Wednesday 19 February 2014

BRUNO SCHLEINSTEIN // Radiofeature auf WDR.de (15.02.2014)

BRUNO SCHLEINSTEIN, ohne Titel, Mischtechnik auf Papier, 30 x 21 cm, Courtesy Galerie Susanne Zander

"Als ich Mensch wurde, musste ich sterben" -
Bruno S.

Von Annett Krause und Matthias Hilke
Seine Tiefe und Tragik beeindrucken den Regisseur Werner Herzog, der ihn für die Rolle des "Kaspar Hauser" engagiert. Der Film gewinnt die "Goldene Palme" in Cannes.

2010 fand man Bruno S. in seiner Berliner Wohnung tot am Flügel sitzend. Er war 68 Jahre alt. Seinen Nachnamen wollte er geheim halten, galt deshalb als "unbekannter Soldat des deutschen Films", wie ihn Werner Herzog einst nannte. 23 Jahre verbrachte er in Besserungsanstalten, wurde während des Nationalsozialismus in den Wittenauer Heimstätten für vermeintlich geistesschwache Kinder Opfer ärztlicher "Experimente". Erst 1956 "geht der Bruno in Freiheit", wird Gabelstaplerfahrer und zieht als Moritatensänger über Berlins Hinterhöfe.

Produktion: SWR/rbb 2013
Redaktion: Dorothea Runge

Eine Hörprobe des Features finden Sie HIER
www.wdr3.de

MARTINA KUBELK /// John Foster in the DESIGN OBSERVER

Martina Kubelk, untitled, Polaroid (10,5 x 10,5 cm), Courtesy Delmes & Zander / Galerie Susanne Zander

The Private World of Martina Kubelk
John Foster in the Design Observer (9.2.14)

"The discovery of a photo album containing 99 pages and over 380 photographs, mostly Polaroids, is the subject of a new exhibition at Galerie Susanne Zander in Cologne, Germany. On the cover of the album was written: Martina Kubelk: Clothes — Lingerie. Shown are images of a man in women’s clothes, photographed between January 1988 and July 1995. These self-portraits grant insight into the private world of Martina Kubelk, the pseudonym of a man unknown and deceased. These images give us ruffled dresses, latex underwear, a portrait of the parents on the wall, a cat poster, leather couches, 1970s wallpaper, and the focus on “Martina”, who photographs herself over a period of seven years in various outfits with a self-timer. That is about all that is known about the artist.

With a study of the photographs one can see that Martina was privately happy about being sexy or being classic, changing from personas ranging from lingerie, bland secretarial styles with white pumps to the mis-matched clothes of a house frau. Martina is also able to play between decades, going easily from 1960s fashions to the 1980s. While these pictures represent a private world now public, there is a sadness in these pictures, one of a man who reveled in his private performances of being his female alter ego Martina.

With this show Galerie Susanne Zander opened this past Friday February 7 with an exhibition trilogy that presents works by artists about whom little or nothing is known. Here, the quality and autonomy of the artistic work itself is the focus. There are no artists’ curricula vitae, the viewer is solely and immediately confronted with the work. (...)"

www.designobserver.com

Martina Kubelk, untitled, Polaroid (10,5 x 10,5 cm), Courtesy Delmes & Zander / Galerie Susanne Zander

Friday 14 February 2014

MARGRET im SÜDDEUTSCHE ZEITUNG MAGAZIN (14.02.14)


SÜDDEUTSCHE ZEITUNG MAGAZIN, Nummer 7 /14. Februar 2014, S.30-33

Stefanie Maeck im SÜDDEUTSCHE ZEITUNG MAGAZIN über Günter K. - "Margret - Chronik einer Affäre"

Der Lustverwalter

"1969: Der verheiratete Kaufmann Günter K. hat eine wilde Affäre mit seiner Sekretärin. Lang nach seinem Tod taucht plötzlich ein Koffer auf, gefüllt mit Notizen, Andenken, Locken und Finger- nägeln. Protokoll einer unheimlichen Besessenheit
 

Mai 1969 in Köln. Es ist Frühling. Im Baustoffhandel von Günter K. sind die Decken aus Holz, die Stoffgardinen vor dem Fenster haben geometrische Muster. Margret S. sitzt an der Schreibmaschine und tippt Rechnungen für ihren Chef: Günter, 39 Jahre, ein schlanker Typ mit Brille, schütterem Haar, hellblauer Trevira-Hose und Sakko. Margret ist 24, eine grazile Erscheinung, die Haare toupiert, sie trägt Minirock und keine Strumpfhose. 
Die Liebelei zwischen Chef und Sekretärin, er tauft sie auf den Namen »Zini«, sie ruft ihn später »Schnaggel«, wäre längst vergessen, wenn nicht nach vierzig Jahren ein Aktenkoffer auftauchte, gepflegt, aus schwarzem, teurem Leder, die Schlösser aufgebrochen. Ein Entrümpler aus Mönchengladbach löst die Wohnung des toten Baustoffhändlers auf. Er entdeckt den Koffer. Darin lagert eine Passion. Sie lagert in blauen Firmenkuverts, Günters geheimes Tagebuch. In den Umschlägen stecken Karten, darauf hat Günter mit Datum und Uhrzeit notiert, was er mit Margret ge- trunken und gegessen hat, wo sie Sex hatten, ob Margret das »gelbe Kleid mit lila Borde« oder das »grüne Wildlederröckchen« trägt. Im Koffer liegen auch Antibabypillen, Eugynon 21, mit Datum beschrif- tet, des Weiteren aufgeklebte Schamhaare, ebenfalls mit Datum, eine Locke, Fingernägel, mit Tesafilm aufgeklebt und beschriftet: »Linker Fingernagel von Margret, 14.12.70.«

Außerdem Fotos: Margret vor und nach dem Sex, wie eine Madon- na vor dem Goldspiegel beim Schminken, verführerisch im Körbchen- BH auf dem Bett oder mit weißen Netzstrümpfen im Opel Kapitän. Günter hebt auch Hotelrechnungen und Tramtickets auf." (...)
SÜDDEUTSCHE ZEITUNG MAGAZIN, Nummer 7 / 14. Februar 2014, S.30-35.

SÜDDEUTSCHE ZEITUNG MAGAZIN, Nummer 7 /14. Februar 2014 , S.34-35

Thursday 13 February 2014

"artist unkown #2: William Crawford" at GALERIE SUSANNE ZANDER, Cologne

WLLIAM CRAWFORD, untitled, pencil on paper, 1990's, Courtesy Galerie Susanne Zander
artist unkown #2:
William Crawford

14. February - 29. March 2014
Opening: Friday, 14.02., 6 - 9 pm

We know little about William Crawford’s life. His drawings were discovered in an abandoned house in Oakland, California and can be traced back to the 1990s. The archive might have consisted of several notebooks, but the sequences seem to have been broken up over he years and reach us now in a fragmentary and fascinating collection of around 950 delicate pencil drawings on paper, some on the back of prison roasters, some signed, which convey an intense sense of sexual longing of a man behind bars and an urge to tell stories. All we have is the narrative contained in the work itself.

The drawings, which bring to mind the eroticism of Eric Stanton or Tom of Finland, show scantily dressed women, drug use, gang bang - forbidden things in closed off spaces - and a recurring figure: a man with a short afro and a moustache as the "ladies' man" at the centre of events - presumably the artist William Crawford himself. Given the decoration of interiors, the hair dos and style of dress one can only guess that he might have come of age in the late 70s or early 80s.

The singular and original drawing style makes it enticing to submerge into the world before us: rooms shown from unusual angles, features that are hinted at or omitted, such as fingers, heads, pool tables or pieces of furniture. Geometrical detail and architectural subtleties define a space which serves not only as a backdrop to where the action unfolds: it is the scenario that makes things possible, more a dream than documentation, more fantasy than perversion - the mise en scène of a sexual reverie in which Crawford is king.

With this show Galerie Susanne Zander opens an exhibition trilogy that presents works by artists about whom little or nothing is known. Here, the quality and autonomy of the artistic work itself is the focus. There are no artists’ curricula vitae, the viewer is solely and immediately confronted with the work.

Anonymity is no novelty in art history: In pre-history, the anonymous artist was the rule. Works were rarely signed. In the case of the Old Dutch Masters artists were given representative “emergency names” and assigned to catalogs of works based on their style alone. It was the first attempt to give the artist who formerly was considered anonymous an individual personality and to acknowledge his autonomous mastership and style. The “Master of the Saint Bartholomew Altarpiece” (Alte Pinakothek, Munich) or the “Master of Flémalle” (Städel Museum, Frankfurt/Main) are well-known examples. Not until the modern age with the emergence of a bourgeois society, liberated from church and nobility, was the identity and role of the artist newly defined. The personality cult, characterized by the term genius, began to be cultivated as a brand name; biography became an integral part of the myth of the artist.

With the exhibition trilogy “artist unknown” the gallery probes new borderline areas of art and underscores the conceptual approach of so-called outsider art.


"artist unknown #1: Martina Kubelka" (17.01. - 08.02.2014)
"artist unknown #2: William Crawford" (14.02. - 29.03.2014)
"artist unknown #3: Type 42 (Anonymous)” (11.04. - 05.06.2014)
 

Monday 10 February 2014

"SZENARIO" at the Berlinale /// a movie inspired by our wonderful MARGRET

Günter K. "Margret - Chronik einer Affäre", Vintage Print, 1970/09/05, 7,5 cm x 10,5 cm, Courtesy Galerie Susanne Zander

World premier of "Szenario" at the Berlinale  - 
A movie inspired by MARGRET

SZENARIO
Germany 2014, 89'
with the voices of Cora Frost and Gustav Peter Wöhler
with Lisa Arndt, Kenneth Huber and Odine Johne
Script / direction / montage / image: Philip Widmann
Image / co-direction / montage: Karsten Krause
Sound: Tom Schön
Location Research: Julia Meyer
Line Producer: Caroline Kirberg
Color Grading: Matthias Behrens
Sound Design: Volker Zeigermann

a Works Cited production
in co-production with Blinker Filmproduktion
funded by Kuratorium junger deutscher Film, Film- und Medienstiftung NRW, Medienboard Berlin-Brandenburg,Filmförderung Hamburg Schleswig-Holstein, Filmförderungsanstalt, DEFA-Stiftung, Filmbüro Bremen with the kind support of Galerie Susanne Zander, Peter Bausch, Kodak Entertainment Imaging
 
Synopsis
A woman's voice and a man's voice speaking in unison: »A woman called Monika, and a man called Hans. Hans documents in writing that Monika has threatened him - her boss, employer and lover – with the withdrawal of her sexual favors if his wife doesn't apologize to her.«
The contents of a black briefcase lead us into a superficially well-ordered life in West Germany in 1970, in a city that can be seen as representative of the entire country. In this briefcase: the meticulous documentation of an affair between the small business owner Hans and his secretary Monika. A detailed protocol of their sexual activities leaves a trail through the field of infinite possibilities and finite probabilities of leading a different life under the same circumstances.

SZENARIO at the Berlinale 
(all screenings German w/ English subtitles):
11.02.2014, 19:30, Cinemaxx 3 – world premiere
12.02.2014, 12:30, Colosseum
12.02.2014, 20:30, Cinemaxx 1


www.workscited.de
www.berlinale.de

copyright Works Cited


copyright Works Cited

Tuesday 4 February 2014

HIPKISS at Kunsthalle Osnabrück


Catalogue "Lanschaften nach 2000" KUNSTHALLE OSNABRÜCK 2013

The catalogue "Landschaften nach 2000" is out now! Find more information about the catalogue here
 
Catalogue "Lanschaften nach 2000" KUNSTHALLE OSNABRÜCK 2013

Goodbye Paradise - Landschaftsbilder gestern und heute

Chris Hipkiss at Kunsthalle Osnabrück
until 30th March 2014