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Light Cube Art Gallery – Ronse – Féline Minne – 21.05.2017-18.06.2017 – 6833

Light Cube Art Gallery
Address
St-Martensstraat 12
9600 Ronse
Opening hours
Wednesday up until Sunday 14h – 18h only during scheduled exhibitions
and by appointment
Website

FÉLINE MINNE
‘Drag Race to the Volcano’

Féline Minne (°1987 Gent) lives and works in London. She studied at Kask, Belgium and Kunstakademie Münster, Germany. Currently she’s fully engaged in her Master in Painting degree at the prestigious Royal College of Art, London. The artist / writer builds her work mainly around characters she created in her early youth. It’s a fictive world she modeled a long time ago, back when she was looking for a way to cope with the rather peculiar reality she was living in as a child. But during her early artistic education, she felt that her teachers pushed her to leave her self-created imagery in favour of a, what they called, more serious genre. In the artist’s words, ‘I had to kill my darling’. Today, many years later, Féline is trying to re-create those characters she loved so much. ‘I’m bringing my darlings back to life.’ Her dreamlike canvasses are an expression of her stories and emotions, brought through symbolism, craftsmanship and humor.
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Ruiz-Healy Art presents a solo exhibition by Johanna Calle – San Antonio, TX -11.05.2017-24.06.2017 – 11556

Johanna Calle, Sin título (rejillas) – Antiquus Editores, Bogotá, Colombia – 2/20, serigraph, 2/20 12.25 x 12.25″ Framed.

Ruiz-Healy Art presents a solo exhibition highlighting work by internationally renowned artist Johanna Calle.

Born in Bogotá, Colombia, Calle gracefully investigates lines with a preference for a black and white palette. Her exploration of drawing and pushing the medium into a wide variety of techniques are at the heart of her formal practice. Her method of line making is that of a physical approach–one that includes wire, stitching, text, along with the more traditional use of ink and pencil. The artist is contently expanding and reconfiguring the very idea of a line and mark making.
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Modernism focus at Vanderbilt – Nashville, TENN – 28.04.2017-17.09.2017 – 12556

Morris Davidson (American, 1898–1979), Composition with Saw, 1936. Oil on canvas, 21-1/2” x 27-1/2”. Rosenfeld/Davidson Family Collection

American Modernism at Mid-Century: The Work of Morris Davidson is the first comprehensive survey of a little-known yet important twentieth century American artist, presenting new research into the significance of his life’s work and using it as a lens to view many iterations of abstraction practiced from the 1930s through the 1970s.
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Fondazione Prada presents “The Boat is Leaking. The Captain Lied” – Venice – 13.05.2017-26.11.2017 – 10556

View of the exhibition “The boat is Leaking. The Captain Lied.” Fondazione Prada, Venice 13 May 2017 – 26 November 2017 Photo Delfino Sisto Legnani and Marco Cappelletti Courtesy Fondazione Prada.

From 13 May to 26 November 2017, Fondazione Prada presents in its Venetian venue “The Boat is Leaking. The Captain Lied.”, a transmedia exhibition project, the result of an ongoing, in-depth exchange between writer and filmmaker Alexander Kluge, artist Thomas Demand, stage and costume designer Anna Viebrock and curator Udo Kittelmann.
Continue reading “Fondazione Prada presents “The Boat is Leaking. The Captain Lied” – Venice – 13.05.2017-26.11.2017 – 10556″

Pakistan’s most revered artist leads first ever sale dedicated to Pakistani art at Bonhams in London – 24.05.2017 – 7556

Crucifixion by Sadequain. Estimate £60,000-90,000. Photo: Bonhams.

Works by Sadequain (1937-87), Pakistan’s most revered and versatile painter and calligrapher, lead Bonhams Art of Pakistan Sale at Bonhams New Bond Street, London on 24 May 2017. This is the first sale entirely dedicated to Pakistani art to be held by an international auction house.
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World’s most famous movie house turns 90 – Los Angeles – 8556

The artwork which began in 1928 by Chinese-born American actor Keye Luke remains decorating the ornate ceiling inside the TCL Chinese Theater in Hollywood, California, as seen on May 15, 2017, ahead of the 90th anniversary of one of Hollywood’s most iconic landmarks, famous for the Hand and Foot prints of movie stars and directors, whose opening on May 18, 1927 was one of the most spectacular in motion picture history when Sid Grauman, Mary Pickford, Douglas Fairbanks, Sr. and Howard Schenck opened Grauman’s Chinese Theater. In 2013 more than $5 million was paid by Chinese TV maker TCL for naming rights of the Hollywood landmark, which remains one of the most popular theaters in Hollywood for studio premieres. FREDERIC J. BROWN / AFP.
by Frankie Taggart

Shirley Temple did it barefoot. Mel Brooks wore an extra finger. Whoopi Goldberg buried her dreadlocks. Steve McQueen and actress wife Ali MacGraw did it facing the wrong way.
An old aphorism says that to visit Los Angeles and not see the iconic hand and foot prints of Hollywood’s biggest stars in the imposing courtyard of the TCL Chinese Theatre is like going to the Middle Kingdom and not walking The Great Wall.
On Thursday, the world’s most famous picture house celebrates 90 years at the epicenter of the movie business, the venue of many of Tinseltown’s most glamorous showbiz moments through 16 presidents, a world war and three huge earthquakes.
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Galerie Lieve Lambrecht – Merendree – Bea Van Dorpe – 25.05.2017-18.06.2017 – 6830

Galerie Lieve Lambrecht
Address
Oostergemstraat 18
9850 Merendree
Opening hours
Friday up until Sunday 14h – 19h
Website

Bea Van Dorpe (°1944) is vooral bekend omwille van haar monumentale sculpturen in klei.
Haar beeldhouwwerken zijn androïdes, menselijke figuren oprijzend uit het oermateriaal van de aarde en gemaakt met een diepe liefde voor de materie.
Ze staan er zeer vredevol bij, een mengeling van geestelijke vrijheid en vormelijke gebondenheid.
Sculpturen die doen denken aan Pompei, schepsels van een vergeten beschaving in wiens blik de oneindigheid weerspiegeld wordt.
Bea Van Dorpe wisselt het kneden van de klei af met periodes van intens schilderen.
Continue reading “Galerie Lieve Lambrecht – Merendree – Bea Van Dorpe – 25.05.2017-18.06.2017 – 6830”

Galerie Valérie Bach – Brussels – Douglas White – 17.06.2017-20.07.2017 – 6829

Galerie Valérie Bach
Address
rue Veydt 15
1060 Brussels
Opening hours
Tuesday up until Saturday 11h – 18h
Website


DOUGLAS WHITE

La galerie valérie Bach présente la première exposition personnelle de Douglas White à Bruxelles. Elle avait déjà présenté le travail de cet artiste anglais lors de l’exposition collective « Force ofNature » en 2016 sous le commissariat de James Putnam, puis sur son stand au Salon du Dessin Contemporain Drawing Now, à Paris, en mars 2017.
Douglas White est diplômé de la Ruskin School of Drawing and Fine Art (2000) et du Royal College of Art de Londres (2005). Son travail a été exposé au Royaume-Uni mais aussi en Europe, aux Etats-Unis et en Amérique du Sud. Ses oeuvres font partie de nombreuses collections : David Roberts Art Foundation, Saatchi Collection, Frank Cohen, Cass Sculpture Foundation pour n’en citer que quelques-unes.
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Kelvingrove Museum begins preparations for Charles Rennie Mackintosh exhibition in 2018 – 8555

Stephanie De Roemer assessing The May Queen.

Glasgow Museums will commemorate the 150th anniversary of the birth of Glasgow born architect, designer and artist Charles Rennie Mackintosh with an extensive programme of events throughout 2018. One highlight will be a significant temporary exhibition, hosted at Kelvingrove Art Gallery and Museum.
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Artcurial to offer part of the collections of the château de Malicorne – Paris – 13.06.2017 – 7555

Chateau de Malicorne. © Artcurial.

On June 13th, Artcurial will disperse part of the collections of the château de Malicorne, in the Sarthe. Built in the 18th century on the ruins of an ancient medieval building, it was acquired in 1850 by Caroline Oudinot, one of the daughters of the Maréchal of the Empire Nicolas-Charles Oudinot (1767-1847). She kept there a part of her father’s collections, which have since remained in the hands of the same family. Comprised of 300 lots, the ensemble includes nearly one hundred of the Maréchal Oudinot’s historical memories.
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Large-scale retrospective of the life and work of Robert Mapplethorpe in Rotterdam – 22.04.2017-27.08.2017 – 10555

Robert Mapplethorpe, Self-Portrait, 1980. Gelatin silver print. Image: 13 3/4 × 13 3/4 in. Gift of The Robert Mapplethorpe Foundation to the Los Angeles County Museum of Art and to The J. Paul Getty Trust Photography.

From Saturday 22 April the Kunsthal Rotterdam is presenting a large-scale retrospective of the life and work of Robert Mapplethorpe (1946-1989), one of the most influential artists and photographers of the 20th century. More than two decades after his death, his work remains controversial and tests the limits of what is artistically possible. The exhibition offers an impressive survey of his career, from early works in the late 1960s to the art world success he established in the 1980s. More than 200 objects throw new light on his preferred genres: portraiture, self-portraiture, the nude, and still life.
Continue reading “Large-scale retrospective of the life and work of Robert Mapplethorpe in Rotterdam – 22.04.2017-27.08.2017 – 10555”

Next at Newcomb Museum: Contemporary art from Puerto Rico – New Orleans – 26.04.2017-09.07.2017 – 12555

Arnaldo Roche Rabell, Liars and Deceivers, 2007.

The Newcomb Art Museum of Tulane University presents Beyond the Canvas: Contemporary Art from Puerto Rico showcasing the work of Zilia Sánchez (b.1926), Julio Suárez (b.1947), Arnaldo Roche Rabell (b.1955), Pedro Vélez (b.1971), and Elsa María Meléndez (b.1974). The exhibition, on view from April 26 through July 9, coincides with the 100th anniversary of Puerto Ricans’ U.S. citizenship.

Spanning several generations, these five Puerto Rico-based artists challenge the notion of the canvas as a flat surface for painted images. Through tension-based strategies applied on the fabric—whether pulling, rubbing, folding, slashing, ripping, sewing, or warping—they lend their works a distinctive three- dimensionality. Exhibition co-curator and architect Warren James discovered this shared approach, explaining, “There is a particular way these artists in Puerto Rico are manipulating the canvas that has not been seen before.”

Their provocative treatments also allude to the island’s current socioeconomic crisis in works that suggest rupture, tension, and escape. Puerto Rico’s staggering debt, record emigration, and referendum on political status set for this June have all garnered headlines in the mainland United States. James reflects, “This is the perfect time to take the pulse of the island—to see what artists are saying with their work.” Continue reading “Next at Newcomb Museum: Contemporary art from Puerto Rico – New Orleans – 26.04.2017-09.07.2017 – 12555”

Joan B. Mirviss Ltd. presents works by Takegoshi Jun and Nakamura Takuo – New York – 02.05.2017-07.06.2017 – 11555

Takegoshi Jun, Square vessel with sloped shoulders depicting scenes of Japanese crested ibises, 2017. Porcelain with polychrome kutani enamel glazes, 10 1/4 x 9 1/4 x 9 in

The first-ever joint exhibition of the two celebrated and innovative ceramic masters, Takegoshi Jun and Nakamura Takuo, both inspired by traditional kutani ware, opened at Joan B Mirviss LTD. Titled Beyond Kutani: Innovation in Color and Form, the much anticipated show will feature both functional and sculptural forms, all boldly decorated with polychrome under-glazing and overglaze enamels. Drawing from the traditional ko-kutani palette of emerald green, mustard yellow, peacock blue, brick red and eggplant purple (go-sai) that is further heightened with a vast array of colorful and metallic glazes derived from classical rinpa decorative traditions, these artists cover their white porcelain or white and red stoneware surfaces with designs based on ancient literature and painting with a strong to nod towards nature. Featuring over 40 new works created expressly for the occasion, this exhibition highlights these two ceramists’ unique and divergent aesthetics, both developed in response to time-honored kutani artistic traditions but cast in very contemporary modes.
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Breathtaking augmented reality art installation on view in Venice – 1028

The AR installation is location specific; installed at thirteen different viewing spots throughout Venice.

Spark+ Art announces “Ascension,” a breathtaking augmented reality art installation by Richard Humann premieres during the 2017 Venice Biennale in Venice, Italy, in conjunction with the European Cultural Centre and the GAA Foundation.

Richard Humann creates an alternate universe within our own universe in his location-based augmented reality (AR) multimedia installation, “Ascension.” The work consists of twelve imaginary constellations suspended in the sky over the magical city of Venice, and can be viewed using an augmented reality app, Membit, on a smart phone or tablet.
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Pushkin State Museum of Fine Arts collateral exhibition at the Venice Biennale – 1024

The show Man as Bird explores the interaction between discoveries in optics and art – fields that are intrinsically connected with an ambition to understand the world and to determine man’s place in it

The Pushkin State Museum of Fine Arts opened the exhibition Man as Bird. Images of Journeys organized as part of the Collateral Events of the 57th International Art Exhibition.

The show Man as Bird explores the interaction between discoveries in optics and art – fields that are intrinsically connected with an ambition to understand the world and to determine man’s place in it. Throughout history, people have tried to push the limits of the visible and find new angles of view by carrying out expeditions to distant places or improving the very means of seeing. This historical journey can be compared to the inner transformation which humans experience throughout life.
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Exhibition explores the connection between movement, the body, and light in art – Salzburg-Mönchsberg – 29.04.2017-24.09.2017 – 10554

Simone Forti, Huddle, 1976. Integral hologram (Multiplex) Plexiglas reinforcement, polymer protective cover, electric light, wood. Exhibition view Simone Forti, 18 Juli—9 November 2014 Generali Foundation Collection—Permanent Loan to the Museum der Moderne Salzburg © Generali Foundation, Photo: Rainer Iglar.

A new thematic presentation showcasing the rich collections of the Museum der Moderne Salzburg is being staged on level [2] at Mönchsberg. The selected works complement each other perfectly and, in addition to pieces from the museum’s own holdings, have been compiled from the following collections: Generali Foundation Collection—Permanent Loan to the Museum der Moderne Salzburg, the Austrian Federal Photography Collection, and the Bank Austria FOTOGRAFIS Collection. The exhibition includes recent acquisitions as well as a room dedicated to the art of Gustav Metzger, the founder of Auto-Destructive art, who recently died at the age of ninety.

The invention of the photographic and film camera opened up new opportunities to record and reflect movement in art. Technological innovations vastly increased artists’ expressive possibilities, although to this day, classic techniques such as drawing continue to be used as a way of perceiving and representing movement. “Artists’ exploration of movement— and of forms of its depiction—also questions the limits and preconditions of the respective (often new) medium. It reflects constants in art, such as the perception of subjects and objects, the factors of space and time, and the role of the viewer within this framework,” says Sabine Breitwieser, Director of the Museum der Moderne Salzburg. “The terms ‘photo’ and ‘kinetics’ come from the Greek words for light and movement. In the 1950s in particular, these two components played an important part in the development of Kinetic art, setting images, objects, or the human body in motion,” Antonia Lotz, Curator of the Generali Foundation Collection explains. The selection of works focuses on various aspects of movement, comprising art forms generally regarded as static—such as drawing, painting, and photography— and moving objects, performance, and film. The exhibition features over one hundred works by approximately thirty artists from nine different countries.

Thematic tour of the exhibition
Dorit Margreiter’s art sets the stage for the exhibition’s theme: Margreiter’s work zentrum (cinéma) (2016) combines the utopia of design and typography with the idea of the mobile, an art object that takes on ever-new forms through constant motion. Responding to currents of air, this freefloating kinetic object is held in balance between stillness and movement while also allowing the viewer to become part of the pictorial space. Margreiter’s series of “light drawings” uses sunlight to capture traces of forms on paper, for which she employs the same letters that compose the word “cinéma” in the mobile. These techniques, and the resulting abstractions, recall photograms in the tradition of Bauhaus and Constructivism. Continue reading “Exhibition explores the connection between movement, the body, and light in art – Salzburg-Mönchsberg – 29.04.2017-24.09.2017 – 10554”

Exhibition of works by Stefan Kürten on view at NextLevel Galerie – Paris – 20.04.2017-03.06.2017 – 11554

Installation View Stefan Kuerten at NextLevel Galerie, 2017.

Stefan Kürten (born in 1963) deals precisely with this longing for a private refuge1 . Almost always, his works feature isolated buildings surrounded by strictly designed gardens or a wild, natural setting, guiding our gaze towards the only piece of architecture. By constantly avoiding the representation of people living in or near the house, he gives his subjects a feeling of neutrality, a subtle way of attracting our attention into his pictorial spaces, as it were. He does not try to tell a story that leaves viewers free to create their own stories by proceeding through associations of ideas. Thus, the intention is not to depict reality, but to evoke an idea of reality that offers each viewer the opportunity to imagine him- or herself in the picture, to get lost inside of it2.

Whether starting with his own photos or in his immediate environment, in books and magazines, Kürten’s paintings are artificially constructed, carefully composed, even if the places evoke a feeling of ‘déjà vu’, these architectures and places do not exist as such in reality.

Kürten depict environments which are not evoking those that one aspires or tries to create – a perfect place to live – a house as a symbol of our dreams and hopes, to modernist architecture close to the Bauhaus style or “Prairie houses“ by Frank Lloyd Wright, whose German and American culture Kürten is familiar with.

However to look better, a break point made itself felt. The indeterminacy of the sources of light casting improbable shadows or unrelated reflections provokes strangeness in these idyllic scenes. The parts are becoming dark and enlightened and vice versa; Paintings look like a negative-photo in colour damaged by time (even here the colours are not affected).

Technically, Stefan Kürten always begins his paintings – on canvas or on paper – with a layer of gold-coloured paint and proceeds by successive overlays: On this preliminary layer, he draws his subject in a very detailed way with sepia ink and then returns to acrylic by fine and successive touches. Thus, it springs from his compositions on a gold background, giving the colours that cover them a discoloured aspect, an indefinable and eerie light.

Kürten clearly refers in his work to the concept that is both artistic and, above all, literary, which developed by Freud3 of the ‘Unheimlich’, and we can translate in English by the “uncanny“4 (Which suddenly disturbs the most ordinary and innocent situations). Here, the house as the bearer of the ‘Unheimlich’, but whose the connection appears to be strictly speaking in our imagination by mentally linking its pictorial spaces with the possible events they induce5. Continue reading “Exhibition of works by Stefan Kürten on view at NextLevel Galerie – Paris – 20.04.2017-03.06.2017 – 11554”

Brigitte Kowanz and Erwin Wurm exhibit at the Austrian pavilion in Venice – 1025

Erwin Wurm, Just about Virtues and Vices in General, 2016 – 2017. Performative One Minute Sculpture. Beitrag Österreich-Pavillon / Contribution Austrian Pavillon. Mixed Media, Caravan, Furniture Pieces. H 245 x B 205 x L 592 cm | H 96 1/2 x B 80 2/3 x L 233 in. Unique. Photo: Eva Würdinger. Copyright: Bildrecht, Vienna 2017.

Christa Steinle, Commissioner of the Austrian Pavilion in 2017, is presenting Brigitte Kowanz and Erwin Wurm, two artistic positions who focus on examining and refining the concept of sculpture in the international art discourse.

With their oeuvres, Brigitte Kowanz and Erwin Wurm – who have both received the Grand Austrian State Prize for their extraordinary work – operate at the intersection between sculpture and architecture. Both react to changes in our perception and experience of space brought about over the past two hundred years by machines, media and new materials.

“Although the most famous phase of Wurm’s work is known as performative sculpture and Brigitte Kowanz’s works as light installations, thus causing them to appear to be worlds apart in terms of designation, they nevertheless work in the same sphere, i.e. on the expansion of the arts ushered in by the rejection of the image. Through the aid of her light installations, Brigitte Kowanz has immaterially redefined space and architecture. With his famous house paraphrases, from ‘House Attack’ (2006) to ‘Narrow House’ (2010), Erwin Wurm has transformed architecture into sculpture, consistently evolving the performative turn of sculpture with his ‘One Minute Sculptures’. Kowanz’s light objects and light spaces with their inherent writing and signs constitute an autonomous achievement for art. With their innovative and independent contributions, Kowanz and Wurm form part of an international movement within the spectrum of an extended concept of sculpture and space”, as Christa Steinle comments on her aesthetic concept for the Austrian pavilion.
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A revolutionary new art tech marketplace for investors and owners – 8554

Art investors, collectors and owners will be able to trade shares in fine art for the first time on a unique online marketplace that will shake up the $56billion industry.

Maecenas is a new platform that will match art owners with investors, creating a fair and open market, reducing costs and bringing transparency to a traditionally opaque world. It will allow any investor to have a fractional share of a masterpiece.

Its creators are using blockchain technology to create an open exchange where works of art valued at more than $1m can be traded in real time as liquid financial units.

Investors will be charged a fee of just 2% per transaction while owners pay 6% of the listed amount for their piece of art – this compares with auction house fees of up to 30%. Its founders believe the fine art market has been largely unchanged for more than 300 years and is ripe for disruption, with increasing interest in art as an alternative investment.

It will democratise access to the art market, allowing investors to own shares in a wide range of high-value pieces of art, creating a diverse portfolio which they can adjust whenever they want. Meanwhile, art owners, collectors and galleries will have much cheaper access to capital, allowing them to raise finance without losing ownership of their asset as they can only list up to 49% of its value.
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New Museum presents the first New York museum survey of the work of Italian artist Carol Rama – New York – 26.04.2017-10.09.2017 – 12554

Carol Rama, L’isola degli ochhi [The Island of Eyes], 1967. Plastic eyes, synthetic resin, and enamel on canvas, 47 1/4 x 63 in (120 x 160 cm) © Archivio Carol Rama, Turin. Photo: Gabriele Gaidano.

“Carol Rama: Antibodies” is the first New York museum survey of the work of Italian artist Carol Rama (b. 1918, Turin, Italy–d. 2015, Turin, Italy) and the largest presentation of her work in the US to date.

While Rama has been largely overlooked in contemporary art discourses, her work has proven prescient and influential for many artists working today, attaining cult status and attracting renewed interest in recent years. Rama’s exhibition at the New Museum will bring together over one hundred of her paintings, objects, and works on paper, highlighting her consistent fascination with the representation of the body. Seen together, these works present a rare opportunity to examine the ways in which Rama’s fantastical anatomies opposed the political ideology of her time and continue to speak to ideas of desire, sacrifice, repression, and liberation. “Carol Rama: Antibodies” celebrates the independence and eccentricity of this legendary artist whose work spanned half a century of contemporary art history and anticipated debates on sexuality, gender, and representation. Encompassing her entire career, the exhibition traces the development from her early erotic, harrowing depictions of “bodies without organs” through later works that invoke innards, fluids, and limbs—a miniature theater of cruelty in which metaphors of contagion and madness counteract every accepted norm. The exhibition is curated by Helga Christoffersen, Assistant Curator, and Massimiliano Gioni, Edlis Neeson Artistic Director, and is accompanied by a fully illustrated publication.

Carol Rama was an Italian artist born in 1918 in Turin, where she lived for most of her life until her death in 2015. Her work has been the subject of numerous solo exhibitions and retrospectives, including the recent traveling exhibition “The Passion According to Carol Rama” (2015–16), presented at Museu d’Art Contemporani de Barcelona; Musée d’Art Moderne de la Ville de Paris; Espoo Museum of Modern Art, Finland; the Irish Museum of Modern Art, Dublin; and Galleria Civica d’Arte Moderna e Contemporanea di Torino. Other important exhibitions include “Carol Rama: Böse Zungen,” Kunsthalle Düsseldorf (2012); “Carol Rama: L’occhio degli occhi: Opere dal 1937 al 2005,” Palazzo Ducale, Genoa (2008); “Carol Rama: Paestum,” Museo Materiali Minimi de Arte Contemporanea, Paestum, Italy (2007); “L’opera incisa 1944–2005,” Galleria Internazionale d’Arte Moderna Ca’ Pesaro, Venice (2006); “Appassionata,” Ulmer Museum, Ulm, Germany (2004–05); the traveling exhibition “Carol Rama” (2004–05), presented at Fondazione Sandretto Re Rebaudengo, Turin, Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Italy, BALTIC Centre for Contemporary Art, Gateshead, UK, and Galerie im Taxispalais, Innsbruck, Austria; “Opere 1936-2000,” Palazzo Massari, Padiglione d’Arte Contemporanea, Ferrara, Italy (2000); and the traveling retrospective “Carol Rama” (1998), presented at Stedelijk Museum, Amsterdam, and the Institute of Contemporary Art Boston. In 2003 she was awarded the Golden Lion for Lifetime Achievement at the Venice Biennale.

Website : New Museum
Source : Artdaily

Fondazione Prada presents “The Boat is Leaking. The Captain Lied” – 1026

 

View of the exhibition “The boat is Leaking. The Captain Lied.” Fondazione Prada, Venice 13 May 2017 – 26 November 2017 Photo Delfino Sisto Legnani and Marco Cappelletti Courtesy Fondazione Prada.

From 13 May to 26 November 2017, Fondazione Prada presents in its Venetian venue “The Boat is Leaking. The Captain Lied.”, a transmedia exhibition project, the result of an ongoing, in-depth exchange between writer and filmmaker Alexander Kluge, artist Thomas Demand, stage and costume designer Anna Viebrock and curator Udo Kittelmann.

The exhibition unfolds on three storeys of the 18th century palazzo – the ground floor and the two main ones – and includes photographic and film works by Demand and Kluge, spatial settings by Anna Viebrock as well as loans from private and public collections.

The long process which led to the realization of this project is not only the result of discussions and exchanges between the authors involved in it, but also the outcome of a misunderstanding. The sharing of a reproduction of a painting by Angelo Morbelli Giorni… ultimi! (1883), generated in the three artists and in the curator different interpretations of its subject, which depicts a group of elderly destitute men within the Pio Albergo Trivulzio in Milan. More specifically, the portrayed individuals had been mistaken for retired sailors spending their old age at the hostel. This suggestion not only caused the marine metaphor in the exhibition title, inspired by Leonard Cohen’s song Everybody Knows (1988), but also the choice to devote a monographic room to Morbelli, hosting seven of his works.
Continue reading “Fondazione Prada presents “The Boat is Leaking. The Captain Lied” – 1026″

K11 Art Foundation at the Venice Biennale: Liang Yuanwei, Behind the Curtain – 1027

Installation image, Liang Yuanwei Behind the Curtain, exhibition produced by K11 Art Foundation in Venice, 2017. Photo Ugo Carmeni Courtesy the K11 Art Foundation.

The K11 Art Foundation is presenting Behind the Curtain, a new exhibition of work by Liang Yuanwei, one of China’s influential names in contemporary art. The show runs simultaneously with the 57th Biennale di Venezia and is curated by Loï c Le Gall, Assistant Curator at Centre Pompidou. Liang Yuanwei represented China in the 54th Biennale di Venezia in 2011

The title of the exhibition, Behind the Curtain, alludes to the operatic traditions of both China and Europe, a stage curtain often being a work of art in its own right but also revealing a reality behind it. Behind the Curtain is an homage to Venice and the Teatro La Fenice, as well as the carnival during which participants wander masked throughout the city. For the artist, the curtain also serves as a paradigm, a representation of the world, a way of looking at things. In the Peking opera where the decor is immutable, a table and two chairs are reconfigured to represent multiple scenes. This same pattern can be understood in the context of traditional Chinese painting: while the subjects remain, the techniques change. The exhibition title, Behind the Curtain also references the exhibition’s revelation of Liang Yuanwei’s intimate artistic practice.
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