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...

For more information:

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

For more information:

Saturday, 1 September 2018

Okey Dokey II at Delmes & Zander

John Neff, Kim's Corner Food, 2013-2015

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.

For more information:

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 €

For more information click here:

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"

For more information click here:

Wednesday, 11 July 2018

C/O Berlin Kinderguide with a work of HORST ADEMEIT

Glimpse on C/O Berlin Kinderguide
(with your kids ;)

"A whir, a click, and just a few seconds later—without darkroom or negative—an instant photo appears in its familiar white frame as if by magic. Although there were Polaroid processes involving negatives, to most people the brand is associated with one-of-a-kind prints, a symbol of the unique, unrepeatable moment being captured. 
The charm of capturing the spontaneous and uncontrived together with the speed of processing made the Polaroid popular among amateurs and professionals alike. World-renowned artists shaped the aesthetic of an era through their use of instant photography. 

There was a palpable joy in experimentation, with cameras ranging from the classic SX-70 to large-format Polaroids that could be used to create abstract images, interior details, street scenes, landscapes, still-lifes, and portraits. Pop artist Andy Warhol’s affinity to the Polaroid should come as no surprise: the instant photo was ideally suited to the ephemeral worlds of consumer culture and fashion that he moved in and that he himself helped to define. 

Whereas Richard Hamilton retouched his painterly Polaroids, Dennis Hopper used the Polaroid to research his films—for example in the series, Colors, in which he documented the graffiti and street art scene in Los Angeles in the 1980s. Artists Anna and Bernhard Blume used instant photos not as individual snapshots but often as part of larger series of performative artist self-portraits. In its Artist Support Program, Polaroid furthered the work of many artists by equipping them with cameras and film..."

Monday, 9 July 2018

Feature with Jesuys Crystiano in Weekend Edition of SZ

"Die Entdeckung eines Künstlers: Der Brasilianer Jesuys Crystiano lebte lange auf der Straße. Seine ausdrucksvollen und eigensinnigen Zeichnungen prangen auf Mauern und Hauswänden. Jetzt wird sein Nachlass aufgearbeitet."

Wednesday, 20 June 2018

Chicago Calling: Art Against the Flow with Works by WESLEY WILLIS

Opening Thursday, June 28, 2018
5–8 p.m.

"Chicago Calling: Art Against the Flow explores Chicago’s history of robust recognition and acceptance of self-taught art and artists. Curated by Kenneth C. Burkhart, an independent curator, and Lisa Stone, curator of the Roger Brown Study Collection of the School of the Art Institute of Chicago, the exhibition presents intrinsic themes embodied in the works of 10 Chicago artists: Henry Darger, William Dawson, Lee Godie, Mr. Imagination, Aldo Piacenza, Pauline Simon, Drossos Skyllas, Dr. Charles Smith, Wesley Willis, and Joseph Yoakum."

2018 White Columns Benefit Auction with works of HIPKISS and TICHY

Hipkiss, Bulwark No. 9, Detail, courtesy of the artists 

Miroslav Tichy untitled, undated, mixed media on photography, 13 x 18 cm
The Auction will be held on Friday, June 22nd at 91 Horatio Street, NYC

The event begins with cocktails and hors d’oeuvres at 7:00 p.m. This will then be followed by the live auction of selected lots, which will begin promptly at 8:00 p.m. The silent auction featuring works by more than 80 artists will close in stages shortly after the live auction.

Check out the show "SPEED" with works of ADEMEIT and BENDER

Opening Sat 30 Jun 2018, 7pm
We are looking forward to the opening at Künstlerhaus Stuttgart

"There is a collaborative impulse behind James Richards and Leslie Thornton’s SPEED, one that renders the lone paranoid monologue of anxious speculation into a dialogic practice. In the process of realising SPEED, Richards and Thornton have been concerned with a number of psychic and temporal states, rushes of interconnectedness and scientific wonder, as well as a sense of ecological dread and anxiety. The exhibition takes the form of two major new commissions by Richards and Thornton, alongside a show-within-the-show convened by Richards with works by Horst Ademeit, Adelhyd van Bender, Bruce Conner, Emily Feather, Terence McCormack, Jeff Preiss and Jens Thornton.

There is an atmosphere of obsessive energy in SPEED, a recurring fascination with rays, of systematic sorting and recording of experience, and with mind altering effects and rituals. A number of the works in the group exhibition were made against a backdrop of apprehension and self-destruction during the Cold War. There is a sense of frantic repetition, labour and a command to activity, which van Bender described as ‘Divine Drudgery’. It is a spirit also present in Bruce Conner’s psychedelic inkblot drawings. The oscillation between an ordering impulse, and the relinquishing of control is a recurring feature of SPEED, one that appears both in the group exhibition and in the newly realised works..."

For more information click here:

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."

Friday, 27 April 2018

Christiane Meixner recommends to check out our new gallery space

© Fred Dott, Hamburg/Courtesy of Galerie Barbara Wien, Berlin

zeit.de guides through 3 days Art Cologne 
and what to see in the city

Zeitgleich zur Art Cologne veranstalten die Kölner Galerien ein langes Wochenende. Am 21. und 22. April gelten verlängerte Öffnungszeiten, am Freitag davor eröffnen zahlreiche Ausstellungen. Das bringt halb Köln auf die Beine. Wer lieber in Ruhe unterwegs ist, beginnt den Tag mit einem individuellen Rundgang.

For more information click here:

Thursday, 19 April 2018

Happy to be recommended by Laura Henseler in KubaParis Magazin

@ Ginerva Gambino, Photo: Neven Allgeier for KubaParis
Check-out the magazine's strolling guide to ART COLOGNE 2018 

"Die ersten Sonnenstrahlen wärmen unsere müden Gesichter. Die Vögel zwitschern im Park und die ersten Würstchen bruzeln auf dem Grill. Es ist Frühling, es ist Zeit für die Art Cologne. Fünf Tage künstliches Licht, keine Privatsphäre und Kunst, die verkauft werden will. Für alle, die ein wenig Sonnenschein erhaschen wollen und durch die Straßen von Köln flanieren möchten, haben wir die richtigen Tipps auf und rund um die Art Cologne zusammengestellt. Und wer hätte uns da besser helfen können als die Kölner Kunstszene."

Tuesday, 17 April 2018

Harry Thorne picked for frieze The Night Climbers of Cambridge as a favorite to see during Art Cologne 2018

The Night Climbers of Cambrigde, Courtesy of Delmes & Zander

Check out the frieze's guide to shows during Art Cologne 2018

"In 1937, an author working under the ludicrous mononym ‘Whipplesnaith’ published The Night Climbers of Cambridge with Chatto & Windus, a photobook documenting the nocturnal exploits of Cambridge university students. In a series of gritty, monochrome plates, a set of which will be on view at Delmes & Zander during Art Cologne, groups of young, white, probably wealthy (almost definitely drunk) men vault over buttresses, shimmy between drainpipes, stand proudly atop distant nave roofs. On the risk involved in such daring acts of institutional critique, dear ‘Whipplesnaith’ (real name, hilariously: Noël Howard Symington) was defiant: ‘If you slip, you will still have three seconds to live.’"
Harry Thorne

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Saturday, 14 April 2018

Check out the talk with Susanne Zander about the gallery's work

Susanne Zander at Universität zu Köln
The Video is now available on 
Prof. Oberste-Hetbleck's blog

During the event Susanne Zander and Prof. Oberste-Hetbleck discussed the work of galleries, the art market and the role and evolution of Delmes & Zander in particular.

For more information click here:

Thursday, 12 April 2018


The Night Climbers of Cambridge, Courtesy of Delmes & Zander

Check out the interview from 2013 

"There’s an element of danger in these photos, too. I think of life as a kind of playground and these photos really show that" 
Thomas Mailaender

Tuesday, 10 April 2018


April 17 – May 31, 2018
Opening April 17, 6-9 pm

„If you slip, you will still have three seconds to live.“ 

The book The Night Climbers of Cambridge was first published in England in 1937.

It is the collected documentation of the activities of a group of Cambridge students with a fondness for a death defying hobby: to secretly scale the century-old Gothic stone masonry of college and town buildings at night. In their obscure interaction with the surrounding architecture, these young men appropriate themselves of the urban landscape and turn King's College campus into their playground.

They capture their nocturnal activities in a remarkable photographic record. It is a documentation of fearless acrobatics, taken from vertiginous angles and illuminated by camera flashes – a testimony of death-defying dauntlessness. The stark contrast between light and shadow results in a breathtaking photographic style that is uniquely dramatic and reminiscent of old film noir thrillers.

The students published the book under the pseudonym 'Whipplesnaith'. Apart from the illustrated photographs, the book features a compendium of climbing routes across the rooftops of Cambridge. The Night Climbers of Cambridge reached cult status amongst climbing societies. It was reprinted in 2007.

The fascination for the night climbers, pioneers of urban exploration, continues unchanged to this very day. Vice Magazine titled a story published in 2013 about the climbers: „Amateur Cambridge Climbing Societies were punk before punk existed.“ They embody the anarchic spirit of punk before punk and instantly bring to mind the daredevil antics of urban climbing or parkour as seen on YouTube or comparable social media channels today.

The artist Thomas Mailaender discovered two sets of the original vintage photographs of the Cambridge climbers and released a comprehensive publication in collaboration with the Archive of Modern Conflict, London, in 2014. One of the two sets is in the possession of Delmes & Zander and will be now shown at the gallery for the first time.

Friday, 6 April 2018

Happy to exhibit along with these colleagues!

List of participants 

Hall 11.2 Contemporary Art

1335 Mabini (Manila)

A+B (Brescia), Achenbach Hagemeier (Dusseldorf), Akinci (Amsterdam), Mikael Andersen (Copenhagen), Arcadia Missa (London), Artelier Contemporary (Graz), Piero Atchugarry (Pueblo Garzón)

Guido W. Baudach (Berlin), Berg Contemporary (Reykjavík), Bo Bjerggaard (Copenhagen), Blain | Southern (Berlin), Bolte Lang (Zurich), Isabella Bortolozzi (Berlin), Jean Brolly (Paris) Ben Brown (Hong Kong/London), Daniel Buchholz (Cologne, Berlin), Buchmann Galerie (Berlin)

Gisela Capitain (Cologne), Andrea Caratsch (St. Moritz), Charim (Vienna), Clearing (New York), Conrads (Dusseldorf), Cosar HMT (Dusseldorf)

Erika Deák (Budapest), Delmes & Zander (Cologne), Deweer (Otegem), Dittrich & Schlechtriem (Berlin)

Heinrich Ehrhardt (Madrid), Eigen + Art (Berlin, Leipzig), Thomas Erben (New York)

Fiebach, Minninger (Cologne), Filiale (Frankfurt), Konrad Fischer (Dusseldorf)

Gagosian (New York, London, Paris, Rome, Beverly Hills, Hong Kong), Gallery On the Move (Tirana), Gillmeier Rech (Berlin), Laurent Godin (Paris), Bärbel Grässlin (Frankfurt), Karsten Greve (Cologne, Paris, St. Moritz), Barbara Gross (Munich), Karin Guenther (Hamburg)

Haas (Zurich), Hammelehle und Ahrens (Cologne), Reinhard Hauff (Stuttgart), Hauser & Wirth (Zurich, London, New York, Los Angeles), Häusler Contemporary (Zurich), Jochen Hempel (Leipzig), Max Hetzler (Berlin)

Jahn und Jahn (Munich), Michael Janssen (Berlin)

Kadel Willborn (Dusseldorf), Mike Karstens (Münster), Kimmerich (Berlin), Kleindienst (Leipzig), Klemm's (Berlin), Helga Maria Klosterfelde (Berlin), Klüser (Munich), Sabine Knust (Munich), Christine König (Vienna), König (Berlin), Eleni Koroneou (Athens), Kraupa-Tuskany Zeidler (Berlin), Krobath (Vienna), Bernd Kugler (Innsbruck)

Lange + Pult (Zurich), Le Guern (Warsaw), Gebr. Lehmann (Dresden), Christian Lethert (Cologne), Lisson Gallery (London, New York), Löhrl (Mönchengladbach), Lullin + Ferrari (Zurich), Lumen Travo (Amsterdam)

Gio Marconi (Milan), Martinetz (Cologne), Daniel Marzona (Berlin), Hans Mayer (Dusseldorf), Max Mayer (Dusseldorf), Mirko Mayer (Cologne), Galleria Mazzoli (Modena), Mario Mazzoli (Berlin), Kamel Mennour (Paris), Vera Munro (Hamburg)

nächst St. Stephan (Vienna), Nagel Draxler (Cologne, Berlin), Nanzuka (Tokyo), Neon Parc (Melbourne), Neu (Berlin), Carolina Nitsch (New York), Nosbaum & Reding (Luxemburg)

Paragon (London), Pearl Lam (Hong Kong, Shanghai, Singapore), Priska Pasquer (Cologne), Giorgio Persano (Turin), Rupert Pfab (Dusseldorf), Jérôme Poggi (Paris), Berthold Pott (Cologne), Produzentengalerie (Hamburg), Project Native Informant (London

Thomas Rehbein (Cologne), Petra Rinck (Dusseldorf), Thaddaeus Ropac (Salzburg, Paris), Philipp von Rosen (Cologne), Nicolaus Ruzicska (Salzburg)

Deborah Schamoni (Munich), Brigitte Schenk (Cologne), Esther Schipper (Berlin), Anke Schmidt (Cologne), Schönewald (Dusseldorf), Rüdiger Schöttle (Munich), Sies + Höke (Dusseldorf), Slewe (Amsterdam), Filomena Soares (Lisbon), Sommer Contemporary (Tel Aviv), Sprüth Magers (Berlin, London, Los Angeles), Edition Staeck (Heidelberg), Paul Stolper (London), Walter Storms (Munich), Jacky Strenz (Frankfurt)

Elisabeth & Klaus Thoman (Innsbruck), Wilma Tolksdorf (Frankfurt)

Van Horn (Düsseldorf), Vartai (Vilnius)

Weiss Falk (Basel), Fons Welters (Amsterdam), Wentrup (Berlin), Michael Werner (Cologne, London, New York), White Cube (London, Hong Kong), Barbara Wien (Berlin), Jocelyn Wolff (Paris)

Zahorian + van Espen (Prague), Zilberman (Istanbul), Martin van Zomeren (Amsterdam), David Zwirner (New York, London).

Hall 11.1 Modern & Postwar Art

Beck & Eggeling (Dusseldorf), Klaus Benden (Cologne), Boisserée (Cologne)

Derda (Berlin), Dierking (Zurich), Döbele (Mannheim)

Johannes Faber (Vienna), Fischer Kunsthandel & Edition (Berlin), Klaus Gerrit Friese (Berlin)

Hagemeier (Frankfurt), Henze & Ketterer (Wichtrach / Bern), Ernst Hilger (Vienna), Hoffmann (Friedberg), Heinz Holtmann (Cologne)

Kanalidarte (Brescia), Koch (Hanover), Konzett (Vienna)

Lahumière (Paris), Le Minotaure (Paris), Lelong (Paris) Levy (Hamburg), Lorenzelli Arte (Milan), Ludorff (Dusseldorf)

Maulberger (Munich), Moderne (Silkeborg)

Georg Nothelfer (Berlin)

Margarete Roeder (New York), Thole Rotermund (Hamburg), Ruberl (Vienna)

Thomas Salis (Salzburg), Samuelis Baumgarte (Bielefeld), Julian Sander (Cologne), Aurel Scheibler (Berlin), Schlichtenmaier (Grafenau), Michael Schultz (Berlin), Schwarzer (Dusseldorf), Setareh (Dusseldorf), Simoens (Knokke), Florian Sundheimer (Munich)

Hollis Taggart (New York), Taguchi Fine Art (Tokyo), Tanit (Munich), Thomas (Munich)

Utermann (Dortmund)

Valentien (Stuttgart), von Vertes (Zurich)

Whitestone (Tokyo, Hong Kong).

Hall 11.3 NEUMARKT

22,48 m² (Paris)

Alma (Riga)

Clages (Cologne), Gisela Clement (Bonn), Conradi (Hamburg), Crèvecoeur (Paris)

Drei (Cologne)

Future (Berlin)

Natalia Hug (Cologne)

Jan Kaps (Cologne), Kiche (Seoul)

Alexander Levy (Berlin)

Kai Matsumiya (New York), Maubert (Paris), MIER (Los Angeles)

Piktogram (Warsaw), Polansky Gallery (Prague), PPC Philipp Pflug Contemporary (Frankfurt)

Ruttkowski;68 (Cologne)

Soy Capitán (Berlin), Sperling (Munich), Supplement (London), Supportico Lopez (Berlin)

Bene Taschen (Cologne), Rob Tufnell (London, Cologne)

Union Pacific (London)

Xavierlaboulbenne (Berlin)

Delmes & Zander at ART COLOGNE 2018

Miroslav Tich, Courtesy of Delmes & Zander
Miroslav Tichý, Type 42 (Anonymous),
Vanessa Conte, Scrapbooks
ART COLOGNE April 19–22, 2018
Hall 11.3 / Booth A 22

The iconic photographs of Miroslav Tichý (1926-2011), taken mostly in secrecy, are both an encyclopedic collection of his coveted objects of desire and a long-term study on femininity. Tichý has been shown by the gallery since the early 1990s and is featured in numerous international museum collections. He is regarded as one of the most important photographic artists of our time.
Type 42 (Anonymous) is similarly a study on the representation of female identity: the photographs taken from the television screen are essentially a hand-picked inventory of female film stars from the 60s and 70s. The meticulously catalogued polaroids, each one featuring the name of the actress portrayed, capture all facets of female emotion and thus constitute „an exhaustive study of what it is to be a woman“ (Cindy Sherman). Currently, the artist’s works are on view in the show Outliers and American Vanguard Art at the National Gallery of Art, Washington, curated by Lynne Cooke. In 2014, a book was published in collaboration with Walther König publishing with an essay by Cindy Sherman. The technique of scrapbooking, a method of collecting and arranging image and text clippings from newspapers and magazines, originated in England in the 19th century as a popular pastime. The individually arranged scrapbooks of 1940s-50s celebrities in the exhibition can be viewed as collages of personal longing and desire. 

The bodies depicted in the works of Vanessa Conte (*1977) often push the female form to its physical limits. The works are humourous and prompt a narrative that feels both surreal and ambiguous. As we watch in awe and fascination trying to make sense of what we see, it becomes evident that there is no clear notion of right and wrong. Conte's work has been shown at JB Jurve, Los Angeles; Hester Gallery, New York; Various Small Fires, Los Angeles; Gavin Brown’s Enterprise, New York; Night Gallery, Los Angeles, Ginerva Gambino, Cologne and others. Upcoming exhibition at: Commonwealth & Council, Los Angeles.

The exhibition "That's right my love, relax" is a collaboration with Rob Tufnell (Cologne) and Ginerva Gambino (Cologne).

For more information click here:

Thursday, 29 March 2018