The German gallery Delmes & Zander, known for its avant-garde presentations of self-taught art, will close its doors at the end of October. The Cologne-based outfit had been in business for over three decades and by this time had developed a cult following for its quirky exhibitions, many of which focused on artists who had not yet entered canon.
âWhile societal progress is still fragile, times have changed and we are delighted that the works of our artists have now found their place in the context of contemporary art,â said the owners of Delmes & Zander, Nicole Delmes and Susanne Zander, in an Instagram post. announcing the closure of their gallery.
Among the artists featured by the gallery were Horst Ademeit, whose bizarre Polaroid photographs hinted at a personal cosmology; Dietrich Orth, whose paintings recorded the effects of his mental illness and the drugs administered to him; and Adelhyd van Bender, whose mysterious pieces were inspired by what he called an “atomic secret” that he believed contained in a womb of his body. In recent years, these artists have been the subject of some of their first major museum exhibitions, with many exhibits receiving critical acclaim.
Sometimes, however, the gallery displays looked nothing like art. In 2015, the gallery organized âMargret: Chronicle of an Affairâ, an exhibition of materials found related to a relationship between a businessman and his secretary. When a version of the show was staged at White Columns, an alternative space in New York City, the show drew coverage at non-artistic outlets like Jezebel and The HuffPost.
Matthew Higgs, director of White Columns, said on Instagram that Delmes & Zander had âone of the most important, idiosyncratic and influential programs of all time. They will be sorely missed.
Zander founded the gallery solo in 1988 and Delmes joined him as co-owner in 2005. In short, the gallery also kept a space in Berlin in addition to its headquarters in Cologne. Together, Delmes and Zander brought to the gallery a trendy emphasis on the occult and an unusual emphasis on art that by no means met the tastes of the market.