Thursday, 29 April 2021

The Holding Environment at Bonner Kunstverein

Martin Erhard, Grossblätter für Bogen No. 12 Schleswig = Holstein / Dänemark (Insel Sylt), 1950-1970, 21 x 16 cm, mixed media on paper

at Bonner Kunstverein 

momentarily closed due to COVID-19

"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.

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. 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.

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. The oscillation between the holding environment treated as both physical space and metaphor was proposed by the psychoanalyst and paediatrician Donald Winnicott in works such as Holding and Interpretation (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.

The Holding Environment is accompanied by a series of events, including a specifically conceived performance and composition by musician Sarah Davachi; Divine Drudgery, a publication edited with James Richards and Leslie Thornton, with contributions and work by Horst Ademeit, Rae ArmantroutTolia Astakhishvili, Ed Atkins, Kirsty Bell, Adelhyd van Bender, Bruce Conner, Fatima Hellberg, Mason Leaver-Yap, Veit Loers, Terence McCormack, James Richards and Leslie Thornton; and talks and events with the writer and poet Fanny Howe the and filmmaker, artist and activist Gregg Bordowitz, amongst others. "

curated by Fatima Hellberg

Find out more about the exbition, that will hopefully reopen soon, here:

Article on Alexandru Chira in BLAU International Magazine Issue No. 4


In the newest  issue of BLAU INTERNATIONAL 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 purchase!
«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.”»

Find out more about the issue No. 4 here:

Wednesday, 14 April 2021

HORST ADEMEIT in « Paranoia und technisches Bild » by Elena Meilicke

Elena Meilicke, Paranoia und technisches Bild Fallstudiem zu einer Medienpathologie,
De Gruyter, 2021

Horst Ademeit, untitled, 1990, mixed media on polaroid, 9 x 11 cm

"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."

The author Elena Meilicke works at the Institut für Theorie und Praxis der Kommunikation at the Universität der Künste in Berlin. 

Click here to get an insight to the publication:

Thursday, 25 March 2021


Installation at Delmes & Zander, Cologne / Video by Johannes Post 



Alexandru Chira, Albert Leo Peil, George Widener 

(March to April 2021)

RALFS FARBEN_HÜLLENWERK by Lukas Marxt on view at the Videonale in Bonn

Installation View of Ralfs Farben_Hüllenwerk (46:52 min | 3-channel video
installation, mummified dog, helmet, Ytong blocks, tiles, linoleum | 2021)

Ralfs Farben_Hüllenwerk

on view at Videonale in Bonn

from 4.03 until 18.04, 2021

"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.

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.

- Elke Kania"

Find the whole video here:

Find further information about Ralfs Farben here:

Thursday, 4 March 2021

Delmes & Zander at FIAC Online Viewing Rooms 2021

Albert Leo Peil, La Diva de cinematique Marlene Dietrich, 1990, 32 x 24 cm,
ink on paper

Delmes & Zander is delighted to praticipate at the FIAC Online Viewing Rooms 2021, with works by Albert Leo Peil, George Widener and Alexandru Chira. The Viewing Rooms are taking place online from March 4th-7th.


About Albert Leo Peil

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.

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.


About George Widener

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.

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).


About Alexandru Chira

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.

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.

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. 

Thursday, 25 February 2021

FIAC Online Viewing Rooms 2021

Courtesy: FIAC 2021 

The FIAC Art Fair is taking place on an online platform this year. The Online Viewing Rooms bring together 200 galleries from all around the world and will be accessible from March 4th-7th 2021. 

Delmes & Zander is very pleased to announce our participation.

You can find the Exhition List here: