Unsere "Paños" als Ausstellungstipp der Woche auf ART Online

Victor Villareal. Untitled (Geisha), ball point pen on cotton handkerchief, approx. 38 x 38 cm,

"Paños. Zeichnung aus einem Gefängnis in Texas" 

bei ART online als kölner Ausstellungstipp der Woche:

"Ein Taschentuch oder auch ein kleines Stück Papier ist mit feinen Linien bemalt. Der Gebrauchsgegenstand dafür, ist ein Kugelschreiber oder auch ein Bleistift. Etwas Anderes bekommt man im Gefängnis nicht, um seinem tiefsten Verlangen einen künstlerischen Ausdruck zu verleihen. Ganze Geschichten befinden sich auf diesen kleinen Kunstwerken, die man "Panos" nennt. Geschichten voll Spiritualität, Ängste und Qualen des Gefängnisalltages, Drogen-Trips, wirkliche und imaginäre Liebesaffären und manchmal auch schamlos profan. Die Galerie Susanne Zander zeigt nun diese Werke texanischer Sträflinge in der Ausstellung: "Panos. Zeichnung aus einem Gefängnis in Texas". Mal werden diese Bilder aus Zuneigung für geliebte Mütter und Freundinnen außerhalb der isolierenden Mauern gemalt, aber auch als Verständigungsmittel unter den Insassen. Wie Tattoos geben die Zeichnungen den isolierten Insassen die Möglichkeit, ihre Bedürfnisse auszudrücken, ihre Erinnerungen zu bewahren und eine Form von kollektiver und persönlicher Identität zu kultivieren. Die Low-Rider-Kunst fand auch bei der Biennale in Venedig großen Anklang, und die "Panos" werden dank ihrer kraftvollen Ikonografie und der Einzigartikgeit ihres bildhaften Stils momentan von einer großen Öffentlichkeit wiederentdeckt."

Die Ausstellung "Panos. Zeichnungen aus einem Gefängnis in Texas" ist vom 28. Juni bis 31. August in der Galerie Susanne Zander zu sehen. 

Gib mir fünf! - Ausstellungstipps
www.art-magazin.de

Paños. Drawings from a prison in Texas at Galerie Susanne Zander, Cologne

Luis Pena, untitled (Gas Mask), 1997, ball point pen on cotton hankerchief, ca. 38 x 38 cm

 "Paños. Drawings from a prison in Texas"

28. June - 31. August 2013
Opening: Friday 28.06., 6 – 10 pm

Currently shown in a special curatorial project by the artist Cindy Sherman for the Venice Biennale within Massimiliano Gioni's "The Encyclopaedic Palace", paños are being rediscovered by a larger audience for their iconographic strength and the uniqueness of their visual style.

At times intensely spiritual or unashamedly secular, paño art draws on the deepest desires of Chicano prisoners, whose artistic expression is limited only by the materials at hand. The word paño is Spanish for cloth or handkerchief, and has become a denomination for the art form itself: a ball point pen or coloured pencil drawing on a cotton handkerchief bought from the commissary or torn from bed sheets of the institution they are doing time in. 

Either made themselves or commissioned as tokens of affection for loved mothers, girlfriends and children on the outside, paños also serve as a secret means of communication with gang members within or beyond the walls of their confinement. Inside the institution, paños often circulate within the economy of the prison as an instrument of trade for cigarettes, drugs or information.

Much of the paño imagery and inspiration is drawn from the larger visual vocabulary of Chicano art such as from murals, pornography, lowrider culture, Mexican history, Catholic iconography, graffiti, tattoo and cartoons, among others, depicting common themes that illustrate various aspects of prison life: the anguish of confinement, drug trips, violence and gang life on the street, love affairs (real or imagined), symbols of religious devotion and of ethnic pride. Like tattoos, paños ultimately allow inmates in their confinement and isolation from the words beyond the prison walls to give vent to their physical and spiritual longings, to preserve memory and to cultivate a form of personal and collective identity.

Twelve years after having first brought paños to the attention of the Cologne public in an exhibition held 2001, Galerie Susanne Zander now shows yet again a handpicked selection of these drawings from a prison in Texas by such names as Eddie Medel, Raymond Parras, Luis Pena, Raul Zapata and Victor Villareal, showing that these works have not lost any of the original fascination they exert on the viewer.

The exhibition organized by Cindy Sherman at the 55th Venice Biennale can be seen at the Arsenale until the 24th of November 2013.

OUTSIDER TRADING // Kirsty Bell's article published in FRIEZE d/e

FRIEZE d/e NO.10 June - August 2013, p.9-10

"Is there any longer an outside to the art world? Outsider Trading"

Find the answer in Kirsty Bell's article about Outsider Art published in the current issue of FRIEZE

Frieze d/e No.10, June - August 2013, p. 9-10
www.frieze-magazin.de

Susanne Zander über "Outsider Art" in der MONOPOL

Susanne Zander und Nicole Delmes, © Delmes & Zander / Galerie Susanne Zander

Susanne Zander im Interview über "Outsider Art" auf monopol-magazin.de

"Für mich ist es Kunst"

"Outsider sind in – spätestens seit der diesjährigen Biennale von Venedig: Kurator Massimiliano Gioni zeigt dort viele Künstler, die sich nicht als solche verstehen. Kritiker feiern die Schau als Triumph über das etablierte Kunstsystem. Die Kölner Galeristin Susanne Zander widmete sich früh der "Outsider Art" und lieferte wichtige Anstöße für eine Diskussion über das Innen und Außen der Kunst. Was hält sie von der Biennale als vorläufigen Höhepunkt der Outsider-Rezeption?

Frau Zander, Sie betreiben Ihre Galerie für Künstler wider Willen seit 1988 – seit 2005 zusammen mit Nicole Delmes – als sich niemand dafür interessierte. Wie sind Sie damals auf diese Nische gestoßen?
Für mich war das eher normal. Meine Mutter sammelte und zeigte Anfang der 80er-Jahre in ihrer Münchener „Galerie Charlotte“ das, was man damals „naiv“ nannte – zum Beispiel Friedrich Schröder-Sonnenstern, der jetzt auch in Venedig dabei ist. Darauf gestoßen ist sie durch Rudolf Zwirner, der damals in Köln immer wieder Outsider präsentiert hat, darunter die erste Ausstellung mit Henry Darger in Europa. Auch Alfred Schmela in Düsseldorf hat damals schon den Polen Nikifor und den wichtigsten Outsider der Niederlande, Willem van Genck ausgestellt. Ich arbeitete fünf Jahre lang bei meiner Mutter. Dann ging ich nach Köln und eröffnete meine Galerie mit einem ganz eigenen Programm.

Inwiefern?
Na, die ersten Künstler wie Dietrich Orth und Wolgang Hueber kamen aus der Psychiatrie in Kaufbeuren oder aus Gugging in Österreich. Dort war auch Arnulf Rainer unterwegs und interessierte sich für solche Positionen. Dann gab es noch die Collection de L'Art Brut in Lausanne, die Jean Dubuffet gegründet hatte. Ich bin dort also an die Quellen gegangen und habe einzelne Künstler ausgewählt.

Gab es damals überhaupt einen Markt für Outsider?
Nein, praktisch nicht. Darüber habe ich auch nicht nachgedacht sondern mich einfach nur für das Authentische in solchen Arbeiten begeistert. Verkauft habe ich anfangs nur an Galeristen wie Zwirner oder Michael Haas und an Künstler wie Rainer oder Hartmut Neumann. Niemand hat das als Dekoration oder Investment gekauft.

Worin bestand denn das Unverständnis eines größeren Publikums?
Das Hauptvorurteil lautete: Therapiekunst. Also Kunst von Geisteskranken und Behinderten. Die Leute haben mich nach der Diagnose gefragt! Also dachte ich: Jetzt erst recht! Ich habe ganz fest daran geglaubt. (...)"

Lesen Sie das ganze Interview HIER

www.monopol-magazin.de

HILMA AF KLINT at Hamburger Bahnhof, Berlin

Hilma af Klint: The Ten Greats, no. 2, Childhood. Group IV, 1907 (detail) © Stiftelsen Hilma af Klints Verk; photo: Moderna Museet/Albin Dahlström

 

 

Hamburger Bahnhof, Berlin 
shows 

HILMA AF KLINT
A Pioneer of Abstraction
15 June - 6 October 2013

"The exhibition presents a first comprehensive survey of the creative work of the Swedish female artist Hilma af Klint (1862-1944), who began to make abstract work in 1906. The survey of her estate shows 200 of her most important abstract pieces as well as numerous other paintings and works on paper that have never been exhibited before. In addition, also numerous notebooks are on display in which the artist captured her visions and ideas.

For Hilma af Klint as for other pioneers of Abstract Art - such as Wassily Kandinsky, Piet Mondrian and Kasimir Malevich - it was the works' spiritual dimension that mattered most. As with many artists and intellectuals of her generation, she was interested in theosophy and anthroposophy and gathered decisive impulses for her creative work as an artist from taking part in spiritualistic séances. Her oeuvre can be seen as an attempt to reach a deeper understanding of the world and human existence.

Hilma af Klint created more than one thousand paintings, sketches and water-colours. But throughout her lifetime she never exhibited her abstract pieces, in which she developed a predominantly organic, and later geometric, formal language. According to her will these works were not supposed to be made accessible to the public until twenty years after her death because she assumed that her contemporaries were not yet able to grasp their full meaning. Yet it was not until the mid-1980s that these works were finally exhibited and honoured for the first time. In view of her significant contribution to the history of abstraction, Hilma af Klint's oeuvre deserves to be rediscovered by a larger audience.

An exhibition of the Moderna Museet Stockholm in cooperation with the Nationalgalerie, Staatliche Museen zu Berlin and the Museo Picasso Málaga. The exhibition in Berlin was made possible by the Verein der Freunde der Nationalgalerie."

For more information, please click here!

www.http://www.hamburgerbahnhof.de/exhibition
www.hamburgerbahnhof.de

HORST ADEMEIT @ Aperture Magazine, NY

HORST ADEMEIT, untitled, 10.02.92, polaroid inscribed, 11 x 9 cm, Courtesy Galerie Susanne Zander

Aperture Magazine featuring HORST ADEMEIT

 

Lynne Cooke's great introduction "Horst Ademeit. Secret Universe" is published in the current edition of aperture magazine #211, Summer 2013, p.66-72 

www.aperture.org

// A conversation with GEORGE WIDENER //

A conversation with GEORGE WIDENER

Part of the exhibition 
"The Alternative Guide to the Universe"
Hayward Gallery - Southbank Center
11 June - 26 August 2013

Foyer Spaces
Wednesday 12 June 2013

www.southbankcenter.co.uk

Galerie Susanne Zander // ART BASEL 2013

Galerie Susanne Zander at Art Basel 2013
Booth D12 I Hall 2.0

Eroticism, Control and Private Universes:
Morton Bartlett - Margret - Miroslav Tichý 

www.artbasel.com

CHRIS HIPKISS at Jack Hanley Gallery, NY

CHRIS HIPKISS, Courtesy Jack Hanley Gallery

CHRIS HIPKISS at Jack Hanley Gallery 
June 13 - July 12 2013
Opening June 13

"Christopher Payen and Alpha Mason met at the age of 18 in a case of love at first sight. Since the late eighties, the couple has worked under various names in parts of the United Kingdom before breaking from British Suburbia in 2001 for the French countryside. Now under the pseudonym “Chris Hipkiss”, the result of their 20+-year collaboration is a singular and multifarious visual language. Populating these vast, subsuming metropolises and more intimate scenes of a city’s interior, their vocabulary reflects long-developed interests in politics, travel, ornithology, as well as feminism and femininity.

Traversing the ancient and futuristic, the obsessively detailed drawings recall Bosch and Brueghel or
Classical frescoes in which all things, living and non-, process toward an unknown destination. Wordplay is an important part of this vocabulary. Adorning the tops of buildings or interwoven into figurative forms, phrases such as “Lossless, lossless, lossless” enter in contemporary buzz-words, and this particular one hints at a sci-fi singularity of information, a memory that never loses.

Perhaps representative of the contemporary struggle in identity-seeking, the cities in the Hipkiss universe seem both oppressive and rife with fertile ground. Unfurling in hypnotic repetition, the “cyber-dominas” that inhabit these post-industrial parallel worlds are personas of the artists themselves. By trying on different “uniforms,” some of them historic female figures, some enigmatic, the artists not only lay bare a search for identity, but also the process of two people becoming one unit while proliferating new selves. (...)"

For more information:

 

www.jackhanley.com

GEORGE WIDENER at Hayward Gallery, London

GEORGE WIDENER, "Magic Sqare (Robot Game)" 2011, 122 x 122 cm, mixed media on canvas, Courtesy Galerie Susanne Zander

GEORGE WIDENER in 
"The Alternative Guide to the Universe"

Hayward Gallery - Southbank Center
11 June - 26 August 2013

"The Alternative Guide to the Universe explores the work of self-taught artists and architects, fringe physicists and visionary inventors, all of whom offer bracingly unorthodox perspectives on the world we live in. Inspiringly original and bracingly eccentric, their work re-imagines our social and cultural conventions in ways that fearlessly depart from accepted ways of thinking.

Contributors to the exhibition explore fictional identities and design imaginary cities; they build healing machines and record the unseen energy flows of our bodies. They speculate on mysteries of time and space; create devices for time travel and communication with other dimensions; and fashion new letter forms designed to liberate the alphabet from the strictures of Western civilization.
Taken together, their work conjures a kind of a parallel universe where ingenuity and inventiveness trump common sense and received wisdom.

Alternative Guide to the Universe features special guest star The Museum of Everything in the Hayward Gallery Project Space - that world-famous wandering space for unintentional, untrained, undiscovered, unclassifiable, unknowable, undeniable and unforgettable artists of modern times ... like legendary rock god Nek Chand Saini, the esteemed creator of the world's greatest art environment."

For more informations click here
www.southbankcenter.co.uk

Galerie Susanne Zander at ART BASEL 2013

MORTON BARTLETT, untitled, ca. 1940-1960, plaster, Courtesy Galerie Susanne Zander

Galerie Susanne Zander at ART BASEL
June 13-16, 2013

Morton Bartlett
Günter K. - “Margret”
Miroslav Tichy

Come visit us in hall 2.0 at our booth D12!


Eroticism, Control and Private Universes: Morton Bartlett - Margret - Miroslav Tichý 

Galerie Susanne Zander's exhibition project for this year's Art Basel is a result of an intricate interplay between three singular and fully self-contained artistic positions that expound on notions of eroticism, control and the complex private universes, which their authors created in secret. All three positions resort to photography as a medium for turning their secret desires "real," yet the gallery proposal is not strictly a photography exhibition. Formally, the works share parallels in their outstanding aesthetic quality and in their portrayal of eroticism. All three positions tell the tale of a sexual obsession and whilst doing so, turn the spectator into a voyeur.


Morton Bartlett's (1909-1992) body of work, comprised of sculptures of girls and boys he started to build in the mid-30s and the photographs and drawings he made of them, are the ultimate testimony of a lifetime obsession. Recently the artist was shown at the 55th International Exhibition curated by Massimiliano Gioni at Venice Biennale, the exhibition series "secret universe" at the Hamburger Bahnhof, Berlin, the New Museum, New York, and the Museo Reina Sofia, Madrid. Galerie Susanne Zander has represented the artist since his discovery in 1999.

Margret is the found chronicle of a love affair that took place between May 1969 and December 1970 between the Cologne business man Günter K. and his secretary Margret. The result is a meticulous documentation comprised of hundreds of photographs and typewritten documents reminiscent of the work of Sophie Calle and Hans-Peter Feldman, which thrusts the viewer defenselessly into voyeurism.The complete documentation was shown in the fall of 2012 by Veit Loers at the Kunstraum Innsbruck in Austria and shortly after at the KW Institute for Contemporary Art in Berlin in the show "One On One" curated by Susanne Pfeffer.


Miroslav Tichý (1926-2011)
Shortly after his death in 2011, the gallery was granted first-hand access to a large part of Tichý's prolific oeuvre which had hereto remained largely unshown and unknown: the artists drawings and paintings. Alongside his blurred, voyeuristic snapshots which have widely defined the enigmatic Czech-born artist, this earlier part of his oeuvre has lead to a complete reevaluation of the artist, shedding a new light on his work as a whole. The gallery showed these works for the first time in 2012 revealing once again the artist's recurrent obsessions: the female, Tichý's eternal object of desire.

www.artbasel.com

55th International Exhibition at Venice Biennale

Victor Villareal, untitled (Geischa), signed reverse, ca. 38 x 38 cm

 

IL PALAZZO ENCICLOPEDICO
an exhibition curated by Massimiliano Gioni

June 1 – November 24, 2013
at the Arsenale and Palazzo delle Esposizioni, Giardini

preview days: May 29-31

Artists shown:

Hilma af Klint, Victor Alimpiev, Ellen Altfest, Pawel Althamer, Levi Fisher Ames, Yuri Ancarani,
Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Miroslaw Balka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Stefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Bratescu, KP Brehmer, James Lee Byars, Roger Caillois,Varda Caivano, Vlassis Caniaris,
James Castle, Alice Channer, George Condo, Aleister Crowley and Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter and Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian and Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão and Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsohn, Carl Gustav Jung, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridge, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons and Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei Yoshiyuki, Sergey Zarva, Anna Zemánková, Jakub Julian Ziólkowski, Artur Zmijewski

www.labiennale.org