Tuesday, 13 November 2018

30 years of Delmes & Zander

Karl Hans Janke, Knabenbildnis, 1963, mixed media on paper, 29,5 x 21 cm
 
LIBIDINAL MOTION / DIARY OF AN INNOCENT
November 24th, 2018 – February 1st, 2019
 

30 years of Delmes & Zander
Curated by James Richards


Spending time at Delmes & Zander, James Richards* has convened an intimate path through thirty years of the gallery’s program. Choosing works from the gallery’s archives by Aurel Iselstöger, Miroslav Tichý, Sava Sekulic and Karl Hans Janke, to mention a few, the selection is intuitive and associative. There is a focus on drawing and works on paper as a form of direct communication.

Artist Tolia Astali (born 1974 in Tiflis, Georgia) provides the architectural framework for the exhibition. Her work acts as both display structure and atmospheric holding environment, becoming an organic tissue against which the works from the gallery storage spaces are installed. This playful mixing of background texture and foreground display opens up new interpretative possibilities as well as blurring the boundaries between the curatorial logic and artwork, while conveying a personal navigation of Delmes & Zander's history.

Albrecht Becker, ohne Titel, 1974, photo collage, 28,4 x 20,4 cm, Copyright Collection Hervé Joseph Lebrun


Albrecht Becker – Libidinal MOTION
Curated by Lucas Foletto Celinski

Albrecht Becker (1906 – 2002), best known as a successful set designer and film architect (Hauptmann von Köpenick, Das Glas Wasser) and for his controversial biography – he was imprisoned by the Nazis under paragraph 175 – has also created an extensive artistic body of work.

The exhibition ALBRECHT BECKER – Libidinal MOTION, curated by Lucas Foletto Celinski*, will focus on the photomontage self-portraits Becker made in later years. His experimental photographic images, constructed through a range of diverse techniques, such as multiple-exposure, mirror reflection and collage, combine the depiction of motion with body-related self-explorations. Capturing separate instants of action in one static image, his photomontages render the impression of movement, bringing to mind Eadweard Muybridge's photographic studies of motion.

The exhibition provides insight into Becker's body explorations and a queer take on body and movement. A pioneer of body modification, Becker's photomontages situate his body as a site for mutable and constant transformation. Becker's staged “body-play” transcends the boundaries of still and motion, natural and artificial, private and public. They render testimony to an auto-erotic obsession.

As part of a research project at the Schwules Museum Berlin, James Richards has previously worked with Becker's photomontages in his collaborative film with Steve Reinke: What Weakens The Flesh is The Flesh Itself (2017). Thanks to Rosa von Praunheim for the permission to show the documentary film Love and Torment – Albrecht Becker (2005) in the context of the exhibition.

The exhibition takes place with the friendly support of Collection Hervé Joseph Lebrun.


30 years of Delmes & Zander

We are happy to celebrate our 30th gallery anniversary with the two shows Libidinal MOTION/ Diary of An Innocent curated at our exhibition space by the artists James Richards and Lucas Foletto Celinski respectively.  The orientation of the gallery program remains in a constant dynamic process freed from the dictates of genre and the idea of the artwork as a finished product, thus exploring new directions and opening up new fields of experimentation.

*James Richards (born 1983 in Cardiff, UK) lives and works in Berlin and London. He is the recipient of the Ars Viva Prize (2014) and Derek Jarman Award for film and video (2012) and was a resident of the Berliner Künstlerprogramm DAAD (2013). Richards was shortlisted for the 2014 Turner Prize. Recent solo shows include Künstlerhaus Stuttgart (2018), Kestner Gesellschaft, Hannover (2017), ICA, London (2016), Bergen Kunsthall (2016), Kunstverein München (2015), CCA, Kitakyushu (2012), Chisenhale Gallery, London (2011) and Tate Britain, London (2010). In 2017 Richards represented Wales at the 57th Venice Biennale. Selected group exhibitions include Whitney Biennial, Whitney Museum of American Art, N.Y. (2017), Less Than Zero, Walker Arts Center, Minneapolis (2016), Cut to Swipe, MoMA, N.Y. (2014), Frozen Lakes, Artist Space N.Y. (2013) and The Encyclopedic Palace, 55th International Art Exhibition La Biennale di Venezia, Venice (2013).

*Lucas Foletto Celinski (born in 1986 in Brazil) lives and works in Berlin. Recent shows include Suture Pénétrable at Standing Pine Gallery, Nagoya (2017), Passion at Museum Ludwig, Budapest (2016), Slash: In Between the Normative and the Fantasy at Kim? Contemporary Art Centre, Riga (2015), Berlin Artists' Statements at BWA Contemporary Art Gallery, Katowice (2015) and Bedded-Down Knot at Künstlerhaus Bethanien, Berlin (2015).

Friday, 9 November 2018

Article on Delmes & Zander at Kölnische Rundschau

Kölnische Rundschau, November 8, 2018
Thank you Heidrun Wirth and Kölnische Rundschau for the article on occasion of the 30th anniversary of Delmes & Zander.

The jubilee exhibition will open on the 24th of November, 6 - 9 pm.

For more information click here:
facebook.com

Monday, 5 November 2018

Hilma af Klint at the Guggenheim


Installation view of Hilma af Klint's "The Ten Largest." Image courtesy Ben Davis

Why Hilma af Klint’s Occult Spirituality Makes Her the Perfect Artist for Our Technologically Disrupted Time

Review on the exhibition on Artnet by Ben Davis
 
"Assembled in a chronological progression up the museum’s spiral, the show feels like both a transmission from an unmapped other world and a perfectly logical correction to the history of Modern art—an alternate mode of abstraction from the dawn of the 20th century that looks as fresh as if it were painted yesterday."

(...) "Hilma af Klint's example shows the symbolic power that a woman artist could draw both in spite of and because of the constraints put on her by her time period and her culture, making her a convincing heroine for today. But there is another aspect of Hilma af Klint that makes her oeuvre enter into harmonic relation with the present. That is her occultism.

Af Klint’s interior life, I gather, remains a bit of an enigma, glimpsed through hints and fragments in her journals. What is definitely known is that she had begun attending séances as a teenager, using them as a way to contact her younger sister, who had died young. Af Klint’s turn to abstraction grew from experiments with contacting the dead, particularly as part of a group of women who christened themselves the Five, going into trance states or channeling with a machine called a psychograph."

(...) "Hilma af Klint wanted her art hidden from the world until society was ready for it. What exactly that would have meant to her remains elusive. And nevertheless, she has surfaced right on time."


For more information click here:
artnet.com

Friday, 26 October 2018

Check out Art Agenda's review which features works by Alexandru Chira at FIAC 2018

Alexandru Chira, Untitled, 1994, Oil and pencil on canvas, 78.5 x 79 cm. Image courtesy of Delmes & Zander, Cologne
Alexandru Chira is mentioned in Lauren Mackler's Paris Roundup for Art Agenda.

"At FIAC, Ambera Wellmann’s lush, subject-bending paintings, embodying figures in motion with otherworldly physics, showcased by Mexico City’s Lulu on a marginal wall of the fair (interrupted by an emergency exit door, or perhaps a janitorial closet) was nonetheless a showstopper; Alexandru Chira’s dreamy UFO paintings at Delmes & Zander, Cologne, as well."

For more information click here:
art-agenda.com/paris-roundup-2

Wednesday, 24 October 2018

Works by Michail Paule part of MEISENFLOO at Norma Mangione Gallery, Turin

Exhibition poster of MEISENFLOO at Norma Mangione Gallery, Turin

MEISENFLOO at Norma Mangione Gallery, Turin opens on Nov 3, 2018. The exhibition is curated by Michael Bauer.

"Meisenfloo is a collective exhibition at Norma Mangione Gallery, Turin. The show is curated by Michael Bauer is also exhibiting, alongside artists Raines Birkbeck, Vincent Dermody, Michaela Eichwald, Alastair Mackinven, David Noonan, Michail Paule and Renee So."

For more information click here: 

Tuesday, 23 October 2018

Excited to participate in Independent New York in spring 2019

Independent, New York, photo: Spring Studio
The 2019 edition of Independent New York will include over 50 international galleries and non-profits.

"Independent is pleased to announce the participants for the upcoming iteration of Independent New York, which will return to Spring Studios in Tribeca from March 7-10, 2019. This occasion marks the 10th Anniversary Edition of Independent New York and will present over 50 international galleries and non-profit institutions.

Matthew Higgs, founding curatorial advisor to Independent and director of White Columns states, "Independent remains, first and foremost, a platform for the ideas of artists - of all kinds, and for the galleries - of all persuasions, that support them. Over the past ten years, Independent has been instrumental in suggesting that an art fair can be both a focused and revelatory experience, one that closely relates to and augments our encounters with art elsewhere."

Adams and Ollman, Portland
Air de Paris, Paris
Alden Projects™, New York
Anglim Gilbert Gallery, San Francisco
The approach, London
Arcadia Missa, London
Galerie Isabella Bortolozzi, Berlin
CANADA, New York
Carlos/Ishikawa, London
Chapter NY, New York
Company Gallery, New York
COOPER COLE, Toronto
Delmes & Zander, Cologne
Derek Eller Gallery, New York
Emalin, London
Thomas Erben Gallery, New York
Fleisher/Ollman, Philadelphia
Garth Greenan Gallery, New York
The Institute of Contemporary Arts, London
Karma, New York
Anton Kern Gallery, New York
Klaus von Nichtssagend Gallery, New York
David Kordansky Gallery, Los Angeles
the Landing, Los Angeles
Loevenbruck, Paris
LINN LÜHN, Düsseldorf
MAGENTA PLAINS, New York
Marlborough, New York/London
Kai Matsumiya, New York
moniquemeloche, Chicago
MKG127, Toronto
The Modern Institute, Glasgow
Morán Morán, Los Angeles
Galerie Nagel Draxler, Berlin/Cologne
Night Gallery, Los Angeles
Ortuzar Projects, New York
Maureen Paley, London
Parker Gallery, Los Angeles
Franklin Parrasch Gallery, New York
Peres Projects, Berlin
Reyes Projects, Metro Detroit
Ricco/Maresca Gallery, New York
Rossi & Rossi, London/Hong Kong
Kerry Schuss, New York
Southard Reid, London
STANDARD (OSLO), Oslo
The Sunday Painter,London
Take Ninagawa, Tokyo
Timothy Taylor, London / New York
Galerie Barbara Thumm, Berlin
Tilton Gallery, New York
Leslie Tonkonow Artworks + Projects, New York
Rachel Uffner Gallery, New York
VIGO, London
White Columns, New York

For more information click here:
independenthq.com/independent-new-york-announces-exhibitors-for-10th-anniversary-edition

Monday, 22 October 2018

Thank you Anya Harrison for including Alexandru Chira in your review

Hannah Quinlan and Rosie Hastings, "Something for the Boys," 2018, film still.

Alexandru Chira's “Package Poem IV – Study” (1971-1991) picked as one of the top works at FIAC 2018 by Blouinartinfo

"An art professor by day, Alexandru Chira (1947-2011) created esoteric drawings, plans and paintings outside of “working hours” that are a blend of the eccentric, magical and mystical, with a deep interest in engineering and utopianism. Determined to save his home village in Transylvania from the catastrophic effects of long-term drought, Chira developed a monumental piece of land art, a transmitter to bring down rain and rainbows to the earth. Works such as “Package Poem IV — Study,” form part of his four-decade-long project and esoteric vocabulary that give rise to a belief system and mode of being all its own."

For more information click here:

Monday, 15 October 2018

Getting Ready for fiac!

Prophet Royal Robertson, untitled (Almightly Dies Odin), 1980s, Courtesy D&Z
Visit us October 18 – 21 at Grand Palais, 
Salon d'Honneur - booth 1.J21

"The 45th edition of FIAC will be held in Paris from 18 to 21 October 2018 and will host 193 galleries in the nave and exhibition rooms of the Grand Palais.

The 2018 selection – including many of the most influential specialists worldwide in the fields of modern art, contemporary art and design – will present the finest examples of artistic creation since the turn of the twentieth century; modern masters through to the latest trends..."

Saturday, 6 October 2018

JESUYS CHRISTIANO solo show at D&Z

Jesuys Crystiano, untitled, pencil on paper, 3/2012, Courtesy D&Z
Pop in between October 5th - November 10th, 2018

In 2010 Jesuys Crystiano's monumental wall drawings, rendered on walls and in abandoned tear-down buildings in Ilhéus, Brazil, are discovered. They reveal a surreal imagery in an unmistakable, idiosyncratic style, drawn with a fleeting but distinct stroke.

The wall drawings are discovered by Thilo Scheuermann, a German hotel owner living in Brazil, who establishes contact with the artist. At the time, Crystiano is still living on the streets of Ilhéus and is cared for by neighbours. Exactly how he came to be here is unclear, since he can only remember his past in fragments. His biographical data remains uncertain. The year of his birth is chosen arbitrarily and determined by court order as 1950. We can assume that Chrystiano grew up in the municipality of Buerarema in the state of Bahia, Brazil, where he attended school. Presumably, he spent his youth in Rio de Janeiro.

From 2010, Thilo Scheuermann takes the artist into his custody. Henceforth, he promotes Crystiano's artistic work by providing him with drawing material and by photographically documenting the creation of the works. Crystiano lives here until his death in 2015.

During this time an extensive oeuvre encompassing drawings, collages and objects emerge. His signature imagery shows a complex, ornamental network composed of architectural, floral and figurative elements. Peculiar faces with prominent noses and cigarette stubs in their mouths, airplanes, buildings, animals, especially birds, umbrellas, upside-down chairs and tables, and uprooted trees are recurring subjects of his unmistakable drawings.

For the first time in Cologne, Delmes & Zander is showing the work of Jesuys Crystiano in a solo exhibition that will also include his large-format drawings.

Friday, 21 September 2018

Künstlerhaus Stuttgart: SPEED's Review on frieze

Screenshot of the online article 
Find Kirsty Bell's article here

"The chilling biographical incident forms the core of ‘SPEED’, the second collaborative exhibition by filmmakers James Richards and Thornton (...)

This rich and thought-provoking exhibition looks at science from a layman’s perspective, or through an artist’s skewed curiosity, and examines its intersection with everyday politics. A video by Thornton (WhatItIsToBePerfect, 2018) featuring unedited found footage of CERN’s Large Hadron Collider, the world’s largest particle accelerator, is strange and fascinating in its banality..."

For more information click here:

Tuesday, 18 September 2018

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:

Friday, 14 September 2018

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

For more information:

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.

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*

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

B
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

C
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

D
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

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

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

G
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

H
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

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

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

K
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

L
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

M
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

N
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

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

P
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

R
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

S
Salon 94, New York*
Richard Saltoun, London
SCAI THE BATHHOUSE, Tokyo
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

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

U
Ubu Gallery, New York
untilthen, Paris 

V
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

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

Z
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

Design
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



DERRICK ALEXIS COARD
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
Hipkiss
Paul Humphrey
Aurel Iselstöger
Margret – Chronicle of an Affair
Miroslav Tichy
Oswald Tschirtner
Type 42
August Walla"