The Dorothee and Konrad Fischer ­Collection Exhibition Booklet

Düsseldorf www.kunstsammlung.de

previous pages Konrad Lueg in his studio, 1967 (photo: Konrad Introduction Fischer Galerie)

4 5 The Dorothee and Konrad Fischer Collection work after having seen it at the second was born out of the close relationships bet- ­Documenta in Kassel in 1959. Through Pollock ween the Fischers and the artists they have exhi- and his fellow Abstract Expressionists in the bited in their gallery. The collection thus reflects US, New York had become a new center of not only the gallery’s development, but also ­visual art. This fulfilled Schmalenbach’s guideline the friendships the gallerist couple shared with of not acquiring works from current artistic ­many of their artists. The selection includes all ­movements until they had become established. of the big names in Conceptual Art, Italian Arte Povera artists, and major German sculptors−­ Schmalenbach’s successor, Armin Zweite, from the generation of artists born ­after 1950, also collected paintings, but he expanded the to younger artists pursuing a conceptual­ collection of the Kunstsammlung to include ­approach. sculptures as well. He thus acquired important works by Joseph Beuys, as well as such Mini- When the Kunstsammlung Nordrhein-­ mal and Conceptual artworks as 48 Roaring Westfalen recently acquired the Dorothee and Forties, 1988, by Carl Andre and Serial Project ­Konrad Fischer Collection, a large number of No.1: B 2, 5, 8, 19 67, by Sol LeWitt. works and the gallery’s comprehensive archive were also donated to the museum. This selec- Konrad Fischer initially began his career as tion of Conceptual artworks has considerably a painter under his mother’s maiden name expanded the museum’s collection, because Lueg after graduating from the Kunstakademie the majority of the artists were not represented (Academy of Art) Düsseldorf. His fellow grad­ at the museum before now. uates included Gerhard Richter and Sigmar ­Polke. He was comparatively successful and Between 1962 and 1990, the first director of had several shows, including one at the Galerie the Kunstsammlung Nordrhein-Westfalen, Schmela, the most important gallery for con- ­Werner Schmalenbach, followed a guideline temporary art in Düsseldorf. Konrad Lueg also for collecting works: Only art whose quality helped Alfred Schmela hang exhibitions, and has been established belongs in the museum. he accompanied him on his travels. In 1967, He alone had the power to make acquisition Schmela proposed that the artist could manage ­decisions, and he chose to buy only painting. a branch of the gallery devoted to young art. He bought masterworks of classical modern­ When Schmela withdrew his offer shortly after, ism as well as 25 works by American artists, Konrad Lueg decided to open his own gallery including Jackson Pollock’s famous Number 32, under his real name with the support of his wife 1950, 1950. Schmalenbach purchased this Dorothee Fischer. He thus rented a passage- 6 7 way located at Neubrückstrasse 12, which he Konrad and Dorothee Fischer regarded enclosed with two glass walls on either end themselves more as hosts for their artists, to create a room of about 3 × 11 × 3.90 meters. and not as art dealers. It was no coincidence It was located right next to the Creamcheese that the gallery was called Ausstellungen bei club, which opened the same year and became ­Konrad Fischer (Exhibitions at Konrad Fischer) a legendary gathering place for the art and to avoid all traces of commercialism. The artists ­music scene. With the support of his friend they invited to exhibit also emphasized that Kasper König−a curator who later became the gallery always had a positive atmosphere the director of the Museum Ludwig in Cologne, that reminded them more of an artist’s studio and who was living in New York at the time− than a commercial gallery space. This was ­Fischer came into contact with young represen- ­certainly also due to Fischer’s having been an tatives of Minimal Art and Conceptual Art. artist himself and a student of the Kunst­ ­Taking a stand against Abstract Expressionism, akademie Düsseldorf, like his wife Dorothee. these artists placed more emphasis on the concept behind a work than on its realization by The gallerist believed it was more important the artists themselves. They also often used to get his artists a number of exhibitions than industrial materials to avoid personal expression. to achieve a financial gain. For this purpose, Their works deliberately referred to the sur- he established a network of artists, gallerists, rounding space and were meant to be experi- ­collectors, curators, and critics from all over enced actively by beholders. Fischer / Lueg had the globe, while also maintaining close contact encountered several of these works already with local figures, such as the director of in 1967 at the two group exhibitions in Frankfurt the Kaiser Wilhelm Museum in Krefeld, Paul in which he had participated as a painter, ­Wember, the director of the Städtische Museum and he was very excited about them. Konrad Mönchengladbach, Johannes Cladders, as Fischer’s revolutionary idea was for artists not to well as the director of the Kunsthalle Düsseldorf, send ­finished works, but for them to develop Karl Ruhrberg, and Ruhrberg’s curator and a ­concept for the exhibition space. The gallerist successor Jürgen Harten. Thanks to Konrad paid their plane ticket and let them live at his ­Fischer, Minimal Art and Conceptual Art be­ home, while he procured the necessary materials came known in Germany and Europe, which for the exhibition works that were then created ­also contributed to their recognition in the US. on site. In place of exhibition catalogues, Fischer placed much value in tailor-made invitation Fischer was an exhibition curator as well. cards. Fischer’s gallery became international ­Together with his childhood friend, Hans well-known virtually overnight. ­Strelow−who worked as an art critic before 8 9 opening his own gallery−he established the ­Dorothee and Konrad Fischer Collection) is project called Prospect in 1968. This ex­hibition the Kunstsammlung Nordrhein-Westfalen’s series brought many international ­avant-garde first public presentation of these newly acquired galleries to the Kunsthalle Düsseldorf and works. The particular significance of the was an answer to the Cologne Art Fair, which ­radical change from Abstract Expressionism to was only open for German galleries. Fischer ­Conceptual Art is brought to the fore through was ­also involved in the exhibition ­Konzeption / ­ the opportunity to view these new works in Con­ception. Dokumentation einer heutigen comparison with those that were already in the Kunstrichtung (Konzeption / Conception:­ collection of the Kunstsammlung Nordrhein- Docu­men­tation of a To-Day’s Art Tendency), Westfalen. The gallery’s archive of letters, drafts, which was shown at the Städtisches Museum invitation cards, and so forth is also being Leverkusen in Schloss Morsbroich and was shown in the exhibition in the form of represen- the first ­museum exhibition­ of Conceptual Art tative archival records for Carl Andre and in Germany.­ Harald Szeemann, the artistic ­Bruce Nauman. ­director of the Documenta in Kassel in 1972, ­also asked ­Fischer and the art historian and This booklet provides information about the photography expert Klaus Honnef to select 25 artists in the Dorothee and Konrad Fischer American and European artists for the section Collection. The texts are arranged alphabetically “Idee + Idee / Licht” ­(Idea + Idea / Light), which according to the artists’ last names. The titles was devoted to Conceptual­ Art. marked in red refer to works that can be found in the exhibition. Dorothee Fischer also played a major role in the gallery’s success. In the early years, she guaranteed the gallery’s financial survival with her income as an art teacher, and she took care of the artists staying in their apartment. She also documented all of their exhibition work in photographs. After Konrad Fischer’s death, she continued to run the gallery on her own, while expanding its program by adding new exhibition formats and young artists. “Wolke & Kristall”. Die Sammlung Dorothee und Konrad Fischer (Cloud & Crystal: The previous pages Günther Uecker, Konrad Dorothee and Konrad Lueg, Ferdinand Kriwet, Fischer, 1969, and Gerd Hübinger during photo: Gerhard Richter an action at the opening of the bar Creamcheese in Düsseldorf, 1967, ­ photo: Manfred Leve © Nachlass Manfred Leve, Courtesy Museum Kunstpalast, AFORK, Düsseldorf

12 13 1 2 Carl Konrad Fischer at the Konrad Fischer and construction of a work by Carl Andre during the A Andre Carl Andre, Kölner opening of the gallery on Kunstmarkt 1970, photo: October 21, 1967, © bpk / Angelika Platen photo: ­Manfred Leve © Nachlass Manfred Leve, Courtesy Museum Kunstpalast, AFORK, (b. 1935, Quincy, Massachusetts)­ Düsseldorf

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It all began with Carl Andre. He Andre’s art was so revolutionary Carl Andre became one of was the first artist to be exhibited that many visitors who came the most important artists in the at Konrad Fischer’s gallery, ­into the gallery looking for the gallery and in the collection that and he is the artist who has been ­artwork didn’t realized they were Dorothee and Konrad Fischer shown in the gallery the most actually walking on it. Virtually built up over many years. They not ­often, with currently more than overnight, Konrad Fischer had only bought several of his works 30 exhibitions. When Fischer earned a seat in the “first row of through their own ex­hibitions, sent the American artist a plane avant-garde art dealers,” and many were also gifts from the art­ ticket in 1967, he did not know ­critics began describing him as ist. After Konrad Fischer’s death, him personally and had never seen “way up front.” Carl Andre made the work with any of his original works. Repro- the German title Wolke & Kristall / ductions in international art Carl Andre is one of the Blei Leib Leid Lied (Cloud & ­magazines were enough for him, main representatives of Minimal Crystal / Lead ­Body Grief Song), accompanied by enthusiastic Art. In accordance with his own 19 97, in honor of his friend. ­accounts about Andre from his guidelines (Metal Requirements friend, the curator Kasper König, for Proposed Show in Düssel- who was living in New York. dorf, 1967), he did not treat the metal plates ­after production 1 Although the sculptor was and only arranged them in series. to exhibit a work that would He thus regarded­ “sculpture as be created on site, he arrived in a road” that cannot be accessed Düsseldorf with an idea already from a fixed standpoint because in mind. However, he immediately it not only needs to be seen; more threw it overboard. From then ­importantly, it needs to be experi- on, Andre said that he would never enced by walking on it. In refer- again plan a sculpture for an ring to their environment, Andre’s ­exhibition without first getting to floor works become “sites” know the room it would be through which beholders can shown in. perceive their own bodies in ways that are also defined by the Andre lay one hundred surrounding space. ­industrial steel plates, measuring 0.5 × 50 × 50 centimeters each, Andre and the Fischers on the floor of the gallery at shared a friendship based on Neubrückstrasse 12. Their overall a common “passion for their size of 250 × 1000 centimeters ­profession.” In 1968, Carl Andre 2 corresponded with the room’s di- had his first museum exhibition mensions, which was about 3 at the Städtisches Museum Ab­ meters wide and 11 meters long. teiberg in Mönchengladbach, The artist also exhibited a drawing which acted on Konrad Fischer’s that showed additional possible ­suggestion. The sculptor in turn combinations of the same number spread the word about the of metal plates (5 Sculptures, gallery’s good work in the US, 1967). about which Konrad Fischer commented: “After the Andre The exhibition titled Ontolo- ­exhibition I didn’t need to say gische Plastik (Ontological a thing; Andre said it for me. Sculpture) was Andre’s first in He said, ‘Go right ahead, it’s Europe. The floor sculpture, great.’” which was called 5 × 20 Altstadt Rectangle, became legendary. Konrad Fischer and visitors at Carl Andre’s 5 × 20 Altstadt Rectangle during the gallery opening on October 21, 1967, ­photo: Fred Kliché (Archiv Dorothee und Konrad Fischer)

16 17 Richard Lothar Artschwager B Baumgarten

(b. 1923, Washington, D.C.− (b. Rheinsberg) d. 2013, Albany, N.Y.)

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In June 1968, Richard Artschwager After Lothar Baumgarten com­­ when he spent a year with the invaded Konrad Fischer’s gallery pleted his studies at the Kunst­ Yanomami Indians along the space on Neubrückstraße with akademie Düsseldorf in 1970 ­upper Orinoco in Venezuela. his blps, which are black, some­­ as a master-class student under ­During his stay, he dressed like times white, three-dimensional ­Joseph Beuys, he debuted his his hosts, learned their language, signs made of wood, artificial­ turf, first solo exhibition Amazonas- adopted their customs, and joi- or horsehair. blps could be found Kosmos at Konrad Fischer. The ned them on hunting excursions. anywhere, jumping out and sur­ exhibition was held in the art This experience also changed his prising viewers in the city, on the space located at ­Andreasstrasse outlook on his own background. street, or in fields andmeadows. ­ 5, which ­Fischer had been using Artschwager also integrated as an ­additional gallery since Baumgarten also took part in them as motifs in his ­paintings. 1970, as well as in the gallery the Documenta in 1982, 1992, at Neubrückstrasse 12. The and 1997 and is one of the most Artschwager developed his works presented set the tone for well-known German artists, blps in 1967/68. They began as Baumgarten’s future work, his ­especially on the American con­ sketches and parts of magazines­ ­artistic engagement with anthro- tinent. His work America ‘Señores painted over in black, which he pological issues, his reflections Naturales’, 1983 / 84, for the then isolated, enlarged, and trans- on Western strategies of thought, German pavilion of the Venice lated into a three-dimensional and his rejection of the separa­ ­Biennale was honored with the form. A blp does not signify any­­ tion between culture and nature. Golden Lion. Baumgarten also thing; it is useless, and its only­ They consisted of the conceptual developed a photographic essay purpose is to be looked at. This image projections Amazonas- called CARBON for his solo purposelessness is meant to Kosmos, 1969−70, which lent ­exhibition at the Museum of Con- ­radiate into its immediate surroun­ ­ the show its title, as well as a temporary Art in Los Angeles dings. It is therefore not a coin­­ci­ greenhouse installation­ of cobalt in 1989. This project is about the dence that a blp has the same blue pigments, kale, and live pioneering industrial achieve- shape as our field of vision and ­saturniids, tropical butterflies ments during the settlement of is a form that Artschwager com- (Tropenhäuser (Guayana­ ), 1969−­ the North American West. In 1993, pared to a blimp, or a wide screen 1972). Baumgarten­ designed the Solomon R. Guggenheim with rounded corners. The name the tropical setting using domes­ Museum in New York honored is derived from the military term tic vegetables. him with a solo exhibition called “blip,” which is a ­trace of an AMERICA Invention, 1985. ­object displayed on a radar screen The same year, the artist ­Lothar ­Baumgarten had alto- that is accom­panied by a sound. ­also showed his slide projection gether eight solo exhibitions at Eine Reise oder Mit der MS Konrad ­Fischer’s gallery, which Fischer established contact Remscheid auf dem Amazonas represented him until 1998. with Artschwager through Kasper (A Voyage or With the MS König, and the exhibition at ­Remscheid on the Amazon), ­Konrad Fischer’s gallery was the 1968 /72, at the Documenta 5. artist’s first solo show in Europe. The journey referred to did not This was his only exhibition at actually take place. The ship is a the gallery, although Artschwager historical cigarette advertise- participated in the legendary ment, while the exotic continent show Live in Your Head. When is represented by ethnographic Attitudes Become Form in the quotes and photographs of a Kunsthalle Bern, which was cura- ­reconstructed stage set. In this ted by Harald Szeemann with way, Baumgarten combined Fischer’s close involvement. ­fiction and reality, while using a ­foreign culture as a mirror for his own. He did not travel to South America until 1978 / 79, Konrad Fischer and Bernd und Joseph Joseph Beuys, 1983 (photo: Konrad Fischer Hilla Becher Beuys Galerie)

(b. 1931, Siegen−d. 2007, Rostock, (b. 1921, Krefeld− b. 1934, Potsdam−d. 2015, Düsseldorf) d. 1986, Düsseldorf)

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Konrad and Dorothee Fischer a ­few weeks later at the Städ­­ Joseph Beuys, who was re­ Beuys’ Dumme Kiste (Dumb knew Bernd and Hilla Becher tisches Museum ­Leverkusen presented by Alfred Schmela for Box). This was followed from their student days at the in Schloss Morsbroich, which ­many years, exhibited at Konrad by ­another exhibition there in Kunstakademie Düsseldorf. was curated by Konrad ­Fischer Fischer’s gallery for the first time ­December that included the In the 1960s, the Bechers began­ and the museum’s ­director in 1976. He presented relics ­installation hinter dem Knochen photographing industrial build­ Rolf Wedewer. from his performance or “action” wird gezählt−Schmerzraum ings all over the world. For this, called Und in uns … unter uns … (One Counts behind the Bone− they developed a rigorous con- The Bechers had the first of landunter (And in us… under us … Pain Room) for which the artist cept based on “objective” photo- eight solo exhibitions all together flooded), which he had per­ encased the entire gallery space graphy. The buildings were at Konrad Fischer’s gallery in formed during the 24-Stunden- in lead plates. ­photographed from an elevated ­December 1970. In 1972, Konrad Happening (24 Hour Happening) position and from a great dis- Fischer established a section on June 5, 1965, in the Galerie tance with a plate camera using a ­devoted to Conceptual Art at the Parnass in Wuppertal. This was long exposure. The motifs ­were Documenta 5, where he also the last event organized by the ­always in the center of the picture. showed works by Bernd and Hilla gallery owner Rolf Jährling, who ­Foliage and surrounding buil- Becher, among others. This was was well-known in the 1960s dings were faded out through the international breakthrough for for presenting the first Happe- blurring and overexposure. the artist couple. nings and Fluxus events. The A blanket of clouds was also photographer Ute Klophaus needed to guarantee a diffuse ­documented Beuys’ performance light without deep shadows. in photographs. She later recalled: The buildings, which appear “Joseph Beuys arranged his place like “anonymous sculptures,” at the beginning of the action, ­were ­also compiled into series before the audience arrived. He of “typologies.” would then operate starting from there for twenty-four hours. The In the fall of 1969, Konrad crate formed the center.” ­Fischer and the art critic and later­ gallery owner Hans Strelow The objects Beuys showed ­organized the second installment at Konrad Fischer were remnants of the Prospect exhibition in the of this performance platform Kunsthalle Düsseldorf. The show called the Aktionssockel, which offered an “international preview consisted of an orange crate, of art in avant-garde galleries”­ a wax cloth, and a glass with algae and ran parallel to the Kölner submerged in water (originally Kunstmarkt (Cologne Art Fair). Christmas roses). Two photo- In the Prospect exhibi­tion, graphs documented the situation 16 ­galleries showed works by at the site, accompanied by 36 artists. Also, an ­international handwritten installation instruc- selection committee nominated tions from the artist (The Three an additional ten ­artists, including Parts of the Performance Hilla and Bernd Becher. Pro­ ­Platform from 24 Hours, June 5, spect 69 was thus the first time 1965, 0−24 h). This collage their photographs were pre­ ­became part of the collection of sented in the context of Concep- Dorothee and Konrad Fischer, tual Art. They also ­participated who sold the work to a public in the exhibition ­Konzeption / collection in Dunkerque, France, Conception. Dokumentation einer in 1983. ­In early May of that year, heutigen Kunstrichtung (Konzep- Fischer also opened his new gal- tion / Conception:­ Documentation lery space on Mutter-Ey-Strasse of a To-Day’s Art Tendency) with a solo exhibition featuring Marcel Broodthaers in 1971—72 at his Section Marcel Cinéma, Musée d’Art Moderne, Département Broodthaers des Aigles at Burgplatz 12 in Düsseldorf, photo: ­Joaquim Romero Frías, Courtesy Museum Kunstpalast. AFORK, (1924 Saint-Gilles / Sint-Gillis − Düsseldorf 1976 Cologne)

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Marcel Broodthaers began his Broodthaers lived in Düssel- artistic career as a poet and a dorf from 1970 to 1972. In 1972, writer, but in 1964, he changed to the Kunsthalle Düsseldorf hono- visual art. Although his credo red him with a solo exhibition. was “the games played by images He never exhibited at the Konrad and language are parallels,” text Fischer Galerie during his lifetime, and language would remain his but after his death, the ­gallery most important tools, and he em- devoted three exhibitions to him ployed these in physical spaces starting in 1978. The last show instead of in a book. He believed in 1990 included the work Où that spatial experience has a est la Signature / ­Théorie de la ­more ­immediate effect than the ­Signature, (Where is the Sig­ solitary act of reading. Therefore, nature / Theory­ of the Signature), the special characteristics of 1971−a portrait of the medium the place where a work of art is of film and at the same time a shown play an important role. ­portrait of the artist. In 1968, Broodthaers founded the Musée d’Art Moderne, Département des Aigles (Muse- um of Modern Art, Department of Eagles) in his hometown of Brussels. In this “fictitious muse- um,” the Belgian artist expressed his fundamental criticism of the museum as an ­institution and its power to define what is art. Through the gallery Wide White Space from Antwerp, ­Marcel Broodthaers participated in the Prospect exhibition series, organized by Konrad Fischer and Hans Strelow. He was also repre- sented in the exhibition Konzep­ tion / Conception. Dokumentation­ einer heutigen Kunst­richtung (Konzeption / Conception:­ Docu- mentation of a To-Day’s Art ­Tendency) in the Städtisches ­Museum Leverkusen in Schloss Morsbroich, which was curated by Konrad Fischer and Rolf ­Wedewer. Prospect 71 ­especially received special ­attention, because it was solely ­de­dicated to the new media of ­photography, film, and video with its 110 ­projection works by 76 inter­national artists. Installation view of Prospect 71: Projection, photo: Manfred Tischer © by www.tischer.org, Courtesy Kunsthalle Düsseldorf

24 25 Stanley Daniel Brouwn Buren

(b.1935, Paramaribo) (b. 1938, Boulogne-Billancourt)

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When Konrad Fischer and Hans ­exhibitions at Fischer’s gallery Daniel Buren has been exhibiting by painting white and green Strelow invited 16 international­ opened in December 1970. at the Konrad Fischer Galerie stripes in an alternating pattern avant-garde galleries to partici­ The artist presented works docu­ since 1969 and is one the gallery’s on two walls standing at right pate in the exhibition Prospect­ 69 menting the number of steps top artists. Like Konrad Lueg, he ­angles to each other. These in the Kunsthalle Düsseldorf, the he had taken while wearing a began his artistic career in 1962 stripes were also printed in the newly estab­lished gallery called ­pedometer on his walks through with painting. However, he drop- exhibition “catalogue newspaper.” Art & Project from Amsterdam several neighborhoods of ped this in 1967 in sudden a In the subsequent exhibition was among them. This gallery ­Düsseldorf prior to the exhibition. ­gesture of refusal, when he with- ­Prospect 69, he installed white specialized in Conceptual Art and The aspect of movement and drew his paintings from an ex­ and blue stripes on the ­same represented the Dutch Concep- the ­site-specific reference, which hibition at the Salon de la ­Jeune walls. tual artist Stanley Brouwn. were key features in the exhibi- Peinture in Paris. This act was Brouwn created his first concep- tions at Konrad Fischer’s gallery carried out together with other Also at this time, Buren tual works in the beginning of at the time, were also central members of the group BMPT− had his first solo exhibition at the 1960s and had been origi- ­here. In 1970, Brouwn had his first which also included Niele Toroni, Fischer’s gallery. For Position− nally associated with the interna- solo exhibition at a museum in who had an exhibition at Fischer’s Proposition, the artist painted a tional Fluxus ­movement. He is ­Mönchengladbach, and when gallery in 1976. In their statement, small rolling file cabinet with blue interested in measurements, Konrad Fischer and Klaus Honnef­ the artists’ group declared the and white stripes. The stripes did paths, and ­distances between organized a section for Concep- following reasons for their ­action: not remain only in the gallery; people and places. He believes tual art at the documenta 5 “Because ­painting is a game. […] they also spread across the ­city: his whole life is manifested in the in 1972, Fischer also included Because to paint is to give aes­ on billboards, construction ­site steps he has taken and will take works by Stanley Brouwn. thetic value to ­flowers, women, fences, in a hotel room, or a in the ­future. eroticism […] and the war in doctor’s office. In the exhibition ­Vietnam.” After this, Buren deci- Konzeption / Conception: Doku- The art magazine bulletin, ded he would work only with mentation einer heutigen Kunst- which was published by Art & alter­nating colored and white richtung (Konzeption / Conception: Project at irregular intervals, stripes. With a standard width of Documentation of a To-­ ­Day’s Art ­dedicated its eleventh edition to 8.7 centimeters,­ he uses these Tendency) at the Städtisches the exhibition Prospect 69, stripes as ­“visual tools” for redefi- Museum Leverkusen in Morsbroich with a special focus on Stanley ning ­public and private spaces. in 1969, the first ­museum exhi­ Brouwn. In October 1969, just He ­defines this as “degree zero bition dedicated to Conceptual Art a few weeks later, Fischer invited ­painting.” An essential aspect ­of in Germany, the curators ­Konrad the Dutch artist to participate Buren’s concept is to create Fischer and Rolf Wedewer also in the exhibition Konzeption / works “on site−for, against, and presented works by Daniel Buren. Conception. Dokumentation einer according to the site.” His works For this, the ­artist wrote his state- heutigen Kunstrichtung (Konzep- are thus closely tied to the place ment “Mise en garde!” (Warning!), tion / Conception: Documen­ they are in and can ­only unfold which was published in the artists’ tation of a To-Day’s Art Tendency) their full effect there. ­After an book accompanying the exhi­ in the Städtisches Museum Lever­ ­exhibition is over, the works are bition. It was Daniel Buren’s first kusen in Schloss Morsbroich. destroyed, and nothing is left publication in German and be­ This was the first museum exhi­bi­ but the artist’s description and came a critical key text about tion of Conceptual Art in Germany several small souvenir photo­ Conceptual Art. and was curated by ­Fischer to- graphs that Buren does not sell, gether with the museum’s director in a gesture of rejecting the Rolf Wedewer. Based on the art market. ­similarities in their gallery’s pro- grams, Fischer and the two Buren participated in the Art & Project gallerists, Adriaan ­exhibition Prospect 68 in 1968, van Ravesteijn and Geert van which Konrad Fischer organized Beijeren,­ continued to cooperate­ together with Hans Strelow in in the following years.­ Stanley the Kunsthalle Düsseldorf. Buren Brouwn’s first out of five solo installed a large installation Alan C Charlton D

(b. 1948, Sheffield)

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In 1971, the magazine Studio began creating monochrome ­International published an inter- gray paintings in 1970 in which view by Georg Jappe with he works with very sculptural ­Konrad Fischer. Alan Charlton, ­picturial supports with stretcher who was in his final year at bars that are 4.5 centimeters in the Royal Academy in London depth. He is ranked as one of the and had been looking for places most important English Concep- to exhibit in a gallery without tual ­artists today. In 1997, a few ­success, read it with excitement months after Konrad Fischer’s and jumped on a plane to death, Charlton dedicated a ­Düsseldorf. He walked into ­catalogue for his major exhibition Fischer’s gallery with a handful in Nîmes to the memory of of slides and said to him: his gallerist and friend with the “I am an artist from London and words “the first person to I like to make an exhibition ­believe in me.” with you.” Without saying a word, Fischer looked at the slides then said: “I come to London on Wednesday to see the paintings.” Fischer thus became the first gal- lerist to offer Charlton a show. The exhibition took place in 1972 and consisted of six large Square Hole Paintings, after which he had many more shows at Fischer’s gallery. Charlton­ is still one of the few painters in the gallery’s program today. Konrad Fischer also acted as a mentor for the very young artist. In 1975, Fischer took Charlton to New York and introduced him to the American artists he repre- sented and arranged for him to have an exhibition at the Leo Castelli Gallery. Their relationship was like that of a teacher and student. For Charlton, “each time making an exhibition back with Konrad was sort of a test. I ­always felt that I had to do my best. […] If he made just one comment like ‘looks good, Alan,’ then you were already completely happy.” Alan Charlton is still one of the gallery’s main artists today. In his exploration of the functions and possibilities of painting, he Hanne Jan Darboven Dibbets

(b. 1941, München− (b. 1941, Weert) d. 2009, Rönneburg)

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“The Düsseldorf thing is truly in Mönchengladbach in 1969. Konrad Fischer got to know materials: sand, growing grass wonderful. K. König handled every­ Counter to his usual practice, Jan Dibbets when he was still etc. These are demonstrations. thing with us; the two crates took ­Fischer also showed an exhibition going by the name of Konrad I do not make them to keep off for Düsseldorf with Pan Ameri­ of her works titled Ein Jahrhun- Lueg. Six weeks before opening but to photograph. The work of can yesterday evening, and are dert in einem Jahr (A Century in his exhibition space, Lueg took art is the photo.” If we look at there this morning. K. Fischer has a Year) for an entire year−from part in the exhibition Dies alles, Square perspectief corrective / been informed. Have no costs at January 1 to ­December 31, 1971− Herzchen, wird einmal Dir ge­ groot vierkant (Perspective all; everything covered by the at his gallery on Andreasstrasse. hören (One Day, Darling, All of ­Correction / Large Rectangle), gallery!” wrote Hanne Darboven­ This show ­demonstrated This Will Belong to You), orga- 1968, for example, we see to her parents from New York. Af- Darboven’s ­idiosyncratic system nized by Paul Maenz. It took an ­almost perfect square that ter ­finishing her ­studies, she had of recording (life) time, which place on September 9, 1967, in ­appears to be parallel to the moved to New York in 1966, she used to ­investigate the the Galerie Dorothea Loehr in ­picture plane, with a meadow in where she lived for two years, ­passing, experience, and remem- Frankfurt and lasted only one the background. In reality, it becoming part of the city’s art brance of time. evening, from 7:45 p.m. to 9:55 is a photograph of a trapezoid scene. Sol LeWitt, who was very p.m. The exhibition featured Lueg marked by the artist in the grass. fond of her ­Konstruktionen­ (Con- as well as seven other artists, Through the distorted perspec­ structions), her most ­recent ­including Jan Dibbets. For tive of the photographer’s stand- ­drawings on graph paper, intro- his contribution, Dibbets poured point, the trapezoid looks like a duced her to several gallery 15 sacks of sawdust into the square. Because human per­ ­owners and curators, including courtyard of the gallery, leaving ception tends toward the ­simple, Kasper König. Through him, she an oval space empty in the concise shape, it is hard to got in touch with Konrad Fischer.­ ­middle that looked like a distorted ­imagine a flat trapezoid on the After showing Carl Andre’s circle from a certain perspective. ­meadow. Space and ­plane thus work, Fischer wanted his second The oval shape quickly disap- engage in a paradoxical tension. exhibition to be with Darboven’s peared after all the guests Konstruktionen in December walked over the sawdust in the Konrad Fischer presented 1967. This would have been beginning of the show. Lueg Jan Dibbets’ work in his gallery her first solo exhibition, but to liked Dibbets’ work. Later, under altogether twelve times and Darboven’s and König’s great his real name of Konrad Fischer, he is still one of the gallery’s main consternation, shortly before the he organized the first solo ex­ artists today. Dibbets said, exhibition, Fischer decided hibition in Germany for the Dutch “I did exhibitions in Düsseldorf to combine her drawings with artist from August 15 to Sep­ on ­account of Konrad. He was ­serial sculptures by Charlotte tember 17, 1968. Paul Wember the most important art dealer of ­Posenenske, apparently as also took notice of Dibbets all in the last 25 years of the a way of structuring the long and through Fischer and invited him 20th ­century. Everything that was narrow gallery room. Fischer to take part in the show Audio-­ special was with Konrad.” tried to offer pacifying words in visuelle Dokumentationen a letter: “A consolation for ­(Audio-Visual Documentations) ­Hanne: a two-woman exhibition at the Museum Haus Lange is quite the same as a one-man in Krefeld. This was Dibbets’ first show. I’m very much looking museum exhibition. ­forward to meeting Hanne, and give her my regards.” Darboven’s The Dorothee and Konrad indignation apparently did not ­Fischer Collection includes a ­have a lasting effect on her rela­ number of earlier works by tionship with the gallery, be- the Dutch artist that are prime cause she had a number of ­solo ­examples of his main themes, exhibitions there in the following which include the observation of years. On Konrad Fischer’s light, perspective, and space. ­initiative, Hanne ­Darboven also Dibbets once said: “I make most had her first ­museum exhibition of these works with ephemeral next pages Dan Konrad Fischer with Gilbert & George, 1973, E F Flavin photo: Konrad Fischer Galerie

(b. 1933, New York City− d. 1996, Riverhead, N.Y.)

32 33

The exhibition Serielle Formatio- due to the high number of artists nen (Serial Formations), which was from the US. After that, his shown at the Studio Galerie of ­former fellow artist Konrad Lueg, the Goethe University in Frankfurt who was now again appearing am Main from May 22 to June 30, under his birth name Konrad 1967, included 48 international ­Fischer, invited him to come ­artists chosen by the exhibition’s and do a solo exhibition in ­curators, Paul Maenz (who later ­Düsseldorf in 1969. Under the became a gallery owner and title Fluorescent Light, Flavin art collector) and the artist Peter showed six works with fluorescent Roehr. Paul Maenz knew several tubes at the gallery on Neubrück- artists personally from his time strasse, followed by another as an art director at an American ­solo exhi­bition in the gallery on advertising agency in Frankfurt ­Platanenstrasse in 1981. and New York. Like Carl Andre, Donald Judd, and Sol LeWitt, the American artist Dan Flavin also had one of his earliest European shows in Frankfurt. Konrad Lueg also participated in the show, as an artist. With the exhibition, the organizers wanted to “make it clear that, ­although serial mani- festations are an international phenomenon, they are simulta­ neously an expression of entirely different ­artistic strategies and concepts.” Dan Flavin was one of the most important Minimal artists. He began to experiment with light as a material in 1963. His preferred pictorial means were­ white and colored fluorescent ­tubes, which he used to create sculptures or fill entire rooms in which the architecture reflects the light, thus forming a union with it. ­Visitors are also immersed in the light and are thus inte­ grated into the installation. Flavin dedicated many of these works to other ­artists and well-known ­figures in the art world (Untitled (for Don Judd, colorist) 1, 1987). In 1968, Dan Flavin participa- ted in documenta 4 in Kassel− the documenta that made ­history as “documenta americana,”

G Gilbert & George H

(b. 1943, St. Martin in Thurn, b. 1942, Plymouth)

36 37

The artists Gilbert Proesch and Art Tendency) in the Städtisches George Passmore have been ­Museum Leverkusen in Schloss working as the artist duo Gilbert & Morsbroich in 1969, and they George since the 1960s in participated in the Prospect­ exhibi­ ­London under the motto “Art for tions at the ­Kunsthalle Düssel- All”: “We like art that is visual, dorf in 1970 and 1971. Konrad ­very direct, meaningful, or, as we ­Fischer continued to help raise call it, has a moral dimension. their international reputation­ in the We are talking about sexuality, following years. At his suggestion, religion, feelings, happiness, Rudi Fuchs, the director of the ­unhappiness.” The two artists are Van Abbe­museum in Eindhoven, not interested in “elitist thinking” organized their first major solo in art; instead, they strive to ­exhibition called Photo-Pieces ­appeal to all people. For this, they 1971−80 . In 1981, this show use their own bodies as material traveled to the Kunsthalle Düssel- in order to merge art with life. dorf, the Kunsthalle Bern, the As such, their works had little in Centre national d’art et de culture common with the minimalist ­Georges Pompidou in Paris, ­program of Konrad Fischer’s and the Whitechapel Art ­gallery. Fischer got to know ­Gallery in London. ­Gilbert & George in 1969 at the preview of the famous exhibition In Gilbert & George’s opinion, Live in our Head. When Attitudes Konrad Fischer focused too much Become Form in London, which on the US and Minimalism, and began in Bern then toured many in 1980 they decided to leave­ European ­cities. Because they Konrad Fischer’s gallery because were disappointed about not he had become too “American” being included in this exhibition, for their taste. Gilbert & ­George decided­ to stage a performance, as “Living Sculp- tures”, to attract attention. With their faces and hands covered in a metallic paint, they caused ­quite a sensation. Konrad ­Fischer, who they later said was “the most famous art dealer in the world at that time,” invited them to ­Düsseldorf that very night. He then recom­mended them to the director of the Kunsthalle Düsseldorf, where­ they performed­ The Singing­ Sculpture in the ­exhibition series between in 1970. Fischer organized a tour of this performance to various major German cities. He also invited the duo to take part in the exhibi- tion Konzeption / Conception. Do- kumentation einer neuen Kunst- richtung (Konzeption / Concep­tion: Documentation of a To-Day’s Douglas Stephen Huebler K Kaltenbach

(b. 1924, Ann Arbor, Michigan− (b. 1940, Battle Creek, Michigan) d. 1997, Truro, Massachussetts)

38 39

In 1969, the young avant-garde ­more exhibitions, the last in 1974. Stephen Kaltenbach belongs to gallerist, writer, and curator Seth When Fischer organized a the first generation of ­Con­ceptual Siegelaub exhibited four artists ­separate section for Conceptual artists. The San Francisco ­Museum in an empty office in New York: Art at the documenta 5 together of Art ­organized a solo ­exhibition Robert Barry, Joseph Kosuth, with Klaus Honnef in 1972, of his work already in 1967, fol­ Laurence Weiner, and Douglas he again included Huebler and lowed by the Whitney Museum of Huebler. Huebler created a work his three fellow artists. American Art in New York in 1969. out of sawdust, which disap- In the same year, Kaltenbach also peared after six hours and exists participated in Harald Szeemann’s only in a series of photographs. legendary ­exhibition Live in Your The exhibition ­comprised just Head. When Attitudes Become a few physical works, because Form at the Kunsthalle Bern, as well the real presentation consisted as the show Konzeption / Concep- of a catalogue in the form of tion. Dokumentation einer­ heutigen a binder. In the binder, Huebler Kunstrichtung (Kon­zep­tion / Con- also explained his conceptual ception: Documentation of a To- ­approach in a programmatic Day’s Art ­Tendency) at the Städti- statement: “The world is full of sches Museum Leverkusen in objects, more or less interesting; Schloss Morsbroich, which was I do not wish to add any more. curated by Konrad Fischer and the I prefer, simply, to state the museum’s director Rolf Wedewer. ­existence of things in terms of Despite these ­encounters, he did time and/or place.” He thus not exhibit at Fischer’s gallery,­ which ­developed a documentation was perhaps why Kaltenbach’s ­system consisting of photo- works were then only presented in graphs, drawings, maps, and a few group exhibitions in ­Europe. ­descriptions. In 1974 / 75 he took part in the show Multiples: Ein Versuch, die In March 1969, the same Entwicklung des Auflagenobjekts four artists also participated darzustellen (Multiples. An Attempt in the Live in Your Head. When to Present the Deve­lopment of the Attitudes Become Form exhi­ Object Edition) at the Neue Berliner bition in the Kunsthalle Bern, Kunstverein. In the mid-1990s, which was curated by ­Harald Kaltenbach’s works began to be Szeemann with the help of shown in ­Belgium, England, and ­Konrad Fischer. When Fischer ­Israel. In 2005, he finally had his ­invited Seth Siegelaub to get first ­European solo exhibition with ­involved in Prospect 69 in the fall Dorothee Fischer. The ­Dorothee of that year, Siegelaub again and Konrad Fischer Collection now ­chose Barry, Kosuth, Weiner, and owns a work from his major series Huebler. This time, they did not called Time Capsules, which are show a single work. Instead, their metal containers with comments contribution consisted of four or instructions engraved on the short interviews published in the surface.­ These are reflections­ on exhibition “catalogue-newspaper.” life and death, like “Where are we going” (Time Capsule WHERE In January 1970, Douglas ARE WE GOING, 1969). On the Huebler’s first solo exhibition Time Capsule in the Museum of in Europe was at Fischer’s gallery. Museum Art in New York, the artist This was followed by four wrote that it should not be opened before his death. On Harald Jannis Kawara Klingelhöller Kounellis

(b. 1933, 1933 Kariya, Präfektur (b. 1954, Mettmann) (b. 1936, Piräus) Aichi− d. 2014, New York City)

40 41

On Kawara sent Konrad Fischer Harald Klingelhöller was one but some details and elements Jannis Kounellis was born in a postcard every day from New of the young Kunstakademie are also finished to a higher Greece and has been living in York in 1969, from April 1 to ­Düsseldorf graduates who had ­degree.” Rome since the mid-1950s. the end of July. On the back of a group show at Konrad Fischer’s He is one of the founders and these postcards, the artist rather gallery on Platanen­strasse in Harald Klingelhöller had his most important representa­tives bureaucratically stamped the 1983. This “quasi ­second gene- first solo exhibition at Konrad of ­­Arte Povera (“poor” art), ­correct date, the exact time when ration of artists” also included Fischer’s gallery in 1985. He had which developed in Turin in 1967. he got up, and his address Ludger Gerdes, Wolfgang Luy, two more shows there before ­Kounellis uses everyday objects (I Got Up (1 Apr.−30 July 1969)). Reinhard Mucha, and ­Thomas Konrad Fischer’s death, followed and natural materials in his On Kawara continued this work Schütte. In the beginning of the by another four with Dorothee ­­works−even dead and live titled I Got Up for many years. 1980s, Minimal Art was no lon- ­Fischer. He is still one of the ­animals. In January 1969, the It combines conceptual austerity ger in style. Instead, the German gallery’s top artists today. ­artist presented twelve live with an almost intimate, personal neo-expressionists (Neue Wilde) ­horses in an exhibition room in message. In 1970, the first 30 and ­Italian ­neo-­expressionists When the well-known German the Roman Galleria L’Attico postcards addressed to Fischer (Transavanguardia & Arte Cifra) art critic Heinz-Norbert Jocks for his installation Dodici cavalla were shown in the exhibition were very successful,­ both of asked Konrad Fischer about vivi. This spectacular ­action ­between 5 in the Kunsthalle which Fischer­ did not have a high ­Harald Klingelhöller, he answered: ­came to be regarded as a mile­ ­Düsseldorf. It was On Kawara’s opinion of. Klingelhöller later said “I simply found him interesting.” stone in the history of Arte Povera. first show in Europe. Soon after, that this group exhibition was In the fall of 1969, Fabio On Kawara’s first solo exhibition, ­seen as “the Düsseldorf answer ­Sargentini, Kounellis’ gallerist, called made in New York from to the wild [neo-expressionist] ­re­presented him and another 1970−1971, was presented at painting in Cologne” and had Arte Povera ­artist named Eliseo Konrad Fischer’s gallery. After ­been organized on “initiative of ­Mattiacci in the Prospect 69 this, the artist regularly exhibited Thomas Schütte.” Schütte was a ­exhibition at the Kunsthalle at the gallery, the last show being close friend of Fischer’s and ­Düsseldorf, which was organized in 2006. The date paintings from had already had a solo show in by Konrad Fischer and Hans the Today Series also demon­­ his gallery in 1981. The partici­ Strelow. The top Arte Povera gal- strate his obsession with reflecting pating sculptors later ­exhibited lerist, Gian Enzo Sperone­ from on his own lifetime and time in together again in the Museum ­Turin, was also there presenting general (MAR.25, 1997, 1997; Haus Esters in Krefeld and in the four artists from this movement. MAY18, 1995, 1995; NOV.3, Kunsthalle Bern, among other The show had a decisive impact 1996, 1996; 12DEC.2000, 2000; places. They were called the on the international success from Today Series (1966 – 2013)). “model builders,” ­although they of Arte Povera. A few weeks later, These act as a kind of storage did not regard themselves as Jannis Kounellis took part in the media for the 24 hours of the day a real group. exhibition Live in Your Head. When when they were painted. Attitudes ­Become Form in the Harald Klingelhöller develops Kunsthalle Bern, which was cura- On Kawara continued to gain his sculptures through the prin- ted by ­Harald Szeemann in co- international fame, regardless of ciple of addition. Their construc- operation with Konrad Fischer. Fischer’s help. He participated in tions seem fragile and open. This avant-garde exhibition, which the documenta four times: in He uses materials that are mostly was controversial at the time 1977, 1982, 1997 and 2002. How- ephemeral: primarily cardboard but is legendary today, also helped ever, he was not represented at and insulation boards. The end to promote Arte Povera. Fischer Harald Szeemann’s documenta 5 results thus resemble models. The began to get more deeply invol- in 1972, when Konrad Fischer artist said: “My forms share many ved in Arte Povera in 1977 through and Klaus Honnef organized a qualities with models, ­after all. the gallery in New York he had section on Conceptual Art called The model has the advantage that founded together with Sperone. “Idee + Idee / Licht” (Idea + Idea / it proposes a solution, but does In January 1979, Kounellis had Light). not deliver. It is a strategy to leave his first solo exhibition at Fischer’s things open and not create gallery, followed by five more ­closure. This is very ­important, ­solo shows and several group Jim L Lambie

(b. 1964, Glasgow)

42 43 shows, the most recent in 2016. After Konrad Fischer’s death, his In 2005, Jim Lambie was Kounellis is still part of the wife Dorothee became the sole ­nominated for the Turner Prize, gallery’s core group of artists director of Ausstellungen bei the most important award for ­today. Konrad Fischer (Exhibitions at young artists in the UK. By this Konrad Fischer). She continued time, he had become well-known, to cultivate the gallery’s ­focus also in Germany, thanks to his on Conceptual Art, while also participation in numerous group ­adding new aspects. Thus, exhibitions. in 1998 and 1999, she invited young artists to take part in a ­series of group exhibitions which she titled Fischer’s Frische ­Fische (Fischer’s Fresh Fish). Then in 2000, Dorothee ­Fischer presented a solo exhibi­ tion of a young artist who was ­also a musician and DJ from the subcultural scene of Scotland: Jim Lambie. Lambie had already made a name for himself with his polychromatic installations called Zobops. These consist of brightly colored vinyl tape that Lambie sticks to the floor. The stripes are arranged parallel to each other, letting walls, pro­tru­ sions, and built-in furniture influ- ence their course. The result is a vibrant, psychedelic pattern that makes the room and the behol- ders in it feel like they are vibra- ting, as if to music. In the gallery on Platanenstrasse, Lambie showed a Zobop that covered the floor of the gallery, along with other works. In his second solo exhibition at the Konrad Fischer Galerie in 2004, Lambie presented the installation Turntable (My Boy­ friend’s Back), 2004, which con- sisted of 11 table tops with ­electric motors in a reference to music, like the modified record covers that were also presented in the show. Sol Richard LeWitt Long

(b. 1928, Hartford, Connecticut− (b. 1945, Bristol) d. 2007, New York City)

44 45

Konrad Fischer most likely saw and Meyer in ­Esslingen for this.” “I have never felt so spon­ his gallery in 1968. For the Sol LeWitt’s work for the first In 1969, ­LeWitt also participated taneously enthusiastic about any­ show called Sculpture at Konrad time in 1967 in the exhibition in the exhibition at the Städti- one as I did about Richard Long,” ­Fischer Düsseldorf, the sculptor ­Serielle Formationen (Serial For- sches Museum ­Leverkusen in said Konrad Fischer about the placed 1,318 willow branches mations) in Frankfurt, in which Schloss Morsbroich called Kon- first time he saw one of the British in long parallel lines on the floor he also participated as a painter zeption / Conception. Doku­ sculptor’s works. This was in of the gallery. He had collected under his artist’s name Konrad mentation ­einer heutigen Kunst- 1967 at the group exhibition Dies the branches at the River Avon Lueg. richtung (Konzeption / Concep-­ alles, Herzchen, wird einmal Dir Gorge, close to Bristol. The work tion: Documentation of a To-Days­ gehören (One Day, Darling, All of sold immediately. Dorothee and One of the founders of Art Tendency),­ curated­ by Konrad­ This Will Belong to You) in the Konrad Fischer later bought ­Minimal and Conceptual Art, Sol Fischer and Rolf ­Wedewer. Galerie Dorothea Loehr in Frank- it back for their own collection LeWitt focused primarily on furt, where Fischer, alias Lueg, (Sculpture for Konrad Fischer). ­simple, geometric, stereometric Konrad Fischer held LeWitt ­also took part. However, Long was The first picture under “Exhibi­ ­ forms in serial arrangements. in high regard, and he dedicated not present himself at this spec- tions” on ­Richard Long’s official While the idea or the concept ­altogether twelve solo shows tacular evening exhibition. He was webpage shows a photo of this behind the work is essential, its to him. The gallery still regularly still studying at the St. Martin’s work in Fischer’s gallery space realization is not so important. ­presents Sol LeWitt’s work School of Art in London, like ­located at Neubrückstrasse 12. up to this day. ­Gilbert & George and Jan Dibbets. In his Paragraphs on Con- Collectors and fellow artists ceptual Art, Sol LeWitt explained: In 2010, a special gift by the Richard Long is one of the have long held Long’s works in “When an artist uses a concep­ artist was realized at the Kunst- most important representatives high regard. His first exhibition in tual form of art, it means that all sammlung, Scribbles: (KF), Wall of Land Art. Like Minimal Art, the US in 1969 was organized with of the planning and decisions­ Drawing # 1227, 2007. Sol LeWitt this movement also originated the help of Carl Andre. In 1972, are made beforehand and the designed the concept of this in the US. Land Art is usually he participated in Documenta 5, execution­ is a perfunc­tory affair wall drawing on the tenth anniver­ created outdoors in the land­ where his works were also in­ […] It is usually free from the sary of Konrad Fischer’s death scape and can range from small cluded in the section “Idee + Idee / ­dependence on the skill of the as a way of honoring the many interventions with natural ma­ Licht” (Idea + Idea / Light), which ­artist as a craftsman. […] What years of dedicated work by his terials to the remodeling of ­entire was organized by Konrad Fischer the work of art looks like isn’t friend and gallerist. After ­LeWitt areas with heavy machinery. and Klaus Honnef. In 1989, he too important. […] No matter what died in 2007, Dorothee Fischer ­Richard Long’s art consists in ­received the Turner Prize, which form it may finally have it must acted on his behalf and chose the ­taking conceptual walks all is the most important ­British begin with an idea.” Kunstsammlung Nordrhein-West- around the globe, which he award for young art. falen to receive this donation. ­documents with photographs It was Carl Andre who helped This work had been first realized and texts. The experience of Richard Long’s list of exhi­­ to convince LeWitt to do an in the Galerie Konrad Fischer space, time, and nature are thus bitions at Konrad Fischer is long; ­exhibition with Konrad Fischer. in February 2007 according to his main focus. On his walks, the ­latest was in November After Carl Andre and Hanne the artist’s instructions. he creates ephemeral stone and last year. After the death of the ­Darboven, Sol LeWitt was thus wood sculptures, which he either ­gallerist, the artist created the the third artist to present his work removes afterwards or lets work Circle for Konrad in 1997, at Fischer’s gallery located on ­decompose. In ­museums and which is now also part of the Neubrückstrasse. It was also galleries, Long ­installs works collection of the Kunstsammlung LeWitt’s first solo show in Europe. ­made of boulders, rocks, drift- Nordrhein-Westfalen. Prior to the opening on January­ wood, and / or other ­natural 6, 1968, Konrad Fischer used his ­materials, or he paints wall pic­ network of contacts to get the tures using colored­ mud. American artist more shows: “Sol wrote to me that he would like to Konrad Fischer was enthusi- exhibit in several places in Euro- astic about his work, and he pe (through our enterprise, ­invited ­Richard Long, who was ­naturally) and, up to now, I have only 23 years old at the time, ­Bischoffsberger [sic] in Zurich­ to do his first solo exhibition at During Konrad Lueg’s Kaffee und Kuchen (Coffe and Cake) action at the Galerie Schmela, 1966, photo: Reiner Ruthenbeck

46 47 1 2 Konrad Alfred Schmela (center), Konrad Fischer during Konrad Fischer (right), the setup of Documenta 5, Lueg and unknown individual, 1972, photo: Konrad M ca. 1965, photo: Konrad Fischer Galerie Fischer Galerie

(b. 1939, Düsseldorf− d. 1996, Düsseldorf)

48 49

“When I paint my name is Konrad ­reproduction of a work by ­canvases painted with phos­ 2 Lueg (Lueg is my mother’s mai- Roy Lichtenstein, Konrad Lueg, phorescent color and placed in den name) to avoid possible con- ­Gerhard Richter, and Sigmar dark rooms with the idea of fusion because the name Fischer­ ­Polke decided to found a kind of ­beholders casting their shadows is so common,” said Konrad Lueg, German Pop Art called ­“capitalist on the pictures with the help whose real name was Konrad realism” in 1963. Lueg thus of a flashlight, thus creating their ­Fischer. He began studying ­began painting motifs based on own imagery. ­painting at the Kunstakademie photographs of everyday life. ­Düsseldorf in the winter semester His joint exhibition with Richter in Despite the attention his 1958 / 59, where he was taught the Düsseldorf furniture store art received, Lueg gave up his by Bruno Goller and later Karl Berges called Leben mit Pop− ­career as an artist around Otto Götz. There, he got to know Eine Demonstration für den 1970, after which he devoted fellow students who would later kapi­talistischen Realismus (Life his time solely to his gallery, become important in his career, with Pop−A Demonstration for which he ran under his real name. like Sigmar Polke and Gerhard ­Capi­talist Realism) in 1963 He continued to be represented Richter. Richter and Konrad Lueg / is ­legendary. In 1965, he began in the occasional group show, Fischer remained friends for the combining figuration with however, and in 1970, Heiner rest of their lives, although their ­orna­men­tation, which he applied Friedrich in Munich also presented friendship was not always free of with a pattern roller used for a solo exhibition of his works, conflict. painting walls. These patterns ­followed by Rudolf Zwirner ­increasingly took on a life of their in Cologne in 1980. Three years Lueg was well connected own, and in the end Lueg began ­after his death, in 1999 / 2000, in the Düsseldorf art scene stretching plastic foil or textiles the retrospective When I Paint ­already as a student. His close with patterns on picture frames. My Name is Konrad Lueg was friendship with the artist Peter He had a solo exhibition at Alfred shown in the P.S.1 Contemporary Brüning, who was ten years his Schmela’s gallery in Düsseldorf Art Center New York, followed senior and introduced him to in 1964, and one at René Block’s by Ich nenne mich als Maler ­international art movements, was gallery in Berlin in 1966. In Konrad Lueg at the Kunsthalle especially important to him. ­December 1966, he took part Bielefeld, and As a Painter, I Call ­Gerhard Richter later said about in the series of events called Myself Konrad Lueg at the Lueg: “He was very well informed Hommage an Schmela (Homage ­Stedelijk Museum voor Actuele and he had this cool manner, to Schmela) with the performance­ Kunst (S.M.A.K.) in Gent. like Humphrey Bogart. He knew “Kaffee und Kuchen” (Coffee and what was going on and how Cake) in which he transformed things worked. He knew the mech­ the Galerie Schmela into a middle- anisms. He was more arrogant class living room by hanging 1 than the other students be- wall patterns, his own plastic foil cause he knew more and wasn’t pictures, and Richter’s portrait so sentimental.” of Schmela on the walls. In 1967, Konrad Lueg participated in After Konrad Lueg was the programmatic exhibition Dies forced to leave the academy in alles, Herzchen, wird einmal the fall of 1962, he began Dir gehören (One Day, Darling, ­looking for places to hold exhi­ All of This Will Belong to You) bitions, which he was also willing in ­Frankfurt. At this show, he got to organize without the help to know artists whose work he of a gallery if necessary. At this would later exhibit in his own gal- time, his artistic work developed lery, which opened only a few from panel painting to per­ months later. In 1968, he created formances with audience par­ works called “Schattenwände” ticipation. Impressed by a (Shadow Walls), which are Robert Piero John Mangold Manzoni McCracken

(b. 1937, North Tonawanda, N. Y.) (b. 1933, Soncino, Cremona− (b. 1934, Berkeley, California− d. 1963, Milan) d. 2011, New York City)

50 51

Robert Mangold is one of the few was represented by both Dorothee and Konrad Fischer “My works are minimal and painters to be represented by Fischer’s gallery and the John bought Piero Manzoni’s Achrome, ­reduced, but also maximal. I try the Konrad Fischer Galerie. The Weber Gallery in the exhibition 1962, from Mia and Martin Visser,­ to make them concise, clear American artist began developing Prospect 73 at the Kunsthalle whom they had met through statements in three-dimensional the shaped canvases that are Düsseldorf, which was organized ­Kasper König. The two collectors form, and also to take them so characteristic of his work in by Konrad Fischer and Hans were also the first buyers at the to a breathtaking level of beauty.” the first half of the 1960s. He is Strelow. Fischer had kept close Fischers’ gallery, and they remai- This is how John McCracken ­interested in the fundamental contact with John W. Weber, ned faithful customers for many characterized his sculptural works, questions of painting and explores the former director of the Dwan years. which he began creating as issues like the relationship Gallery in Los Angeles, since a student of painting at the ­between the outer shape of the 1968, and after this show, Fischer Manzoni made this object ­California College of Arts and picture and its inner structure became Mangold’s official re­ with “angel hair,” a material used Crafts in Oakland at the end of lines and color planes. Unlike presentative in Germany. In April for Christmas decorations. The of the 1950s and beginning of the Minimal artists, Mangold 1974, Mangold opened his first Italian artist, who died young, the 1960s. does not work with serial forms solo exhibition in Fischer’s gallery, is regarded as a pioneer of Con- based on mathematical cal­ followed by three more shows ceptual Art. In 1958, he presen- McCracken’s works were culations and industrial materials before Konrad Fischer died and ted his first version of Linea m shown for the first time in Europe to make the artist’s handicraft another five when Dorothee 1000, which is a paper roll at the Paris Biennale in 1967. ­superfluous in the process ­Fischer was the gallery’s director. in ­a metyal canister on which he Konrad Fischer wrote to his friend of creating the work. Instead, had drawn a line 1000 meters Kasper König in New York in ­intuition and chance play a large long. In the same year, Manzoni ­November that year: “McCracken role in his work. also created his first Achromes. is being highly praised here by These are “colorless” panels those who saw his things there; Mangold had his first solo to which he attached pieces of unfortunately, I have seen only ­exhibition in the Fischbach Gallery fabric that he had soaked in photos, but also in terms of color: in New York in 1965. After Marilyn ­either plaster or kaolin – a soft I think he’s very good!” In March Fischbach began cooperating ­type of clay that can be easily 1969, ­McCracken had his first with Konrad Fischer in 1968, she formed. These works do not solo ­exhibition in Europe at Galerie promised to help him when ­represent or mean anything, and ­Ileana Sonnabend in Paris. Shortly she heard that he was interested they do not refer to anything after, in November 1969, the in Mangold. After Mangold’s but themselves. Later, Manzoni ­exhibition Kompas IV Westkust first European solo show took also used other “colorless” USA opened in Eindhoven, place in the Galerie Müller ­materials for his Achromes, like Nether­lands, which then traveled in Stuttgart in March 1968, the cotton, glass wool, and fiberglass. to Dortmund and Bern (as gallery owner Heiner Friedrich ­Kompass West Coast USA). from Munich, with whom Fischer Manzoni’s goal was to purge This was probably where Fischer also cooperated, presented art of all expressive qualities saw original sculptures by the ­drawings by the artist in a group to expose its core. He thus ques- American artist for the first time. exhibition in April the same year. tioned the authorship of the artist When Fischer was asked by and the idea that art had to be More than ten years later, ­Harald Szeemann to organize original. His most famous project on January 15, 1980, Fischer a section on Conceptual Art at was his artist’s edition of artist’s contacted McCracken again by ­Documenta 5 called “Idee + feces preserved in cans ­(merda writing a letter to the Meghan Idee / Licht” (Idea + Idea / Light) d’artista). Williams Gallery in Los Angeles, ­together with Klaus Honnef who represented McCracken in 1972, he included Mangold’s Although Konrad Fischer did at the time: “From ARTFORUM I works. After this, they were not organize an exhibition for learned that you will have a [sic] shown at his gallery. Because ­Piero Manzoni, he offered several ­exhibition of John McCracken the John Weber Gallery in New of the artist’s works for sale in in february [sic]. I was always very York has been representing 1973/74. ­interested in his work and I’m ­Mangold since 1974, the artist ­very curious about what his new Title page of the catalogue Mario newspaper for Prospect 68, Kunsthalle Düsseldorf, Merz September 20−29, 1968

(b. 1925, Milan−d. 2003, Turin)

52 53 sculptures look like.” Another nine Mario Merz showed one of his ­numbers. For Merz, the sequence years passed before McCracken now famous igloos for the first was a metaphor for stable, natu- finally presented his work at time in the exhibition ­Prospect ral growth that originates from Fischer’s gallery in November 68, which Konrad ­Fischer and what comes before it, while con­ 1989. This was also the artist’s Hans Strelow ­organized at the tinuing infinitely. With altogether first solo exhibition in Germany, Kunsthalle ­Düsseldorf as nine solo exhibitions and several and it included Pilot, 1989, a ­reaction to the first Cologne group shows, Mario Merz had among other works. Art Fair in ­September 1968. a significant influence on Konrad The ­artist was interested in the Fischer’s program. fragile ­relationship between ­nature and ­culture and strove for a world where ­humans could live in harmony with nature. In 1967, Merz ­formed a group to­ gether with Jannis Kounellis, ­Giuseppe ­Penone, and others, for which the young art critic Germano ­Celant coined the term Arte ­Povera (“poor” art). For ­Prospect 68, 16 international avant-garde ­galleries were invited to present new trends at their booths. The gallerist Ileana Sonn- abend chose Merz as well as two other Arte Povera artists, Bruce Nauman, and Robert Morris. Konrad Fischer was already in contact with Celant,­ who was also the driving force behind Arte ­Povera. Both Prospect 68 as well as the legendary­ exhibition Live 1 in Your Head. When Attitudes Become Form in the Kunsthalle Bern and other European cities, which was co-­organized by ­Fischer, contributed decisively to the international ­recognition of Arte Povera. Mario Merz also ­presented his work in Fischer’s ­gallery for the first time in March 1970. In this first solo exhibition by the artist in Germany, there was an igloo with Fibonacci num- bers on it, accompanied by a drawing including sections of the famous series of numbers. In this number sequence discovered­ by the ­medieval mathematician Leonardo Fibonacci, each suc- cessive number in the series is the sum of the two ­preceding Konrad Fischer and Mario Merz, 1991, photo: Dietmar Schneider Juan Muñoz

(b. 1953, Madrid− d. 2001, Ibiza)

54 55

When the Spanish artist Juan After Konrad Fischer’s death, Muñoz humorously addressed Juan Muñoz left the gallery, much Konrad Fischer in a fax to regret of Dorothee Fischer. as ­“Estimado Señor Konrado The artist thus also gave up the Pescatore” (My Esteemed only gallery offering him long- Mr. Konrad Fisherman) (pescador term representation in Germany. being a literal translation of his last name), this showed how the two men were fond of each other. While Fischer continued to develop his gallery’s program, he never lost sight of its original focus on Conceptual approaches. In the 1980s, he thus ­began to woo a new generation of artists. Juan Muñoz was ­integrated in the program of Ausstellungen bei Konrad Fischer (Exhibitions at Konrad Fischer) in 1988 when the first of his three solo shows 1 at the gallery opened. The Spanish artist’s ­figurative works have also been presented in group exhibi- tions at the gallery. Muñoz began his career working with architec- tural elements, like balconies and ­banisters. These he installed in rooms and integrated into the ­architecture, letting the sculpture and room form a unit−similar to Carl Andre, who was a model for Muñoz. Then in the end of the 1980s, the artist began adding more and more human figures in a clear reference to the beholder. In 1991, Juan Muñoz had a solo exhibition in the Museums Haus Esters/Haus Lange in ­Krefeld. For this occasion, he created Krefeld Banister ­(My ­Favourite Banister) by removing­ the wooden banister in the ­historical building of the Kaiser Wilhelm Museum in Krefeld and re-installing it in a new ­po­sition on the exhibition site. next pages Bruce Dorothee and Konrad Fischer with Bruce N Nauman Nauman, 1989, photo: Josef W. Froehlich

(b. 1941, Fort Wayne, Indiana)

56 57

“He made things possible,” said Minimal and Conceptual Art. ­artist in the gallery’s program and Bruce Nauman about his close “From the beginning I was trying the Dorothee and Konrad Fischer friend and gallerist Konrad to see if I could make art that Collection. The Fischers later ­Fischer. Like Carl Andre, the did that. Art that was just there bought that first work Six Sound American artist was one of the all at once. Like getting hit in the Problems for Konrad Fischer, most important figures in the face with a baseball bat. Or 1968, from the original buyer, who gallery’s program, and still is to- ­better yet, like getting hit in the had hung the tapes like ribbons day. His cooperation with the back of the neck.” This has been on the wall. ­gallery has lasted many decades, the goal of the artist’s multi­ despite Konrad Fischer’s death. farious body of work, which com- prises sculpture, videos, per­ Fischer originally contacted formances, and interactive Bruce Nauman through Kasper installations. König, who had visited him in his studio in San Francisco in Shortly after the exhibition 1966. On Fischer’s invitation, at Fischer’s gallery, Nauman had Nauman travelled to Europe for several other important shows the first time in 1968 to create in Europe. In the same year, he a new work on site. He recorded ­also took part in Documenta 4 his ­violin, which he brought in ­Kassel, which focused on con- with him, as well as other sounds temporary art for the first time at the gallery to create sound- and was later called “documenta tracks. The name of the exhibition americana” because of the high was 6 day week−6 sound number of American artists. In ­problems and could be seen, or 1969, Harald Szeemann ­invited rather heard, from July 10 to Nauman to participate in the ­August 8. It consisted of a tape ­legendary exhibition Live in Your recorder on a table, a chair Head. When Attitudes Become with­ ­a pencil attached to it, and Form at the Kunsthalle Bern. six different audio tapes. Each His ­participation in these shows tape ran between the tape head was made possible through and the pencil, creating a loop. ­Fischer and his contacts. A different recording was played ­According to Nauman, he “knew each day of the week: Mondays everbody.” It was only after this it was walking in the gallery, European tour that Nauman ­Tuesdays bouncing two balls in ­began gaining recognition from the gallery, Wednesdays violin museums in the US. In 1972, sounds in the gallery, Thursdays the Los Angeles County Museum walking and bouncing balls, of Art and the Whitney Museum Fridays­ walking and violin sounds, of American Art organized Bruce and Saturdays violin sounds Nauman: Work From 1965 and bouncing balls. Time and the to 1972. An Exhibition, which exhibition space thus became then travelled to Düsseldorf, part of the artwork itself and could ­Eindhoven, and Milan. be experienced in a new way. The friendship between Bruce Nauman appeals ­Konrad Fischer and Bruce to the beholder physically and di- ­Nauman went far beyond the rectly as a way of provoking an ­organization of exhibitions. immediate emotional reaction. He ­Bruce Nauman was and con­ thus goes beyond the limits of tinues to be an important

Giuseppe O P Penone

(b. 1947, Garessio)

60 61

Konrad Fischer and Hans Strelow ­Fischer dedicated three more invited 16 avant-garde galleries ­solo shows to him, the last in to participate in the exhibition 1990, after which Penone had Prospect 69 in September 1969. solo exhibitions with Dorothee One of the galleries was the ­Fischer in 1998 and 2007 / 08. ­Galleria Gian Enzo Sperone from Turin, the city that was the intel- lectual center and birthplace of the Arte Povera movement. The gallery brought several repre- sentatives of this movement, ­including the young Italian artist Giuseppe Penone, who showed the photo series Alpi marittime, 1968. This series documents the artist’s interventions in the ­Mari­time Alps, where he walked in nature and interacted with it through minor interventions in­ volving trees and creeks. Growth, the passing of time, and the ­relationship between humans, ­nature, and art are the themes that he addresses in his work. Konrad Fischer and Giuseppe Penone probably met for the first time at Prospect 69. Only a few weeks later, Fischer included the Italian artist in the exhibition ­Konzeption / Conception. Doku- mentation einer heutigen Kunst- richtung (Konzeption / Conception: Documentation of a To-Day’s Art Tendency) in the Städtisches Museum Lever­kusen in Schloss Morsbroich, which he curated together with Rolf Wedewer and is ­re­garded as the first museum presentation of Conceptual Art in Germany. In 1977, Fischer founded another gallery in New York to- gether with Gian Enzo Sperone. After this, although Sperone ­continued to represent Penone, he allowed Fischer to sell his works in Germany. In 1981, ­Penone ­finally had his first show at Fischer’s gallery. After this, Manfred Pernice Q R

(b. 1963, Hildesheim)

62 63

After Konrad Fischer’s death in (Shadow Walls) in which behol­ ­ 1996, Dorothee Fischer became ders cast a shadow on phospho- the sole director of the gallery. rescent pictures with the help She continued to cultivate the of a flashlight, thus ­creating their gallery’s program, while also own imagery. ­developing it further. She there­ fore decided to include several younger artists, like Manfred ­Pernice, who was born in 1963. His first solo exhibition at the ­gallery was in 1998, followed by several others. The artist’s sculptures are made of incidental materials that are processed in an intentionally rough and haphaz­ ard way, giving them a model-like appearance. As such, they are vaguely reminiscent of works by the “model builders” Ludger ­Gerdes, Harald Klingelhöller, Wolfgang Luy, Reinhard Mucha, and Thomas Schütte, whose first show at Konrad Fischer’s gallery was in 1983. Like them, Pernice integrates his works ­into the exhibition space by play- ing on its architecture and ­conditions. Pernice’s approach harmon­ ­ izes Konrad Fischer’s innovative idea from 1967 to invite artists to develop a concept specifically for his exhibition space, and Pernice’s works also share com- mon characteristics with Konrad Lueg’s works. Like Lueg, Manfred Pernice is interested in exhibiting and in exhibitions as such. He not only presents works by other artists as well as found and ­everyday objects in his installa­ tions, and he explicitly refers to the theme of “exhibitions” in many of his titles. The audience also plays an active role in ­Manfred Pernice’s works: he turns things around and lets ­people become “both viewers and viewed.” This is similar to Konrad Lueg’s work “Schattenwände” Ulrich Robert Rückriem Ryman

(b. 1938, Düsseldorf) (b. 1930, Nashville, Tennessee)

64 65

Ulrich Rückriem met the American the last in 1989, and Fischer Konrad Fischer and the Munich- Conté crayons (Blue Line Minimal artist Bill Bollinger at continued to refer him to other based gallerist Heiner Friedrich, ­Drawing #2 (#69.224), 1969), the Galerie Rolf Ricke in Cologne galleries and museums. at whose gallery Konrad Lueg ­acrylic paint on a polyester fabric in the spring of 1968. Bollinger had had a solo exhibition in 1967, ­(Untitled (#69.219), 1969), and invited Rückriem and his artist became partners of sorts at the enamel paint on aluminum panels friend Blinky Palermo to come to end of the 1960s, and they ­(Untitled (#73.312), 1973). In two New York. Without further de­ “shared” a number of artists. of these works, stripes of mas- liberation, they jumped on a plane When Fischer’s friend Kasper king tape also direct our gaze to the US. There, they met Carl König from New York recom­ ­toward the support and hence Andre through Kasper König, mended Robert Ryman to him, he the ­limits of the picture. who was also living in New York. was cautious at first. König had Andre had had the first exhibition send him an issue of Newsweek After the show at Fischer’s at Konrad Fischer’s new gallery with a color reproduction of gallery, Ryman opened a solo at the end of 1967. Rückriem was a work by Ryman. Fischer wrote ­exhibition at Friedrich’s gallery in deeply impressed by Andre’s back: “It would be my pleasure, Munich in December 1968. work, and he decided to change as discussed, to do a Bob Ryman The works exhibited at Fischer’s his artistic approach. Where exhibition; it’s just not clear to gallery in Düsseldorf were orig­ ­before he had been using wood me what Bob has arranged with inally from the gallerist Marilyn and band iron for his sculptures, Friedrich.” Fischbach in New York, who now he preferred stone blocks ­represented Ryman in the US. taken directly from the quarry. He When Ryman eventually In April 1969, she requested that split and sawed the blocks, and flew to Germany in the fall, the Fischer discuss all his endeavors sometimes sanded and polished two gallerists split the cost of concerning Ryman with her, in- them. The drawing Untitled, 1969, the ticket. On November 21, cluding the sales he had already from the Dorothee and Konrad 1968, the American artist’s first closed. Then in May, she offered Fischer Collection reveals solo show in Europe opened to let him take over Ryman’s how the cuts in the stone are at Fischer’s gallery on Neubrück- ­representation in Europe with ­made. In the end, Rückriem strasse. It consisted of works her cooperation. puts the parts he has created from Ryman’s Classico series, ­together again to form a whole, which were later also presented Ryman had six solo shows letting the crevices and drill in March 1969 in the Conceptual altogether at Konrad Fischer’s holes remain as traces of his Art exhibition Live in Your Head. gallery, the last in 1992. In 2001, ­artistic method. When Attitudes ­Become Form at Ryman had another solo exhi­bi­ the Kunsthalle Bern, which was tion with Dorothee Fischer. Through König and Andre, co-organized by Fischer. Rückriem also got in touch with Konrad Fischer. In December Ryman is constantly finding 1969, he presented his new new ways to explore the infinite­ stone sculptures, which he cre­ possibilities of the color white− ated after his journey to the US, in all its shades, ­nuances, and in Fischer’s gallery. In 1971, changes due to lighting con­ Rückriem was also represented ditions. The artist sees this as a by the Düsseldorf video gallerist means of investigating the foun­ Gerry Schum, with whom dations of painting. To this end, ­Fischer was cooperating at he uses canvas, paper, oil paint, the time, in the exhibition and gouache, as well as many ­ProspectPROJECTION, which other different types of ­picture Konrad Fischer­ also co-organ­ supports and paint materials. The ized. The sculptor went on to Dorothee and Konrad Fischer ­have seven more solo exhibitions Collection includes works by at Konrad Fischer’s gallery, ­Ryman in which he ­focuses on Neubrückstrasse: the building at Neubrück­ strasse 12 with the gallery space in the gated passageway, 1977, photo: Dorothee Fischer

66 67 Fred Gregor S Sandback Schneider

(b. 1943, Bronxville, N.Y.− (b. 1969, Rheydt) d. 2003, New York City)

68 69

A few months before the opening continued to recommend “At the moment, I only find high-­ of his gallery, Konrad Fischer flew him to other European galleries quality, young artists in my own to the US for the first time. He in the course of the 1970s. vicinity, something which as­ split the extremely high airfare­ at tounds me. Not at all in America,” the time with Heiner Friedrich,­ remarked Konrad Fischer in the gallery owner from Munich. In 1989. Fischer was constantly exchange, Fischer shared the working to further develop ­results of his research in the US his gallery’s program. While never with Friedrich. Konrad ­Fischer losing sight of Minimal and Con- wrote about his journey: “I went ceptual Art, in the 1980s he to America for the first time ­also began concentrating more in April 1968, and called people on young art from Europe, and up−not Warhol or Lichtenstein,­ ­later from West Germany−espe- that’s not ­interesting,­ but Judd. In cially North Rhine-Westphalia, his ­studio I discovered Sandback.” where many of the artist whom The young artist had been rec­ Konrad Fischer found interesting ommended to him before in were also graduates of the ­February by John W. Weber, the Kunstakademie Düsseldorf. director of the Dwan Gallery in New York. Gregor Schneider belongs to the generation of young artists Still in April, Fred Sandback who began presenting sculptures presented several drawings and installations at Konrad in a group exhibition at Heiner Fischer’s gallery in the 1990s. Friedrich’s gallery. Then in Shortly after he graduated, he had May, Sandback had his first solo his first solo exhibition in 1993 show ever at Fischer’s gallery, in Fischer’s gallery on Platanen­ in which he stretched elastic strasse, where he realized several strings and wires from the wall to “wallpieces”. the floor of the gallery. Like three- dimensional drawings, these Schneider’s installations ­outlined planes and three-dimen- are accessible sculptures, and sional shapes. Sandback later architecture is a main theme used acrylic strings for his sus- in his work. He alters exhibition pended constructions in which rooms so radically that they he dissolved the ­traditional no­ are no longer recognizable, thus tion of a sculpture as a her­metic transforming them into sites of three-dimensional object. The often extreme physical and mental thin lines stretched across the experiences. He also remodeled room interact with it. The ­artist his parental home in Rheydt over referred to this as a drawing “that many years. In 2001, Gregor is habitable.” Schneider won the Golden Lion at the Venice Biennale for his Konrad Fischer also helped work Totes Haus u r Venedig Sandback to get a solo exhi­ 2001 in the German pavilion. bition at the Museum Haus Lange He presented photographs and in Krefeld in July 1969. Although ­videos of this work at Konrad Sandback did not exhibit at Fischer’s gallery the following Fischer’s gallery again, Fischer ­year. Schneider is still one Thomas Schütte T

(b. 1954, Oldenburg)

70 71 of the gallery’s main artists to- Thomas Schütte worked as whether to take a break, etc. […] day, and he continues to exhibit an assistant at Konrad Fischer’s For me, Konrad played an ex­ ­there roughly every three years. ­gallery while still a student in tremely important role between the 1970s. He probably got to teacher and father.” Regarding know Fischer through Gerhard Fischer’s opinion of his later Richter, who was his teacher ­figurative work, the artist said: at the Kunstakademie Düsseldorf, “Konrad didn’t like that at all.” as was Fritz Schwegler. In 1979, However, he exhibited it none­ Schütte created a wall painting of theless: “As long as it was a large fish at Fischer’s gallery on ­authentic, the main criterion Neubrückstrasse, while realizing of his entire generation, it was an art project in which he painted okay.” The gallerist in turn two doors yellow at the gallery said about Schütte that “every­ on Platanenstrasse at the same thing is possible with him, ab­ time. After Schütte had a solo stract as well as totally figurative show at Rüdiger Schöttle’s gallery forms. He first paints heads in Munich in 1980, he had his and then tiles. Or he does sculp- first of many solo exhibitions at tures, at other times houses Konrad Fischer’s gallery in 1981. or models. Then the abstract emerges again. Each time, Thomas Schütte is one of I ­have to newly imagine myself the most important contemporary in his position.” German sculptors and is also ­internationally well-known. He won the Golden Lion at the Venice When Konrad Fischer ­Biennale in 2005. The artist be- died, Thomas Schütte drew his came famous for his models friend on his deathbed and of imaginary buildings. His extra- sculpted four clay heads with ordinarily diverse oeuvre also swaddling bandages as “a kind comprises sculptures made of of memorial.” One of these traditional materials, like clay ­(Blumen für Konrad−Konrad and bronze; graphic works, like (Grüner Kopf) ­(Flowers for drawings, etchings, and water ­Konrad−Konrad (Green Head), colors; and actual architecture. 1997, is now ­owned by the Kunstsammlung Nordrhein-West- Konrad Fischer and Thomas falen through the acquisition of Schütte were close friends. the Dorothee and Konrad Fischer The sculptor said in an interview Collection. Thomas Schütte also that in the mid-1980s he was dedicated twelve watercolors a regular guest at Dorothee and of flowers to Fischer, Blumen für Konrad Fischer’s home, where Konrad (Flowers for Konrad), they shared meals and played 1997 / 98. Schütte is still one of cards. Schütte’s spoke with the gallery’s main artists today. much personal feeling when he said: “We were very close. ­Konrad was my main advisor. He could comment on any ­problem with a short remark that was always right. He could clearly assess the situation in ­regard to what to do or not, or Niele Toroni U V

(b. 1937, Muralto)

72 73

In the fall of 1969, the Kunsthalle Although Niele Toroni never Düsseldorf hosted the Prospect had an exhibition at Konrad exhibition for the second time. Fischer’s gallery, Fischer collab­ ­ This show was organized by orated with Toroni’s dedicated ­Konrad Fischer and Hans Strelow ­gallerists, Yvon Lambert in Paris and was intended as a parallel and Françoise Lambert in Milan. event to the Cologne Art Fair, which featured only German ­galleries. Fischer and Strelow ­invited 16 international avant-­ garde galleries to present their artists in a group exhibition. In addition, there was an inter­ national selection committee, whose members included the Swiss curator Harald Szeemann and the director of the Kunst­ museen Krefeld, Paul Wember. This committee selected an ­additional ten artists that would be shown, and one of them was Niele Toroni. Prospect 69 was Toroni’s first show in Germany. The ­painter, who was born in Switzer- land and had been living in ­Paris since 1959, had founded the short-lived artists’ group BMPT together with Daniel Buren and two other painters in 1966. They questioned the traditional methods of art and replaced the emotionally charged, gestural painting of the 1950s with a more conceptual approach. While ­Daniel Buren worked with stan- dardized stripes, Niele Toroni ­reduced his painterly means to what he called “empreintes” ­(imprints), which he always made with the same no. 50 paintbrush at intervals of 30 centimeters, usually on a white picture sup- port. The support can be made of paper, canvas, oil cloth, or foil, or it can be a wall, floor, or ­window of an exhibition room. Toroni also likes to integrate the specific characteristics of a room into his work. Paloma Lawrence Varga Weisz W Weiner

(b. 1966, Mannheim) (b. 1942, New York City)

74 75

In the summer of 2000, Dorothee artists in Germany and around “1. The artist may construct Fischer launched a new type the world, and she recently the piece. 2. The piece may be of exhibition series called Aroma. had a major solo exhibition at ­fabricated. 3. The piece need In this group exhibition, works the Castello di Rivoli near not be built. Each being equal by young artists were shown ­Turin in 2015. and consistent with the intent alongside established artists. of the artist, the decision as to It included several artists, such condition rests with the receiver as Gregor Schneider, Manfred upon the occasion of receiver- Pernice, as well as Paloma Varga ship.” This is the artistic credo of Weisz, who presented two Lawrence Weiner, who is one ­sculptures and several drawings. of the founders of Conceptual Art. He published this “statement Dorothee Fischer first noticed of intent” for the first time in the the artist at the so-called tours, catalogue for a group exhibition or annual exhibitions, of students’ organized by the avant-garde work at the Kunstakademie ­gallerist Seth Siegelaub in an ­Düsseldorf. After training to be empty office in New York at a woodcarver, Varga Weisz the beginning of 1969. The year was taught there by Tony Cragg ­before, Weiner had also pub­ and Gerhard Merz. She draws lished a book that was intended her ­inspiration from art historical as an exhibition with Siegelaub. ­models and traditional forms of representation: historical relig­ Lawrence Weiner uses ious art, as well as fairy tales, ­language as a material in his myths, and legends, which are sculptures. He primarily installs still part of the collective archive his texts on walls, in museums, of images in our culture today. and in public spaces, but they These she integrates into her can also appear in newspapers, ­figures to lend them emotional in a book, on a postcard, or power. Her male-female and on a manhole cover in New York. ­animal-human hybrids, and her For his retrospective in the K21 chimera explore basic human in 2008, he put a sentence that ­experiences, and they appeal to he had conceived in 1995 on deeper layers of consciousness. a tram: EINE LINIE GEZOGEN Varga Weisz says she does VOM ERSTEN STERN DER not “want to convey a specific ABENDDÄMMERUNG BIS ZUM feeling, but trigger one in the LETZTEN STERN DER MORGEN­ ­beholders. I cannot control what DÄMMERUNG (A line drawn is initiated in each case. I can from the first star at dusk to the ­only control the appearance and last star at dawn). Weiner de­ the expression of the figures.” scribes actions, processes, and states in clear and concise Varga Weisz had a solo words. His sentences in his art- ­exhibition with Dorothee Fischer works never have a subject; in early 2002. This also raised instead, they are formulated in ­ratio of women artists represented an impersonal way and are by the gallery. Since then, the as neutral as their appearance sculptor’s works continue to be in sanserif capital letters. In shown at the gallery regularly. this way, the artist leaves room Paloma Varga Weisz is one of for the individual ideas of readers the most renowned contemporary or those realizing his works, X Y Z

76 77

­letting them rely on their personal experiences and preferences. Everyone has the freedom to be- come active. Weiner thus takes himself out of the equation as the creator of the artwork. Whether as a thought, a written text, or a concrete action, all manifestations of his works have the ­same validity. Fischer was extremely fas­ cinated by Weiner’s approach, and Weiner had a solo exhibi­ ­tion at Fischer’s gallery in April 1969. Since then, the artist and the ­gallery have been working ­toge­ther for many decades, and ­Weiner remains one of the gallery’s main artists today. ­Lawrence Weiner’s works are still strongly powerful and popu- lar today. He is one of a few of the first generation ofartists­ represented by the gallery to ­participate not only at ­Documenta in Kassel in the 1970s and 1980s, but also in 2012. In Dorothee Fischer’s obituary in 2015, Weiner recalled the ­mission of the ­Fischers. In the tried and true form of his wall installations,­ he wrote his statement in capital letters: “KONRAD & DOROTHEE ­FISCHER ABANDONED THEIR PER­SONAL DREAM OF MAKING ART & THREW WHATEVER ­RESOURCES THEY COULD MUSTER TO BEGIN A GALLERY THAT WOULD BRING SOME OF THE INTERNATIONAL ­ARTISTS TO DÜSSELDORF TO MINGLE & EXHIBIT TOGETHER.”

previous pages Dorothee Fischer at Dorothee Konrad Fischer the exhibition Mit der at the end of the 1960s, Möglichkeit gesehen zu photographer unknown. werden: Dorothee and Dorothee and Konrad Fischer; Archiv einer Haltung at MACBA Barcelona, 2010, photo: Marta Perez Konrad Fischer− Biography

80 81 Dorothee Fischer (née Franke) was born March 27, 1937, in Wuppertal. Konrad Fischer was born April 11, 1939, in Düsseldorf. ­Between 1956 and 1962, Dorothee studied to be an art teacher at the Kunstakademie (Academy of Art) Düsseldorf, were Konrad also studied painting from 1958 to 1962. They got to know each other at the Academy in 1961, and they were married in 1964. In 1967, they opened Ausstellungen bei Konrad Fischer ­(Exhibitions at Konrad Fischer’s) at Neubrück­ straße 12 in Düsseldorf. In 1970, their son ­Kasper David was born, and in the same year they opened a second exhibition space located at Andreasstraße 25 with an exhibition of ­Gerhard Richter. In 1973, their daughter Berta Ada was born, and the exhibition space on ­Andreasstraße closed. The gallery moved to Platanenstraße 7 in 1974. The gallery space on

1 Neubrückstraße continued to be used until 198 0. On November 24, 1996, Konrad Fischer died in Düsseldorf. Dorothee Fischer became the gallery’s sole director. In 2007, she opened the Konrad Fischer Galerie in Berlin. On May 9, 2015, Dorothee Fischer died in Düsseldorf. Berta Fischer became the director of the ­galleries in Düsseldorf and Berlin. Impressum

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Artists’ statements about Konrad Editor and Dorothee Fischer are from the book okey dokey Konrad Kunstsammlung Nordrhein- ­Fischer by Brigitte Kölle (Cologne: Westfalen, Düsseldorf Walter König, 2007), which ­in­cludes informative and enter­ taining interviews with the artists who came into contact with Concept and texts the Konrad Fischer Galerie. Angela Wenzel This booklet was published in conjunction with the exhibition Cloud & Crystal: The Dorothee Translation and Konrad Fischer Collection 24 September 2016− Ingo Maerker, Michelle Miles 8 January 2017 K20 Grabbeplatz 5 40213 Düsseldorf Design For Information for the accom­panying program: Simon Brenner, Sascha Lobe, www.kunstsammlung.de Agnes Essig 0211.8381-204 L2M3 Kommunikationsdesign [email protected] GmbH, Stuttgart

Overall production Druckerei und Verlag Peter Pomp GmbH, Bottrop

Copyright credits © 2016 Kunstsammlung Nordrhein-Westfalen For the reproduced works of Carl Andre (pp 13, 14 / 15), ­Konrad Lueg (pp. 1, 10 / 11, 44 / 45), Mario Merz (p. 52, 78), Reiner Ruthenbeck (p. 44 / 45) und Günther Uecker (p. 10 / 11): © VG Bild-Kunst, Bonn 2016; for the reproduced work of ­Marcel Broodthaers (p. 20): © The Estate of Marcel ­Broodthaers / VG Bild-Kunst, Bonn 2016 Supported by:

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