THE MEDIUM'S MEDIUM at The Gallery of Everything

Heinrich Nüsslein, Tempel der Weisheit, undated, mixed media on paper, 50 x 65 cm
Courtesy Delmes & Zander, Cologne

 THE MEDIUM’S MEDIUM

September, 29 - December 22, 2019

at the Gallery of Everything

 

"The Gallery of Everything presents THE MEDIUM’S MEDIUM - a two-part exploration into spiritualist and mediumistic art practices, from the 19th century to the present day.

This survey features drawings and paintings by a diverse range of authors - from established names to newer (re)discoveries - and includes material which is now acknowledged as a significant influence on the development of 20th century art.

THE MEDIUM’S MEDIUM [opened] at the Gallery of Everything on Sunday 29th September with a contemporary installation, featuring the seance photography of Shannon Taggart, channeled paintings by filmmaker Jan Svankmajer and his wife the painter Eva Svankmajerova, plus a commentary by multi-disciplinary artist Tony Oursler, whose Imponderable collection revolved around his own lifelong fascination with mysticism."

The artists on view at the exhibition include Marguerite Burnat-Provins, Fleury-Joseph Crépin, Fernand Desmoulin, Svetlana Dressen, Eva Droppova, Madame Favre, Olga Fröbe-Kapteyn, Gertrude Honzatko-Mediz, Ernst Josephson, Nina Karasek, Hilma af Klint, Vlasta Kodríková, Josef Kotzian, Joseph Krygel Emma Kunz, Augustin Lesage, Raphaël Lonne, Heinrich Nüsslein, Tony Oursler, František Jaroslav Pecka, Comte de Tromelin, Agatha Wojciechowsky, Henriette Zéphir, Madge Gill, Václav Groul, Anna Haskel, Margarethe Held, Victor Simon, Austin Osman Spare, Marian Spore Bush, Jan Švankmajer, Eva Švankmajerová and Shannon Taggar.

For further information visit: www.gallevery.com/exhibitions

JAHRESGABEN 2019 at the Bonner Kunstverein

Horst Ademeit, 5804, 23.09.2003, inscribed polaroid, 11 x 9 cm.
© Estate of Horst Ademeit / Delmes & Zander, Cologne
 

JAHRESGABEN

7th - 22nd December, 2019

Bonner Kunstverein

Jahresgaben opens Saturday December 7th from 12 to 2 pm at the Kunstverein in Bonn. 

"Jahresgaben (annual gifts) are unique and editioned artworks that are sold as part of an annual fundraising event."
"This year's annual entries include paintings, drawings, collages, photographs, sculptures and prints by 24 artists including Ulla von Brandenburg's unique works, Anna-Sophie Berger, Andreas Breunig, Cecilia Edefalk, Allison Katz, Sarah Lehnerer, Nicolas Pelzer and Benoît Platéus, Henrik Potter, Babette Semmer, Masar Sohail, Leslie Thornton and Josef Zekoff. The two Peter Mertes fellows from 2018, Robert Brambora and Stefani Glauber, also provide an annual gift. This year Arno Beck will be part of the show, taken from the the Bonner Kunstverein's studio, with a limited edition of letterpress prints. In addition, Neven Allgeier and Alex Grein have produced new editions exclusively for the Bonn Kunstverein. We receive further annual gifts from Judith Bernstein, Erica Baum, Ghislaine Leung and Susanne M. Winterling. Furthermore, we offer works from the estate of Horst Ademeit and Adelhyd van Bender.

The opening will be accompanied by short lectures on selected anniversaries by curators, art historians and members. There are, inter alia, talk. Linda Conze (curator of photography, Kunstpalast Düsseldorf), Anthony DiPaola (artist and board member of the Bonner Kunstverein), Fatima Hellberg (director, Bonner Kunstverein), Lisa Klosterkötter (freelance curator, Cologne), Max Rauschenbach (freelancer, Kunstmuseum Bonn), Luisa Schlotterbeck (art historian, Cologne), Roswitha Weber (member of the Bonner Kunstverein) and Prof. Harald Wolter-von dem Knesebeck (Institute of art history, University of Bonn)."

For more infomartion about the opening event December 7th, visit : https://www.facebook.com/events/593413841409411/

Fore further information about the exhbition, visit: http://www.bonner-kunstverein.de/exhibition-category/current/  

 

THE ELECTRIC EYE at La Casa Encendida in Madrid

Adelhyd Van Bander, Folder #21, 1999-2014
Courtesy Delmes & Zander, Cologne

 The Electric Eye 

11 October, 2019 - 05 January, 2020   

La Casa Encendida, Madrid

"The Electric Eye, curated by Antonia Gaeta and Pilar Soler, revolves around a series of works that use the artistic language to reveal an enigmatic journey, a to-ing and fro-ing between several dimensions or between a visible and an invisible reality. Encrypted messages using cosmological structures provide a glimpse into diverse realities and worlds, often deliberately dark and characterised by complex iconographies.

The key to these works resides in the meeting between forms and meanings that bring together tutelary entities and figures. It is a project about the mystery in meanings and hidden presences. The exhibition dramatises these elements as transient memories, materialised as multiple, complex realities, specific calculations, pyramids of power, apathies abated with the concretion of a visionary mission.

Above all, the show presents visitors with a provocative impossibility: the inability to decipher the entire message behind the works, because in many cases the artists act as mediators between the rational world and another unknown or transcendental world. The works therefore become narratives of the subconscious, inadvertently assuming aspects that subvert the established. Through a variety of coded messages, formulas, invented figures and secret codes, they question the limits of reason. There is always some hidden aspect that becomes an enigma and emerges as the only possible space of liberation in the face of its pathological condition. Conceived on these lines, the exhibition demonstrates the power of subjective processes, compulsive obsessions and fantastical visions."

"The exhibition presents selected works from the Treger/Saint Silvestre Collection, one of the richest and most comprehensive collections of art brut in Europe, housed at the Centro de Arte Oliva in São João da Madeira, Portugal."

The exhibition includes works by Horst Ademeit, Adelhyd van Bender, Adolf Wölfli, Agatha Wojciechowsky, Margarethe Held, Madge Gill, Anna Zeimánková, Nina Karasek, Bruly Bouabré, Albino Braz, Vasilij Romanenkov, Aníbal Brizuela, Janko Domsic, John Urho Kemp, Herald Stoffers, Melvin Way, Beverly Baker, Raimundo Camilo, Scottie Wilson, Lesage, Fleury-Joseph Crépin and Friedrich Schröder-Sonnenstern.

For further information about the exhibition: https://www.lacasaencendida.es/en/exhibitions/electric-eye-9602 

Installation view of ALEXANDRU CHIRA. INTO THE LAB LAND

Installation View of ALEXANDRU CHIRA, INTO THE LAB LAND

Photos by Johannes Post, Courtesy Delmes & Zander, Cologne

THE ASSEMBLED HUMAN at the Folkwang Museum, Essen

George Widener, Time Machine, 2010, Mixed media on canvas, 184 x 139 cm, Collection Torsten Kunert, Copyright George Widener / Courtesy Delmes & Zander, Cologne, Foto: Bernhard Schaub. 

THE ASSEMBLED HUMAN

8 November, 2019 - 15 March, 2020

Museum Folkwang, Essen

“In late autumn 2019, Museum Folkwang will present a show that transcends media and epochs to explore the major societal issues and upheavals of the last 150 years. The Assembled Human presents art as a mirror of industrialisation, technologisation and digitisation. It provides a cultural-historical survey that encompasses key works of painting and graphic design, early experiments in photography, installations and films, along with recent works of Post-Internet Art.

The exhibition focuses on the manifold entanglements between human beings and machines, which are explored in several thematic sections. From the Industrial Revolution to the Information Age, generations of artists have dealt with technological innovations and their impact on humankind. The international loans shown in the exhibition range from photographic records of early industrialisation to Modernist art. They cover experiments in video and performance art from the 1960s through to contemporary art – because today more than ever, technological progress is inextricably linked with anxieties over losses of freedom and individuality. Contemporary works reflect current artistic investigations into the new possibilities and impossibilities that the digital age entails.“ 

The show includes works by Walter Heinz Allner, Bettina von Arnim, Gerd Arntz, Ed Atkins, Giacomo Balla, Joachim Bandau, Lenora de Barros, Willi Baumeister, Thomas Bayrle, Rudolf Belling, Ella Bergmann-Michel, Renato Bertelli, Alexandra Bircken, Umberto Boccioni, Wilhelm Braune, John Cage, Helen Chadwick, Computer Technique Group (CTG), Charles A. Csuri, Mariechen Danz, Fortunato Depero, Walter Dexel, Otto Dix, Marcel Duchamp, Raymond Duchamp-Villon, Charles & Ray Eames, Max Ernst, Alexandra Exter, Öyvind Fahlström, Harun Farocki, William Allan Fetter, Otto Fischer, Herbert W. Franke, Carl Grossberg, George Grosz, Richard Hamilton, Barbara Hammer, Sidsel Meineche Hansen, Raoul Hausmann, John Heartfield, Lynn Hershman Leeson, Eva Hesse, Heinrich Hoerle, Rebecca Horn, Vilmos Huszár, Boris Ignatowitsch, Fritz Kahn, Wassily Kandinsky, Anne-Mie van Kerckhoven, Friedrich Kiesler, Konrad Klapheck, Jürgen Klauke, Heinrich Kley, Josh Kline, Iwan Kljun, Alexander Kluge, Kiki Kogelnik, Germaine Krull, Boris Kudojarow, Helmuth Kurth, Jürgen van Kranenbrock, Maria Lassnig, Fernand Léger, Alice Lex-Nerlinger, Roy Lichtenstein, El Lissitzky, Hilary Lloyd, Goshka Macuga, René Magritte, Kasimir Malewitsch, Man Ray, Étienne-Jules Marey, Rémy Markowitsch, Caroline Mesquita, László Moholy-Nagy, Johannes Molzahn, Alexei Morgunow, Martin Munkácsi, Eadweard Muybridge, Otto Neurath, Katja Novitskova, ORLAN, Tony Oursler, Trevor Paglen, Nam June Paik, Eduardo Paolozzi, Georgi Petrusow, Antoine Pevsner, Walter Pichler, Jon Rafman, Robert Rauschenberg, Timm Rautert, Alexander Rodtschenko, Thomas Ruff, Walter Ruttmann, James Shaffer, Arkadi Schaichet, Xanti Schawinsky, Helmut Schenk, Oskar Schlemmer, Nicolas Schöffer, Franz Wilhelm Seiwert, Avery Singer, Stelarc, Friedemann von Stockhausen, Thayaht, Paul Thek, Jean Tinguely, Patrick Tresset, Anna Uddenberg, Erwin Wendt, Hugo von Werden, George Widener. 

As the exhibition explores a wide spectrum of topics and artists discussing societal issues of the last 150 years, it is divided into 18 different chapters such as “War and Acceleration”, "The X-Rayed Human” and back to “Industrial Worlds of Work”. 

Discover the different chapters of the exhibition here.

For further information about the exhibition visit:
www.museum-folkwang.de

Screening of RALFS FARBEN by Lukas Marxt at the Duisburger Filmwoche

RALFS FARBEN
R: Lukas Marxt
DE/AT 2019 | 74 Min.

Screening at Duisburger Filmwoche

Tuesday November 5th, 2019

"Ralf says at one point: “We can’t use the same light, we have to use completely new keys with completely new light and even these can be found to a limited extent”. The schizophrenic man’s words accompany much of this experimental portrait by Lukas Marxt (who worked in close cooperation with Michael Petri over a period of four years), layered over footage of Lanzarote, where the protagonist lives in seclusion. Landscape and cinema form an amalgam here, being both interior spaces of thought and feeling, and projected images of an outside. The thinking of the film’s main character does not run along straight lines, moving instead in circles, spirals, and Möbius strips, shaping the overall structure of the film: the viewer gets lost in this space, in time, in distances, searching in vain for a position in the actual physical sense, finding it instead (and as the result of this uncertainty) in an attitude, a specific formation of thinking which—paradoxically—is permanently moving, in a “succession of changing states” (Deleuze).

Stasis in motion, ongoing but frozen, a painting in time, Rousseau and Tarkovsky, a thought that takes shape in the process of thinking. Documentary? Science-fiction? Mindfuck? It is dizzyingly hard to describe what one sees and hears, because the reality in front of the camera could also be a wholly imagined future, or pictures from a time before cinema. In this film, language, writing, pictures, and music are both understated and exuberant, emptied and too full to generate meaning in the conventional sense. As if asleep, but more awake than ever, we look at the world, Ralf’s world, in which children are “built” and lives are “written,” a “half-fantasy” and a “new life” in which the weather is “recomputed,” like in a movie. Cinematographic madness and a precise portrait of a human being, dancing in the wind of Lanzarote, in the night, in the stroboscopic flickering of a streetlamp, in a completely new light."

Alejandro Bachmann, film scholar

This year the artists film has already been shown at the The Filmfestival Viennale in Vienna, the Festival du nouveau cinéma in Montreal where it won the Prix des nouveaux alchimistes and the Prix de l'expérimentation MUBI, as well as the International Film Festival in Locarno and lastly this month at the Duisburger Filmweek.  

For further informations visit: www.ralfsfarben.com 

For informations about the artist visit: lukasmarxt.com

ALEXANDRU CHIRA Into the Land Lab

 ALEXANDRU CHIRA
Into the Land Lab 
Curated by Erwin Kessler

November 9 – December 18, 2019
Opening: November 9., 6 – 9 pm

The work of Alexandru Chira is a systematic and exhaustive mapping of a fictitious field of research. It is about a shamanic domain stretching up from the skies down to the earth, through spiritually conjuring rain. Like a command & control center for meteo-aesthetic, metaphysic phenomena, his works (paintings, drawings, objects) lie here, on the walls, lavishly exhibiting their makeshift buttons, screens, keyboards and toggles. It is a sophisticated but rigorous morpho-aesthetic instrumentary apparently dedicated to effectively influence meteorology and atmospheric physics. Beholders could touch, switch, and press the buttons with their eyes. Yet, mastering weather forecast and climatological phenomena is rather the metaphorical cover of a more deeper endeavor, designed to master minds, mentalities, and proliferating imaginary. Chira developed a psycho-pictorial lab of advanced, vague technologies of chimerical research. Maybe they do not change external climate condition, but they boost internal elation.

The poetically displaced scientism of Alexandru Chira’s painting is grounded on a mystical animism mesmerized by the natural forces turned into totems and symbols. Offspring of a peasant family, Chira worked in his art lab the same way peasants work the field: he sowed symbols in the paintings, sometimes grafted them to engender new semiotic ensembles and then harvested and gathered everything into painted containers of various shape and size. His symbolic art-farming is literally down-to-earth, extracted from the works, the tools and the seasons of the agricultural world, transfigured by turning them on their poetic side. Ploughing and sowing is art, work and creativity. Rain is revelation, happiness and fertility. Snake is sex, wisdom, and death. Safety pin is vulva, eye, and infant. Hill is breast, church and UFO too. His work is visual but also lexical, the symbols working like a poetic/mystical language, articulating sentences like The Winged Spindle – Study for a Stereopoem, The Suspended Village – Study for a Stereopoem, The Rose of the Senses, The Winged Lamp – Study for a Telepoem. These are not only the titles of some of the exhibited works, but the proper content of the works, seen as a self-conscious language of visual symbols functioning in a semantic manner.

Astral and earthly at the same time, the work of Alexandru Chira is disconcerting because mixing up inputs from apparently disconnected, in-communicating universes and cultural idioms. Besides the fundamental, field-work related paraphernalia, he brought into his lab elements taken from a rhapsodic reconstruction of geometry, from speculative astronomy, and even from a surface-focused understanding of chemistry. Frequently, his works have curious, diamond shapes like lozenges, resembling the scientific, conventional formulas of aromatic hydrocarbs (like vinyl or fenyl). His interest in biology is reflected in the many figure-like constructions, in which intricate symbols and abstract shapes combine to show transparent human faces, with mouths, eyes and noses. Investigating the ritual impact of twins and re-doubled works make also part from Chira’s own para-scientific protocols suggesting a world of enigmatic relationships and correspondences.

The Land Lab of Chira is provided with peculiar instruments of researching inner skies via his poetic, cosmo-geo-mystics. As the instruments are consummate paintings, their doubtful scientific findings are surpassed by their alluring, aesthetic charisma.

Erwin Kessler, curator