4770 - 20170604 - BELGIË - ANTWERPEN - Alec Soth - Gathered Leaves -17.02.2017-04.06.2017


Alec Soth - Gathered Leaves

FOMU is bringing the work of renowned Magnum photographer Alec Soth (US, °1969) to Belgium for the first time with the exhibition Gathered Leaves. This retrospective draws from four critical series from his oeuvre: Sleeping by the Mississippi (2004), Niagara (2006), Broken Manual (2010) and Songbook (2014).

Alec Soth is known for his lyrical approach to documentary photography. His work is based on a fascination with the vastness of America, recalling Robert Frank, Stephen Shore and Jack Kerouac.
“Our vision of America is so shaped by television and movies. All we see are Hollywood starlets and New York cops. We sometimes forget that there are whole other lives being lived in the middle of America. And some of these lives are really inspiring.”
(Alec Soth, email interview with Aaron Schuman, 2 August 2004)

Alec Soth lives in Minnesota and is an artist, photo journalist, blogger, publisher, Instagrammer and teacher. His boundless energy and distinguished position in the international art world makes him a major influence on the younger generation of visual artists. FOMU’s presentation of his work depicts the evolution of his career and shows how important the role of the photobook was to his success.
Gathered Leaves is an exhibition by Media Space / Science Museum, London.
Curator: Kate Bush

FOMU - Alec Soth - Gathered Leaves -17.02.2017 - 04.06.2017

4769 - 20170305 - NETHERLANDS - AMSTERDAM - Chrystel Lebas - 10.12.2016-05.03.2017

Chrystel Lebas, Re-visiting - Pinus silvestris [illeg.] – Plate n°1245. Aviemore, Rothiemurchus, August 2012. 57°8.691’N 3°50.304’ W.
With the exhibition Regarding Nature, this is the first time that the unique, monumental landscape photographs of French landscape photographer Chrystel Lebas are shown in the Netherlands. Lebas garnered international acclaim through her panoramic photographs, created at twilight. This project shows her most recent – and what is perhaps her most ambitious – project to date. In 2011 the Natural History Museum in London asked Chrystel Lebas to create new works based on an intriguing collection of anonymous glass negatives of the British landscape at the beginning of the twentieth century. The project, which was completed this year, did not only produce a number of new works, but also the name of the photographer: the glass plates had apparently been made by the famous British botanist and ecologist Edward James Salisbury (1886–1978). In the exhibition, Lebas’ photographs and films are combined with original glass plates, unique herbarium pages and personal documents from the collections of the Natural History Museum and the Royal Botanical Gardens in Kew, of which Salisbury had been the director. The combination provides a complex image of an apparently unspoilt landscape that is strongly impacted by ecological change.

Different layers of meaning
Chrystel Lebas (Salon de Provence, 1966) obtained an MA in Photography at the Royal College of Art in London in 1997. Her series Between Dog and Wolf (2004– 2005), Blue Hour (2005–2006) and Études, Bel-Val (2008–2009) were greeted with tremendous acclaim and were exhibited last year at such venues as the Victoria and Albert Museum and The Photographers’ Gallery in London and the Musée de la Chasse et de la Nature in Paris. Chrystel Lebas grew up in the remote forests of Southern France. Her youth spent mainly outdoors and surrounded by the scent of pine trees, the power of the mistral winds and the memory of slowly invading dusk are determining factors of her métier as an artist. Since establishing herself in London 20 years ago she has frequently returned to nature, hiking through Europe’s remotest nature reserves to explore the landscape and the way in which it is captured in images. In this process, Lebas looks beyond the pictorial qualities of seemingly unspoilt nature; she aims above all to expose the impact of the complex meeting between man and animal on the landscape. This is why she chooses places where nature manifests itself in a highly specific manner through a convergence of circumstances – the presence of human beings, ecological processes, climate change. She records the various layers of meaning over a longer period of time, by returning to these places during different seasons. Twilight, when nature undergoes a very slow transformation in terms of colours and atmosphere, is her absolute favourite moment of the day, which she captures through long exposures in her panoramic camera.

Wandering dunes
This winter, Chrystel Lebas invites you to join her at Huis Marseille on one of her most spectacular and recent hiking tours: in the footsteps of Edward James Salisbury, Lebas spent the past four years travelling through Scotland and Norfolk, with a short stay in Devon. At the beginning of the 20th century, Salisbury travelled through Great Britain armed with a notebook, a vasculum and a camera, recording the landscape and its flora with utmost precision on fragile glass plates that, until recently, led a hidden and anonymous existence in the Natural History Museum. On these photographs, as well as those made by Chrystel Lebas 90 years later, the infinite pine forests and ‘wandering dunes’ of Scotland and Norfolk appear rugged and empty: precisely as they would be imagined by the unknowing, romantic soul. In reality, these places are nature reserves strictly protected by public and private nature and environmental organisations. Scouring the landscape, guided by her GPS, Lebas has tried to locate the exact spots where Salisbury stood when he made his photographs. To her, the literal comparison of the landscape as it was then and is as it is today was not as important as the opportunity to re-examine her own role and vision as an artist in light of Salisbury’s role as a scientist.

Chrystel Lebas has also created a series of photographs on Ameland especially for this exhibition, which, like the dune and coastal landscapes she photographed in Scotland (Arrochar and Culbin Sands) and Norfolk (Blakeney Point), have been undergoing – or are threatened with – continuous transformation for centuries with regard to shape, location and vegetation through natural, climatological and human intervention.
Huis Marseille - Chrystel Lebas - 10.12.2016-05.03.2017


4768 - 20170430 - BELGIQUE - LIEGE - Noirs dessins du communisme - 03.02.2017-30.04.2017


La caricature vise à faire rire ou du moins à ironiser.
Le Parti communiste de Belgique (PCB) attaque le trône, l'Église, les États-Unis, le militarisme, la droite, le patronat et les socialistes, mais jamais les dirigeants syndicaux. Le dessin politique, de son côté, revêt parfois un aspect lyrique, voire tragique, quand il exprime par son esthétique, la solidarité avec les opprimés. La presse communiste, au sens large, n'a pas recouru systématiquement à l'illustration graphique. Dans certains cas (ou à certaines périodes), la présence de dessins, n'est liée qu'à la rencontre très éphémère, d'artistes ou d'amateurs, avec le communisme. Parmi bien d'autres, Lumor illustre "Le Drapeau rouge" dans années '20. Didier Geluck (alias Diluck, grand-père du Chat) produit une caricature quotidienne au début des années '50.
L'équipe de Walter Burniat, Jo Dustin, Marcelle Lavachery, Philippe Moins, Willy Wolsztajn, anime "Le Drapeau rouge", quotidien des années '70 et '80. Gaucho quant à lui dessine dans "La Gauche" et Sam dans la presse de TPO-AMADA, ancêtre du PTB.

Au travers de ces dessins politiques et caricatures, c'est tout un regard sur l'histoire politique et sociale du XXe siècle en Belgique - sur les enjeux internationaux, l'élan de solidarité avec les peuples opprimés et les victimes du fascisme - qui s'offre au visiteur. L'exposition affiche plus de cent reproductions commentées et présente des originaux dont des tracts clandestins de la Résistance.
Une exposition du Centre d'Histoire et de Sociologie des Gauches (CHSG) de l'ULB, du Centre des Archives du Communisme en Belgique (CArCoB), de l'Institut d'histoire ouvrière, économique et sociale (IHOES) et du Mundaneum.

Musée du Grand Curtius  - Noirs dessins du communisme - 03.02.2017-30.04.2017

4767 - 20170326 - FRANCE - VERSAILLES - Fêtes et divertissements à la Cour - 01.01.2017-26.03.2017


Fêtes et divertissements à la Cour
Jusqu'au 26 mars 2017, le château de Versailles propose une exposition qui présente les infinies variétés et ingéniosités des divertissements de la Cour, faisant de Versailles un lieu de fêtes et de spectacles pour toujours plus de grandeur, d’extraordinaire et de fantastique. Parcourant trois règnes, de Louis XIV à la Révolution, le propos de l’exposition ne prétend pas à l'exhaustivité, mais privilégie le ressenti du courtisan.

Dans ses Mémoires pour l'éducation du Dauphin, Louis XIV accorde une large place aux fêtes et aux divertissements, qui, selon lui, participent de l'art de gouverner. Il faut, pour l'ordinaire de la vie de cour, instaurer « cette société de plaisirs, qui donne aux personnes de la Cour une honnête familiarité avec le souverain, les touche et les charme plus qu'on ne peut dire ». Il faut, pour l'extraordinaire des événements royaux, toujours plus de grandeur, de surprise et de fantastique, afin d'émerveiller la Cour, le royaume et l'Europe. En fonction de ses goûts et de l'évolution de la mode, chacun des successeurs du grand roi maintient cette tradition de faste et de créativité.

L'enjeu est ici de présenter les infinies variétés et ingéniosités des divertissements qui sont proposés à la Cour, qu'ils lui soient offerts par le roi ou qu'ils soient pratiqués par elle. Ce sont bien sûr, toutes les formes de spectacles publics, comédies, opéras, concerts, feux et illuminations, mais aussi les représentations privées quand seigneurs et dames de la Cour montent eux-mêmes sur les planches. Ce sont les innombrables jeux d'argent qui vous apportent la fortune ou la ruine. Ce sont les exercices du corps où il faut briller : la chasse, la danse des bals et des mascarades, le mail et la paume, ces ancêtres du golf et du tennis.

Louis XIV comprend très tôt le rôle politique et social de ces divertissements qui contribuent au rayonnement de la monarchie. En effet, cette vertigineuse mise en scène de réjouissances, qui donne l’impression d’un monde enfermé dans une fête permanente, ne doit pas tromper : pour parvenir à se maintenir et qui plus est à se distinguer et à briller devant le roi, combien d’efforts individuels étaient nécessaires, de fortune pour soutenir son rang, de réseaux pour se placer avantageusement dans ces grandes machines de représentation, de maîtrise de soi pour supporter au quotidien le devoir de paraître, la comparaison avec autrui et le défi de la compétition.

Tout au long de l’exposition, le public est invité à découvrir et à ressentir ce que le courtisan vivait, voyait, entendait ou pratiquait – de la détente physique apportée par les chevauchées de chasse, des plaisirs visuels et auditifs de la scène, de l’inquiétude au jeu ou au bal paré, au bonheur des illuminations nocturnes. Plusieurs dispositifs immersifs rythment le parcours – douches sonores, écrans, restitutions 3D, constructions grandeur nature de machineries de théâtre, etc. – pour redonner vie aux lieux de spectacle, recréer l’ambiance des soirées à la Cour et mieux entraîner les visiteurs au coeur de la fête.

Château de Versailles - Fêtes et divertissements à la Cour - 01.01.2017 - 26.03.2017


4766 - 20170514 - BELGIË - DROGENBOS - Luc Peire - 05.02.2017-14.05.2017


Luc Peire (Brugge, 1916 - Parijs, 1994) is internationaal bekend als meester van het abstract verticalisme. In zijn toenemend streven naar onbegrensde ruimtelijkheid evolueert hij al snel naar de abstractie. Hij brengt de menselijke figuur als spiritueel wezen terug tot een verticale lijn in een uitgebalanceerde ruimte. In de zwart-wit-‘graphie’ herleidt de kunstenaar de lineariteit tot de essentie. Deze persoonlijke kunstvorm zal de hoeksteen vormen van de driedimensionale spiegel-environments: hoogtepunten van Peires zoektocht naar de ultieme oneindige ruimte. Later integreert Peire het doorgedreven verticalisme van de schilderijen, ‘graphies’ en tekeningen in (inter)nationale projecten met architecten en urbanisten.
De tentoonstelling illustreert dit buitentreden van het schilderdoek met zelden getoonde werken. Naast een uitzonderlijke bundeling van Lumino-Tours (1970/1980), maquettes en foto’s van integratiewerken is ook het iconische Environnement I (1967) te bezichtigen

Stilering naar de absolute abstractie
Nadat Luc Peire in 1947 uit La Jeune Peinture Belge stapt, onderneemt hij reizen naar Italië, Marokko, de Balearen, de Canarische Eilanden en Congo. De bijhorende indrukken en kennismakingen beïnvloeden de ontwikkeling van een steeds abstracter wordende beeldtaal  en een toenemend streven naar onbegrensde ruimtelijkheid. Ze inspireren hem tot de creatie van krachtige, verticale composities. De sculpturale volumes en het spel met vollen en leegtes worden geleidelijk aan gestileerd tot lineaire, geometrische vormen. Wanneer de kunstenaar aan het eind van de jaren 50 naar Parijs vertrekt, groeit zijn ruimteconcept van aan het begin van de jaren 50 uit tot een volgroeide en persoonlijke abstractie.
Aan het eind van de jaren 50 brengt hij de menselijke figuur uiteindelijk terug tot een verticale lijn in de ruimte. Het lineaire, symbool voor activiteit en voor het leven, wordt tegenover een rustig uitgewogen ruimtelijke constructie geplaatst. De toenemende  reductie van geometrische vormen brengt hem tot een karakteristiek lineair verticalisme. Een bezoek aan New York (1965–1966) spoort hem aan om de referentie naar de mens in een gecomponeerde ruimtelijke constructie verder te abstraheren. Het ritmisch spel van verticalen en kleurstroken- en banen en de serene positionering tegenover monochrome kleurvelden suggereren de puur abstracte ruimte. Peires schilderkunst evolueert uiteindelijk in de richting van een mildere lineariteit en een rustgevende symmetrie..

Integraties en Lumino-Tours
De zuiver abstracte schilderijen getuigen van Peires streven naar een oneindige ruimtelijkheid. Het is pas bij de creatie van een in de menselijke omgeving geïntegreerde totaalkunst dat hij dit ultiem verwezenlijkt ziet. Hij doet zijn schilderkunst daarom versmelten met andere kunstvormen, die hij op  hun beurt integreert in driedimensionale interieur- en architectuurconcepten en verstedelijkte landschappen. De veelzijdige, internationale samenwerkingen met architecten en  stedenbouwkundigen buigen van bij aanvang terug op Peires betrokkenheid. De abstracte  ruimtelijkheid van de integraties wordt opgeroepen door het geritmeerde spel met reliëf, kleur, leegtes en vollen, spiegeling en licht in diverse bouwkundige materialen. Tot zijn belangrijkste integratiewerken behoren de Place Carrée (Marne-la-Vallée, 1975–1982), het Brusselse metrostation Roodebeek (Brussel, 1976–1982) en Het Teken U.Z. Gasthuisberg (Leuven, 1992) aan de  oegangsweg van campus Gasthuisberg. Tijdens een bezoek aan New York (1965– 1966) rijpt het idee voor de Lumino-Tours (1970–1980). Dit vierledig sculpturaal kunstwerk refereert met zijn verticale constructie, lineariteit en lichtspel naar de New Yorkse woontorens. De plaatsing van de zwarte ritmische lijnen tegenover het doorschijnend plexiglas, de spiegels en het witte licht zijn gericht op de ruimtewerking. De zwarte, verticale lijn staat symbool voor de spirituele menselijke figuur. De Lumino-Tours illustreren de groeiende belangstelling van de kunstenaar om zijn werk als volwaardig autonoom ruimtelijk object uit te bouwen en te integreren in een environment.

Een multidisciplinair kunstenaar
Vooraleer Peire het lineair verticalisme in zijn schilderkunst tot de pure abstractie herleidt, voert hij deze stilering reeds vanaf 1955 in de ‘graphie’ door. In deze persoonlijke kunstvorm worden kleuren
en visuele aanknopingspunten uitgepuurd tot een abstract, ritmisch spel van witte en zwarte verticalen en contrasterende, horizontale accenten. De graphie zal later een belangrijke rol spelen bij de ruimtelijke environments. Op het moment dat Peire in zijn graphies en schilderijen intens experimenteert met het verder abstraheren van zijn beeldtaal, tekent hij weinig. In de loop van de jaren 70 zet hij zijn ruimtelijk onderzoek uiteindelijk ook intensief voort in tekeningen. De karakteristieke matte en grijze eigenschap van het Contépotlood verleent de geometrische tekeningen vanaf de jaren 80 hun specifieke uitstraling. Ook in de graphies en tekeningen leidt de zoektocht naar de oneindige ruimte uiteindelijk naar een mildere lineariteit en een rustgevende  symmetrie; in het geval van de graphie naar de introductie van ultramarijnblauw.

Tijdens een bezoek aan New York in1965–1966 ontwikkelt hij het idee van het environment. In de lijn van dit concept realiseert hij na terugkomst Environnement I (1967). Het kunstwerk symboliseert de wens van de kunstenaar om zijn schilderijen en graphies te integreren in andere kunstvormen, in de tijd en in de ruimte. De driedimensionale opstelling, de gespiegelde graphiewanden, de elektronische klanken van het Opus 297 Environment van componist Louis De Meester en de lichtwerking scheppen binnenin Environnement I een gevoel van eindeloze ruimte en gewichtloosheid. Bij het betreden van het kunstwerk wordt de opgeroepen ruimtewerkelijkheid niet ‘slechts’ aanschouwd, maar ook lichamelijk gewaargeworden. Dit streven naar oneindigheid is volgens Peire de zoektocht van elke mens. Met zijn werk poogt hij deze boodschap in een universele taal te brengen.
Later creëert Peire ter gelegenheid van de tentoonstelling De Verovering van de Ruimte (1968, Mexico) en de tentoonstelling Paintings Graphics Environment III (1973, Auckland) een tweede en derde environment: Ambiente Mexico 68 (1968) en Environment III (1973).

FeliXart Museum - Luc Peire - 05.02.2017-14.05.2017

4765 - 20170507 - U.K. - LONDON - Paul Coldwell - 22.02.2017-07.05.2017


'Cabinet I- Freud’s Desk', 2016 Paul Coldwell. Photographer Oliver Ottenschläger

Paul Coldwell

The Freud Museum London presents Temporarily Accessioned: Freud’s Coat Revisited by the artist and researcher Paul Coldwell. This new exhibition is an opportunity to present new work by the artist, twenty years after first exhibiting at the museum in an exhibition entitled Freud’s Coat. The new exhibition not only responds to this earlier encounter but also represents the first occasion where the museum in London has collaborated with the Sigmund Freud Museum in Vienna in this way.

Coldwell’s work focuses on the forced exile of Freud from Vienna in 1938 to settle in London for the last year of his life. The work he has made includes a full size print from x-rays of the coat that Freud purchased to travel to London, entitled Temporarily Accessioned-X-Ray (2016), and a reconstruction of the objects on Freud’s desk, 3D scanned and printed in pure white nylon, A Ghostly Return (2016). Together the work addresses the themes of absence and presence, of objects and loss, and touches on what it means to have to flee one’s home and become a migrant. Some of the pieces have been shown in a joint exhibition with the artist and photographer Bettina von Zwehl, titled Setting Memory, at the Sigmund Freud Museum in Vienna, curated by the Director of the museum, Monika Pessler.

The forthcoming solo exhibition Temporarily Accessioned: Freud’s Coat Revisited at the Freud Museum London will include these works plus additional pieces including small bronzes and prints.

Paul Coldwell would like to acknowledge the generous support of Arts Council England.
Paul Coldwell is a practicing artist and Professor in Fine Art at Chelsea College of Arts, the University of the Arts London. His art practice includes prints, book works, sculptures and installations. He has exhibited widely, and his work is included in numerous public collections, including Tate, Victoria & Albert Museum (V&A), the British Museum, the Arts Council of England and the Musee d’art et d’histoire, Geneva. He was selected for the Ljubljana Print Biennial in 1997 and 2005; for the International Print Triennial, Cracow in 2000, 2003, 2006 and 2009; and the Northern Print Biennial in 2009 and 2011. In 2013 the Universities of Canterbury and Greenwich presented a survey exhibition of his prints, ‘A Layered Practice Graphic Work 1993-2012’. In the same year he also had a solo exhibition at the Scott Polar Research Institute entitled Re-Imagining Scott which included prints, postcards, sculptures and glassworks. Material Things at Gallery II, University of Bradford, focused at the relationship between his sculptures and prints over a period of fifteen years.
Freud Museum London - Paul Coldwell - 22.02.2017 - 07.05.2017


4764 - 20170416 - BELGIË - GENT - James Welling: Metamorphosis - 28.01.2017-16.04.2017


James Welling: Metamorphosis

With an extensive selection of work from the early 1970s to today, Welling’s exhibition at S.M.A.K. reflects the fundamental changes in photography in recent decades. In sounding out the medium’s aesthetic and conceptual foundations, the artist’s series spring continually from image to matter, from process to result, from representation to abstraction, and back again.

James Welling’s oeuvre refers strongly to the history of American painting and at the same time connects with the critical, post-modern debates that were current in the Pictures Generation scene in the early 1980s, where concepts of authorship, originality and representation were prominent. In addition to this conceptual basis, emotional states such as melancholy and nostalgia are distinctly present in the work of this artist, who often interweaves biographical elements with the history of photography. Welling’s photographic practice is comparable with that of a “ventriloquist”, as he himself once described it, meaning that he embraces many artistic languages through the filter of photography.

The exhibition is a cooperation of S.M.A.K., Ghent with Kunstforum Vienna, Austria.
Idea and concept: Martin Germann and Heike Eipeldauer.

S.M.A.K. - James Welling: Metamorphosis - 28.01.2017-16.04.2017


4763 - 20170319 - AUSTRIA - VIENNA - POINT OF VIEW 17 - 02.12.2016-19.03.2017


Jacopo da Ponte, called Bassano, Moses striking the Rock at Horeb, c. 1583/1585. Canvas, 82 x 114 cm © KHM-Museumsverband.
A spring in the desert

Moses striking the rock at Horeb by Jacopo Bassano


The seventeenth Point of View showcases a “new discovery” from the world’s largest collection of works by the Bassano dynasty of painters, which is in the Picture Gallery of the Kunsthistorisches Museum. Moses Striking the Rock by Jacopo da Ponte, called Bassano, was long regarded as the work of one of his followers and thus banished to the depot and hidden from both the general public and experts for five decades. However, the on-going research project analysing the Picture Gallery’s Bassano holdings was able to identify the elegant painting as an important work by Jacopo (c. 1570-1575).
Jacopo’s skilful colour arrangement leads our gaze into the centre of the composition where the miracle has just taken place. Celebrated by seventeenth-century Venetian art critics for his virtuoso sense of colour, the artist chose the rolling countryside of the Alpine foothills north of Venice as the setting for the popular biblical story, with Monte Grappa’s distinctive peak clearly visible in the distance. Note the exquisite brushwork and brilliant handling; the apparently quick and sketchy execution bears witness to Jacopo’s exceptional technical skills and amazing chromatic sensibilities - with only a few brushstrokes he suggests a profile, sketches a face, evokes the body of an animal, revelling in the suggestive play of light and shadows and the faithful rendering of the textures of the different surfaces. A comprehensive scientific examination has revealed that Jacopo planned the composition in advance, defining the spatial arrangement of the scene in an underdrawing sketched onto the canvas in quick brushstrokes.
Colour adds structure to the composition: following the painterly traditions of Venice, Bassano employs brilliant pigments to accent the main protagonists, giving noble lake pigments a central role in der foreground.
Kunsthistorisches Museum - Point of view 17 - Moses striking the rock at Horeb by Jacopo Bassano - 02.12.2016-19.03.2017


4762 - 20170305 - BELGIË - OOSTENDE - Jules Schmalzigaug and the Futurist Cookbook - 29.10.2016-05.03.2017


Jules Schmalzigaug and the Futurist Cookbook pays homage to the brief but intense life of this Belgian Futurist. 2017 marks the 100th anniversary of Schmalzigaug's death in The Hague. He was the very first Belgian painter to feature at the heart of an international avant-garde movement: Italian Futurism. In fact, he reached the peak of his artistic career in 1914!

This retrospective looks back at the short but extremely powerful Futurist period which Schmalzigaug experienced in Italy and later as a refugee in The Hague.

Artistically inspired by the Italian Futurists Filippo Tommaso Marinetti, Giacomo Balla, Umberto Boccioni, Carlo Carrà and Gino Severini, who regarded him as a talented kindred spirit and friend, his authentic style earned a great deal of respect.

This exhibition establishes a dialogue between Schmalzigaug's Futurism, that of his Italian associates and the work of other Belgian avant-garde artists such as Paul Joostens, Pierre-Louis Flouquet, Prosper De Troyer, Edmond Van Dooren and others who felt the influence of Futurism for a brief period after 1917.

Mu.Zee - Jules Schmalzigaug and the Futurist Cookbook  - 29.10.2016-05.03.2017

4761 - 20170313 - ITALY - VENICE - My Weapon Against the Atom Bomb is a Blade of Grass. Tancredi. A Retrospective - 12.11.2016-13.03.2017


Tancredi, with his painting, creates a new poetic philosophy for those have neither telescopes nor rockets: how lucky we are to have such crystallizations that transport us safe and sound toward other worlds. (Peggy Guggenheim)

With over ninety works, this much-awaited retrospective marks the return to Venice of Tancredi Parmeggiani (Feltre 1927–Rome 1964), among the most original and prolific Italian painters of the second half of the twentieth century. Tancredi was the only artist, after Jackson Pollock, whom Peggy Guggenheim placed under contract, promoting his work, making it known to museums and collectors in the USA, and organizing shows, including one in her own home, Palazzo Venier dei Leoni, in 1954. More than sixty years later Tancredi returns to the Peggy Guggenheim Collection, his reputation now beyond question, with remarkable paintings that re-create, step by step in intimate galleries, between creative fury and lyrical expressionism, the brief but meteoric trajectory of this great postwar painter.

Beginning with rare youthful portraits and self-portraits, and with Tancredi's first experiments with paintings on paper in 1950-51, the exhibition narrative moves on to document Tancredi in the early 50s, a period marked by the crucial encounter with Peggy Guggenheim, to whom he became a protégé, and who gave him studio space in Palazzo Venier dei Leoni. The bond between them is documented by a number of works still today in the Peggy Guggenheim Collection. The exhibition brings back to Venice paintings donated by Peggy to major museums in the United States, masterpieces such as Springtime (Museum of Modern Art, New York) and Space, Water, Nature, Sight (The Brooklyn Museum). The exhibition proceeds with a section dedicated to Tancredi’s works dating from the 60s. This was a period of crisis, and of a complete revision of his approach to painting, into which he now injected existential meaning. This is the vein of polemic tension that gave rise to the phrase of the title of this exhibition, 'My weapon against the atom bomb is a blade of grass'—Tancredi's response to the world conflicts of the time, from Vietnam, to the war in Algeria, to the Cold War between the USA and the Soviet Union. Belonging to this key moment in the artist’s career is the triptych of the Hiroshima series (1962). A further phase of experiment, in the final part of the exhibition, consists of the collage-paintings, made between 1962 and 1963, known as the Hometown Diaries (Diari paesani) and the Flowers 101% Painted by Me and by Others (Fiori dipinti da me e da altri al 101%), which can be counted the major revelation of this retrospective and which are the product of exceptional creative verve and dramatic euphoria. These works mark the end of his extraordinary, brilliant and unruly career, dedicated to nature and to man. They are paintings which prelude the last year of the life of a painter who was among the most original and singular personalities in Italian art of the twentieth century. Tancredi died in 1964 aged only 37, young but ready, as Dino Buzzati wrote, to evolve into the 'myth of Tancredi.'

Peggy Guggenheim Collection - My Weapon Against the Atom Bomb is a Blade of Grass. Tancredi. A Retrospective - 12.11.2016-13.03.2017


4760 - 20170122 - BELGIË - BRUSSEL - 'Modernity à la belge' - 14.10.2016-22.01.2017


The exhibition "Modernity à la belge" retraces Belgian Art over more than a century through paintings, drawings and sculptures from the Modern Art collection of the Royal Museums of Fine Arts of Belgium, as well as some invited major art works.

The term Modernity reaches far beyond a certain period in our history of Fine Arts, it stands above all for the enthusiasm of that period. Being initiated at the end of the 19th century by Baudelaire, it embodies an ideal combining technological and intellectual development. Yet it has never stopped causing a stir, generating concepts such as anti-modernity or postmodernity. First, Modernity was rejected for not respecting the legacy of the past; later on, it was said to have led to Nazi barbarism and the technology of death. The question is: which place does Art take in this debate? The artists to be seen in the first part of “Modernity à la belge”, all wanted to influence society: Wiertz,  Rops, Ensor, Wouters, Vantongerloo, Servranckx, Magritte, Delvaux, Permeke, Van den Bergh, Alechinsky, Dotremont, Broodthaers and also Tuymans. Being gathered in a blueprint of a Modern Art Museum, they all translate this preeminent modern spirit, while challenging the often authoritarian Avant-garde.

The second part of the exhibition adds the specific Belgian dimension to this cultural Modernity. Does a Belgian Modernity really exist? How did it arise and under which forms does it continue to live? What is the idea of Avant-garde in Belgium? What can be concluded from the confrontation with major international artists such as Chagall, Rouault, Jorn or Segal? What does “Belgian” Art and “Belgian” Modernity mean? Many questions to be answered by each visitor individually. It is all open for discussion!

Royal Museums of Fine Arts of Belgium - 'Modernity à la belge' - 14.10.2016-22.01.2017 

4759 - 20170305 - CZECH REPUBLIC - PRAGUE - Winter Variations - 06.12.2016-05.03.2017


The exhibition The Art of Asia has been modified to reflect the upcoming season. The Chinese artworks selected for the winter 2016/2017 include several winter landscapes, one of the most popular genres in Chinese painting, as well as the precious anonymous portrait of a man in winter outfit from the collection of Chinese ancestral portraits. The genre of flower and bird painting is represented by the theme known as “three friends of winter,” in which the pine, the bamboo and the plum tree refer to moral pureness and resilience of a scholar. Other winter themed paintings, such as Qi Baishi's Pine and the delicate Snowbound Landscape by the last of the Chinese literati painters, Pu Xinyu, come from the National Gallery's unique collection of Chinese painting.

Alterations in the graphic part of the exhibition of Japanese art are also largely devoted to winter motifs, which appear in iconography, decor, calligraphy and landscape. The exhibition of Japanese Buddhist art presents pairs of scrolls depicting the wind god, Fujin and the god of winter storm, Raijin. In the exhibition of Japanese paintings and prints, the visitor can view Sugakudo's Wren Sitting on a Winter Peony, a winter variation on the flower and bird genre, and Eizan's Courtesan Oyodo in the allegory of the Evening Snow on the Bindweed. The popular “beautiful maidens” motif can be admired in its quintessential form on Buzen's screen from the turn of the 19th century, which depicts Rafu-sen and five other beauties under the snow-covered pine. Kiyochika's scene from the Sino-Japanese war provides an interesting “journalistic” view of the winter landscape.

The exhibition of the art of southern and south-eastern Asia presents six Indian miniatures – genre scenes from the circle of eighteenth-century Mughal painting and paintings from Jaipur depicting scenes from Hindu mythology. The newly installed Tibetan thangkas represent both wrathful and peaceful deities, as well as important figures of Tibetan Buddhism. Of special notice is the Jataka, the depiction of stories from Buddha's previous lives, originally from the collection of Vojtěch Chytil.
Curators: Jana Ryndová, Michaela Pejčochová, Lenka Gyaltso, Zdenka Klimtová

Kinský Palace - Winter Variations - 06.12.2016-05.03.2017


4758 - 20170305 - BELGIË - GENT - Hands on Design - 19.11.2016-05.03.2017

8th Triennial for Design
The chemistry between the maker, the designer and the company
‘Hands on Design’ showcases design that is inspired and produced thanks to the innovative power of traditional methods and craftsmanship. Discover that chemistry this autumn in Design museum Gent.

From 19 November 2016 until 5 March 2017, ‘Hands on Design’ will show a superb selection of contemporary and historic design products, which are perfect examples of outstanding craftsmanship and the master’s touch. As a user, you can feel the difference between a store-bought kitchen knife or chair and a hand-made knife or chair, but sometimes it is difficult to pinpoint that difference. ‘Hands on Design’ reveals this invisible added value, the influence of the master’s touch and craftsmanship. Stroll through the maker’s house, his workshop and design studio. Take a closer look at his drawings and computer models. Learn about prototypes, materials and tools. Discover the human touch in familiar and brand-new utensils. Learn how designers, makers and companies push back boundaries and find new applications for centuries-old techniques. By processing familiar materials such as stone, wood, glass, leather, bronze in new and different ways.

Curator Johan Valcke spent two years searching for brand-new utensils by emerging young designers, established design studios and local businesses. He also brought together designers and companies, which led to some novel design products that will be shown for the first time during ‘Hands on Design’. Design museum Gent has juxtaposed these designs with surprising masterpieces from its own collection. MaisonCaro designed the exhibition’s scenography.

Designmuseum Gent - Hands on Design - 19.11.2016-05.03.2017


4757 - 20170226 - DENMARK - AALBORG - Maria Lassnig – Painting Through the Body -18.11.2016-26.02.2017


The exhibiton will feature 40 large scale paintings that reveal her long standing exploration of the body and self-representation the exhibition spans her career; from work made during the 1940s in Vienna, periods spent in Paris and New York, her return to Austria in 1980 and paintings made in the final years of her life.

Influenced at an early stage by art movements that celebrate gestural, informal and spontaneous practice such as art informel, tachisme and surrealism, Lassnig developed a singular body of work, making boldly expressive, brightly coloured oil paintings with the human figure at the centre of her compositions.  Using herself as the subject of her paintings, they address the fragility of the body, the ageing process and the passing of time.

Despite being largely underrepresented until recent years, Maria Lassnig has played an influential role in the development of painting in the 20th and 21st centuries and her work has been met with critical acclaim and inspired other artists such as Paul McCarthy and Martin Kippenberger.

Kunsten Museum of Modern Art Aalborg - Maria Lassnig – Painting Through the Body 


4756 - 20170205 - BELGIË - ANTWERPEN - From Broodthaers to Braeckman. Photography in the Visual Arts in Belgium - 06.10.2016-05.02.2017


Through representative examples From Broodthaers to Braeckman. Photography in the Visual Arts in Belgium shows how the medium of photography entered the field of visual arts in Belgium and how it evolved into an independent artistic medium between 1960 and 1990.
Its location between major artistic centres such as London, Amsterdam, Dusseldorf and Paris, and the presence of important collectors and visionary gallery owners, turn Belgium into an important meeting place for the international art world in the 1960s and 1970s. A rising  generation of Belgian artists comes into direct contact with international artistic trends like conceptual art, Fluxus and the Situationist International. Local artistic traditions too influenced their practice. Especially striking is the legacy of the Brussels surrealists, in particular the work of René Magritte and Paul Nougé. Moreover, the strong pictorial tradition of the Low Countries, and by extension Europe, turns out to have had a decisive influence on the work of the artists selected for this exhibition, which is characterised by a constant attention to their surrounding reality.
The exhibition opens with the photographic work of three pioneers of conceptual art in Belgium: Marcel Broodthaers, Jacques Charlier and Jef Geys. Subsequently, the breakthrough of photoconceptualism in Belgium can be seen in the work of Jacques Lennep, Jacques Louis Nyst, Jacques Lizène, Philippe Van Snick and Danny Matthys. Finally, the transition of photoconceptual work to the photographic tableau – the ever growing mixture of photography and painting – is shown by means of the work of Lili Dujourie, Jan Vercruysse, Ria Pacquée, Liliane Vertessen and Dirk Braeckman.
The exhibition From Broodthaers to Braeckman. Photography in the visual arts in Belgium is based on the doctoral research of Liesbeth Decan: Conceptual, Surrealist, Pictorial: Photo-based Art in Belgium (1960s-early 1990s), which appears as a book concurrently with the exhibition as part of the Lieven Gevaert Series (Leuven University Press). 
MUHKA - From Broodthaers to Braeckman. Photography in the Visual Arts in Belgium 06.10.2016-05.02.2017

4755 - 20170326 - U.K. - LONDON - Australia's Impressionists - 07.12.2016-26.03.2017


Escape the darkness of winter for the light-filled landscapes of the Australian Impressionists in the first UK exhibition of its kind
Showcasing four innovative Australian Impressionist artists, Tom Roberts, Arthur Streeton, Charles Conder, and John Russell, this exhibition explores Impressionism in an Australian context – closely related to yet entirely distinct from its European counterparts.

From ‘snapshots’ of life in the rapidly teeming cities of Melbourne and Sydney to dazzling landscapes of coast and bushland, the paintings of Roberts, Streeton, and Conder came to epitomise a growing sense of national identity as Australia approached Federation in 1901.

Russell, by contrast, was an Australian expatriate who spent almost his entire career in France, counting Van Gogh, Monet, and Matisse among his friends. Like fellow artists in Australia, Russell embraced plein air painting to capture the fleeting effects of light in the landscape but became increasingly experimental in his use of colour.

Featuring loans from some of Australia’s leading museums and private collections, many of which have never been seen in the UK, this exhibition invites you to reconsider how Impressionism was understood at the time, as an international phenomenon which transformed itself as it travelled the globe.

This exhibition is organised by the National Gallery, in collaboration with Art Gallery of New South Wales.

The National Gallery - Australia's Impressionists - 07.12.2016-26.03.2017


4754 - 20170507 - BELGIQUE - CHARLEROI - Jeanloup Sieff - LES ANNEES LUMIERE - 10.12.2016-07.05.2017


Jeanloup Sieff.
Serge Gainsbourg et Jane Birkin.
Paris, 1970
© Estate Jeanloup Sieff
«Les gens qui ne me connaissent pas se font de fausses idées à mon sujet. Ils s’imaginent que je suis un peu orgueilleux, un peu dilettante, un peu distant… mais ils se trompent, je le suis totalement.»

Elégance et légèreté, classicisme et sensualité sont quelques qualificatifs pour évoquer les photographies de Jeanloup Sieff (1933-2000).
Reporter indépendant, un temps membre de l’agence Magnum – il reçoit en 1959 le Prix Niépce pour son reportage sur le Borinage – c’est cependant dans la photographie de mode qu’il va s’illustrer.
Réalisées principalement pour de prestigieuses revues de mode telles Harper’s Bazaar, Elle, Vogue ou British Mode, ses photographies s’émancipent pourtant de la commande par l’originalité des cadrages, la densité des impressions et le choix du grand angle qui les rend immédiatement reconnaissables. Car il y a bien un style Sieff avec ses femmes-icônes portant les créations de prestigieux couturiers, ses nus féminins saisis dans leur troublante intimité, ses paysages déserts qui sont le visage solitaire de ce photographe pratiquant l’amitié avec les vedettes de l’écran ou de la politique qu’il rend si proches, s’effaçant derrière le modèle. Sieff épure sa photographie, en conservant les lignes maîtresses, les coulant dans des noirs profonds, rejoignant l’esthétique d’une époque, les «Trente Glorieuses» qu’il incarne à la perfection.
Depuis les années cinquante, en une étroite connivence avec le cinéma, au travers des thèmes abordés, c’est tout le parfum d’une époque qu’a su traduire Jeanloup Sieff en ses images.
L’œuvre de Sieff n’a jamais connu une exposition d’importance en Belgique. Le Musée de la Photographie à Charleroi proposera une sélection des photographies les plus emblématiques de Jeanloup Sieff, mélange des collections du Musée et des archives du photographe pour rendre hommage à celui qui, à l’égal d’ Irving Penn ou de Richard Avedon, a marqué plus d’une génération. Un choix de photographies de la série Borinage 1959 sera présenté dans la Galerie du Cloître.
Musée de la Photographie - Jeanloup Sieff - LES ANNEES LUMIERE - 10.12.2016-07.05.2017


4753 - 20170312 - BERLIN - GERMANY - George Condo / Confrontation - 19.11.2016-12.03.2017

George Condo: Windswept Figure, 2007 | Öl auf Leinwand, 50,8 x 40,6 cm | Sammlung des Künstlers, New York | Courtesy Sprüth Magers und Skarstedt | © VG Bild-Kunst, Bonn 2016 | Foto: © George Condo 2016

Museum Berggruen presents an exhibition of works by American painter George Condo (b. 1957, Concord, New Hampshire). This first ever large-scale exhibition of contemporary art at Museum Berggruen since its opening combines works by George Condo from the early 1980s through today with works by classical modernist artists from the collection of Berlin’s Nationalgalerie. George Condo. Confrontation is on view throughout the museum, and many of the paintings, drawings, collages by the American artist selected are to be shown to the public for the very first time in this show.
The presentation of masterpieces by Cézanne, Picasso, Matisse, Klee and Giacometti from Museum Berggruen alongside Condo’s works develops an open field of references. Since the early 1980s, Condo refers in his works with a mixture of humor, irony, and veneration to the entire spectrum of European and American art. For his in part grotesque visual imagination, he takes up genres like the nude, the still life, and the portrait. Playfully, Condo combines references to art history, in particular formal and motivic references to the artists of classical modernism, whose once shocking cubist paintings have long since entered the canon of art history. To the same extent, popular culture also flows into Condo’s works: his portraits reveal borrowings from comic figures like Batman, Bugs Bunny, or Mickey Mouse.

The exhibition George Condo. Confrontation understands painting from the 20th and 21st century as a process of mutual references and traditions constantly in motion, still continuing today in popular culture.

A multi-part publication including an interview between Udo Kittelmann and George Condo, essays by Felicia Rappe and Olivier Berggruen, an illustrated book with all exhibited works by Condo, and a story by Daniel Kehlmann has been published in conjunction with the exhibition (40 Euro, available at the museum or online

„It’s about putting things together and seeing how they react to one another. Whereas a dialogue is a more placid, almost prosaic platform for discussion. One has dialogues every day. I could have a dialogue every day with the lady down the street who’s selling cupcakes. But if I say to the cupcake lady, ‘Something is wrong with the frosting. Why is it blue?’ – suddenly we’re having more of a confrontation. And then it’s memorable!” George Condo, 2016

Museum Berggruen - George Condo / Confrontation - 19.11.2016-12.03.2017


4752 - 20170226 - BELGIË - MACHELEN-ZULTE - Actuele prenten: James Ensor, Francisco Goya, William Kentridge, Roger Raveel en Rembrandt van Rijn - 27.11.2016-26.02.2017


Gedrukte prenten vormen een belangrijk maar niettemin miskend aspect binnen het oeuvre van de meeste toonaangevende kunstenaars. De tentoonstelling Actuele Prenten brengt grafisch werk bijeen van kunstenaars uit diverse periodes die inhoudelijk en vormelijk verwantschap vertonen. In een tijdsegment van meer dan vier eeuwen blijkt dat techniek en thematiek een grote eenheid vormen die steeds actueel is gebleven.
Grafiek biedt naast de ruimere verspreiding van het kunstwerk ook de mogelijkheid om in reeksen te werken, al dan niet met een epische of poëtische verhaallijn.
Veeleer dan een historisch overzicht te brengen gaat deze tentoonstelling dieper in op de grafische kunst van enkele markante kunstenaars die het medium telkens weer vernieuwden en betekenis gaven. Met werk van James Ensor, Francisco Goya, William Kentridge, Roger Raveel en Rembrandt van Rijn...

Roger Raveelmuseum - Actuele prenten: James Ensor, Francisco Goya, William Kentridge, Roger Raveel en Rembrandt van Rijn - 27.11.2016-26.02.2017


4751 - 20170305 - AUSTRIA - SALZBURG - Grand retrospective surveying the work of Walter Pichler spanning five decades - 26.11.2016-05.03.2017

Walter Pichler, Großer Raum (Prototyp 3), 1966-67.
The Museum der Moderne Salzburg presents a grand retrospective surveying the work of Walter Pichler spanning five decades. Crossing the boundaries between architecture, design, and sculpture, Pichler was one of the most idiosyncratic artists of his time. From his early architectural visions across the series of Prototypes to his recently realized building projects, the exhibition shines a spotlight on an oeuvre that continues to inspire artists working today. The presentation includes a wealth of previously unpublished material. 
A native of South Tyrol, the Austrian artist Walter Pichler (1936 Deutschnofen, IT, 1936—2012,Vienna, AT) first drew notice in the early 1960s with architectural designs and models that were as radical as they were utopian. The series of what he called Prototypes (1966– 1969) Pichler developed over the following years laid the foundation for an international artistic career that was virtually unparalleled at the time. Trained as a graphic designer, Pichler worked in sculpture and design, pushing the boundaries between these disciplines and architecture. At a relatively young age, he had work showcased in celebrated exhibitions and renowned museums: at the Museum of Modern Art in New York (1967 and 1975), the 5th Biennial in Paris (1967), the 4. documenta in Kassel (1968), and the Austrian pavilion at the 40th Biennale di Venezia (1982). As his international reputation rose rapidly, Pichler, in 1972, retreated to a farm in St. Martin, a village in the Austrian state of Burgenland, where he worked in isolation from the art world to realize his vision of the ideal structures to house his sculptures. Still, he was regularly prevailed upon to present his work in museum exhibitions, submitting his art to the scrutiny of these institutions and its audiences. Beginning in the late 1980s, Pichler’s work was shown in a series of major retrospectives, for instance at the Städel Museum in Frankfurt am Main (1987), the Austrian Museum for Applied Arts (1988 and 2011), and the Generali Foundation an Vienna (1998), or at the Stedelijk Museum in Amsterdam (1998). Walter Pichler died in Vienna in 2012 and the exhibition coincides with his eightieth birthday.

The comprehensive retrospective the Museum der Moderne Salzburg dedicates to this influential artist proposes a new perspective on his early radical architectural designs and the iconic Prototypes series, which are considered here in conjunction with his design projects and realized buildings, including recent projects. Around 230 works, including a wealth of previously unpublished material, on display in the spacious galleries on level [4] of the Museum der Moderne Salzburg’s Mönchsberg venue illustrate the extraordinary range of the artist’s oeuvre. “Our longstanding close relationship with Walter Pichler—we worked together on several projects— and now with the Pichler Archive, and thanks to the permanent loan of the Generali Foundation Collection, which has the single largest collection of Prototypes, to the Museum der Moderne Salzburg enable us to draw from a wealth of resources for this retrospective, which also presents previously unpublished materials to the public,” Sabine Breitwieser, director of the museum and curator of the exhibition, underscores. “The exhibition is further enhanced by important works on loan from the artist’s estate and numerous other collections and offers visitors vivid impressions of Pichler’s buildings through films we commissioned specifically for this purpose,” the curator emphasizes.

Walter Pichler studied graphic design at the Bundesgewerbeschule Innsbruck and subsequently at the University of Applied Arts Vienna and contributed to the design of many important publications such as the influential journal Bau (1965–1967) and the first book on Otto Wagner; he worked as a book designer for Residenz Verlag for many years and, in his later years, also for Jung and Jung publishers in Salzburg. His early work as a creative artist is informed by postwar Vienna; he moved in the orbit of the Wiener Gruppe (Vienna Group) and the exponents of the so-called Vienna Actionism and was in exchange with architects, designers, and writers— many of whom went on distinguished careers—who congregated in cafés and bars to debate and refine their artistic positions. Extended study trips to Paris, New York, and Mexico left their mark on his early work, as did the social changes and technological innovations of the 1960s, whose influence is especially palpable in the iconic Prototypes. In 1963, Pichler and Hans Hollein had an exhibition at Galerie nächst St. Stephan, Vienna, in which they presented manifestoes, designs, and models for suspended and subterraneous urban structures, calling the established conception of architecture in question. The two young revolutionaries were not especially interested in the actual realization of their projects; their utopianism masked a trenchant critique of the principle that “form follows function.” At that time a number of those works were acquired for the Museum of Modern Art in New York.

The Prototypes (1966–1969) got Pichler featured in magazines from Domus to Vogue and brought him almost pop star-like fame. Working with what were then novel materials—aluminum, and polyester—as well as pneumatic elements made out of PVC and audiovisual components, Pichler developed some of his most iconic works. The designation Prototype indicates that these pieces were laboratory creations—in fact, as Pichler once put it flatly, they were “made by hand on the kitchen table”—but eventually intended for automated serial production. The Prototypes were on public display at the 4. documenta in Kassel in 1968. The artist’s experimental approach to new materials and technologies was groundbreaking: works such as TV Helmet (1967), also known as The Portable Living Room, articulate Pichler’s critique of the way media and technology molded people’s world at a time when the Vietnam War was transmitted into living rooms and political art was in demand. In 1966, Pichler also designed the aluminum chair Galaxy 1, for which he took inspiration from the aesthetic and technology of space travel and car industry; it is now a classic of innovative design.

Starting in 1972, Walter Pichler planned and realized a series of singular buildings, initially on ten acres of land with an old farmhouse in St. Martin in Burgenland, an ensemble he had chosen as his new workplace and personal exhibition venue. Later building projects included the House next to the Foundry (1994–2002), the Platform above the River (1994–2014, realized posthumously) in the Eggental near Bozen, Italy, and the Passage in Tyrol (1996–2011). To help the visitors get a vivid sense of these complex structures, the Museum der Moderne Salzburg commissioned films that complement Pichler’s drawings and designs to offer insight into his work in architecture.
Museum der Moderne Salzburg - Walter Pichler - 26.11.2016-05.03.2017