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Compliance / Non-Compliance

23 07 2015 — 09 08 2015
(left) Konrad Lueg, Set, 1975, from the edition “Saltoarte”, table cloth, 34,2 x 28,2 cm. (right, up) unkown artist, untitled, approx. 1990s, Polaroid, 10,5 9 cm. (left) unkown artist, night scene in Los Angeles riot area, 1965, silver gelatin print, 20 x 25,5 cm.Installation view, Compliance/Non-Compliance, MÉLANGE, 2015.Felix Gonzales Torres, Untitled (Death by Gun), 1990, black and white print, unlimited edition, 115 x 85 cm(Detail) Felix Gonzales Torres, Untitled (Death by Gun), 1990, black and white print, unlimited edition, 115 x 85 cmAude Pariset, Snatcher, 2013, studio trash, rice paper, umbrella, height 72 cm. Aude Pariset, Snatcher, 2013, studio trash, rice paper, umbrella, height 72 cm. (left) Matias Faldbakken, Serox-Scan, No02, 2008, black and white copy, dim. variable (right) Anne Sofie Bird Møller, Ohne Titel, 2008 magazine page, glue, oil paint on wood, 28 x 21 cm.McGraw, Floyed Diamond, Killer of nine y. old Kethleen M´Laughling, 1955, silver-gelatin print, acrylic paint, marker, 25 x 21 cm.
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Compliance / Non-Compliance
A presentation of works and editions
From a private Collection

Thoughts on collecting

Archiv der Spurensicherung

Subjektivierung **** Vollständigkeit

Bewusstsein **** Leitgedanke

Obsession **** emotionale Aufladung

KRITERIEN EINER SAMMLUNG?

Ästhetik vs. Nutzbarkeit **** Sammeln und Ansammlung

Bürgerliche Sammlung = Privatgelehrte Privates vs museales Sammeln

Sammlung als Transformationsdispositiv

Verfügung von Macht **** Ort der Kunstgeschichtsschreibung

Nachträglichkeit **** Sichtbarkeit

 


Supported by
Moseljünger

 

Alex Morrison

Up The Wooden Hill To Bedfordshire

08 12 2015 — 31 01 2016
Alex Morrison, That Part Of Me That Was Too High To Go Home, 2015 MDF, paint, approx. 120 x 60 x 60 cmAlex Morrison, Up the Wooden Hill to Bedfordshire, installation view, MÉLANGE 2015Alex Morrison, Through The Brum, 2015, archival inkjet print on Epson Hot Press Paper, 21 x 29,7 cmAlex Morrison, That Part Of Me That Was Too High To Go Home, 2015 MDF, paint, approx. 120 x 60 x 60 cmAlex Morrison, Up the Wooden Hill to Bedfordshire, installation view, MÉLANGE 2015Alex Morrison, Through The Brum, 2015, archival inkjet print on Epson Hot Press Paper, 84,1 x 59,4 cm Alex Morrison, Through The Brum, 2015, archival inkjet print on Epson Hot Press Paper, 59,4 x 84,1 cmAlex Morrison, Up the Wooden Hill to Bedfordshire, installation view, MÉLANGE 2015.Alex Morrison, Through The Brum, 2015, archival inkjet print on Epson Hot Press Paper, 84,1 x 59,4 cmAlex Morrison, Through The Brum, 2015, archival inkjet print on Epson Hot Press Paper, 59,4 x 84,1 cmAlex Morrison, Up the Wooden Hill to Bedfordshire, MÉLANGE 2015.
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The end of a long night. It’s dark out, yet the room is bathed in intriguing colors. Beer bottles and cans are everywhere and by now some Christmas lights have fallen from their hooks. It seems to have been a jolly good event – astonishing, that nothing is broken. And while looking at it, not...

Paul Czerlitzki / Piotr Łakomy

20 11 2015 — 04 12 2015
Paul Czerlitzki / Piotr Łakomy, installation view, MÉLANGE 2015. Photo: Simon VogelPaul Czerlitzki / Piotr Łakomy, installation view, MÉLANGE 2015. Photo: Simon VogelPaul Czerlitzki / Piotr Łakomy, installation view, MÉLANGE 2015. Photo: Simon VogelPaul Czerlitzki / Piotr Łakomy, installation view, MÉLANGE 2015. Photo: Simon VogelPaul Czerlitzki / Piotr Łakomy, installation view, MÉLANGE 2015. Photo: Simon VogelPaul Czerlitzki / Piotr Łakomy, installation view, MÉLANGE 2015. Photo: Simon VogelPaul Czerlitzki / Piotr Łakomy, installation view, MÉLANGE 2015. Photo: Simon Vogel
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Particles of pure pigment are spread across the canvas. Traces and trust are two ideas that are strongly connected to Paul Czerlitziki´s work over the past years. Repetitive gesture; a single layer on the very basic foundation of what is commonly understood as painting. But he produces nothing but sensitive surfaces that are meant to...

MÉLANGE at COFA Contemporary

NOT YET, BUT STILL

19 11 2015 — 22 11 2015
Installation view, MÉLANGE, COFA Contemporary, Cologne 2015Installation view, MÉLANGE, COFA Contemporary, Cologne 2015Installation view, MÉLANGE, COFA Contemporary, Cologne 2015Alex Morrison, Through the Brume, 2015, Chrome Inkjet Print on Epson Hot Press Bright Paper (330g), 64 x 88,5 cm (framed)Jessica Gispert, Next to Skin (Chartreuse Azure), 2015, steel, fabric, epoxy resin, 113 x 132 x 21 cmDaniel Kiss, Trust III, 2015, transparent plastic, spray paint, 200 x 93 cmDaniel Kiss, Growth I, 2015, MDF, spray paint, steel, 155 x 44 x 44 cm
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with works by Jessica Gispert, Daniel Kiss, Alex Morrison & Joshua Sex For COFA Contemporary MÉLANGE arranged a marvelous group show.   What brings the four artists together is a certain approach towards flawed surfaces. In a literally meaning of surface, to reside above the skin of objects, they take a step back from a pure material...

Ellen Yeon Kim

Within Our Time

15 10 2015 — 31 10 2015
Ellen Yeon Kim, Within Our Time, 2015 leather armchair, flat screen, coat hanger, HD video with color/sound 8‘20“ (looped), dimensions variableEllen Yeon Kim, Within Our Time, 2015 leather armchair, flat screen, coat hanger, HD video with color/sound 8‘20“ (looped), dimensions variableEllen Yeon Kim, Sincerely Yours, 2015 giclee print, wire, each 110 x 172 cmEllen Yeon Kim, Sincerely Yours, 2015 giclee print, wire, each 110 x 172 cmEllen Yeon Kim, Sincerely Yours, 2015 giclee print, wire, each 110 x 172 cmEllen Yeon Kim, Within our Time, MÉLANGE 2015
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Well, well, well. Sit down. Relax. Be tempted while you are at here. Take a sip from your wine. Make yourself comfortable and let everything sink in. Once you get that, you will realize you can always be in control. Can you?   As a TV lying on an armchair you know you can just...

Joshua Sex

Ass's Bite

01 09 2015 — 04 10 2015
Joshua Sex, installation view, MÉLANGE 2015; Photo: Courtesy the Artist and MÉLANGE, Cologne. Christian Schenk.Joshua Sex, The Loyalty Of The People (2013), oil on canvas, 45 x 30 cm; Courtesy the Artist and MÉLANGE, Cologne. Photo: Christian Schenk.Joshua Sex, The Loyalty Of The People (2013), oil on canvas, 45 x 30 cm; Courtesy the Artist and MÉLANGE, Cologne. Photo: Christian Schenk.Joshua Sex, installation view, MÉLANGE 2015; Courtesy the Artist and MÉLANGE, Cologne. Photo: Christian Schenk.Joshua Sex, Untitled (2015), water color on paper, 20 x 10 cm; Courtesy the Artist and MÉLANGE, Cologne. Photo: Christian Schenk.Joshua Sex, Island Bull (2013), oil on canvas, 76 x 61 cm; Courtesy the Artist and MÉLANGE, Cologne. Photo: Christian Schenk.Joshua Sex, installation view, MÉLANGE 2015; Photo: Courtesy the Artist and MÉLANGE, Cologne. Christian Schenk.Joshua Sex, Lightning (2013-2014), oil on canvas, 76 x 61 cm; Courtesy the Artist and MÉLANGE, Cologne. Photo: Christian SchenkJoshua Sex, An Amadan (2013-2014), water colour on paper, 29 x 42 cm; Courtesy the Artist and MÉLANGE, Cologne. Photo: Christian Schenk.Joshua Sex,The Plot (2014), pen on jute, 46 x 56 cm; Courtesy the Artist and MÉLANGE, Cologne. Photo: Christian Schenk
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MÉLANGE is proud to present an installation by Joshua Sex (b. 1985 in Dublin, lives and works in London) which includes some of his latest paintings and a newly commissioned sound piece for Cologne.   The Barking Dog Some workers came to chop down a tree that was getting too big. In the garden next...

Compliance / Non-Compliance

23 07 2015 — 09 08 2015
(left) Konrad Lueg, Set, 1975, from the edition “Saltoarte”, table cloth, 34,2 x 28,2 cm. (right, up) unkown artist, untitled, approx. 1990s, Polaroid, 10,5 9 cm. (left) unkown artist, night scene in Los Angeles riot area, 1965, silver gelatin print, 20 x 25,5 cm.Installation view, Compliance/Non-Compliance, MÉLANGE, 2015.Felix Gonzales Torres, Untitled (Death by Gun), 1990, black and white print, unlimited edition, 115 x 85 cm(Detail) Felix Gonzales Torres, Untitled (Death by Gun), 1990, black and white print, unlimited edition, 115 x 85 cmAude Pariset, Snatcher, 2013, studio trash, rice paper, umbrella, height 72 cm. Aude Pariset, Snatcher, 2013, studio trash, rice paper, umbrella, height 72 cm. (left) Matias Faldbakken, Serox-Scan, No02, 2008, black and white copy, dim. variable (right) Anne Sofie Bird Møller, Ohne Titel, 2008 magazine page, glue, oil paint on wood, 28 x 21 cm.McGraw, Floyed Diamond, Killer of nine y. old Kethleen M´Laughling, 1955, silver-gelatin print, acrylic paint, marker, 25 x 21 cm.
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Compliance / Non-Compliance A presentation of works and editions From a private Collection Thoughts on collecting Archiv der Spurensicherung Subjektivierung **** Vollständigkeit Bewusstsein **** Leitgedanke Obsession **** emotionale Aufladung KRITERIEN EINER SAMMLUNG? Ästhetik vs. Nutzbarkeit **** Sammeln und Ansammlung Bürgerliche Sammlung = Privatgelehrte Privates vs museales Sammeln Sammlung als Transformationsdispositiv Verfügung von Macht **** Ort der Kunstgeschichtsschreibung Nachträglichkeit **** Sichtbarkeit...

Papa John’s Project presents

Das Wetter

26 06 2015 — 05 07 2015
Das Wetter, installation view, MÉLANGE, 2015.Katherine Aungier, Leah Dixon, Hugo Montoya, Siebren Versteeg, video installation, MÉLANGE.Tara Long, 1/2 witch, 2015, performance via video-chat, MÉLANGE.Marcos Schmitt Legacy, Tail 2 Tail, 2015, Performance at MÉLANGE. Photo: Hugo MontoyaMisale Soto, Untitled (Stechpalme or Holly Tree), 2015, performance with holly tree, MÉLANGE.
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with perfomances and works by:  Tara Long Siebren Versteeg Marcos Schmitt Legacy Misael Soto Anne-Louise Hoffmann Leah Dixon Katherine Aungier DROOIDSZ5   I‘ve never really written so i guess, there is no better time than now … when i was young, i never thought i had a voice or an opinion that needed to be...

Jessica Gispert

Heartspace (Stitting still within, sitting still without)

19 05 2015 — 21 06 2015
Jessica Gispert, Heartspace (sitting still within, sitting still without), installation view, MÉLANGE 2015Jessica Gispert, Guchi & Muchi, 2015, each digital print, plaster, acrylic, brass rod, 24,5 x 59 x 25 and 62 x 24,5 x 21 cmJessica Gispert, Bonnie Nettles never made it, 2015, mesh tank tops, epoxy resin, brass rod, 105 x 18 x 11 cm.Jessica Gispert, Bonnie Nettles never made it (detail), 2015, mesh tank tops, epoxy resin, brass rod, 105 x 18 x 11 cm.Jessica Gipert, Heaven´s Gate, 2015, black velvet petunias, LED grow lamps, epsom salt, inflatable pool, 96,5 x 229 x 229 cm. Jessica Gipert, Heaven´s Gate, 2015, black velvet petunias, LED grow lamps, epsom salt, inflatable pool, 96,5 x 229 x 229 cm. Jessica Gipert, Heaven´s Gate, 2015, black velvet petunias, LED grow lamps, epsom salt, inflatable pool, 96,5 x 229 x 229 cm. Jessica Gispert, Heartspace (sitting still within, sitting still without), installation view, MÉLANGE 2015Jessica Gispert, Heartspace (sitting still within, sitting still without), installation view, MÉLANGE 2015Jessica Gispert, Heartspace (sitting still within, sitting still without), installation view, MÉLANGE 2015Jessica Gispert, Heartspace (sitting still within, sitting still without), installation view, MÉLANGE 2015Jessica Gispert, Heartspace (sitting still within, sitting still without), installation view, MÉLANGE 2015
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Karma climbed into the California Sierra Mountains to find a babbling brook and mixed it together with stretch strong neon. Spending the day by the ocean, the endless rhythm of the waves, washing through your being, cleansing and balancing your energy. Dancing with the water are the pure tones, a partially draped woman, raising her...

Silke Albrecht

Im Schatten des Kilimanjaro

02 04 2015 — 30 04 2015
Silke Albrecht, installation view, MÉLANGE, Köln 2015Silke Albrecht, installation view, MÉLANGE, Köln 2015Silke Albrecht, installation view, MÉLANGE, Köln 2015Silke Albrecht, Ohne Titel (2015), lacquer, spray paint, paper on canvas, MÉLANGE, Köln 2015Silke Albrecht, installation view, MÉLANGE, Köln 2015Silke Albrecht, Aber was ist mit Afrika? (2015), lacquer, spray paint, paper on canvas, MÉLANGE, Köln 2015Silke Albrecht, installation view, MÉLANGE, Köln 2015
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Silke Albrecht (*1986 in Soest, lives and works in Düsseldorf) is delighted to present some of her latest works at the opening exhibition of MÉLANGE. Our understanding of the ‘foreign’ constantly defines itself in comparison to the world which surrounds us and is itself a product of our own cosmos. Therefore, the perception of the ‘foreign’ is...