VK

visits on art, design, architecture and literature

Category: museums/kunstverein/kunsthalle

Munich;discussion at Haus der Kunst “Intolerable: Giving Offence and the Limits of Free Expression”

Haus der kunst organized on Thursday night, Feb 13th an evening panel with three leading thinkers to engage in a discussion that tried to  illuminate  critical questions.  Panelists were  Matthias Lilienthal (director of the Munich Kammerspiele from September 2015), Hito Steyerl  (filmmaker and author (born in 1966 in Munich) lives and works in Berlin) and Joachim Bernauer  (director of the Goethe-Institut’s department of culture); the moderator is Okwui Enwezor, director Haus der Kunst.

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“The recent killings of journalists and police guards in the Paris offices of the satirical French magazine “Charlie Hebdo” have brought to public debate fresh appraisals of the relationship between intolerance, free expression, censorship, and the right to offend sensibilities, be they cultural or religious, political, or ideological. But there is not always an easy distinction of where to draw the limit of free speech and who has the right to impose a limit on expression, regardless of how offensive such expression may be deemed.

At the same time, questions posed by the killings in Paris can be analyzed from the view of the current conflicted state of global, multicultural societies. This issue becomes urgent, particularly when giving offence converges with intolerance under the guise of free expression. But is there a point when offensive images, expressions, and representations become intolerable? Is intolerance of certain types of expression the same as censorship of thought? Can there ever be a limitless sphere of free expression in today’s increasingly plural, multicultural, transnational, and global societies? These questions are all the more pertinent within the realm of artistic and cultural practice, particularly as they meet at the point where institutions must provide an open and unrestricted space for challenging ideas and concepts.” (haus der kunst, press release) 

more at Haus der kunst details 

Munich; walk thru_Haus der kunst with Okwui Enwezor of the exhibition David Adjaye: Form, Heft, Material

Thursday, february 5th at 7 pm : A walk thru with Okwui Enwezor, director of Haus der Kunst, with the Freunde of the exhibition that just opened few days ago of the heterogeneous work  architect David Adjaye (b. 1966): “Form, Heft, Material”

The survey exhibition, the most extensive of Adjaye’s career, is organized by Haus der Kunst and Art Institute of Chicago. It is curated by Okwui Enwezor, director of Haus der Kunst, Munich, and Zoë Ryan, John H. Bryan Chair and Curator of Architecture and Design at the Art Institute of Chicago.

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The heterogeneous work of architect David Adjaye (b. 1966) comprises approximately 50 built projects – from luxury shops and museums to libraries and social housing. His most recent commissions include the design of the National Museum of African American History and Culture in Washington, D.C., as well as the National Museum of Slavery and Freedom in Cape Coast, Ghana. The buildings of the Ghanaian-British architect are often developed in collaboration with artist friends, including the homes he designed for Chris Ofili, Sue Webster and Tim Noble, and Lorna Simpson and James Casebere (Haus der kunst, press release) 

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photos@VK (walk thru)

but here at picture gallery, you see some of Adjaye’s architecture 

Lectures and Seminars:
Thursday, 05.03, 7 pm
“Role Models: Approximations to David Adjaye”
Lecture by Nikolaus Hirsch, Respondent: Okwui Enwezor
In English

Friday, 06.03, 10 am – 2 pm
“Bau-Kunst”
Half-day seminar held by Nikolaus Hirsch
In German

Thursday, 09.04, 7 pm
“Form, Heft, Material — Works 2000-2014”
Lecture by David Adjaye
In English

more details here

Munich; at Haus der Kunst: Mark Leckey:”As If “and David Adjaye: “Form, Heft, Material”

HdK Preview opening  for  Mark Leckey: “As If “and David Adjaye: “Form, Heft, Material”

30.01 – 31.05.15  Mark Leckey: As If 

“….The exhibition’s layout at Haus der Kunst is structured according to four chapters: The show opens with autobiographical works – from “Are You Waiting” (1996), a precursor to “Fiorucci Made Me Hardcore”, to “MyAlbum: A Rough-Demo Video,” (2014-15) a filmed autobiography, which is premiered as a demo version. Mark Says Leckey: “‘MyAlbum’ is a record of all the events in my life during the twentieth century that I feel were significant. It is a memoir from 1954 until 1999.” In the central space, all five of the artist’s “Sound Systems” (2001–12) are presented for the first time as an ensemble…” (HdK exhibition release)

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more events for the exhibition here 

30.01 – 31.05.15 David Adjaye: Form, Heft, Material

The heterogeneous work of architect David Adjaye (b. 1966) comprises approximately 50 built projects – from luxury shops and museums to libraries and social housing. His most recent commissions include the design of the National Museum of African American History and Culture in Washington, D.C., as well as the National Museum of Slavery and Freedom in Cape Coast, Ghana. The buildings of the Ghanaian-British architect are often developed in collaboration with artist friends, including the homes he designed for Chris Ofili, Sue Webster and Tim Noble, and Lorna Simpson and James Casebere…” (HdK release)photo 2

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photos@VK

 

more on lectures and seminars on the exhibition 

Vienna; Velázquez at Kunst Historisches Museum

My wonderful 3 day visit to Vienna with my children by invitation of my wonderful friends Lina and Nikolas included on  Saturday morning to enjoy the amazing show of Velázquez (1599 – 1660) at the Kunst Historishes Museum.

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This major exhibition in collaboration with, among others, the Museo Nacional del Prado Madrid, who holds the largest collection of works by Velázquez and has been the main lender, the National Gallery in London and the Boston Museum of Fine Arts.

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28 October 2014-15 February 2015

The Kunsthistorisches Museum hosts the first show in a German speaking country of the work of the Spanish artist Diego Velázquez (1599 – 1660). In addition to Velázquez’ charming portraits of the royal children – one of the highlights of the Picture Gallery of the Kunsthistorisches Museum – the show comprises other genres such as kitchen still lifes, religious subjects, mythologies and history paintings, offering a comprehensive survey of the master’s versatility and virtuosity. Among the seminal loans to this exhibition are the “Rokeby Venus”, “Apollo in the Forge of Vulcan” and the “Adoration of the Magi”, all of which have never been shown in Vienna. (museum press release)

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my favorite painting and I took time to listen to my wonderful friend Nikolas that we visited together was ‘The Waterseller‘, as many regard Velazquez’s best work from his early years in Seville.  “… throughout Europe, watersellers were essential in Seville. Nonetheless, they were ranked newar the bottom of the social pyramid. But Velazquez reverses this completely and inbues the old man with dignity, although the higher social status of the boy clutching the full glass is clearly indicated by his fine clothes and light skin….”

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‘The Waterseller’, c.1922 London, Apsley House, The Wellington Collection  

My beautiful stay was highlighted as I stayed at my friends’ house  on the 19th,  in the beautiful historical villa of Heinrich Schnitzler, son of the great writer Arthur Schnitzler.

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and a visit at cafe  Demel

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and of course a Viennese cafe on Sunday morning at Cafe Central with Lina

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Dear  Lina and Nikolas thank you  for the great hospitality to me and my children over the weekend in Vienna.

Munich; finissage of Florine Stettheimer at Lenbachhaus Kunstbau and at Brandhorst Museum “Dark Pop-Extended Version”

A visit last Sunday afternoon at Lenbachhaus Kunstbau -last day the wonderful exhibition of Florine Stettheimer.   I have written in this blog during the opening of the exhibition, on Sept 27th, 2014 

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Her pictures and poems, her designs for studios and stages constitute a modern synthesis of the arts and a chronicle of urban life. Stettheimer painted beauty contests and the revelries of celebrities, skyscrapers, Wall Street, and consumer culture, anticipating many of the interests that would later animate Pop Art. Her oeuvre is a source of inspiration for some of the most fascinating artists working today.

At Brandhorst Museum, “Dark Pop-Extended Version, new installations of artists: Andy Warhol, Bruce Nauman, Robert Gober, Mike Kelley, Cady Noland, Jeff Koons, Louise Lawler et al.

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Achim Hochdoerfer, the new appointed director in 2014 of the Museum has done a wonderful and playful presentation of the collection and the new pieces that have been added. The Mike Kelley rooms are great, the Bruce Nauman in the same room with Polke and the Louise Lawler installation were my highlights.

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Pop Art’s seemingly blissful embrace of the consumer world was haunted from the first by a gloomy undertone. Warhol’s images of glamorous celebrities and glittering fetishes of consumption were interspersed with motifs of violence, sensationalism and metaphors of death. As if an icon, the tondo of Marilyn Monroe was created after her suicide. For its counterpart of the smiling Jackie Kennedy, Warhol used photos that were reproduced endlessly after the president’s assassination. These works seem to mirror back to us the cynicism of our supposedly enlightened pragmatism. (museum press release)

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and in my favorite rooms, the Cy Twombly sculptures

 

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photos@VK

Munich; Neue Pinakothek: Gustave Courbet “Schleuse im Tal von Optevoz” 1854

A rainy and misty afternoon brought me to Neue Pinakothek to see the painting by Gustave Courbet and much of research about “THE RIDDLE OF ‘THE SLUICE GATE AT OPTEVOZ”

27.11.2014-09.03.2015

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One painting in the Neue Pinakothek highlights the speed with which firmly established facts can dissolve in light of new research. ‘The Quarry of Optevoz’ was acquired in 1910 as a painting by Gustave Courbet, and has long been considered an important early example of the famous artist’s landscape paintings. A restoration of the painting, however, revealed that Courbet’s style and signature came from a later, posthumous revision, probably painted by Courbet’s contemporary Charles François Daubigny (1817–1878). The exhibition uncovers the thrilling story of this painting and sheds light on the context of its creation. (Neue Pinakothek press release)

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Gustave Courbet
Schleuse im Tal von Optevoz, 1854
© Bayerische Staatsgemäldesammlungen, Neue Pinakothek München

it is one of my favorite museums for sunday afternoons.. already the festive note is around.

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Munich; at Architekturmuseum “Lina Bo Bardi 100- Brazil’s Alternative Path to Modernism”

14.11.2014 – 22.02.2015
PINAKOTHEK DER MODERNE
ARCHITEKTURMUSEUM DER TU MÜNCHEN

Lina Bo Bardi would have turned 100 on 5 December 2014

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A misty rainy morning in Munich; what a perfect day  to re-visit  the wonderful exhibition at Architecturmuseum at Pinakothek der Moderne, “Lina Bo Bardi 100. Brazil’s Alternative Path to Modernism”

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Casa Do Chame-Chame, Salvador, 1958-1964/modellbauer

The Italian-Brazilian architect Lina Bo Bardi (1914-1992) defined her own particular artistic path through outstanding designs starting at the mid-twentieth century. In architecture as well as stage sets, graphic art, fashion and furniture design, she implemented impulses of Modernism, but interpreted them quite individually.

On the exhibition

Lina Bo Bardi  raised and educated in Italy, she played an important role in the development of modern architecture in Brazil.. She evolved an approach to design that was unique to her and which placed the social significance of construction and its cultural ‘architettura povera’, Linda Bo Bardi can be seen as a forerunner to today’s emergent socially driven ‘architecture engagee’.  One of her most important achievements was her ability to create buildings that were  widely popular among the local public and which defied conventional classification.  (museum press) 

The exhibition  beautifully conceived and installed by Dr Andres Lepik, director of Technische Universität/Architecturmuseum  and his team, is  featuring about 100 original drawings. The exhibition opens with a section dedicated to Bo Bardi’s formative years in 1930s Italy, as well as her first activities as editor and designer of such journals as Domus, Lo styles, and A. Cultura della Vita.   An installed cement brick wall runs thru the exhibition space and model makers placed in various positions ; ink jet photos on the wall; a video screening explores her innovative exhibition concepts. ” One of her most important achievements was her ability to create buildings that were widely popular among the local public and which defied conventional  classification. “

Needlees to say how much I enjoyed every single drawing as Linda Bo Bardi managed to bring me in Brazil so elegantly this misty rainy morning; as she says “I don’t produce that many drawings myself. only the essential ones.”

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The exhibition is accompanied by the release of a large catalogue that sheds new light on Lina Bo Bardi’s architectural achievements, examined from different angles. Featuring texts by Renato Anelli, Zeuler Lima, Cathrine Veikos, Sabine von Fischer, and Guilherme Wisnik, the catalogue will be available in two editions (English and German), published by Hatje Cantz.

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Lina siting on a Bardis Bowl
F. Albuquerque

Lina designed Bardi’s bowl chair in 1951. Here is a wonderful written piece on the project of Bardi’s chair by Dr Renato Anelli (architect and professor at the University of Sao Paulo

Munich; “Let’s Party 4 ART” PIN Party & Benefit Auction at Pinakothek der Moderne

I attended with many friends on Saturday evening;   22. November 2014 the PIN.Freunde der Pinakothek der Moderne at the  Rotunde of the Museum. Lots of great wine and the whole Munich was there.   Andreas Rumbler from the auction house  Christie’s Munich, brought a great amount to the PIN.   Great dance DJ till late morning hours..

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http://www.pin-freunde.de/de/pin-party/

Munich;Haus der Kunst-Anri Sala-conversation on his “The Present Moment ” ; Giorgos Sapountzis at Barbara Gross Galerie “Die Landschaften Griechenlands”

Last night at the Haus der Kunst, a very interesting discussion/analysis with Anri Sala; Bridget MacRae, solo cellist with the Münchener Kammerorchester [Munich Chamber Orchestra]; and Alexander Liebreich, artistic director of the Münchener Kammerorchester. Moderated by Patrizia Dander, curator of the installation “The Present Moment”.

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The discussion addressed  differences and points of contact between musical and visual artistic approaches, particularly in relation to the realization process of “The Present Moment”.

“The Present Moment” is on view at Haus der Kunst.  Anri Sala’s  point of departure was the string sextet “Transfigured Night (Op. 4)”, a chamber music composition by Arnold Schönberg. For this sound and video installation created in the context of the annual commission “Der Öffentlichkeit – Von den Freunden Haus der Kunst”, Sala adopted Schönberg’s piece in a sensitive manner, translating it into a spatial-temporal mediation on the experience of “temporal presence”  in an art form that is fleeting and ephemeral.

http://www.hausderkunst.de/en/agenda/detail/anri-sala-der-oeffentlichkeit-von-den-freunden-haus-der-kunst/

opening evening for Giorgos Sapountzis, new work at Barbara Gross galerie. “Die Landschaften Griechenlands”

…with materials familiar in his  practice, traversing the colorful fabrics, tubular metal rods, and a great animation video film.

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still from the animation film@VK

Ludwig I commissioned one of his favourite landscape artists Carl Rottman (in 1832, foreign powers established a monarchy in Greece after its liberation from Ottoman rule).  Rottman travelled to 23 locations in Greece’s mainland and coastline, during a 12 month trip to study the country’s scenery….

 

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…Sapountzis interested in how a scenography of a place effects its inhabitants, he  considers -crucially-how the past is embedded in the present rather that reading the history of Rottman’s Greek style directly in his work….

a tasty and intimate small dinner afterwards at Flower Cafe.

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Giorgos Sapountzis,classy thinker

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more here http://www.barbaragross.de/artists/53

 

 

Munich; Haus der Kunst; opening exhibitions:Mohamed Bourouissa, Tilo Schulz, and Victor Man

A wonderful Preview opening last night at Haus der Kunst for the Freunde of the new series of Capsule Exhibition:

“Capsule 01: Tilo Schulz”; “Capsule 02: Mohamed Bourouissa”; and “Victor Man – Zephir”

Tonight, before the public opening was an Opening Talk with Dorothea von Hantelmann, who has been a visiting professor for Documenta Studies at the University of Kassel since 2013, with the artists Tilo Shulz and Mohamed Bourouissa.

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Haus der Kunst inaugurates a new program of focused one gallery exhibitions that explore recent developments amongst a generation emerging international artists. The goal of the Capsule Exhibition series is to engage audiences in the production of new works by artists at critical points of artistic breakthrough in their careers. 

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Through his multimedia works, the French-Algerian artist Mohamed Bourouissa (born 1978) investigates strategies of subjectivation and representation that reside in the social, cultural, and economical margins of society. His works deal with value systems and how these impact their protagonists’ identities and self-perceptions. (Hdk press release)

A beautiful reception at the Golden Bar followed last night and tonight  a party with DJ NOMAD UNO – africaine 808, berlin

more on the exhibitions here http://www.hausderkunst.de/agenda/detail/eroeffnung-anri-sala-mohamed-bourouissa-tilo-schulz-victor-man/?no_cache=1

 

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