FR • EN • Ruttkowski;68 in Paris • Stefan Sagmeister & Meuser • Finally, a Good Exhibition • 11.10.2026 – 08.11.2026 • Gaîté Lyrique • opening on 15 October 2026 • Samia Bahemmouche •Attachée Presse Ruttkowski;68 • Press Release Ainsi Parlait l' Art
Stefan Sagmeister (né en 1962 à Bregenz, en Autriche ; vit et travaille à New York, aux États-Unis) présente sa première exposition en duo, *Finally, a Good Exhibition*, en dialogue avec Meuser (né en 1947 à Essen, en Allemagne ; vit et travaille à Karlsruhe, en Allemagne), à la galerie Ruttkowski;68 à Paris.
Cette exposition fait suite à *Finally, Something Good*, son exposition personnelle à la Gaîté Lyrique, dont l'ouverture est prévue le 15 octobre 2026.
Stefan Sagmeister (b. 1962 in Bregenz, Austria; lives and works in New York, USA) presents his first two-person exhibition,Finally, a Good Exhibition, in dialogue with Meuser (b. 1947 in Essen, Germany; lives and works in Karlsruhe, Germany), at Ruttkowski;68 in Paris.The exhibition follows Finally, Something Good, his solo exhibition at Gaîté Lyrique, opening on 15 October 2026.
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La différence réside dans ce que chaque artiste attend du spectateur. Meuser a étudié auprès de Beuys avant d’abandonner toute théorie pour se tourner vers l’acier peint en jaune de signalisation ou en brun ferroviaire. Ses formes ne cherchent pas à s’expliquer d’elles-mêmes. Les peintures de Sagmeister fonctionnent à l’inverse : la géométrie suggère une figure, et l’on attend du spectateur qu’il reparte en ayant appris quelque chose de nouveau sur la pauvreté ou la démocratie.
Il y a là une certaine ironie : Beuys croyait que l’art pouvait transformer la manière de penser d’une société. Son élève s’est tourné vers la casse, tandis que le designer finissait par se rapprocher de l’engagement militant.
Ces deux corpus d’œuvres défendent une même idée : les objets jugés inutiles ou destinés
au rebut ont encore une longue vie devant eux. C’est le même argument que développe l’exposition de Sagmeister, présentée simultanément à la Gaîté Lyrique, au sujet du monde
lui-même.
Photography / Credits
Artwork above: Stefan Sagmeister, Fat Man, 2020.
Artwork above: Meuser, Keine Akten Nirgends, 2023.
Artist portrait (Stefan Sagmeister): Stefan Sagmeister
Artist portrait (Meuser): Ruttkowski;68
All images are reproduced courtesy of the artists and Ruttkowski;68.
Since the 1970s, Meuser has sourced his materials from scrapyards. Sagmeister’s come from the attic of the house where he grew up: unsold paintings from his great-great-grandparents’ antique shop. Neither artist begins with a blank surface, and neither conceals the origins of their materials. Meuser’s welds remain visible, as does the old paint beneath Sagmeister’s blocks of colour.
Artwork above: Stefan Sagmeister, Fat Man, 2020.
Artwork above: Meuser, Keine Akten Nirgends, 2023.
Artist portrait (Stefan Sagmeister): Stefan Sagmeister
Artist portrait (Meuser): Ruttkowski;68
All images are reproduced courtesy of the artists and Ruttkowski;68.
Since the 1970s, Meuser has sourced his materials from scrapyards. Sagmeister’s come from the attic of the house where he grew up: unsold paintings from his great-great-grandparents’ antique shop. Neither artist begins with a blank surface, and neither conceals the origins of their materials. Meuser’s welds remain visible, as does the old paint beneath Sagmeister’s blocks of colour.
The difference lies in what each artist asks of the viewer. Meuser studied under Beuys before abandoning all that theory and turning to steel painted signal yellow or railway brown. His forms do not seek to explain themselves. Sagmeister’s paintings work in the opposite way: geometry conveys a figure, and the viewer is expected to leave having learned something new about poverty or democracy.
There is a certain irony here: Beuys believed that art could transform the way a society thinks. His student turned to the scrapyard, while the designer ultimately moved closer to the programme.
Together, these two bodies of work put forward the same idea: things considered useless or ready to be discarded still have a long life ahead of them. It is the same argument developed by Sagmeister’s exhibition, presented simultaneously at Gaîté Lyrique, about the world itself.
Together, these two bodies of work put forward the same idea: things considered useless or ready to be discarded still have a long life ahead of them. It is the same argument developed by Sagmeister’s exhibition, presented simultaneously at Gaîté Lyrique, about the world itself.
L'Art Universel • L'Art Sacré • L'Art Singulier d'Ici et d'Ailleurs
Ruttkowski;68 in Paris • Stefan Sagmeister & Meuser • Finally, a Good Exhibition • 11.10.2026 – 08.11.2026 • Gaîté Lyrique • opening on 15 October 2026 • Press Release Ainsi Parlait l'Art
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