DOCSLIB.ORG

Gerhard Richter

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gerhard Richter EXHIBITIONS and sending up these filmic orgies of destruc - had several highlights, but it was hard not to photographs at the Museum Morsbroich, tion. The other installations by artists includ - wish a few more risks had been taken and that Leverkusen (closed 18th January); and, ing David Blandy, the collaborative Royal Art there was less of a desperate desire to please – following the controversial dedication last Lodge and Khalil Rabah were rather more in short, an event that was less made up, and August of his stained-glass window for the forced and forgettable. allowed the flaws to show. south transept of Cologne Cathedral (which Some of the most spectacular and memo - was accompanied at the time by a display of rable works were those intended as public 1 L. Biggs: ‘MADE UP,’ in the accompanying guide working material at the Ludwig Museum), a sculpture. These included Ai Weiwei’s Web of for The Liverpool Biennial 2008: International Festival of smaller exhibition of a spin-off series, titled light , which placed a monumental spider in a Contemporary Art , 192 pp. incl. 84 col. + 9 b. & w. ills. 4900 Colours: Version II , shown at the web suspended high above a public square, (Liverpool University Press, Liverpool, 2008), £5. Serpentine Gallery, London, last autumn. A while Richard Wilson’s Turning the place over ISBN 978–1–846–31185–7. See p.12. retrospective of portraits by Richter opens 2 Ibid. , pp.14–21. (Fig.44), cut an ovoid, eight metres in cir - 3 Ibid ., p.12. this month at the National Portrait Gallery, 2 cumference, into the façade of Cross Keys 4 See, for example, O.M. Viso, ed.: exh. cat. Regarding London. Gerhard Richter. Paintings from Private House (formerly a branch of Yates’s Wine Beauty , Washington (Hirshhorn Museum and Sculpture Collections , currently exhibited at the Alber- Lodge), which oscillated in three dimensions. Garden, Smithsonian Institution) 1999; and D. Hickey: tina, Vienna (to 3rd May), and seen by this The title of course alluded to both the slang Beau Monde: Toward a Redeemed Cosmopolitanism , New reviewer when installed in the Royal Scottish term for burglary and a suggestion of potential Mexico 2001. Academy building of the National Gallery, regeneration for this abandoned building Edinburgh (closed 4th January), is the first awaiting redevelopment, but the intervention exhibition to draw entirely on private collec - directly recalled the radical architectural tions and contains a number of rarely seen experiments of Gordon Matta-Clark, forming works. 3 Concurrently, the Scottish National one of the most nuanced efforts to address the Gerhard Richter Gallery of Modern Art was showing a display urban context of the Biennial. of Richter’s recent photographic version of The work presented at Tate Liverpool Edinburgh the painting series 48 Portraits , made for the tended to play it safe and presented largely Venice Biennale in 1972. It is a testament to familiar and occasionally ubiquitous artists the variety of Richter’s industry since the from the international exhibition and biennial by JOHN-PAUL STONARD early 1960s that these combined events do not circuit (David Altmejd, Charles Avery and lead to a sense of overkill. Recent scholarship Guy Ben-Ner, etc.), but some of their works IN 1964 , THREE YEARS after moving from on the artist, augmenting older questions of stood out. Omer Fast’s specially commis - Dresden in East Germany to the Rhineland in theoretical interpretation with research into sioned two-channel video Take a deep breath , the West, Gerhard Richter was enjoying the the history and material basis of his work, has skilfully interwove conflicting narratives, both first successes of his career with exhibitions in also been crucial in providing a fresh view of documentary and fictitious, around an act of Munich and Düsseldorf. ‘It’s been hard from his remarkable œuvre .4 terrorism – an eye-witness account recalling my point of view, having two exhibitions at Gerhard Richter. Paintings from Private Collec - the discovery of the body of a suicide bomber the same time. I don’t want to do that again tions draws chiefly on the collection of the in Jerusalem was juxtaposed with a Holly - . .’, he wrote later that year – a regret Sammlung Frieder Burda in Baden-Baden, wood crew’s attempts to reconstruct and that appears not a little ironic when and was instigated by its Director, Götz dramatise this event for a film. The work considered from today’s perspective. 1 Current Adriani. To this core collection have been lurched from shocking to funny, from appar - and recent exhibitions of his work include added works from four further private collec - ently informative to completely obfuscating, a major show of large abstract paintings tions, two of which are named as the Ströher and was perhaps the most successful distilla - (including the Cage series, first shown in 2007 Collection from Darmstadt, and works tion of the Biennial’s intentions to play with at Venice and recently on display as a long- belonging to Ingrid and Georg Böckmann, the liminal boundaries of imagination and term loan at Tate Modern) at the Ludwig Berlin. For the Edinburgh showing, works reality. Museum in Cologne (closed 1st February); from the Artist Rooms collection, acquired Another outstanding installation at the a substantial exhibition of over-painted from Anthony d’Offay last year, were also Pilkington Space was Yayoi Kusama’s hallu - cinogenic and obsessively repetitive Gleaming lights of the souls (Fig.45). This was one of 46. Party , by the artist’s signature mise-en-abyme mirrored Gerhard Richter. chambers, with a miniature constellation of 1963. Oil, nails, LED lights seemingly reflected into shimmer - cord, newspaper and canvas, 150 by ing infinity. Kusama, a veteran of exhibitions 182 cm. (Museum such as the 1966 landmark show Eccentric Frieder Burda, Abstraction in New York, presented one of the Baden-Baden; most vital commissions and, indeed, works in exh. National the entire Biennial. Elsewhere, some of the Gallery of Scotland, most surprising work (in both the best and Edinburgh). worst senses of the word) to be found was in affiliated events such as the John Moores 25 Contemporary Painting Prize exhibition at the Walker Art Gallery and Bloomberg New Contemporaries at the A Foundation , which together showed work by an array of emerging artists, and compensated in novelty and experimentation what they lacked in consistent quality – perhaps a lesson that the official Biennial might have heeded. Viewed en masse, this accumulation of artists, installa - tions and exhibitions for and around the Liverpool Biennial was certainly engaging and 118 february 2009 • clI • the burlington magazine EXHIBITIONS added. Questions of taste and patronage that could have been raised on this basis are, however, absent both from the exhibition and its catalogue, which are organised rather on the basis of a survey that runs from one of Richter’s first paintings, the shock-horror Party (1963; Fig.46), to very recent abstract works. The Neo-classical interior architecture of the Academy building presented an unus- ual setting where, at certain moments, the paintings did not feel quite at home – notably in the large central room containing abstract works from the 1980s, a sheet-glass sculpture and a coloured mirror. Yet as a whole the display (curated by Keith Hartley) brought out admirably the spectacular quality of Richter’s work. New scholarship has in particular illumi- nated the artist’s origins in the DDR, and also shed light on his Pop-oriented work made after his move to the West. Painted by Richter while a student in the class of the abstract painter Karl Otto Götz, Party , recent - ly redated to 1963, 5 can only be understood 47. Gelbgrün (Yellow-green) , by Gerhard Richter. 1982. Canvas, two parts, each 260 by 200 cm. (Museum Frieder against the background of the artist’s training Burda, Baden-Baden; exh. National Gallery of Scotland, Edinburgh). in Socialist Realism in Dresden in the mid- 1950s, much new information about which has been uncovered by Jeanne Anne Nugent, 6 style can only be effected, Richter’s work compared with the anxiety and boredom that and his discovery of ‘Western’ painting during appears to say, by painting in all styles. Yet Heidegger used as the basis for his description a trip to the second Documenta, in 1959. the suggestion that Richter has ‘explored of being in the world. It is true that Richter’s Although the work of artists such as Fontana every genre of painting imaginable’ is hardly paintings never touch us, but rather exist in and Pollock was the decisive factor in supportable. 8 It is rather that by focusing in their own, thoroughly self-absorbed sphere. Richter’s move to the West, he retained a parallel works on the extremes of naturalism Interpretations of Richter’s work to date critical view on Western affluence, and an and abstraction, as well as extremes of tonal- fall somewhere between Robert Storr’s allegiance to a figurative style, as Party unmis - ity, scale and rhetorical ambition, that Richter recuperation of a northern classicism (in, for takeably shows. Other paintings from this is able to imply the range of unrealised options example, his catalogue for the 2002 retrospec - time, displayed in the first room of the Edin - in-between. Thus it might be said that the tive of Richter’s work at the Museum of burgh exhibition, show the influence of an territory opened up by Richter’s approach to Modern Art, New York) and Benjamin early short period of training as a typographer, painting is not confined to individual works, Buchloh’s intricate theoretical framework such as Alfa Romeo (with text) (1965), and the but exists between them.
Load more

Recommended publications
  • Press Release
    Press Release Berlin December 4, 2014 SeptemberNovember 2013 November20132014 “…..Höhere Wesen befehlen” The Frieder Burda Collection at the Deutsche Bank KunstHalle From December 5, 2014 to March 8, 2015, the Deutsche Bank KunstHalle is showing a selection of works on paper from the Frieder Burda Collection that have been rarely shown so far. The KunstHalle is presenting 113 drawings, watercolors, and goauches from 1955 to 2009 by Georg Baselitz, Willem de Kooning, Sigmar Polke, Arnulf Rainer, Neo Rauch, and Gerhard Richter. Over a period of decades, Frieder Burda has passionately built one of the most important private collections in Europe, extending from Abstract Expressionism to current inter- national positions. It all began with the Italian avant-garde painter Lucio Fontana in 1968. At the Documenta, Frieder Burda discovered a bright red canvas with three incisions in it. The entrepreneur from Germany’s famous printing and publishing dynasty couldn’t get the painting out of his mind. It became the cornerstone of the collection. The first artist shown in the exhibition is Willem de Kooning, representing the heroes of Abstract Expressionism. The main part features four artists of whom Burda is one of the world’s most important collectors: Georg Baselitz, Sigmar Polke, Arnulf Rainer, and Gerhard Richter. The exhibition concludes with early period works on paper by Neo Rauch, who renewed figuration as the first painter of a reunited Germany. With this selection of works on paper, the Deutsche Bank KunstHalle commemorates the 40th anniversary of the Burda Collection and the tenth anniversary of the Museum in Baden-Baden by continuing a series that is dedicated to drawing—a long-neglected medium that today characterizes contemporary artistic discourse more than any other – from different perspectives.
    [Show full text]
  • EBERHARD HAVEKOST 1967-2019 Born Dresden, Germany
    EBERHARD HAVEKOST 1967-2019 Born Dresden, Germany . EDUCATION 1984-85 Apprenticeship as a stonemason 1991-96 MFA, Hochschule für Bildende Künste (HfBK), Dresden, Germany 2010 Professor at the Kunstakademie, Dusseldorf, Germany SOLO EXHIBITIONS 2017 “Havekost Meets Austria” Austrian Cultural Forum, Berlin, Germany “Logik” Galerie Rudolfinum, Prague, Czech Republic 2016 “Inhalt” KINDL, Berlin, Germany [cat.] “Expulsion from Paradise Freeze” Anton Kern Gallery, New York, NY 2015 “Natur” Galerie Gebr. Lehmann, Dresden, Germany 2013 “Retrospektive 1+2” Galerie Gebr. Lehmann, Dresden/Berlin, Germany “Cosmos Now” White Cube, Mason’s Yard, London, UK “Title” Museum Küppersmühle, Duisburg, Germany “La Fin et le lever du jour” Galerie Hussenot, Paris, France 2012 “COPY + OWNERSHIP” Anton Kern Gallery, New York, NY “Endless” Brandenburgischer Kunstverein, Postdam, Germany “Eberhard Havekost-Sightseeing Trip” Bhau Daji Lad Museum, Mumbai, India “Eberhard Havekost” Die Sammlung MAP, Museum der Moderne, Salsburg, Austria Kochi-Muziris Biennale 2012, Kerala Lalitha Kala Akademi Durbar Hall Art Gallery, Ernakulam/Kochi, Kerala “Prints from 2001 to 2012” Kunstverein, Augsburg, Augsburg 2011 “Structure and Absence” White Cube Bermondsey, London, UK “Take Care” Roberts & Tilton, Culver City, CA “Farbenspiel” Galerie Gebr. Lehmann, Berlin, Germany 2010 “Guest” White Cube, Hoxton Square, London, UK “Ausstellung” Staatliche Kunstsammlungen, Dresden, Germany “Affirmation” Ausstellungsraum Celine u. Heiner Bastian, Berlin, Germany “If Not in This Period of Time
    [Show full text]
  • Art in Europe 1945 — 1968 the Continent That the EU Does Not Know
    Art in Europe 1945 Art in — 1968 The Continent EU Does that the Not Know 1968 The The Continent that the EU Does Not Know Art in Europe 1945 — 1968 Supplement to the exhibition catalogue Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Phase 1: Phase 2: Phase 3: Trauma and Remembrance Abstraction The Crisis of Easel Painting Trauma and Remembrance Art Informel and Tachism – Material Painting – 33 Gestures of Abstraction The Painting as an Object 43 49 The Cold War 39 Arte Povera as an Artistic Guerilla Tactic 53 Phase 6: Phase 7: Phase 8: New Visions and Tendencies New Forms of Interactivity Action Art Kinetic, Optical, and Light Art – The Audience as Performer The Artist as Performer The Reality of Movement, 101 105 the Viewer, and Light 73 New Visions 81 Neo-Constructivism 85 New Tendencies 89 Cybernetics and Computer Art – From Design to Programming 94 Visionary Architecture 97 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Introduction Praga Magica PETER WEIBEL MICHAEL BIELICKY 5 29 Phase 4: Phase 5: The Destruction of the From Representation Means of Representation to Reality The Destruction of the Means Nouveau Réalisme – of Representation A Dialog with the Real Things 57 61 Pop Art in the East and West 68 Phase 9: Phase 10: Conceptual Art Media Art The Concept of Image as From Space-based Concept Script to Time-based Imagery 115 121 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know ZKM_Atria 1+2 October 22, 2016 – January 29, 2017 4 At the initiative of the State Museum Exhibition Introduction Center ROSIZO and the Pushkin State Museum of Fine Arts in Moscow, the institutions of the Center for Fine Arts Brussels (BOZAR), the Pushkin Museum, and ROSIZIO planned and organized the major exhibition Art in Europe 1945–1968 in collaboration with the ZKM | Center for Art and Media Karlsruhe.
    [Show full text]
  • Download Full Biography
    Sadie Coles HQ William Nelson Copley (CPLY) Biography 1919 born in New York City (NY), educated at Phillips Academy and Yale University 1942-46 Military service in Africa and Italy 1947-48 directs Copley Galleries in Beverly Hills (CA),USA, (with John Ployardt) 1947 begins to paint 1951 moves to Paris 1963 returns to New York (NY) 1992 moves to Key West, Florida where he lives until his death 1996 dies in Key West, Florida Selected Solo Exhibitions 2018 The Coffin They Carry You Off In, ICA Institute of Contemporary Art Miami, Miami (FL), USA Candice Breitz: Sex work. In dialogue with works by William N. Copley from The Frieder Burda Collection, Museum Frieder Burda | Salon Berlin, Berlin 2017 Women, Paul Kasmin Gallery, 515 W. 27th Street, New York 2016 Fondazione Prada, Milan, Italy The World According to CPLY, The Menil Collection, Houston (TX) 2015 Drawings (1962 – 1973), Paul Kasmin Gallery, New York (NY) 2013 Confiserie CPLY, Marktplatz 19, Basel, Switzerland 2012 The Patriotism of CPLY and All That, Paul Kasmin Gallery, New York (NY) Frieda Burder Museum, Baden Baden, Germany Reflection a Past Life, Linn Lühn, Düsseldorf, Germany 2011 X-Rated, Sadie Coles HQ, London 2010 me Collectors Room, Berlin X-Rated, Paul Kasmin Gallery, New York (NY) 2009 Galerie Klaus Gerrit Friese, Stuttgart, Germany Western songs, El Sourdog Hex, Berlin Linn Lühn, Cologne, Germany 2007 Linn Lühn, Cologne, Germany 2006 Works from the 1970’s, Nolan/Eckman Gallery, New York (NY) Galerie manus presse/Klaus Gerrit Friese, Stuttgart, Germany 2005 Galerie Onrust,
    [Show full text]
  • Frieder Burda Und Die Kunst
    Hatje Cantz Verlag Mommsenstraße 27 Tel. +49 (0)30 3464678-23 Ihr Pressekontakt: Hatje Cantz Verlag GmbH Geschäftsführer: 10629 Berlin www.hatjecantz.de [email protected] HRB 118521 Thomas Ganske Deutschland Reg.-Gericht Hamburg Dr. Sven Fund UST-ID-Nr.: DE143580256 VON MOUGINS NACH BADEN-BADEN FRIEDER BURDA UND DIE KUNST Mit etwa 1.000 Werken moderner und zeitgenössischer Kunst – darunter Gemälde, Skulpturen, Objekte, Fotografien und Arbeiten auf Papier – gehört die Sammlung Frieder Burda zu den bedeutendsten privaten Kunstsammlungen Europas. Der nun erscheinende Band erzählt, was den Sammler Frieder Burda dazu bewogen hat, eine einzigartige Kollektion von Kunst des 20. und 21. Jahrhunderts zusammenzutragen. Von Gerhard Richter über Sigmar Polke bis Georg Baselitz, von Picasso bis Fontana: Gleichzeitig gibt der Band einen Einblick in Werke und Schaffen wichtiger, dort vertretener Künstler. Berlin, 17. Juni 2019 – Von Mougins nach Baden-Baden zeichnet den Bogen eines schillernden Lebens für die Kunst: das Leben Frieder Burdas (*1936 in Gengenbach), der – als Spross eines großen deutschen Medienunternehmens – eine herausragende Sammlung mit den Schwerpunkten Deutscher Expressionismus, Abstrakter Expressionismus, Deutsche Malerei nach 1960 und Kunst nach 1990 aufbaute. Bis heute wird sie immer wieder unter neuen Gesichtspunkten und in neuen Kontexten in seinem von Richard Meier erbauten Museum an der Lichtentaler Allee in Baden-Baden präsentiert. Reich bebildert zeigt das Buch den Lebensweg eines Mannes, der seine eigene Berufung findet und dieser konsequent folgt. Gewissermaßen als Autodidakt kommt Frieder Burda in den späten 1960er Jahren Schritt für Schritt mit der Kunstwelt in Berührung, ist ihr aber mit der Zeit immer enger verbunden – bis er schließlich aus seiner Wahlheimat Frankreich nach Baden-Baden zurückgeht, wo er den Grundstein für sein weltberühmtes Museum Frieder Burda legt.
    [Show full text]
  • An Art Lover's Collection
    PICASSO BRAQUE LAURENS GIACOMETTI KANDINSKY VIEIRA DA SILVA DE STAËL DUBUFFET FROMANGER VERDIER AN ART LOVER’S 24 JUNE 1955. Huile sur toile, 195 x 114 cm. Collection particulière.© ADAGP, Paris 2017. Photo : Adam Rzepka ADAGP, 1955. Huile sur toile, 195 x 114 cm. Collection particulière.© 24 september COLLECTION 2017 THE GALERIE JEANNE BUCHER JAEGER SINCE 1925 Atelier fond orangé Musée Granet Aix-en-Provence museegranet-aixenprovence.fr de l’informationDirection moderne. : Sérégraphie et de la communication. Impression Nicolas de Staël, PRESS PACK museegranet-aixenprovence.fr Musée Granet | Aix-en-Provence CONTENTS EDITORIAL Maryse Joissains 3 EDITORIAL Bruno Ely 4 EDITORIAL Véronique Jaeger 6 GENERAL PRESS RELEASE 8 ROOM GUIDE 13 THE GALERIE JEANNE BUCHER JAEGER: AN ART LOVER’S COLLECTION 15 BACKGROUND TO THE EXHIBITION 16 MUSÉE GRANET 18 MUSÉE GRANET AT A GLANCE 19 USEFUL INFORMATION 20 AN ART LOVER’S COLLECTION AN INSIGHT INTO AN EXCEPTIONAL GALLERY Any gallery owner or art dealer would be delighted to have the chance, talent and sixth sense to discover one or even two artists who go on to be recognised by their contemporaries and, better still perhaps, by posterity. Delighted but rare. So what of the Bucher Jaegar dynasty? The Bucher Jaegar gallery in Paris is one of the oldest modern and contemporary art galleries in Europe. Opened in 1925 by Jeanne Bucher, it survived the death of its founder thanks to the enthusiasm and admiration of her great-nephew, Jean-François Jaeger. Much later the torch was taken up by his daughter, Véronique Jaeger, which she still carries today.
    [Show full text]
  • Karin Kneffel Biography
    G A G O S I A N Karin Kneffel Biography Born in 1957 in Marl, Germany. Education: 1977–81 Studied German literature and philosophy at the Westphalian Wilhelm University, Münster, Germany and at the Comprehensive University of Duisburg, Germany. 1981–87 Studied at the Düsseldorf Art Academy with Johannes Brus, Norbert Tadeusz and Gerhard Richter. Master student of Gerhard Richter. 1998 Visiting Professor at the University of the Arts, Bremen, Germany. 2000 Visiting Professor at the Iceland Academy of the Arts, Reykjavik, Iceland. 2000–08 Professor at the University of the Arts, Bremen, Germany. 2008 Professor at the Academy of Fine Arts, Munich, Germany. Solo Exhibitions: 2020 Karin Kneffel. Museum Frieder Burda, Baden-Baden, Germany. 2019 Karin Kneffel: Still. Kunsthalle Bremen, Bremen, Germany. 2016 Karin Kneffel: New Works. Gagosian Gallery, Beverly Hills, CA. 2015 Karin Kneffel: Works on Papers. Kunsthalle Bremerhaven, Germany. Karin Kneffel: Fallstudien. Kathe Kollwitz Museum, Cologne, Germany. 2014 Pavilion. Barcelona Pavilion, Barcelona, Spain. Karin Kneffel. Museo De Arte Contemporáneo, La Coruña, Spain. 2013 Butter never crossed my mind. Schönewald Fine Arts, Düsseldorf, Germany. 2012 Karin Kneffel. Gagosian Gallery, New York, NY. Karin Kneffel. Fred Jahn Gallery, Munich, Germany. 2010 Kunsthalle Tübingen, Baden-Württemberg, Germany. 2009 Karin Kneffel. Haus Esters, Krefeld, Germany. 2008 Karin Kneffel. Gallery Klaus Gerrit Friese, Stuttgart, Germany. Karin Kneffel. Barbara Mathes Gallery, New York, NY. Karin Kneffel. Municipal Gallery, Offenburg, Germany. Karin Kneffel. Kunst-Station Sankt Peter, Cologne, Germany. 2007 Karin Kneffel. Edition Staeck, Heidelberg, Germany. Karin Kneffel. Barbara Mathes Gallery, New York, NY. 2006 Karin Kneffel. Ulmer Museum, Ulm, Germany. Seduction and Distance.
    [Show full text]
  • Marian Goodman Gallery Gerhard Richter
    MARIAN GOODMAN GALLERY GERHARD RICHTER Born: Dresden, Germany, 1932 Education: Kunstakademie, Dresden, Germany, 1951-1956 Kunstakademie, Düsseldorf, Germany, 1961-1963 Awards: Praemium Imperiale, Japan, 1997 Wolf Prize, Wolf Foundation, Israel, 1994/5 Oskar Kokoschka Prize, Vienna, Austria, 1985 Arnold Bode Prize, Kassel, Germany, 1981 Junger Western Art Prize, Recklinghausen, Germany 1967 SELECTED SOLO EXHIBITIONS 2020 Gerhard Richter: Painting After All, Met Breuer, New York 2018 Gerhard Richter: Abstraktion, Museum Barberini, Potsdam, Germany Gerhard Richter. Selbstbildnisse 1993, Gerhard Richter Archive, Albertinum, Dresden, Germany Gerhard Richter. Printed Matter. Trials, Proffs & Multiples, Mike Karstens Galerie, Münster, Germany Gerhard Richter. Frühe Bilder, Museum Wiesbaden, Germany Gerhard Richter: Editions 1968 – 2015, Galerie Bernd Lutze, Friedrichshafen, Germany 2017 Gerhard Richter. Über Malen – Frühe Bilder, Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Gent, Belgium Artist Rooms. Gerhard Richter, John Hansard Gallery, Southampton Gerhard Richter. The Life of Images, Queensland Art Gallery, Gallery of Modern Art (QAGOMA) Brisbane, Australia Gerhard Richter. Abstraktion, Museum Barberini, Potsdam, Germany Gerhard Richter, Espace Louis Vuitton, Beijing, China Weilburger Begegnungen: Figur und Abstraktion im Dialog.Stephan Balkenhol und Gerhard Richter, Rosenhang Museum, Weilburg, Germany Gerhard Richter: A Survey, Narodni galerie v Praze (National Gallery), Prague, Czech Republic Gerhard Richter: New Paintings, Museum Ludwig,
    [Show full text]
  • Featured Releases 2 Limited Editions 102 Journals 109
    Lorenzo Vitturi, from Money Must Be Made, published by SPBH Editions. See page 125. Featured Releases 2 Limited Editions 102 Journals 109 CATALOG EDITOR Thomas Evans Fall Highlights 110 DESIGNER Photography 112 Martha Ormiston Art 134 IMAGE PRODUCTION Hayden Anderson Architecture 166 COPY WRITING Design 176 Janine DeFeo, Thomas Evans, Megan Ashley DiNoia PRINTING Sonic Media Solutions, Inc. Specialty Books 180 Art 182 FRONT COVER IMAGE Group Exhibitions 196 Fritz Lang, Woman in the Moon (film still), 1929. From The Moon, Photography 200 published by Louisiana Museum of Modern Art. See Page 5. BACK COVER IMAGE From Voyagers, published by The Ice Plant. See page 26. Backlist Highlights 206 Index 215 Hilma af Klint: Paintings for the Future Edited with text by Tracey Bashkoff. Text by Tessel M. Bauduin, Daniel Birnbaum, Briony Fer, Vivien Greene, David Max Horowitz, Andrea Kollnitz, Helen Molesworth, Julia Voss. When Swedish artist Hilma af Klint died in 1944 at the age of 81, she left behind more than 1,000 paintings and works on paper that she had kept largely private during her lifetime. Believing the world was not yet ready for her art, she stipulated that it should remain unseen for another 20 years. But only in recent decades has the public had a chance to reckon with af Klint’s radically abstract painting practice—one which predates the work of Vasily Kandinsky and other artists widely considered trailblazers of modernist abstraction. Her boldly colorful works, many of them large-scale, reflect an ambitious, spiritually informed attempt to chart an invisible, totalizing world order through a synthesis of natural and geometric forms, textual elements and esoteric symbolism.
    [Show full text]
  • Press Release
    Press release Museum Frieder Burda Opens “Salon Berlin” A new space for encounters, exchange and inspiration: Salon Berlin by Museum Frieder Burda, one of Germany’s most successful private museums, serves as a showroom for the museum and its collection, thus opening a window to Baden-Baden, where the focus remains on an extensive programme of exhibitions. (The exhibition “The Candle”, with works by Gerhard Richter, Thomas Demand, Robert Gober, Jeff Koons and Andreas Slominski, among others, begins on 22 October 2016). Closely connected with its parent museum in Baden-Baden, Salon Berlin, under the curatorial direction of Patricia Kamp, presents the diverse aspects of the museum programme and the Frieder Burda collection. The exhibition space also sees itself as a forum for international contemporary art. It simultaneously represents a display window and an experimental room for the Museum Frieder Burda. Topical thematic exhibitions, solo presentations and events place the Salon Berlin in dialogue with the capital’s vibrant art scene. Its opening revives an old and proud tradition in the city – in contemporary form at a historical place in the midst of Berlin’s most lively art quarter. Salon Berlin is located in the former School for Jewish Girls in Auguststrasse. The complex, located directly opposite the KW Institute for Contemporary Art, has already been introduced in an artistic context at the 4th Berlin Biennale 2006. It has been home to a range of art institutions and galleries for several years. The bar and restaurant on the premises and its direct proximity to various other artistic outlets in the neighbourhood make the place perfect in terms of location and space.
    [Show full text]
  • Museum Frieder Burda Presents Major Solo Exhibition of German Artist Katharina Sieverding in Baden-Baden and Berlin Press Releas
    PRESS RELEASE KATHARINA SIEVERDING MUSEUM FRIEDER BURDA WATCHING THE SUN AT MIDNIGHT BADEN-BADEN 28 AUGUST 2021 – 09 JANUARY 2022 SALON BERLIN HEADLINES BERLIN 03 SEPTEMBER – 26 SEPTEMBER 2021 Katharina Sieverding, TRANSFORMER CYAN SOLARISATION 5 A/B, 1973/74, Farbfotografie, Acryl, Stahlrahmen, 2-teilig, je 190 x 125 cm © Katharina Sieverding, VG Bild-Kunst 2021 Foto © Klaus Mettig, VG Bild-Kunst 2021 MUSEUM FRIEDER BURDA PRESENTS MAJOR SOLO EXHIBITION OF GERMAN ARTIST KATHARINA SIEVERDING IN BADEN-BADEN AND BERLIN Watching the Sun at Midnight at Museum Frieder Burda and Headlines at the museum’s Berlin exhibition space Salon Berlin brings together works spanning all phases of Sieverding’s pioneering and widely appreciated 60-year oeuvre. The exhibition will include videos from the late 1960s as well as her oversized self-portrait series from the 1970s to the 1990s, right up to her contemporary productions. August 5, 2021 (Baden-Baden, Germany) – The internationally renowned art museum Museum Frieder Burda, designed by Pritzker Prize-winning architect Richard Meier, and widely acclaimed for its significant private collection of Classical Modernism and Contemporary Art of over 1,000 works, unveils a major exhibition of reputed German Lichtentaler Allee 8B 76530 Baden-Baden Tel: +49 (0)7221 398980 www.museum-frieder-burda.de artist Katharina Sieverding. Curated by Udo Kittelmann in cooperation with Katharina Sieverding, Watching the Sun at Midnight pays homage to Sieverding’s persistent treatment of contemporary German and global matters, one that has ensured the ongoing relevance of her work over the past 60 years. In conjunction with the exhibition in Baden- Baden, Salon Berlin presents Headlines, a thematically focused selection of large-scale photographs referring to the darkest chapter in Germany’s history, the National Socialist era, in the Former Jewish Girls’ School in Auguststrasse in Berlin.
    [Show full text]
  • Baden-Baden Sport Activities in Destination and Region Baden-Baden on Site Golf Region Baden-Alsace Ballooning Cycling & Mountain Biking Paragliding Climbing
    Baden-Baden Sport activities in Destination and Region Baden-Baden On site Golf Region Baden-Alsace Ballooning Cycling & Mountain Biking Paragliding Climbing Cultural activities in Baden-Baden Nearby Excursion Museum Frieder Burda Strasbourg Festspielhaus Baden-Baden Heidelberg Casino Freiburg Roman Bath Ruins Hockenheimer Ring Parks and Gardens Europa-Park Iffezheim Racecourse Shopping Merkur Bergbahn Castle Favorite Mummelsee Baden-Baden Destination and Region Baden-Baden – a special town surrounded by special places. Baden-Baden is located at the western foothills of the Black Forest on the banks of the Oos-river: The city is internationally renowned as thermal spa resort and often characterized as having an elegant and stylish flair whilst offering diverse seasonal and year- long entertainment options ranging from many different cultural to sportive activities which help taking a break from every-day life. Baden-Baden is furthermore a perfect strategic location for exploring other © Baden-Baden Kur & Tourismus GmbH traditional German and French cities which are only a stroll away. The picturesque Black Forest countryside The Black forest is a 200 km long & 60 km wide forested mountain area in the sunny German south state of Baden-Württemberg known for its dense forests and glacier shaped valleys. During medieval times it used to be one of Europe’s most significant mining regions and © Baden-Baden Kur & Tourismus GmbH today it counts to one of Europe’s most beautiful woodlands serving Germany as booming tourist destination with its many marked hiking trails, rivers, creeks, glacial and artificial lakes which invite for water sports. During winter it is even possible to ski on the Black Forest’s highest mountain, the Feldberg with an approx.
    [Show full text]