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


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

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


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

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

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


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

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

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

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

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

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

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

Curator: Nadia Veronese

Kunstmuseum St. Gallen - Loredana Sperini - 24.09.2016 - 08.01.2017


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


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

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

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

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


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


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

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

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

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

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


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

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


    4730 - 20170122 - BELGIË-ANTWERPEN - Robert Filliou – The Secret of Permanent Creation - 13.10.2016-22.01.2017


    ‘Art is what makes life more interesting than art.’
    In the autumn of 2016 Muhka, the Museum of Contemporary Art Antwerp, will dedicate its main exhibition floor (around 1,300 m2) to an artist, poet and playwright who was one of the most conceptually radical – but also one of the most radically intuitive – presences on the European and Transatlantic scene of the 1960s, 70s and 80s. Today he might have called himself an activist, working to turn the political economy into a poetic economy, but he was also an entrepreneur of sorts (who made almost no money), an educator (in both practice and theory) and a mystic (whose last ‘project’ was to retreat into a Buddhist monastery for three years, three months and three days).
    Robert Filliou was born into a protestant family in the south of France in 1926. At the age of seventeen he was active in the French resistance. Later he would apply the principles of non- violence very strictly to all aspects of his life and work and thinking. In 1945 he went to the US to find his father, an itinerant tailor. They eventually met in Los Angeles, where Filliou worked in a Coca Cola plant and took a degree in political economy. He joined the team of United Nations economists and co-authored A Five-Year Plan for the Reconstruction and Development of South Korea in 1953. The year after he abandoned this career and began his own itinerant, often precarious existence as a man of what he called ‘joint works’: ideas created and visualised in close collaboration with words (both French and English ones), physical materials (including all kinds of found objects) and – most importantly – other people.
    Filliou was in many ways the quintessential artists’ artist, collaborative and convivial but also a strong influence on his peers. Indeed he is still an active reference for artists of younger generations, some of them not even born when he passed away almost thirty years ago. Among Filliou’s many close companions and collaborators were the artists Daniel Spoerri, Dieter Roth and Marcel Broodthaers, the artist and composer George Brecht, the artist and poet Emmett Williams and the architect and artist Joachim Pfeufer. But the most important person in his life and work was his wife Marianne Filliou, whom he first met in Copenhagen when she was just seventeen.
    ‘I use objects for their own sake, or as springboards for the concept.’
    Filliou’s visual oeuvre began in 1960 with L’Immortelle Mort du Monde (‘The Immortal Death of the World’), a graphic representation of an aleatory theatre play, and ended in 1987 with Time in a Nutshell, short pieces of writing on small pieces of paper sealed inside cracked walnuts. Writing is almost always on display in Filliou’s work, as part of the image or image- object.
    The work from the 1960s, when he maintained an on–off relationship with the Fluxus movement, could be described as poetic, not least because he often used his preferred materials (paper, cardboard, wood, canvas) as support for words. The ‘suspense poems’, sold by mail order, are good examples of this. The various ‘boxes’ also incorporate written messages, nodding to Fluxus but also, inevitably, to Duchamp. It can be argued that Filliou went further than Duchamp, whom he critiqued mostly for not taking the non-white-males of the world into account. In the performance Gong Show (1977) Filliou says:
    You know, Duchamp used to say in his later years, ‘What do you mean I’m famous – my greengrocer doesn’t know who I am.’ I used to say that I’m quite the opposite of Duchamp – only my greengrocer knows who I am. Duchamp added, ‘We must abolish the idea of judgment.’ I have worked it out further. I think we must abolish the idea of admiration.
    Filliou was ready to live experimentally, with or without the support of the art world. In 1961 he had his first solo exhibition, at the artist Addi Köpcke’s gallery in Copenhagen, and in 1962 he operated a very small art gallery on the streets of Paris, Galerie Légitime, out of the cap on his head. Later in the decade he ran the non-gallery La Cédille qui sourit with George Brecht at Villefranche-sur-Mer near Nice. It was during those years that he developed his constitutive practice – collaboration and conviviality across space and time – into the concept of La Fête Permanente, which he consistently ‘mistranslated’ as The Eternal Network.
    It was Marianne Filliou who once remarked: ‘You’re artists when you create. But when you stop, you’re not artists anymore.’ This alerted Filliou to the necessity of Permanent Creation, which would become his overriding concern: ‘First and foremost I’m interested in permanent creation, of which the universe is only a consequence.’ In Irmeline Lebeer’s Le Petit Robert Filliou (1971) he offered these explanations:
    The Secret of Permanent Creation: Whatever you’re thinking; think something else. Whatever you’re doing; do something else.
    The Absolute Secret of Permanent Creation: Desire nothing, decide nothing, choose nothing, be aware of yourself, stay awake, calmly seated, do nothing.
    Filliou first became acquainted with Zen Buddhist practice while working as an economist in Korea. He sometimes signed off as ‘taoïste de gauche’, which is ironical not least because the distinction between location and direction, so crucial to the Western mind, is often suspended in Chinese and Far Eastern culture.
    Such fluidity and constant movement is also at the core of Filliou’s work and thinking. He identified three kinds of art practice: art as creativity; anti-art, consisting of disseminating the works resulting from such creativity; and non-art, meaning ‘to create without worrying about the dissemination or non-dissemination of works’.
    An even more famous triad is his Principle of Equivalence. It directly attacks the concept and practice of judgment, a fundament of Western culture: ‘That an artwork is well made, badly made or not made at all I find, from the point of view of permanent creation, to be of no importance.’ From the late 60s onwards, Filliou explicitly visualised this principle in several key works, classifiable as sculptures or installations or videos. In his work the interaction between ‘concept’ and ‘object’ (and between ‘art’ and its ‘audience’) goes far beyond the cerebral. This should already be clear from the quotes used as chapter headings here!
    Already in 1963 Filliou and Pfeufer started constructing their joint work Poïpoïdrome, ‘a functional relation between reflection, action and communication’ planned as a building measuring 24 by 24 metres, centred on the ‘poïpoï egg’ and ready to accommodate all audiences.
    You don’t have to ‘learn’ anything to participate in the actions and reflections of the Poïpoïdrome. What the users know is enough. Accepting that you know what you know, but also ‘knowing what knowing is’, that is the spirit of permanent creation. Homage (and thanks) to the Dogons! When two Dogons meet, they ask each other, for instance: ‘And how is your field? And how is your family? And how are your cattle? And how are your chickens? And how is your house? etc.’ To which they answer a simple ‘Poïpoï’ before parting or, sometimes, starting all over.
    Prototypes ‘in real space-time’ were shown in Brussels 1975 and outside (not inside!) the Centre Pompidou in Paris in 1978 – while the co-authors were in Mali to meet the actual Dogons… Poïpoïdrome embodies many of Filliou’s key concepts. Apart from Permanent Creation and the Principle of Equivalence, there is La République Géniale (which might be rendered as The Republic of Genius), which starts from the insight that everyone has genius of a particular kind. This is Filliou’s way of ‘de-hiearchising’ another core feature of Western culture. He called himself ‘a genius without talent’. Each Republic of Genius has its own territory, which can very well be mobile (just like the Poïpoïdrome).
    To describe his activities from the early 70s onwards Filliou often used the term Research, stressing the organic nature of knowledge and thinking – knowing what knowing is – and that genius is ‘built in’ rather than ‘built out’ or ‘built upon’. (He used these English words also in French texts.) Among the key works in this genre are the very large work on canvas Recherche sur l’origine (Research on the Origins, 1974) and works of more manageable size such as the installation Nine Works of Research on Futurology (1971).
    The ‘multi-book’ Teaching and Learning as Performing Arts/Lehren und Lernen als Aufführungskünste (1970, published in English and German by Walther König) was conceived as a joint work between Filliou and the reader, exploring problems of Teaching and Learning in fields such as action poetry, games and street theatre. In the late 70s Filliou also launched a ‘Video Universecity’ planned to span a period of five billion years.
    Towards the mid-80s Filliou focused more and more interest on meditation, but also revisited some topics from earlier stages of his ‘non-career’ as a visual artist, among them violence/innocence. The idea to launch an international Biennial of the Art of Peace evokes works such as Seven Childlike uses of Warlike Material (1970, installation of found objects and series of prints) or COMMEMOR (1970, proposal to exchange war monuments between European countries who were once enemies).
    Subversive gaming was part of Filliou’s repertoire of topics from the very beginning. One of his last large-scale works, the installation Eins, Un, One… (1984), consists of a multitude of wooden dice in various sizes and colours, but always only showing ‘one’, as if abolishing chance one and for all.
    ‘We are at the same time perfect and perfectible.’
    This quote, from the last year of Filliou’s life, may be the ultimate celebration of Permanent Creation. Approaching his oeuvre through this concept, we wish to bring his ideas to new audiences and make it clear why and how they are crucial for the world today – and in the future.
    Our goal for ‘Robert Filliou: The Secret of Permanent Creation’ is to acknowledge Filliou as one of the most relevant and radical references for twentieth and twenty-first century art.
    We see him as a precursor for some of the recent and ongoing ‘turns’ in contemporary art that involve both politics and poetry, both education and spirituality. Another important reason for showing Filliou’s work next year is the growing impact of Filliou’s work and thinking on younger artists today.
    The exhibition is thought and planned within a sequence of Filliou surveys that began when he was awarded the first Kurt Schwitters Prize by the city of Hanover in 1982. It will focus on making Filliou’s thinking visible and accessible to audiences today. It will rely on the mental and visual power of individual works but also organise them in areas of interest that transcend chronology (such as ‘Joint Works’, ‘Centres of Permanent Creation’, ‘Research’, ‘Teaching and Learning’ or ‘Contributions to the Art of Peace’) and simultaneously as indications of the directions Filliou suggested for his own thinking – and for ours.
    One point of anchorage for the display would be the Poïpoïdrome, which articulates the tension between art as Permanent Creation and the ‘anti-art’ of dissemination and mediation that art institutions can – and must – cultivate. We have started preliminary discussions with Joachim Pfeufer. Some principles of construction for the display could also be borrowed from the Chinese garden. In its classical form it actively challenges the visitor’s visual and spatial orientation at every step on his path through a confined space ingeniously constructed to replicate the scale and complexity of both nature and society.
    The most notable Filliou surveys to date were the touring exhibitions ‘The Eternal Network Presents Robert Filliou’ (July 1984 – February 1985: Sprengel-Museum Hanover; Musée
    d’Art Moderne de la Ville de Paris; Kunsthalle Berne), ‘Robert Filliou’ (October 1990 – September 1991: Carré d’Art, Nîmes; Kunsthalle Basel; Hamburger Kunstverein; Centre Georges Pompidou, Paris) and ‘Robert Filliou: Genius Without Talent’ (April 2003 – March 2004: MACBA, Barcelona; museum kunst palast, Düsseldorf; Musée d’Art Moderne de Lille Metropole).
    Muhka is looking for partners – ideally two museums or public galleries in Europe and one in America – willing and able to develop and realise this exhibition in collaboration with us.
    The previous tours all included venues in France, where much of Filliou’s work is kept, but since Antwerp is just two hours by train from Paris (and three hours from Düsseldorf, another city where Filliou spent several years) we are contacting colleagues further afield, in Berlin, Copenhagen and New York. Just like Antwerp (where Filliou exhibited at the Wide White Space gallery in 1971 and 1972), these are cities to which he had an active and meaningful relation, but which have not yet hosted any survey exhibition of his work. Filliou was quite often in Belgium, and he lived in Germany, Denmark and the US.
    The process of securing important loans begins this summer, but of course we hope to be able to make the final selection of works for the exhibition in dialogue with the prospective partner institutions. A certain number of Filliou’s best known works will have to be included in any case, but we also hope to showcase some perhaps lesser-known works that help us illustrate (in the positive sense of illuminating or ‘casting light upon’) his thinking.
    The Muhka collection already comprises some important Filliou prints and multiples such as Handshow (1967) or Seven Childlike Uses of Warlike Materials (1970) and we are now acquiring the recently recovered ‘telegram works’ from Exposition Intuitive (1966), Filliou’s first solo exhibition in Paris. Muhka also has a realisation of Filliou’s Project for Toilets at the Mönchengladbach Museum (1969), based on a sketch in the part of the Muhka collection that derives from the Gordon Matta Clark Foundation set up in Antwerp after that artist’s untimely death in 1978.
    Another aspect of this project, apart from the tour, that prompts us to look for partners now is the catalogue. Ideally we would want to produce one version in English (with a supplement containing translations of the texts into Dutch, and perhaps also in Danish) and one in German.
    Muhka is conducting the preliminary research for this project in collaboration with the art historian Cécile Barrault in Paris. Until recently, she was managing the Filliou estate for Galerie Nelson (previously Galerie Bama) and is therefore very well acquainted with the oeuvre. Through her we are in touch with Marianne Filliou in Eyzies, who has, in turn, put us in contact with the artist Valentine Verhaege in Besançon. The latter is entrusted with digitising the hitherto unpublished archive that Marianne Filliou is keeping.
    Another research moment will be organised, in collaboration with Muhka, the Flanders Art Institute and Pro Helvetia, during the last weekend of this year’s Salon Suisse at the Swiss consulate in Venice in late November. We are inviting people who knew Filliou and worked closely with him for one day of internal discussions rounded off with a public event in the evening. Among those approached are Daniel Spoerri (who once wrote, ‘Filliou was my brother, but I was his mother’), Jean-Hubert Martin (who was the curator for the Poïpoïdrome at Centre Pompidou in 1978 and for the Filliou retrospective in Paris and Berne in 1984), Joachim Pfeufer (the co-architect of the Poïpoïdrome) and Irmeline Lebeer (the publisher of Le Petit Robert Filliou in 1971). We would also like our prospective partner museums to be part of this gathering!
    Muhka - Robert Filliou – The Secret of Permanent Creation - 13.10.2016-22.01.2017

    4729 - 20161127 - U.K.-OXFORD - Rembrandt's First Paintings - 16.09.2016-27.11.2016


    The Senses, temporarily on display at the Ashmolean, are the earliest surviving works by the most famous of all Dutch artists, Rembrandt Harmensz. van Rijn (1606–1669).

    Painted when he was around eighteen years old, the four panels depict representations of 'Sight', 'Touch', 'Hearing' and 'Smell', the fifth – 'Sense of Taste' – remains undiscovered. This is the very first time that the four surviving panel paintings have been on show together in public, after 'Smell' was rediscovered in 2015.

    The Senses were created around 1624–25 when Rembrandt was still a teenager. They are clearly the creations of a young artist who is still developing his own style but they already show great promise. The Senses reveal glimpses of the celebrated painter Rembrandt would become: his bold use of bright colours, his broad brushwork, his ability to capture human expressions, as well as his experimental treatment of light.
    The five senses were a popular allegorical theme in the art of the Low Countries. Traditionally each was represented as a female figure, for instance an elegant woman holding a flower symbolised smell. Gradually the five senses were interpreted in a more moralising fashion, underlining that their excessive indulgence could result in sin. From the 17th century onwards the senses were depicted as genre scenes featuring debauched peasants, where drunkenness might represent taste and amorous couples embracing might symbolise touch. Rembrandt's Senses clearly belong to this later type and depict three half-length figures in constricted spaces, engaged in an activity related to the specific sense. Rembrandt also incorporated a subtle undertone of satire in each painting.
    Ashmolean - Rembrandt's First Paintings - 16.09.2016-27.11.2016


    4728 - 20170115 - BELGIË-GENT - Verhaeren Revealed - 15.10.2016-15.01.2017


    Théo Van Rysselberghe, The lecture of Emile Verhaeren, 1903
    The writer, critic and the art of his time (1881-1916)
    In co-operation with the Verhaeren museum in Sint-Amands at the Scheldt and the Free University of Brussels (ULB), the Museum of Fine Arts organises a grand exhibition about the Ghentian poet and art critic Emile Verhaeren, who passed away exactly one hundred years ago. 
    The exhibition focuses on the universal nature of Verhaeren’s works, his network within the art world around the turn of the century and the international attention for Verhaeren’s work, first of all in Belgium and France but also in Russia and other countries. 
    One hundred years after his death, the MSK pays homage to Emile Verhaeren (1855-1916), a key protagonist in the Belgian cultural landscape around the turn of the century. We invite you to rediscover the fin de siècle art world through the eyes of the writer who witnessed it from the front row.
    Privileged witness 
    Emile Verhaeren was a poet and art critic who enjoyed an international reputation during his lifetime. Between 1880 and 1916, he closely followed the development of avant-garde art in Belgium. He defended naturalism and socially engaged art, Impressionism, Neo-Impressionism and Symbolism. Above all, he was a defender of modernity, which he discovered in the art of his time.
    Verhaeren captured the emotions, passions and artistic controversies of the day in his poetry and writings. Over 100 years later, they allow us to rediscover the work of national and international artists through the eyes of an idiosyncratic connoisseur.
    International masterpieces 
    The exhibition brings to life the historical and artistic context from which the poet-critic’s oeuvre emerged. As a starting point, we draw upon the museum’s own rich collection of paintings, sculptures and works on paper. Popular favourites, such as The Reading by Emile Verhaeren by Théo Van Rysselberghe and Children at their Morning Toilet by James Ensor, will be brought into dialogue with masterpieces that rarely leave the reserves
    At the same time, a wide range of works from international public and private collections will travel to Ghent, including pieces by Auguste Rodin, Paul Signac, Maximilien Luce and Odilon Redon. Works by artists such as Léon Frédéric, Eugène Laermans and Constantin Meunier, Jan Toorop and Guillaume Vogels, Henry Van de Velde, Fernand Khnopff and George Minne are also not to be missed.
    In total, over 200 artworks and books will be on view in the galleries.
    Opening of the Drawings Cabinet  
    The opening of the Verhaeren exhibition coincides with the inauguration of the new Drawings Cabinet. In these eight rooms, and through changing displays, the MSK can henceforth make its multifaceted collection of works on paper accessible to the public. For this exhibition, we delve into our exceptional holdings of Ensor prints and precious books, for example, in addition to the numerous pastels, drawings and other works on paper that will be displayed on the walls.
    Bruno Fornari, Johan De Smet and Cathérine Verleysen (MSK), working in collaboration with Rik Hemmerijckx (Emile Verhaeren, Sint-Amands Provincial Museum) and Paul Aron (Université Libre de Bruxelles – FNRS), lead the curatorial team.  
    MSK - Verhaeren Revealed - 15.10.2016-15.01.2017


    4727 - 20161218 - FRANCE - PARIS - Louis Faurer - 09.09.2016-18.12.2016


    Sourds-muets, New York, 1950 © Louis Faurer Estate

    The Fondation Henri Cartier-Bresson is delighted to be able to offer the public a wide-ranging selection of photographs by Louis Faurer. The project was first discussed with Howard Greenberg, whose gallery has long defended Faurer’s work. Deborah Bell, who knows practically all there is to know about the oeuvre, was extremely generous with her time and her personal archives. Last but not least, the Estate of Louis Faurer and Mark Faurer were enthusiastic participants from the outset. This exhibition has the good fortune to be coproduced with the Centro José Guerrero in Granada.

    Profoundly honest, he refused the excessiveness (or obscenity) of violent scenes that might humiliate his subjects, and deliberately projected himself into the people he photographed; and if he often recognized himself in them, this was the whole point. Sometimes he encountered his double, or even appeared in shot as a reflection. Each of his images was “a challenge to silence and indifference” – theirs and his own.

    A remarkably gifted printer, Faurer experimented with blur, overlaid negatives and the marked graininess resulting from his fondness for the nocturnal. His touchiness meant frequent problems with clients and people like the numerous photographers who tried to lend a helping hand; among the latter was William Eggleston, who had discerned the unique profundity of Faurer’s work. The issue the elegant Japanese photography quarterly déjà vu devoted to him in 1994 speaks of a rediscovery and a style ahead of its time, and quotes Nan Goldin: “Some people believe again that photography can be honest”
    Foundation Henri Cartier-Bresson - Louis Faurer - 09.09.2016-18.12.2016


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    Pakistan – Panama - Philippines - Poland - Portugal
    Romania - Russia
    Saudi Arabia – Singapore - South Korea – Slovenia
    Sri Lanka - Sweden - Switserland
    Taiwan - Thailand – Turkey – Turkmenistan
    Ukraine - United Kingdom – U.S.A.


    4726 - 20170129 - BELGIQUE - LA HULPE - Galaxie Erro - 01.10.2016-29.01.2017


    The Folon Foundation, in cooperation with Jean Marchetti, presents about a hundred works: watercolours, collages, prints, paintings and enamelled plaques. They make it possible to understand the universe of Erró who, like an acrobat creating an infinitely rich and complex story, denounces the absurdity of contemporary society. Even if, at first sight, the image imposes itself, the codes for reading it appear beyond the immediate effect, demanding a deeper look.

    The history of the modern world is expressed through the works of this prolific and deeply human artist; this genius of composition. A ferocious iconophile, always on the lookout for images (advertising, news photos, comic strips, posters, political documents, icons from art history, etc.), Erró reassembles and reuses the visuals that surround him like a precursor of the Internet, inventing forms of telling stories and creating puzzles with a brand new grammar and rhetoric. Collages, the basis for preparing his canvases, form an entirely creative activity.

    The well-known international artist Erró (Guðmundur Guðmundsson) was born in 1932 in Ólafsvík, Iceland. Admitted to the College of Fine Arts in Reykjavik in September 1949, he obtained his art teacher’s diploma in 1951. He then studied engraving, frescoes and painting in Oslo, Norway, and mosaic art in Italy. He held his first exhibition in 1955 in Florence, at the Santa Trinità Gallery. Since 1958 he has lived in Paris, where his work appeared as part of the Narrative Figuration movement. Although he is considered one of its pioneers, his work is both Pop and Baroque at the same time. Neither conventional nor traditional, Erró goes beyond the boundaries of Pop Art and, although his style cannot be considered as belonging to Surrealism, Hyperrealism or even Social Realism, his work combines elements of each of these artistic movements.

    Fondation Folon  - Galaxie Erro - 01.10.2016 - 29.01.2017

    4725 - NETHERLANDS - MAASTRICHT - From Floris to Rubens: Master drawings from the Renaissance - 22.07.2016-30.10.2016


    This exhibition features ninety drawings from artists from the southern and northern Netherlands created during the 16th and beginning of the 17th century. Assembled with great care by a Belgian private collector, these drawings belong to one of the most fascinating and prolific periods in the history of draughtsmanship.

    In addition to beautiful sketches for prints, paintings, stained glass and tapestries by great masters such as Frans Floris and Peter Paul Rubens, other sheets like the sublime figure studies of Hendrick Goltzius and Cornelis De Vos or the accurately detailed landscapes of Pieter Stevens and Adriaen Frans Boudewijns are put in the spotlights. The majority of the selected drawings have never been shown to the public before.
    Bonnefantenmuseum - From Floris to Rubens: Master drawings from the Renaissance 
    22.07.2016 - 30.10.2016


    4724 - 20170226 - BELGIË - ANTWERPEN - Rik Wauters - 17.09.2016-26.02.2017


    The theme of enchanting homeliness by painter Rik Wouters, as well as the intimate feeling of sanctity between him and his wife Nel, forms the premise of this exhibition.

    In our region, Wouters was the only artist to combine Post-Impressionist painting techniques with simple domestic scenes. His expressive brush strokes and the unfinished style of his canvases give a dynamic to his work that, combined with the emphasis on lighting and colour, result in an enchanting and optimistic quality.

    Wouters had his fair share of difficulties in life, yet the harmonious ‘good life’ takes centre stage in his work. His love for Nel was a motivating force in his work and her lust for life and energy inspired him to create many well-known paintings and sculptures.

    In this exhibition, the contemporary movement in which people are again seeking domestic intimacy and contact with nature, the ‘slow’ movement and the renewed attention for traditional techniques, like ceramics, weaving and dyeing, are linked with the utopian philosophy from Henry David Thoreau’s book Walden. Published in 1854 Walden presented the non-industrial, natural way of life as an alternative to the overstimulation of consumer society. In painting, we see a similar change in Impressionism in the mid-nineteenth century, shifting from ‘bourgeois’ art to more of an internalization highlighting the beauty of the natural way of life with an emphasis on lighting.

    The notion of shelter and sanctity is today reflected in both conceptual art and applied design (fashion, interior, design). These worlds overlap in a utopian quest for the essence of ‘the good life’ – or simply put: what does a person need to be happy? This search is expressed in a predilection for self-reliance and in the combination of pure materials with traditional techniques.

    Various Belgian fashion designers — including Dirk Van Saene, Bruno Pieters, Christian Wijnants, Walter Van Beirendonck, Ann Demeulemeester, Dries Van Noten, Veronique Branquinho, Martin Margiela, Marina Yee, Jan-Jan Van Essche and Anne Kurris — give their individual interpretations to these thoughts: some by choosing specific fabrics and techniques, and others through their idiosyncratic position in fashion, in which they do not give praise to the hectic pace of the fashion world.


    De thematiek van het huiselijk geluk bij de schilder Rik Wouters, de intieme sfeer van geborgenheid tussen hem en zijn vrouw Nel, vormt het uitgangspunt voor deze tentoonstelling. Wouters was in onze gebieden de enige die de combinatie maakte van post-impressionistische schildertechnieken met eenvoudige huiselijke taferelen.

    Zijn expressieve penseelstreken en de onafgewerkte stijl van de doeken geven een dynamiek aan zijn werk die samen met de nadruk op lichtinval en kleur resulteert in een betoverende en optimistische toon. Wouters’ leven bleef niet van moeilijkheden gespaard, maar in zijn werk komt het harmonische, ‘goede’ leven sterk naar voor. Zijn liefde voor Nel was een belangrijke drijfveer voor zijn werk en haar levensvreugde en energie inspireerden hem tot vele bekende doeken en sculpturen.

    De hedendaagse beweging waarbij mensen weer op zoek gaan naar de huiselijke intimiteit en naar de natuur, de ‘slow’-beweging en de hernieuwde aandacht voor ambachtelijke technieken zoals keramiek, weven en verven, wordt in deze expo gekoppeld aan het utopische gedachtegoed van Henry David Thoreau’s boek Walden. Walden werd in 1854 gepubliceerd en stelde de niet-industriële, natuurlijke levenswijze voor als alternatief voor de overprikkelde consumptiemaatschappij. In de schilderkunst zien we ook halverwege de negentiende eeuw met het impressionisme een gelijkaardige omslag van bourgeois kunst naar meer verinnerlijking en de schoonheid van het natuurlijk leven, met nadruk op de lichtinval.

    Het gegeven van shelter en geborgenheid komt vandaag zowel terug bij conceptuele kunstenaars als bij toegepaste ontwerpers (mode, interieur, design), waarbij deze werelden elkaar overlappen in de utopische zoektocht naar de essentie van ‘het goede leven’: wat heeft een mens nodig om gelukkig te zijn? Deze zoektocht uit zich in een voorliefde voor zelfredzaamheid, het werken met pure materialen en ambachtelijke technieken.

    Verschillende Belgische modeontwerpers — o.a. Dirk Van Saene, Bruno Pieters, Christian Wijnants, Walter Van Beirendonck, Ann Demeulemeester, Dries Van Noten, Veronique Branquinho, Martin Margiela, Marina Yee, Jan-Jan Van Essche, Anne Kurris — geven op hun eigen manier vorm aan deze gedachten: sommigen door bepaalde keuzes van stoffen en technieken, anderen door hun eigengereide positie in het modeveld, waarbij geen toegiften worden gedaan aan het gejaagde ritme van de modewereld.

    Deze tentoonstelling is een samenwerking tussen het MoMu – ModeMuseum Provincie Antwerpen en het Koninklijk Museum voor Schone Kunsten Antwerpen naar aanleiding van het 100-jarig overlijden van de schilder Rik Wouters in 2016. De expo brengt werk van Rik Wouters uit de KMSKA-collectie samen met werk van hedendaagse kunstenaars en modeontwerpers.

    ModeMuseum Provincie Antwerpen  - Rik Wauters - 17.09.2016-26.02.2017

    4723 - 20161231 - NORWAY - OSLO - The World is Made of Stories - 04.12.2015-31.12.2016


    Works from the Astrup Fearnley Collection
    Nobody can see, perceive or apprehend the whole world on their own. We all learn about the world through others, through different kinds of stories told by the media or by individuals. The exhibition ‘The World is Made of Stories’ is a constellation of narrative works that tell private and public stories. Together, they make up a multi-layered narrative referring to different times and geographical places. It is a story about art history, urbanism, politics, memory, sexuality and violence, religion and aesthetics, to name just a few of the themes that the artists have addressed in their works using a variety of materials, techniques and narrative structures. ‘The World is Made of Stories’ offers a polyphony of voices, objects and images, which enlighten while also raising important questions.

    The exhibition is dynamically organised and will continuously be in development. Artwork are changed and new ones will be presented. The stories that are told will change and one will through that experience the diversity of the Astrup Fearnley Collection.

    Artists: Janine Antoni, Eduardo Arroyo, Peter Blake, Mike Bouchet, Lizzi Bougatsos, Bjørn Carlsen, Patrick Caulfield, Paul Chan, Dan Colen, Miodrag Djuric Dado, Trisha Donnelly, Gardar Eide Einarsson, Ida Ekblad, Tracey Emin, Erró, Öyvind Fahlström, Matias Faldbakken, Ivan Galuzin, Robert Gober, Felix Gonzalez-Torres, Andreas Gursky, Karl Haendel, Rachel Harrison, Mona Hatoum, Johanne Hestvold, Damien Hirst, David Hockney, Jörg Immendorff, Jens Johannessen, Rashid Johnson, Anselm Kiefer, Martin Kippenberger, R.B. Kitaj, Jeff Koons, Henrik Olai Kaarstein, Peter Land, Glenn Ligon, Nate Lowman, Markus Lüpertz, Helen Marten, Bjarne Melgaard, Thiago Martins de Melo, Malcolm Morley, Laura Owens, Paulo Nimer Pjota, Sigmar Polke, Richard Prince, Charles Ray, Paul Rebeyrolle, Matthew Ronay, Knut Rose, Sterling Ruby, Tom Sachs, Prem Sahib, Borna Sammak, Cindy Sherman, Ole Sjølie, Josh Smith, Fredrik Værslev, Rachel Whiteread, Jordan Wolfson, Christopher Wool, Aaron Young, Kan Xuan

    Curators: Gunnar B. Kvaran og Therese Möllenhoff

    Astrup Fearnley Museet - The World is Made of Stories - 04.12.2015 - 31.12.2016


    4722 - 20170122 - BELGIË - BRUSSEL - The Power of the avant-garde - Now and Then - 29.09.2016-22.01.2017


    Avant-garde is a concept that stems from both warfare and art. Avant-garde flourished in a society in full transition. Artists anticipate social revolutions. In visual art the heyday of the avant-garde is situated between 1895 and 1920, with the First World War as an international fault line. But how relevant is this pioneering art today? Around 15 leading contemporary artists enter into dialogue with colleagues from the historical avant-garde, from Ensor and Munch to the new movements just after the war. Today’s artists often feel a strong affinity with specific avant-garde works of art. Their choice and the dialogue with their own work forces us to look at these key works from modern art in a different light. The power of the avant-garde seems to have plenty more in reserve.

    With works by, amongst others, Alexander Archipenko, Robert Delaunay, Marcel Duchamp, Fernand Léger, Kazimir Malevich, Franz Marc, Gino Severini in dialogue with David Claerbout, Marlene Dumas, William Forsythe, Gerhard Richter, Sean Scully and Luc Tuymans.

    Curator: Ulrich Bischoff

    BOZAR - The Power of the avant-garde - Now and Then - 29.09.2016 - 22.01.2017


    4721 - 20161023 - AUSTRIA - BREGENZ - Wael Shawky - 16.07.2016-23.10.2016


    The foreign and the other are currently topics of fierce discussion. The Egyptian artist Wael Shawky (born 1971) uses his filming of puppet theater to tell the story of the Crusades. In his film trilogy Cabaret Crusades, based on a book by the French-Lebanese writer Amin Maalouf, the story of the war is told from an Arab perspective.

    The puppets are clad in sumptuously oriental clothing, their heads evoking molten crystal rocks or honey-colored amber, which Shawky has had fabricated from Murano glass.

    Two parts of the Cabaret Crusades trilogy are being screened in Bregenz: part three, Secrets of Karbala, tells the story of the second (1147 — 1149) and third (1189 — 1192) Crusades, which finally ended in 1204 with the destruction of Constantinople. Pope Innocent III had called for the conquest of the Holy Land, using the Venetian fleet.

    However, the enterprise faltered in the Adriatic, as the negotiated sum had not been paid, the Christian army then looting Zadar in order to generate funds. Christians murdered Christians in order to subsequently murder Muslims.

    Whether Saladin or Richard the Lionheart, the Frankish kings or the Muslim leaders, there are no heroes. The earthen architecture on a revolving stage creates cinematic movement whilst also symbolizing the world as a flat disk. The scenes are accompanied by a compilation of the songs of Arabian pearl fishers and Egyptian electronic music. The second part of the trilogy, The Path to Cairo (2012), features handmade ceramic creatures.

    On the upper floor of Kunsthaus Bregenz four glass panels are on display in which a historical map from the Orient has been cut. Adjacently a kind of flying object is both a metaphor for the 9/11 attacks and the Hajj pilgrimage to Mecca. In the same space a flag has been spread on the floor. A second hangs over the façade of KUB, itself a pale green Kaaba, announcing the exhibition inthe form of a symbol of victory enveloping the chain mail façade

    Wael Shawky, born in Alexandria in 1971, studied Fine Art at the University of Alexandria before receiving his M.F.A. from the University of Pennsylvania in 2000.
    His work has been included in major international exhibitions such as Saltwater, 14th Istanbul Biennial (2015), Re:emerge: Towards a New Cultural Cartography, Sharjah Biennial 11 (2013), Here, Elsewhere, La Friche Belle de Mai, Marseille (2013), dOCUMENTA (13) (2012), 9th Gwangju Biennial, South Korea (2012), 12th International Istanbul Biennial (2011), SITE Santa Fe Biennial (2008), 9th International Istanbul Biennial (2005), Urban Realities: Focus Istanbul, Martin-Gropius-Bau, Berlin (2005), and the 50th Venice Biennial (2003).
    He has had solo exhibitions most recently at MoMA PS1, New York (2015), Mathaf — Arab Museum of Modern Art, Doha (2015), K20 — Kunstsammlung NRW, Düsseldorf (2014), Serpentine Gallery, London (2013), KW — Institute of Contemporary Art, Berlin (2012), Nottingham Contemporary (2011); Walker Art Gallery, Liverpool (2011), The Delfina Foundation, London (2011), Sfeir-Semler Gallery, Beirut (2010/2011), Cittadellarte-Fondazione Pistoletto, Biella, Italy (2010), as well as Townhouse Gallery of Contemporary Art, Cairo (2005, 2003).
    Shawky has received many awards for his work, including the Mario Merz Prize (2015, together with Cyrill Schürch), the Sharjah Biennial Award 2013 for an exceptional contribution, the »Award for the Filmic Oeuvre« created by Luis Vuitton and Kino der Kunst (2013), the Abraaj Capital Art Prize, joint winner (2012); Kunstpreis der Schering Stiftung (2011), as well as the Grand Prize, 25th Alexandria Biennale, Alexandria (2009). In 2011 he was an artist in residence at The Center for Possible Studies, Serpentine Gallery, London.
    Wael Shawky lives and works in Alexandria, Egypt, and is the founder of MASS Alexandria, a studio program for young artists.

    Kunsthaus Bregenz - Wael Shawky - 16.07.2016 - 23.10.2016


    4720 - 20161106 - BELGIË - BRUSSEL - Belgium et cetera - 1830-2030 in perscartoons - 31.08.2016-06.11.2016


    De Belgische cartoon is net zo oud als ons land en sinds het ontstaan ervan hebben cartoonisten de persbladen rijkelijk voorzien van onmisbare spotprenten.
    Belgium et cetera biedt een unieke staalkaart van de hoogtepunten uit ons collectieve verleden. 22 bekende Belgische perscartoonisten brengen samen met de schrijver, humorist en historicus Gilles Dal een eigenzinnige blik op onze vaderlandse geschiedenis.

    De cartoonisten Kroll, Kamagurka, Karl, Marec, Lectrr, Zaza, duBus, Gal, Johan, Cécile Bertrand, Quirit, Ilah, Kanar, Kim, Vadot, Cost., Fritz, Steve, Joris Snaet, Clou, Fred en Sondron hebben speciaal voor deze expositie oud en nieuw werk verzameld.

    Het boek Belgium et cetera is in de shop van het BELvue museum verkrijgbar (vanaf september).

    Belgium et cetera is een project van The Cartoonist .

    BELvue Museum - Belgium et cetera - 1830-2030 in perscartoons - 31.08.2016 - 06.11.2016

    4719 - 20161016 - DEUTSCHLAND - MÜNCHEN - Murano. Milano. Venezia. Glass - 08.08.2016-16.10.2016


    The international exhibitions held at the Triennale di Milano and the Biennale di Venezia are barometers of the most significant developments in twentieth century contemporary design and art. It is therefore no coincidence that Murano glass regularly attracts awards at both Milan and Venice. Having resurrected a range of centuries-old techniques, glassmakers such as A.V.E.M, Archimede Seguso, Barovier & Toso, and Venini learned to apply this knowledge in new and ingenious ways. Their work is a synthesis of the master glassmakers’ craftsmanship and the designers’ artistry. The objects they create attest to a successful renaissance of glass design that continues to the present day.

    Displaying a selection of objects from the Holz Collection in Berlin, one of the most important private collections of 20th and 21st century Murano glass anywhere in the world, this is the first comprehensive exhibition of glassware that continues to set new standards in Milan and Venice.

    Pinakothek der Moderne ARCHITECTURE ECE Schloss

    Pinakothek der Moderne - Murano. Milano. Venezia. Glass - 08.08.2016 - 16.10.2016


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


    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

    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


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


    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