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.

Installation view of SPEED 2 / James Richards, Leslie Thornton and more at Malmö Konsthall until May 26, 2019.

Installation Images of SPEED 2 at Malmö Konsthall. Photo: Helene Toresdotter, Courtesy Malmö Konsthall 

SPEED 2 / James Richards, Leslie Thornton and more at Malmö Konsthall. Curated by James Richards, Fatima Hellberg and Matt Fitts. In Collaboration with Künstlerhaus Stuttgart. With works by Adelhyd van Bender and Horst Ademeit. 

Visit Malmö Konsthall.

Thursday, 28 March 2019

HIPKISS Pit Land (Against Sea), curated by Monika Koencke Amorosa, until March 29 at Delmes & Zander



Installation view of the Hipkiss-show "Pit Land (Against Sea)", Delmes & Zander, Cologne
Photo: Johannes Post

Wednesday, 20 March 2019

SPEED 2 at Malmö Konsthall with works by Horst Ademeit and Adelhyd van Bender beside others

Image: Adelhyd van Bender, drawing from folder #52, 1999 -2014. © Delmes & Zander, Cologne.


SPEED 2
JAMES RICHARDS & LESLIE THORNTON
with works by Horst Ademeit, Tolia Astakhishvili, Adelhyd van Bender, Bruce Conner, Emily Feather, Terence McCormack, Vi Khi Nao, Thomas Zummer and Jens Thornton
16.03 – 26.05.2019, Malmö Konsthall

James Richards / Leslie Thornton, SPEED 2 opened on the 15th of March 2019 at Malmö Konsthall. This is the second iteration of the exhibition, following its first presentation at Künstlerhaus Stuttgart and takes the form of an expanded version, commissioned with Künstlerhaus and realised in dialogue with the spaces of Malmö Konsthall.

SPEED 2 comprises three major new commissions by James Richards and Leslie Thornton, alongside a show-within-the-show convened by Richards with works by Horst Ademeit, Tolia Astakhishvili, Adelhyd van Bender, Bruce Conner, Emily Feather, Terence McCormack, Vi Khi Nao, Jeff Preiss, Jens Thornton and Thomas Zummer.

In the making of SPEED 2, Richards and Thornton have been concerned with specific psychic and temporal states, rushes of interconnectedness and scientific wonder, as well as a sense of ecological dread and paranoia. The oscillation between an ordering impulse, and the relinquishing of control is a central feature of SPEED 2, one that returns in the exhibitions’ different modes: cinema screening, video mural, sound installation, study room and group show.

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 the 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 2, one shaped by the artists’ joint residency at CERN. This center for nuclear research became a working-site and a space for thinking artistically – the largest machine in the world, seeking the smallest particle, a combination between the epic and the mundane that recurs in the logic of SPEED 2. The exhibition comprises discrete and individual new works, from Richards’ large-scale video mural Phrasing and Thornton’s cinema installation Cut from Liquid to Snake, to the wall text and video installation Sheep Machine Redux, conceived for the spaces of Malmö Konsthall. It is a body of work developed from the artists’ individual practices but also 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 Malmö Konsthall and Künstlerhaus Stuttgart


___


SPEED 2
James Richards / Leslie Thornton

Ausstellungseröffnung, Malmö Konsthall
Freitag, 15. März, 18–21 Uhr


James Richards / Leslie Thornton, SPEED 2 eröffnete am 15. März 2019 in der Malmö Konsthall. Es ist die zweite Version der Ausstellung nach ihrer Präsentation im Künstlerhaus Stuttgart. Dieser erweiterte zweite Teil wurde zusammen mit dem Künstlerhaus in Auftrag gegeben und im Dialog mit den Räumlichkeiten der Malmö Konsthall umgesetzt.

SPEED 2 besteht aus drei eigens für die Ausstellung produzierten Arbeiten von James Richards und Leslie Thornton, sowie einer von Richards zusammengestellten Ausstellung-in-der-Ausstellung mit Arbeiten von Horst Ademeit, Tolia Astakhishvili, Adelhyd van Bender, Bruce Conner, Emily Feather, Terence McCormack, Vi Khi Nao, Jeff Preiss, Jens Thornton und Thomas Zummer.

Im Entstehungsprozess um SPEED 2 beschäftigten sich Richards und Thornton mit einer Reihe psychischer und zeitlicher Zustände, einem rauschartigen Verbundensein und wissenschaftlichen Staunen sowie einem Gefühl ökologischer Verunsicherung. Das Oszillieren zwischen ordnendem Impuls und Kontrollaufgabe zieht sich als wiederkehrendes Merkmal durch die diversen Ausstellungsmodi von SPEED 2: Kinovorstellung, skulpturale Videowand, Soundinstallation, Lesesaal und Gruppenausstellung.

Viele der in der Gruppenausstellung vertretenen Werke entstanden vor der Kulisse dunkler Vorahnungen und drohender Selbstzerstörung in der Ära des Kalten Krieges, wobei sich nicht selten unheimliche Parallelen zur Gegenwart auftun. Die vorherrschende Atmosphäre birgt eine obsessive Energie, eine wiederkehrende Faszination für Strahlung, systematische Gliederung und Aufzeichnung von Erfahrungen sowie für bewusstseinsverändernde Effekte und Rituale. Dieses Gefühl fieberhafter Wiederholung und Arbeit, das van Bender als „göttliche Schinderei“ beschrieb, kommt auch in Bruce Conners psychedelischen Inkblot Drawings zum Ausdruck.

SPEED 2 entstand angeregt durch einen Impuls zur Kollaboration, der aus dem gemeinsamen Arbeitsaufenthalt der Künstler_innen am CERN hervorging. Das Zentrum für Nuklearforschung wurde zu einem Ort für das gemeinsame künstlerische Arbeiten und Denken – die größte Maschine der Welt, welche die kleinsten Teilchen erforscht, eine Kombination aus dem unbegreiflich Großen und dem Alltäglichen, die sich in der Logik von SPEED 2 wiederfinden lässt. Die Ausstellung enthält eigenständige Arbeiten, darunter Richards‘ großformatige Videowand Phrasing und Thorntons Kino-Installation Cut from Liquid to Snake, sowie die Wandtext- und Videoinstallation Sheep Machine Redux, welche speziell für die Räumlichkeiten der Malmö Konsthall konzipiert wurde. Alle Arbeiten sind aus den individuellen Praktiken der Künstler_innen und zugleich im Geiste der Zusammenarbeit entstanden – manchmal Bündelung, manchmal durchaus bewusste Störung der gegenseitigen Empfindungen. Die Biografien Richards‘ und Thorntons unterscheiden sich in so wesentlichen Punkten wie Geschlecht, Alter und Sexualität. Jedoch vereint sie die Neigung, sich aufgeladenes Material anzueignen und es ohne offenkundige Wertung oder Moralisierung zugleich aufzufüllen und zu entleeren. Sie sind aufeinander eingespielt, jegliche Form anerkannter, bequemer Bedeutungen aufzuspüren und zu erschüttern. Dabei produzieren sie Arbeiten mit einem höchst spezifischen Sinn für den gegenwärtigen Moment und die mit ihm verbundenen Dringlichkeiten.

Kuratiert von Fatima Hellberg und James Richards mit Matt Fitts

Im Auftrag von Malmö Konsthall und Künstlerhaus Stuttgart

Visit the website of Malmö Konsthall.

Wednesday, 13 March 2019

SPEED 2 /James Richards, Leslie Thornton and more at Malmö Kosthall

Image: Horst Ademeit, 551, 11.04.1992, inscribed polaroid (detail). Courtesy the Estate of Horst Ademeit / Delmes & Zander, Cologne.

 

SPEED 2 /James Richards, Leslie Thornton and more at Malmö Kosthall opening on the 15th of march. Curated by James Richards, Fatima Hellberg and Matt Fitts. In collaboration with Künstlerhaus Stuttgart.

 

(...) This second iteration which follows the exhibition at Künstlerhaus, comprises four new commissions: James Richards' video mural 'Phrasing'; Leslie Thornton's cinema installation, 'Cut from Liquid to Snake', alongside the jointly developed multi-channel sound piece 'Pocket call' and the wall text and video installation 'Sheep Machine Redux', conceived for the spaces of Malmö Konsthall. These elements are presented around a display of works by Horst Ademeit, Tolia Astakhishvili, Adelhyd van Bender, Bruce Conner, Emily Feather, Terence McCormack, Vi Khi Nao, Jens Thornton and Thomas Zummer, alongside a new presentation of Richards and Thornton's first collaborative piece 'Crossing' (2016). SPEED 2 is realised in collaboration between Künstlerhaus Stuttgart and Malmö Konsthall.

See the the event on facebook.
Visit the website of Malmö Konsthall.

Friday, 8 March 2019

No Love Without Pain - Albrecht Becker at the Independent New York


Images: Installation view of "No Love Without Pain", Independent New York, 2019

 

NO LOVE WITHOUT PAIN Albrecht Becker 

Independent New York

March 7 - 10, 2019


It Is Not the Homosexual Who Is Perverse, But the Society in Which He Lives. (Rosa von Praunheim, 1971)

In the fall of 1935, Albrecht Becker (1906-2002) is arrested and imprisoned for three years by the Nazis for violating Paragraph 175, the penal code that outlawed homosexuality in Germany until 1994. Five years later he signs up for the military service and is transferred to the Russian front. Here he begins to tattoo his own body and discovers the pleasures of pain. After the war Becker is introduced into the German flm industry, where he becomes one of the most prominent set designers and flm architects of the late 1950s to 1980s, working on over a hundred flm productions, some of which awarded with prestigious flm prizes.

Albrecht Becker begins his photographic self-portrayal in the early 1930s and continues to explore his body and his sexuality without apologies in an increasingly self-determined way for decades to
come. Hundreds of photographs taken over a period of forty years show an equivocal mise-en scène in which Becker engages in role play on multiple levels: He stages performative scenes and presents his body as a sculpture or uses it as a canvas, which he paints on, adorns and dresses up. He places himself in carefully composed flm sets and becomes the lead character, director, screenwriter and cameraman all at once. Permeated with a wry and witty theatricality, his self-portraits tell stories of seemingly irreconcilable versions of himself, an interplay between the sophisticated, dapper gentleman and the sexually empowered individual.

The photographic documentation is accentuated by the technical processes of post-production manipulation: Becker takes control of his physical transformations, and modifes his body through the very manipulation of the image by applying experimental techniques such as photographic duplication, multiple-exposure, mirror refection, collage and reworking the material. In a clever game of deception arising from different layers of medial-representation, his photomontages recall the work of Pierre Molinier in the way that they play with viewer's sense of orientation. Capturing simultaneity in one static image, his photomontages render the impression of movement as seen in Eadweard Muybridge's early photographic studies in motion.

A pioneer of body modifcation, Becker's work situates his body as a site for mutable and constant transformation: good or bad, accidental or intentional, he carries the results of his physical explorations with a grandeur bordering tongue-in-cheek exaggeration evocative of an attitude familiar from such contemporaries as Genesis P-Orridge. The continuity of his self-refection renders a complex, almost cinematic study that records the changes from middle- to old-age life and body. In this, it lucidly addresses the themes of time, mortality, sexuality and fetishism that are at the core of Becker's oeuvre. But his work is also an appeal to tolerance, to letting one be, thus gaining new signifcance in our times of rising radicalization and intolerance, in a growing climate of fear in Europe and beyond.

Becker has been the topic of several flms and his testimony as a gay man in Germany of the 1930s- 40s is featured in Rosa von Praunheim's documentary flm Love and Torment - Albrecht Becker (2005), in Hervé Joseph Lebrun’s Albrecht Becker, Arsch Ficker Faust Ficker (2004), as well as in Epstein and Friedmann's Paragraph 175 (2000). An interview with Becker is included in the visual history archive of the Shoah Foundation, an organization founded by Steven Spielberg for the remembrance of the Holocaust. James Richards’ video contribution to the 57th Venice Biennale (What Weakens The Flesh is The Flesh Itself, 2017) takes as a point of departure the photographic archive of Albrecht Becker. The exhibiton is made possible by the kind support of the Collection Hervé Joseph Lebrun.



Thursday, 7 March 2019

ArtNews writing about Albrecht Becker at the Independent New York


Image: Albrecht Becker, 1979, untitled, 20.5x18.5cm, Copyright Hervé Joseph Lebrun, Courtesy Delmes & Zander

Claire Selvin writing for ArtNews about Albrecht Becker at the Independent New York

(...) Becker, who became a celebrated set designer in Germany following World War II, took hundreds of performative self-portraits over the course of 40 years, beginning in the early 1930s. The images, which function as meditations on the artist’s body and sexuality, often incorporate illusionistic elements and techniques like mirrors, photographic duplication, multiple-exposure, and collage. Having frequently utilized the transformative powers of make-up, costume, and decoration in his work, Becker, who died in 2002, is considered in the vanguard of art involving body modification.

Read the whole article.

Wednesday, 6 March 2019

Tim Geyerl writing about Albrecht Becker on vice.com


Tim Geyerl writing about Albrecht Becker for Vice Magazine "Albrecht Becker survived WWII to become a pioneering photographer"


(...) Becker was proud of his sexuality, his body and his experiments, even those that failed – including one that left his penis permanently disfigured. This is one of the reasons the art world has rediscovered his work. From the 7th to the 10th of March, 2019, Becker's photographs will be shown at the Independent Art Fair in New York.

Click here for the article.
For more information click here: VICE

Friday, 1 March 2019

Jesuys Crystiano at the Fundação Arpad Szenes – Vieira da Silva in Lisboa.

 

Jesuys Crystiano in the exhibition "Lusofolia. Insane Beauty", curated by Antonio Saint Silvestreat at Fundação Arpad Szenes – Vieira da Silva in Lisboa.


Jesuys Crystiano is shown in the exhibition "Lusofolia. Insane Beauty", curated by António Saint Sivestre at at Fundação Arpad Szenes - Vieira da Silva in Lisboa, opening on the 21st of March. With works from the Treger Saint Silvestre art collection the exhibition is organized in partnership with the Centro de Arte Oliva in São João da Madeira.

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“Art Brut”, the last artistic discovery of the 21st century, is the fad of biennials, museums and international art fairs, but it is yet to become popular in our country.

Portuguese “Art Brut” authors still live in “terra incognita”, apart from Jaime Fernandes, and for that reason we have decided to assemble about twenty “Brut” artists from the Portuguese-speaking world, bringing Portugal, Brazil and Angola together, and introducing them collectively for the first time.

The starting point will be Jaime Fernandes (1900-1969), the Portuguese artist from Covilhã who was committed to Miguel Bombarda Hospital, where he created his work, which is part of all international “Art Brut” collections.

Unfortunately, few pieces by this artist are left in Portugal, some in the Gulbenkian Foundation collections, others in our own collection, and some pieces still in in the hands of private collectors.

We will also introduce works by Portuguese artists Manuel Bonifácio, who lives in London, siblings Manuel and Ana Carrondo, Jaime Fernandes, Daniel Gonçalves, Ti Guilhermina, Rui lourenço, Carlos Victor Martins, Artur Moreira, José Ribeiro, Serafim Barbosa, Brazilian artists Albino Braz, Jesuys Crystiano, Evaristo Rodrigues, Marilena Pelosi, Camilo Raimundo and José Teófilo Resende, alongside precious drawings by unknown Angolan artists. It is the third time that the Arpad Szenes-Vieira da Silva Foundation has the audacity to host exhibitions from Centro de Arte Oliva, Treger/Saint Silvestre Collection, the only museum dedicated to this artistic field in the Iberian Peninsula.

António Saint Silvestre

Read more about TSS Collection and Fundação Arpad Szenes – Vieira da Silva 


"Outliers and American Vanguard Art" at Lacma, Los Angeles

Type 42 (Anonymous), Ava Gardner, mixed media on photography, 1960s-1970s, 8,3 x 10,8 cm

Type 42, Morton Bartlett and Eugene von Bruenchenhein are part of the show "Outliers and American Vanguard Art", curated by Lynne Cooke at LACMA, Los Angeles until March 17, after it was shown in the National Gallery of Art, Washington D.C. in 2018.


LACMA hosts the West Coast presentation of Outliers and American Vanguard Art, the first major exhibition to explore key moments in American art history when avant-garde artists and outliers intersected, and how their interchanges ushered in new paradigms based on inclusion, integration, and assimilation. The first part of the exhibition illustrates how the early history of American modernism, especially the first years of the Museum of Modern Art, championed folk art and self-taught artists before the ascendance of abstract expressionism. The second section begins in the late 1960s when artists affiliated with the Chicago Imagists and West Coast assemblage practices became the leading advocates for outliers and visionary artists. The third section shows the continued impact of outlier practices on contemporary art.

The exhibition features over 250 works in a range of media by more than 80 self-taught and trained artists such as Henry Darger, Sam Doyle, William Edmondson, Lonnie Holley, Greer Lankton, Sister Gertrude Morgan, Matt Mullican, Horace Pippin, Martín Ramírez, Betye Saar, Judith Scott, Charles Sheeler, Cindy Sherman, Bill Traylor, and Kara Walker.

Read more on the homepage of Lacma.

Wednesday, 13 February 2019

Hipkiss - Pit Land (Against Sea)




Image: Hipkiss, Capitule 11, 2018 (archive # 1139) mixed media on paper 42 x 40cm, Courtesy the artists / Delmes & Zander, Cologne 



Hipkiss

Pit Land (Against Sea)

Curated by Monika Koencke Amorosa

February 23 – March 29, 2019 
Opening: February 22, 6-9 pm


Working together as HIPKISS since their first encounter in the early 1980s, Alpha and Chris Mason (*both 1964) draw inspiration from seemingly disparate fields such as architecture, ornithology, punk, ecology, feminism, and entomology. Their work reflects a fascination with birds, landscapes (both human and natural), and the compositional elements of mathematics, a subtle balancing act between science and art. Addressing such themes as gender issues, politics, and sociology, their works are the visual transcription of a narrative born of an ongoing collaborative dialogue. Their meticulous drawing technique renders an organic texture which incorporates hidden discourses, private jokes, and fragments of the every day.

The central pillar of their latest project PIT LAND (AGAINST SEA) concerns the futility of a ‘battle’ - or even polarisation – between the two elements, both of which are fundamental and unavoidable. For this project, Hipkiss have chosen plant-inspired, rather than industrially themed motifs, including a handpicked selection of self-defensive kinds of weeds and wild plants such as Hogweed, Melancholy Thistle, Thornapple, Hedge Mustard - an instinctive response to the recent global reinforcement of patriarchy and the unpredictability of nature manifest in climate change. Using graphite, ink and gold leaf on paper, Hipkiss have opted for a vertical, totem or tower-like composition (with all its symbolism of the irrational, the man-made, the hubris that these might entail) and structured by a series of concentric elements that bring to mind the circular outlines of Robert Hooke’s 17th century microscopic observations as much as they recall the rotoreliefs of Marcel Duchamp. There is a clear homage to early botanical and natural history illustrators (Elizabeth Blackwell, Charles Plumier, Maria Merian) as well as pioneers and mavericks of photography (Anna Atkins’ cyanotype photograms and Blossfeldt's stripped-back masterpieces, for instance) – to all the women and men that freed the eye and mind to new perspectives and to new realities.

In this sense, PIT LAND (AGAINST SEA) can be seen as a response to the darkness, the misuse of power (physical, financial, political, religious) and the urge for destruction. It announces a gentler, less nihilistic revolution kindled by duality and partnership, a revolution which uses the best of humanity, male - female, dark - light, zero - sum, to conjure a new kind of strength that might restore biodiversity, the environment, and essentially dignity and equality within the human race.

The exhibition PIT LAND (AGAINST SEA) at Delmes & Zander explores the first part of the dichotomy within an extensive, ongoing project initiated by Hipkiss in 2018, and comprises 16 new works (Capitules, Instars, Imagoes).

* HIPKISS is the pseudonym of Alpha (*1964 in Widnes, UK) and Chris Mason (*1964 in Perivale, UK). The artists live and work in the south of France. Solo shows include Bulwark at The Drawing Center, New York, Drawings at INTUIT, Chicago and Mercury Springtime at John Michael Kohler Art Center, Sheboygan. Hipkiss have featured in group exhibitions at Tate Britain, London; KW Institute for Contemporary Art, Berlin; La Maison Rouge, Paris; New Museum, New York; David Zwirner (System and Vision in collaboration with Delmes & Zander) and others. Works by Hipkiss are found in the collections of the Metropolitan Museum of Art; Kupferstichkabinett, Berlin; Museum Boijmans Van Beuningen, Rotterdam; FRAC Occitanie, Whitworth, Manchester and the Treger/Saint Silvestre Collection amongst others. Hipkiss are a three-time recipient of the Pollock-Krasner Award. Delmes & Zander has represented Hipkiss since 2005.
 
See more Information on delmes-zander.de

Friday, 1 February 2019

VICE writing about Albrecht Becker



Image: Albrecht Becker, untitled, 1982, Photocollage, 13 x 19 cm


VICE writing about Albrecht Becker "Wie dieser Tattoo-Pionier die Nazis überlebte und zum Body-Positivity-Symbol wurde"

 

(...) "Wenn wir heute offen über Body Positivity reden können, liegt es auch an Menschen wie Albrecht Becker. Denn geschämt hat Becker sich nie. Für nichts. Nicht für seine Sexualität. Nicht für seinen Körper. Nicht für seine Experimente – obwohl sie manchmal missglückten, eines davon entstellte seinen Penis für immer. Auch deshalb entdeckt ihn die Kunstwelt gerade wieder. Die Kölner Galerie Delmes und Zander hat Beckers Fotografien in ihr Programm aufgenommen. Und vom 7. bis 10. März hängen seine Fotos auf der "Independent"-Kunstmesse in New York."

Click here for the Article


For more information click here: VICE

Tissue Magazine writing about Albrecht Becker


Image: Albrecht Becker, untitled, 1962, Photocollage, 19.2 x 13.2 cm, Courtesy Collection Hervé Joseph Lebrun

 

Tissue Magazine writing about Albrecht Becker "In a Pervert World"

 

On the occasion of their 30th anniversary, Delmes & Zander show one the most ruthless and uncompromising artists of German post-war history. The works of Albrecht Becker are not only impressive contemporary documents, but in the current era of ‘body shaming’ or ‘body positivity’ they are as fascinating and relevant as at the time of their creation. Comprehensive and affectionate, the Cologne gallery shows, among other works, Rosa von Praunheim’s film ‘Liebe und Leid’ about the self-proclaimed autoerotic and masochist.

When Paragraph 175 of the German Criminal Code was abolished in 1994 and homosexuality was no longer punishable in Germany after more than 100 years, Albrecht Becker already looked back on a career spanning several decades. His photographic self-portrait began in the middle of the darkest chapter in German history. Detained as a homosexual by the Nazis for three years in the fall of 1935, during World War II he pledged himself to serve on the Russian front, where he began to modify his body and discover his lust for pain. As an award-winning production designer of the post-war era, he provocatively pushed artistic self-staging to the extreme, staging his tattooed body and his sexuality uncompromisingly in hundreds of pictures over four decades.

As the protagonist, director and cinematographer of his works, he uses his own body as a canvas and places himself in carefully composed flm sets. The contrast between Becker’s appearance as an elegant gentleman and his accidental and intentional body transformations and erotic depictions creates a special charm. Accentuated by experimental post-production techniques, Becker’s work addresses the themes of time, sexuality and fetishism, often with a wink, his physical explorations and their portrayals represent a call for liberality and serenity.

Curated by Lucas Foletto Celinski, the exhibition Albrecht Becker – Libidinal Motion continues until February at Delmes & Zander, Lindenstraße 20, in Cologne. In March, Delmes & Zander will present Albrecht Becker in a solo exhibition at Independent Art Fair in New York City.

Click here for the Article In a Pervert Word


For more information click here:
Tissue Magazine