CV RONNY DELRUE °Heestert 1957, Lives And
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Ricardo Brey Doble Existencia / Double Existence
Ricardo Brey Brey Ricardo / Existencia Doble Existence Double Ricardo Brey: Doble Existencia / Double Existence Alexander Gray Associates Ricardo Brey: Doble Existencia / Double Existence February 28 – April 6, 2019 Alexander Gray Associates Stormclouds, 2017, detail Ricardo Brey in Conversation with Alex Santana New York, NY, 2019 Alex Santana: You are currently based in Ghent, Belgium, but you were born and raised in Havana, Cuba and participated in an important moment for arts and culture on the island during the 1980s. How did Western art critics engage with Cuban art at the time? Ricardo Brey: There were many critics who came to visit and took a superfcial approach to Cuban art at the time. I even think some of them may have been disappointed in us. They found that we didn’t follow what they were expecting from us. The Cuba of that moment was Cuba of the Revolution, which was committed to building a narrative of an official history. We were searching for belonging. We wanted to establish a root to our country. Many of the Western critics and scholars who visited were Marxists and they pretended to be sympathetic to the Revolution, even though at the time they were acting very imperialistic towards the real communists in Cuba. They were paternalistic in that they wanted to teach us what to say and how to behave, to bestow the lessons of life upon us, to try and teach us how to be proper socialists. In my work at the time, it was more important for me to utilize the freedom I had with other authors––a freedom I recognized I didn’t have with Karl Marx. -
With Jan Hoet
The history of exhibitions: beyond the white cube ideology (second part) Course on Contemporary Art and Culture MACBA, Autumn 2010 “““Chambres“Chambres d’amisd’amis”””” (1986) Jan Hoet November 15 ththth 2010, 19 h MACBA Auditorium “““Chambres“Chambres d’amisd’amis”””” Museum van Hedendaagse Kunst, Ghent, but hosted in 58 pprivaterivate houses in Ghent 21th June ––– 21th September, 1986 Curator: Jan Hoet Artists: Carla Accardi, Christian Boltanski, Raf Buedts, Daniel Buren, Michael Buthe, Jacques Charlier, Nicola de Maria, Luciano Fabro, Günther Förg, Jef Geys, Dan Graham, Milan Grygar, François Hers, Kazuo Katase, Niek Kemps, Joseph Kosuth, Jannis Kounellis, Bertrand Lavier, Sol Lewitt, Danny Matthys, Gerhard Merz, Mario Merz, Marisa Merz, Helmut Middendorf, Juan Muñoz, Hidetoshi Nagasawa, Bruce Nauman, Maria Nordman, Oswald Oberhuber, Heike Pallanca, Panamarenko, Giulio Paolini, Royden Rabinowitch, Norbert Radermacher, Roger Raveel, Wolfgang Robbe, Claude Rutault, Reiner Ruthenbeck, Remo Salvadori, Rob Scholte, Ettore Spalletti, Paul Thek, Niele Toroni, Charles Vandenhove, Philip Van Isacker, Jan Vercruysse, Jean-Luc Vilmouth, Martin Walde, Lawrence Weiner, Robin Winters, Gilberto Zorio. A few statements on “Chambres d’amis” 1.1.1. “Intriguingly titled ‘Chambres d’Amis’ –-‘guest rooms’,” or, literally, ‘friends’ rooms’-– the show places art in 58 houses belonging to everyday townspeople, carrying the work outside the separate universe, the total institution, of the museum, to bring it within the private zone of the private home, an asocial place insofar as it is removed from the public arena. (...) His [Hoet’s] project takes the exhibition structure off its hinges, goes beyond the limits of the frame and spills over, whole, into an interior. -
Oral History Interview with Edward B. Thomas, 1983 April 28-May 10
Oral history interview with Edward B. Thomas, 1983 April 28-May 10 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Edward B. Thomas on April 28 & May 10, 1983. The interview took place in Seattle, Washington, and was conducted by John Olbrantz for the Archives of American Art, Smithsonian Institution. Interview DATE: APRIL 28, 1983 [Tape 1] JOHN OLBRANTZ: Ed, can you tell me a little bit about your background, where you were born, your early childhood experiences, your parents, who your father was, who your mother was, how they came to live in this part of the country? EDWARD THOMAS: Well, I was born in Cosmopolis, Washington, and many times when I've come through customs, when I was much younger and especially at the Mexican border, they would say, "Where were you born?" and I'd say, "Cosmopolis, Washington," they'd say, "Look, bud! Don't get funny with us." (laughter) But there actually is such a place as Cosmopolis, Washington. Nobody had any particular influence upon me, I would say, in my younger years as far as becoming interested in art, and particularly teaching art. I had a very severe illness when I was four and five years old and was confined to bed a lot, and so people brought me tablets and color crayons and pencils and stuff like that. -
Thermal Sustainability
$UFKLWHFWXUDO Liefooghe, M. 2019. Buildings for Bodies of Work: The Artist Museum After the Death and Return of the Author. Architectural Histories, +LVWRULHV 7(1): 12, pp. 1–13. DOI: https://doi.org/10.5334/ah.296 RESEARCH ARTICLE Buildings for Bodies of Work: The Artist Museum After the Death and Return of the Author Maarten Liefooghe Critiques of the cult of artists, life-and-work narratives, and the authority of authors over the meaning of their works not only unsettle the conventions of literary and art historical studies. They also challenge the importance of the artist museum and its architecture. Adopting Roland Barthes’ discussions of the ‘death’ and ‘return of the author’ of the late 1960s and early 1970s as a critical lens, this article examines how the architecture of artist museums reflects and contributes to the discursive construction of the resilient figure of the artist-author. To do so, the article compares the cultist make-up of the 19th- century Thorvaldsen Museum-Mausoleum (opened in 1848) with the resolutely work-centred museums of Van Gogh (1973) and Roger Raveel (1999). The architecture of the last two examples is significantly different, however. The Van Gogh Museum seemingly negates its monographic orientation, while the Raveel Museum amends a white cube logic with a reserved interpretation of artistic individuality and site-boundedness. Parallel to the institutional interpretation of a museum’s monographic mission, and the curators’ representation of the artist-life-work nexus in exhibitions, architecture is yet another element in a museum’s assemblage of an artist presented as a dead or revived author to its visitors. -
Vincent Van Gogh in Arles
VINCENT VAN GOGH IN ARLES “Van Gogh sur la route de Tarascon” Known also as “The painter on his way to work”, July 1888, 48 x 44 cm Formerly in the Kaiser-Friedrich-Museum, Magdeburg, Germany (Destroyed by fire in 1945) https://commons.wikimedia.org/wiki/File:Vincent_Van_Gogh_0013.jpg A Walk-Around of Selected Sites L. M. Boring Membre de l’Association des Artistes Alpicois, Le Pecq 28 February 2019 Vincent Van Gogh arrived in Arles by train on Monday, February 20, 1888, with an idea to found an artist colony in the south “Wishing to see a different light, thinking that looking at nature under a bright sky might give us a better idea of the Japanese way of feeling and drawing. Wishing also to see this stronger sun, because one could not understand Delacroix’s pictures from the point of view of execution and technique without knowing it, and because one feels that the colors of the prism are veiled in the mist of the North.” Oddly and by happenstance, when he arrived, he found the countryside covered in snow, and among his first paintings were soft landscapes of snow covered fields. He found lodging in the Hotel-Restaurant Carrel, but his stay ended badly over a billing dispute after only two months. Vincent signed a lease on May 1st for a small four-room two-story semi-detached house on the Place Lamartine, not far from the train station. Its stucco exterior was bright ochre, and it became known by Van Gogh’s paintings as La Maison Jaune, the Yellow House. -
The Sea. a Tribute to Jan Hoet & Collection Study III: Art in Europe
Mara de Wachter, Ellen. "The Sea. A Tribute to Jan Hoet & Collection Study III: Art in Europe After 1968,” Frieze.com, December 15, 2014. 'Collection Study III: Art in Europe after 1968', exhibition view There we were: a damp shrivel of critics tramping along a rainy beach in the Belgian town of Ostend, hoping for an epiphany. We were on our way to see the artist Kris Martin’s newly commissioned Altar (2014), part of ‘The Sea. A Tribute to Jan Hoet’, a cit ywide project that grew out of an exhibition, ‘The Sea’, which the Belgian curator Jan Hoet was working on when he died in February 2014. In his last days, Hoet handed the project over to Mu.ZEE’s director, Philip Van den Bossche, and a small team of curators, who assembled a show of over 200 works in the museum and site-specific installations across town. As we approached Martin’s sculpture, a metal frame planted in the sand resolved into a shape resembling the Ghent Altarpiece (1432), Hubert and Jan Van Eyck’s Northern Renaissance masterpiece. Martin’s empty structure looked like a derelict billboard facing and framing the sea, out of which the pictorial content – so vital to the history of art in this Flemish region – had been dropped in favour of a view of nature itself. But the sacred tenor of the altarpiece remained, in spite of the disclaimer Martin gave us: ‘I am a believer but I don’t bother anyone with that.’ Some 60 kilometres away, in the exhibition ‘Collection Study III: Art in Europe after 1968’ at S.M.A.K. -
1,2,3, --- Thinking About Exhibitions Freely Distributed, Non - Commercial, Digital Publication
Issue # 06/10 : 1,2,3, --- Thinking about exhibitions Freely distributed, non - commercial, digital publication 1,2,3, --- THINKING ABOUT EXHIBITIONS Sturtevant, Warhol Silver Clouds, 1987/2004 , Mylar and helium, dimensions vary with installation, 88,5 x 12,2cm (each) Photo: Courtesy of Museum für Moderne Kunst, Frankfurt am Main CONTENTS 01 Editorial 06 Annette Hans and Dorothee Richter Florian Waldvogel Dorothee Richter 02 Rotterdam Dialogues. The Curators , symposium at Witte de With, Rotterdam 5th – 7th March 2009. 07 Talking Back and Queer Interview with Nicolaus Schaffhausen and Zoë Gray Reading – An Essay Dorothee Richter on Performance Theory and its Possible Impacts 03 Intwerview with Paul O‘Neil. Rotterdam Dialogues . on Dissemination of Art The Curators, symposium at Witte de With, Sabine Gebhardt Fink Rotterdam 5th – 7th March 2009 Dorothee Richter 08 A Brief Outline of the History of Exhibition 04 Is a museum a factory? Making Hito Steyerl Dorothee Richter 05 Carte Blanche 09 Inprint / Biographies Martin Ebner and Florian Zeyfang Contributors Issue # 06/10 : 1,2,3, --- Thinking about exhibitions Freely distributed, non - commercial, digital publication Sturtevant, G onzales-Torres Untitled (America) , 2004, 15 watt light bulbs, ruber light sockets and extension cords, dimensions vary with installation, 12 parts, 20m with 7,5m extra cord (each) Photo: Courtesy of Museum für Moderne Kunst, Frankfurt am Main Allgemeine. These recent 1,2,3, --- insights are complemented with essays. THINKING ABOUT An article by Dorothee Richter explores the history of exhibition displays, EXHIBITIONS providing an overview from the French Revolution onwards until today. The article aims to reveal perspectives and the ideology of displays, as well as providing a list EDITORIAL of relevant literature on the topic. -
Symphonieorchester Des Bayerischen Rundfunks
SYMPHONIEORCHESTER DES BAYERISCHEN RUNDFUNKS 19 | 20 WICHTIGER HINWEIS Leider musste Mikko Franck seine Mitwirkung an den Konzerten am 20./21. Februar 2020 in München krankheitsbedingt absagen. Wir dan- ken Klaus Mäkelä, dass er sich kurzfristig bereit erklärt hat, die Lei- tung der Konzerte zu übernehmen. Bitte be- achten Sie die damit verbundene Programm- änderung: Statt Apotheosis von Einojuhani Rautavaara werden – und dies erstmals in den Konzerten des BRSO – Zoltán Kodálys Tänze aus Galánta zu hören sein (siehe Rückseite). Der 24-jährige finnische Dirigent Klaus Mäkelä hat sich durch die Zusammenarbeit mit nam- haften Orchestern rund um die Welt bereits in- ternationale Anerkennung erworben und zählt zu den großen Talenten seiner Generation. Mit Beginn der Saison 2020/2021 übernimmt er die Position des Chef- dirigenten und Artistic Advisor des Oslo Philharmonic Orchestra. Der- zeit ist er Erster Gastdirigent des Swedish Radio Symphony Orchestra, Artist in Association der Tapiola Sinfonietta und Künstlerischer Direktor des Turku Music Festival. In der aktuellen Saison feiert Klaus Mäkelä eine Reihe wichtiger Debüts, u. a. beim NDR Elbphilharmonie Orchester, bei den Münchner Philharmonikern, bei den Bamberger Symphonikern, beim Nederlands Radio Filharmonisch Orkest, beim Orchestre Philhar- monique de Radio France, beim London Philharmonic Orchestra und beim City of Birmingham Symphony Orchestra, und erhält Wiedereinla- dungen vom MDR- und vom hr-Sinfonieorchester, vom Minnesota Orche- stra und von den Göteborger Symphonikern. An der Finnischen Natio- naloper gab er seinen Einstand mit Mozarts Zauberflöte. Seine musikalische Ausbildung erhielt Klaus Mäkelä an der Sibelius- Akademie in Helsinki in den Fächern Dirigieren bei Jorma Panula und Violoncello bei Marko Ylönen, Timo Hanhinen und Hannu Kiiski. -
JAARVERSLAG 2012 M - Museum Leuven
JAARVERSLAG 2012 M - Museum Leuven INHOUDSOPGAVE 1. INLEIDING 7 2. MUSEALE EN KUNSTENWERKING 11 2.1 TENTOONSTELLINGEN EN PRESENTATIES 12 2.1.1 Oude Kunst 13 2.1.2 Hedendaagse Kunst 14 2.1.3 Flankerende activiteiten 20 2.2 LEZINGEN, SYMPOSIA, GESPREKSAVONDEN 24 2.3 COLLECTIES 25 2.3.1 Presentatie M-collectie 25 2.3.2 Inkomende langdurige bruiklenen 27 2.3.3 Schenkingen, legaten en aankopen 28 2.3.4 Uitgaande bruiklenen en bruiklenen voor tentoonstellingen 28 2.3.5 Restauraties en conserverende behandelingen 29 2.3.6 Depotbeheer 30 2.3.7 Samenwerking 32 2.3.8 Bibliotheek 33 2.4 WETENSCHAPPELIJK ONDERZOEK 35 2.4.1 Onderzoek 35 2.4.2 Collectieregistratie 36 2.4.3 Vertegenwoordiging staf 37 2.4.4 Dienstverlening aan derden 40 2.5 PUBLICATIES EN EDITIES 41 2.6 LOKAAL KUNSTENBELEID 42 2.6.1 Buitenlocaties in Leuven 42 2.6.2 Atelierwerking 44 2.6.3 Residenties 45 3. PUBLIEKSWERKING 47 3.1 COMMUNICATIE 49 3.1.1 Corporate communicatie 49 3.1.2 Tijdelijke tentoonstellingen 53 3.1.3 Pers 55 3.1.4 Mediadeals 58 3.1.5 Professionele communicatie 61 3.2 PUBLIEKSBEMIDDELING 63 3.2.1 Publieksaanbod 63 3.2.2 Infrastructuur 73 3.2.3 Gidsenwerking 74 Inhoudsopgave JAARVERSLAG 3 3.3 PUBLIEKSBEGELEIDING 76 3.3.1 Vaste collectie 76 3.3.2 Tijdelijke tentoonstellingen 76 3.3.3 Conferentie 78 3.4 ONTHAAL EN BEWAKING 80 3.4.1 Onthaal 80 3.4.2 Publieksbegeleiders 82 3.4.3 Bezoekerscompfort/signalisatie 83 3.4.4 Bookshop 84 3.4.5 Kerstmarkt 85 3.4.6 Schatkamer 86 3.5 BEZOEKERSCIJFERS 87 3.6 SAMENWERKINGSOVEREENKOMSTEN EN WERVENDE KORTINGSACTIES 90 3.7 PUBLIEKSONDERZOEK 91 3.8 ZAALVERHUUR EN SPONSORING 92 3.8.1 Zaalverhuur 92 3.8.2 Fundraisingdiner 99 3.8.3 Sponsoring 100 3.9 M-BASSADEURS 101 3.9.1 Ledenbestand 101 3.9.2 Prijzen lidmaatschap 103 3.9.3 Partnerships 103 3.9.4 Actieve M-bassadeurspromotie 104 3.9.5 Vernissages 104 3.9.6 M-bassadeursactiviteiten 105 3.9.7 Activiteiten 105 4. -
Where Van Gogh Comes to Life a Journey to the Landmark Places Proud of Their Legacies As Artistic Settings for the Dutch Painter
C M Y K Sxxx,2015-12-27,TR,001,Bs-4C,E1_K1 10 FOOTSTEPS In Prague, a search for Kafka’s inspirations. 6 HEADS UP The liquor gets local in Iceland. 14 36 HOURS Exploring Warsaw, a chic new cultural capital. DISCOVERY ADVENTURE ESCAPE SUNDAY, DECEMBER27, 2015 K ALEX CRETEY-SYSTERMANS FOR THE NEW YORK TIMES Where van Gogh Comes to Life A journey to the landmark places proud of their legacies as artistic settings for the Dutch painter. House once stood, the sun-drenched Gauguin, and sliced a blade through his own Paris and Arles and St. Rémy in Provence, A vineyard as seen in By NINA SIEGAL Provençal home that was the subject of his ear, before admitting himself to the local and ultimately to the Parisian suburb of Au- van Gogh’s “Vignes Rouges” A few months ago, I stood at the corner of a 1888 oil painting, where he took a period of mental hospital. vers-sur-Oise, where his life was cut short landscape, with tall, elegant busy roundabout called Place Lamartine, “enforced rest” as he put it, in a pale violet- From March to August, I traveled to in his 37th year. cypresses near St.-Rémy- across from the Roman gates leading into walled “Bedroom” he depicted in oil paint- many of the landmarks of van Gogh’s artis- I was on the trail of the artist during Van de-Provence, France. Arles in southern France, on a spot that was ings three times that year. tic life, beginning in the Belgian mining Gogh Europe 2015, the year that commemo- pivotal in the life of Vincent van Gogh. -
Van Gogh Museum Enterprises 39 the Works Council 41
Van Gogh Museum Annual Report 2018 Van Gogh Museum Annual Report 2018 Contents Supervisory Board statement 5 1 Report of the Board 7 2018 in short 9 2 Overview of 2018 17 Museum Affairs19 The Mesdag Collection 26 Public Affairs28 Operations 36 Van Gogh Museum Enterprises 39 The Works Council 41 3 Appendices to annual report 43 Overview of the organisation 45 Social Annual Report 46 Acquisitions 48 Gifts 53 Supporters 54 Conserved works 57 Collection information 66 Overview of outgoing loans 67 Long-term loans to the VGM 76 Long-term loans to other museums 78 Research projects 79 Museum publications 81 Additional functions 82 Lectures and other academic activities 84 Publications employees 87 Supervisory Board statement 2018 was once again a resoundingly successful year for the Van Gogh Museum. Vincent van Gogh and his contemporaries continue to inspire millions of people all around the world, as is reflected in the sustained high numbers of visitors to both the museum and its website. In the past year, 2,165,000 art lovers from the Netherlands and abroad visited the museum, and our online fan base grew exponentially. After being officially opened by King Willem-Alexander during a celebratory event, the exhibition Van Gogh & Japan attracted an impressive 430,000 visitors, making it a great success. Van Gogh aspires was published last year, the Strategic Plan 2018-2020 outlining how the museum will work towards realising its Strategic Pillars in the years ahead. In its endeavours to deliver and uphold its mission, vision and core values, the museum focuses on three dimensions: local, global and digital. -
Most of What We Think We Know About the Artist Has to Do with His
Van GoGh’s h olland Most of what we think we know about the artist has to do with his tumultuous years in France, but, increasingly, the Dutch are reclaiming Van Gogh as their own By Raphael Kadushin “Drenthe is so beautiful,” Van Gogh wrote of the Dutch province, “it absorbs and fulfills me so utterly that, if I couldn’t stay here forever, I would rather not have seen it at all. It’s Photo Credit Photo Credit inexpressibly beautiful.” 50 saturdayeveningpost.com July/August 2014 July/August 2014 saturdayeveningpost.com 51 ome deaths are such cultural touchstones later, my Dutch ardor has only grown that they become imprinted on our own over the years on frequent return visits memories too, like a personal tragedy. to Holland. So it’s heartening to see my That, at least, is the case with Vincent van own swelling Dutch pride echoed by Gogh. Our collective image of the artist’s the country itself. Tired of being cast last morning, slashing away at a canvas as a pit stop on every stoners’ year in that Provençal wheat field, the angry abroad, the Netherlands is focusing on crows wheeling above like a beaky Greek chorus, the its richer, truer cultural history. sbrooding sky watching as he puts the gun to his stomach, The zealous renovation of Amster- makes for an almost operatic vision. Few endings are as dam’s trifecta of art museums that poetic or fitting; we remember Van Gogh’s masterworks frame the city’s Museumplein under- but it’s his apotheosis as the artist-turned-ultimate out- scores that rediscovery.