Friday, 6 December 2019

THE MEDIUM'S MEDIUM at The Gallery of Everything

Heinrich Nüsslein, Tempel der Weisheit, undated, mixed media on paper, 50 x 65 cm
Courtesy Delmes & Zander, Cologne


September, 29 - December 22, 2019

 
"The Gallery of Everything presents THE MEDIUM’S MEDIUM - a two-part exploration into spiritualist and mediumistic art practices, from the 19th century to the present day.
This survey features drawings and paintings by a diverse range of authors - from established names to newer (re)discoveries - and includes material which is now acknowledged as a significant influence on the development of 20th century art.

THE MEDIUM’S MEDIUM [opened] at the Gallery of Everything on Sunday 29th September with a contemporary installation, featuring the seance photography of Shannon Taggart, channeled paintings by filmmaker Jan Svankmajer and his wife the painter Eva Svankmajerova, plus a commentary by multi-disciplinary artist Tony Oursler, whose Imponderable collection revolved around his own lifelong fascination with mysticism."

The artists on view at the exhibition include Marguerite Burnat-Provins, Fleury-Joseph Crépin, Fernand Desmoulin, Svetlana Dressen, Eva Droppova, Madame Favre, Olga Fröbe-Kapteyn, Gertrude Honzatko-Mediz, Ernst Josephson, Nina Karasek, Hilma af Klint, Vlasta Kodríková, Josef Kotzian, Joseph Krygel Emma Kunz, Augustin Lesage, Raphaël Lonne, Heinrich Nüsslein, Tony Oursler, František Jaroslav Pecka, Comte de Tromelin, Agatha Wojciechowsky, Henriette Zéphir, Madge Gill, Václav Groul, Anna Haskel, Margarethe Held, Victor Simon, Austin Osman Spare, Marian Spore Bush, Jan Švankmajer, Eva Švankmajerová and Shannon Taggar.

For further information visit: www.gallevery.com/exhibitions

JAHRESGABEN 2019 at the Bonner Kunstverein

Horst Ademeit, 5804, 23.09.2003, inscribed polaroid, 11 x 9 cm.
© Estate of Horst Ademeit / Delmes & Zander, Cologne
 
7th - 22nd December, 2019


Jahresgaben opens Saturday December 7th from 12 to 2 pm at the Kunstverein in Bonn. 

"Jahresgaben (annual gifts) are unique and editioned artworks that are sold as part of an annual fundraising event."
"This year's annual entries include paintings, drawings, collages, photographs, sculptures and prints by 24 artists including Ulla von Brandenburg's unique works, Anna-Sophie Berger, Andreas Breunig, Cecilia Edefalk, Allison Katz, Sarah Lehnerer, Nicolas Pelzer and Benoît Platéus, Henrik Potter, Babette Semmer, Masar Sohail, Leslie Thornton and Josef Zekoff. The two Peter Mertes fellows from 2018, Robert Brambora and Stefani Glauber, also provide an annual gift. This year Arno Beck will be part of the show, taken from the the Bonner Kunstverein's studio, with a limited edition of letterpress prints. In addition, Neven Allgeier and Alex Grein have produced new editions exclusively for the Bonn Kunstverein. We receive further annual gifts from Judith Bernstein, Erica Baum, Ghislaine Leung and Susanne M. Winterling. Furthermore, we offer works from the estate of Horst Ademeit and Adelhyd van Bender.

The opening will be accompanied by short lectures on selected anniversaries by curators, art historians and members. There are, inter alia, talk. Linda Conze (curator of photography, Kunstpalast Düsseldorf), Anthony DiPaola (artist and board member of the Bonner Kunstverein), Fatima Hellberg (director, Bonner Kunstverein), Lisa Klosterkötter (freelance curator, Cologne), Max Rauschenbach (freelancer, Kunstmuseum Bonn), Luisa Schlotterbeck (art historian, Cologne), Roswitha Weber (member of the Bonner Kunstverein) and Prof. Harald Wolter-von dem Knesebeck (Institute of art history, University of Bonn)."

For more infomartion about the opening event December 7th, visit : https://www.facebook.com/events/593413841409411/

Fore further information about the exhbition, visit: http://www.bonner-kunstverein.de/exhibition-category/current/  
 

Saturday, 23 November 2019

THE ELECTRIC EYE at La Casa Encendida in Madrid

Adelhyd Van Bander, Folder #21, 1999-2014
Courtesy Delmes & Zander, Cologne






11 October, 2019 - 05 January, 2020   


"The Electric Eye, curated by Antonia Gaeta and Pilar Soler, revolves around a series of works that use the artistic language to reveal an enigmatic journey, a to-ing and fro-ing between several dimensions or between a visible and an invisible reality. Encrypted messages using cosmological structures provide a glimpse into diverse realities and worlds, often deliberately dark and characterised by complex iconographies.
The key to these works resides in the meeting between forms and meanings that bring together tutelary entities and figures. It is a project about the mystery in meanings and hidden presences. The exhibition dramatises these elements as transient memories, materialised as multiple, complex realities, specific calculations, pyramids of power, apathies abated with the concretion of a visionary mission.
Above all, the show presents visitors with a provocative impossibility: the inability to decipher the entire message behind the works, because in many cases the artists act as mediators between the rational world and another unknown or transcendental world. The works therefore become narratives of the subconscious, inadvertently assuming aspects that subvert the established. Through a variety of coded messages, formulas, invented figures and secret codes, they question the limits of reason. There is always some hidden aspect that becomes an enigma and emerges as the only possible space of liberation in the face of its pathological condition. Conceived on these lines, the exhibition demonstrates the power of subjective processes, compulsive obsessions and fantastical visions."

"The exhibition presents selected works from the Treger/Saint Silvestre Collection, one of the richest and most comprehensive collections of art brut in Europe, housed at the Centro de Arte Oliva in São João da Madeira, Portugal."

The exhibition includes works by Horst Ademeit, Adelhyd van Bender, Adolf Wölfli, Agatha Wojciechowsky, Margarethe Held, Madge Gill, Anna Zeimánková, Nina Karasek, Bruly Bouabré, Albino Braz, Vasilij Romanenkov, Aníbal Brizuela, Janko Domsic, John Urho Kemp, Herald Stoffers, Melvin Way, Beverly Baker, Raimundo Camilo, Scottie Wilson, Lesage, Fleury-Joseph Crépin and Friedrich Schröder-Sonnenstern.

For further information about the exhibition: https://www.lacasaencendida.es/en/exhibitions/electric-eye-9602 

Installation view of ALEXANDRU CHIRA. INTO THE LAB LAND










Installation View of ALEXANDRU CHIRA, INTO THE LAB LAND
Photos by Johannes Post, Courtesy Delmes & Zander, Cologne


Thursday, 7 November 2019

THE ASSEMBLED HUMAN at the Folkwang Museum, Essen


George Widener, Time Machine, 2010, Mixed media on canvas, 184 x 139 cm, Collection Torsten Kunert, Copyright George Widener / Courtesy Delmes & Zander, Cologne, Foto: Bernhard Schaub. 


8 November, 2019 - 15 March, 2020

“In late autumn 2019, Museum Folkwang will present a show that transcends media and epochs to explore the major societal issues and upheavals of the last 150 years. The Assembled Human presents art as a mirror of industrialisation, technologisation and digitisation. It provides a cultural-historical survey that encompasses key works of painting and graphic design, early experiments in photography, installations and films, along with recent works of Post-Internet Art.
The exhibition focuses on the manifold entanglements between human beings and machines, which are explored in several thematic sections. From the Industrial Revolution to the Information Age, generations of artists have dealt with technological innovations and their impact on humankind. The international loans shown in the exhibition range from photographic records of early industrialisation to Modernist art. They cover experiments in video and performance art from the 1960s through to contemporary art – because today more than ever, technological progress is inextricably linked with anxieties over losses of freedom and individuality. Contemporary works reflect current artistic investigations into the new possibilities and impossibilities that the digital age entails.“ 

The show includes works by Walter Heinz Allner, Bettina von Arnim, Gerd Arntz, Ed Atkins, Giacomo Balla, Joachim Bandau, Lenora de Barros, Willi Baumeister, Thomas Bayrle, Rudolf Belling, Ella Bergmann-Michel, Renato Bertelli, Alexandra Bircken, Umberto Boccioni, Wilhelm Braune, John Cage, Helen Chadwick, Computer Technique Group (CTG), Charles A. Csuri, Mariechen Danz, Fortunato Depero, Walter Dexel, Otto Dix, Marcel Duchamp, Raymond Duchamp-Villon, Charles & Ray Eames, Max Ernst, Alexandra Exter, Öyvind Fahlström, Harun Farocki, William Allan Fetter, Otto Fischer, Herbert W. Franke, Carl Grossberg, George Grosz, Richard Hamilton, Barbara Hammer, Sidsel Meineche Hansen, Raoul Hausmann, John Heartfield, Lynn Hershman Leeson, Eva Hesse, Heinrich Hoerle, Rebecca Horn, Vilmos Huszár, Boris Ignatowitsch, Fritz Kahn, Wassily Kandinsky, Anne-Mie van Kerckhoven, Friedrich Kiesler, Konrad Klapheck, Jürgen Klauke, Heinrich Kley, Josh Kline, Iwan Kljun, Alexander Kluge, Kiki Kogelnik, Germaine Krull, Boris Kudojarow, Helmuth Kurth, Jürgen van Kranenbrock, Maria Lassnig, Fernand Léger, Alice Lex-Nerlinger, Roy Lichtenstein, El Lissitzky, Hilary Lloyd, Goshka Macuga, René Magritte, Kasimir Malewitsch, Man Ray, Étienne-Jules Marey, Rémy Markowitsch, Caroline Mesquita, László Moholy-Nagy, Johannes Molzahn, Alexei Morgunow, Martin Munkácsi, Eadweard Muybridge, Otto Neurath, Katja Novitskova, ORLAN, Tony Oursler, Trevor Paglen, Nam June Paik, Eduardo Paolozzi, Georgi Petrusow, Antoine Pevsner, Walter Pichler, Jon Rafman, Robert Rauschenberg, Timm Rautert, Alexander Rodtschenko, Thomas Ruff, Walter Ruttmann, James Shaffer, Arkadi Schaichet, Xanti Schawinsky, Helmut Schenk, Oskar Schlemmer, Nicolas Schöffer, Franz Wilhelm Seiwert, Avery Singer, Stelarc, Friedemann von Stockhausen, Thayaht, Paul Thek, Jean Tinguely, Patrick Tresset, Anna Uddenberg, Erwin Wendt, Hugo von Werden, George Widener. 

As the exhibition explores a wide spectrum of topics and artists discussing societal issues of the last 150 years, it is divided into 18 different chapters such as “War and Acceleration”, "The X-Rayed Human” and back to “Industrial Worlds of Work”. 

Discover the different chapters of the exhibition here.


For further information about the exhibition visit:
www.museum-folkwang.de

Tuesday, 5 November 2019

Screening of RALFS FARBEN by Lukas Marxt at the Duisburger Filmwoche


RALFS FARBEN
R: Lukas Marxt
DE/AT 2019 | 74 Min.
Screening at Duisburger Filmwoche
Tuesday November 5th, 2019

"Ralf says at one point: “We can’t use the same light, we have to use completely new keys with completely new light and even these can be found to a limited extent”. The schizophrenic man’s words accompany much of this experimental portrait by Lukas Marxt (who worked in close cooperation with Michael Petri over a period of four years), layered over footage of Lanzarote, where the protagonist lives in seclusion. Landscape and cinema form an amalgam here, being both interior spaces of thought and feeling, and projected images of an outside. The thinking of the film’s main character does not run along straight lines, moving instead in circles, spirals, and Möbius strips, shaping the overall structure of the film: the viewer gets lost in this space, in time, in distances, searching in vain for a position in the actual physical sense, finding it instead (and as the result of this uncertainty) in an attitude, a specific formation of thinking which—paradoxically—is permanently moving, in a “succession of changing states” (Deleuze).

Stasis in motion, ongoing but frozen, a painting in time, Rousseau and Tarkovsky, a thought that takes shape in the process of thinking. Documentary? Science-fiction? Mindfuck? It is dizzyingly hard to describe what one sees and hears, because the reality in front of the camera could also be a wholly imagined future, or pictures from a time before cinema. In this film, language, writing, pictures, and music are both understated and exuberant, emptied and too full to generate meaning in the conventional sense. As if asleep, but more awake than ever, we look at the world, Ralf’s world, in which children are “built” and lives are “written,” a “half-fantasy” and a “new life” in which the weather is “recomputed,” like in a movie. Cinematographic madness and a precise portrait of a human being, dancing in the wind of Lanzarote, in the night, in the stroboscopic flickering of a streetlamp, in a completely new light."

Alejandro Bachmann, film scholar

This year the artists film has already been shown at the The Filmfestival Viennale in Vienna, the Festival du nouveau cinéma in Montreal where it won the Prix des nouveaux alchimistes and the Prix de l'expérimentation MUBI, as well as the International Film Festival in Locarno and lastly this month at the Duisburger Filmweek.  


For further informations visit: www.ralfsfarben.com 
For informations about the artist visit: lukasmarxt.com


Thursday, 31 October 2019

ALEXANDRU CHIRA Into the Land Lab



 ALEXANDRU CHIRA
Into the Land Lab 

Curated by Erwin Kessler

November 9 – December 18, 2019
Opening: November 9., 6 – 9 pm


The work of Alexandru Chira is a systematic and exhaustive mapping of a fictitious field of research. It is about a shamanic domain stretching up from the skies down to the earth, through spiritually conjuring rain. Like a command & control center for meteo-aesthetic, metaphysic phenomena, his works (paintings, drawings, objects) lie here, on the walls, lavishly exhibiting their makeshift buttons, screens, keyboards and toggles. It is a sophisticated but rigorous morpho-aesthetic instrumentary apparently dedicated to effectively influence meteorology and atmospheric physics. Beholders could touch, switch, and press the buttons with their eyes. Yet, mastering weather forecast and climatological phenomena is rather the metaphorical cover of a more deeper endeavor, designed to master minds, mentalities, and proliferating imaginary. Chira developed a psycho-pictorial lab of advanced, vague technologies of chimerical research. Maybe they do not change external climate condition, but they boost internal elation.

The poetically displaced scientism of Alexandru Chira’s painting is grounded on a mystical animism mesmerized by the natural forces turned into totems and symbols. Offspring of a peasant family, Chira worked in his art lab the same way peasants work the field: he sowed symbols in the paintings, sometimes grafted them to engender new semiotic ensembles and then harvested and gathered everything into painted containers of various shape and size. His symbolic art-farming is literally down-to-earth, extracted from the works, the tools and the seasons of the agricultural world, transfigured by turning them on their poetic side. Ploughing and sowing is art, work and creativity. Rain is revelation, happiness and fertility. Snake is sex, wisdom, and death. Safety pin is vulva, eye, and infant. Hill is breast, church and UFO too. His work is visual but also lexical, the symbols working like a poetic/mystical language, articulating sentences like The Winged Spindle – Study for a Stereopoem, The Suspended Village – Study for a Stereopoem, The Rose of the Senses, The Winged Lamp – Study for a Telepoem. These are not only the titles of some of the exhibited works, but the proper content of the works, seen as a self-conscious language of visual symbols functioning in a semantic manner.

Astral and earthly at the same time, the work of Alexandru Chira is disconcerting because mixing up inputs from apparently disconnected, in-communicating universes and cultural idioms. Besides the fundamental, field-work related paraphernalia, he brought into his lab elements taken from a rhapsodic reconstruction of geometry, from speculative astronomy, and even from a surface-focused understanding of chemistry. Frequently, his works have curious, diamond shapes like lozenges, resembling the scientific, conventional formulas of aromatic hydrocarbs (like vinyl or fenyl). His interest in biology is reflected in the many figure-like constructions, in which intricate symbols and abstract shapes combine to show transparent human faces, with mouths, eyes and noses. Investigating the ritual impact of twins and re-doubled works make also part from Chira’s own para-scientific protocols suggesting a world of enigmatic relationships and correspondences.

The Land Lab of Chira is provided with peculiar instruments of researching inner skies via his poetic, cosmo-geo-mystics. As the instruments are consummate paintings, their doubtful scientific findings are surpassed by their alluring, aesthetic charisma.

Erwin Kessler, curator

Friday, 18 October 2019

Article about HELGA GOETZE. FICKEN IST FRIEDEN / Frieze

right: Helga Goetze: Zur Welt kommen ist zur Sprache kommen, undated Archive #009, mixed media, 23 × 29 cm. Courtesy: the artist and Delmes & Zander, Cologne; left: Helga Goetze: Ficken Lieben Frieden undated Archive #008, mixed media, 30 × 23 cm. Courtesy: the artist and Delmes & Zander, Cologne; photo: Johannes Post

Moritz Scheper writes in his article "What Helga Goetze’s Tapestries Teach Us About Sexual Liberation" for Frieze:

"(...) Consisting of tapestries, collages and protest signs, Goetze’s current exhibition ‘Ficken ist Frieden’ (Fucking is Peace) at Delmes & Zander in Cologne is the first to provide an overview of her various artistic practices and their links to her sex-positive activism, revealing the cosmos behind ‘Germany’s super-bitch’, as she called herself with reference to a tabloid headline. (...)"

Read the full article here

frieze.com

Wednesday, 9 October 2019

DIETRICH ORTH / FIAC Paris 2019

Dietrich Orth: Krankenhaus - Nationalsozialismus, 1987, acrylic on canvas, 161,8 x 104,5 cm


DIETRICH ORTH
FIAC Paris
October 17 – 20, 2019
FIAC, Grand Palais / Booth 1.J18


Delmes & Zander is delighted to show a one-man exhibition with works by Dietrich Orth (*1956 – 2018). The gallery first showed the artist's work in 1989. David Zwirner dedicated a solo exhibition to the self-taught artist in New York in 1994, Kasper König at the Portikus Frankfurt 1997. And yet Orth's work defies clear categorization and can at best be situated in the equivocal territory which Roberta Smith once termed as Conceptional Outsider Art. His bold-coloured large-format canvasses are at once a register of abstract concepts, spiritual concerns, and excruciatingly authentic personal experience. After years of struggling with clinical psychosis, Orth discontinued painting, leaving behind an emotionally complex microcosm of rare beauty.
Orth started painting in his late twenties. From here on he developed a unique imagery and peculiar syntax that functions as a vehicle of therapy for the actively involved viewer: an interplay between representation, text and the artist's own mental performance. Orth's texts are essentially instructional and function both as titles and quasi-mystical diagrams, the visual correspondence to a physical state that transcends merely personal and curative concerns. They may provide the viewer with instructions on how to “walk exhilarated and lightheartedly” on his heels or prompt him to stand at 80 cm from the canvas so as to experience the “pleasant mood” emanated by the visualization of a certain image, or, as the contemplation of another work assures, to “feel like a newborn person.”
As such, Orth's paintings can be seen as an investigation on body language, the effects of psychopharmaceutical medication and the study of a wide range of emotional landscapes and states of mind broken down to illustrated and structured processes of experience.
Works by the artist have been recently shown in 2018 at the mumok Vienna in Optik Schröder II and at the MONA Tasmania Australia in Museum of Everything.

Tuesday, 8 October 2019

THE ELECTRIC EYE with works from the Treger/Saint Silvestre Collection

Agatha Wojciechowsky. Photo: André Rocha

with works from the Treger/Saint Silvestre Collection

October 11, 2019 – January 5, 2020 


"THE ELECTRIC EYE, curated by Antonia Gaeta and Pilar Soler, revolves around a series of works that use the artistic language to reveal an enigmatic journey, a to-ing and fro-ing between several dimensions or between a visible and an invisible reality. Encrypted messages using cosmological structures provide a glimpse into diverse realities and worlds, often deliberately dark and characterised by complex iconographies.

The key to these works resides in the meeting between forms and meanings that bring together tutelary entities and figures. It is a project about the mystery in meanings and hidden presences. The exhibition dramatises these elements as transient memories, materialised as multiple, complex realities, specific calculations, pyramids of power, apathies abated with the concretion of a visionary mission.

Above all, the show presents visitors with a provocative impossibility: the inability to decipher the entire message behind the works, because in many cases the artists act as mediators between the rational world and another unknown or transcendental world. The works therefore become narratives of the subconscious, inadvertently assuming aspects that subvert the established. Through a variety of coded messages, formulas, invented figures and secret codes, they question the limits of reason. There is always some hidden aspect that becomes an enigma and emerges as the only possible space of liberation in the face of its pathological condition. Conceived on these lines, the exhibition demonstrates the power of subjective processes, compulsive obsessions and fantastical visions. (...)"

For further information please visit:
www.lacasaencendida.es
tsscollection.org

Tuesday, 1 October 2019

Installation view of 'HAUS' / HORST ADEMEIT among others at DREI




Installation images of 'HAUS' at DREI, Cologne. Photos: Simon Vogel
'HAUS' at DREI is co-curated with Cédric Eisenring and featuring work by Horst Ademeit, Rosa Aiello, Henri Chopin, Whitney Claflin, Cédric Eisenring, Tobias Madison, Sam Pulitzer and Julia Scher.
The Show is on view until October 26.

For more information about the exhibition and the gallery please visit: www.drei.cologne

Friday, 27 September 2019

THE MEDIUM'S MEDIUM at Gallery of Everything and Frieze Masters

Margarethe Held: o.T "Jesus von ihm selbst gezeichnet", undated, chalk on cardboard, 49,5x39,5 cm
 

 THE MEDIUM'S MEDIUM
 Gallery of Everything, London
September 29, 2019 – November 24, 2019

Frieze Masters, London
Booth G20
October 2, 2019 – October 6, 2019

The Gallery of Everything presents THE MEDIUM’S MEDIUM – a two-part exploration into spiritualist and mediumistic art practices. The exhibition features works by over 25 visionary artists from the 19th, 20th and 21th centuries, including Madge Gill, Margarethe Held, Heinrich Nüsslein, Emma Kunz, Hilma af Klint, Agatha Wojchiechowsky and many more.

For more information please visit:

Thursday, 26 September 2019

DERRICK ALEXIS COARD among others at White Columns, New York

Derrick Alexis Coard: The Pastor's Healing Ration, 2015

September 24 – November 2, 2019
Opening: September 24, 6-8pm

 
"White Columns is proud to present the first-ever exhibition to consider the legacy of the ground- breaking New York not-for-profit organization, Healing Arts Initiative (aka Hospital Audiences Inc./H.A.I.). The exhibition will include more than one hundred works by twenty-four artists who were affiliated with H.A.I. during its nearly five-decade lifespan.

Founded in 1970 and originally known as Hospital Audiences Inc., H.A.I.’s pioneering mission was to “inspire healing, growth and learning through engagement in the arts for the culturally underserved in the New York City community... whose access to the arts have been limited by health, age or income." H.A.I. was dissolved in 2016 after a series of tragic events forced the organization into bankruptcy. White Columns was instrumental in helping to preserve the organization’s four-decade- plus archive of art produced under H.A.I.’s auspices: an unprecedented and historically significant collection of several thousand individual art works.

This exhibition is drawn from these archival holdings and focuses on the legacy of H.A.I.’s long- running visual art programs, which for over forty years fostered and provided support to an extraordinary community of mostly self-taught artists based in New York City, many of whom were elderly or living with physical or developmental disabilities. H.A.I.’s programs for artists began as workshops for individuals living in private proprietary adult homes (PPHAs), and it was at these workshops in the late 1970s and early 1980s that Lady Shalimar Montague, Ray Hamilton, Irene Phillips and Rocco Fama, four of the earliest and now most widely-recognized H.A.I. artists, began to make art. Over time H.A.I.’s Arts Workshop program evolved to include the H.A.I. Studio & Gallery which provided artists with studio space, materials, exhibition opportunities, and – perhaps most crucially – a sense of community. Over its lifetime H.A.I. supported hundreds of artists including such now acknowledged figures as Melvin Way, Julius Cesar Bustamante, and Derrick Alexis Coard, among others. (...)"


For further information about the exhibition please visit:
www.whitecolumns.org

To learn more about H.A.I.’s original mission visit their archived page:
www.nycservice.org

Installation View of PHOTO | BRUT. COLLECTION BRUNO DECHARME & COMPAGNIE

Installation view of PHOTO | BRUT. COLLECTION BRUNO DECHARME & COMPAGNIE, Les Rencontres de la photographie, Arles (FR), Courtesy Collection Bruno Decharme, © Aurore Valade


Last chance to see Photo | Brut at Les Rencontres de la photographie, Arles in France – On view until 22 September.

The exhibition presents more than 500 works from the Bruno Decharme Collection, as well as a selection of other institutional and private collections chosen for their complementarity. With works by Horst Ademeit, Morton Bartlett, Marcel Bascoulard, Eugene Von Bruenchenhein, Jesuys Crystiano, Henry Darger, Tomasz Machciński, 'Margret – Chronicle of an Affair‘ among other artists.


For more information please visit
www.rencontres-arles.com
abcd-artbrut.net

Wednesday, 25 September 2019

Exhibitor List for Independent New York 2020

Spring Studios in Tribeca, Courtesy Spring Studios

 
"The Independent art fair, which is held annually in New York and previously staged presentations in Brussels, has revealed the 63 galleries that will show work in its 2020 edition at Spring Studios in Tribeca. The event will take place during Armory Week, from March 5 to 8. (...)"

Delmes & Zander is very pleased to announce our participation.

The Exhibitor List follows in full below:

A Gentil Carioca, Rio de Janeiro
Adams and Ollman, Portland
Air de Paris, Paris
Alden ProjectsTM, New York
Anglim Gilbert Gallery, San Francisco
Nicelle Beauchene, New York
Galerie Hervé Bize, Nancy
Marianne Boesky Gallery, New York and Aspen
CANADA, New York
Carlos/Ishikawa, London
Chapter NY, New York
Company Gallery, New York
COOPER COLE, Toronto
Corbett vs. Dempsey, Chicago
Delmes & Zander, Cologne
Downs & Ross, New York
Andrew Edlin Gallery, New York
Derek Eller Gallery, New York
Fazakas Gallery, Vancouver
Fleisher/Ollman Gallery, Philadelphia
Galerie Christophe Gaillard, Paris
Garth Greenan Gallery, New York
Gordon Robichaux, New York
Institute of Contemporary Arts, London
International Studio & Curatorial Program, New York
Ivan Gallery, Bucharest
Alison Jacques Gallery, London
Karma, New York
Anton Kern Gallery, New York
Klaus von Nichtssagend Gallery, New York
David Kordansky Gallery, Los Angeles
the Landing, Los Angeles
Galerie Lelong & Co., New York and Paris
LOMEX, New York
Magenta Plains, New York
Monique Meloche, Chicago
The Modern Institute, Glasgow
Morán Morán, Los Angeles
Night Gallery, Los Angeles
PAGE (NYC), New York
Maureen Paley, London
Parker Gallery, Los Angeles
franklin parrasch gallery, New York
Parrasch Heijnen Gallery, Los Angeles
Peres Projects, Berlin
Galerie Francesca Pia, Zurich
P·P·O·W, New York
Galerie Eva Presenhuber, Zurich and New York
Red Bull Arts, New York and Detroit
Reyes | Finn, Detroit
Ricco/Maresca Gallery, New York
Richard Saltoun, London
Kerry Schuss, New York
Semiose, Paris
Soft Opening, London
STANDARD (OSLO), Oslo
Galerie Joseph Tang, Paris
Tilton Gallery, New York
Leslie Tonkonow Artworks + Projects, New York
Rachel Uffner Gallery, New York
Various Small Fires, Los Angeles and Seoul
White Columns, New York
Galerie Jocelyn Wolff, Paris

www.artnews.com
www.independenthq.com

Thursday, 19 September 2019

Installation View of HELGA GOETZE. FICKEN IST FRIEDEN

Installation View of HELGA GOETZE. FICKEN IST FRIEDEN,
Photos by Johannes Post, Courtesy Delmes & Zander, Cologne

Wednesday, 18 September 2019

KARL HANS JANKE at Kunsthal KAdE Amersfoort

Karl Hans Janke: Raum-Kugel-Trajekt Centauri, 1974,
mixed media on paper, 30 x 42 cm,
Courtesy Delmes & Zander, Cologne

September 21, 2019 – January 12, 2020

The exhibition One Way Ticket to Mars at Kunsthal KAdE Amersfoort will feature drawings by Karl Hans Janke.

"One Way Ticket to Mars allows visitors to experience various aspects of the journey to Mars and what it is like there. How relentless are the conditions of this planet awaiting to be discovered? Is living on Mars a frightening idea, or a provocative thought? As from 21 September, Kunsthal KAdE will present a vision of what so far is still an impossible journey. The exhibition comprises four narratives: the desire, the journey, the stay and homesickness. It features new and existing works by artists, designers, architects and scientists from the Netherlands and abroad. (...)"

For more information please visit: www.kunsthalkade.nl

Monday, 16 September 2019

TYPE 42 (Anonymous) at Tomasz Machciński Foundation

Type 42 (Anonymous): Loni Anderson, mixed media on photography, 8.3 x 10.8 cm, Courtesy Delmes & Zander, Cologne

September 20 – September 29, 2019

The opening of the exhibition is taking place during Warsaw Gallery Weekend on Friday, 20.09, 5-9 pm at Tomasz Machciński Foundation.

"The exhibition With love to Tommy brings together two artists, who share a common fascination for the classic vision of Hollywood, and simultaneously a resistance against its power over the viewers glance. In their photographs, which draw from the camp aesthetics of the turn of the 1960’s and 70’s, they appropriate and process images of femininity created in the dream factory, for their own use. Thanks to the cooperation with the Delmes & Zander Gallery in Cologne, the works of Type 42 will be presented to the polish public for the first time. (...)"

For further information please visit:
www.tomaszmachcinski.org
www.warsawgalleryweekend.pl

Saturday, 7 September 2019

HELGA GOETZE. FICKEN IST FRIEDEN / Frieze

Helga Goetze, Gewerkschaftsteppich (Union Rug), 1989, embroidery, cotton twist, metal thread and nettle, 101 × 99 cm Courtesy Delmes & Zander, Cologne

Moritz Scheper writes about our show FICKEN IST FRIEDEN by Helga Goetze in his 'Critic Guide' for Frieze:

"Last year marked the 30th anniversary of Delmes & Zander – a gallery that continues to present interesting works by outsider artists. The current exhibition ‘Ficken ist Frieden’ (Fucking Is Peace), features wall hangings by Helga Goetze, who spent decades as a sex-positive activist trying to loosen up Berliners’ stiff morals with slogans like: ‘Fucking is important’. The hangings in the exhibition show an idealized state of liberal sexual mores. The largest work, Indianische Astrologie (Indian Astrology, 1984–85), depicts humankind in harmony both with the natural world and with its own nature, its own desires. While there is a striking stylistic similarity between these works and those of American artist Dorothy Iannone, Goetze developed her style significantly earlier. (...)"

Click here to read the whole "Guide To The Best Shows in Dusseldorf and Cologne During DC Open"

www.frieze.com

HELGA GOETZE. FICKEN IST FRIEDEN / Monopol

Installation View of HELGA GOETZE. FICKEN IST FRIEDEN, Photo by Johannes Post, Courtesy Delmes & Zander, Cologne
 
Leonie Pfennig writes for Monopol about her highlights of DC Open, Cologne. We are very pleased that she mentions our exhibition HELGA GOETZE. FICKEN IST FRIEDEN:

"Eine etwas anders geartete Zukunftsvision proklamierte zeitlebens die Künstlerin und Aktivistin Helga Goetze, deren vielseitiges Werk bei Delmes & Zander entdeckt werden kann. Mit dem Slogan, "Ficken ist Frieden" kämpfte die Berlinerin seit 1983 mit täglichen Aktionen vor der Gedächtniskirche für die sexuelle Befreiung insbesondere der Frau. Sie empfand Sex als einzig probates Mittel auf dem Weg der Erkenntnis. Die Galerie präsentiert eine Auswahl aus ihren über 3000 Gedichten, Zeichnungen und gestickten Tapisserien mit erotischen Szenen, um Goetze, die zu Lebzeiten für ihre Aktionen eher belächelt wurde, als Künstlerin zu ehren. (...)"

To read the whole article click here

www.monopol-magazin.de

Tuesday, 3 September 2019

HORST ADEMEIT at Drei

Horst Ademeit: 0333, 06.09.1991, inscribed polaroid, 11 × 9 cm
© Estate of Horst Ademeit / Delmes & Zander, Cologne

September 7 – October 26, 2019

Horst Ademeits's polaroids will be shown at Drei, opening this Friday, September 6, 6 – 10 pm.

The show is curated in collaboration with Cédric Eisenring and will also featuring work by Rosa Aiello, Henri Chopin, Whitney Claflin, Cédric Eisenring, Tobias Madison, Sam Pulitzer, and Julia Scher.

NEW ADDRESS
DREI, Jülicher Straße 14, 50674 Cologne 
For the exhibition text and to see all installation views please visit: www.drei.cologne

Thursday, 29 August 2019

FICKEN IST FRIEDEN Helga Goetze

Helga Goetze: Indianische Astrologie, 1984 - 1985, Embroidery, cotton twist, metal thread and nettle, 126 x 180 cm


FICKEN IST FRIEDEN
Helga Goetze

September 7 – Oktober 30, 2019
Opening: September 6, 6 – 10 pm
 
 
Lines of silver thread run through each being and life form with a soul in Helga Goetze’s epic embroidery, Indianische Astrologie. The landscape is one of spiritual union and interconnection, inhabited by peaceful beings, most of them engaged in one activity – fucking.

For Helga Goetze, “Ficken ist Frieden,” a statement that recurs in her more than 3000 poems, drawings, erotic tapestries, and her activism. Articulated in her prolific work is a form of faith – sex as a pathway into the hidden, obscure, unknowable registers of our being and existence. During her daily one-person protests by the Gedächtniskirche in Berlin, she could have spoken of love, or love making, but Goetze preferred referring to her faith as fucking. A word choice and provocation of a woman in her seventies that was, and is, significant and deliberate.

There is a continuous movement in Goetze’s practice between the advocacy of pleasure, and a fascination with the fear or suppression thereof. Her embroideries are large, complex and harmonious compositions of image and text, with bright primary colours. These works are depositories of time – a repetitive and precise labour – sitting at the interface between mind and hand. Goetze used a craft, traditionally associated with female subjection, and pushed its form and expression into radical visions of love, motherhood and co-habitation.

Her poems and text-works oscillate between the search for a profound state of truth – an eloquently formulated spiritual outlook – and a deeply felt critique of patriarchy: “with the contempt of woman begins the end of the world.” Her compositions of text on board reveal a system of thought, held together by interconnected lines. For Goetze, writing was a core way in which her systemic-intuitive thinking crystallised itself, and was carried forth – “Coming into the world means coming into language.”(1)

Goetze married young, and spent the first part of her adult life as a housewife and mother. In her mid 40s she experienced a powerful sexual revelation, and lived for a number of years in free love communes in Hamburg and Berlin, before founding the ‘Genital University’ in her home. The force or “Kraft” that propelled her work and thinking was defined against ideals of control and order – of sanitized, and in Goetze’s words, “neurotic ideals of the nuclear family.”(2) Perversion, in her work, is rooted in the structural ‘perversions’ of normative desires and its associated controls. A recurring symbol of dominance and infantilisation in her imagery is the pointing index finger. One of them is raised and belongs to a man, her father. “You do not see and you do not touch,” written next to it. And on the other side the mother with the words: “That stinks.”(3)

To speak of love, pleasure and joy, is in Goetze’s work both an affirmation of a way of being together and a deliberate act of subversion. Deep-seated fears of female sexuality, and in particular that of an older woman, were core threads of her practice, ones that she explored with and through her own mythological lexicon. There is a cyclical sense of time in Goetze’s work and her compositions recurrently couple organic temporalities with female experience. As the figures move from spring to winter, an intellectual, embodied and sensual process of change is represented, without one stage being privileged, or another reduced. In Die Göttinen, hand-drawn text and collage elements are structured around a series of mythological female beings – their lessons are distillations of Goetze’s views on imagination, energy and the sacred, alongside critiques of private possession and spiritual boorishness. Part of the implication here, as elsewhere in Goetze’s work, is that we already know, or at least knew how to be in the world; that there are deep connections and intuitions that have been silenced, and at times violently severed. Her outlook, however, was also cut through by a humour and defiance that destabilised any potential sanctity of vision. There is a significant impurity, and distrust of morality that fed into her attitude, and language. She often referred to herself as a “housewife”, “a hole”, “a sow” – as much a strategy of provocation and defiance, as a pleasurable undermining of over-simplified and binary division between power and suppression. In Goetze’s lifetime, there was a lack of critical engagement with her practice, and the tendency to diminish, even pathologise, her person and work. An element experienced all the more intensively as Goetze did not remain within the comfort and safety of initiated circles, but decided to speak and take space in distinctively public-facing platforms. As such she was familiar with reactions of fear of the unknown or the uncontrollable, reactions which Goetze saw and at times confronted with a combination of spite and sardonic wit:

Without ears, this sow 
Do you really call such a thing a woman? 
And this is me. (4)

When a body loves, it shows an admirable frailty, a state which fascinated Goetze. It is a strand rooted in, but extending beyond the erotic – hers was an anti-patriarchal, anti-capitalist and ecologically permeated way of seeing, with circles of concern radiating outwards. We know that there is more than one reality, multiplicities or “thresholds” sensed or experienced, in spite of dominant ideology’s insistence on the singular narrative. Part of the confrontation of Goetze’s ‘vision work’, a confrontation it purposefully courts, is a deep-running insistence on staying put with, and enduring a radical unity of parts. “It does not have to be right – but sometimes it’s mysterious how everything is connected.”(5)

Text by Fatima Hellberg

1) Quote from Helga Goetze, Salome from the series Die Göttinnen, undated, mixed media on paper, 41 x 29,5cm.
2) From Helga Goetze, “Ficken für den Frieden” 1993, interview, Published on ‘Youtube’ March 30, 2017, URL: https://www.youtube.com/watch?v=LCDIAw-pXjA&t=439s
3) Leila Dregger, ‘Helga Sophia Goetze – Die Frau wird zur glühenden Venus’, from ‘Die weibliche Stimme’, undated.
4) Excerpt from Helga Goetze’s poem, ‘Sperma, Piss und Menschenkot’, 1973, URL, ibid.
5) Helga Goetze, ‘Philosophie und Religion’ quoted (undated) on ‘Helga Sophia Goetze’, URL: http://www.helgagoetze.de/index.php/157.html  


Tuesday, 16 July 2019

Article about MARCEL BASCOULARD / SPECIAL GUEST JÜRGEN KLAUKE


© Geijutsu Shincho
Miki Kanai wrote an article about our April show MARCEL BASCOULARD / SPECIAL GUEST JÜRGEN KLAUKE for the Japanese monthly printed art magazine, Geijutsu Shincho.

For more Information visit www.shinchosha.co

Wednesday, 10 July 2019

VISIONARY DRAWINGS / Emma Kunz at Muzeum Susch



Emma Kunz, selected artworks © Emma Kunz Zentrum
Emma Kunz
July 26 – November 10, 2019

After it was shown at the Serpentine Galleries (March 23 – May 19, 2019), the exhibition Emma Kunz. Visionary Drawings with over 40 of rarely seen drawings by Emma Kunz (1892–1963) will be presented at Muzeum Susch

The Emma Kunz Zentrum wrotes about the artist and her works:

"Emma Kunz lived from 1892 to 1963 in the German-speaking part of Switzerland. In her lifetime she was recognized as a healer; she herself described herself as a researcher. Now she has acquired an international reputation through her artistic work. Even in her schooldays, Emma Kunz occupied herself with exceptional happenings. When she was 18 years old, she began to use her abilities of telepathy, prophecy and as a healer, and she began to exercise her divining pendulum.

She achieved successes through her advice and treatments that often edged on the limits of miracles. She herself rejected the term miracle because she attributed it to the ability to use and activate powers that lie dormant in everyone. Not least, it was this gift that permitted Emma Kunz to discover in 1941 the power of the Würenlos healing rock that she named AION A. From 1938, Emma Kunz created large-scale pictures on graph paper. (...)"

For more Information visit www.emma-kunz.com

www.muzeumsusch.ch

Saturday, 6 July 2019

Installation Views of Linda Christanell, Fenster / OKEY-DOKEY III

Installation Views of Linda Christanell, Fenster / OKEY-DOKEY III, Photos by Johannes Post, Courtesy of the artist

Friday, 5 July 2019

Linda Christanell, Fenster / OKEY-DOKEY III


Linda Christanell: Fingerfächer, 1975/82 (still). Courtesy of the artist.

Linda Christanell, Fenster
OKEY-DOKEY III
Co-Curated by Fatima Hellberg & Steven Cairns

July 6 - August 31, 2019
Opening: July 5th, 6 – 9 pm

Staging of objects – objects for decoration – decoration is protection – "numino" – the mystery of being scared and fascinated. What decorates – changes – through decorating, strength is conveyed.
Linda Christanell

Vienna-based artist and filmmaker Linda Christanell has worked across mediums since the mid-sixties – hers is a prolific, yet rarely shown body of work, held together by its distinctive inner logic and pictorial world. Christanell’s practice loops back to a fascination with objects as bearers of obsessions, issuing and channeling energy as fetishes. Her films and photographs contain symbols and trinkets that are contemplated, arranged and held, animated, and recoded. In the compositions, the meaning and power of the objects are both affirmed, but also pushed into and out of registers of desire, eroticism and violence.

A core strand of the works in this presentation is Christanell’s long-running fascination with vouyeurism and concealment – the mechanical eye of the camera, its merging with her own view, that of the observer, and the energies exchanged between these relations. A form of intimacy of viewing and looking further pushed by Christanell’s way of working: her filmmaking takes the form of a solitary practice, with the scenarios, form, and narrative being built up and orchestrated by herself.

FINGERFÄCHER, a film flickering and shifting in perspective, moving between distance and closeness, evokes something of the power and approximation of that which cannot be fully held or seen – “a film about which there are no words.” In ALL CAN BECOME A ROSE, the distinctive diy spirit of Christanell’s practice can be felt, a pleasure of making, moving in non-linear ways between desire and a finely articulated sense of darkness. Here a recurring motif of Christanell’s practice appears: a view of the artist’s hand with a crystal-headed hat needle. The jewel glimmers and moves as it pushes into her skin – an image of shimmering hardness and porousness. These moving image works are accompanied by photographs by the artist, including her newly conceived work, FOR YOU (2019).

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Linda Christanell’s (b. 1939 Vienna, Austria) early work was primarily in photography and performance, until she in the mid 1970s turned to moving image as her primary medium. Christanell was a member of the Austria Filmmakers Cooperative (1982), of the Künstlerhaus Vienna (1982), of the Assembly of Authors in Graz (1984), and a founding member of Intakt (1977). Recent solo presentations and screenings include at Belvedere 21, Vienna, and Oberhausen Film Festival. In 2015 she received the Award for Visual Art of the City of Vienna.


Linda Christanell’s exhibition is part of Fenster, the third iteration of OKEY DOKEY. This years’ edition takes the form an exhibition unfolding over eight venues across Cologne and Düsseldorf. The show encompasses a range of practices that intersect with ideas of spectatorship, voyeurism, consumerism and their relationship to the body as a site of exhibition.