Latest Tweets

Detail of Damien Hirst's limited edition silkscreen print with glaze plus glitter – Psalm: Expectans expectavi… https://t.co/qoL8oBxfd3
3 days ago

Pleased to participate in the 1st edition of #ArtVienna from 23-26 Feb at the @Leopold_Museum @MacHoffmannhttps://t.co/0hEK1mM5yw
4 days ago

Other Criteria London is open until 10pm tonight alongside @NPSGallery and @Ph2restaurant #ValentinesDay https://t.co/CDdG2vhORQ
5 days ago

Last day at @ZonaMaco #DamienHirst #EduardoSarabia #PaolaPetrobelli https://t.co/URzK7LUU3I https://t.co/HcXhQawrOu
1 weeks ago

Join us at @ZonaMaco this weekend to see works by Eduardo Sarabia, Damien Hirst, Paola Petrobelli – booth ZMD1 unti… https://t.co/4tgDXqCqGy
2 weeks ago

Tim Noble and Sue Webster get the right end of the stick in their latest show https://t.co/xdqqdLFabq via… https://t.co/U4yMpCBxiH
2 weeks ago

Sneak pic from our booth ZMD12 @ZonaMaco #EduardoSarabia #DamienHirst #PaolaPetrobelli https://t.co/6ZVB2mJQiY
2 weeks ago

Johannes Albers - Brief an die Händler

February 16, 2011 by Kay

Brief an die Händler - Johannes Albers

11.02 - 12.03.2011

Galerie Haas and Fuchs

The most striking travel experience is probably in the film ‘Planet of the Apes’ as Charlton Heston, walking along the beach suddenly discovers a sunken Statue of Liberty. After a lengthy and onerous journey he has landed, entirely unexpectedly, exactly in the same place where he took off from so many years ago. Home.

Johannes Albers also appears to find himself on a journey and he is writing an open letter to us, ‘Brief an die Händler’ (Epistle to the dealers) is the title of his new exhibition. With dealers Albers refers to the modern Homo oeconomicus, this curious cost-benefit creature of our times, who like Goethe’s Mephistopheles is consistently self-serving and consistently doing good. Is that really true?

Albers attempts to look behind the balance sheets, beyond the clouds of the market and thus discovers that the heaven of this realm has been pretty much devoured.  A bicycle, as space debris, is enthroned above all, whereas in Titian’s Assumption of Mary there is still a wise, bearded man searching for the righteous. Here Gewinn (Gain) lacks a broad grin, but floats wondrously and fatefully in the room like the sword of Excalibur. ‘Gain’ is instead more of a secretive Mona Lisa smile.

What are the elements, the inner compounds that unify this world? If a biblical character 2000 years ago should want to explain what something at its very depth consists of, he would describe how this thing came to be. Der Ursprung der Welt (The Origin of the World) for Johannes Albers looks like a curved ping pong table. In earlier works, the motif of the ping pong table serves as a metaphor for a monochrome, romantic landscape view. Here arise physical analogies. In 1866 Courbet painted a small painting entitled The Origin of the World, portraying a woman’s exposed abdomen and genitals. Regardless of the complexity, this is the shared point of departure for our journey. A journey in which we will gain a lot, just so that we can lose it all in the end. And then we are home.