International Art Exhibitions 2019.07

International 07 Art Exhibitions 2019 International 14.09.2019 > 19.10.2019 Art Exhibitions 2019

Loie Hollowell

1 Plumb Line

Pace Gallery Marking Hollowell’s debut exhibition with Pace in New York, ‘Plumb Line’ will feature nine large-scale paintings that expand upon the artist’s dynamic use of dimensionality, colour and geometric shapes. Abstracting the human ﬁgure, Hollowell’s work explores the dualities of light, volume and scale, blurring the lines between the illusory and the real. In particular, this new body of work explores Hollowell’s relationship to

New York different stages of her pregnancy from conception, to birth, to motherhood. 5

Opposite page Standing in Blue 2018, Oil paint, acrylic medium, sawdust and high density foam on linen mounted on panel 182.9 x 137.2 x 8.9 cm © Loie Hollowell 1 Installation view 2 Birthing Dance 2018, Oil paint, acrylic medium, sawdust and high density foam on linen mounted on panel 182.9 x 137.2 x 8.9 cm © Loie Hollowell 3 Standing in Light 2 3 2018, Oil paint, acrylic medium, sawdust and high density foam Nonetheless, subject matter in Loie Interested in Transcendental and Tantric on linen mounted on panel Hollowell’s work often emerges painting, Hollowell creates work that 182.9 x 137.2 x 8.9 cm through phenomenological encounter is meditative in both process and form. © Loie Hollowell rather than narrative content, tapping Hollowell’s paintings implore a spiritual 4 the depth of the artist’s embodied energy. Through the use of symmetry, Installation view experience. Central to Hollowell’s colour and abstract iconography, 5 practice is her inquisitive approach to Loie Hollowell maps a cartography of Installation view the human form and her ability to psychic space, depicting the essence of compose otherworldly landscapes that the female form unapologetically, Courtesy the artist and Pace 4 2 challenge the perception of space. sensually and openly. Gallery, New York www.pacegallery.com International 14.09.2019 > 09.11.2019 Art Exhibitions 2019

Opposite page Game Over Peter Halley 2019, Acrylic, ﬂuorescent acrylic and Roll-A-Tex on canvas 1 New Paintings 214 x 176 x 10 cm

Galerie Thomas Modern ThomasGalerie I grew up with the notion that 1 paintings create light, that picturing Code 8 light was really important. As my 2019, Acrylic, fluorescent acrylic work developed, I wanted to make and Roll-A-Tex on canvas paintings that created light, not 174 x 196 x 10 cm natural light, but an artificial light. 2 Peter Halley Long Shot 2019, Acrylic, fluorescent acrylic Peter Halley was born in 1953 and raised and Roll-A-Tex on canvas in New York. Galerie Thomas Modern 204 x 158 x 10 cm has exclusively represented the artist 3 in Germany over the course of many The Trap years and has presented his works in a 2019, Acrylic, fluorescent acrylic number of one-person and group and Roll-A-Tex on canvas exhibitions. 23 204 x 158 x 10 cm

Halley first came to prominence in the mid-1980s with his diagrammatic representations, his geometrically alienated cells and prisons in strong, fluorescent colours. Since the 1990s, Halley created site-specific installations, in which he Munich integrated his images into large digital prints that covered entire walls.

Peter Halley’s paintings are character- ized by geometry, strong colours and strictly consequent composition. They can be read as a critique of a society increasingly controlled by systems of communication, provision and traffic – structures, that don’t even allow the 1 2 4 individual to escape from. At the same 5 time, Halley is investigating the essence of painting beyond image and represen- 4 tation. ‘New paintings’ is a programmatic Inside Game title. For more than three decades, Peter 2019, Acrylic, fluorescent acrylic Halley has been reviewing and reorient- and Roll-A-Tex on canvas ing non-figurative painting. Halley 216 x 179 x 10 cm even extended his investigation from 5 painting to large installations. In his new The Stand-In works, Halley intensifies the importance 2019, Acrylic, fluorescent acrylic of light, emanating from colour and and Roll-A-Tex on canvas 4 space in painting. 201 x 144 x 10 cm www.galerie-thomas.de International 14.09.2019 > 29.12.2019 Art Exhibitions 2019

Opposite page Gordon Parks Self-Portrait 1941, Gelatin silver print The New Tide: Early Work 1940-50 Private Collection Amon Museum of American Carter Art

1 5 1 Gordon Parks (1912-2006) was an Paris Fashions American photographer, musician, 1949, Gelatin silver print writer and film director, who became National Gallery of Art, prominent in US documentary photo- Washington, Corcoran Collection journalism in the 1940s through 1970s – (The Gordon Parks Collection) particularly in issues of civil rights, 2 poverty and African-Americans – and in Charles White glamour photography. Gordon Parks in front of his mural ‘Chaos was part of what author Richard Wright of the American Negro’ called ‘the new tide’ of African-Americans 1941, Gelatin silver print who were pushing for respect and racial The Charles White Archives equality in the 1940s. ‘Gordon Parks: 3 The New Tide’, explores the early years Marva Trotter Louis, of his career as an influential photo- Chicago, Illinois grapher who captured the essence of 1941, Gelatin silver print the civil rights movement in addition to The Gordon Parks Foundation breaking barriers for African-Americans. 2 4 Washington DC From his fashion photographs to his Government charwoman thoughtful depictions of American life, July 1942, Gelatin silver print Parks used the camera as his tool for pro- Prints and Photographs Division, Library of Congress, Washington

Fort Worth claiming the value of an American community built on freedom and equality. 5 Grain Boat taking on Through some 150 photographs, as well a load of wheat, Port Arthur, as rare magazines, newspapers, pam- Ontario, Canada phlets and books, the exhibition offers October 1945, Gelatin silver print an expansive and intimate look at how George Eastman Museum this pioneering African-American artist became one of the most influential Courtesy of and copyright photographers of his day. 3 4 The Gordon Parks Foundation www.cartermuseum.org International 14.09.2019 > 12.01.2020 Art Exhibitions 2019

1 Rietveld Bow Gerrit Rietveld presents the Joost Swarte construction of his Beugel (bow) Chair to his family members. 5 Everywhere A print on the occasion its launch at Cassina, Milan 2018. Kunsthal 2 Piet Mondriaan Piet Mondriaan in his New York Studio, En toen De Stijl, 2017 Published by Griffioen Grafiek 3 Renaissance Man Illustration for The New Yorker,

Rotterdam 17 January 2007 4 Book cover of An Independent Organ From a Collection of short stories ‘Men Without Women’ by Haruki Murakami, 2015 5 Joost Swarte Haarlem, 2014 Photo © Gert Jan Pos 6 1 2 6 Think Again Portrait of philosopher Rene Joost Swarte was born in Heemstede Descartes, an illustration for The in 1947. He studied Industrial Design New Yorker, 20 November 2006 in Eindhoven in the late 1960s, and 7 produced illustrations for local Eind- Books on Holiday hoven publications during that time. Cover of the summer issue of He first appeared in the spotlight as part Walrus magazine, 2009 of the alternative cartoon movement of 8 the 1970s. Halfway through the 1980s, Love Stories Swarte’s field of activity moved from Cover drawing for The New cartoon drawing to making illustrations Yorker, 2014 for magazines such as Humo, Vrij Nederland and The New Yorker. 7 All works © Joost Swarte

He also designs posters, logos, stamps, In 1998, Joost Swarte won the Strip- This year, the Kunsthal Rotterdam pays furniture and buildings. Furthermore, schapprijs (Dutch Comic Award) for his homage to 50 years of Swarte’s work as Swarte is co-initiator of magazines such general contribution to cartoon draw- an illustrator, designer and architect – as Modern Papier and Scratches, of the ing and his entire body of work. In 2004 from his first cartoons, original drawings, ‘Stripdagen Haarlem’, the largest biennial Queen Beatrix appointed him as officer sketches, designs and objects to his cartoon festival in Europe, and of the of the Order of Orange-Nassau, and in most recent work. His search for iconic Hergé Museum in the Belgian city of 2012 Swarte won the Marten Toonder illustrations is also shown on the basis of 3 4 Louvain-la-Neuve. Award for his entire body of work. sketches that have never been exhibited. 8

www.kunsthal.nl International 14.09.2019 > 02.02.2020 Art Exhibitions 2019

Opposite page Pablo Picasso Pablo Picasso Dora Maar with Green Thomas Scheibitz Fingernails 1936, Oil on canvas 1 Sign | Scene | Lexicon 65 x 54 cm 1 Museum Berggruen Thomas Scheibitz was born in Radeberg Thomas Scheibitz near Dresden 1968. Heis one of few con- Hand temporary artists to work so diversely 2004, Oil, vinyl and pigment with variable elements and references markers on canvas derived equally from everyday life and 40 x 50 cm the pool of art history. His dense, often 2 brightly coloured paintings and Pablo Picasso schematic, often puristic sculptures can Violin be understood as montages of a freely 1912, Charcoal and pencil interpreted reality. The works manifest on paper themselves as complex caches of 63.5 x 48.5 cm images or objects into which everyday 3 visual culture has been inscribed and Thomas Scheibitz highly condensed by Scheibitz’s formal Festival vocabulary. Pablo Picasso and Cubism’s 2009, Oil, vinyl, pigment inﬂuence on the artist is unmistakable. 2 3 markers on canvas 235 x 170 cm Of all the great ‘isms’ of the 4

Berlin twentieth century, Cubism is the Pablo Picasso most radical and has remained the Houses on a Hill most influential. 1909, Oil on canvas Thomas Scheibitz 65.1 x 81.3 cm 5 In this show, the Museum Berggruen, Thomas Scheibitz dedicated to the art of Picasso and his Cubist Figure time, spans an arc from classical 1997-98, Oil on canvas Modernism to the art of the present. 4 5 70 x 90 cm 6 The works show that even though Thomas Scheibitz Picasso and Scheibitz aren’t using the Allegorical Figure same motifs, they do share a very similar with Object 2019, Vinyl, oil approach to art. Both artists understand and pigment markers on their work as an open process that leads canvas to new variations and developments 140 x 90 cm building on previous solutions. Nothing 7 stays static. Both artists also adhere to Pablo Picasso the fundamental premises of painting Woman with Tambourine and sculpture. The show is conceived as 1939, Aquatint and scraping a direct juxtaposition of ‘Picasso’ and technique on paper ‘Scheibitz’, as an parcours through the 66.5 x 51.4 cm museum. The differences in daily life that are also reﬂected in each work – Works by Thomas Scheibitz of Paris as it used to be and Berlin today – © and courtesy the artist / 6 7 could hardly be greater. VG Bild-Kunst, Bonn, 2019

www.smb.museum International 19.09.2019 > 16.11.2019 Art Exhibitions 2019

Opposite page Piotr Untitled (Amalie of Württemberg, Uklański Duchess of Saxe-Altenburg) 2018, Ink, acrylic, and oil paint Ottomania on cotton velvet over canvas 165.4 x 134.6 cm Luxembourg & Dayan 1 Untitled (Self-portrait as Leonora Frederique Henriette Schmidt-Salomonson) 2018, Ink and acrylic on mohair velvet over canvas 97.2 x 97.2 cm 2 Untitled (Johannes van Swinderen) 2019, Ink and acrylic on mohair velvet over canvas 166.4 x 129.9 cm 1 2 3 3 Untitled ‘Piotr Uklański: Ottomania’, is a show of (Eastern Promises V) work from the artist’s new series of 2018, Ink and acrylic on large-scale paintings inspired by the mohair velvet over canvas complex Orientalist heritage of Poland, 165.4 x 129.9 cm New York his country of origin. Piotr Uklański’s 4 lushly rendered re-interpretations of a Untitled broad range of art-historical portraits (Henry) ﬁnd the Warsaw-born, New York-based 2019, Ink and acrylic on artist expanding his longstanding mohair velvet over canvas engagement with questions of national- 179.1 x 130.2 cm ist ideologies, representations of 5 masculinity, and personal identity while Untitled redressing contemporary suppression (Eastern Promises XI) of Eastern Europe’s deep and felicitous 2018, Ink and acrylic on connections to the Middle East. 4 5 viscose velvet over canvas 76.2 x 55.9 cm Sifting through centuries of obscure recuperate a complex, centuries-old 6 1 art historical source imagery, Uklański cultural cross-pollination between East Untitled has depicted white European subjects and West to contradict both the ex- (Eastern Promises X) enrobed in the clothing and signiﬁers treme Islamophobia of today’s Western 2019, Ink and acrylic on of the Orient – turbans, richly patterned political culture, and the academic mohair velvet over canvas fabrics, ornate Eastern jewelry, and community’s categorizations of 178.4 x 129.9 cm other exotic accoutrements – to Orientalism as unilaterally essentialist. suggest the sitters’ desire to merge the Uklański’s new canvases celebrate allure of otherness with their existing Europe’s undeniable romance with the All works identities. Executed in ink, oil stick, and Islamic cultures of Turkey, Persia, and Courtesy the Artist and acrylic on deeply colored velvet, burlap, North Africa, while inviting viewers to Luxembourg & Dayan, 6 or canvas, the Ottomania paintings question their coded content. New York

www.luxembourgdayan.com International 19.09.2019 > 19.01.2020 Art Exhibitions 2019

Opposite page Adelard the Drowned, Marsden Hartley Master of the ‘Phantom’ 1938-39, Oil on academy board The Earth is all I know of Wonder 71 × 56 cm Collection of the Weisman Art Louisiana Museum of Modern Art Louisiana Museum of Modern Art This retrospective, the first in Europe in Museum, Minneapolis, MN. 60 years, looks at Hartley’s life from 1905 1 up until his death in 1943. The show Untitled (Maine Landscape) embraces more than 110 paintings and 1910, Oil on board over 20 drawings. IThe works in the 56 x 56 cm (including frame) exhibition are on loan from major The Jan T & Marica Vilcek American museums and private Collection collections. Moreover, it shines a light 2 on Hartley’s prodigious output ofpoems Himmel and essays, while a series of ﬁlmed inter- 1914-1915, Oil on canvas with views with living artists will underscore artist-painted wood frame the continued signiﬁcance of his work. 126 x 126 cm The Nelson-Atkins Museum of Art, Kansas City, Missouri, 3 Abundance 1939-40, Oil on canvas 102 x 76 cm Currier Museum of Art, Museum 4 Madawaska – Acadian Light-Heavy 1940, Oil on panel 102 x 76 cm 1 2 The Art Institute of Chicago

The interviewed artists include David He often changed tracks, valuing artistic Hockney, Dana Schutz, Sam McKinnis, experimentation above all else. Hartley Tal R, Shara Hughes and David Salle. never settled for anything, in art or in life. Marsden Hartley (1877-1943) was a His ceaseless transatlantic travels make

Humlebæk restless person and artist. In his adult him a bridge for understanding the life, he never spent more than ten relationship between the art scenes in months in any one location. Instead, he Europe and America. In America as well moved around the United States and as Europe, Hartley was at the centre of shuttled between America and Europe. the art world and the latest trends. As a His restlessness was no doubt a way of balance to his experiences in Berlin, protecting himself against loneliness, Paris and New York, Hartley sought the though he never completely escaped it. solitude of nature – in Southern France, As a gay man, Marsden Hartley had New Mexico and, not least, in his home limited opportunities for forming state of Maine. In the last years of his life, lasting intimate relationships. Marsden he returned to Maine where he painted Hartley’s work was far from unaffected some of his best works. 4 by the people he met, the writers he 3 read or the art he looked at.

www.louisiana.dk International 20.09.2019 > 06.01.2020 Art Exhibitions 2019

Opposite page The Virgin with a Multitude of Animals Albrecht c1506, Pen and blackish-brown ink, watercolour 1 Dürer © Albertina Museum, Vienna

Albertina Museum Albertina It has been decades since so many 1 works by Albrecht Dürer (1471-1528) Adoration of the Magi have been seen in one place: thanks to 1504, Oil on wood valuable international loans, Vienna’s Gallerie degli Uffizi, Florence Albertina Museum – itself home to © Gabinetto Fotografico delle numerous world-famous icons of Gallerie degli Uffizi drawing by Dürer will be presenting 2 over 200 examples of Dürer’s drawings, St Jerome printed graphics, and paintings. Upon 1521, Oil on wood its reopening in 2003, it was with an Museu Nacional de Arte exhibition of works by Albrecht Dürer Antiga, Lisbon that the Albertina ended up welcoming © Foto: Luisa Oliveira/José a total of half a million visitors. And now, Paulo Ruas, Direção-Geral do a selection of over 100 drawings, a Património Cultural / Arquivo de dozen paintings, personal writings, and Documentação Fotográfica other rare documents will present the 3 oeuvre of this Renaissance genius more A Ninety-Three-Year-Old

Vienna comprehensively than ever before. 2 3 Man 1521, Brush and black and grey ink, heightened with white © Albertina Museum, Vienna 4 Young Hare 1502, Watercolour, body colour, heightened with opaque white © Albertina Museum, Vienna 5 Portrait of a Beardless Man with a Cap 1521, Oil on wood Museo Nacional del Prado, Madrid © Museo Nacional del Prado, Madrid: Archivo Fotográfico 6 4 5 6 Praying Hands 1508, Brush and black and grey The museum holds the world’s most For this once-in-a-century exhibition, ink, gray wash, heightened with important collection of Dürer’sdrawings, .the Albertina Museum has succeeded white on blue prepared paper a collection that numbers nearly 140 in uniting important works from inter- © Albertina Museum, Vienna works. The historical background of the national lenders, including the Uffizi, 7 museum’s Dürer holdings is likewise a the Klassik Stiftung, Weimar, Vienna’s Left Wing of a Blue Roller matter of special significance: their Kunsthistorisches Museum, the Thyssen- c1500, Watercolour, body colour, provenance can be traced back to 1528 Bornemisza Museum and the Museo del heightened with opaque white 7 without any gaps. Prado in Madrid. © Albertina Museum, Vienna

www.albertina.at International 20.09.2019 > 13.04.2020 Art Exhibitions 2019

1 KAWS Pinocchio & Jiminy-Cricket 2010, Vinyl Companionship in the Age 25.4 x 12.7 x 12.7 cm 2 of Loneliness Together 2017, Bronze, paint National Gallery of National Gallery Victoria Contemporary American artist KAWS, His larger-than-life sculptures are 182.8 x 142.2 x 101.6 cm aka Brian Donnelly, is one of the most playful, toy-like figures, however at Photo: Joshua White resonant artists of his generation. In an closer look, they reveal a fragility and 3 Australian first, KAWS: ‘Companionship darkness in the vulnerable poses of the Chum (KCA6) In The Age Of Loneliness’ is a compre- characters. The exhibition will include 2012, Acrylic on canvas hensive survey of 25 years of KAWS’s a newly commissioned 7-metre bronze over panel oeuvre, full of humour, hope and ‘Companion’ sculpture ‘Gone’, 2019, 213.4 x 172.7 x 4.4 cm humanity, celebrating his ability to standing solemnly in a Pietà pose, Photo: Matt Hawthorne connect with broad audiences. evoking a sense of sorrow and empathy. 4 The full range of KAWS’s artistic output This monumental work, the largest Seeing will be on display featuring more than bronze KAWS has created to date will 2018, Bronze, paint 100 works including iconic paintings be display in the NGV’s Federation Court. 191.8 x 74.9 x 101 cm reappropriating pop-culture figures to Edition of 10, with 2A his more recent large-scale abstract Accompanying the main exhibition, 5 works, and an impressive collection of KAWS: ‘Playtime’ is a dedicated playful Accomplice his celebrated sculptural figures. kids exhibition that KAWS has created, 2010, Fibreglass, paint KAWS engages with universal feelings introducing promising young artists of 304.8 x 120.6 x 91.4 cm of isolation and loneliness through his today to his creative approach and 6 works, in reaction to the turbulent artistic methods of integrating pop KAWS & David Sims 1 2 3 7 world we live in today. culture into his work. Untitled 2001, Acrylic on photograph 40.6 x 30.5 cm 7 KAWS (Brian Donnelly) © Getty Images Melbourne 8 Untitled (Kimpsons #2) 2004, Acrylic on canvas 203.2 x 203.2 cm 9 (foreground) Clean Slate 2015, Bronze, paint 8 180 x 98 x 87 cm 9 background KAWS began his artistic career outside Survival Machine of the traditional art world during the 2015, Acrylic on canvas height of graffiti and street art culture 5 parts, each in New York in the early 1990s. During 284.5cm x 233.7 cm this time, he began to develop his sig- Photo: Jonty Wilde nature motifs, the skull and crossbones, 4 5 6 that appeared painted over the beauti- All works by KAWS ful faces of late 90s Manhattan adver- except where indicated tising posters in what the artist refers to as ‘subvertising’. 9

www.ngv.vic.gov.au International 22.09.2019 > 29.03.2020 Art Exhibitions 2019

Petrina Hicks Bleached Gothic

National Gallery of National Gallery Victoria This is the first major survey exhibition Opposite page of photographer Petrina Hicks. Hicks Shenae and Jade was born in 1972. Over her 15 year career, from Untitled series she has gained a strong reputation for 2005, Pigment inkjet print her large-scale, hyperreal photographs 100 x 93 cm that subvert and disrupt the photo- 1 graphic language of advertising and The Beauty of History from portraiture. Hicks photographs children, Every Rose has its Thorn series animals and young women against 2010, Pigment inkjet print simple backgrounds, returning to the 100 x 100 cm same models and motifs frequently to 2 define and hone her distinctive style. Rattlesnakes Blues from the California Works series 2016, Pigment inkjet print 100 x 100 cm 3 Venus from the Shadows series 2014, Pigment inkjet print 100 x 100 cm 4 Bruised Peaches from the Still Life Studio series 2018, Pigment inkjet print 12 120 x 120 cm Melbourne National Gallery of Victoria, Hicks’s photographs are notable for Melbourne, Purchased, Victorian their duality; pristine and benign at first Foundation © Petrina Hicks. glance, the works are undercut with Courtesy of Michael Reid, Sydney; a sense of the uncanny. The tension and This Is No Fantasy, Melbourne between seduction and danger, familiarity and strangeness, intimacy All works unless otherwise stated and distance are present in many of Collection of the artist, Michael Hicks’s works, which are rich with Reid, Sydney; and This Is No mythological and historical symbolism. Fantasy, Melbourne The exhibition includes more than fifty © Petrina Hicks. Courtesy of photographs and video works spanning Michael Reid, Sydney; and This Is the period 2003 to 2019. 34 No Fantasy, Melbourne

Seen together for the ﬁrst time, Hicks’s gender and representation are more Petrina Hicks has exhibited in many solo shimmering, enigmatic and surreal culturally relevant than ever before, and group shows in Australia, Europe, compositions convey the inherent Hicks’s interrogates the representation North America, Japan, China and ambiguity and complexity of the female of women and children in contempo- Mexico. She has won numerous awards experience. At a time when issues of rary society and throughout history. and residencies throughout her career.

www.ngv.vic.gov.au International 24.09.2019 > 14.12.2019 Art Exhibitions 2019 Peggy Guggenheim and London

Ordovas Peggy Guggenheim needs little 1 introduction for her contributions to Yves Tanguy twentieth-century art. Yet her formative Title Unknown years as a gallerist and her London 1929 gallery, Guggenheim Jeune, that she © ARS, NY & DACS, London 2019 opened at the age of forty, have been 2 relatively overlooked. Situated in a Yves Tanguy former pawnbroker’s shop at 30 Cork Time of Foreboding London Street, Guggenheim Jeune operated for 1929 eighteen months between January 1938 © ARS, NY & DACS, London 2019 and June 1939. While its lifespan may 3 have been brief its inﬂuence was Jean (Hans) Arp considerable, both on the art world at Head with Annoying the time and on Guggenheim herself; Objects by the time Guggenheim Jeune closed 1930 she was a self-confessed art addict. © DACS 2019 The show is intended as an anniversary 4 celebration of Guggenheim as one of Jean (Hans) Arp 1 2 the ﬁrst female gallerists in London. 5 Pagoda Fruit 1949 © DACS 2019 5 Yves Tanguy The Ribbon of Excess 1932 National Galleries of Scotland. Accepted in lieu of tax and allocated to the Scottish National Gallery of Modern Art 1998 © ARS, NY & DACS, London 2019 6 Jean (Hans) Arp Head; Object to Milk 1925 © DACS 2019 7 7 Herbert Read and Peggy Guggenheim in her London The exhibition will showcase Peggy gallery Guggenheim’s parallel collecting c1939 interests in Abstraction and Surrealism © IMEC, Fonds MCC, Dist. RMN- through a display of works by Jean Grand Palais / Gisèle Freund 3 4 6 (Hans) Arp and Yves Tanguy. © ARS, NY & DACS, London 2019

www.ordovasart.com International 27.09.2019 > 19.01.2020 Art Exhibitions 2019

Arnulf Rainer

1 A Tribute

Albertina Museum Albertina Arnulf Rainer numbers among the most important and inﬂuential artists of the present. This year, Rainer celebrates his 90th birthday. Consequently, the Albertina is taking the opportunity to pay tribute to him with a presentation of its own rich holdings of his work. This exhibition features a selection of key works and pioneering work groups. Rainer’s impulsive abstract drawings are juxtaposed with works that experiment with colours and surfaces. And a strong focus is placed on the overpaintings and/or all-over coatings that the artist produced from the mid-1950s onward, works with which he is now associated internationally. 2 6 Vienna

This marked the beginning of his Opposite page ‘Face Farces’ and ‘Body Poses,’ which he Equation eventually began staging with a photo- 1972 grapher in the studio. 1 Barrier Like few others, Rainer developed 1974-75 radical new procedures from the very 2 beginning in his uncompromising Sleep search for new means of expression. 2007 It is thus that Rainer, from the 1960s 3 onward, came to number among the Series of Veils most inﬂuential postwar artists world- Untitled wide – alongside ﬁgures such as 1995-2000 Gerhard Richter, Sigmar Polke and 4 Georg Baselitz, Maria Lassnig and Bruce Black Streaks Nauman, and Yves Klein. This exhibition 1974 3 4 draws an arc from important early 5 works by Rainer to his photographs and Winter Evening A further focus of the presentation is reworked photographs of the 1960s and (Cross) on works from 1968-69 onward, in ’70s, the crosses and veiled pictures of 1990-91 which the artist’s own facial expressions the 1980s and ’90s, and his most recent 6 become the subject. Rainer grimaced output. In doing so, the Albertina once Untitled into the camera in publicly accessible again underlines Arnulf Rainer’s 1989-91 photo booths. He then enlarged the towering importance in the context of resulting photos, subsequently altering post-1945 art history both within and far All works 5 and reworking them. beyond Austria’s borders. © Arnulf Rainer

www.albertina.at International 28.09.2019 > 19.01.2020 Art Exhibitions 2019 Objects of Desire Surrealism and Design 7 From 1924 to today

Vitra Design Museum Surrealism was one of the most 1 influential art movements of the Pedro Friedeberg twentieth century. Everyday objects Hand Chair (c1965) played a central role in its dreamlike 2 imagery: they were alienated, ironized, Ruth Francken or combined to create curious hybrids. Man Chair No 24/24 (1970) 3 This led to the creation of numerous Marcel Duchamp key works of modern art, from Marcel Roue de bicyclette (1913 | 1951) Duchamp’s ‘Bicycle Wheel’ (1913) and 4 Man Ray’s ‘Cadeau/Audace’ (1921 | 1974) BLESS to Salvador Dalí’s ‘Lobster Telephone’ Hairbrush (1999 | 2019) (1936). In reverse, Surrealism also 5 exerted a decisive influence on the Audrey Large evolution of design. This major exhibi- TP-TS-12 Mocap (2018) tion offers a comprehensive look at the 6 dialogue between Surrealism and Meret Oppenheim 1 2 3 design. 89 Traccia (1939) 7 For the first time, it will unveil the Studio 65 Weil am Rhein extent to which Surrealism has Bocca (1970) influenced design of the past 100 years – 8 from furniture and interiors to graphic Salvador Dalí design, fashion and photography. Mae West’s Face which may be used as a Surrealist The exhibition will include works by Apartment (1934-35) Gae Aulenti, BLESS, Achille Castiglioni, 9 Giorgio de Chirico, Le Corbusier, Salvador Dalí Salvador Dalí, Dunne & Raby, Marcel Giant Flying Mocha Cup Duchamp, Max Ernst, Ray Eames, Front, with an inexplicable five Frederick Kiesler, Shiro Kuramata, René metre Appendage (1944-45) Magritte, Carlo Mollino, Isamu Noguchi, 10 Meret Oppenheim, Man Ray, Iris van Piero Fornasetti Herpen, and many others. Wall plate from the series Tema e Variazioni (after 1950) 11 4 5 6 Roberto Sebastian Matta Echaurren MAgriTTA (1970)

10 11

www.design-museum.de International 08.10.2019 > 12.01.2020 Art Exhibitions 2019

Manet & Modern Beauty

Getty Museum Getty Édouard Manet (1832-83) is best known 1 today for provocative, large-scale Plum Brandy paintings that challenged the academic c1877, Oil on canvas tradition and sent shockwaves through 73.6 x 50.2 cm (unframed) the French art world in the early 1860s. National Gallery of Art, In the late 1870s and early 1880s, he Washington, Collection of shifted his focus and produced a Mr & Mrs Paul Mellon diﬀerent, though no less radical, body 2 of work: stylish portraits, luscious still Jeanne (Spring) lifes, delicate pastels, intimate water- 1881, Oil on canvas colours, and freely brushed scenes of 74 x 51.5 cm (unframed) suburban gardens and Parisian cafes. The J Paul Getty Museum, For the ﬁrst time, a major museum hosts Los Angeles

| a show of the artist’s last years, after his 3 Getty Center Getty rise to notoriety in the 1860s and the Skating formal launch of the Impressionist 1877, Oil on canvas movement in the early 1870s. 92 x 71.7 cm (unframed) Harvard Art Museums/Fogg Museum, Bequest from the Collection of Maurice Wertheim, Class of 1906 4 Woman Reading c1880-81, Oil on canvas 61.2 x 50.7 cm (unframed) The Art Institute of Chicago,

Los Angeles Mr & Mrs Lewis Larned Coburn Memorial Collection 5 The Cafe-Concert c1878-79, Oil on canvas. 47.3 x 39.1 cm (unframed) 1 2 3 4 The Walters Art Museum, Baltimore, Maryland The exhibition will feature more than 90 6 works of art, including an impressive Boating array of genre scenes, still-lifes, pastels, 1874-75, Oil on canvas and portraits of favourite actresses and 97.2 x 130.2 cm (unframed) models, bourgeois women of his The Metropolitan Museum of Art, acquaintance, his wife and his male H O Havemeyer Collection, friends. Manet died at the age of 51, after Bequest of Mrs H O Havemeyer a long and painful illness. Declining health meant that his output became 5 more intimate in both scale and subject. 6

www.getty.edu International 10.10.2019 > 16.11.2019 Art Exhibitions 2019

Vik Muniz

7 Museum of Ashes

Sikkema & C0 Jenkins On 2 September 2018, a fire consumed 1 the entirety of the National Museum Marajoara Vase, in Rio de Janeiro, burning nearly all of 400-1400 AD, Northern Brazil its historic and scientific collections 2019, Archival inkjet print amassed over the course of 200 years. 101.6 x 76.2 cm, Edition 1 of 6 The blaze destroyed the exceptional 2 Egyptian, pre-Colombian, and Paleolithic skull (Luzia), indigenous Brazilian collections, an 11,243-11,710 years, entomology department with over five Minas Gerais, Brazil million specimens, South American 2019, Archival inkjet print dinosaur fossils, and Luzia, the earliest 101.6 x 76.2 cm, Edition 1 of 6 humanoid skull found in the American 3 continent. The museum was Muniz’s Sarcophagus of favourite cultural institution in the city, Sha-amun-en-su, 750 BC a place he often visited with his children. 2019, Archival inkjet print ‘I cried upon learning of the fire as if I had 101.6 x 76.2 cm, Edition 1 of 6 lost something personal, some kind of 4 string that held the insanity of my Beetle 1 2 3 present together. 8 2019, Archival inkjet print

New York 26.7 x 20.3 cm, Edition 1 of 6 We can only be creative in a world of 5 facts and tangible realities. A post-truth, Luzia nihilistic cultural environment inspires 2019, Ash-infused polymer the opposite of creativity, which is base- 14 x 20.3 x 12.7 cm less pragmatism. When the mind wan- 6 ders entirely ignorant of time, illusion Lepidoptera Nymphalidae becomes a means of conﬁnement.’ 2019, Archival inkjet print Muniz contacted the museum to see 101.6 x 76.2 cm, Edition 1 of 6 how he could help and learned of the 7 extraordinary work of meta-archaeology Vik Muniz that the scientists were doing to recover Photo by Dillon DeWaters what little was left from the devastating 8 incident. He also learned of the limited Jubarte Whale Skeleton resources with which they had to do 2019, Archival inkjet print their jobs. The archaeologists agreed to 109.2 x 145.4 cm, Edition 1 of 6 provide Muniz with whatever material 8 passed through the sifters and shared Titanossauro the precise location where the ashes 2019, Archival inkjet print 4 5 6 9 had been collected. 76.2 x 102.2 cm, Edition 1 of 6

Brazil is a young country, neglectful of its We already live with an increasing Working from extant images, Vik Muniz history and a ravenous appetite for the deficit of reality and seeing history go re-created the objects with material instantaneous. No other place in Brazil up in flames made me feel groundless, from their own ashes and then photo- combined so much history and wonder. trapped in an infinite present. graphed them.

www.sikkemajenkinsco.com International 10.10.2019 > 16.11.2019 Art Exhibitions 2019

Opposite page Egg Beater, Vik Muniz after Stuart Davis 2019, Mixed media 1 Surfaces 111.1 x 111.8 cm (framed) | one off

Sikkema & C0 New Jenkins York The painted surface has traditionally been an epistemological battleground reserved exclusively for painters. As these surfaces are continuously viewed and reproduced through history, their material aura is diminished. We tend to remember paintings by colour, context, and composition, as opposed to their surface texture or physicality. This gap between the thing and its meaning has been Muniz’s artistic concern from the beginning of his practice, when he drew famous photographs from memory, photographed the drawings, and exhibited the resulting images. With his new series, he again subtracts the material element that differentiates a painting from a photograph and re- presents it, objectiﬁed by a layered image. Though these works utilize painting in both their process and concept, they are not paintings – they are photographic images of paintings. 2

1 Iberia, after Carmen Herrera 2019, Mixed media 141.6 x 200 cm (framed) | one off 2 Garden Design, after Roberto Burle Marx 2019, Mixed media 141 x 227.3 cm (framed) | one off 3 Composition/Space, after Cícero Dias 2019, Mixed media 141.6 x 200 cm (framed) | one off 4 Landscape, after Arthur Dove 2019, Mixed media 3 4 113 x 149.9 cm (framed) | one off www.sikkemajenkinsco.com International 11.10.2019 > 16.11.2019 Art Exhibitions 2019

Paulina Olowska

1 Destroyed Woman

Simon Lee Gallery Simon Lee Gallery Opposite page Red Hair Customer 2019, Oil on canvas Part one: 350 x 130 x 2.5 cm Part two: 350 x 110 x 2.5 cm Part three: 350 x 110 x 2.5 cm Overall: 350 x 350 x 2.5 cm 1 Installation view Photo: Ben Westoby 2 Immi in Stedelijk oﬃce 2019 Oil on canvas 190 x 220 x 2.5 cm 3 Julie's Confession 2 3 4 (after Talia Chetrit) London 2019, Oil on canvas Paulina Olowska was born in 1976 in 170 x 120 x 2.5 cm Gdansk, Poland. Her exhibition at Simon 4 Lee Gallery constitutes the latest Dazed Willy Hart chapter in the artist’s continuous and 2019, Oil on canvas fertile research into image-making, 75 x 50 x 2.5 cm exploring the ways in which she 5 interprets painting as a vehicle for her Corpse Bride idiosyncratic visions and as a facilitator 2019, Preserved fabric, linen, for the exchange of feelings and cotton, soil and incense sensations with the viewer. Spanning 195 x 60 x 30 cm the gallery’s three ﬂoors, ‘Destroyed 6 Woman’ puts forward a visual and Kali emotional landscape through which 2019, Oil on canvas to contemplate the self and the other, 220 x 150 x 2.5 cm provoking our consideration of themes such as womanhood, ageing, the power of tradition and the spectator’s gaze. 5 6

Olowska invites us to re-contemplate In Olowska’s latest series of paintings Olowska’s women are born from the All works representations of women, particularly female ﬁgures are captured posing, pages of magazines and popular legend. Courtesy the artist and within an art historical context, and to working or acting in diverse back- They are the sum of references and Simon Lee Gallery, London redeﬁne the purpose of their portrait- grounds. For the most part they are iconographies. Their choice of clothing, ure; how, she asks, can we reformulate represented alone, engrossed in their attitudes and locations come from tradition to encompass what has been own thoughts or activities. They watch fashion editorials and popular images, destroyed, what must be recovered, us, watching them absorbed in both while some of their traits are inherited and what needs to be invented? past and future. from mythology and classical painting.

www.simonleegallery.com International 11.10.2019 > 12.01.2020 Art Exhibitions 2019

Opposite page Self-Portrait c1928, 76.5 x 63.8 cm The Jewish Museum, New York © Pollock-Krasner Foundation/ 1 Lee Krasner VG Bild-Kunst, Bonn 2019

Schirn KunsthalleSchirn Lee Krasner (1908-84) was a pioneer of Abstract Expressionism in the US. For the ﬁrst time in more than 50 years, her paintings, collages and drawings as well as ﬁlms and photographs will be on view in a major European retrospective.

The exhibition presents works from across Krasner’s entire oeuvre, which spans more than half a century: self- portraits from the late 1920s, charcoal life drawings, groups of works such as her renowned ‘Little Images’ from the 1940s and her ‘Prophecy’ series from the 1950s, along with works from her ‘Umber’ and ‘Primary’ series from the

Frankfurt 1960s and late collages from the 1970s. 2

Driven by a great sense of purpose, 1 Krasner took art lessons even during Portrait in Green her time in high school, went on to 1969, 140.3 x 239.8 cm study at the Cooper Union, the National Pollock-Krasner Foundation Academy of Design and the Hans © VG Bild-Kunst, Bonn 2018 and Hofmann School of Fine Arts. She was Pollock-Krasner Foundation an active member of the association Courtesy Kasmin Gallery, American Abstract Artists and New York cultivated friendships with Ray Eames, Photo: Diego Flores Arshile Gorky and Willem de Kooning. 2 In New York in the 1940s, she was part Combat of the epicenter of the movement that 1965, 179 x 410.4 cm would become known as Abstract National Gallery of Victoria, Expressionism or New York School Melbourne, Felton Bequest, 1992 together with artists such as Stuart © VG Bild-Kunst Bonn, 2018 and Davis, Mark Rothko, Barnett Newman, Pollock-Krasner Foundation/ and Jackson Pollock. After the Second ARS, New York World War, this young generation of Licensed by Copyright Agency, artists sought a new pictorial language 2018 through different artistic approaches. 3 Unlike other artists of the time who also Imperative painted in a non-representational 1976, 127 x 127 cm manner, Krasner never developed a National Gallery of Art, ‘signature style’, but instead aspired to Washington DC constantly reinvent her pictorial © Pollock-Krasner Foundation/ 3 language. VG Bild-Kunst, Bonn 2019 www.schirn.de International 12.10.2019 >23.02.2020 Art Exhibitions 2019

Beloved by Picasso

1 The Power of the Model

Arken Arken Museum of Modern Art Opposite page Portrait de Dora Maar 1937, Oil and crayon on canvas 1 Nu couché 1932, Oil on canvas 2 Portrait de Marie-Thérèse 1937, Oil and crayon on canvas 3 Jacqueline aux mains croisées 1954, Oil on canvas 2 4 Le Sculpteur Arken Museum of Modern Art is 1931, Oil on plywood showing a wide and dazzling array of Pablo Picasso’s best works. The show has been created in close collaboration with Musée national Picasso-Paris and presents paintings, sculptures, drawings and prints – a total of 51 works including many masterpieces from the museum’s collection. The exhibition takes a fresh look at the relationships between the Spanish- born artist and his models. Pablo Picasso is famous for his capacity to renew himself and notorious for his uncompromising – some would say promiscuous – lifestyle. His passionate temperament inﬂuenced both his artistic practice and his at times turbulent existence. 3 4

Picasso’s art is often political and was With each new model, the visual style of the innumerable examples in art history All works created as a response to the events of the works changes, and Picasso’s loved of the artist-model relationship. Musée national Picasso-Paris his time. But his work is also private. In ones are a constant source of inspira- The exhibition shows how Picasso’s © Succession Picasso / June 1932, one of his most productive tion for the artist’s wild and sudden loved ones were genuine partners and VISDA 2019 years, he said himself: “The work one changes in style. Art, love, family life and sheds light on the powerful gaze of the creates is just another way of keeping a politics all merge in Picasso’s oeuvre. model. Picasso depicts the complexity diary”. The exhibition gives us unique One of the many motifs he cultivated of desire and the gaze as strong driving insights into how Picasso’s friends, was the artist and his model. Picasso’s forces when he paints the relationship family, wives and lovers challenged and work with this motif gives both a between artist and model. Picasso inspired his artistic development. humorous and caricatured picture of stages the desire to see and be seen.

www.arken.dk International 12.10.2019 > 30.08.2020 Art Exhibitions 2019

1 Mondo Mendini Abissina 2018, produced by Alessio Sarri, 7 The World of Alessandro Mendini Sesto Fiorentino 2

Groninger Museum This large-scale exhibition focusses on Lassù the renowned Italian designer, who 25 1994-2005, part of the series years ago served as the chief architect sculptures in golden brass, of the still remarkable Groninger produced by Short Stories Museum building. Mendini chose to 3 display not only a broad selection from Tête géante his own oeuvre, he also selected works 2002 by artists with whom he felt a kinship, Groninger Museum Collection such as Paul Signac, Gio Ponti, and 4 Michele De Lucchi. Comprising more Depero than 200 objects, Mondo Mendini is a 2017, Produced by Argenteria visually overwhelming, poetic, and Pampaloni Firenze humorous reﬂection of Mendini’s career 5 as a designer and an architect. Because Anna G of his rejection of hierarchical divisions 1994, Corkscrew for Alessi between architecture, autonomous art 6 and design – Alessandro Mendini Sinuoso (1931-2019) became one of postmodern- 2019, Ceramic vase for Maison Groningen 1 2 3 ism’s most distinctive designers 8 Matisse Alessandro Mendini Archive, His work is often colourful, decorative Milan and surprising in form, with imagination 7 taking precedence over functionality. Groninger Museum, More than two years ago, the Groninger Groningen Museum invited Mendini to compile an 8 exhibition of his work, taking whatever Kandissi Sofa approach he wished. He was delighted 1980 at the chance to curate a large-scale Groninger Museum Collection show in ‘his’ museum. Mondo Mendini 9 features a number of his most-famous Visage archaïque creations including a three-metre-high 2002, Sculpture for Bisazza, version of Poltrona di Proust, his kitschy hand-cut gold mosaic, 10 armchair decorated with colourful dots. Swarovski crystal Fondation Cartier pour l’art Another highlight is the imposing contemporain, Paris Petite cathédrale, a miniature cathedral 10 covered entirely in mosaic. The interior Poltrona di Proust even is covered in gold mosaic, as is the 1978 4 6 9 sculpture Visage archaïque, housed Groninger Museum Collection inside, which the designer intended as 11 a universal symbol of harmony. Alessandro Mendini Alessandro Mendini Archive Both works come from the Fondation 11 Cartier collection.

5 www.groningermuseum.nl International 14.10.2019 > 20.12.2019 Art Exhibitions 2019 Urs Fischer

7 Leo

Gagosian Gallery Gagosian Across his protean oeuvre, Urs Fischer 1 frequently evokes art historical genres Gentle Moon and motifs with wry self-awareness 2019, Aluminium composite and humour. In Fischer’s work, the panel, aluminum honeycomb, processes of material creation and two-component adhesive, destruction are often explored through primer, gesso, solvent-based the use of impermanent materials. screen printing ink Embracing transformation and decay 243.8 x 182.9 cm while resounding with poetic contra- 2 dictions, Fischer’s art excavates the Thinking Moon potential of its materials andmedia, 2019, Aluminium composite producing joyful disorientation and panel, aluminum honeycomb, sinister bewilderment. Fischer’s candle two-component adhesive, sculptures exemplify the relationship primer, gesso, solvent-based between permanence and imper- screen printing ink manence. He began to make them in 243.8 x 182.9 cm Paris the early 2000s with a series of crudely 3 rendered female nudes, standing Foggy Fumbles 1 2 3 upright or lounging in groups. 8 2019, Aluminium composite panel, aluminum honeycomb, In 2018, Fischer created a candle replica two-component adhesive, of the art patron and collector Dasha primer, gesso, solvent-based Zhukova, which burned for weeks in the screen printing ink shopfront gallery at Gagosian Davies 203.2 x 152.4 cm Street. Fischer’s newest candle portrait, 4 | 5 | 6 Leo (George & Irmelin) (2019), depicts Leo (George & Irmelin) Leonardo DiCaprio with his parents, 2019, Parafﬁn wax,micro- George DiCaprio and Irmelin Inden- crystalline wax, pigment, birken. Cast entirely in wax, the family is stainless steel and wicks posed in midaction: George gestures 214.9 x 98.1 x 146.7 cm while conversing with Leo, as Irmelin Edition of 2 + 2 APs holds Leo in her loving embrace. As with 7 all of Fischer’s candle sculptures, Leo Leo, Installation view (George & Irmelin) will melt slowly over 2019 the course of the exhibition, its original 8 composition transmuted into a form Leo, Installation view dictated by the wayward laws of physics. 2019 Captivating in their materiality and 9 4 5 6 9 haunting in their implications, the Leo, Installation view candles serve as both portraits of – and 2019 Realistic ﬁgurative candle portraits Marsupiale (Fabrizio) (2017), which amal- meditations on – the passing of time. followed, including a full-size replica of gamates a portrait of the antique dealer Elaborating on traditions of memento Giambologna’s 16th-century sculpture Fabrizio Moretti with an oversize bust of mori, they remind viewers of the tran- The Rape of the Sabine Women, and St Leonard, the patron saint of prisoners. sience of life, beauty, and even art itself.