2015-07-29

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

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

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

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

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

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

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



MUHKA - The Welfare State - 29.05.2015-27.09.2015



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

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

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

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

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

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

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

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

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




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


2015-07-22

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

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

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



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




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

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Laszlo Péri | Raumkonstruktion nº 7 | 1922

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

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

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




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

2015-07-15

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

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 Henri-Victor Wolvens

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


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

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

Rohger Pierre Turine, curator



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



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

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

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

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

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

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

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

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

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




Kunstverein Hannover - Mental Diary - 06.06.2015-23.08.2015




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2015-07-08

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

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Proximus Art Collection - Brussels

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

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

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

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



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



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

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3d Print, Ted Noten

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

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

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


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



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2015-07-01

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

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

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

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



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



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Website : La Hulpe

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

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

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


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



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



Website & source   FR

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2015-06-24

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

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Karel Dierickx

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

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

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



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



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

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

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

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

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



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

2015-06-17

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

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© Stephan Vanfleteren
Charleroi 2015

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

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



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



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

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Felix Nussbaum

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

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

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

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



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



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2015-06-10

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

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

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



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



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

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


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

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

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



ARKEN - Bjørn Wiinblad - 13.06.2015 - 17.01.2016



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2015-06-03

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

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Vergilius Bononiensis, plan van Antwerpen © Tijdsbeeld

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

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

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

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



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



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

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

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

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

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



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




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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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