2016-08-24

4718 - 20160925 - BELGIË - GENT - Dirk De Wachter Museum - Art & psychiatry in borderline times - 25.06.2016-25.09.2016

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For one summer the Dr. Guislain Museum becomes the Dirk De Wachter Museum. In Borderline Times psychiatrist Dirk De Wachter establishes a sharp diagnosis of today’s society: we live in borderline times. Impulsiveness, affective lability, emptiness … are not only individual symptoms, but also features of a broader, collective evolution. In his diagnosis Dirk De Wachter assigns great value to literature, philosophy and art. Dirk De Wachter Museum examines the way contemporary art represents today’s society and the current time, and reveals the shortcomings and possibilities in its own language.

The book Borderline Times and its author have been receiving a great deal of attention. That says a lot about the difficulties to which the psychiatrist’s work refers, but also about his own place in society. Dirk De Wachter Museum zooms in on the phenomenon of Dirk De Wachter and sheds light on other famous psychiatrists throughout history, who have entered the public stage, adopted a critical attitude towards society and considered art as an indispensable link.

The exhibition Dirk De Wachter Museum is a collaboration between psychiatrists Dirk De Wachter and Erik Thys and the curators at the Museum Dr. Guislain.

A richly illustrated catalogue accompanies the exhibition (D, 144 p., Uitgeverij Lannoo).




Museum Dr. Guislain - Dirk De Wachter Museum - Art & psychiatry in borderline times -25.06.2016-25.09.2016
 
 
 
 
 
 
 
 



4717 - 20161002 - SCOTLAND - EDINBURGH - Inspiring Impressionism | Daubigny | Monet | Van Gogh - 25.06.2016-02.10.2016

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This major exhibition is an ambitious display of masterpieces from the Impressionist era. Featuring over 100 pictures, from collections around the world, Inspiring Impressionism focuses on three key artists: Charles François Daubigny, Claude Monet, and Vincent van Gogh. Through a series of fascinating and surprising juxtapositions, this landmark show highlights the interactions and mutual influence between these three artists.
 
Inspiring Impressionism offers a refreshing new look at Impressionism and its origins. Featuring over 100 masterpieces, Inspiring Impressionism celebrates the work of Charles François Daubigny (1817-1878) – often dubbed ‘the father of Impressionism’ – and the artists he influenced, especially Claude Monet (1840-1926) and Vincent Van Gogh (1853-1890). While Monet was inspired by Daubigny to paint the ephemeral effects of light and weather from his studio boat, Van Gogh spent the most productive two months of his life close to Daubigny’s home at Auvers-sur-Oise. 
 

Charles François Daubigny (1817-78) was one of the most important French landscape painters of the nineteenth century. He helped to shape Impressionism through his working practice: routinely painting outdoors (often from his studio boat), exploring new subjects and unexpected viewpoints, and developing a radically 'unfinished' style and a brighter palette. He supported the Impressionists at the Paris Salons and introduced both Monet and Camille Pissarro to the art dealer Paul Durand-Ruel.
Daubigny moved towards a more subjective interpretation of nature in his later sunsets and nocturnes, inspiring not only Monet but also Van Gogh.


Claude Monet (1840-1926) is the most famous of the Impressionist artists. He spent his childhood in Le Havre, Normandy, where, encouraged  by Eugène Boudin, he painted landscapes in the open air. In 1859 he moved to Paris, where he was inspired by Daubigny’s modern approach to landscape and use of a studio boat. Encouraged by friends he met in Paris, including Pissarro and Renoir, he continued throughout his long and prolific life to capture in his paintings the changing effects of light and weather.. He was to refine this interest through his 'series' pictures, exploring the same subject at different times of day and year.


The brilliant, emotionally charged paintings of Vincent Van Gogh (1853-1890) are the most well-known of all Post-Impressionist works. Born in Holland,  his early works were inspired by the Dutch Hague School and by French realist painters such as Daubigny and Jean-François Millet. In 1886 he moved to Paris where he encountered Impressionism for the first time. Van Gogh's concern with light and colour led him to the south of France, where his paintings began to reflect his increasingly disturbed state of mind. . The exhibition will feature some of the most emotionally charged canvases of Van Gogh’s career, painted at Auvers, shortly before he took his own life.




Scottish National Gallery - Inspiring Impressionism | Daubigny | Monet | Van Gogh
25.06.2016-02.10.2016 
 
 
 
 
 
 
 

2016-08-17

4716 - 20161120 - BELGIQUE - MORLENWELZ - Gods, Genies, Demons of ancient Egypt - 21.05.2016-20.11.2016

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Sometimes familiar, sometimes frightening, often strange and complex, Egyptian deities have continuously – and ever since ancient times – fascinated us. And yet no major exhibition so far has been dedicated to them.
 
This exhibition will try to answer the following questions: What is a god? What does the Egyptian word really mean? Why choose to sometimes represent the deities as a human, as an animal or as a hybrid? Great gods but also anonymous powers (which does not mean unknown), diffuse forces with vague features, unidentified entities, god as objects, personifications of concepts – are the many attempts for a metaphorical explanation of the universe and natural phenomena. Within this dynamic, what positions can genies and demons occupy? In this fascinating struggle between the organized Creation and Chaos, what roles do they play?
 
By setting off to meet Osiris, Anubis, Hathor, Sobek and Isis, by walking into the world of myths, gods, genies and demons of Egypt, visitors will be invited to question and open themselves up to a different way of thinking. For example: are demons, with their repulsive and threatening appearance, so malevolent? Are the monstrous genies present in scenes of maternity and childbirth there to protect or threaten the mother and child? Do not they simply fulfil the role that is expected of them? These entities are perhaps not what they seem at first glance...
 
This international exhibition will gather over 200 objects (statues, reliefs, amulets, jewellery, sarcophagus ...) from Belgian public institutions (Federal, from Flanders, Brussels or Wallonia), but also foreign (Louvre Museum, Allard Pierson Museum, August Kestner Museum ...). These loans consolidate the cultural and scientific relations built by the Museum with partner institutions.
 
 
 
Musée Royal de Mariemont - Gods, Genies, Demons of ancient Egypt - 21.05.2016-20.11.2016
 
 
 
 
 
 
 

4715 - 20170108 - SWEDEN - STOCKHOLM - Moment - Moki Cherry - 07.04.2016-08.01.2017

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Moki Cherry, Brown Rice, 1975 © Moki Cherry. Photo: Prallan Allsten/Moderna Museet

Moki Cherry was typical of her age, but also a trailblazer. In the 1970s, when many artists challenged the authorities, Moki Cherry based her artistic practice not on pointing out faults, but on promoting the values that were actually worth protecting and fighting for. A kind of utopian alternative – what life should we lead, and how? Moderna Museet now presents a rich variety of Moki Cherry’s works and documentary material from her long partnership with Don Cherry.

Moki Cherry (1943–2009) stood out from the notorious movement that arose on the Stockholm art scene in the 1970s and rebelled against the “power”. Although her oeuvre hardly lacked political overtones – with a distinctly feminist agenda, and a more socially critical stance in her later collages – she was not as consistently argumentative as, say, her friends Marie Louise Ekman or Niki de Saint Phalle. Instead, Moki Cherry’s art leaned towards the contemporary experimentation with alternative ways of organising everyday life – counterurbanisation, living off the land, arts projects for kids, and interdisciplinary creative practices.

In 1962, Moki moved from Skåne to Stockholm to study at the Beckmans College of Design. A few years later, she met the American jazz musician Don Cherry (1936–1995), and they embarked on a close collaboration. Separately and together, they made happenings, music, art, posters and album covers, and the large textile application pieces that Moki is famous for. They toured and performed together, combining the various forms of expression on stage in time and space. To describe the lively and open context of which they were the centre, they came up with the concept for Movement Incorporated in 1967. The name was later changed to Organic Music. In 1970, the family moved to an old school house in Tågarp, Skåne, where they lived according to the motto of “the stage as a home, and the home as a stage”. They formed an arts society for art, music and performing arts, along with the Octopussteatern project for kids and teenagers.

“Throughout her artistic career, Moki Cherry lived without making any clear distinction between life and art. Most of her works have no frame, both in the literal and figurative sense. What we see is not paintings. Each object is intimately linked to a context, ideologically and practically. Touring were integral to the music, dance and situations in which people met, but their travels were also one of the reasons why Moki made so many textile appliqué pieces. These works were portable, and easy to pack and hang,” says Fredrik Liew, curator.

Many people associate the Cherrys with Moderna Museet. Pontus Hultén involved them in 1971 in Moderna Museet’s Utopias & Visions 1871-1981, an exhibition with its point of departure in the revolutionary government that ruled Paris in spring 1871, the Paris Commune. During a few summer months, the Cherrys ran an open stage as part of this exhibition. This collaboration was successful to the extent that when Pontus Hultén was asked to start up Centre Pompidou in Paris, he invited them to set up a temporary “Atelier des enfants” (a children’s studio) until the institution was completed.

The exhibition Moment – Moki Cherry highlights the 1970s, but includes works made from 1967 to 2007. Presenting a mixture of Moki cherry’s appliqué works, drawings and collages, together with documentation, music and stage photos, the ambition is to tell the story of these objects, on the road between life, art, pop, jazz, politics and Gesamtkunstwerk.




Moderna Museet - Moment - Moki Cherry - 07.04.2016-08.01.2017
 
 
 
 
 

 
 
 
 

2016-08-10

4714 - 20160925 - BELGIË - ANTWERPEN - Energy Flash - 17.06.2016-25.09.2016

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Henrik Plenge Jakobsen

Jacques André, Irene de Andrés, Cory Arcangel, George Barber, Jef Cornelis, Jeremy Deller, Simona Denicolai & Ivo Provoost, Rineke Dijkstra, Aleksandra Domanović, Andreas Gursky, Dan Halter, Henrik Plenge Jakobsen, Ann Veronica Janssens, Martin Kersels, Mark Leckey, Daniel Pflumm, Matt Stokes, Sergey Shutov, The Otolith Group, Walter Van Beirendonck

Rave culture from the 1980s and 1990s was Europe’s last big youth movement. During this period of radical social and political change, rave, in its various guises, migrated around the continent from its epicentre of Great Britain, Belgium and Germany. As a movement, it enacted a desire to be autonomous, with a belief in tolerance and experimental living, all built around the latent energy of electronic music. As a music-based culture, it embraced self-practice, invention and unbridled creativity, arguably leading to the densest period in history for the diversification of music. Energy Flash will be the first museum exhibition for considering rave, as well as the social, political, economic and technological conditions that led to the advent of rave as an alternative movement across Europe. It will look at the ideologies as well as the aesthetics of rave, along with its effects on wider culture.

For many who felt failed by both the market and the state, raves opened up a third kind of space, which formed its own logic based on the collective. Regularly drawing many thousands of participants, raves themselves have been theorised as ‘temporary autonomous zones’ – spontaneously organised concentrations of people and musical energy that eluded formal structures of control. Though embodying both dystopian and utopian impulses, raves possessed some extraordinary qualities, transgressing race and class. Utilising the emergent technologies of the day, the music itself possessed a distinct new aesthetic that redrew the boundaries of music. Each locale developed its own rave culture, evolving countless forms of acid house, techno, hardcore, jungle and beyond. In a situation of moral panic, governments in Western Europe legislated to criminalise rave culture from the mid-1990s onwards.

Energy Flash will look at rave as a highly politicised phenomenon, considering it through the key notions of ‘autonomy’, ‘civil liberty’, ‘technology’ and ‘creativity’. As an interdisciplinary project, it will display the works of numerous visual artists in dialogue with many artefacts from the fields of design, music and fashion, along with items selected from various archives, television documentary, literature and criminal legislature. In bringing together this diversity of material, this exhibition will argue that rave culture was inhibited due to its ambiguous place outside of neoliberal ideology, existing largely autonomous of both market and the state forces. This condition makes it a key case study for those wishing to imagine alternative forms of infrastructure for art and culture.

The exhibition is curated by Nav Haq, Senior Curator at M HKA.




M HKA - Energy Flash - 17.06.2016 - 25.09.2016



 
 
 
 
 

4713 - 20161030 - SPAIN - MADRID - Caillebotte, Painter and Gardener - 19.07.2016-30.10.2016

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Gustave Caillebotte
Sketch for Paris Street; Rainy Day, 1877
Oil on canvas. 54 x 65 cm.
Musée Marmottan Monet, Paris
© Paris, Bridgeman Images
 
The Museo Thyssen-Bornemisza in collaboration with the Musée des Impressionnismes Giverny is presenting an exhibition on the artist Gustave Caillebotte (Paris, 1848 - Petit Gennevilliers, 1894), one of the least known but also most original figures of the Impressionist movement. Caillebotte, Painter and Gardener reveals this French artist´s thematic and stylistic evolution, from his early works painted in Haussmann´s modern Paris to his depictions of gardens, which would come to occupy a significant part of his output.
 
Curated by Marina Ferretti, director of Exhibitions and Research at the Musée des Impressionnismes Giverny, the exhibition includes a total of 65 works loaned from private collections and international museums including the Marmottan Monet in Paris, the Brooklyn Museum in new York and the National Gallery of Art in Washington. The works on display are presented in four sections corresponding to periods in the artist´s life: Haussmann´s Paris, world of stone; Sojourns in Yerres; The Seine and the Exploration of Normandy; and The Garden at Petit Gennevilliers.
 
 
 
 
Museo Thyssen-Bornemisza - Caillebotte, Painter and Gardener - 19.07.2016-30.10.2016
 
 
 
 
 
 
 
 

2016-08-03

4712 - 20160925 - BELGIË - BRUSSEL - Facing the Future: Art in Europe 1945-68 - 24.06.2016-25.09.2016

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Henry Moore

Facing the Future: Art in Europe 1945-68 sheds light on about 180 works created between 1945 and 1968 by artists from Europe and the former  Soviet Union, including Fernand Léger, Vladimir Tatlin, Gerhard Richter and Pablo Picasso among others. Notwithstanding the tensions between Eastern and Western Europe in the years following the Second World War, artists on both sides of the Iron Curtain experimented in similar ways: from media art to action painting, conceptual art and sound art.  Together with the Pushkin Museum in Moscow and the ZKM, BOZAR presents for the first time, an overview of the most important artistic trends that flourished in the years following the Second World War in both Eastern and Western Europe. A significant collaborative project that takes place against the background of a new trial of strength between Europe and Russia.

Curators: Dr. Eckhart Gillen and Prof. Dr. h.c. mult. Peter Weibel




 
BOZAR - Facing the Future: Art in Europe 1945-68 - 24.06.2016 - 25.09.2016




 
 
 
 

4711 - 20160911 - HUNGARY - BUDAPEST - Peter Farago & Ingela Klemetz Farago: Women in Chanel - 08.07.2016-11.09.2016

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Untitled. Photography: Peter Farago & Ingela Klemetz Farago, Model: Vanessa Axente, Dress: CHANEL Haute Couture Spring - Summer 2015

”We are always searching for the higher level of intimacy in our images.”

The visionary duo, Peter Farago (born in Szekszard) and Ingela Klemetz-Farago (born in Sweden), belong to the most creative teams of today’s fashion photography. As part of a unique collaboration with CHANEL, they created full fashion stories featuring the most sought-after supermodels from Central Europe and Poland. The result is a highly personal and spectacular fashion saga where the aesthetics of the Farago´s is expressed through sensitivity and perfect timing. The art of composing and the complete reliance between the photographer and the model is significant to their work.
”It is at that decisive moment when you know that you have tapped into a fragile and meaningful space when photography becomes magical”

The photographs are fragile at the same time as they are captivating and spectacular, they make a powerful and persistent impression.




Ludwig Muzeum - Peter Farago & Ingela Klemetz Farago: Women in Chanel 
 08.07.2016-11.09.2016
 
 
 
 
 
 
 

2016-07-26

4710 - 20160814 - BELGIË - GENT - Eyes Wide Open! 100 years of Leica photography - 17.06.2016-14.08.2016

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This summer St. Peter’s Abbey will be the first venue in a European tour of the Eyes Wide Open! exhibition. By way of more than 350 vintage photos visitors will be able to discover the rich history of 100 years of Leica photography.
In 1925 the compact Leica camera freed photography from the limitations of the studio. From now on photography became accessible to everyone and started to become a part of everyday life. Eyes Wide Open! outlines the rapidly evolving view of the world this produced.
Apart from the work of internationally renowned photographers such as Henri Cartier-Bresson, Robert Capa, Araki Nobuyoshi, William Eggleston and Bruce Gilden, the exhibition includes original sketches, magazines, books and Leica cameras as well as a special selection of photographs by Belgian Leica photographers .



St. Peter’s Abbey - Eyes Wide Open! 100 years of Leica photography - 17.06.2016-14.08.2016
 
 
 
 
 
 
 

4709 - 20161030 - U.K. - LONDON - Georgia O’Keeffe - 01.07.2016 - 30.10.2016

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Georgia O'Keeffe Jimson Weed/White Flower No. 1 1932
Crystal Bridges Museum of American Art, Arkansas USA © 2016 Georgia O'Keeffe Museum/DACS, London. Photograph by Edward C. Robison III
 
Tate Modern presents the largest retrospective of modernist painter Georgia O’Keeffe (1887-1986) ever to be shown outside of America. Marking a century since O’Keeffe’s debut in New York in 1916, it is the first UK exhibition of her work for over twenty years. This ambitious and wide-ranging survey reassesses the artist’s place in the canon of twentieth-century art and reveals her profound importance. With no works by O’Keeffe in UK public collections, the exhibition is a once-in-a-generation opportunity for European audiences to view her oeuvre in such depth.

Widely recognised as a founding figure of American modernism, O’Keeffe gained a central position in leading art circles between the 1910s and the 1970s. She was also claimed as an important pioneer by feminist artists of the 1970s. Spanning the six decades in which O’Keeffe was at her most productive and featuring over 100 major works, the exhibition charts the progression of her practice from her early abstract experiments to her late works, aiming to dispel the clichés that persist about the artist and her painting.

Opening with the moment of her first showings at ‘291’ gallery in New York in 1916 and 1917, the exhibition features O’Keeffe’s earliest mature works made while she was working as a teacher in Virginia and Texas. Charcoals such as Special No.9 1915 and Early No. 2 1915 are shown alongside a select group of highly coloured watercolours and oils, such as Sunrise 1916 and Blue and Green Music 1919. These works investigate the relationship of form to landscape, music, colour and composition, and reveal O’Keeffe’s developing understanding of synaesthesia.

A room in the exhibition considers O’Keeffe’s professional and personal relationship with Alfred Stieglitz (1864-1946); photographer, modern art promoter and the artist’s husband. While Stieglitz increased O’Keeffe’s access to the most current developments in avant-garde art, she employed these influences and opportunities to her own objectives. Her keen intellect and resolute character created a fruitful relationship that was, though sometimes conflictive, one of reciprocal influence and exchange. A selection of photography by Stieglitz is shown, including portraits and nudes of O’Keeffe as well as key figures from the avant-garde circle of the time, such as Marsden Hartley (1877-1943) and John Marin (1870-1953).

Still life formed an important investigation within O’Keeffe’s work,most notably her representations and abstractions of flowers. The exhibition explores how these works reflect the influence she took from modernist photography, such as the play with distortion in Calla Lily in Tall Glass – No. 2 1923 and close cropping in Oriental Poppies 1927. A highlight is Jimson Weed/White Flower No. 1 1932, one of O’Keeffe’s most iconic flower paintings.

O’Keeffe’s most persistent source of inspiration however was nature and the landscape; she painted both figurative works and abstractions drawn from landscape subjects. Black Mesa Landscape, New Mexico / Out of Black Marie’s II 1930 and Red and Yellow Cliffs 1940 chart O’Keeffe’s progressive immersion in New Mexico’s distinctive geography, while works such as Taos Pueblo 1929/34 indicate her complex response to the area and its layered cultures. Stylised paintings of the location she called the ‘Black Place’ are at the heart of the exhibition.

Georgia O’Keeffe is curated by Tanya Barson, Curator, Tate Modern with Hannah Johnston, Assistant Curator, Tate Modern. The exhibition is organised by Tate Modern in collaboration with Bank Austria Kunstforum, Vienna and the Art Gallery of Ontario, Toronto. It is accompanied by a catalogue from Tate Publishing and a programme of talks and events in the gallery.
 
 
 
 Tate Modern - Georgia O’Keeffe - 01.07.2016 -30.10.2016 
 
 
 
 
 
 
 
 
 
   

2016-07-20

4708 - 20161009 - BELGIË - ANTWERPEN - Show Us The Money - 24.06.2016-09.10.2016

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Secretary, photographed here in his office in Road Town, Tortola. There are over one million companies based in the BVIs but only 28,000 inhabitants. British Virgin Islands Paolo Woods & Gabriele Galimberti / INSTITUTE
 
Show Us The Money takes you on a journey to the world’s off-shore tax havens and corporate financial nerve centres. FOMU provides a glimpse of the structures that impact on all of us but which are themselves practically invisible. Three projects use very different artistic strategies to expose this global issue.

The ambitious photographic investigation The Heavens by Paolo Woods (NL, °1970) and Gabriele Galimberti (IT, °1977) confronts us with the reality of the so-called tax havens. The photographers registered their own company, The Heavens, in Delaware, where it rubs shoulders with the world’s largest multinationals. From Panama to Amsterdam and from Luxembourg to London, Woods and Galimberti travelled the world in order to give a face to this massive global practice.

With Wealth Management, Carlos Spottorno (HU, °1971) guides us through the visual world of his fictional WTF Bank. While the images are alluring, Spottorno’s ironic undertone is unmistakeable.

In You Haven’t Seen Their Faces, Daniel Mayrit (ES, °1985) appropriates the imagery of surveillance cameras to deny the most powerful people in Europe’s financial nerve centre – the City of London – the luxury of anonymity and to call on them to account for their role in the 2008 financial crisis.

Curator: Rein Deslé



FOMU - Show Us The Money - 24.06.2016-09.10.2016
 
 
 
 
 
 
 

4707 - 20161002 - U.K. - BATH - Stubbs and the wild - 25.06.2016 - 02.10.2016

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George Stubbs - Horse frightened by a lion - Walker Art Gallery (c)

Today George Stubbs (1724-1806) is known and loved for his anatomically accurate and sensitively realistic portraits of magnificent horses and their supporting cast of dogs and humans. In his own time, the artist’s public image was largely based on his depictions of wild animals in paint and print.

Throughout his life he was fascinated by how animals are built, not just by their outward appearance, and he studied their anatomy tirelessly. It was this interest that led him beyond horses to other animals, at a time when many exotic new mammals were arriving in London from Britain’s expanding colonies. Moose, zebras, yaks and even the remains of a kangaroo were brought home as valuable curiosities and their owners encouraged Stubbs to study the animals and record them for posterity. Although many of them were intended primarily as zoological studies, Stubbs’s paintings of wild creatures are also portraits that capture the behaviour and character of living beings.

As a subject painter, Stubbs’s most successful essays in the sublime also explore the wild, not as a source of curiosity but as a distant, untamed land where nature is merciless and well-fed predators rule. His images of a horse attacked and then devoured by a lion, with variations in different media and reproductions in print became Stubbs’s signature work.

This exhibition will include some of the most charming and fascinating of the animal portraits, grand fantasies, and exquisite prints and drawings. It is part of a series of special events to celebrate 100 years since the re-establishment of the Holburne Museum in Sydney Gardens.

 
 
Holburne Museum - Stubbs and the wild - 25.06.2016 - 02.10.2016
 
 
 
 
 
 
 
 
 

2016-07-13

4706 - 20161002 - BELGIË - BRUGGE - Eight Volumes of Fantasy. Maryam Najd - 02.07.2016-02.10.2016

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Maryam Najd - Mediterranean Blanket

Artist Maryam Najd (°1965, Teheran) received her training in her native city and in Antwerp, two cultural and artistic extremes. This duality is also evident in her painting, where both worlds are skilfully intermixed. Najd combines her own experience of reality with the observation of 'reality' as depicted in the media: the artist regularly works with the photographs she makes of television broadcasts. The chosen image is then removed from its context and abstracted by her artistic process - a reflection of her mastery of the ancient Persian art of miniature painting - and so becomes transformed into a poetic yet still very clear political statement.

The Groeningemuseum project is a partnership with Cultuurcentrum Brugge (the Bruges Cultural Centre). In this instance, Najd takes as her starting-point poems from the famous 'Eight Books' by the Iranian painter and poet Sohrab Sepehri. This allows her to explore the various contemporary positions occupied by migrants, refugees and travellers. Through the use of Sepehri's poetry she also builds bridges to the Groeningemuseum's permanent collection. For example, she not only links Odevaere's painting of 'The Death of Lord Byron' to the figure of the poet himself, but also to the dying migrants of today, all of whom sought in their own way to find happiness and a better life on the shores of the Mediterranean Sea. This exhibition is a successful follow-up to the projects by Fabienne Verdier, Ellen Harvey and Robert Devriendt, in which contemporary art enters into dialogue with the permanent collection of the Groeningemuseum in a manner that opens up new perspectives.



Groeningemuseum - Eight Volumes of Fantasy. Maryam Najd - 02.07.2016 - 02.10.2016
 
 
 
 

 
 

4705 - 20161030 - SWITZERLAND - LAUSANNE - BASQUIAT, DUBUFFET, SOULAGES... une collection privée - 24.06.2016-30.10.2016

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The major exhibition of summer 2016 at the Fondation de l’Hermitage will be devoted to one of Europe’s most prestigious private collections, to be shown exclusively in Lausanne. The display of around a hundred artworks, including paintings, sculptures and installations, will offer visitors an unprecedented insight into western art of the 20th and 21th centuries.   
 
Since it first opened in 1984, the Fondation de l’Hermitage has developed strong relationships of trust with private collectors in Switzerland and abroad. Over the years this has enabled us to host important collections including those of Florence Gould (1985), Ian Woodner (1992), Rolf and Margit Weinberg (1997), Jean Planque (2001), Arthur and Hedy Hahnloser (2010) and Jean Bonna (2015). The collection to be shown in 2016 has never before been seen by the public. It has been put together by a passionate art collector since the 1950s and is at once coherent and remarkably diverse.
 
The exhibition will offer an unusual insight into the modern and contemporary art scene, with a particular focus on the post-war period, Informal Art (Jean Dubuffet, Asger Jorn) and Neo-expressionism (Miquel Barceló, Jean-Michel Basquiat, Anselm Kiefer). Other highlights of the collection include often minimalist pieces by Giuseppe Penone, Bertrand Lavier, Pierre Soulages and Niele Toroni, reflecting contemporary European art.
 
The collection also includes an impressive selection of American art, including conceptual and notably abstract expressionist works by artists such as by Carl Andre, Louise Bourgeois, Chris Burden, Sol LeWitt, Agnes Martin, Sean Scully, Mark Tobey and Cy Twombly. The public exhibition of this unique collection reflecting so many important voices will constitute a major event.
 
Forays into outsider and naïve art (Louis Soutter, André Bauchant), as well as portraits by Auguste Renoir, André Derain, Chaïm Soutine and Antonin Artaud, together with a serie of classic 18th and 19th centuries busts, complete the show, displaying a highly personal, sensitive and contrasting vision of western art.
 
 
 
Fondation de l’Hermitage  - BASQUIAT, DUBUFFET, SOULAGES... une collection privée - 24.06.2016-30.10.2016
 
 
 
 
 
 
 
 

2016-07-06

4704 - 20161023 - BELGIË - GENT - Bike to the Future - 25.03.2016-23.10.2016

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Bike to the Future is a joint effort of Design museum Gent and the IMF Foundation, which offers a glimpse of the future of the bike. Both talent and inventiveness are the driving forces behind this exhibition, where brilliant ideas and ingenious prototypes are key. By combining form and technology in different ways, designers reinvent the bike time and again. The result is a photo finish of design, exquisite craftsmanship and industry.

The exhibition showcases contemporary models, such as the electric bike ‘M.A.S.S. SNOW’ by Philippe Starck, as well as prototypes and experiments with unusual materials and functions, like a folding bike design by Gianluca Sada that is as compact as an umbrella when folded. The importance of bike accessories cannot be underestimated either. For example, the magnetic bicycle light ‘iFlash One’, designed by the Danish studio Kibisi, the ‘Hammerhead’ navigation system and the ‘Hövding’ airbag helmets bring out the best in the aluminium steed. Belgium, too, is well-represented in the exhibition, with bicycles from Eddy Merckx and Jaegher, as well as Tobias Knockaert’s laser-cut bicycle on display. Accessories originate from Curana, among others, a global trendsetter when it comes to aluminium mudguards.

The bicycle is beginning to have a profound impact on the development of towns and cities, provoking new design typologies and urban infrastructures that range from novel forms of parking, bike-specific bridges and tunnels (macrodesign) to interventions like rain sensors for bicycles at traffic lights (microdesign). Now more than ever, urban planning is heading back to the future - back to when cities were life-sized places with rational and practical solutions for moving people around. Socially engaged designers and committed citizens are creating bottom-up initiatives to bring people together to discuss and generate solutions to reduce the barriers to cycling. Projects such as the ‘London Underline’ and bike bridge over the Ghent R4 illustrate the variety of mobility solutions. The Ghent ‘bike kitchen' and ‘Bicycle Gangs of NY’ give an idea of the big bike community.



 
Design Museum Gent - Bike to the Future - 25.03.2016-23.10.2016
 
 
 
 
 
 
 
 

4703 - 20161002 - U.K.-SCOTLAND - EDINBURGH - Inspiring Impressionism | Daubigny | Monet | Van Gogh - 25.06.2016-02.10.2016

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Image: Charles François Daubigny Sunset Near Villerville The Mesdag Collection, The Hague.

This major exhibition is an ambitious display of masterpieces from the Impressionist era. Featuring over 100 pictures, from collections around the world, Inspiring Impressionism focuses on three key artists: Charles François Daubigny, Claude Monet, and Vincent van Gogh. Through a series of fascinating and surprising juxtapositions, this landmark show highlights the interactions and mutual influence between these three artists.

In this section you can find out more about the exhibition, you can see some of the exhibition highlights, and you can browse related events.

Organised by the National Galleries of Scotland in collaboration with the Van Gogh Museum, Amsterdam and the Taft Museum of Art, Cincinatti.

Part of Edinburgh Art Festival.



National Galleries of Scotland - Inspiring Impressionism | Daubigny | Monet | Van Gogh - 25.06.2016-02.10.2016
 
 
 
 
 
 
 

2016-06-29

4702 - 20161231 - BELGIË - OOSTENDE - James Ensor and Léon Spilliaert. Two Masters of Ostend - 30.04.2016-31.12.2016

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Mu.ZEE, the Art Museum by the Sea, introduces a superb new collection featuring works by James Ensor and Léon Spilliaert in its brand-new wing.

Ostend and James Ensor are inextricably linked. Ensor loved Ostend: the city served as his muse and inexhaustible source of inspiration. He loved it for its crowds, the tempestuous North Sea, the carnival that painted the streets in festive colours each year. The name of the painter Léon Spillaert, twenty years his junior, is also connected with this Queen of Seaside Resorts. His nocturnal rambles through the city and long walks along the beach spurred him to create his best works, dark and suffused with mystery. Although Ensor and Spilliaert were very different as artists, their names are often mentioned in the same breath.

In Two Masters of Ostend, the museum aims, above all, to allow the masterworks that are the highlights of its collection to speak for themselves. Behind every work of art or document in our archives you will find a myriad of anecdotes and tales featuring and recounting the lives of people such as the judge Eugène Demolder, writer Edgar Allan Poe, scientist Ernest Rousseau, bacteriologist Mariette Hannon-Rousseau, artist Willy Finch, writer and art critic Emile Verhaeren, poet and director of the ‘Kursaal’ (casino) Henri Vandeputte, the patron and music lover Emma Lambotte, Brussels publisher Edmond Deman, art promoter and gallery owner Paul-Gustave Van Hecke, art critic and artist  Théodore Hannon, philosopher  Walter Benjamin, author Stefan Zweig,  composer Richard Wagner, the French writers Honoré de Balzac and Alfred Jarry  and the film-maker  Henri Storck, to name but a few. They take us back to the Ostend of a bygone era, reflected in the city as it is today.


 
Mu.ZEE - James Ensor and Léon Spilliaert. Two Masters of Ostend - 30.04.2016-31.12.2016




Website & source : Mu.ZEE   NL - FR - EN - DE
 
Website : Oostende    NL - FR - EN - DE

 
 

4701 - 20160904 - SWITSERLAND - RIEHEN/BASEL- Alexander Calder & Fischli / Weis 29.05.2016-04.09.2016

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Alexander Calder, Tightrope, 1936, Calder Foundation, New York, © 2016 Calder Foundation, New York/ProLitteris, Zurich, Foto: Calder Foundation, NY/Art Resource, NY

Fondation Beyeler is presenting a comprehensive exhibition devoted to American artist Alexander Calder and Swiss artists Peter Fischli and David Weiss, who worked as partners under the name of Fischli/Weiss. Following the successful presentation of Calder Galleries I to III (2012-2015) at the Fondation Beyeler in collaboration with the Calder Foundation, “Alexander Calder & Fischli/Weiss” will offer a distinctive new perspective into Calder’s work.

The seminal exhibition focuses on the fleeting, precarious and exhilarating moment of fragile balance as expressed through the works of Calder and Fischli/Weiss in the early- and late-twentieth century, respectively. Their exemplary formulations for that moment seem at first sight to be completely dissimilar, but on closer examination they prove to be two sides of the same coin, resulting from different perspectives on the same theme at different times.

Featuring works by Calder in an open and cross space dialogue with works by Fischli/Weiss, the exhibition will chart significant historical milestones in Calder’s oeuvre, from Cirque Calder in the 1920s and his shift to abstraction in 1930 to his invention of the mobile in the early 1930s, culminating in his brilliantly virtuoso treatment of the formal possibilities that arose as a result. The works of Fischli/Weiss perform as counterpoints in this narrative that lends the exhibition its special quality.

Moments of observation and experimentation take on a significance of their own in this unexpected combination, turning the relationship between gravity and weightlessness into something viewers can experience in a new perspective as a remarkably vibrant process. Lightness and weight, probing the boundaries of playfulness, failure and chance as artistic practice, steering the fine line between humour and poetry, conceptualizing the tightrope artist as the prototype for an existential reality – there are many trajectories that make it possible for works by Calder and Fischli/Weiss to be experienced together and yet to stand alone. Only once will there be a direct encounter between the works by Fischli/Weiss and Calder, within the gallery that opens the exhibition and introduces its exciting narrative.

Calder (1898-1976) ranks as the master of equilibrium in modern art. With his pioneering invention of the mobile in the early 1930s he reimagined the ever-shifting balance between gravity and weightlessness. What makes his work so fascinating is to see how the search for balance and the attainment of equilibrium – and its visualisation in multifarious shapes and modes-coincide in unpredictable ways that are unfinished, in a state of continual becoming.

Beginning in 1979, Peter Fischli (1952) and David Weiss (1946-2012) gave the theme of precarious balance quite a different kind of iconic form in their works. With the same vigorous indefatigability, they developed an irresistible interaction of balance, clarity and overview in their films and sculptures, as well as through language, photography and painting, even though the uncertainties they create frequently gain the upper hand over the elegance and self-confidence of the big gesture of Modernism, as embodied by the mobile.

The exhibition is curated by Theodora Vischer, Senior Curator at the Fondation Beyeler, and developed in close cooperation with the Calder Foundation in New York and the artist Peter Fischli.



Fondation Beyeler - Alexander Calder & Fischli / Weis  29.05.2016 - 04.09.2016
 
 
 
 
 
 

2016-06-22

4700 - 20160925 - BELGIË - BRUSSEL-ELSENE - PHOTOREALISM. 50 Years of Hyperrealistic Painting - 30.06.2016-25.09.2016

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Following the success of the 2014 exhibition dedicated to the American hyperrealist sculptor Duane Hanson, the Museum of Ixelles presents PHOTOREALISM. 50 Years of Hyperrealistic Painting. This exhibition highlights the generation of hyperrealist painters after the Second World War. In the aftermath of Pop Art, the hyperrealists portrayed and criticized the American consumer society in a fascinating semi-photographic style.

WIth the support of Institut für Kulturaustausch



Museum van Elsene - PHOTOREALISM. 50 Years of Hyperrealistic Painting
30.06.2016-25.09.2016
 
 
 
 
 
 

4699 - 20160717 - FRANCE - PARIS - Merci Raymond by Bertrand Lavier - 27.05.2016-17.07.2016

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Monnaie de Paris hosts the exhibition Merci Raymond by Bertrand Lavier. More than an exhibition, these are stories, anecdotes, and presentations that Bertrand Lavier has staged in the 18th century rooms of Monnaie de Paris that create connections and unexpected confrontations with the works of Raymond Hains. This artist, an exponent of New Realism, known in particular for his lacerated posters, tireless mixer of words, is thus revealed by his friend and accomplice Bertrand Lavier. The curator is Chiara Parisi, Director of Cultural Programs of Monnaie de Paris.

The twelve exhibition rooms at Monnaie de Paris play host to masterpieces by these two artists who establish analogies between the words, names and images, all while adding an extra twist. Twelve winks from Bertrand Lavier to present the works of Raymond Hains in a different context; through face to face juxtaposition and dialogues, provoking and playing with his own work, as a conversation between friends - in a light-hearted mood.

With the production of new works and revisiting his emblematic pieces, Bertrand Lavier plays with the visual and verbal connections that can be established between his 'projects' and those of Raymond Hains; illuminating his friend's works while sharing his sense of humour.

From the façade where the exhibition's title, "Merci Raymond", is displayed Bertrand Lavier takes possession of the palace on the Seine, at Quai de Conti. This first outside intervention, in huge letters in golden "fluted glass", declares his intention to bind together past works and contemporary works in the same place. It is a luminous tribute, like a huge medal around the building that hosts it. The installation at Monnaie de Paris joints the spirit of these two close colleagues with a perfect blend of their artistic universes and thoughts in an offbeat tone which juxtaposes Picasso, Matisse, Frank Stella, Giotto... or even Boronali's donkey.

Bertrand Lavier thus replays the great artistic match between Matisse and Picasso through... Chevrolet and Citroën, or by associating "Palisades de Skis" of Raymond Hains, with works of artists such as Christian Boltanski, Claude Closky, Gérard Gasiorowski, Wassily Kandinsky, Piotr Kowalski, David Ostrowski, Petrushka by Igor Stravinsky, Piotr Uklański...

Following the idea of always reinventing new forms of exhibition, Bertrand Lavier has designed a project at the heart of Monnaie de Paris that is purpose-built to capture eye and mind of visitors.


 
Monnaie de Paris - Merci Raymond by Bertrand Lavier - 27.05.2016 - 17.07.2016
 
 
 
 
 
 

2016-06-15

4698 - 20161109 - BELGIË - HASSELT - Haute - à - Porter - 02.04.2016-11.09.2016

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From the 2nd of April until the 11th of September 2016 Fashion Museum Hasselt presents ‘Haute-à-Porter’, curated by the internationally acclaimed costume designer, journalist and photographer Filep Motwary.  Haute couture is synonymous with craftsmanship, luxury, extravagance and spectacle. But aren’t these typical features of contemporary prêt-à-porter? The exhibition examines this question further and researches the changing relationship and cross-fertilization between haute couture and ready to wear.
Through a variety of themes and a selection of spectacular silhouettes and accessories from high end designers and fashion houses, the exhibition highlights the significance  of haute couture for contemporary fashion. Completed with photography, film, art and music, Haute-à-Porter offers a unique insight into the fashion industry of the last 30 years. 
 
Participant designers and houses: Dior, Chanel, Erdem, Burberry, Lanvin, Rochas, Nina Ricci, Vivienne Westwood, Yohji Yamamoto, Givenchy, John Galliano, Gareth Pugh, Roger Vivier, Prada, Miu Miu, Dries Van Noten, Christian Lacroix, Delpozo, Mary Katrantzou, Jil Sander, Balmain, Jean Paul Gaultier, Viktor & Rolf, Alberta Ferretti, Thierry Mugler, Anna Molinari, Ann Demeulemeester, Comme des Garçons, Giambattista Valli, Balmain, Rick Owens, Blumarine, Undercover, Giles, Christian Louboutin, Thom Browne, Marios Schwab, Sacai, Alexander McQueen, Herve L.Leroux, Anrealage, Schiaparelli, A.F. Vandevorst,  Olivier Theyskens, Gucci, Iris Van Herpen, Stephen Jones, Alexis Mabille, Jay Briggs, Giuseppe Zanotti, Anya Caliendo, Iris Schieferstein, Erik Halley, Noritaka Tatehana, Maison Martin Margiela, Roger Vivier...

Photographers presented in the exhibition: Peter Lindbergh, Miles Aldridge, Nagi Sakai, Luigi and Iango,  Charles Fréger, Francesco Brigida, Emma Summerton, Mikael Jansson, Erik Madigan Heck, Matthias Vriens-McGrath, René Habermacher, Michael Thompson, Fabien Baron, Thanassis Krikis, David Dunan, François Berthoud, Krishna Godhead, Sheila Metzner, Sofia Sanchez & Mauro Mongiello, Michal Pudelka, Ali Mahdavi, Txema Yeste, Daniel Jackson, Kevin Tachman, Giampaolo Sgura, Sebastian Kim, Tim Richardson, Bill Georgoussis, Matthew Brookes...

Artists presented: Hedwig Snoeckx, Iris Van Dongen, Koen Vanmechelen
Films by : Alison Chernick, Justin Westover, Delphine Roche, , Comme Des Garcons and by Visionaire: Marco Adamo Graziosi & Maria Host, Stylianos Pangalos, Paris Kain…

Scenography: Lien Wauters
Graphic design: Geoffrey Brusatto
 
 
 
 
Modemuseum Hasselt - Haute - à - Porter - 02.04.2016-11.09.2016
 
 
 
 
 
 
 

4697 - 20161030 - SUISSE - LAUSANNE - Basquiat, Dubuffet, Soulages .... une collection privée - 24.06.2016-30.10.2016

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The major exhibition of summer 2016 at the Fondation de l’Hermitage will be devoted to one of Europe’s most prestigious private collections, to be shown exclusively in Lausanne. The display of around a hundred artworks, including paintings, sculptures and installations, will offer visitors an unprecedented insight into western art of the 20th and 21th centuries.   
 
Since it first opened in 1984, the Fondation de l’Hermitage has developed strong relationships of trust with private collectors in Switzerland and abroad. Over the years this has enabled us to host important collections including those of Florence Gould (1985), Ian Woodner (1992), Rolf and Margit Weinberg (1997), Jean Planque (2001), Arthur and Hedy Hahnloser (2010) and Jean Bonna (2015). The collection to be shown in 2016 has never before been seen by the public. It has been put together by a passionate art collector since the 1950s and is at once coherent and remarkably diverse.
 
The exhibition will offer an unusual insight into the modern and contemporary art scene, with a particular focus on the post-war period, Informal Art (Jean Dubuffet, Asger Jorn) and Neo-expressionism (Miquel Barceló, Jean-Michel Basquiat, Anselm Kiefer). Other highlights of the collection include often minimalist pieces by Giuseppe Penone, Bertrand Lavier, Pierre Soulages and Niele Toroni, reflecting contemporary European art.
 
The collection also includes an impressive selection of American art, including conceptual and notably abstract expressionist works by artists such as by Carl Andre, Louise Bourgeois, Chris Burden, Sol LeWitt, Agnes Martin, Sean Scully, Mark Tobey and Cy Twombly. The first public exhibition of this unique collection reflecting so many important voices will constitute a major event.
 
Forays into outsider and naïve art (Louis Soutter, André Bauchant), as well as portraits by Auguste Renoir, André Derain, Chaïm Soutine and Antonin Artaud, together with a serie of classic 18th century busts, complete the show, displaying a highly personal, sensitive and contrasting vision of western art.
 
Curators: Sylvie Wuhrmann, Director, Fondation de l’Hermitage, Lausanne, and Professor Didier Semin of the Ecole nationale supérieure des beaux-arts, Paris.
 
 
 
 
Fondation de l’Hermitage - Basquiat, Dubuffet, Soulages .... une collection privée
24.06.2016-30.10.2016
 
 
 
 
 
 
 

2016-06-08

4696 - 20161002 - BELGIË - DROGENBOS - De Brabantse fauvisten - 19.06.2016-02.10.2016

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Parallel met de solotentoonstelling van Nick Andrews in De Warande in Turnhout, organiseert het FeliXart Museum een tentoonstelling rond de Brabantse fauvisten. Nick Andrews (°1972) werd gevraagd een subjectieve selectie te maken van fauvistische werken. De Antwerpse hedendaagse kunstenaar kan immers als een erfgenaam beschouwd worden van het fauvistische avontuur van de eerste decennia van vorige eeuw. In de lijn van het impressionisme, en onder invloed van het Franse fauvisme, ontwikkelde zich in en rond Brussel een Belgische variant. Het Brabants fauvisme wordt eveneens gekenmerkt door grove penseelstreken en het gebruik van pure en constrasterende kleuren die de instinctieve emotionele kracht benadrukken. In schematisch voorgestelde landschappen, interieurs en stillevens gaven de Brabantse fauvisten hun eigen omgeving vorm vanuit een expressief kleuronderzoek. De milde, bucolische taferelen van Ferdinand Schirren, Willem Paerels en Louis Thévenet contrasteren met de wild expressieve werken van Rik Wouters, Prosper De Troyer of de jonge Felix De Boeck. De vormelijke vrijheid in deze fauvistische composities zal voor enkele van deze kunstenaars, onder andere voor Jan Cockx, Felix De Boeck en Floris Jespers, zelfs de weg naar de abstractie openen.



 
FeliXart Museum - De Brabantse fauvisten - 19.06.2016-02.10.2016
 
 
 
 
 
 
 

4695 - 20160904 - U.K. - CAMBRIDGE - Brueghel and his Time - 10.05.2016-04.09.2016

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Jan Brueghel the Elder, Paul Bril, David Vinckeboons, Abraham Bloemaert and Esaias van de Velde are among the 16th and 17th century Dutch and Flemish artists credited with pioneering the landscape tradition. This exhibition brings together rarely seen early landscapes by these artists and others from the bequest of Sir Bruce Ingram. Ingram’s remarkable collection of over one thousand European drawings given to the Museum in 1963 reflects his passion for landscapes and includes depictions of the Netherlands’ lowlands to the craggy mountains of a fantasy world.


 
The Fitzwilliam Museum -Brueghel and his Time - 10.05.2016-04.09.2016
 
 
 
 
 
 

2016-06-01

4694 - 20160918 - BELGIË - LEUVEN - Aglaia Konrad - From A to K - 29.04.2016-18.09.2016

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© Aglaia Konrad, Shaping Stones, 2008
 
 
Aglaia Konrad (°1960, Salzburg) roams through cities on all five continents. Through photos, films and installations, she not only focuses on exceptional buildings and the way cities transform, but also on representations of big cities and the role of photography therein. 
Aerial photographs of Canada or China alternate with a film about a house in northern Italy and black and white photos of the marble quarries in Carrara. 
With both older and new work, Aglaia Konrad’s first major solo exhibition shows the diversity of her oeuvre. In one room, she presents the exhibition experiment TOKONOMA, together with Suchan Kinoshita, Olivier Foulon, Jörg Franzbecker, Kris Kimpe, Willem Oorebeek, Eran Schaerf and Walter Swennen. She is also presenting a new work on the façade of Museum M. 
 
 
 
 
Museum M - Aglaia Konrad - From A to K - 29.04.2016-18.09.2016
 
 
 
 
Website & source ; Museum M   NL - FR - EN
 
Website : Leuven    NL - FR - EN - DE
 
 

4693 - 20160925 - U.K. - LONDON - Painting with Light - 11.05.2016-25.09.2016

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Art and Photography from the Pre-Raphaelites to the modern age

Tate Britain presents the first major exhibition to celebrate the spirited conversation between early photography and British art. It brings together photographs and paintings including Pre-Raphaelite, Aesthetic and British impressionist works.

Spanning 75 years across the Victorian and Edwardian ages, the exhibition opens with the experimental beginnings of photography in dialogue with painters such as J.M.W. Turner and concludes with its flowering as an independent international art form.

Stunning works by John Everett Millais, Dante Gabriel Rossetti, JAM Whistler, John Singer Sargent and others will for the first time be shown alongside ravishing photographs by pivotal early photographers such as Julia Margaret Cameron, which they inspired and which inspired them.

 
 
 
Tate Britain - Painting with Light - 11.05.2016-25.09.2016