Installation view, Expanding Abstraction: New England Women Painters, 1950 to Now, deCordova Sculpture Park and Museum, Lincoln, MA. Photograph by Clements Photography and Design, Boston.
This exhibition presents a vital yet lesser-known history of abstract painting in New England by showcasing the work of women painters with strong connections to the region. Despite their relative exclusion from mainstream and male-dominated conversations on postwar abstraction, these artists have made significant contributions to the field. Spanning from the 1950s to the present, the works on view in the exhibition expand traditions of abstract painting and testify to the artists’ unwavering productivity and creative innovation.
Drawn primarily from deCordova’s permanent collection, this survey explores diverse techniques, processes, and concepts. The exhibition and interpretation also emphasizes the artists’ contributions, connections, and reception within New England. Expanding Abstraction reveals the complexities of painting in the region and lays the foundation for a more inclusive understanding of abstraction through the late twentieth and early twenty-first centuries.
Jacques Breuer ist zur Eröffnung anwesend.
Zur Einführung spricht Dr. Britta E. Buhlmann, Direktorin des Museum Pfalzgalerie Kaiserslautern.
1893 in Bonn geboren und 1975 dort verstorben, hat Breuer in seinem Leben verschiedene Schaffensphasen durchlaufen. Von gegenständlichen Arbeiten der Neuen Sachlichkeit bis zur virtuellen Kinetik in den 70er Jahren entwickelte sich sein Werk trotz einer Biographie, die ihm weder Kriegsjahre in Russland noch Emigration, weder Verfolgung noch Internierung ersparte.
Ab 1945 arbeitete Breuer zunächst in Paris, dann abwechselnd in Paris und Bonn. Mit Kollegen wie Herbin, Kupka, Gleizes befreundet, engagierte er sich in der Pariser Gruppe Mesure und im Vorstand des Salon des Réalités Nouvelles.
Poesie und Geometrie, Rhythmus und lyrische Farbigkeit verbinden sich im Werk des bedeutenden Künstlers, wie die ausgestellten Gouachen, Zeichnungen, Collagen und Handdrucke, zum Teil aus den 50er und 60er Jahren und erstmals ausgestellt, erkennen lassen.
Galerie Thaddaeus Ropac is pleased to announce an exhibition in the Paris Marais gallery featuring the most important sculpture by Marcel Duchamp to be on the market for many years. The Porte-bouteilles (Bottle Rack), dated 1959, is considered one of the most influential sculptures from the 20 century.
The exhibition, October 2016 – January 14, 2017, is curated around this seminal work, a year which also commemorates the 100 anniversary of the term readymade, that Duchamp first coined in 1916 in a letter to his sister Suzanne.
The exhibition features Duchamp’s Porte-bouteilles from 1959, the year Robert Rauschenberg bought it ('Art and the Found Object', Time-Life Building, New York) for his personal collection – where it remained until it was passed on to the Robert Rauschenberg Foundation.
Galerie Thaddaeus Ropac has been chosen by the Robert Rauschenberg Foundation to place the sculpture in a public institution allowing for ongoing public viewing and scholarship.
Together with the Porte-bouteilles the exhibition will show a selection of drawings by Marcel Duchamp as well as other works that relate directly to the object.
A fully illustrated catalog of the exhibition will be published with newly commissioned texts by Cecile Debray, curator at the Musée national d’art moderne/Centre Pompidou, Paris, and Paul B. Franklin, specialist on Marcel Duchamp and editor in chief of Étant donné Marcel Duchamp.
English/French, 88 pages, 21 x 28 cm, October 2016
ISBN 978-2-910055-74-5
Nanda Hobbs Contemporary is proud to present their inaugural solo exhibition of Paris-based Australian artist Anthony White.
In his new body of work, 'Crossing the Rubicon', White continues to excavate ideas sourced from defining moments in history and their intersection with current global socio-political issues, to inform his contemporary image making practice.
The title 'Crossing the Rubicon draws from an important moment in the history of Western civilization, when Julius Caesar crossed the Rubicon river in Italy in 49AD and changed the genesis of modern Europe.
'The protean nature of identity is examined in White’s, Constantinople I, an ebullient network of thick chalk-white lines over a background of rich purples, blues and golds. Fundamental to the histories of both Christianity and Islam, the city of Constantinople (current day Istanbul) embodies the idea of multiplicity; the shifting, multifarious nature of identity that underlies White’s interest in geographical and cultural boundaries. Located in Eurasia at the physical limit of Europe, where West meets East, Constantinople represents the meeting place of two continents, two dominant ideologies and centuries of change. Constantinople I give us a sense of this constant state of flux, of building and rebuilding.' (Robert Maconachie)
The exhibition 'Crossing the Rubicon' at Nanda Hobbs Contemporary is accompanied by a catalog, with text by Robert Maconachie.
Der Moskauer Künstler Wladimir Nemuchin (1925 - 2016) [Vladimir Nemukhin] gilt als einer der führenden Köpfe der sogenannten Nonkonformisten, die aufgrund ihrer Hinwendung zur Abstraktion noch bis in die achtziger Jahre als zu „westlich“ von der offi ziellen sowjetischen Kulturpolitik diskreditiert wurden. Nemuchins Werk zeichnet sich durch eine abstrakt-fi gürliche Darstellungsweise aus. Großen Einfl uss hatte unter anderem das Werk Pablo Picassos auf ihn. Wie auch Picasso beweist Nemuchin ein breites Spektrum virtuos beherrschter Techniken, mit denen er spielerisch umgeht, ja, seit 1965 taucht die Spielkarte als Versatzstück in seinen Werken immer wieder auf.
Mit Acryl, Tempera und Gouache ergänzte Collagen bis hin zu Porträts auf Leinwand, Papier und Karton, Zeichnungen, Prints und Druckgrafi ken, teils bewegliche Plastiken und Skulpturen aus Holz, Porzellan und Bronze, Buchgestaltungen, Tee- und Kaffeeservices hinterlässt der im April verstorbene Künstler ein außergewöhnliches künstlerisches Werk, das erstmals als Retrospektive in Deutschland – nun posthum – gezeigt wird.
In der Ausstellung ist ein Film im Originalton mit deutschen Untertiteln zu sehen, in dem Nemuchin „sein künstlerisches Moskau“ vorstellt.
Begleitend zur Ausstellung erscheint ein Katalog.
Galerie Gmurzynska freut sich, die Ausstellung Kurt Schwitters: Merz ankündigen zu dürfen.
Exhibition Design By Zaha Hadid
Curatorial Collaboration with Adrian Notz Cabaret Voltaire, Zurich
Opening remarks by
Patrik Schumacher Director, Zaha Hadid Architects
Sir Norman Rosenthal
Adrian Notz Director, Cabaret Voltaire
Accompanying this major retrospective exhibition, of over 60 Works, will be a substantial publication with 250 pages.
Essays by Sir Norman Rosenthal, Jonathan Fineberg and Siegfried Gohr, historical texts by Kurt Schwitters, Ernst Schwitters, Werner Schmalenbach and Peter Bissegger.
Extensively illustrated With rare documentary Images and Hadid’s installation imagining a new Merzbau.
Die große Retrospektive baut auf der fünf Jahrzehnte langen Ausstellungsgeschichte der Galerie mit dem Künstler auf und bringt eine einzigartige Auswahl von 70 Werken in verschiedensten künstlerischen Techniken zusammen. Diese beinhalten Schlüsselwerke aus jeder Periode, wobei einige speziell zu diesem Anlass aus wichtigen Sammlungen geliehen wurden.
'Kurt Schwitters: Merz' wird in einem vollkommen transformierten Galerieraum präsentiert, der von der kürzlich verstorbenen Architektin und Pritzker Preisträgerin Zaha Hadid entworfen wurde. Die Zusammenarbeit entstand durch die Idee einer architektonischen Hommage Zaha Hadids an den berühmten 'Merz Bau' von Kurt Schwitters.
Tyburn Gallery is pleased to present an exhibition of new works by Mohau Modisakeng.
Modisakeng is one of the most promising young South African artists today. His practice reflects both upon the political and his own personal experiences of growing up in Apartheid and Post-Apartheid South Africa, with central themes which revolve around violence, labour, security and ritual.
Originally trained in sculpture, Modisakeng uses the technique of the self-portrait – through large-scale photographs, performance and video installations - to address issues such as his own identity and the political processes within his country. The artist uses his body to explore the influence of South Africa’s violent history, creating powerful and poetic invocations where the body is transformed into a poignant marker of collective history. Modisakeng explains: “The real work for me is in relating the visual signs and symbols of the abstract – be it in music or in my dreams – into a narrative that resonates with the collective social experience.”
The exhibition’s title Bophirima is from the artist’s mother tongue Setswana, meaning West or the direction from where the sun sets, also meaning twilight or before dusk. In two new series of photographic self-portraits, Endabeni and Ga Etsho, Modisakeng reflects on the legacy of colonialism and its effect on post-independence societies in Africa.
Metro Gallery, Melbourne, presents the second solo show of Paris based artist Anthony White. This new body of work draws upon the intersection of technology and the world of science fiction literature.
The title of the exhibition is derived from a variation of the title of the dystopian science fiction novel by H.G Wells 'The Sleeper Awakes', written in 1910.
Drawing parallels with themes of revolt and social unrest from the Wellsian novel and by juxtaposing these with today’s sense of interconnectedness and social mobility. The artist creates inspiration for the new exhibition, drawing upon themes in relation to the role of technology in current political events especially during the Arab Spring uprising of 2010.
Apart from the ongoing interest with literature the new body of work also makes reference to the gestural mark in the graffiti movement as an original form of dissent and an early form of collective violence. Through preliminary paper collages created from salvaged Paris subway advertisements.
These 13 new paintings show a preoccupation with the intersection of the gestural mark, bodily performance and corporeality drawing from the avant garde Japanese painting movement, Gutai of the 1950s. These new paintings further explore ideas of spontaneity, performance and the overlap between performative actions and gestural painting in order to gain transformative power or transcendence.
Con la mostra Bernard Joubert. La pittura al limite, la galleria Il Ponte riallaccia un filo, interrotto alla fine degli anni '70, tra l'artista francese e l'Italia. Con sguardo retrospettivo, ripercorre attraverso una ricca selezione di opere oltre quaranta anni di attività, includendo lavori dai primi anni '70 al 2015. Nella mostra è dedicato ampio spazio, al piano terreno della galleria, alle opere degli anni Settanta: dalle prime pitture su tela libera ai rubans (nastri di tela dipinta, alcuni dei quali mai esposti prima) e una selezione di opere su carta e fotografie degli stessi anni nella zona lounge. Il piano inferiore, é invece dedicato alle opere più recenti, 2010-2016, interventi pittorici su stampe e riproduzioni di dipinti delle epoche passate.
Questa esposizione presenta gli aspetti vitali e attuali di una ricerca che pur forzando in modo radicale i confini del medium pittura non lo trasforma mai in qualcosa d'altro, ma operando un'apertura (sia concettuale che materiale) ingloba nella sua anatomia strutturale elementi che vanno ad incrementare articolazioni nuove per il pensiero e per lo sguardo.
The exhibition is conceived with the desire of exploring the heritage of German Colonialism left in Namibia after the period 1884 - 1915. The exhibition, curated in collaboration with the German artist/ curator Spunk Seipel, is an attempt to discuss a very difficult chapter of our history by bringing together works by artists, based both in Namibia and Germany, who try to suggest an approach to looking at, understanding and somehow coming to terms with this challenging history.
In the last hundred years, opinions of the colonial past in Germany and Namibia have differed and the matter is still considered politically sensitive. Both the Nama and Herero people suffered the greatest losses during the extermination war lead by the German empire, but full acceptance of historical guilt remains widely unacknowledged in both countries.
This is why the "1884 to 1915- An artistic position” exhibition wants to set up a platform from which to create dialogue. Namibian as well as German artists, despite not being historians are given the opportunity to express their own, subjective views of history, by stimulating and creating discussion while raising awareness of the past.
Today you find 195530 artists, and 8096 curators in 221782 exhibitions in 12569 venues (resulting in 760502 network edges) from 1880 to present, in 1543 cities in 163 countries, plus 277 professional and private artwork offers.
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