The Transnational Enabling Network

mohit.art

mohit.art is a platform that initiates, facilitates, and supports virtual and live contemporary visual arts projects in Iran and Germany, the Middle Eastern region and throughout Europe. mohit.art serves to enhance the cultural dialogue by consolidating continuous exchange and cooperation.

Joint action between different groups
mohit.art is a platform for joint action between artists, curators, art historians, art critics, journalists, galleries, project rooms, contemporary art museums and collections, estates, archives, art associations, academic institutes, art fairs and auction houses, art book publishers, magazines and online portals, festivals and biennials, and private art funds. Moreover, mohit.art addresses an interested international public.

Dialogue through practical cooperation
mohit.art aims for the self-organisation of the aforementioned practitioners in pursuit of connecting histories, uncovering common discourses and shared experiences. mohit.art constitutes a forum for fair and balanced dialogue, exchange, encounters, and collaboration. The individual projects are implemented by various local organisations and initiatives in Iran, and other countries in the Middle Eastern region as well as in Europe, with a particular emphasis on Germany. Iran has a rich and dynamic contemporary art scene that is largely isolated due to economic and political realities. This applies both to the relationship Iranian artists, galleries, and art organisations have to the so-called global art centres as well as to their connections to art scenes in neighbouring countries such as Azerbaijan, Pakistan, Turkey, and Lebanon. By highlighting the importance of establishing cross-cultural connections between art practitioners and audiences that are based on inclusiveness, mohit.art places shared topics and common (art) contexts in the foreground instead of focusing on political or cultural conflicts.

More than a web portal
mohit.art’s hub of activity is the web platform www.mohit.art which provides an overview of the field’s current activities as well as the latest, in-depth, and archived information in texts, images, videos, and live streams. Texts and other material will be available in English, and partially in Farsi, German, and other languages, ensuring a broad accessibility and extensive international dissemination:
• Texts: online publications on key issues
• Exhibitions: virtual and/or live
• Public events: virtual and live panels and screenings
• Educational: online talks, workshops, and seminars
• Archives: cooperation with and partial presentations of art archives
• Network: directory of relevant institutions and actors in the art world(s)

The Schedule
The web platform www.mohit.art will launch in early December 2021 with exciting kick-off events. The platform’s expansion is anticipated in 2022 with additional exhibittions, publications, and online events.

Transnational Networks for Overcoming Exclusion
Continuing cultural and artistic cooperation in times of mutual alienation and sustained tensions is of crucial importance. Artists in the global south are confronted with normative exclusions due to a lack of reflection on Western hegememonies and Europe’s colonial past and present. Considering the global north’s loss of political credibility and the challenges of achieving common objectives in intercultural relations, transnational networks are an essential instrument for continuing dialogue and exchange. The art scenes in the Middle Eastern and European cultures, with their long histories of transmigration and diasporic identities, represent the commonalities between these cultures.

mohit.art was initiated by Bernd Fechner and Hannah Jacobi
Dr. Bernd Fechner studied theology, philosophy, and art history, and has a professional background in book publishing and PR. His home bases are in Berlin and Cologne. Through his agency photomarketing.de, he has directed the photo festival Fotobild Berlin and the art fair Europa.art. He is active inter-nationally as a cultural manager, photography expert and networker. In recent years, he has written about German-Jewish 20th century art history and has become increasingly involved in cultural dialogue projects in the Near and Middle East.
www.photomarketing.de
b.fechner@photomarketing.de

Hannah Jacobi is a Berlin-based art historian and writer who specialises in global art. In 2017, she published a collection of interviews entitled Stimmen aus Teheran. Interviews zur zeitgenössischen Kunst im Iran (Voices from Tehran. Interviews on Contemporary Art in Iran, Edition Faust). Her work has been published in Canvas Magazine, Herfeh: Honarmand, Il Sole 24 Ore, Der Tagesspiegel, and taz, to name a few. Since 2011, she has been working as project coordinator and researcher at Haus der Kulturen der Welt (HKW) in Berlin.
www.hannahjacobi.com
info@hannahjacobi.com

PRESS RELEASE

The Gruber Library: A unique Treasure of Photography
in the 20th Century will be kept with the PhotoBookMuseum in Cologne

The PhotoBookMuseum gUG, the only museum of its kind in the world, has managed to secure the “Gruber Library: The Renate and L. Fritz Gruber Photobook Collection” for its new location in Cologne, with the support of the ZeroFourFoundation gGmbH. Here, this international collection of around 5,000 photobooks, exhibition catalogues, press publications and documents – one of the most important in the field in Europe – will be made accessible to the public over the long term. The collaboration has made it possible to professionally conserve, academically examine and keep the Gruber Library together in its entirety. The inventory will remain permanently linked to the Gruber name. Renate Gruber officially has announced the handover of the collection in a ceremony on August 19, 2021.

Pressemitteilung- Gruber Library_ 19082021-phThe Gruber Library, Fotoboks A–K + Film, Study L. Fritz Gruber / Photo: Frederic Lezmi
© ZeroFourFoundation gGmbH, 2021 / „Gruber Library: Die Fotobuchsammlung Renate und L. Fritz Gruber“

August 19, 1839 is seen by many as the day photography was born – this was the day that one of the first photographic procedures, daguerreotype, was authorised for public use. It was for this reason that the collector couple Renate and L. Fritz Gruber chose this date to hold an annual event at their house in Cologne-Braunsfeld, becoming largely responsible for coining the idea of the “birthday of photography”. This was an occasion that drew photographers and writers from all around the world and made Haus Gruber a key meeting place in the international photo scene.

Open house for photography
Renate Gruber continued this open house tradition after the death of her husband in 2005 – this year is no different. Except there is more to celebrate than just the “birthday of photography”: the preservation of the “Gruber Library: The Renate and L. Fritz Gruber Photobook Collection” as a piece of national cultural heritage has been secured and the PhotoBook-Museum will make it accessible to the public in the future. Its inventory gives invaluable insights into the development of photography in the 20th century.

Genesis of the Gruber Library
The Gruber Library is unique, as the couple did not purchase the works according to capital value. Instead, it developed through the Grubers’ international working relationships with photographers, curators, scientists and authors. Many of the volumes were gifts from friends with very personal dedications, given after being invited to the couple’s house. A large part of this working library is comprised of photobooks – a format whose significance is still underestimated, but which has been an important form of expression for many photographers since the inception of the medium.

Permanent location for the PhotoBookMuseum
The PhotoBookMuseum is devoted to the importance of the photobook. Initiated by Markus Schaden and Frederic Lezmi, the museum has been an integral part of the photography scene in Cologne and internationally since 2014. It is the only museum in the world dedicated completely to the photobook and making the medium accessible to a broad audience. Functioning thus far as a mobile museum, the PhotoBookMuseum is currently in intensive discussions with Cologne’s culture department about a suitable permanent location. Here, the Gruber Library will be presented physically and digitally with the support of the ZeroFourFoundation. “The ideal conditions have now been created to access the Gruber universe”, Markus Schaden explains.

Collaboration with the ZeroFourFoundation
In its work with the collection, the PhotoBookMuseum will, in the Gruber tradition, focus on further developing photographic networks, involving the public and entering into innovative global and regional cooperations with other cultural organisations. The ZeroFourFoundation has acquired the collection and will place it at the disposal of the PhotoBookMuseum for its art educational presentation in a museum context. The newly established, Berlin-based ZeroFourFoundation gGmbH has made it its mission to promote visual art and culture. Its focus is on academic research as well as the promotion of diversity and interdisciplinarity in the visual cultures. The collaboration with the PhotoBookMuseum is expected to result in digital as well as critical content – an approach completely in the spirit of Renate and L. Fritz Gruber.

Fact Sheet:

  • As a collection of photobooks, exhibition and auction catalogues, press publications and ephemera, the Gruber Library is one of the most important of its kind in Europe. It comprises around 5,000 photobooks from Europe and the USA, Japan, USSR and Russia, Israel, China, India and Southeast Asia, South and Central America as well as Turkey.
  • The signatures and dedication in the books range from Henri Cartier-Bresson to Robert Frank, from Weegee to William Klein, from Berenice Abbott to Gisèle Freund.
  • Prof Dr h.c. Leo Fritz Gruber (1908–2005) was a curator, journalist and collector of photography. His influence on the medium and its mediation is recognised around the world. He was co-founder of the professional photography trade fair photokina and curator of the photokina exhibitions from 1950 to 1980. His name is still current in Cologne: the Grubers’ outstanding photographic collection has been with Museum Ludwig since the late 1970s, but it wasn’t until June 2021 that Cologne, the “photo city”, dedicated a commemorative plaque in honour of L. Fritz Gruber, on the square named after him (L.-Fritz-Gruber-Platz) opposite Kolumba art museum. Renate Gruber (*1936) has maintained and administered the Gruber Library since the 1970s and has continued Haus Gruber’s commitment to social and cultural issues to this day as a networker, expert and benefactor.
  • Some years ago Dr Bernd Fechner, with his Berlin-based agency photomarketing.de, took over the indexing and expert appraisal of the inventory in close personal consultation with Haus Gruber. He is considered one of the architects in the collaboration between Haus Gruber, the ZeroFourFoundation gGmbH and the PhotoBook-Museum gUG.

Grubber

PRESS IMAGES
Download images from Picdrop*:
https://www.picdrop.com/photobookmuseum/5RzwagiAWy

Use of the press images provided is unrestricted in connection with reporting on “Gruber Library: The Renate and L. Fritz Gruber Photobook Collection”, the PhotoBookMuseum gUG and the ZeroFourFoundation gGmbH.

Image material may only be used once and only as part of media coverage. Please observe the complete copyright notice, which belongs exclusively to ZeroFourFoundation gGmbH. Data is to be deleted from all memory media after its use.

All images are to be marked clearly and in full, without exception, with the following copyright:

© ZeroFourFoundation gGmbH, 2021
“Gruber Library: The Renate and L. Fritz Gruber Photobook Collection”

Please send specimen copies to:
The PhotoBookMuseum gUG, Körnerstr. 6–8, 50823 Köln
or by email to: press@thephotobookmuseum.com

*The privacy policy of Picdrop GmbH applies, Am Treptower Park 28 – 30, 12435 Berlin.

WEBSITES
www.zerofourfoundation.com
www.thephotobookmuseum.com
www.photomarketing.de/en/news/the-gruber-library-2

PRESS CONTACT
For The PhotobookMuseum:
Markus Schaden

+49 171 483 24 44
press@thephotobookmuseum.com

For Haus Gruber:
Dr. Bernd Fechner

+49 176 973 112 70
b.fechner@photomarketing.de

Contemporary art in Iran. Presentation of the planning of the mohit.art project. Sauerlandtheater, Arnsberg event as part of the Arnsberg Cultural Summer. 3pm. June 20 – June 20, 2021

press information – German only

Shahab Fotouhi, Ohne Titel, Inkjetdruck, 2015. Thorn in the Eye, Bone in the Throat, Galerie O, Teheran, 16. – 28. Oktober 2015 © Der Künstler
Shahab Fotouhi, Untitled, Inkjet Print, 2015. Thorn in the Eye, Bone in the Throat, O Gallery, Tehran, October 16-28, 2015 © The Artist

Sankt Peter in Sankt Peter. Die Rombilder von Lothar Wolleh

© Lothar Wolleh, St Peter (Orte des Lichts), 1974, 100 x 100 cm @ Lothar Wolleh Estate, Berlin-2
© Lothar Wolleh, St Peter (Orte des Lichts), 1974, 100 x 100 cm @ Lothar Wolleh Estate, Berlin

© Lothar Wolleh, Petersplatz, 1974, 160 x 160 cm @ Lothar Wolleh Estate, Berlin
© Lothar Wolleh, Petersplatz, 1974, 160 x 160 cm @ Lothar Wolleh Estate, Berlin

© Lothar Wolleh, St Peter (Orte des Lichts), 1974, 100 x 100 cm @ Lothar Wolleh Estate, Berlin
© Lothar Wolleh, St Peter (Orte des Lichts), 1974, 100 x 100 cm @ Lothar Wolleh Estate, Berlin

Saint Peter at Saint Peter. The Rome Pictures of Lothar Wolleh Lothar Wolleh Virtually unknown photographs by the Berlin photographer Lothar Wolleh (1930-1979) can be seen as part of the TURM-RAUM-KUNST series. Wolleh, who is known chiefly for his numerous artist portraits of the 1960s/70s, was the official photographer of the second Vatican Council from 1962 until 1965. His picture book “Apostolorum Limina” on the celebrations of the Holy Year was published in 1975. From this set, Kunst-Station Sankt Peter Köln exhibits the atmospheric, often abstract shots, in which Wolleh’s spiritual dimension of an almost mythical veneration of light becomes palpable.

Kunst-Station Sankt Peter Köln
Leonhard-Tietz-Str. 6
50676 Köln

Artist(s)
Lothar Wolleh

Duration
21.05. – 20.06.2021

Vernissage
23.05.2021
01.15 – 03.00

Opening hours
Wednesday – Sunday
12 am – 6 pm
now closed

other events
Art Talk on the Exhibition with Oliver Wolleh
30.05.2021
01.15 – 03.00

Art Talk on the Exhibition with Bernd Fechner
06.06.2021
01.15 – 03.00

Internet
www.sankt-peter-koeln.de

Bonusmaterial
www.lothar-wolleh.com

VISUAL ART IN IRAN

EIKON_Visual Art in Iran

Attempt at Orientation
Bernd Fechner

The Western Conception
Traditions of Blanking Out

Where to begin when you want to write about Iran, its art scene and photography? After all, there’s a lot of ground to cover. There’s a lot to talk about. Atom bombs, oil, religion, human rights, the hijab, the persistence of colonial perspectives, sanctions, and, not least, war and peace.
I recently spent quite some time working in the photobook library of Leo Fritz (1908–2005) and Renate Gruber. In his functions for Koelnmesse, photokina, the German Photographic Association, and as an exhibition-maker, Fritz Gruber was a central figure in shaping the perception of twentieth-century photography both in Germany and internationally well into the late 1980s. It would have been nearly impossible to find a museum director or curator – at the time there were hardly any of them specialized in photography – who could match Fritz and Renate Gruber’s global network. The Gruber library reflects the history of the medium: photobooks from Europe, the United States, and Japan but also from the USSR, China, India, Israel, Southeast Asia, South and Central America, and Turkey. But not a single book about or from Iran.
This conspicuous detail seems to be confirmed when we open the volumes of The Photobook: A History by Gerry Badger and Martin Parr published by Phaidon in 2004 and 2006: Iran doesn’t make a single appearance in them. The same is true for the still unsurpassed standard works by Hans-Michael Koetzle: Das Lexikon der Fotografen. 1900 bis heute, Knaur, 2002, Photographers A–Z, Taschen, 2011, and Eyes Wide Open – 100 Years of Leica Photography, Kehrer, 2014. Let’s take another work, one generation prior: Helmut Gernsheim’s The Origins of Photography, Thames and Hudson, 1982. Negative on all counts, not even the slightest mention of the word “Iran.” Didn’t they have photography in Iran?

Nineteenth-Century Persian Photography

Of course they did and still do – quite a lot, and in fact quite early; an extraordinary wealth of it. The density of nineteenth-century Persian photography owes a great debt to the circumstance that shortly after its invention, photography was introduced by the highest levels, so to speak: Even before he began his long regency, Nāser ed-Din Shāh (1831–1896) devoted much time and enthusiasm to this new medium. Photography became the omnipresent hobby of the monarch and his court, and it accompanied him on all his travels across his kingdom and abroad. From the 1870s onward, Tehran became the bustling center of a rapidly growing photo industry, even for non-Iranian photographers. Above all for Antoin Sevruguin (who died in 1933). Born into a Russian-Georgian-Armenian family, he rose to the status of court photographer and was a savvy entrepreneur, supplying Europeans with clichéd pictures of the Orient, both for travelers and through contracts with Western press agencies. Also the German-born photographer Ernst Hoeltzer spent his working life in Iran. A telegraph engineer by trade and a professor in Isfahan, Hoeltzer left us thousands of glass plates, whose images were collected for recent Iranian publications.

Eikon-01-ed
ANTOIN SEVRUGUIN
detail from
Early Photography of Iran, 1880–1930
b/w glass plate negative
13 x 17,7 cm

Today’s historic holdings of the Golestān Palace in Tehran comprises tens of thousands of objects. It is one of the world’s largest archives of nineteenth-century photography. The capital’s Photo Museum, which opened in 1995, shows old camera and photo techniques, photojournalism as it evolved in Iran, early specialist literature, and
vintage albums.
It is well-known that photography was also all the rage at Queen Victoria’s court. Her husband, King Edward, was greatly interested in cameras. What would then have been unthinkable in the prudish Europe, however, was the profound permissiveness with which Persian photography revealed highly intimate scenes: harems, festivities, decorated diplomats, women amongst themselves. Since the beginning, it wasn’t only the men who were behind the cameras in Persia.
Not only do the Iranian holdings offer a wealth of material on the history of photography, they are also resources for historical research, specifically the history of mentalities, for instance, where the evolution of gender identities in the course of an increasing Europeanization is concerned. A milestone in Gender and Queer Studies is the 2004 study Women with Mustaches and Men without Beards. Gender and Sexual Anxieties of Iranian Modernity by the US-Iranian scholar Afsaneh Najmabadi. In it, she uses an analysis of photographic material to indicate that beauty ideals under the rule of the Qajar dynasty were not subject to secondary biological sexual characteristics. This might also be a good place to refer to more recent photohistorical works, especially those of US scholar Staci Gem Scheiwiller and Swiss-based Elahe Helbig.1 more

1. See “Further Reading”, 71.

The Gruber Library

A unique Treasure of Photography
in the 20th Century
Appraisal by Dr. Bernd Fechner

press article PHOTONEWS – German only

As in no other epoch, images shape the perception of the world. Photography became a key medium along with film, television, the internet and smartphones. It is the theme and object of science, the art world and the art market. Not only that, it determines all areas of life and culture, globally for all people, especially the youth. Never before have so many images been captured, consumed and distributed as today. The emerge of photography during the 20th century is reflected in the photographic Library Gruber.

Prof. Dr. Leo Fritz Gruber (Cologne, 1908 – 2005) was instrumental in shaping the discussion on the possibilities of photography throughout the span of the second half of the twentieth century. Gruber became in Germany – since 1959 together with his wife Renate Gruber (born 1936) – as well as internationally a singular special case of a globally networked institution.

The photo collection of the couple, whose beginnings go back to the pre-war period, forms today as „collection Gruber“ at the Cologne Museum Ludwig, one of the most important European holdings for photography of the 20th century. Already in 1977, 800 photographs were acquired by the city of Cologne. At that time this was an unusual event, because never before had an art museum in Germany bought such a photo inventory. Another 2500 deductions were received in 1995 as a foundation of the couple. The manuscripts and professional records were successively transferred after the death of Fritz Gruber in 2005 by Renate Gruber in the Historical Archive of the City of Cologne. It is unclear to what extent these archives survived the destruction of the archive in 2009.

In a different and more comprehensive way than the photo collection and archival materials, the Gruber Library not only documents the global activities and working methods of the couple, but also the history of photography as a whole. It contains about 10,000 objects. The preservation of the Gruber Library – especially the photobook section – is a task of national importance.

Gruber’s outstanding role is explained by the combination of several circumstances. As a young journalist, the native of Cologne took a committed part in the cultural development and the artistic avant-garde of the Rhineland. Gruber’s enthusiasm for photography, photographers and their work is documented early on. He photographed himself, August Sander and the Cologne Dadaists form a circle, Gruber collects photographs and wrote about them. After the establishment of the National Socialist Rule, the 26-yearold emigrated to London, worked in the advertising industry, continued to photograph and publish, learned English and made contacts. In 1938 he was a participant in a study tour of the German advertising industry in the USA lasting several weeks.

Internationality, attractiveness, charming, stylish and confident appearance, the revival of the Cologne trade fair and the West German photo industry predestined him in the early post-war years for a far-reaching task: the development of the Cologne photokina, the world’s leading photo event. Gruber combined the concept of an industry fair with his far-reaching idea of international photo exhibitions, the picture shows. What Arnold Bode created for contemporary art with the construction of the documents in Kassel, Gruber made for photography. The first photokina took place in May 1950. Its success gave him a permanent position at the Cologne trade fair company. He skillfully interlinked the commercial interests of the trade fair company with those of the photographic industry, the lively interest of the public and – above all – with the exhibition needs of the photographers. In addition, in 1951 Gruber became the leader in the founding of the „German Society for Photography“, as its executive chairman, vice-president and honorary president, for more than half a century.

As part of the rapid internationalization of photokina, Gruber is responsible for all of its areas. Since 1960, he has been exclusively responsible for its cultural section as curator of around 300 international exhibitions with numerous catalogs and book publications. Fritz Gruber was always proud to keep the catalogues free of commercial advertisements.

Germany of the post-war period and especially Cologne offered ideal conditions. Gruber, left-liberal freethinking democrat – especially without a brown past – became international ambassador of the young Federal Republic, Europe-wide, in America and in Asia: by order of service mostly in the acquisition of exhibitors, because the photo industry boomed. At the same time, this enabled him to meet photographers everywhere he knew or had heard of them, saw photos or received a book.

The participation in Gruber’s BILDERSCHAU, the „photo shows“ of the photokina and the culture prizes of the DGPh will soon be among the world’s most prestigious awards for photographers. The postman always brought new photos from all over the world and – above all – books.
In 1959, after the death of his first wife, Gruber married Renate Busch, almost thirty years his junior – a woman endowed with all the charms of youthful beauty, keen intellect, and a cloying joke. She speaks English as well as fluent Italian and French. From then on, both formed a successful work team, with public appearances, constantly in contact with photographers and artists, the young and the old. Photography jet set, probably unparalleled worldwide today. Renate Gruber played a key role in the expansion and maintenance of the network, in correspondence, as a co-author of joint publications and in the expansion of the book and photo collection.

Gruber’s worldwide scope and budget for exhibition and publication projects far exceeded the possibilities of museum directors, exhibition curators, historians, journalists and, last but not least, photographers. The overwhelming role of the Gruber in photography was all too clear to contemporaries in Germany, Europe, the US and Japan. On the other hand, it may come as a surprise that no biographical or academic review of this special case of a global photography entrepreneur exists until today.
The academic exploration of the history of photography and the science of the pictures are relatively new disciplines, but, like the art history as a whole, their interest has so far mainly focused on artists and photographers, schools and styles as well as hermeneutical questions of image theory. So far, science has hardly been interested in the role of mediators between artists or photographers, journalism, commerce and cultural institutions.

Gruber Library_AppraisalPrint_image-01Henri Cartier-Bresson, Images à la Sauvette, Edition Verve, Paris, 1952

Gruber Library_AppraisalPrint_image-02
Jean-Louis Barrault, Johannes Maria Hoeppner, (2nd ed.) Hamburg, n.y.

Gruber Library_AppraisalPrint_image-03-03
Cecil Beaton, The Face of the Word, Weidenfeld & Nicolson, London, 1957

Gruber Library_AppraisalPrint_image-04
Exemplary stamp in:
Robert Frank, The Americans, Grove Press Inc., New York, 1959

Gruber Library_AppraisalPrint_image-05Weegee, Weegee by Weegee, Ziff-Davis-Publishing, New York, 1962

Gruber Library_AppraisalPrint_image-06Brassaï, Brassaï, Editions Neuf, Paris, 1952

Gruber Library_AppraisalPrint_image-07Will McBride, Zeig Mal Mehr!, Beltz, Weinheim/Basel, 1988

Gruber Library_AppraisalPrint_image-08William Klein, Rome, The Viking Press, New York, 1959

Gruber Library_AppraisalPrint_image-09Yousuf Karsh, Portraits of Greatness, Thomas Nelson & Sons, n.y.

Gruber Library_AppraisalPrint_image-10André Kertész, On Reading, Grossman, New York City, 1971

Gruber Library_AppraisalPrint_image-11Robert Doisneau, Instantanés de Paris, Arhaud, Paris, 1955

Gruber Library_AppraisalPrint_image-12Irving Penn / John Szarkowski, Irwing Penn, Museum of Modern Art, New York, 1984

Gruber Library_AppraisalPrint_image-13Helmut Newton, White Women, Roger & Bernhard, München, 1976

Gallery Weekend Berlin

NIKOLAS TANTSOUKES: PAPER COLLAGES 2006-2016

Portfolioviewing ©Nikolas Tantsoukes

It was quoted by Robert Motherwell that “Collage is the twentieth century’s greatest innovation.”

Remarkably this influential medium of modern art had, until recent years, gone almost completely out of fashion. Thankfully the medium has now seen an exciting renaissance, witnessed not only in modern art but also in advertising and new media.

The Berlin artist Nikolas Tantsoukes is one of the most accomplished, trendsetting and technically proficient examples of collage art today. In an age of boundless digitisation he has committed decades to his meticulous and delicate works on paper.

Tantsoukes’ materials consist of nothing more than scissors, glue and an infinite pool of antiquarian picture books and magazines collected from the 1930s to 1970s. In his studio, boxes and crates are piled high with paper clippings: eyes, noses, faces, buildings, trees, expanses of water, mountains and people in all manner of poses and fashions await their fate in one of Tansoukes’ ingenious creations. Weeks and months are spent forming his clever and meticulous works. In today’s world this alone adds a unique quality to his work.

His works are grouped thematically with titles such as: “Ab in die Berge!” (From the mountains!), “Land unter” (Land under), “Stadtleben” (City life), “Come as you are” and “Kunstexperten wie Du und Ich” (art experts like you and I). His subjects are often portrayed in a caricature manner with long noses, crooked teeth and enlarged heads or wearing thick-lensed glasses. The creatures he constructs participate in a strange world that is more insidious and disturbing than it may seem at first glance. A talented storyteller, Tantsoukes creates a world of dark and mysterious make-believe. The smiling faces of his subjects, laughing and optimistic, seem eerie or almost terrifying in their nightmarish surroundings. It is the narrow divide between reality and make-believe that give Tantsoukes’ collages the energy to invoke every emotion from humour to hopelessness. Nowhere else will you see banality and disaster existing so harmoniously alongside one another.

Nikolas Tantsoukes was born in 1971 in Augsburg and graduated as a fashion designer. He first presented his collection of paper collages in Berlin in 2006, followed by exhibitions in Cologne, Wiesbaden, Vienna and Paris. His work has also been featured in art magazines, newspapers and on television. His work has been purchased by well-known private collections and, amongst others, the Bibliothèque nationale de France.


Bienensterben ©Nikolas Tantsoukes

Nikolas Tantsoukes
Paper Collages 2006-2016
29.04.-1.05.2016

www.nikolastantsoukes.com

Vernissage: Friday the 29th of April, 7pm – 10pm

ReTramp Gallery Berlin
Reuterstraße 62
12047 Berlin
Sat 10am – 8pm
Sun 10am – 2pm

EYEMAZING Editions’s New Book, Out Now!

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“Eyemazing Susan, Annual Pictorial Vol. II”
Publisher: EYEMAZING Editions
ISBN 978-90-822754-1-4
23.50 x 17.50 cm
PLC, 304 pp
233 Illustrations

“Despair and love. With Sex, Rituals, Spiritualism and Romanticism we explore our attempts to give meaning to our lives. The selected images present fantasies and imaginings more real than our waking reality. Driven by a hunger to plumb the depths of human emotion, this 304-page volume transports the viewer on a visual odyssey through images of sadness, dark joy and profound melancholy … The painterly darkness of Manhood/Womanhood.” – Eyemazing Susan

Contact:
Eyemazing Susan
susan@EYEMAZINGeditions.com
P.O.Box 59092
1040KB Amsterdam
The Netherlands

Special offer!
Order Eyemazing Susan’s Annual Pictorial Vol. I & Vol. II, for the special price of only 135 € (including shipping).
This offer is only for orders made through EYEMAZING Editions website and only while stock lasts!
www.eyemazingeditions.com/order/book

EYEMAZING EDITIONS, FOR COLLECTORS ONLY!
www.EYEMAZINGeditions.com

Eyemazing Susan Annual Pictorial Vol.II, featuring works by 29 International artists: Arslan Ahmedov I Alyson Belcher I Marina Black I Karine Burckel I Katia Chausheva I Mathias Christensen I Kir Esadov I Paula Rae Gibson I Robert Hamblin I Aegea Hsieh I Robert Hutinski I Iva Jauss I Valerie kabis I Mi-Hyun Kim I So­e Amalie Klougart I Beat Kuert I Helen Lyon I Safaa Mazirh I David John Newman I Lena Oganesyan I Betina La Plante I Gerasimos Platanas I Evgeniy Platonov I Yell Saccani I Jean-François Spricigo I Robert Stivers I Jaya Suberg I Frank Vic I Vladimir Zidlicky

Hans-Jürgen Raabe – 990 Faces at ART PARIS 2015

990 faces

The latest works of the longterm project 990 Faces by the photographer Hans-Jürgen Raabe will be shown at ART PARIS 2015 from the 26th to the 29th of March 2015 in the Grand Palais. The exhibition will be presented by the Sanatorium Gallery at Booth B10.

The curator and author Hans-Michael Koetzle writes: “The coordinates couldn’t be any clearer: 33 locations, 30 faces – taken at just these places. Shot using a small conventional camera, without artificial lighting, on the spur of the moment – snapshots of unplanned encounters with strangers in public spaces. Images that capture ‘moments of exchange’ – but not those commonly associated with trade and barter, but those with gazes and meaning at their centre. The German photographer Hans-Jürgen Raabe has been pursuing a highly ambitious project of nearly encyclopedic proportions – of creating a potrait of people – for several years now. Spontaneous, unstaged, without any restrictions regarding types of people and completely open to all possible manifestations of what it means to be human – young, old, beautiful, wrinkled, alert, daydreaming, quizzical or calm. And only that. There is no age tag, information on origin, profession, income, goals or dreams. Instead, each of the images is an open invitation to the observer to simply look: as long as they like, without judgement, without prejudice. […]

Hans-Jürgen Raabe‘s project – although far from completion – has already received international attention. To date, sections of the 990 Faces project have been exhibited internationally in galleries and museums such as in Cologne (The PhotoBookMuseum), Berlin (Galerie Photo Edition) and Istanbul (Museum of Photography). And, with 990 Faces, Hans-Jürgen Raabe is, without question, making a significant contribution to one of the most idiosyncratic and exciting areas of modern photography. A piece of work that oscillates between spontaneity and conceptual association, of encyclopedic proportions and self-imposed limitations, of sheer visual beauty and with a deeper question asked by preceding ‘large stills’: where is humanity currently at and where is it going?”

The Opening Preview takes place today from 6p.m. – 10p.m. in the Grand Palais.

ART PARIS Art Fair
26.03.2015 – 29.03.2015
Grand Palais, Avenue Winston Churchill
France – 75008 Paris
Thu-Sat 11.30 a.m.-8 p.m.
Sun 11.30 a.m.-7 p.m.
contact@artparis.com
www.artparis.fr

Sanatorium
Asmalı Mescit Mah. Asmalı Mescit Sk. No: 32/A 34430
Beyoğlu / İstanbul
info@sanatorium.com.tr
www.sanatorium.com.tr

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Eyemazing Susan’s Annual Pictorial, featuring works by 42 international artists: Kensuke Koike I Irina Ruppert I K.K. De Paul I Maurizio Anzeri I Emerson Cooper I Amy Friend I Osheen Harruthoonyan I Irina Nakhova I Isthmael Baudry I Vladimir Zidlicky I Melissa Zexter I Anne Leighton Massoni I Fabrice Balossini I Jean-Christophe Bechet I Brian Taylor I Jose Camara I Sanghyun Lee I Julie Cockburn, Nieves Mingueza I Robin Cracknell I Norman Kulkin I Herman Pivk I Maria Kassab I Natalia Skirzynska I Joseph Mills I Leah MacDonald I Jose Ramon Bas I Lia Dostlieva I Raphael Neal I Paulina Otylie Surys I Igor Tishin I Naoki Aosaki I Marko Modic I Ali Alisir I Zelda Zinn I Vladislav Krasnoschok I German Gomez I Paul Cava I Pierre Alivon I Claire Pestaille I Walter Plotnick I Patrick Pound