Friday, 18 October 2019


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

Wednesday, 9 October 2019


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

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:

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:

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

 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:

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


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

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
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
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

Thursday, 19 September 2019


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:

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:

Saturday, 7 September 2019


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"


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

Tuesday, 3 September 2019


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.

DREI, Jülicher Straße 14, 50674 Cologne 
For the exhibition text and to see all installation views please visit:

Thursday, 29 August 2019


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

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:
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:  

Tuesday, 16 July 2019


© 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

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

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
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).


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.

Saturday, 29 June 2019


Adelhyd van Bender: Untitled, 1999-2014, Mixed media on photocopy 19.42 x 30 cm, Courtesy Delmes & Zander, Cologne

with works by Adelhyd van Bender, Ei Arakawa / Nikolas Gambaroff, 
James Castle, Tony Lewis, Dan Peterman, LeRoy Stevens, Lisa Williamson

July 6 - August 31, 2019
Shane Campbell Gallery, Chicago
Opening: Saturday, July 6, 4-6 pm

For more Information and to see all Installation Views of the Exhibition visit

Friday, 28 June 2019

Linda Christanell, Fenster / OKEY-DOKEY III

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

Linda Christanell, Fenster
Co-curated by Fatima Hellberg & Steven Cairns

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

Delmes & Zander is honored to host a solo show by Vienna based artist Linda Christanell at this year's edition of Okey-Dokey.

Zoe Barcza
Rachal Bradley
Linda Christanell
Hildegarde Duane
Christian Flamm
Eva Löfdahl
Soshiro Matsubara
David Medalla
Zbigniew Rybczyński
Alan Stanners
Issy Wood

Delmes & Zander
Ginerva Gambino
Jan Kaps
Galerie Kadel Willborn
Galerie Max Mayer
Sies + Höke
Buchhandlung Walther König

Fenster is 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.

Fatima Hellberg is Artistic Director of Künstlerhaus Stuttgart and Steven Cairns is Curator of Artists' Film and Moving Image at the Institute of Contemporary Arts London.

For further information please visit:


Thursday, 27 June 2019

Exhibitor List for FIAC 2019

Image: Courtesy FIAC 2019

The FIAC art fair has revealed the exhibitor list for its 2019 edition, which will bring together 197 galleries in Paris. The fair opens it doors from October 17 to 20 and will be held at Grand Palais, Paris.

Delmes & Zander is very pleased to announce our participation.
Please find below the complete Exhibitors List.

General Sector
Galerie 1900-2000, Paris
303 Gallery, New York
80M2 Livia Benavides, Lima
Air de Paris, Paris
Allen, Paris
Andréhn-Schiptjenko, Stockholm, Paris
apalazzo, Brescia
Applicat-Prazan, Paris
Art : Concept, Paris
Alfonso Artiaco, Napoli
Balice Hertling, Paris
Baronian Xippas, Brussels
BERG Contemporary, Reykjavik
Bergamin & Gomide, São Paulo
Blum & Poe, Los Angeles, New York, Tokyo
The Box, Los Angeles
The Breeder, Athens
Ben Brown Fine Arts, London, Hong Kong
Gavin Brown’s enterprise, New York, Roma
Buchholz, Cologne, Berlin, New York
Campoli Presti, Paris, London
Canada, New York
Capitain Petzel, Berlin
Cardi, Milano, London
Ceysson & Bénétière, Paris, Luxembourg, Saint-Étienne, New York
C L E A R I N G, New York, Brussels
Sadie Coles HQ, London
Contemporary Fine Arts, Berlin
Continua, San Gimignano, Boissy-le-Châtel, Beijing, Habana
Paula Cooper, New York
Raffaella Cortese, Milano
Chantal Crousel, Paris
Dastan Gallery, Tehran
Ellen de Bruijne Projects, Amsterdam
Massimo De Carlo, Milano, London, Hong Kong
Delmes & Zander, Cologne
dépendance, Brussels
Dvir, Tel Aviv, Brussels
frank elbaz, Paris, Dallas
espaivisor, Valencia
Cécile Fakhoury, Abidjan, Dakar, Paris
Imane Farès, Paris
Selma Feriani, Tunis, London
Konrad Fischer, Düsseldorf, Berlin
Freedman Fitzpatrick, Los Angeles, Paris
Gaga, México D.F., Los Angeles
Gagosian, Paris, New York, Beverly Hills, London, Hong Kong, San Francisco, Rome, Basel, Athens, Geneva
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, Cologne, St. Moritz
half gallery, New York
Hauser & Wirth, London,
Somerset, New York, Los Angeles, Hong Kong, Zürich, Menorca, Gstaad, St. Moritz
Max Hetzler, Berlin, Paris, London
High Art, Paris
Hopkins, Paris
Xavier Hufkens, Brussels
hunt kastner, Prague
Hyundai, Seoul
In Situ – Fabienne Leclerc, Paris
Catherine Issert, Saint-Paul
rodolphe janssen, Brussels
JTT, New York
Annely Juda Fine Art, London
Jan Kaps, Cologne
Karma, New York
Karma International, Zürich, Los Angeles
kaufmann repetto, Milano, New York
Kerlin, Dublin
Anton Kern, New York
Peter Kilchmann, Zürich
König Galerie, Berlin, London
David Kordansky Gallery, Los Angeles
Tomio Koyama, Tokyo
Krinzinger, Vienna
Kukje, Seoul
Labor, México D.F.
LambdaLambdaLambda, Prishtina
Laveronica, Modica
Le Minotaure, Paris
Simon Lee, London, Hong Kong, New York
Lelong & Co., Paris, New York
Lévy Gorvy, London, New York, Zürich, Hong Kong
Lisson, London, New York, Shanghai
Loevenbruck, Paris
Lyles & King, New York
Kate MacGarry, London
Magazzino, Roma
Magician Space, Beijing
Magnin-A, Paris
Mai 36 Galerie, Zürich
Marcelle Alix, Paris
Martos Gallery, New York
Mazzoleni, Torino, London
Fergus McCaffrey, New York, Tokyo
Meessen De Clercq, Brussels
Mendes Wood DM, São Paulo, Brussels, New York
kamel mennour, Paris, London
Metro Pictures, New York
Meyer Kainer, Vienna
Francesca Minini, Milano
Massimo Minini, Brescia
Victoria Miro, London, Venezia
Mitchell-Innes & Nash, New York
mor charpentier, Paris
Nächst St. Stephan Rosemarie Schwarzwälder, Vienna
Nagel Draxler, Berlin, Cologne
Nahmad Contemporary, New York
Neu, Berlin
Neue Alte Brücke, Frankfurt
neugerriemschneider, Berlin
NoguerasBlanchard, Barcelona, Madrid
Nathalie Obadia, Paris, Brussels
Guillermo de Osma, Madrid
Overduin & Co., Los Angeles
P420, Bologna
Pace, New York, London, Beijing, Hong Kong, Palo Alto, Seoul, Geneva
Galerie Papillon, Paris
Parra & Romero, Madrid, Ibiza
Peres Projects, Berlin
Perrotin, Paris, Hong Kong, New York, Seoul, Tokyo, Shanghai
Francesca Pia, Zürich
PKM Gallery, Seoul
Plan B, Cluj, Berlin
Eva Presenhuber, Zürich, New York
ProjecteSD, Barcelona
Almine Rech, Paris, Brussels, London, New York, Shanghai
Regen Projects, Los Angeles
Michel Rein, Paris, Brussels
Nara Roesler, São Paulo, Rio de Janeiro, New York
Thaddaeus Ropac, Paris, Salzburg, London
Salon 94, New York
Esther Schipper, Berlin
Semiose, Paris
Natalie Seroussi, Paris
Jessica Silverman, San Francisco
Skarstedt, New York, London
Pietro Sparta, Chagny
Sprovieri, London
Sprüth Magers, Berlin, London, Los Angeles
Stigter Van Doesburg, Amsterdam
Jacky Strenz, Frankfurt
Simone Subal, New York
Joseph Tang, Paris
Templon, Paris, Brussels
Tornabuoni Art, Firenze, Milano, Paris, London
Tucci Russo, Torino
Ubu Gallery, New York
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
Vistamare/Vistamarestudio, Pescara, Milano
Vitamin Creative Space, Guangzhou, Beijing
VNH, Paris
Waddington Custot, London
Barbara Weiss, Berlin
Michael Werner, New York, London
White Cube, London, Hong Kong
Barbara Wien, Berlin
Jocelyn Wolff, Paris
Thomas Zander, Cologne
ZERO…, Milano
Galerie Zlotowski, Paris
Martin van Zomeren, Amsterdam
David Zwirner, New York, London, Hong Kong

Lafayette Sector
Arcadia Missa, London
Gianni Manhattan, Vienna
Mariane Ibrahim, Chicago
Jenny’s, Los Angeles
LOMEX, New York
Édouard Montassut, Paris
PM8, Vigo
Dawid Radziszewski, Warsaw
Soft Opening, London
Weiss Falk, Basel

Jousse entreprise, Paris
Galerie kreo, Paris, London
LAFFANOUR – Galerie Downtown, Paris
Eric Philippe, Paris
Galerie Patrick Seguin, Paris, London

Éditions Dilecta, Paris
GDM, Paris
mfc-michèle didier, Paris
TCHIKEBE, Marseille

Other Exhibitors
Collection Lambert, Avignon
Fonds Municipal d’Art Contemporain, Paris
Lulu, México D.F.

Monday, 24 June 2019


Margret – Chronicle of an Affair, 1970/08/21 - 1970/08/31, Vintage Print, 13 x 17 cm

July 1 – September 22, 2019 
Opening: July 1 

"Could 'raw photography' be classified as art brut ('raw art'), as defined by Jean Dubuffet? If so, it would include shots, prints, photomontages and photo collages created by self-taught artists, developed outside of conventional art circles, in contexts such as mental institutions, solitude and marginality, both in cities and rural areas. Photo | Brut 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. This exhibition addresses four central themes ('Private Affairs', 'Reformating the world', 'Performing, or another I', 'Warding off the reality') and its aim is to grasp and introduce this art form to the public, art brut being a concept studied by few despite its significant and fascinating field.

With works by Horst Ademeit, Shell L. Alpert, Steve Ashby, Morton Bartlett, Marcel Bascoulard, John Brill, Eugene Von Bruenchenhein, Felipe Jesus Consalvos, Aloïse Corbaz, Jesuys Crystiano, Henry Darger, Charles Dellschau, John Devlin, Curzio Di Giovanni, Fumiho Endo, Karel Forman, Frédéric, Pepe Gaitán, Giovanni Galli, Pietro Ghizzardi, Lee Godie, Yohann Goetzmann, Kasuo Handa, Marian Henel, Mark Hogancamp, Paul Humphrey, Günter K., Zdenek Košek, Alexandre Lobanov, Tomasz Machciński, « Margret », Alexandre Medvedev, Donald Mitchell, Albert Moser, Edward Nadgrodzki, Norma Oliver, Photographies Spirites, Luboš Plný, Ilmari Salminen, Milton Schwartz, Ted Serios, Valentin Simankov, Leopold Strobl, Ichiwo Sugino, Elke Tangeten, Dominique Théate, Miroslav Tichý, Ufos, Elisabeth Van Vyve, August Walla, Melvin Way, Adolf Wölfli, Zorro, and numerous anonymous persons. (...)"

Exhibition curators: Paula Aisemberg, Bruno Decharme, Barbara Safarova & Sam Stourdzé, in collaboration with Valérie Rousseau.

For further information please visit:

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."

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:

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:

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

Saturday, 6 April 2019

EXTRAVAGANZA at Centro de Arte Olivia

Installation View © Dinis Santos
Curator: Antonia Gaeta
April 13, 2019 – September 15, 2019

The show EXTRAVAGANZA includes works by Agatha Wojciechowsky, Anna Zemánková, Aurel Iselstöger, Eugene Von Bruenchenhein, Margarethe Held, Derrick Alexis Coard and Karl Hans Janke among others from the Treger/Saint Silvestre Collection.

Read here Antonia Gaeta's text about the exhibition:

The rhetorical apprehension of a specific strangeness

In the chronicle Celestial Emporium of Benevolent Knowledge, Jorge Luis Borges wrote about “a certain Chinese encyclopaedia” in which he catalogued species and different shapes in a random and subjective way. Every one of those shapes could assume a meaning or a substance created ad hoc for the situation that could basically be used for all things in the universe according to the level of interest and imagination of the readers. This apparent disorder or non-rigorous cataloguing made the coexistence of a great number of realities possible and found a place capable of welcoming objects and ideas.
In a simple exercise of comparison and analogy – conditio sine qua non for all sorts of intellectual production -, “that” Chinese encyclopaedia seemed to be the most suitable in order to explain the ideas that underlie and materialise in the exhibition Extravaganza.
A certain strangeness that is present in the artworks, the obsession with the obscene and nonsense, the refusal of logical rules, several etcetera (as Borges would say), the abstractions, the taste for the absurd, the chaos, the incongruence and all kinds of paradox, are assembled in an irreverent and discontinuous fashion, in an ingenious, ambiguous and redundant exhibition design, with several white walls.
A softly announced feeling of surprise surrounds the exhibition: the artworks don’t belong to the same genre or a specific geographical area, or even the same historical period. The artists are sometimes anonymous, unknown or working under pseudonyms. Almost illiterate, without artistic or literary training, they are, however, capable of bringing a great spiritual and creative emotion through drawings and portraits of never seen before landscapes, hard to catalogue physiognomies, the obsessive repetition mixed with autofiction and possibly the promise of another identity.

And here the artist’s biography helps contextualise and better understand – in case some find it necessary – the artworks: all of them, to a greater or lesser extent, had complex lives, irreparable losses, accidents, went through deprivations, were persecuted and cast aside, had multidimensional and extra-terrestrial experiences.
Through a creativity that is free from reason it is possible that they have found the access keys to the beyond and, perhaps, had the possibility to create other connections with body and mind. All these suppositions are possible, at least I like to think that.
However, what is favoured in Extravaganza is the pars destruens of the Treger/Saint Silvestre collection, in other words, the analysis of the relation between the idea of beauty and harmony that is done through a set of artworks whose common denominator is a non-linear speculative dynamic; an erratic or rapidly changing situation, unusual, bizarre. An extravagating that replaces ratio and norms with intuition and the visionary, that combines brilliance and revelry, dementia and insanity with contradictory and anomalous situations. (...)

For more Information and to see all Installation Views of the Exhibition visit: