ANDY DENZLER
BETWEEN HERE AND THERE
PREFACE Realism and abstraction, immobility and motion, softness and violence, control and abandonment: the aesthetic and unsettling nature of Swiss painter and sculptor Andy Denzler’s work lies in ambivalence and paradox, an art practiced like a choreography in several acts. Denzler expresses realism and immobility as he works from photographs that he takes himself. He uses photos of landscapes, portraits of people he knows, mirroring sequences of everyday life in its simplicity. The artist also expresses control as he starts by faithfully using his own photography as a draft to paint on canvas or on paper with impasto oil. He then softens the painting by delicately distorting the image, with the colours he uses and the precision of his paintbrush. Lastly, his art is motion, violence and abandonment as he eventually disturbs and injures the unity of the medium and the paint texture with a palette knife or a spatula. It is then up to the viewer to redefine the image which grazes abstraction. He follows this same path to create his bronze sculptures. In his new series Between Here and There, Andy Denzler explores the romantic idea of an artist’s existence in the urban environment: a creative mind surrounded by the decay of buildings, a search for identity within the fastpaced world. Andy Denzler is a Swiss artist born in 1965 who lives and works in Zurich. His work has been exhibited in galleries and museums in Europe, the United States and Asia. They are part of prestigious private and public collections such as the Ludwig Museum in Koblenz, the Credit Suisse or the Burger Collection in Hong Kong. Opera Gallery London is delighted to invite you to discover the fascinating and unsettling work of this outstanding artist.
GILLES DYAN Chairman Opera Gallery Group
JEAN-DAVID MALAT Director Opera Gallery London
INTRODUCTION Andy Denzler (born1965, Zurich, Switzerland, lives and works in Zurich) has created a new series of oil paintings on canvas for his London solo exhibition entitled Between Here and There. The paintings are about young urban creatives living and working internationally friends and associates of the artist such as actors, artists and models pursuing the urban dream.The paintings are about the romantic idea of a creative existence in a city or town. People surrounded by the decay of buildings with peeling wallpaper symbolic of a transitory way of living.Young artists captured during the search for their own identity in a fast-paced world. These are restless youth, thrown back and forth between here and there, captured in an intimate moment. The subjects of his paintings are seen in settings like hotels or their own private universe between rural and suburban life. These are people who live away from perfectionism and highgloss aesthetics of the modern world. Denzler paints these figures and scenes in panoramic format. The idea of the figures being young urban creatives permeates his painterly settings and retains a freshness that transcends simple mimesis or verbatim copying of an image to canvas. Utilizing his personal history and technical expertise to full effect, Denzler integrates knowledge from a new media and computer graphics
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background and colors inspired by old dusty polaroids and an interest in the abstract expressionist movement of the 1950s. Denzler has found his own path away from the abstract expressionist’s colors but his brushwork has retained an expressionist edge. Rich browns and grays inhabit his color schemes, enhancing the transparencies and textures of these layered works. Never dull, his naturalistic palette is similar to the colors used in his earlier pure abstractions, but the energetic treatment of painterly surfaces is not an entirely abstract experience for Denzler. He often plays with the psychological effects of time and space as it pertains to photography’s capturing of reality. “Time is of the essence of my process and content in my paintings.” Denzler says. The trace of time is evident and the paintings are layered, broken, blurred, distorted and scraped in different ways in real time whilst retaining a ghost of the original source image. Denzler takes photos before selecting which to use for the paintings. His photos could easily stand-alone as works of photographic art but these images are used primarily as images for the paintings. Denzler’s paintings are born of these photos but through working the paintings in specific ways, his images are
radically transformed into layers of paint. Part of this transformation is how Denzler’s visual logic is worked into his imagery and with what force. He reminds the viewer through layer and brushstroke, of how older technology like an old VCR tape image, or interference from a satellite video signal or the non-digital television monitors of an earlier era would deliver images to the eye. This idea of broken visual signals is expressed through his treatment of surface and his expression of imagery passing through the window of time. “Taking and composing photos opens up possibilities to engage with mass media.” Denzler says. His own source materials are of contemporary figures in modern settings yet treated with his specific approach to photographing a model in a setting. Photography also played an important role in the production of pop art – a historical link that Denzler has not overlooked. The pop sensibility Denzler touches upon when swiping, blurring or texturing a painting brings his work closer to the pop art realm but his color sense betrays the candy colors associated with pop. Denzler’s sculptures have the feeling of something very modern but through his process of adding distortion and motion to the forms they become frozen in time
like figures from Pompeii pushed, pulled and distorted by circumstance – it is the combination of something very modern yet ancient. One of Denzler’s sculptures portrays a standing female figure holding a smartphone in her hand, as one would do when taking a digital photo. This gesture of common photo taking is relevant to our times as every person holds a digital camera in their smartphone – a new human gesture has become eternal. In this way Denzler is dealing with the everyday and the ordinary – a routine or gesture society has added to its lexicon. In Andy Denzler’s work there is a rippling effect and deliberate distortion that runs through the sculptures and the paintings – a certain electricity. A three dimensional logic is at work that transcends the surface texture and glitch. These breaks in the image have an association to digital imagery and magnetic forces but in our age digital media transmits a normally flawless signal. Indeed the act of looking at something with the human eye is usually free of these interruptions in signal. It is a way of reminding the viewer that reality can be seen through alternate delivery systems and alternate lenses. NOAH BECKER
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MILANO INTERIOR III, 2015 Oil on canvas 180 x 150 cm - 70.9 x 59.1 in. 8
I WAS THINKING A LITTLE ABOUT THE FUTURE, 2015 Oil on canvas 140 x 120 cm - 55.1 x 47.2 in. 10
THE STUDIO, 2015 Oil on canvas 140 x 120 cm - 55.1 x 47.2 in. 12
MILANO INTERIOR II, 2014 Oil on canvas 140 x 120 cm - 55.1 x 47.2 in. 14
OSAKA 6, 2015 Oil on canvas 180 x 150 cm - 70.9 x 59.1 in. 16
ARTHUR’S PLACE, 2015 Oil on canvas 180 x 150 cm - 70.9 x 59.1 in. 18
DISTORTED WINDOW, 2015 Oil on canvas 140 x 120 cm - 55.1 x 47.2 in. 20
BETWEEN HERE AND THERE I, 2016 Oil on canvas 150 x 180 cm – 59.1 x 70.9 in. 22
HIDING II, 2015 Oil on canvas 120 x 140 cm - 47.2 x 55.1 in. 24
FASHION NURSE, 2016 Oil on canvas 180 x 150 cm - 70.9 x 59.1 in. 26
NOVEMBER, 2015 Oil on canvas 140 x 120 cm - 55.1 x 47.2 in. 28
WOMAN SITTING ON A WILDFLOWER CHAIR, 2015 Oil on canvas 180 x 150 cm - 70.9 x 59.1 in. 30
DEVOTED, 2015 Oil on canvas 50 x 60 cm - 19.7 x 23.6 in. 32
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LIQUID BEDROOM, 2016 Oil on canvas 180 x 300 cm - 70.9 x 118.1 in.
MILANO INTERIOR IV, 2015 Oil on canvas 180 x 150 cm - 70.9 x 59.1 in. 34
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LUBIE VIII, 2014 Oil on canvas 150 x 180 cm - 59.1 x 70.9 in. 38
GIRL PLAYS WITH HER HAIR, 2016 Oil on canvas 140 x 120 cm - 55.1 x 47.2 in. 40
GIRL IN A LEATHER CHAIR, 2015 Oil on canvas 140 x 120 cm - 55.1 x 47.2 in. 42
SOLITARY VICE, 2016 Oil on canvas 180 x 150 cm - 70.9 x 59.1 in. 44
GIRL IN THE STUDIO II, 2015 Oil on canvas 140 x 120 cm - 55.1 x 47.2 in. 46
FLASH GIRL, 2016 Oil on canvas 180 x 150 cm - 70.9 x 59.1 in. 49
MOMENTS OF THE PAST, 2014 Oil on canvas 120 x 140 cm - 47.2 x 55.1 in. 50
TRYING TO REMEMBER, 2015 Oil on canvas 120 x 140 cm - 47.2 x 55.1 in. 52
HYBRIDIZED, 2014 Oil on canvas 120 x 140 cm - 47.2 x 55.1 in. 54
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BLACK STONE ISLAND, 2015 Oil on canvas 200 x 300 cm – 78.7 x 118.1 in.
TONIGHT I CAN ALMOST HEAR THE SINGING, 2014 Oil on canvas 120 x 140 cm - 47.2 x 55.1 in. 56
BLACK WATER IV, 2016 Oil on canvas 180 x 150 cm - 70.9 x 59.1 in. 60
DISSOLVING COASTLINE, 2015 Oil on canvas 180 x 150 cm - 70.9 x 59.1 in. 62
PHOTO FRAME PAINTING 17, 2015 Oil on cardboard 70 x 80 cm - 27.6 x 31.5 in. 64
PHOTO FRAME PAINTING 13, 2015 Oil on canvas 180 x 150 cm - 70.9 x 59.1 in. 66
PHOTO FRAME PAINTING 14, 2015 Oil on canvas 180 x 150 cm - 70.9 x 59.1 in. 68
BRONZE SCULPTURES
LIQUID WALKING WOMAN, 2016 Bronze, edition of 3 + 2 AP 200 x 78 x 72 cm - 78.7 x 30.7 x 28.3 in. 74
SELFIE, 2016 Bronze, edition of 3 + 2 AP 200 x 69 x 57 cm - 78.7 x 27.2 x 22.4 in. 78
BUST I, 2015 Bronze, edition of 6 + 2 AP 28 x 24 x 16 cm - 11 x 9.4 x 6.3 in. 80
BIOGRAPHY 1965
Born in Zurich Lives and works in Zurich
EDUCATION
1981
Kunstgewerbeschule, Zurich
1999
F&F Schule fĂźr Gestaltung Zurich University of California, Los Angeles
2000
Art Center of Design, Pasadena
2006
Master of Fine Arts, Chelsea College of Art and Design, London
BIENNIALS
2016
Not New Now, Marrakech Biennale 6, Marrakech
2015
Memory and Dream, 6th Beijing International Art Biennale, Beijing
SELECTED SOLO EXHIBITIONS
2016
Between Here and There, Opera Gallery, London
2015
Breakfast with VelĂĄzquez, schultz contemporary, Berlin Just Another Day in Paradise, Brotkunsthalle, Vienna Sequences, Opera Gallery, Geneva Figures & Interiors, Ludwiggalerie Schloss, Oberhausen
2014
Distorted Moments, Ludwig Museum, Koblenz The Forgotten Palace, Budapest Art Factory, Budapest Under my Skin, Fabian & Claude Walter Galerie, Zurich Between the Fragments, Claire Oliver Gallery, New York
2013
Empire Inc., Kunsthalle Rostock, Rostock
2012
Interior / Exterior, Michael Schultz Gallery, Berlin The Sounds of Silence and Distortion, Claire Oliver Gallery, New York Shifting Landscapes, Kunsthalle Dresden, Dresden Disturbia, Michael Schultz Gallery, Seoul Developing Landscapes, Gwangju Museum of Art, Gwangju
2011
Dissonance & Contemplation, Claire Oliver Gallery, New York Freeze Frame, Michael Schultz Gallery, Seoul Interiors, Fabian & Claude Walter Galerie, Zurich 83
2010 2008
The Human Nature Project, schultz contemporary, Berlin
Future50 PSL, Project Space, Leeds
Distorted Fragments, Art + Art Gallery, Moscow
Kapellmeister Pulls A Doozy, Seven Seven, London
Shortcuts, Fabian & Claude Walter Galerie, Zurich
Unnatural Habitats, Flowers East, London
A Day at the Shore, Ruth Bachofner Gallery, Los Angeles 2006
2008
2007
Kindheit, Museum Rohnerhaus, Lauterach
Insomnia, Galeria Filomena Soares, Lisbon
Anticipation, One One One, London
Fusion Paintings, Ruth Bachofner Gallery, Los Angeles
Flora Fairbairn Projects
Moon Safari, Chelsea College, University of the Arts, London
Dorian Gray Project, John Jones, London
2005
American Paintings, Kashya Hildebrand, New York
2005
2004
Blur Motion Abstracts, Ruth Bachofner Gallery, Los Angeles
GRANTS / AWARDS
2002
White Paintings, Ruth Bachofner Gallery, Los Angeles
Summer Exhibition, Ruth Bachofner Gallery, Los Angeles
2014
International Artist Residency, Art Factory, Budapest
SELECTED GROUP EXHIBITIONS
1997
Ernst Gรถhner Stiftung, Zug
2016
Something, Berry Campbell, New York
1996
Cassinelli-Vogel-Stiftung, Zurich
2015
Dancer in the Dark, schultz contemporary, Berlin
2014
WildHeart: Exhibition of German Neo-Expressionism Since the 1960s, China Art Museum, Shanghai IN&OUT Source, Art Museum of Nanjing, University of the Arts, Nanjing
2013
Obscure, Fabian & Claude Walter Galerie, Villa Renata, Basel salondergegenwart, Hamburg Bosporus Brake, BAP Galleri, Istanbul
Erziehungsdirektion des Kantons, Zurich PROJECTS
2008
Future50 PSL, Project Space, Leeds, curated by Ceri Hand and Liz Aston
2007
Dorian Gray Project: Happy Days at John Jones Project Space, London Anticipation, One One One, London, curated by Flora Fairbairn, Kay Saatchi and Catriona Warren
o. T., World Art Museum, Beijing Infinity - Neoexpressionism / Contemporary Art, Zhan Zhou International Cultural and Creative Industry Park, Beijing 2012
Beyond Bling, Claire Oliver Gallery, New York Abgrund und Pathos, schultz contemporary, Berlin Beyond the Paramount, Galerie Michael Janssen, Berlin
2011
10-20-10, Claire Oliver Gallery, New York
2010
Silly Gooses Live in The Dark, UF 6 Projects, Berlin The Big World, Fabian + Claude Walter Galerie, Zurich
2009
Nursery Rhymes, Flowers East, London The Beautiful Painting Show, Fabian & Claude Walter Galerie, Zurich The Lure and The Seducer, Christoffer Egelund Gallery, Copenhagen White Show, Ruth Bachofner Gallery, Los Angeles
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BIBLIOGRAPHY 2016
Noah Becker: Between Here and There, White Hot Magazine, May
2015
Christoph Tannert: The Granular Surfaces of Painting, schultz contemporary, Berlin, November
Violet Shuraka: Interview Cheap & Plastic, November
Andreas Reusch: Figures & Interiors: Die Störung des klaren Blickes, Schraege-O.de, June
Margherita Dessanay: Cinematic Paintings, Elephant Magazine No. 6
Andrea Micke: Bildstörung in der Ludwiggalerie Neue Kunstverein Ausstellung, WAZ, May
Jolijn Snijders: Interview, ILOVEFAKE Magazine, September
Sasha Graybosh: Risk is Central to the Concept of Adventure, Canteen, May
Richard Warren: Interview and Trends Scope, Identity Magazine, September
Karin Dubert: Verzerrte Momente, Wochen Anzeiger Oberhausen, May
Book Review: Mensch, The Human Nature Project, artensuite, August
Daniele Giustolisi: Andy Denzler in der Ludwiggalerie im Schloss Oberhausen, May
Simone Toellner: Interview, Untitled Magazine, July
Susanne Braun: Distorted Moments, Portal Kunstgeschichte, January
Nadine Brüggebors: The Human Nature Project, Monograph, Hatje Cantz, March
2014
Ildegarda Scheidegger: Distorted Moments, Ludwig Museum, December
2011
2010
Neue Maler bei Michael Schultz, Berliner Woche, August
Marcus Schwarze: Die Ichs auf der Suche nach dem Wir, Rhein-Zeitung, November
Gerhard Charles Rump: Erzählt, gemalt, verwischt: Andy Denzler in Berlin, Die Welt, 31.7.
Kristell Pfeifer: 100 Miradas, Arte Al Límite Art Magazine, November
Florence Ritter: Distorted Fragments, Kinki Magazine No. 27
Fernando Galan: The Forgotten Palace, art.es Project 50, September
2009
Leonie Schilling: Brush Strokes of Movements, Art Global Allimite, No. 38
Jennifer Walker: Swiss Painter Steps into Light for Residency, Budapest Times, May
2008
PSL (Project Space Leeds) and Axis by curator Ceri Hand and Liz Aston: Future50 the Most Interesting and Significant UK Artists of 2008 Noah Becker: Interview, White Hot Magazin Vol. 1
Nick Cain: Interview, Rough Italia, November
Claudia Porchet: Entrückte Figuren in einer flüchtigen Welt, Tages Anzeiger
Naoto Miyazaki: Interview, Montem Magazin, December
Dr. Ulrike Fuchs: Short Cuts, Art Profil, No. 5
Nichelle Cole: Fetish for Andy Denzler, Rough Italia Magazine
Trevor Guthrie: Interview, White Hot Magazine Online
Billy Rood: Terrestrial Transmission, Glitch Paintings by Andy Denzler, FIFTY8 Magazine, December Ulrich Ptak: Interview, Dontpostme Magazine, October Michael Meyer: Serien des Menschlichen, Ostsee Zeitung, May
Dr. Ulrike Fuchs: People in Motion, Palette, No. 4 2007
Galerie von Braunbehrens (catalogue) NYARTS Magazine, January
Lin Urman: Interview, hDL Magazine, March Ulrich Ptak: Glitch Paintings, Kunsthalle Rostock, March
Art Scene: A Day at the Shore 2006
Chritsine Gorve: Interview, Liveoutloud Magazine, January
Douglas Lewis (curator): Space Between, University of the Arts London, Autumn Edition Lewis H. Lapham: “The case for impeachment, why we can no longer afford George W. Bush”, Harper’s, US Magazine, March, 2nd print in October (illustrated by A. Denzler)
Ingeborg Ruthe: Die Unnahbare, Berliner Zeitung, December
Tages-Anzeiger, Zueritipp, Ausstellungen, February
Emanuela Amato: Sacrifice, Line Virtual Magazine, February
Motion Pictures, Art Investor Magazine, September
2005
Anne C. Holmes: We Can Never Stake a Claim on Another Body, Dapper Dan Magazine, Fall
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João Silvério: Insomnia Hans-Joachim Müller: Letting it appear
Juliane Hinz: Zeitgenössische Kunst dreimal anders, Norddeutsche Neuste Nachrichten, May
2012
Russian, Esquire Magazine, November
Carola Hartlieb-Kühn: Andy Denzler Distorted Moments, art-in.de, November
Marc Valli and Margherita Dessanay: A Brush with the Real: Figurative Painting Today, Laurence King Publishing Ltd., March 2013
Der Kunstmaler, FELD100 Magazine, December
Anni Dore: Culture Vulture, Cream Magazine, September Martin Kraft: American Paintings, Gallery Kashya Hildebrand (catalogue)
Margherita Visentini: Interview, Trendland, September
2004
Philip Meier: Kultur, Neue Zürcher Zeitung, September
JL Schnabel: The Art of Andy Denzler, Hi-Fructose Magazine, January
2003
Barbara Handke: Tages Anzeiger, February 87
Coordinators: Jean-David Malat, Jordan Lahmi, Florie-Anne Mondoloni Authors: Noah Becker Designer: Élisabeth Chardin Photography: Studio Andy Denzler Printers: Relais Graphique
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