International Art Exhibitions 2011.01
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L'image Du Porc Dans L'œuvre Gravée De Hans Grundig
« Du lard ou du cochon ? : l’image du porc dans l’œuvre gravée de Hans Grundig (1933-1935) » Jeanne-Marie-Portevin Membre du Parti communiste et de l'Association des artistes révolutionnaires (Asso)1 sous la République de Weimar, Hans Grundig a 32 ans lorsque Hitler accède au pouvoir. Alors qu’il est doublement menacé par son engagement politique et son mariage avec l’artiste Lea Langer d’origine juive, il reste en Allemagne et décide de faire de son art, qu’il avait dédié dans les années 20 à la cause du prolétariat et à la lutte des classes, une arme dans le combat contre la dictature, demeurant fidèle au manifeste d'Asso2. Dès 1933, il commence un cycle de gravures qu’il regroupera plus tard sous le titre évocateur Des animaux et des hommes, et qui constituent, selon les vœux de son auteur, une satire de l’Allemagne nazie. La gravure à la pointe sèche fait son entrée dans son oeuvre en même temps que se met en place la dictature. Reproductible, facilement diffusable, comparable par son austérité et les matériaux qu'elle mobilise à l'écrit, la gravure est la forme par excellence de l'art résistant et se développe à cette époque en tant que telle. Lea Grundig raconte, dans son autobiographie, l'arrivée triomphante de la presse dans leur atelier et leur travail désormais fébrile : « La veille au soir, nous préparions le beau papier épais, nous coupions les grandes feuilles en des petites, nous les trempions et les disposions. Le lendemain nous voyait imprimer. [...] Notre espace se couvrait de tirages. -
Fine Arts Paris Wednesday 7 November - Sunday 11 November 2018 Carrousel Du Louvre / Paris
Fine Arts Paris WednesdAy 7 november - sundAy 11 november 2018 CArrousel du louvre / PAris press kit n o s s e t n o m e d y u g n a t www.finearts-paris.com t i d e r c Fine Arts Paris From 7 to 11 november 2018 CArrousel du louvre / PAris Fine Arts Paris From 7 to 11 november 2018 CArrousel du louvre / PAris Hours Tuesday, 6 November 2018 / Preview 3 pm - 10 pm Wednesday, 7 November 2018 / 2 pm - 8 pm Thursday 8 November 2018 / noon - 10 pm Friday 9 November 2018 / noon - 8 pm Saturday 10 November 2018 / noon - 8 pm Sunday 11 November 2018 / noon - 7 pm admission: €15 (catalogue included, as long as stocks last) Half price: students under the age of 26 FINE ARTS PARIS Press oPening Main office tuesdAy 6 november 68, Bd malesherbes, 75008 paris 2 Pm Hélène mouradian: + 33 (0)1 45 22 08 77 Social media claire Dubois and manon Girard: Art Content + 33 (0)1 45 22 61 06 Denise Hermanns contact@finearts-paris.com & Jeanette Gerritsma +31 30 2819 654 Press contacts [email protected] Agence Art & Communication 29, rue de ponthieu, 75008 paris sylvie robaglia: + 33 (0)6 72 59 57 34 [email protected] samantha Bergognon: + 33 (0)6 25 04 62 29 [email protected] charlotte corre: + 33 (0)6 36 66 06 77 [email protected] n o s s e t n o m e d y u g n a t t i d e r c Fine Arts Paris From 7 to 11 november 2018 CArrousel du louvre / PAris "We have chosen the Carrousel du Louvre as the venue for FINE ARTS PARIS because we want the fair to be a major event for both the fine arts and for Paris, and an important date on every collector’s calendar. -
Press Information ART | WORKS on PAPER | ARCHITECTURE
Press information ART | WORKS ON PAPER | ARCHITECTURE | DESIGN RESET: THE SAMMLUNG MODERNE KUNST 2016 Press preview: 20.07.2016, 11.00 a.m. With RESET, the Sammlung Moderne Kunst presents a fresh start for the works in its collection. New acquisitions encounter well-known but rarely-shown works in an exciting and unusual dialogue between featured artists. The starting point is the European avant-garde movements of the 1910s and 1920s: Expressionism, Bauhaus, Neue Sachlichkeit and Surrealism. Transcending boundaries of space and time, Max Beckmann, Francis Bacon, Anselm Kiefer, Arnulf Rainer and Georg Baselitz become neighbours; Hans Hofmann, Franz Kline and Jasper Johns meet Palermo; Cy Twombly encounters Wolfgang Laib; while Willem de Kooning meets Andy Warhol. German and American photography meet on the “Outskirts”, where they tell the story of their reciprocal influence. Joseph Beuys remains the milestone and centre point of the new hang. Across the rotunda, Beuys’s End of the Twentieth Century sparks a dialogue with installations by Donald Judd and Dan Flavin, but also with contemporary environments by Pipilotti Rist and Thomas Hirschhorn. MODERN ART Important new acquisitions have prompted a reorganization of the collection display, highlighting new aspects of early twentieth century art. In the Expressionist area of the Pinakothek der Moderne, Ferdinand Hodler’s Student from Jena and Edvard Munch’s Woman in a Red Dress highlight art’s new beginnings in the early twentieth century. For the first time, the traumatic experiences of “Apocalypse and the First World War” are given a room of their own, including two Expressionist works in the tradition of the Christian Passion: Red Christ by Lovis Corinth and Dead Christ by Wilhelm Gerstel. -
Introduction the Surreal Without Surrealism
INTRODUCTION The Surreal without Surrealism The time will come, if it is not already come, when the surrealist enterprise:': will be studied and evaluated, in the history of literature, as an adventure of hope. —Wallace Fowlie, Age of Surrealism Indubitably, Surrealism and the GDR are closely connected, and are more closely related to each other than one might think. When, for example, one listens to the recollections and reads the memoirs of those who lived in this country, apparently no other conclusion can be drawn. Life in the East German Communist state had a surrealistic disposition, was associated with the grotesque, absurd and irrational. Admittedly, Surrealism did not exist in the GDR. Not only are the insights of Hans Magnus Enzensberger and Peter Bürger on the death of the historical avant-garde convincing and applicable to the GDR;1 it is also significant that no German artist or writer who considered him- or herself a Surrealist prior to 1945 returned from exile to settle in the SBZ or the GDR. Most of the celebrities of German Surrealism during the Weimar Republic were forced to go into exile or did not return to Germany at all. Max Ernst, for example, remained living in the USA, and then in 1953 moved to his wife’s old quarters in Paris; Hans Arp decided to live in Switzerland, and in 1949 chose the USA as his home country. Others who had lived through and survived Hitler’s Germany had to face the harsh demands of National Socialist cultural politics that downgraded the avant-garde to the status of Entartete Kunst, or degenerate art, and sidelined and even terrorized its representatives. -
The Art of Society, 1900-1945: the Nationalgalerie Collection 1 / 23 1
The Art of Society, 1900-1945: The Nationalgalerie Collection 1 / 23 1. Tarsila do Amaral Long-term loan from the Fundação José Distance, 1928 e Paulina Nemirovsky to the Pinacoteca Oil on canvas do Estado de São Paulo 65 × 74.5 cm 2. Alexander Archipenko Staatliche Museen zu Berlin, Flat Torso, 1914 (cast, late 1950s) Nationalgalerie Bronze Acquired in 1965 from the Galerie 48 x 10,5 x 10,5 cm (base included) Grosshennig, Düsseldorf, by the Land Berlin for the Galerie des 20. Jahrhunderts, Berlin (West) 3. Alexander Archipenko Staatliche Museen zu Berlin, Woman Standing, 1921 Nationalgalerie Bronze Acquired in 1977 from the 67,5 x 14,5 x 15 cm Handelsorganisation (HO) Cottbusser Börse, Cottbus, for the Nationalgalerie, Berlin (East) 4. Hans Arp Staatliche Museen zu Berlin, Constellation (Shellhead and Tie), Nationalgalerie 1928 Gift from the Ulla and Heiner Pietzsch Wood, 25,1 x 33,9 x 6 cm Collection to the Land Berlin, 2010 5. Hans Arp Staatliche Museen zu Berlin, Sitting, 1937 Nationalgalerie Limestone Gift from the Ulla and Heiner Pietzsch 29,5 x 44,5 x 18 cm Collection to the Land Berlin, 2010 6. Hans Arp Staatliche Museen zu Berlin, Concrete Relief, 1916/1923 Nationalgalerie Wood Acquired in 1979 from the estate of 21,4 x 27,7 x 7 cm Hannah Höch, Berlin, by the Freunde der Nationalgalerie for the Nationalgalerie, Berlin (West) 7. Hans Arp Staatliche Museen zu Berlin, Concretes Relief, 1916/1917 Nationalgalerie Wood Acquired in 1979 from the estate of 41,2 x 60,6 x 12 cm Hannah Höch, Berlin, by the Freunde der Nationalgalerie for the Nationalgalerie, Berlin (West) 8. -
Hans Grundig
Biografische Daten Hans und Lea Grundig Hans Grundig 1901 Geboren am 19. Februar in Dresden als Sohn des Dekorationsmalers Bernhard Grundig 1915 Lehre als Dekorationsmaler beim Vater 1916 Arbeitsbursche in einer Fabrik (Kamerawerk) 1919 Malergeselle im väterlichen Geschäft 1920–21 Studium an der Kunstgewerbeschule Dresden 1922–26 Studium an der Akademie der Bildenden Künste Dresden bei Otto Gußmann und Otto Hettner, Bekanntschaft mit Otto Dix. 1923 Italienwanderung mit Freunden, Bekanntschaft und Freundschaft mit der Kunststudentin Lea Langer 1926 Als Student Eintritt in die KPD zusammen mit Lea Langer, Fritz Skade, Wilhelm Lachnit u. a., im Dezember Tod des Vaters 1927 Übernahme und Fortführung des väterlichen Handwerksgeschäftes 1928 Heirat mit Lea Langer, fortan gemeinsame künstlerische Arbeit, Auflösung des väterlichen Geschäftes 1929 Gründungsmitglied der ASSO (Assoziation revolutionärer bildender Künstler Deutschlands) 1933 Kauf einer Kupferdruckpresse und Beginn der Radierfolge „Tiere und Menschen“ (bis 1938) 1934 Pommernreise 1936 25. April Ausschluss aus der Reichskulturkammer und Berufsverbot, auf Einladung von Albert Merkling Reise in die Schweiz, nach der Rückkehr erste Verhaftung 1938 31. Mai, zweite Verhaftung beider Grundigs Entlassung von Hans Grundig Ende Oktober 1939 Dezember Entlassung Lea Grundigs aus dem Gefängnis, Zusammentreffen beider Grundigs trotz Verbots, erneute Verhaftung beider 1940 3. Januar Einlieferung in das Konzentrationslager Sachsenhausen bei Berlin 1941 Überführung in das Außenlager Berlin-Lichterfelde -
New Objectivity: Modern German Art in the Weimar Republic, 1919–1933
New Objectivity: Modern German Art in the Weimar Republic, 1919–1933 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 New Objectivity: Modern German Art in the Weimar Republic, 1919-1933 Press images, full captions 1. Max Beckmann Dance in Baden-Baden (Tanz in Baden-Baden), 1923 Oil on canvas; 42 1/2 x 26 in. (108 x 66 cm) Bayerische Staatsgemäldesammlungen, Munich, Pinakothek der Moderne © 2015 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn Photo: bpk, Berlin/Bayerische Staatsgemäldesammlungen/Art Resource, NY 2. Max Beckmann Self-Portrait in Tuxedo (Selbstbildnis im Smoking), 1927 Oil on canvas; 54 15/16 x 37 5/8 in. (139.5 x 95.5 cm) Harvard Art Museums/Busch-Reisinger Museum, Association Fund © 2015 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn Photo: Imaging Department © President and Fellows of Harvard College 3. Max Beckmann Paris Society (Gesellschaft Paris), 1931 Oil on canvas; 43 × 69 1/8 in (109.2 × 175.6 cm) Solomon R. Guggenheim Museum, New York © 2015 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn, Photo © The Solomon R. Guggenheim Foundation, New York 4. Aenne Biermann Ficus elastic: Rubber Plant (Ficus elastic: Gummibaum), c. 1927 Gelatin silver print; 18 2/5 x 13 3/4 in. (46.7 x 35 cm) Bayerische Staatsgemäldesammlungen, Munich, Pinakothek der Moderne Photo: Bayerische Staatsgemäldesammlungen, Fotoarchiv 5. -
Ausstellungskataloge Bibliographie (Bearbeitet Von Ulrich Zesch) 13.05.2019 .……………….……………………………………………………………………………………………………………………………………
Josef Hegenbarth — www.josef-hegenbarth.de Ausstellungskataloge Bibliographie (bearbeitet von Ulrich Zesch) 13.05.2019 .……………….…………………………………………………………………………………………………………………………………… AUSSTELLUNGSKATALOGE Dresden 1914 IV. Ausstellung der Künstler-Vereinigung Dresden. Mai 1914. Kunstausstellung Emil Richter, Prager Straße (2 Werke). Leipzig 1914 Erste Internationale Graphische Kunst-Ausstellung Leipzig 1914. Internationale Ausstellung für Buchgewerbe und Graphik. Abteilung: „Zeitgenössische Graphik“ (3 Werke beim Deutschen Künstlerbund). München 1914 Frühjahr-Ausstellung der Münchener Secession. Kgl. Kunstausstellungsgebäude am Königsplatz 3. März - 19. April 1914 (5 Werke). Wien 1914 XLVI. Ausstellung der Vereinigung Bildender Künstler Österreichs. Secession Wien, Jänner Februar 1914 (10 Werke). Dresden 1915 Künstler-Vereinigung Dresden. V. Graphische Ausstellung in der Kunstausstellung Emil Richter. April/Mai 1915 (2 Werke). München 1915 Kunstausstellung der Münchener Secession. Kgl. Kunstausstellungsgebäude am Königsplatz 30. Juni - 31. Oktober 1915 (2 Werke). Berlin 1916 Katalog der Frühjahrs-Ausstellung 1916 der Berliner Secession (28. Ausstellung). April bis Juni 1916 (5 Werke). * Dresden 1916.1 I. Ausstellung 1916. Künstler-Vereinigung Dresden im neuen städtischen Ausstellungsgebäude (3 Werke). Dresden 1916.2 Herbst-Ausstellung 1916 Graphik. Künstler-Vereinigung Dresden Lennéstraße (8 Werke, 1 Abb.). Wiesbaden 1916 Ausstellung von Kriegsgraphik, Kriegsmedaillen und 300 Handzeichnungen von Wilhelm Kalb. Herausgegeben von Wiesbadener Gesellschaft für Bildende Kunst. 02. – 26. November 1916 Wiesbaden Neues Museum (Kataloge der Ausstellungen im Neuen Museum zu Wiesbaden, 9) (3 Werke). Berlin 1917 Katalog der Frühjahrs-Ausstellung 1917 der Berliner Secession (30. Ausstellung). Mai bis Juli 1917 (4 Werke). Dresden 1917.1 Sommer-Ausstellung 1917. Künstler-Vereinigung Dresden Lennéstraße (1 Werk). Dresden 1917.2 Herbst-Ausstellung 1917. Verbunden mit einer Ausstellung von Jugend-Werken von Max Klinger. Sonder-Ausstellung Käthe Kollwitz. -
IN the FOOTSTEPS of Margareta a City Tour of Burgundian and Contemporary Features in Mechelen WELCOME to the CITY of CONTENTS
EN IN THE FOOTSTEPS OF Margareta A city tour of Burgundian and contemporary features in Mechelen WELCOME TO THE CITY OF CONTENTS 4 History Mechelen 14 A tour of the city’s Burgundian highlights 02 03 Welcome to the city of Mechelen. Historical monuments, 48 Further abreast: parks, charming places near the water? Everything is through the Beguinage within walking distance. This guide offers you the best of Mechelen in a nutshell. This includes background 62 Further abreast: information on ancient monuments, useful tips and along the water and into nature surprising facts. The focus is on one of Mechelen’s most important periods: the Burgundian 74 City map ages. The times of Margaret of Austria and Margaret of York. Two fascinating women who left their mark on this city at the banks of the Dyle. During this tour you will tread in the footsteps of these powerful women. Imagine ... 500 years ago - Mechelen is the capital city of the Low Countries. It was where the court and the HIGHLIGHT OPENING HOURS Great Council were located. Many you just have Burgundian nobles came to live in to see this! this city. Mechelen was an important For the opening hours of churches, museums, place. This thriving time left many attractions and parks please check visit.mechelen.be/en traces in the city. You can still see the TRIVIA many city palaces, historic churches, this makes your wooden facades and richly decorated tour educational. INFORMATION WITH guild houses. CHILDREN IN MIND If that isn’t enough? Your route will TIP take you along the banks of the Dyle for the real fans! Many monuments in Mechelen have a and the Beguinage, to the brewery brown sign. -
Fotografando Sombras Um Olhar Sobre As Imagens Obscuras De Gottfried Helnwein
PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO PUC-SP Lidia Zuin de Moura Fotografando sombras Um olhar sobre as imagens obscuras de Gottfried Helnwein MESTRADO EM COMUNICAÇÃO São Paulo 2014 PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO PUC-SP Lidia Zuin de Moura Fotografando sombras Um olhar sobre as imagens obscuras de Gottfried Helnwein MESTRADO EM COMUNICAÇÃO Dissertação apresentada à Banca Examinadora da Pontifícia Universidade Católica de São Paulo, como exigência parcial para obtenção do título de MESTRE em Comunicação e Semiótica, sob a orientação do Prof. Dr. Norval Baitello Junior. São Paulo 2014 2 Fotografando sombras Um olhar sobre as imagens obscuras de Gottfried Helnwein Lidia Zuin de Moura Resumo Esta pesquisa visa investigar e compreender as estratégias discursivas empregadas nas construções das imagens de Gottfried Helnwein, fotógrafo e pintor hiperrealista austríaco. Suas obras unem o tema do nazismo e da violência numa estética soturna que dialoga com personagens da cultura pop. A pesquisa se divide em três eixos: 1. O contexto histórico e cultural vivido por Helnwein e a relação do público com suas imagens; 2. Os universos culturais que exerceram influência sobre Helnwein: Barroco e Tenebrismo, sombra junguiana, Acionismo Vienense, Pop Art, Hiperrealismo; 3. Análise das séries The Murmur of the Innocents (2009-2013), The Disasters of War (2007-2011), Epiphany (1993-1998) e The American Paintings (2000-2003), focando-se especialmente nos motivos da criança, da cultura pop, do nazismo e da religiosidade. O quadro teórico e metodológico constitui-se a partir das teorias da imagem de Vilém Flusser e de Aby Warburg, considerando-se também os conceitos de imagem arquetípica de C. -
Edward Hopper and the Discourse of Anti-Urbanism
Social & Cultural Geography, Vol. 3, No. 2, 2002 Fear of the city 1882–1967: Edward Hopper and the discourse of anti-urbanism Tom Slater Department of Geography, King’s College London, Strand Campus, London WC2R 2LS, UK This paper traces the extent to which some of the major cityscape representations of the American ‘Realist’ painter, Edward Hopper, have contributed to the production and articulation of the discourse of anti-urbanism in American culture. Following an introduc- tory background to this discourse, the paper discusses the development of Realism in American art, and how the urban representations that emerged were a response to the rapidly changing, early twentieth-century American city. A brief biographical account of Edward Hopper is presented to explore the intertextual inuences behind his anti-urban sentiments, and how these translated into the unique form of Realism for which Hopper is renowned. This sets the stage for a reading of four key Hopper works that are suggestive of the anti-urban discourse: Night Shadows, Nighthawks, Approaching a City and Sunday. The powers of representation and the artist’s popularity have fed into the discourse of anti-urbanism—a discourse that has a material effect on urban life in America. Key words: discourse, anti-urbanism, cityscape, Edward Hopper, representation. Introduction The ‘celebrated thinkers’ to which they refer include Thomas Jefferson, Ralph Waldo Emer- But when in American history has there not been a son, Henry David Thoreau, Edgar Allan Poe, fear of the city … ? (Kazin -
Die Zeit Steht Still
DIE ZEIT STEHT STILL In ihren Bildern und Fotografien friert Mercedes Helnwein schöne, vermeintlich dahingeworfene und absurde Momente ein. Quen of the underground Wir sprachen mit ihr über das Aufwachsen mit ihrem berühmten Vater, Künstler Gottfried Helnwein, über inszenierte Zufälligkeit und die verlorene Schönheit vergangener Moden. Mercedes Helnwein all artworks by MERCEDES HELNWEIN 66 67 Es gibt schlechtere Karrierehighlights, als eine von the way thanks to my parents. Lots of freedom to explore Damian Hirst aufgekaufte Ausstellung. Und dennoch what interested us as kids — and maybe most importantly könnte Mercedes Helnwein, 36, nichts ferner liegen, als freedom to be who we were. strategische Karriereplanung oder ehrgeizige Künstler- posen. An ihre Ölkreidezeichnungen, Fotografien und Had I grown up with a stockbroker dad, who considers art Filme geht sie noch immer so neugierig und spielerisch frivolous or incomprehensible voodoo, or at best strictly an heran, wie sie es von frühster Kindheit von ihrem Vater investment, the journey would have been very different. I Gottfried Helnwein gelernt hat, dessen überdimensionale probably would have had to dye my hair green as a teenager hyperrealistische Kinderportraits oder Fotografien von and do a lot of things to rebel and distance myself from that Marilyn Manson als schaurige Mickey Mouse zu seinen world. It would have been more of a struggle. wohl bekannstesten Werken zählen. Kids and Guitars In Wien geboren, später in Deutschland und Irland auf- Would you share some childhood memories of growing up gewachsen zählt die auch für Modemarken wie Orla surrounded by your father’s work? Do you remember what Kiely tätige Künstlerin mittlerweile Los Angeles zu ihrem art meant to you as a child? Zuhause.