During the summer of 2017, the Gemeentemuseum Den Haag is taking visitors on an extensive tour of the life and work of Piet Mondrian. The journey leads them to Amsterdam, Paris, London and New York – the great world cities where Mondrian could give free rein to his genius and make the discoveries that enabled him to revolutionize art. With the biggest and best collection of Mondrians anywhere in the world, the Gemeentemuseum is in a position to illustrate every stage of the artist’s amazing career in spectacular fashion. This grand tribute to the pioneering artist opened on 3 June and is part of the year-long Mondrian to Dutch design. 100 years of De Stijl event. In the course of 2017 the Gemeentemuseum will hold no fewer than four exhibitions in honour of the revolutionary spirits of the De Stijl movement.
Continue reading “Gemeentemuseum Den Haag displays its entire 300-strong collection of Mondrians – 03.06.2017-24.09.2017 – 10581”
Installation view. Reena Spaulings. Her And No. Museum Ludwig, Köln 2017 © Courtesy of the artist. Photo: Rheinisches Bildarchiv Köln, Britta Schlier.
Who—or what—is Reena Spaulings? Since 2004 the name has stood for various collective artistic activities. Initially Reena Spaulings was the title of a novel written by an undisclosed number of anonymous authors from the circle of the artist collective Bernadette Corporation. Around the same time, a commercial gallery with an exhibition space in New York was founded, which since then has represented artists such as Merlin Carpenter, Jutta Koether, Claire Fontaine, and Klara Lidén. Also in 2004, an artist collective was formed that operates under the name of the fictional artist Reena Spaulings, creating collective paintings that are both reflective of the system and self-deprecating.
Continue reading “Reena Spaulings’s first solo exhibition in a museum – Cologne – 03.06.2017-27.08.2017- 10580”
Peter Saul, exhibition view © Schirn Kunsthalle Frankfurt, 2017, Photo: Norbert Miguletz.
The Schirn Kunsthalle Frankfurt is presenting an extensive survey exhibition of the work of the American painter Peter Saul (*1934 in San Francisco, California). Long before “Bad Painting” became a central concern in contemporary art, Peter Saul deliberately offended good taste. Beginning in the late 1950s he developed his highly individual idiom blending Pop Art, Surrealism, Abstract Expressionism, Chicago Imagism, San Francisco Funk, and cartoon culture, one in which he managed to address complex political and social issues. Saul shares with Pop Art an interest in the commonplace, in consumer society, and the cheerful pictorial worlds of the comics in glowing, appealing colors. Yet his work is also associated with the aesthetic strategies of the California counterculture. He produces an almost irate kind of painting when depicting the darker sides of the American Dream. In it he combines exuberant humor and playful but harsh criticism of the system. He makes use of jokes, slapstick, puns, comedy, and persiflage, and often crude humor in his caricature-like attacks on American high culture.
Continue reading “Schirn Kunsthalle opens extensive survey exhibition of the work of Peter Saul – Frankfurt – 02.06.2017-03.09.2017 – 10579”
The exhibition shows Haring’s stylistic development through his exhibition posters. © Photo: Michaela Hille.
Keith Haring, born in Pennsylvania in 1958, moves to New York at the age of twenty and immediately falls under the spell of the lively street-art scene. At this point, Pop Art has already been around for some time. Graffiti shapes the face of the city. It takes Keith Haring only a few years to find his artistic path. He develops an unmistakable style that, with its bold lines and singular figures, has close ties to both comics and street art. Less than a decade as a successful artist is granted to him—a decade he nevertheless fills to the brim with an astonishing energy that can still be felt today. In contrast to many of his contemporaries, Haring understands himself as a political artist for his entire life, one who wants to educate others and reach a wider audience with his art. The exhibition Keith Haring: Posters brings together over 100 posters from the collection of the Museum für Kunst und Gewerbe (MKG), Hamburg. It shows Haring’s stylistic development through his exhibition posters; its broader collection of works presents the artist’s wide topical range, with his repeated engagement in support of human rights, tolerance, education, and AIDS awareness. Numerous smaller objects and marketing products that Haring sold in his Pop Shop in New York City act as complements to the exhibition’s posters. Thanks to Hamburg collector Claus von der Osten, who has gifted these works to the MKG, the selection of objects on show is of unparalleled completeness.
Continue reading “Exhibition at MKG Hamburg brings together over 100 posters by Keith Haring 31.05.2017-05.11.2017 – 10578”
Jill Mulleady, Kunsthalle Bern, 2017, installation view. Photo: Gunnar Meier.
The title Angst vor Angst sets the tone, or even more: it names an atmosphere that communicates between new and recent compositions by Argentine-Swiss artist Jill Mulleady (*1980, lives in Los Angeles). The English language has long integrated the German word “Angst” and the term “German Angst” is also in common usage. The connection that Mulleady makes is to the movie “Angst vor der Angst” (“Fear of Fear,” 1975) by the German director Rainer Werner Fassbinder, in which the lead character Margot suffers diffuse anxiety attacks and is immediately judged as mentally ill by her social context. Fassbinder was concerned with showing the “normal” human condition of feeling alien in one’s own life.
Continue reading “Kunsthalle Bern exhibits works by Argentine-Swiss artist Jill Mulleady – Bern – 20.05.2017-23.07.2017 – 10577”
Huang Yong Ping, Colosseum, 2007. Astrup Fearnley Collection.
The name of the exhibition Chinese Summer is a metaphor for a nation and art scene that have seen explosive growth over the last two decades. China is now one of the most important industrial and economic forces on the planet and this has been matched by overwhelming artistic and cultural production that in recent years has moved from a local situation to a position on the global stage.
Continue reading “Chinese contemporary art from the Astrup Fearnley Collection on view in Oslo – 02.06.2017-10.09.2017 – 10576”
Clear day with a southern breeze (‘Red Fuji’) from Thirty-six Views of Mt Fuji. Colour woodblock, 1831. © The Trustees of the British Museum.
Katsushika Hokusai (1760-1849) has long enjoyed a strong international reputation and is considered by many to be Japan’s greatest artist. The British Museum is staging the first exhibition in the UK to focus on the later years of the life and art of Hokusai, featuring his iconic print ‘The Great Wave’ of c. 1831 and continuing to the sublime painted works produced right up to his death at the age of 90. Supported by Mitsubishi Corporation, Hokusai: beyond the Great wave provides new insight into the prodigiously productive last thirty years of Hokusai’s life and art from around 1820 to 1849.
Continue reading “British Museum opens first exhibition in the UK to focus on the later years of Hokusai – 25.05.2017-13.08.2017 – 10575”
David Octavius Hill and Robert Adamson, Linlithgow from above the railway line, shed and station in foreground. Town Hall, St Michael’s Church and Linlithgow Palace in the background, 1843 – 1847. Calotype print, 31.20 x 40.00 cm. Scottish National Portrait Gallery.
The Scottish National Portrait Gallery explores the captivating images produced by the unique partnership of Scottish photographic pioneers David Octavius Hill (1802-1870) and Robert Adamson (1821-1848). A Perfect Chemistry comprises over 100 photographic works dating from just four short years in the 1840s, when these two men changed the path of photography and created a remarkable body of work that has had an unparalleled impact on the medium. This is the first time in 15 years that these treasured photographs are the subject of a large exhibition in the UK.
Continue reading “Pioneers of photography Hill and Adamson celebrated in a new exhibition – Edinburgh – 30.05.2017-01.10.2017 – 10574”
Jeppe Hein, Distance
Sørlandets Kunstmuseum is presenting the installation Distance by the acclaimed Danish artist Jeppe Hein.
Jeppe Hein’s installations and sculptures play with our sensory experiences and invite the audience to take an active role. Public participation is also central to the installation Distance. When you enter the exhibition room, your presence is registered by a sensor and a ball is set in motion. The ball rolls at different speeds through several hundred meters of loops, lifts and spirals. You can follow your own personal ball through the labyrinth that transforms the exhibition space into a dynamic structure.
Continue reading “Sørlandets Kunstmuseum presents installation by the Danish artist Jeppe Hein – Kristiansand – 20.05.2017-03.09.2017 – 10573”
Utagawa Kunisada (1786–1864), Shokunin (Artisans) detail. Woodblock print triptych showing the process of printmaking, 1857.
Japanese woodblock printing is a traditional craft still widely practiced today. This Asahi Shimbun Display focuses on the workshops of the master block cutter and master printer to reveal the roots of the craft in Japanese prints of the Edo period (1615-1868). The display focuses on a print triptych by Utagawa Kunisada (1786 – 1864), which shows how Japanese woodblock prints were traditionally made. Also on display is a rare brush drawing that Katsushika Hokusai (1760- 1849) prepared for a print, and a beautiful example of ‘Sudden Shower at Shōno’ from the series Fifty-three Stations along the Tōkaidō Highway by Utagawa Hiroshige (1797-1858).
Continue reading “Display at British Museum encourages a deeper appreciation for the craft behind woodblock prints – London – 25.05.2017-13.08.2017 – 12572”
Wolfgang Tillmans, Gedser, 2014. Courtesy Galerie Buchholz, Berlin/Cologne, Maureen Paley, London, David Zwirner, New York.
This year’s big summer exhibition at the Fondation Beyeler is dedicated to the German artist Wolfgang Tillmans (*1968). Around 200 photographic works dating from 1986 to 2017 are on show from May 28 to October 1, together with a new audiovisual installation.
Following an invitation from the Fondation Beyeler in 2014, on which occasion the artist installed two of his own works in a room with paintings and sculptures from the Beyeler Collection, this summer’s exhibition with Wolfgang Tillmans marks the first comprehensive engagement with the medium of photography at the Fondation Beyeler. It shows how Tillmans’ work is concerned with the creation of a new visual language rather than with photography in the conventional sense.
Continue reading “Fondation Beyeler presents 200 photographic works by the German artist Wolfgang Tillmans – Basel – 28.05.2017-01.10.2017 – 10571”
Installation view Arp: The Poetry of Forms. Photo: Marjon Gemmeke.
Arp: The Poetry of Forms is the first major retrospective of the work of Hans (Jean) Arp (Strasburg 1886-Basel 1966) in the Netherlands since the nineteen sixties. The German-French sculptor, painter and poet Arp is one of the most influential artists of the European avant-garde and plays an important role in the development of modern art. In addition to some eighty of his visual works – drawings, collages, paintings, wood reliefs and sculptures – there are also examples of Arp’s poetry, writings and publications.
In 2017 it will be a hundred years since the founding of De Stijl. The close relationship between Arp and the leading light of De Stijl, Theo van Doesburg, is the occasion for the exhibition, which is showing from 20 May to 17 September 2017.
Continue reading “Kröller-Müller Museum presents major retrospective of the work of Hans (Jean) Arp – Otterlo – 10570”
Canaletto, Piazza San Marco looking west towards San Geminiano, c.1723-4 (detail), part of a set of six views of Venice. Royal Collection Trust/© Her Majesty Queen Elizabeth II 2017.
A new exhibition at The Queen’s Gallery, Buckingham Palace reunites two of Canaletto’s finest sets of paintings, displayed side by side for the first time in almost 40 years. Canaletto & the Art of Venice, shows six views of Venice produced early in the artist’s career in the 1720s, alongside the painter’s series of five Roman views from over 20 years later. Both sets were commissioned from Canaletto by Joseph Smith, the artist’s agent and the greatest patron of art in Venice at the time. Smith’s collection was bought almost in its entirety by George III in 1762 to furnish the newly purchased Buckingham House (later Buckingham Palace).
Continue reading “Canaletto exhibition reunites two of the Venetian master’s greatest series of paintings – London – 19.05.2017 – 12.11.2017 – 10569”
Installation view. Photo: Gert-Jan van Rooij.
In its early days the Oude Kerk was a port church where ships were christened, prayers were offered for a safe return, and numerous seafarers and naval heroes found their final resting place. From 19 May to 17 September, Sarah van Sonsbeeck is bringing the sea back into the Oude Kerk with this information as a leitmotiv.
Continue reading “Sarah van Sonsbeeck exhibition in the Oude Kerk – Amsterdam – 19.05.2017-17.09.2017 – 10568”
Markus Schinwald Bob, 2007, Various materials Ca. 150 x 30 x 50 cm.
The exhibition format Collection on Display presents works from the collection of the Migros Museum für Gegenwartskunst as a three-part themed series with the title Communities, Rules and Rituals. The second exhibition, Rules, brings together works that look at rules in the charged environment of normative practice and individual creative freedom.
In reference to the previous exhibition Communities, this exhibition thematises the largely invisible sets of rules on which every community is based. In distinct ways, the works from the collection that are exhibited here, make these rules visible, use them productively or undermine them. The starting point is the question of the extent to which rules can be seen as externally set, and the extent to which each individual can contribute to the shaping these rules. If a «rule» is defined as a directive that has arisen from regular observations, the potential for active contribution becomes clear. Empirical social research even proceeds on the assumption that values, norms and institutions only exist insofar and as long as there are people who acknowledge them and live according to them. However, often rules and perceived norms are so ritualised and deeply internalised that compliance or disobeyance is no longer a rational decision. The works gathered here question rules with regard to a possible individual room to manoeuvre and creative leeway.
Continue reading “Exhibition presents works from the Migros Museum für Gegenwartskunst collection – Zürich – 20.05.2017-13.08.2017 – 10567”
Fernand Léger, Les Loisirs-Hommage à Louis David , 1948 – 1949. Huile sur toile, 154 x 185 cm Centre Pompidou, Musée national d’art moderne – Centre de création industrielle © Centre Pompidou, MNAM-CCI/Jean-François Tomasian/Dist. RMN-GP © Adagp, Paris, 2016.
Painter of the city who bore witness to the changes taking place in his own epoch, Fernand Léger is one of the most celebrated figures of modernity. From cubism to his commitment to communism, Léger’s painting remains associated with a vision of humanity transfigured by the machine and mass production. However, over and above these powerful images, his work is at one and the same time diverse and coherent, free from categories and from movements.
Continue reading “Centre Pompidou Metz presents retrospective of the work of Fernand Léger – Metz – 20.05.2017-30.10.2017 – 10566”
Paul Signac, Saint-Tropez, Fontaine des Lices, 1895. Oil on canvas, 65 x 81 cm (25 9/16 x 31 7/8 inches). Private collection.
The Guggenheim Museum Bilbao is presenting Paris, Fin de Siècle: Signac, Redon, Toulouse – Lautrec, and Their Contemporaries , an exhibition that analyzes the Parisian art scene, underscoring the most important French avant-gardes of the late 19th century, particularly the NeoImpressionists, Symbolists, and Nabis. The leading exponents of these movements are represented in the show by approximately 125 paintings, pastels, drawings, and prints.
Continue reading “Exhibition analyzes the Parisian art scene of the late 19th century – Bilbao – 12.05.2017-17.09.2017 – 10565”
Installation view. Photo: Matteo De Fina.
Twenty-two years after the posthumous homage to Boetti curated by Germano Celant at the 2001 Venice Biennale, the Fondazione Giorgio Cini hosts an unprecedented journey through the work of Alighiero Boetti (1940-94), one of Italy’s most prominent and influential artists. Alighiero Boetti: Minimum/Maximum, curated by Luca Massimo Barbero, director of the Istituto di Storia dell’Arte della Fondazione Giorgio Cini, with the collaboration of the Archivio Alighiero Boetti, presents an original juxtaposition between the minimum and maximum formats of the artist’s most iconic cycles of works in order to explore Boetti’s artistic process and iconography. From one to many, micro to macro, and private to public, ‘Mimimum/Maximum’ explores the Boetti’s dialectical approach to art and examines the radically conceptual role of an artist who liked to define himself as a ‘creator of rules’.
Continue reading “Exhibition celebrates the genius of Alighiero Boetti with over 20 spectacular works – Venice – 12.05.2017-12.07.2017- 10564”
Red, yellow and blue – the three primary colours have become synonymous with the art movement known as De Stijl. But that single iconic colour combination has tended to mask the reality of the diversity of ideas advanced by its various members. At the end of the day, Piet Mondriaan, Theo van Doesburg, Bart van der Leck, Gerrit Rietveld, Georges Vantongerloo and Vilmos Huszár all formulated their own individual views on colour.
In this exhibition, Kunsthal KAdE zooms in on the use of colour by the six main exponents of De Stijl and goes on to examine how artists have continued to investigate the autonomous power of colour in the postWorld War II period: from the abstract expressionism and concrete art of the 1960s and ’70s through to the work of artists who are today still exploring colour as an independent element. The Stedelijk Museum Amsterdam is lending top works like Barnett Newman’s ‘Who’s Afraid of Red, Yellow and Blue III’ and Jasper Johns’ triptych ‘Untitled’. The Van Abbemuseum sent the architectural model of Theo van Doesburg’s proposed colour scheme for the auditorium of Strasbourg’s café/cinema ‘Aubette’, as well as works by Piero Manzoni, Richard Serra and Joseph Kosuth. And the studio of Olafur Eliasson contributed the light installation ‘Ephemeral afterimage star’ (2008).
Continue reading “Exhibition at Kunsthal KAdE zooms in on the use of colour by the six main exponents of De Stijl – Amersfoort -06.05.2017-03.09.2017 – 10563”
Adrián Villar Rojas, The Theater of Disappearance, 2017. Exhibition view third floor, Kunsthaus Bregenz. Photo: Jörg Baumann. Courtesy of Adrián Villar Rojas, Marian Goodman Gallery, New York | Paris | London und kurimanzutto, Mexiko City © Adrián Villar Rojas, Kunsthaus Bregenz.
The vast painted wooden floor spans the entire space. Distressed gold leaf is discernible, amongst darkened colors and mysteriously curved forms. In his exhibition Adrián Villar Rojas enacts the ground floor as an immense empty stage, even the freestanding structure designed by Peter Zumthor, serving as reception desk and ticket counter, has been removed and relocated to the basement. A towering mirrored cuboid rises to the ceiling. The space is filled with colorful multi-faceted light that flows in through colored film attached behind the windows. The color range originates from Wong Kar Wai’s film 2046, a tragic love film revolving around memory set in Hong Kong and Singapore, where silhouetted skyscrapers and canyons of streets become distorted into colored abstractions during the opening and closing credits. The painting on the floor is an enlarged copy of Madonna del Parto (1450–1475) by Piero della Francesca. The Renaissance fresco depicts Mary under a brown baldachin, flanked by two angels holding open a precious fur-lined canopy, embroidered with pomegranate motifs. This colossal enlargement of the original image was faithfully re-painted to scale by hand on plywood panels in Argentina and now paves the 530 square meter ground floor.
Continue reading “Kunsthaus Bregenz presents “Adrián Villar Rojas: The Theater of Disappearance” – 13.05.2017-27.08.2017 – 10562″
Hiroshi Sugimoto, Teatro all’Antica Sabbioneta, 2015.
From May 16 to October 1, 2017, Fondazione Sandretto Re Rebaudengo presents Le Notti Bianche, a solo exhibition of Japanese artist Hiroshi Sugimoto, curated by Filippo Maggia and Irene Calderoni. The show includes the international preview of a new photo series, devoted to Italian historical theaters, a continuation and development of Hiroshi Sugimoto’s research on theatrical and cinematic spaces.
The whole photo work of Hiroshi Sugimoto aims to explore the relationship between time and space, or better, the perception we have of this relationship, with the human eye as the camera that renders a version of it – clear and plastic, in the case of Sugimoto.
Continue reading “Fondazione Sandretto Re Rebaudengo opens solo exhibition of Japanese artist Hiroshi Sugimoto – Turin – 16.05.2017-01.10.2017 – 10561”
One of the foremost American artists to emerge from the 1940s, a decade that saw the rise of abstract expressionism, Mark Tobey (1890–1976) is recognized as a vanguard figure whose “white-writing” anticipated the formal innovations of New York School artists such as Jackson Pollock.
Mark Tobey: Threading Light is the first comprehensive retrospective of the American artist’s work in twenty years in Europe, and the first in Italy. On view at the Peggy Guggenheim Collection in Venice, the exhibition traces the evolution of the artist’s groundbreaking style and his significant yet under-recognized contributions to abstraction and mid-century American modernism. With 66 paintings spanning the 1920s through 1970, Mark Tobey: Threading Light surveys the breadth of Tobey’s oeuvre and reveals the extraordinarily nuanced yet radical beauty of his work. Mark Tobey: Threading Light, organized by the Addison Gallery of American Art at Phillips Academy in Andover, Massachusetts, and guest curated by the independent curator Debra Bricker Balken, will be on view at the Peggy Guggenheim Collection through September 11, 2017. Following its run in Venice, the exhibition will travel to the Addison Gallery, where it will be on view November 4, 2017–March 11, 2018.
Continue reading “First comprehensive retrospective of Mark Tobey’s work in Italy – Venice – 06.05.2017-10.09.2017 – 10560”
Alighiero Boetti, Mimetico, c. 1975. Tessuto mimetico. Collezione Prada, Milan.
From 9 May to 24 September 2017, Fondazione Prada presents in its Milan venue “TV 70: Francesco Vezzoli guarda la Rai” (TV 70: Francesco Vezzoli Watches Rai), a project conceived by artist Francesco Vezzoli and developed in collaboration with Rai, Italy’s national broadcasting company.
Continue reading “Fondazione Prada, Milan presents “TV 70: Francesco Vezzoli guarda la Rai” – 09.05.2017-24.09.2017 – 10559″
Die Staatsmänner Mahdi Quli Khan Majid ad-Dawla und Akbar Khan Nayeb Nazer spielen Schach in Gesellschaft von Mitgliedern des Qascharischen Hofs, 1893, © Nationalarchive Irans, Teheran.
The presentation at the Buchkunstkabinett of Berlin’s Pergamonmuseum depicts the many facets of nineteenth-century Iran through photographs, artworks, and historical postcards. The display illustrates how Iranian society originally interpreted modernity by balancing between tradition and innovation. Photography played an important role in this process. The exhibition is organised in collaboration with the National Archives of Iran, Tehran.
Continue reading “Display illustrates how Iranian society originally interpreted modernity – Berlin – 05.05.2017-30.06.2017 – 10558”
L1000125. Construction site, Hai Jalaba District, Juba, 2015.
The Bilad es Sudan exhibition presenting the work of Claude Iverné, winner of the 2015 HCB Award, is on show at the Fondation Henri Cartier-Bresson from May 11 to July 30, 2017. In 1999, Iverné set off along the Darb al Arba’ïn, Forty Day Trail, the ancient caravan route linking Egypt and the sultanate of Darfur. Here, he discovered a country steeped in contrasting influences, and the project to document this land of Sudan was born. Other trips followed. Wandering seemed the obvious choice for him, life rather than a journey, even to the point of learning the Arabic language. Continue reading “Fondation Henri Cartier-Bresson exhibits works by 2015 HCB Award winner Claude Iverné – Paris – 11.05.2017-30.07.2017-10557”