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″

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”

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”

Bacon, Freud and the School of London explored at Museo Picasso Málaga – 26.04.2017-17.09.2017 – 10553

Installation view. Photo: Jesús Domínguez © Museo Picasso Málaga

In the 1950s a small group of painters who shared the same artistic concerns and were connected by ties of friendship and mutual admiration explored the appearance and vulnerability of the body, with the city of London as their surrounding context. Through the depiction of the figure and their own everyday landscape, these artists conveyed the delicacy and vitality of the human condition while simultaneously developing new approaches and styles, reinventing their manner of representing life with pronounced individuality and imbuing painting with a rare intensity.

While most of the artists achieved critical recognition from the outset, public recognition was slower to arrive, primarily because art centred on the human figure was underestimated from the 1960s to the 1980s, years when abstraction and conceptual art were the prevailing forms of artistic expression. As the exhibition’s curator Elena Crippa has observed, for many years the work of these painters seemed to clash overtly with the artistic discourse of the time, but over the past few decades it has been reassessed and has now been located in a central position that allows for a “richer and more complex understanding of the art and culture of the post-war period.”

London, a city of artistic and personal encounters
After World War II, London assumed the position of Europe’s moral capital. The United Kingdom, which was not invaded in the war, played a strategic role at the end of the conflict and had welcomed refugees of all nationalities fleeing the Nazi regime. At the same time, continental Europe was recovering from invasion and destruction. It was in the British capital that this group of artists coincided, socialised and exhibited, rigorously evolving their own styles and existential positions but with the common denominator of favouring figuration over the prevailing abstraction. Through a markedly personal pictorial approach to the depiction of the human condition in its intimate life moments and encounters, their work emerged at a time when American art was enjoying a period of strength in contrast to a debilitated Europe in the process of reconstruction. Continue reading “Bacon, Freud and the School of London explored at Museo Picasso Málaga – 26.04.2017-17.09.2017 – 10553”

Scottish National Gallery of Modern Art opens exhibition of works by Ed Ruscha – Edinburgh – 29.04.2017-29.04.2018 – 10552

Ed Ruscha, HONK, 1962. Drawing, acrylic paint on paper, 27.9 x 35.2 cm. Collection: Scottish National Gallery of Modern Art. ARTIST ROOMS National Galleries of Scotland and Tate. Acquired jointly through The d’Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 © Ed Ruscha.

Important paintings, drawings and photography spanning 50 years of the career of one of the most significant artists working today, Ed Ruscha (b.1937), have gone on display this spring at the Scottish National Gallery of Modern Art in Edinburgh.

ARTIST ROOMS: Music from the Balconies – Ed Ruscha and Los Angeles is the first exhibition of Ruscha’s art at the Gallery in over a decade. The two-room display features various works which explore the iconic American artist’s deep engagement with West Coast American culture and landscape.

The exhibition takes its title from one of Ruscha’s key paintings, which he generously donated to the ARTIST ROOMS collection in 2009, and which is being shown in Scotland for the first time.

The ARTIST ROOMS collection of modern and contemporary art is jointly owned by the National Galleries of Scotland and Tate on behalf of the nation. Works from the collection are shared with museums and galleries around the UK and more than 40 million people have visited ARTIST ROOMS exhibitions since the collection was established in 2008.

This exhibition is part of the eighth year of the ARTIST ROOMS programme around the UK, giving audiences the chance to see works from the collection in their hometowns, supported by Arts Council England, Art Fund and Creative Scotland. Developed with over 30 Associate venues in partnership with Ferens Art Gallery, Hull, the current programme runs until Spring 2019 and also offers young people the chance to explore works by major artists from the twentieth and twenty-first centuries through creative learning projects. Continue reading “Scottish National Gallery of Modern Art opens exhibition of works by Ed Ruscha – Edinburgh – 29.04.2017-29.04.2018 – 10552”

Houghton Hall opens exhibition of sculptures by Richard Long – Norfolk – 30.04.2017-26.10.2017 – 10551

Wilderness Dreaming, 2017 © Pete Huggins.

A major exhibition of new works by the internationally celebrated British sculptor Richard Long opened at Houghton Hall in Norfolk on Sunday 30 April. The exhibition, EARTH SKY: Richard Long at Houghton, including new work specially commissioned for the grounds at Houghton, will run until 26 October 2017.

Richard Long is one of the most influential figures of conceptual and land art, one of a generation of distinguished British artists who have extended the possibilities of sculpture beyond traditional materials and method. His work is rooted in his deep affinity and engagement with nature.

The artist’s new works in the grounds of Houghton Hall use a variety of materials, including local Carr stone, flint from East Anglia, tree stumps from the Houghton estate, as well as slate from Cornwall. They accompany his permanent sculpture Full Moon Circle, which was commissioned for Houghton in 2003. The exhibition also includes large mud works in the outdoor colonnades, smaller-scale works in gallery spaces, and historic material relating to the artist’s career.

EARTH SKY: Richard Long at Houghton is curated by Lorcan O’Neill in association with the artist. The exhibition is accompanied by a specially produced catalogue, with an essay by Rudi Fuchs, former director of the Stedelijk Museum in Amsterdam, and an interview with the artist.

The show is the largest since Long’s retrospective at Tate Britain in 2009, and an opportunity for visitors to see new site-specific works set within the historic landscape and gardens at Houghton. The exhibition sits alongside permanent artworks by a range of contemporary artists, including James Turrell, Zhan Wang, Jeppe Hein, Stephen Cox, Rachel Whiteread, Anya Gallaccio and Phillip King.

Lord Cholmondeley said: “I am delighted that such an important exhibition of Richard Long’s work is being presented at Houghton. It is particularly exciting that the new works have been created especially for the grounds, with some made from local materials. My hope is that in time Houghton will become a ‘must-see’ destination for those interested in contemporary art and sculpture.”

Website : Houghton Hall
Source : Artdaily

Exhibition at Kunsthall Stavanger focuses on a particularly prolific period in Kiki Kogelnik’s life – Stavanger – 30.03.2017-13.08.2017- 10550

Plug-in Hand, c. 1967. Acrylic on polyurethane and paper mache, 67.5 x 43.6 x 5 cm. Photo: Bent René Synnevåg / Kunsthall Stavanger. Courtesy Kiki Kogelnik Foundation.

Kunsthall Stavanger presents Inner Life, an exhibition of works by Kiki Kogelnik (b. 1935 / d. 1997, lived and worked in New York and Vienna). The exhibition focuses on a particularly prolific period in Kogelnik’s life, during the 1960s and 1970s, when she was working alongside Pop artists such as Andy Warhol, Roy Lichtenstein, and Claes Oldenburg. Kogelnik, well known for her distinctive style, bright color palette, and close relationship to second-wave feminism, employed a variety of media in her investigations into politics, social critique, the space age, and the human body. Her practice resonates with current gender and body politics, technological and cyborgian investigations and concerns. Her works continue to be as relevant today as when they were first created.

The exhibition, which includes several works that have not been on view since the 1960s, emphasizes Kogelnik’s explorations in technology and newly available materials, and her concerns regarding the containment and objectification of women’s bodies. At the center of the exhibition are several sculptural works, most notably 7th Avenue People (c. 1986), Four Groups of People (c. 1986), and Mono (c. 1970). Tracing the bodies of friends and family, Kogelnik utilized their measurements to produce flat but colorful vinyl bodies hung on clothing racks, effectively commenting on the commodification of the body. Inspired by the racks of clothing being rolled down the street outside her studio in Manhattan’s fashion district, the bodies, highly artificial, draped on their hangers like empty skins, allude to a cybernetic future where bodies can be taken on and off.

Kogelnik—way ahead of her time—explored physical abilities extended through mechanical elements built into the body, exemplified by Human Spare Part (c. 1968)—a polyurethane arm connected to a phone handle, and Plug-in Hand (c. 1967), to which an electrical plug is attached. These works hold an eerie relevance today, with the current quest for integrated hardware and software on and inside our bodies. Furthermore, Kogelnik renders the effect of reproductive technology on women’s bodies by repetitively depicting the distinct shape of the DialPak—the round contraceptive-pill dispenser developed in the 1960s. Examples include the paintings Red Scissors (1965), Gee Baby – I’m Sorry (1965), and Green Hand (1964), a mixed-media collage on a baking tray—a nod to what was at the time considered by many to be women’s work. Chandelier Hanging (c. 1970), a pink clip drying rack hung with small vinyl women’s bodies, further emphasizes her frustration with gendered divisions of labor.

On prominent display is the installation Seelenwasche (Soul Laundry) (1992), shown here for the first time since 2003. At the center of the work is a washing machine, which is uninterruptedly cleaning black, white, and grey vinyl bodies, before they are hung to dry on clotheslines. Washing as a ritual is strongly rooted in our culture as a purifier of both the body and soul. Here, technology—the machine—enables a sped-up cleaning process for our times. The washing machine further acts as a metaphor for the womb, as does the film Untitled (Floating) (c. 1964), which shows Kogelnik herself floating, evoking the weightlessness of both the womb and space.

The exhibition is curated by Hanne Mugaas, director and curator at Kunsthall Stavanger, and produced in collaboration with Kiki Kogelnik Foundation. Catalogue published by Hatje Cantz, available June 2017.

Website : Kunsthall Stavanger
Source : Artdaily

Martin-Gropius-Bau presents exhibition of works by Juergen Teller – Berlin – 20.04.2017-03.07.2017 – 10549

Juergen Teller, Frogs and Plates No.1, 2016 © Juergen Teller.

Juergen Teller is one of the world’s most sought-after contemporary photographers. His works, many of which take the form of extensive series, are published in books, magazines and exhibitions.

Born into a family of instrument makers, he had to abandon his apprenticeship as a bowmaker for health reasons. He chose to study photography at the Staatslehranstalt für Photographie in Munich instead and moved to London in 1986. There, he began to work for trendy music, zeitgeist and fashion magazines and came to fame in 1991, when he accompanied the band Nirvana on its Nevermind tour and published his sensitive pictures of the band’s shy frontman Kurt Cobain. Since then his pictures have straddled the interface of art and commercial photography. His stylistic device of choice is the portrait. Working in the areas of music, fashion and celebrities as well as everyday scenes and landscape, he draws on his intuitive feel for people, situations, milieus and clichés to create images of great immediacy and deceptive simplicity. His compositions often convey a sense of the incidental or even slapdash, but on closer inspection it becomes clear that they are very carefully composed and conceptualised. Implicit in many of his works is the deliberate breach of viewer expectations – Teller does not idealise, romanticise or prettify. Instead, his pictures aim for the very core of the subject and foreground the idea of imperfect beauty.

Deliberately distancing himself from the relentless glamour of fashion and people photography, Juergen Teller forged his own distinctive path. In his shoots for well-known fashion designers, he placed supermodels, pop stars and other celebrities in unexpected and often disturbing contexts. His series Kanye, Juergen & Kim, Château d’Ambleville of 2015 is a case in point. Encouraging his sitters to show their individuality and capturing them in seemingly private, intimate moments, away from the glare of public attention, he detaches the images from established visual codes and demystifies the stars in front of his lens. Then again, his skilful compositions make ‘stars’ of inanimate objects and invest them with metaphoric meaning. The opulent book Eating at Hotel Il Pellicano. Juergen Teller, Antonio Guida, Will Self features photographs of extravagantly elegant food by the celebrated Michelin-starred chef Antonio Guida against the backdrop of the chic Tuscan Hotel. Continue reading “Martin-Gropius-Bau presents exhibition of works by Juergen Teller – Berlin – 20.04.2017-03.07.2017 – 10549”

Elliot Dodd produces a new 4K digital film for his first solo show at Zabludowicz Collection – London – 20.04.207-28.05.2017 – 10548

Elliot Dodd, The Manbody, 2017, 4K digital film.

In drawings, sculptures, videos and computer animations, Elliot Dodd responds to the brash and awkward nature of consumer products and contemporary masculinity. His work uses diverse points of reference, both contemporary and historical, to reflect on the fundamentals of human desire as they are shaped through channels of technology, emerging as hyper-smooth surfaces and absurd objects.

For his first solo exhibition, The Manbody, Dodd has produced a new 4K digital film that borrows its stylistic structure from Hip Hop music and commercial promotional videos. The focus is on a conversation between two characters, seated in a luxury people carrier in an underground car park. One of the characters, wearing a camouflage jump suit, is immersed in playing a Sony Playstation VR system throughout. The Manbody forms part of Dodd’s ongoing research into the status and function of Virtual Reality technology.

Plato’s Timaeus, written c. 360 BC, forms the starting point of the script, a dialogue that addresses both the nature of being and base bodily functions from a hyper-masculine viewpoint. Dodd’s fascination lies in how such an all-encompassing worldview meshes together the messy details of organic matter with a longing for a system of universal order. Dodd reformats his sources through precise text and video editing and the use of computer generated avatar masks overlaying the filmed footage. The overall effect is of a reformed reality in which many constituent parts – language, music, animation and filmed footage – are layered and stacked into a fluid and shifting new shape.

Zabludowicz Collection Invites is a programme of solo presentations by UK-based artists who do not currently have representation by a UK commercial gallery.

Elliot Dodd (B. 1978 Jersey, Channel Islands) lives and works in London. He studied at the Royal Academy Schools, London 2013–16. Previously he completed his BA at The Slade School of Fine Art, UCL London 1998-2002. Recent exhibitions include: Virtually Real, collaboration with HTC, Royal Academy of Arts, London, 2017; Semi Self Reflections, Rockelmann &, Berlin, 2017; SUNDAY Art Fair solo presentation, London, 2016; Event Horizon, Gabriel Rolt Gallery, Amsterdam, 2014; Switch, Baltic, Gateshead, 2012; Pluscom, Milton Keynes Gallery, 2013; Ear Found, Ana Cristea Gallery, New York, 2012.

Website : Zabludowicz Collection
Source : Artdaily

Exhibition examines the influence exerted by Bernd and Hilla Becher on their students – Frankfurt – 27.04.2017-13.08.2017 – 10547

Exhibition view “Photographs Become Pictures. The Becher Class” Photo: Städel Museum.

The Städel Museum is staging a comprehensive survey on the Becher Class at the Düsseldorf art academy and the major paradigm shift in the medium of artistic photography with which the Bechers and their students are associated. With the aid of some 200 photographs by Volker Döhne, Andreas Gursky, Candida Höfer, Axel Hütte, Tata Ronkholz, Thomas Ruff, Jörg Sasse, Thomas Struth and Petra Wunderlich – a group of whom some enjoy international renown and others are due for rediscovery –, the exhibition examines the influence exerted by Bernd and Hilla Becher on their students at the Düsseldorf school. What unites the students’ works with those of their teachers? How do they differ? Is there really such a thing as the “Becher School” or is it ‘merely’ a matter of several highly successful photographers who happened to be studying at the ‘right place’ at an especially propitious moment in history? And how have those artists influenced our present conception of what a picture is? Taking the artist duo’s work as a point of departure, the exhibition “Photographs Become Pictures. The Becher Class” will acquaint viewers with the radical changes in the medium of artistic photography that became manifest in the works of the Becher pupils in the eighties and above all the nineties, and investigate the art-historical impact of this development up to the very present. It will feature major large-scale works as well as key early endeavours by the members of what is presumably the most influential generation of German photographers in the field of fine art.

The students of the first in a long line of Becher Classes at the Düsseldorfer art academy introduced elementary changes to contemporary art’s aesthetic, media and economic contexts. They not only contributed decisively to shaping international photography in the 1990s, but also fundamentally redefined the status and perception of artistic photography in general. Their works can be considered as one of the most self-confident emancipations of photography as art in the mediums history, while at the same time reflecting the (not merely digital) moment when the boundaries between the media dissolve.

“Bernd and Hilla Becher’s first – meanwhile world-famous – students played a tremendously important role in establishing photography as an expressive medium on a par with other art forms. The nine artists featured in our show occupy a realm where the distinction between painting and
photography is no longer clear. The permeability of the boundary between the media is deliberate in their work, and in that respect they mirror one of the key focuses of the Städel Museum’s collection of contemporary art”, observes Städel director Dr Philipp Demandt. Continue reading “Exhibition examines the influence exerted by Bernd and Hilla Becher on their students – Frankfurt – 27.04.2017-13.08.2017 – 10547”

Museum Ludwig exhibits works by 2017 Wolfgang Hahn Prize winner Trisha Donnelly – Cologne – 25.04.2017-30.07.2017 – 10546

Trisha Donnelly, Untitled, 2017, Installation view „2017 Wolfgang Hahn Prize“, Museum Ludwig, Cologne, April 25 – July 30, 2017. © Trisha Donnelly. Photo: Fotografie Schulzki.

In 2017 the Gesellschaft für Moderne Kunst am Museum Ludwig in Cologne is awarding the Wolfgang Hahn Prize to Trisha Donnelly. Henriette Reker, the mayor of the City of Cologne, presented the prize. Suzanne Cotter, director of the Serralves Museum of Contemporary Art in Porto and the guest juror in 2017, gave the laudation.

Awarded annually since 1994, the prize aims to: on the one hand, it honors artists for their internationally recognized oeuvre. On the other hand, the prize is linked with the acquisition of a key work by the artist for the collection of the Museum Ludwig. In addition, the recipient is honored with an exhibition and a publication.

The Trisha Donnelly Exhibition: 2017 Wolfgang Hahn Prize
Trisha Donnelly has selected the large hall on the lower level of the Museum Ludwig for her instal-lation. The space is over eight meters high and has an area of some 375 square meters. Trisha Don-nelly has brought together several works in the hall, which a high wall divides into two spaces, to create an overall composition.

The Gesellschaft für Moderne Kunst am Museum Ludwig is acquiring a work from the installation for the collection of the Museum Ludwig.

Central to Donnelly’s works is that she decidedly withdraws them from the routine of interpretation, attribution, and definition. As a rule, there are hardly any press releases, texts, or publications; the viewer searches in vain for work titles. Donnelly’s pieces, with all their peculiarity and individual properties, exist at a specific site and can only be experienced there, in person. In this day and age, her approach is particularly remarkable, presenting an alternative to what is now a typical global hyperpresence due to digitization and social media. Viewers must rely completely on their own perception, activating their imagination, memory, and interpretative abilities, sharpening their powers of observation and senses, immersing themselves in what Donnelly has created expressly for this site, this space.

This also applies to the current installation, on which Donnelly worked intensively over several weeks.

Website : Museum Ludwig
Source : Artdaily

Marmottan Monet Museum presents monographic exhibition of Camille Pissarro – Paris – 23.02.2017-02.07.2017 – 10545

Camille Pissarro, La Place du Théâtre-Français et l’avenue de l’Opéra, effet de pluie, 1898. Huile sur toile, 73, 6 x 91, 4 cm. Minneapolis, Institute of Art, fonds William Hood Dunwoody © Photo : Minneapolis Institute of Art.

The Marmottan Monet Museum is presenting the first monographic exhibition of Camille Pissarro organized in Paris in nearly 40 years. Meticulously selected, 60 of his most stunning masterpieces — eight of which are being shown in France for the first time — hail from the greatest museums of the world and the most prestigious private collections. This remarkable ensemble of works tracks the trajectory of Pissarro’s life, from his youth in the Danish Antilles through his large series of urban tableaux featuring Paris, Rouen and Le Havre, all of which culminate to create a little-known portrait of the “first of the Impressionists.”

At the start of the exhibition, a self-portrait of Camille Pissarro welcomes the visitor. Seven sections retrace his career and bring to light the originality of his oeuvre, demonstrating that, even as a young artist, Pissarro always distinguished himself from his contemporaries. His initiation into painting took place on an island, far from Paris and from the beaux-arts academies. Two Women Talking on the Seaside, 1856 (National Gallery of Art, Washington), loaned for the first time to France, stuns with its exoticism and illustrates that Pissarro’s artistic beginnings had no parallel.

After moving to France in 1855, Pissarro quickly made the acquaintance of the future Impressionists. Like them, he was passionate about landscape and plein-air painting. He was, therefore, inspired by Jean-Baptiste Camille Corot and by Charles François Daubigny, as evinced by the canvas Banks of the Marne (Kelvingrove Art Gallery and Museum), which hails from Glasgow. Following his research to environments surrounding Paris, he painted The Road to Versailles, Louveciennes, snow, 1870 (Stiftung Sammlung E.G. Bührle, Zurich) and The Road to Versailles, Louveciennes, winter sun and snow (Museo Thyssen-Bornemisza, Madrid), which are shown here for the first time in France. Pissarro was thus considered by Emile Zola as “one of the three or four painters of this time.” Continue reading “Marmottan Monet Museum presents monographic exhibition of Camille Pissarro – Paris – 23.02.2017-02.07.2017 – 10545”

Exhibition presents what constitutes a magazine that accompanies a national newspaper – Hamburg – 17.03.2017-02.07.2017- 10544

Exhibition view. Photo: Michaela Hille/MKG

What constitutes a magazine that accompanies a national newspaper? What are its characteristics, how do its topics arise, and why do photographs play a very different role than they do in newspaper format? The exhibition showing at the Museum für Kunst und Gewerbe Hamburg is concerned with questions such as these. How does such a magazine come to be, what are its constitutive elements, what varies from issue to issue, what is always changing? And how does it differ from magazines that are sold individually at newsstands? In short, the focus is on the concept and specific characteristics that make up a magazine, seen through the example of Zeitmagazin, a supplement of the German national weekly newspaper Die Zeit. The exhibition looks primarily at the use of images and illustrations. The magazine’s special features, from individual sections to prominent photo series, are laid out like a cross section and can be compared with each other. Over 200 individual pieces are on display, some printed in enlarged form.

When Die Zeit appeared in 1970 for the first time with a colour-printed supplement, there was a fair amount of resistance to the idea. Marion Gräfin Dönhoff, editor of the weekly newspaper, was sceptical about ‘what the speculative nature of the images meant’, recalled Jochen Steinmayr, the magazine’s first editor-in-chief, in 1996. Yet it was not long before Zeitmagazin, with its colour advertisements and illustrations, began to enjoy increasing popularity with readers and advertisers. Zeitmagazin was discontinued in 1999, and a new department within Die Zeit called ‘Leben’ (Life) took its place. In 2007 ‘the emotional and personal side of Die Zeit’, as it styles itself, reappeared under the old name as its own magazine in Die Zeit. Editor-in-chief Christoph Amend has been responsible for the content of the magazine since then. The combination of reportage, essays, profiles and interviews, photographs by internationally renowned artists, columns, and art and style features builds on the tradition of the old Zeitmagazin. Continue reading “Exhibition presents what constitutes a magazine that accompanies a national newspaper – Hamburg – 17.03.2017-02.07.2017- 10544”

First major institutional exhibition by emerging British artist Holly Hendry on view in Gateshead – 18.02.2017-24.09.2017 – 10543

Installation view.

BALTIC Centre for Contemporary Art, Gateshead is showing the first major institutional exhibition by emerging British artist Holly Hendry.

Holly Hendry (b. London, 1990) presents an entirely new body of work for her exhibition Wrot for the BALTIC level 2 space. Using a variety of materials, from Jesmonite and plaster to foam, wood, steel and water-jet cut marble, she creates a geology of oozy forms peppered with comic elements, such as dog chew bones and spinning plaster teeth. She investigates the underneath and backsides of things, using cross-sectional cuts that make insides become edges, revealing their dirty innards. Her works talk about absence through presence and offer intimacy without proximity. Her sugary colours and cartoon content examine the very human aspects of laughter and death.

The works in the exhibition, including an archaeology of layered fragments like a museum diorama, resist the flatness of surface, pulling us underneath to see the details. As Hendry says ‘like the grimy surface of the street at ground level – a striation of all the debris, layers, fragments and time we’ve stomped down’ the layered structure offers a cartoonish impression of the layers of sediment that we usually overlook, under our feet. Surfaces are important in the work – primed, polished and finished – the applications we use to protect and conserve materials and what we use to cover things up or conceal. The title of the show itself Wrot is a definition used in the building trade to refer to timber with one or more sides planed smooth. It also references rotting, decay or breakdown and things happening under the surface that Hendry’s cross sections or slices allow us to explore. Layering, reconstitution of materials, agglomerates and new materials made from old are referenced and how these materials are displaced, dug out and filled, giving rise to the build-up and break down of entire biological and industrial systems.

The works in the exhibition, as is typical of the artist, draw attention to the spatial, material and structural qualities of the architecture and how space is experienced. Her large-scale sculptures are built specifically for BALTIC’s Level 2 gallery space, without referring directly to it. Rather, they rely on the architecture as a framework. They connect to it, as Hendry states, with ‘spatial ligaments, like necklace to neck’. Continue reading “First major institutional exhibition by emerging British artist Holly Hendry on view in Gateshead – 18.02.2017-24.09.2017 – 10543”

50th anniversary exhibition on view at Kunsthalle Düsseldorf – 08.04.2017-18.06.2017 – 10542

In the foreground: Tony Cragg, Spectrum, 1979. Plastik (farbiger Kunststoff) © VG, Bild-Kunst, Bonn 2017. In the background: Andy Warhol, Marilyn Monroe, 1967. Sammlung S.M.A.K., Gent © The Andy Warhol Foundation for the Visual Arts. Photo: Katja Illner.

Since its founding in 1881, the Kunsthalle Düsseldorf has been devoted to current artistic production. In addition to renowned artists such as Cézanne, van Gogh, Monet, Renoir, Rodin, Kirchner, Kandinsky, and Matisse, the legendary Sonderbund exhibitions also took place at the museum in 1909 and 1911. In 1967 the building was torn down and rebuilt as a brutalist concrete cube slightly set back on Grabbeplatz by the architects Konrad Beckmann and Christoph Brockes. On April 30, 2017, the Kunsthalle Düsseldorf will celebrate its fiftieth anniversary in the building.

From the beginning, the museum was conceived as an institution for very different and idiosyncratic exhibition formats, which have focused on an “expanded concept of art” and interdisciplinary approaches under the aegis of Karl Ruhrberg, Jürgen Harten, Marie-Luise Syring, Ulrike Groos, and Gregor Jansen. The museum has viewed itself both as a venue for the local scene and for international contemporary projects. In addition to legendary exhibition series such as Prospect (1968−76), between (1969−73), this is evidenced by solo exhibitions featuring Henry Moore (1968) and Edvard Munch (1969, 1978) along with the three-year projects Kunsthalle BÜHNE and seitenlichtsaal (2011−13) as well as Transfer Korea-NRW (2013) and SONG Dong (2015).

The large number of over 500 exhibitions and some 2500 artists has had a significant influence on the institution’s identity as an exhibition venue for the latest contemporary art. In this anniversary year, against the background of the changing values during this period, it is worth reflecting on the art-historical significance of the programmatic and pioneering exhibitions that took place at the museum very early on and continue to take place today.

The first of a total of four programmatic exhibitions in this anniversary year bears the title Wirtschaftswerte / Museumswerte and explicitly examines the history of the institution since its reestablishment—one could say: PROSPECTRETROSPECT from today’s perspective as well as that of 1976. Movements and positions of exhibited works which were cutting-edge, experimental, and barely or not at all established at the time have now largely become part of the collections of international museums and thus canonized. The timeframe of this exhibition is the period from 1966 to 1981. In close collaboration with the Municipal Museum of Contemporary Art in Ghent (S.M.A.K.), Kunsthalle is presenting a selection as a kind of musée imaginaire. The point of departure is the artworks that uniquely reflect and document the “spirit” and the international connections that emerged from the Belgian and German art scenes within this generation of artists. Continue reading “50th anniversary exhibition on view at Kunsthalle Düsseldorf – 08.04.2017-18.06.2017 – 10542”

Exhibition at Fondation Cartier in Paris focuses its attention on the world of cars – Paris – 20.04.2017-24.09.2017 – 10541

Luciano Rigolini, Tribute to Giorgio de Chirico, 2017. Appropriation (unknown photographer, 1958). Collection of the artist. © Luciano Rigolini.

Thirty years after the exhibition Hommage à Ferrari, the Fondation Cartier pour l’art contemporain will once again focus its attention on the world of cars with the exhibition Autophoto, dedicated to photography’s relationship to the automobile. Since its invention, the automobile has reshaped our landscape, extended our geographic horizons, and radically altered our conception of space and time. The car has also influenced the approach and practice of photographers, providing them not only with a new subject but also a new way of exploring the world and a new means of expression.

Based on an idea by Xavier Barral and Philippe Séclier, Autophoto will present over 500 works from the beginning of the 20th century to the present. It will invite us to discover the many facets of automotive culture – aesthetic, social, environmental, and industrial – through the eyes of photographers from around the world. The exhibition will bring together over 90 photographers including both famous and lesser-known figures such as Jacques Henri Lartigue, William Eggleston, Justine Kurland and Jacqueline Hassink, who have shown a fascination for the automobile as a subject or have used it as a tool to take their pictures.

In the early 20th century, the automobile and its impact on the landscape had already become a subject of predilection for many photographers, influencing both the form and content of their work. The exhibition will begin by focusing on early photographers like Jacques Henri Lartigue, Germaine Krull, and Brassaï, who used the automobile to varying degrees in their work. They registered the thrill of speed, the chaos of Parisian traffic or the city’s dramatic car-illuminated nocturnal landscape to represent a society in transition at the birth of the modern age. Other photographers of the time were attracted by the promise of freedom and mobility offered by the automobile. Anticipating the modern road trip, Swiss writers and photographers Ella Maillart and Nicolas Bouvier, travelled throughout Asia in the 1930s and 1950s respectively, using their cars and cameras to record their adventures along the way.
Continue reading “Exhibition at Fondation Cartier in Paris focuses its attention on the world of cars – Paris – 20.04.2017-24.09.2017 – 10541”

First extensive retrospective exhibition of the Belgian multimedia artist Hans Op de Beeck in Wolfsburg – 09.04.2017-03.09.2017 – 10540

Hans Op de Beeck, The Collector’s House, 2016. Sculptural Installation (mixed media), 20 x 12,5 x 4 m © Hans Op de Beeck.

He is truly an extraordinary phenomenon: the Belgian multimedia artist, dramatist, composer, theatre and opera director Hans Op de Beeck (* 1969). It is no wonder that he is realizing the first extensive retrospective exhibition of his artistic oeuvre as a highly atmospheric synthesis of the arts. Visitors will be able to immerse themselves in Hans Op de Beeck’s fascinating art world on over 2200 square meters in and around the great exhibition hall—and will not recognize the Kunstmuseum Wolfsburg.

Everything is ambiguous; even the ostensibly straightforward exhibition title “Out of the Ordinary” has a twofold meaning. On the one hand Hans Op de Beeck’s curiously defamiliarized places and situations—a nocturnal amusement park or shipyard container barracks—emerge from the direct experience of everyday life. On the other hand they are literally out of the ordinary in their precise deployment of light, suggestive decorative details and magical music soundtracks.

The visitors to the Kunstmuseum Wolfsburg will be welcomed to the evocative interior of a collector. This remarkable hybrid of Pompeii and oligarchical nouveau riche treasury combines art and life in equal measure: Painting and books as well as people and peacocks are collected here. The view from the generously-sized balcony provides a first glance at the roofs of the factory buildings and suburban homes down below at the foot of this eclectic “Collector’s House”. The gloomy underworld situated somewhere between industrial wasteland and suburban dreariness with its utility poles and street lamps, its tangle of cables and street garbage, are all equal components of this total installation conceived especially for the Wolfsburg show. The interiors house the most important installations, videos and model situations that Hans Op de Beeck has produced to date.

The works on display range from Hans Op de Beeck’s earliest room piece “Location (1)” from 1998 and the subsequent expansive ensembles of works up to the in situ installation “Out of the Ordinary” in Wolfsburg. As such, the exhibition documents nineteen years of intense artistic work. Hypnotic videos like “Staging Silence (2)” and “Night Time”, the accessible still life of a light-flooded attic in “The Garret” or “The Settlement” from 2013 which is meditatively reflected in water can be experienced along with a veritable museum in a museum. “Sea of Tranquillity” from 2010 combines life-sized wax figures, ship and harbor models in high wood-paneled halls with a film as fascinating as cryptic. Continue reading “First extensive retrospective exhibition of the Belgian multimedia artist Hans Op de Beeck in Wolfsburg – 09.04.2017-03.09.2017 – 10540”

Exhibition illustrates the global diversity and effective history of Protestantism – Berlin – 12.04.2017-05.11.2017 – 10539

Martin Luther in the Circle of Reformers, 1625/1650 © Deutsches Historisches Museum.

For the first time an exhibition will illustrate the global diversity and effective history of Protestantism, but also its potential for engendering conflict between different cultures.

What traces of Protestantism can be found in other denominations, religions and concepts of life? How did it change itself through these encounters – and not least of all, in what ways have people adopted and appropriated the Protestant doctrine, how have they shaped it and lived it? The exhibition “The Luther Effect” tells a global story of effect and counter-effect that begins around 1500 and continues on into the present present. It is depicted using the examples of Germany and Europe 1450–1600, Sweden 1500–1750, North America 1600–1900, Korea 1850–2000 and present-day Tanzania.

The Deutsches Historisches Museum is presenting the exhibition in the Martin- Gropius-Bau on a area of some 3,000 m2 and bringing together outstanding exponents from national and international lenders, many of which have never before been displayed in Germany. Supplementing the exhibition are numerous cultural and educational events and fringe programmes. A richly illustrated catalogue will also be published.

The Deutsches Historisches Museum’s presentation is one of three special national exhibitions commemorating the 500th anniversary of the Reformation in the year 2017. Besides Berlin, the Federal Government Commissioner for Culture and the Media is supporting the exhibitions in the Wartburg in Eisenach and the “Lutherstadt” Wittenberg. The exhibitions are under the patronage of Federal President Joachim Gauck. The German Savings Bank Finance Group is the principal sponsor of the exhibition “The Luther Effect. Protestantism – 500 Years in the World”. This exhibition is supported by the Museum Association of the German Historical Museum.

Website : Martin-Gropius-Bau
Source : Artdaily

Bellinzona and more…paintings and oil sketches by Johann Christian Ziegler on view at the Neue Pinakothek – Münich – 12.04.2017-07.08.2017 – 10538

Johann Christian Ziegler, Bellinzona, 1829, oil on paper glued to canvas, 31.3 x 39.4 cm, Bayerische Staatsgemäldesammlungen, Neue Pinakothek, Munich – loan from the Museumsstiftung zur Förderung der Staatlichen Bayerischen Museen, Munich, since 2014.

Johann Christian Ziegler (1803–1833) is one of the early realist landscape painters in Germany. From 12 April onwards the Neue Pinakothek is exhibiting paintings and oil sketches that it has received as a loan from the Museumsstiftung zur Förderung der staatlichen bayerischen Museen from the holdings of the artist’s descendants.

Born in 1803 in Wunsiedel as the son of a cloth manufacturer, Ziegler moved to Munich in 1821 where he studied landscape painting at the academy of art. He frequently spent the summer months hiking in the countryside around Munich and in the Alpine foothills. From 1823 he was regularly represented at exhibitions at the academy of art and at the Kunstverein München. In 1828 and 1829 he travelled to Ticino and Upper Italy. In addition to landscape paintings and genre scenes in the manner of Wilhelm von Kobell and Max Joseph Wagenbauer, Ziegler also made drawings and oil studies that testify to the immediacy of his observation of nature. His death in 1833 at the age of just 30 put an early end to a very promising development.

Two oil sketches by Ziegler painted at one of the lakes in Upper Italy had already been acquired for the Neue Pinakothek in the 1920s. These were supplemented in 2014 by a further six paintings and oil sketches when the artist’s descendants decided to transfer the paintings, drawings and sketchbooks still in their possession to the Bayerische Staatsgemäldesammlungen and the Staatliche Graphische Sammlung in the form of a donation to the Museumsstiftung zur Förderung der staatlichen bayerischen Museen. These include a view of Bellinzona that is outstanding due to the exceptional freshness of its execution. The presentation in one of the smaller exhibition rooms in the Neue Pinakothek, supplemented by works painted by his contemporaries in Munich, is the first time these works have been shown to the public.

The museum foundation, a recognised non-profitmaking institution, enables private benefactors to support state-run museums in Bavaria through the donation of cultural assets and the provision of financial support while benefitting from tax concessions.

Website : Neue Pinakothek
Source : Artdaily

American artist Anoka Faruqee’s abstract paintings on view at Vienna’s Secession – Vienna – 06.04.2017-25.06.2017 – 10537

Anoka Faruqee, The Visible Spectrum, exhibition view, Secession 2017, Photo: Iris Ranzinger.

The American artist Anoka Faruqee’s abstract paintings are characterized by pulsating optical and chromatic effects. Patterns and motifs recur in her pictures as she adjusts and permutates them in apparently infinite variations in order to plumb the laws of painting. One of her central aims is to create a tension between atmospheric impressions of light and illusion and the material nature of color and paint. In her exhibition at the Secession—her first institutional solo show in Europe—Faruqee presents selections from the Moiré Paintings, Circle Paintings, and Wave Paintings series, on which she has worked since 2012.

In these works, the artist explores the optical pattern that appears where wave formations or magnetic fields interfere with each other; it can often be observed on computer screens. Critical to her methodical engagement with the phenomenon is that she conceives of pattern not as superficial decoration but as a physical structure built up of modular forms and colors. Her pictures are set apart by their subtly modeled shimmer and dynamic depth. The visually interwoven layers of the pattern are brought to iridescent life by elusive superimpositions of vantage points between movement and rest.

“I am interested,” the artist says, “in how the iteration of modular bits of information, the dissolution of figure and ground, the integration of color and form, and the use of multiple viewpoints and axes of symmetry provide a counter-history to the monocular vision of perspectival drawing and analogue photography.”* Continue reading “American artist Anoka Faruqee’s abstract paintings on view at Vienna’s Secession – Vienna – 06.04.2017-25.06.2017 – 10537”

De Pont Museum presents Doorenweerd & Doorenweerd exhibition – Tilburg – Netherlands – 08.04.2017-02.07.2017 – 10536

Getting overwhelmed Topanga beach surf.

In 1993 Jeroen Doorenweerd (Terneuzen, 1962) was the first artist to be asked by De Pont to give shape to the museum’s garden with a work. His son Mischa (Tilburg, 1988), then five years old, played on the duckboards, flights of steps and look-out posts that he had placed in the garden. Now father and son are exhibiting jointly, as artists of equal standing, in the podium space.

After his installation in De Pont’s garden, Jeroen produced a great deal of work for the public domain. This has frequently had an architectonic character. But for several years now he has been painting again. In that work, he is concerned with his intense presence in the moment, with being overwhelmed by the energy contained in the act of painting. For the project Zinging Tangerine (2014) he and Koen Delaere turned Middelburg’s Vleeshal into one big studio that visitors could explore. Of course, painting was done here, but food was also prepared and eaten; films were shown, yoga lessons held; and there were workshops in swordsmanship and oyster hunting. The whole gamut of pleasure in life had been inextricably bound up with the painted canvases from that period. In Mischa’s work there is always movement and life, be it that of plants, wind or fire. His installations involve the use of diverse materials: found or created objects, video, sculptures and texts. About his work he says: “I imagine myself walking around in the world, while things fall from my sides.”

In 2014 he produced Crackling tail to golden wave, comprised of sculptures and fireworks, for Tilburg’s Incubate festival. With Cold drinks (2013) visitors were able to grab a bottle of soft drink from a fridge and place the empty bottle on a tray. Gradually this gave rise to a playful composition, as visitors would respond to each other by stacking them or creating patterns. In each work he creates a very distinct atmosphere, and the visitor becomes a participant. While his work does come across as being very diverse, its fundamental tone, characterized by a touch of absurdism, remains recognizable throughout. The Old Man and the Sea, Ernest Hemingway’s story about an old fisherman who catches a fish as big as his boat, tells of the trial of strength between the man, the sea and the fish. The tale is highly idiosyncratic and specific, but precisely because of that it expresses a universal experience. A few years ago, Jeroen gave this book to his son as a gift, and while preparing the exhibition they both read it once again. Both of them recognize, in their approaches, a certain intensity of sensory perception that is inherent in Hemingway’s way of describing the fisherman’s every move. In Mischa’s work that intensity is heightened by its frequently temporary character. Our gaze is tilted for a moment, the senses are put on edge, and our awareness of the surroundings is broadened and deepened. For Jeroen, the strong sensory impressions that he has while painting determine the character of his works. As an extension of Zinging Tangerine, Jeroen made a journey to California with Koen Delaere during the summer of 2016. There, on a beach, they spread out large canvases and painted on site, next to the surfers and waves. Mischa and Jeroen give expression, each in his own way, to an infatuation with life. Inevitable forces of influence and extrication are played out between father and son. The friction and the differences of insight have found their way into the exhibition. Both artists emphatically avoid the search for a consensus, but allow instead the full range of their work to be seen. Existing similarities and arising contrasts become apparent, after all, without any intervention on their part. The Holy Spirit is the third force in a trinity, the energy released when work by the father and the son is brought together in a single space.

Website : De Pont Museum
Source : Artdaily

Exhibition explores archaeological finds from shipwrecks off the coast of Sicily – Copenhagen – 06.04.2017-20.08.2017 – 10534

Bronze ram from a warship, 8th cent. BC. Discovered off the west coast of Sicily, 2010.

The spring special exhibition at the Glyptotek plunges deep beneath the surface and explores archaeological finds from shipwrecks off the coast of Sicily. The exhibition will be presenting a wide selection of treasures from shipwrecks, ranging across exclusive bronze wares, vases and weapons reflecting the many facets of Antiquity. With a time frame of almost 3000 years the exhibition also sheds light on the significance of the Mediterranean for trade, cultural encounters and perilous journeys and demonstrates that the ancient world was also globalised.

Trade, Perils and Mythology
By virtue of its geographical position alone, Sicily has always been a natural trading nexus for merchants from near and far. So such races as the Phoenicians, Greeks, Romans, Byzantines, Arabs and Normans have exchanged goods, knowledge and cultural customs and have contributed to the island’s reputation as an exotic marketplace. This diversity has also led to the playing out of cultural strife on Sicily. This often resulted in naval battles and the exhibition also displays the legacy of this in the form of, for instance, war helmets and ships beaks for the ramming of enemy vessels. Today, shipwrecks form a wreath around the island like a unique pearl necklace – from warships sunk in historical sea battles to merchant vessels which foundered under the assault of wind and weather.

At the same time Sicily and the surrounding sea have always been an area where reality and mythology meet. One example of this is the way the island constituted a setting for the tale of how the narrow, dangerous Straits of Messina were the domain of the sea-monsters Scylla and Charybdis. The sea was clothed in mystery, and the exhibition illustrates the ancient world’s notions of sea-monsters, sirens and sea gods.

The Globalised Past
”War and Storm. Treasures from the Sea Around Sicily” shows how the sea shaped Antiquity’s world picture, while, at the same time demonstrating that global links and cultural encounters are anything but a purely modern phenomenon.

On the contrary: the sea formed the basis for a large part of the modern world, and mariners and merchants of Antiquity can be seen today as the forerunners of the European economic community.

The luxury items shown in the exhibition were transported round the world by water. For example: in this exhibition you can experience a life-sized elephant’s foot in bronze, which in all probability was part of a complete elephant. Even though the rest of the enormous figure is thought to lie at the bottom of the sea, the find is a reflection of the extraordinarily active and diverse world of ancient trade.

Website : Glyptotek
Source : Artdaily

Camden Arts Centre opens first major retrospective of 91-year-old Romanian artist Geta Brătescu in London – 07.04.2017-18.06.2017 – 10533

Le Theatre des Formes, 2011. Collage on paper, 6 parts. Courtesy of the artist, Ivan Gallery, Bucharest and Galerie Barbara Weiss, Berlin. Photo: Stefan Sava.

Camden Arts Centre presents the first solo exhibition of Romanian artist Geta Brătescu in London. Her vivid practice has comprised performance, textile work, paper collage, printmaking, film and installation. The Studio: A Tireless, Ongoing Space provides a rare opportunity to discover the breadth of the artist’s oeuvre through her long-standing yet not widely known practice.

Living and working for most of her life in Bucharest under Ceaușescu’s repressive communist regime, Brătescu embraced the studio as an autonomous space, free from economic or political influences. Her exhibition at Camden Arts Centre will focus on this lifelong approach to the studio as a performative, contemplative and critical space to reflect on one’s own position in the world.

Throughout her career she has looked at this space as a place to redefine the self, raising questions of identity, dematerialisation, ethics and femininity. Fascinated by literature, stories from Aesop and Kafka and prominent figures such as Medea, Dido or Faust reappear in her work, forming a repertoire of philosophical enquiry.

Much of Brătescu’s practice dissipates boundaries between art and life. Incorporating everyday items such as cigarette papers, teabags and the wooden stirrers from her daily coffee, works accrue time throughout their production, taking on a diaristic nature. This reflection on the everyday takes on a particular autobiographical intimacy in seminal pieces such as Vestiges (Vestigii), 1978, where fabric scraps inherited from her mother over the years are carefully configured on the page. Other works employ methods associated with revealing hidden emotions and internal conflicts, such as automatic drawing, ink-blot pictures and regularly drawing with her eyes closed, where Brătescu taps into an inner consciousness to bring gesture and association to the fore. Continue reading “Camden Arts Centre opens first major retrospective of 91-year-old Romanian artist Geta Brătescu in London – 07.04.2017-18.06.2017 – 10533”

Exhibition shows, for the first time, a forgotten member of De Stijl that returned to Realism – Amsterdam – 08.04.2017-17.09.2017 – 10532

Chris Beekman, Halte stoomtram, 1918, coll. Stedelijk Museum Amsterdam.

The Stedelijk Museum presents the forgotten De Stijl artist Chris Beekman (The Hague 1887-Blaricum 1964). As an anarchist, he was one of the most politically active artists affiliated with the movement. Beekman became involved in the De Stijl in 1917, and broke away from the group in 1919, although continued to paint abstract work until 1922. This exhibition is the first to spotlight Beekman’s oeuvre, with a selection of around 80 pieces from the collections of the Stedelijk Museum Amsterdam, Museum Kröller Müller and the Amsterdam Museum. As well as his work created directly before, during and after the De Stijl period, the exhibit also sheds light on the immediate context within which Beekman operated, and his links with artists such as Bart van der Leck, whom he befriended in Laren. Also on view is work by Piet Mondrian, Jacob Bendien, Ferdinand Erfmann and Johan van Hell, and early, surprisingly abstract paintings by the young Carel Willink.

The Stijl Defector
After playing an active role within De Stijl for some time, he fell out with De Stijl figurehead Theo van Doesburg in 1919. Their disagreement follows a political gesture: an artists’ petition submitted to the Dutch government pleading to reinstate communications with fellow Russian artists. Van Doesburg accuses Beekman of attempting to politicise De Stijl, which leads to a parting of the ways. Initially, Beekman continues to create abstract works but ultimately concludes that abstraction is a dead end: the revolution is better served by figurative art with a clearly articulated political message. As a politically-committed painter, Beekman’s change of direction reflects the neo-realistic art of his day. It did, however, place him at the margin of De Stijl. Opinions of Beekman’s work have always been shaped by his political convictions: his radical left-wing sympathisers always considered his abstract work a youthful formalist indiscretion, while art historians felt it lacked the required rigour.
Continue reading “Exhibition shows, for the first time, a forgotten member of De Stijl that returned to Realism – Amsterdam – 08.04.2017-17.09.2017 – 10532”

Exhibition brings together John Constable’s work during his little-discussed period in Brighton – 08.01.2017-08.10.2017 – 10531

Exhibition brings together John Constable’s work during his little-discussed period in Brighton

A new exhibition at Brighton Museum & Art Gallery explores John Constable’s time in the fashionable seaside resort, where he stayed with his family between 1824 and 1828.

Constable’s wife Maria suffered from Tuberculosis, and on medical advice the couple and their children took lodgings in Brighton for extended periods. Despite this, after four years, Maria sadly died at the age of 41.

Working between Brighton and London, Constable produced around 150 works in the town. Some were commissions, created in his ‘painting room’ and usually destined for the French market, but his long, systematic walks in and around Brighton also prompted many other works.

Constable in Brighton brings together over 60 of the artist’s sketches, drawings and paintings from his time in Brighton for the first time, in the place where they were created. Focusing on his family life and walks, it explores the impact and influence of the work he made here; as well as the working practices he developed and the locations and people who inspired him.

Uniquely, the display follows Constable’s own walking and painting sequences, illustrating the series of paintings he produced as he explored the Brighton landscape. Highlights will include:
Continue reading “Exhibition brings together John Constable’s work during his little-discussed period in Brighton – 08.01.2017-08.10.2017 – 10531”