Tuesday 29 April 2014

Interview mit SUSANNE ZANDER /// ORF1 "Von Tag zu Tag"

Susanne Zander und Thomas Röske
Susanne Zander und Thomas Röske zu Gast in der Sendung "Von Tag zu Tag" auf ORF1 zum Thema Art Brut: Große Kunst am unerwarteten Ort

29. April 2014, 14:05

"Art brut" - rohe Kunst oder "Outsider Art" - in Österreich wird diese Kunst gemeinhin mit dem Begriff "Künstler aus Gugging" in Verbindung gebracht - die Ortsangabe erspart die Frage nach korrekten Bezeichnungen, Fragen nach Zusammenhängen zwischen Krankheit und Kunst, wie sie in der Frühzeit der Beschäftigung mit "Wahnsinn und Kunst" üblich waren. Der deutsche Psychiater Hans Prinzhorn war in den 1920er Jahren in Heidelberg einer der Begründer der Kunsttherapie und begründete die nach ihm benannte Sammlung.

Am Dienstag, den 29. April, findet im Novomatic Forum in Wien eine internationale Diskussion über "Art brut" statt, die sich in den letzten Jahren auch zu einem wichtigen Faktor im Kunstmarkt entwickelt hat. Der Leiter des Museums in Gugging, Johann Feilacher, nimmt daran teil, der Leiter der Sammlung Prinzhorn in Heidelberg, Thomas Röske, und die Kölner Galeristin Susanne Zander. Die beiden letzteren sind Gäste bei Rainer Rosenberg, um über "Art brut" und ihre Bedeutung zu sprechen."

HIER geht es zur aufgezeichneten Sendung

www.orf.at 

Podiumsdiskussion "ART BRUT NOW" /// Museum Gugging

MADGE GILL, untitled, ink on paper, 8,5 x 14 cm, Courtesy Galerie Susanne Zander / Delmes & Zander


Podiumsdiskussion "art brut now"

29. April 2014, 19:00 Uhr

Es diskutieren: Johann Feilacher, Künstlerischer Leiter des museum gugging, im Gespräch mit Max Hollein, Direktor der Schirn Kunsthalle, Frankfurt, Thomas Röske, Leiter der Sammlung Prinzhorn der Psychiatrischen Universitätsklinik Heidelberg, Tim Sommer, Chefredakteur von art. Das Kunstmagazin, Susanne Zander, Leiterin der Galerie Zander, Köln.
Moderation: Ines Mitterer, Ö1

Ausgangspunkt der Fragestellung ist die Schwerpunktsetzung der vergangenen Biennale, bei der der Kurator Massimo Gioni mit seinem im internationalen Feuilleton ebenso be- wie entgeistert rezipierten Konzept des Palazzo Enciclopedico ungewöhnlich vielen Künstlern aus dem Bereich der Art Brut bzw. Outsider Art ebenso Raum gegeben hat wie Größen einer etablierten Kunstszene. August Walla, Oswald Tschirtner, Johann Hauser, Franz Kernbeis, Johann Garber oder Karl Vondal prägen bis heute - als „Künstler aus Gugging“ - weltweit das Bild der Art Brut entscheidend mit. Umso wichtiger ist für eine Kunst-Institution wie Gugging die Frage nach Sein und Heutigkeit einer nach wie vor nicht ausnahmslos anerkannten Kunst.

Die Podiumsdiskussion findet bei freiem Eintritt im Novomatic Forum Wien, Friedrichstraße 7, 1010 Wien statt.

Anmeldung: Katrin Windl 0043/ (0)1 /585 20 21-211, E-Mail: k.windl@novomaticforum.com

www.gugging.at

  

Thursday 10 April 2014

Galerie Susanne Zander at the ART COLOGNE 2014



Galerie Susanne Zander at the Art Cologne
10. - 13. April 2014


Vitis us at booth D40 on the 2nd floor



Featuring works by :

William Crawford
Chris Hipkiss
Paul Humphrey
Miroslav Tichy


Saturday 5 April 2014

"artist unknown #3: Type 42 (Anonymous)" at GALERIE SUSANNE ZANDER, Cologne

Type 42 (Anonymous), Untitled (Sharon Acker, Virna Lisi, Anita Pallenberg, Ali MacGraw)
Archive No TP038/ TP501/ TP056/ TP036), ca.1960s-70s, mixed media on photograph, 8,3 x 10,8 cm
Courtesy Galerie Susanne Zander / Delmes & Zander

artist unknown #3:
Type 42 (Anonymous)


11. April - 5. June 2014
Opening: Friday, 11.04., 6 - 10 pm

This collection was discovered in New York in the spring of 2010. The archive had been kept intact despite its multiple changing hands over the years prior to its discovery. Attempts to trace the origin of the photographs were unsuccessful. The body of work is comprised of approximately 950 Polaroid images. Except for a few, all are inscribed: In most cases the name of the actress in the photograph is written across the bottom of the image; in some cases the title of the film or TV series is inscribed along the top or the bottom of the photograph; in a few cases the artist has written the women's measurements across the top and her name along the bottom.

The photographs primarily present distorted, slightly blurry, occasionally pixelated and floating headshots of actresses as they appeared on TV against dark backgrounds. Additionally there are photographs where whole bodies are presented in ambiguous scenes. There is a strong emphasis on the science fiction movie or b-movie genre for those photographs with movie titles. In some of the photographs the constructs of the actual TV can be seen as a framing device, but for the most part the TV's borders are absent from the picture – one of the remarkable esthetic elements of this collection.

These Polaroid photographs were most likely taken between 1969 and 1972. Further research would be necessary to establish a more exact time period. Since at this time, video recording technology was in its infancy and the commercial availability of the equipment limited, it is unlikely that he used it to “pause” the images we see in the photographs. It is evident that the photographer was extremely diligent in the lenghts taken to capture specific moments from these televised shows and films, which were likely to have run in real time. The viewer can only guess at the number of photographs taken in order to arrive at the final “Type 42” Polaroid. The name “Type 42” refers to the film stock used in this anonymous body of work. It is a Polaroid film that came onto market in 1955 and was discontinued in 1992.

With this show Galerie Susanne Zander opens an exhibition trilogy that presents works by artists about whom little or nothing is known. Here, the quality and autonomy of the artistic work itself is the focus. There are no artists’ curricula vitae, the viewer is solely and immediately confronted with the work.

Anonymity is no novelty in art history: In pre-history, the anonymous artist was the rule. Works were rarely signed. In the case of the Old Dutch Masters artists were given representative “emergency names” and assigned to catalogs of works based on their style alone. It was the first attempt to give the artist who formerly was considered anonymous an individual personality and to acknowledge his autonomous mastership and style. The “Master of the Saint Bartholomew Altarpiece” (Alte Pinakothek, Munich) or the “Master of Flémalle” (Städel Museum, Frankfurt/Main) are well-known examples. Not until the modern age with the emergence of a bourgeois society, liberated from church and nobility, was the identity and role of the artist newly defined. The personality cult, characterized by the term genius, began to be cultivated as a brand name; biography became an integral part of the myth of the artist.

With the exhibition trilogy “artist unknown” the gallery probes new borderline areas of art and underscores the conceptual approach of so-called outsider art.

"artist unknown #1: Martina Kubelka" (17.01. - 08.02.2014)
"artist unknown #2: William Crawford" (14.02. - 29.03.2014)
“artist unknown #3: Type 42 (Anonymous)” (11.04. - 05.06.2014)


Type 42 (Anonymous), Untitled (Linda Blair)
Archive No TP258, ca.1960s-70s, mixed media on photograph, 8,3 x 10,8 cm
Courtesy Galerie Susanne Zander / Delmes & Zander