BEHIND THE SCENES:
MINYADES
An exhibition of paintings by Richard Höglund
The Bonnier Gallery, Miami
December 2021
A Catalogue Essay
BEHIND THE SCENES:
MISCHA KUBALL
ReferenzRäume
Museum Morsbroich
5 December – 24 April 2022
BEHIND THE SCENES:
ABOUT THE TREES
Thanksgiving 2021
UNAPOLOGETIC CONTENT.
BEHIND THE SCENES:
THE WORLD MAP
Thanks to Mr Hide
BEHIND THE SCENES:
KOEN VANMECHELEN LABIOMISTA, GENK (BELGIUM)
The book launch and debate
“NOT TO BE MISTAKEN”, November, 4th
BEHIND THE SCENES:
OCTOBER 2021
"Linda Karshan: The Covid-19 Conversation"
Still in the limelight
BEHIND THE SCENES:
IDE TO POLAND
POSTSCRIPT PARIS
BEHIND THE SCENES:
IDE TO POLAND III
Out of the oven
Warsaw Sept 28-Oct 3
BEHIND THE SCENES:
HELMUT FEDERLE
NOVARTIS Campus – Forum 3, Basel
DIENER & DIENER - WIEDERIN
2005
BEHIND THE SCENES:
BETWEEN LISTENING AND TELLING
Esther Shalev Gerz
Nuit Blanche Paris,
Tonight
UNAPOLOGETIC CONTENT.
BEHIND THE SCENES:
ART BASEL HALL 2.0C1
René Schmitt and ART & LANGUAGE
THESE SCENES, 2016
BEHIND THE SCENES:
MISCHA KUBALL
Wolfsburg and Utopias
BEHIND THE SCENES:
IDE TO POLAND
A new expedition on the CERAMIC & FOOD ROUTE
BEHIND THE SCENES:
IDE TO POLAND
A new expedition on the CERAMIC & FOOD ROUTE
Bright blue and white ceramics fill the dining room with warmth and visual appeal
BEHIND THE SCENES:
IDE TO POLAND
A new expedition on the CERAMIC & FOOD ROUTE
Starts today in Warsaw through 3 October
BEHIND THE SCENES:
ESTHER SHALEV-GERZ
SUMMER IN PARIS
UNAPOLOGETIC CONTENT.
BEHIND THE SCENES:
ON THE ROAD AGAIN
ARCO MADRID,
1st Art Fair in 2 years
UNAPOLOGETIC CONTENT.
UNAPOLOGETIC CONTENT.
UNAPOLOGETIC CONTENT.
BEHIND THE SCENES:
IN THE ARTIST'S STUDIO
JASON BUTLER "THE COLLAGES"
Pop-Up Exhibition, Jersey
STILL BEHIND THE SCENES:
NINA NOWAK'S EXHIBITION
Galleri Susanne Ottesen, Copenhagen
BEHIND THE SCENES:
PER KIRKEBY UNREALISED BRICK PROJECTS
Galleri Susanne Ottesen, Copenhagen
NEW ARRIVALS:
MISCHA KUBALL
A WALK IN MY LIBRARY:
HELMUT FEDERLE NIETZSCHE-HAUS SILS-MARIA
Schwabe AG Basel, 2004 Peter André Bloch & Jan Thorn-Prikker
on the occasion of Helmut Federle's "Edelweiss im Nietzsche-Haus, Sils-Maria" exhibition in Nietzsche's Haus, Sept 2004 to July 2005
BEHIND THE SCENES:
L'INTERSTICE ARLES OPENING
JOSETTE SAYERS AND GUILLAUME ZUILI'S PHOTOGRAPHS
Brave and fearless
BEHIND THE SCENES:
CONGRATULATIONS ISHMAEL ANNOBIL
DIRECTOR for "LINDA KARSHAN: COVID-19 CONVERSATION"
WINNER BEST SHORT DOCUMENTARY AT MYKONOS INTL FILM FES
BEHIND THE SCENES:
THE LAUNCH OF REAL TIME AND THE 3BS
BEHIND THE SCENES:
FLOWERS OF PERHAPS
LIOR GAL
ENGELS PLEIN, LEUVEN BELGIUM
BEHIND THE SCENES:
MATHILDE BRETILLOT DESIGNS NEW MUSEUM FOR LA MANUFACTURE DE GIEN
THIS TIME TWO YEARS AGO:
DRAW ART FAIR, LONDON, 2019, DESIGNER MATHILDE BRETILLOT AND ARCHITECT MISKA MILLER-LOVEGROVE
NEW ARRIVALS:
WETTERLING, STOCKHOLM
A WALK IN MY LIBRARY:
HELMUT FEDERLE
ABSTRACT PAINTING OF AMERICA AND EUROPE
Ritter Verlag, Galerie nächst St. Stephan, Vienna Rosemarie Schwarzwälder, 1988
BEHIND THE SCENES:
LUKAS HOFFMANN, CNAP ACQUISITION AND TWO EXHIBITIONS
BEHIND THE SCENES:
ESTHER SHALEV-GERZ, WEFRAC 2021
BEHIND THE SCENES:
"LINDA KARSHAN: COVID-19 CONVERSATION"
selected by Nawada and Hollywood Boulevard Festivals
BEHIND THE SCENES:
ESTHER SHALEV-GERZ
CNAP ACQUISITION,
"Describing Labor", 2012
BEHIND THE SCENES:
A STUDIO VISIT WITH DEANNA PETHERBRIDGE
BEHIND THE SCENES:
JSVCPROJECTS & INTERNATIONAL DESIGN EXPEDITIONS
BEHIND THE SCENES:
HELMUT FEDERLE IN NEW YORK
BEHIND THE SCENES:
RICHARD MILAZZO OBSZINE #3
The Sadness of Bad Thinking
BEHIND THE SCENES:
RICHARD MILAZZO OBSZINE #3, ART, POETRY, AND THE PATHOS OF COMMUNICATION,
The Art of Impeachment
BEHIND THE SCENES:
WITH POET/CURATOR RICHARD MILAZZO
REVISITING OBSZINE #3
A WALK IN MY LIBRARY:
POETRY IN SEDITIOUS TIMES
HAPPY NEW YEAR AND SOUVENIRS FROM 2020!
BEHIND THE SCENES:
BERLIN
October 7th 2020
Part I
Gallery weekend
11, 12 September, 2020
Everything takes longer now, including the decision to fly to Berlin after so many months staying home. Last year spent real time there with our collaborative Art & Language exhibition at Galerie Michael Janssen; I missed my friends, artists and colleagues. It seemed a moment to celebrate the last project MJ would mount in this great storefront gallery I love. They just now moved to offices down the block until a new gallery space is found.
Super fresh painting. Till Gerhard, We’re all like Mirrors, dreamy and exciting surprises galore. Not the kind I usually embrace, but suddenly, in this time, having spent months looking at art only in my library and on my laptop, the sheer delight of his unique convergences, color and narrative, wicked and magical at the same time; partially recognizable scenes, photo albums from long ago family outings, or odd Scandi Noir television moments. His taut ambivalence between innocence and destruction drives their pictorial nature into something compelling.
Acid colors, transparent veils over quasi-photographic imagery either come in or out of focus. Sometimes the subjects are directly in your line of vision, walking at you, staring at us blindly. What are they doing? Something unsettles the eye and sets it deep into the foreground looking for clues.
Groups of children, or adults caught in another reality where something has just happened or is about to. His night scenes of lovers in a lake hover under psychedelic skies. Washes of color across Gerhard’s work are high voltage and filmic. His subjects dissolve in and out of focus; painterly prisons of layered color like camouflage keep us from getting too near what is going on. But he makes me want to see, keeping my eye fixed on this unsettled territory. Idiosyncratic voyeurism couched in radical painting. Keep looking.
PART II
Customary dinner outside at Paris Bar the night before the opening of Till Gerhard’s show. I stay around the corner always at the Savoy, a habit since 1997 when Thomas Schulte booked me there in the Marlene Dietrich suite for 75DM; we shared a booth at an early edition of Berlin Art Fair. I was MD at LISSON then, wanted a satellite in Berlin. Walking in Charlottenburg I always felt oddly at home. Many dinners and parties always at Paris Bar. Maybe then still homesick for the New York art world dinners at Barocco in Tribeca, a place where there were always people you knew, at the bar, at a table.
Paris Bar is this, like the Kunsthalle in Basel, or the Kronenhalle in Zurich a place you can go alone and always fit in; the waiters are the same, the menu is the same, the art on the walls and reverence for artists makes it feel like an extension of the gallery or artists studio. So this year after months at home, sitting with Till and Michael outside for dinner, like a genuine holiday yet also an extension of the last time. Nerves taut the night before an opening. The show is up, the work lives or dies on its merits. Few people say anything about how hard this feels. Even for a gallerist who hopes to place the works well. Expectations run high, fear mounts higher. Without a word you finish the installation, and leave the gallery looking for relief.
Dinner is my first meeting with Till Gerhard, lanky tallness and physical calm; I am surprised after hours with his fiery, edgy, nervy paintings, feeling dangerous. He is soft-spoken and thoughtful. Easy going, experienced, one would say, artist entering mid-career. His fourth show at the gallery with a place in the German art scene, but is new to me. I try to contextualize his work in a neighborhood with artists I once worked with like Daniel Richter and Jules de Balincourt. He is near but still quite far his piercing melodramas embrace an oddness you cannot decipher.