Tuesday, 17 January 2017

ONE/OTHER Self-Portraits and Portraits /// Stadtzauber

Stadtzauber, Jan I Februar 2017, p.60.

STADTZAUBER about our current exhibition ONE/ OTHER Self-portraits and Portraits
on view till February 4th, 2017

Thanks to the positive resonance of ONE/ other presented earlier this year at the Independent New York and OTHER/ one featured at the Independent in Brussels,

Delmes & Zander are merging the two exhibition concepts into one show featuring a selection of portraits and self-portraits simultaneously in both their Berlin and Cologne galleries. ONE / OTHER will show how the portrait as well as the self-portrait unabashedly mirrors the artist behind the work no matter if he portrays himself or whether he is portraying the other. Independently of their subject, the photographs and drawings reveal everything about their authors and their yearnings for a romanticised identity, no matter on which side of the camera or canvas. Evident in the works is a serialized, obsessive impulse to repeatedly pin down an image or identity that is manifestly idealized.

www.stadtzauber.de 


MIROSLAV TICHY /// Known/Unknown on FORBES

MIROSLAV TICHY, untitled, undated, 18 x 12,5cm, Courtesy Delmes & Zander

/// The exhibition "Known/Unknown" recommended on FORBES ///

"The Five Most Anticipated New York Art Museum Exhibits of Winter 2017" by Adam Lehrer 

"When the subject of human sexuality is explored by visual artists, a certain contradiction always lies beneath the surface of the work. Artists generally create work to eventually show an audience. Because of that, a conceptual conceit will always muddle the portrayal of sex in the work. Either the work will be deliberately provocative as in the work of Robert Mapplethorpe, or it will be examining the gaze or media portrayals of sex itself, as in the work of Marilyn Minter. For this upcoming Museum of Sex show, curator Frank Maresca sought to show art that directly reflected the inner sexual worlds of its creators. To avoid the conceptual dilemma, he chose to select work solely by outsider artists. The artwork in the exhibition is all reflective of its respective creators' inner-most sexual desires and fantasies and was made without the hope that it would be shown to a public. By removing the element of exhibitionism, the show offers a deeply private look into artists' sexualities. The work in the show ranges from what society would deem "normal" sexuality such as Eugene Von Bruenchenheim loving nude portraits of his wife, to the voyeuristic and lurid. Numerous photographs by the Czech artist Miroslav Tichý, for example, are grainy and deconstructed images taken of women by the artist with his own homemade cameras. Like great Hitchcock cinema, Tichý's photographs implicate himself and the viewer in the sexual act of watching. And then, there is the illustrations of Henry Darger. Darger was a custodian in a Chicago hospital in the 20th Century, and when he passed coroners found a 15,000 page book entitled The Story of the Vivian Girls, in What is Known as the Realms of the Unreal, of the Glandeco-Angelinian War Storm, Caused by the Child Slave Rebellion along with hundreds of illustrations. Some of those illustrations depict acts of sexual violence and depravity against children, often thought to be influenced by the abuse Darger suffered as a child. All of the sex in the exhibition is depicted without judgment, placing the viewer in the position of intuitively understanding their own feelings towards the different manifestations of sexual desire. (...)"

"Known/Unknown"
at the Museum of Sex, NY
January 19, 2017 – September 16, 2017

Miroslav Tichy in "Known/Unkown" at MUSEUM OF SEX, NY

MIROSLAV TICHY, Untitled, mixed media on photograph, 17.5 x 10cm, Courtesy Delmes & Zander

MIROSLAV TICHY in "Known/Unknown"
at the Museum of Sex, NY
January 19, 2017 – September 16, 2017

Known/Unknown
"Private Obsession and Hidden Desire in Outsider Art showcases over 100 rarely seen works by self-taught artistic masters – so called ‘outsider artists’ – who have worked outside the continuum of art history. The exhibition features photographs, sculptures and paintings which provide provocative and sometimes disturbing insight into the psychological terrain of their creators. Featured artists include: Robert Anderson, Steve Ashby, Morton Bartlett, Gil Batle, Eugene von Bruenchenhein, Henry Darger, Thornton Dial, Aurie Ramirez, Marilena Pelosi, Miroslav Tichý, Edwin Lawson, Johann Korec, Johann Garber and Royal Robertson.

The art in Known/Unknown is a long way from the typical art world. Many of the artists in the exhibit are self-taught, with little formal education, and range from institutionalized mental patients, to intellectually disabled people, to untutored isolates and eccentrics. Their pieces were often created in seemingly unlikely places; ranging from the sanctuary of psychiatric hospitals to private realms hidden within the lonely, impersonal jungles of teeming cities.

Overall, the work is fueled by secrecy and isolation, resulting in imagery that is far from ordinary experiences of sexuality. And since information about the makers and their objects is often fragmentary with many bodies of work discovered after the death of the artist, in many cases there is no way to know if the makers intended the work for public display. Visitors are left to determine for themselves whether they are actually encroaching on the remnants of these unconventional artists’ most private thoughts."

Exhibition highlights include: 
"Erotic sculptural figures by Steve Ashby, who did not begin his life as an artist until after the death of his wife in 1960. Pieces on view include Rocking Bed Cunnilingus Whirligig and Masturbating Man with Hand Under a Woman’s Blouse, both of which give animated reign to Ashby’s sexual fantasies, as well as Woman and Dog, a sculpture of a woman in a compromising position with a dog, which exemplifies the more tongue-in-cheek elements to the sexual acts in Ashby’s work.

A collection of Eugene Von Bruenchenhein’s erotic photographs of his wife Marie. The black and white prints are stylistically reminiscent of the1940s pin-up and convey a loving playfulness between the photographer and his subject that is both titillating and profound.

Grainy photographs taken of unsuspecting women by recluse Miroslav Tichý, considered the master of the stolen image in his hometown of Kyjov (Czech Republic). The technical imperfections of the prints are a result of Tichý’s crude construction of his own homemade cameras out of shoeboxes and toilet paper rolls.

Also on display is Henry Darger’s watercolor At Sunbeam Creak/At Wickey Lansinia, which is abound with images of little girls, at times subjected to horrible tortures at the hands of male adult oppressors—a theme that is possibly related to the artist’s own childhood traumas growing up in an orphanage, and later an asylum. The piece was among 15,000 pages of text and hundreds of drawings and watercolors discovered by Darger’s landlord shortly before the artist’s death. (...)"

For detailed information visit website of Museum of Sex
www.museumofsex.com 

MUSEUM OF SEX
233 Fifth Avenue New York,
NY 10016

Saturday, 26 November 2016

OPENING BERLIN & COLOGNE: ONE / OTHER – Self-Portraits and Portraits


OPENING BERLIN & COLOGNE:

ONE / OTHER – Self-Portraits and Portraits

December 2, 2016 – February 4, 2017

Margret – Chronicle of an Affair, 1970/08/21, 1970, vintage print, 9 x 13 cm

Opening in Cologne & Berlin: 
Friday, 2.12., 6–9 pm

featuring works by:
Morton Bartlett, William Crawford, Margarethe Held, Paul Humphrey, Aurel Iselstöger, Alexander Lobanov, Margret, Obsession, Michail Paule, Miroslav Tichy, Type 42, Eugene von Bruenchenhein.

Thanks to the positive resonance of ONE/ other presented earlier this year at the Independent New York and OTHER/ one featured at the Independent in Brussels,
Delmes & Zander are merging the two exhibition concepts into one show featuring a selection of portraits and self-portraits simultaneously in both their Berlin and Cologne galleries. ONE / OTHER will show how the portrait as well as the self-portrait unabashedly mirrors the artist behind the work no matter if he portrays himself or whether he is portraying the other. Independently of their subject, the photographs and drawings reveal everything about their authors and their yearnings for a romanticised identity, no matter on which side of the camera or canvas. Evident in the works is a serialized, obsessive impulse to repeatedly pin down an image or identity that is manifestly idealized.
William Crawford portrays himself at the heart of his sexual fantasies: a graphic and detailed mise en scène in which Crawford is king. In his bright coloured paintings, Alexander Lobanov poses bravely, adorned by a Kalashnikov and Soviet symbolism – the image of a fearless man, a classical hero.
At times the portraits depict their authors as sufferers, preyed upon by the load of the world: Michail Paule is the threatened figure at the center of a phantasmagorical and uncanny place. Aurel Iselstöger's self-portraits illustrate him with a grotesque smile across his face, as if his mouth were torn but shut in silence, eyes to the ground. In the photo collages of Obsession, an unknown author who portrays women at the stake ready to burn or on their knees before decapitation, also pastes himself into the work both as the executioner as well as a victim.
Paul Humphrey repeatedly shuts the eyes of his subjects in the act of drawing, turning his Sleeping Beauties into docile women, innocent and powerless; Morton Bartlett shapes his dolls with his own hands, small in size and with childlike obedience, then photographs them as if for his his own private family album. The portraits of Margret, taken in the impenetrable complicity of a love affair set in the 1970s, transform her into an idealized creation of her lover and employer Günter K.. Similarly, Eugene von Bruenchenhein turns his wife Marie from exotic princess to tinseltown temptress in the photos shot in the intimacy of their hermetical domesticity.
In its painstaking rigour, the works often acquire an archival, sequential character. This is not only the case with Miroslav Tichy, who set out to photograph one hundred women a day, but also with Type 42, the encyclopedic body of anonymous work taken of female movie stars or even in Margarethe Held's lifework documented in The Uncontrollable Universe: an attempt to pin down the chaos unleashed by inner visions in a publication which brings together pictures bestowed upon her from the beyond.
In ONE / OTHER it becomes clear that the works are always an end in itself: a necessary endeavor to shape an image and to make it compatible with the artists innermost fantasies. The result is a many-layered exploration of self-reflection and an oftentimes surprising study on the means and mirrors that are chosen to make wishful thinking real,
be it in the shape of one or the other.


Press contact:
Monika Koencke
Koencke@delmes-zander.de


 

Thursday, 17 November 2016

MARGRET and MIROSLAV TICHY in DRESDEN at:


MARGRET and MIROSLAV TICHY will be shown in DRESDEN at:

Scham. 100 Gründe rot zu werden

Nov 26, 2016 - June 5, 2017



Deutschen Hygiene-Museum Dresden
Nov 26, 2016 - June 5, 2017

feat. works of: Margret, Danh Vō, Miroslav Tichý, Nobuyoshi Araki, Erik van Lieshout and many more.

"Mit dem Gefühl der Scham sind wir von klein auf vertraut, und auch als Erwachsene begegnen wir ihr in den unterschiedlichsten Situationen immer wieder. Kaum jemand wird sich allerdings gerne schämen – im Gegenteil: Scham ist ziemlich unangenehm. Vielleicht lohnt es sich gerade deswegen, einmal genauer hinzuschauen, was es mit diesem Gefühl auf sich hat. Meist überfällt die Scham uns ganz unmittelbar, ohne dass wir lange nachdenken müssten, warum wir uns schämen. Und löst dabei ausgesprochen körperliche Reaktionen aus: Wir beginnen zu schwitzen, werden rot oder verbergen unser Gesicht. Die Gründe, wofür und wie sehr wir uns schämen, können von Mensch zu Mensch ganz andere sein.

Scham ist aber weit mehr als ein bloß subjektives Gefühl. Psychologen und Soziologen haben ihre elementare Bedeutung für das Funktionieren von Gesellschaft beschrieben. Denn Scham verbindet das Selbstverständnis des Einzelnen unmerklich mit den Werten und Regeln einer Gemeinschaft. So trägt die Fähigkeit, Scham empfinden zu können, auch zum inneren Zusammenhalt einer Gesellschaft bei. Eines jedenfalls wird den Besucherinnen und Besuchern dieser Ausstellung klar werden: Dass wir in schamlosen Zeiten leben – wie manche Kulturkritiker meinen – ist ein gründlicher Irrtum!"


for more info please click here.


http://www.dhmd.de/index.php?id=2850

Saturday, 12 November 2016

ADELHYD VAN BENDER at Sommer Contemporary Art, Tel Aviv

ADELHYD VAN BENDER, untitled, mixed media on photocopy, 1999-2014, Courtesy Delmes & Zander


Passiflora | Curator: Fanny Gonella
Adelhyd van Bender, Lina Hermsdorf, Amy Yao

Opening Event Saturday November 12th, 8pm
12th November - 10th December 2016

"Passiflora flowers grow in tropical and mildly warm regions, mostly in South America. The name was coined by Christian missionaries who found similarities between its form and the symbols of the passion of the Christ – its petals reminded them of the crown of thorns, among others. Meanwhile, the seeds have circulated and the flowers are growing under mild climates within Europe. Beyond its formal link with elements from the passion of the Christ, passiflora possesses medical properties such as sedative ones and can also cause uterine stimulation. This information is not accessible by looking at the flower, just like the narratives related to passiflora have faded today and do not come to mind anymore when we look at them.

We might now appreciate these flowers for their color, form or structure, yet their capacity goes beyond seductiveness. They intertwine decorative qualities with medical knowledge and a narrative context, although without direct correlation between these. The disruption between visual appearance and biological specificities they unfold underlays equally the works presented in the exhibition. These play with the discrepancy between the surface or interface they expose and the biological or technological system they refer to, leading to a fragmented approach of their content. The works are committed to an opacity that hints at potentials and threats, which are not directly palpable. Not unlike a vanitas still life, they operate along the lines of decay and maintenance, destruction and persistence.

Adelhyd van Bender (1950-2014) spent the last years of his life working on drawings that display a systematic repetition of symbols, often from chemical origin, excerpts from administrative documents, specific geometrical forms and words. He aimed at recording and conserving there the formula related to nuclear power that was contained in the uterus he assumed to carry in his body.

Lina Hermsdorf (*1985) plays with rhetorical strategies and modes of narration, engaging with characteristics of living organisms as systems that receive, store, exchange energy and information. Her work unfolds narrative threads that explore the way power structures, technology and biological structures affect each other to shape our emotional surrounding.

Amy Yao (*1977) deals with objects, colors and words to explore the materialization of circulatory fluxes – of information, people, substances or goods. Artificial and natural forms cannot be taken apart nor understood without with each other in her work, offering a reflection on certain dynamics that, behind a politically correct agency, collide with issues of social hierarchies and segregation.

The show gathers three different approaches towards power games at play in the manufacturing of our subjectivity – i.e. our relationship to ourselves. It meanders along political and economical influences that shape the communal emotional space we’re navigating through."

For further information please click here:
www.sommergallery.com

Sommer Contemporary Art
13 Rothschild Blvd.
Tel Aviv 66881 Israel

Tel: +972 3 5166400
info@sommergallery.com


Friday, 4 November 2016

MAN ON ROOFTOP IN L.A.


Man on Rooftop is shown in Los Angeles:

November 1966

November 12 – December 17, 2016
Blum & Poe, Los Angeles
 
Artist Unknown, Untitled, 1966, B&W photograph, 5 x 3 1/2 inches.


November 1966
Blum & Poe, Los Angeles
November 12 – December 17, 2016
Opening reception: Saturday, November 12

"Blum & Poe is pleased to present November 1966, an exhibition of self-portrait photographs created fifty years ago to the month by an unknown photographer. The twenty-eight images at hand show a shirtless man, alone on a rooftop, donning a variety of women’s bikini briefs and underwear. He is seen from multiple vantage points – some poses unassuming and others uninhibited – all the while an undercurrent of 1960s experimental, sexual whimsy pervades. What lends a strange atmosphere to these pictures is the ambiguity of the scene – nothing is known of the photographer’s intentions, the viewer is left to construe a narrative long divorced from creator and date of origin. 

The compositions go beyond their surface eroticism by documenting a carefully conceived relationship between the body of the unknown photographer/subject and the surrounding sightlines and architecture. From nearly every corner of the roof stage, we are presented with a panoramic view of the photographer’s performance. The fact that these pictures were conceived privately at the edge of building and sky, along with the subject’s commonly found closed-fist stance, frame this unknown photographer as a countercultural Superman of sorts."

For more information please click here.


http://www.blumandpoe.com/exhibitions/november-1966#images