ACADEMY OF TAL R
Danish Tal R is one of the most striking artists of his generation with a strong and growing international reputation. Since the 1990s he has exhibited all around the world, particularly in Europe, and his art is represented in many major collections.
During the past decade Louisiana has established a distinctive collection of works – especially paintings – by Tal R (b. 1967). It is therefore natural to round off the Louisiana trilogy of contemporary artists with painting as their central practice: Peter Doig in 2015, Daniel Richter in 2016 and now Tal R.
The exhibition title Academy of Tal R should be understood as a mildly humorous provocation, since Tal R’s artwork always appears free, wild, searching, vital and simply unacademic. Through an overview of his work from the past twenty years and a series of new works, the exhibition shows that Tal R from the outset has been a storyteller with a special eye for the overlooked, hidden and repressed spaces of modern life. In his art and thinking, Tal R is constantly interested in everything that goes against conformity.
The exhibition is organized by Louisiana Museum of Modern Art in collaboration with Museum Boijmans Van Beuningen, Rotterdam. It is supported by Beckett-Fonden, Lemvigh-Müller Fonden and Merla Art Foundation.
TAL R AND HIS PAINTINGS
A dialogue with Copenhagen — in this interview with Louisiana Channel, Tal R talks about his painting "Sortedam" and his series of pictures from the Danish capital.
"Painting is like free falling" — Tal R is interviewed by Danish journalist Martin Krasnik at the Art Alive festival in 2016 about his paintings and working process.
DOIG & RICHTER & TAL R - A POWERFUL SEQUENCE
It is no coincidence that a comprehensive presentation of Tal R (born 1967) follows the recent Louisiana showings of Peter Doig (born 1959) and Daniel Richter (born 1962). All three of them are figurative painters, know one another and tell stories from and about our time – and they all have an emancipated attitude to the medium of painting. It may be difficult to work out why they actually became painters, but painters they are, and paint they do – apparently undaunted by the claims about the death of painting that typified their generation during their youth.