Saturday, 16 September 2017

OPENING TONIGHT / Adelhyd van Bender & Sofia Leibly at PAGE (NYC)

Image of wall drawing in Adelhyd van Benders apartment in Berlin.
Courtesy Delmes & Zander, Cologne

Sofia Leibly and Adelhyd van Bender

September 16–November 1, 2017
PAGE (NYC), 368 Broadway, #511, NY 10013
Opening: Saturday, September 16th, 6–8pm

"PAGE (NYC) presents a two-person exhibition by Sofia Leiby (US, b. 1989) and Adelhyd van Bender (Germany, 1950–2014). New readings of van Bender’s drawings are made possible in connection to Leiby’s work; her new paintings are inspired by research into the pursuit of aesthetic exactness, “success” and balance within mid-late twentieth-century German theories of perception and Gestalt. One section of a wall drawing from van Bender’s Berlin apartment is reproduced in the gallery for the first time.

When Sofia gave me the title of her silkscreen painting as PRÄGNANZ / Götz, Arnheim, Maitland-Graves (2017), she explained that “‘Prägnanz’ is a strange German word that basically means, ‘aesthetically successful and concise,’ and dates to the time period relevant to the tests." The tests are those devised in the 1970s by K. O. Götz (1914–2017) as an improvement on the discredited Maitland-Graves Design Judgement Test of thirty years prior. Tired of art criticism’s “idealistic” “word cascades,” Götz studied Gestalt and other fields of psychology and information theory in the interest of establishing an “exact aesthetics”—a new way to “objectively” measure visual abilities and evaluate expressive form. Participants in the resulting visual aesthetic sensitivity test (VAST) were asked to work their way through a book of fifty-two pairs of black abstract shapes that Götz had drafted and report, casting subjective preference aside, which of the two was more balanced. Although Götz asserted that his scientific and artistic interests were separate, in Leiby and van Bender’s work these parallel pursuits collide, and are brought into relation with features of lived experience that Götz had wanted to discount. (...)

As much as harmony in composition, balance in van Bender’s work appears as a refusal to choose either or. Repeatedly referring in notes and drawings to “Geschlecht” (gender), van Bender “seems to have identified as both male and female,” and strikes a balance in self-portraits as lady justice with scales. Further systems of categorisation and judgement appear to have been refused: a van Bender drawing in this exhibition suggests a system made up of false choices: “D. Tradition. D. D. Fashion. D. D. Opinion. D. D. Neurer [innovator]. D.” Is this an allusion to the art critic’s terms of recognition? Further works on paper carry the stamp of Universität der Künste Berlin (Berlin Arts Academy), the school that forced van Bender to exmatriculate in 1976. Reasons for exmatriculation from UdK today include failure to pay your fees or failure of the final examination. Poor performance or poor circumstance, or an interrelation of the two."

To read the complete essay written by Lizzie Homersham please click here:www.page-nyc.com

Friday, 15 September 2017

OKEY DOKEY at Delmes & Zander, Cologne





Installation views "Mystification of the Everyday" at Delmes & Zander, Cologne. Photos by Johannes Post

OKEY DOKEY - A joint exhibition project with
Galerie 1900-2000 (Paris) and Neue Alte Brücke (Frankfurt/M.)
at Delmes & Zander, Cologne

Mystification of the Everyday
8 - 30 September 2017

www.okey-dokey.show

Thursday, 31 August 2017

OKEY DOKEY with Galerie 1900-2000 and Neue Alte Brücke


MAX BUCAILLE, Dés, ca.1950, Collage on paper, 16 x 10,5 cm, Courtesy Galerie 1900-2000, Paris

+++ PLEASE SCROLL DOWN FOR ENGLISCH VERSION +++

Mystifizierung des Alltags ist der Titel eines Ausstellungsprojekts von Delmes & Zander (Köln), Galerie 1900-2000 (Paris) und Neue Alte Brücke (Frankfurt/ M.) und wurde speziell für Okey Dokey kuratiert.

Ausgangspunkt von Mystifizierung des Alltags ist ein gewöhnlicher Gegenstand, der von einem magischen Moment durchdrungen ist, einer Aura, einer spirituellen Qualität. Objekte, die vertraut erscheinen mögen, sind es plötzlich nicht mehr: sie sind erfüllt von neuer Bedeutung, da sie die Kraft in sich tragen, etwas grundsätzlich anderes zu werden - im Sinne der Wahrnehmung wie der Erkenntnis. Was zunächst eindeutig als Teil des Alltags erkennbar ist, wird zu etwas anderem, gleichzeitig bekannt und fremd, phantastisch und unheimlich, komisch und beunruhigend. Manchmal wandelt es sich in ein Zeichen der Anbetung und ist bedacht mit seiner eigenen Mythologie, oftmals verknüpft mit sexueller Fixierung oder Verlangen. Das Phänomen kann beliebige Objekte mit einer spirituellen Essenz durchdringen, ihnen magische Qualitäten zuschreiben, sie beleben, vermenschlichen oder ihnen gar eine Seele verleihen. Doch es kann ebenso in die einfachsten Alltagshandlungen oder die Erfahrung des umliegenden Raumes eindringen. Mystifizierung des Alltags erhöht das Banale zum Fetisch mittels Umdeutung, durch eine Verschiebung der Perspektive, eine plötzliche Irritation, Strategien der Subjektivierung, der Aneignung und der Re-Kontextualisierung. Und hierin enthüllt sie das innewohnende Geheimnis der Dinge jenseits dem

Okey Dokey ist ein gemeinsames Ausstellungsprojekt von Galerien und Ausstellungsräumen in Düsseldorf und Köln mit internationalen Kollegen. An den insgesamt 9 Standorten der Gastgeber entstehen in enger Zusammenarbeit mit den Gästen eigens für dieses Projekt gemeinsam kuratierte Gruppenausstellungen.

+++

Mystification of the Everyday is the title of a collaborative exhibition between Delmes & Zander (Cologne), Galerie 1900-2000 (Paris) and Neue Alte Brücke (Frankfurt/ M.) and was especially curated for Okey Dokey.

Mystification of the Everyday takes as a point of departure a commonplace subject and imbues it with a magical moment, an aura, a spiritual quality. Objects which may appear familiar are suddenly not: they are instilled with new meaning because they intrinsically withhold the power of becoming something completely new, both in terms of cognition and of perception. What appears to be an instantly recognizable everyday thing is something else, at once known and unknown, visionary and uncanny, comic and unsettling. At times it is turned into a token of worship and infused with a mythology of its own, often by association of sexual desire or erotic fixation. The phenomenon can permeate random objects with a spiritual essence, attribute magical qualities to them, animate them, humanize them or even lend them a soul, but it can also pervade the simplest ritual of day-to-day life or the experience of surrounding place and space. The Mystification of the Everyday elevates the banal to a fetishized subject by the power of reinterpretation, a shift in perspective, a sudden displacement, strategies of subjectification, appropriation and recontextualization and by doing so reveals the intrinsic mystery beyond the self-evident.

Okey Dokey is a joint exhibition project of galleries and exhibition spaces in Cologne and Düsseldorf with international colleagues.For this project collectively curated group shows will be developed in close cooperation with the guests and take place at the 9 different spaces of the hosts.


Künstler / Artists
ADEMEIT Horst
ANDERSEN Magnus
ANONYMOUS
ARROYO Eduardo
ARMAN
BENEDICT Will
BELLMER Hans
BUCAILLE Max
CADAVRE EXQUIS
CITROEN Paul
CRAFT Liz
CREPIN Joseph
DOUGLAS Eliza
HANSEN Al
HIPKISS
HOLEN Yngve
JENNINGS Humphrey
KUDO Tetsumi
MAN RAY
MARGRET – Chronicle of an Affair
MOLINIER Pierre
NGUYEN Julien
OLDENBURG Claes
ORTH Dietrich
PONTE Francesco
UBAC Raoul
VAN BENDER, Adelhyd
WALLA August
WIDENER George
YORK Reece

Saturday, 26 August 2017

OKEY DOKEY: A new initiative brings galleries to the Rhineland on APOLLO


Max Bucaille, Dés (ca. 1950), Galerie 1900–2000 at Delmes & Zander. Courtesy Galerie 1900–2000

A new initiative brings galleries to the Rhineland

 by Stephanie Dieckvoss / Apollo Magazine (26 July 2017)

"A new gallery initiative, Okey Dokey, will take place in Düsseldorf and Cologne from 9–30 September, launching alongside the ninth edition of DC Open (8–10 September). The project has been organised by three young galleries, Ginerva Gambino, Jan Kaps and Max Mayer, which have invited nine emerging spaces in Cologne and Düsseldorf to host exhibitions by international galleries: the result is nine curated group shows in nine spaces. Okey Dokey – named after Konrad Fischer’s favourite catch-phrase – looks back to the efforts of Dusseldorf gallerist Fischer who was instrumental in bringing international artists to the Rhineland. The organisers also cite The Köln Show, staged in 1990, which saw nine galleries present work by new artists without institutional help.

Developed in early 2017, Okey Dokey stands as an interesting counterpoint to Art Berlin, a new fair running from 14–17 September (replacing abc berlin), which operates this year on an invitational gallery selection process. The organisers of Okey Dokey instead emphasise collaborative working practices and the notion of the gallery as a key exhibition space for a period of time that extends beyond the brief art fair circus. Invited exhibitor Susanne Zander praises the ‘openness and seriousness’ of the young organisers. She has invited established Galerie 1900–2000 from Paris, together with Frankfurt-based Neue Alte Brücke to stage an exhibition titled ‘Mystification of the Everyday’, which looks at the transformation of familiar objects. And as Rozsa Farkas from London’s Arcadia Missa tells me: ‘It’s nice to be hosted rather than be the host. I’m excited to see Phoebe Collings-James’ work in a different space and new city’. [...]

It is refreshing to see an initiative that focuses on this German region – and in contrast to what might be happening in Berlin. The Rhineland has shown international art in innovative ways since the 1960s and created meaningful exchanges between artists, galleries and collectors. Perhaps what is required is a new group of galleries in Cologne and Düsseldorf to remind us of the importance of this once booming art region. Crucially, Okey Dokey is experimenting with new ways of working together, bringing international colleagues and artists to the organisers’ home region outside the art fair context. Let’s hope it works and that it is the beginning of more to come."

Okey Dokey’s confirmed gallery participants:
  • Delmes & Zander (Cologne) hosts Neue Alte Brücke (Frankfurt) and Galerie 1900–2000 (Paris) 
  • Lucas Hirsch (Dusseldorf) hosts Stereo (Warsaw) and Lomex (New York) 
  • Max Mayer (Dusseldorf) hosts Arcadia Missa (London), Miguel Abreu Gallery (New York), and Misako & Rosen (Tokyo) 
  • Drei (Cologne) hosts Kirchgasse (Steckborn, Switzerland) and Lulu (Mexico City) 
  • Jan Kaps (Cologne) hosts Weiss Falk (Basel), Edouard Montassut (Paris), and Sax Publishers (Vienna) 
  • Studio for Propositional Cinema (Dusseldorf) hosts Barbara Rüdiger with Anna Sophie-Berger Ginerva Gambino (Cologne) hosts Ermes Ermes (Vienna and Rome), Sandy Brown (Berlin), and Truth and Consequences (Geneva) 
  • Linden (Dusseldorf) hosts tbc 
  • Rob Tufnell (Cologne) hosts Tanya Leighton (Berlin) 
The show opens on September 8, 2017
You can read the complete article on www.apollo-magazine.com

Scott Indrisek about: "When Is an Artist’s Mental Health Your Business?" on ARTSY.NET

Disko Girls (Anonymous), untitled, 1970s-1980s (archive-# 4). Courtesy Delmes & Zander, Cologne.

When Is an Artist’s Mental Health Your Business?

Scott Indrisek on ARTSY (Jul 31st, 2017)

"What does an understanding of an artist’s life story bring to bear on their work? It’s an old question, and of course, one that doesn’t have an easy answer. Biographical information can enrich our understanding of a practice, but it can also narrow a viewer’s focus, forcing critical interpretations through a distorting lens. [...]

What Difference Does It Make?

We generally want to know more about all the artists we love—whether or not those facts actually enhance our understanding of the work they make. We crave gossip and insider dirt, or at least a broader picture of a life. “That’s one of the reasons why the Calvin Tomkins [profiles] in the New Yorker are so fascinating,” Higgs says. “It’s one of the rare opportunities to get a glimpse into an artist’s background, what their parents did, how they grew up, what their circumstances are—all of which is useful information.”

But with outsider artists, it’s important not to indulge in sensationalism under the guise of scholarship. Rousseau does admit that, in certain cases, a deeper understanding of someone’s mental health or related background can be fruitful. She points to George Widener, an artist who has Asperger’s Syndrome. “Because of his love for inventories and numbers, it’s not an un-useful fact to know,” she says. “He also has a photographic memory. It helps you understand a cause and effect. But that’s not often the case.”

In other instances, seeing beyond biographies and categorical distinctions seems to be a way out of the morass. “I’m led to believe that there is no difference between the ‘eccentric’ artist and the professional artist, when they’re dealing with matter and materials,” Gioni says. “In the moment they sit down to make, I ultimately don’t think there’s any difference in the knowledge they have of their hands meeting the material.”

Susanne Zander of Cologne-based Delmes & Zander echoes that sentiment. Her gallery represents the likes of Eugene von Bruenchenhein and Prophet Royal Robertson. “Essentially, we are not that interested in the mental history of the artist,” she says. “The selection of the artists in our program is based mainly on the quality of their work, irrespective of whether or not it was produced specifically for the art market. It’s important for us that the quality is on a par with established art production, and that the artists are judged not for any of their psychological problems—but rather for the quality, individuality, and autonomy of their artistic work.”

As for the basic phrase “outsider art,” Zander feels that it has lost its usefulness. “We feel that the term ‘outsider’ focuses too strongly on the personal situation of the artist and misleads the public, who neglect the actual work itself. We see each work not in reference to a classification or terminology, but for what it really is.”

“The most respectful way to talk about an artist with any condition or pathologies is to stick to the facts,” Edlin says. “If there are things that are unknown—but evidence that suggests certain possibilities—than that’s exactly how it should be put across. Focus on the work, and use the biographical info to help interpret the artmaking process.”

At the same time, Edlin recognizes that an exceptional background can add another dimension to the appreciation of the work. “One of the most interesting and exciting results of accurately explaining the details of the lives of outsider artists—or any artists who have overcome incredibly challenging circumstances—is that their art becomes even more transcendent and uplifting for the viewer,” he continues. “It’s important to remember that figures like Henry Darger, Adolf Wölfli, and Martín Ramírez were some of the most downtrodden artists we’ve ever known. Genius resides in some of the most unlikely of places.”

When Ignorance Is Bliss

“Despite thorough research it has not been possible to identify the artist behind these drawings, found in Germany in the late 1990s,” read the press statement for a group of 50 stunningly idiosyncratic colored-pencil drawings that Delmes & Zander showed at this year’s Independent art fair in New York. Based on its content, the series had been dubbed “Disko Girls,” a title that was “attributed to the work out of respect for the unnamed and unknown author.”

Here, finally, is a case study that happily short-circuits everything we’ve just discussed. For the moment, it’s possible to stand in front of these strange portraits—titillating, disturbing, campy, playful, raw—with absolutely zero baggage.

Perhaps art-historical sleuthing will turn up the artist’s identity in the next few years. Perhaps we’ll find out that he was an orthodontist in Cologne who drew on the weekends, or that she was a university student who copied designs from advertisements and pornographic magazines. Biography will become a magnifying glass used to zoom in on what was once peculiar, elusive, and magnificently foreign about the artist. With any luck, that day will never come.


By Scott Indrisek; Jul 31st, 2017 5:44 pm

You can read the complete article on www.artsy.net

Wednesday, 19 July 2017

OKEY DOKEY with Neue Alte Brücke and Galerie 1900-2000 - Preview Friday September 8, 2017



We are delighted to announce a collaborative exhibition with Neue Alte Brücke (Frankfurt) and Galerie 1900-2000 (Paris) especially curated for OKEY DOKEY.

Okey Dokey is a joint exhibition project of galleries and exhibition spaces in Cologne and Düsseldorf with international colleagues. For this project collectively curated group shows will be developed
in close cooperation with the guests and take place at the 9 different spaces of the hosts.

Opening reception: Friday September 8, 2017
Duration: 9 - 30 September 2017

Delmes & Zander (Cologne)
hosts Neue Alte Brücke (Berlin) and Galerie 1900-2000 (Paris)

Lucas Hirsch (Düsseldorf)
hosts Stereo (Warsaw) and Lomex (New York)

Max Mayer (Düsseldorf)
hosts Arcadia Missa (London), Miguel Abreu Gallery (New York), and Misako & Rosen (Tokyo)

Drei (Cologne)
hosts Kirchgasse (Steckborn, Switzerland), Lulu (Mexico City), and Park View (Los Angeles)

Jan Kaps (Cologne)
hosts Weiss Falk (Basel), Edouard Montassut (Paris), and Sax Publishers (Vienna)

Studio for Propositional Cinema (Düsseldorf)
hosts Barbara Rüdiger with Anna Sophie-Berger

Ginerva Gambino (Cologne)
hosts Ermes Ermes (Vienna and Rome), Sandy Brown (Berlin), and Truth and Consequences (Geneva)

Linden (Düsseldorf), host galleries TBD
Rob Tufnell (Cologne) hosts Tanya Leighton (Berlin)

http://okey-dokey.show/

Edward M. Goméz on Hyperallergic about EUGENE VON BRUENCHENHEIN

EUGENE VON BRUENCHENHEIN, untitled, 1940s, silver gelatin print, Courtesy Delmes & Zander

An Artist Couple’s Domestic Gesamtkunstwerk
 Edward M. Goméz on Hyperallergic (July 8, 2017)

The outsider artist Eugene Von Bruenchenhein and his wife, Marie, created a miniature universe in their bungalow in a Milwaukee suburb.

SHEBOYGAN, Wisconsin — Mythologies: Eugene Von Bruenchenhein, a new exhibition at the John Michael Kohler Arts Center in Sheboygan, Wisconsin (on view through January 14, 2018), showcases one of the most intriguing bodies of work by an artist of the modern era to be found anywhere today.

The way an artist conjures up a universe of his own, and how his aesthetic vision informs such creativity, are as much the subjects of this compelling survey as any of the peculiar paintings, photographs, and objects on display.
Mythologies is one in a series of exhibitions collectively titled The Road Less Traveled that the museum is mounting this year to commemorate its 50th anniversary. The JMKAC is one of the best-known museums in the world specializing in the study and presentation of works, many of which are site-specific environments, made by self-taught artists. Mythologies traces the development of a clever autodidact whose creative audacity appeared to have been his saving grace: despite the humbleness and hardships of Von Bruenchenhein’s life circumstances, he dared to think big — about himself and his art.

Perhaps it’s that whiff of grandiloquence in Von Bruenchenhein’s sense of himself as a thinker and creative agent, which comes across in his writings and to varying degrees in his art, that have endeared his multifaceted oeuvre to aficionados of outsider art. At the same time, now that the unbridled energy and weirdness of much of what he crafted appear to have been postmodernist avant la lettre, Von Bruenchenhein’s work has earned critical, crossover praise and won many admirers in the mainstream, contemporary-art establishment. The eccentric from Wisconsin who made sculptures with chicken bones and nudie-fantasy photos of his wife is now a bonafide art-world star.

Edward Eugene Von Bruenchenhein (1910–1983) was born in northeastern Wisconsin, on Lake Michigan’s western shore. (Later his family moved south to the Milwaukee suburbs.) The second of three sons, Eugene was seven when his mother died. His father remarried, and his stepmother, whose interests were artistic, literary and intellectual, provided inspiration for the boy’s creative pursuits.
After graduating from high school, Eugene found employment in a florist’s shop and later worked for many years in a commercial bakery. In 1943, he married the former Eveline Kalka (whom he renamed “Marie”), but even though his father gave his son and his new bride the Von Bruenchenhein family’s small house, the couple remained chronically poor. It was in their nondescript bungalow in a Milwaukee suburb that Eugene spent decades developing a rich, imaginary realm of larger-than-life self-expression over which he and Marie presided. (...)

You can read the complete article on hyperallergic.com
www.hyperallergic.com

Saturday, 8 July 2017

On the Spot / Groupshow at Delmes & Zander



JESUYS CRYSTIANO, untitled, 2012, pencil on paper, 42 x 59 cm, Courtesy Delmes & Zander

On the Spot
7 July - 26 August 2017

with works by
Jesuys Crystiano
Martin Erhard
Hipkiss
Miroslav Tichy
Wesely Willis

www.delmes-zander.de

Friday, 16 June 2017

Delmes & Zander schließt die Berliner Räume

JESUYS CRYSTIANO, untitled, pencil on paper, 11/2011, Courtesy Delmes & Zander

Monopol.de über die Schließung unserer Berliner Räume (erschienen am 30.5.17):

Delmes & Zander schließt Berliner Standort
"Weil die Organisation zweier Ausstellungsorte zu wenig Raum für die inhaltliche Vermittlung der Künstler und die Weiterentwicklung des Programms zulasse, möchte sich die Galerie Delmes &  Zander in Zukunft auf ihren Kölner Standort beschränken.

Die Inhaberinnen Nicole Delmes und Susanne Zander begründen ihre Entscheidung mit dem Anspruch, auch in Zukunft umfangreiche Künstlernachlässe, wie die von Horst Ademeit, Adelhyd van Bender oder "Margret - Chronik einer Affäre" adäquat betreuen zu wollen. Die Galerie werde darüber hinaus weiterhin eigenständige künstlerische Positionen entdecken, aufbauen und kontextualisieren. Nach Beendigung der aktuellen Ausstellung "Jesuys Crystiano" werden die Räume in Berlin am 10. Juni schließen.

Die Galerie Susanne Zander wurde 1988 in Köln gegründet. Seit 2005 ist Nicole Delmes Mitinhaberin. Der inhaltliche Fokus der Galerie liegt auf der Entdeckung und Förderung eigenständiger künstlerischer Positionen jenseits von Trends. Auch die Aufarbeitung und Bewahrung von künstlerischen Nachlässen ist einer der Schwerpunkte. (...)

Text: Hannah Altermann
 www.monopol-magazin.de
 

Thursday, 8 June 2017

Delmes & Zander at FIAC 2017

Delmes & Zander at FIAC 2016. Courtesy Delmes & Zander.
Delmes & Zander at FIAC 2017

We are very excited to announce that we will be participating in FIAC 2017!

-------------------
FIAC 2017

19-22 October 2017

Grand Palais
Avenue Winston Churchill 
75008 Paris
-------------------

Full Exhibitor List:
//Galerie 1900-2000, Paris
303 Gallery, New York
AMiguel Abreu, New York
Air de Paris, Paris
Allen, Paris
Applicat-Prazan, Paris
Art : Concept, Paris
Alfonso Artiaco, Napoli
BBalice Hertling, Paris
Baudach, Berlin
Thomas Bernard - Cortex Athletico, Paris
Bernhard, Zürich
Blum & Poe, Los Angeles, New York, Tokyo
Isabella Bortolozzi, Berlin
Gavin Brown's enterprise, New York, Roma
Galerie Buchholz, Berlin, Köln, New York
Shane Campbell, Chicago
Capitain Petzel, Berlin
Casas Riegner, Bogotá
Ceysson & Bénétière , Paris, Luxembourg, Saint-Étienne, Genève, New York
ChertLüdde, Berlin
C L E A R I N G, New York, Brussels
Sadie Coles HQ, London
Continua, San Gimignano, Beijing, Boissy-le-Châtel, Habana
Paula Cooper, New York
Raffaella Cortese, Milano
Vera Cortês Art Agency, Lisboa
Chantal Crousel, Paris
Ellen De Bruijne Projects, Amsterdam
Massimo De Carlo, Milano, London, Hong Kong
Delmes & Zander, Köln, Berlin
dépendance, Brussels
Dvir Gallery, Tel Aviv, Brussels
EFrank Elbaz, Paris
espaivisor, Valencia
Essex Street, New York
Experimenter, Kolkata
FImane Farès, Paris
Konrad Fischer, Düsseldorf, Berlin
Freedman Fitzpatrick, Los Angeles
Lars Friedrich, Berlin
Gagosian Gallery, Paris, New York, London, Beverly Hills, Hong Kong
Christophe Gaillard, Paris
Gaudel de Stampa, Paris
gb agency, Paris
Gladstone Gallery, New York, Brussels
Laurent Godin, Paris
Marian Goodman, Paris, New York, London
Bärbel Grässlin, Frankfurt
Green Art Gallery, Dubai
Karsten Greve, Paris, Köln, St. Moritz
Max Hetzler, Berlin, Paris
House of Gaga, México D.F., Los Angeles
Gypsum, Cairo
Xavier Hufkens, Brussels
Eric Hussenot, Paris
Hyundai, Séoul
IIn Situ - Fabienne Leclerc, Paris 
Instituto de Visión, Bogotá
JJousse Entreprise, Paris
joségarcía, mx, México D.F.
Annely Juda Fine Art, London
Karma, New York
Karma International, Zürich, Los Angeles
kaufmann repetto, Milano, New York
Anton Kern, New York
Peter Kilchmann, Zürich
Kisterem, Budapest
Kohn Gallery, Los Angeles
König Galerie, Berlin
David Kordansky, Los Angeles
Kraupa-Tuskany Zeidler, Berlin
Krinzinger, Wien
Kukje Gallery / Tina Kim Gallery, Seoul, New York
LLabor, México D.F.
LambdaLambdaLambda, Prishtina
Landau Fine Art, Montreal
Emanuel Layr, Wien
Le Minotaure, Paris
Simon Lee, London, Hong Kong
Lehmann Maupin, New York, Hong Kong
Lelong, Paris, New York
David Lewis, New York
Lisson, London, New York, Milano
Loevenbruck, Paris
Magazzino, Roma
Mai 36 Galerie, Zürich
Maisterravalbuena, Madrid, Lisboa
Edouard Malingue, Hong Kong, Shanghai
Marcelle Alix, Paris
Giò Marconi, Milano
Mazzoleni, Torino, London
Fergus McCaffrey, New York
Mendes Wood DM, São Paulo, Brussels
kamel mennour, Paris
Metro Pictures, New York
Meyer Riegger, Berlin, Karlsruhe
Mezzanin, Genève
Francesca Minini, Milano
Massimo Minini, Brescia
Victoria Miro, London
Mitchell-Innes & Nash, New York
mor charpentier, Paris
Jan Mot, Brussels, México D.F.
Nächst St. Stephan Rosemarie Schwarzwälder, Wien
Nagel Draxler, Berlin, Köln
Edward Tyler Nahem Fine Art, New York
Nahmad Contemporary, New York
Neu, Berlin
Neue Alte Brücke, Frankfurt
neugerriemschneider, Berlin
New Galerie, Paris
NoguerasBlanchard, Barcelona, Madrid
ONathalie Obadia, Paris, Brussels
Guillermo de Osma, Madrid
Overduin & Co., Los Angeles
P420, Bologna
Pace, New York, London, Beijing, Hong Kong, Palo Alto, Paris
Parra & Romero, Madrid, Ibiza
Françoise Paviot, Paris
Peres Projects, Berlin
Perrotin, Paris, New York, Hong Kong, Seoul, Tokyo
Francesca Pia, Zürich
PKM Gallery, Seoul
Plan B, Cluj, Berlin
Jérôme Poggi, Paris
Praz-Delavallade, Paris, Los Angeles
Eva Presenhuber, Zürich, New York
ProjecteSD, Barcelona
Queer Thoughts, New York
Almine Rech, Paris, Brussels, London, New York
Reena Spaulings Fine Art, New York
Regen Projects, Los Angeles
Michel Rein, Paris, Brussels
Rodeo, London
Thaddaeus Ropac, Paris, Salzburg, London
Richard Saltoun, London
Esther Schipper, Berlin
SCHLOSS, Oslo
Micky Schubert, Berlin
Semiose, Paris
Natalie Seroussi, Paris
Skarstedt, New York, London
Pietro Sparta, Chagny
Sprüth Magers, Berlin, London, Los Angeles
Stigter Van Doesburg, Amsterdam
Daniel Templon, Paris, Brussels
Tornabuoni Art, Paris, Firenze, Milano, London
Truth and Consequences, Genève
UUBU Gallery, New York 
Valentin, Paris
Georges-Philippe & Nathalie Vallois, Paris
Van de Weghe, New York
Vedovi, Brussels
Venus, New York, Los Angeles
Nadja Vilenne, Liège
Vitamin Creative Space, Guangzhou, Beijing
Waddington Custot, London
Waldburger Wouters, Brussels
Michael Werner, New York, London
White Cube, London, Hong Kong
Jocelyn Wolff, Paris
ZThomas Zander, Köln
Zeno X, Antwerp 
ZERO..., Milano
Galerie Zlotowski, Paris
David Zwirner, New York, London

-----------------------------

Find out more about FIAC here

Friday, 2 June 2017

Installation Views /// ADELHYD VAN BENDER at Shane Campbell Gallery, Chicago




  
"Adelhyd Van Bender" at Shane Campbell Gallery, Lincoln Park, Chicago.
Courtesy of Shane Campbell Gallery, Chicago
Photo Credit: Evan Jenkins 

Installation Views /// ADELHYD VAN BENDER at Shane Campbell Gallery, Chicago


---------------------------------

Adelhyd Van Bender

June 1st - July 7th 2017

Viewings by appointment only

---------------------------------


Works by Adelhyd Van Bender are currently on display at Shane Campbell Gallery's Lincoln Park Space in Chicago.


Find out more about Shane Campbell Gallery here.
www.shanecampbellgallery.com/

Wednesday, 24 May 2017

The Museum of Everything at MONA - Tasmania, Australia

Andre Robillard, 'Fusil x USA Rapide 436 AD.RZ Arston', 1992. mixed media object, 33 x 97 cm. Courtesy Delmes & Zander.

George Widener, 'untitled', 2016. mixed media on paper, 31 x 38cm
Courtesy Delmes & Zander

Karl Hans Janke, 'Pfeilflächenmaschine', 1950. pencil and ballpoint on paper, 29.7 x 42cm.  Courtesy Delmes & Zander


The Museum of Everything at MONA - Tasmania, Australia

The Museum of Everything will be taking over MONA (Museum of Old and New Art) in Tasmania, Australia in an expansive new exhibition opening on June 10th and running through till April 2018.


"The Museum of Everything is a travelling institution, which opened in London in 2009. Its purpose is to advocate for the visibility of art that falls outside the confines of the art world proper; the work of ordinary people, working far (literally or otherwise) from the cultural metropolis.

That word, ‘ordinary’, is an interesting one. Because oftentimes, the art that we are talking about — let’s call it the art of everyone — happens to be made by people who can only truthfully be described as extraordinary.

These artists don’t have degrees, but they might have visions or compulsions; they are transcendent scientists, self-taught architects, and citizen inventors; sometimes, they are dedicated followers of personal belief systems, or producing art from inside a hospital or prison. Some create their own visual folklore to sit alongside (or challenge) established histories of culture and place. ‘Our museum stretches, I hope, the possibility of who has the right to be considered an artist,’ says founder James Brett. But of course, not everybody is an artist. The collection is comprised of the passionate fringe, the outliers who concentrate the human propensity to make and create. They are simultaneously different, because that kind of intensity and ability is not available to us all (and especially not in the absence of the usual art-world rewards, such as money and cultural cachet), and yet they are also somehow the same, more familiar to us than the big art-world names will ever be.

This extra/ordinary tension complicates the category ‘art’, in its deepest sense. Is art typical, universal, even biological — or is it exceptional? Can we place elite art, that which is clearly tied to the desire for social status, next to apparently private forms of creative expression, and call them by the same name?

To answer these questions, as well as the important social-justice ones that accompany them, you must first widen your concept of art. It stops being about insider/outsider, us and them, and becomes instead a big, wobbly, cumbersome carryall; and once ‘everything’ is included, nothing is, and so the whole problem of terminology and definitions just dissolves, until you’re left with nothing but an action. The will to make thrives everywhere, even in the most unlikely places. That’s what our friends at The Museum of Everything are trying to show. And we want to help them, in the form of this exhibition. The occupation is an invitation." (...)


Featured Artists Include:
Morton Bartlett
Henry Darger
Karl Hans Janke
Miroslav Tichy
Horst Ademeit
Adelhyd van Bender
Alexander Lobanov
Andre Robillard
George Widener
Dietrich Orth
August Walla
Emery Blagdon
Aloise Crobay
Guo Fengyi
Augustin Lesage
Walter Potter
Judith Scott
Carlo Zinelli
Aloys Zotl
William EdmondsonACM (Alfred Corinne Marié)
Alikhan Abdollahi
Hilma af Klint
Albert
Kwame Akoto
Consuelo ‘Chelo’ González Amezcua
Noviadi Angkasapura
Anonymous
Anonymous maker of ‘The Woodbridge Figures’
Yasmin Arshad
Steve Ashby
Mary Barnes
Peter ‘Charlie’ Attie Besharo
Forrest Bess
George Beckstead
Benjamin Binder
Ion Bîrlădeanu
Aaron Birnbaum
Calvin and Ruby Black
Pearl Blauvelt
Reverend William Alvin Blayney
Julius Bockelt
Erich Bödeker
Hawkins Bolden
Sabo (Salvatore Bonura)
Giovanni Bosco
Uwe Breckner
Freddie Brice
Herman Bridgers
Aníbal Brizuela
David Burton
Marian Spore Bush
Raimundo Camilo
Dionne Canzano
Tom Carapic (Tomislav Sava Čarapić)
James Castle
Gaston Chaissac
Nek Chand (Nek Chand Saini)
Brian Chin
Mamadou Cissé
Derrick Alexis Coard
Clark Coe
Raymond Coins
Clive Collender
Felipe Jesus Consalvos
Alan Constable
Joseph Crépin (Fleury-Joseph Crépin)
Francesco Cusumano
Richard Dadd
William Dawson
Charles A. A. Dellschau
Louis DeMarco
Fernand Desmoulin
James Dixon
Hiroyuki Doi
Jim Dornan
Sam Doyle
Svetlana Dressen
‘Uncle Pete’ Drgac (Peter Paul Drgac)
Tarik Echols
Walter Ellison
Minnie Evans
Denis Ezhikov
Chase Ferguson
Giovanni Fichera
Reverend Howard Finster
Auguste Forestier
Aletvyna Fyzhova
Verba Frazier
Giovanni Galli
Willem van Genk
Hans-Jörg Georgi
Pietro Ghizzardi
Madge Gill
Joaquim Vincens Gironella
Richard Greaves
Daniel Green
Glendenning Hamilton (Thomas Glendenning Hamilton)
Peter Hand
Johann Hauser
William Hawkins
Hosea Hayden
Margarethe Held
Manfred Henke
Morris Hirshfield
Josef Hofer
Stan Hopewell
Georgiana Houghton
Reverend Jesse Howard
William Howard
Peter Hughes
Hector Hyppolite
Enrico Imoda
Vladimir Isaev
Karl Hans Janke
Jaw (Cehu’pa, also known as Oki’cize Tawa—His Battle—and Samuel Charles Jaw)
Alfred Jensen
Willie Jinks
Reverend Anderson Johnson
S. L. Jones (Shields Landon Jones)
Patrick Joyce
Karl Junker
Juva (Prince Antonin Juritzky)
Peter Kapeller
Roland Kappel
Katyusha (Ekaterina Skvortsova)
Bodys Isek Kingelez
Davood Koochaki
Zdenek Kosek
Norbert H. Kox
Julia Krause-Harder
Hans Krüsi
Viktor Kulikov
Toshiro Kuwabara
Paul Laffoley
Dominique Lagru
Pavel Petrovitch Leonov
Augustin Lesage
Larry Lewis
Georges Liautaud
Albert Lubaki
Leonid Lugovykh
Pascal-Désir Maisonneuve
Anthony Mannix
Abu Bakarr Mansaray
Miroslav Marsalek (aka Mirek or Dugogh)
Julian Martin
Chris Mason
Kunizo Matsumoto
Justin McCarthy
Malcolm McKesson
Aleksandr Medvedev-Petrov
M.E.N. (Melvin Edward Nelson aka Mighty Eternal Nation)
John Miles
Dan Miller
G. T. Miller (George Thaxton Miller)
R. A. Miller (Reuben Aaron Miller)
Vitaly Molka
François Monchâtre
Sister Gertrude Morgan
William Mortensen
J. B. Murray (John Bunion Murray)
Michel Nedjar
Vitaly Neiman
Masahiko Ooe
Francis Palanc
Michael Patterson-Carver
Jean Perdrizet
Alcides Pereira dos Santos
Reverend B. F. Perkins (Benjamin Franklin Perkins)
Reverend Samuel David Phillips
Elijah Pierce
Master Pixilô (Manoel Francisco Dias)
Francesco Ponte
Erin Punzel
Alevtina Dmitriyevna Pyzhova
Josef Karl Rädler
Martín Ramírez
Robert Rapson
Émile Ratier
W. C. Rice (William Carlton Rice)
Ray Ritchie
Prophet Royal Robertson
William Rice Rode
Vasily Tichonovich Romanenkov
Yuichi Saito
Takeshi Sakamoto
Nicolò Scarlatella
Hans Schärer
Paul K. Schimmack (Paul Karl Schimmack)
Friedrich Schröder Sonnenstern
William Scott
Sava Sekulić
Tomoyuki Shinki
George Simmons
Mary T. Smith (Mary Tillman Smith)
Janet Sobel
Austin Osman Spare
L. C. Spooner (Lee Cordova Spooner)
Eric Stewart
Harald Stoffers
Marcel Storr
Ionel Talpazan
Katsuhiro Terao
James ‘Son’ Thomas
Martin Thompson
William Thomas Thompson
Bill Traylor
Lyudmila Trunova
William Tyler
John VanZile
Louis William Wain
Alfred Wallis
Melvin Way
Fred Webster
Myrtice West
Benton Wilkens
Terry Williams
Ted Willcox
Scottie Wilson
Josef Wittlich
Clarence and Grace Woolsey
Adolf Wölfli
Jim Work
William Wurfflein
Joseph Yoakum
Hideaki Yoshikawa
Francesco Zafarana
Anna Zemánková
Rosa Zharkikh
Bogdan Ziętek

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MUSEUM OF EVERYTHING

MONA (Museum of Old and New Art)
655 Main Rd
Berriedale TAS
7011, Australia

Exhibition: 10th June 2017 - 2nd April 2018
Grand Opening: 10th June, 12pm - 6pm

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You can find the Facebook event for the Grand Opening here.
More on MONA here and The Museum of Everything here.
https://mona.net.au/
http://www.musevery.com/#main

Thursday, 18 May 2017

2017 Benefit Exhibition & Live Auction - White Columns, New York


TYPE 42, 'Carol Lynley', 1960s-1970s. mixed media on polaroid, 3 1/4 x 4 1/4 in. Courtesy Delmes & Zander.

HORST ADEMEIT, '4284, 07.12.2000' ; '4285, 08.12.2000'; '4286, 09.12.2000'; '4287, 10.12.2000'; '4288, 11.12.2000', 2000. inscribed polaroids, 4 1/4 x 3 1/2 in. (each). Courtesy Delmes & Zander.

ADELHYD VAN BENDER, 'Untitled', 1999-2014. mixed media on photocopy, 16 1/2 x 11 3/4 in. Courtesy Delmes & Zander.

2017 Benefit Exhibition & Live Auction - White Columns, New York

Exhibition: May 6 - May 20, 2017
Auction: May 20 at 7pm.

Proceeds from the auction help to support future exhibitions and programs at White Columns.

“It’s hard to imagine the last almost-half-century without White Columns. Scary might be a better word, or depressing. White Columns has changed my life a half-dozen times at the very least, and kept me on my toes for decades.” - Jerry Saltz, New York Magazine (...)

Donating artists include:

Michele Abeles
Joshua Abelow
Horst Ademeit
Artist Unknown
Alex Becerra
Adelhyd van Bender
Patrick Berran
Dike Blair
Suzanne Blank Redstone
Will Boone
Joe Bradley
Cecily Brown
Beverly Buchanan
David Byrd
Talia Chetrit
Billy Childish
Whitney Claflin
Anne Collier
Matt Connors
Jane Corrigan
Sara Cwynar
Cynthia Daignault
TM Davy
Marcel Dzama
Jeff Eaton
Liam Everett
Louise Fishman
Gerasimos Floratos
Denzil Forrester
Jeff Funnell
Jackie Gendel
John Giorno
Daniel Gordon
Kim Gordon
Ann Greene Kelly
Karin Gulbran
Ray Hamilton
Mona Hatoum
EJ Hauser
Daniel Heidkamp
Camille Henrot
Matthew Higgs
John Hiltunen
Evan Holloway
Chip Hughes
Jessica Jackson Hutchins
Elizabeth Jaeger
Marcus Jahmal
Tony Just
Craig Kalpakjian
Melike Kara
Dawn Kasper
Barbara Kasten
Jan Kiefer
Matthew Kirck
Thomas Kovachevich
Ella Kruglyanskaya
Shio Kusaka
Maria Lassnig
Louise Lawler
Maggie Lee
Margaret Lee
Siobhan Liddell
Hilary Lloyd
Robert Longo
Nikki Maloof
Adam McEwen
Elizabeth McIntosh
Dan Miller
Lady Shalimar Montague
Jeanette Mundt
Aliza Nisenbaum
Paulina Olowska
Alex Olson
David Ostrowski
Veronika Pausova
Annie Pearlman
Amalia Pica
Jack Pierson
Michail Pirgelis
Walter Price
Tal R
Aurie Ramirez
Daniel Rios Rodriguez
Ry Rocklen
Collier Schorr
William Scott
Andres Serrano
Nancy Shaver
Bruce M. Sherman
Cindy Sherman
Peter Shire
Travess Smalley
Michael E. Smith
John Stezaker
Billy Sullivan
Tabboo!
Claire Tabouret
Miroslav Tichý
Wolfgang Tillmans
Betty Tompkins
Boris Torres
Jeffrey Tranchell
Stephen Truax
Type 42 (Anonymous)
Uman
Mary Weatherford
James Welling
Caroline Wells Chandler
Claudia Wieser
Michael Williams
Nicole Wittenberg
Matthew Wong
Jonas Wood
B. Wurtz

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You can find out more about the exhibition & auction here.
www.whitecolumns.org

Thursday, 11 May 2017

New Publication: "Eugen Gabritschevsky (1983 - 1979)"

Eugen Gabritschevsky, 'Religiöse Figuren für Almanach', 1953. Mixed Media on Paper, 29.5 x 21 cm. Courtesy Delmes & Zander

Eugen Gabritschevsky (1983 - 1979), Rousseau, V, Lombardi, S, de Galbert, A & Le Roux, N (eds), 2016, Snoeck, Ghent. Courtesy Delmes & Zander

New Publication - Eugen Gabritschevsky (1893 - 1979)

The catalog was published to accompany the touring exhibition that took place at La maison rouge, Paris, Collection de l'Art Brut, Lausanne, and which is currently on display at American Folk Art Museum, New York.
It features writings by Antoine de Galbert, Sarah Lombardi and Valerie Rousseau, among others.

"Throughout his life, Eugen Gabritschevsky displayed a precocious passion for the natural sciences, particularly entomology. Born in Russia, he completed advanced degrees in biology and genetics in Moscow, before pursuing postdoctoral studies in 1925 at Columbia University. Soon after he joined the Pasteur Institute in Paris in 1927, his successful career was cut short by the deterioration of his mental health, leading to his admission into a psychiatric hospital in Germany in 1931. There, and for the rest of his life, Gabritschevsky elaborated a prolific, refined, and heterogeneous body of work—gouaches, drawings, and watercolors on paper—imbued with his early scientific interests, observation skills, and a propensity for experimentation. This first in-depth exhibition of Gabritschevsky’s relatively unknown artistic contribution is composed of more than eighty artworks, a film, publications, and archival documents." (...)

Eugen Gabritschevsky: Theater of the Imperceptible
March 14, 2017–August 20, 2017
American Folk Art Museum
2 Lincoln Square, New York, NY

Find out more on the exhibition here and on the publication here.
www.folkartmuseum.org/

Wednesday, 3 May 2017

ARTSY selects "The 9 Best Booth at Independent Brussels"



Installation view "Wesley Willis. Rock'N'Roll Superhighway" at Independent Brussels, Courtesy Delmes & Zander


Molly Gottschalk selects "The 9 Best Booth at Independent Brussels" for ARTSY - and includes us with the show WESLEY WILLIS Rock'N'Roll Superhighway

"For the second year, Independent Brussels spreads across six floors of Brussels’s historic Vanderborght building this week, dotting the former 1930s department store’s modernist walls with tightly curated exhibitions. And like its New York counterpart, which this March hosted a second run at its glossy new Tribeca home, Spring Studios, this year, Independent Brussels truly spreads its wings. (...)

Over 70 galleries and nonprofits, from 32 cities, participate in Independent Brussels’s 2017 edition. Among them are returning blue-chip galleries, like Barbara Gladstone and David Zwirner, whose Marcel Dzama-curated stand arguably steals the show. Notable newcomers include Sprüth Magers, Capitain Petzel, and Mendes Wood DM, which opened a Brussels outpost in the city earlier this week, adding to locations in São Paulo and New York.

“Galleries are getting more and more excited about what they can do here, and making statements that they wouldn’t be making at other fairs or in other cities,” said Mitterrand. “It’s bringing [the fair] to a new level.”

Nine of those participating have transformed their booths into full-scale exhibitions, taking the fair to a new level indeed. (...)




Delmes & Zander
Fourth Floor, Booth 10
With work by Wesley Willis

If you caught the gallery’s fantastic booth at Independent New York in March, featuring drawings by anonymous artist Disko Girls, it may be little surprise to see they’ve again selected works around the theme of music, to great success.

The booth features the intricate drawings of cult American rockstar Wesley Willis, who passed away in 2003, in which he rendered Chicago’s streets, skylines, and music scene in bic ballpoint pen and felt-tip marker (and the occasional crayon) for some two decades."
 
Read the complete article here
www.artsy.net

Tuesday, 2 May 2017

"The Golden Ratio Laws - Works from the Treger/Saint Silvestre Collection" at Oliva Creative Factory - São João da Madeira, Portugal.

Wesley Willis, 'Untitled (Imagined Building)', ca. 1982. ball point pen on photo copy, 28 x 23 cm. Courtesy Delmes & Zander.

George Widener, 'untitled', 2016. mixed media on paper, 55.5 x 36 cm. Courtesy Delmes & Zander.

Jesuys Crystiano, 'untitled', 2012. pencil on paper, 42 x 59 cm. Courtesy Delmes & Zander.

The Golden Ratio Laws - Works from the Treger/Saint Silvestre Collection at Oliva Creative Factory


--------------------------------

R. da Fundição, 3700-119 
São João da Madeira, Portugal

29th April 2017 - 1st October 2017

Curated by Antonia Gaeta

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"In the Codex Atlanticus, the largest set of drawings and manuscripts by Leonardo Da Vinci, 1119 sheets that comprise the author’s intellectual production between 1478 and 1519, one can find several allusions to the secret arts, the occult sciences and, more specifically, the golden number.

This irrational number, also known as golden proportion, golden ratio, golden section, extreme reason, Phidias constant, harmony of the spheres and divine proportion, seems to be the measure of perfection, of grace, of harmony, and it is considered the most perfect of forms. Of the myriad of artistic fields you can cross in the Treger/Saint Silvestre Collection, among those occupied by mystics, psychics, self-proclaimed metaphysicians who tried to use art as a tool to access seemingly hidden realms, we cut out the aspect of the eccentrics, the makers and the visionaries, in an effort to reveal, through a parallel with the almost magical properties of gold, artists whose work pursued the perfection of the most sublime architectonic achievements.

In the categorization and choice of works and architectural typology, we tried to showcase the intelligible diversity of drawings, either monologues, contemplations or solitary reasoning, with the purpose of making the understanding of the relation between natural and entropic components, beauty canons, diversity and organization more fluid. Ideal projects, architectures on paper, works that describe mental images and delusions associated with the desire to achieve ideal and perfect worlds, the dreamed home or city, in order to recreate a space or a form where they feel truly welcome.

In the exhibition, the visionary is an ideal; the impracticable a utopian perfection, a mental image dissociated from the physical nature of the real world, the occasion to rebuild the world as each artist believes it should be or, in any case, an invitation to discover and build their own narrative." (...)


Exhibiting Artists Include:
A. ARUMUGAM
A. C. M
ADOLF WÖLFLI
ALEXANDRO GARCIA
BEVERLY BAKER
CARLO FRANCO STELLA
CARTER TODD
DAMIAN VALDES DILLA
DANIEL GONCALVES
DWIGHT MACKINTOSH
EUGENE VON BRUENCHENHEIN
GASTON MOULY
GEORGE WIDENER
GIANNI ANTONELLI
HASSAN
JAIME
JESUYS CRYSTIANO
JOHN DEVLIN
JOSE TEOFILO RESENDE
JOSEF HOFER
KOSTIA BOTKINE
LEONARD FINK
LEOPOLD STROBL
MADGE GILL
MAMADOU CISSE
MARTIN RAMIREZ
MICHAEL HALL
OGNJEN JEREMIC
PIERRE PETIT ET RAYMONDE
PROPHET ROYAL ROBERTSON
ROY WENZEL
SCOTTIE WILSON
SEBASTIAN FERREIRA
TADASHI MORIYAMA
TITOV
VASILIJ ROMANENKOV
WELMON SHARLHORNE
WESLEY WILLIS
ZBNEK SEMERAK
ZORAN TANASIC

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Find out more about Oliva Creative Factory on their website and Facebook.

Sunday, 30 April 2017

Installation Views /// JESUYS CRYSTIANO at Delmes & Zander - Berlin



Installation Views: "JESUYS CRYSTIANO" at Delmes & Zander, Berlin 
Courtesy Delmes & Zander



Installation Views /// JESUYS CRYSTIANO at Delmes & Zander - Berlin
Delmes & Zander present works by Brazilian artist, Jesuys Crystiano, for the first time in Berlin. The solo exhibition opened on April 28th, the first day of Gallery Weekend Berlin 2017. It continues until June 10th.

Not much is known of Crystiano's background. In 2010, a German hotel owner came across his wall drawings in abandoned buildings in the city of Ilheus, Brazil. He took Crystiano in, encouraging and documenting his artistic output until the time of his death in 2015.

In this period, Crystiano produced a multitude of work, including charcoal and pencil drawings in various sizes, objects, collages and notebooks. In his work, Crystiano constructs a surreal world, inhabited by recurring figures - airplanes, fish, elephants, upside down objects and buildings, and uprooted tree trunks, to name a few.

The exhibition has been featured on TIP Berlin as a recommended event.

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JESUYS CRYSTIANO

April 28th - June 10th, 2017

Delmes & Zander 
Rosa-Luxembourg-Str. 37
10178, Berlin

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Find out more about Delmes & Zander here.
www.galerie-zander.de/

Saturday, 29 April 2017

New Publication /// "Astral Bodies"


HORST ADEMEIT, 'Untitled', 1995. inscribed polaroid, 11 x 9 cm. Courtesy Delmes & Zander
TYPE 42, 'Florence La Rue', 1960s-70s. mixed media on polaroid, 8.3 x 10.8cm. Courtesy Delmes & Zander. 
Astral Bodies, Tannert, C (ed) 2017, Künstlerhaus Bethanien, Berlin. Courtesy Delmes & Zander.
New Publication /// Astral Bodies

Astral Bodies is the latest publication from Berlin-based Künstlerhaus Bethanien.

Featured artists include:
HORST ADEMEIT
TYPE 42 (ANONYMOUS)
KENNETH ANGER
DIRK BELL
LUCAS FOLETTO CELINSKI
SUSAN HILLER
CHRISTIAN JANKOWSKI
ALICJA KWADE
& many more

The catalogue also presents writings by Arielle Bier, Dr. Susan Greenwood, Dr. Thomas Macho, Bert Papenfuß and Shubigi Rao.

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Find out more about Astral Bodies here