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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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



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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
 
 
 
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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
 
 
 
 
Website & source    NL - FR - EN - DE
 
Website : Brussel    NL - FR - EN
 

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



Website & source : Grand Palais    EN - FR - DE - IT - POR

Website : Paris Info    EN - FR - DE - NED  ect

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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



Website & source  FR

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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




Website & source   NE - EN

Website : Amstelveen   NE - EN

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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



Website & source  NL - FR - DE - EN - ES

Website : Brugge   NL - FR - DE - EN - ES

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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
 
 
 


Website & source  DE - EN

Website : Rorschach  DE - EN - FR - NED - ect.

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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
 
 
 

Website : Sint-Amands

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

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

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

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

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

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

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




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



Website & source : Deichtorhallen Hamburg    DE - EN

Website : Hamburg   DE - EN

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2015-04-15

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

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Clara Serena Rubens

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

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

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

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


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



Website & source : Rubenshuis    NL - EN

Website : Visit Antwerpen    NL - FR - EN - DE

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

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

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

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

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

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

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



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

2015-04-08

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

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

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

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

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



MOMU - Dries Van Noten. Inspirations - 13.02.2015 - 19.07.2015


Website & source : MOMU

Website : Antwerpen

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

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




Trade Fair Palace - Kokoschka and Prague - 20.02.2015 - 28.06.2015




Website & source : Trade Fair Palace

Website : Prague

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2015-04-01

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

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

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

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

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

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

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

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

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



 
Museo Thyssen-Bornemisza - Raoul Dufy -17.02.2015 - 17.05.2015




Website & source : Museo Thyssen-Bornemisza

Website : Madrid

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2015-03-25

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

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artist's studio, 1966 © On Kawara

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

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




Museum Dhondt Dhaenens - On Kawara 1966 - 29.03.2015 - 14.06.2015




Website & source : Museum Dhondt Dhaenens

Website : Deurle

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

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

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

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


Exhibition Curator: Gustavo Giacosa, independent curator and stage director

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



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



Website & source : Collection de l'Art Brut

Website : Lausanne

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2015-03-18

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

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

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

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



M -Museum - Peter Buggenhout -12.03.2015 - 31.05.2015



Website : M-Museum   NL - EN - FR

Website : Leuven  NL - EN - FR - DE

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

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

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

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

Curator: Iris Müller-Westermann



Moderna Museet - Louise Bourgeois - 14.02.2015 - 17.05.2015



Website & source : Moderna Museet    SK - EN

Website : Visit Stockholm

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2015-03-11

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

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(c)foto Dominique Provost

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

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




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




Website & source : Museum M    NL - EN - FR

Website : Leuven    NL - EN - FR -DE

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