4702 - 20161231 - BELGIË - OOSTENDE - James Ensor and Léon Spilliaert. Two Masters of Ostend - 30.04.2016-31.12.2016


Mu.ZEE, the Art Museum by the Sea, introduces a superb new collection featuring works by James Ensor and Léon Spilliaert in its brand-new wing.

Ostend and James Ensor are inextricably linked. Ensor loved Ostend: the city served as his muse and inexhaustible source of inspiration. He loved it for its crowds, the tempestuous North Sea, the carnival that painted the streets in festive colours each year. The name of the painter Léon Spillaert, twenty years his junior, is also connected with this Queen of Seaside Resorts. His nocturnal rambles through the city and long walks along the beach spurred him to create his best works, dark and suffused with mystery. Although Ensor and Spilliaert were very different as artists, their names are often mentioned in the same breath.

In Two Masters of Ostend, the museum aims, above all, to allow the masterworks that are the highlights of its collection to speak for themselves. Behind every work of art or document in our archives you will find a myriad of anecdotes and tales featuring and recounting the lives of people such as the judge Eugène Demolder, writer Edgar Allan Poe, scientist Ernest Rousseau, bacteriologist Mariette Hannon-Rousseau, artist Willy Finch, writer and art critic Emile Verhaeren, poet and director of the ‘Kursaal’ (casino) Henri Vandeputte, the patron and music lover Emma Lambotte, Brussels publisher Edmond Deman, art promoter and gallery owner Paul-Gustave Van Hecke, art critic and artist  Théodore Hannon, philosopher  Walter Benjamin, author Stefan Zweig,  composer Richard Wagner, the French writers Honoré de Balzac and Alfred Jarry  and the film-maker  Henri Storck, to name but a few. They take us back to the Ostend of a bygone era, reflected in the city as it is today.

Mu.ZEE - James Ensor and Léon Spilliaert. Two Masters of Ostend - 30.04.2016-31.12.2016

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4701 - 20160904 - SWITSERLAND - RIEHEN/BASEL- Alexander Calder & Fischli / Weis 29.05.2016-04.09.2016


Alexander Calder, Tightrope, 1936, Calder Foundation, New York, © 2016 Calder Foundation, New York/ProLitteris, Zurich, Foto: Calder Foundation, NY/Art Resource, NY

Fondation Beyeler is presenting a comprehensive exhibition devoted to American artist Alexander Calder and Swiss artists Peter Fischli and David Weiss, who worked as partners under the name of Fischli/Weiss. Following the successful presentation of Calder Galleries I to III (2012-2015) at the Fondation Beyeler in collaboration with the Calder Foundation, “Alexander Calder & Fischli/Weiss” will offer a distinctive new perspective into Calder’s work.

The seminal exhibition focuses on the fleeting, precarious and exhilarating moment of fragile balance as expressed through the works of Calder and Fischli/Weiss in the early- and late-twentieth century, respectively. Their exemplary formulations for that moment seem at first sight to be completely dissimilar, but on closer examination they prove to be two sides of the same coin, resulting from different perspectives on the same theme at different times.

Featuring works by Calder in an open and cross space dialogue with works by Fischli/Weiss, the exhibition will chart significant historical milestones in Calder’s oeuvre, from Cirque Calder in the 1920s and his shift to abstraction in 1930 to his invention of the mobile in the early 1930s, culminating in his brilliantly virtuoso treatment of the formal possibilities that arose as a result. The works of Fischli/Weiss perform as counterpoints in this narrative that lends the exhibition its special quality.

Moments of observation and experimentation take on a significance of their own in this unexpected combination, turning the relationship between gravity and weightlessness into something viewers can experience in a new perspective as a remarkably vibrant process. Lightness and weight, probing the boundaries of playfulness, failure and chance as artistic practice, steering the fine line between humour and poetry, conceptualizing the tightrope artist as the prototype for an existential reality – there are many trajectories that make it possible for works by Calder and Fischli/Weiss to be experienced together and yet to stand alone. Only once will there be a direct encounter between the works by Fischli/Weiss and Calder, within the gallery that opens the exhibition and introduces its exciting narrative.

Calder (1898-1976) ranks as the master of equilibrium in modern art. With his pioneering invention of the mobile in the early 1930s he reimagined the ever-shifting balance between gravity and weightlessness. What makes his work so fascinating is to see how the search for balance and the attainment of equilibrium – and its visualisation in multifarious shapes and modes-coincide in unpredictable ways that are unfinished, in a state of continual becoming.

Beginning in 1979, Peter Fischli (1952) and David Weiss (1946-2012) gave the theme of precarious balance quite a different kind of iconic form in their works. With the same vigorous indefatigability, they developed an irresistible interaction of balance, clarity and overview in their films and sculptures, as well as through language, photography and painting, even though the uncertainties they create frequently gain the upper hand over the elegance and self-confidence of the big gesture of Modernism, as embodied by the mobile.

The exhibition is curated by Theodora Vischer, Senior Curator at the Fondation Beyeler, and developed in close cooperation with the Calder Foundation in New York and the artist Peter Fischli.

Fondation Beyeler - Alexander Calder & Fischli / Weis  29.05.2016 - 04.09.2016


4700 - 20160925 - BELGIË - BRUSSEL-ELSENE - PHOTOREALISM. 50 Years of Hyperrealistic Painting - 30.06.2016-25.09.2016


Following the success of the 2014 exhibition dedicated to the American hyperrealist sculptor Duane Hanson, the Museum of Ixelles presents PHOTOREALISM. 50 Years of Hyperrealistic Painting. This exhibition highlights the generation of hyperrealist painters after the Second World War. In the aftermath of Pop Art, the hyperrealists portrayed and criticized the American consumer society in a fascinating semi-photographic style.

WIth the support of Institut für Kulturaustausch

Museum van Elsene - PHOTOREALISM. 50 Years of Hyperrealistic Painting

4699 - 20160717 - FRANCE - PARIS - Merci Raymond by Bertrand Lavier - 27.05.2016-17.07.2016


Monnaie de Paris hosts the exhibition Merci Raymond by Bertrand Lavier. More than an exhibition, these are stories, anecdotes, and presentations that Bertrand Lavier has staged in the 18th century rooms of Monnaie de Paris that create connections and unexpected confrontations with the works of Raymond Hains. This artist, an exponent of New Realism, known in particular for his lacerated posters, tireless mixer of words, is thus revealed by his friend and accomplice Bertrand Lavier. The curator is Chiara Parisi, Director of Cultural Programs of Monnaie de Paris.

The twelve exhibition rooms at Monnaie de Paris play host to masterpieces by these two artists who establish analogies between the words, names and images, all while adding an extra twist. Twelve winks from Bertrand Lavier to present the works of Raymond Hains in a different context; through face to face juxtaposition and dialogues, provoking and playing with his own work, as a conversation between friends - in a light-hearted mood.

With the production of new works and revisiting his emblematic pieces, Bertrand Lavier plays with the visual and verbal connections that can be established between his 'projects' and those of Raymond Hains; illuminating his friend's works while sharing his sense of humour.

From the façade where the exhibition's title, "Merci Raymond", is displayed Bertrand Lavier takes possession of the palace on the Seine, at Quai de Conti. This first outside intervention, in huge letters in golden "fluted glass", declares his intention to bind together past works and contemporary works in the same place. It is a luminous tribute, like a huge medal around the building that hosts it. The installation at Monnaie de Paris joints the spirit of these two close colleagues with a perfect blend of their artistic universes and thoughts in an offbeat tone which juxtaposes Picasso, Matisse, Frank Stella, Giotto... or even Boronali's donkey.

Bertrand Lavier thus replays the great artistic match between Matisse and Picasso through... Chevrolet and Citroën, or by associating "Palisades de Skis" of Raymond Hains, with works of artists such as Christian Boltanski, Claude Closky, Gérard Gasiorowski, Wassily Kandinsky, Piotr Kowalski, David Ostrowski, Petrushka by Igor Stravinsky, Piotr Uklański...

Following the idea of always reinventing new forms of exhibition, Bertrand Lavier has designed a project at the heart of Monnaie de Paris that is purpose-built to capture eye and mind of visitors.

Monnaie de Paris - Merci Raymond by Bertrand Lavier - 27.05.2016 - 17.07.2016


4698 - 20161109 - BELGIË - HASSELT - Haute - à - Porter - 02.04.2016-11.09.2016

From the 2nd of April until the 11th of September 2016 Fashion Museum Hasselt presents ‘Haute-à-Porter’, curated by the internationally acclaimed costume designer, journalist and photographer Filep Motwary.  Haute couture is synonymous with craftsmanship, luxury, extravagance and spectacle. But aren’t these typical features of contemporary prêt-à-porter? The exhibition examines this question further and researches the changing relationship and cross-fertilization between haute couture and ready to wear.
Through a variety of themes and a selection of spectacular silhouettes and accessories from high end designers and fashion houses, the exhibition highlights the significance  of haute couture for contemporary fashion. Completed with photography, film, art and music, Haute-à-Porter offers a unique insight into the fashion industry of the last 30 years. 
Participant designers and houses: Dior, Chanel, Erdem, Burberry, Lanvin, Rochas, Nina Ricci, Vivienne Westwood, Yohji Yamamoto, Givenchy, John Galliano, Gareth Pugh, Roger Vivier, Prada, Miu Miu, Dries Van Noten, Christian Lacroix, Delpozo, Mary Katrantzou, Jil Sander, Balmain, Jean Paul Gaultier, Viktor & Rolf, Alberta Ferretti, Thierry Mugler, Anna Molinari, Ann Demeulemeester, Comme des Garçons, Giambattista Valli, Balmain, Rick Owens, Blumarine, Undercover, Giles, Christian Louboutin, Thom Browne, Marios Schwab, Sacai, Alexander McQueen, Herve L.Leroux, Anrealage, Schiaparelli, A.F. Vandevorst,  Olivier Theyskens, Gucci, Iris Van Herpen, Stephen Jones, Alexis Mabille, Jay Briggs, Giuseppe Zanotti, Anya Caliendo, Iris Schieferstein, Erik Halley, Noritaka Tatehana, Maison Martin Margiela, Roger Vivier...

Photographers presented in the exhibition: Peter Lindbergh, Miles Aldridge, Nagi Sakai, Luigi and Iango,  Charles Fréger, Francesco Brigida, Emma Summerton, Mikael Jansson, Erik Madigan Heck, Matthias Vriens-McGrath, René Habermacher, Michael Thompson, Fabien Baron, Thanassis Krikis, David Dunan, François Berthoud, Krishna Godhead, Sheila Metzner, Sofia Sanchez & Mauro Mongiello, Michal Pudelka, Ali Mahdavi, Txema Yeste, Daniel Jackson, Kevin Tachman, Giampaolo Sgura, Sebastian Kim, Tim Richardson, Bill Georgoussis, Matthew Brookes...

Artists presented: Hedwig Snoeckx, Iris Van Dongen, Koen Vanmechelen
Films by : Alison Chernick, Justin Westover, Delphine Roche, , Comme Des Garcons and by Visionaire: Marco Adamo Graziosi & Maria Host, Stylianos Pangalos, Paris Kain…

Scenography: Lien Wauters
Graphic design: Geoffrey Brusatto
Modemuseum Hasselt - Haute - à - Porter - 02.04.2016-11.09.2016

4697 - 20161030 - SUISSE - LAUSANNE - Basquiat, Dubuffet, Soulages .... une collection privée - 24.06.2016-30.10.2016


The major exhibition of summer 2016 at the Fondation de l’Hermitage will be devoted to one of Europe’s most prestigious private collections, to be shown exclusively in Lausanne. The display of around a hundred artworks, including paintings, sculptures and installations, will offer visitors an unprecedented insight into western art of the 20th and 21th centuries.   
Since it first opened in 1984, the Fondation de l’Hermitage has developed strong relationships of trust with private collectors in Switzerland and abroad. Over the years this has enabled us to host important collections including those of Florence Gould (1985), Ian Woodner (1992), Rolf and Margit Weinberg (1997), Jean Planque (2001), Arthur and Hedy Hahnloser (2010) and Jean Bonna (2015). The collection to be shown in 2016 has never before been seen by the public. It has been put together by a passionate art collector since the 1950s and is at once coherent and remarkably diverse.
The exhibition will offer an unusual insight into the modern and contemporary art scene, with a particular focus on the post-war period, Informal Art (Jean Dubuffet, Asger Jorn) and Neo-expressionism (Miquel Barceló, Jean-Michel Basquiat, Anselm Kiefer). Other highlights of the collection include often minimalist pieces by Giuseppe Penone, Bertrand Lavier, Pierre Soulages and Niele Toroni, reflecting contemporary European art.
The collection also includes an impressive selection of American art, including conceptual and notably abstract expressionist works by artists such as by Carl Andre, Louise Bourgeois, Chris Burden, Sol LeWitt, Agnes Martin, Sean Scully, Mark Tobey and Cy Twombly. The first public exhibition of this unique collection reflecting so many important voices will constitute a major event.
Forays into outsider and naïve art (Louis Soutter, André Bauchant), as well as portraits by Auguste Renoir, André Derain, Chaïm Soutine and Antonin Artaud, together with a serie of classic 18th century busts, complete the show, displaying a highly personal, sensitive and contrasting vision of western art.
Curators: Sylvie Wuhrmann, Director, Fondation de l’Hermitage, Lausanne, and Professor Didier Semin of the Ecole nationale supérieure des beaux-arts, Paris.
Fondation de l’Hermitage - Basquiat, Dubuffet, Soulages .... une collection privée


4696 - 20161002 - BELGIË - DROGENBOS - De Brabantse fauvisten - 19.06.2016-02.10.2016


Parallel met de solotentoonstelling van Nick Andrews in De Warande in Turnhout, organiseert het FeliXart Museum een tentoonstelling rond de Brabantse fauvisten. Nick Andrews (°1972) werd gevraagd een subjectieve selectie te maken van fauvistische werken. De Antwerpse hedendaagse kunstenaar kan immers als een erfgenaam beschouwd worden van het fauvistische avontuur van de eerste decennia van vorige eeuw. In de lijn van het impressionisme, en onder invloed van het Franse fauvisme, ontwikkelde zich in en rond Brussel een Belgische variant. Het Brabants fauvisme wordt eveneens gekenmerkt door grove penseelstreken en het gebruik van pure en constrasterende kleuren die de instinctieve emotionele kracht benadrukken. In schematisch voorgestelde landschappen, interieurs en stillevens gaven de Brabantse fauvisten hun eigen omgeving vorm vanuit een expressief kleuronderzoek. De milde, bucolische taferelen van Ferdinand Schirren, Willem Paerels en Louis Thévenet contrasteren met de wild expressieve werken van Rik Wouters, Prosper De Troyer of de jonge Felix De Boeck. De vormelijke vrijheid in deze fauvistische composities zal voor enkele van deze kunstenaars, onder andere voor Jan Cockx, Felix De Boeck en Floris Jespers, zelfs de weg naar de abstractie openen.

FeliXart Museum - De Brabantse fauvisten - 19.06.2016-02.10.2016

4695 - 20160904 - U.K. - CAMBRIDGE - Brueghel and his Time - 10.05.2016-04.09.2016


Jan Brueghel the Elder, Paul Bril, David Vinckeboons, Abraham Bloemaert and Esaias van de Velde are among the 16th and 17th century Dutch and Flemish artists credited with pioneering the landscape tradition. This exhibition brings together rarely seen early landscapes by these artists and others from the bequest of Sir Bruce Ingram. Ingram’s remarkable collection of over one thousand European drawings given to the Museum in 1963 reflects his passion for landscapes and includes depictions of the Netherlands’ lowlands to the craggy mountains of a fantasy world.

The Fitzwilliam Museum -Brueghel and his Time - 10.05.2016-04.09.2016


4694 - 20160918 - BELGIË - LEUVEN - Aglaia Konrad - From A to K - 29.04.2016-18.09.2016

© Aglaia Konrad, Shaping Stones, 2008
Aglaia Konrad (°1960, Salzburg) roams through cities on all five continents. Through photos, films and installations, she not only focuses on exceptional buildings and the way cities transform, but also on representations of big cities and the role of photography therein. 
Aerial photographs of Canada or China alternate with a film about a house in northern Italy and black and white photos of the marble quarries in Carrara. 
With both older and new work, Aglaia Konrad’s first major solo exhibition shows the diversity of her oeuvre. In one room, she presents the exhibition experiment TOKONOMA, together with Suchan Kinoshita, Olivier Foulon, Jörg Franzbecker, Kris Kimpe, Willem Oorebeek, Eran Schaerf and Walter Swennen. She is also presenting a new work on the façade of Museum M. 
Museum M - Aglaia Konrad - From A to K - 29.04.2016-18.09.2016
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4693 - 20160925 - U.K. - LONDON - Painting with Light - 11.05.2016-25.09.2016


Art and Photography from the Pre-Raphaelites to the modern age

Tate Britain presents the first major exhibition to celebrate the spirited conversation between early photography and British art. It brings together photographs and paintings including Pre-Raphaelite, Aesthetic and British impressionist works.

Spanning 75 years across the Victorian and Edwardian ages, the exhibition opens with the experimental beginnings of photography in dialogue with painters such as J.M.W. Turner and concludes with its flowering as an independent international art form.

Stunning works by John Everett Millais, Dante Gabriel Rossetti, JAM Whistler, John Singer Sargent and others will for the first time be shown alongside ravishing photographs by pivotal early photographers such as Julia Margaret Cameron, which they inspired and which inspired them.

Tate Britain - Painting with Light - 11.05.2016-25.09.2016


4692 - 20160821 - BELGIË - BRUSSEL - Andres Serrano - 18.03.2016-21.08.2016


As a major figure in the contemporary art scene, Andres Serrano unveils an often disturbing reality through the lens of his camera. Religion, death, sex and violence perfuse the American artist’s work and all figure in the retrospective exhibition dedicated to him by the Royal Museums of Fine Arts of Belgium.

Yet beyond these powerful themes, the exhibition reveals Serrano as an attentive witness to the world and mankind. His artistic career is shown by selecting the most symbolic images from all the series he has created. From fascination to provocation: four  works that were considered scandalous and were vandalized during past events will also be on display to question the limits of censorship. To show Serrano means to assert our basic values. Against barbarism and intolerance. Against obscurantism and inhumanity.

Royal Museums of Fine Arts of Belgium - Andres Serrano - 18.03.2016 - 21.08.2016


4691 - 20160925 - HOLLAND - EINDHOVEN - The 1980s. Today’s Beginnings? - 16.04.2016-25.09.2016


The 1980s. Today’s Beginnings? explores the long 1980s from six European perspectives, examining the relevance of this transformative decade for today. This collaborative project comprises a diverse mix of artworks, music, TV, graphic and archival material, exploring a wide set of socio-political themes through the lens of culture. The different presentations and mediation programme present cultural production that took place against the mainstream, examining its role in moments of state structures in transformation. Culture was central in responding to or predicting deep societal shifts. As Europe is in the midst of a defining transition in terms of how it sees itself and its relationship to others, it is urgent to examine key moments in identity formation and self-organisation from the recent past.
The material presented draws from projects carried out by partners of the museum confederation L’Internationale alongside research undertaken by curators at the Van Abbemuseum. Highlighting the reorientation between civil society and the state during the decade, this project aims to show the significance of developments in the 1980s for society today.
Van Abbe Museum - The 1980s. Today’s Beginnings? - 16.04.2016-25.09.2016
Website : Eindhoven    NL - EN


4690 - 20160703 - BELGIQUE - HORNU - Benjamin Monti. La nécessité de répétition - 13.03.2016-03.07.2016

Benjamin Monti. La nécessité de répétition

It is the need to draw, and repeat - like a lesson, a poem, a punishment - the image, which is the falsely naive and academic driving force of Benjamin Monti. For this exhibition at the Museum, the tenth cycle of our Amateurs' room kept for intimate works, the artist wanted to present, as a telling indicator of his obsession with drawing, three more or less identical portraits of his "grandma" which he did when he was around 7 years old; but three drawings by a child which appear disturbing when one discovers that they date from the very day on which his grandmother, clearly loved, died, thus forever disappearing from his sight.  Is it in order to show that, since then, he has never stopped discharging this duty: to be a seismograph of his existence, someone who will graphically depict its shocks? However his work is not, on the face of it, the symptom of any severe trauma. His stroke is not expressionist and comes from the clear line, placed on graph paper or on the pages of old school books in which notes and drawings can be seen that are just as clean and applied. Likewise, his figures are not personal, in the sense that they are not directly produced by his imagination, but rather are extracts from the ready-made fantasy worldof obsolete encyclopaedias, children's stories or learning manuals; namely pictures of Épinal and stereotypical models, which he applies himself to calmly copying and especially to playfully distorting. But nobody is fooled. The work of Benjamin Monti, conventional at a first glance, derives from a diversion from the right direction and the right behaviour, which is close to surrealism: consider Max Ernst's collage-novel, like La Femme 100 têtes (1929) or Une semaine de bonté (1933). If you look closely at them, it is, moreover, this same flavour of delicate perversity which is released; the fruit of the alliance between innocence and criminality, playfulness and cruelty, pleasure and suffering. Which allows us, why not, to look at them as "desiring machines".

MAC's - Benjamin Monti. La nécessité de répétition - 13.03.2016 - 03.07.2016

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4689 - 20161231 - DENMARK - AARHUS - From Abildgaard to Kirkeby - 09.11.2013-31.12.2016 - From Abildgaard to Kirkeby

From Abildgaard to Kirkeby

This exhibition shows a series of samples from the ARoS under the title of FRA ABILDGAARD TIL KIRKEBY. It is our ambition to tell the story of the development of Danish art over 200 years with the odd glance at foreign works.
The story begins at the end of the 18th century with N.A. Abildgaard (1743-1809), who was a pupil in the newly established academy of fine art, where he was subsequently to become a professor. In those days, it emphasis was on historical, biblical and literary motifs that could be used to adorn mansions and public buildings. In other countries it was particularly salon art that flourished, represented here by delicate portraits of women by Besnard (1849-1934) and landscape paintings by Noël (1815-1881).
At the beginning of the 19th century, the bourgeoisie discovered that they could buy art. And they wanted to have their portraits painted, to have portrayals of the beautiful Danish landscape and paintings from Italy, Greece and Constantinople, places the Danish Golden Age painters visited on their travels. Among the figures for whom this provided work were C.W. Eckersberg (1783-1853), Martinus Rørbye (1803-1848), J. Th. Lundbye (1818-1848), Constantin Hansen (1804-1880) and P.C. Skovgaard (1817-1875).


The mid-nineteenth century is marked by the wars on Schleswig and the discussion of the new Constitution. Here, national sentiments came to take centre stage as is seen for example in Jørgen Sonne’s (1801-1890) depiction of a Cavalry Skirmish near Aarhus in 1849, his portrayals of everyday country life in A Wedding and A Funeral, and the atmospheric Romantic landscape paintings that are represented in Aarhus by figures such as Janus la Cour (1837-1909). Towards the end of the century, incipient industrialism provided fertile soil for Realism’s portrayals of town life. Social poverty in the city is seen in one of the very popular works in ARoS, the painting Deserted by Frants Henningsen (1850-1908). Similarly, the dream of a better life is the theme in the portrayal of emigrants by Edvard Petersen (1841-1911). Vilhelm Hammershøi (1864-1916) captures the melancholy atmosphere in people living in silent apartments in the city.
The artists now started to leave the city in the summer and were followed by an incipient tourism. Skagen sees the establishment of an artists’ colony centred on P.S. Krøyer (1851-1909), Michael Ancher (1849-1927) and Anna Ancher (1859-1935). The artists’ own lives become a new theme, and plein air painting becomes increasingly firmly established, as is also seen in the Funen artists Th. Philipsen (1840-1920) and Johannes Larsen (1867-1961).


Modernism became established in the 1920s. Artists such as J.F. Willumsen (1863-1958), Harald Giersing (1881-1927), Edvard Weie (1879-1943) and Vilhelm Lundstrøm (1893-1950) revolutionized the imagery of art. They visited Paris and saw how Cézanne, Picasso and Matisse worked with colour shape and space as independent pictorial elements.
The next step was Surrealism in the 1930s, partly inspired by Sigmund Freud’s ideas on dreams and the subconscious. In their art, Wilhelm Freddie (1909-1995), Richard Mortensen (1910-1993), Ejler Bille (1910-2004) and Vilhelm Bjerke Petersen (1909-1957) explored the irrationality in the human psyche and the repressions hidden in it.
Richard Mortensen (1910-1993) and Robert Jacobsen (1912-1993) developed concrete art in which work with rhythm and balance was intended to create the foundations for a new and better society. People were living in the shadow of war, and fear of atomic war and the end of the world are expressed by Svend Wiig Hansen (1922-1997) in violently expressive works.


The Cobra group represents the imaginative element. Ejler Bille (1910-2004), Egill Jacobsen (1910-1998), Carl Henning Pedersen (1913-2007) and Asger Jorn (1914-1973) give free rein to imagination and emotion. Meanwhile, pop art takes its inspiration from strip cartoons and the advertisements of everyday life.
The presentation ends with Per Kirkeby (b. 1938) and his great work Nach der Abnahme from 1988. In it he gathers together the literary story, the Romantic portrayal of nature, the dream of a better world, the expressive surge of feelings and the sense of elevation in a new totality. It is precisely these elements, which we have encountered on our trip through 200 years of art developments that this gallery now presents.

ARoS Aarhus Art Museum - From Abildgaard to Kirkeby - 09.11.2013 - 31.12.2016


4688 - 20160814 - BELGIË - ANTWERPEN - Game Changers. Reinventing the 20th century silhouette - 18.03.2016-14.08.2016

The exhibition ‘Game Changers – Reinventing the 20th century silhouette’  looks at the groundbreaking work of fashion designer Cristóbal Balenciaga whose innovations in the middle of the 20th century created a radically new silhouettte, in which the body got freedom of movement and architectural volumes created a space around the body.

Along with the pioneers of haute couture in the 1920s and 1930s and later on also the designers of the 1980s and 1990s, Balenciaga provided an alternative for the prevailing constrictive hourglass silhouette. These ‘Game Changers’ looked at fashion of the 20th century from a new perspective.

Influences from Japan, such as the kimono, liberated women from their tight corsets at the beginning of the 20th century. Fashion designers such as Madeleine Vionnet, Paul Poiret and Coco Chanel shaped this freedom in the 1920s – 1930s with technical innovations and modern ideas about feminity. At the end of the 20th century, the boundaries of the female silhouette are further explored by Japanese and Belgian designers such as Issey Miyake, Yohji Yamamoto, Comme des Garçons, Ann Demeulemeester and Martin Margiela. They paved the way for new body shapes and abstract silhouettes and gave a new interpretation of what could be considered as fashion.  
The central figure in the exhibition is the Basque fashion designer Cristóbal Balenciaga  (1895-1972) who is seen as the pivotal figure between the two periods, the architect of innovation. His patterns and work are the central axis of the exhibition. Each of the other designers worked in their own way on similarly innovative ideas and shifted the boundaries of the classic feminine silhouette.

In this way, fashion becomes more than a sequence of trends; fashion is a way to shape the body, space and movement. Rei Kawakubo’s ‘Body meets Dress, Dress Meets Body’ collection of SS 1997 shows how these new shapes have become a part of the fashion vocabulary.

Haute Couture is like an orchestra, whose conductor is Balenciaga. We other couturiers are musicians and we follow the direction he gives.” Christian Dior

The exhibition unites 100 unique couture and ready-to-wear silhouets by Cristóbal Balenciaga, Paul Poiret, Madeleine Vionnet, Gabrielle Chanel, but also Issey Miyake, Ann Demeulemeester, Comme des Garçons, Yohji Yamamoto, Maison Martin Margiela. With loans from prestigious collections of the museum of Fashion Institute of Technology in New York, the V&A, MUDE Lisbon and Musée Galliera.

Mode Museum - Game Changers. Reinventing the 20th century silhouette -
18.03.2016 - 14.08.2016


4687 - 20160626 - DEUTSCHLAND - AACHEN - A MATTER OF ..... - 03.04.2016-26.06.2016


David Bernstein, Jason Hendrik Hansma,
Stéphanie Lagarde, Brenda Tempelaar

The Ludwig Forum is taking a look at the current art scene in the Meuse-Rhine region with a small exhibition series. For “Perspektive 03” we have invited four artists from the Van Eyck Academy in Maastricht. Although significant differences are evident, the works of David Bernstein, Jason Hendrik Hansma, Stéphanie Lagarde, and Brenda Tempelaar reveal a shared interest in exploring objects which, to draw on Paul Valéry, may be said to be “more intelligible to view and more mysterious to reflect upon”.

Almost 100 years ago Marcel Duchamp tried to smuggle his Fountain, the urinal turned upside down, into the exhibition space under a false name – this rupturing into its function as an object of use and an artwork ultimately led to the “reversed” thing not being exhibited. As it was then shown after all at Alfred Stieglitz’s Gallery 291 in New York – and not at the large show put on by the Society of Independent Artists – the magazine The Blind Man (1917) wrote in its defense: “Whether Mr. Mutt made the fountain with his own hands or not has no importance. He CHOSE it. He took an article of life, placed it so that its useful significance disappeared under the new title and point of view – created a new thought for that object.”

Whether artefact or ordinary object, from time immemorial the usual practice has been to try to gain a new perspective from things in the world. Over the last few years a greater interest in our relationship to things in the world is observable. On the one hand, our experience, our (collective) memory, forms the suchness of and the difference between the things we have to deal with. On the other hand however, things and their properties also determine how we see the world. They evoke imagination and speculation. And ultimately, we are – from their point of view – also merely another object in this world. It is in this spirit that the four young artists use our all-too-human penchant for fictionalizing life to present us with images and objects which challenge us to break with our entrenched views.

Curators: Lars Breuer and Holger Otten

In cooperation with the Van Eyck Akademie, Maastricht and the University of Applied Sciences Aachen/Faculty of Design.

Ludwig Forum Aachen - A MATTER OF ..... - 03.04.2016-26.06.2016



4686 - 20160605 - FRANCE - ROUBAIX - Braïtou-Sala (1885-1972). L’élégance d’un monde en péril - 19.03.2016-05.06.2016


Braïtou-Sala (1885-1972). L’élégance d’un monde en péril

Né à La Goulette, Albert Sala dit Braïtou-Sala (1885-1972) quitte sa Tunisie natale pour Paris en 1901. Élève, à l’Académie Julian, d’Adolphe Déchenaud, d’Henri Royer et de Paul-Albert Laurens, il remporte en 1916 le prix du portrait et s’impose, dans ce genre, comme l’un des plus grands spécialistes de l’entre-deux-guerres. Exposant au Salon des Artistes Français à partir de 1913, il y obtient la médaille d’argent en 1920 ; les œuvres, et notamment les portraits, qu’il envoie chaque année par la suite, sont très appréciées et remarquées par la presse du temps, notamment par L’Illustration qui offre au peintre à maintes reprises sa couverture.

De 1919 à 1939, célèbre dans le Tout Paris mais aussi dans certaines capitales étrangères, Braïtou-Sala signe plusieurs centaines de portraits mondains et organise dans son atelier, à l’occasion de leur vernissage, d’importantes réceptions. Grâce à l’entremise, dès 1919, de son ami Alex Johanides, archiviste à la Comédie-Française, sa clientèle compte très tôt quelques-unes des plus grandes actrices de l’époque (parmi lesquelles Renée Corciade, Jane Faber, Cléo de Mérode ou Renée Falconetti) mais aussi la cantatrice de l’Opéra de Paris Marthe Chenal, ainsi que plusieurs figures de la haute société parisienne et bientôt américaine.

En 1936, 1937, 1938 et 1939, c’est aux côtés de Picasso, Dufy, Braque, Chagall, Matisse, Derain ou Gromaire, qu’il représente la France à l’Exposition Internationale qui se tient au Carnegie Institute de Pittsburgh. Profondément meurtri par la disparition d’une grande partie de sa famille dans les camps de concentration nazis, Braïtou-Sala quitte Paris pour le Sud-Est de la France au début des années 1960 et meurt en 1972 en Arles dans un relatif oubli.

Associant aux rares toiles aujourd’hui en collections publiques (à Roubaix, Riom, Bordeaux, Beauvais et Boulogne-Billancourt) d’importantes œuvres demeurées en mains privées, l’exposition organisée à Roubaix (autour de la très sensible image de l’Enfant aux bretelles offerte par Françoise Sala en 2011) fait la part belle aux grands portraits mondains qui firent le renom de l’artiste dans le Paris des Années folles. Compositions très élégantes, saisissantes par la traduction virtuose des effets de matières et des jeux de lumière sur les étoffes des toilettes et les bijoux.

Elle évoque aussi les œuvres conçues dans l’intimité familiale, autoportraits et études de têtes d’enfants notamment, ainsi que les étonnantes relectures de thèmes bibliques ou mythologiques entreprises dès les années 1920 et réinvesties après guerre. Privilégiant des sujets susceptibles de mettre en exergue la beauté et la sensualité de la nudité féminine, le peintre attribue avec malice des canons et des coiffures très contemporains à ses Léda, Suzanne, Amphitrite ou Danaé, et transpose leurs aventures dans des environnements explicitement datés (parcs de châteaux à la française ou atelier du peintre notamment).

La Piscine - Braïtou-Sala (1885-1972). L’élégance d’un monde en péril - 19.03.2016 - 05.06.2016


4685 - 20160731 - BELGIQUE - LA HULPE - Colette Portal – Prémices - 05.03.2016-31.07.2016


Colette Portal arrête le temps et pose son regard sur la poésie du quotidien. Elle nous invite à observer le miracle permanent de la nature. A travers une centaine d’œuvres, aquarelles, encres de couleurs, eaux fortes et pointes sèches, crayon graphite sur papier Vinci, photographies,… elle nous propose des histoires naturelles.

On écoute le bruit du vent et de la pluie, le bruissement des feuilles mortes, on respire la terre et la rosée du matin, on perçoit toutes les pulsations de vie d’une nature peuplée de créatures extraordinaires : coléoptères, bousiers, iguanes, coccinelles,… dont le détail et les couleurs chatoyantes nous ramènent à la réalité d’un jardin parisien.

Depuis les premiers grands moments de création jusqu’aux années ‘80, l’exposition présente : un voyage fascinant sous terre à la découverte de la vie d’une fourmi reine, La Vie d’une Reine (1962) ; un voyage sur terre, faisant de nous les spectateurs de moments suspendus au cœur des jardins parisiens, Le Jardin de Buffon (1978-1987) ; un voyage céleste à travers les saisons de ses gravures.
Comme l’écrivait Bruno Gaudichon, conservateur du musée de la Piscine, musée d’art et d’industrie André Diligent à Roubaix, dans son entretien avec Colette Portal en mai 1991, il s’agit de photographier pour mieux dessiner ou dessiner pour mieux vérifier l’instantané photographique, animer pour restituer sa propre vérité qui devient notre propre conviction.

Un travail aux différentes facettes où se côtoient avec grande complicité dessins, photographies et cinéma d’animation dans une complémentarité riche et essentielle

Fondation Folon - Colette Portal – Prémices - 05.03.2016-31.07.2016



4684 - 20160529 - BELGIË - GENT - ARPAÏS du bois - 05.03.2016-29.05.2016


ARPAÏS du bois

trouver un moyen d’habiter le monde

ARPAÏS du bois records, contemplates, and comments on the world around her in her daily drawings. Ranging from an intimately experienced world to global political events. She voices her fight against oblivion, against living in and dealing with the world too quickly. The drawings can be considered as variations, which – with distance and restraint – attempt to provide an answer to the weight of reality.

In trouver un moyen d’habiter le monde, ARPAÏS du bois presents a selection of her work, and brings her drawings into dialogue with objects from the Dr. Guislain Museum’s collection.

Dr. Guislain Museum - ARPAÏS du bois - trouver un moyen d’habiter le monde
05.03.2016 - 29.05.2016

4683 - 20160612 - FRANCE - CASSEL - The cartography or the mirror of the world - 12.03.2016-12.06.2016


Mercator and Ortelius, two Flemish geographers

Gérard Mercator and Abraham Ortélius are considered as the founders of the modern geography. Both native of Flanders, they meet in 1554 and soon a friendship was born.Their work will revolutionize the cartography.

We owe, in 1569 the famous world map, to Mercator: on 21 engraved sheets, the earth surface takes the shape of an unrolled cylinder, punctuated with meridians and parallels.

One year later, Abraham Ortélius publishes the first edition of his atlas, the Theatrum orbis terrarum, which he is well-known for, as it is considered as the first atlas printed in a modern sense of the word. World maps had never been combined in a single publication before.

Through the discoveries of these brilliant cartographers, illustrated by a selection of books, old maps, measuring instruments but also paintings, the exhibition proposes an immersion in the 16th century, period of humanism and opening access to the knowledge.

Musée de Flandre - The cartography or the mirror of the world - 12.03.2016 - 12.06.2016



4682 - 20160626 - BELGIË - BRUGGE - Bruegel's Witches - 25.02.2016-26.06.2016


We all visualize a witch as an ugly woman, who flies out of the chimney of her house on a broomstick. Above her open hearth she has a giant cauldron, in which she brews her magic potions, while her black cat warms itself against the heat of the fire. It is less well-known that this traditional image of witches was actually invented by Pieter Brueghel the Elder.

Find out more about this 'classic' depiction and the way it still exists today, about the witch trials of the Middle Ages, about the alleged powers of witches and about the customs relating to witchcraft in Bruges and the Netherlands. The witches and their world can be found at one of the most authentic locations in Bruges: the medieval attic of the Sint-Jan (St. John's) Hospital. From there, the witches will transport you on a journey into the city, over the rooftops, through the mist and into the night …

This exhibition also offers a number of extras: a witch dress-up corner, a photo gallery, a witch walk, a witch concert, readings, workshops, etc…

Sint-Janshospitaal - Bruegel's Witches - 25.02.2016-26.06.2016
Website & source : Sint-Janshospitaal    NL - FR - EN - DE - ES 
Website : Brugge    NL - FR - EN - DE - ES

4681 - 20160703 - DEUTSCHLAND- MÜNCHEN - Joaquin Sorolla - 04.03.2016-03.07.2016


For the first time in Germany the Kunsthalle in Munich is presenting a comprehensive retrospective by the Spanish artist, Joaquín Sorolla (1863–1923). A native of Valencia, the artist had the unparalleled ability to capture the southern light in paint; his sun-drenched works even impressed contemporaries like Claude Monet. The exhibition includes 120 works from the artist’s entire career, from his early paintings in Paris, in which the influence of the French Impressionists is clearly evident, right through to the distinctive pictures that reflect the maturing of his art into his own unmistakable style that was celebrated throughout Europe and the USA. In addition to Spanish landscapes and beach scenes, perspective portraits are recurring themes in his work. Moreover, the exhibition focuses in particular on the large-format paintings that attracted such attention in the Paris Salon.

Joaquín Sorolla is considered the most important Spanish artist of the turn of the century. Surprisingly, his work is virtually unknown in Germany today. Therefore, it is high time to rediscover this “master of light”.

Kunsthalle München - Joaquin Sorolla - 04.03.2016 - 03.07.2016
Website : München   DE - FR - EN - IT


4680 - 20160605 - BELGIE-GENT - Rinus Van de Velde -Donogoo Tonka - 05.03.2016-05.06.2016


Rinus Van de Velde (1983, Leuven, Belgium) draws himself as an actor in the biography of an imaginary artist. He builds up his life stories on the basis of found photos and photos of scenes he stages himself. In this context he assumes the identity of various characters. The large, detailed images are accompanied by texts that establish a context. The drawings look virtuosic, direct, light and cool. But you soon discover the underlying layers: cutting irony, thorough research, visual intelligence, a free imagination and great sensitivity. Van de Velde draws in charcoal. This enables him to work fast and in a consistent style, and brings out the documentary archive nature of his work better. For the S.M.A.K., Van de Velde is making a new installation with drawings.

S.M.A.K. - Rinus Van de Velde - Donogoo Tonka - 05.03.2016 - 05.06.2016
Website & source : S.M.A.K.     NL - FR - EN

4679 - 20160704 - FRANCE-PARIS - Carambolages - 02.03.2016-04.07.2016


Carambolage, or Cannon in English is a term used in the game of billiards. A shot in billiards in which the cue ball contacts one object ball and then the other. fig.: double whammy, shot ricochet. 185 works of art from different eras, styles and countries are presented in an exhibition designed like a game of dominoes, where each work leads to the next by an association of ideas or forms. The creations of Boucher, Giacometti, Rembrandt, Man Ray, Annette Messager and other anonymous artists interact in a fun tour that revisits our traditional approach to art history.

Grand Palais - Carambolages - 02.03.2016 - 04.07.2016


4678 - 20160529 - BELGIË - BRUSSEL - Rembrandt in black & white - 26.02.2016-29.05.2016


Rembrandt was one of the most important Dutch painters and draftsmen of the seventeenth century. In addition to that, he also made masterly etchings. At BOZAR you can see ninety of his original black and white etchings from one and the same art collection. Alongside portraits of beggars and common people, landscapes and nudes, he depicted scenes from daily life and the Old and New Testament. The app which was developed specially for the exhibition enables you to look at the production process and the very smallest details from a whole new perspective.

BOZAR - Rembrandt in black & white - 26.02.2016 - 29.05.2016
Website & source : BOZAR   NL - FR - EN
Website : Brussel   NL - FR - EN

4677 - 20160612 - HOLLAND-ROTTERDAM - Astonish Me - Philippe Halsman - 27.02.2016-12.06.2016

Dalí Atomicus,1948 ©Philippe Halsman Archive

The exhibition ‘Astonish Me’, at the Kunsthal Rotterdam is a retrospective of work by Philippe Halsman (1906 -1979), one of the greatest photographers of the 20th century. Halsman is well-known for his portraits of famous people and for his collaboration with Salvador Dalí and Alfred Hitchcock. He was always searching for new photographic perspectives, and his oeuvre exposes an exceptional degree of inventiveness and technical skill.

Over a short period of time, he became an admired portrait artist, the subjects in front of his lens including numerous famous names such as Audrey Hepburn, Marilyn Monroe, Albert Einstein and Winston Churchill. He also developed the phenomenon of ’jumpology photography’, which included photos of film stars and politicians captured in mid-jump, the aim of which was to give his portraits a more spontaneous character. Over three hundred never-before exhibited works including contact prints, vintage prints and original photomontages illustrate Halsman's constant search for photographic possibilities and impossibilities

Philippe Halsman's direct approach, perfectly mastered technique, his remarkable eye for detail and his experiments using the medium of photography resulted in a highly diverse oeuvre ranging from portraits, fashion, photo reports, advertising, personal projects and commissions for institutions and private customers. Using a different style to that of his fellow photographers, he developed an entirely unique photographic style. His fascination with the surreal brought Halsman into contact with like-minded, contemporary artists with whom he loved to spend countless hours exchanging ideas. That collaboration resulted in the iconic photographs now so familiar to us all; photographs such as the Hitchcock portrait series and Dalí Atomicus (1948) with its flying cats, water thrown from buckets and an astonished Dalí, mid jump with paintbrush in hand.

An exhibition produced by the Musée de l’Elysée, Lausanne, in collaboration with the Philippe Halsman Archive, New York. Exhibition curators Musée de l’Elysée: Sam Stourdzé and Anne Lacoste, assisted by Camille Avellan and Lydia Dorner.

Kunsthal Rotterdam - Astonish Me - Philippe Halsman - 27.02.2016 - 12.06.2016



4676 - 20160529 - BELGIË-ELSENE-BRUSSEL - AGNÈS VARDA. Patates & compagnie - 25.02.2016-09.05.2016


The Patates & compagnie exhibition invites you to dive into the imaginative and sensitive universe of the artist Agnès Varda, winner of the Honorary Prize at Cannes Film Festival in 2015 for her films.  In the place of her childhood, the exhibition offers, for the first time in Belgium, an unconventional visual journey through installations, photographs and videos.  Her prolific work mixes with humour childhood memories and recent creations that meet halfway between fantasy and reality.

Agnès Varda presents .....

My childhood neighbourhood, which I call XL, has a museum. When I was a child of 7 or 8, taking the tram to Louise, never would I have imagined that I would return one day at the age of 87/ 88 to exhibit my art work! And not that.
At the Museum of Ixelles, there will be some documents on display from my mother (who is southern French).  She introduced her children to the ducks at the Ixelles lakes, the vegetable market at Place Flagey and the old Flemish painters.  I love their triptychs with a passion.
I will celebrate the earth, the sea ... and the Ixelles lakes.
The earth provides us with potatoes ... this has become a theme of my work especially when they take the shape of the heart. They have aged, have shrivelled and yet still germinate and grow shoots. Patatutopia celebrates their resistance. It is utopian to think that amongst all the vegetables and fruits, they are modest and yet most beautiful and most modern in the world.
The Belgian beaches of my childhood are where I also praise the sea and horizon. Very young men look on dreamily. The sea breeze and the winds are full of life. Further on, a young girl poses in front of a large white cow, looking at us. It is framed by video components, where cows live their quiet life chewing the cud.
It is a triptych.
The moving image, the still image… cinema and photography, there is a close connection.
From a photograph of a dead goat, a child and a naked man facing the sea, taken on a beach in 1954, I made a short film in 1982: Ulysse. How an image carries with it, memories and aging. In presenting the film from the original photograph, you explore the imagination, memory and reality.
In another of my films, Sans toit ni loi, it was enough to simply choose an image or a 24th of a second. The photograph sums up the film perhaps.
The neighbourhood’s still and moving images, images of earth, wind and beaches, allow visitors to slide from one print to another and meet me at random positions and potatoes, on course, on a ride to the flat country of my childhood and in the paths of my imagination.
How can I forget my early French knitting (which inspired the Tricotine) and accompanying my mother to buy vegetables at the market in the Place Saint-Jean at the edge of the Ixelles lakes?
Agnès Varda, December 2015
Museum van Elsene - AGNÈS VARDA. Patates & compagnie - 25.02.2016 - 09.05.2016
Website : Elsene    NL - FR