The architectural office of Ritter Schumacher is based in Chur, located in the eastern Swiss alpine canton of Graubünden. The traditionally close relationship between the city and the surrounding region has shaped the holistic, integrative working approach of Jon Ritter and Michael Schumacher. The exhibition provides insight into their firm’s planning strategies for rural development in Switzerland. Using their work in the municipality of Churwalden as an example, it shows how a series of precise structural interventions in the rural context has set in motion a consistent, sustainable process of the area and is driving its future development.

With roughly forty multimedia works, the exhibition provides an overview of the oeuvre of the artist and musician Carsten Nicolai, who has been active at the interface of visual art, music, and natural science since the early 1990s. Using electronic sound and light material, Carsten Nicolai creates minimalist installations, sound performances, and visualizations of physical phenomena that reflect systems and structures of the media world. As a musician working under the pseudonym Alva Noto, Nicolai is one of the best-known representatives of contemporary electronic music.

As one of Iceland’s leading artists, Hreinn Friðfinnsson (born in 1943, Bær Dölum, IS) is celebrated for his inspirational and poetic use of everyday objects. His vocabulary, underscored by a delicate sense of humour, playfully implements storytelling and perceptual ploys. Friðfinnsson’s work could be characterised as conceptual, it investigates our understanding of time and the world around us.

Whether it is his photographic works, digital animations, performances, wall pieces, or works on paper, the core of Robin Rhode’s multimedia oeuvre is the drawing, the line. Born in Cape Town in 1976 and raised in Johannesburg, he first studied art at the Technikon Witwatersrand, now the University of Johannesburg, followed by a postgraduate program at the South Africa School of Film, Television and Dramatic Arts in 2000.

The group exhibition Embodied Lines brings together drawings in which the experience of the physical body is central.

The first solo exhibition of the Dutch artist Gerbrand Burger.

The exhibition will celebrate Peggy Guggenheim’s Venetian life, shedding light on how she significantly continued to add works of art to her collection after her departure from New York, having closed her museum-gallery Art of This Century (1942–47), and having made Venice her home in 1948. The exhibition will present a selection of paintings, sculptures and works of paper that Guggenheim acquired from the late 1940s to 1979, the year in which she passed away, while simultaneously highlighting the milestone events and exhibitions that she organized and participated in.

Mikhail Karikis’s film explores the relationship between land, industry and community. Children of Unquiet (2013–14) was created with a group of forty-five children living in the Devil’s Valley, Italy, a volcanically-active region in Tuscany that inspired Dante’s Inferno. The site of the world’s first geothermal power plant, the area has recently become depopulated following the automation of the process of generating energy.

Nigerian-born contemporary artist Otobong Nkanga will install new and existing works at Tate St Ives as the culmination of her upcoming residency at the gallery. Nkanga’s drawings, installations, photographs and sculptures variously examine ideas around land and the value connected to natural resources.

This solo show features works by the historic and leading Art Brut creator Carlo Zinelli (1916-1974), aka “Carlo.” Jean Dubuffet acquired several of the latter’s pieces as of 1963, thanks to Carlo’s psychiatrist Vittorino Andreoli, the first person to champion Carlo’s artistic output. Today, the Collection de l’Art Brut holdings include ninety-nine of his pieces, enabling this public institution to boast the greatest number of that Italian creator’s works in museological possession. Furthermore, since Carlo often painted and drew on both sides of his supports — indeed, doing so consistently as of 1962 — this body of works comes to one hundred and sixty gouaches, including some of his rare collages.

A selection of paintings and drawings by Christina Ramberg will form the core of the exhibition, alongside of which other artistic positions such as Alexandra Bircken, Rachal Bradley, Sara Deraedt, Gaylen Gerber, Frieda Toranzo Jaeger, Konrad Klapheck, Ghislaine Leung, Hans Christian Lotz, Senga Nengudi, Ana Pellicer, Richard Rezac, Diane Simpson, Terre Thaemlitz, Kathleen White will expand the conversation and extend the understanding of the type of framing devices that can be identified as having an impact on and condition performance, behavior, and physical expression.

Norwegian artist Torbjørn Rødland is known for carefully staged, beautiful photographs that evoke emotions. The subject is often a person in an intimate situation filled with tension and which allows multiple interpretations.

The exhibition offers a new and comprehensive look at the early works of these current star painters and asks why these four German artists in particular have become the focus of interest in art around the world.

The Bosch+Bosch group was founded on August 27th, 1969, exactly 50 years ago by a band of young artists in Subotica. The collective was the second such circle in the former Yugoslavia.

Walking Through Walls marks the 30th anniversary of the fall of the Berlin Wall, one of the most symbolic events of the 20th century, interrogating the experience of vulnerability and anxiety caused by power structures that thrive on confinement and segregation.

After the exhibitions showcasing Marcel Duchamp, René Magritte, André Derain and Henri Matisse, the Centre Pompidou continues its re-examination of key 20th century works by devoting a major exhibition to Francis Bacon. The last major French exhibition of this artist’s work was held in 1996 at the Centre Pompidou. More than twenty years later, Bacon : Books and Painting presents paintings dating from 1971, the year of the retrospective event at the national galleries of the Grand Palais, to his final works in 1992. Didier Ottinger is the curator of this innovative exploration of the influence of literature in Francis Bacon’s painting.  

This exhibition focuses on the artistic method Matisse brought to bear in almost all his principal sculptures: starting out from a seemingly naturalistic approach, his figures progressed through increasing degrees of abstraction that culminated in radical stylization. At the same time he captured the key ‘states’ as sculptures in their own right, laying bare the workings of his creative process.

Ernst Ludwig Kirchner, Gerhard Richter and Jonas Burgert: me Collectors Room Berlin creates dedicated spaces for three important German artists of three generations. The focus of the exhibited works is man as an artistic motif.

With „B.A.R.O.C.K.“ the Wunderkammer of me Collectors Room Berlin  and Schloss Caputh of the Stiftung Preußische Schlösser und Gärten Berlin – Brandenburg  will be presenting artistic interventions by Margret Eicher, Luzia Simons, Rebecca Stevenson and Myriam Thyes.

Marie Cool and Fabio Balducci have collaborated as an artist duo since 1995. They attracted attention through actions in which they respond with simple gestures to the physical characteristic of materials.

The Bauhaus existed for only 14 years in Germany, but for 100 years its ideas have now been passed on and its products relaunched, imitated and further developed. Marking the centenary of the Bauhaus’s founding, the Bauhaus-Archiv / Museum für Gestaltung’s exhibition at the Ber-linische Galerie is presenting famous, familiar and forgotten Bauhaus originals and recounting the history behind the objects.

Patril k vedúcim osobnostiam postmodernej generácie, ktorá okolo polovice osemdesiatych rokov 20. storočia vystúpila s programom neoexpresívnej maľby inšpirovanej talianskou transavantgardou a nemeckým hnutím Neue Wilde. Výbušným temperamentom, razantnou a odvážnou metaforou ironizoval ikonografické symboly končiacej éry socializmu. Na jeho súčasných rozmerných maliarskych plátnach „barokovo-secesného” a pop-artového strihu založených na veľkoryso plošnom farebnom a kresbovom rozvrhu sa krížia rozmanité aktuálne a historické podnety. Je príkladom autora, ktorý síce prevažne maľuje, ale občas si odskočí aj k sochárstvu.

Wu Tsang’s solo exhibition There is no nonviolent way to look at somebody presents films in dialogue with her sculptural practice, working with the interaction of glass, light and text, and including a new stained glass commission conceived for the Gropius Bau.

This exhibition was inspired by images taken through the Hubble Telescope. Their indescribable beauty astounded Lerner and drove her to try to capture space in the monoprint medium. She was also inspired by the desert sky in Southern California, and she has dedicated herself to capturing the clouds, the moon, and the sunsets. Pure, and beyond the touch of man, Lerner believes outer space is a gift to our world. This will be Lerner’s first exhibition in Washington, DC.

This exhibition traces the evolution of the DC-based WD Printmaking workshop, which began with Percy and Alice Martin’s opening their Adams Morgan home as a collaborative artists’ studio fifty years ago. The aim was to create a place where all artists (not necessarily trained in printmaking) could come together to explore the printmaking craft and create original prints. Emphasis was placed on experimentation and innovation. The studio was open to the artists twenty-four hours a day. The workshop moved with Martin and his family into the basement of their home on Lamont Street in Mount Pleasant. Alice Martin recalls the time when the WD Workshop ran classes, presented demonstrations, and held regularly scheduled critique sessions. Artists were coming and going during all hours of the day and night. Participating WD artists achieved successful printmaking careers working in diverse styles. Featuring historical and recent work by members of the workshop.

Moves like Walter: New Curators Open the Corcoran Legacy Collection is a product of Director and Curator Jack Rasmussen’s spring course on curatorial practice. Upon receipt of the Corcoran Collection, graduate students in art history, arts management, and studio art have curated a playful and provocative interpretation of the 9,000-piece gift. The exhibition is inspired by Walter Hopps, briefly the Director of the Corcoran and an erratic but seminal American curator of contemporary art. The curators have divided their responses into five sub-groups, Boundless: Existing Within Ambiguous Space, The Road Home, The Selfless Spirit: Nature vs. Nurture and the Effects of Motherhood in the Corcoran Collection, American Legacy: Reconsidering Non-Western Subjects in the Corcoran Collection, and Redefining the Gaze: Shifting the Power.

Using the medium of drawing to varied and distinctive effect, Rogers, Sures, and Watkin trace human connections to the natural world—across time and varied landscapes. The three artists work from both a consciousness of drawing’s ties to illustration and evidence; and, the medium’s unique ability to transmit the artist’s “hand” and personal response to their subject. From the deserts of Kenya, forests of the Midwest, to the Potomac watershed, these artists are deeply attuned to the mutually affecting relationship between the anthropological and natural worlds.

Stefan Tcherepnin, born in Boston in 1977, is a composer, musician, and visual artist.

Peter Wächtler, born in Hannover, Germany, in 1979, lives and works in Berlin. He writes texts, produces films, draws, paints pictures, and makes sculptures and objects. The human figure is central to all of his work. It appears in various forms, attitudes, poses, and interactions, just as it does in real life.

Now, from the end of August 2019, nineteen outstanding examples of Impressionism, Post- Impressionism and Classic Modernism are to be seen at the Fondation Beyeler in Riehen. The paintings, by Paul Cézanne, Edgar Degas, Paul Gauguin, Vincent van Gogh, Ferdinand Hodler, Édouard Manet, Claude Monet, Pablo Picasso, Camille Pissarro, and Auguste Renoir, are currently displayed together in a dedicated presentation.

The 4th of October 2019 marks the 350th anniversary of Rembrandt’s death (1606–1669). (…) On display will be (…) for example »Simeon and Hannah in the Temple« (1627) and »Maurits Huygens, Secretary to the Council of State in The Hague« (1632), two masterpieces from Rembrandt’s early period in Leiden and Amsterdam. These will be supplemented by the painting »The Expulsion of Hagar« (1612) by Pieter Lastman, who taught Rembrandt for six months in his workshop circa 1625. Exhibited alongside the three paintings will be a selection of around 60 etchings, including landscapes, portraits and works on religious themes.

The Kunstmuseum Bern is devoting an exhibition to the prominent Swiss artist and Bauhaus master Johannes Itten in 2019, the Bauhaus centenary year. The exhibition sets itself the goal of being the first ever to present this artist’s utopian vision of uniting art and life in an all-embracing way.

For her first institutional solo exhibition in Europe, Kaari Upson (*1972) presents a new body of wood and latex sculptures that continues her ongoing exploration of both the figure of the mother and the uncanny double.

A museum of the present must always be a different one. In a time of constant change and the attending sense of powerlessness, the exhibition Museum seeks to open up and occupy new spaces. Rather than critically questioning the institution, the focus is on exploring its possibilities. Artists: Michael Asher, Jo Baer, Joseph Beuys, Alighiero Boetti, Marcel Broodthaers, A.K. Burns,Tony Cokes, Tony Conrad, Tracey Emin, Jana Euler, Hans-Peter Feldmann, Fischli/Weiss, Parastou Forouhar, Ryan Gander, Gilbert & George, Anne Imhof, On Kawara, Martin Kippenberger, Oliver Laric, Claude Lelouch, Li Liao, Bruce Nauman, Olaf Nicolai, Roman Opalka, Blinky Palermo, Laurie Parsons, Adrian Piper, Pamela Rosenkranz, Cameron Rowland, Robert Ryman, Victoria Santa Cruz, Sturtevant, Rosemarie Trockel, Gavin Turk, Cy Twombly, Jeff Wall.

Latvian designer Anna Butele, of studio Annvil in Riga explores the notion of inspiration in a levitating installation: 100 works materialize from a collaborative experimental project. Drawings, graphics, photographs, and models by renowned architects from 28 countries form a chain—each contribution is a reaction inspired by the previous work. Personal statements by the architects themselves frame the exhibition installation, allowing the audience to immerse itself in the inspirational impulses essential to creative work processes.

Every two years, four artists under forty years of age who live and work in Germany are nominated for the award and presented in a shortlist exhibition. From among the 70 nominations, the international jury has chosen the following artists: Pauline Curnier Jardin (born 1980 in Marseille, lives in Berlin), Simon Fujiwara (born 1982 in London, lives in Berlin), Flaka Haliti (born 1982 in Prishtina, lives in Munich), Katja Novitskova (born 1984 in Tallinn, lives in Amsterdam and Berlin).  

These include Raphael’s “Sistine Madonna” as well as Giorgione’s “Sleeping Venus”, Vermeer’s “The Procuress” or Bellotto’s famous panoramic view of Dresden.

The exhibition Garden of Earthly Delights sees over 20 international artists using the space of the garden as a metaphor for the state of the world, in an exploration of the complexities of our chaotic and increasingly precarious present.

After four decades of unbroken use as a museum and exhibition space, the Neue Pinakothek (rebuilt in its current form in the 1970s) has had to shut its doors for extensive renovation and modernization work due to last several years. During this period, selected major works of 19th century painting and sculpture from its collection will be on display in the Alte Pinakothek and at the Sammlung Schack. Selected highlights range from key works of Neoclassicism and Romanticism to the dawn of Modernism.

Böcklin’s ‘Spring Awakening’ edifies us with its hypnotically dense evocation of mythical figures from ancient times. Opposite him are five important paintings by the leading Italian artist of modernism, Giorgio de Chirico. Four are from a private collection and are only on show at the Kunsthaus for a short period. Also on display from this private collection are works by Filippo de Pisis, Carlo Carrà, Mario Sironi and Giorgio Morandi.

The art of this period is characterized by drastic change and massive contrasts. After the war – which culminated in ‘Hour Zero’ as the fighting finally came to an end – the post-1945 decade sees a shift, from a reckoning with the conflict’s far-reaching consequences to the creation of a new artistic language accompanied by a new freedom of expression.

From the summer of 2019 the Kunsthal Rotterdam will present the impressive retrospective exhibition ‘Joana Vasconcelos. I’m Your Mirror’, featuring the work of the famous Portuguese artist Joana Vasconcelos (1971). In an activist and feminist way, and with a profound respect for Portuguese culture and traditions, she gives reality her own personal twist. Vasconcelos is known for her sharp sense of proportions, masterly use of colour and unusual choice of materials, like household appliances, wall tiles, textiles, medicines, urinals, pans and plastic cutlery.

For more than 50 years, Schels has engaged like almost no other photographer of his generation with extreme situations of human life.

Louise Bourgeois is considered one of the most significant and influential artistic personalities. Over a period of nearly seven decades—from the 1940s until her death in 2010—she created an exceptional body of work, encompassing sculptures, objects and installations, as well as the drawings and writings that form a common thread running through her oeuvre.

This large-scale solo show by leading contemporary Israeli painter Gilad Efrat explores the evolution of his unique painting style and approach, typified by “digging” into layers of paint.

Lisa Reihana’s acclaimed video projection in Pursuit of Venus [infected] was inspired by a 19th-century French scenic wallpaper that envisioned the Pacific islands as an exotic paradise. Taking this product of European fantasy as her framework, Reihana reimagines the past. Against the wallpaper, digitally rendered and reinterpreted, she presents a new narrative weaving together historical and invented episodes.

For the 15th year in a row, gute aussichten 2018/2019 at the House of Photography will present a range of concepts, aesthetics, and media that exemplify the work of young photographers in Germany.

For the autodidact Aenne Biermann (1898-1933) the camera was a means of closing in on things and situations in her immediate environment. From the mid 1920s onwards she found great pleasure in capturing unfamiliar and unexpected views of everyday experiences and events in her photographs. Although Aenne Biermann worked in relative isolation with regard to the avant-garde developments in larger cities, comprehensive displays of her work were shown at all major modern photographic exhibitions from 1929 onwards. Her oeuvre, created within just a few years – Aenne Biermann died in 1933 following an illness – is now regarded as one of the most important within the Neues Sehen (New Vision) movement in photography and New Objectivity. The exhibition comprises some 100 original photographs from the holdings of the Ann and Jürgen Wilde Foundation that boasts one of the most extensive collections of Aenne Biermann’s work. Selected works from public and private collections, together with records and archival documents, illuminate the artist’s work and career.

In Eliasson’s captivating installations you become aware of your senses, people around you and the world beyond. Some artworks introduce natural phenomena such as rainbows to the gallery space. Others use reflections and shadows to play with the way we perceive and interact with the world. Many works result from the artist’s research into complex geometry, motion patterns, and his interest in colour theory. All but one of the works have never been seen in the UK before. Within the exhibition will be an area which explores Eliasson’s deep engagement with society and the environment. Discover what an artist’s perspective can bring to issues of climate change, energy, migration as well as architecture. And once every other week you’ll be able to communicate with people from Eliasson’s 100-strong team in his Berlin studio via a live link. The kitchen team at Studio Olafur Eliasson will also create a special menu and programme of related events for Tate Modern’s Terrace Bar, based on the organic, vegetarian and locally sourced food served in his Berlin studio.

The exhibition presents three of the circa twenty extant works by Jan van Eyck, offering a glimpse of the art produced during the reign of Duke Philipp the Good, when the Burgundian Low Countries witnessed a unique flowering of courtly and urban civilisation.

The Moscow Museum of Modern Art together with the Barcelona Museum of Contemporary Art (MACBA), with the support of the Embassy of Spain, presents a solo exhibition of the Spanish sculptor Jaume Plensa, the first to be held in Russia. The Catalonian artist gained fame thanks to his figurative installations and sculptures integrated in urban and natural landscapes, which can be seen on the streets of Chicago, London, Montreal, Nice and Tokyo. Airiness, transparency, «lace-like» structures contrasting with the solidity of cast iron and stone, existential problems and romantic feelings, reflection on oneself and the world — these are the features of Jaume Plensa’s work which make him an artist of «sensations and ideas». In Moscow, under the curatorship of MACBA’s director Ferran Barenblit the artist has put together an exhibition that includes his 20 key works from the recent show in MACBA.

The exhibition stems from the ‘A Woman’s Work’ symposium, which took place at the Japanisches Palais in Dresden in January 2019, in context of the ‘Against Invisibility’ exhibition, and gathered local and international perspectives on the present and the future of female practice.

At the center of her exhibition at K21, Banu Cennetoğlu presents two sprawling installations that reflect on the formation, circulation and archiving of private and public information and the underlying political, social, and cultural mechanisms.

Stinking Dawn is a walk-in stage design that functions as a changing film setting. Monumental modular architecture sets the location for a film by Gelatin and Liam Gillick that will be shot in situ. Directed by Gillick and based on his script, Gelatin will play the leading roles in this experimental film that explores the limits of human tolerance in the face of oppression, political crises and excessive self-deception.

Over a 70-year career, Takis (Panayiotis Vassilakis, born 1925) has created some of the most innovative art of the 20th century. Takis’s work seeks out the essential poetry and beauty of the electromagnetic universe. He was one of the most original artistic voices in Europe from the 1960s and remains a pioneering figure today. This the largest exhibition of Takis’s work ever held in the UK, bringing together over 70 works. Throughout his career he has produced antennae-like sculptures he calls Signals, and musical devices using magnets, electricity and viewer participation to generate resonant and random sounds. Such inventions earned Takis the admiration of the international avant-garde, ranging from the American Beat poets to artists such as Marcel Duchamp.

The Jewish Museum collection is a unique mix of artworks and ceremonial objects. In Scenes from the Collection, selected works are presented in thematic “scenes,” weaving together centuries of art and Judaica. Each gallery suggests a different filter through which we may approach and understand art. Works in the collection are presented as distinctive creative expressions and as bearers of the stories of those who made, owned, used, preserved, and sometimes transformed them. The exhibition speaks of the vast range of Jewish experiences across the globe and over time, made tangible through artistic expression. It is both a mirror of Jewish identities and an inspiration for the formation of new ones. In calling attention to the multiple facets of art and Jewish culture, the exhibition invites fresh responses from visitors and may resonate with people of many faiths and backgrounds. Themes change periodically, offering new dialogues among the works and proposing new interpretations of them.

The exhibition ‘A Journey to the Homeland’ by the South African photographer Katharine Cooper (1978, Grahamstown) presents a probing portrait of white Africans. Major political events, such as the collapse of Apartheid in South Africa in 1994 and the expulsion of white farmers from their houses in Zimbabwe in 2000, significantly changed the position of these Africans. Although many of them managed to secure a certain future for themselves after these changes, others were not so lucky. In 2013, Cooper returned for a journey through the countries of her childhood, South Africa and Zimbabwe. In a respectful way, she captured members of the white minority that she used to belong to herself.

Since the mid-1990s Monica Bonvicini has been exploring political, social, and institutional situations and their impact on society, as well as on the conditions of artistic production. Her work is direct, merciless, political, and not without a dry sense of humor. In the process, she focuses on the relationship between architecture, gender roles, control mechanisms, and devices of power. Bonvicini has a multimedia approach, using drawing, sculpture, installation, video, and photography. For the Belvedere 21—originally the Austrian pavilion at the World’s Fair in Brussels in 1958—she has developed a site-specific and space-consuming installation that reacts radically to Karl Schwanzer’s architecture. As such, it reflects male-dominated power structures, which are expressed just as much in the constructed space as in art history, politics and language.

​​​​​​​IncarNations is an exhibition created by the South African artist Kendell Geers in dialogue with the Congolese collector Sindika Dokolo. A fascinating initiative that reflects the diversity of the African artistic heritage, from an Afrocentric point of view and including the itineraries of slaves, colonialism and independence movements.

Four hundred years after the birth of Francesco Morosini, dubbed “the Peloponnesiacus” (1619-1694), several Venetian institutions are celebrating this fascinating figure, a doge and admiral. Museo Correr is the major venue since it preserves Morosini’s entire historical heritage from his palace in Campo Santo Stefano, inherited in 1895 by the last heir. The collection includes memorabilia, documents and works of art that reveal particular aspects of Morosini’s life and his historical significance.

The Collection de l’Art Brut will be closed until September 17th (2019) for construction work entailing, above all, the installation of an elevator. Given this time frame, we take pleasure in inviting you to a show extending from June 28th to September 22nd in the gardens of the Château de Beaulieu in Lausanne and featuring large-scale photographs of Outsider Art “environments” from around the world. These represent architectural feats or installations set up, for the most part, on private plots or gardens belonging to self-taught builders. Some of the latter have, however, taken over such sites covertly: to such creators, the very act of creating is part and parcel of their entire life.

František Foltýn patrí k tomu malému počtu českých umelcov, ktorých tvorba vznikala a bola oceňovaná v kontexte medzinárodnej výtvarnej scény. V roku 1924, vo veku tridsaťtri rokov, odišiel na desať rokov do Paríža, kam v tej dobe smerovali prední protagonisti umeleckej avantgardy, a usadil sa priamo v centre diania, v štvrti Montparnasse. Navštevoval súkromné výtvarné akadémie a nadviazal zásadné kontakty, ktoré ho postupne priviedli do zoskupení svetového významu, akými boli hnutia Cercle et Carré (Kruh a štvorec) a Abstraction-Création, ktoré vznikli z potreby vytvorenia medzinárodnej platformy abstraktného umenia.

In his exhibition, Nikita Kadan (born 1982 in Kiev) explores current social and political developments in Ukraine and their foundations in Soviet communism. In his installations, objects, and pictures he shows the extent to which the emancipatory side of the communist avant-garde has been repressed today, in the context of both military conflict with Russia and neoliberal profiteering. He illustrates this with reference to the present state’s approach to monuments from the communist period, which have been left to decay or been destroyed. Kadan advocates a more complex view of the past and its utopias, particularly looking at the biographies of two key figures in the Ukrainian-Soviet avant-garde: Vasyl Yermilov (1894–1968) and Ivan Kavaleridze (1887–1978). While Yermilov is seen as a major protagonist in Ukrainian constructivism and the co-founder of an artists’ workshop comparable to the German Bauhaus, Kavaleridze was an innovator in film and the creator of monuments with both propaganda content and avant-garde form.

Pierre Jean Mariette (1694–1774) brought together one of the most fascinating collections in the whole of the 18th century, particularly showcasing drawings, with some 9,600 sheets. Masterpieces by great artists stood alongside pieces of bravura by minor masters, in line with the encyclopedic commitment of this “genius jack-of-all-trades” in his effort to perfectly summarize the history of drawing, from its origins through contemporary artists. Following on from Pierre Rosenberg’s 2011 publication of the first two volumes devoted to French drawings from the Mariette Collection, the publication of a catalogue raisonné of Italian drawings likewise accompanies this exhibition of some one hundred of the most remarkable Mariette sheets from this school: works by the greatest Italian artists, including Raphael, Michelangelo, Titian, Veronese, Carracci, Guido Reni, and Guercino, have been taken from several Parisian collections, first and foremost that of the Musée du Louvre.

One of Jacques-Louis David’s (1748–1825) most famous pupils, and known as the painter of the Napoleonic epic, Antoine-Jean Gros is rightly considered a forerunner of Romanticism. Early on, his drawings, more so than his paintings, began to reveal a gradual shift away from David’s teachings, leading to a definitive break with neoclassical aesthetics and a distinct style heralding the new artistic movement.

The Staatliche Graphische Sammlung München is home to one of the most internationally significant collections of 15th German broadsheets and popular prints. The earliest European woodcuts emerged around 1400. While the process for printing on fabric was already known, it was during this time that pictures were first printed onto a new kind of support: paper. This allowed for compositions to be inexpensively reproduced in large editions. It was only through this that broader circles of the population had access to and could afford their own depictions. Religious subjects, which were used for private devotion, were most in demand. These early sheets are significant not only as historical documents. They are in fact superlative masterworks of linear expressiveness: the straight lines seek to convey an immediate statement, leading to bold, striking works. No collection in the world is able to demonstrate the early years of the woodcut as brilliantly as Munich’s Graphische Sammlung. The cradle of the European printmaking tradition is proudly safeguarded here. Thanks to the generous financial support of the Edith-Haberland-Wagner-Stiftung, all works have been comprehensively conserved, providing occasion for a select display of impressive sheets. The Ernst von Siemens Art Foundation generously sponsored the inventory catalogue.

For the last almost 40 years the artist Nanne Meyer, who was born in Hamburg in 1953 and lives in Berlin today, has dedicated herself entirely to the genre of drawing. This focus has resulted in a multifaceted oeuvre that through the line explores the different aspects, forms and materials of the graphical and extends it into the painterly and object-like. Apart from pencil and colored pencil, chalk and ink, Nanne Meyer uses emulsion paint, gouache, lacquer, everyday objects, maps, educational books and templates which she draws on and thus transforms into their very own picture reality.

An artist, writer and thinker, Ernest Mancoba (1904, South Africa – 2002, France) lived through the whole of the 20th century. For the first time in France, this exhibition showcases this path erased by racism.

Over fifty sculptures and sixty drawings to discover the work of the Danish Sonja Ferlov Mancoba (1911-1984), a major modernist sculptor who has also left us an original and intimate body of work on paper.

Sixty years in the career of Takesada Matsutani (born in Osaka, Japan in 1937, installed in Paris since 1966), from the late 1950s to the present day. Constantly experimenting with organic matter and its links to the spiritual, Matsutani has never ceased to seek out his “internal image”.

Over the past sixty years, the pioneering Argentinian artist Marta Minujín (b. 1943, Buenos Aires, Argentina) has developed happenings, performances, installations, and video works that have greatly influenced generations of contemporary artists in Latin America and beyond.

The New Museum debuts an entirely new body of work by Turner Prize–winning British artist Lubaina Himid (b. 1954, Zanzibar), marking the artist’s first solo museum exhibition in the United States.

In a special exhibition starting in the summer of 2019, the Städel Museum will explore the reciprocal relationships between woodcut and wooden sculpture in the oeuvres of Ernst Ludwig Kirchner (1880–1938), Erich Heckel (1883–1970) and Karl Schmidt-Rottluff (1884–1976). The show’s starting point is wood, which is more closely bound to the art of German Expressionism than any other material.

Within the context of the Prado’s celebration of its Bicentenary, the Museum is presenting Velázquez, Rembrandt, Vermeer: Parallel visions, an ambitious exhibition devoted to Dutch and Spanish painting of the late 16th and early 17th centuries which benefits from the sponsorship of Fundación AXA and the special collaboration of the Rijksmuseum, Ams…

Guillermo Kahlo was the father of perhaps the world’s most photographed artist, Frida Kahlo. In Mexico he is revered as an iconic photographer, whose work is also highly rated in the international photographic art scene, although he is less well-known here in Hungary. This exhibition showcases a selection of his special images. We offer a journey back in time to the Mexico of a bygone age: The photographs taken in the first three decades of the 1900s are thrilling snapshots of the country’s rich, centuries-old architectural heritage, nourished by diverse cultures and traditions, as well as documenting the monumental Mexican construction projects that spanned the early part of the last century.

Samostatná výstava vznikla pri príležitosti nového výskumu autorovej tvorby a sústredí sa na jeho tvorivé rozmýšľanie, expresívny kresbový rukopis a jeho vývoj. Skice, kresby a grafiky dopĺňajú vrcholné maliarske diela v niekoľkých tematických líniách, ktoré poskytujú divákovi kľúč na čítanie maliarovej tvorby aj doby, keď vznikala.

Výstava Ľuba Stacha Svetlo a citlivá vrstva približuje jeho experimentálne fotografické výskumy, ktorým sa venoval na konci osemdesiatych a na začiatku deväťdesiatych rokov minulého storočia.

Výstava Ľuba Stacha Svetlo a citlivá vrstva približuje jeho experimentálne fotografické výskumy, ktorým sa venoval na konci osemdesiatych a na začiatku deväťdesiatych rokov minulého storočia.

With her installation entitled A Blazing World, created especially for KUNST HAUS WIEN, Claudia Märzendorfer opens up multiple perspectives on the polluting of the world’s oceans with plastic waste. With a central sculpture and her texts France and Plastiglomerate. Equal to a photograph, Modernity’s reservoir, the artist draws attention to the complexity of the situation.

The exhibition features pictures of the moon from various epochs. Sometimes they present the moon as the source of light in a nocturnal landscape, sometimes it is allegorical in multiple ways, and sometimes it becomes a sort of anthropomorphic vehicle for conveying own states of mind. Contrary to the sun, the moon represents the night, darkness, things that can’t be explained by rational means, the horrifying, the miraculous, feminine and even healing powers. Among the artists whose works will be on show are Sebald Beham, Balthasar Anton Dunker, Franz Niklaus König, Ernst Kreidolf, Paul Klee, Nell Walden, Meret Oppenheim, Claude Sandoz to name just a few.

Mirror/Echo/Tilt is a performance and pedagogical project created by artists Melanie Crean, Shaun Leonardo, and Sable Elyse Smith to examine the language and gestures used to describe experiences of arrest and incarceration.

Tate Liverpool presents a new commission by Berlin-based artist Sol Calero (born in Caracas, Venezuela, 1982). Calero’s work takes the form of brightly coloured, large-scale immersive installations that explore themes of representation, identity, displacement and marginalisation, all informed by her own perspective as a migrant. Calero’s new commission, El Autobús 2019, is inspired by a recent journey through Latin America. Visitors are invited to travel through the Wolfson Gallery, exploring the floor-to-ceiling mural which overwhelms the space with a landscape of patterns, panoramic views, floral motifs and architectural elements. Rooted in the centre of the gallery is a bus-like structure, which is reminiscent of the buses used by locals in Latin America. Visitors are encouraged to jump aboard to continue their own journey through the exhibition. Listen out for bus announcements, which promise to take you to destinations that can never be reached.

A part of the legendary New York art scene of the 1980s, Keith Haring (1958–1990) was inspired by graffiti, pop art and underground club culture. Haring was a great collaborator and worked with like-minded artists such as Andy Warhol and Jean-Michel Basquiat. All were interested in creating art for the many. Haring designed record covers for RUN DMC and David Bowie, directed a music video for Grace Jones and developed a fashion line with Malcolm McLaren and Vivienne Westwood. In doing so, he introduced his art and ideas to as many people as possible. Discover how activism played a key role in Haring’s art. Compelled to speak for his generation, his art responds to urgent issues including political dictatorship, racism, homophobia, drug addiction, AIDS awareness, capitalism and the environment. Visitors to the exhibition will see more than 85 artworks including large, vibrant paintings and drawings. Also on display are posters, photographs, and videos that capture the vibrancy of 1980s New York street culture.

The BP Portrait Award is the most prestigious portrait painting competition in the world and represents the very best in contemporary portrait painting. With a first prize of £35,000, and a total prize fund of £74,000, the Award is aimed at encouraging artists to focus upon and develop portraiture in their work. Over the years, this has attracted over 40,000 entries from more than 100 countries.

This exhibition explores the complexity of Israel and the West Bank—their topography, inhabitants, and everyday life—from the perspective of twelve internationally acclaimed photographers. Photographer and project initiator Frédéric Brenner says that his point of departure for the project was the desire to add new artistic visions to the images familiar from reporting on the region. He convinced renowned photographers to join him: Wendy Ewald, Martin Kollar, Josef Koudelka, Jungjin Lee, Gilles Peress, Fazal Sheikh, Stephen Shore, Rosalind Fox Solomon, Thomas Struth, Jeff Wall, and Nick Waplington.

Edith Dekyndt (b. 1960 in Ypres, Belgium) lives and works in Tournai and Berlin. Her works have been shown at venues including the BOZAR and the Wiels in Brussels, the Museum of Modern Art in New York, and the Witte de With in Rotterdam. Dekyndt was awarded the Kunstpreis 2010.

Twenty years ago in 1999, TASCHEN published its first monumental art book: Helmut Newton’s SUMO. (…) Ten years ago in 2009, the Helmut Newton Foundation staged an unusual yet compelling exhibition dedicated to this legendary publication: all 460 pages of the book hung framed on the wall, side by side, in three rows one above the other. Exhibition visitors were literally able to see everything at once. (…) Now, a decade later and 20 years after its creation, SUMO will once again be presented at the Helmut Newton Foundation. Newton’s SUMO exhibition is complemented by an expanded reprise of the “Three Boys from Pasadena”. Ten years ago, the works of three of Newton’s former assistants – Mark Arbeit, George Holz, and Just Loomis – were featured all together in one of the foundation’s exhibition rooms. For this new exhibition, each of these American photographers will have a dedicated space for his unique and multifaceted oeuvre.    

Bani Abidi is known for her distinctive approach to filmmaking, which derives from the dark absurdities of everyday life. They Died Laughing is an extensive presentation of Abidi’s works, bringing together moving image and print-based works that span two decades.