Cologne10 Voices of Stockholm Contemporary Art and Culture Issue

Content Heinrich Dunst p.2 Madeleine Boschan p.3 Marianna Uutinnen p.4 Jonas Lund p.5 Editions p.6 Tobias Hoffknecht p.8 Manuel Tainha p.10 Martin Lukáč p.11 Daniel Hug p.12

53. INTERNATIONALER KUNSTMARKT

Photo: © Florian Langhammer 11 –13. APRIL 2019 In the Studio Heinrich Dunst, Heinrich Dunst combines pictorial, sculptural, and language elements in his works to create intermedial in- tersections. His “meta-linguistic” spatial interventions and performances deal with the visible and what can be expressed in language, and the impossibility of translating one form into another. • read more on page 2 Online Stories Photo: © Alexander Yakovlev AES+F Moscow Photo: © Florian Langhammer Photo: © Franziska Rieder »Art is no »I want my work to be open

mini-golf course. « to many contexts.« Photo: © Christoph Liebentritt

Madeleine Boschan’s make visible layers Marianna Uutinen refrains from making gestural Cäcilia Brown Vienna of historical, emotional, and spiritual aspects that masks in favor of an expanded notion of painting. characterize all manmade locations and spaces. In The Finnish artist builds up layers of acrylic paint to upcoming stories recent years, the artist’s work has developed from create a skin in her large-scale paintings which she in our Online Journal on working directly with everyday objects and objets then drapes directly onto the canvas. collectorsagenda.com trouvés towards an impressive chromaticity. • read more on page 4 • read more on page 3 COVERSTORY In the Studio Heinrich Dunst, Vienna COVERSTORY In the Studio Madeleine Boschan,

It was rather a coincidence. In 2008, I used this unit consisting of two letters that expresses the der side. When Bruce Nauman in the 1960s prefabricated industrial material for the first locality in a completely paradoxical sense. walked in his studio in precise rectangles, it was time for a work at the Haus der Industrie in For what does it mean when I say: It is “DA”? certainly a physical experience, but it was also Vienna. I simply left it as it was, without any “DA” is not the place where the material of an affirmation of his own existence. further processing. I found the color very ap- the form was produced. The word, however, pealing. In addition to the color, the high level describes the location of a representation Your works sometimes make a very of conventionality that is used in the industrial and testifies to the existence of the , archaic impression – like ritual sites of an sector, the prefabricated material as a high- consisting of these two letters. DA carries an ancient culture. tech material of the present, was also decisive absurdity in it. But what then is “DA”? Suddenly I am glad that you perceive it like that. For for its use. I also left the logo that is used by we find ourselves in a paradoxical vortex! It is me it is as if the sculptures are being loaded the industry, on the insulation boards. By ap- a strange mystery that constantly eludes a clear by their environment and the people who propriating a letter, you transfer this material fixation of meaning. look at them. They function as memory. It is into something subjective, this is exactly the indescribable, one simply feels it. questions are important. Where and how are interface that interested me. Mike Kelley once Speaking of meaning, how you would ideally encounters possible? Is it even possible that wrote a paper about it: like your work to be perceived? How do you approach such works? one can come together? An idea of connection I see my work as texts that constantly provoke My starting point are questions: Where am I? possibilities, not one without the other, toge- “Pink is the hippie color. It's fairy dust color, misunderstandings and accompany me pro- How do I orientate myself? When I plan an therness. gender-bender color, anti-I-beam-sculpture ductively! There is no unambiguity that would exhibition I want to know everything about the color, the color of New Man, the hermaphrodite complete this process. A computer is different space and the location – historically and archi- Which concept are you pursuing with the color. Pink is the color of little girl's rooms, because there is no misunderstanding. There tecturally. A bit like the strategic spying out of color you choose? dresses, and playthings.” is only a one or a zero. That is not the case with unfamiliar territory before an invasion. To Here too the location provided is a decisive people. The higher the misunderstandings give the sculpture its place has always something factor. The sculptures that were shown in the Could one say that pink has become some- are, the more productive are the forms of com- to do with occupation. I walk the space and de- Neue Galerie Gladbeck in 2015 have a direct thing like a trademark of yours? munication. Reception is never complete, velop a range of sensorimotor sentiments and reference to the color of Miami’s Art Deco archi- I wouldn't say that. It primarily characterizes never stops! An interesting work therefore has impressions and from that results my approach tecture and the colors of the 1980s. The color Photos: © Florian Langhammer Photo: © Florian Langhammer an industrial material that is used in indus- no end. to the work. of the works that I showed in my gallery in Tel Heinrich, you come from painting, but over trial production. It is used for building and in- • read the full story on bit.ly/_HeinrichDunst Madeleine, your development toward art Aviv in February 2016 originate in “antique the years you have moved quite far away sulating houses and is known throughout was not really straightforward because you polychromy”. It was Vinzenz Brinckmann who from it. Europe for that. That it now appears in another actually began in sports. »Sculptures function as proved with modern methods of investiga- I actually approached painting more through context was my attempt to show an interface. I was a gymnast: floor exercises, high bar, and memory.« tion that even the Acropolis was covered with reliefs and forms of objects, less typically from The question is what happens if you get lost balance beam. I participated in competitions green, ochre, pink, violet, and light blue. painting as such. For Heimo Zobernig and at this interface – in other words, at the point until I was sixteen. The physical experience of Do you have specific references in terms of • read the full story on bit.ly/_MadeleineBoschan Gerwald Rockenschaub, too, sculptural and lin- between the prefabricated and the appropriated. running through an almost empty space, to ? guistic concepts were decisive for their work. take a run-up for a jump, then come to a full No, I don’t have specific references, although »An interesting work stand while keeping your balance, to precisely my preferences are for Greek and Japanese Madeleine Boschan Like you, Zobernig and Rockenschaub are position yourself and to see in which direction architecture. I admire Gropius, Niemeyer, van is represented a.o. by counted as being within Neo-geo, what does has no end.« to expand, I am still in search for that. For der Rohe, Wright, but the sculptures with Galerie Bernd Kugler, 2 one understand regarding this movement? me the main goal in art regardless of whether their perspectives and angles are all mine. I first 3 The Neo-geo movement understood itself as Isn't it also a question of identity? In other in architecture, sculpture, or painting is to explore with card models how something CURRENT SHOWS an alternative to figurative-expressive painting. words: is it a letter or an insulating board? communicate a sense of the location so that the functions, what stands on its own and which In twilight these ridiculous and exquisite It manifested itself in the use of geometric, Yes, it is. When we discuss questions of iden- artist and the viewer know where they are. angles are to be chosen. Then I build larger things descendingly move often colored, basic forms, which are not limited tity today, especially in politics, I find the DA, installation view at Secession, Vienna 2014 with plywood or plaster. This way I can go to among the people, gently and imperishably to painting, but are also taken up in space- comments of the philosopher Chantal Mouffe Photo: © Michael Michlmayr Viewed from various angles the character extremes, adjust the angles until it holds and Sunday-S Gallery, filling installations or filigree works on paper. very interesting. She says that identity is of your sculptures changes considerably – in doing so, explore the vocabulary of form. UNTIL 26 APR 2019 An essential feature of these geometric forms not a fixed attribution, neither in national nor from one perspective they may appear fragile, is that they are coded, thus elevating the geo- ideological terms, but a structural relation from another quite massive. History and specifically the history of Tulips and chimneys metric elements to the status of a metaphorical that is constructed and that changes. For the A minimal change in angle changes everything. architecture are a great inspiration for you? Galería Maior, medium of communication. This codification populists, identity is a fixed factor that can- Something becomes narrow or wide. We hu- Without a context one has no stance. It’s not UNTIL 25 MAR 2019

often leads to figurative associations. In 1986, I not be questioned in its construction. When a Wuerges Interview: Michael man beings also have a more narrow and a broa- just about physics. For me social and ethical participated alongside Heimo and Gerwald populist speaks of moral and national attri- in the exhibition Tableaux Abstraits at Villa butions, these are not treated as constructed Arson in Nice where international colleagues propositions, but as forced forms. This is mad- including John Armleder and Blinky Palermo ness, because it does not correspond to reality. were also represented. It was there that I met Imi Knoebel, whom I still hold in great esteem How would you say that you, as an artist, today. This exhibition received international stand on this issue? acclaim and became the prototype of the Neo- I always try to show that forms and relation- geo movement. ships are relative, that they overlay each other, name for the flower, 2018, Courtesy the artist and KOW, Berlin that they can rotate and have corporeality, You investigate the gap between what can be physicality, that they change –in other words, seen and what can be expressed in words, that they always place themselves in new a further development of the Neo-geo move- relationships to each other. A good example ment so to speak. Forms of letters and words is a work by Walter Swennen, to which I once Heinrich Dunst are an integral part of your work. One might referred – a painting that depicts the quotation is represented by assume that you consider yourself more of of a Belgian politician: ZIE DIE HIER ZIJN Galerie nächst St. Stephan a writer or poet. ZIJN VAN HIER (All those who are here are Rosemarie Schwarzwälder, Vienna I see myself more in the field of the visual arts. from here). When we talk about the subject of and KOW, Berlin Language is not only bound to letters and identity using this example, I find it interesting word language, but an exciting part of the forms that it is a tautological loop of assertions: “I'm UPCOMING SHOW emerges from the collision of these two buil- here because I'm from here. And because I'm Heinrich Dunst ding blocks: Word language and pictorial lan- from here, I'm from here.” 25 JUN 2019 guage. Galerie nächst St. Stephan The Schürmann Collection own a work of Rosemarie Schwarzwälder, Vienna Your work contains a certain pink – you that is titled DA. a color that is not often used in the fine arts. In the work DA I tried to address the locality in

How did the use of pink come about? the form of a sculpture. It is a small language Wuerges Interview: Michael

collectorsagenda.com collectorsagenda.com 4

Photos: © Franziska Rieder

glue itonto canvas. Imix color with lotsof plastic andthen detach thepaintedsurfaceand I paintnumerous acrylic layers thickly onto paint skins? ing? What’s makingtheacrylic theprocess of Can you elaborate on your methodof work with the viewer’s own projections. tion ofmaterialillusionsandconfrontations viewer’s experience, theresult ofa combina necessarily definable.[The paintingsare] inthe them intoseeingsomethingfamiliar, butnot paint peoplethink thatit’s real plastic.Iseduce instance, when Imake thesefolds with acrylic mative spacethatpeoplecanproject onto.For It’s allaboutcommunication.Icreate a perfor Howwould describe your you work? niture around… Iprefer lightandspace. flat issuper minimalistic. There’s not much fur- living ina more ascetic way. For example, my context andalsofree myself from materialistic for me.Here Icanputmy work inanother working placeandrepresents a placeoffreedom my homelife there. Whereas Berlin isa great I goback toHelsinki every monthtolive more playfor you. So, bothplaceshave animportant role to the perfect arrangement for me. it’s more aboutnature. Ineedboth,sothisis and inFinland, where Istillhave a lake house, studios inbothplaces. This isan urban space now, andfrom thebeginningI wanted tokeep I’ve beeninBerlin aboutsix or seven years a day-to-day basis? Helsinki andBerlin. How doesthat work on Marianna, you split your timebetween COVERSTORY

In theStudio

Marianna Uutinen,Berlin/Helsinki - - -

I’m a feminist myself, butI wouldn’t necessa- I want my work tobeopen many contexts. among other modernist languagesinmy work. tainly have lotsofreferences tothismovement close to Abstract Expressionism per se,butIcer- Well Idon’t think my paintingmethodsare Is thathow you seeit? response tothat,mostly, male-ledmovement. your work isoften positioned asa female Abstract Expressionism, which meansthat drawn between your methodof working and There are obvious parallels thatcanbe work. material issofragile andthat it’s a partofthe destroyed, butthen you have toacceptthatthis of theprocess. First you think,ohmy god it’s also produce somereally goodthings.It’s part challenge todeal with. Buttheaccidentscan kind of working method,anditcanbea real are quitea lotof uncontrollable aspectstothis floor and move bigcanvases around. There makes it very physical –Ihave topaintonthe Partly, it’s a form ofactionpainting, which It mustbequitephysically taxingas well. lot ofmaterial. can take up to30layers togetthiseffect. It’s a can imaginethatifImake three paintingsit that ithastobeatleastfour or five layers. You ting and what I want, butthetechnical partis It dependsonthesurfaceofindividual pain- How many layers doesit usually take? and now. hope peopleexperience thenon-linear, thehere cause they’re allonthesamesurface. And I oldest one. There’s thistemporal equality be- surfaces; thefirstlayer ofthepaintingis dure isthatthere’s thisequality between the like how itis.Onecrucialthinginthisproce- illusion ofplastic.Ikindlike thepainttolook and I use thismaterial feature tocreate the acrylic medium, which isplasticinitsessence, »I create a performative space that people can space thatpeoplecan project onto.« collectorsagenda.com

• mywith work. find my own languageandsay something these postmoderntimesIfelt thatIneededto starting tofollow artinternationally andin I justloved topaint.Ontheother hand,I was I didn’t know exactly what I wanted toexpress. strong intuition when itcametopainting,but stract work with lotsof materiality. Ihada making somekindofinformal, very messy, ab- When Ifinishedattheacademy in ’85,I was making atthestartof your career? over 30 years. What kindof work were you You’ve beenpracticing asanartistnow for months todo,soit’s notreally rational. I canalsomake onepaintingthattakes four two days. This “pre-work” ispartoftheprocess. then, allofa sudden,Imake three paintingsin away becauseintheendI’mnotsatisfied,and four months[laughs] andthenthrow everything It canbethecasethatI work like a lunaticfor for? How longdo you usually work ona painting in thoseterms. will happenoneday that we don’t think somuch gender categorizationsingeneral. Ihopeit woman, andIreally love thatbecauseIdon’t like you can’t tellifthey were madeby a manor also heard from peopleaboutmy paintingsthat I ama woman, butit’s notthemainreason. I it beabout women? Ofcourse,it’s partly because it mustbeaboutbeinga woman. Why should pink neonpaint] were only aboutpink andthat work, asifthey [her seriesof works made with reotypical andclichéd way oflookingatmy rily callmyself a woman artist.It’s sucha ste- read thefullstoryonbit.ly/_MariannaUutinen at Galerie Forsblom, Helsinki/Stockholm Her workisonviewatArtCologne BOOTH C-011BOOTH Marianna Uutinen is representedby by Galerie Forsblom

Interview: Chloe Stead

Interview: Chloe Stead Photos: © Franziska Rieder because ofthem. media andtheInternet– whole citieschange political level nothingis untouched by social rent contemporary culture. From a socialand works asa way ofbeingmore intune with cur sites, program, andgetintocreating online tations ofthemedium.Istartedtomake web- because I was really uninspired by thelimi- Academie in Amsterdam andthenIstopped I used tostudy photography attheRietveld How did you startmakingonline works? but your background isinphotography. Jonas, you’re often referred toasa netartist and beyond. processes andnetworks atplay intheart world current technology tohighlightthe unseen king shrewd andirreverent works that utilize they’re sold,Jonas Lund isbestknown for ma- with GPStrackers tosee where they goafter ness via theblockchain tofittinghispaintings From turninghisartisticpractice intoa busi- In theStudio RIST PIPILOTTI 1.3.-23.6. 2019 Mercy GardenRetour Retour, 2014. Multichannel audio-video installation (still) Courtesy theartist, &LuhringAugustine Hauser &Wirth Jonas Lund,Berlin

- performative aspecttothem.Imean,every I think mostofthe works have a very strong formance in your practice? What do you consider per- tobetherole of feeds you. that the cake andeatittoo. You critiquethesystem both. A lotofmy work islike, yes, you canhave it’s alsotogive incentives for participation.It’s thing for you; you dosomethingfor me.But a reflection onthatinvisible exchange. Idosome- the fatefor the vast majority. The tokens are cultural influence; very few peopleontopdecide network ever! And itgoverns over somuch It’s thegreatest hierarchical power structure world becauseofthatfactit’s soopaque. I’ve madequitea lotof work abouttheart world functions? this intended the asa critiqueof way theart view of your work inanartmagazine. Is Tokens for thingslike writing a positive re- You award participants with Jonas Lund incentive toencourage your career? you outbutalsobecausethey have a financial based ontheir goodwill andtheir desire tohelp tistic practice, who don’t only give you advice board members,andparticipantsin your ar- Can you create a distributedboard oftrustees, you incentivize makingstrategic decisions? how do you reach a strategic decision? How can making processes. The questionisbasically It’s a way tofinddifferent optimizeddecision- yourpractice, why? shareholders to vote onproposals related to shares in your artisticpractice andallow Token (JLT), for example, you created 100,000 quo” theart nature of world. InJonas Lund Many of your works highlight the“quid pro between boredom andstress. keep myself entertained–tofind a balance seems thatmy ultimate goalinmakingartisto otherwise itgetstediousand uninspiring. It because Ineedtochallengemyself every time, myself or stick with thesame work for toolong For better or worse, Iseemtonever repeat lessness are factorsthatdrive your practice? Would you say, then,thatboredom andrest- collectorsagenda.com

. artistic practice you don’t get. in theimmediacy ofknowing, which with an you play is wrong, andthere isgreat satisfaction on thepiano you know instantly ifthenote from artisticpractice. If you practice something The process ofhow you learnissodifferent and Istartedtakingclassesagain last year. I used toplay when I was young – very poorly – Is there a reason for that? has never really factored into your work. your studio but,asfar asI’maware, music There are musicalinstruments a in lotof a never-ending contract-based performance. painting mustnever besoldatauction” – it’s text-based paintingsthatsay thingslike “this sort ofperformance. It’s thesame with my time Imake a proposal andpeople vote it’s a • KINDL read thefullstoryonbit.ly/_JonasLund in makingartistokeep myself entertained.« and SteveTurner, LosAngeles,CA »The goal ultimate CentreforContemporaryArtBerlin unttld contemporary, Vienna CURRENT SHOW UNTIL Behind theScreen Behind is representedby Jonas Lund 21 JUL 2019

5 Editions Editions Dejan Dukic Stefanie Moshammer Angelika Loderer Asger Dybvad Larsen Lúa Coderch Photo: © Christoph Liebentritt

Reset, 2018 Fred’s Sword, 2015 Snowball (Edition), 2018 Untitled (Cut-up 31), 2018 Souvenir [Onyx], 2016 During 72 days, Coderch had researched among others the historic development of the City of Oil paint pressed through canvas From the series Young Gods Cast patinated brass Asger Dybvad Larsen (*1990 in Aarhus, Born in Iquitos, Peru, Lúa Coderch (*1982) Barcelona and the phenomenon of what she calls ca. 12.5 x 10 cm (4.9 x 3.9 inches) Archival Pigment Print with hoop for wall-mounting Denmark) is one of the most talked-about refers to herself as a “child of the Amazon river”. herself material history. After its demolition in Series of 16 unique works in white-painted lime wood box frame ca. 7 cm (2.75 inches) in diameter artists in the Scandinavian art scene. In Using research, Lúa Coderch’s work explores 1930, the City of Barcelona decided in 19 86 to 550 Euro (incl. 13% VAT) 29 x 23 cm (11.4 x 9 inches) 10 unique pieces + 3 AP his practice, he explores materials that have the surface of things and the materiality of reconstruct it as an architectural icon and a • more on bit.ly/_DejanDukicEdition Edition of 5 + 2 AP 1.000 Euro (incl. 13% VAT) the potential to transform the concept of personal and historical narrative. Using a wide touristic landmark in an attempt to leave behind 1.700 Euro (incl. 13% VAT) • more on bit.ly/_AngelikaLodererEdition painting. Reflections on the autonomy of an range of media and strategies, she enquires the historic burden of the Franco Regime and • more on bit.ly/_StefanieMoshammerEdition individual artwork often coincide with back into the aesthetic aspects of such topics as reconnect to the international league. references to conceptual themes and traditions sincerity, enthusiasm, value, manipulation and of post-war period art, such as minimalism deception. The fact that the Pavilion had to be reconstruct- 6 Lisa Holzer Tobias Zielony Madeleine Boschan or abstract expressionism, and their represen- ed based on remaining photographs, as the 7 tatives in art history. Souvenir [Onyx] is an inflatable reproduction of original plans got lost during WWII, suggests the charismatic onyx wall made of PVC. It is that the Mies van der Rohe Pavilion is bound to For Untitled (Cut-up 31) he cut up one of the core wall of the German Pavilion in Barce- live on as a ghost or image. the famous Sentences on Conceptual Art by lona by Mies van der Rohe on a scale of 1:4. American minimal and conceptual artist Sol It is inspired by International Style [Onyx Wall], The malleability of the inflatable sculpture con- LeWitt rearranging its wording, with “form” and a real size replica of the same wall, which was ceptualizes the relativity of the notions of time “material” switching position in the sentence exhibited at the Miró Foundation in 2014. and is expressive of the manipulative intent of the structure. Now remodeled, the sentence is high- Pavilions reconstruction. Souvenir [Onyx] re- ly descriptive of Dybvad Larsen’s own practice fers to this spectacular piece by Lúa Coderch. as, in his view, physicality is never static. Even at a scale of 1:4 it exerts a strong fasci- The rough quality of the fabric, the loose threads, nation on the viewer. and occasional stains from black ink evoke a unique appeal of materiality. By way of the man- Print on inflatable PVC mattress. ual silk screen process each work is a unique Reproduction of the onyx wall in the German piece, with a look and feel of its own. Pavilion in Barcelona by Mies van der Rohe on a 1:4 scale Paper cut-outs, printed on rough canvas fabric 293 x 155 x 10 cm (115 x 61 x 3 inches) by manual silk screen process Edition of 8 + 1 AP ca. 39 x 32 cm (15.4 x 12.6 inches) 1.400 Euro (incl. VAT 13%) Edition of 10 unique pieces • more on bit.ly/_LuaCoderchEdition 700 Euro unframed (incl. VAT 13%) 850 Euro in black lime wood box frame Original onyx wall in German pavilion, • more on bit.ly/_AnsgarDybvadLarsenEdition by Mies van der Rohe, in Barcelona.

Keep All Your Friends, 2018 Fire Boy, 2018 What lays bare in me, 2017 Find these featured editions and many others at

Finger paint tactile color on Derived from an excursion to Riga for the Laquered aluminum with pedestal Collectors Agenda’s booth D005 at Art , pigment print on cotton paper in series Golden 41 x 21 x 9 cm (16.1 x 8.3 x 3.5 inches) white-glazed lime wood box frame Archival Pigment Print in Series of 7 unique pieces, with certificate just across from the south entrance. 40 x 30.9 cm (15.7 x 12.2 inches) light grey-painted lime wood box frame colors: light salmon, light turquoise, light yellow, Edition of 13 unique works + 2 AP 24 x 36 cm (9.4 x 14.2 inches) lilac, rust, strawberry red, teal … 990 Euro (incl. 13% VAT) Edition of 10 + 2 AP 950 Euro (incl. 13% VAT) • more on bit.ly/_LisaHolzerEdition 990 Euro (incl. 13% VAT) • more on bit.ly/_MadeleineBoschanEdition or find us on collectorsagenda.com • more on bit.ly/_TobiasZielonyEdition

collectorsagenda.com collectorsagenda.com In the Studio Tobias Hoffknecht, Düsseldorf

everyone should fill subjectively. One is absolu- give information for an interpretation that I tely encouraged to have associations about might have or a predetermined interpretation what everyone experiences every day. The vie- through the titles. But sometimes I feel the wer is absolutely necessary. In addition, my need to add something to the work, not because productions mostly adhere to body measure- it’s absolutely necessary, but simply as a little ments, so they can be experienced proportionally. poetry. An example would be Warm but Hungry. So far, I haven't made any sculptures that are For me this describes the feeling of being al- too small or too large for this physical reference ready well on the way, but still wanting more. to occur. This leads to people using my sculp- Since my last exhibition in Italy, I've also star- tures to set down their wine glasses, or even to ted numbering my works from 200 down. Let's sit on. see how far I can get. 53. • read the full story on bit.ly/_TobiasHoffknecht One association I had in regard to your ob- INTERNATIONALER jects was the formal language of modernism, a certain rationalist element. Do you have a KUNSTMARKT relationship to these thought concepts? I'm interested in optimism, the belief in the 11. — 14. APRIL 2019 future and the courage exemplified in the Space Age, the Atomic Age, and later for example by Luigi Colani and Zaha Hadid. There is a will to create that I really like and that I find exciting. My works don't have the intention to convey a social agenda. I simply find the shapes of sat- ellites and rockets and the great design ideas behind them interesting. I don't want to encour- Photo: © Damian Rosellen age anyone to believe in the future through my Warm but Hungry, 2018, Courtesy Galerie Crone Wien Tobias Hoffknecht's sculptures are abstract pre- sculptures, but I think it's a pity that we're not Photo: © Lukas Dostal looking toward the future these days… sences in space which they organize and ask CONTEMPORARY us how we understand it. At the same time, they Akinci, Amsterdam / Mikael Andersen, Copenhagen / Artelier, Graz / Bo Bjerggaard, Copenhagen / Blain | Southern, Berlin / are poetic statements, places of meditation, Jean Brolly, Paris / Ben Brown, London / Daniel Buchholz, Cologne / Gisela Capitain, Cologne / Andrea Caratsch, St. Moritz / as the artist says, over whose surfaces our gaze »I use the space to Contemporary Fine Arts, Berlin / Charim, Vienna / Conrads, Düsseldorf / Continua, San Gimignano / Crone, Vienna / glides until we are thrown back on ourselves. Massimo de Carlo, Milan / Erika Deák, Budapest / Deweer, Otegem / Dittrich & Schlechtriem, Berlin / Eigen + Art, Berlin / release the sculpture.« Filiale, Frankfurt / Forsblom, Stockholm / Laurent Godin, Paris / Bärbel Grässlin, Frankfurt / Karsten Greve, Cologne / Barbara Gross, Munich / Haas, Zürich / Häusler Contemporary, Zürich / Hammelehle und Ahrens, Cologne / Hauff, / Tobias, encountering your work, one central The materiality of your sculptures directly Tobias Hoffknecht Hauser & Wirth, Zürich / Jochen Hempel, Leipzig / Jahn und Jahn, Munich / Kadel Willborn, Düsseldorf / Klemm’s, Berlin / theme immediately stands out: space. Do you follows their formal language. What appeal is represented by Helga Maria Klosterfelde, Berlin / Bernd Klüser, Munich / Sabine Knust, Munich / Christine König, Vienna / König Galerie, Berlin / have a favorite space? do the perfectly processed industrial mate- Galerie CRONE, Vienna/Berlin Eleni Koroneou, Athens / Kraupa-Tuskany Zeidler, Berlin /Krobath, Vienna / Pearl Lam Galleries, Hong Kong / Personally, I like being in my apartment. For rials you use have for you? Lange + Pult, Zürich / Christian Lethert, Cologne / Löhrl, Mönchengladbach / Hans Mayer, Düsseldorf / Nino Mier, / Mitterrand, Paris / Vera Munro, Hamburg / nächst St. Stephan, Vienna / Nagel Draxler, Cologne / Neon Parc, Melbourne / 8 my work large spaces are the best – but still Each work is the result of the previous one and His work can be viewed at Art Cologne Neu, Berlin / Carolina Nitsch, New York / Nosbaum Reding, Luxembourg / Nathalie Obadia, Brussels / Alexander Ochs Private, Berlin / rooms! I like walls, I like ceilings, I like floors. so I automatically immerse myself in certain at BOOTH D-001 Roslyn Oxley9, Sydney / Priska Pasquer, Cologne / Giorgio Persano, Turin / Rupert Pfab, Düsseldorf / Produzentengalerie, Hamburg / I like clearly defined rooms, but I also like win- materials that have as much fascination for me by Galerie CRONE Thomas Rehbein, Cologne / Petra Rinck, Düsseldorf / Thaddaeus Ropac, Salzburg / Philipp von Rosen, Cologne / dows. My works should stand freely, though as steel, stainless steel, and aluminum and Aurel Scheibler, Berlin / Brigitte Schenk, Cologne / Anke Schmidt, Cologne / Rüdiger Schöttle, Munich / Schönewald, Düsseldorf / and as part of New Positions Sies + Höke, Düsseldorf / Slewe, Amsterdam / Sprüth Magers, Berlin / Paul Stolper, London / Walter Storms, Munich / they are not intended to stand outdoors. I find the prefabricated parts made from them. I'm Suzanne Tarasiève, Paris / Daniel Templon, Paris / Elisabeth & Klaus Thoman, Innsbruck / Van Horn, Düsseldorf / Wentrup, Berlin / it more exciting to show my objects in closed interested in the fact that they are industrial Michael Werner, Cologne / White Cube, London / Zilberman, Istanbul / David Zwirner, New York spaces. There is too much happening in exte- materials and therefore already give certain rior spaces such as the influence of the sun forms. For example, aluminum sheets are only MODERN & POSTWAR and uncontrolled light conditions. This means three meters in size. Of course you can think Bailly Gallery, Geneva / Klaus Benden, Cologne / Bernheimer, Luzern / Boisserée, Cologne / Philippe David, Zürich /

Interview: Gabriel Roland Derda Berlin, Berlin / Dierking, Zürich / Johannes Faber, Vienna / Fischer Kunsthandel & Edition, Berlin / Klaus Gerrit Friese, Berlin / that the work is not as free as in a closed room. bigger, but then you have to weld. It's a bit like Hagemeier, Frankfurt / Henze & Ketterer, Wichtrach / Ernst Hilger, Vienna / Hoffmann, Friedberg / Heinz Holtmann, Cologne / Maybe there just isn't as much space in my a plug-in box system. Mike Karstens, Münster / Koch, Hanover / Konzett, Vienna / Lahumière, Paris / Levy, Hamburg / Lorenzelli Arte, Milan / head as outside, but when I imagine my works, Ludorff, Düsseldorf / Maulberger, Munich / Kamel Mennour, Paris / Mo J Gallery, Busan / Moderne, Silkeborg / Georg Nothelfer, Berlin / they are singular objects like a 3-D graphic. What does your process look like in concrete Thole Rotermund, Hamburg / Ruberl, Vienna / Thomas Salis, Salzburg / Samuelis Baumgarte, Bielefeld / Julian Sander, Cologne / Schlichtenmaier, Grafenau / Michael Schultz, Berlin / Schwarzer, Düsseldorf / Setareh, Düsseldorf / Edition Staeck, / The closed space without context fits this idea terms from the first idea to the installation Strelow, Düsseldorf / Florian Sundheimer, Munich / Suppan, Vienna / Taguchi Fine Art, Tokyo / Thomas, Munich / Utermann, Dortmund / better. I'm a big fan of the often misrepresented in the exhibition space? Valentien, Stuttgart / von Vertes, Zürich White Cube! The manufacturing processes with the mate- rials I work with are so elaborate that I can COLLABORATIONS We have now talked about how space only realize a small part of what I imagine. In Ammann, Cologne / Annex14, Zürich / Rolando Anselmi, Berlin / Guido W. Baudach, Berlin / Blank, Cape Town / Clages, Cologne / Conradi, Hamburg / Drei, Cologne / Larkin Erdmann, Zürich / fiebach, minninger,Köln / Mathias Güntner, Hamburg / influences your work. But how in turn do this respect, when I have an exhibition, I make Natalia Hug, Cologne / Kleindienst, Leipzig / Knoell, / Le Guern, Warsaw / Gebr. Lehmann, Dresden / Lullin + Ferrari, Zürich / your objects change the space? use of the sketch collection that piles up at Lumen Travo, Amsterdam / Daniel Marzona, Berlin / Parrotta, Cologne / Berthold Pott, Cologne / RCM, Paris / Aurel Scheibler, Berlin / Some of my works have reflective surfaces of my place. Then I think about what suits the room, Esther Schipper, Berlin / Tif Sigfrids, Athens, GA / Soy Capitán, Berlin / Super Dakota, Brussels / Tanja Wagner, Berlin / highly polished stainless steel. In that case, the how I can combine the works, and which set I Hubert Winter, Vienna / Zahorian & van Espen, Bratislava / Thomas Zander, Cologne / van Zomeren, Amsterdam question is easy to answer: the work picks up want at the end. If they are old sketches, I often NEUMARKT the space through the reflective surface. But in adapt them. Then I commission this selection. Nir Altman, Munich / Arcadia Missa, London / Emalin, London / Essex Street, New York / High Art, Paris / Jan Kaps, Cologne / other instances a sculpture is always a volume, That works well if you explain exactly what LeBlanc, Chicago / Martinetz, Cologne / Max Mayer, Düsseldorf / MX Gallery, New York / Tobias Naehring, Leipzig / a body in space. Thus, it can almost architectu- you want and remain involved throughout the Deborah Schamoni, Munich / Rob Tufnell, London rally divide and structure a room. My main production process. When designing the ex- interest, however, is not to change perception hibition, it's very important to me that it's not in relation to space, but to direct full concen- just a series of works, but that the exhibition tration on the sculpture itself by placing it in functions as a space. In this way, the exhibition space. I use the space to release the sculpture. itself becomes an installation and is thus actu- ally its own work. and most compelling emerging artists. and most compelling emerging Do you have any idea how your objects are leading portraitsTimeless of the world’s supposed to impact people who look at them There is one narrative element in many in such a concentrated way? of your works: the title. Where do the partly My works don't give any information by them- very expressive names of your sculptures selves. There is no motive. That's why I think derive from? Brigitte Kowanz, Vienna © Maximilian Pramatarov that the viewer should approach the work by The titles come about when I have a specific himself. These are free and open spaces that title idea for a concrete work. I don't try to collectorsagenda.com

collectorsagenda.com 190x277_ART19_Collectors Chronicle.indd 1 14.03.19 10:57 In the Studio Manuel Tainha, Lisbon In the Studio Martin Lukáč, Prague

sic doesn’t dictate the movement but it helps. I got into Anselm Reyle’s class, which was white painter. But I won’t do it. I like things to a pirate because I saw a guy on a plane looking What is interesting to me in the gestural paint- something that was rather surprising because be colorful. like a pirate with a scarf on his head and three ings is the memory of the gesture: because it the only thing I knew about him were his art- chins. For some reason I considered that really is here, but it doesn’t have the texture. It is like works; and I was intrigued by that because, at Do colors like black and yellow carry a special interesting. I started to make drawings and to a trace, a mapping of something that happened. the time, they were quite different to the path meaning for you? think about how I can transfer his portrait into Also, in the work the notion of violence remains I was taking. For me that was the best possible For me they have a lot inside of them. They are my environment. I wanted to show him in a big component. encounter I could have had. Something that very primary but also express a nervousness, motion and sometimes made him transparent, I realized in Hamburg though was that I needed especially yellow. In the bible yellow is the color almost invisible. Another example are my Violence in what way? to be surrounded by the cultural references of the traitors. Its dynamic of uncertainty, am- works about the Ninja Turtles where I introduce In the process itself. I played rugby for many that are part of my work. For example to get the bivalence and deceit is what draws me to it. this well known character from comic strips years. Being around these natural elements kind of fabric I wanted and the materials, the which I repeated more than twenty times to cre- and doing something that looks violent but is specific kind of bleach, that was really difficult The lines in your paintings are wild and ate the impression of contemporary cinema- really coordinated, trying to follow the rules in . It was about this familiarity re- gestural but at the same time seem to have a tography. but not be violent is something that interests gained in coming back to Lisbon, and of course symbolic meaning. How do you bring that me. This idea of getting these really subtle the sun and everything ... graphic energy to your canvasses? Could you tell us a bit about the things you colors through a really aggressive process, a Before working on canvas I start by drawing. are currently working on? What’s coming up chemical medium (bleach) and controlling that What is the best that can happen to someone I start with drawing a symbol that is as simple in the near future? aggressiveness is something that I see as vio- engaging with your art? as possible. And when I start painting on can- I just finished setting up an exhibition in Berlin. lent – of course also the stretching, the sewing, Just having that brief first beautiful moment. vas I try to make it feel as easy as on paper. And then I am having a second solo show in the hammering of a nail directly into the can- This is the first and the last thing I can wish for. The canvas is a completely different medium Gothenburg in Sweden. Some of the works in vas stretcher. All of these things not only relate The rest, who am I to control that? I think the though and is giving me new opportunities the exhibitions I painted last year, the others to a formalistic way of seeing violence, but most beautiful things that can happen or that I to use lines. Still I want to keep the energy of this year. When these exhibitions are finished also to an idea of grace. I think both sport and ever saw, the major part of it was so uncon- the scribble on the canvas. That is very im- I plan to move into new directions. I have al- dance have a relationship with violence. trolled on the part of those who produced it – portant to me. Maybe that’s a somewhat schizo- ready done some small paintings with new top- because I think the moment you want to con- phrenic approach, but most of the time it ics which I would like to work on. Recently I Photos: Lena Gallovic Photos: © Fábio Cunha The sewing images look rather fragile and trol it, you lose so many good things. means that I get an even better result on can- got into sports, especially Mixed Martial Arts. So The young Portuguese artist, coming from a poetic as it’s just this reduced line, like a • read the full story on bit.ly/_ManuelTainha Some of Martin Lukáč’s paintings are a mess – vas than on paper and that’s why I like to work there will be a lot of fights in my new paintings. legacy of architects, studied with Anselm Reyle drawing. Do they have the same kind of vio- a mess of vivid colors, expressive shapes and on two separate mediums on which lines work • read the full story on bit.ly/_MartinLukac in Hamburg before returning to Portugal – lence and dance within them still? To me faces that can’t wait to tell you their story. Then in very different ways. not only for the sun, but also for the bleach and they seem very innocent ... again other works show clear yet mysterious his mentors in the country’s old laundry shops. I understand that, but fragility and violence go symbols. What unites them is Lukáč’s painterly hand in hand for me. It’s so fragile, but it’s appetite for adventure. »The process has to lead also violent that I pull through the thread and you somewhere where you »The creation the needle, it’s like a mark, a scar ... And for me Martin, looking at your work, your use of of a painting is like a it’s also about that limit of what you can con- color, lines, and repetition are the most can not escape.« trol with your hands. But the idea was to give striking qualities. Let’s start with color – dance.« these works that fragility and personality of is your use of it intuitive or analytical? When sketching your motifs do you look what a drawing is – as they are drawn: at the It’s entirely intuitive. I like using specific colors. at specific symbols for inspiration? And what 10 Manuel, the way you approach your work, is back. The process is a process of drawing. Sometimes I let external factors inspire me. about the faces that often appear in your 11 it more experimental and intuitive or do you But the decision of following the traces or not For instance, a year ago I created a series enti- paintings? start from a certain concept? is a decision that is made in the very moment rely in blue, because I had almost no money Everything is about figures, people, and sym- I think every first step is always to create a that I’m producing that “permanent scar”. Manuel Tainha to buy paint. All I had was this shitty blue, so bols I see on the street. Not so much graffiti but “good painting”. In that way it is really traditio- is represented by I used it. The colors I love most are yellow mostly logos and random situations – just Last Resort, Copenhagen Upcoming shows this summer at Ambacher nal. A lot of the things that are happening How did the decision to spend a part of your and black. I could imagine painting in these everyday life and its symbols and occasionally Contemporary in Munich during the process are like a dance, in a very studies in Hamburg come about? two colors for the rest of my life. Sometimes they have a tiny story attached to them. For Follow Manuel Tainha’s work and Ashes/Ashes in fundamental sense. I have music ... Normally, My father advised it and in one of the exhibi- Interview: Gabriel Roland I imagine of having a career as a black-and- example, I recently made some works featuring when I’m painting, during the action part it’s tions I helped to assemble in Lisbon I got to know on Instagram: a lot of Hip-Hop, Afro, and then you can switch Matt Mullican who was a professor in Ham- manueltainha

to Neil Young. I just go with the flow. The mu- burg. The biggest stroke of luck for me was that Oswald Interview: Chrischa ÜBERLEBEN © FOTO WIEN 23.03.–25.08.19 AM LAND MAR – APR 2019 MARK FRANCIS HERBERT Ocean Light BRANDL March 22–April 27, 2019 Der Regen TOPOPHILIA III (Detail), Villasandino/Spanien 2017 © Peter Braunholz 2017 © Peter Villasandino/Spanien III (Detail), TOPOPHILIA

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collectorsagenda.com collectorsagenda.com KHW_Inserat_1/8_CollectorsAgenda_60x100.indd 1 12.03.19 11:45 Art Fair Talk Daniel Hug, Director of Art Cologne

tion of collectors is much more effectual in much thought. Most recently I acquired a Berlin due to its sheer size and population Rosemarie Trockel edition of the European Flag. of 3.2 million people, compared with Cologne’s Editions and multiples are deeply rooted in population of one million. The Art Cologne the German art world, Kunstvereine (art asso- draws collectors from all of Germany, so Co- ciations) were initially established in the 19th logne will profit from Berlin as well. century in many German cities in order to bring an artist to an exhibition and present him or Have you noticed in any way the appearance her to the growing group of burghers. Then an of younger collectors impacting the way art edition for each of the members was produced. is experienced or bought? The quickly escalating prices for young artists' Over the past decade I have noticed that art works motivated me too of course, plus the fact fairs are seemingly becoming more regional that there are many editions of artists which across the board. This is partially due to the have become quite valuable on their own. sheer proliferation of art fairs today, but also the branding of fairs like Art Basel and Frieze What was your first work and how did you to other regions of the world, which ultimately pay for it? provides little incentive for collectors to tra- The first work I bought was a photomontage by vel to distant world destinations to visit fairs by Barbara DeGenevieve at a benefit auction for the same organizers. Thirdly the internet and the non-profit Randolph Street Gallery in Chica- social media have had a very profound impact go. It was in 1993. I was 25 years old at the time, on how some collectors buy and how they are it cost 750 dollars, and depicted a nude man using fairs in their own regions to meet specific reclining in a feminine posture, blurring the visiting galleries and to personally finalize sexuality of the subject. I still have it. Unfor- deals originally initiated via internet. tunately, DeGenevieve passed away from cancer in 2014. Courtesy of Art Cologne, Photo: © Gene Glover Will physical art fairs eventually become Renowned as the oldest and most quintessen- redundant by the global availability of art and What are art fairs such as the Art Cologne tially German of the world’s contemporary the transparency provided by digital art doing to cater for a new generation of more art fairs, Art Cologne is a fixed entry in most portals, broker platforms, and virtual gallery price aware collectors? collectors’ diary, year on year. However, even tours? For this year’s Art Cologne we are dedicating institutions among art fairs cannot ignore the The need for human interaction and viewing our entrance hall to multiples and editions generational change that is shaking the art works of art in person will never go away. I with a selection of six stands selling editions world. We spoke to Daniel Hug, the fair’s direc- think this explains the proliferation of art fairs and a large special exhibition about the Ar- tor, about how the young generation of art over the past decade, so much is done online chivio Conz, which consists of hundreds of lovers is impacting the way art is viewed and these days, that for a collector to touch base Fluxus editions, multiples, and unique objects purchased nowadays, and about what Art with 100 to 150 galleries at an art fair makes it from the 1970s and 80s assembled and pro- Cologne is doing to attract newcomers on a bud- very efficient. duced by an Italian collector named Francesco

get to the art scene. Conz (1935 – 2010). Interview: Florian Langhammer The art market has seen the prices for many Daniel, the art world is currently undergo- artists skyrocket, enabling their work to be ing a generational change. How do you, as collected by only a small elite body of affluent SAVE Art Cologne Director, react to these younger individuals. What has the art market to offer TH E collectors entering the scene? for those whose ability to buy significant DATE! The number of young collectors in the Rhine- art is limited by the restrictions of a modest OPEN CALL land has slowly increased over the last decade, budget? HAS partially through the newly found relevance Lately I have been buying editions and multi- STARTED of the Art Cologne. One of our chief motivations ples. It's not really a conscious decision, but for getting involved with setting up the new when I find works I like and they happen to be Art Berlin fair is that establishing a new genera- editions I always tend to buy them without 27 Sep – 6 Oct, 2019

Publisher: Collectors Agenda – C Agenda KG, Franz-Josefs-Kai 3/16, 1010 Vienna Editor in Chief: Florian Langhammer Art Direction & Design: Agnes Wartner, kepler-studio.de Read our stories in full length, Translation and Copy Editing: Uta Hoffmann All text and images are the property of Collectors Agenda or its content suppliers and and discover exclusive art editions on protected by international copyright law. Reproduction in whole or part without written permission is strictly prohibited. All prices are correct at the time of going to press, but subject to change. No liability for completeness, editorial and technical mistakes, collectorsagenda.com omissions or correctness of the contents. Printed by Holzhausen Druck GmbH, Wolkersdorf, Austria Paper: Arcoprint 1 E.W. 90 g/m2 Kindly supported by Stay up to date with what we do and Federal Chancellery of Austria and become a subscriber to our newsletter. Fedrigoni Austria collectorsagenda.com © Hugh Stewart Timeless portraits of the world’s leading and most compelling emerging artists.