International 05 Art Exhibitions 2017 International 30.04.2017 > 03.09.2017 Art Exhibitions 2017

Oposite page Untitled (2011/14) Karin Kneffel 2013, Oil on canvas 160 x 120 cm Picture in the Picture Private collection 1 EXHIBITION FOR CHILDREN & ADOLESCENTS © VG Bild-Kunst, Bonn 2017 1 Kunstmuseum Bonn Karin Kneffel was born in 1957 in Marl, Untitled (2015/08) Germany. She first studied German 2015, Oil on canvas philology and philosophy at the 180 x 240 cm universities of Münster and Duisburg- Droege Collection Essen and later painting at the Staatliche © VG Bild-Kunst, Bonn 2017 Kunstakademie in Düsseldorf, where 2 she was a master student of Gerhard Untitled (2013/10) Richter. She currently lives and works in 2013, Oil on canvas Dusseldorf. Her hyper-realistic painting 180 x 200 cm style has a disturbing ambiguity. Droege Collection Blurred, superimposed or reflective: © VG Bild-Kunst, Bonn 2017 nothing is as it initially appears. How did 3 the artist paint these sometimes very Untitled (2013/12) large-format canvases? What docu- 2013, Oil on canvas ments and historical evidence did she 180 x 240 cm use? The exhibition space is primarily a The Strack Collection space full of questions, fantasies and © VG Bild-Kunst, Bonn 2017 stories. Since 1999, the Kunstmuseum 4 Bonn has been showing an annual Untitled (2015/06) exhibition for children and young 2015, Oil on canvas people with works by artists who, due 180 x 240 cm to their motifs, materials or pictorial Droege Collection language, appeal to the young museum © VG Bild-Kunst, Bonn 2017 public in a special way. 2 All photos: Achim Kukulies

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www.kunstmuseum-bonn.de International 04.05.2017 > 24.06.2017 Art Exhibitions 2017

Ali Banisadr

5 Trust in the Future

Sperone Westwater The spirit of an era can be captured Banisadr was born in Tehran in 1976 and Banisadr’s recent paintings show in many ways – through music, grew up during the Islamic Revolution significant evolution. Departing from his writing, architecture, and so on. and the eight-year Iran-Iraq War. As a frequent use of vivid, bright, and bold For me, understanding issues, child, he and his family hid in the base- colours, this show demonstrates the personal memories, or human ment during air raids where he could artist’s exploration of a monochrome conditions holistically can only hear and feel the explosions and palette – primarily, variations of Indigo happen through drawing or bombings but had to resort to his blue. His material procedures have painting. This is an unsettling time imagination to visualise them. He become more physical and experimental. for our country and the world. I want started drawing to try and make sense Banisadr borrows techniques from to capture that energy and record of the violence and destruction of war. printmaking, frequently scraping paint what it feels like to live right now. away and incising into the composition Ali Banisadr Together with his ability to experience with metal implements he utilizes like sound visually and vice versa – a pheno- burins. His figures, formerly fragmented menon known as synesthesia – these and interconnected by means of formative experiences continue to expressive paint handling, are now more 1 2 shape his work. defined, with distinctive attributes. 7

1 New York Myth 2016, Oil on linen 167.5 x 223.5 cm 2 The Rise of the Blond 2016, Oil on linen 167.5 x 223.5 cm 3 Treasure 2016, Oil on linen 167.5 x 223.5 cm 4 Mosaic People 2017, Oil on linen 3 4 167.5 x 223.5 cm 5 Installation view 6 Trust in the Future 2017, Oil on linen 208 x 305 cm 7 Ali Banisadr

All works courtesy of the artist 6 and Sperone Westwater

www.speronewestwater.com International 05.05.2017 > 27.08.2017 Art Exhibitions 2017

Opposite page La Fornarina 2008, Oil on canvas Fernando Botero 198 x 143 cm 1 1 Retrospective 1958-2016 Picnic 2001, Oil on canvas Complesso del Vittoriano 113 x 165 cm 2 After Velázquez 1959, Oil on canvas 132 x 141 cm 3 Piero della Francesca 1998, Oil on canvas 204 x 177 cm 4 Piero della Francesca 1998, Oil on canvas 204 x 177 cm 2 34 5 The President For his 85th birthday, we pay tribute to 1989, Oil on canvas Botero’s art with a major retrospective 203 x 165 cm the first in Italy, comprising fifty of 6 his masterpieces. Men, animals and The First Lady vegetation whose features and bright 1989, Oil on canvas colours immediately bring back 203 x 165 cm memories of Latin America, where 7 everything is truer than true, where Woman Sitting Rome there is no place for nuance and where 1997, Oil on canvas there is indeed a preference for vibrancy 134 x 92 cm in form and narrative. This is the signa- 8 ture style of Columbian born, Fernando The Nuncio Botero, known and loved throughout 2004, Oil on canvas the world for his immediately recogni- 203 x 160 cm sable unique pictorial language. 56

Botero’s art reveals a more complex The full forms, especially of the women, world than might appear from an initial are the quintessential element in his glance – they are the outcome of a work. He expands the forms because delicate balance between mastery in this serves to help show the importance execution and ability of expression. of colour, laid out in large, flat, uniform And so, in his austere-looking portraits, areas, without contours or shading. in the nudes divested of all naughtiness, in the still lifes where the concept of I believe very strongly in volume, in abundance reigns, the softness of the this sensuality that pleases the eye forms is perceived equally strongly, just in painting. A painting is a rhythm of as we can perceive in his jugglers and coloured volumes where the role of bullfights a heartfelt sense of nostalgia the image is that of a pretext. 7 and loss. Fernando Botero 8 www.ilvittoriano.com International 11.05.2017 > 02.06.2017 Art Exhibitions 2017

3 A Surrealist Banquet

Di Donna Galleries Di Donna Galleries In continuing its commitment to the 3 history of Surrealism, Di Donna unites Wayne Thiebaud Surrealist and Post-War works of art Cheese & Olive Sandwich inspired by the mysterious and sensual 1964, Watercolour on paper aspects of gastronomy, within a total 31.1 x 34.9 cm environment that evokes the festive © Wayne Thiebaud/ and convivial spirit of group dinners Licensed by VAGA, New York organized by Surrealist writers and 4 artists beginning in the late 1920s. Giorgio de Chirico Taking its cue from the history of Natura morta con ananas Surrealist dinner parties where eclectic 1926, Oil on canvas menus were served amidst curious 73 x 60 cm places settings, ‘A Surrealist Banquet’ © 2017 Artists Rights Society features a sumptuous array of paintings, (ARS), New York / SIAE, Rome sculptures, and assemblages relating to 5 food, wine, flowers, and mise en place May Ray that emblematize the Surrealists’ Mr Knife & Miss Fork

New York broader aesthetic concerns. Initially (Monsieur Couteau et over fifty works will be arranged on and Mademoiselle around an oversized wooden dining Fourchette) table in one of the Armory’s historic 1944 (1973), Silverplated rooms, preserved in its original state knife and fork, wooden with animal head trophies and antique beads, and cotton netting wood paneling, and enhanced with on cloth in a wooden box Surrealist-inspired décor. An augmen- 34 x 23 x 4 cm ted version of this installation has been © Man Ray Trust / recreated in Di Donna Galleries’ new Artists Rights Society (ARS), gallery space on Madison Avenue. NY / ADAGP, Paris 2017 The show features works by Arman, Arp, 6 Balthus, Brauner, Calder, Carrington, Pablo Picasso Dalí, Ernst, Magritte, Man Ray, Noguchi, Nature morte, fruits et Oldenburg, Picasso, Tanguy, Thiebaud pot 1 | 2 amongst others 4 1938, Oil on canvas 46 x 55.3 cm 1 2 © 2017 Estate of Pablo Salvador Dalí René Magritte Picasso / Artists Rights Buste de femme rétrospectif L'Explication Society (ARS), New York 1933 (cast 1977), Painted bronze 1962, Gouache on paper 7 and mixed media 35.6 x 27.3 cm Balthus 71 cm (height) © 2017 C Herscovici / Bouquet de fleurs © Salvador Dalí, Fundació Artists Rights Society (ARS), 1941, Oil on board Gala-Salvador Dalí / New York 73 x 92 cm Artists Rights Society (ARS), © Balthus New York 2017 5 67 Bouquet de fleurs, 1941 www.didonna.com International 12.05.2016 > 10.06.2017 Art Exhibitions 2016

Opposite page Katerina ForLempicka 2007, Archival Pigment Print Belkina 120 x 84 cm 1 1 Paint For Rousseau 2006, Archival Pigment Print Faur Gallery Zsofi Katerina Belkina came up with the idea 92 x 130 cm for ‘Paint’ by following her instincts, 2 both brutish and sublime – the instincts For Klimt of the viewer and the artist and a need 2006, Archival Pigment Print for aesthetic pleasure. Her love for the 120 x 84 cm art of the 19th and early 20th centuries 3 accumulated here. My choice of the For Degas inspiring artists was determined by 2007, Archival Pigment Print long-standing admiration for their work. 120 x 84 cm Belkina then became interested in the 4 sources of inspiration from both the For Kahlo (White) artist’s and the model’s viewpoint – 2007, Archival Pigment Print how they intertwined, opposed, con- 90 x 63 cm (diptych) flicted and worked together. Immersing 5 her- self scrutiny in the artist-model For Kahlo (Red) interaction, she observed that you 2007, Archival Pigment Print Budapest unexpectedly learn about yourself. 23 90 x 63 cm (diptych)

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By allowing herself to undress in front of The secret desire for exposure in public Finally, my quest led me to the topic 6 the camera for the first time, she comes to light. And it’s not just physical of the shy artist’s hidden sexuality, ForModigliani observed that her creative, exploratory nudity. This is the release of locked expressed through her model. The artist 2007, Archival Pigment Print impulse transformed into sexual energy. sexual energy. The image of the nude is often shy and bashful, and it’s only art 120 x 84 cm To be more precise, she allowed her has an ability to penetrate into the sub- that allows her to open up. At the same 7 characters to do that, and through them conscious of the viewer when besides time, it was interesting to combine two For Petrov-Vodkin myself. When it comes to art, natural the body itself the author shows all the techniques, two kinds of art – photo- 2007, Archival Pigment Print emancipation replaces social shyness. passions, desires and fears of that body. graphy and painting. 120 x 84 cm

www.galeriafaur.hu International 12.05.2017 > 17.09.2017 Art Exhibitions 2017

Opposite page Paris: Fin de Siècle Théo van Rysselberghe Windmill in Flanders Signac | Redon | Toulouse-Lautrec 1894, Oil on canvas 80 x 70 cm 1 and their contemporaries Private collection 1 Guggenheim Fin-de-siècle Paris was a time and place Henri-Edmond Cross of political upheaval and cultural trans- The Promenade formation, during which sustained or The Cypresses economic crisis and social problems 1897, Colour lithograph spurred the rise of radical left-wing 28.3 x 41 cm (image) groups and an attendant backlash of 43 x 56.8 cm (sheet) conservatism that plagued France Private collection throughout the late 1890s. In 1894, 2 President Sadi Carnot fell victim to an Maximilien Luce anarchist assassination, while the View of London nationally divisive Dreyfus Affair began. (Cannon Street) Such events laid bare the poles of 1893, Oil on canvas Bilbao France: bourgeois and bohemian, con- 65 x 81 cm servative and radical, Catholic and anti- Private collection clerical, anti-republican and anarchist. © Maximilien Luce, Mirroring the facets of an anxious, VEGAP, Bilbao, 2017 unsettled era, this period witnessed a 3 spectrum of artistic movements. By the Paul Signac late 1880s, a generation of artists had Saint-Tropez, emerged that included Neo-Impres- Fontaine des Lices sionists, Symbolists, and Nabis. 2 1895, Oil on canvas 65 x 81 cm Their subject matter remained largely Private collection the same as that of their still-active 4 Impressionist forebears: landscapes, the Pierre Bonnard modern city, and leisure-time activities; The Little Laundry Girl however, these scenes were joined by 1896, Colour lithograph introspective and fantastical visions, 29.3 x 19.6 cm and the treatment of these familiar Private collection subjects shifted. The avant-garde ©Pierre Bonnard, ambition to spontaneously capture a VEGAP, Bilbao, 2017 fleeting moment of contemporary life ceded to the pursuit of carefully crafted works that were anti-naturalistic in form and execution, and which sought to elicit emotions, sensations, and psychic changes in the viewer. Despite their sometimes contradictory stances, these artists shared the goal of creating art with a universal resonance, and there was even overlap among members of the groups. This tumultuous decade represented divergent and collective 3 aesthetic and philosophical theories. 4

www.guggenheim-bilbao.eus International 13.05.2017 > 07.01.2018 Art Exhibitions 2017

All works: Collection of the Emily Carr Vancouver Art Gallery, Emily Carr Trust Into the Forest Photos: Trevor Mills, VAG 1 Vancouver Gallery Art A Rushing Sea of Undergrowth 1935, Oil on canvas 2 Red Cedar 1931, Oil on canvas 3 Tree Trunk 1931, Oil on canvas 4 Wood Interior 1932-35, Oil on canvas 5 The Little Pine 3 1931, Oil on canvas

Emily Carr (1871-1945) was a Canadian 3 artist and writer inspired by the indigenous peoples of the Pacific North- west Coast.

The Vancouver Art Gallery is home to the finest collection of Emily Carr works in the world. While we are fortunate to have major works from throughout her career, the collection is particularly rich in her forest paintings from the 1930s. These include both her canvases and oil on paper works, a medium she began using during that period. Supplemen- ted with a generous loan of three key early works from private collections, this exhibition highlights her continued explorations of the natural environment, from the formative days of her career to 5 1 2 the final stages of her life. 4 5

Carr captured the coastal forest With oil on paper as her main medium, While others thought of the forests as landscape, generally around her Carr could work outdoors in close proxi- impenetrable and unappealing, Carr Victoria home, in a way previously mity to the landscape. She went into the saw the vitality of the natural world and unseen in British Columbian art. forest to paint and saw nature in ways seized the opportunity to express her Carr exulted in the symphonies of unlike her fellow British Columbians, vision of it. The paintings of the forest greens and browns found in West Coast who perceived it as either untamed profoundly shaped not only Carr’s own forests. wilderness or a source of lumber. work but the way it is viewed to this day.

www.vanartgallery.bc.ca International 18.05.2017 > 29.07.2017 Art Exhibitions 2017

Opposite page Ed Sun 1971, Oil on canvas Alice Neel 106.7 x 76.2 cm 1 Uptown Harold Cruse c1950, Oil on canvas Victoria Miro ‘Alice Neel: Uptown’ focuses on 94 x 55.9 cm paintings made by the artist during the Private Collection five decades in which she lived and 2 worked in upper Manhattan, first in Benjamin Spanish (East) Harlem, where she 1976, Acrylic on board moved in 1938, and, later, the Upper 83.5 x 58.1 x 3.8 cm West Side, where she lived from 1962 Private Collection until her death in 1984. Intimate, casual, 3 direct and personal, Alice Neel’s Ron Kajiwara portraits exist as an unparalleled 1971, Oil on canvas chronicle of New York personalities – 172.4 x 89.2 cm both famous and unknown. A woman 4

London with a strong social conscience and Pregnant Maria equally strong left-wing beliefs, Neel 1964. Oil on canvas moved from the relative comfort of 32 x 47 cm Greenwich Village to Spanish Harlem Private Collection in 1938 in pursuit of ‘the truth’. 12 5 Julie and the doll There she painted friends, neighbours, milieu, yet remain engaged more or less City, in this exhibition Hilton Als brings 1943, Oil on canvas casual acquaintances and people she explicitly with political and social issues, together a selection of Neel’s portraits 71.4 x 51.4cm encountered on the street among the and the particularities of living and of African Americans, Latinos, Asians, immigrant community, and just as often working under, as Neel put it, ‘the and other people of colour. As the All works cultural figures connected to Harlem or pressure of city life’. Highlighting both curator and celebrated critic, Hilton © The Estate of Alice Neel to the civil rights movement. Neel’s later the innate diversity of Neel’s approach Als writes, ‘what fascinated her was Courtesy David Zwirner, portraits, made after moving to the to portraiture and the extraordinary the breadth of humanity that she New York and London and Upper West Side, reflect a changing diversity of twentieth century New York encountered’. Victoria Miro, London

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www.victoria-miro.com International 19.05.2017 > 15.07.2017 Art Exhibitions 2017

1 Long Pot 2017, Pastel on canvas 240 x 60 cm Nicolas Party 2 Pink Tulips Three Seasons 2017, Pastel on canvas 240 x 60 cm Xavier Hufkens 3 Nude 2017, Pastel on canvas 240 x 60 cm 4 Purple Peaches 2017, Pastel on canvas 240 x 60 cm 5 Birds Fighting for Worms 2017, Pastel on canvas 240 x 100 cm 6 Birds Fighting for Worms Brussels 2017, Pastel on canvas 240 x 100 cm 7 Birds Fighting for Worms 2017, Pastel on canvas 240 x 100 cm 8 Tree with Grass 2017, Pastel on canvas 240 x 170 cm

Courtesy: the Artist and Xavier Hufkens, Brussels 1 3 567 Photos: Isabelle Arthuis

For his inaugural exhibition at the Party works across a wide range of and transformation through colour, gallery, Swiss artist Nicolas Party has different media. Primarily known for his materials and composition. His aim is executed two site-specific murals that colour-saturated paintings and murals, to capture the essence of these subjects transform the interior while creating a he also makes painted sculptures, in new and revelatory ways, and in so singular environment for a recent group pastels, installations, prints and doing to heighten their physical and of large-scale pictures and bronze drawings, and works as a curator. Party emotional resonance. sculptures. Working exclusively in vivid, often paints portraits and still lifes of highly-pigmented chalk pastels, either everyday objects, which he strips of all Clear forms, painterly precision, a directly on the walls or primed canvases, extraneous detail. Rather than creating vibrant colour palette and a keen eye for Party invites us to rediscover this once faithful depictions from nature, he uses composition coalesce into works that 2 4 popular medium. Respectful of the these seemingly innocuous subjects as are accessible and seductive but, at the traditions that precede him on the one springboards for an exploration into the same time, continue a long standing hand, but radically extending them on art of painting itself. His concerns lie, art-historical dialogue between the other, the artist’s handling of the therefore, less in the accurate depiction representation and abstraction, and medium is anything but academic. of nature, and more in its translation observation and the imagination. 8 www.xavierhufkens.com International 19.05.2017 > 27.08.2017 Art Exhibitions 2017

Opposite page & 1 Roberto Berdecio Portrait of a Mexican Girl Mexican (plus detail) 1947, Lithograph, 1 Graphic Art 55.7 x 66.7 cm (sheet) © Estate Roberto Berdecio Kunsthaus An overview of the development of It then spans the arc from Ignacio The exhibition comprises 47 works on 2 Mexican graphic art, from late 19th Aguirre, Alberto Beltrán, Fernando paper by 27 artists who live or lived in Diego Rivera century figurativism to the earliest Castro Pacheco, Jean Charlot, Leopoldo Mexico. These important works, printed The Fruits of Education abstract works in the 1970s. Many of the Mendéz and Alfredo Zalce to ‘los tres using a range of techniques between The Fruits of the Earth exhibits are receiving their first showing grandes’ (The Three Greats): Diego the late 19th century and the 1970s, deal 1932, Lithograph in Switzerland. The exhibition opens Rivera, José Clemente Orozco and David with issues such as poverty and wealth, 53.7 x 39.3 cm (sheet) with the 19th century social satires and Alfaro Siqueiros, who produced a large love and cruelty, and the poetry and © Bank of Mexico skeleton images (‘calaveras’) of the inter- number of murals – ‘muralismo hardships of everyday life. Armin Haab, Diego Rivera & Frida Kahlo nationally renowned graphic artists mexicano’ – on political, nationalistic a Swiss photographer who travelled Museums Trust, Mexico DF Manuel Manilla and José Guadalupe and social issues between the 1920s extensively in Mexico donated this 2017 ProLitteris, Zurich Zürich Posada. and 1970s. collection to the Kunsthaus in the 1980s. 3 Rufino Tamayo Pastèque No 2 1969, Lithograph in red, purple, green and black, 75.8 x 57.2 cm (sheet) © 2017 ProLitteris, Zurich 4 Fernando Castro Pacheco Aquiles Serdán and his family initiate in Puebla the armed revolution, 18 November 1910 1947, Linocut on greenish paper 27.1 x 40.1 cm (sheet)

2 All works 3 Kunsthaus Zürich,

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3 244 www.kunsthaus.ch International 20.05.2017 > 01.07.2017 Art Exhibitions 2017

Paul Winstanley Faith after Saenredam

1 and other paintings

Kerlin Gallery Kerlin Gallery In this exhibition, Paul Winstanley re- Opposite page imagines lost paintings and drawings Lost (After Saenredam) by the Dutch Golden Age artist Pieter 2016, Oil on gesso on panel Saenredam (1597-1665). Best-known for 72 x 66 cm his depictions of whitewashed church interiors, Saenredam captured the 1 restrained character of Dutch Reform- Apostasy (Drift) ation architecture and popularised a 2017, Oil and gold leaf new style of realism in the 17th century. on gesso on panel His reverence for serene, deserted 96 x 112 cm interiors, precise use of perspective and 2 muted tones find an echo in Winstan- Trial (After Saenredam) ley’s work, which has depicted similarly 2017, Oil and gold leaf on Dublin ascetic spaces in the past: British art gesso on panel schools during summer break, vacant 66 x 78 cm walkways and veiled windows. 3 Apostasy (Enrapture) Winstanley began this body of work 2017, Oil and gold leaf

with ‘Lost (After Saenredam)’, which on gesso on panel recreates a missing Saenredam painting 96 x 112 cm of Utrecht’s Mariakerk (1647) from a 4 surviving, and technically accurate, Looking at Vermeer preparatory sketch (1642). 2 2017, Oil and gold leaf on gesso on panel In a second work, ‘Faith (After Saenre- paintings underscore the ambiguities anonymous religious icon paintings in 60 x 55 cm dam)’, the artist shifts the viewpoint implicit in reimagining such works. London’s National Gallery. In another 5 slightly to include a window and golden This examination of pictures and work, a couple share a moment, gazing Faith (After Saenredam) tapestry known to have existed in the picturing, of authorship and technical at a Vermeer painting. These paintings 2016, Oil and gold leaf church, rendering the tapestry in gold means, continues throughout the show. within paintings, also rendered with on gesso on panel leaf. Made to the same dimensions, and Apostasy (Enrapture)’ and ‘Apostasy gold leaf, glow with an otherworldly 72 x 66 cm using the same source material, the (Drift)’ depict viewers, en masse, light amongst the prosaic reality of the 6 differences between these two moving and stationary before semi- depicted museums. Installation view

3 3 | 4 5 6 www.kerlingallery.ie International 20.05.2017 > 27.08.2017 Art Exhibitions 2017

Gerhard Richter

1 New Paintings12

Staatliche Kunstsammlungen Gerhard Richter, who was born 1932 in Dresden, is one of the most significant contemporary artists. His work covers a period of more than five decades. This exhibition, organised by the Gerhard Richter Archive of the Dresden State Art Collections, marks his 85th birthday with new paintings by the artist. Initially, most of his works were already shown in the Museum Ludwig in Cologne.

Now the 24 paintings, supplemented with seven works recently created in 2017, will be exhibited in the Albertinum.

The new ‘Abstract Paintings’ since 2015 are strikingly different from the work created before, with its reserved and delicately modulated surfaces. The 31 paintings in total tie in with the works from the late 1980s and impress with their vibrant and fragmented multitude of colouration. In addition to his brush and squeegee, Richter also uses a knife to scratch animated traces into the surface of the image and reveals the multiple layers of oil paint by stripping Dresden it back to the layers underneath. 3

This process reminds us of the ‘Abstract The artist repeatedly expresses this Opposite Page Paintings’ created around 1990. connection with special exhibitions. Abstract Painting (945-1) However, Richter no longer uses the An extensive group of new STRIP 2016 knife in parallel, vertical tracks, instead, paintings and works behind glass 1 he uses free, gestural movements across already had their premiere here in Installation view the canvas. These works differ from all Dresden in 2013. Two years later, 2 the other ‘Abstract Paintings’ in their Gerhard Richter was presenting his Installation view pictorial gesture and signify a new Birkenau cycle in the Albertinum to 3 dynamic pictorial beginning. the public for the first time. Abstract Painting (946-3) 2016 Gerhard Richter is connected to the The most important research project 4 Dresden State Art Collections and his of the Gerhard Richter Archive is work Abstract Painting (947-3) birthplace of Dresden in a unique on the scientific catalogue of works 2016 way through the archive, which was (catalog raisonné) of all paintings and 4 founded here and named after him. sculptures by Gerhard Richter. All works © Gerhard Richter 2017

www.skd.museum International 20.05.2017 > 03.09.2017 Art Exhibitions 2017

Opposite page Seated Young Man (Harry Kaprolat) detail Max Pechstein 1917 Brücke-Museum Berlin, Karl & 1 A Modern1 Artist Emy Schmidt-Rottluff Foundation

Buceries Kunst Forum The first solo exhibition in Hamburg to 1 showcase the accomplishments of the Installation view German Expressionist. This exhibition 2 celebrates the artist Max Pechstein Self Portrait with Pipe (1881-1955) as a pioneer of Modernism, and Hat and illuminates his multifaceted work 1918 through the lens of key biographical Kunsthaus Zürich, Geschenk and geographical highlights. Divided Emil Mauser into five chronological sections, the 3 exhibition reveals how Pechstein’s style Monterosso Al Mare changed and developed with each of 1924 the places he lived in, including Paris, Private collection Berlin, and Dresden; Nida on the 4 Curonian Spit; Monterosso in Italy; Fishermen’s Cottages Palau in the western Pacific Ocean; and (Rowy) Łeba and Rowy in eastern Pomerania. 1932 Beyond exploring how each location Brücke-Museum Berlin, influenced the motifs present in Max Permanent loan from private Pechstein’s work, the show investigates ownership the artist’s identification of pivotal 5 Hamburg trends and reforms in painting, and how The Yellow-Black Jersey he absorbed these into his own art. 1910 Brücke-Museum Berlin, Max Pechstein was one of the first Permanent loan from private German artists to take the stylistic ownership means of expression used by French 6 Fauvism and transform them into a Two Dancers unique Expressionist style. 2 1909 Brücke-Museum Berlin, Following an artistically formative stay Alongside life in the metropolis, it was Over 70 works of art give an insight into Permanent loan from private in Paris between 1907 and 1908, he nature that inspired Max Pechstein, all of Max Pechstein’s significant work ownership became a key figure in the develop- first in Nida, and later in his ‘Pomeranian cycles and creative periods between ment of the Brücke movement in paradises’ of Łeba and Rowy, and the 1906 and 1932. Alongside numerous All works Dresden and Berlin. From 1912, cubist island of Palau in the western Pacific paintings, prints, drawings, water- © 2017 Pechstein Hamburg / elements began influencing his work. Ocean. colours, and woodcuts are on display. Tökendorf

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www.buceriuskunstforum.de International 20.05.2017 > 30.10.2017 Art Exhibitions 2017

Opposite page The Three Musicians 1930, Oil on canvas Fernand Léger 118 x 113.5 cm © Von der Heydt-Museum 1 Beauty is Everywhere Wuppertal

Centre Pompidou Beauty is not codified or classified, 1 beauty is all around, in the order of a Composition with Three set of saucepans on the white wall of Figures a kitchen as well as in a museum. 1932, Oil on canvas L'Esthétique de la machine, l'ordre 128 x 230 cm géométrique et le vrai, 1923 Musée national d’art moderne Centre de création industrielle Fernand Léger’s catchphrase rings out Centre George Pompidou, Paris like a hymn to the freedom of observa- 2 tion, refusing any conventional taste or Leisure – established hierarchy between the fine Homage to Louis David arts and everyday life. Fernand Léger is 1948-49, Oil on canvas one of the most celebrated figures of 154 x 185 cm modernity. From cubism to his commit- Musée national d’art moderne ment to communism, Léger’s painting Centre de création industrielle remains associated with a vision of Centre George Pompidou, Paris

Metz humanity transfigured by the machine 3 and mass production. However, over Composition and above these powerful images, his with Hand and Hats work is at one and the same time 1927, Oil on canvas

diverse and coherent, free from 248 x 185.5 cm categories and from movements. 2 Musée national d’art moderne Centre de création industrielle Taking into account his career history Without ever ceasing to be a painter, This monographic exhibition relies on a Centre George Pompidou, Paris on its diversity, this retrospective show Léger forges links with creators in other number of exceptional loans from the 4 sheds new light on the manner in which realms and contributes to disciplines as Centre Pompidou, Musée national d’art The Baluster the artist reinvents painting by drawing varied as book illustration, theatre sets, moderne, completed by major works 1925, Oil on canvas on the spectacle of the world and by mural painting, experimental cinema from large-scale public and private 129.5 x 97.2 cm opening himself up to the other arts. and photomontage. international collections. MoMA (Museum of Modern Art), New York 5 The Mechanic 1918, Oil on canvas 65 x 54 cm Lille Métropole Museum of Modern, Contemporary and Outsider Art

All images © Adagp, Paris, 2017

345 www.centrepompidou-metz.fr International 02.06.2017 > 31.08.2017 Art Exhibitions 2017

1 Sebastiano Navarra Silent Cities #1 Post Metaphysical Silent Cities 50 x 70 cm 2 7 A Post-Metaphysical Expression Silent Cities #5 Post Metaphysical Miaja Gallery Miaja Gallery Metaphysical Art arose in Italy during a 50 x 70 cm periodically historic movement where 3 Avant-garde met Futuristic Art and Silent Cities #6 imposed itself in conceptual opposition. Post Metaphysical Where the futurism motion is velocity 50 x 70 cm and dynamism, the metaphysical is all 4 motionless, static, without time, where Silent Cities #3 spaces and things turn to stone in Post Metaphysical absolute silence. What eventually 50 x 70 cm became known as Metaphysical Art 5 transmitted totally new messages, Silent Cities #7 loaded with proposals of intense Post Metaphysical

Singapore interest which suggested simplistic, 50 x 70 cm magical atmospheres. 6 Silent Cities #9 The reality of Metaphysical Art resem- Post Metaphysical bles the one we already know and see… 50 x 70 cm but when we look with more attention 7 1 2 3 the light and colours become unreal. Sebastiano Navarra The geometry of perspective seems to 8 create plausible spaces but is deliberate- Silent Cities #11 ly distorted creating innovative imagery. Post Metaphysical The total absence of life in the Meta- 122 x 122 cm physical Art increases this sensation of 9 empty, magical silence. 8 Silent Cities #12 Post Metaphysical 122 x 122 cm 10 Silent Cities #14 Post Metaphysical 122 x 122 cm 11 Silent Cities #13 Post Metaphysical 122 x 122 cm

All works courtesy of the artist 4 5 6 9 10 11 and Miaja Gallery

In Navarra’s newest series of work, from his depiction of the frequent, All works were created in 2016. titled ‘Silent Cities: A Post-Metaphysical fantastical dreams that played out in his Works 1-6 were produced on Expression’, he remains within the rules sleep, forming a modern vision more at paper using acrylic paint. and guidelines of Metaphysical Art, but the present moment, but actualised by Works 8-11 were produced on the inventiveness of this collection arose its historic evolution. canvas using acrylic paint. www.miajagallery.com International 03.06.2017 > 24.09.2017 Art Exhibitions 2017

The Discovery of Mondrian Amsterdam | Paris | London | 1 New York

Gemeente Museum Gemeente The Gemeentemuseum in Den Haag Opposite page has organised an extensive tour of the Composition with Red, life and work of Piet Mondrian. The Black, Yellow, Blue and Grey journey takes visitors to Amsterdam, 1921, Oil on canvas Paris, London and New York – the great 80 x 50 cm world cities where Mondrian could give Gemeentemuseum Den Haag free rein to his genius and make the 1 discoveries that enabled him to revolu- Flowering Apple Tree tionise art. With the biggest and best 1912, Oil on canvas collection of Mondrians anywhere in 78.5 x 107.5 cm the world, the Gemeentemuseum is in Gemeentemuseum Den Haag a position to illustrate every stage of 2 the artist’s amazing career. This grand Composition with Large tribute to the pioneering artist is part Red Plane, Yellow, Black, of the year-long Mondrian to Dutch Grey and Blue design (100 years of De Stijl) event. 1921, Oil on canvas In the course of 2017 the Gemeente- 59.5 x 59.5 cm museum will hold no fewer than four Gemeentemuseum Den Haag Den Haag Den exhibitions in honour of the revolution- 3 ary spirits of the De Stijl movement. Mill: Mill in Sunlight In ‘The Discovery of Mondrian’ exhibi- 1908, Oil on canvas tion, the museum is taking the unprece- 114 x 87 cm dented step of displaying its entire Gemeentemuseum Den Haag 300-strong collection of Mondrians 4 simultaneously. 2 Church Tower at Domburg 1911, Oil on canvas 114 x 75 cm Gemeentemuseum Den Haag 5 Composition with Red, Yellow, Black, Blue and Grey 1921, Oil on canvas 48 x 38 cm Gemeentemuseum Den Haag, longterm loan of The Rembrandt Society

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Also on show are letters, photos and reconstructions of Mondrian’s studios in 3 4 Amsterdam, Paris and New York.

www.gemeentemuseum.nl International 07.06.2017 > 20.07.2017 Art Exhibitions 2017

1 Bernard Frize

Simon Lee Gallery Simon Lee Gallery This is the second exhibition of new work by Bernard Frize to be held in Simon Lee Gallery’s Hong Kong space. Since the late 1970s, Frize has explored and elaborated the processes that define painting, with inventive means of applying paint that allow him to develop a profound exploration of his method and of the materiality of the medium.

Investigating the permutations of brush, paint and action, Frize’s vibrantly coloured works of acrylic trace patterns of interconnected and alternating 6 gestures. At times using several brushes

Hong Kong concurrently, each loaded with a Opposite page different hue, a sequence of movements Kola is executed, trailing the paint-filled 2017, Acrylic and resin on canvas brushes across a canvas coated with 90 x 90 cm shining layers of resin. These rigorously 1 choreographed brushstrokes result in Installation view interlocking, overlapping grids and 2 geometric forms often derived from Kava contemporary mathematical theory. 2 2017, Acrylic and resin on canvas

90 x 90 cm 3 Hourque 2017, Acrylic and resin on canvas 173 x 145 cm 4 Kepi 2017, Acrylic and resin on canvas 90 x 90 cm 5 Kore 2017, Acrylic and resin on canvas 4 5 90 x 90 cm 6 Despite Frize’s austere approach, the rule one another, brush marks and variations Hulke based process also creates conditions for in pressure and speed on the painted 2017, Acrylic and resin on canvas freedom and chance to manifest in the surface achieve a surprising unpredict- 173 x 145 cm performance of the materials. Wet, ability, opening up the exploration of 3 translucent layers of paint bleeding into line and colour to new alternatives.

www.simonleegallery.com International 07.06.2017 > 28.07.2017 Art Exhibitions 2017

Lisa

5 Yuskavage

David Zwirner Widely associated with a re-emergence 1 of the figurative in contemporary Déjà Vu painting, Lisa Yuskavage has developed 2017, Oil on linen her own genre of portraiture in which 203.2 x 203.2 cm lavish, erotic, angelic and at times 2 grotesque characters are cast within Stoned fantastical landscapes or domestic 2016, Oil and graphite on linen spaces. Seamlessly blending contempo- 42.2 x 40 cm rary cultural imagery and classical 3 pictorial language, Yuskavage marshals Housewarming colour as a conduit for complex psycho- 2016, Oil on linen logical constructs. 203.2 x 203.2 cm 4 London The exhibition includes several works Lovers that continue Yuskavage’s exploration 2016, Oil on linen of the dynamics of intertwined couples, 203.2 x 203.2 cm while also furthering her interest in 5 using colour as a vehicle for ideational Installation view 2 3 content. Begun in the 2000s with dual portraits of female figures, she has in recent years created a series of symbi- 1 2 otic depictions of a female and male couple. Their relationship appears determined by carefully selected colour harmonies or contrasts – in some cases, one figure is cast in vibrant hues, while the other is in neutral tones. In works such as ‘Ludlow Street’ (2017), the figures are connected to one another through pose, colour, light and contrast with their stark and colourless environment. 6 8

Other paintings in the exhibition depict ways the nude has been depicted across 6 single women or groups, with psychologi- art history and within popular media, Super Natural cal narratives of tenderness and tension Yuskavage frequently lets her male and 2017, Oil on linen likewise described by formal elements female characters assume roles 195.9 x 157.8 cm within the compositions. traditionally expected of the other. 7 Ludlow Street 5 6 The large-scale ‘Déjà Vu’ (2017) presents a For the artist, the meaning of a work is to 2017, Oil on linen luminous female character in the center be found equally in the representation 196.2 x 165.1 cm of a small crowd of male figures rendered of characters as in the ‘emotional formal- 8 in shades of greys and blacks, who ism’ that gives the subjects expression The Art Students ultimately emerge as ethereal manifesta- through colouration and other pictorial 2017, Oil and charcoal on linen 3 4 7 tions. Keenly interested in the variety of inventions. 203.2 x 203.5 cm

www.davidzwirner.com International 08.06.2017 > 31.07.2017 Art Exhibitions 2017

Opposite page Ian Davenport Colour Splat Cloud White All works © Ian Davenport 2017, Screenprint Courtesy the artist and Alan Cristea Gallery, London 1 Melismatic 85 × 56.5 cm

Alan Cristea Gallery Alan Cristea Gallery ‘Melismatic’ is Davenport’s fourth solo exhibition at the Alan Cristea Gallery. Ian Davenport, who is driven by a fascination with the materiality and process of painting and printmaking, has made a series of monumental triptychs, his largest prints to date. These works will be shown alongside further etchings and a series of splatter screenprints, a departure from Ian Davenport’s signature technique of vertical lines cascading down into rich puddles of colour.

‘Melismatic’ isa musical term which refers to the singing of a single syllable of text whilst moving between several different notes in succession. It includes Ian London Davenport’s largest and most ambitious editions to date. Four monumental etched triptychs, each an orchestration of 42 different colour combinations, are rendered in fluid lines of colour which pool to form puddles at the bottom of the compositions 2

1 Colourcade Buzz 2015, Etching with chine collé 115 × 165.8 cm 2 Colourcade Buzz Triple Repeat Yellow 2017, Etching with chine collé 121 × 172 cm 3 Colour Splat Cloud Black 2017, Screenprint 85 × 56.5 cm 4 Installation view Photo: FXP Photography

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www.alancristea.com International 11.06.2017 > 03.09.2017 Art Exhibitions 2017

1 Ladies and Gentlemen (II.135) Edition AP 14/25, 1975, Screenprint, 110.5 x 72.4 cm Andy Warhol 1 PRINTS FROM THE COLLECTIONS OF Birmingham Race Riot 2 JORDAN D SCHNITZER AND HIS FAMILY FOUNDATION from the portfolio 10 Works x 10 Painters, Edition 174/500, 1964, High Museum of Art High Museum of Art A sweeping retrospective featuring Screenprint, 51 x 61 cm more than 250 prints and ephemera by 2 artist Andy Warhol (American, 1928-87). Mao (II.91) This comprehensive show is the largest Edition 212/250, 1972 exhibition of its kind and includes such Screenprint, 91.4 x 91.4 cm iconic screenprint portfolios as Marilyn 3 Monroe (1967), Campbell’s Soup I (1968), Sunset Electric Chair (1971), and Mao (1972). Edition 467/470, 1972, Printmaking featured prominently Screenprint, 86.4 x 86.4 cm throughout Warhol’s career, beginning 4 with his earliest work as a commercial Marilyn Monroe illustrator in the 1950s. (Marilyn), (II.23) AP Edition C/Z, 1967, Screenprint, 91.4 x 91.4 cm 5 Flowers (II.73) Edition 201/250, 1970, Screenprint, 91.8 x 91.8 cm

Atlanta 6 Moonwalk (II. 405) Edition 150/160, 1987, Screenprint, 96.2 x 96.2 cm

Courtesy of Jordan D Schnitzer 34 and His Family Foundation

He discovered the process of silkscreen printing in 1962 and produced his first portfolio of screenprints, Marilyn, in 1967 at his legendary Factory studio. Subsequently, silkscreen printing became synonymous with Warhol’s art from the Factory Years through the end of his life. The works in the exhibition are drawn exclusively from the collections of Jordan D Schnitzer and the Jordan Schnitzer Family Foundation in Portland, Oregon. 567

Remarkable for their nearly exhaustive The artist’s fascination with the commo- © 2017 The Andy Warhol range, the Schnitzer Collections offer an dification of celebrity chronicles culture Foundation for the Visual Arts unparalleled opportunity to explore the in America and serves as a prelude for Inc/Artists Rights Society (ARS) breadth of Warhol’s influential graphic considering our current fame-obsessed, New York 1 production over the course of 40 years. media-saturated culture. www.high.org International 15.06.2017 > 18.06.2017 Art Exhibitions 2017

Art Basel 2017

3 School of London

Marlborough Fine Art 1 Francis Bacon Lying Figure 1961, Oil on canvas 198 x 142 cm 2 Francis Bacon Study from the Human Body Figure in Movement 1982, Oil on canvas 198 x 148 cm 3 Installation view 4 Frank Auerbach Head of Gerda Boehm 1970-80, Oil on board 55.9 x 50.8 cm 5 R B Kitaj Art Basel Art Two Messiahs 1988, Oil on canvas 243.9 x 76.2 cm 6 R B Kitaj Mother & Child (Tempest) 1986, Oil on canvas 1 2 4 115.8 x 71.3 cm

Marlborough Fine Art is pleased to The exhibition consisted of represen- present an exhibition of works by tational painting and drawing and was Michael Andrews, Frank Auerbach, considered controversial at the time. Francis Bacon, Lucian Freud, R B Kitaj, In the catalogue Kitaj used the term Leon Kossoff, Paula Rego and Euan ‘School of London’ to describe the artists Uglow at Art Basel, Basel 2017. he had brought together. The name has stuck to refer to painters who were In 1976 at a time when new explorations characterised by diligently pursuing in minimal and conceptual art were new approaches to the human figure. redefining existing art practices, the The work of these artists was brought American artist R B Kitaj, who was living into fresh focus after the exhibition and working in London, organised a and revived an interest in figurative figurative exhibition at the Hayward paintings by a younger generation 5 5 Gallery entitled ‘The Human Clay’. through the late ‘70s and ‘80s onwards. 6

www.marlboroughlondon.com International 15.06.2017 > 28.07.2017 Art Exhibitions 2017

Judith Lauand

1 Brazilian Concrete Abstractions

Driscoll Babcock This is our second survey devoted to this Opposite page renowned artist, and an opportunity to From the Circle to the Oval examine the enduring contribution of 1958, Paint and stucco on this distinguished figure of postwar particle board abstraction and Latin American art. 60 x 60 cm Judith Lauand was born in Pontal, São 1 Paulo in 1922. She was a formative Concreto 177 participant in the longstanding Brazilian 1960, Oil on canvas constructivist project, which included 86 x 136 cm the careers of her female Brazilian 2 contemporaries, particularly Lygia Clark, Untitled Lygia Pape, and Mira Schendel, all of 1967, Tempera on canvas whom have attained international 75 x 75 cm critical attention. In a similar light, 3 Lauand has emerged as an artist who Untitled

New York negotiated the social constraints of her 1967,Tempera on canvas position as a woman and the innovative 75 x 75 cm painterly strategies she defined in the 4 rational discourse of Concretism. Acervo 82 Lauand’s abstractions are a carefully 1963, Oil on particle board calibrated reading of line, shape, and 45 x 45 cm space, and her authorial application of 5 the language of geometry is equally Untitled guided by objectivity, mathematical 1976, Oil on canvas rigor, and precision. 2 60 x 60 cm

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In the 1950s, her oneness with São who formed the avant-garde movement This survey presents six decades of the 6 Paulo-based Concretism provided her called Grupo Ruptura. Judith Lauand, like artist’s practice, exploring the artist’s use Concreto 33 opportunities to exchange ideas and many of her paulista colleagues, turned of synthetic and industrial materials, 1956, Enamel on cut exhibit as the only female member to the influential ideas and works of modular grids and serial latticework, particle board among the prominent group of artists European artists Max Bill and Josef Albers. radiating vertices, and optical patterns. 50.3 x 50.3 cm

www.driscollbabcock.com