tag:blogger.com,1999:blog-87139550143903282712024-02-19T04:59:28.628+01:00OUTRAGEOUS blog // DELMES & ZANDERA blog dedicated to outrageous artMonika Koenckehttp://www.blogger.com/profile/13736450462948635861noreply@blogger.comBlogger637125tag:blogger.com,1999:blog-8713955014390328271.post-37470759188453963892021-09-29T16:41:00.000+02:002021-09-29T16:41:17.041+02:00<p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhINPEm4xzHrDT9fy_ZU_avG8jZIw9okQhRtzYlpNDURsZNGpHVt0_yG7crqhkJzA1gkTKZ7mUQMpVf_yTFWSbC8Ba_YNsocwyKEtSzSCtTZbRhIzpMe5LT5nh17ZR7OPQzg-1p06XJSQ3o/s1024/ALP.M.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="773" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhINPEm4xzHrDT9fy_ZU_avG8jZIw9okQhRtzYlpNDURsZNGpHVt0_yG7crqhkJzA1gkTKZ7mUQMpVf_yTFWSbC8Ba_YNsocwyKEtSzSCtTZbRhIzpMe5LT5nh17ZR7OPQzg-1p06XJSQ3o/w303-h400/ALP.M.jpg" width="303" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Albert Leo Peil, Peter Kraus mit der Götterfrucht der Gorgo Medusa, 1979</span><br /></td></tr></tbody></table> </p><p>Dear friends,<br /><br />since our founding in 1988, at that time as Galerie Susanne Zander, we have promoted artistic positions that, for want of a better term, have been labelled as ‘Art Brut’ or ‘Outsider Art’ by the art world at large.From the beginning, our aim was to illuminate the valuable work of those artists whose eccentricities, impairments or lack of university degrees saw them thoughtlessly and brutally excluded and pigeonholed.<br /><br />While societal progress is always fragile, times have changed, and we are delighted that the works of our artists have now found their place within the contemporary art context. Artists like Dietrich Orth, Adelhyd van Bender, Horst Ademeit, the project ‘Margret – Chronicle of an Affair’ have all gained visibility; solo exhibitions are held in important institutions, and their works are now represented in the collections of major museums.<br /><br />While we are conscious of what we have achieved for this particular form of art and the recognition enjoyed by our artists, we do not want to perpetuate any categorisation of it and them through our own programme. And so it in this spirit that we will cease gallery activities at the end of our current exhibition.<br /><br />We shall continue to manage the estates of Horst Ademeit, Adelhyd van Bender, Aurel Iselstöger, The Night Climbers of Cambridge, Bruno Schleinstein and Type 42 for the time being, along with that of Albert Leo Peil, whose body of work we only recently opened up.<br /><br />Our thanks go to all of those who have accompanied us on our journey, by following and contributing to our programme over the years; who inspired, supported and encouraged us, and share our passion for art. Thank you for the memories.<br /><br />Nicole and Susanne<br /><br /><br />current exhibition / laufende Ausstellung<br />HORST ADEMEIT, SAIOA FISCHER ABAIGAR<br />Ich fordere Sie auf, das Einsteigen in Meine Wohnung zu unterlaßen!<br />Sept 3 – Oct 30, 2021<br /><br /></p>Delmes & Zanderhttp://www.blogger.com/profile/11292923378109779540noreply@blogger.com0tag:blogger.com,1999:blog-8713955014390328271.post-14874149791633584132021-09-29T15:34:00.008+02:002021-09-29T15:35:37.723+02:00<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWPAKaFRnBm2EgsDV7JDMEvyM3VxH0Th5bxMUzYiM4ES5oX2LfC_ozO2u7mc8blZfOg5Fi69UZHuHoGwnMcIuedWcuP6dfmnfVfNaYNnGlm9SyXcxlLSNVHYX82oE_W5lPNxbWm614Llvi/s2048/Ademeit_Pa8524.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="1451" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWPAKaFRnBm2EgsDV7JDMEvyM3VxH0Th5bxMUzYiM4ES5oX2LfC_ozO2u7mc8blZfOg5Fi69UZHuHoGwnMcIuedWcuP6dfmnfVfNaYNnGlm9SyXcxlLSNVHYX82oE_W5lPNxbWm614Llvi/s320/Ademeit_Pa8524.jpg" width="320" /></a></div><p style="text-align: center;">HORST ADEMEIT / SAIOA FISCHER ABAIGAR</p><p style="text-align: center;">Ich fordere Sie auf, das Einsteigen in Meine Wohnung zu unterlaßen!</p><p style="text-align: center;"><i>September 3 – October 30, 2021</i> </p><p>Horst Ademeit (*1937 in Cologne, †2010 in Düsseldorf) attended the Cologne Art and Craft Schools from 1964 onwards, later obtaining a diploma in Textile Design in Krefeld. In 1970, he spent a short period as a student of Joseph Beuys at the Kunstakademie Düsseldorf. From early on, Ademeit’s work was intensely engaged with the possible existence of cold rays. </p><p>The artist observed his surroundings over a period of several decades, documenting the results in thousands of analogue, digital and Polaroid photographs. The focus of his interest was on the seemingly random events that occurred in and around his home in Düsseldorf’s Flingern district. </p><p> In addition to his written accounts, Ademeit would record comments, dates and locations in the white borders of his Polaroids, while also collecting and preserving what he saw as relevant traces and clues from the scenes he encountered. In the course of his investigations, he developed his own system for recording cold rays, one in which facts and assumptions were deeply interwoven with one another. His work has been regularly exhibited in galleries and museums since 2008. </p><p>To accompany the opening of the exhibition, we will present the book ‘Der Fotograf der Kältestrahlen – Horst Ademeit’, by Saioa Fischer Abaigar (*2001 in Freiburg i. Br.), in which the author provides a candid account of her fascination with Ademeit, exploring his work through drawings, photographs and texts. In doing so, she raises questions about Ademeit’s artistic process and what it means to live as an outsider in our society. Not only does the young artist offer us an insight into her own, entirely personal world of thinking, she also represents a new generation that is social, critical, and politically engaged. The book is published by the Verlag der Buchhandlung Walther König and Franz König. Fischer Abaigar has been a student at the Academy of Media Arts Cologne since 2020. We are very pleased to be able to present the drawings from the book in the gallery. </p><p> A slide show of Ademeit’s daily images selected by James Richards (*1983 in Cardiff) will a be on view during the exhibition.
</p>Delmes & Zanderhttp://www.blogger.com/profile/11292923378109779540noreply@blogger.com0tag:blogger.com,1999:blog-8713955014390328271.post-42154916431108860102021-06-10T14:14:00.002+02:002021-06-10T14:18:22.154+02:00ADELHYD VAN BENDER - HOT STUFF <p><span style="font-size: small;"><span style="font-family: inherit;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzqJl7rMq1OR0lC3RPoGycWZblk2GQmGzHpcWutMzUCwEOtuwx8w6KvcbWaahhWqYRvruD0bUj9vgeEKdkgdG5iBR70OHClts6YpowF_m3N1vaLYkttaUFFuTLy7pQoiFyl24oT8rc7YMo/s1024/HB_Fol_0237.010.M.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="720" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzqJl7rMq1OR0lC3RPoGycWZblk2GQmGzHpcWutMzUCwEOtuwx8w6KvcbWaahhWqYRvruD0bUj9vgeEKdkgdG5iBR70OHClts6YpowF_m3N1vaLYkttaUFFuTLy7pQoiFyl24oT8rc7YMo/s320/HB_Fol_0237.010.M.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Adelhyd van Bender, folder #237, 1999-2014, 32 x 29 x 8 cm<br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><p></p><div style="text-align: center;"><span style="color: #444444;"><span style="font-family: inherit;"><b><span>ADELHYD VAN BANDER</span></b></span></span></div><div style="text-align: center;"><span style="color: #444444;"><span style="font-family: inherit;"><b><span>HOT STUFF</span></b></span></span></div><div style="text-align: center;"><span style="color: #444444;"><span style="font-family: inherit;"><b><span> </span></b></span></span></div><div style="text-align: center;"><span style="color: #444444;"><span style="font-family: inherit;"><span>Curated by Antonia Gaeta</span></span></span></div><div style="text-align: center;"><span style="color: #444444;"><span style="font-family: inherit;"><span> </span></span></span></div><div style="text-align: center;"><span style="color: #444444;"><span style="font-family: inherit;"><span>June 18th - July 24th, 2021 </span><b><span> <br /></span></b></span></span></div><div style="text-align: center;"><span style="color: #444444;"><span style="font-family: inherit;"><b><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span></b></span><span style="font-size: small;"><span style="font-family: inherit;"> </span></span></span></div><div style="text-align: left;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;"><span>From
Wall to Paper and Back Again</span></span></span></span></div><div style="text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></span></div><p style="font-weight: normal; margin-bottom: 0cm; text-align: justify; text-decoration: none;">
</p><div style="text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></span></div><p style="margin-bottom: 0cm; text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;"><span><span style="text-decoration: none;"><span style="font-weight: normal;">The
corpus of work that Adelhyd van Bender developed in the decades
before his death in 2014 presents a coherence that I like to define
as serial. A </span></span></span><span><i><span style="text-decoration: none;"><span style="font-weight: normal;">horror
vacui</span></span></i></span><span><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">
reveal an enthusiastic drive to explore a theme to its exhaustion.
The works are urged by the artist's dedication to the study of
symbols, ideas, formulas and motifs: all of them are representations
of an imaginary and a search that is more like vertigo.</span></span></span></span></span></span></span></p><div style="text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></span></div><p style="font-style: normal; font-weight: normal; margin-bottom: 0cm; text-align: justify; text-decoration: none;">
<span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;"><span>By
anticipating some concept or trying to perceive a pattern in the
artist's work, it becomes more clear - among other possible
approaches - to opt, in this exhibition, for establishing a
dialogical conversation between the physical space where Van Bender
lived, his house, and the mental space translated into the sheets of
paper, his drawings.</span></span></span></span></p><div style="text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></span></div><p style="font-style: normal; font-weight: normal; margin-bottom: 0cm; text-align: justify; text-decoration: none;">
</p><div style="text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></span></div><p style="margin-bottom: 0cm; text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;"><span><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">What
we see in </span></span></span></span><span><i><span style="text-decoration: none;"><span style="font-weight: normal;">Hot
Stuff </span></span></i></span><span><span style="font-style: normal;"><span style="text-decoration: none;"><span style="font-weight: normal;">is
a selection from thousands of A3 and A4 sheets</span></span></span></span><span><span style="text-decoration: none;"><span style="font-style: normal;"><span style="font-weight: normal;">
</span></span></span></span><span><span style="text-decoration: none;"><span style="font-style: normal;"><span style="font-weight: normal;">inside
binders, once storaged in piles on the walls of the artist's house.
Walls that also served as surfaces for drawings with patterns and
geometric shapes of pure solids, elementary figures, cosmologies,
doodles, words, sketches - some more complex, some slightly nodding,
others overlapped and redrawn on top. They all looked more like an
attempt to give an order to the universe.</span></span></span></span></span></span></span></p><div style="text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></span></div><p style="font-style: normal; font-weight: normal; margin-bottom: 0cm; text-align: justify; text-decoration: none;">
</p><div style="text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></span></div><p style="margin-bottom: 0cm; text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;"><span><span style="text-decoration: none;"><span style="font-style: normal;"><span style="font-weight: normal;">Now,
try to forget for a moment that we are in the Delmes & Zander
gallery facing works of art and allow me to draw a parallel. Remember
the first dialogue from Giordano Bruno's book </span></span></span></span><span><span style="text-decoration: none;"><i><span style="font-weight: normal;">On
Infinity, the Universe and the Worlds </span></i></span></span><span><span style="text-decoration: none;"><span style="font-style: normal;"><span style="font-weight: normal;">(1584):</span></span></span></span></span></span></span></p><div style="text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></span></div><p style="font-style: normal; font-weight: normal; margin-bottom: 0cm; text-align: justify; text-decoration: none;">
</p><div style="text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></span></div><p style="margin-bottom: 0cm; text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;"><span><span style="text-decoration: none;"><span style="font-style: normal;"><span style="font-weight: normal;">Elpinus:
</span></span></span></span><span><span style="text-decoration: none;"><i><span style="font-weight: normal;">How
is it possible that the universe is infinite?</span></i></span></span></span></span></span></p><div style="text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></span></div><p style="margin-bottom: 0cm; text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;"><span><span style="text-decoration: none;"><span style="font-style: normal;"><span style="font-weight: normal;">Philotheus:
</span></span></span></span><span><span style="text-decoration: none;"><i><span style="font-weight: normal;">How
is it possible that the universe is finite?</span></i></span></span></span></span></span></p><div style="text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></span></div><p style="margin-bottom: 0cm; text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;"><span><span style="text-decoration: none;"><span style="font-style: normal;"><span style="font-weight: normal;">Elpinus:
</span></span></span></span><span><span style="text-decoration: none;"><i><span style="font-weight: normal;">Do
you think this infinity can be demonstrated?</span></i></span></span></span></span></span></p><div style="text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></span></div><p style="margin-bottom: 0cm; text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;"><span><span style="text-decoration: none;"><span style="font-style: normal;"><span style="font-weight: normal;">Philotheus:
</span></span></span></span><span><span style="text-decoration: none;"><i><span style="font-weight: normal;">Do
you think this finiteness can be demonstrated?</span></i></span></span></span></span></span></p><div style="text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></span></div><p style="margin-bottom: 0cm; text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;"><span><span style="text-decoration: none;"><span style="font-style: normal;"><span style="font-weight: normal;">Elpinus:
</span></span></span></span><span><span style="text-decoration: none;"><i><span style="font-weight: normal;">Of
what extension are you speaking?</span></i></span></span></span></span></span></p><div style="text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></span></div><p style="margin-bottom: 0cm; text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;"><span><span style="text-decoration: none;"><span style="font-style: normal;"><span style="font-weight: normal;">Philotheus:
</span></span></span></span><span><span style="text-decoration: none;"><i><span style="font-weight: normal;">And
of what limits do you speak?</span></i></span></span></span></span></span></p><div style="text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></span></div><p style="font-style: normal; font-weight: normal; margin-bottom: 0cm; text-align: justify; text-decoration: none;">
</p><div style="text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></span></div><p style="font-style: normal; font-weight: normal; margin-bottom: 0cm; text-align: justify; text-decoration: none;">
<span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;"><span>Adelhyd
van Bender’s work unfolds in infinite matrices of voracious
thought. The drawings went through various stages: they were
photocopied, worked on to insert coloured elements, cut out and
pasted. The artist would highlight specific points, some commas and
strokes, and then photocopy them again. Sometimes the drawings
differed by a letter, and the sheets were worked over and over again
in a kaleidoscopic synthesis of intelligibility. An extremely complex
work in which ideas appear as eternal and immutable principles
constituting an order. It is not a simple logical or abstract
process; the artist brought heaven and earth together and proposed a
grandiose vision of an infinite cosmos.</span></span></span></span></p><div style="text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></span></div><p style="font-style: normal; font-weight: normal; margin-bottom: 0cm; text-align: justify; text-decoration: none;">
</p><div style="text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></span></div><p style="margin-bottom: 0cm; text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;"><span><span style="text-decoration: none;"><span style="font-style: normal;"><span style="font-weight: normal;">Fracastorius:
</span></span></span></span><span><span style="text-decoration: none;"><i><span style="font-weight: normal;">Ad
rem, ad rem, si iuvat; too long you have kept us in doubt.</span></i></span></span></span></span></span></p><div style="text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></span></div><p style="margin-bottom: 0cm; text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;"><span><span style="text-decoration: none;"><span style="font-style: normal;"><span style="font-weight: normal;">Burquio:
</span></span></span></span><span><span style="text-decoration: none;"><i><span style="font-weight: normal;">Present
some argument already, Philotheus, for I shall have great fun
listening to this fable or fancy.</span></i></span></span></span></span></span></p><div style="text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></span></div><p style="margin-bottom: 0cm; text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;"><span><span style="text-decoration: none;"><span style="font-style: normal;"><span style="font-weight: normal;">Fracastorius:
</span></span></span></span><span><span style="text-decoration: none;"><i><span style="font-weight: normal;">Modestius,
Burquio: What will you say if at last the truth convinces you?</span></i></span></span></span></span></span></p><div style="text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></span></div><p style="margin-bottom: 0cm; text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;"><span><span style="text-decoration: none;"><span style="font-style: normal;"><span style="font-weight: normal;">Burquio:
</span></span></span></span><span><span style="text-decoration: none;"><i><span style="font-weight: normal;">Though
it be true, I would not believe it; for it is not possible that this
infinite can be understood by my head, nor digested by my stomach;
though indeed, I wish it were as Philotheus says, for if by bad luck
I should happen to fall out of this world, I would always find other
lands.</span></i></span></span></span></span></span></p><div style="text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></span></div><p style="font-style: normal; font-weight: normal; margin-bottom: 0cm; text-align: justify; text-decoration: none;">
</p><div style="text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></span></div><p style="font-style: normal; font-weight: normal; margin-bottom: 0cm; text-align: justify; text-decoration: none;">
<span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;"><span>The
artist managed with his formal grammar to shake up the
proportionality between man and cosmos, to raise metaphysical
questions, to bring sensitive matter and intelligible matter
together, to present an infinity of star worlds as a consequence of
the axiom by which the divine essence is infinite in the magnetic
fields of his sacred atomic system.</span></span></span></span></p><div style="text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></span></div><p style="font-style: normal; font-weight: normal; margin-bottom: 0cm; text-align: justify; text-decoration: none;">
</p><div style="text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></span></div><p style="font-style: normal; font-weight: normal; margin-bottom: 0cm; text-align: justify; text-decoration: none;">
<span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;"><span>From
this perspective, his drawings bear witness to a living universe full
of infinite worlds, formulas, π, cubes and cabalistic symbols - a
work as meticulous as it is obsessive, voluminous, colourful and with
the smell of tobacco. </span></span></span></span>
</p><div style="text-align: justify;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;">
</span></span></span></div><p style="font-style: normal; font-weight: normal; margin-bottom: 0cm; text-align: justify; text-decoration: none;">
<span style="color: #444444;"><span style="font-size: small;"><span style="font-family: inherit;"><span>Antonia
Gaeta</span></span></span></span></p>
Delmes & Zanderhttp://www.blogger.com/profile/11292923378109779540noreply@blogger.com0tag:blogger.com,1999:blog-8713955014390328271.post-2091360250604516162021-05-27T14:52:00.001+02:002021-05-27T14:52:36.030+02:00To the End of the World and over the Edge – with Adolf Wölfli<p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNEigZCanSI_AreojaFdtf2yoaBQLfGPq4z85cY3llmfRTFVhPU0hEgxX-De7I6FwYtFsA_hAcrPHMZBB-Cbw7NXv6xg4lBbYGX8siynKSzJjpfgXOPRSsfVT8epIU7TJduNlsff7B4Jih/s724/Bildschirmfoto+2021-05-27+um+14.42.33.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="724" data-original-width="547" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNEigZCanSI_AreojaFdtf2yoaBQLfGPq4z85cY3llmfRTFVhPU0hEgxX-De7I6FwYtFsA_hAcrPHMZBB-Cbw7NXv6xg4lBbYGX8siynKSzJjpfgXOPRSsfVT8epIU7TJduNlsff7B4Jih/s320/Bildschirmfoto+2021-05-27+um+14.42.33.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Adolf Wöllfi, installation photo by Jann Averwerser 2021</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table></p><p style="text-align: center;"><a href="https://www.villastuck.de/ausstellungen/2021/ende/index.htm" target="_blank">To the End of the World and over the Edge – with Adolf Wölfli</a></p><p style="text-align: center;">at <a href="https://www.villastuck.de/" target="_blank">Villa Stuck</a>, Munich</p><p style="text-align: center;">on view until July 25th 2021 <br /></p><p style="text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;">« The exhibition “To the End of the World and over the Edge – with Adolf
Wölfli” touches
on issues of being human: creating worlds and salvation, vision and
utopia, abuse and reconciliation, meaning and madness. On more than
25,000 pages, the artist and world-creator Adolf Wölfli (1864–1930)
combines drawing, poetry and composition into an inspiring total work of
art. A selection of 70 works by Adolf Wölfli from the collection of the
Adolf Wölfli Foundation, Kunstmuseum Bern, along with 70 works by other
world creators, including Jean Arp, Joseph Beuys, William S. Burroughs,
VALIE EXPORT, Anselm Kiefer and Constance Schwartzlin-Berberat, are
presented on two floors of Franz von Stuck’s historical artist’s
residence. The artists whose works are juxtaposed with those of Wölfli
were selected based on their artistic approaches, all of which involve
transgressing boundaries. </span></span></p><p style="text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;">“To the End of the World and over the Edge – with Adolf Wölfli” is a
project combining exhibition, research and experiment. It aims to
inspire, enchant and unsettle. At the same time, a sociopolitical issue
underlies the project: it criticizes the concept of “outsider art.” To
this day, artists who, like Adolf Wölfli, lived in psychiatric
institutions are described as “outsiders” and their work as “outsider
art.” Adolf Wölfli was an artist and saw himself
as such. Art has the power to reconcile opposites and inspire
changes. It can transcend boundaries, enable self-knowledge and render
categorizations redundant. The current political debate about
“inclusion” and “integration” lacks a fundamental perspective: an
equity-based view of the other. “To the End of the World and over the
Edge – with Adolf Wölfli” conveys the power of art to touch people, to
overcome ingrained ways of thinking, and raises questions about freedom
and equality. There is no “outsider art.”<br />
There is only art!</span></span></p><span style="font-size: small;"><span style="font-family: inherit;">
</span></span><p style="text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;">All artists included in the exhibition transcend social, political
or personal boundaries.
They combine the seemingly contradictory and, in doing so, release
the power to overcome ingrained thought patterns. The experience of
ostracism, discrimination, oppression, illness and crime is the starting
point for productive boundary transgressions which manifest themselves
both in visionary forms and in very real ways that can be translated
into life in society.</span></span></p><span style="font-size: small;"><span style="font-family: inherit;">
</span></span><p style="text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;">In his artistic work, Adolf Wölfli translates his own biography,
which is closely
linked to the experience of poverty, exploitation and abuse of
others, into an
imaginary, glorious world creation – the “St. Adolf-Giant-Creation.”
The exhibition assembles works from all of Adolf Wölfli's creative
phases, from the first surviving drawings from 1904 to drawings and
collages from the “Funeral March” (1928–1930), Adolf Wölfli’s last,
unfinished work comprising more than 8,300 pages.</span></span></p><span style="font-size: small;"><span style="font-family: inherit;">
</span></span><p style="text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;">Among the boundary-crossing artists included in the exhibition is Joseph Beuys.
On view, along with others works by him, is the portfolio he submitted in application
for a professorship at the State Art Academy in Düsseldorf in 1962. As a professor,<br />
Joseph Beuys consistently championed opening up the academy. He
ignored admission restrictions and had around 400 students. Joseph Beuys
viewed the academy as a kind of “world model” – teaching at the academy
was an important part of his “expanded concept of art” and provided a
basis for “social sculpture.”</span></span></p><span style="font-size: small;"><span style="font-family: inherit;">
</span></span><p style="text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;">Equality for women in society has not been achieved to date. VALIE
EXPORT is a pioneer and icon of feminist art. The exhibition brings
together three large-format works from
the “Body Configurations” series she created between 1972 and 1976.
In these “body configurations” VALIE EXPORT relates her body to external
structures and, in doing so, conveys the tension between the individual
and built, urban reality. Social power structures are revealed.</span></span></p><span style="font-size: small;"><span style="font-family: inherit;">
</span></span><p style="text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;">The Museum Villa Stuck is building a dream machine especially for
the exhibition
“To the End of the World and over the Edge – with Adolf Wölfli.” The
“Dreamachine” was developed in the late 1950s by two beatniks, the
painter, poet and multi-media artist Brion Gysin and the mathematician
Ian Sommerville. The flicker effects of this dream machine can induce a
semi-hypnotic or trance-like state. The “Dreamachine” enables visitors
to experience a new state of consciousness. In conjunction with the
“Dreamachine,” rare works by Brion Gysin as well as works by his beatnik
friend William S. Burroughs are featured in the exhibition. <span>»</span></span></span></p><p style="text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;">The exhibition includes: Adolf Wölfli and the Ariana Painter, Jean Arp, Georg Baselitz, Joseph
Beuys, Ernst Bollin, Christian Boltanski, Bertolt Brecht, Udo Breger,
Oskar Büttikofer, William S. Burroughs, Henning Christiansen, Nezaket
Ekici, Erich Engel, VALIE EXPORT, Charles Gatewood, Fritz Getlinger,
Brion Gysin, Birgit Jürgenssen, Anselm Kiefer, Johann Lang, Meret
Matter, Constance Schwartzlin-Berberat, Ian Sommerville, Franz von
Stuck, Johannes Stüttgen, Karl Valentin.</span></span></p><p><span>Find out more about the exhibition here: <a href="https://www.villastuck.de/ausstellungen/2021/ende/index.htm">https://www.villastuck.de/ausstellungen/2021/ende/index.htm<br /></a></span></p>Delmes & Zanderhttp://www.blogger.com/profile/11292923378109779540noreply@blogger.com0tag:blogger.com,1999:blog-8713955014390328271.post-37185005780218654602021-05-27T14:42:00.000+02:002021-05-27T14:42:09.973+02:00Sammlung at MMK - Museum für Moderne Kunst<p style="text-align: center;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUtLkbROvPTMv7GFOJ39T7q-YE5CoKZmxMxJNZwegnPi8F6FsRuChqsWBVQpLxDBVKA39dnaTp73KLrsItw5vUzNry_0hJzdE8tiQ03lLk2QXEuGNdPg7cBVAaKAUC7pHcd2zScugtObSk/s1024/Ad_Po_Ad877.001.M.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="857" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUtLkbROvPTMv7GFOJ39T7q-YE5CoKZmxMxJNZwegnPi8F6FsRuChqsWBVQpLxDBVKA39dnaTp73KLrsItw5vUzNry_0hJzdE8tiQ03lLk2QXEuGNdPg7cBVAaKAUC7pHcd2zScugtObSk/s320/Ad_Po_Ad877.001.M.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Horst Ademeit, untitled, 13.01.1994, <span style="background-color: white;">mixed media on Polaroid, 9 x 11 cm</span></td></tr></tbody></table><p></p><p style="text-align: center;"><a href="https://www.mmk.art/en/whats-on/sammlung/" target="_blank">Sammlung</a> </p><p style="text-align: center;">at <a href="https://www.mmk.art/en/" target="_blank">MMK</a>, Frankfurt</p><p style="text-align: center;"><span style="font-family: inherit;"><span style="font-size: small;">on view until May 30th 2021 <br /></span></span></p><p style="text-align: justify;"><span style="font-family: inherit;"><span style="font-size: small;"><span>« </span>“But do you know what origin is?” Guy-Yanis asks his friend David in <em>Un film dramatique</em>
(2019) by Éric Baudelaire. The two school pupils and authors of the
film project vehemently discuss the definition of national affiliation,
identity, and racism, ultimately resorting to the article on “origine”
in Wikipedia. For his language piece <em>Good Boy Bad Boy </em>(1985),
Bruce Nauman filmed an actress and an actor synchronously speaking the
same one hundred simple sentences. With every repetition, they utter the
statements more and more forcefully until finally the speakers’
synchronicity as well as the relationship between truth, meaning, and
emotion are entirely out of joint. In <em>Borrowed Lady</em> (2016),
Martine Syms choreographs this normative communication space as a
kaleidoscope of specific, recognizable gestures and expressions of
African American women, some known from the media, others not. Hands,
facial play, and the choice and accentuation of the words together form a
political and cultural vocabulary with which Syms draws the viewers
into spatial discourse. And while the pieces by Horst Ademeit, Thomas
Ruff, and Jeff Wall meticulously examine identification and observation
as the foundations of surveillance, those by Marlene Dumas, Sammy
Baloji, Thomas Bayrle, and Tishan Hsu revolve around religion and
ritual, body technology, and gender.</span></span></p><div style="text-align: justify;"><span style="font-family: inherit;"><span style="font-size: small;">
The exhibition presents works from the MMK collection ranging in date
from the early 1960s to the present, including some of the museum’s
newest acquisitions.<span> »</span></span></span></div><div style="text-align: justify;"><span style="font-family: inherit;"><span style="font-size: small;"><span><br /></span></span></span></div><div style="text-align: justify;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="left: 557.48px; top: 27.7917px; transform: scaleX(1.02618);">With artists: </span></span></span>HORST ADEMEIT, 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, LAURIE PARSONS, GERHARD RICHTER, CAMERON ROWLAND, THOMAS RUFF,
DIRK SKREBER, STURTEVANT, MARTINE SYMS, ABISAG TÜLLMANN, CY TWOMBLY,
JEFF WALL, ANDY WARHOL.</div><div style="text-align: justify;"><br /><span></span></div><div style="text-align: justify;">Find out more about the exhibition here: <a href="https://www.mmk.art/en/whats-on/sammlung/" target="_blank">www.mmk.art/en/whats-on/sammlung/ </a><br /><span></span></div><div style="text-align: justify;"><span> </span></div>Delmes & Zanderhttp://www.blogger.com/profile/11292923378109779540noreply@blogger.com0tag:blogger.com,1999:blog-8713955014390328271.post-77883575196326826692021-04-29T17:00:00.001+02:002021-04-29T17:00:17.732+02:00The Holding Environment at Bonner Kunstverein <p style="text-align: center;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNYUe3cqXlBOfM-tjIxLqJIs57-DEqR5sOffrIYuoCSQ3NjQhoG-Q5SKMlFVzx7hBSN98Mx5AWxrh-vW3jXqg1GWRx7e2SXtWUOpfeTfvxhVrF7IXjdMW1OH4ZO3Y4P3lb6klr6y1Go-3O/s350/ME_P_009.002.S.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="268" data-original-width="350" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNYUe3cqXlBOfM-tjIxLqJIs57-DEqR5sOffrIYuoCSQ3NjQhoG-Q5SKMlFVzx7hBSN98Mx5AWxrh-vW3jXqg1GWRx7e2SXtWUOpfeTfvxhVrF7IXjdMW1OH4ZO3Y4P3lb6klr6y1Go-3O/w343-h263/ME_P_009.002.S.jpg" width="343" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Martin Erhard, <i>Grossblätter für Bogen No. 12 Schleswig = Holstein / Dänemark (Insel Sylt)</i>, 1950-1970, 21 x 16 cm, mixed media on paper<br /></td></tr></tbody></table><div style="text-align: center;"> <a href="https://www.bonner-kunstverein.de/en/exhibition-category/current/" target="_blank">THE HOLDING ENVIRONMENT </a></div><p style="text-align: center;"></p><p style="text-align: center;">at <a href="https://www.bonner-kunstverein.de/" target="_blank">Bonner Kunstverein </a></p><p style="text-align: center;">momentarily closed due to COVID-19</p><p style="text-align: justify;">"The notion of the holding environment – the slippage between
care, dependence, holding and that which fails to hold adequately –
loops back in the show in newly conceived and existing works.</p>
<p class="Default" style="text-align: justify;"><span lang="EN-US">The exhibition and its associated
events consider care in ways that encompass both its inherent tenderness
and something infantilising, sinister or perverse that lies beyond the
point where the authenticity of the care becomes unstable</span><span lang="EN-US">.
Realised and developed during a pandemic that has intensified tensions
of interpersonal dependency and structural fragility, the show speaks of
both the urgency and the necessity of care, and of the slippery nature
of good intentions in the age of mass individualism. </span></p>
<p class="Default" style="text-align: justify;"><span lang="EN-US">Formally, this is a show in which
containers and thresholds – both actual and metaphoric – are integral to
how the space is structured, to how it holds and behaves. That is, the
exhibition is understood as having the capacity to embody and relate
contradictions that structure psychological and institutional space</span><span lang="EN-US">. The oscillation between the holding environment treated as both physical space and<i> </i>metaphor was proposed by the psychoanalyst and paediatrician Donald Winnicott in works such as <i>Holding and Interpretation </i>(1986).
His writings proceed from the figure of the child, not just as a
little person under the tutelage of adults, but also as the submerged
one, who is without power and must, by necessity, to negotiate states of
dependency. Within Winnicott’s work, the child and the act of holding
become a way of understanding a minor politics – a relation to be
thought of across scales, from an intimate space to a structural and
institutional consideration of dependency. Such a shift between the
mundane and the structural carries the risk of losing sight of
difference, nuance and attention, one reason why doubt and ambivalence
coupled with commitment and empathy are all the more important to the
notion of the holding environment. This is a show that aims to stay put
in that space, engaging with the pitfalls of a corrupted notion of care,
but also with paths for rehabilitation, restoration and restitution,
negotiated through a non-selfish spirit of holding.</span></p>
<p class="Default" style="text-align: justify;"><i><span lang="EN-US">The Holding Environment </span></i><span lang="EN-US">is accompanied by a series of events, including a specifically conceived performance and composition by musician <i>Sarah Davachi</i>; <i>Divine Drudgery</i>, a publication edited with <i>James Richards</i> and <i>Leslie Thornton</i>, with contributions and work by </span><i><span lang="ES-TRAD">Horst Ademeit</span></i><span lang="EN-US">, </span><i><span lang="PT">Rae Armantrout</span></i><span lang="EN-US">, <i>Tolia Astakhishvili</i>, <i>Ed Atkins</i>, </span><i><span lang="DA">Kirsty Bell</span></i><span lang="EN-US">, </span><i><span lang="NL">Adelhyd van Bender</span></i><span lang="EN-US">, </span><i><span lang="FR">Bruce Conner</span></i><span lang="EN-US">, <i>Fatima Hellberg</i>, <i>Mason Leaver-Yap</i>, </span><i><span lang="NL">Veit Loers</span></i><span lang="EN-US">, <i>Terence McCormack</i>, <i>James Richards</i> and <i>Leslie Thornton</i>; and talks and events with the writer and poet <i>Fanny Howe </i>the</span><span lang="EN-US"> and filmmaker, artist and activist <i>Gregg Bordowitz</i>, amongst others. "</span></p><p class="Default" style="text-align: justify;"><span lang="EN-US">curated by Fatima Hellberg</span></p><p class="Default" style="text-align: left;"><span lang="EN-US">Find out more about the exbition, that will hopefully reopen soon, here: <a href="https://www.bonner-kunstverein.de/en/exhibition-category/current/" target="_blank">https://www.bonner-kunstverein.de/en/exhibition-category/current/</a></span></p>Delmes & Zanderhttp://www.blogger.com/profile/11292923378109779540noreply@blogger.com0tag:blogger.com,1999:blog-8713955014390328271.post-14587488080664274782021-04-29T16:23:00.000+02:002021-04-29T16:23:11.397+02:00Article on Alexandru Chira in BLAU International Magazine Issue No. 4 <p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidlPzGKaRP3Zb0pq09UD2TrjxoZHRlzrUB5Cez2-ZJBCjK-0S1w6nKkQcuoxbgl6OYPsQgDiHvv5UTWADbbSowcPh7mou9XFqYSDhcW1KPfPjWjk_wPrIWkFmhSfj2Wqr48uvawMed47Xw/s640/IMG_5170.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="447" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidlPzGKaRP3Zb0pq09UD2TrjxoZHRlzrUB5Cez2-ZJBCjK-0S1w6nKkQcuoxbgl6OYPsQgDiHvv5UTWADbbSowcPh7mou9XFqYSDhcW1KPfPjWjk_wPrIWkFmhSfj2Wqr48uvawMed47Xw/s320/IMG_5170.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZeuh3405kCtoh_GNNwnhqDI0Fc65wOW1orr8AT88LxFkYRkNrtjNdqUw2p88YRHBW-Hmw4YX6mAf84OqPGT3XCNG0ALEAblE6Ysj4d5KS3gfMinmI7VzpFP8eVgvlQfvZKXzvWWrd-n8j/s640/IMG_5171.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="426" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZeuh3405kCtoh_GNNwnhqDI0Fc65wOW1orr8AT88LxFkYRkNrtjNdqUw2p88YRHBW-Hmw4YX6mAf84OqPGT3XCNG0ALEAblE6Ysj4d5KS3gfMinmI7VzpFP8eVgvlQfvZKXzvWWrd-n8j/s320/IMG_5171.jpg" width="320" /></a> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3Kpe1URdnH-Pcz9bQLInBsSY9RLZ7XcZTYwyzsyR5l80p7m1hhWWLV41YdIjtg0r7efrh491pOTvI7h_yC94kWCpMvVeLuIYkkHtGR67ujwYJCMslpBL6IlyT84Zl0DGtkcsaJtBWul4p/s640/IMG_5176.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="416" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3Kpe1URdnH-Pcz9bQLInBsSY9RLZ7XcZTYwyzsyR5l80p7m1hhWWLV41YdIjtg0r7efrh491pOTvI7h_yC94kWCpMvVeLuIYkkHtGR67ujwYJCMslpBL6IlyT84Zl0DGtkcsaJtBWul4p/s320/IMG_5176.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgHcCv2yLx9WVOPtzuXTgSS5rW7g6b8bsxRfKATHfeyeqg2rrgNmmhwr6ib3czy3kA1KLHaqthD0H5ml106eRPzPvOQvd16UY_xEwPEVavrWyQurhcq1HR2xlc_UIvDAa1wn5IYnTzDEP7/s640/IMG_5175.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="418" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgHcCv2yLx9WVOPtzuXTgSS5rW7g6b8bsxRfKATHfeyeqg2rrgNmmhwr6ib3czy3kA1KLHaqthD0H5ml106eRPzPvOQvd16UY_xEwPEVavrWyQurhcq1HR2xlc_UIvDAa1wn5IYnTzDEP7/s320/IMG_5175.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMlV2tHQUDROM2yDS1XuJzSACe8VJzxgQDMgqxISvHlfcVzJDI6QA9nOmsVt1YauxFubKVZOdtp5LSNgKUJoe_dDPRQQ2Id1Bck9xFS0FUe6VRYWZXpADqIcta-Ya6cl6GfCL1o7GreYex/s640/IMG_5174.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="433" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMlV2tHQUDROM2yDS1XuJzSACe8VJzxgQDMgqxISvHlfcVzJDI6QA9nOmsVt1YauxFubKVZOdtp5LSNgKUJoe_dDPRQQ2Id1Bck9xFS0FUe6VRYWZXpADqIcta-Ya6cl6GfCL1o7GreYex/s320/IMG_5174.jpg" width="320" /></a></div><br /></div><div class="separator" style="clear: both; text-align: center;"> </div><div class="separator" style="clear: both; text-align: justify;">In the newest issue of <a href="https://www.blau-international.com/" target="_blank">BLAU INTERNATIONAL</a>
magazine you can find a five page article on the romanian artist Alexandru Chira,
written by Gesine Borcherdt. The new issue is now availble for <a href="https://www.blau-international.com/store/p/blau4-deanalawson" target="_blank">purchase</a>! <br /></div><div class="separator" style="clear: both; text-align: justify;"> </div><div class="separator" style="clear: both; text-align: justify;">«In this issue, Georg Baselitz, at 83, will surprise or even shock in the
most in-depth magazine interview of his laborious career. Plus, Deana
Lawson talks in rare detail about her miraculous work, saying, “We all
have this amazing potential power, the ability to occupy different
dimensions of reality at once.”»</div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: justify;">Find out more about the issue No. 4 here: <a href="https://www.blau-international.com/" target="_blank">www.blau-international.com </a><br /></div><p></p>Delmes & Zanderhttp://www.blogger.com/profile/11292923378109779540noreply@blogger.com0tag:blogger.com,1999:blog-8713955014390328271.post-581364203457695902021-04-14T13:37:00.003+02:002021-04-14T13:40:23.162+02:00HORST ADEMEIT in « Paranoia und technisches Bild » by Elena Meilicke<br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWm9H1I5bmpFRyxy8U6CxM1zFhQiBzWyWJkCadGZ76j-FJbQLu60SPo3fsg1jHsLbQEvX8gSZsJxuGlZu8YNyRhRk4ZL0CRl4o8DrMRJkp6GDuL_m6sjjFyiptRoNlxDrsom__8Bb5Z30b/s1200/Paranoia-und-technisches-Bild.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="813" height="332" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWm9H1I5bmpFRyxy8U6CxM1zFhQiBzWyWJkCadGZ76j-FJbQLu60SPo3fsg1jHsLbQEvX8gSZsJxuGlZu8YNyRhRk4ZL0CRl4o8DrMRJkp6GDuL_m6sjjFyiptRoNlxDrsom__8Bb5Z30b/w225-h332/Paranoia-und-technisches-Bild.jpg" width="225" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Elena Meilicke, Paranoia und technisches Bild Fallstudiem zu einer Medienpathologie, <br />De Gruyter, 2021 <br /><div class="doi metadataInfoFont"><span class="text-muted">DOI: </span><a href="https://doi.org/10.1515/9783110650372" target="_blank">https://doi.org/10.1515/9783110650372</a></div></td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjegkbLPmFjn9dY-DGdnIBXCT470IKEACtxUq3uI8IHliOUO7cXMQ8YpTtDTRnFSWlPruWV1dnwNYxEpZjPcJOyhwGFjEer3ptpnGJ1GI95ThhsEKXVFuBar0qLpq0gEK-rA6xOIWJnU0_D/s345/Ad3316.tif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="345" data-original-width="290" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjegkbLPmFjn9dY-DGdnIBXCT470IKEACtxUq3uI8IHliOUO7cXMQ8YpTtDTRnFSWlPruWV1dnwNYxEpZjPcJOyhwGFjEer3ptpnGJ1GI95ThhsEKXVFuBar0qLpq0gEK-rA6xOIWJnU0_D/w277-h328/Ad3316.tif" width="277" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Horst Ademeit, untitled, 1990, mixed media on polaroid, 9 x 11 cm <br /></td></tr></tbody></table><p style="text-align: justify;">"In its beginnings around 1980, media archaeology is characterized by a peculiar proximity to the paranoid delusion. Friedrich Kittler conceives of paranoia as a media pathology and develops - keyword "writing down systems" - media archaeological concepts and questions on the basis of paranoid texts. Taking up this complicity between media thinking and paranoia, Elena Meilicke examines conspiracy narratives in terms of their treatment of technical images and asks to what extent an implicit knowledge of photographic image media, their paranoic constitution and paranoizing effects appears in them. In two exemplary case studies on the Imperjalja fragment by the German writer Oskar Panizza (1853-1921) and on the work of the Düsseldorf Polaroid photographer Horst Ademeit (1937-2010), and with recourse to Lacan's theory of the gaze and the image, Meilicke sketches the contours of a specifically paranoid media knowledge. The images of paranoid investigation related to the world and reality turn out, moreover, to be technical artifacts that are at the same time aesthetic, epistemic, and political things - varieties of a paranoid analytic of power that takes a look at infrastructures of the political."</p><p style="text-align: justify;">The author Elena Meilicke works at the <i>Institut für Theorie und Praxis der Kommunikation</i> at the Universität der Künste in Berlin. </p><p style="text-align: left;">Click here to get an insight to the publication: <a href="https://www.degruyter.com/document/doi/10.1515/9783110650372/html" target="_blank">www.degruyter.com/document/doi/10.1515/9783110650372/html</a></p>Delmes & Zanderhttp://www.blogger.com/profile/11292923378109779540noreply@blogger.com0tag:blogger.com,1999:blog-8713955014390328271.post-50346305161286834312021-03-25T17:51:00.005+01:002021-03-31T16:24:24.165+02:00I‘VE SEEN THINGS YOU PEOPLE WOULDN‘T BELIEVE <div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><span style="font-family: inherit;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dyK3gmRNvEdEB50EaRab6GpS26vE3AjJnDaXUqBrsIUdApqLHmqXQftMP1cnBVH6Me2fP7m477g9EjiUfZurg' class='b-hbp-video b-uploaded' frameborder='0'></iframe> </span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><span style="font-family: inherit;">Installation at Delmes & Zander, Cologne / Video by Johannes Post </span></span></div><div class="separator" style="clear: both; text-align: center;"><h2><span style="font-size: small;"><span style="font-family: inherit;"> <span style="font-size: x-large;"><br /></span></span></span></h2></div><div style="text-align: center;"><span style="font-size: x-large;"><b><span><span style="font-family: inherit;"><span title="Bearbeitet">I‘VE SEEN THINGS YOU PEOPLE WOULDN‘T BELIEVE </span></span></span></b></span></div><div style="text-align: center;"><span style="font-size: x-large;"><b><span><span style="font-family: inherit;"><span title="Bearbeitet"><br /></span></span></span></b></span></div><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span title="Bearbeitet">Alexandru Chira, Albert Leo Peil, George Widener </span></span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span title="Bearbeitet">(March to April 2021) <br /></span></span></span></p><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;"><span>
</span><span>
</span></span></span></div>Delmes & Zanderhttp://www.blogger.com/profile/11292923378109779540noreply@blogger.com0tag:blogger.com,1999:blog-8713955014390328271.post-75781129228979819442021-03-25T16:49:00.008+01:002021-03-25T17:00:14.268+01:00RALFS FARBEN_HÜLLENWERK by Lukas Marxt on view at the Videonale in Bonn<p style="text-align: left;"><span style="font-family: inherit;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihAcBDZZNUSsoSYt2gO_0gHOEHzFcr9yBK4Z2NYZYIiqDmXatRghwZyFNxvYpDDksYfJKtEtgN40M6bRaCjr9cDSYMJkoqcK295RVgd7lQeKKwACqgpDdt4y4WM7dLM-kbhUO23Rwg1-CA/s1292/Bildschirmfoto+2021-03-25+um+16.35.03.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="717" data-original-width="1292" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihAcBDZZNUSsoSYt2gO_0gHOEHzFcr9yBK4Z2NYZYIiqDmXatRghwZyFNxvYpDDksYfJKtEtgN40M6bRaCjr9cDSYMJkoqcK295RVgd7lQeKKwACqgpDdt4y4WM7dLM-kbhUO23Rwg1-CA/w443-h246/Bildschirmfoto+2021-03-25+um+16.35.03.png" width="443" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Installation View of Ralfs Farben_Hüllenwerk (<span>46:52 min | 3-channel video <br />installation, mummified dog, helmet, Ytong blocks, tiles, linoleum | 2021) </span></td></tr></tbody></table><span style="font-family: inherit;"><span style="font-size: small;"></span></span><p></p><div style="text-align: center;"><p><b><span style="font-family: inherit;"><span style="font-size: small;">Ralfs Farben_Hüllenwerk </span></span></b></p></div><div style="text-align: center;"><p><span style="font-family: inherit;"><span style="font-size: small;">on view at <a href="https://verein.videonale.org/" rel="" target="_blank">Videonale</a> in Bonn</span></span></p></div><div style="text-align: center;"><p><span style="font-family: inherit;"><span style="font-size: small;">from 4.03 until 18.04, 2021 </span></span></p></div><div class="_3Mgpu" id="Containerc10fk" style="text-align: justify;"><div data-mesh-id="Containerc10fkinlineContent" data-testid="inline-content"><div data-mesh-id="Containerc10fkinlineContent-gridContainer" data-testid="mesh-container-content"><div class="_1Z_nJ animating-screenIn-exit" data-angle-style-location="style" data-angle="0" data-testid="richTextElement" id="WRchTxt3" style="visibility: inherit;"><p class="font_8"><span style="font-family: inherit;"><span style="font-size: small;"><span><span class="color_12">"Ralfs
Farben_Hüllenwerk is an immersive multimedia installation by Lukas
Marxt and Michael Petri based on the film Ralfs Farben (Ralf's Colors,
2019) by Lukas Marxt. The staging in the exhibition includes objects and
digital collages by the protagonist Ralf Lüddemann.</span></span></span></span></p><p class="font_8"><span style="font-family: inherit;"><span style="font-size: small;"><span><span class="color_12"><br />
For the 75-minute avant-garde documentary film Ralfs Farben, Marxt
worked over a period of five years with Ralf, who is suffering from
schizophrenia and lives as a hermit on Lanzarote. The barren dwelling of
the mid-fifties man, a former flight instructor, is located near a dam
in inhospitable surroundings. Marxt got to know Ralf in 2012, when the
filmmaker wanted to face a four-week attempt at isolation on Lanzarote;
after a week, he met Ralf, and from then on the fascination for his
thought cosmos determined his own work. In the course of the filming in
2017, Michael Petri joined the team as an artistic ›collaborator‹, who
also brought a creative counterweight to the constellation of
Marxt/Ralf. The content level of the film is dominated by Ralf's
statements as voice over and sometimes as text insertions on the film
images. The combination of the unfiltered monologues shaped by Ralf's
thought constructs with long, aestheticizing long shots creates unusual
visual and linguistic poetry and raises both the protagonist's
statements and the filmed motifs to a fascinating new level. On a
further level, digital collages created by Ralf Lüddemann with MS Paint,
so-called ›Tagesschlüssel‹ (Day Keys), and the sound design, a collage
of wind noise, electronic score by Marcus Zilz and flute playing, are
incorporated. The landscape of the island serves as a counterpart and
co-player. Marxt shows, as often in his works, man-made, brute force
interventions in nature: in this tableau of wasteland life moves,
captured in mesmerizing cinematography. Marxt describes the cinematic
procedure: »[...] Ralf thinks in loops, cycles, and ellipses. The
disillusionment of the narrative and the destruction of the space-time
continuum found their way into the cinematic structure as an expression
of what it might feel like when thoughts do not stop and one is isolated
in them.«1 The result is undogmatic, it is proliferating, authentic,
and always on a respectful eye level with its protagonist – an
enchanting experience that is unparalleled in intensity and honesty. </span></span></span></span></p><p>
</p><p class="font_8"><span style="font-family: inherit;"><span style="font-size: small;"><span><span class="color_12">- Elke Kania"</span></span></span></span></p><p class="font_8"><span style="font-family: inherit;"><span style="font-size: small;"><span><span class="color_12">Find the whole video here: <a href="https://vimeo.com/marxt" target="_blank">https://vimeo.com/marxt </a><br /></span></span></span></span></p><p class="font_8" style="text-align: left;"><span style="font-family: inherit;"><span style="font-size: small;"><span><span class="color_12">Find further information about <i>Ralfs Farben</i> here: <a href="https://www.ralfsfarben.com/" target="_blank">https://www.ralfsfarben.com/ </a><br /></span></span></span></span></p></div></div></div></div>Delmes & Zanderhttp://www.blogger.com/profile/11292923378109779540noreply@blogger.com0tag:blogger.com,1999:blog-8713955014390328271.post-67165076578440940142021-03-04T14:30:00.001+01:002021-03-04T14:30:06.056+01:00Delmes & Zander at FIAC Online Viewing Rooms 2021<p style="text-align: justify;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><span style="color: #666666;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCb56rzuN4qsRoJ77u54QAPfJVMgIR0kf_ACy1XPvq5qfCcRFTsRELR0Ju5wNIbVk0kcGw_E8YWGouspDkYl1jz5L2VJNCJxUJDr6J2Q99lGic7J_YZ7u21bAv5g9HymDJLJPklmYGAvLD/s2048/ALP_0048.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1537" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCb56rzuN4qsRoJ77u54QAPfJVMgIR0kf_ACy1XPvq5qfCcRFTsRELR0Ju5wNIbVk0kcGw_E8YWGouspDkYl1jz5L2VJNCJxUJDr6J2Q99lGic7J_YZ7u21bAv5g9HymDJLJPklmYGAvLD/w251-h334/ALP_0048.jpg" width="251" /></a></span></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #666666;">Albert Leo Peil, La Diva de cinematique Marlene Dietrich, 1990, 32 x 24 cm, <br />ink on paper <br /></span></td></tr></tbody></table><br /><span style="color: #666666;"></span><span style="color: #666666;"><span style="font-family: inherit;"><span style="font-size: small;">Delmes & Zander is delighted to praticipate at the <a href="https://fiac.viewingrooms.com/home/" rel="nofollow">FIAC Online Viewing Rooms</a> 2021, with works by </span></span></span><span style="color: #666666;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="color: #666666;"><span style="font-family: inherit;"><span style="font-size: small;">Albert Leo Peil, </span></span></span>George Widener and Alexandru Chira. The Viewing Rooms are taking place online from March 4th-7th.<br /></span></span></span></p><p style="text-align: justify;"><span style="color: #666666;"><span style="font-family: inherit;"><span style="font-size: small;"> </span></span></span></p><p style="text-align: justify;">
</p><p style="font-style: normal; font-weight: normal; margin-bottom: 0cm; text-align: justify;">
<span style="color: #666666;"><span style="font-family: inherit;"><span style="font-size: small;">About <i>Albert Leo Peil </i></span></span></span></p><div style="text-align: justify;"><span style="color: #666666;"><span style="font-family: inherit;"><span style="font-size: small;">
</span></span><span style="font-family: inherit;"><span style="font-size: small;">
</span></span></span></div><p style="font-style: normal; font-weight: normal; margin-bottom: 0cm; text-align: justify;">
<span style="color: #666666;"><span style="font-family: inherit;"><span style="font-size: small;">Only
recently Delmes & Zander received the comprehensive oeuvre of
Albert Leo Peil, which has not been exhibited or published before.
Peil’s drawings are reminiscent of medieval works with religious
themes, at the same time they are covering topics such as space,
eroticism or fashion always in his very own, unique style.</span></span></span></p><div style="text-align: justify;"><span style="color: #666666;"><span style="font-family: inherit;"><span style="font-size: small;">
</span></span></span></div><p style="font-style: normal; font-weight: normal; margin-bottom: 0.04cm; text-align: justify;">
<span style="color: #666666;"><span style="font-family: inherit;"><span style="font-size: small;">Peil was
born in 1946 in Berlin. He moved to Nuremberg where he studied two
semesters at the Art Academy in the end of the 60s. Albert Leo Peil
passed away in 2019.</span></span></span></p><p style="font-style: normal; font-weight: normal; margin-bottom: 0.04cm; text-align: justify;"><span style="color: #666666;"><span style="font-family: inherit;"><span style="font-size: small;"> </span></span></span></p><div style="text-align: justify;"><span style="color: #666666;"><span style="font-family: inherit;"><span style="font-size: small;">
</span></span></span></div><p style="font-style: normal; font-weight: normal; margin-bottom: 0.04cm; text-align: justify;">
<span style="color: #666666;"><span style="font-family: inherit;"><span style="font-size: small;">About <i>George Widener</i><br /></span></span></span></p><div style="text-align: justify;"><span style="color: #666666;"><span style="font-family: inherit;"><span style="font-size: small;">
</span></span><span style="font-family: inherit;"><span style="font-size: small;">
</span></span></span></div><p style="font-style: normal; font-weight: normal; margin-bottom: 0cm; text-align: justify;">
<span style="color: #666666;"><span style="font-family: inherit;"><span style="font-size: small;">George
Widener was born in 1962 in Covington, Kentucky. In his early years,
he developed a passion for mathematical computation and all manner of
statistics and data, especially calendars. It was his obsessive habit
to translate every number that he encountered into a calendar date.
Some years later, George Widener, seen as a savant with an
extraordinary aptitude for numbers, was diagnosed with the Asperger
Syndrome. Later, Widener began to intentionally transform his
fascination with numbers to which a collection of calendars,
punctilious lists and drawings attest, into artistic works containing
complex calendars, palindromes, historical landscapes, and
translations of eastern calligraphic scrolls. Since 2000, he has
focused particularly on large-format, highly complex drawings in
which various aspects of cartography, mathematics, and numerology can
be found.</span></span></span></p><div style="text-align: justify;"><span style="color: #666666;"><span style="font-family: inherit;"><span style="font-size: small;">
</span></span></span></div><p style="font-style: normal; font-weight: normal; margin-bottom: 0cm; text-align: justify;">
<span style="color: #666666;"><span style="font-family: inherit;"><span style="font-size: small;">George
Widener has been shown solo at at the Hamburger Bahnhof (Berlin,
2013) and in groupshows at the Schirn Kunsthalle (Frankfurt, 2010),
the Hayward Gallery (London, 2013), the Palais de Tokyo (Paris, 2015)
and the Kunsthal Rotterdam (2016).</span></span></span></p><p style="text-align: justify;"><span style="color: #666666;"><span style="font-family: inherit;"><span style="font-size: small;"> </span></span><span style="font-family: inherit;"><span style="font-size: small;">
</span></span></span></p><p style="font-style: normal; font-weight: normal; margin-bottom: 0cm; text-align: justify;">
<span style="color: #666666;"><span style="font-family: inherit;"><span style="font-size: small;">About <i>Alexandru Chira</i><br /></span></span></span></p><div style="text-align: justify;"><span style="color: #666666;"><span style="font-family: inherit;"><span style="font-size: small;">
</span></span><span style="font-family: inherit;"><span style="font-size: small;">
</span></span></span></div><p style="font-style: normal; font-weight: normal; margin-bottom: 0cm; text-align: justify;">
<span style="color: #666666;"><span style="font-family: inherit;"><span style="font-size: small;">Alexandru Chira was born in 1947
in Tauseni, Romania. When his home village Tauseni suffered of
yearlong drought during the 1990s Chira started to elaborate a
sophisticated land-and-weather improving art equipment, a series of
symbolic installations of painted metal, wire and concrete for the
invocation of the rain and rainbow. The ensemble 'De-signs towards
the sky for the rain and the rainbow' (1994 – 2004) is located on a
hill in the middle of the village – a village surrounded by other
hills – and is divided into 18 sub-ensembles. Most of his works,
either those on canvas or the drawings and objects are inspiring
sketches or derivative works related to the monument.</span></span></span></p><div style="text-align: justify;"><span style="color: #666666;"><span style="font-family: inherit;"><span style="font-size: small;">
</span></span></span></div><p style="font-style: normal; font-weight: normal; margin-bottom: 0cm; text-align: justify;">
<span style="color: #666666;"><span style="font-family: inherit;"><span style="font-size: small;">Chira was awarded the PhD in
Visual Arts in 2006 for the work ‘On the Project and Utopia in Art
– Self-Poetic Approach' and became professor of the Painting
Department of the Faculty of Fine Arts at the Bucharest National
University of Arts in 2009. Alexandru Chira passed away in 2011.</span></span></span></p><div style="text-align: justify;"><span style="color: #666666;"><span style="font-family: inherit;"><span style="font-size: small;">
</span></span><span style="font-family: inherit;"><span style="font-size: small;">
</span></span></span></div><p style="font-style: normal; font-weight: normal; margin-bottom: 0cm; text-align: justify;">
<span style="color: #666666;"><span style="font-family: inherit;"><span style="font-size: small;">Chira's works have been presented
in the context of various exhibitions, including Lisbon Architecture
Triennale, Palácio Sinel de Cordes, Lisbon; The Sao Paolo Biennial
Art Exhibition, Sao Paolo; The Visual Arts Museum, Galaţi; and The
National Museum of Contemporary Art (MNAC), Bucharest, which
presented a Retrospective of the artist in 2015. Since the end of
2017 Delmes & Zander exclusively represent the work of Alexandru
Chira. </span></span></span></p><div style="text-align: justify;"><span style="color: #666666;"><span style="font-family: inherit;"><span style="font-size: small;">
</span></span></span></div><div style="text-align: justify;"><span style="color: #666666;">
</span></div><p style="text-align: justify;"><style type="text/css"><span style="color: rgb(102, 102, 102);">P { margin-bottom: 0.21cm; </span></style></p>Delmes & Zanderhttp://www.blogger.com/profile/11292923378109779540noreply@blogger.com0tag:blogger.com,1999:blog-8713955014390328271.post-7443569969365183132021-02-25T16:45:00.002+01:002021-02-25T16:46:49.612+01:00FIAC Online Viewing Rooms 2021<p style="text-align: left;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dwSoxJuIn31WhQMzXjqqZAL4yvYfhZ0I-jFMZztFNrknJwNblTXCrEEMEHKNPOIDC4qUGv9vKob_Y2HZXQDeA' class='b-hbp-video b-uploaded' frameborder='0'></iframe> </div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;">Courtesy: FIAC 2021 </span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><br /></span></div><div style="text-align: justify;"><p><span style="font-size: small;"><span style="font-family: inherit;">The <a href="https://www.fiac.com/fr-fr.html" target="_blank">FIAC Art Fair </a>is taking place on an online platform this year. The <a href="https://fiac.viewingrooms.com/" target="_blank">Online Viewing Rooms</a> bring together 200 galleries from all around the world and will be accessible from <b>March 4th-7th </b>2021. </span></span></p></div><div style="text-align: justify;"><p><span style="font-size: small;"><span style="font-family: inherit;">Delmes & Zander is very pleased to announce our participation.</span></span></p></div><div style="text-align: justify;"><p><span style="font-size: small;"><span style="font-family: inherit;">You can find the Exhition List here: <a href="https://fiac.viewingrooms.com/" target="_blank">https://fiac.viewingrooms.com/ </a><br /></span></span></p></div><p style="text-align: left;">
</p>Delmes & Zanderhttp://www.blogger.com/profile/11292923378109779540noreply@blogger.com0tag:blogger.com,1999:blog-8713955014390328271.post-20605543605056733542021-02-18T15:39:00.004+01:002021-02-25T16:45:48.406+01:00PHOTO BRUT at The American Folk Art Museum <p style="text-align: left;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsEl4LrJY8x5HwuA_S8-TJslKnUfb7K7ZZ7cmQr7kg0XevMVmqY12A1sPHUGW035LnuSJ7e59HAjnyO8g1zX9HYq93ZAiAKifZtkQaK48XNTOZ5YOdbJRN2C1yUKnpb2LJJ4FqsPHYzeQ4/" style="margin-left: auto; margin-right: auto;"><span style="background-color: white; color: black;"><img alt="" data-original-height="1298" data-original-width="1097" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsEl4LrJY8x5HwuA_S8-TJslKnUfb7K7ZZ7cmQr7kg0XevMVmqY12A1sPHUGW035LnuSJ7e59HAjnyO8g1zX9HYq93ZAiAKifZtkQaK48XNTOZ5YOdbJRN2C1yUKnpb2LJJ4FqsPHYzeQ4/w277-h328/Ad_Po_Ad4800.001.O.jpg" width="277" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white;">Horst Ademeit, <i>4093</i>, mixed media on Polaroid, 9 x 11 cm</span></td></tr></tbody></table><span style="background-color: white;"></span><p></p><div style="text-align: center;"><a href="https://folkartmuseum.org/exhibitions/photo-brut/" target="_blank">PHOTO BRUT </a></div><p></p><p style="text-align: center;"><span style="background-color: white;">at <a href="https://folkartmuseum.org/" target="_blank">The American Folk Art Museum </a></span></p><p style="text-align: left;"></p><div style="text-align: center;"><span style="background-color: white;">on view from January 24 - June 6, 2021 </span></div><div style="border: 0px; box-sizing: border-box; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; letter-spacing: 0.025em; line-height: 1.9em; margin: 1.5em 0px 0px; padding: 0px 0px 0.5em; text-align: justify; vertical-align: baseline;"><span style="background-color: white;"><span style="font-family: inherit;"><span style="letter-spacing: 0.025em;">The exhibition</span><span style="letter-spacing: 0.025em;"> </span><em style="border: 0px; box-sizing: border-box; font-stretch: inherit; font-variant: inherit; font-weight: inherit; letter-spacing: 0.025em; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">PHOTO | BRUT</em><span style="letter-spacing: 0.025em;"> </span><span style="letter-spacing: 0.025em;">is a continuation of the American Folk Art Museum’s commitment to champion the works of self-taught artists—this time with a focus on the ever-changing field of photography, the frontiers and accessibility of which expanded proportionally with the invention of portable and affordable cameras. It welcomes the substantial art brut photography collection of French filmmaker Bruno Decharme and speaks to Decharme’s subjective collecting activity that brought him—without the parameters of a historical framework—from one discovery to another. The exhibition is complemented by the museum’s holdings, as well as by artworks treasured by American collectors and public organizations.</span></span></span></div><div style="border: 0px; box-sizing: border-box; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; letter-spacing: 0.025em; line-height: 1.9em; margin: 1.5em 0px 0px; padding: 0px 0px 0.5em; text-align: justify; vertical-align: baseline;"><span style="background-color: white; font-family: inherit;">To expose relationships between these various, inimitable artistic postures, <em style="border: 0px; box-sizing: border-box; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">PHOTO | BRUT</em> is organized in four loose yet interconnected sections, probing themes of gender expansiveness, intimacy, image appropriation, and conjuring practices that seek connections to the imperceptible.</span></div><div style="border: 0px; box-sizing: border-box; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: 1.9em; margin: 1.5em 0px 0px; padding: 0px 0px 0.5em; text-align: left; vertical-align: baseline;"><div style="text-align: justify;"><span style="background-color: white; font-family: inherit; letter-spacing: 0.025em;">With works by Horst Ademeit, Steve Ashby, Morton Bartlett, Marcel Bascoulard, John Brill, Felipe Jesus Consalvos, Jesuys Crystiano, Henry Darger, John Devlin, Pepe Gaitán, Pietro Ghizzardi, Lee Godie, Yohann Goetzmann, Kazuo Handa, Marian Henel, Mark Hogancamp, Paul Humphrey, Zdeněk Košek, Alexander Lobanov, Tomasz Machciński, Albert Moser, Norma Oliver, Luboš Plný, Ilmari Salminen, Valentin Simankov, Ichiwo Sugino, Leopold Strobl, Elke Tangeten, Dominique Théate, Miroslav Tichý, Type 42, Zorro, Elisabeth Van Vyve, Eugene Von Bruenchenhein, August Walla, Frédéric, spirit photographers, UFOs and aliens unidentified photographers, and 19th and 20th Century unidentified artists.</span></div><div style="text-align: justify;"><span style="background-color: white; font-family: inherit; letter-spacing: 0.025em;"><br /></span></div><span style="background-color: white; font-family: inherit;"><div style="letter-spacing: 0.025em; text-align: justify;"><span style="letter-spacing: 0.025em;">Curators: Valérie Rousseau, PhD, Senior Curator, and Bruno Decharme in collaboration with Barbara Safarova, Sam Stourdzé, and Paula Aisemberg.</span></div><div style="letter-spacing: 0.025em; text-align: justify;"><span style="letter-spacing: 0.025em;"><br /></span></div><div style="text-align: left;"><span style="letter-spacing: 0.025em;">To find out more about the exhibition visit: </span><span style="background-color: transparent; letter-spacing: 0.4px; text-align: left;"><a href="https://folkartmuseum.org/exhibitions/photo-brut/" target="_blank">https://folkartmuseum.org/exhibitions/photo-brut/ </a></span></div></span></div><p></p>Delmes & Zanderhttp://www.blogger.com/profile/11292923378109779540noreply@blogger.com0tag:blogger.com,1999:blog-8713955014390328271.post-67746195272392283142021-01-23T15:52:00.003+01:002021-02-18T16:00:38.603+01:00Installation View of RALF LÜDDEMANN - TOT IST DER HUND RUFT DER HASE UND BLEIBT ZU HAUSE <p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCf68VQOyYocZLjju2oN7oxWTvtEz6qxLLo1PSTmSVhZBBvvxWZA2-LCNxd4eU4vs7R0d8JHZM3Jh5YkJSv8hr2sXdgaTlRG0B361s2i_VYyb8ExyPL-UZKgme8f0XOSO-V1vVJxCUq_E_/s2048/lueddemann_small_10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCf68VQOyYocZLjju2oN7oxWTvtEz6qxLLo1PSTmSVhZBBvvxWZA2-LCNxd4eU4vs7R0d8JHZM3Jh5YkJSv8hr2sXdgaTlRG0B361s2i_VYyb8ExyPL-UZKgme8f0XOSO-V1vVJxCUq_E_/s320/lueddemann_small_10.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho7zEne_RkwbfCqS6L2fLS3IDzR7dlv7LFFMnSYWf_I5-skSmhpdakyIncKF1jqZvcYwC1A3bXzI7J0sG-rJCPin-4cONVZldrtMHfk7P1gEzRcjngeNPTZHAFDwPdtYSHliASUcqn9YHm/s2048/lueddemann_small_02.jpg" imageanchor="1" style="margin-left: 1em; 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text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOTU2YXTu1D4TGv0H5MjYgPHG3HmBHFfNtkX_mJRrTKcAL4JSbnIC0L3GSbUN8OApYJ8aIyk6C7JliLxMci6GdzpgkZj6Og4Sr5aL5XPIvw3yqfxzStf9GyBS4fVbusAT1acsZQjIef6uB/s2048/lueddemann_small_08.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1366" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOTU2YXTu1D4TGv0H5MjYgPHG3HmBHFfNtkX_mJRrTKcAL4JSbnIC0L3GSbUN8OApYJ8aIyk6C7JliLxMci6GdzpgkZj6Og4Sr5aL5XPIvw3yqfxzStf9GyBS4fVbusAT1acsZQjIef6uB/s320/lueddemann_small_08.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; color: #666666; font-family: Arial, sans-serif; font-size: 10.4px;">Installation views of Ralf Lüddemann at Delmes & Zander, Cologne, Photos by Johannes Post </span></td></tr></tbody></table><br /><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><span style="background-color: white;">RALF LÜDDEMANN</span><br style="background-color: white;" /><span style="background-color: white;">TOT IST DER HUND RUFT DER HASE UND BLEIBT ZU HAUSE</span><br style="background-color: white;" /><span style="background-color: white;">(DEAD IS THE DOG SHOUTS THE HARE AND STAYS AT HOME)</span><br style="background-color: white;" /><span style="background-color: white;">December 4, 2020 – January 23, 2021</span></span></div><p></p>Delmes & Zanderhttp://www.blogger.com/profile/11292923378109779540noreply@blogger.com0tag:blogger.com,1999:blog-8713955014390328271.post-75315715185500874462020-12-12T17:38:00.000+01:002020-12-12T17:38:28.460+01:00Installation views of Bruno Schleinstein at Ebensperger Berlin<p></p><div class="separator" style="clear: both; text-align: center;"></div><p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3iC9ugX2T-nc2psOwap5x1Vp3BppAyFLnD_VTUyQXoVR2jcxlmmY30xp8S1tv53ndFhjJNhUgXXBo041-Sq9SdgZoy0H-xUbRnj7EXPSSYp5wqnPKPtFaNtBJGgGdMj0OJ6joYsY0P78X/s2048/Installationsfoto+FREEDOM+%2526+INDEPENDENCE+2020.11+%25C2%25A9Ludger+Paffrath+Courtesy+Ebensperger+4K9A0757.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1422" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3iC9ugX2T-nc2psOwap5x1Vp3BppAyFLnD_VTUyQXoVR2jcxlmmY30xp8S1tv53ndFhjJNhUgXXBo041-Sq9SdgZoy0H-xUbRnj7EXPSSYp5wqnPKPtFaNtBJGgGdMj0OJ6joYsY0P78X/s320/Installationsfoto+FREEDOM+%2526+INDEPENDENCE+2020.11+%25C2%25A9Ludger+Paffrath+Courtesy+Ebensperger+4K9A0757.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoQ5_AGyMRCmNmwl0LF4wCRB-yhwnmPlXvHiRo7G3IGN0ksQn8ml4pTsML_t4RN1vwaKs7XLU2ZL4VzIAvFnB2Sw0c1K21zYCRQu9SAZAHqv8HbwB5aQwH4lH9I70cefb05GUu5F-gWUpT/s2048/Installationsfoto+FREEDOM+%2526+INDEPENDENCE+2020.11+%25C2%25A9Ludger+Paffrath+Courtesy+Ebensperger+4K9A0763.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1843" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoQ5_AGyMRCmNmwl0LF4wCRB-yhwnmPlXvHiRo7G3IGN0ksQn8ml4pTsML_t4RN1vwaKs7XLU2ZL4VzIAvFnB2Sw0c1K21zYCRQu9SAZAHqv8HbwB5aQwH4lH9I70cefb05GUu5F-gWUpT/s320/Installationsfoto+FREEDOM+%2526+INDEPENDENCE+2020.11+%25C2%25A9Ludger+Paffrath+Courtesy+Ebensperger+4K9A0763.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgubOgdj1YpQJUtB-JT2Uy9mlal5giuaGbkCWwnDLR7okH75zyuts5ld8r4X9yxYXSw8oBE_fV8vTKXuj-5W8kFYG21l3sJG2bPjDuUs3B6HZkbRMbdzSBjyCZGb2_JBXCiw27vaUdRI14I/s2048/Installationsfoto+FREEDOM+%2526+INDEPENDENCE+2020.11+%25C2%25A9Ludger+Paffrath+Courtesy+Ebensperger+4K9A0770.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1889" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgubOgdj1YpQJUtB-JT2Uy9mlal5giuaGbkCWwnDLR7okH75zyuts5ld8r4X9yxYXSw8oBE_fV8vTKXuj-5W8kFYG21l3sJG2bPjDuUs3B6HZkbRMbdzSBjyCZGb2_JBXCiw27vaUdRI14I/s320/Installationsfoto+FREEDOM+%2526+INDEPENDENCE+2020.11+%25C2%25A9Ludger+Paffrath+Courtesy+Ebensperger+4K9A0770.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; 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margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHYMhcwHh7RyGxeYDV75wkcv-7h1czp04_AE1Tpoh0W1xi3Yk1ZOgenR6KWcEVnGFAeOXFlLDiMvfJ33d0_umVSBWLwGH3MQnu5N69aV2HfMn10aE0Y_kvq8rMHagRjlL0o0AE_cyUj6J9/s320/Installationsfoto+FREEDOM+%2526+INDEPENDENCE+2020.11+%25C2%25A9Ludger+Paffrath+Courtesy+Ebensperger+4K9A0774.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTNpUgWdMuRC-fTszQbE2NQhwTvwSa-0UtsZwp7rBHprxjZEeTy1m1_Zb3ZlnZ-KBSDZJU8aAT0AoNzXKW7F5gMOgxRrLzoFpJ7LdNyJgGOQEDwHlgLrKQjEpmoZg-CH5H8ni0LaXxl_bP/s2048/Installationsfoto+FREEDOM+%2526+INDEPENDENCE+2020.11+%25C2%25A9Ludger+Paffrath+Courtesy+Ebensperger+4K9A0778.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1599" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTNpUgWdMuRC-fTszQbE2NQhwTvwSa-0UtsZwp7rBHprxjZEeTy1m1_Zb3ZlnZ-KBSDZJU8aAT0AoNzXKW7F5gMOgxRrLzoFpJ7LdNyJgGOQEDwHlgLrKQjEpmoZg-CH5H8ni0LaXxl_bP/s320/Installationsfoto+FREEDOM+%2526+INDEPENDENCE+2020.11+%25C2%25A9Ludger+Paffrath+Courtesy+Ebensperger+4K9A0778.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxVi2wz1QE-Veuw086lys_VrHDXMB6ZOAj3RQcDZ4x2gpcIB3X5qs0N8_tgGPtGWQr5idOB1m8XZLkdKgBRl59fqXFgnmyLfRaVBv9eJ9qhwHeYhAOLelLme9XDD75TGoyRkQ0YWBG7Sbs/s2048/Installationsfoto+FREEDOM+%2526+INDEPENDENCE+2020.11+%25C2%25A9Ludger+Paffrath+Courtesy+Ebensperger+4K9A0780.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1939" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxVi2wz1QE-Veuw086lys_VrHDXMB6ZOAj3RQcDZ4x2gpcIB3X5qs0N8_tgGPtGWQr5idOB1m8XZLkdKgBRl59fqXFgnmyLfRaVBv9eJ9qhwHeYhAOLelLme9XDD75TGoyRkQ0YWBG7Sbs/s320/Installationsfoto+FREEDOM+%2526+INDEPENDENCE+2020.11+%25C2%25A9Ludger+Paffrath+Courtesy+Ebensperger+4K9A0780.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3O4D9FL_GxEETNDDqaC8QbrP5FAb8Lb-4OtPUY33-KH6YlOKk_jgt8W9CkMXZHpJF18BGcgc4si3vXU0-vBMMuW8wcRturvWkAPiUcyrSBi43bK6hWOHIyBkHKwSpxr5MP7POCH6Sw5fA/s2048/Installationsfoto+FREEDOM+%2526+INDEPENDENCE+2020.11+%25C2%25A9Ludger+Paffrath+Courtesy+Ebensperger+4K9A0831.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1383" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3O4D9FL_GxEETNDDqaC8QbrP5FAb8Lb-4OtPUY33-KH6YlOKk_jgt8W9CkMXZHpJF18BGcgc4si3vXU0-vBMMuW8wcRturvWkAPiUcyrSBi43bK6hWOHIyBkHKwSpxr5MP7POCH6Sw5fA/s320/Installationsfoto+FREEDOM+%2526+INDEPENDENCE+2020.11+%25C2%25A9Ludger+Paffrath+Courtesy+Ebensperger+4K9A0831.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfoANPJYw99P_eJKGlg9MI-GyLctBlc_JkhPlwgUWpwqCdGDTp86YwE5m3jJC1KTXYOjF5J5dVC1GHQ0oMERp06N6LOhEvmfeATjLpbcRTFa5Yh351jKhhm_MP1S0F8brsHSiEVC_eigvH/s2048/Installationsfoto+FREEDOM+%2526+INDEPENDENCE+2020.11+%25C2%25A9Ludger+Paffrath+Courtesy+Ebensperger+4K9A0713.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1597" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfoANPJYw99P_eJKGlg9MI-GyLctBlc_JkhPlwgUWpwqCdGDTp86YwE5m3jJC1KTXYOjF5J5dVC1GHQ0oMERp06N6LOhEvmfeATjLpbcRTFa5Yh351jKhhm_MP1S0F8brsHSiEVC_eigvH/s320/Installationsfoto+FREEDOM+%2526+INDEPENDENCE+2020.11+%25C2%25A9Ludger+Paffrath+Courtesy+Ebensperger+4K9A0713.jpg" width="320" /></a></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpCChr4cYSHFXLhwm4JWv4k9xpJ29hXXkdWhsdYpw7sXBCaFWcbM_JI8BmKZQNmzb0QURekD1fU9DRFvf6gBuoiX8ruouMkTnKMdRH-6io1yXpvH15yXmJME4c5PVyY0TRMj6gURAEbemB/s2048/Installationsfoto+FREEDOM+%2526+INDEPENDENCE+2020.11+%25C2%25A9Ludger+Paffrath+Courtesy+Ebensperger+4K9A0835.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1365" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpCChr4cYSHFXLhwm4JWv4k9xpJ29hXXkdWhsdYpw7sXBCaFWcbM_JI8BmKZQNmzb0QURekD1fU9DRFvf6gBuoiX8ruouMkTnKMdRH-6io1yXpvH15yXmJME4c5PVyY0TRMj6gURAEbemB/s320/Installationsfoto+FREEDOM+%2526+INDEPENDENCE+2020.11+%25C2%25A9Ludger+Paffrath+Courtesy+Ebensperger+4K9A0835.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Installation views of Bruno Schleinstein, Photos by Ludger Paffrath, Courtesy of Ebensperger </td></tr></tbody></table></div>Delmes & Zanderhttp://www.blogger.com/profile/11292923378109779540noreply@blogger.com0tag:blogger.com,1999:blog-8713955014390328271.post-2833672743886389182020-12-10T17:01:00.001+01:002020-12-10T17:01:22.421+01:00RALF'S FARBEN by Lukas Marxt as part of the exhibition "RALF LÜDDEMANN | Dead Is The Dog Shouts The Hare And Stays At Home"<div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='348' height='289' src='https://www.blogger.com/video.g?token=AD6v5dz8JpMOvlrCMo9V4-jrTBQE2FTaRO48izkqTGQWYcNiIosRpCkvoo1i1p7-ErkPlIZu6lcKhIXjCmNEGNNe-A' class='b-hbp-video b-uploaded' frameborder='0'></iframe></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><span style="font-size: x-small;">Lukas Marxt, RALF'S FARBEN, DE 2019, 74 min</span> </span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><span style="background-color: white;">on view at</span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><span style="background-color: white;"><br /></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><span style="background-color: white;">RALF LÜDDEMANN</span><br style="background-color: white;" /><span style="background-color: white;">Tot ist der Hund ruft der Hase und bleibt zu Hause</span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;">(</span>Dead Is The Dog Shouts The Hare And Stays At Home)<br style="background-color: white;" /><span style="background-color: white; font-family: inherit;">December 4, 2020 – January 23, 2021</span></div><p style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; line-height: normal; margin: 0px; outline: 0px; padding: 0px; pointer-events: auto; text-align: justify; vertical-align: baseline;"></p><div style="text-align: center;"><br /></div><span style="font-family: inherit;"><div style="text-align: center;"><span style="background-color: white; font-family: inherit; text-align: left;">"Ralf's Colors is an experimental portrait of a schizophrenic person living in Lanzarote (Canary islands), whom I accompanied for over 7 years. The film shows the struggle of his inner life in contrast to </span><span style="background-color: white; font-family: inherit; text-align: left;">the deserted volcanic surroundings."</span></div><span style="background-color: white; text-align: left;"><div style="text-align: center;"><span style="font-family: inherit;"><i>Lukas Marxt</i></span></div><div style="text-align: center;"><span style="font-family: inherit;"><br /></span></div></span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><div style="text-align: justify;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">"“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,” says Ralf at one point. The schizophrenic man’s words accompany much of this experimental portrait by Lukas Marxt (who worked in close cooperation with </span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Michael Petri </span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; font-family: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">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).</span></div></span><div style="text-align: justify;"><span style="font-family: inherit;"> </span></div><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><div style="text-align: justify;"><span style="font-family: inherit;">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.</span></div></span><div style="text-align: justify;"><span style="font-family: inherit;"> </span></div><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><div style="text-align: justify;"><span style="font-family: inherit;"><i>Alejandro Bachmann</i>"</span></div><div style="text-align: justify;"><span style="font-family: inherit;"><br /></span></div></span></span><div class="separator" style="clear: both; text-align: justify;"><p class="font_8" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; line-height: normal; margin: 0px; outline: 0px; padding: 0px; pointer-events: auto; text-align: justify; vertical-align: baseline;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span class="color_12" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: inherit;">Find out more about the film: </span></span></span></span></span><a href="https://www.ralfsfarben.com/" target="_blank">www.ralfsfarben.com</a></p><p class="font_8" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; line-height: normal; margin: 0px; outline: 0px; padding: 0px; pointer-events: auto; text-align: justify; vertical-align: baseline;"><br /></p></div>Delmes & Zanderhttp://www.blogger.com/profile/11292923378109779540noreply@blogger.com0tag:blogger.com,1999:blog-8713955014390328271.post-35210016839238486102020-12-10T12:43:00.000+01:002020-12-10T12:43:55.293+01:00Aperture Foundation Photobook Awards 2020 <p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVmZA_hP_poQuPxLb1yQDl04nGbpvAux74NyNuK4r326yVJ-7trgLy6Wyo6PCrvSkIHL8PG8SmGDsqOHLbWTOIsoPymqPSPT676Eg0iOBTeoIYaHacEYLP8005nzN5nWhqTNidpH4jJ0HT/" style="margin-left: auto; margin-right: auto;"><img alt="" data-original-height="1620" data-original-width="2048" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVmZA_hP_poQuPxLb1yQDl04nGbpvAux74NyNuK4r326yVJ-7trgLy6Wyo6PCrvSkIHL8PG8SmGDsqOHLbWTOIsoPymqPSPT676Eg0iOBTeoIYaHacEYLP8005nzN5nWhqTNidpH4jJ0HT/w312-h247/T42-970.jpg" width="312" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Frankenstein's Bloody Terror, Type 42 (anonymous), 1960s-1970s, mixed media on polaroid, 8.3 x 10.8 cm</td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="font-family: inherit;"><div style="text-align: center;"><span style="font-family: inherit;"><a href="https://delpireandco.com/imagining-everyday-life-engagements-with-vernacular-photography-3/" target="_blank">Winner of the Catalogue of The Year 2020 at the Photobook Awards on occasion of the Paris Photo - Aperture Foundation </a></span></div><div style="text-align: center;"><span style="font-family: inherit;"><br /></span></div></span><div style="text-align: center;"><span style="background-color: white; font-family: inherit; text-align: justify;">“<span style="text-align: left;">IMAGINING EVERYDAY LIFE: ENGAGEMENTS WITH VERNACULAR PHOTOGRAPHY</span>”<br /> published by <a href="https://www.walthercollection.com/en/" target="_blank">The Walther Collection</a></span></div><div style="text-align: center;"><span style="background-color: white; font-family: inherit; text-align: justify;"><br /></span></div><div style="text-align: left;"><span style="background-color: white; text-align: justify;"><div style="text-align: justify;"><span style="font-family: inherit;">"The book Imagining Everyday Life - a new story enriched with the origins and characteristics of vernacular photography - grew out of a two-day symposium, organized by the Walther Collection at Columbia University in 2018. With scholars and critics from foreground evolving in different disciplines and regional perspectives aiming to reconsider the ordinary image through the prism of power, identity, political participation and ideology, new narratives hitherto largely ignored or erased are coming enrich the traditional reading of the vernacular. By redefining this photograph by its social function rather than by its aesthetic characteristics, and by an exploration of the means available, Imagining Everyday Life offers a much more detailed and extensive account of the history and role of vernacular photography. Richly illustrated and supported by texts "rigorous without being heavy", Imagining Everyday Life is, according to Joshua Chuang , member of the pre-jury, a real "essential re-examination of the subject". Lucy Conticello , member of the final jury, adds: “The quality of the research, its insightful contributions from a large number of archives and collections, as well as its high quality reproductions, make this book a reference work on vernacular photography.""</span></div><div style="text-align: left;"><br /></div><div style="text-align: left;">Find out more about the winning book: <br /><a href="https://delpireandco.com/imagining-everyday-life-engagements-with-vernacular-photography-3/" target="_blank">https://delpireandco.com/imagining-everyday-life-engagements-with-vernacular-photography-3/</a></div><div style="font-family: inherit; text-align: left;"><br /></div><div style="text-align: justify;">Find out more about the Photobook Award at Delpire and Co:<a href=" https://delpireandco.com/les-prix-du-livre-paris-photo-aperture-foundation-2020/ " target="_blank"> https://delpireandco.com/les-prix-du-livre-paris-photo-aperture-foundation-2020/ </a></div><div style="font-family: inherit; text-align: justify;"><br /></div><div style="font-family: inherit; text-align: justify;"><br /></div></span></div>Delmes & Zanderhttp://www.blogger.com/profile/11292923378109779540noreply@blogger.com0tag:blogger.com,1999:blog-8713955014390328271.post-9599812652825685182020-12-03T14:36:00.003+01:002020-12-10T12:45:15.597+01:00Type 42 (anonymous) at Delpire & co in Paris, on occasion of the Paris Photo – Aperture Foundation Photobook Awards 2020 <p> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE-hKCd9DVpOILBAjpX4gEx65bqmLI7qp8aDBaVmPWanChgTdSH36rolPOAhHnZeeeMvCh-cxGFbGvlPu4T81g0fk1MFGUkwg5fXrYZ7kVDp4lyTVBbtBWsndIjtNNwMwMD57YPWsXjeGK/" style="margin-left: auto; margin-right: auto;"><img data-original-height="1109" data-original-width="1403" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE-hKCd9DVpOILBAjpX4gEx65bqmLI7qp8aDBaVmPWanChgTdSH36rolPOAhHnZeeeMvCh-cxGFbGvlPu4T81g0fk1MFGUkwg5fXrYZ7kVDp4lyTVBbtBWsndIjtNNwMwMD57YPWsXjeGK/" title="Type 42 (anonynmous)" width="304" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Fame is the name of the game,</i> Type 42 (anonymous), 1960s-1970s, <br />mixed media on polaroid, 8.3 x 10.8 cm</td></tr></tbody></table><br /><p></p><p style="text-align: justify;"><span style="background-color: white;"><span style="font-family: inherit;">"<span style="vertical-align: inherit;">Delpire & Co presents the books selected for the Prix du Livre Paris Photo - Aperture Foundation 2020. Awarded since 2012, the Prizes reward the best photographic books published in the year, in three categories: First Book Prize, Book Prize of the year, Prize for the best exhibition catalog. </span><span style="vertical-align: inherit;">A prize of $ 10,000 is presented to the winner of the First Book Prize. </span></span></span></p><span style="background-color: white;"><span style="font-family: inherit;"><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><span style="vertical-align: inherit;">35 books were selected by a pre-jury which met in New York in September 2020, among the some 700 books received from around the world following a call for applications. </span><span style="vertical-align: inherit;">This pre-jury consisted of Joshua Chuang (Associate Director for Arts and Photography, New York Public Library), Lesley A. Martin (Creative Director, Aperture), Susan Meiselas (President, Magnum Foundation), Sarah Meister (Curator for photography, MoMA), and Oluremi C. Onabanjo (independent curator).</span></div><div style="text-align: justify;"><br /></div><span style="vertical-align: inherit;"><div style="text-align: justify;"><span style="vertical-align: inherit;">20 books are selected in the first book category, 10 in the book of the year category, and 5 in the catalog of the year category. </span><span style="vertical-align: inherit;">The entire selection is available for sale in the Delpire & co bookstore." </span></div></span></span></span><div><div style="text-align: justify;"><span style="font-family: inherit;"><br /></span></div><div style="text-align: justify;"><span style="font-family: inherit;">Find out more about the nominated books here: <a href="https://delpireandco.com/les-prix-du-livre-paris-photo-aperture-foundation-2020/" target="_blank">https://delpireandco.com/les-prix-du-livre-paris-photo-aperture-foundation-2020/</a></span></div></div><div style="text-align: justify;"><span style="color: #1c1e21; font-family: inherit;"><br /></span></div><div><div style="text-align: justify;"><span style="font-family: inherit;"><span style="background-color: white;">“Imagining Everyday Life” featuring polaroids by Type 42 (Anonymous), published by Walther Collection i</span><span style="background-color: white;">s among 5 shortlisted in the category Photography Catalogue of the Year. </span></span></div><div style="text-align: justify;"><span style="font-family: inherit;"><br /></span></div><div style="text-align: justify;"><span style="font-family: inherit;">Find out more about "Imagining Everyday Life" here: <a href="https://www.walthercollection.com/en/collection/publications/imagining-everyday-life" target="_blank"> www.walthercollection.com/en/collection/publications/imagining-everyday-life</a></span></div><div><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><br /></p></div></div>Delmes & Zanderhttp://www.blogger.com/profile/11292923378109779540noreply@blogger.com0tag:blogger.com,1999:blog-8713955014390328271.post-35837070222376034192020-11-28T13:20:00.000+01:002020-11-28T13:20:52.000+01:00RALF LÜDDEMANN I Tot ist der Hund ruft der Hase und bleibt zu Hause<p> </p><p style="text-align: center;">
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaIfFLfUP5zoO5kPgiqpGDnFp_DsO8BrSd3QyVJIVfGkQFGyxAZ2HS6S0SHxIsT8Aq6LUYriTqRkpULKx700mYvH8hRy72IGCUaAW7r_KmOgRseIM0vWp8Z_5Q3sUISiyZG1xEJV5TaIvr/s2823/RL_DB_016.001.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1114" data-original-width="2823" height="158" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaIfFLfUP5zoO5kPgiqpGDnFp_DsO8BrSd3QyVJIVfGkQFGyxAZ2HS6S0SHxIsT8Aq6LUYriTqRkpULKx700mYvH8hRy72IGCUaAW7r_KmOgRseIM0vWp8Z_5Q3sUISiyZG1xEJV5TaIvr/w400-h158/RL_DB_016.001.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">
<p style="break-after: page; margin-bottom: 0cm; page-break-after: always;"><span style="font-size: x-small;">Ralf
Lüddemann, war
for rain in end is no end, inkjet print, 76 x 192 cm <br /></span>
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</div></div><div style="text-align: center;">RALF LÜDDEMANN<br /> TOT IST DER HUND RUFT DER HASE UND BLEIBT ZU HAUSE<br /> (DEAD IS THE DOG SHOUTS THE HARE AND STAYS AT HOME)<br /> December 4, 2020 – January 23, 2021</div><div style="text-align: center;"><br /></div><div> <br /> Extended Exhibition Opening<br /> Friday, December 4, 11 am – 8 pm<br /> Saturday, December 5, 11 am – 8 pm<br /> Sunday, December 6, 12 am – 6 pm <br /> <i><br />“Ralf and I have been working together for five years. Since falling ill with schizophrenia, he now lives a self-imposed “life of punishment” on Lanzarote. He spends his whole time building planetary offices and is responsible for holding the entire world. He is king, he can travel into the future and the past, but he’s caught in what he calls the FIX. I have conducted and recorded many conversations with him. In the last year, he has begun painting images with MSPaint; he refers to these as the “daily keys.” His approach is oriented, amongst other things, around the principle of painting by numbers, where he uses the pixel grid to interpret and justify past and future events.” </i></div><div><i>(Email from Lukas Marxt to Delmes & Zander, 18.01.2018)</i><br /> <br />Ralf Lüddemann (*1964) lives in Salzgitter throughout his childhood and adolescence. In 1984 he learns the trade of an orthopaedic mechanic, which he practices for six years. In 1990 his career takes a different path when he qualifies as an assistant flying instructor, and two years later he begins working as a paragliding instructor. In 1995 he opens a school for hang gliding and paragliding in Goslar. Following a long stay in hospital, he is forced to shut the school in 2003. He moves to Lanzarote in 2004, where he still lives today. The first, coincidental encounter between Ralf Lüddemann and the artist Lukas Marxt comes in 2012. In the years that follow, an intensive exchange develops between the two, in the course of which they produce the film Ralfs Farben (Ralf’s Colours, DE/AT 2019, 74 min) together. Ralf Lüddemann has been creating digital images since 2017.<br /> <br /> He is the first artist in Delmes & Zander’s programme with an exclusively digital body of work. <br /></div><br /><br /><br /><br /><br />Delmes & Zanderhttp://www.blogger.com/profile/11292923378109779540noreply@blogger.com0tag:blogger.com,1999:blog-8713955014390328271.post-4264720059411797962020-11-18T17:35:00.000+01:002020-11-18T17:35:20.180+01:00Bruno Schleinstein @Ebensperger <p style="text-align: center;">
</p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwhgPRPIDW-k8GsI8ZWPixby5hlRKM8QbdDQwSqBnF9YJNNyojJDQQMds3UnPv3gGtni0G2ubb3KFSxK6vFAoFtue3NNQxQXFtRZS5G_DpKUDULzofVGm4HZWnVP4llfYxsFXD8tzmEcDR/s2048/BS_P_036.001.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1464" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwhgPRPIDW-k8GsI8ZWPixby5hlRKM8QbdDQwSqBnF9YJNNyojJDQQMds3UnPv3gGtni0G2ubb3KFSxK6vFAoFtue3NNQxQXFtRZS5G_DpKUDULzofVGm4HZWnVP4llfYxsFXD8tzmEcDR/s320/BS_P_036.001.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Bruno Schleinstein, Entwurf Nr. 3, 1997, mixed media on paper, 42 x 29.7 cm<br /></td></tr></tbody></table><br /><div><div class="separator" style="clear: both; text-align: center;">
</div></div><p style="text-align: center;"><span style="font-size: medium;">Bruno Schleinstein is part of the group show </span></p><p style="text-align: center;"><span style="font-size: medium;">Freedom & Independence at the Ebensperger Gallery<br /></span></p><p><span style="font-size: medium;"> </span> </p><p>"John Bock, Jörg Buttgereit, Bonnie Camplin, Christeene, Lea Draeger, Tim Etchells, Heiner Franzen, Assaf Gruber, Yuki Jungesblut, Sandro Kopp, Bjørn Melhus, Otto Muehl, Hajnal Németh, Bruno Schleinstein et al.<br /></p><p><br />The exhibition “Freedom & Independence” borrows its name from Bjørn Melhus’ eponymous film Freedom & Independence from 2014. It will use its title as both, a motto and a theme, while understanding ‘freedom’ and ‘independence’ as value and virtue. Being an ever evolving show works will be added to the exhibition over the course of its yet indefinite duration.<br /><br />It is conceived with Mehlus’ film at its core: This experimental short questions the current global ideological paradigm shifts towards new forms of religious capitalism by confronting ideas and quotes of the self-proclaimed objectivist philosopher and novelist Ayn Rand with evangelical contents of US-American mainstream movies.<br /><br />The exhibition will examine themes implied by the film and draw variations from other artists’ contributions. They will be juxtaposed with Freedom & Independence in and at its centre. The works will range from spacial to drawings, from photographs to paintings. The size of the premises allow extensive installations that might change over the course of the show's duration."<br /></p><p>The gallery is open daily around the clock only by appointment. </p><p>For more information click <a href="http://ebensperger-rhomberg.net/" target="_blank">here</a><br /><br /></p>Delmes & Zanderhttp://www.blogger.com/profile/11292923378109779540noreply@blogger.com0tag:blogger.com,1999:blog-8713955014390328271.post-73511747316500255102020-10-30T13:52:00.001+01:002020-11-19T12:29:04.604+01:00Accrochage at the Gallery <p style="text-align: center;">
</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWbTYc-D4AKorGPnsb7sR2CgoiJiqatcj6v35Js_CgIuo_yFQvzpxJjR4F6fGO2zYY6CJ6qRKwjPhFp2-ZO6x7fcCF3dpNEJTYDRxA4YU2xK1VnyX6ys923LI_XaKul5pzqbd3Ys7HHDyY/s591/AWoj_P_0316.001.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="591" data-original-width="455" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWbTYc-D4AKorGPnsb7sR2CgoiJiqatcj6v35Js_CgIuo_yFQvzpxJjR4F6fGO2zYY6CJ6qRKwjPhFp2-ZO6x7fcCF3dpNEJTYDRxA4YU2xK1VnyX6ys923LI_XaKul5pzqbd3Ys7HHDyY/s320/AWoj_P_0316.001.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">
<p style="break-after: page; margin-bottom: 0cm; page-break-after: always;">Agatha
Wojciechowsky, untitled, undated, chalk on paper, 60.5 x 45.3 cm</p>
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</div></div><p><span style="font-size: medium;">Accrochage at the Gallery from October 28th, 2020 with works from Agatha Wocjciechowsky, Helga Goetze and Alexandru Chira. Stop by to see it! </span></p><p><span style="font-size: medium;"> </span></p><p style="margin-bottom: 0cm;">Agatha Wojciechowsky was born in 1896, in Steinach, Germany. According to her own statement she experienced her first visions at the age of four. In 1923 she emigrated to the United States, where she worked as a maid, a seamstress, a laundress, and a kitchen helper in various hotels. After World War II, she became a well-known spiritual medium and a healer to a small circle of insiders. In 1951, she began to draw countless mediumistic drawings in which eerie spectral faces can be perceived through a maze of abstract forms and graphic symbols. “Mona”, the ghost of an American Indian girl, appeared to her one day and she began to draw according to Mona's instructions: “Take a small pencil, place it on a sheet of paper and watch what happens, immediately it, and I, began to draw and we drew and drew for a long time”. This is how Agatha Wojciechowsky describes the beginning of her artistic activity. </p><p style="margin-bottom: 0cm;">
</p><p style="margin-bottom: 0cm;">Helga Goetze (* 1922 Magdeburg, Germany, † 2008 Winsen, Germany), also known as Helga Sophia, was a German artist, writer and political activist, who lived and worked in Hamburg and Berlin. In 1972 she founded the Institute for Sex Information and published her first poetry collection Hausfrau der Nation oder Deutschlands Supersau (Housewife of the Nation or Germany’s Super Sow). Later on, Goetze kept close contact with the commune founded by the Vienna performance artist Otto Mühl and was actively associated with the Hamburg cultural centre “Fabrik”. After moving to Berlin in 1978, the artist started to maintain daily protest pickets in favour of women’s sexual liberation in front of the Technical University as well as the Berlin Gedächtniskirche. In Berlin, she also founded the “Geni(t)al University”, a gallery and open museum. Conversations with Rosa von Praunheim inspired her to make the film Rote Liebe (Red Love) in 1982. With the 1982 TV show Neue Nackte, neue Einsichten (New Nudes, New Insights), where she undressed in front of the camera, and several appearances on TV talk shows during the 1990ies, Goetze challanged the public debate around sexuality in the media. In 2000, she founded the association Metropole Mutterstadt e.V. (Metropolis Mother City) with a group of friends and in 2003, Monika A. Wojtyllo made a film about the artist, titled Sticken und Ficken (Embroidery and Fucking). </p><p style="margin-bottom: 0cm;"><style type="text/css">P { margin-bottom: 0.21cm; }</style> Alexandru Chira (1947, Tauseni, Romania - 2011, Bucharest, Romania), who
was native of a small village in Transilvania, realized that the new
idols of mechanized agriculture (tractors, threshers etc.) proved
inefficient when faced with the tough limits of nature - his home
village suffered of yearlong drought. Chira started to elaborate a
sophisticated system of land-and-weather improving art equipment, a
series of staggering, symbolic installations of painted metal, wire, and
concrete. Their task was "to bring rain and rainbow", to convey
prosperity, and prevent deluge. Later on, during the 1990s, already a
university professor and acclaimed artist, Chira succeeded in
accomplishing his lifelong dream: the ensemble in Tauseni, the biggest
one-man-monument in Transylvania. Most of his prior (and later) works,
either those on canvas or the drawings and objects are inspiring
sketches or derivative works related to the monument. Maturing his
art-agrarian fascination for decades, the monomaniac Chira deepened in
the diverse branches of practical knowledge and spiritual speculation
requested by such a bold plan. Architecture, design, astronomy, history,
magic, UFO-logy, mysticism, shamanism, and theosophy conjoined in an
effort to strengthen the material and immaterial assets of the project.
Nothing is left to chance in his painted graphs. Their apparent visual
geomancy is grounded on a peculiar conjunction of human will, sheer
transcendence, and natural forces.</p><p style="margin-bottom: 0cm;"><style type="text/css">P { margin-bottom: 0.21cm; }</style> <br /></p><p><span style="font-size: medium;"><style type="text/css">P { margin-bottom: 0.21</style></span><br /><br /><br /></p>
<p><style type="text/css">P { margin-bottom: 0.21cm; }</style></p>Delmes & Zanderhttp://www.blogger.com/profile/11292923378109779540noreply@blogger.com0tag:blogger.com,1999:blog-8713955014390328271.post-23505803105007483062020-10-22T15:25:00.001+02:002020-10-22T15:25:39.187+02:00Last Weeks of the exhibition "Dream Baby Dream" at Haus Mödrath<p>
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</h3></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLBvnSO80UJFrsekQWuN-gjOBlpoi2Uq2mWluce2upLlrVnfaD0ZmshLrzc3UpNOu6x7k3jHIZali8PQMpqy58PPLZRyqyapomLwoIPgKO9QBq9nV-u2CTxV5oDfRibToxh6EZYRtvQ16f/s2048/MB_P_MB03.001.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1658" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLBvnSO80UJFrsekQWuN-gjOBlpoi2Uq2mWluce2upLlrVnfaD0ZmshLrzc3UpNOu6x7k3jHIZali8PQMpqy58PPLZRyqyapomLwoIPgKO9QBq9nV-u2CTxV5oDfRibToxh6EZYRtvQ16f/s320/MB_P_MB03.001.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">
<p style="margin-bottom: 0cm; page-break-after: always;">Morton
Bartlett, untitled, ca. 1950, pencil on parchment, 43 x 35,5 cm<br /></p>
<style type="text/css">P { margin-bottom: 0.21cm; }</style></td></tr></tbody></table><br /><div style="text-align: center;"><span style="font-size: medium;"> </span></div><div style="text-align: center;"><span style="font-size: medium;">Don't miss the last weeks of the exhibition </span></div><div style="text-align: center;"><span style="font-size: medium;">"Dream Baby Dream" at Haus Mödrath, curated by Gesine Borcherdt</span></div><div style="text-align: center;"><span style="font-size: medium;"><br /></span></div><p><br />"The childhood home is a place of fantasy, protection, and play. But it can also be one of trauma, violence, and fear. The home is where it’s decided who we are, what will become of us, and what we will repress. For many artists, the impulse to create is rooted in childhood. Through art, they transmute their early and ingrained experiences into something bigger, something that renews, expands, and transforms our perspective on the world. <br /><br />The exhibition Dream Baby Dream features artists whose work arises from just such an imaginative power. They all evince a strong connection to childhood and youth, not just as a source of creative inspiration, but also as a metaphor for physical, psychological, and social conflicts. The interplay of the artists creates an atmosphere in which the dark sides of childhood and youth take on entirely new forms. <br /><br />The show’s title refers to a song by the influential electronic duo Suicide, pioneers of post-punk and of what would later become techno. The song’s dark sound, paired with Alan Vega’s Elvis-like voice, turns the American Dream that still haunts us today into a nightmarish loop—and at the same time a trance-like, shimmering hope. Here, rebellion and desire, fear and fantasy interlink. (...)"</p><p>The exhibition features among others Morton Bartlett, Charlemagne Palestine, Veit Laurent Kurz<br /></p><p><span style="font-family: inherit; font-size: small;"><style type="text/css">P { margin-bottom: 0.21cm</style></span><span style="font-size: small;">For more information visit the page of the museum <a href="http://www.haus-moedrath.de/en/exhibition_dream_baby_dream.html" target="_blank">here.</a></span><span style="font-family: inherit;"><a href="https://www.blogger.com/null"> </a></span><br />
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<p><style type="text/css">P { margin-bottom: 0.21cm; }</style></p>Delmes & Zanderhttp://www.blogger.com/profile/11292923378109779540noreply@blogger.com0tag:blogger.com,1999:blog-8713955014390328271.post-62176081245152754542020-10-01T16:54:00.002+02:002020-10-01T16:57:55.037+02:00Last Week of "Lusofolia: A Beleza Insensata" at Centro de Arte Oliva<div><div class="separator" style="clear: both; text-align: center;">
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</h3><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-39G2SkUB80XER0y2rVjjDk1-xme62XiuZS0OzUPM24y-v6_NmCWy80hltnr6VM1MLKpEn_PYYIQ0yT8rbiC7LWYiOxGesp-WoDLgJa5wX77uXK9NVl1EoGrx0-ndj7sFVbKvOieQdTgT/s2048/JC_M_1298.001.jpg" style="margin-left: auto; margin-right: auto;"><img alt="Jesuys Crystiano, untitled, undated, mixed media on paper, 150 x 219,5 cm" border="0" data-original-height="1419" data-original-width="2048" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-39G2SkUB80XER0y2rVjjDk1-xme62XiuZS0OzUPM24y-v6_NmCWy80hltnr6VM1MLKpEn_PYYIQ0yT8rbiC7LWYiOxGesp-WoDLgJa5wX77uXK9NVl1EoGrx0-ndj7sFVbKvOieQdTgT/w400-h278/JC_M_1298.001.jpg" title="Jesuys Crystiano, untitled, undated, mixed media on paper, 150 x 219,5 cm" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jesuys Crystiano, untitled, undated, mixed media on paper, 150 x 219,5 cm</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /></div><div style="text-align: center;"><span style="font-size: medium;"> </span></div><div style="text-align: center;"><span style="font-size: medium;">It is currently the last week of the show <br />"Lusofolia: A Beleza Insensata" at Centro de Arte Oliva in S. João da Madeira, curated by António Saint Sivestre</span></div><p style="text-align: center;"><span style="font-size: medium;"><br /></span></p><span style="font-size: small;">The show features among others Evaristo Rodrigues, Jesuys Crystiano, José Teófilo Resende and Marilena Pelosi.<br /><br />The life and work of Jesuys Crystiano are only documented after 2010, at which time he was living on the streets of Ilheus (Bahia) and taken care of by neighbors. How Crystiano ended up here still remains unclear. It was then that a German hotel owner who lived in the area first caught sight of his monumental wall drawings in abandoned buildings. From then on he continuously supported and documented Crystiano's artistic output and took him in until Crystiano's death in 2015. <br /><br />Hundreds of coals and pencil drawings, some of them in large format, collages, objects and notebooks were produced during this period. In his drawings he invents surreal worlds which he puts on paper with an secure and dynamic trace. Airplanes, crowned vultures, fish, umbrellas, upside-down chairs and tables, as well as uprooted tree trunks are the recurring subjects of his drawings.</span><p><span style="font-family: inherit; font-size: small;"><style type="text/css">P { margin-bottom: 0.21cm</style></span><span style="font-size: small;">For more information visit the page of the museum <a href="https://www.blogger.com/#">here.</a></span><span style="font-family: inherit;"><a href="https://www.blogger.com/null"> </a></span><br />
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<br /><br /><br /></p>Delmes & Zanderhttp://www.blogger.com/profile/11292923378109779540noreply@blogger.com0tag:blogger.com,1999:blog-8713955014390328271.post-76017426497315206702020-09-04T13:01:00.002+02:002020-09-04T13:01:52.893+02:00Moritz Scheper's Guide to DC Open!<div class="separator" style="clear: both; text-align: center;">
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Tomasz
Machcinski, untitled, 2012, digital print on baryta paper, 30 x 21 cm</div>
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<span style="font-family: inherit;">We are thrilled to be included in Moritz Scheper's guide to the best shows in Düsseldorf and Cologne</span></h3>
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"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<br />
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<span style="font-family: inherit;"><span lang="EN-GB" style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; box-sizing: border-box; caret-color: rgb(0, 0, 0); color: black; font-family: regFont; font-size: 15px; font-style: normal; font-variant-caps: normal; font-weight: 100; letter-spacing: normal; min-height: 0px; min-width: 0px; orphans: auto; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;"> </span><br />Read the full guide <a href="https://www.frieze.com/article/best-shows-see-dusseldorf-and-cologne" target="_blank">here</a><a href="https://www.blogger.com/null">. </a></span><br />
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<br />Delmes & Zanderhttp://www.blogger.com/profile/11292923378109779540noreply@blogger.com0tag:blogger.com,1999:blog-8713955014390328271.post-7851447420262409092020-08-29T12:38:00.002+02:002020-08-29T12:38:47.210+02:00TOMASZ MACHCINSKI I With Love to Tommy<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: inherit;">Tomasz
Machcinski, untitled, 2005, Vintage photography, 15 x 10 cm</span></div>
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<span style="font-family: inherit;">TOMASZ MACHCINSKI </span></h3>
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<span style="font-family: inherit;"> With Love to Tommy </span></h3>
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<span style="font-family: inherit;"> September 4 – October 24, 2020 </span></h3>
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<span style="font-family: inherit;"> Opening: 04.09., 11 am – 10 pm </span></h3>
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<span style="font-family: inherit;">A magic trick is immediately obvious. A bad trick exposes itself as such, while a good one instantly draws you in. </span><br />
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<span style="font-family: inherit;">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. </span><br />
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<span style="font-family: inherit;">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. </span><br />
<span style="font-family: inherit;"></span><br />
<span style="font-family: inherit;">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%. </span><br />
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<span style="font-family: inherit;">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. </span><br />
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<span style="font-family: inherit;">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. </span><br />
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<span style="font-family: inherit;"> 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. </span><br />
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<span style="font-family: inherit;"> - Timo Feldhaus </span><br />
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