Yves Klein is the first retrospective in Latin America on the pioneering artist of action art and the immaterial practices of contemporary art. The exhibition charts a course through more than 75 artworks and an extensive selection of documents—letters, drawings, photographs and films—taking in the great variety of facets the artist developed over his short but intense and prolific career (1954-1962).
Curated by: Daniel Moquay
Russian porcelain of the period from 1917 to 1927 reflects the dramatic changes in Russian life at the time. Wholly unique, thematically contemporary decorations are typical. Having emerged in the atmosphere of the Russian Revolution, this white gold of the 1920s was used for more than just propaganda and didactic purposes. In a period dominated by industrial design, many outstanding artists turned to this as the art form most likely to reach the broad masses. Technically superb craftsmen modelled their creations after designs by the artists. This combination yielded amazingly beautiful, never-before-seen porcelain pieces that were often only made as one-offs or in small series.
From Malewich to Judd
The exhibition at Zentrum Paul Klee focuses on the revolutionary spirit in visual epxressions of Russian Suprematism and Constructivism. They both had a radical impact on twentieth-century art when Kazimir Malevich, the founder of Suprematism, and the circle of Russian Constructivists led by Vladimir Tatlin and Alexander Rodchenko, made their breakthrough to geometric abstraction and construction. The Russian avantgarde inspired 20th-century artistic movements and positions, in Europe and Latin America. Its impact was particularly strong on Minimal and Conceptual Art in the U.S. in the 1960s and 1970s. Russian Suprematism and Constructivism are rightfully considered truly revolutionary art movements even today.
From Deineka to Bartana
The exhibition at Kunstmuseum Bern retraces Socialist Realism in contemporary art and its many shifts and changes since the Russian Revolution. In 1915 Malevich′s first Black Square painting reached the “zero point of painting”. Only two years later, Russia actually underwent a political and social revolution. In its representations of socialist themes, Propaganda Art not only embraced a realistic style, it also programmatically expressed a societal concept by promoting a society that did not exist then and never will.As the former Soviet Union reached crisis point and began to disintegrate, visual idioms were transformed. Timid criticism eventually turned into pastiche and, in the postmodern period, into subversive set pieces now devoid of ideological messages. Having gradually loosened the stays of socialist rhetoric, artists began to use the now meaningless visual ciphers in works that express their scathing criticism of a disillusioned and cynical late-capitalist society.
Taking inspiration from a remarkable exhibition shown in Russia just before Stalin’s clampdown, the exhibition will mark the historic centenary by focusing on the 15-year period between 1917 and 1932 when possibilities seemed limitless and Russian art flourished across every medium.
This far-ranging exhibition will – for the first time – survey the entire artistic landscape of post-Revolutionary Russia, encompassing Kandinsky’s boldly innovative compositions, the dynamic abstractions of Malevich and the Suprematists, and the emergence of Socialist Realism, which would come to define Communist art as the only style accepted by the regime.
The exhibition will also include photography, sculpture, filmmaking by pioneers such as Eisenstein, and evocative propaganda posters from what was a golden era for graphic design. The human experience will be brought to life with a full-scale recreation of an apartment designed for communal living, and with everyday objects ranging from ration coupons and textiles to brilliantly original Soviet porcelain.
In 2017 it will be exactly 100 years since the launch of the Dutch art and design movement known as ‘De Stijl’. The Netherlands is set to mark the centenary with a year-long programme of events under the title Mondrian to Dutch Design. 100 years of De Stijl. As home both of the world’s greatest Mondrian collection and of one of its major De Stijl collections, the Gemeentemuseum will be at the heart of the celebrations in 2017. No fewer than three separate exhibitions will be held at the museum to pay appropriate tribute to the group’s revolutionary achievements. The event kicks off on 11 February with an exhibition about the genesis of a new kind of art that has forever changed the world we live in.
De Stijl’s iconic red, yellow and blue palette is still in vogue. You see it in today’s fashion and magazine design, on packaging, in advertisement and in video clips. But who actually invented the movement’s distinctive signature style? This spring, the Gemeentemuseum Den Haag unravels the history of De Stijl’s radical new art. Key to it was the friendship and reciprocal influence between the movement’s two foremost painters: Piet Mondrian and Bart van der Leck.
Covering the period of artistic innovation between 1912 and 1935, A Revolutionary Impulse: The Rise of the Russian Avant-Garde traces the arc of the pioneering avant-garde from its flowering in 1912 to the mid-1930s after Socialist Realism was decreed the sole sanctioned style of art. Bringing together major works from MoMA’s extraordinary collection, the exhibition features breakthrough projects in painting, drawing, sculpture, prints, book and graphic design, film, photography, and architecture by leading figures such as Alexandra Exter, Natalia Goncharova, El Lissitzky, Kazimir Malevich, Vladimir Mayakovsky, Lyubov Popova, Alexandr Rodchenko, Olga Rozanova, Vladimir and Georgii Stenberg, and Dziga Vertov, among others.
In anticipation of the centennial of the Russian Revolution, this exhibition examines key developments and new modes of abstraction, including Suprematism and Constructivism, as well as avant-garde poetry, film, and photomontage.
Discover one of the most notable Cuban artists of the twentieth century at this major retrospective.
Born in Cuba of mixed heritage, Wifredo Lam (1902 – 1982) pursued a successful artistic career within avant-garde circles on both sides of the Atlantic, and was closely associated with twentieth-century artistic and literary icons such as Pablo Picasso, André Breton, Aimé Césaire, Lucio Fontana and Asger Jorn. His work poetically addresses themes of social injustice, nature and spirituality, and was greeted internationally with both consternation and acclaim.
A witness to twentieth-century political upheaval throughout his long career – including the Spanish Civil War and the evacuation of artists and intellectuals from France with the onset of World War II – Lam defined a new and unique way of painting for a post-colonial world. Lam’s work now brings a historical perspective to contemporary issues.
This exhibition celebrates Lam’s life and work and confirms his place at the centre of global modernism.
The international group exhibition explores the often disquieting figure of the clown, which has made an ‘uncanny’ career in recent years. Today (evil) clowns appear in a wide range of contexts including (anti-)advertisement, political activism, TV series, horror films and Hollywood productions, pop music and contemporary art. The masqueraded jester makes us laugh – but with a laughter that quickly gets stuck in our throats: ‘Thereʼs Nothing Funny About a Clown in the Moonlight’ (Lon Chaney).
The show features artistic positions that approach the topic of the clown in very different ways. Next to painting, sculpture and photography the Kunstpalais presents site-specific installations and performance(-documentations) that were produced especially for the exhibition. These diverse works are complemented by exhibits from popular culture, movies, music and political activism.
On the occasion of the International Comic-Salon Erlangen one chapter of the exhibition is dedicated to the history of one of the vibrant evil clown-personalities: to Joker, opponent of Batman – green-haired, permanently grinning and psychopathic.
A pioneer of cross-cultural painting that infused Western modernism and African and Caribbean symbolism, Wifredo Lam (Sagua La Grande, 1902 – Paris, 1982) was in touch with every avant-garde movement at the time, whilst also addressing world problems. His deeply committed work, exploring the diversity of expression and mediums, from painting to drawing, prints and ceramics, took on the same struggle as his friend Aimé Césaire: “to paint the drama of his country, the cause and the spirit of the blacks.” From an early age, Lam became aware of the issue of race and its social and political implications in Cuba, Europe and later in the USA. He was associated with divergent national, social and culture spheres, but always maintained his distance and avoided falling into roles or the impact of identity imposed upon him, with good intentions, by friends and admirers. Lam invented his own unique and original artistic language to defend the dignity of life and freedom.
The exhibition revolves around the genesis of his work, the diverse stages and conditions of reception and the progressive integration of a body of work that was painstakingly put together in Spain, Paris, Marseille and Cuba. It traces the artist’s unique career by way of almost two hundred and fifty works – paintings, drawings, etchings, prints, ceramics - and is completed with over three hundred documents – letters, photographs, magazines and books. This broad range of material casts light upon his work and thought, zooming in on the years he spent in Spain (1923–1938), the remarkable prints from the 1960s and 1970s and his collaborations with eminent writers of his time, in addition to the major works he produced in his native Cuba (1940–1950); In short, it depicts a committed life inside a turbulent century.
Travel back to the beginning of the twentieth century with Theo van Doesburg and inhale the revolutionary atmosphere of the avant-garde in the exhibition Theo van Doesburg: A New Expression of Life, Art and Technology. Having founded the art movement De Stijl in the Netherlands with Piet Mondrian in 1917, Van Doesburg set off across Europe to promote their abstract visual language internationally. In Paris he encountered the art of the Dadaists and began writing Dadaist poetry himself. In Weimar he presented his new awareness of beauty to the Bauhaus architects. He travelled round Europe and made his pioneering visual language appear not only in paintings, but also in buildings, furniture and interiors.
The art of the Russian avant-garde numbers among the most diverse and radical chapters of modernism. At no other point in the history of art did artistic schools and artists’ associations emerge at such a breathtaking pace than between 1910 and 1920. Every group was its own programme, every programme its own call to battle - against the past as well as against competing iterations of the present.
The Albertina is devoting a major presentation to the diverse range of art from that era: 130 masterpieces by Mikhail Larionov, Natalia Goncharova, Kazimir Malevich, Wassily Kandinsky, and Marc Chagall illustrate fundamentally different styles and their dynamic development from primitivism to cubo-futurism and on to suprematism, as well the chronological parallels between figurative expressionism and pure abstraction.
A leading member of the Russian avant-garde, Alexander Rodchenko (1891-1956) revolutionized the worlds of graphic art, design, and photography. With more than three hundred works on display, including period prints, photomontages, magazines and posters from the artist’s day and age, visitors can fully capture the strength of this innovator, and appreciate the charisma that had such a great impact on his fellow artists, as well as on the literati, filmmakers, and intellectuals who accompanied him along the way. From the photomontages made for the poem Pro Eto (About This) by Vladimir Mayakovsky, to the covers for the magazine Novi Lef, a reference point for the revolutionary intelligentsia, to film posters and illustrations for books, Rodchenko’s works bear witness to his collaborations and friendships, portraying not just a creative personality, but also the spirit of an unrepeatable moment in the history of the twentieth century. In the field of photography, Rodchenko’s outstanding portraits recorded the images of urban scenarios and architecture, reportages in factories and construction sites, the people and the spirit of a time of great hope as well as contradiction. Above all, Rodchenko subverted the rules of photography: the images he created, characterized by uncharted viewpoints, angles and diagonals, are the clearest evidence we have today of the desire for the modernization of art and the world that was the driving force behind the artists of the Russian avant-garde. Completing the exhibition are three Spatial Constructions, aerial sculptures obtained by assembling basic geometric forms, three thought-provoking examples of Constructivism made by transforming the rational and productive principles of industry.
Joan Miró (1893–1983) once famously declared that he wanted to assassinate painting. Today he is recognized as one of the greatest artists of the 20th century. With a focused solo exhibition, the SCHIRN presents a previously little-discussed aspect of the Catalan artist’s work: Miró's preference for large-scale formats and his fascination with the wall. From early on, the wall was the starting point for his painting – the wall as an object to be depicted, and which at the same time would determine the physical and tactile quality of his painting. Miró distanced himself from the simple reproduction of reality and equated the picture plane with the wall. By using different colored grounds, coarse burlap, Masonite (hardboard), sandpaper and tarpaper, he created unique visual worlds of monumental dimensions and outstanding materiality. The exhibition covers over half a century of Miró’s oeuvre, beginning with his emblematic painting "The Farm" (1921/22), and continuing with his iconic dream paintings of the 1920s, his key work "Painting (The Magic of Color)" from 1930, his works and frieze formats painted on unconventional grounds in the 1940s and 1950s, to the brilliant late works such as the monumental triptych "Blue I–III" (1961) and the extraordinary "Paintings I–III" (1973). With this exhibition, which includes around 50 works of art from prominent museums worldwide, such as the National Gallery of Art, Washington DC, the Solomon R. Guggenheim Museum, New York, the Museo Reina Sofía Madrid and the Centre Pompidou, Paris as well as important private collections, the SCHIRN opens up an entirely new approach to Miró's art.
Picasso Sculpture is a sweeping survey of Pablo Picasso’s innovative and influential work in three dimensions. This will be the first such museum exhibition in the United States in nearly half a century.
Over the course of his long career, Picasso devoted himself to sculpture wholeheartedly, if episodically, using both traditional and unconventional materials and techniques. Unlike painting, in which he was formally trained and through which he made his living, sculpture occupied a uniquely personal and experimental status for Picasso. He approached the medium with the freedom of a self-taught artist, ready to break all the rules. This attitude led him to develop a deep fondness for his sculptures, to which the many photographs of his studios and homes bear witness. Treating them almost as members of his household, he cherished the sculptures' company and enjoyed re-creating them in a variety of materials and situations. Picasso kept the majority in his private possession during his lifetime. It was only in 1966, through the large Paris retrospective Hommage à Picasso, that the public became fully aware of this side of his work. Following that exhibition, in 1967 The Museum of Modern Art organized The Sculpture of Picasso, which until now was the first and only exhibition on this continent to display a large number of the artist’s sculptures.
This monographic exhibition is the first specific inquiry into the role of the object in the work of Joan Miró. Curated by William Jeffett, Miró and the Object looks at how the artist began with pictorial representations of objects and then moved on to physically incorporating them in his works through collage and assemblage, before finally arriving at sculpture. The exhibition narrative shows how Miró's exploration of the world of objects led him to work with different techniques and methods.The selection includes paintings, collages, objects, ceramics, and sculptures from the Fundació Joan Miró, along with singular pieces from public and private European and American collections. Miró and the Object sets out to show how Miró defied painting in the late twenties, and how his respect and intense dialogue with the objects around him helped to bring about a profound transformation of the concept of art in the twentieth century.
DER STURM (English: THE STORM) marked the emergence into modern art and an attempt to unite the international avant-garde. Originally founded in 1910 as a magazine for the promotion of Expressionist art, the name STURM quickly became a trademark: its editor, the writer and gallery owner Herwarth Walden, established the STURM Academy, STURM soirées, a STURM stage, and the STURM Gallery, at which, among others, Marc Chagall, Franz Marc, Wassily Kandinsky, and Paul Klee exhibited their works. What is less well known, however, is that Walden also had great respect for female artists – around one fourth of the artists presented at his gallery were women. The SCHIRN devotes the first large-scale thematic exhibition to these STURM women. It will assemble more than 280 works of art by female artists of Expressionism, Cubism, Futurism, Constructivism, and New Objectivity. The result is a somewhat different overview of the most important art movements in Berlin in the early 20th century. Like their male counterparts at the time, works by some of these women artists were exhibited for the first time in Germany: among the most prominent are Sonia Delaunay, Alexandra Exter, Natalia Gontcharova, Else Lasker-Schüler, Gabriele Münter, and Marianne von Werefkin.
Karl Lagerfeld, A Visual Journey explores the wide-ranging motifs, approaches and media that define Karl Lagerfeld's astute and intensely personal interpretation of photography.
The exhibition reveals Lagerfeld's many areas of interest including architecture, landscapes, Paris by night, portraits and self-portraits, fashion photography, and abstractions (an interest in the graphic characterizes many of his photos, regardless of their subject). Two grand photo installations - Daphnis and Chloe and Le Voyage d'Ulysse - complete this comprehensive display of Lagerfeld's photographic oeuvre.
100 years ago, in the winter of 1915/16, a legendary exhibition took place in Petrograd (today St. Petersburg), Russia, featuring 14 artists – seven men and seven women – of the Russian avant-garde. The show, which was titled The Last Futurist Exhibition of Painting 0,10 (Zero-Ten), became one of the most influential in the history of modern art. It was here that Kazimir Malevich first presented his Black Square, the painting that became an icon of abstract art.
To mark the centenary of 0,10, after many years of research the Fondation Beyeler is organizing an exhibition that for the first time reunites most of the works still surviving today from the original show, complemented by others dating from the same epoch. This critical reconstruction of the historical exhibition includes valuable loans from the State Russian Museum in St. Petersburg, the State Tretyakov Gallery in Moscow and 17 other Russian museums, as well as from celebrated western collections such as the Centre Pompidou in Paris, the Stedelijk Museum in Amsterdam, the Museum Ludwig in Cologne and MoMA in New York.
For the first time, the Centre Pompidou is devoting a retrospective to the work of Wifredo Lam, with a circuit of nearly 300 works – paintings, drawings, engravings and ceramics – enriched with archives, documents and photographs that illustrate a committed approach in a century full of radical change. Lam's work occupies a singular and paradoxical position in 20th century art. It reflects the diverse movements of forms and ideas in the context of avant-gardes, exchanges and cultural movements – both within themselves and across national borders – that embodied the "broader modernism" described by Andreas Huyssen, but in a different way from the question of globalisation that emerged in the 1990s, and long before it.
While finding its way into headlines, Jani Leinonen’s work also spotlights social ills and challenges people to take action.
Jani Leinonen’s exhibition opening in Kiasma in September 2015 is build around a new piece called The School of Disobedience. It is not only a real school, but a metaphor for the entire show, a retrospective of his work to date. Leinonen will invite famous Finnish and international opinion leaders and activists to serve as lecturers in the school. Visitors are given the role of students.
Through his art, he wants to awaken critical thinking in viewers, yet at the same time his criticism is an audacious play with familiar symbols, laced with irreverent humour, and merciless also towards the logic of the art market.
Sonia Delaunay (1885–1979) was a key figure in the Parisian avant-garde and became the European doyenne of abstract art.
Throughout the first half of the twentieth century, she celebrated the modern world of movement, technology and urban life, exploring new ideas about colour theory together with her husband Robert Delaunay.
This will be the first UK retrospective to assess the breadth of her vibrant artistic practice across a wide range of media. It will feature the groundbreaking paintings, textiles and clothes she made across a sixty-year career, as well as the results of her innovative collaborations with poets, choreographers and manufacturers, from Diaghilev to Liberty.
At the crossroads of art, literature and ethnography, this exhibition dedicated to Michel Leiris (1901-1990) is the first of its kind. As a prominent 20th century intellectual, though relatively unknown, Leiris was both a poet and an autobiographical writer, as well as a professional ethnographer and very close friend of many great artists and writers of his times.
Encompassing nearly 350 works, including many masterpieces by his closest artist friends (Miró, Masson, Giacometti, Picasso, Bacon…), African and Caribbean artefacts and works of art, a wide array of manuscripts, books, films and music, this exhibition aims at shedding light upon Michel Leiris' multi-faceted character, his passions and commitments. It equally sets out to highlight the innovative aspect of his oeuvre and the pertinence of his ideas, which, at a time of globalisation and post-colonial studies, have made him an essential contemporary reference.
To mark the 25th anniversary of the foundation of the Deichtorhallen Hamburg, an extensive exhibition on the theme of »Picasso in Contemporary Art« will be held from April 1 to July 12, 2015. As the opening presentation in the Deichtorhallen’s intensively renovated and modernized Hall for Contemporary Art, the show is dedicated to the overwhelming spectrum of modern and contemporary artists’ perspectives on Picasso. With approximately 200 works on loan − from London’s Tate Modern and Paris’s Centre Pompidou, among others − created by 90 internationally known artists, the show deals with Picasso and his impact on art without showing a single Picasso. Ranging between veneration, intellectual assimilation, and reinterpretation, the works by extremely famous artists, such as Georg Baselitz, Brassaï, Sophie Calle, Marlene Dumas, Jasper Johns, Martin Kippenberger, Roy Lichtenstein, and Robert Longo demonstrate the current relevance of Picasso’s work.
Sculptor Louise Nevelson, known for her monochromatic wall assemblages made of wood, came to Los Angeles from New York in 1963 and again in 1967 to make prints at the Tamarind Lithography Workshop. This installation of works from LACMA’s collection features a selection of lithographs from a total of 42 works made by the artist at this historic print workshop during a period of unprecedented artistic innovation. Nevelson’s prints demonstrate a creative use of everyday materials (such as lace, rags, and cheesecloth) and irregularly shaped paper, while exploiting the nature of prints as multiples to make “constructions” that explore notions of seriality and reflection.
Opening on 15 January, this epic show takes Kazimir Malevich’s radical painting of a black square – first shown in Russia 100 years ago – as the emblem of a new art and a new society. The exhibition features over 100 artists who took up its legacy, from Buenos Aires to Tehran, London to Berlin, New York to Tel Aviv. Their paintings, photographs and sculptures symbolise Modernism’s utopian aspirations and breakdowns.
The history of the Solomon R. Guggenheim Foundation is intertwined with the work of Vasily Kandinsky (b. 1866, Moscow; d. 1944, Neuilly-sur-Seine, France) more so than any other artist of the twentieth century. Artist, art advisor, and the museum’s first director Hilla Rebay encouraged founder Solomon R. Guggenheim to begin collecting Kandinsky’s work in 1929 and to later meet Kandinsky at the Dessau Bauhaus in July 1930. This introduction initiated an ongoing acquisition period of Kandinsky’s art, with more than 150 works ultimately entering the museum’s collection.
Vkhutemas, often referred to as the “Russian Bauhaus”, was a legendary art school of Modernism in the 1920s. This is the first exhibition in Germany to show an important sampling – mainly focused on architecture – of the work of Vkhutemas. On display will be some 250 works: sketches, drawings, paintings and models by staff and students.
To mark 120 years since Varvara Stepanova’s birth the State Pushkin Museum of Fine Arts, the Stroganov Moscow State Academy of Arts and Industry and the Rodchenko and Stepanova Archive present the exhibition “At Home with Rodchenko and Stepanova”. The exhibition focuses on the work of these leading artists of the Russian avant-garde, including their role as teachers. It features more than 250 exhibits: paintings, works on paper, photographs and personal effects from the Rodchenko and Stepanova Archive. Works by their students at VKhUTEMAS give an idea of Rodchenko and Stepanova’s “home” as the territory of a new art. Rodchenko and Stepanova worked together their whole lives, in a single style, and often on the same themes. Rodchenko was the creative leader, the generator of ideas and original methods. Stepanova consolidated these innovations in her own independent way and was an excellent organiser.
This fall, visitors to Allentown can see nearly one hundred works of art from the private collection of one of America’s most celebrated living artists―including some childhood drawings and new works that have never been exhibited. Robert Indiana is a founding father of Pop Art and gave it its “hard edge” in the 1960s.
Cubism, the most influential art movement of the early twentieth century, still resonates today. It destroyed traditional illusionism in painting and radically changed the way we see the world. The Leonard A. Lauder Collection, unsurpassed in its holdings of Cubist art, is now a promised gift to the Museum. On the occasion of this exhibition, the Collection is being shown in public for the first time—eighty-one paintings, collages, drawings, and sculpture by the four preeminent Cubist artists: Georges Braque (French, 1882–1963), Juan Gris (Spanish, 1887–1927), Fernand Léger (French, 1881–1955), and Pablo Picasso (Spanish, 1881–1973).
Picasso and Spanish Modernity will be showing some ninety works by Picasso and other artists, ranging from painting to sculpture, drawing, engraving and even film, thanks to the Fondazione Palazzo Strozzi's synergistic cooperation with the Museo Nacional Centro de Arte Reina Sofía in Madrid. The works of art on display will include such celebrated masterpieces as Woman's Head (1910), Portrait of Dora Maar (1939) and The Painter and the Model (1963) by Picasso, Siurana, the Path (1917) and Figure and Bird in the Night (1945) by Miró and Dalí's Arlequin (1927), along with Picasso's drawings, engravings and preparatory paintings for his huge masterpiece Guernica (1937), none of which have been displayed outside Spain in such vast numbers before now.
Sabancı University Sakıp Sabancı Museum (SSM), hosts a comprehensive exhibition consisting of the Catalan artist and sculptor Joan Miró, born in Barcelona. This exhibition, titled ‘Joan Miró. Women, Birds and Stars’ focuses on the maturity period of the groundbreaking and multi-faceted artist. The exhibition, made possible with the sponsorship of Sabancı Holding and organized in collaboration with the Joan Miró Foundation in Barcelona, the Pilar and Joan Miró Foundation, as well as the family collection in Mallorca, will be open to the public between the dates of September 23, 2014 – February 1, 2015. The exhibition focuses on woman, bird and star themes of Miró, who was heavily inspired by his observations on the Mediterranean geography and people throughout his career. The exhibition will provide the opportunity for viewers to understand the symbolic language of the artist through a rich selection of artworks in different mediums such as oil on canvas, sculpture, lithography and ceramics. With this exhibition, art enthusiasts in Istanbul will be able to witness the various interpretations of the energy the artist drew from the Mediterranean culture.
Designed by the world-renowned architect, Zaha Hadid, this exhibition brings together exclusive interviews, an immersive multimedia journey and unique historic pieces of clothing to form the most wide-ranging presentation of modern fashion ever to be shown in the UK. Discover how women from Dame Vivienne Westwood to Natalie Massenet and Princess Diana to Anne Hidalgo have used fashion as an important tool of self-expression and empowerment to build reputation, attract attention and assert authority.
The Drents Museum is proud to present a solo exhibition on the most important Russian artist from the first half of the 20th century: Kazimir Malevich (1878-1935). The presentation will feature a top collection of 60 original paintings, all from the collection of the State Russian Museum in St. Petersburg. The emphasis in this exhibition will be on the figurative work, which Malevich made from 1928 till his death in 1935.
Tom Wesselmann (1931-2004) is recognized as a leading figure in the Pop Art movement which came to prominence in the 1960s. Within an intentionally limited scope of subject matter, Wesselmann crafted an innovative body of work that evolved constantly. This exhibition presents Wesselmann’s work at the intersection of the classical western culture that has shaped art history for centuries and the systematic and universal commodification of all things and values that defines our world today.
Galerie Gmurzynska is pleased to announce an exhibition of collages by the seminal architect Richard Meier, which will open on October 30th 2014 at the Stroganov Palace. Coinciding with and honoring the artist’s 80th birthday this autumn, this museum exhibition comes on the heels of the showcase „Richard Meier – Timepieces“ Galerie Gmurzynska presented at their premises in Zurich from October through December in 2013. On the occasion of this exhibition Galerie Gmurzynska in collaboration with The State Russian Museum is publishing a richly illustrated catalogue in English and Russian.
Karl Lagerfeld is one of the world’s most renowned fashion designers and widely celebrated as an icon of the zeitgeist. Karl Lagerfeld. Modemethode at the Art and Exhibition Hall of the Federal Republic of Germany is the first comprehensive exhibition to explore the fashion cosmos of this exceptional designer and, with it, to present an important chapter of the fashion history of the twentieth and twenty-first centuries.
For this, the first major Sonia Delaunay retrospective in Paris since 1967, the Musée d’Art Moderne de la Ville de Paris is bringing together three remarkably recreated environments and over 400 works: paintings, wall decorations, gouaches, prints, fashion items and textiles. Tracing the artist's evolution since the beginning of the 20th century to the late 1970s, this monographic exhibition highlights her work in the applied arts, her distinctive place in Europe's avant-garde movements and her major role as a pioneering abstractionist. The exhibition will be on show at Tate Modern in London between 15 April and 9 August 2015. A generously illustrated catalogue of 256 pages will be published by Paris Musées to mark the exhibition.
"Rythmes sans fin" explores the astonishing work of Robert Delaunay during the Twenties and Thirties. The exhibition devoted by the Centre Pompidou to the extraordinarily rich and varied Robert Delaunay collection brings together around 80 works in the form of paintings, drawings, reliefs, mosaics, models, a tapestry and a large number of documentary photographs.
The Fundació Catalunya-La Pedrera presents the work of El Lissitzky, one of the most influential, innovative and controversial artists of the opening 30 years or so of the 20th century, who worked with the Soviets and the European Avant-garde movements of the 1920s and as a propagandist for the Stalin regime in the 1930s.
The exhibition "Klein Fontana | Milan Paris 1957-1962" tells the parallel universes of two protagonists of the artistic revival of the twentieth century. The show unfolds the personal and artistic story of Klein and Fontana throughout these years, how they met first in Milano at Klein's exhibition in 1957 and how later on they collaboratively developed and worked on projects while traveling Italy and France. On show will be about 90 works of art as well as a rich personal documentation of photographs, films and archive material.
Jacques Lipchitz, born in Lithuania in 1891, is considered one of the leading sculptors of the 20th century. He lived in Paris between 1909 and 1941, and in New York and Italy up until his death in 1973. The donation presented here of around 30 drawings from all his creative periods and a sketchbook from the artist’s estate will be made together with a similar donation to the Uffizi Gallery in Florence and presented to the public in two exhibitions with one joint catalogue.
The exhibition LUDWIG GOES POP offers an opportunity to explore this phenomenon and to comprehend Pop Art as an expression of a modern attitude toward life. In the 1960s the “everyday” had arrived—it had made its way into art: in all manner of play, from humorously ironic to biting and critical, artists explored the Zeitgeist in their art, integrated fragments and quotes from the world of consumerism and advertising, comics, science, technology, erotic, and mass media.
ZERO: Countdown to Tomorrow, 1950s–60s, is the first large-scale historical survey in the United States dedicated to the German artists' group Zero (1957–66) founded by Heinz Mack and Otto Piene and joined in 1961 by Günther Uecker, and ZERO, an international network of like-minded artists from Europe, Japan, and North and South America—including Lucio Fontana, Yves Klein, Yayoi Kusama, Piero Manzoni, Almir Mavignier, Jan Schoonhoven, and Jesús Rafael Soto—who shared the group’s aspiration to transform and redefine art in the aftermath of World War II.
In his artistic work and experimental use of new media, the avant-gardist and Bauhaus teacher László Moholy-Nagy (1895–1946) overstepped the boundaries of the conventional view of art. His methods were marked by interdisciplinary approaches, while at the same time fundamentally questioning the traditional perception of art. His approach was thus far ahead of his time and was already raising issues that are still relevant today. Moholy-Nagy’s many-faceted media art as well as works by contemporary artists have an immediate effect on the viewer’s various senses and thus conveys new approaches to art for people either with or without sensory impairments.
From 18 October until 23 December 2014, Opera City Art Gallery, Tokyo, is hosting architect Zaha Hadid’s first large-scale solo show in Japan.The show will span the entirety of Hadid’s career, as divided into four sections. The exhibition will open with a selection of paintings and drawings created during the period before any of the architect’s designs were built. The second section showcases designs for buildings after her first project was built in 1993, a period during which she won international acclaim for her works such as the London Aquatics Centre. The third section shows Hadid’s work in other fields such as design, displaying lighting fixtures and furnishings. The fourth and final section will focus on her latest controversial designs for the New National Stadium of Japan, commissioned for the 2020 Olympic Games.
Transmitting Andy Warhol brings together more than 100 artworks from one of the most influential, controversial and notorious artists of the twentieth century. The exhibition provides a new insight into the breadth of Warhol’s artistic processes, his philosophies, as well as the social, political and aesthetic implications of his ground-breaking practice.
The Nasher Museum presents Miró: The Experience of Seeing, an exhilarating exhibition of works by Spanish-born artist Joan Miró. This is the first-ever presentation of the final 20 years of Miró’s career. Don’t miss the only East Coast venue for this special ticketed exhibition. All works are on loan from the Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain.
Considered one of the most influential artists of the 20th century, Wassily Kandinsky is often credited with creating the first purely non-objective painting. Featuring more than 100 paintings, watercolors, drawings and a reconstituted mural, Kandinsky celebrates some of the most significant aspects of the artist’s oeuvre. Drawing extensively from the collection of Kandinsky’s works from Paris’s Centre Pompidou, the exhibition will feature an additional selection of works by other der Blaue Reiter artists from the Milwaukee Art Museum and the Solomon R. Guggenheim Museum, New York, providing a context through which viewers can appreciate Kandinsky’s significance.
The year 1914 saw the beginning of a life-long friendship between the 28-year old Hans Arp (1886-1966) and the five-year younger Max Ernst (1891-1976). Throughout this friendship Arp and Ernst frequently collaborated on projects and publications. Moreover, their respective biographies show certain parallels: Both of these modern masters would receive the Grand Price of the 27th Venice Biennale in the summer of 1954 sixty years ago. While Arp was honored for his sculptural oeuvre Ernst received the prize for his paintings. The exhibtion "Arp is here! 100 years of friendship Hans Arp and Max Ernst" at the Max Ernst Museum Brühl reconstructs Arp's original Venice presentation, featuring the sculptures and wood reliefs alongside a selection of documents and photographs by the likes of Man Ray and Ernst Scheidegger. The exhibition contains works from important museum collections in Germany, France, Switzerland and the US, complemented by several loans by the Arp Museum Bahnhof Rolandseck.
In 2012, the longstanding partnership between the Fondation Beyeler and the Calder Foundation (New York) gave rise to the idea of a rotating “Alexander Calder Gallery,” a series of three specific presentations devoted to particular aspects of the American sculptor’s work. The first of these galleries opened in the year of its inception, followed by a second one in 2013. On 27 September, the Fondation Beyeler will unveil the third presentation, concentrating on Calder’s first nonobjective paintings, major examples of which will be shown in striking dialogue with his groundbreaking sculptures from the 1930s.
An unprecedented coupling of two of the most significant artists of our time, David Hammons Yves Klein / Yves Klein David Hammons explores points of aesthetic harmony within two seemingly different practices. Weaving a larger narrative through Hammons’s Basketball and Kool-Aid Drawings, Klein’s Fire Paintings and Monochromes, to both artist’s exploration of performance and public intervention, the exhibition looks at Hammons and Klein as artists who perform a kind of aesthetic alchemy—investing the humblest of everyday materials with deep aesthetic significance.
MOCA presents Andy Warhol: Shadows, the first West Coast presentation of Shadows (1978-79), a monumental painting in 102 parts. Andy Warhol: Shadows is organized by Dia Art Foundation and coordinated by MOCA Senior Curator Bennett Simpson.
With his imaginative pictorial motifs, Joan Miró is one of the most popular artists of the 20th century. The Albertina is dedicating a solo exhibition to the Catalonian artist containing around 100 paintings, drawings and objects, which strives to emphasise the poetic quality of the famous Surrealist.
This exhibition brings to the fore our fascination with simple shapes, from prehistoric to contemporary. It also reveals how these shapes were decisive in the emergence of the Modern age.The years between the 19th and 20th centuries saw the return of quintessential forms through major universal expositions which devised a new repertoire of shapes, the simplicity of which would captivate artists and revolutionise the modern philosophy. They introduced, within the evolution of modern art, both an alternative to the eloquence of the human body and the possibility that shapes could be a universal concept.
Presenting more than forty paintings and a wide selection of works on paper by Wifredo Lam (1902–82), this retrospective is the first to examine the artist as a global figure whose work blurred boundaries among established artistic movements of the twentieth century.
David Smith (1906–1965) holds a singular place in the history of modern art. Known primarily as the sculptor most closely aligned with Abstract Expressionist painters like Jackson Pollock and Willem de Kooning, Smith produced a diverse body of work in a broad range of media. He famously remarked: “I belong with the painters.” Much to the consternation of critic Clement Greenberg, a usually fervent admirer of Smith’s work who advocated that each medium be distinguishable, Smith frequently painted his sculptures. His stated goal was to combine painting and sculpture in order to create a new medium that “beats either one.” The Circle Series (1961–63) is Smith’s ambitious and monumental attempt to bring this unity into being.
The Murnau Castle and the St. Nikolaus Church are recurring motifs in the works of expressionist artists Wassily Kandinsky (1866–1944) and Alexej Jawlensky (1864–1941). To this day, they remind of the time when both artists lived and painted in this Bavarian municipality between 1908 and 1910. The exhibition focuses on a selection of compositions made in Murnau by Jawlensky and Kandinsky. These works further visualize the artists' pivotal artistic turning point while evoking the dynamism and excitement of these eventful years that would continue to reverberate in the works to come by these international protagonists of Expressionism. Thanks to several international loans granted by institutions such as the Ermitage St Peterburg, the Museum of Modern Art, New York, the Hilti Art Foundation, Liechtenstein and the Didrichsen Art Museum Helsinki as well as loans by Private Collections the exhibtion offers an impressive insight into this legendary dialog.
Cinema Joostens looks at the work and universe of the Antwerp avant-garde artist Paul Joostens (1889-1960) in two episodes. The first episode of Cinema Joostens is focussed on his drawings and paintings, the second part on the collages and assemblages.
The largest Malevich retrospective in 20 years, this exhibition will include the Khardziev and Costakis collections together for the first time.