2024-04-12 14:40:02
Culture Art Düsseldorf
May contain traces of light and weather
Status: 12.04.2024 | Reading time: 3 minutes
View of the Art Düsseldorf art fair
Quelle: copyright the artists, photo by Dirk Tacke
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It’s not easy for the Düsseldorf art fair to establish itself in collectors’ busy schedules. But it has a location advantage. And one gallery is particularly drawing attention this year.
Daylight! Always a plus for art fairs. Because looking a lot, searching and finding interesting works in a concentrated manner poses challenges for our eyes. Artificial light makes you tired quicker. In this respect, Art Düsseldorf enjoys a location advantage. It is taking place in the Böhler area for the sixth time. 105 galleries can be visited in the light-flooded industrial halls.
After the good start in 2019, Art Düsseldorf did not have an easy time establishing itself. Pandemic, postponements, the constant question of whether the Rhineland needs a second art fair. Now the “little sister” of Art Cologne has set up a permanent venue on its former spring date.
Just before Venice
34 galleries are taking part for the first time this year, such as Meyer Riegger from Karlsruhe, Berlin and recently Basel, Kewenig from Berlin and Palma de Mallorca and Dirimart from Istanbul. The trade fair also competes with many other April dates: the Miart trade fair in Milan runs at the same time. Next week the collectors have to go to Venice for the Biennale and the week after that, at best, they have to divide themselves in two again in order to be able to be at both Art Brussels and the Berlin Gallery Weekend.
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Max Goelitz wants to use the synergy effects of the globalized art market. He runs galleries in Munich and Berlin. In Düsseldorf he is showing works by Rindon Johnson, who will also be featured in the Biennale’s “Foreigners Everwhere” exhibition. Its curator Adriano Pedrosa primarily shows “Positions of the Global South”. Johnson, an American living in Berlin, was born in the unceded lands of the Ohlone indigenous people in the San Francisco Bay Area. The colonization of the USA plays a role in his work, but also technology and language.
Auf der Art Düsseldorf dürfte Johnson jedenfalls das Werk mit dem mutmaßlich längsten Titel der gesamten Messe ausstellen: „Lyn Says #1: As for we who ‘love to be astonished,‘ money makes money, luck makes luck. Moves forward, drives on. Class background not landscape–still here and there in 1969 I could feel the scope of collectivity. It was the present time for a little while, and not so new as we thought then, the present always after war. Ever since it has been hard for me to share my time. yellow of that sad room was again the yellow of naps, where she waited, restless, faithless, for more days. They say that the alternative for the bourgeoisie was gullibility. Call it water and dogs. Reason looks for two, then arranges it from there. But can one imagine a madman in love. Goodbye; enough that was good. There was a pause, a rose, something on paper. I may balk but I won‘t recede. Because desire is always embarrassing. At the beach, with a fresh flush. The child looks out. The berries are kept in the brambles, on wires on reserve for the birds. At a distance, the sun is small.“ Der Künstler versteht sich eben auch als Poet.
His mural, on the other hand, appears minimalist. It’s made of black leather that Johnson treated with polyurethane and bleach, then left it exposed to the elements for months. In the changing light you can see the traces left on the tanned animal skin.
Rindon Johnson, „Lyn Says #1: As for we who ‘love to be astonished,‘ money makes money, …“, 2023
Quelle: 2023, courtesy of max goelitz, copyright the artist, photo by Marjorie Brunet Plaza
A large-format, heptagonal leather painting by Johnson still shows residues of Vaseline and gouache paints. Its short title “Diver” is a reference to the hand and footprints painting of the same name by Jasper Johns in the New York Museum of Modern Art.
The gallery also features works by Lou Jaworski, Haroon Mirza and Troika. The German-French three-piece collective (founded in 2003 by Eva Rucki, Conny Freyer and Sebastien Noel) designed the stand – in keeping with the aesthetics of the Böhler area – as a salt landscape accessible via industrial gratings.
Art Düsseldorfuntil April 14, 2024
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