2015-02-25

4564 - BELGIË - ELSENE/BRUSSEL - Lucien De Roeck. From posters to letters - 26.02.2015-31.05.2015

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Lucien De Roeck, Affiche Expo 58 © Fonds Lucien De Roeck,

To commemorate the centenary of his birth, the Museum of Ixelles pays tribute to Lucien De Roeck (1915 – 2002), creator of one of the most iconic posters of Expo 58.  As a graphic designer, typographer, designer and creator of posters, De Roeck is a Belgian artist with an undeniably extraordinary talent.  His work, characterised by an accuracy of line and irregular spirit, shows a purification of drawing and observant imagination that remains astonishingly modern.
 
Original posters, newspaper cartoons, sketchbooks, paintings and drawings will be exhibited to allow visitors to discover or rediscover this designer whose students at La Cambre (ENSAV) included Pierre Alechinsky and Jean-Michel Folon.
 
 
 
Museum van Elsene - Lucien De Roeck. From posters to letters - 26.02.2015 - 31.05.2015
 
 
 
 
 

4563 - SWITSERLAND - RIEHEN/BASEL - Paul Gauguin - 08.02.2015-28.06.2015

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Parau api, (What news?), 1892, Galerie Neue Meister, Staatliche Kunstsammlung Dresden

"Nature has mysterious infinities and imaginative power. It is always varying the productions it offers to us. The artist himself is one of nature's means." Paul Gauguin

With Paul Gauguin (1848 – 1903), the Fondation Beyeler presents one of the most famous and fascinating artists in history.
As one of the great European cultural highlights in the year 2015, the exhibition at the Fondation Beyeler brings together about fifty masterpieces by Gauguin from leading international museums and private collections. Gauguin’s groundbreaking paintings have become icons of modern art and are some of the most significant and valuable cultural treasures in the world. With their luminous colours and elementary forms, they revolutionised art and they still entrance viewers today.
While featuring Gauguin’s diverse self-portraits and his visionary, spiritual paintings from the time he spent in Brittany, the exhibition focuses on the world-famous paintings he created in Tahiti. In those depictions of sensual female figures set amidst idyllic landscapes and often accompanied by emblematic animals, the artist celebrates his ideal of an unspoilt exotic world. Gauguin’s masterpieces convey an exceptional harmony between nature and culture, mysticism and eroticism, dream and reality. In addition to the paintings, the exhibition includes a selection of Gauguin’s outstanding sculptures that evoke the largely vanished art of the South Seas.
Gauguin’s remarkable creations tell of his quest for a lost paradise on earth, of his turbulent history as an artist who moved between different cultures during a life marked by passion and adventure.

For making the exhibition possible through their generous support, our thanks go to:
Hansjörg Wyss, Wyss Foundation, Beyeler-Stiftung, Walter Haefner Stiftung, L. + Th. La Roche Stiftung, Dr. Christoph M. und Sibylla M. Müller, Stavros Niarchos Foundation and Novartis




Fondation Beyeler - Paul Gauguin - 08.02.2015 - 28.06.2015



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2015-02-18

4562 - BELGIË - HASSELT - Hello my Name is Paul Smith - 30.01.2015-07.06.2015

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As of January 30 2015 Fashion Museum Hasselt takes you behind the scenes of Paul Smith’s World where intuitive creativity roosts. You are introduced to the astute designer behind this British label that started small, but has become one of the leading fashion brands in the world. 
This exhibition starts from Paul Smith’s personal archive. From his first pieces, sold in a tiny store in Nottingham all the way to the designer he is today, and with pieces from his most recent collections. Along the way, we’ll see the growth of this major fashion brand and we get a view of the sharp-witted mind of the designer.

Hello My Name is Paul Smith peruses the various stages of design and production with the well-known hallmark of traditional craftsmanship with a contemporary twist. This exhibition reveals how Paul Smith works and what influences him, through projections, audio and video clips of catwalk shows and behind the scenes footage and an overview of all the unique Paul Smith shops.

This exhibition was put together by the Design Museum London (curator: Donna Loveday), but Paul Smith’s Belgian world will be about 400 sq.m. larger than the British original. The fashion selection was specially expanded for the Hasselt Fashion Museum.

Welcome to the world of Paul Smith.
 
 
 
Fashion Museum Hasselt  - Hello my Name is Paul Smith - 30.01.2015 -07.06.2015
 
 
 
 
 
 
 

4561 - FRANCE - PARIS - In the Time of Klimt - 12.02.2015-21.06.2015

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The Pinacothèque de Paris, in partnership with Arthemisia Group and 24 ORE Cultura - Gruppo 24 ORE, wishes to examine once again an essential aspect of Art Nouveau, which was developed in Vienna at the start of the 20th century under the name Secession. Gustav Klimt's part in the emerging of that movement is a major one. The artist's talent and brio, from his precocious start to his excessive decorative effects, where gildings and the emerging expressionism are dominant, are the foundations of a new period, which flowered in Vienna at the turn of the century. That artistic movement is, in fact, at the origin of the birth, a few years later, of one of the major currents in modern art, Expressionism, which was the theme of an exhibition in the museum in 2011.
 
 
The exhibition In the Time of Klimt, The Vienna Secession relates in detail that development in Viennese art from the end of the 19th century, beginning of the Viennese Secession, until the first years of Expressionism.
The core of the exhibition is based on a selection of major works by Gustav Klimt, from his first years of studying until the major works of his golden age, like Judith I (1901) or the Beethoven Frieze, a monumental work, reconstituted to scale and shown for the very first time in France.
 
A group of rare documents regarding the artist's life, his family and his brothers Ernst and Georg, who were also artists, with whom Gustav often collaborated, accompanies the visitor throughout the exhibition.
 
A very particular attention is furthermore paid to the first years of the Secession and to the influence it exercides on the artist's formation through the major Viennese intellectuals, such as Carl Schuch, Tina Blau, Théodor Hörmann, Josef Engelhart, Max Kurzweil, who, just like him, spent time in Paris at that period. the artistic personalities who influenced his art are summoned up thanks to a choice of paintings coming from the Belvedere, presented alongside works describing the history of the movement's patrons. Thus, the exhibition shows important masterpieces from the Secession and from the Austrian vanguard, such as the first works by Egon Schiele and Oskar Kokoschka.
 
A final section of the exhibition is devoted to Viennese art forms, to the ancient and refined trade of craftsmanship, which engendered pieces of furniture, and to precious jewels, to splendid ceramics, as well as complex reconstructions of works and of rich historical documents, witnesses to the genesis and to the evolution of great artists and architects of that period, such as Adolf Loos, Josef Hoffmann and the Viennese Studio.
 
The exhibition shows over 180 works taken from the collections of the Belvedere museum in Vienna, as well as from private collections. The curatorship of the exhibition is ensured by Alfred Weidinger, curator of the Belvedere museum in Vienna.
 
 
 
Pinacothèque de Paris - In the Time of Klimt - 12.02.2015 - 21.06.2015
 
 
 
 
 
 


2015-02-11

4560 - BELGIË - GENT - Dark Chambers - 18.10.2014-31.05.2015

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Dark Chambers
On melancholy and depression

The tormented and depressed soul has always provoked questions. What is the difference between a depressed genius and the madman haunted by melancholic temperaments? What is the influence of the different bodily fluids on a man’s state of mind? Was melancholy caused by an excess of black bile? In which way is man subject to the changing of the seasons and what is the mysterious role of the planet Saturn?

Dark Chambers shows different forms of this age-old melancholy, but also sheds light on its contemporary and pathological counterpart, depression. It shows that melancholy has not only affected many artists and researchers, but also has inspired them. Dark Chambers takes a closer look at this artistic fascination and confronts it with the psychological dimension.

A richly illustrated catalogue accompanies this exhibition (N/F/E, 144 p., Uitgeverij Hannibal).




Museum Dr. Guislain - Dark Chambers - 18.10.2014 - 31.05.2015




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4559 - FINLAND - HELSINKI - Robert Mapplethorpe - 13.03.2015-13.09.2015

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The American photographer Robert Mapplethorpe (1946–1989) lived a life of passion in the New York underground and rock scenes in the 1970s and ‘80s. That passion also made its way into his art.

Consisting of more than 250 works, the retrospective exhibition in the Museum of Contemporary Art Kiasma offers a broad overview of the key periods of Mapplethorpe’s career. In their aspiration for perfection, Mapplethorpe’s pictures blend beauty and eroticism with pain, pleasure and death. Mapplethorpe also photographed his celebrity friends such as Patti Smith, Andy Warhol and Richard Gere. Although solidly anchored in their time, his photographs are also universal and topical even today.

Arriving from Paris to Helsinki, the high-profile exhibition is a unique opportunity to learn about the art and life of one of the most important photographic artists of our time. The exhibition is curated by Jérôme Neutres from Paris with Director Pirkko Siitari and Chief Curator Marja Sakari from Kiasma.

This exhibition is organized by The Finnish National Gallery – Museum of Contemporary Art Kiasma and the Réunion des Musées Nationaux – Grand Palais, with the collaboration of the Robert Mapplethorpe Foundation New York.




KIASMA - Robert Mapplethorpe - 13.03.2015 - 13.09.2015




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2015-02-04

4558 - BELGIË - POPERINGE - Raoul Servais - Pigeons - 14.11.2014-10.05.2015

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PIGEONS

A dove is the universal symbol for peace and tolerance, but during the First World War real doves were also used as a means of communication and espionage, a paradox emphasising the absurdity of war. During these years of horror, front line soldiers, in crisis situations, sometimes observed paranormal phenomena. These unexplained happenings were a response and relief to some soldiers where there was a thin line between life and death. The phenomena were the inspiration for four tales (animated films) by Raoul Servais.
 
As a great part of Europe was involved in this war, many nationalities will be discussed. Belgians, French, Germans, British, Italians and Senegalese will each get their own place in the exhibition. Like a dove soaring over the battlefield, each visitor will be lifted over the limitations set by borders and nationalities. The ultimate aim is to emphasise the madness of this – and any – war.
 
 
 
 
Talbot House Museum - Raoul Servais - Pigeons - 14.11.2014 - 10.05.2015
 
 
 
 
 
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4557 - U.K. - GATESHEAD - Jesse Wine - Young man red - 22.11.2014-19.04.2015

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Jesse Wine Young man red II 2014 Glazed ceramic, steel Photo: Colin Davison © 2014 BALTIC Centre for Contemporary Art

Jesse Wine (born Chester, 1983) works mainly with ceramics and uses traditional techniques to explore process and chance. Wine never records his methods; he mixes glazes and oxides together and fires at different temperatures, seeing colours melt and blend and structures collapse. The final work is thus the result of happenstance – lopsided vessels with shiny metallic glazes to self-portrait heads sporting a variation of contemporary accessories, belts and bobble hats. For his exhibition in the Ground Floor gallery at BALTIC, Wine will make an ambitious installation of new work which responds to the quirks of modern life and pays homage to the other artists who have inspired him.




BALTIC  - Jesse Wine  - Young man red - 22.11.2014 - 19.04.2015




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2015-01-28

4556 - BELGIUM - BRUGGE - ‘Right, before I die’ - Andrew George - 27.01.2015-28.06.2015

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‘Right, before I die’ is a project by the American artist, Andrew George, in conjunction with the Providence Holy Cross Medical Center in California. In 2012, George contacted the Medical Director of Palliative Care with an unusual request: he wanted to record the fortitude and courage of patients receiving palliative care in words and images. Over a period of two years, he talked to patients about their lives – their joys, fears and pleasures – and collected moving letters and testimonials. George then photographed these men and women. The results of this poignant project are on display in the Diksmuide attic of the medieval St John’s Hospital hospital, where it honors its core values, i.e. to support and console ill people.

But it does far more. Andrew George: “the project cannot help but impact each of us, as demonstrated by the worldwide public reaction to the on-line posting of these images. Most of the faces looking at you are no longer around. Letters, portraits and interviews are the only tangible reminders of these lives. These candid testimonials cannot help but cause visitors to reflect on their own lives – limited by time and fate – and to leave the exhibit not discouraged, but perhaps joyful and with deepened self-reflection on the meaning of our own life journeys.” Philosopher Alain de Botton adds: “ ’Right, before I die’ is on the side of life, it gives us new determination to appreciate what is being neglected and rearrange our values.”




Sint-Janshospitaal - Right, before I die’ - Andrew George - 27.01.2015-28.06.2015




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4555 - NETHERLANDS - AMSTELVEEN - Collection d'art - 17.01.2015-19.04.2015

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This exhibition tells the story of the renowned Amsterdam gallery, Collection d’art, which from 1969 to 2004 was home to a broad range of art lovers. With Collection d’art, founder Cora de Vries made people who were known or unknown, friends or passersby, students and critics all part of contemporary developments in art, from realism to inspired geometry and post-war Expressionism, from Co Westerik to Markus Lupertz, from Armando to Karel Appel. As a result, a loyal group of regular visitors and buyers, including several museum directors, quickly formed around Collection d’art. The gallery was a place where fellow art lovers came together in their shared interest and love for contemporary art.

Together with Miente Boellaard-Stheeman, the Cobra Museum presents an exhibition of selected works from the personal collection of Cora and Hans de Vries, with works by Constant, de Kooning, JCJ van der Heijden, Baselitz, Schoonhoven, Armando, Appel, Bogart and many more.



 
Cobra Museum - Collecxtion d'art - 17.01.2015 - 19.04.2015




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2015-01-21

4554 - BELGIË - BRUSSEL - LASCAUX - The Sistine Chapel of Prehistory - 14.11.2014-15.03.2015

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Lascaux: Hall of Bulls, South wall (c) Lascaux International Exhibition

September 1940 in the Dordogne, France. Four boys penetrated further into the hillside cavity to which they had gained entry. To their amazement, they discovered an extensive cave with decorated walls. It rapidly became apparent that they had made one of the most fascinating archaeological discoveries of the twentieth century. Shortly thereafter began a stream of visitors running into the hundreds of thousands.

The cave contains both paintings and incised drawings. These are about 20 000 years old and make the cave one of the world’s most important sites of rock art. A good 900 animals are pictured, including aurochs, deer, horses and bison. There is also an enigmatic depiction of a human being.

In order to protect the cave and particularly the rock art for future generations, the site was in 1963 closed to the public. Fortunately, full-scale copies of these works of art have been made at regular intervals, thereby enabling the public to continue to enjoy this splendour. The most recent series of reproductions are being displayed in the Cinquantenaire Museum in Brussels from 14 November 2014 on. Lascaux is an exhibition directed chiefly towards families and in 2013 was chosen as ‘Touring Exhibition of the Year’, enjoying enormous success in the United States and Canada.

Full-scale, scientifically accurate reproductions and the most up-to-date visual technologies give the visitor the impression of actually being in the cave itself. The exhibition also pays attention to the cultural context within which this art originated, showing how its creators lived, hunted, ate and clothed themselves. Serving to frame the whole are complete animal skeletons and bone fragments, a realistic portrayal of a baby mammoth, and contemporary implements and jewellery, drawn from the Museum of Natural Sciences and the Cinquantenaire Museum.

The exhibition is being organized by Lascaux-International Exhibition in co-operation with the Cinquantenaire Museum and the Museum of Natural Sciences; a co-operative project between these two federal institutions, it is being supported by the Belgian Science Policy Office, with further support being provided by the General Council of Dordogne, the Regional Council of Aquitaine, the French Ministry of Culture and Communication, and the European Union.




Cinquantenaire Museum - LASCAUX - The Sistine Chapel of Prehistory - 14.11.2014-15.03.2015




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4553 - U.K. - LONDON - Maggi Hambling: Walls of Water - 26.11.2014-15.02.2015

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Detail from 'Wall of Water, Amy Winehouse', 2011 © Maggi Hambling / Photograph by Douglas Atfield

The National Gallery celebrates the return of Maggi Hambling, its first Artist in Residence.
One of Britain’s most significant and controversial painters and sculptors, Maggi Hambling, exhibits a new series of dramatic paintings, which have never been seen in public before.

Occupying Room 1, Hambling’s eight works are vast, intense and energetic, measuring over six by seven feet, with another ninth, smaller canvas that was produced in response to the death of Amy Winehouse in 2011.

Through turbulence and exuberant colour, Hambling continues to affirm painting's immediacy, saying “The crucial thing that only painting can do is to make you feel as if you’re there while it’s being created – as if it’s happening in front of you.”

Inspired by Hambling’s experience of gigantic waves crashing onto the sea wall at Southwold, Suffolk - the county where she was born, still lives and which has often inspired her work - the works offer visitors a contemporary parallel to the seascapes by Norwegian artist Peder Balke concurrently displayed in the Sunley Room.

Maggi Hambling is represented in all major British collections from the British Museum to Tate. Her sculpture 'Scallop' (2003) is permanently sited on the beach at Aldeburgh, Suffolk, as a monument to composer Benjamin Britten. In 2013 she was the subject of a solo presentation at the State Hermitage Museum, St Petersburg; and her acclaimed series 'North Sea Paintings', begun in 2002, was most recently seen in 'Maggi Hambling: The Wave' at the Fitzwilliam Museum, Cambridge (2010).



 
The National Gallery  -  Maggi Hambling: Walls of Water - 26.11.2014 - 15.02.2015




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2015-01-14

4552 - BELGIQUE - CHARLEROI - Woman are beautiful - Garry Winogrand- 13.12.2014-17.05.2015

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Garry Winogrand
De la série ´Women are beautiful´
© Garry Winogrand


Garry Winogrand déambule dans les rues de New York aux aguets et n’a de cesse de déclencher furtivement afin de capturer l’essence de la rue. Influencé par Walker Evans et Robert Frank, Garry Winogrand les rejoint dans la double approche photographique : documentaire et esthétique. Il partage ainsi leur double conception du photographe comme producteur de documents, témoins d’une époque inscrite dans une temporalité, et celle d’un créateur d’un objet atemporel apprécié pour ses qualités esthétiques intrinsèques.
Dans le domaine de la photographie, l’ouvrage «Women are beautiful» est sans précédent. Bien sûr, la femme inspire les artistes depuis toujours mais on dépasse ici la simple inspiration pour s’immiscer dans un travail construit avec comme personnage central la femme dans sa beauté quotidienne. Il n’y a ici ni idéalisation, ni matérialisation avec Winogrand. La femme s’affiche au naturel et sans fard.
On pourrait, à première vue, être interpellé par l’aspect documentaire de ces images, la tentation est même grande de crier à la banalité. Or, il n’en est jamais question : en parcourant l’ensemble des photographies, on sent la passion d’un homme pour son sujet. Dans chacune d’elles, la sensualité du corps féminin s’expose discrètement : des courbes que des vêtements ont peine à cacher, un visage angélique encadré par de longs cheveux ondulés, des seins sous un simple débardeur, un décolleté, un corps nu dans un lac, un sourire, un regard… Garry Winogrand nous propose de regarder chacune de ces femmes avec ce regard neuf que le médium photographique apporte de façon intrinsèque.
Comme dans les autres sujets qu’il traite, il élabore une radioscopie complète de la femme : bourgeoise, hippie, américaine, étrangère, activiste, sportive qu’il photographie en rue, à la plage, en soirée, dans les bars. «Women are beautiful» est un prisme au travers duquel la femme apparaît multiple, riche et belle dans sa pure expression quotidienne, et non fantasmée par le nu ou le studio. La banalité du quotidien doit amplifier la beauté que chacune met en avant. Il affirme l’éclat de la femme mais reste un homme de son époque et n’oublie pas l’importance documentaire de son propos. Il témoigne ainsi de l’investissement des femmes dans les diverses manifestations de contestation qui émaillent la fin des années 60.
«Women are beautiful» est l’un des quatre seuls ouvrages publiés du vivant du photographe américain. Il constitue également un véritable document historique. Dans cette perspective, la présentation des images de Garry Winogrand au Musée de la Photographie à Charleroi est une chance unique de pouvoir appréhender le travail d’un des plus grands photographes américains à travers son exposition mythique mais aussi d’approcher des documents révélateurs d’une période capitale pour la femme et la société américaine.

Garry Winogrand (1928-1984) est né dans une famille ouvrière juive du Bronx à New York. En 1948, il commence des études de peinture et de photographie à la Colombia University, suivies d’un cursus en photojournalisme en 1951 à la New School for Social Research où il aura comme professeur Alexey Brodovitch. Il prend rapidement connaissance du travail de Walker Evans et s’en inspire quand il commence à photographier peu après d’abord de manière commerciale puis pour ses projets personnels. En 1955, deux de ses photographies apparaissent dans le grand projet de Steichen The Family of Man présenté au MoMA où il y exposera de nouveau en 1963 et en 1967 avec notamment Lee Friedlander, Diane Arbus et Duane Michals. Cette dernière exposition fait suite à l’obtention d’une bourse par la Guggenheim Fellowship qui lui permettra de parcourir les Etats-Unis. Durant les années 1970, il enseignera la photographie à la Illinois Institute of Technology et à la University of Austin. Il ne publiera que quatre ouvrages de son vivant : Animals (1969), Women are Beautiful (1975), Public Relations (1977) et Stock Photographs: The Fort Worth Fat Stock Show and Rodeo (1980). Il meurt prématurément en 1984 d’un cancer.



 
Musée de la Photographie    13.12.2014 - 17.05.2015




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4551 - SWITSERLAND - BASEL - Caspar Wolf - 19.10.2014-01.02.2015

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Caspar Wolf

The Alps as magnificent spectacle of nature — a surprisingly recent opinion. It was only during the course of the 18th century that people began regarding jagged mountain ranges as “sublime” and aesthetically pleasing. The Swiss landscape painter Caspar Wolf (1735–1783) was one of the first to conquer this largely undeveloped Alpine landscape on his extensive treks and made it available as subject matter for artistic treatment. In his galvanizing compositions, massive boulders, thundering mountain torrents, and bizarre glacier formations impede the viewer’s path. The human being, standing in awe, is reduced to a tiny figure before expansive panoramas. Wolf stands well apart from the idyllic Baroque landscapes with his radical formations and as one of the most significant precursors to European romanticism. But the same time, his work breathed the spirit of enlightenment. The exhibition includes 126 works by Caspar Wolf and his contemporaries as well as a selection of recent photographs taken at these respective locations in the Alps. In conjunction with this exhibition, the Kupferstichkabinett at the Kunstmuseum Basel will present highlights from its wealth of drawings and prints by Caspar Wolf.
 A fluke of history can be credited for Caspar Wolf ascent from impoverished childhood in Muri as carpenter’s son and moderately successful painter to artist of standing in European art history: the most important pioneer of Alpine painting and one of the most significant precursors to European Romanticism.
The fluke in question is Caspar Wolf’s encounter with the influential Bernese publisher Abraham Wagner (1734–1782). Wagner, one year his senior, had an ambitious project: to issue an encyclopedic publication of the Swiss Alpine landscape complete with illustrations of the highest artistic standard; and more to the point, these illustrations would be worked immediately from nature. The landscape that Wagner had in mind as motif was the rarely travelled and difficult to reach high Alpine region. The idea was to offer viewers a new conception of the Alpine landscape in images of previously unparalleled precision and magnificence. To author the written sections of this publication, Wagner engaged the Bernese priest and eminent natural philosopher Jacob Samuel Wyttenbach. Wolf was to accompany the two men on their extensive treks through the Alpine mountains. His task was to document and depict in paintings these unique encounters with nature.
What resulted was a comprehensive picture cycle of the Swiss Alps. Working in his studio from the nature studies completed on location, Wolf created some 200 paintings of imposing quality that bring together spontaneous observations and highly artistic formulations. Wolf invents astute painterly formulations to depict mountain ranges and glaciers, waterfalls and caves, bridges and raging torrents, lakes and high plateaus, sometimes rendering these in expansive panorama views, sometimes in close, claustrophobic compositions. His paintings include many prominent natural monuments, some no longer existent due to the environmental destruction of recent centuries: hence, the famous “séracs” (pinnacles of glacier ice) of the Lower Grindelwald Glacier, evident in two exceptionally powerful paintings by Wolf, have long since melted, for instance.
Wolf’s paintings can neither be grouped with the vedute, a type painting popular at the time, nor can they be described as explicitly documentary images. Instead, they speak to a more fundamental subject matter: they consider the relationship between the mountain as rational concept and the mountain as sensual perception.
 But what was the origin for the remarkable aesthetic assurance with which the artist entered the virginal territory of Alpine painting?
 Wolf’s intense engagement with French painting while in Paris in 1770/71 proved to be of central importance. This is vividly demonstrated in the exhibition with works by François Boucher, Claude-Joseph Vernet, Philippe-Jacques de Loutherbourg the Younger, and Hubert Robert. Surprisingly, Wolf profits greatly from his engagement with contemporary marine paintings and their depictions of dramatic storms at sea and shipwrecks.
 The exhibition includes 126 works by Caspar Wolf and his contemporaries as well as a selection of recent photographs taken at these respective locations in the Alps.
In conjunction with this exhibition, the Kupferstichkabinett at the Kunstmuseum Basel will present highlights from its wealth of drawings and prints by Caspar Wolf.
Support for the exhibition comes from:
- Peter and Simone Forcart-Staehelin
- L. + Th. La Roche-Foundation
- Foundation for the Kunstmuseum Basel
 
 
 
Kunstmuseum Basel       19.10.2014 - 01.02.2015
 
 
 
 
Website :  Basel    EN - DE - FR - IT - ES
 
 
 
 

2015-01-06

4550 - BELGIË - OOSTENDE - Mu.ZEE - DE ZEE - salut d'honneur Jan Hoet - 23.10.2014-19.04.2015

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JAN HOET & PHILLIP VAN DEN BOSSCHE

De zee is altijd een enorme inspiratiebron voor de kunsten geweest. Haar aantrekkingskracht is zonder enige twijfel toe te schrijven aan de almaar wisselende impressies. In haar oneindige schoonheid kan ze rustgevend zijn, maar in haar onvoorspelbaarheid wordt ze dan weer bedreigend. Kunstenaars zullen altijd gefascineerd blijven door haar eindeloze spel van licht, ruimte en beweging.
De Zee is een tentoonstelling die net als een golf ongrijpbaar is, uitdeint, inslaat en sporen nalaat die keer op keer gewist worden  door nieuw geweld. De Zee is een tentoonstelling in dialoog met Oostende, over meerdere locaties verspreid, met Mu.ZEE als vertrekpunt van deze ontdekkingstocht.

Jan Hoet zette de krijtlijnen uit voor dit evenement.  Voor hem zou dit zijn laatste grote tentoonstelling worden. Op 27 februari 2014 moesten we echter afscheid nemen van onze curator, die zich tot zijn laatste weken heeft toegelegd op het project. Zo is de tentoonstelling uitgegroeid van een eerbetoon aan de zee tot een hommage aan Jan Hoet… een met grootse gebaren en kleine verhalen, een salut d’honneur.

De tentoonstelling brengt kunstenaars samen uit de recente en de minder recente kunstgeschiedenis, en laat hedendaagse kunstenaars zo in dialoog gaan met de oudere meesters. De Zee zal kunstwerken tonen van Bas Jan Ader, Etel Adnan, Francis Alÿs, Carl Andre, Louis Artan de Saint Martin, John Baldessari, François-Marie Banier, Forrest Bess, Joseph Beuys, Guillaume Bijl, William Blake, Maurice Blaussyld, Arnold Böcklin, Pierre Bonnard, Michaël Borremans, Eugène Boudin, Dirk Braeckman, George Brecht, Marcel Broodthaers, Jean Brusselmans, Kathe Burkhart, François Burland, Michael Buthe, James Lee Byars, Paul Cézanne, Marc Chagall, Jacques Charlier, Emile Claus, Vaast Colson, Leo Copers, Patrick Corillon, Gustave Courbet, Johan Creten, Henri-Edmond Cross, Werner Cuvelier, Ilse D’Hollander, Honoré d’O, Martin d’Orgeval, René Daniëls, Hanne Darboven, Charles-François Daubigny, Franky DC, Gustave De Smet, Tacita Dean, Frederick Debourg Richards, Thierry De Cordier, William Degouve de Nuncques, Luc Deleu, Ronny Delrue, Wim Delvoye, Maurice Denis, Jan Dibbets, Richard Diebenkorn, Karel Dierickx, Rineke Dijkstra, Marlene Dumas, Tim Eitel, James Ensor, Frederick Evans, Jan Fabre, Luciano Fabro, Belu-Simion Fainaru, Hans-Peter Feldmann, Rodney Graham, Joseph Grigely & Amy Vogel, Susan Hiller, Oscar Jespers, Johan Barthold Jongkind, Ilya & Emilia Kabakov, Alex Katz, Fernand Khnopff, Anselm Kiefer, Joseph Kosuth, Jannis Kounellis, Gustave Le Gray, Georges Lemmen, Zoe Leonard, Roy Lichtenstein, Lismonde, Bernd Lohaus, Marcel Maeyer, René Magritte, Marcel Mariën, Jacob Maris, Kris Martin, Henri Matisse, Jacqueline Mesmaeker, Constantin Meunier, Henri Meunier, Reinhard Mucha, Dennis Oppenheim, Silke Otto-Knapp, Panamarenko, Constant Permeke, Francis Picabia, Pablo Picasso, Roger Raveel, Gerhard Richter, Matthieu Ronsse, Ed Ruscha, Joe Scanlan, Rob Scholte, Thomas Schütte, Victor Servranckx, Ettore Spalletti, Leon Spilliaert, Hiroshi Sugimoto, Pascale Marthine Tayou, Paul Thek, Jan Toorop, Susanne Tunn, Joseph Mallord William Turner, Richard Tuttle, Luc Tuymans, Edgard Tytgat, Félix Vallotton, Philippe Vandenberg, Henry Van de Velde, Theo Van Doesburg, Ger van Elk, Anne-Mie Van Kerckhoven, Gerard van Lankveld, Théo van Rysselberghe, Henk Visch, Guillaume Vogels, Lawrence Weiner, Franz West & Heimo Zobernig, Henri-Victor Wolvens, Katharina Wulff



Mu.ZEE - DE ZEE - salut d'honneur Jan Hoet - 23.10.2014-19.04.2015



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4549 - FRANCE - LYON - MAC - Rétrospective Erró - 03.10.2014-22.02.2015

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Erró, Silver Surfer Saga, 1999.
Série Saga of American Comics. Collection de l’artiste.
© Adagp Paris, 2014
 

Né en Islande en 1932, Erró vit et travaille à Paris depuis 1958.

Anticipant les flux continus et infinis d’images et d’informations qui circulent sur les réseaux numériques, Erró s’est, dès le début de son oeuvre, intéressé à la profusion des images et à leur diffusion, inventant des formes de narrations, des grilles de vocabulaire, une grammaire et une rhétorique inédites.

De collages en tableaux, il a ainsi élaboré une sorte d’anti-encyclopédie visuelle et critique de tous les savoirs, pleine de couleurs et de drôleries, d’outrances et d’ambiguïtés, accessible à tous.

C’est cet aspect de l’oeuvre, profondément actuel, qu’expose le macLYON sur 3 étages et près de 3000 m². Collages, performances, films, aquarelles, peintures, dessins : plus de 500 oeuvres choisies dans les collections publiques et privées d’Europe, toutes les formes novatrices du premier storyteller de l’histoire de l’art.



MAC - Rétrospective Erró - 03.10.2014-22.02.2015



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2014-12-31

4548 - BELGIË - DEURLE - Museum Dhondt-Dhaenens - The Still House Group / Service Entrance - 23.11.2014-01.03.2015

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This autumn and winter the museum Dhondt-Dhaenens will have the Still House Group as a guest. The eight artists based in New York realized an evolving project for the different areas of the museum. In addition to their own work, there is also room for a special project that a number of detainees from the prison of Andenne made together with Zachary Susskind, and this in collaboration with the association Art Without Bars.

The Still House Group is a young initiative, organized by artists. It was launched in 2007 by Isaac Brest and Alex Perweiler as an online presentation platform. Since 2010 they have an industrial building in Brooklyn (NYC) where they organize workshops, residencies, lectures and exhibitions. Eight artists work there on a permanent basis. Additionally, other artists are regularly invited to produce work in Still House.

With works from Isaac Brest, Nick Darmstaedter, Louis Eisner, Jack Greer, Brendan Lynch, Dylan Lynch, Alex Perweiler, Zachary Susskind, Peter Sutherland, Augustus Thompson, …



Museum Dhondt-Dhaenens - The Still House Group / Service Entrance - 23.11.2014 - 01.03.2015



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4547 - SWITSERLAND - WINTERTHUR - Kunsthalle Winterthur - Rashid Johnson - 14.12.2014-25.01.2015

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Rashid Johnson

The oeuvre by Chicago born artist Rashid Johnson (b. 1977, lives and works in New York) is abundant in references to Afro-American culture: Shea butter, African animal skins, and/or icons of Afro-American literature and music are the subjects that appear in ever changing constellations. Over the years these references have developed into an individual iconography; they have emancipated from their origin, while retaining a strong connection to the place from which they were born.
The colour black has long been prominent in the artist’s works; and thus the walls of the main hall will feature this colour for the first time in the history of the Kunsthalle. They provide a stage for a selection of wall based works that are also dominated by the colour black, and additionally to a new installation that Johnson produced for the show in Winterthur.

To counter this almost self-sufficient presence of art in the main hall, the other rooms show a selection of works that invite the visitor much more directly – and colourfully – to engage with them. Objects such as Persian rugs, mirrors and a bed appear, making reference to a more general domestic background. Over the years, the abundance of references has increasingly merged with an opulence of materials; the result is a universe that behaves autonomously, mysteriously and completely sovereign, while also maintaining a strong connection to the viewer.



Kunsthalle Winterthur - Rashid Johnson - 14.12.2014 - 25.01.2015



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2014-12-25

4546 - BELGIË - GENT - Love Letters in War and Peace - 08.11.2014-22.02.2015

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French soldier 1914-1918  - London, Imperial War Museums

Love is expressed in several different ways. Firstly in letters, but also in the visual arts, on paper and on canvas, in photography and in cinema. “Love Letters” follows the visual traces of famous and lesser-known romances, from the prude Victorian society and the liberated yet defeatist gay Twenties to the elusive desire of the “fin de siècle” and the insanity of the war years. Tender, devoted and hidden romances alternate with unrequited and forbidden love, which is recorded, painted, sculpted, photographed and filmed with admiration, ecstasy, desire or even despair. Lovers appeal to the imagination. We look and listen to what Guillaume Apollinaire, Arthur Rimbaud, Camille Claudel, Hannah Höch, F.T. Marinetti and Pablo Picasso have to say on the subject of love. And because love is an everyday occurrence, everyday stories also deserve a platform. As a consequence of literacy and the development of the mail system, the art of correspondence experienced an unprecedented growth during the First World War (1914-1918). The wartime love letters – handwritten messages to loved ones in remote destinations - which were written on and behind the frontlines and which helped the writers on either side of the frontline briefly forget about the horrors of war, are unknown but especially poignant.

At the same time, the museum will exhibit the project of Mona Hatoum, an artist of Palestinian origin, in whose work the concept of love and war is always present in one way or another.


 
MSK Gent     08.11.2014 -22.02.2015



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4545 - SWITZERLAND-ZÜRICH - ‘Monolithic Water’ - 28.11.2014-01.03.2015

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James Ensor, Beach at Ostend, around 1915
Kunsthaus Zürich, © 2014 ProLitteris, Zurich

‘Monolithic Water’ focuses on the element of water in art. The latest in the ‘Picture Ballot!’ series, the presentation, which is curated by art historian Claire Hoffmann, examines how painting and photography have investigated the phenomenon of the shimmering surface and human beings’ relationship with water. Paintings, photographs, prints, videos and installations by James Ensor, Morris Louis, Gerhard Richter, Roni Horn, Klara Hobza, Clare Kenny, Pamela Rosenkranz and others open up a broad range of historical and thematic perspectives.
‘Nous sommes tous sortis de la mer’ – ‘We all emerged from the sea’ – proclaimed James Ensor in 1922. His statement traces its lineage back to creation myths in which water is the origin of all things: from the Greek Thales of Miletus and his philosophy of the nature of matter, through the Bible to the evolutionary theory of land colonization. In his writings, Ensor (1860–1949) repeatedly declares the sea to be the source of his artistic creativity. For the Belgian, who spent most of his life by the North Sea, contemplation of the open water was both inspiration and training for the eye. In ‘Beach at Ostend’ (around 1915), sand, sea and sky are divided into horizontal zones of colour that almost coalesce.


 
Kunsthaus Zürich        28.11.2014 - 01.03.2015



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2014-12-17

4544 - BELGIË - ANTWERPEN - MAS - Sacred Places, Sacred Books - 19.09.2014-18.01.2015

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Sacred Places, Sacred Books

Rome, Mecca and Jerusalem in Antwerp

 
‘Sacred Places, Sacred Books’ brings Rome, Mecca and Jerusalem to Antwerp. Discover the differences and similarities between Judaism, Christianity and Islam. More than 200 works of art, historical and religious treasures await you.
 
Exhibition about Judaism, Christianity and Islam
 
The MAS provides insight into the tradition of making pilgrimages. Jews, Christians and Muslims feel strongly connected to their holy places. Pilgrims make a long journey in order to feel the power of God there. The exhibition follows their journey, from their departure to their visit of the shrine and their return home. What makes places such as Jerusalem, Rome or Mecca so special? Why do people visit the resting place of saints or rabbis? As you discover the exhibition, travel with the pilgrims and relive their feelings of hope, ecstasy and purification.
 

Many cultural events are planned in the city to accompany the exhibition. Why not attend a concert by Graindelavoix, or the performance of Jerusalem by the Berlin theater company? Take part in the walks or special events allowing you to discover Antwerp’s finest churches, synagogues and mosques. Or enjoy the smaller exhibitions at the Museum Plantin-Moretus, the Monumental Churches of Antwerp and Ruusbroec society (Ruusbroecgenootschap) research center.


 
 
MAS     19.09.2014 - 18.01.2015
 
 
 
 
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4543 - OXFORD - U.K. - Love is Enough : William Morris & Andy Warhol - 06.12.2014-08.03.2015

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Love is Enough draws together iconic and rarely seen works by two giants of the 19th and 20th centuries. This unconventional combination of artists’ work is curated by Turner Prize-winning artist Jeremy Deller who cites Morris and Warhol as his two greatest artistic influences.
 
Deller draws many surprising connections between these two artists who left an indelible mark on their generations and arguably those that followed. Morris and Warhol both established printmaking businesses and distributed their work through new forms of mass production. Both were natural collaborators who worked with the prominent artists of their time to develop working methods that did much to redefine the artist’s relationship to the studio and factory. Morris achieved this through his mastering of craft techniques and his rejection of industrial processes and Warhol through the activities of the Factory, which often parodied the industrial culture of the mid-late 20th century.

Works sourced from public and private collections across the UK and the USA include a panel from the epic and rarely seen Holy Grail tapestry series completed by William Morris in 1896. Alongside will be shown a selection of Warhol’s iconic silkscreens and archival material from the treasure-trove that is the Warhol Museum in Pittsburgh, including a signed photograph of Shirley Temple posted to a thirteen-year old Andy from the actress in 1941.



Modern Art Oxford      06.12.2014 - 08.03.2015



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2014-12-10

4542 - BELGIQUE - LIEGE - L'Art dégénéré selon Hitler - 17.10.2014-29.03.2015

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L’art et l’histoire sont réunis dans une exposition consacrée aux oeuvres qui furent vendues aux enchères par les Allemands à Lucerne en 1939.
À l'aube de la Seconde Guerre mondiale, les autorités nazies qualifient plusieurs oeuvres d’art moderne présentes dans les musées allemands de « dégénérées » et souhaitent les liquider. En juin 1939, elles organisent une importante vente aux enchères à Lucerne. Cette vente, qui prendra une dimension historique, réunit les noms des plus grands artistes de l’époque : Gauguin, Chagall, Matisse, Kokoschka ou encore Picasso...
L'État belge est présent à la vente, de même qu’une délégation liégeoise qui a réuni de gros moyens. La Belgique acquiert plusieurs oeuvres pour les musées d’Anvers et de Bruxelles tandis que Liège achète neuf toiles exceptionnelles qui font actuellement partie des oeuvres majeures des collections de la Ville. Aujourd'hui dispersées à travers le monde dans de prestigieuses collections privées et publiques, une grande part des oeuvres de la vente seront réunies pour la première fois et présentées en exclusivité à La Cité Miroir de Liège. L’exposition sera étoffée par de nombreux documents évoquant le contexte historique de la vente.
 
Une exposition organisée par La Ville de Liège, Les Musées de Liège asbl, l’Université de Liège, MNEMA asbl et Les Territoires de la Mémoire asbl.
 
 
 
La Cité Miroir     17.10.2014 - 29.03.2014
 
 
 
 
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4541 - FINLAND-HELSINKI - Sibelius and the World of Art - 17.10.2014-22.03.2015

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Akseli Gallen-Kallela: En Saga (Jean Sibelius and Fantasy Landscape), 1894. Ainola Foundation. Photo: Finnish National Gallery / Hannu Pakarinen
 
Next year marks the 150th anniversary of the birth of Jean Sibelius. Ateneum Art Museum makes an early start on the festivities in October by opening an extensive jubilee exhibition that explores the composer's contacts with the art scene of his day.

Sibelius was an inspiration to many artists, and he himself was surrounded by art in many ways: his home in the cultural landscape at Lake Tuusula, his circle of artist friends and relatives, and the art collection at Ainola provided a varied background for his work as a composer. Completed in 1892, Sibelius’s tone poem En Saga inspired Akseli Gallen-Kallela to paint an eponymous work two years later. In 1909, a trip to the Koli wilderness with his brother-in-law, Eero Järnefelt, gave Sibelius the inspiration for his fourth symphony, which he dedicated to Järnefelt.

Sibelius and the World of Art explores the links between the composer’s work and the art scene of his time, both on a personal level as well as in the context of the art movements of the day. The show covers Sibelius’s youth and his international breakthrough, fantasies and myths about the famous composer, as well as his symphonic landscapes and nature motifs. The portraits in the exhibition show us the composer both as a young genius and as the subject of the unique Sibelius Monument of the late 1960s.

The exhibition is produced by the Ateneum Art Museum in collaboration with the Ainola Foundation. The exhibition is accompanied by a catalogue in Finnish, Swedish and English.

Curators of the exhibition: Finnish National Gallery specialists Anna-Maria von Bonsdorff, PhD, Timo Huusko, PhL and Riitta Ojanperä, PhD.
Musical selections: Folke Gräsbeck, DMus.
Exhibition architect: Osmo Leppälä
Editor of the Catalogue: PhD Hanna-Leena Paloposki



 
Ateneum - Finnish National Gallery   17.10.2014 - 22.03.2015




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2014-12-03

4540 - BELGIË - BRUSSEL - Onsterfelijke prinsen - Pracht en praal van de Etruskische adel in Vulci - Splendour of the Etruscan aristocracy in Vulci - 08.10.2014-11.01.2015

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De grote Etruskische steden blijven mooie archeologische verrassingen opleveren!
Op deze expositie komt u meer te weten over de opmerkelijke ontdekkingen die de opgravingen in de necropool van Osteria tijdens de lente van 2013 opleverden. Onder een tumulus, in een van de grafkamers, bracht het geduldige werk van de archeologen twee zilveren handen met vergulde nagels aan het licht. Wellicht maakten deze uitzonderlijke objecten deel uit van een samengesteld beeld met monumentale afmetingen. Er werden ook parels van goud, barnsteen, glas en faience evenals andere metalen sierelementen opgegraven. Die werden ooit op kleding genaaid of samengevoegd tot halskettingen om de doden te tooien. Een bijkomend bewijs voor de hoge status van de overledenen is de paardenkar die werd bijgezet onder de tumulus. De Etruskische elite vertoonde een grote voorliefde voor geïmporteerde objecten uit de hele Middellandse-Zeewereld. Een scarabee in faience met de cartouche van een farao is daarvan een sprekend voorbeeld.

De tentoonstelling wordt georganiseerd door het departement Archeologie van Zuid-Etrurië. Zij vindt plaats in Brussel naar aanleiding van het Italiaanse voorzitterschap van de Europese Unie en geniet de vrijgevige steun van de regio Latium en de gemeenten Montalto di Castro en Canino.



Etruscan cities still have many fascinating secrets to reveal.
This exhibition presents the remarkable discoveries made during excavations at the Osteria necropolis in 2013. Under a tumulus, in one of the funerary chambers, archaeologists uncovered two silver hands with gilded nails. These exceptional objects must have belonged to a composite monumental statue. Beads of gold, amber, glass and faience as well as other metal ornaments were also discovered in the same tomb and must have been sown on to clothes or strung as necklaces to adorn the dead. A ceremonial chariot was also buried under the tumulus, an additional sign of the high status of the deceased. A faience scarab decorated with the cartouche of a pharaoh is an exceptional testimony to the taste of the Etruscan elite for objects imported from all over the Mediterranean.
 


Jubelparkmuseum       08.10.2014 - 11.01.2014




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4539 - SPAIN - BILBAO - The Art of Our Time: Masterpieces from the Guggenheim Collections - 23.09.2014-03.05.2015

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The Art of Our Time: Masterpieces from the Guggenheim Collections celebrates 20 years of partnership between the Solomon R. Guggenheim Foundation and the Guggenheim Museum Bilbao. This exhibition, which echoes the museum’s inaugural presentation in 1997, reveals how the collections of the Guggenheim constellation of museums have grown and flourished over the years, and it also traces the how the Guggenheim Museum Bilbao has evolved into maturity as an international exemplar.

Following a loose chronology, the exhibition starts on the third floor and reveals the historical configuration of the collections and synergies that have emerged among them. The show begins at the dawn of the 20th century, a time marked by the triumph of avant-garde movements that, armed with utopian ideals and ambitions for political change, challenged the rich figurative legacy of Western art and advocated new approaches that looked beyond mere aesthetic concerns. This section also features two significant and independent monographic groups of sculptures from the Bilbao Collection—one dedicated to Jorge Oteiza and the other to Eduardo Chillida.

Most of the second floor is given over to large-format works, such as a mural by Sol LeWitt created specifically for the gallery in which it is shown and works by Anselm Kiefer presented in the gallery for which they were acquired. The first floor, devoted to the most recent creations, reflects the Guggenheim’s engagement with new centers of contemporary artistic production around the world.

Complementing the works above are the site-specific works in galleries 101 and 104, commissioned in keeping with one of the museum’s fundamental acquisition policies: Jenny Holzer’s Installation for Bilbao (1997) and Richard Serra’s sculptural group The Matter of Time (1994–2005). The exhibition also leads visitors outdoors to explore works on the museum’s grounds that strike up provocative dialogues with their surroundings: Yves Klein’s volatile Fire Fountain (1961, fabricated 1997) and Fujiko Nakaya’s Fog Sculpture #08025 (F.O.G.) (1998) in the pond; Louise Bourgeois’s monumental Maman (1999), Anish Kapoor’s Tall Tree & the Eye (2009), and Jeff Koons’s Tulips (1995–2004) overlooking the river; Chillida’s Embrace XI (1996) on the second-floor terrace; Koons’s Puppy (1992) in the museum plaza; and Arcos rojos / Arku gorriak (2007), Daniel Buren’s intervention on La Salve Bridge.



 
Guggenheim Bilbao    23.09.2014 - 03.05.2015




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2014-11-26

4538 - BELGIË - BRUGGE - Genummerd & getekend. Marcel van Maele in Meervoud - 13.09.2014-18.01.2015

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Marcel van Maele (Brugge 1931 - Antwerpen 2009) was een dichter, roman- en toneelschrijver, performer en beeldend kunstenaar. Hij stond bekend als een markante en rebelse figuur. Al heel jong zwierf hij de wereld rond, op de vlucht voor de voor hem verstikkende mentaliteit in Brugge en Vlaanderen. Vrijheid voerde hij hoog in het vaandel, zowel in het leven als in zijn werk. Poëzie was voor hem een zoektocht, een loskomen van de geldende regels en hoefde niet beperkt te blijven tot het blad papier.

Van Maele verspreidde zijn poëzie dan ook via heel uiteenlopende wegen. Hij bracht niet alleen gedrukte bundels uit, maar was ook op vele podia te zien. Bovendien werkte hij mee aan literaire tijdschriften, nam hij een lp op, creëerde hij bibliofiele uitgaven in samenwerking met beeldende kunstenaars en maakte hij zelf ook plastisch werk. Typisch Van Maele was het gebruik van de multipel (een kunstwerk in een oplage).

Bekend zijn de 'Gebottelde Gedichten' waarmee hij zijn werk op onleesbare wijze ter beschikking stelde. De tentoonstelling in het Gezellemuseum brengt voor het eerst al het 'gepubliceerde' werk van Van Maele samen. Naast zijn gedrukte bundels, grafische edities en kunstenaarsmappen, worden al zijn multipels gepresenteerd. Dit archief van edities wordt aangevuld met film- en geluidsfragmenten. Van Maele is dus weer even terug in Brugge, in het geboortehuis van Gezelle aan wie hij het gedicht 'Bevlogen en bevangen' opdroeg.



Gezellemuseum    13.09.2014 - 18.01.2015




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4537 - DEUTSCHLAND - BREMEN - Jason Rhoades, Four Roads - 18.09.2014-04.01.2015

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Jason Rhoades, My Madinah: In pursuit of my ermitage… (Detail), 2004/2013
Estate of Jason Rhoades, Installation view Institute of Contemporary Art, University of Pennsylvania, Photo: Aaron Igler/Greenhouse Media
Courtesy Estate of Jason Rhoades; Hauser & Wirth; David Zwirner, New York/London

The Kunsthalle Bremen is presenting a major exhibition of the American artist Jason Rhoades (1965 – 2006, Los Angeles), who attained international recognition in the early nineteen-nineties with spectacular and room-filling installations. Active in both Europe and America, Rhoades is considered to be one of the most important artists of his generation. The exhibition attempts a first overview of his complex oeuvre since his premature death with four installations to be navigated curatorially by four interpretive paths or roads. The four roads are: “Jason Rhoades, American Artist”; “Jason the Mason” (a biographical thread named for a childhood nickname); “systems” (language, scale, indexing, economies), and “taboo”. The four essential aspects of his oeuvre are presented through four large, exemplary installations from various phases of his artistic production. By foregrounding these themes, the exhibition aims to offer inroads into the sprawling, labyrinthine, spectacular, overloaded, and detailed body of work that Rhoades conceived of as one-overarching project – to make sense of a complex and layered world and play with cultural stereotypes and personal myths.

"Jason Rhoades, Four Roads" is organized by the Institute of Contemporary Art, University of Pennsylvania  and curated by ICA Chief Curator, Ingrid Schaffner. This exhibition is made possible by the Pew Center for Arts & Heritage. The exhibition is a cooperation of the Instiute of Contemporary Art, University of Pennsylvania, Kunsthalle Bremen and BALTIC, Center for Contemporary Art, Gateshead.




Kunsthalle Bremen     18.09.2014 - 04.01.2015




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2014-11-19

4536 - BELGIË - HASSELT - Future Fictions. Perspectives on world-building - 05.10.2014-04.01.2015

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Perspectives on world-building
With Future Fictions, Z33 continues the debate about our future, exploring how contemporary artists, designers and architects relate to future thinking and imaging: from mapping, questioning and criticizing, to developing complex visions about the structures and systems that may shape our life in the future.

Z33 wishes to draw attention to what future thinking and imaging can be. Not pretending to know what our future will be, nor which inventive solutions will solve our present-day problems, we rather aim to explore a set of different visions/fictions that artists, designers and architects put forward using different methods and tools for future thinking and visualizing.
In doing so, Z33 wishes to shift the debate away from what is possible, plausible and probable towards what is preferable: Future Fictions therefore is essentially a project about ideas and ideals, about dreams beyond hope and fear.

Can we learn to critically assess the future visions presented? Which criteria would be valid in doing so? In other words, can we learn to become ‘future literate’?

The proposed visions/fictions presented aim to engage us both intellectually as well as emotionally in a quest to consider exactly what kind of future we might want. In this, we all have a role to play: ‘After all, the future still has to be made today.’  - Anne Galloway*

With: Neïl Beloufa (FR), Nelly Ben Hayoun (FR), Blueprints for the Unknown (UK), Bureau Europa (NL) / Lara Schrijver (NL), Dept. Architectuur UHasselt (B), Theo Deutinger (AT), Dunne & Raby (UK), FoAM (BE), El Ultimo Grito (ES), Arne Hendriks (NL) / Monnik (NL), Shane Hope (US), Speedism (B/DE), Near Future Laboratory (CH/SP/US), Hans Op de Beeck (B), Pantopicon (B), The Extrapolation Factory (DE/US), Atelier Van Lieshout (NL), Chris Woebken (DE), The Xijing Men (JP/CN/KR), Liam Young (AU)

Curator: Karen Verschooren, Z33



 
Z 33  Huis voor actuele kunst    05.10.2014 - 04.01.2015



Website & bron : Z33  NL - FR - EN

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4535 - ÖSTERREICH - WIEN - Looking at Monet - 24.10.2014-08.02.2015

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The 2014 autumn exhibition in the Belvedere’s Orangery shows impressionist icons in an overview which is unique throughout Europe. At the same time, the impressionist influence on the Austrian art scene will be in the focus of the exhibition. Containing first class loans from international museums and private lenders, the exhibition gathers key pieces by Claude Monet, some of which have never been shown in Austria.
18 years after the legendary 1996 Monet exhibition, the Belvedere builds another spectacular special show around the master of the impressionist light painting. The show focuses on the idea of Monet as source of inspiration for contemporary artists, who took their inspiration from his motives and brushwork.
Selected works by the pioneer of modernism enter into a dialogue with Austrian artists, who, after getting in contact with Monet‘s work, were referencing to it in their own works.

Besides Edouard Manet, the Viennese art scene of the late nineteenth and early twentieth centuries regarded Monet as the central and formative figure of French Impressionism. His works were on display in exhibitions at the Künstlerhaus, the Secession, and the legendary Miethke Gallery and were known to his contemporaries from periodicals and books. The most outstanding show, entitled The Evolution of Impressionism in Painting and Sculpture, was held at the Vienna Secession in 1903, where the Modern Gallery (the institution preceding today’s Österreichische Galerie Belvedere) acquired Monet’s painting The Chef (Monsieur Paul); later on, Fishermen on the Seine at Poissy and one of his masterpieces, Garden Path at Giverny, were added to the collection. Monet’s influence on Austrian painters and photographers was immediate and multifaceted. Some artists adopted his stylistic handling, while others were interested in his pictorial motifs, compositions, or conceptual approaches.

The exhibition at the Belvedere assembles works by the exceptional French painter that were either on view in Vienna around 1900 or served as models and presents them together with selected paintings and photographs by Austrian artists active during the period in question. Both this juxtaposition and historical documents will allow us to trace Monet’s impact on domestic art production, such as by Gustav Klimt, Emil Jakob Schindler, Max Weiler,
Olga Wisinger-Florian, and Ludwig Heinrich Jungnickel.



Belvedere - Orangery   24.10.2014 - 08.02.2015



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2014-11-12

4530 - BELGIË - ELSENE-BRUSSEL - PAUL DELVAUX unveiled - 23.10.2014-18.01.2015

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Paul Delvaux, Les Courtisanes, 1944 © Paul Delvaux Foundation, St-Idesbald-Koksijde, Belgium, photo V Everarts, Bruxelles 2013

The Museum of Ixelles presents the carefree and sensitive world of the famous Belgian master, Paul Delvaux.
A non-conformist and original exhibition PAUL DELVAUX unveiled revisits the work of the artist by highlighting six omnipresent pictorial themes of femininity, mystery, dreams, escapism, loneliness and theatricality.
Under close scrutiny from the keen eyes of curators, art historians, art critics and collectors, the unique approach of such themes reveals a richness, depth and poetic force in the work of Paul Delvaux.


 
Museum van Elsene    23.10.2014 - 18.01.2015




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Website : Elsene    NL - FR

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