Mittwoch, 11. November 2020

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

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

Mittwoch, 12. Februar 2020

Forschungsgruppe zu Paul Hoecker / Research group on Paul Hoecker

Im Oktober 2019 bildete sich eine Forschungsgruppe am Forum Queeres Archiv München zu Paul Hoecker. Sie möchte das Leben und das Werk von Paul Hoecker erforschen und weitere Informationen zum Skandal um das Madonnenbildnis von 1898 sammeln.

Der Maler Paul Hoecker (1854–1910) war der erste moderne Professor an der Akademie der Bildenden Künste München. Ein Skandal um eines seiner Gemälde zwang ihn 1898 zum Rücktritt von der Professur. Ihm wurde nachgesagt, dass ihm ein Sexarbeiter Modell für ein Madonnenbild (wahrscheinlich „Ave Maria“, Sammlung der Neuen Pinakothek in München) gestanden hatte, zu welchem er auch private Kontakte pflegte. Bereits davor äußerte er sich in einem Brief an den Berliner Sexualwissenschaftler Magnus Hirschfeld über den Paragraphen 175, der gleichgeschlechtliche Liebe seit 1872 kriminalisierte, und zu seiner eigenen Homosexualität:

„Sie widmen Ihre Kräfte einem der humansten Zwecke, und mit Freuden sehe ich, wie viele Männer der einschlägigen Wissenschaften und andere hervorragende und einflussreiche Leute beitragen wollen, daß dieses grausame Gesetz beseitigt werde, allein ich kann Ihnen meine Unterschrift nicht geben, – weil ich selbst konträrsexuell veranlagt bin.“ 

Hoecker starb nach Aufenthalten u.a. in Capri und Rom 1910 an der „Römischen Malaria“ in München. An Paul Hoecker zu erinnern ist jedoch nicht nur aufgrund seiner Biografie wichtig. Sein Œuvre umfasst ein ausgesprochen vielfältiges Motiv- und Themenspektrum, darunter u.a. holländische Alltagsszenen, religiöse Sittenbilder, Landschaften und humoristischen Pierrotbilder. Insbesondere ist jedoch Paul Hoeckers herausragende Rolle für die Münchner Kunst der Jahrhundertwende als Gründungsmitglied der Münchner Secession sowie als Professor an der Kunstakademie hervorzuheben. Mit seinen modernen Lehrmethoden, wie der Freiluftmalerei und der Schulung des individuellen Blickes, sollte Hoecker während seiner nur siebenjährigen Professur die bis dahin konservative Malereiausbildung an der Münchner Akademie revolutionieren. 

Fast alle Mitglieder der 1899 gegründeten Künstlergruppe Die Scholle waren Schüler in Paul Hoeckers Malereiklasse, genau wie ein Großteil der Illustratoren der damals neu gegründeten Zeitschriften Jugend und Simplicissimus. Seit der Nachlassausstellung 1913 verlieren sich die Spuren seines Gesamtwerks.

Ziele der Forschungsgruppe
  • Erstellung eines Werk- und Ausstellungsverzeichnisses von Paul Hoecker mit Erschließung des Verbleibs der Arbeiten
  • Sammlung weiterer Informationen über seine Aufenthalte in Italien nach seiner Entlassung an der Akademie der Bildenden Künste
  • Vorträge zu Werk und Leben von Paul Hoecker mit eingeladenen Kunsthistoriker*innen
  • Vorbereitung einer Ausstellung, bei der seine Arbeiten das erste Mal seit 1913 ausführlich gezeigt werden 
  • Vorbereitungen für eine Publikation zu Paul Hoecker
  • Reintegration des Künstlers in das kulturelle Bewusstsein der Münchner Stadtgeschichte
Wir stehen bereits in Kontakt mit verschiedenen Archiven und Sammlungen. Aktuell gehören der Gruppe Stefan Gruhne, Philipp Gufler und die Kunsthistorikerin Christina Spachtholz an. 2020 ist eine interne Präsentation über den Stand der Forschung am Forum Queeres Archiv München geplant.

Falls du weitere Informationen über Paul Hoecker hast oder dich ebenfalls für das Leben und die Arbeiten des Künstlers interessierst, nimm gerne Kontakt mit uns auf


In October 2019 a research group was formed at the Forum Queeres Archiv München to investigate the life and work of German painter Paul Hoecker (1854–1910). Two things are of particular interest: Hoecker’s homosexuality and the scandal surrounding his Madonna painting from 1898.

The painter Paul Hoecker was the first ‘modern’ Professor at the Academy of Fine Arts in Munich. He introduced his students to art movements beyond the constraints of the academic art world, such as the Barbizon School, Impressionism, Neo-Impressionism etc. However, a scandal surrounding one of his paintings forced him to resign from the Professorship in 1898. Allegedly he used a male sex worker as the model for a depiction of the Madonna (probably “Ave Maria”, collection of the Neue Pinakothek in Munich), with whom he also maintained a private relationship. During that time, the infamous Paragraph 175, which was first instituted in 1872, criminalized homosexual relations. Long before the scandal broke, Hoecker had written to the Berlin-based sexologist Magnus Hirschfeld about Paragraph 175 as well as about his own homosexuality:

"You dedicate your strength to one of the most humane purposes, and I am pleased to see how many men in the relevant sciences and other excellent and influential people want to contribute to the abolition of this cruel law, but I cannot give you my signature alone – because I myself am predisposed to desire my own sex."

In 1910 Hoecker died in Munich after he returned from a prolonged stay in Italy (Capri, Rome etc.) during which he became infected with “Roman malaria”. Regardless of how remarkable and brave Hoecker’s personal journey was, remembering him is not only important because of his biography. His Œuvre encompasses an extremely diverse range of motifs and topics, including Dutch genre paintings, religious moral portraits, landscapes and humorous Pierrot-paintings. In addition, it is also of importance to emphasize Hoecker’s significant role within the Munich art scene at the turn of the century, which he decisively shaped as a founding member of the Munich Secession as well as a Professor at the Art Academy. During his Professorship, which, due to the scandal, only lasted seven years, Hoecker revolutionized the once strictly conservative painting class at the Munich Academy with his modern teaching methods, such as open-air painting and encouraging students to free their artistic gaze from academic dictates. Almost all members of the artist group Die Scholle(founded in 1899) were pupils in Hoecker’s painting class, as were most of the illustrators of the then newly established magazines Jugend and Simplicissimus.

Goals of the research group
  • Creating a work directory of Paul Hoecker’s artistic Œuvre as well as researching the whereabouts of his works 
  • Gathering more information about his stays in Italy after his dismissal from the Academy of Fine Arts in Munich 
  • Organizing lectures on the work and life of Paul Hoecker with selected Art Historians 
  • Preparing an extensive solo exhibition showcasing Paul Hoecker’s Œuvre in detail for the first time since 1913 
  • Preparations for a publication on Paul Hoecker 
  • Reintegration of the artist into the cultural awareness of Munich’s history 

We are already in contact with various archives and collections. The group currently includes Stefan Gruhne, Philipp Gufler and art historian Christina Spachtholz. An internal presentation on the state of the research at the Forum Queeres Archiv München is planned for the second half of 2020.

If you have more information about Paul Hoecker or you are also interested in the life and work of the artist, please contact us:

Quote: Hirschfeld, Magnus. Von Einst bis Jetzt, 1922, S. 108; 
Abbildung: Paul Hoecker, Ave Maria, um 1898, Öl auf Leinwand, 219 x 236 cm, Neue Pinakothek München



23. Februar – 17. Mai 2020
Kuratiert von Dr. Alejandro Perdomo Daniels
Eröffnung: 22. Februar 2020 um 19 Uhr

Syker Vorwerk – Zentrum für zeitgenössische Kunst
Öffnungszeiten: Mi 15–19, Sa 14–18, So/Feiertag 11–18 Uhr

Donnerstag, 23. Januar 2020

Quilt #01–#03

Philipp Gufler: Quilt #01–#30

16,5 cm x 29,7 cm
208 pages, Softcover
Text by Laurie Cluitmans 
Language: German / English
1st Edition: 700
Editor / Concept: Philipp Gufler
Design: Stefanie Hammann

Quilt #01-#30 is published by Hammann Von Mier Verlag, Munich, with kind support by Centraal Museum Utrecht, LfA Förderbank Bayern, Mondriaan Fund, Stichting Stokroos and the galleries BQ, Berlin and Françoise Heitsch, Munich.

Order here: Hammann Von Mier 

Book presentations:

Centraal Museum, Utrecht

Thursday, February 6 2020, 6 pm
with an artist talk with Bart Rutten

BQ, Berlin

Thursday, February 27 2020, 7 pm
as part of the exhibition "It is getting alive

Sonntag, 12. Januar 2020

Andere Geschiedenis volgens Dirkje Kuik en Philipp Gufler

Quilt #29 (Dirkje Kuik), 2019

Andere Geschiedenis volgens Dirkje Kuik en Philipp Gufler

18 January – 7 June 2020 

Het Centraal Museum Utrecht laat in een nieuwe duotentoonstelling in de ruimte Utrecht Lokaal een selectie werken zien van Dirkje Kuik en Philipp Gufler. In Andere Geschiedenis volgens Dirkje Kuik en Philipp Gufler worden van Dirkje Kuik volop tekeningen, etsen, litho’s en schilderijen met Utrecht als inspiratiebron getoond. In opdracht van het museum heeft de Duitse kunstenaar Philipp Gufler (Augsburg, 1989) een Quilt – een gezeefdrukt doek – gemaakt. Deze maakt onderdeel uit van een serie waarin Gufler kunstenaars, schrijvers, LHBTQI+ tijdschrift en verdwenen queer plekken verbeeldt, zoals Johann Joachim Winckelmann, Wies Smals en Die Freundin. Deze Quilts zullen te zien zijn in de tentoonstelling.

Op donderdag 6 februari gaat Philipp Gufler in gesprek met Bart Rutten om zijn nieuwe boek “Quilt #01-#30” (Hammann Von Mier Verlag, München) te presenteren in het museum.

Agnietenstraat 1 
3512 XA Utrecht

Fotos: © Centraal Museum Utrecht / Jan Kees Steenman and courtesy of BQ, Berlin, Roman März, Berlin

Prospects & Concepts