Thursday 15 November 2012

DANIEL JOHNSTON at Galerie Susanne Zander, Cologne

"I've Seen It All On TV"
at Galerie Susanne zander, Cologne
9. November 2012 - 19. January 2013

Daniel Johnston, the youngest of five children, is born on January 22nd, 1961 in Sacramento, California. From early on he reveals an extraordinary artistic talent, which others around him often find disconcerting. He records his thoughts and impressions in the privacy of his room on a $59 Sanyo Boombox. He shoots homemade films that reflect his recurring fears and desires, often impersonating his mother and mimicking her expressions and gestures. His parents soon realize that their son is different. He begins to draws dozens of comics. His mother believes there are satanic messages in his pictures and drawings and disapproves of his artistry.

Johnston spends time as a student in art college and as a hot dog vendor in a traveling circus. He records music with the Butthole Surfers and experiences a sudden surge of popularity in 1992 when Kurt Cobain attends the MTV award show wearing a T-shirt with the cover image of his "Hi How Are You" LP. A number of concerts and a steadily growing fan base follow. But his manic-depressive predisposition and drug experiments gone haywire repeatedly interrupt a promising career. Daniel Johnston increasingly shies away from the limelight.

In 2005 filmmaker Jeff Feuerzeig completes his documentary "The Devil and Daniel Johnston", a deeply touching tribute the enigmatic figure of Johnston. The musician and all-round-talent still currently enjoys a high reputation in the independent music scene with celebrity admirers such as David Bowie, Sonic Youth, Yo La Tengo or Matt Groening. He currently lives in Waller, Texas.

After the exhibition "Recordings Rejected: Outsiders in Music" Galerie Susanne Zander now dedicates the first one-man-show to Daniel Johnston.

"ONE ON ONE" at KW Institute for Contemporary Art, Berlin

at KW Institute for Contemporary Art, Berlin
Massimo Bartolini, Nina Beier, Joe Coleman, Trisha Donnelly, Geoffrey Farmer, Hans-Peter Feldmann, FORT, MARGRET / Günter K., Annika Kahrs, Robert Kusmirowski, Alicja Kwade, Renata Lucas, Yoko Ono, Blinky Palermo, Anri Sala, Jeremy Shaw, Tobias Zielony

18.11.2012 – 20.01.2013
Opening: 17.11.2012, 12  – 10 pm

Alone in the space with the art, one-on-one with a work that was made for the single individual, in a direct and inescapable interaction—intimate and confrontational.

The exhibition ONE ON ONE enables the artists to directly address the singular viewer. Individual, self-contained spaces that are specially conceived for the new works and only accessible for one visitor at a time occupy the whole exhibition space of KW. Be it a space for action or contemplation, a cabinet or a non-space, be it performative, installation-based or conceptual, material or immaterial—other than the spatial restrictions, no limitations have been placed on the artistic creation of individual microcosms.

Thereby KW transforms into a place where art can be experienced directly and without disturbances, providing viewers with new ways of perceiving time and space while creating new forms of showing, exhibiting, and seeing.

KW Institute for Contemporary Art
Auguststraße 69
D-10117 Berlin

Tuesday 13 November 2012

CHRIS HIPKISS ~ ‘L.i.E.S.' at Ancient & Modern in London

 Chris Hipkiss, "L.I.E. 1" (2011), mixed media on paper, 112 x 182 cm
Courtesy Galerie Susanne Zander, Cologne

15 November ~ 22 December 2012
Preview Wednesday 14 November (18:00 ~ 20:00)

ANCIENT & MODERN presents ‘L.I.E.S.’ (‘London in Europe’), expansive pencil drawings by artist Chris Hipkiss, a pseudonym of Alpha and Chris Mason who for thirty years have developed their own intertwined vision of the world through her writings and his intricate drawings. Based initially in Kent, since 2001 they have lived in the southern French countryside. Accumulations of text and image rendered upon huge rolls of paper draw upon wide-ranging classifications of objects and interests, from politics and physics, fashion and ornithology. Wry, humourous and poetic, extraordinary landscapes often seen from a birds-eye perspective are populated by strange plants, mysterious figures and imaginary but somehow familiar buildings, and recall the detailed visions and observations of Bosch, Brueghel, Hogarth and Lowry.

This exhibition is the first in London since 2001 and coincides with a large scale presentation at BBB in Toulouse. Works by Chris Hipkiss (b.1964) have been shown at Tate Britain; New Museum, New York; The American Museum of Visionary Art, Baltimore and The Museum and Galleries
of Birmingham (UK); represented in Collection Antoine de Galbert (Paris); Cindy Sherman Collection (New York); Museum Boijmans Van Beuningen (Rotterdam) and the John Michael Kohler Arts Center (Sheboygan, WI).

Ancient & Modern thanks Galerie Susanne Zander, Cologne.

Ancient & Modern
201 Whitecross Street
London EC1Y 8QP
+44 (0)20 7253 4550

Thursday 27 September 2012

... wachsende Popularität von Outsider Art!

Bettina Kames' Artikel  "Außenseiter nach innen"  im
ARTINVESTOR (Nr. 05/12, S. 30)

ALOISE at Collection Art Brut Lausanne

The Collection de l'Art Brut is presenting Aloïse. The Solar Ricochet twenty-six years after its first show in Aloïse's honor. On display will be the initial group of works by this Art Brut creator, as assembled by Jean Dubuffet, thus offering a historical overview of Aloïse's production. Thanks to the donation that the French painter Dubuffet made to the City of Lausanne in 1971, marking the origin of the Collection de l'Art Brut, this museum boasts a major body of works by Aloïse.

Only 1 month left ...

Thursday 20 September 2012

"Heim der Liebe und der Sünde" - a film documentation of a work of Martin Erhard

"Heim der Liebe und der Sünde" (2012)
(Home of love and sin), HD, 7:13 min.
by Johannes Amorosa

You can see our film documentation of an art work of artist Martin Erhard on vimeo here:   

Martin Erhard and his "discreet, disturbed and private worlds"   (Astrid Mania on the abc-art berlin contemporary in ART AGENDA (14.09.2012)   was the main position shown recently at the abc - art berlin contemporary by GALERIE SUSANNE ZANDER.

A film documentation of an art work of Martin Erhard consisting of 58 drawings, pencil / ink on paper, ca. 50 x 70 cm each and covering a total surface of 75 x 75 meters.
Film concept by Galerie Susanne Zander
Produced by Johannes Amorosa.
Copyright by Galerie Susanne Zander, Cologne, 2012.
With many thanks to Karin and Gerhard Dammann.

Thursday 13 September 2012


We are pleased to announce our participation at
abc - art berlin contemporary
September 13 - 16, 2012


Wednesday 12 September 2012

"Ein fabelhafter Mix aus Irrwitz und Schnitzerei!"

Emmanuel van Stein bespricht die Ausstellung in der Galerie Susanne Zander:

 KARL JUNKER als Ausstellungstipp des Tages: Kölner StadtAnzeiger (12.09.2012), S.12

Saturday 8 September 2012

Morton Bartlett & Judith Scott in "A Cosmos" curated by Rosemarie Trockel at the Reina Sofia

Rosemarie Trockel: a cosmos

Dates: May 23 - September 24, 2012
Place: Sabatini Building, floor 3
Curator: Rosemarie Trockel and Lynne Cooke

Rosemarie Trockel (Schwerte, Germany, 1952) appears in the German art scene, largely dominated by men, in the 1970s. Her art explores various work methods and materials, thus eluding stylistic compartmentalization. Through her creations she questions the categories that legitimise art, social order, gender identities; while exploring constants such as the contrasting conceptions of feminism, the metamorphosis of the subject, interrelations between humans and animals and the environmental impact of our species, the phenomena of fashion, fame, beauty and social icons, the body and also the social construction of the subject.

“Kosmos” was the title that Alexander von Humboldt (1769-1859) gave to his book on the discovery of America. Humboldt, when he attributes the merit of the discovery to Columbus, makes use of the argument of progress as the result of accumulated knowledge. The artist admires Humboldt for his independent and intrepid studies, and she situates him next to other authors she also believes are kindred spirits.

In this collection of objects, Trockel pays attention to lesser known artists, chosen out of the empathy she feels for the frankness and inventiveness with which they look at questions that she too asks herself. Either in another discipline or for independent causes, these nonconformists provide models of selfless and vocational dedication. They include self-taught artists such as James Castle, Judith Scott, Morton Bart¬lett and Manuel Montalvo, who worked in situations of near anonymity. In general, they were solitary artists who worked with humble materials and with great economy of means, and were committed to their search for a singular vision.

Other artefacts in the exhibition come from the sphere of natural history, such as the watercolours painted by Maria Sibylla Merian (1647-1717) about life cycles in entomology or the works of the Spanish botanist, José Celestino Mutis (1732 –1808), whose recognition came late because his studies were never properly published. At the end of the 19th century the Blaschka family created exact glass replicas of plants and marine invertebrates, which were used for research purposes by both amateur and professional naturalists. Today all of them are more appreciated for their aesthetic quality and the curiosity that their work inspires than for the scientific activity they carried out in various fields.

Rosemarie Trockel makes use of all of them, considering them to be exemplary and inspirational in her own work.

Monday 3 September 2012

opening Friday: "Karl Junker, Architekt" 7. September - 3. November 2012 Eröffnung: Freitag, 07.09., 18 – 22 Uhr

& Horst Ademeit, Paul Goesch, Chris Hipkiss, Foma Jaremtschuk, George Widener , Wesley Willis

Karl Junker was born 1850 as the son of a bricklayer in the city of Lemgo in North Rhine-Westphalia, Germany. His grandfather took charge of his education after both his parents had died from tuberculosis. At age fifteen he initiated a carpenter's apprenticeship and, having completed his trade exam, began working in Hamburg and Berlin. In 1871 he felt drawn to the art capital of Munich, where he began his studies at the School of Applied Arts and then, in 1875, enrolled at the renowned Academy of Fine Arts. Before having completed his studies, Junker embarked on an educational journey around Italy in 1977, where he spent several years traveling. Here he became particularly interested in the arts, but also in architecture. This becomes evident from his sketchbooks. In 1880 he returned to Munich, where he remained for another three years. From 1883 until his death in 1912, Karl Junker lived in his home town of Lemgo, where he was commissioned for a number of projects. In 1889 and with the help of a master carpenter, Junker handed in his application at the city of Lemgo for the project of a timber frame house.

For over twenty years Junker worked on the design of his "Junkerhaus" on Hamelner Road, where he created chairs, tables, dressers, beds, a grandfather clock and even a baby cradle. Over 115 wooden sculptures, 840 pencil and watercolors drawings and around 200 paintings have survived.

The gallery will show a selection of Karl Junker's fantastic architecture for the first time: two chairs, monumental and rustic at the same time, and the architectural model of a well, a blueprint for the city of Detmold dated from 1899.

Alongside the works of Junkers we will present a selection of gallery artists, whose works reveal a clear fascination with architecture: Horst Ademeit, Paul Goesch, Chris Hipkiss, Foma Jaremtschuk, George Widener and Wesley Willis.

This exhibition was organized in collaboration with the Museum Junkerhaus, Lemgo. We thank the Museum Director Jürgen Scheffler for his kind support.

Saturday 1 September 2012

MORTON BARTLETT - Hamburger Bahnhof, Berlin EXTENDED untill 14.10.

secret universe III.

Morton Bartlett
11 May - 14 October 2012
The third exhibition of the "secret universe" series presents the work of the American artist Morton Bartlett (1909-1992). Central works of his oeuvre are fifteen semi-life-sized dolls, twelve girls and three boys. Having dropped out of Harvard in order to work as a commercial photographer, Bartlett began producing these dolls in the middle of the 1930s, attempting to make them seem as life-like as possible.

He studied anatomy books and costume history, learned to sew and work with clay. It took him up to a year to create each of the figures. Bartlett designed various costumes and wigs in order to stage the dolls in true-to-life situations. He inserted them into various moments from real life and thus he breathed life into his creations through photography.
His work was created for private use and was never exhibited during his lifetime. The dolls, approximately 200 black-and-white photographs, drawings, color slides and costumes were first discovered in 1993.

The exhibition in the Hamburger Bahnhof is the first solo museum show of Morton Bartlett's work in Germany. The "secret universe" series has been made possible by the 'About Change, Stiftung'.

Curated by Claudia Dichter and Udo Kittelmann


Saturday 25 August 2012

Bispo do Rosario showing at the Victoria & Albert Museum _till October 28th


Arthur Bispo do Rosário

 13 August – 28 October 2012

Rooms 17a and 18a
Admission free

The display brings together over 80 artworks ranging from sculptures, hand-embroidered banners and garments, showcasing the variety and creativity of Arthur Bispo do Rosario (1909-1989), one of Brazil’s most recognised artists.
Admitted to a psychiatric hospital at the age of 29, Bispo’s creations were made in complete isolation from the art establishment. However his ‘outsider’ art has long been celebrated for its skill and imaginative approach to working with everyday, found materials. The work on show demonstrates his fascination for the reappropriation of objects such as buttons, bottles, paper, card and cutlery, which he manipulated to create elaborate sculptural pieces.

Wednesday 11 July 2012

Über Mingering Mike - der Mann mit den 1.000 Gesichtern. Ein Radiofeature von Steffen Irlinger

Von 1968 bis 1977 schrieb Mingering Mike über 4.000 Songs, managte 35 eigene Labels und trat in 9 von ihm geschriebenen und produzierten Filmen auf, in denen er Hauptdarsteller, Regisseur, Komponist und Produzent in einer Person war.
Sie fragen, wieso die Welt bis heute noch nichts von Mingering Mike gehört hat?

Dann hören Sie hier den Beitrag von Steffen Irlinger über den Mann mit den 1.000 Gesichtern:
Who the heck is Mingering Mike?

Mingering Mike's Plattencover sind momentan und bis Ende Juli 2012 in Köln in der Ausstellung "Recordings Rejected: Outsiders in Music" in der Galerie Susanne Zander ausgestellt:


Thursday 28 June 2012


in "Creative Growth"

June 28 - August 10, 2012
Rachel Uffner Gallery, NY 

AURIE RAMIREZ, Courtesy of the artist and Creative Growth Art Center

Wednesday 27 June 2012


OSWALD TSCHIRTNER, Ein Taschentuch, 1983, Tusche auf Papier, 
Courtesy Galerie Susanne Zander

August Walla, Oswald Tschirtner u.A -
in Gerhard Roths Text- und Bildband
"Im Irrgarten der Bilder. Die Gugginger Künstler"

"Die Welt des Wahns ist aus Sicht des Österreichers Gerhard Roth von der "vernünftigen" nur graduell zu unterscheiden. Ursprungsort dieser Einsicht ist für ihn die Landesnervenheilanstalt Gugging. Nach 1945 wurde sie zu einem weltberühmten Ort künstlerischen Schaffens. In seinem Buch "Im Irrgarten der Bilder" setzt er ihren Patienten ein Denkmal."

Zitiert aus der Rezension von Angela Gutzeit "Der Ausgrenzung des Wahns entgegenwirken", vom 25.06.2012 auf
Die vollständige Rezension finden Sie hier.

Residenz Verlag, ISBN-10: 3701732728

Friday 1 June 2012

OUTSIDER FLAIR in der Fondation Cartier?

MAMADOU CISSÉ, Untitled, 2005,
Courtesy Galerie Bernard Jordan, Paris ­ Zurich, © Mamadou Cissé
EXHIBITION /// Histoires de Voir: Show and Tell 
Fondation Cartier pour l'art contemporain, Paris 
from May 15 to October 21, 2012,

DIE ZEIT / 09.06.2012 / Jörg Scheller über die Ausstellung in Paris:

Erst Ausbeutung, dann Ausstellung
Was eigentlich ist High-End-Naivität? In Paris kann man sie jetzt besichtigen: Ausgerechnet bei Cartier.

(...) Somit ist frappant, dass es bei Cartier keinerlei Durchmischung mit Werken von in Frankreich geborenen Künstlern gibt. Allen respektbekundenden Katalogtexten zum Trotz fällt der Blick des Anthropologen auf kuriose Artefakte – und die Ausstellung rutscht damit weit hinter die jüngere Forschung zurück, die sich auch der eigenen Umwelt zuwendet, statt weiterhin reflexhaft gen Afrika, Indien oder Südamerika zu segeln. Diese selbstnobilitierende Selbstausklammerung ist Kommentar genug zu den latenten Prämissen der Schau, deren politische Korrektheit und löbliche Aufwertung des »Naiven« nicht vor methodischer Gestrigkeit schützen. Schön, wenn man sich nicht nur mit Popanz, sondern auch mit Toleranz, nicht nur mit Brillanten, sondern auch mit Dilettanten schmücken kann. Noch schöner, wenn diese nicht vor der eigenen Haustür leben.

Abgesehen davon trifft Cartiers Frühjahrskollektion des Andersartigen durchaus einen Nerv der Zeit. »Outsider Art« ist immer wieder mal ein Thema im Kunstsystem, von Charlotte Zanders Sammlung auf Schloss Bönnigheim bei Ludwigsburg über die Schau Heterotopia 2008 in Frankfurt am Main bis hin zur florierenden YouTube-User-Kunst. Das Außerakademische, Autodidaktische und Idiosynkratische entfaltet gerade in einer professionalisierten und spezialisierten Gesellschaft seinen größten Reiz. (...)

Lesen Sie hier den vollständigen Artikel!

Friday 25 May 2012

"Recordings Rejected: Outsiders in Music" - Mingering Mike, Daniel Johnston, Wesley Willis, André Robillard and others

"Recordings Rejected"
Outsiders in Music
22. June - 28. July 2012
Opening: Friday, 22.06., 6 – 10pm

Mingering Mike, Daniel Johnston, Wesley Willis, André Robillard,
Bruno Schleinstein, Oswald Tschirtner, August Walla, Howard Finster and others

The fascination with Outsider Art in music has become increasingly visible in recent years and punctuates pop history with a long list of quotes and cross-references. For many musicians Outsider Art and Art Brut - terms that refer to art by prisoners, loners, the mentally ill and other marginalized people, made without thought to imitation or presentation - embodies the recurring desire for radical authenticity, renegation and otherness. Bands are called Art Brut in an coquetry with Jean Dubuffet's term for the raw aesthetics of the self-taught beyond academia and dogma coined 1945. Or they name themselves Vivian Girls in a wink-of-an-eye homage to Henry Darger's bittersweet watercolour waifs from his 15.000-page magnum opus "In the Realms of the Unreal," discovered posthumously in 1973. Prinzhorn Dance School pay tribute with their band name to a German psychiatrist, who in the early 20s imploded the boundaries between psychiatry and the arts with his groundbreaking publication "The Artistry of the Mentally Ill." Examples range from the names of bands to song lyrics, from the album cover design to the video clip aesthetics.

The exhibition "Recordings Rejected" at Galerie Susanne Zander sets off here in search of further parallels and stumbles across surprising revelations: renowned Art Brut artists who have always made music, Outsider musicians who devote themselves to the visual arts and Outsiders on the verge between music, installation and conceptual art. 
  In this context, the gallery show will feature artworks by two seminal figures of the American underground music scene: Daniel Johnston and Wesley Willis (1963 - 2003), the latter for the first time in Germany. The exhibition will also present the weird and wonderful album covers from Mingering Mike's imaginary superstar discography, here in a limited archival print edition. Other featured artists are Bruno Schleinstein, forever immortalized by Werner Herzog as Kasper Hauser, and André Robillard with his fascinating arsenal of home-made rainbow-coloured guns (both were passionate accordion players), "Reverend" Howard Finster, whose work branded for years several iconographic Talking Heads' album covers and Gugging artist Oswald Tschirtner, to whom the Einstürzende Neubauten dedicated their 1983 album "Zeichnungen des Patienten O.T."

Galerie Susanne Zander will feature Daniel Johnston in a one-man show in the Fall 2012 / Spring 2013.
"Rejected Recordings" is curated by Monika Koencke.

The exhibition will be open until midnight on Saturday, 23. June on occasion of the c/o pop. 

Galerie Susanne Zander
Antwerpener Str. 1
50670 Cologne


Friday 18 May 2012

Morton Bartlett at Hamburger Bahnhof, Berlin

Morton Bartlett -
secret universe III
Fri 11 May - Sun 23 September 2012
Hamburger Bahnhof - Museum für Gegenwart, Berlin

The third exhibition of the "secret universe" series presents the work of the American artist Morton Bartlett (1909-1992). Central works of his oeuvre are fifteen semi-life-sized dolls, twelve girls and three boys. Having dropped out of Harvard in order to work as a commercial photographer, Bartlett began producing these dolls in the middle of the 1930s, attempting to make them seem as life-like as possible.

He studied anatomy books and costume history, learned to sew and work with clay. It took him up to a year to create each of the figures. Bartlett designed various costumes and wigs in order to stage the dolls in true-to-life situations. He inserted them into various moments from real life and thus he breathed life into his creations through photography.

His work was created for private use and was never exhibited during his lifetime. The dolls, approximately 200 black-and-white photographs, drawings, color slides and costumes were first discovered in 1993.

The exhibition in the Hamburger Bahnhof is the first solo museum show of Morton Bartlett's work in Germany. The "secret universe" series has been made possible by the 'About Change, Stiftung'.
This exhibition series is curated by Claudia Dichter and Udo Kittelmann

Hamburger Bahnhof - 
Museum für Gegenwart (Berlin)
Invalidenstraße 50-51
10557 Berlin

Saturday 28 April 2012

Michael Patterson-Carver & over 80 artists at White Columns auction starting today!

MICHAEL PATTERSON-CARVER,"Crocodile Tears" (2011), 36 x 51 cm
courtesy Galerie Susanne Zander

A benefit exhibition and auction featuring work by over 80 artists to support White Columns

All artwork will be on view at White Columns from April 28 - May 12.

Artists include:
Ricci Albenda, Richard Aldrich, Jennifer Bolande, Kerstin Brätsch, Sarah Braman, Josh Brand, Jason Brinkerhoff, Brian Calvin, Antoine Catala, Talia Chetrit, Billy Childish, Steve Claydon, Anders Clausen, Anne Collier, Jane Corrigan, Anne-Lise Coste, Sarah Crowner, Cynthia Daignault, N Dash, Julia Dault, Lucky DeBellevue, Jeremy Deller, Louise Despont, Gregory Edwards, Simon Evans, Tom Fairs, Jeff Funnell, Jack Goldstein, Gregory Edwards, Simon Evans, Tom Fairs, Sam Falls, Peter Fend, Joe Fyfe, Jack Goldstein, Rodney Graham, Mark Grotjahn, Janice Guy, Matthew Higgs, John Hiltunen, Karl Holmqvist, Cannon Hudson, Marc Hundley, Jessica Jackson Hutchins, Nathan Hylden, Jason Irwin, Chris Johanson, Rashid Johnson, Nikki Katsikas, KAWS, Zak Kitnick, Josh Kline, Brian Kokoska, David Korty, Jadranka Korsorcic, Jason Kraus, Ella Kruglyanskaya, Andrew Kuo, Alex Kwartler, Jim Lambie, Margaret Lee, Pam Lins, Jason Loebs, Agnes Lux, Adam Marnie, Chris Martin, Eddie Martinez, Andrew Masullo, Justin Matherly, Nick Mauss, Adam McEwen, Siobhan Meow, Dan Miller, Dave Muller, Jeanette Mundt, Scott Ogden, Ken Okiishi, Laura Owens, Erik Parker, Marlo Pascual, Michael Patterson-Carver, Zak Prekop, Richard Prince, Eileen Quinlan, Scott Reeder, Tyson Reeder, Daniel Rios Rodriguez, Mariah Robertson, Prophet Royal Roberston, Walter Robinson, Will Rogan, Ben Schumacher, Davina Semo, Michael E. Smith, Ryan Sullivan, Spencer Sweeney, Tom Thayer, Mickalene Thomas, David Tibet, Josh Tonsfeldt, John Tremblay, Daniel Turner, Nicola Tyson, Andra Ursurta, Berry van Boekel, Ned Vena, Allyson Viera, Michael Waugh, B. Wurtz

For further information on the exhibition and auction click here 

On the White Columns:

Tuesday 24 April 2012

Horst Ademeit at Corbett vs. Dempsey, Chicago

Courtesy Corbett vs. Dempsey

Horst Ademeit
Corbett vs. Dempsey
(Chicago, IL)
until May 5, 2012

In the East Wing, CvsD is proud to present the Chicago debut of the celebrated German photographer Horst Ademeit. From the 1980's until his death in 2010, Ademeit produced thousands of Polaroid images of his daily life, annotating them with minute microscript on the margins of the photo itself. These small, compulsive, often startlingly beautiful documents, which included images of suspicious objects - cars, broken windows, construction zones - in his neighborhood, as well as arrangements of his everyday objects - newspaper, food, clocks, Geiger counters - were part of an elaborate, paranoid vision of contemporary life. Ademeit was the subject of an expansive exhibition at the Hamburger Bahnhof in Berlin last year.

For further information click here! 

Monday 23 April 2012

REVIEW // ART COLOGNE 2012 im Kölner Stadtanzeiger

 ART COLOGNE Review im Kölner Stadt-Anzeiger vom 22.04.2012

"Eine Messe wie ein Popkonzert"  
 von Emmanuel van Stein

Die Qualität des Angebots bei der 46. Art Cologne hat das kauffreudige Publikum überzeugt. Mit über 60 000 Gästen wurde die Besucherzahl der Vorjahre übertroffen. Auch Hochkarätiges wechselte den Besitzer, etwa Baselitz' „Der Soldat“ für 2,27 Millionen Euro.

High Noon im Eingangsbereich zur Halle 11 der Kölnmesse. Am Wochenende belagerten zur Mittagszeit so viele Menschen die Kassen der Art Cologne, als wollten sie sich die letzten Karten für den Auftritt eines Popstars sichern. Der gefeierte Star war hier der 46. Internationale Kunstmarkt, der am Sonntagabend seine Pforten schloss. „Besser und stärker“, urteilte der Londoner Galerist David Juda. Kein Wunder, dass mit über 60 000 Gästen die Besucherzahl der Vorjahre übertroffen wurde.

Ein fettes Ausrufezeichen setzte Messeneuling David Zwirner: Der New Yorker Galerist gab Georg Baselitz’ Bild „Der Soldat“ (1965) für 2,27 Millionen Euro ab. Derweil verkaufte der Dortmunder Utermann George Rickeys Edelstahlplastik „Cluster of Cubes“ für 280 000 Euro. Der Münchner Galerist Fred Jahn, der beim ersten Kunstmarkt 1967 im Gürzenich dabei war, dreißig Jahre lang aussetzte und nun mit seinem Sohn antrat, erlebte „intensive Tage und viel Zuspruch“. 39 000 Euro erlöste er für eine Baselitz-Arbeit. Zufrieden war auch der Stuttgarter Schlichtenmaier, der Abnehmer für eine Leinwand von Karl Otto Götz (1954, 55 000 Euro) und ein Bild von Peter Brüning (58 000 Euro) fand.
Schon am Vernissage-Abend veräußerte die Baseler Galerie Henze & Ketterer ein Heckel-Aquarell für etwa 30 000 Euro. Es sei ein „spontaner Kauf“ gewesen, erinnerte sich mit Freude Alexandra Henze Triebold. Der Sammler habe nicht einmal gehandelt, „das ist inzwischen selten“ und zugleich ein Indiz für die hervorragende Stimmung auf der Messe. Eine Kirchner-Grafik (120 000 Euro) wechselte ebenfalls während der Vernissage den Besitzer.

Die Hamburger Rückkehrerin Vera Munro schwärmte von „kunstinformierten und -begeisterten“ Besuchern. „Es war eine tolle Messe“, begeisterte sich auch der Kölner Johannes Schilling (Galerie Boisserée), „noch lebendiger und erfüllender als im letzten Jahr.“ Man habe neue, „sympathische“ Kunden gefunden aus Österreich und der Schweiz.

Eine Etage höher, wo die Bereiche der New Contemporaries und New Positions schon immer auf den Teppichboden verzichteten, markierte zumal im Nada-Bereich die hohe Notebook- und Tablet-Dichte bisweilen eine Hemmschwelle. Aber man brauchte die Aussteller nur anzusprechen, sofort ergaben sich interessante Plaudereien. Für die jungen Frankfurter „Bischoff Projects“ war die Nada die erste Kunstmesse überhaupt. Die Betreiber freuten sich über „tolle Sammler und Museumsleute“, verkauften im vierstelligen Bereich und hoffen, vom Erlös an der Nada Miami teilnehmen zu können. Zufriedenheit herrschte auch bei Cinzia Friedlaender (Berlin), wo man allerdings erneut Skepsis begegnete. „Was ist denn die Nada Cologne?“, war eine häufig gestellte Frage.

Nun, es ist eine amerikanische Organisation innovativer Galerien, die sich für weitere Kölner Auftritte empfiehlt. „Mir gefällt, dass die Nada keine wilde Spielwiese ist“, betonte die Kölner Galeristin Susanne Zander, deren Koje in Sichtweite zur Nada stand. Zander gab George Wideners „Robot Puzzle“ für 24 500 Euro ab. Das Nada-Konzept empfand der Leipziger Christian Seyde (Galerie Kleindienst) „klarer als das von Open Space“, dem Vorgänger. Seyde lobte Kunden und Atmosphäre.

Der Stuttgarter Galerist Klaus Gerrit Friese, Vorsitzender des Bundesverbandes Deutscher Galerien und Kunsthändler, bilanzierte, die Zufriedenheit und das Interesse der Besucher seien „gewaltig gewachsen“. Friese, der eine Arbeit von Karin Kneffel für 60 000 Euro verkaufte, erzählte von einer sehr speziellen Begegnung: Angesichts eines aus mehreren Spezies zusammengesetzten, 68 000 Euro teuren Tierpräparats meinte ein Jäger: „Das mach ich euch für 2000 Euro.“

Tuesday 17 April 2012

REVIEW // HANDELSBLATT (APRIL 13th, 2012) Miroslav Tichy's "Erotische Zeichnungen"

MIROSLAV TICHY, ohne Titel, Tusche auf Papier,

 ART COLOGNE Review im Handelsblatt 

Starke Teilnehmer schüren hohe Erwartungen 

Die älteste Kunstmesse der Welt zieht wieder viele erstklassige Galerien an. Auf die Besucher der Art Cologne wartet ein anregender Mix aus Klassischer Moderne, Nachkriegskunst und zeitgenössischer Kunst. Neue Wege betritt die Messe mit ihrer Kooperation mit der amerikanischen Kunstorganisation New Art Dealers Alliance (NADA). Sie bringt allein 30 Aussteller mit nach Köln. 
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Monday 16 April 2012

Galerie Susanne Zander @ ART COLOGNE

Galerie Susanne Zander presents 

 Preview on Tuesday April 17th, 17 - 21 pm

GEORGE WIDENER,"robot puzzle"(2011),
mixed media on paper, 152,5 x 121 cm

The 46th Edition of ART COLOGNE

18-21 April 2012: daily from 12 a.m. to 8 p.m.
22 April 2012: from 12 a.m. to 6 p.m.

Come and visit us inhall 11.3 - booth E29!

Saturday 14 April 2012

Dietrich Orth: "Der Feuerfrier-Effekt" @ Susanne Zander, Cologne

"LSD Beruhigungsbild" (1990),

Mischtechnik auf Leinwand, 157 x 133 cm

18. April - 16. June 2012
opening: Wednesday, 18/04/2012, 6 – 9 pm

Born 1956, Dietrich Orth was the rising star of the art market in the early 1990’s. Situated in the equivocal territory of Conceptual Outsider Art - his pastel-colored large-format canvasses are, as Roberta Smith once pointed out, oddly reminiscent of an early Bruce Nauman – Orth's work renders categorization obsolete and demonstrates how the line between outsider and insider art is but tenuous. His circumspect yet intensely evocative paintings, which often take the form of quasi-mystical diagrams, analyze "the dangers and potential rewards, however large or small, of engaging the world's chaos" (K. Marriott Jones in Artforum, Sept. 1994).

Diagnosed with clinical psychosis in his late twenties, Orth was originally introduced to painting as a therapeutical measure, but went on to develop a pictorial language that in turn serves as a vehicle of therapy for the viewer himself: he is actively involved in the interplay between representation, text and his own mental performance. Orth's texts are essentially "instructional" and function both as a title and an introduction to specific works, always transcending merely personal and curative concerns. Orth's paintings can be seen as an investigation on body language, the effects of his psychopharmaceutical medication and a study of a range of emotional landscapes and states of mind broken down to illustrated and structured processes of experience.

Galerie Susanne Zander showed Dietrich Orth's work for the very first time in 1989. David Zwirner dedicated a solo exhibition to the self-taught artist in New York in 1994, Kasper König at the Portico Frankfurt 1997. Today, Orth lives in a psychiatric institution in the South of Germany. He has long given up painting.

"My pictures do not require additional interpretation. They all serve as a blueprint for the imagination of the viewer. To produce paintings that by force of their imaginativeness are able to renew the viewer's reduced living-effectiveness after a breakdown - that is my aim in life."
(D. Orth)

Art Brut Masterpieces from the Treger-Saint Silvestre Collection: HENRY DARGER, ADOLF WÖLFLI, MADGE GILL, SCOTTIE WILSON, AUGUSTIN LESAGE...

Sem título, sem data
aguarela e lápis sobre papel
54,6 x 148,6 cm
courtesy Richard Treger and Antonio Saint Silvestre

Sem título, c. 1942
óleo sobre tela
149 x 89 cm

courtesy Richard Treger and Antonio Saint Silvestre

Sem título, sem data
courtesy Richard Treger and Antonio Saint Silvestre

Sem título, sem data
tinta sobre cartão
15 x 10 cm
courtesy Richard Treger and Antonio Saint Silvestre

20. April - 23. September, 2012
The Arpad Szenes-Vieira da Silva Foundation

ARTE BRUTA. Terra Incognita

Art brut, a term coined by Jean Dubuffet in 1945, refers to works of art from the fringes of the art world: the mentally ill, psychic mediums and anonymous people with a compulsion to create. These artists who do not claim to be artists ignore established artistic standards. They are indifferent to showing their work and sometimes even take pains to hide it. Their only aim is to create, and their works are treasures whose discovery requires the soul of an explorer. For to seek out, preserve and collect art brut may be the only genuine artistic adventure left for the twenty-first century.
Richard Treger and Antonio Saint Silvestre are of the race of explorers of terra incognita. Their combined sensitivity and taste for artists off the beaten path, and their years of defending them during their remarkable career as gallery owners in Paris, made it inevitable that their collection feature not only the most authentic art brut, but also artists on the fringe of art brut, artists through whose work “sometimes blow the winds of art brut” (Dubuffet).
The Treger-Saint Silvestre Collection, comprising hundreds of works, of which fully two-thirds may be considered outsider art, allows us to enter this unknown world, whose crown jewels - Henry Darger, Adolf Wölfli, Madge Gill, Scottie Wilson and Augustin Lesage - are gradually making their way into the most prestigious public collections, such as the MoMA in New York and the Centre Pompidou in Paris.
The movement of art brut is one of freedom, and it is fitting that the Treger-Saint Silvestre Collection should be the perfect reflection of that freedom.
Portugal has given the world some of its foremost artists, such as Vieira da Silva and, in the genre that is our focus, Jaime Fernandes, who secretly forged unforgettable works from within the Miguel Bombarda psychiatric hospital.
The Arpad Szenes-Vieira da Silva Foundation is honoured to welcome this extraordinary collection, a tribute to the creative impulse that Vieira da Silva would have embraced wholeheartedly.

Thursday 12 April 2012


 "At Wickey Sansinia They fight their pursuers still nude", 19” x 37”,  
 courtesy The Centre for Intuitive and Outsider Art

Review/Interview by Greer Nicholson 

We live in a time of obsession with celebrity. Every child wants to grow up to get their 15 minutes of fame, as promised by Andy Warhol. Reality TV rules the entertainment roost and the notion of the struggling artist may still be romantic, but it’s out of fashion. The story of Henry Darger, an “outsider” artist who kept his paintings private while he was alive, is told in ”Revolutions of the Night”. Henry lived a world away from the idea of celebrity, although he has achieved enormous international recognition since his work was discovered. Born in Chicago in 1892, he died unheralded in 1973. Tabloid writers would describe his life as “tragic”.

“Revolutions of the Night” is a magical film and offers a real treat for the viewer, whether you care about art or not. Seeing it made me jump for joy, leaving me both entertained and very thoughtful. It asks a lot of questions about what it means to be an artist, when there is no audience or support from others. This movie is what documentary film-making should be about. It glows with beauty and fizzes with provocative and fascinating ideas. It deals with Henry becoming an orphan, confined to a mental institution and settling for a menial job. But Henry has a big deal secret life. In the room he rented, he was making glorious and huge paintings. Many of these were about an imagined war between different kingdoms and the suffering of children. At the same time, he was writing a longer-than 15,000 page single-spaced novel. He spent a lot of his time creating, without anyone else ever seeing the results.

Throughout all his productive years, Henry also hoarded lots of stuff, including his paintings, writing and scrap books on various subjects, including the weather. Ironically, he rented a room from artist Nathan Lerner, yet he never shared his own creations with his landlord. After Henry died, Nathan and his wife Kiyoko started going through Henry’s stuff. Exhibitions followed, along with lots of praise from experts and extended commentaries on the super colours and the distinctive cartoonish characters. The nature of the physical suffering shown in the paintings has been seen as controversial. For Henry, the only benefit of all this attention was that he got a better gravestone.

I saw the film as part of the FIFA festival of films about art, in the broadest sense, in Montreal and I interviewed director Mark Stokes (MS). (No, this FIFA has nothing to do with association football).

Here is the interview:

G: Apart from the way you use light to let the paintings speak for themselves, some of the most difficult stuff in the film is the detail about the Lincoln, Illinois asylum.

MS: There was a very detailed investigation in 1908 and I read a vivid report which contained half a million words and interviews with more than a hundred people. Half the town worked there as it was a very big place. One section of the report describes a young girl being found tied to a bed and nobody knowing how long she might have been there.

G: The bed and the chair and the way in which they might have been used to punish people – that’s frightening detail, in the film.

MS: It’s called a Utica crib and people at Lincoln were kept enclosed in it. There are many stories.

G: What was your first reaction to the paintings?

MS: I thought they deserved to be understood more and that Henry Darger deserved to be seen as more than a caricature figure. So much that I read described the paintings as controversial, disturbing or unsettling and people will not automatically love them.

G: People thought that perhaps Henry had tortured others in the ways he depicted?

MS: I don’t believe that at all. Did he carry out any acts of torture? No. Was he aware of people at Lincoln being treated badly? Yes. There were people who believed that disabled people could not feel pain! That’s clearly wrong, but it’s there in the 1908 investigation.

G: It’s clear in the film that people saw Henry as an odd character who kept himself very private.

MS: Different aspects of his life come out of his diaries. You get a sense of what he was about from a lot of fragments about religious and apocalyptic ideas, especially. He used his Chicago Public Library card and was very interested in reading philosophy books.

G: It’s sad to think he was so alone.

MS: He wasn’t, really. He went to the same diner every day. He had a friend he spent some time with. He created so much but he did socialise.

G: Does his work beg questions about class?

MS: Definitely, because he was aware of his position in society. Also, he was an outsider, which is why people think of his work as difficult and fantastic. People blame him for not pursuing fame, but he had decided not to, because of his life experience. Less loud voices can have more impact, over time.

G: But as he worked, he must have been aware of TV and of the fame of others?

MS: He saw his own place in the world in his own way. On the hospital he then worked in, he commented privately that he had more brains than all the others combined. He withdrew from the world in terms of his creative life and he recreated his sense of himself. Quirks of fate stop him from having another life.

G: It’s almost impossible for us to understand such a life, obsessed with creation, but without wanting any public reaction. In a way, it’s purer art for not having a multitude of influences from people seeing the work.

MS: He’s a fascinating artist who has influenced many other artists. Henry Darger had an incredible life.

G: The music is beautiful and goes well with the story, without being intrusive.

MS: Wayne Balmer wrote the score.

movie website:

This film really deserves to be distributed and shown widely as it offers a sympathetic vision of a truly innovative artist. If you get to see it, you will have a rare treat.

The Art Newspaper
published March 27th, 2012 
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