 2009.

Jessica Lack, Merlin Carpenter - London, THE GUARDIAN (Guide), 28. March 2009, p. 39.

Melanie Gilligan, Public Image LLC: The Three-Year Plan, GREY ROOM, 35, Spring 2009, p. 102.

Sean Ashton, Canvases and Careers Today: Criticism and Its Markets, MAP (Dundee), issue 17, Spring 2009, p. 93.

Maria Fusco, Canvases and Careers Today: Criticism and Its Markets, FRIEZE, issue 119, November 2008.

Roberta Smith, At Frieze fair, creativity and caution, INTERNATIONAL HERALD TRIBUNE, 21. October 2008, p. 20.

Ann Goldstein, The Problem Perspective, (in Martin Kippenberger book of same name), MOCA Los Angeles, MIT, Cambridge, 2008, p. 93, p. 103.

Sean Ashton, Atrocity Exhibition, MAP (Dundee), issue 15, Autumn 2008, p. 54.

Christopher Knight, After the party, the depletion, LOS ANGELES TIMES, 22. February 2008.

Martin Seidel, Élégance, KUNSTFORUM, No. 189, January/February 2008, p. 340.

Caroline Busta, Merlin Carpenter - Reena Spaulings Fine Art, ARTFORUM, December 2007, p. 355.

John Kelsey, (Top Ten), ARTFORUM, December 2007, p. 322.

Frank Frangenberg, Eleganz im bröckelnden Haus, KÖLNER STADT-ANZEIGER, 6. November 2007, p. 22.

Amoreen Armetta, Merlin Carpenter, "The Opening", TIME OUT NEW YORK, 18. October 2007, p. 99.

Martha Schwendener, Merlin Carpenter - The Opening, THE NEW YORK TIMES, 5. October 2007, p. E41.

André Rottmann, Relax It's Only Merlin, TEXTE ZUR KUNST, No. 66, June 2007, "Besprechungen" p. 67.

Hans-Jürgen Hafner, Merlin Carpenter "Relax It's Only a Bad Cosima von Bonin Show", SPIKE, No. 11, Spring 2007, p. 95.

Matthias Dusini, Schrei nach Farbe, FALTER (Vienna), No. 9 / 2007, p.60.

Anon, Showcase - Arts & Culture, CREATIVE REVIEW, Vol 27, No. 3, March 2007, p. 36.

Manisha Jothady, Entspannen Sie sich, es ist nur eine schlechte Show, DIE PRESSE (Vienna), 15. February 2007.

Gean Moreno, Merlin Carpenter - Geneva, ART PAPERS, November/December 2006, p. 55.

Sam Lewitt, Club You Can't Get Into, TEXTE ZUR KUNST, No. 63, September 2006, p. 242.

Isabelle Graw, Von Hier Aus, TEXTE ZUR KUNST, No. 63, September 2006, p. 64.

Christian Rattemeyer, "Make Your Own Life: Artists In & Out of Cologne", ARTFORUM, Summer 2006, p. 344.

Roberta Smith, Cologne as Mythic Hot Spot (Cue the Background Music), THE NEW YORK TIMES, 2. June 2006.

Adrian Shaughnessy (preface), non-format (book), Pyramyd, Paris, 2006, p.116.

Katie Stone Sonnenborn, Merlin Carpenter - Reena Spaulings Fine Art, FRIEZE, Issue 97, March 2006, p. 164.

Kirsty Bell, in Art Now Vol 2, ed. Uta Grosenick, Taschen, Köln, 2005, p. 92.

Isabelle Graw, Merlin Carpenter - Galerie Christian Nagel, ARTFORUM, November 2005, p. 265.

Michael Krebber, Außerirdische Zwitterwesen (book), Verlag der Buchhandlung Walter König, Köln, 2005, p. 80 & 122.

Josephine Pryde, Da Bin Ich Machtlos, TEXTE ZUR KUNST, No. 58, June 2005, p. 175.

Mare Næss Olsen, Snøscootere møter 70-tallskunst, BERGENS TILDENDE, 11. March 2005, p. 38.

Benedickte Eriksen, Snøscootere blir kunst, BA (Bergen, Norway), 11. March 2005, p.44.

Victor Zarza, Merlin Carpenter, ABC BLANCO Y NEGRO CULTURAL (Spain), No. 662, 2004, p. 32.

Thomas Groetz (ed.), Berlin 1994-2003, Galerie Max Hetzler, Berlin, 2003, pp. 29 & 40.

Gareth James, Please Kill Me, TEXTE ZUR KUNST, No. 51, September 2003, p. 155.

John Kelsey, Merlin Carpenter - American Fine Arts, Co., ARTFORUM, October 2003, p. 171.

Alex Mar, Gallery - Going, THE NEW YORK SUN, 7. August 2003, p.16.

Ken Johnson, Merlin Carpenter - Children of the Projects, THE NEW YORK TIMES, 13. June 2003, p. E37.

Anon., Focus Painting Part II, FLASH ART, No. 227, November 2002, p. 81.

Mark Prince, Painting & Photography, ART MONTHLY, October 2002, p. 2.

David Bussel, in Vitamin P, ed. Valérie Breuvart, Phaidon, London/New York, 2002, p. 58.

Barbara Hess, in Art Now, ed. Uta Grosenick and Burkhard Reimschneider, Taschen, Köln, 2002, p. 84.

Michael Krebber, An der langen Leine, TEXTE ZUR KUNST, No. 46, 2002, p. 116 .

Merlin Carpenters Kunstzitate, KÖLNER STADTANZEIGER, 19. Feb. 2002, p. 26.

Matthew Collings, Art Crazy Nation, 21 Publishing, London, 2001, p. 212.

Mark Harris, Merlin Carpenter - Magnani, ART IN AMERICA, July 2001, p. 111.

Michael Wilson, Merlin Carpenter/Sigmar Polke, ART MONTHLY, February 2001, p. 34.

Michael Archer, Merlin Carpenter ­ Magnani, ARTFORUM, February 2001, p. 163.

Stefan Heidenreich, In der Luxuszone, FRANKFURTER ALLGEMEINE ZEITUNG (Berliner Seiten), 17. October 2000.

Peter Herbstreuth, Angriff an der Oberfläche, DER TAGESSPIEGEL (Berlin), 7. October 2000.

Mercedes Bunz, Wo ist Kunst?, DE-BUG (Berlin), October 2000, p. 32.

Anselm Wagner, Das Picabia-Verfahren, FRAME, July/August 2000, p. 62.

Josephine Pryde, Merlin Carpenter at Secession, MODERN PAINTERS, Summer 2000, p. 52.

Martin Prinzhorn, Dislozierte Ikonen, TEXTE ZUR KUNST, No. 38, June 2000, p. 142.

Matthias Dusini, Malen Nach Zahlen, FALTER (Vienna), No. 17, 2000, p. 61.

Markus Mittringer, Bilder auf die feine englische Art, DER STANDARD (Vienna), 30. March 2000, p. 17.

Susanne Leeb, Notorische Zweifel, TEXTE ZUR KUNST, No.35, September 1999, p. 316.

Die Kritik am Betrieb, Kölner Stadt-Anzeiger, 8/9. May 1999, p. 39.

Jutta Koether, Chant No 1, TEXTE ZUR KUNST No. 30, June 1998, p. 168.

Anke Kempkes, Prinzipiell Sekundär, SPEX, March 1998, p. 54.

Peter Herbstreuth, DER TAGESSPIEGEL (Berlin), 7. February 1998, p. 29.

Brigitte Werneburg, TAGESZEITUNG (Berlin), 24. January 1998.

Isabelle Graw, Vermintes Gelände, TEXTE ZUR KUNST, No. 23, August 1996.

Gérard A. Goodrow, Ironically Playful, ARTNEWS, September 1994, p. 111.

Roberta Smith, For the New Galleries of the 90s, Small (and Cheap) is Beautiful, NEW YORK TIMES, 22. April 1994.

Joshua Decter, Merlin Carpenter - Petzel/Borgmann, ARTFORUM, Summer 1994.

Gregor Schwering/Christophe Marx, Merlin Carpenter - Max Hetzler, ZYMA, March/April 1993.

Tom Holert, Merlin Carpenter - Max Hetzler, FLASH ART, March 1993.

Peter Herbstreuth, DER TAGESSPIEGEL (Berlin), 17. February 1993.

Werner Köhler, Merlin Carpenter - Bruno Brunnett Fine Arts, ARTIS, June 1993.

Ulrich Clewing, Frech Kommt Weiter, ZITTY (Berlin), March 1993.






The Tail That Wags The Dog, first publication on this website. Also available in Canvases and Careers Today: Criticism and Its Markets, pub. Sternberg Press, Berlin, 2008, p. 75.

David Hockney, 1971, TEXTE ZUR KUNST, No. 67, September 2007, p. 183 & p. 270.

Back Seat Driver, in PACEMAKER, Paris, June 2004.

Back Seat Driver, in Gitarren, die nicht Gudrun heißen, Herausgegeben von Thomas Groetz, Galerie Max Hetzler/Holzwarth Publications, Berlin, 2002.

Media Guy, TEXTE ZUR KUNST, No. 45, March 2002, p.155.

The Sound of Bamboo, catalogue essay for Apothekerman by Michael Krebber, pub. Kunstverein Braunschweig, Stätische Galerie Wolfsburg, Walther König, 2000.

The Protest Had Already Impacted on London in the Form of its Absence, with Anthony Davies, in catalogue for the exhibition As a Painter I Call Myself the Estate of, Secession, Vienna, 2000.

Concentration, A.N.Y.P. No. 9 1999, p. 7.

Der Nichtzerbrochene Nichtspiegel, TEXTE ZUR KUNST, No. 31 September 1998, p. 66.

The Charlatans, SPEX, September 1997, p. 12.

Ein Haufen Sprache (Robert Smithson), SPEX, Febrauary 1997, p. 53.

Robert Smithson, TEXTE ZUR KUNST, No. 5 1992, p. 205.

I Was an Assistant, TEXTE ZUR KUNST, No. 1 Autumn 1990, p.119.

Various reviews, ARTSCRIBE, 1988-90.



 Books/Catalogues (MERGE W. ABOVE)


Relax It's Only a Bad Cosima von Bonin Show, Galerie Bleich-Rossi, Vienna, 2007.

Nueva Generación, Distrito 4, Madrid, 2004.

Militant, Christian Nagel Gallery, Cologne, 2002.

Jewels-in-Art, (with Jeremy Glogan, Josephine Pryde and Sarah Staton), Galerie Bleich-Rossi, Graz, 2001.

As a Painter I Call Myself the Estate of, Secession, Vienna, 2000.

Voluntary Effort, for an exhibition at Tom Solomon's Garage, Los Angeles, 1995.

Meet You by the Strange Twisted Old Oak Tree on the Secluded Knoll at Dawn in Your Swimming Trunks and I'll Tell You Something Secret, Published by MC and Nils Norman for exhibition at Galerie Z, Göttingen, 1993.



(All VHS PAL Format, except *)

Untitled, 1991. Documentation on To the extreme for Luhring Augustine group show (not shown).

Untitled, 1992. Blow-Up remake for Meadow/Wiese.

Why Henry Bond Left the Art Fair So Quickly, 1994. For Omron screening, London, 1995.

Love is a Contact Sport, 1998. Part of the Doppelganger show at The Top Room, London.

The Making of 1945, 1997.

Cancer, 2004. * format: Quicktime movie. Screened at the generic video nite at Flaxman Lodge, London, September 2004

Carpenters Road, 2009. Mini DV format. Not yet screened.
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