Das Stillleben ist eine Bilderfindung, in der Objekte der Natur und des alltäglichen Lebens in verführerischer Schönheit erfasst und wiedergegeben werden. Zugleich beinhaltet das Stillleben über das Dargestellte hinaus stets eine verschlüsselte Botschaft. Zwischen der dinglichen Opulenz, die die Freuden und Genüsse des Lebens vor Augen führt, und dem Hinweis auf die Vergänglichkeit liegt die ganze Tragweite des Motivs. Deutlich wird: Natur ist unaufhaltsame Metamorphose, ein ewiger Kreislauf von Werden und Blüte, Vergehen und Tod.
Die Ausstellung "Still bewegt" setzt in 21 Filmen von 9 Künstlern die traditionelle Gattung gleichsam "in Bewegung". In den vergangenen 13 Jahren entstanden, erweisen sich diese Videos als ein bislang nicht gezeigtes Kompendium von beeindruckender Dichte.
Alle Künstler beziehen sich in ihren Filmen letztendlich auf die Stillleben der Alten Meister, also auf die „reinen“ Ursprungsmotive. Entsprechend geschieht dies nicht mittelbar durch einen vergleichenden Blick auf Stillleben des 19. oder 20. Jahrhunderts, sondern durch die Hinzunahme früher Stillleben vor allem des 17. Jahrhunderts, etwa von Gerrit Willemsz. Heda, Frans Snyders, Georg Flegel oder Abraham Mignon. Dabei setzt die Ausstellung die malerische und motivische Innovation dieser großen Stilllebenepoche mit den avantgardistischen Ausdrucksformen des Films in Relation.
"The Sovereign Forest" is an enquiry into an understanding of crime, politics, human rights and ecology in a constellation of moving and still images, texts, books, pamphlets, objects, and seeds.
Artist and social activist, Amar Kanwar is renowned for his compelling and meditative filmic essays, which evolve from documentary practice and explore the political, social, economic and ecological conditions of the Indian subcontinent. His multimedia works question the validity of historical ‘facts’ without human stories and poetry becomes a subtle but powerful force. Having journeyed through distress and dislocation, the works of "The Sovereign Forest" frequently return to the natural world and the implication of its ability to nurture and heal. Kanwar points to possible routes by which we can navigate.
The exhibition debuts a new element of "The Sovereign Forest" and a commission by the artist especially for YSP. "The Listening Benches" are Kanwar’s first sculptural objects for the open air, sited around YSP’s Bothy Garden, a place for rest, pause and contemplation overlooking the 18th century Bretton Estate.
Max Beckmann - Markus Lüpertz - Gerhard Altenbourg - TRAK Wendisch - Undine Bandelin - Dana Meyer - Ulrike Theusner
Parable and violent gestures are like a red thread through art. Hand in hand they act as a muzzle and response in times of social upheaval - the Gothic, Baroque, 20th Century and reinforced in the recent present.
Passion, faith and superstition, power, pleasure, happiness and misery are expressed in expressive parable.
Our exhibition unites established and current positions of these artistic attitude. Max Beckmann is represented, the great loner of German art of the interwar period; Markus Lüpertz and Gerhard Old Bourg available for the neo-expressionism, TRAK Wendish and Angela Hampel for the New Wild of the East and Undine Bandelin, Dana Meyer and Ulrike Theusner for the youngest generation.
Gleichnis und Gestus sind die großen Gegenspieler der Kunst. Faust auf Faust, Hand in Hand agieren sie als Vorgesicht und als Reaktion. Kriege, Revolutionen und gesellschaftliche Umbrüche sehen sie voraus und resumieren sie. Sehen wir das Paar am Werk, sprechen wir von expressiver Kunst - in der Gotik, im Barock, im 20. Jahrhundert und verstärkt in der jüngsten Gegenwart.
Der Gestus entspringt der Intuition, dem Moment, das Gleichnis der Weisheit und der Zeit. Sie gehören zusammen wie Leidenschaft und Ratio, Überschwang und Melancholie, Liebe und Tod, Kraft und Ermattung, Leben und Sterben.
The Dairy Art Centre is pleased to present ‘Island’, an exhibition bringing together the works of over forty established and emerging international contemporary artists. It is constructed as the unfolding chapters of a novel based on Aldous Huxley’s Island of 1962, utopian story and counterpart to the Brave New World written thirty years earlier.
Inspired by some of the themes of the novel, the exhibition presents a selection of works from the collection of Dairy Art Centre founders, Frank Cohen and Nicolai Frahm, whilst also including loans from the Americas, Asia and Europe, and a dozen new commissions and first-time releases.
New commissions include Swiss artist Sylvie Fleury’s giant mushrooms, a clock work by John Armleder, a new wall painting by U.S. artist Ann Craven, ambiguous material by the Order of the Third Bird, traces of evanescent wall mural by Tom Benson, new works by Ursula Mayer, and Franck Leibovici & Diemo Schwarz.
Stepping into the exhibition the visitor is invited to retrace the steps of Bloomsbury-born Island protagonist Will Farnaby, observer, actor and catalyst, as imagined by the organizers of the exhibition, or to simply meander among singular artistic proposals. 'Island celebrates the polyphonic and singular voices of the participating artists and their works, inviting the exhibition's visitors to join in a shared experience of the here and now.
La mostra dedicata a Gianfranco Baruchello – ideata con l'amico Mauro Panzera che, recentemente scomparso, non ha purtroppo potuto seguire lo sviluppo del progetto – si focalizza su nucleo di ventiquattro opere storiche, che abbracciano gli anni dal 1962 al 1978, significativo per il delinearsi del suo linguaggio fino a una completa e complessa definizione.
Attraverso la riduzione o meglio la miniaturizzazione di sistemi complessi, Baruchello su bianchi ma elaborati fondali, dà sostanza al suo Microcosmo, in cui gli elementi sezionati e ricostruiti sono definiti con miniata esattezza. Questa ricostruzione onirica e ironica, dettaglio infinitesimale dell'elemento insignificante o banale, si distende su una superficie policentrica: ogni singola minuzia, centrale e periferica a un tempo, tende a spezzare la visione d’insieme e accresce il senso di incertezza e di indeterminazione.
The exhibition devoted to the historic works of Gianfranco Baruchello was envisaged by our friend Mauro Panzera whose recent passing meant that he was unfortunately not able to follow the project to its realisation. On this occasion, albeit well aware of the importance of Baruchello’s recent oeuvre, we have tried to put together a series of twenty-four pieces from 1962 to 1978.
The compositions embrace the fundamental period of his activity when his first works came together, and he acquired his own precise code of expression by shattering or rather ‘reducing’ the world into pieces.
Behind closed doors is a group exhibition that brings together some of London’s most talented visual artists. All artists are based at the Blackhorse Lane Studios in Walthamstow, E17. This is a rare opportunity to see an exhibition that brings together all the studio artists in one show.
Neil Irons, who developed the title for the exhibition, curates the show by selecting some of the best and most interesting work that each artist has created over the last 18 months. Neil explains that the idea behind the exhibition is to explore our own sense of privacy by revealing what the studio artist get up to behind closed doors, in this case the studio doors. Although the artist might share a common space they tend to work independently from each other only sharing their thoughts and ideas when the work is complete. Irons states that, "It wasn’t my intention to fit artworks into a theme more a desire to see what if any similarities of intention were to be found in the artists working at Blackhorse Lane studios and where our differing approaches might lead. As I went around visiting the artists in their studios looking for works to select for this show I was carrying notions of privacy, intimacy and exclusion.
The artworks are quite separate, different works each reflecting their originators concerns and practice".
This autumn, the acclaimed African-American artist, Kara Walker (b. 1969) brings to London her room-size tableaux of black cut-paper silhouettes and intricate shadow works which critically explore America's underlying racial and gender tensions. They address the highly-charged themes of power, repression, violence, history and sexuality. For her much-anticipated first major solo show in the UK, Walker will fill Camden Arts Centre’s galleries with the process of her art – from large scale graphite drawings and video to new cut paper pieces which will be produced on-site.
Kara Walker runs at Camden Arts Centre from 11 October 2013 until 5 January 2014 and admission is free.
Walker’s exhibition at Camden Arts Centre will bring together two important bodies of recent work. Her "Niggerati" series of large graphite drawings, conceived as book covers for unwritten essays and works of fiction, investigate pivotal transitions in black American history and the missing narratives of the black migration. Shown alongside the video installation of her challenging shadow play "Fall Frum Grace- Miss Pipi’s Blue Tale" and other new works, including her ‘wall samplers’, wall mounted paper cut outs with mini narratives featuring ‘Civil War Revisionists and Savages’, the exhibition is an exciting opportunity for a British audience to engage with Walker’s thought-provoking works.
Marlborough Fine Art London is pleased to present an exhibition of significant works by Avigdor Arikha (1929 – 2010) from his estate.
The exhibition covers the last 45 years of Arikha’s life. He lived as an artist, writer, lecturer and curator. It will explore Arikha’s diverse use of mediums, ranging from pencil, graphite and ink brush (notably Sumi ink), drawings, etchings and aquatint prints, to oils, watercolours and colour pastels. Arikha’s estate is notable in its diversity of subject matter, in which no one genre is privileged over another. Instead, it is the execution of the works that holds utmost importance.
The transience of passing instances can be perceived in Arikha’s work, in which the unnoticed and unchecked becomes a lasting and permanent subject, revealing the strangeness of familiar objects, angles and bodies, the fragility of what we observe, and at the same time, its continuance.
Through a wide range of media from painting, sculpture and video installation, He Xiangyu playfully explores social criticism in his practice, foregrounding a refreshing humor and process-based approach. The artist’s imaginative and bold experimentation allows him to reveal structural vulnerability in today’s cultural development. In Cola Project (2012), He amounts an apocalyptic landscape of boiled residue from 127 tons of Coca Cola, in addition to other alchemic artifacts using the product. Tracing a clichéd analogy of contemporary heritage, He displays an evocative scale of grandeur while maintaining his personal attachment that precedes the narrative.
For his first presentation in Japan, He showcases a selection of works made since 2011, including those exhibited for the first time. Wisdom Tower (2013) brings together a stack of the artist’s wisdom teeth and miniature golden Chinese pagodas – a series He intends to continue with teeth purchased from third persons.
Julie Caves´ first major solo exhibition presents work from the past two years, celebrating beauty and its many juxtapositions: work and play, nature and synthesis, life and death. Caves has sensitively curated a largely site-specific show comprising of Colourist painting, sculpture and installation.
What are you looking at?
The artist peers at you on a huge scale, an intriguing look, wondering who you might be, and why you’re here at all. This close cropped self-portrait mirrors how you might feel about this show, huge eyes full of Curiosity. This show is all about that fascinating conundrum that will endlessly be debated in pubs and cafes all around the world: what is art?
Art, to Julie Caves, is all around us. There´s a fine line between a work of art and the art of nature, and she is constantly walking the tightrope between the two. This is most notably seen in her large window paintings, where she has created a series of works of views through windows, either panes in view so the window is quite apparent, and in other compositions no pane is shown so the work resembles and references traditional landscape painting. Reminiscent of Gary Hume’s enamel Door Paintings from the mid-90s, instead of confronting us with a barrier to a world beyond, Caves’ windows invite us to explore that same world, and realise it really is quite beautiful.
The exhibition is located a 5-minutes walk from the Frieze Art Fair.
Today you find 195931 artists, and 8122 curators in 221877 exhibitions in 12573 venues (resulting in 762511 network edges) from 1880 to present, in 1545 cities in 163 countries, plus 277 professional and private artwork offers.
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