DOCSLIB.ORG

Our Collection Nurtures Emerging Artists, Who Reflect Contemporary Reality and Imagine a Future, and Who Also Reference the Past, the Origins of Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Our Collection Nurtures Emerging Artists, Who Reflect Contemporary Reality and Imagine a Future, and Who Also Reference the Past, the Origins of Art Bergé y Cía., Madrid, Spain “Our collection nurtures emerging artists, who reflect contemporary reality and imagine a future, and who also reference the past, the origins of art. These are the same ideas that have shaped our company for more than 140 years, always with an eye to the future.” Pedro Enciso Bergé, Vice Chairman, Bergé y Cía. JOHN BALDESSARI Hierarchy (With Predator): Hikers/Argument/Bus, 1990 Color photograph, plastic painting and oil painting, 360 × 202 cm (at Headquarters Bergé y Cía., Madrid) 1 2 Bergé y Cía., Madrid, Spain Established in Bilbao in 1870 and now in its fifth gener- but it also serves as clear evidence that quality is far ation, Bergé y Cía. is one of Spain’s oldest and largest more important than quantity and that a well-curated corporations in private hands, boasting a staff of over collection can be far more effective than a haphazardly 3,700 employees and present not only in Spain, but also compiled amassment of big names or decorative EVA ROTHSCHILD in the neighbouring countries of Portugal and France, objects. Managed and curated by the art historian María The Narrow Way, 2007 the Latin American countries of Chile, Perú, Argentina Aguilera Aranaz, the collection encompasses practically Leather, fabric and metal, 304 × 370 × 62 cm Year of Foundation / late 1980s and Colombia, Trinidad and Tobago, as well as in Can- all media available to contemporary artists and includes (at Headquarters Bergé y Cía., Madrid) Curator / María Aguilera Aranaz Locations / Headquarters, other office in ada and Yemen. Although its roots are founded in har- works by some of the most important protagonists of Madrid and Bodega Castillo de Cuzcurrita bour-related activities, the company is now also active post-modern art since the 1960s, such as, among oth- in La Rioja in the fields of environmentally friendly energy sources ers, RICHARD ARTSCHWAGER, JOHN BALDESSARI, Size of Collection / 98 artists, 112 works and environmental protection, as well as transport, new BRUCE NAUMAN, GERHARD RICHTER, ED RUSCHA Key Artists / BRUCE NAUMAN, JOHN technologies, financial services, insurance brokerage and SUSANA SOLANO. Works by these artists are BALDESSARI, GERHARD RICHTER, ED RUSCHA, JONATHAN BOROFSKY, and winemaking. cleverly juxtaposed with those of a younger generation JANNIS KOUNELLIS, TONY CRAGG, Bergé began collecting international contempo- of international talents, such as ADAM CHODZKO, PIERRE HUYGHE, CARL ANDRÉ, rary art in the late 1980s. Very few Spanish companies MARTIN CREED, ÁNGELA DE LA CRUZ, PIERRE ÁNGELA DE LA CRUZ et al. were acquiring contemporary art at the time – and HUYGHE, JAIME PITARCH, ANRI SALA, DAVID barely any of them focused on international contempo- SHRIGLEY, JUAN MUÑOZ and GRAZIA TODERI. Focus / International Contemporary Art rary art, opting instead to foster the then still greatly The collection has an itinerant purpose and cur- Publications / Colección Bergé en Cuatre- casas Gonçalves Pereira (2013); Colección neglected local Spanish art scene. For Bergé, however, rently is distributed across three locations: The principal Bergé. Adquisiciones 2007-2008 (2009); the most important thing was to have an open mind venue is in the new headquarters of the company, a five Colección Bergé (2007) to the global art scene when collecting pieces. Equally storey building from the 19th century located in the Website / www.bergeycia.es important was the ideal that collecting challenging centre of Madrid, where most of the works are now contemporary art meant securing a cultural legacy for exhibited and inhabit the work space together with the future generations – a concept based on Bergé’s own employees. An important part of the collection is also long corporate history and family tradition. on view in the offices in Madrid of one of the most From the beginning, an acquisition committee important Spanish law firms, Cuatrecasas Gonçalves headed by the Vice Chairman of the company, Pedro Pereira, of whom Bergé has been a close client for three Enciso Bergé – the “soul of the collection” – was cre- generations. The third venue is the Cuzcurrita bodega in ated with the advice and support of well-known art La Rioja in the north of Spain – an ancient winery with a experts, such as the New York-based gallery owner medieval castle from the 14th-century surrounded by Brooke Alexander, the London-based art consultant old vineyards that produces two select wines. Here, a Lotta Hammer, and especially their internationally highly sample of the collection is exhibited in the gardens and respected Spanish colleague Pepe Cobo, seen by many inside the bodega itself. internally and externally as the “driving force behind the Bergé sets extremely high standards when it Colección Bergé.” comes to corporate collecting – especially in the fields ALLAN MCCOLLUM With just over 110 works by 98 artists, the Colec- of sculpture and video art. Collecting sculpture is quite Collection of 90 drawings, nº6, 1988-1990 ción Bergé is still relatively small compared with many daring for any collection, private or corporate, because Pencil and ink on paper, 530 × 220 cm other corporate collections presented in this volume, of the demands it makes on physical space, and video (at Cuatrecasas Gonçalves Pereira office, Madrid) 3 4 Bergé y Cía., Madrid, Spain “Contemporary art measures our reality and art, because of the technical issues of numbers formed by steel wire, which is also included reflects everything involved and the demands it makes in the collection. on the viewer’s time. One prime One of the most important aspects that character- occurring in the world example of this daring attitude with izes the philosophy of the collection is the coherent regard to corporate collecting is the acquisitions policy. “The intention has never been to from the most trivial to boldly dramatic, large-scale installa- acquire great pieces from established artists,” collection tion by the Dusseldorf-based artist curator María Aguilera Aranaz says, “but rather to place the most profound. KIRSTIN ARNDT, whose work deals faith in contemporary art that is in vogue, young and with the complex correlation novel.” Thus, the works by NAUMAN, RICHTER, A traditional company between work and space. Equally CRAGG and MUÑOZ, as well as those by CRISTINA challenging are the numerous video IGLESIAS, RICHARD ARTSCHWAGER, JOHN BALDES- CARL ANDRE supporting this effort works in the collection, such as SARI, JONATHAN BOROFSKY, ALLAN MCCOLLUM Manet Sphinges, 1986 “File Cabinet” (2004) by the Scottish and JANNIS KOUNELLIS, were all acquired between 16 equal units of Quincy granite in vertical represents great social artist EUAN MACDONALD, as well 1989 and 1992, when the works themselves were still and horizontal series 45.72 × 167.64 × 167.64 cm as “Sleep” (2000) and “Firestone” relatively fresh from the studio and the artists were not (at Bodega Castillo de Cuzcurrita, La Rioja) commitment and (1997) by the Spanish artists DORA as highly valued by the international art market. GARCÍA and IBON ARANBERRI Similarly, the works of MARTIN CREED and invitation to reflection.” respectively. ÁNGELA DE LA CRUZ were both acquired before they The special charm of the were nominated for the prestigious Turner Prize, or those María Aguilera, Curator, Colección Bergé Colección Bergé is the fascinating of DORA GARCÍA and LARA ALMÁRCEGUI before they juxtaposition of conceptually related represented Spain at the Venice Biennale. “This indicates works by various generations of that the spirit of the collection has always been to take Spanish and international artists. One risks, to acquire works that reflect our world in the time- of the key figures within the collection is the American liest way, without worrying if the artists are famous or artist BRUCE NAUMAN, whose works range from sculp- prestigious, and to have a true passion for committed ture and installation to video and conceptual art. His collecting.” seminal piece “Julie Head / Julie, Head, Upside Down, Tongue to Tongue” (1990) – in addition to GERHARD RICHTER’s red “Abstract Painting” from 1991 and TONY CRAGG’s “Stack” from 1989 – is central to the collection concept. The work of the internationally acclaimed Span- ish sculptress CRISTINA IGLESIAS, “Untitled No. 389” (1990), makes reference to NAUMAN’s groundbreaking “Corridor” pieces from the late 1960s and early 70s, while MARTIN CREED’s blue neon text piece “Work No, 251: GERHARD RICHTER Things” (2001) harks back to NAUMAN’s own early neon Abstraktes Bild (748-5), 1991 text pieces, as well as to JONATHAN BOROFSKY’s Oil on canvas “Counting (3, 326, 753 – 3, 326, 760)” from 1990, a series 112 × 102 cm 5 6.
Load more

Recommended publications
  • Jerusalem As Trauerarbeit on Two Paintings by Anselm Kiefer and Gerhard Richter
    Jerusalem as Trauerarbeit 59 Chapter 3 Jerusalem as Trauerarbeit On Two Paintings by Anselm Kiefer and Gerhard Richter Wouter Weijers In 1986, Anselm Kiefer produced a painting he entitled Jerusalem (Fig. 3.1). It is a large and heavy work measuring approximately thirteen by eighteen feet. When viewed up close, the surface is reminiscent of abstract Matter Painting. Liquid lead was applied, left to solidify and then scraped off again in places, ripping the work’s skin. When the work is viewed from a distance, a high hori- zon with a golden glow shining over its centre appears, which, partly due to the title, could be interpreted as a reference to a heavenly Jerusalem. Two metal skis are attached to the surface, which, as Fremdkörper, do not enter into any kind of structural or visual relationship with the painting Eleven years later, Gerhard Richter painted a much smaller work that, although it was also given the title Jerusalem, was of a very different order (Fig. 3.2). The painting shows us a view of a sun-lit city. But again Jerusalem is hardly recognizable because Richter has let the city dissolve in a hazy atmo- sphere, which is, in effect, the result of a painting technique using a fine, dry brush in paint that has not yet completely dried. It is the title that identifies the city. Insiders might be able to recognize the western wall of the old city in the lit-up strip just below the horizon, but otherwise all of the buildings have dis- appeared in the haze.
    [Show full text]
  • An Introduction to Architectural Theory Is the First Critical History of a Ma Architectural Thought Over the Last Forty Years
    a ND M a LLGR G OOD An Introduction to Architectural Theory is the first critical history of a ma architectural thought over the last forty years. Beginning with the VE cataclysmic social and political events of 1968, the authors survey N the criticisms of high modernism and its abiding evolution, the AN INTRODUCT rise of postmodern and poststructural theory, traditionalism, New Urbanism, critical regionalism, deconstruction, parametric design, minimalism, phenomenology, sustainability, and the implications of AN INTRODUCTiON TO new technologies for design. With a sharp and lively text, Mallgrave and Goodman explore issues in depth but not to the extent that they become inaccessible to beginning students. ARCHITECTURaL THEORY i HaRRY FRaNCiS MaLLGRaVE is a professor of architecture at Illinois Institute of ON TO 1968 TO THE PRESENT Technology, and has enjoyed a distinguished career as an award-winning scholar, translator, and editor. His most recent publications include Modern Architectural HaRRY FRaNCiS MaLLGRaVE aND DaViD GOODmaN Theory: A Historical Survey, 1673–1968 (2005), the two volumes of Architectural ARCHITECTUR Theory: An Anthology from Vitruvius to 2005 (Wiley-Blackwell, 2005–8, volume 2 with co-editor Christina Contandriopoulos), and The Architect’s Brain: Neuroscience, Creativity, and Architecture (Wiley-Blackwell, 2010). DaViD GOODmaN is Studio Associate Professor of Architecture at Illinois Institute of Technology and is co-principal of R+D Studio. He has also taught architecture at Harvard University’s Graduate School of Design and at Boston Architectural College. His work has appeared in the journal Log, in the anthology Chicago Architecture: Histories, Revisions, Alternatives, and in the Northwestern University Press publication Walter Netsch: A Critical Appreciation and Sourcebook.
    [Show full text]
  • The Ba Back Door Fe
    FIRST COMPREHENSIVE U.S. SURVEY OF MARTIN CREED’S MULTIDISCIPLINARY PRACTICE ANIMATES ARMORY IN AN UNPRECEDENTED DISPLAY THIS JUNE The Back Door Features Artistic Interventions and Performances throughout Armory’s Drill Hall and Historic Interiors, Including Debut of Major New Commission and First Complete Presentation of Creed’s Video Works New York, NY—May 20, 2016—Turner Prize-winning artist Martin Creed takes over Park Avenue Armory’s entire first floor—from itss expansive Wade Thompson Drill Hall and adjacent bunkers, to its historic period rooms and corridors—wwith the largest U.S. survey of his work annd the most extensive single-artist installation at the Armory to date. On view June 8 through August 7, 2016, The Back Door features a seriies of sculptural interventions, installations, and performances, including the first complete showing of Creed’s films and video works and a major new commission for the Armory’s drill hall. Internationaally recognized for his use of minimalist strategies, Creed employs singular gestures to poowerful Martin Creed, Work No. 8000 , 2007. Emulsion on wall, Stripes effect in works that are seemingly simple and precise. 9 in / 23 cm wide; overall dimensions variable. © Martin Creed Opening and closing curtains and doors—including the back door of the Armory’s drill hall, from which the exhibition takes its title—a slamming piano, lights going on and off, and a room filled halfway with balloons create a playful spectacle that transforms the Armory into a multi-dimensional space with a life of its own. “Martin’s sweeping vision for this undertaking reflects our mission to provide a platform for artists to push the boundaries of their practice into unprecedented realms,” said Rebecca Robertson, President and Executive Producer of Park Avenue Armory.
    [Show full text]
  • Annual Report 2018
    2018 Annual Report 4 A Message from the Chair 5 A Message from the Director & President 6 Remembering Keith L. Sachs 10 Collecting 16 Exhibiting & Conserving 22 Learning & Interpreting 26 Connecting & Collaborating 30 Building 34 Supporting 38 Volunteering & Staffing 42 Report of the Chief Financial Officer Front cover: The Philadelphia Assembled exhibition joined art and civic engagement. Initiated by artist Jeanne van Heeswijk and shaped by hundreds of collaborators, it told a story of radical community building and active resistance; this spread, clockwise from top left: 6 Keith L. Sachs (photograph by Elizabeth Leitzell); Blocks, Strips, Strings, and Half Squares, 2005, by Mary Lee Bendolph (Purchased with the Phoebe W. Haas fund for Costume and Textiles, and gift of the Souls Grown Deep Foundation from the William S. Arnett Collection, 2017-229-23); Delphi Art Club students at Traction Company; Rubens Peale’s From Nature in the Garden (1856) was among the works displayed at the 2018 Philadelphia Antiques and Art Show; the North Vaulted Walkway will open in spring 2019 (architectural rendering by Gehry Partners, LLP and KXL); back cover: Schleissheim (detail), 1881, by J. Frank Currier (Purchased with funds contributed by Dr. Salvatore 10 22 M. Valenti, 2017-151-1) 30 34 A Message from the Chair A Message from the As I observe the progress of our Core Project, I am keenly aware of the enormity of the undertaking and its importance to the Museum’s future. Director & President It will be transformative. It will not only expand our exhibition space, but also enhance our opportunities for community outreach.
    [Show full text]
  • Martin Creed
    HAUSER & WIRTH Press Release Martin Creed Hauser & Wirth Zürich 29 August – 31 October 2015 Opening: Friday 28 August, 6 – 8 pm Followed by the Season Opening Summer Party Performance by Martin Creed and his Band Hauser & Wirth Zürich is pleased to present an exhibition of new work from Martin Creed, which opens on 29 August 2015. Featuring works made in wood, plastic, neon, wool, canvas and carpet tiles, the exhibition highlights Creed’s innovative approach to a broad range of materials and his ongoing fascination with the commonplace. ‘You can’t separate anything from peoples’ experience of it, and since people are living beings who, who, who die, you know, err... it basically means nothing is ever the same, you know, from moment to moment. So I, so I think that that, so thinking about that got me into thinking, oh, I should, I need to make work in the light of that. And so, and I think that got me into making a lot of work that does change, that is, that is basically like a live event. But that comes from thinking that everything is a live event, you know. A painting on a wall is a live event, because the painting is only on the wall if people are looking at it and, sort of, realising that it’s on the wall, you know. And so the combination of the painting and the people: that’s a live event...’ – Martin Creed In Your Face: Interview, Martin Creed with Carrie Scott, Miami FL, December 2014 For Creed, there is no border between life and art.
    [Show full text]
  • Drawing the Intersections of Exhibition, Media, Performance and Architecture Lawrence Paul Wallen University of Wollongong
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2012 A grammar of space - drawing the intersections of exhibition, media, performance and architecture Lawrence Paul Wallen University of Wollongong Recommended Citation Wallen, Lawrence Paul, A grammar of space - drawing the intersections of exhibition, media, performance and architecture, Doctor of Creative Arts thesis, Faculty of Creative Arts, University of Wollongong, 2012. http://ro.uow.edu.au/theses/3689 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Faculty of Creative Arts A GRAMMAR OF SPACE Drawing the Intersections of Exhibition, Media, Performance and Architecture Lawrence Paul Wallen Bachelor of Architecture (1st Class Honours) RMIT Master of Architecture (Research) RMIT This thesis is presented as part of the requirements for the Award of the Degree of Doctor of Creative Arts of the University of Wollongong March 2012 i ABSTRACT ‘A Grammar of Space’ refers to the search for the first memory of space, and to the construction of a framework that explains artistic approaches to space, through the process of reflecting on a spatial practice. The research asks what is the interstitial space between image and text? It is this junction, potent in contemporary practice, that I argue underpins my artistic research. This is both an artistic and scholarly investigation, and it engages with my search for the origin of (cultural) memory as manifested in works from a range of media: architecture, installation, scenography, drawing, and time-based media. The study is distinctive in its exploration of a contemporary global trajectory as it traces geographic, psychological and cultural landscapes as it revisits central works created in Europe, Australia, Asia and New Zealand since 1992.
    [Show full text]
  • Newsletter Outubro 10 | October10
    Newsletter Outubro 10 | October10 Solo JOHN BALDESSARI Pure Beauty Curadores | Curators Enrico Lunghi, Clément Minighetti Metropolitan Museum of Art . Nova Iorque . EUA | New York . USA 20 Outubro a 9 Janeiro | 20 October to 9 January http://www.metmuseum.org Group YONAMINE A República revisitada Curadores | Curators Pedro Lapa Artistas | Artists Ângela Ferreira, Gabriel Abrantes, João Tabarra, João Fonte Santa, João Pedro Vale, Luciana Fina, Mafalda Santos, Pedro Barateiro. Galeria Diário de Notícias . Lisboa | Lisbon . Portugal 7 a 29 Outubro | 7 to 29 October Group JOHN BALDESSARI . LAWRENCE WEINER Just Love Me . Regard sur une collection privée Curadores | Curators Enrico Lunghi, Clément Minighetti Artistas | Artists Curtis Anderson, Vanessa Beecroft, Tracey Emin, Günther Förg, Rebecca Horn, Sol Lewitt, Gerhard Richter, Thomas Ruff, Nora Schattauer, Luc Tuymans, Andy Warhol, (...). MUDAM . Luxemburgo | Luxembourg 9 Outubro a 30 Janeiro 2011 | 9 October to 30 January 2011 http://www.mudam.lu Group DANIEL MALHÃO Falemos de casas: Entre o Norte e o Sul Curadores | Curators Ana Vaz Milheiro, Diogo Seixas Lopes, James Peto, Luís Santiago Baptista, Manuel Graça Dias, Max Risselada, Pedro Pacheco e Peter Cook. Trienal de Arquitectura de Lisboa . Museu Colecção Berardo . Lisboa | Lisbon . Portugal 14 Outubro a 16 Janeiro 2011 | 14 October to16 Janeiro 2011 http://www.trienaldelisboa.com Group JULIÃO SARMENTO . JUAN ARAUJO . Quando a arte fala de arquitectura: construir, desconstruir, habitar Curador | Curator Delfim Sardo Artistas | Artists Ângela Ferreira, Bruce Nauman, Damian Ortega, Dan Graham, Fernanda Fragateiro, Gordon Matta-Clark, Olafur Etiasson, Rita McBride, Robert Gober, (...). Trienal de Arquitectura de Lisboa . MNAC . Museu do Chiado . Lisboa | Lisbon . Portugal 15 Outubro a 21 Novembro | 15 October to 21 November http://www.trienaldelisboa.com Group INTERIORES Project by Pedro Gadanho Artistas | Artists Filipa César, João Paulo Feliciano, Daniel Malhão, Edgar Martins e Fernando Guerra.
    [Show full text]
  • Robert Storr
    Thursday, April 15, 2010, 7 pm 7 2010, 15, April Thursday, Robert Storr: The Art of Sufficiency After a Time of Excess of Time a After Sufficiency of Art The Storr: Robert 2010 Sandra Garrard Memorial Lecture Series Lecture Memorial Garrard Sandra 2010 Newcomb Art Department Woldenberg Art Center Tulane University New Orleans, LA 70118 504.865-5327 www.tulane.edu/~art Robert Storr Sandra GarrardMemorial Lecture Robert Storr artist, critic and curator 2010 Sandra Garrard Memorial Lecture Series Robert Storr: The Art of Suffiency Robert Storr is an artist, critic and curator who teaches painting and After a Time of Excess drawing at Yale University School of Art, where he currently serves as Dean. Formerly the Senior Curator of Painting and Sculpture at the Mu- seum of Modern Art in New York where he worked from 1990 to 2002, he was, in addition, the first Rosalie Solow Professor of Modern Art at the Institute of Fine Arts, New York University (2002-2006) and the first Thursday, April 15th, 7 pm American to be appointed Director of the Venice Biennale (2007). His Reception immediately following in Woodward Way essays and columns appear in Art in America, Artforum, Artpress, and Parkett. He is the author of numerous catalogues, articles and books, in- cluding monographs on Louise Bourgeois, Gerhard Richter and Philip Guston. He lectures and contributes to museum and exhibitions catalogs worldwide. Montine McDaniel Freeman Auditorium Woldenberg Art Center Newcomb Art Department Tulane University cover image: Deborah Kass America’s Most Wanted, Robert S., 1998 The lecture is free and open to the public.
    [Show full text]
  • Read Complete Essay
    GERMAN ART NOW HAVE AN EXPIRATION DATE In art as in love, instinct is enough. by Anatole France Gerhard Richter’s “Abstraktes Bild,”(1986) which sold for more than $46 million at Sotheby’s London 2015. 48,000 citizens and 11 former directors of major German museums were seriously disregarded by Germany’s Culture Minister Monika Grütters. Amongst polemic swirls, heated debates and even artist’s threats, the German Bundesrat ratified a new law on Friday 8th July 2016, implementing unprecedented controls over the country’s art market. Based on the new legislation, works of art which are over the age of half a century and priced greater than !150,000 euros will need special permission to become offered outdoors from the EU. Inside the EU, an export permit is required for works over the age of 75 and surpassing the !300,000 euros cost. This law stipulates that, within the situation of the blocked purchase, the dealership can involve a government evaluator who will recommend a suitable cost for that work. The only exception to the rule WWW.ARTEMUNDI.COM 1 comes after having received serious threats from high-caliber artists such as Georg Baselitz and Gerhard Richter of pulling their work from German museums. Thus, the final law allows living artists to opt out of these export license requirements. Just like some of the most terrible ideas, this law had its origins within a good intention. Incipiently, this law was inspired by the UNESCO cultural protection law, concerned by the destruction of cultural heritage sites like Palmyra, and the looting of national museums, selling items around the underground community and filling their coffers using the revenues.1 This new law would diminish the flow of the illegal sale of the antiques, which is thriving because of the barbarity of the Islamic State in the Middle East.
    [Show full text]
  • Gerhard Richter
    GERHARD RICHTER Born in 1932, Dresden Lives and works in Cologne EDUCATION 1951-56 Studied painting at the Fine Arts Academy in Dresden 1961 Continued his studies at the Fine Arts Academy in Düsseldorf 2001 Doctoris honoris causa of the Université Catholique de Louvain-la-Neuve SELECTED SOLO EXHIBITIONS 2017 About Painting S.M.A.K Museum of Contemporary Art, Ghent 2016 Selected Editions, Setareh Gallery, Düsseldorf 2014 Pictures/Series. Fondation Beyeler, Riehen 2013 Tepestries, Gagosian, London 2012 Unique Editions and Graphics, Galerie Löhrl, Mönchengladbach Atlas, Kunsthalle im Lipsiusbau, Staatliche Kunstsammlungen Dresden, Dresden Das Prinzip des Seriellen, Galerie Springer & Winckler, Berlin Panorama, Neue und Alte Nationalgalerie, Staatliche Museen zu Berlin, Berlin Editions 1965–2011, me Collectors Room, Berlin Survey, Museo de la Ciudad, Quito Survey, Biblioteca Luis Ángel Arango del Banco de la República, Bogotá Seven Works, Portland Art Museum, Portland Beirut, Beirut Art Center, Beirut Painting 2012, Marian Goodman Gallery, New York, NY Ausstellungsraum Volker Bradtke, Düsseldorf Drawings and Watercolours 1957–2008, Musée du Louvre, Paris 2011 Images of an Era, Bucerius Kunst Forum, Hamburg Sinbad, The FLAG Art Foundation, New York, NY Survey, Caixa Cultural Salvador, Salvador Survey, Caixa Cultural Brasilia, Brasilia Survey, Pinacoteca do Estado de São Paulo, São Paulo Survey, Museu de Arte do Rio Grande do Sul Ado Malagoli, Porto Alegre Glass and Pattern 2010–2011, Galerie Fred Jahn, Munich Editions and Overpainted Photographs,
    [Show full text]
  • Beyeler Collection / Cooperations October 18, 2017 - January 1, 2018
    Media release, October 17, 2017 Beyeler Collection / Cooperations October 18, 2017 - January 1, 2018 “Cooperations” is the third and final presentation in this year’s series of three exhibitions marking the twentieth anniversary of the Fondation Beyeler. It focuses on the possible ways in which the Beyeler Collection could be extended in the future through permanent loans, acquisitions and donations. Artists closely associated with the museum have been invited, together with collectors and representatives of artists’ estates, to temporarily exhibit masterpieces from their holdings alongside works from the Beyeler Collection. This idea of the museum collection as dynamic and open to change is linked to the exploration of possibilities for presenting the collection. The forms of presentation in the first three rooms have a traditional character, in terms of the arrangement of the individual objects and works and of the exhibition environment. The itinerary begins with a unique presentation in the first room—like a museum within a museum—which is based on the historical model of the Wunderkammer, the origins of the museum. Works from the collection are combined with other loans, above all those of a Basel private collection, in a way that celebrates the great tradition of collecting and the collecting instinct, fostered by an interest in the distinctive, the aesthetically stimulating, the unusual, and the curious. Thus, we find on display the tooth of a narwhal, formerly assumed to be the horn of a unicorn. A particular highlight is provided by works of African and Oceanic art from the Beyeler Collection, augmented by outstanding loans, such as a Malagan mask from the Musée Barbier-Mueller in Geneva and other important exhibits from a New York private collection.
    [Show full text]
  • GERHARD RICHTER: Abstract Paintings, 2009
    M A R I A N G O O D M A N G A L L E R Y GERHARD RICHTER: Abstract Paintings, 2009 Saturday, November 7, 2009 - January 9, 2010 Opening Reception: Saturday November 7th, 6-8 pm The Marian Goodman Gallery is delighted to announce an exhibition of new work by Gerhard Richter which will open to the public on Saturday, November 7th , and will be on view through January 9th, 2010. On view will be a major representation of works made by the artist from 2005 to the present, including an important new cycle of paintings titled Sindbad , 2008 as well as individual paintings presenting medium to large format abstractions, and a new group of large scale near-monochrome paintings whose underlying chromatic structures are layered by translucent veils of white paint. The exhibition will be the most recent presentation of the artist’s work in New York since his solo exhibition at Marian Goodman NY in 2005. During the past two decades Gerhard Richter has made several important cycles of abstract paintings. The current exhibition follows on other recent series of abstract works by Richter, including the Silicate paintings of 2003; the Cage paintings of 2006, conceived as a single coherent group and first displayed in 2007 at the 52nd Venice Biennale curated by Rob Storr; and a recent group of white abstract works exhibited at Galerie Marian Goodman, Paris in 2008. A fully illustrated catalogue, Gerhard Richter: Abstract Paintings, 2009 will be published on the occasion of the exhibition and will include a new text by Benjamin H.D.
    [Show full text]