Saturday, 27 June 2015

WILLIAM CRAWFORD: "I LIKE TO BE AWAKEN ..." 3 July - 22 August 2015 in Berlin


William Crawford, untitled, (archive no. Wcr/P 108), 1990's, pencil on paper, approx. 28 x 21,5 cm


  DELMES & ZANDER presents


William Crawford: "I like to be awaken ..."



3 July–22 August 2015
Opening:  Friday 3rd of July, 6–9 pm
Rosa-Luxemburg-Straße 37
  10178 Berlin

(deutsche Version weiter unten)

Little is known about the artist William Crawford. His erotic drawings were found in an empty house in Oakland, California. Crawford drew on the reverse side of the duty rosters of a California prison, often on colored and sometimes damaged paper the size of which varied – it is evident that he utilized whatever was available as a surface on which to receive his images. Some of the approximately 950 works are signed and dated; they originate in the 1990s. The aesthetic of the depictions of sexual fantasies corresponds to the ethos of gangster and pornographic films of the 1970s and 1980s and therefore one may assume that William Crawford was imprisoned for many years.
The erotic drawings convince through a masterly compositional arrangement, unusual perspectives and the play with both elaborate and only partially suggested picture fields. A comparison with the playful erotic style of an Eric Stanton or Tom of Finland can be made. A stylized background skyline is typical in the minimal interiors, which are reminiscent of simple television studio sets. Beside erotic encounters between men and women, Crawford drew gangster scenes, shared drug consumption and group sex scenarios. A recurrent figure in the fantasies is a man with a short Afro and a moustache – presumably the artist.
On some of the sheets written dialogs can be found. Crawford always drew storyboards in the style of comics whose connections in the oeuvre can be reconstructed on up to 30 successive sheets. His stories are erotic, humorous, mysterious, and pornographic. They show fascinating scenes of lust, debauchery, and sexual gratification. In a unique drawing style they reveal the fantasies of a man, who was presumably for years cut off from the exterior world and therefore from the possibility of their realization.

The exhibition is the first presentation of William Crawford’s works in Berlin. Especially in the last months his work received a lot of attention, among other things through the exhibition “System & Vision” at David Zwirner Gallery in New York.

Über den Künstler William Crawford ist nur wenig bekannt. Seine erotischen Zeich-nungen wurden in einem leerstehenden Haus in Oakland, Kalifornien gefunden. Crawford hat auf die Rückseite von Dienstplänen aus einem kalifornischen Gefängnis gezeichnet, auf farbiges oder beschädigtes Papier unterschiedlichen Formats – als Bildträger diente ihm offenbar, was gerade zur Hand war. Einige der etwa 950 Arbeiten sind signiert und datiert, sie stammen aus den 1990er Jahren. Die Ästhetik der sexuellen Fantasien knüpft aber an Gangster- und Pornofilme der 1970er und 1980er Jahre an. Es lässt sich daher vermuten, dass William Crawford viele Jahre im Gefängnis eingesessen hat.
Die erotischen Zeichnungen überzeugen durch eine virtuose Raumaufteilung, ungewöhnliche Perspektiven und das Spiel mit ausgearbeiteten und nur angedeuteten Bildbereichen. Assoziieren lassen sich auch die verspielte Erotik eines Eric Stanton oder Tom of Finland. Charakteristisch ist eine stilisierte Skyline im Bildhintergrund sowie reduzierte Interieurs, die an die Hintergründe von einfachen Fernsehstudios erinnern. Crawford zeichnete neben erotischen Begegnungen zwischen Mann und Frau, Gangsterszenen, gemeinschaftlichen Drogenkonsum und Gruppensex. Wiederkehrende Figur dieser Fantasien ist ein Mann mit kurzem Afro und Schnauzbart – vermutlich der Künstler selbst.
Auf einigen Blättern finden sich geschriebene Dialoge. In Anlehnung an Comics hat Crawford stets Bildgeschichten gezeichnet, deren Zusammenhänge sich im Ouevre auf bis zu 30 aufeinander folgende Blätter rekonstruieren lassen. Seine Geschichten sind erotisch, humorvoll, unheimlich und pornografisch. Sie zeigen faszinierende Szenen der Lust, Ausschweifung und sexuellen Befriedigung. In einem einzigartigen Zeichenstil machen sie die Fantasien eines Mannes sichtbar, der vermutlich für Jahre von der Außenwelt und damit der Realisierung seiner Vorstellungen abgeschnitten war.

Die Ausstellung ist die erste Präsentation von William Crawfords Arbeiten in Berlin. Besonders in den letzten Monaten wurde seinem Werk viel Aufmerksamkeit zuteil, unter anderem durch die Ausstellung “System & Vision” bei David Zwirner, New York.

Tuesday, 23 June 2015

OUT NOW: ART Magazine JULY 2015 on ADELHYD VAN BENDER

Gunnar Lützow about ADELHYD VAN BENDER in the current issue of ART MAGAZINE:

"Auf mehrfach kopierten und collagierten amtlichen Bescheiden entwirft Bender mithilfe von Schreibmaschine, Textmarker, Tusche und Lineal eine eigene, faszinierende Kosmologie, die Bruchstücke real existierender Wissenschaft in den Mixer wirft und aus ihnen einen eigenen Zugang zu den ersten und letzten Fragen des Universums gewinnt."


Saturday, 6 June 2015

The amazing HORST ADEMEIT at ARTFORUM

The amazing HORST ADEMEIT at ARTFORUM (May issue). An article about the upcoming show "UNDER THE CLOUDS: FROM PARANIOA TO THE DIGITAL SUBLIME" show in Porto curated by João Ribas.
Opening 19 June 10 pm






www.serralves.pt

Wednesday, 20 May 2015

Friday, 1 May 2015

ADELHYD VAN BENDER on MOUSSE MAGAZINE written by Tina Kukielsky




ADELHYD VAN BENDER
"Das Atom ist unbesiegbar"
OPENING TONIGHT
6 PM- 9 PM
 AT DELMES & ZANDER I 

Saturday, 25 April 2015

DELMES & ZANDER PRESENTS AT THE GALLERY WEEKEND 2015: ADELHYD VAN BENDER " DAS ATOM IST UNBESIEGBAR "


 

Adelhyd van Bender, Folder #17 (HB/Fol 0017), 1999–2014, containing approx. 200–250 pages,
various materials on paper in plastic folder, each 30 x 21 cm or 42 x 30 (folded once), 32 x 29 x 8 cm.

 Galerie Susanne Zander presents


Adelhyd van Bender: The Atom is Invincible



1 May–27 June 2015
Opening: Friday, 1st of May, 6–9 pm

 


On the occasion of the Gallery Weekend Berlin Delmes & Zander presents the work of artist Adelhyd van Bender in a solo exhibition for the very first time.

Born on October 16, 1950 as Harald Friedrich Bender in the city of Bruchsal (Baden-Württemberg), Adelhyd van Bender leaves his parental home at age 15 after his parents’ break-up and moves to Ludwigshafen where he lives in a juvenile home and completes an apprenticeship as an electrician. In 1968, Bender moves to Berlin working as an electrician for two years, later becoming unemployed. In 1974, he completes his General Certificate of Secondary Education in evening courses. In October of the same year, he is admitted to the HdK Berlin (Berlin Arts Academy) where he studies for two years, until he is forced to exmatriculate in 1976.

After the lease to his apartment has been terminated, he travels to England convinced that he will be able to trace his aristocratic roots. Since that time, he calls himself Adelhyd van Bender. In 1977, he returns to Berlin and intensifies his artistic activity: he paints with tars, oil paints, various chemicals and solvents on wood and cardboard.
In 1987, a fire in his apartment destroys all highly combustible materials and part of his work. In 1999, when the artist’s apartment threatens to collapse under the weight of his work, he leaves a large part of his oeuvre to the Prinzhorn Collection in Heidelberg. After this incident, Adelhyd van Bender dedicates himself completely to drawing, re-working, and photocopying. His work resembles scientific research and he pursues it obsessively day by day from morning to night, executing his scientific approach with artistic means: he draws, writes, photocopies, retouches obsessively, filling thousands and thousands sheets of paper with geometric forms and color fields, also resorting to mathematical and chemical graphisms and formula.
Van Bender’s work is characterized by the idea that he carries a female uterus that contains an “atomic secret” inside. Another pivotal theme is the shape of the cube, associated to the symbol of the Ka’aba, the black cube of Mecca. But also planetary constellations and rockets to the stars. The idea that there are trials and tests that must be taken in order to ascend to heaven are also key concepts in Bender’s universe. With infinite chains of variations and abstraction he transforms both technical, religious, and scientific symbols as well as symbols borrowed from everyday reality. Resulting is a fascinating oeuvre: unpredictable, associative and highly esthetic and conceptual stringency.

Bender died in Berlin on April 2, 2014.

Van Bender’s entire artistic estate is in the possession of Delmes & Zander. This February first works by Adelhyd van Benders were presented in New York at the INDEPENDENT as well as in the exhibition “System & Vision” at David Zwirner.

The exhibition “Adelhyd van Bender: The Atom is Invincible” is the beginning of the series “Art & Science”, in which Delmes & Zander I Berlin presents artists which obsessively combine and pursue their esthetic approach with scientific methods. Solo exhibitions by Horst Ademeit and Karl Hans Janke will follow.





Rosa- Luxemburg- Straße 37
10178 Berlin

We are looking forward to see you at the






Saturday, 11 April 2015

Galerie Susanne Zander presents ADELHYD VAN BENDER "The Atom is Invincible"

Adelhyd van Bender, untitled, mixed media on photocopy, 1999-2014, © Galerie Susanne Zander / Delmes & Zander


Galerie Susanne Zander presents

Adelhyd van Bender: The Atom is Invincible

16 April–13 June 2015
Opening: Thursday, 16th of April, 6–9 pm
 
 
Gallery Susanne Zander presents the work of artist Adelhyd van Bender in a solo exhibition for the very first time.

Born on October 16, 1950 as Harald Friedrich Bender in the city of Bruchsal (Baden-Württemberg), Adelhyd van Bender leaves his parental home at age 15 after his parents’ break-up and moves to Ludwigshafen where he lives in a juvenile home and completes an apprenticeship as an electrician. In 1968, Bender moves to Berlin working as an electrician for two years, later becoming unemployed. In 1974, he completes his General Certificate of Secondary Education in evening courses. In October of the same year, he is admitted to the HdK Berlin (Berlin Arts Academy) where he studies for two years, until he is forced to exmatriculate in 1976. 

After the lease to his apartment has been terminated, he travels to England convinced that he will be able to trace his aristocratic roots. Since that time, he calls himself Adelhyd van Bender. In 1977, he returns to Berlin and intensifies his artistic activity: he paints with tars, oil paints, various chemicals and solvents on wood and cardboard.

In 1987, a fire in his apartment destroys all highly combustible materials and part of his work. In 1999, when the artist’s apartment threatens to collapse under the weight of his work, he leaves a large part of his oeuvre to the Prinzhorn Collection in Heidelberg. After this incident, Adelhyd van Bender dedicates himself completely to drawing, re-working, and photocopying. His work resembles scientific research and he pursues it obsessively day by day from morning to night, executing his scientific approach with artistic means: he draws, writes, photocopies, retouches obsessively, filling thousands and thousands sheets of paper with geometric forms and color fields, also resorting to mathematical and chemical graphisms and formula.
 
Van Bender’s work is characterized by the idea that he carries a female uterus that contains an “atomic secret” inside. Another pivotal theme is the shape of the cube, associated to the symbol of the Ka’aba, the black cube of Mecca. But also planetary constellations and rockets to the stars. The idea that there are trials and tests that must be taken in order to ascend to heaven are also key concepts in Bender’s universe. With infinite chains of variations and abstraction he transforms both technical, religious, and scientific symbols as well as symbols borrowed from everyday reality. Resulting is a fascinating oeuvre: unpredictable, associative and highly esthetic and conceptual stringency.

Bender died in Berlin on April 2, 2014.

Van Bender’s entire artistic estate is in the possession of Delmes & Zander. This February first works by Adelhyd van Benders were presented in New York at the INDEPENDENT as well as in the exhibition “System & Vision” at David Zwirner and can be seen until April 18.

Parallel to the Cologne exhibition Delmes & Zander I Berlin is also presenting a solo exhibition of the artist, which opens on the occasion of the Gallery Weekend Berlin on the 1st of May. 


Galerie Susanne Zander
Antwerpenerstr. 1
50672 Cologne