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


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

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

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


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

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

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

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

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

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

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


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


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

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

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

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

Curator: Rein Deslé

FOMU - Show Us The Money - 24.06.2016-09.10.2016

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


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

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

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

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

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

Holburne Museum - Stubbs and the wild - 25.06.2016 - 02.10.2016


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


Maryam Najd - Mediterranean Blanket

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

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

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


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


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


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


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

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

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

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

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


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

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

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

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

Part of Edinburgh Art Festival.

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


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


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

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

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

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

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


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


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

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

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

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

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

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

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

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

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


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


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

WIth the support of Institut für Kulturaustausch

Museum van Elsene - PHOTOREALISM. 50 Years of Hyperrealistic Painting

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


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

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

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

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

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

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

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


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

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

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

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

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

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


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


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


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

FeliXart Museum - De Brabantse fauvisten - 19.06.2016-02.10.2016

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


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

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


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

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

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


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

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

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

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

Tate Britain - Painting with Light - 11.05.2016-25.09.2016


4692 - 20160821 - BELGIË - BRUSSEL - Andres Serrano - 18.03.2016-21.08.2016


As a major figure in the contemporary art scene, Andres Serrano unveils an often disturbing reality through the lens of his camera. Religion, death, sex and violence perfuse the American artist’s work and all figure in the retrospective exhibition dedicated to him by the Royal Museums of Fine Arts of Belgium.

Yet beyond these powerful themes, the exhibition reveals Serrano as an attentive witness to the world and mankind. His artistic career is shown by selecting the most symbolic images from all the series he has created. From fascination to provocation: four  works that were considered scandalous and were vandalized during past events will also be on display to question the limits of censorship. To show Serrano means to assert our basic values. Against barbarism and intolerance. Against obscurantism and inhumanity.

Royal Museums of Fine Arts of Belgium - Andres Serrano - 18.03.2016 - 21.08.2016


4691 - 20160925 - HOLLAND - EINDHOVEN - The 1980s. Today’s Beginnings? - 16.04.2016-25.09.2016


The 1980s. Today’s Beginnings? explores the long 1980s from six European perspectives, examining the relevance of this transformative decade for today. This collaborative project comprises a diverse mix of artworks, music, TV, graphic and archival material, exploring a wide set of socio-political themes through the lens of culture. The different presentations and mediation programme present cultural production that took place against the mainstream, examining its role in moments of state structures in transformation. Culture was central in responding to or predicting deep societal shifts. As Europe is in the midst of a defining transition in terms of how it sees itself and its relationship to others, it is urgent to examine key moments in identity formation and self-organisation from the recent past.
The material presented draws from projects carried out by partners of the museum confederation L’Internationale alongside research undertaken by curators at the Van Abbemuseum. Highlighting the reorientation between civil society and the state during the decade, this project aims to show the significance of developments in the 1980s for society today.
Van Abbe Museum - The 1980s. Today’s Beginnings? - 16.04.2016-25.09.2016
Website : Eindhoven    NL - EN


4690 - 20160703 - BELGIQUE - HORNU - Benjamin Monti. La nécessité de répétition - 13.03.2016-03.07.2016

Benjamin Monti. La nécessité de répétition

It is the need to draw, and repeat - like a lesson, a poem, a punishment - the image, which is the falsely naive and academic driving force of Benjamin Monti. For this exhibition at the Museum, the tenth cycle of our Amateurs' room kept for intimate works, the artist wanted to present, as a telling indicator of his obsession with drawing, three more or less identical portraits of his "grandma" which he did when he was around 7 years old; but three drawings by a child which appear disturbing when one discovers that they date from the very day on which his grandmother, clearly loved, died, thus forever disappearing from his sight.  Is it in order to show that, since then, he has never stopped discharging this duty: to be a seismograph of his existence, someone who will graphically depict its shocks? However his work is not, on the face of it, the symptom of any severe trauma. His stroke is not expressionist and comes from the clear line, placed on graph paper or on the pages of old school books in which notes and drawings can be seen that are just as clean and applied. Likewise, his figures are not personal, in the sense that they are not directly produced by his imagination, but rather are extracts from the ready-made fantasy worldof obsolete encyclopaedias, children's stories or learning manuals; namely pictures of Épinal and stereotypical models, which he applies himself to calmly copying and especially to playfully distorting. But nobody is fooled. The work of Benjamin Monti, conventional at a first glance, derives from a diversion from the right direction and the right behaviour, which is close to surrealism: consider Max Ernst's collage-novel, like La Femme 100 têtes (1929) or Une semaine de bonté (1933). If you look closely at them, it is, moreover, this same flavour of delicate perversity which is released; the fruit of the alliance between innocence and criminality, playfulness and cruelty, pleasure and suffering. Which allows us, why not, to look at them as "desiring machines".

MAC's - Benjamin Monti. La nécessité de répétition - 13.03.2016 - 03.07.2016

Website & source : MAC's    FR - NED - EN

4689 - 20161231 - DENMARK - AARHUS - From Abildgaard to Kirkeby - 09.11.2013-31.12.2016 - From Abildgaard to Kirkeby

From Abildgaard to Kirkeby

This exhibition shows a series of samples from the ARoS under the title of FRA ABILDGAARD TIL KIRKEBY. It is our ambition to tell the story of the development of Danish art over 200 years with the odd glance at foreign works.
The story begins at the end of the 18th century with N.A. Abildgaard (1743-1809), who was a pupil in the newly established academy of fine art, where he was subsequently to become a professor. In those days, it emphasis was on historical, biblical and literary motifs that could be used to adorn mansions and public buildings. In other countries it was particularly salon art that flourished, represented here by delicate portraits of women by Besnard (1849-1934) and landscape paintings by Noël (1815-1881).
At the beginning of the 19th century, the bourgeoisie discovered that they could buy art. And they wanted to have their portraits painted, to have portrayals of the beautiful Danish landscape and paintings from Italy, Greece and Constantinople, places the Danish Golden Age painters visited on their travels. Among the figures for whom this provided work were C.W. Eckersberg (1783-1853), Martinus Rørbye (1803-1848), J. Th. Lundbye (1818-1848), Constantin Hansen (1804-1880) and P.C. Skovgaard (1817-1875).


The mid-nineteenth century is marked by the wars on Schleswig and the discussion of the new Constitution. Here, national sentiments came to take centre stage as is seen for example in Jørgen Sonne’s (1801-1890) depiction of a Cavalry Skirmish near Aarhus in 1849, his portrayals of everyday country life in A Wedding and A Funeral, and the atmospheric Romantic landscape paintings that are represented in Aarhus by figures such as Janus la Cour (1837-1909). Towards the end of the century, incipient industrialism provided fertile soil for Realism’s portrayals of town life. Social poverty in the city is seen in one of the very popular works in ARoS, the painting Deserted by Frants Henningsen (1850-1908). Similarly, the dream of a better life is the theme in the portrayal of emigrants by Edvard Petersen (1841-1911). Vilhelm Hammershøi (1864-1916) captures the melancholy atmosphere in people living in silent apartments in the city.
The artists now started to leave the city in the summer and were followed by an incipient tourism. Skagen sees the establishment of an artists’ colony centred on P.S. Krøyer (1851-1909), Michael Ancher (1849-1927) and Anna Ancher (1859-1935). The artists’ own lives become a new theme, and plein air painting becomes increasingly firmly established, as is also seen in the Funen artists Th. Philipsen (1840-1920) and Johannes Larsen (1867-1961).


Modernism became established in the 1920s. Artists such as J.F. Willumsen (1863-1958), Harald Giersing (1881-1927), Edvard Weie (1879-1943) and Vilhelm Lundstrøm (1893-1950) revolutionized the imagery of art. They visited Paris and saw how Cézanne, Picasso and Matisse worked with colour shape and space as independent pictorial elements.
The next step was Surrealism in the 1930s, partly inspired by Sigmund Freud’s ideas on dreams and the subconscious. In their art, Wilhelm Freddie (1909-1995), Richard Mortensen (1910-1993), Ejler Bille (1910-2004) and Vilhelm Bjerke Petersen (1909-1957) explored the irrationality in the human psyche and the repressions hidden in it.
Richard Mortensen (1910-1993) and Robert Jacobsen (1912-1993) developed concrete art in which work with rhythm and balance was intended to create the foundations for a new and better society. People were living in the shadow of war, and fear of atomic war and the end of the world are expressed by Svend Wiig Hansen (1922-1997) in violently expressive works.


The Cobra group represents the imaginative element. Ejler Bille (1910-2004), Egill Jacobsen (1910-1998), Carl Henning Pedersen (1913-2007) and Asger Jorn (1914-1973) give free rein to imagination and emotion. Meanwhile, pop art takes its inspiration from strip cartoons and the advertisements of everyday life.
The presentation ends with Per Kirkeby (b. 1938) and his great work Nach der Abnahme from 1988. In it he gathers together the literary story, the Romantic portrayal of nature, the dream of a better world, the expressive surge of feelings and the sense of elevation in a new totality. It is precisely these elements, which we have encountered on our trip through 200 years of art developments that this gallery now presents.

ARoS Aarhus Art Museum - From Abildgaard to Kirkeby - 09.11.2013 - 31.12.2016


4688 - 20160814 - BELGIË - ANTWERPEN - Game Changers. Reinventing the 20th century silhouette - 18.03.2016-14.08.2016

The exhibition ‘Game Changers – Reinventing the 20th century silhouette’  looks at the groundbreaking work of fashion designer Cristóbal Balenciaga whose innovations in the middle of the 20th century created a radically new silhouettte, in which the body got freedom of movement and architectural volumes created a space around the body.

Along with the pioneers of haute couture in the 1920s and 1930s and later on also the designers of the 1980s and 1990s, Balenciaga provided an alternative for the prevailing constrictive hourglass silhouette. These ‘Game Changers’ looked at fashion of the 20th century from a new perspective.

Influences from Japan, such as the kimono, liberated women from their tight corsets at the beginning of the 20th century. Fashion designers such as Madeleine Vionnet, Paul Poiret and Coco Chanel shaped this freedom in the 1920s – 1930s with technical innovations and modern ideas about feminity. At the end of the 20th century, the boundaries of the female silhouette are further explored by Japanese and Belgian designers such as Issey Miyake, Yohji Yamamoto, Comme des Garçons, Ann Demeulemeester and Martin Margiela. They paved the way for new body shapes and abstract silhouettes and gave a new interpretation of what could be considered as fashion.  
The central figure in the exhibition is the Basque fashion designer Cristóbal Balenciaga  (1895-1972) who is seen as the pivotal figure between the two periods, the architect of innovation. His patterns and work are the central axis of the exhibition. Each of the other designers worked in their own way on similarly innovative ideas and shifted the boundaries of the classic feminine silhouette.

In this way, fashion becomes more than a sequence of trends; fashion is a way to shape the body, space and movement. Rei Kawakubo’s ‘Body meets Dress, Dress Meets Body’ collection of SS 1997 shows how these new shapes have become a part of the fashion vocabulary.

Haute Couture is like an orchestra, whose conductor is Balenciaga. We other couturiers are musicians and we follow the direction he gives.” Christian Dior

The exhibition unites 100 unique couture and ready-to-wear silhouets by Cristóbal Balenciaga, Paul Poiret, Madeleine Vionnet, Gabrielle Chanel, but also Issey Miyake, Ann Demeulemeester, Comme des Garçons, Yohji Yamamoto, Maison Martin Margiela. With loans from prestigious collections of the museum of Fashion Institute of Technology in New York, the V&A, MUDE Lisbon and Musée Galliera.

Mode Museum - Game Changers. Reinventing the 20th century silhouette -
18.03.2016 - 14.08.2016


4687 - 20160626 - DEUTSCHLAND - AACHEN - A MATTER OF ..... - 03.04.2016-26.06.2016


David Bernstein, Jason Hendrik Hansma,
Stéphanie Lagarde, Brenda Tempelaar

The Ludwig Forum is taking a look at the current art scene in the Meuse-Rhine region with a small exhibition series. For “Perspektive 03” we have invited four artists from the Van Eyck Academy in Maastricht. Although significant differences are evident, the works of David Bernstein, Jason Hendrik Hansma, Stéphanie Lagarde, and Brenda Tempelaar reveal a shared interest in exploring objects which, to draw on Paul Valéry, may be said to be “more intelligible to view and more mysterious to reflect upon”.

Almost 100 years ago Marcel Duchamp tried to smuggle his Fountain, the urinal turned upside down, into the exhibition space under a false name – this rupturing into its function as an object of use and an artwork ultimately led to the “reversed” thing not being exhibited. As it was then shown after all at Alfred Stieglitz’s Gallery 291 in New York – and not at the large show put on by the Society of Independent Artists – the magazine The Blind Man (1917) wrote in its defense: “Whether Mr. Mutt made the fountain with his own hands or not has no importance. He CHOSE it. He took an article of life, placed it so that its useful significance disappeared under the new title and point of view – created a new thought for that object.”

Whether artefact or ordinary object, from time immemorial the usual practice has been to try to gain a new perspective from things in the world. Over the last few years a greater interest in our relationship to things in the world is observable. On the one hand, our experience, our (collective) memory, forms the suchness of and the difference between the things we have to deal with. On the other hand however, things and their properties also determine how we see the world. They evoke imagination and speculation. And ultimately, we are – from their point of view – also merely another object in this world. It is in this spirit that the four young artists use our all-too-human penchant for fictionalizing life to present us with images and objects which challenge us to break with our entrenched views.

Curators: Lars Breuer and Holger Otten

In cooperation with the Van Eyck Akademie, Maastricht and the University of Applied Sciences Aachen/Faculty of Design.

Ludwig Forum Aachen - A MATTER OF ..... - 03.04.2016-26.06.2016



4686 - 20160605 - FRANCE - ROUBAIX - Braïtou-Sala (1885-1972). L’élégance d’un monde en péril - 19.03.2016-05.06.2016


Braïtou-Sala (1885-1972). L’élégance d’un monde en péril

Né à La Goulette, Albert Sala dit Braïtou-Sala (1885-1972) quitte sa Tunisie natale pour Paris en 1901. Élève, à l’Académie Julian, d’Adolphe Déchenaud, d’Henri Royer et de Paul-Albert Laurens, il remporte en 1916 le prix du portrait et s’impose, dans ce genre, comme l’un des plus grands spécialistes de l’entre-deux-guerres. Exposant au Salon des Artistes Français à partir de 1913, il y obtient la médaille d’argent en 1920 ; les œuvres, et notamment les portraits, qu’il envoie chaque année par la suite, sont très appréciées et remarquées par la presse du temps, notamment par L’Illustration qui offre au peintre à maintes reprises sa couverture.

De 1919 à 1939, célèbre dans le Tout Paris mais aussi dans certaines capitales étrangères, Braïtou-Sala signe plusieurs centaines de portraits mondains et organise dans son atelier, à l’occasion de leur vernissage, d’importantes réceptions. Grâce à l’entremise, dès 1919, de son ami Alex Johanides, archiviste à la Comédie-Française, sa clientèle compte très tôt quelques-unes des plus grandes actrices de l’époque (parmi lesquelles Renée Corciade, Jane Faber, Cléo de Mérode ou Renée Falconetti) mais aussi la cantatrice de l’Opéra de Paris Marthe Chenal, ainsi que plusieurs figures de la haute société parisienne et bientôt américaine.

En 1936, 1937, 1938 et 1939, c’est aux côtés de Picasso, Dufy, Braque, Chagall, Matisse, Derain ou Gromaire, qu’il représente la France à l’Exposition Internationale qui se tient au Carnegie Institute de Pittsburgh. Profondément meurtri par la disparition d’une grande partie de sa famille dans les camps de concentration nazis, Braïtou-Sala quitte Paris pour le Sud-Est de la France au début des années 1960 et meurt en 1972 en Arles dans un relatif oubli.

Associant aux rares toiles aujourd’hui en collections publiques (à Roubaix, Riom, Bordeaux, Beauvais et Boulogne-Billancourt) d’importantes œuvres demeurées en mains privées, l’exposition organisée à Roubaix (autour de la très sensible image de l’Enfant aux bretelles offerte par Françoise Sala en 2011) fait la part belle aux grands portraits mondains qui firent le renom de l’artiste dans le Paris des Années folles. Compositions très élégantes, saisissantes par la traduction virtuose des effets de matières et des jeux de lumière sur les étoffes des toilettes et les bijoux.

Elle évoque aussi les œuvres conçues dans l’intimité familiale, autoportraits et études de têtes d’enfants notamment, ainsi que les étonnantes relectures de thèmes bibliques ou mythologiques entreprises dès les années 1920 et réinvesties après guerre. Privilégiant des sujets susceptibles de mettre en exergue la beauté et la sensualité de la nudité féminine, le peintre attribue avec malice des canons et des coiffures très contemporains à ses Léda, Suzanne, Amphitrite ou Danaé, et transpose leurs aventures dans des environnements explicitement datés (parcs de châteaux à la française ou atelier du peintre notamment).

La Piscine - Braïtou-Sala (1885-1972). L’élégance d’un monde en péril - 19.03.2016 - 05.06.2016