Dienstag, 6. Oktober 2020

This week at San Serriffe: exhibition QUILT #01—#30 by Philipp Gufler

The artists’ book ‘Quilt #01 — #30’ presents an ongoing series of quilts –silkscreen printed fabrics– produced since 2013 by Philipp Gufler. By combining text and image, Philipp Gufler's series of works refer to artists, writers, LGBTIQ+ magazines and lost queer spaces, which are often omitted from the history books. The subjects that are central to Gufler’s quilts are closely related to his own artistic practice and interests, but also his personal life. For the occasion of this book presentation, three quilts by Gufler will be on display at San Serriffe. 

"Questioning heteronormative gender roles and gender identity is a thread that runs throughout Gufler’s practice as well as through the series of quilts, for example in Quilt #19, dedicated to Kirsten Nilsson (1931–2017). Born Karl Erick Böttcher in Brandenburg, they worked as a barber and costumier before finding their calling as a ‘female impersonator’ in drag bars in Munich, Berlin and Hamburg. In 1964 Nilsson underwent gender reassignment surgery in Casablanca, Morocco. The operation was extremely risky at the time and patients had to sign an agreement that if they did not survive their body would be cremated and their ashes would be scattered at sea.“ (Quote by Laurie Cluitmans, curator of contemporary art at the Centraal Museum in Utrecht, from Quilt #01 — #30)

From 1957 to 1963 Dutch writer Gerard Reve lived in the Oudezijds Achterburgwal 55 in Amsterdam and often visited the hidden catholic church Ons’ Lieve Heer op Solder. The texts on Quilt #30 (Gerard Reve) from 2019 are referring to his novels Nader tot U from 1966 and Lieve jongens from 1973. 

Quilt #24 (C.) is referring to a character from Guflers artist book ‘Indirect Contact’. In the publication historic figures and contemporaries of Gufler meet outside the boundaries of chronological order. He gives them an indirect voice in the form of appropriated fragments. The persona that links all 21 chapters is Jäcki, based on the protagonist from Hubert Fichte’s novels. Like Fichte, Gufler makes use of the character Jäcki as a screen as well as ambivalent Doppelgänger (who never fully becomes the alter ego). Rather than an identity produced through fixed ways of being, Jäcki explores the self through the constant destabilization of his own identity.

Philipp Gufler works spans various media including silkscreen prints on fabric and mirrors, artist books, performances and video installations. For the video installation ‘Projection on the Crisis (Gauweilereien in Munich)’ (2014) he began researching into the self-organized archive Forum Queeres Archiv München, of which Gufler has since become an active member. Philipp Gufler studied at the Academy of Fine Arts in Munich and attended artist residencies De Ateliers, Amsterdam (2015-2017) and Skowhegan School of Painting & Sculpture, Maine, USA (2019). He published the artist books ‘Projektion auf die Krise’ (2014), ‘I Wanna Give You Devotion’ (2017), ‘Quilt #01-#30’ (2020) and ‘Lana Kaiser’ (2020) with Hammann Von Mier Verlag, Munich and ‘Indirect Contact’ (2017) with BQ, Berlin.

The publication „Quilt #01–#30“ was published by Hammann von Mier Verlag with the kind support by Centraal Museum Utrecht, LfA Förderbank Bayern, Mondriaan Fund, the public fund for visual art and cultural heritage, Stichting Stokroos and the galleries BQ, Berlin and Françoise Heitsch, Munich. San Serriffe wants to thank gallery BQ for the loan of the works on display. 


San Serriffe is open weekly

Thu, Fri, Sat: 1—7 pm

Sun: 1—5 pm

San Serriffe

Sint Annenstraat 30

1012HE Amsterdam

The Netherlands


Freitag, 2. Oktober 2020

Der Anschlag auf Magnus Hirschfeld. Ein Blick auf das reaktionäre München 1920


Splitter 16

Forum Queres Archiv München Der Berliner Arzt und Sexualwissenschaftler Magnus Hirschfeld (1868–1935) war Pionier der Homosexuellenbewegung. Mit der Gründung des Wissenschaftlich-humanitären Komitees (1897) und des Instituts für Sexualwissenschaft (1919) setzte er deutliche Zeichen der Aufklärungsarbeit. Eine seiner zahlreichen Vortragsreisen führte ihn am 4. Oktober 1920 nach München. Nach der Veranstaltung schlugen Reaktionäre ihn brutal zusammen. 

Albert Knoll, Erwin In het Panhuis, Philipp Gufler und Ralf Dose beleuchten die Tätigkeit Hirschfelds, das Geschehen in München und seine Hintergründe.

88 Seiten, Forum Queeres Archiv München e.V., München 2020, ISBN 978-3-935227-23-0

7 € zzgl. Versandkosten


The Attack on Magnus Hirschfeld. A look at reactionary Munich in 1920 [in German]

The Berlin based doctor and sexologist Magnus Hirschfeld (1868–1935) was a pioneer of the gay movement. With the founding of the Wissenschaftlich-humanitären Komitees (Scientific-Humanitarian Committee) in 1897 and the Institut für Sexualwissenschaft (Institut for Sexology) in 1919 he set a precedent for sexual education work. One of his numerous lecture tours took him to Munich on October 4th, 1920. After the event, a group of reactionaries brutally beat him up. 

Albert Knoll. Erwin In het Panhuis, Philipp Gufler and Ralf Dose shed light on Hirschfeld’s activities, the events in Munich and its background.

88 pages, Forum Queeres Archiv München e.V., Munich 2020, ISBN 978-3-935227-23-0

7 € plus shipping costs 


Philipp Gufler, Quilt #32 (Magnus Hirschfeld), 2020, Siebdruck auf Stoff, 180 x 90 cm, Foto: Gert Jan von Rooij, Courtesy: der Künstler und Galerie BQ, Berlin

Freitag, 25. September 2020

Koninklijke Prijs voor Vrije Schilderkunst 2020

De volgende kunstenaars zijn genomineerd voor de Koninklijke Prijs voor Vrije Schilderkunst 2020:

Rinella Alfonso, Maxime Favre, Philipp Gufler, Danielle Hoogendoorn, Matthijs Jeuring, Sophie Lee, Janne Schipper, Leonie Schneider, Benine du Toit, Wouter Venema, Charlott Weise, Lotte Wieringa, Aafke Ytsma, Iriée Zamblé en Dan Zhu.

Koninklijk Paleis
Nieuwezijds Voorburgwal 147, 1012 RJ Amsterdam

Samstag, 12. September 2020

Lana Kaiser film screenings


Lana Kaiser

In 2002, Lana Kaiser became well known in the first season of the German version of the Idol television franchise. She was born in 1985 and went by her birth name Daniel Küblböck. At only 17 years old she polarised the audience with her androgynous appearance and open bisexuality. On September 9th 2018, Lana disappeared from a cruise ship on her way to North America. Most media outlets and the majority of the public didn‘t consider calling her by her chosen name, Lana Kaiser. Philipp Gufler's video installation is a personal portrait of the singer and entertainer. 

Hammann Von Mier Verlag published a corresponding zine with contributions by Philipp Gufler, Fanny Hauser, Eli Hill, Jack Hogan, Viktor Neumann and Rory Pilgrim. Before the video installation will celebrate its premiere next year in Munich (Germany) and Rapperswil (Swiss), the work will be screened before at film festivals. 

Fusion Film Festival, Oslo

World premiere

Monday, 28. September 2020, 16:30

More informations


Chéries Chéris, Paris


Saturday, 21. November 2020, 15:40

Tuesday, 24. November 2020, 22:10

More informations

Sonntag, 23. August 2020




Exhibition: 9.9 – 11.10.2020
Opening: Tuesday, 8.9.2020, 5 – 9 PM

If one follows Lu Märten, a feminist writer and theorist, who started publishing articles on socialism, literature, land reform, women’s rights and art in 1902, it is the provision of art history to assemble an ever-expanding gallery of losses. It catalogues a history of forms lost for life. Philipp Gufler’s work, for all its ancestral halls, all its symbolic ovations and all its historical reference points, does no such thing. Ever. Rather, he reintroduces lives in art, isolating and intensifying pleasure points that did cross paths with art’s modern history but did withhold allegiance. For a very simple reason: “The complex body-fantasy is capable of much higher differentiation to the point of sophistry than positive art and humanities would have us believe to this day ... and not only the future of art and philosophy depends on whether we finally come down to it.”1 These are the words of Peter Gorsen, one of Gufler’s subjects, written in an essay on art he contributed to Armand Mergen’s “Sexualforschung. Stichwort und Bild”, published in Hamburg in 1962, with the support of Germany’s most influential sexual scientist, Hans Giese. The lexicon was a reworked version of the “Bilderlexikon der Erotik” that the Institute for Sexual Science in Vienna had brought out in ten volumes in the 1930s. One of its convictions had been to sideline the normalizing effects of psychoanalysis and counter them with a general pathology of pleasures. In distancing the field of sexuality from its (re)productive societal functions, and laying out a panorama of dysfunctionality in word and image, these two visual encyclopedias offered nothing less than an anthropological reorientation: the techniques, materials and appendages of a labor against reproduction. A labor of self-endangerment. A labor of desire. One could say that Philipp Gufler continues this work.

Gufler’s pieces in that sense are obituaries of living desires that stage a labor-history of pleasure. He invites subjects into it whose investment with artistic labor starts from what Giese calls “a partner-like relationship to oneself”2, at once a relation of alienation and communion. Gufler assembles these tipping points of metamorphosis of industrial illegibility. His mirroring metal sculptures, elementary forms, silkscreened with color palettes, perform an uncannily symbolic role within this scenario. They appear like blanks, windows, opened for pleasures yet unarticulated. Most of them seem to suggest a possible use value, future trays and mirrors of interiors populated by … us? An offer of consumption. Victor Vasarely, whose moldering museum in Aix-en-Provence served as the stage for Gufler’s film “The Responsive Body”, another one of Gufler’s subjects, offered just that in order to locate its excess within the beholder, “exceeding the optical adaptation limits" in which "the required vision becomes the sensation of pain"3. The pain of interrupted self-regeneration here is externalized into the public sphere. And it is pain in its changing forms which Gufler takes seriously as artistic form, exchanging narrations of tormented interiorities, with those of a “partner-like relationship to oneself” within a world of perversion. As Henri Nouveau, the person Giese addresses here without ever naming him, in one of his diary entries “after thirty years of permanent self-analysis and observation”, resumes: “it would be incorrect to call my life wrong, because it is based on irreal ideas; wrong was only that I was looking for reality, desired fulfillment.“4 The deadly hardship of feeling an unmodern life amidst modernity’s triumphal rage—Nouveau wrote this on January 13th 1945—finds itself in the tiniest corner, immersed in a labor of self-invigoration and -consumption. But these are the niches that Gufler opens up anew, that he turns into sequential halls, that he refuses to surrender to the reified exceptionalisms of art history. And here, Märten returns. Her major work “Wesen und Veränderung der Formen / Künste” of 1924 was dedicated studying to “the origin of forms — today called art — (and it) shows that there were no art conceptions and ideas in these beginnings. The forms originate from important life purposes; they are means to achieve them. Their primitive as well as their consummated type comes from a common source – labor.”5 The labor Gufler presents is that of “Autoerotismus”, a labor up for expansion, for communizations, for desires shared as forms of a life that does to offer a utopian outlook, but a “much higher differentiation to the point of sophistry”, a life of forms prepared to redirect its external relations, open to “register: what a spook the day brings…"6

Text by Kerstin Stakemeier

1 Peter Gorsen, Kunst (moderne, bildende) in: Armand Mergen (Hg.), Sexualforschung – Stich- Wort und Bild, Band I und II,Wien, Leipzig, 1963, S.447-516, hier S. 516 Institut für Sexualforschung Wien (Hg.), Bil- der-Lexikon der Erotik, Band I bis X, Wien/ Leipzig 1938. „Der Komplex Leib-Phantasie ist ungleich höherer Differenzierung bis zur Spitzfindigkeit fähig, als positive Kunst und Geisteswissenschaften es ihr bis heute zutrauen … und nicht nur die Zukunft der Kunst und Philosophie hängt davon ab, ob wir uns endlich zu ihr herablassen.“

2 Einführung von Hans Giese, zu Jürg Hansen, Abstraktion vom sinnlichen Erleben (Der Weg eines Malers), in: Hans Giese, Jürg Hansen, Wilfried Rasch (Hrsg.), Psychiatrische Beiträge zur modernen Kunst, Ferdinand Enke Verlag Stuttgart, 1967, S.15 „eine partnerhafte Beziehung zu sich selbst“

3 Peter Gorsen, »Transformierte Alltäglichkeit oder Transzendenz der Kunst«, in: Chris Bezzel, Peter Brückner, Gisela Dischner, Peter Gorsen, Alfred Krvoza, Gabriele Ricke, Alfred Sohn-Rethel u.a., Das Unvermögen der Realität. Beiträge zu einer anderen materialistischen Ästhetik, Berlin, 1974, S. 153, FN 25 “Überschreitung der optischen Adaptionsgrenzen” in der “das geforderte Sehen zur Schmerzempfindung” wird.

4 „es wäre unrichtig mein Leben falsch zu nennen, weil es auf irreellen Vorstellungen basiert; falsch war nur, daß ich Realität suchte, Erfüllung wünschte, Giese, Einführung, S. 21.

5 Lu Märten, Wesen und Veränderung der Formen/Künste. Resultate historisch materialistischer Untersuchungen, Frankfurt am Main, 1924, S.286. „Das Resultat der Untersuchung über die Entstehung der Formen – heute Kunst genannt, ergibt, daß es keine Kunstvorstellungen und Ideen in diesen Anfängen gab. Die Formen entstammen wichtigen Lebenszwecken; sie sind Mittel, diese zu erreichen. Ihre primitive wie vollendete Art entstammt der gemeinsamen Quelle – der Arbeit.“

6 Giese, Einführung, S.21. Beobachten: was für einen Spuk der Tag zuträgt

Volkertplatz 13
AT-1020 Vienna

Photos: Maximilian Anelli-Monti