Thursday 28 February 2013


Courtesy TISSUE Magazine


Now here’s a commodified flip-through view of the Vitrine at the beletage of avantgarde print publishing 032c Workshop on last Tuesday’s TISSUE N°3 launch & SOCIÉTÉ DE 032C bar night (Feb 26th 2013). Showing works (from upper left to lower right) by A.ACTIVITIES, LUKAS GANSTERER, MIROSLAV TICHY (mind the original scribbles), MARTIN EDER, WALTER DAHN, PETER KAADEN, THOMAS BAYRLE (mind the original print), FEE ROMERO (mind the original pubic hairs), and MAXIME BALLESTEROS.

THOMAS BAYRLE, Herr und Frau Schwanz, 1970
Siebdruck auf Karton, 42 x 60 cm
Courtesy of the artist and Galerie Barbara Weiss

MIROSLAV TICHY, P 339 (Ohne Titel)

mixed media on paper, 29.6 x 20.7 cm
Courtesy of Galerie Susanne Zander

MIROSLAV TICHY, P 378 (Ohne Titel
mixed media on paper, 29.4 x 21.1 cm
Courtesy of Galerie Susanne Zander

The exhibition can still be viewed the next days at 032C Workshop, Brunnenstr. 9, Berlin.

Saturday 23 February 2013

WESLEY WILLIS @ Galerie Susanne Zander, Cologne

Wesley Willis, Untitled (Cityscapes and Imagined Buildings), ca. 1982,
ballpoint pen on photocopy, 28 x 21,5 cm, Courtesy Galerie Susanne Zander

Wesley Willis
"City Of Many Dreams"
1. March - 10. April 2013
Opening: Friday 1.03., 6 – 10 pm
"That's what makes my lines, the ink pen moves, ready or not." 
Wesley Willis

Wesley Willis (*1963 - 2003) was an American singer - songwriter and artist from Chicago, who was well known in the underground for his simple but unique music. He wrote humorous, bizarre, and frequently obscene texts and won a large fan community in the 1990s. Aside from his musical solo work, he was also the front man of the punk rock band Wesley Willis Fiasco.

Wesley Willis sketched hundreds of unusual, complicated, colored ballpoint drawings on paper, most of them showing Chicago street scenes. He sold them in the streets or gave them away to his friends. Later, they appeared on many of his record covers. Chicago, the birthplace of the skyscraper, dominated Willis’s drawings with its impressive skyline as a motif. Almost obsessively, he explored the Dan Ryan Expressway, the congested freeway with its cars and trucks, which connects Chicago’s South Side with the city’s downtown. In Wesley’s work it represents a metaphor for his wish to bridge the two worlds.

After leaving the Wesley Willis Fiasco, Willis’s popularity increased significantly. In 1995, he signed a contract as a solo musician with American Recordings and released two albums. He toured and could be seen frequently on MTV. As a solo artist Willis recorded more than 50 albums with over 20 tracks each. His songs explore themes of daily life such as fast food, bus lines and cultural trends, but also crime and violent confrontations with super heroes. In 2003, the filmmaker Daniel Bitton released a documentary film about Wesley Willis entitled The Daddy of Rock 'N' Roll. The documentary shows Willis ‘talking to himself’ and to others, taking the bus, writing a song on a public computer and visiting his friends.
At age of 28, in 1989, Willis began to hear voices, which he described as "demons." Eventually, he was diagnosed with paranoid schizophrenia. According to him, music helped to fight these voices in his head. This theme was picked-up by Die Goldenen Zitronen, with whom Willis toured the United States, in the song “Of Wesley Willis’s Demons.” (Album: Lenin, 2006). 
Wesley Willis died on August 21, 2003 at age 40 in Skokie, Illinois, from complications resulting from chronic myeloid leukemia. 2013 is the year in which Wesley Willis would turn 50.
The show "City Of Many Dreams" at Galerie Susanne Zander will show the first comprehensive exhibition with the works by Wesley Willis in Germany.
WESLEY WILLIS, The Dan Ryan Expressway, 1984, mixed media on cardboard, 74 x 101,5 cm,        Courtesy Galerie Susanne Zander


Norma Mangione presents HORST ADEMEIT @ Chert, Berlin

HORST ADEMEIT, Untitled 29.05.2002, inscribed polaroid, Courtesy Galerie Susanne Zander  

Norma Mangione Gallery at Chert, Berlin

5/03/2013 - 13/04/2013  
OPENING: SA. 02/03/2013, 7 am

Francesco Barocco
Michael Bauer
Winnifred Birts
Raphael Danke
Gavin Murphy
Ruth Proctor
Stefanie Popp
Horst Ademeit
Carol Rama
Karin Székessy

HORST ADEMEIT "OBSERVATION" at Galerie Gebr. Lehmann, Berlin

HORST ADEMEIT, Untitled 02.10.1992, inscribed polaroid, 11 x 9 cm, Courtesy Galerie Susanne Zander

Horst Ademeit

Galerie Gebr. Lehmann / Berlin

09.03. - 20.04.2013
Opening 08.03.2013 18-21 h

Galerie Gebr. Lehmann Lindenstraße 35 10969 Berlin
Telefon +49 (0) 30 259 272 73 Fax +49 (0) 30 259 272 75
Di–Fr 11–18 h Sa 11–18 h
www.galerie -gebr


Miroslav Tichý @ TISSUE Magazine N°3, Berlin

Courtesy TISSUE Magazine
SEE & READ more about Miroslav Tichý
in the current TISSUE Magazine

TISSUE N°3 // 26.02.2013 // 032C

Feb. 26th 8pm
032C Workshop
Brunnenstr. 9
10119 Berlin

Wednesday 13 February 2013

REVIEW // GEORGE WIDENER im Tagesspiegel, 13.02.2013

GEORGE WIDENER, I was born, 2012, Courtesy Galerie Susanne Zander

Die rote Zwei

Ein Artikel von Christiane Meixner
Der US-Maler George Widener berechnet im Hamburger Bahnhof die Welt. Mit der vierten Ausgabe "Secret Universe" beschließt das Berliner Museum für Gegenwartskunst seine Ausstellungsreihe, die Einzelpositionen abseits der „gängigen Labels des Kunstbetriebs“ ein Forum gegeben hat.

Zahlen geben Halt, wenn das Leben wenig Sicherheit bietet. Auf mathematische Ordnung ist Verlass. Mögen andere seine Zahlenkolonnen als bedrohlich empfinden: Für George Widener sind sie ein präzises Instrument, um die Ereignisse in der Welt zu berechnen und ihnen damit einen Sinn zu unterstellen. Etwa dem Untergang der Titanic vor 101 Jahren. An Bord befand sich auch George Dunton Widener, der Urgroßonkel des amerikanischen Künstlers. Auf seinen Gemälden, die im Hamburger Bahnhof im Rahmen der Ausstellungsreihe „Secret Universe“ zu sehen sind, wird immer wieder die Zahl der Passagiere mit der Menge des Proviants an Bord und der Leistung der Schiffsmaschinen verglichen. (...)

Lesen Sie den vollständigen Artikel hier!

Saturday 2 February 2013

Why There’s No Such Thing As ‘Outsider’ Art

great article by Jerry Saltz about Outsider Art
published on VULTURE (2/1/13)

SAVA SEKULIC, "Das Haus", oil on pasteboard, Courtesy Galerie Susanne Zander

Jerry Saltz on the Outsider Art Fair — 
and Why There’s No Such Thing As ‘Outsider’ Art 

The Outsider Art Fair has been beautifully revived, and today through Sunday, you can see it in the charmed spaces of the former Dia Building at 548 West 22nd Street. Launched in 1993, the Fair spent many happy years in the Puck Building, during which time brilliant visionaries were seen for the first time — artists like James Castle, Morton Bartlett, George Widener, Melvin Way, Judith Scott, and A.G. Rizzoli, all now part of the "outsider" canon. Then the show hit a plateau about eight years ago and eventually went all but bland in an out-of-the-way office high-rise on West 34th Street. By last year, I thought we'd seen the end of a great thing. (...)

Which brings us to the the horrible Rubicon that still separates so-called "outsider," "self-taught," and "visionary" art from institutionally sanctioned official art. Now that even immigration reform can happen, it's time for MoMA — and all museums — to integrate "outsider art" into their permanent collections and erase that distinction for good. They need to allow these artists to take their rightful places in the canon. In addition to the artists mentioned above, visionaries like Hilma af Klint, Emma Kunz, Bill Traylor, Adolf Wolfli, Martin Rameirez, Minnie Evans, John Kane, Clementine Hunter, Hector Hyppolite, and others must be integrated into the canon. At the Fair, there's a 1939–1942 town scene by one of the greatest "outsiders" of them all, Bill Traylor, that would easily compare with any Picasso from the same period. Or, indeed, any artist.

With this outmoded discrimination still in place, the story of art is woefully misrepresentative — a lie, even. Millions of viewers and thousands of nascent artists are being denied the chance to see some of the best work made in the last 100 years simply because it was once decided that to be an artist meant having had preapproved training. It's a self-perpetuating false distinction, like the one art historian Linda Nochlin famously wrote about in 1971, asking, "Why have there been no great women artists?" The answer to this brilliant rhetorical question, of course, was that to be a "great artist," one had first to be trained in the academy via drawing the nude. Since women weren't allowed into academe and were considered too pure to look upon the nude, they couldn't be seen as "great."


Friday 1 February 2013

American Folk vs. Academic Art

HENRI ROUSSEAU "Le rêve", 1910, 204 × 298 cm, Courtesy Museum of Modern Art

Curator, Tear Down These Walls
Roberta Smith in NEW YORK TIMES, 01/31/2013

A MODEST PROPOSAL for this country’s great repositories of pre-20th-century American art: Why don’t you, as Diana Vreeland might have asked, mix folk art in with the more realistic, academically correct kind that has so dominated museums since the 19th century? Despite rising interest in and scholarship about folk art — and even after the wholesale rethinking of several major American wings on the East Coast — the isolation of folk from academic is still the norm. Given that we live in a time of eroding aesthetic boundaries and categories, when many curators are experimenting with integrative approaches in international biennials and commercial galleries, it seems past time for the folk-academic division to soften. It undoubtedly has at some institutions, especially those with modest collections.

But at some of the country’s most influential museums separation remains the rule and has, if anything, been freshly reinforced. Over the past three years four prominent East Coast museums rich in both folk and academic paintings have renovated, expanded and reinstalled their galleries of pre-20th-century American art: the National Gallery of Art in Washington in 2009; the Museum of Fine Arts, Boston, a year later; the Metropolitan Museum of Art last January; and, in December, the entirely revamped Yale University Art Gallery in New Haven. In each case the folk art is largely relegated to separate quarters and granted only a fraction of the wall space. Whatever the rationale for this segregation, it cannot help conveying a sense that folk art is marginal or inferior. (...)

Read the complete article HERE


tactiles tactiques

Chris Hipkiss
Jocelyn Cottencin
Le bureau du doute + publication et multiples : bbb, fais-moi de l’art

22 November 2012 - 02 March 2013
Vernissage thursday 22 novembre from 19h
free admission tuesday - sunday | 14h - 19h

Play it again !, c’est un projet questionnant collectivement les conditions de monstration et réception du dessin donné à voir, un rendez-vous annuel proposé par le BBB centre d’art à l’occasion de Graphéine. Play it again ! peut prendre la forme d’une exposition au BBB, d’une publication papier ou d’un projet en ligne sur le net. Cette année, Tactiles tactiques présente deux univers artistiques autonomes et singuliers. (...)

BBB centre d'art
96 rue Michel-Ange 31200 Toulouse
05 61 13 37 14