DOCSLIB.ORG

Constructed Worlds a Choice of Sculptures from the Centre Pompidou 22.11.19 23.08.21

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Constructed Worlds a Choice of Sculptures from the Centre Pompidou 22.11.19 23.08.21 : Doc Levin / Jeanne Triboul : Doc Levin CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU 22.11.19 23.08.21 centrepompidou-metz.fr MNAM-CCI /Dist. RMN-GP Design graphique Pompidou, - Centre (Adagp) © Georges Meguerditchian - All rights reserved © Succession Brancusi Paris Musée national d’art Moderne, Pompidou, , avant 1928. Centre #mondesconstruits La Colonne sans fin III Constantin Brancusi, Constantin Brancusi, CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU CONTENTS 1. INTRODUCTION ..................................................................................5 2. EXHIBITION ITINERARY ......................................................................8 3. FIVE QUESTIONS TO BERNARD BLISTÈNE, EXHIBITION CURATOR ...23 4. LIST OF ARTISTS ..............................................................................25 5. RELATED EVENTS .............................................................................26 6. EXHIBITION PARTNERS ....................................................................29 7. IMAGES AVAILABLE TO THE PRESS .................................................31 CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU Brancusi, accroupi, taillant à la hache une Colonne sans fin, vers 1924 - 1925 Épreuve gélatino-argentique, 23,9 x 29,7 cm © Georges Meguerditchian - Centre Pompidou, MNAM-CCI /Dist. RMN-GP 4 CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU 1. INTRODUCTION CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU FROM NOVEMBER 22, 2019 TO AUGUST 23, 2021 GALERIE 1 As early as the beginning of the 20th century, a materials and above all to space, clearly structured, large part of modern sculpture marked a radical even modular and dynamic, involving the spectator. shift away from tradition, by following the route Modernist artists wanted a transparency and a of abstraction. Paradoxically this was a way balance for their sculptures that they wanted to of analysing the world in a more objective and see transposed into human structures. The most universal manner: rather than modelling the surface important pieces which are assembled here from of things, certain artists like the cubists wanted to the Centre Pompidou call into question the spawning reveal their essential structure. They divided up the of this utopian abstraction, followed by the analysis objects they studied into lines, volumes and planes. of it and finally, its contemporary deconstruction. In their wake, sculptors and diverse avant- gardists baptised their works “constructions” or Curators: Bernard Blistène, Director of the Musée “structures”, opting for a radical abstraction, where national d’art moderne, with Jean-Marie Gallais, lines and right angles predominated. If industrial Head of the Programming department, Centre architecture encouraged these tendencies known Pompidou-Metz and Hélène Meisel, research and as “constructivist”, occasionally willing to produce exhibition manager. functional objects, sculpture also looked to redefine what is unique to it: the relationship to gesture, to 5 CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU 2. EXHIBITION ITINERARY Constructed Worlds, in the continuity of Phares, the simulated collapsings by Monika Sosnowska Musicircus and The Adventure of Colour, offers a (Rubble, 2008). Ceasing to be an object, sculpture thematic voyage over a long period, of the collection topples over into the “extended field” which the art of the Centre Pompidou - Musée national d’art historian Rosalind Krauss once described, to become moderne at the Centre Pompidou-Metz. Through a structure, an installation, an environment, a site, around fifty works, from Constantin Brancusi and a performance… Alberto Giacometti to Bruce Nauman, Rasheed From the very beginning of the exhibition, the huge Araeen and Rachel Whiteread, this fourth part, timber carved by Joseph Beuys into the barely accompanied by a mediation through images, squared trunk of a tree and laid out on the ground like explores the sculptural research carried out by a sarcophagus, embodies the anonymous archaism artists from the beginning of the XXth century up of votive objects (Nasse Wäsche Jungfrau II, 1985). until today. In the same vein, the monoliths assembled by Ulrich Without following a strictly chronological order, Rückriem suggest the art of stone masons, going the exhibition layout approaches some of the from megalithic alignments to builders of cathedrals fundamental problems of sculpture, by thwarting (Dolomit, 1982). The direct size of the raw materials the presupposed classics: the placing of the gesture, presents as a starting point, a primordial gesture, the presence, absence or integration of the pedestal, doing away with superfluous transformations, in the invention and reinvention of sculpture beyond order to serve a sacred purpose. Further along, the statuary, of volume, gravitas or immobility. Robert Smithson's structures (Mirror vortex, 1964), The diversity of works and of currents represented Donald Judd (Untitled, 1978) and Gerhard Richter (6 in this exhibition navigates through possible stehende Scheiben, 2002/2011) on the contrary show “configurations” of a medium which is sometimes a perfectly industrial manufactured workmanship, pushed back to its outer reaches: graphic sculpture, of glass surfaces, metal or plexiglass without on the borderline of drawing, with the welded any faults. Just as anonymous, these minimalist silhouettes by Julio González (Femme à la corbeille, sculptures seem to be prototypes coming out of 1934) ; the sculpture “aboveground” and dynamic a factory, produced by machines rather than by with the mobiles by Alexander Calder (Fish Bones hand: objects without gestures, heralding other 1939) ; sculpture on the borderline of architecture venerations (technological, mercantile?). with the Architectones by Kasimir Malévitch (Gota, The paradoxes which punctuate this exhibition offer 1923 / 1989), the monumental impressions by Rachel a contrasted rereading of a slice of the history of Whiteread (Untitled (Room 101) 2003) ; or even sculpture from the 20th and 21st centuries, starting the sculpture on the point of disappearing with 6 CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU from the history of forms, revealing lines of descent As an introduction and conclusion to this exhibition just as much as fertile dissensions. In the room layout, the artist Falke Pisano born in Amsterdam devoted to the celebrated aesthetic duel opposing in 1979) has been invited to conceive an original verticality and horizontality, cohabiting as such installation, conceptualised as a " little history of in an exceptional manner the Colonne sans fin by modern sculpture". Since the middle of the first Constantin Brancusi, and the metallic expanding decade of this century, Falke Pisano questioned the netting on the ground by Carl Andre (4 Segment paradoxes of modern and contemporary sculpture: Hexagon, 1974). A great admirer of Brancusi – can a sculpture be at one and the same time “(before him) verticality was always determined: abstract and concrete? Can a sculpture become a the top of the head and the soles of the feet were the conversation? The artist's texts and conferences limits of sculpture. Brancusi's sculpture exceeds its develop the issues which are dear to her - language, vertical limits and continues beyond its terrestrial the body, and context. This research is then limits" – Carl Andre would nonetheless decide to spatialised and divided into mechanisms capable bring down the Colonne sans fin, by adopting an of accommodating works, diagrams, posters and overt horizontality. The exhibition plays on these projections as well as performances. tensions which constantly redefine modern and contemporary sculpture. André Cadere A Romanian artist born in Poland, André Cadere settled in Paris in 1967. In 1970, he abandoned abstract painting in order to devote himself to the production of “bars of round wood” composed of coloured segments. Of variable sizes and thicknesses, they could fit into a pocket or reach two metres high. Three to seven colours were aligned according to a mathematical system of permutations into which an error always slipped in. Being able to be placed, hung or moved around in the manner of a pilgrim’s rod, Cadere’s bars defied hierarchies: without neither back nor front, without neither height nor depth, the artist often introduced them into institutions without having been invited. André Cadere, Six barres de bois rond, 1975 12 cylindres de bois peint pour chaque barre. H.: 115 diam. 9,5 (chaque) The six roundwood bars were scattered Centre Pompidou, Musée national d’art Moderne, Paris throughout the exhibition area. © Courtesy Succession André Cadere © Philippe Migeat - Centre Pompidou, MNAM-CCI /Dist. RMN-GP 7 CONSTRUCTED WORLDS A CHOICE OF SCULPTURES FROM THE CENTRE POMPIDOU ROOM 1 UNBOXING Rhetoric, diagrams or structures: since the middle Some questions to Falke Pisano, September 2019 of the first decade of the century, Falke Pisano has created systems likely to solve the mystery of Centre Pompidou-Metz: The history of sculpture modernist sculpture. Because of its abstraction, is central in your work, yet one could say that it can indeed seem to be an inscrutable enigma, it is language and discourse that are your main a purely formal game, indifferent to the course of material. How do the two articulate (sculpture and things. It is, however, always the fruit of a personal
Load more

Recommended publications
  • Florida State University Libraries
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 Going Postal: Surrealism and the Discourses of Mail Art Elizabeth B. (Elizabeth Barnhart) Heuer Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ART, THEATRE AND DANCE GOING POSTAL: SURREALISM AND THE DISCOURSES OF MAIL ART By ELIZABETH B. HEUER A Dissertation submitted to the Department of Art History in partial fulfillment of the Requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2008 Copyright © 2008 Elizabeth B. Heuer All Rights Reserved The members of the Committee approve the Dissertation of Elizabeth B. Heuer defended on September 26, 2008. __________________________ Karen A. Bearor Professor Directing Dissertation __________________________ Neil Jumonville Outside Committee Member __________________________ Adam Jolles Committee Member __________________________ Roald Nasgaard Committee Member Approved: ______________________________________________________ Richard K. Emmerson, Chair, Department of Art History ______________________________________________________ Sally E. McRorie, Dean, College of Visual Arts, Theatre and Dance The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGMENTS I wish to extend my sincerest thanks to all of the faculty and staff of the Department of Art History at Florida State University. I am very thankful for the generous financial support I received during the years of my course work and in the research and writing of this dissertation. I am especially indebted to Karen A. Bearor, the chair of my dissertation committee, for her guidance, patient advice, and encouragement throughout my graduate work. Special thanks to Neil Jumonville whose teaching has enriched my approach to the discipline of art history.
    [Show full text]
  • Frauen Erobern Die Kunst Kunstmuseum Thurgau, 10
    Thurgauer Köpfe – Frauen erobern die Kunst Kunstmuseum Thurgau, 10. Mai – 18. Oktober 2020 In den vergangenen 150 Jahren hat sich das Eine Generation später – in der Zwischenkriegszeit – Berufsbild des Künstlers entscheidend verändert entwickelt sich mit der Fotografie ein Handlungs- und noch grösser waren die Veränderungen feld an der Schnittstelle zwischen Handwerk und bei den Frauen, die diesen Weg gehen wollten. freier bildnerischen Tätigkeit, in dem sich mehrere Die Ausstellung «Frauen erobern die Kunst» Frauen engagierten. Daneben betätigten sich Ost- skizziert die Entwicklung zwischen 1880 und 1980 schweizerinnen aber auch durchaus erfolgreich anhand von 22 Persönlichkeiten, deren Biografien als Plastikerinnen. modellhaft aufzeigen, wie sich Frauen in der Ost- Erst die Generation der nach dem Zweiten schweiz, aber auch in Zürich, Paris oder New York Weltkrieg tätigen Künstlerinnen erreichten einen ihre Position im kulturellen Leben erkämpft haben. annähernd gleichberechtigten Stand mit ihren Die Ausstellung bringt viele, nie gezeigte Werke männlichen Kollegen. Sie waren formell eben- ans Licht, ordnet sie ein und erinnert auch an bürtige Mitglieder in Künstler/innen-Organisationen Künstlerinnen, die gerade aus dem öffentlichen und hatten mit den gleichen Widrigkeiten des Bewusstsein zu verschwinden drohen. Berufes zu kämpfen wie ihre männlichen Kollegen. Die Ausstellung zeichnet die Entwicklung zwischen Den Abschluss der Ausstellung bildet das Video 1880 und 1980 in vier Stufen nach: «Die Tempodrosslerin saust» von Muda Mathis Im 19. Jahrhundert betätigten sich meist nur und Pipilotti Rist, in dem die beiden Künstlerinnen Töchter aus der reichem Haus als Künstlerinnen. selbstbewusst lustvoll mit neuen technischen und Oft hatten sie unter erschwerten Bedingungen ästhetischen Ausdrucksformen experimentieren. Zutritt zu Ausbildungsstätten und Künstlerin zu werden bedeutete oft, einen lebenslangen Kampf um Sichtbarkeit und Anerkennung zu führen.
    [Show full text]
  • Name Waldberg, Isabelle Namensvariante/N Farner, Isabelle
    société secrète Acéphale. Elle renonce provisoirement à la sculpture. Après la naissance de son fils Michel en 1940 et une période d’errance due à la guerre, elle s’établit à New York en 1942, année où elle épouse Patrick Waldberg à Newark. A New York, elle s’agrège au groupe des intellectuels français en exil, se lie entre autres avec André Breton, Georges Duthuit, Claude Lévi-Strauss, Robert Lebel. Elle reprend ses activités de sculptrice, mais abandonne la figuration pour concevoir des «constructions» en baguettes de hêtre. En 1944, elle participe à l’exposition Color and Space in Modern Art since 1900 à la Mortimer Brandt Waldberg, Isabelle, Le Sextant, um 1954, Eisendraht, Höhe Gallery et présente un choix d’œuvres à la galerie Art of this 105 cm (mit Sockel), Unbekannt, seit 21.3.2018 Century de Peggy Guggenheim. En novembre 1945, Isabelle Waldberg retourne à Paris. En 1947, elle s’installe dans l’atelier de Marcel Duchamp Bearbeitungstiefe qu’elle occupera jusqu’à sa mort. A partir de cette date, elle transpose en fer, avec la collaboration du sculpteur danois Robert Jacobsen, un certain nombre de ses constructions. Name Parallèlement, elle revient à la sculpture en plâtre. Elle Waldberg, Isabelle expose avec le groupe Allianz à Zurich en 1947. En 1959, elle reçoit le Prix Copley de sculpture, en 1960, le Prix Namensvariante/n André Susse, en 1961, le Prix Antoine Bourdelle. En 1973, Farner, Isabelle elle est nommée professeure à l’Ecole des beaux-arts de Paris. En 1978, l’Hôtel de ville présente une rétrospective de Lebensdaten l’artiste.
    [Show full text]
  • <I>Le Surréalisme Et La Peinture</I>
    Duchamp’s Window Display for André Breton’s Le Surréalisme et la Peinture (1945) The subsequent paper is based on parts of a lecture first held at a three-day Marcel Duchamp symposium, which, accompanied by a small exhibition of works by the artist from the museum’s own collection, took place between November 23-25, 2001, at the Hessisches Landesmuseum Darmstadt, Germany. What follows is intended to highlight the significance of Duchamp’s 1945 window display of Breton’s second and expanded edition of art theoretical writings, ” Le Surréalisme et la Peinture,” (Fig.1) for the production of his last major work, Given: 1. The Waterfall/2. The Illuminating Gas (Figs. 2 and 3). In the process, I attempt to predate Duchamp’s active involvement with this work and to shed some new light on the relationship between Marcel Duchamp and Maria Martins, his lover at the time, as well as Enrico Donati and Isabelle Waldberg, both of whom were involved with the construction of the shop window display. In the process, a new work by Duchamp will be introduced. In addition, the overall significance of the art dealer Julien Levy and René Magritte’s painting Le Modèle Rouge (1935) (Fig. 4) for all of the above shall be examined. click images to enlarge Figure 1 Figure 2 Marcel Duchamp, Window Display for André Breton’s Le Surréalisme et la Peinture, 1945 Marcel Duchamp, Given: 1. The Waterfall/2. The Illuminating Gas, 1946-1966 (outside view) click images to enlarge Figure 3 Figure 4 Marcel Duchamp, Given: 1. The Waterfall/2.
    [Show full text]
  • Abstracts (PDF)
    Networks, Museums and Collections Surrealism in the United States International Conference, 27-29 November 2017 German Center for Art History, Paris ABSTRACTS 1 The conference “Networks, Museums and Collections. Surrealism in the United States” will bring the complex networks that fostered and sustained Surrealism in North America into academic focus. Who – collectors, critics, dealers, galleries, and other types of mediating agents – supported the artists in the Surrealist orbit, in what ways and why? What more can be learned about high profile collectors such as the de Menils in Houston or Peggy Guggenheim in New York? Compared to their peers in Eu- rope, did artists in the United States use similarly spectacular strategies of publicity and mediation? In what networks did the commercial galleries operate, domestically and internationally, and how did they dialogue with museums? Were American artists in- cluded in the musealization of Surrealism in American museums as had occurred with the Parisian circle, or were they, on the contrary, excluded from this development? Di- vided into five sections (I. Private / Public; II. The Making of Surrealism in the US; III. Agents / Artists; IV. Galleries / Dealers; V. American Surrealism), the conference will offer an innovative and lasting contribution to research and scholarship on the history of art in America while focusing specifically on the expansion and reception of Surrealism in the United States. The conference is a key component of the research project “Le surréalisme et l’argent. Galeries, collectionneurs et médiateurs” in cooperation with the labex arts H2H, which explores to what extent the global success of Surrealism in the 20 th cen- tury was due to the roles and factors played by private collectors, museums, exhibitions, art collectors as well as the commercial strategies of artists.
    [Show full text]
  • From Minimalism to Performance Art: Chris Burden, 1967–1971
    From Minimalism to Performance Art: Chris Burden, 1967–1971 Matthew Teti Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Matthew Teti All rights reserved ABSTRACT From Minimalism to Performance Art: Chris Burden, 1967–1971 Matthew Teti This dissertation was conceived as an addendum to two self-published catalogs that American artist Chris Burden released, covering the years 1971–1977. It looks in-depth at the formative work the artist produced in college and graduate school, including minimalist sculpture, interactive environments, and performance art. Burden’s work is herewith examined in four chapters, each of which treats one or more related works, dividing the artist’s early career into developmental stages. In light of a wealth of new information about Burden and the environment in which he was working in the late 1960s and early 1970s, this dissertation examines the artist’s work in relation to West Coast Minimalism, the Light and Space Movement, Environments, and Institutional Critique, above and beyond his well-known contribution to performance art, which is also covered herein. The dissertation also analyzes the social contexts in which Burden worked as having been informative to his practice, from the beaches of Southern California, to rock festivals and student protest on campus, and eventually out to the countercultural communes. The studies contained in the individual chapters demonstrate that close readings of Burden’s work can open up to formal and art-historical trends, as well as social issues that can deepen our understanding of these and later works.
    [Show full text]
  • Surrealismus Schweiz Surrealism Switzerland *Aargauer Kunsthaus 1
    Allgemeine Informationen General Information Eintritt Private Führung Admission Private Guided Tour Erwachsene: CHF 20.– durch eine aktuelle Ausstellung Adults: CHF 20.– of a current exhibition of your choice. Kinder und Jugendliche nach Ihrer Wahl. Children and young people In German, English, French bis 16 Jahre: gratis In Deutsch, Englisch, Französisch up to the age of 16: free and Italian Personen in Ausbildung bis 26 und Italienisch Trainees and persons up to the 1-hour tour Jahre / Kulturlegi / IV: CHF 15.– 1 Stunde age of 26 / Disabled: CHF 15.– CHF 190.– + Admission AHV: 17.– CHF 190.– + Eintritt Pensioners: 17.– Your Event at the Aargauer Gruppentarif (ab 10 Personen): Group rate (as of 10 persons): A* Ihr Anlass im Kunsthaus CHF 13.– / Person CHF 13.– / person Aargauer Kunsthaus We gladly assist you in organising Gerne unterstützen wir Sie bei your event. Das Aargauer Kunsthaus ist The Aargauer Kunsthaus is der Organisation. T + 41 (0)62 835 23 81 rollstuhlgängig. wheelchair-accessible. T + 41 (0)62 835 23 81 [email protected] [email protected] Art Meet Öffnungszeiten Kunst-Treffen Opening Hours Workshop with specially tailored Di – So 10 – 17 Uhr Workshop mit massgeschnei- Tue – Sun: 10 am – 5 pm programme in an exhibition of your Do 10 – 20 Uhr dertem Programm in einer Aus- Thu: 10 am – 8 pm choice. A creative sequence in stellung nach Ihrer Wahl. Eine the studio may be part of the event. Öffnungszeiten Feiertage Holiday Opening Hours gestalterische Sequenz im Atelier 2-hour workshop Geöffnet 10 – 17 Uhr: Open from 10 am – 5 pm: kann Teil der Veranstaltung sein.
    [Show full text]
  • Cat153 Final.Qxd
    modern art ars libri ltd catalogue 153 73 CAT ALOGUE 153 MODERN ART ars libri ltd ARS LIBRI LTD 500 Harrison Avenue Boston, Massachusetts 02118 U.S.A. tel: 617.357.5212 fax: 617.338.5763 email: [email protected] http://www.arslibri.com All items are in good antiquarian condition, unless otherwise described. All prices are net. Massachusetts residents should add 5% sales tax. Reserved items will be held for two weeks pending receipt of payment or formal orders. Orders from individuals unknown to us must be accompanied by pay- ment or by satisfactory references. All items may be returned, if returned within two weeks in the same con- dition as sent, and if packed, shipped and insured as received. When ordering from this catalogue please refer to Catalogue Number One Hundred and Fifty-Three and indicate the item number(s). Overseas clients must remit in U.S. dollar funds, payable on a U.S. bank, or transfer the amount due directly to the account of Ars Libri Ltd., Cambridge Trust Company, 1336 Massachusetts Avenue, Cambridge, MA 02238, Account No. 39-665-6-01. Mastercard, Visa and American Express accepted. June 2010 front and back covers: item 7 endpapers: item 61 n avant-garde 5 1 1 Hélion, Pevsner, Delaunay, Taeuber-Arp, Arp, Calder, Dreier, ABSTRACTION, CRÉATION, ART NON FIGURATIF Moholy, Prampolini, and Schwitters, among others, all with Édité par l’Association Abstraction Création. Comité varying amounts assessed. The annotations follow exactly directeur: Arp, Gleizes, Hélion, Herbin, Kupka, Tutundjian, the same arrangement in No. 3, by which time the payers Valmier, Vantongerloo.
    [Show full text]
  • Proquest Dissertations
    Surrealism and American Culture: A Study of Surrealism’s Reception in America and its Resonances in the Work of Joseph Cornell and the Poetry of Frank O’Hara and John Ashbery Stamatina Dimakopoulou University College, London PhD Thesis submitted to the University of London, 2002 ProQuest Number: U642789 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U642789 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract Recent studies of Surrealism’s American years focus on Surrealism’s role in the early years of Abstract Expressionism. The interest of the encounter lies in how the Surrealists’ emphasis on the social and psychic aspects of their principles evolved into forms that were meant as both an expression of and a refuge from conflict. This thesis looks at how Surrealism was alternately embraced and resisted on the margins of the development of Abstract Expressionism. Chapter One sketches the embrace and critique of Surrealism through the pages of the periodical View (1940- 47), that hosted Surrealist works and writings during the Surrealists’ stay in America: here I discuss how Surrealist concepts informed critical perspectives on the concept of culture rather than on artistic forms.
    [Show full text]
  • Sonja Sekula | Biografie
    seit 1950 ______________________________________________________________________________________________ Sonja Sekula | Biografie Ohne Titel, 1958 Gouache, Grattage auf Papier, 65 x 49,9 cm www.galeriehilt.ch © Galerie HILT Basel, 2015/cr © www.galeriehilt.ch – 2015/cr Seite 2 von 16 Sonja Sekula – Biografie tieren: «Ich habe das Töchterchen Frau Sekulas gemalt in Aquarell und angefangen zu modellieren. Das Aqua- 1918 rell ist gut geworden, die Plastik aber geht nicht gut. Das Mädchen sitzt um nichts in der Welt einen Augen- Sonja Sekula wird am 8. April in Luzern geboren als blick ruhig. Ich habe aber bei dieser Gelegenheit einige Tochter von Béla Sekula (1881 – 1966), ungarischer sehr angenehme Stunden mit Frau Sekula verbracht». Staatsangehöriger halbjüdischer Abstammung und Berta (Bertie), geborene Huguenin (1896 – 1980), die 1930 – 1931 aus der gleichnamigen, bekannten Luzerner Café- und Confiserie-Dynastie stammt. Der Vater kam 1913 von Schuljahr in Zuoz. Sie beginnt, ihre Eltern oft auf (Ge- Budapest in die Schweiz und arbeitet, wie seine drei schäfts-)Reisen zu begleiten, so nach Paris, wo Sonja Brüder, als Briefmarkenhändler. die Museen kennenlernt, oder nach Ungarn, wo man Verwandte des Vaters besucht. Seit dem 9. Oktober 1916 verheiratet, mieten die Eltern nach der Geburt Sonjas die 1892 erbaute Villa Sonnen- hof in Luzern. Neben dieser Tochter wohnen im Haus auch zwei ältere Kinder aus der ersten Ehe des Vaters: Karl und Hedy. Die Familie führt einen grossbürgerli- chen Lebensstil, mit Dienstpersonal und vielen Einla- dungen. 1919 Da der Vater oft auf Geschäftsreisen im Ausland ist und sich die Mutter deshalb einsam und allein mit den Kin- dern fühlt, beginnt sie Ende August ein Tagebuch über ihre kleine Tochter zu führen.
    [Show full text]
  • In Wonderland: the Surrealist Adventures of Women Artists in Mexico and the United States
    ^ In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States Checklist Introductory Room Maya Deren (Ukraine, 1917–1961, active United States) Excerpt from Meshes of the Afternoon , 1943 16mm film transferred to digital video; music by Teiji Ito added 1959 © Tavia Ito, courtesy of RE:VOIR Gallery 2 Dorothea Tanning (United States, b. 1910, active United States and France) Birthday , 1942 Oil on canvas Philadelphia Museum of Art, purchased with funds contributed by C. K. Williams II, 1999 Sylvia Fein (United States, b. 1919) The Tea Party , 1943 Egg tempera on Masonite Thea Tenenbaum-Malferrari Collection Alice Rahon (France, 1904–1987, active Mexico and United States) Autorretrato (Self-Portrait) , also known as Alice in Wonderland , 1951 Oil on canvas Collection of the Artemundi Group Dorothea Tanning (United States, b. 1910, active United States and France) Premier péril (First Peril) from the series Les sept périls spectraux (The Seven Spectral Perils) , 1950 Color lithograph Michael Lubetkin Collection, courtesy Gallery of Surrealism, New York Frida Kahlo (Mexico, 1907–1954, active Mexico and United States) Mi vestido cuelga ahí (My Dress Hangs There) , 1933 Oil and collage on Masonite FEMSA Collection, Monterrey, Mexico Helen Lundeberg (United States, 1908–1999) Cosmicide , 1935 Oil on Masonite Sheldon Museum of Art, University of Nebraska–Lincoln, NAA–gift of the Peter Kiewit Foundation Gallery 3 Identity: Portraiture Leonora Carrington (England, 1917–2011, active France, Mexico, and United States)
    [Show full text]
  • Chris Moffett
    On the Shores of Education: Urban Bodies, Architectural Repetitions, and the Mythic Space of End Times Chris Moffett Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Chris Moffett All rights reserved ABSTRACT On the Shores of Education: Urban Bodies, Architectural Repetitions, and the Mythic Space of End Times Chris Moffett Education is a space of contestation. It is not that we fight over who should occupy it, be occupied by it, and how—although we do that as well. What can we say about education that won’t be contested? Rather, the space of education is a real and imagined place through which we think contestation itself, learn to enact it as regulated struggle. The more difficult challenge is to recognize the mythic structure of education that we agree to disagree over. More difficult, because its function hides in plain sight, a blinding or banal sun, a toe-hold polished slick by our practiced slipping. The story of education is a story of forgetting: it is the story we tell ourselves in order to remember to forget. It is not that the story does not spin off in so many contested directions, become things that elude these formulations. It does. It is that these variations weave around a deep mythological structure that orients this spinning struggle itself. We can, surprisingly, be quite precise. The distinctive mythic structure of education emerges coextensively with urban formations. Drawing on earlier myths of sacrifice, woven around themes of birth and death, education quickly becomes a privileged way in which the city articulates itself, reaching its formal articulation quite early on with Plato.
    [Show full text]