Achim Duchow

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Achim Duchow (born October 7, 1948 in Otterndorf ; † September 16, 1993 in Düsseldorf ) was a German painter , sculptor and photographer . Duchow created a diverse body of work that includes drawing , painting , collage , sculpture, and photography . In it he deals critically with art history , the artist cult , the zeitgeist of his generation , international subcultures and the popular media.

Achim Duchow

life and work

Early years, school, training (1948–1971)

Achim Duchow was born in Otterndorf in Lower Saxony in 1948 . In 1951 he moved to Düsseldorf with his family , where he was taught art at the Leibniz Gymnasium by the artist Heinz Mack . Through Mack, Duchow came into contact with the Düsseldorf art scene. In 1962 he switched to the private Paul Gerhardt School, where he completed his school career with a secondary school leaving certificate. From 1965 to 1968 he completed an apprenticeship as a window designer. This was followed by a traineeship as a repro photographer from 1968–69 and another as a b / w photo lab technician from 1969–70. In 1971 Achim Duchow was accepted at the University of Fine Arts in Hamburg and studied with Professors Sigmar Polke , KP Brehmer and Ulrich Rückriem . Achim Duchow initially works on large-format works on paper, psychedelic projections and short films.

Gaspelshof, Original + Fake (1971–1973), Digression: Authorship

Achim Duchow travels to the Netherlands , Spain , Andorra and England . From 1972 the Gaspelshof became a fixed point of contact . The former farm in Willich is rented by Duchow's friend and professor Sigmar Polke and his partner Mariette Althaus and is the meeting place for Polke's circle of friends, which is made up of artists, intellectuals and free spirits. Together they celebrate, experiment with mind-expanding substances and try out alternative forms of life. The focus of being together, however, is artistic production. In addition to individual and original works by individual artists, a large number of joint projects are created in the Gaspelshof - some paintings, photographs and videos are created by collective authorship and can hardly be attributed to individual artists.

From 1972 onwards, Achim Duchow worked intensively on the contemporary press landscape. He reads left-wing magazines that correspond to his alternative way of life, while at the same time critically engaging with the tabloids . In addition, Duchow deals with the history of art and its iconic works and artists. An expression of Duchow's extensive critical preoccupation with contemporary media and art history is the exhibition “Original + Fake” , which he is developing together with Sigmar Polke. The basis of the exhibition is the theft of a Rembrandt painting, which became popular in the media the year before. With 24 main pictures, 14 commentary pictures and a room arrangement of neon tubes and make-up mirrors, the two artists create a total work of art. In addition, a catalog and the artist publication “Franz Liszt likes to come to me for television ...” will appear, which thematically complement and expand the exhibition. The themes of the exhibition and the publications were both the role of the artistic genius and the original work of art, as well as imitation, forgery, destruction and theft of art and its reception in the popular media. Duchow and Polke playfully take up the discourse on originality , reproduction and falsification that has been conducted and received for several decades. It was found prominently in Walter Benjamin's treatise on the aura and in Roland Barthes ' theory on the death of the author , but was also used by many other philosophers (e.g. Guy Debord and Jean Baudrillard ) and artists (see e.g. Appropriation Art ) processed. “Original + Fälschung” was first shown in 1973 at the Westphalian Art Association in Münster . A year later the exhibition can be seen in the Kunstmuseum Bonn . In the catalog published there for the exhibition, Dierk Stemmler describes the special collaboration between the artists in the preparation of the exhibition:

“It is a team effort by several people involved, especially the intensive and extensive collaboration of Achim Duchow, in the pictures as well as in the 'Franz Liszt' publication. However, Polke is not interested in separating hands and ideas - as is typical for his conception - he has expressly used teamwork as a principle. This resulted in a unique, non-stylistic, in many respects open total work of art - if this art-historical term is appropriate here. (If only Polke's name is mentioned from now on, it is for the sake of simplicity.) "

The aforementioned simplification was also made in many other publications and resulted in many works from the Gaspelshof period being exclusively attributed to Polke. For example, in the catalog for the exhibition “Alibis: Sigmar Polke. Retrospective ”from 2015 in the case of works designed jointly at the Gaspelshof, no references to the participating artists. In the meantime, these are receiving more attention: For example, the exhibition “Singular / Plural. Collaborations in the Post-Pop-Polit-Arena, 1969–1980. ”In the Kunsthalle Düsseldorf (2017) the possibilities of collaborative artistic work by artists based in Düsseldorf in the 1970s. In addition to the collaboration, which is also described as the “conscious multiplication of authorship”, the exhibition deals with the then stimulating topics of colonial history, economy and gender.

Duchow also took part in various national and international exhibitions from 1971 to 1973 and continued to travel to various countries, including Spain and Switzerland.

Mu Nieltnam Netorruprup, 13th Sao Paulo Biennale (1973–1975)

In the Kunsthalle Kiel and the Schleswig-Holsteinischer Kunstverein , Achim Duchow, Sigmar Polke , Astrid Heibach , Memphis Schulze and other artists show independent and jointly developed works of art under the title “Mu Nieltnam Netorruprup” . The title, which reads from behind reads “Purple mantle around”, can be understood as an allusion to the children's song A Little Man Standing in the Forest by August Heinrich Hoffmann von Fallersleben . The first verse of the song refers to a fly agaric. The reference is confirmed by the exhibition poster, which shows a large toadstool, among other things. The unusual staging of the fly agaric within the works refer to its hallucinogenic effect and relate to the drug experiments of the alternative Gaspelshof community.

Polke, Blinky Palermo and Georg Baselitz were invited to the 13th São Paulo Biennale in 1975 . Duchow accompanies Polke as his assistant and also brings his own work to Brazil. On the occasion of the Biennale, Duchow, Polke, Astrid Heibach and Katharina Steffen are publishing a 28-page artist newspaper entitled “Day by day ... they take some brain away”. In the form of trendy collages she negotiates topics such as sexuality, political revolution and the sensationalism of the bourgeois press.

We petty bourgeoisie, Greetings from South America (1976–1977)

In 1976, Achim Duchow founded the publishing house “To the right course” (ZRK-Verlag) . Artist books on his own work and the works of artist friends such as Georg Herold , Angelika Oehms and Michael Deistler were published here .

In the same year Duchow took part with Polke, Steffen and Heibach in the exhibition "We petty bourgeois - contemporaries" at the Toni Gerber gallery in Bern. The title takes up Hans Magnus Enzensberger's much-discussed essay “From the inexorable petty bourgeoisie. A sociological cricket. " Enzensberger devotes himself in ironic admiration to the petty bourgeoisie, its achievements and degree of dissemination. The exhibition also addresses the German petty bourgeoisie in an ironic way. The contemporaneity that the subtitle emphasizes is in turn reflected in the processing, partly also in the parody, of current social phenomena such as hippy , proto-punk , the women's movement , terrorism and the mass media . The exhibition consists of a Kodak carousel slide projector with 81 slides and ten large-format gouaches. A clear assignment of the authorship of the individual works is not possible and was not intended by the artists. The catalog for the exhibition “Sigmar Polke & Co. Wir Kleinbürger! Contemporaries "(2010) comments on this as follows:

“To discover was and is a Polke in the plural. [...] In the often multi-handed working method of this time, there are accordingly traces, interventions, ideas and images by Achim Duchow, Astrid Heibach, Katharina Sieverding and Klaus Mettig or Memphis Schulze, Katharina Steffen, Mariette Althaus, Stephan Runge, Mike Hentz, Udo Kier, Martin Kippenberger, Andreas Züst and many others. "

Building on the impressions of the trip to Brazil on the occasion of the São Paulo Biennale, the Bonn gallery Erhard Klein is presenting works by Duchow under the title “Greetings from South America! Your Martin ” . Behind the supposedly friendly greeting Martin hides the Reichsleiter and closest confidante of Adolf Hitler, Martin Bormann . Rumor has it that he fled to South America after the end of World War II. With pictures, drawings, photo albums and documents, Duchow constructs Bormann's supposed escape route. As a critical observer of current affairs, he deals with fascism in South America as well as with National Socialism .

In 1977 Achim Duchow officially finished his studies at the HfbK Hamburg . This year he mainly shows photographs and projections in exhibitions. He also participates in Martin Kippenberger's “Chimera” project in his apartment in Hamburg. As part of the project, Kippenberger continues the concept of the ready-made by elevating things left behind from his friends' drawers to display items.

First trip to Japan (1978–1980)

In the mid-1970s the group disbanded in and around the Gaspelshof and the close collaboration between the artists ended. Between 1977 and 1978 Sigmar Polke and Achim Duchow also ended their joint work, and thanks to a grant from the German Academic Exchange Service (DAAD), Duchow began his first one-year trip to Japan in December 1978. In 1979 he received the Japanese Monbukagakusho Scholarship, with which he extended his stay for another year. During his stay in Japan , Duchow immersed himself deeply in the culture of the Asian country and used his alternative way of life as an artist to gain access to marginalized groups and subcultures . He meets members of the mafia-like, criminal organization Yakuza , gets to know violent Bosozoku biker groups , designs record and magazine covers in the punk and rock scene and helps design the punk nightclub Concrete Club and Osaka No . 1 festivals at the Palms Club in Osaka .

In Japan, Achim Duchow mainly devotes himself to photography . He records his experiences in snapshot-like, observing, almost documentary photographs, which in terms of aesthetics and subject matter are strongly reminiscent of the series “Wir Kleinbürger” from 1976. The recordings prove Duchow's feeling for the zeitgeist of his generation , for the everyday and the strange, for identity and alienation , for pop culture and subculture. Many of the impressions gathered accompany and influence Duchow's work long after his stay in Japan.

Return to Düsseldorf, MedienMafia (1981–1984)

In May 1981 Achim Duchow ended his stay in Japan and returned to Düsseldorf . After a long absence he encounters a foreign art scene in Germany and a changed, extraordinarily fast growing art market , from the center of which he sees himself being pushed out. Sigmar Polke , Martin Kippenberger , Albert Oehlen and other artist friends, with whom he celebrated mutual artistic successes before his trip, are now concentrating on their own market. Duchow is in a phase of reorientation, but continues to take part in exhibitions, including in the Städtisches Kunstmuseum Bonn and in the photo forum of the Mannheimer Kunstverein .

Together with Joe Brockerhoff and Norbert Faehling , Duchow founds the MedienMafia in Düsseldorf. This free association of like-minded people sees itself as a network that other artists have joined over time, including Mike Jansen , Frank Köllges , Stephan Runge , Mischa Kuball , Helmut Steinhauser and Wolfgang Schäfer . The group offers space for exchange and suggestions and is constantly realizing new national and international projects in a wide variety of constellations. The MedienMafia used the port area in Düsseldorf in the 1980s and in this way promoted the cultural activity in this area. The consensus of the alliance is to expand the conventional on all media channels. For example, the band MonoToni's (Joe Brockerhoff, Achim Duchow, Norbert Faehling, Mike Jansen, Stephan Runge) emerged as the network's musical action group.

Second trip to Japan, MediaMafia projects (1985–1988)

In 1985 Achim Duchow traveled to Japan for a second time for a longer period . During his travels, he again focuses on photography . In Tokyo , Duchow created a photographic documentation of the work of the cult director Sogo Ishii on the music videos for the album 1/2 Mensch by the Berlin band Einstürzende Neubauten . In collaboration with the sociologist Wolfgang Düchting , with whom Duchow lived in Osaka , the concept for the film project Japan 8-9-3 was created . The number combination 8-9-3 is a combination without value in the traditional Japanese card game and denotes the Yakuza in initiated circles .

Duchow is also visiting other East Asian countries, including Thailand , the Philippines and China .

In 1986 Stephan Runge initiated the exhibition “Im Hafen” in an empty industrial hall he rented in the Düsseldorf harbor . It is the first large group exhibition organized by the MedienMafia . For two weeks (May 30 to June 15), 20 artists from the Cologne-Düsseldorf region can be seen here, including Fujio Akai , Lisa Cieslik , Al Hansen , Imi Knoebel , Mischa Kuball , Memphis Schulze , Stephan Runge and die Founders Faehling , Brockerhoff and Duchow.

The first exhibition of the series “MedienMafia Presentiert” followed in 1987, also in the Düsseldorf harbor, in which 30 artists took part. Here Duchow presents the three-part series of images "The Geisha sobbing / The Geisha weeps / Geisha wa susurinaki", which was created during another short trip to Japan in the same year.

At the beginning of 1988 Duchow moved into his studio at Ronsdorfer Straße 77a.

Modern times, work for the poor, media mafia presents: Strange and different? (1989-1993)

In 1990 Duchow opened his exhibition “Modern Times” in the Erhard Klein gallery in Bonn . Here he shows works from the years 1989–90. As an example of the artistic strategies he pursues, Duchow makes use of set pieces from everyday cultural events and thus positions himself with humor and irony on current events.

The Neue Aachener Kunstverein is showing the solo exhibition “Would you like to be poor again?”. The title is a humorous allusion to people's financial security needs and possibly a reaction to the changed art market of the 1980s and 1990s. At the end of the 1980s, art became a lifestyle object and prices, especially for Impressionist and modern paintings in general, rose by several hundred percent in just ten years, regardless of the stock market crash of 1987 . Art became an alternative investment object and prices for individual works reached tens of millions. However, this boom ended at the beginning of the 1990s: the economy stagnated, tax inspections of art purchases increased, and response rates from large auction houses rose. The Impressionist market collapsed and speculative investors withdrew their money from the art market, often with heavy losses.

Duchow's “Works for the Poor” , a series of works that has been created since 1990 and shown in 1993 at the Kunstverein Lippstadt eV , critically reflects the market for modern and contemporary art as well as the concept of the artist genius and artist cult. For this purpose, Duchow chooses icons of 20th century art and deliberately imitates their style in a dilettante and (self-) ironic way. He takes up strategies and currents of the conventional understanding of art and transfers them humorously into his work. The artist thus opens a dialogue about authorship and multiple authorship and the associated hierarchies of what is worth seeing. Examples are “Picasso for the poor”, “Bauhaus for the poor” and “Christo for the poor”. Duchow's approach and the artistic idea of ​​“work for the poor” are reminiscent of ideas of appropriation art .

Achim Duchow dies on September 16, 1993 after a short, serious illness.

Until his death he was involved in the preparations for the exhibition “ MedienMafia Presiert : Fremd und anders?”, The opening of which he no longer witnessed. The occasion of the project, in which nine artists and friends of the MedienMafia as well as nine foreign colleagues take part, is the asylum debate of the 1980s and 1990s and, in this context, right-wing populist riots and attacks on asylum seekers and their accommodation at the same time. A prominent example are the riots that lasted several days in Rostock-Lichtenhagen in August 1992: several hundred right-wing extremists threw debris from large concrete slabs and Molotov cocktails at the central reception center for asylum seekers and set fire to a dormitory for former Vietnamese contract workers. Meanwhile, around 3,000 applauding spectators blocked the use of police and rescue workers. Achim Duchow's oil painting “Blindes trust”, which was created in 1990, serves as the poster for the exhibition.

Speaker at the symposium "Sailing close to the wind - An evening with Achim Duchow". From left to right: Gregor Jansen, Hartmut Kraft, Emma Nilsson, Tayfun Belgin, Jörg Jung (wdr), Max Schulze, Astrid Heibach, Ulli Seegers, Katharina Sieverding
Ulli Seegers will speak at the symposium "Sailing close to the wind - An evening with Achim Duchow" on June 28, 2016

Reception: 1993 to today

Central works of the exhibition “Original + Fake” include a. in the Martin-Gropius-Bau in Berlin , in the Rupertinum in Salzburg and again in the Westfälischer Kunstverein Münster . In 2000, a “Hommage à Achim Duchow” took place in the Erhard Klein gallery in Bad Münstereifel , bringing together many important works by 56 artist friends. Under the title “Achim Duchow 1948–1993. Painting and Objects ”, the Back-Raum / Con-Sum in Ronsdorfer Straße 77a in Düsseldorf is showing an extensive exhibition in September 2008. In 2014 Duchow's photographs, which were taken in Japan between 1979 and 1993, will be shown in the exhibition “Japan 8-9-3. Achim Duchow. In search of Japan “shown in the Weltkunstzimmer in Düsseldorf. In 2016 Achim Duchow is part of the exhibition "I like FORTSCHRITT: German Pop Reloaded" in the Mülheim an der Ruhr art museum . In October 2016, the Setareh Gallery in Düsseldorf is showing works from the artist's estate under the title “Achim Duchow”. From July 8th to October 1st, Duchow's collaborative works are in the exhibition “Singular / Plural. Collaborations in the Post-Pop-Polit-Arena. ”Can be seen in the Düsseldorf Kunsthalle. In addition, Duchow is represented in many other group exhibitions in galleries and museums.

On June 28, 2016, a two-semester research project by the Institute for Art History at Heinrich Heine University Düsseldorf, led by Ulli Seegers, culminated in a symposium entitled “SAILING HARD ON THE WIND - an evening with Achim Duchow”, attended by contemporary witnesses and art scholars got together. Tayfun Belgin , director of the Osthaus Museum in Hagen, and Gregor Janssen , director of the Kunsthalle Düsseldorf , gave lectures on the artist's life and work. Contemporary witnesses, including Katharina Sieverding , Astrid Heibach and Erhard Klein , discussed with the artist Max Schulze , the gallery owner Emma Nilsson and the collector Hartmut Kraft.

The research project also provided the impetus for an in-depth scientific examination of Achim Duchow's oeuvre: seminar participant Jana Leiker wrote her master's thesis on aspects of irony, appropriation and the zeitgeist in the works of Achim Duchow. This can be viewed at the Institute for Art History at Heinrich Heine University in Düsseldorf. In addition, the estate is currently compiling a comprehensive directory of Achim Duchow's works.

Exhibitions (selection)

Solo exhibitions

  • 1976 Greetings from South America! Your Martin , Galerie Erhard Klein, Bonn
  • 1983 In Search of Japan , City Museum Düsseldorf
  • 1988 Japan Part I + II , Gallery Kiki Maier-Hahn, Düsseldorf
  • 1990 Modern Times , Erhard Klein Gallery Would you like to be poor again? , New Aachen Art Association , Aachen
  • 1993 Works for the poor , Kunstverein Lippstadt , Lippstadt
  • 2013 Island Guide. He's back - back here? (with Alfred Särchinger), artwork Nippes, Cologne
  • 2014 Japan 8-9-3. Achim Duchow. In search of Japan. Photographs 1979–1993 , Weltkunstzimmer , Düsseldorf
  • 2016 Achim Duchow , Setareh Gallery, Düsseldorf

Group exhibitions

  • 1973
  • 1974
  • 1975
  • 1976
    • Sigmar Polke. Pictures of cloths objects: Selection of works 1962–1971 (with Achim Duchow), Kunsthalle Düsseldorf
    • childerijen, diaprojekties, films (with Sigmar Polke & Astrid Heibach), Stedelijk Van Abbemuseum , Eindhoven
    • We petty bourgeois - contemporaries (with Sigmar Polke, Katharina Steffen & Astrid Heibach), Galerie Toni Gerber, Bern
    • Biennial pictures (with Georg Baselitz, Blinky Palermo, Sigmar Polke), Landesmuseum Bonn
  • 1977
    • Chimera; Feldbrunnenstrasse 3 , Martin Kippenberger apartment , Feldbrunnenstrasse 3, Hamburg
    • Al vostro servizio , apartment Martin Kippenberger, Feldbrunnenstraße 3, Hamburg
    • Sigmar Polke: Photos / Achim Duchow: Projections , Kasseler Kunstverein (Fridericianum)
  • 1979
    • Photography as Art - Art as Photography III , Institute of Contemporary Arts , London (and Centro de Arte Contemporanea, Porto; Fundacao Gulbenkian, Lisbon; Fundació Joan Miró , Barcelona)
    • 1. Extraordinary event in image and sound on the theme of time: misery , Kippenberger's office, Seglitzdamm 2-4, Berlin
  • 1980
    • Multi Media Festival "Ozaka No.1" Palms , 1-2 Minamihorie Nishiku, Osaka
  • 1981
    • Monbukagakusho Scholarship Exhibition , Maki Gallery, Tokyo
    • Photo-no Photo , photo forum in the Mannheimer Kunstverein
  • 1986
    • In the port , port, Düsseldorf
  • 1987
    • MedienMafia Presents , Hafen, Düsseldorf
  • 1989
    • MedienMafia presents , Hotel Intercontinental, Frankfurt
  • 1993
    • MedienMafia presents: Strange and different? , Ronsdorfer Str. 77a (today Weltkunstzimmer and A. Duchow estate), Düsseldorf
  • 1997
    • Melancholy and Eros in Contemporary Art. Murken Collection , Ludwig Forum , Aachen
    • Eyewitnesses. The Hanck Collection , Museum Kunstpalast , Düsseldorf
  • 1999
    • Original + Fake, Collected Rooms - Collected Dreams (with Sigmar Polke), Martin Gropius Bau , Berlin
  • 2000
    • Homage to Achim Duchow , Erhard Klein Gallery, Bad Münstereifel
  • 2003
    • Original + forgery (with Sigmar Polke), Rupertinum , Salzburg
  • 2006
  • 2009
  • 2010
  • 2012
  • 2013
  • 2016
  • 2017

literature

  • Duchow, Achim: Achim Duchow , in: Apex 9 (90), pp. 67-76.
  • Duchow, Achim, Astrid Heibach, Sigmar Polke and Katharina Steffen: Day by Day… They Take Some Brain Away. XIII. Bienal de Sao Paulo (artist magazine and contribution of the Federal Republic of Germany to the Biennale in Sao Paulo). Cologne: Wienand, 1975.
  • o. A .: Media Maffia. Joe Brockerhoff, Chris Kohlhöfer, Achim Duchow, Norbert Faehling, Karl Krull, Michael Burges, Ilona + Wolfgang Weber, Wolfgang Schäfer , in: Apex 9 (90), pp. 78-91.
  • Fuller, Gregory: Kitsch Art. How kitsch becomes art . Cologne: DuMont, 1992.
  • Meister, Helga: Art in Düsseldorf. Artists, designers, academies, museums, galleries, sponsors, cultural policy, meeting places, addresses . Cologne: Kiepenheuer & Witsch, 1988.

Exhibition catalogs

  • Art Publishing Ltd. Dublin (Ed.): Achim Duchow. Works for the poor (exhib. Cat. Lippstadt, Kunstverein Lippstadt, May 16 - June 27, 1993). Düsseldorf: Heinen, 1993.
  • Böhm, Dorothee, Petra Lange-Berndt and Dietmar Rübel (eds.): Polke & Co. Wir Kleinbürger! Contemporaries (Documentation of an exhibition in the Hamburger Kunsthalle, Hamburg, Kunsthalle, March 13, 2009 - January 17, 2010). Cologne: König, 2010.
  • Duchow, Achim and Sigmar Polke: Sigmar Polke - photos, Achim Duchow - projections (artist book and exhibition cat. Kassel, Kasseler Kunstverein, March 12 - April 13, 1977). Kassel: Kunstverein, 1977.
  • Duchow, Achim and Sigmar Polke: Franz Liszt likes to come and see me on television (artist book and exhibitor cat. Münster, Westfälischer Kunstverein Münster, April 29 - May 27, 1973). Münster: Westfälischer Kunstverein, 1973.
  • Dohmen, Werner and Erhard Klein: Achim Duchow (exhib. Cat .: "Modern Times", Erhard Klein Gallery, Bonn, May 1990; "Would you like to be poor again", Neuer Aachener Kunstverein, August 1990; "The informal Duchow" , Josef-Haubrich Kunsthalle, Cologne, October - November 1990). Düsseldorf: Heinen, 1990.
  • Friday, Eberhard (ed.): Sigmar Polke, Achim Duchow. Mu Nieltnam Netorruprup (exhibition cat. Kiel, Kunsthalle zu Kiel & Schleswig-Holsteinischer Kunstverein, April 13 - July 9, 1975). Kiel: Kunsthalle, 1975.
  • Brock, Bazon, Erhard Klein and Ulli Seegers: Achim Duchow. With texts by Ulli Seegers, Bazon Brock and Erhard Klein (exhib.Kat. Viersen, Galerie Reiner Klimczak, 2009). Bonn: Weidle, 2009.
  • Kraft, Helmut and Beate Reese (eds.): I like progress: German Pop Reloaded (exhib.-cat. Mülheim an der Ruhr, Art Museum Mülheim an der Ruhr, March 6 - May 8, 2016; Heidenheim, Heidenheim Art Museum, May 28 January to May 28, 2017; Villingen-Schwenningen, Städtische Galerie Villingen-Schwenningen, June 25 to August 27, 2017). Cologne: Salon, 2016.
  • Kreutzer, Maria (Ed.): My time, my predator. An autonomous exhibition (exhibition cat. Düsseldorf, Kunstpalast, June 25th - August 28th). Düsseldorf: Cultural Office, 1988.
  • We cellar children. Achim Duchow presents Memphis Schulze (Auss.Kat. Düsseldorf, Städtische (Keller) galerie Düsseldorf, August 28 - September 22, 1985). Düsseldorf: Cultural Office, 1985.
  • Stemmler, Dirk: Sigmar Polke. Original + forgery (collaboration with Achim Duchow) (exhib.cat. Bonn, Städtisches Kunstmuseum Bonn, April 23 - June 3, 1974). Bonn: Municipal Art Museum, 1974.

Web links

Newspaper articles / blog articles

Museums / cultural institutions

Videos

Individual evidence

  1. ↑ above: Art theft: "As in the land of milk and honey". Der Spiegel, June 28, 1976, accessed March 13, 2017 .
  2. ^ Dierk Stemmler: Sigmar Polke. ORIGINAL + FAKE. Collaboration with Achim Duchow. Ed .: Städtisches Kunstmuseum Bonn. Bonn 1974, p. without page numbers .
  3. ↑ Kathy Halbreich / Barbara Engelbach (eds.): Alibis: Sigmar Polke. Retrospective, catalog for the exhibition, New York, The Museum of Modern Art, London, Tate Modern, Cologne, Museum Ludwig, 2014-2015 . Munich 2014.
  4. ^ Kunsthalle Düsseldorf (ed.): Singular / Plural. Collaborations in the post-pop-political arena. Booklet accompanying the exhibition, Düsseldorf, Kunsthalle, 2017 . Altenburg 2017, p. o. p .
  5. ^ Petra Meister: Art in Düsseldorf. Artists, designers, art academies, museums, galleries, sponsors, cultural policy, meeting places, addresses . Cologne 1988, p. 166 .
  6. ^ Hans Magnus Enzensberger: Political crumbs . Suhrkamp, ​​Frankfurt am Main 1982, p. 195-206 .
  7. ↑ Dietmar Rübel u. a. (Ed.): Polke & Co. We petty bourgeois! Contemporaries. Documentation of an exhibition in the Hamburger Kunsthalle . Cologne 2010.
  8. ^ Andrea von Hülsen-Esch: Handbook art market. Actors, management and mediation . Ed .: Andrea Hausmann. transcript, Bielefeld 2014, ISBN 978-3-8376-2297-3 , History and Economics of the Art Market - An Overview, p. 51 .
  9. ↑ Dirk Boll: Art can be bought. Free view of the art market . 2nd revised edition. Hatje Cantz, Ostfildern 2011, ISBN 978-3-7757-2814-0 , p. 26 .
  10. ↑ Von Hülsen-Esch: Handbook Art Market, p. 51f.
  11. ↑ Boll: Art is for sale, p. 26.
  12. ^ Boll: Art is for sale, p. 27.
personal data
SURNAME Duchow, Achim
BRIEF DESCRIPTION German painter, sculptor and photographer
DATE OF BIRTH October 7, 1948
PLACE OF BIRTH Otterndorf
DATE OF DEATH September 16, 1993
Place of death Dusseldorf