4748 - 20170205 - BELGIË - BRUGGE - The Art of Law. Three Centuries of Justice Depicted - 28.10.2016-05.02.2017


In the fifteenth century, it was customary to decorate courtrooms with works of art that were intended to 'encourage’ the aldermen and judges to perform their duties in an honest and conscientious manner. These works often depicted the supreme moment of divine justice: the Last Judgement. But other scenes from the Bible were also used, as were images from more profane sources. Together, these are known as the ‘exempla iustitiae’ (meaning ‘examples of fair justice’). In 1498, Gerard David was commissioned by the city council of Bruges to paint just such a work: ‘The Judgement of Cambyses’. This remarkably gruesome painting once hung in the courtroom of Bruges town hall and is now one of the finest masterpieces in the Groeningemuseum.
Subjects relating to justice were also depicted outside the courtroom in paintings, prints, drawings, sculpture and stained glass windows. ‘The Art of Law’ exhibition has brought together some twenty works of art from the collections of Musea Brugge, supplemented by about hundred other pieces on loan from galleries and museums both at home and abroad. They paint a fascinating picture of the way in which justice and the law were represented in art during the Ancien Régime.

Groeningemuseum - The Art of Law. Three Centuries of Justice Depicted - 28.10.2016 - 05.02.2017

4747 - 20170226 - GERMANY - BREMEN - Max Liebermann: From Leisure to Modern Sport - 22.10.2016-26.02.2017


Max Liebermann, Reiter am Strand mit Foxterrier, 1911. Öl auf Leinwand, 70 x 100 cm © Nationalmuseum Stockholm.
Today, the world of sports penetrates almost every aspect of life. It is a critical element of modern lifestyle, a popular spectacle for the masses or an expression of social distinction. In Germany, the incredible success story of sports began more than a hundred years ago: Max Liebermann was the first German artist to preoccupy himself extensively with this subject. The exhibition examines Liebermann’s preoccupation with leisure, recreation and sports within the context of art as well as the historical and social development of sport, with a special focus on horse riding, polo and tennis in art. Works by Degas, Manet and Toulouse-Lautrec illustrate the inspiration that Liebermann found in French painting and graphic arts. However, his depictions of tennis and polo players are unique in France and Germany. The singularity of his motifs is illustrated through the juxtaposition with selected works by English and German contemporaries such as John Lavery and Max Slevogt.

Liebermann primarily explores the subjects of horseback riding, tennis and polo motifs in the period between 1900 and 1914. These works convey an image of the Wilhelminian upper classes whose leisure activities were infused by the idea of the English sportsman. At the end of the nineteenth century, Liebermann turned his attention to summer visitors at the North Sea. There he first painted bathers and horseback riders but soon focused on modern sports such as polo, horse racing and tennis which had been popular in England for some time. Following the First World War, Liebermann’s sports motifs faded into the background. In the 1920s a younger generation of artists began to discover sports as a subject, particularly sports for the masses such as football and boxing. Depictions of boxers by Willy Jaeckel, Renée Sintenis and Rudolf Grossmann reflected the change in interest from elegant lawn sports in the countryside to physical exertion in urban sports arenas.

The exhibition will present about 140 works from international museums and private collections from Washington, Jerusalem, Paris and Zurich as well as from the collection of the Kunsthalle Bremen. The exhibition is held in cooperation with the Liebermann Villa am Wannsee, Berlin, where it will be shown in a smaller version from 19 March to 26 June 2017.
Kunsthalle Bremen - Max Liebermann: From Leisure to Modern Sport - 22.10.2016-26.02.2017


4746 - 20170402 - BELGIË - ANTWERPEN - Middelheim Museum - Roman Signer - 29.10.2016-02.04.2017


Roman Signer, Projet pour un jardin, 2016. Permanent work Middelheim Museum. Courtesy of the artist. Photo: Simon Vogel.

Between 29 October 2016 and 2 April 2017 you will get the chance to acquaint yourself with the idiosyncratic work of the Swiss artist Roman Signer, the sculptor who combines poetry, science and action in his work in his own unique manner.
‘Projet pour un jardin’ links together past and contemporary creations that Roman Signer has worked on in collaboration with the Middelheim Museum. In the past these collaborations were part of a group event, this time he’s exhibiting alone. The artist is putting on two actions in and around the Braem Pavilion. In addition, he creates a new permanent work specially for the Middelheim Museum.

Signer & Middelheim, a powerful combination
In the Middelheim Museum time and surroundings play a more intense role than they would in a classical museum. Changing light, the passing of the seasons, the dialogue with later works, the relationship of the landscape versus the art which can be found in it. These are elements with which all the artists in the Middelheim Museum are confronted, but not all of them incorporate this theme in their work. Time and surroundings are at the very heart of Roman Signer’s oeuvre. In that respect his work is perfect for the Middelheim Museum.

Understanding Roman Signer’s work might seem like a difficult task for the uninitiated. And even those who are familiar with Signer’s oeuvre consider ‘Bidon Bleu’, that has been part of the permanent collection since 2012 as atypical work. The monumental character of this work means it is not often identified with the better-known elements from Signer’s body of work. This solo exhibition is an opportunity to see this piece within the context of his other work. It takes him ever further - one action leads to the next - in a seemingly endlessly meandering journey through impressive natural landscapes and recognisable urban situations.

Risk and danger are part of Signer’s actions, but are never a goal in themselves. They have determined the artist’s reputation, but usually stand in the way of a poetic interpretation of his work. The spectator is often confronted with his own expectations of what he finds meaningful or not.

‘Projet pour un jardin’ links Roman Signer’s international career with his love of Sankt Gallen in Switzerland, where he has lived and worked since 1971. ‘Jardin’ is about something homely, something personal, something familiar. For Signer that is Sankt Gallen and the natural surroundings which are so omnipresent in his work and life. The open air museum is a garden for many urbanites whilst at the same time a public domain. This Antwerp story links the local with the international and, by way of ‘his’ Sankt Gallen, makes a link with all the other locations where Signer’s work can be found worldwide.

Fourth dimension, two traces
‘Stop motion: time as a succession of moments in contrast with the exceptional experience of always one moment’. No art is better suited to the theme of the temporary projects that the Middelheim Museum is putting on in 2016 than the work of Roman Signer. In particular, Signer is the sculptor who has added the dimension of ‘time’ to sculpture.

Signer always works according to the same structure, in three phases. First of all there is the basic form, which already contains the potential to change. Every project contains a moment of tension, a moment in which time seems to stand still, before the action takes place. This action, often steered by the artist himself, is the impetus to the change which comes about in the course of the action. The trace, the residue of the action, is the material artwork.

Dynamic and static moments, both past and future: Signer doesn’t see them as incompatible, but as aspects of one and the same work. Because the phases are clearly defined and their order is fixed, the process can also be mentally repeated and thus also captured in our imagination. So his work encourages the spectator to follow him from the physical to the conceptual.

The permanent work of art ‘Bidon Bleu’, the monumental installation which Roman Signer created for the Middelheim Museum in 2012, is a great example of this. During the action (on 26 May 2012) the artist threw a blue canister, filled with water, from a fifteen metre high slope in space. The container splashed open against the rear wall of a concrete construction. The action comes to a standstill, the water evaporates. The only thing left is the trace: the result of the action, frozen in time. The time interval is constantly supplemented with ‘memories of the action, the suggestion of what has happened’. A second trace is the cinematic report that Signer’s wife Aleksandra makes of every action.

“A change in being fascinates me, from beginning to end. This is how a time sculpture is created” ---Roman Signer

As part of ‘Projet pour un jardin’ Roman Signer has been working on two new actions. One of which ‘Haben Sie Angst für rot, gelb und blau? Ja, ich habe Angst!’, were debuted on the first day of the exhibition.

This action consists of red, yellow and blue paintballs, remote-controlled miniature helicopters and a table. With Signer on the remote, the paintballs are dropped onto the table by the helicopter, where the paint leaves behind a permanent trace.

The time sculpture, which is reminiscent of earlier experiments such as ‘Kugel mit blauer Farbe’ (Shangai Biennial 2012), is on show in the Braem Pavilion during the exhibition. The same venue is also screening a cinematic representation of ‘Haben Sie Angst für rot, gelb und blau? Ja, ich habe Angst!’ and a film with previous actions by the artist.

Also in the Braem Pavilion we get to see the result of the action ‘Spuren’ as a temporary installation. This work again contains all the elements which are characteristic of the artist’s work. In a sand carpet we see the traces which Signer has left behind as he zigzagged across it on skis. The journey ends at a ski cabin. There is no trace left of Signer, only his skis in the ski cabin. And the film of the action.

In the video Pendulum (2016), set up in a separate room in the Braem Pavilion, we see the artist's hands rhythmically avoiding a bucket as it swings back and forth like a pendulum. Eventually, the movement ceases, and bucket and hands meet.

‘Projet pour un jardin’ is not just the name of the exhibition and the book about it; it is also the title of a new, permanent work that Roman Signer has made especially for the Middelheim museum. The steel work has a surface area of four by eight metres and is 130 cm high. It looks like a detail of a maze and, when looked down on from above, is reminiscent of the zigzag silhouette of ‘Spuren’ (2016).

In ‘Projet pour un jardin’ it is not Signer, but the visitor who is the central figure in the experiment, who can decide on the journey he embarks upon – in which from above it looks like the head has been separated from the torso. Taller people might have to walk through here with their knees bent. Not as a lesson in humility – in Signer's work there is no room for power or domination – but possibly a symbolic reference to ‘separating the head from the body’, the separation of the emotional from the rational.

In this new project time starts whenever someone begins the journey. That results in another form of experience of time: the personal, physical experience. In that respect the two works from the collection, ‘Bidon Bleu’ and ‘Projet pour un jardin’, complement each other well with ‘Projet pour un jardin’ as a binding element between ‘Bidon Bleu’, the park and the solo exhibition.

Sculpture according to Signer
In the beginning of his career, in the 1970s, Roman Signer carried out research into the visualisation of natural phenomena with almost scientific precision. The basic properties of water, sand and stone, executed in 3-D. He also transformed fire, rockets and explosions into ephemeral actions, or used their power to transform tables, chairs, beds, wooden balls or blue barrels. Other things on his list of favourite props include plastic lint, paint, clay, paper, wooden poles, skis, a kayak, a scooter and a ventilator. The objects, which are each time used in different combinations, have undergone a meticulous selection over the years.

With this limited number of elements Signer sculpts a world which never fails to amaze the spectator. His work makes an important contribution to the tradition of ‘Process Art’ and he single-handedly rewrites the definition of sculpture. With the concepts of ‘action’, ‘distribution in space’ and ‘time’ he has added three new dimensions to it.

Through his work he tackles time in diverse manners: ‘Action with a Fuse’ (1989) lasts 35 days, the closing event of Documenta 8 (1987) lasts just a few seconds. ‘Vitesse: 2000 metres/ second’ (1992) is literally about an enormous acceleration. Sequence, simultaneity, duration, the immediate, continuity, perseverance and rhythm are all ways of giving shape to his images.

Modus Operandi
Roman Signer combines natural elements such as water, wind, earth and fire with simple props such as rockets and balloons. The result is often surprising, absurd and poetic. Water is perhaps the most common element in Signer’s work. The fascination with water has never left this man who grew up on the banks of a river. The ‘meander’ pattern of a natural stream can also be seen in his new work ‘Spuren’ and ‘Projet pour un jardin’. His frugal choice of materials is in sharp contrast with the highly imaginative way he develops his projects. The result is a contrary oeuvre that makes no concessions to trends or aesthetic expectations.

Even though his actions are not functional, his oeuvre expresses a great interest in reality outside the art world. In addition, his actions - without a role but also not without danger - can be seen as symbols or metaphors for an existential questioning: “I need to enter into confrontation with the ephemeral. Perhaps that’s because I’m sensitive to tragedy, the absurd, futility and meaninglessness which we as human beings are responsible for.” (R.S., Venice Biennale, p. 37). Signer uses small things to set something in motion which you can reflect upon in a broader context and which everyone can relate to.
Source: Art Daily
Middelheim Museum - Roman Signer - 29.10.2016-02.04.2017    

4745 - 20170212 - NETHERLANDS - DEN HAAG - Gemeentemuseum - Alice Neel-Collector of Souls - 05.11.2016-12.02.2017


Alice Neel, Mother and Child ( Nancy and Olivia) 1967
Amrican artist Alice Neel (1900-1984) was above all a portrait painter or, as she herself put it, a ‘collector of souls’. She painted the people around her, from her children and lovers to MoMA curator Frank O’Hara, fellow artists and the flamboyant characters associated with Andy Warhol’s Factory. Her style not only captured the outward appearance of her subjects, but also their mood, their inner uncertainty or private vanity. Neel is now regarded as one of the most important painters of the twentieth century and a source of inspiration for contemporary artists, including Marlene Dumas, Rinus Van de Velde and Elizabeth Peyton. Nevertheless, she remains relatively unknown in the Netherlands. The Gemeentemuseum hopes to change this by staging the first major retrospective of her work in this country.
Alice Neel’s expressive portraits tell us something not only about the subjects, but also about the artist herself and the tumultuous life she led. The exhibition begins in 1926, when she and her husband Carlos Enriquez were living in Cuba. After their first daughter died at the age of one, the couple separated and Neel returned to her parents in Philadelphia, leaving their second daughter with Enriquez’s family in Cuba. Neel suffered a nervous breakdown and was admitted to a psychiatric hospital.

In 1932 she moved to New York. Living in ‘bohemian’ Greenwich Village, she became part of a circle of artists and writers who responded to the Great Depression by becoming interested in Communism. In 1935, Neel herself became a member of the Communist Party. This aspect of her life attracted the interest of the FBI. When she moved to Spanish Harlem, she began to paint the immigrants from Latin America and Puerto Rico who populated the neighbourhood, as well as continuing to produce portraits of her Communist friends. Spanish Harlem was also where she gave birth to her two sons (by José Negron and Sam Brody respectively), who subsequently became regular subjects of her portraits.

In the early 60s Neel moved to the more prosperous Upper West Side of New York, where her subjects began to include influential curators, art critics and dealers. At the same time, she became interested in the subcultures that were beginning to lay claim to their position in society around this time. Thanks to her friendship with Andy Warhol, she met various gays and transsexuals, including Jackie Curtis (inspiration for Lou Reed’s song Walk on the Wild Side). Neel’s portraits of Curtis and of ‘liberated’ women contributed to the public acceptance of such subcultures. In this respect, her oeuvre includes a genre familiar to us from the world of photography – for example, that of Diane Arbus – but unique in painting. By the end of her life, Alice Neel had created a body of portraits that, taken together, represented a cross-section of 20th-century American society.

Alice Neel was a figurative painter at a time when the art world was dominated first by Abstract Expressionism and later by Minimal Art and Pop Art. Figurative painting was regarded as a thing of the past. Indeed, in the 1960s and ’70s painting itself was declared dead. Although she was well aware of contemporary trends, Neel chose to pursue a path diametrically opposed to them. Consequently, her life was a constant struggle for artistic recognition. She did not achieve broader recognition until the 1970s, and then partly due to the women’s liberation movement. In the United States she is now ranked as one of the most important figurative painters of the 20th century, alongside Lucian Freud and Francis Bacon. In Europe, interest in her work has increased sharply in recent years and this exhibition can be seen as the culmination of her posthumous artistic breakthrough on this side of the Atlantic.

Gemeentemuseum - Alice Neel-Collector of Souls- 05.11.2016-12.02.2017


4744 - 20170305 - BELGIË - BRUSSEL - Picasso. Sculptures - 26.10.2016-05.03.2017


Picasso. Sculptures

“Large, ambitious and unavoidably, dizzyingly peripatetic”, wrote The New York Times about the Picasso Sculpture exhibition at the MoMA. The Musée Picasso in Paris, in collaboration with BOZAR, builds on the theme. Over 80 sculptures represent the staggering creative power of an artist who really went to town experimenting with a range of materials and techniques. The sculptures conduct a dialogue with paintings, ceramics, photographs and objets d’art from Picasso’s private collection. The exhibition takes a fresh look at a less familiar but very personal aspect of the artist’s oeuvre.

Curators: Cécile Godefroy and Virginie Perdrisot

BOZAR  - Picasso. Sculptures - 26.10.2016-05.03.2017

4743 - 20170122 - SPAIN - MADRID - Renoir: Intimacy - 18.10.2016-22.01.2017

Pierre-Auguste Renoir, Child with an Apple or Gabrielle, Jean Renoir and a Little Girl, circa 1895-1896. Pastel sobre papel. 560 x 760 mm. Mrs. Léone Cettolin Dauberville.
Writing about his father, the filmmaker Jean Renoir said: “He looked at flowers, women and clouds in the sky as other men touch and caress.” Renoir: Intimacy, the first retrospective in Spain to focus on the Impressionist painter Pierre-Auguste Renoir (1841-1919), challenges the traditional concept that reduces Impressionism to the “purely visual”. Rather, it emphasises the central role played by tactile sensations in Renoir’s paintings, which are present in all the different phases of his career and are expressed through a wide range of genres including group scenes, portraits, nudes, still lifes and landscapes.

Curated by Guillermo Solana, Artistic Director of the Museo Thyssen-Bornemisza, the exhibition is sponsored by Japan Tobacco International (JTI) and presents a survey of 78 works by the artist loaned from museums and collections worldwide, including the Musée Marmottan Monet in Paris, the Art Institute of Chicago, the Pushkin Museum in Moscow, the J. Paul Getty Museum in Los Angeles, the National Gallery in London and the Metropolitan Museum of Art, New York. Renoir: Intimacy shows how the artist made use of the tactile qualities of volume, paint and textures as a vehicle to evoke intimacy in its various forms (friendship, the family or erotic ties) and how that imagery connects the work to the viewer through the sensuality of the brushstroke and the pictorial surface. The exhibition will subsequently be shown at the Bilbao Fine Arts Museum from 7 February to 15 May 2017.

While the figures in the group portraits of artists such as Manet and Degas tend to maintain their distance with the viewer, Renoir imbued his figures with a palpable closeness. In scenes with two or more, these figures habitually participate in a process of alternation between visual and physical contact: pairs of siblings or mothers and children in which one looks at the other, while the second responds by touching them.

On occasions these exchanges are constructed around a shared activity such as reading a book. In the case of his individual portraits, Renoir aimed to offer an experience comparable to physical contact by bringing the viewer as close as possible. While Degas surrounded his models with a setting and attributes that represent them, Renoir tended to tighten up the composition, omitting the setting in order to concentrate our gaze on the figure’s face.

Other details that refer to palpable sensations in Renoir’s paintings include the figures’ hair, which they play with and twist around their hands; the dogs held by women in these works; the pieces of cloth or towels that cover their breast or are wrapped round their thighs; the task of sewing; skeins of wool; or the dense texture of a garden.

Renoir: Intimacy is structured into six thematic sections: Impressionism: public and private; Commissioned portraits; Everyday pleasures; Northern and southern landscapes; Family and environment and Bathers.

The Impressionist phase, from 1869 to 1880, occupies three rooms in the exhibition and features some of Renoir’s most iconic works, including Lunch at the Restaurant Fournaise (The Rowers´Lunch) (1875) After the Luncheon (1879), a life study for Le Moulin de la Galette (18751876), and Bathing in the Seine (La Grenouillère) of 1869, one of the works that Renoir executed in La Grenouillère, a popular area for leisure activities on the outskirts of Paris where he worked with Monet. A selection of female portraits set outdoors or in interiors, including Portrait of Madame Claude Monet (1872-1874), portraits of couples such as La Promenade (1870), in addition to an Impressionist landscape, Woman with a Parasol in a Garden (1875), complete this section.

By 1881 the Impressionist approach seemed to be exhausted and the group’s members moved apart. Renoir turned his gaze to the classical tradition, from Raphael to Jean-Auguste Dominique Ingres. While maintaining the use of an Impressionist pictorial language, his works now reveal a greater emphasis on drawing.

From the late 1870s and during the rest of the following decade Renoir gained a growing reputation as a portraitist, becoming one of the most solicited by Parisian high society. His depictions of Madame Thurneyssen and her Daughter (1910), or the series devoted to the Durand-Ruel family are among the examples of this facet of his output on display.

Among the scenes of everyday life are depictions of young women, either alone or with other women, located in an interior in which they are shown absorbed in activities that isolate them from the viewer. The green Flowerpot (1882) and Young Women reading (1891) allow us to enter this intimate space of everyday pleasures.

The room devoted to landscapes includes views of the Normandy coast and the Channel Islands, such as Hills around the Bay of Moulin Huet, Guernsey (1883), Provence, where he shared pictorial motifs with his friend Cézanne, among them Mont Sainte-Victoire (ca.1888-1889) and various locations in southern Italy, including The Bay of Salerno (Landscape of the South) of 1881.

The exhibition continues with family and domestic scenes featuring the artist’s children, such as Coco eating his Soup (1905) and Jean dressed as a Hunter (1910); the artist’s wife Aline, depicted in Motherhood (1885), painted to mark the birth of their first son Pierre, and in Aline Renoir Nursing her Baby (1915); and other members of his closest circle. The latter included Gabrielle Renard, the family’s nanny and a distant relative of Aline, who became one of Renoir’s favourite models, seen here in Boy with an Apple or Gabrielle, Jean Renoir and a Girl (ca.18951896), and Andrée Heuschling, who would marry Renoir’s son Jean after the artist’s death, seen here in The Concert (1918-1919).

The nude was among Renoir’s preferred subjects, although with the exception of Degas the Impressionists tended to avoid it as they considered it an academic theme. Engaged in his own stylistic evolution, Renoir achieved one of the high points of his career with his scenes of bathers: a series of nudes set outdoors in which the artist celebrated a type of timeless nature devoid of any reference to the modern world. The result is an idyllic vision characterised by the sensuality of the models, richness of colouring and plenitude of the forms.
Museo Thyssen-Bornemisza - Renoir: Intimacy - 18.10.2016 - 22.01.2017


4742 - 20170115 - BELGIË - DROGENBOS - FeliXart Museum - Drogenbos - Victor Delhez - 16.10.2016-15.01.2017


Victor Delhez (Antwerpen, 1902 - Argentinië, 1985) is één van de belangrijkste houtsnijders uit het abstract modernisme in België. Als grote vriend van Michel Seuphor begint hij met expressionistische gravures die in de eerste nummers van Het Overzicht gepubliceerd worden. Omstreeks 1923 evolueert Delhez naar abstract werk. In 1925 sterven zijn ouders in een auto-ongeval en vertrekt hij naar Argentinië, waar hij als technisch tekenaar en architect aan de slag gaat. Hij verhuist naar Bolivië om in 1940 terug te keren naar Argentinië, waar hij professor wordt aan de universiteit van Cuyo en waar hij de rest van zijn oeuvre verder zet in een magisch realistische stijl.

Toch kent hij doorheen zijn lange carrière in totaal drie abstracte periodes. In 1952 komt hij een tweede maal tot de abstracte kunst met de schertsende Bagatellino-reeks, als persiflage op de abstracte kunst. Vanaf de jaren 60 profileert hij zich als pionier van de tweede abstracte golf en richt zich met zijn kleurenversies van eerdere composities een derde keer tot de abstractie.

In Vlaanderen is vooral het symbolisch fantaisistisch werk van Delhez bekend en gewaardeerd. Het FeliXart Museum wil in een selectief overzicht het licht werpen op zijn pionierswerk en de worsteling met abstracte kunst.

Victor Delhez (Anvers 1902 - Argentine 1985) est l'un des principaux graveurs sur bois du modernisme abstrait belge. Grand ami de Michel Seuphor, il débute par des gravures expressionnistes qui sont publiées dans les premiers numéros de Het Overzicht. Autour de 1923 son oeuvre évolue vers l'abstraction. Après le décès de ses parents dans un accident de voiture en 1925, il part vivre en Argentine, où il commence à travailler comme dessinateur technique et architecte. Il déménage en Bolivie, mais reviendra en Argentine en 1940, étant devenu professeur à l'université de Cuyo. Il y poursuivra son oeuvre dans un style magico-réaliste.
Sa longue carrière est toutefois ponctuée de trois périodes abstraites. En 1952 il s'oriente une deuxième fois vers l'abstraction avec la série humoristique Bagatellino, un persiflage de l'art abstrait. A partir des années 60 il se profile comme pionnier de la seconde vague d'abstraction en réalisant des versions en couleur de ses compositions antérieures.
La Flandre connaît et apprécie surtout l'oeuvre d'orientation symbolique et fantaisiste de cet artiste. A travers un aperçu sélectif, le

FeliXart Museum - Victor Delhez - 16.10.2016-15.01.2016

4741 - 20170129 - SPAIN - MADRID - The Fauves: Passion for Colour" at Fundacion MAPFRE - 22.10.2016-29.01.2017


Maurice de Vlaminck, Restaurant de la Machine à Bougival, ca. 1905. Musée d'Orsay, donación de Max y Rosy Kaganovitch, 1973 ©Maurice de Vlaminck, VEGAP, Madrid, 2016 ©RMN-Grand Palais (musée d'Orsay) / Hervé Lewandowski.
Fundación MAPFRE is presenting the exhibition The Fauves: Passion for Colour, which will remain on display from 22 October 2016 to 29 January 2017 in the Fundación’s exhibition space on Paseo de Recoletos in Madrid. The exhibition, which offers a complete and rigorous survey of Fauvism, brings together more than one hundred paintings, in addition to numerous drawings, watercolours and a selection of ceramics.

Fauvism was the first major avant-garde art movement of the 20th century. It was a controversial and exuberant one based on the exaltation of pure tones, locating the autonomy of colour at the centre of the artistic debate. Led by Henri Matisse, André Derain and Maurice de Vlaminck, the Fauves rocked the foundations of art of the day with their innovative treatment of colour, energetic handling and freedom of execution. They championed individual autonomy and the idea of paint as a self-sufficient means of expression.

Trained in the studios of Gustave Moreau and Eugène Carrière, the Fauves grouped together around Henri Matisse in the late 1890s, producing their first works based on pure colours over the following years. A key date for these artists was October 1905 when their works were exhibited in Room VII of the Salon d’Automne. The result was a veritable scandal among visitors and in his review the critic Louis Vauxcelles employed the word fauves (wild beats in French) to describe the artists due to the powerful intensity of their tonalities in contrast to the two marble busts on display in the same room. It is certainly the case that works which now seem to us joyful and decorative appeared wild and violent in 1905 to a public still assimilating the advances of Impressionist painting. Even compared to the Post-impressionists, paintings by the Fauves have a purity and immediacy that continues to surprise us today due to the rich and unexpected results and the absence of the traditional rules applied to painting at that date.

Rather than a single, homogeneous movement, Fauvism was a brief encounter between various independent young artists who were united by ties of close friendship and shared the same pictorial concerns. Their evolution was as brilliant as it was intense: the movement lasted barely two years but its impact was remarkable due to the way that their work took up the legacy of Neo-impressionism and Post-impressionism while also laying the bases for other avant-garde movements such as Expressionism and Cubism. As such, the Fauves were the connecting link between the major artistic trends that emerged in the late 19th and early 20th centuries.

Despite Fauvism’s importance in the history of modern art, the movement has passed almost unnoticed in Spain and this is the first major exhibition in fifteen years to offer a complete and in-depth analysis of it. The exhibition offers a survey of Fauvism from its outset in Gustave Moreau’s studio to the group’s breakup in late 1907. It includes works by all the artists in the group: Henri Matisse, André Derain, Maurice de Vlaminck, Albert Marquet, Henri Manguin, Charles Camoin, Jean Puy, Raoul Dufy, Othon Friesz, Georges Braque, Georges Rouault and Kees van Dongen, placing particular emphasis on the artistic and personal ties between them.

Presenting an exhibition of this importance has only been possible through the support of more than 80 lenders. Notable among them are leading institutions such as the Tate, the Centre Georges Pompidou, the Musée d’Art moderne de la Ville de Paris, the Kunstsammlung Nordrhein-Westfalen in Dusseldorf, the Milwaukee Art Museum and the Statens Museum in Denmark, which have lent some of their most iconic works. Also essential has been the generosity of more than 30 private collectors who have agreed to lend works less familiar to the general public but of remarkable quality. The fact that the exhibition brings together key works of this movement and others that have never previously been exhibited in Spain makes this a unique opportunity to appreciate Fauvism.

The exhibition is organised as a chronological survey divided into five principal sections, allowing for a presentation of the intense stylistic evolution of the Fauve artists over barely two years. In addition, two smaller sections are devoted to drawing and ceramics, disciplines that help to reveal the versatility and creativity that characterised these young and audacious artists. In addition, the installation aims to highlight the importance of the personal and artistic ties that existed between the artists involved in the creation and evolution of the movement.

The exhibition opens with a section on the earliest pictorial experiments undertaken during their years of training by the artists who would form the Fauve group. The earliest contacts between them date from the 1980s when Henri Matisse, Georges Rouault, Albert Marquet, Henri Manguin and Charles Camoin coincided in Gustave Moreau’s studio in the École des Beaux-Arts in Paris. Within the rigid prevailing academic system, Moreau was an unusual teacher who encouraged his pupils to express themselves freely through colour and aim for pictorial autonomy. Very soon a group of his pupils, led by Matisse and soon joined by other artists such as Jean Puy, André Derain and Maurice de Vlaminck, began to experiment with the pure colours and expressive brushstrokes of the modern painting practised by Van Gogh, Gauguin and Cézanne, which was exhibited at this period in Paris’s most advanced galleries. The young artists often painted together, motivated by a powerful spirit of emulation, as can be seen here in the life studies of nude figures which convey the atmosphere of the shared studio. These life studies, together with the still lifes and interiors that make up this section of the exhibition, reveal the eclecticism and audacity of these years of training and new discoveries.

The friendship that united the Fauves was crucial for the movement’s emergence and evolution. It is thus not surprising that the painters of the group frequently depicted each other, creating an extremely interesting gallery of portraits which reflects the ties between the artists and constitutes a declaration of their aesthetic ideas that reinforces the group’s identity. In these canvases each painter projected his stylistic experiments and his personal vision onto the other, as evident, for example, in the pair of portraits painted by Matisse and Derain during the summer they spent together in Collioure. For the Fauves, portraiture was more than a reflection of the artist’s perception of his sitter and rather consisted in constructing the image of his colleague through the combination of styles and personalities of the painter and that sitter. In addition, each Fauve expressed his own personality in his self-portraits, of which there are numerous examples. By emphasising their own approach and stylistic individuality in these works, the artists involved were in turn defining one the group’s principal values, namely that of artistic autonomy.

From 1904 onwards the Fauves spent increasingly lengthy periods on the Côte d’Azur. The atmosphere of the Mediterranean was a revelation for these artists and they used it to study the fall of light on colour and to significantly heighten their colours. In the summer of 1905, a key period for the group, Matisse and Derain moved to the small fishing village of Collioure where they enjoyed a period of astonishingly productive artistic collaboration which resulted in the works that caused the sensation at the Salon d’Automne of 1905. Matisse, who was notably influenced by Signac’s Neo-impressionism when he arrived in Collioure, found Derain’s youthful enthusiasm a stimulus to work with greater pictorial freedom. For his part Derain gained more confidence in his work through the support of Matisse who was ten years his senior and already enjoyed some reputation as an artist. Over the course of that summer the two painters freed themselves from the rigidity of the Pointillist technique in works such as Figure à l’ombrelle by Matisse and Bateaux à Collioure by Derain, creating a varied, daring and spontaneous technique to be seen in works such as Le Faubourg de Collioure.

The same year, Camoin, Manguin and Marquet spent the summer on the Côte d’Azur. Manguin stayed with his family in a villa with a large garden on the outskirts of Saint-Tropez. This privacy allowed him to use his wife Jeanne as a model in both delicate domestic scenes and interesting nude studies in natural settings. On occasions he met up with his colleagues Marquet and Camoin who were visiting different locations in the area such as Cassis, Agay and Marseilles. There they painted landscapes with intense, daring colours but without the freedom of expression evident in Derain and Matisse’s works.

Vlaminck worked by himself in Chatou, painting vertiginous landscapes of saturated colours. He was always considered the wildest of the Fauves and was probably the only one of these painters to whom the term “wild beast” can truly be applied. Joking and irreverent by nature, Vlaminck’s painting is characterised by a use of unconventional colours and a dynamic, impetuous brushstroke. He was without doubt the most powerful and expressive of the group.

The scandal caused by these paintings at the Salon d’Automne in 1905 strengthened the Fauves’ identity and from that date onwards they regularly exhibited in Paris’s modern art galleries and enjoyed the support of dealers such as Vollard. Commissioned by the latter, Derain made three trips to London where he produced some of Fauvism’s most spectacular paintings. In these works Derain offered a new image of the British capital through his use of fierce colours in works that were totally divorced from any naturalistic description and possessed of enormous stylistic variety In Paris, Marquet also produced an important series of urban views in more muted tones but with an astonishing capacity to convey the city’s atmosphere, discarding details and focusing on the essential. Vlaminck, in contrast, continued to paint on the outskirts of Chatou, focusing his attention on the vibration of the landscape and using increasingly expressionist and exuberant colours that led to a simplification of the volumes through an overflowing, anarchic and vibrant technique.

In early 1906 three painters from Le Havre joined the group: Raoul Dufy, Othon Friesz and Georges Braque, who breathed new life into the movement in a dazzling manner, given that the original members from Moreau’s studio had begun to abandon their intense chromatism. They adopted the habit of painting in “teams” as the earlier Fauves had done: Marquet and Dufy travelled along the Normandy coast together, sharing subjects such as the beach and pier at Sainte-Adresse. Braque and Friesz meanwhile spent part of the summer painting together in Antwerp before going on to L’Estaque and La Ciotat, small fishing villages near Marseilles where they spent the winter. Once again the Mediterranean light of these places inspired them to heighten the tone of their palette and create brilliant paintings with exaggerated colours and serpentine forms.

The exhibition concludes with a group of paintings that reveal the different paths taken by the Fauve painters from 1907. While from its outset the movement essentially focused on landscape, many of the artists involved were notably interested in Parisian night-life, a theme that was typical of the avant-garde in general. Vlaminck, Rouault and Van Dongen depicted this world of prostitutes and circus people with enormous immediacy and dynamism using heightened colours and extremely expressive, violent brushstrokes which to some extent connect to the Expressionist painting that was emerging at this period outside France.

Cézanne had died in October 1906 and an important retrospective was organised in his honour at the Salon d’Automne of 1907. Despite the fact that Cézanne’s influence had been markedly present in the Fauves’ style since their earliest years, the rediscovery of his work together with their discovery of primitive sculpture and the impact of Picasso’s Demoiselles d’Avignon provoked a rapid abandonment of colour in favour of line and form. This renewed interest in Cézanne was expressed in an important series of bathers, depicted with extremely monumental figures and increasingly muted palettes. In addition, some of the Fauves such as Braque, Derain and Dufy assimilated Cézanne’s new vision of order and of the structure of nature, giving rise to a geometry of forms close to Cubism. For this reason the last section of the exhibition analyses this step from Cézannesque Fauvism to the onset of Cubism.

This section also includes a group of ceramics that establishes an interesting dialogue with paintings created during the last phase of Fauvism.
 Fundación MAPFRE - The Fauves: Passion for Colour" - 22.10.2016-29.01.2017


4740 - 20170129 - BELGIË - ANTWERPEN - Saul Leiter - Retrospective - 28.10.2016-29.01.2017


Saul Leiter - Retrospective

This autumn, FOMU presents a retrospective of the work of Saul Leiter (US, 1923 - 2013), a pioneer of colour photography. Leiter was already using colour film in 1946 at a time when only black and white photography was accepted as an artistic medium. This fact negates the commonly-held assumption that colour images were only used from the 1970s onwards, with the advent of the New Color Photography movement led by Stephen Shore and William Eggleston. Saul Leiter only gained recognition for his pioneering role late in his life; since then, his permanent place in the history of photography has been secure.

Saul Leiter considered himself to be a painter as well as a photographer. His work in both disciplines is linked by a common visual style: abstraction and flatness. He mainly photographed the streets of New York, where he lived for over sixty years. The compositions depict mirrors, windows, road signs, buildings and passers-by. The urban elements blur into amorphous colours that form an important feature of each image.

This exhibition is displaying both Leiter’s colour and his black-and-white photographs, as well as a selection of his paintings and work that has never been shown before.
The exhibition is a partnership between Haus der Photographie, Deichtorhallen Hamburg, Gallery FIFTY ONE Antwerp, Saul Leiter Foundation, Howard Greenberg Gallery and FOMU Antwerp.

Curators: Rein Deslé, Roger

FOMU - Saul Leiter - Retrospective - 28.10.2016 - 29.01.2017

4739 - 20170220 - FRANCE - PARIS - Icons of Modern Art: The Shchukin Collection - 22.10.2016-20.02.2017


Fondation Louis Vuitton presents the exhibition “Icons of Modern Art: The Shchukin Collection” from 22 October 2016, to 20 February 2017. The exhibition is part of the official programme of the France-russia year of cultural tourism 2016–17 and constitutes as one of its most prominent events.

The exhibition pays tribute to one of the greatest art patrons of the early 20th century, Sergei Shchukin, the visionary Russian collector of French modern art.

From 1898, Sergei Shchukin, a leading Moscow industrialist, quickly became an integral member of the Parisian arts milieu of the era, forging relationships with modern art dealers Paul Durand-Ruel, Ambroise Vollard, and Berthe Weill, then Georges Bernheim and Daniel-Henry Kahnweiler. His friendship with celebrated artists like Henri Matisse heavily influenced the formation of his collection, one of the most radical of its time.

Thanks to the generous participation of the State Hermitage Museum and the Pushkin State Museum of Fine Arts, who participated in the conception of the project, the exhibition presents a significant ensemble of 127 major pieces by Impressionist, Post-Impressionist and Modern masters from the Shchukin collection. There is a particular emphasis on the art of Monet, Cézanne, Gauguin, Rousseau, Derain, Matisse, and Picasso, alongside works from Degas, Renoir, Toulouse-Lautrec, and Van Gogh.

The exhibition also details the impact of the Shchukin collection on the formation of the Cubo-Futurist, Suprematist, and Constructivist movements presenting 30 works 28 paintings, collages, constructions, and reliefs, as well as 2 sculptures. The works are by major artists of the Russian avant-garde (from the Tretyakov State Gallery, the Thessaloniki State Museum of Contemporary Art, the Pushkin Museum, the Stedeljik Museum, and MoMA). The exhibition includes masterpieces by Malevich, Rodchenko, Larionov, Tatlin, Kliun, Goncharova, Popova, and Rozanova.

The exhibition also provides the opportunity for academic review and is accompanied by a catalogue. A symposium will be held in February 2017 which will bring together an international community of researchers who will examine the role of the great collectors of modern and contemporary art of the 19th and 20th century.

Fondation Louis Vuitton - Icons of Modern Art: The Shchukin Collection - 22.10.2016 - 20.02.2017


4738 - 20170122 - BELGIË-BRUSSEL-ELSENE - Constant Lambrecht - 27.10.2016-22.01.2017


A native of Roelers (1915-1993), Constant Lambrecht was an active member of the lyrical abstraction movement of the second half of the century in Belgium. Nourished by the spirit of Flemish expressionism, he primarily claimed the work of Zadkine and was not averse to Picasso’s Cubism. His paintings were permeated with rhythm and colour. Generous and perceptive work to rediscover at the Museum of Ixelles.

Museum van Elsene - Constant Lambrecht - 27.10.2016-22.01.2017

4737 - 20170123 - FRANCE - PARIS - Exhibition at Centre Pompidou offers a completely new approach to the work of the Belgian artist René Magritte - 21.09.2016-23.01.2017


The exhibition “Magritte: La trahison des images” offers a completely new approach to the work of the Belgian artist René Magritte. Featuring both well-known masterpieces and other less familiar works, all drawn from leading public and private collections, it offers a fresh look at one of the key figures of Modern art.

The latest in the series of monographic exhibitions the Centre Pompidou has devoted to major figures in 20th-century art ¬– “Edward Munch: L’œil moderne”, “Matisse: Paires et séries” and “Duchamp: La peinture, même” – this exhibition brings together around one hundred paintings, drawings and documents offering a fresh approach to the painter. “Magritte: La trahison des images” explores the artist’s interest in philosophy, an interest that would culminate in the publication of Foucault’s Ceci n’est pas une pipe (1973), born out of the writers discussions with the artist.

In a 1936 lecture, Magritte declared that Les affinités électives, painted in 1932, marked a turning point in his work – his abandonring of the automatism and random chance of early Surrealism. Showing an egg enclosed in a cage, this was the first of his paintings intended to solve what he termed a “problem”. After randomness and a “chance encounter between sewing machines and umbrellas” came a relentlessly logical method that sought solutions to the “problems” of women, of chairs, of shoes, of rain… The exhibition opens with Magritte’s research on these problems, which mark the “reasoning” turn in his art.

Magritte’s art is characterized by a series of motifs – curtains, shadows, words, flames, bodies in pieces, and more – which he endlessly arranges and re-arranges. The exhibition replaces of these into each to one of painting’s foundational narratives and hence to the philosophical challenge to visual representation: the curtains with the antique fend of in realism illustrated by the contest of Zeuxis and Parrhasius; words with the biblical story of the Adoration of the Golden Calf, that counterposes the text of the law to pagan image; flames and enclosed spaces with Plato’s Allegory of the Cave; shadows with Pliny the Elder’s account of the invention of painting.

A catalogue of the exhibition, edited by curator Didier Ottinger, has been published by the Centre Pompidou.

An reformulated version version of the exhibition will be presented at Schirn Kunsthalle in Frankfurt, Germany, from 10 February to 5 June 2017.

Centre Pompidou - Magritte - 21.09.2016 - 23.01.2017


4736 - 20170402 - BELGIË - GENT - War in short pants - 14.10.2016-02.04.2017


War in short pants looks at the first world war through the eyes of children. from october 14th 2016 seven children from seven countries will be telling their story in the st peter’s abbey in ghent. each of them lived their own personal war, close to the front perhaps, on the other side of the world or fleeing the enemy.
In their own language the children recount how a world war invades their playground, living-room, classroom or village. with pen and pencil they describe in diaries, letters and drawings how the great war affects their loved ones and their dreams, and touches their hearts. it is as if the young people we hear on the audio-guide are experiencing their impressions of the day for the first time.
Visitors to the exhibition literally step into the time and space of the young protagonists, surrounded by original ego-documents and historical toys.  each child’s microcosm is crystallized in enlarged toy frames which reflect the child’s environment and testimony. looking at their toy aeroplanes and soldiers, childhood turns to adulthood, playtime to the ‘real’ world.

The summer of 1914 saw the outbreak of a war that changed the world. Soldiers were not its only victims; whole communities were affected. Children as well as adults suddenly found themselves in the eye of the storm. 
Those confounding and tragic experiences have been widely commemorated since 2014. Following on from there, Historische Huizen Gent looked at those events from a new viewpoint: that of children. How did children experience that dramatic period which turned the world upside down? How did the war impact on their little world?
War in short pants juxtaposes the child’s world with the world of grown-ups, childish fantasy with adult reality. Photographs and moving images show children’s belongings in a wider context and bring to life the world in which children grew up during the First World War. In this way, the exhibition sketches an extraordinary picture of what was for everyone an extraordinary time. And it does this in the stimulating, poetical and novel way that is the trademark of Historische Huizen Gent’s exhibition-makers.

Original exhibition design
The exhibition underlines in an original and very tangible way the stark contrast between the children’s world and the harsh reality. The world of the protagonists is recreated in large steel constructions representing parts of toys. Visitors step into them and become part of the child’s world, part of the child’s story. On the accompanying audio-guide they hear excerpts from the children’s diaries and letters, which bring that world to life and make it more poignant.  
Step out of that environment and visitors find themselves face to face with the adult reality of the day. A theme is linked to each child and developed on the basis of his or her life story. Those themes range from ‘the absent father’, ‘the mobilization of the child’ and ‘life under occupation’ to ‘child soldiers’, ‘globalization’, etc.

International loans   
War in short pants prides itself on numerous loans and visual material from Belgium and abroad, including L’Archive de La Province dominicaine de France, das Haus der Geschichte der Bundesrepublik Deutschland, the Imperial War Museum, the Royal Bank of Scotland Archives, le Musée de la Grande Guerre du pays de Meaux, la Collection Société française de photographie, Stiftung Ruhr Museum, In Flanders Fields and the Royal Museums of Art and History.
A number of private collectors at home and abroad also made their collections available. And, last but not least, we are indebted to the Toy Museum in Mechelen for their cooperation.

Cooperation with Cegesoma and the institute for public history  Like Coloured Past, Family at War in 2010 and Unknown Images, Powerful Stories in 2012, War in short pants is a cooperation project between Historische Huizen Gent, Bruno De Wever of the Instituut voor Publieksgeschiedenis/UGent and the CegeSoma in the person of Rudi Van Doorslaer and Bruno Benvindo

Sint-Pietersabdij - War in short pants - 14.10.2016-02.04.2017

4735 - 20170115 - DENMARK - COPENHAGEN - National Gallery of Denmark presents new aspects of French master Auguste Rodin - 22.09.2016-15.01.2017


On 22 September the National Gallery of Denmark opened a major exhibition about the French artist Auguste Rodin and his works on paper. This is the first exhibition of Rodin's drawings on Danish soil since 1930, and several of the almost one hundred exhibits have never been shown in Denmark before. The works come from many sources, including Musée Rodin in Paris and the Royal Collection of Graphic Arts in Copenhagen.

The history of sculpture can be said to fall into two chapters: before and after Rodin. In the late nineteenth century, the French artist Auguste Rodin (1840–1917) reinvented sculpture. Before this point, sculptures were mostly static, monumental and idealised figures raised on pedestals, but Rodin set sculpture free, introducing dynamic and passionate human figures that interacted directly with the space around them.

Today, Rodin is best known for sculptures such as The Kiss and The Thinker. However, he was also a prolific and multi-faceted draughtsman who explored the wide-ranging potential of paper as a medium. His drawings allowed Rodin to experiment freely and spontaneously in ways that were not possible in the large-scale sculptures. He transferred the lessons learned through these drawings to his work with clay and stone. Rodin himself said: “It is very simple. My drawings are the key to my work. I began with drawing: I have never stopped drawing."

Thousands of works on paper by Rodin’s hand still exist today. His drawings are often rapidly executed, with lines that sweep across the paper – which might sometimes be irregular scraps, napkins or ticket stubs. He would later continue working on these pieces, using media such as watercolour and gouache. He was interested in the female form in motion, and it was not unusual for female nude models to walk around his studio while he drew them. This keen interest in the body – in motion, in states of sexual ecstasy, in dance, etc. – is at the heart of the exhibition Fleeting Moments. Drawings by Auguste Rodin, which the SMK will show from 22 September.

The drawings in this exhibition cover a wide range of themes. From “vase-like” women to Cambodian dancers to the so-called black drawings that Rodin created during his many years of working on The Gates of Hell, inspired by Dante’s Divine Comedy. In addition to this, the exhibition shows a range of works that take their starting point in Rodin’s “private album”. He used this album to store particularly erotic – and, hence, provocative – drawings of masturbating women and other motifs that he only showed to select guests.

The exhibition features 87 drawings and six sculptures. The selection includes several drawings that have never before been on public view in Denmark, where the last major exhibition of Rodin’s drawings took place in 1930.

Auguste Rodin was born in Paris 1840. He made two unsuccessful attempts at applying to the staunchly traditional French academy of fine arts. He proceeded instead to accept various commissions for decorative work while concurrently working on his own drawings and sculptures. Rodin had his breakthrough as an artist at the age of forty, and his first official commission was The Gates of Hell – a set of monumental gates for the Musée des Arts Décoratifs. Rodin worked on the gates for the next thirty-five years without ever completing the task.

Throughout his adult life Rodin lived with Rose Beuret (1844–1917), whom he married in 1917 – the year of his death. He did, however, also have several mistresses over the course of his life, including a passionate relationship with the sculptor Camille Claudel (1864–1943). He bequeathed all his works and his collection to the French government, which set up a museum dedicated to his art in Rodin’s own home in Paris.

To coincide with the exhibition, the SMK publishes a comprehensive and lavishly illustrated catalogue about Rodin's drawings. In Danish and English, featuring contributions from Thomas Lederballe, Sophie Biass-Fabiani and Natasha Ruiz-Gómez.

National Gallery of Denmark - Fleeting Moments - Drawings by Auguste Rodin 


4734 - 20170122 - BELGIQUE - HORNU - REBEL REBEL art + rock - 22.10.2016-22.01.2017


Le MAC’s présente REBEL REBEL art + rock, une exposition inédite consacrée à la culture rock et ses liens avec l’art contemporain. Les utopies, contestations, marginalités, looks et autres attitudes singulières qui caractérisent la musique rock ont inspiré en effet nombre d’artistes plasticiens depuis les sixties. Denis Gielen, directeur du MAC’s, invite le public à redécouvrir la culture rock à travers le prisme d’œuvres (vidéos, photos, installations, dessins, peintures, etc.) qui en détournent les codes, les modes et les références. Réunissant les œuvres de près de 30 artistes belges ou étrangers, l’exposition propose un regard sur le rock, tantôt immersif (installation vidéo) tantôt distancié (documents d’archives), qui oscille entre énergie destroy et humour désinvolte. À épingler, la présence d’une installation rare du grand artiste américain Dennis Oppenheim, qui n’a plus été montrée depuis sa création en 1974 et que le MAC’s, en collaboration avec la Fondation basée à New York, a exhumée des oubliettes. Pour les amateurs de distorsions et de bidouillages électriques, un concert-performance noise de Joris Van de Moortel, jeune artiste anversois, aura lieu au MAC’s le soir du vernissage. Publié aux Éditions Fonds Mercator, un livre abondamment illustré et organisé suivant trois modes importantes de l’histoire du rock (le folk, le glam et le punk) est également édité à cette occasion.

On pourra y découvrir des œuvres de : Jean-Michel Alberola, Dave Allen, Jacques André, David Askevold, Charlotte Beaudry, Quentin de Briey, David Claerbout, Gilles Élie Cohen, Damien De Lepeleire, Douglas Gordon, Dan Graham, Patrick Guns, Daniel Johnston, Corita Kent, David Lamelas, Gauthier Leroy, Jacques Lizène, Christian Marclay, Dieter Meier, Angelica Mesiti, Jonathan Monk, Johan Muyle, Dennis Oppenheim, Tony Oursler, Steven Parrino, Raymond Pettibon, Allen Ruppersberg, Catherine Sullivan, Dennis Tyfus, Joris Van de Moortel, Alan Vega.


Since the '60s, rock has, alongside other so-called popular cultures such as S.F., been one of the new areas explored by visual artists who find it a wonderful source of inspiration and energy. Derived from blues and country, country American music, rock is a typically teenage culture whose history moves between industrial fun and suburban revolt. Celebrated with nostalgia or parodied with virulence, its ‘religion’ haunts, from Pop Art, a complete side to modern art, with its electric and devilish distortions. From political revolt to identity crisis, not to mention artistic nihilism.

MAC’s - REBEL REBEL art + rock - 22.10.2016-22.01.2017

4733 - 20170108 - SWITSERLAND - ST-GALLEN - Kunstmuseum St. Gallen presents comprehensive retrospective of artist Loredana Sperini - 24.09.2016-08.01.2017


From 24 September 2016 to 8 January 2017, the Kunstmuseum St. Gallen will present a comprehensive retrospective of the St. Gallen artist Loredana Sperini (*1970 in Wattwil). The exhibition was conceived in close collaboration with the artist and will offer an indepth look at her multilayered oeuvre for the first time ever.

The solo exhibition in St. Gallen brings together works by the artist from recent years as well as works created especially for the exhibition, including large-scale installations and multipart sculptures.

Loredana Sperini’s working processes are experimental and technically sophisticated in their implementation, and the result has a special, aesthetic appeal. Her works, which oscillate between abstraction and figuration and occasionally call to mind grotesque, anthropomorphic figures, touch on essential themes of art such as physicality and transience and thus open up a supporting conceptual level.

The artist, who grew up in the Toggenburg region of Switzerland and now lives in Zurich, made a name for herself in 2005 with small-scale portraits of friends which she transferred from the medium of photography to drawings and embroidery. Her engagement with textile materials was followed by wall-sized encaustic paintings and large-scale works with mirrors.

Sperini confidently translates these independent formal creative processes into wondrous imagery. She has also continued to work on a new series of waxed concrete paintings, for which she received the art prize endowed by the Ortsbürgergemeinde St. Gallen on the occasion of the 2015 exhibition Heimspiel.

A richly illustrated catalog will accompany the exhibition, which will comprehensively document and discuss Loredana Sperini’s work for the first time from the beginning of her career to today. The publication, designed by Chris Eggli in Zurich, will be published by the renowned Verlag für moderne Kunst in Vienna.

The artist will design a multiple exclusively for the Kunstverein St. Gallen. 

Curator: Nadia Veronese

Kunstmuseum St. Gallen - Loredana Sperini - 24.09.2016 - 08.01.2017


4732 - 20170212 - BELGIË - HASSELT - Label it. Trademarks in Fashion - 01.10.2016-12.02.2017


From 1 October 2016 until 12 February 2017, Fashion Museum Hasselt will be presenting ‘Label it. Trademarks in Fashion’, as part of Stadstriënnale Hasselt/Genk, a multidisciplinary art festival combining art, design, and fashion. Using three sections and specific case studies, this exhibition explores identity, the system of trademarks, and the copy and counterfeit fashion industry. Instead of limiting itself to a simplistic narrative of real versus fake, this exhibition presents an insightful exploration of trademarks as a legal and social construct. What makes a brand? What goes into constructing a fashion house’s identity? ‘Label it.’ tries to answer these questions using masterpieces from designers’ own collections, as well as collections from Belgian and international museums and fashion houses.

‘Label it. Trademarks in Fashion’ brings together extraordinary works by designers and fashion houses, including Alexander McQueen, Olivier Theyskens, Christian Dior, Louis Vuitton, Fendi, Dries Van Noten, Maison Margiela, Balenciaga, Vetements, Chanel, Moschino, Christian Wijnants, Missoni, Ann Salens, and many more.

Curator: Eve Demoen
Curator Artistic reflection course: Pieter Jan Valgaeren
Scenography: Base Design
Coordinator/ Director: Kenneth Ramaekers
Production: Ann Daemen
Graphic design: Base Design

Modemuseum Hasselt - Label it. Trademarks in Fashion - 01.10.2016-12.02.2017


4731 - 20170101 - HOLLAND-AMSTERDAM - Dream out Loud - Designing for tomorrow's demands - 26.08.2016-01.01.2017


We Make Carpets, Stirrer Carpet, photo: Room on the Roof

The Stedelijk Museum presents Dream Out Loud, a group exhibition that explores one of today’s most relevant topics: social design. The 26 designers featured in the show dream aloud about a better world, and try to figure out ways to solve today’s complex societal issues. Venturing beyond aesthetic design, these designers show us ideas and technologies that can change the world. The presentation includes work by Pieke Bergmans, Studio Drift, Formafantasma, Bart Hess, Hella Jongerius, Metahaven, Studio Roosegaarde, Boyan Slat and others.

The 26 designers reveal playful and inventive solutions to some of the problems we’re facing today. Do you dream of being less dependent on meat? Then why not devise your own meat substitute. Do you fantasise about a clean universe? Then seek out non-oil based materials, or devise a smog free zone where you breathe fresh air. Is plastic debris poisoning our seas? Well, why not build a giant vacuum cleaner! These designers show upcycling in action, transforming surplus collections into hip fashion, crafting jewellery from old safety helmets or melting down discarded CDs to print a chair.

While ‘social design’ may not always produce immediately viable applications, it opens up new ways of thinking, or brings the achievable closer through the power of imagination.

Dream Out Loud ties in with the Stedelijk’s ambition to highlight young artists and designers at an early stage of their career. It is also the latest in a series of bi-annual exhibitions that focus on the latest innovations in a particular art discipline. For each edition, the Stedelijk issues an open call to artists and designers, inviting them to submit their work. This year, the jury selected 26 participants from a total of 400 candidates who submitted 750 proposals on the theme of social design. Beatrix Ruf, director of the Stedelijk Museum, will announce which pieces have been purchased for the permanent collection later this autumn.


  • Agatha Haines
  • Bart Hess
  • Benedikt Fischer
  • Boyan Slat
  • Claire Verkoyen
  • Dirk van der Kooij
  • Elisa van Joolen
  • Fairphone (Bas van Abel)
  • Floor Nijdeken
  • Formafantasma (Andrea Trimarchi en Simone Farresin)
  • Helmut Smits
  • Hella Jongerius / KLM
  • Jesse Howard
  • Marjan van Aubel
  • Marleen Kaptein / NLR / LABEL / BREED
  • Metahaven (Vinca Kruk en Daniel van der Velden)
  • Next Nature Network (Koert van Mensvoort en Hendrik-Jan Grievink)
  • Olivier van Herpt
  • Patrick Kruithof
  • Pavèl van Houten
  • Pieke Bergmans
  • Pieter Stoutjesdijk
  • Studio Drift (Lonneke Gordijn en Ralph Nauta)
  • Studio Roosegaarde (Daan Roosegaarde)
  • Studio Stallinga (Henk Stallinga) 
  • We Make Carpets (Marcia Nolte, Stijn van der Vleuten en Bob Waardenburg)

  • Stedelijk Museum - Dream out Loud - Designing for tomorrow's demands
    26.08.2016 - 01.01.2017