Tuesday, 18 September 2018

Wonderful review by Moritz Scheper about the show of Derrick Alexis Coard

Excerpt of "Handsome Nerd", Derrick Alexis Coard, Courtesy by Delmes & Zander
frieze's article about 
"Tender Studies Of Black Masculinity"

"Delmes & Zander in Cologne has long championed those artists defined by stigmatizing catchalls such as ‘art brut’ and ‘outsider art’, doing so with an acute sensitivity to the fact that difference alone should not equate to currency. The drawings of Derrick Alexis Coard, a selection of which are brought together in the solo exhibition, ‘Bearded Black Man’, are..."

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Wednesday, 5 September 2018

Take a look at frieze's OKEY DOKEY II preview


Moritz Sheper's preview – we are proud to be there!

"The gallery share project Okey-Dokey, which got off to a positive start last year, has been entirely revamped. This year’s curatorial advisor is Artists Space’s Jamie Stevens, who has hooked up young Rhineland galleries with unconventional partners: A group show at..."

Participating galleries: 
Drei
Galerie Max Mayer
Ginerva Gambino
Jan Kaps 
Lucas Hirsch
Delmes & Zander

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Saturday, 1 September 2018

Okey Dokey II at Delmes & Zander

John Neff, Kim's Corner Food, 2013-2015
KELLY KACZYNSKI, THOMAS KONG, PATRIC MCCOY AND JOHN NEFF

Curated by John Neff,
curated by Jamie Stevens
September 8 – 30, 2018 
Opening: Friday 7.9., 6 – 9 pm

Delmes & Zander hosting
Adler & Floyd (Chicago), The Back Room at Kim’s Corner Food (Chicago) and Diasporal Rhythms (Chicago).

The exhibition Kelly Kaczynski, Thomas Kong, Patric McCoy, and John Neff / Curated by John Neff, curated by Jamie Stevens was initiated in August 2018 by Neff for Delmes & Zanderat the invitation of curator Jamie Stevens and Okey Dokey. The show features works by Neff and three other Chicago-based artists Kelly Kaczynski, who works with sculpture and language; Thomas Kong, a merchant and collage maker whose corner store houses a rotating, immersive installation of his work; and Patric McCoy, a patron of Chicago’s arts of the African diaspora and self-taught photographer. The project will grow and change throughout its duration.

This year’s edition of Okey Dokey has been overseen by curatorial advisor Jamie Stevens, who has initiated partnerships and collaborations between the six Rhineland galleries with a combination of different types of non-proft and for-proft arts organizations from USA, Hong Kong, and Europe.

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Saturday, 11 August 2018

Check out the Show "She sees the Shadows" in magical Wales



With works of HORST ADEMEIT

She sees the shadows (until 4 Nov 2018)
DRAF - David Roberts Art Foundation x MOSTYN
at MOSTYN, Llandudno, Wales

With works by Caroline Achaintre, Horst Ademeit, Fiona Banner, Sara Barker, Phyllida Barlow, Neil Beloufa, David Birkin, Karla Black, Carol Bove, Martin Boyce, Lea Cetera, Susan Collis, Thomas Demand, Jason Dodge, Boyle Family, Theaster Gates, Isa Genzken, Rodney Graham, Harry Gruyaert, Jeppe Hein, Marine Hugonnier, Pierre Huyghe, Matthew Day Jackson, Tatsuya Kimata, Rachel Kneebone, Elad Lassry, Bob Law, Nina Beier & Marie Lund, Kris Martin, Marlie Mul, Nika Neelova, Man Ray, Magali Reus, Pietro Roccasalva, Analia Saban, Erin Shirreff, Monika Sosnowska, Oscar Tuazon, Gavin Turk, Franz West, Douglas White.


In 1886, a 22-year-old woman in Lyon saw the world around her for the first time. Objects instantly recognisable by touch were hard to distinguish with her new sight, and shadows appeared more concrete than solid forms. Her doctors described the sudden strangeness of familiar environments, and her singular experience of the world as a newly sighted person.

In his 1932 book Space and Sight, Marius Von Senden collated the patient’s experiences alongside testimonies of similar cases dating from 1020 to the present. These captivating accounts, which later inspired writers including Maggie Nelson and Annie Dillard, express how something familiar can show a previously unacknowledged beauty when seen in a new way.

She sees the shadows is a group exhibition of works from the David Roberts Collection that resonate with the ideas found in Space and Sight. Each artist has reconceived day-to-day objects and materials in unexpected ways – a bench, plug socket, grate, section of railing or broom – and invites viewers to see alternative qualities and narratives therein.

Some artists have used precious materials to confer value to unremarkable commonplace objects. Susan Collis’ paint-splattered broom is inlaid with mother-of-pearl; Lea Cetera’s disposable coffee cup is cast in ceramic; Tatsuya Kimata’s generic plug socket is carved from white marble; Kris Martin’s wall screw is solid gold; Gavin Turk’s cardboard box is cast in bronze; and Rachel Kneebone’s eggbox is filled with delicate porcelain. Meticulous tromp l’oeil studies of grimy undistinguished patches of a city street, including puddles, broken tiles and railings, focus attention onto the unnoticed fabric of daily life.

Other subtle modifications to objects can subvert their use: wooden bannister rails jointed into an endless loop, public benches where the seat is elevated beyond reach, notebooks opened to face the wall so their contents is entirely obscured, a single black leather glove behind a glass frame, a wind chime pitched to an atonal scale.

Stories and ideologies infiltrate the private sphere through different media channels. Isa Genzken’s Weltempfänger (World Receiver) points to the domestic radio’s influential role in both propaganda and resistance. Rodney Graham’s couple reading a comic magazine in bed enact a popular sketch in Alfred Hitchcock’s 1938 film The Lady Vanishes. Theaster Gates places a charged 1970’s journal article ‘The Black Bourgeoisie’ in the seat of a piano stool. Harry Gruyaert’s TV Shots capture the constant news stories and dramas of 1970s colour television sets. Neil Beloufa carves a constellation of floating cats into compressed wood and power sockets, the ubiquitous trope of online videos and memes streamed into contemporary homes.

“I Was So Entranced Seeing That I Did Not Think About The Sight”. David Birkin’s title directly quotes deaf-blind activist Helen Keller, describing her experience at the top of the newly built Empire State Building in 1932. Birkin exposed a sheet of gelatin silver photographic paper to sunlight at the same location, embossed with a braille transcription of the quote.

Thursday, 2 August 2018

Catalogue accompanying 'In and Out of Africa', curated by António Saint Silvestre



The bilingual catalog (Portuguese/English) includes a selection of works from the Treger/Saint Silvestre Collection on view and texts by the collector and the curator of the exhibition António Saint Silvestre and the Director of Núcleo de Arte da Oliva Andreia Magalhães.
Year: 2018
Price: 17 €

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Tuesday, 24 July 2018

SPEED Exhibition VIEW

Photography: Frank Kleinbach, Commissioned by Künstlerhaus Stuttgart


"...Many of the works in the group exhibition were made against a backdrop of apprehension and self-destruction during the Cold War, with its at times uncanny resonances with a present moment. The atmosphere contains an obsessive energy, a recurring fascination with rays, mind altering effects and rituals and the systematic sorting and recording of experience. It is sense of frantic repetition and labour, which van Bender described as ‘Divine Drudgery’, a spirit also present in Bruce Conner’s psychedelic inkblot drawings.

There is an impulse of collaboration that brought about SPEED, one that renders the monologue of anxious speculation into a dialogic practice. The exhibition comprises discrete and individual new works, from Richard’s large-scale video mural Phrasing to Thornton’s cinema installation Cut from Liquid to Snake, and yet all elements have been generated from the third mind of collaboration, a channeling of and at times conscious unsettling of each other’s sensitivities. The basic biographical contrasts between Richards and Thornton are apparent: gender, age and sexuality are all points of difference. What has drawn them together is an inclination they seem to share: that of grabbing charged material, and without apparent judgement or moralising, filling and emptying it. There is an attuned pitch for locating and unsettling any received and comfortable meaning. And at the same time, they produce works with a highly specific sense of the contemporary moment and the urgencies that it presents.

Curated by Fatima Hellberg and James Richards with Matt Fitts

Commissioned by Künstlerhaus Stuttgart and Malmö Konsthall
The second iteration of SPEED takes place at Malmö Konsthall, 15 March – 26 May 2019"


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