Born in 1974 in Bad Homburg, Germany
Lives and works in Berlin, Germany

Gregor HILDEBRANDT

education

2005 – 2006
- Postgraduate scholarship from the DAAD (The German Academic Exchange Service) , Vienna, Austria

2004
- GASAG Award, Berlin, Germany

2003
- Scholarship at the German Study Centre in Venice, Venice, Italy

1999 - 2002
- University of the Arts, Berlin, Germany

1998 - 2002
- Scholarship for the German National Academic Foundation, Bonn, Germany

1995 - 1999
- Johannes Gutenberg University, Mainz, Germany

solo shows

2018 
- Galeria Casado Santapau, Madrid, Spain 
- Wentrup Gallery, Berlin, Germany
- Kunsthalle, Recklinghausen, Germany
- Galerie Perrotin, New York, USA 

2017
- Sommer Contemporary Art, Tel Aviv, Israel 
- Solo booth : KIAF Art Fair, Seoul, South Korea
- Galerie Klüser, Munich, Germany 
- Under the Yellow Moon, Piece Unique, Koln, Germany
- Alle Schläge sind erlaubt, Almine Rech Gallery, Paris, France



2016
- Bilder malen wie Cure, Galerie Perrotin, Seoul, South Korea
- Solo booth : Westbund Art & Design fair, Shanghai, China
- Sieben auf einen Streich, Kunstverein Heppenheim, Germany
- Jetzt wird's hot im Staate Dänemark, Avslkarl Gallery, Copenhagen, Sweden
- Urlaub im Urban,Falkenrot Preistrager award, Kunstlerhaus Bethanien Museum, Berlin, Germany 
- Ich möchte weiterhin verwundbar bleiben, Grieder Contemporary Gallery, Zurich, Germany

2015
- Coming by Hazard, Galerie Perrotin, Hong Kong, China
- In weißen Sträußen ließ den Duft der Sterne schneien, Galerie Almine Rech, London, UK
- auf Wasser schlafend rauscht das Meer, Galerie Wentrup, Berlin, Germany
- Sterne Streifen die Fluten, Saarlandmuseum, Moderne Galerie, Saarbrücken, Germany

2014
- Die Geschichte läuft über uns, Galerie Perrotin, New York, USA
- These flowers will never die, Galerie Isa, Mumbai, India
- Jetzt und in der Stunde (with Alicja Kwade), Hinter der Vögeln, Berlin, Germany

2013
- In Jade stände eine Stadt, Wentrup Gallery, Berlin, Germany
- Orphische Schatten, Almine Rech Gallery, Brussels, Belgium
- Interior and the collectors. Gregor Hildebrandt - Collection N°3, Biennale de Lyon, France
- Du Stehst im Licht, du Stehst im Schatten, Sommer Contemporary Art, Tel Aviv, Israel

2012
- Ein Koffer aus Berlin, Saarländisches Künstlerhaus, Saarbrücken, Germany
- Nächtliches Konzert (with Jorinde Voigt), Museum Van Bommel van Dam, Venlo, Netherlands
- Schlaf ist Zeit, die Dir gehört, Gallery Avlskarl, Copenhagen, Denmark

2011
- Für kommende Morgen, Wentrup, Berlin, Germany
- Seiten im Buch wie Wände im Raum, Almine Rech Gallery, Paris, France
- Und dass zu frühe die Parze den Traum nicht ende, Grimm Gallery, Amsterdam, Netherlands

2010
- Und vor der Tür stehen weiße Pferde, Almine Rech Gallery, Brussels, Belgium
- Shapeless in the Dark Again, Sommer Contemporary, Tel Aviv, Israel
- Die Nacht trägt den Plan, Van Horn, Düsseldorf, Germany
 
2009
- Daß dieser Mai nie ende, Wentrup, Berlin, Germany 
- Weiße Nacht hängt an den Bergen, Grieder Contemporary, Zurich, Switzerland
- Der Himmel im Raum, Berlinische Galerie, Berlin, Germany
 
2008   
- This was made to end all parties, Ursula Werz, Tübingen, Germany
- Front Room, Contemporary Art Museum St. Louis, St. Louis, USA
- Hokuspokus, Kunstverein Schwerte, Schwerte, Germany
- Und im Garten blüht ein Blumenbeet, Haus am Waldsee, Berlin, Germany
 
2007
- Dunkle Fahrt zu hellem Tag, Kunstverein Ludwigshafen, Germany
- Dunkle Fahrt zu hellem Tag, Galerie Jan Wentrup, Berlin, Germany
- Zum Wohl der Tränen, Almine Rech Gallery, Paris, France
 
2006
- B:1F-134 (with Alicja Kwade), UBERBAU, Düsseldorf, Germany
 
2005
- Von den Steinen zu den Sternen, Galerie Jan Wentrup, Berlin, Germany
- Tage und Stunden zerspringen vor Glück, Städtische Galerie Pankow, Berlin, Germany    
 
2004  
- Allnightlong (with Jenny Rosemeyer), Kaiserpassage 21a, Karlsruhe, Germany
- Und dieses Wasser wird sich immer schwarz färben, Arsenal HKM1, Raum für Kunst, Mainz, Germany
 
2003   
- Dunst blauer Tage, Kunstverein Eislingen, Germany
- Hausmusik, Mt. Warning, Berlin, Germany
- Schwarze Fahnen unter dem gelben Mond (with Carola Deye), Hinterconti, Hamburg, Germany
 
2002   
-Tönende Jugend, WBD, Berlin, Germany

group shows

2017
- Runter von den Marmorklippen!, Orenstein & Koppel Lofts, Kwadrat, Berlin, Germany
- Alles oder Immer (curated by Oliver Mark), Schaufenster, Berlin, Germany 
- Neue Schwarze Romantik, Muzeul Național de Artă al României, București, Hungary ; Künstlerhaus Bethanien, Berlin, Germany
- Die Kerze, Museum Frieder Burda, Baden-Baden, Germany
- SMALL – an exploration of miniature, Galerie Sexauer, Berlin, Germany 
- Nah und Fern, Skulpturen am Rheinkilometer 529 - Triennale der Gerda und Kuno Pieroth Stiftung, Bingen am Rhein, Germany
- Landeskunstausstellung SaarArt II, Künstlerhaus Saarbrücken, Saarbrücken, Germany
- Wie bin ich nicht unglücklich (curated by Thomas Zitzwitz), Zidoun Bossuyt Gallery, Luxemburg
-This is not the reality - what kind of reality? (curated by Gisela Winkelhofer), San Clemente Palace Kempinski, Venice, Italy
- A Painter’s Doubt: Painting & Phenomenology, Salzburger Kunstverein, Salzburg, Austria
- Extended Compositions, Kunsthaus Centre PasquArt, Biel, Switzerland
- Modern sculpture, curated by Friederike Nymphius und Gerold Miller, Galeria Casado Santapau, Madrid, Spain
- Dissolution of distance, Pelaires Centre Cultural Contemporani, Palma de Mallorca, Spain
- COLLECTION n°7, Interior and the collectors, Lyon, France

2016
- Entre deux horizons. Avant-gardes allemandes et françaises du Saarlandmuseum, Centre Pompidou Metz, France
- Die Sprache der Dinge. Materialgeschichten aus der Sammlung, 21er Haus, Vienna, Austria
- Kommt Zusammen. Künstler für charity, Galerie Jahn, Landshut, Germany
- Die Kerze, Museum Frieder Burda, Baden-Baden, Germany
- Eine Geschichte: Zeitgenössiche Kunst aus dem Centre Pompidou, Haus der Kunst, Munich, Germany


2015
- Love, Nymphius Projekte, Berlin, Germany
- Save the data!, Kunstpalais, Erlangen, Germany
- Berlin artists' statements, curated by Christoph Tannert, BWA Contemporary Art Gallery, Katowice, Poland
- Extended Compositions, Kunstquartier Bethanien, Berlin
- Spieglein Spieglein an der Wand, KUWI - Kunstverein Wiesen, Frankfurt, Germany
- Das Mechanische Corps. Auf den Spuren von Jules Verne, Hartware Medien Kunstverein, Dortmund, Germany
- Dear Darkness, Michael Fuchs Galerie, Berlin
- The Monsoon Show, Galerie Isa, Mumbai
- Walk the line. Neue Wege der Zeichnung, Kunstmuseum Wolfsburg, Berlin


2014
- Love Story – Anne & Wolfgang Titze Collection, Belvedere, Vienna, Austria
- Man in the Mirror, Vanhaerents Art Collection, Brussels, Belgium
- Music Palace. The power of music seen by visual artists, Boghossian Foundation, Villa Empain, Brussels, Belgium
- Stalactica, Quincaillerie Vander Eycken, Brussels, Belgium
- BOOSTER - Kunst Sound Maschine, MARTa Herford, Herford, Germany
- In (The Mix) and on the go (Univers) for those in the know (Wanda), Scriptings / Kamerunerstr.47, Berlin, Germany
- Frank Badur. Die Sammlung im Dialog, Saarlandmuseum, Saarbrücken, Germany
- Neue Tendenzen an einem aus der Zeit gefallenen Ort, Kolibri, Berlin, Germany
- Das Mechanische Corps. Auf den Spuren von Jules Verne / The Mechanical Corps. On the trail of Jules Verne, Künstlerhaus Bethanien, Berlin, Germany
- As I run and run, happiness comes closer, Hôtel Beaubrun, Paris, France
- A History (art architecture design, from the 80s to now), Centre Pompidou, Paris, France
- One Way : Peter Marino, Bass Museum of Art, Miami, USA

2013
- Wahlverwandtschaften – Papier und Fotografie, Städtische Galerie Villa Zanders, Bergisch Gladbach, Germany
- Pictorial Field, D+T Project, Brussels, Belgium
- Karl May: Schut und Feder, (Weltenschöpfer- Max Klinger, Richard Wagner), Museum der bildenden Künste Leipzig, Leipzig, Germany
- Stolen Gestures, Kunsthaus Nürnberg, Nuremberg, Germany
- Landeskunstausstellung SaarART 10 2013, Saarland Museum, Saarland, Germany
- Abendland, Produzentengalerie, Hamburg, Germany
- Decenter, An Exhibition on the Centenary of the 1913 Armory Show, Arbrons Arts Center, New York, USA
- 19 Rue de Saintonge, Almine Rech, Paris, France
- Yodeling Machine, presented by the Chalet Society, San Servolo Island, Venice, Italy
- Early works, Tête, Berlin, Germany
- Silent, Aviskari Gallery, Copenhagen, Denmark
- Klaus Nomi, Neuer Aachener Kunstverein, Aachen, Germany
- Utopia, Galerie Utopia Berlin/Athens, Senatsreservenspeicher Berlin, Germany
- The Show is Over, Gagosian Gallery, London, UK
- Happy Birthday Galerie Perrotin/25 ans, Tripostal / Lille3000, Lille, France

2012
- Chambres à Part VI: Trajectoires Poétiques / Trajectories Politiques, LDAC, Paris, France
- Exhibition of works by candidates for the Hans-Purrmann-Preis für Bildende Kunst, Städtische Galerie/ Alter Stadtsaal, Speyer, Germany
- Schöntrauer, E105, Berlin, Germany
- Bitzer, Dahlem, Hildebrandt, Collection Philara, Düsseldorf, Germany
- Künstlerbuch-Bibliothek, Kunsthaus Jesteburg, Germany
- Painting and Sculpture, The Martin Z. Margulies Collection, Miami, USA
- The Garden of Eden, Palais de Tokyo, Paris, France
- Manifesto Collage. Defining Collage in the Twenty-First Century, About Change Collection, Berlinische Galerie, Berlin, Germany
- Von Sinnen. Wahrnehmung in der zeitgenössischen Kunst, Kunsthalle Kiel, Germany
- Undervaerker – Masterpieces from Danish private collections, Kunsten Museum, Aalborg, Denmark
- Beyond the surface, KAI 10, Düsseldorf, Germany
- Collection Juan and Patricia Vergez, Buenos Aires , Argentinia
- Der arge Weg der Erkenntnis, curated by Oliver Mark, Gloria Berlin, Berlin, Germany
- Collaborations & Interventions (with Fischli & Weiss, Claire Fontaine, Rodney Graham, Sergej Jensen, Jacob Kassay, Henrik Olesen, Gedi Sibony, Franz West, Christopher Wool et al.), Kunsthalle Andratx, Spain
- Berlin. Status 1. (curated by Sven Drühl and Christoph Tannert), Künstlerhaus Bethanien, Berlin, Germany
- Death Can Dance (curated by Lori Hersberger), Townhouse, Zürich, Switzerland
- take off your silver spurs and help me pass the time, curated by Gerold Miller (with Liam Gillick, Jim Lambie, Florian Maier-Aichen et al), Galerie Nicolas Ruziscka Salzburg, Austria
- Hang On, Michael Fuchs Gallery, Berlin, Germany
- Choses vues à Droite et à Gauche (sans lunettes), Ballhaus Ost, Berlin, Germany
- Ich bin ein Berliner, Tel Aviv Art Museum / Helena Rubinstein Pavillion and Convento Carmelo, Sassari, Italy
- Migration Melbourne Edition, Arndt, Melbourne, Australia
- A House Fulll of Music, Institut Mathildenhöhe, Darmstadt, Germany
- The Record: Contemporary Art and Vinyl, Miami Art Museum, USA
- Nouvelle presentation des collections contemporaines, des années 1960 à nos jours, Centre Pompidou, Paris, France

2011
- Su nero nero/Over black black, Castello Rivara, Italy
- Ich bin ein Berliner, Mestrovic Pavillion, Zagreb, Croatia
- Lysets Land III (Gregor Hildebrandt, Sergej Jensen, Axel Geis, Sterling Ruby, Florian Meisenberg), Skagen Projekt, Skagen, Denmark
- 'Herbei ein Licht!', St Carthage Hall, Lismore Castle, Waterford, Ireland
- Entropia, Sammlung Philara, Düsseldorf, Germany
- Verbrechen und Bild, Städtische Galerie, Villingen-Schwenningen
- ‘Private/Corporate IV’, Daimler Art Collection, Stuttgart / Berlin, Germany
- Wertsache, ex tip-Berlin-Shop, Berlin, Germany
- Nouvelle presentation des collections contemporaines, des années 1960 à nos jours, Centre Pompidou, Paris, France
- A painting show, Autocenter, Berlin, Germany
- Prague Biennale 5, Prague, Czech Republic
- Schach!!, Kunstmuseum Mühlheim an der Ruhr, Germany
- The record, ICA Boston, USA
- Alptraum. Cell Project Space, London / showroom of the Deutsche Künstlerbund e.V., Berlin / The Company, Los Angeles / T.B.O, Vienna / Blanc Projects, Cape Town
- Missing Beat, Sommer Contemporary, Tel Aviv, Israel


2010
- Love Kills. Betting on the muse, Frankfurt/Main, Germany
- Portfolio Berlin, Kunsthalle Rostock, Germany
- Between Nothingness and Eternity, Regina Gallery, London, England
- Schwarz, Märkisches Museum, Witten, Germany
- NIGHT OF THE PAWN, Werkschauhalle - Spinnerei, Leipzig, Germany
- Einraumhaus (with Axel Geis), Mannheim, Germany
- Fischgrätenmelkstand, Temporäre Kunsthalle (curated by John Bock), Berlin, Germany
- Berlin Box, Kunsthalle Andratx, Mallorca, Spain
- Parcours St. Germain, Louis Vuitton, Paris, France
- Ins Blickfeld gerückt, Institut Francais, Berlin, Germany
- There’s a tear in my beer, West Germany, Berlin, Germany
- You are free, Tape, Berlin, Germany
- Berlin Transfer, Berlinische Galerie, Berlin, Germany
- The Record, Nasher Art Museum, Durham, USA
- Glassworks, Autocenter, Berlin, Germany 

2009
- Zeigen. Eine Audiotour durch Berlin, Temporäre Kunsthalle, Berlin, Germany 
-Berlin meets Wien, Salon Österreich, Vienna, Austria
-Winter group show, Galleri Christina Wilson, Copenhagen, Denmark
-The Jack Goldstein Connections, Galerie Anita Beckers, Frankfurt, Germany 
-Schickeria-High Society, BDA-Ausstellungsraum, Braunschweig, Germany
- Variation Time, Galerie der Künstler, Munich, Germany 
-private view, Städtische Galerie, Villingen-Schwenningen, Germany 
-She Said No, Unosunove, Rome, Italy
- Inconstruction IV, Art Biesenthal, Biesenthal, Germany 
-cargo manifest, curated by Anna Catharina Gebbers, Munich, Germany 
-Opernfestspiele, Under Construction - Container auf dem Marstallplatz, Munich, Germany 
-No Soul For Sale - a festival of independants, X Initiative, New York, USA
-Dark Summer, GALERIE RODOLPHE JANSSEN, Brussels, Belgium
- XVI. Rohkunstbau ATLANTIS I. Hidden Histories – New Identities, Schloss Marquardt, Potsdam
-Podrostock, SOX, Berlin, Germany 
-Berlin2000, Pace Wildenstein, New York, USA
- Prose pour des Esseintes, Karma International, Zurich, Switzerland
- Constructivismes, Almine Rech Gallery, Brussels, Belgium
- Begegnung Bauhaus. Kurt Schmid und die Künstler der Avantgarde – von Kandinsky bis Vasarely, Kunstsammlung Gera/Orangerie, Gera
-Crotla presents, Lothringer 13, Munich, Germany 
-Magritte et la lumiere, Almine Rech Gallery, Brussels, Belgium
 
2008
- Nico –Köln, Berlin, Paris, New York – Stationen einer Popikone, Museum für Angewandte Kunst, Cologne, Germany
- London Calling, Galerie Jan Wentrup – Temporary Space, London, England
- Musical Paintings, Galerie ScheiblerMitte, Berlin, Germany
- Group Show, Grimm Fine Art, Amsterdam, Netherlands
- Group show, Almine Rech Gallery, Brussels, Belgium
- No more mirrors, On more mirrors, Galerie Christian Nagel, Berlin, Germany
- The Forgotten Bar Project, Studio Maffei Milano, Milan, Italy
- Berlin,…-2008, Kwadrat, Berlin, Germany
- Material Presence, Zabludowicz Collection/ Project Space 176, London, England
- Forgotten Bar Project, Forgotten Bar, Berlin, Germany
- ReInvented: Study & Play, Wentrup, Berlin, Germany
- The Demolition Party, Le Royal Monceau, Paris, France
- Freuden der Jugend III, Artnews Projects, Berlin, Germany
- Hase, Krebs und Nachtigall, Galerie Mezzanin, Vienna, Austria
- Zuordnungsprobleme, Galerie Johann König, Berlin, Germany
- Sparwasser HQ, Berlin, Germany
- Back to black. Die Farbe Schwarz in der aktuellen Malerei, kestnergesellschaft, Hannover, Germany

2007
- pimp my walls, Berlin, Germany
- Rauf Rüber Runter Untendurch, White Space, Zurich, Switzerland
- La Bomba IV, Rowley Kennerk Gallery, Chicago, USA
- Substance and Surface, Bortolami Gallery, New York, USA
- At home, Galerie Yvon Lambert (curated by Mario Testino), New York, USA
- Sweet Bird of Youth, Galerie Arndt+Partner (curated by Hedi Slimane), Berlin, Germany
- Niveaualarm, Kunstraum Innsbruck, Innsbruck
- Cosmic Dreams, Kunsthalle Andratx, Mallorca (curated by Friederike Nymphius), Spain
- Die Wechsel der Zustände, ZUSTAND, Berlin, Germany
- Noriko Ambe, Gregor Hildebrandt, SUMAZO 2007, Vienna, Austria
- Group show, Almine Rech Gallery, Paris, France
- Tension; Sex; Despair – Aber hallo/na und, Kunsthalle Exnergasse, Vienna, Austria
- Rio, Artnews projects, Berlin, Germany

2006
- Secret Défense, Galerie Rupert Pfab, Düsseldorf (withThomas Zitzwitz), Germany
- A tree you can´t see, Flaca, London, England
- Totalschaden, Bonner Kunstverein (curated by Gregor Schneider), Bonn, Germany
- pigment piano marble, Maipú 327, Buenos Aires, Argentina
- Unikate 0/6, 12 Statements aus Rheinland-Pfalz, Kunstverein Germersheim, Germany
- Nice fine art, Städtische Galerie, Lahr, Germany
- Wir haben keine Probleme, Backfabrik, Berlin, Germany
- Parkinn, Parkhaus Straßburgerstraße, Berlin, Germany
- Schwarz auf weiß, Schickeria, Berlin, Germany
- sociéte des nations. factice et scindée en elle-même, CIRCUIT Association d’art contemporain, ausanne, Switzerland
- Steiler Konter, Bregenzer Kunstverein, Bregenz, Germany
- Cultivation of Light, PR 17 Raum, Berlin, Germany
- Outliners, arttransponder Projektraum, Berlin, Germany
 
2005   
- 37 x 26 x 10, ehem. Palast der Republik, Berlin (curated by Thomas Scheibitz), Germany
- La grande faveur, Galerie Johann Widauer, Innsbruck, Germany
 
2004
- Fuck you it is all flowers, Turboplex, Berlin, Germany
- Schickeria, Berlin, Germany
- klak, Kulturbahnhof Kassel, Germany
- Golden Pudel Club, Hamburg (with Axel Geis und Alicja Kwade), Germany
- Endless Summer, Turboplex, Berlin, Germany
 
2003   
- Kunststudenten stellen aus, Kunst- und Ausstellungshalle der Bundesrepublik, Bonn, Germany
- Bis ans Ende der Welt, In Memoriam Bob Ross, Kunstverein Konstanz, Germany
- Wheeling London, Ceel Project Space, London, England
 
2002   
- Przeglad, Galeria Wyspa, Danzig, Germany
- Ausstellungsraum de light, Frankfurt am Main, Germany
- Der Goldene Schnitt, Atelier Jörg Immendorff, Düsseldorf, Germany
- Sounds, G7, Berlin, Germany
- Die Provinz lebt, Westwendischer Kunstverein, Gatow, Germany
 
2001
- 24085292, Bunker kgb.e.V., Wiesbaden, Germany
- Wandbilder, Atelier Jenny Rosemeyer, Berlin, Germany
- Pension Bader, Projektraum Konkordiastraße, Düsseldorf, Germany
- sexuell, Stiftung Starke, Berlin, Germany
- Weihnachtsausstellung, Menschenraum / Atelier Thomas Zipp, Berlin, Germany
- Die Vertreibung der Händler aus dem Tempel, 2yk, Berlin, Germany
- Erforschung des Horizonts, Kunsthalle Göppingen und St. Petri Lübeck, Germany
 
2000   
- Face the Black – Die Sammlung Thomas Zipp, Galerie Maschenmode, Berlin, Germany
- Nord/West-Passage II, Museen der Stadt Lüdenscheid, Germany
- ARK 2000, Dilston Grove, London, England
- Genre Painting, G7, Berlin, Germany
 
1999
- Nord/West-Passage, Museen der Stadt Lüdenscheid, Germany
- Für den Moment genügt die Behauptung, Villa Streccius, Landau, Germany

Curated Shows

2013
- Buy Art By Artists, Kwadrat, Berlin, Germany

2012
- Ein weißes Feld, works from the Collection FIEDE, Kunstraum Schlachthaus, Aschaffenburg, Germany

2011
- Arbeiten aus dem Bleistiftgebiet, Van Horn, Düsseldorf, Germany

public collection

- Centre Pompidou, Paris, France
- Berlinische Galerie, Berlin
- Sammlung zeitgenössische Kunst des Bundes, Germany
- Sammlung Museum van Bommel van Dam, Netherlands
- Burger Collection, Hong Kong, China
- Rubell Family Collection, Miami, FL, U.S.A.
- Collection Rosenblum Projects, Paris, France
- Sammlung Südhausbau, München, Germany
- The Margulies Collection, Miami, FL, U.S.A

awards

2016
- Falkenrot Preistrager Award, Kunstlerhaus Bethanien, Berlin

2009
- Vattenfall Kunstpreis, Energie
 
2008
- Stiftung Kunstfonds
 
2005 - 06
- Scholarship, DAAD, Vienna
 
2004   
- Award, GASAG
 
2003
- Scholarship, Deutsches Studienzentrum Venedig 
 
1998 - 02
- Scholarship, Studienstiftung des deutschen Volkes

Press

Catalogues and books
 
2013
Saar ART 2013, 10. Landeskunstausstellung, Minesterium für Bildung und Kunst, ed. by Andreas Bayer, 2013

2012
Beyond the surface, KAI 10, Raum für Kunst, Arthena Foundation, Kettler Verlag, 2012
A House Full of Music, ed. by Ralf Beil and Peter Kraut, Institut Mathildenhöhe, Darmstadt,
Hatje Cantz Verlag 2012
Manifesto Colllage. Defining Collage in the Twenty-First Century, About Change Collection, ed. by Christiane zu Salm, Verlag für Moderne Kunst, Nurnberg, 2012
Gregor Hidlebrandt - Ein Koffer aus Berlin, ed. by Saarländisches Künstlerhaus, text: Stefanie Gerke, Saarländisches Künstlerhaus, Saarbrücken 2012
Nächtliches Konzert, Gregor Hildebrandt, Jorinde Voigt, ed. by Saskia Van de Wiel, text: Niklas Maak, Museum van Bommel van Dam, Venlo 2012

2011
Born in Dystopia, Rosenblum Collection and friends, 2011
ABSTRAKT////SKULPTUR, ed. by Marc Wellmann, Berlin, 2011
Menschenbilder-Ausgewählte Werke aus der Sammlung zeitgenössischer Kunst der Bundesrepublik Deutschland, ed. by Kulturstiftung Landkreis Osterholz, page 64
Wert/Sache, ed. by Anna Catharina Gebbers, Nürnberg
Kassettendeck. Soundtrack einer Generation, ed. by Jan Drees, Christan Vorbau, Frankfurt/M.,
page 102-109
Gregor Hildebrandt - Und dass zu Frühe die Parze den Traume nicht ende, Grimm Verlag,
Amsterdam 2011
Lysets Land III, Projekt Skagen '11, August 5 – September 4, 2011
HALLELUHWAH! Hommage à CAN, curated and ed. by Christoph Tannert, Galerie ABTART,
modo 2011

2010
Shadow & Substance. 9 exhibitions at the Kunstverein Schwerte, ed. by Christian
Freudenberger and Markus Karstieß, Bielefeld/Leipzig/Berlin 2010
The record. Contemporary Art and Vinyl, ed. by Trevor Schoonmaker, Durham 2010
Fischgrätenmelkstand, ed. by Temporäre Kunsthalle Berlin/ Angela Rosenberg, John Bock,
Cologne 2010
Colours of Sound, ed. by Parcours Saint Germain, Paris
 
2009
Schickeria-High Society, ed. by www.schickeria-berlin.de, Berlin
XVI. Rohkunstbau ATLANTIS I. Hidden Histories – New Identities, ed. by
Dr. Arvid Boellert,
Berlin 2009
Malcom McLaren (ed.) - Musical Paintings, published by Scheibler Mitte, Berlin 2009
Begegnung Bauhaus – Kurt Schmidt und Künstler der Avantgarde, ed. by Kunstsammlung Gera,
Gera 2009
BERLIN 2000, ed. by PaceWildenstein, New York 2009
Gregor Hildebrandt, ed. by Vattenfall Europe Mining & Generation; Berlinische
Galerie, Landesmuseum für Architektur, Fotografie und moderne Kunst, texts by Heinz Stahlhut and Frank - Thorsten Moll, Berlin 2009

2008
Michael Kalki, Wawrzyniec Tokarski, Gregor Hildebrandt, Pablo Alonso, ed.
by Grimm Fine Art, Amsterdam 2008
Back to Black: Black in current painting, ed. by kestnergesellschaft Hannover, texts by Veit Görner, Caroline Käding, Frank-Thorsten Moll und Lutz Hieber, Heidelberg 2008
 
2007
La Boum III, ed. by Robert Crotla, Warschau 2007
curated booth, by Anselm Reyle / Art Basel 38, ed. by Galerie Almine Rech, Paris 2007
Gregor Hildebrandt, ed. by Kunstverein Ludwigshafen/ Galerie
Jan Wentrup/ Almine Rech Gallery, Kerber Verlag, Bielefeld 2007
                                                                                   
2006
pigment piano marble
Unikate 0/6, 12 statements aus Rheinland-Pfalz, ed. by Kunstverein Germersheim,
Germersheim 2006
 
2005
jemand wird zuhören, ed. by Friedemann Hahn und Annette Tietz 2005
HKM1 und Städt, Galerie Pankow, Mainz und Berlin 2005
Schickeria, ed. by Olivia Berkemeyer & Peter Langer, Berlin 2005
Checkpoint Charley, ed. by 4. Berlin Biennale für zeitgenössische Kunst, Berlin 2005

2003
Gregor Hildebrandt. Dunst blauer Tage, ed. by Kunstverein Eislingen, Eislingen 2003

Selected articles
 
2013
Gregor Hildebrandt, Saarbrückerhefte, Spring 2013, page 39-44
La peinture en son concept, Arts Libre, Supplément à La Libre Belgique – N°192 – June 21 to June 26, 2013, page 2-3
Berlin vu par Gregor Hildebrandt, L’Officiel Art, N°5, March April May 2013, page 80-85
Cover Story: Heiliger St. Quentin, Monopol Magazine, February 2013, page 6
Porte Ouverte, Thijs Demeulemeester, February 16, 2013

2012
Die stacheldrahtige Kratzigkeit des Tons, Frankfurter Allgemeine Zeitung, Niklas
Maak, March 6, 2012
Nacht, sing uns dein Lied, Monopol magazin online, Alexandra Wacht, April 5, 2012
Hier malt Berlin, Hinrichsen Jens, in: Monopol. Magazin fü̈r Kunst und Leben, 4/2012

2011
Souriau Judith: Gregor Hildebrandt/Gabriel Vormstein, Art Press, N°380, July-August 2011, page 32
Alexandra Wach: Bleistift & Neurosen, Die Welt, July 9, 2011, page 28
Barachon Charles: La beauté en deuil de Hildebrandt, Technikart, May
Prodhon Françoise-Claire: Gregor Hildebrandt, artiste du silence, Studio, may
Braat Manon: Gregor Hildebrandt, Kunstbeeld, N°2
Duponchelle Valérie: Gregor Hildebrandt, sexe, mensonges et vidéo, Le Figaroscope, April 13th
Schlagel Andreas: Berlin – and beyond : Germany, 02, N°57, Spring
Blanchard Benoît: Gregor Hildebrandt ; Seiten im Buch Wie Wände im Raum, Galerie Almine Rech, Œuvres-revues.net, April 10
Christoph Braun: Kunst und Vinyl. So eine Zweifaltigkeit, Groove, March/April 2011, page 7
Julia Gwendolyn Schneider: Richtungsänderung, taz, January 11, 2011

2010                 
Niklas Maak: Etabliert und ein bisschen unterkühlt. Das Berliner Art Forum ist kleiner als sonst, aber die Entdeckungen bei den osteuropäischen Galerien machen die Messe für Gegenwartskunst sehenswert, FAZ, October 9, 2010
Niklas Maak: Ein Kunstwerk als Supermuseum, FAZ, July 23, 2010
Rudij Bergmann im Gespräch mit Gregor Hildebrandt & Axel Geis, Einraumhaus c/o Mannheim,
July 23, 2010
Katrin Heitlinger: Vier Fragen an Axel Geis & Gregor Hildebrandt, Einraumhaus c/o Mannheim,
July 22, 2010
AD, Collections Privées, Paris, September/October 2010
Jens Hinrichsen, Duchamps Erben: Berlin und Leipzig üben sich in der Kunst des Schachspiels, monopol, September 2010, page 18/19
Astrid Mania, Klettern auf dem Spassgerüst, artnet.de
Christoph Schütte: Flackernde Farbgewitter. The Jack Goldstein Connections in der Galerie Beckers. FAZ, January 9, 2010
Lisa Zeitz, Nach der Art von Biesenthal, Franfurter Allgemeine Sonntagszeitung, July 18, 2010
Béatrice de Rochebouet, Collectionneurs. La jeune génération, Le Figaro, May 6, 2010
Tillmann Prüfer, Voll ins Schwarze, ZEITmagazin, April 8, 2010
Agnes Dominique Dabrowski, Klassiker ausser Rand und Band, artinvestor, 02/2010
Anne Reimers, Traceys Herz, FAZ, February 20, 2010
Esther Brenner, Klingende Leinwände, Saarbrücker zeitung, February 5, 2010

2009  
Grand Interior Special, sleek, Autumn 2009
Thea Herold, Rohkunstbau Reloaded, Berlin Block, September 2009
Dominikus Müller, Wunschmaschine Wimpernschlag, artnet.de, August 27, 2009
Mechthild Blum, Eine meterlange Säule aus Schallplatten, Badische Zeitung, August 24, 2009
Katrin Bettina Mueller, Tonspur, tip Berlin, August 20, 2009
Lena de Boer, Gegenteile von Schwarz und Weiß: Gregor Hildebrandt in Berlin, monopol.de, August 8,
2009
Laura Weissmüller, Schauen statt hören, Süddeutsche Zeitung, August 4, 2009
Laura Weissmüller, Apokalyptisches Verschwinden, Süddeutsche Zeitung, August 3, 2009
Hendrik Lakeberg, Gregor Hildebrandt, zitty Berlin, July 30, 2009
Christiane Meixner, Tausend Meter Kassettenband, Tagesspiegel, July 28, 2009
Lukas Wagner, Verfall und Neuanfang im Schloss Marquardt, Berliner Morgenpost, July 18, 2009
Christina Tilmann, Letzte Ausfahrt Atlantis, Tagesspiegel.de, July 15, 2009
Gunnar Luetzow, Nichts für schwache Nerven, Berliner Morgenpost, July 14, 2009
Peter Richter, Haus am See, Frankfurter Allgemeine Sonntagszeitung, July 12, 2009
Letitia Witte, Ausstellung Rohkunstbau um den Mythos Atlantis, Münsterländische Volkszeitung, July 12, 2009
Laila Niklaus: Auf der Suche nach Atlantis, Tip, July 10 – July 22, 2009
Ingeborg Wiensowski, Kunstgenuss in Badehose, Spiegel Online, July 7, 2009
Meike Jansen: Der Himmel im Raum, taz, June 10, 2009
Verena Straub, Der Himmel im Raum, art-in-berlin.de, June 10, 2009
La force de l'art 02 at the Grand Palais | Hiroshige at the Museo Fondazione Roma | Gregor Hildebrandt at Wentrup Gallery www.akimbo.ca, May 7, 2009
Sascha Josuweit, wie Musik aussieht, taz, May 5, 2009
Karolina Wrobel, Magnetische Kunst, kunst:art, May 1, 2009
Renaud Regnery, Que ce mois de mai ne s’achève jamais, collectifr.fr, May 2009
Thea Herold, Grundsätzlich Maler, artnet.de, May 2009 
Julia Siepmann, Ein Wochenende für die Kunst, Berliner Morgenpost, April 2009
S.L.: Genau betrachtet, Hermann, issue 2/2009, page 20
Arno Neumann, Popmusik einmal ganz anders, Lausitzer Rundschau, February 14, 2009

2008   
Liebling, Special issue December 2008, page 12 + 14
Daniel Boese: 62 Days, 58 Shows, 212 Artists, in: Artforum, November 2008, page 366
Wrecking Ball, in: Wallpaper, November 2008, page 121
Schach dem Kronkorken!, Schwäbisches Tagesblatt, October 23, 2008
Fiac 2008: Coup de coeur Cour Carree. Culturecie.com. October 30, 2008
Interview with Tim Ackermann, Gregor Hildebrandt über Legendenbildung. Welt am Sonntag, N°40, October 5, 2008
Sebastian Preuss: Malerei für Stadtneurotiker, Berliner Zeitung, September 09, 2008
Manfred Schumacher: Artinvestor Index: Die jungen Aufsteiger, Artinvestor
04/2008, page 88-91.
Karl-Otto Sattler: Außer Atem. Der Bildende Künstler Gregor Hildebrandt schafft
in Berlin den Durchbruch, in-4mation, August 2008, page 6
Simone Reber: In der Spulhölle. Kunst als Bandsalat: Gregor Hildebrandt
verhängt das Haus am Waldsee mit Videobändern, Der Tagesspiegel,
September 5, 2008
Kunstrundgang: Brigitte Werneburg schaut sich in den Galerien von Berlinum,
taz.de, August 27, 2008
Ludwig Seyfarth: Die Romantik der Datenträger, artnet.de, August 27, 2008
Tim Ackermann: Raus aus den Galerien, rein ins Leben, Welt am Sonntag, August 17, 2008, page 65
Ingoborg Wiensowski: Geklebte Bilder, Kultur Spiegel, August 2008, page 28
Die Schwarzmaler, Der Tagesspiegel, July 29, 2008
Haus am Waldsee erhält neue Fassade, Berliner Morgenpost, July 25, 2008
Back to black, Sleek Magazine, July 2008
Dansk, spring 2008, issue 17, page 46
Nicole Büsing/ Heiko Klaas: Fürsten der Finsternis. Black Power: Die Kestergesellschaft Hannover präsentiert 21 zeitgenössische Maler, die mit der Farbe Schwarz arbeiten, Kunstmarkt.com, October 6, 2008
Tim Ackermann: Im Kohlenkeller des Kunstbetriebes, taz.de, June 5, 2008
 
2007 
Robert Rigney: Critic’s pick Gregor Hildebrandt, Artnews, December 2007, page 184
Liebling. Zeitschrift für Mode, Film, Musik und Kunst, January 2008
Valérie Duponchelle: Berlin devient la capitale sereine des artistes, Le Figaro, October 4, 2007
The Group Shows, New York Times, August 10, 2007
Gregor Hildebrandt, Tagesspiegel Ticket, issue 14, April 2007.
Jan Kedves: Kleb mir das Lied vom Tod, Monopol, April 2007, page 96-101
Andrea Hilgenstock: Mehr als das Sichtbare, Die Welt/ Kunstmarkt, April 20, 2007, page 34
Der Langen Nacht der Museen, neue LU/ Kultur, April 3, 2007, page 15
Kai Schharffenberger: Schwarzer Regen, Leo, March 22- March 28, 2007, page 32
Hans- Ulrich Fechler: Installationen, Projektionen und Kinderspiele, Die Rheinpfalz, issue 66, March 19, 2007
Alfred Huber: Das stille Leben der Bänder, Mannheimer Morgen, March 19, 2007
Dietrich Wappler: Frühstück mit Alice, Die Rheinpfalz, Kultur, March 16,2007
Hildebrandt in Kunstverein, Die Rheinpfalz, issue 62, March 14, 2007
Museum bekommt Gastrecht bei Kunstverein, Die Rheinpfalz/ Kultur Regional, issue 59, March 10, 2007
Milan Chlumsky: Der Bandsalat der Träume, Rhein-Necker-Zeitung, issue 71, March 26, 2007
Eva Mayer: Kunst statt Bandsalat, Meier. Das Stadtmagazin, March 2007, page 24
 
2006
Christian Herchenröder: Störung der Sehgewohnheiten, Handelsblatt
Kunstmarkt, August 25/ 26/ 27, 2006
 
2005
Katrin Bettina Müller: Verstummte Beredsamkeit. „Von den Steinen zu den
Sternen von Gregor Hildebrandt in der Galerie Jan Wentrup, Tip/ Kunst, July 2005
 
2004
Gregor Hildebrandt: Kaiserpassage, Techno, issue 6, June 2004, page 22- 25

TV
 
2008
Deutsche Welle TV August 25, 2008: Geklebte Kunst   - Gregor Hildebrandt macht aus alten Tonbändern Bilder und Skulpturen.
 
Radio
 
2009
INFOradio from June 17, 2009: Galerierundgang
 
2008
dradio.de from September 15, 2008: Bandsalat: Der Kassettenkünstler Gregor Hildebrandt

Gregor Hildebrandt - Urlaub im Urban

Gregor Hildebrandt - Urlaub im Urban

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Gregor HILDEBRANDT - GREGOR HILDEBRANDT : UND DASS ZU FRÛHE DIE PARZE DEN TRAUME NICHT ENDE

Gregor HILDEBRANDT - GREGOR HILDEBRANDT : UND DASS ZU FRÛHE DIE PARZE DEN TRAUME NICHT ENDE

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Gregor HILDEBRANDT - GREGOR HILDEBRANDT JORINDE VOIGT

Gregor HILDEBRANDT - GREGOR HILDEBRANDT JORINDE VOIGT

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Gregor Hildebrandt „Die Geschichte läuft über uns“ - 2014

by Silke Hohmann


The Berlin-based artist Gregor Hildebrandt makes installations, sculptures, and works on canvas. His materials are, amongst other things, record carriers for sound and film, such as cassette tapes, videotapes, and vinyl records. His formal vocabulary is grounded in minimalism, but his works are charged with numerous associations. Even though there is no sound in his exhibitions, Gregor Hildebrandt’s installations, objects, and pictures exude an intensity that goes beyond their mere physical components. They are stores of pop-cultural memories that contribute to identity formation.

The unreeled tapes reveal an unexpected sensual quality. The brown or gray coating becomes a form of painting. The artist even uses the small rectangular pieces of felt over which the cassette tapes run. He explores the materials in all sorts of ways and thus reaches new forms that follow their own laws.

For example, vinyl records shaped into bowls are stacked and become sculptures. The videotapes put together to form a large floor-to-ceiling wall hanging are indirectly also a projection screen: every tape bears a recording of Wim Wender’s great 1987 Berlin film Der Himmel über Berlin [Wings of Desire]. The story of an angel who wants to participate in earthly life is set in city that was still divided at the time. It articulated eternal themes like immortality, sadness, yearning, and transience into a contemporary visual language that to this day remains characteristic for Berlin.

Embedded in this simultaneously delicate and monumental curtain is a series of four paintings that share the same origin: the negative form, from which the other three pictures are taken in a rip-off process, on the wall opposite the entrance, consists of cassette tapes with a recording of a song by the Berlin industrial band Einstürzende Neubauten. The song “The Garden” evokes, in a darkly minimalist emotionality that is typical for the band, a paradise with four stations. Like the songs and films that so fascinate Hildebrandt, his art also tells simultaneously of tenderness and coldness, romance and harshness.

The floor installation on the lower floor has exactly the dimensions of the Berlin herringbone parquet in Hildebrandt’s apartment on Rosenthaler Platz in the formerly eastern part of the city. The square on the narrow side consists of about 27,000 cassette felts and measures 79 by 79 cm. One the one hand, these are the measurements of Malevich’s Black Square, at the same time 79 stands for the year of birth of his partner, the artist Alicja Kwade.

Die Geschichte läuft über uns is an ambiguous title. It could be translated as “The Story Runs Across Us” or indeed “History Walks Across Us”. It is these minimal contact points where the deconstruction of the material finds a new beginning.

Silke Hohmann


Gregor Hildebrandt “These flowers will never die”, 2013

by Anna Ballestrem

Hildebrandt's works usually derive their titles from a fragment of text. In this instance a line from the song “Blood flowers” by the British punk band: “The Cure” also provides the title for
the show. The track is divided into two parts that reveal two halves of a relationship and different angles. The one takes a light, positive perspective and the other is darkly pessimistic and depressing.

The co-existence of two seemingly conflicting or polarised experiences within one relationship is a recurrent theme in Hildebrandt’s work. He presents us with: “The flowers of
evil” and “The flowers of good” as encapsulating the positive and the negative. Music tape (which is employed in both pictures and which is also Hildebrandt’s most important and
characteristic material), is recorded with the title giving song: "Blood Flowers". This act allows it to transcend the material and transform into both signifier and a bearer of mood. The motif made in "rip-off" technique, is an interpretation of Andy Warhol’s “Flowers”.

However, in Hildebrandt's version, Warhol’s flowers (which have become the embodiment
of a cheerful, whimsical melody), become dark, portentous and fragile. Hildebrandt deprives them of colour, rendering them into the infinite with a wallpaper roller re-applied with repetitive and random strokes.

While in Hildebrandt's practice the flower in its fragility is consistently a sign of fugacity and death, its paradoxical nature is also highlighted in this exhibition. Hildebrandt creates an etching on a granite flag derived from a photograph of a bunch of flowers that is reflected in one of his "tape pictures".

Memories and fugacity, notes and rests reoccur repeatedly as the subject of Hildebrandt's work - both formally in his various modes of operation and materials, such as in the eternalised format of the stone ''pictures'', and in the ''rip-offs'', which depict solely the left- overs and the tape; which takes on the form of a silent rest itself. The musical rhythm of marks and rests punctuates Hildebrandt's subject matter - be it the fragmentation of images of legendary movie beauties or the depiction of his grandmother's wall paper.

The so- called "non-colours": Black, white and grey, dominate Hildebrandt's practice. This reduced palette sets a cool and demure tone from which to enter the artist's world. However, despite these often large-scale monochrome grounds, energy and emotion comes to the fore through Hildebrandt's titles. They transport the viewer into into the realms of music, lyrics and film – and thus memories and associations forged between artist and
viewer begin a process of animation.

The extent to which complexity and the allusive accompany Hildebrandt’s work starts to
become clear from the viewer's first engagement with his practice. It is almost impossible to define Hildebrandt's work as being painting, sculpture, collage or installation. Instead the viewer must allow for a process of slow approximation, and the longer one considers the work, the more levels and layers appear to open up. Hildebrandt is playing with our perception; he gives a sign, sets something in motion and then the work –the story- is
completed in the mind of the beholder.


Extracted from the catalogue: " Beyond the Surface ", 2012

by Ludwig Seyfarth


In Gregor Hildebrandt’s large-format canvases, cassette tapes or old VHS tapes are accurately glued in parallel lines and result in finely nuanced colour tones as well as differing surface effects such as roughness and smoothness, and reflections, as in non-representational painting with its refined use of colour and its interaction with the canvas ground. The effect of the images dominated by dark tones suggests comparisons with American abstraction of the 1950s and 1960s.

Although apparently similar to American abstraction, the differences to the abstract-expressive and minimalistic “classics” of the 1950s to the 1970s, are, however, unmistakable and begin with the use of “found footage” instead of traditional oil colour. Although Hildebrandt evokes a similarly melancholic mood through the dominant use of black, as does, for example, Ad Reinhardt, the strongly minimalistic ensemble stands not only for an introverted self-reference, it also unfolds a broad potential for association applied consciously by the artist. The tapes that Hildebrandt uses contain pieces of music that, although they can no longer be heard, are referenced by the image titles and reflect Hildebrandt’s preferred musical genres. Punk and rock bands of the 1980s and 1990s like The Cure, Bauhaus and Einstürzende Neubauten are found alongside a representative of New music such as Arvo Pärt.

The appeal of the surfaces of Hildebrandt’s works is associated with the glamour of music and film. Their lightly nostalgic charm arises not least because cassette tapes and VHS tapes are no longer the usual method of data storage.

The sound and film tapes that Hildebrandt collects from friends or acquaintances, as well as from household clearances, become, as it were, metaphors of cultural and biographical memory. The music that we listened to in our youth and the films that fascinated us are usually imprinted on us for our lifetime. And that Hildebrandt presents us with only their storage medium and not the sounds and films themselves, is a kind of mirror of memory that, although saved in the memory, is no longer visible or audible. One cannot see on the surface of the data media which data they contain. The discreet charm that Gregor Hildebrandt elicits from his surfaces however suggests that each sound or film tape takes on an individual character through the medium it is recorded on.
(Translation Heather Allen)