Peter Rössell
Project by Stalke Out Of Space and Gallery Specta

ART COLOGNE 1996

In 1987 Baghuset Gallery, Denmark was founded, and one of the very central artists, was Peter Rössell. Baghuset was an unobtrusive center for a number of artists, who choose to align themselves with non-expressive, non-speculative aspects of the 80s international art scene.

With this Baghuset took on an art historic tradition, drawing from the whole art of the 20th century, including first and foremost Duchamp, Dada, Surrealism - everyday objects, provocations, grotesques - minimalism, pop, conceptual and fluxus art - simple forms, entertaining effects, idea-art and happenings.

In 1991, Stalke Out Of Space decided, to present the whole group of Baghuset, at the Stockholm Art Fair, and a few years later each artist had a solo-career in process.

Peter Rössell now works a lot with different 'icons', using basic elements reflecting upon the pop-art, together with Commercial Art style and Cartoons. Many of the paintings create their very own story, relating to human life. Sometimes sarcastic and ironic: a more or less readable comment to the viewers, pointing towards elements of life.

This year Stalke Out Of Space and Gallery Specta have the pleasure to present Peter Rössell at his first solo-exhibition in Köln at ART COLOGNE.

Galleri Specta
&
Stalke Out Of Space

MORNING NEWSPAPER JYLLANDS-POSTEN | 13/11/96
CULTURE

The Danish artist Peter Røssel had his own stand for his fiery paintings.

Contrasts in Cologne

Art Fair
By Malene La Cour Rasmussen

ART COLOGNE

It was with mixed feelings that the German gallery world in Cologne anticipated the opening of the 30th international art fair, Art Cologne. The art fair has been an important and central institution in the European art scene for decades.

But after the success of the new art fair in Berlin, Art Forum Berlin, Art Cologne is seriously facing tough competition. The fair is vying to assert itself in the international arena, where top-tier galleries are increasingly favored.

There is no doubt that with the introduction of the ambitious art fair in Berlin, the German art world is focusing more than ever on how Art Cologne will navigate its future challenges.

Goods on Shelves
The Berlin fair attracted attention as it showcased top-quality art with rigorous curating and hard competition among 350 selected galleries. By contrast, Cologne offered an overwhelming selection. When one looks at Art Cologne,compared to the Berlin fair, it comes across as crowded and somewhat problematic for both galleries and collectors.

The format gives individual works less opportunity to shine and instead becomes overwhelming, as countless galleries attempt to capture attention in the crowded setting.

Several of the most notable galleries, including Sweden’s Andreas Brändström and the Norwegian gallery Galleri Wang, have focused their efforts on Berlin rather than Cologne this year. These absences further highlight Cologne’s status as an avant-garde fair with declining momentum.

The Danish galleries Specta and Stalke Out Of Space are part of the fair, emphasizing a strong Scandinavian presence.

Occasional Art

Even though Cologne can no longer be considered an energy center and hub for international modern art, the city currently offers a very interesting exhibition. At the Kölnischer Kunstverein, the Thai artist Rirkrit Tiravanija challenges the entire concept of art. The project is a replica of the artist’s apartment in New York, recreated 1:1. There is a bedroom, bathroom, kitchen, and daily living space. The apartment is open around the clock and free to explore.

Visitors can watch videos, listen to music, or even make themselves something to eat. A gallerist from France even used the bedroom for an overnight stay recently. The installation, which was just awarded the newly established “Central Kunstpreis,” is a clear contrast to the commercial nature of the art fair’s objects. Instead of simply “looking at” the work, Tiravanija’s apartment encourages visitors to “be in” and “live” the artwork.

The audience’s behavior within the apartment is itself the art. Tiravanija’s project attempts, in many ways, to blur the boundaries between art and life, with a clear social intention. Homeless people are welcome to drop by. The installation, titled Untitled (tomorrow is another day), is an ongoing process, constantly changing until the exhibition closes on January 19.

In this apartment, one might also reflect on the future of the art fair format. For change to occur, “Art Cologne” must once again find itself at the center of attention.

By Malene La Cour Rasmussen