11.2.21

 

Thanks Jasmin Werner! 

 

Köln, den 31.12.2020
Sehr geehrte Damen und Herren,
Im Rahmen der Aktion #Slivesterfenster (Licht an, Jahr aus) der Stadt Köln, haben wir unser
großes Schaufenster auf der Ehrenstrasse mit Hilfe eines Beamers in einen 4m x 1.8m Monitor
verwandelt.

    Auf diesem spielen wir ein Programm an Künstlerfilmen ab, dass der Kölner Künstler
Johannes Post zusammengestellt hat. Es ist eine Mischung aus großen lokalen und
interantionalen Namen und jungen Positionen: Miriam Gossing/Lina Sieckmann, Mark
Leckey, Lea Letzel, Stuart Middleton, Amy Sillmann, Wolfgang Tillmans und Johannes
Wohnseifer!

    Alle Filme sind locker um unser diesjähriges Neujahrsfest herum thematisiert. Wolfgang
Tillmans hat Impressionen eines leeren Clubs auf Fire Island (nach der Party) aufgezeichnet,
während Mark Leckeys Filmmaterial die ekstatischen Tänzer der britischen Jugendkultur der
70er, 80er und 90er Jahre sampelt, das Kölner Duo Gossing / Sieckmann zeigt ruhige und
poetische Aufnahmen von chinesischen Neujahrs-Ballons, während Lea Letzel, die auch als
Pyrotechnikerin ausgebildet ist, eine Filmmonatage aus Feuerwerkexpolosion und
Musikannotation erstellt hat, Amy Sillman lässt uns einen auf einem Tablet erstellten
Animationsfilm zeigen, und Johannes Wohnseifer hat 300 Bilder zusammengestellt, die alle
den Buchstaben K (wie eine Stadt) zum Inhalt haben.

    Das Programm startet bei Einbruch der Dunkelheit bis 10 Minuten nach Mitternacht, vom 31.
Dezember bis zum Dreikönigstag am 6. Januar! Dann fliegt bei uns zuhause der Tannenbaum,
und im Geschäft der Beamer wieder raus. Und wir richten unser Sonderfenster zu den Design
Passagen mit dem Kölner Thomas Schnurr ein. Dazu folgen weitere Informationen in Kürze.
Mit unserer Projektion sind wir schon sehr zufrieden, und werden noch weiter in die Technik
investieren, um es nach der Pandemie mit weiteren Programmen und hoffentlich wieder
Geselligkeit fortzusetzen.
    Wir hoffen, Sie schaffen es abends mal vorbeizukommen. Natürlich freuen wir uns, wenn Sie
uns helfen die Aktion an Ihre Leserschaft ob analog oder digital zu kommunizieren.
Ein paar erste Handy Fotos anbei, wir versuchen noch Herrn Burkhard für professionelle Fotos
zu engagieren.
 

Bei An- und Rückfragen melden Sie sich bitte per email order@buchhandlung-walther-
koenig.de oder Telefon 0221-20596-0.
Mit freundlichen Grüßen,
Walther und Franz König

 


10.2.21

Isa made only one readymade which was a drawing from Courbet she ‘reproduced’ as photographs. However, even here she was not so much interested in reproducing the image of the work but rather highlighting the scenery of the Courbet drawing, which showed woodmen at work and a non-working figure in the front. The relationship of the figure and the two woodworkers reminded her of her own practice at that time, when Genzken collaborated with mathematicians, computer specialists and carpenters to construct and fabricate her early wooden sculptures


7.2.21

Drawholic (born ?) is a contemporary artist best known for her drawings of K pop stars and youtube channel. She is currently based in Korea. Drawholic lectures at Goldsmiths College in London[1] and has been referred to as "one of the great artists of our time" by the Swiss curator Hans-Ulrich Obrist.[2]

4.2.21

An experienced instructor will get the stag kitted up in full protective gear, send him out on his own in the park to run or hide, before setting the attack dog on him, while your group watch on to see if he can get away before they latch on! Your mission is to run to the end of 50 metres long track. That is not an easy task, because after 3 seconds the dog handler will realease the eager dog who knows exactly what he has to do. So lets release the hound on the victim!

It takes 20 minutes to get there with our private transportation.

We recommend you wear suitable shoes for this activity.

 

 



Genzken was producing sleek lacquered wood sculptures known as ‘Ellipsoids’ and ‘Hyperbolos.’ This minimalist body of work, which lasted through the early 1980s, engaged with spatial and social aspects of line, mass, scale, color and movement through and around the works.

In 1977, Michael Asher delivered small caravan trailer to the first Skulptur Projekte Münster. He had created sculpture out of experience, setting in motion his career-long project of ‘dislocation.’ In the years that followed, Asher’s interventions in galleries and museums included removing walls and doors, or keeping a museum open 24 hours a day. These deceptively simple architectural actions sought to expose the structural ‘givens’ of visual display and disrupt any sense of neutrality promised by galleries. Over a forty-year period, Genzken’s practice and Asher’s aligned in surprisingly fluid ways, despite the visual dissonance of their output. Both mined the formal tenets of sculpture, for example the base, or support structure – whether a plinth or a rolling cart for Genzken, for Asher a wall, window or even an entire city. Both artists present us with alternative (and often discomforting) environments and the critical tools to navigate contradictions around us.

"Genzken has always presented the porous messiness of personal experience alongside cleaner sculptural work that seems to give form to more universal ideas.

Genzken's (post-fucking-the-bauhaus) work is a box containing the sound of its own making. Genzken so loved by artists as a consummate "maker," a producer without pretension or ideology but whose work advocates its creation: the amassment of itself, the making of the work contained within itself, the object created, creative.  Genzken founded strategies rather than objects, an artistic down-shifting, a speed that could overtake. "the most influential living artist not because everything looks like it, but because it predicated a conglomerate speed absorbing any last vestiges of particular attention to individuated objects" i.e. When we see Genzken we react to the deployment or manipulation/alteration to its strategy, the means of attending the object rather than object itself. Weirdly deny the consumptive act of looking by permanently existing in a state of limbo that, with the rise to rule of art's image alongside the internet, allowed its acceleration to not self-deplete under an all seeing eye. See Josef Strau.

Originally a member of the Arte Povera movement, Boetti (1940–1994) quickly took a different direction of his own. From the 1970s, he specialized in colourful, playfully inventive embroideries produced for him in Afghanistan. The works seem to reflect a mysterious system in which a major role is played both by compositions featuring letters and words and by maps of the world. Thanks to former gallery holder and collector Tanya Rumpff, who has made the museum a large donation of these ‘Arazzi’, the Gemeentemuseum has instantly acquired a marvellous selection of items from Boetti’s multi-faceted oeuvre.

The works of the 1970s, when Boetti was regularly travelling to Kabul, are entirely different. During one of his first visits, it occurred to him to ask his Afghan friends to get their wives to embroider texts which he created in the first instance in the form of silkscreen prints, multiples or conceptual works. The resulting traditionally made ‘Arazzi’ (Italian for tapestries) created new opportunities for Boetti: they enabled the serial production of unique artworks of rich significance without the need for any intervention on his part.

It would be nice to be two people – one all aware and real, the other all dreamy and unconscious – who go hand in hand, without ever mingling, Melted but not confused 

 seemingly contradictory swings between the personal and the structural
beginning with its autobiographical implications and arguing from the focus on the body


Genzken once commented on there being ‘a permanent misunderstanding regarding the materials I use. I am not interested in readymades. The meaning is in the combination of things. […] I want to animate the viewers, hold up a mirror to them…’

Genzken is highly interested in the construction of things, exemplified in her early stereometric sculptures, in which she has challenged many of the preoccupations of modern sculpture and its techniques.

Isa Genzken is an exceptional artist and is, in many ways, an artist’s artist. Once she feels she is done with a group or series of works, or a certain idea, or employing a special technique, she soon gets bored and starts something new. Often Genzken’s followers are disappointed or even shocked with her new bodies of work and this slowed the time it took for Genzken’s practice to be recognized by major museums and a larger audience.

1.2.21


24.1.21

within surveilence cultures is the covering of a subjects face a protective gesture?

 

https://petapixel.com/2020/06/20/this-ai-turns-pixel-faces-into-photos/



 
Illustrations from 1923 by Floris Jespers
 
Just a selection from this amazing resource: http://50watts.com/Floris-Jespers 
 


















 


20.1.21





“It is vanilla,” 

“I soak them in vanilla and milk to take away the smell of the pickles.”


17.1.21

But in a sense, a family is a shock absorber of the trends that are bearing down on it

https://www.theatlantic.com/family/archive/2018/11/arlie-hochschild-housework-isnt-emotional-labor/576637/

15.1.21



this guy needs an agent










 
From: Control. Stephen Willats. Work 1962-69 Raven Row 978-0-9561739-8-0

24.11.20

https://lucymckenzie.com/media/documents/2020_Astrid_Vereycken_interview_TIM_magazine.pdf 

https://lucymckenzie.com/

With this as your background, is there something you would consider as your first ‘artwork’?

 I don’t think there’s one specific work that I consider in that way. Many people want to emerge onto the scene fully-formed as the perfect artist, but it was the incremental little things I did, such as making posters, fanzines or music that form the basis of my artistic practice. Making lots of mistakes and made ideas along the way. An artwork that was really important for me, were the sketches I made in 2011 of cats in dresses. I was making illustrations for the fashion label [Atelier E.B.]and I made portraits of cats wearing the clothes. I remember this really felt important to me. There’s this idea that as an artist you have to tap into your deepest desires or your subconscious, that you should express something very personal. At the same time by showing that to the world, you render yourself vulnerable. You want to make artworks which fit a certain idea or criteria of something legitimate, serious, acceptable to an art world. When I made the cat drawings I really thought this was exactly the art I wanted to make. In a way it feels so self-indulgent, I mean ‘cats in dresses’, that’s the ultimate! 

 I thought a lot about what it would have been like to make these drawings as a student. For instance, around the same time I was reading the biography of Roxy Music where Brian Eno mentions that during his time in art school everything was about Cybernetics and performance. I wondered what it would have been like to come there, especially as a young woman artist, and say: ‘here is my art, here is a cat in a dress!’. This would have been very problematic for some people. Probably, it would have been dismissed as ‘frivolous’, ‘childish’ and ‘girly’. But when I made these drawings I really felt that I was living the best life. 

 In the end, they were used as fashion illustrations. When you’re working in fashion you’re working with different criteria of judgement and that’s what I want to play with. I made these drawings at a point in my professional life where anything I did was considered in relation to other things, other discourses. I'm less vulnerable now than if I would have drawn these in art school for example. Especially if you’re a young woman artist who wants to play with forms that directly antagonize the idea that you have to make things more polished, neutral or masculine to be taken seriously. I fear that young women artists who want to work like this, will either be misunderstood or dismissed. Therefore, I feel it’s important to mention these drawings as key pieces in my art practice