Thursday 29 September 2016


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



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."

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.

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."

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.

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.

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.

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.

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

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

Thursday 8 September 2016

Photoszene 2016

Photoszene - Festival Köln
16. - 25. September 2016

for more information please click here.

Tuesday 6 September 2016


Delmes & Zander I Berlin presents

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