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until May 11, 2019

Galerie ART CRU Berlin and Kunstmuseum Thurgau are exhibiting 30 works by Hans Krüsi in "Hans Krüsi – From Orphan to Genius", with some works on public display for the first time.

Galerie Art Cru Berlin
Oranienburger Str. 27, 10117 Berlin, Germany

From Galerie Art CRU Berlin Press Release:

Gallerie ART CRU Berlin and Kunstmuseum Thurgau are exhibiting around 30 works by Hans Krüsi (1920-1995). They have been selected to provide a comprehensive overview of his rich output, revolving around the topic of self-discovery and self- representation. In addition to non-salable main works, several selected pieces will be put on public display for the first time.

Hans Krüsi grew up as an orphan in the canton of Appenzell, always on the margins of society. As a young man, the autodidact wanted to be a gardener and for years sold self- bound bouquets on Zurich’s Bahnhofstraße before expanding his “product range” with hisfirst works of art such as postcards, photographs and small-format drawings. The compositions – initially created on napkins, cardboard and wrapping paper – depict landscapes, animals and humans, often arranged in silhouette-like symmetry or serial repetition. First artists, then gallery owners, and finally the press became aware of the eccentric outsider artist, who suddenly found himself in the spotlight. The experimental artist was soon able to make a living from his multimedia works. He created handheld cinemas, photographed his surroundings with a Polaroid camera and reproduced his images using a photocopier, only to paint over them again. Within photography, the artist was especially interested in flaws and imperfections: photos were often over- or underexposed, blurred, distorted or cut off. He continued to modify them, carving or cutting them. His motifs were deeply influenced by the Appenzell Alpine landscape. He drew or painted ghost-like figures on basically everything he felt like. Notably, he made the streets of Zurich and St. Gallen his stage, playing the role of an unconventional salesman.

Krüsi had little outside contact, hardly any family ties and became increasingly distanced from society and its norms. Throughout his life he remained in a fragile condition due to a history of tuberculosis. A congenitally weak state of health, problematic living conditions and a poor diet led to several stays in hospitals and nursing homes. During the final years of his life, his symptoms intensified. In September 1995, the artist died in his home due to pulmonary emphysema.

until June 21, 2019

29 March - 21 June, will see Artlink Hull playing host to Conversations Series II as part of its tour. This iteration of the series delves into feelings and thoughts about the labels placed upon artists by society, and the art world more broadly. Continual conversation and a sharing of art practices have resulted in the new work that you will see in ‘Other Transmissions.’ The artists are: Joe Beedles, James Desser, Amy Ellison, Frances Heap, Andrew Johnstone and John Powell-Jones, and facilitated by James Pollitt and Jennifer Gilbert from Venture Arts.

The new works created will be exhibited at Artlink alongside iconic pieces from the Whitworth’s Musgrave Kinley Outsider Art Collection, one of the most significant public collections of Outsider Art in the UK, including work by Judith Scott and Henry Darger. Six students from the University of Salford have been documenting the residency throughout using photography, film and drawing, and their resulting works will be shown alongside the residency artist’s works at Artlink too.

Artlink Hull
87 Princes Ave, Hull, HU5 3QP, UK


until May 4, 2019

"Playing Games: Chance, Skill, and Abstraction" features George Widener’s works depicting futuristic games in conjunction with vintage game boards, works of geometric abstraction, and games of chance. 

Ricco/Maresca Gallery
529 W. 20th St, New York, NY 10011 

From Ricco/Maresca press release:

Classic games are gateways to the past. George Widener’s recent work transports us to an unfamiliar future where history is condensed into dates and numerical patterns. “Playing Games: Chance, Skill, and Abstraction” is curated around this convergence of tradition and innovation, presenting vintage American gameboards and carnival games (dating between the late 19th and the mid 20th century) in dialogue with Widener’s works depicting hyper-complex games—meant to be played by enhanced humans or intelligent machines when advanced non-biological intelligence, or “Singularity,” becomes a reality. Isolated from their initial context and purpose, the early examples of carnival games and handmade gameboards overlap with (and in many cases precede) modern art, particularly works of geometric abstraction. This exhibition highlights the inventiveness of countless anonymous artists who produced functional games that are also readymade works of art, displaying them as counterparts to Widener’s “Magic Square” and “Magic Circle” series.

Modern board games developed as a result of the Industrial Revolution and the emergence of the middle class, but they have many predecessors going back to ancient times—with dice being at the core of humanity’s oldest games. The tradition of American board games dates back to the first quarter of the 19th century, when most pieces were homemade and not subject to strict designs, save for the basic structure of the game. “Playing Games” includes examples of Parcheesi boards, identifiable through their “cross and circle” arrangement—four nests (or starting points) and a “home” center or nucleus—which varies from one case to the next in the same way that late 19th century strip quilts bend and reinterpret inherited templates. Also included are games of Checkers (or “Draughts”) and Halma; austere 8” x 8” and 16” x 16” grids of squares in alternating colors—the latter characterized by four “camps” of dotted squares clustered in the corners—as well as the star-shaped “Chinese Checkers” (invented in Germany as a variation on Halma), bean bag toss and ring toss games, and two wheels of fortune that were originally funfair attractions.

The flat architecture of geometric shapes on a non-perspectival space, the focus on form, color, and spatial relationships on all these games echo modernism’s pull toward abstraction and minimalism. The materiality of their surfaces—the scratching, peeling, craquelure, and shrinkage; the interaction between the sublayer and the pictorial layer (which can only take place in time)—is the patina of authenticity, witness of the object’s former life. Widener’s futuristic “game” works, on the other hand, thrust us to a strange new world where people and smart technologies will have extraordinary memory and calculation abilities through genetic and technical advancements: “Machines will become a new species with higher creative intelligence and humans will be enhanced with skills that seem implausible today,” explains the artist.

Even as a child, Widener would transform the numbers around him (a license plate, a house number) into dates. This evolved into an intense fascination with calendars, historical events, numerical systems, and the ebb and flow time—heightened, or perhaps caused, by Asperger’s and the innate lighting calculation, memory, and drawing skills that came with it. As part of his ambitious oeuvre, the artist has been crossbreeding calendrical dates with magic squares and other mathematical systems for more than two decades. Magic squares are grids of integers where all rows and columns add up to an identical sum. Widener used this model to create a “magic time square,” fitting dates into the square’s numbers—and making those dates add up to an identical sum instead. The next task was to create dates that not only resulted in an identical overall figure, but that revealed a common theme. Much in the same way as traditional board games, the geometric framework is purely self-referential, but in Widener’s case it can be assigned shifting meanings and values. “For example, I might fit natural disasters … and find hurricanes that not only fit the integers but also occurred on Fridays,” he says. “This idea has appeared in my past work in various ways: I created stacks, sequences, and progressions of dates using similarities and differences. The resulting ‘Magic Circles’ series allows the user to ‘program’ it; to choose a specific theme and then fit the provided days of the week with appropriate dates. When artificial intelligence occurs, these ‘crossdate’ or ‘crosstime’ puzzles will become feasible games and then hopefully they’ll be awakened.”

Games fall into two categories, those that demand strategy and skill and those that function as physical manifestations chance. At the core or this is an essential dichotomy: owning one’s own destiny or being at the mercy of forces beyond control; the blind and fickle wheel of fortune on one end and on the other Widener’s intricately detailed works, which also happen to function as “games,” or as a means of containing chaos and giving shape to that which would seem to have none.

-Alejandra Russi

March 31 – August 4, 2019

The Wilhelm Hack Museum in Ludwigshafen, the Prinzhorn Collection in Heidelberg and zeitraumexit in Mannheim, together with Galerie Alte Turnhalle in Bad Dürkheim and Museum Haus Cajeth in Heidelberg, will be illustrating the significance of plants as projections of mental states in a variety of contexts, in "Gewächse der Seele – Floral Fantasies between Symbolism and Outsider Art".

Wilhelm Hack Museum
Berliner Straße 23, 67059 Ludwigshafen am Rhein, Germany

Sean Guerrero, Royce Carlson, Juanita Hull-Carlson, and John Murphy collaborated over the past seven months to create the da Vinci Fish as a gift to the community of Bombay Beach, California. The forty-foot long sculpture is made from an aircraft fuselage, scrap steel, can lids, mosaic, and more. It is mounted on an axle so it can rotate with the wind. 



From Royce Carlson's website:

The da Vinci Fish is a collaborative work by five artists. Lead artist, Sean Guerrero (aka ChromeSean), had an idea to make a giant flying fish sculpture out of an airplane fuselage and donate the sculpture to the community of Bombay Beach on the edge of the Salton Sea in California. It is a contribution to the budding art scene that appears to be re-inventing this deteriorating community as an arts destination and bringing the environmental issues of the Salton Sea to the attention of more people. Read this article about Bombay Beach and what is going on there. Note: the article makes it sound more glamorous than it is. Still, it’s an interesting place and cool things are going on there.


In March of 2018 Sean and I were at Bombay Beach for the Bombay Beach Biennale. He had built a large sculpture of a rotting ship there out of driftwood and other detritus – The Death Ship. At one point he mentioned there was a Beechcraft King Air fuselage for sale in eastern Colorado. We mused about it a little and even asked other artists if they might be interested in buying it. No takers. About a month later Sean called and told me of his idea to get the fuselage and turn it into a giant flying fish. He asked if I would design and fabricate the fins, wings, and tail. I said “Hell YES!” It would be an honor to collaborate with him. His work is inspiring and I thought our different artistic styles would be compatible. The project was off and running.


Sean Guerrero – lead artist, modifying the fuselage and coordinating the project.
Royce Carlson – making the fins, wings, and tail.
Juanita Hull-Carlson – making mosaic panels for the sides of the fuselage.
John Murphy – making the base.
J. Cobe – web and videography skills for the promotion side of the project.

When installed it will be over 40 feet long with about a 44-foot wingspan. The top of the tail should be about 25 feet off the ground. The da Vinci Fish will be mounted 10 feet up on a vertical axle so it can move with the wind. The tail is articulated so it will move back and forth. The idea is for the da Vinci Fish to appear to be in a state of decay while also having a da Vinci’s workshop look to it. Much of the project is being fabricated in Paonia and Crested Butte, Colorado. Juanita and I are fabricating our part of it at our home near Prescott, Arizona. It will take about four trailer loads to get it all to Bombay Beach. We will begin ferrying the materials and start assembly at the beginning of March. Our plan is to have the installation completed before the Bombay Beach Biennale which will be held in the latter part of March, 2019.


We are donating the da Vinci Fish to Bombay Beach. So far all of the costs have been borne by the artists with no expectation of compensation. It has become more costly than we planned (as things like this often do!). I am guessing that we, collectively, are somewhere between $5k and $7k into it at this point and we still have to haul all this stuff out there and assemble it. We invite you to join us in bringing the DaVinci Fish to Bombay Beach by contributing to our GoFundMe campaign  Your contribution to the creation of this wonderful thing will be greatly appreciated.

The da Vinci Fish will be a permanent installation at Bombay Beach. You can go see it any time after March of this year.