2015-04-22

4580 - BELGIË-SINT AMANDS - Fleurs fatales / Poëzie van de liefde - 07.06.2015-29.11.2015

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Fleurs fatales / Poëzie van de liefde


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.

Tijdens de vernissage van de tentoonstelling, op zondag 7 juni om 11u, wordt de liefdespoëzie van Verhaeren in vertaling van Stefaan van den Bremt voorgesteld. Het strijkkwartet van Jenny Spanoghe brengt Les Heures claires, een compositie van Jan Van Landegehem.

 

De tentoonstelling is geopend tijdens weekends, op feestdagen of op reservatie (11-18u). Tijdens de maanden juli en augustus is de tentoonstelling elke dag te bezoeken, behalve op maandag.
 
 

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

Website : Sint-Amands

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4579 - DEUTSCHLAND-HAMBURG - Picasso in contemporary art - 01.04.2015-12.07.2015

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To mark the 25th anniversary of the foundation of the Deichtorhallen Hamburg, an extensive exhibition on the theme of »Picasso in Contemporary Art« will be held from April 1 to July 12, 2015. As the opening presentation in the Deichtorhallen’s intensively renovated and modernized Hall for Contemporary Art, the show is dedicated to the overwhelming spectrum of modern and contemporary artists’ perspectives on Picasso. With approximately 200 works on loan − from London’s Tate Modern and Paris’s Centre Pompidou, among others − created by 90 internationally known artists, the show deals with Picasso and his impact on art without showing a single Picasso. Ranging between veneration, intellectual assimilation, and reinterpretation, the works by extremely famous artists, such as Georg Baselitz, Brassaï, Sophie Calle, Marlene Dumas, Jasper Johns, Martin Kippenberger, Roy Lichtenstein, and Robert Longo demonstrate the current relevance of Picasso’s work.

Picasso embodies the art of the 20th century like no other artist. He has been admired, but also hated; he has been celebrated, studied, and copied. Even today, the substance of his painting and his artistic individualism is yet to be exhausted. In the words of Dirk Luckow, the curator of the exhibition: »Picasso’s art is so influential today because his work and his person cannot be divided from one another and this makes his work seem exemplary. It has remained fascinating and relevant in terms of its political and formal aspects. The once-in-a-century genius’s impact on contemporary art still continues to be underestimated.«

Today’s artists attitude towards Picasso’s creations resembles Picasso’s own playing with prototypes. To the very end, the artist was driven to grapple with his own predecessors. The exhibition »Picasso in Contemporary Art« sets forth this form of painterly dialogue: what applies to Picasso also applies to today’s artists. These artists’ works are often anything but pious in dealing with their brilliant predecessor. At the same time, all of the artists selected for the exhibition share one thing in common, namely, their desire to measure themselves against Picasso and his work. Picasso’s biography − situated between formal experiment, the battle of the sexes, and international politics, between an intoxicating feast for the senses and tragedy – offers almost collective memories of those facets of his work that artists still continue to associate with Picasso today and that play a role in the creation of their works. The quality of the artists’ reflective depth and their methodological approach to dealing with Picasso thus became the key factors in selecting works for the exhibition.

All of the major subjects and periods in Picasso’s oeuvre reappear in the exhibition in the from of artist’s reception of them: the Blue Period and the associated themes of loneliness, despair, and poverty, but also more lively motifs from the Rose Period, such as the world of the circus, Harlequin, or tightrope walkers. Beyond this, Les Demoiselles d’Avignon – as the first Cubist painting – and Picasso’s works of the 1920s and 1930s – in which he combines harsh Cubist elements with wide, gentle, and rounded curves – have been stimulating responses among artists for generations. Picasso’s aggressive deformations, which culminated in the reproachful anti-war painting Guernica, have led to a spectacular series of political pictorial compositions stretching from the second half of the 20th century to today. In the exhibition, this aspect alone is represented by six monumental Guernica interpretations, including Robert Longo’s 1:1 homage to Guernica.

Perceptions of Picasso among leading international female artists, such as Cindy Sherman, Maria Lassnig, Marlen Dumas, and Hanne Darboven, form another focal point of the exhibition. At the same time, themes like »Picasso and German art« or American appropriation art’s handling of Picasso’s oeuvre are dealt with as well. The exhibition »Picasso in Contemporary Art« thus sheds light on shifts in the reception of Picasso’s work among artists. The exhibition begins chronologically with works from the 1930s by Paul Klee, Ernst Ludwig Kirchner, and Erwin Blumenfeld; however, its focus is on the last 50 years of art, beginning with works by Andy Warhol, Roy Lichtenstein, Claes Oldenburg, Asger Jorn, and Jasper Johns.

The great sensuality and utterly inexhaustible power of imagination as well as the broad range of Picasso’s work between abstraction and figuration, artistic creativity and political reproach have challenged all of these artists − down to the present day – to engage in particularly captivating dialogues with the phenomenon of Picasso.




Deichtorhallen Hamburg - Hall for Contemporary Art - Picasso in contemporary art
01.04.2015-12.07.2015



Website & source : Deichtorhallen Hamburg    DE - EN

Website : Hamburg   DE - EN

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2015-04-15

4578 - BELGIË-ANTWERPEN - Rubens privé. De meester portretteert zijn familie - Rubens in private. The master portrays his family - 28.03.2015-28.06.2015

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Clara Serena Rubens

In the spring of 2015, a unique exhibition will be held on Peter Paul Rubens the portrait painter. Even though Rubens is said to have disliked painting portraits with a passion, and painting portraits was not highly regarded in art theory either, Rubens is one of best portraitists of his time.

His finest and most intimate portraits are undoubtedly those of his relatives: both his wives – Isabella who died young and beautiful Helena –, his children, along with his sisters and brothers in law. And of course, the master also indulged in self-portraits.

These works were not commissioned but were a labour of love and served as keepsakes. For the first time, these amazing works are exhibited together, and not least at a place where they belong: Rubens’ former home in Antwerp.

The exhibition is curated by international Rubens experts and includes some 50 paintings and drawings from top-ranking museums, including the Uffizi in Florence, the British Museum in London, the Musée du Louvre in Paris, the Hermitage in St Petersburg and the collections of the Prince of Liechtenstein, and the Royal Collection, generously loaned by her Majesty Queen Elizabeth II.


 
Rubenshuis - Rubens in private. The master portrays his family  - 28.03.2015 - 28.06.2015



Website & source : Rubenshuis    NL - EN

Website : Visit Antwerpen    NL - FR - EN - DE

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4577 - NETHERLANDS-AMSTERDAM - Alexander, Napoleon & Joséphine, a Story of Friendship, War and Art from the Hermitage - 28.03.2015-08.11.2015

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Anonymous, France, after Gioacchino Giuseppe Serangeli, Napoleon and Alexander I Say Farewell in Tilsit in 1807, c. 1810. Oil on canvas
© State Hermitage Museum, St Petersburg
 
In 2015, as the Battle of Waterloo is commemorated throughout Europe, the Hermitage Amsterdam will turn the clock back to the decisive years that preceded Waterloo, the days of Napoleon Bonaparte and two exceptional and very different contemporaries: Tsar Alexander I, his friend and enemy, and Joséphine, the love of his life.

More than two hundred magnificent paintings, sculptures, personal possessions, gowns and uniforms, objets d’art and impressive weapons will tell the story of two mighty rulers and a woman with great personality. The central themes are friendship, war and politics, as well as Joséphine’s great art collection, which included Dutch and Italian masters such as Potter, Van der Werff, Luini and Canova. The two men come even physically close, in Napoleon’s death mask and in a medallion with a lock of Alexander’s hair. A significant part of Joséphine’s collection eventually came into the possession of the Hermitage, and many of the highlights will be on display in the Netherlands for the first time.

Our story begins in 1807. Napoleon and Joséphine were seeing very little of each other, because of the many wars that Napoleon was waging across the European continent. Joséphine was on her own in their love nest, Château de Malmaison, just outside Paris. That year, Napoleon and the tsar concluded the Treaty of Tilsit, establishing a coalition for peace intended to change the political constellation in Europe and Asia. In the process, they formed a friendship that seemed genuine and enduring. After fifteen days, they said farewell, and in the years that followed they exchanged many diplomatic gifts.

The treaties were intended as an eternal seal on their peace and their friendship. But they proved impossible to enforce, and a new war broke out. The disastrous turning point was Napoleon’s Russian campaign of 1812. Few events in history have made such a strong impression as the French retreat from Moscow in that year. The most catastrophic episode for Napoleon's army, however, was probably the crossing of the ice-cold Berezina River. In just a few days’ time, tens of thousands of soldiers died in battle, froze to death, drowned or starved. Many of them came from the Netherlands, a fact that is still well-known today, thanks to an illustration by Jan Hoynck van Papendrecht used in Dutch schools for many years and included in the exhibition. The drama of the campaign surges to life in works such as four large battle paintings by Peter Hess. The Russian campaign put an end to many years of success for Napoleon and his Grande Armée. The French army was massacred: out of 600,000 soldiers, less than 100,000 survived.

The Tsar also suffered heavy losses, but he held a victory parade in Paris. Napoleon was utterly defeated and sent into exile. In Paris, the Tsar contacted the former empress, Joséphine, who received him at Malmaison. Just as the Tsar and Napoleon had once developed a warm friendship, the Tsar and Joséphine did the same. There are various, often contradictory stories about the motivations of the two. In any case, she gave Alexander one of the greatest gifts a tsar could ask for: the ancient Gonzaga Cameo, from the 3rd century BC. Alexander invited her to come and live in St Petersburg, but she never had the chance to take the invitation into consideration because of her early death. Shortly after a stroll with the Tsar, the former empress died of pneumonia. The rest is history.

The Tsar was not only the victor, along with his allies, but also the buyer of Josephine’s famous art collection. By the time of her death, it comprised more than four hundred works, by masters such as Potter, Metsu, Van der Werff, Rembrandt, Claude Lorrain, Luini, Schidone, David Teniers the Younger, Terborch and Canova. She had purchased many of these works herself, and many others were gifts from Napoleon, war trophies from conquered territories. Alexander bought a large number of paintings and sculptures in 1815 for the then-astronomical sum of 940,000 French francs. Joséphine’s daughter Hortense and son Eugène came under Alexander’s protection, and a generation later Joséphine’s grandson married a Romanov princess, creating a tie of blood between the two families. Partly for this reason, many of the works in her collection ultimately found their way to the Hermitage. Her descendants married into the royal families of Belgium, Denmark, Luxembourg, Norway and Sweden.



Hermitage Amsterdam - Alexander, Napoleon & Joséphine, a Story of Friendship,
War and Art from the Hermitage - 28.03.2015 -08.11.2015
 
 
 
 
 
 

2015-04-08

4576 - BELGIË-ANTWERPEN - Dries Van Noten. Inspirations - 13.02.2015-19.07.2015

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Voor de eerste maal in zijn carrière ontsluit ontwerper Dries Van Noten zijn oeuvre in een tentoonstelling; geen klassieke retrospectieve, maar een intieme tocht doorheen zijn artistiek universum. Aan de hand van verschillende thema’s zal de ontwerper op een visueel indrukwekkende wijze inzage geven in zijn werk, zijn unieke creatieproces en inspiratiebronnen.

De tentoonstelling brengt verschillende kunstdisciplines samen aan de hand van een assemblage van historische, beeldende, etnische, filmische en geografische referenties. De invloeden, parallellen en tegenstellingen in het oeuvre van Dries Van Noten worden bijeengebracht in een tentoonstelling die mode combineert met de wereld van de beeldende en schone kunsten.

Met werk van o.a. Yves Klein, Thierry De Cordier, Victor Vasarely, Damien Hirst, Cecily Brown, Pol Bury, Christopher Wool, Hubert Duprat, Pablo Picasso, Mark Rothko en James Tissot.

Dries Van Noten. Inspirations
Tentoonstelling ontworpen en gerealiseerd  door Les Arts Décoratifs, Parijs (01/03-02/11/14); georganiseerd in Antwerpen door het MoMu - ModeMuseum Provincie Antwerpen.



MOMU - Dries Van Noten. Inspirations - 13.02.2015 - 19.07.2015


Website & source : MOMU

Website : Antwerpen

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4575 - CZECH REPUBLIC - PRAGUE - Kokoschka and Prague - 20.02.2015-28.06.2015

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The exhibition will present a selection of works by Oskar Kokoschka, created, for the most part, in 1934–1938 in Czechoslovakia, on loan from Czech and foreign institutions and private collections. Representative works from Kokoschka’s “Prague” period are exhibited in the framework of Czech art that also reflects his collaboration with Dr. Hugo Feigl’s Gallery and the Mánes Fine Artists’ Society. Other showcased artists include Friedrich Feigl, Bohdan Heřmanský, Willy Nowak, Karel Vogel, Vincenc Makovský, Emil Filla, František Janoušek and Josef Čapek, as well as artists exiled in Czechoslovakia – John Heartfield, Theo Balden, Kurt Lade and Johannes Wüsten.




Trade Fair Palace - Kokoschka and Prague - 20.02.2015 - 28.06.2015




Website & source : Trade Fair Palace

Website : Prague

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2015-04-01

4574 - BELGIQUE- LA LOUVIERE - Luc Tuymans - Suspended, L’œuvre imprimé (1989-2014) - 07.02.2015-10.05.2015

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Luc Tuymans was born in 1958 in Antwerp, where he currently lives and works. He studied the art of painting in Brussels, already experimented with engravings, but had a passion for the immediacy of photo and film techniques. From 1980 until 1985, this artist developed his scenario-writing skills and made some short films. After 1985, he rediscovered his love for painting. Luc Tuymans hasn’t stopped painting ever since, relying on a personal repertory of source images taken from different media.
This exhibition will reveal an unknown aspect of his work : his prints work from 1989 until nowadays.
 
Luc Tuymans is an influential contemporary artist who is widely credited with having contributed to the revival of painting during the 1990s. With a reduced palette and through a selective reworking of existing images, he addresses issues such as history, the World War II, the spectre of the Belgian Congo, child abuse and corporate and religious powers in an indirect. Each artwork addresses the nature of images and how we deal with them in contemporary society. Through lifting these images out of their usual timescale the artist allows us to look at them anew.

Luc Tuymans has worked in other media throughout his career: drawings, oil sketches, film, maquettes, photography, mosaics and printed media. These all play a substantial role in his continuing investigations into how images convey, conceal or subvert meaning. Luc Tuymans’ artworks have always involved the creation of a critical distance towards the original, found image. He creates this distance through the introduction of a time-delay, the insertion of the image into groups of images that together create new and complex conceptual meanings, through carefully chosen, ironic titles and by means of some sort of visual deterioration.

This retrospective of Luc Tuymans’ graphic works –featuring silkscreen prints, lithography, etchings and drawings - shows how every printed medium imparts its own influence. Whereas Tuymans’ paintings are often produced within the timeframe of a single day, printmaking is an arena for experimentation that allows Luc Tuymans to further explore and dismantle the mechanics of image making.

Such a visual deterioration can be achieved through re-photographing an image multiple times with a Polaroid camera or an iPhone, resulting in a washed-out image. It can also be introduced through the processes of printmaking, for example through the separation into colour-layers in screenprinting, which rearticulates the original painting in subtle ways. At the same time, the advantages of multiple print editions allow this Luc Tuymans’ work to be disseminated among wider audiences.

This exhibition is therefor a celebration of both the extensive graphic oeuvre of a prolific artist that confirms the relevance of analogue printmaking in contemporary art today.
 
 
 
 
Centre de la Gravure et de l’Image - Luc Tuymans - Suspended, L’œuvre imprimé (1989-2014)
 
 
 
 
 
 

4573 - SPAIN-MADRID - Raoul Dufy -17.02.2015-17.05.2015

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The Museo Thyssen-Bornemisza holds the first major retrospective on Raoul Dufy in Madrid since the one presented at the Casa de las Alhajas in 1989. The exhibition, which is benefiting from the collaboration of the Comunidad de Madrid, offers a comprehensive survey of the entire career of this French artist through 93 works loaned from private collections and museums, including the Musée d’Art Moderne de la Ville de Paris, the National Gallery of Art, Washington, the Art Institute of Chicago, the Tate, London, and an exceptional loan of 36 works from the Centre Pompidou in Paris. Although principally featuring oil paintings, the exhibition includes drawings and watercolours in addition to textiles and ceramics designed by Dufy during the course of his long and prolific career of more than half a century.

The Museum offers a reassessment of his work that focuses not only on Dufy’s more hedonistic side as the painter of the pleasures of modern life, but also and primarily on his more introspective, reflexive and personal facet. Juan Ángel López-Manzanares, the exhibition’s curator and a curator at the Museo Thyssen- Bornemisza, has devised a chronologically ordered structure for the exhibition, which follows the development of Dufy’s painting through four sections: his early work (From Impressionism to Fauvism); the period when the influence of Cézanne led him towards Cubism (The Constructive Period); his output as a designer of textiles and ceramics (Decorative Designs); and finally, his mature phase (The Light of Colours).



 
Museo Thyssen-Bornemisza - Raoul Dufy -17.02.2015 - 17.05.2015




Website & source : Museo Thyssen-Bornemisza

Website : Madrid

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2015-03-25

4572 - BELGIË-DEURLE - On Kawara 1966 - 29.03.2015-14.06.2015

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artist's studio, 1966 © On Kawara

On Kawara (1933-2014) is considered one of the most important and most radical artists of the second half of the twentieth century. Although the work of On Kawara is well represented in Belgian art collections, this is the first institutional exhibition in Belgium since his exhibition at the Brussels Paleis voor Schone Kunsten in 1975.

The exhibition at the museum Dhondt-Dhaenens is not intended to be a retrospective, but focuses on his production of 1966, a crucial year in the work of On Kawara. It is the last project that the artist, who died in the summer of 2014, still conceived in dialogue with curator Tommy Simoens.




Museum Dhondt Dhaenens - On Kawara 1966 - 29.03.2015 - 14.06.2015




Website & source : Museum Dhondt Dhaenens

Website : Deurle

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4571 - SUISSE-LAUSANNE - Eric Derkenne - 13.02.2015-10.05.2015

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Eric Derkenne's work brings to mind a scrivener monk or a shaman: on the one hand, the strictness attached to the slow task of weaving and, on the other, the sacred dimension of a highly precise and unchanging ritual

Born in Stavelot (Belgium) in 1960, from 1995 to 2011 Éric Derkenne attended the artistic workspace "S" Grand Atelier in Vielsalm, in the heart of the Belgian Ardennes mountains. Here he could enjoy a series of creative (visual arts and theater) workshops for the mentally challenged.
Based on the path of original stem cells, he discovered the natural division of living things and, in a single reunified Big Bang, the growth of his own aesthetic world.
His encounter with large-scale formats and with color inspired him to pursue a search linked to the primary shape that would thenceforth accompany his own development: the circle.
Ever more attached to ballpoint pens as his sole work instrument, he took to filling sheets of paper with a network of convolutions, of strokes built up into coils, giving birth to enigmatic portraits.
In the resulting battalion of totemic figures, each soldier stands out due to endless graphic details. Indeed, our eye gets totally caught up by the multiplicity of curving schemas densified to dizzying heights.
Or are his figures in fact wrenching and desolate battlefield landscapes?
Eric Derkenne passed away at Saint-Vith (Belgium) in July of 2014, having built up—over a fifteen-year-period—a monumental oeuvre forever true to his original approach.

Conceived as a lively symphony in several movements, this exhibition showcases some one hundred pieces by Eric Derkenne—a creator affected so severely by Down's syndrome that he was unable to express himself in words. As such, the show treats viewers to a voyage of the senses, swooping down onto a genuine game of mirrors.


Exhibition Curator: Gustavo Giacosa, independent curator and stage director

The works displayed are from the Collection de l'Art Brut, who acquired this creator's drawings in 2013, as well as from the "S" Grand Atelier.



Collection de l'Art Brut - Eric Derkenne - 13.02.2015 - 10.05.2015



Website & source : Collection de l'Art Brut

Website : Lausanne

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2015-03-18

4570 - BELGIË-LEUVEN - Peter Buggenhout - 12.03.2015-31.05.2015

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© Peter Buggenhout | Gorgo #27
Peter Buggenhout (1963, Dendermonde) constructs sculptural installations out of industrial and found materials. At first sight, his works look like the remains of destroyed or abandoned structures. Beneath the constructions' formal complexity, however, lies a carefully developed internal logic.

Buggenhout works with what he describes as abject material: everyday objects detached from their original context and then reused. By covering many of his sculptures with dust, he attempts to neutralize any symbolic value. To Buggenhout, dust is a material without meaning, consisting only of leftovers. And yet it's capable of transforming objects by accentuating form, while colour and material fade to the background. Buggenhout makes both small compositions on plinths and monumental, freestanding sculptures and installations that fill a whole space.

This first major solo exhibition in Belgium presents a retrospective of his varied work from the late 1990s until today. The exhibition brings together works from existing series, maquettes, large dust sculptures, a series of new smaller work in display cases, and two large monumental installations.
Peter Buggenhout’s work has recently been featured at MoMA/PS1 New York, La Maison Rouge and Palais de Tokyo in Paris, at the Frankfurter Kunstverein, De Pont Tilburg and TRACK in Ghent. He is represented by Konrad Fischer Düsseldorf-Berlin, Laurent Godin Paris and Barbara Gladstone New York.



M -Museum - Peter Buggenhout -12.03.2015 - 31.05.2015



Website : M-Museum   NL - EN - FR

Website : Leuven  NL - EN - FR - DE

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4569 - SWEDEN-STOCKHOLM - Louise Bourgeois - 14.02.2015-17.05.2015

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Louise Bourgeois
Maman, 1999
© The Easton Foundation / BUS 2015. Photo: Moderna Museet / Åsa Lundén

Louise Bourgeois (1911–2010), is one of the most important 20th and 21st-century sculptors. Her art serves as a bridge from Modernism and continues to exert its influence on contemporary artistic practices today. One-third of the pieces in the exhibition have never before been shown publicly.
Before entering the exhibition, visitors will encounter her monumental work Maman, a gigantic spider sculpture, which is standing outside the museum. The art of Louise Bourgeois is complex, radical and full of subversive humour, danger and fear. She succeeds in formulating that which is hard to find words for, and her creative urge was intimately linked with her need to understand, imbuing her oeuvre with a compelling psychological dimension.

Moderna Museet’s Louise Bourgeois – I Have Been to Hell and Back is a major survey of Bourgeois’s oeuvre and, with more than 100 works, it is the largest exhibition in Sweden to date. It includes forty-seven sculptures, one cell, one painting, and fifty-four works on paper and fabric, stretching over seven decades. The selection aims to show the range of Bourgeois’s work, and highlights her experiments in different materials, techniques and scale. Nearly one-third of the exhibits have never been shown in public before. This alone is sensational. The exhibition itself is divided into nine rooms, each highlighting a theme central to Louise Bourgeois’s work. The rooms do not follow any chronological order. Instead, the exhibition explores how themes were taken up by the artist and developed during various phases of her artistic career.

Curator: Iris Müller-Westermann



Moderna Museet - Louise Bourgeois - 14.02.2015 - 17.05.2015



Website & source : Moderna Museet    SK - EN

Website : Visit Stockholm

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2015-03-11

4568 - BELGIË - LEUVEN - SILVER. Art | Object | Story - 12.02.2015-12.07.2015

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(c)foto Dominique Provost

Five centuries of valuable silver will be given a place of honour at M. Luxury tableware, religious objects and surprising curiosities tell a story about the rich history of Leuven and Brabant. From Gothic to art deco, you will see an overview of glittering creations commissioned by the city, her affluent citizens, guilds, university, churches and abbeys.

SILVER showcases Leuven’s curiosities, such as the golden key to the city and the mayor’s silver inkwell, rare design sketches, ceremonial guild silverware and – what else would you expect in Leuven – richly decorated beer mugs. The exhibitions presents showpieces such as the oldest windmill beaker in the world and a glittering ensemble of silver gifts for the primus of the university. Each of the pieces reflects the prestige of the annual university competition that was held in the 17th and 18th centuries. In addition to the medieval treasures of liturgical silverware, you can discover the colourful designs of the monk-silversmith Dom Martin. In the 1920s and 30s, his unique style garnered worldwide fame. After more than eighty years, his art deco gems are returning to Leuven temporarily.




Museum M - SILVER. Art | Object | Story - 12.02.2015-12.07.2015




Website & source : Museum M    NL - EN - FR

Website : Leuven    NL - EN - FR -DE

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4567 - NEDERLAND - DEN HAAG - Beautiful Holland - 04.04.2015-30.08.2015

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Jan Hendrik Weissenbruch, De Trekvliet, 1870, olieverf op doek, 94,9 x 128,7 cm, Gemeentemuseum Den Haag

Hague School paintings are full of the traditional beauties of Holland: grazing cattle, windmills and billowing white clouds. Weissenbruch, Mesdag, Gabriël, Mauve and other Hague School painters went out into the surrounding countryside and immortalised it in pictures that so captured the public imagination that their iconic images still determine the way we think of the Netherlands today. Beautiful Holland is a major exhibition, featuring over a hundred superb paintings and examining the significance of the Dutch landscape and the changes that have occurred in it.

In the late nineteenth century, untamed natural landscapes in the Netherlands were being swept away in favour of productive farmland and industrial development. Moreover, radical changes were occurring in the already agricultural landscape of Holland. Even so, Hague School depictions of those landscapes of the past still dictate how people here and around the world think of the Netherlands today. The artists turned the contemporary landscape of their region into a universal landscape of the heart. In the forthcoming exhibition, over a hundred paintings, the earliest ever (late nineteenth-century) wildlife photographs, archive materials and an extensive programme of visits to nature conservation areas will offer the public a picture of the Dutch landscape both as it used to be and as it is today. Some of the masterpieces going on show at the Gemeentemuseum have spent many years in Japan. These works will now be the key focus of Beautiful Holland, surrounded by works from a multitude of other major museums and private collections.

Symbiosis between nature conservation and the arts
The emergence of the Hague School coincided with an increasing appreciation of nature in the Netherlands. At the dawn of the twentieth century, this growing interest would prompt the establishment of a national nature conservation society (the Vereniging Natuurmonumenten) which still flourishes today. This organisation is now partnering the Gemeentemuseum Den Haag on activities surrounding its Hague School exhibition. The result is a unique symbiosis between nature conservation and the arts that will enable the public to visit the very countryside that is so beautifully depicted in the Hague School paintings on view in the exhibition.

This exhibition will change the way people look at the landscape of Holland, especially if they also take advantage of this spring’s programme of associated excursions to landscape areas and nature reserves like Midden-Delfland, Naardermeer or Planken Wambuis. These are being organised by Natuurmonumenten and will include walks, cycle tours and a boat trip. One of the cycle tours – to Midden-Delfland – starts from the Gemeentemuseum itself and is therefore a perfect same-day complement to an exhibition visit.

Partnerships
Jet Bussemaker, the Netherlands Minister of Education, Culture and Science, is keen for the arts sector to establish ties with other major societal organisations. Beautiful Holland – Out and about with the Hague School responds perfectly to this desire. Natuurmonumenten is not the only organization with which the Gemeentemuseum has joined hands. Dordrecht Museum is holding a complementary exhibition about the early period of the Hague School, designed in partnership so that the two shows combine to tell the entire story of the movement, and the two museums are publishing a joint catalogue. The Gemeentemuseum has also obtained the cooperation of Leiden University Print Room and the exhibition is being sponsored by the ASN Bank.



 
Gemeente Museum Den Haag - Beautiful Holland - 04.04.2015-30.08.2015



Website & source : Gemeente Museum Den Haag  NL - EN - DE - FR

Website : Den Haag    NL - EN - FR

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2015-03-04

4566 - BELGIË-BRUSSEL - The Sultan's World - 27.02.2015-31.05.2015




Paolo Veronese (and workshop), Sultan Bajezid I © Collection Bayerische Staatsgemäldesammlungen, München

Explore the Ottoman Empire along with Renaissance painters and thinkers. After the Ottomans invaded Constantinople in 1453 Ottoman culture held a certain multifaceted fascination on the West. Visit the exhibition The Sultan’s World. The Ottoman Orient in Renaissance Art to re-experience this turning point in history, which gave rise to cultural interchange and mutual influences in spite of military conflicts and prejudices. Step into the magical world of the Ottomans, following in the footsteps of Bellini, Dürer, Veronese, Tintoretto, Memling and other artists.




BOZAR - The Sultan's World - The Ottoman Orient in Renaissance Art - 27.02.2015-31.05.2015




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4565 - SPAIN - MADRID - Rogier van der Weyden (ca.1399-1464) - 24.03.2015-28.06.2015

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Descent from the Cross, Rogier van der Weyden, 220 cm x 262 cm, ca. 1435. Madrid, Museo Nacional del Prado

This exhibition is organised in conjunction with the restoration of the great Crucifixion in El Escorial, which is currently being undertaken at the Prado as part of a collaborative institutional agreement between the Museum and Patrimonio Nacional.

The exhibition will provide a unique and remarkable opportunity to see The Crucifixion, The Descent from the Cross and The Durán Virgin alongside other works by the Flemish artist that were in Spain from an early date, such as the celebrated Miraflores Triptych (now Berlin, Gemäldegalerie). As a result, the exhibition will allow for an appreciation of the artist’s finest and most fully documented works, as well as analysing different and fundamental aspects of Van der Weyden’s creative activity, such as the close links between his works and sculpture, the far-reaching subsequent influence of his art and its repercussion in Spain.



 
Museo Nacional del Prado - Rogier van der Weyden (ca.1399-1464) - 24.03.2015-28.06.2015




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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
 
 
 
 
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