#kölnischer kunstverein

[collectionarchive]

ram spin cram by Marie Angeletti

source: collectionarchive.tumblr.com

[towneslab]

Kölnischer Kunstverein by tabea blumenschein Via Flickr: Tabea Blumenschein in Udo Kier Exhibition Kölnischer Kunstverein 27.9. - 18.12.2024

[thinkingimages]

Engraving included in Nicolas Andry de Boisregard, L’orthopédie, ou L’art de prévenir et de corriger dans les enfants les difformités du corps, 1741. Gallica, CC0

“A Hypothesis of Resistance” is a series of five essays on “performance” by artist CALLY SPOONER. In each, Spooner holds and examines temporalities which defy and eclipse the standardizations that drive individual and societal bodies to perform toward an entirely metric-oriented future.

Beginning with “On Asynchronicity”* then extending to “Rehearsal,” “The Present Tense,” “Undetectability,” and “Duration,” A Hypothesis of Resistance will unfold over five issues of the magazine, from Mousse #81 (Fall 2022) to #85 (Fall 2023).

* “On Asynchronicity” is equally a document that digests contributions to Asynchronicity, a symposium-like gathering, hosted by Cally Spooner with reboot: responsiveness on May 7, 2022, at Kölnischer Kunstverein, Cologne, and May 8, 2022, at Ludwig Forum, Aachen.

[germanpostwarmodern]

Together with Franz W. Seiwert and Gerd Arntz Heinrich Hoerle (1895-1936) formed the social activist core of the avant-garde group „Kölner Progressive“ that also included photographer Otto Sander and painter/sculptor Otto Freundlich. Hoerle, just like his friend Seiwert, regarded art as a means of agitating and informing the working class and raising attention for the social problems of Weimar Germany. Accordingly his works often depict workers and outcasts, crippled war veterans and robotic figures in a world dominated by labour and machines.

Although Hoerle initially started his career as an expressionist the majority of his oeuvre is characterized by a constructivist idiom that channeled influences by Giorgio de Chirico or Fernand Léger into a highly individual pictorial language in which form and content became one.

Already during his lifetime numerous museums acquired Hoerle’s works but his name never really gained the prominence it deserves. The underlying reasons are manifold: one surely is the radically of Hoerle’s topics and his decided discussion of the social question in interwar Germany. The other contributing factors likely are his untimely death at the age of only 40 as a result of a tuberculosis infection as well as the destruction of some of his works during the “degenerate art” initiative of the Nazis.

In 1981 the Kölnischer Kunstverein in 1981 organized a a comprehensive retrospective of Heinrich Hoerle’s multifaceted oeuvre which was accompanied by a concise catalogue compiled by Dirk Backes. The catalogue includes an informative biography of the artists that brings to life not only the turbulent times of the 1920s and the buzzing Cologne art scene but also his ironic and enthusiastic personality. The major part of the book is then dedicated to Hoerle’s artistic output that is neatly documented in Backes' detailed work catalogue. Until today the book remains the sole exhaustive examination of the work of a fascinating artist who still deserves much wider attention.

[jordi-gali]

Andro Wekua, 'Anruf', 2016, installation view, Kölnischer Kunstverein. Photograph: Simon Vogel  https://www.frieze.com/article/critics-guide-cologne

[streetglider]

Heinrich Hoerle Krüppel (Die Krüppelmappe) 1920 Series of 12 lithographs. Each on firm brownish paper 58.9 x 45.8 cm. - Together with title sheet loosely laid in original half-linen portfolio 64.4 x 49.5 cm with collage of the title motif "Krüppel" (Backes 16) as a linoleum cut on Japan paper 16.8 x 12.2 (23 x 17.3 cm) Unsigned. The title sheet with index and colophon numbered in pencil. Copy 92/100. - Rare. Published by the artist "Heinrich Hoerle, Cöln-Lindenthal", Cologne 1920. - The sheets with minimal traces of age. The thinner title sheet (simili Japan) with a minor defect in the upper margin and backed with paper strips verso. The portfolio slightly wavy with pressure marks. Following the brochure for the 1920 edition of “Krüppel“, published by the artist, it seems a total edition of 300 copies with hand-signed lithographs was planned, 50 of which were printed on Japan laid paper with an original colour drawing as the title page. However, there are unsigned series on simpler, heavier types of paper, featuring an edition numeration of 100 in the colophon. The "Krüppelmappe" is one of the artist's early expressionist masterpieces. Probably designed at the end of 1919, it is not only a critical contemporary commentary on the social misery of those disabled ­in the war­ - in the "Sozialistischen Republik" of 30.01.1920, Franz Wilhelm Seiwert published a contribution to the first exhibition of the portfolio in Cologne under the title "Krupp-Krüppel" - it also sensitively reflects the deeply human and emotional aspects of physical mutilation in the artistic sequence of the various pictures. Otto Dix continued the theme in the large-format painting "Die Kriegskrüppel", among others, from the same year, formerly in the Stadtmuseum Dresden, confiscated in 1937 and lost since then (cf. Löffler 1920/8 with illus., cf. also the etching of the same name Karsch 6). Catalogue Raisonné Backes Druckgraphik 16, 17 Certificate We would like to thank Dirk Backes, Aachen, for kind scientific advice. Provenance Private possession, Rhineland Literature Die Aktion. Wochenschrift für Politik, Literatur und Kunst, Berlin 1920, 10th year, with illus.; a bis z, organ der gruppe progressiver künstler, Cologne, Dec. 1931, issue no. 20 with illus.; Walter Vitt, Heinrich Hoerle und Franz Wilhelm Seiwert. Die Progressiven, Cologne 1975, p. 19 with illus.; U. Bohnen, Das Gesetz der Welt ist die Änderung der Welt. Die rheinische Gruppe progressiver Künstler (1918-1933), Berlin 1976, no. 8 with illus. p. 27 Exhibitions Cologne January 1920 (Lichthof des Kunstgewerbemuseums); Moscow 1924 (Erste allgemeine Deutsche Kunstausstellung); Frechen 1970/1971 (Kunstverein Frechen e.V.), Hoerle und sein Kreis, cat. no. 154 with illus.; Cologne 1975 (Kölnischer Kunstverein), Vom Dadamax zum Grüngürtel - Köln in den 20er Jahren, n. cat. no., with illus. p. 100/101; Berlin 1975 (Akademie der Künste Berlin/ Neue Gesellschaft für Bildende Kunst), Politische Konstruktivisten. Die "Gruppe progressiver Künstler" Köln 1919-1933, with illus.; Cologne 1980 (Kölnischer Kunstverein), Max Ernst in Köln. Die rheinische Kunstszene bis 1922, cat. no. 165 with illus. https://www.lempertz.com/en/catalogues/lot/1110-1/436-heinrich-hoerle.html

[cosmicanger]

michel majerus

if we are dead, so it is 2000

Acrylic, enamel, and printed foil on wood

120 × 396 × 1656 inches; 305 × 1006 × 4206 cm

Installation view, Kölnischer Kunstverein, Cologne, 2000

[connywilmeringfan]

Die Video Kunst - i like to watch - von - steve ryan - in der Chris Korda im Kölnischer Kunstverein fand ich nicht schlecht . mfg eure Conny

[charlesbryan]

Teil 3: Albtraum Malerei at Kölnischer Kunstverein

http://dlvr.it/T49NLS

[triplegreen]

Kölnischer Kunstverein / Kino 813

[contemporaryartdaily]

Dorothy Iannone, Juliette Blightman at Kölnischer Kunstverein

[77broadwaymarket]

Eduardo Paolozzi - Kölnischer Kunstverein, 1979

Signed

Dimensions: 118 cm x 84 cm

Price: SOLD

[ubersinnlich]

LEIDY CHURCHMAN: THE WISH-FULLFILLING JEWEL (INFINITELY RICH QUALITIES OF MIND), 2017

[germanpostwarmodern]

Together with Heinrich Hoerle and August Sander Franz Wilhelm Seiwert (1894-1933) formed the core of the „Kölner Progessive“, the avant-garde group of artists in 1920s Cologne. Seiwert was a very political, even radical, artist profoundly influenced by the writings of Karl Marx. In his work he addressed the social and political problems of the Weimar Republic, the outcasts, the condition of the workers and his own precarious existence as an artist. Still the key publication on the artist is „Franz W. Seiwert. Leben und Werk“, written in large parts by Uli Bohnen and published by Kölnischer Kunstverein in 1978. In a very thorough study Bohnen leads the reader through the artist’s different work phases, from his early surrealist/expressionist works over his involvement with Dada to his mature figurative constructivism. At the same the author also paints a portrait of the milieu in which Seiwert moved, the Cologne avant-garde of the 1910s and 1920s, highly political and decidedly left-wing. Seiwert untimely died in in 1933, a long-term consequence of him being contaminated by radiation at the age of seven and an accordingly weakened health.

The catalogue’s major part is made up of his work catalogue comprising 411 paintings, graphic works and sculptures. It is still quite irritating that there’s relatively little literature on Seiwert, let alone exhibitions dedicated to his work, a fact that I would love to see changed in the future since his and his fellow Cologne Progressives’ art provides a very pointed comment on interwar Germany.

[mentaltimetraveller]

Naama Arad and Tchelet Ram, Brainstorming, 2020, 

Detail, Installation view Kölnischer Kunstverein, 2021, Courtesy: the artists, Photo: Mareike Tocha

[jordi-gali]

Artist: John Russell

Exhibition title: Cavapool

Curated by: Nikola Dietrich

Venue: Kölnischer Kunstverein, Cologne, Germany

Date: August 20 – October 16, 2022

Photography: all images copyright and courtesy of the artist and Kölnischer Kunstverein https://artviewer.org/