ADEMEIT at Malmö Konsthall

Image: ADEMEIT, film still, directed by Michael Bauer and Marcus Werner Hed

 

Film screening: ADEMEIT
Saturday May 4, 2019 at 3 pm
at Malmö Konsthall

"This documentary-portrait by the artist Michael Bauer and the director Marcus Werner Hed is a poignant journey into the work and life of Horst Ademeit (1937–2010), with an in-depth interview, an exploration of the places he lived in and which appear in his polaroids, and his own interpretation of them. Ademeit documented the impact of cold rays – radiations that he considered a healthhazard and a potential threat; and built up an archive of thousands of inscribed polaroids. Some of his polaroids are shown in the current exhibition SPEED 2."

The film ADEMEIT (2010) is produced by Punderson Gardens, London. In German with English subtitles. Length: 26 minutes.

For more information, please visit:
www.konsthall.malmo.se

Souvenir de Voyage at Musée de Grenoble

Souvenirs de voyage
La collection Antoine de Galbert 
27 avril – 28 juillet 2019
Musée de Grenoble

"Alors que La maison rouge a fermé ses portes à la fin de l’année 2018, le musée de Grenoble propose une exposition de la collection personnelle de son fondateur Antoine de Galbert du 27 avril au 28 juillet 2019.

C’est à Grenoble dont il est originaire que naît sa passion pour l’art alors qu’il devient galeriste, activité qu’il abandonne rapidement pour se consacrer à la constitution de sa collection. Réunie au cours de ses 30 dernières années, cette dernière apparait aujourd’hui comme l’une des plus singulières collections privées françaises. Elle est un autoportrait en creux de son auteur, pour qui le domaine de l’art est avant toute chose celui de la liberté inégalée. Si les expositions réalisées à Grenoble – Les Coiffes au musée dauphinois, à Lyon – Ainsi- soit-il et à Paris – Le mur avaient permis de découvrir une partie de cette dernière, Souvenirs de voyage, par l’ampleur de son parcours, révèlera qu’une collection plus qu’une activité ou un ensemble d’artistes choisis est avant tout le reflet d’une personnalité, un regard sur le monde, une philosophie, une sensibilité mais aussi une quête existentielle. De façon ironique, Antoine de Galbert aime à dire que sa « collection est une tabagie ». Souvenirs de voyage met dans tous les cas en lumière l’originalité de cette dernière qui à l’image de son auteur préférant aux personnalités artistiques les plus connues du monde de l’art l’exploration de territoires inconnus.

Véritable voyage intérieur, Souvenirs de voyage retrace en 17 salles les affinités électives du collectionneur, sa passion pour l’art contemporain, son goût pour les marges, l’art brut et l’ethnographie. Peintures, dessins, photographies, installations, art primitif, objets religieux et populaires se déploieront en une scénographie de l’intime, où de grandes figures de l’art moderne comme Schwitters, Ben, Boltanski, Laib, Fontana voisineront avec les plus jeunes générations (Cathryn Boch, Mathieu Briand , Steven Cohen , Duprat, Gronon, John Isaacs, Edward Lipski, Mari Katayama, Stéphane Thidet etc) tout en côtoyant des artistes hors champ (A.C.M., Aloïse, Lesage, Van Genk).

De l’activité du collectionneur à l’imaginaire des villes, des scènes artistiques anglo-saxonne ou belge à l’Afrique, de la folie au « corps en morceaux », du zen à l’écologie, en passant par une rêverie sur le cosmos et le Dernier voyage, la collection d’Antoine de Galbert, « douce et luxueuse thérapie », comme il le dit lui-même, met en lumière son goût du décloisonnement tout en reflétant ses obsessions les plus profondes. A rebours d’une vision parfois austère et aseptisée de l’art contemporain, cette collection n’hésite pas à faire dialoguer l’art conceptuel et les cultures populaires, les tenants de l’art brut et les artistes émergents. Cherchant à dépasser les théories qui enferment et l’ennui d’une histoire de l’art toute tracée, abolissant les frontières et privilégiant le mélange des genres, Antoine de Galbert aime à se frayer un chemin hors des sentiers balisés considérant, que l’époque dans laquelle nous vivons a plus que jamais besoin de magie, de mystère, de simplicité et d’universalité."

For further information please visit:
www.museedegrenoble.fr
fondationantoinedegalbert.org

HIPKISS at Kupferstichkabinett Berlin, until August 4, 2019

Hipkiss, L. I. E. (London In Europe) 1, pencil and mixed technique on paper, 2011, Courtesy Delmes & Zander, Cologne

 

HIPKISS' L.I.E. (2011) currently on view at Kupferstichkabinett "In the best company - Selected acquisitions of the Berlin Kupferstichkabinett, 2009-2019.", 13.04. to 04.08.2019.

In the Best of Company presents a selection of the Kupferstichkabinett’s most important acquisitions from the last 10 years – ranging from the Late Middle Ages to the current day. These include not just purchases made with the Kabinett’s own funds, but also donations, bequests, and a number of re-purchases of works that had been previously restituted.

Many important purchases are only made possible by support from third parties such as the Cultural Foundation of the German Federal States or the Ernst von Siemens Art Foundation. Not to be forgotten are the artist grants of the State of Berlin and the engagement of the Graphische Gesellschaft zu Berlin e. V., along with a great many private donors.

The exhibition does not just place a spotlight on individual new acquisitions and the circumstances of their acquisition, but also on points of connection within the collection, works with which the new arrivals enter into a dialogue – and with which they now find themselves in the best of company.

See more at Kupferstichkabinett.

Installation Views of Marcel Bascoulard / Special Guest Jürgen Klauke

Installation views of Marcel Bascoulard / Special Guest Jürgen Klauke: Jürgen Klauke, Selfperformance, 13-parted, 1972/73, photography on barytpaper, 57 x 42 cm, Courtesy Delmes Copyright VG Bild-Kunst; Marcel Bascoulard, Courtesy Delmes & Zander, Cologne

Fotos: Johannes Post

EXTRAVAGANZA at Centro de Arte Olivia

Installation View © Dinis Santos

EXTRAVAGANZA

Curator: Antonia Gaeta

April 13, 2019 – September 15, 2019

Centro de Arte Oliva

The show EXTRAVAGANZA includes works by Agatha Wojciechowsky, Anna Zemánková, Aurel Iselstöger, Eugene Von Bruenchenhein, Margarethe Held, Derrick Alexis Coard and Karl Hans Janke among others from the Treger/Saint Silvestre Collection.

Read here Antonia Gaeta's text about the exhibition:

The rhetorical apprehension of a specific strangeness

In the chronicle Celestial Emporium of Benevolent Knowledge, Jorge Luis Borges wrote about “a certain Chinese encyclopaedia” in which he catalogued species and different shapes in a random and subjective way. Every one of those shapes could assume a meaning or a substance created ad hoc for the situation that could basically be used for all things in the universe according to the level of interest and imagination of the readers. This apparent disorder or non-rigorous cataloguing made the coexistence of a great number of realities possible and found a place capable of welcoming objects and ideas.
In a simple exercise of comparison and analogy – conditio sine qua non for all sorts of intellectual production -, “that” Chinese encyclopaedia seemed to be the most suitable in order to explain the ideas that underlie and materialise in the exhibition Extravaganza.
A certain strangeness that is present in the artworks, the obsession with the obscene and nonsense, the refusal of logical rules, several etcetera (as Borges would say), the abstractions, the taste for the absurd, the chaos, the incongruence and all kinds of paradox, are assembled in an irreverent and discontinuous fashion, in an ingenious, ambiguous and redundant exhibition design, with several white walls.
A softly announced feeling of surprise surrounds the exhibition: the artworks don’t belong to the same genre or a specific geographical area, or even the same historical period. The artists are sometimes anonymous, unknown or working under pseudonyms. Almost illiterate, without artistic or literary training, they are, however, capable of bringing a great spiritual and creative emotion through drawings and portraits of never seen before landscapes, hard to catalogue physiognomies, the obsessive repetition mixed with autofiction and possibly the promise of another identity.

And here the artist’s biography helps contextualise and better understand – in case some find it necessary – the artworks: all of them, to a greater or lesser extent, had complex lives, irreparable losses, accidents, went through deprivations, were persecuted and cast aside, had multidimensional and extra-terrestrial experiences.
Through a creativity that is free from reason it is possible that they have found the access keys to the beyond and, perhaps, had the possibility to create other connections with body and mind. All these suppositions are possible, at least I like to think that.
However, what is favoured in Extravaganza is the pars destruens of the Treger/Saint Silvestre collection, in other words, the analysis of the relation between the idea of beauty and harmony that is done through a set of artworks whose common denominator is a non-linear speculative dynamic; an erratic or rapidly changing situation, unusual, bizarre. An extravagating that replaces ratio and norms with intuition and the visionary, that combines brilliance and revelry, dementia and insanity with contradictory and anomalous situations. (...)

For more Information and to see all Installation Views of the Exhibition visit: tsscollection.org

centrodearteoliva.pt

MARCEL BASCOULARD / SPECIAL GUEST JÜRGEN KLAUKE

 Marcel Bascoulard, untitled, undated, Vintage Gelatin Silver Print,
12,8 x 8,8 cm, Courtesy Delmes & Zander, Cologne

MARCEL BASCOULARD / SPECIAL GUEST JÜRGEN KLAUKE

Delmes & Zander will show the photographic work of French artist Marcel Bascoulard. The photo series "Self Performance" (1972/73) by Jürgen Klauke, a seminal reference to the contemporary art scene, will be shown in the context of this exhibition.

Marcel Bascoulard is born in 1913 in France. He attends the art school of Bourges in the early 1930s. Parallel to his photographic work, he continues to paint and write throughout. He lives on the street at his own will, a self-determined clochard, until he is murdered in 1978 under unclear circumstances. He will remain a landmark of the city of Bourges until his death and is known to this day as “the man who dresses up in women’s clothes.”

His first self-portraits are taken in the early 40s. They show a young man in a dress, only subtly posing, brash yet sober, no makeup. He looks straight into the camera, unapologetically. This look, captured in his photographs as it progressively ages over the course of forty years, is the seemingly asexual invariable in a playful and elaborate interchange of dresses, some sewn by Bascoulard himself, others acquired in exchange for his paintings. It is these brief moments that transfer him into a different time and that enable him to take on a number of female identities: the unmarried young woman and the old spinster, the teacher and the shopkeeper (often holding a piece of broken mirror that resembles a hand-fan or a machete), the housekeeper with an apron and the lady of the house, but also roles that he invents or creates himself, such as the futuristic-looking geisha in vinyl from his later work. When arrested by the police in 1952, Bascoulard replies to the question of why he dresses in women's clothes in public: “It’s an artistic necessity.” Bascoulard's work derives essentially from this necessity: an artistic obsession at the heart of a carefully contrived life that raises questions about gender, identity, and biography.

Jürgen Klauke, Selfperformance, 13-teilig, 1972/73, Fotoarbeit auf Barytpapier, je 57 x 42 cm, Courtesy Delmes & Zander, Cologne Copyright VG Bild-Kunst

Jürgen Klauke (* 1943) begins to place his body at the center of his photographic work in the late 1960s and implements it as an immediate vehicle for expressing his artistic ideas. In doing so, he raises the question of gender-specific role assignment with provocative directness, ultimately reducing it ad absurdum. Beyond its formal serial character, the photographic work "Self Performance" (1972/73) also functions conceptually as a projection surface for multiple identities and genders, all of which Klauke constructs deliberately as part of his artistic thought and action. Beyond the mere appropriation of femininity, Klauke explores the concepts of self-presentability and transformability in order to explore new sexual typologies and to capture and objectify them within the medium of staged photography. This artificial and artistic rupture with traditional roles and standardized notions of identity in Klauke's pictorial worlds of the early 1970s form the core of a radical practice that is to this very day of seminal importance to an entire generation of young, performance-oriented artists.

"Jürgen Klauke is a unique figure in the art world. His inventions are nowadays taken for granted and have significantly influenced art over the last 30 years. He is a pioneer of multimedia and interdisciplinary artistic exploration, whose work fascinates and irritates in equal measure, oscillating between the poles of attraction and repulsion.”

Klaus Honnef on Jürgen Klauke, 2002

We would kindly like to thank Jürgen Klauke for his collaboration in this exhibition.

Also on our Website.

Installation view of SPEED 2 / James Richards, Leslie Thornton and more at Malmö Konsthall until May 26, 2019.

Installation Images of SPEED 2 at Malmö Konsthall. Photo: Helene Toresdotter, Courtesy Malmö Konsthall 

SPEED 2 / James Richards, Leslie Thornton and more at Malmö Konsthall. Curated by James Richards, Fatima Hellberg and Matt Fitts. In Collaboration with Künstlerhaus Stuttgart. With works by Adelhyd van Bender and Horst Ademeit. 

Visit Malmö Konsthall.