Wednesday 28 November 2018

Article on the anniversary exhibition at our gallery on Blouinartinfo

“untitled,” 1977 (archive # 020), Albrecht Becker, Photocollage, 20x18.6cm
“Naturzeugung des Menschen,” 1975 (archive # 90), Karl Hans Janke, mixed media on paper; 30x42cm
“untitled”, Aurel Iselstöger, undated (archive # 262), pencil on paper, 20x14.5cm
“Janke Knabenbildnis,” 1963 (archive # 87), Karl Hans Janke, mixed media on paper, 29,5 x 21cm
“untitled”, Margarethe Held, undated (archive # 014), chalk on paper, 39.5 x 29.5 cm

Thank you for featuring the current exhibition “Libidinal MOTION/ Diary of An Innocent” at our gallery on Blouinartinfo!

The 30-years anniversary show runs until February 1, 2019. 

For more information click here:

Tuesday 27 November 2018

Article on Delmes & Zander at BLAU magazine

BLAU No.33, Winter 2018/ 19, S. 69
BLAU No. 33, Winter 2018/ 19, S. 70
BLAU No. 33, Winter 2018/ 19, S. 71
BLAU No. 33, Winter 2018/ 19, S. 72

"Sie wollen nicht gefallen" - Interview with Nicole Delmes and Susanne Zander on the occasion of the 30th anniversary of Delmes & Zander

"Wer Sie in den neuen Räumen besucht, der spürt sie: die freien Geister, mit denen die Galerie Delmes & Zander den Kunstmarkt verändert hat (...)"

Thank you Gesine Borcherdt and BLAU magazine!

For more info click here:

Tuesday 13 November 2018

30 years of Delmes & Zander

Karl Hans Janke, Knabenbildnis, 1963, mixed media on paper, 29,5 x 21 cm
November 24th, 2018 – February 1st, 2019

30 years of Delmes & Zander
Curated by James Richards

Spending time at Delmes & Zander, James Richards* has convened an intimate path through thirty years of the gallery’s program. Choosing works from the gallery’s archives by Aurel Iselstöger, Miroslav Tichý, Sava Sekulic and Karl Hans Janke, to mention a few, the selection is intuitive and as- sociative. There is a focus on drawing and works on paper as a form of direct communication.There is a focus on drawing and works on paper as a form of direct communication. Tolia Astakhishvili* provides the architectural framework for the exhibition. The work who goes there acts as both display structure and atmospheric holding enviroment. Gallery walls are lined with unfinished wood pannels, post boxes and dirty perspex and graffty on top of which the artist mounts drawings and found images. 
This playfull mixing of background texture and foreground display opens up new interpretive pos- sibilities as well as blurring the boundaries between installation and artwork.

Albrecht Becker, ohne Titel, 1974, photo collage, 28,4 x 20,4 cm, Copyright Collection Hervé Joseph Lebrun

Albrecht Becker – Libidinal MOTION
Curated by Lucas Foletto Celinski

Albrecht Becker (1906 – 2002), best known as a successful set designer and film architect (Hauptmann von Köpenick, Das Glas Wasser) and for his controversial biography – he was imprisoned by the Nazis under paragraph 175 – has also created an extensive artistic body of work.

The exhibition ALBRECHT BECKER – Libidinal MOTION, curated by Lucas Foletto Celinski*, will focus on the photomontage self-portraits Becker made in later years. His experimental photographic images, constructed through a range of diverse techniques, such as multiple-exposure, mirror reflection and collage, combine the depiction of motion with body-related self-explorations. Capturing separate instants of action in one static image, his photomontages render the impression of movement, bringing to mind Eadweard Muybridge's photographic studies of motion.

The exhibition provides insight into Becker's body explorations and a queer take on body and movement. A pioneer of body modification, Becker's photomontages situate his body as a site for mutable and constant transformation. Becker's staged “body-play” transcends the boundaries of still and motion, natural and artificial, private and public. They render testimony to an auto-erotic obsession.

As part of a research project at the Schwules Museum Berlin, James Richards has previously worked with Becker's photomontages in his collaborative film with Steve Reinke: What Weakens The Flesh is The Flesh Itself (2017). Thanks to Rosa von Praunheim for the permission to show the documentary film Love and Torment – Albrecht Becker (2005) in the context of the exhibition.

The exhibition takes place with the friendly support of Collection Hervé Joseph Lebrun.

30 years of Delmes & Zander

We are happy to celebrate our 30th gallery anniversary with the two shows Libidinal MOTION/ Diary of An Innocent curated at our exhibition space by the artists James Richards and Lucas Foletto Celinski respectively.  The orientation of the gallery program remains in a constant dynamic process freed from the dictates of genre and the idea of the artwork as a finished product, thus exploring new directions and opening up new fields of experimentation.

*James Richards (born 1983 in Cardiff, UK) lives and works in Berlin and London. He is the recipient of the Ars Viva Prize (2014) and Derek Jarman Award for film and video (2012) and was a resident of the Berliner Künstlerprogramm DAAD (2013). Richards was shortlisted for the 2014 Turner Prize. Recent solo shows include Künstlerhaus Stuttgart (2018), Kestner Gesellschaft, Hannover (2017), ICA, London (2016), Bergen Kunsthall (2016), Kunstverein München (2015), CCA, Kitakyushu (2012), Chisenhale Gallery, London (2011) and Tate Britain, London (2010). In 2017 Richards represented Wales at the 57th Venice Biennale. Selected group exhibitions include Whitney Biennial, Whitney Museum of American Art, N.Y. (2017), Less Than Zero, Walker Arts Center, Minneapolis (2016), Cut to Swipe, MoMA, N.Y. (2014), Frozen Lakes, Artist Space N.Y. (2013) and The Encyclopedic Palace, 55th International Art Exhibition La Biennale di Venezia, Venice (2013).

*Lucas Foletto Celinski (born 1986 in Brazil) lives and works in Berlin. Recent shows include Suture Pénétrable at Standing Pine Gallery, Nagoya (2017), Passion at Museum Ludwig, Budapest (2016), Slash: In Between the Normative and the Fantasy at Kim? Contemporary Art Centre, Riga (2015), Berlin Artists' Statements at BWA Contemporary Art Gallery, Katowice (2015) and Bedded-Down Knot at Künstlerhaus Bethanien, Berlin (2015).

*Tolia Astakhishvili (born 1974 in Tbilisi, Georgia) lives and works in Berlin.
International group and solo shows include New Contemporaries, Camden Arts Centre, London (2001), Mots in all eyes, The Ship Projects, London (2005), The Universal Enemy, Kunstgruppe, Cologne (2005), Passenger, GlassBox, Paris (2008), 2009 Born in Georgia, Cobra Museum, Amstelveen, Alms for the Birds at Cabinet Gallery, London (2014), A slight ache, chapter Gallery (curated by James Richards), Cardiff (2018) Ache, Cabinet Gallery, (curated by James Richards), London. Since 2018 the artist teaches at Udk, Universität der Künste Berlin.

Monday 12 November 2018

Alexandru Chira at MNAC Bucharest

Alexandru Chira, Winged Lamp (Study for Stereo-Poem), 1997, oil on canvas, 83 x 83 cm, © Delmes & Zander

November 15, 2018 – September 29, 2019

"For the first time in a 18-year long existence, the National Museum of Contemporary Art launches in its most generous space a long-term innovative project dedicated to the collection: the curatorial discourse presents Romanian contemporary art history (1947 - 2007) by giving equal weight to the documentary and artistic dimensions, to the production of culture and to the context determining it.

Thus, Romania’s contemporary history and art history enter into dialogue through the systematic display of one of our country’s most eclectic museum collections. Inherited mostly from other institutions and reflecting, up until 1990, the purchase mechanisms of the former communist cultural propaganda structures, the MNAC collection is able to contribute to a nuanced outlook on Romanian artistic life, from a perspective guided not only by value criteria but also by an overview of the social, economic and political context that influenced its becoming. Seeing History (1947-2007) is designed as an open platform for presentation, analysis, and debate, following the principles of collective curating and bound to continuously change through the accumulation of knowledge. (...)"

Curatorial team: Cristina Cojocaru, Călin Dan, Sandra Demetrescu, Mălina Ionescu, Adriana Oprea, Magda Predescu, Irina Radu

For more Information visit

Friday 9 November 2018

Article on Delmes & Zander at Kölnische Rundschau

Kölnische Rundschau, November 8, 2018
Thank you Heidrun Wirth and Kölnische Rundschau for the article on occasion of the 30th anniversary of Delmes & Zander.

The jubilee exhibition will open on the 24th of November, 6 - 9 pm.

For more information click here:

Monday 5 November 2018

Hilma af Klint at the Guggenheim

Installation view of Hilma af Klint's "The Ten Largest." Image courtesy Ben Davis

Why Hilma af Klint’s Occult Spirituality Makes Her the Perfect Artist for Our Technologically Disrupted Time

Review on the exhibition on Artnet by Ben Davis
"Assembled in a chronological progression up the museum’s spiral, the show feels like both a transmission from an unmapped other world and a perfectly logical correction to the history of Modern art—an alternate mode of abstraction from the dawn of the 20th century that looks as fresh as if it were painted yesterday."

(...) "Hilma af Klint's example shows the symbolic power that a woman artist could draw both in spite of and because of the constraints put on her by her time period and her culture, making her a convincing heroine for today. But there is another aspect of Hilma af Klint that makes her oeuvre enter into harmonic relation with the present. That is her occultism.

Af Klint’s interior life, I gather, remains a bit of an enigma, glimpsed through hints and fragments in her journals. What is definitely known is that she had begun attending séances as a teenager, using them as a way to contact her younger sister, who had died young. Af Klint’s turn to abstraction grew from experiments with contacting the dead, particularly as part of a group of women who christened themselves the Five, going into trance states or channeling with a machine called a psychograph."

(...) "Hilma af Klint wanted her art hidden from the world until society was ready for it. What exactly that would have meant to her remains elusive. And nevertheless, she has surfaced right on time."

For more information click here: