4728 - 20170115 - BELGIË-GENT - Verhaeren Revealed - 15.10.2016-15.01.2017


Théo Van Rysselberghe, The lecture of Emile Verhaeren, 1903
The writer, critic and the art of his time (1881-1916)
In co-operation with the Verhaeren museum in Sint-Amands at the Scheldt and the Free University of Brussels (ULB), the Museum of Fine Arts organises a grand exhibition about the Ghentian poet and art critic Emile Verhaeren, who passed away exactly one hundred years ago. 
The exhibition focuses on the universal nature of Verhaeren’s works, his network within the art world around the turn of the century and the international attention for Verhaeren’s work, first of all in Belgium and France but also in Russia and other countries. 
One hundred years after his death, the MSK pays homage to Emile Verhaeren (1855-1916), a key protagonist in the Belgian cultural landscape around the turn of the century. We invite you to rediscover the fin de siècle art world through the eyes of the writer who witnessed it from the front row.
Privileged witness 
Emile Verhaeren was a poet and art critic who enjoyed an international reputation during his lifetime. Between 1880 and 1916, he closely followed the development of avant-garde art in Belgium. He defended naturalism and socially engaged art, Impressionism, Neo-Impressionism and Symbolism. Above all, he was a defender of modernity, which he discovered in the art of his time.
Verhaeren captured the emotions, passions and artistic controversies of the day in his poetry and writings. Over 100 years later, they allow us to rediscover the work of national and international artists through the eyes of an idiosyncratic connoisseur.
International masterpieces 
The exhibition brings to life the historical and artistic context from which the poet-critic’s oeuvre emerged. As a starting point, we draw upon the museum’s own rich collection of paintings, sculptures and works on paper. Popular favourites, such as The Reading by Emile Verhaeren by Théo Van Rysselberghe and Children at their Morning Toilet by James Ensor, will be brought into dialogue with masterpieces that rarely leave the reserves
At the same time, a wide range of works from international public and private collections will travel to Ghent, including pieces by Auguste Rodin, Paul Signac, Maximilien Luce and Odilon Redon. Works by artists such as Léon Frédéric, Eugène Laermans and Constantin Meunier, Jan Toorop and Guillaume Vogels, Henry Van de Velde, Fernand Khnopff and George Minne are also not to be missed.
In total, over 200 artworks and books will be on view in the galleries.
Opening of the Drawings Cabinet  
The opening of the Verhaeren exhibition coincides with the inauguration of the new Drawings Cabinet. In these eight rooms, and through changing displays, the MSK can henceforth make its multifaceted collection of works on paper accessible to the public. For this exhibition, we delve into our exceptional holdings of Ensor prints and precious books, for example, in addition to the numerous pastels, drawings and other works on paper that will be displayed on the walls.
Bruno Fornari, Johan De Smet and Cathérine Verleysen (MSK), working in collaboration with Rik Hemmerijckx (Emile Verhaeren, Sint-Amands Provincial Museum) and Paul Aron (Université Libre de Bruxelles – FNRS), lead the curatorial team.  
MSK - Verhaeren Revealed - 15.10.2016-15.01.2017


4727 - 20161218 - FRANCE - PARIS - Louis Faurer - 09.09.2016-18.12.2016


Sourds-muets, New York, 1950 © Louis Faurer Estate

The Fondation Henri Cartier-Bresson is delighted to be able to offer the public a wide-ranging selection of photographs by Louis Faurer. The project was first discussed with Howard Greenberg, whose gallery has long defended Faurer’s work. Deborah Bell, who knows practically all there is to know about the oeuvre, was extremely generous with her time and her personal archives. Last but not least, the Estate of Louis Faurer and Mark Faurer were enthusiastic participants from the outset. This exhibition has the good fortune to be coproduced with the Centro José Guerrero in Granada.

Profoundly honest, he refused the excessiveness (or obscenity) of violent scenes that might humiliate his subjects, and deliberately projected himself into the people he photographed; and if he often recognized himself in them, this was the whole point. Sometimes he encountered his double, or even appeared in shot as a reflection. Each of his images was “a challenge to silence and indifference” – theirs and his own.

A remarkably gifted printer, Faurer experimented with blur, overlaid negatives and the marked graininess resulting from his fondness for the nocturnal. His touchiness meant frequent problems with clients and people like the numerous photographers who tried to lend a helping hand; among the latter was William Eggleston, who had discerned the unique profundity of Faurer’s work. The issue the elegant Japanese photography quarterly déjà vu devoted to him in 1994 speaks of a rediscovery and a style ahead of its time, and quotes Nan Goldin: “Some people believe again that photography can be honest”
Foundation Henri Cartier-Bresson - Louis Faurer - 09.09.2016-18.12.2016


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4726 - 20170129 - BELGIQUE - LA HULPE - Galaxie Erro - 01.10.2016-29.01.2017


The Folon Foundation, in cooperation with Jean Marchetti, presents about a hundred works: watercolours, collages, prints, paintings and enamelled plaques. They make it possible to understand the universe of Erró who, like an acrobat creating an infinitely rich and complex story, denounces the absurdity of contemporary society. Even if, at first sight, the image imposes itself, the codes for reading it appear beyond the immediate effect, demanding a deeper look.

The history of the modern world is expressed through the works of this prolific and deeply human artist; this genius of composition. A ferocious iconophile, always on the lookout for images (advertising, news photos, comic strips, posters, political documents, icons from art history, etc.), Erró reassembles and reuses the visuals that surround him like a precursor of the Internet, inventing forms of telling stories and creating puzzles with a brand new grammar and rhetoric. Collages, the basis for preparing his canvases, form an entirely creative activity.

The well-known international artist Erró (Guðmundur Guðmundsson) was born in 1932 in Ólafsvík, Iceland. Admitted to the College of Fine Arts in Reykjavik in September 1949, he obtained his art teacher’s diploma in 1951. He then studied engraving, frescoes and painting in Oslo, Norway, and mosaic art in Italy. He held his first exhibition in 1955 in Florence, at the Santa Trinità Gallery. Since 1958 he has lived in Paris, where his work appeared as part of the Narrative Figuration movement. Although he is considered one of its pioneers, his work is both Pop and Baroque at the same time. Neither conventional nor traditional, Erró goes beyond the boundaries of Pop Art and, although his style cannot be considered as belonging to Surrealism, Hyperrealism or even Social Realism, his work combines elements of each of these artistic movements.

Fondation Folon  - Galaxie Erro - 01.10.2016 - 29.01.2017

4725 - NETHERLANDS - MAASTRICHT - From Floris to Rubens: Master drawings from the Renaissance - 22.07.2016-30.10.2016


This exhibition features ninety drawings from artists from the southern and northern Netherlands created during the 16th and beginning of the 17th century. Assembled with great care by a Belgian private collector, these drawings belong to one of the most fascinating and prolific periods in the history of draughtsmanship.

In addition to beautiful sketches for prints, paintings, stained glass and tapestries by great masters such as Frans Floris and Peter Paul Rubens, other sheets like the sublime figure studies of Hendrick Goltzius and Cornelis De Vos or the accurately detailed landscapes of Pieter Stevens and Adriaen Frans Boudewijns are put in the spotlights. The majority of the selected drawings have never been shown to the public before.
Bonnefantenmuseum - From Floris to Rubens: Master drawings from the Renaissance 
22.07.2016 - 30.10.2016


4724 - 20170226 - BELGIË - ANTWERPEN - Rik Wauters - 17.09.2016-26.02.2017


The theme of enchanting homeliness by painter Rik Wouters, as well as the intimate feeling of sanctity between him and his wife Nel, forms the premise of this exhibition.

In our region, Wouters was the only artist to combine Post-Impressionist painting techniques with simple domestic scenes. His expressive brush strokes and the unfinished style of his canvases give a dynamic to his work that, combined with the emphasis on lighting and colour, result in an enchanting and optimistic quality.

Wouters had his fair share of difficulties in life, yet the harmonious ‘good life’ takes centre stage in his work. His love for Nel was a motivating force in his work and her lust for life and energy inspired him to create many well-known paintings and sculptures.

In this exhibition, the contemporary movement in which people are again seeking domestic intimacy and contact with nature, the ‘slow’ movement and the renewed attention for traditional techniques, like ceramics, weaving and dyeing, are linked with the utopian philosophy from Henry David Thoreau’s book Walden. Published in 1854 Walden presented the non-industrial, natural way of life as an alternative to the overstimulation of consumer society. In painting, we see a similar change in Impressionism in the mid-nineteenth century, shifting from ‘bourgeois’ art to more of an internalization highlighting the beauty of the natural way of life with an emphasis on lighting.

The notion of shelter and sanctity is today reflected in both conceptual art and applied design (fashion, interior, design). These worlds overlap in a utopian quest for the essence of ‘the good life’ – or simply put: what does a person need to be happy? This search is expressed in a predilection for self-reliance and in the combination of pure materials with traditional techniques.

Various Belgian fashion designers — including Dirk Van Saene, Bruno Pieters, Christian Wijnants, Walter Van Beirendonck, Ann Demeulemeester, Dries Van Noten, Veronique Branquinho, Martin Margiela, Marina Yee, Jan-Jan Van Essche and Anne Kurris — give their individual interpretations to these thoughts: some by choosing specific fabrics and techniques, and others through their idiosyncratic position in fashion, in which they do not give praise to the hectic pace of the fashion world.


De thematiek van het huiselijk geluk bij de schilder Rik Wouters, de intieme sfeer van geborgenheid tussen hem en zijn vrouw Nel, vormt het uitgangspunt voor deze tentoonstelling. Wouters was in onze gebieden de enige die de combinatie maakte van post-impressionistische schildertechnieken met eenvoudige huiselijke taferelen.

Zijn expressieve penseelstreken en de onafgewerkte stijl van de doeken geven een dynamiek aan zijn werk die samen met de nadruk op lichtinval en kleur resulteert in een betoverende en optimistische toon. Wouters’ leven bleef niet van moeilijkheden gespaard, maar in zijn werk komt het harmonische, ‘goede’ leven sterk naar voor. Zijn liefde voor Nel was een belangrijke drijfveer voor zijn werk en haar levensvreugde en energie inspireerden hem tot vele bekende doeken en sculpturen.

De hedendaagse beweging waarbij mensen weer op zoek gaan naar de huiselijke intimiteit en naar de natuur, de ‘slow’-beweging en de hernieuwde aandacht voor ambachtelijke technieken zoals keramiek, weven en verven, wordt in deze expo gekoppeld aan het utopische gedachtegoed van Henry David Thoreau’s boek Walden. Walden werd in 1854 gepubliceerd en stelde de niet-industriële, natuurlijke levenswijze voor als alternatief voor de overprikkelde consumptiemaatschappij. In de schilderkunst zien we ook halverwege de negentiende eeuw met het impressionisme een gelijkaardige omslag van bourgeois kunst naar meer verinnerlijking en de schoonheid van het natuurlijk leven, met nadruk op de lichtinval.

Het gegeven van shelter en geborgenheid komt vandaag zowel terug bij conceptuele kunstenaars als bij toegepaste ontwerpers (mode, interieur, design), waarbij deze werelden elkaar overlappen in de utopische zoektocht naar de essentie van ‘het goede leven’: wat heeft een mens nodig om gelukkig te zijn? Deze zoektocht uit zich in een voorliefde voor zelfredzaamheid, het werken met pure materialen en ambachtelijke technieken.

Verschillende Belgische modeontwerpers — o.a. Dirk Van Saene, Bruno Pieters, Christian Wijnants, Walter Van Beirendonck, Ann Demeulemeester, Dries Van Noten, Veronique Branquinho, Martin Margiela, Marina Yee, Jan-Jan Van Essche, Anne Kurris — geven op hun eigen manier vorm aan deze gedachten: sommigen door bepaalde keuzes van stoffen en technieken, anderen door hun eigengereide positie in het modeveld, waarbij geen toegiften worden gedaan aan het gejaagde ritme van de modewereld.

Deze tentoonstelling is een samenwerking tussen het MoMu – ModeMuseum Provincie Antwerpen en het Koninklijk Museum voor Schone Kunsten Antwerpen naar aanleiding van het 100-jarig overlijden van de schilder Rik Wouters in 2016. De expo brengt werk van Rik Wouters uit de KMSKA-collectie samen met werk van hedendaagse kunstenaars en modeontwerpers.

ModeMuseum Provincie Antwerpen  - Rik Wauters - 17.09.2016-26.02.2017

4723 - 20161231 - NORWAY - OSLO - The World is Made of Stories - 04.12.2015-31.12.2016


Works from the Astrup Fearnley Collection
Nobody can see, perceive or apprehend the whole world on their own. We all learn about the world through others, through different kinds of stories told by the media or by individuals. The exhibition ‘The World is Made of Stories’ is a constellation of narrative works that tell private and public stories. Together, they make up a multi-layered narrative referring to different times and geographical places. It is a story about art history, urbanism, politics, memory, sexuality and violence, religion and aesthetics, to name just a few of the themes that the artists have addressed in their works using a variety of materials, techniques and narrative structures. ‘The World is Made of Stories’ offers a polyphony of voices, objects and images, which enlighten while also raising important questions.

The exhibition is dynamically organised and will continuously be in development. Artwork are changed and new ones will be presented. The stories that are told will change and one will through that experience the diversity of the Astrup Fearnley Collection.

Artists: Janine Antoni, Eduardo Arroyo, Peter Blake, Mike Bouchet, Lizzi Bougatsos, Bjørn Carlsen, Patrick Caulfield, Paul Chan, Dan Colen, Miodrag Djuric Dado, Trisha Donnelly, Gardar Eide Einarsson, Ida Ekblad, Tracey Emin, Erró, Öyvind Fahlström, Matias Faldbakken, Ivan Galuzin, Robert Gober, Felix Gonzalez-Torres, Andreas Gursky, Karl Haendel, Rachel Harrison, Mona Hatoum, Johanne Hestvold, Damien Hirst, David Hockney, Jörg Immendorff, Jens Johannessen, Rashid Johnson, Anselm Kiefer, Martin Kippenberger, R.B. Kitaj, Jeff Koons, Henrik Olai Kaarstein, Peter Land, Glenn Ligon, Nate Lowman, Markus Lüpertz, Helen Marten, Bjarne Melgaard, Thiago Martins de Melo, Malcolm Morley, Laura Owens, Paulo Nimer Pjota, Sigmar Polke, Richard Prince, Charles Ray, Paul Rebeyrolle, Matthew Ronay, Knut Rose, Sterling Ruby, Tom Sachs, Prem Sahib, Borna Sammak, Cindy Sherman, Ole Sjølie, Josh Smith, Fredrik Værslev, Rachel Whiteread, Jordan Wolfson, Christopher Wool, Aaron Young, Kan Xuan

Curators: Gunnar B. Kvaran og Therese Möllenhoff

Astrup Fearnley Museet - The World is Made of Stories - 04.12.2015 - 31.12.2016


4722 - 20170122 - BELGIË - BRUSSEL - The Power of the avant-garde - Now and Then - 29.09.2016-22.01.2017


Avant-garde is a concept that stems from both warfare and art. Avant-garde flourished in a society in full transition. Artists anticipate social revolutions. In visual art the heyday of the avant-garde is situated between 1895 and 1920, with the First World War as an international fault line. But how relevant is this pioneering art today? Around 15 leading contemporary artists enter into dialogue with colleagues from the historical avant-garde, from Ensor and Munch to the new movements just after the war. Today’s artists often feel a strong affinity with specific avant-garde works of art. Their choice and the dialogue with their own work forces us to look at these key works from modern art in a different light. The power of the avant-garde seems to have plenty more in reserve.

With works by, amongst others, Alexander Archipenko, Robert Delaunay, Marcel Duchamp, Fernand Léger, Kazimir Malevich, Franz Marc, Gino Severini in dialogue with David Claerbout, Marlene Dumas, William Forsythe, Gerhard Richter, Sean Scully and Luc Tuymans.

Curator: Ulrich Bischoff

BOZAR - The Power of the avant-garde - Now and Then - 29.09.2016 - 22.01.2017


4721 - 20161023 - AUSTRIA - BREGENZ - Wael Shawky - 16.07.2016-23.10.2016


The foreign and the other are currently topics of fierce discussion. The Egyptian artist Wael Shawky (born 1971) uses his filming of puppet theater to tell the story of the Crusades. In his film trilogy Cabaret Crusades, based on a book by the French-Lebanese writer Amin Maalouf, the story of the war is told from an Arab perspective.

The puppets are clad in sumptuously oriental clothing, their heads evoking molten crystal rocks or honey-colored amber, which Shawky has had fabricated from Murano glass.

Two parts of the Cabaret Crusades trilogy are being screened in Bregenz: part three, Secrets of Karbala, tells the story of the second (1147 — 1149) and third (1189 — 1192) Crusades, which finally ended in 1204 with the destruction of Constantinople. Pope Innocent III had called for the conquest of the Holy Land, using the Venetian fleet.

However, the enterprise faltered in the Adriatic, as the negotiated sum had not been paid, the Christian army then looting Zadar in order to generate funds. Christians murdered Christians in order to subsequently murder Muslims.

Whether Saladin or Richard the Lionheart, the Frankish kings or the Muslim leaders, there are no heroes. The earthen architecture on a revolving stage creates cinematic movement whilst also symbolizing the world as a flat disk. The scenes are accompanied by a compilation of the songs of Arabian pearl fishers and Egyptian electronic music. The second part of the trilogy, The Path to Cairo (2012), features handmade ceramic creatures.

On the upper floor of Kunsthaus Bregenz four glass panels are on display in which a historical map from the Orient has been cut. Adjacently a kind of flying object is both a metaphor for the 9/11 attacks and the Hajj pilgrimage to Mecca. In the same space a flag has been spread on the floor. A second hangs over the façade of KUB, itself a pale green Kaaba, announcing the exhibition inthe form of a symbol of victory enveloping the chain mail façade

Wael Shawky, born in Alexandria in 1971, studied Fine Art at the University of Alexandria before receiving his M.F.A. from the University of Pennsylvania in 2000.
His work has been included in major international exhibitions such as Saltwater, 14th Istanbul Biennial (2015), Re:emerge: Towards a New Cultural Cartography, Sharjah Biennial 11 (2013), Here, Elsewhere, La Friche Belle de Mai, Marseille (2013), dOCUMENTA (13) (2012), 9th Gwangju Biennial, South Korea (2012), 12th International Istanbul Biennial (2011), SITE Santa Fe Biennial (2008), 9th International Istanbul Biennial (2005), Urban Realities: Focus Istanbul, Martin-Gropius-Bau, Berlin (2005), and the 50th Venice Biennial (2003).
He has had solo exhibitions most recently at MoMA PS1, New York (2015), Mathaf — Arab Museum of Modern Art, Doha (2015), K20 — Kunstsammlung NRW, Düsseldorf (2014), Serpentine Gallery, London (2013), KW — Institute of Contemporary Art, Berlin (2012), Nottingham Contemporary (2011); Walker Art Gallery, Liverpool (2011), The Delfina Foundation, London (2011), Sfeir-Semler Gallery, Beirut (2010/2011), Cittadellarte-Fondazione Pistoletto, Biella, Italy (2010), as well as Townhouse Gallery of Contemporary Art, Cairo (2005, 2003).
Shawky has received many awards for his work, including the Mario Merz Prize (2015, together with Cyrill Schürch), the Sharjah Biennial Award 2013 for an exceptional contribution, the »Award for the Filmic Oeuvre« created by Luis Vuitton and Kino der Kunst (2013), the Abraaj Capital Art Prize, joint winner (2012); Kunstpreis der Schering Stiftung (2011), as well as the Grand Prize, 25th Alexandria Biennale, Alexandria (2009). In 2011 he was an artist in residence at The Center for Possible Studies, Serpentine Gallery, London.
Wael Shawky lives and works in Alexandria, Egypt, and is the founder of MASS Alexandria, a studio program for young artists.

Kunsthaus Bregenz - Wael Shawky - 16.07.2016 - 23.10.2016


4720 - 20161106 - BELGIË - BRUSSEL - Belgium et cetera - 1830-2030 in perscartoons - 31.08.2016-06.11.2016


De Belgische cartoon is net zo oud als ons land en sinds het ontstaan ervan hebben cartoonisten de persbladen rijkelijk voorzien van onmisbare spotprenten.
Belgium et cetera biedt een unieke staalkaart van de hoogtepunten uit ons collectieve verleden. 22 bekende Belgische perscartoonisten brengen samen met de schrijver, humorist en historicus Gilles Dal een eigenzinnige blik op onze vaderlandse geschiedenis.

De cartoonisten Kroll, Kamagurka, Karl, Marec, Lectrr, Zaza, duBus, Gal, Johan, Cécile Bertrand, Quirit, Ilah, Kanar, Kim, Vadot, Cost., Fritz, Steve, Joris Snaet, Clou, Fred en Sondron hebben speciaal voor deze expositie oud en nieuw werk verzameld.

Het boek Belgium et cetera is in de shop van het BELvue museum verkrijgbar (vanaf september).

Belgium et cetera is een project van The Cartoonist .

BELvue Museum - Belgium et cetera - 1830-2030 in perscartoons - 31.08.2016 - 06.11.2016

4719 - 20161016 - DEUTSCHLAND - MÜNCHEN - Murano. Milano. Venezia. Glass - 08.08.2016-16.10.2016


The international exhibitions held at the Triennale di Milano and the Biennale di Venezia are barometers of the most significant developments in twentieth century contemporary design and art. It is therefore no coincidence that Murano glass regularly attracts awards at both Milan and Venice. Having resurrected a range of centuries-old techniques, glassmakers such as A.V.E.M, Archimede Seguso, Barovier & Toso, and Venini learned to apply this knowledge in new and ingenious ways. Their work is a synthesis of the master glassmakers’ craftsmanship and the designers’ artistry. The objects they create attest to a successful renaissance of glass design that continues to the present day.

Displaying a selection of objects from the Holz Collection in Berlin, one of the most important private collections of 20th and 21st century Murano glass anywhere in the world, this is the first comprehensive exhibition of glassware that continues to set new standards in Milan and Venice.

Pinakothek der Moderne ARCHITECTURE ECE Schloss

Pinakothek der Moderne - Murano. Milano. Venezia. Glass - 08.08.2016 - 16.10.2016


4718 - 20160925 - BELGIË - GENT - Dirk De Wachter Museum - Art & psychiatry in borderline times - 25.06.2016-25.09.2016


For one summer the Dr. Guislain Museum becomes the Dirk De Wachter Museum. In Borderline Times psychiatrist Dirk De Wachter establishes a sharp diagnosis of today’s society: we live in borderline times. Impulsiveness, affective lability, emptiness … are not only individual symptoms, but also features of a broader, collective evolution. In his diagnosis Dirk De Wachter assigns great value to literature, philosophy and art. Dirk De Wachter Museum examines the way contemporary art represents today’s society and the current time, and reveals the shortcomings and possibilities in its own language.

The book Borderline Times and its author have been receiving a great deal of attention. That says a lot about the difficulties to which the psychiatrist’s work refers, but also about his own place in society. Dirk De Wachter Museum zooms in on the phenomenon of Dirk De Wachter and sheds light on other famous psychiatrists throughout history, who have entered the public stage, adopted a critical attitude towards society and considered art as an indispensable link.

The exhibition Dirk De Wachter Museum is a collaboration between psychiatrists Dirk De Wachter and Erik Thys and the curators at the Museum Dr. Guislain.

A richly illustrated catalogue accompanies the exhibition (D, 144 p., Uitgeverij Lannoo).

Museum Dr. Guislain - Dirk De Wachter Museum - Art & psychiatry in borderline times -25.06.2016-25.09.2016

4717 - 20161002 - SCOTLAND - EDINBURGH - Inspiring Impressionism | Daubigny | Monet | Van Gogh - 25.06.2016-02.10.2016

This major exhibition is an ambitious display of masterpieces from the Impressionist era. Featuring over 100 pictures, from collections around the world, Inspiring Impressionism focuses on three key artists: Charles François Daubigny, Claude Monet, and Vincent van Gogh. Through a series of fascinating and surprising juxtapositions, this landmark show highlights the interactions and mutual influence between these three artists.
Inspiring Impressionism offers a refreshing new look at Impressionism and its origins. Featuring over 100 masterpieces, Inspiring Impressionism celebrates the work of Charles François Daubigny (1817-1878) – often dubbed ‘the father of Impressionism’ – and the artists he influenced, especially Claude Monet (1840-1926) and Vincent Van Gogh (1853-1890). While Monet was inspired by Daubigny to paint the ephemeral effects of light and weather from his studio boat, Van Gogh spent the most productive two months of his life close to Daubigny’s home at Auvers-sur-Oise. 

Charles François Daubigny (1817-78) was one of the most important French landscape painters of the nineteenth century. He helped to shape Impressionism through his working practice: routinely painting outdoors (often from his studio boat), exploring new subjects and unexpected viewpoints, and developing a radically 'unfinished' style and a brighter palette. He supported the Impressionists at the Paris Salons and introduced both Monet and Camille Pissarro to the art dealer Paul Durand-Ruel.
Daubigny moved towards a more subjective interpretation of nature in his later sunsets and nocturnes, inspiring not only Monet but also Van Gogh.

Claude Monet (1840-1926) is the most famous of the Impressionist artists. He spent his childhood in Le Havre, Normandy, where, encouraged  by Eugène Boudin, he painted landscapes in the open air. In 1859 he moved to Paris, where he was inspired by Daubigny’s modern approach to landscape and use of a studio boat. Encouraged by friends he met in Paris, including Pissarro and Renoir, he continued throughout his long and prolific life to capture in his paintings the changing effects of light and weather.. He was to refine this interest through his 'series' pictures, exploring the same subject at different times of day and year.

The brilliant, emotionally charged paintings of Vincent Van Gogh (1853-1890) are the most well-known of all Post-Impressionist works. Born in Holland,  his early works were inspired by the Dutch Hague School and by French realist painters such as Daubigny and Jean-François Millet. In 1886 he moved to Paris where he encountered Impressionism for the first time. Van Gogh's concern with light and colour led him to the south of France, where his paintings began to reflect his increasingly disturbed state of mind. . The exhibition will feature some of the most emotionally charged canvases of Van Gogh’s career, painted at Auvers, shortly before he took his own life.

Scottish National Gallery - Inspiring Impressionism | Daubigny | Monet | Van Gogh


4716 - 20161120 - BELGIQUE - MORLENWELZ - Gods, Genies, Demons of ancient Egypt - 21.05.2016-20.11.2016


Sometimes familiar, sometimes frightening, often strange and complex, Egyptian deities have continuously – and ever since ancient times – fascinated us. And yet no major exhibition so far has been dedicated to them.
This exhibition will try to answer the following questions: What is a god? What does the Egyptian word really mean? Why choose to sometimes represent the deities as a human, as an animal or as a hybrid? Great gods but also anonymous powers (which does not mean unknown), diffuse forces with vague features, unidentified entities, god as objects, personifications of concepts – are the many attempts for a metaphorical explanation of the universe and natural phenomena. Within this dynamic, what positions can genies and demons occupy? In this fascinating struggle between the organized Creation and Chaos, what roles do they play?
By setting off to meet Osiris, Anubis, Hathor, Sobek and Isis, by walking into the world of myths, gods, genies and demons of Egypt, visitors will be invited to question and open themselves up to a different way of thinking. For example: are demons, with their repulsive and threatening appearance, so malevolent? Are the monstrous genies present in scenes of maternity and childbirth there to protect or threaten the mother and child? Do not they simply fulfil the role that is expected of them? These entities are perhaps not what they seem at first glance...
This international exhibition will gather over 200 objects (statues, reliefs, amulets, jewellery, sarcophagus ...) from Belgian public institutions (Federal, from Flanders, Brussels or Wallonia), but also foreign (Louvre Museum, Allard Pierson Museum, August Kestner Museum ...). These loans consolidate the cultural and scientific relations built by the Museum with partner institutions.
Musée Royal de Mariemont - Gods, Genies, Demons of ancient Egypt - 21.05.2016-20.11.2016

4715 - 20170108 - SWEDEN - STOCKHOLM - Moment - Moki Cherry - 07.04.2016-08.01.2017


Moki Cherry, Brown Rice, 1975 © Moki Cherry. Photo: Prallan Allsten/Moderna Museet

Moki Cherry was typical of her age, but also a trailblazer. In the 1970s, when many artists challenged the authorities, Moki Cherry based her artistic practice not on pointing out faults, but on promoting the values that were actually worth protecting and fighting for. A kind of utopian alternative – what life should we lead, and how? Moderna Museet now presents a rich variety of Moki Cherry’s works and documentary material from her long partnership with Don Cherry.

Moki Cherry (1943–2009) stood out from the notorious movement that arose on the Stockholm art scene in the 1970s and rebelled against the “power”. Although her oeuvre hardly lacked political overtones – with a distinctly feminist agenda, and a more socially critical stance in her later collages – she was not as consistently argumentative as, say, her friends Marie Louise Ekman or Niki de Saint Phalle. Instead, Moki Cherry’s art leaned towards the contemporary experimentation with alternative ways of organising everyday life – counterurbanisation, living off the land, arts projects for kids, and interdisciplinary creative practices.

In 1962, Moki moved from Skåne to Stockholm to study at the Beckmans College of Design. A few years later, she met the American jazz musician Don Cherry (1936–1995), and they embarked on a close collaboration. Separately and together, they made happenings, music, art, posters and album covers, and the large textile application pieces that Moki is famous for. They toured and performed together, combining the various forms of expression on stage in time and space. To describe the lively and open context of which they were the centre, they came up with the concept for Movement Incorporated in 1967. The name was later changed to Organic Music. In 1970, the family moved to an old school house in Tågarp, Skåne, where they lived according to the motto of “the stage as a home, and the home as a stage”. They formed an arts society for art, music and performing arts, along with the Octopussteatern project for kids and teenagers.

“Throughout her artistic career, Moki Cherry lived without making any clear distinction between life and art. Most of her works have no frame, both in the literal and figurative sense. What we see is not paintings. Each object is intimately linked to a context, ideologically and practically. Touring were integral to the music, dance and situations in which people met, but their travels were also one of the reasons why Moki made so many textile appliqué pieces. These works were portable, and easy to pack and hang,” says Fredrik Liew, curator.

Many people associate the Cherrys with Moderna Museet. Pontus Hultén involved them in 1971 in Moderna Museet’s Utopias & Visions 1871-1981, an exhibition with its point of departure in the revolutionary government that ruled Paris in spring 1871, the Paris Commune. During a few summer months, the Cherrys ran an open stage as part of this exhibition. This collaboration was successful to the extent that when Pontus Hultén was asked to start up Centre Pompidou in Paris, he invited them to set up a temporary “Atelier des enfants” (a children’s studio) until the institution was completed.

The exhibition Moment – Moki Cherry highlights the 1970s, but includes works made from 1967 to 2007. Presenting a mixture of Moki cherry’s appliqué works, drawings and collages, together with documentation, music and stage photos, the ambition is to tell the story of these objects, on the road between life, art, pop, jazz, politics and Gesamtkunstwerk.

Moderna Museet - Moment - Moki Cherry - 07.04.2016-08.01.2017



4714 - 20160925 - BELGIË - ANTWERPEN - Energy Flash - 17.06.2016-25.09.2016


Henrik Plenge Jakobsen

Jacques André, Irene de Andrés, Cory Arcangel, George Barber, Jef Cornelis, Jeremy Deller, Simona Denicolai & Ivo Provoost, Rineke Dijkstra, Aleksandra Domanović, Andreas Gursky, Dan Halter, Henrik Plenge Jakobsen, Ann Veronica Janssens, Martin Kersels, Mark Leckey, Daniel Pflumm, Matt Stokes, Sergey Shutov, The Otolith Group, Walter Van Beirendonck

Rave culture from the 1980s and 1990s was Europe’s last big youth movement. During this period of radical social and political change, rave, in its various guises, migrated around the continent from its epicentre of Great Britain, Belgium and Germany. As a movement, it enacted a desire to be autonomous, with a belief in tolerance and experimental living, all built around the latent energy of electronic music. As a music-based culture, it embraced self-practice, invention and unbridled creativity, arguably leading to the densest period in history for the diversification of music. Energy Flash will be the first museum exhibition for considering rave, as well as the social, political, economic and technological conditions that led to the advent of rave as an alternative movement across Europe. It will look at the ideologies as well as the aesthetics of rave, along with its effects on wider culture.

For many who felt failed by both the market and the state, raves opened up a third kind of space, which formed its own logic based on the collective. Regularly drawing many thousands of participants, raves themselves have been theorised as ‘temporary autonomous zones’ – spontaneously organised concentrations of people and musical energy that eluded formal structures of control. Though embodying both dystopian and utopian impulses, raves possessed some extraordinary qualities, transgressing race and class. Utilising the emergent technologies of the day, the music itself possessed a distinct new aesthetic that redrew the boundaries of music. Each locale developed its own rave culture, evolving countless forms of acid house, techno, hardcore, jungle and beyond. In a situation of moral panic, governments in Western Europe legislated to criminalise rave culture from the mid-1990s onwards.

Energy Flash will look at rave as a highly politicised phenomenon, considering it through the key notions of ‘autonomy’, ‘civil liberty’, ‘technology’ and ‘creativity’. As an interdisciplinary project, it will display the works of numerous visual artists in dialogue with many artefacts from the fields of design, music and fashion, along with items selected from various archives, television documentary, literature and criminal legislature. In bringing together this diversity of material, this exhibition will argue that rave culture was inhibited due to its ambiguous place outside of neoliberal ideology, existing largely autonomous of both market and the state forces. This condition makes it a key case study for those wishing to imagine alternative forms of infrastructure for art and culture.

The exhibition is curated by Nav Haq, Senior Curator at M HKA.

M HKA - Energy Flash - 17.06.2016 - 25.09.2016


4713 - 20161030 - SPAIN - MADRID - Caillebotte, Painter and Gardener - 19.07.2016-30.10.2016


Gustave Caillebotte
Sketch for Paris Street; Rainy Day, 1877
Oil on canvas. 54 x 65 cm.
Musée Marmottan Monet, Paris
© Paris, Bridgeman Images
The Museo Thyssen-Bornemisza in collaboration with the Musée des Impressionnismes Giverny is presenting an exhibition on the artist Gustave Caillebotte (Paris, 1848 - Petit Gennevilliers, 1894), one of the least known but also most original figures of the Impressionist movement. Caillebotte, Painter and Gardener reveals this French artist´s thematic and stylistic evolution, from his early works painted in Haussmann´s modern Paris to his depictions of gardens, which would come to occupy a significant part of his output.
Curated by Marina Ferretti, director of Exhibitions and Research at the Musée des Impressionnismes Giverny, the exhibition includes a total of 65 works loaned from private collections and international museums including the Marmottan Monet in Paris, the Brooklyn Museum in new York and the National Gallery of Art in Washington. The works on display are presented in four sections corresponding to periods in the artist´s life: Haussmann´s Paris, world of stone; Sojourns in Yerres; The Seine and the Exploration of Normandy; and The Garden at Petit Gennevilliers.
Museo Thyssen-Bornemisza - Caillebotte, Painter and Gardener - 19.07.2016-30.10.2016


4712 - 20160925 - BELGIË - BRUSSEL - Facing the Future: Art in Europe 1945-68 - 24.06.2016-25.09.2016


Henry Moore

Facing the Future: Art in Europe 1945-68 sheds light on about 180 works created between 1945 and 1968 by artists from Europe and the former  Soviet Union, including Fernand Léger, Vladimir Tatlin, Gerhard Richter and Pablo Picasso among others. Notwithstanding the tensions between Eastern and Western Europe in the years following the Second World War, artists on both sides of the Iron Curtain experimented in similar ways: from media art to action painting, conceptual art and sound art.  Together with the Pushkin Museum in Moscow and the ZKM, BOZAR presents for the first time, an overview of the most important artistic trends that flourished in the years following the Second World War in both Eastern and Western Europe. A significant collaborative project that takes place against the background of a new trial of strength between Europe and Russia.

Curators: Dr. Eckhart Gillen and Prof. Dr. h.c. mult. Peter Weibel

BOZAR - Facing the Future: Art in Europe 1945-68 - 24.06.2016 - 25.09.2016


4711 - 20160911 - HUNGARY - BUDAPEST - Peter Farago & Ingela Klemetz Farago: Women in Chanel - 08.07.2016-11.09.2016


Untitled. Photography: Peter Farago & Ingela Klemetz Farago, Model: Vanessa Axente, Dress: CHANEL Haute Couture Spring - Summer 2015

”We are always searching for the higher level of intimacy in our images.”

The visionary duo, Peter Farago (born in Szekszard) and Ingela Klemetz-Farago (born in Sweden), belong to the most creative teams of today’s fashion photography. As part of a unique collaboration with CHANEL, they created full fashion stories featuring the most sought-after supermodels from Central Europe and Poland. The result is a highly personal and spectacular fashion saga where the aesthetics of the Farago´s is expressed through sensitivity and perfect timing. The art of composing and the complete reliance between the photographer and the model is significant to their work.
”It is at that decisive moment when you know that you have tapped into a fragile and meaningful space when photography becomes magical”

The photographs are fragile at the same time as they are captivating and spectacular, they make a powerful and persistent impression.

Ludwig Muzeum - Peter Farago & Ingela Klemetz Farago: Women in Chanel 


4710 - 20160814 - BELGIË - GENT - Eyes Wide Open! 100 years of Leica photography - 17.06.2016-14.08.2016


This summer St. Peter’s Abbey will be the first venue in a European tour of the Eyes Wide Open! exhibition. By way of more than 350 vintage photos visitors will be able to discover the rich history of 100 years of Leica photography.
In 1925 the compact Leica camera freed photography from the limitations of the studio. From now on photography became accessible to everyone and started to become a part of everyday life. Eyes Wide Open! outlines the rapidly evolving view of the world this produced.
Apart from the work of internationally renowned photographers such as Henri Cartier-Bresson, Robert Capa, Araki Nobuyoshi, William Eggleston and Bruce Gilden, the exhibition includes original sketches, magazines, books and Leica cameras as well as a special selection of photographs by Belgian Leica photographers .

St. Peter’s Abbey - Eyes Wide Open! 100 years of Leica photography - 17.06.2016-14.08.2016

4709 - 20161030 - U.K. - LONDON - Georgia O’Keeffe - 01.07.2016 - 30.10.2016


Georgia O'Keeffe Jimson Weed/White Flower No. 1 1932
Crystal Bridges Museum of American Art, Arkansas USA © 2016 Georgia O'Keeffe Museum/DACS, London. Photograph by Edward C. Robison III
Tate Modern presents the largest retrospective of modernist painter Georgia O’Keeffe (1887-1986) ever to be shown outside of America. Marking a century since O’Keeffe’s debut in New York in 1916, it is the first UK exhibition of her work for over twenty years. This ambitious and wide-ranging survey reassesses the artist’s place in the canon of twentieth-century art and reveals her profound importance. With no works by O’Keeffe in UK public collections, the exhibition is a once-in-a-generation opportunity for European audiences to view her oeuvre in such depth.

Widely recognised as a founding figure of American modernism, O’Keeffe gained a central position in leading art circles between the 1910s and the 1970s. She was also claimed as an important pioneer by feminist artists of the 1970s. Spanning the six decades in which O’Keeffe was at her most productive and featuring over 100 major works, the exhibition charts the progression of her practice from her early abstract experiments to her late works, aiming to dispel the clichés that persist about the artist and her painting.

Opening with the moment of her first showings at ‘291’ gallery in New York in 1916 and 1917, the exhibition features O’Keeffe’s earliest mature works made while she was working as a teacher in Virginia and Texas. Charcoals such as Special No.9 1915 and Early No. 2 1915 are shown alongside a select group of highly coloured watercolours and oils, such as Sunrise 1916 and Blue and Green Music 1919. These works investigate the relationship of form to landscape, music, colour and composition, and reveal O’Keeffe’s developing understanding of synaesthesia.

A room in the exhibition considers O’Keeffe’s professional and personal relationship with Alfred Stieglitz (1864-1946); photographer, modern art promoter and the artist’s husband. While Stieglitz increased O’Keeffe’s access to the most current developments in avant-garde art, she employed these influences and opportunities to her own objectives. Her keen intellect and resolute character created a fruitful relationship that was, though sometimes conflictive, one of reciprocal influence and exchange. A selection of photography by Stieglitz is shown, including portraits and nudes of O’Keeffe as well as key figures from the avant-garde circle of the time, such as Marsden Hartley (1877-1943) and John Marin (1870-1953).

Still life formed an important investigation within O’Keeffe’s work,most notably her representations and abstractions of flowers. The exhibition explores how these works reflect the influence she took from modernist photography, such as the play with distortion in Calla Lily in Tall Glass – No. 2 1923 and close cropping in Oriental Poppies 1927. A highlight is Jimson Weed/White Flower No. 1 1932, one of O’Keeffe’s most iconic flower paintings.

O’Keeffe’s most persistent source of inspiration however was nature and the landscape; she painted both figurative works and abstractions drawn from landscape subjects. Black Mesa Landscape, New Mexico / Out of Black Marie’s II 1930 and Red and Yellow Cliffs 1940 chart O’Keeffe’s progressive immersion in New Mexico’s distinctive geography, while works such as Taos Pueblo 1929/34 indicate her complex response to the area and its layered cultures. Stylised paintings of the location she called the ‘Black Place’ are at the heart of the exhibition.

Georgia O’Keeffe is curated by Tanya Barson, Curator, Tate Modern with Hannah Johnston, Assistant Curator, Tate Modern. The exhibition is organised by Tate Modern in collaboration with Bank Austria Kunstforum, Vienna and the Art Gallery of Ontario, Toronto. It is accompanied by a catalogue from Tate Publishing and a programme of talks and events in the gallery.
 Tate Modern - Georgia O’Keeffe - 01.07.2016 -30.10.2016 


4708 - 20161009 - BELGIË - ANTWERPEN - Show Us The Money - 24.06.2016-09.10.2016


Secretary, photographed here in his office in Road Town, Tortola. There are over one million companies based in the BVIs but only 28,000 inhabitants. British Virgin Islands Paolo Woods & Gabriele Galimberti / INSTITUTE
Show Us The Money takes you on a journey to the world’s off-shore tax havens and corporate financial nerve centres. FOMU provides a glimpse of the structures that impact on all of us but which are themselves practically invisible. Three projects use very different artistic strategies to expose this global issue.

The ambitious photographic investigation The Heavens by Paolo Woods (NL, °1970) and Gabriele Galimberti (IT, °1977) confronts us with the reality of the so-called tax havens. The photographers registered their own company, The Heavens, in Delaware, where it rubs shoulders with the world’s largest multinationals. From Panama to Amsterdam and from Luxembourg to London, Woods and Galimberti travelled the world in order to give a face to this massive global practice.

With Wealth Management, Carlos Spottorno (HU, °1971) guides us through the visual world of his fictional WTF Bank. While the images are alluring, Spottorno’s ironic undertone is unmistakeable.

In You Haven’t Seen Their Faces, Daniel Mayrit (ES, °1985) appropriates the imagery of surveillance cameras to deny the most powerful people in Europe’s financial nerve centre – the City of London – the luxury of anonymity and to call on them to account for their role in the 2008 financial crisis.

Curator: Rein Deslé

FOMU - Show Us The Money - 24.06.2016-09.10.2016

4707 - 20161002 - U.K. - BATH - Stubbs and the wild - 25.06.2016 - 02.10.2016


George Stubbs - Horse frightened by a lion - Walker Art Gallery (c)

Today George Stubbs (1724-1806) is known and loved for his anatomically accurate and sensitively realistic portraits of magnificent horses and their supporting cast of dogs and humans. In his own time, the artist’s public image was largely based on his depictions of wild animals in paint and print.

Throughout his life he was fascinated by how animals are built, not just by their outward appearance, and he studied their anatomy tirelessly. It was this interest that led him beyond horses to other animals, at a time when many exotic new mammals were arriving in London from Britain’s expanding colonies. Moose, zebras, yaks and even the remains of a kangaroo were brought home as valuable curiosities and their owners encouraged Stubbs to study the animals and record them for posterity. Although many of them were intended primarily as zoological studies, Stubbs’s paintings of wild creatures are also portraits that capture the behaviour and character of living beings.

As a subject painter, Stubbs’s most successful essays in the sublime also explore the wild, not as a source of curiosity but as a distant, untamed land where nature is merciless and well-fed predators rule. His images of a horse attacked and then devoured by a lion, with variations in different media and reproductions in print became Stubbs’s signature work.

This exhibition will include some of the most charming and fascinating of the animal portraits, grand fantasies, and exquisite prints and drawings. It is part of a series of special events to celebrate 100 years since the re-establishment of the Holburne Museum in Sydney Gardens.

Holburne Museum - Stubbs and the wild - 25.06.2016 - 02.10.2016


4706 - 20161002 - BELGIË - BRUGGE - Eight Volumes of Fantasy. Maryam Najd - 02.07.2016-02.10.2016


Maryam Najd - Mediterranean Blanket

Artist Maryam Najd (°1965, Teheran) received her training in her native city and in Antwerp, two cultural and artistic extremes. This duality is also evident in her painting, where both worlds are skilfully intermixed. Najd combines her own experience of reality with the observation of 'reality' as depicted in the media: the artist regularly works with the photographs she makes of television broadcasts. The chosen image is then removed from its context and abstracted by her artistic process - a reflection of her mastery of the ancient Persian art of miniature painting - and so becomes transformed into a poetic yet still very clear political statement.

The Groeningemuseum project is a partnership with Cultuurcentrum Brugge (the Bruges Cultural Centre). In this instance, Najd takes as her starting-point poems from the famous 'Eight Books' by the Iranian painter and poet Sohrab Sepehri. This allows her to explore the various contemporary positions occupied by migrants, refugees and travellers. Through the use of Sepehri's poetry she also builds bridges to the Groeningemuseum's permanent collection. For example, she not only links Odevaere's painting of 'The Death of Lord Byron' to the figure of the poet himself, but also to the dying migrants of today, all of whom sought in their own way to find happiness and a better life on the shores of the Mediterranean Sea. This exhibition is a successful follow-up to the projects by Fabienne Verdier, Ellen Harvey and Robert Devriendt, in which contemporary art enters into dialogue with the permanent collection of the Groeningemuseum in a manner that opens up new perspectives.

Groeningemuseum - Eight Volumes of Fantasy. Maryam Najd - 02.07.2016 - 02.10.2016