KARL HANS JANKE at Kunsthal KAdE Amersfoort

Karl Hans Janke: Raum-Kugel-Trajekt Centauri, 1974,
mixed media on paper, 30 x 42 cm, Courtesy Delmes & Zander, Cologne

One Way Ticket to Mars

September 21, 2019 – January 12, 2020

The exhibition One Way Ticket to Mars at Kunsthal KAdE Amersfoort will feature drawings by Karl Hans Janke.

"One Way Ticket to Mars allows visitors to experience various aspects of the journey to Mars and what it is like there. How relentless are the conditions of this planet awaiting to be discovered? Is living on Mars a frightening idea, or a provocative thought? As from 21 September, Kunsthal KAdE will present a vision of what so far is still an impossible journey. The exhibition comprises four narratives: the desire, the journey, the stay and homesickness. It features new and existing works by artists, designers, architects and scientists from the Netherlands and abroad. (...)"

For more information please visit: www.kunsthalkade.nl

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

30 years of Delmes & Zander

Karl Hans Janke, Knabenbildnis, 1963, mixed media on paper, 29,5 x 21 cm

 
LIBIDINAL MOTION / DIARY OF AN INNOCENT
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.

Getting Ready for fiac!

Prophet Royal Robertson, untitled (Almightly Dies Odin), 1980s, Courtesy D&Z

Visit us October 18 – 21 at Grand Palais, 
Salon d'Honneur - booth 1.J21

"The 45th edition of FIAC will be held in Paris from 18 to 21 October 2018 and will host 193 galleries in the nave and exhibition rooms of the Grand Palais.

The 2018 selection – including many of the most influential specialists worldwide in the fields of modern art, contemporary art and design – will present the finest examples of artistic creation since the turn of the twentieth century; modern masters through to the latest trends..."

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