Michael van Ofen

Born 1956 in Essen, lives and works in Düsseldorf and Münster.

1974-1982 Kunstakademie Düsseldorf

Selected Solo Exhibitions

2016 The symbolic extension of the self from the prospect of the early contemporaries, Sies + Höke,

          Düsseldorf

2014 Bilder aus Zweihundert Jahren, JaLiMa Collection, Düsseldorf

2013 Germania und Italia. The Continuance of the Contemporary, Collezione Maramotti, Reggio Emilia

2012 Miachel van Ofen: Anton v. Werner, Johnen Galerie, Berlin Alison Jacques, London

2011 Michael Royen Studio, Vettelschloß

2010 Der Abschied der Braut, dkw kunst.museum.dieselkraftwerk, Cottbus Sies + Höke, Düsseldorf

2008 Marc Foxx, Los Angeles Tomio Koyama Gallery, Tokyo In the Space between Pictures, Johnen Galerie,

          Berlin

E.T.C

Selected Group Exhibitions

2018 THE HUMAN CONDITION, Schönewald Fine Arts, Düsseldorf

2017 Best of Ruhrgebiet, Galerie Frank Schlag & CIE

2016 Die Erfindung der Abstraktion, Akademie – Galerie, Düsseldorf

          This Just In: Recent Acquisizions, BAMPFA, Berkeley

          Resonance(s), Maison Particulière, Brussels

          Das doppelte Bild. Aspekte zeitgenössischer Malerei, Kunstmuseum Solothurn

          Paintings Between The Lines, Williams College Museum of Art, Williamstown

          Inner Journeys, Maison Particulière, Brussels

2011 Paintings Between The Lines, Wattis Insitute, San Francisco

          Among Flesh, Alison Jacques Gallery, London

2010 Waking The Dead, Autocenter, Berlin

          Wrong, KIT, Kunst im Tunel, Düsseldorf

2008 Palace, The John Institute, Cinema Palace, St. Gallen

E.T.C

1. Landscape oil on canvas, 150×165cm, 2007

2. Landscape oil on canvas, 38×42cm, 2007

3. Virtue Turn 7 oil on canvas, 55×45cm, 2016

4. Virtue Turn 9 oil on canvas, 57×63cm, 2017

5. Replication after Eugene Delacroix oil on canvas, 47×53cm, 2016

6. The Symbolic Extension of the Self from the Prospect of the Early Contemporaries. Facial Tattoo after Ludwig York Choris, 1822 oil on canvas, 38×32cm, 2016

7. The Symbolic Extension of the Self from the Prospect of the Early Contemporaries. Tattoo and Appliqué in: William Hodges, “Portrait of a Maori Chieftain”, 1773 oil on canvas, 63×57cm, 2016

8. The Symbolic Extension of the Self from the Prospect of the Early Contemporaries. Body Painting in: George Catlin, “Roaring Thunder, Youngest Son of Black Hawk”, 1832 oil on canvas, 63×57cm, 2016

9. The Symbolic Extension of the Self from the Prospect of the Early Contemporaries. Colour and Application in: George Catlin, “No Fool, a Great Fop”, 1832 oil on canvas, 74×66cm, 2016

10. The Symbolic Extension of the Self from the Prospect of the Early Contemporaries. Feathers and colours in “Sioux playing ball” by George Catlin, 1843 oil on canvas, 160×120cm, 2016

11. Ohne Titel Plants and tattoos after Jean-Baptiste Debret oil on canvas, 74×66cm, 2016

12. Authority and Regalia: Portrait Des Chefs des Zivil Kabinetts Wilhelms II., Geheimrat Hermann von Lucanus, 1908 oil on canvas, 52×38cm, 2013

13 Authority and Regalia: Anton von Werner, “Fürst Bismarck am Bundesratstisch”, 155×115cm, 1888 oil on canvas, 52×40cm, 2013

14. Authority and Regalia: Anton von Werner, “Der Kongreß zu Berlin (Schlußsitzung des Berliner Kongresses, 13. Juli 1878)”, 360× 615cm, 1892 oil on canvas, 80×120cm, 2013

15. The Symbolic Extension of the Self from the Prospect of the Early Contemporaries. Coloured Textile Application in: Anton von Werner, “Die Eroeffnung des Reichstags im weissen Saal des Berliner Schlosses durch Wilhelm II.”, 387×642cm, 1893 oil on canvas, 47×53cm, 2014

16. The Symbolic Extension of the Self from the Prospect of the Early Contemporaries. Coloured Textile Application in: Anton von Werner, “Kaiser Friedrich als Kronprinz auf dem Hofball 1887”, 118×95cm, 1895 oil on canvas, 250×190cm, 2017

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