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The Recall Sculpture exhibition cities created sculpture parks presents 41 small sculptures that later developed into created between the 1950s and fully-fl edged sculpture muse- the 1970s. They can be consid- ums. These new collections ered precursors of contempo- were built solely through the rary art today. purchase of contemporary art. From 1953 to 1973, the Royal The attention to individual Museum of Fine Arts Antwerp experiments in contemporary (KMSKA) collected work by art in post-war Europe was contemporary artists working diametrically opposed to the in Belgium, Germany, Austria, fascist cultural policy of both Croatia, Spain, Italy, Hungary the German Nationalist Party and Argentina. (1933-1945) and its Italian counterpart (1922-1945). They At the time, the active col- offi cially proclaimed an lecting of contemporary idealized realism as the only sculptures was determined acceptable plastic form of by the changing attitude in expression for the propaganda Europe’s museums. In 1945, of the fascist legacy. Sculptures from the collection of KMSKA after the end of WWII, several RECALL SCULPTURE museums, such as the Stedelijk Museum Amsterdam, the Van Abbemuseum in Eindhoven, and the Musée National d’Art Moderne de la Ville de Paris decided to shift their focus to contemporary art. At the same time, various European When Walther Vanbeselaere sculpture. The show’s success time, such as the Venice and Stadler, Masker (1953); Fritz between the communist and informel. Willy Anthoons’ PRACTICAL INFORMATION: was appointed head curator of led to the establishment of a São Paulo Biennales and the Koenig, Camarque, VIII (1957); the capitalist world. and Luc Verlee’s works are a the KMSKA in 1948, he was permanent museum in 1951. Documenta Kassel, played Gabriele Marwede, Moeder construction of simple, almost FREE admission to the museum and the exhibition immediately confronted with In 1953, the second Biennale an important role in this en kind; the Italians Mar- ABSTRACT SCULPTURE architectonic three-dimensional the task of buying contem- was organised. For the KMSKA renewed surge of interest in cello Mascherini, Suzanna shapes. Without any reference ACCESSIBILITY Free use of electric cart upon reservation porary art for the museum. these Biennales were an the Modernists. Typical for the (1950), Marino Marini, Grote In 1958 the KMSKA bought its to reality these are plastic Into the 1960s, he continued important source of informa- early purchases of fi gurative danseres (1952); the Austrian fi rst abstract sculpture.Gesprek syntheses loaded with person- OPENINGSUREN to strive for the creation of tion on the prevailing trends in sculpture – and some later Heinz Leinfellner, Vegetatief met de tijd (1957) by Italian al observations and spiritual October till March: 10am – 5pm a ‘contemporary art section’ sculpture on an international ones as well – are the tradi- hoofd and the Croatian Kosta sculptor Pietro Consagra meaning. Visitors are welcome up to a half hour before closing time. Please make your way to the exit in good time: the gates are closed punctually! in the KMSKA, with its own level. The KMSKA acquired the tional subjects and the com- Angeli Radovani, Zittende epitomises Informal sculpture gallery in the museum and a majority of the works shown bination of stylistic features vrouw. (one of the many abstract However, splitting up the artists CLOSING DAYS separate purchasing committee here after they had seen them from archaic cultures with schools in art after 1945.) The into several artistic trends or Closed on Mondays (open on Easter Monday and Whit Monday) (a committee consisting of at the Biennales. individualised contemporary EXISTENTIAL assemblage, cuts and colour art movements is not always Closed on 1st November, 25th December, 1st January, 1st May, Ascension Day supporters and connoisseurs of and fi gurative forms of expres- EXPRESSIONISM of the material are the result logical. All of these artists the latest art movements). The NEW FIGURATION – sion. The infl uence of ancient of various processes used by cannot be classifi ed into one Exhibition in collaboration with the Royal Museum of Fine Arts Antwerp historical value of the works FIGURATIVE EXPRESSION cultures can be attributed to In these fi gurative works the the artist to express his own particular movement as they all Curator: Greta Van Broeckhoven acquired would only become the new found knowledge of sculptors express implicitly abstract philosophy. created both fi gurative as well Conservation and Restoration: Cleo Cafmeyer in collaboration with Derek Biront, apparent later. The fi rst purchases by the archaeological artefacts from their experiences and their as abstract works. Nicky Enlargement, Elisabeth Am Zehnhoff and Ian Grosfeld. KMSKA were fi gurative Egypt and the Mediterranean reactions to the barbarism of Grote Gewonde (1960) by Ital- Scenography: Pieter Boons and Maurane Colson (www.heimat.be) Lode Craeybeckx, mayor sculptures by a generation of that were excavated at the end bygone warfare. Agenore ian artist Francesco Somaini As from the end of 2019 the Realisation: SB/BOF/DECO under the instruction of Tom Huybrechts and Yelko of Antwerp and president of artists born around the turn of of the 19th century. Fabbri creates an expression- is another distinctly informal pieces in this exhibition will Clemente Alonso the board of members of the the century, who were active istic plastic language which sculpture. The result originates occupy a permanent place in KMSKA, was Walther’s ally. In and successful during the In this exhibition work can be he uses to explicitly denounce from his inner self and echoes a the new KMSKA. Fausto Melotti, De dans, not dated. KMSKA – Lukas-Art in Flanders vzw. Photo: Hugo Maertens 1950, on the grounds of what is interbellum period (1918-1940, seen by the following artists existential angst – fears divided post-war world. © SABAM Belgium 2017 now the Middelheim Museum, between WWI and WWII). In who were actively infl uenced caused by, among others, the The Middelheim Museum is supported by the Middelheim Promotors and Ackermans & van Haaren, Argo Law, BASF, BNP Paribas Fortis, CMB, Cordeel, Delen Private Bank, Deloitte, Deme, EY, Grant Thornton, Hubo, the “International exhibition the years directly following by these themes: the Germans atomic bombs the American In Italy, Arnaldo’s and Gio Hugo Ceusters, inno.com, KBC, Leasinvest Real Estate, Pamica, Port of Antwerp, SipWell, Soudal, Vanbreda of open air sculptures 1900- WWII their work once more Joseph Jaekel, Sebastiaan; air force dropped on Japan and Pomodoro’s constructivist Antwerpen 2020 Middelheimlaan 61, Weyns, Sara V.U. Risk & Benefi ts. 1950” took place. It was the received full recognition. Major Bernhard Heiliger, De the development of a nuclear sculptures were a reaction to fi rst Biennale of contemporary art festivals organised at the kleine veerman (1956); Toni arsenal during the Cold War the spontaneous nature of art www.middelheimmuseum.be +32 (0)3 288 33 60 EXHIBITED WORKS : 1. Willy ANTHOONS, Mechelen 1911 - 1982, Immanent teken, 1959, wood (pear) ON OFFER TO THE PUBLIC IN CONJUNCTION WITH THE EXHIBITION: 2. Giacomo BENEVELLI, Reggio nell’Emilia 1925 - Pavia 2011, Aggregaat in wording 2 en 5, 1964, bronze • Publication on the occasion of the exhibition (in Dutch) containing texts by curator Greta Van Broeckhoven. Published by BAI, € 24,50. 3. Venancio BLANCO, Matilla de los Caños del Rio 1923, , 1964, bronze and Ekster Available in the museum shop. stone 4. Floriano BODINI, Gemonio 1933 - Milan 2005, De vermoorde, 1960, bronze • Introductory film in the entry hall of the Middelheim Castle, Dutch/ 5. Pietro CONSAGRA, Mazaro del Vallo 1920 - Milan 2005, Gesprek met de tijd, 1957, English, also available on www.middelheimmuseum.be and on the bronze and wood video channel ARTtube.be. 6. Remy CORNELISSEN, Turnhout 1913 - Antwerp 1990, Hooglied, 1977, chromed steel • Free tours for individual visitors, no reservation required, in Dutch 7. Roel D’HAESE, Geraardsbergen 1921 - Bruges 1996, Bronzen toren, 1955, bronze Every 2nd Sunday of the month from 2pm till 4pm: 12th November, 10th 8. Agenore FABBRI, Barba 1911 - Savona 1998, Dans met steltloper, 1958, bronze December 2017, 14th January, 11th February, 11th March 2018. 9. Julio GERO, Arad 1910 - unknown 1977, Saturne, 1962, iron Separate guides available for adults and families with children aged 6 to 12 available. 10. Georges GRARD, Doornik 1901 - Koksijde 1984, De Afrikaanse, 1957-1958, bronze 11. Bernhard HEILIGER, Stettin 1915 - Berlin 1995, De kleine veerman naar het brug- 34 • Group visits and/or creative workshops (adults, young people, beeld van Esslingen, 1956, bronze and stone children, also for schools) upon request, in Dutch, English, French, 12. Joseph JAEKEL, Walmenroth 1907 - Köln 1985, Heilige Sebastianus van Rome, 1949- German, Spanish, and Italian. 1950, embossed brass € 75 for a two-hour tour, max. 15 persons per guide, max. 4 guides at the same time. 13. Fritz KOENIG, Würzburg 1924 - Altdorf 2017, Vogel, 1951, bronze € 85 for a two-hour workshop, max. 15 persons per guide, max. 3 14. Fritz KOENIG, Camarque VIII, 1957, bronze guides at the same time. 36 15. Frans LAMBERECHTS, Sint-Jans-Molenbeek 1909 - Jette 1988, Deemstering, polyester and mixed media Reservation: 12 Visit Antwerpen T 03 232 01 03 E 16. Heinz LEINFELLNER, Zidoni - Most 1911 - Vienna 1974, Vegetatief hoofd, bronze 29 21 [email protected] 17. Charles LEPLAE, Leuven 1903 - Brussels 1961, Staand meisje, 1949, terracotta 31 6 18. Mark MACKEN, Diest 1913 - Antwerp 1977, Vrede, 1952, bronze 19. Mark MACKEN, Regen, 1957, bronze 30 23 19 20. Cristino MALLO, Tuy 1908 - Madrid 1989, Picador, 1958, bronze 21. Giacomo MANZU, Bergamo 1908 - Rome 1991, Danspas, 1953, bronze 20 22 11 37 22. Marino MARINI, Pistoia 1901 - Viareggio 1980, De grote danseres, 1951-1953, 28 bronze ADDITIONAL SERVICES: 24 23. Marcello MASCHERINI, Udine 1907 - Padua 1983, Suzanna, 1950, bronze • Middelheim APP: information in Dutch and English on the history of 24.
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  • Angela Glajcar's Paper Installations – a Synthesis of Opposites

    Angela Glajcar's Paper Installations – a Synthesis of Opposites

    Angela Glajcar’s Paper Installations – a Synthesis of Opposites by Andreas Beitin The paper installations by the sculptor Angela Glajcar represent an extraordinary position due to her innovative use of paper as a material, the works’ expansive scope and the resulting aesthetics. In her distinct way, Glajcar demonstrates that paper is not only light and fragile, but can also be very heavy and robust. With her works, she provides viewers with an immediate perception of these diametrically opposed characteristics of the material. As a sculptor, Angela Glajcar began by working with materials such as steel and wood (1997-001 intermittently until 2006-028). However, she has mainly used paper as her raw material for many years now, and has recently also begun to use glass fabric (2010-083, 2011-009). Paper as a material, which remains the material of choice for her installations, has a special meaning for her due to its ability to absorb the ambient light and accentuate its various hues. This is why Angela Glajcar predominantly uses white paper; she “has no need of coloured material.”1 The artist is fascinated by the presence a seemingly light material such as paper can have, when long sheets or great stacks of it dominate its environment. This is why working on-site is the most important part in the creation of her works. Her intuitive reaction to the space, its proportions and lighting conditions whilst negotiating the architectural volumes, and also the reaction to and the surmounting of any disruptive factors that may be present at the given location are decisive aspects during the creation of her installations.