Current

Jahresgaben 2020

17.11.2020 – 31.1.2021

We are pleased to present the Jahresgaben 2020 (annual editions) online for now starting Tuesday, November 17. Works by both young and established artists exclusively produced or donated for the Kunstverein are available: 

John Baldessari, Kenneth Bergfeld, Tom Burr, Hanne Darboven, Dunja Herzog, Dorothy Iannone, Emma LaMorte, Marcel Odenbach, Lena Anouk Philipp, Luc Tuymans, Jeff Wall 

By purchasing a Jahresgabe, you are making an important contribution to the support of contemporary art and artists and to the work of the Kölnischer Kunstverein. Thank you very much!

Orders for the 2020 Jahresgaben can be placed in writing from November 17, 2020 up to and including January 6, 2021. If more orders are received than copies are available, the decision will be made by lot. The lottery will take place on January 7, 2021.
Please note that the Jahresgaben can only be purchased by members of the Kölnischer Kunstverein. The complete ordering procedure can be found here.

Currently and until November 30, 2020, the Kölnischer Kunstverein will remain closed according to the Corona protection measurements of the State of North Rhine-Westphalia. As soon as we can open our doors again for visitors, the Jahresgaben will be on display in an exhibition on the 2nd floor. 

We will keep you updated with news about the reopening and our program via our website and newsletter.

We look forward to seeing you soon again!

Kenneth Bergfeld: Everything seems to need us (the ocean doesn‘t care) I, 2020. Photo: Mareike Tocha.
Jahresgaben 2020, Kölnischer Kunstverein.

The Köln Concert

Dorothy Iannone & Juliette Blightman

31.10.2020 – 31.1.2021

Opening on Friday, 30.10.2020, 3 pm – 9 pm

‘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 (*1930), 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: