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

Website & source : MAC's    FR - NED - EN

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

4675 - 20160703 - UNITED KINGDOM - LONDON - Botticelli Reimagined - 05.03.2016-03.07.2016


Sandro Botticelli (1445-1510) is recognised as one of the greatest artists of all time. His celebrated images are firmly embedded in public consciousness and his influence permeates art, design, fashion and film. However, although lauded in his lifetime, Botticelli was largely forgotten for more than 300 years until his work was progressively rediscovered in the 19th century. 

Telling a story 500 years in the making, Botticelli Reimagined will be the largest Botticelli exhibition in Britain since 1930. Including painting, fashion, film, drawing, photography, tapestry, sculpture and print, the exhibition will explore the ways that artists and designers have reinterpreted Botticelli. It will include over 50 original works by Botticelli, alongside works by artists such as Dante Gabriel Rossetti, Edward Burne-Jones, William Morris, René Magritte, Elsa Schiaparelli, Andy Warhol and Cindy Sherman

V & A - Botticelli Reimagined - 05.03.2016-03.07.2016


4674 - 20160529 - BELGIQUE-MONS - Mapping Knowledge. Understanding the World through Data - 27.05.2016-29.05.2016

The world we live in is ruled by data.  Today there the volume of information has grown so huge that its complexity is almost impossible to grasp.  A discipline known as “data visualisation” has been created to deal with this upsurge of knowledge, and has recently been given a boost by the multiplication of IT tools, the advent of the Internet, the all-digital society, and Big Data.
However, this isn’t a new phenomenon.  For thousands of years, humans have been concerned with the visual representation of knowledge, as can be seen from ancient maps and graphic forms of writing, such as hieroglyphs.
This exhibition takes the shape of an interactive journey to the heart of knowledge. The Mundaneum invites visitors to travel through knowledge maps with surprising images, and immerse themselves in a visual world that uses a common graphic language, similar in many ways to the principles of geometric abstraction used by Mondrian, Malevitch and other modern artists.
This is a complex world, which is clarified and made intelligible by the simplicity of images, appealing as much to the feelings as to reason. The exhibition takes an entertaining, long-term look at graphic worlds, awakening inspiration and a new way of looking at knowledge.  It recounts the history of the subject, from its pioneers all the way through to the expectations of today, using a combined approach, involving art, science, design, and information architecture.
In fact, the visionary aim of the Mundaneum, under the umbrella of its founders, Paul Otlet and Henri La Fontaine, was to bring together all knowledge, and to provide a methodical response to the accumulation of new knowledge, which was to lead to the birth of the Information Society a few decades later…
The Mapping Knowledge exhibition will mark the reopening of the Mundaneum in 2015.  At the heart of this area dedicated to memory, the Mapping Knowledge exhibition takes a look at the complex nature of the world of today.
MUNDANEUM - Mapping Knowledge. Understanding the World through Data - 27.05.2016-29.05.2016

4673 - 20160703 - FRANCE-GIVERNY - Caillebotte, Painter and Gardener - 25.03.2016-03.07.2016


Gustave Caillebotte
Orchidées, 1893
Huile sur toile, 65,3 x 54 cm Collection particulière
© Paris, Comité Caillebotte
Known for a long time as a wealthy amateur painter, collector and patron of his friends, today Gustave Caillebotte is seen as an important member of the impressionist group. Famous for his paintings inspired by the Paris of Baron Haussmann, Caillebotte also painted many garden scenes in his work.
Caillebotte painted his first studies directly from nature in his family's property at Yerres. Later on, he acquired a property in Petit Gennevilliers, where he laid out a sumptuous garden and built a greenhouse. Like his friend Claude Monet, with whom he shared a passion for horticulture, he focused on depictions of the natural world.
At the musée des impressionnismes Giverny, about a hundred artworks in the form of paintings and drawings are brought together to reveal this aspect of his art.
Marina Ferretti, Director for Exhibitions and Research at the musée des impressionnismes Giverny

Exhibition organized in collaboration with the Museo Thyssen-Bornemisza, Madrid
Musée des impressionnismes Giverney - Caillebotte, Painter and Gardener - 25.03.2016 - 03.07.2016
Website & source : Musée des impressionnismes Giverney    FR - EN - ESP - IT - DE - JAP


4672 - 20160417 - BELGIË-ANTWERPEN - Body Art - 18.02.2016-17.04.2016


Tattoos, piercings and make-up are all ways of adorning our body that have become part of our daily life. The body and the skin especially is like a canvas, which we use to express who we are, to beautify ourselves, to be part of a group or to change our appearance. It is an important way of expressing our identity.

In addition to the socially accepted body adornments, this exhibition also takes a closer look at more extreme forms of body modification, such as scarring, branding and even body engineering. Whereas people with such body adornments are often pigeon-holed, the MAS takes an open-handed approach to this subject.

MAS - Body Art - 18.02.2016 - 17.04.2016 
Website : MAS  NL - FR - EN - DE
Website : Antwerpen   NL - FR - EN - DE

4671 - 20160619 - SWITSERLAND-BERN - Chinese Whispers Recent Art from the Sigg & M+ Sigg Collections - 19.02.2016-19.06.2016


‘Chinese Whispers’ is a reflection of and on modern China. From 19 February until 19 June 2016, the joint exhibition by Kunstmuseum Bern and Zentrum Paul Klee in Bern showcases significant portions of Uli Sigg’s collection. Before the Swiss collector’s donation is transferred to Hong Kong, around 150 recent works from the Sigg and M+ Sigg Collections will be on public display in the Swiss capital city. This major exhibition will be accompanied by events such as a series of panel talks with guests including artist Ai Weiwei and architect Jacques Herzog. Both institutions will also present fascinating educational and further supporting programmes.
Contemporary Chinese art constitutes an unparalleled phenomenon. Art in China, unlike its western counterpart, which has evolved across a succession of artistic movements, experienced an upsurge in the 1908s, when the Chinese government began to relax some of its previously strict rules and regulations. Creating authentically Chinese art in terms of content, China’s artists rushed to embrace many modern and contemporary western art movements that had seemingly passed them by. Many of their works responded to then current political and social challenges. Since the turn of the millennium, a younger generation of artists has emerged, however, that not only has come to the very forefront of the global art scene, but is also deeply committed to China’s own rich cultural heritage.  
In the context of contemporary art, an extremely close relationship has developed between China and Switzerland. The Swiss national Uli Sigg was the first collector to systematically build a collection of contemporary Chinese Art as from the late 1970s. Since then, it has grown into the world’s most significant compilation, a ‘document’ of more than 2,300 pieces to use Sigg’s own apt description.
Switzerland as a country, and Swiss curators and collectors have also played a mayor part in the western reception of contemporary Chinese art. In 1995, Sigg introduced Lucerne gallery owner Urs Meile to China. Meile went on to become a pioneering western dealer in contemporary Chinese art in China itself, organizing first exhibitions in Beijing and opening one of the very first international art galleries, designed by Ai Weiwei, in Beijing in 2005. And in 1996, another Swiss national Lorenz Helbling opened an art gallery in Shanghai. Back in Europe, legendary Swiss exhibition designer, Harald Szeemann, curated the Venice Biennale of 1999. It featured the first-ever presentation in the western world of a larger body of works by contemporary Chinese artists, and left the international art scene speechless with amazement.
2005 saw another milestone when ‘Mahjong’, a major exhibition of works from the Sigg Collection, was presented by Kunstmuseum Bern. Curated by Bernhard Fibicher in co-operation with Ai Weiwei, the show caused a sensation among the international art community. Ever since, and particularly in China, the exhibition catalogue has been considered the ‘Bible’ of contemporary Chinese art. Moreover, in co-operation with the Sigg Collection, Kunstmuseum Bern has gone on to showcase and promote contemporary Chinese art in a series of exhibitions called ‘Window on China’ (China-Fenster). A further waypoint in the reception of contemporary Chinese art, both in Switzerland and in the western world, was an exhibition at Kunstmuseum Luzern in 2011. ‘Shanshui – Poetry Without Sound? Landscape in Chinese Contemporary Art’ was curated by Peter Fischer, the current director of Zentrum Paul Klee, in co-operation with Ai Weiwei and Uli Sigg. Based on selected works from the Sigg Collection, ‘Shanshui’ was ground-breaking in its presentation of contemporary Chinese artists, and in its exploration of their relationships with their own cultural heritage.  
Uli Sigg recently donated a large portion of his collection to the M+ Museum for visual culture in the West Kowloon Cultural District, Hong Kong, which is due to open in 2019. Prior to the departure of these significant works, the city of Bern is once again proud to provide a prominent platform for contemporary Chinese art. The participation of Zentrum Paul Klee alongside Kunstmuseum Bern has increased to more than 4,000m2, over 44,000sq ft, the gallery space available to showcase ‘Chinese Whispers’ with recent Chinese art.
Once more, three men have joined forces: Uli Sigg, the collector; Matthias Frehner, who was the director of Kunstmuseum Bern both in 2005 and currently; and Peter Fischer, formerly in Lucerne and the director of Zentrum Paul Klee since 2011. Their exhibition will probably be the last presentation in the western world of such a large portion of the Sigg Collection, which is due to be transferred to M+ in Hong Kong in 2019. Designed by Swiss architects Herzog & de Meuron, M+ is slated to become one of the world’s largest museums, with the M+ Sigg Collection as its ‘foundation stone’. In Bern, ‘Chinese Whispers’ will showcase a selection of works from the future M+ Sigg Collection, and pieces from Sigg’s still increasing personal collection.  
The current exhibition has been curated by Kathleen Bühler, the curator of Contemporary Art at Kunstmuseum Bern. The exhibition catalogue was created in close co-operation with experts from M+ in Hong Kong. In 2017, a condensed version of ‘Chinese Whispers’ will travel to the prestigious MAK – Austrian Museum of Applied Arts / Contemporary Art, in Vienna. ‘Chinese Whispers’ is the first major joint project of the two Bernese art institutions since they were brought together in 2015 in the umbrella foundation, Dachstiftung Kunstmuseum Bern – Zentrum Paul Klee
Kunstmuseum Bern and Zentrum Paul Klee - Chinese Whispers Recent Art from the Sigg & M+ Sigg Collections - 19.02.2016 - 19.06.2016
Website : Kunstmuseum Bern and Zentrum Paul Klee    DE - EN - FR
Website : Bern  EN - FR - DE - IT - ESP


4670 - 20160410 - BELGIË-BRUSSSEL - Going Postal - 06.02.2016-10.04.2016


The Going Postal exhibit at BELvue Museum unveils the precious stamp collection of the Royal Museum for Central Africa for the first time. This initiative, joined by bpost and eminent private collectors in Belgium, gathers 300 or so pieces that together form a priceless heritage.

The exhibition also shows how stamps are produced, their iconography, the development of mail services, and Belgium’s presence in international trade throughout history.

In addition to the stamps themselves, the exhibition presents the preparatory work behind a stamp: sketches, drawings or engravings associated with prominent figures of Belgian art like Tuymans, Schuiten, and Alechinsky. Decorative objects and African art pieces that provided inspiration for several stamp series are also on display.

A must for budding and established philatelists, art lovers and connoisseurs, and the general public.

In the digital era, the postage stamp in all its artistry is still alive and well!

BELvue Museum - Going Postal - 06.02.2016 - 10.04.2016


4669 - 20160605 - DEUTSCHLAND-BONN - Susanne Paesler - 21.10.2015-05.06.2016

Nachlass Susanne Paesler, Galerie Barbara Weiss, Berlin © VG Bild-Kunst, Bonn 2015
Susanne Paesler, who was born in Darmstadt in 1963 and died in Berlin way too early in 2006, is part of a generation of artists who have bid farewell to the modernist concept of the picture as a place of constantly renewed aesthetic visions that outplay each other. Instead of adding a further individual form of expression to the different kinds of handwriting and styles that have developed in the 20th century, their artistic work discusses the meaning of the artwork itself in a world full of already existing images and reproducible structures. This attitude is already documented in Paesler’s earliest works made at the beginning of the 1990s. Superficially seen, they cultivate the geometric form language of an entirely self-referential constructivist artwork, while pattern and choice of color still always refer to extra-pictorial contexts. Accordingly, her paintings are sometimes reminiscent of cheap woolen blankets, sometimes of Burlington socks or Burberry coats – everyday objects that serve her as both motive and model for her works. Instead of following the principle of the readymade and mounting fabric directly onto stretchers (in reference to Hoehme’s damask and Palermo’s fabric works), the artist manually copies the patterns so that art, handcraft and design enter into a fluent exchange. Where have the once so iron aesthetic borders between applied arts and fine arts gone?
Based on this strategic approach it is almost logical that in the course of the 1990s Susanne Paesler dealt with the motive of the frame – as a henceforth painted! picture border –, the trompe l’œil and the “picture within the picture.” Her paintings are picture puzzles that withdraw themselves from any sort of definition and identification. Individuality and authenticity to Paesler are merely aesthetic visions that she mistrusts. This is especially visible in the works made around the turn of the millennium in which she quotes the styles of artists like Baumeister, Hartung and Pollock, adapting a handwriting that meanwhile has become a pattern of Modernism itself.  Today, even the genuine subject of the gesture is easily digitally reproducible, as demonstrated in Paesler’s “pixelated gestures,” two paintings from 2003. The artist shows painting on its search for itself.
Kunstmuseum Bonn presents the first overview of Susanne Paesler’s work in the Rhineland. The exhibition includes more than 40 works from 1991 to 2006 and will be on display at SCHAUWERK Sindelfingen after its presentation in Bonn. The show will be accompanied by a richly illustrated catalogue with an essay by Martina Dobbe and an interview between curator Christoph Schreier and Hamburg-based art historian and Paesler expert Hanne Loreck,
With kind support from Galerie Barbara Weiss.
Kunstmuseum Bonn - Susanne Paesler - 21.10.2015 - 05.06.2016
Website : Bonn   DE - FR - EN - ESP


4668 - 20160501 - BELGIË-GENT - The Call of the Rockies - Pieter Jan De Smet and the Indian tragedy - 05.02.2016-01.05.2016


As a missionary working among the Indians of the Columbia Plateau and the Plains, Jesuit Pieter Jan De Smet (Dendermonde 1801—Saint Louis 1873) was a privileged witness to an important phase in the history of the development of the United States of America. He was also to see, from close up, how this young nation began its massive expansion towards the West. This mass migration was to cost the indigenous population dear as, in record time, the local native people saw the loss and destruction of their traditional territories and way of life based on a nomadic existence spent hunting bison.
Dazzling nineteenth-century Indian clothes and weapons illustrate the way the Native Americans lived and thought, as described in detail by De Smet in his countless letters. De Smet’s travels and encounters with the Indians are recalled with maps, drawings, paintings, photographs and documents.
The exhibition focuses on the role of De Smet, not only as a missionary, but also as defender of the Indians themselves, an advocate for peace and a mediator with the American government. The common thread that runs throughout is De Smet’s life story, his journeys and his many encounters with the different peoples in the area to the West of the Rocky Mountains and the Upper Missouri Valley. This exhibition does not end with the death of De Smet in 1873, but carries the story of the Native Americans and that of numerous missionaries who followed in De Smet’s footsteps, right through to today.

Provinciaal Cultuurcentrum Caermersklooster - Pieter Jan De Smet and the Indian tragedy - 05.02.2016 - 01.05.2016
Website : Gent    NL - FR - EN -DE - ES

4667 - 20160417 - NEDERLAND- AMSTERDAM - Sicily and the Sea - 09.10.2015-17.04.2016


From 9 October 2015 to 17 April 2016, the Allard Pierson Museum will be hosting an exhibition entitled Sicily and the sea. A dive into the past. Sicily has been a popular berth for maritime heroes, pirates, ambitious Phoenicians, wine merchants, adventurers, migrants, pioneering Greeks and fishermen for many centuries. It was a place where different cultures and civilisations gathered, and where ideas were exchanged as easily as goods. But the sea gives and the sea takes away. The waters around this beautiful Mediterranean island are strewn with shipwrecks full of secret and extraordinary objects. It is quite literally an invitation to take a dive into history.

Over the years, underwater archaeologists have steadily been revealing the sea's secrets. Hundreds of shipwrecks have been identified and explored. Sicily and the sea is all about the treasures found in six of these wrecks. The special exhibition gives unique insight into the life, work and sometimes death of people including Ulysses, Justinian I and the Dutch Michiel de Ruyter, who was killed at the Battle of Augusta on 22 April 1676.
The unique objects and mysterious atmosphere of the rooms takes you on a voyage to the bottom of the seas around Sicily. The exhibition shines the spotlight on countless objects, including bronze helmets and weapons, as well as amphorae, statues and all kinds of utensils. Visitors are also treated to a glimpse of the work of an underwater archaeologist. Almost all the objects on loan originate from Sicily.

Allard Pierson Museum - Sicily and the Sea - 09.10.2015 - 17.04.2016
Website : Amsterdam   NL - EN