The newly set collection display makes attempts to present emphatic points not only in well-organised chronological order or along stylistic features, but to examine the characteristics, consonances, differences as well as the artistic-cultural parallels between Western and Eastern art. The collection renders it possible to show up substantive parallelism within the lifeworks of artists with dedicated and critical approach from Western as well as Eastern countries.
The painting was purchased ca. 1800 in Italy, by Adam Jerzy, the son of Princess Izabela Czartoryska, and donated to the Museum in Puławy where it was exhibited in the ‘Gothic House’ from 1809–1830. In Puławy, it was erroneously considered to be a portrait alluding to the beloved mistress of King Francis I of France, referred to as the ‘Belle Ferronière’. We now know that the subject of the portrait is Cecilia Gallerani (ca. 1473-1536), a reputed mistress of Lodovico Sforza, Duke of Milan, also known as ‘il Moro’ (the Moor). The ermine in the portrait commissioned by him is an allusion to Duke Sforza himself, who was also referred to as the White Ermine (Ermellino Bianco). The portrait embodies the Renaissance idea of an image as an illusion of natural vitality. The artist managed to achieve this thanks to his knowledge of anatomy and his lighting skills, which enabled him to create a three-dimensional human figure on the image plane. The original background, which was overpainted with black in the 19th century, was also modelled with light just like the figure, which must have given the impression of the model emerging from the shadows. The portrait became the property […]
Anselm Kiefer – THE MICHAEL & ELEONORE STOFFEL FOUNDATION ACQUIRES FIVE WORKS BY ANSELM KIEFER FOR THE BAYERISCHE STAATSGEMÄLDESAMMLUNGEN
The Michael & Eleonore Stoffel Foundation has worked in close collaboration with the Bayerische Staatsgemäldesammlungen to acquire on behalf of the latter institution five works by Anselm Kiefer. The acquisition marks a milestone in the development of the collection. Anselm Kiefer has created a body of work that broke the silence surrounding the German past in the Third Reich, while also finding a poignant language for articulating the global intertwinement of human civilization. He delves deep into old Christian, Kabbalistic, and Far Eastern traditions, explores the world’s great mythical, religious, and poetic texts, and forges links between them and the world as it is experienced today. The monumental painting “Der Sand aus den Urnen” (2009) and the two large wall pieces transferred onto lead in 2011 and entitled “OCCUPATIONS” (1969/2011) as well as the two display cases “Die 12 Stämme“ (2010) and “Morgenthau” (2016) will now form an additional highlight in the collection profile at the Pinakothek der Moderne.
At the invitation of the Weltmuseum Wien, the MuKul, the (fictitious) Museum for Foreign and Familiar Cultures is presenting an exhibition of works by artist Lisl Ponger. Visitors are invited to take part in an exploratory journey that starts out from six large-scale, staged photographs in light boxes and a 2-channel installation with the title The Master Narrative und Don Durito which lasts a full museum day.
res·o·nant – je průchozí světelná a zvuková instalace konceptuálního umělce Mischy Kuballa. Instalace vznikla přímo pro nový výstavní prostor v přízemí Libeskindovy budovy.
“Aural” is the Berlin premiere of a Ganzfeld by the world’s foremost light sculptor. The installation is part of the Ganzfeld Pieces series, in which Turrell creates liminal zones of experience.
Lebanese artist Huguette Caland has her first UK museum solo exhibition at Tate St Ives Shifting between figuration and abstraction, large, colourful canvasses and detailed drawings from the 1970s and 1980s will explore the delicate balance between the suggestive and the explicit that Caland created in her work. After moving to Paris from Beirut in 1970, Caland achieved artistic recognition with her exuberant and erotically charged paintings that challenged traditional conventions of beauty and desire. The female physique is a recurrent motif in her work, often painted like landscapes with voids and mountain-like forms. Born in Lebanon in 1931, Caland studied art at the American University in Beirut and lived in Paris and California for many years, before returning to Beirut in 2013.
In a new body of work, including paintings and a film in three parts, the first premiering in this exhibition, Rosalind Nashashibi explores affective relations and community building. These works follow a non-linear narrative that weaves various intimate settings, some within shared domestic spaces, others in outdoor environments. Shot in Lithuania, London, and Edinburgh, the film features the artist and her children, as well as close friends, which she considers extended family. In the process of creating this new work, Nashashibi questions how a group’s sense of commonality is dissolved when there is an absence of communal experience and adherence to linear time. Through an open-ended discussion of space and time travel in the film, which is in part inspired by the creation and dissolution of group relationships in Ursula Le Guin’s The Shobies’ Story (1990), Nashashibi explores new modes of conviviality, considering the absence of having a nuclear family structure, without an imperative model in sight. For years, Raimundas Malašauskas has collaborated with Nashashibi and is here the guest curator of the exhibition. He has remarked that Nashashibi’s work is the dip of an eye scrolling for a footnote while it reads. Writing about Nashashibi’s new work, Malašauskas points that “by […]
The Louvre’s Petite Galerie is a special space set aside for art and cultural education for all ages, with a selection of artworks representing different periods and techniques in yearly exhibitions—an eye-opening experience which serves as a starting point for an exploration of the whole museum. For its fourth season, the exhibition “Archaeology Goes Graphic” will spark a dialogue between archaeology and the 2018–19 guest art form—comic book art. It will invite visitors to follow in the footsteps of amateur or professional archaeologists with a passion for antiquity and see how they discover “treasures,” unearth objects buried at different periods, then classify them and try to understand what they tell us about the past. All this while illustrating how comic book art (known as the “ninth art” in France) has, in a blend of fact and fiction, drawn inspiration from the archaeological finds that have contributed to the Louvre’s collections.
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.
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.
Artists: Vito Acconci, Eleanor Antin, bankleer, Joseph Beuys, Thorsten Brinkmann, Günther Brus, Peter Campus, Lenka Clayton, Tracey Emin, Valie Export, Jeanne Faust, Pia Greschner, Johan Grimonprez, Rebecca Horn, Jürgen Klauke, Till Krause, Shirin Neshat, Nam June Paik, Prinz Gholam, Ben Rivers, Pipilotti Rist, Ulrike Rosenbach, Clemens von Wedemeyer, Hannah Wilke, Tobias Zielony and others.
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.
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.
“Friedrich von Borries. Politics of Design, Design of Politics” is the programmatic title of the exhibition by Friedrich von Borries. In a series of interactions with and interventions in the Collection, architect and design theorist von Borries sets out to demonstrate the extent to which there is an intrinsically political side to design and how design can shape and change politics. How can design contribute to society’s social and cultural development? The presentation will be complemented by a subjective reflection on Friedrich von Borries’ own output to date and interactive platforms for the museum visitors.
Endless House is a work that perfectly typifies the art and theory of Friedrich Kiesler. Its most conspicuous feature is the fact that space is continuously in flow. The body of this unusual architectural model is somehow spherical and yet irregular. The floor, walls and ceilings seem to be made of endless loops. Kiesler made only two full models of Endless House, one of which is held in the New York Whitney Museum.
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.
Among archive documents, pictures, project drawings and direct testimonies,a physical and hystorical path, which allows to end up dentro la Strada Novissima): a collective experience orchestrated byPaolo Portoghesi /em> on the occasion of the First international architectural exhibition of the Venice Biennale, which opened to the public on 27th July 1980 and was entitled La Presenza del Passato (The Presence of the Past). The Strada Novissima was motivated by the desire to propose a reflection on the urban street through a 70-meter path, ten façades of full scale houses per side, designed by just as many architects including Frank O. Gehry, Rem Koolhaas, Hans Hollein, Franco Purini, Arata Isozaki, Robert Venturi, Ricardo Bofill, GRAU. On the occasion of the big exhibition La Strada, we propose an insight on this crucial moment of the architectural history of the Nineties, when the street became the concrete image of a different way to conceive architecture, definitively overcoming the dogmas of the Modern Movement.
William Shakespeare’s history plays have shaped perceptions of the Plantagenet kings for centuries, with a cast of characters ranging from the flawed Richard II to the heroic Henry V. The plays were not created in isolation, but drew extensively on the historical accounts that were published in the sixteenth century to justify and celebrate the position of the Tudor dynasty, fuelling an interest in English history that also encouraged the production of posthumous portraits. This small display examines the Tudor construction of Plantagenet portraits and their legacy in the popular imagination.
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 […]
Designer Maker User is an introduction to the museum’s collection, looking at the development of modern design through these three interconnected roles.
The collection of the Alte Pinakothek, one of the most significant in the world, encompasses over 700 artworks from the 14th to the 18th centuries. Here, milestones of the European painting tradition join to form a survey, in unique concentration, that spans the development from the Middle Ages to the Renaissance and Baroque, through to the late Rococo period. Experience encounters with works by Dürer, Raphael, Leonardo, Titian, El Greco, Rubens, Rembrandt, Boucher and their contemporaries. The museum, contracted by the Bavarian King Ludwig I, was built by Leo von Klenze between 1826 and 1836 in the Neoclassical style, which at the time represented a new and pioneering effort in European museum architecture. Originally, the Alte Pinakothek was intended to make sufficient space available for the art collection of the House of Wittelsbach. Over and above this, King Ludwig I sought to use the construction of the Alte Pinakothek as a means of providing the general public access to his collection. In addition to the permanent presentation of outstanding works from the golden ages of German, Flemish, Dutch, French, Italian and Spanish painting, a host of temporary special exhibitions, guided tours and events make a visit worthwhile.
The Albertina houses one of Europe’s most important compilations of Modernist art in the form of the Batliner Collection. Its permanent display starts off with such artists of Impressionism and Post-Impressionism as Monet, Degas, Cézanne, Toulouse-Lautrec, and Gauguin. Further highlights include examples of German Expressionism, with the groups of Brücke and Der Blaue Reiter, and the art of New Objectivity, with works by Wacker, Sedlacek, and Hofer. An in-depth focus on Austrian art comprises works by Kokoschka and paintings by Egger-Lienz. The great diversity of the Russian avant-garde is represented by paintings by Goncharova, Malevich, and Chagall. The presentation is topped off by numerous chefs-d’oeuvre by Picasso, ranging from his early Cubist pictures and works from his mature period of the 1940s to superb prints that have not yet been exhibited and paintings from his experimental late period.
A tour-de-force multi-screen film installation, Manifesto draws on the somewhat anachronistic literary form of manifestos – declarations of belief usually combined with a call for action. Artist Julian Rosefeldt revisited dozens of 20th-century manifestos, examining their relevance and power today and blending foundational texts of art movements including Dada, Surrealism, and Futurism to create thirteen new texts written as monologues. Sole actor Cate Blanchett performs the monologues as different characters in diverse settings (…).
This display marks the bicentenary of the birth of George Eliot (1819–80), one of Britain’s most renowned novelists. Born Mary Anne Evans on 22 November 1819, she embarked on her career at the relatively mature age of thirty-two, initially working for the radical London periodical, the Westminster Review. In 1859, her first novel, Adam Bede, was published to critical acclaim and she went on to write six further titles, including The Mill on the Floss(1860) and Middlemarch (1871–2), celebrated for their realism and insights into the messy complexity of human relationships. Evans adopted the pseudonym ‘George Eliot’ to retain her anonymity. Since 1853, she had been romantically involved with a married man, the writer George Henry Lewes; although separated from his wife, their relationship was regarded as improper. Eliot also had concerns about her physical appearance, as her face had been described as ‘long’, ‘pale’ and horse-like. A pen-name could avoid drawing attention to both her awkward social position and unconventional looks, and allow her novels to be judged on their own merits. Eliot’s efforts to keep a low public profile extended to the visual image, this display’s central theme. At a time when the trade in popular portraits of celebrities was flourishing, she was […]
In the thirty years since his death, Robert Mapplethorpe (1946–1989) has become a cultural icon. One of the most critically acclaimed and controversial American artists of the late twentieth century, Mapplethorpe is widely known for daring imagery that deliberately transgresses social mores, and for the censorship debates that transpired around his work in the United States during the late 1980s and early 1990s. Yet the driving force behind his artistic ethos was an obsession with perfection that he brought to bear on his approach to each of his subjects.
The Belvedere 21 is devoting a large solo show to Christian Ludwig Attersee (* 1940) with a focus on his early work. Featuring as yet little-known works, the show reveals how Attersee actively shaped and participated in the revolution in artistic production from the 1960s.
Discover new monuments and memorials by celebrated British-Ghanaian architect, Sir David Adjaye OBE. Get a first peek at ongoing work and explore the influences behind the highly acclaimed Smithsonian National Museum of African American History and Culture in Washington D.C. and more.
A show by the internationally renowned New York-based Icelandic artist Hrafnhildur Arnardóttir, aka Shoplifter, who creates installations from synthetic hair. The subtly humorous installations are massive, allowing viewers to enter them and to stroke the hair.
To mark the 100th anniversary of Bauhaus, Die Neue Sammlung is having an exhibition that discusses the significance of this pioneering reform design college today. Simultaneously, Die Neue Sammlung is taking the opportunity to highlight its own historical links to Bauhaus. For the first time the museum will showcase historical objects from its own holdings in Munich. In cooperation with the artist Tilo Schulz an installation is realized interlocking 40 historical objects and responses to them by five contemporary artists. Invitations have been taken up by designer Ayzit Bostan, poet Barbara Köhler, architect Anupama Kundoo, composer Junya Oikawa, and artist Sofie Thorsen to explore one Bauhaus object and develop an independent work of their own.
Following the acquisition in 2018 of ‘Grodenstraße nach Varelerhafen’ (Polder Road to Varel Harbour), dating from 1938, the Sammlung Moderne Kunst is staging an exhibition on Franz Radziwill, one of the most important representatives of Magic Realism. The focus is on his Expressionist early work as a continuation of the ‘Brücke’, as well as on his involvement with the Nazi regime – between conformity and defamation as a ‘degenerate’ artist. One of Radziwill’s canvases, painted on both the front and back, is being exhibited for the first time showing both sides, to highlight the break between an Expressionist early work and a principal work of Magic Realism.
The sounds design objects make are often just as characteristic as their design. And so from 21 February, 2019 visitors will able to listen to the sounds of various exhibition items from our collection thanks to the web-app Sound of Design. Using mobile devices or their home computers they will be able to delve into the world of design noises. Sounds range from historical telephones via the engine noises of iconic cars through to the clacking of a keyboard. We are adding sounds to our collection so as to integrate this acoustic dimension of our exhibition items into our presentation – above all with a view to the planned display area. By publishing this archive in our Web-app it will form part of the multimedia experience visitors can enjoy while also infusing life into objects that might otherwise seem remote museum pieces. By way of introducing Sound of Design we are launching a topical focus on the era of the German economic miracle (1950s/1960s), in which new electrical devices and with them diverse sounds entered people’s everyday lives.
Ornament as Promise was the premise of the Pattern and Decoration movement in the United States (1975–1985). In this exhibition, mumok presents the rich collection of works from this movement of Peter and Irene Ludwig, in the largest presentation of Pattern and Decoration in German-speaking Europe since the 1980s. With oriental-style mosaics, monumental textile collages, paintings, installations, and performances, in the 1970s committed feminist artists like Miriam Schapiro, Joyce Kozloff, Valerie Jaudon, and Robert Kushner aimed to bring color, formal diversity, and emotion back into art. Decoration played a key role, with its connotations of the techniques of artisanship. Various ornamental traditions, from the Islamic world to North American Indians to Art Deco, were incorporated in their works, opening up a view beyond geographical and historical boundaries. A proximity to folk art was sought as a deliberate counter to the “purism” of the art of the 1960s.
For more than four decades Ann and Jürgen Wilde have been compiling their unique collection of modern and contemporary photography, which has been affiliated with the Bayerische Staatsgemäldesammlungen since 2010, as the Ann and Jürgen Wilde Foundation. Works by photographers like Aenne Biermann, Florence Henri, and Germaine Krull lie at the collection’s core. The program at Galerie Wilde (1972–1985), which was the only gallery in Germany to specialize in photography at the time of its founding, was also innovative for including female photographers, among them Jan Groover, Marcia Resnick, Gwenn Thomas, and Deborah Turbeville. To this day, Ann Wilde remains particularly interested in promoting and acquiring work made by female artists and photographers. On the occasion of her birthday, the donor is opening her private collection to the public for the first time. Re-visions presents photographs that speak to Ann Wilde personally: work from the 1920s up to the present, made by artists like Johanna Diehl, Rineke Dijkstra, Marie Jo Lafontaine, Barbara Probst, Alexandra Ranner, Judith Joy Ross, Martina Sauter, Eva-Maria Schön, Kathrin Sonntag, and Heidi Specker.
The exhibition at the Deichtorhallen Hamburg and the accompanying program of musical events at the Elbphilharmonie, HYPER! SOUNDS, includes more than 60 international artists and musicians who explicitly work between the disciplines of art and music and – often unnoticed by the broader public – decisively integrate references from both these areas into their art. Superstars from the worlds of art and music such as Andreas Gursky, Kim Gordon, Alexander Kluge, Rosemarie Trockel, and Wolfgang Tillmans will be featured alongside avant-gardists such as Arthur Jafa, Thomas Scheibitz, Peter Saville, and Arto Lindsay. The exhibition is narratively underpinned by dozens of interviews that Max Dax conducted with the participants in HYPER! in recent years.
The photographer Helmut Wimmer has been working with the Ganymede series in the Kunsthistorisches Museum for many years, producing sensitive and exciting portraits of the authors involved. For GANYMEDE NATURE he has let nature burst into the museum and its galleries. Comprising twelve tableaus, his photographic project The Last Day is inspired by historical facts and natural catastrophes: In the most poetical sense, Nature herself takes centre stage. Earth and water make their way through the galleries. Mountains take possession of the rooms. Leaves and shady groves cover ancient busts. A visual dialogue between two contrary worlds takes spectators on a journey in which violence and anger, memory and accusations are as palpable as pausing to think, and forgiveness. Nature as a space for civilisation and history. The museum competing with the forces of nature.
Featuring more than sixty etchings, lithographs and linoleum cuts, the exhibition presents a selection from the holdings of the Städel Museum’s Department of Prints and Drawings, enhanced by a small number of loans from the Museum Ludwig in Cologne and a private collection. The selection vividly illustrates the full range and development of Picasso’s graphic oeuvre from the early years in Paris to his late work.
The Museo del Prado presents the generous donation made in 2018 by the Ellacuria family, the descendants of the painter Cecilio Pla (1859–1934). It is made up of a large collection of letters, photographs and negatives, and some of his sketchbooks, together with a number of loose drawings and various other materials related to his career, such his diplomas and medals. This donation, of which only a small selection is on display, will enhance our knowledge of the work of this Valencian painter and the artistic and cultural panorama of his time.
Téme stredoeurópskej plenérovej krajinomaľby, ktorá sa rozvíjala v priestore bývalej rakúsko-uhorskej monarchie v rokoch 1860 – 1890, sa doteraz nevenovala príliš veľká pozornosť. Výstava organizovaná Západočeskou galériou v Plzni a Slovenskou národnou galériou je jedným z prvých pokusov zamerať sa na tvorbu osobností výtvarnej scény, ktoré sa pohybovali medzi dunajskou monarchiou a súdobými centrami výtvarného umenia.
Fury, fear, lust – depictions of psychological extremes still exert a fascination on artists and viewers today. But in our “facial society,” what remains a valid form of (self-)portrait beyond the realm of Facebook and selfies? Using Messerschmidt’s famous Character Heads as a springboard, the exhibition at the Orangery takes a head on look at the human face.
Kunsthistorisches Museum presents for the first time in Austria an exhibition dedicated to the great American artist, Mark Rothko. Together with his contemporaries, Jackson Pollock, Barnett Newman, and Willem de Kooning, Rothko was one of the Abstract Expressionists, whose works made New York a centre of modern art. Rothko undertook three extensive trips to Europe, visiting as many churches, architectural monuments, and museums as he could. Art and architecture of the recent and more distant past are a vigorous presence in his work. Our exhibition presents an overview of Rothko’s artistic career from the early figurative works of the 1930s to those of the 1940s, and the classical abstract paintings of the 1950s and 1960s that made him famous.
Iiu Susiraja (b. 1975) has degrees in textile design and photography from the Finnish Academy of Fine Arts, where she studied 2012–2016. This is her first extensive museum exhibition in Finland. In addition to photographs and videos, it also includes an installation.
Step into the fascinating world of science fiction and discover the ongoing human quest for the unknown – on our own planet and in a remote part of the universe. More than 850 unique objects show the incredible imagination and inventiveness of the human mind. Travel through time and space with film clips and video installations, rare manuscripts and drawings, books and comics, art and design, and admire the many costumes, masks, models and props from film classics like Star Wars, Star Trek and Godzilla.
From Saturday 16 March Kunsthal Rotterdam is presenting ‘Sirens’, a kinetic sound installation by artist and composer Joris Strijbos. His work is inspired by ongoing research on complex processes, such as organised systems in biology and digital technology. The way the individual birds interact in a flock, the process of algorithms in data networks – Strijbos unravels the complexity and translates the beauty he finds there to compositions of light and sound.
El Lissitzky (1890, Pochinok, Smolensk – 1941, Moscow) is one of the key figures of the Russian – Soviet revolutionary avant-garde and international avant-gardes of the 20th century. He worked as an architect, graphic artist, painter, typographer, designer and photographer. RUDOLF SIKORA (*1946, Žilina) is one of the most important figures of Slovak visual art, his work of a conceptual pedigree found international recognition. He has been active in most areas of visual art, including painting, drawing, graphic art, photography, action art, objects and installations. The Rudolf/eR Sikora exhibition has been designed as an independent visual and ideological parallel to the visual (and ideological) world of El Lissitzky.
Traditional Jewish cemeteries are like immense pages of old chronicles or the Scripture, handwritten on the soil with gravestones as letters and lanes as background, dotted with ritual buildings and framed by long walls. Modern Jewish graves depart from this world in order to bring Jewish cemeteries closer to the Christian world. Photographs by Rudolf Klein offer an insight into this world.
Talk of living out in the countryside inevitably conjures up all sorts of images before our mind’s eye. Descriptions range from the romanticism of farming life to the dreariness of life in the provinces, shaped as much by personal experiences as by anecdotes and depictions consumed via the media – the image of village life and the reality of it at times worlds apart. In a photographic and artistic analysis of what life in the countryside is like today, the exhibition Über Leben am Land at the KUNST HAUS WIEN focuses on Europe and the US.
The anniversary program 25 Years Kunstmuseum Wolfsburg will present the most comprehensive overview of the collection to date. Founded in 1994, the collection now unites more than 600 installations, work groups, and individual works by 100 artists.
Tate Britain presents a major exhibition about Vincent van Gogh (1853–1890). The EY Exhibition: Van Gogh and Britain is the first exhibition to take a new look at the artist through his relationship with Britain. It explores how Van Gogh was inspired by British art, literature and culture throughout his career and how he in turn inspired British artists, from Walter Sickert to Francis Bacon.
With this exhibition, the Centre Pompidou presents the first retrospective devoted to the photographers Harry Shunk (1924-2006) and János Kender (1937-2009). Through a selection stemming from more than ten thousand prints from the period, housed in the Kandinsky library and acquired in 2008 thanks to a donation by the Roy Lichtenstein Foundation, discover a priceless eye-witness account of post-war art.
Jack’s Jacks, which was conceived in close cooperation with the artist, shows how Whitten, over a period of more than five decades, continually extended the boundaries of abstract painting. Beginning with early gestural paintings that were strongly influenced by Abstract Expressionism, the exhibition traces Whitten’s development as a painter through to his later experiments with structure and materiality that resulted in a unique tesserae style. The exhibition pays particular attention to paintings dedicated to historical events and prominent people.
The Museo del Prado is presenting Giacometti in the Museo del Prado, organised in the context of the celebrations of its Bicentenary and with the collaboration of the Comunidad de Madrid and Fondation Beyeler and the support of the Swiss Embassy and Grupo Mirabaud.
Paola Pivi (1971) Leone d’Oro at the Biennale of Venicein 1999, presents to MAXXI a project site specific, immersive and engaging, where there are a succession of historical works and more recent works between sculpture and installation. Paola Pivi’s works, which range from monumental installations to minimal interventions, appropriate spaces and turn them into artistic contexts and moments characterised by specific material, formal, ludic, ironic and surprising features. With this project, MAXXI continues its research work and enhancement of significant Italian artists In the international art scene, promoting their knowledge also to the general public.
The exhibition features slides, colour photos, vintage prints, correspondence and proofs, documents recounting the complexity of the creative process. In particular, the exhibition investigates the relationship between the photography of Elisabetta Catalano and performance art, presenting portraits of a number of artists including Joseph Beuys, Fabio Mauri, Vettor Pisani and Cesare Tacchi during the preparatory phases of the performative process.
On the occasion of the 150th anniversary of the signing of the Treaty of Friendship, Commerce and Navigation concluded between the two monarchies Japan and Austria-Hungary in 1869, Weltmuseum Wien will feature a new exhibition from the collection of the daimyō family Hosokawa opening in April 2019. The members of this elite clan of samurai warriors had served the shogun since the Muromachi period (1333–1568). The generals of the Hosokawa family not only went into battle for their shoguns but also assisted in the field of administration as military governors. Starting the Edo period (1600–1868), the family was based in the Kumamoto domain.
Berlin’s Lotte Laserstein (1898-1993) was one of the most sensitive portrait painters of the early Modernist period when tradition vied with innovation. By the time she was 30, she was a well-known and successful artist. Her career was brutally ended in 1933. Berlin’s public museum of modern art, photography and architecture will show 58 works – 48 paintings and 9 drawings – by Laserstein along with documents reflecting her professional heyday in Berlin and her exile in Sweden.
Portraits and self-portraits by the painter Lotte Laserstein put a face on modern society in the Weimar Republic. Alongside her exhibition here at the Berlinische Galerie, BG has chosen some other (self-)portraits by artists who were living and working in Berlin at the same time as Laserstein.
Standing in front of a painting that opens up like a window onto another world, who wouldn’t imagine what it would be like to really step inside the world of the picture? After an intensive development process, the Alte Nationalgalerie’s new app allows visitors to get up close and personal with one of the key works of the collection and its history in a totally new way.
The exhibition is a journey through the history of artists’ engagement with the Moon, from the Romantic era to the present day. Divided into thematic sections, it focuses on topics such as lunar topography, moonlit night and the Moon’s shadow, ailments associated with the Moon, zero gravity and the Moon as mass media phenomenon.
The exhibition of works by the Belgian painter Raoul De Keyser (1930–2012) unites more than 100 paintings from all phases of his career, some of which have seldom or never been shown before.
Printmaking Legacy Project’s® first national print exhibition, Forward Press: 21st Century Printmaking features ten innovative print artists from across the country who employ the finest examples of hand printed and digital techniques. They explore themes of culture, identity, religion, environment, memory, and art history. Some work in traditional forms, like lithography, intaglio, relief, and screen printing, while others explore these methods as the basis for large-scale sculpture, collage, and integrating technology into printmaking. These ten artists are changing the way American printmaking is seen and understood.
A selection of Broel’s life-sized to monumentally-sized totemic bronze sculptures creates space for reflection and contemplation about what it means to be human, be engaged as an individual within community and interact intentionally with the natural world. In his series of vertically oriented structures, Broel references tangible and intangible notions that resonate universally: botanical and architectural structures, environmental rhythms, physical and emotional solitude. Intentional abstraction creates a generous context for engaging with the sculptures. Allusions to historical references create a sense of timelessness and familiarity, yet the pieces exist outside the rapidly shifting visual language of stylized contemporary aesthetics. This unique sculptural installation exposes viewers to aspects of the American rural West’s untamed spirit, vast rugged landscapes, and traditions of mysticism. Broel’s intentional decision to live and work in a small agrarian community in the Pacific Northwest provides viewers with a raw vision of inward examinations that relate more to the health of the psyche than to the pop-culture echo chamber. The work is a complex fusion of expressions: longing, melancholy, hope and contentment.
An unconventional, multimedia, and narrative exhibition dedicated to the life and work of Andrzej Wajda, illustrating the genius of this great producer, master of dramaturgy, and creator of unforgettable images.
From miniskirts and hot pants to vibrant tights and makeup, discover how Mary Quant launched a fashion revolution on the British high street, with over 200 garments and accessories, including unseen pieces from the designer’s personal archive.
An Exhibition of Posters by Maja Bekan, Kévin Bray, Chloë Delanghe, Baldvin Einarsson, Priscila Fernandes, Vera Gulikers, An Onghena, Kevin Osepa, Josie Perry, Rory Pilgrim, Tramaine de Senna and Edward Clydesdale Thomson.
This exhibition project will recreate the original aspect of Room 39, known as Their Majesties’ Retiring Room. First opened in 1828, it was intended as a portrait gallery of the Bourbon Dynasty. The images on display were accompanied by still lifes, floral compositions and landscapes and by other paintings that depict events from the reigns of Charles III and Ferdinand VII. This installation will recreate the hanging of the paintings at different heights and will include some of the furnishings made for this space, including Ferdinand VII’s toilet.
The exhibition ‘BEYOND’ features seven international artistic positions from the Olbricht Collection, who use their respective art forms to explore the subject of the afterlife. Each artist fills a separate space with art in their chosen media, ranging from painting, sculpture, video, installation to printmaking. Artists: Jonas Burgert, Jake & Dinos Chapman, George Condo, Nathalie Djurberg & Hans Berg, FORT, Kris Martin, and Francisco de Goya
The Weltmuseum Wien is showing the largest-ever exhibition showcasing modern and contemporary art from Nepal. The works on display range from outstanding representatives of the 1950s through to today’s nascent scene of vibrant new artists. As well contributing to an effective resituating of the West’s status within an international context, these works also offer insights into how the local, the national and the global interplay.
To mark the centenary of the founding of the Bauhaus, this exhibition opens up a dialogue between contemporary art and the photographic avant-garde of the 1930s. It juxtaposes works by artists such as László Moholy-Nagy, Lucia Moholy, Man Ray, Jan Tschichold, Hedda Walther, Florence Henri, Hans Robertson and Erich Consemüller with groups of works by Thomas Ruff, Dominique Teufen, Daniel T. Braun, Wolfgang Tillmans, Doug Fogelson, Max de Esteban, Viviane Sassen, Stephanie Seufert, Kris Scholz, Taiyo Onorato & Nico Krebs, Antje Hanebeck and Douglas Gordon.
Weltmuseum Wien presents the most extensive exhibition of modern and contemporary art from Nepal to date. The works on display range from outstanding representatives of the 1950s through to today’s nascent scene of vibrant new artists. As well contributing to an effective resituating of the West’s status within an international context, these works also offer insights into how the local, the national and the global interplay.
Featuring 12 artists and 18 musicians from 10 countries, this exhibition offers a deep and rich exploration of the beloved global icon through the lens of contemporary art.
Porcelain is like a material memory that can endure for centuries. UIi Aigner uses this medium as a starting-point to transform loss into a material message about life and survival. Her monumental porcelain vessel is to be shown in the series Carlone Contemporary in which contemporary artworks are juxtaposed with the Baroque pictorial programme of the Carlone Hall.
Over a career spanning more than six decades, Arp produced a remarkably influential body of work in a rich variety of materials and formats. (…) The exhibition brings to Palazzo Venier dei Leoni more than 70 works—sculptures in plaster, wood, bronze and marble, painted reliefs in wood, collages, drawings, tapestries and books—from European and American institutions and private collections.
What a shock it must have been for Hendrick ter Brugghen, Gerard van Honthorst, and Dirck van Baburen, three young painters from Utrecht, when they encountered the breathtaking and unorthodox paintings of Caravaggio for the first time in Rome. Described as ‘miraculous things’, his works were marked by an innovative realism, striking drama, and mysterious lighting. He would shape the style of many artists from Italy, France, Spain, and the Netherlands. The exhibition, developed in collaboration with the Centraal Museum in Utrecht, shows over 70 of the most beautiful and important works of the leading ‘Caravaggisti’, including paintings by Bartolomeo Manfredi, Jusepe de Ribera, and Valentin de Boulogne. Placed alongside the works of their painterly colleagues, it becomes immediately apparent why the significant pictures of these Utrecht painters are so typically Dutch and had success both in Italy as well as at home.
This exhibition presents an extraordinary chronicler of the Italy of the Fifties and Sixties who published more than 500 photographs in the weekly Il Mondo, portraying created by the famous journalist Mario Pannunzio, protagonists of the worlds of art, culture, fashion and film along with ordinary people.
The central theme of the new setting-up of the architecture collections is the evolution that the concept of inhabiting has been undergoing since the aftermath of the Second World War, analysed through the works of the great masters of the 20 th century and the new emerging figures in the landscape of international architecture. The setting-up of the exhibition is based on the overlapping of various paths and links the various scales of the act of inhabiting, from the individual to the collective, with specific reference to the more complex and hybrid experiences that bear witness to the new relationships between individuals and communities. The constant dialogue between masters and young architects, made possible by their works, provides a further interpretation.
On the occasion of the symbolic loan by Romania of King Stephen the Great’s “Battle flag of Saint Georges,” this exhibition seeks to highlight the exceptional character of Romanian collections of embroidery of Byzantine tradition, jewel of both Romanian and universal heritage. Around the masterpiece that Stephen the Great (1457–1504) offered to the Zograf Monastery on Mount Athos, which was solemnly handed over by France to the Romanian state in 1917, a number of extraordinary works will illustrate the remarkable development of embroidery of Byzantine tradition in Romania from the mid-15th to the mid-17th centuries. Inherited from Byzantium, the embroidered ornamentation of the “sacerdotal vestments” of bishops, priests and deacons, and that of the “liturgical vestments” intended for worship will be exhibited alongside an unrivalled collection of royal tombstone covers, upon which the hieratic character of Byzantine images was ultimately supplanted by the appeal of portraiture.
With The Black Image Corporation, Theaster Gates has conceived a participatory exhibition which explores the fundamental legacy of Johnson Publishing Company archives. Featuring more than four million images, they have contributed to shape the aesthetic and cultural languages of African American identity. Central to the exhibition are the works of two photographers, Moneta Sleet Jr. and Isaac Sutton, who both worked for Johnson Publishing.
How is nature presented in contemporary art? And how are humans interpreted as relating to other species? The Coexistence exhibition opening in April 2019 looks at the relationship between humans and nature. Environmental issues, nature, and human coexistence with other organisms are topics of long-standing interest in art, but they have recently come into sharper focus amid the eco-crisis of the 2000s.
Step inside the world of Stanley Kubrick, one of the greatest filmmakers of the 20th century.
The exhibition Fazit is the prelude to an artistic project of the same name by realities:united. As the big, centralised thermal power stations start closing down in Germany, their artistic potential is explored with a view to accompanying industrial, cultural and social change. The proposal: Power stations still in operation during this stage should be modified so that instead of only producing energy and pollutants, they emit signals into the air, visible from afar, to symbolise and inspire this transformation.
Sydney Shen (b. 1989, Woodbridge, NJ) creates sculptures and installations that evoke a sense of abject dread. Informed by a range of historical and contemporary sources—including Peking opera, supernatural horror fiction, and the darkest recesses of the web—Shen frankensteins organic and synthetic materials such as Chinese and Western medicinal aromatics, 3-D-printed plastic, and biological specimens to produce uncanny environments.
The Hittite empire, a great rival power of ancient Egypt, ruled over Anatolia and held sway over the Levant until about 1200 BC. Its demise gave rise to Neo-Hittite and Aramean kingdoms in modern-day Turkey and Syria, heirs of the political, cultural, and artistic traditions of the fallen empire. The exhibition invites visitors to rediscover the mythic sites of this forgotten civilization, such as the majestic remains of the Tell Halaf site, located near the current Turco-Syrian border.
At once tender and unsettling, the films, sculptures, installations, and performances of Geumhyung Jeong (* 1980) are often studies in animism of some sort. For her first solo exhibition in Switzerland, the South Korean artist and choreographer focuses her attention on the erotics of technical animism. She creates a large-scale installation comprised of numerous robotic sculptures built from DIY technologies and short films demonstrating the strange choreographies to which she subjects her “homemade” bodies.
The concept of pendulums – be they suspended lamps or swinging metal ellipsoids – is a central feature of Ingo Maurer’s oeuvre that enables him to mobilize light using simple means. Since time immemorial people have been fascinated by the archaic shape of the egg and its perfect design. The swinging pendulum is one of nature’s physical phenomena that already provided orientation to the Ancient Egyptians. Watching a pendulum is one of the kinetic experiences with a positive impact on our well-being thanks to its regular and calming motion. It is this combination of the egg’s harmonious shape and the comforting quality of the “Pendulum” that informed Ingo Maurer’s pendulum – it offers us a new spatial experience whether it is in motion or not.
With works by: Peter Aerschmann, M.S. Bastian & Isabelle L., Babette Berger, Heinz Brand, Balthasar Burkhard, Vincent Chablais, Dimitra Charamandas, Quynh Dong, Marianne Engel, Esther Ernst, Gabi Fuhrimann, Mireille Gros, Maia Gusberti, Jerry Haenggli, Thomas Kneubühler, Tomas Kratky, Alois Lichtsteiner, Christian Lindow, Ingeborg Lüscher, Urs Lüthi, Heinz Mollet, Jürg Moser, Victorine Müller, Sadhyo Niederberger, Pat Noser, Adela Picón, Vaclav Pozarek, Ilona Ruegg, Claude Sandoz, Albrecht Schnider, Leopold Schropp, Irene Schubiger, Dominik Stauch, Andreas Tschersich, Rolf Winnewisser, Uwe Wittwer, Thomas Woodtli, Martin Ziegelmüller.
Take a trip through a history of visions and fascination, in the company of prehistoric, modern and contemporary icons! From theMammouth de la Madeleine to Dove Allouche and Louise Bourgeois, this unique exhibition showcases the link which unites prehistory to modern and contemporary art.
The exhibition follows the trajectory from the pioneers of the so-called »Golden Age« of Danish art (Christoffer Wilhelm Eckersberg, Christen Købke, Wilhelm Marstrand), to representatives of the National Romantic style, who primarily explored the beauties of their own country (Johan Thomas Lundbye, Peter Christian Skovgaard, Vilhelm Kyhn), to the Fynboerne, or Funen Painters, who practiced open-air painting on the Danish island of that name (Peter Hansen, Johannes Larsen, Fritz Syberg). Finally, paintings by Theodor Philipsen, a close friend of Paul Gauguin, will illuminate the signature aspects of Danish Impressionism.
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