KARLSRUHE PEOPLE.MARKET.ART.
International Fair for Classic Modern and Contemporary Art 18 – 21 February 2016
Thirteenth art KARLSRUHE presenting 210 gallery owners from 13 countries
Between the poles of classic modern and contemporary art The Cologne gallery owner Burkhard Arnold of in focus gallery praises “the spacious and airy halls, the outstanding atmosphere”. His Frankfurt colleague Peter Femfert is impressed with “the professional organisation of the art fair”. Hans Maulberger of Munich, also one of art KARLSRUHE’s longstanding exhibitors, is always amazed how well he, the specialist for Zero and Informel, sells in Karlsruhe: “It’s been more than satisfactory, from the very first time we took part.”
Rainer M. Ludorf, dealer from Duesseldorf: „Numerous, even young and open-minded, collectors buy art in Karlsruhe and not in Basle or Cologne.“
A glimpse into the exhibition halls, art KARLSRUHE 2015 | Photo: KMK/Jürgen Rösner
Therefore, it’s no wonder that art KARLSRUHE, since it was founded in 2004, has been one of the art fairs that sets itself apart from others with a high degree of exhibitor loyalty. Year after year they return, gallery owners from Germany, France, Switzerland, and many neighbouring countries, to meet their collectors here, home to the ZKM and outstanding museums. Their presence attracts a total of some 50,000 visitors who then take a leisurely stroll from one to another through the four halls of the complex. And so the trade fair director Britta Wirtz, the curator Ewald Karl Schrade, and the seven-strong advisory council ensure that a great deal is offered in terms of quality without detracting from a relaxed atmosphere in well-arranged and generously-proportioned exhibition halls. Good lighting, wide aisles, rest and refreshment areas – the feel-good art fair, ideal for talking shop as well as lightsome art acquisition.
From 18 to 21 February 2016 (opening: 17 February), 210 gallery owners from 13 countries will be presenting artwork under the slogan “People. Market. Art”. Many of them are familiar exhibitors at art KARLSRUHE, though there’ll be no shortage of newcomers such as the internationally acclaimed Utermann (Dortmund, classic modern) and Meyer Riegger (Karlsruhe/Berlin, contemporary art) galleries. Britta Wirtz says, “Our motto is: grow stronger in contemporaries, stay strong in classic modern.”
Every fourth gallery from abroad Foreign galleries also emerged in greater numbers from the application procedure for art KARLSRUHE 2016. The event’s advisory council has approved a total of 51 dealers, amongst them Chiefs & Spirits (Den Haag), Esnol (Paris), Gilden’s Art (London), Victor Lope (Barcelona), Nuova Galleria Morone (Milan), Van Der Planken (Antwerp), and Várfok (Budapest) – so every fourth gallery comes from outside Germany. Thanks to the list of exhibitors, Ewald Karl Schrade can, of course, cover the whole spectrum of over 100 years of art. From classic expressionism to the latest movements in contemporary art and from representational, figurative positions through to concrete painting and sculpture: nothing’s missing.
Britta Wirtz, trade-fair director | Photo: KMK / Jürgen Rösner
Ewald Karl Schrade, art Karlsruhe curator and project manager | Photo: KMK / Jürgen Rösner
Trade fair director Britta Wirtz on contemporary art
Curator Ewald Karl Schrade on classic modern art
In touch with the latest trends
Looking back to look ahead
Of course we are shaped by world affairs. Conversation in family circles, amongst friends, and at work is dominated by the latest news about the international trouble spots. Here, art can create a new awareness as the most sensitive seismograph for social changes. It’s not about illustrating war and peace or life and death.
As a gallery owner who mostly deals with contemporary and classic modern art, I have always said that the latest creations can only be seen in connection with their historical predecessors.
Instead, the artists’ role is to interpret existential issues, to develop them on other levels. New artistic approaches lead to insights that release fresh energy, give hope. It’s this that makes the examination of contemporary art so fascinating, at art KARLSRUHE too.
„Selected positions reflect our present day form different perspectives“ Art as a veritable source of energy, as a barometer of public opinion in an age of constant change. While media makers must take the news of the day as it comes, artists can tackle the issues of our time and provide answers of a non-verbal kind as well. Pictorial language can be understood internationally. This fact alone allows us to remain optimistic and look ahead with confidence at the thirteenth art KARLSRUHE. What the exhibitors have announced bears witness to artistic stances that are dedicated to the spirit of the age without succumbing to it. With this in mind, we can eagerly anticipate selected positions that reflect our present day from completely different perspectives. I’d like to draw particular attention to the dm arena with its focus on contemporary art and featuring numerous works, inviting you to discover current references.
As an art fair organiser, it was therefore important to me from the start to show more than what is brought into being in today’s ateliers. This is why we designed art KARLSRUHE as a fair covering contemporary as well as classic modern art. The four halls of the Karlsruhe Messe- und Kongress-GmbH are ideal for presenting a whole century of art history, namely the 20th century, and of course for documenting what is happening in this still young 21st century at the same time.
„Putting works from different periods in juxtaposition upgrades this centre of the art trade“ I know that this mix of contemporary art and classic modern art was eyed warily by some in the initial phase of the event. With the wisdom of hindsight, however, everyone I talk to about art KARLSRUHE says it was definitely the right way to go. The encounter between the works of completely different periods of origin makes sense and doubtlessly adds value to this centre of art. “Looking back to look ahead,” was how I put it recently when the question arose as to how the art fair’s two mainstays relate to one another. To me, knowing what used to be seems essential for shaping the future.In this direct confrontation of often similar themes from different periods, a dialogue usually arises that can open the door for many collectors of one direction or another and bring new customers to exhibitors. This, too, makes art KARLSRUHE interesting for everyone involved.
31 galleries newly selected for art KARLSRUHE 2016
New faces in the exhibition halls
Brigitte Holbein-March | Photo: Brigitte March International Contemporary Art
Rémy Bucciali | Photo: François Nussbaumer
Jochen Meyer (l.), Thomas Riegger (r.) | Photo: Galerie Meyer Riegger Karlsruhe / Berlin
Karin Schulze-Frieling | Photo: fotografie emanuel bloedt, Dortmund
Global openness
Preserving tradition
Interconnected
In family ownership
“The gallery is all about global openness,” reports Brigitte Holbein-March, gallery owner of Brigitte March International Contemporary Art (Stuttgart) who has been pointing her programme in an international direction right from the start. Founded in 1976, the Brigitte March Gallery in Stuttgart-Weilimdorf has been dedicated to brokering conceptual contemporary art for roughly four decades.
Rémy Bucciali, Gallery Editions Rémy Bucciali (Colmar): Rémy Bucciali is passionate about classic printed graphics. “Copperplate engraving is a form of artistic expression that must get by with less than painting does. It follows its own technical rules and regulations but also possesses a sheer endless richness of expression. As I often say, engraving is the string quartet of painting. And I have the role of the interpreter for a new score.”
Jochen Meyer and Thomas Riegger, Meyer Riegger Gallery (Karlsruhe): The Academy of Art, the ZKM, the State Art Gallery, the Baden Art Society (Badische Kunstverein), the Staatliche Hochschule für Gestaltung, and other well-known galleries make Karlsruhe a globally renowned hotspot for art in Baden-Württemberg. The Meyer Riegger Gallery, founded by Jochen Meyer and Thomas Riegger in 1997 is actively involved in shaping the buzzing art scene in Karlsruhe thus contributing to this international reputation.
Utermann Gallery (Dortmund): Committed to tradition. Wilfried Utermann is the fourth-generation director of the family-owned Utermann Gallery, the oldest of its kind in Germany, founded by his great-grandfather in 1853. The art dealer has been committed to expressionist, classic modern, and post-war art as well as contemporary perspectives since 1972 – from Horst Antes and Norbert Tadeusz to Abraham David Christian. A gallery programme that fits in perfectly with the areas focussed on by art KARLSRUHE.
Also based in Berlin since 2008, the gallery represents some 30 artists. With their conceptual positions on social relevance that highlight the emancipatory potential of art, this is the first time Meyer Riegger is represented at art KARLSRUHE. The two gallery owners appreciate the fact that the art fair is constantly reinventing itself. “Thoughts about taking part in the event are not new for us, but we’ve never been able to make it because art KARLSRUHE had always clashed with the art fairs in New York. We’re pleased that the new schedule in February has made it possible for us now,” Jochen Meyer and Thomas Riegger agree. Awaiting visitors at their stand in Hall 2 are works by Franz Ackermann, Björn Braun, Katinka Bock, Miriam Cahn, Anna Lea Hucht, Robert Janitz, Korpys / Löffler, Eva Kotatkova, Meuser, Daniel Roth, and Waldemar Zimbelmann.
The go-getting gallery owner, one of the founding directors of the Villa Grisebach auction house and who is very involved with the Christian Rohlfs archive in Hagen, holds regularly changing exhibitions in the rooms of the gallery on “Silberstrasse”. Working from Dortmund, he maintains worldwide contact with art experts, institutions, and collectors. Large outdoor sculptures are given an ideal setting in the gallery’s sculpture garden.
Brigitte Holbein-March’s illustrious list of artists reads like a who’s who of art: Joseph Beuys, John Cage, Lawrence Weiner, Ulrike Rosenbach, Christo & Jeanne-Claude, and Ugo Dossi have all exhibited their work in this venerable gallery. Its participation in art KARLSRUHE 2016 is the gallery’s second appearance since 2008. In Hall 2, it will be displaying works from the likes of von Richard Jackson, Patrick Raynaud, Lawrence Weiner, and Guido Mangold. “Our presence at art KARLSRUHE gives a boost to our public relations in southern Germany,” says the gallery owner.
Bucciali’s gallery workshop, founded in Colmar in 1983, is something quite special. It is both a production site and point of sale where the printer and gallery owner creates exclusive editions in which every sheet is printed by hand and in very close cooperation with the artists. As one of the last “éditeure” for intaglio printing in France, Bucciali is preserving the over five hundred-year-old tradition that even Albrecht Dürer had put his faith in. Artists like Alain Clément appreciate the Alsatian creator’s wealth of experience. Visitors can look forward to a one-artist show by this well-known southern French artist at the Editions Rémy Bucciali’s stand in Hall 1 of the thirteenth art KARLSRUE. Dry-point engravings by Jacques Clauzel, Michel Cornu, and Matthew Tyson will be on display as well. “The cherry on the cake is my artist from the word ‘go’”, who I have been publishing editions of for more than 30 years and who, for me, is simultaneously the master of “art singulier”: Raymond Waydelich,” Bucciali reveals.
At its debut at the coming art KARLSRUHE, the gallery will be exhibiting incunabula of post-war art in Hall 3. “The one-artist show for our first presentation will be dedicated to the artist Horst Antes, who we’ve been working with for 30 years. The other focal point will be post-war art,” reports managing director Karin Schulze-Frieling.
The special exhibitions 2016 Reflecting classic modern art The Kirchner Museum from Davos
messmer foundation Riegel
The painter as a photographer
André Evard – Pioneer of concrete-constructive art
Ernst Ludwig Kirchner, a self-portrait 1923/28 Photo: © Kirchner Museum Davos
“His preoccupation with photography,” says the Kirchner expert Roland Scotti, “had taken up a great deal of the artist’s daily routine.” Nonetheless, relatively little interest has been shown in photographs by this Expressionist so far. Perhaps it’s also due to the fact that a publication reacted to this medium for the first time in 1980 and presented Ernst Ludwig Kirchner (1880 – 1938) as a photographer. Now guesting at the coming art KARLSRUHE in Hall 1 is the Kirchner Museum of Davos. Although the intention is to present the painter and graphic designer at the special exhibition with paintings and prints as well, the museum’s director Thorsten Sadowsky wants to put special emphasis on photography. The co-founder of the “Bridge” (Brücke) group of artists, namely, photographed a great deal between 1908 and 1938 and, in doing so, documented the whole sphere of his personal surroundings. The spectrum ranges from zestful Bohemian shots from his atelier in Berlin to tranquil studies of the Alpine world, from self-portraits to nudes, from group photos to landscapes. Kirchner took most of his photographs using an 18 x 24 cm Zeiss camera that still exists in Davos. He mostly used glass negatives of different sizes and sensitivities. He developed and enlarged some of the pictures himself.
Jürgen A. Messmer has a passion for collecting. He runs the kunsthalle messmer in a former brewery building in Riegel in the Kaiserstuhl region of Germany, the home of the Messmer Gallery as well since 2013. In 1978, the entrepreneur succeeded in purchasing large parts of the legacy of André Evard (1876-1972). It was through this pioneering painter of Swiss modernity that the art lover discovered his affinity to concrete-constructive positions which now form the focus of his collection. The reappraisal of Evard’s life and work is an affair of the heart for Jürgen Messmer: “André Evard means a great deal to me, and it’s specifically through the numerous visitors that we constantly discover something new in his multifaceted oeuvre. I’m still fascinated by the fact that he never let himself be stereotyped and that he painted representationally as well as constructively his whole life, doing so at a high level.” Visitors to art KARLSRUHE 2016 can share in this enthusiasm with Messmer. A selection from his set of works makes a grand entrance at the dm arena.
Host Carl Friedrich Schröer (right)) talking with guest Götz Adrani (left), director of Stiftung Kunsthalle Tübingen | Photo: KMK / Jürgen Rösner
ARTIMA art meeting 2016 Forum on „Art trade in Germany“ Between politics and the market
Legendary guest speakers
Every year, thanks to ARTIMA, the art insurance segment of the Mannheimer insurance company, art KARLSRUHE becomes the backdrop for a two-day symposium that addresses the topics and issues being discussed in the industry. Last year, it was all about collecting. On the agenda this time round from 18 and 19 February 2016, at 14:00 in each case, is “The Art Trade in Germany”.
The list of participants in the ARTIMA art meeting is as extensive as it is illustrious. In the last ten years, almost 80 prominent figures have taken part in art KARLSRUHE’s discussion forum, amongst them artists such as Jürgen Klauke, Markus Lüpertz, Jonathan Meese, Gregor Schneider, and Klaus Staeck as well as museum directors like Roger M. Buergel, Susanne Gaensheimer, Ulrike Groos, Max Hollein, and Walter Smerling. Theoreticians, such as Bazon Brock, Robert Fleck, Wolfgang Ulrich, and Peter Weibel, have made an appearance along with other men and women of practice, namely gallery owners and collectors. Harald Falckenberg, Eske Nannen, Christian K. Scheffel, and Michael Schultz to name but a few. The ARTIMA art meeting has been regarded as a meeting place for the industry since 2006 where the links between art and market are analysed, where cultural policy is debated, or where the role of art criticism questioned. It’s about the artist as a genius or about painting as an unrivalled discipline.
From VAT to cultural property protection The discussions hosted by the Düsseldorf art journalist Carl Friedrich Schröer on the first day of the art fair revolve around the “Handicaps of the political kind”. Value-added tax, resale rights, Germany’s Artists’ Social Security Fund (Künstlersozialkasse), the Cultural Property Protection Act (Kulturgutschutzgesetz) – evidently with no end in sight. Already ailing in the competitive international market, the pressure put on the German art trade continues to grow. Gallery owners and associations are increasingly fighting back. Amongst those on the podium are Kristian Jarmuschek, chairman of the Federal Association of German Galleries and Art Dealers (Bundesverband Deutscher Galerien und Kunsthändler) and Wolfgang Henze, an internationally active dealer and head of the Kirchner archives.
He himself was rather sceptical about what was a young medium at that time. In 1928, he wrote, “that photography doesn’t harm art but is of use to it,” though “it doesn’t actually have anything to do with art in the proper sense,” which of course no one would agree with nowadays. Therefore, it’s no surprise that the Kirchner Museum itself will be showing what it’s made of in the coming months with a retrospective of Kirchner’s photographic work. That the traditional special exhibition at art KARLSRUHE is being staged this time round by the Ernst Ludwig Kirchner Foundation, founded on the initiative of Roman Norbert Ketterer in 1982, is explained by curator Ewald Karl Schrade once again with reference to an “exemplary private commitment to art.”
Scheduled to follow this on 19 February is a round of discussions entitled “The museums’ point of view”, dedicated to questions about museum practice. Carl Friedrich Schröer is looking forward to welcoming an acknowledged expert in German cultural policy, Bernhard Schulz from Berlin (”Tagesspiegel“). Well-known museum directors are also invited to give an account of their experiences and examine the German art trade and its problems. André Evard, La pyramide, 1924, oil on canvas | © messmer foundation
Appearances that create a lasting impression Some appearances have left a lasting impression on the collective memory of the art scene. It remains unforgotten how Jonathan Meese made a performance out of a conversation with the host in 2011 and how visitors flocked to the stage to see and hear him, the star of his generation. The willingness to argue about culture has a sustainable impact as well, as Bazon Brock demonstrated just as passionately as he did undiplomatically the following year. Of course, many of the forum’s disciplined and relatively quiet participants have exerted an influence or have drawn inspiration. After Marli Hoppe-Ritter, the collector of square art, had been persistently questioned at the art meeting in March 2015 about the reasons for her decades of interest in the geometrically clearly-defined forms, she astounded everyone a little later on with an extensive exhibition of light art at her museum, with no square in sight.
It’s no secret, art KARLSRUHE’s sculpture zones are a labour of love for the curator. With them, Ewald Karl Schrade creates islands of contemplation, kindling a sense of well-being in all who visit the halls of the event. They’re also where he celebrates three-dimensional art. “How often has painting been declared dead?” he asks, “And yet it’s still around. It’s no different with sculpture.” The thirteenth art KARLSRUHE offers 19 sculpture zones where gallery owners, amongst them Dorothea van der Koelen and Christian K. Scheffel, each present one or a maximum of two sculptors on an area of 100 square metres. Even though there will be figurative sculptures as well, it’s clear that many of the exhibitors have an interest in constructive works for 2016. The list of artists ranges from Madeleine Dietz (Nothelfer/Hollinger) and Peter Lang (Keller) to Herbert Mehler (Tammen & Partner).
Osper‘s sculpture zone with works by Hannes Helmke, art KARLSRUHE 2015 | Photo: KMK / Jürgen Rösner
Where sculpture is celebrated
The art KARLSRUHE awards
art KARLSRUHE - More than a century of art art KARLSRUHE runs the gamut from classic modern to contemporary art. Clarity is assured by four halls, each with a different theme and pooling a variety of focal points of the programme together.
„Photography and Original Editions“ in Hall 1
„Double-Neon Entertainers“ | Photo: Charly Bayer
The Hans Platschek Prize for Art and Writing „The Hans Platschek Prize already bears the combination of fine art and writing in its name. When I was asked to name a winner, it was just a matter of seconds before Justin Almquist sprang to mind,” reveals Matthias Mühling, director of the Lenbachhaus and Kunstbau in Munich (Städtische Galerie im Lenbachhaus und Kunstbau München), who was appointed solo judge for the Hans-Platschek Prize for Art and Writing in 2016.
„Like Platschek’s work, Almquist’s also instigates a mutual “illumination” of writing and images“ What is meant by the almost classic talk of the reciprocal enhancement of the two systems of symbols – writing and image – from an art-history perspective becomes immediately evident by looking at even just one of Almquist’s drawings,” explains Mühling. And he mentions further arguments for choosing the artist born in Minneapolis (Minnesota) in 1976 and now living in Munich: The two biographies have a common line between the American continent and Europe, or rather Munich. Like Platschek’s early political caricatures, Almquist’s drawings, too, are to be read as exaggerations and caricatures of life. So visitors can look forward to a stimulating juxtaposition of works of the two at the Hans Platschek Foundation’s stand at the art fair. The winner for 2016 is being honoured with a solo exhibition in Hall 1 at art KARLSRUHE, including selected pictures by the artist and writer who died in 2000.
Alfonso Hüppi: winner of the art KARLSRUHE Prize in 2015 | Photo: KMK / Jürgen Rösner
„Modern Classic + The Contemporary Era“ in Hall 2
The art KARLSRUHE Prize for the best one-artist show
Renate Bender from Munich, the Walter Bischoff Gallery, Museum Villa Haiss of Zell a.H., and Nothelfer of Berlin, to name but a few, exhibit here regularly every year. Visitors can also look forward to newcomers from Hamburg (Evelyn Drewes Gallery), Strasbourg (Radial Art Contemporain), and Berlin (Salon Gallery “Die Möwe”).
This prize has been jointly awarded to the best oneartist show at art KARLSRUHE by Baden-Württemberg and the City of Karlsruhe since 2008. Not an easy choice for the top-class panel of judges. This time, they have the honour of selecting the best from the 164 individual presentations in 2016. The prize money of €15,000 is used to buy works by the winning artist to add to the art KARLSRUHE Collection housed in the Municipal Art Gallery (Städtische Galerie). “Every year, the art KARLSRUHE Prize is awarded to an outstanding one-artist gallery and the artistic position showcased at the art fair,” says Wolfram Jäger, Karlsruhe’s mayor for cultural affairs. “And it also preserves the memory of art KARLSRUHE for the city’s cultural heritage, because the artistic works purchased with the prize money all become part of the art KARLSRUHE Collection in the Städtische Galerie.” In this way, tribute is paid to the gallery owner and artist in equal measure. The veil on the secret of which gallery and artist can look forward to receiving this distinction for the thirteenth art KARLSRUHE will be lifted in the Events Halls (Aktionshalle) at 17:00 on Friday, 19 February 2016. Thomas Hildenbrand: “Aureole“, galerie . mühlfeld + stohrer | Photo: KMK / Jürgen Rösner
Justin Almquist | Photo: Amanda Marsalis
In this section, top quality is assured by regular exhibitors such as the Kunsthaus Lübeck, the in focus gallery from Cologne, and the Persiehl & Heine Gallery for Photography from Hamburg, all of them passionate edition producers. Enriching the hall’s profile in 2016 as exciting new positions and presenting their programmes for the first time are Maryam Fasihi Hrandi from Teheran and Rademakers Gallery from Amsterdam.
„Classic Modern + The Contemporary Era“ in Hall 3 Well-known exhibitors such as the Schlichtenmaier Gallery of Grafenau, Schwarzer of Düsseldorf, and Henze & Ketterer of Wichtrach, Bern, will be creating an almost museum-like flair. Further presentations here in 2016 include those by Kunstkontor – Galerie Ulf Larsson of Cologne (Hall 2) and the Keller Gallery from Mannheim.
„Contemporary art 21“ in the dm arena A great presentation of works straight from the atelier is guaranteed by exhibitors such as Anna Jill Lüpertz (Berlin), the Fritz-Winter Atelier (Diessen), and the Steinberger Galleries (Weikersheim) in the dm arena. It’s going to be interesting to see what new stimuli will be provided by the galleries participating for the first time such as Alternative Collections Ltd. from Paris and Five Gallery from Lugano (Hall 3). Paul Critchley’s “Art House” on the stand of anOTHER art gallery of Farindola (Italy) promises to be a real eye-opener. On an area of 64 square metres in the walk-in, multiple-room installation, visitors can stroll through living room, kitchen, bathroom, and bedroom to find typical items of furniture and interiors – not as real objects but as paintings.
KARLSRUHE 2016 ARTIMA art meeting: Thursday, 18 February and Friday, 19 February 2016, starting at 14:00, Events Hall
art KARLSRUHE 2016 International Fair for Classic Modern and Contemporary Art 18 – 21 February 2016
Special exhibitions: messmer foundation with a special exhibition on André Evard in the dm arena Kirchner Stiftung Davos with a special exhibition on Ernst Ludwig Kirchner
Hours of opening: Daily from 12:00 – 20:00 Sunday: 11:00 – 19:00 Preview and vernissage: (Invitation holders only) Wednesday, 17 February 2016, 15:00 – 21:00 (VIP preview and admission for press representatives starting at 11:00) Admission prices: Day admission 20 euros Concessions 16 euros For schoolchildren, students, senior citizens, people with disabilities, SWR2-Card holders, CIK Free admission for children up to 12 years of age Evening admission after 17:00 14 euros (Sunday after 16:00) 2-day admission 28 euros Concessions 24 euros Season ticket 34 euros Concessions 30 euros Groups, minimum 10 people per person 16 euros Family ticket 44euros (two adults with up to three children aged 12 to 17) Advance sales day admission 18 euros Online ticket and catalogue shop: www.art-karlsruhe.de Catalogue:
25 euros
Guided tours: Professionally guided walking tours give you an overview of the multitude of artistic positions and the layout of the art fair. More information is available at www.art-karlsruhe.de Children’s painting workshop: Creative activities for children aged 5 and over. Open every day of the art fair. Award ceremonies: Hans Platschek Prize for Art and Writing on Thursday, 18 February 2016, 17:00, Events Hall The Baden-Württemberg and City of Karlsruhe art KARLSRUHE Prize on Friday, 19 February 2016, 17:00, Events Hall Website: www.art-karlsruhe.de
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