DANIEL B. CORDIER (1920–2020) – NEW YORK TIMES OBITUARY

Ubu Gallery is saddened by the death of legendary French art dealer, curator and collector, Daniel Cordier, on November 20, 2020. Ubu paid tribute to Cordier, a man of courage, vision and uncompromising taste, at FIAC! 2018, presenting works by the artists he represented and/or collected, including Hans Bellmer, Marcel Duchamp, Henri Michaux and Bernard Réquichot.

The New York Times recognized the importance of this great French Resistance hero with an extensive obituary that can be read online or as a pdf here.



DANIEL B. CORDIER (1920–2020) – LE MONDE OBITUARY

A pdf file (in French) of the following obituary, which appeared in Le Monde on November 20, 2020, can also be accessed here.

Former resistance fighter Daniel Cordier, secretary of Jean Moulin during World War II, is dead
By Philippe-Jean Catinchi

One of the last two Liberation companions, who was later a recognized art dealer, died on Friday at the age of 100, according to several official sources.

Daniel Cordier, a great resistant, former secretary of Jean Moulin, died Friday, November 20 in Cannes, at the age of 100, Le Monde has learned from several official sources. He was born Bouyjou-Gauthier in Bordeaux on August 10, 1920 into a family of wealthy merchants (the Bouyjou, paternal line and the Gauthier maternal line). He was 4 when his mother divorced and 6 when she remarried to Charles Cordier (he adopted his father-in-law’s surname, which he admired “without limits” as a teenager, for reasons of “orthographic convenience”, he said during his engagement in London in 1940).

From these ancestors, he inherits an astonishing cocktail of influences: the Napoleonic cult of a grandfather, the “temptation of an aesthetic anarchy” of an American grandmother, the “spells of elegance” of his mother and “The tolerance and the pleasures of classical music” of his father, finally the passion for automobiles and political fanaticism instilled in him by his mother’s second husband. Gassed in Verdun, royalist and anti-Semite, the man had a determining influence on young Daniel. The latter founded the Cercle Charles-Maurras in Bordeaux, auctioned off L’Action Française and campaigned against the Republic that his detractors call only “the pig”.

Placed very young in a boarding school run by Dominicans, the young man discovers there both the austerity and the rigor of Catholic morality and, more intimately, the torments of a sensuality which carries him towards his fellow students. The Confessions, by Augustin of Hippo, therefore compete with the discovery of the Gray Book by Roger Martin du Gard, where the friendship between adolescents is “chaste but excessive”, and that of Gide’s L’Immoraliste. A dilemma which, in his nineties, Cordier delivered the overwhelming confession in Les Feux de Saint-Elme (Gallimard, 2014).

But the adolescent, in the political field, is not wracked by doubt. He, who was the king’s hawker at 14, has no doubts that the Popular Front has sealed the bankruptcy of France. As soon as the war breaks out, he impatiently waits to fight to save, as a patriot, the honor of France. If the debacle of May 1940, in accordance with Maurras’s dark prophecies, does not surprise him, while he awaits his order of mobilization in Bayonne, Pétain’s request for an armistice on June 17, scandalizes him. He sees it as an unbearable betrayal of the patriotic ideal. And although his idol, theoretician of integral nationalism, rallies to the marshal now in command, Cordier chooses to fight.

With about fifteen comrades, he embarked on June 21 aboard a Belgian freighter, the Leopold-II, which was to reach Algeria. Finally, the boat tacked towards the United Kingdom. Disembarked in South Cornwall at Falmouth on June 25, the young men enlisted in London on the 28th in the “French Legion”, the embryo of the Free French Forces. There Cordier – he has just adopted this surname – discovers in awe that some of the patriots who share his choice are socialists or communists.

He met Raymond Aron and Stéphane Hessel, forging unwavering friendships, and later Georges Bidault, fierce opponent of Maurras, whose “brilliant mind” he recognized. He began a radical revision of his political convictions, apart from anti-Semitism, despite Aron and Hessel, since reading Lucien Rebat’s pamphlet Les Décombres, just a few days after the Vél’d’Hiv roundup, “dazzled” Cordier.

Passed by the training camps, where the exchanges with the other volunteers are as many electroshocks for the one whose far-right reflexes are struggling to fade until the letter of rupture which he sends to Maurras on December 2 1941 (“How can you continue to live after this betrayal?”), Cordier joined the Central Bureau of Intelligence and Action (BCRA) headed by Colonel Passy. There he follows an intense training to act on the ground because he dreams only of “killing Boche”. Hence his disappointment when he parachuted near Montlucon on July 25, 1942 to provide radio assistance to Georges Bidault, head of the Information and Press Office (BIP), an underground press agency.

But on July 30, in Lyon, he met the man de Gaulle had charged with unifying the internal resistance movements. Having come to give him documents, Cordier discovers a simple, direct, smiling personality who immediately invites him to dinner and tests him. The young man gives himself up unvarnished. This franchise appeals and “Rex”, alias Jean Moulin, immediately recruits as secretary this 21-year-old man with origins and primary convictions so diametrically opposed to his. No doubt he immediately discerns Cordier’s idealism, his dedication and his fidelity to his mission.

For more than ten months, they will work together on the capital mission set by London. Invaluable collaborator by his rigor and his dedication, Cordier, who chose “Alain” as an underground identity in reference to the philosopher, assists the “boss”, to set up a clandestine staff, without means and almost without staff at the start . Patiently, he manages mail and radio links, expanding the team both in Lyon and in Paris to make it more efficient, allocating subsidies when Moulin is away. What does not earn him only friends.

A privileged witness to the birth of the National Council of the Resistance (CNR) as the bitter struggles that slowed it down, Cordier knows so well the functioning of the Resistance and the links, more or less delicate, that the different currents maintain between them. , that it is essential. And despite the hostility of many who appeared from the arrest of Jean Moulin in Caluire in June 1943 (Pierre Brossolette declared him “null and imprudent” and demanded that he be recalled), Cordier remained in place and continued with Claude Bouchinet- Serreulles, interim successor of Jean Moulin, his mission in the northern zone as secretary of the General Delegation of France.

In danger as soon as he learns that the Gestapo has his photo and can identify him, he asks to be relieved. In March 1944, he intended to reach London via Marseille, then Spain. But he was arrested by the Francoists and interned in Pamplona, then in the Miranda de Ebro camp, in the province of Burgos. When he managed to reach London in mid-May, appointed head of the airdrops section of agents of the BCRA, he prepared for the physical confrontation with the enemy which was his first wish in 1940. But he had to be patient. the landing, like the parachuting on the combat zones and regains France only by boat, by Le Havre, to reach Paris at the beginning of October.

In November, he becomes a companion of the Liberation by decree of General de Gaulle and finds Colonel Passy, promoted to the head of the secret services, who takes him as chief of staff. At the General Directorate of Studies and Research (DGER), of which Jacques Soustelle took the head in November 1944, Cordier discovered the world of spies and secret agents. He was even sent to Spain to assess the solidity of Franco’s regime for de Gaulle. A report that he will keep like a treasure. But this environment is not for him. No more than the self-celebration of former resistance fighters at the time of the return to peace, which echoes in him the discourse of veterans of the Great War and with which he does not feel solidarity. In fact, he resigned from his post after General de Gaulle’s political withdrawal in January 1946.

A brief moment tempted by political commitment – he said then “almost communist” – he soon gave it up, however, to devote himself to the modern art that Jean Moulin had made him discover and appreciate, of which he finally broke through. identity without mask. While he was ignorant of contemporary creation, he learned from contact with Jean Moulin to be passionate about these aesthetic adventures which he had rejected until now. It must be said that, to thwart indiscretions, Rex had established a code which was equivalent to initiation: “When we are in the street, in a restaurant or in any place where we risk being overheard, I will start talking to you. of art so that we are not suspected. “Hence their exchanges on Cézanne and Renoir or the discovery of Kandinsky …

Thanks to a welcome inheritance – his father died in 1943 – Daniel Cordier tried his hand at painting, enrolling in a private art school, the Académie de la Grande Chaumière; bought his first work, a painting by Jean Dewasne, member of the founding committee of the Salon des Réalités Nouvelles, temple of abstraction; discovers the work of Nicolas de Staël whose paintings he researches and buys, and, a collector, already dreams of himself as a gallery owner.

He fulfilled this dream by opening his gallery in Paris, rue de Duras, in 1956. Address that he transferred three years later to rue de Miromesnil. Accompanying an artistic world in full revolution, he gives André Breton carte blanche for a new surrealist celebration, dialogue with the poet and writer Henri Michaux while becoming the merchant of Jean Dubuffet, the first theorist of “art brut”. Cordier imposes the first Yugoslav artist Dado and the painter and writer Bernard Réquichot, opens branches in Frankfurt and New York, is passionate about the arts that come from elsewhere than from the West and finally closes shop in 1964 when he considers that the essential is played out elsewhere and that Paris is only a secondary home. However, he continued his commitment as a collector and, thanks to an exceptional address book, organized major exhibitions.

No doubt he would have remained an “ordinary man” as he defined himself after the Liberation, when he gave up capitalizing on his epic resistance, but the media return of the Occupation in the 1970s decided otherwise. It all comes from the words of Henri Frenay, founder of the resistance movement Combat, who initiated Moulin into hiding. As early as 1973, in La Nuit finira (edited by Robert Laffont), the great resistance fighter accused Cordier’s “boss” of incompetence and megalomania. Less than ten years after Jean Moulin entered the Pantheon, the charge is severe. It became unbearable when L’Enigme Jean Moulin (ed. Robert Laffont) appeared in 1977, in which Frenay insinuated that Rex was in fact a communist agent.

When rumors and slanders smear the face of his “boss”, Cordier becomes indignant and pulls out his reserve. For Moulin. Convinced that the memory of the protagonists is not sure, more apt to recompose the past than to illuminate it, he launches headlong into an investigation where oral testimony is secondary, suspected of blurring the line and multiplying confusion. and approximations. Coming from a first-hand witness, the posture is singular as the competition for partisan memories rages on. He will stick to it, strictly, and for a very long time, at the cost of a work worthy of a monk copyist, compiling, crossing, testing every piece of information, without abdicating his approach as radical as it is austere.

In several volumes, published between 1983 and 1999 (L’Inconnu du Panthéon and La République des catacombes), all centered on the figure of Jean Moulin, it defines an essential historiographical milestone of the Resistance. If former comrades in the struggle sulk or criticize, professional historians are impressed by this work, carried out alone by a witness who distrusts only human testimony. When he resolves to write his own memories (the first volume, Alias Caracalla, published in 2009), Daniel Cordier even seduces the Académie Goncourt which registers him among the postulants for the autumn laurels, despite the atypical nature of the work.

Resolutely, like his political and artistic commitments, the legacy of historian Daniel Cordier is as singular as it is unique.

Daniel Cordier in a few dates:

August 10, 1920 Born in Bordeaux

1940 Enlistment in the “French Legion” in England

1942-1943 Secretary of Jean Moulin

1944 Companion of the Liberation

1946 Buys his first paintings (Jean Dewasne, Nicolas de Staël)

1956-1964 At the head of his own gallery in Paris, he is active in Europe and the United States

1977 Henri Frenay accuses Jean Moulin of having been a “cryptocommunist”

1983 Publishes Jean Moulin and the National Council of Resistance (CNRS ed.)

1989 Donation of part of his art collection (514 objects) to Beaubourg

1989-93 Jean Moulin – L’Inconnu du Panthéon (JCLattès, 3 vol.)

1999 Jean Moulin. The Republic of the Catacombs (Gallimard, “La suite des temps”)

2009 Alias Caracalla – Memoirs 1940-1943 (Gallimard, “Témoins”)

2013 From History to History (Gallimard, “Témoins”)

2014 The Fires of Saint-Elme (Gallimard)

November 20, 2020 Death in Cannes



HANS BELLMER & UNICA ZÜRN, GALERIE PAULINE PAVEC

Ubu Gallery is pleased to partner in a temporary exhibition at Galerie Pauline Pavec, taking place during Marais Art Week and corresponding with what would have been the week of FIAC! 2020 in Paris. Ubu Gallery exposed works by Hans Bellmer and Unica Zürn in the exhibition, which ran from October 18 to October 25, 2020. The exhibition can be viewed virtually here. A press release and brochure can also be viewed and downloaded.

Hans Bellmer
Untitled (Portrait of Unica Zürn) 1954
White gouache on black paper
17 1/4 x 11 3/8 inches (44 x 29 cm)
Signed & dated in pink gouache on recto
(BELL 520)


Selected Images From The Exhibition


JINDŘICH ŠTYRSKÝ, EDITION 69, TWISTED SPOON PRESS

Biblioklept.org has reviewed Edition 69, published by Twisted Spoon Press. The publication is a collection of Czech artist Jindřich Štyrský’s volumes, which appeared under the imprint of his private press, Edition 69. Certain of these works have been translated into English for the first time. Previously not widely available due to Czech censorship laws, Edition 69 was devoted to erotic art and writing, much of it still thought-provoking nerarly 100 years after originally published. The full review can be read here.



CZECH CENTER OF NEW YORK

Ubu Gallery was pleased to host Mr. Miroslav Konvalina, Director of the Czech Center of New York, for a tour of our current exhibition on artist František Vobecký. The Facebook post about the visit can be viewed here.



CZECH CENTER OF NEW YORK

Ubu Gallery is pleased to be featured on the website of the Czech Center of New York. The gallery’s current exhibition František Vobecký: Photomontages 1935-1938, features the Czech artist’s Surrealist-inspired photomontages. More information about the Czech Center can be found here.

František Vobecký
The Artificial Paradise
1936, reprint 1975
Gelatin silver print
11 3/8 x 15 1/4 inches (28.9 x 38.7 cm)
Signed on recto
(VOBE 26)



JUDIT REIGL (1923–2020)

The Guardian has published an obituary of the Hungarian-French artist, Judit Reigl. The article discusses her many accomplishments, contributions, and lasting impact on the art world. The obituary can be read here.



JUDIT REIGL (1923–2020)

Ubu Gallery is saddened to hear about the death of artist Judit Reigl (May 1, 1923 – August 6, 2020).

Reigl is recognized as one of the most original artistic figures to have emerged in Europe after World War II. She was, in her own characteristically defiant words, “a woman painter who, for many, paints like a man.” Reigl disregarded the boundaries that prevailed within the avant-garde, obliterating the unitary surface of Modernism by painting on both sides of the canvas and ignoring the presumed antagonism between the non-objective and the figurative. Highly regarded and collected in Europe throughout her 70-year career, Reigl’s first exhibition in the United States was at the Janos Gat Gallery, in New York, in 2007. More recently, her work was included in the exhibition “Epic Abstraction: Pollock to Herrera” at the Metropolitan Museum of Art (2018 and ongoing), and in the Solomon R. Guggenheim Museum’s “Artistic License: Six Takes on the Guggenheim Collection,” in the section of the exhibition curated by Richard Prince (2019).

Judit Reigl was born in Kapuvár, Hungary in 1923. She escaped the Cold War cultural repression of Hungary in 1950, made her way across Europe, mostly on foot, and settled in Paris. There she was joined by Betty Anderson, a young English artist whom she had met on a student trip to Italy in 1947. The pair remained life partners until Anderson’s death in 2007.

Not long after arriving in Paris, Reigl caught the attention of André Breton, who declared one of her paintings a Surrealist masterpiece. Breton presented Reigl’s first solo exhibition in 1954. Reigl promptly rejected the Surrealist affiliation, having already begun to develop her own highly material and emphatically physical painting processes. She would organize her works in chronologically overlapping series. Her practice advanced from explosively gestural paint applications to compositions that began as accumulated paint drippings on floor tarps and were completed by carving and overpainting. Later she painted in a performative dance approach in which she applied paint to a continuous length of canvas suspended from the ceiling around the perimeter of her studio. Eschewing the brush, Reigl would reach for any tool at hand—a twisted length of curtain rod, the facetted stopper from a Chanel No. 5 flacon, … Most of the paintings are non-objective, but now and again, as she put it, of its own accord the human figure would appear. As self-critical as she was independent, Reigl completed well over 3,000 paintings, of which she “approved” perhaps 1,200, choosing to destroy or paint over the rest.

In France, Reigl’s work has been collected by the Musée national d’art moderne, Centre Georges Pompidou; the Musée d’art moderne de la Ville de Paris; and the Musée de Brou. Her paintings and drawings have been acquired by the Museum of Modern Art, the Solomon R. Guggenheim Museum, and the Metropolitan Museum of Art, all in New York; Tate Modern, London; the Albertina, Vienna; the Museum of Fine Arts, Houston; the Cleveland Museum of Art; the Toledo Museum of Art; the Museum of Fine Arts, Boston; and the Albright-Knox Art Gallery, Buffalo.

In 2016, the Allen Memorial Art Museum at Oberlin College in Oberlin, Ohio, presented Reigl’s first museum retrospective in the U.S. Her last solo exhibition, “Judit Reigl: Dance of Death” at Shepherd Gallery, New York, in 2018, was a show of memory-inspired drawings by the nonagenarian artist. Reigl continued to make drawings until shortly before her death.

Judit Reigl
Mass Writing (Écriture en masse)
1965
Oil on canvas
68 x 53 1/2 in (173 x 136 cm)m)



FANTASTIC WOMEN, LOUISIANA MUSEUM OF MODERN ART

Fantastic Women is moving to its new home at the Louisiana Museum of Modern Art in Denmark! Ubu Gallery is pleased to continue taking part in the exhibition, which features several of our works by Unica Zurn. The exhibition opens on July 25th and continues until November 8th, 2020. Further information about the museum can be found here.

Unica Zürn
Untitled
ca. 1960s
Ink & gouache on paper
20 1/8 x 26 3/8 inches (51.1 x 67.0 cm)
Signed on recto / Drawing on verso
(ZURN 97)


Selected Images From The Exhibition


UNICA ZÜRN, MUSÉE D’ART ET D’HISTOIRE DE L’HÔPITAL SAINTE-ANNE

The Musée d’Art et d’Histoire de l’Hôpital Sainte-Anne’s (Paris), Unica Zürn, a tribute to the artist and featuring many drawings, writings, and documents, several loaned by Ubu Gallery, has been extended. The exhibition continues in Paris through July 26, 2020.



UNICA ZÜRN, THIS STRANGE PRESENCE, MICHAEL C. CARLOS MUSEUM, EMORY UNIVERSITY

Ubu Gallery would like to provide another exhibition update. The Michael C. Carlos Museum’s (Atlanta) This Strange Presence, dedicated to the etchings and drawings of Unica Zürn, has been extended! The show is slated to continue through September 20, 2020.



THE TEARS OF EROS, CENTRAAL MUSEUM

Centraal Musuem’s (Utrecht, Netherlands) ongoing exhibition The Tears of Eros has been extended! Ubu Gallery is pleased to announced that the show can be viewed until August 16, 2020.



UNICA ZÜRN, QUINZAINE

Although the exhibiton remains closed, a French online magazine, Quinzaine, has published an article about MAHHSA’s Unica Zürn. The full article can be accessed here.


Quinzaine has published a number of articles referencing Unica Zürn. In particular, please view the following:

Les Voix d’Unica Zürn (May 1, 2017)


UNICA ZÜRN, WHITEHOT

A contemporary art online magazine, Whitehot has published an article about MAHHSA’s exhibition Unica Zürn. It explores the artist’s intricate and dense drawings as they relate to her mental state and eventual stay at St. Anne’s Hospital. Whitehot Magazine’s article can be read here.



UNICA ZÜRN, RAW VISION

A periodical dedicated to outsider art, Raw Vision Magazine has published an article about MAHHSA’s exhibition Unica Zürn. The exhibition at the Musée d’Art et d’Histoire de l’Hôpital Sainte-Anne features over seventy of the artist’s works, executed mainly in inks. While the exhibition is closed, the musueum is dedicated to providing exhibition content digitally. Further information about the museum’s efforts can be found on their website. Raw Vision Magazine’s article can be read here.



ALFRED JARRY: A CARNIVAL OF BEING, MORGAN LIBRARY & MUSEUM

One of the Morgan Library & Musuem’s (New York) current exhibits is Alfred Jarry: A Carnival of Being. Most known for his play Ubu Roi, Jarry inspired the Surrealist and Dada movements and ushered in the transition to 20th century modernism. In addition to writing, Jarry applied his subversive viewpoint to many other disciplines. He was a poet, puppeteer, critic, graphic artist, and even an early experimenter in visual typography. Through a variety of mediums, Jarry’s motto remains clear – “Living is the carnival of Being.” Further information about the exhibition can be found on the museum’s website.



UNICA ZÜRN, CONNAISSANCE DES ARTS
Connaissance des Arts magazine has published their April 2020 issue online. A review of the Musée d’Art et d’Histoire de l’Hôpital Sainte-Anne’s exhibition Unica Zürn, which features works loaned by Ubu Gallery, can be accessed here.



THE TEARS OF EROS, CENTRAAL MUSEUM

Ubu Gallery is pleased to be part of Centraal Musuem’s (Utrecht, Netherlands) ongoing exhibition The Tears of Eros . A catalog featuring works loaned by Ubu Gallery, as well as all other works, can be viewed here.



UNICA ZÜRN, L’EXPRESS

L’Express, a French-language newspaper of Toronto, Canada has published a review of The Musée d’Art et d’Histoire de l’Hôpital Sainte-Anne’s Unica Zürn. The article, which explores Zürn’s life and art, can be viewed on the newspaper’s website. The full article may be read in PDF form here.



UNICA ZÜRN, LE FIGARO

The Musée d’Art et d’Histoire de l’Hôpital Sainte-Anne’s (Paris) Unica Zürn has been reviewed in Le Figaro. The article, which explores the idea of Unica Zürn as “Bellmer’s doll” due to the dymanics of their relationship, can be viewed on the newspaper’s website. A full article on the exhibition can be read here.



FRANTIŠEK VOBECKÝ, MUSÉE MAGAZINE

Ubu Gallery’s current exhibition František Vobecký: Photomontages 1935-1938 has been reviewed by Musée Magazine. The review, along with several images from the show, has been posted on the magazine’s website here.



UNICA ZÜRN, THIS STRANGE PRESENCE, MICHAEL C. CARLOS MUSEUM, EMORY UNIVERSITY

The Michael C. Carlos Museum at Emory University, Atlanta will be holding a gallery talk with Curator of Works on Paper Andi McKenzie. An opportunity to learn more about current exhibition, This Strange Presence, dedicated to the etchings and drawings of Unica Zürn, the event will take place on Wednesday, March 4 at 7 pm. A report about the exhibition and the gallery talk can be read on the Emory University news page here.



UNICA ZÜRN, LE MONDE
The Musée d’Art et d’Histoire de l’Hôpital Sainte-Anne’s (Paris) Unica Zürn has been reviewed in Le Monde. A slideshow of several works from the show can be viewed on the newspaper’s website. A full review of the exhibition can be read here.



THE TEARS OF EROS, CENTRAAL MUSEUM
A new exhibition has opened at the Centraal Museum in Utrecht (Netherlands), featuring works by Hans Bellmer, Pierre Molinier, and Unica Zürn on loan from Ubu Gallery. The museum’s The Tears of Eros, features the works of Dutch Surrealist Johannes Moesman and many other international artists. The exhibition continues until May 24, 2020. Further information about the museum can be found here.

Pierre Molinier
Hanel no.1
ca. 1969
Vintage gelatin silver print
7 3/4 x 5 3/4 inches (19.7 x 14.6 cm)
(MOLI 71)


Select Images From The Exhibition


UNICA ZÜRN, THIS STRANGE PRESENCE, MICHAEL C. CARLOS MUSEUM, EMORY UNIVERSITY

Another new and exciting exhibition! Ubu Gallery is pleased to take part in the Michael C. Carlos Museum’s (Atlanta) This Strange Presence, dedicated to the etchings and drawings of Unica Zürn. The exhibition opens February 15, 2020 and continues to May 24, 2020. Further information about the museum can be found here.

Unica Zürn
“Bibi, ist eine welsche Hexe!” (original drawing for Hexen Texte [“Witches Text”], p. 9)
1953
Ink on paper (torn drawing reassembled by Hans Bellmer)
6 1/8 x 5 7/8 inches (15.7 x 14.7 cm)
Signed & dated on recto / Stamped on verso
(ZURN 6)


Select Image From The Exhibition



FANTASTIC WOMEN, SCHIRN KUNSTHALLE

A new exhibition is taking place at the Schirn Kunsthalle in Frankfurt, Germany. Ubu Gallery is pleased to loan several works by Unica Zürn to the exhibition Fantastic Women, a tribute to female Surrealist artists. The exhibition runs until May 24, 2020. Ticket information can be found here.

Unica Zürn
Untitled
Paris, 1963
Ink on paper
25 1/2 x 19 1/2 inches (64.8 x 49.5 cm)
Signed & dated on recto / Drawing on verso
(ZURN 15)



UNICA ZÜRN, MUSÉE D’ART ET D’HISTOIRE DE L’HÔPITAL SAINTE-ANNE

Ubu Gallery is taking part in an exciting new exhibition highlighting the life and career of one of the gallery’s most important artists. The Musée d’Art et d’Histoire de l’Hôpital Sainte-Anne’s Unica Zürn is a tribute to the artist and features many drawings, writings, and documents, several loaned by Ubu Gallery. The exhibition opens in Paris on January 31, 2020 and continues through May 31, 2020. More information about the museum can be found here.

Unica Zürn
Untitled
1968
Ink & gouache on board
10 1/2 x 8 1/2 inches (26.7 x 21.6 cm)
Signed & dated on recto / Notated “No. 33 Mr. Rabain” on verso
(ZURN 149)



AFTER VIRGINIA, CHART GALLERY

Ubu Gallery is pleased to be taking part in a new exhibition. CHART Gallery’s (New York) After Virginia is an homage to famed gallerist, Virginia Zabriskie (1927-2019), and features a Robert Disraeli photogram on loan from the gallery. The exhibition takes place November 8, 2019 – January 11, 2020. More information about CHART Gallery can be found here.

Robert Disraeli
Untitled
ca. 1929
Vintage gelatin silver print (photogram)
9 1/2 x 6 1/2 inches (24.1 x 16.5 cm)
(DISR 2)



FIAC! 2019, CELEBRATING THE 25TH ANNIVERSARY OF UBU GALLERY
Thank you for helping Ubu celebrate its anniversary! Ubu is pleased to have participated in FIAC! 2019, Paris, where we showcased a selection of works from artists and exhibitions throughout our 25-year history.

Boris Lipnitzki
Albert Dieudonné dans “Napoléon” d’Abel Gance
[“Albert Dieudonné in Abel Gance’s “Napoléon”] 1926/1927
Vintage gelatin silver print
23 x 30 inches (58.4 x 76.2 cm) – print
27 5/8 x 34 1/2 inches (70.2 x 87.6 cm) – frame
(LIPN 2)



THE PENCIL IS KEY: DRAWINGS BY INCARCERATED ARTISTS, THE DRAWING CENTER

Ubu Gallery is pleased to participate in a new exhibition. The Drawing Center’s (New York)  The Pencil is a Key: Drawings by Incarcerated Artists features two works by Hans Bellmer, loaned by the gallery. The exhibition opens October 11, and continues until January 5, 2020. More information about The Drawing Center can be found here.

Hans Bellmer
Untitled
1940
Pencil on paper
13 3/4 x 9 5/6 inches (35 x 25 cm)
Signed, dated & dedicated, “à Ferdinand Springer amicalement Hans Bellmer 1940” on recto
(BELL 471)




BEYOND TEMPORARY: ART EPEMERA & THE DESIGN OF THE EXHIBITION ANNOUNCEMENT, ART INSTITUTE OF CHICAGO
A recent exhibition at the Art Institute of Chicago titled Beyond Temporary: Art Ephemera and the Design of the Exhibition Announcement, took place from April 1 – June 7, 2019. The exhibition featured announcements from the Ryerson and Burnham Libraries selection of art ephemera, collected over more than one hundred years. Ubu Gallery’s announcements were among those exhibited, dating from its inception in 1994 to 1999.



MONSTERS & MYTHS: SURREALISM AND WAR IN THE 1930s AND 1940s, FRIST ART MUSEUM
Monsters & Myths: Surrealism and War in the 1930s and 1940s at the Frist Art Museum in Nashville opens on June 21, 2019. The exhibition features works by Hans Bellmer lent by Ubu Gallery, and continues until September 29, 2019. Ticket information can be found here.

Hans Bellmer
La Poupée
[“The Doll”] 1934
Vintage gelatin silver print
3 1/2 x 2 3/8 inches (9 x 6.2 cm)



HANS BELLMER, TEFAF 2019

Another exciting art fair in New York: TEFAF 2019 opened May 3! Works by Hans Bellmer, provided by Ubu Gallery, were on view until May 7 as part of Sean Kelly Gallery’s presentation.

Hans Bellmer
Untitled 1959
Pencil & gouache on tinted paper
19 x 12 3/8 inches (48.5 x 31.5 cm)
Signed & dated on recto (with Daniel Cordier label on verso)
(BELL 437)



UNICA ZÜRN, THE DOORS OF PERCEPTION, FRIEZE NEW YORK 2019

Frieze New York opened May 2nd. Several works from Ubu Gallery were on view until May 5 as part of The Doors of Perception, a collaboration between the Outsider Art Fair and artist/curator, Javier Téllez.

Unica Zürn
Untitled (double-sided drawing)
1960
Ink on paper
11 7/8 x 8 1/2 inches (30.2 x 21.6 cm)
Numbered in pencil on each side
(ZURN 146)


Selected Images From The Exhibition


HAPPY BIRTHDAY, HANS BELLMER!

Today we celebrate the birthday of one of the gallery’s favorite artists, Hans Bellmer (13 March 1902 – 24 February 1975). He was a German Surrealist, widely known for his series of photographs of two adolescent female dolls, which he constructed himself. Through the staging and lighting of these photographs, Bellmer was able to imbue his work with emotion, intellect, and eroticism.

Hans Bellmer
La Poupée
[“The Doll”] 1935
Vintage gelatin silver print affixed to mount & taped to original stretcher
26 x 26 inches (66 x 66 cm)



MONSTERS & MYTHS: SURREALISM AND WAR IN THE 1930s AND 1940s, BALTIMORE MUSEUM OF ART

Monsters & Myths: Surrealism and War in the 1930s and 1940s is open at the Baltimore Museum of Art from February 24, 2019–May 26, 2019, presenting works by Hans Bellmer lent by Ubu Gallery.

Hans Bellmer
La Poupée
[“The Doll”] 1934
Vintage gelatin silver print
3 1/2 x 2 3/8 inches (9 x 6.2 cm)



UNICA ZÜRN, ART IN AMERICA, DC’S BLOG

A recent blog post by author Dennis Cooper mentions the enigmatic artist Unica Zürn. Cooper references the article “A Stone For Unica Zürn” in which Gary Indiana discusses Zürn’s relationship with Hans Bellmer, and how her tumultuous life influenced her body of work. The article, which appeared in Art in America (June 16, 2009), can be read here.

Unica Zurn
Untitled
1965
Ink & gouache on paper
25 5/8 x 19 3/4 inches (65 x 50 cm)
(ZURN 134)



JUDIT REIGL, EPIC ABSTRACTION: POLLOCK TO HERRERA, METROPOLITAN MUSEUM OF ART

The Metropolitan Museum of Art’s (New York) recently opened exhibition Epic Abstraction: Pollock to Herrera features an imposing work by Judit Reigl, now part of their permanent collection. Roberta Smith, Co-Chief Art Critic of The New York Times, specifically cites this work in her review, writing “Stronger recent arrivals are Judit Reigl’s foreboding “Guano (Menhir)” of 1959-64…” The full review of the exhibition from The New York Times can be read here.



FIAC! 2018, HOMMAGE À DANIEL CORDIER

Ubu Gallery was pleased to participate in FIAC! 2018, Paris. Ubu Gallery presented “Hommage à Daniel Cordier,” a tribute to the famed French art dealer and collector, as well as a man of courage, vision and uncompromising taste.

Alfonso Ossorio
Mirror Between
1963
31 x 28 3/4 x 3 inches (78.7 x 73 x 7.6 cm)
Inscribed “Morris J Pinto” on verso by the artist
(OSSO 1)



MONSTERS & MYTHS: SURREALISM AND WAR IN THE 1930s AND 1940s, WADSWORTH ATHENEUM MUSEUM OF ART

Monsters and Myths: Trans-Atlantic Surrealism in the 1930s and 1940s at the Wadsworth Atheneum Museum of Art, Hartford CT from October 20, 2018–January 13, 2019, presenting works by Hans Bellmer lent by Ubu Gallery.

Hans Bellmer
La Poupée
[“The Doll”] 1935
Hand-colored vintage gelatin silver print affixed to original mount & stretcher
26 x 26 inches (66 x 66 cm)
Signed in black gouache on recto / Signed, dated & with address “14 rue Bernard Palissy” on verso
(BELL 11)



MODERN COUPLES, BARBICAN ART GALLERY

Modern Couples at Barbican Art Gallery, London from October 10, 2018–January 29, 2019, featuring works by Eileen Agar, Hans Bellmer, Jindřich Štyrský and Unica Zürn lent by Ubu Gallery.

Hans Bellmer
Tenir au frais [“Keep Cool”]
(Maquette for the cover of Le Surréalisme même #4), 1958
Collage of vintage gelatin silver prints & gouache on masonite
9 1/4 x 9 5/8 inches (23.4 x 23.9 cm)
Titled on recto
(BELL 45)


Selected Images From The Exhibition


MODERN COUPLES, CENTRE POMPIDOU-METZ

Modern Couples at Centre Pompidou-Metz (France) from April 28, 2018–August 20, 2018, featuring works by Jindřich Štyrský lent by Ubu Gallery.

Jindřich Štyrský
Untitled maquette #9 for milie přichází ke mně ve snu
[“Emilie Comes to Me in a Dream”] 1933
Collage of silver print & halftone cut-outs affixed to original mount
12 x 9 3/8 inches (30.5 x 23.8 cm) – image
13 3/4 x 9 7/8 inches (34.9 x 25.1 cm) – mount
Signed & dated on recto of mount
(STYR 10)



THE CHIMERICAL CREATURES OF UNICA ZÜRN, THE PARIS REVIEW

“The Chimerical Creatures of Unica Zürn” authored by Natalie Haddad appeared in the April 4, 2018 issue of The Paris Review using uncredited images of works by Zürn currently or formerly in the inventory of Ubu Gallery.

Unica Zurn
Untitled
1965
Ink & gouache on paper
25 5/8 x 19 3/4 inches (65 x 50 cm)
(ZURN 134)



INVENTUR—ART IN GERMANY, 1943–55, HARVARD ART MUSEUMS

Inventur—Art in Germany, 1943–55 at the Harvard Art Museums, Cambridge MA from February 9, 2018–June 3, 2018, including a photograph by Edmund Kesting lent by Ubu Gallery.

Prof. Edmund Kesting
Alarm
1945
Vintage gelatin silver print
15 5/8 x 11 3/4 inches (39.7 x 29.8 cm)
Artist’s stamp on verso
(KEST 28)



JINDŘICH ŠTYRSKÝ, IN VITRO, BODEGA GALLERY

In Vitro at Bodega Gallery, New York from November 3, 2017–December 10, 2017, featuring works by Jindřich Štyrský lent by Ubu Gallery.

Jindřich Štyrský
Untitled (for Na jehlách těchto dní)
[“On the Needles of These Days”], p. 42
1934 (printed in or before 1941)
Vintage gelatin silver print
3 5/8 x 3 1/2 inches (9.2 x 8.9 cm)
(STYR 31)

View the exhibition online in the Contemporary Art Daily.



DADA AFRICA, NON-WESTERN SOURCES & INFLUENCES, MUSÉE DE L’ORANGERIE

Dada Africa, sources et influences extra-occidentales at Musée de l’Orangerie, Paris from October 18, 2017–February 19, 2018, included a photomontage dedicated to Gala Eluard by Max Ernst lent by Ubu Gallery.

Max Ernst
Santa Conversazione
[“Holy Conversation”] 1921
Vintage gelatin silver print with graphite, ink & gouache (photomontage)
9 x 5 3.8 inches (22.9 x 13.7 cm) – image
10 1/8 x 6 5/8 inches (25.7 x 16.8 cm) – mount
Signed & dedicated “à Gala” on recto
(MERN 61)

Read the review by Philippe Dagen in Le Monde.



UNICA ZÜRN, WE ARE COMPLETELEY FREE. WOMEN ARTISTS AND SURREALISM, MUSEO PICASSO MALAGA

We Are Completely Free. Women Artists and Surrealism at Museo Picasso Málaga (Spain) from October 10, 2017–January 28, 2018, featuring works by Unica Zürn lent by Ubu Gallery.

Unica Zürn
La Serpenta
[“The Serpent”] Paris, 1957
Oil on panel
19 5/8 x 19 5/8 inches (49.8 x 49.8 cm) – image
25 x 24 3/8 inches (63.5 x 61.9 cm) – mount
Signed & dated on recto
(ZURN 121)



FIAC! 2017, CENTRAL & EASTERN EUROPEAN AVANT-GARDE

Ubu Gallery is pleased to have participated in FIAC! 2017, Paris. Ubu Gallery presented a survey of the historical avant-garde in Central and Eastern Europe between the two World Wars.

Victor Vasarely
Contes
[“Tales”] 1931-1932
Vintage gelatin silver print, gouache & ink on cardboard (photo-collage)
14 1/4 x 9 1/4 inches (36.2 x 23.5 cm)
Signed & dated on recto / Accompanied by a certificate of authenticity by Michèle Vasarely (daughter-in-law)
(VASA 2)

Read Judith Benhamou-Huet on Ubu Gallery and view an image of the Vasarely photo-collage in Judith Benhamou-Huet Reports.



IN THE MIND, THROUGH THE BODY, SHIN GALLERY

In the Mind, Through the Body at Shin Gallery, New York from July 13–September 3, 2017, featuring works by Hans Bellmer lent by Ubu Gallery.

Hans Bellmer
La Poupée
[“The Doll”] 1935
Vintage gelatin silver print
6 5/8 x 6 7/8 inches (16.8 x 17.5 cm) – image
7 1/8 x 7 7/8 inches (18.1 x 20 cm) – sheet
(BELL 13)



VISUAL NOTES FOR AN UPSIDE-DOWN WORLD, P.P.O.W. GALLERY

Visual Notes For An Upside-Down World at P.P.O.W. Gallery, New York from June 29–Aug 18, 2017, featuring works by Hans Bellmer, John Heartfield, Edmund Kesting, Helmar Lerski, Pierre Molinier, Franz Roh, Jindřich Štyrský & Stefan Themerson lent by Ubu Gallery.

John Heartfield
Der Henker und Die Gerechtigkeit
[“The Executioner & Justice”] ca. 1933 / printed 1965-1970
Gelatin silver print
37 x 29 1/2 inches (94 x 74.9 cm) – by sight
(HEAR 30)



UNICA ZÜRN, SUNLIGHT ARRIVES ONLY AT ITS PROPER HOUR, 356 MISSION

Sunlight arrives only at its proper hour at 356 Mission, Los Angeles from June 2–July 30, 2017, featuring works by Unica Zürn lent by Ubu Gallery.

Unica Zürn
Untitled
1960s
Ink, gouache & watercolor on paper
19 1/2 x 25 1/2 inches (49.5 x 64.8 cm)
Signed on recto
(ZURN 135)


Unica Zürn
Untitled
ca. 1960s
Ink & gouache on paper
20 1/8 x 26 3/8 inches (51.1 x 67.0 cm)
Signed on recto / Drawing on verso
(ZURN 97)


HEIDE HATRY EXHIBITIONS & EVENTS

Gallery artist HEIDE HATRY participated in the following exhibitions and events in April & May 2017:

The New Museum Bookstore hosted HEIDE HATRY’s ICONS IN ASH ULTIMATE BOOK PARTY on Friday, May 12, 7-10pm.

Featuring death-related performances by Jonas Mekas, Queen Esther, Jennifer Elster, Anthony Haden-Guest, Ulrich Baer, Hot Glue & The Gun, Lutz Rath, Jane LeCroy, Danielle Blau, Nora Fox, Christine Isherwood, Christopher Willauer, and Ursula Scherrer.

This event was sponsored by Michelle Ross, Ubu Gallery, and Station Hill Press.




LaMaMa
66 E 4th Street, NYC
Women’s Poetry Happening Voices of Resistance curated by William Black
Monday, April 17, 7pm

Spoken Word Performances and Music by Phyllis Capello, Morgan Cunning, Jane LeCroy, Heide Hatry, Aimee Herman, Kate Hess, Melissa New, Ilka Scobie and others.




HEIDE HATRY EVENT

KGB Bar
85 E 4th Street, NYC
Icons in Ash/ Melancholic Relics small exhibition, readings, music, and spoken word performances curated by Jane LeCroy and Heide Hatry
Tuesday, April 11, 7-9pm

Readings:
Siri Hustvedt, Lydia Millet, Claudia Steinberg, and Adele Tutter

Spoken Word Performances and Music:
Queen Esther, Jane LeCroy, Laura Lonski, Hot Glue & The Gun, and Dusty Wright.




HEIDE HATRY EVENT

MONA, Museum for Old and New Art in conjunction with Arts Forum, Tasmanian College of Arts
655 Main Road Berriedale, Tasmania 7011
The event took place at Private Bag 57, Hobart, Tasmania, Australia.
ON THE ORIGIN OF ART group show curated by Steven Pinker, Geoffrey Miller, Brian Boyd, and Mark Changizi.
Artist Talk: Friday, April 7, 12.30pm



PROVOCATEUR: FROM PICABIA TO PRINCE, EDWARD RESSLE GALLERY

Provocateur: From Picabia to Prince at Edward Ressle Gallery, New York from February 7–March 18, 2017, featuring works by Hans Bellmer lent by Ubu Gallery

Hans Bellmer
La Poupée or La Bouche [“The Doll” or “The Mouth”], 1936
Printed 1949 or earlier
Hand-colored vintage gelatin silver print
5 5/8 x 5 5/8 inches (14.3 x 14.3 cm) – image
6 3/8 x 6 3/8 inches (16.2 x 16.2 cm) – sheet
Blind stamp applied by artist’s estate
(BELL 338)



HEIDE HATRY EXHIBITIONS & EVENTS

Gallery artist HEIDE HATRY participated in the following exhibitions and events in February and March 2017:



West Park Presbyterian Church
165 W 86th St, NYC (at Amsterdam Ave)
Icons in Ash, Death in Art, Female Voice Festival
Concert and Spoken Word Performances in Honor of International Women’s Day
Tuesday, March 7, 8pm

Curated by Jane LeCroy and Heide Hatry
Featuring Danielle Blau, Jennifer Elster, Queen Esther, Nora Fox, Hot Glue and Gun, Christine Isherwood, Sophie Malleret, Milica Paranosic, Nicole Peyrafitte, Anastasia Petropoulos, Karoline Rose, Katelyn Richards, Tammy Faye Starlite and more



Brooklyn Public Library, in association with art critical.com
THE REVIEW PANEL
An evening of critical conversation about art
Monday, March 6, 2017 7-9pm
Deck Cultural Center, Brooklyn Public Library
10 Grand Army Plaza, Brooklyn
Stephanie Buhmann, Eva Díaz and Pet Plagens
join moderator David Cohen to discuss:

Uta Barth
Tanya Bonakdar Gallery, 521 West 21st Street, New York 10011
Katharina Grosse
Gagosian, 555 West 24th Street, New York 10011
Heide Hatry: Icons in Ash:Cremation Portraits
Ubu Gallery, 416 East 59th Street, New York 10022
Wendy Klemperer: Salvage What You Can
Studio 10, 56 Bogart Street, Brooklyn, NY 11206
Magdalen Wong: Invented Landscape
Fresh Window, 56 Bogart Street, Brooklyn, NY 11206



Sidney Mishkin Gallery
135 East 22nd Street, NYC 10010
SMALL WORKS, BARUCH 2017
Opening Reception: March 2, 6-8pm
Through March 28



CAPITALE
130 Bowery, NYC
Anthology Film Archives BENEFIT & AUCTION with performance by Patti Smith
Festivities kick off: March 2, 6.30pm
Supper: March 2, 7.30pm (buy tickets here)
Auction: March 2, 6.30pm (view auction here)



Sideshow Gallery
319 Bedford Ave, NYC

Through February 26



Central Booking
21 Ludlow Street, NYC (Offline Space)
ICONS IN ASH, DEATH IN ART group show, curated by Maddy Rosenberg and Heide Hatry
Book Party with Conversations, Readings, Spoken Word Performances and Music: February 24, 6.30-8.30
Performers include: Linda Weintraub, Sigrid Sarda, Jennifer Elster, Heide Hatry, Daniella Blau, and Nora Fox, Jane LeCroy, Dusty Wright, Robert Brashear, Aimee Hermann and David Lawton.
Exhibition: through February 26
Artists include: Roberta Allen, Dianne Bowen, Theresa Byrnes, Kathline Carr, Jennifer Elster, Max Gimblett, Heide Hatry, Richard Humann, Gregg LeFevre, Julia Kissina, Kate Millett, Jim Peters, Herbert Pföstl, Michelle Ross, Sigrid Sarda, Carolee Schneemann, Aldo Tambellini, Linda Weintraub, and Brenda Zlamany.



LaMaMa (downstairs)
66 East 4th Street, NYC 10003
VOICES OF THE NEW RESISTANCE
Performances against the President on President’s Day: February 20, 8pm
Poetry Electric Presents: Beats of THE BEATBOX HOUSE (Kaila Mullady & crew) along with all-star Poets & Performance Artists: Liza Jesse Peterson, John S. Hall, Puma Perl, Alex Tatarsky, Jane LeCroy, Jeff Wright, Heide Hatry, Maria Muentes, Peter Spagnuolo, Susan Yung, Norman Stock, Bruce Pandolfo, Hydrogen Junkbox (Aimee Herman, David Lawton, & Starchild), Jimi Pantalon & friends


Plato’s Cave
Eidia House, 14 Dunham Place, Brooklyn NY 11249
PUPPET PRESIDENT(S) & POWER, a group show curated by Melissa P. Wolf and Paul Lamarre
Closing party on Monday, February 20, 6-8pm



CAA (College Art Association) Conference
Hilton Midtown
1335 Avenue of the Americas, New York NY 10019

Icons in Ash: Cremation Portraits

Bookfair: February 16-18, Thursday – Friday 9am-6pm, Saturday 9am-2.30pm
Hilton Midtown, Rhinelander Gallery, Second Floor; and Americas Hall I (access from Third Floor West Promenade)

Exhibition, Art Exchange: February 17, 5.30pm-7.30pm
Hilton Midtown, East Ballroom Foyer 3rd floor

Panel: February 18, 10.30am – 12pm
Hilton Midtown, Concourse A, Concourse Level

Panelists:
Steven Pinker, Harvard University
Mind and Body, Form and Essence, the Unbearable and the Inconceivable
Eleanor Heartney, Independent Critic
Corruptible Bodies: Catholic Morbidity
Anthony Haden-Guest, Independent Art Writer
Art and Death
George Quasha, Station Hill Press
Dead Talk
Thyrza Nichols Goodeve
Art and the Many Ways the “Disenchanted Body is Enchanted Again and Again”
Heide Hatry, Artist, Icons in Ash



Central Booking
21 Ludlow St, New York, 10002
Phone: 347-731-6559

Icons in Ash, Death in Art
Curators: Maddy Rosenberg and Heide Hatry

Opening Reception: February 9, 6-8pm

Book Party and Readings: Feb 23

Exhibition: February 9 – 26

Participating artists include: Roberta Allen, Dianne Bowen, Theresa Byrnes, Kathline Carr, Jennifer Elster, Maxwell Gimblett, Heide Hatry, Richard Humann, Julia Kissina, Gregg Lefevre, Kate Millett, Jim Peters, Herbert Pföstl, Michelle Ross, Sigrid Sarda, Carolee Schneemann, Aldo Tambellini, Linda Weintraub



Cornelia Street Cafe
29 Cornelia St (DOWNSTAIRS) NYC (Greenwich Village)
This Friday, February 3, 6-8pm

The Art of the Dead Readings, Spoken Word & Music about Death
Anthony Haden-Guest
Eleanor Heartney
Claudia Steinberg
Linda Weintraub
will be reading short passages from Icons in Ash

Jane Le Croy
Thomas Fucaloro
Jennifer Elster
will perform spoken words

Dusty Wright
Robert Brashear
will sing death songs



HEIDE HATRY EXHIBITIONS & EVENTS

Gallery artist HEIDE HATRY will participate in the following exhibitions and events in January 2017:



SEFA Gallery (Susan Eley Fine Art)
46 W 90th St., NYC
DESPERATE TIMES, FIRST AMENDMENT (AKPR’S All-Media Cocktail Party/ Group Art Show with Wine, Champagne, Live Music,…)
Opening Reception: January 4, 6.30-8.30pm
VIP Preview: January 4, 12-5pm
Artists Panel: January 5 (with artists included in the show) Discussion of artwork, First Amendment, Current Climate. 11-1pm
Exhibition: January 4 & 5



TBG Gallery
616 E 9th St., NYC

TACTICAL STREAM. Dump Trump & see what grows
Opening Reception: January 6, 6-9pm
Performances, panels,…: TBA
Exhibition: January 6-24



Deutsches Haus at NYU
Deutsches Haus at NYU
42 Washington Mews
New York, NY 10003
Phone: 212.998.8660
Grief and Art: An Uncomfortable Conversation
Date: Wednesday, January 11, 6:30pm



Metro Pictures Gallery
519 W 24th St., NYC
VISUAL AIDS: POSTCARDS FROM THE EDGE
Preview Party: January 13, 6-8pm
Benefit Sale: January 14 & 15



Knight Webb Gallery @ The London Art Fair.
Business Design Centre, 52 Upper St, London N1, 0QH
WOMEN (group show curated by Rufus Knight Webb with Alison Jackson, Juliane Hundertmark, Heide Hatry and Leslie Hilling)
VIP Preview: January 17, 3-6pm
Evening Preview: January 17, 6-9pm
Opening hours: January 18 & 19: 11-9pm, January 20: 11-7pm, January 21: 11-7.30pm, January 22: 11-5pm
Exhibition: January 18-22



TBG Gallery
616 E 9th St., NYC

TACTICAL STREAM. Dump Trump & see what grows
Panel: What do I make now? Art in Trump Time
Moderated by Alan Kaufmann (author of The Outlaw Bible of American Art) with Maria de Los Angeles, Rick Prol, Kanene Ayo Holder,…
January 13, 6.30-7.30pm



MONA, Museum for Old and New Art
655 Main Road Berriedale, Hobart, Tasmania, Australia
ON THE ORIGIN OF ART (group show curated by Steven Pinker, Geoffrey Miller, Brian Boyd, and Mark Changizi)
Exhibition: through April 17



FIAC! 2016, THE ART OF REPRODUCTION

Ubu Gallery is pleased to have participated in FIAC! 2016, Paris. Ubu Gallery presented a booth of avant-garde art specifically produced to illustrate books and publications.



HANS BELLMER: DRAWINGS, 1930-1965

Ubu Gallery’s exhibition, Hans Bellmer: Drawings, 1930-1965 was featured in the gallery guide of the New York Times on April 21, 2016.

Hans Bellmer
Untitled (Jeune fille bicéphale assise)
“Seated Double-headed Girl”
ca. 1934
White gouache on black paper affixed to black paper mount
12 7/8 x 9 3/4 inches (32.7 x 24.8 cm) – image
(BELL 287)



JUDIT REIGL: BODY OF MUSIC, ALLEN MEMORIAL ART MUSEUM, OBERLIN COLLEGE

Ubu Gallery & Janos Gat Gallery, New York, were pleased to have loaned a number of Judit Reigl works on paper to the Allen Memorial Art Museum  at Oberlin College (Ohio). The Museum’s exhibition, Judit Reigl: Body of Music, the first survey exhibition of Reigl’s work at a United States museum, continued through May 29, 2016.

Judit Reigl
Negro Spiritual
from Ècriture d’après musiqué
“Writing after Music”, 1965
Ink on paper
10 5/8 x 8 1/4 inches (27 x 21 cm)
Titled “Negro S. on recto / Signed & dated on verso
(REIG 21)



JACQUES VILLEGLÉ, THE TINY PICTURE SHOW, PAVEL ZOUBOK FINE ART

Ubu Gallery is please to have lent a décollage by Jacques Villeglé to Pavel Zoubok Fine Art, New York for its exhibition, The Tiny Picture Show, which ran from December 19, 2015 to January 23, 2016. A review of the the exhibition, The Vast Possibilities of Tiny Collage and Assemblage, appeared in Hyperallergic and featured our work by Villegle.

Jacques Villeglé
Rue de la Convention
September, 1973
Décollage on original mount
3 3/4 x 7 3/8 inches (9.5 x 18.7 cm)
(VILLE 29)



ADAM BOXER QUOTED IN THE NEW YORK TIMES

Focusing on Women in Surrealism

Unica Zurn
Untitled
1965
Ink & gouache on paper
25 5/8 x 19 3/4 inches (65 x 50 cm)
(ZURN 134)

Molinier self portrait 24 photo MOLI 24_zpsnil9spm1.jpg


HANS BELLMER & PIERRE MOLINIER FEATURED IN A REVIEW OF STUX GALLERY’S VIEWER DISCRETION… CHILDREN OF BATAILLE

Detours: Josef Astor on the Fetishism, Bodies, and Androgyny of Stux Gallery’s ‘Viewer Discretion…’, a review of Stux Gallery’s (New York) Viewer Discretion… Childen of Bataille, which featured works by Hans Bellmer and Pierre Molinier lent by Ubu Gallery, appeared in ARTnews, July 9, 2015.

Pierre Molinier
L’œuvre, le peintre et son fétiche (variant)
[“The Work, the Artist and his Fetish”] 1968–1970
Vintage gelatin silver print
6 1/2 x 4 5/8 inches (16.5 x 11.7 cm)
(MOLI 24)

Molinier self portrait 24 photo MOLI 24_zpsnil9spm1.jpg


HANS BELLMER & PIERRE MOLINIER, VIEWER DISCRETION… CHILDREN OF BATAILLE, STUX GALLERY

Ubu Gallery is pleased to have participated in Viewer Discretion… Children of Bataille, on view at Stux Gallery through July 24, 2015.

Hans Bellmer
La Poupée
[“The Doll”] 1935 (printed 1949 or earlier)
Hand-colored vintage gelatin silver print
5 3/8 x 5 1/4 inches (13.9 x 13.5 cm) – image
6 3/8 x 5 5/8 inches (16.1 x 14.4 cm) – sheet
(BELL 23)



PIERRE MOLINIER, GALERIE SOPHIE SCHEIDECKER

Ubu Gallery & Galerie Sophie Scheidecker, Paris, were pleased to present Pierre Molinier, on view at Galerie Sophie Scheidecker through July 17, 2015.

Pierre Molinier
Untitled (Self-portrait)
ca. 1968
Vintage gelatin silver print
6 1/4 x 4 3/4 inches (15.9 x 12.1 cm)
Hanel Koeck Collection stamp on verso
(MOLI 9)



THÉODORE BRAUNER, MODERN ALCHEMY: EXPERIMENTS IN PHOTOGRAPHY, HECKSCHER MUSEUM

Ubu Gallery & Janos Gat Gallery, New York, were pleased to have loaned a Théodore Brauner Solarfix to The Heckscher Museum of Art, Huntington NY. The museum’s exhibition, Modern Alchemy: Experiments in Photography, ran from December 6, 2014-March 15, 2015.

Théodore Brauner
Untitled (“Solarfix”)
ca. 1950
Chemically-enhanced vintage gelatin silver print affixed to original mount
25 1/4 x 19 1/2 inches (64.1 x 49.5 cm)
Signed on verso
(BRAU 27)



FIAC! 2014, PAYSAGES SURRÉALISTES

Ubu Gallery is pleased to have participated in FIAC! 2014. In collaboration with Galerie Sophie Scheidecker, Paris, Ubu Gallery presented a thematic exhibition focusing on the Surrealist landscape.



HANS BELLMER & UNICA ZÜRN, FRIEZE MASTERS 2014

Ubu Gallery is pleased to have participated in Frieze Masters 2014, London. In collaboration with Galerie Berinson, Berlin, Ubu Gallery presented a “duo” exhibition focusing on Hans Bellmer & Unica Zürn. Beginning with Bellmer’s highly influential poupée [“doll”] photographs from the mid-1930s, the display at Booth F10 Regent’s Park also included a series of Bellmer’s erotic photographs for Georges Bataille’s Story of the Eye, as well as drawings and paintings by both artists, including many made during their tumultuous, seventeen-year love affair.



KNUD LONBERG-HOLM: THE INVISIBLE ARCHITECT

Ubu Gallery’s exhibition, Knud Longberg-Holm: The Invisible Architect was featured in the July 11th edition of the ‘Arts’ section from the New York Times.

Knud Lonberg-Holm
Gas Station Design
Preliminary sketch
ca. 1925
Colored pencil on paper
8 1/2 x 11 inches (21.6 x 27.9 cm)
(KLH 47)



KNUD LONBERG-HOLM: THE INVISIBLE ARCHITECT, METROPOLIS MAGAZINE

Knud Lonberg-Holm and Ubu Gallery’s current exhibition, Knud Lonberg-Holm: The Invisible Architect, were together the feature story in the June 2014 issue of Metropolis Magazine. An in-depth article by Paul Makovsky explores Knud Lonberg-Holm and his relationships with Sweet’s Catalog and Buckminster Fuller.



JUDIT REIGL: DRAPE/DECODING, JANOS GAT GALLERY

Judit Reigl: Drape/Decoding at Janos Gat Pop Up Gallery, New York from May 27-31, 2014, featuring performances by John Zorn, Natasha Diamond-Walker and Pierre Bernard.

Judit Reigl
Drape/Decoding (Drape/Décodage)
1973
Tempera imprint on canvas
140 x 96 in (340 x 240 cm)



UNDER THE SURFACE: SURREALIST PHOTOGRAPHY, BOWDOIN COLLEGE MUSEUM OF ART

Under the Surface: Surrealist Photography at Bowdoin College Museum of Art, Brunswick ME from February 27-June 1, 2014, featured works by Hans Bellmer, Claude Cahun, David Hare, & Jindřich Štyrský lent by Ubu Gallery.

Hans Bellmer
La Poupée [“The Doll”] 1934
Hand-colored vintage gelatin silver print
3 5/8 x 2 1/2 inches (9.2 x 6.3 cm)




HANNAH HÖCH, WHITECHAPEL GALLERY

Hannah Höch at Whitechapel Gallery, London from January 15-March 23, 2014, featured works by Hannah Höch lent by Ubu Gallery.

Hannah Höch
Portrait in Holland
1929
Vintage gelatin silver print
4.5 x 3.4 inches (11.4 x 8.6 cm)
Signed, titled & dated with ink on verso




PERFORMER AS CURATOR: ALISON GOLDFRAPP, THE LOWRY

Performer as Curator: Alison Goldfrapp at The Lowry, Manchester (UK) from October 19, 2013 to March 2, 2014, featured works by Hans Bellmer and Unica Zürn lent by Ubu Gallery.

Unica Zürn
Alle guten Geister!
1954
Ink on paper cornered into original mat
6 1/8 x 9 inches (15.7 x 22.8 cm) – image
Signed on recto




FIAC! 2013

FIAC! 2013, Paris from October 24-27, 2013, featured works by Hans Bellmer, Janusz Maria Brzeski, Otto Dix, George Grosz, Georges Hugnet, André Kertész, Pablo Picasso, Pierre Molinier, Franz Roh, Jindřich Štyrský, Andy Warhol, Stanislaw Ignacy Witkiewicz

Georges Hugnet
En cours de route…
Collage
6 1/2 x 6 7/8 inches (16.5 x 17.5 cm)
(HUGN 118)




FRIEZE MASTERS 2013

Frieze Masters 2013 , London from October 17 – 20, 2013, featured works by Berndt & Hilla Becher, Hans Bellmer, Claude Cahun, Joseph Cornell, Otto Dix, Max ErnstDavid Hare, Raoul Hausmann, Hannah Höch, Georges Hugnet, Kurt Kranz, Roberto Matta, Johannes Molzahn, Meret Oppenheim, Hans Schmitz, George Scholz, Waclaw Karol Szpakowski, Stanislaw Ignacy Witkiewicz, Unica Zürn

Hans Bellmer
Nous la suivons à pas lents
Hand-colored gelatin silver print on original masonite mount
58 1/4 x 39 3/8 inches (148 x 100 cm)
Signed on recto
(BELL 241)




SELECTIONS FROM GALLERY INVENTORY

Selections from the Gallery Inventory from July 25 to November 8, 2013, featured works by Hans Bellmer, Janusz Maria Brzeski, Marcel Duchamp, Georges Hugnet, Nils Karsten, Jerzy Kujawski, Helmar Lerski, Andre Racz, Dr. Franz Roh, Roland Sabatier, Alain Satié, Stefan Themerson, Jacques Villeglé

Hans Bellmer
Untitled (Hands Triptych)
1933-34
Gelatin silver print
2 1/2 x 2 1/2 inches (6.4 x 6.4 cm)
Blind-stamped on recto




HANS BELLMER, HAIR AND SKIN, DEREK ELLER GALLERY

Derek Eller Gallery, New York showed works by our favorite artist, Hans Bellmer, in their exhibition, Hair and Skin, which was on display from July 9 to August 15, 2013.

Hans Bellmer
La Poupée [The Doll] Vintage gelatin silver print
3 3/8 x 2 1/4 inches (8.7 x 5.9 cm)
(BELL 121)




KURT SCHWITTERS, REMIX: SELECTIONS FROM THE INTERNATIONAL COLLAGE CENTER, KATONAH MUSEUM OF ART

The Katonah Museum of Art (NY) exhibited one of our Kurt Schwitters works in their show, Remix: Selections from the International Collage Center, June 30 – October 13, 2013.</a=>

Kurt Schwitters
Mz 2014 / Kommt Uberhaupt nicht in Frage [Completely Out of the Question] 1924
Collage
9 x 6 1/2 inches (22.9 x 16.5 cm)
Signed, titled & dated on recto
(SCHW 9)




WOMEN PHOGRAPHERS IN 1920S – 1930S PARIS, L. PARKER STEPHENSON PHOTOGRAPHS

L. Parker Stephenson Photographs, New York showed Claude Cahun and Ergy Landau photographs lent by Ubu Gallery in their exhibition: Women Photographers in 1920s – 1930s Paris. The show was on display from May 31 through August 2, 2013.

Claude Cahun
Rendent hélas éternels [Alas, Rendered Eternals] ca. 1936
Vintage gelatin silver print mounted on brown stock
7 x 5 inches (17.8 x 12.7 cm) – image
11 5/8 x 8 3/4 inches (29.5 x 22.2 cm) – mount
Titled on recto / Signed on verso
(CAHU 17)




CLAUDE CAHUN, SECESSION SECESSION, FITZROY GALLERY

Fitzroy Gallery, New York opened their exhibition Secession Secession, featuring works by Claude Cahun lent by Ubu Gallery. The exhibition ran from May 4 – June 30, 2013.

Claude Cahun
Untitled (variant of Military Tailors, catalogue raisonné plate 246)
ca. 1936
Vintage gelatin silver print
4 1/4 x 3 1/4 inches (10.8 x 8.3 cm)
(CAHU 31)




ART COLOGNE 2013 REVIEW, FRANKFURTER ALLGEMEINE ZEITUNG

The report from FAZ.NET – Frankfurter Allgemeine Zeitung – on Art Cologne, featured our Hans Bellmer painting and an Oskar Nerlinger work from our partner Galerie Berinson. Art Cologne, Hall 11.2, Booth B39 – April 19 – 22, 2013.

Oskar Nerlinger
Katze
1925
Vintage gelatin silver print
4 3/8 x 5 3/8 inches (11.2 x 13.7 cm)




ART COLOGNE 2013

Our partner, Galerie Berinson, participated in Art Cologne 2013. This Hans Bellmer work, among others, was displayed at Hall 11.2, Booth B39.

Hans Bellmer
Marseille
1932
Oil on panel
21 1/4 x 25 1/2 inches (54 x 65 cm)
Signed & dated on recto
(BELL 413)




CLAUDE CAHUN, GALERIE DE FRANCE

This Claude Cahun work was exhibited, among others lent by Ubu Gallery, at Galerie de France, Paris from March 23 – April 27, 2013.

Claude Cahun
Untitled (jawbone on a tray with objects)
ca. 1936
Vintage gelatin silver print
4 5/8 x 4 5/8 inches (11.7 x 11.7 cm) – image
7 x 4 7/8 inches (17.8 x 12.4 cm) – sheet
(CAHU 27)




JINDŘICH ŠTYRSKÝ, DREAMS, THE BROOKLYN RAIL

Thank you to Valery Oisteanu for another great review, Jindřich Štyrský: Dreams, in the The Brooklyn Rail.

Jindřich Štyrský
Sen o opuštěném domĕ [Dream about a Derelict House] 1940
Pencil on paper
9 x 11 inches (23 x 28 cm) – by sight
Signed & dated on recto
(STYR 92)




FRIEZE MASTERS 2013, REGENTS PARK, LONDON

Ubu Gallery was pleased to have announced our participation in Frieze Masters 2013, London! We worked with our partner Galerie Berinson, Berlin. The fair took place October 17 – 20 at Regent’s Park.



FRANZ ROH, TEA TENERIFE ESPACIO DE LAS ARTES

The gallery’s extensive collection of Franz Roh was on view at TEA Tenerife Espacio de las Artes. The exhibition ran until June 23, 2013.



THE THEMERSONS AND THE AVANT-GARDE, MUZEUM SZTUKI W ŁODZI

The Themersons and the Avant-Garde opened on February 22 at the Muzeum Sztuki w Łodzi, Poland. Featuring 43 of Ubu Gallery’s Stefan Themerson works, this exhibition ran until May 5, 2013.



DRAWING SURREALISM, THE MORGAN LIBRARY & MUSEUM

Ubu Gallery was proud to have contributed seven works to Drawing Surrealism, a beautifully organized exhibition at The Morgan Library & Museum, New York. The exhibition received a review in The New York Times.



JINDŘICH ŠTYRSKÝ, DREAMS

“Sleep is a bee that gathers honey for reminiscence to savour…We have no reminiscences, but we try to construct them” – Jindřich Štyrský. Our new exhibition Jindřich Štyrský: Dreams opened January 22 at the gallery and continued until June 28, 2013.

Jindřich Štyrský
Untitled (from Na jehlách těchto dní [On the Needles of These Days] – p. 19)
1934 (printed in or before 1941)
Vintage gelatin silver print
3 5/8 x 3 1/2 inches (9.2 x 8.9 cm)
(STYR 28)




DRAWING SURREALISM, THE MORGAN LIBRARY & MUSEUM

This Vane Bor photogram was reproduced in the publication Nemoguce (1930), one of the most celebrated and important documents of Serbian Surrealism. The brainchild of the poet and writer Marko Ristic, the publication featured an assemblage of Serbian and French Surrealist documents, images, poems, manifestos & rants. The Morgan Library & Museum displayed this work, plus many others, in their exhibition Drawing Surrealism. Works by Hans Bellmer, Dusan Matic, Ljubiša Jocić, Gerome Kamrowski and others were loaned by Ubu to this major Surrealist exhibition.

Vane Bor
Untitled (from Nemoguce)
ca. 1930
Vintage gelatin silver print (photogram)
7 x 9 3/8 inches (17.8 x 23.8 cm)
Signed on recto
(VBOR 1)