DIEHL

31/12/2020

KP Brehmer show Working Day Lost at DIEHL

Wishing you a very happy upcoming New Year! See you in 2021 and thanks for being with us in 2020. Stay tuned!

24/12/2020

Wie sich die Kunstwelt ein frohes Fest wünscht

Merry Christmas from Martin Assig and MONOPOL - Magazin für Kunst und Leben

Wie die meisten Menschen verschicken auch Galeristen, Künstler und Museen Weihnachtspost. Wir haben die besten Exemplare 2020 gesammelt

23/12/2020

DIEHL Gallery wishes everyone happy holidays!
A Merry Christmas and a Happy and Healthy New Year.
We look forward to seeing you in 2021!

Stay tuned! 💚🌲

Martin Assig
Seelen #57, 2020
gouache cut-outs, wax on paper
30,5 x 25 cm / 12 x 9 3/4 in

21/12/2020

Today is the Winter Solstice, the shortest day of the year in the northern hemisphere, and the Saturn Jupiter Conjunction. Saturn and Jupiter are moving from the sign of Capricorn to the sign of Aquarius. Welcome the Age of Aquarius!

KP Brehmer, Kosmisches Jet + I + II, tempera and pencil on paper, series of three

18/12/2020

DIEHL space in Berlin will be temporarily closed till mid-January so far. Stay connected via our social media, online exhibitions and we are always available for inquiries.
Meanwhile check our GIFT GUIDE at @diehl_drawing_room: all works are available.
Stay safe and see you next year ❤️💚

14/12/2020

DIEHL gallery is open for one more day!
Tuesday — last chance to visit the “Working Days Lost” exhibition this year!

Stay tuned for our online activities and we're always available for inquiries and questions via email, social networks and phone.

Stay safe!
_____________________________

DIEHL Galerie ist nur noch am Dienstag geöffnet. Somit ist morgen die letzte Möglichkeit, die Ausstellung „Verlorene Arbeitstage“ zu besuchen.

Bleiben Sie informiert und folgen unseren Online-Aktivitäten für Neuigkeiten und Updates. Selbstverständlich sind wir auch weiterhin für alle Anfragen über Email, Telefon oder Soziale Netzwerke erreichbar.

Bleiben Sie gesund!
KP Brehmer, Kosmisches Jet, undatiert, Tempera, Bleistift auf Papier, 31,5 x 38 cm

07/12/2020

The display is a stock component of a staged world of mere appearances. My work on images is shaped more by the films and novels of Robbe-Grillet than by American POP ART. Possibility is stronger than reality. Kleist*

KM Brehmer

Explore “Working Days Lost” exhibition at DIEHL and online
http://www.galerievolkerdiehl.com/exhibition/kp_brehmer_working_days_lost

o. T. (Eiffelturm), n.d.
Dispersion paint, oil crayon on paper,
200.5 x 70 cm, four parts each 50 x 70 cm

03/12/2020

Today Arter Museum for Contemporary Art in Istanbul hosts an online panel discussion

KP Brehmer
The Big Picture

Join 5 pm European time/7 pm Turkish time

And check our new show of KP Brehmer Working Day Lost

ZOOM MEETING ID: 984 0768 8782

Flags for the States 1867/1868, 1976
Watercolor and pencil on graph paper, 42 x 59.4cm

30/11/2020

In the exhibition “Working Days Lost,” an array of works by KP Brehmer, displays geometric compositions and colorful formal explorations. Upon closer inspection, thin, handwritten pencilled notes, legends and descriptions on varied paper surfaces — from standardized squared to artisanal and handmade — sabotage the viewer’s initial contemplation of the works as “painterly.”
Here a central mechanism in the artist's practice is the way he interweaves developments in artistic discourse, popular image culture, politics and ideology into objects that remain constantly actualizable. In that way, the second, later body of work on view in the exhibition marks a stark break in artistic technique and visual subject — by turning to astrophysics and depictions of cosmic phenomena — yet is clearly a continuation of his project.

©Elisa R. Linn & Lennart Wolff, 2020

Now on view at DIEHL and online!

Zerfall I, 1985,
Acrylic and chalk on paper, 65 x 33.5 cm

27/11/2020

DIEHL's cover photo

27/11/2020

New exhibition opening — KP Brehmer
Verlorene Arbeitstage/Working Days Lost

Preview today at DIEHL gallery from 12 to 6 and online

If you decide to visit us, please note that guests — max. 10 at the same time — are kindly asked to wear masks

Untitled, 1975
Watercolor and pencil on paper, 59.4 x 42 cm

26/11/2020

Something warm for the cold days?

There is something perfect about a fresh covering of snow. Here, then, is a snowy white envelope which ought to contain a letter which is not just kept warm, but expresses warm sentiments: a Platonic ideal of communication. Yet ideals routinely depart from reality. The Siberian history that artist Natasha Yudina emphasizes suggests the missive could as easily relate to bad news, a betrayal, even a sentence of death…

Explore The Haptic Art Part 2 online on ArtCircle

Warm Letter, 2017
Fur and mixed media
13 x 18 x 3cm

17/11/2020

The transformation of ‘weaving’ into ‘textile art’ in Poland owes much to how Jolanta Owidzka, together with Magdalena Abakanowicz, took traditional techniques into new territory. In particular, Owidzka developed the woven work’s site-specific role in architectural settings. She has also published widely on the links between weaving and interior design. Owidzka explained her chief interest as ‘generating structures depending on the needs of a given interior’, noting that a woven work affects not just the appearance, but also the acoustics and atmosphere of a given space.

Tender colors, a painterly language and an investment in materials are typical of Owidzka‘s textiles. This near-monchrome of Interrupted Space II suggests an expanse of sky, but with various interruptions: a bleached zone which could represent a plane’s ascent; a transition between layers of cloth; patches of additionally embroidered density; and a vertical scratch. Are the distractions of the day to day intruding on a meditative ideal?

Explore The Haptic Eye: Part 2 “Tactile Visions” http://art-circle.com

13/11/2020

Adding colors to the weekend
with our new online show
Turi Simeti "It could be said, that I didn't look for the oval, but I found it"

Check it out! 💙

Turi Simeti
2 ovali blu, 2016
acrylic on canvas
50 x 50 cm

11/11/2020

Siberian artist Natasha Yudina (born Tomsk, Russia, 1982) has a delightfully straightforward reason for wrapping her sculptures in fur: it’s very cold in Tomsk! So ‘art in Siberia needs to be warmed up’. That foregrounds fur’s comforting aspect. But, as she points out, the brute fact is that it’s the skin of a dead animal — or person: it is estimated that there were over 400,000 political prisoners in Siberia in the 1930’s: 130,000 of them were shot, quite apart from those who starved or succumbed to the cold and disease. Her sculptures have a savage potential for irony.

In her work Lenin’s Winter Attire the artist quotes Lev Rubinschtein: ‘Sleep, Lenin, our dearest, / Hushabye, a-bye. / Quietly the bright moon / Is looking at you in the Mausoleum.’ Or, to put it more directly, ‘wrapping the leader, the communist brutalist, up with fur is a taming of macho power by the feminine… The blond beast puts the grey-haired monster to sleep within the cradle of oblivion formed by a coat of Siberian snow!’

Her version of Venus in Fur is ‘Venus wandering in the snow, wrapped up in fur becomes the standard of Siberian beauty’ — the snow echoing marble. But fur can also be associated with Freudian motifs, or as the artist puts it ‘Scary Siberian Dreams’ that cover high art with fur, reducing it to sensual animal instinct. It may be no coincidence, then, that ‘Venus in Furs’ is the title of Leopold von Sacher-Masoch’s famous story exploring masochism, a taste for which may help in the Siberian context as Yudina describes it.

Explore The Haptic Eye: Part 2 “Tactile Visions” http://art-circle.com

08/11/2020

Check out our new online show!

Turi Simeti "It could be said, that I didn't look for the oval, but I found it"

A member of the mid-20th-century Minimalist movement known as Group Zero, Turi Simeti is an engineer of light, color, and geometry. His monochrome shaped canvases are examples of pure formalism that helped pioneer the now well-established idea that paintings can be three-dimensional art objects.

Turi Simeti
9 ovali, 1970
mixed media on paper, embossing, collage
33.5 x 33.5 cm

http://www.galerievolkerdiehl.com/exhibition/turi_simeti_it_could_be_said_that_i_didnt_look_for_the_oval_but_i_found_it

06/11/2020

Emo de Medeiros (born Benin 1979) lives and works between Paris, France, and Cotonou, Benin, using a dizzying array of media across sculpture, video, electronic music, photography, performance, painting, and textiles. His practice focuses on the transcultural nature of the postcolonial, globalized, and digitalized world, mixing the traditional, technological, and semiological to probe the changing roles of origin, place, identity, and culture. The Surtentures series does this through the appliqué fabric technique characteristic of the court art of the kingdom of Dahomey (now the Republic of Benin) from the 18-19th centuries.

This is typical of a series in which de Medeiros digitally combines his own drawings with pictograms and symbols from the internet or video games, and then sends the designs to be executed by Beninese artisans using pieces of colored fabric in the manner of the royal hangings of Dahomey. Near Field Communication (NFC) tags hidden in the works send messages to viewers’ phones when they are held close to the fabric. A historic medium becomes the vehicle for cryptic post-modern narratives – often hinted at by mysterious sub-titles, though the reference to black power seems relatively straightforward here.

Explore The Haptic Eye: Part 2 “Tactile Visions” on ArtCircle platform
http://art-circle.com

04/11/2020

Karl Peter Brehmer started his artistic practice in West Germany during the post-war period of the early 1960s, in the wake of global capitalism. He adopted the pseudonym “KP Brehmer” in 1967 in reference to the Communist Party of Germany [Kommunistische Partei Deutschlands, KPD], which had been banned by the state since 1956, and despite the fact that he was never a member of the party himself.

Brehmer was a keen observer of the socio-political context of his time, advocated a socially potent art: one that intervenes in reality by contributing to the production of critical knowledge and emancipatory
awareness. He stressed on many occasions the artistic-political urgency to reflect critically upon the present and to “appropriate reality” through artistic means.

Spread over the 3rd and 4th-floor gallery spaces of Istanbul's Arter gallery,
the exhibition KP Brehmer: The Big Picture is conceived as a non-chronological trajectory through the artist’s production and aesthetic thought.

Exhibition guide available online or check it out if you’re in Istanbul!
https://arter.egnyte.com/dl/Lm4QuoZoeY/?

30/10/2020

As a one-month lockdown hits starting Monday we're letting you know that DIEHL gallery remains open and happy to welcome you.

You can also always explore our shows online.

Stay safe! ❤️

____________________________________

Die DIEHL Galerie bleibt auch während des Lockdowns im November für Sie geöffnet und freut sich auf Ihren Besuch.

Alle Shows sind jederzeit auch online verfügbar.

Bleiben Sie gesund! ❤️

23/10/2020

Keeping exploring soft art!

Marie-Claire Messouma Manlanbien, the young French artist of Ivorian and Caribbean descent makes sculptural works which operate as "force fields", and which she also uses in performance. These combine craft skills derived from the matriarchal Akan society in Côte d’Ivoire with traditional European sculptural techniques to arrive at hybrid objects. In Nottingham Contemporary curator Cedric Fauq’s words, Manlanbien "investigates and produces forms that belong to a certain concept of feminine blackness" to produce "a language that escapes the coloniser’s gaze and understanding".

Part of The Haptic Eye is Ladies’ Garden — abstract ink drawings on Japanese paper, each framed by a raffia fringe. As C.C. McKee put it in Art Forum, "their imagery is at once floral and vaginal, a riff on Georgia O’Keefe and Judy Chicago that links folded paper, drawn folds and the folds of the labia in an intimate installation". Such references are typical of how Manlanbien’s conjunction of African and Western influences turns around the way modernism appropriated the “primitive” from an imperialist position.

Explore more! http://art-circle.com/projects/the-haptic-eye-1/

22/10/2020

❤️💜

Martin Assig's show — Exercising Astonishment — Part 2 has been extended.

Check at DIEHL or online!

📸 Marcus Schneider

20/10/2020

Susan Hefuna is a grounded artist-practitioner committed to expanding creative relationships between art and life. Her recent work is engaged with issues of homelessness in New York.

In MADE IN NYC (2019) cut outs, ink, paper and thread works result from the structured observations of numerous street engagements, and the production of the artist’s un-documentation films that in turn become documentation of themselves as forms of inverted surveillance.

The fact that Hefuna's background is both German and Egyptian (she was born in Berlin in grew up in Egypt, German and Austria) places her in the category of the “other” in terms of her self-awareness, as a result the artist is acutely conscious of cultural dichotomies around identity and class.

Susan Hefuna — Made in NYC. Online only on DIEHL website.

http://www.galerievolkerdiehl.com/exhibition/madeinnyc_sh

19/10/2020

😘 in Berlin!

Finally at DIEHL.

The Kiss — a beautiful T-shirt with embroidery symbolizing people getting closer again — by artist Olga Chernysheva in collaboration with Moscow Garage Museum of Contemporary Art has arrived.

Super limited edition is available for purchase at DIEHL gallery in Berlin — message or comment for details. Only a few available.

17/10/2020

➡️ At 2:00 p.m. today Volker Diehl will give a lecture „Art market and pandemix“ at OP ENHEIM space in Wrocław, Poland.

Join us!

#OP_Talks #goście

Zapraszamy dziś na wydarzenia Weekendu otwarcia wystawy Air Wants to Go. Dominik Lejman:

17 października (sobota) zachęcamy Was do wzięcia udziału online:
➡️O 11:30 w Salonie Herz oraz na głównym profilu OP ENHEIM na Facebooku rozpocznie się OP_Talks | Spotkanie autorsko-kuratorskie z Dominikiem Lejmanem i Hubertusem v. Amelunxenem. Punktem wyjścia do rozmowy będzie wystawa "Air Wants to Go". Porozmawiamy m.in. o tym, skąd pochodzi jej tytuł, o sztuce Dominika Lejmana i o tym, do czego nas odnosi.

➡️ O 14:00, w tym samym miejscu rozpoczniemy OP_Talks | Rynek sztuki a pandemia, czyli wykład Volkera Diehla - niemieckiego marszanda i właściciela galerii DIEHL w Berlinie. Wspólnie z naszym gościem zastanowimy się nad tym, jak wygląda rynek sztuki w okresie postpandemicznym.

Wydarzenia będą tłumaczone na język polski oraz transmitowane na żywo dzięki współpracy z WroFoto.

Ponadto od 11:00 do 16:00 zapraszamy do odwiedzania wystawy, a od 18:30 do 20:30 dziś i jutro można oglądać projekcję pracy pt. "Menora" rzutowaną na fasadę kamienicy.

Do zobaczenia!
______

Today we invite you to the events included in the Opening Weekend of
Air Wants to Go. Dominik Lejman:

On 17ht of October (Saturday) we kindly invite you to participate online:
➡️At 11:30 a.m. in the Salon Herz and on the main OP ENHEIM profile on Facebook, an Author and curator meeting with Dominik Lejman and Hubertus v. Amelunxen. The starting point for the conversation will be the "Air Wants to Go" exhibition. We will talk about where its title comes from, about the Dominik Lejman's artworks and about what it relates to us.

➡️ At 2:00 p.m., we will start meeting entitled "Art market and pandemix" - a lecture by Volker Diehl - a German dealer and owner of the DIEHL gallery in Berlin. Together with our guest, we will consider what the art market looks like in the post-pandemic time.

The events will be translated into Polish and broadcast live thanks to the cooperation with WroFoto.

In addition, from 11:00 a.m. to 4:00 p.m., we invite you to visit the exhibition, and from 18:30 to 20:30 today and tomorrow you can watch the projection of the work "Menorah" projected onto the facade of the tenement house.

See you soon!

16/10/2020

Last chance today!

Check our online #FrizeViewingRoom

https://viewingroom.frieze.com

Presented by @diehlberlin and @allegraravizzagallery for @FriezeArtFair


Ritzi & Peter Jacobi, Mobile Textile, 1968/69

15/10/2020

Me talking about gallery scene and business before and during corona times.
Saturday at 2 pm in OP ENHEIM, Wroclaw

#wydarzeniaotwarcia #transmisja

Czy wiecie, że spotkania jako Wydarzenia towarzyszące otwarciu wystawy Air Wants to Go. Dominik Lejman będą transmitowane na żywo dzięki WroFoto? 🙂

17 października (sobota) zachęcamy Was do wzięcia udziału online:
➡️11:30 | Główny profil OP ENHEIM oraz Salon Herz
OP_Talks | Spotkanie autorsko-kuratorskie z Dominikiem Lejmanem i Hubertusem v. Amelunxenem.

Dominik Lejman w wystawie Air Wants to Go odniósł się nie tylko do problemu społecznej selekcji, ale również do prywatnych, nierzadko mentalnych izolacji, które w związku z pandemią, zamknięciem granic i przymusowej kwarantanny stały się bardziej powszechne.

➡️ 14:00 | Główny profil OP ENHEIM oraz Salon Herz
OP_Talks | Rynek sztuki a pandemia, czyli wykład Volkera Diehla

Volker Diehl, niemiecki marszand i właściciel galerii DIEHL w Berlinie, przeprowadzi wykład połączony z rozmową z publicznością na temat aktualnej sytuacji rynku sztuki. Jak wygląda rynek sztuki w okresie postpandemicznym? Czy nadszedł moment jego przewartościowania? Jakich zmian możemy się spodziewać?

Zapraszamy! Wstęp wolny 🙂
______

Do you know that meetings as Events accompanying the opening of the Air Wants to Go of Dominik Lejman will be broadcast live thanks to WroFoto? 🙂

On October 17 (Saturday) we encourage you to participate online:
➡️11:30 a.m. | The main profile of OP ENHEIM and Salon Herz
OP_Talks | Author and curator meeting with Dominik Lejman and Hubertus v. Amelunxen.

In the Air Wants to Go exhibition, Dominik Lejman referred not only to the problem of social selection, but also to private, often mental isolation, which became more common due to the pandemic, closing borders and forced quarantine.

➡️ 2:00 p.m. | The main profile of OP ENHEIM and Salon Herz
OP_Talks | The art market and the pandemic, or a lecture by Volker Diehl

Volker Diehl, German art dealer and owner of the DIEHL gallery in Berlin, will conduct a lecture combined with a conversation with the audience on the current state of the art market. What is the art market like in the post-pandemic period? Has the moment of its re-evaluation come? What changes can we expect?

Welcome! Free admission 🙂