Exhibition temporarily closed

Unfortunately, the Kölnischer Kunstverein will have to remain temporarily closed for visitors in accordance with the Corona Protection Regulation of the State of North Rhine-Westphalia. Despite closed doors, a large part of the exhibition THE KÖLN CONCERT by Dorothy Iannone & Juliette Blightman is still visible from Hahnenstrasse through the window front. So feel free to take a look!

Whether a reopening of the exhibition is possible, is unfortunately not yet secured at this time.

Please find the latest Jahresgaben 2020 online.

We will keep you up to date with news about our program here and via our newsletter.

We look forward to seeing you again soon!

Dorothy Iannone & Juliette Blightman: Installation view Kölnischer Kunstverein, 2020. Photo: Mareike Tocha.

THE KÖLN CONCERT Dorothy Iannone & Juliette Blightman

31.10.2020 – 7.3.2021

Opening on Friday, 30.10.2020, 3 pm – 9 pm

Please note: Whether a reopening of the exhibition after the lockdown is possible, is unfortunately not yet secured at this time.

‘Image higher than angels: The Köln Concert’
A text by Amelia Stein

Life has no outside, say the psyche-celestial Ladies of Liberty with their microphones, say the fulgent cacti fountains, says the blooming pussy flower with an unmistakable wink. 
This is the pact The Köln Concert stages with its audience, among its works, between its artists, Juliette Blightman (*1980) and Dorothy Iannone (*1933), who draw down time into all-encompassing symbologies of love, sex, care, work, autonomy, joy and other selfhoods. When I say symbol, I mean images that speak broadly and concentrate personally, that are partly mnemonic and partly divinatory, in which breakfast lives alongside Art Nouveau and narrative takes the place of noses. In The Köln Concert, forms, figures, messages layer in counterpoint, a leitmotif of sorts, the coexistence of harmony and clash played by Blightman and Iannone so that they too may listen. 
Not that everything is practice but that practice reticulates: Blightman made the fountains in her stepfather’s garage, perhaps with her young daughter’s help. It is possible to imagine their visit to the hardware store to select the paint, a lurid yet somehow utilitarian green. Here in the world of handy things, also misappropriation, high jinks, making do, the phalluses’ gentle eruptions rely on whatever energy they can gather via solar panels; when stilled, they earnestly hold court as choruses performing in the rounds of paddling pools. Something’s always growing, which is to say requiring tending, in Blightman’s work. Children and plants, but also limitations, perspective, desire, sense of self: care is a matter of patterning, of understanding subject and process as one and the same. ‘Daughter’ is a process; so is ‘body’, so is ‘home’. The pencil and guache works in Stages of Seed Development (2020) appear at first as windows until their serialized arrangement suggests something more vociferous, perhaps phrases, at once contingent and complete.  
These works in particular speak, sing, move to their muse, (Ta)Rot Pack (2016/1968-69), Iannone’s ecstatic allegory of her life with Dieter Roth, which offers some phrases of its own: ‘This Card Brings a Brief Respite Maybe’, says a nude Roth wandering a trippy Swiss path; ‘This Card Brings What Everyone Wants’, say the adorned lovers in tantric embrace. Iannone has said that this ability—to bring things—is the only way her cards reflect the (other) tarot. I would venture another: that the (Ta)Rot Pack, like Blightman’s Stages, celebrates a sense of everyday consequence that is not without a cosmic sense of humor. 

Which may have something to do with itinerancy, an underlying cadence here. These works spring from places both loved and abided, and from the need amid frequent departures to sometimes return—to the United States, for instance, where Iannone and her Ladies of Liberty were born, to Germany, where Blightman first raised, and first painted, her daughter, and to the Rhineland specifically, where Iannone lived with Roth and began the (Ta)Rot Pack in the late 1960s. Image is how to get there: The Story Of Bern (Or) Showing Colors (1970), originally an artist book, shown in The Köln Concert as a diaporama, tells that highly generative periods are often live with contention and struggle. And that at the end of it all, when we finally surface, we can know only through reflection that the triumphal arc stands somewhere in the distance. 

In the course of the exhibition, a joint publication will be produced.  

The presentation at the Kölnischer Kunstverein is a continuation of the exhibition Prologue at Arcadia Missa Gallery this year. A second version of the exhibition will open at Vleeshal in Middelburg, The Netherlands, in April 2021.

Thanks to: Air de Paris, Romainville; Arcadia Missa, London; Peres Projects, Berlin; Galerie Isabella Bortolozzi, Berlin; Galerie Fons Welters, Amsterdam; Collection  Alexander Schröder, Berlin; Roger Hobbs; Kentaurus, Cologne

The exhibition is supported by:

Genoveva Filipovic Bridge of Sigh

27.3. – 23.5.2021

We would like to open the exhibition together with you and the artist on Friday, 26.3.2021 from 3 – 9 pm.

If this is not possible, we will postpone the opening to the next possible date, which we will announce here and via our newsletter.

We look forward to seeing you again!

Currently no pick up of the member’s edition possible

The Kunstverein is temporarily closed due to the current situation. As a result, it is not possible to pick up the member’s edition at the moment. We ask for your understanding, that we also do not send the edition.

The collection period for the member’s edition 2020 by Marcel Odenbach will be extended until the end of 2021.

As soon as we are allowed to open again, we will of course inform you here and via our newsletter.

Information on current events

concerning the Filmclub 813

For several years, the Filmclub 813 has been a subtenant of the Kölnischer Kunstverein. The contract concluded under the aegis of the city contains a whole series of duties for both parties – Filmclub 813 and the Kölnischer Kunstverein. The Filmclub 813 has been violating a whole series of contractual duties for years, including elementary ones, whose violation in each case leads to an extraordinary right of termination on the part of the Kölnischer Kunstverein. This screw had already been overtightened for some time. The Filmclub 813 has now turned it even further by additionally filing a lawsuit against the Kölnischer Kunstverein. This could not be successful. The court clearly advised the Filmclub 813 in an oral hearing to withdraw the application. Accordingly, the Filmclub 813 actually did withdraw the application.

In connection with this further escalation by the Filmclub 813, the Kölnischer Kunstverein declared the extraordinary termination of the contract due to the last elementary violations of the contract by the Filmclub 813. These violations of contract consisted, among other things, in the fact that the Filmclub 813 announced that it would give its rooms to third parties without the necessary consent of the Kölnischer Kunstverein. The transfer of the rooms to third parties without the prior consent of the Kölnischer Kunstverein constitutes an extraordinary reason for termination. The Kölnischer Kunstverein has nothing against the institution Filmclub 813 as such. Rather, it is a “behavioral termination” due to the violation of elementary contractual duties by the Filmclub 813.

The Kölnischer Kunstverein is open to an agreement with the Filmclub 813 to the effect, that the Kölnischer Kunstverein will give the premises to the Filmclub 813 on a new, simpler and clearer basis. This basis would have to be so clear and simple that the Filmclub 813 can and will comply with it.