This website uses cookies to help us give you the best experience when you visit our website. By continuing to use this website, you consent to our use of these cookies.
Christopher Williams Reinigung Ursula Schweyen, Lindenstr. 34, Köln, February 17th, 2010 2010 Silver Gelatin Print 86 x 95 cm (gerahmt) Courtesy Galerie Gisela Capitain, Köln
Where's the best Kuchen in Cologne? Where does the art world convene after hours? Which museums are worth a visit? And where are Martin Kippenberger's old haunts? Temporary Gallery's Regina Barunke serves it to us straight with her insider-guide for your trip to Art Cologne.
Artists’ assistants are omnipresent in the art business. Yet, as a rule, they are all but invisible. Ever nameless they disappear from view in artists’ studios; their work is absorbed into their employers’ production and their independent creative participation in the works is subsumed by the artistic “brand” they have helped to form. However, things do seem to be changing. Not only has “Artist’s Assistant” become a recognized occupation, but assistants are starting to emerge from their anonymity and raising their profiles as artists in their own right. Hans-Jürgen Hafner sketches out the situation.
Like almost no other artist, Albert Oehlen subjects painting to a stress test. For over 30 years he’s been tinkering with the medium’s source code: colour and paint application, lines and layers, titles and triumphs, disappointments and expectations. These elements are all played against one another and caught off guard. Daniel Baumann leads us through the work.
Martin Kippenberger’s idea of an art that reflects its social conditions has evolved into an art world that integrates everything. What happens when the work dissolves into its context and the form of the work becomes a form of life?
