Friday, 1 June 2018

Proud de to be part of Foire Internationale d'Art Contemporain 2018

fiac! announces exhibitor's list 
of the 2018 edition in Paris

Galerie 1900-2000, Paris
303 Gallery, New York
80M2 Livia Benavides, Lima*

Martine Aboucaya, Paris
Air de Paris, Paris
Allen, Paris
Antenna Space, Shanghai*
Applicat-Prazan, Paris
Art : Concept, Paris
Alfonso Artiaco, Napoli

Balice Hertling, Paris
Bergamin & Gomide, São Paulo
Thomas Bernard - Cortex Athletico, Paris
Blum & Poe, Los Angeles, New York, Tokyo
The Breeder, Athens
Gavin Brown's enterprise, New York, Roma
Galerie Buchholz, Berlin, Köln, New York

Shane Campbell, Chicago
Canada, New York*
Capitain Petzel, Berlin
Cardi, Milano, London
Ceysson & Bénétière, Paris, Luxembourg, Saint-Étienne, New York
ChertLüdde, Berlin
C L E A R I N G, New York, Brussels
Sadie Coles HQ, London
Continua, San Gimignano, Beijing, Boissy-le-Châtel, Habana
Paula Cooper, New York
Raffaella Cortese, Milano
Chantal Crousel, Paris

Ellen De Bruijne Projects, Amsterdam
Massimo De Carlo, Milano, London, Hong Kong
Delmes & Zander, Köln
dépendance, Brussels
Downs & Ross, New York
Dvir Gallery, Tel Aviv, Brussels

frank elbaz, Paris, Dallas
espaivisor, Valencia
Experimenter, Kolkata

Imane Farès, Paris
Selma Feriani, Tunis, London
Konrad Fischer, Düsseldorf, Berlin
Freedman Fitzpatrick, Los Angeles, Paris

Gagosian Gallery, Paris, New York, London, Beverly Hills, Hong Kong
Christophe Gaillard, Paris
Gaudel de Stampa, Paris
gb agency, Paris
Gerhardsen Gerner, Oslo, Berlin*
Ghebaly Gallery, Los Angeles*
Gladstone Gallery, New York, Brussels
Gmurzynska, Zürich, St. Moritz
Laurent Godin, Paris
Marian Goodman, Paris, New York, London
Bärbel Grässlin, Frankfurt
Green Art Gallery, Dubai
Karsten Greve, Paris, Köln, St. Moritz

Hauser & Wirth, London, Somerset, New York, Los Angeles, Hong Kong, Zürich*
Max Hetzler, Berlin, Paris
High Art, Paris*
House of Gaga, México D.F., Los Angeles
Xavier Hufkens, Brussels
Eric Hussenot, Paris
Hyundai, Seoul

In Situ - Fabienne Leclerc, Paris
Catherine Issert, Saint-Paul

rodolphe janssen, Brussels*
Jousse Entreprise, Paris
Annely Juda Fine Art, London

Karma, New York
Karma International, Zürich, Los Angeles
Paul Kasmin, New York*
kaufmann repetto, Milano, New York
Anton Kern, New York
Peter Kilchmann, Zürich
König Galerie, Berlin, London
David Kordansky Gallery, Los Angeles
Krinzinger, Wien
Kukje, Seoul

Labor, México D.F.
LambdaLambdaLambda, Prishtina
Le Minotaure, Paris
Simon Lee, London, Hong Kong, New York
Lelong & Co., Paris, New York
Lisson, London, New York
Loevenbruck, Paris

Magazzino, Roma
Magician Space, Beijing*
Mai 36 Galerie, Zürich
Edouard Malingue, Hong Kong, Shanghai
Marcelle Alix, Paris
Giò Marconi, Milano
Martos Gallery, New York
Mazzoleni, Torino, London
Fergus McCaffrey, New York, Tokyo
Mendes Wood DM, São Paulo, Brussels, New York
kamel mennour, Paris, London
Metro Pictures, New York
Mezzanin, Genève
Francesca Minini, Milano
Massimo Minini, Brescia
Victoria Miro, London, Venezia
Mitchell-Innes & Nash, New York
Modern Art, London*
mor charpentier, Paris

Nächst St. Stephan Rosemarie Schwarzwälder, Wien
Nagel Draxler, Berlin, Köln
Nahmad Contemporary, New York
Neu, Berlin
Neue Alte Brücke, Frankfurt
neugerriemschneider, Berlin
NoguerasBlanchard, Barcelona, Madrid

Nathalie Obadia, Paris, Brussels
Guillermo de Osma, Madrid
Overduin & Co., Los Angeles

P420, Bologna
Pace, New York, London, Beijing, Hong Kong, Palo Alto, Seoul, Genève
Parra & Romero, Madrid, Ibiza
Peres Projects, Berlin
Perrotin, Paris, New York, Hong Kong, Seoul, Tokyo, Shanghai
Francesca Pia, Zürich
PKM Gallery, Seoul
Plan B, Cluj, Berlin
Jérôme Poggi, Paris
Praz-Delavallade, Paris, Los Angeles
Eva Presenhuber, Zürich, New York
ProjecteSD, Barcelona

Almine Rech, Paris, Brussels, London, New York
Reena Spaulings Fine Art, New York, Los Angeles
Regen Projects, Los Angeles
Michel Rein, Paris, Brussels
Rodeo, London
Thaddaeus Ropac, Paris, Salzburg, London

Salon 94, New York*
Richard Saltoun, London
Esther Schipper, Berlin
Natalie Seroussi, Paris
Jessica Silverman, San Francisco
Skarstedt, New York, London
Pietro Sparta, Chagny
Sprüth Magers, Berlin, London, Los Angeles
Stigter Van Doesburg, Amsterdam

Templon, Paris, Brussels
Tornabuoni Art, Firenze, Paris, Milano, London
Tucci Russo, Torino*

Ubu Gallery, New York
untilthen, Paris 

Valentin, Paris
Georges-Philippe & Nathalie Vallois, Paris
Tim Van Laere, Antwerp*
Van de Weghe, New York
Vedovi, Brussels
Venus Over Manhattan, New York, Los Angeles
Anne de Villepoix, Paris*
Vitamin Creative Space, Guangzhou, Beijing

Waddington Custot, London
Michael Werner, New York, London
White Cube, London, Hong Kong
Jocelyn Wolff, Paris

Thomas Zander, Köln
Zeno X, Antwerp
ZERO..., Milano
Zlotowski, Paris
Martin van Zomeren, Amsterdam
David Zwirner, New York, London, Hong Kong

Lafayette Sector
Arcadia Missa, London*
Sandy Brown, Berlin*
DOCUMENT, Chicago*
Lars Friedrich, Berlin
Jan Kaps, Köln*
Lomex, New York*
Edouard Montassut, Paris*
Bonny Poon, Paris*
Queer Thoughts, New York
Truth and Consequences, Genève

Jousse Entreprise, Paris
Galerie kreo, Paris, London
LAFFANOUR - Galerie Downtown, Paris
Eric Philippe, Paris
Galerie Patrick Seguin, Paris, London

For more information click here:

Tuesday, 29 May 2018

Bearded Black Men
June 7 – July 21, 2018
Opening: Thursday June 7th, 5 – 9 pm

"I was born in Brooklyn, NY in year 1981, being single-parented by my mother. At the age of 4, I started to draw beyond a child’s natural ability. I was very gifted for my age. I had a fascination with New York City bridges at the time and I drew them quite well. My art evolved over the years as I’ve gotten older, and around my adolescence I started drawing images of bearded black men. Keep in mind that today my images are what you see all the time on African-American men. My art made me popular in Humanities and the Arts High School and well liked; art being my saving grace from GOD at the time, because I suffered from chronic severe depression as a youth. Which caused me to later on seek GOD in my youthful years, as life became more of a burden where I made several conscious and unconscious suicide attempts, I became infatuated with healing and spirituality. 

This outlet in reading the word of GOD (reading religiously about GOD that loved me no matter who I was and what I did through His Son Jesus Christ) really liberated me causing me to take less medication for psychosis; loving myself-others with divine purpose. The bearded look is the image GOD favored speaking through Moses, for men not to use razors, I later found out. Since then, 
I’ve been desiring a full beard and drawing men with beards in my years to come. I attended art classes to enhance my craft throughout my life. During high schoolI attended Saturday classes at F.I.T., summer school courses at Brooklyn Museum of Art, night classes at the Jamaica Art Center, 
I received knowledge from Katherine Gibbs School (Associates Degree in Visual Communications), after high school and hands-on Saturday Studio sessions at HAI in the latter days of my life. My art is my voice for the human race. I use bearded black men as symbolic expression for possible change for the African-American male community. Expressing to them that we as a black male people can be victorious, achieving needed healing and unity. I have respect and honor towards black women too, plus I sometimes draw black women as a form of reverence to God’s creation. But my main focus is the male portion. My work is a testimonial that black men can be seen in a more positive, righteous light."
Artist's statement for the Wynn Newhouse Awards, 2016

"In the current polarized landscape of American politics, where the aspirant Presidential candidate Donald Trump can call for a ban on Muslims traveling to the United States as the Black Lives Matter movement demands equality for African Americans in in the political process, Coard’s deeply empathetic work, which explores the complex questions of race, spirituality, sexuality, and identity, finds perhaps an even greater agency and sense of urgency."
Curator Matthew Higgs about Coard's exhibition in Glasgow, 2016

Derrick Alexis Coard died unexpectedly in August of 2017.
The exhibition is a collaboration with White Columns, New York

Tuesday, 15 May 2018

"It is always a thrill to discover such fully realized art..."

Hipkiss, Bulwark #8 (detail), 2017,
graphite, silver ink, silver tape, and metal leaf on paper, 89 x 16"
For Artforum: 
Matthew Weinstein on HIPKISS Show 
April 12 - August 6 in NY 

"It is always a thrill to discover such fully realized art—Hipkiss’s Alpha and Chris Mason have been making work together since 1983. Bulwark #5, 2017, is an accumulation of doily-shaped tondos. Elegant cascading squiggles safeguard delicate branches within. The branches appear to be releasing pollen or grasping for tiny flecks of life: sustenance against our intrusions."

For more information click here:

Saturday, 12 May 2018

Delighted over Oliver Tepel's words about our current exhibition THE NIGHT CLIMBERS OF CAMBRIDGE

Current Edition of Köln Galerien

Check out the current edition of Köln Galerien to the art spaces of Cologne

"Habe ich Peter Parker, das zivile Alter Ego des SpiderMan, je in einer Ausgabe seines Comics in einer Galerie gesehen? Leider versagen hier die präzisen Erinnerungen an den Superheldenkosmos, dem ich nach der Kindheit leider untreu geworden bin. Doch das Wort „Fassadenkletterer,“ das haben mir die einstigen Übersetzer seiner Abenteuer auf ewig mitgegeben. Im Gegensatz zu der Figur populärer Imagination wollten die Fassadenkletterer britischer Universitätsstädte bei ihren Ausflügen auf die Dächer öffentlicher Gebäude unerkannt bleiben. Mit der Publikation des Alpinisten und Outdoor-Pioniers Geoffrey Winthrop Young wurde 1895 das riskante Nachtklettern publik, doch erst 1937 wird es zu einem geheimnisvollen Kult, als ein gewisser Whipplesnaith das bis heute immer wieder aufgelegte Buch Night Climbers of Cambridge veröffentlicht. Zu jenem Zeitpunkt war die Fotografietechnik auch ausgereift genug, eine Menge Bilddokumente entstehen zu lassen. Deren dichtes Schwarz-Weiß präsentiert eine geheime Welt aus jungshaftem Übermut und mysteriöser Performance, in welcher sich die Sehnsucht, alle Grenzen zu überwinden, mit der Eleganz des Freeclimbens und dem Thrill des Agentendaseins vereint. Die Galerie Delmes & Zander widmet den Night Climbers of Cambridge ab dem 17. April eine Ausstellung, in ihrem Zentrum die vom französischen Künstler Thomas Mailaender auf den Weg gebrachte Neuausgabe des legendären Buchs von 1937."
Oliver Tepel

Thursday, 3 May 2018

Installation view "Delmes & Zander" at Ebensperger Gallery in Salzburg

Installation View, Courtesy of Delmes & Zander, Photos by Ludger Paffrath

Our dear colleagues showed a part of our program from March 24 - May 05 2018

Text of Ebensperger accompanying the show: 
"Delmes & Zander gehört seit langem zu Ebenspergers Lieblingsgalerien, deren Arbeit eine Ausnahmeerscheinung im Kunstmarkt darstellt und in ihrer Idee von Kunst für uns Vorbildcharakter hat. Umso mehr freut es uns, Delmes & Zander als Galerie, als alternatives Kunsthandelsmodell in unserer Salzburger Galerie ausstellen zu dürfen.

Der Ursprung dieses Ausstellungs-programmes sind Art Brut und Outsider Art, inzwischen ineressiert vor allem der konzeptuelle Charakter der Arbeiten ihrer Künstler. Die Galerie Delmes & Zander erforscht die Grenzbereiche der Kunst und erweitert dabei immer wieder aufs Neue die geltenden Kunstbegriffe. So wurden in den letzten Jahren verstärkt Arbeiten von anonymen Künstlern gezeigt. Ausstellungen wie „Artist Unknown“, „Evidence of Ecstasy“ und „The Erotic Outsider“ erforschen Gebiete wie Pseudowissenschaften, Erotik und Voyeurismus oder Okkultismus, und erfassen somit neue Themenkomplexe.

Weitere Schwerpunkte der Galeriearbeit sind Aufarbeitung und Bewahrung von künstlerischen Nachlässen wie zum Beispiel von Horst Ademeit, Adelhyd van Bender und „Margret – Chronik einer Affäre“, ein Projekt, das große internationale Aufmerksamkeit erhielt. Die Ausstellungen der Galerie werfen mit ihrem konzeptionellen Schwerpunkt Fragen auf über herkömmliche Praktiken des Kuratierens, der Rezeption, der Produktion und der historischen Kontextualisierung von künstlerischen Positionen, die nicht immer klar einzuordnen und dennoch den herkömmlichen Strategien der zeitgenössischen Kunst gleichwertig sind. Wir zeigen eine repräsentative Auswahl dieses Programms:

Horst Ademeit
Adelhyd van Bender
Jesuys Crystiano
Martin Erhard
Margarete Held
Paul Humphrey
Aurel Iselstöger
Margret – Chronicle of an Affair
Miroslav Tichy
Oswald Tschirtner
Type 42
August Walla"

"As a system, art fairs are like America: They’re broken and no one knows how to fix them."

Frieze New York art fair in 2017. Photo: Sean Zanni/Patrick McMullan via Getty Image
Jerry Saltz' proposal on Vulture: 
Break the Art Fair

"As a system, art fairs are like America: They’re broken and no one knows how to fix them. Like America, they also benefit those at the very top more than anyone else, and this gap is only growing. Like America, the art world is preoccupied by spectacle — which means nonstop art fairs, biennials, and other blowouts. Yet the place where new art comes from, where it is seen for free and where almost all the risk and innovation takes place — medium and smaller galleries – are ever pressured by rising art fair costs, shrinking attendance and business at the gallery itself, rents, and overhead. This art-fair industrial complex makes it next to impossible for any medium/small gallery to take a chance on bringing unknown or lower-priced artists to art fairs without risking major financial losses. Meanwhile high-end galleries clean up without showing much, if anything, that’s risky or innovative..."

Wednesday, 2 May 2018

"Germany is not an island" still on view at Bundeskunsthalle in Bonn

Horst Ademeit, "20.03.", Courtesy of Bundeskunsthalle

The show with HORST ADEMEIT's Polaroids 
runs till 3 June 2018

"The exhibition presents a selection of works acquired over the last five years by a specialist committee for the Contemporary Art Collection of the Federal Republic of Germany. It includes works by renowned young artists. The acquisitions testify to the high standard of the Federal Collection and show how historical and current developments, collective viewing habits and the questioning of image constructs translate into contemporary art."