DOCSLIB.ORG

International Art Exhibitions 2018.01

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
International Art Exhibitions 2018.01 International 01 Art Exhibitions 2018 International 06.01.2018 > 10.03.2018 Art Exhibitions 2018 Kota Ezawa The Crime of Art 2 HOLLYWOOD EDITION 6 1 Christopher Grimes Gallery This will be Kota Ezawa’s third solo show The Scream with Christopher Grimes. At the heart 2016, Duratrans transparency of the exhibition will be the new multi- and LED lightbox channel animated film, ‘The Crime of Art’, 83.8 x 66 x 7 cm in which Ezawa recreates – in his distinc- Edition of 5, with 2 AP tive flattened, style – scenes from Holly- 2 wood art heist films, among them The Munch Theft Thomas Crown Affair (1999), How to 2017, Duratrans transparency Steal a Million, Topkapi, and Entrapment. and LED lightbox The 3-screen installation functions like a 101.6 x 152.4 cm cinematic ‘exquisite corpse’ in which one Edition of 5, with 2 AP screen continues the narrative thread 4 where the previous screen leaves off. The Crime of Art (still) In contrast to a Hollywood film, this 2017, three-channel video, animation has no beginning and no end. 3 colour, sound dimensions variable, Edition of 5 Kota Ezawa will also present a selection 3 of light boxes that further his research Adele Bloch-Bauer I into stolen works of art, including 2016, Duratrans transparency to-scale recreations of Edvard Munch’s and LED lightbox ‘The Scream’, versions of which were 137 x 137 x 7 cm stolen in 1994 and 2004, and Gustav Edition of 5, with 2 AP Klimt’s ‘Portrait of Adele Bloch-Bauer I’, 5 which was appropriated by the Nazi The Crime of Art (still) regime in 1938 and was repatriated to 2017, three-channel video, Santa Monica the Bloch-Bauer family in 2006. colour, sound dimensions Kota Ezawa was born in Cologne in variable, Edition of 5 Germany in 1969. He now lives and 6 works in San Francisco in California. Self-Portrait 1 4 5 www.cgrimes.com International 11.01.2018 > 10.02.2018 Art Exhibitions 2018 Opposite page Dexter Dalwood The Apartment History after Eugene Delacroix (1-4) 1 1 in the Making Cornelia Parker Fox Talbot’s Articles of Glass Alan Cristea GalleryAlan Pablo Bronstein | Gordon Cheung | 2 Dexter Dalwood | Walton Ford | Gordon Cheung Francis Lisa Ruyter | Paul Noble | Still Life with Golden Goblet Cornelia Parker | Clare Woods (after Pieter de Ring 1640-1660), 3 ‘History in the Making’ explores work by Francis Lisa Ruyter the above artists, which make reference after Dorothea Lange to, or appropriate, historical art as part 4 of their working practice. Whether it be Clare Woods painting, illustration, sculpture, photo- Collage for Sing Me to Sleep graphy, architecture or historical objects, From a series of 20 collages each of these artists openly acknow- 5 | 6 | 7 ledge their sources of inspiration, which Pablo Bronstein includes collections housed in the the Design for a cake basket and Bodleian Library, University of Oxford, two muffineers en-suite I Rijksmuseum, Amsterdam, and the 8 Library of Congress, Washington DC. Gordon Cheung Each of these artists is drawing on Still Life with Nautilus Cup London history as a way of making new images (after Frans Sant-Acker, for the future. 1648-1688) 2 3 8 4 5 6 7 www.alancristea.com International 11.01.2018 > 17.02.2018 Art Exhibitions 2018 Opposite page No One Can Play a Game Alone (Sound Graph 5) 2018, Household gloss 1 Sarah Morris paint on canvas 122 x 122 cm Berggruen Gallery Sarah Morris is widely recognized for 1 her large-scale, graphic paintings and Portrait Sarah Morris drawings that respond to the social, Photo: Anna Gaskell, 2014 political, and economic force of the Courtesy Kunstalle Wien, urban landscape through a visual Vienna language grounded in bold and 2 ambitious abstraction. Her probing Five Seconds Away of the contemporary city inspires a (Sound Graph 4) consideration of the architectural and 2017, Household gloss artistic climate of modernity and paint on canvas humanity’s footprint – a subject that 214 x 214 cm Morris energizes and invigorates 3 through a distinct use of geometry, Installation viewe scale, and colour. Her work straddles 4 the boundary between abstract and Porous Like a Sponge representational. Systems and struc- (Sound Graph 6) tures of power emerge from Morris’s 2017, Household gloss San Francisco perceptions of her urban surroundings – paint on canvas Hamburg, Rio de Janeiro, New York, 89.9 x 89.92 cm Los Angeles, Beijing – cities of persistent 5 physical and cultural transformation. As Khalifa City she proposes, navigating the modern (Abu Dhabi) world involves transgressing spaces of 2017, Household gloss private authority – a persistent line of paint on canvas inquiry that runs throughout her work. 2 89.9 x 89.92 cm 45 Using glossy house paint, Sarah Morris All works captures the vibrant and energetic Courtesy of the artist nature of the modern city through her and Berggruen Gallery, continual exploration of bright, lively San Francisco 3 colours and stirring geometric patterns. www.berggruen.com International 11.01.2018 > 24.02.2018 Art Exhibitions 2018 Opposite page Jean-Baptiste Bernadet Installation views 1 1 Hors Saison Installation view Almine Rech GalleryAlmine My approach isn’t radical. Painting is simply the most practical discipline for me, the medium which suits me best and that I’m most comfortable with. It allows me to do something and see an immediate result. Jean-Baptiste Bernadet Almine Rech Gallery is pleased to present the third solo exhibition by Jean-Baptiste Bernadet, including new paintings by the artist. 5 2 Untitled (Les Parfums Lourds) 2017, Oil on canvas Paris 235 x 216 cm 3 Untitled (Les Remontées Mécaniques) 2017, Oil on canvas 130 x 120 cm 4 2 3 Untitled (A L’entour) Born in Paris in 1978, Jean-Baptiste ‘Often, in my paintings, things happen 2017, Oil on canvas Bernadet lives and works in Brussels and all by themselves. When I apply a touch 180 x 162 cm in New York. He has had solo exhibitions of paint, it is not staged or directed. It 5 in Europe and in the United States, doesn’t express the certainty of some- Untitled including among others, two recents thing I want to depict. No, it’s a more (Un or interne, terrestre solo shows at Almine Rech Gallery in uncertain and more unexpected stroke. et anciene) London and Brussels in 2016. I never know where I’m going.’ 2017, Oil on canvas Bernadet paints fleeting and subjective 160 x 144 cm impressions, shades of light and feelings. He starts painting, building up from a He savours the moment during which background layer upon which he All works the painting comes into being and the places daubs of colour. He then spreads and installation views immediacy of what is revealed. He is also them, continuing thus until balance, Photos: Rebecca Fanuele a painter of uncertainty, of suspense, rhythm, and harmony between light 4 and of adventure. It’s a permanent and colour ring true. If he goes too far, © Jean-Baptiste Bernadet concatenation, like a jazz musician’s he starts over, correcting, wiping away, Courtesy of the Artist and improvisation using scales. backtracking, subtracting or covering. Almine Rech Gallery www.alminerech.com International 12.01.2018 > 11.02.2018 Art Exhibitions 2018 Jenny Carlsson 1 Bedarra Galerie Forsblom Galerie Forsblom Jenny Carlsson’s was born in Ronneby, Opposite page Sweden in 1984. Currently she lives and Element 5 works in Stockholm. Her powerfully 2017, Oil on canvas evocative paintings combine the fury 35 x 35 cm of nature with the familiar, unassuming 1 earthiness of a wintry landscape. Lod Bedarra refers to the moment when a 2017, Oil on canva violent storm finally subsides. It is this 60 x 72 cm very moment of nature’s mollification 2 that Carlsson strives to capture in her Tibast 2 oil paintings, which depict transitional 2017, Oil on canvas states of colours metamorphosing, 72 x 60 cm colliding and evaporating into thin air. 3 Her palette and textures evoke a sense Sprängört of soil and bedrock, yet they also call to 2017, Oil on canvas mind a human agricultural imprint on 138 x 172 cm Helsinki the earth’s surface. Carlsson variably works in large and small scale. Her large canvases are expeditions into wild terrain, decomposing grasslands and bottomless rivers, whilst her smaller paintings focus our gaze on more distant horizons. In her latest works, her brushstrokes are more generous, her colours bolder, and the physical traces of her technique are more visible. Painting as she does with oils requires intense concentration and absolute presence. Her method is both meticulous and intuitive. 2 5 Carlsson reflects on ways of seeing, and 4 how paintings can alter the way we see Bedarra and experience the world. 2017, Oil on canvas 220 x 185 cm Carlsson is a graduate of the Umeå 5 Academy of Fine Arts in Sweden. Her Aura works have been exhibited at the Art 2017, Oil on canvas Exhibition Hall of Karlskrona City and 160 x 180 cm Malmö Konsthall. Her paintings are included in major Nordic collections such as the Aalto University collection, Västerbottens Museum and Blekinge 3 4 Museum. www.galerieforsblom.com International 12.01.2018 > 11.02.2018 Art Exhibitions 2018 1 Blow Up Riku 2017, Collage on aluminum 200 x 200 cm Mäkinen 2 Plantasia II Back & Forth 2018, Collage on aluminum 50 x 50 cm Galerie Forsblom Galerie Forsblom The bold forms and the rich palette 3 of collages are reminiscent of the Plantasia voluptuous shapes of ’60s plastic 2017, Collage on aluminum furniture, retro prints and sci-fi utopias.
Load more

Recommended publications
  • Ruth Wolf - Rehfeldt
    RUTH WOLF - REHFELDT PRESS SELECTION ARTFORUM OCTOBER / NOV 2020 for American culture as Black culture, telling open secrets about lives REVIEWS rendered both highly visible and unseen. In “Segregation in the South,” 1956, the first of two series featured in the show, Parks chronicled the racially divided Deep South. We see a family dressed in their elegant best—hats and dresses and starched white shirts—at a Nashville bus station under a sign reading colored BUENOS AIRES life in captivity; the work is timely in a moment characterized by pre- waiting room. Elsewhere, children dressed in fire-engine-red outfits ventative isolation and an urgent need for the social reinsertion of those queue for ice cream under the colored sign. An old white woman who’ve been imprisoned. Florencia Levy’s Tierra de ciervos (Deer “Pensar todo de nuevo” serves them. The store’s brick wall is painted blinding white. Color Land), 2017, is represented by a photograph of an artificial lake of ROLF ART whispers its punishing difference, with the injustice repeated so often— radioactive waste in northern China. Suspected of espionage, the art- white only, lots for colored—that it almost vanishes. The proliferation of online viewing rooms and live streaming since the ist was arrested for taking the picture; the second part of the work, Mr. and Mrs. Albert Thornton, Mobile, Alabama, another work global spread of Covid-19 has challenged us to rethink the time and accessible through a QR code, is made up of shaky footage of her from the series, shows an elderly couple sitting together on a velveteen space of the exhibition.
    [Show full text]
  • Studio International Magazine: Tales from Peter Townsend’S Editorial Papers 1965-1975
    Studio International magazine: Tales from Peter Townsend’s editorial papers 1965-1975 Joanna Melvin 49015858 2013 Declaration of authorship I, Joanna Melvin certify that the worK presented in this thesis is my own. Where information has been derived from other sources, I confirm that this is indicated in the thesis. i Tales from Studio International Magazine: Peter Townsend’s editorial papers, 1965-1975 When Peter Townsend was appointed editor of Studio International in November 1965 it was the longest running British art magazine, founded 1893 as The Studio by Charles Holme with editor Gleeson White. Townsend’s predecessor, GS Whittet adopted the additional International in 1964, devised to stimulate advertising. The change facilitated Townsend’s reinvention of the radical policies of its founder as a magazine for artists with an international outlooK. His decision to appoint an International Advisory Committee as well as a London based Advisory Board show this commitment. Townsend’s editorial in January 1966 declares the magazine’s aim, ‘not to ape’ its ancestor, but ‘rediscover its liveliness.’ He emphasised magazine’s geographical position, poised between Europe and the US, susceptible to the influences of both and wholly committed to neither, it would be alert to what the artists themselves wanted. Townsend’s policy pioneered the magazine’s presentation of new experimental practices and art-for-the-page as well as the magazine as an alternative exhibition site and specially designed artist’s covers. The thesis gives centre stage to a British perspective on international and transatlantic dialogues from 1965-1975, presenting case studies to show the importance of the magazine’s influence achieved through Townsend’s policy of devolving responsibility to artists and Key assistant editors, Charles Harrison, John McEwen, and contributing editor Barbara Reise.
    [Show full text]
  • Fundraiser Catalogue As a Pdf Click Here
    RE- Auction Catalogue Published by the Contemporary Art Society Tuesday 11 March 2014 Tobacco Dock, 50 Porters Walk Pennington Street E1W 2SF Previewed on 5 March 2014 at the Institute of Contemporary Arts, London The Contemporary Art Society is a national charity that encourages an appreciation and understanding of contemporary art in the UK. With the help of our members and supporters we raise funds to purchase works by new artists Contents which we give to museums and public galleries where they are enjoyed by a national audience; we broker significant and rare works of art by Committee List important artists of the twentieth century for Welcome public collections through our networks of Director’s Introduction patrons and private collectors; we establish relationships to commission artworks and promote contemporary art in public spaces; and we devise programmes of displays, artist Live Auction Lots Silent Auction Lots talks and educational events. Since 1910 we have donated over 8,000 works to museums and public Caroline Achaintre Laure Prouvost – Special Edition galleries – from Bacon, Freud, Hepworth and Alice Channer David Austen Moore in their day through to the influential Roger Hiorns Charles Avery artists of our own times – championing new talent, supporting curators, and encouraging Michael Landy Becky Beasley philanthropy and collecting in the UK. Daniel Silver Marcus Coates Caragh Thuring Claudia Comte All funds raised will benefit the charitable Catherine Yass Angela de la Cruz mission of the Contemporary Art Society to
    [Show full text]
  • Fine Art, Pop Art, Photographs: Day 1 of 3 Friday – September 27Th, 2019
    Stanford Auctioneers Fine Art, Pop Art, Photographs: Day 1 of 3 Friday – September 27th, 2019 www.stanfordauctioneers.com | [email protected] 1: RUDOLF KOPPITZ - Zwei Bruder USD 1,200 - 1,500 Rudolf Koppitz (Czech/Austrian, 1884-1936). "Zwei Bruder [Two Brothers]". Original vintage photometalgraph. c1930. Printed 1936. Stamped with the photographer's name, verso. Edition unknown, probably very small. High-quality archival paper. Ample margins. Very fine printing quality. Very good to fine condition. Image size: 8 1/8 x 7 7/8 in. (206 x 200 mm). Authorized and supervised by Koppitz shortly before his death in 1936. [25832-2-800] 2: CLEMENTINE HUNTER - Zinnias in a Blue Pot USD 3,500 - 4,000 Clementine Hunter (American, 1886/1887-1988). "Zinnias in a Blue Pot". Gouache on paper. c1973. Signed lower right. Very good to fine condition; would be fine save a few very small paint spots, upper rght. Overall size: 15 3/8 x 11 3/4 in. (391 x 298 mm). Clementine Reuben Hunter, a self-taught African-American folk artist, was born at Hidden Hill, a cotton plantation close to Cloutierville, Louisiana. When she was 14 she moved to the Melrose Plantation in Cane River County. She is often referred to as "the black Grandma Moses." Her works in gouache are rare. The last auction record of her work in that medium that we could find was "Untitled," sold for $3,000 at Sotheby's New York, 12/19/2003, lot 1029. [29827-3-2400] 3: PAUL KLEE - Zerstoerung und Hoffnung USD 800 - 1,000 Paul Klee (Swiss/German, 1879 - 1940).
    [Show full text]
  • Jaarverslag 2017 Jaarverslag
    Jaarverslag 2017 Jaarverslag 2017 Stichting Nederlands Literatuurmuseum en en Literatuurarchief Literatuurmuseum Stichting Nederlands Literatuurarchief Prins Willem-Alexanderhof 5 2595 BE Den Haag Postbus 90515, 2509 LM Den Haag telefoon 070 333 9666 Op de hoogte blijven? Volg ons: @litmuseum en/of @kinderboekenmus Stichting Nederlands Literatuurmuseum en www.literatuurmuseum.nl www.kinderboekenmuseum.nl Literatuurarchief Voorwoord 5 Aanwinsten 7 Archief Literatuurmuseum.nl 10 Onderzoek en wetenschap 13 Publicaties 14 6 Bruiklenen 15 Erfgoedinspectie en plannen 15 Literatuurmuseum en Tentoonstellingen 17 Educatie 21 Kinderboekenmuseum Evenementen 24 Marketing en Publieksbereik 28 16 Samenwerking 32 Organisatie Raad van Toezicht 36 Personeel 36 35 Financiën en cultureel Ondernemerschap 41 Huisvesting 41 ondernemerschap Prestatiedoelstellingen 41 39 Aanwinsten 42 Bijlagen Schenkers en bruikleengevers 48 42 Voorwoord at een jaar en wat een hoog bezoekcijfer: Met de komst van een hoofd Collecties W101.014 om precies te zijn. Ruim 50 % per 1 februari 2018 zullen deze plannen meer dan het aantal bezoekers van vorig jaar. voortvarend worden uitgevoerd. Het feit dat Een geweldige prestatie, vooral ook omdat de het museum nog altijd kampt met financiële gemiddelde toename van het museumbezoek in problemen als gevolg van de forse structurele Nederland 8,7% bedroeg. bezuinigingen in 2012 zullen we maar modieus als een ‘uitdaging’ typeren. Het is natuurlijk maar de vraag of deze aantallen in 2018 geconsolideerd kunnen De huisvesting ten slotte legde ook in het worden. Daar zullen we niettemin hard aan verslagjaar een groot beslag op de tijd. werken. De cijfers zijn in ieder geval een Bovendien frustreerde de onzekerheid op bemoedigende steun in de rug om de ingeslagen huisvestingsgebied de bedrijfsvoering in weg te vervolgen.
    [Show full text]
  • New Books on Art & Culture
    S11_cover_OUT.qxp:cat_s05_cover1 12/2/10 3:13 PM Page 1 Presorted | Bound Printed DISTRIBUTEDARTPUBLISHERS,INC Matter U.S. Postage PAID Madison, WI Permit No. 2223 DISTRIBUTEDARTPUBLISHERS . SPRING 2011 NEW BOOKS ON SPRING 2011 BOOKS ON ART AND CULTURE ART & CULTURE ISBN 978-1-935202-48-6 $3.50 DISTRIBUTED ART PUBLISHERS, INC. 155 SIXTH AVENUE 2ND FLOOR NEW YORK NY 10013 WWW.ARTBOOK.COM GENERAL INTEREST GeneralInterest 4 SPRING HIGHLIGHTS ArtHistory 64 Art 76 BookDesign 88 Photography 90 Writings&GroupExhibitions 102 Architecture&Design 110 Journals 118 MORE NEW BOOKS ON ART & CULTURE Special&LimitedEditions 124 Art 125 GroupExhibitions 147 Photography 157 Catalogue Editor Thomas Evans Architecture&Design 169 Art Direction Stacy Wakefield Forte Image Production Nicole Lee BacklistHighlights 175 Data Production Index 179 Alexa Forosty Copy Writing Sara Marcus Cameron Shaw Eleanor Strehl Printing Royle Printing Front cover image: Mark Morrisroe,“Fascination (Jonathan),” c. 1983. C-print, negative sandwich, 40.6 x 50.8 cm. F.C. Gundlach Foundation. © The Estate of Mark Morrisroe (Ringier Collection) at Fotomuseum Winterthur. From Mark Morrisroe, published by JRP|Ringier. See Page 6. Back cover image: Rodney Graham,“Weathervane (West),” 2007. From Rodney Graham: British Weathervanes, published by Christine Burgin/Donald Young. See page 87. Takashi Murakami,“Flower Matango” (2001–2006), in the Galerie des Glaces at Versailles. See Murakami Versailles, published by Editions Xavier Barral, p. 16. GENERAL INTEREST 4 | D.A.P. | T:800.338.2665 F:800.478.3128 GENERAL INTEREST Drawn from the collection of the Library of Congress, this beautifully produced book is a celebration of the history of the photographic album, from the turn of last century to the present day.
    [Show full text]
  • R.B. Kitaj Papers, 1950-2007 (Bulk 1965-2006)
    http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf0wf No online items Finding Aid for the R.B. Kitaj papers, 1950-2007 (bulk 1965-2006) Processed by Tim Holland, 2006; Norma Williamson, 2011; machine-readable finding aid created by Caroline Cubé. UCLA Library, Department of Special Collections Manuscripts Division Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2011 The Regents of the University of California. All rights reserved. Finding Aid for the R.B. Kitaj 1741 1 papers, 1950-2007 (bulk 1965-2006) Descriptive Summary Title: R.B. Kitaj papers Date (inclusive): 1950-2007 (bulk 1965-2006) Collection number: 1741 Creator: Kitaj, R.B. Extent: 160 boxes (80 linear ft.)85 oversized boxes Abstract: R.B. Kitaj was an influential and controversial American artist who lived in London for much of his life. He is the creator of many major works including; The Ohio Gang (1964), The Autumn of Central Paris (after Walter Benjamin) 1972-3; If Not, Not (1975-76) and Cecil Court, London W.C.2. (The Refugees) (1983-4). Throughout his artistic career, Kitaj drew inspiration from history, literature and his personal life. His circle of friends included philosophers, writers, poets, filmmakers, and other artists, many of whom he painted. Kitaj also received a number of honorary doctorates and awards including the Golden Lion for Painting at the XLVI Venice Biennale (1995). He was inducted into the American Academy of Arts and Letters (1982) and the Royal Academy of Arts (1985).
    [Show full text]
  • John Stezaker's Collages Using Black-And-White Film Photos and Old
    Source: Guardian, The {Review} Edition: Country: UK Date: Saturday 29, January 2011 Page: 16,17 Area: 2166 sq. cm Circulation: ABC 264819 Daily BRAD info: page rate £11,400.00, scc rate £42.00 Phone: 020 3353 2000 Keyword: Whitechapel Gallery Dillon, Brian, John Stezaker: What a carve up, The Guardian, 29 January 2011 John Stezaker’s collages using black-and-white fi lm photos and old postcards are nostalgic but also uncanny and absurd. As a career-spanning exhibition of his work opens at the Whitechapel Gallery, Brian Dillon pays tribute to a sly romantic What a Source: Guardian, The {Review} Edition: Country: UK Date: Saturday 29, January 2011 hPage: 16,17 Area: 2166 sq. cm Circulation: ABC 264819 Daily BRAD info: page rate £11,400.00, scc rate £42.00 Phone: 020 3353 2000 carveKeyword: Whitechapel Gallery up image might be used to make art, he English artist thus obviating the tedium of free- John Stezaker, hand drawing. But when he took the whose uncanny machine to his bedroom, he found collages are all he could squeeze on to a sheet of the subject of a paper was a corner of the picture: career-spanning Big Ben, a few turrets and a stretch exhibition at the of red sky. He tried painting over it in Whitechapel Gal- his best approximation of an “expres- lery, tells a revelatory tale about the sionist-psychedelic” style, but when T he turned off the projector the result origins of his luminous art. Stezaker was born in Worcester in 1949; when was “horrifi c”.
    [Show full text]
  • Kansen Voor Cultuur Stedelijke Cultuurregio Zwolle, Deventer En Apeldoorn
    1.1.1 Kansen voor Cultuur Stedelijke cultuurregio Zwolle, Deventer en Apeldoorn Annelies van der Horst en Justin de Kleuver Contactgegevens mei, 2018. Annelies van der Horst [email protected] +31 6 20874709 Justin de Kleuver [email protected] +31 6 43123460 DSP-groep RAPPORT ─ Kansen voor Cultuur 2 Inhoud Samenvatting 5 1 Vooraf 9 2 De kracht van de regio: uitgangspunten 13 4 Culturele ambities en culturele infrastructuur 19 5 Bevindingen 33 6 Analyse: sterkten en kansen 40 7 Aanbevelingen 47 Bijlagen Bijlage 1 Uitkomsten enquête 51 Bijlage 4 Opdrachtgevers, klankbordgroep en gesprekspartners 57 Bijlage 5 Documentatie 59 DSP-groep RAPPORT ─ Kansen voor Cultuur 3 DSP-groep RAPPORT ─ Kansen voor Cultuur 4 Samenvatting Aanleiding In haar brief van maart 2018 nodigt de Minister van OCW stedelijke regio’s uit om een Cultuurprofiel te maken. Het Cultuurprofiel is een eerste stap voor invloed van de regio’s op het cultuurbeleid van het Rijk met ingang van 2021 en de verdeling van rijkssubsidies. Voorafgaand daaraan wil de Minister in 2019 starten met een aantal proeftuinen voor samenwerking tussen rijk en regio. De Minister adviseert de andere overheden om voorafgaand aan het opstellen van het Cultuurprofiel een verkenning uit te voeren naar de stedelijke culturele regio en met behulp van die verkenning een keuze te maken voor de proposities die de regionaal samenwerkende overheden in het profiel presenteren. Sinds 2017 werken de gemeenten Zwolle, Deventer en Apeldoorn (ZDA) op een aantal onderwerpen samen. De ervaring met deze samenwerking is aanleiding voor de betrokken drie gemeenten om de verkenning naar de stedelijke culturele regio ook op de schaal van Zwolle, Deventer en Apeldoorn (ZDA) uit te laten voeren.
    [Show full text]
  • Isa Genzken Born 1948 in Bad Oldesloe, Germany
    This document was updated April 15, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Isa Genzken Born 1948 in Bad Oldesloe, Germany. Lives and works in Berlin. EDUCATION 1973-1977 Kunstakademie Düsseldorf 1973-1975 Art History and Philosophy Studies, Universität Köln, Cologne 1971-1973 Hochschule der Künste, Berlin 1969-1971 Hochschule für Bildende Künste, Hamburg SOLO EXHIBITIONS 2021 Isa Genzken: Here and Now, Kunstsammlung Nordrhein-Westfalen, Düsseldorf 2020 Isa Genzken: Nüsschen, Galerie Buchholz, New York Isa Genzken and Wolfgang Tillmans, KAT_A, Bad Honnef-Rhöndorf, Germany [two-person exhibition] Isa Genzken, David Zwirner, Paris Isa Genzken: Window, Hauser & Wirth, London Isa Genzken: Works 1973 – 1983, Kunstmuseum Basel | Gegenwart, Basel [itinerary: K21 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Düsseldorf] [catalogue] 2019 Isa Genzken, Charles Asprey, London Isa Genzken, Kunsthalle Bern, Switzerland Isa Genzken. Collagen, Galerie Jahn und Jahn, Munich 2018 Isa Genzken: Außenprojekte, Galerie Buchholz, Berlin Isa Genzken: Sky Energy, David Zwirner, New York 2017 Isa Genzken: Issie Energie, König Galerie, Berlin [organized in collabortion with Galerie Buchholz, Berlin] Isa Genzken: Kaiserringträgerin der Stadt Goslar 2017, Mönchehaus Museum Goslar, Germany 2016 Isa Genzken: I Love Michael Asher, Hauser Wirth & Schimmel, Los Angeles Isa Genzken: Portraits, Galerie Buchholz, New York Isa Genzken: Two Orchids, Doris C. Freedman Plaza, Central Park, New York [organized
    [Show full text]
  • Lynn Chadwick
    Lynn Chadwick 1914-2003 Born in London, UK Lived and worked in the UK SELECTED SOLO & TWO-MAN EXHIBITIONS 2019 Sculpture at RHS Wisley, Surrey, UK (forthcoming) Alberto Giacometti: A Line Through Time, Vancouver Art Gallery, CA (forthcoming) Beast of the Times, The Georg Kolbe Museum, Berlin, DE (forthcoming) 2018 GIACOMETTI-CHADWICK: FACING FEAR, Museum de Fundatie, Zwolle, NL Lynn Chadwick at Le Bristol, Le Bristol, Paris, FR Beasts, Sainsbury Centre for Visual Arts, Norwich, UK Lynn Chadwick at Cliveden, The National Trust’s Cliveden, Buckinghamshire, UK 2017 Lynn Chadwick, Ashmolean Museum, Oxford, UK (ongoing) 2016 Lynn Chadwick, The Rotunda, One Exchange Square, Hong Kong, HK (organised by McNamara Art Projects) 2015 Conjunction: Lynn Chadwick and Geoffrey Clarke, Pangolin London, London, UK Lynn Chadwick, Skulturenpark Wuppertal, Wuppertal, DE Lynn Chadwick -Draughtsman, Gallery Pangolin, Chalford, UK Lynn Chadwick, Retrospective for Two Gardens, Bardini Gardens and Boboli Gardens, Florence, IT Lynn Chadwick, Tremenheere Sculpture Gardens, Penzance, UK 2014 The Maker’s Studio, Museum in the Park, Gloucestershire, UK Lynn Chadwick a Centenary Exhibition, Osborne Samuel, London, UK Lynn Chadwick, Blain|Southern, London, UK Lynn Chadwick, Blain|Southern, Berlin, DE Lynn Chadwick, Blain|Di Donna, New York, US Lynn Chadwick RA, Royal Academy of Arts Courtyard, London, UK 2013 Lynn Chadwick. Evolution in Sculpture, Abbott Hall and Blackwell Arts and Crafts House, Cumbria, UK 2012 Lynn Chadwick. The Complete Candelabra 1959-1996, Willer, London, UK Lynn Chadwick, Beaux Arts, London, UK 2011 Lynn Chadwick: The Couple 1954-1990, Pangolin London, London, UK Lynn Chadwick (with David Farrell photographs), Osborne Samuel, London, UK Lynn Chadwick.
    [Show full text]
  • Han Van Meegerin Tapaus Ja Ekspression Huume
    HAN VAN MEEGERIN TAPAUS JA EKSPRESSION HUUMEALTTI KUUSAMO Taide ja rikos ovat usein joutuneet sukulaisuussuhteeseen, etenkin viimeisen parin vuosisadan aikana. Ajatus taiteesta itseilmaisuna ja salapoliisikertomukset syntyivät suunnilleen samoihin aikoihin, 1800-luvun alkupuolella. Väärennösten määrän kasvulla ja detektiivien suosiolla on myös ajallinen yhteytensä. Nykyäänkin nämä kaksi lajia hipovat toisiaan – siinä mielessä, että seuraamme taidokkaita detektiivejä eri medioista, samalla kun luemme jännittäviä kertomuksia siitä, miten huikean jäljitysseikkailun lopputuloksena on jälleen löydetty uusi Caravaggio, joka saattaa lopulta paljastua väärennökseksi. Käymme sankoin joukoin taidegallerioissa katsomassa aitoja maalauksia, joista osa saattaa yhtä hyvin olla väärennöksiä. ikoksen jäljet saattavat houkutella jopa jolloin oletettu alkuperäisyys ei enää ole autentti- taidemuseoon. Kun Leonardon Mona Lisa suuden mittari (vrt. Anton 2001, 8). Rvarastettiin elokuussa 1911 Louvresta, suunnattomat joukot ihmisiä tungeksi Louvreen Taiteentuntijat asialla katsomaan tyhjää paikkaa, josta Mona Lisa oli vie- Kriittinen vertailu ei kuitenkaan aina toimi – ja ty – monet ensimmäistä kertaa Louvressa. Myös syynä tähän saattavat olla voimakkaat toiveet, jot- Franz Kafka, joka sattumalta oli Pariisissa tuohon ka johtavat sokeaan ihailuun tai jopa kuvasokeu- aikaan, kävi katsomassa Louvressa tyhjänä am- teen. Ehkä ainutlaatuisin kertomus väärennösten mottavaa seinätilaa ystävänsä Max Brodin seuras- historiassa on useiden uusien Vermeerien yllät- sa.
    [Show full text]