Sunday, 9 June 2019

Enemies & Friends / WELT Artikel von Gesine Borcherdt

WELT AM SONNTAG, 9. Juni 2019, Nr. 23, S. 59

Gesine Borcherdt in der WELT (9.6.19) über die Ausstellung
ENEMIES & FRIENDS A Russian Collection of Paranormal Observations

"Enemies and Friends: A Russian Collection of Paranormal Observations in der Kölner Galerie Delmes & Zander  (bis 28. Juni) zeigt rund 100 Schnappschüsse, Handabzüge, Fotocollagen, Polaroids und Zeichnungen aus den 1950er- bis 2000er-Jahren, deren akribische Zusammenstellung schon ein Kunstwerk ist: eine Sammlung von Ufo-Fotografien. (...)

Die kollektive Sichtung himmlischer Erscheinungen deutete Jung als Sehnsucht nach dem Weltende: Angesichts atomarer Bedrohung projizierten die Menschen ihre Ängste und Hoffnungen auf eine außerirdische Kraft – und schon war ein neuer Mythos geboren.
Eben diese visionäre Energie spürt man in der Ausstellung. Sie erzählt von der Besessenheit, dass es da noch etwas anderes geben möge als das, was ist. Sie sind erfüllt von Erlösungsgedanken, angstvoll und ekstatisch zugleich. Sich eine Bildwelt zu schaffen, in der sich dieser Wille manifestiert: Das ist obsessiv, parareligiös – und zutiefst künstlerisch."

www.welt.de

Anonymous, ohne Titel, ca. 1990, Gouache, 23.4 x 31.2 cm, Courtesy Delmes & Zander, Köln


Thursday, 16 May 2019

Upcoming exhibition: Enemies and Friends opening on May 24, 2019


ENEMIES AND FRIENDS - A Russian Collection of Paranormal Observations

May 25 – June 28, 2019
Opening: May 24, 6 – 9 pm

When the Swiss psychoanalyst C.G. Jung published Flying Saucers: A Modern Myth of Things Seen in the Sky in 1958 he pointed to the coincidental arrival of UFO sightings and the Cold War, diagnosing the phenomenon as anti-Soviet anxiety projected skyward. Yet the Soviets had anxieties of their own and so in 1978, amongst an ongoing climate of mutual paranoia and suspicion, a top-secret investigation was established by the Ministry of Defense in Moskau and the Academy of Sciences of the USSR to investigate the many sightings of “unidentified flying objects”.

Similar to the government research programmes in the USA with “Project Blue Book” or “The Flying Saucer Working Party” in the UK, the aim of “Institute 22” was to explore the UFO phenomenon in an analytical, scientific way, and so it remained open to the unexplained occurrences, ruling out any speculation that the mysterious objects in the sky might be sophisticated enemy aircrafts or hostile military rockets. During the years that followed and until the end of the Soviet era, "Institute 22" would compile countless records - an extraordinary collection of testaments to personal experiences, many of which fueled by the popular belief in extraterrestrial existence, recorded on camera, on film or on paper.

In the exhibition ENEMIES AND FRIENDS: A Russian Collection of Paranormal Observations Delmes & Zander will show photographs and drawings from an extensive Russian private collection which focuses on the documentation and the depiction of paranormal phenomena. The around 100 photographs, dated on the back from the 1950s to the early 2000s, suggest that the collection was carefully assembled for an extended period of time. From almost perfectly staged photography to pictures of extraterrestrial sightings taken from publications or television, the collection is as historically fascinating as it is visually intriguing.

A recurring theme in the arts, UFO culture has been an inspirational force for contemporary artists such as Susan Hiller, Tony Oursler and Raymond Pettibon and has been celebrated in songs by David Bowie, Lee Scratch Perry or the Pixies, to mention but a few. Revealing the uncanny experiences, hopes, fears and fantasies expressed by the observers of paranormal activities ENEMIES AND FRIENDS offers a unique glimpse into a secret social history of the twentieth century that is as extraordinary as it is human – it is the universal embodiment of hope that there may be more than meets the eye, the promise in something left unexplained, the magic of the unknown.
See the facebook-event here.

Saturday, 27 April 2019

ADEMEIT at Malmö Konsthall

Image: ADEMEIT, film still, directed by Michael Bauer and Marcus Werner Hed 

Film screening: ADEMEIT
Saturday May 4, 2019 at 3 pm
at Malmö Konsthall

"This documentary-portrait by the artist Michael Bauer and the director Marcus Werner Hed is a poignant journey into the work and life of Horst Ademeit (1937–2010), with an in-depth interview, an exploration of the places he lived in and which appear in his polaroids, and his own interpretation of them. Ademeit documented the impact of cold rays – radiations that he considered a healthhazard and a potential threat; and built up an archive of thousands of inscribed polaroids. Some of his polaroids are shown in the current exhibition SPEED 2."

The film ADEMEIT (2010) is produced by Punderson Gardens, London. In German with English subtitles. Length: 26 minutes.

For more information, please visit:
www.konsthall.malmo.se

Souvenir de Voyage at Musée de Grenoble



Souvenirs de voyage
La collection Antoine de Galbert 
27 avril – 28 juillet 2019
Musée de Grenoble


"Alors que La maison rouge a fermé ses portes à la fin de l’année 2018, le musée de Grenoble propose une exposition de la collection personnelle de son fondateur Antoine de Galbert du 27 avril au 28 juillet 2019.

C’est à Grenoble dont il est originaire que naît sa passion pour l’art alors qu’il devient galeriste, activité qu’il abandonne rapidement pour se consacrer à la constitution de sa collection. Réunie au cours de ses 30 dernières années, cette dernière apparait aujourd’hui comme l’une des plus singulières collections privées françaises. Elle est un autoportrait en creux de son auteur, pour qui le domaine de l’art est avant toute chose celui de la liberté inégalée. Si les expositions réalisées à Grenoble – Les Coiffes au musée dauphinois, à Lyon – Ainsi- soit-il et à Paris – Le mur avaient permis de découvrir une partie de cette dernière, Souvenirs de voyage, par l’ampleur de son parcours, révèlera qu’une collection plus qu’une activité ou un ensemble d’artistes choisis est avant tout le reflet d’une personnalité, un regard sur le monde, une philosophie, une sensibilité mais aussi une quête existentielle. De façon ironique, Antoine de Galbert aime à dire que sa « collection est une tabagie ». Souvenirs de voyage met dans tous les cas en lumière l’originalité de cette dernière qui à l’image de son auteur préférant aux personnalités artistiques les plus connues du monde de l’art l’exploration de territoires inconnus.

Véritable voyage intérieur, Souvenirs de voyage retrace en 17 salles les affinités électives du collectionneur, sa passion pour l’art contemporain, son goût pour les marges, l’art brut et l’ethnographie. Peintures, dessins, photographies, installations, art primitif, objets religieux et populaires se déploieront en une scénographie de l’intime, où de grandes figures de l’art moderne comme Schwitters, Ben, Boltanski, Laib, Fontana voisineront avec les plus jeunes générations (Cathryn Boch, Mathieu Briand , Steven Cohen , Duprat, Gronon, John Isaacs, Edward Lipski, Mari Katayama, Stéphane Thidet etc) tout en côtoyant des artistes hors champ (A.C.M., Aloïse, Lesage, Van Genk).

De l’activité du collectionneur à l’imaginaire des villes, des scènes artistiques anglo-saxonne ou belge à l’Afrique, de la folie au « corps en morceaux », du zen à l’écologie, en passant par une rêverie sur le cosmos et le Dernier voyage, la collection d’Antoine de Galbert, « douce et luxueuse thérapie », comme il le dit lui-même, met en lumière son goût du décloisonnement tout en reflétant ses obsessions les plus profondes. A rebours d’une vision parfois austère et aseptisée de l’art contemporain, cette collection n’hésite pas à faire dialoguer l’art conceptuel et les cultures populaires, les tenants de l’art brut et les artistes émergents. Cherchant à dépasser les théories qui enferment et l’ennui d’une histoire de l’art toute tracée, abolissant les frontières et privilégiant le mélange des genres, Antoine de Galbert aime à se frayer un chemin hors des sentiers balisés considérant, que l’époque dans laquelle nous vivons a plus que jamais besoin de magie, de mystère, de simplicité et d’universalité."

For further information please visit:
www.museedegrenoble.fr
fondationantoinedegalbert.org


Thursday, 18 April 2019

HIPKISS at Kupferstichkabinett Berlin, until August 4, 2019

Hipkiss, L. I. E. (London In Europe) 1, pencil and mixed technique on paper, 2011, Courtesy Delmes & Zander, Cologne

 

HIPKISS' L.I.E. (2011) currently on view at Kupferstichkabinett "In the best company - Selected acquisitions of the Berlin Kupferstichkabinett, 2009-2019.", 13.04. to 04.08.2019.


In the Best of Company presents a selection of the Kupferstichkabinett’s most important acquisitions from the last 10 years – ranging from the Late Middle Ages to the current day. These include not just purchases made with the Kabinett’s own funds, but also donations, bequests, and a number of re-purchases of works that had been previously restituted.

Many important purchases are only made possible by support from third parties such as the Cultural Foundation of the German Federal States or the Ernst von Siemens Art Foundation. Not to be forgotten are the artist grants of the State of Berlin and the engagement of the Graphische Gesellschaft zu Berlin e. V., along with a great many private donors.

The exhibition does not just place a spotlight on individual new acquisitions and the circumstances of their acquisition, but also on points of connection within the collection, works with which the new arrivals enter into a dialogue – and with which they now find themselves in the best of company.

See more at Kupferstichkabinett.

Installation Views of Marcel Bascoulard / Special Guest Jürgen Klauke


Installation views of Marcel Bascoulard / Special Guest Jürgen Klauke: Jürgen Klauke, Selfperformance, 13-parted, 1972/73, photography on barytpaper, 57 x 42 cm, Courtesy Delmes Copyright VG Bild-Kunst; Marcel Bascoulard, Courtesy Delmes & Zander, Cologne

Fotos: Johannes Post

Wednesday, 3 April 2019

MARCEL BASCOULARD / SPECIAL GUEST JÜRGEN KLAUKE

 Marcel Bascoulard, untitled, undated, Vintage Gelatin Silver Print,
12,8 x 8,8 cm, Courtesy Delmes & Zander, Cologne

MARCEL BASCOULARD / SPECIAL GUEST JÜRGEN KLAUKE

Delmes & Zander will show the photographic work of French artist Marcel Bascoulard. The photo series "Self Performance" (1972/73) by Jürgen Klauke, a seminal reference to the contemporary art scene, will be shown in the context of this exhibition.

Marcel Bascoulard is born in 1913 in France. He attends the art school of Bourges in the early 1930s. Parallel to his photographic work, he continues to paint and write throughout. He lives on the street at his own will, a self-determined clochard, until he is murdered in 1978 under unclear circumstances. He will remain a landmark of the city of Bourges until his death and is known to this day as “the man who dresses up in women’s clothes.”

His first self-portraits are taken in the early 40s. They show a young man in a dress, only subtly posing, brash yet sober, no makeup. He looks straight into the camera, unapologetically. This look, captured in his photographs as it progressively ages over the course of forty years, is the seemingly asexual invariable in a playful and elaborate interchange of dresses, some sewn by Bascoulard himself, others acquired in exchange for his paintings. It is these brief moments that transfer him into a different time and that enable him to take on a number of female identities: the unmarried young woman and the old spinster, the teacher and the shopkeeper (often holding a piece of broken mirror that resembles a hand-fan or a machete), the housekeeper with an apron and the lady of the house, but also roles that he invents or creates himself, such as the futuristic-looking geisha in vinyl from his later work. When arrested by the police in 1952, Bascoulard replies to the question of why he dresses in women's clothes in public: “It’s an artistic necessity.” Bascoulard's work derives essentially from this necessity: an artistic obsession at the heart of a carefully contrived life that raises questions about gender, identity, and biography.

Jürgen Klauke, Selfperformance, 13-teilig, 1972/73, Fotoarbeit auf Barytpapier, je 57 x 42 cm, Courtesy Delmes & Zander, Cologne Copyright VG Bild-Kunst

Jürgen Klauke (* 1943) begins to place his body at the center of his photographic work in the late 1960s and implements it as an immediate vehicle for expressing his artistic ideas. In doing so, he raises the question of gender-specific role assignment with provocative directness, ultimately reducing it ad absurdum. Beyond its formal serial character, the photographic work "Self Performance" (1972/73) also functions conceptually as a projection surface for multiple identities and genders, all of which Klauke constructs deliberately as part of his artistic thought and action. Beyond the mere appropriation of femininity, Klauke explores the concepts of self-presentability and transformability in order to explore new sexual typologies and to capture and objectify them within the medium of staged photography. This artificial and artistic rupture with traditional roles and standardized notions of identity in Klauke's pictorial worlds of the early 1970s form the core of a radical practice that is to this very day of seminal importance to an entire generation of young, performance-oriented artists.

"Jürgen Klauke is a unique figure in the art world. His inventions are nowadays taken for granted and have significantly influenced art over the last 30 years. He is a pioneer of multimedia and interdisciplinary artistic exploration, whose work fascinates and irritates in equal measure, oscillating between the poles of attraction and repulsion.”

Klaus Honnef on Jürgen Klauke, 2002

We would kindly like to thank Jürgen Klauke for his collaboration in this exhibition.

Also on our Website.