Tuesday, 17 April 2018

frieze picked The Night Climbers of Cambridge as a favorite to see during Art Cologne 2018

The Night Climbers of Cambrigde, Courtesy of Delmes & Zander

The Check out the frieze's guide to shows during Art Cologne 2018

"In 1937, an author working under the ludicrous mononym ‘Whipplesnaith’ published The Night Climbers of Cambridge with Chatto & Windus, a photobook documenting the nocturnal exploits of Cambridge university students. In a series of gritty, monochrome plates, a set of which will be on view at Delmes & Zander during Art Cologne, groups of young, white, probably wealthy (almost definitely drunk) men vault over buttresses, shimmy between drainpipes, stand proudly atop distant nave roofs. On the risk involved in such daring acts of institutional critique, dear ‘Whipplesnaith’ (real name, hilariously: Noël Howard Symington) was defiant: ‘If you slip, you will still have three seconds to live.’"

For more information click here:

Saturday, 14 April 2018

Check out the talk with Susanne Zander about the gallery's work

Susanne Zander at Universität zu Köln
The Video is now available on 
Prof. Oberste-Hetbleck's blog

During the event Susanne Zander and Prof. Oberste-Hetbleck discussed the work of galleries, the art market and the role and evolution of Delmes & Zander in particular.

For more information click here:

Thursday, 12 April 2018

Thomas Mailaender about THE NIGHT CLIMBERS OF CAMBRIDGE

The Night Climbers of Cambridge, Courtesy of Delmes & Zander

Check out the interview from 2013 

"There’s an element of danger in these photos, too. I think of life as a kind of playground and these photos really show that" 
Thomas Mailaender

Tuesday, 10 April 2018

NIGHT CLIMBERS OF CAMBRIDGE at Delmes & Zander


THE NIGHT CLIMBERS OF 
CAMBRIDGE
April 17 – May 31, 2018
Opening April 17, 6-9 pm

„If you slip, you will still have three seconds to live.“ 
Whipplesnaith

The book The Night Climbers of Cambridge was first published in England in 1937.

It is the collected documentation of the activities of a group of Cambridge students with a fondness for a death defying hobby: to secretly scale the century-old Gothic stone masonry of college and town buildings at night. In their obscure interaction with the surrounding architecture, these young men appropriate themselves of the urban landscape and turn King's College campus into their playground.

They capture their nocturnal activities in a remarkable photographic record. It is a documentation of fearless acrobatics, taken from vertiginous angles and illuminated by camera flashes – a testimony of death-defying dauntlessness. The stark contrast between light and shadow results in a breathtaking photographic style that is uniquely dramatic and reminiscent of old film noir thrillers.

The students published the book under the pseudonym 'Whipplesnaith'. Apart from the illustrated photographs, the book features a compendium of climbing routes across the rooftops of Cambridge. The Night Climbers of Cambridge reached cult status amongst climbing societies. It was reprinted in 2007.

The fascination for the night climbers, pioneers of urban exploration, continues unchanged to this very day. Vice Magazine titled a story published in 2013 about the climbers: „Amateur Cambridge Climbing Societies were punk before punk existed.“ They embody the anarchic spirit of punk before punk and instantly bring to mind the daredevil antics of urban climbing or parkour as seen on YouTube or comparable social media channels today.

The artist Thomas Mailaender discovered two sets of the original vintage photographs of the Cambridge climbers and released a comprehensive publication in collaboration with the Archive of Modern Conflict, London, in 2014. One of the two sets is in the possession of Delmes & Zander and will be now shown at the gallery for the first time.


Friday, 6 April 2018

Happy to exhibit along with these colleagues!



List of participants 
ART COLOGNE


Hall 11.2 Contemporary Art

#
1335 Mabini (Manila)

A
A+B (Brescia), Achenbach Hagemeier (Dusseldorf), Akinci (Amsterdam), Mikael Andersen (Copenhagen), Arcadia Missa (London), Artelier Contemporary (Graz), Piero Atchugarry (Pueblo Garzón)

B
Guido W. Baudach (Berlin), Berg Contemporary (Reykjavík), Bo Bjerggaard (Copenhagen), Blain | Southern (Berlin), Bolte Lang (Zurich), Isabella Bortolozzi (Berlin), Jean Brolly (Paris) Ben Brown (Hong Kong/London), Daniel Buchholz (Cologne, Berlin), Buchmann Galerie (Berlin)

C
Gisela Capitain (Cologne), Andrea Caratsch (St. Moritz), Charim (Vienna), Clearing (New York), Conrads (Dusseldorf), Cosar HMT (Dusseldorf)

D
Erika Deák (Budapest), Delmes & Zander (Cologne), Deweer (Otegem), Dittrich & Schlechtriem (Berlin)

E
Heinrich Ehrhardt (Madrid), Eigen + Art (Berlin, Leipzig), Thomas Erben (New York)

F
Fiebach, Minninger (Cologne), Filiale (Frankfurt), Konrad Fischer (Dusseldorf)

G
Gagosian (New York, London, Paris, Rome, Beverly Hills, Hong Kong), Gallery On the Move (Tirana), Gillmeier Rech (Berlin), Laurent Godin (Paris), Bärbel Grässlin (Frankfurt), Karsten Greve (Cologne, Paris, St. Moritz), Barbara Gross (Munich), Karin Guenther (Hamburg)

H
Haas (Zurich), Hammelehle und Ahrens (Cologne), Reinhard Hauff (Stuttgart), Hauser & Wirth (Zurich, London, New York, Los Angeles), Häusler Contemporary (Zurich), Jochen Hempel (Leipzig), Max Hetzler (Berlin)

J
Jahn und Jahn (Munich), Michael Janssen (Berlin)

K
Kadel Willborn (Dusseldorf), Mike Karstens (Münster), Kimmerich (Berlin), Kleindienst (Leipzig), Klemm's (Berlin), Helga Maria Klosterfelde (Berlin), Klüser (Munich), Sabine Knust (Munich), Christine König (Vienna), König (Berlin), Eleni Koroneou (Athens), Kraupa-Tuskany Zeidler (Berlin), Krobath (Vienna), Bernd Kugler (Innsbruck)

L
Lange + Pult (Zurich), Le Guern (Warsaw), Gebr. Lehmann (Dresden), Christian Lethert (Cologne), Lisson Gallery (London, New York), Löhrl (Mönchengladbach), Lullin + Ferrari (Zurich), Lumen Travo (Amsterdam)

M
Gio Marconi (Milan), Martinetz (Cologne), Daniel Marzona (Berlin), Hans Mayer (Dusseldorf), Max Mayer (Dusseldorf), Mirko Mayer (Cologne), Galleria Mazzoli (Modena), Mario Mazzoli (Berlin), Kamel Mennour (Paris), Vera Munro (Hamburg)

N
nächst St. Stephan (Vienna), Nagel Draxler (Cologne, Berlin), Nanzuka (Tokyo), Neon Parc (Melbourne), Neu (Berlin), Carolina Nitsch (New York), Nosbaum & Reding (Luxemburg)

P
Paragon (London), Pearl Lam (Hong Kong, Shanghai, Singapore), Priska Pasquer (Cologne), Giorgio Persano (Turin), Rupert Pfab (Dusseldorf), Jérôme Poggi (Paris), Berthold Pott (Cologne), Produzentengalerie (Hamburg), Project Native Informant (London

R
Thomas Rehbein (Cologne), Petra Rinck (Dusseldorf), Thaddaeus Ropac (Salzburg, Paris), Philipp von Rosen (Cologne), Nicolaus Ruzicska (Salzburg)

S
Deborah Schamoni (Munich), Brigitte Schenk (Cologne), Esther Schipper (Berlin), Anke Schmidt (Cologne), Schönewald (Dusseldorf), Rüdiger Schöttle (Munich), Sies + Höke (Dusseldorf), Slewe (Amsterdam), Filomena Soares (Lisbon), Sommer Contemporary (Tel Aviv), Sprüth Magers (Berlin, London, Los Angeles), Edition Staeck (Heidelberg), Paul Stolper (London), Walter Storms (Munich), Jacky Strenz (Frankfurt)

T
Elisabeth & Klaus Thoman (Innsbruck), Wilma Tolksdorf (Frankfurt)

V
Van Horn (Düsseldorf), Vartai (Vilnius)

W
Weiss Falk (Basel), Fons Welters (Amsterdam), Wentrup (Berlin), Michael Werner (Cologne, London, New York), White Cube (London, Hong Kong), Barbara Wien (Berlin), Jocelyn Wolff (Paris)

Z
Zahorian + van Espen (Prague), Zilberman (Istanbul), Martin van Zomeren (Amsterdam), David Zwirner (New York, London).

Hall 11.1 Modern & Postwar Art

B
Beck & Eggeling (Dusseldorf), Klaus Benden (Cologne), Boisserée (Cologne)

D
Derda (Berlin), Dierking (Zurich), Döbele (Mannheim)

F
Johannes Faber (Vienna), Fischer Kunsthandel & Edition (Berlin), Klaus Gerrit Friese (Berlin)

H
Hagemeier (Frankfurt), Henze & Ketterer (Wichtrach / Bern), Ernst Hilger (Vienna), Hoffmann (Friedberg), Heinz Holtmann (Cologne)

K
Kanalidarte (Brescia), Koch (Hanover), Konzett (Vienna)

L
Lahumière (Paris), Le Minotaure (Paris), Lelong (Paris) Levy (Hamburg), Lorenzelli Arte (Milan), Ludorff (Dusseldorf)

M
Maulberger (Munich), Moderne (Silkeborg)

N
Georg Nothelfer (Berlin)

R
Margarete Roeder (New York), Thole Rotermund (Hamburg), Ruberl (Vienna)

S
Thomas Salis (Salzburg), Samuelis Baumgarte (Bielefeld), Julian Sander (Cologne), Aurel Scheibler (Berlin), Schlichtenmaier (Grafenau), Michael Schultz (Berlin), Schwarzer (Dusseldorf), Setareh (Dusseldorf), Simoens (Knokke), Florian Sundheimer (Munich)

T
Hollis Taggart (New York), Taguchi Fine Art (Tokyo), Tanit (Munich), Thomas (Munich)

U
Utermann (Dortmund)

V
Valentien (Stuttgart), von Vertes (Zurich)

W
Whitestone (Tokyo, Hong Kong).

Hall 11.3 NEUMARKT

#
22,48 m² (Paris)

A
Alma (Riga)

C
Clages (Cologne), Gisela Clement (Bonn), Conradi (Hamburg), Crèvecoeur (Paris)

D
Drei (Cologne)

F
Future (Berlin)

H
Natalia Hug (Cologne)

K
Jan Kaps (Cologne), Kiche (Seoul)

L
Alexander Levy (Berlin)

M
Kai Matsumiya (New York), Maubert (Paris), MIER (Los Angeles)

P
Piktogram (Warsaw), Polansky Gallery (Prague), PPC Philipp Pflug Contemporary (Frankfurt)

R
Ruttkowski;68 (Cologne)

S
Soy Capitán (Berlin), Sperling (Munich), Supplement (London), Supportico Lopez (Berlin)

T
Bene Taschen (Cologne), Rob Tufnell (London, Cologne)

U
Union Pacific (London)

X
Xavierlaboulbenne (Berlin)

Delmes & Zander at ART COLOGNE 2018

Miroslav Tich, Courtesy of Delmes & Zander
THAT'S RIGHT MY LOVE, RELAX
Miroslav Tichý, Type 42 (Anonymous),
Vanessa Conte, Scrapbooks
ART COLOGNE April 19–22, 2018
Hall 11.3 / Booth A 22

The iconic photographs of Miroslav Tichý (1926-2011), taken mostly in secrecy, are both an encyclopedic collection of his coveted objects of desire and a long-term study on femininity. Tichý has been shown by the gallery since the early 1990s and is featured in numerous international museum collections. He is regarded as one of the most important photographic artists of our time.
Type 42 (Anonymous) is similarly a study on the representation of female identity: the photographs taken from the television screen are essentially a hand-picked inventory of female film stars from the 60s and 70s. The meticulously catalogued polaroids, each one featuring the name of the actress portrayed, capture all facets of female emotion and thus constitute „an exhaustive study of what it is to be a woman“ (Cindy Sherman). Currently, the artist’s works are on view in the show Outliers and American Vanguard Art at the National Gallery of Art, Washington, curated by Lynne Cooke. In 2014, a book was published in collaboration with Walther König publishing with an essay by Cindy Sherman. The technique of scrapbooking, a method of collecting and arranging image and text clippings from newspapers and magazines, originated in England in the 19th century as a popular pastime. The individually arranged scrapbooks of 1940s-50s celebrities in the exhibition can be viewed as collages of personal longing and desire. 

The bodies depicted in the works of Vanessa Conte (*1977) often push the female form to its physical limits. The works are humourous and prompt a narrative that feels both surreal and ambiguous. As we watch in awe and fascination trying to make sense of what we see, it becomes evident that there is no clear notion of right and wrong. Conte's work has been shown at JB Jurve, Los Angeles; Hester Gallery, New York; Various Small Fires, Los Angeles; Gavin Brown’s Enterprise, New York; Night Gallery, Los Angeles, Ginerva Gambino, Cologne and others. Upcoming exhibition at: Commonwealth & Council, Los Angeles.

The exhibition "That's right my love, relax" is a collaboration with Rob Tufnell (Cologne) and Ginerva Gambino (Cologne).

For more information click here:

Thursday, 29 March 2018

Saturday, 24 March 2018

Hipkiss' solo museum show "Bulwark" at The Drawing Center, New York

Hipkiss, Bulwark #2, #3, #6, #8, and #9 from The Towers, 2017, Courtesy of the artist
The exhibition will run from April 06 - August 12, 2018

"Praised for their meticulously-detailed panoramic landscapes, Anglo-French artists Alpha and Chris Mason, known collectively as Hipkiss, have been collaborating for three decades on intricate drawings that interweave dystopian narratives with a personal lexicon of symbolic forms. Past works by Hipkiss chronicle fictional histories of warring clans, urban crusades, and quasi-apocalyptical societies."

For more information click here:

Thursday, 22 March 2018

DIETRICH ORTH on view at Museum Moderner Kunst Wien

Glimpse on the exhibition Optik Schröder II, Photo: MuMok 
The show at MuMoK is on view till May 25th

"These works illustrate some of the key conceptual trends and positions in the development of Western art in the past three decades, including references to social issues, queer lifestyles, the critique of institutions and the economy, critical investigation of public spaces and architecture, poetry, and contemporary forms of critical painting."

For more information click here:

Saturday, 17 March 2018

Galerie Ebensperger exhibits Delmes & Zander

Horst Ademeit, 16/03/1994, Courtesy of Delmes & Zander
From March 24th - May 5th a selection of our program is on view in Salzburg

"Delmes & Zander gehört seit langem zu Ebenspergers Lieblingsgalerien, deren Arbeit eine Ausnahmeerscheinung im Kunstmarkt darstellt und in ihrer Idee von Kunst für uns Vorbildcharakter hat. Umso mehr freut es uns, Delmes & Zander als Galerie, als alternatives Kunsthandelsmodell in unserer Salzburger Galerie ausstellen zu dürfen."

Wednesday, 14 March 2018

Ania Szremski reviews our booth at Independent

View on our booth at Independent 2018
Check out the article on art agenda

"Chira is described in press materials as a conceptualist, and indeed came of age professionally at the apogee of that dry, cerebral movement, but he might be more accurately described as an engineer, a mystic, and a shaman. (...)"

For more information click here:

Sunday, 11 March 2018

Check-out AVENUE magazine's review of our booth at Independent 2018

Glimpse on our booth at Independent 2018

"This was my favorite thing I saw, and justified the entire day for me. The objective abstraction of the Romanian artist Alexandru Chira’s whispy drawings and paintings feel like something from the ‘10s or ‘20s. They brings to mind other things as well, like Da Vinci’s notebooks, the art produced by Schizophrenics popular at the turn of the 20th century, or, with their emphasis on strange UFO-like shapes, the contemporary new age movement."

For more information click here:

Review of The Art Newspaper of our booth at Independent 2018

"Study XVII", Alexandru Chira, Courtesy of Delmes & Zander 
James H. Miller writes about our presentation of ALEXANDRU CHIRA

"Like many others at the fair, Saltz thrilled to Alexandru Chira, the subject of Cologne’s Delmes & Zander’s booth, the late Romanian artist’s first solo presentation in the US. Chira’s diagrammatic drawings and canvases are intricate and obsessive elaborations on his creation of a meteorological monument in his small village in Transylvania, which is still being constructed, that will generate rain and rainbows—the artist’s response to a drought that plagued his village for an entire year."

For more information click here:

Saturday, 10 March 2018

Now on view with polaroids of HORST ADEMEIT: "Germany is not an island" at Bundeskunsthalle

Installation view of polaroids of Horst Ademeit
Read the nice review of WAZ

Artworks that have been acquired by a committee of experts for the Collection of the Federal Republic of Germany over the last five years.

For more information click here:

Friday, 9 March 2018

New York Times publishes Don't-Misses at Independent and NADA 2018

Glimpse on our booth at Indenpendent 2018
Delighted to be among Will Heinrich's "very-best" booths for New York Times

"Continue next door to Alexandru Chira (1947-2011) in his first solo show outside Romania. A professor of painting in Bucharest, Mr. Chira spent years building a colorful installation called “De-signs towards the sky for rain and rainbow” in his native village in Transylvania. A series of hazy but elaborate diagrams and drawings, some on a truncated hexagon shape that he thought would promote the land’s fertility, are dreamily enrapturing.”

For more information click here:

Wednesday, 7 March 2018

Matthew Higgs selects his Must-See Galleries at this year's Independent Fair

"Mirror for Self-portrait", Alexandru Chira, Courtesy of Delmes & Zander

Delmes & Zander a Must-See for Director and Chief Curator of non-profit space White Columns 

Garage of Vice network asked Matthew Higgs to name six gallery presentations not to miss. 

"Fair stalwart Delmes & Zander will present, for the first time in the US, a solo exhibition of work by maverick Romanian artist Alexandru Chira (1947–2011). Chira’s visionary practice embraced architecture, design, astronomy, magic, ufology, shamanism, and much more besides; he created a labyrinthine oeuvre that found its ultimate manifestation in the vast, unfinished monument/earthwork he began in 1994 in his hometown of Tauseni, Romania."

For more information click here:


Tuesday, 6 March 2018

Check out Benjamin Sutton's overview about all art fairs in NYC this week

The interior of the Armory Show art fair (photo by Benjamin Sutton/Hyperallergic)

Booth of works by Alexandru Chira mentioned

Benjamin Sutton's guide through NYC's art fairs of the week delivers a concise overview. We are happy to be part of it. 

For more information click here:


Sunday, 4 March 2018

Check out our booth at Independent NYC!

"Study XVII", Alexandru Chira, Courtesy of Delmes & Zander

March 9 - 11 at Spring Studios  

Friday, March 9, 12–7 pm
Saturday, March 10, 12–7 pm
Sunday, March 11, 12–6 pm

Have a look a at our fair homepage:
independenthq.com/galleries/delmes-zander


Friday, 2 March 2018

Adelhyd van Bender, Hipkiss, Miroslav Tichy and others are guests of Ebensperger Gallery

"Why the Sun", Hipkiss, 2012, mixed media on paper, 146 x 92 cm, Courtesy of Delmes & Zander
from March 23rd - May 5th

We are happy to be guests of Ebensperger Gallery Salzburg with works by Adelhyd van Bender, Horst Ademeit, Miroslav Tichy, Type 42, Jesuys Christiano, Martin Erhard, Hipkiss, Margarethe Held, Aurel Iselstöger, Oswald Tchirtner, August Walla and Margret - Chronicle of an Affair.

For more information click here:




Thursday, 1 March 2018

Horst Ademeit part of "GERMANY IS NOT AN ISLAND" at Bundeskunsthalle

"2481", Horst Ademeit, Courtesy of Delmes & Zander

On view at Bundeskunsthalle, Bonn, 
8 March - 27 May 2018 

"The exhibition showcases a total of 150 selected works by 81 artists, whose work has been acquired by a committee of experts for the Collection of the Federal Republic of Germany over the last five years for approximately 1.7 million Euros. 
They focused primarily, amongst other things, on the question, “Which artworks make particular reference to our society, and can convey information, now and in the future, about the state of our present-day Germany?”

For more information click here:

Wednesday, 28 February 2018

Check out the catalogue of "Outliers and American Vanguard Art" at National Gallery of Art



Catalogue "Outliers and American Vanguard Art", National Gallery of Art
Type 42, Morton Bartlett, Eugene von Bruenchenhein are on view until May 13, 2018


"Outliers and American Vanguard Art is the most comprehensive show ever to examine outliers in dialogue with their established peers. It is sure to inspire vigorous conversation about how artists and the work they make are represented.

Since the last century, the relationship between vanguard and self-taught artists has been defined by contradiction. The established art world has been quick to make clear distinctions between trained and untrained artists, yet at the same time it has been fascinated by outliers, whom it draws selectively and intermittently into its orbits. For a new exhibition launching at the National Gallery of Art, curator Lynne Cooke explores shifting conceptualizations of the American outlier across the 20th century, drawing on the inherent sociality of the exhibition in her installation of these works. This companion catalog, Outliers and American Vanguard Art, offers a fantastic opportunity to consider works by schooled and self-taught creators in relation to each other and defined by historical circumstance."
Lynne Cooke


Tuesday, 27 February 2018

Delmes & Zander at Independent New York 2018

Alexandru Chira, Study XVII, undated, oil on canvas, 86 x 58.5 cm 
First Solo Show of Alexandru Chira 

Native of a small village in Transylvania, Alexandru Chira realized that the new idols of mechanized agriculture (tractors, threshers etc.) proved inefficient when faced with the tough limits of nature - his home village suffered of yearlong drought. Chira started to elaborate a sophisticated system of land-and-weather improving art equipment, a series of staggering, symbolic installations of painted metal, wire, and concrete. Their task was "to bring rain and rainbow", to convey prosperity, and prevent deluge. Later on, during the 1990s, already a university professor and acclaimed artist, Chira succeeded in accomplishing his lifelong dream: the ensemble in Tauseni, the biggest one-man-monument in Transylvania, which absorbed all his energy and financial resources as well as those of many people around him. 

Most of his prior (and later) works, either those on canvas or the drawings and objects are inspiring sketches or derivative works related to the monument. Maturing his art-agrarian fascination for decades, the monumaniac Chira deepened in the diverse branches of practical knowledge and spiritual speculation requested by such a bold plan. Architecture, design, astronomy, history, magic, UFO-logy, mysticism, shamanism, and theosophy conjoined in an effort to strengthen the material and immaterial assets of the project. Nothing is left to chance in his painted graphs. Their apparent visual geomancy is grounded on a peculiar conjunction of human will, sheer transcendence, and natural forces. The ars combinatoria of Alexandru Chira transmutes mystery into complex, planar or spherical trigonometry.

Both on canvas and on paper, the works look equally dreamy, sparse, and alchemical. Drenched in spectral aestheticism, they evoke echoes ranging from Picabia to Adolf Wölfli, and from Kandinsky to Joseph Cornell. His output is a systematic organization of irrational drives. Beneath the hermetic salvation gnosis delivered by his work, sex and power sublimate in totemic, mechanized allegories, like in the work of Konrad Klapheck. 

Delmes & Zander exclusively represent the work of Alexandru Chiras since the end of 2017. This will be the artist's first one-man-show outside of Romania. The gallery is proud to present the works for the very first time here at the Independent New York 2018.

For more information click here:
http://www.independenthq.com/

Tuesday, 13 February 2018

Opening New Gallery Space

untitled, Folder #51, mixed media on photocopy, 42 x 30 cm
 Adelhyd van Bender 
The Atom is Invincible

On February 24th, Delmes & Zander will officially open a new gallery space in Cologne on Lindenstrasse 20-22. The space is of historical importance: emerging from the culturally optimistic mood of the late 1960s, it was the first German "Galerienhaus," a collective gallery building housing innovative names from across the contemporary art scene.

The move to a new space is a natural progression in the work of Delmes & Zander and arises from the intrinsic need to accommodate the comprehensive bodies of work represented with the breathing space they require to be fully grasped in their complexity and their magnitude. The new room partition of the gallery space provides a more appropriate setting for the artist estates which have become an increasingly important focus of the gallery program in the last years and which can now be accessed and assessed more directly by students, curators and collectors. The new visibility of works such as Type 42, Margret - Chronicle of an Affair, Horst Ademeit or Adelhyd van Bender, now permanently shown in a separate project room, promotes a new dialog and consequently a possible reappraisal of the works on display.

The visibility of the new premises will also continue to foster the transparency of the gallery work itself: to study, to archive and to recontextualize works which are often left behind without instructions and which rely on the gallery work to become perceptible, comprehensible and to be experienced by a public.

The spectacular archive of Adelhyd van Bender has been a challenging body of work from the onset and its assessment an ongoing process for the gallery revealing unexpected angles and new insight into the work with every show since it was first exhibited at the Independent in New York in 2015, shortly after entering the Delmes & Zander program. 

Spanning over thousands of works on paper, which were collected meticulously in folders over a number of decades, this body of work can best be comprehended when understood visually in its overwhelming dimension. Making the work visible is thus an essential element in its exhibition. In "The Atom is Invincible" the gallery invites the visitor to a closer look at a selection of drawings and at the archival systematics in the shelves inherent to Adelhyd van Bender's life-long project.

Bender's unrelenting endeavour to break down the world into mathematical formulae positions his oeuvre at the oftentimes disorientating intersection between science, religion and philosophy, where his systematic approach in the treatment of knowledge is undermined by an undercurrent of mental association. Biographical data is intertwined with the spiritual and the mechanical in an artistic practice, which Bender often saw as an sisyphean drudgery, an eternal chore forced upon him by a higher authority. Backed by the belief in the methodology of science and legitimized amongst others by the writings of the Watch Tower Bible- and Tract Society in Mankind's Search for God (1990), Bender's quest is the search for a logical and cohesive scientific superstructure and essentially an attempt to explain god.

Adelhyd van Bender was born as Harald Friedrich Bender in the German town of Bruchsal in 1950. At 15 he runs away to the industrial city of Ludwigshafen, where he lives in a juvenile home. Three years later and with a completed apprenticeship as an electrician, he moves to Berlin where he enrols in night school in 1974 to complete his secondary education and is subsequently admitted to the HdK (Berlin University of Arts). In 1976, he is expelled after a persisting dispute with the academic administration. Convinced of his aristocratic bloodline, Bender travels to England in pursuit of his ancestry. He now goes by the name of Adelhyd van Bender. Bender returns to Berlin in 1977 and intensifies his artistic activity: over a decade he draws, he creates bomb-like objects, he paints with tars, oil paints, chemicals and solvents on wood and cardboard. A fire set off by combustible materials stored in his apartment destroys part of his work in 1987, yet the scope of Bender's oeuvre continues to expand and by 1999, a large part of the oeuvre is transferred to the Prinzhorn Collection in Heidelberg so as to prevent Bender's 4th floor apartment to collapse under the weight of his work. By this time Adelhyd van Bender has radically turned to a repetitive technique of incessant drawing, photocopying and reworking his paper sheets. Adelhyd van Bender dies on April 2, 2014 in Berlin.

For more information click here:

Friday, 2 February 2018

Documentary image of the Adelhyd van Bender project room at Gallery Delmes & Zander

Adelhyd van Bender project room, Delmes & Zander, Photo: Johannes Post

Johannes Post shot van Bender project room

We invited Johannes Post to document one of our Adelhyd van Bender project room. It shows a selection of van Bender's work. 



Tuesday, 30 January 2018

Installation views of Miroslav Tichy's photographs in YOU'VE GOT 1243 UNREAD MESSAGES



Miroslav Tichy, Courtesy Delmes & Zander, Photo: Andrejs Strokins

The exhibition "YOU'VE GOT 1243 UNREAD MESSAGES. Last Generation Before the Internet. Their Lives" deals with the recent past where the search for oneself and others took place in an analogue instead of a digital environment. The works of art and various everyday artifacts chosen for the exhibition are micro-historical evidence of some 20th century individuals, or whole currents that continue to throw into doubt any borders between art and everyday life.

Saturday, 27 January 2018

Horst Ademeit at Filmwerkstatt Düsseldorf

4825, mixed media on Polaroid, 9 x 11 cm, Courtesy Delmes & Zander


Upcoming - polaroid works by HORST ADEMEIT

Will be shown at Filmwerkstatt Düsseldorf during Duesseldorf Photo Weekend from 16 - 18 Feb 2018. 

Documenting the noxious impacts of "Kältestrahlen", meaning cold rays, Horst Ademeit dedicated the last 40 years of his life capturing everything on 9000 Polaroid and Analog pictures.
The documentation of these impacts was an essential of Ademeit's everyday life.
All of the pictures are taken in and around Flingern which is just next to the "Filmwerkstatt Düsseldorf".

For more information click here:

Thursday, 25 January 2018

TYPE 42 (Anonymous) in "Outliers and American Vanguard Art" at National Gallery of Art, Washington

TYPE 42 (Anonymous), Courtesy Delmes & Zander 

Curated by Lynne Cooke
on view from January 28th - May 13th, 2018

Outliers and American Vanguard Art focuses on three periods over the last century when the intersection of self-taught artists with the mainstream has been at its most fertile. It is the first major exhibition to explore how those key moments, which coincided with periods of American social, political, and cultural upheaval, challenged or erased traditional hierarchies and probed prevailing assumptions about creativity, artistic practice, and the role of the artist in contemporary culture.

For more information click here:

Friday, 19 January 2018

Delmes & Zander at Art Cologne 2018

Art Cologne, Foto: dpa
Art Cologne published the Participants List 
for 2018

We are happy to announce that we participate in Art Cologne 2018 from April 19th to April 22nd.

For more information click here:


Thursday, 18 January 2018

Agatha Wojciechowsky in "Vestiges & Verse: Notes from the Newfangled Epic"

Exhibition poster, American Folk Art Museum
"Vestiges & Verse: Notes from the Newfangled Epic" unites more than two hundred and fifty works by twenty-one seminal and recently discovered self-taught artists, who will be introduced for the first time through the examination of the idiosyncratic structures of their lifelong, intricate narratives—notably, their sequential and developing aspects. Rare manuscripts, series of drawings, illustrated notebooks with coded texts, expanding cartography, journals, and multi-part collages will provide an art historical and pluridisciplinary perspective on the mechanisms behind visual storytelling.

Tuesday, 9 January 2018

"are you dead, yet?" feat. Horst Ademeit

944, mixed media on Polaroid, 9 x 11 cm, Courtesy Delmes & Zander

Groupshow at Thomas Erben Gallery 
in NYC from Jan 11th - Feb 11th in 2018

Horst Ademeit, Jason Eberspeaker, Kahlil Robert Irving and Mira Schor will be displayed in the groupshow "are you dead, yet?". A group exhibition of artists whose work fervently apprehends the world as a domain of powerful, intransigent, often fickle forces that threaten to destabilize our collective and individual economic, environmental, political and spiritual equilibriums. 

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