May 23rd 2022

BEHIND THE SCENES:
ESTHER SHALEV-GERZ,
KING & KING
A new sculpture
Installed in the United States

May 16th 2022

BEHIND THE SCENES:
SAVE THE DATE
BAD+
July 6-10 2022
HANGAR 14

May 9th 2022

BEHIND THE SCENES:
LINDA KARSHAN
Backstage filming ‘Two Feet Walking’
By Ishmael Annobil, Filmmaker
In response to the architecture of Murray Edwards College
Cambridge University
8th April 2022

May 2nd 2022

A WALK IN MY LIBRARY:
HELMUT FEDERLE

April 25th 2022

BEHIND THE SCENES:
BENEDICTE DELAY WITH JASON BUTLER
‘ONE ON ONE’
Exhibition at ArtHouse Jersey
14 April – 2 May 2022

April 11th 2022

NATURE NOTES:
HELLO TO SPRING, PARIS

April 4th 2022

BEHIND THE SCENES:
A WALKED DRAWING, ‘TWO FEET WALKING’,
By Linda Karshan
In collaboration with Filmmaker, Ishmael Annobil
In response to the architecture of Murray Edwards College,
University of Cambridge

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March 28th 2022

BEHIND THE SCENES:
ISHMAEL ANNOBIL, 'INSOMNIA'
Coming soon at L'Interstice, Arles
Opening on April 15, 2022

March 21st 2022

BEHIND THE SCENES:
JASON BUTLER, ‘ONE ON ONE’
Launch new ArtHouse exhibition space
Jersey, England

March 14th 2022

BEHIND THE SCENES:
ART & LANGUAGE, "THESE SCENES", 2016
Acquired by Centre Pompidou

March 7th 2022

BEHIND THE SCENES:
ESTHER SHALEV-GERZ
Bauhaus-Museum,
Weimar, Germany

February 21st 2022

BEHIND THE SCENES:
LOSING DAN GRAHAM
1942-2022

February 14th 2022

BEHIND THE SCENES:
THE DEVELOPMENT OF BAD+
BORDEAUX + ART + DESIGN
New dates: July 6-10 2022, at HANGAR 14

February 7th 2022

BEHIND THE SCENES:
2000 THANK YOU NOTES
7 February 2022

January 31st 2022

BEHIND THE SCENES:
NEW SPACE FOR JSVCPROJECTS

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January 24th 2022

BEHIND THE SCENES:
ROBERT STONE
Debut with Haines Gallery at FOG Design + Art 2022
San Francisco, CA

January 17th 2022

BEHIND THE SCENES:
MISCHA KUBALL
nolde / kritik / documenta
A project by documenta archiv, Draiflessen Collection and Mischa Kuball
NEW DATE: FALL 2022

January 10th 2022

UNAPOLOGETIC CONTENT.

January 3rd 2022

HAPPY NEW YEAR 2022!
WARM WISHES AND NEW ADVENTURES

December 13th 2021

BEHIND THE SCENES:
MINYADES
An exhibition of paintings by Richard Höglund
The Bonnier Gallery, Miami
December 2021
A Catalogue Essay

December 6th 2021

BEHIND THE SCENES:
MISCHA KUBALL
ReferenzRäume
Museum Morsbroich
5 December – 24 April 2022

November 29th 2021

BEHIND THE SCENES:
ABOUT THE TREES
Thanksgiving 2021

November 25th 2021

UNAPOLOGETIC CONTENT.

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November 15th 2021

BEHIND THE SCENES:
THE WORLD MAP
Thanks to Mr Hide

November 8th 2021

BEHIND THE SCENES:
KOEN VANMECHELEN LABIOMISTA, GENK (BELGIUM)
The book launch and debate
“NOT TO BE MISTAKEN”, November, 4th

October 25th 2021

BEHIND THE SCENES:
OCTOBER 2021
"Linda Karshan: The Covid-19 Conversation"
Still in the limelight

October 18th 2021

BEHIND THE SCENES:
IDE TO POLAND
POSTSCRIPT PARIS

October 11th 2021

BEHIND THE SCENES:
IDE TO POLAND III
Out of the oven
Warsaw Sept 28-Oct 3

October 5th 2021

BEHIND THE SCENES:
HELMUT FEDERLE
NOVARTIS Campus – Forum 3, Basel
DIENER & DIENER - WIEDERIN
2005

October 2nd 2021

BEHIND THE SCENES:
BETWEEN LISTENING AND TELLING
Esther Shalev Gerz
Nuit Blanche Paris,
Tonight

September 27th 2021

UNAPOLOGETIC CONTENT.

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September 20th 2021

BEHIND THE SCENES:
ART BASEL HALL 2.0C1
René Schmitt and ART & LANGUAGE
THESE SCENES, 2016

September 6th 2021

BEHIND THE SCENES:
MISCHA KUBALL
Wolfsburg and Utopias

September 2nd 2021

BEHIND THE SCENES:
IDE TO POLAND
A new expedition on the CERAMIC & FOOD ROUTE

August 30th 2021

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

August 23rd 2021

BEHIND THE SCENES:
IDE TO POLAND
A new expedition on the CERAMIC & FOOD ROUTE
Starts today in Warsaw through 3 October

August 2nd 2021

BEHIND THE SCENES:
ESTHER SHALEV-GERZ
SUMMER IN PARIS

July 30th 2021

UNAPOLOGETIC CONTENT.

July 26th 2021

BEHIND THE SCENES:
ON THE ROAD AGAIN
ARCO MADRID,
1st Art Fair in 2 years

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July 23rd 2021

UNAPOLOGETIC CONTENT.

July 19th 2021

UNAPOLOGETIC CONTENT.

July 16th 2021

UNAPOLOGETIC CONTENT.

July 12th 2021

BEHIND THE SCENES:
IN THE ARTIST'S STUDIO
JASON BUTLER "THE COLLAGES"
Pop-Up Exhibition, Jersey

July 5th 2021

STILL BEHIND THE SCENES:
NINA NOWAK'S EXHIBITION
Galleri Susanne Ottesen, Copenhagen

June 28th 2021

BEHIND THE SCENES:
PER KIRKEBY UNREALISED BRICK PROJECTS
Galleri Susanne Ottesen, Copenhagen

June 21st 2021

NEW ARRIVALS:
MISCHA KUBALL

June 18th 2021

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

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June 14th 2021

BEHIND THE SCENES:
L'INTERSTICE ARLES OPENING
JOSETTE SAYERS AND GUILLAUME ZUILI'S PHOTOGRAPHS
Brave and fearless

June 11th 2021

BEHIND THE SCENES:
CONGRATULATIONS ISHMAEL ANNOBIL
DIRECTOR for "LINDA KARSHAN: COVID-19 CONVERSATION"​
WINNER BEST SHORT DOCUMENTARY AT MYKONOS INTL FILM FES

June 4th 2021

BEHIND THE SCENES:
THE LAUNCH OF REAL TIME AND THE 3BS

May 31st 2021

BEHIND THE SCENES:
FLOWERS OF PERHAPS
LIOR GAL
ENGELS PLEIN, LEUVEN BELGIUM

May 24th 2021

BEHIND THE SCENES:
MATHILDE BRETILLOT DESIGNS NEW MUSEUM FOR LA MANUFACTURE DE GIEN

May 17th 2021

THIS TIME TWO YEARS AGO:
DRAW ART FAIR, LONDON, 2019, DESIGNER MATHILDE BRETILLOT AND ARCHITECT MISKA MILLER-LOVEGROVE

May 10th 2021

NEW ARRIVALS:
WETTERLING, STOCKHOLM

April 25th 2021

A WALK IN MY LIBRARY:
HELMUT FEDERLE
ABSTRACT PAINTING OF AMERICA AND EUROPE
Ritter Verlag, Galerie nächst St. Stephan, Vienna Rosemarie Schwarzwälder, 1988

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April 11th 2021

BEHIND THE SCENES:
LUKAS HOFFMANN, CNAP ACQUISITION AND TWO EXHIBITIONS

April 9th 2021

BEHIND THE SCENES:
ESTHER SHALEV-GERZ, WEFRAC 2021

April 2nd 2021

BEHIND THE SCENES:
"LINDA KARSHAN: COVID-19 CONVERSATION"
selected by Nawada and Hollywood Boulevard Festivals

March 29th 2021

BEHIND THE SCENES:
ESTHER SHALEV-GERZ
CNAP ACQUISITION,
"Describing Labor", 2012

March 26th 2021

BEHIND THE SCENES:
A STUDIO VISIT WITH DEANNA PETHERBRIDGE

March 22nd 2021

BEHIND THE SCENES:
JSVCPROJECTS & INTERNATIONAL DESIGN EXPEDITIONS

March 2nd 2021

BEHIND THE SCENES:
HELMUT FEDERLE IN NEW YORK

February 22nd 2021

BEHIND THE SCENES:
RICHARD MILAZZO OBSZINE #3
The Sadness of Bad Thinking

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February 15th 2021

BEHIND THE SCENES:
RICHARD MILAZZO OBSZINE #3, ART, POETRY, AND THE PATHOS OF COMMUNICATION,
The Art of Impeachment

February 1st 2021

BEHIND THE SCENES:
WITH POET/CURATOR RICHARD MILAZZO
REVISITING OBSZINE #3

January 12th 2021

A WALK IN MY LIBRARY:
POETRY IN SEDITIOUS TIMES

January 5th 2021

HAPPY NEW YEAR AND SOUVENIRS FROM 2020!

December 31st 2020

A WALK IN MY LIBRARY:
DECEMBER 31, 2020
JASON BUTLER'S EXHIBITION
Meyer Schapiro, “Theory and Philosophy of Art: Style, Artist and Society

December 18th 2020

BEHIND THE SCENES:
LIOR GALL, BRUSSELS, 2020

December 11th 2020

HIGHLIGHT:
LOVE LETTERS
A new participative project by artist Koen Vanmechelen

December 4th 2020

BEHIND THE SCENES:
LINDA KARSHAN AND THE BROOKLYN RAIL

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November 27th 2020

BEHIND THE SCENES:
NOVEMBER 2020, LINDA KARSHAN
The Covid Conversation, A New Film

November 6th 2020

A WALK IN MY LIBRARY:
PARIS, NOV. 6, 2020
ABËTËI by Ishmael Fiifi Annobil

October 20th 2020

BEHIND THE SCENES:
MATHILDE BRETILLOT
Designs new offices for Parfums de Marly, Paris

October 12th 2020

BEHIND THE SCENES:
BERLIN STUDIO VISIT - LUKAS HOFFMANN

October 7th 2020

BEHIND THE SCENES:
BERLIN

September 24th 2020

BEHIND THE SCENES:
GALERIE NÄCHST ST. STEPHAN ROSEMARIE SCHWARZWÄLDER, VIENNA
Friederike Mayröcker, Curator Hans Ulrich Obrist - until 10 Oct
Schutzgeister/Guardian Spirits

September 9th 2020

BEHIND THE SCENES:
JSVCPROJECTS AND KOEN VANMECHELEN
The Battery Channel Podcast

September 1st 2020

BEHIND THE SCENES:
ARTISTS IN THE STUDIO, JERSEY

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August 25th 2020

BEHIND THE SCENES:
MANIFEST OF THE TRUE

August 18th 2020

A WALK IN MY LIBRARY:
3 LOVE POEMS IN THE SUMMER

August 11th 2020

BEHIND THE SCENES:
SUMMER NEWS

August 4th 2020

BEHIND THE SCENES:
ROD MENGHAM,
Awarded the Cholmondeley Award for Poets

July 28th 2020

BEHIND THE SCENES:
JILL SILVERMAN VAN COENEGRACHTS RECOMMENDS

July 21st 2020

BEHIND THE SCENES:
LINDA KARSHAN
Studio visit

July 14th 2020

BEHIND THE SCENES:
STEFANO CIGADA,
"Frammenti" at the Museo di Roma in Trastevere

January 2nd 2020

HAPPY NEW YEAR 2020!

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September 9th 2019

BEHIND THE SCENES:
PER KIRKEBY,
"Brick Sculptures"

September 2nd 2019

BEHIND THE SCENES:
IDE TO PUGLIA
"Ceramic & Food Route",
Recent Summer 2019 Highlights

August 26th 2019

JSVC HIGHLIGHTS:
ART & LANGUAGE, LONDON

June 17th 2019

BEHIND THE SCENES:
DRAW ART FAIR LONDON

April 22nd 2019

BEHIND THE SCENES:
ART & LANGUAGE, EXHIBITION AT GALERIE MICHAEL JANSSEN, Berlin

March 4th 2019

BEHIND THE SCENES:
DR. SUSANNE A. KUDIELKA,
Private art collecting is a passion

July 25th 2018

BEHIND THE SCENES:
KOEN VANMECHELEN
“It’s About Time”

July 4th 2018

BEHIND THE SCENES:
DAYDREAMING WITH STANLEY KUBRICK,
Exhibition at Somerset House, London

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all posts title image

BEHIND THE SCENES:
HELMUT FEDERLE IN NEW YORK

March 2nd 2021

Peter Blum Gallery finishes 13 March, 2021

PART I

The Brooklyn Rail has published a very fine review by David Rhodes of the current exhibition of Helmut Federle: Basics on Composition that everyone should see before it closes at the end of next week. This is the fifth solo exhibition at Peter Blum Gallery, so for those who love painting this is a precious moment to visit these works.

I met Federle in 1984 when at John Gibson Gallery we made his first exhibition in New York. I had first seen the works on paper driving through Europe with Gibson, at a dinner with Catherine Duret in Geneva and then in the library of Peter Herzog in Basel. By the time we got back to New York it was clear John wanted to meet the artist who was working in his downtown apartment.

There is something about experiencing an artist’s early work as an explosive force; ironically Gibson was not a lover of painting. He built his reputation first showing Beuys in New York and Broodthaers, the European conceptualists. But Helmut Federle changed that. I remember the look on his face after the studio visit as I was minding the gallery. “This will blow people away,” he said seriously. It did and it continues to do so, because it is painting about the condition of poetics, with a serial edge, European minimalism descended from the family tree of Malevich with an eye on Barnet Neuman and dare I say Robert Ryman.

The difference being that Federle is a European minimalist in spite of his many years in the USA. His somewhat BEAT early years in the American West has been chronicled but not enough to my mind. He is an uncanny mixture of threads which we can pull here and there, but the works themselves tell their own story.

PART II

Basics On Composition is a series of 71 paintings 40 x 50 cm painted between 1979-2019. As of this writing I can say the artist is not yet finished with the series as there are works on the studio wall that join this group. For some reason I think of these works as a kind of serial music in the tradition of composers Michael Nyman or Phil Glass, where certain elements repeat in a block-like way with variations shifting the timbre and rhythm; at the same time they are as varied as they are alike.

Rhodes writes, 

“The characteristics are often felt rather than seen to begin with, registering in time because incidents of many kinds are wrought by the many changes in paint application and color….The eye follows the perimeter of the painted object unlike an unpainted object, and registering a physical change at that edge because of the color. These varying qualities poetically charge the painting with an inexplicable immanence so unlike regular hard edge formal abstraction.”

Here I want to jump from this notion of immanence back to Malevich’s 1927 treatise The Non-Objective World which for the first time delves into this experiential aspect of feeling a painting’s presence as something powerful. This text was taken under his arm on a train fleeing the Soviets, who he thought were after him, to Berlin and published by the Bauhaus in German. Later, a small Chicago press republished the English translation in 1959. Its appearance was noticed by a new generation of artists in New York at that time.

He insisted that Suprematism as a break with the past, had to do with freedom from the objects (analogous with smells), and the thing and the concept were to be substituted for feeling. He divided the past into the world of “Will and Ideas” (object making) in favor of the “Thing and Concept” (feelings).

PART III

From The Non-Objective World

Malevich writes:

“A kind of timidity bordering on fear when I was called to leave “the world of will and ideas” in which I had lived and worked in the reality of which I had believed. But the blissful feeling of liberating non-objectivity drew me into the ‘desert’ where nothing is real but feeling and feeling became the content of my life. This was no ‘empty square’ which I had exhibited but rather the sensation of non-objectivity.”

Malevich writes that the Black Square is not devoid of content, to the contrary it is redolent with sensations. Note this and draw a direct line through to David Rhodes’ comment about Basics On Composition and their “inexplicable immanence.” This overwhelming energy that comes from Federle’s paintings is as present today as it was in his first show in 1984 in New York. Quite odd really that he has been so invisible in the United States and we still look forward to the first and then a series of museum exhibitions that will bring the works to a wider audience.

What resides in this immanence? How are these paintings so unique and moving? I like to think it is something related to what John Berger in Ways of Seeing in 1972 writes about a “place of meaning” referring to art in churches, which is an extreme example in the Icon, behind it’s image is God, “worshippers coming upon it close their eyes before it, knowing that its marks the place of meaning.”

Berger gets busy with a discussion of the impact of photography….”.the days of pilgrimage are over, it is the image that travels now!”

Original works are still unique, he continues, they look different than from how they look on the television or on postcard.” I could add here, on line, but this is better than you never seeing the work!!!

But somehow I am drawn back to the subject of time, which is in the end very relevant to Federle’s works. These works fill time. Transmit time, sing about time.

PART IV

Whether the paint is fluidly rich to the edges, thick and solid, sometimes maybe a bit erased, Federle paints as if he is translating time into something visible. During this year of pandemic we have all felt this empty elastic time that surrounds us like ether. Basics on Composition is like a metronome in one way and a tuning fork in another, there is a constant rhythm like a heartbeat, but there is something subtle and invisible he is trying to show us. Like a magician who is able to seemingly raise a body up in thin air.

I was never particularly involved with the structure and its relationship to the letter H. For me the question to answer was how did they project so much energy at me; how could the partially wiped away moments on the surface seem so luxurious and rich. Why was so much happening with such a reductive palette some would say? Where did this force come from, the technique, the flatness, his visceral use of paint itself.

In some ways because I came to the work young, and his paintings were so much bigger than I was, the experience of being overwhelmed by them was my first recollection alone in the gallery with a handful of very large paintings. The force field was palpable. This feeling was exactly the same all these decades later in Vienna when I stood in Galerie Nachts St. Stephan with recent Basics On Composition. Each one pierced space with a complete voice, distinct, audible, uncompromising. They both want to be looked at, and to be left alone. They have a quality of object-ness and animation that make you want to speak to them and imagine they will reply.

This immanence is the masterstroke of an artist still in his prime. We need to see more of these works, with the large ones we know from the books in his long bibliography; a good series of museum exhibitions would be a homeopathic remedy for this very complex moment. I need his time sensitive painterly tension between reduction and opulence now.