MORTON BARTLETT "Family Planning: early photographs and archival material" at Julie Saul Gallery (NY)

Morton Bartlett, untitled, ca. 1950, 13 x 10 cm, Courtesy Delmes & Zander, Berlin / Cologne

MORTON BARTLETT

"Family Planning. Early Photographs & Archival Material"

at Julie Saul Gallery (NY)
through December 23, 2015

"The Julie Saul Gallery is pleased to announce our second exhibition of photographic works and related materials by Morton Bartlett (1909-1992). Since Bartlett’s work was first shown here in 2007, his photographs and mannequin sculptures have been widely exhibited. As their appearance in Massimiliano Gioni’s 2013 Venice Biennale demonstrated, their unique aura and superb craft have elevated them beyond the context of “self-trained” or “outsider” art. Bartlett was a master craftsman whose extensive knowledge of decorative techniques is demonstrated in the articles he wrote as the editor of the 1950s home-craft magazines, Bench & Brush and Decorator’s Letter from Home. He is known primarily for sculptures and photographs of dolls he created between 1935 and 1950 that were not discovered until the early 1990s. As he was beginning to create the sculptures, he worked as a child photographer. His portrait and study photographs give new insight into the development of his sculptural style. This exhibition aims to cast Bartlett’s life and art in a fresh light by bringing these never-before exhibited photographs of children from the mid-1930s together with the color and black and white photographs of the dolls (...)"

Please find further information here

www.saulgallery.com

MIROSLAV TICHY Opening 6 pm on Friday, November 6, 2015 at Delmes & Zander I Berlin

Miroslav Tichý

Drawings & Photographs
November 6, 2015 – January 16, 2016

Opening: Friday, 06.11., 6–9 pm

Miroslav Tichý went outdoors with his self-made cameras every day, capturing images of as many women as he could. To photograph a hundred women per day – this was the ultimate goal of the Czech artist, born 1926. In his quests, especially those in the 1980s and 1990s, he took innumerable voyeuristic photographs. The images of the women shot are blurred and generally out of focus.

The photographs show women walking in the street, sitting on park benches, at the swimming pool, always with a clear focus on breasts, legs, and behinds. A similar fondness is found in Tichý’s drawings, which he considered his primary artworks; although lesser known, they testify to the artistic stringency of the Czech artist.

Miroslav Tichy, untitled, undated (approx. 1960-70s), mixed media on paper, various formats

Courtesy Galerie Susanne Zander / Delmes & Zander (Cologne & Berlin)

The current exhibition allows for a possible and direct comparison between Tichý’s photographic works and his drawings, which show a similar eroticism, an appreciation of voluptuousness, common composition, the esthetic of imperfection, and a clear focus on women, the eternal object of his desires. As in his photographs, Tichý often leaves the faces of his women blank or obscured in his drawings, the focus of the image being of anatomical nature, such as his focus on constrained waists contrasted with ample hips.
 

After his education at the Academy of Arts Prague, Tichý began a promising career in the late 1940s as a rising avant-garde painter and draftsman. Because of the totalitarian doctrine of socialism, he ended up more and more in isolation, frequently imprisoned and even spending time in a psychiatric ward. He turns increasingly to photography. He maintained his radical anti-stance against the establishment even after the fall of the “Iron Curtain”.
 

Miroslav Tichy, untitled, undated (approx. 1980-90s), mixed media on photograph, 23.2 x 18.9 cm

Courtesy Galerie Susanne Zander / Delmes & Zander (Cologne & Berlin)

Miroslav Tichý’s works are represented in renowned collections worldwide such as the MMK – Museum for Modern Art, Frankfurt/ Main; the Centre Georges Pompidou, Paris; the F.C. Gundlach Collection at the Haus der Photographie Deichtorhallen, Hamburg, the Collection Antoine de Galbert, Paris, and the Treger Saint Silvestre Collection, Porto.

Miroslav Tichy

Drawings & Photography

November 6, 2015 -  January 16, 2016

Delmes & Zander I Berlin

Rosa-Luxemburg-Str. 37, 10178 Berlin

Margret at MD, Cologne

Margret at MD

till 4th November, 2015
Marsilstein 21-23, Cologne
Di - Sa from 6pm
http://md-cologne.blogspot.de/

MIROSLAV TICHY /// Museum Dr. Guislain, Ghent

Miroslav Tichy, untitled, undated, mixed media on photography, Courtesy Delmes & Zander, Berlin / Cologne

"Shame" at Museum Dr. Guislain, 31 Oct 2015 - 29 May 2016

MIROSLAV TICHY featured in the exhibition 
"SHAME" at Museum Dr Guislain
31.10.15 - 29.05.16

"That which we wish to keep hidden, becomes visible. That of which we do not wish to talk, becomes public. From taboo to embarrassment, from primness to awkwardness, from blushing to guilty pleasures: this exhibition sheds light on shame, a feeling which is difficult to grasp, yet omnipresent. It catches us by surprise, at the least expected moments and for the most diverse reasons: when we say something unseemly in public, or because of the smaller or larger imperfections of the body. But we also feel shame about poverty or psychological problems. Whether we want this or not, shame has an influence on everything we do.

Just like the reasons for being ashamed differ, shame also differs according to a person’s character, the times in which people live and the place they find themselves in. Shame is a personal as well as a social phenomenon: each person, but also each culture, deals with it in a different way. The exhibition Shame explores this field along different lines: by means of objects from other cultures, historical psychiatric documents or actual witnesses. Modern and contemporary artists represent this feeling in paintings, sculptures, photographs and video.

A richly illustrated catalogue accompanies this exhibition (D/F/E, 176 p., Uitgeverij Lannoo).

Chantal Akerman, Francis Alÿs, Alioune Bâ, Sarah Baker, Michael Borremans, Claude Cahun, Tom Callemin, Robert Capa, Roy de Villevoye, Jim Dine, Desiree Dolron, Marcel Duchamp, Tracey Emin, Gao Brothers, Marc Garanger, Siebe Wiemer Glastra, George Grosz, Seymour Jacobs, Gert Jochems, Nicolas Karakatsanis, Willy Kessels, Meiro Koizumi, Frans Masereel, Paul McCarthy, Boris Mikhailov, George Minne, Lauren Moffatt, Hans Op de Beeck, Pablo Picasso, Auguste Rodin, Félicien Rops, Tammo Schuringa, Jan Sluijters, Miroslav Tichý, Patrick Van Caeckenbergh, Philippe Vandenberg, Jan Van Imschoot, Ina van Zyl…"

For further infomation click HERE

www.museumdrguislain.be

"Margret - Chronik einer Affäre" Exhibition in Cologne - EXTENDED

Margret, 1970/09/15, Vintage print, 13 x 9 cm, Courtesy Delmes & Zander, Berlin / Cologne

The exhibition "Margret - Chronik einer Affäre" has been extended. The new closing date is 20th November 2015.

We look forward to your visit!

Galerie Susanne Zander / Delmes & Zander
Antwerpener Str.1
D-50672 Cologne

www.galerie-zander.de

OPENING BERLIN- DELMES & ZANDER: Evidence of Ecstasy- Laying on of Hands, Francesco Ponte, Ted Serios

Laying on of Hands, untitled, approx. 1960's, vintage print, 9 x 9 cm

                                        

Opening: Wednesday, 09.16., 6–9 pm

The exhibition “Evidence of Ecstasy” examines views on spiritual performances and their artistic documentation. Ecstatic states are described both photographically and cinematographically. The issues addressed, concern observations on the states of spinning out of control, ecstasy, and trance.

In the mid-1960s, American Ted Serios (1918–2006) demonstrated powerfully before the film camera his ability to mentally will images [so-called “thoughtphotographs”] onto photographic film. During phases of intense physical and mental concentration he was able to achieve the depiction of a variety of images, among them a Neanderthal, on film. His powerful performance proves the probative value of film.

Film and photography as analog media befit a particular probative value because they visualize the traces of the real, of something that is actually there – so was the consensus until the onset of digitization.

In spiritualism, in vogue from the mid-19^th to the 20^th century, photography played a specific role. Spirit photography strove to make the invisible and inconceivable visible; this being the approach of Francesco Ponte: In the 1920s, the Puerto Rican dentist created a unique album of spiritualist photographs. During the séances his medium, Carmen Wey, a housekeeper, was seated behind a curtain. When the curtain opened, impressions of invisible spirit-hands, -feet, and -limbs became visible, which Ponte cast and subsequently photographed. These photographs are reminiscent of the surreal photographs by Hans Bellmer or Jean Frautrier. Others show ectoplasm, a white viscous, liquid substance, which exudes from the bodily orifices and in spiritualist circles, is considered a medium for the manifestation of spirits. Characteristic is a primarily celebratory solemn mood. Ponte has decorated the 25-page album carefully by hand – the result is a rare and fascinating testimony of spiritualist photography.

The impressive photographs of the anonymous collection Laying on of Hands, originating from the 1960s, document the ecstatic states of an entire African-American community: Children and adults are photographed in a state of ecstasy, some lying on the floor, many lifting their hands, others with closed eyes. The participants lay hands on each other, perhaps as a gesture of healing. The perspective of the photographs leads right into the heart of the unknown ceremony, intensively transporting the enthusiastic mood, the music in the space can almost be heard, the dancers’ sweat almost smelled – at the same time everything remains strange and eerie.

Unlike the works of Ted Serios and Francesco Ponte, the photographs of Laying on of Hands do not serve as evidence of the spiritual, but rather as documents of states of ecstasy, of being out of control. The expressive body itself is the evidence of the metaphysical process.

All photographs have one thing in common: They show states of trance. But as much as they reveal, at the same time they disguise, intrigue, pose questions, and eventually remain unreal proof of a mysterious reality. Here as in photography and film the photographed bodies function as media, in the state of trance becoming transparent for the Other, the actual which is absent.

In the last decades much attention has been given to the phenomenon of spiritual art. The great exhibition “The Perfect Medium: Photography and the Occult” at the Metropolitan Museum of Art, New York (2005) for example testifies to this as much as the exhibition “In the Realm of Phantoms: Photography of the Invisible” curated by Andreas Fischer and Veit Loers at Museum Abteiberg, Möchengladbach (1997-1998).

The film by Ted Serios will be presented with the generous support of the Institut für Grenzgebiete der Psychologie und Psychohygiene e. V. in Freiburg im Breisgau. 

Delmes & Zander Berlin
Rosa- Luxemburg- Straße 37
10178 Berlin

 

FOMA JAREMTSCHUK - OPENING FRIDAY 7 PM, SEPTEMBER 4TH, 2015 AT JAN KAPS

Das Zelt ist gut und warm, alles ist so bequem, so gemütlich, so affengeil ist hier verdammt noch
mal alles eingerichtet.
Im Zelt ist es warm, sogar der Arsch ist ganz bis zum Rücken in Schweiß gebadet, und hinter den
Ohren ist es ein bisschen nass.
Ich bin so ermüdet, dass es scheint, als sei der Knopf angeschwollen und würde sich kloßartig
auflegen und kleine Knöpfe aus ihm heraus wachsen lassen. Sie werden dick und legen sich auch
auf die Kehle, es drückt, die Luft bleibt weg und alles schwillt auf.
Und alle Geräusche schwellen an wie die Knöpfe und blähen sich auf. Alles schwillt an und man
möchte nichts anfassen, einem ist übel und es zieht einem zum Kotzen.
Im Kopf schwillt ein brauner Knopf mit vier Löchern an.
Der Zahn tut weh, ich kann nichts knabbern, einer ist zersplittert, und in drei anderen sind die
Nerven abgestorben und der Arzt hat gesagt, du musst 15 Zähne heilen lassen.
Ich werde total wahnsinnig. So viele Zähne muss man heilen, aber es bleibt einem ja nichts
anderes übrig. Die Zähne tun weh.
Und alle kriechen mir in den Hals, um die 15 Zähne anzuschauen, die man heilen wird.
Ich bin draußen spazieren gegangen und habe Kätzchen getroffen und wollte sie streicheln.
Ihnen sind die Köpfe abgefallen und sie sind mir hinterher gerannt, und ich bin weg gerannt und
wusste nicht, wo ich mich vor diesen Köpfen verstecken soll, und sie schrien und gingen vorbei
und schauten mir in die Augen und ihnen wuchsen Pfötchen, und ich habe es nicht sofort
bemerkt, ich dachte, das seien ganze Kätzchen und nicht nur Köpfe.
Und die Körper blieben auf der Straße, um zu laufen. Ich möchte sie füttern.
Vöglein mit vier Flügeln kamen angeflogen und haben uns angefallen und wir konnten nichts
machen und alles deshalb, weil die Tauben vor dem Krieg erschossen wurden, so sind sie aus
schwarzen Lappen geboren worden. Die Vöglein haben alle angegriffen und uns zerpickt, aber man
darf nicht schreien, sonst wird es weh tun.
Und mir hat keiner geglaubt. Sie haben gesagt, du bist ein Schwätzer und sagst verdammt noch
mal nicht die Wahrheit. Und da, wo auf den Balkonen eine Wäscheleine...




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JAN KAPS

JÜLICHER STRASSE 24A 
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