Friday, 4 September 2020

Moritz Scheper's Guide to DC Open!

Tomasz Machcinski, untitled, 2012, digital print on baryta paper, 30 x 21 cm

We are thrilled to be included in Moritz Scheper's guide to the best shows in Düsseldorf and Cologne


"This exhibition by Polish autodidact photographer and performer Tomasz Machcinski presents 30 photographs, dating from the 1970s to the present day, in which the artist assumes the guise of various historical figures, pop icons or alter egos in eccentric outfits. Instead of fitting into a well-composed mise-en-scène, he depicts the ageing processes of his body. Several videos, in which Machcinski dresses up as an entertainer and performs songs he has written (for example, 7 Wench, 2013), appear to offer a camouflage for his crossdressing, which was prohibited during Poland’s socialist era until 1989 and is again under threat after the country’s most recent turn to the conservative right." Moritz Scheper

 
Read the full guide here.






Saturday, 29 August 2020

TOMASZ MACHCINSKI I With Love to Tommy

Tomasz Machcinski, untitled, 2005, Vintage photography, 15 x 10 cm
 

TOMASZ MACHCINSKI

With Love to Tommy

September 4 – October 24, 2020

Opening: 04.09., 11 am – 10 pm


A magic trick is immediately obvious. A bad trick exposes itself as such, while a good one instantly draws you in. 

For a long time I considered whether the selfie should play a role in this text. Whether this sort of image, perhaps the most banal of our time, actually has anything at all to do with the work of the artist. After all, while he doesn’t want to be an artist, he naturally is one nonetheless, this Tomasz Machcinski, from the small Polish city of Kalisz. 

But there is a video on YouTube of Machcinski in which he explains how he first made an image of himself, sometime in the mid-’60s of the last century. And how this older man now stands there in his front room, around 60 years later, and once again stretches out his arm, camera in hand, to shoot himself – so there it is. Machcinski doesn’t use the word selfie, of course; he speaks of light and shadow, of faces and figures and poetry. “I create figures that have lived, that do live, and some which are still to be born,” he says.

The earliest online use of the word “selfie” can be traced back to 2002. It describes a photographic self-portrait, often taken at arm’s length from one’s own hand. The Oxford English Dictionary declared the term its “Word of the Year” in 2013. Since then, it has also stood as a codeword for the act of working on oneself; for the permanent pressure to perform one’s own life; for the spiral of public staging; for the always more beautiful self; for the cult of the body; and for a schizophrenic relationship to media, and online narcissism. Today, 30 percent of young people see becoming famous as an explicit goal in life; 10 years ago, it was 14%.

Tomasz Machcinski is not famous. Did he want to be? Machcinski was born in 1942. He is the only man on the planet with 1000 faces; 22,000, to be exact. Since taking the first photograph of himself, Machcinski has repeatedly staged himself in new roles. “I is another,” the poet Arthur Rimbaud wrote in 1871, in the second of his so-called “Seer Letters.” And this is perhaps the greatest question of Machcinski’s unbelievable body of work: whether he really has been photographing himself for 60 years now, or 22,000 others. Machcinski has previously transformed himself into Charlie Chaplin, Marx, Lenin, a long-haired junkie with needle, a sheikh with pointed beard, a prisoner with shaved head, a young priest with sacrament, a soldier with pipe, a film noir police commissioner, a Nazi commander, a bearded biker, a bard with guitar, D'Artagnan with rapier and red hat, a bearded biker with steel helmet, “Che” Guevara, a hippie, the Pope, Caesar, a half-Hitler, Jesus. In addition, countless fantasy and historical figures, a knight, a cowboy, a policeman. And when he dresses as a woman – as Mother Theresa, a glamorous Hollywood actress, a woman shopping – Machcinski seems somehow even better, more exalted, more diverse. 

One sees the passing of time in his pictures – analogue black-and-white photographs from the ’60s and ’70s, later on digital photos. A young man, an old one. But their allure stems from the relationship between virtuosity and infirmity: at some point he loses teeth and gains a hunch; he wears no wig, his hair simply how it is, sometimes long, sometimes short; his chin sometimes covered by a massive beard, at others smooth. It is always both him and another that we see – an obsessive, overwhelming confusion of authenticity and artificiality. And the work of an amateur: all of these images he produced alone. Looking through them, the artist, who sometimes exhibits his scars and bodily infirmities and sometimes hides them, appears rich. The perfection of many images, his gaze, the light, the contours of his glamorous face. His 22,000 faces create a mood that irradiates out of the images. It speaks of old Hollywood – a camp, knowing otherworld; a fragile tight-rope dandy.

It was in the small Polish city where the artist has now lived for 80 years – his whole life – that the photo first reached him that started it all. On the photograph, sent to him in 1947 by the actress Joan Tompkins, stood the message, “With love to Tommy. Joan ‘Mother’ Tompkins.” Until he was 20 years old, the artist was convinced that the great Hollywood actress was in fact his actual mother. He then learned that, as a war orphan, he had been part of an “remote adoption programme.” It was the end of his dream. What is real? What is not? What is a self? Machcinski’s pictures leave all of these questions in pieces.

 - Timo Feldhaus



Tuesday, 25 August 2020

Horst Ademeit im Museum für Moderne Kunst Frankfurt!

Horst Ademeit, untitled, 06.07.1993, inscribed polaroid, 11 x 9 cm

Horst Ademeit in der Ausstellung "Sammlung"  (22. August-30. Mai 2020) im 

Museum für Moderne Kunst Frankfurt


Mit Silvia Bächli, Sammy Baloji, Éric Baudelaire, Thomas Bayrle, Vija Celmins, Marlene Dumas, Isa Genzken, Tishan Hsu, Anne Imhof, Barry Le Va, Lee Lozano, Bruce Nauman, Cady Noland, Marcel Odenbach u.a.

"(...) Hände, Mienenspiel, Wortwahl und Betonung formen ein politisches und kulturelles Vokabular, das Martine Syms räumlich in einen Dialog mit den Betrachter_innen setzt. Und während Horst Ademeit, Thomas Ruff und Jeff Wall in ihren Arbeiten minutiös Identifizierung und Beobachtung als Grundlagen von Überwachung untersuchen, verhandeln Marlene Dumas, Sammy Baloji, Thomas Bayrle und Tishan Hsu in ihren Arbeiten Religion und Ritual, Körpertechnologie und Geschlecht. Die Ausstellung zeigt Werke aus der Sammlung des MMK von den frühen 1960er-Jahren bis zu zeitgenössischen und jüngst erworbenen Werken."


Mehr Informationen erhalten Sie hier.

Saturday, 22 August 2020

Alexandru Chira in der Efremidis Gallery

Alexandru Chira, Study XVI, 1984, Öl auf Leinwand, 90 x 56,5 cm
Alexandru Chira, Study XVI, 1984, Öl auf Leinwand, 90 x 56,5 cm

Alexandru Chira als Teil der Tony Just Ausstellung "Our Inchoate Love" in der Efremidis Gallery, kuratiert von Tenzing Barshee


Das Monopol Magazin veröffentlichte eine spannende Rezension der aktuellen Tony Just Ausstellung mit Werken von Alexandru Chira:

"(...) Da ist jemand, der die Malerei gerade erfährt, anfängt, sie im wahrsten Sinne zu begreifen und mit ihr in eine neue, magische, fast romantische Beziehung zu treten. Wie es der Titel "Our inchoate love" andeutet, geht es um eine beginnende, unfertige, im Entstehen begriffene Liebe. Das auf einer zartgelb leuchtenden Wandmalerei platzierte Sonnenbild "Aphrodite giver of blessings" (2020) wirkt wie ein vorzeitlicher Hochzeitsaltar. Justs monochrome, in Gelb, Violett oder Pink gehaltenen drip images haben organische Strukturen wie Äste, Adern. Sie könnten Eingänge zu einer anderen Welt sein, magische Portale.

Um diesen Eindruck noch zu verstärken, hat Tenzing Barshee, der die Schau mit Just zusammenstellte, noch zwei Bilder des rumänischen Künstlers und Visionärs Alexandru Chira (1947- 2011) von der Kölner Galerie Delmes & Zander ausgeliehen, die sich auf sogenannte "Outsider Art" spezialisiert. In einem kleinen Dorf in Transsylvanien geboren, entwickelte Chira als junger Künstler ein aufwändiges System von Kunstobjekten und symbolischen Bildern, um den Boden zu verbessern und wegen der anhaltenden Dürre den Regen zu beschwören. In Korrespondenz mit Justs Wandmalereien, für die er auch die japanische Heilmethode Reiki nutzt, hängen nun im Fenster der Galerie zwei Bilder Chiras, die erstaunlich dekorativ aussehen.

"Chiras Praxis orientierte sich dabei an bestimmten Vorstellungen von schamanischen Prinzipien, aber auf ziemlich verrückte Weise", erklärt Barshee, "denn er versuchte, mit seiner Kunst tatsächlich das Wetter zu kontrollieren. Er wollte mit seiner Arbeit die Erde heilen. Das ist im Hinblick auf Tonys Werk interessant, in dem Heilung heute ebenfalls ein ganz zentrales Thema ist. Wenn man Chiras Vorstellung von spiritueller Kontrolle anschaut, verhält es sich bei Tony eigentlich genau umgekehrt. Für ihn war es eine aufregende Erfahrung, mit all diesen unterschiedlichen Möglichkeiten zu experimentieren, um seine Bücher und Gemälde zu machen – und dabei eben viel weniger Kontrolle darüber zu haben, was da für ein Bild entsteht. Er erkannte dadurch, wie befreiend es sein kann, die Kontrolle aufzugeben. (...)"

Oliver Koerner von Gustorf

Den vollständigen Artikel können Sie hier lesen.

Saturday, 18 July 2020

New study on Horst Ademeit

Horst Ademeit, untitled, 04.02.1994, edited polaroid, 11 x 9 cm.

A thrilling case study on Horst Ademeit by Rosanna Mclaughlin


"Rosanna Mclaughlin is a writer, editor, and cultural critic. Her criticism has been featured in publications including Frieze magazine and The Guardian. She is the author of the book Double-Tracking: Studies is Duplicity, published by Carcanet Press. She is an editor at The White Review."

Rosanna Mclaughlin has chosen a selection of Polaroid’s taken by Horst Ademeit as the subject of her study as part of Study Series, intiated by the David Roberts Art Foundation. DRAF are a series of focused case-studies of works from the David Roberts Collection. Each presentation centres on a single work or series.

Read the full study here.






Thursday, 9 July 2020

Bruno Schleinstein I Warten ist der Tod

Bruno Schleinstein, untitled, undated, mixed media on paper, 42 x 30 cm

Bruno Schleinstein

Warten ist der Tod
July 18 – August 22, 2020
Opening July 17th, 6 - 9pm



“What must the itinerant traveller think when he dreams he’s home again – and is awoken by a song from his own country only to see that he’s in a foreign land.” (Bruno Schleinstein)

Bruno Schleinstein is born in 1932 in Berlin, the youngest of three illegitimate children. Unable to cope with the responsibility of raising her young child, his mother gives him over to the custody of a children’s home when he is just three years old. He lives there for the following six years. As a so-called Reichsausschusskind (a designation for mentally and physically disabled children deemed “unworthy of life” under the NS euthanasia programme), he is transferred to the Wiesengrund educational facility at the Bonhoeffer Nerve Clinic in Berlin in 1941. Doctors employed at Wiesengrund are by this time already performing medical experiments on the children that often end in the latter’s deaths. There is no record of whether any such experiments were performed on Schleinstein himself. What is certain, however, is that he can describe the operations carried out on the children there in detail.

Schleinstein remains locked up even after the war’s end. Following several unsuccessful escape attempts, he is transferred to a psychiatric hospital for children in 1947, justified on the grounds of his “obdurate tendency for escape.” In 1955, he finally succeeds in escaping from the facility and travels to Baden-Baden. He returns to Berlin in 1963 and finds a job at the Borsig-Werken, where he remains employed until his retirement.

An advertising display board for the company Asbach Uralt featuring a Moritaten (street ballad) singer gives Schleinstein the idea of taking up the profession himself. From this point on he spends his weekends wandering the city’s rear courtyards, where he performs music with an accordion and glockenspiel. He also illustrates his songs with his own painted display boards. An employee of the Akademie der Künste becomes aware of Schleinstein and invites him to participate in a Moritaten festival being held there. Schleinstein makes his first record, through which the filmmaker Lutz Eichholz becomes aware of the singer. This leads to his first film: 1966’s Bruno the Black. 

In 1973, Werner Herzog, who has just finished writing the script for his film The Enigma of Kaspar Hauser and is seeking to cast the lead role of Hauser himself, sees Eichholz’s film during a screening by the German public broadcaster ARD. Herzog is fascinated by Schleinstein’s authentic and unaffected personality and contacts the artist, subsequently casting him in the lead role under the stage name Bruno S. The film is screened as a German contribution to the 1975 Cannes Film Festival and is awarded the Grand Prix by the jury. In 1977, Bruno S. again plays the lead role in Herzog’s film Stroszek – a role written especially for him by the director. Bruno Schleinstein becomes a global star. Despite this, he continues to work as a forklift operator during the week and to spend his weekends playing music in courtyards. He draws and paints continuously. The first exhibition of Schleinstein’s pictures takes place in a Berlin bar in 1983, with his first gallery exhibition following a year later at endart gallery in the Berlin district of Kreuzberg. Delmes & Zander exhibits Schleinstein’s paintings and drawings from the late 1990s on. They are shown with great success at international art fairs and in both solo and group exhibitions. It is his fellow artists that are most fascinated with the authenticity and directness of his work, however. As an autodidact who taught himself to play music, to draw and to paint, and who always strove to perfect his technique, Schleinstein serves as an inspiration to them. And so it is above all artists, photographers, filmmakers and musicians that come to play a role in Schleinstein’s life and allow him to operate as an artist amongst other artists. Bruno Schleinstein dies in Berlin in 2010.

A monograph of Bruno Schleinstein’s work, edited by Susanne Zander and Nicole Delmes, was published in early 2020, offering a view of his multifaceted artistic output.

Saturday, 4 July 2020

Jetzt erhätlich: Der Ausstellungskatalog von "DREAM BABY DREAM" im Haus Mödrath


Morton Bartlett, ohne Titel, ca. 1950, vintage silver gelatin print, 13 x 10 cm

 

Der Ausstellungskatalog zur Ausstellung "Dream Baby Dream" im Haus Mödrath erschienen

Dort schreibt Kuratorin Gesine Borcherdt über Morton Bartlett:

"Wir treten hinaus auf den Flur. Zum Fenster hin hängen vier Zeichnungen und drei schwarzweiße Vintage-Fotografien. Sie alle zeigen Mädchen oder vielmehr: Puppen, von denen eine seltsam sexuelle Atmosphäre ausgeht. MORTON BARTLETT (1909 in Chicago - 1992 in Boston) hat sie nicht für die Augen der Öffentlichkeit gemacht: Die fünfzehn fast lebensgroßen Puppen - zwölf Mädchen und drei Jungen - formt er von 1936 bis 1963 aus Gips, detailgenau vom Fingernagel bis zum Geschlecht, kostümiert sie mit Perücken und selbstgenähten Kleidern und setzt sie für seine Fotografien lebensecht in Szene. (...)"

Für weitere Informationen und eine Leseprobe klicken sie hier.



Wednesday, 24 June 2020

FORREST BESS at the Fridericianum


Forrest Bess: Untitled (No. 5), 1949 © The artist and Collection Mickey Cartin
 

Forrest Bess at the Fridericianum
February 15, 2020 – September 6, 2020  


"Forrest Bess, born in 1911 in Bay City, Texas, where he also died in 1977, led an extremely secluded existence in the first half of the 1940s on the Gulf of Mexico, where alongside catching and selling fishing bait he dedicated himself to painting. During this time, Bess began to systematically encapsulate in painting “visions” that appeared to him on the threshold between wakefulness and sleep. For Bess, subconscious human experiences manifested themselves in these abstract and highly symbolic images. He pursed their exploration like a piece of obsessive research that he articulated in countless records and intensive correspondence without ever unravelling the mystery of his creativity.
The Fridericianum presents the first exhibition in Germany of the artist’s work for over three decades. The show allows visitors to rediscover this outstanding exponent of postwar art, who is as relevant for contemporary discourse as he is enigmatic."

For additional information about the exhibition please click here.



Friday, 19 June 2020

Exhibition "Kasten" at the Stadtgalerie Bern extended until July 11, 2020

Adelhyd van Bender, untitled, 1999-2014, 50 x 37 x 25 cm
 
Adelhyd van Bender on view at Stadtgalerie Bern 
as part of the exhibition "Kasten"
curated by Cédric Eisenring and Luca Beeler until July 11, 2020



"Folders and boxes serve as physical structures in Adelhyd van Bender’s work, whose cryptic systematization employs graphic and scientific means, repetition and variation. Against the backdrop of impending self-destruction during the Cold War, Adelhyd van Bender developed an obsessive fascination with atomic radiation that preoccupied him up to his death in 2014. Repeatedly appearing in his countless drawings are geometrical diagrams reminiscent of atomic models, orders of the universe or mystical models – like the Sefiroth of the Kabbalah. These also include missile-like structures, maps of alleged nuclear power plants in Germany, plans for the city of Moscow and radiation warning signs. The status of the contents inside the fourteen commercial and variously patterned storage boxes remains unclear. The A4 sheets, often copied multiple times and in some cases showing slight variances, are most likely original material the artist intended to work on further. The boxes also contain official documents – some of which also reappear in drawings – mail-order catalogs, magazines and other material."


The exhibition features among others:

Kaspar Müller, Phung-Tien Phan, Vaclav Pozarek, Marta Riniker-Radich, Julia Scher, Richard Sides, Davide Stucchi, Sergei Tcherepnin






Wednesday, 10 June 2020

"Ton, Steine, Beton" // FAZ-Artikel über die aktuelle Gruppenausstellung "Just Another Day"

Prophet Royal Robertson, untitled (Space Scene), ca. 1980s, 
Tinte und Marker auf Papier, 45,7 x 61cm
 
FAZ-Artikel über die aktuelle Gruppenausstellung "Just Another Day" erschienen!

"„Kein besonderer Tag“ – als durchaus besonders dürfen die Werke der Künstlerinnen und Künstler in dieser Gruppenschau gelten, allesamt Charaktere, die sich in eigenen gedanklichen Universen bewegten, exklusives Wissen über die Welt generierten und daraus exzeptionelle Kunst hervorgehen ließen: Zeichnungen, Stickereien, Polaroids, konzeptuelle Grafik, serielle Blätter, bisweilen in einer ausufernden Anzahl, die gegen unendlich tendiert. Es seien längst nicht mehr nur Connaisseure der Outsider-Art, die solche Werke kauften, so die Galeristin Susanne Zander, vielmehr kämen auch junge Sammler, die sich ganz einfach für zeitgenössische Kunst interessierten. 

Etwa für die symbolistischen Fotokopien mit Tabellen, Schautafeln, Mischtechniken des gelernten Elektrikers Harald Bender (1950 bis 2014), der, nachdem er arbeitslos wurde, in den siebziger Jahren an der Berliner Hochschule der Künste studierte. Dort wurde er, aus nicht bekannten Gründen, zwangsexmatrikuliert. Hirngespinste bemächtigten sich der Geisteswelt des jungen Mannes: Einen Uterus wähnte er in sich mitsamt einem sicherlich belastenden atomaren Geheimnis. Fortan taufte sich der Künstler Adelhyd van Bender. Mehrere hundert Aktenordner füllen in der Galerie die Regale mit dem Nachlass; was er in den Abertausenden Diagrammen – auf Geheiß höherer Mächte – akribisch und tabellarisch chiffriert, dürfte eine Wissenschaft für sich sein. Von bezwingendem Charme sind hingegen die farbigen Zeichnungen des Amerikaners „Prophet“ Royal Robertson: Als seine Ehefrau den gelernten Schildermaler aus Louisiana 1955 nebst gemeinsamen zwölf Kindern verließ, vermutete er im anderen Geschlecht eine Verschwörung gegen sich und wetterte in Bildern dagegen, die an Raymond Pettibon denken lassen. (...)"

Georg Imdahl 

Den vollständigen Artikel finden Sie hier.




Thursday, 4 June 2020

Artikel über das neue Buch "Bruno Schleinstein"



Buchdeckel "Bruno Schleinstein", herausgegeben von Nicole Delmes und Susanne Zander, Verlag der Buchhandlung Walther König


 
Artikel über Bruno Schleinstein von Gunnar Lützow erschienen!

"Bruno Schleinstein: Ein großer urbaner Unbequemer
Aufgewachsen in der Wittenauer Heilstätte und mitten in Berlin immer an den Rändern beheimatet, war der Musiker und Künstler Bruno Schleinstein eine Inspiration für Oscar-Gewinner Elliott Smith und spielte bei Werner Herzog Kaspar Hauser. Jetzt ist ein würdigendes Buch erschienen."

Gunnar Lützow   

Den vollständigen Artikel finden Sie hier.

"Bruno Schleinstein"
Mit Texten von Annett Krause & Bruno Schleinstein
Herausgegeben von Nicole Delmes und Susanne Zander 
Veröffentlicht im Verlag der Buchhandlung Walther König, Köln
Erhältlich bei Delmes & Zander und in der Buchhandlung Walther König
 

Saturday, 25 April 2020

Just Another Day / 2020


Horst Ademeit, untitled, 20.05.1998, polaroid edited, 11 x 9 cm
Just Another Day - Kein besonderer Tag

From May 5th, 2020

Just Another Day presents works by five artists whose practices all look closely at a world turned upside down. Observe, describe, document and record: it is in daily routine that the search for explanations and paths to change find their expression. Together, they depict the artistic possibilities for dealing with varying conceptions of the world.

We will be showing the works in our Lindenstrasse space from May 5, 2020. In addition to visiting the gallery, it is also possible to view the exhibition online via Skype or FaceTime by appointment.

Exhibited artists:
Horst Ademeit
Adelhyd van Bender
Helga Goetze
Prophet Royal Robertson
August Walla

Friday, 6 March 2020

Bruno Schleinstein / INDEPENDENT NEW YORK 2020

Bruno Schleinstein, untitled, undated, mixed media on paper, 30 x 42 cm,

 Bruno Schleinstein at Independent New York
March 6th - March 9th 2020

"What must the itinerant traveller think when he dreams he’s home again – and is awoken by a song from his own country only to see that he’s in a foreign land.” 
Bruno Schleinstein

Bruno Schleinstein is born in 1932 in Berlin, the youngest of three illegitimate children. Unable to cope with the responsibility of raising her young child, his mother gives him over to the custody of a children’s home when he is just three years old. He lives there for the following six years. As a so- called Reichsausschusskind (a designation for mentally and physically disabled children deemed “unworthy of life” under the NS euthanasia programme), he is transferred to the Wiesengrund educational facility at the Bonhoeffer Nerve Clinic in Berlin in 1941. Doctors employed at Wiesengrund are by this time already performing medical experiments on the children that often end in the latter’s deaths. There is no record of whether any such experiments were performed on Schleinstein himself. What is certain, however, is that he can describe the operations carried out on the children there in detail. 

Schleinstein remains locked up even after the war’s end. Following several unsuccessful escape attempts, he is transferred to a psychiatric hospital for children in 1947, justifed on the grounds of
his “obdurate tendency for escape.” In 1955, he fnally succeeds in escaping from the facility and travels to Baden-Baden. He returns to Berlin in 1963 and fnds a job at the Borsig-Werken, where he remains employed until his retirement. 

An advertising display board for the company Asbach Uralt featuring a Moritaten (street ballad) singer gives Schleinstein the idea of taking up the profession himself. From this point on he spends his weekends wandering the city’s rear courtyards, where he performs music with an accordion and glockenspiel. He also illustrates his songs with his own painted display boards. An employee of the Akademie der Künste becomes aware of Schleinstein and invites him to participate in a Moritaten festival being held there. Schleinstein makes his frst record, through which the flmmaker Lutz Eichholz becomes aware of the singer. This leads to his frst flm: 1966’s Bruno the Black. 

In 1973, Werner Herzog, who has just fnished writing the script for his flm The Enigma of Kaspar Hauser and is seeking to cast the lead role of Hauser himself, sees Eichholz’s flm during a screening by the German public broadcaster ARD. Herzog is fascinated by Schleinstein’s authentic and unaffected personality and contacts the artist, subsequently casting him in the lead role under the stage name Bruno S. The flm is screened as a German contribution to the 1975 Cannes Film Festival and is awarded the Grand Prix by the jury. In 1977, Bruno S. again plays the lead role in Herzog’s flm Stroszek – a role written especially for him by the director.
Bruno Schleinstein becomes a global star. Despite this, he continues to work as a forklift operator during the week and to spend his weekends playing music in courtyards. He draws and paints continuously. 

The frst exhibition of Schleinstein’s pictures takes place in a Berlin bar in 1983, with his frst gallery exhibition following a year later at endart gallery in the Berlin district of Kreuzberg. Delmes & Zander exhibits Schleinstein’s paintings and drawings from the late 1990s on. They are shown with great success at international art fairs and in both solo and group exhibitions. It is his fellow artists that are most fascinated with the authenticity and directness of his work, however. As an autodidact who taught himself to play music, to draw and to paint, and who always strove to perfect his technique, Schleinstein serves as an inspiration to them. And so it is above all artists, photographers, flmmakers and musicians that come to play a role in Schleinstein’s life and allow him to operate as an artist amongst other artists. Bruno Schleinstein dies in Berlin in 2010. 

A monograph of Bruno Schleinstein’s work, edited by Susanne Zander and Nicole Delmes, was published in early 2020, offering a view of his multifaceted artistic output.

Wednesday, 12 February 2020

NEUERSCHEINUNG // Bruno Schleinstein Buch

Buchdeckel "Bruno Schleinstein", herausgegeben von Nicole Delmes und Susanne Zander, Verlag der Buchhandlung Walther König


 
Neues Buch erscheint bald!

Mit einem Text von Annett Krause
Herausgegeben von Nicole Delmes und Susanne Zander

"Bruno Schleinstein alias Bruno S. (1932-2010) lebte 23 Jahre in der „Massenunterbringung der Lieblosigkeit“, wie er die Heime und Psychiatrien nannte, in denen er u.a. während der Naziherrschaft eingesperrt war. 1958 entlässt er sich selbst in die Freiheit. Er beginnt an den Wochenenden durch Berlins Hinterhöfe zu ziehen, wo er Moritaten singt, bebildert und interpretiert. Durch sie findet er die Worte, die ihm vorerst fehlen, um sich und seine Gedanken mitzuteilen. Die Eigenwilligkeit, Wucht und Authentizität seiner Vorstellungen wecken Ende der 60er Jahre das Interesse von Filmemachern und Journalisten. Sechs Jahre später wird Bruno Schleinstein als Werner Herzogs Kaspar Hauser-Darsteller über Nacht weltbekannt. Erst spät wird sein bildnerisches Werk entdeckt, findet sodann aber schnell Eingang in Privatsammlungen anerkannten Künstlerkollegen. Bruno Schleinsteins immerwährende Auseinandersetzung mit Themen wie Hoffnung, Tod, Moral, Visionen und Träume hat in alle seine künstlerischen Arbeiten Eingang gefunden, in seine Musik, seine Malerei, seine Texte und sein Schauspiel."

Annett Krause   

Veröffentlicht von der Buchhandlung Walther König, Köln
 

Friday, 31 January 2020

KARL HANS JANKE Das große Ziel Erde Nr.2


Karl Hans Janke, Das große Ziel Erde Nr.2, 1950-1970, 29,7 x 42 cm, Pen and Pencil
on Paper

KARL HANS JANKE

Das große Ziel Erde Nr.2 


February 8th - Marth 6th, 2020

Opening: February 7th, 6-9pm

New Findings! New discoveries! Enduring development! – Modernism saw the future. At the beginning of the 20th century, it required little effort to sense the optimism of a new era. Scientific insights were abundant and astounding, and within a few decades, many inventions would change everyday life completely. Yet unlike in other self-confident eras, the burgeoning period of modernism lacked something. There was renaissance man such as Leonardo da Vinci or Goethe, who each summarized their epoch. Furthermore, it seemed as if the division of labor in modern production had also divided art and science. In a rapid development, art too was no less striving for the new, and it detached itself from the task of depiction and thus from its once self-evident role as a commenter and chronicler.

Karl Hans Janke, born in 1909, was a child of his time. Growing up in an increasingly visually based media world, he found his visual stimuli and challenges not in Goya or Picasso, but, like so many young people in the approaching decades, in the illustrations accompanying popular scientific literature, in rough sketches and exploded views of the latest technical inventions and in the pictorial worlds of artists who, though disdained by the custodians of high art,depicted speculative visions of a future that science fiction literature put into words. However, science fiction had not yet committed itself to sociological allegories and dystopias, but found its motto in the title of Alfred Bester’s novel The Stars My Destination. Bester's novel was very well informed about the horrors of those wars, which Karl Hans Janke experienced first as a child and later briefly as a soldier. There is no record of what led Janke to devote himself entirely to invention, but it became the life work of the man who, after his mother’s death in 1949, spent most of the remainder of his life in psychiatric institutions despite his own self-assessment that he was perfectly mentally sound.

Karl Hans Janke drew his inventions and created elaborate models, of which the latter almost certainly no longer exist. What made his drawings remarkable from a scientific perspective is their accuracy and attention to detail, thanks to which, even his most preposterously absurd inventions hold a definite persuasive power. Despite its uncertain technical feasibility, Janke was granted a patent for a GPS-like positioning system, and his visions of space gliders for tourists use also point to one of his special abilities: he knew how to detect or anticipate needs. In addition to his great visions, he designed, as did the late chancellor Konrad Adenauer, a great number of both practical and nonsensical things for everyday living some of which if their production had been pursued, would have had a good chance of being commercially successful. But he did not see his true destiny in small things. Karl Hans Janke wanted to show mankind the way to a better future.

What made him do it? One of his works shows not an invention, but two fighting dinosaurs. The striking motif is clearly reminiscent of Charles Knight’s drawing Leaping Laelaps from 1897. This first depiction of dinosaurs as agile creatures still inspired imaginary worlds in the 1970s, what must it have been like for a young person seeing such a depiction at the beginning of the 20th century! Janke’s drawings and inventions process the significant advances in geological understanding that science gained in his youth: he understood our planet to be not a solid, fixed entity, but a sphere comprised of gradually moving and changing land masses. One can regard him as an enthusiast whose understanding of the knowledge of his time drifts into the fantastic and serves as a point of departure for his own theories. 

Karl Hans Janke did not become an inventor of world-saving proportions, but functioning as a researcher between popular science publications and a fantastical world of ideas. He interpreted the knowledge of his time and realized his experiments in his dreams. Well-known researchers of his time also crossed this border. Nikola Tesla, who developed the alternating current for the transmission of energy over long distances, talked about a "free energy" that could be drawn inexhaustibly from space – a notion pursued by Janke in his remarks on the "German Atom".

Between all these directly and in detail impressive works, it is not really possible to assign Karl Hans Janke a fixed role as either an inventor, a fantasist, a designer, a driven, fascinated child, or a fantastic artist; no attribution seems to suffice and never do the individual parts stand in the same relationship to each other. An enigmatic person, not a polymath, but an artist who had absorbed the complexity of modernism and was able to depict it. All of this unaffected by the admonishing voice, so present today, warning it is "five to twelve," yet in the spirit of modernism full of hope that humanity will ultimately be able to find good solutions. Naive? – When we look at his image of the second Earth today, it is immediately noticable that the recently arrived spacemen seem to have had nothing better to do than to return to a stone age way of life; Janke unmasks our own longings for modernity in a perceptive way. Good art can do that.

Oliver Tepel


Tuesday, 14 January 2020

DREAM BABY DREAM im Haus Mödrath mit Werken von Morton Bartlett

Morton Bartlett, untitled, ca. 1950,  Vintage Print, 8 x 8 cm
Courtesy of Delmes & Zander
DREAM BABY DREAM, kuratiert von Gesine Borcherdt
2. Februar - 20. Dezember, 2020  


"Das Haus der Kindheit ist ein Ort der Fantasie, des Schutzes und des Spiels, aber auch des Traumas, der Gewalt und der Angst. Hier entscheidet sich, wer wir sind, was wir werden und was wir verdrängen. Der Impuls des Kunstmachens rührt bei vielen Künstlern aus der Kindheit. Frühe, ureigene Erfahrungen werden in Kunst und somit in etwas Größeres transformiert, das unseren Blick auf die Welt erneuert, weitet und ändert.

Die Ausstellung Dream Baby Dream zeigt Künstler, deren Werke aus einer solchen Vorstellungskraft heraus entstanden sind. Sie weisen eine starke Bindung zur Zeit des Aufwachsens auf – als gestalterische Inspiration, aber auch als Metapher für physische, psychologische und soziale Konflikte. In ihrem Zusammenspiel entsteht eine Atmosphäre, in der die dunklen Seiten von Kindheit und Jugend neue Formen annehmen. 

Der Titel der Schau geht zurück auf den Song des einflussreichen Elektro-Duos Suicide, Pioniere des Post-Punk und Vorläufer von Techno. Der dunkle Sound des Songs und die Elvis-artige Stimme des Sängers Alan Vega lassen den „American Dream“, der unser Denken bis heute prägt, zu einer Alptraumschlaufe werden – und zugleich zu einem tranceartigen Hoffnungsschimmer. Rebellion und Sehnsucht, Angst und Fantasie greifen ineinander. 

Das Haus Mödrath blickt selbst auf eine lange Geschichte mit Kindern sowie auf einen entscheidenden Moment in der elektronischen Musik zurück. Erbaut Anfang des 19. Jahrhunderts als Herrenhaus einer Farbholzmühle mitten im Wald bei Köln, wurde es in den 1920er-Jahren in ein Wöchnerinnenheim verwandelt, wo der Pionier der elektronischen Musik Karlheinz Stockhausen geboren wurde. Unter den Nazis diente das Haus als Schulungsheim, im Krieg kamen hier Flüchtlingsfamilien unter, danach entstand ein Kinderheim mit bis zu 60 Kindern, und nach mehreren Jahren Leerstand zog eine Familie mit 15 Kindern ein. 2017 wurden daraus die Räume für Kunst. Die Ausstellung Dream Baby Dream ist die dritte Ausstellung, die hier stattfindet."

Die Ausstellung zeigt Werke von "Jean-Marie Appriou, Sue Williams, Susan Te Karuhangi King, Mike Kelley, Veit Laurent Kurz, Paul McCarthy, Charlemagne Palestine, Wong Ping, Barbara Rossi, Laurie Simmons, und Jean-Luc Verna" und Morton Bartlett.

Hier geht es zur Ausstellungswebsite: www.haus-moedrath.de/de/ausstellung_dream_baby_dream


Helga Goetze Article in Frieze Magazine - Print Issue January/February 2020

Helga Goetze, Indianische Astrologie (Indian Astrology), 1984-1985, embroidery, cotton twist, metal thread and nettle, 126 × 180 cm. Courtesy: the artist and Delmes & Zander, Cologne; photograph: Johannes Post
FRIEZE MAGAZINE Issue 208
Helga Goetze Review

In the new print issue of Frieze Magazine (Number 208 - January/February 2020) you can find a sharp review about Delmes & Zander's exhibition "Helga Goetze", written by Martin Scheper. 

"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."