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Tentoonstelling van de week - Exposition de la semaine
- Exhibition of the week
'Ad Absurdum' - Marta Herford - Herford - Deutschland
Energies of the absurd from modernism till today
A mountain of sugar weighing a ton from which a shopping cart looms; an enormous looking airplane tire attached to a museum wall spins at high speed; two art transport boxes, which in a real moment of fictional mishap became wedged together; a hair-dryer whose sound is magnified and transported via a microphone into the exhibition room...
Ad Absurdum does not supply any watertight theories, but rather explores phenomena taken to the absurd. Where does life begin and when does art end? How is the absurd manifested when it has become reality? Phenomena of the absurd are only seemingly an expression of senselessness – energies of the absurd take visible heigtenings to the extreme.
Absurd things confront us with an irritating, unaccustomed question: How are realities revealed if they function differently than expected and appear to be senseless, illogical and paradox? Logic is (also) a kind of experimentation and surprises even come about where you expect them. In the exhibition Ad Absurdum Jan Hoet presents a selection of works from classic modernity through to contemporary art, each of which in its own way reveals some aspect of what the absurd means in the modern world. Anyone who becomes accustomed to the absurd, will cope well in our age, claimed Absurd playwright Eugene Ionesco.
This exhibition not only marks the start of Jan Hoet’s departure from MARTa Herford, but also a new beginning. Art is intellectual venture capital. This lends it an irregular force, which you can call productive or provocative. Or … absurd.
Energien des Absurden von der Klassischen Moderne zur Gegenwart.
Ein tonnenschwerer Berg von Zucker, aus dem ein Einkaufswagen ragt; ein überdimensional wirkender Flugzeugreifen, der an einer Museumswand befestigt hochtourig in Schwingungen gerät; zwei Kunsttransportkisten, die in einem realen Moment des fiktiven Unglücks ineinander verkeilt sind; ein Haarfön, dessen Betriebsgeräusch durch ein Mikrophon verstärkt in den Ausstellungsraum übertragen wird... .
AD ABSURDUM liefert keine fertigen Thesen, sondern befragt eher ad absurdum gesteigerte Phänomene. Wo beginnt das Leben und wann endet die Kunst? Wie zeigt sich Absurdes, wenn es Wirklichkeit geworden ist? Phänomene des Absurden sind nur scheinbar Ausdruck von Sinnlosigkeit – Energien des Absurden lassen Steigerungen ins Maßlose sichtbar werden.
Absurdes stellt uns eine irritierende, ungewohnte Frage: Wie zeigen sich Realitäten, wenn diese anders als erwartet funktionieren und scheinbar sinnlos und widersinnig-paradox erscheinen? Logik ist (auch) eine Form von Spielerei und Überraschungen entstehen selbst da, wo man sie erwartet. In der Ausstellung AD ABSURDUM präsentiert Jan Hoet einen Querschnitt von Werken der klassischen Moderne bis zur Gegenwartskunst, die jeweils auf eigene Weise etwas vom Sinn des Absurden in der modernen Welt erzählen. "Wer sich an das Absurde gewöhnt, findet sich in unserer Zeit gut zurecht." (Eugene Ionesco)
Mit dieser Ausstellung beginnt nicht nur Jan Hoets Abschied aus dem MARTa Herford, sondern auch ein Neu-Anfang. Kunst ist mentales Risiko-Kapital. Das verleiht ihr eine irreguläre Kraft, die man produktiv oder provokativ nennen kann. Oder … absurd.
Loopt van:
2008-04-19 -
2008-07-27
Website:
http://www.marta-herford.de/pages/de/museum.html
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Museum van de week - Musée de la semaine - Museum of the week
Design Museum - London - United Kingdom
The Design Museum is one of the world’s leading museums devoted to contemporary design in every form from furniture to graphics, and architecture to industrial design. It is working to place design at the centre of contemporary culture. It demonstrates both the richness of the creativity to be found in all forms of design, and its importance. Design is a hugely fertile field of inventive new work, as well as a key component underpinning the modern economy. It provides a means for understanding the contemporary world, and, potentially, for making it a better place. The Design Museum’s mission is to celebrate, entertain, and inform.
Twenty-five years ago, Terence Conran established the forerunner of the Design Museum, the Boilerhouse, in the basement of the Victoria and Albert Museum (V&A) in London. As planned, the Boilerhouse quickly outgrew the V&A and in 1989 it moved on to become the Design Museum, in an architecturally striking transformation of a Thameside warehouse near Tower Bridge. Since then it has emerged as an institution with international status and significance, playing a vital role in making design and architecture a part of the cultural agenda.
The Design Museum has created a substantial new audience for the subject, with a programme of popular exhibitions on design disciplines ranging from car design to fashion, and architecture to graphics. It attracts more than 200,000 people a year through its doors, has a vibrant schools programme, a strong critical reputation and a commitment to academic excellence, demonstrated by its master’s degree in curating design run in conjunction with Kingston University.
The museum remains an independent registered charity, run as a charity governed by a board of trustees. It is supported by a vigorous range of income generating activities from ticket sales, its café, its shop and its events programme and by development income. Since 2005 it has also received an annual grant from the Department of Culture, Media and Sport.
Website:
http://www.designmuseum.org/
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Kunstbeurs van de week - Foire d'art de la semaine - Art Fair of the week
Master Drawings London
- London - United Kingdom
The art of collecting
‘To gather together from a variety of places or over a period of time’ is a definition of collecting and it serves to remind us of the role of Master Drawings in London, inasmuch that collectors, dealers and curators from all over the world join together for a few days to engage with a huge variety of drawings of different periods and many schools.
The desire to possess rare and beautiful things has a history as long as man and the interest in collecting drawings dates from the Renaissance. The majority of earlier collectors were themselves artists and their activities served as practical exercises in gathering working material as well as being acts of homage and we still follow on the paths laid down by Vasari, Rembrandt, Richardson, Hudson, Reynolds, Rubens, Lely, Lawrence, West, Fabre, Wicar and Poynter. The drawings found in these collections have over the years filtered into collections, both private and public, and the resonance of the roll-call of the associations of illustrious provenance such as Christina of Sweden, Arundel, Tessin, Jabach, Koenig, Oppenheimer, Resta, Somers, Baldinucci, Bellori, Mariette, Crozat, Devonshire, Goncourt, Rogers, Esdaile, Malcolm, Ellesmere, Heseltine, Robinson, Wellesley, Morgan, Sachs, Lehman, and Woodner continues to conjure up the romance of study, competition and acquisition as well as the sharing of opinions and enthusiasms.
The impetus, as well as the joy, of collecting is different in every case and it is fascinating to see the very many directions in which this particular passion can lead. With a drawing, one can directly engage with the most basic of intuitive reactions to our world, however, in turn, it can trigger some fairly basic atavistic instincts. Indeed it is the ‘sharing’ that makes the pursuit of drawings whether as a collector, dealer or curator so stimulating and rewarding. Although the competition can be stiff it is rarely aggressive and the joy (and sometimes the frustration) of the process and exercise of connoisseurship brings minds and eyes together in a stimulating and positive process. Friendships made with heads bent in admiration or puzzlement over a flimsy sheet of paper are amongst the most rewarding aspect of the relationship between dealer, client and curator: the process of learning, developing an ‘eye’ and defining an individual taste in partnership. The joy of going around our exhibitions this week is not only the discovery of fine things but the realization that each dealer approaches his subject in an entirely individual manner.
Commerce invariably intrudes in this high-minded pursuit of beauty and there is evidence that even that prince amongst collectors, Lorenzo de Medici, was not above looking at his acquisitions as investments. Whatever the stimulus to acquisition may be, it seems appropriate to end this introduction to Master Drawings Week in London with the words of Henry James in relation to a bowl that might, just as easily have been a drawing: She looked, holding it up in both her fine hands, turning it to the light. "It may be cheap for what it is, but it will be dear, I'm afraid, for me." "Well," said the man, "I can part with it for less than its value. I got it, you see, for less." "For how much then?" …The girl considered. "Then if it's so precious, how comes it to be cheap?" Her host meanwhile, at any rate, answered her question. "Ah, I've had it a long time without selling it. I think I must have been keeping it, madam, for you." This conjures up the perfect moment of matching a wonderful drawing with an ideal home.
Loopt van:
2008-07-05 -
2008-07-11
Website:
http://www.masterdrawingsinlondon.co.uk/
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Website van de week - Site de la semaine - Website of the week
United Colors of Benetton
Today, the Benetton Group is present in 120 countries around the world. Its core business is fashion apparel: a group with a strong Italian character whose style, quality and passion are clearly seen in its brands, the casual United Colors of Benetton, the glamour oriented Sisley, Playlife American college style and Killer Loop streetwear. The Group produces over 150 million garments every year. Its network of around 5,500 contemporary stores around the world, offers high quality customer services and generates a total turnover of over 2 billion euro
Oggi il Gruppo Benetton è presente in 120 Paesi del mondo. Il suo core business è il settore della moda: il gruppo ha una consolidata identità italiana di stile, qualità e passione, che si riflettono nei marchi United Colors of Benetton, casual, Sisley, più orientato al glamour, Playlife, con uno stile da American college, e Killer Loop , streetwear. L'azienda ha una produzione totale di oltre 150 milioni di capi l'anno. La rete commerciale di circa 5.500 negozi moderni nel mondo offre ai clienti servizi di alta qualità e genera un fatturato totale di oltre 2 miliardi di euro.
Website:
http://www.benettongroup.com/en/home.htm
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