2015-05-27

4590 - BELGIË-GENT - Design museum Gent - De Invasie on display - 08.05.2015-13.09.2015

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Five years ago, a number of brave souls started De Invasie (The Invasion). The objective was to provide Belgian design with a face and a platform within a completely new scene of up-and-coming, creative starters. The founders’ ideas were avant-garde; they focused on a movement of ‘makers’, a community for creative souls. They sought to provide a platform for talent poised to conquer the world.

Five years on, there is just cause for celebration. The debutants from back then have grown up and found their way nationally and/or internationally. High time then for an exhibition lasting longer than a few days’ worth of invasion.

The exhibition ‘De Invasie on display’ is a stab in the dark for both De Invasie and Design museum Ghent. For De Invasie, the long-term project is a first, while the museum has never before held an exhibition with open registration.

De Invasie is a strong believer in independent organization, working with the public and the talent. Commercial initiatives and administrations are always welcome, but within the context of an alliance. To aspire to a common goal together.



Design museum Gent - De Invasie on display - 08.05.2015-13.09.2015



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4589 - FRANCE-LILLE - OPEN MUSEUM 2 …Donald - 10.04.2015-05.07.2015

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With OPEN MUSEUM, the Palais des Beaux-Arts gives carte blanche to artists you don’t expect to see in a museum : film directors, fashion designers, musicians, actors, writers, top chefs etc., famed and loved for their creations and their penchant for building bridges between the arts.
Each personality is free to put forward their vision of the museum, taking it by storm every which way.
OPEN MUSEUM is a delightful, artful hotchpotch of disciplines blending together, sharing the love of art and knowledge, tapping into pleasure and imagination.
Last Spring, the Palais des Beaux-Arts de Lille featured a soundtrack by the group AIR for its collections.

Guesting at open museum #2 donald are contemporary artists from the German collective interDuck, who take a highbrow yet irreverent approach, parodying works of art with the addition of a leitmotiv in the form of a duck head, reminiscent of Donald Duck, the Walt Disney character first created in the 1930s. interDuck appeals to the non-initiated with this short history of art that everyone can grasp.

The collective interDuck has to date produced a body of work tweaking several hundred archaeological treasures, documents, paintings and sculptures from prehistory to our era, with the recurring duck as an avatar for humankind and our history. Masterpieces by all the great names in art history, from Leonardo da Vinci to Picasso, not forgetting Friedrich and Monet, have been parodied in a joyous new twist.

For the first time in France, following on from many exhibitions in northern Europe, this collective of artists have come up with a kind of treasure hunt on all floors of the Palais des Beaux-Arts de Lille, involving masterpieces both genuine and fake (about 90). Alongside the works on loan from interDuck, there are several others created specially by the artists based on a selection of the most emblematic paintings and sculptures that best represent the museum’s outstanding collection (Goya, Bosch and others).

With the utmost care, akin to that of an archaeologist or a scientist, the collective interDuck has managed to rewrite art history, all the while poking fun. With its mélange of real and fake, playful pleasure and thirst for knowledge, we hope that this theme will attract those who come only too rarely to the museum, namely young people and families.


 
Palais des Beaux-Arts - Lille - OPEN MUSEUM 2…Donald - 10.04.2015 - 05.07.2015



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2015-05-20

4588 - BELGIË- BRUSSEL-VORST - Un-Scene III - 30.05.2015-09.08.2015

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Leen Voet, Sint-Rita, 2012-2013. Series of 5 paintings on wooden tripods, oil on unstretched canvas, 219 x 168 cm. Courtesy the artist.

Un-Scene III is the third edition of what is now a triennial tradition at WIELS, an integral part of its on-going research into the practices and questions that animate the artistic life around the institution. Building upon the two earlier editions of Un-Scene (2008 and 2012), the exhibition presents a slice of a scene, a snapshot of a particular moment and the position of WIELS as an international institution firmly rooted in the Belgian landscape. The exhibition reveals the lines of force, common traits and the individual journeys of thirteen artist of this generation. Furthermore, it highlights the connections that have been established between the residency programme of WIELS and the ever-shifting local art scene.

With:
Béatrice Balcou
Jean-Baptiste Bernadet
Sébastien Bonin
Kasper Bosmans
Erika Hock
Hedwig Houben
Stephanie Kiwitt
Julien Meert
Yuki Okumura
Marina Pinsky
Marnie Slater
Leen Voet
Freek Wambacq
 
Curators: Devrim Bayar & Zoë Gray



WIELS - Un-Scene III - 30.05.2015 - 09.08.2015



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4587 - SPAIN-BILBAO - The 50s: fashion in France 1947-1957 - 10.03.2015-31.08.2015

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The 1950s were a decisive period for French haute couture. The industry had suffered badly in the wake of the 1929 stock market crash and even more so, in the aftermath of the Second World War. In the 1950s, Paris was reborn as the international capital of fashion, led by such prominent names as Jacques Heim, Chanel, Schiaparelli, Balenciaga – to which the Bilbao Fine Arts Museum dedicated the exhibition Balenciaga. Designing the limits (2010) – and Jacques Fath, followed by newcomers Balmain, Christian Dior, Jacques Griffe, Hubert de Givenchy and Pierre Cardin. They all contributed to the enduring legacy of French fashion, synonym of luxury, elegance and creativity, and to the success of ready-to-wear fashion.

This exhibition retraces the evolution of the female form over the ten-year period from 1947–1957, from the birth of the New Look to the death of Christian Dior and the advent of Yves Saint Laurent. The exhibition was on view from July to November at the Palais Galliera Museum of Fashion in Paris. Olivier Saillard, the museum's director, selected one hundred remarkable models and accessories from the Palais Galliera collection. Miren Arzalluz, expert in fashion and costume history, will be associate curator for the Bilbao exhibition.




Fine Arts Museum of Bilbao  - The 50s: fashion in France 1947-1957 - 10.03.2015 - 31.08.2015




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2015-05-13

4586 - BELGIË-BRUSSEL - Artview#3 - 24.04.2015-28.06.2015

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For the third year and in the frame of ART BRUSSELS, the Atomium organizes ARTVIEW#3, an exhibition on contemporary art. This year, Artview#3 focuses on the collection of the Museum in Ixelles.
 
Ten Belgian artists, whose work has never been brought together, present their work: Stephan Balleux, Bert de Beul, Edith Dekyndt, Wim Delvoye, Michel François, Geert Goiris, Ann Veronica Janssens, Xavier Mary, Jean-Luc Moerman and Cindy Wright.
 
Artview is not an exhibition; it is a focus, a dialogue between those who consider art as a passion or a profession and the large public. This yearly appointment invites visitors to question contemporary art and look at it from a very specific angle.
 
During the 2 earlier editions, the Atomium presented work from Galila, an art collector in 2013 and from the artist Arik Lévy in 2014. For its third edition the Atomium collaborates with the Museum of Ixelles and looks at how their collection is built.
 
10 Belgian internationally well-known artists will have their work on show. ARTVIEW#3 gives through sculptures, paintings, pictures and installations an overview of contemporary art in Belgium.
 
 
 
 
Atomium - Artview#3 - 24.04.2015 - 28.06.2015
 
 
 
 
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4585 - FRANCE-PARIS - Velázquez - 25.03.2015-13.07.2015

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Born in Seville in 1599, Velázquez is one of the most important figures in the history of art, all styles and periods together. The leader of the Spanish school, official artist to King Philip IV at a time when Spain dominated the world, he was a contemporary of van Dyck, Bernini and Zurbarán, although his art gave him a timelessness that is rivalled only by Leonardo da Vinci, Raphael, Michelangelo, Titian, Caravaggio and Rembrandt.

An exhibition produced jointly by the RMN-Grand Palais and the Musée du Louvre, in collaboration with the Kunsthistorisches Museum, Vienna.

Curator : Guillaume Kientz, curator in the Department of paintings, Musée du Louvre


 
Grand Palais - Velázquez - 25.03.2015-13.07.2015



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2015-05-06

4584 - BELGIQUE-NAMUR - Facing Time. Rops/Fabre - 14.03.2015-30.08.2015

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Du 14 mars au 30 août 2015, Namur vivra à l’heure de Félicien Rops et de Jan Fabre pour une rencontre entre deux artistes innovateurs au-delà du temps. "Si je devais voler une œuvre dans un musée, ce serait la Pornocratès de Félicien Rops", déclarait Jan Fabre, dans une interview en 2011. Il faut dire que les univers des deux artistes belges se répondent : pulsion de vie et de mort, sexualité, corporalité.
Le point de départ de ces expositions est une invitation posthume de Félicien Rops à Jan Fabre qu’il accueille dans le musée qui lui est dédié et dans différents lieux de sa ville natale. La conversation entre Rops et Fabre, au-delà du temps, va déranger, secouer, interroger. A l’occasion de ce parcours, Bernard-Henri Lévy, auteur du roman Les Derniers jours de Charles Baudelaire (Grasset, 1988), va décrypter d’un point de vue philosophique les visions baudelairiennes présentes dans les deux œuvres.
« Facing time » vous convie à un face-à-face entre deux artistes, séparés par deux siècles d’histoire et de développement de l’art. C’est à travers le temps et le regard que les parallèles et similitudes entre Fabre et Rops viennent chercher le dialogue. Commissaires invités: Joanna De Vos, historienne de l’art. Avec le regard philosophique de Bernard-Henri Lévy. Un projet réalisé dans le cadre de Mons 2015, Capitale européenne de la Culture.



Musée Félicien Rops - Facing Time. Rops/Fabre - 14.03.2015 - 30.08.2015



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4583 - HOLLAND-AMSTELVEEN - Arnulf Rainer - 03.05.2015-30.08.2015

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The Cobra Museum will present the work of the Austrian artist, Arnulf Rainer. In this exhibition, the emphasis will be on work completed in the last 15 years, which has rarely been exhibited in the Netherlands.

Together with such artists as Jean Dubuffet, Antoni Tàpies, Asger Jorn and Karel Appel, Arnulf Rainer (b. 1929) gave new substance to European Expressionism in the latter half of the 20th century. In Austria, he was one of the first Informal painters, and he later became especially known for his Übermalungen, overpainted photographs and printed matter, his hand and finger painting and painting associated with performative actions.

Before he begins painting over a photograph, Rainer manipulates the image by using coloured light to accentuate specific areas, or by selecting certain cut-out segments. These are again re-photographed, and Rainer then begins the process of applying layers of paint. This results in colourful works that have a soft, velvety character. The photographic images that serve as cornerstones for the paintings can range from portraits, nudes and landscapes to prints from history or the history of art.

Arnulf Rainer's later work makes it clear that the artist has used and taken full advantage of his years of experience. The exhibition will include about 80 works. In order to clarify the relationship to his earlier works, these will be presented in juxtaposition to the more recent works




Cobra Museum - Arnulf Rainer - 03.05.2015 - 30.08.2015




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2015-04-29

4582 - BELGIË-BRUGGE - Collection presentation Amédée Cortier - 28.03.2015-11.11.2015

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Amédée Cortier (1921-1976) was a Belgian painter and graphicist. In the 1940s he worked in an Expressionist style; in the 1950s he became a Cubist; and in the 1960s he switched to Abstractism. With his very pure and distilled art at the end of the 1960s he tapped into the popular international trend of the day, in which colour was central. His work of this period is now generally regarded as 'fundamental art'. In 1973, the Groeningemuseum acquired its first important painting by Cortier. In 1992-1993 a new ensemble was put together that covered the artist's full career. It shows the evolution that Cortier underwent from figurative to more abstract, minimalist art. Like the Dan Van Severen ensemble exhibited last year, Cortier's paintings have an extra spiritual dimension. Although his pieces are generally smaller than those of his American contemporaries working in the same style, such as Newman, Reinhardt and Rothko, Cortier's colours create the same perception of consciousness. This exhibition contains paintings, drawings, a model and a documentary section.



Groeningemuseum - Collection presentation Amédée Cortier - 28.03.2015 - 11.11.2015



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4581 - SWITZERLAND-RORSCHACH - Würth Haus Rorschach - Boterosutra by Fernando Botero - 28.03.2015-06.09.2015

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Boterosutra (Detail) Öl auf Leinwand / Oil on canvas, 100 x 125 cm, Im Besitz des Künstlers / Courtesy of the artist

The Forum Würth in Rorschach is presenting Boterosutra, a recent set of works by the Colombian artist Fernando Botero (born in Medellín in 1932). In this unconventional series Botero, one of Latin America’s bestknown artists, remains true to his characteristically grotesque and “naive” figure style. As the wittily ironic title indicates, the group of works takes its cue thematically from the quintessential text on human sexual behaviour, the Kamasutra. In some seventy drawings, oil paintings and marble sculptures the artist shows a couple making love in a wide variety of positions. Botero’s intensely physical art has always revolved around the depiction of sensuous volumes in two and three dimensions, so it is only logical that he should turn to subject matter of this kind. Throughout his career Botero’s work has featured bulbous figures of an almost baroque voluptuousness and still lifes with monumental pieces of fruit.




Würth Haus Rorschach - Boterosutra by Fernando Botero - 28.03.2015 - 06.09.2015
 
 
 


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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
 
 
 

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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



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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



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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


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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




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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




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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




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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



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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



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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



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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




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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



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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
 
 
 
 
 
Website : Poperinge   NL - FR - EN - DE