What to See at DC Open and Okey-Dokey II – 在DC开放和OKEY DoKII上看到什么?

Natalie Häusler, ‘Honey’
KIT (Kunst im Tunnel), Düsseldorf
23 June – 23 September

At KIT, an unused tunnel under the Rhine, Natalie Häusler makes use of the special spatial situation to create a kind of idyllic underwater garden. The central work is the 10-metre long Kneipp basin Bethsabée reste au bains ((Bathsheba at her Bath, 2018), whose outer tiles make up a text that can be read by walking round the basin several times. But the story can also be followed on headphones: the artist has rewritten the biblical story of Bathsheba and David to give the woman an active role in rejecting the horny voyeuristic King. Loving the motor-cycle (2017) also speaks of the difficulty of obsessions. Visitors sit on a stationary Honda racing bike listening to a kind of podcast in which Häusler and a friend talk about her friend’s young daughter who has a fascination with motorbikes, at the same time as being insanely scared of them. I won’t give away whether or not little Ada overcomes her fear. Suffice to say that even in the garden of desire, every rose has its thorn.


What to See at DC Open and Okey-Dokey II - 在DC开放和OKEY DoKII上看到什么?

Julien Ceccaldi, Zit Popping, 2018. Courtesy: Jennys, Los Angeles

Julien Ceccaldi, ‘Solito’
Kölnischer Kunstverein, Cologne
8 September – 11 November

For the first exhibition under new director Nikola Dietrich, the venerable Kölnischer Kunstverein presents ‘Solito’ by Julien Ceccaldi , named after the main character in Ceccaldi’s longest manga to date that is being launched at the opening. A late bloomer, 30-year-old Solito is a sex-obsessed virgin still living with his parents. Anyone familiar with Ceccaldi’s oeuvre will not be surprised that Solito indulges in angst-ridden sexual excess – until, finally, he falls in love with death, who appears as a soldier. The exhibition itself is a kaleidoscope of individual characters and scenes from the comic. The windows down one side of the sculpture hall are hung with painted PVC curtains reproducing sentences from the story in black and saffron yellow. The shape of the windows create comic-like panels, but here they obey no narrative logic. In the hall itself, a wrought iron bed stands as a gateway to this world of (wet) dreams, featuring three skeletal sculptures, acting as a necessary crutch to this amusing contemporary and gendered variation on the theme of ‘death and the maiden’.


What to See at DC Open and Okey-Dokey II - 在DC开放和OKEY DoKII上看到什么?

Gunter Reski, Untitled, 2018. Courtesy: the artist and Galerie Nagel Draxler, Cologne/Berlin

Gunter Reski, ‘Organ Migration Now’
Galerie Nagel Draxler, Cologne
8 September – 20 October

Nagel Draxler is back in Cologne at last, having moved into Markus Luettgen’s old premises on Elisenstrasse, showing works by the old warhorse and commentator on painting Gunter Reski. The walls of the exhibition are plastered with texts and pictures, creating the format of a gigantic wall newspaper – a private work created every day by a person who hardly ever leaves the house, if the work’s text is to be believed. In Reski’s case, this display makes perfect sense, as the written word is essential to his engagement with painting, featuring in many of his pictures. In Reski’s first exhibition with the gallery, not unlike Ceccaldi’s, the pictures are to be understood as a loose illustration of experiences of a fictional author. Three pictures of dust bunnies in particular interlock nicely with the domestic observations in the text, while referring in their execution to Gerhard Richter’s cloud pictures or recent line-based abstract works by Albert Oehlen.


What to See at DC Open and Okey-Dokey II - 在DC开放和OKEY DoKII上看到什么?

Claus Richter, Rock Bottom, 2018, wood, fabric, artificial leather, metal and cardboard, 190 x 140 cm. Courtesy: the artist and Clages, Cologne

‘Ahhhhh! Real Monsters!’
Clages, Cologne
8 September – 20 October

So long as they don’t reside in the White House, maybe monsters aren’t so bad? The ambitious and extremely funny group show ‘Ahhhhh! Real Monsters!’ takes its cue from the 1990s cartoon series of the same name, rehabilitating monsters as a marginalized group. Entering the winding space of Clages, one is immediately struck by the works of studio mates Cosima von Bonin and Claus Richter. Von Bonin’s work Freaks (2018) is a plastic shark with a fabric torpedo between its bared teeth, while Richter contributes a devil in the form of a large-format wall-mounted work in fabric and leather (Rock Bottom, 2018). But this devil is far from terrifying, sat in a wingback armchair reading self-help books on existential crisis. As well as being good for a laugh, Richter’s work also channels the show’s main message: monsters are monsters because they are made that way by others – just ask Frankenstein’s golem. Similarly jarring is Oliver Husain’s video Galleria Cruise (2018), a confusing trip through a rundown mall in which the camera comes to rest on all manner of crazy objects from the bargain bin of civilization, evoking the magical world of the animated series (set in a rubbish bin) from which the work takes its title.


What to See at DC Open and Okey-Dokey II - 在DC开放和OKEY DoKII上看到什么?

Lutz Bacher, Vegas Pants, 2018. Courtesy: the artist and Galerie Buchholz, Berlin/Cologne/New York

Lutz Bacher, ‘What’s Love Got to Do With It’
Kunstsammlung NRW, K21 Ständehaus, Düsseldorf
7 September, 2018 – 6 January, 2019

Entering the lobby of K21 Ständehaus in Düsseldorf, one is already in Lutz Bacher’s exhibition ‘What’s Love Got to Do With It’. A large number of surveillance mirrors (Cyclops, 27 March 2017) are installed in the hall in no particular order, their reflections segmenting K21’s already eclectic architecture. In the exhibition’s three rooms, Bacher has made another spatial intervention by stretching a broad roll of white paper with an irregular zigzagging line across all of the walls (Untitled, 1 February 2017). What looks like a seismographic trace or barbed wire is the signature of the current President of the United States, much enlarged and endlessly repeated. Handwriting is also a motif in the video work Open the Kimono (2013–18) that is shown on a large screen: an hour-long slide show of handwritten transcriptions of headlines and all manner of info trash. Like many of her fellow artists, the New York-based Bacher comments on the sad political situation in her country today. But with a witty approach, inflating her material to echo The Donald’s hyperbole.


What to See at DC Open and Okey-Dokey II - 在DC开放和OKEY DoKII上看到什么?

Natalie Czech. A poet’s question by Charles Bernstein (Cassette / Loved Ones), 2018, archival pigment print. Courtesy: the artist and Galerie Kadel Willborn

Natalie Czech, ‘if someone came up and started talking a poem at you how would you know it was a poem?’
Galerie Kadel Willborn, Düsseldorf
7 September – 27 October 2018

Natalie Czech, who grew up not far from Düsseldorf, gains home-field advantage with her exhibition ‘if someone came up and started talking a poem at you how would you know it was a poem?’ at Kadel Willborn. The exhibition consists of two series, ‘Poet’s Questions’ and ‘Negative Calligrammes’ (both 2018), spread equally over the two halves of the gallery. While the conceptual approach in the five photographs of the first series with its hybrid of pop music and poetry feels slightly kooky, the ‘Negative Calligrammes’ are a positive affront. The photographs show printed out emails to Czech from authors including Quinn Latimer, John Holten and Julien Bismuth, filed in a pale blue folder. Alluding to Concrete Poetry and the density of figures in Mail Art, the artist has outlined domestic scenes in felt-tip pen – a couple cleaning their house or tending their plants, a venetian blind. The painted lines use only gaps, nowhere obscuring the sometimes highly personal texts. With its sleek photographic presentation, this equal status of text and drawing is a firm invitation to the high ropes of interpretation: many strands, tangles likely.


What to See at DC Open and Okey-Dokey II - 在DC开放和OKEY DoKII上看到什么?

Manuela Gernedel, Untitled, 2018, coloured pencil on paper. Courtesy: the artist and Piper Keys, London

Okey-Dokey II
Delmes & Zander, Drei, Ginerva Gambino, Jan Kaps (Cologne); Lucas Hirsch, Galerie Max Mayer, (Düsseldorf)

8 September – 30 September 2018

The gallery share project Okey-Dokey, which got off to a positive start last year, has been revamped. This year’s curatorial advisor is Artists Space’s Jamie Stevens, who has hooked up young Rhineland galleries with unconventional partners: A group show at Jan Kaps features punk rock publisher Re/Search from San Francisco; Max Mayer hosts Blank Forms, a New York label for experimental music, as well as Hong Kong’s Empty Gallery, which has a programme weighted towards performance and sound art; and Ginerva Gambino is paired with Front Desk Apparatus, a research-driven art advisory service. The idea is clearly to provoke exchanges about the gallery format, which has been going through something of a crisis in recent years – at least for smaller and intermediate galleries.

There is also art, of course: Lucas Hirsch (with Piper Keys, London) is showing Manuela Gernedel’s drawings of her untidy kitchen. Even if some of this work was recently shown in London it is hard to imagine a denser rendering on paper of the conflict between being a mother and being an artist. A few streets away, Max Mayer takes a different approach with the works of the artist, composer and mathematician Catherine Christer Hennix. A standout piece among the very different works on show is the large-format diptych Algebra w/Domains (1973–91) with black, red and blue fields in a white grid, looking like an exciting cross between neo-plasticism, modular music and intuitionist mathematics.

While all the shows offer unusual material, of particular note is the presentation at Drei (with Southfirst, NY) showing works by Patricia L. Boyd, Leslie Thornton, Julia Scher and Tobias Madison, which might be said to combine machinism with narcissism. Especially Thornton’s video Jennifer, Where Are You? (1981), in which a small girl experiments with lipstick and matches to a soundtrack of dramatic piano music while a worried father calls her name, makes a sustained, haunting impact. Definitely an intriguing edition, it will be interesting to seeing what direction Okey-Dokey will take next year.

Translated by Nicholas Grindell

Düsseldorf Cologne Open Galleries (DC Open) runs from Friday 7 Sep 2018 (5–9 pm), Saturday 8 Sep 2018 (11–7 pm) and Sunday 9 Sep 2018 (11–5 pm). 

Okey-Dokey opens Friday, September 7th, 6–9 pm and runs until 30 September 2018.

Main image: Natalie Häusler, Bethsabée reste au bains (Bathsheba at her Bath), 2018. Courtesy: Kunst im Tunnel; photograph: Ivo Faber

Moritz Scheper

Moritz Scheper is a writer and curator based in Essen, Germany, where he works as artistic director at Neuer Essener Kunstverein.

Critics’ Guides /

Kolnischer Kunstverein
Galerie Nagel Draxler
Galerie Kadel Willborn
Okey-Dokey II
Moritz Scheper

纳塔莉·哈斯勒,《蜂蜜》603003br KIT(昆士隧道),杜塞尔多夫603003br 6月23日至9月23日,莱茵河下的一条未使用的隧道,娜塔莉·哈斯勒利用特殊的空间环境营造出一种田园式的水下花园。中心作品是10米长的Kneipp盆地Bethsabée reste au bains((Bathsheba在她的Bath,2018),它的外瓦构成了一个文本,可以通过绕着盆地走几次来阅读。但这个故事也可以通过耳机听到:这位艺术家重写了《圣经》中巴丝谢芭和大卫的故事,让这位妇女在拒绝淫秽的窥视国王的过程中扮演了一个积极的角色。热爱摩托车(2017)也说明了困扰的困难。游客们坐在一辆固定的本田赛车上,听着一种播客,在播客中,Héusler和朋友谈论着她朋友的小女儿,她迷恋摩托车,同时又疯狂地害怕摩托车。我不会放弃小艾达是否克服了她的恐惧。可以说,即使在欲望的花园里,每朵玫瑰都有刺。Kolnischer-julienceccaldi_zitpopping2018_cjennys-los-angeles-jpg.jpg What to See at DC Open and Okey-Dokey II - 在DC开放和OKEY DoKII上看到什么? Julien Ceccaldi, Zit Po., 2018。礼貌:珍妮丝,洛杉矶,朱利安·塞卡迪,“独白”603003br Klnischer Kunstverein,科隆603003br 9月8日至11月11日在新导演Nikola Dietrich主持的第一个展览会上,尊贵的Klnischer Kunstverein呈现了Julien Cec的“独白”。加尔迪以Ceccaldi最长漫画的主要人物命名。一个已故的布鲁默,30岁的Solito是一个性痴迷的处女仍然与他的父母住在一起。任何熟悉塞卡迪作品的人都不会惊讶于索利托沉迷于充满焦虑的性过度——直到,最后,他爱上了死亡这个看起来像士兵的人。展览本身是一个万花筒的个性和漫画的场景。雕塑大厅一侧的窗户上挂着彩色的PVC窗帘,上面用黑色和藏红花黄色再现故事中的句子。窗户的形状创造了像漫画一样的面板,但在这里他们不遵守叙事逻辑。大厅里有一张锻铁床,是通向这个湿梦世界的大门,有三个骨骼雕塑,是通向这个以“死亡与少女”为主题的、有趣而有性别差异的当代雕塑的必要支柱。NAGEL-DRAXLL UNYNON-1.JPG WPA6022602IMG Gunter Reski,未命名,2018。礼貌:艺术家和Galerie Nagel Draxler、Cologne/Berlin Gunter Reski、“器官迁移”
Galerie Nagel Draxler、Cologne
9月8日至10月20日Nagel Draxler终于回到了Cologne,搬进了Markus Luettgen的老房子N Elisenstrasse,展示作品的老战马和评论员画Gunter Reski。展览的墙壁上贴满了文字和图片,形成了一个巨大的墙报的格式——一个几乎从不离开房子的人每天创作的私人作品,如果作品的文字可信的话。在Reski的例子中,这个显示是完全有意义的,因为文字对于他参与绘画来说是必不可少的,在他的许多画中都有。在雷斯基与画廊的第一次展览中,这些画和塞卡迪的画一样,被理解为一个虚构作家的经历的松散的插图。沙尘兔的三张照片尤其与文中的国内观察紧密相连,同时在执行中参考了Gerhard Richter的云图或Albert Oehlen最近的基于线的抽象作品。克劳斯·里克特,岩底,2018年,木材,织物,人造皮革,金属和纸板,190×140厘米。礼貌:艺术家和克隆人,科隆啊!真正的怪物!9月8日至10月20日,科隆,
Clages,只要他们不住在白宫,也许怪物还不坏?雄心勃勃和非常滑稽的团体显示“啊哈!真正的怪物!从20世纪90年代的卡通系列同名,把怪物改造成边缘化群体。进入轿厢的蜿蜒空间,立刻被工作室队友Cosima von Bonin和Claus Richter的作品所震撼。冯·博宁的作品《怪胎》(2018)是一只塑料鲨鱼,光着牙齿之间有织物鱼雷,而里希特则以织物和皮革的大型壁挂作品的形式贡献了一个魔鬼(Rock Bottom,2018)。但是这个魔鬼远不是可怕的,坐在一个靠背椅上阅读关于生存危机的自助书。除了好笑之外,Richter的作品还播出了该节目的主要信息:怪物是怪物,因为它们是由别人制造的——只要问Frankenstein的傀儡就知道了。奥利弗·侯赛因(Oliver Husain)的视频画廊(Galleria Cruise)(2018)同样令人心烦意乱,这是一次令人困惑的旅行,经过一个废弃的商场,相机停靠在文明的廉价货仓里各种疯狂的物品上,唤起了动画系列(设置在垃圾桶里)的魔幻世界,从该系列中,工作占据了头衔。KunsStAMLUNG-K21LUZZ-BACELYVEGAAS-PANTS.JPG WPA6024602IMG Lutz Bacher,Vegas裤,2018。礼貌:艺术家和Galerie Buchholz,柏林/科隆/纽约Lutz Bacher,‘爱该怎么办’
KunstsammlunnNRW,K21 Sténdehaus,Düsseldorf
2018年9月7日-2019年1月6日进入杜塞尔多K21 Stüssendehaus的大厅RF,一个已经在Lutz Bacher的展览中“爱与它有什么关系”。大厅内没有特别顺序地安装了大量监视镜(Cyclops,2017年3月27日),它们的反射将K21已经折衷的建筑分割开来。在展览的三个房间里,巴歇尔又做了一次空间干预,将一卷宽大的白纸用不规则的曲折线横跨所有的墙壁(未命名,2017年2月1日)。看起来像地震记录仪或带刺铁丝网的是美国现任总统的签名,大大地放大了,而且不断重复。手写也是大屏幕显示的《打开和服》(2013-18)视频作品中的一个主题:一个小时的幻灯片放映手写标题和各种信息垃圾。和她的许多艺术家一样,总部位于纽约的巴赫评论了她国家今天的悲惨政治局势。但以一种机智的方式,膨胀她的材料,以回应唐纳德的夸张。KADEL-WelBurnunNeN-1.JPG WPA6025602IMG Natalie Czech。一个诗人的问题由Charles Bernstein(盒/亲人),2018,档案颜料打印。礼貌:艺术家加莱丽·卡德尔·威尔本和娜塔莉·捷克,“如果有人走上前来,开始对你说一首诗,你怎么知道这是一首诗?”“2018年9月7日至10月27日,在杜塞尔多夫不远处长大的娜塔莉·捷克,凭借她的展览,在家庭领域获得了优势,”如果有人走上前来,开始对你说一首诗,你怎么知道这是一首诗?在凯德尔.威尔伯恩。展览包括两个系列,'诗人的问题'和'负面书法'(两个2018年),平均分布在画廊的两半。虽然第一系列五张照片中流行音乐和诗歌的混合物在概念上让人感觉有点古怪,但“负面书法”却是正面的侮辱。这些照片显示了作者发给捷克的邮件,其中包括奎因·拉蒂默、约翰·霍尔顿和朱利安·比斯茅斯,这些邮件都用浅蓝色的文件夹归档。提到《混凝土诗歌》和《邮件艺术》中人物的密度,这位艺术家用毡尖笔勾勒出了家庭场景——一对夫妇打扫房子或照料植物,一个威尼斯盲人。画中的线条只使用空隙,无处遮蔽有时高度个人化的文本。凭借其流畅的摄影呈现,文字和绘画的这种平等地位是对解读高绳的坚定邀请:许多线条,可能纠缠不清。JPG What to See at DC Open and Okey-Dokey II - 在DC开放和OKEY DoKII上看到什么? Manuela Gernedel,无题,2018,彩色铅笔在纸上。礼貌:艺术家和风笛键,伦敦Okey-Dokey II,603003br Delmes&Zander,Drei,Gi.a Gambino,Jan Kaps(Cologne);Lucas Hirsch,Galerie Max Mayer,(杜塞尔多夫)2018年9月8日至9月30日美术馆共享项目Okey-Dokey,它下车到一个posi去年动工开始,已经进行了改版。今年的策展顾问是艺术家空间的J·史蒂文斯,他与年轻的莱茵兰画廊结成了非常传统的合作伙伴:JunkAPS的一个团体展示,来自旧金山的朋克摇滚出版商Re/Stand;Max Mayer举办了空白表格,一个纽约的实验音乐标签。作为香港的空画廊,它有一个对性能和声音艺术有影响的节目;和Galava GangBio与前台设备配对,一个研究驱动的艺术咨询服务。这个想法显然是为了激起关于画廊形式的交流,最近几年,画廊已经经历了一些危机——至少对于中小画廊是这样。当然还有艺术:卢卡斯·赫希(与派珀·凯斯,伦敦)正在展示曼纽拉·格内德尔关于她厨房不整洁的图画。即使这些作品中有些最近在伦敦展出,也很难想象在纸上更密集地描绘出母亲和艺术家之间的冲突。几条街之外,马克斯·迈耶对艺术家、作曲家和数学家凯瑟琳·克里斯特·亨尼克斯的作品采取了不同的方式。在展示的不同作品中,一个突出的部分是大格式的二值代数W/畴(1973)。


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