Installation YOU'VE GOT 1243 UNREAD MESSAGES / Latvian National Museum

Margret - Chronicle of an Affair, May 1969-December 1970, Courtesy Delmes & Zander. Photo: Andrejs Strokins. Latvian Centre for Contemporary Art, 2017.

First installation photos of Margret - Chronicle of an Affair in
YOU'VE GOT 1243 UNREAD MESSAGES 
at the Latvian National Museum

The show is on view till 4 Februray 2018.

www.lnmm.lv

GALLERY NEWS

We will move and close our gallery space at Antwerperner Strasse on December 31, 2017.

Save the date!
On February 24, 2018 we will open a new gallery space on Lindenstrasse 22 with
a one-man-show by Adelhyd van Bender.

We look forward to seeing you at our new space.

New address:
Delmes & Zander
Lindenstrasse 22
50674 Cologne
Germany

Margret & Miroslav Tichy will be part of "You've Got 1243 Unread Messages".

Günter K., Untitled, 1970/08/21–1970/08/31, 1970, Vintage Print, 13 x 9 cm

MARGRET - CHRONICLE OF AN AFFAIR & works by MIROSLAV TICHY part of "You've Got 1243 Unread Messages" at Latvian National Museum of Art from 9th December!

The exhibition "YOU'VE GOT 1243 UNREAD MESSAGES" deals with the recent past when the quest for one's identity and communication with others took place in the analogue, instead of digital, environment. The exhibition is designed to uncover the cultural layer of the era that ended not so long ago. The combination of artworks and various everyday 'micro-historical' objects will serve as an introduction to some 20th century individuals and wider currents, which challenged the commonly accepted boundaries between art and everyday life.

Participating Artists:

Eric Andersen
Xavier Antin
ARTPOOL Studio:
    György Galántai
    Deák Ferenc
    Erdélyi Miklós
    Kelemen Károly
    Maurer Dóra
Season Butler
Irma Blank
Vija Celmins
Radomir Damnjanović Damnjan
Guillermo Deisler
Braco Dimitrijević
Marlene Dietrich
Viktorija Eksta
György Galántai
Rodney Graham
Yoko Ono
Edgars Ozoliņš
On Kawara
William Kentridge
Žilvinas Kempinas
Boris Lurie
Bogusław Madej
Dalibor Martinis
Ry Nikonova (Ры Никонова), Serge Segay
Joe Orton and Kenneth Halliwell
Livija Patikne
Ingrīda Pičukāne
Konstantīns Raudive
Ruth Wolf-Rehfeldt
Aleksandr Rodchenko (Алекса́ндр Ро́дченко)
Martha Rosler
Dieter Roth
Dayanita Singh
Zdzisław Sosnowski
Harry Everett Smith
Mladen Stilinovič
Andrejs Strokins
Joachim Schmid
Jüri Tenson, Rein Tenson, Priit Pärn, Krista Virkus, Mari Kuutmaa
Miroslav Tichý
Dragutin Trumbetaš
Jiří Valoch
Franz Erhard Walther
Jean Genet

http://www.lnmm.lv/en/visit/exhibitions/3243-youve-got-1243-unread-messages

http://www.lnmm.lv/en/

Artist Rosemarie Koczy allegedly faked her Holocaust survivor's story.

© Getty Images/AFP/J. Lott

"Rosemarie Koczy's works are in the collections of the Guggenheim in New York and of Yad Vashem in Israel. She claimed to be a Jew and Holocaust survivor. Now historians say that her life story was forged."

"Born in 1939 in Recklinghausen, in the Ruhr area, Rosemarie Koczy had been living in the US since the mid-1980s until her death in 2007.

The artist presented herself as a Jew who had survived two concentration camps, as she claimed in her memoir published in 2009.

However, through an exhibition of more than 100 of her works bequeathed to the city of Recklinghausen, historians have raised doubts about her life story, as initially reported by German public radio broadcasters Deutschland Funk and WDR on November 8."

Read the whole story at:

http://www.dw.com/en/artist-rosemarie-koczy-allegedly-faked-her-holocaust-survivors-story/a-41301763

Happy to participate in Independent New York in spring 2018.

Independent, New York, photo: Spring Studio

The 2018 edition of Independent New York will include 50 international galleries and non-profits, representing 17 cities worldwide. 

Each year Independent rotates 30-40% of its galleries to encourage fresh perspectives and introduce unfamiliar artists to new audiences; this year’s participants include 19 new exhibitors, ranging from emerging galleries to those with decades-long legacies. Matthew Higgs, the director of White Columns, will return as the Independent’s founding curatorial advisor, curating a forum that is an authentic reflection of the gallery landscape and encourages innovative approaches to fair presentations.

The 2018 edition of Independent New York will include many solo, two-artist, and site-driven projects, featuring new work created specifically for Independent as well as scholarly historical presentations.

Adams and Ollman, Portland

Air de Paris, Paris

Andréhn-Schiptjenko, Stockholm

APALAZZOGALLERY, Brescia

Hervé Bize, Nancy

CANADA, New York

Carlos/Ishikawa, London

Chapter NY, New York

Cheim & Read, New York

C L E A R I N G, New York / Brussels

Elizabeth Dee, New York

Delmes & Zander, Cologne

Andrew Edlin Gallery, New York

Fleisher/Ollman, Philadelphia

Galerie Christophe Gaillard, Paris

François Ghebaly, Los Angeles

Garth Greenan Gallery, New York

Dan Gunn, Berlin

Ibid Gallery, Los Angeles

The Institute of Contemporary Arts, London

INVISIBLE-EXPORTS, New York

JTT, New York

Jan Kaps, Cologne

Karma, New York

David Kordansky Gallery, Los Angeles

MAGENTA PLAINS, New York

Marlborough Contemporary, New York / London

Martos Gallery, New York

The Modern Institute, Glasgow

Galerie Nagel Draxler, Cologne / Berlin

Neue Alte Brücke, Frankfurt

Night Gallery, Los Angeles

Maureen Paley, London

Franklin Parrasch Gallery, New York

Peres Projects, Berlin

Galerie Francesca Pia, Zurich

Ricco/Maresca Gallery, New York

Kerry Schuss, New York

Sikkema Jenkins & Co., New York

Sprüth Magers, Berlin / London / LA

STANDARD (Oslo), Oslo

The Sunday Painter, London

Tilton Gallery, New York

Timothy Taylor, New York / London

Travesía Cuatro, Madrid / Guadalajara

Leslie Tonkonow Artworks + Projects, New York

untilthen, Paris

VI, VII, Oslo

White Columns, New York

http://www.independenthq.com/news-items/independent-new-york-announces-2018-exhibitors

http://www.independenthq.com/

Coming Soon! Susanne Zander im Gespräch über "Galeriearbeit mit den Grenzen der Kunst".

30. November 2017, 17:45 Uhr Hörsaal E
Kunsthistorisches Institut der Universität zu Köln

Susanne Zander im Gespräch mit Nadine Oberste-Hetbleck über "Galeriearbeit mit den Grenzen der Kunst" im Rahmen der Ringvorlesung | Kunstmarkt hier und heute: Akteure und ihre 

Tätigkeitsfelder. 

https://www.facebook.com/events/1974810339433303/

http://khi.phil-fak.uni-koeln.de/

DAVID BURTON I AUREL ISELSTÖGER I THIAGO UNA

AUREL ISELSTÖGER, untitled, pencil and crayon on paper, undated, 20.5 x 14.7 cm

ROB TUFNELL and DELMES & ZANDER present

AUREL ISELSTÖGER
DAVID BURTON and THIAGO UNA

18 November - 21 December 2017
Opening on Saturday, 18th November 2017, 6 - 9 pm

Gallery in Residence: We are delighted to inform you that Rob Tufnell Gallery will be guest in our space November/December 2017

Aurel Iselstöger was born in 1925 in Zagreb and grew up in Vienna as the son of a diplomat. His extraordinary artistic talent was already apparent at an early age. At age fourteen, he was diagnosed as schizophrenic. During the Nazi period this diagnosis would have very likely have led to castration or euthanasia. It is due to the efforts of his pediatrician Hans Asperger, who sent him off to live with a family in the country side, that he could remain out of sight from the Nazis.

After the war, Iselstöger was admitted to Maria Gugging Regional Hospital in Lower Austria. In the 1950s, his œuvre was discovered by psychiatrist Leo Navratil, who included his work in his subsequent publications. In 1970, he took part in the first exhibition entitled Artists from Gugging under the pseudonym 'Aurel' at Galerie Nächst St. Stephan in Vienna. He remained at the hospital until 1979. Aurel Iselstöger died in 2008 at an old age home in Klosterneuburg.

The Estate of Aurel Iselstöger is now represented by Delmes & Zander.

Works by Jesuys Crystiano part of 'In and Out of Africa', October, 7th 2017 – April, 8th 2018, Portugal.

untitled, 08/2012, pencil on paper, 59 x 42 cm

Curated by António Saint Silvestre at Oliva Creative Factory in São João da Madeira.

“In and Out of Africa” and others in the mix that prove that skin colour is a meaningless detail, not only in the overall quality but also in the strength of artistic creation. It’s what we will prove with the introduction of this exhibition with works from the Treger/Saint Silvestre Collection.

“In” artists are mainly contemporary, even if they are marked by a certain “outsider” wave; 

“out” artists are mainly from the “Art Brut” world. 

António Saint Silvestre 

Artists In: 
Anonymous Angolan Artist, Ardmore Ceramic Art (Sfiso Myelase, Sabelo Khoza and Mickey Chonco), Aston (Serge Mikpon), Franck Lundangi, Colbert Mashile, Ezekiel Messou, Joël Mpah Dooh, Sam Nhlengethwa, Dexter Nyamainasche, Gérard Quenum, Moffat Takadiwa

Artists Out: 
Gabriel Bien Aimé, Raimundo Camillo, José Castillo, Jesus Christyano, Mamadou Cissé, Thornton Dial, Donovan Durham, Misleidys Francisca Castillo Pedroso, Ted Gordon, Hassan, William Hawkins, John Henry Toney, Serge Jolimeau, Daldo Marte, Donald Mitchell, Camille-Jean Nasson, Marilena Pelosi, Royal Robertson, Lionel Saint Eloï, Welmon Sharlhorne, Hnery Speller, Mary Tillman Smith, José Teófilo Resende, Mose Ernest Tolliver, Victor Ulloa, Ray Vickers, Melvin Way, Wesley Willis

http://tsscollection.org/in-and-out-of-africa/
http://olivacreativefactory.com/eng/

HORST ADEMEIT part of the exhibition "Angst" at Museum Dr. Guislain in Gent.

Exhibition poster "Angst", Museum Dr. Guislain Gent

24. 05. 1993, mixed media on Polaroid, 9x 11 cm, Delmes & Zander

Works of Horst Ademeit will be shown as part 
of the exhibition "Angst".

The exhibition Anxiety wants to show the many faces of this emotion, since fear is something of all times and cultures but has always been experienced, cultivated and combatted in a different way. From 'God-fearing' to fear of one's fellow man, from highly personal phobia to mass hysteria.

http://www.museumdrguislain.be/en/anxiety
http://www.museumdrguislain.be/en

Outsider Art Symposium on the 09th and 10th November 2017.

Symposium by Institut für Kunstgeschichte of Heinrich Heine Universität in Düsseldorf. 

The term Outsider Art - originally conceived by Roger Cardinal in 1972 as a translation of the anti-academic Art Brut by Jean Dubuffet - took its own development in large parts of Europe and North America. A variety of stakeholders gather at this symposium to elaborate on and discuss recent developments and project future ones.

http://www.symposium-outsider-art.de/
https://www.facebook.com/events/1961679137417259/

Margret in the exhibition catalogue "Baggage Claims".

Untitled, 1970, Courtesy Delmes & Zander,
Exhibition catalogue "Baggage Claims", Orlando Museum of Art.

Margret - Chronicle of an affair - appears in the exhibition catalogue of the Orlando Museum of Art.

The show is on view till 31st of December in Orlando, USA. This exhibition presents the work of an international group of 18 artists who explore the impact of the vast scale of commerce and immigration worldwide on contemporary life.

https://omart.org/
https://omart.org/exhibitions/baggage_claims/

Anonymous Collages / Beaux Arts Magazine

Beaux Arts Magazine, October 2017, p. 89.

Anonymous Collages featured in the current edition of Beaux Art Magazine!

Delmes & Zander is pleased to participate at FIAC where we present Anonymous Collages from the 19th Century and Margret - Chronicle of an Affair.

FIAC 2017 - Grand Palais - Paris
Find us at booth 1.J18

www.beauxarts.com
www.fiac.com

Vogue Paris recommends a Rendez-Vous with Margret at FIAC 2017.

Vogue Paris, October 2017, p. 184, untitled, 1970, courtesy Delmes & Zander

Vogue Paris got also caught by Margret's attraction.   

In the October issue she finds a spot next to Romy Schneider and great painters like Paul Klee and Pablo Picasso. We will be delighted to introduce you to her.

FIAC 2017 - Grand Palais - Paris
Find us at booth 1.J18

www.en.vogue.fr/
www.fiac.com

THE FUTURE WAS CLOUD

Watch João Ribas' lecture on the Serralves Museum exhibition Under the Clouds at Art Dubai's Global Art Forum 2016.

"Since the second half of the 20th century, we have lived under the shadow of two clouds: the mushroom cloud of the atomic bomb, and the ‘cloud’ of distributed information networks. How did the central metaphor of cold war paranoia become the utopian metaphor of today? ‘Under the Clouds’ explores the contemporary sublime that has replaced the natural one, and the interrelated effects and affects of these two clouds on life and work, leisure and love, and on images, bodies, and minds.
The post-war technologies of the emergent third industrial revolution have now evolved to fit in the palm of our hand; we no longer merely look at images, we now touch, scroll, pinch, and drag them. Where is the border between the self and its data shadow, between information, matter, and affect? The biological, economic, aesthetic, and political effects of living under the clouds has taken the form of new relations between data and material, as well as increasing debt and abstract financialization; the changing nature of work and sex; and new relationships between screens, images, and things. As earlier forms of technologically inflected art sought to mitigate the effects of change — both on perception and society — many of today’s artistic practices confront the myriad interfaces and decentralized networks that continue to shape and transform daily life, forming new evolving connections between bits and atoms."

Adel Abdessemed, Horst Ademeit, Cory Arcangel, Arte Nucleare, Darren Bader, Enrico Baj, Robert Barry, Eduardo Batarda, Thomas Bayrle, Neïl Beloufa, René Bertholo, Joseph Beuys, K.P. Brehmer, Bruce Conner, Kate Cooper, Gregory Corso, Guy Debord, Harun Farocki, Hans-Peter Feldmann, Carla Filipe, General Idea, Melanie Gilligan, Jean-Luc Godard & Anne-Marie Miéville, Peter Halley, Rachel Harrison, Mona Hatoum, Pedro Henriques, Thomas Hirschhorn, Yves Klein, Sean Landers, Elad Lassry, Mark Lombardi, Julie Mehretu, Katja Novitskova, Ken Okiishi, Trevor Paglen, Nam June Paik, Silvestre Pestana, Pratchaya Phinthong, Seth Price, Martha Rosler, Thomas Ruff, Jacolby Satterwhite, Ângelo de Sousa, Frances Stark, Haim Steinbach, Hito Steyerl, Jean Tinguely, Adelhyd van Bender, Stan VanDerBeek, Andy Warhol, Christopher Williams, Christopher Wool, Anicka Yi

‘Under the Clouds’ was curated by João Ribas, Deputy Director and Senior Curator, Serralves Museum of Contemporary Art.

www.serralves.pt 

Delmes & Zander at FIAC 2017

Anonymous Collages, untitled, 1860 - 1870s, collage, photography, mixed media on paper, 29 x 24cm

DELMES & ZANDER at FIAC
Paris, October 19 - 22, 2017

Careful Whispers
featuring Margret - Chronicle of an Affair
and Anonymous Collages from the 19th Century

In the exhibition Careful Whispers Delmes & Zander will feature two positions which employ a distinctive artistic practice in order to bring to life a private fantasy carefully conceived in utmost secrecy: Margret – Chronicle of an Affair and Anonymous Collages from the 19th Century.

Margret – Chronicle of an Affair is a detailed account of a love story between the young German secretary Margret and her boss Günter also the meticulous bookkeeper of the affair. From May 1969 to December 1970 he took photographs of Margret dressing and undressing, applying make up or posing with a new outfit, but also wrote detailed protocols with his typewriter about the days and times of their secret rendezvous and kept souvenirs of their stays in hotels, casinos and cocktail bars.

Although she certainly was aware of the photographs, it is unlikely that Margret knew about Günter's personal notes which focused for example on the frequency and duration of their sexual encounters and on the regularity of her contraceptive pill intake. Nor is it likely that she knew about the collection of personal ephemera that Günter archived, such as the samples of Margret's head and pubic hair, her fingernail clippings or the tissue with dried blood from a scab on her wrist.

An anonymous album of photo collages, discovered in France and dating from around the 1860-70s, repeatedly shows women either tied at the stake before burning or on their knees awaiting the moment of decapitation. The album employs a number of groundbreaking techniques for the time that materialize the exact vision of its author: collage, hand colouring, photographic superimposition, double- and overexposure. The technical virtuosity of the works also suggests the hand of a professional photographer with access to photographic equipment and a darkroom, as well as to contact with his female models. The mise-en-scène is clearly influenced by popular motifs of the time such as Paul Delaroche’s paintings The Decapitation of Lady Jane Grey (1833) or Herodias with the Head of John the Baptist (1843).

Similarly to Margret – Chronicle of an Affair, it is unlikely that the models in the anonymous collages knew the extent to which they would feature in the works. Barely concealing a deep-rooted sexualized undercurrent, the works place the models in a completely new setting in which they are radically re-contextualized and reimagined. They become part of a new creation inspired by the exclusive fantasies of their authors. Although it is something that is not allowed and executed behind closed doors, their authors are compelled to do it and for this purpose they resort to artistic processes that are carefully developed and perfected over time to obtain the desired result. Both Margret and the models in the album are like paper dolls that can be secretly played with: Günter documents Margret in the new dress he bought for her in a similar way as does the author of the anonymous album when he glues a cut-out apron onto his models so that they look the way he needs them to look like. Within his fantasy, within what he believes is right, within what others might believe is wrong. It is a fantasy and therefore everything is allowed. It is the justification of his desire.

Booth 1.J18 Salon d’Honneur  

Grand Palais, Paris

www.fiac.com

Installation views /// Adelhyd van Bender and Sofia Leiby at PAGE (NYC)

Installation views of the exhibition, Courtesy PAGE (NYC)

Sofia Leiby and Adelhyd van Bender

September 16–November 1, 2017
PAGE (NYC), 368 Broadway, #511, NY 10013
www.page-nyc.com

MONOPOL Review // OKEY DOKEY Show

MONOPOL Magazin für Kunst und Leben 10/2017

Alexandra Wach über unsere OKEY DOKEY Show in der aktuellen Ausgabe der MONOPOL (10/2017)

Die Realität wird überbewertet

Eine Gruppenschau in der Galerie Delmes & Zander in Köln macht die Mystifizierung des Alltags spürbar.

"Mit dem 'Leichtmetallrad' von Yngve Holen kommt man nicht weit, denn es hat seine Form von Schneeflocken geliehen. Ist dies ein Fetisch einer unbekannten nordischen Kultur? Bei den Messgeräten, vollgekritzelten Kalendern und die Tage strukturierenden Polaroids, mit denen Horst Ademeit seine Angst vor Kältestrahlen zu bändigen versuchte, versagen dagegen alle Mutmaßungen darüber, was diesen Außenseiter-Konzeptkünstler in seinem Innersten umtrieb. Diese Objekte sind Zeugnisse des einsamen Abstiegs in eine subjektive Gegenwelt.

Wenn sich gleich drei Galerien zusammentun, um der "Mystifizierung des Alltags" nachzuspüren, ist das Ergebnis nicht zwangsläufig ein dreifacher Esoterik-Akkord. Im Rahmen der Kooperation "Okey Dokey" hatte die Galerie Delmes & Zander die Frankfurter Kollegen Neue Alte Brücke sowie die Pariser Galerie 1900–2000 nach Köln eingeladen. Das Ergebnis ist – trotz vieler verhuschter Papierformate – eine anregende Mischung aus surrealistischen Klassikern wie Hans Bellmer, dem Körperapokalyptiker Tetsumi Kudo oder der von ihren eigenen Händen faszinierten Eliza Douglas. Für all diese Künstler gilt: Die Realität wird überbewertet. Lasst uns einen Blick ins magische Abseits wagen. (...)

Online finden Sie den Artikel hier.
www.monopol-magazin.de

OPENING TONIGHT / Adelhyd van Bender & Sofia Leibly at PAGE (NYC)

Image of wall drawing in Adelhyd van Benders apartment in Berlin.
Courtesy Delmes & Zander, Cologne

Sofia Leibly and Adelhyd van Bender

September 16–November 1, 2017
PAGE (NYC), 368 Broadway, #511, NY 10013
Opening: Saturday, September 16th, 6–8pm

"PAGE (NYC) presents a two-person exhibition by Sofia Leiby (US, b. 1989) and Adelhyd van Bender (Germany, 1950–2014). New readings of van Bender’s drawings are made possible in connection to Leiby’s work; her new paintings are inspired by research into the pursuit of aesthetic exactness, “success” and balance within mid-late twentieth-century German theories of perception and Gestalt. One section of a wall drawing from van Bender’s Berlin apartment is reproduced in the gallery for the first time.

When Sofia gave me the title of her silkscreen painting as PRÄGNANZ / Götz, Arnheim, Maitland-Graves (2017), she explained that “‘Prägnanz’ is a strange German word that basically means, ‘aesthetically successful and concise,’ and dates to the time period relevant to the tests." The tests are those devised in the 1970s by K. O. Götz (1914–2017) as an improvement on the discredited Maitland-Graves Design Judgement Test of thirty years prior. Tired of art criticism’s “idealistic” “word cascades,” Götz studied Gestalt and other fields of psychology and information theory in the interest of establishing an “exact aesthetics”—a new way to “objectively” measure visual abilities and evaluate expressive form. Participants in the resulting visual aesthetic sensitivity test (VAST) were asked to work their way through a book of fifty-two pairs of black abstract shapes that Götz had drafted and report, casting subjective preference aside, which of the two was more balanced. Although Götz asserted that his scientific and artistic interests were separate, in Leiby and van Bender’s work these parallel pursuits collide, and are brought into relation with features of lived experience that Götz had wanted to discount. (...)

As much as harmony in composition, balance in van Bender’s work appears as a refusal to choose either or. Repeatedly referring in notes and drawings to “Geschlecht” (gender), van Bender “seems to have identified as both male and female,” and strikes a balance in self-portraits as lady justice with scales. Further systems of categorisation and judgement appear to have been refused: a van Bender drawing in this exhibition suggests a system made up of false choices: “D. Tradition. D. D. Fashion. D. D. Opinion. D. D. Neurer [innovator]. D.” Is this an allusion to the art critic’s terms of recognition? Further works on paper carry the stamp of Universität der Künste Berlin (Berlin Arts Academy), the school that forced van Bender to exmatriculate in 1976. Reasons for exmatriculation from UdK today include failure to pay your fees or failure of the final examination. Poor performance or poor circumstance, or an interrelation of the two."

To read the complete essay written by Lizzie Homersham please click here:www.page-nyc.com

OKEY DOKEY at Delmes & Zander, Cologne

Installation views "Mystification of the Everyday" at Delmes & Zander, Cologne. Photos by Johannes Post

OKEY DOKEY - A joint exhibition project with
Galerie 1900-2000 (Paris) and Neue Alte Brücke (Frankfurt/M.)
at Delmes & Zander, Cologne

Mystification of the Everyday
8 - 30 September 2017

www.okey-dokey.show

OKEY DOKEY with Galerie 1900-2000 and Neue Alte Brücke

MAX BUCAILLE, Dés, ca.1950, Collage on paper, 16 x 10,5 cm, Courtesy Galerie 1900-2000, Paris

+++ PLEASE SCROLL DOWN FOR ENGLISCH VERSION +++

Mystifizierung des Alltags ist der Titel eines Ausstellungsprojekts von Delmes & Zander (Köln), Galerie 1900-2000 (Paris) und Neue Alte Brücke (Frankfurt/ M.) und wurde speziell für Okey Dokey kuratiert.

Ausgangspunkt von Mystifizierung des Alltags ist ein gewöhnlicher Gegenstand, der von einem magischen Moment durchdrungen ist, einer Aura, einer spirituellen Qualität. Objekte, die vertraut erscheinen mögen, sind es plötzlich nicht mehr: sie sind erfüllt von neuer Bedeutung, da sie die Kraft in sich tragen, etwas grundsätzlich anderes zu werden - im Sinne der Wahrnehmung wie der Erkenntnis. Was zunächst eindeutig als Teil des Alltags erkennbar ist, wird zu etwas anderem, gleichzeitig bekannt und fremd, phantastisch und unheimlich, komisch und beunruhigend. Manchmal wandelt es sich in ein Zeichen der Anbetung und ist bedacht mit seiner eigenen Mythologie, oftmals verknüpft mit sexueller Fixierung oder Verlangen. Das Phänomen kann beliebige Objekte mit einer spirituellen Essenz durchdringen, ihnen magische Qualitäten zuschreiben, sie beleben, vermenschlichen oder ihnen gar eine Seele verleihen. Doch es kann ebenso in die einfachsten Alltagshandlungen oder die Erfahrung des umliegenden Raumes eindringen. Mystifizierung des Alltags erhöht das Banale zum Fetisch mittels Umdeutung, durch eine Verschiebung der Perspektive, eine plötzliche Irritation, Strategien der Subjektivierung, der Aneignung und der Re-Kontextualisierung. Und hierin enthüllt sie das innewohnende Geheimnis der Dinge jenseits dem

Okey Dokey ist ein gemeinsames Ausstellungsprojekt von Galerien und Ausstellungsräumen in Düsseldorf und Köln mit internationalen Kollegen. An den insgesamt 9 Standorten der Gastgeber entstehen in enger Zusammenarbeit mit den Gästen eigens für dieses Projekt gemeinsam kuratierte Gruppenausstellungen.

+++

Mystification of the Everyday is the title of a collaborative exhibition between Delmes & Zander (Cologne), Galerie 1900-2000 (Paris) and Neue Alte Brücke (Frankfurt/ M.) and was especially curated for Okey Dokey.

Mystification of the Everyday takes as a point of departure a commonplace subject and imbues it with a magical moment, an aura, a spiritual quality. Objects which may appear familiar are suddenly not: they are instilled with new meaning because they intrinsically withhold the power of becoming something completely new, both in terms of cognition and of perception. What appears to be an instantly recognizable everyday thing is something else, at once known and unknown, visionary and uncanny, comic and unsettling. At times it is turned into a token of worship and infused with a mythology of its own, often by association of sexual desire or erotic fixation. The phenomenon can permeate random objects with a spiritual essence, attribute magical qualities to them, animate them, humanize them or even lend them a soul, but it can also pervade the simplest ritual of day-to-day life or the experience of surrounding place and space. The Mystification of the Everyday elevates the banal to a fetishized subject by the power of reinterpretation, a shift in perspective, a sudden displacement, strategies of subjectification, appropriation and recontextualization and by doing so reveals the intrinsic mystery beyond the self-evident.

Okey Dokey is a joint exhibition project of galleries and exhibition spaces in Cologne and Düsseldorf with international colleagues.For this project collectively curated group shows will be developed in close cooperation with the guests and take place at the 9 different spaces of the hosts.

Künstler / Artists
ADEMEIT Horst
ANDERSEN Magnus
ANONYMOUS
ARROYO Eduardo
ARMAN
BENEDICT Will
BELLMER Hans
BUCAILLE Max
CADAVRE EXQUIS
CITROEN Paul
CRAFT Liz
CREPIN Joseph
DOUGLAS Eliza
HANSEN Al
HIPKISS
HOLEN Yngve
JENNINGS Humphrey
KUDO Tetsumi
MAN RAY
MARGRET – Chronicle of an Affair
MOLINIER Pierre
NGUYEN Julien
OLDENBURG Claes
ORTH Dietrich
PONTE Francesco
UBAC Raoul
VAN BENDER, Adelhyd
WALLA August
WIDENER George
YORK Reece

http://okey-dokey.show/

www.neuealtebruecke.com

www.galerie1900-2000.com

OKEY DOKEY: A new initiative brings galleries to the Rhineland on APOLLO

Max Bucaille, Dés (ca. 1950), Galerie 1900–2000 at Delmes & Zander. Courtesy Galerie 1900–2000

A new initiative brings galleries to the Rhineland

 by Stephanie Dieckvoss / Apollo Magazine (26 July 2017)

"A new gallery initiative, Okey Dokey, will take place in Düsseldorf and Cologne from 9–30 September, launching alongside the ninth edition of DC Open (8–10 September). The project has been organised by three young galleries, Ginerva Gambino, Jan Kaps and Max Mayer, which have invited nine emerging spaces in Cologne and Düsseldorf to host exhibitions by international galleries: the result is nine curated group shows in nine spaces. Okey Dokey – named after Konrad Fischer’s favourite catch-phrase – looks back to the efforts of Dusseldorf gallerist Fischer who was instrumental in bringing international artists to the Rhineland. The organisers also cite The Köln Show, staged in 1990, which saw nine galleries present work by new artists without institutional help.

Developed in early 2017, Okey Dokey stands as an interesting counterpoint to Art Berlin, a new fair running from 14–17 September (replacing abc berlin), which operates this year on an invitational gallery selection process. The organisers of Okey Dokey instead emphasise collaborative working practices and the notion of the gallery as a key exhibition space for a period of time that extends beyond the brief art fair circus. Invited exhibitor Susanne Zander praises the ‘openness and seriousness’ of the young organisers. She has invited established Galerie 1900–2000 from Paris, together with Frankfurt-based Neue Alte Brücke to stage an exhibition titled ‘Mystification of the Everyday’, which looks at the transformation of familiar objects. And as Rozsa Farkas from London’s Arcadia Missa tells me: ‘It’s nice to be hosted rather than be the host. I’m excited to see Phoebe Collings-James’ work in a different space and new city’. [...]

It is refreshing to see an initiative that focuses on this German region – and in contrast to what might be happening in Berlin. The Rhineland has shown international art in innovative ways since the 1960s and created meaningful exchanges between artists, galleries and collectors. Perhaps what is required is a new group of galleries in Cologne and Düsseldorf to remind us of the importance of this once booming art region. Crucially, Okey Dokey is experimenting with new ways of working together, bringing international colleagues and artists to the organisers’ home region outside the art fair context. Let’s hope it works and that it is the beginning of more to come."

Okey Dokey’s confirmed gallery participants:

• Delmes & Zander (Cologne) hosts Neue Alte Brücke (Frankfurt) and Galerie 1900–2000 (Paris) 
• Lucas Hirsch (Dusseldorf) hosts Stereo (Warsaw) and Lomex (New York) 
• Max Mayer (Dusseldorf) hosts Arcadia Missa (London), Miguel Abreu Gallery (New York), and Misako & Rosen (Tokyo) 
• Drei (Cologne) hosts Kirchgasse (Steckborn, Switzerland) and Lulu (Mexico City) 
• Jan Kaps (Cologne) hosts Weiss Falk (Basel), Edouard Montassut (Paris), and Sax Publishers (Vienna) 
• Studio for Propositional Cinema (Dusseldorf) hosts Barbara Rüdiger with Anna Sophie-Berger Ginerva Gambino (Cologne) hosts Ermes Ermes (Vienna and Rome), Sandy Brown (Berlin), and Truth and Consequences (Geneva) 
• Linden (Dusseldorf) hosts tbc 
• Rob Tufnell (Cologne) hosts Tanya Leighton (Berlin) 

The show opens on September 8, 2017

You can read the complete article on www.apollo-magazine.com

Scott Indrisek about: "When Is an Artist’s Mental Health Your Business?" on ARTSY.NET

Disko Girls (Anonymous), untitled, 1970s-1980s (archive-# 4). Courtesy Delmes & Zander, Cologne.

When Is an Artist’s Mental Health Your Business?

Scott Indrisek on ARTSY (Jul 31st, 2017)

"What does an understanding of an artist’s life story bring to bear on their work? It’s an old question, and of course, one that doesn’t have an easy answer. Biographical information can enrich our understanding of a practice, but it can also narrow a viewer’s focus, forcing critical interpretations through a distorting lens. [...]

What Difference Does It Make?

We generally want to know more about all the artists we love—whether or not those facts actually enhance our understanding of the work they make. We crave gossip and insider dirt, or at least a broader picture of a life. “That’s one of the reasons why the Calvin Tomkins [profiles] in the New Yorker are so fascinating,” Higgs says. “It’s one of the rare opportunities to get a glimpse into an artist’s background, what their parents did, how they grew up, what their circumstances are—all of which is useful information.”

But with outsider artists, it’s important not to indulge in sensationalism under the guise of scholarship. Rousseau does admit that, in certain cases, a deeper understanding of someone’s mental health or related background can be fruitful. She points to George Widener, an artist who has Asperger’s Syndrome. “Because of his love for inventories and numbers, it’s not an un-useful fact to know,” she says. “He also has a photographic memory. It helps you understand a cause and effect. But that’s not often the case.”

In other instances, seeing beyond biographies and categorical distinctions seems to be a way out of the morass. “I’m led to believe that there is no difference between the ‘eccentric’ artist and the professional artist, when they’re dealing with matter and materials,” Gioni says. “In the moment they sit down to make, I ultimately don’t think there’s any difference in the knowledge they have of their hands meeting the material.”

Susanne Zander of Cologne-based Delmes & Zander echoes that sentiment. Her gallery represents the likes of Eugene von Bruenchenhein and Prophet Royal Robertson. “Essentially, we are not that interested in the mental history of the artist,” she says. “The selection of the artists in our program is based mainly on the quality of their work, irrespective of whether or not it was produced specifically for the art market. It’s important for us that the quality is on a par with established art production, and that the artists are judged not for any of their psychological problems—but rather for the quality, individuality, and autonomy of their artistic work.”

As for the basic phrase “outsider art,” Zander feels that it has lost its usefulness. “We feel that the term ‘outsider’ focuses too strongly on the personal situation of the artist and misleads the public, who neglect the actual work itself. We see each work not in reference to a classification or terminology, but for what it really is.”

“The most respectful way to talk about an artist with any condition or pathologies is to stick to the facts,” Edlin says. “If there are things that are unknown—but evidence that suggests certain possibilities—than that’s exactly how it should be put across. Focus on the work, and use the biographical info to help interpret the artmaking process.”

At the same time, Edlin recognizes that an exceptional background can add another dimension to the appreciation of the work. “One of the most interesting and exciting results of accurately explaining the details of the lives of outsider artists—or any artists who have overcome incredibly challenging circumstances—is that their art becomes even more transcendent and uplifting for the viewer,” he continues. “It’s important to remember that figures like Henry Darger, Adolf Wölfli, and Martín Ramírez were some of the most downtrodden artists we’ve ever known. Genius resides in some of the most unlikely of places.”

When Ignorance Is Bliss

“Despite thorough research it has not been possible to identify the artist behind these drawings, found in Germany in the late 1990s,” read the press statement for a group of 50 stunningly idiosyncratic colored-pencil drawings that Delmes & Zander showed at this year’s Independent art fair in New York. Based on its content, the series had been dubbed “Disko Girls,” a title that was “attributed to the work out of respect for the unnamed and unknown author.”

Here, finally, is a case study that happily short-circuits everything we’ve just discussed. For the moment, it’s possible to stand in front of these strange portraits—titillating, disturbing, campy, playful, raw—with absolutely zero baggage.

Perhaps art-historical sleuthing will turn up the artist’s identity in the next few years. Perhaps we’ll find out that he was an orthodontist in Cologne who drew on the weekends, or that she was a university student who copied designs from advertisements and pornographic magazines. Biography will become a magnifying glass used to zoom in on what was once peculiar, elusive, and magnificently foreign about the artist. With any luck, that day will never come.


By Scott Indrisek; Jul 31st, 2017 5:44 pm

You can read the complete article on www.artsy.net

OKEY DOKEY with Neue Alte Brücke and Galerie 1900-2000 - Preview Friday September 8, 2017

We are delighted to announce a collaborative exhibition with Neue Alte Brücke (Frankfurt) and Galerie 1900-2000 (Paris) especially curated for OKEY DOKEY.

Okey Dokey is a joint exhibition project of galleries and exhibition spaces in Cologne and Düsseldorf with international colleagues. For this project collectively curated group shows will be developed
in close cooperation with the guests and take place at the 9 different spaces of the hosts.

Opening reception: Friday September 8, 2017
Duration: 9 - 30 September 2017

Delmes & Zander (Cologne)
hosts Neue Alte Brücke (Berlin) and Galerie 1900-2000 (Paris)

Lucas Hirsch (Düsseldorf)
hosts Stereo (Warsaw) and Lomex (New York)

Max Mayer (Düsseldorf)
hosts Arcadia Missa (London), Miguel Abreu Gallery (New York), and Misako & Rosen (Tokyo)

Drei (Cologne)
hosts Kirchgasse (Steckborn, Switzerland), Lulu (Mexico City), and Park View (Los Angeles)

Jan Kaps (Cologne)
hosts Weiss Falk (Basel), Edouard Montassut (Paris), and Sax Publishers (Vienna)

Studio for Propositional Cinema (Düsseldorf)
hosts Barbara Rüdiger with Anna Sophie-Berger

Ginerva Gambino (Cologne)
hosts Ermes Ermes (Vienna and Rome), Sandy Brown (Berlin), and Truth and Consequences (Geneva)

Linden (Düsseldorf), host galleries TBD
Rob Tufnell (Cologne) hosts Tanya Leighton (Berlin)

http://okey-dokey.show/

Edward M. Goméz on Hyperallergic about EUGENE VON BRUENCHENHEIN

EUGENE VON BRUENCHENHEIN, untitled, 1940s, silver gelatin print, Courtesy Delmes & Zander

An Artist Couple’s Domestic Gesamtkunstwerk
 Edward M. Goméz on Hyperallergic (July 8, 2017)

The outsider artist Eugene Von Bruenchenhein and his wife, Marie, created a miniature universe in their bungalow in a Milwaukee suburb.

SHEBOYGAN, Wisconsin — Mythologies: Eugene Von Bruenchenhein, a new exhibition at the John Michael Kohler Arts Center in Sheboygan, Wisconsin (on view through January 14, 2018), showcases one of the most intriguing bodies of work by an artist of the modern era to be found anywhere today.

The way an artist conjures up a universe of his own, and how his aesthetic vision informs such creativity, are as much the subjects of this compelling survey as any of the peculiar paintings, photographs, and objects on display.
Mythologies is one in a series of exhibitions collectively titled The Road Less Traveled that the museum is mounting this year to commemorate its 50th anniversary. The JMKAC is one of the best-known museums in the world specializing in the study and presentation of works, many of which are site-specific environments, made by self-taught artists. Mythologies traces the development of a clever autodidact whose creative audacity appeared to have been his saving grace: despite the humbleness and hardships of Von Bruenchenhein’s life circumstances, he dared to think big — about himself and his art.

Perhaps it’s that whiff of grandiloquence in Von Bruenchenhein’s sense of himself as a thinker and creative agent, which comes across in his writings and to varying degrees in his art, that have endeared his multifaceted oeuvre to aficionados of outsider art. At the same time, now that the unbridled energy and weirdness of much of what he crafted appear to have been postmodernist avant la lettre, Von Bruenchenhein’s work has earned critical, crossover praise and won many admirers in the mainstream, contemporary-art establishment. The eccentric from Wisconsin who made sculptures with chicken bones and nudie-fantasy photos of his wife is now a bonafide art-world star.

Edward Eugene Von Bruenchenhein (1910–1983) was born in northeastern Wisconsin, on Lake Michigan’s western shore. (Later his family moved south to the Milwaukee suburbs.) The second of three sons, Eugene was seven when his mother died. His father remarried, and his stepmother, whose interests were artistic, literary and intellectual, provided inspiration for the boy’s creative pursuits.
After graduating from high school, Eugene found employment in a florist’s shop and later worked for many years in a commercial bakery. In 1943, he married the former Eveline Kalka (whom he renamed “Marie”), but even though his father gave his son and his new bride the Von Bruenchenhein family’s small house, the couple remained chronically poor. It was in their nondescript bungalow in a Milwaukee suburb that Eugene spent decades developing a rich, imaginary realm of larger-than-life self-expression over which he and Marie presided. (...)

You can read the complete article on hyperallergic.com
www.hyperallergic.com

On the Spot / Groupshow at Delmes & Zander

JESUYS CRYSTIANO, untitled, 2012, pencil on paper, 42 x 59 cm, Courtesy Delmes & Zander

On the Spot
7 July - 26 August 2017

with works by
Jesuys Crystiano
Martin Erhard
Hipkiss
Miroslav Tichy
Wesely Willis

www.delmes-zander.de

Delmes & Zander schließt die Berliner Räume

JESUYS CRYSTIANO, untitled, pencil on paper, 11/2011, Courtesy Delmes & Zander

Monopol.de über die Schließung unserer Berliner Räume (erschienen am 30.5.17):

Delmes & Zander schließt Berliner Standort

"Weil die Organisation zweier Ausstellungsorte zu wenig Raum für die inhaltliche Vermittlung der Künstler und die Weiterentwicklung des Programms zulasse, möchte sich die Galerie Delmes &  Zander in Zukunft auf ihren Kölner Standort beschränken.

Die Inhaberinnen Nicole Delmes und Susanne Zander begründen ihre Entscheidung mit dem Anspruch, auch in Zukunft umfangreiche Künstlernachlässe, wie die von Horst Ademeit, Adelhyd van Bender oder "Margret - Chronik einer Affäre" adäquat betreuen zu wollen. Die Galerie werde darüber hinaus weiterhin eigenständige künstlerische Positionen entdecken, aufbauen und kontextualisieren. Nach Beendigung der aktuellen Ausstellung "Jesuys Crystiano" werden die Räume in Berlin am 10. Juni schließen.

Die Galerie Susanne Zander wurde 1988 in Köln gegründet. Seit 2005 ist Nicole Delmes Mitinhaberin. Der inhaltliche Fokus der Galerie liegt auf der Entdeckung und Förderung eigenständiger künstlerischer Positionen jenseits von Trends. Auch die Aufarbeitung und Bewahrung von künstlerischen Nachlässen ist einer der Schwerpunkte. (...)

Text: Hannah Altermann
 www.monopol-magazin.de
 

Delmes & Zander at FIAC 2017

Delmes & Zander at FIAC 2016. Courtesy Delmes & Zander.

Delmes & Zander at FIAC 2017

We are very excited to announce that we will be participating in FIAC 2017!

-------------------

FIAC 2017

19-22 October 2017

Grand Palais

Avenue Winston Churchill 

75008 Paris

-------------------

Full Exhibitor List:

//Galerie 1900-2000, Paris

303 Gallery, New York

AMiguel Abreu, New York

Air de Paris, Paris

Allen, Paris

Applicat-Prazan, Paris

Art : Concept, Paris

Alfonso Artiaco, Napoli

BBalice Hertling, Paris

Baudach, Berlin

Thomas Bernard - Cortex Athletico, Paris

Bernhard, Zürich

Blum & Poe, Los Angeles, New York, Tokyo

Isabella Bortolozzi, Berlin

Gavin Brown's enterprise, New York, Roma

Galerie Buchholz, Berlin, Köln, New York

Shane Campbell, Chicago

Capitain Petzel, Berlin

Casas Riegner, Bogotá

Ceysson & Bénétière , Paris, Luxembourg, Saint-Étienne, Genève, New York

ChertLüdde, Berlin

C L E A R I N G, New York, Brussels

Sadie Coles HQ, London

Continua, San Gimignano, Beijing, Boissy-le-Châtel, Habana

Paula Cooper, New York

Raffaella Cortese, Milano

Vera Cortês Art Agency, Lisboa

Chantal Crousel, Paris

Ellen De Bruijne Projects, Amsterdam

Massimo De Carlo, Milano, London, Hong Kong

Delmes & Zander, Köln, Berlin

dépendance, Brussels

Dvir Gallery, Tel Aviv, Brussels

EFrank Elbaz, Paris

espaivisor, Valencia

Essex Street, New York

Experimenter, Kolkata

FImane Farès, Paris

Konrad Fischer, Düsseldorf, Berlin

Freedman Fitzpatrick, Los Angeles

Lars Friedrich, Berlin

Gagosian Gallery, Paris, New York, London, Beverly Hills, Hong Kong

Christophe Gaillard, Paris

Gaudel de Stampa, Paris

gb agency, Paris

Gladstone Gallery, New York, Brussels

Laurent Godin, Paris

Marian Goodman, Paris, New York, London

Bärbel Grässlin, Frankfurt

Green Art Gallery, Dubai

Karsten Greve, Paris, Köln, St. Moritz

Max Hetzler, Berlin, Paris

House of Gaga, México D.F., Los Angeles

Gypsum, Cairo

Xavier Hufkens, Brussels

Eric Hussenot, Paris

Hyundai, Séoul

IIn Situ - Fabienne Leclerc, Paris 

Instituto de Visión, Bogotá

JJousse Entreprise, Paris

joségarcía, mx, México D.F.

Annely Juda Fine Art, London

Karma, New York

Karma International, Zürich, Los Angeles

kaufmann repetto, Milano, New York

Anton Kern, New York

Peter Kilchmann, Zürich

Kisterem, Budapest

Kohn Gallery, Los Angeles

König Galerie, Berlin

David Kordansky, Los Angeles

Kraupa-Tuskany Zeidler, Berlin

Krinzinger, Wien

Kukje Gallery / Tina Kim Gallery, Seoul, New York

LLabor, México D.F.

LambdaLambdaLambda, Prishtina

Landau Fine Art, Montreal

Emanuel Layr, Wien

Le Minotaure, Paris

Simon Lee, London, Hong Kong

Lehmann Maupin, New York, Hong Kong

Lelong, Paris, New York

David Lewis, New York

Lisson, London, New York, Milano

Loevenbruck, Paris

Magazzino, Roma

Mai 36 Galerie, Zürich

Maisterravalbuena, Madrid, Lisboa

Edouard Malingue, Hong Kong, Shanghai

Marcelle Alix, Paris

Giò Marconi, Milano

Mazzoleni, Torino, London

Fergus McCaffrey, New York

Mendes Wood DM, São Paulo, Brussels

kamel mennour, Paris

Metro Pictures, New York

Meyer Riegger, Berlin, Karlsruhe

Mezzanin, Genève

Francesca Minini, Milano

Massimo Minini, Brescia

Victoria Miro, London

Mitchell-Innes & Nash, New York

mor charpentier, Paris

Jan Mot, Brussels, México D.F.

Nächst St. Stephan Rosemarie Schwarzwälder, Wien

Nagel Draxler, Berlin, Köln

Edward Tyler Nahem Fine Art, New York

Nahmad Contemporary, New York

Neu, Berlin

Neue Alte Brücke, Frankfurt

neugerriemschneider, Berlin

New Galerie, Paris

NoguerasBlanchard, Barcelona, Madrid

ONathalie Obadia, Paris, Brussels

Guillermo de Osma, Madrid

Overduin & Co., Los Angeles

P420, Bologna

Pace, New York, London, Beijing, Hong Kong, Palo Alto, Paris

Parra & Romero, Madrid, Ibiza

Françoise Paviot, Paris

Peres Projects, Berlin

Perrotin, Paris, New York, Hong Kong, Seoul, Tokyo

Francesca Pia, Zürich

PKM Gallery, Seoul

Plan B, Cluj, Berlin

Jérôme Poggi, Paris

Praz-Delavallade, Paris, Los Angeles

Eva Presenhuber, Zürich, New York

ProjecteSD, Barcelona

Queer Thoughts, New York

Almine Rech, Paris, Brussels, London, New York

Reena Spaulings Fine Art, New York

Regen Projects, Los Angeles

Michel Rein, Paris, Brussels

Rodeo, London

Thaddaeus Ropac, Paris, Salzburg, London

Richard Saltoun, London

Esther Schipper, Berlin

SCHLOSS, Oslo

Micky Schubert, Berlin

Semiose, Paris

Natalie Seroussi, Paris

Skarstedt, New York, London

Pietro Sparta, Chagny

Sprüth Magers, Berlin, London, Los Angeles

Stigter Van Doesburg, Amsterdam

Daniel Templon, Paris, Brussels

Tornabuoni Art, Paris, Firenze, Milano, London

Truth and Consequences, Genève

UUBU Gallery, New York 

Valentin, Paris

Georges-Philippe & Nathalie Vallois, Paris

Van de Weghe, New York

Vedovi, Brussels

Venus, New York, Los Angeles

Nadja Vilenne, Liège

Vitamin Creative Space, Guangzhou, Beijing

Waddington Custot, London

Waldburger Wouters, Brussels

Michael Werner, New York, London

White Cube, London, Hong Kong

Jocelyn Wolff, Paris

ZThomas Zander, Köln

Zeno X, Antwerp 

ZERO..., Milano

Galerie Zlotowski, Paris

David Zwirner, New York, London

-----------------------------

Find out more about FIAC here. 

www.fiac.com/