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

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

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
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

50 Rue de l’Ecuyer,
1000 Brussels

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. 

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. (...)"

at the Museum of Sex, NY
January 19, 2017 – September 16, 2017

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

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

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

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

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

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

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

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

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

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

For detailed information visit website of Museum of Sex 

233 Fifth Avenue New York,
NY 10016

Saturday, 26 November 2016

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


ONE / OTHER – Self-Portraits and Portraits

December 2, 2016 – February 4, 2017

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

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

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

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

Press contact:
Monika Koencke