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Agnieszka PolskaHorse Head, 2018© Agnieszka Polska

Berlin, Hamburger Bahnhof - Museum für Gegenwart, 27.09.2018 - 03.03.2019

AGNIESZKA POLSKA: THE DEMON’S BRAIN 

Der 9. Preis der Nationalgalerie wurde im Herbst 2017 an Agnieszka Polska (geb. 1985 in Lublin) verliehen. Aus diesem Anlass präsentiert der Hamburger Bahnhof – Museum für Gegenwart – Berlin ab dem 27. September 2018 in der Historischen Halle eine Mehrkanal- Videoinstallation der Künstlerin, die eigens für ihre Einzelausstellung entstanden ist. 

 

In ihren Werken verbindet Agnieszka Polska Realfilm mit animierten Sequenzen. Ihre Bildsprache beruht auf der verschlüsselten Aneignung kultureller Erzeugnisse. Oft von einem irritierenden Unterton getragen, stellen Polskas suggestive Videos auf eine poetische Weise die Frage nach dem Zustand der gegenwärtigen Welt und der Verantwortung des Einzelnen. Ausgangspunkt von Polskas neuem Filmprojekt ist ein Schriftverkehr aus dem 15. Jahrhundert zwischen dem Verwalter der polnischen Salzbergwerke, Mikołaj Serafin, seinen Kreditgebern und Schuldnern sowie seinen Angestellten. In einem für die damalige Zeit einzigartigen Abkommen wurden die Bergwerke durch den König an Serafin verpachtet und funktionierten somit wie ein frühkapitalistisches Unternehmen innerhalb der feudalen Gesellschaftsordnung. 

 

In der raumgreifenden Video- und Toninstallation erzählt Polska die Geschichte des Boten, der Serafins Briefe übermittelt und selbst weder lesen noch schreiben kann. Eines Tages verirrt sich der Junge in einem Wald. Dort löst eine unerwartete Begegnung eine halluzinatorische Vision in ihm aus, in der sich christlichen Vorstellungen des Weltuntergangs mit heutigen Problemen und Theorien von Ressourcenverbrauch und Informationsökonomik verbinden. (off. press)



Reverse of Girl with Parrot by Pieter Cornelisz. van Slingelandt, Dutch, ca. 1654–75, SMK.

Kopenhagen, SMK, 8. Sept. 2018 - 10 März 2019

Flip Sides

SMK shows you an entirely new side to art as the museum turns selected works of art around to display their reverse. Called Flip Sides, this new exhibition is created on the occasion of the Golden Days festival and its theme, The B-sides of History.

The National Gallery of Denmark takes the theme of this year’s Golden Days festival quite literally. The B-sides of History is about all the things that lay hidden; those things you do not see at first glance. In this exhibition, the museum turns selected works of art around, allowing visitors to view their flip sides and explore the unseen stories that lie hidden around their back.
 
Some flip sides reveal an earlier work of art being recycled – or perhaps the early beginnings of a painting that was soon abandoned, causing the artist to simply turn the canvas around and start over. There may be coats of arms telling us about previous owners, or traces of restoration and conservation treatment.
 
When we flip over the Dutch painter Pieter Cornelisz. van Slingelandt’s Girl with a Parrot, we see that the oak frame has been given a light ground followed by a thin brown layer of pigment, just as if it were to be used as the front. At this time in art history, artists would often do this to their better panels in order to stabilise them. (off. press)
 

 


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

München, Alpines Museum, bis 17. März 2019

 

Sonderausstellung

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)

 

 


Bunny Rogers, Untitled, 2018, © Bunny Rogers

Frankfurt/Main, ZOLLAMT, MMK 26. Januar 2019–28. April 2019

Bunny Rogers. Pectus Excavatum

Das Reale konstituiert sich in der permanenten Überschneidung mit dem Symbolischen und dem Imaginären. In welcher Gewichtung die drei Elemente sich verknüpfen, liegt am einzelnen Individuum wie an seiner Gegenwart. Im Werk von Bunny Rogers verschmelzen Affekt, Erfahrung, Identifizierung und Gemeinschaft, Fiktion und Realität, Imagination und physische Präsenz zu einem gegenwärtigen Subjekt, dessen veränderte Wahrnehmung für eine ganze Generation steht. 

Das Wissen über die wirbellosen Lebewesen in den nachtschwarzen Meerestiefen der Ozeane ist gering, die Imagination dagegen seit Jahrhunderten groß. So wurden Riesenkalmare in ihrem eigenen Lebensraum noch nie gesehen, einzig geschwächt und verwirrt im Hafen, tot am Strand oder in Mägen von Pottwalen. Ihre Sensorien wie ihr Verstand – so legen Studien an kleineren Oktopoden dar – sind hochsensibel, ihre Wahrnehmung ausdifferenziert. Da ihre Augen durch den vergleichsweise geringen Lichtverlust äußerst empfindlich sind, können sie in den Tiefen der Meere wahrnehmen, was uns verborgen bleibt. 

In ihrer Ausstellung Pectus Excavatum lässt die US-amerikanische Künstlerin Bunny Rogers (* 1990) eine Landschaft entstehen, in der Drinnen und Draußen, Bergspitzen und Meerestiefen ineinandergleiten und legt damit den Rahmen unserer so präzisen wie vereinfachten Vorstellungen von Natur offen, in denen Wissen und Erfahrung untrennbar mit der Imagination verbunden sind. Gerüche lassen Erinnerungen emporsteigen, die Hände gefrieren im Eis. Alle Elemente bewegen sich an der Grenze von Naturalismus und Fiktion, sie sind körperlich präsent wie digital, Erfahrungsraum und Bild zugleich. (off. press)



Sonja Ferlov Mancoba, Living Branches, 1935. Museum Jorn Silkeborg.

Kopenhagen, SMK, until 5 May 2019

Sonja Ferlov Mancoba: No-one creates alone

She only rarely exhibited her sculptures, put few on the market and lived most of her life in abject poverty. With the exhibition Sonja Ferlov Mancoba, the National Gallery of Denmark (SMK) brings to light one of the most important and uncompromising Danish artists of the modern age.

Yellowing newspaper cuttings, drawings, personal letters, conversations recorded on cassette tapes, school photographs and books. In the spring of 2017, SMK received seven crates full of archival materials from the Paris home and studio of the Danish sculptor Sonja Ferlov Mancoba (1911–84). With these materials came a unique opportunity for delving into new narratives about her life and art.

The archival materials formed the basis of a new, major monographic exhibition at SMK. The exhibition Sonja Ferlov Mancoba presents 140 works by the artist – including several original plaster and clay sculptures that have never been on public display before, shown alongside drawings, paintings and collages from the years 1935 to 1984.

The great community

A global outlook runs through all of Ferlov Mancoba’s art and life. At an early stage of her career she developed her own, powerful idiom – a plastic language that grew out of, among other things, a keen interest in non-Western culture. The seeds of that interest were sown back in the 1920s, when as a young girl Ferlov Mancoba was introduced to African art in the home of the Danish collector Carl Kjersmeier. She retained this enthusiasm all through her life, further nourished by her partner, South African artist Ernest Mancoba. The couple met in Paris in 1939, married in 1942 and stayed together for the rest of their lives with their son, Wonga, born 1946. (off. press)

 

 


Pierre Bonnard, Stairs in the Artist's Garden, 1942-4, National Gallery of Art (Washington, USA)

London, Tate Modern, until 6 May 2019

 

The C C Land Exhibition: Pierre Bonnard: The Colour of Memory

Tate Modern presents the UK’s first major Pierre Bonnard exhibition in 20 years, showing the work of this innovative and much-loved French painter in a new light. The exhibition brings together around 100 of his greatest works from museums and private collections around the world. It reveals how Bonnard’s intense colours and modern compositions transformed painting in the first half of the 20th century, and celebrates his unparalleled ability to capture fleeting moments, memories and emotions on canvas.

Spanning four decades from the emergence of Bonnard’s unique style in 1912 to his death in 1947, this exhibition shows how the artist constructed his vibrant landscapes and intimate domestic scenes from memory. At once sensuous and melancholy, these paintings express moments lost in time – the view from a window, a stolen look at a lover, or an empty room at the end of a meal. These motifs can be seen in breakthrough works like Dining Room in the Country 1913 (Minneapolis Institute of Art) in which he brought interior and exterior spaces together to create a vibrant atmosphere, while the bright colours of works like The Lane at Vernonnet 1912-14 (Scottish National Gallery of Modern Art, Edinburgh) exemplify how his joyful palette could still evoke the poignancy of a moment gone forever.

 

The exhibition emphasises Bonnard as a 20th century artist who – like his friend and contemporary Henri Matisse – had a profound impact on painting and became an influential figure for later artists like Mark Rothko and Patrick Heron. Bonnard is repositioned as a man engaged with the world around him, revealing overlooked areas of his activities – from his frequent travels around France to his response to the First and Second World Wars. Alert to his surroundings, he developed unconventional compositions in his paintings of everyday life: his landscapes collapsed into layers of dense foliage, such as Summer 1917 (Fondation Maeght), and street scenes, as in Piazza del Popolo, Rome 1922 (private collection), were simplified into friezes. Perhaps most famously, his interior scenes like Coffee 1915 (Tate) and Nude in an interior c.1935 (National Gallery of Art, Washington) caught domestic life at uncanny moments and reframed them from snatched points of view. (off. press)

 


Madrid, Museo Nacional Thyssen-Bornemisza, From 19. Feb. to 26 May 2019

Baltus

The Museo Nacional Thyssen-Bornemisza presents a retrospective exhibition on the work of the French artist Balthasar Klossowski de Rola (19082001), known as Balthus. It is organised in conjunction with Fondation Beyeler in Riehen/Basel, where it is on show until January 2019, with the generous support of the painter’s family. 

Hailed as one of the great masters of twentieth-century art, Balthus is undoubtedly also one of the most unusual painters of his time. His diverse, ambiguous paintings, as admired as much as they are rejected, developed in virtually the opposite direction to the avant-garde movements. The artist himself explicitly stated that some of his influences in art historical tradition were Piero della Francesca, Caravaggio, Poussin, Géricault and Courbet. A closer analysis also reveals references to more modern movements such as New Objectivity and the devices used in the illustration of popular nineteenth-century children’s books such as Alice in Wonderland. His indifference – which could be described as ‘post-modern’ – of modern trends, Balthus developed a unique, personal figurative style that defies classification. His particular pictorial language characterised by bold forms and very marked contours combines the procedures of the Old Masters with certain aspects of Surrealism, and his images embody many contradictions, mixing calm with extreme tension, the dream world and mystery with reality, and eroticism with innocence. In his urban scenes and interiors but also in his landscapes and still lifes, the picture space becomes a stage set in which the viewer is invited to take part, while time appears to grind to a standstill. (off. press)



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