Tuesday 13 December 2016

Delmes & Zander at INDEPENDENT, NY 2017


www.independenthq.com


Independent New York releases 2017 Exhibitor List - and we are delighted to participate!

INEPENDENT
New York, 2 - 5 March 2017
www.independenthq.com

Check out the full exhibitor list:

Adams and Ollman, Portland
The Approach, London
Galerie Hervé Bize, Nancy, France
Bureau, New York
Gavin Brown’s enterprise, New York
C L E A R I N G, New York / Brussels
CANADA, New York
Carlos/Ishikawa, London
Chapter NY, New York
Elizabeth Dee Gallery, New York
Delmes & Zander, Cologne / Berlin
Derek Eller Gallery, New York
Fleisher/Ollman Gallery, Philadelphia
Freedman Fitzpatrick, Los Angeles
Galerie Christophe Gaillard, Paris
Jay Gorney, New York
Jack Hanley, New York
Herald Street, London
Invisible Exports, New York
The Journal, New York
JTT, New York
Karma, New York
Anton Kern Gallery, New York
Lehmann Maupin, New York
Tanya Leighton, Berlin
David Lewis, New York
Martos, New York
Meyer Kainer, Vienna
The Modern Institute, Glasgow
Mitchell-Innes & Nash, New York
Murias Centeno, Lisbon
Nagel Draxler, Cologne / Berlin
Neue Alte Brücke, Frankfurt
Maureen Paley, London / Hove
Peres Projects, Berlin
Galerie Perrotin, Paris / New York / Hong Kong / Seoul / Tokyo
Francesca Pia, Zurich
Project Native Informant, London
Micky Shubert, Berlin
Kerry Schuss, New York
Stuart Shave / Modern Art, London
Sprovieri Gallery, London
Sprüth Magers, Berlin / London / Los Angeles
Tilton Gallery, New York
VI, VII, Oslo
White Columns, New York

Saturday 26 November 2016

OPENING BERLIN & COLOGNE: ONE / OTHER – Self-Portraits and Portraits


OPENING BERLIN & COLOGNE:

ONE / OTHER – Self-Portraits and Portraits

December 2, 2016 – February 4, 2017

Margret – Chronicle of an Affair, 1970/08/21, 1970, vintage print, 9 x 13 cm

Opening in Cologne & Berlin: 
Friday, 2.12., 6–9 pm

featuring works by:
Morton Bartlett, William Crawford, Margarethe Held, Paul Humphrey, Aurel Iselstöger, Alexander Lobanov, Margret, Obsession, Michail Paule, Miroslav Tichy, Type 42, Eugene von Bruenchenhein.

Thanks to the positive resonance of ONE/ other presented earlier this year at the Independent New York and OTHER/ one featured at the Independent in Brussels,
Delmes & Zander are merging the two exhibition concepts into one show featuring a selection of portraits and self-portraits simultaneously in both their Berlin and Cologne galleries. ONE / OTHER will show how the portrait as well as the self-portrait unabashedly mirrors the artist behind the work no matter if he portrays himself or whether he is portraying the other. Independently of their subject, the photographs and drawings reveal everything about their authors and their yearnings for a romanticised identity, no matter on which side of the camera or canvas. Evident in the works is a serialized, obsessive impulse to repeatedly pin down an image or identity that is manifestly idealized.
William Crawford portrays himself at the heart of his sexual fantasies: a graphic and detailed mise en scène in which Crawford is king. In his bright coloured paintings, Alexander Lobanov poses bravely, adorned by a Kalashnikov and Soviet symbolism – the image of a fearless man, a classical hero.
At times the portraits depict their authors as sufferers, preyed upon by the load of the world: Michail Paule is the threatened figure at the center of a phantasmagorical and uncanny place. Aurel Iselstöger's self-portraits illustrate him with a grotesque smile across his face, as if his mouth were torn but shut in silence, eyes to the ground. In the photo collages of Obsession, an unknown author who portrays women at the stake ready to burn or on their knees before decapitation, also pastes himself into the work both as the executioner as well as a victim.
Paul Humphrey repeatedly shuts the eyes of his subjects in the act of drawing, turning his Sleeping Beauties into docile women, innocent and powerless; Morton Bartlett shapes his dolls with his own hands, small in size and with childlike obedience, then photographs them as if for his his own private family album. The portraits of Margret, taken in the impenetrable complicity of a love affair set in the 1970s, transform her into an idealized creation of her lover and employer Günter K.. Similarly, Eugene von Bruenchenhein turns his wife Marie from exotic princess to tinseltown temptress in the photos shot in the intimacy of their hermetical domesticity.
In its painstaking rigour, the works often acquire an archival, sequential character. This is not only the case with Miroslav Tichy, who set out to photograph one hundred women a day, but also with Type 42, the encyclopedic body of anonymous work taken of female movie stars or even in Margarethe Held's lifework documented in The Uncontrollable Universe: an attempt to pin down the chaos unleashed by inner visions in a publication which brings together pictures bestowed upon her from the beyond.
In ONE / OTHER it becomes clear that the works are always an end in itself: a necessary endeavor to shape an image and to make it compatible with the artists innermost fantasies. The result is a many-layered exploration of self-reflection and an oftentimes surprising study on the means and mirrors that are chosen to make wishful thinking real,
be it in the shape of one or the other.


Press contact:
Monika Koencke
Koencke@delmes-zander.de


 

Saturday 19 November 2016

Sneak Peak - ADELHYD VAN BENDER at Sommer Contemporary Art, Israel




Exhibition view "Passiflora" Courtesy of the artist and Sommer Contemporary Art Photographer: Liat Elbling


PASSIFLORA
CURATED BY FANNY GONELLA

Adelhyd van Bender, Lina Hermsdorf, Amy Yao

12 November - 10 December 2016
at Sommer Contemporary Art, Tel Aviv

"Passiflora flowers grow in tropical and mildly warm regions, mostly in South America. The name was coined by Christian missionaries who found similarities between its form and the symbols of the passion of the Christ – its petals reminded them of the crown of thorns, among others. Meanwhile, the seeds have circulated and the flowers are growing under mild climates within Europe. Beyond its formal link with elements from the passion of the Christ, passiflora possesses medical properties such as sedative ones and can also cause uterine stimulation. This information is not accessible by looking at the flower, just like the narratives related to passiflora have faded today and do not come to mind anymore when we look at them.

We might now appreciate these flowers for their color, form or structure, yet their capacity goes beyond seductiveness. They intertwine decorative qualities with medical knowledge and a narrative context, although without direct correlation between these. The disruption between visual appearance and biological specificities they unfold underlays equally the works presented in the exhibition. These play with the discrepancy between the surface or interface they expose and the biological or technological system they refer to, leading to a fragmented approach of their content. The works are committed to an opacity that hints at potentials and threats, which are not directly palpable. Not unlike a vanitas still life, they operate along the lines of decay and maintenance, destruction and persistence.

Adelhyd van Bender (1950-2014) spent the last years of his life working on drawings that display a systematic repetition of symbols, often from chemical origin, excerpts from administrative documents, specific geometrical forms and words. He aimed at recording and conserving there the formula related to nuclear power that was contained in the uterus he assumed to carry in his body.

Lina Hermsdorf (*1985) plays with rhetorical strategies and modes of narration, engaging with characteristics of living organisms as systems that receive, store, exchange energy and information. Her work unfolds narrative threads that explore the way power structures, technology and biological structures affect each other to shape our emotional surrounding.

Amy Yao (*1977) deals with objects, colors and words to explore the materialization of circulatory fluxes – of information, people, substances or goods. Artificial and natural forms cannot be taken apart nor understood without with each other in her work, offering a reflection on certain dynamics that, behind a politically correct agency, collide with issues of social hierarchies and segregation.

The show gathers three different approaches towards power games at play in the manufacturing of our subjectivity – i.e. our relationship to ourselves. It meanders along political and economical influences that shape the communal emotional space we’re navigating through (...)."

www.sommergallery.com

Thursday 17 November 2016

MARGRET and MIROSLAV TICHY in DRESDEN at:


MARGRET and MIROSLAV TICHY will be shown in DRESDEN at:

Scham. 100 Gründe rot zu werden

Nov 26, 2016 - June 5, 2017



Deutschen Hygiene-Museum Dresden
Nov 26, 2016 - June 5, 2017

feat. works of: Margret, Danh Vō, Miroslav Tichý, Nobuyoshi Araki, Erik van Lieshout and many more.

"Mit dem Gefühl der Scham sind wir von klein auf vertraut, und auch als Erwachsene begegnen wir ihr in den unterschiedlichsten Situationen immer wieder. Kaum jemand wird sich allerdings gerne schämen – im Gegenteil: Scham ist ziemlich unangenehm. Vielleicht lohnt es sich gerade deswegen, einmal genauer hinzuschauen, was es mit diesem Gefühl auf sich hat. Meist überfällt die Scham uns ganz unmittelbar, ohne dass wir lange nachdenken müssten, warum wir uns schämen. Und löst dabei ausgesprochen körperliche Reaktionen aus: Wir beginnen zu schwitzen, werden rot oder verbergen unser Gesicht. Die Gründe, wofür und wie sehr wir uns schämen, können von Mensch zu Mensch ganz andere sein.

Scham ist aber weit mehr als ein bloß subjektives Gefühl. Psychologen und Soziologen haben ihre elementare Bedeutung für das Funktionieren von Gesellschaft beschrieben. Denn Scham verbindet das Selbstverständnis des Einzelnen unmerklich mit den Werten und Regeln einer Gemeinschaft. So trägt die Fähigkeit, Scham empfinden zu können, auch zum inneren Zusammenhalt einer Gesellschaft bei. Eines jedenfalls wird den Besucherinnen und Besuchern dieser Ausstellung klar werden: Dass wir in schamlosen Zeiten leben – wie manche Kulturkritiker meinen – ist ein gründlicher Irrtum!"


for more info please click here.


http://www.dhmd.de/index.php?id=2850

Saturday 12 November 2016

ADELHYD VAN BENDER at Sommer Contemporary Art, Tel Aviv

ADELHYD VAN BENDER, untitled, mixed media on photocopy, 1999-2014, Courtesy Delmes & Zander


Passiflora | Curator: Fanny Gonella
Adelhyd van Bender, Lina Hermsdorf, Amy Yao

Opening Event Saturday November 12th, 8pm
12th November - 10th December 2016

"Passiflora flowers grow in tropical and mildly warm regions, mostly in South America. The name was coined by Christian missionaries who found similarities between its form and the symbols of the passion of the Christ – its petals reminded them of the crown of thorns, among others. Meanwhile, the seeds have circulated and the flowers are growing under mild climates within Europe. Beyond its formal link with elements from the passion of the Christ, passiflora possesses medical properties such as sedative ones and can also cause uterine stimulation. This information is not accessible by looking at the flower, just like the narratives related to passiflora have faded today and do not come to mind anymore when we look at them.

We might now appreciate these flowers for their color, form or structure, yet their capacity goes beyond seductiveness. They intertwine decorative qualities with medical knowledge and a narrative context, although without direct correlation between these. The disruption between visual appearance and biological specificities they unfold underlays equally the works presented in the exhibition. These play with the discrepancy between the surface or interface they expose and the biological or technological system they refer to, leading to a fragmented approach of their content. The works are committed to an opacity that hints at potentials and threats, which are not directly palpable. Not unlike a vanitas still life, they operate along the lines of decay and maintenance, destruction and persistence.

Adelhyd van Bender (1950-2014) spent the last years of his life working on drawings that display a systematic repetition of symbols, often from chemical origin, excerpts from administrative documents, specific geometrical forms and words. He aimed at recording and conserving there the formula related to nuclear power that was contained in the uterus he assumed to carry in his body.

Lina Hermsdorf (*1985) plays with rhetorical strategies and modes of narration, engaging with characteristics of living organisms as systems that receive, store, exchange energy and information. Her work unfolds narrative threads that explore the way power structures, technology and biological structures affect each other to shape our emotional surrounding.

Amy Yao (*1977) deals with objects, colors and words to explore the materialization of circulatory fluxes – of information, people, substances or goods. Artificial and natural forms cannot be taken apart nor understood without with each other in her work, offering a reflection on certain dynamics that, behind a politically correct agency, collide with issues of social hierarchies and segregation.

The show gathers three different approaches towards power games at play in the manufacturing of our subjectivity – i.e. our relationship to ourselves. It meanders along political and economical influences that shape the communal emotional space we’re navigating through."

For further information please click here:
www.sommergallery.com

Sommer Contemporary Art
13 Rothschild Blvd.
Tel Aviv 66881 Israel

Tel: +972 3 5166400
info@sommergallery.com


Friday 4 November 2016

MAN ON ROOFTOP IN L.A.


Man on Rooftop is shown in Los Angeles:

November 1966

November 12 – December 17, 2016
Blum & Poe, Los Angeles
 
Artist Unknown, Untitled, 1966, B&W photograph, 5 x 3 1/2 inches.


November 1966
Blum & Poe, Los Angeles
November 12 – December 17, 2016
Opening reception: Saturday, November 12

"Blum & Poe is pleased to present November 1966, an exhibition of self-portrait photographs created fifty years ago to the month by an unknown photographer. The twenty-eight images at hand show a shirtless man, alone on a rooftop, donning a variety of women’s bikini briefs and underwear. He is seen from multiple vantage points – some poses unassuming and others uninhibited – all the while an undercurrent of 1960s experimental, sexual whimsy pervades. What lends a strange atmosphere to these pictures is the ambiguity of the scene – nothing is known of the photographer’s intentions, the viewer is left to construe a narrative long divorced from creator and date of origin. 

The compositions go beyond their surface eroticism by documenting a carefully conceived relationship between the body of the unknown photographer/subject and the surrounding sightlines and architecture. From nearly every corner of the roof stage, we are presented with a panoramic view of the photographer’s performance. The fact that these pictures were conceived privately at the edge of building and sky, along with the subject’s commonly found closed-fist stance, frame this unknown photographer as a countercultural Superman of sorts."

For more information please click here.


http://www.blumandpoe.com/exhibitions/november-1966#images

HORST ADEMEIT in London:


Horst Ademeit is featured at the new show at BlainISouthern:

REVOLT OF THE SAGE

 24 November 2016 – 21 January 2016
at BlainISouthern in London

Horst Ademeit, untitled, inscribed polaroid, 11x9 cm. Courtesy Delmes & Zander.


Private View: 23 November, 6–8pm

featuring: Horst Ademeit, Lynn Chadwick, Hanne Darboven, Haris Epaminonda, Geoffrey Farmer, Jannis Kounellis, Mark Lewis, Goshka Macuga, Christian Marclay, Simon Moretti, David Noonan, Sigmar Polke, Erin Shirreff, Michael Simpson, John Stezaker and Paloma Varga Weisz.

"Revolt of the Sage is an exhibition featuring sixteen artists that takes its title from a work by Giorgio de Chirico painted in 1916. The Revolt of the Sage is an example of what the artist would call a ‘metaphysical interior’, and yet its crowded pictorial space overflows with ephemeral things: frames, measuring devices and biscuits. Objects pile up and overlap, while a strange perspective recedes into an irresolvable background. What did the artist mean by a ‘metaphysical interior’? In a letter to Apollinaire, written around the time he painted The Revolt of the Sage, de Chirico describes two realms: our finite condition, and its loss and longing, and a metaphysical realm where time does not exist.

It has been almost two years now since I’ve seen you. The Ephesian teaches us that time does not exist and that on the great curve of eternity the past is the same as the future. This might be what the Romans meant with their image of Janus, the god with two faces; and every night in dream, in the deepest hours of rest, the past and future appear to us as equal, memory blends with prophecy in a mysterious union.
Giorgio de Chirico to Apollinaire, July 1916

Picking up on de Chirico’s vision of a ‘metaphysical interior’, Revolt of the Sage gathers a range of artists who use collage, juxtaposition, fragments, framing devices and layered imagery to explore ruptures in time and the alluring mysteries of the everyday. The exhibition features new and existing work by contemporary artists alongside late post-War artists such as Lynn Chadwick, Hanne Darboven and Sigmar Polke.
Curated by artist-curator Simon Moretti and Craig Burnett, Blain|Southern’s Director of Exhibitions, the exhibition emerged from their shared interest in de Chirico and the thought that The Revolt of the Sage would resonate with artists whose work inhabits that chasm between the here and now and a dream of ‘the great curve of eternity’ that we might perceive in a small, measurable work of art.
On the occasion of the exhibition, Blain|Southern will publish a book that features a newly commissioned interview between art historian Ara H. Merjian and philosopher Jesse Prinz, alongside existing texts by Giorgio de Chirico, John Ashbery, Lydia Davis, Apollinaire and others.
Participating artists: Horst Ademeit, Lynn Chadwick, Hanne Darboven, Haris Epaminonda, Geoffrey Farmer, Jannis Kounellis, Mark Lewis, Goshka Macuga, Christian Marclay, Simon Moretti, David Noonan, Sigmar Polke, Erin Shirreff, Michael Simpson, John Stezaker and Paloma Varga Weisz."

For more information please click here


 http://www.blainsouthern.com/exhibitions/2016/revolt-of-the-sage 
 

Saturday 15 October 2016

EUGEN GABRITSCHEVSKY. 1893-1979.


now available:

 EUGEN GABRITSCHEVSKY. 1893-1979. 

 



The new publication related to the show at THE MAISON ROUGE earlier this year in Paris.
Authors: Sarah Lombardi, Valérie Rousseau, Antoine de Galbert

for further information please click here


http://www.snoeckpublishers.be/us…/snoeckpub_enuk/index.asp…

THE NEW YORK TIMES recomends Delmes & Zander I Cologne


THE NEW YORK TIMES discoveres the most underrated city
in Germany and recomends a visit to Delmes & Zander in Cologne



Read up on what to see, where to stay and where to eat the best schnitzel with potato salad in Cologne:
http://www.nytimes.com/…/t-magazine/travel/cologne-germany-…
Last chance to see HIPKISS at Galerie Michael Haas

Sternstunde. 100 drawings

Hipkiss, My England this Sink, 2001, mixed media on paper, 87 x 149 cm. Courtesy Galerie Michael Haas.

ends on 15th October 2016

featuring:
Georges Seurat, Adolph von Menzel, Ernst Ludwig Kirchner, Paul Klee, Otto Dix, George Grosz, Henri Matisse, Pablo Picasso, Paula Modersohn-Becker Hipkiss and many more.

Galerie Michael Haas
Niebuhrstraße 5
10629 Berlin, Germany

for further information please click here.

CONTEMPORANEA on "Crackin the Code"


CONTEMPORANEA magazine features "Cracking the Code" in the list of their top October exhibitions in Lisbon


Adelhyd van Bender, untitled, 1999-2014, mixed media on paper, 42 x 30 cm. Courtesy Delmes & Zander.


"Na sua acumulação obsessiva Adelhyd van Bender desenha, escreve, fotocopia, recorta, cola e retoca milhares de folhas de papel até tornar o texto quase ilegível. Central no seu trabalho é a ideia de que ele carrega um útero feminino no qual guarda um “segredo atómico”. Mas também aparecem nos seus desenhos o cubo, associado ao símbolo da Ka’aba e constelações planetárias assim como umas repetições infindas de cálculos necessários para ascender ao paraíso. Nos seus arquivos Adelhyd van Bender guarda contida a força do universo organizada em micas de plástico e salva do caos."

Through November 3rd

 For further information click here.



http://contemporanea.pt/outubro2016/agenda/


Thursday 13 October 2016

Opening: Cracking the Code


If in Lisbon then don't miss ADELHYD VAN BENDER at Appleton Square!


Cracking The Code

curated by Antonia GaetaAdelhyd van Bender, Pepe Gaitán John Uhro Kemp and Melvin Way
runs until November 3, 2016


Cracking the code / Adelhyd van Bender, John Urho Kemp, Pepe Gaitán, Melvin Way. Courtesy Appleton Square.
racking the code / Adelhyd van Bender, John Urho Kemp, Pepe Gaitán, Melvin Way. Courtesy Appleton Square.





Wednesday 12 October 2016

HIPKISS in "Escape Routes"

HIPKISS at the John Michael Kohler Arts Center in

Escape Routes

 

Escape Routes, at the John Miachel Kohler Arts Center. Courtesy John Michael Kohler Arts Center.


"Explore the impulse to get away from it all through works of contemporary art including photography, sculpture, video, paintings, and drawings.
This series of five original exhibitions takes visitors along various routes the artists have chosen as their means of eluding the pressures and anxieties of 21st-century living. Going off the grid lures some. Some create portals to other realities or shift their attention to inventing fantastical worlds. Still others flee the burdensome present through mind-consuming, highly detailed processes.
Participating artists include: Emery Blagdon (1907–1986), Alexander Brodsky and Ilya Utkin (Russia), Cole Caswell (ME), Laurent Chéhère (France), Justin Cooper (NY), Russell Crotty (CA), Hiroyuki Doi (Japan), Andrea Joyce Heimer (WA), Hipkiss (France), Patrick Jacobs (NY), Robin Kang (NY), Jed Lind (CA), Theo Michael (Mexico), Dan Miller (CA), Ethan Murrow (MA), Melvin Edward Nelson (1908–1992), Stas Orlovski (CA), Alexis Rockman (NY), and Hiraki Sawa (England)."


 For further information please click here


https://www.jmkac.org/exhibit…/…/escape-routes/escape-routes

Saturday 1 October 2016

"Grenzbereiche in der Kunst" at KÖLNISCHER KUNSTVEREIN


JOHANNES WOHNSEIFER and SUSANNE ZANDER in a talk on "Grenzbereiche in der Kunst" at KÖLNISCHER KUNSTVEREIN
 


Johannes Wohnseifer (artist) and Susanne Zander (Delmes & Zander) in a talk on production, perception, curating and historical contextualization of thresholds of art.

for more information click here.

ADELHYD VAN BENDER: CRACKING THE CODE


ADELHYD VAN BENDER at Appleton Square in Lisbon:

Cracking the Code
Adelhyd van Bender, John Urho Kemp, Pepe Gaitán, Melvin Way

Adelhyd van Bender (Ordner #21, 1999-2014), Detail. Courtesy Delmes & Zander.


CRACKING THE CODE
Adelhyd can Bender, John Urho Kemp, Pepe Gaitán, Melvin Way
curated by Antonia Gaeta
October 7 - November 3, 2016
Opening: October 6, 10 pm

Appleton Square
Rua Acácio Paiva Nº27
R/C 1700-004 Lisbon, Portugal

for more information please visit:
http://www.appletonsquare.pt/about.html

Thursday 29 September 2016

HORST ADEMEIT at ART INSTITUTE CHICAGO: Abstract/Object


László Moholy-Nagy´s influence on  at ART INSTITUTE CHICAGO:

 

 Abstract/Object

Experimental works across media, from the 1960s to present


Barbara Kasten. Photogenic Painting, Untitled, 1974. Restricted gift of Mr. and Mrs. Myron Goldsmith.

"László Moholy-Nagy (American, born Hungary, 1895–1946) pioneered approaches to abstraction using industrial technology and emphasized art viewing as an intellectual and physical encounter involving more than eyesight alone. A companion to the concurrent Moholy-Nagy retrospective, this exhibition examines the resonance of the artist’s experiments and open-mindedness with works in film, photography, painting, and printed matter made from the 1960s to the present.

Liz Deschenes (American, born 1966) shapes cameraless photographs into simple geometric forms that derive from Bauhaus-era diagrams. Wolfgang Tillmans’s (German, born 1967) Lighter presents a monochrome photogram on stiff, glossy paper that has been folded into a sculptural relief. Drawing attention to the inbuilt distortions of camera equipment, painter and sculptor Mel Bochner (American, born 1940) took up photography in 1966–1970 to show that all camera images necessarily make abstractions of physical objects. Bochner’s contemporary Bruce Nauman (American, born 1941) created a small but influential body of photographic work in the same years, including the book L.A. Air, while a third member of their generation, Gordon Matta-Clark (American, 1943-1978) made his gallery debut in 1969 by frying Polaroid photographs in cooking oil as “souvenirs.” In the early 1970s, a fourth participant in international conceptualism, Arte Povera member Giuseppe Penone (Italian, born 1947) used photographs, like Matta-Clark, as a point of interchange between physical objects and dematerialized images.

Looking back to Conceptual Art, painter R. H. Quaytman (American, born 1961) made an exhibition at the Renaissance Society in Chicago in 2014 that paid homage to earlier shows at that institution, among them a presentation by conceptualist Daniel Buren. Merging references to Nauman and Buren, Chicago artist Gaylen Gerber (American, born 1955) framed his early photographs of “clear sky”—atmospheric abstractions—using portions of orange Plexiglas from a show that Buren had held in 2006 at another fabled local institution, the Arts Club of Chicago. Gerber’s “original art” accordingly disappears behind that of Buren, reversing the typical role of art and its frame.

Walead Beshty (English, active Los Angeles, born 1976) created Pictures Made by My Hand with the Assistance of Light (2006–2011) by crumpling and folding photosensitive paper in the darkroom, then exposing it to pinpoint light sources, such that the work could be said to have “made itself.” Sculptor Wolfgang Plöger (German, born 1971) turned words into abstractions of a similar kind, copying by hand final statements from death-row inmates onto sections of colored film reel, then creating elaborate sculptures by suspending the reel from the ceiling as well as running it through a projector. Most invasively of all, Carter Mull’s (American, born 1977) photographic “scatter pieces,” such as Virus (2014) are composed of thousands of photographically imprinted, reflective mylar rectangles spread across the floor—the exhibition is thus be awash in imagery underfoot.

Abstraction can be deeply personal, whether it is approached “hands on” or “hands off.” Photographer and conservator Alison Rossiter (American, born 1953) develops expired photographic papers straight from the box, fixing and making visible all signs of decay or prior handling. Rossiter’s pieces recall the early cyanotypes (blueprints) of Barbara Kasten (American, born 1936), who in the mid-1970s took imprints from textile samples. But they also relate to the idiosyncratic quest carried out over 40 years by Horst Ademeit (German, 1937–2010), who obsessively documented through photographs the existence of otherwise undetectable “cold rays” that, he was convinced, alien beings were beaming at Earth. Finally, Brazillian filmmakers Rivane Neuenschwander (born 1967) and Cao Guimarães (born 1965) document another barely perceptible community in Quarta-feira de Cinzas/Epilogue (2006)—ants carting off colorful, sugar-coated confetti discs in a movable feast for the senses."


Abstract/Object
Experimental works across media, from the 1960s to present.
The Art Institute Chicago
Through January 8, 2017
Gallery 188

for more information please click here.



http://www.artic.edu/exhibition/abstractobject

MONOPOL on DAS LOCH at Künstlerhaus Bremen


Nicole Büsing und Heiko Klaas from MONOPOL on the show
DAS LOCH at Künstlerhaus Bremen feat. ADELHYD VAN BENDER




Nix Käse

Das Künstlerhaus Bremen blickt in "Das Loch" und findet eine Kunst- und Kulturgeschichte

"Und der Outsider-Künstler Adelhyd van Bender ist mit prall gefüllten Ordnern vertreten, die einen ganz eigenen Kosmos zu Löchern, Selbstreflexion und Unterbewusstsein entfalten.
Die sorgsam zusammengestellte Ausstellung begreift das Loch wörtlich und metaphorisch, als rationales und als irrationales Gebilde. Seit Kurt Tucholsky 1931 in seinem Aufsatz "Zur soziologischen Psychologie der Löcher" zu so einleuchtenden Erkenntnissen wie "Das Loch ist ein ewiger Kompagnon des Nicht-Lochs" kam, ist wohl selten so geistreich über das Verhältnis zwischen dem Etwas und dem Nichts reflektiert worden."

"DAS LOCH"
August 20 – November 6, 2016
Künstlerhaus Bremen
featuring works of: Adelhyd van Bender, Walead Beshty, Philippe Parreno, Peter Piller, Josephine Pryde, Stefan Tcherepnin, Betty Tompkins, Lawrence Weiner, Haegue Yang and many more.

for more information click here.


http://www.monopol-magazin.de/das-loch-kuenstlerhaus-bremen


Friday 16 September 2016

HIPKISS at Galerie Michael Haas:


HIPKISS at Galerie Michael Haas:


Sternstunde 100 drawings
16th September - 15th October 2016



Opening: Friday, 16th September, 6 - 9 pm
Galerie Michael Haas
Niebuhrstraße 5
10629 Berlin
 

"Drawing – in the form of cave drawings – is as old as human culture. However, only in comparatively recent times has it been considered a work of art in its own right. In the 15th century, particular during the Renaissance and Mannerism, artists, critics and collectors began to attach a particular value to drawing. Above all it was valued as a method of studying and testing a design. In art theory, its value is seen in the correlation between an idea (concetto) and drawing (disegno) as an artistic achievement, an act of creation. Over the course of the following centuries, the medium gained more and more autonomy in relation to painting and the creative scope was broadened: colour and various techniques such as pen, pastel, chalk or watercolour opened up new artistic possibilities.
The drawn line as an artistic medium serves to reduce the subject to a few lines and contours. The line itself is always abstract. But only with the onset of modernity did artists begin to go beyond the representational, to abstract, alienate and seek individual forms of expression.  Galerie Michael Haas has selected numerous drawings from the 19th, 20th and 21st century, by artists who have found their artistic identity through free, non-representational, abstract, surreal or realistic works particularly or exclusively in the medium of drawing. The selection includes Georges Seurat, Adolph von Menzel, Ernst Ludwig Kirchner, Paul Klee, Otto Dix, George Grosz, Henri Matisse, Pablo Picasso, Paula Modersohn-Becker, Hans Uhlmann, Arnulf Rainer, Georg Baselitz, Gary Kuehn, Leonard Baskin, Konrad Klapheck as well as David Nicholson, John Isaacs, Hipkiss, Thomas Palme, Dirk Lange and many other artists."

for further information please click here.


http://www.galeriemichaelhaas.de/en/exhibitions/sternstunde-100-drawings-0#

Saturday 10 September 2016

Sarah Moros from Artforum on the EUGEN GABRITSCHEVSKY show at La Maison Rouge


SARAH MOROZ from Artforum on the EUGEN GABRITSCHEVSKY show at La Maison Rouge


Eugen Gabritschevsky
La Maison Rouge
10, Boulevard de la Bastille
July 8–September 18

 

View of “Eugen Gabritschevsky,” 2016.
View of “Eugen Gabritschevsky,” 2016.

"Eugen Gabritschevsky was a relative unknown until he was discovered by Jean Dubuffet, who bought seventy-one of the artist’s works within a decade. Gabritschevsky’s well-to-do, cultivated childhood in Russia initially led to a brilliant scientific career. In 1925 he started a postdoctoral program in New York, working as a geneticist when the field was still in its infancy. Gabritschevsky, however, was hospitalized in Zurich for schizophrenia in 1931, and then transferred to the Eglfing-Haar Psychiatric Hospital, just outside of Munich, where he remained for the rest of his life. In a 1946 letter, he described his output as the “merely misshapen offspring of ideas that are more or less true.” This belies the fantastical splendor and existential anguish of his work—images from a truly vibrant psyche. The 230 works on display are just a small sampling of the thousands he made. Archival family photos and letters provide further context for this extraordinary intellectual and artist.
Opening the exhibition are nine charcoal drawings with an intensely apocalyptic feel, full of swirling, sinister skies—one is titled The Fall of Babylon, 1930. They’re from before Gabritschevsky’s breakdown and seem to indicate his inability to cope with the world. After his institutionalization, his output becomes stunningly diverse. There are naively articulated bobblehead characters (reminiscent of the melancholic Zoloft blob), architectural cityscapes against dazzling yellow skies, ebullient panoramas glowing under theatrical lights, and assortments of insects, butterflies, and beasts. One untitled and undated monochrome feels like an immersive, rippling pool—a showcase for simple gestural beauty. Gabritschevsky used texture, color, and techniques such as frottage and tachism with prowess, and his folded Rorschach blots are perhaps the only outright indications of his mental-health treatment. This cross-section of Gabritschevsky’s oeuvre is but a peek into a teeming and imaginative alternate universe, an appealing refuge from the burdens of the mid-twentieth century." Sarah Moroz

 for more information click here.


http://artforum.com/picks/section=fr#picks62910

ANDRÉ ROBILLARD at Théâtre de Villefranche



ANDRÉ ROBILLARD at Théâtre de Villefranche 

Le monde d'André Robillard
September 12 - October 1 






Le monde d'André Robillard
September 12 - October 1
Théâtre de Villefranche
Place des Arts, CS 90301,
69665 Villefranche Cedex

"Exposition des œuvres d’André Robillard (Dessins, fusils, objets…)

Figure majeure de l’art brut, André Robillard compte à 84 ans parmi les derniers créateurs dont les œuvres ont été repérées par le célèbre artiste Jean Dubuffet.
Ce petit homme d’1,50 m, interné dans un hôpital psychiatrique à l’âge de 19 ans pour troubles du comportement, est devenu une dizaine d’années plus tard un artiste singulier, au besoin insatiable de créer des œuvres d’une grande diversité allant de la production effrénée de fusils inoffensifs pour selon lui tuer la misère aux sculptures et dessins ayant pour thèmes favoris la conquête de l’espace ou encore les animaux fantastiques très colorés.
Rendu célèbre grâce à ses fusils fabriqués à partir d’objets de récupération, remarqués par son psychiatre Paul Renard et estampillés Art Brut par Jean Dubuffet, André Robillard est devenu aujourd’hui un artiste adoubé dans le sacro-saint milieu de l’art et ses œuvres sont exposées dans toute l’Europe.
Une renaissance pour cet homme qui, grâce à l’art, a pu changer sa vie.
Sous la direction d’Alain Moreau, directeur du Théâtre de Villefranche et grand amateur d’Art brut, cette exposition rend hommage à l’œuvre foisonnante d’un artiste hors norme."

For more information please click here.




http://www.theatredevillefranche.asso.fr/spctcls/robillard.htm

Friday 9 September 2016


Delmes & Zander at abc 2016

Opening: Thursday, September 15, 2016
12 to 4 pm (Special Guests), 4 – 8 pm (public opening)



André Robillard
Guns



André Robillard, Fusil x Russe Rapide RCA.H, 1992, mixed media, 24 x 94 cm and
Fusil USA T.R. 628 Rapide Aux Combat, 1990s, mixed media, 30 x 145,5 cm




At this year's edition of abc Delmes & Zander will show works by André Robillard (*1932), inventor, visionary and gun crazy tinkerer.

Robillard's guns are detailed replicas of actual firearms, inspired by the images of real rifles and submarine guns, which he studied from books and magazines. Creating his objects with sardine cans, typewriter-ribbon spools, gun-shell casing, light bulbs, bicycle parts or adhesive tapes, he re-contextualizes familiar materials, giving them new meaning by placing them in an unintended setting. Not surprisingly, his assembled weapons have something subversive but sinister. This is the general ambiguity that pervades Robillard's work: while his fascination for guns is rooted in his childhood memories of quality time spend with his father hunting, the gun in itself can still kill. It is clear that there is no such thing as innocent junk.

André Robillard is today a classic of the art brut. His work has been shown at the KW Berlin, the Kunstmuseum Thurgau and the Collection de l'Art Brut. It is currently found in several international collections such as that of the Museum of Everything, the Treger-Saint Silvestre Collection and the Collection abcd. Galerie Susanne Zander showed the first exhibition with his work as early as 1992.




Press contact:
Monika Koencke
Koencke@delmes-zander.de



Thursday 8 September 2016

Photoszene 2016


Photoszene - Festival Köln
16. - 25. September 2016



for more information please click here.



Tuesday 6 September 2016

OPENING BERLIN: OBSESSION


 
Delmes & Zander I Berlin presents

OBSESSION
Photo collages from the 19th century

September 16 – November 26, 2016
Opening: Friday, 16.09., 6–9 pm

Obsession, ca.1870, collage, photography, mixed media, 29 x 24 cm. Courtesy Delmes & Zander.


In the early 1990s, an album of approximately 50 double-page photo collages was discovered in France. Based upon the photographic techniques employed and from the fashion of clothes and hairstyles depicted, the album most probably dates from around 1860 -1870. One of the photographs shows the newspaper La Lyonnaise, suggesting that the works may have originated in Lyon. The album has been disassembled over the years and the works dispersed, some are now included in various private and museum collections, including that of the Musée d’Orsay. The author of the so-called Obsession-album is unknown and remains anonymous up to the present time. An excerpt of the album was published in 1993, together with works by Hanne Darboven.

With the development of photography on paper, the first manipulations of photographic images occurred through the cutting of negatives and through the effects resulting from double exposure and overexposure (for example in spirit photography) as well as the technique of collage. Since the end of the 1850s, various materials have been combined with the photographic print (for instance cut paper, water coloring, pieces of fabric or lace) and were the preference of upper class Victorian ladies, often with playful and imaginative elements as decorations in family and friendship albums.

Although quite different in subject, examples of these common techniques can also be found in the Obsession-album: photo collages of women at the stake as well as before or after decapitation gave vent to their author’s phantasies, barely concealing a deep-seated sexualized undercurrent in the work. The album is clearly to be understood as a private project. The technical virtuosity of the work suggests the hand of a professional commercial photographer with access to photographic equipment and a darkroom as well as contacts with female models which he brought to bear in this unusual work without them realizing precisely how their portraits would finally appear. In this respect, the so-called Obsession-album is at the same time unconventional and exceptional.

Individual sheets of the album bring to mind tableaux vivants denoting a clear influence of the theater in their composition. With repetitive citations of artworks and classical poses they testify to a manifest degree of artistic knowledge: depictions of martyrs and decapitations in paintings may have served the author of these collages as models in content and form like Paul Delaroche’s at the time already famous paintings The Decapitation of Lady Jane Grey (1833) or Herodias with the Head of John the Baptist (1843).

The incident of the so-called “Murderer of Maids” may have inspired the photographer’s imagination: Between 1855 and 1861, Martin Dumollard had murdered numerous young women near Lyon with the supposed assistance of his wife. At the time, the incident became a media phenomenon inspiring the collective imagination of the public far beyond the borders of France.



Press contact:
Monika Koencke
Koencke@delmes-zander.de



Friday 26 August 2016

ULTIMATIVER BERLIN ART GUIDE


ULTIMATIVER BERLIN GUIDE
Delmes & Zander I Berlin in der aktuellen ART





IN INTIMATE POSITION
Eugene von Bruenchenhein & Man on Rooftop
September 2 – November 12, 2016 
Delmes & Zander I Cologne
Opening: Friday, 2.9., 6–10 pm 
 


Thursday 25 August 2016

OPENING COLOGNE: In Intimate Position


 
Delmes & Zander I Cologne presents


IN INTIMATE POSITION
Eugene von Bruenchenhein & Man on Rooftop

September 2 – November 12, 2016
Opening: Friday, 2.9., 6–10 pm


left: Eugene von Bruenchenhein, untitled, 1945-1951, Vintage Print, 25 x 16 cm
right: Man on Rooftop, untitled, Feb 1968, Vintage Print, 13 x 9 cm


A man stands on a rooftop, naked except for a women’s bikini bottom, sunglasses screen his eyes from the glare of the winter light. A woman stands before a flowery curtain swathed in pearl necklaces, a lightbulb illuminates her body. In this exhibition the gallery features two positions: That of the anonymous photographs of Man on Rooftop from the late 60s and the portraits taken by Eugene von Bruenchenhein of his wife Marie during the 1940s and 1950s.
 In both instances, the bodies often behave similarly in front of the camera, regardless of whether they are the subject being photographed or are photographing themselves: they are toying with poses, becoming slaves of a weakness for confinement expressed in the wearing of chains or in the crossing of arms and legs. A delicately implied fetishism expressed in a preference for underwear and in the use of accessories such as pearl necklaces and sunglasses underscores the near nudity of those being photographed. It is the juxtaposition of two moments of intimacy.
 Man on Rooftop is a collection of around 60 black and white photographs made by an unknown photographer in the late 1960s. The photos were discovered in the US. They show the same man, perhaps in his mid- to late-thirties, wearing an assortment of women's bikini bottoms on an empty rooftop. Nothing else is known about the body of work.
 Eugene von Bruenchenhein (born 1910) produced an expansive universe of multiple mediums spanning poetry, photography, ceramics, sculpture, painting and ballpoint drawing over a 50-year period, between the late 1930s until his death in 1983. Most remarkable perhaps are von Bruenchenhein's countless photographs of his lifelong obsession „Marie” (her real name was Eveline Kalke), his wife and muse. He had met her in 1939 at a state fair in Wisconsin and believed that she descended from blue blood royalty.
 
Man on Rooftop will be featured at Blum & Poe (Los Angeles) in a solo presentatio in the fall 2016. The works by Eugene von Bruenchenhein in the exhibition IN INTIMATE POSITION are shown in collaboration with Andrew Edlin Gallery (New York).




Press contact:
Monika Koencke
Koencke@delmes-zander.de