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.