ART FAIRS:Art Cologne 2018

Heba Y. Amin, The Observation Pillar - Nouadhibou, Mauritania, 2016, B/W archival print, 80 x 120 cm. Courtesy: Zilberman Gallery-BerlinThe origins of today’s ART COLOGNE go back to Kunstmarkt Köln ’67 which was launched on 15/9/67 in the Gürzenich a historic Cologne building, in medieval times it served as an arena for festivities, banquets and dances. Later, it served as a merchants’ hall. The launch of the Kunstmarkt Köln was to have a profound impact on the international art market. The founders of the new fair were the Cologne based gallerists: Hein Stünke and Rudolf Zwirner.

By Efi Michalarou
Photo: Art Cologne Archive

In the 52nd Edition of Art Cologne, 200 galleries from 31 countries set up booth in the German city from. Zuzanna Czebatul selected to create a large-scale Installation in the entrance hall of the Fair. Numerous international top Galleries are once again represented in 2016 in the largest section for Contemporary Art. The section Modern & Postwar Art is dedicated to the “historically progressive art” of the Modern and Postwar periods. Renowned galleries and art dealers offer a high quality overview of these pioneering eras.  Young galleries that are no more than ten years old present their programmes in the New Contemporaries section. The New Positions offers exhibitors in the sector GALLERIES to present additional one-artist presentations of young emerging artists in separate rooms attached to their booths. With Neumarkt, Art Colognepresents a critical insight into the practices and interests of the newest generation of galleries. This year, there are nine galleries participating for the first time in NEUMARKT. The experimental COLLABORATIONS section (established in 2014), which is organised in cooperation with the New Art Dealers Alliance (NADA), present 22 selected curated projects presented by 36 galleries, showing every aspect of collaborative practice. The winner of this year’s Art Cologne Prize is the prominent and committed art collector Julia Stoschek. The Film Cologne section is exclusively dedicated to the medium of moving image art, presents an exhibition revolving around the most exciting film and video artworks of recent years from Southeast Asia. The works shown represent a selection aimed at reflecting the spectrum within which the artists delve into their own cultural and historical backgrounds. The works often gain shape through allegories that reevaluate the social and political changes that have taken place in postwar and Cold War Asia. The cinematic works combine fact and fiction, and not only allude to rarely discussed subject matter, but also raise crucial questions about power and authority, the construction of narratives, repression of identities and collective trauma.

Info: Art Cologne 2018, Messeplatz 1, Cologne, Duration: 19-22/4/18, Days & Hours: Thu-Sat (19-21/4) 11:00-19:00, Sun (22/4) 11:00-18:00, Entrance fee: 1 Day ticket:  25€, 2-day ticket: 35€, Reduced day ticket (19-22/4 from 16:00, 22/4 from 15:00):  20€, Reduced day ticket: 20€, www.artcologne.com

Jean Dewasne, L'âge d'or, 1976, 97 x 130 cm, Peinture laquée / aggloméré. © VG Bild-Kunst-Bonn 2018,Courtesy: Galerie Lahumière-Paris
Jean Dewasne, L’âge d’or, 1976, 97 x 130 cm, Peinture laquée / aggloméré. © VG Bild-Kunst-Bonn 2018,Courtesy: Galerie Lahumière-Paris

 

 

Tiril Hasselknippe, Queens of the Tear Duct, 2017, Beton, Polyesterharz, Courtesy: DREI-Cologne
Tiril Hasselknippe, Queens of the Tear Duct, 2017, Beton, Polyesterharz, Courtesy: DREI-Cologne

 

 

Meeyoung Kim, Between Jungles, 2016, Oil on canvas, installation, Courtesy: the artist and Gallery Kiche-Seoul
Meeyoung Kim, Between Jungles, 2016, Oil on canvas, installation, Courtesy: the artist and Gallery Kiche-Seoul

 

 

Melanie Gilligan, Parts-wholes, 2016, Wattis Institute, San Francisco, Video-installation, Photo: Johnna Arnold, Courtesy: Galerie Max Mayer-Düsseldorf
Melanie Gilligan, Parts-wholes, 2016, Wattis Institute, San Francisco, Video-installation, Photo: Johnna Arnold, Courtesy: Galerie Max Mayer-Düsseldorf

 

 

Alexander Calder Untitled, 1972, Bemaltes Metall und bemalter Draht, 40 x 52,1 cm, Courtesy: Galerie von Vertes-Zürich
Alexander Calder Untitled, 1972, Bemaltes Metall und bemalter Draht, 40 x 52,1 cm, Courtesy: Galerie von Vertes-Zürich

 

 

Left: Alex Da Corte, The Storm, 2017, various materials on powder coated grid wall, 192,5 cm x 122, 5 cm x 31 cm. Courtesy: Galerie Gio Marconi-Milano. Right: Renaud Jerez, En m´asseyant sur mes convictions, j´ai réalisé le plaisir de dépenser 20€, d´en figurer #lemonde comme névrose phosynthétique, 2017, PVC pipes metal hardware, fabric, paint, ghost chair, 127, 5 x 61 x 94 cm, Courtesy: the artist and Crèvecoeur-Paris
Left: Alex Da Corte, The Storm, 2017, various materials on powder coated grid wall, 192,5 cm x 122, 5 cm x 31 cm. Courtesy: Galerie Gio Marconi-Milano. Right: Renaud Jerez, En m´asseyant sur mes convictions, j´ai réalisé le plaisir de dépenser 20€, d´en figurer #lemonde comme névrose phosynthétique, 2017, PVC pipes metal hardware, fabric, paint, ghost chair, 127, 5 x 61 x 94 cm, Courtesy: the artist and Crèvecoeur-Paris

 

 

Left: James Turrell, Elliptical Glass, 2017, LED, Stahl, Glas Korian, 120 x 76 cm, Photo: Florian Holzherr, Courtesy: Häusler Contemporary-München/Zurich. Right: Ruth May, o.T. (Shirt 1), verschiedene Stoffe und Garne, Glasperlen, ca. 400 x 90 cm, Courtesy; Barbara Gross Galerie-München
Left: James Turrell, Elliptical Glass, 2017, LED, Stahl, Glas Korian, 120 x 76 cm, Photo: Florian Holzherr, Courtesy: Häusler Contemporary-München/Zurich. Right: Ruth May, o.T. (Shirt 1), verschiedene Stoffe und Garne, Glasperlen, ca. 400 x 90 cm, Courtesy; Barbara Gross Galerie-München

 

 

Ausschnitt Higher Than The Sun, Copyright: Zuzanna Czebatul
Ausschnitt Higher Than The Sun, Copyright: Zuzanna Czebatul

 

 

Tromarama, The Charade, Single Channel Video, 3 min 54 sec, 2014
Tromarama, The Charade, Single Channel Video, 3 min 54 sec, 2014