Plovoucí svět Clauda Moneta
Ještě do 6. ledna příštího roku mohou milovníci impresionistické malby navštívit ve Vídni výstavu významného představitele tohoto stylu nazvanou Claude Monet – A Floating World (Claude Monet – Plovoucí svět), která probíhá v Albertině již od 21. září 2018 a přináší na 100 pláten zapůjčených ze 40 světových muzeí jako například z pařížského Musée d’Orsay, z Museum of Fine Arts Boston, National Gallery London, National Museum of Western Art v Tokiu, či z moskevského Puškinova muzea. Výstava je tedy velmi reprezentativní přehlídkou umělcova díla, která vznikla také ve spolupráci s Musée Marmottan Monet v Paříži, kde jsou v této soukromé instituci celoročně k vidění práce Clauda Moneta. Retrospektiva umožňuje sledovat vnitřní vývoj tohoto umělce od realistické polohy raného období až k pozdnímu dílu, kdy se Claude Monet (1840–1926) obracel se ve své podstatě v obrazech leknínů z jeho zahrady v Giverny k abstrakní malbě.
Call The Annual Textile Art of Today
Triennial of Textile, without borders, the civic association proclaims the fifth year of the international art project Textile Art of Today 2018. Textile Art of Today is an international tour of contemporary professional textile art and its latest trends. It also includes a category of student’s art works of art schools. The exhibition will present works that cross the boundaries of classic textiles and which are innovative. We are looking forward to work with modern technologies, such as linking mobile apps with art works. We would like to see art works that work with the scents, light, shadow, kinetics, and other works that respond to the current themes of the global world. Of course there is also classic textile tapestry. At the exhibition, we welcome textile installations, objects, videos, works that are closer to sculptural but also jewellery creation… The fourth annual of Textile Art of Today took place in 2015 until January 2017. 230 artists from 41 countries worldwide signed for the exhibition. The Curator’s Committee selected 76 artists and students. Subsequently, the international jury awarded the Grand Prix of Bozena Augustinova, the 3 Excellence Awards, the Tatra Gallery Award, the Polish Cultural Institute Award and the Student Award. […]
VI PER Open Call for an Exhibition Project in 2018 Prague, Czech Republic
VI PER Gallery announces an international open call for an exhibition project in 2018. VI PER Gallery based in Prague, Czech Republic, is a non-profit institution which focuses on architecture in the broadest sense, together with its relations and points of intersection with contemporary art, urbanism, design and media, as well as the political, legal, social, economic, ecological and spatial contexts which help to shape architecture and the built environment. This open call is the first one that VI PER Gallery has announced. The call is opened for architects, artists or designers and researchers, curators, critics, or teams from institutions and organisations of any nationality and country of residence. The applicant should be capable of conducting research and developing an original vision and coherent curatorial narrative as well as an integrated curatorial and exhibition design proposal. Applicants should not feel limited to overt architectural themes, as the jury will consider proposals that explore a variety of design and urban-related topics. Submitted projects may fall into a wide range of genres associated with architecture, art, design and other disciplines and should reflect on the relevance of architecture to respond to contemporary issues so as to be coherent with the galleryʼs mission. […]
Franz Kafka. The Entire Trial
Franz Kafka. The Entire Trial 30 June – 28 August 2017 Martin-Gropius-Bau Berlin “The anguish this book gives off is at moments almost unbearable; for how can one help but say to oneself: this hounded creature is I?” André Gide More than 100 years after it was written, the complete handwritten manuscript of Franz Kafka’s famous novel The Trial is going on show at the Martin-Gropius-Bau in Berlin. It will be displayed page by page in the order given to it by Kafka’s friend, executor and editor, Max Brod. The Berlin presentation is based on the 2013/2014 exhibition “The Entire Trial” at the Museum of Modern Literature in Marbach, one of the collections of the German Literature Archive in Marbach. Stresemannstraße 111, in the immediate vicinity of the Gropiusbau (Stresemannstraße 110, then Königgrätzer Straße), was once the site of the Hotel Askanischer Hof. It was at the Askanischer Hof, on 12 July 1914, that the legendary conversation took place between Franz Kafka and Felice Bauer, her sister Erna and friend Grete Bloch, after which the engagement between Kafka and Felice Bauer was broken off. Kafka wrote later in a journal entry that the meeting felt to him like a “law […]
The Kunsthaus Zürich presents Oskar Kokoschka – Expressionist, migrant and pacifist – in the first retrospective of his work in Switzerland for 30 years. The highlights among the more than 200 exhibits include the monumental ‘Prometheus Triptych’ and the ‘Mural for Alma Mahler’, which have never before been seen in Switzerland.
Heji Shin is a New York–based German-Korean photographer. She works commercially on projects such as fashion shoots as well as in the—no less commercial—art world. Shin became known, amongst others, for her images commissioned by the American fashion label Eckhaus Latta and for Make Love, a much-discussed sex education book for teenagers, as well as for the image series #lonelygirl and Babies.
Wang Bing is one of the most important contemporary documentary filmmakers. He is known for his epic films dedicated to the world of work and everyday life including its constraints and opportunities. At Kunsthalle Zürich, Bing will be presenting two films: Mrs. Fang, (Fang Xiu Ying, 102 min. 2018, Golden Leopard 2017 for the cinema version) and Man with No Name (Wu Ming Zhe, 99 min., 2010).
For the development of his architecture, Fernando Menis prefers to use three-dimensional materials such as clay in order to design shape and dimension of the buildings in an ongoing modelling process. During his 40 years of practice, a multitude of typologies has been created whose sculptural formal language possesses an outstanding expressiveness. In the exhibition, these models of planned and realised projects by the Canarian office are presented inside a walk-in cubic space, including the Concert and Congress Hall ‘CKK Jordanki’ in Toruń/Poland, the Hotel Complex ‘Bürchen Mystik’ in Switzerland or the Public Swimming Pool ‘Badeschiff’ in Berlin. Thus, the installation is dedicated to creative processes and innovative approaches that make the work of Menis Arquitectos so unique.
Barcelona’s Encants Market, dating back more than seven centuries, is one of Europe’s oldest. In 2013, it moved to its current site in a space designed by b720 Fermín Vázquez Arquitectos. The project strives to maintain the spirit of open-air markets with the design of a large public square covered by material that reflects its day-to-day activity. These design strategies have made it one of the world’s most famous markets and one of the b720 Fermín Vázquez studio’s signature works. This exhibition is a retrospective look at 20 years|20 projects, selected to explain the approach and the working methods of the b720 team. These projects cover multiple scales. The material remains of the studio’s output over the last 20 years are now assembled in the centre of this installation, an evocation of a stall in Barcelona’s Encants market, the centrepiece of the exhibition’s discourse.
Linked to the Műcsarnok’s exhibition about lifestyle reform, titled Hidden Stories, Orsolya Drozdik’s show, mounted in one hall of the museum, revisits some of the elements of her earlier project, Individual Mythology (1975–1977). Two series will be on view: the 24 photographs of Individual Mythology No. 4 and those erased drawings of Individual Mythology No. 6 that have not been displayed thus far.
The main work of the Munkácsy Award-winning visual artist István B. Gellér was the Growing City, which he himself “founded”. In this series, to which he added continuously from 1978 until the end of his life, Gellér diligently “discovered” an ancient civilisation whose inhabitants considered not facts, but the emotions and meaning surrounding them, to be the basis, or starting point, for their existence and interests. On this occasion the exhibition’s curator, Sándor Kardos, has selected statues, boxed works and pictures from the artist’s estate. The 1996 film Growing City, directed by Kardos and starring István B. Gellér himself, will also be viewable at the exhibition.
The Kunsthalle Wien Prize 2018 goes to two artists who hail from a cultural sphere that has been riven by a sharp political divide since the end of the Chinese Civil war in 1949: from the People’s Republic of China and the island nation of Taiwan (officially known as the “Republic of China”). The two honorees agreed on the title Keep me close to you for their diverse explorations of current as well as historic forms of the transmission of immaterial goods across both countries’ respective political and ideological boundaries. Repro: Hui Ye, Quick Code Service, Videostill, 2017/18, Courtesy the artist
The spirit and the identity of the museum are being renewed with the latest presentation of the MAXXI Collection: on display are more than 30 worksby a total of 26 artists in a major group show that opens with a section dedicated to some of the 70 new acquisitions, including those by Monica Bonvicini, Katharina Grosse and Paolo Di Paolo, which have in 2018 enriched the museum’s holdings and which are part of a policy of expansion, valorization and safeguarding of the collection. In the second part of the gallery are more than 20 works, including pieces by Bill Viola, Giulio Turcato, Alighiero Boetti, Pablo Echaurren, Pei-Ming, Labics and Aldo Rossi reflect on the status of the work of art, the image and its perception in relation to space. With analogic instruments and new technologies, the thematic exhibition intends on the one hand to highlight the works’ strong link to painting and its traditions and on the other create a counterpoint between the abstract and the figurative.
The Berlinische Galerie is to show video sculptures by Raphaela Vogel (*1988) at the artist’s first institutional solo exhibition in Berlin. The spatial installation is part of a festival to mark the 10th anniversary of Videoart at Midnight.
Art Brut from Japan, Another Look features works by twenty-four Art Brut creators who are working in Japan today. It comes as a follow-up to Art Brut from Japan, the first-ever exhibition of this kind of art outside Japan, which was presented at the Collection de l’Art Brut in 2008. Since then, the impact and influence of that groundbreaking exhibition have been considerable, and Art Brut from Japan has been shown at art centers, museums, galleries, and art fairs in Europe and North America, as well as in notable exhibitions within Japan.
The Moscow Museum of Modern Art presents for the first time in Russia an extensive solo exhibition of Jacques Lipchitz, a major personality in the 20th century sculpture, a foremost figure in the School of Paris, a close friend of Amedeo Modigliani, Chaïm Soutine and Pablo Picasso. The project is a part of the 70th anniversary celebration of the Israel State foundation. The artistic oeuvre of Jacques Lipchitz can now be found in different countries, forming part of best world museum and private collections. His solo exhibitions’ story started in 1920, while his retrospective shows’ record dates back to 1936. A Soviet art historian Abram Efros defined Lipchitz’s artworks as ‘the highest point, the climax of Russian integration’ into the western art world. The exhibition at the MMOMA will introduce the Moscow public to the art of one of the most significant sculptors of the 20th century. Besides, it will be a historic event for the world art scene, and rightfully so, as Lipchitz, a Franco-American artist of Jewish origin, was born in the Russian Empire, and now an extensive display of his works will be open in Russia for the first time ever.
Music and youth culture, commemoration and traditions, languages and homeland – 22 impressions depict the everyday life of secular and religious, long-established and newly arrived Jews in Germany. Using the letters of the Hebrew alphabet, the exhibition explores keywords, concepts, and what is “Jewish” in Germany today. In the process, light is shed on very different aspects of the German-Jewish present and perceptions of norms are critically examined.
CAREFUL UNREST takes this year’s anniversary of the November Revolution as an opportunity to ask about contemporary aesthetics of rebellion. How can struggles for social participation be represented today? Who or what are the revolutionary subjects and how can they be (re)activated? With works by David Amberg, Umut Azad Akkel, Pharaz Azimi, Charlotte Eitelbach & Lou Hampel, Cornelia Fachinger, Mania Godarzani-Bakhtiari, Georgina Hill, Fee Hollmig, Itsthevibe Annkathrin Kluss & Florian Mehmeti Löffler, Matthias Planitzer, Inia Steinbach und Lisa Thieler, kurated by Anna Voswinckel.
This exhibition brings together more than forty works by renowned artist Fernand Léger (1881–1955). Léger was enthralled by the vibrancy of modern life. His paintings, murals, film and textiles were infused with the bustle and rhythm of the metropolis. He drew on photography and new forms of communication that boomed during the ‘mechanical age’ of the twentieth-century such as typography, advertising and graphic design.
Alex Katz (1927) is highly recognisable and admired by a younger generation of artists and the public. His elegant paintings present a modern, quintessentially American take on the classical themes of portraiture, landscape, figure studies, marine scenes and flowers. A group of works selected from the ARTIST ROOMS collection, this exhibition will provide viewers with the opportunity to see a substantial body of his work. The display will showcase works including Pansies 1967 and West Palm Beach 1997.
South Korean artists Moon Kyungwon and Jeon Joonho’s new film commission Anomaly Strolls2018 has been shot in-part in Liverpool. Extending their project News From Nowhere 2009, the artists use science fiction to question the role and importance of art to our present day society. As they have said: ‘Sci-fi is always the fable of the present. By employing a way to look at the future instead of the present, we wanted to address current issues, especially in relation to what art is and what art could be.’ Filmed in deserted alleyways and pubs across the city, Anomaly Strolls reflects on the experience of being human today.
Family portraits are a constant presence in modern life. Foreshadowing this, Thomas Gainsborough was the first British artist to make a regular practice of painting and drawing himself and his family members. Comprising of some of his best loved works, this exhibition will explore how these portraits not only expressed his affections but also helped advance his career. Featuring over fifty works from across the world, some of which have never been on display before, Gainsborough’s Family Album charts his career from youth to maturity, telling the story of an eighteenth-century provincial artist’s rise to metropolitan fame and fortune.
Featuring over fifty works from public and private collections across the world, Gainsborough’s Family Album will provide a unique insight into the private life and motivations of Thomas Gainsborough (1727–88), one of Britain’s greatest artists. The exhibition includes a number of works that have never been on public display in the UK and will bring together for the first time all twelve surviving portraits of Thomas Gainsborough’s daughters. Gainsborough’s Family Album charts Gainsborough’s career from youth to maturity, telling the story of an eighteenth-century provincial artist’s rise to metropolitan fame and fortune. The exhibition will both offer a new perspective on Gainsborough the portraitist and challenge our thinking about his era and its relationship to our own.
The Moscow Museum of Modern Art presents a large-scale retrospective exhibition of Mihail Chemiakin, held in celebration of the artist’s 75th anniversary. Including more than 250 works produced in various art forms such as painting, sculpture, graphics, the exhibition covers the key periods of Chemiakin’s creative journey and encompasses all the disciplines the artist has worked in. The show encompasses pieces from both public and private collections including the State Russian Museum, the Moscow Museum of Modern Art, the Mariinsky Theatre, the Mihail Chemiakin Foundation in Saint Petersburg and the artist’s collection in France. The show is curated and designed by the artist Alexey Tregubov. Polyus gold mining company is the partner of the project. In Mihail Chemiakin’s view, to be an artist means to be a hard worker and to draw inspiration from everything: be it the work of Western artists like Pablo Picasso, Georges Braque, and Chaim Soutine or water splashes on a piece of paper. One can enter into a dialogue with these artists and turn splashes into characters such as a rural teacher or a quaint sphinx, spying on a mermaid or a shoemaker with his wife, and even tell a story about each of them. Chemiakin’s experiments with form, techniques and materials are, first of all, a way to expand his own horizons and discover familiar things from a new perspective.
This individual exhibition of prominent Slovak artist Adam Szentpétery (born in1956), features a retrospective view of his painting career in the visual language of geometry. Line, color and plane are the basic building blocks of his visual system, and over the course of four decades Szentpétery has created a monolithic painting program in the field of geometric abstraction which is the essence of mental contraction, rational practices and protestant economy of form.
Trisha grew up in California; now she lives and works in New York – and wherever she’s exhibiting. This is her fifth solo show with us since she first came to Air de Paris in 2002. She discovered Jean Painlevé’s films at school – like Michel Houellebecq, who was exhibiting here at the same time as the second part of our Painlevé series. The third part is vintage photos, mainly from the 1930s, of insects, small crustaceans and marine creatures, and we’re scheduling her with that.
An exhibition by Antje Majewski with Agnieszka Brzeżańska & Ewa Ciepielewska, Carolina Caycedo, Paweł Freisler, Olivier Guesselé-Garai, Tamás Kaszás, Paulo Nazareth, Guarani-Kaiowa & Luciana de Oliveira, Issa Samb, Xu Tan, Hervé Yamguen.
The Estonian artist Kris Lemsalu creates complex sculptures, installations, and performances that fuse the animal kingdom with humankind, nature with the artificial, beauty with repulsion, lightness with gravity, life with death. She revives traditional techniques and methods to combine animal bodies and porcelain objects with found (natural) materials such as furs, leather, seashells, wool, or paper in theatrical installations that whisk us off into a world of the fantastic imagination. Repro: Kris Lemsalu, Keys Open Doors, exhibition view Secession 2018, photo: Maximilian Anelli-Monti, Courtesy of the artist and Temnikova & Kasela Gallery
Philipp Timischl’s expansive multimedia installations combine personal notes from the buzz of everyday life with found and self-produced materials to build narrative structures. Balancing between documentation and fiction, between the private and public spheres, they play with intimacy and self- reference. Major themes in his art include the lasting influence of our roots, exclusion, and queerness in relation to social classes as well as the power dynamics between art, artist, and audience. Repro: Philipp Timischl, Artworks For All Age Groups, exhibition view Secession 2018, photo: Maximilian Anelli-Monti, Courtesy of the artist and Galerie Emanuel Layr
In more than sixty years, Ed Ruscha has built an oeuvre encompassing conceptual photographs, paintings, drawings, artist’s books, prints, and films that chronicle the development of the American West and of Los Angeles in particular in a singular artistic idiom. Repro nahoře: Pohled do výstavy, Ed Ruscha, OUR FLAG (reverse), 2018, exhibition view Secession 2018, photo: Sophie Thun, Courtesy of the artist and Gagosian
The Hamburger Kunsthalle is presenting the most extensive exhibition of the work of Philippe Vandenberg (1952–2009) to date, comprising some 80 paintings and over 120 drawings and prints. This is the first solo show at a German museum to feature the Flemish artist, who was highly acclaimed in his home country and whose radical and unsparing oeuvre is just now being discovered by a broader international audience.
In the Greek saga, the hero Odysseus survives dangerous adventures on his odyssey and completes mysterious tasks – returning home at the end perhaps as a different person. Like a contemporary Odysseus, in this exhibition, the artist Jonathan Meese (born 1970 in Tokyo and based in Berlin) sets off on an imaginary journey, making various stops along the way. In drawings, pictures and sculptures from over 20 years of artistic production, encounters with the most diverse, ambivalent protagonists and situations take place, which the artist approaches in his archaic role as symbolic redeemer and liberator. Visitors to the exhibition get to accompany the plucky, provocative artist on his voyage, but where will it end?
Under the general name of AIDS Anarchive, the collective Equipo re has been developing a research and production work on the cultural and social dimension of the ongoing HIV/AIDS crisis in Spain and Chile, as well as on selected case studies from other Latin American contexts.
Die Ausstellung «The Quiet Eye» zeigt erstmals ausgewählte Farbfotografien von Felicitas Vogler sowie Gemälde und Zeichnungen von Ben Nicholson, die Felicitas Vogler dem Kunstmuseum Bern vermachte.
Alaways linked to the underground scene, a spokeperson of the 90s’ generation, which grew up amongst precariousness and the web, the G8 in Genoa and TV series, Michele Rech, under the pseudonym of Zerocalcare is the protagonist of a large exhibition organised in co-production with Minimondi Eventi. The project is organised around four core themes – Pop, Tribes, Struggle and Resistances, Non-Reportage – and it traces every year of his work featuring posters, a wide selection of illustrations, record covers, original illustrated pages from his 9 books, T-shirts, logos and a site specific work designed by the artist for this occasion.
The exhibition “museum global. Microhistories of an Ex-centric Modernism” at K20 focuses on selected instances of a transcultural modernism that is situated beyond the Western canon. With microhistories from Japan, Georgia, Brazil, Mexico, India, Lebanon, and Nigeria (1910 to 1960), the museum interrogates not just an Eurocentric version of art history, but its own perspectives as well.
This exhibition will not present photography as a useful, fast recording medium, “a document of the period”, or as an instrument of digital manipulation, but as a tool that is suitable for a wide range of use in contemporary art.
With 119 works by 69 artists, including 48 paintings, 14 sculptures and 12 models and drawings by architects, this first-ever all-round retrospective at the Berlinische Galerie marks the centenary of the best-known of all little-known creative communities and its dramatic origins.
Photography as a weapon of class” are the words with which the journalist Henri Tracol (1909–1997) begins his manifesto on unifying the photography section of the association of revolutionary writers and artists (AEAR). The association was founded in Paris in 1932, against a background of growing political, economic and social upheaval, and brought together, alongside other sectors of the artistic and cultural domain (theatre, music, cinema, literature, painting, etc.) some of the most committed photographers of the Paris avant-garde: Jacques-André Boiffard, Henri Cartier-Bresson, Chim, André Kertész, Germaine Krull, Eli Lotar, Willy Ronis, René Zuber, and many more besides. Alongside the laypeople and workers whom they followed for their work, these photographers experimented with a language that was at the intersection of critical discourse, the militant gesture and the documentary aesthetic. They drew on Soviet and German examples while managing to carve their own path through the French social and political context.
A journey into a technological and surreal imaginarium, through artificial intelligence, dreams generated by computers and creative algorithms On the occasion of the exhibition Low Form. Images and visions in the age of artificial intelligence, artapes presents a selection of videos created by some of the most interesting artists active today. Their research reflects on the status of art in an age of information technology and digital technology, investigating the socio-cultural implications of our present. The exhibited videos, primarily created digitally and through the use of computer-generated images (CGI), combine diverse and wide-ranging cultural references, in a blending of disciplines that reinstates the variety and hybridism of globalised culture.
For KW Institute for Contemporary Art, artist Sidsel Meineche Hansen presents the exhibition Real Doll Theatre that includes new video work, watercolors, and laser cut drawings and sculpture, installed together with a scenographic element related to the magical play of medieval theatre.
Tamara Henderson’s process of creation develops its own mythology out of an ongoing practice of writing, drawing, and making notations of everyday objects. She registers patterns in objects and atmospheric phenomena and protocols their appearance in dreams in order to expand conventional registers of consciousness.
The exhibition Deliquescing by Steve Bishop (born 1983 in Toronto, CA) builds upon a body of research that focuses specifically on the fragility of memory and the possibility of its preservation, defying the gradual breakdown of matter through the effects of time.
Martha Rosler is considered one of the strongest and most resolute artistic voices of her generation. She skillfully employs diverse materials to address pressing matters of her time, including war, gender roles, gentrification, inequality, and labor. From her feminist photomontages of the 1960s and 1970s to her large-scale installations, Rosler’s vital work reflects an enduring and passionate vision. Martha Rosler: Irrespective showcases both well-known and rarely seen selections from more than five decades of work. Installations, photographic series, sculpture, and video represent a practice continually evolving and reacting to the shifting contours of political life. Throughout, Rosler’s work has been characterized by intellectual rigor and sharp wit, along with a sense of urgency directed at social and political issues that remain as relevant and immediate as when they first emerged.
The New York sculptor Eva LeWitt’s primarily abstract work often manifests as site-specific installation. She addresses the sculptural concerns of weight and volume and plays with the tension between industrial and hand fabrication. Using soft and pliable, semitransparent and semiabsorptive materials—including acetate, latex, and sponge—LeWitt subtly renders variations in tone. Alongside these formal investigations, she explores the expressive properties of light, both in the works themselves and in the spaces they inhabit.
Ulla von Brandenburg has up to now developed an extensive, complex and characteristic oeuvre to which the Kunstmuseum Bonn and the Whitechapel Gallery London are devoting two different exhibitions and a joint, substantial publication.
This exhibition, curated by Raqs Media Collective, will be a multi-layered site of discovery that explores the concept of a future in which multiple histories and geographies are placed in dialogue, giving way to a plurality of possibilities and queries by following paths that interlace, entwine and expose relations between objects, feelings and concepts, while simultaneously tracing indeterminate spaces between them.
Reflecting the anxieties of the Cold War, artists used new processes and materials to make work that was often uncompromising, immediate and brutal. One critic described it as a ‘Geometry of Fear’. This exhibition in the Duveen Galleries features younger artists including Lynn Chadwick, Elizabeth Frink and Eduardo Paolozzi alongside older artists such as Jacob Epstein and Henry Moore. It also shows how the approach taken by the young British artists can be measured against the work of international artists. This includes entries to a competition to design a monument to the ‘Unknown Political Prisoner’ in 1953.
Underlying the exhibition project Stuttgart Sichten (Viewing Stuttgart) are the highly topical questions of how museums deal with their collections today, how they can innovatively present them, and how to successfully balance traditional methods of art education with contemporary formats of presenting art to spark curiosity.
In a sketch for a film, Michelangelo Antonioni notes: “The Antarctic glaciers are moving in our direction at a rate of three millimeters per year. Calculate when they’ll reach us. Anticipate, in a film, what will happen.” Metaphorically speaking, to feel cold means to feel deeply alienated. Alienation was already a dominant concern for sociologists around 1900: the alienation of man from society through individualization, alienation from nature through urbanization, alienation from work through mechanization. For philosophers like Theodor W. Adorno, alienation thus turns into a key concept in terms of the role art plays in and for society: Without alienation there is no art, and ultimately it is only art that prevents total alienation.
The death in 1801 of Martin Johann Schmidt – regarded by some as the last great painter of his time – was considered the late end of the Baroque’s golden age. Yet his influence extended well into the next generation of artists. Schmidt, also known as Kremser Schmidt, is still one of the most popular Baroque painters of Central Europe. Starting from October 25, 2018, an IN-SIGHT exhibition will be dedicated to him in the Upper Belvedere.
An exhibition of the MAK, Vienna and the Museum Angewandte Kunst, Frankfurt am Main With their exhibition project SAGMEISTER & WALSH: Beauty, Stefan Sagmeister and Jessica Walsh make a visually impressive multimedia plea for us to take delight in beauty. Spreading across the entire MAK, their exhibition investigates why people feel attracted to beauty, how they can deal with it, and which positive effects beauty can have. With the aid of examples from the fields of graphic design, product design, architecture, and city planning, Sagmeister & Walsh demonstrate that beautiful objects, buildings, and strategies are not only more pleasing, but actually more effective, and that form does not merely follow function, but in many cases actually is the function.
Born in 1833, Burne-Jones rejected the industrial world of the Victorians, looking instead for inspiration from medieval art, religion, myths and legends. He made spectacular works depicting Arthurian knights, classical heroes and Biblical angels – working across painting, stained glass, embroidery, jewellery and more. With his friend William Morris he was a pioneer of the arts and crafts movement, which aimed to bring beautiful design to everyone. This exhibition – his first solo show at Tate since 1933 – charts Burne-Jones’s rise from an outsider with little formal art training to one of the most influential British artists of the late 19th century. With over 150 objects, it will bring together major works from across his career for the first time in generations. Highlights include some of his best loved works, such as his huge paintings telling the dreamlike fairytale of Sleeping Beauty, wall-filling tapestries and his remarkable drawings.
At an abandoned car park, a turquoise one-person space capsule takes off for a flight from London to Istanbul. From metallic everyday noises, the sound develops over the course of twelve minutes into enchanting meditative music, which takes the viewer on a journey to a hitherto unknown world. The installation with five video monitors shows how the spaceship hovers through the streets just above the asphalt and crosses seemingly unreal, computer-simulated landscapes on its way to the Bosporus, the interface between Europe and Asia. Metamorphosis and transcendence are two of the themes that define the work of Hussein Chalayan, who moves freely between the fields of architecture, fashion, and art. Born in Cyprus in 1970, Chalayan fled with his family to London as a result of the division of the country, thus experiencing emigration and rootlessness firsthand. With the work “Place to Passage”, he distances himself from the topicality and short lifespan of fashion, focusing instead on supratemporal, existential themes of life.
Liverpool Mountain will be Swiss-artist Ugo Rondinone’s first public artwork in the UK and the first of its kind in Europe. Inspired by naturally occurring Hoodoos (spires or pyramids of rock) and the art of meditative rock balancing, this 10-metre high sculpture will stand within Mermaid Courtyard, outside Tate Liverpool on the Albert Dock. It will consist of coloured rocks, stacked vertically which seem to defy gravity. This outdoor sculpture marks the 10th anniversary of Liverpool European Capital of Culture, the 20th anniversary of Liverpool Biennial and the 30th anniversary of Tate Liverpool. Commissioned by Liverpool Biennial and Tate Liverpool as part of the Liverpool 2018 events programme with support from Royal Albert Dock Liverpool.
An exploration of the technological and surreal imaginary of the artists of today, from computer-generated dreams to creative algorithms and avatars that question the meaning of existence More than just an exhibition, but a workshop for study and debate on themes and issues associated with our relationship with technology and the incredible scenarios opened by its evolution: Low Form. Imaginaries and Visions in the Age of Artificial Intelligence is an immersive, multimedia and multisensory display. In an era in which technologies evolve increasingly rapidly and we are questioning how far the relationship between man and machine can go, the exhibition presents the visions of 16 international artists showing a present and a future, the representation of which is the offspring of technological unconsciousness and a dilated imaginary, in which traditional analogical references and the contemporary hyperconnected digital consciousness are combined.
Ute Müller, winner of the Kapsch Contemporary Art Prize 2018, makes installations that create a dynamic interplay between painting, objects, and architecture, breaking away from stale concepts of the work of art and forms of perception. Walls and plinths are removed from their usual architectural functions as frames and backdrops, themselves becoming motifs that shape both work and its perception, while images and objects recall real everyday matters in spite of their high degree of abstraction. This exhibition leads to a game with allusion. The unframed paintings have overlapping colors that seem to dissolve in the dark backgrounds, whereby they refer to the painted and drawn elements of the wall elements that dynamically reach into the exhibition space. In her works, Ute Müller reflects on the history of the artistic genres and style, and on their extensions and forms of presentation. Her work explores the act of exhibiting images and objects in space as well as sensitizing us for the role of the observer.
A film work of cinematic scale, Provenancetraces in reverse the global trade in furniture from the Indian city of Chandigarh. This multi-element film work explores the journey taken by modernist chairs from their original location in the city of Chandigarh, India, to auction houses and collectors’ homes in Europe and America. Created by New York based artist Amie Siegel, the artwork looks at the use and value of such objects within these different contexts.
In the first ever exhibition of his work, acclaimed British architect and urbanist, Peter Barber explores the constraints and possibilities presented by London’s current housing crisis, and the role of architecture in creating a more humane city. The exhibition will include hand-made models, drawings and large-scale photographs, as well as a selection of Barber’s sketchbooks.
To celebrate the 25th anniversary of Fotomuseum Winterthur, we have invited friends and colleagues who have accompanied us along the way to choose their favourite works from our collection, which has been a mainstay of our activities ever since the museum was founded in 1993. Director Nadine Wietlisbach, by adding further works to this selection, affords a glimpse of our future path. Come and join us on a journey through the history of the museum and the stories it tells. The exhibition and the accompanying publication, which includes numerous interviews and essays as well as a portrait series by Anne Morgenstern (designed by Hi, Megi Zumstein and Claudio Barandun and to be published by Spector Books in November), both are under the banner of our shared memories and our anticipation of adventures still to come.
This exhibition combines films made by Rosalind Nashashibi and Lucy Skaer with their personal selection of historic and contemporary art that reflects on and adds new meaning to their work. Using 16mm film, Nashashibi/Skaer’s collaborative projects often evolve from the art and artists that inspire them. For the first time, the full extent of their practice is shown alongside significant works by artists including Paul Gauguin, Henri Matisse, Paul Nash, Winifred Nicholson, Lee Miller and Rossella Biscotti. Each of their films becomes a starting point to explore key themes that resonate across the exhibition, from the changing portrayal of women and the representation of global cultures, to issues around conflict.
A piece of fabric forms the focus of this exhibition. It is much older than Judaism, Christianity and Islam. Long before the birth of these religions, a headscarf denoted social differences in ancient Mesopotamia – and its absence women’s sexual vulnerability. Today, it lies before us weighed down with countless meanings. And far too often it still represents a man’s word on a woman’s body.
With some 120 masterpieces, the show presents the groundbreaking artistic innovations at the birthplace of the Renaissance. A comprehensive selection of exquisite panel paintings, sculptures and drawings transports visitors back to the time of the Medici and traces the development of the art in the modern age, from its beginnings with Giotto’s work to Leonardo da Vinci’s creations. The focus of the presentation is on the artists’ world of ideas and working methods. With new self-confidence they plumbed the depths of the real world in quest of the laws of harmony and beauty, they made drawings from nature and studied the works of Antiquity. The painters ambitiously explored the subjects, forms and techniques of their work and, as a result, achieved a variety of artistic forms of expression that had never been reached before, not only in the secular pictorial narratives and portraits but also in the images of private and ecclesiastical devotion. The exhibition provides a detailed insight into the work methods of Florentine painters and explains the close relationship between technical and stylistical change.
The exhibition ON AIR is an ecosystem in becoming, hosting emergent choreographies and polyphonies across human and non-human universes, where artworks reveal the common, fragile and ephemeral rhythms and trajectories between these worlds. As a hybrid ecosystem, ON AIR is made of a myriad presences, both animate and inanimate, that meet and cohabit within it. Some voices become quiet, whilst others, perhaps those less often heard by human ears, are magnified. The exhibition functions as an ensemble for silent voices, performing the hidden scores that link events and sensibilities, earthly and cosmic phenomena – weaving a web of relations that cannot be described but maybe can be felt. ON AIR proposes a space and time that makes manifest the forces and entities that float in the air, and their interactions with us: from CO2 to cosmic dust, from radio infrastructures to reimagined corridors of mobility. Thus, the invisible histories that compose the ecologies we are part of invite us to poetically rethink different ways of inhabiting the world – and of being human. While extractivist activities that mine the Earth for resources continue to threaten entire ecologies, ON AIR celebrates new ways of thinking about our relation with […]
In the exhibition ‘Surf Tribe’ the Belgian photographer Stephan Vanfleteren (Kortrijk, 1969) exposes a culture dominated by a deep respect for the ocean. Vanfleteren looks beyond the traditional surf spots of California and Hawaii and travels all over the world in search of people who live where the ocean meets the land. There he manages to capture the almost fluid community of ‘subjects of the mighty Surf Tribe’ whose only ruler is nature. They are not depicted in action shots while riding azure waves, but in serene black-and-white portraits shot in Vanfleteren’s own pure and gripping style.
It was in monumental painting that Italian art reached its apogee. Michelangelo’s Sistine Chapel ceiling and ‘Last Judgement’, the frescoes of Raphael, Pietro da Cortona and Tiepolo are among the most memorable creations of the human imagination. One of the earliest exponents of Italian monumental art was Andrea Mantegna, among whose major works is the ‘Triumph of Caesar’, made up of ten, large-scale panels which were originally mounted on one wall. Around 1500, Mantegna, ever the innovator, also produced a version of this work as a copper engraving (fig.). From then on, wall and ceiling paintings of all sorts were reproduced as prints. Out of an old art form a new one was born, one whose aim was to translate large and complex works into a format which was easy to comprehend and to handle. The printed sheets could be admired anywhere and they conveyed the concept of the artworks they represented in a way which was easier to grasp than the originals themselves. The exhibition presents around 120 works which are astonishing for their size and for their extraordinarily striking appeal as fully developed works of art.
Growing up in Colombia in the 1940s and 50s, during an era of political unrest known as La Violencia (The Violence), González became a pivotal figure in the Latin-American art scene. The exhibition features 60 years of González’ internationally acknowledged work and displays a selection of 120 works created between 1965 and 2017.
Helen Levitt (1913–2009) numbers among the foremost exponents of street photography. It was in the 1930s that this passionate observer and chronicler of New York street life first began taking pictures of the inhabitants of poorer neighborhoods such as the Lower East Side, the Bronx, and Harlem. And with her eye for the surreal and for ironic details, she was to spend many further decades immortalizing everyday people in dynamic compositions: children at play, passersby striking a pose, couples conversing. Levitt’s unsentimental pictorial language gives rise to a humorous and theatrical pageant situated beyond any moral or social documentary clichés. The ALBERTINA is featuring this American photographer in a retrospective that brings together around 130 of her iconic works. These range from her early, surrealism-influenced photographs of chalk drawings to her 1941 photos from Mexico and the clandestinely shot portraits of New York subway passengers that Walker Evans encouraged her to do in 1938.
An ensemble of 88 works by Paul Klee, who was defamed by the National Socialists as “degenerate”, forms the foundation of the Kunstsammlung. Central to the show are the culturally and politically motivated travels of the Klee collection to nearly 40 places around the world between 1966 and 1985.
The exhibition PAINTER. MENTOR. MAGICIAN. is the first to spotlight the enormous influence of the former Brücke artist and expressionist Otto Mueller (1874–1930): for over ten years the artist was engaged as a teacher at the State Academy of Arts and Crafts in Wrocław, which at that time was one of the most progressive schools of art in Europe.
In the fall of 2018, Werner Feiersinger will stage a sculptural intervention at the lower level of the Belvedere 21. The Austrian sculptor is proficient at combining knowledge of design and architectural history with minimalist form language. The proximity of his sculptures with everyday objects and their metaphorical quality subvert their purported origins.
When Hilma af Klint began creating radically abstract paintings in 1906, they were like little that had been seen before: bold, colorful, and untethered from any recognizable references to the physical world. It was years before Vasily Kandinsky, Kazimir Malevich, Piet Mondrian, and others would take similar strides to rid their own artwork of representational content. Yet while many of her better-known contemporaries published manifestos and exhibited widely, af Klint kept her groundbreaking paintings largely private. She rarely exhibited them and, convinced the world was not yet ready to understand her work, stipulated that it not be shown for twenty years following her death. Ultimately, her work was all but unseen until 1986, and only over the subsequent three decades have her paintings and works on paper begun to receive serious attention. Af Klint was born in Stockholm in 1862 and went on to study at the city’s Royal Academy of Fine Arts, graduating with honors in 1887. She soon established herself as a respected painter in Stockholm, exhibiting deftly rendered figurative paintings and serving briefly as secretary of the Association of Swedish Women Artists. During these years she also became deeply involved in spiritualism and Theosophy. These modes of spiritual engagement were […]
Tate Modern presents the UK’s first major retrospective of the work of Anni Albers (1899–1994). This exhibition brings together her most important works from major collections in the US and Europe. Opening ahead of the centenary of the Bauhaus in 2019.
A long overdue recognition of Albers’s pivotal contribution to modern art and design, this is the first major exhibition of her work in the UK. As a female student at the radical Bauhaus art school, Albers was discouraged from taking up certain classes. She enrolled in the weaving workshop and made textiles her key form of expression. She inspired and was inspired by her artist contemporaries, among them her teacher, Paul Klee, and her husband, Josef Albers. This beautiful exhibition illuminates the artist’s creative process and her engagement with art, architecture and design. You can discover why Albers has been a profound influence on artists around the world via more than 350 objects from exquisite small-scale ‘pictorial weavings’ to large wall-hangings and the textiles she designed for mass production, as well as her later prints and drawings. At the heart of the exhibition is an exploration of Albers’s seminal publication On Weaving1965 and the wide source material she gathered together to create the book.
David Zink Yi presents his newest ceramic works at the Carlone Contemporary Hall. The anatomically precise, cast tentacles of a dissected octopus will make for an unexpected sight amidst the baroque splendour of the Belvedere. The antecedent violence of dismemberment stands as a symbol for the process of artistic creation and human appropriation.
Theodoor van Loon was one of the first painters from the Southern Netherlands to be deeply influenced by the art of Caravaggio. Like his contemporary Rubens, Van Loon developed a powerful, original style and throughout the whole of his career he remains marked by the Italian masters.
Bartolomé Bermejo was one of the most fascinating figures within Spanish art of the second half of the 15th century. Bringing together a remarkable group of paintings from Spanish, European and American museums, the Prado is able to present this survey exhibition, which has been organized with the collaboration of the Museu Nacional d’Art de Catalunya and, for the first time, allows for an appreciation of the technical virtuosity and distinctive visual universe of this Cordovan painter active in the Kingdom of Aragon.
The exhibition presents the life reform movement that emerged in the last third of the 19th century and popular in Central European countries, and its impact on contemporary artists.
Das Liniengeflecht verdichtet sich zu einem Gesicht, zu einem Körper, während aus schwarzen Tuschepfützen ein eindringlicher Blick hervorsticht. Die Zeichnungen von Paul Holz (1883-1938) stellen psychologische Beobachtung vor Naturnähe. Ungewohnt großformatig setzt er meist einzelne Figuren in Szene, Menschen wie Tiere, oft inspiriert von Romanen Dostojewskis, Gogols oder Hamsuns. Über 100 seiner hervorragenden Blätter zeigt das Kunstforum Ostdeutsche Galerie Regensburg. Repro: Paul Holz, Schlafender Schlächter, Rohrfeder, Feder, Tusche auf Pergamentpapier. Kunstforum Ostdeutsche Galerie. Foto Lukas und Zink, Fotografen
At the beginning of October, the Kunsthistorisches Museum will open the first-ever major monograph show dedicated to the greatest Netherlandish painter of the sixteenth century: Pieter Bruegel the Elder (c. 1525/30‒1569). The exhibition commemorates the 450th anniversary of his death.
The acclaimed Cuban artist and activist Tania Bruguera has created a series of subtle interventions in and around Tate Modern. The work’s title is an ever-increasing figure: the number of people who migrated from one country to another last year added to the number of migrant deaths recorded so far this year – to indicate the sheer scale of mass migration and the risks involved. Bruguera has brought together a group of 21 people who live or work in the same postcode as Tate Modern. Called Tate Neighbours, they will explore how the museum can learn from and adapt to its local community. They have decided to rename Tate Modern’s Boiler House for a year in honour of local activist Natalie Bell. The Tate Neighbours have also written a manifesto which appears when you sign in to the free WiFi. In the Turbine Hall is a large heat-sensitive floor. By using your body heat and working together with other visitors, you can reveal a hidden portrait of Yousef, a young man who left Syria to come to London. Meanwhile, a low-frequency sound fills the space with an unsettling energy. In a small room nearby, an organic compound in the air induces tears […]
MAXXI. Museo Nazionale Delle Arti Del XXI Secolo
me Collectors Room
MMK – Museum für Moderne Kunst
MMOMA – Moscow Museum of Modern Art
Mumok – museum moderner kunst stiftung ludwig wien
Museé du Louvre
Musées d’art et d’histoire
Museo Nacional del Prado
Museum für Fotografie