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Jens Lund , Mon âme voltige sur les parfums…(Baudelaire), 1901, Part of the Jens Lund Collection, The Vejen Art Museum. Photo: Pernille Klemp

Kopenhagen, Statens Museum for Kunst (SMK), 19 April – 12 August 2018

Hieroglyphs – Symbolist Drawings 1890–1910

The exhibition Hieroglyphs at SMK focuses on the important position held by the art of drawing in Danish art during the period 1890–1910. Turning their attention to matters of the soul and our inner lives, artists such as Jens Lund, J.F. Willumsen, Johannes Holbek and Ejnar Nielsen discovered an entirely new visual language.

By the late nineteenth century, a group of Danish artists had grown tired of the naturalist endeavour to depict reality in an objective, neutral fashion – some even believed that naturalism constituted an artistic dead end. Instead they directed their gaze inwards, towards humanity’s inner lives, emotions and thoughts. Thus, Danish Symbolist art is often called ‘images of the soul’ – giving rise to pictures that are both decorative, mystical and enigmatic. Great emphasis is placed on form, and the art of drawing took on a key position in the overall rebellion against naturalism.
Opening on 19 April, the exhibition Hieroglyphs at SMK presents 100 works of art that allow visitors to explore dreams and visions embodied through symbols such as gnarly trees, flowers, ceramics and pregnant women.

Not just a rebellion
Big words and an urge to rebel fuelled the group of artists who brought Symbolism to life on the Danish art scene. Among them we find Mogens Ballin, who is part of the central circle alongside figures such as Ludvig Find and G. F. Clement. In 1891 Ballin states that the young artists ‘have a great, revolting corpse to put into the ground … Naturalism – for that is the name of the corpse – is dead’. The artists’ association and exhibition venue Den Frie Udstilling (The Free Exhibition) is also established in 1891; this is where the Symbolists can have their work exhibited. What is more, Johannes Jørgensen publishes the journal Taarnet, which helps give Symbolism its great breakthrough in Denmark. In the journal, Johannes Jørgensen states that the artists want ‘a visual language that seeks to give voice to the Eternal through earthly hieroglyphs’. (off. press)


Mary Reid Kelley mit Patrick Kelley, This is Offal, 2016 1-Kanal-Video, HD, Ton 12:30 Min

München, Haus der Kunst, bis 19. August 2018

Blind Faith: Zeitgenössische Kunst zwischen Intuition und Reflexion

Die Ausstellung „Blind Faith: Zeitgenössische Kunst zwischen Intuition und Reflexion“ reagiert auf aktuelle gesellschaftliche Fragen. Klimawandel, Migrationskrise, Terrorattacken und weltweit vermehrte bewaffnete Konflikte stellen derzeit die Weltordnung infrage und führen zu wirtschaftlicher und politischer Instabilität. Das Vertrauen in das fundamentale Tragwerk unserer Gesellschaft gerät angesichts zunehmender Ungewissheit ins Wanken. Wissen- schaft und empirische Forschung verlieren zunehmend an Bedeutung und werden durch alternative Wissensquellen angezweifelt. Es scheint, die Menschen wol- len lieber „blind glauben“ als sich mit einer immer komplexeren Welt ausein- ander zu setzen.

In diesem Zusammenhang ist auch die immens angestiegene Verbreitung des Begriffes „post-truth“[das Postfaktische] zu nennen: das Postfaktische be- zeichnet Umstände, in denen objektive Tatsachen weniger Einfluss auf das Zustandekommen öffentlicher Meinungen haben als Appelle an Gefühle oder Spekulationen. Nicht zufällig erhöhte sich während der Abstimmung über den Brexit und während des US-Präsidentschaftswahlkampfes der Gebrauch des Be- griffes um mehr als 200 Prozent.

Um herauszufinden, wie Künstler einer jungen, internationalen Generation mit den gegenwärtigen sozialen, geopolitischen und ökonomischen Instabilitäten umgehen, unternahmen die Kuratoren des Haus der Kunst im letzten Jahr eine Tour durch das Land. Denn auch die Gegenwartskunst reagiert auf diese Ten- denzen, indem sie sich intensiv mit Körper und Geist, dem Zusammenspiel von Wissen und Glauben, digitalen Welten und spiritueller Erfahrung beschäftigt. Ergebnis dieser Forschungsreise ist die Ausstellung „Blind Faith: Zeitgenös- sische Kunst zwischen Intuition und Reflexion“. (off. press)


Francis Bacon, Three Figures and Portrait, 1975, Tate © Estate of Francis Bacon

London, Tate Britain, bis 27. August 2018

All Too Human: Bacon, Freud and a Century of Painting Life

A landmark exhibition at Tate Britain will celebrate how artists have captured the intense experience of life in paint. All Too Human: Bacon, Freud and a Century of Painting Life will showcase around 100 works by some of the most celebrated modern British artists, with Lucian Freud and Francis Bacon at its heart. It will reveal how their art captures personal and immediate experiences and events, distilling raw sensations through their use of paint, as Freud said: ‘I want the paint to work as flesh does’. Bringing together major works by Walter Sickert, Stanley Spencer, Michael Andrews, Frank Auerbach, R.B. Kitaj, Leon Kossoff, Paula Rego, Jenny Saville, Lynette Yiadom-Boakye and many others, this exhibition will make poignant connections across generations of artists and tell an expanded story of figurative painting in the 20th century.

Groups of major and rarely seen works by Lucian Freud and Francis Bacon will give visitors a chance to immerse themselves in the rich sensuality and intimacy of these two modern masters. Key paintings spanning Freud’s career will explore his studio as both context and subject of his work and will show how his unflinchingly honest depictions of models became more sculptural and visceral over time, in works such as Frank Auerbach 1975-6 and Sleeping by the Lion Carpet 1996. In contrast to Freud’s practice of working from life, the exhibition will look at Bacon’s relationship with photographer John Deakin, whose portraits of friends and lovers were often the starting point for Bacon’s work, including Portrait of Isabel Rawsthorne 1966. Earlier works by Bacon like Study after Velazquez 1950 will be shown alongside a sculpture by Giacometti, both artists having explored the enduring presence of isolated figures. (off. press)


Kopenhagen, NY CARLSBERG GLYPTOTHEK, bis 2. September 2018

High on Luxury. Lost Treasures from the Roman Empire

The unique Roman silver treasure from Berthouville in France has previously only been exhibited in the USA and France. Now, exceptionally, it is coming to Denmark.
It is the 3rd century AD and the Roman Empire extends across vast areas of Europe. In these occupied regions, for better or for worse, the Romans spread their culture. This also includes a decadent proclivity for celebration and excess.

Visitors to the Glyptotek can give their imagination free rein as regards celebration and excess at the exhibition ”High on Luxury. Lost Treasures from the Roman Empire”. Here we shall be presenting the Berthouville Treasure along with a number of other luxury artifacts from the Roman Empire. To create the perfect Imperial Roman atmosphere in the exhibition, one can, while moving around between the ancient goblets, jugs and dishes, listen to podcast magazine Third Ear’s soundtrack, which takes the visitors back 2000 years to a feast at the home of the nouveau riche Trimalchio, which offers all one could desire of Roman decadence and ferocity. The Danish version of the soundtrack is recorded by Danish actor Thure Lindhardt.

Off to a Party with the Romans
Assuming one were fortunate enough to gain admission to a celebration with the Roman upper class the menu might stretch to such specialties as flamingo tongues, peahen eggs and  dormice sprinkled with honey. And everything accompanied by an endless supply of wine. Everything was served from jugs and goblets decorated with dramatic scenes from Greek mythology. The exquisite silverware, and, not least, the motifs with which it was decorated, played a key role in conversation at such gatherings. By displaying one’s knowledge of the myths behind the scenes depicted it was possible to demonstrate one’s cultural sophistication and intellectual prowess – or appear a complete fool through one’s lack of such knowledge. (off. press)


Alraune aus der Serie non-functional requirements, 2015, C-Print © VG Bild-Kunst Bonn, 2018

München, Lenbachhaus, 17. April – 9. September 2018

Stephan Dillemuth

Stephan Dillemuth is an artist of many hats. He is a newscaster introducing a video by Stephan Dillemuth; a painter chain smoking while awaiting inspiration; Friedrich Nietzsche grousing about Richard Wagner; and—in his longest running role to date—a professor of art pedagogy at the Academy of Fine Arts in Munich.

The parts that artists play in society and the art system are the crux of the artist and teacher’s work who is based in Bad Wiessee and Munich. Employing an open­ended research method which he terms 'bohemistic,' he delves into various forms of artistic life including the German life reform movement, Munich's early twentieth century Bohemia and the institution of the art school in order to unearth their meaning and potential.

When still an art student in Dusseldorf and Nuremberg, Dillemuth based his first paintings on regionally specific kitsch such as postcard motifs of couples and kids in traditional dress or angels from South Tyrolean churches. The Gallery of Beauties of Schloss Nymphenburg in Munich painted by Joseph Karl Stieler for King Ludwig the First of Bavaria and comprised of 36 portraits of “beautiful” women proved useful for Dillemuth as well. In 1985, he repainted all of them under the auspices of punk and hence at a time when conceptions of what was beautiful or ugly were turned upside down. Juggling with these extant aesthetic categories, he chose a subject that had the attendant effect of deflating the pathos of male identity that German neoexpressionist painting had come to stand for.(off. press)

Caspar David Friedrich , Wanderer über dem Nebelmeer, um 1817 , Öl auf Leinwand, 94,8 x 74,8 cm , Hamburger Kunsthalle , © SHK / Hamburger Kunsthalle / bpk / Elke Walford

Berlin, Alte Nationalgalerie, 10. Mai - 16. September 2018

Wanderlust – Von Caspar David Friedrich bis Auguste Renoir

Wer heute an das Wandern als Motiv in der Malerei denkt, der hat Caspar David Friedrichs berühmtes Gemälde „Wanderer über dem Nebelmeer“ vor Augen. Diese herausragende Leihgabe aus der Hamburger Kunsthalle bildet den Ausgangspunkt für eine Sonderausstellung in der Alten Nationalgalerie, die diesem für die Kunst überraschend zentralen Thema durch das gesamte 19. Jahrhundert bis hin zu Beispielen der klassi- schen Moderne nachspürt. 

Mit Rousseaus Parole Zurück zur Natur! und Goethes Sturm-und-Drang- Dichtung wird das Wandern um 1800 zum Ausdruck eines modernen Lebensgefühls. Angesichts der rasanten gesellschaftlichen Umbrüche seit der Französischen Revolution entwickelt sich in einer Gegenbewegung eine neue Form der entschleunigten Selbst- und Welterkenntnis, die bis heute nachwirkt. 

Seit der Romantik erobern sich Künstler die Natur zu Fuß und unter neu- en Aspekten. Dem Wandern wächst dabei in der Kunst die sinnbildliche Bedeutung der Lebensreise und der symbolischen Pilgerschaft zu. Die selbstbestimmte Fußreise eröffnet eine neue, intensive Art der Naturbegegnung und eine sinnliche wie auch körperliche Form der Weltaneignung. ... (off. press)



Der Tagliamento - der bedeutendste Wildfluss der Alpen. Foto: Bernhard Edmaier

München, Alpines Museum, 17. Mai 2018 bis 17. März 2019


gerade wild. Alpenflüsse

Ort: Alpines Museum, Praterinsel 5, 80538 München

Alpenflüsse wie der Tagliamento in Italien, die Isel in Osttirol oder die Verzasca in der Schweiz sind wilde Schönheiten, die mittlerweile jedoch die Ausnahme in den Alpen darstellen: Begradigungen, Staudämme, Wehre und die intensive Nutzung der Auen verhindern die natürliche Dynamik an und in den Flüssen – auch in den Bayerischen Alpen. Diesem Thema widmet sich der Deutsche Alpenverein in der neuen Sonderausstellung „gerade wild. Alpenflüsse“ im Alpinen Museum auf der Praterinsel.

Die Ausstellung ist Teil des Verbundprojektes „Alpenflusslandschaften – Vielfalt leben von Ammersee bis Zugspitze“. 18 Projektpartner – neben dem DAV auch der WWF, LBV, Bund Naturschutz, diverse Landkreise Oberbayerns und weitere Partner – arbeiten zusammen am Erhalt naturnaher Alpenflüsse und ihrer Tier- und Pflanzenarten. Das Projekt wird durch das Bundesamt für Naturschutz mit Mitteln des Bundesministeriums für Umwelt, Naturschutz und nukleare Sicherheit sowie mit Mitteln des Bayerischen Naturschutzfonds gefördert. (off. press)


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