Albrecht Behmel's Blog: über Bücher, Filme und Publikationen
March 20, 2019
Night Cafe
Published on March 20, 2019 01:26
New York and Maastricht
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify; font: 16.0px Arial; color: #1e1e1e; min-height: 18.0px} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify; line-height: 20.0px; font: 16.0px Arial; color: #4d555a; min-height: 18.0px} p.p3 {margin: 0.0px 0.0px 10.0px 0.0px; text-align: justify; line-height: 33.0px; font: 16.0px Arial} p.p4 {margin: 0.0px 0.0px 10.0px 0.0px; text-align: justify; line-height: 33.0px; font: 16.0px Arial; color: #323333} p.p5 {margin: 0.0px 0.0px 10.0px 0.0px; text-align: justify; line-height: 33.0px; font: 16.0px Arial; color: #494949} p.p6 {margin: 0.0px 0.0px 10.0px 0.0px; line-height: 33.0px; font: 16.0px Arial; min-height: 18.0px} p.p7 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Arial; color: #1a192d} p.p8 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Arial; color: #b99667} p.p9 {margin: 0.0px 0.0px 10.0px 0.0px; line-height: 33.0px; font: 16.0px Arial} p.p10 {margin: 0.0px 0.0px 0.0px 0.0px; font: 16.0px Arial; color: #323333; min-height: 18.0px} p.p11 {margin: 0.0px 0.0px 0.0px 0.0px; font: 16.0px Arial; color: #212121; min-height: 18.0px} p.p12 {margin: 0.0px 0.0px 30.0px 0.0px; text-align: justify; line-height: 28.0px; font: 16.0px Arial; color: #323333; min-height: 18.0px} span.s1 {color: #000000} span.s2 {letter-spacing: 1.0px} span.s3 {letter-spacing: 1.0px; color: #323333} span.s4 {color: #1a192d} span.s5 {color: #323333} span.s6 {font: 11.0px Arial}
This year’s TEFAF feels fresh. The grande dame of the art world returns for the 32nd edition and she appears quite rejuvenated. Some 10% of the exhibitors are new, among them Pace Gallery (who last showed there ten years ago), Gmurzynska and Sprüth Magers - and thus the focus seems to have shifted towards contemporary art a little bit.One other likely reason for this new feel is the fair’s sister show in New York (since 2017) which proved a powerful eyeball magnet for European TEFAF as well. The fair is, of course, known for its unique mix of fine art and jewellery. Such a program sounds rather traditional, however TEFAF itself is not. “TEFAF is changing, and change can be really difficult,” CEO Patrick van Maris acknowledged in an interview with artnet. Especially the modern section features 13 new exhibitors out of 59. This is a significant evolution as in the past TEFAF wasn’t exactly known for innovation in this field - because it didn’t have to. Then came New York and things changed. Now, Maastricht is much richer and the fusion of Old Masters, contemporary art, jewellery and design appears to be much more attractive for collectors, writers, critics, curators and the general public. Not everybody is happy though. Nico Delaive is one of them. The Amsterdam-based art dealer sent a bulk email out complaining about the new selection process which cut him out. “After 26 years of participating in TEFAF Maastricht”, he wrote, “we were recently informed by email that for the first time ever we have been put on a waiting list.” This, obviously, is grand old dame code for “goodbye”. Lawsuits followed and some of the old regulars left never to return, however Delaive got a surprise dinner a few days later when loyal customers, and they are worth billions, showed how much they appreciate his gallery.Last Thursday the show started for invited guests and some of the dealers instantly recognised the new vigour. For example, silver dealers Koopman Rare Art from London made a number of sales at the preview, including a set of four candlesticks by Paul Storr from 1808. They had an asking price of 205,000 Euros. Isn’t it nice to start a show this way? However, it is not just the money we should be talking about. We art writers should remember this more often and The European Fine Art Fair’s new global chairman Wim Pijbes agrees, “Art carries a value for collectors that is often more than financial.” This year, Portray recommends English award-winning artist Keith Coventry who is represented by Pace with a series of geometrical works that evoke scientific visualisations or statistical analysis. https://www.pacegallery.com/artists/87/keith-coventry The gallery will also be presenting an array of works by artists like Mary Corse, Louise Nevelson, Kenneth Noland, Tara Donovan, Richard Pousette-Dart, Jean Dubuffet, Tony Smith, Loie Hollowell, Studio Drift, Donald Judd, Mark Tobey, Lee Ufan, James Turrell, Robert Mangold, Brent Wadden, and Piet Mondrian.Another thing I like about TEFAF, whose origins date to 1975 but whose content spans 7,000 years, is how seriously they take their vetting process. I am not aware of another art fair that has such a distinguished list of international experts, 180 in all, who use Hirox digital microscopes, UV and infrared reflectography, direct digital radiography, and X-ray fluorescence portable spectrometers - just to make sure the art on display is for real. The nerd in me was absolutely delighted, because experts like Detlev Kreikenbom of Mainz University, Lieven Daenens, honorary director Design museum Gent, Dedo von Kerssenbrock-Krosigk, head Glasmuseum Hentrich, Düsseldorf, Alfred Pacquement, director emeritus Centre Pompidou and Géza von Habsburg have such amazing stories to share as they make sure the art on display is truly museum grade. Contemporary art is not usually examined on this high level of technical gadgetry because provenance seems to be easier to determine. But is it really? We are wise to expect seismic shifts from start up companies like Verisart who aim to bring blockchain technology to the art world. TEFAF will continue till March 24th.
x
This year’s TEFAF feels fresh. The grande dame of the art world returns for the 32nd edition and she appears quite rejuvenated. Some 10% of the exhibitors are new, among them Pace Gallery (who last showed there ten years ago), Gmurzynska and Sprüth Magers - and thus the focus seems to have shifted towards contemporary art a little bit.One other likely reason for this new feel is the fair’s sister show in New York (since 2017) which proved a powerful eyeball magnet for European TEFAF as well. The fair is, of course, known for its unique mix of fine art and jewellery. Such a program sounds rather traditional, however TEFAF itself is not. “TEFAF is changing, and change can be really difficult,” CEO Patrick van Maris acknowledged in an interview with artnet. Especially the modern section features 13 new exhibitors out of 59. This is a significant evolution as in the past TEFAF wasn’t exactly known for innovation in this field - because it didn’t have to. Then came New York and things changed. Now, Maastricht is much richer and the fusion of Old Masters, contemporary art, jewellery and design appears to be much more attractive for collectors, writers, critics, curators and the general public. Not everybody is happy though. Nico Delaive is one of them. The Amsterdam-based art dealer sent a bulk email out complaining about the new selection process which cut him out. “After 26 years of participating in TEFAF Maastricht”, he wrote, “we were recently informed by email that for the first time ever we have been put on a waiting list.” This, obviously, is grand old dame code for “goodbye”. Lawsuits followed and some of the old regulars left never to return, however Delaive got a surprise dinner a few days later when loyal customers, and they are worth billions, showed how much they appreciate his gallery.Last Thursday the show started for invited guests and some of the dealers instantly recognised the new vigour. For example, silver dealers Koopman Rare Art from London made a number of sales at the preview, including a set of four candlesticks by Paul Storr from 1808. They had an asking price of 205,000 Euros. Isn’t it nice to start a show this way? However, it is not just the money we should be talking about. We art writers should remember this more often and The European Fine Art Fair’s new global chairman Wim Pijbes agrees, “Art carries a value for collectors that is often more than financial.” This year, Portray recommends English award-winning artist Keith Coventry who is represented by Pace with a series of geometrical works that evoke scientific visualisations or statistical analysis. https://www.pacegallery.com/artists/87/keith-coventry The gallery will also be presenting an array of works by artists like Mary Corse, Louise Nevelson, Kenneth Noland, Tara Donovan, Richard Pousette-Dart, Jean Dubuffet, Tony Smith, Loie Hollowell, Studio Drift, Donald Judd, Mark Tobey, Lee Ufan, James Turrell, Robert Mangold, Brent Wadden, and Piet Mondrian.Another thing I like about TEFAF, whose origins date to 1975 but whose content spans 7,000 years, is how seriously they take their vetting process. I am not aware of another art fair that has such a distinguished list of international experts, 180 in all, who use Hirox digital microscopes, UV and infrared reflectography, direct digital radiography, and X-ray fluorescence portable spectrometers - just to make sure the art on display is for real. The nerd in me was absolutely delighted, because experts like Detlev Kreikenbom of Mainz University, Lieven Daenens, honorary director Design museum Gent, Dedo von Kerssenbrock-Krosigk, head Glasmuseum Hentrich, Düsseldorf, Alfred Pacquement, director emeritus Centre Pompidou and Géza von Habsburg have such amazing stories to share as they make sure the art on display is truly museum grade. Contemporary art is not usually examined on this high level of technical gadgetry because provenance seems to be easier to determine. But is it really? We are wise to expect seismic shifts from start up companies like Verisart who aim to bring blockchain technology to the art world. TEFAF will continue till March 24th.
x
Published on March 20, 2019 01:23
May 11, 2018
The Magic of the Swarms
Art is a language spoken by few but understood by many - or perhaps all. As an artist, I create my own language, my own words and grammar hoping to be understood even by those who don’t have time to listen. All I need is a single moment and a mere glance at my work. This is the major advantage of the visual arts, because they are fast and attention is a rare commodity. Books require time to consume, so does film and even music. An image, however, travels at the speed of light. Our eyes take in a new visual language immediately and our minds make sense of it almost as quickly, from the retina via the nerves to the brain - It is all the same thing: the sense making machine which is the foundation of culture. Then miracles start to happen when we recognise a pattern and instantly know the artist.“This is a Mondrian!”,we exclaim.That which we recognise is what we call “style”. It works wherever humans are active, the arts, technology, morse code and even the way we drive a car or a bike. A recognisable style is an asset worth defending wherever you might have it, because you either have no style, then you cannot be identified or you do have a style then you will be copied. Having no style means having no identity and that feels like torture. Humans crave identity and are willing to do almost anything to achieve and protect it. It happens in business, it happens in war. It happens in fine dining and engineering. Some are flattered, some are annoyed because of it, but in the end - there it is. Like a truth created during endless hours.
Artists have several styles, because a style stands for a certain individual identity and over time such an identity will change. Deliberate practice sets real artists apart from amateurs.As we develop a certain style,we explore ourselves in order to pour as much soul into a work as possible. Call it soul, call it spirit or creativity. It doesn’t matter. The more you explore yourself the more familiar you become with yourself which in turn changes who you are. It is like mechanics. This will result in a changed style - cruder, finer, louder, stronger, weaker... It could go any- where from there, as long as there is development at all. Movement saves lives. Movement makes happy.I am obsessed with style. It exists on so many levels and operates like a great teacher. Style of artistic expression, choice of themes and colors, handling my tools, documenting finished works and presenting them to the public. Every part of this machine can and must be improved constantly which leaves very little room for genius or inspiration. The muse is not a faithful friend. She is notoriously unreliable and will do nothing in terms of style. Style is up to us, and so is discipline.
In my visual language “The Magic of the Swarms”, I dissect silhouettes. Shapes of human beings, animals, symbols, plants and even words interact with each other in a geometrical way. The Magic of the Swarms is all about multitudes and connectivity. Just like the chemical elements appear and reappear all over the galaxy, complex human connections are interconnected and ubiquitous. It allows me to tell stories on canvas, to combine unlikely pairs and create landscape effects that are both abstract and figurative. When I look back at the line of my artistic ancestors, I can see Keith Haring and Penck, the makers of medieval church windows and even the artists of the cave paintings in Lascaux.
These ancients, too, played with light and outlines, created colorful stampedes of forms in motion. They told stories and celebrated color. Silhouettes fascinate me. They are both part of the thing they define and not part. Silhouettes are halos, as they are a two dimensional thing which describes a three dimensional object in a four dimensional world. Canvas is never plain. Not on a microscopic level and not in a spiritual sense. I don’t usually share such thoughts during shows or viewings. People don’t ask about it either, and perhaps I am secretly happy about this. My philosophy is not a secret I would guard like a magician would. There is no secret ingredient. Anyone can see what my paintings are all about and how they are made. It takes one second to get it, and yet, people keep looking, so I enjoy watching them explore my work as their eyes follow the intriguing black lines from silhouette to silhouette. It is all in their faces, when they understand the meaning of style and the possible story behind it. Then they smile - and so do I.
Published on May 11, 2018 08:52
October 29, 2017
Old Masters
This is a happy, trippy little video my multi-talented friend Matthias Bewerunge put together about some of my recent works, thanks, buddy! awesome job!
Published on October 29, 2017 21:27
October 25, 2017
Thank you, Cartwheel ART for this post

Published on October 25, 2017 23:39
October 5, 2017
Thanks, Hollywood Times!

Are you a fan of Marvel and the arts? Read this:Pop artist Albrecht Behmel will unveil his new series “The Dark Side of MARVELous” for a select crowd at the Héritage Wine Bar located at 467 North Canon Drive in Beverly Hills on Thursday, October 19th from 7-10 p.m. Light refreshments will be served for guests to enjoy along with the artworks and music.
Published on October 05, 2017 05:05
July 18, 2017
Hollywood Time
Published on July 18, 2017 07:13
May 28, 2017
Where even attorneys can sing

Every day was special with concerts, dinners, talks, and meetings. The heads of HBO and IMBD came to support amfAR and the Creative Coalition, so did Grammy winner Dominic Fallacaro, Cassian Elwes, Scott Mann (The Tournament / The Heist with Robert de Niro), Mia Moretti, Andrew Mancilla, the singing attorney and Julian Lennon and the Haas Brothers, who, as it turned out have family roots in the Black Forest, 50% German and 100% amazing is the formula. I am very excited to be supporting amfAR in the future with CEO Kevin Robert Frost and his wonderful team.


Published on May 28, 2017 02:38
April 30, 2017
Manila - Manhattan - home


I love traveling, but I love coming home more.
This month was crazy: a show in Manila and another one in Manhattan and I wish our little boys could have been there.

In Manila we opened our boxes for a charity platform, Acts of Kindness which helped us to support displaced children in Syria with winter clothes and blankets. I couldn't believe the real estate boom in Manila's new center, very much like Berlin in the early and mid 90's when we still lived there.

Now we are back in the Black Forest, getting ready for our next shows and my next series of paintings.
Published on April 30, 2017 06:14
March 29, 2017
Thanks, Creativ Magazine!
Published on March 29, 2017 09:30
über Bücher, Filme und Publikationen
Albrecht hat in Heidelberg und Berlin Geschichte, Philosophie und Politik studiert. Seit 1999 ist er Autor für Film, Print, Radio und TV, unter anderem für UTB, SR, ARTE, Pro7Sat1 und den RBB. Er lebt
Albrecht hat in Heidelberg und Berlin Geschichte, Philosophie und Politik studiert. Seit 1999 ist er Autor für Film, Print, Radio und TV, unter anderem für UTB, SR, ARTE, Pro7Sat1 und den RBB. Er lebt seit 2012 mit seiner Frau Afraa und seinem Sohn Wieland im Schwarzwald. In diesem Blog geht es um Bücher, Publikationen und kreative Prozesse.
In einigen wissenschaftlichen Arbeiten befasst Albrecht sich mit Themen der Geistesgeschichte, aber auch mit der griechischen Antike, sozialen Mythen aus der jüngeren deutsch-europäischen Vergangenheit und mit den Techniken des wissenschaftlichen Arbeitens. Albrecht ist überzeugt davon, dass es eigentlich keinen Unterschied zwischen wissenschaftlicher Literatur und Unterhaltungsliteratur gibt - vorausgesetzt sie sind gut geschrieben und recherchiert. ...more
In einigen wissenschaftlichen Arbeiten befasst Albrecht sich mit Themen der Geistesgeschichte, aber auch mit der griechischen Antike, sozialen Mythen aus der jüngeren deutsch-europäischen Vergangenheit und mit den Techniken des wissenschaftlichen Arbeitens. Albrecht ist überzeugt davon, dass es eigentlich keinen Unterschied zwischen wissenschaftlicher Literatur und Unterhaltungsliteratur gibt - vorausgesetzt sie sind gut geschrieben und recherchiert. ...more
- Albrecht Behmel's profile
- 9 followers
