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.