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 […]
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.
Mikhail Karikis’s film explores the relationship between land, industry and community. Children of Unquiet (2013–14) was created with a group of forty-five children living in the Devil’s Valley, Italy, a volcanically-active region in Tuscany that inspired Dante’s Inferno. The site of the world’s first geothermal power plant, the area has recently become depopulated following the automation of the process of generating energy.
Nigerian-born contemporary artist Otobong Nkanga will install new and existing works at Tate St Ives as the culmination of her upcoming residency at the gallery. Nkanga’s drawings, installations, photographs and sculptures variously examine ideas around land and the value connected to natural resources.
This exhibition was inspired by images taken through the Hubble Telescope. Their indescribable beauty astounded Lerner and drove her to try to capture space in the monoprint medium. She was also inspired by the desert sky in Southern California, and she has dedicated herself to capturing the clouds, the moon, and the sunsets. Pure, and beyond the touch of man, Lerner believes outer space is a gift to our world. This will be Lerner’s first exhibition in Washington, DC.
This exhibition traces the evolution of the DC-based WD Printmaking workshop, which began with Percy and Alice Martin’s opening their Adams Morgan home as a collaborative artists’ studio fifty years ago. The aim was to create a place where all artists (not necessarily trained in printmaking) could come together to explore the printmaking craft and create original prints. Emphasis was placed on experimentation and innovation. The studio was open to the artists twenty-four hours a day. The workshop moved with Martin and his family into the basement of their home on Lamont Street in Mount Pleasant. Alice Martin recalls the time when the WD Workshop ran classes, presented demonstrations, and held regularly scheduled critique sessions. Artists were coming and going during all hours of the day and night. Participating WD artists achieved successful printmaking careers working in diverse styles. Featuring historical and recent work by members of the workshop.
Moves like Walter: New Curators Open the Corcoran Legacy Collection is a product of Director and Curator Jack Rasmussen’s spring course on curatorial practice. Upon receipt of the Corcoran Collection, graduate students in art history, arts management, and studio art have curated a playful and provocative interpretation of the 9,000-piece gift. The exhibition is inspired by Walter Hopps, briefly the Director of the Corcoran and an erratic but seminal American curator of contemporary art. The curators have divided their responses into five sub-groups, Boundless: Existing Within Ambiguous Space, The Road Home, The Selfless Spirit: Nature vs. Nurture and the Effects of Motherhood in the Corcoran Collection, American Legacy: Reconsidering Non-Western Subjects in the Corcoran Collection, and Redefining the Gaze: Shifting the Power.
Using the medium of drawing to varied and distinctive effect, Rogers, Sures, and Watkin trace human connections to the natural world—across time and varied landscapes. The three artists work from both a consciousness of drawing’s ties to illustration and evidence; and, the medium’s unique ability to transmit the artist’s “hand” and personal response to their subject. From the deserts of Kenya, forests of the Midwest, to the Potomac watershed, these artists are deeply attuned to the mutually affecting relationship between the anthropological and natural worlds.
Ulrike Ottinger (b.1942, Konstanz, Germany) is an artist, film director, photographer and a key figure in the New German Cinema (Neuer Deutscher Film or Das Neue Kino), which began in the late 1960s and lasted into the 1980s. The movement spoke for an alienated generation who came of age in the decades immediately following the Second World War, and explored national, political and cultural identity. A feminist pioneer, Ottinger incorporated sexuality, the body and music in her work as identifying features of the new attitude embodied by the movement. Freak Orlando (1981) is an outrageous time-travelling masquerade, structured in five episodes. Classified by Ottinger as Welttheater (World Theatre), it aims to encompass human history from its origins to the present, emphasising prejudice, incompetence, lust for power, fear, madness, cruelty and everyday life. Albeit with extreme irony, Ottinger revisits Virginia Woolf’s novel Orlando: A Biography (1928), considered a landmark of modernist, feminist, queer and transgender writing, which follows a poet who lives for centuries, through various historical time-periods, and while doing so changes sex. Ottinger’s protagonists are a series of ‘disillusioned characters’ that recall carnival’s embracing of the marginalised, Tod Browning’s film Freaks (1932) and the photography of Diane Arbus. In this way, Ottinger blends Woolf’s novel with German camp into a theatre of difference.
After four decades of unbroken use as a museum and exhibition space, the Neue Pinakothek (rebuilt in its current form in the 1970s) has had to shut its doors for extensive renovation and modernization work due to last several years. During this period, selected major works of 19th century painting and sculpture from its collection will be on display in the Alte Pinakothek and at the Sammlung Schack. Selected highlights range from key works of Neoclassicism and Romanticism to the dawn of Modernism.
Böcklin’s ‘Spring Awakening’ edifies us with its hypnotically dense evocation of mythical figures from ancient times. Opposite him are five important paintings by the leading Italian artist of modernism, Giorgio de Chirico. Four are from a private collection and are only on show at the Kunsthaus for a short period. Also on display from this private collection are works by Filippo de Pisis, Carlo Carrà, Mario Sironi and Giorgio Morandi.
French artist Guillaume Bruère works at great speed, creating multiple works of energetically vigorous draughtsmanship in a short space of time. He prefers to draw on site in museums. (…) Guillaume Bruère has worked from the paintings of Old Masters at locations including the Louvre, the Alte Pinakothek in Munich, the Gemäldegalerie in Berlin and, on many occasions, the Kunsthaus Zürich, where his first solo exhibition in Switzerland takes place. The Kunsthaus is presenting more than 50 works created between 2012 and 2018.
From the summer of 2019 the Kunsthal Rotterdam will present the impressive retrospective exhibition ‘Joana Vasconcelos. I’m Your Mirror’, featuring the work of the famous Portuguese artist Joana Vasconcelos (1971). In an activist and feminist way, and with a profound respect for Portuguese culture and traditions, she gives reality her own personal twist. Vasconcelos is known for her sharp sense of proportions, masterly use of colour and unusual choice of materials, like household appliances, wall tiles, textiles, medicines, urinals, pans and plastic cutlery.
Louise Bourgeois is considered one of the most significant and influential artistic personalities. Over a period of nearly seven decades—from the 1940s until her death in 2010—she created an exceptional body of work, encompassing sculptures, objects and installations, as well as the drawings and writings that form a common thread running through her oeuvre.
For the autodidact Aenne Biermann (1898-1933) the camera was a means of closing in on things and situations in her immediate environment. From the mid 1920s onwards she found great pleasure in capturing unfamiliar and unexpected views of everyday experiences and events in her photographs. Although Aenne Biermann worked in relative isolation with regard to the avant-garde developments in larger cities, comprehensive displays of her work were shown at all major modern photographic exhibitions from 1929 onwards. Her oeuvre, created within just a few years – Aenne Biermann died in 1933 following an illness – is now regarded as one of the most important within the Neues Sehen (New Vision) movement in photography and New Objectivity. The exhibition comprises some 100 original photographs from the holdings of the Ann and Jürgen Wilde Foundation that boasts one of the most extensive collections of Aenne Biermann’s work. Selected works from public and private collections, together with records and archival documents, illuminate the artist’s work and career.
The exhibition of Tamás Király (1952–2013) is the first large-scale, retrospective presentation of an artist in Hungary whose activity cannot be classified into traditional genres and trends. Obviously, his work is mainly related to dressing and fashion, but in his perception, clothing is a border area where fashion, film, theatre, performance and art meet. His clothes are at once costumes, mobile sculptures, futuristic transformations, and the future-looking creations of an artist ahead of his own age.
In Eliasson’s captivating installations you become aware of your senses, people around you and the world beyond. Some artworks introduce natural phenomena such as rainbows to the gallery space. Others use reflections and shadows to play with the way we perceive and interact with the world. Many works result from the artist’s research into complex geometry, motion patterns, and his interest in colour theory. All but one of the works have never been seen in the UK before. Within the exhibition will be an area which explores Eliasson’s deep engagement with society and the environment. Discover what an artist’s perspective can bring to issues of climate change, energy, migration as well as architecture. And once every other week you’ll be able to communicate with people from Eliasson’s 100-strong team in his Berlin studio via a live link. The kitchen team at Studio Olafur Eliasson will also create a special menu and programme of related events for Tate Modern’s Terrace Bar, based on the organic, vegetarian and locally sourced food served in his Berlin studio.
The exhibition presents three of the circa twenty extant works by Jan van Eyck, offering a glimpse of the art produced during the reign of Duke Philipp the Good, when the Burgundian Low Countries witnessed a unique flowering of courtly and urban civilisation.
The Moscow Museum of Modern Art together with the Barcelona Museum of Contemporary Art (MACBA), with the support of the Embassy of Spain, presents a solo exhibition of the Spanish sculptor Jaume Plensa, the first to be held in Russia. The Catalonian artist gained fame thanks to his figurative installations and sculptures integrated in urban and natural landscapes, which can be seen on the streets of Chicago, London, Montreal, Nice and Tokyo. Airiness, transparency, «lace-like» structures contrasting with the solidity of cast iron and stone, existential problems and romantic feelings, reflection on oneself and the world — these are the features of Jaume Plensa’s work which make him an artist of «sensations and ideas». In Moscow, under the curatorship of MACBA’s director Ferran Barenblit the artist has put together an exhibition that includes his 20 key works from the recent show in MACBA.
At the center of her exhibition at K21, Banu Cennetoğlu presents two sprawling installations that reflect on the formation, circulation and archiving of private and public information and the underlying political, social, and cultural mechanisms.
Stinking Dawn is a walk-in stage design that functions as a changing film setting. Monumental modular architecture sets the location for a film by Gelatin and Liam Gillick that will be shot in situ. Directed by Gillick and based on his script, Gelatin will play the leading roles in this experimental film that explores the limits of human tolerance in the face of oppression, political crises and excessive self-deception.
Audiences frequently perceive Petra’s work on two levels – one is full of merry illustrations which we know from books and magazines, and the second is found in the world of Instagrams. The visuality of her Instagram sketches directly react to moments of the experienced, similar to the photos of many users of this network. The format only enhances the impression of photography – Petra uses classic Polaroid dimensions, but she captures her shots manually using alcohol-based markers which add a peculiar edge. Her repertoire of drawings is diverse – starting with intimate family moments up to reactions to events which shake our society in some way. And thus we can encounter Petra’s smiling daughters as well as Ján and Martina, who in one shot symbolically no longer look at this world.
Over a 70-year career, Takis (Panayiotis Vassilakis, born 1925) has created some of the most innovative art of the 20th century. Takis’s work seeks out the essential poetry and beauty of the electromagnetic universe. He was one of the most original artistic voices in Europe from the 1960s and remains a pioneering figure today. This the largest exhibition of Takis’s work ever held in the UK, bringing together over 70 works. Throughout his career he has produced antennae-like sculptures he calls Signals, and musical devices using magnets, electricity and viewer participation to generate resonant and random sounds. Such inventions earned Takis the admiration of the international avant-garde, ranging from the American Beat poets to artists such as Marcel Duchamp.
The Jewish Museum collection is a unique mix of artworks and ceremonial objects. In Scenes from the Collection, selected works are presented in thematic “scenes,” weaving together centuries of art and Judaica. Each gallery suggests a different filter through which we may approach and understand art. Works in the collection are presented as distinctive creative expressions and as bearers of the stories of those who made, owned, used, preserved, and sometimes transformed them. The exhibition speaks of the vast range of Jewish experiences across the globe and over time, made tangible through artistic expression. It is both a mirror of Jewish identities and an inspiration for the formation of new ones. In calling attention to the multiple facets of art and Jewish culture, the exhibition invites fresh responses from visitors and may resonate with people of many faiths and backgrounds. Themes change periodically, offering new dialogues among the works and proposing new interpretations of them.
Curated by Director Sam Keller, the collection display extends over half the museum space and comprises around a hundred paintings, sculptures, photographs and drawings created between 1883/84 and 2018. On show are classics by Claude Monet, Henri Matisse, the Surrealists and Pop Art artists, as well as highlights by Gerhard Richter, Wolfgang Tillmans, Felix Gonzales Torres and other artists can be seen. In addition, the presentation of the collection shows new works by the museum, contemporary works by Pawel Althamer, Philippe Parreno and Rirkrit Tiravanija.
The exhibition ‘A Journey to the Homeland’ by the South African photographer Katharine Cooper (1978, Grahamstown) presents a probing portrait of white Africans. Major political events, such as the collapse of Apartheid in South Africa in 1994 and the expulsion of white farmers from their houses in Zimbabwe in 2000, significantly changed the position of these Africans. Although many of them managed to secure a certain future for themselves after these changes, others were not so lucky. In 2013, Cooper returned for a journey through the countries of her childhood, South Africa and Zimbabwe. In a respectful way, she captured members of the white minority that she used to belong to herself.
France-Lise McGurn (born 1983) is a Glasgow-based artist who predominantly works with painting to create fluid works that spill from the canvas onto the gallery walls, floors and ceilings. In her work McGurn draws on a collected archive of found imagery to create figurative installations which express notions of sexuality, ecstasy, loss and consciousness. The new body of work presented in Sleepless explores the experience of living in a city as one that is intimate and inherently sexual. The exhibition title itself evokes key themes in McGurn’s work, including partying, dreams, longing, motherhood and nostalgic popular culture, recalling the 1993 romantic comedy Sleepless in Seattle. Working intuitively rather than through direct appropriation, McGurn uses swift brushstrokes and repeated marks to create loose associations about place and history, inviting viewers to conjure their own narratives.
Since the mid-1990s Monica Bonvicini has been exploring political, social, and institutional situations and their impact on society, as well as on the conditions of artistic production. Her work is direct, merciless, political, and not without a dry sense of humor. In the process, she focuses on the relationship between architecture, gender roles, control mechanisms, and devices of power. Bonvicini has a multimedia approach, using drawing, sculpture, installation, video, and photography. For the Belvedere 21—originally the Austrian pavilion at the World’s Fair in Brussels in 1958—she has developed a site-specific and space-consuming installation that reacts radically to Karl Schwanzer’s architecture. As such, it reflects male-dominated power structures, which are expressed just as much in the constructed space as in art history, politics and language.
IncarNations is an exhibition created by the South African artist Kendell Geers in dialogue with the Congolese collector Sindika Dokolo. A fascinating initiative that reflects the diversity of the African artistic heritage, from an Afrocentric point of view and including the itineraries of slaves, colonialism and independence movements.
Artists: Provmyza (Nizhny Novgorod), Elena Slobtseva (Perm), Where Dogs Run (Yekaterinburg), Anton Vinogradov (Tyumen), Damir Muratov (Omsk), Konstantin Skotnikov (Novosibirsk), Natasha Yudina (Tomsk), Alexey Martins (Krasnoyarsk), Elena Anosova (Irkutsk), Zorikto Dorzhiev (Ulan-Ude), Svetlana Tikanova (Khabarovsk), Inna Dodiomova (Vladivostok), with a special guest appearance by Aleksandra Artamanova (Kaliningrad).
Four hundred years after the birth of Francesco Morosini, dubbed “the Peloponnesiacus” (1619-1694), several Venetian institutions are celebrating this fascinating figure, a doge and admiral. Museo Correr is the major venue since it preserves Morosini’s entire historical heritage from his palace in Campo Santo Stefano, inherited in 1895 by the last heir. The collection includes memorabilia, documents and works of art that reveal particular aspects of Morosini’s life and his historical significance.
To mark the 25th anniversary of the city partnership between Berlin and Beijing, the Gesellschaft für Deutsch-Chinesischen kulturellen Austausch (GeKA e.V., Society for German-Chinese Cultural Exchange) in cooperation with the Staatliche Museen zu Berlin is showing works by young artists from Berlin and Beijing at the Museum für Fotografie (Museum of Photography).
The Collection de l’Art Brut will be closed until September 17th (2019) for construction work entailing, above all, the installation of an elevator. Given this time frame, we take pleasure in inviting you to a show extending from June 28th to September 22nd in the gardens of the Château de Beaulieu in Lausanne and featuring large-scale photographs of Outsider Art “environments” from around the world. These represent architectural feats or installations set up, for the most part, on private plots or gardens belonging to self-taught builders. Some of the latter have, however, taken over such sites covertly: to such creators, the very act of creating is part and parcel of their entire life.
The New Zealand-born artist Fiona Connor makes sculptural installations in which she replicates objects and structures of everyday life. Her recreations of bulletin boards, drinking fountains, furniture, and doors not only draw attention to these widely overlooked items and their forms, they also reconstruct the histories and micro-economies of communities. Many of her works respond to the infrastructure of the places and environments where she exhibits them, uncovering the underlying mechanisms that may inform our interactions with art and art institutions. The sculptures reveal the artist’s deep curiosity about how things are made. They play with the ambiguity of the handmade and the manufactured, as well as with
Everyday objects, language, recording systems, and cultural displacements play key roles in Nora Schultz’s art, as do the observation and critical activation of the exhibition space and the artist herself as the work’s producer. Recently, she has employed various cameras (GoPro, video drone, etc.) as automated “co-producers” whose contributions to the creative process she cannot fully control and which have their own internal dynamics and probe the artist/author’s changing position vis-à-vis its operation. In performative interactions, she often develops large installations that involve and take possession of the venue’s structure and sometimes project beyond its confines.
Caring and forms of communal life have been a consistent theme in the oeuvre of Rosalind Nashashibi, who examines them in light of the specific political, social, and historical conditions that shape them. The private meets the political; in interweaving the two, the artist sometimes emphasizes political concerns, as in the film Electrical Gaza, which earned her a nomination for the prestigious Turner Prize in 2017; private aspects are the focus in other works, like the widely acclaimed film Vivian’s Garden(2017), which was commissioned for documenta 14 (2017): a portrait of the lives and relationship of the artists Elisabeth Wild and Vivian Suter, a mother and daughter who live largely in seclusion in the Guatemalan rainforest.
In his exhibition, Nikita Kadan (born 1982 in Kiev) explores current social and political developments in Ukraine and their foundations in Soviet communism. In his installations, objects, and pictures he shows the extent to which the emancipatory side of the communist avant-garde has been repressed today, in the context of both military conflict with Russia and neoliberal profiteering. He illustrates this with reference to the present state’s approach to monuments from the communist period, which have been left to decay or been destroyed. Kadan advocates a more complex view of the past and its utopias, particularly looking at the biographies of two key figures in the Ukrainian-Soviet avant-garde: Vasyl Yermilov (1894–1968) and Ivan Kavaleridze (1887–1978). While Yermilov is seen as a major protagonist in Ukrainian constructivism and the co-founder of an artists’ workshop comparable to the German Bauhaus, Kavaleridze was an innovator in film and the creator of monuments with both propaganda content and avant-garde form.
Pierre Jean Mariette (1694–1774) brought together one of the most fascinating collections in the whole of the 18th century, particularly showcasing drawings, with some 9,600 sheets. Masterpieces by great artists stood alongside pieces of bravura by minor masters, in line with the encyclopedic commitment of this “genius jack-of-all-trades” in his effort to perfectly summarize the history of drawing, from its origins through contemporary artists. Following on from Pierre Rosenberg’s 2011 publication of the first two volumes devoted to French drawings from the Mariette Collection, the publication of a catalogue raisonné of Italian drawings likewise accompanies this exhibition of some one hundred of the most remarkable Mariette sheets from this school: works by the greatest Italian artists, including Raphael, Michelangelo, Titian, Veronese, Carracci, Guido Reni, and Guercino, have been taken from several Parisian collections, first and foremost that of the Musée du Louvre.
One of Jacques-Louis David’s (1748–1825) most famous pupils, and known as the painter of the Napoleonic epic, Antoine-Jean Gros is rightly considered a forerunner of Romanticism. Early on, his drawings, more so than his paintings, began to reveal a gradual shift away from David’s teachings, leading to a definitive break with neoclassical aesthetics and a distinct style heralding the new artistic movement.
The Staatliche Graphische Sammlung München is home to one of the most internationally significant collections of 15th German broadsheets and popular prints. The earliest European woodcuts emerged around 1400. While the process for printing on fabric was already known, it was during this time that pictures were first printed onto a new kind of support: paper. This allowed for compositions to be inexpensively reproduced in large editions. It was only through this that broader circles of the population had access to and could afford their own depictions. Religious subjects, which were used for private devotion, were most in demand. These early sheets are significant not only as historical documents. They are in fact superlative masterworks of linear expressiveness: the straight lines seek to convey an immediate statement, leading to bold, striking works. No collection in the world is able to demonstrate the early years of the woodcut as brilliantly as Munich’s Graphische Sammlung. The cradle of the European printmaking tradition is proudly safeguarded here. Thanks to the generous financial support of the Edith-Haberland-Wagner-Stiftung, all works have been comprehensively conserved, providing occasion for a select display of impressive sheets. The Ernst von Siemens Art Foundation generously sponsored the inventory catalogue.
For the last almost 40 years the artist Nanne Meyer, who was born in Hamburg in 1953 and lives in Berlin today, has dedicated herself entirely to the genre of drawing. This focus has resulted in a multifaceted oeuvre that through the line explores the different aspects, forms and materials of the graphical and extends it into the painterly and object-like. Apart from pencil and colored pencil, chalk and ink, Nanne Meyer uses emulsion paint, gouache, lacquer, everyday objects, maps, educational books and templates which she draws on and thus transforms into their very own picture reality.
This major new retrospective will explore the development of Sherman’s work from the mid-1970s to the present day, and will feature around 150 works from international public and private collections, as well as new work never before displayed in a public gallery. Focusing on the artist’s manipulation of her own appearance and her deployment of material derived from a range of cultural sources, including film, advertising and fashion, the exhibition will explore the tension between façade and identity.
Sixty years in the career of Takesada Matsutani (born in Osaka, Japan in 1937, installed in Paris since 1966), from the late 1950s to the present day. Constantly experimenting with organic matter and its links to the spiritual, Matsutani has never ceased to seek out his “internal image”.
Over the past sixty years, the pioneering Argentinian artist Marta Minujín (b. 1943, Buenos Aires, Argentina) has developed happenings, performances, installations, and video works that have greatly influenced generations of contemporary artists in Latin America and beyond.
In a special exhibition starting in the summer of 2019, the Städel Museum will explore the reciprocal relationships between woodcut and wooden sculpture in the oeuvres of Ernst Ludwig Kirchner (1880–1938), Erich Heckel (1883–1970) and Karl Schmidt-Rottluff (1884–1976). The show’s starting point is wood, which is more closely bound to the art of German Expressionism than any other material.
Within the context of the Prado’s celebration of its Bicentenary, the Museum is presenting Velázquez, Rembrandt, Vermeer: Parallel visions, an ambitious exhibition devoted to Dutch and Spanish painting of the late 16th and early 17th centuries which benefits from the sponsorship of Fundación AXA and the special collaboration of the Rijksmuseum, Ams…
Sketches and studies in oils hold a special appeal due to their immediacy and often unorthodox subject matter and individuality. Mostly on a small scale, they originated as drafts for potential patrons, evolving during the course of the nineteenth century into works of art in their own right. The Belvedere is dedicating an IN-SIGHT exhibition to this unique art form.
Berlin-based artist Heike-Karin Föll (born 1967, DE) works on the materiality and mechanisms of drawing, painting, and writing. The exhibition speed at KW Institute for Contemporary Art is her first institutional solo show and presents an overview of various groups of work.
Image Bank was founded in 1970 in Vancouver, Canada, by artists Michael Morris, Vincent Trasov and Gary Lee-Nova. A model for a utopian, alternative system of art distribution operating outside institutions like the museum and the market, Image Bank engaged in an international exchange of images and correspondence by mail. Among the artists participating in the ever-growing network of exchange were (besides Morris, Trasov, and Lee-Nova) Dana Atchley, Robert Cumming, Dick Higgins, Geoff Hendricks, Glenn Lewis, Eric Metcalfe, Kate Craig, Willoughby Sharp, General Idea and Ant Farm.
The Moscow Museum of Modern Art presents a solo exhibition by Ivan Gorshkov. Gorshkov is a prominent representative of the so-called «Voronezh Wave» in contemporary Russian art. The artists of this movement are known for their traditional art forms such as painting and sculpture rendered in a bold, «hooligan» manner. The exhibition includes Gorshkov’s works for the past few years such as the «Swan Lake» painting series, the «My Sweet Homeland» sculpture series, the installation «Utopia of Dragons», and selected works from the projects «Crystal Boots», «Hyper Jump and Anteater» and «Crème Brûlée». These works make up only a fraction of the show with most of the pieces being created specially for the occasion.
The exhibition City Prince/sses is presented as an imaginary, multiple and complex city, without borders, messy, staggering and creative: an unpredictable laboratory, which is always in motion and being (re)constructed. Visual artists, creators, fashion designers, experimenters, tattooists, musicians: a good fifty artists are presented without any geographical grouping, mostly via new productions and in situ interventions.
Guillermo Kahlo was the father of perhaps the world’s most photographed artist, Frida Kahlo. In Mexico he is revered as an iconic photographer, whose work is also highly rated in the international photographic art scene, although he is less well-known here in Hungary. This exhibition showcases a selection of his special images. We offer a journey back in time to the Mexico of a bygone age: The photographs taken in the first three decades of the 1900s are thrilling snapshots of the country’s rich, centuries-old architectural heritage, nourished by diverse cultures and traditions, as well as documenting the monumental Mexican construction projects that spanned the early part of the last century.
An extensive amount of his artwork, predominantly on paper from Schenectady, Albany (NY) in the US, was generously donated by the Curtis family and represents a rare opportunity to complement the collection of drawings and the Archive of Visual Arts of the Slovak National Gallery by new artwork from the 1920s to the 1940s – paintings, drawings, sketches, sketchbooks and clippings from the period press.
The exhibition City Prince/sses is presented as an imaginary, multiple and complex city, without borders, messy, staggering and creative: an unpredictable laboratory, which is always in motion and being (re)constructed. Visual artists, creators, fashion designers, experimenters, tattooists, musicians: a good fifty artists are presented without any geographical grouping, mostly via new productions and in situ interventions.
With her installation entitled A Blazing World, created especially for KUNST HAUS WIEN, Claudia Märzendorfer opens up multiple perspectives on the polluting of the world’s oceans with plastic waste. With a central sculpture and her texts France and Plastiglomerate. Equal to a photograph, Modernity’s reservoir, the artist draws attention to the complexity of the situation.
The exhibition features pictures of the moon from various epochs. Sometimes they present the moon as the source of light in a nocturnal landscape, sometimes it is allegorical in multiple ways, and sometimes it becomes a sort of anthropomorphic vehicle for conveying own states of mind. Contrary to the sun, the moon represents the night, darkness, things that can’t be explained by rational means, the horrifying, the miraculous, feminine and even healing powers. Among the artists whose works will be on show are Sebald Beham, Balthasar Anton Dunker, Franz Niklaus König, Ernst Kreidolf, Paul Klee, Nell Walden, Meret Oppenheim, Claude Sandoz to name just a few.
Mirror/Echo/Tilt is a performance and pedagogical project created by artists Melanie Crean, Shaun Leonardo, and Sable Elyse Smith to examine the language and gestures used to describe experiences of arrest and incarceration.
In collaboration with the HipHopHuis and guest curator Lee Stuart, the Kunsthal Rotterdam presents an exhibition about hip-hop and its influence on fashion and lifestyle. Streetwear is dictating the speed and aesthetics of the fashion industry and changing how that industry is developing itself. Hip-hop is THE youth culture of choice, dominating the charts as well as the world-wide street scene – from a source of inspiration for high fashion brands to making sportswear more accepted for everyday attire.
The video work Junks by the artistic duo Willem de Rooij (*1969) and Jeroen de Rijke (1970–2006) created in 1994, consists of six filmic portraits. The artists, who were living in Amsterdam at the time, used a Hi 8 camcorder, a video camera with integrated sound recording, to portray six anonymous persons. Their subjects, people at the edge of society, each received a beer in return for their participation, and they appear to concentrate on the camera with a lot of effort.
Ján Zoričák is one of the most significant glass artists in Slovakia and France. He is also one of those exceptional art personalities of Slovak origin who has gained international recognition. He works in the difficult sector of glass design, which requires artistic vision and ability as well as the capacity to master the demanding technological processes and to discover unconventional methods of working with glass.
Tate Liverpool presents a new commission by Berlin-based artist Sol Calero (born in Caracas, Venezuela, 1982). Calero’s work takes the form of brightly coloured, large-scale immersive installations that explore themes of representation, identity, displacement and marginalisation, all informed by her own perspective as a migrant. Calero’s new commission, El Autobús 2019, is inspired by a recent journey through Latin America. Visitors are invited to travel through the Wolfson Gallery, exploring the floor-to-ceiling mural which overwhelms the space with a landscape of patterns, panoramic views, floral motifs and architectural elements. Rooted in the centre of the gallery is a bus-like structure, which is reminiscent of the buses used by locals in Latin America. Visitors are encouraged to jump aboard to continue their own journey through the exhibition. Listen out for bus announcements, which promise to take you to destinations that can never be reached.
A part of the legendary New York art scene of the 1980s, Keith Haring (1958–1990) was inspired by graffiti, pop art and underground club culture. Haring was a great collaborator and worked with like-minded artists such as Andy Warhol and Jean-Michel Basquiat. All were interested in creating art for the many. Haring designed record covers for RUN DMC and David Bowie, directed a music video for Grace Jones and developed a fashion line with Malcolm McLaren and Vivienne Westwood. In doing so, he introduced his art and ideas to as many people as possible. Discover how activism played a key role in Haring’s art. Compelled to speak for his generation, his art responds to urgent issues including political dictatorship, racism, homophobia, drug addiction, AIDS awareness, capitalism and the environment. Visitors to the exhibition will see more than 85 artworks including large, vibrant paintings and drawings. Also on display are posters, photographs, and videos that capture the vibrancy of 1980s New York street culture.
With more than twenty million inhabitants in its Metropolitan area, São Paulo is a South American megacity with complex problems like extreme traffic, air pollution, water shortage, and informal settlements. At the same time, the city has invested in architectural infrastructures for decades, creating inclusive places for urban society. The exhibition presents these buildings and projects, showing their possibilities and potentials. The selected examples have been built from the 1960s to the present, and range from a canopy in a public park to large multifunctional buildings. The most ambitious examples have collective programs that include sports, culture, health and gastronomical facilities. What all the selected projects share is their ability to create places of cooperation far beyond their functionality.
The BP Portrait Award is the most prestigious portrait painting competition in the world and represents the very best in contemporary portrait painting. With a first prize of £35,000, and a total prize fund of £74,000, the Award is aimed at encouraging artists to focus upon and develop portraiture in their work. Over the years, this has attracted over 40,000 entries from more than 100 countries.
One of the foremost artists of our time, Sophie Calle (*1953) tells stories through photographs and combines them with the written word. In her works, the French artist explores the relationship between memory and visual representation. What happens when images disappear or when seeing is no longer possible? Calle meticulously traces the last, missing or private photographs while reflecting on the relationship between text and image. There is a strong sense of intimacy that unfolds throughout her bodies of work and exerts an irresistible appeal.
Sean Scully is known above all for his highly expressive abstract paintings of colorful stripes or rectangles. But it is an entirely new side of this artist that comes to light in a work series being given its first-ever presentation by the Albertina Museum. The series Eleuthera from the years 2015-2017 revolves around a very private subject: these 23 large-format oil paintings show Scully’s eight-year-old son Oisín playing at the beach on the island of Eleuthera in the Bahamas. This exhibition shows all of these oil paintings by Scully as well as smaller pastels, drawings, and photographic works.
In summer 2019, the Lower Belvedere is presenting the multi-facetted oeuvre of the American artist Kiki Smith. The exhibition will feature around sixty works from the last three decades, including recent pieces, and will place a focus on sculpture.
Twenty years ago in 1999, TASCHEN published its first monumental art book: Helmut Newton’s SUMO. (…) Ten years ago in 2009, the Helmut Newton Foundation staged an unusual yet compelling exhibition dedicated to this legendary publication: all 460 pages of the book hung framed on the wall, side by side, in three rows one above the other. Exhibition visitors were literally able to see everything at once. (…) Now, a decade later and 20 years after its creation, SUMO will once again be presented at the Helmut Newton Foundation. Newton’s SUMO exhibition is complemented by an expanded reprise of the “Three Boys from Pasadena”. Ten years ago, the works of three of Newton’s former assistants – Mark Arbeit, George Holz, and Just Loomis – were featured all together in one of the foundation’s exhibition rooms. For this new exhibition, each of these American photographers will have a dedicated space for his unique and multifaceted oeuvre.
“HX” is the solo exhibition by Chinese artist Cao Fei (born 1978, Guangzhou), and the international debut of her long term research project “Hong Xia”. It includes the feature film Nova, a collection of videos, photographs and archive materials as well as installations. Together, they (re)narrate and (re)imagine the past, the present and the future of a changing community and its inhabitants in a rapidly modernized country.
Bani Abidi is known for her distinctive approach to filmmaking, which derives from the dark absurdities of everyday life. They Died Laughing is an extensive presentation of Abidi’s works, bringing together moving image and print-based works that span two decades.
The Centre Pompidou presents “HX”, a solo exhibition of the Beijing-based artist Cao Fei, born 1978 in Guangzhou. The exhibition marks the international première of the research project “Hongxia”, showcasing a selection of previously unseen works. This includes the feature-length film Nova, a collection of videos, photographs, archive documents, and installations of found objects.
Tate Modern will present the first retrospective of Natalia Goncharova ever held in the UK. Most of the works have never been seen in this country before. Goncharova found acclaim early in her career. Aged just 32 she established herself as the leader of the Russian avant-garde with a major exhibition in Moscow in 1913. She then moved to France where she designed costumes and backdrops for Sergei Diaghilev’s Ballet Russes. She lived in Paris for the rest of her life, becoming a key figure in the city’s cutting-edge art scene. Goncharova’s artistic output was immense, wide-ranging and at times controversial. She paraded the streets of Moscow displaying futurist body art and created monumental religious paintings. She took part in avant-garde cinema, experimented with book designs and designed for fashion houses in Moscow and Paris. Her bold and innovative body of work influenced and transcended the art movements of the 20th century. The exhibition will explore her diverse sources and inspirations, from Russian folk art and textiles to the latest trends in modernism and beyond.
Diedrick Brackens (b. 1989, Mexia, TX) constructs intricately woven textiles that speak to the complexities of black and queer identity in the United States. Interlacing diverse traditions, including West African weaving, European tapestries, and quilting from the American south, Brackens creates cosmographic abstractions and figurative narratives that lyrically merge lived experience, commemoration, and allegory. He uses both commercial dyes and unconventional colorants such as wine, tea, and bleach, and foregrounds the loaded symbolism of materials like cotton, with its links to the transatlantic slave trade.
The Kunsthal Rotterdam has already organised All you can Art with David Bade and Tirzo Martha, the founders of the Instituto Buena Bista (IBB) Curaçao, and their team for three years in succession. All you can Art is a studio, exhibition and Summer School all in one, in which everyone – with no exception – has the opportunity of collaborating, making art, learning and discovering.
This exhibition of international modern and contemporaryart turns its attention to the masked individual as well asto the performative act of the individual wearing a mask inits social and political context. Artists: Ed Atkins, Kader Attia, Julius von Bismarck, Thorsten Brinkmann, Miriam Cahn, Claude Cahun, Heinrich Campendonk, Edson Chagas, Eli Cortiñas, Max Ernst, Theo Eshetu, Gauri Gill, Werner Gilles, Martine Gutierrez, Stef Heidhues, Hannah Höch, Daniel Knorr, Zanele Muholi, Meret Oppenheim, ORLAN, Pablo Picasso, Signe Pierce & Alli Coates, Sigmar Polke, Ulrike Rosenbach, Karl Schmidt-Rottluff, Lavinia Schulz, Cindy Sherman, Wiebke Siem, John Stezaker, Sophie Taeuber-Arp, Rosemarie Trockel, Alexej von Jawlensky, Gillian Wearing
An exhibition of the Kunsthalle Wien in context of the VIENNA BIENNALE FOR CHANGE 2019 In any society, one fundamental field in which gender is expressed is technology. Technical skills and domains of expertise appear to be divided between the sexes, shaping masculinities and femininities. In the contemporary West, which pioneered industrialization, allowing it to dominate the worldwide production of material and intellectual goods, of commodities, services, and desires, technology is firmly coded as male. Men are viewed as having a natural affinity with technology, whereas women supposedly fear or dislike it. Men actively engage with machines, making and using them. Women, too, may rely on machines but are effectively regarded as passive beneficiaries of the inventive flame. The modernist association of technology with masculinity translates into gender-specific everyday experiences, historical narratives, employment practices, education, the design of new technologies and the distribution of power across a global society that sees technology as the driving force of progress. The exhibition analyses the material worlds we are creating through technology and technology’s role in shaping local and global configurations of power, forms of identity, and ways of living. It draws on radical feminist and techno-feminist theories from the 1970s until now that criticised […]
An exhibition of the Kunsthalle Wien in context of the VIENNA BIENNALE FOR CHANGE 2019 In any society, one fundamental field in which gender is expressed is technology. Technical skills and domains of expertise appear to be divided between the sexes, shaping masculinities and femininities.
In the exhibition UNCANNY VALUES: Artificial Intelligence & You, the MAK is exploring one of the most important subjects of the coming decades, one that has significant consequences for all areas of our lives: artificial intelligence (AI).
How can the digital revolution of our times be used for human beings as best as possible and how can we cope with predictable misdevelopments? Human by Machine presents various design projects by students and alumni of the University of Applied Arts Vienna, which were created in exchange with students, and teachers of the Academy of Fine Arts and Design, Bratislava.
The Centre Pompidou reviews the work of Bernard Frize, an important French painter on the international artistic scene right from his early work in 1977. Known for his conceptual abstract paintings, Frize integrated figurative elements into his practice in the 1980s and also developed an interest in photography.
Fra Angelico and the Rise of the Florentine Renaissance, an exhibition sponsored by the Fundación Amigos del Museo del Prado, analyses the artistic importance of the early Florentine Renaissance between approximately 1420 to 1430, with a particular focus on the figure of Fra Angelico, one of the great masters of this period.