Feb 29 – Jul 12, 2020
Opening: Feb 28, 2020, 6 pm
The extensive body of work of Swiss artist Christine Streuli (*1975, in Berne) appeals to viewers with colourful, mostly monumental allover paintings, which draw on a rich vocabulary of symbols, quotes, patterns, motifs and ornaments. The vividly coloured and energetic works and installations attract the audience, but also raise important, contemporary questions about nature and the craft of painting, as well as the examination of the flood of images surrounding us all.
Nov 23, 2019 – Feb 16, 2020
Der in Berlin lebende Luzerner Künstler Giacomo Santiago Rogado (*1979) hat im Bereich der Malerei neue Wege gefunden. Mit seinen Gemälden, die mehrmals in musealen Einzelausstellungen gezeigt wurden, hat er früh nationale Bekanntheit erlangt. Nach seiner Ausstellung im Helmhaus Zürich, 2014, ermöglicht das Kunstmuseum Solothurn eine Übersicht neuer Werke, die neben Bildern auch Arbeiten auf Papier, Skulpturen und Installationen einschliesst. Die Verbindung von Licht und Farbe zieht sich leitmotivisch durch das Schaffen und tritt bei allen Medien auf.
Die Qualität und Wirkung von Rogados Kunst verdankt sich dem experimentellen Willen, neue Techniken des Farbauftrags zu erproben. Neben herkömmlichen Pinseln kommen Farb-Bäder, Schablonen oder chemische Stoffe zum Einsatz, mit denen sich erstaunliche Effekte erzielen lassen. Oft kommt es auch zu einer Fortsetzung des malerischen Trompe-l’oeil, bei dem Schein und Sein kaum mehr zu unterscheiden sind. Dazu gehört auch, dass die Werke zeitgenössische Möglichkeiten elektronischer Bildbearbeitung suggerieren, aber doch stets von Hand ausgeführt sind. Diese fruchtbare Spannung zeigt sich auch beim Zusammenführen von stilistischen Gegensätzen zwischen Geometrie und Zufall.
Nov 1, 2019 – Jan 26, 2020
Summit meeting between two great painters: Works by the internationally acclaimed painter Katharina Grosse (*1961) are juxtaposed with the famous “bodies of colour space” by Gotthard Graubner (1930-2013). Two abstract artists from two generations, each adopting a very different artistic approach, being interlinked with each other due to the years both spent at the Düsseldorf Academy of the Arts during the 1980s and the belief in the existential power of colour. The outcome is an exhibition of “attracting opposites” and an intense dialogue of colour painting.
Sep 28 – Dec 1, 2019
Opening: Sep 27, 2019, 6 pm
Giovanni Segantini (1858–1899) is one of the most important painters of the late nineteenth century. In his paintings he created the image of an existence in harmony with nature. The simple, rural figures are embedded in the eternal cycle of the seasons, of birth, existence, and death. Beginning in 1887, in his Graubünden alpine scenes, the artist meticulously depicted the mountain landscape in allegorical visions of radiant luminosity, as a kind of painterly alternative to the reality of urban life. While Segantini, with his idealistic visions, is considered one of the main representatives of European Symbolism around the fin de siècle, Italian Divisionism, which was greatly influenced by him, shows him to be an innovator of painting.
Contemporary artworks will be grouped around the central series of works from the Otto Fischbacher Giovanni Segantini Foundation and other loans from public and private collections. The specific contributions by Dove Allouche (*1972), Philippe Rahm (*1967), Patrick Rohner (*1959), and Not Vital (*1948) revolve around the perception of mountains and the experience of nature from our present-day perspective. The exhibition will take place on the occasion of the 200th anniversary of the St. Gallen-based company Christian Fischbacher and will be an homage to the Otto Fischbacher Giovanni Segantini Foundation.
Sep 22 – Nov 17, 2019
Monika Brandmeier (*1959 in Kamen) studierte an der Fachhochschule Dortmund, der Hochschule für Bildende Künste in Braunschweig und schließlich an der Kunstakademie Düsseldorf als Meisterschülerin von Erich Reusch. Seit 2001 ist sie Professorin für Bildhauerei an der Hochschule für Bildende Künste Dresden.
Seit Ende der 1980er Jahre arbeitet Monika Brandmeier an Zeichnungen und Skulpturen, die klar und reduziert anmuten und doch wenig mit minimalistischen Positionen zu tun haben. Vielmehr folgen sie der Idee eines poetisch organisierten Raums und eines subjektiven Konzeptualismus.
In der für Recklinghausen geplanten Ausstellung werden sowohl Objekte als auch Installationen gezeigt. Dabei entstehen zahlreiche neue Werke, die sich mit der Situation des Kunstbunkers auseinandersetzen.
Sep 22, 2019 – Apr 19, 2020
Ausgehend von dem Thema Farbe zeigt die neue Ausstellung im PEAC Museum einen repräsentativen Ausschnitt aus der Sammlung des kürzlich verstorbenen Mäzens Paul Ege, dessen Interesse zeitlebens Bildern galt, die sich grundlegend mit dem Verhältnis von Materialität und Visualität auseinandersetzen.
Sep 14 – Nov 24, 2019
Opening: Sep 14, 2019, 5 pm
Die Gruppenausstellung unter der kuratorischen Leitung von Barbara Zürcher und Bruno Z’Graggen, ist dem Thema Natur gewidmet. Das Projekt will einem breiten Publikum zeigen, wie facettenreich zeitgenössisches Kunstschaffen Natur thematisiert im Zeitalter des Klimawandels, in dem das Verhältnis der Menschheit zur Natur grundlegend hinterfragt wird. Die Ausstellung schlägt unter Miteinbezug brasilianischer Positionen einen weiten Bogen von den Alpen bis zum Regenwald des Amazonas, dem bedeutsamsten Ökosystem unseres Planeten. Es werden 36 Kunstschaffende aus allen medialen Bereichen eingeladen.
Sep 5 – Nov 10, 2019
Since 1989, the Kunsthalle Düsseldorf, in cooperation with the Studienstiftung des deutschen Volkes, has organized the group exhibition of the past two years of recipients of the renowned Karl Schmidt-Rottluff Scholarship.
The foundation endowed by Karl Schmidt-Rottluff in 1975 awards two-year scholarships to up to five visual artists in the initial years after their graduation.
Sep 1, 2019 – Jan 5, 2020
Opening: Aug 31, 2019, 6 pm
Masks make us think of Carnival, of the rituals of African tribes, of death masks, theatre, film and fashion, as well as of role play, disguise and protection. Masks are an ancient, often controversial object of human cultural history. And masks also have a long tradition in the visual arts. But how is the subject being addressed in contemporary art?
The international group exhibition at the Aargauer Kunsthaus looks into this matter. Interest in masks among contemporary artists focuses not just on the mask as an object but also, and in particular, on its social, cultural and political implications. Between the opposite poles of showing and hiding and in a society in which skilful self-presentation is regarded as an indicator of personal success, the mask is highly topical. This motivates many artists to take up the subject and diagnose and reassess both the concept and the object from a contemporary point of view.
Aug 25 – Sep 29, 2019
Opening: Aug 28, 2019, 11 am
Der aktuellen „neo-konkreten“ Farbmalerei können erweiterte Ausdrucksmöglichkeiten und bemerkenswerte Wahrnehmungspotentiale zugeschrieben werden. Diese interessanten Qualitätsmerkmale basieren nicht zuletzt auf den vielfältigen Möglichkeiten unterschiedlichster Wechselwirkungen zwischen den angewandten Farben/Farbpigmenten (Öl, Acryl, Lack, Aquarell, Eitempera, Harz, Wachs etc.) und diversen Trägermaterialien. Das Spektrum „klassischer“ Träger (z.B. Papier, Leinwand) erfährt dabei u.a. durch Holz (MDF), Metalle (Aluminium, Kupfer), Stein, Glas, Plexiglas und Gips neue und spannende Erweiterungen.
Wie der Titel der geplanten Gruppenausstellung verdeutlicht, liegt der Fokus dieses Projektes auf der Präsentation von Werken gemalter Farbe auf Papier. Konkrete zeichnerische oder graphische Arbeiten bleiben außen vor. Gezeigt werden nicht nur zweidimensionale, d.h. flächige, an der Wand angebrachte, Farb-Arbeiten, sondern auch Werke, die in die Dreidimensionalität ausgreifen und als plastische Objekte den Raum besetzen. Darüber hinaus spielen installative Erscheinungsformen und ‚last but not least‘ auch Farbbücher/ Farbtagebücher, in denen das Medium Buch nicht über das geschriebene Wort als üblicher Informationsträger fungiert, eine Rolle. Einbezogen werden Farb-Künstlerbücher, die dem Charakter eines autonomen Kunstwerks entsprechen…
Jul 21 – Nov 3, 2019
Dazwischen war noch Platz. Nicht viel, aber genug für kleinere Formate. Vor dem Zwischen waren bereits die großen Leinwandbilder von François Morellet da. Linien und Striche, kurz oder lang, vertikal oder diagonal, systematisch berechnet oder nach dem Zufall verteilt, immer schwarz auf weiß.
Zwischen diese Morelletschen Geradlinigkeiten mischt sich nun eine bunte Reihe von Bildern und Objekten, die über einen Zeitraum von 50 Jahren gesammelt wurden, exakt 18 Werke von 17 internationalen Künstlern.
Jul 1, 2019 – Feb 23, 2020
Stretching nearly twenty feet wide by eight feet high, Mural (1943) is the largest painting Jackson Pollock (1912–1956) ever made, and it proved a breakthrough for the artist. Across the painting’s dense and vibrant surface, Pollock’s bold brushstrokes appear to dance rhythmically. Today, Mural is recognized as one of the pivotal achievements of Pollock’s career, the moment when he left figuration behind, expanded the scale of his work, and started to develop his signature drip technique. “I took one look at it,” the critic Clement Greenberg later said, “and I knew Jackson was the greatest painter this country had produced.”
At the MFA, Mural is presented alongside a newly commissioned work by German painter Katharina Grosse (b. 1961). Known for her large-scale site-related installations, Grosse is one of the most important painters of her generation. Since the late 1990s, she has used an industrial paint-sprayer to apply prismatic swaths of color to a variety of surfaces, eroding the distinction between two and three dimensions to create immersive visual experiences.
The unprecedented pairing of Pollock and Grosse’s work demonstrates how the artists have each transformed painting through their innovative techniques and approaches to color on a massive scale.
Mar 30, 2019 – Jan 5, 2020
Opening: Mar 29, 2019, 7 pm
Starting at the end of March 2019, the collection presentation “The Way We Are 1.0” will be featured on two floors constituting more than half of the overall exhibition space of the Weserburg. The exhibition includes works from a large number of collections, some of which have enjoyed a long association with the institution while others are new additions; also on display will be works from the Weserburg’s own collection as well as loans by artists who will be participating in a show at the Weserburg for the first time. The Way We Are 1.0 investigates more than one hundred and forty works by eighty artists from various contexts and times with regard to both their contents and their form. This focus gives rise to a succession of spaces which identify the thread connecting works of art from the 1960s all the way to today and which approach the themes of these works from various perspectives. The exhibition tracks down images of nature or special aspects of daily life; it explores such themes as the body, time or memory; it turns its attention to urban spaces or characteristics of language; and it presents fundamental positions of painterly abstraction or minimalist formal language.
Mar 24 – Sep 29, 2019
The anniversary program 25 Years Kunstmuseum Wolfsburg will present the most comprehensive overview of the collection to date. Founded in 1994, the collection now unites more than 600 installations, work groups, and individual works by 100 artists.
Mar 16 – Nov 24, 2019
The focus of the collection at the Graubünden Art Museum is on Swiss art with reference to the canton Graubünden, and for several years now also on international contemporary art relevant to the mountain canton. Part of this is the impact of the mountain landscape as well as the interplay between emigration and tourism. Mountains are places of myths but also of conquest. When the English travelled through Europe during their “Grand Tour” they discovered the Alps as being a spectacular site for their adventures. Today’s identity of the Alpine region is significantly characterised by this external viewpoint.
While artists grapple with vistas, panoramas, topographies and specific places, they also shape our ideas of landscape. In the collection presentation TRANSVERSAL, which includes selected items on loan, various aspects of landscape representations are thematised.
Mar 16 – Sep 29, 2019
On the occasion of its 20th anniversary, S.M.A.K. is presenting ‘The Collection (I): Highlights for a Future’ which includes about 200 works from the collection and, like the opening in 1999, it will occupy the whole museum. In this exhibition, S.M.A.K. wants to look mainly at the present and the future. Well-known classics, outstanding newer works and also recent additions to the collection are to be used to show the position of the museum and of art in contemporary reality and to make new links with other, sometimes surprising and less well-known works in the collection.
Feb 23, 2019 – Mar 28, 2021
The collection of the ZKM | Karlsruhe is one of the largest media art collections in the world. It exemplifies the transformation of art in the face of changing production, reception and distribution technologies. Artists react to the change in the media and sometimes anticipate developments that will become self-evident for society as a whole only years later: they are the story of the future.
Feb 2, 2019 – Jan 26, 2020
Blue Is the Color of Your Eyes is an exhibition where works by Louise Bourgeois guide us through an examination of issues of materiality and abstraction. The exhibition features, apart from Bourgeois, a group of internationally active artists who discuss and challenge sculptural and painterly expression in a variety of ways. The title Blue Is the Color of Your Eyes is taken from a work by Bourgeois that is on view in the exhibition.
Jan 12 – Oct 27, 2019
The Association of Friends of the Aargau Art Collection was founded in 1944 with the aim of enriching the collection of the Aargauer Kunsthaus with special acquisitions.