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23 Years Galerie Peter Herrmann |
updated January 22, 2012 |
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Focus 11. Off project parallely to Art Basel |
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Focus 10 - Basel. 2010. off-Project to Art Basel |
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Kunstmagazin Article by Peter Herrmann | Fotos Ransome Stanley and George Osodi |
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27 Bronzes from the Paul Garn Collection |
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Exhibition opening on Sunday, November 20th from 3:00 PM to 7:00 PM with a lecture from Peter Herrmann at 5:00 PM.
The exhibition will run until February 11, 2012.
For the first time, all 27 bronzes from the Paul Garn collection will be shown as a complete exhibition.
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The discovery of an old collection is a huge stroke of luck for a gallerist because the pieces with the highest value on the marketplace and in the academic discourse are those with provenance.
In 2007, we were offered works from a Dresden collection. After probing some of the bronzes and preparing expert thermoluminescence reports, we conducted further research and discovered two additional lineages of the descendants of Paul Garn. After long negotiation, we succeeded in acquiring the majority of their bronzes. The gallery now presents a selection of 27 pieces, all of which have something special about them and some of which could even be described as unparalleled. Some pose riddles; others are classics comparable to those shown in museums around the world.
Amongst them, a Marka mask that may very well be the oldest of its kind ever found; an Ife head whose quality can be matched only by those in the National Museum in Lagos or the British Museum in London; a one-of-a-kind mask from eastern Nigeria; and a figure that looks like Nok but comes from Mali that may very well be a stylistic bridge – of which we have documented so few in Africa.
For the fourth time in five years, we are addressing the topic of cast metals in an exhibition. Like almost nothing else, age determinations based on physical testing methods provide us with important reference points for establishing timelines in African history. What few Europeans realize is that it is now almost exclusively art that can provide us with reliable clues about African history. Sadly, the idea introduced by Friedrich Hegel that the African continent is historyless still thrives wrongly interpreted in the minds of most Europeans. Due partly to the break from an oral tradition towards a Western-style academic transmission of history, many Africans suffer from this external perception of a supposed lack of cultural past. |
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It was Peter Hermann who first performed a dating of Cameroonian bronzes in the 1990s. Back then, the entire global literature on Cameroon contained no age specifications. Today, it’s widely accepted that bronze casting arrived in the Grasfields some 300 hundred years ago in the course of a mass migration, a fact from which important art historical conclusions have been drawn.
The bronze culture of southern Nigeria is even more complex because it extends back at least to the seventh century. Here, too, the gallery established standards. Unusually for a gallery, we financed art historical research that took Nigerian viewpoints into account and found a way to communicate our findings that had broad public appeal. Encouraged by countless correspondences with scholars and collectors, we began to date pieces as older than they were being dated elsewhere in Europe and North America. Today, in 2011, the African theses espoused by Peter Hermann have been widely accepted.
By means of an exportation for exhibition in the United States and a re-importation to Germany, we helped establish legal security for the trade. We devoted our energies to Nigerian reclamation and were, to that end, in close contact with Nigerian scholars. After years of addressing these and similar issues, we are now considered one of the preeminent galleries with a focus on art history and a commitment to in-depth examination of African art.
We’ve also focused our energies, if slightly less exhaustively, on Mali, whose wooden sculptures, architecture and terracotta excavations are better known to the public than the bronzes. Our collection spans the region with a mixed selection of pieces, including a well-known group of small riders. A 300-year-old casket lid, designed like the miniature of a granary door, is an enigma. |
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The bronzes of the Paul Garn collection were traded in Europe in the early 20th century, well before the conflict over copies and originals of imported objects darkened the mood of collectors and researches. Paul Garn was a vintner who travelled widely throughout France in the 1920s and, from what his descendants know, bought many items in the southern part of the country.
If our last exhibitions were marked by bold theories and the presentation of contested pieces that left much room for controversy, then this exhibition boasts a certain measure of calm. In order to enjoy that calm, we’re showing and publishing exclusively those works from the former Garn Collection. The pieces speak for themselves – for a century-old collecting tradition, for the long history of sub-Saharan Africa and its most impressive cultural output.
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55 Set's including four from seven notes in a noumbered Couvert. Until 31.12.2011 each 300,- Euro
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Exampel: Nr. PH8 |
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With a series of printed Afro-notes on canvas El Hadji Mansour Ciss dit Kanakassy won 2008 the 1. Price of the Dakar-Biennale. |
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Afro. Hommage à Patrice Lumumba, 1/5
2010. 120 x 80 cm. Digitalprint on canvas
€ 3.000,-
As a note € 50,- |
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Photos of the new gallery space >> |
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Kota, Gabon
Privat collection, Leipzig
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Fang, Gabon
Privat collection France
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Sunday Jack Akpan - Nigerian chief
1986, painted cement. 180 x 168 x 67 cm
Shown at:
Magiciens de la terre, 1989
ifa (Institut for Foreign Cultural Affairs), 1988, Stuttgart.
Edited at:
Kunstforum 122 Afrika-iwalewa. 1993. pp 326-240
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Bust of a Nigerian Chief
1986. Painted concret. 106 x 110 x 70 cm
Shown at
the pavillion of Vatikan, Expo 2000, Hannover. With:
John Ahearn, Katsura Funakoshi and Stephan Balkenhol. |
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Berry Bickle |Suite Europa |
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Exhibition Opening: Sunday October 9th, 2011
Until November 13th, 2011. |
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We will show two photographic series, Suite Europa and Dual Narratives, along with two films, Ze… and On the Wire.
In honor of Berry Bickle’s inclusion in the Zimbabwe Pavilion at the Venice Biennale, we will offer a more pointed presentation of her work. |
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| More >> Our site of the artist |
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Aboudramane - Best of 15 years |
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Opening: Saturday July 23, 2011
7 pm
Music:
Souleymane Touré and Aly Keïta
Catering:
Ebe Ano
Exhibition: Juil 24, - Oct. 1, 2011 |
For 17 years now, the gallery has been working closely with Paris-based artist Aboudramane. After showing his work in many group exhibitions, we are now pleased to present his third solo show, which bears several markings of a full-blown retrospective. |
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Aboudramane’s career as an professional artist began in 1990 with a series of architectural maquettes in whose high-quality craftsmanship could be seen the traces of the artist’s carpentry training. In these and later pieces, Aboudramane blends fragments of local West African architecture with western styles and endows the mixture with highly personalized content. Formally, he plays with double meanings, includes puns in his titles and, using appliqué objects from a traditional West African context, evokes the world of healers.
These juxtapositions made Aboudramane a highly sought-after artist when it came to curating the content of architecture and secured him a show at New York’s Museum of African Art in the early 1990s. Even more integral to his growing recognition was the way in which the content of his works fit so nicely into the discourse on Africa’s triple heritage, which he expanded like no other visual artist.
Twenty years ago, this discourse about how Africa would develop and how the continent would overcome the difficult balancing act between Islam, Christianity and animism – as the old sub-Saharan traditions were then called – was very current. Aboudramane’s work explored those questions subtly, bitingly and humorously.
Influenced by his family heritage, the master combined forms and icons from his African background with those from his European present. Aboudramane’s family originally came from Muslim Mali; the artist himself was raised in Christian-dominated Abidjan; and his thinking was heavily influenced by his grandfather, a traditional healer. |
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Aboudramane was one of the few artists present in Germany during the first surge of interest in African artists in 1995, and he was included in virtually every publication released at the time. As one of the first African artists to show at an international fair, he was represented at Art Cologne by Galerie Dany Keller. He quickly gained fame in Belgium, the Netherlands, Spain, France and the United States, and his works were sold to important collections.
Like many artists from African countries, he gained his fame and success in Europe and the United States, not Africa. All the more gratifying for Aboudramane, then, to be featured in the 1995 Around and Around exhibition curated by Achim Kubinski and Peter Herrmann in cooperation with DoualArt and thereby have his work shown in Cameroon, at one of four stations spread across. Today, it’s hard to imagine that he was one of the African artists – together with Chéri Samba and Sokari Douglas Camp – whose well-known name pulled completely unknown talents like Pascale Marthine Tayou and Owusu-Ankomah into the limelight they currently occupy. |
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In the 1990s, the largest exhibition in Germany featuring artists from Africa was the 7th Triennial of Small Sculptures Europa-Afrika in Stuttgart; Aboudramane was one of 40 African artists selected to show in the exhibition. Almost all the artists included – 25 of whom were chosen on Peter Herrmann’s suggestion – now have an international presence.
Twelve museums and ten galleries came together around the topic of non-European art and set an important benchmark with their Multiple Echo concept Vielfaches Echo. Along with an impressive number of museum exhibitions, Aboudramane was also included in Galerie Ochs Berlin/Beijing’s Rest of the World Der Rest der Welt exhibition alongside a world-class selection of artists.
The current exhibition at Galerie Herrmann will feature architectural sculptures and steles. The surfaces will be especially interesting to those who notice and love sophisticated details, adorned as they are with everything the city and nature has to offer: eggs, bones, shells, grass, horns, soil. Tennis racquets, beads and fencing masks. There’s no material Aboudramane won’t use – leather, clay, acrylic, feathers, metal sheets, rubber, textiles, glass and fur. Materials and meanings open up layer by layer. The depth is nearly impenetrable.
Peter Herrmann. July 2011
Translation: Jenna Krumminga
Documentation | Biography | recent price list as pdf |
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Ayana V. Jackson - Leapfrog-The Grand Matron Series |
In the Vestibule |
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Accrochage:
Juil 24, - October 1, 2011 |
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Our cooperation with African American artist Ayana V. Jackson began in 2005, when Jackson spent some time in Berlin studying with Katharina Sieverding at the University of the Arts. That year, we included her photographic research on hip-hop, Full Circle Series 1, in our Visualized Rhythms – Music in African Visual Art exhibition. Since her 2008 solo show, Looking Glass Self, she’s become a well-known fixture in the gallery program. Since that first show, we’ve shown Jackson’s work in various group exhibitions, most recently at Focus 11 in Basel.
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The African American artist, who currently lives in Johannesburg, plunged into the world of African art and artists while conducting sociological photographic research. But at the latest since participating in the Photography Biennial in Bamako, she’s become an integral element of the new continental caravan. If at the beginning Jackson’s work still retained a distinctly documentary character, it has evolved steadily since the Black Madonna series as the artist moves more and more towards photographic staging – as, for example, in the new Leapfrog series that we’re now exhibiting.
The work consists of a series of photographs along with a video, which we will present to you in our upcoming Video Weeks. The photographs trace, in ten stages, the evolution story of the African woman since pre-colonial times and jump chronologically from one generation to the next. Inspired by the self-portraits of Claude Cahun and Samuel Fosso, Jackson uses herself as the model, who carries within her a little piece of all the time periods represented in the work – "a bit of the other." The artist portrays archetypes in the pictures, beginning in a traditional African context then moving more and more towards the diaspora and landing, eventually, in the globalized modern era. Dressed in the fashions of the respective epochs, she presents herself in colonial times and in the Enlightenment, as part of the abolitionist movement, the African independence movement, the civil rights movement and the Harlem Renaissance, arriving, at last, at the post-black and afrofuturist present. Taken together, the images constitute the Grand Matron Army, which represents the principle of memory. |
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The leapfrog arrangement references several mythologies, particularly those related to fertility, while also fcuntioning metaphorically. The kinetic aspect of the stance – i.e. the impending jump – calls to mind a mother’s commitment to seeing beyond barriers in an effort to seek opportunities for the next generation. At the same time, the position brings sexuality into the matter and asks the viewer to question the role of desire and objectification in class mobility.
The work was produced in consideration of the scholarship of Paul Gilroy and Stuart Hall and inspired by photographers Katherina Sieverding, Samuel Fosso and Claude Cahun. Production was made possible with the help of Natacha Bernette (makeup artist), Tamara Faniot (stylist), Sarah Bernstien (photographer), Andreas Vlachakis (photographer), David Tlale (designer) and Feisel D (makeup artist and stylist). The video was produced in collaboration with the artist Pascale Obolo.
Peter Herrmann. Juli 2011
translated by Jenna Krumminga |
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pdf recent price list |
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| Pohl Position - September
24
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translation soon |
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Am 24. September von 14 bis 22 Uhr präsentieren sich Kunstschaffende und Galerien mit ihrer Arbeit auf der Pohlstraße in Berlin-Tiergarten, die dafür auf halber Länge einen Tag für den Verkehr
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gesperrt wird. Als Besucher angesprochen sind Kunstinteressierte der Stadt und Anwohner im Kiez.
In den letzten Jahren entwickelte sich das Quartier Tiergarten-Süd zu einem angesagten Standort für Galerien und ist seit langem ein beliebter Schaffensplatz für Künstler. Um die traditionell nach außerhalb Berlins orientierte Präsentationsarbeit der Kunstvermittler zu ergänzen, möchte sich die neu strukturierte Szene einem lokalen Publikum zeigen.
Die anliegende Gastronomie ist in die Konzeption eingebunden um die Zielgruppe der Kunstinteressierten in lockerer Atmosphäre zu versorgen. Entlang der Straße, in Räumen, Balkonen und hinter Schaufenstern ist Kunst gestellt, gehängt und projiziert. |
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in den Galerieräumen aus aktuellem Grund bis zum 1. Oktober verlängerten, ist aus Paris angereist und realisiert die Arbeit "Dis-moi tout" (Sag mir alles). Stühle auf- und übereinander werden auf der Höhe der Pohlstraße 81 zu einer Skulptur gebaut.
Manuela Warstat plottet große Abzüge ihrer Arbeit "Kurfürstenstraße". Die Künstlerin, die auch afrikanische Wurzeln hat, lebt in der Pohlstraße und forschte auf den Spuren von Walter Benjamin, der lange in der Kurfürstenstraße 23 lebte. Wir freuen uns auf den lokalen Bezug. Zu sehen sind die Arbeiten in den Schaufenstern des Kindergartens an der Ecke Pohl/Kluckstraße.
Ebenfalls an dieser Ecke projiziert Armin Engel, vielen in Berlin bekannt durch seiner Arbeit mit Musikern aus Afrika, eine Dia-Schau mit Adinkra-Symbolen, unterbrochen von Goddy Leye's vierminütigem Video "We are the World" auf die Wand des Möbelhauses Hübner. Die Geräte kommen von Emmanuel Boatey, Chef von AV-Optics. Diese Vorführung beginnt mit einbrechender Dunkelheit etwa 19.30 Uhr und endet etwa 22 Uhr.
Tiergarten hat mit den größten Anteil ausländischer Mitbewohner in Berlin, ist Diplomatenviertel und auch der Anteil afrikastämmiger Mitbewohner ist, was wenige wissen, sehr hoch. Um 1900 waren in der Gegend der Potsdamer Straße die Kolonialadministrationen angesiedelt, was den Standort für zureisende Afrikanerinnen und Afrikaner damals interessant machte. Auch heute konzentrieren sich sich afrikabezogene Gruppen und Initiativen. An der Pohl-Position beteiligt sind Listros, African Painters und das Restaurant Ebe Ano. Vor der Hausnummer 11 werden Sie eine große Skulptur von David Dibiah sehen.
Damit ist Afrika mit einem schönen Anteil, der dem Kiez entspricht, in der Aktion integriert. Neben berühmten Berliner Namen wie Alexander Camaro, Susanne Riée, Hans Scheib oder Peter Foeller ist es eine ehrenvolle Platzierung. Lokal-Global eben.
Alle 52 Künstler, Galerien, Text und Lagepläne >> mehr
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The gallery’s path has led from the legendary Amiga Studios on Brunnenstraße, where we just turned off the lights, to the former artists academy and current Camaro Foundation at Potsdamer Straße 98A – a gorgeous building, also close to a park, located behind two passageways next to the legendary Wintergarten Varieté. |
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The Association of Berlin Female Artists (VdBK) was founded in 1867 as the Association of Artists and Art Lovers of Berlin. In 1893, together with the women’s project Victoria-Lyceum, it moved to the brick building in the courtyard of Potsdamer Straße 98, which was number 39/39a back then. Paula Modersohn-Becker and Käthe Kollwitz were amongst the many women who studied and taught at this academy for female artists. |
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Since the move in 1910, the building has had an eventful history. Many Berliners still remember the GdK, or Gallery of Arts, which operated in these spaces for many years before we arrived.
We’ve loosely set May 7th as the opening date for the new premises, which will be elaborately reconstructed between now and then. The gallery program will resume on 250 square meters of exhibition space, 80 square meters of administration space and 70 square meters of storage space.
The rooms are laid out very well and lend themselves readily to small events. The ambience around the gallery is wonderful and seems – with its round little bushes, fountains and marble grace – almost Italian. |
Foto von Dieter Bühler
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Ancient African art will be presented in an even larger area than previously – a 60-square-metre gallery used exclusively for that. Thematic exhibitions of contemporary art in the ground-level main hall will remain the primary attraction for the public and therefore receive spatial priority with a total of 190 square meters. For the first time, we will have a separate room for video presentations…
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>> See the overview of the exhibition >>
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Photo: Friederike Schinagl
Dr. Uschi Eid and Peter Herrmann. A toast. |
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Opening, June 14, 7.30 pm
Off-Projekt, parallely to Art-Basel. From June 15. - 19, 2011
Rheingasse 33
4058 Basel |
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doual'art
Galerie Peter Herrmann
Galerie Imane Farès
Strip of Gaza |
Marilyn Douala Bell and Didier Schaub
Aboudramane und Ayana V. Jackson
Nermine Hammam
Lemi Ghariokwu
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Nirveda Alleck
Steve Bandoma
Jan-Henri Booyens
Ntando Cele
Ato Malinda
Nathalie Mba Bikoro
Mohau Modisakeng
Rowan Pybus
Youssef Tabti
Fabrice Temagna Wamba
Graeme Williams |
Curator Christine Eyene
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Symposium |
Claudia Marion Stemberger and Adelaide Bannerman |
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Group exhibition Best Of | Accrochage
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Ife - memorial Head
TL+- 580 Years. Collection Paul Garn, Dresden. Acquired 1920's
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Photo: Audrey Peraldi
21.10.2010. Former German President Dr. Horst Köhler and his wife Madam Eva Luise Köhler were visiting the current exhibition |
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Gallery, downstairs showroom
Osodi, Kojo Schrade, Pende-Mask ex-Picasso ex-Kochno coll. |
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Asen
Fon, Rep. Benin. Iron.
€ 480,-
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We are glad to announce 28 Bronzeobjects from Paul Garn Collection, Dresden. All sculptures are from Nigeria and Mali and has been bought from the collector in the 1920's in France.
new aquisitions. prices on request: |
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Bieri | Fang |
Ngil | Fang |
Bieri | Fang |
| World largest Balaphon for sale |
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...This diatonic balaphone has 29 slats made of palisander. Calebasses serve as soundboxes, all elements are tied togehter with cowhide cords. In order to produce a sound that sends out soft metallic vibrations, membranes of a smoothed out spider´s nest have been attached to the inside of the soundboxes. Four sticks with natural caoutchouc for playing the instrument.
The balaphone is 3 metres in length and up to 1.35 metres in width. Built for professional purposes, it is, to our knowledge, one of the largest instrument of its kind. During four months, Aly Keïta has traveled to three countries to find calebasses of the size needed.... more >> |
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During the inauguration ceremony German Africa Award of German Africa Foundation 2010 to Dr. Mohamed Ibn Chambas at 6.10.2010 the Gallery managed the entertainment part:
Sinka Abdoul Aziz, Burkina Faso - Ngoni.
Souleymane Touré, Elfenbeinküste - Percussion
Cremildo de Caifaz, Mosambik – Gitarre |
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Prof. Dr. Karl-Heinz Hornhues. President of German Africa Foundation
Prof. Dr. Hans Heinrich Driftmann. President of DIHK
Dr. Dr. Volkmar Köhler. ex-MoP. Chairman of DAP-Jury
Dr. Guido Westerwelle. MdB. Minister of Foreign Affairs
Dr. Mohamed Ibn Chambas. Secretary-General of the African, Carribean and Pacific (ACP) Group of States, - Ghanaian politician and president of the Comission of the Economic Community of West African States (ECOWAS) more about |
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Souleymane Touré and Prof. Dr. Karl-Heinz Hornhues |
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Amassador of Mozambique S.E. Herr Carlos Dos Santos and Musicians
Dr. Mohamed Ibn Chambas and Guido Westerwelle |
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Souleymane Touré, Dr. Uschi Eid, Peter Herrmann
Sinka Abdoul Aziz, Dr. Mohamed Ibn Chambas, Souleymane Touré, Cremildo de Caifaz |
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| SWR 2 - Culture | Broadcast |
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Wednesday, 9.06.2010 | 5.05 pm | Streamdownload
Post-Kolonialwaren –
Welches Afrikabild vermittelt Kunst aus Afrika? |
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Discussion:
Dr. Clementine Deliss, Direktorin Museum der Weltkulturen, Frankfurt am Main
Dr. Stefan Eisenhofer, Ethnologe und Historiker, Leiter der Afrika-Abteilung im Völkerkundemuseum München
Peter Herrmann, Galerist für Kunst aus Afrika, Berlin
Moderation: Dietrich Brants
"Von einem Afrikaner erwartet man, dass er Masken macht. Ich liefere Masken". Erklärt der Documenta-Teilnehmer Romuald Hazoumé aus der Republik Benin – und produziert bewusst Recycling-Kunst: "Die Europäer schicken uns ihren Müll. Ich verwandle Müll in Kunst und schicke ihn zurück". Ist das die Quersumme aller Afrika-Klischees: Masken aus Müll bzw. aus alten Benzin-Kanistern? Welche Themen bearbeiten Künstler afrikanischer Herkunft – Skandalthemen wie Kinder-Soldaten, Bürgerkriegs-Barbarei, Frauen-Beschneidung, Aids, Korruption? Und wenn sie nicht in der europäischen Diaspora leben und nicht für den internationalen Kunstmarkt arbeiten? Soll Kunst aus Afrika vor allem ursprünglich und authentisch sein, irgendwie traditionell und möglichst von Autodidakten hergestellt? Wie werden die Klischees des Kolonialismus reproduziert? Wie arbeiten Künstler dagegen an? Und wo soll man ihre Werke zeigen – im Völkerkundemuseum?
Site of SWR 2 | Download (german) - Our Site with the discussion as a stream |
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The Tribal Eye - The Kingdom Of Bronze - Benin at Docuwat |
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Artists and Crew. DoualArt 1995 |
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Radio Feature at ORF (Austrian Broadcast) by Anna Souček about the Biennale Dakar - DakArt. part by Peter Herrmann (german) |
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Zeit-Online - June 2010 - Interview with Bill Kouélany
Zeit-Online - June 2010 - Text and Video The Rituals of Soccer by Goddy Leye |
| Articles by Peter Herrmann |
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Afrika Post
Contemporary Art from Africa in Germany with an Artikel by Peter Herrmann a book review by Dorina Hecht about Global Icons by Lydia Haustein.
More articels by Christian Hanussek about Cameroon, Verena Rodatus about Dakar, Yvette Mutumba about Germany, Dorina Hecht und Sophi Eliot made an Interview with Manuela Sambo, Wolfgang Bender desrcibes Chéri Samba and Peter Herrmann explaines the market in Germany. Pictures by Ransome Stanley, Daniel Kojo Schrade, Achillekà Komguem, Joseph Sumegne and many more. (Texts) - Focus contemporary art from Africa till page 29 as pdf. 3,3 MB |
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Kunstmagazin with Photos by Ransome Stanley and George Osodi
Art from Africa in Germany
Text: Peter Herrmann / Translation: translated by: Brian Poole
In the 90s of the last century the magazine “Capital” published a comprehensive study of the international art market, dividing the market up into segments. How astonishing that, over the last one hundred years, the complicated market of old art from Africa has had the most stable price structure....
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Over the course of our 18 years of gallery work, it has been very difficult to present African art in a satisfactory manner in Germany. Time and time again, in both reviews and the public esteem, we have been pushed into to an ethnographic corner where African art exists only as exotic artefact. In the past years, Peter Herrmann has begun more and more vehemently to express that art from Africa, whether old or new, must be removed from the realm of Ethnology and anchored instead in the realm of Art History. A parliamentary expert discussion on the topic was held in October of last year, the result being that this notion is now a leitmotif of both the art market and national cultural and educational policy. Working with representatives from the Office of the Federal President, Horst Köhler - who see cultural work with Africa as an important pillar of their politics - Peter Hermann has already been able to lead several discussions concerning this matter. In addition, a series of articles on the topic appeared at the end of 2007 in the Afrikapost, the magazine of the Africa Foundation. (German.)
In it, Mr. Christian Hanussek writes from the perspective of art theorists and artists, Ms. Dorina Hecht discusses the relationship between African art and Art History from the perspective of an art historian, Mr. Klaus Paysan speaks for the collectors, Mr. Stefan Eisenhofer writes from the view of ethnologists, and Peter Hermann writes as a curator and gallerist about the gateway to business . Three articles appeared in the September 2007 issue of Afrikapost and two further articles from Eisenhofer and Hermann in the December issue. To the foreword by Mr. Hess and a presentation of the authors.
The subject matter is exciting. The articles illuminate the most diverse aspects of the discourse on and realities of African art and provide specific references that could strongly influence cultural and educational policy over the next years. The first visible result of the increasingly dynamic discourse is the creation of two new positions at the Free University of Berlin: Professor and Assistant Professor for African Art History. The positions have already been announced together with two additional associate lecturer positions.
Participants in a panel of experts held on 24 September 2007 at the Paul Löbe House of the German Bundestag spoke about the ongoing tension between Art History and Ethnology:
- organized by Peter Herrmann and in collaboration with Dr. Uschi Eid (Member of German Parliament, Afrika Stiftung, IFA, etc). Speakers in the Paul-Löbe-Haus des Deutschen Bundestags, September 24, 2007 (german):
Alex Moussa Sawadogo (Art historian, Burkina Faso/Berlin)
Felix Kama (Performance artist and writer, Kamerun/Stuttgart)
Manuela Sambo (Artist, Angola/Berlin)
Christian Hanussek (Artist und Projectmanager, Berlin)
Dr. Peter Junge (Museum of Mankind Berlin-Dahlem, Bereich Afrika)
Dr. Stefan Eisenhofer (Staatliches Museum of Mankind Munich, Africa)
Dorina Hecht (Art historian, Berlin)
Dr. Britta Schmitz (Curator of the Nationalgalerie at Hamburger Bahnhof)
Prof. Lydia Haustein (Art historian, Berlin)
Peter Herrmann (Gallery Director and Curator, Berlin)
Dr. Uschi Eid, MP (German Parliament, Institute for Foreign Affairs, Afrika-Stiftung, etc.)
Britta Müller (Scientific Assistant to Dr. Uschi Eid) |
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Perspectives of contemporary art from Africa in Berlin
June 15, 2009 at German Parliament, Reichstag.
4. expert talk. Invitation by Dr. Uschi Eid, member of parliament |
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Foto: Maria Kind
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Dr Barbara Barsch. Director of Institute for Foreign Cultural Relations.
Peter Herrmann. Galerie Peter Herrmann.
Prof. Dr. Dietrich Wildung. Director of Egyptian Museum and Papyrus Collection.
Dr. Uschi Eid. Speaker of parliament for foreign cultural affairs.
Koffi Kan Ignace Kra. Toucouleur e.V./Africamera.
David Shanko, Listros e.V.
Ursula Trüper. Magazine "Afrikanisches Viertel".
Barbara Schirpke. Afroport |
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Artists with whom we did work and artists cooperating with us currently in the ranking of artfacts.net. The smaller the number, the more well-know the artist. Most of them are positioned through the gallery work. Minus (-)stands for a sinking trend and plus (+) for an upwards trend. |
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Artists |
3.9.2007 |
10.12.2007 |
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16.5.2009 |
30.1.2010 |
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731 – |
695 - |
531 – |
498 + |
551 ± |
| |
|
1765 + |
1589 + |
1441 – |
1534 - |
1337 + |
| |
|
1919 – |
1482 - |
1354 – |
1507 - |
1414 – |
| |
|
3120 + |
2804 + |
1966 – |
1801 + |
1727 + |
| |
|
4184 – |
5204 - |
3291 – |
3957 - |
4528 – |
| |
|
4397 + |
3631 - |
4257 – |
2583 + |
2577 – |
| |
Otobong Nkanga |
4561 – |
4482 - |
2920 – |
3116 - |
3373 + |
| |
|
5942 + |
6880 - |
4537 – |
4915 - |
5471 – |
| |
Jürgen Schadeberg |
6178 – |
6832 - |
7086 + |
7359 - |
7618 – |
| |
Moke |
8368 – |
9595 - |
9645 – |
10371 - |
11593 – |
| |
|
9946 – |
14076 - |
17313 – |
17920 - |
15511 – |
| |
|
9784 – |
13105 - |
16869 – |
14251 - |
13324 – |
| |
|
10356 – |
13192 - |
11905 – |
10779 - |
9020 – |
| |
|
11262 - |
16916 - |
22276 – |
19383 - |
21123 – |
| |
Senam Okudzeto |
11547 – |
9746 - |
12665 – |
13256 - |
12869 – |
| |
|
13811 + |
15988 + |
20357 – |
19158 - |
20184 – |
| |
Ralf Schmerberg |
14552 – |
22138 - |
31233 – |
29900 - |
33197 – |
| |
|
18035 – |
29859 - |
42763 + |
32467 - |
35533 – |
| |
|
19073 – |
30907 - |
52061 – |
48503 - |
32774 – |
| |
Marie Pittroff |
20097 – |
32724 - |
55645 – |
38561 + |
41368 – |
| |
Manuela Sambo |
24643 – |
38010 - |
74529 – |
53484 - |
55218 – |
| |
|
24681 – |
38308 - |
- |
51454 - |
53875 – |
| |
|
27068 – |
40237 - |
- |
54809 - |
54730 – |
| |
|
- |
- |
48306 + |
22501 + |
24766 – |
| |
|
- |
- |
|
45158 - |
48147 – |
| |
|
- |
- |
5307 – |
5897 - |
6495 + |
| |
Lawson Oyekan |
- |
- |
|
57368 - |
56237 – |
| |
Klaus Schnocks-Meusen |
- |
- |
- |
44756 - |
47637 – |
| |
Nzante Spee |
- |
- |
- |
54822 - |
57055 – |
| |
|
no ranking |
27840 + |
28295 + |
26052 - |
26863 – |
| |
Ransome Stanley |
|
|
|
16067 + |
17300 – |
| |
Daniel Kojo Schrade |
|
|
|
36619 - |
30294 – |
|
Amouzou Glikpa |
|
|
|
56283 - |
58003 – |
| George Osodi |
|
|
|
17759 + |
12902 + |
| Goddy Leye |
- |
19843 - |
7097 – |
7475 - |
8059 – |
| Pierre Granoux |
|
|
|
|
24385 + |
|
|
|
Focus10 - Basel. 16.6.- 20.6.2010. Off-Project to Art Basel - Opening June 15 at 8 pm
|
FEATURING Galerie Peter Herrmann (D):
Dalila Dalleas (Alg/D)-
Amouzou Glikpa (Togo/D) -
Bill Kouélany (RC) -
Goddy Leye (Cam) -
George Osodi (Nig/UK) -
Chéri Samba (RDC) -
Ransome Stanley (D)
|
| |
Curated Show
Curators: Christine Eyene (UK) - Lerato Bereng (ZA) Creativ African Network
Steve Bandoma (DRC/ZA) -
Faith47 and Rowan Phybus(ZA) -
Justin Fiske (ZA) -
Ricky Lee Gordon (ZA) -
Bers Grandsinge (DRC/B) -
Ibrahim el Hadad (ET/CH) -
Victor Mukelekesha (Z/N) -
Samuel Olou (RT/N) -
Cameron Platter (ZA) -
Frauke Stegmann (ZA) -
thanksthanksafrica (CDN) - Christian Tundula (DRC/B) -
Breeze Yoko (ZA) |
| |
|
Artists of the Gallery | Trilogie | Water - Air - Food
Food
5.6. - 17.7.2010
|
Myriam Mihindou, Warda, Video
Goddy Leye, Video
George Osodi, Food series, Photography
Nicole Guiraud, Sculptural Objects
Dalila Dalleas, Paintings
Ayana V. Jackson, Photography
Ransome Stanley, Paintings
Aboudramane, Maquettes
Text zur Ausstellungstrilogie
more about the exhibition
Kunstmagazin. Anzeige, pdf, blank. |
| |
Artists of the Gallery Trilogy | Water -Air - Food
Air - 10.4.- 29.5.2010
Opening 9.4. - 8 pm |
|
| |
|
Dalila Dalléas - George Osodi - Daniel Kojo Schrade - Ransome Stanley - Bodo - Nicole Guiraud - Sapin - Laura Anderson Barbata
Motor FM - Radio
Galerien TV Interview, Introduction (Dummi)
|
| |
Water -Air - Food | Artists of the Gallery |
| |
Water - 6.2.- 20.3.2010
Opening 5.2. - 8 pm
Cheri Samba - Ralf Schmerberg - George Osodi - Angelika Böck - Pierre Granoux - Nicole Guiraud - etc |
|
George Osodi - Toilets |
|
