Karin Kneffel Biography
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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. -
The German North Sea Ports' Absorption Into Imperial Germany, 1866–1914
From Unification to Integration: The German North Sea Ports' absorption into Imperial Germany, 1866–1914 Henning Kuhlmann Submitted for the award of Master of Philosophy in History Cardiff University 2016 Summary This thesis concentrates on the economic integration of three principal German North Sea ports – Emden, Bremen and Hamburg – into the Bismarckian nation- state. Prior to the outbreak of the First World War, Emden, Hamburg and Bremen handled a major share of the German Empire’s total overseas trade. However, at the time of the foundation of the Kaiserreich, the cities’ roles within the Empire and the new German nation-state were not yet fully defined. Initially, Hamburg and Bremen insisted upon their traditional role as independent city-states and remained outside the Empire’s customs union. Emden, meanwhile, had welcomed outright annexation by Prussia in 1866. After centuries of economic stagnation, the city had great difficulties competing with Hamburg and Bremen and was hoping for Prussian support. This thesis examines how it was possible to integrate these port cities on an economic and on an underlying level of civic mentalities and local identities. Existing studies have often overlooked the importance that Bismarck attributed to the cultural or indeed the ideological re-alignment of Hamburg and Bremen. Therefore, this study will look at the way the people of Hamburg and Bremen traditionally defined their (liberal) identity and the way this changed during the 1870s and 1880s. It will also investigate the role of the acquisition of colonies during the process of Hamburg and Bremen’s accession. In Hamburg in particular, the agreement to join the customs union had a significant impact on the merchants’ stance on colonialism. -
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 -
Programm-Jahrestagung-Dmb-2018-Online.Pdf
DMB 18 · Bremen Jahrestagung des Deutschen Museumsbundes e.V. 6. bis 9. Mai 2018 in Bremen Sonntag, 6. Mai 2018 Exkursionen in Museen in Bremen 19.00 Empfang Der Deutsche Museumbund bedankt sich bei den gastgebenden auf Einladung der Kunsthalle Bremen Museen, den öffentlichen Förderern, den Medienpartnern sowie Am Wall 207, 28195 Bremen bei allen Unterstützern und Sponsoren für das Engagement bei der Vorbereitung und Durchführung der Tagung: Montag, 7. Mai 2018 Freie Hansestadt Bremen 10.00 Haupttagung Handelskammer Bremen – IHK für Bremen und Bremerhaven Unternehmensverbände im Land Bremen e. V. 19.00 Empfang Kulturstiftung der Länder auf Einladung der Handelskammer Bremen – Museumsverband für Niedersachsen und Bremen IHK für Bremen und Bremerhaven und gastgebende Museen der Unternehmensverbände im Land Bremen Deutsche Bahn Haus Schütting, Am Markt 13, 28195 Bremen Exponatec Image Access Dienstag, 8. Mai 2018 PROXIPEDIA cura3D 9.30 Haupttagung Kulturmanagement Network publicmarketing 15.00 Mitgliederversammlung blachreport 18.00 Empfang auf Einladung der Freien Hansestadt Bremen Obere Rathaushalle, Am Markt 21, 28195 Bremen Die Jahrestagung wurde konzipiert und umgesetzt von: 19.30 Get-together Prof. Dr. Wiebke Ahrndt, Gregor Isenbort, Jan-Christian Warnecke, Schüttinger Gasthausbrauerei Prof. Dr. Eckart Köhne, Dr. Jens Bortloff, Prof. Dr. Christina Haak, Hinter dem Schütting 12/13, 28195 Bremen Dr. Susanne Köstering, Dr. Ulrike Lorenz, Ulrike Stottrop, Dr. Gabriele Uelsberg, Dr. Hayat Wiersch, Melanie Kölling, Mittwoch, 9. Mai 2018 David Vuillaume, Gunhild Jäger, Sylvia Willkomm. Fachtagungen der Fachgruppen und Arbeitskreise Programmänderung vorbehalten Jahrestagung des Deutschen Museumsbundes e.V. 6. bis 9. Mai 2018 in Bremen Eine Frage der Haltung. Welche Werte vertreten Museen? Ein Haus stellt Objekte aus der NS-Diktatur aus und bekommt Beifall von „falscher“ Seite. -
Borrowing Images of Empire: the Contribution of Research on The
Medieval Studies, vol. 22, 2018 / Studia z Dziejów Średniowiecza, tom 22, 2018 Piotr Samól (Gdansk Univeristy of Technology) https://orcid.org/ 0000-0001-6021-1692 Piotr Samól Borrowing Images of Empire: The contribution of research on the artistic influence of the Holy Roman Empire on Polish Romanesque architecture in the eleventh and twelfth centuries1 Borrowing Images of Empire… Keywords: Romanesque architecture, Poland, Ostrów Lednicki, monumental stone buildings Although knowledge concerning Romanesque architecture in Poland has developed over many years, most cathedrals and ducal or royal seats have not been comprehensively examined. Moreover, a substan- tial number of contemporary scholarly works have erased the thin line between material evidence and its interpretation. As a consequence, the architectural remains of Polish Romanesque edifices are often considered the basis for wider comparative research. Meanwhile, fragmentarily preserved structures of Romanesque buildings have allowed scholars to conduct research on their origins and models, but they have rarely provided enough information for spatial recon- structions of them. This means that one might investigate the process of transposing patterns from the Holy Roman Empire to Poland instead of the influence of Polish masons’ lodges on each other. Therefore, this paper has two aims. The first is to look at how imperial pat- terns affected the main stone structures (cathedrals and collegiate 1 Originally, my paper entitled ‘In the Shadow of Salian and Hohenstaufen Cathedrals: The Artistic Influence of the Holy Roman Empire on Polish Romanesque Architecture in the Eleventh and Twelfth Centuries’ was given at the ‘Borrowing Images of Empire’ seminar during the Medieval Congress in Leeds in July 2014. -
Zen for Film
UvA-DARE (Digital Academic Repository) Re: Paik. On time, changeability and identity in the conservation of Nam June Paik’s multimedia installations Hölling, H.B. Publication date 2013 Link to publication Citation for published version (APA): Hölling, H. B. (2013). Re: Paik. On time, changeability and identity in the conservation of Nam June Paik’s multimedia installations. Boxpress. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:23 Sep 2021 CHAPTER 4 . ZEN FOR FILM 4 .1 . Zen in Three Episodes No .1 In a slightly darkened museum room I am standing in front of a white screen that fills a rectangular wall with a proportional cinematic rectangle. The image seems to diffuse towards its edges, its contour soft, its corners slightly curved. -
A Guide for Holders of the International Association of Art Card Prepared with Contributions from the Slovak Union of Visual Arts (Slovenská Výtvarná Únia) 2017
A guide for holders of the International Association of Art card Prepared with contributions from the Slovak Union of Visual Arts (Slovenská výtvarná únia) 2017 The International Association of Art (IAA/AIAP) is a non-governmental organization working in official partnership with UNESCO. Its objectives are to stimulate international cooperation among visual artists of all countries, nations or peoples, to improve the socio-economic position of artists nationally and internationally, and to defend their material and moral rights. The IAA issues identity cards to professional visual artists. This card allows free or discounted admission to many galleries and museums in countries around the world. The card is a tool for the lifelong education of artists in their professional artistic research. These institutions, large or small, recognize the benefit they gain from enabling the artists, like art critics and journalists, to visit exhibitions, art events and collections of art, to carry on research, and to gain inspiration. As a member within the IAA network, CARFAC National issues IAA cards exclusively to Canadian professional artists that are members of CARFAC upon request. Only National Committees of the IAA may issue the card. Where to use the IAA card This document includes a chart detailing selected institutions that offer free or discounted admission prices, or other perks to IAA card holders while travelling abroad. This information was obtained from surveying recent users of the card and IAA National Committees worldwide, and is updated regularly – most recently in 2017 by the Slovak Union of Visual Arts (SUVA). Users will find that different areas in Europe are more receptive to the card than others. -
Die Brücke Der Blaue Reiter Expressionists
THE SAVAGES OF GERMANY DIE BRÜCKE DER BLAUE REITER EXPRESSIONISTS 22.09.2017– 14.01.2018 The exhibition The Savages of Germany. Die Brücke and Der DIE BRÜCKE (“The Bridge” in English) was a German artistic group founded in Blaue Reiter Expressionists offers a unique chance to view the most outstanding works of art of two pivotal art groups of 1905 in Dresden. The artists of Die Brücke abandoned visual impressions and the early 20th century. Through the oeuvre of Ernst Ludwig idyllic subject matter (typical of impressionism), wishing to describe the human Kirchner, Emil Nolde, Wassily Kandinsky, August Macke, Franz Marc, Alexej von Jawlensky and others, the exhibition inner world, full of controversies, fears and hopes. Colours in their paintings tend focuses on the innovations introduced to the art scene by to be contrastive and intense, the shapes deformed, and the details enlarged. expressionists. Expressionists dedicated themselves to the Besides the various scenes of city life, another common theme in Die Brücke’s study of major universal themes, such as the relationship between man and the universe, via various deeply personal oeuvre was scenery: when travelling through the countryside, the artists saw an artistic means. opportunity to depict man’s emotional states through nature. The group disbanded In addition to showing the works of the main authors of German expressionism, the exhibition attempts to shed light in 1913. on expressionism as an influential artistic movement of the early 20th century which left its imprint on the Estonian art DER BLAUE REITER (“The Blue Rider” in English) was another expressionist of the post-World War I era. -
Bremen Und Die Kunst in Der Kolonialzeit
DER BLINDE FLECK BREMEN UND DIE KUNST IN DER KOLONIALZEIT THE BLIND SPOT BREMEN, COLONIALISM AND ART EDITED BY JULIA BINTER ©2017byKunsthalle Bremen –Der Kunstverein in Bremen www.kunsthalle-bremen.de ©2017byDietrich Reimer Verlag GmbH, Berlin www.reimer-mann-verlag.de Funded by the International MuseumFellowship program of the German Federal Cultural Foundaition In cooperation with Afrika-Netzwerk Bremen e.V. Bibliographic Information of the German National Library Deutsche Nationalbibliothek holds arecordofthis publication in the Deutsche Nationalbibliografie; detailed bibliographical data can be found under: http://dnb.d-nb.de. All rightsreserved. No partofthis book maybereprintedorrepro- ducedorutilised in any form or by any electronic, mechanical or other means, nowknown or hereafter invented, including photocopying and recording, or in any information storage or retrievalsystem, without permission in writing from the publishers. ISBN 978-3-496-01592-5 With contributions by Julia Binter Anna Brus Anujah Fernando Anna Greve HewLocke YvetteMutumba Ngozi Schommers Vivan Sundaram Translations from German and English by Daniel Stevens Lenders Nolde-Stiftung Seebüll Sammlung Vivanund Navina Sundaram Sammlung Karl H. Knauf,Berlin Übersee-Museum Bremen Deutsches Schifffahrtsmuseum Bremerhaven Museum für Völkerkunde Hamburg Focke-Museum Landesmuseum für Kunst und Kulturgeschichte Schulmuseum Bremen Landesfilmarchiv Bremen Intro Ⅰ Kawanabe Kyōsai, The Lazy one in the Middle, n. d., monochrome woodcut, Outro Ⅰ Kunsthalle Bremen – Artist unknown, -
Allan Kaprow
ALLAN KAPROW Born 1927 Atlantic City, NJ Died 2006 Encinitas, CA EDUCATION 1945-1949 New York University, New York 1947-1948 Hans Hofmann School of Fine Arts, New York 1950-1952 Columbia University, New York 1957-1958 New School for Social Research, New York FELLOWSHIPS AND AWARDS 1967 John Simon Guggenheim Memorial Foundation Fellowship, New York 1962 William and Noma Copley Foundation Award, Chicago SELECTED SOLO EXHIBITIONS 2017 Allan Kaprow: Yard, Lévy Gorvy at SALON, Saatchi Gallery, London Allan Kaprow – Painting 1946-1957 – A Survey, Villa Merkel, Esslingen 2015 Allan Kaprow. Yard, NP3 (location M0Bi), Groningen Fluids, Staatliche Museen zu Berlin, Berlin; also traveled to: Hamburger Bahnhof and Museum für Gegenwart, Berlin 2014 Allan Kaprow: Yard, The Hepworth Wakefield, Wakefield Sohm Display Window II. From Painting to Life: Allan Kaprow’s Happenings, Staatsgalerie Stuttgart, Stuttgart Allan Kaprow. Altres Maneres, Fundació Antoni Tàpies, Barcelona 2013 Allan Kaprow. Time Pieces, NBK Neuer Berliner Kunstverein, Berlin Allan Kaprow Stockroom, Sammlung Friedrichshof, Zurndorf Allan Kaprow Project, Sammlung Friedrichshof, Zurndorf Allan Kaprow Books and Posters, Christophe Daviet- Thery Livres et Editions d’ Artistes, Paris Fluids: A Happening by Allan Kaprow Reinvented by Art Theory & Practice, Mary and Leigh Block Museum of Art, Northwestern University, Evanston 2011 Allan Kaprow in Deutschland: Wärme- und Kälteeinheiten, Zentralarchiv des internationalen Kunsthandels ZADIK, Cologne 2009 Allan Kaprow. Yard, Hauser & Wirth, New -
OWHC-Application
, Proposal for a strong and active OWHC Regional Secretariat North West Europe Content 1. The objectives of Regional Secretariats .......................................................... 5 A Objectives B Resources 2. General proposals ......................................... 5 A Lobbying B Website C Publication D Exchange of Expertise E Strong voice of the member citiesx F Enhance output of regional conferences G Networking 3. Background information: City of Regensburg ........................................6 A Resources B Benefit of a Regional Secretariatx in Regensburg: Coordination Political support, networks and output Financial aspects 4. Next steps ...........................................................8 A Communication initiative B Strategic initiative C Solidarity initiative D Expertise initiative E Resources Titelfotos: Bamberg, Bergen, Edinburgh: Matthias Ripp, Bern: chrchr_75, Brügge: Markus Bechtold, Stralsund: antoinou2958, Innenteil: Peter Ferstl, Luftansicht: Hajo Dietz 2 Proposal for a strong and active OWHC Regional Secretariat for north-west Europe Good reasons for location in Regensburg, Germany 3 Potential member cities of the north-west European region Wismar Germany Quedlinburg Germany Røros Norway Bremen Germany Bergen Norway Goslar Germany Bern Switzerland Liverpool United Kingdom Luxembourg Luxembourg Mantova Italy Stralsund Germany Sabbioneta Italy Regensburg Germany Weimar Germany Beemste Netherlands Karlskrona Sweden Brugge Belgium Potsdam Germany Berlin Germany BathUnited Kingdom Rauma Finland Lübeck Germany Visby Sweden Edinburgh United Kingdom Bamberg Germany 4 The OWHC is an internationally-organized and -oriented Member cities should be invited to cooperate and integ- organization that promotes the implementation of the rate their ideas and approaches into the working process. World Heritage Convention. The Organisation also focuses For the best results and to the benefit of all heritage on the exchange of information and expertise on matters cities of the region, an integrated approach is essential. -
Hew Locke Cv
HEW LOCKE CV Born 1959, Edinburgh Lives and works in London Education 1994 MA Sculpture, Royal College of Art, London, UK 1988 Falmouth University, UK, BA (Hons) Fine Art Selected Solo Exhibitions 2017-18 Reversal of Fortune, Fringe Projects Miami, The Alfred I. duPont Building, Miami, FL, USA For Those in Peril on the Sea, Perez Art Museum Miami, Miami, FL, USA Cui Bono, installation in Bremen Rathouse, originally comissioned in conjunction with Der Blinde Fleck by Kunsthalle Bremen, Bremen, Germany 2016 The Wine Dark Sea, Edward Tyler Nahem Fine Art, New York, USA 2015 IWM Contemporary: Hew Locke, IWM London, UK The Tourists, HMS Belfast, London, UK Magna Carta Commission, Runnymede Surrey, UK 2014 Beyond the Sea Wall, Hales Gallery, London, UK Give and Take, performance in the Turbine Hall, Tate Modern, London. Part of Up Hill Down Hall 2013 For Those in Peril on the Sea, installation at launch of Pérez Art Museum Miami, USA Adrift, All Hallows by the Tower Church, Thames Festival, London, UK 2012 Day of the Dead Festival, a new installation titled ‘Adrift’ created for the Old Vic Tunnels, London, UK 2011 For Those in Peril on the Sea, St. Mary & St. Eanswythe Church, Folkestone Triennial, UK The Nameless, KAdE Kunsthal, Amersfoort, the Netherlands Are We There Yet?, The Gallery, the Arts University College at Bournemouth, UK Starchitect, ArtSway, Hampshire & as part of The New Forest Pavillion, Venice Biennale, Venice, Italy 2010 The Nameless, Hales Gallery, London, UK 2008 The Kingdom of the Blind, Rivington Palace, London, UK How do you want me?, Hales Gallery, London, UK London, 7 Bethnal Green Road, E1 6LA.