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

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.

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

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.

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

Find out more about Astral Bodies here

Thursday, 27 April 2017

New Publication /// "Trucks" - Wesley Willis Zine

Willis, W 2016, Trucks, Nieves, Zurich & Rollo Press, Zurich. Courtesy Delmes & Zander

New Publication /// Trucks - Wesley Willis Zine

Trucks is the latest Wesley Willis zine from Nieves & Rollo Press. The publication focuses on Willis' detailed depictions of trucks and trailers, a recurring image in his work. The zine marks the third Wesley Willis publication from Nieves, an independent publishing house based in Zurich. Previously, they released 2001 and North Lake Shore Drive. Trucks is the first Wesley Willis zine to be co-published with Rollo Press, also based in Zurich.


"For two decades until his death in 2003, keyboard rock star Wesley Willis (*1963) rendered Chicago’s Dan Ryan Expressway and geometric skyline with ballpoint pen and felt-tip-marker lines. Known primarily to an alternative public for the uniquely singular sounds from his Technics KN 2000 and surreal texts which explored the themes of daily life such as fast food, bus lines, cultural trends or violent confrontations with super heroes, Wesley Willis's drawings testify to the years he spent sitting in on drawing classes at the Illinois Institute of Technology, manifest in drafting techniques Willis never abandoned but, to singular effect, refused to master. A series of small untitled drawings in blue ink from the early 80s depict big rigs, tractor trailers, rolling stock, and transit-authority buses in side and isometric views. His sketches, often in color, explore almost obsessively the congested freeway which connects Chicago’s South Side with the city’s downtown – a metaphor for his wish to bridge the two worlds." (...)

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

Find out more about Trucks on Nieves' website, where you can also look through the publication.

Delmes & Zander at GALLERY WEEKEND BERLIN 2017

JESUYS CRYSTIANO, untitled, pencil on paper, 01/2012,Courtesy Delmes & Zander

Delmes & Zander at the Gallery Weekend Berlin 

JESUYS CRYSTIANO
28.04. - 10.06.2017

On the occasion of this year's Gallery Weekend Berlin, Delmes & Zander presents works by Brasilian artists Jesuys Crystiano. The entire Crystiano-estate has been with the gallery since 2016 and will be shown in Berlin for the first time.

There is much uncertainty surrounding the biography of the artist Jesuys Crystiano. Even the year of his birth was arbitrarily established by the court as 1950. It is likely that Crystiano grew up in Buerarema in the state of Bahia / Brazil and that he went to school there. He probably spent his youth in Rio de Janeiro. 
His life and work are only documented after 2010, at which time he was living on the streets of Ilheus (Bahia) and taken care of by neighbors. How Crystiano ended up here till remains unclear. It was then that a German hotel owner who lived in the area first caught sight of his monumental wall drawings in abandoned buildings. From then on he continuously supported and documented Crystiano's artistic output and took him in until Crystiano's death in 2015.

Hundreds of coals and pencil drawings, some of them in large format, collages, objects and notebooks were produced during this period. In his drawings he invents surreal worlds which he puts on paper with an secure and dynamic trace. Airplanes, crowned vultures, fish, umbrellas, upside-down chairs and tables, as well as uprooted tree trunks are the recurring subjects of his drawings.
 
Opening hours during the Gallery Weekend:

Fri, 28.4 from 6-9 pm
Sat & Sun, 29.4 & 30.4 from 11-7pm

Friday, 21 April 2017

INDEPENDENT BRUSSELS 2017 /// REVIEW by Valentina Pop on Wall Street Journal

WESLEY WILLIS, THE DAN RYAN EXPRESSWAY 33RD ST.  (night view), 1986, ballpoint pen on paper, Courtesy Delmes & Zander

Ceci N’Est Pas Un Art Fair: Independent Brussels Shakes Up Gallery Scene

"An unlikely panel in Brussels finds International Monetary Fund chief Christine Lagarde next to disgraced junk-bond king Michael Milken – and not far from Dick Fuld, the last boss of Lehman Brothers before it went bankrupt.

Welcome to the contemporary art installation dubbed “Voodoo Justice for People of Finance” at Independent Brussels, the upstart art fair that has collectors from across the world flying in to Europe’s capital this weekend. Representing galleries from 15 countries and 32 cities, the fair has gained notoriety among top collectors and is rapidly taking on larger, established counterparts such as Art Brussels, which is celebrating its 35th anniversary.

If you’re expecting Frieze or Art Basel, Independent Brussels will surprise you. The European edition of the New York fair co-founded by gallerist Elizabeth Dee is in its second year, and touts a different philosophy: quality over quantity.

Home to surrealist painter René Magritte, Belgium has a history of welcoming rebels, and nurturing what is out of the ordinary. Independent Brussels is indeed a rebel in its field: Galleries can only participate by private invitation, in contrast to other fairs where applications are open. In the world of contemporary art, where the collector or viewer can be overwhelmed, Ms. Dee’s approach produces a curated selection of newcomers alongside established galleries.

To give you an idea, Independent Brussels features just 72 art houses – from Lisbon to New York, Berlin, Paris and other cultural hubs. Art Brussels is hosting nearly double that, and London’s Frieze, one of the world’s largest contemporary art fairs, will feature more than 160 galleries in October.

“It started out not intending to be an art fair exactly, but as a consensus of galleries collaborating on a new type of collective exhibition – in reaction to the limitations they struggled with at traditional art fairs,” said Olivier Pesret and Alix Dana, co-directors of the show in Brussels and New York.

Independent Brussels sheds many characteristics of traditional art fairs: there are no aisles, nor booth numbers. It’s not in a warehouse or temporary structure. Instead, the art sprawls throughout a former 1930s department store not far from the city’s medieval square. And while most fairs print off expensive invites for attending VIPs, Independent Brussels is entirely digital, part of its ecofriendly mantra. (...)"

Read here the complete article
www.wsj.com

Wednesday, 12 April 2017

Delmes & Zander I Cologne presents KARL HANS JANKE

KARL HANS JANKE, Spielen Sonnen-Systeme Handball und Fußball?, mixed media on paper, 1959, Courtesy Delmes & Zander

 
 Delmes & Zander I Cologne presents

Karl Hans Janke

April 26 – June 17, 2017
Opening: Thursday, 26.04., 6–9 pm

By the time Karl Hans Janke died in 1988, he had produced hundreds of drawings and models of countless technical inventions, including highly detailed sketches of his visions of intergalactic travel and fantastic flying machines. In his own words, his inventions and ideas, which he had worked on continuously since 1948, were created ultimately "for the benefit of humanity and aimed toward propagating peace.” With his invention of the "German atom" and "space electricity" he was convinced that all of mankind's energy problems could be solved. In addition, Janke developed his own cosmology of the genesis of the earth, of life and of space , illustrated by his many drawings and described in-depth at lectures.

Karl Hans Janke made his designs in the seclusion of the Hubertusburg Psychiatric Hospital near Leipzig in the former German Democratic Republic, where he remained 39 years until his death. The hospital staff recognised the passion of the technically talented Janke for drawing and provided him with an office of his own. From here he drew and tinkered, gave lectures and corresponded with companies and public institutions. Janke saw himself as an inventor, an engineer, an artist and an original genius.
Karl Hans Janke was born in 1909 in the city of Kolberg in German Pomerania, where he grew up an only child into a middle-class family. After graduating from high school Janke enrolled at the University of Greifswald in 1932, where he began to study dentistry. He would eventually abandon his studies. In May 1940 he was drafted into the German army but was hospitalized after a series of breakdowns, and in 1943 he was finally discharged from military service on medical grounds.

Karl Hans Janke's works were to be rediscovered only in 2000, long after the iron curtain had come down. The imaginative legacy and originality of his visionary designs were finally recognized and acknowledged after his death. Karl Hans Janke was included in the 2003 Göteborg Biennial by artist Carsten Nicolai. 2013 he was shown at the Hayward Gallery in London. His works were last exhibited in 2014 in “Planning the Future”, the inaugural show at Delmes & Zander I Berlin.


Tuesday, 11 April 2017

Delmes & Zander at INDEPENDENT, BRUSSELS 2017

WESLEY WILLIS, CITY OF MANY DREAMS, 1991, mixed media on cardboard, 74 x 104cm, Courtesy Delmes & Zander

WESLEY WILLIS
ROCK'N'ROLL SUPERHIGHWAY

at Independent Brussels, April 19-23, 2017

At this year's edition of Independent Brussels, Delmes & Zander will present selected works by Wesley Willis (1963-2003) from the mid-80s in an exhibition entitled Rock'N'Roll Superhighway after Willis' song of the same name. The show's underlying theme of music was also at the heart of Disko Girls (Anonymous), the gallery's presentation at Independent New York earlier in the year.

For the two decades prior to his death, American artist and cult rock-star icon Wesley Willis rendered Chicago's Dan Ryan Expressway and geometric skyline with lines drawn in ballpoint pen and felt-tip marker. Willis was a distinct presence within the Chicago music scene; well known to an alternative public for the energetic melodies from his Technics keyboard and his surreal lyrics that explore themes of his daily life, such as fast-food, bus lines, cultural trends and violent confrontations with super heroes. Amongst his biggest fans and advocates are Jello Biafra of the Dead Kennedys, Die Goldene Zitronen, Urge Overkill and Foo Fighters, for many of which he also played as an opener. His music and drawings go hand-in-hand. They are intertwined and inseparable: "music is the willpower to my artwork", he sings in DJ Quik.

Willis' distinctive and complex works utilise drafting techniques learnt during his years sitting in on drawing classes at the Illinois Institute of Technology. With cars and buses in side and isometric views, his often soft coloured drawings explore the congested Freeway that connects Chicago's South Side with the city's Downtown. Artist Johannes Wohnseifer once wrote of Wesley Willis: "I would like to see Willis' work on paper in an exhibition with drawings by David Hockney, Ellsworth Kelly, Ed Ruscha and H.C. Westermann. It would be obvious to all that his works are on par with theirs".

Willis died at age 40 in Skokie, Illinois.

Delmes & Zander first showed Willis' work in Germany in 2013 and has presented works by the artist ever since. The exhibition Rock'N'Roll Superhighway at Independent Brussels will be accompanied by a new publication on Willis by Benjamin Sommerhalder's Zurich-based publishing house, Nieves.

www.independenthq.com

Friday, 24 March 2017

"The Wesley Willis Experience" A Documentary by Darren Leis & Matt Marshall



"The Wesley Willis Experience" -
A Documentary by Darren Leis & Matt Marshall

"This documentary was shot over a few year period in the late 1990's and completed in 2001. Darren Leis and Matt Marshall toured around California and the Northwest with Wesley and some fellow musicians. This documentary short was made as a teaser to what would be a full length documentary. That larger project was shelved and unfortunately Wesley Willis died in 2003. There are many other projects out there that honor Wesley as this one does. If it interested you, I encourage you to seek out and enjoy more of the world of Welsey Willis. (...)"

Shot, Produced & Directed by Darren Leis and Matt Marshall (C) 2001 Six-Count Productions and Leiso Productions
https://www.youtube.com/watch?v=pkurUF1nuq0

Friday, 3 March 2017

REVIEW Brian Boucher for ARTNET about our DISKO GIRLS (ANONYMOUS)

DISKO GIRLS (ANONYMOUS), untitled, crayon on paper, 1970s, Courtesy Delmes & Zander, Cologne + Berlin

"In a Charged Moment, the Independent Art Fair Keeps It Cool"

Brian Boucher about the Independent Art Fair and our DISKO GIRLS (ANONYMOUS) on ARTNET

(...) “We saved this work to show it here, even though the seller brought it to us last year,” Susanne Zander told me, saying that the fair’s brainy audience is the perfect fit for these sexy, colorful drawings by an anonymous artist known only as Disko Girls. Their discoverer came upon them in an attic in the ’90s in Germany and held onto them until now. Priced at $1,260 each, the drawings typically focus on one or two female figures, often nude, in poses that suggest magazine spreads, sometimes tending to fashion, sometimes to the more prurient variety. The drawings offer at once the shock that so much Outsider art contains—of a previously inaccessible worldview—and another instance of the discoveries that Independent is known for."
Read the complete article here.

https://news.artnet.com/
http://independenthq.com/2017/

Thursday, 2 March 2017

Sneak Peak - Delmes & Zander at INDEPENDENT NY 2017


DISKO GIRLS (ANONYMOUS), untitled, 1970s, crayon on paper, Installation at INDEPENDENT NY 2017, Courtesy Delmes & Zander

Sneak Peak - Delmes & Zander featuring Disko Girls (Anonymous)
at INDEPENDENT, NY 2017
March 2-5, 2017

We look forward to your visit!
http://independenthq.com/2017/

Friday, 24 February 2017

DIETRICH ORTH featured in "Monday Is A Day Between Sunday and Tuesday" at Tanya Leighton, Berlin

DIETRICH ORTH, Vierermännchen, 1986, oil and mixed media on canvas, 165 x 167cm, Courtesy Delmes & Zander


"MONDAY IS A DAY BETWEEN SUNDAY AND TUESDAY"

Curated by Lisa Offermann
25 FEBRUARY - 15 APRIL 2017

also feat.
TAMINA AMADYAR, MAGNUS ANDERSEN, MONIKA BAER, BRADLEY DAVIES, ANDERS DICKSON, ELIZA DOUGLAS,
GEORGIA GARDNER GRAY, MICHAELA EICHWALD, MARLEY FREEMAN, STEFANIE HEINZE, UWE HENNEKEN, MELIKE KARA,
CHRISTINE KRIEGEROWSKI, FRIEDRICH KUNATH, CLAUDIA LEMKE, JONAS LIPPS, BIRGIT MEGERLE, OLIVER OSBORNE, CHRISTOPH RUCKHÄBERLE, MARK VAN YETTER, ANNA ZACHAROFF
 
"The show's title - a wry definition of the first day of the week - points to our impulse to name things, to classify them and to devise systems for understanding them. In art, naming and delineating have been stalwart accessories in writing the canon of art history. Art's multifarious periods, movements and schools of thought have probably always felt inadequate. This inadequacy is particularly apparent today, yet these categories seem to be unshakeable. Similar to the way that two dots and a line always seem to draw a face, it is without thinking that we ask things to coalesce into groups that we can arrange in relationship to one another." (...)

www.tanyaleighton.com
 

Tuesday, 21 February 2017

Delmes & Zander at INDEPENDENT NY, 2017

DISKO GIRLS (Anonymous), untitled, 1970s-80s, crayon on paper, Courtesy Delmes & Zander

Delmes & Zander presents
DISKO GIRLS (Anonymous)
at INDEPENDENT, NY 2-5 March 2017
 

At this year's edition of the Independent New York, Delmes & Zander will present Disko Girls, an anonymous portfolio comprising 50 erotic drawings, all of which completed on DIN A4 format sheets of paper (8,3 x 11,7 in) with crayon and pencil. Despite thorough research it has not been possible to identify the artist behind these drawings, found in Germany in the late 1990's. It is assumed that the portfolio represents only a mere fraction of a complete oeuvre dedicated to a self-same theme pursued over a longer period of time. The name Disko Girls has been attributed to the work out of respect for the unnamed and unknown author. Delmes & Zander will show these works in the unquestionable belief that the intrinsic artistic process, the unique quality and the distinctive signature of the works clearly define and validate them in their artistic value.

The work can be dated back to the 1970s/ 1980s and clearly resorts to both the aesthetics and the iconography of a pop cultural language rooted in its time. Music plays a crucial role as does the aura of the female pop star with her microphone as seen on television (the most popular German music television series was the ZDF-Hitparade depicted in the drawings) or in a magazine, or the pop fan illustrated in her bedroom, listening to her favorite songs on her tape recorder or flicking through her vinyl record collection, by the imagination of her creator. In a curious psychedelic visual realm fuelled by naive fandom and populated by sexy girls, the pastel worlds of Disko Girls (Anonymous) epitomize desire, glamour and candy-colored fantasies at times reminiscent of the work of Aurie Ramirez. Disko Girls (Anonymous)has recently been included into the gallery’s program and will be introduced for the very first time to the public here at the Independent in New York.

Delmes & Zander will show at the Independent Brussels in April (19.-23.) featuring works by keyboard rock star icon Wesley Willis in an exhibition entitled Rock'N'Roll Superhighway picking up once again on the theme of music at the heart of Disko Girls (Anonymous) the gallery's presentation at the Independent New York earlier in the year.

We look forward to your visit on 5th Floor!
www.independenthq.com

Tuesday, 14 February 2017

"HIPKISS: YES, BUT NO." Opening on Friday! Delmes & Zander I Berlin

HIPKISS, Yes But No But, 2014, mixed media on paper, 59 x 118cm

Delmes & Zander I Berlin presents

Hipkiss:Yes, but No.

February 17 – April 15, 2017
Opening: Friday, 17.2., 6–9 pm

In the exhibition Hipkiss: Yes, but No. Delmes and Zander is showing for the first time at the Berlin space a selection of works by the British artist duo Hipkiss including five pieces from their most recent series, “The Towers.”

Initiated in early 2015, „The Towers” is a series of graphite drawings on long sheets of paper (approx. 40 x 225 cm) in which the look of the Hipkiss-landscape is taken yet another step further by way of newly explored dynamic processes in creation. The drawings reveal a more abstract yet concentrated visual language in which details are distilled without the distraction of a more complicated, continuous backdrop. By organically working their way from the axis within the circular limits, the magically vertiginous effect of the drawings is accentuated. As is emblematic of Hipkiss, the works feature human-made structures placed against - or within - natural landscapes, intricately intertwined and almost hybrid, whilst at the same time curiously out of place. “The Towers”-landscapes work at both close range and from a distance, individually and collectively as a whole.
They have become Hipkiss' primary ongoing project since and mark a more mature phase in their artistic development, where the alter egos used by Hipkiss in the past have naturally shifted from the glammed-up, youthful figures to more abstract and natural forms.

Hipkiss have also pointed to the overt political meaning of their most recent work: “Reflecting a year - 2016 - in which it could be said that masculine forces have enjoyed a resurgence of power in the Western world, the many feminine symbols to be found in the drawings coalesce, in our minds, to combat the attempted coup; it is a paean to solidarity and righteous rage.”

Alongside “The Towers”, the exhibition will show a selection of smaller works on paper and the seminal “L.I.E.” - series (an acronym for "London In Europe") in which Hipkiss dissect the ambiguity of the British identity within Europe – a prophetical series in view of recent developments in the U.K. and the Brexit debate.

Hipkiss are Chris and Alpha Mason (both *1964). They have steadily worked as equal partners on inventing and reinventing their symbolic language together since 1983, with each of their strands of creativity – Alpha in writing and Chris in drawing – culminating in a singular and distinctive visual style. The landscapes they envision abound in intricate details and equivocal organic forms which, in the artists' words, unfold as if by happenstance in a collaborative creative process continuously shaped by an ongoing exchange of ideas and techniques. Wordplay is also recurrent in the work of Hipkiss and an essential formal element in their narrative mode. For many years, Hipkiss have refined their use and understanding of graphite (and graphite over silver ink) on paper as their primary media, but have occasionally also included other materials - such as the metal leaf and tape seen in “The Towers”. The result is an impressive oeuvre that is both meaningful and strikingly beautiful.

The work of Hipkiss can be found in the following collections: the John Michael Kohler Arts Center (US-WI), Museum Boijmans Van Beuningen (Netherlands), The Whitworth (UK), FRAC Picardie (France), the American Folk Art Museum (US-NY); and in the private collections of Cindy Sherman, Antoine de Galbert and Arnulf Rainer. Hipkiss has featured in solo shows at Intuit, John Michael Kohler Arts Center, group shows at the Tate Britain, Whitechapel, the Irish Museum of Modern Art, La Maison Rouge, The Aldrich Museum of Contemporary Art and David Zwirner, and international art fairs, including Art Basel, Frieze London, Art Forum Berlin and Open Space (solo booth) at Art Cologne.

www.delmes-zander.de

Friday, 3 February 2017

"The Road Less Traveled" exhibition series at John Michael Kohler Art Center

EUGENE VON BRUENCHENHEIN, untitled, 1940-50s, Vintage Gelatin Silver Print,
25 x 16cm, Courtesy Delmes & Zander

The Road Less Traveled
- John Michael Kohler Arts Center begins yearlong
interdisciplinary exploration of artist-built environments

Opening Night on Sat, Feb. 25, 2017 / 7:00-10:00 pm.

including works by
Emery Blagdon, Loy Bowlin, Nek Chand, Eddie Owens Martin, Eugene Von Bruenchenhein, and many others.

In celebration of its 50th anniversary, the John Michael Kohler Arts Center presents The Road Less Traveled, a yearlong series of 15 exhibitions exploring the multifaceted and unique field of artist-built environments. This series draws deeply from the Arts Center's world-renowned collection, offering the opportunity to experience the work of art-environment builders including Emery Blagdon, Loy Bowlin, Nek Chand, Eddie Owens Martin, Eugene Von Bruenchenhein, and many others.

In addition, THE ROAD LESS TRAVELED incorporates new writing and works of art produced by scholars, curators, musicians, and theorists from wide-ranging disciplines in response to art environments. Through connecting its collection with internationally respected thinkers, the Arts Center aims to expand the conversation surrounding this compelling art form.

www.jmkac.org

Wednesday, 1 February 2017

DAMN°s imm Cologne Guide featuring "ONE/OTHER"


PAUL HUMPHREY, Andrea Lee Asleep, undated, mixed media on paper, 28 x 21,5 cm, Courtesy Delmes & Zander
DAMN° imm Cologne Guide 2017, p.52.

Our current exhibition "ONE/OTHER Self-portraits and Portraits" is featured in DAMN magazine's Cologne city guide 2017. Only one more week left, so don't miss it!

"ONE/OTHER - Self-Portraits and Portraits"
through Feb 4, 2017

feat. Morton Bartlett, Miroslav Tichy, Alexander Lobanov, Eugene von Bruenchenhein, Margret - Chronic einer Affäre, Type 42, Paul Humphrey and many more

Delmes & Zander | Cologne - Antwerpener Str.1, 50670 Cologne
Delmes & Zander | Berlin - Rosa-Luxemburg-Str. 37, 10178 Berlin
 

Friday, 27 January 2017

Do Outsider Artists Really Exist?

MICHAIL PAULE, untitled, 1930-37, 35 x 26,5cm, Courtesy Delmes & Zander

Do Outsider Artists Really Exist?

Anthony Haden-Guest about Outsider Art
on artnet news at January 22, 2016

"Days before the Outsider Art Fair opened in New York, artist Joe Coleman was on a panel at NeueHouse, a venue on East 25th which describes itself alarmingly as a “machine for creating.” The supposed theme was Killing Time: The Chronology of Creativity, which sounded enticing, but Coleman, black-bearded and glittery-waist-coated, was in tip-top form, so the discussion—like the screen behind the panelists and the questions from the audience in front of them—focused soon enough on Outsider art.

This is a classification which Coleman went on to denounce as condescending. “I love Henry Darger and Adolf Wofli,” he told the audience. “They are great artists. They aren’t Outsider artists. There’s only good art and bad art.”

Nobody took him up on this. I admire Joe Coleman’s work enormously so I’ll engage with the thorny topic here and now.

There’s a famous story that illuminates the relationship between the Modernists and Outsider artists and it comes from the very beginnings of Modernism. Picasso reportedly bought a canvas by Henri Rousseau in a Paris flea market possibly as early as 1900. In 1908 he threw a banquet for Rousseau which has been described in sometimes hilarious detail. The coats were flung into Juan Gris’s studio, Gertrude Stein and Alice Toklas were around, there was prodigious drinking; apparently Marie Laurencin got so naughty that Guillaume Apollinaire had to send her home.

It’s clear that Picasso and the young Modernists thought the retired toll-taker was somewhat a holy fool, and, yes, they were condescending, but it’s also clear that they hugely admired his work for its authenticity, its visual inventiveness. And that, as with the African masks they were also looking at, had raw energy, just the energy they needed for their project of dynamiting the salon. (The Picasso banquet was a huge boost to Rousseau’s career as well.)

Outsider art still has that special energy. You could see it, an unmistakeable difference, in the images onscreen at the NeueHouse. Artists like Darger, Wofli and yes, Coleman are different from mainstreamers, but not just because they are schizophrenics (as was Wofli) or have bizarre drives (as most certainly did Darger). Outsider artists are not ‘outside’ just in the sense of being untaught, or disadvantaged, but because they and their work operate outside the Great Game of the art world. And, most important, unlike almost all professional artists, who turn out a fair amount of product—yes, I do include you, Picasso—they mean every thing they do, every single piece they make.

Which is precisely why Outsider art is a focus of such interest right now, a time when a whole new cast of slick derivative tricksters is dominating the artscape. Yes, folks, there’s a whole new Salon out there. That is why prices of the great Outsiders are skyrocketing, and it is why Coleman is perfectly correct in his belief that they belong with the other greats. And they will, in time, join them. Which is also, by the way, why we are seeing a surge of faux, unfelt Outsiderism into the marketplace. But that is an old, old, always depressing story. (...)

Read more on artnet
news.artnet.com

Known/Unknown at MUSEUM OF SEX, NY





exhibition views "Known/Unknown" at Museum of Sex, New York, 2017 photocredits Lissa Rivera

"KNOWN/UNKNOWN"
Private Obsession and Hidden Desire in Outsider Art
at the Museum of Sex New York

January 19, 2017 – September 16, 2017

featuring works by
Morton Bartlett, Eugene von Bruenchenhein, Henry Darger, Thornton Dial, Aurie Ramirez, Miroslav Tichý, Edwin Lawson, Johann Korec, Johann Garber, Royal Robertson and many more

read more here:
www.museumofsex.com
 

Friday, 20 January 2017

JESUIS CRYSTIANO at Warhus Ritterhaus, Cologne

JESUIS CRYSTIANO, untitled, pencil on paper, 2012, Courtesy Delmes & Zander

We highly recommend the exhibition "Untitled #3"
at Warhus Rittershaus featuring Bill Adams, Claus Böhmler, Jesuis Crystiano and Joe Neave

Untitled #3
January 21 – March 4, 2017
Opening Friday, January 20, 2017, 6-9pm
Warhus Rittershaus, Cologne

"As of today, no one has ever claimed that the death of drawing was here. The drawing has long enjoyed an excellent reputation. In the opinion of some, it was not born as a hardliner of art history, but certainly since the times of Leonardo da Vinci, if not before, it has been highly esteemed and may do almost anything it pleases. Imagine, if you will, a revival of the disegno colore debate: today, drawing would be the clear winner of such a contest, more than ever. Drawing is highly popular. It fulfills needs because it is direct, genuine and 'true'. Drawing is the most liberal and free of all genres, even if it has only been considered as a seperate entity in the theory of art since the modern age.

In the Renaissance it was considered the origin, the source, the mother and the father of painting, sculpture and architecture. Not for nothing were these three titans of artistic genres called the "arti del disegno" ("the arts of drawing"). Right up until the advent of the modern period, the drawing served as the base of the 'actual' work of art, and hovered in the atmosphere of the practical result as it's "transcendental principle" [Friedrich Teja Bach, Wolfram Pichler (eds.), Öffnungen. Zur Theorie und Geschichte der Zeichnung, Munich 2009, p.16.]. It was only in the modern age that the drawing became established as an unconditional and self-sufficient purpose in itself. Drawing therefore was and is always present, it is exempt from the progress of time and not subject to fashions. It is always justified, does not have to assert itself and does not constantly reinvent itself. It's initial rawness makes it even more seductive, in line with sentimental desires. Only paper and pen are necesseary to the genius, the talented hand can show it's virtuosity in a streak on the white. It is in this romaticised form in which drawing is usually consumed by the viewer: as the genius, magical trace through which we feel close to the draftsman, as if he had just 'finished'.

However, the real achievement of drawing is the mark of the figure of thought as the actualized idea! With infantile ease, drawing can formulate any kind of criticism, theory, humor, hypocrisy, and absurdity so clearly, all without necessarily making a commitment or even actually submitting to form. With radical frankness, drawing speaks a direct language, which constructs nonchalantly invented, reinterpreted, and paraphrased worlds. The drawing communicates virtually without any restraint, as if the drawn interpretation of what is seen and / or imagined were completely self-evident. It is therefore hardly surprising that drawing has always played such a fundamental role in times of artistic departure, such as can be seen in the examples of Paul Klee, Lee Lozano or Robert Crumb. Or to express it in the words of Vincent Van Gogh: "What does drawing mean? How does one start? It is nothing more than to pave the way through an invisible steel wall." [Antonin Artaud, quoted from a letter from Vincent Van Gogh in: Antonin Artaud, Śuvres complčtes, Vol. 30, p. 40, quoted from: Jaques Derrida, Aufzeichnungen eines Blinden, Munich 2008, p. 49 (Notes)]
With this in mind, we are looking forward to the latest results of perforated steel walls by Bill Adams, Claus Böhmler, Jesuis Crystiano and Joe Neave.(...)"

Text Inci Yilmaz
www.warhusrittershaus.com

Thursday, 19 January 2017

TODAY Book Launch "Revolt of Savage" BlainISouthern, London

HORST ADEMEIT, untitled, 15.11.1995, inscribed polaroid, Copyright Delmes & Zander

Book launch of the exhibition catalogue "Revolt of the Sage"
Edited by Simon Moretti and Craig Burnett
at Blain|Southern London

Thursday 19 January 2017
6.30-8.30pm, Readings from 7pm

REVOLT OF THE SAGE
Edited by Simon Moretti and Craig Burnett, the publication of Revolt of the Sage acts as an extension of the exhibition, featuring a compendium of texts and artworks that serve to expand the show’s themes of time, ruptures in history, and Giorgio de Chirico’s ‘Metaphysical aesthetics’.

Reproductions of pictures by historical artists Alfred Böcklin and Nicolas Poussin complement the artists in Revolt of the Sage, with images of work both from the show and exclusively in the book, extending the exhibition into the space of the publication. Poems and texts by Guillaume Apollinaire, John Ashbery, William Blake, Adolfo Bioy Casares, Giorgio de Chirico, Lydia Davis, Emily Dickinson, John Donne, A.W. Moore, Carol Rumens, Wallace Stevens and Alfred, Lord Tennyson contribute to the conversation about, in de Chirico’s words, ‘the great curve of eternity’.

The book also features a newly commissioned text on de Chirico’s painting The Revolt of the Sage (1916) by art historian Ara H. Merjian, as well as a lively, wide-ranging dialogue between Merjian and philosopher Jesse Prinz on de Chirico’s relevance to contemporary artists.
 
 

Wednesday, 18 January 2017

Delmes & Zander at INDEPENDENT, Brussels 2017

WESLEY WILLIS, UNION PACIFIC RAIL ACTION, mixed media on paper, 1985, Courtesy Delmes & Zander

We are delighted to participate at the second edition of
INDEPENDENT BRUSSELS during April 19-23, 2017!

Check out the full list of participants:

1857, Oslo
Galerie 1900 – 2000, Paris*
A Palazzo Gallery, Brescia*
Air de Paris, Paris
Andréhn-Schiptjenko, Stockholm
Annex 14, Zurich*
The Approach, London
Michael Benevento, Los Angeles
Galerie Sébastien Bertrand, Geneva*
Brennan & Griffin, New York
CANADA, New York
Capitain Petzel, Berlin*
Carlier Gebauer, Berlin
Galería Marta Cervera, Madrid*
C L E A R I N G, New York/Brussels
Ellen de Bruijne, Projects Amsterdam
Erika Deák Gallery, Budapest*
Elizabeth Dee, New York
Delmes & Zander, Berlin
Dürst Britt & Mayhew, The Hague
EXILE, Berlin*
Galerie Christophe Gaillard, Paris
gb agency, Paris
Gladstone Gallery, New York/Brussels
Green Art Gallery, Dubai
Nina Johnson, Miami*
Jan Kaps, Cologne*
Wilfried Lentz, Rotterdam
Levy.Delval, Brussels*
Ludion, Antwerp
MAGNIN-A, Paris
Mary Mary, Glasgow
Martos Gallery, New York
Galerie Maubert, Paris*
Mendes Wood DM, São Paulo/Brussels*
Meyohas, New York*
Jan Mot, Brussels
Mulier Mulier Gallery, Knokk-Heist
Múrias Centeno, Porto / Lisbon
Neue Alte Brücke, Frankfurt
Off Vendome, New York
Office Baroque, Brussels
Galerie Pact, Paris*
Maureen Paley, London
Galería Parra & Romero, Madrid/Ibiza*
Peres Projects, Berlin
Tatjana Pieters, Ghent*
Praz-Delavallade, Paris/Los Angeles
Projecte SD, Barcelona*
Aurel Scheibler, Berlin
Tommy Simoens, Antwerp
Sprüth Magers, Berlin/London/Los Angeles*
Galerie Gregor Staiger, Zurich
Stems Gallery, Brussels
Sultana, Paris*
Super Dakota, Brussels*
Temnikova & Kasela Gallery, Tallinn*
Travesía Cuatro, Madrid / Guadalajara
Tim Van Laere Gallery, Antwerp*
trampoline, Antwerp*
Truth and Consequences, Geneva
UntilThen, Paris*
White Columns, New York
Galerie Jocelyn Wolff, Paris
David Zwirner, New York / London

Independent
VANDERBORGHT BUILDING
Schildknaapstraat
50 Rue de l’Ecuyer,
1000 Brussels

www.independenthq.com

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