The 1990s: Think raves, when sportswear hits high fashion and unisex styles became popular, when political activism grew in the wake of the global AIDS crisis, and the end of the Cold War signaled the reorganization of the world, think of the reunification of Germany, and how the mass-production and use of mobile phones came into being, as well as the prevalent spread of the Internet. Yet the nineties also appear to mark a point in history where the time horizon curves and the future and the past seem set in some kind of loop. From then on, there is seemingly nothing culturally significant that hasn’t existed before, albeit in slightly different guises.

“Who am I? How do others see me? Who do I want to be?” Especially during puberty, the question of one’s own identity gains in importance. For the first time, the Kunstmuseum Wolfsburg is enabling young people to conceive their own exhibition on this theme. The museum’s curatorial and research assistants have developed an exhibition program together with young people between the ages of fourteen and seventeen.

In recent years, Rachel Rose has quickly risen to prominence for her compelling video installations and films. In her work, the artist often explores how our relationship to landscape, storytelling and belief systems around mortality are inseparably linked to one other. Through multiple subject matter — whether investigating the use of cryonics to extend life after death, narratives of abandonment in children’s literature, or the sensory experience of zero gravity in outer space — she questions what it is that makes us human and how we seek to alter and escape that designation.

Altan’s entire world told through original drawings, posters, illustrations, paintings, sketches, tables, books and videos.

The exhibition focuses on the creation of the “legend of Van Gogh” around 1900 as well as his significance to modern art in Germany. It unites more than 120 paintings and works on paper. At the heart of the exhibition are 50 key works by Vincent van Gogh from all phases of his artistic work. It is the most comprehensive presentation in Germany to include works by the painter for nearly 20 years.

The exhibition will reveal the artistic personality of two of the most outstanding women artists in western art. Through a total of 60 works and for the first time, the Museo del Prado will jointly present the most important paintings by Sofonisba Anguissola (ca.1535-1625) and Lavinia Fontana (1552-1614). The two artists achieved recognition and fame among their contemporaries for and despite their status as female painters. Both were able to break away from the prevailing stereotypes assigned to women in relation to artistic practice and the deep-rooted scepticism regarding women’s creative and artistic abilities.

From Where I Stand is the first UK museum show of artist Otobong Nkanga, whose practice spans tapestry, drawing, photography, installation, video and performance. The exhibition explores the politics of land and its relationship to the body, and histories of land acquisition and ownership. It will feature new works created especially for the Tate St Ives exhibition, including a wall painting and sculpture, alongside well known works such as The Weight of Scars 2015, Tsumeb Fragments 2015, and From Where I Stand 2015, as well as several paintings and photographs which will be shown publicly for the first time.

The exhibition ‘Forever Rotterdam’ shows images of post-war life in the Port of Rotterdam, shot by the photographer Daniël van de Ven (Rotterdam, 1929). As a photojournalist, Van de Ven captured many important moments during the years between 1947 and 1971, often commissioned by the Holland America Line. From the war brides travelling to Canada to join their lovers after the liberation in 1945, to the construction of the s.s. Rotterdam (1956-1959). Also shown are photographs of departing migrants, who were in search of a better life on the other side of the world, as well as the arrival and departure of many visitors to Rotterdam. Through Van de Ven’s lens, the twentieth-century Port of Rotterdam comes to life.

A cinematographic animation project that starts on paper to transform into a collective and participatory art performance.

Posenenske’s works can be described as oscillating between Minimalism and Conceptualism, participatory art and performance, social practice and institutional criticism. The exhibition brings together her first drawings and paintings (her earliest experiments with mark making), aluminium wall-reliefs, and her last and best-known modular sculptures.

What does it mean today to talk about spirituality? on the spiritual matter of art is a project that investigates the issue of the spiritual through the lens of contemporary art and, at the same time, that of the ancient history of Rome. In a layout offering diverse possible paths, the exhibition features the works of 19 artists, leading names on the international scene from very different backgrounds and cultures. In a rigorously non-confessional vision, the exhibition, therefore, brings together works of contemporary art with a selection of archaeological relics from the capital’s leading museums: the Vatican Museums, the National Roman Museum, the Capitoline Museums and the National Etruscan Museum at Villa Giulia.

A focus on Enzo Cucchi, one of the leading exponents of the Transavanguardia movement.

Nam June Paik’s experimental, innovative, yet playful work has had a profound influence on today’s art and culture. He pioneered the use of TV and video in art and coined the phrase ‘electronic superhighway’ to predict the future of communication in the internet age. This major exhibition will be a mesmerising riot of sights and sounds. It brings together over 200 works from throughout his five-decade career – from robots made from old TV screens, to his innovative video works and all-encompassing room-sized installations such as the dazzling Sistine Chapel 1993.

This major exhibition is the first-ever to focus on the untold story of the women of Pre-Raphaelite art. 160 years after the first pictures were exhibited by the Pre-Raphaelite Brotherhood in 1849, Pre-Raphaelite Sisters, explores the overlooked contribution of twelve women to the Pre-Raphaelite movement, including Evelyn de Morgan, Effie Millais (nee Gray), Elizabeth Siddal and Joanna Wells (nee Boyce), an artist whose work has been largely omitted from the history of the movement. Featuring new discoveries and unseen works from public and private collections across the world, the exhibition reveals the women behind the pictures. Through paintings, photographs, manuscripts and personal items, Pre-Raphaelite Sisters explores the significant roles they played as artists, models, muses and helpmeets who supported and sustained the artistic output of the Pre-Raphaelite Brotherhood.

For one month, as part as the season dedicated to the “Scène française”, the Palais de Tokyo will host the various métiers d’art that have been rewarded and supported by the Fondation Bettencourt Schueller for the last twenty years, without trying to hierarchize the works or the crafts displayed. The sentence that has been chosen as the title of the exhibition is from L’Idée fixe ou Deux Hommes à la mer*, 1932 (translated into English as Idée Fixe. A Dialogue by the Sea, New York, Bollingen Foundation, 1965)), a novel by Paul Valéry. It sets up a dialogue with the lines by the author inscribed on the pediments of the Palais de Chaillot, a building located nearby and dating from the same period.  

The exhibition Future, Former, Fugitive, devoted to “a French scene” is based on an open conception of territorial placement – bringing together artists born in France and abroad, living in France or elsewhere, linked provisionally or lastingly to this country – in particular it escapes from the effects of a tabula rasa dictating that one generation eclipses another. On the contrary, it unites “contemporaries” who today share this evolving space with its porous frontiers. Meanwhile, it seeks to sketch out the routes of transmission through which this mood of the times is conveyed and which is a breath of fresh air simultaneously for the forty-four artists or groups that have here been united. They are artists born between the 1930s and the 1990s, but who all live and work in and within their era.

Výstava mapuje situaci uprchlíků a emigrantů usazených v táboře na okraji města Calais přezdívaného Jungle před jeho demontáží v říjnu 2016.

Paintings by Caravaggio, sculptures by Bernini and other works of central importance to the early Roman Baroque are on view together for the first time ever at Kunsthistorisches Museum Vienna.

Together with the special exhibition Caravaggio & Bernini, the Kunsthistorisches Museum is showing a new series of works by the Austrian artist Klaus Mosettig in the Bassano Hall. His series The David Plates is based on X-rays of Caravaggio’s painting David with the Head of Goliath from the collection of the Kunsthistorisches Museum. The fifteen large-scale drawings were created by artist Klaus Mosettig in his Vienna studio over a period of almost two years, from the autumn of 2017 through to the summer of 2019.

The Moscow Museum of Modern Art presents for the first time in Russia a large-scale project of Yoko Ono’s art featuring her legendary textual «Instructions», reenactments of the artist’s classical performances and her video art. The show acts as a prelude to the celebration of the MMOMA anniversary and opens as a part of the International Festival-School of Contemporary Art «Territory». The «Ruarts» foundation is the partner of the project.

This fall the Kunsthal Rotterdam proudly presents the first retrospective on French creator Thierry Mugler. This major exhibition will reveal the multiple universes of this undeniably artistic figure – visionary couturier, director, photographer and perfumer – in a retrospective of his work, especially his ready-to-wear and haute couture creations. Initiated, produced and circulated by the Montreal Museum of Fine Arts, in collaboration with the Clarins Group and the Maison Mugler, the exhibition’s world premiere will launch in Montreal in March 2019. As collaboration partner, the Kunsthal Rotterdam will be the second stop and the first venue in Europe to show this spectacular retrospective.

Fabien Castanier Gallery is excited to present a solo exhibition for American artist Mark Jenkins, From Here to Nowhere. The show will be held in both of our gallery locations, beginning with the Progressive Art Brunch event in Little Haiti on Sunday October 13th and continuing with a subsequent opening reception in Wynwood on Saturday October 19th. This will be the second solo exhibition for the artist at the gallery.

With approximately 140 works that have rarely if ever been exhibited in Germany, the Kunstsammlung Nordrhein- Westfalen presents the “unknown” Edvard Munch (1863 – 1944) at the K20. These paintings, prints, and sculptures were selected by Karl Ove Knausgård (*1968). The internationally celebrated writer, a native Norwegian like Munch himself, achieved worldwide fame with his six-volume autobiographical novel, which has been translated into more than 30 languages and has received numerous prizes.

Ragnar Kjartansson‘s The Visitors was shot at the magnificent old Rokeby estate near New York. The performance of the musician in each individual video was recorded separately, but in the gallery the nine takes merge into a single impressive performance.

Nearly 3000 years ago, a tiny, unknown people, trapped between the great empires of the Ancient Orient, Egypt, Mesopotamia and Greece, told incredible stories about a flow of interconnected events that have travelled through time and space, surviving changing historical eras and cultures. This primeval narrative is recreated by the text of Frédéric Boyer and the drawings of Serge Bloch. Exile, migration, encounters and discoveries come to life, the account becomes our own story.

The first exhibition to explore the remarkable career of Edith Halpert, the trailblazing art dealer whose influence, eye, and passion for American art championed the work of Stuart Davis, Yasuo Kuniyoshi, Jacob Lawrence, Georgia O’Keeffe, Ben Shahn, and Charles Sheeler.

The Austrian artist Martin Roth (1977-2019) attracted attention with site-specific installations and interventions between art and nature. His ephemeral and temporary spaces, mostly apocalyptic-dystopic scenarios of rubble, bricks, or civilization waste, were literally animated with rescued animals (frogs, birds, snails, laboratory mice, etc.) and/or plants – on the one hand these act as catalysts together with the factor time for the decay of place and material. At the same time they are a promise for renewal and continuity of at least nature and matter. For the installation at KUNST HAUS WIEN, the artist has filled the entire floor of the “garage” with rubble and sculptural pieces – wild plants settle in the gaps – and stimulates the setting with a sound installation: The main sounds are birds that imitate technically produced sounds such as ring tones, car noise, sirens, etc. – an echo of our industrialized life. Roth has taken up themes of dislocation, substitution, decay, inequality and disorder in a network of relationships between artist / recipient, human / animal / nature and time / space and created subtle symbolic images of the state of our world. In october 2019 I listened to animals imitating humans. is his first museum exhibition in Austria, […]

Thomas Duggan is an inventor who has a love of nature, design, materials, architecture, science, advanced generative design, technology, craft and robotic fabrication. In this exclusive exhibition, Thomas Duggan presents new work alongside existing examples of his lifelong enquiry into process and invention. Working with porcelain and advanced robotics, Thomas will be creating works of art in real time. ‘Alchemy in Art’ chronicles Thomas’ explorations into sculpture and installation, material science, advanced fabrication techniques and traditional craftsmanship.

Ve spolupráci s komisí ADIAF probíhá již 19. ročník Ceny Marcela Duchampa.

110 works of Surrealism, Abstract Expressionism, Nouveau Réalisme, Pop Art and Minimal Art, Arte Povera and more; the artists include David Smith, Serge Brignoni, Pablo Picasso, Yves Klein, Willem de Kooning, Anthony Caro, Richard Serra, Brice Marden, Sean Scully and Giuseppe Penone.

The artists featured in the exhibition are Leonor Antunes, Silvia Bächli, Toba Khedoori, Susan Philipsz and Rachel Whiteread. Instead of making a comprehensive group show with numerous works, the exhibition will present exemplary works by a few internationally renowned contemporary artists.

Venue: Albertinum It all started in Dresden – with an act of artistic self-assertion. Excluded from the Academy and the official art market in the GDR, Ralf Winkler (1939–2017), who would later become world-famous as A.R. Penck, declared himself an artist on his own authority. He occupied the “underground” art scene and generated a body of works that was both prolific and versatile, as a painter and illustrator, sculptor and printmaker, Super 8 filmmaker, musician and author. In his life and his artistic practices, he combined analytical and pictorial thinking. He fused ideas from philosophy, natural science, information theory and technology with old and new strategies of image making, as well as awareness of social and artistic issues, to create a multimedia concept of “Visuelles Denken” [visual thinking] – thinking in pictures.

The movement Pattern and Decoration was developed in the USA in the 1970s by a number of artists, such as Joyce Kozloff, Valerie Jaudon, Robert Kushner and Miriam Schapiro. Followers of the movement radically distinguished themselves from the predominant Minimal Art and Concept Art at that time. They questioned not only traditional notions of art, but also addressed broader political and social issues, such as activities of the feminist movement, or the situation of Native American communities. Their subject matters were articulated through an aesthetic of captivating ease and seductive beauty: with works that celebrate sensuality, fantasy and colour, as well as an immediate lust for life.

The design studio Christoph Hesse Architects addresses the notion of sustainable life, work and recreation in rural regions through diverse approaches. Its projects include new buildings as well as conversions – altogether they form a plea for self-sufficient, collaborative and identity-forming living spaces that actively involve the users in their design. Aedes is presenting a selection of planned and realised projects in the Sauerland and Waldecker Land region of North Hessen, based on atmospheric pictures and small- and large-scale models.

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.

He was the only Austrian in the circle of Parisian Surrealists, at Frida Kahlo’s invitation he moved to Mexico, and he influenced American artists Jackson Pollock and Mark Rothko:  Wolfgang Paalen was truly a world-wide trailblazer of art in the mid-twentieth century. Scant attention has been paid to him in recent years, but now the time has come for the Belvedere to dedicate a comprehensive exhibition to his oeuvre.

Venue: Palazzo delle Esposizioni, Rome Through conceptual photography, collages, sculptures, urban interventions, performances, mail art works, visual poetry and artist’s books, the exhibition demonstrates an alternative sphere of critical thinking and creative ways of living under totalitarian rule.

Sylvia Plachy’s pictures open a path to our own dreams and memories. She can find her photographs anywhere in the world. When she photographs, she is immersed like a child.

Výstavný projekt so zameraním na maliarstvo a sochárstvo Podkarpatskej Rusi v rokoch 1919 – 1938 prezentuje umeleckú produkciu krátkej periódy dvadsiatich rokov, kedy bolo územie Podkarpatskej Rusi súčasťou nového štátneho útvaru Čechov a Slovákov. Výstave predchádza vedecko-výskumná a bádateľská práca, ktorá sa zameriava na dejiny medzivojnového obdobia v konfrontácii s košickou a európskou modernou.

Created in close collaboration with the artist, Elizabeth Peyton: Aire and Angels, explores the development of Peyton’s unique art from the 1990s to the present day. Elizabeth Peyton is one of the world’s leading contemporary artists. Internationally renowned, her work has been at the forefront of a re-evaluation of figurative art and the tradition of portrait painting since the 1990s. The exhibition will include a selection of key portraits from the first two decades of her career, and investigate the new direction in her work over the last 10 years.  Portraits on display from her diverse and ever-expanding repertoire of recurring subjects will include Kurt Cobain, Liam Gallagher, Frida Kahlo, Napoleon, Queen Elizabeth II, David Bowie, Phoebe Philo, David Hockney, Eva-Maria Westbroek and Jonas Kaufmann among others.

The exhibition Perspectives revolves around two chronological anchor points: on the one hand, the emergence of a Romanian identity in the 19th century and on the other, the revolution and fall of Ceausescu in 1989. How did art develop against the backdrop of that turbulent history? And how do today’s artists view those events? (…) Numerous Romanian artists are presented, with an important focus on the avant-garde, and are introduced to garner further attention in other exhibitions.

The exhibition presents masterpieces by Brancusi from museums and private collections around the world, including ‘Sleeping Muse’ ‘The Kiss,’ and ‘Leda.’ Several pieces will be showcased for the first time alongside works by Rodin under whom Brancusi briefly studied.

The Albertina Museum is marking what would have been the hundredth birthday of Maria Lassnig (1919–2014) with a comprehensive look back upon her career, thus showing impressive key works and masterpieces by one of the most important woman artists of the 20th century. Among the multitude of themes to which Maria Lassnig devoted herself over the course of her life (including self-portraits, science fiction, relationships with people, animals, and technology, and how we relate to violence and war), a dominant golden thread running throughout her oeuvre’s content is the act of rendering her body-consciousness visible. As early as the late 1940s, Lassnig placed her own body at the center of her work—long before physical feeling, body language, and gender relations became central themes of the international avant-garde. She thus marked an important turning point in the history of modern art whose echoes can still be heard today. It was humorously and seriously, wistfully and mercilessly that the artist placed her perceptions of her own self on the painting surface. In this, it was not what she saw, but what she felt became the image. Exhibition organised by The Albertina Museum, Vienna in collaboration with the Stedelijk Museum Amsterdam.

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.

On the occasion of Arnulf Rainer’s 90th birthday, the Albertina Museum is presenting a selection of his works from its extensive holdings. The focus here is above all on early overpaintings and crosses, works from Rainer’s large group of Face Farces (of which the Albertina Museum is home to several particularly central and important examples), and a series of equally impressive “veiled pictures”. Five years ago, the Albertina Museum already honored Arnulf Rainer with a large retrospective in celebration of his 85th birthday, testimony to the great esteem in which this internationally renowned Austrian artist is held.

With Siegfried Zaworka, mumok has for the first time invited an Austrian artist to fill the wall in the museum’s foyer with a site-specific work. Following photography-based installations by Cindy Sherman, Louise Lawler, and Jeff Wall, Zaworka focuses his artistic investigation on the devices used in pain- ting. Under the title Funktionale, he has arranged a group of image elements painted on bare canvas into a temporary mural that artfully toys with the vie- wer’s habits of perception. What looks at first glance like a surreal landscape with a mountain range, fir tree, and vegetal forms, turns out on closer inspec- tion to consist in a systematic analysis of the illusionistic potential of painting.

When Alfred Schmeller became the second director of the 20er Haus (today’s mumok) in 1969, he had already enjoyed a long and varied career. He had been influential in the Art Club, and had worked for many years as a critic. Alongside his extensive collecting and exhibition activities, Schmeller was one of the first directors to realize the significance of presenting museums to different groups of potential visitors. An important aspect of his work was, as he himself called it, “total cultural work.” He saw the museum as a “flashpoint” in which many different issues could be articulated. Schmeller opened the museum up in many ways. He invited the Vienna Festwochen to hold the avant-garde festival Arena there, and he was particularly concerned to attract young people via painting actions and other events. In 1970, the sensational work Giant Billiard by Haus-Rucker-Co was shown in the exhibition Live, which Schmeller had advertised with the slogan “The Prater is closed. Come to the museum!” This work is reconstructed for this exhibition at mumok today.  Visitors are expressly invited to use it! Alongside Schmellers most important acquisitions, documentation of his exhibitions, events and art education projects will be shown.

The exhibition tells the story of a short, yet vivid existence of the first Krakow Group, of the life and works of colorful and outstanding youths, whose intertwined fates were part of the history of Polish avant-garde. Aleksander (Sasza) Blonder (pseudonym André Blondel), Blima (Berta) Grünberg, Maria Jarema, Franciszek Jaźwiecki, Leopold Lewicki, Adam Marczyński, Stanisław Osostowicz, Szymon Piasecki, Mojżesz Schwanenfeld, Bolesław Stawiński, Jonasz Stern, Eugeniusz Waniek, Henryk Wiciński, Aleksander Winnicki – these are the members of the first pre-war Krakow Group.

In July 2017, HRH Franz, Duke of Bavaria permanently donated his extraordinarily exquisite and diverse collection of ceramic objects dating from the 19th to the 21st century to Die Neue Sammlung – The Design Museum. Starting on 27 September 2019, Die Neue Sammlung will be honouring this generous gift with a major exhibition at the Pinakothek der Moderne.

Henrike Naumann was raised in Zwickau at a time when the GDR was drawing to a political close and the state was ultimately absorbed into a reunited Germany. She has transformed the experiences of her youth—between hedonism, consumer culture, and growing right-wing radicalism—into installations for several exhibitions. In an archaeology of zeitgeists she explores the correlations between aesthetics and ideology, which she enables visitors to experience in her walk-in spatial settings. The starting point of her exhibition at the Belvedere 21 is the year 1990: The Reichsbürgerbewegung (“Reich Citizens’ Movement”) does not accept the legitimacy of the Federal Republic of Germany and abruptly takes over control after reunification. Austria soon joins the reestablished German Reich. Henrike Naumann sketches this fictitious scenario in an immersive room installation comprising furniture, home accessories, and videos. Here the Reich (Citizens’) Chancellery, portrayed as a Germanic Stonehenge, meets home videos by the National Socialist underground and by revelers on Ibiza, a 1990s furniture store, Jörg Haider’s office, and all manner of finca chic. Das Reich can be read as a psychogram of an alternative world view, which alarmingly resembles the worlds of thought of today’s extreme right.

Palffyho palác

Výstava představuje práci Ladislava Mednyánszkyho malíře slovensko-maďarského původu (1852, Beckov – 1919, Vídeň), který získal umělecké vzdělání v prostředí rodového sídla Strážského zámečku od malíře Thomase Endera. Po maturitě odešel studovat do Mnichova na Akademii výtvarných umění (prof. Otto Seitz) a později získal další umělecké vzdělání v Paříži (prof. Isidor Pils). Po ukončení studií navštívil v roce 1875 poprvé Barbizon, kde se spřátelil s významnými umělci jako byl Karl Bodmer či Odilon Redon. Ovlivnil ho také Jean-François Millet. Mednyánszky, který byl neustále na cestách, si své ateliéry pronajímal na pařížském Montmartru, ale i v Budapešti a ve Vídni. Jeho cesty však vždy přerušovaly návraty na Slovensko.

Sampler #3. Anti-books is the third in a series of shows produced by the MACBA Study Centre to promote its collections and documentary holdings. On this occasion, the focus is on a selection of artists’ books from the 1960s and 1970s taken from the more than 4,000 artists’ books in the MACBA Archive influenced by conceptual and minimalist movements.

For its fifth season, the Louvre’s Petite Galerie—a space dedicated to art and cultural education—will be holding an exhibition titled ‘The Advent of the Artist’. Opening on September 25, 2019, this year’s edition will coincide with a cycle of Louvre exhibitions devoted to the Renaissance geniuses Leonardo da Vinci, Donatello, Michelangelo and Albrecht Altdorfer in 2019-2020.

The year 2019 marks the centenary of the signing of the Franco-Polish convention of September 3, 1919, “relating to emigration and immigration,” which led to a massive influx of Polish workers to France, and more specifically, to the mining region in the country’s north. To commemorate this important event for the territory’s identity, the Musée du Louvre-Lens will hold a large retrospective of 19th-century Polish painting, organized jointly with the National Museum in Warsaw.

Los Angeles–based artist Carmen Argote (b. 1981, Guadalajara, Mexico) traces, layers, and transforms diverse materials sourced from her surroundings.

Mark Leckey transforms Tate Britain’s galleries with a life-size replica of a motorway bridge on the M53 on the Wirral, Merseyside, where the artist grew up. The bridge – a recurring motif in his work – is the setting for a new audio play. Focusing on a group of teenagers, the play is inspired by folklore and stories of changelings and ‘fairy raids’ and by the artist’s own pre-adolescent experiences.

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.

Experience the extraordinary creative process of one of the world’s most inventive photographers through his pictures, films, photographic sets, and special installations – including ten new series of photographs influenced by the V&A’s collections.

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.

It has been decades since so many works by Albrecht Dürer (1471–1528) have been seen in one place: thanks to valuable international loans, Vienna’s ALBERTINA Museum – itself home to numerous world-famous icons of drawing by Dürer including the Hare, Praying Hands, and Large Piece of Turf – will be presenting over 200 examples of Dürer’s drawings, printed graphics, and paintings in autumn 2019. Upon its reopening in 2003, it was with an exhibition of works by Albrecht Dürer that the ALBERTINA Museum ended up welcoming a total of half a million visitors. And now, a selection of over 100 drawings, a dozen paintings, personal writings, and other rare documents will present the oeuvre of this Renaissance genius more comprehensively than ever before.

The work features performances by Yumna Marwan, Elizabeth Peace and boychild, and by Al-Maria herself. Each one is cast against the science fiction backdrop of a solar battle, as evoked by Etel Adnan’s in her 1989 war poem, ‘The Arab Apocalypse’. Beast Type Song was shot in the derelict former campus of Central Saint Martins School of Art and Design in Holborn, London.

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.

The international travelling exhibitionThe Majlis – Cultures in Dialogue of the Sheikh Faisal Bin Qassim Al-Thani Museum in Doha, Qatar will be on show at the Weltmuseum Wien after its stops in Valletta and Paris. The Majlis has shaped the Arabic and Islamic people for centuries, serving as a centre for social encounters, for political debates and decisions, and for teaching and discussion. Technically defined as a ‘sitting place’, the Majlis has in fact always been much more. It has been an integral part of Arabic society, the heart and soul of communities, the setting for passionate discussions and joyous celebrations.

Working across sculpture, video, and performance, Ariel René Jackson (b. 1991, Monroe, Louisiana) explores land as a site of negotiation, bearing vestiges of slavery and colonialism as well as offering the potential for recovery, restoration, and growth.

Umelec Gérard RANCINAN, jeden z najvýznamnejších francúzskych fotografov, v spolupráci so spisovateľkou Caroline GAUDRIAULT prináša symbolický pohľad na dnešnú spoločnosť, ktorý s radosťou reinterpretujú podľa práve sa odohrávajúcich udalostí.

Pri pohľade na umenie Aleny Adamíkovej nachádzame v jej dielach črty dnes veľmi vzácnej stability. V prvom rade maľuje naturalistické portréty so silným kontrastom farieb a štruktúry. Jej dielam to dodáva určitú mystickú atmosféru, čo z nej robí jednu z pozoruhodných súčasných surrealistických maliarok. Po ostatných desiatich rokoch práce sa Alena Adamíková vracia ku koreňom. Vo všetkých jej dielach zaznieva otázka: „Môžu moje deti spoznať svet tak, ako som ho spoznala ja?“ Opisuje život mystickou optikou, v ktorej sa rozprávky menia na realitu. Zdá sa, že v jej diele sa vždy ukrýva tajomstvo bezpečia rodiny, ktorej hrozí, že sa stratí v modernej spoločnosti, kde je na vzostupe individualita a osamelosť.

Jubilejná výstava jedného z najvýznamnejších výtvarných umelcov slovenského výtvarného umenia Viktora Hulíka (1949) je veľmi dobre známa nielen v európskych, ale aj svetových súvislostiach.

This year, Joost Swarte will be celebrating his fiftieth anniversary as an illustrator, designer and architect with an exhibition at the Kunsthal Rotterdam. The exhibition ‘Joost Swarte everywhere’ pays homage to fifty years of drawing by presenting a cross section of Swarte’s body of work – from his first cartoons, original drawings, sketches, designs and objects to his most recent work. Swarte’s search for the most surprising and iconic illustrations is also shown on the basis of sketches that have never been exhibited before.

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.

The artist and filmmaker Korakrit Arunanondchai works on one large body of work that focuses on the idea of a “living archive.” He is interested in relationships that pass through time and mutate with bodies of people, something that parallels the development of recorded history but sidesteps its linearity and single point of perspective in storytelling. As its recurring central character, his ongoing video series together with history in a room filled with people with funny names (2012—) features a fictional painter who paints on denim using it as a connecting fabric amongst different worlds and contexts. Being a material that originated in the west, and earned itself the significance of a working class fabric, denim itself, then traveling to the rest of the world thanks to globalization, bares parallel trajectory to what raw canvas is for Western Abstract painting. Denim is used as a foundation, both as ground for pictures that result from performative body painting actions and as an underlying narrative in the videos whose protagonists are dressed in this cloth. These are, alongside long-time collaborators and friends, the artist’s family members – most notably his grandparents.

The human body and the various shells that, as skin and attire, define its relation to the world are key motifs in Alexandra Bircken’s work. Many of her sculptural investigations probe the question of the boundary between inside and outside and its relatedness as a permeable membrane, interface, and suture. For her exhibition Unruhe [Unrest], Bircken has developed numerous new works that interweave themes such as gender, body and machine, power and vulnerability.

In his exhibition Im Dom in the Secession’s main gallery, Tillman Kaiser presents mostly new large-format pictures and sculptures. As the artist sees it, a church or cathedral is not a functional structure; synthesizing diverse arts—architecture, sculpture, and painting—it possesses a beauty that is an end in itself. With a nod to the Kantian idea of disinterested pleasure, Kaiser argues that all art—his, certainly—aspires to beauty in this sense. Made in the studio, his work does not depend on the interaction with a specific exhibition site. And yet the half-laconic, half-ironic title he has chosen for his show, which translates as In the Cathedral, transplants us into an ecclesiastical space and hints at the possibility of a spiritual experience. It is a deft stratagem, drawing a connection between the Secession—conceived at the dawn of modernism as a total work of art and “temple” of beauty—and his own oeuvre while questioning the institution’s status and signaling critical distance.

A travelling exhibition is showing models, texts, videos, sketches and drawings of the 40 shortlisted works and a summary of all 383 nominees. This layout disseminates the work of European architects and creates important discussions and synergies on ways of designing, building and using places, cities and territories.

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.

Images tell stories. They do so not only via form and content but also through their pure, innate materiality. Painting tools and the medium of colour, their origins, and the way they are obtained often convey compelling stories in parallel to the picture’s subject matter. Austrian artist Johanna Kandl focuses on this content layer by juxtaposing the basic materials used in painting with her own works as well as numerous paintings from the Belvedere Collection.

Site-specific instalace objekty a digitální média (video, projekce) Richarda Janečka, Radovana Kissoczyho.

Retrospektivní výstava slovenské autorky, reprezentantky regionální výtvarné scény, spojená s uvedením nové monografie.

Bettina Pousttchi works at the interface between sculpture, photography and architecture. Her site-specific photographic interventions adopt an architectural scale, often taking up whole walls of buildings and referencing the urban or historical context of a place. Pousttchi articulates perceptions of reality in the digital age and explores the relationship between memory and history from a transnational perspective.

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.

The city is one of the most dazzling subjects in the history of photography: KUNST HAUS WIEN presents with the exhibiton Street. Life. Photography Icons of Street Photography from seven decades. From Merry Alpern, Diane Arbus, Robert Frank to Lee Friedlander or Martin Parr – with more than 35 photographic positions and over 200 works, the exhibition deals with the radical changes and aesthetic developments in street photography from the 1930s to the present. Street Life, Crashes, Public Transfer, Anonymity, and Alienation – in five kaleidoscope-like chapters, the exhibition shows the central themes of street photography and draws visitors into a wide variety of visual worlds, some of which seem surreal. Analogue photography is alongside digital photography, the 35mm camera alongside the large-format camera, black-and-white photography meets colour photography and familiar icons of photographic history. International classics of street photography are associated with young, contemporary positions such as Mohamed Bourouissa, Harri Pälviranta or Austrian artists such as Alex Dietrich and Lies Maculan – and open up a new perspective on the different spaces of the city that the observation of the urban environment offered in the past and today. Street. Life. Photography sheds light on the continuing fascination that this theme has exerted on 20th and 21st century photography, producing a […]