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.
Dec 13, 2019 – Jan 19, 2020
How do you turn a listening experience into the subject of an exhibition? How do you visually reproduce the idea that some music can be considered like painting with sounds, some films like compositions with light, and some paintings like scores whose music unfolds within us? How do you evoke forms and images that relate to the feeling of immersion within the space and time of an art gallery? By repetition, you start noticing details in the landscape is a quote by North American composer Terry Riley. It is the starting point of a project in the form of a constellation that reflects the emergence in the early 1960s in San Francisco and the Bay Area, of a music expanding into horizons and climates, fostered by the re-evaluation of the fundamental virtues of the sound phenomenon – psychophysical, spiritual and political – namely taking distance with the European academic heritage. Gathering close to fifty artists, the exhibition at Le Commun connects the works, films and archives of a group of historical personalities with works specifically produced for the occasion by upcoming artists. It also includes a selection of films at the Dynamo and Spoutnik cinemas, as well as concerts at the cave12, Alhambra and Théâtre du Galpon.
Nov 24, 2019 – Jan 6, 2020
Opening: Nov 23, 2019, 7 pm
A special Regionale is taking place at the Kunsthaus Baselland, one of the co-founders of this key large-scale exhibition in the Swiss-French-German border triangle, marking its 20-year anniversary. A significant focus lies on the crossing of borders and this shall be accompanied by a broad programme of events.
It’s worthwhile stepping out – outside the familiar, the established and the obvious too. For 20 years the Regionale has been a major exhibition within three countries’ various institutions. We see the Regionale as an invitation to encounter different artists from the region, and thus make new discoveries, as well as to move oneself, going from place to place and crossing borders. For that reason, in this anniversary Regionale we place the emphasis on artists who work from the walls into the space, with their works, sculptural installations or interventions. In addition, and equally a part of the exhibition, we want to open up other spaces, to visit neighbouring institutions, to discuss and experience the works of the exhibiting artists. So this is a joint invitation: to exhibitions and on excursions and, above all, an invitation to move.
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 8, 2019 – Oct 4, 2020
100 paintings, objects, and films from around 40 international contemporary artists invite us to intuitively approach art from an emotional perspective.
The exhibition features contributions from the following artists:
Hans Aichinger, Jan Albers, Monika Baer, Heike Kati Barath, Vlassis Caniaris, Gregory Crewdson, Alex Da Corte, Nathalie Djurberg und Hans Berg, Drei Hamburger Frauen, Marlene Dumas, Elmgreen & Dragset, Tracey Emin, Gotthard Graubner, Wade Guyton, Thilo Jenssen, Nikita Kadan, Tadeusz Kantor, Ruprecht von Kaufmann, Mike Kelley und Paul McCarthy, Jochen Klein, Rosa Loy, Rosilene Luduvico, Stephan Melzl, Olaf Metzel, Robert Morris, Miwa Ogasawara, Catherine Opie, Laura Owens, Beate Passow, Richard Prince, Bernhard Prinz, Alexandra Ranner, Wilhelm Sasnal, Markus Schinwald, Norbert Schwontkowski, Cindy Sherman, Sam Taylor Johnson, Rosemarie Trockel, Gillian Wearing, Amelie von Wulffen and Artur Zmijewski.
Nov 8, 2019 – Mar 15, 2020
In late autumn 2019, Museum Folkwang will present a show that transcends media and epochs to explore the major societal issues and upheavals of the last 150 years. The Assembled Human presents art as a mirror of industrialisation, technologisation and digitisation. It provides a cultural-historical survey that encompasses key works of painting and graphic design, early experiments in photography, installations and films, along with recent works of Post-Internet Art.
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, 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 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.
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.
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.