Blinky Palermo's Wall drawings & Wall Paintings: Line, Colour and Consciousness

Mark Pimlott

Blinky Palermo: drawing and painting on walls

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This essay describes wall drawings and paintings made by German artist Blinky Palermo (born Peter Schwarze, then Peter Hesterkamp 1943 Leipzig; died 1977 Maldives). These works were bound to their architectural conditions, in art galleries, museums, temporary spaces for art or people’s homes. The form of these works, no longer in existence, varied from line drawings tracing architectural features to fields and figures of colour painted directly on walls that made viewers aware of the specific characteristics of environments, altering viewers’ reading of them. The works were made within a practice of painting, and embedded within a phenomenological approach: their engagements with their settings activated those settings and their viewers’ relations to them. Although much has been made of Joseph Beuys’s influence on Palermo (he was a student of Beuys at the Kunstakademie Düsseldorf from 1963-1967), his work proposed a different role for art in society than Beuys: Palermo’s work established his concern with the viewer’s place in the world and accentuated consciousness as a vehicle for engagement therein.

Encounter The first work by Blinky Palermo I encountered was in print; despite the fact that it had long disappeared, it left a powerful impression on me. It was documentation of a figure– –a silhouette or profile––painted on a wall of Konrad Fischer’s narrow art gallery, in Düsseldorf, made in 1970. The figure began at the ground, ascended in a few kinks and stopped near the ceiling, and bore the unmistakable form of a section of a staircase, and more precisely, that portion of a wall that might be painted adjacent a stair in order to conceal the bumps and scuff-marks of thousands of clumsy transits. The form was drawn directly from the ordinary, even banal world, and re-presented in this narrow space. The profile was painted in a flat, undifferentiated ‘non-colour’: a kind of olive grey (Gelbgrau?

Grünbraun? Khakigrau?), the kind of colour reserved for the painting of ‘equipment’ or spaces that are, in their straightforward obligation to function, supposed to be innocuous, invisible or transparent. It had, in fact, been a re-presentation of the lower part of the wall adjacent to the stair of Palermo’s own apartment block, which he had measured and transferred to the wall of the gallery, marking the measured profile out and painting it by hand.1 At the time I saw the work in print (1989-90)2, I was making

1

Anne Rorimer, ‘Blinky Palermo: Objects, Stoffbilder, wall paintings’; in Gloria

Moure, ed. Blinky Palermo (Actar/Macba: Barcelona, 2003): 67 2

Erich Maas, Delano Greenidge, eds, Blinky Palermo 1943-1977 (New York: Delano

Greenidge Editions 1989)

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work that drew upon those ordinary and banal products one would find discarded in the street or in sorry offices of a slightly earlier age, and deployed their characteristic colours: beige, light grey, dull orange; grey-brown. The point of this work was to make that discarded or ignored world that we moved through unconsciously, one that could be consciously engaged with. Broadly, it was (and remains), a project of consciousness, of awareness of being in the world in order to engage with it. I saw this fragment of Palermo’s work––Treppenhaus––as a form of companionship.

Palermo Peter Hesterkamp3 ‘became’ Blinky Palermo while he was studying at the Kunstakademie in Düsseldorf in 1964. Allegedly, according to a fellow student (Anatol), Hesterkamp bore a resemblance to the gangster Blinky Palermo when he wore a hat. He began his studies with Bruno Goller in 1963, but soon moved to the studio of Joseph Beuys. Beuys selected a work of Palermo’s for an important exhibition in 1964, then made him a master student, enabling him to carry on in the studio for an extra year of study, and introduced him to figures who would be central in exhibiting his work thereafter, such as Jürgen Wesseler, René Block, Heiner Friedrich, Franz Dahlem and Konrad Fischer.

The work of Palermo is varied, moving between the conventions of painting, sculpture and site-specific interventions in drawing and painting. His practice, emanating from painting, was posited in an era increasingly influenced by Conceptual and Environmental Art, and frequently confused with both.4 He made abstract drawings, paintings and painterly objects. These could be conventionally rectangular, or strangely shaped: figures that suggested their own incompleteness, or arranged in small groups that activated the space between and around them. These works might be painted variously (or wrapped in fabric) in dull greys, or browns reminiscent of both the non-colours of the banal world and Beuys’s Braunkreuz; or in hard yellows, reds or blues. His drawings featured geometric forms daubed in colour, lines, or intimations of human or animal figures. There were ‘paintings’––Stoffbilder––in two or three tones of subtle colour reminiscent of Brice Marsden’s work, that were not paintings per se but combinations of coloured fabric

3

Maas, Greenidge, op.cit.: (born Peter Schwarze, he was adopted shortly after his

birth) 4

Christine Mehring, Blinky Palermo: Abstraction of an era (New Haven and New York:

Yale University Press, 2008)

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stitched together and pulled over stretchers. There were furthermore, geometric abstract paintings painted in series and in series of series that seemed like inconclusive musical variations (Palermo referred to the ‘sounds’ of his colours).5 All these works can be seen in reality today. But the most intriguing works were those that no longer exist, installations characterised as wall drawings and wall paintings that Palermo made for spaces: for galleries (modest spaces quite unlike the codified corporate showrooms of today),6 museums, off-beat venues dedicated to temporary displays of art, and apartments.

These last works now exist solely in photographs, in the memories of those who had seen and experienced them, as Palermo himself recognised.7 The necessity of a relationship forged between the viewer and these works was essential; they would only exist for the short period of an exhibition, often no more than two or three weeks, or, in the case of those made for private apartments, as long as the occupants who commissioned resided there. Each was made specifically in response to the conditions in which they would be visible; it is perhaps not surprising that the strategies used by Palermo differed from situation to situation. More surprising are the strategies Palermo deployed, quite in sympathy with Palermo’s methods, which were modest, often affecting a kind of banality, invisibility, or even decorative or ornamental quality8 in order to achieve their specific, desired effects. There does not seem to be a programme or a pattern of development to these strategies or their methods; rather, the way they are deployed seem particular to the situations at hand over the course of a rather short period (1969-1973). One sees an unfolding of method (and perhaps concerns) in the series of installations almost yearly at the Kabinett für Aktuelle Kunst in Bremerhaven.

There, one sees line drawings closely related to the basic features of the room; the

5

The series ‘Times of the Day I’ and ‘Times of the Day II’ (1974-75), painted on

aluminium sheet; and ‘To the People of the City of New York (1976-77), the last work made by Palermo before his death.

6

Susanne Küper, ‘About Space and Time: Blinky Palermo’s wall drawings and

paintings’, in Lynne Cooke, Karen Kelly, Barbara Schröder, eds. Blinky Palermo: Retrospective 1964-1977 (New York: Dia Art Foundation, 2010) 7

Mehring, op.cit.: 92: “Palermo stressed the importance of experiencing these works

in person when he stated, “[the work] does not stay in the photograph; its stays only in the memory of someone who actually stood inside.””

8

Mehring, ibid.

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Mark Pimlott

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transfer of architectural figures onto the walls of the space as a kind of sign of the world; and the painting of areas of walls to achieve disorienting spatial, pictorial and experiential effects: features found in the majority of his minor and major wall drawings and paintings.

Line drawings The Kabinett für Aktuelle Kunst in Bremerhaven is a modest space, one of a series of identical street level units in a 1960s building in, with a fully glazed storefront and a simple room, suggesting a partially screened off square. In his first installation of wall drawings there in 1969, Modell (Wandzeichnung mit Musik), Palermo drew lines on the wall with brown oil-stick, conforming to the room’s configuration, each corner articulated by vertical lines drawn by hand from skirting to a vestigial cornice, so that two lines would be distanced from each corner by the measure of a hand’s breadth (his own), whether the angle was acute or obtuse. This measure became standard in Palermo’s pieces (there were over thirty wall paintings and drawings made in all in the period 1969-73) that ‘traced’ the contours of existing architectural features. Modell was accompanied by music by a contemporary composer, playing on a continuous loop on a tape player lying on the floor. Experiencing the work, the viewer was thrown back, and obliged to confront the room’s features rather than any object per se. It was an environment that unfolded as one moved physically and mentally around it. One moved away from any identifiable figure and instead had to deal with a complete situation.

Another version of ‘Modell’ was made for the Galerie René Block in Berlin in April 1969.

The small polygonal room was treated the same way; the pairings of vertical lines around each of the several angles of the room evidently produced the effect of the visual erosion the room’s form, replacing it with the evidently disorienting experience of following the rhythm of irregularly spaced pairs of vertical lines. The effect of this minimal intervention, so closely tied to the features of the space, was an intense experience of the space itself. Several works seemed to take this to a banal extreme, in which the shape of a wall or set of walls in a room would be traced by Palermo, using the measure of the breadth of his hand to draw a line that followed their edges, shifting as necessary to avoid window and door frames, beams, skirtings and so on. The works were bound to the rooms, making aspects of them visible, as some forms of decoration might. An instruction for a work at the Lisson Gallery in London (December, 1970) stipulated “A white wall with a door at anyplace surrounded by a white line of a hands breadth. The wall must have right angles. The definitive form of the line is directed to the

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Mark Pimlott

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form of the wall”.9 There are two drawings accompanying the instruction, suggesting that Palermo had not yet seen the space, and this was a preview to his intentions to the owner Nicholas Logsdail in advance of his work there, which might be seen simply as a delineation of the features of the gallery, and a work whose form was dependent on those very features. In the Darmstadt apartment of Franz Dahlem, one of the gallery owners of Galerie Friedrich und Dahlem (later Galerie Heiner Friedrich) in Munich, Palermo made a work on the same principle on one wall, drawing a line set a hand’s breadth distance from the ceiling, skirting, two walls, a door and an opening to another room (1971). A photograph of the work shows a piece of furniture set against the wall between the door and the opening, partially obscuring the drawing. One must regard this as intentional: the drawing was made for a real space whose features and occupation were to be seen in relation to the drawing. Similarly, in an apartment for Six Friedrich in Munich (1971), Palermo made a work called Grey Angle on the wall of a small room with a window set not quite centrally within it; the other side was home to two small paintings by Gerhard Richter (one of a toilet roll). Palermo painted a grey, L-shaped form aside and under the window, which, inscrutable on its own, clearly balanced the various features and effects of the wall.

Line and colour An installation at Galerie Heiner Friedrich in Munich addressed two opposite walls, with opposing openings (Wandmalerei auf gegenüberliegenden Wänden, 1971). Each wall was given a border set by Palermo’s measure of a hand’s breadth; yet the border of one wall was painted in, while on the opposite wall, the space inscribed by the border was painted, so to produce an ‘opposite’ image of its physical opposite. The colour used on both sides was a shade of ochre seen frequently in Munich baroque buildings. Evidently, Palermo wanted to make a work that was fitted to the city, through the choice of a colour that had character yet was ubiquitous: another non-colour. Clearly, Palermo deployed strategies to bind many things together all at once, and to produce an experience for the viewer in which many effects––the conditions of visibility––could be seen as both contingent and interdependent. Characteristically, he sought to achieve this with almost impoverished means that affected––through the binding of the forms of the wall drawing/painting to the walls of the space; the walls to each other as opposites with

9

Gloria Moure, ed. Blinky Palermo (Actar/Macba: Barcelona, 2003): 169

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Mark Pimlott

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opposite effects and affects; the whole space to the city in which it is situated––the viewer’s consciousness of their place in the world. The phenomenological programme of Palermo’s work, which places the viewer firmly in the midst of the work and its tensions, was made particularly clear here. As though a reinforcement of this, another version of the installation in Köln branch of the Galerie Heiner Friedrich was made later in 1971, wherein four sides of a room were painted ‘München Ochre’ with white hand-breadth borders at the corners, floors, ceilings, door and window frames, with the sculpted heads of Blinky Palermo and Gerhard Richter on tall plinths facing each other, each figure somehow mirroring the other, opposite. All the effects of the previous installation were focused here to produce an even more acutely charged environment. Yet the sculptures of Richter highlighted an unavoidable characteristic of Palermo’s work, namely its decorative aspect. This accusation had been leveled at him indirectly in criticism, wherein his work was described as mere wandmalerei10 (an equivalent to the work of a housepainter), worsened by his apparently artless technique, painting with a brush instead of a roller (yet not as skillfully as an artist).

The decorative tendency could be found in such works as his installation in the great room of the Kunsthalle in Baden-Baden (1970), in which he painted a band of blue directly under the frieze around the entire space; and his installation for the College of Art in Edinburgh (1971), in which he painted each side of a part of the frieze of the classically-designed staircase in different colours (red, blue, yellow and white); and this installation, the viewer ascending or descending the staircase saw the work high above change. Being in the space involved turning and facing different directions, and so the work apparently changed its nature with each aspect this movement, or followed it. The ‘decorative scheme’ disturbed the experience of the space precisely by rendering its formal organization and its specific characteristics visually and physically palpable through its extremely economic means. The colours of this interruption were banal on two levels of understanding: The red, yellow, blue and white were the clichés of De Stijl; they were also the colours of the College necktie. Again, the colours were ‘non-colours’, signs borrowed from the world of art and the effects of convention. In the case of the Kunsthalle installation, the hand-painted band of blue beneath the cornice and frieze, apparently ‘borrowed’ from the decorative schema of the painterly neo-classical

10

Mehring, ibid.

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Mark Pimlott

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Thorvaldsen Museum in Copenhagen––designed by Michael Gottlieb Bindesbøll (183848)––was described as ‘kitsch’ by critics; yet this band, a border to the frieze or the wall beneath, also bound the room together, making the room a far more potent setting than in its habitual use, where it disappears and is even rendered ineffective. Palermo made the room visible and completely available as a phenomenon to its viewers. To do so, Palermo again absents himself, making his work for the purpose of stimulating the viewer’s consciousness. That consciousness is not attained through illusion or spectacle, as in the work of other renowned artists concerned with the limits of perception,11 but through ‘banal’ reality.

Palermo proposed more intense experience through subtle gestures that caused experience to be questioned. In another installation for the Kabinett für Aktuelle Kunst in Bremerhaven (1971-72), he painted the lower two-thirds of the walls of the gallery ‘mild grey’, to a height slightly over two metres. From the street, where the glass front operated like a picture window to the interior, the impression of this Wandmalerei was one of flatness: Palermo’s drawing shows only the subtlest indication of the datum crossing the room, which appears as a slightly high and distorted horizon. As executed, the work hardly seemed to be there at all (it was an interior painted as though a waiting room or a betting shop), and, because of the situation conditioned by the ‘picture’ window of the storefront, one seemed to be looking into a particularly flat picture, not a real space. Inside, however, the grey paint created an intense, sombre atmosphere. Again, Palermo used banal means to effect consciousness, whose object was difficult to ascertain. One might speculate on the dull quality of this work as a contrasting figure to the liberating utopia that contemporary art seemed to suggest––and one calls the project assigned to art and artists, particularly by Beuys. This work, and another wall painting produced a few months later for Documenta 5 in Kassel, seemed to point to the risks in consciousness. Documenta 5, curated by Harald Szeeman, featured artists prominent in environmental and conceptual art. In perhaps the most controversial edition of the exhibition, conceived as a continuously unfolding event of happenings, political actions and contributions by artists, architects and other ‘outsiders’, Joseph Beuys planted one thousand oak trees, Haus-Rucker-Co. hung a bubble off the façade of the Museum

11

One notes the contemporary work of other dematerialising, ‘environmental’

artists such as James Turrell, Robert Irwin, or Doug Wheeler. See Christopher Knight, Art of the Sixties and Seventies: the Panza Collection (New York: Rizzoli, 1986) Saturated Space May 2015

Mark Pimlott

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Fridericanium, and in a staircase of the museum (not the main staircase, but a service stair), Palermo made a contribution with a wall painting, entitled Wandmalerei (wall painting). Typically, perhaps, Palermo’s work embraced a space that was transitional and not supposed to be visible. The wall was at a landing in the vertical space between the ground and first floor, painted from the floor to a height just below the ceiling in a bright orange rust-prevention undercoat (again, a colour that was a received and therefore ‘non-colour’). The work could only be seen in movement, either from below, ascending or from above, descending. Its form changed upon approach and immersive as one arrived at the landing. The colour was not merely the painting of the end wall; it stopped short of the ceiling so that it might be read as an orange shape painted on the wall12; a painting, a rather old-fashioned artefact in the context of the other ‘radical’ work in the exhibition. The work appeared and certainly affected the space and its viewers; it was wall decoration yet painting; its colour was banal yet jarring; the colour also happened to be the colour of the catalogue and poster designed by Ed Ruscha (the lettering of Documenta 5 formed by ants). It was an ‘environmental’ work that threatened to collapse into the condition of decoration, or worse, the condition of publicity. Yet the work seemed to straddle these conditions intentionally, precisely so that they might become evident, to cause unease and further consideration, and embody the risk of ‘being in the world’. The kind of visibility proposed by Palermo was immersive, but not in the order of either environmental or perceptual practices of the time or the colour-field painting (exemplified, perhaps, by Barnett Newman) that preceded them. Colour, in this instance, seemed to be the vehicle for everyday yet profound consciousness.

A work made for the Hamburger Kunstverein in 1973 proved to be the endgame of this direction, and indeed was the last wall painting––Wandmalerei und -zeichnung––made

by Palermo: here, existing freestanding walls designed for the exhibition of paintings were painted from skirting to top and from edge to edge in a flat rust brown––again, a colour associated with protective undercoating similar to Beuys’s Braunkreuz. The walls for exhibition became the painting itself, a painting-sculpture commanding the entire exhibition space. The object was impossible to perceive in its totality in one view, with the exception of a plan, which appeared in the form of a drawing on a wall adjacent to it; one had to walk around it. Palermo’s ‘gesture’––consistent with his various approaches to wall drawing and wall painting––was considered a step too far by critics within the

12

Mehring, ibid.: 101 Saturated Space May 2015

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Kunstverein: it was at once too extreme and too boring, and as a consequence, the exhibition was closed after six days.

Figures I will conclude as I began, with installations in which architectural figures, drawn from everyday experience, appear or are re-presented in the exhibition space. At the end of 1970 in the Kabinett für Aktuelle Kunst, Blinky Palermo painted a silhouette of the gallery’s storefront window, measured and reduced slightly in size, on the wall perpendicular to the window. The window was plainly represented, turned away from its model and offered as an image and a Double. Although it has been said that some viewers were not even aware of the work, Fenster I, when standing right in front of it,13 Palermo had led the viewer again to a point at which ordinary conditions are both reinforced and called into question. A similar installation was made in a temporary exhibition space in an underground passage in Munich a few months later: the window to the space was measured, and painted at a slightly reduced size as a silhouetted figure on a wall perpendicular to the window. This Fenster II was produced following an identical strategy to the Bremerhaven installation; a Double of the previous Double; a repetition––or a ‘stamp’ in the words of Palermo––that begat a similar, yet unique event, wherein the space bore an image of itself. In these works, those elements that act as vehicles for our apprehension of the world––often intended to be invisible by design––become evident, and remind the viewer of their presence, their agency, their place in the life of the viewer, and the viewer’s place in the world. As in the

Treppenhaus installation at Galerie Konrad Fischer––which featured the profile of the painted wall of Palermo’s apartment building stair––and the wall drawings that appended themselves to existing features and configurations of rooms, Palermo used the trace, the silhouette, the mirror or memory of already present realities to make the viewer see the environment and his place within it.

Colour The role of colour within these installations is of particular significance: rather than being

13

Susanne Küper, ‘About Space and Time: Blinky Palermo’s wall drawings and

paintings’, in Lynne Cooke, Karen Kelly, Barbara Schröder, eds. Blinky Palermo: Retrospective 1964-1977 (New York: Dia Art Foundation, 2010)

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used as a strictly decorative or disruptive element that calls attention to itself or brings out the forms of architecture, Palermo deploys colour to make events other than itself visible, even when that colour is as strident as the orange undercoating at the Museum Fridericanium in Kassel or the München Ochre of the installations devised for Galerie Heiner Friedrich with Gerhard Richter; as codified as the colours of the frieze at the College of Art in Edinburgh; as kitsch as the frieze-bound datum at the Kunsthalle in Baden-Baden; or as ordinary as the mild grey walls at Bremerhaven or the olive grey Treppenhaus in Düsseldorf. Colour is used to make the conditions of the work of art and the conditions of daily life visible, all to effect and achieve a heightened consciousness in the viewer, who is regarded as a person in the real, banal, and beautiful world.

The Hague, May 2015

Bibliography/ references Franz Dahlem, ‘Articles in uncharted territory’; Evelyn Weiss, ‘Blinky Palermo’; Max Wechsler, ‘Palermo’, in Erich Maas, Delano Greenidge, eds, Blinky Palermo 1943-1977 (New York: Delano Greenidge Editions 1989)

Gloria Moure, ‘Blinky Palermo or the vitality of abstraction’; Anne Rorimer, ‘Blinky Palermo: Objects, Stoffbilder, wall paintings’; Ángel González García, ‘How to Show Pictures to a Dead Artist’, in Gloria Moure, ed. Blinky Palermo (Actar/Macba: Barcelona, 2003)

Christine Mehring, Blinky Palermo: Abstraction of an era (New Haven and New York: Yale University Press, 2008)

Susanne Küper, ‘About Space and Time: Blinky Palermo’s wall drawings and paintings’, in Lynne Cooke, Karen Kelly, Barbara Schröder, eds. Blinky Palermo: Retrospective 19641977 (New York: Dia Art Foundation, 2010)

Christopher Knight, Art of the Sixties and Seventies: the Panza Collection (New York: Rizzoli, 1986)

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Mark Pimlott, ‘Colour or architecture’, in Susanne Komossa ed. Colour in Contemporary Architecture (Rotterdam: 010 publishers, 2009)

Mark Pimlott, ‘Natural Antagonism: notes on colour in architecture’, in Edward Whitakker, Alex Landrum, eds. Painting with Architecture in Mind (Bath: Wunderkammer Press 2012)

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Illustrations All illustrations are taken from Erich Maas, Delano Greenidge, eds, Blinky Palermo 19431977 (New York: Delano Greenidge Editions 1989)

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Blinky Palermo, Treppenhaus, Galerie Konrad Fischer, D端sseldorf 1970. Photograph Erika Fischer

Blinky Palermo, Modell (Wandzeichnung mit Musik), Kabinett f端r Aktuelle Kunst, Bremerhaven, 1969. Photograph J端rgen Wesseler

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Blinky Palermo, Wandmalerei auf gegenüberliegenden Wänden, Galerie Heiner Friedrich Munich, 1971. Photograph Galerie Heiner Friedrich; Städtisches Kunstmuseum Bonn

Blinky Palermo, Wandmalerei auf gegenüberliegenden Wänden, Galerie Heiner Friedrich Munich, 1971. Photograph Galerie Heiner Friedrich; Städtisches Kunstmuseum Bonn

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Mark Pimlott

Blinky Palermo: drawing and painting on walls

Blinky Palermo, Wandmalerei von Palermo/ Skulpturen von Gerhard Richter, Galerie Heiner Friedrich, KĂśln, 1971. Photograph Erika Fischer

Blinky Palermo, Wandmalerei im groĂ&#x;en Saal der Kunsthalle, Kunsthalle Baden-Baden, 1970. Photograph Erika Fischer

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Mark Pimlott

Blinky Palermo: drawing and painting on walls

Michael Gottlieb Bindesbøll, Thorvaldsen Museum, Copenhagen, 1838-48.

Photograph © Mark Pimlott

Blinky Palermo, Wandmalerei, Kabinett für Aktuelle Kunst, Bremerhaven 1971-72.

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Mark Pimlott

Blinky Palermo: drawing and painting on walls

Photograph J端rgen Wesseler

Blinky Palermo, Wandmalerei, Museum Fridericanium, Kassel, 1972. Photograph Erika Fischer

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Blinky Palermo, Wandmalerei und -zeichnung, Hamburger Kunstverein, Hamburg, 1973.

Photograph Rolf Dieter Best

Blinky Palermo, Fenster I, Kabinett f端r Aktuelle Kunst, Bremerhaven 1970-71. Photograph

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Blinky Palermo: drawing and painting on walls

Jürgen Wesseler

Blinky Palermo, Fenster II, Walkway Maximilianstraße, Munich 1971. Städtisches Kunstmuseum, Bonn

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