International 02 Art Exhibitions 2020 International 12.03.2020 > 01.11.2021 Art Exhibitions 2020

From Miró to Barceló

1 A Century of Spanish Art

Centre Pompidou 1 Miquel Barceló Ex-voto à la chèvre 1994, Mixed media on canvas 235 × 285 cm 2 Joan Miró 1927, Oil on canvas © Sucesión Miró 3 Juan Gris View of the Bay 1921, Oil on canvas 65 x 100 cm 2 3 4

Malaga Maria Blanchard Having renewed a five- year partnership Child with an Ice Cream with the Centre Pompidou, the Centre Oil canvas Pompidou Málaga will unveil its latest 5 permanent exhibition ‘From Miró to Salvador Dalí Barceló – A Century of Spanish Art’. Surrealist Object Functioning Symbolically – Gala’s Shoe This outstanding presentation of the 1931/1973, Shoe, white marble, collection will feature throughout the photographs, glass, wax, gibbet, Centre and will immerse visitors in matchbox, hair, wooden scraper almost a hundred years of Spanish art 48.3 x 27.9 x 10.2 cm history. , surrealism, figuration © Salvador Dalí, Fundació Gala- and abstraction, painting, sculpture, film Salvador Dali / Adagp, Paris 2020 and video; there is not a single period or 6 field in the 20th and 21st century art Antoni Tàpies history that has not been dominated by The Overturned Hat Spanish artists. , Joan Miró, 1967, Painting with glue and Salvador Dalí or Luis Buñuel were the pio- marble dust on canvas neers of new ways of seeing and creating mounted on wood that continue to influence art today. 4 5 97.6 x 162.3 cm © Fundació Antoni Tàpies, Pablo Picasso This chronological pathway through a These events gave birth to moving, radical Barcelona / Adagp, Paris Vase of Flowers and century of Spanish art demonstrates the and even sacrilegious images. Their succes- Fruit Bowl extraordinary energy with which the sors Miquel Barceló, Cristina Iglesias and La All works 1943, Oil on canvas current generation of artists keeps the spirit of Ribot among others, continue to surprise us Musee National d’Art Moderne, 80.5 x 100 cm the avant-gardists alive. Their predecessors by inventing new forms of painting, sculpture Centre Pompidou, Paris, France © Succession Picasso witnessed major events in history, including and space that breathe life into the materials, © Centre Pompidou, MNAM-CCI/ exile in Paris, war and ostracism. rituals and myths of Spanish art. 6 Philippe Migeat/Dist. RMN-GP www.centrepompidou-malaga.eu International 12.03.2020 > 06.09.2020 Art Exhibitions 2020

Opposite page Jan van Eyck Portrait of Margareta van Eyck In Bruges 1439

Groeningemuseum Musea Brugge holds two of Jan Van Eyck’s most famous works in its collec- tion: 'Madonna with Canon Joris van der Paele' and 'Portrait of Margareta van Eyck'. Moreover, Musea Brugge recently acquired a 'Virgin with Child in an Interior', painted by a follower of Van Eyck. To mark the Van Eyck Year 2020, these three works have been brought together in this exhibition at Groeninge Museum.

Recent research results, re-examined archival documents, and an intriguing archaeological find shed new light on the life and world of Jan Van Eyck in the fifteenth century. Furthermore, thanks to infrared reflectograms and macro Bruges XRF images, you can also see the com- position of the paint layers and the first drawing on the panel, allowing you to discover more about the painter’s working methods.

Van Eyck cut a striking figure in lively, medieval Bruges. He was a famous painter of high repute and one of the first artists to actually sign his work. In this exhibition, you see Van Eyck, his oeuvre and his clients through the eyes of a contemporary. 2

1 Madonna with Canon Joris van der Paele 1430 2 Follower of Van Eyck Virgin with Child in an Interior 3 Madonna with Canon Joris van der Paele 3 4 Infrared reflectogram of detail www.museabrugge.be International 14.03.2020 > 03.01.2021 Art Exhibitions 2020

Opposite page Lucas Cranach the Elder Portrait of Electress & Cranach her Son 1510-40, Oil on Panel Artist & Innovator Royal Collection Trust © Her Majesty Queen Elizabeth II

Compton Verney & Park Gallery Art 2019 1 Lucas Cranach the Elder Venus and Cupid c1525, Oil on Beech panel © Compton Verney 2 Lucas Cranach the Elder Lot & his Daughters c1530, Oil on panel © Compton Verney 1 3 Lucas Cranach the Elder The Archetypal Renaissance Man Cupid Complaining to Venus Lucas Cranach the Elder (1472-1553) was 1526-7, Oil on Wood one of the most successful German © The National Gallery artists of all time. 23 4 John Currin Cranach’s of German nobility Honeymoon Nude and the leaders of the Protestant 1998, Oil paint on canvas Reformation made him a sought after © Tate portraitist in his own time. Today he is 5 best known for his seductive paintings Michael Landy of the female nude, which express Saint Apollonia temptation and its consequences. (Exhibition view) He was also a entrepreneur, founding 2013, Fibreglass sculpture a publishing business and producing © Michael Landy woodcut illustrations for Luther’s trans- Courtesy the artist, Thomas lation of the bible. Featuring some of Dane Gallery and Antiguo Cranach’s most beguiling paintings and Colegio de San Ildefonso illustrations, on loan from the National 6 Gallery, the Royal Collection, the British Pablo Picasso Compton Verney 4 5 Museum and Waddesdon Manor. Portrait of a Woman after Cranach the Younger The exhibition also showcases Cranach’s (cropped) enduring appeal and influence on a 1957, Linocut on paper range of modern and contemporary © Tate artists, including: John Currin, Isabelle 7 Hayman, Michael Landy, Wolfe von Wolfe von Lenkiewicz Lenkiewicz, Andrew McIntosh, Ishbel Adam & Eve Myerscough, Claire Partington, Pablo 2019-20, Oil on cana Picasso and Raqib Shaw. 210 x 200 cm Courtesy of Wolfe von Lenkiewicz 6 7 © Wolfe von Lenkiewicz www.comptonverney.org.uk International 19.03.2020 > 25.10.2020 Art Exhibitions 2020

En Passant

1 in Sculpture

Städel Museum Frankfurt Opposite page Little Dancer of Fourteen Years (detail) 1878/79-1881 1 Edgar Degas Grand Arabesque c1885-90 2 Edgar Degas Little Dancer of Fourteen Years 1878/79-1881 3 Edgar Degas Orchestra Musicians 1872 4 Paul Troubetzkoy 2 Giovanni Segantini 1896 Even today, a century and a half after 5 its emergence, impressionism still Bugatti fascinates people worldwide. Especially Cow Mooing the paintings, with their loose, sketchy 1901 brushwork, bright palette and depic- 6 tions of everyday scenes, are familiar to Auguste Rodin us all. The diversity of impressionism in The Head of John the Baptist sculpture, on the other hand, is a sub- 1877-78 ject that has received far less scholarly attention to date and is unknown to the broad public. 3

This will be the first major show to ex- plore the attributes of impressionist painting – such as light, colour, move- ment and ephemerality found expres- sion in sculpture. The show revolves around five artists: Edgar Degas, Paolo Troubetzkoy, Auguste Rodin, Medardo Rosso and Rembrandt Bugatti – whose oeuvres represent the various manifes- 45 tations of impressionist sculpture. 6 www.staedelmuseum.de International 04.04.2020 > 21.02.2021 Art Exhibitions 2020

1 The Ten Largest, No 7 Hilma AF Klint Adulthood 1907 7 Artist | Researcher | Medium 2 The Ten Largest, No 1

Moderna Museet Hilma af Klint (1862-1944) was a pioneer Childhood of abstraction. As early as 1906 she had 1907 developed a rich, symbolic imagery that 3 preceded the more broadly recognized The Ten Largest, No 3 emergence of abstract art. Since her Youth retrospective at Moderna Museet in 1907 Stockholm in 2013, interest in the Swedish artist has increased all over the world. This exhibition further expands our understanding of this ground- breaking artist and researcher. Hilma af Klint studied at the Royal Academy of Fine Arts in Stockholm from 1882 to 1887 where she focused on naturalistic landscape and portrait paintings. Like many of her contemporaries, af Klint Malmo also had a keen interest in invisible dimensions that exist beyond the 1 2 3 visible world. 8 11 4 The Ten Biggest, No 9 Old Age, Group IV 1907 5 Altarpiece, No 1 1915 6 The Dove, No 1 1915 7 The Evolution, No 7 10 1908 8 With few exceptions, Hilma af Klint The Evolution, No 10 never exhibited her abstract works 1908 during her lifetime. However she did 9 leave us with a radical body of work – The Evolution, No 9 unprecedented in its use of colour, scale 1908 4 5 6 9 and composition. 10 The Swan, No 9 All works When painting she was convinced that The show centres on three aspects She hoped future audiences might be 1915 © Stiftelsen Hilma af Klints Verk she was in contact with a higher con- of her life and interests – as artist, better able to sense and decode. Hilma 11 sciousness, which conveyed messages researcher and medium – that are key to af Klint made paintings for the future, The Swan, No 21 through her. revealing and understanding her art. and that future is now. 1915 www.modernamuseet.se International 07.04.2020 > 08.11.2020 Art Exhibitions 2020

Opposite page Fra Bartolommeo Raffaello Sanzio Adoration of the Child c1495, Oil on panel 1520-2020 99.1 x 98.6 cm (round) 1 Alte Pinakothek The 500th anniversary of Raphael’s Raffaello Sanzio death provides an occasion to recall the Madonna della Tenda history of his fame and to reflect on the c1513-14, Oil on panel extent his works influenced the pictorial 65.7 x 51.3 cm language of the western world in the 2 modern period. This exhibition is Raffaello Sanzio devoted to Raphael’s depiction of the Holy Family Canigiani Holy Family. Raffaello Sanzio, who was c1507, Oil on panel born in 1483 celebrated the greatest 131 x 107 cm success with his art in Rome where he 3 died 500 years ago. The many panel Friedrich Overbeck paintings and wall frescoes that he Maria and Elisabeth with managed to complete there in little Jesus and Johannes more than a decade have secured his 1825, Oil on canvas international fame to this day. 146.4 x 101.7 cm Munich

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It is uncertain whether he completed 4 his apprenticeship in the workshop of Pietro Perugino his father, who worked as a painter in The Vision of St Bernhard Urbino, or under Pietro Pierogino in 1489-90, Oil on panel Perugia. He undoubtedly showed 173 x 170.7 cm exceptional technical skill as a painter at 5 an early age and modelled his works on Andrea Del Sarto colleagues such as Perugino, Signorelli Holy Family All works and Pinturicchio. From 1504-08 Raphael c1514-15, Oil on panel © Bayerische Staatsgemälde- remained mostly in Florence and 137.6 x 104.3 cm sammlungen, Alte Pinakothek, explored Leonardo’s and Michelangelo’s Munich 34 creations in his compositions. www.pinakothek.de International 10.04.2020 > 25.10.2020 Art Exhibitions 2020

Opposite page Jan Mankes Portrait of Annie 1918 1 The Unnamable Collection Museum MORE

Museum MORE In honour of Jan Mankes’ centenary, 1 Museum MORE is displaying all Mankes Twilight Woudsterweg paintings from our own collection in the 1914 Garden Room this spring and summer, Collection Museum MORE supplemented by beautiful loans. You 2 can then admire about 35 masterpieces Self-Portrait by ‘Holland’s most tranquil painter’. 1910 Dutch painter Jan Mankes (1889-1920) Private collection commanded a great deal of interest 3 during his lifetime, and his popularity Row of trees has only grown in the course of the last 1915 century. Collection Museum MORE Gorssel

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His growing popularity is down to the And: ‘Given that pure spiritual element, 4 relatability of his oeuvre, but also his the unnameable, cannot be named, one Boy Portrait ‘language of feelings’. The sensibility has to rely on the means of material 1915 with which Mankes touched the things’. As a consequence of such Collection Museum MORE essence of small and everyday themes comments and what was written about 5 is characterised by the same modesty him following his death, Mankes is Kestrel for which he strived as a human being. viewed as an artist whose mind tried to 1910 ‘Art is manifesting spiritual life,’ wrote read the soul of things, thereby placing Private collection Mankes in 1913 to his patron Aloysius them in a different reality. Mankes died 4 Pauwels, a cigar merchant. in 1920, in Eerbeek at the age of thirty. www.museummore.nl International 06.05.2020 > 06.09.2020 Art Exhibitions 2020

Opposite page Xenia Nachher 1994 Hausner 1 Exiles 1 1 True Lies 2017 2 Albertina Museum Albertina The exhibition at the Albertina Museum Kopfschuss presents one of the most important 2002-04, Acrylic on fibreboard Austrian painters of our time. The main 130 x 152 cm focus of the show is on Xenia Hausner’s 3 practice of staging so characteristic of Nacht der Skorpione her work. For her paintings, Hausner 1995 first constructs and then photographs Sammlung Batliner spatial settings in her studio. Auto- 4 mobile fragments or train compart- Cage People ments thus naturally become inhabited 2014, Oil and acrylic on dibond places, peculiar scenarios in which 260 x 350 cm trivial objects are co-actors. It is in these environments that her protagonists interact. Her figures emancipate themselves within a predominantly female cosmos and assume roles in Hausner’s stories, which resist clear

Vienna interpretation. In fragmentary montages, the artist confronts us with our innate contradictions in close-up views that we are loathe to permit. 2 5

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And it is indeed precisely the fiction of 5 these works that makes it possible for Adler und Engel Hausner, her gaze thus sharpened, to 2005 apprehend underlying truths and reveal 6 them visually. Das blinde Geschehen 2010, Oil on dibond This show is conceived as a retrospec- 180 x 245 cm tive, beginning with Xenia Hausner’s initial works from the 1990s and All works advancing to include her recent series Courtesy Xenia Hausner and moving series, the Exiles. © Bildrecht, Wien, 2020 3 www.albertina.at International 09.05.2020 > 15.08.2020 Art Exhibitions 2020 Katerina Belkina Spaceless

1 Light & Heavy

Galerie Z22 Galerie There is an average Russian city where Opposite page the flight of time has stopped. Samara, Revolution Street my hometown is a racy city, which 2014, Archival pigment print nevertheless seems faceless. From time 120 x 100 cm to time, something is created there and 1 something is destroyed. It is messy and Katerina Belkina full of contrasts, being simultaneously Self-Portrait heavy and light, rich and poor, beautiful 2 and ugly. It is the quintessence of the The Race most common city in the world. It has 2014, Archival pigment print

Berlin everything and nothing. I get amazed 100 x 130 cm and excited by such places. Women 3 form the most brilliant representation Crossing the Red Army Street of this place. Life in such a city is not 2014, Archival pigment print comfortable for a woman, and she seeks 100 x 130 cm to escape, but to escape you need a 4 guarantee that you end up in a better Circus place to live. The fact you are a woman 2014, Archival pigment print grants you no pleasure and no future. 2 100 x 130 cm

You are constantly confronted with Under the pressure of society and Underwear here serves as a symbol of races, showing off and stress of especially of her own, she lives in a con- our last protection. Every woman is competitions. A woman is supposed to stant state of market competition for a supposed to exhibit herself as a commo- keep level with men, she is a consumer, place next to the man. Visually there are dity, but at the same time, she tries to but at the same time, she is also a no men in this series. Yet we feel their maintain her dignity. This is a boundary commodity. presence and influence at every turn. between freedom and subjection.

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3 4 www.galerie-z22.com International 09.05.2020 > 15.08.2020 Art Exhibitions 2020

1 Katerina Belkina Katerina Belkina Self-Portrait Spaceless 2 Revelation of Venus 1 Two-Room Apartment 2018, Archival pigment print 100 x 100 cm Galerie Z22 Galerie A two-room apartment is not just the 3 most common type of a city home; it Kitchen Story also represents a coordinate system for 2018, Archival pigment print a typical urbanite. More than a half of 100 x 100 cm my life I spent in two-room apartments. 4 The world is becoming more open to Sunday Morning doing business, communicating, 2018, Archival pigment print traveling, and establishing connections, 150 x 150 cm and yet our life is becoming more and 5 more secluded. The world seems Besrat - Good News

Berlin compressed to the size of a small 2017, Archival pigment print apartment. 100 x 100 cm

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Day in and day out our bodies are living This very dissonance splits ourselves through the motion within one or two more and more into two separate spaces at the most, and on the route rooms, that of the mind and that of the between them. Each day starts with a body. The photographic background of certain ritualized sequence of actions. each piece of the project was shot in At the same time, our minds are this or that corner of the dwelling where pondering over and sorting out global my life revolves. The video works as a political conflicts, economic crises, peeping hole of sorts or as a window information wars or actual wars. Our across the street through which one can minds are traveling around the world watch or rather spy on my daily not at all and communicating with those of the special actions, on my fussing around or others no matter how far apart they are. my slowing down and hear the latest 4 6 Our minds are processing tons of data news or a five-minute meditation track. 11 millilitre per minute about totally strange people and places. Like an astronaut on a spaceship, I wake I get connected to the rest of the world 6 2019, Archival pigment print We are passively participating in the life up and start my daily routine. I work, and rest while absorbing information. Spaceless 100 x 100 cm of the global community, and our I get my chores done, care about my Thirty years ago, the world was a 2019, Archival pigment print participation has no geography while family and then I’m out on my space- completely different place. This period 150 x 150 cm our physical actions certainly have. walk into orbit on the internet. seems a turning point. www.galerie-z22.com International 09.05.2020 > 30.09.2020 Art Exhibitions 2020

Opposite page Helen Beard Bonita 2020, Oil on canvas 1 The Desire Path 180 x 140 cm 1 Reflex Reflex is pleased to host the It’s Complicated artist’s first solo exhibition at the gallery. 2020, Oil on canvas While Beard’s artistic practice encom- 100 x 136 cm passes different mediums, including 2 collage, sculpture, ceramics and needle- Pink Moon point, The Desire Path focuses on her 2020, Oil on canvas Amsterdam painting and features work in a diversity 90 x 80 cm of sizes, ranging from small studies to 3 large-scale canvasses. Illicit Kisses 2020, Oil on canvas The artist’s small acrylic on board works 150 x 130 cm function as preliminary studies for her 4 oil on canvas paintings, in which she Tulip instinctively chooses the colours for 2020, Oil on canvas her compositions. 80 x 62 cm

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Born in Birmingham in 1971, Helen Beard 5 studied at Bournemouth & Poole Leda and the Swan College of Art & Design. She now lives 2020, Oil on canvas and works in Brighton. 150 x 130 cm 6 Visually exciting – bright, dynamic and Meaningless Recreation voyeuristic – the work of Beard wields 2020, Oil on canvas colour, texture and abstraction as tools 200 x 185 cm to take back ownership of sexual imagery from the predominantly male © Helen Beard gaze. Beard’s work explores themes Courtesy of Reflex Amsterdam relating to gender, sexual psychology and eroticism, forever unapologetic in 4 5 her depictions of female desire. www.reflexamsterdam.nl International 19.05.2020 > Art Exhibitions 2020

Opposite page Back to the Present Daniel Richter The Problems of Ours New Perspectives | New Work 2015, Oil on canvas 200 x 170 cm 1 THE COLLECTION FROM 1945 TO TODAY Deutsche Bank Collection

Städel Museum Starting on 19 May 2020, the Städel Museum’s Collection of Contemporary Art will be presented anew for the first time. A total of approximately 230 works by 170 artists of various schools, styles and groups will reveal surprising comparisons, viewpoints and visual axes between the immediate present and its roots in past decades.

In honour of the occasion, a large number of the museum’s most recent acquisitions and gifts will be on exhibit for the first time, for example works by

Frankfurt Miriam Cahn (born 1949), René Daniëls 4 (born 1950), Carlos Cruz-Diez (1923-2019), Jimmie Durham (born 1940), Asta 1 Gröting (born 1961) and Victor Vasarely Miriam Cahn (1906-1997). Muttertier (1949) (original title), 1998, Oil on canvas 84 x 100 cm Property of the Städelscher Museums-Verein eV 2 Robert Breer Untitled c1950, Oil on canvas 164 x 133.5 cm Property of the Städelscher Museums-Verein eV © 2017 Robert Breer Courtesy of the Artist’s Estate 3 Francis Bacon 23 Study for the Nurse in the Film ‘Battleship Potemkin’ With a wide array of narrative threads, Another will be the advent of gestural in all its various forms and thematic by Eisenstein the new presentation will allow painting and its impact on the genera- premises. As visitors move through the 1957, Oil on canvas experiencing post-1945 art from a tions that followed. The presentation exhibition, they will gain insights into 198 x 142 cm thematic rather than a chronological will also address itself to the aesthetic of how the figure found its way back into © The Estate of Francis Bacon point of view. The dissolution of the geometry and objects of everyday life – the picture, how painting conquered depicted object in formless, abstract an aspect that turns up time and again ‘real’ space, how the alleged competitors All works painting, as seen in works of different in the period in question, charged with painting and photography entered into Städel Museum, Frankfurt decades, will be one thematic focus. ever new meanings and references – a mutual exchange, and much more. © VG Bild-Kunst, Bonn 2019 www.staedelmuseum.de International 01.06.2020 > 06.11.2020 Art Exhibitions 2020

Opposite page Isaac Israels Breitner v Israels Two Maids on the Lijnbaans- gracht in Amsterdam 1 Friends & Rivals 1894, Oil on canvas 101 x 75 cm Museum Den Haag A major exhibition about the artistic Groninger Museum rivalry between the painter friends 1 George Hendrik Breitner & Isaac Israels. Isaac Israels In the spring of 1892, Isaac Israels The Coffee Sorters (1865-1934) stood face to face with a c1893, Oil on canvas beautiful snow-covered in the 60 x 86 cm window of an art gallery in Amsterdam. Kunstmuseum Den Haag It was a painting by George Hendrik 2 Breitner (1857-1923) and it made a Isaac Israels devastating impression on him. Donkey Ride ‘I thought to myself: I give up, it’s point- c1898-1902 Oil on canvas less competing with such work,’ Israels 50 x 70 cm wrote to a friend. But previously the Kunstmuseum Den Haag roles had been reversed. Breitner, seven 3 years older than Israels, had been forced George Hendrik Breitner to observe enviously from the sidelines Three School Girls on the as the child prodigy made his entrance Bridge near Westermarkt

The Hague into the art world at the tender age of 16. 2 c1895, Oil on panel 24.5 x 32.5 cm With his faultless technique, the son of The mutual rivalry between these two In the end both men were celebrated Private collection Jozef Israëls was seen as the crown painters created tensions for years. artists and no longer painted the same 4 prince of Dutch painting. But as Israels Throughout their careers, Breitner and subjects: their artistic paths had George Hendrik Breitner tried to break free from his famous Israels admired, envied and inspired diverged. While Breitner increasingly Girl in a Red Kimono father, he aspired to the looser touch each other and their many years of sought peace and painted bleak images, c1893, Oil on canvas with which Breitner had begun to competition spurred each of them to Israels painted sunny seaside scenes in a 82 x 53.5 cm achieve success. attain greater heights. bright palette. Kunstmuseum Den Haag 5 George Hendrik Breitner Factory Girl c1893, Oil on canvas 109 x 79 cm Kunstmuseum Den Haag

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www.kunstmuseum.nl International 04.06.2020 > 23.08.2020 Art Exhibitions 2020

Ren Hang

1 Nudes

Centro per l’Arte Contemporanea Luigi Pecci Prato We were born nude… Opposite page I just photographed things in their Peacock 2016 more natural conditions. 1 Ren Hang Portrait Plant 2012 2 Explicit as well as poetic, the work of the Nude 2016 acclaimed Chinese photographer and 3 poet Ren Hang (1987- 2017) is exhibited Untitled 2012 for the first time in Italy with a selection 4 of 90 photographs accompanied by a Muur 2016 portfolio that documents the backstage 5 scene at a shoot. Ren Hang is known Two Girls Dress 2016 above all for his research on the body, identity, sexuality and the relationship between humans and nature, with new All works generation, free and rebellious Chinese Courtesy Stieglitz 19 youths as the protagonists. 2 and Ren Hang Estate

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For the most part nude, his subjects’ Although often provocatively explicit in sense of mystery and formal elegance faces appear unmoved and their limbs the display of sexual organs and the that appears poetic and, in some ways, bent into unnatural poses. Swans, poses, which at times refer to sadomaso- melancholic. The models, which are all peacocks, snakes, cherries, apples, chism and fetishism, Ren Hang’s images similar to each other, are transformed flowers and plants are used as props but are difficult to define, shocking and at into sculptural forms where gender is ones that have great evocative power. the same time pure, permeated by a not important. www.centropecci.it International 05.06.2020 > 27.09.2020 Art Exhibitions 2020

Don Opposite page Shell-shocked US Marine 1 McCullin The Battle of Hue 1968, Printed 2013 Tate Liverpool A major retrospective of the legendary Artist Rooms Tate and British photographer Sir Don McCullin. National Galleries of Scotland Renowned as one of Britain’s greatest Presented by the artist 2014 living photographers, McCullin has © Don McCullin captured images of conflict from 1 around the world including Vietnam, Woods near My House, Northern Ireland, Lebanon and Biafra. Somerset Often taken at great personal risk, these c1991 unforgettable photographs will be Tate Purchased 2012 shown alongside McCullin’s work made © Don McCullin in the north of England, his travel 2 assignments and his long-term engage- Protester, ment with landscape. Originally shown Cuban Missile Crisis,

Liverpool at Tate Britain in spring 2019, the Whitehall, London exhibition presents more than 250 1962 photographs and showcases the scope © Don McCullin and achievements of his career. 2 3 Liverpool Don McCullin began taking photo- own initiative, funding the trip himself, to Cyprus and Beirut. The exhibition © Don McCullin graphs in 1958, documenting his to photograph the building of the Berlin includes some of McCullin’s most iconic 4 surroundings and local community in Wall. The images he took won him a and poignant photographs. For the Liverpool his native Finsbury Park, London. In British Press Award and a permanent presentation at Tate Liverpool the c1970 1959 his photograph The Guvnors, a contract with The Observer. Working exhibition will show additional photo- © Don McCullin portrait of a notorious local gang, was first for The Observer and then The graphs further depicting life and 5 published in The Observer, launching Sunday Times Magazine, McCullin went industrial scenes of Liverpool and other Don McCullin his career as a photojournalist. In 1961, on to capture major conflicts around northern towns and cities during the 2020 McCullin travelled to Germany on his the world from Vietnam and the Congo 1960s and 70s. © Tate Liverpool (Roger Sinek)

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www.tate.org.uk International 06.06.2020 > 18.07.2020 Art Exhibitions 2020

Daniel Richter

7 So Long, Daddy

Galerie Thaddaeus Ropac ThaddaeusGalerie ‘So long, Daddy’ is an exhibition of new 1 paintings by Daniel Richter, influenced Skinners by scenes of Greek mythology and, in 2020, Oil on canvas particular, the flaying of Marsyas, a satyr 230 x 170 cm who was punished for challenging 2 Apollo. The artist has translated the Der leere Demagoge associated materiality of soft skin 2020, Oil on canvas against sharp blades into a new visual 230 x 170 cm language, drawing on the stark tactile 3 contrast inherent in the myth, rather Mangodance than the narrative itself. Celebrated for 2020, Oil on canvas his riotous compositions of tangled 230 x 170 cm limbs, his fantastical landscapes and his 4 prescient depictions of socio-political An der Fichte events, Daniel Richter’s newest paintings 2020, Oil on canvas are populated by dynamic, writhing 244 x 186 cm bodily forms that appear to levitate and 5 collide, animated by vivid colouration In Messern 1 2 3 and heavy black outlines. 8 2020, Oil on canvas 244 x 186 cm In this new series of large-scale canvases, Instead, the artist describes himself as 6 anthropomorphic figures and tangled being driven by two opposing female Oh, Flamingos limbs are depicted through lines and forces: the voice of a little girl and an 2020, Oil on canvas

London fields of colour suspended in an obscure, older mother figure, each offering their 244 x 186 cm unresolved space. respective views on the world, one 7 light-hearted and the other realist and Portrait of Daniel Richter This turmoil, set against flat pictorial sardonic in tone. Photo: Shawn Dell backgrounds, comprises subtle grada- 8 tions of colours ranging from warm, rusty In this new body of work, he continues Installation view (left to right) oranges and bright yellows to iridescent to explore the extremes of balance, in Vollmondig (2020) blues reminiscent of sky or ocean. the relationships between dark and Der leere Demagoge (2020) light and the contrasts between colours. Vogeltrost, dahin (2020) While their backgrounds recall poly- Photo: Ulrich Ghezzi chromatic fantasy landscapes, which The dynamic in my work is mainly 9 nonetheless elude spatial orientation or based on pushing and shoving, Installation view understanding, the figures seem to or on elements that are being Assyrer und Hebräer (2020) levitate and intertwine in violently confronted by each other – Photo: Ulrich Ghezzi distorted poses that convey a sense of mingling, pushing, pulling. 4 5 6 9 abstraction. Despite the underlying violence, © Daniel Richter / the powerfully polychromatic Bildrecht, Wien 2020 The exhibition’s title, So long, Daddy., works convey a touching sensuality Photos: Jochen Littkemann refers to the artist’s personal sense of the and beauty that effectively counter- All works Courtesy Galerie absence of a guiding male figure within balance this relentless energy. Thaddaeus Ropac, London, himself. Daniel Richter Paris & Salzburg www.ropac.net International 06.06.2020 > 29.11.2020 Art Exhibitions 2020

Opposite page Rogier van der Weyden Reunited The Descent from the Cross Before 1443, Oil on panel 1 The Museo del Prado Collection 204.5 x 261.5 cm

Museo Nacional del Prado The Central Gallery, an extensive architec- 1 tural space flooded with natural light, Installation view now becomes the principal axis for this 2 new hanging which includes the Diego Rodríguez de Silva y majority of the collection’s most iconic Velázquez works, offering a unique and unprece- Las Meninas dented experience. Juxtaposed for the 1656, Oil on canvas first time, The Annunciation by Fra 320.5 x 281.5 cm Angelico and The Descent from the 3 Cross by Rogier van der Weyden Reunited (collage) welcome visitors to an installation Photo particularly rich in exceptional dialogues. © Museo Nacional del Prado. 4 The two versions of Saturn by Goya and Fra Angelico Rubens can now be seen side by side The Annunciation while Las Meninas and The Spinners c1426, Tempera on panel share space in Room XII. 220 x 262 cm Madrid

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Alongside in Room XII is an exceptional emphasis on national schools has been 5 ‘polyptych’ of Velázquez’s Buffoons. reduced in favour of establishing Diego Rodríguez de Silva y dialogues between artists and paintings Velázquez This new installation, comprises 249 separated by time and place: associa- Pablo de Valladolid works, follows a principally chrono- tions that suggest influences, admiration (Buffoon) logical order from the 15th century to and rivalries and which emphasise the 1625, Oil on canvas the dawn of the 20th century. Given its profoundly self-referential nature of the 209 x 123 cm 4 exceptional nature, however, the Museo del Prado’s collections.

www.museodelprado.es International 18.06.2020 > 31.07.2020 Art Exhibitions 2020

Ewa Juszkiewicz Exhibition title taken from poem by Emily Dickinson The Grass divides as with a Comb

Almine Rech Gallery Almine Rech Gallery My gestures are the tools to break Opposite page a cliché and overturn a well-known Untitled order. I replace what is classical and After Joseph Wright connected with the canon into what 2020, Oil on canvas comes from nature and senses. 160 x 125 cm Paradoxically, by covering these 1 portraits I want to uncover Untitled individuality, character, emotions. 90 x 70 cm I want to bring out the vitality. 2 Ewa Juszkiewicz Untitled After Élisabeth Vigée Polish artist Ewa Juszkiewicz’s presenta- Le Brun tion comprises six works on canvas that 2020, Oil on canvas expand on the artist’s deconstruction of 160 x 120 cm traditional, historical portraits. 12 3 Untitled After Joseph van Lerius 2020, Oil on canvas

London 70 x 55 cm 4 Untitled After Adélaïde Labille- Guiard 2020, Oil on canvas 100 x 80 cm 5 Untitled After Élisabeth Vigée Le Brun 2020, Oil on canvas 345 130 x 100 cm

In 2009, Ewa Juszkiewicz developed By concealing it behind floral arrange- By covering female faces and displaying All works a practice of concealing her subjects’ ments, draped fabric, and cascading their transfiguration, Juszkiewicz Courtesy of the Artist identity behind distorted, grotesque tresses, she obliterates superficiality, revitalizes Art History through a unique and Almine Rech facades or masks. This has evolved into the objectification of prevailing language. The re-use of the works by Photography a body of work that confronts the repre- standards of attractiveness. 18th-century female painters are Melissa Castro Duarte sentation of women in art history. modern tributes to the rare female Juszkiewicz’s portraits recall paintings artists who advocated for women Loosely basing her paintings on existing by Élisabeth-Louise Vigée Le Brun, seeking the same opportunities as their images, she literally defaces them, com- Adélaïde Labille-Guiard, Joseph Van male counterparts. By applying skills in pletely removing, arguably, the most Lerius, and Joseph Wright, sending us replicating elements of the old masters, recognizable element of such work, into a world that is both classical and she captures the luster of silk and velvet, rendering the subject’s physiognomy. surrealist. dewy plant leaves and glowing skin. www.alminerech.com International 25.06.2020 > 16.08.2020 Art Exhibitions 2020

Jacco Olivier Monkeys

Galerie Ron Mandos Galerie Opposite page Untitled (Monkeys) 2020, Acrylic on linen 90 x 70 cm 1 Untitled 2 (Monkeys) 2020, Acrylic on linen 70 x 50 cm 2 Untitled 20 (Monkeys) 2020, Acrylic on linen 75 x 55 cm 3 Untitled 11 (Monkeys) 2020, Acrylic on linen 1 75 x 55 cm Amsterdam

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Changez! Those large works have a more planned Jacco Olivier was born in 1973 in Goes, 4 Art Brussels in Amsterdam structure and need a different handling The . He lives and works in Untitled 19 (Monkeys) ‘Monkeys’ by Jacco Olivier forms part of than the smaller, more intuitive paint- Amsterdam and is a graduate of the 2020, Acrylic on linen Ron Mandos’ presentation at this annual ings of monkeys. The smaller paintings Rijksakademie van beeldende kunsten, 85 x 65 cm art fair. are more exploratory and introspective, Amsterdam. He has exhibited world- almost like self-portraits. In a long wide, notably at ZKM, Karlsruhe; © The Artist Recently, Jacco Olivier started a series of historic tradition of monkey paintings Sammlung Goetz, Munich; Victoria Miro Courtesy Galerie Ron Mandos, monkeys as a counterpart to a series of (‘Singerie’), Olivier presents us a contem- Gallery, London; Marianne Boesky Amsterdam very large paintings of circles, planets porary vision of these animals and their Gallery, New York ; Dordrechts Museum, and galaxies. resemblances to human beings. Dordrecht; MCA Denver, among others. www.ronmandos.nl International 25.06.2020 > 16.08.2020 Art Exhibitions 2020

1 Renato Nicolodi

Galerie Ron Mandos Galerie Changez! 1 & 5 Art Brussels in Amsterdam Statio II The architectural work of Renato 2020, Messing (Brass) Nicolodi is monumental and forms part 21 x 21 x 15.6 cm of Ron Mandos’ presentation at the fair. 141 x 28.5 x 28.5 cm (including pedestal) It is only when the viewer steps onto the Edition of 7 plus 2 artist’s proofs work and inspects it from close range, 2 that he can obtain a clearer understand- Trias III ing of the work, as if he is invited to take 2020, Acrylic on wooden panel part in a visual and physical search 126 x 126 cm (including oak within the architectonic forms he has frame) created. Different vantage points and 3 views reveal subtle games of light grada- Statio II (detail) tions with the constantly recurring sub- 2020, Messing (Brass) jective black space, that remains inacces- 21 x 21 x 15.6 cm sible for the viewer, coaxing one into 141 x 28.5 x 28.5 cm (including reflection. Pure formalistic language is pedestal)

Amsterdam given an almost sacred priority. 4 Installation view Nicolodi was born in 1980, in Anderlecht in Belgium. He studied at Sint-Lukas in Brussels, and is a laureate at the Higher © The Artist Institute for Fine Arts (HISK) in Gent. Courtesy Galerie Ron Mandos, He lives and works close to Brussels. 2 Amsterdam

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Transcendentium III Nicolodi’s work can be found in SFMOMA, Genk; The city of Lokeren; Ekard Collec 2020, Acrylic on wooden panel San Francisco; Beelden aan Zee, Scheve- tion, Wassenaar; Achmea collection, Zeist; 203 x 203 cm (including oak ningen; the collection of the province of Houthoff Buruma, Amsterdam; Cobra to frame) Oost-Vlaanderen, Belgium; the province Contemporary (Brown Family Collection) 3 of Vlaams-Brabant, Belgium; the city of and many other international collections. 5 www.ronmandos.nl International 01.07.2020 > 27.09.2020 Art Exhibitions 2020

Opposite page Wim Oepts Landschap 1971 1 1 Code Yellow & Sunny Stadsgezicht 1975

Museum Henriette Polak Museum Henriette Polak in Zutphen is well-known in the Netherlands as a museum which specialises in figurative art, sculptures and paintings predomi- nantly, which are firmly based in the academic tradition, yet the artists in the permanent collection do not shy away from experiments and abstraction. 4 The work of Dutch artist Wim Oepts is a good example. He was born in Amster- dam in 1904, and died in Paris in 1988. His work was highly diverse, ranging from Social influenced by Charley Toorop, to pieces with a clear fascination for artists like Henri Matisse and Pierre Bonnard. His paintings of the South of France resonate with the public, causing them to come back to the museum time after time. 2 5

Museum Henriette Polak which owns the largest collections of paintings by Zutphen Oepts in the Netherlands, presents ten colourful impressions of the French countryside basking in the warmth of the sun. The mountainous landscape, purple lavender fields, leafy village 2 streets and squares evoke an atmos- phere of well-being. 6 The surface has to vibrate… I leave 2 out that what I consider inconse- Dorpscafé 1954 quential and attempt to translate 3 that what remains into colour’. Bomen in Landschap 1967 Wim Oepts 4 Untitled (Dorpsgezicht) 1978 This presentation is supported by 5 Vereniging Rembrandt and the Turing Provence 1967 Foundation to showcase the strenght of 6 3 permanent museum collections. Compositie 1979

All works Collectie Museum Henriette Polak

www.museazutphen.nl International 03.07.2020 > 11.10.2020 Art Exhibitions 2020

Opposite page László Moholy-Nagy LIS Smoke & Mirrors 1922, Oil on canvas 131 x 100 cm 1 The Roaring Twenties Kunsthaus Zürich, 1981

Kunsthaus The 1920s were a decade of both pro- gression and backlash. A catastrophic world war followed by a pandemic with remarkable parallels to the current corona crisis awakened people’s thirst for life. At no time in the 20th century was the desire for change more intense. Urban visions were created and cities grew at breakneck speed. Conventional role models in society and marriage Zürich were questioned and upended; dis- advantaged and oppressed minorities 4 made their voices heard in politics and culture. Improved conditions for 1 workers went hand in hand with a Félix Vallotton growing leisure industry. The spirit of Woman with Powder innovation fed through directly into art, 1921. Oil on canvas with experimentation in all disciplines. 82 x 100 cm Remarkably, none of its products have Private collection lost any of their relevance. 2 Christian Schad Unlike many exhibitions devoted to the Maika 1920s, this presentation does not 1929, Oil on wood examine movements such as Bauhaus, 65 x 53 cm Dada, New Objectivity or the design Private collection and architecture icons of modernism in © Christian Schad Foundation isolation, but instead places them in 3 dialogue, shedding light on the stylistic Theodore Lux Feininger heterogeneity typical of those trans- Xanti Schawinsky formative years. 2 Untitled c1927, b/w photograph, painted Focusing on Berlin, Paris, Vienna and Heinrich Hoerle, Hannah Höch, Karl 23.2 x 17.9 cm Zurich, the exhibition incorporates all Hubbuch, Wassily Kandinsky, , Private collection the prevalent media of the time, from Le Corbusier, Fernand Léger, Jeanne © Estate of Theodore Lux Feininger, painting, sculpture and drawing to Mammen, Elli Marcus, Fabian Marti, © Xanti Schawinsky Estate photography, film and collage. With László Moholy-Nagy, Lucia Moholy, Piet 4 contributions from Josef Albers, Hans Mondrian, Nicolas Party, Man Ray, Hans Marianne (My) Ullmann Arp, Kader Attia, Johannes Baargeld, Richter, Gerrit T Rietveld, Ludwig Mies Modest Josephine Baker, Marc Bauer, Erwin van der Rohe, Thomas Ruff, Christian 1925, Tempera on canvas Blumenfeld, Constantin Brancusi, André Schad, Xanti Schawinsky, Kurt 61.2 x 61.2 cm Breton, Marcel Breuer, Coco Chanel, Schwitters, Shirana Shahbazi, Edward University of Applied Arts Vienna, Dodo, Theo van Doesburg, Marcel Steichen, Niklaus Stoecklin, My Ullmann, Art Collection and Feininger Duchamp, Max Ernst, Theodore Lux Félix Vallotton, Madeleine Vionnet and Archive 3 Feininger, Barthel Gilles, George Grosz, Gustav Wunderwald, among others. © The Estate of My Ullmann

www.kunsthaus.ch International 04.07.2020 > 15.11.2020 Art Exhibitions 2020

Opposite page Paris Juan-les-Pins, Evening In the Days of Post-Impressionism 1914, Oil on canvas Private collection 1 SIGNAC AND THE INDEPENDANTS 1 Maximilien Luce Musée des Beaux Arts Montreal Arts Musée des Beaux The Montreal Museum of Fine Arts The Sambre, Marchiennes (MMFA) invites visitors to journey to the 1899, Oil on canvas artistic ebullience of France at the turn Private collection of the 20th century with its exhibition 2 Paris in the Days of Post-Impressionism: Paul Signac Signac and the Indépendants. Discover Saint-Tropez, a magnificent body of 500 paintings Fontaine des Lices and graphic works from an exceptional 1895, oil on canvas private collection, and the largest Private collection collection of works by Paul Signac, that 3 includes pieces by Signac and by Theo Van Rysselberghe avant-garde artists, Impressionists Élisabeth Van Rysselberghe (Monet, Morisot), Fauves (Dufy, Friesz, with a Straw Hat Marquet), Symbolists (Gauguin, Redon), 1901, Oil on canvas Nabis (Bonnard, Denis, Lacombe, Private collection Sérusier, Ranson, Vallotton), 4 Neo-Impressionists (Cross, Luce, Félix Vallotton Pissarro, Seurat, Van Rysselberghe) and Nude Women in an Interior observers of life in Paris (Anquetin, c1897, Tempera, pastel on canvas Degas, Ibels, Lautrec, Picasso Steinlen). 2 Private collection

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Visitors can discover the social and defended the idea of an artistic event Neo-Impressionism, the Nabis move- 5 pictorial issues of the era and what with ‘no jury, no awards’. Art, they ment, Symbolism, Fauvism and Cubism. Maurice Denis prompted a group of artists led by believed, had to be accessible. From its The exhibition also situates the Indépen- The Cook Signac to create the Salon des inauguration in 1884 to World War I, the dants in the socio-cultural and political 1893, oil on canvas Indépendants in 1884, where they Salon was a hub for major trends like context of Paris during the Belle Époque. Private collection www.mbam.qc.ca