Galerie Paul Andriesse
Material and Metaphor. The Galerie Paul Andriesse was established on Prinsengracht alongside one of Amsterdam's picturesque canals at the beginning of 1984. That was when the young proprietor, who also worked as a photographer, took over the Galerie Helen van der Meij, where he once worked as an assistant some years before. Mrs van der Meij had been running her gallery since 1970, with German artists as Sigmar Polke, Markus Lüpertz and Anselm Kiefer forming the focal points of her programme. Paul Andriesse gave this focus more depth by including in his programme the German artists Werner Büttner and Albert Oehlen, who first exhibited in his showrooms in the summer of 1984. But is goes without saying that the new owner also had an agenda of his own from the outset, in particular the trio Marlene Dumas, René Däniels, and Erik Andriesse, his brother. Paul Andriesse described his close relationship with these three as follows: 'I grew up with Erik, in other words with his way of creating art. His painting is very intense and almost obsessive. I noticed this all the more because at the same time I was starting with photography. A quite different, extreme, experience was my friendship with René Daniels, whom I met in 1979. His pictures are set in an imaginary world and, from there, they open up totally new associations for me. Marlene Dumas I met a short time previously via Erik; she represents the female aspect. I am greatly fascinated by the literary and political references in her work, into which poetic levels are often integrated.' Here Paul Andriesse hints at an aesthetic element typical of most the artists he represents: they are characterized by a high degree of material awareness, which allows them to develop convincing metaphors. In the late 1980s, with artists such as Richard Wentworth and John Chamberlain, Henk Visch and Keith Edmier, Paul Andriesse switched to the discussion regarding the formal and narrative possibilities of contemporary sculpture. In particular the Dutchman Henk Visch, who had his debut in the gallery at the end of 1984, with his figures as crude as they are poetic, is characteristic of the gallery's programmatic attitude on this issue. In the 1990s the Galerie Paul Andriesse concentrated increasingly on art photography. In the spring of 1990 it was Jean-Marc Bustamante who ushered in a whole series of interesting photographic exhibitions. He was followed by, among others, Thomas Struth, James Welling, Nobuyoshi Araki, Paul Graham and Sharon Lockhart. ... Another of the gallery programme's central positions is represented by the Austrian twin sisters Christine and Irene Hohenbüchler and their astistic work, as collaborative as it is sensitive, with fringe groups in ous society. The Hohenbüchlers had their first exhibition at the Galerie Paul Andriesse as early as the summer of 1993. To date, they have appeared no fewer than nine times in group and solo (or duo) exhibitions. This too is Typical of the Galerie Paul Andriesse: consistency, endurance and loyalty.