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: www.whitecolumns.org

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!
www.corbettvsdempsey.com 

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.“

www.ksta.de

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 
(13/04/2012):

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. 
Klicken sie hier um den Artikel vollständig weiterzulesen. 

veröffentlicht auf www.handelsblatt.com

Monday 16 April 2012

Galerie Susanne Zander @ ART COLOGNE

Galerie Susanne Zander presents 
HORST ADEMEIT
CHRIS HIPKISS
GEORGE WIDENER
MIROSLAV TICHY

 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

DIETRICH ORTH
"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...

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




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

courtesy Richard Treger and Antonio Saint Silvestre



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



MADGE GILL
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
Lisbon



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.

www.fasvs.pt




Thursday 12 April 2012

REVOLUTIONS OF THE NIGHT: THE ENIGMA OF HENRY DARGER

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

REVOLUTIONS OF THE NIGHT: THE ENIGMA OF HENRY DARGER
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: www.dargerfilm.com

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 
veröffentlicht hier 

Wednesday 11 April 2012

Sneak-a-Peek!

AUGUST WALLA, "MM02, Loch in der Ewigkeit da", 
44 x 60 cm, Courtesy Galerie Susanne Zander

AMAZING 360° panoramic view 
of August Wallas room 
click here
Art / Brut Center Gugging: www.gugging.org

REVIEW// MISTER MOTLEY 31 (April 2012) Chris Hipkiss' "Downright Lie" (2011)

CHRIS HIPKISS
"Downright Lie" (2011)
Mischtechnik auf Papier
119 x 118 cm

REVIEW Chris Hipkiss' "Downright Lie" (2011) in www.mistermotley.nl