DOCSLIB.ORG

Jesús Rafael Soto 1923, Ciudad Bolívar (Venezuela) - 2005, Paris (France) Ground Level

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jesús Rafael Soto 1923, Ciudad Bolívar (Venezuela) - 2005, Paris (France) Ground Level Jesús Rafael Soto 1923, Ciudad Bolívar (Venezuela) - 2005, Paris (France) GROUND LEVEL SOLO SHOWS (Selection) 2015 “Chronochrome” Galerie Perrotin, Paris and New York 2014-2015 “Pénétrable de Chicago”, The Art Institute of Chicago (6 October-15 March) 2014 “Jesús Rafael Soto: Houston Penetrable”, Museum of Fine Arts, Houston, USA “Petite progression “Ecriture (Ecriture “Progresión elíptica “Ecriture Fiac 99”, “Grand Tes Jaune” 2013 “Soto dans la collection du Musée National d’Art Moderne”, Centre Pompidou, Paris 2012 “Soto: Paris and Beyond, 1950-1970”, Grey Art Gallery, New York (10 January-31 March) rosa et blanche”, 1976 noire)”, 1982 rosa y blanca”, 1974 1999 1979 2005 “Soto – A construcao da imaterialidade”, Centro cultural Banco do brasil, Rio de Janeiro (27 April-3 July) Paint on metal Paint on wood and Paint on metal Paint on wood and Paint on wood and metal 1997 “Jesús Rafael Soto”, Galerie nationale du Jeu de Paume, Paris (January-March) 14 x 50 x 50 cm metal, nylon 260 x 243 x 150 cm metal, nylon 253 x 253 x 17 cm 1/4 3/4 1/16 1/2 1/2 3/4 touring: Stiftung fur Konkrete Kunst, Reutlingen, Germany (20 April-22 September) 51/2 x 193/4 x 193/4 in. 250 x 506 x 30 cm 102 x 95 x 59 in. 208 x 203 x 40 cm 99 x 99 x 6 in. 1/2 1/4 3/4 3/4 3/4 1993 “Retrospective”, Fundação de Serralves, Porto (April-June); touring: Musée des Beaux-arts de Pau, France (January – March) 98 x 199 x 11 in. 81 x 90 x 15 in. 1992 “Rétrospective”, Abbaye Saint-André, Centre d’Art Contemporain, Meymac, France (July-September) “Rétrospective”, Le Carré / Musée Bonnat, Bayonne, France (October-December) 1990 “Jesús Rafael Soto”, The Museum of Modern Art, Kamakura, Japon, (19 May-10 June); touring: The Museum of Modern Art, Saitama, Japan (16 June-9 August) ; Iwaki City Art Museum, Japon (18 August-24 September); Itami City Museum of Art, Japan (23 November–20 January) STAIRWELL LOWER LEVEL “Jesús Rafael Soto”, Josef Albers Museum, Quadrat, Bottrop, Germany (14 October-9 December) 1985 “Soto, Space Art”, Center for the Fine Arts, Miami, USA (4 October-3 November) 1983 “Soto, Cuarenta años de creación”, Museo de Arte Contemporaneo, Caracas, Venezuela (June) JesÚS RafaeL SOTO 1982 “Soto”, Palacio de Velázquez, Madrid (February-March) 1979 “Soto, oeuvres actuelles”, Musée National d’Art Moderne, Centre Georges Pompidou, Paris (25 April-11 June) 1978 “Soto”, Louisiana Museum of Modern Art, Humlebaek, Denmark (1 April-15 May) “Chronochrome” 1975 Hirshhorn Museum and Sculpture Garden, Washington D.C. 1974 “Soto, Recent Reliefs and Sculptures”, Galerie Denise René, New York (9 November-7 December) curated by Matthieu Poirier “Soto, A Retrospective Exhibition”, Solomon R. Guggenheim Museum, New York (November) 1972 “Soto”, Galerie Beyeler, Basel, Switzerland (April-May) 1968-1969 “Soto, Kinetische Werke”, Stedelijk Museum, Amsterdam, The Netherlands, (11 January -23 February 1969); touring: Palais des beaux-arts, Bruxelles; Musée d’art moderne de la Ville de Paris (June-August); Kunsthalle, Berne, Switzerland (21 “Verde inferior”, 1989 “Un orange “Untitled “Florence”, 1959 “Bleu supérieur” May - 30 June 1968); Kunstverein, Düsseldorf, Germany (October-November); Kestner-Gesellschaft, Hanovre, Germany Paint on wood and metal inférieur”, 1984 (Ambivalencia en el Paint on Isorel and metal 1999 espacio color n°12)” 1965 “Vibrations by Soto”, Kootz Gallery, New York (9-28 March) 93 x 62 x 17 cm Paint on wood and metal 75 x 75 x 27 cm Paint on wood and metal 1/2 1/2 3/4 1981 1/2 1/2 1/2 1959 “Soto”, Galerie Iris Clert, Paris (June) 36 x 24 x 6 in. 159 x 108 x 16 cm 29 x 29 x 10 in. 162 x 162 x 17 cm 1956 “Soto”, Galerie Denise René, Paris (9-31 March) 621/2 x 421/2 x 61/4 in. Paint on wood and metal Private collection 633/4 x 633/4 x 63/4 in. 156 x 106 cm 611/2 x 413/4 in. Paris NEW York GROUP SHOWS (Selection) January 10 – February 28, 2015 January 15 – February 21, 2015 2014-2015 “ZERO: Countdown to Tomorrow, 1950s-60s”, Solomon R. Guggenheim Museum, New York (10 October 2014 - 7 January 2015); Stedelijk Museum, Amsterdam; Martin-Gropius-Bau, Berlin “Radical Geometry, Modern Art of South America from the Patricia Phelps de Cisneros Collection”, Royal Academy of Arts, London (5 July-28 September) 2013 “Dynamo. A Century of Light and Motion in Art. 1913-2013” (curators: Serge Lemoine and Matthieu Poirier), Grand Palais, Paris 2010-2011 “Suprasensorial: Experiments in Light, Color and Space”, Museum of Contemporary Art, Los Angeles; Hirshhorn Museum and Sculpture Garden, Washington D.C “Color abajo”, 1991 “Verde central”, 1991 “Untitled, (Mur “Columna rosa” “Vibración amarilla 2004 “MOMA at El Museo : Latin American & Caribbean Art from the Collection of the Museum of Modern Art”, El Museo del Barrio, New York Paint on wood and metal Paint on wood and metal bleu)”, 1966 1973 y blanca”, 1994 “Beyond Geometry: Experiments in Form, 1940s-70s”, Los Angeles County Museum of Art; touring: Miami Art Museum, USA 153 x 153 x 17 cm 153 x 153 x 17 cm Paint on wood and metal Paint on wood and Paint on wood and 1996 Venezuela Pavillon, São Paulo Biennale, Brazil 1/4 1/4 3/4 1/4 1/4 3/4 60 x 60 x 6 in. 60 x 60 x 6 in. 60 x 248 x 45 cm metal, nylon metal, nylon 1975 “The Movement”, Galerie Denise René, New York 231/2 x 971/2 x 173/4 in. 215 x 202 x 42 cm 102 x 102 x 27 cm 1967 “Lumière et Mouvement, Art Cinétique à Paris” (curator: Frank Popper), Musée d’Art Moderne de la Ville de Paris (May-August) 843/4 x 791/2 x 161/2 in. 401/8 x 401/8 x 101/2 in. 1966-1965 “Lumière, Mouvement et Optique / Licht und Bewegung, Kinetische Kunst” (curator: Harald Szeemann), Kunsthalle, Düsseldorf, Germany (2 February-3 March 1966); Kunsthalle, Baden-Baden, Germany (3 December 1965-9 January 1966); Palais des beaux-arts, Bruxelles (14 October-14 November 1965); Kunsthalle, Berne, Switzerland (3 July-5 September 1965) 1966 XXXIIIth Venice Biennale, Italy 1965 “Kinetic and Optical Art Today”, Albright Knox Art Gallery, Buffalo, USA (27 February-28 March) Second exhibition “Nul” (curated by Willem Sandberg), Stedelijk Museum, Amsterdam, The Netherlands (15 April-8 June) 1964 Documenta III, Kassel, Germany (27 June-5 October) Venezuela Pavillon, XXXIIth Venice Biennale, Italy 1963 VIIth São Paulo Biennale, Brazil 1962 XXXIth Venice Biennale, Italy 1961 “Bewogen Beweging” (curators: Daniel Spoerri, Tinguely, Pontus Hulten), Stedelijk Museum, Amsterdam, The Netherlands “Vibración tricolor “8 plata”, 1968 “Untitled, (Tes à (10 March-17 April); touring: Moderna Museet, Stockholm; Louisiana Museum, Humlebaek, Denmark marrón, negra y azul” Paint on wood and metal bande rose)”, 1973 1958 XXIXth Venice Biennale, Venice, Italy (14 June-19 October) 1990 153 x 153 x 16 cm Paint on wood and metal 1955 “Le Mouvement” (Agam, Bury, Calder, Marcel Duchamp, Jacobsen, Soto, Tinguely, Vasarely), Galerie Denise René, Paris 601/4 x 601/4 x 61/4 in. Paint on wood and 202 x 202 x 16 cm Collection of Hirshhorn 791/2 x 791/2 x 61/4 in. metal, nylon Museum and Sculpture 102 x 102 x 17 cm 1/8 1/8 3/4 Garden, Smithsonian 40 x 40 x 6 in. Institution, The Joseph H. Hirshorn Bequest, 1981, Washington All Artworks: © Jesús Rafael Soto. Artists Rights Society (ARS), New York, 2015 York, New All Artworks: © Jesús Rafael Soto. Artists Rights Society (ARS), in philosophy.’” Whether in the radical abstraction of the a sculpture or an environment, this key figure of radical Suprematist painter, or that of the Kinetic artist, the aim abstract art invites us to have an experience that is always was to escape the logic of pictorial confinement. unique, new every time: the experience of an incompleteness, The work was to be “open”—to borrow the expression a space-time continuum that can never be summed up in coined by Umberto Eco with regard to kinetic art as early an image or verbal account. More than any other abstract as 1962. Jean Clay seemed to see Soto’s “Penetrables” painting, relief or sculpture from the last decades, Soto’s (1967 onwards) as the extreme incarnation of this logic, kinetic art escapes photography. At a time when image is arguing that the ”rain” of fine, translucent and coloured all, this may be Soto’s work’s prime quality. plastic rods were the ultimate development of the “ambiguous space” that had first emerged in the first Matthieu Poirier holds a doctorate in art history from the plexiglas reliefs of the 1950s. Sorbonne, where he has also taught. Formerly a resident at Centre Allemand d’Histoire de l’Art, he recently curated or The works brought together at Galerie Perrotin in Paris co-curated “Post-Op. Perceptual Gone Painterly. 1957-2014” and New York may disconcert, disorient and seem elusive. (Galerie Perrotin, Paris, 2014), “Dynamo. A Century of Light The eye — and also the body in the case of “Penetrable” — is and Motion in Art. 1913-2013” (Galeries Nationales du subtly trapped, wandering endlessly in spaces that Grand Palais, Paris, 2013) and “Julio Le Parc” (Palais oscillate between painting and sculpture, object and image. de Tokyo, Paris, 2013). In the way it enters our perceptual space and refuses to be fully grasped, a work by Soto is, as Henri Bergson On the occasion of the exhibition, a 184-page monograph would put it, an object that no one has seen and that no has been published, with an essay by Matthieu Poirier and a one ever will see in its totality.
Load more

Recommended publications
  • Between the Viewer and the Work: Encounters in Space. Essays on ZERO
    Introduction: Please Turn … TIZIANA CAIANIELLO The conference Between the Viewer and the least thanks to the efforts of the ZERO founda- Work: Encounters in Space took place on October tion2 — ZERO’s involvement in the expansion of 18 19, 2018, at the unstakademie sseldorf the artwork into space and in breaking barriers to open the event ZERO: Please turn!, organized between the viewer and the work had not as yet by the ZERO foundation to celebrate its tenth been adequately explored.3 Thus the conference anniversary and the sixtieth anniversary of ZERO. was dedicated to this subject. In the following, I’ll Even if we were aware that the title ZERO: Please introduce some topics of the conference. turn! could sound obscure, we chose it not only because a work by Otto Piene in our collection is PLEASE TURN … THE PAGE! entitled Please turn (fig. 6) but also because it can In 1958, sixty years before the event ZERO: Please be completed in different ways that fit the topics turn!, the artists Heinz Mack and Otto Piene 15 of the conference, as we shall see below. “turned the page” by publishing in Düsseldorf the A general tendency toward abandoning painting first issue of the magazineZERO , which would be can be witnessed in the art around 1960: from the catalyst for a new artistic movement (fig. 1).4 two-dimensional pictures to relief-like objects Three years later, in 1961, appeared the third and and assemblages, spatial installations and the last issue of the magazine, which contained the integration of performative elements, the works contributions of over thirty artists from ten different increasingly encroach on the space of the view- countries (fig.
    [Show full text]
  • Copertina Artepd.Cdr
    Trent’anni di chiavi di lettura Siamo arrivati ai trent’anni, quindi siamo in quell’età in cui ci sentiamo maturi senza esserlo del tutto e abbiamo tantissime energie da spendere per il futuro. Sono energie positive, che vengono dal sostegno e dal riconoscimento che il cammino fin qui percorso per far crescere ArtePadova da quella piccola edizio- ne inaugurale del 1990, ci sta portando nella giusta direzione. Siamo qui a rap- presentare in campo nazionale, al meglio per le nostre forze, un settore difficile per il quale non è ammessa l’improvvisazione, ma serve la politica dei piccoli passi; siamo qui a dimostrare con i dati di questa edizione del 2019, che siamo stati seguiti con apprezzamento da un numero crescente di galleristi, di artisti, di appassionati cultori dell’arte. E possiamo anche dire, con un po’ di vanto, che negli anni abbiamo dato il nostro contributo di conoscenza per diffondere tra giovani e meno giovani l’amore per l’arte moderna: a volte snobbata, a volte non compresa, ma sempre motivo di dibattito e di curiosità. Un tentativo questo che da qualche tempo stiamo incentivando con l’apertura ai giovani artisti pro- ponendo anche un’arte accessibile a tutte le tasche: tanto che nei nostri spazi figurano, democraticamente fianco a fianco, opere da decine di migliaia di euro di valore ed altre che si fermano a poche centinaia di euro. Se abbiamo attraversato indenni il confine tra due secoli con le sue crisi, è per- ché l’arte è sì bene rifugio, ma sostanzialmente rappresenta il bello, dimostra che l’uomo è capace di grandi azzardi e di mettersi sempre in gioco sperimen- tando forme nuove di espressione; l’arte è tecnica e insieme fantasia, ovvero un connubio unico e per questo quasi magico tra terra e cielo.
    [Show full text]
  • Course Reader, Table of Contents
    Envision Art 01: the responsive screen Prof. Fabian Winkler Spring 2007 Course Reader, Table of contents History / Visions Erkki Huhtamo: “Media Art in the Third Dimension: Stereoscopic Imaging and Contemporary Art”, in: “Future Cinema: The Cinematic Imaginary After Film (Electronic Culture: History, Theory, and Practice Series)” edited by Jeffrey Shaw and Peter Weibel. The MIT Press, 2003, pp. 466-473. Oliver Grau: “Virtual Art: From Illusion to Immersion”. The MIT Press, 2002. - Chapter 4: “Intermedia Stages of Virtual Reality in the 20th Century: Art as Inspiration of Evolving Media”, pp.140-190. Morton Heilig: “The Cinema of the Future”, in: Randall Packer: “Multimedia: From Wagner to Virtual Reality”. W. W.Norton & Company, 2002, pp.219-232. Designs / Structures Norman M. Klein: “The Vatican to Vegas: A History of Special Effects”. New Press, 2004 - “Introduction: The Vatican to Vegas”, pp. 1-18. - “Happy Imprisonment: Labyrinths”, pp. 97-115. - “Movie F/X: Making Heads Roll”, pp. 213-228. Michael Heim: “Virtual Realism” paper, 1998. Frank Popper: “Art of the Electronic Age”. Thames & Hudson, 1997. - Chapter 4: “Computer Art”, pp. 78-122. Pierre Levy: “Cyberculture”. University of Minnesota Press, 2001. - 1. “The Impact of Technology”, pp. 3-13. - 2. “The Technical Infrastructure of the Virtual”, pp.13-27. - 3. “Digital Technology and the virtualization of Information”, pp. 27-57. Interactivity David Rokeby: “The Construction of Experience: Interface as Content”, in: "Digital Illusion: Entertaining the Future with High Technology," edited by Clark Dodsworth, Jr., Addison-Wesley Publishing Company, 1998. Krueger, W. Myron: “Responsive Environments”, in: Randall Packer: Multimedia: From Wagner to Virtual Reality. W.
    [Show full text]
  • The Authenticity of Ambiguity: Dada and Existentialism
    THE AUTHENTICITY OF AMBIGUITY: DADA AND EXISTENTIALISM by ELIZABETH FRANCES BENJAMIN A thesis submitted to The University of Birmingham For the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages College of Arts and Law University of Birmingham August 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ii - ABSTRACT - Dada is often dismissed as an anti-art movement that engaged with a limited and merely destructive theoretical impetus. French Existentialism is often condemned for its perceived quietist implications. However, closer analysis reveals a preoccupation with philosophy in the former and with art in the latter. Neither was nonsensical or meaningless, but both reveal a rich individualist ethics aimed at the amelioration of the individual and society. It is through their combined analysis that we can view and productively utilise their alignment. Offering new critical aesthetic and philosophical approaches to Dada as a quintessential part of the European Avant-Garde, this thesis performs a reassessment of the movement as a form of (proto-)Existentialist philosophy. The thesis represents the first major comparative study of Dada and Existentialism, contributing a new perspective on Dada as a movement, a historical legacy, and a philosophical field of study.
    [Show full text]
  • Jcmac.Art W: Jcmac.Art Hours: T-F 10:30AM-5PM S 11AM-4PM
    THE UNBOUNDED LINE A Selection from the Juan Carlos Maldonado Art Collection Above: Carmelo Arden Quin, Móvil, 1949. 30 x 87 x 95 in. Cover: Alejandro Otero, Coloritmo 75, 1960. 59.06 x 15.75 x 1.94 in. (detail) THE UNBOUNDED LINE A Selection from the Juan Carlos Maldonado Art Collection 3 Juan Carlos Maldonado Art Collection was founded in 2005 out of a passion for art and a commitment to deepen our understanding of the abstract-geometric style as a significant part of Latin America’s cultural legacy. The fascinating revolutionary visual statements put forth by artists like Jesús Soto, Lygia Clark, Joaquín Torres-García and Tomás Maldonado directed our investigations not only into Latin American regions but throughout Europe and the United States as well, enriching our survey by revealing complex interconnections that assert the geometric genre's wide relevance. It is with great pleasure that we present The Unbounded Line A Selection from the Juan Carlos Maldonado Art Collection celebrating the recent opening of Juan Carlos Maldonado Art Collection’s new home among the thriving community of cultural organizations based in Miami. We look forward to bringing about meaningful dialogues and connections by contributing our own survey of the intricate histories of Latin American art. Juan Carlos Maldonado Founding President Juan Carlos Maldonado Art Collection Left: Juan Melé, Invención No.58, 1953. 22.06 x 25.81 in. (detail) THE UNBOUNDED LINE The Unbounded Line A Selection from the Juan Carlos Maldonado Art Collection explores how artists across different geographical and periodical contexts evaluated the nature of art and its place in the world through the pictorial language of geometric abstraction.
    [Show full text]
  • Course Catalogue 2016 /2017
    Course Catalogue 2016 /2017 1 Contents Art, Architecture, Music & Cinema page 3 Arabic 19 Business & Economics 19 Chinese 32 Communication, Culture, Media Studies 33 (including Journalism) Computer Science 53 Education 56 English 57 French 71 Geography 79 German 85 History 89 Italian 101 Latin 102 Law 103 Mathematics & Finance 104 Political Science 107 Psychology 120 Russian 126 Sociology & Anthropology 126 Spanish 128 Tourism 138 2 the diversity of its main players. It will thus establish Art, Architecture, the historical context of this production and to identify the protagonists, before defining the movements that Music & Cinema appear in their pulse. If the development of the course is structured around a chronological continuity, their links and how these trends overlap in reality into each IMPORTANT: ALL OUR ART COURSES ARE other will be raised and studied. TAUGHT IN FRENCH UNLESS OTHERWISE INDICATED COURSE CONTENT : Course Outline: AS1/1b : HISTORY OF CLASSIC CINEMA introduction Fall Semester • Impressionism • Project Genesis Lectures: 2 hours ECTS credits: 3 • "Impressionist" • The Post-Impressionism OBJECTIVE: • The néoimpressionnism To discover the great movements in the history of • The synthetism American and European cinema from 1895 to 1942. • The symbolism • Gauguin and the Nabis PontAven COURSE PROGRAM: • Modern and avantgarde The three cinematic eras: • Fauvism and Expressionism Original: • Cubism - The Lumière brothers : realistic art • Futurism - Mélies : the beginnings of illusion • Abstraction Avant-garde : - Expressionism
    [Show full text]
  • Northern Gothic: Werner Haftmann's German
    documenta studies #11 December 2020 NANNE BUURMAN Northern Gothic: Werner Haftmann’s German Lessons, or A Ghost (Hi)Story of Abstraction This essay by the documenta and exhibition scholar Nanne Buurman I See documenta: Curating the History of the Present, ed. by Nanne Buurman and Dorothee Richter, special traces the discursive tropes of nationalist art history in narratives on issue, OnCurating, no. 13 (June 2017). German pre- and postwar modernism. In Buurman’s “Ghost (Hi)Story of Abstraction” we encounter specters from the past who swept their connections to Nazism under the rug after 1945, but could not get rid of them. She shows how they haunt art history, theory, the German feuilleton, and even the critical German postwar literature. The editor of documenta studies, which we founded together with Carina Herring and Ina Wudtke in 2018, follows these ghosts from the history of German art and probes historical continuities across the decades flanking World War II, which she brings to the fore even where they still remain implicit. Buurman, who also coedited the volume documenta: Curating the History of the Present (2017),I thus uses her own contribution to documenta studies to call attention to the ongoing relevance of these historical issues for our contemporary practices. Let’s consider the Nazi exhibition of so-called Degenerate Art, presented in various German cities between 1937 and 1941, which is often regarded as documenta’s negative foil. To briefly recall the facts: The exhibition brought together more than 650 works by important artists of its time, with the sole aim of stigmatizing them and placing them in the context of the Nazis’ antisemitic racial ideology.
    [Show full text]
  • Kinetic Masters & Their Legacy (Exhibition Catalogue)
    KINETIC MASTERS & THEIR LEGACY CECILIA DE TORRES, LTD. KINETIC MASTERS & THEIR LEGACY OCTOBER 3, 2019 - JANUARY 11, 2020 CECILIA DE TORRES, LTD. We are grateful to María Inés Sicardi and the Sicardi-Ayers-Bacino Gallery team for their collaboration and assistance in realizing this exhibition. We sincerely thank the lenders who understood our desire to present work of the highest quality, and special thanks to our colleague Debbie Frydman whose suggestion to further explore kineticism resulted in Kinetic Masters & Their Legacy. LE MOUVEMENT - KINETIC ART INTO THE 21ST CENTURY In 1950s France, there was an active interaction and artistic exchange between the country’s capital and South America. Vasarely and many Alexander Calder put it so beautifully when he said: “Just as one composes colors, or forms, of the Grupo Madí artists had an exhibition at the Museum of Fine Arts in Buenos Aires in 1957 so one can compose motions.” that was extremely influential upon younger generation avant-garde artists. Many South Americans, such as the triumvirate of Venezuelan Kinetic Masters & Their Legacy is comprised of a selection of works created by South American artists ranging from the 1950s to the present day. In showing contemporary cinetismo–Jesús Rafael Soto, Carlos Cruz-Diez, pieces alongside mid-century modern work, our exhibition provides an account of and Alejandro Otero—settled in Paris, amongst the trajectory of varied techniques, theoretical approaches, and materials that have a number of other artists from Argentina, Brazil, evolved across the legacy of the field of Kinetic Art. Venezuela, and Uruguay, who exhibited at the Salon des Réalités Nouvelles.
    [Show full text]
  • MEILENSTEINE Die Documenta 1 Bis 14 Dirk Schwarze
    MEILENSTEINE Die documenta 1 bis 14 Dirk Schwarze MEILENSTEINE Die documenta 1 bis 14 Kunstwerke und Künstler Inhalt 7 Vorwort 11 documenta (1955) Joan Miró: Komposition (13) • Wilhelm Lehmbruck: Kniende (14) • Henry Moore: König und Königin (17) • Fritz Winter: Komposition vor Blau und Gelb (19) • Pablo Picasso: Mädchen vor einem Spiegel (22) 27 II. documenta (1959) Alberto Giacometti: Drei schreitende Männer (29) • Robert Rauschenberg: Kickback (31) • Marino Marini: Pferd und Reiter (33) • Wassily Kandinsky: Durchgehender Strich (35) 39 documenta III (1964) Egon Schiele: Kauernde (41) • Ernst Wilhelm Nay: documenta-Bilder A, B und C (42) • Harry Kramer: Automobile Skulpturen (45) • Emilio Vedova: Plurimi di Berlino (47) 51 4. documenta (1968) Andy Warhol: Marilyn (53) • Christo und Jeanne-Claude: 5600 Kubik- meter Paket (55) • Konrad Klapheck: Der Krieg (57) • James Rosen- quist: Fire Slide (59) 63 documenta 5 (1972) 4., erweiterte und aktualisierte Auflage 2017 Chuck Close: John (65) • Edward Kienholz: Five Car Stud (67) • Bernd & Hilla Becher: Typologie technischer Bauten (69) • Panamarenko: The © B&S SIEBENHAAR VERLAG, Berlin / Kassel Aeromodeller (71) • Vettor Pisani: L’Eroe da Camera (73) Layout, Satz: B&S SIEBENHAAR VERLAG 97 documenta 6 (1977) Umschlag: VISULABOR® Berlin/Leipzig Haus-Rucker-Co: Rahmenbau (99) • Walter De Maria: Der vertikale Druck und Bindung: druckhaus köthen GmbH & Co. KG Erdkilometer (100) • Hans Peter Reuter: documenta-Raumprojekt (103) • Werner Tübke: Lebenserinnerungen des Dr. jur. Schulze III (105) • Das Werk ist in allen seinen Teilen urheberrechtlich geschützt. Jede Verwertung ist Ulrike Rosenbach: Herakles – Herkules – King-Kong (107) ohne Zustimmung des Verlags unzulässig. Dies gilt insbesondere für Vervielfältigung, Übersetzungen, Mikroverfilmungen und die Einspeicherung in elektronische Systeme.
    [Show full text]
  • Labyrinthine Variations 12.09.11 → 05.03.12
    WANDER LABYRINTHINE VARIATIONS PRESS PACK 12.09.11 > 05.03.12 centrepompidou-metz.fr PRESS PACK - WANDER, LABYRINTHINE VARIATIONS TABLE OF CONTENTS 1. INTRODUCTION TO THE EXHIBITION .................................................... 02 2. THE EXHIBITION E I TH LAByRINTH AS ARCHITECTURE ....................................................................... 03 II SpACE / TImE .......................................................................................................... 03 III THE mENTAL LAByRINTH ........................................................................................ 04 IV mETROpOLIS .......................................................................................................... 05 V KINETIC DISLOCATION ............................................................................................ 06 VI CApTIVE .................................................................................................................. 07 VII INITIATION / ENLIgHTENmENT ................................................................................ 08 VIII ART AS LAByRINTH ................................................................................................ 09 3. LIST OF EXHIBITED ARTISTS ..................................................................... 10 4. LINEAgES, LAByRINTHINE DETOURS - WORKS, HISTORICAL AND ARCHAEOLOgICAL ARTEFACTS .................... 12 5.Om C m ISSIONED WORKS ............................................................................. 13 6. EXHIBITION DESIgN .......................................................................................
    [Show full text]
  • Katalog Iv Moderne Kunst
    Alberto Burri 1915 – 1995 Sign. u. dat. „Buri 1950“ KATALOG IV MODERNE KUNST AUKTIONEN: KATALOG DONNERSTAG, 24. & FREITAG, 25. SEPTEMBER 2015 CATALOGUE Besichtigung: Freitag, 18. September – Mittwoch, 23. September 2015 IV THURSDAY 24 & FRIDAY 25 SEPTEMBER 2015 FREITAG Exhibition: Friday 18 – Wednesday 23 September 2015 FRIDAY KATALOG I — CATALOGUE I SEPTEMBER-AUKTIONEN DONNERSTAG, 24. UND FREITAG, 25. SEPTEMBER 2015 SEPTEMBER AUCTIONS THURSDAY 24 AND FRIDAY 25 SEPTEMBER 2015 KATALOG IV 25. SEPTEMBER 2015 CATALOGUE IV 25 SEPTEMBER 2015 AUKTIONATOREN AUKTIONSTAGE AUCTION DAYS Dipl. Kfm. Holger Hampel Donnerstag, 24. September 2015 Thursday 24 September 2015 Geschäftsführender Gesellschafter Beginn 10:00 Uhr Starting 10:00 am öffentlich bestellter und vereidigter Auktionator Freitag, 25. September 2015 Friday 25 September 2015 Beginn 10:00 Uhr Starting 10:00 am Vitus Graupner Geschäftsführender Gesellschafter VORBESICHTIGUNG EXHIBITION Freitag 18. September 10 – 17 Uhr Friday 18 September 10 am – 5 pm [email protected] Tel: +49 (0)89 28 804 - 0 (Zentrale) Samstag 19. September 10 – 17 Uhr Saturday 19 September 10 am – 5 pm Sonntag 20. September 10 – 17 Uhr Sunday 20 September 10 am – 5 pm Montag 21. September 10 – 17 Uhr Monday 21 September 10 am – 5 pm Dr. Kristina Krüger Dienstag 22. September 10 – 17 Uhr Tuesday 22 September 10 am – 5 pm [email protected] Mittwoch 23. September 9 – 12 Uhr Wednesday 23 September 9 am – 12 pm Tel: +49 (0)89 28 804 - 0 (Zentrale) Tom Wagner [email protected] INFORMATIONEN
    [Show full text]
  • Listed Exhibitions (PDF)
    G A G O S I A N G A L L E R Y Alexander Calder Biography Born in 1898, Lawnton, PA. Died in 1976, New York, NY. Education: 1926 Académie de la Grande Chaumière, Paris, France. 1923–25 Art Students League, New York, NY. 1919 B.S., Mechanical Engineering, Stevens Institute of Technology, Hoboken, NJ. Solo Exhibitions: 2015 Alexander Calder: Imagining the Universe. Sotheby’s S|2, Hong Kong. Calder: Lightness. Pulitzer Arts Foundation, Saint Louis, MO. Calder: Discipline of the Dance. Museo Jumex, Mexico City, Mexico. Alexander Calder: Multum in Parvo. Dominique Levy, New York, NY. Alexander Calder: Primary Motions. Dominique Levy, London, England. 2014 Alexander Calder. Fondation Beyeler, Basel. Switzerland. Alexander Calder: Gouaches. Gagosian Gallery, Davies Street, London, England. Alexander Calder: Gouaches. Gagosian Gallery, 980 Madison Avenue, New York, NY. Alexander Calder in the Rijksmuseum Summer Sculpture Garden. Rijksmuseum, Amsterdam, Netherlands. 2013 Calder and Abstraction: From Avant-Garde to Iconic. Los Angeles County Museum of Art, Los Angeles, CA. 2011 Alexander Calder. Gagosian Gallery, Davies Street, London, England. 2010 Alexander Calder. Gagosian Gallery, W. 21st Street, New York, NY. 2009 Monumental Sculpture. Gagosian Gallery, Rome, Italy. 2005 Monumental Sculpture. Gagosian Gallery, W. 24th Street, New York, NY. Alexander Calder 60’s-70’s. GióMarconi, Milan, Italy. Calder: The Forties. Thomas Dane, London, England. 2004 Calder/Miró. Foundation Beyeler, Riehen, Switzerland. Traveled to: Phillips Collection, Washington, D.C. (through 2005). Calder: Sculpture and Works on Paper. Elin Eagles-Smith Gallery, San Francisco, CA. 590 Madison Avenue, New York, NY. 2003 Calder. Gagosian Gallery, Los Angeles, CA. Calder: Gravity and Grace.
    [Show full text]