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Franz Graf von Pocci (1807-1876) was not just a master of ceremonies, Hofmusikintendant and the inventor of the puppet character Kasperl Larifari, but also an almost obsessive illustrator. ‘And if I had a hundred hands / with castles I’d never find an end!’ reads one of his verses about his passion of always allowing his visual imagination to roam free. He typically drew imaginary landscapes or created illustrations for his texts, but was just as happy lampooning his bureaucratic or artistic colleagues with unerring mischievousness through caricature. The historical collections of the Staatliche Graphische Sammlung München were recently enriched by a significant donation of 82 of Pocci’s drawings. This donation serves as the impetus for a small exhibition documenting how important this kind of private engagement is for the continued evolution of our collections.

Working across video, sculpture, and performance, Virginia Lee Montgomery interrogates the relationship between physical and psychic structures and the uncanny materiality of lived experience.

Gustav Klimt created the famous Beethoven Frieze for the XIVth exhibition of the Association of Visual Artists Vienna Secession, which was held between April 15 and June 27, 1902. Conceived as a tribute to the composer Ludwig van Beethoven, the presentation epitomized the Secessionists’ vision of an encompassing synthesis of the arts. Twenty-one artists worked together under the direction of Josef Hoffmann. At the center of the exhibition, in the main hall, stood Max Klinger’s Beethoven statue. In addition to Klimt’s Beethoven Frieze, the show featured wall paintings and decorations by Alfred Roller, Adolf Böhm, Ferdinand Andri and numerous other artists. The stated objective was to reunite the separate arts—architecture, painting, sculpture and music—under a common theme: the “work of art” was to emerge from the interplay of the design of the rooms and the wall paintings and sculptures. Klimt’s monumental wall cycle was located in the left-hand aisle, which visitors to the exhibition entered first. An opening in the wall offered a view of Max Klinger’s Beethoven statue, hinting at the intended synergy of architecture, painting (Klimt’s Beethoven Frieze) and sculpture (Klinger’s Beethoven). With nearly 60,000 visitors, the XIVth exhibition was one of the Secession’s greatest public successes. It also proved crucial to Klimt’s […]

Explore today’s home through the prism of yesterday’s imagination. Are we living in the way that pioneering architects and designers throughout the 20th century predicted, or has our idea of home proved resistant to real change?

Koloman Moser’s oeuvre continues to exert a lasting fascination. As a universal artist Moser masters the disciplines of painting, graphic art, arts and crafts, and interior design as well as fashion and scenography. To an impressive extent Moser embodies the Gesamtkunstwerk or total work of art as advocated by the Vienna Secession. He is considered one of the most important pioneers of Viennese Modernism, one of the most influential artists of Viennese Art Nouveau, and is—alongside Gustav Klimt and Josef Hoffmann—one of the leading artists of Vienna’s artistic renewal. To commemorate the centennial of his death, the MAK is honoring Koloman Moser (1868–1918) with one of the most comprehensive solo shows to date on his great and visionary work. The exhibition delves deep into the oeuvre of this exceptional artist and demonstrates just how instrumental Moser was in influencing the search for a new, modern design vocabulary in fin-de-siècle Vienna.  This is the first time that many of the 500 or so exhibits, largely taken from the MAK Collection, have been made accessible to the public. Structured chronologically and divided into five chapters, the MAK exhibition recalls every step of Moser’s unusual career: from painter to all-round designer and finally […]

Annette Kelm’s photographs show precise fractious motifs that quote the still life, object or studio photography, or the classical architecture shot, yet without ever fully complying with the conventions governing these genres. They flatten things into the plane or subject them to multiplication in series. Often captured in frontal views and in great detail, the minimal and yet visually opulent object worlds underscore their translation into the two-dimensional space of photography. Kelm’s conceptual approach, the exceptional sharpness of her images, and the neutral lighting lend the scenes rendered in her works a peculiar salience. The emphasis on the factual precludes any symbolism strictly speaking, yet the cultural or ideological burden with which certain objects are fraught is unmistakable. This focus on formal criteria and the eschewal of narration of any kind are also destabilized by the selective insertion of props that bear no readily recognizable relation to a picture’s central object. The exhibition at Kunsthalle Wien turns the spotlight on works in which architecture, design, or constellations of seemingly mundane objects are revealed to be visual manifestations of complex genealogies. The Versuchsanstalt für Wasserbau und Schiffsbau in Berlin, an iconic building that houses facilities for experiments in fluid mechanics and […]

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.

The Moscow Museum of Modern Art and the AVC Charity Foundation present On the Path of Gumilev, an interdisciplinary project by Vasily Vlasov and Mikhail Pogarsky, bringing together visual art, literature, geopoetics, history and ethnography. The exhibition dwells on the eponymous art expedition to Ethiopia that the artists Vasily Vlasov and Mikhail Pogarsky embarked on in April 2017. The authors claim to have invented a new art form, the said art expedition, wherein adventurers go in search of not so much artifacts but, first of all, artistic impressions. The project deals with new methods to operate space, memory, art genres and the heritage of Nikolay Gumilev, a poet, translator and explorer of Africa. Repeating the itinerary of Gumilev’s many-time wandering across the African continent, the artists rediscover the magical land, develop and transform the poet’s ideas, inviting the viewers to take part in their journey. On the Path of Gumilev is the first exhibition in Vasily Vlasov and Mikhail Pogarsky’s programme The Artist and Poet’s Book that focuses on the concept of interaction and seeks to establish an atemporal dialogue with great Russian poets through the new artistic media. It is also the second project in the Artist’s Book series. The display is comprised of 16 thematic sections exploring the cultural, geographical and social aspects of the far-away land, its change in time, as well as presenting and examining Gumilev’s own oeuvres. Thus, in the Metamorphoses section the artists plunge into a new […]

With the support of the French Institute affiliated with the French Embassy in Russia, the Moscow Museum of Modern Art presents the exhibition IT’S FORBIDDEN TO FORBID, the first part of a two-part project dedicated to the events of the 1968 movement in Paris and their impact on contemporary culture and society. The display at the MMOMA includes the original posters of 1968-1970 from private collections, magazines and newspapers of the time, video interviews with the protesters, special literature, documentaries and feature films, as well as a timeline of the 1968 movement events in France, Vietnam and Eastern Europe. 50 years ago France experienced large-scale upheaval, which made history as ‘May ‘68’, or the ‘May revolution’. The student riots in Paris grew into a wildcat general strike and then into a political crisis, which led to the dissolution of Parliament and early elections. The events of that spring and early summer in France are compared to a revolution, which, even though it didn’t overthrow the regime, had a crucial effect on the transformation of government and society and jumpstarted far-reaching social and cultural changes. The events of May ’68 were the glorious hour of street rioting. As an instant response to the initiatives of the authorities, new propaganda posters and slogans would emerge each and every day. Many of them were creations of the so-called ‘popular workshop’ (Аtelier populaire), which during the movement events became virtually a clandestine typography. Among the exhibits […]

With the exhibition ‘Doppelganger’, Kunsthal Rotterdam is presenting a site-specific installation by the Dutch artist Willem Besselink. The exhibition – part of the ‘Kunsthal Light’ programme – reflects the artist’s thought process. For this installation Besselink drew his inspiration from the architecture of the Kunsthal, designed by Koolhaas, and from the building structures and materials of HAL 6 in particular. Some details of the building, such as the angle of inclination of the floor and the turned supports of the roof structure, form the points of departure for this installation (1:1 scale) that will radically transform and emphasise the structure of the space. Visitors will suddenly find themselves standing amongst some of the building’s architectural structures that they would normally have passed without noticing.

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.