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German artist Neo Rauch on ‘punching back’ at critics as he holds second solo exhibition in Hong Kong

  • Neo Rauch is back in Hong Kong with his unique brand of figurative painting, showing his troubling landscapes across 15 paintings at David Zwirner
  • He talks about his spat with art historian Wolfgang Ullrich, previous run-ins with critics and journalists, and gaining control of his paintings’ characters

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German artist Neo Rauch with his “Die Nachtfalterin” (2023) at David Zwirner gallery in Central, Hong Kong, where he is holding his latest solo exhibition. Photo: Sun Yeung

In March 2019, the German artist Neo Rauch opened his first solo show in Asia at David Zwirner’s Hong Kong gallery. In English, it was called “Propaganda”; the Chinese title was translated as “publicity”.

From a distance, Rauch’s work always looks quaint. Then you move closer and observe the mutilations, the claws, the grotesque instruments, the approaching storms. The viewer is chilled and intrigued by a sense of impending disaster.

Four years later – during which the world has seen many very real disasters – Rauch once more has a show at David Zwirner in Hong Kong.

In German, it’s called “Feldzeichen”. In English, the translation is “Field Signs”, which suggests something agricultural – “the farmer and his potatoes,” as he puts it one morning in the gallery – although the original reference is to the ancient banners carried by Roman troops to mark their conquered territories.

“Feldzeichen” (2023), by Neo Rauch. Photo: Neo Rauch
“Feldzeichen” (2023), by Neo Rauch. Photo: Neo Rauch

Rauch enjoys double meanings but he doesn’t spell them out. Every one of the 15 paintings in the show has an untranslated German title.

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