2015-09-02

4618 - BELGIË-ANTWERPEN - Recent acquisitions - Recente aanwinsten - 14.08.2015-31.01.2016

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The MUHKA-collection is always expanding. In our Recent acquisitions exhibition we present the recent purchases that help shape our existing collection. The basis for our acquisitions are: the avant-garde tradition in Antwerp from the 1960s onwards; the multipolarity of international relations; the importance of the ‘performative’ nature of art and the social engagement of contemporary art. The influence images have on our daily lives also plays a part in the acquisitions. In recent years our collection has been enriched by important works by Belgian-based artists, as well as artists from: Africa, Asia and North- and South America.

A number of key artists have been given a platform with the help of ARTtube, the online video channel lead by 15 Belgian and Dutch museums. The videos offer insight into the artistic process of these influential artists.

Recent acquisitions presents an overview of the M HKA-collection, an assemblage of works that is developed based on three main pillars: the image, the action and the society.

Artists: Victor Alimpiev & Marian Zhunin, Carla Arocha, Pedro Barateiro, Teresa Burga, Jan Cox, Jan De Cock, Jan De Lauré, Craigie Horsfield, Jean Katambayi, Maha Maamoun, Imran Quereshi, Ayman Ramadan, Bart Stolle, Narcisse Tordoir in collaboration with Alioune Bâ & Brehima Koné, Vanessa van Obberghen, Richard Venlet and Wout Vercammen.

Starting October 16th, recent acquisitions from Olga Chernysheva, Robert Filliou, Taus Makhacheva, Kerry James Marshall, Panamarenko, Rinus Van de Velde and Franz West are added to the exhibition.



MUKHA - Recent acquisitions - Recente aanwinsten - 14.08.2015-31.01.2016



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4617 - SWITSERLAND-BERN - Toulouse-Lautrec and Photography - 28.08.2015-13.12.2015

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Henri de Toulouse-Lautrec, Im Moulin Rouge, Die Goulue und ihre Schwester, 1892. Farbige Lithographie (Ausschnitt)
© Sammlung E.W.K., Bern

For the first time ever, the Kunstmuseum Bern will be juxtaposing the work of the world-famous French artist Henri de Toulouse-Lautrec (1864-1901) with the photography of his time. It will be confronting his paintings, drawings, lithographs, and posters with contemporary photographs that contain the same or very similar motifs, often having in fact served the artist as models for his work. 

None of the photographs were made by Toulouse-Lautrec. In fact he never took pictures himself, but did often commission his friends to do it for him.  Sometimes he would use these pictures as models or templates for his art, or sometimes he desired stage performances to be visually documented. Indeed, Toulouse-Lautrec had a profoundly photographic eye like hardly another artist of his epoch. Whatever he depicted and how he did so would have been inconceivable without photography. This is not only evidenced in his ingenious compositions with their cropped figures, but also his sketchy style is intrinsically linked to it: just as modern photography had as its goal, Toulouse-Lautrec, too, sought greatest spontaneity in capturing the fleeting moment. And who could have painted the artificial world of Paris’s red-light district Montmartre, its seductive delights and the downfalls or the ruin lurking behind its bright facades, as truthfully and matter-of-factly—as photographically—as Toulouse-Lautrec?

Henri de Toulouse-Lautrec's painting Madame Misia Natanson au piano (1897) belongs to the Kunstmuseum Bern Collection. Misia Natanson, wife of the publisher Thadée Natanson, was a much-admired personage in Parisian artistic circles. The exhibition is devoting a whole separate section to her and her illustrious circle. The painting will be mounted in the exhibition room alongside other paintings, prints, and photographs. The Kunstmuseum Bern Collection also owns a number of prints by Toulouse-Lautrec, and, in view of the pending exhibition, was able to accrue further prints in 2014.

The exhibition will be rounded off by a supplementary program comprising films, themed guided tours, and concerts—as well as a catalogue comprising research contributions and color plates.



Kunstmuseum Bern - Toulouse-Lautrec and Photography - 28.08.2015 - 13.12.2015



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2015-08-26

4616 - BELGIË- BRUSSEL-ELSENE - Sarkis with Parajanov - 24.09.2015-24.01.2016

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In the context of the commemoration, in 2015, of the Armenian Genocide centennial, the Boghossian Foundation presents an exhibition of two major artists of the Armenian contemporary culture.
Born in 1938, in Istanbul, Sarkis, studied French, painting and interior design before moving to Paris in 1964. In 1969, he is invited by the critic Harald Szeemann to take part in the known exhibition When Attitudes Become Form. Since the 1980s, Sarkis broke into the international scene with his striking plastic universe. Working with sculpture, installations, photography and cinema; he brings together objects from different cultures, questioning the memory politically and poetically.

In 2015, he is invited to represent the Turkish Pavilion with his work Respiro and to take part in the exhibition Armenity at the Armenian Pavilion at the 56th edition of the International Venice Biennial. He is also showcasing his work at the 14th edition of the Istanbul Biennial.

Born in 1924, Sergueï Parajanov, is considered as one of the major filmmaker of modern cinema. He became famous in 1964 with his movie Shadows of Forgotten Ancestors (Wild Horses of Fire). But it is truly in 1986, with his movie Sayat Nova, that the artist showed his poetic and allegoric writing, transmitted into a staggering visual beauty. This film was not considered as official art and thus was not distributed on the soviet territory. From 1973 to 1977, Parajanov was detained in a Soviet labour camp; this aroused the mobilisation of the artistic world. During his imprisonment, he created a singular work composed of collages, boxes, dolls and hats just like “condensed movies” he said. The essential of his production is conserved at the Museum of Yerevan (Armenia), who is dedicated to the artist.

He shot two other movies: Legend of Suram Fortress (1985) and Achik Kerib (1988), inspired by the cultural and ethnic diversity of the Caucasus. He passed away in 1990 on the shooting of the movie The Confession.

As a tribute, Sarkis has conceptualised for the Villa Empain, a facing of their respective works.

Presented for the first time in Belgium on the occasion of this exhibition, all of Parajanov’s works come from the Parajanov Museum of Yerevan (Armenia).

Sarkis is represented by the Galerie Nathalie Obadia (Brussels and Paris) who contributes considerably to this exhibition.

Curators: Diane Hennebert, Christophe Dosogne and Erik Bullot

The exhibition will be accompanied by a catalogue including a study of Erik Bullot and an original script of Sergueï Parajanov.


 
Boghossian Foundation - Villa Empain - Sarkis with Parajanov - 24.09.2015 - 24.01.2016



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4615 - U.K.-LONDON - Audrey Hepburn - Portraits of an Icon - 02.07.2015-18.10.2015

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This fascinating photographic exhibition will illustrate the life of actress and fashion icon Audrey Hepburn (1929-1993). From her early years as a chorus girl in London’s West End through to her philanthropic work in later life, Portraits of an Icon will celebrate one of the world’s most photographed and recognisable stars.

A selection of more than seventy images will define Hepburn’s iconography, including classic and rarely seen prints from leading twentieth-century photographers such as Richard Avedon, Cecil Beaton, Terry O’Neill, Norman Parkinson and Irving Penn. Alongside these, an array of vintage magazine covers, film stills, and extraordinary archival material will complete her captivating story.

Supported by Midge and Simon Palley

With support from the Bernard Lee Schwartz Foundation and the Audrey Hepburn Exhibition Supporters Group

Organised with support from the Audrey Hepburn Estate / Luca Dotti & Sean Hepburn Ferrer


 
National Portrait Gallery - Audrey Hepburn - Portraits of an Icon - 02.07.2015-18.10.2015



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2015-08-19

4614 - BELGIË-ANTWERPEN - Mijn Vlakke Land. Over fotografie en landschap - 26.06.2015-04.10.2015

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 Mountains of Desire Arno Roncada, 2009

 

This summer, FoMu takes you on a visual journey through unspoiled nature and poses the question: Is it possible to recreate the sensation of hiking within the walls of a museum? When we go for a walk, we experience a succession of impressions that melt almost imperceptibly into each other. The exhibition Mijn Vlakke Land (My Flat Land) is a photographic montage that features works from 1856 to 2015 by over 50 artists from Belgium and abroad.

 

The ambivalence of landscape is at the heart of the exhibition, from safe haven to an experience of the sublime. Rather than a presentation of contemporary or historic points of view, the exhibition is conceived as an associative tour through nature. The only human presence is that of the photographer, who attempts to capture a personal vision of the natural scenery. Can an artist hold their own in such a poetic encounter with the elements?

 
Music lovers will recognise the reference to Jacques Brel in the title of this exhibition. Alongside the tribute to Brel’s lush ode to the Low Countries, flat also refers to an inevitable physical characteristic of photography. A photograph is a two-dimensional object on to which we project desires and expectations. The summer exhibition is thus more of a hymn to the romantic landscapes of our hearts and imaginations than to the actual Flemish countryside.

 
 
 
Deze zomer neemt het FoMu je mee op een visuele tocht door de ongerepte natuur. Kan de ervaring van de wandelaar ook binnen de muren van een museum plaatsvinden? Een wandeling is als een aaneenschakeling van indrukken die haast onmerkbaar in elkaar overvloeien. De tentoonstelling Mijn Vlakke Land is een fotografische montage met werk van meer dan 50 verschillende kunstenaars uit binnen- en buitenland, van 1856 tot 2015.
 
Centraal staat het ambivalente landschap, van toevluchtsoord tot sublieme ervaring. Eerder dan een hedendaags of historisch overzicht te schetsen is deze tentoonstelling opgevat als een associatieve rondgang door de natuur. De enige aanwezige is de fotograaf, die het natuurlijke landschap op persoonlijke wijze naar zijn of haar hand probeert te zetten. Is de kunstenaar in dit poëtisch treffen met de elementen bij voorbaat verloren?
 
Elke muziekliefhebber herkent in de titel van de tentoonstelling de knipoog naar Jacques Brel. Naast een  hommage aan deze kolkende lofzang op de Lage Landen is vlakte ook een onmiskenbaar kenmerk van elke foto. Een foto is een plat en tweedimensionaal vlak, waarop we verlangens en verwachtingen projecteren. Zo bezingt de zomertentoonstelling niet het fysieke Vlaamse landschap maar veeleer romantische landschappen die zich in ons hoofd en hart bevinden.
 
Met werk van Ansel Adams (US), Francis Alÿs (BE), Frères Bisson (FR), Paul Bogaers (NL), Dirk Braeckman (BE), Anna Collette (US), Armand Dandoy (BE), Michiel De Cleene (BE), Gino De Dominicis (IT), Misha de Ridder (NL), Babs Decruyenaere (BE), Thomas Demand (DE), Chloe Dewe Mathews (UK), Constant Dullaart (NL), Gilbert Fastenaekens (BE), Joan Fontcuberta (ES), Anne Geene (NL), Geert Goiris (BE), Yann Gross (CH), Michiel Hendryckx (BE), David Horvitz (US), William Henry Jackson (US), Adam Jeppesen (DK), Jan Kempenaers (BE), Mark Klett (US), Robert Knoth & Antoinette de Jong (NL), Alvin Langdon Coburn (US), Gustave Le Gray (FR), Jochen Lempert (DE), Albéric Lunden (BE), Robert Macpherson (UK), Michèle Matyn (BE), Andreas Mühe (DE), Asako Narahashi (JP), Bruno Roels (BE), Henning Rogge (DE), Arno Roncada (BE), Thomas Ruff (DE), Hans-Christian Schink (DE), Charles T. Scowen (UK), Liam Singelyn (BE), Berndnaut Smilde (NL), Dominique Somers (BE), Alfred Stieglitz (US), Thomas Struth (DE), Hiroshi Sugimoto (JP), William Henry Fox Talbot (UK), James Valentine (UK), Awoiska van der Molen (NL), Corinne Vionnet (CH), Robert Voit (DE), Ester Vonplon (CH), Charles Waldack (BE), Carleton E. Watkins (US), Edward Weston (US), Emma Wieslander (SE) en Masao Yamamoto (JP).
 
Curatoren: Maarten Dings en Joachim Naudts
 
 
 
FOMU - Mijn Vlakke Land. Over fotografie en landschap - 26.06.2015 - 04.10.2015
 
 

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4613 - ÖSTERREICH-SALZBURG - Charlotte Salomon. Life? or Theatre? - 11.07.2015-18.10.2015

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Life? or Theatre?, a cycle of gouaches by Charlotte Salomon (b. Berlin, 1917; d. Auschwitz, 1943), is a singular document of German-Jewish life in 1920s and 1930s Berlin. Comprising 1 325 works, it was created in France, where Salomon lived in exile, between 1940 and 1942; soon after its completion, the artist was deported and murdered at the age of twenty-six. A part of the cycle was on display at Documenta (13) in 2012; an opera adaptation of the work by Marc-André Dalbavie commissioned by the Salzburg Festival was performed in 2014, and a ballet version with music by Michelle DiBucci was premièred by the Musiktheater im Revier Gelsenkirchen, in 2015. The Museum der Moderne Salzburg shows a representative selection of 278 paintings from the cycle. No less captivating than its extraordinary history are the luminous colors of the gouaches and the way they interweave imagery, text, and music. Salomon herself described her work as a “Singespiel”; references to well-known pieces of music are scattered throughout the cycle. To reflect this aspect, many of the compositions selected by Salomon will be heard in the exhibition, complementing individual gouaches. A room dedicated to the opera will show photographs and costumes of the première at the Salzburg Festival 2014.

The consummate achievement of a life cut short, Life? or Theatre? draws on the history of Salomon’s family and her own experiences as a Jewish girl in Berlin. It consists of three parts: a preface about her teenage years in Berlin, a central section that tells the story of her love for the singing teacher Alfred Wolfsohn, and an epilogue sketching her life in exile in the south of France between 1939 and 1942. The gouaches are painted in an unrestrained and brightly colorful style that attests to the influence of various contemporary artists. A few dashed lines capture the distinctive features of the characters. The earlier scenes are executed in fairly great detail, but over time Salomon’s style grows increasingly nervous, as though she knew that she had not much time left. The compositions suggest a storyboard for a film, with several scenes integrated into a single picture, views from elevated vantages, and sudden close-ups.

In June 1943, Charlotte Salomon married the Austrian émigré Alexander Nagler. Both were deported a few months later; Salomon, who was pregnant, was murdered upon her arrival in Auschwitz. After the war, the cycle came into the possession of her father and stepmother, who had survived in the Netherlands; they donated it to the Jewish Historical Museum, Amsterdam, where it remains today.

The exhibition Charlotte Salomon. Life? or Theatre? was organized in cooperation with the Jewish Historical Museum, Amsterdam.

Curator: Beatrice von Bormann, Head of Collection; Curatorial Assistant: Barbara Herzog, Museum der Moderne Salzburg


 
Museum der Moderne Salzburg - Charlotte Salomon. Life? or Theatre? - 11.07.2015 - 18.10.2015



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2015-08-12

4612 - BELGIË-BRUGGE - Zomerpresentatie met bruiklenen uit het Broelmuseum - 06.06.2015-18.10.2015

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This summer, the Groeningemuseum is focusing on its own 18th and 19th century collection. Rococo, neoclassical, romantic, symbolist and naturalistic canvases are placed in the spotlight, along with a number of loans from the Kortrijk-based Broelmuseum. Besides works of Suvée, Odevaere and Dobbelaere, Kortrijk also loans an interesting 16th-century portrait of the Antwerp painter Adrian Key. This meticulously painted and highly detailed portrait wonderfully complements the Groeningemuseum’s own Renaissance collection.

Het Groeningemuseum focust deze zomer op de eigen 18de- en 19de-eeuwse collectie. Zowel rococo, neoclassicistische, romantische, symbolistische als naturalistische doeken worden in de kijker geplaatst, samen met enkele bruiklenen uit de Kortrijkse museumcollectie. Naast werken van Joseph Benoît Suvée, Josef Denis Odevaere en Henri Dobbelaere leent Kortrijk ook een interessant 16de-eeuws portret van de Antwerpse schilder Adriaan Key. Dit haarfijn geschilderd en uiterst gedetailleerd portret vormt een prachtige aanvulling op de eigen Renaissance-collectie.



Groeningemuseum - Zomerpresentatie met bruiklenen uit het Broelmuseum - 06.06.2015 - 18.10.2015



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4611 - DEUTSCHLAND-BRÜHL - The World of Tim Burton - 16.08.2015-03.01.2016

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Die Filme des amerikanischen Regisseurs, Produzenten, Autors und Künstlers Tim Burton (»Beetlejuice« (1988), »Big Fish« (2003), »Alice im Wunderland« (2010)) entführen seit über 30 Jahren in außergewöhnliche Welten an der Schwelle zwischen Traum und Realität. Seine Geschichten faszinieren und bewegen weltweit Millionen Menschen und machen ihn zu einem der eigenwilligsten Filmemacher in Hollywood. Während viele seiner Filme im populärkulturellen Bewusstsein tief verankert sind, ist sein bildkünstlerisches Werk weitestgehend noch zu entdecken.

Die Ausstellung »The World of Tim Burton« im Max Ernst Museum Brühl des LVR begibt sich nach Stationen in Prag, Tokio und Osaka zum ersten Mal in Deutschland auf eine Entdeckungsfahrt in die nichtfilmischen Ausdrucksformen des traumhaft-surreal arbeitenden Bild-Magiers. Über 500 Zeichnungen, Gemälde, Filmpuppen, Maquetten, Storyboards oder persönliche Dokumente breiten die Geschichten, Konzepte und Ideen der bizarren Vorstellungswelten dieses multimedial veranlagten Ausnahmekünstlers aus. Einer Reise in den Kopf des morbid-fantastischen Exzentrikers gleich, offenbart die groß angelegte Werkschau die Vielseitigkeit seines kreativen Schaffens und bietet einen spannenden Einblick in den künstlerischen Prozess seiner Ideenfindung.

Der Weg von der Kritzelei auf einer Serviette, über zahlreiche Konzeptzeichnungen bis hin zum Storyboard zeigt den sich oftmals über Jahre hinziehenden Entstehungsprozess von Figuren wie Jack Skellington oder Edward mit den Scherenhänden. Sie bilden das dichte Netzwerk, in dem sich Burtons Kreativität immer wieder eruptionsartig neu befruchtet. Die Hauptakteure – missverstandene Außenseiter, die gleichzeitig das Fundament für Filme wie »Batman« (1989) oder »Tim Burton’s The Nightmare before Christmas« (1993) bilden - bevölkern seinen häufig in düstere Farben und Stimmungen getauchten Bildkosmos. In ihnen begegnet man subversiven, spiegelbildlich-verzerrten Reflexionen über Popkultur, Andersartigkeit oder das Leben in amerikanischen Vorstädten.

Seltene Zeichnungen aus seiner Zeit bei Disney, Auseinandersetzungen mit der Psychologie von Mann, Frau und Geschöpf sowie eine Serie von Polaroidfotografien verdeutlichen die thematische und mediale Bandbreite seines Schaffens. Burtons Werke zu Themen wie dem Karnevalesken oder Feiertagen wie Weihnachten und Halloween demonstrieren die enge Verbundenheit mit populärkulturellen Inhalten. Sie lassen sich als Elemente eines einzigartigen Stils lesen, der weltweit als »burtonesk« bezeichnet wird. Gezeigt werden erstmals auch frühe Filme aus seiner Schul- und Studienzeit sowie seinen Jahren bei Disney, ergänzt durch Musikvideos, Werbeclips und die Animationsserie »The World of Stainboy«.

In seinen Zeichnungen und Gemälden vertraut Tim Burton seinem Gefühl mehr als seinem Intellekt. Das verbindet ihn mit den künstlerischen Strategien des Surrealismus, die den Kräften des Unbe-wussten nachspüren. Vor allem die Spontaneität im kreativen Prozess lässt an den von den Surrealisten genutzten Automatismus im Sinne der »écriture automatique« denken. Burtons Stil wurde mit dem Pop-Surrealismus, dem deutschen Expressionismus oder der Gothic-Kultur in Zusammenhang gebracht. Er selbst bekundet: »Ich mag es überhaupt nicht, den Dingen zu sehr auf den Grund zu gehen. Ich gebe einfach einem Gefühl nach, wo auch immer, wann auch immer. Deshalb versuche ich auch, stets ein Notizbuch dabeizuhaben.«

Timothy Walter »Tim« Burton wird am 25. August 1958 in Burbank, Kalifornien, geboren. Bereits im Teenageralter entwickelt er eine große Begeisterung für Horror- und Science-Fiction-Filme. Er dreht mit einer Gruppe gleichaltriger Kinoenthusiasten seine ersten Super-8-Filme. Ab 1977 wird er am California Institute of the Arts in Valencia, Kalifornien, zum Trickfilmzeichner ausgebildet. Er erhält eine Festanstellung bei Disney, wo er etwa an dem Zeichentrickfilm »Cap und Capper« (1981) mitarbeitet. Zur selben Zeit realisiert er dort die Kurzfilme »Vincent« (1982), »Hänsel und Gretel« (1983) sowie »Frankenweenie« (1984). 1984 verlässt er das Studio und widmet sich seiner Karriere als Filmemacher. In den folgenden Jahren entstehen Filme wie »Edward mit den Scherenhänden« (1990), »Mars Attacks! « (1996), »Sleepy Hollow« (1999) oder »Charlie und die Schokoladenfabrik« (2005).

Es erscheint ein Katalog mit 120 Seiten, zahlreichen, meist farbigen Abbildungen und Texten von Patrick Blümel, Tim Burton, Jenny He, Achim Sommer und Jürgen Wilhelm. Preis an der Museumskasse 24,80 €.

Die Ausstellung wird vom Max Ernst Museum Brühl des LVR und der unabhängigen Kuratorin Jenny He in Zusammenarbeit mit Tim Burton Productions organisiert.



Max Ernst Museum Brühl - The World of Tim Burton - 16.08.2015 - 03.01.2016



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2015-08-05

4610 - BELGIË-LEUVEN - Plein Air - De School van Tervuren - 25.06.2015-13.09.2015

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Lucien Frank. Bloeiende Boomgaard in Groenendaal © De Vrienden van de School van Tervuren

Vanaf 1870 is Tervuren een artistieke hotspot in onze streken. De Hertenberg, het hertogelijk kasteel, de holle bospaden en majestueuze dreven vormen er het gedroomde decor voor een nieuwe lichting kunstschilders: de School van Tervuren. Zij hertekenen de Belgische landschapsschilderkunst voorgoed. 

De vrije natuur in

Het Zoniënwoud, de prachtige natuur en de pittoreske vergezichten doen landschapsschilders hun atelier verlaten. Met palet en ezel trekken ze de open lucht in. Resoluut kiezen ze voor realisme.
“Vandaag kan je in Tervuren nog altijd wandelen langs de landmarks waar de schilders ooit hun schildersezel plaatsten.” 
Co-curator Marjan Debaene

Boulenger, de rijzende ster
Hippolyte Boulenger (1837, Doornik – 1874, Brussel) was de spilfiguur en baanbreker van de School van Tervuren. Zijn persoonlijke stemming merk je op zijn doeken. Dreiging, angst en paniek, maar ook vreugde en hartstocht stralen van de schilderijen.

Uitblinkers
Op deze overzichtstentoonstelling zie je doeken van Boulenger, Lucien Frank, Joseph Coosemans, Isidore Verheyden, Guillaume Vogels en andere uitblinkers.

Curatoren: Peter Carpreau, Marjan Debaene en Herman De Vilder
 
 
 
Museum M - Plein Air - De School van Tervuren - 25.06.2015-13.09.2015
 
 
 
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Website : Leuven   NL - EN - FR- DE
 
 
 

4609 - DEUTSCHLAND-BONN - Frank Auerbach - 04.06.2015-13.09.2015

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Bild und Headerbild oben (Detail): Frank Auerbach, The Origin of the Great Bear 1967/68, Ölfarbe auf Holz, 114,6 x 140,2 cm, Tate Britain

Der 1931 in Berlin geborene und seit 1939 in Großbritannien lebende Frank Auerbach zählt gemeinsam mit Francis Bacon und Lucian Freud zu den zentralen Malerpersönlichkeiten der ‚School of London’, die, bei aller Unterschiedlichkeit ihrer Protagonisten, durch eine expressiv-gegenständliche Bildsprache charakterisiert werden kann. In Opposition zum modernistischen Dogma der Abstraktion hält gerade Auerbach an der Auseinandersetzung mit der Wirklichkeit fest, deren Abbild dem Künstler nicht einfach zufällt, sondern in langen Arbeitsprozessen errungen werden muss. Das gilt für seine Stadtbilder – die sein Londoner Lebensumfeld festhalten –, vor allem aber für seine Menschen­darstellungen, seine Porträts, die im Zentrum des Werks stehen. Obwohl ihnen die Krise und die Ge­fährdungen des Subjekts anzusehen sind, gelingt es Auerbachs pastosen Porträts doch ein fragiles und ephemeres, gänzlich unheroisches Menschenbild zu skizzieren, was seiner Kunst ein zutiefst huma­nistisches Pathos verleiht. Ähnlich wie beim späten Rembrandt geht es darum, die Spuren eines gelebten Lebens zu bewahren, im Wissen um die Vergänglichkeit zäh gegen sie anzumalen.

Dass solch eine künstlerische Haltung durch die tragischen Ereignisse des 20. Jahrhunderts geprägt ist, steht ganz außer Zweifel. Nur knapp entgeht Auerbach als Kind dem Holocaust, dem seine Eltern zum Opfer fallen. In England findet er eine zweite Heimat, wo er einen - fast möchte man sagen ‘kontinentalen’ -, an Rembrandt und am Expressionismus geschulten Stil entwickelt. Erst in mittleren Jahren erfährt er eine breitere Rezeption, die sich unter anderem in der Verleihung des ‘Goldenen Löwen’ der Biennale von Venedig (1986) ausdrückt. Spätestens seit diesem Zeitpunkt ist Auerbach ein anerkannter und renommierter Künstler, der durch internationale Ausstellungen geehrt wird. In Deutschland allerdings waren seine Werke lange nicht zu sehen, ein Rezeptionsdefizit, das das Kunstmuseum Bonn nun durch eine große Überblicksausstellung ausgleichen wird.

Zur Ausstellung entsteht ein umfangreicher und reich illustrierter Katalog mit einem einführenden Essay von T.J. Clark.

Eine Ausstellung in Kooperation mit der Tate Britain.



Kunst Museum Bonn - Frank Auerbach - 04.06.2015-13.09.2015



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2015-07-29

4608 - BELGIË- ANTWERPEN - The Welfare State - 29.05.2015-27.09.2015

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Anne-Mie Van Kerckhoven, Coromandel, disturbed 1 and 2, 2015, photo M HKA, Collection of the artist and Zeno X Gallery, Antwerp
 
The welfare state is an abstract notion. But also very concrete. Political, but also bureaucratic. What does it have to do with art?
The welfare state operates with regulations, rights and obligations that apply to everyone in the same way, requiring individuals to identify themselves as members of society first and foremost. In this sense, the welfare state is the antithesis of art. Many artists support the welfare state in both theory and practice, and they are fascinated by rules as such, but they have little interest in following rules formulated by others than themselves …

The welfare state is an emancipatory political project, although it was first invented as a way of keeping class struggle and revolution at bay. It is hard to disassociate the European welfare state from the darker elements of recent history, such as militarism, colonialism and the degradation of the natural environment. Yet the welfare state, as a model for social cohesion and political stability, is now gaining ground in new parts of the world, notably in East Asia.

The exhibition The Welfare State does not look back with nostalgia at the welfare state in its ‘classical’ form as a utopian blueprint for an egalitarian (and homogenous) society in postwar Western Europe. It does not invite artists to ‘illustrate’ political and social engagement. But it does ask some fundamental questions. What is the ‘imaginary’ of the welfare state? Does it have a ‘form’? Can it be ‘shown’?

The Welfare State contains new and existing works by eight artists of different generations: Francisco Camacho Herrera (Colombia/The Netherlands, 1979), Josef Dabernig (Austria, 1956), Kajsa Dahlberg (Sweden, 1973), Róza El-Hassan (Hungary/Syria, 1966), Donna Kukama (South Africa, 1981), Artūras Raila (Lithuania, 1962), Anne-Mie Van Kerckhoven (Belgium, 1951) and Stephen Willats (England, 1943). It also contains visual and textual material from the four cultural archives in Flanders: Amsab and the Liberal Archive in Ghent, KADOC in Leuven and ADVN in Antwerp.

The exhibition is both explicitly and implicitly socio-political, and raises topics of relevance to the current situation in the world, such as the communication between citizens of different socio-economic status (Willats), the social implications of artificial intelligence (Van Kerckhoven), the changing status of labour (Dahlberg), the rise of the European far-right (Raila), the plight of refugees from the civil war in Syria (El-Hassan) or a possible shift to a non-monetary economy (Camacho Herrera).

The Welfare State
is accompanied by a printed publication, and by an ambitious discursive programme. During the spring of 2015 M HKA organises a series of public seminars in collaboration with the researchers at the Herman Deleeck Centre for Social Policy at the University of Antwerp. Public forums are organised on 30 May 2015 at Cinema Zuid in Antwerp, in collaboration with CAHF (Contemporary Art heritage Flanders) and in September in Brussels, in collaboration with the Flemish-Dutch House deBuren.



MUHKA - The Welfare State - 29.05.2015-27.09.2015



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4607 - FRANCE-METZ - Leiris & Co. Picasso, Masson, Miró, Giacometti, Lam, Bacon…- 03.04.2015-14.09.2015

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Francis BACON, Portrait of Michel Leiris, 1976
Centre Pompidou, Musée national d’art moderne, Paris
© The Estate of Francis Bacon / All rights reserved / ADAGP, Paris 2014
© Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Bertrand Prévost

Au croisement de l’art, de la littérature et de l’ethnographie, l’exposition consacrée à Michel Leiris (1901-1990) est la première grande exposition dédiée à cet intellectuel majeur du xxe siècle. Pleinement mobilisé par les questionnements et idéaux de son temps, Leiris fut tout à la fois poète, écrivain autobiographe, ethnographe de métier et ami intime des plus grands artistes et écrivains de son temps.

À travers près de 350 œuvres dont de nombreux chefs-d’œuvre des artistes qui lui furent proches (Joan Miró, André Masson, Alberto Giacometti, Pablo Picasso, Wifredo Lam, Francis Bacon…), des objets et oeuvres d'art africains et antillais, ainsi qu’un riche corpus d’archives et documents originaux (manuscrits, livres, films et musique), il s’agit non seulement de rendre compte des multiples facettes de la figure de Leiris, de ses passions et de ses engagements, mais également de souligner le caractère novateur de son œuvre et la pertinence de sa pensée : Michel Leiris est devenu, dans le contexte de la mondialisation et des études postcoloniales, une référence contemporaine essentielle.

Influencé dès l’enfance par Raymond Roussel et se situant en marge du surréalisme, Leiris s’éloigne du mouvement pour rejoindre la revue dissidente Documents autour de Georges Bataille. La quête de sa propre identité s’associe à une soif de dépaysements et d’altérité. Il s’initie aux méthodes de la recherche ethnographique en participant, en tant qu’archiviste, à la première mission ethnographique française en Afrique, conduite par Marcel Griaule : la « mission Dakar-Djibouti » (1931-1933), au cours de laquelle il écrit L’Afrique fantôme, hybride de journal de terrain et de récit autobiographique. Après la guerre, il se rend aux Antilles en compagnie d’Alfred Métraux, qui lui fait découvrir les rites vaudou. Aficionado de corrida, il est tout autant passionné de jazz, d’opéra et de spectacle, qui sont pour lui des « terrains de vérité ». Devenu ethnographe professionnel, africaniste au Musée de l’Homme, il est à l’initiative du premier ouvrage sur la Création plastique de l’Afrique Noire.

Son œuvre littéraire compte parmi les plus novateurs du siècle dernier : auteur de L’Âge d’homme et des quatre volumes de La Règle du Jeu, Michel Leiris a révolutionné le genre de l’autobiographie.
Poète explorateur passionné des jeux de langage, il revendique aussi pour la littérature une esthétique du risque (« De la littérature considérée comme une tauromachie »). Engagé dès les premières heures dans la lutte anticoloniale et antiraciste, devenu homme public et militant, il reste avant tout écrivain solitaire. Michel Leiris est inclassable : figure libre éminemment complexe et paradoxale, sa modernité s’impose aujourd’hui encore plus qu’hier.

Un catalogue coédité par le Centre Pompidou-Metz et les éditions Gallimard accompagne l’exposition.

Un colloque organisé en collaboration avec le musée du quai Branly se tiendra les 10 et 11 septembre 2015 à Metz et à Paris.

L’exposition Leiris & Co. est réalisée en partenariat avec le musée du quai Branly et la Bibliothèque littéraire Jacques Doucet.




Centre Pompidou-Metz - Leiris & Co. Picasso, Masson, Miró, Giacometti, Lam, Bacon…- 03.04.2015 - 14.09.2015
 
 
 
 
 
 
 


2015-07-22

4606 - BELGIË- SINT-AMANDS - 'Fleurs fatales / Poëzie van de liefde' - 07.06.2015-29.11.2015

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De liefdespoëzie neemt in het oeuvre van Emile Verhaeren (1855-1916) een heel aparte plaats in. Zij behoren tot zijn meest persoonlijke gedichten opgedragen aan zijn vrouw, de kunstenares Marthe Massin. Hij publiceerde drie bundels die een soort levenscyclus van de liefde vormen: Les Heures claires, Les Heures d'après-midi, Les Heures du soir. Deze tentoonstelling presenteert eerste drukken, bibliofiele uitgaven, vertalingen, partituren, foto's en precieuze documenten. Tegelijk worden de stillevens van Marthe Massin getoond.

Als contrapunt worden deze schilderijen samengebracht met een reeks van gebroken vazen gemaakt door fotograaf Jan Agten.



Provinciaal Museum Emile Verhaeren - 'Fleurs fatales / Poëzie van de liefde' - 07.06.2015-29.11.2015




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4605 - SPAIN-VALENCIA - Constructing New Worlds - The historic avant-gardes in the IVAM Collection (1914 - 1945) - 12.03.2015-10.04.2016

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Laszlo Péri | Raumkonstruktion nº 7 | 1922

This show offers a new view of twentieth-century art in the Permanent IVAM Collection, based on a careful selection of fundamental works of the historic avant-garde between 1914 and 1945.

As a result of their ground-breaking nature, after over a century these works still represent a paradigm of avant-garde art, establishing a new formulation of the conception and process of art.

The exhibition analyses the spirit and essence of the avant-garde and how it was expressed in the development of the theories of the various art movements that emerged during this period.




IVAM - Constructing New Worlds - The historic avant-gardes in the IVAM Collection (1914 - 1945) - 12.03.2015-10.04.2016
 
 
 
 
 
 
 
 

2015-07-15

4604 - BELGIË-ELSENE-BRUSSEL - Henri-Victor Wolvens. From darkness to light - 25.06.2015-20.09.2015

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 Henri-Victor Wolvens

Close to Ensor and Permeke, the painter Henri-Victor Wolvens (1896-1977) devoted his career to the infinite variations of light, colour and material.   At his Brussels debut, he was secluded in a monochrome world of dark and muted shades.  But the North Sea inspired an explosion of colour with an everlasting force.  A sparkling exhibition to dazzle your eyes this summer.


I painted a water jet, a large canvas where I finally summoned up this magic ...  something that goes beyond painting or water vapour, a crowning moment.  It was that part of the earth in all its glory, reaching to the sky then crashing, scattering.  Gleaming water trickling, dazzling firework water, luminescent.  A Eureka moment!  This was it, it was beyond painting, it was light. […] Oh light that makes everything beautiful!  ... The light ... Is it golden?  Blue?  Silver?  This is no colour ... It happens and transfigures.

Henri-Victor Wolvens
He loved clay, he liked the colour.  He loved life, the passing days, children, crowds.  He loved sunshine and the sea.
Throughout his life, Henri-Victor Wolvens painted the same subjects from a variety of starting points, pleasures and emotions.  And if in the beginning, he favoured dark tones, deep browns and blacks, his palette brightened as he travelled, inspired by the knowledge and excitement he found on the way.
Holidays in the South of France flooded his canvas with a frenzied exuberance reminiscent of Van Gogh, whom he admired.  From the North Sea he miraculously extracted the hidden shimmers of a radiant light.
As a colourist, Wolvens implied the essence of his subjects and was never afraid to confront the earth’s restless colours, aromas and spirit.
He viewed the crowds as mobile scenery on the beaches of the North Sea and appreciated them as much as the sky, sand, sun and summer sensations, exploiting tones and pulsations of changing light.  Wolvens was equally interested in off-season abandoned beaches with its solitary individuals, children and old men.
His portraits of the elderly date back to his early work, demonstrating the emotional gaze of those with an expression showing a life lived and a life passed by.
With his life ahead of him, he experienced his first conquered joys and learned to externalise jubilation in candid tones.
A painter at heart, Henri-Victor Wolvens was also, in essence, a painter of the soul.
His energetic paintings are evidence of a sensitive artist making his small and modest mark on the world, without any need for ostentatiousness.

Rohger Pierre Turine, curator



Museum van Elsene - Henri-Victor Wolvens. From darkness to light - 25.06.2015-20.09.2015



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4603 - GERMANY-HANNOVER - Mental Diary - 06.06.2015-23.08.2015

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Dietmar Lutz »Parents (Still)«, 2014
Acrylic on canvas,
200 x 150 cm
 
 
In »Mental Diary« six artists from different generations reflect on their everyday lives in photographs, drawings, paintings, and films. Subjective observations and experiences are captured and archived in a range of different positions and transposed into individual artistic vocabularies. Through this interaction between »I« and the »world«, between individual perceptions and external reality, the exhibition presents different forms of engaging in and recording daily routine. These range from autobiographically intoned attempts to de-fine a given place or time—in which personal identity is negotiated through ordinary situations—to momentary impressions offering a view and commen-tary on a contemporary political, social, or cultural condition.

In the 1980s Sol LeWitt (*1928 in Hartford, USA / †2007 in New York) created a self-portrait by assembling photographs of the objects surrounding him in his home and studio; his artist book Autobiography (1980) is a 128-page typologi-cal archive of photographs that catalogue his immediate environment. LeWitt uses photography as a medium for a kind of stocktaking. The stringent formalism and serial organization of this work is also a reflection of his conceptual under-standing of art.

Like the work of LeWitt, the diary films of Jonas Mekas (*1922 in Biržai, Lithua-nia, lives in New York) function as key reference works that are reexamined in the context of the exhibition. Mekas is one of the most influential figures in twentieth-century experimental film. His film As I was moving ahead occasionally I saw brief glimpses of beauty (2000) is paradigmatic of his work, offering a cutback to the erratic, fragmentary memories of an over eighty-year-old artist, who has assem-bled this immediate visual documentation gathered with a hand-held camera over a period of almost 30 years into intuitive narratives—producing moments of fleet-ing beauty in the process.

The natural fusion of art and life also characterizes the paintings of Dietmar Lutz (*1968 in Ellwangen, lives in Düsseldorf). With the direct gaze of the flaneur, Lutz skillfully uses rapid strokes of the paintbrush to capture impressions of his social surroundings, studio, apartment, and travels on canvas. The artist produces meta-phorical snapshots of private realms. At the same time, his paintings are insightful observations that draw on art historical references and ultimately reflect on his own role in the world.

In his sharp-witted, anarchistic drawings made with an economy of line, Dan Perjovschi (*1961 in Sibiu, Romania) comments on random encounters and con-temporary events in local and international (cultural) politics. Using a range of humorous intonations, the painter reduces complex thoughts and perceptions to distilled visual commentaries, which he first recorded in notebooks and then trans-ferred to the walls of the Kunstverein.

The photographs of Ketuta Alexi-Meskhishvili (*1979 in Tiflis, Georgia, lives in Berlin) combine images from public and private contexts. The artist creates orna-mental arrangements using images of flowers, foliage, buildings, friends, and relatives. The resulting abstract compositions are impossible to fully decode and instead unfold their impact through an atmospheric quality. For the Kunstverein Hannover the artist has produced a poetic installation with printed curtains that play on the classical theme of the interior and its metaphorical significance.

In Christiane Möbus’ (*1947 in Celle, lives in Hannover) series of photographs “gestiefelte Katze” (Puss in Boots), which she has been developing since the 1970s, the artist records her feet and their immediate surroundings. A similar photographic notation of the everyday and personal geography is the work Bay-reuth (2000/05), which functions in dialogue with the site-specific floor work “Ansichtssache” (A Matter of Perspective) (2015), a world map suggesting a wealth of associations, in which letters of the alphabet float like icebergs as reflec-tions on the localization of the self and the Other.

The unique architecture and series of exhibition rooms in the Kunstverein provide an exhibition experience that offers as a rich, poetic path through diverse views on life as seen from six individual artistic positions shown in sequence.




Kunstverein Hannover - Mental Diary - 06.06.2015-23.08.2015




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2015-07-08

4602 - BELGIË-SINT-MARTENS-LATEM - Proximus Art Collection - 28.06.2015-04.10.2015

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Proximus Art Collection - Brussels

For the first time the exhibition Picturex will present to the public a vast selection of art works from the Proximus Art Collection. This project fits perfectly within the series of collection presentations that the museum organizes since 2007. By examining and exhibiting important private collections one can study the acceptance of contemporary art and the impact of the collector on the Belgian art scene. It is also a unique opportunity to discover significant private art patrimony!

The Proximus collection is one of the most important corporate collections in Belgium and is a fascinating display of the art production of the last four decades. A committee of art experts, consisting of art critics and curators, compiled the collection. Since 1996 they have brought together works of some hundred artists. Most of the works were given a place in the corridors and offices of the Brussels Proximus premises.

The exhibition Picturex focuses on contemporary photography and displays several photograph series from the collection. More than half of the works acquired by Proximus Art between 1996 and 2014 is photography and many artists who, in the last two decades, have made a difference with this medium are represented in the collection with a series of photographs. In addition to photography other art media are also represented in the collection. To show the diversity we decided to show some absolute masterpieces of our recent art history.

With works by John Baldessari, Lothar Baumgarten, Pierre Bismuth, Balthasar Burkhard, Jean-Marc Bustamante, Jan De Cock, Rodney Graham, Andreas Gursky, Seydou Keïta, Saul Leiter, Robert Mapplethorpe, Gabriel Orozco, Sigmar Polke, Thomas Ruff, Ana Torfs,en Marijke Van Warmerdam.



Museum Dhondt-Dhaenens - Proximus Art Collection - 28.06.2015-04.10.2015



Website : Museum Dhondt-Dhaenens  NL - FR - EN

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4601 - NETHERLANDS-ROTTERDAM - Ted Noten - Non Zone - until 18.10.2015

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3d Print, Ted Noten

This summer Ted Noten (Swalmen, 1956) is exhibiting the installation ‘Non Zone’ in three of the museum’s galleries (1, 2 and 39). In one space he will build his own ‘Tower of Babel’ close to Bruegel’s famous medieval painting and in another he will exhibit paper replicas of the jewellery he has made over the past ten years. He will fill the third gallery with a mound of sand. Once a week a mechanical digger will move the sand from one side of the gallery to the other, in keeping with his motto: “to create you have to move”.

Two years ago Ted Noten wanted to borrow the ‘real’ Tower of Babel from the museum for his solo exhibition in the Stedelijk Museum in Den Bosch. In addition to his own work he wanted to show his sources of inspiration. He sent director Sjarel Ex a postcard of ‘The Tower of Babel’ with a loan request, but received a negative response by text message. He briefly considered having a copy of the painting made but eventually decided to exhibit the postcard and the rejection message. He called upon visitors to follow up his loan request to Museum Boijmans Van Beuningen in the same manner; Sjarel Ex was inundated with postcards.

Ted Noten has achieved international fame for his jewellery and bags in which valuable objects such expensive rings, cocaine, a dead sparrow wearing a tiny string of pearls and gold-plated pistols are encased in acrylic resin. This transparent plastic is an invisible yet essential component of his sensational designs. Several of Noten’s works have caused a stir. His work ‘The Pistol Saints’, a gold-plated imitation pistol exhibited at the Stedelijk Museum in Amsterdam, was destroyed by the police because it was considered a forbidden weapon under the Weapons and Munitions Act. Another high-profile project is the ‘Mercedes Brooch’, metal brooches cut from the bodywork of a luxury Mercedes Benz car: in Noten’s eyes the ultimate symbol of capitalist success. The museum has previously shown his work in the exhibitions ‘Global Tactile Pieces, Volume 2’ (2006) and ‘Design Column #8’ (2014). His pimped cleaning trolley ‘Periscope’ (2008) is part of the museum’s redesigned entrance area and his ‘Train Necklace’ (2008) and ‘Chastity Belt’ (2005) are also in the museum’s collection.


 
Museum Boijmans Van Beuningen - Ted Noten - Non Zone - until 18.10.2015



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2015-07-01

4600 - BELGIQUE-LA HULPE - Folon Agence de voyages imaginaires - 30.05.2015-01.11.2015

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Aboutissement d’une longue et patiente recherche parmi d’innombrables documents dénichés dans l’atelier de l’artiste, auprès de sa famille, de ses amis et de ses proches, l’exposition dévoilera plus de 200 oeuvres originales d’une surprenante diversité qui mettront en lumière la cohérence et l’harmonie du parcours artistique de Folon. Ces oeuvres inédites vous feront découvrir sa période de formation, ses premiers dessins d’humour en noir & blanc, l’importance qu’il accordait au trait, à la ligne, les références à Steinberg dont il admirait l’oeuvre ainsi que les moments clés de sa carrière. Elles vous guideront parmi les concepts fondamentaux de sa poétique et de son univers graphique et mettront en lumière la méthode de l’artiste et la genèse de sa création. Vous y percevrez lamanière dont une esquisse prend forme pour devenir dessin, affiche, illustration, aquarelle, gravure, objet détourné ou sculpture. L’exposition nous invite à accompagner l’artiste, à plonger dans son univers, à nous glisser dans ses thèmes de prédilection : l’humour ; l’évolution de ses personnages ; la déclinaison de ses personnages-objet ; la communication et la presse ; la dispersion de l’individu dans la foule et la disproportion entre l’homme et la ville, l’obsession du labyrinthe et des flèches; la place de l’homme face à l’immensité de l’espace ; la tête et l’oeil, sièges et instruments de l’esprit et de l’imagination.

Par son approche originale, l’exposition temporaire apportera un éclairage nouveau sur le musée. Celui-ci trouvera une nouvelle dynamique pour son 15e anniversaire. Il accueillera, en effet, de nouvelles oeuvres parmi lesquelles les aquarelles originales des couvertures que Folon dessina pour la revue américaine New Yorker et qui le propulsèrent sur la scène internationale.

Aux abords du musée, une valise monumentale inspirée des sculptures de Folon vous invitera à plonger au coeur des carnets de voyage de l’artiste pour y partager ses plus belles découvertes : son amour de l’Italie et de la Méditerranée, ses expériences à New-York, Paris, Louxor, Miami, ses échappées dans les îles grecques, en Floride, au Japon,… A l’intérieur de cette valise monumentale, une scénographie très originale, pensée dans l’esprit de Folon, conçue et réalisée par une équipe professionnelle de passionnés de découvertes, de recherches et de créations fera appel aux technologies multimédia et audiovisuelles interactives.



Fondation Folon - Folon   Agence de voyages imaginaires - 30.05.2015-01.11.2015



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Website : La Hulpe

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4599 - FRANCE-PARIS - Thé, Café ou Chocolat ? L'essor des boissons exotiques au XVIIIe siècle - 27.05.2015-27.09.2015

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Louées pour leurs vertus médicales et thérapeutiques, les boissons dites « exotiques », introduites au XVIIe siècle en Europe, ont été associées aux plaisirs et aux sociabilités du XVIIIe siècle.

Les boissons issues du cacaoyer, du caféier et du théier – plantes exogènes à l’Europe – ont fait partie intégrante des sociabilités de l’aristocratie et de la haute bourgeoisie dès leurs introductions officielles auprès des cours d’Europe. En tant que matière importée, leur coût d’achat classe au XVIIe et au XVIIIe siècles le thé, le café et le chocolat parmi les produits de luxe et ajoute à leur consommation celle de l’image affichée du prestige. Leur consommation s’est matérialisée dans l’apparition de mobiliers et de nécessaires ou services produits dans les manufactures. Elle a aussi permis l’existence de lieux de consommation publique, les cafés, et de nouvelles pratiques de table, telles le petit déjeuner et le goûter, qui se diffusent progressivement dans la société. Organisée autour de trois axes – « Vertus et dangers des boissons exotiques », « Cercles de consommation » et « Nouveaux services » –, cette exposition propose une nouvelle lecture de ces boissons entrées dans les rituels du quotidien, en présentant des oeuvres de nombreux artistes emblématiques du XVIIIe siècle comme Boucher ou Chardin.


Commissaire : Rose-Marie Herda-Mousseaux, conservateur du patrimoine et directrice du musée Cognacq-Jay
Avec la collaboration scientifique de Patrick Rambourg, chercheur et historien spécialiste de la cuisine et de la gastronomie, et de Guillaume Séret, historien de l'art spécialiste de la porcelaine de Sèvres



Musée Cognacq-Jay - Thé, Café  ou Chocolat ? L'essor des boissons exotiques au XVIIIe siècle - 27.05.2015 - 27.09.2015



Website & source   FR

Website : Paris Info   FR - NL - EN - DE - IT......

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2015-06-24

4598 - BELGIË-MACHELEN-ZULTE - Karel Dierickx. Voorstelbare werkelijkheid - 27.06.2015- 1.10.2015

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Karel Dierickx

Karel Dierickx was een trouwe gast in het Roger Raveelmuseum. Herhaaldelijk was zijn werk te zien in tijdelijke tentoonstellingen, w.o. de Biënnales van de Schilderkunst 2010 en 2014.
Met de solotentoonstelling Voorstelbare werkelijkheid brengt het Raveelmuseum hulde aan de eind 2014 overleden kunstenaar. De titel van de tentoonstelling is overgenomen van Dierickx’ laatste schilderij. Hij synthetiseert in zekere zin zijn totale oeuvre dat steevast de realiteit in haar wezen wil vatten. Dat was ook de reden waarom het Raveelmuseum in 2012 werk van  Karel Dierickx selecteerde voor de tentoonstelling Abstract? De natuur van het schilderij: schilderkunst die er schijnbaar abstract uitziet blijkt geen geestelijke constructie te zijn maar het resultaat van een scherpe waarneming van de werkelijkheid.

In Voorstelbare werkelijkheid wordt de ontwikkeling van Dierickx’ werk getoond vanaf de jaren 1970 tot en met 2014. Naast schilderijen wordt een belangrijke plaats voorbehouden aan de vele tekeningen en de enkele sculpturen die hij realiseerde. Schetsboeken en documenten uit het privé archief vervolledigen de selectie.

De tentoonstelling besluit met enkele werken van andere kunstenaars waar Karel Dierickx een bijzondere band mee had. Als een kunstkabinet vormen ze een referentiekader voor de praktijk van een deelgenoot.



Roger Raveel Museum - Karel Dierickx. Voorstelbare werkelijkheid - 27.06.2015 - 11.10.2015



Website & source    NL

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4597 - SPAIN-BILBAO - Jeff Koons: A Retrospective - 09.06.2015-27.09.2015

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Rabbit, 1986
Stainless steel
104.10 x 48.30 x 30.50 cm
Museum of Contemporary Art Chicago; partial gift of Stefan T. Edlis and H. Gael Neeson, 2000.2
© Jeff Koons

The unique, unmistakable, innovative work of Jeff Koons has made him one of the most prominent figures of the art of our time. Lacking the aura of inaccessibility that surrounds other contemporary works of art, his instantly recognizable creations appeal to the general public and draw on countless art historical sources, such as Surrealism, Pop Art, and Dada. Koons has a unique style that allows seemingly contradictory concepts to coexist harmoniously in his work. The oeuvre of Jeff Koons is a statement of self-affirmation, his paintings and sculptures invite us to reassert our individuality and flout certain taboos and conventions that box us in, limiting our role in society. Koons uses art as a wake-up call, a driving force of social change. The false luxury of some of his pieces, achieved by using industrial materials made to look deceptively lavish, and his references to well-known archetypes make viewers feel comfortable with their own cultural history.

Critics and audiences alike have been surprised by the unexpected ideas Jeff Koons has presented at different exhibitions throughout his career. Now, for the first time, the public will be able to enjoy a comprehensive survey of his coherent, structured, profoundly innovative, awe-inspiring output.

This exhibition was organized by the Whitney Museum of American Art, New York, in collaboration with the Centre Pompidou, Paris, and the Guggenheim Museum Bilbao.



Guggenheim Museum Bilbao - Jeff Koons: A Retrospective - 09.06.2015 - 27.09.2015
 
 
 
Website & source  ESP - EN - FR
 
 

2015-06-17

4596 - BELGIQUE-CHARLEROI - Stephan Vanfleteren - Charleroi - 23.05.2015-06.12.2015

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© Stephan Vanfleteren
Charleroi 2015

Dernière exposition d’un cycle de cinq commandes photographiques entamé en 2010, c’est au photographe belge Stephan Vanfleteren après Bernard Plossu, Dave Anderson, Jens Olof Lasthein et Claire Chevrier, que le Musée de la Photographie a demandé de proposer sa vision de Charleroi.
Pour Vanfleteren, l’exercice ne fut pas entièrement neuf, pratiquant la ville depuis de nombreuses années : Charleroi est en effet présente au détour des pages de son désormais célèbre «Belgicum», par la photographie ou par les textes, reliant la ville à ces autres lieux, Bruxelles, Anvers, Liège ou Ostende qui composent l’itinéraire en noir et blanc de cet étrange pays, tour à tour sombre et joyeux, trivial et pudique, irritant et touchant.
Charleroi n’échappe pas à cette impression, entre inquiétude et empathie. Ce pourrait être ailleurs et c’est pourtant ici, en cette ville qui n’en finit pas de renaître, que Vanfleteren tente d’embrasser du haut d’un terril autant que sous les néons d’un café où les solitudes s’escortent au bout de la nuit : Vanfleteren s’y immerge complice autant que témoin, n’emportant rien qui ne lui soit consenti. Toutes ces photographies sont nées de longues errances, de patientes conversations, de regards échangés.
Ni portrait-charge, ni plaidoyer, le Charleroi de Vanfleteren dit les blessures, la résistance et la solidarité d’une ville qui sait qu’elle a bientôt rendez-vous avec elle.

Stephan Vanfleteren (1969, Courtrai) a étudié la photographie à l’Institut Saint-Luc de Bruxelles (1988-1992). De 1993 à 2009, il a travaillé en tant que photographe free-lance pour le compte du journal De Morgen, tout en continuant à s’investir pleinement dans ses propres projets. Spécialiste des portraits en noir et blanc, il est également connu pour les reportages au long cours qu’il effectue en Belgique et à l’étranger. Actuellement, il travaille essentiellement pour des journaux et des magazines étrangers. Cofondateur des Éditions Kannibaal/Hannibal, Stephan Vanfleteren y occupe le poste de directeur artistique. Depuis 2010, il est également professeur invité de l’Académie des beaux-arts de la ville de Gand (KASK).



Musée de la Photographie - Stephan Vanfleteren - Charleroi - 23.05.2015 - 06.12.2015



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4595 - GERMANY-BERLIN - Art in Berlin 1880-1980 from the collection - from 29.05.2015

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Felix Nussbaum

The presentation from our collection to mark the museum’s fortieth anniversary will be a multi-facetted tour through the art of Berlin from 1880 to 1980. It will range from paintings of the late 19th century, when the Kaiser reigned and tastes were largely determined by the moneyed classes, via Expressionism and the East European avant-garde to post-war modern architecture and the “wild” works of the Seventies. Reflecting the interdisciplinary nature of the collection, there will be lively dialogue between paintings, prints, sculpture, photography and architecture. The show will illustrate  a diversity of artistic styles and credos, but also tensions, polarisations and fresh departures, which remain hallmarks of Berlin as an artistic hub. As a city of the modern age that is attracting more young international artists than ever before, Berlin is still a centre of permanent new beginnings.

The new presentation honours the latest additions to the collection, including landscapes and studies of nature by Walter Leistikow, Lesser Ury, Karl Hagemeister, Julie Wolfthorn and others who gravitated around the Berliner Secession: these were acquired in 2014 thanks to the Dr. Jörg Thiede-Stiftung, a charitable trust. The public will also be able to rediscover the work of the Expressionist Benno Berneis: paintings, drawings and documents from a private donation have enriched our holdings since 2014.

In 2016 the Berlinische Galerie will be celebrating one hundred years of Dada with a special exhibition. In this show, therefore, the collection’s holdings from the Dada movement, which are among its greatest treasures, will be condensed into a small selection.

Artists (selected):
Anton von Werner, Max Liebermann, Walter Leistikow, F. Albert Schwartz, Lesser Ury, Ludwig Meidner, Benno Berneis, Oskar Kokoschka, Rudolf Belling, Iwan Puni, Naum Gabo, Sasha Stone, El Lissitzky, Otto Bartning, Marta Astfalck-Vietz, Erich Salomon, Jeanne Mammen, Felix Nussbaum, Hans Uhlmann, Karl Hofer, Werner Heldt, Robert Capa, Heinz Hajek-Halke, Hermann Henselmann, Fred Thieler, Georg Baselitz, Rainer Fetting, Michael Schmidt, Ralf Schüler und Ursulina Schüler-Witte



Berlinische Galerie - Art in Berlin 1880-1980 from the collection - from 29.05.2015



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2015-06-10

4594 - BELGIË-OOSTENDE - Lili Dujourie - Folds in Time - 06.06.2015-04.10.2015

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The work of Lili Dujourie (°1941, Roeselare) blends influences of the Flemish Primitives like Jan Van Eyck with her personal artistic approach based on the late sixties. She works in marble, papier-maché, steel, lead, velvet and ceramics, in which decoration and ornamentation are given a central role and she plays with the sensuality and directness of the materials. Her sculptural productions fight a battle between painting and sculpture, between balance and gravity, abstraction and representation and between their physical presence and their environment. Her core themes are the relationship between nature and culture, the passage and weight of time and her search for an emotional understanding of space.

The exhibition will take place in parallel at S.M.A.K. (Ghent) and Mu.ZEE (Ostend). The two settings of this exhibition – one inland and one by the sea, - will show Dujourie’s oeuvre from her debut in the late sixties to today.



Mu.ZEE - Lili Dujourie - Folds in Time - 06.06.2015 - 04.10.2015



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4593 - DENMARK-ISHOJ - Bjørn Wiinblad - 13.06.2015-17.01.2016

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Bjørn Wiinblad, sketch for tapestry, gouache on paper, c. 1970-73


Elegant doodles, crisp, slender lines, bright colours and buxom shapes. Most Danes are familiar with Bjørn Wiinblad’s fairytale faces and characteristic ornamentation from his popular plates and fabulous illustrations in the One Thousand and One Nights. But his art is no longer just a distant memory from the average Danish dining room: Today the interest in Wiinblad’s distinctive strokes with their oriental inspiration is experiencing an almost explosive growth. Wiinblad is enjoying a revival.

ARKEN presents a wide-ranging exhibition of Bjørn Wiinblad’s fabulous art, spanning ceramics, porcelain, posters, illustrations, sculptures, scenography, costumes and more.The exhibition’s extensive presentation of Wiinblad’s work depicts a nuanced picture of his artistic development, sources of inspiration and his unique sense of craftsmanship, layout and design. 

Wiinblad’s expression is the epitome of zest for life, boldness and optimism and his works and design are not just popular in Denmark.Wiinblad is also known internationally, in Germany, America, the Middle East and Asia and the exhibition also highlights his international breakthrough.



ARKEN - Bjørn Wiinblad - 13.06.2015 - 17.01.2016



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2015-06-03

4592 - BELGIË-ANTWERPEN - Drawing the city - 24.04.2015-19.07.2015

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Vergilius Bononiensis, plan van Antwerpen © Tijdsbeeld

In the sixteenth century, Antwerp developed into an international commercial capital. Using views of the city, maps and historical prints, the exhibition 'Drawing the city' follows Antwerp’s varying fortunes during this turbulent period.

Using maps and plans, 'Drawing the city' follows the rapid development of Antwerp in the sixteenth century. Some maps have an underlying purpose: to glorify the city and draw attention to its special qualities.

Dramatic events
Historical prints and maps portray the city during dramatic events such as the destruction of religious images known as the Beeldenstorm and the Spanish Fury, but in peaceful scenes too, such as Joyous Entries and ice scenes, artists provide a detailed portrait of the city.

The map of Vergilius Bononiensis
Even today, many places in Antwerp are reminders of the urban transformations that took place in the Golden Age. The map of Vergilius Bononiensis shows Antwerp at the peak of its economic prosperity. A digital version of the map allows the visitor to explore the city centre digitally. In the exhibition, visitors can wander through Antwerp in 1565 on an enlarged version.



Museum Plantin-Moretus - Drawing the city - 24.04.2015-19.07.2015



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4591 - CESCA REPUBLICA-PRAGUE - Mysterious distances, Symbolism in Bohemian lands, 1880-1914 - 22.04.2015-27.09.2015

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The exhibition Mysterious distances, Symbolism in Bohemian lands, is devoted to a specific category of fine art in the Czech lands, influenced by Symbolism in the 1880 – 1914  period. The dates of the exhibits are framed by the opening of the National Theatre and the outbreak of the First World War, the name of the exhibition is derived from the title of a volume of poems by Otakar Březina from the 1890s. The exhibition is the first project of this kind; so far Symbolism has been presented as a specific chapter in more extensive exhibitions. In each thematic chapter are thus introduced, in addition to the well-known and widely recognized artists (Alfons Mucha, Max Švabinský, František Bílek, Josef Váchal, Bohumil Kubišta, Jan Zrzavý, etc.) artists who are less often exhibited and are almost unknown abroad  (Maxmilián Pirner, Beneš Knüpfer, August Brömse, Jaroslav Panuška, Josef Mandl, Tavík František Šimon, Alois Boháč, etc.). The exhibits are on loan from renowned galleries  (National Gallery, Gallery of the City of Prague, the Museum of National Literature) as well as from minor museums, regional institutions and private collections. Several exhibits are loans from abroad (Regensburg,Oslo,Paris). Thus, beside well-known items, there are displayed works previously never shown. Although the exhibition is thematically based upon the exhibitions held within this project inCracowandOlomouc, its structure is a little different, being influenced by the specific conditions of the St Agnes Convent. Unlike those displays the core of the present exhibition consists of a collection of works from the National Gallery inPrague. They are often major works and are now shown in a new context. Also the collection of books exhibited here is much larger.

It was in Symbolism that distinct critical views of national tendencies dominating the Czech culture in the 19th century appeared for the first time and most clearly. The artists saw themselves as part of a spiritual community, regardless of national or social conditions. This theme was intensively dealt with by the key figure of Czech Symbolism and Decadence, the poet, critic and visual artist Karel Hlaváček, in a text characteristically named “Nationalism and Internationalism” (1896). Hlaváček and his associates found it fascinating to become familiar with the work of “related souls” fromParis,London,Berlin,Vienna,Brussels,Cracow andRome; their works were in no way strange to them, on the contrary they were felt to be in close relationship.
 
Increasingly appearing in theoretical discussions was the term of synthetism, which soon became one of the principal themes in art criticism and theory in that period. Synthetism was an attempt at achieving a distinctive association between art and life, the perception of beauty, harmony as well as pain and horror, on a higher level and in a and more intensive way which would manifest itself felt in human activities.

Naturally, reality was in direct opposition to that, the pragmatism of the period of light understood the problem in quite an opposite way: the technological development itself would affect art and culture. Many artists and thinkers refused to accept this attitude and voluntarily chose lonely dreaming in the semi-darkness of cafés or studios.
 
Symbolism in Bohemia was the first stream of art to proclaim itself as part of the wider European art. Thus in the next decades Czech art joined European culture. Due to the artistic and personal contacts established by the generation of 1890s with many artists abroad they could now easily enter the international context. Remembered should be at least the later close contacts with German Expressionism, in particular that of Munich, and the close artistic and personal links with Parisian Cubists, and after the First World War the association with the international movement of Surrealism.

Author of exhibition: Otto M. Urban
Curated by: Anna Pravdová



Covent of St Agnes of Bohemia - Mysterious distances, Symbolism in Bohemian lands, 1880-1914 - 22.04.2015 - 27.09.2015




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