2015-01-21

4554 - BELGIË - BRUSSEL - LASCAUX - The Sistine Chapel of Prehistory - 14.11.2014-15.03.2015

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Lascaux: Hall of Bulls, South wall (c) Lascaux International Exhibition

September 1940 in the Dordogne, France. Four boys penetrated further into the hillside cavity to which they had gained entry. To their amazement, they discovered an extensive cave with decorated walls. It rapidly became apparent that they had made one of the most fascinating archaeological discoveries of the twentieth century. Shortly thereafter began a stream of visitors running into the hundreds of thousands.

The cave contains both paintings and incised drawings. These are about 20 000 years old and make the cave one of the world’s most important sites of rock art. A good 900 animals are pictured, including aurochs, deer, horses and bison. There is also an enigmatic depiction of a human being.

In order to protect the cave and particularly the rock art for future generations, the site was in 1963 closed to the public. Fortunately, full-scale copies of these works of art have been made at regular intervals, thereby enabling the public to continue to enjoy this splendour. The most recent series of reproductions are being displayed in the Cinquantenaire Museum in Brussels from 14 November 2014 on. Lascaux is an exhibition directed chiefly towards families and in 2013 was chosen as ‘Touring Exhibition of the Year’, enjoying enormous success in the United States and Canada.

Full-scale, scientifically accurate reproductions and the most up-to-date visual technologies give the visitor the impression of actually being in the cave itself. The exhibition also pays attention to the cultural context within which this art originated, showing how its creators lived, hunted, ate and clothed themselves. Serving to frame the whole are complete animal skeletons and bone fragments, a realistic portrayal of a baby mammoth, and contemporary implements and jewellery, drawn from the Museum of Natural Sciences and the Cinquantenaire Museum.

The exhibition is being organized by Lascaux-International Exhibition in co-operation with the Cinquantenaire Museum and the Museum of Natural Sciences; a co-operative project between these two federal institutions, it is being supported by the Belgian Science Policy Office, with further support being provided by the General Council of Dordogne, the Regional Council of Aquitaine, the French Ministry of Culture and Communication, and the European Union.




Cinquantenaire Museum - LASCAUX - The Sistine Chapel of Prehistory - 14.11.2014-15.03.2015




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4553 - U.K. - LONDON - Maggi Hambling: Walls of Water - 26.11.2014-15.02.2015

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Detail from 'Wall of Water, Amy Winehouse', 2011 © Maggi Hambling / Photograph by Douglas Atfield

The National Gallery celebrates the return of Maggi Hambling, its first Artist in Residence.
One of Britain’s most significant and controversial painters and sculptors, Maggi Hambling, exhibits a new series of dramatic paintings, which have never been seen in public before.

Occupying Room 1, Hambling’s eight works are vast, intense and energetic, measuring over six by seven feet, with another ninth, smaller canvas that was produced in response to the death of Amy Winehouse in 2011.

Through turbulence and exuberant colour, Hambling continues to affirm painting's immediacy, saying “The crucial thing that only painting can do is to make you feel as if you’re there while it’s being created – as if it’s happening in front of you.”

Inspired by Hambling’s experience of gigantic waves crashing onto the sea wall at Southwold, Suffolk - the county where she was born, still lives and which has often inspired her work - the works offer visitors a contemporary parallel to the seascapes by Norwegian artist Peder Balke concurrently displayed in the Sunley Room.

Maggi Hambling is represented in all major British collections from the British Museum to Tate. Her sculpture 'Scallop' (2003) is permanently sited on the beach at Aldeburgh, Suffolk, as a monument to composer Benjamin Britten. In 2013 she was the subject of a solo presentation at the State Hermitage Museum, St Petersburg; and her acclaimed series 'North Sea Paintings', begun in 2002, was most recently seen in 'Maggi Hambling: The Wave' at the Fitzwilliam Museum, Cambridge (2010).



 
The National Gallery  -  Maggi Hambling: Walls of Water - 26.11.2014 - 15.02.2015




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2015-01-14

4552 - BELGIQUE - CHARLEROI - Woman are beautiful - Garry Winogrand- 13.12.2014-17.05.2015

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Garry Winogrand
De la série ´Women are beautiful´
© Garry Winogrand


Garry Winogrand déambule dans les rues de New York aux aguets et n’a de cesse de déclencher furtivement afin de capturer l’essence de la rue. Influencé par Walker Evans et Robert Frank, Garry Winogrand les rejoint dans la double approche photographique : documentaire et esthétique. Il partage ainsi leur double conception du photographe comme producteur de documents, témoins d’une époque inscrite dans une temporalité, et celle d’un créateur d’un objet atemporel apprécié pour ses qualités esthétiques intrinsèques.
Dans le domaine de la photographie, l’ouvrage «Women are beautiful» est sans précédent. Bien sûr, la femme inspire les artistes depuis toujours mais on dépasse ici la simple inspiration pour s’immiscer dans un travail construit avec comme personnage central la femme dans sa beauté quotidienne. Il n’y a ici ni idéalisation, ni matérialisation avec Winogrand. La femme s’affiche au naturel et sans fard.
On pourrait, à première vue, être interpellé par l’aspect documentaire de ces images, la tentation est même grande de crier à la banalité. Or, il n’en est jamais question : en parcourant l’ensemble des photographies, on sent la passion d’un homme pour son sujet. Dans chacune d’elles, la sensualité du corps féminin s’expose discrètement : des courbes que des vêtements ont peine à cacher, un visage angélique encadré par de longs cheveux ondulés, des seins sous un simple débardeur, un décolleté, un corps nu dans un lac, un sourire, un regard… Garry Winogrand nous propose de regarder chacune de ces femmes avec ce regard neuf que le médium photographique apporte de façon intrinsèque.
Comme dans les autres sujets qu’il traite, il élabore une radioscopie complète de la femme : bourgeoise, hippie, américaine, étrangère, activiste, sportive qu’il photographie en rue, à la plage, en soirée, dans les bars. «Women are beautiful» est un prisme au travers duquel la femme apparaît multiple, riche et belle dans sa pure expression quotidienne, et non fantasmée par le nu ou le studio. La banalité du quotidien doit amplifier la beauté que chacune met en avant. Il affirme l’éclat de la femme mais reste un homme de son époque et n’oublie pas l’importance documentaire de son propos. Il témoigne ainsi de l’investissement des femmes dans les diverses manifestations de contestation qui émaillent la fin des années 60.
«Women are beautiful» est l’un des quatre seuls ouvrages publiés du vivant du photographe américain. Il constitue également un véritable document historique. Dans cette perspective, la présentation des images de Garry Winogrand au Musée de la Photographie à Charleroi est une chance unique de pouvoir appréhender le travail d’un des plus grands photographes américains à travers son exposition mythique mais aussi d’approcher des documents révélateurs d’une période capitale pour la femme et la société américaine.

Garry Winogrand (1928-1984) est né dans une famille ouvrière juive du Bronx à New York. En 1948, il commence des études de peinture et de photographie à la Colombia University, suivies d’un cursus en photojournalisme en 1951 à la New School for Social Research où il aura comme professeur Alexey Brodovitch. Il prend rapidement connaissance du travail de Walker Evans et s’en inspire quand il commence à photographier peu après d’abord de manière commerciale puis pour ses projets personnels. En 1955, deux de ses photographies apparaissent dans le grand projet de Steichen The Family of Man présenté au MoMA où il y exposera de nouveau en 1963 et en 1967 avec notamment Lee Friedlander, Diane Arbus et Duane Michals. Cette dernière exposition fait suite à l’obtention d’une bourse par la Guggenheim Fellowship qui lui permettra de parcourir les Etats-Unis. Durant les années 1970, il enseignera la photographie à la Illinois Institute of Technology et à la University of Austin. Il ne publiera que quatre ouvrages de son vivant : Animals (1969), Women are Beautiful (1975), Public Relations (1977) et Stock Photographs: The Fort Worth Fat Stock Show and Rodeo (1980). Il meurt prématurément en 1984 d’un cancer.



 
Musée de la Photographie    13.12.2014 - 17.05.2015




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4551 - SWITSERLAND - BASEL - Caspar Wolf - 19.10.2014-01.02.2015

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Caspar Wolf

The Alps as magnificent spectacle of nature — a surprisingly recent opinion. It was only during the course of the 18th century that people began regarding jagged mountain ranges as “sublime” and aesthetically pleasing. The Swiss landscape painter Caspar Wolf (1735–1783) was one of the first to conquer this largely undeveloped Alpine landscape on his extensive treks and made it available as subject matter for artistic treatment. In his galvanizing compositions, massive boulders, thundering mountain torrents, and bizarre glacier formations impede the viewer’s path. The human being, standing in awe, is reduced to a tiny figure before expansive panoramas. Wolf stands well apart from the idyllic Baroque landscapes with his radical formations and as one of the most significant precursors to European romanticism. But the same time, his work breathed the spirit of enlightenment. The exhibition includes 126 works by Caspar Wolf and his contemporaries as well as a selection of recent photographs taken at these respective locations in the Alps. In conjunction with this exhibition, the Kupferstichkabinett at the Kunstmuseum Basel will present highlights from its wealth of drawings and prints by Caspar Wolf.
 A fluke of history can be credited for Caspar Wolf ascent from impoverished childhood in Muri as carpenter’s son and moderately successful painter to artist of standing in European art history: the most important pioneer of Alpine painting and one of the most significant precursors to European Romanticism.
The fluke in question is Caspar Wolf’s encounter with the influential Bernese publisher Abraham Wagner (1734–1782). Wagner, one year his senior, had an ambitious project: to issue an encyclopedic publication of the Swiss Alpine landscape complete with illustrations of the highest artistic standard; and more to the point, these illustrations would be worked immediately from nature. The landscape that Wagner had in mind as motif was the rarely travelled and difficult to reach high Alpine region. The idea was to offer viewers a new conception of the Alpine landscape in images of previously unparalleled precision and magnificence. To author the written sections of this publication, Wagner engaged the Bernese priest and eminent natural philosopher Jacob Samuel Wyttenbach. Wolf was to accompany the two men on their extensive treks through the Alpine mountains. His task was to document and depict in paintings these unique encounters with nature.
What resulted was a comprehensive picture cycle of the Swiss Alps. Working in his studio from the nature studies completed on location, Wolf created some 200 paintings of imposing quality that bring together spontaneous observations and highly artistic formulations. Wolf invents astute painterly formulations to depict mountain ranges and glaciers, waterfalls and caves, bridges and raging torrents, lakes and high plateaus, sometimes rendering these in expansive panorama views, sometimes in close, claustrophobic compositions. His paintings include many prominent natural monuments, some no longer existent due to the environmental destruction of recent centuries: hence, the famous “séracs” (pinnacles of glacier ice) of the Lower Grindelwald Glacier, evident in two exceptionally powerful paintings by Wolf, have long since melted, for instance.
Wolf’s paintings can neither be grouped with the vedute, a type painting popular at the time, nor can they be described as explicitly documentary images. Instead, they speak to a more fundamental subject matter: they consider the relationship between the mountain as rational concept and the mountain as sensual perception.
 But what was the origin for the remarkable aesthetic assurance with which the artist entered the virginal territory of Alpine painting?
 Wolf’s intense engagement with French painting while in Paris in 1770/71 proved to be of central importance. This is vividly demonstrated in the exhibition with works by François Boucher, Claude-Joseph Vernet, Philippe-Jacques de Loutherbourg the Younger, and Hubert Robert. Surprisingly, Wolf profits greatly from his engagement with contemporary marine paintings and their depictions of dramatic storms at sea and shipwrecks.
 The exhibition includes 126 works by Caspar Wolf and his contemporaries as well as a selection of recent photographs taken at these respective locations in the Alps.
In conjunction with this exhibition, the Kupferstichkabinett at the Kunstmuseum Basel will present highlights from its wealth of drawings and prints by Caspar Wolf.
Support for the exhibition comes from:
- Peter and Simone Forcart-Staehelin
- L. + Th. La Roche-Foundation
- Foundation for the Kunstmuseum Basel
 
 
 
Kunstmuseum Basel       19.10.2014 - 01.02.2015
 
 
 
 
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2015-01-06

4550 - BELGIË - OOSTENDE - Mu.ZEE - DE ZEE - salut d'honneur Jan Hoet - 23.10.2014-19.04.2015

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JAN HOET & PHILLIP VAN DEN BOSSCHE

De zee is altijd een enorme inspiratiebron voor de kunsten geweest. Haar aantrekkingskracht is zonder enige twijfel toe te schrijven aan de almaar wisselende impressies. In haar oneindige schoonheid kan ze rustgevend zijn, maar in haar onvoorspelbaarheid wordt ze dan weer bedreigend. Kunstenaars zullen altijd gefascineerd blijven door haar eindeloze spel van licht, ruimte en beweging.
De Zee is een tentoonstelling die net als een golf ongrijpbaar is, uitdeint, inslaat en sporen nalaat die keer op keer gewist worden  door nieuw geweld. De Zee is een tentoonstelling in dialoog met Oostende, over meerdere locaties verspreid, met Mu.ZEE als vertrekpunt van deze ontdekkingstocht.

Jan Hoet zette de krijtlijnen uit voor dit evenement.  Voor hem zou dit zijn laatste grote tentoonstelling worden. Op 27 februari 2014 moesten we echter afscheid nemen van onze curator, die zich tot zijn laatste weken heeft toegelegd op het project. Zo is de tentoonstelling uitgegroeid van een eerbetoon aan de zee tot een hommage aan Jan Hoet… een met grootse gebaren en kleine verhalen, een salut d’honneur.

De tentoonstelling brengt kunstenaars samen uit de recente en de minder recente kunstgeschiedenis, en laat hedendaagse kunstenaars zo in dialoog gaan met de oudere meesters. De Zee zal kunstwerken tonen van Bas Jan Ader, Etel Adnan, Francis Alÿs, Carl Andre, Louis Artan de Saint Martin, John Baldessari, François-Marie Banier, Forrest Bess, Joseph Beuys, Guillaume Bijl, William Blake, Maurice Blaussyld, Arnold Böcklin, Pierre Bonnard, Michaël Borremans, Eugène Boudin, Dirk Braeckman, George Brecht, Marcel Broodthaers, Jean Brusselmans, Kathe Burkhart, François Burland, Michael Buthe, James Lee Byars, Paul Cézanne, Marc Chagall, Jacques Charlier, Emile Claus, Vaast Colson, Leo Copers, Patrick Corillon, Gustave Courbet, Johan Creten, Henri-Edmond Cross, Werner Cuvelier, Ilse D’Hollander, Honoré d’O, Martin d’Orgeval, René Daniëls, Hanne Darboven, Charles-François Daubigny, Franky DC, Gustave De Smet, Tacita Dean, Frederick Debourg Richards, Thierry De Cordier, William Degouve de Nuncques, Luc Deleu, Ronny Delrue, Wim Delvoye, Maurice Denis, Jan Dibbets, Richard Diebenkorn, Karel Dierickx, Rineke Dijkstra, Marlene Dumas, Tim Eitel, James Ensor, Frederick Evans, Jan Fabre, Luciano Fabro, Belu-Simion Fainaru, Hans-Peter Feldmann, Rodney Graham, Joseph Grigely & Amy Vogel, Susan Hiller, Oscar Jespers, Johan Barthold Jongkind, Ilya & Emilia Kabakov, Alex Katz, Fernand Khnopff, Anselm Kiefer, Joseph Kosuth, Jannis Kounellis, Gustave Le Gray, Georges Lemmen, Zoe Leonard, Roy Lichtenstein, Lismonde, Bernd Lohaus, Marcel Maeyer, René Magritte, Marcel Mariën, Jacob Maris, Kris Martin, Henri Matisse, Jacqueline Mesmaeker, Constantin Meunier, Henri Meunier, Reinhard Mucha, Dennis Oppenheim, Silke Otto-Knapp, Panamarenko, Constant Permeke, Francis Picabia, Pablo Picasso, Roger Raveel, Gerhard Richter, Matthieu Ronsse, Ed Ruscha, Joe Scanlan, Rob Scholte, Thomas Schütte, Victor Servranckx, Ettore Spalletti, Leon Spilliaert, Hiroshi Sugimoto, Pascale Marthine Tayou, Paul Thek, Jan Toorop, Susanne Tunn, Joseph Mallord William Turner, Richard Tuttle, Luc Tuymans, Edgard Tytgat, Félix Vallotton, Philippe Vandenberg, Henry Van de Velde, Theo Van Doesburg, Ger van Elk, Anne-Mie Van Kerckhoven, Gerard van Lankveld, Théo van Rysselberghe, Henk Visch, Guillaume Vogels, Lawrence Weiner, Franz West & Heimo Zobernig, Henri-Victor Wolvens, Katharina Wulff



Mu.ZEE - DE ZEE - salut d'honneur Jan Hoet - 23.10.2014-19.04.2015



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4549 - FRANCE - LYON - MAC - Rétrospective Erró - 03.10.2014-22.02.2015

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Erró, Silver Surfer Saga, 1999.
Série Saga of American Comics. Collection de l’artiste.
© Adagp Paris, 2014
 

Né en Islande en 1932, Erró vit et travaille à Paris depuis 1958.

Anticipant les flux continus et infinis d’images et d’informations qui circulent sur les réseaux numériques, Erró s’est, dès le début de son oeuvre, intéressé à la profusion des images et à leur diffusion, inventant des formes de narrations, des grilles de vocabulaire, une grammaire et une rhétorique inédites.

De collages en tableaux, il a ainsi élaboré une sorte d’anti-encyclopédie visuelle et critique de tous les savoirs, pleine de couleurs et de drôleries, d’outrances et d’ambiguïtés, accessible à tous.

C’est cet aspect de l’oeuvre, profondément actuel, qu’expose le macLYON sur 3 étages et près de 3000 m². Collages, performances, films, aquarelles, peintures, dessins : plus de 500 oeuvres choisies dans les collections publiques et privées d’Europe, toutes les formes novatrices du premier storyteller de l’histoire de l’art.



MAC - Rétrospective Erró - 03.10.2014-22.02.2015



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2014-12-31

4548 - BELGIË - DEURLE - Museum Dhondt-Dhaenens - The Still House Group / Service Entrance - 23.11.2014-01.03.2015

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This autumn and winter the museum Dhondt-Dhaenens will have the Still House Group as a guest. The eight artists based in New York realized an evolving project for the different areas of the museum. In addition to their own work, there is also room for a special project that a number of detainees from the prison of Andenne made together with Zachary Susskind, and this in collaboration with the association Art Without Bars.

The Still House Group is a young initiative, organized by artists. It was launched in 2007 by Isaac Brest and Alex Perweiler as an online presentation platform. Since 2010 they have an industrial building in Brooklyn (NYC) where they organize workshops, residencies, lectures and exhibitions. Eight artists work there on a permanent basis. Additionally, other artists are regularly invited to produce work in Still House.

With works from Isaac Brest, Nick Darmstaedter, Louis Eisner, Jack Greer, Brendan Lynch, Dylan Lynch, Alex Perweiler, Zachary Susskind, Peter Sutherland, Augustus Thompson, …



Museum Dhondt-Dhaenens - The Still House Group / Service Entrance - 23.11.2014 - 01.03.2015



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4547 - SWITSERLAND - WINTERTHUR - Kunsthalle Winterthur - Rashid Johnson - 14.12.2014-25.01.2015

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Rashid Johnson

The oeuvre by Chicago born artist Rashid Johnson (b. 1977, lives and works in New York) is abundant in references to Afro-American culture: Shea butter, African animal skins, and/or icons of Afro-American literature and music are the subjects that appear in ever changing constellations. Over the years these references have developed into an individual iconography; they have emancipated from their origin, while retaining a strong connection to the place from which they were born.
The colour black has long been prominent in the artist’s works; and thus the walls of the main hall will feature this colour for the first time in the history of the Kunsthalle. They provide a stage for a selection of wall based works that are also dominated by the colour black, and additionally to a new installation that Johnson produced for the show in Winterthur.

To counter this almost self-sufficient presence of art in the main hall, the other rooms show a selection of works that invite the visitor much more directly – and colourfully – to engage with them. Objects such as Persian rugs, mirrors and a bed appear, making reference to a more general domestic background. Over the years, the abundance of references has increasingly merged with an opulence of materials; the result is a universe that behaves autonomously, mysteriously and completely sovereign, while also maintaining a strong connection to the viewer.



Kunsthalle Winterthur - Rashid Johnson - 14.12.2014 - 25.01.2015



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2014-12-25

4546 - BELGIË - GENT - Love Letters in War and Peace - 08.11.2014-22.02.2015

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French soldier 1914-1918  - London, Imperial War Museums

Love is expressed in several different ways. Firstly in letters, but also in the visual arts, on paper and on canvas, in photography and in cinema. “Love Letters” follows the visual traces of famous and lesser-known romances, from the prude Victorian society and the liberated yet defeatist gay Twenties to the elusive desire of the “fin de siècle” and the insanity of the war years. Tender, devoted and hidden romances alternate with unrequited and forbidden love, which is recorded, painted, sculpted, photographed and filmed with admiration, ecstasy, desire or even despair. Lovers appeal to the imagination. We look and listen to what Guillaume Apollinaire, Arthur Rimbaud, Camille Claudel, Hannah Höch, F.T. Marinetti and Pablo Picasso have to say on the subject of love. And because love is an everyday occurrence, everyday stories also deserve a platform. As a consequence of literacy and the development of the mail system, the art of correspondence experienced an unprecedented growth during the First World War (1914-1918). The wartime love letters – handwritten messages to loved ones in remote destinations - which were written on and behind the frontlines and which helped the writers on either side of the frontline briefly forget about the horrors of war, are unknown but especially poignant.

At the same time, the museum will exhibit the project of Mona Hatoum, an artist of Palestinian origin, in whose work the concept of love and war is always present in one way or another.


 
MSK Gent     08.11.2014 -22.02.2015



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4545 - SWITZERLAND-ZÜRICH - ‘Monolithic Water’ - 28.11.2014-01.03.2015

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James Ensor, Beach at Ostend, around 1915
Kunsthaus Zürich, © 2014 ProLitteris, Zurich

‘Monolithic Water’ focuses on the element of water in art. The latest in the ‘Picture Ballot!’ series, the presentation, which is curated by art historian Claire Hoffmann, examines how painting and photography have investigated the phenomenon of the shimmering surface and human beings’ relationship with water. Paintings, photographs, prints, videos and installations by James Ensor, Morris Louis, Gerhard Richter, Roni Horn, Klara Hobza, Clare Kenny, Pamela Rosenkranz and others open up a broad range of historical and thematic perspectives.
‘Nous sommes tous sortis de la mer’ – ‘We all emerged from the sea’ – proclaimed James Ensor in 1922. His statement traces its lineage back to creation myths in which water is the origin of all things: from the Greek Thales of Miletus and his philosophy of the nature of matter, through the Bible to the evolutionary theory of land colonization. In his writings, Ensor (1860–1949) repeatedly declares the sea to be the source of his artistic creativity. For the Belgian, who spent most of his life by the North Sea, contemplation of the open water was both inspiration and training for the eye. In ‘Beach at Ostend’ (around 1915), sand, sea and sky are divided into horizontal zones of colour that almost coalesce.


 
Kunsthaus Zürich        28.11.2014 - 01.03.2015



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2014-12-17

4544 - BELGIË - ANTWERPEN - MAS - Sacred Places, Sacred Books - 19.09.2014-18.01.2015

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Sacred Places, Sacred Books

Rome, Mecca and Jerusalem in Antwerp

 
‘Sacred Places, Sacred Books’ brings Rome, Mecca and Jerusalem to Antwerp. Discover the differences and similarities between Judaism, Christianity and Islam. More than 200 works of art, historical and religious treasures await you.
 
Exhibition about Judaism, Christianity and Islam
 
The MAS provides insight into the tradition of making pilgrimages. Jews, Christians and Muslims feel strongly connected to their holy places. Pilgrims make a long journey in order to feel the power of God there. The exhibition follows their journey, from their departure to their visit of the shrine and their return home. What makes places such as Jerusalem, Rome or Mecca so special? Why do people visit the resting place of saints or rabbis? As you discover the exhibition, travel with the pilgrims and relive their feelings of hope, ecstasy and purification.
 

Many cultural events are planned in the city to accompany the exhibition. Why not attend a concert by Graindelavoix, or the performance of Jerusalem by the Berlin theater company? Take part in the walks or special events allowing you to discover Antwerp’s finest churches, synagogues and mosques. Or enjoy the smaller exhibitions at the Museum Plantin-Moretus, the Monumental Churches of Antwerp and Ruusbroec society (Ruusbroecgenootschap) research center.


 
 
MAS     19.09.2014 - 18.01.2015
 
 
 
 
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4543 - OXFORD - U.K. - Love is Enough : William Morris & Andy Warhol - 06.12.2014-08.03.2015

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Love is Enough draws together iconic and rarely seen works by two giants of the 19th and 20th centuries. This unconventional combination of artists’ work is curated by Turner Prize-winning artist Jeremy Deller who cites Morris and Warhol as his two greatest artistic influences.
 
Deller draws many surprising connections between these two artists who left an indelible mark on their generations and arguably those that followed. Morris and Warhol both established printmaking businesses and distributed their work through new forms of mass production. Both were natural collaborators who worked with the prominent artists of their time to develop working methods that did much to redefine the artist’s relationship to the studio and factory. Morris achieved this through his mastering of craft techniques and his rejection of industrial processes and Warhol through the activities of the Factory, which often parodied the industrial culture of the mid-late 20th century.

Works sourced from public and private collections across the UK and the USA include a panel from the epic and rarely seen Holy Grail tapestry series completed by William Morris in 1896. Alongside will be shown a selection of Warhol’s iconic silkscreens and archival material from the treasure-trove that is the Warhol Museum in Pittsburgh, including a signed photograph of Shirley Temple posted to a thirteen-year old Andy from the actress in 1941.



Modern Art Oxford      06.12.2014 - 08.03.2015



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2014-12-10

4542 - BELGIQUE - LIEGE - L'Art dégénéré selon Hitler - 17.10.2014-29.03.2015

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L’art et l’histoire sont réunis dans une exposition consacrée aux oeuvres qui furent vendues aux enchères par les Allemands à Lucerne en 1939.
À l'aube de la Seconde Guerre mondiale, les autorités nazies qualifient plusieurs oeuvres d’art moderne présentes dans les musées allemands de « dégénérées » et souhaitent les liquider. En juin 1939, elles organisent une importante vente aux enchères à Lucerne. Cette vente, qui prendra une dimension historique, réunit les noms des plus grands artistes de l’époque : Gauguin, Chagall, Matisse, Kokoschka ou encore Picasso...
L'État belge est présent à la vente, de même qu’une délégation liégeoise qui a réuni de gros moyens. La Belgique acquiert plusieurs oeuvres pour les musées d’Anvers et de Bruxelles tandis que Liège achète neuf toiles exceptionnelles qui font actuellement partie des oeuvres majeures des collections de la Ville. Aujourd'hui dispersées à travers le monde dans de prestigieuses collections privées et publiques, une grande part des oeuvres de la vente seront réunies pour la première fois et présentées en exclusivité à La Cité Miroir de Liège. L’exposition sera étoffée par de nombreux documents évoquant le contexte historique de la vente.
 
Une exposition organisée par La Ville de Liège, Les Musées de Liège asbl, l’Université de Liège, MNEMA asbl et Les Territoires de la Mémoire asbl.
 
 
 
La Cité Miroir     17.10.2014 - 29.03.2014
 
 
 
 
Website : Liège      FR. - NL - EN - DE
 

4541 - FINLAND-HELSINKI - Sibelius and the World of Art - 17.10.2014-22.03.2015

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Akseli Gallen-Kallela: En Saga (Jean Sibelius and Fantasy Landscape), 1894. Ainola Foundation. Photo: Finnish National Gallery / Hannu Pakarinen
 
Next year marks the 150th anniversary of the birth of Jean Sibelius. Ateneum Art Museum makes an early start on the festivities in October by opening an extensive jubilee exhibition that explores the composer's contacts with the art scene of his day.

Sibelius was an inspiration to many artists, and he himself was surrounded by art in many ways: his home in the cultural landscape at Lake Tuusula, his circle of artist friends and relatives, and the art collection at Ainola provided a varied background for his work as a composer. Completed in 1892, Sibelius’s tone poem En Saga inspired Akseli Gallen-Kallela to paint an eponymous work two years later. In 1909, a trip to the Koli wilderness with his brother-in-law, Eero Järnefelt, gave Sibelius the inspiration for his fourth symphony, which he dedicated to Järnefelt.

Sibelius and the World of Art explores the links between the composer’s work and the art scene of his time, both on a personal level as well as in the context of the art movements of the day. The show covers Sibelius’s youth and his international breakthrough, fantasies and myths about the famous composer, as well as his symphonic landscapes and nature motifs. The portraits in the exhibition show us the composer both as a young genius and as the subject of the unique Sibelius Monument of the late 1960s.

The exhibition is produced by the Ateneum Art Museum in collaboration with the Ainola Foundation. The exhibition is accompanied by a catalogue in Finnish, Swedish and English.

Curators of the exhibition: Finnish National Gallery specialists Anna-Maria von Bonsdorff, PhD, Timo Huusko, PhL and Riitta Ojanperä, PhD.
Musical selections: Folke Gräsbeck, DMus.
Exhibition architect: Osmo Leppälä
Editor of the Catalogue: PhD Hanna-Leena Paloposki



 
Ateneum - Finnish National Gallery   17.10.2014 - 22.03.2015




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2014-12-03

4540 - BELGIË - BRUSSEL - Onsterfelijke prinsen - Pracht en praal van de Etruskische adel in Vulci - Splendour of the Etruscan aristocracy in Vulci - 08.10.2014-11.01.2015

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De grote Etruskische steden blijven mooie archeologische verrassingen opleveren!
Op deze expositie komt u meer te weten over de opmerkelijke ontdekkingen die de opgravingen in de necropool van Osteria tijdens de lente van 2013 opleverden. Onder een tumulus, in een van de grafkamers, bracht het geduldige werk van de archeologen twee zilveren handen met vergulde nagels aan het licht. Wellicht maakten deze uitzonderlijke objecten deel uit van een samengesteld beeld met monumentale afmetingen. Er werden ook parels van goud, barnsteen, glas en faience evenals andere metalen sierelementen opgegraven. Die werden ooit op kleding genaaid of samengevoegd tot halskettingen om de doden te tooien. Een bijkomend bewijs voor de hoge status van de overledenen is de paardenkar die werd bijgezet onder de tumulus. De Etruskische elite vertoonde een grote voorliefde voor geïmporteerde objecten uit de hele Middellandse-Zeewereld. Een scarabee in faience met de cartouche van een farao is daarvan een sprekend voorbeeld.

De tentoonstelling wordt georganiseerd door het departement Archeologie van Zuid-Etrurië. Zij vindt plaats in Brussel naar aanleiding van het Italiaanse voorzitterschap van de Europese Unie en geniet de vrijgevige steun van de regio Latium en de gemeenten Montalto di Castro en Canino.



Etruscan cities still have many fascinating secrets to reveal.
This exhibition presents the remarkable discoveries made during excavations at the Osteria necropolis in 2013. Under a tumulus, in one of the funerary chambers, archaeologists uncovered two silver hands with gilded nails. These exceptional objects must have belonged to a composite monumental statue. Beads of gold, amber, glass and faience as well as other metal ornaments were also discovered in the same tomb and must have been sown on to clothes or strung as necklaces to adorn the dead. A ceremonial chariot was also buried under the tumulus, an additional sign of the high status of the deceased. A faience scarab decorated with the cartouche of a pharaoh is an exceptional testimony to the taste of the Etruscan elite for objects imported from all over the Mediterranean.
 


Jubelparkmuseum       08.10.2014 - 11.01.2014




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4539 - SPAIN - BILBAO - The Art of Our Time: Masterpieces from the Guggenheim Collections - 23.09.2014-03.05.2015

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The Art of Our Time: Masterpieces from the Guggenheim Collections celebrates 20 years of partnership between the Solomon R. Guggenheim Foundation and the Guggenheim Museum Bilbao. This exhibition, which echoes the museum’s inaugural presentation in 1997, reveals how the collections of the Guggenheim constellation of museums have grown and flourished over the years, and it also traces the how the Guggenheim Museum Bilbao has evolved into maturity as an international exemplar.

Following a loose chronology, the exhibition starts on the third floor and reveals the historical configuration of the collections and synergies that have emerged among them. The show begins at the dawn of the 20th century, a time marked by the triumph of avant-garde movements that, armed with utopian ideals and ambitions for political change, challenged the rich figurative legacy of Western art and advocated new approaches that looked beyond mere aesthetic concerns. This section also features two significant and independent monographic groups of sculptures from the Bilbao Collection—one dedicated to Jorge Oteiza and the other to Eduardo Chillida.

Most of the second floor is given over to large-format works, such as a mural by Sol LeWitt created specifically for the gallery in which it is shown and works by Anselm Kiefer presented in the gallery for which they were acquired. The first floor, devoted to the most recent creations, reflects the Guggenheim’s engagement with new centers of contemporary artistic production around the world.

Complementing the works above are the site-specific works in galleries 101 and 104, commissioned in keeping with one of the museum’s fundamental acquisition policies: Jenny Holzer’s Installation for Bilbao (1997) and Richard Serra’s sculptural group The Matter of Time (1994–2005). The exhibition also leads visitors outdoors to explore works on the museum’s grounds that strike up provocative dialogues with their surroundings: Yves Klein’s volatile Fire Fountain (1961, fabricated 1997) and Fujiko Nakaya’s Fog Sculpture #08025 (F.O.G.) (1998) in the pond; Louise Bourgeois’s monumental Maman (1999), Anish Kapoor’s Tall Tree & the Eye (2009), and Jeff Koons’s Tulips (1995–2004) overlooking the river; Chillida’s Embrace XI (1996) on the second-floor terrace; Koons’s Puppy (1992) in the museum plaza; and Arcos rojos / Arku gorriak (2007), Daniel Buren’s intervention on La Salve Bridge.



 
Guggenheim Bilbao    23.09.2014 - 03.05.2015




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2014-11-26

4538 - BELGIË - BRUGGE - Genummerd & getekend. Marcel van Maele in Meervoud - 13.09.2014-18.01.2015

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Marcel van Maele (Brugge 1931 - Antwerpen 2009) was een dichter, roman- en toneelschrijver, performer en beeldend kunstenaar. Hij stond bekend als een markante en rebelse figuur. Al heel jong zwierf hij de wereld rond, op de vlucht voor de voor hem verstikkende mentaliteit in Brugge en Vlaanderen. Vrijheid voerde hij hoog in het vaandel, zowel in het leven als in zijn werk. Poëzie was voor hem een zoektocht, een loskomen van de geldende regels en hoefde niet beperkt te blijven tot het blad papier.

Van Maele verspreidde zijn poëzie dan ook via heel uiteenlopende wegen. Hij bracht niet alleen gedrukte bundels uit, maar was ook op vele podia te zien. Bovendien werkte hij mee aan literaire tijdschriften, nam hij een lp op, creëerde hij bibliofiele uitgaven in samenwerking met beeldende kunstenaars en maakte hij zelf ook plastisch werk. Typisch Van Maele was het gebruik van de multipel (een kunstwerk in een oplage).

Bekend zijn de 'Gebottelde Gedichten' waarmee hij zijn werk op onleesbare wijze ter beschikking stelde. De tentoonstelling in het Gezellemuseum brengt voor het eerst al het 'gepubliceerde' werk van Van Maele samen. Naast zijn gedrukte bundels, grafische edities en kunstenaarsmappen, worden al zijn multipels gepresenteerd. Dit archief van edities wordt aangevuld met film- en geluidsfragmenten. Van Maele is dus weer even terug in Brugge, in het geboortehuis van Gezelle aan wie hij het gedicht 'Bevlogen en bevangen' opdroeg.



Gezellemuseum    13.09.2014 - 18.01.2015




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4537 - DEUTSCHLAND - BREMEN - Jason Rhoades, Four Roads - 18.09.2014-04.01.2015

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Jason Rhoades, My Madinah: In pursuit of my ermitage… (Detail), 2004/2013
Estate of Jason Rhoades, Installation view Institute of Contemporary Art, University of Pennsylvania, Photo: Aaron Igler/Greenhouse Media
Courtesy Estate of Jason Rhoades; Hauser & Wirth; David Zwirner, New York/London

The Kunsthalle Bremen is presenting a major exhibition of the American artist Jason Rhoades (1965 – 2006, Los Angeles), who attained international recognition in the early nineteen-nineties with spectacular and room-filling installations. Active in both Europe and America, Rhoades is considered to be one of the most important artists of his generation. The exhibition attempts a first overview of his complex oeuvre since his premature death with four installations to be navigated curatorially by four interpretive paths or roads. The four roads are: “Jason Rhoades, American Artist”; “Jason the Mason” (a biographical thread named for a childhood nickname); “systems” (language, scale, indexing, economies), and “taboo”. The four essential aspects of his oeuvre are presented through four large, exemplary installations from various phases of his artistic production. By foregrounding these themes, the exhibition aims to offer inroads into the sprawling, labyrinthine, spectacular, overloaded, and detailed body of work that Rhoades conceived of as one-overarching project – to make sense of a complex and layered world and play with cultural stereotypes and personal myths.

"Jason Rhoades, Four Roads" is organized by the Institute of Contemporary Art, University of Pennsylvania  and curated by ICA Chief Curator, Ingrid Schaffner. This exhibition is made possible by the Pew Center for Arts & Heritage. The exhibition is a cooperation of the Instiute of Contemporary Art, University of Pennsylvania, Kunsthalle Bremen and BALTIC, Center for Contemporary Art, Gateshead.




Kunsthalle Bremen     18.09.2014 - 04.01.2015




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2014-11-19

4536 - BELGIË - HASSELT - Future Fictions. Perspectives on world-building - 05.10.2014-04.01.2015

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Perspectives on world-building
With Future Fictions, Z33 continues the debate about our future, exploring how contemporary artists, designers and architects relate to future thinking and imaging: from mapping, questioning and criticizing, to developing complex visions about the structures and systems that may shape our life in the future.

Z33 wishes to draw attention to what future thinking and imaging can be. Not pretending to know what our future will be, nor which inventive solutions will solve our present-day problems, we rather aim to explore a set of different visions/fictions that artists, designers and architects put forward using different methods and tools for future thinking and visualizing.
In doing so, Z33 wishes to shift the debate away from what is possible, plausible and probable towards what is preferable: Future Fictions therefore is essentially a project about ideas and ideals, about dreams beyond hope and fear.

Can we learn to critically assess the future visions presented? Which criteria would be valid in doing so? In other words, can we learn to become ‘future literate’?

The proposed visions/fictions presented aim to engage us both intellectually as well as emotionally in a quest to consider exactly what kind of future we might want. In this, we all have a role to play: ‘After all, the future still has to be made today.’  - Anne Galloway*

With: Neïl Beloufa (FR), Nelly Ben Hayoun (FR), Blueprints for the Unknown (UK), Bureau Europa (NL) / Lara Schrijver (NL), Dept. Architectuur UHasselt (B), Theo Deutinger (AT), Dunne & Raby (UK), FoAM (BE), El Ultimo Grito (ES), Arne Hendriks (NL) / Monnik (NL), Shane Hope (US), Speedism (B/DE), Near Future Laboratory (CH/SP/US), Hans Op de Beeck (B), Pantopicon (B), The Extrapolation Factory (DE/US), Atelier Van Lieshout (NL), Chris Woebken (DE), The Xijing Men (JP/CN/KR), Liam Young (AU)

Curator: Karen Verschooren, Z33



 
Z 33  Huis voor actuele kunst    05.10.2014 - 04.01.2015



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4535 - ÖSTERREICH - WIEN - Looking at Monet - 24.10.2014-08.02.2015

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The 2014 autumn exhibition in the Belvedere’s Orangery shows impressionist icons in an overview which is unique throughout Europe. At the same time, the impressionist influence on the Austrian art scene will be in the focus of the exhibition. Containing first class loans from international museums and private lenders, the exhibition gathers key pieces by Claude Monet, some of which have never been shown in Austria.
18 years after the legendary 1996 Monet exhibition, the Belvedere builds another spectacular special show around the master of the impressionist light painting. The show focuses on the idea of Monet as source of inspiration for contemporary artists, who took their inspiration from his motives and brushwork.
Selected works by the pioneer of modernism enter into a dialogue with Austrian artists, who, after getting in contact with Monet‘s work, were referencing to it in their own works.

Besides Edouard Manet, the Viennese art scene of the late nineteenth and early twentieth centuries regarded Monet as the central and formative figure of French Impressionism. His works were on display in exhibitions at the Künstlerhaus, the Secession, and the legendary Miethke Gallery and were known to his contemporaries from periodicals and books. The most outstanding show, entitled The Evolution of Impressionism in Painting and Sculpture, was held at the Vienna Secession in 1903, where the Modern Gallery (the institution preceding today’s Österreichische Galerie Belvedere) acquired Monet’s painting The Chef (Monsieur Paul); later on, Fishermen on the Seine at Poissy and one of his masterpieces, Garden Path at Giverny, were added to the collection. Monet’s influence on Austrian painters and photographers was immediate and multifaceted. Some artists adopted his stylistic handling, while others were interested in his pictorial motifs, compositions, or conceptual approaches.

The exhibition at the Belvedere assembles works by the exceptional French painter that were either on view in Vienna around 1900 or served as models and presents them together with selected paintings and photographs by Austrian artists active during the period in question. Both this juxtaposition and historical documents will allow us to trace Monet’s impact on domestic art production, such as by Gustav Klimt, Emil Jakob Schindler, Max Weiler,
Olga Wisinger-Florian, and Ludwig Heinrich Jungnickel.



Belvedere - Orangery   24.10.2014 - 08.02.2015



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2014-11-12

4530 - BELGIË - ELSENE-BRUSSEL - PAUL DELVAUX unveiled - 23.10.2014-18.01.2015

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Paul Delvaux, Les Courtisanes, 1944 © Paul Delvaux Foundation, St-Idesbald-Koksijde, Belgium, photo V Everarts, Bruxelles 2013

The Museum of Ixelles presents the carefree and sensitive world of the famous Belgian master, Paul Delvaux.
A non-conformist and original exhibition PAUL DELVAUX unveiled revisits the work of the artist by highlighting six omnipresent pictorial themes of femininity, mystery, dreams, escapism, loneliness and theatricality.
Under close scrutiny from the keen eyes of curators, art historians, art critics and collectors, the unique approach of such themes reveals a richness, depth and poetic force in the work of Paul Delvaux.


 
Museum van Elsene    23.10.2014 - 18.01.2015




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4529 - SWEDEN - STOCKHOLM - From Tsars to Commissars - 02.10.2014 - 11.01.2015

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Nathan Altman, Portrait of the Poet Anna Akhmatova, née. Gorenko, 1914. Kazimir Malevich, Suprematism (Supremus No. 56), 1916. Aleksander Samokhvalov, Girl in a T-shirt-shirt, 1932. © 2014, State Russian Museum, St. Petersburg

Significant paintings from Russian art history, in collaboration with the State Russian Museum. 65 works of art ranging from the early 19th-century via early 20th-century avant-garde to Stalinist-era realism.

The exhibition takes place at Konstakademien.
The Peredvizhniki – Pioneers of Russian Painting, which appeared in the autumn of 2011, was one of Nationalmuseum’s best-attended exhibitions in recent years. This autumn’s exhibition will widen the perspective to cover artists who came before and after the Peredvizhniki, starting in the early 19th century and continuing through to the latter part of the Soviet era.
The exhibition will be an opportunity for Swedish visitors to experience a rich, multifaceted artistic culture that remains largely unknown in western Europe. The artworks are on loan from the Russian Museum in St Petersburg, home to the world’s largest collection of Russian art, and will include several prominent works from among the museum’s treasures.

From Tsars to Commissars will present some of the art produced by a society that underwent massive changes during the 150-year period covered by the exhibition: from the Tsarist empire through the revolutions and upheavals of the 1910s and ’20s to the Stalinist era and the Cold War, when the Soviet Union became a superpower.
Recurring themes include unemancipated peasants, Orthodox Christian imagery and traditions, and the consequences of social upheaval and world war. Narrative engagement and strong emotional expression typify many of the works in the exhibition. Examples of epic scale can be seen in both 19th-century realism and the propaganda art of the Stalinist era.

Russian art history also includes some of the true pioneers of early 20th-century modernism. Kazimir Malevich and Vasily Kandinsky, long considered two of the world’s greatest artists, broke new ground with a style of painting that distanced itself from realism and the narrative tradition.
Also on show will be works by 20th-century painters less familiar to international audiences, such as Pavel Filonov, who developed highly personal imagery inspired by folk art and pictures drawn by psychiatric patients. The Soviet regime banned Filonov from exhibiting his works in public.

For long periods, Russian artists worked under repressive regimes that imposed very restrictive rules regarding form and content. In Tsarist times there was strict censorship, and during Stalin’s leadership of the Soviet Union, artists were expected to serve the interests of the government. The officially sanctioned art of the Stalinist era, known as socialist realism, portrayed the progress made by Soviet society and the strength and dynamism of citizens.
Despite adapting to the requirements of the Soviet regime, some artists still managed to create visually interesting works. A leading example is Alexander Deineka, who depicted modern industrial scenes and the catastrophic impact of the Second World War.
The exhibition will comprise a total of 65 oil paintings by 40 artists, all on loan from the Russian Museum. Featured artists will include Ivan Aivazovsky, Alexey Venetsianov, Nathan Altman, Natalia Goncharova, Alexander Deineka, Vasily Kandinsky, Isaac Levitan, Kazimir Malevich and Marc Chagall.




Nationalmuseum     02.10.2014 - 11.01.2015




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Website : Stockholm

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2014-11-05

4534 - BELGIË - GENT - Lightopia - 15.11.2014-15.03.2015

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Lightopia is an exhibition of the Vitra Design Museum in collaboration with EDP Fundaçào.

“Lightopia not only examines partial aspects of lighting design – such as light art or the design of luminaires. It is the first exhibition that also considers the many different facets of designing with light and establishes a connection with contemporary issues” - Jolanthe Kugler, curator of the exhibition.

Over the past century, electric light has revolutionised our environment like almost no other medium. It has transformed our cities, created new lifestyles and working conditions, and has become a catalyst of progress for industry, medicine and communication. Currently, new lighting technologies are bringing about profound changes in the domain of artificial lighting. This development is the subject of the Vitra Design Museum’s exhibition Lightopia. It is the first comprehensive presentation of lighting design, featuring examples from the realms of art, design, architecture and many other disciplines.

Lightopia encompasses roughly 300 works, including numerous iconic artefacts from the Vitra Design Museum’s lighting collection – which has thus far never been publicly presented – with works byWilhelm Wagenfeld, Achille Castiglioni, Gino Sarfatti and Ingo Maurer. Other objects demonstrate the performative power of light, like the famous 'Light-Space Modulator' by László Moholy-Nagy (1922 – 1930), or the spectacular reconstruction of a discothèque from the year 1968, made entirely out of translucent plexiglass. The primary focus of the exhibition is on works by contemporary designers and artists such as Olafur Eliasson, Troika, Chris Fraser, Front Design, Daan Roosegaarde, Joris Laarman, realities: united and mischer'traxler, who illustrate the broad scope of new possibilities for designing with light. Among the exhibits are many interactive and walk-in installations that give visitors a direct experience of the elemental power of light. Through the dialogue of contemporary and historical works on display, Lightopia creates a sweeping panorama of lighting design.
With its interdisciplinary approach, Lightopia shows how lighting design has influenced modern living spaces. The exhibition also explores the current paradigm shift and places it in the wider context of cultural history.

In addition to this exhibition it will be a challenge for different Belgian light designers to create an installation to integrate in the 18th-century style period rooms.
At the end of January 2015 the city of Ghent organizes for the 3rd time the popular Light Festival, with light installations of high artistic quality, within which the Lightopia exhibition at the Design museum Gent fits perfect.

Lightopia is a must for all lovers of design, art, architecture, innovation and experiment!



Design museum Gent    15.11.2014 - 15.03.2015



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4533 - UNITED KINGDOM - BRADFORD - Looking is a Very Positive Act: David Hockney - 18.10.2014-22.02.2015

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David Hockney, "Self Portrait" 1954. Collage on newsprint, 16 1/2 x 11 3/4"© David Hockney. Photo: Richard Schmidt.

In recent years, publicly and critically acclaimed artist David Hockney has had large sell-out shows in London, Cologne, Bilbao, San Francisco and Los Angeles, with numerous smaller exhibitions taking place thoughout the world. But where did it all begin? Are there clues in his early career as to what would come later?

This exhibition seeks to showcase Bradford's unique collection of early works providing a general introduction and insight into the early art of David Hockney considering drawing, painting, printmaking and photography.


 
Cartwright Hall Art Gallery      18.10.2014 - 22.02.2015



Website & source : Cartwright Hall Art Gallery 

Website : Bradford

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2014-10-29

4532 - BELGIË - LEUVEN - Vesalius. Imagining the Body - 02.10.2014-18.01.2015

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In the autumn of 2014 Leuven will celebrate the 500th anniversary of Andreas Vesalius with a broad cultural programme. Vesalius is one of the most important figures in the history of modern medicine and is a well-known alumnus of the University of Leuven. With his masterpiece De Humani Corporis Fabrica (1543) he broke away from the established values and knowledge of his day – an impact that can still be felt today.

The Vesalius exhibition in M is the highlight of the project. It situates the founding father of anatomy in his time, the Renaissance, but also examines how, through the centuries, the image of the human body was clearly influenced by vesalius’ work. At the same time, other players from the artistic, cultural, scientific and touristic sectors provide their own interpretation surrounding the theme, the human body, in the form of dancing, theatre, film, video, music and historical town walks.



Museum M    02.10.2014-18.01.2015



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4531 - NEDERLAND - AMSTERDAM - Marlene Dumas – The Image as Burden - 06.09.2014-04.01.2015

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Marlene Dumas - The Wall - 2009

With almost two hundred drawings and paintings from private and museum collections throughout the world, Marlene Dumas – The Image as Burden is the first major solo exhibition of Dumas in the Netherlands in 20 years. It is the most comprehensive retrospective survey of her work in Europe to date and presents a compelling overview of her oeuvre from the late 1970s to the present. In addition to her most important and iconic works, the exhibition also presents lesser-known paintings and drawings, including many works never before seen in the Netherlands, and a selection of her most recent paintings. The title of the exhibition is derived from the work The Image as Burden (1993), which refers to the conflict between the painterly gesture and the illusion of the painted image.

The Stedelijk presentation features a number of exclusive highlights, such as a gallery devoted to drawings that have come straight from her studio, which have rarely – if ever – been on public view, and the 100-piece series Models from the collection of the Van Abbemuseum. The survey at the Stedelijk also places greater emphasis on the works produced between 1976 and 1982, when Dumas’s career in Amsterdam began.

After many years, the key work in her oeuvre, Love vs Death (1980), which opens the exhibition, is once again on display. Also included are a selection of Dumas’s most recent paintings, such as The Widow and Nuclear Family, both from 2013, and a number of watercolor drawings from the series Great Men (2014), the remainder of which is currently on view at Manifesta in St. Petersburg.

The exhibition closely examines the key themes and motifs that Dumas has developed throughout her artistic career. Special attention is devoted to the works on paper that Dumas produced in the early years after her arrival in the Netherlands, when she also exhibited her work for the first time at the Stedelijk Museum and Museum Fodor (1978-81). Themes such as love, death and longing, and the use of texts and images found in the mass media – which are also explored in her late paintings – are evident in these early works, too. -
 
 
 
Stedelijk Museum Amsterdam     06.09.2014 - 04.01.2015
 
 
 
 
Website : Amsterdam   NL - EN
 

2014-10-22

4528 - BELGIË - BRUSSEL - Sensation and Sensuality. Rubens and his legacy - 25.09.2014-04.01.2015

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Peter Paul Rubens Pan and Syrinx, 1617 Oil on panel 40 x 61 cm Staatliche Museen, Kassel Photo Ute Brunzel

Rubens was the Quentin Tarantino of his day, making Flanders one of the world’s foremost regions for painting. The Flemish master-painter developed his own personal style, crafting scenes that exuded lust and were marked by violence, as well as compassion and elegance. These themes inspired artists all over the world for many centuries to come. In this unique exhibition by BOZAR, in collaboration with the Royal Museum of Fine Arts Antwerp and the Royal Academy of Arts in London you can rediscover the work of this indomitable genius that has withstood the test of time as well as that of his heirs. You can also see canvases by Van Dyck, Watteau, Delacroix, Manet and Kokoschka as well as engravings by Rembrandt and Picasso.

Curator: Nico Van Hout (Royal Museum of Fine Arts Antwerp)




Paleis voor Schone Kunsten - BOZAR       25.09.2014 - 04.01.2015



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4527 - DEUTSCHLAND - FRANKFURT - Helene Schjerfbeck- 02.10.2014-11.01.2015

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Helene Schjerfbeck, Die Genesende, 1888, 92 x 107 cm, Öl auf Leinwand, Ateneum Art Museum, Finnish National Gallery, Helsinki © VG Bild-Kunst, Bonn 2014
 
In the fall and winter of 2014, the SCHIRN will present the most important Finnish artist of the first half of the twentieth century – Helene Schjerfbeck (1862–1946) – in a solo exhibition. Schjerfbeck’s works bear witness to impressive intensity. While her painterly oeuvre attracts a great deal of attention in Scandinavia, she is largely unknown abroad. The exhibition will concentrate on aspects of motif repetition and the manner of employing visual sources that permeates Schjerfbeck’s entire body of work and comes to bear in realistically painted works of the end of the nineteenth century as well as those of her late phase characterized by an abstract and simplified formal language. Within this context, the striking self-portraits the artist produced from the 1880s until her death in 1946 play a pivotal role, as do the works in which she re-uses her own motifs or appropriates those she finds in prominent works by other artists such as El Greco or Hans Holbein. Organized in collaboration with the Ateneum, Finland’s national art museum, the show will assemble more than eighty works from that museum’s holdings as well as from numerous other public and private collections.
 
 
 

Schirn Kunsthalle Frankfurt      02.10.2014 - 11.01.2015
 
 
 
 
 
 

2014-10-15

4526 - BELGIË - Leuven - Meunier in Leuven - 20.09.2014-11.01.2015

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Het grauwvuur (c) Stan Spijkers


Constantin Meunier is één van de grootste Belgische beeldhouwers. Hij introduceerde mijnwerkers en industriearbeiders in de beeldende kunst, als iconen van de moderniteit. In 1887 werd hij leraar aan de academie van Leuven. Dit was het begin van zijn artistiek meest hoogstaande en productieve periode. Het meesterwerk Het Grauwvuur en zijn magnus opus Het monument voor de arbeid ontstonden hier aan de Dijle. Van 20 september 2014 tot 11 januari 2015 belicht M deze eerder onbekende periode in Leuven. Zijn werken, inspiratiebronnen, invloeden en het postume museumproject komen aan bod in deze interactieve expo.


 
Museum M      20.09.2014 - 11.01.2015



Website & bron : Museum M     NL - FR - EN

Website : Leuven  NL - FR - EN - DE

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4525 - DEUTSCHLAND - MANNHEIM - Manet, Cézanne, Van Gogh – Guests from Around the World - 26.09.2014-18.01.2015

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CEZANNE

“The Cardplayers” by Paul Cézanne (1892/95) are flown in from London,“The Dead Toreador”  (probably 1864), a main work by Édouard Manet, is arriving from Washington. Key pieces from outstanding museums in the United States and Europe encounter the high-quality collection of late 19th-century, modern French art of Kunsthalle Mannheim. A dialogue between masterpieces begins in the lavishly refurbished Jugendstil building. For the first time, the museum in Mannheim places the focus on its most valuable art treasures and enables the audience to view rare loans from around the world.

The aesthetic shock of abstraction is considered the central event of 20th century art. French painters were at the forefront of this revolution. The story of modernity begins with Manet and his contemporaries. Monet and Renoir discovered the intrinsic value of colour. The Pointillists broke down figures and landscapes into a system of dots - painting became autonomous process: colour and light, shape and texture attained innate value. “Manet, Cézanne, Van Gogh – Guests from Around the World” provides a window onto the birth of abstract painting, in the spirit of French modernism. The exquisite French collection of the Kunsthalle Mannheim  is presented for the first time in direct comparison with masterpieces from international museums.

Guest curator Dr. Marie-Amélie zu Salm-Salm juxtaposes the works in Mannheim with carefully selected, imposing counterparts from major European and American museums, thus highlighting important artistic innovations of this unique rise to modernism - like the treatment of colour and light, questions of composition, the choice of motifs, and the use of new painting techniques. Key works by Manet, Cézanne and Van Gogh, as well as paintings by Delacroix, Courbet, Corot, Pissarro, Sisley, Monet, and Renoir enter into a fascinating dialogue of styles and motifs. The focus on top class works of French painting allows visitors an intensive encounter with the individual work and its counterpart.

Mirrored by the other, the key works of Mannheim can be newly perceived and taken to one’s heart.
A surprise waits for the visitor at the end of the tour: The view to 20th-century abstraction with pivotal works by Piet Mondrian, Ellsworth Kelly and Josef Albers, exemplarily reveal the impact of Impressionism on art and artists of the 20th century and their way of dealing with form and colour.
Dr. Marie-Amélie zu Salm-Salm (born in 1973) studied art history, philosophy and ethnology in Paris and Heidelberg and received her doctorate under Prof. Serge Lemoine. She has been a guest curator at the Musée national d'histoire et d'art Luxembourg, the Musée d’Orsay Paris and the Bundeskunsthalle Bonn.



Kunsthalle Mannheim    26.09.2014 - 18.01.2015



Website & source : Kunsthalle Mannheim    DE - EN

Website : Mannheim    DE - EN
 
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