For the first time, Le Carré d’Art in Nîmes, Viallat’s birthplace, presents an exhibition dedicated to this artist, founder of the Support/Surface movement. The exhibition focuses on recent works by Viallat, taken directly from the artist’s studio. Paintings, sculptures and assemblages are presented to demonstrate the talent of this exceptional colorist.
A founding member of the Supports/Surfaces group and historic figure of French abstract art, Viallat is tirelessly developing a body of work which is at once instantly recognisable and constantly on the move. In addition to his paintings, the exhibition will feature numerous objects, somewhere between sculpture and fortuitous assemblage that are always at once precariously balanced and consummately elegant. Their playful simplicity dialogues constantly with the intense formal and chromatic pleasures of his painting.
CARRÉ D’ART-MUSÉE D’ART CONTEMPORAIN
PLACE DE LA MAISON CARRÉE – 30000 NÎMES
On the occasion of the “Celebración Picasso 1973-2023” program, a total of fifty events celebrating Picasso are being organized around the world, including an exceptional collaboration between the Picasso Museum and the Miró Foundation. Focusing on two themes, the friendship between the two artists and their attachment to Barcelona, the exhibition brings together over 250 works to be discovered at both the Picasso Museum and the Miró Foundation.
The exhibition is organised around six major chronological and thematic axes and will bring together a set of more than 250 works from public and private collections from all around the world with the aim of exhibiting, one beside the other, two artists who transformed 20th century art with their own voice and an unprecedented plastic intensity. From the time they met in 1917 in Barcelona to their last monumental projects, including the episode of the Pavilion of the Spanish Republic in Paris in 1937 or the interest in the ancestral technique of ceramics, the visitor will also discover how these two artists and friends shared many transcendental moments of their careers.
Miró-Picasso forms part of the events of the Picasso Celebration 1973-2023, which includes a total of 50 exhibitions dedicated to Picasso that will take place around the world between the autumn of 2022 and the spring of 2024.
The Fondation Louis Vuitton hosts the first mark Rothko retrospective in France since 1999. Bringing together over a hundred works from major collections, the exhibition chronologically traces Rothko’s fruitful career, from his first figurative canvases to his famous Color-Field all-over canvases.
The exhibition’s co-curator, Christopher Rothko, the artist’s son, offers an intimate look at Rothko’s work.
Judit Reigl 100 | Judit Reigl and the Second School of Paris
Octobre 4th 2023 - January 28 2024
To celebrate the centenary of Judit Reigl’s birth, the Mucsarnok in Budapest is presenting a collection of over 60 works representing the artist’s fine career. The exhibition retraces Reigl’s major periods, including her rare figurative paintings executed during her stay in Rome. It will also be an opportunity to rediscover the impressive canvases in Jean Claude Gandur’s collection, commemorating the Second School of Paris, a movement to which Reigl was associated with as soon as she arrived in the capital in the 50s.
The Musée d’Art Moderne de Paris presents a major retrospective dedicated to Nicolas de Staël, an emblematic figure on the post-war art scene. Bringing together over 200 works, including some never-before-seen pieces, the exhibition chronologically traces the artist’s development towards the pure, singular abstraction.
The exhibition will run at the Fondation de l’Hermitage in Lausanne from February 9 to June 9, 2024.
Echoing Claude Monet’s Water Lilies, on September 12, 2023, the Musée de l’Orangerie presented Sam Francis’ very large-format In Lovely Blueness, on a three-year loan from the Musée National d’Art Moderne / Centre de Création Industrielle, to which it had been donated in 1977 by the Scaler Foundation with contributions from Éric and Sylvie Boissonnas.
Sam Francis arrived in Paris in 1950 and stayed for a decade, during which time his work gained recognition. The format of this painting was inspired by Monet’s Water Lilies, which he discovered when the museum reopened in 1953. He titled the work In Lovely Blueness, recalling a poem by Hölderlin (In Lieblicher Bläue, 1823). Blue of the sky, as the poet wrote, blue of the ocean too, according to Sam Francis, this color reveals the lyricism of his view of the world.
The exhibition “The Vertical Knot”, devoted to the artist Jorge Eduardo Eielson (Lima, 1924 – Milan, 2006), offers the chance to examine his artistic output from the end of the fifties to the last works he created. Eielson is one of the most radical visual artists and poets, in the fullest sense of the word, as well as multifaceted, with different ways of questioning the world we live in through a synthesis of graphic pieces and cultural references.
This exhibition project, retrospective in nature and unprecedented in Europe, explores the artist’s relationship with the literary field, especially poetry, and that of visual arts. A fruitful dialogue featuring his thoughts on language. Language taken as a structure in which the symbol points equally to a beginning and an end, language that responds to graphic and visual codes that speak both to reason and to intuition.
Jorge Eduardo Eielson’s work is a corpus of worlds that converge and dialogue: the pre-Columbian past and the blue of a certain Mediterranean mythology, writing and plastic art, the concreteness of the sign and the infinity of space.
Curator : Imma Prieto
Coproduction with Es Baluard Museum of Contemporary Art of Palma
VASARELY BEFORE THE OP: European abstraction, 1945-1955
17 June to 15 October 2023
Fondation Vasarely, Aix-En-Provence
The Vasarely Foundation continues its partnership with the Centre Pompidou, Musée national d’art moderne-Centre de création industrielle for the 4th consecutive year, with the summer exhibition “Vasarely avant l’Op, une abstraction européenne, 1945-1955”. From June 17 to October 15, 2023, a selection of 35 major works on loan from the Paris museum, the Musée départemental Matisse, the Musée d’art moderne de la ville de Paris, the Hartung-Bergman Foundation, the Marta Pan Foundation, the Denise René Gallery and private collections will be presented in Aix-en-Provence, at the Vasarely Foundation for four months.
Exhibition with works by Agam, Jean-Michel Atlan, André Bloc, Simone Boisecq, Robert Breer, Geneviève Claisse, Jean Dewasne, Jean Deyrolle, Cesar Domela, Etienne Gilioli, Hans Hartung, Auguste Herbin, Robert Jacobsen, Berto Lardera, Alberto Magnelli, Richard Mortensen, Pablo Palazuelo, Marta Pan, Ideo Pantaleoni, Alicia Penalba, Edgar Pillet, Serge Poliakoff, Gérard Schneider, Pierre Soulages, Victor Vasarely and Nicolaas Warb.
Curator of the exhibition: Michel Gauthier
An exhibition in partnership with the Musée National d’Art Moderne Centre Pompidou
In the summer of 2023, the Fondation Marguerite et Aimé Maeght will present a monographic exhibition dedicated to the great artist Jean Paul Riopelle as part of “Riopelle 100”, the centenary of his birth. The exhibition will show Riopelle’s work as it has never been seen before – abstract and figurative painting, sculpture, ceramics, tapestry, engraving – thanks to numerous exclusive loans and the curatorship of his daughter, Yseult Riopelle.
This exhibition at the Fondation is the occasion for a special summer programme: concerts, film screenings on Jean Paul Riopelle, and the great return of dance to the Fondation with Noé Soulier’s “Passages” in sets that Riopelle had imagined for Merce Cunningham in 1967.
For the 2023 summer season, we are delighted to lend a historic work by Geneviève Claisse to the Château Bonisson near Aix-en-Provence. Curated by Marjolaine Levy, the exhibition is a dialogue between the contemporary abstraction of Léon Wuidar and the abstract artists Geneviève Claisse, Jo Delahaut, Auguste Herbin, Aurelie Nemours, Marthe Wéry and the contemporary Argentine artist Ad Minoliti.
177 route des Mauvares
Geneviève Claisse, H, 1970, Acrylic on canvas. 150 x 150 cm
The Musée d’Art Moderne of Paris is presenting the first major retrospective devoted to Norwegian artist Anna-Eva Bergman (1909–1987). This key figure in postwar painting was a free, visionary artist whose work, characterised by the use of gold and silver leaf, is a powerful celebration of the beauty of nature, the landscapes of the Far North, and the Mediterranean.
Exhibited all over the world during her lifetime (notably at the Musée d’Art Moderne of Paris in 1977, but also in Italy, Germany and Norway), Anna-Eva Bergman nonetheless remains under-appreciated in Europe today. Her work, with its singular painterly language based on a vocabulary of pure forms, merits considerably more attention in art history terms, alongside the work of such other great women artists as her contemporaries Hilma af Klint, Georgia O’Keeffe and Sonia Delaunay.
With its panorama of her entire output, the exhibition Anna-Eva Bergman, A Journey Within brings a decisively new slant to the rediscovery of this major artist. Comprising more than 200 works, the exhibition follows in the wake of MAM’s October 2019 retrospective devoted to Bergman’s husband Hans Hartung.
As part of the exhibition, the museum is presenting N°2-1964 Stèle, acquired during the artist’s lifetime, as well as the hundred or so works making up the Hartung-Bergman’s Fondation remarkable donation to MAM in 2017. This ensemble is rounded off by photographs, drawings and archival documents from the Fondation’s collections in Antibes, many of them never shown before.
In the Paris Musées catalogue edited by Hélène Leroy essays by French and Norwegian specialists detail the wealth of media used by Bergman and the highly individual deployment of metal leaf – gold, silver, aluminium, tin, copper, lead, bismuth – that became her maker’s mark. Other essays look into Bergman’s relationship to drawing and caricature, architecture and the golden mean, together with the exhibition and reception of her work after the war, and her kinship with the great masters of the past and such contemporaries such as Barnett Newman, Ad Reinhardt and Mark Rothko.
The Musée d’Art Moderne of Paris has collaborated closely on this project with the Fondation Hartung-Bergman in Antibes and the Nasjonalmuseet in Oslo, which will in turn devote an exhibition to Anna-Eva Bergman from 16 November 2023 to 25 February 2024.
In homage to Germaine Richier, the first female sculptor exhibited in the National Museum of Modern Art, in 1956, this retrospective brings together nearly 200 works – sculptures, engravings and drawings.
Drawing on previously unpublished research, the exhibition demonstrates the degree to which Germaine Richier occupies a central position in the history of modern sculpture, as a link between Rodin and the first César. Having trained in the tradition of Auguste Rodin and Antoine Bourdelle, over a period of little more than 25 years, between the 1930s and her premature passing in 1959, Germaine Richier asserted herself as profoundly original and radical in scarcely more than 25 years. The layout of the exhibition traces her artistic trajectory in chronological order, highlighting the major themes (the human, the animal, myths) that nurtured her practice as a sculptor. It reveals how Richier effected a revitalisation of the figure, forging new images of men and women in the post-war period.
Curator : Ariane Coulondre
The exhibition is organised by the Centre Pompidou, Paris, in collaboration with the Musée Fabre, Montpellier.
On the occasion of the opening of the cultural program “Timișoara 2023: European Capital of Culture,” the Timișoara National Museum of Art is hosting the most important and comprehensive exhibition in Eastern Europe dedicated to the surrealist artist of Romanian origin Victor Brauner.
The Official Opening of the exhibition is on February 17, 2023 at 16:00 in the Baroque Hall of the National Museum of Art Timișoara.
One hundred and twenty years after the birth of Victor Brauner in the Kingdom of Romania and curated by Camille Morando, this retrospective exhibition aims to pay tribute to a central figure of Surrealism, an artist little known until now in his country of origin. The curator has selected over 100 paintings, drawings, sculptures, illustrations, and documents covering Brauner’s entire artistic career, from Bucharest to Paris, from the 1920s to the early 1960s. All these invaluable works are brought together for the first time in a retrospective exhibition with a design signed by the architect Attila Kim.
“Victor Brauner: Inventions and Magic,” the most important retrospective exhibition in Eastern Europe dedicated to the surrealist artist of Romanian origin is financed by the Timiș County Council and is co-organised in the European Capital of Culture by the Centre Pompidou, the Timișoara National Museum of Art, the Art Encounters Foundation, and the French Institute in Romania–Timișoara branch, with the support of Comité Brauner and Fondation du Judaïsme Français.
The exhibition is open to the public between February 17 and May 28 2023.
The exhibition is accompanied by a bilingual catalog (Romanian/English) co-edited by the Arta Grafica printing house and the Art Encounters Foundation. Coordinated by Camille Morando, the exhibition’s curator, this catalog includes texts signed by prominent names of the cultural scene, such as Cătălin Davidescu, Catherine Hansen, Radu Stern, Bernard Blistène, Irina Cărăbaș, Andreea Foanene, Diana Marincu, as well as a Victor Brauner biography and old photographs selected by the editor.
Action, Gesture, Paint | Women Artists and Global Abstraction 1940–70
9 February - 7 May 2023
Whitechapel Gallery, London
Whitechapel Gallery presents a major exhibition of 150 paintings from an overlooked generation of 81 international women artists.
Reaching beyond the predominantly white, male painters whose names are synonymous with the Abstract Expressionist movement, this exhibition celebrates the practices of the numerous international women artists working with gestural abstraction in the aftermath of the Second World War.
It is often said that the Abstract Expressionist movement began in the USA, but this exhibition’s geographic breadth demonstrates that artists from all over the world were exploring similar themes of materiality, freedom of expression, perception and gesture, endowing gestural abstraction with their own specific cultural contexts – from the rise of fascism in parts of South America and East Asia to the influence of Communism in Eastern Europe and China.
The exhibition features well-known artists associated with the Abstract Expressionism movement, including American artists Lee Krasner(1908-1984) and Helen Frankenthaler(1928-2011), alongside lesser-known figures such as Mozambican-Italian artist Bertina Lopes(1924-2012) and South Korean artist Wook-kyung Choi(1940-1985). More than half of the works have never before been on public display in the UK.
Mary Abbott, Etel Adnan, Maliheh Afnan, Ruth Armer, Gillian Ayres, Ida Barbarigo, Noemí Di Benedetto, Anna-Eva Bergman, Janice Biala, Bernice Bing, Sandra Blow, Dusti Bongé, Chinyee, Wook-kyung Choi, Jay DeFeo, Martha Edelheit, Amaranth Ehrenhalt, Asma Fayoumi, Lilly Fenichel, Perle Fine, Else Fischer-Hansen, Audrey Flack, Elna Fonnesbech-Sandberg, Juana Francés, Helen Frankenthaler, Sonia Gechtoff, Judith Godwin, Gloria Gómez-Sánchez, Elsa Gramcko, Sarah Grilo, Grace Hartigan, Lilian Holt, Buffie Johnson, Yuki Katsura, Helen Khal, Elaine de Kooning, Lee Krasner, Bice Lazzari, Lifang, Bertina Lopes, Margaret Mellis, Marta Minujín, Joan Mitchell, Aiko Miyawaki, Yolanda Mohalyi, Nasreen Mohamedi, Emiko Nakano, Lea Nikel, Tomie Ohtake, Fayga Ostrower, Mercedes Pardo, Charlotte Park, Betty Parsons, Pat Passlof, Alice Rahon, Carol Rama, Marie Raymond, Judit Reigl, Deborah Remington, Britta Ringvall, Erna Rosenstein, Behjat Sadr, Nadia Saikali, Zilia Sánchez, Fanny Sanín, Miriam Schapiro, Sarah Schumann, Ethel Schwabacher, Sonja Sekula, Toko Shinoda, Sylvia Snowden, Janet Sobel, Vivian Springford, Franciszka Themerson, Alma Thomas, Yvonne Thomas, Hedwig Thun, Nína Tryggvadóttir, Elsa Vaudrey, Maria Helena Vieira da Silva, Michael West
Ouvert en 1982, grâce au legs de Valentine Prax, peintre et épouse du sculpteur Ossip Zadkine, le musée Zadkine célèbre cette année son quarantième anniversaire. À l’occasion de cet événement, le musée présente l’exposition Ossip Zadkine. Une vie d’ateliers qui entraîne le visiteur au cœur de l’atelier des deux artistes. Près d’une centaine d’œuvres en constitue le parcours, rassemblant une belle sélection de chefs-d’œuvre de Zadkine, mais aussi des peintures de Prax rarement montrées et de nombreuses photographies inédites, certaines de photographes de renom tels André Kertész ou Marc Vaux. L’exposition bénéficie également d’un prêt exceptionnel du musée de Grenoble, une Tête de jeune fille, parmi les premières têtes taillées dans le marbre par Zadkine à la Ruche. Le parcours occupe l’ensemble des salles du musée dans une scénographie renouvelée, qui évoque « l’esprit d’atelier ».
Pendant quarante ans, les murs et les arbres de cette demeure ont été témoins du quotidien et de la création du couple d’artistes. Depuis quatre décennies, le musée Zadkine conserve et valorise leur œuvre respectif, et plus particulièrement celui du sculpteur, artisan du renouveau de la sculpture au XXe siècle. À la fois lieu physique et espace mental, autant nid, abri que poste d’observation, cette maison-atelier se déploie comme habitacle des œuvres. Scène de la création, elle sert aussi de cadre aux mémoires de Zadkine et de Prax, et de décor aux nombreuses photographies qui font partie des archives du musée aujourd’hui.
L’exposition Ossip Zadkine. Une vie d’ateliers est l’occasion de révéler une partie de ces précieux témoignages et ainsi d’offrir au public une évocation incarnée de l’atelier des deux artistes. Dans un jeu de miroir, les photographies sont associées à des sculptures, des peintures et des dessins de Zadkine et de Prax, principalement issus de la collection du musée, pour faire apparaître leur lieu de vie et de création comme un tout ; car « autant qu’un morceau du monde, la maison est un monde en soi : celui que son propriétaire porte dans sa tête et qu’elle matérialise » (Mona Chollet, Chez soi : une odyssée de l’espace domestique, 2015).
Depuis les premiers ateliers que Zadkine a peuplé de ses sculptures dès son arrivée à Paris en 1910 jusqu’à l’atelier du jardin que le sculpteur s’est fait construire après-guerre, le parcours de l’exposition suit un principe chrono-thématique. Une partie introductive raconte les premiers ateliers dans lesquels Zadkine a vécu et travaillé, au cœur du quartier Montparnasse. Le second chapitre est consacré à la maison-atelier de la rue d’Assas où il s’installe en 1928 avec Valentine Prax, qu’il a épousée en 1920. La troisième et dernière section propose de se plonger dans le processus de création et l’effervescence de la vie de l’atelier.
Cécilie Champy-Vinas, directrice du musée Zadkine;
Pauline Créteur, chargée de recherche à la BnF
The exhibition Paris et nulle part ailleurs (Paris and Nowhere Else) immerses the public in the years of post-war tumult that saw the emergence of new artistic visions, in the fields of abstraction, figuration and kinetic art, between 1945 and 1972.
In the first half of the 20th century, Paris was the world capital of the arts, a hotbed for avant-garde movements, attracting artists and intellectuals from across the world. After World War 2, despite the increasing appeal of New York, Paris and – for many people – nowhere else, was still the place you had to go to be trained, to create, to exhibit, to compare your work with that of others, to write the very history of art.
Of the 15,000 artists active in Paris at this time, 60 to 65% of them were foreigners. Whether they spent a few months, a few years, left and came back, or settled there definitively, why did these artists come? How was their work impacted by this change in environment, how does it express that? Are their migratory paths similar to those of their compatriots? Paris et nulle part ailleurs examines 24 artists of various origins (Europe, Africa, Latin America, USA, Asia) who came to Paris and whose work helps us grasp the key issues of migration.
Organised into four themes: going into exile, blending home culture and host culture, reacting to the strangeness of the world they were discovering, building a universal language without borders, the exhibition covers the motivations for leaving, the experience of settling in, socializing, and a sometimes difficult everyday life in a more or less welcoming and cosmopolitan city, now their new home..
The exhibition features around one hundred works from private and public collections – drawings, sculptures, paintings, collages – by Shafic Abboud (Lebanon), Eduardo Arroyo (Spain), André Cadere (Romania), Ahmed Cherkaoui (Morocco), Carlos Cruz-Diez (Vénezuela), Dado (Montenegro), Erró (Iceland), Tetsumi Kudo (Japan), Wifredo Lam (Cuba), Julio Le Parc (Argentina), Milvia Maglione (Italy), Roberto Matta (Chile), Joan Mitchell (USA), Véra Molnar (Hungary), Iba N’Diaye (Senegal), Alicia Penalba (Argentina), Judit Reigl (Hungary), Antonio Seguí (Argentina), Jesús Rafael Soto (Venezuela), Daniel Spoerri (Romania), Hervé Télémaque (Haiti), Victor Vasarely (Hungary), Maria Helena Vieira da Silva (Portugal), Zao Wou-Ki (China).
For the first time a group of women concrete artists was the subject of an exhibition in Germany. The majority of the twelve artists who were presented have points of contact with one another, the collection of the Kunstmuseum Stuttgart, the City of Stuttgart, or the surrounding region. The show illuminated the life and work along with the educational and exhibition conditions for women before and after 1945 as well as their sponsors and networks. The role of pioneering women gallerists who helped to promote concrete art were also taken into account for the first time. The show traced the sociological aspects of the female biographies. This revealed how biography has influenced the creative development of the artists’ lifework and its public reception.
Over 120 works illustrated the varieties of concrete art ranging between system and intuition. The multidisciplinary work of the pioneers of modern art Sophie Taeuber-Arp and Sonia Delaunay shaped the entire living environment of the 1920s; Marcelle Cahn, Aurelie Nemours, Verena Loewensberg, Geneviève Claisse, and Clara Friedrich-Jezler explore the possibilities of artistic media—color, form, and surface; Vera Molnar has used a computer for the first time to make geometric compositions, and the sculptures by Katarzyna Kobro, Mary Vieira, Charlotte Posenenske and the acoustic works by Lily Greenham call for social, participatory engagement.
The exhibition architecture in the form of showcases and seating was created in cooperation with students from the Architecture, Fine Arts, Industrial Design and Textile Design departments of the Stuttgart State Academy of Art and Design.
Curator Eva-Marina Froitzheim Curatorial Assistant Tina Weingardt
Marcelle Cahn, Geneviève Claisse, Sonia Delaunay, Clara Friedrich-Jezler, Lily Greenham, Katarzyna Kobro, Verena Loewensberg, Vera Molnar, Aurelie Nemours, Charlotte Posenenske, Sophie Taeuber-Arp, Mary Vieira
To celebrate the centenary of Simon Hantaï’s birth (1922-2008), Fondation Louis Vuitton is organising an unprecedented retrospective exhibition curated by Anne Baldassari. It includes more than 130 of Simon Hantaï’s works, many of which have never before been shown, and the majority of which are large format works from 1957 to 2000.
Simultaneously, the Fondation will present La couleur en fugue exhibition, in which paint is free to escape the limited scope of the canvas.
The starting point for the didactic circuit is the painting Écriture rose (1958 – 1959, which was donated to the government by the artist. Musée national d’art moderne / Pompidou Centre). It goes on to explore the successive periods of his work: Peintures à signes, Monochromes, Mariales, Catamurons, Panses, Meuns, Études, Blancs, Tabulas, Peintures polychromes, Sérigraphies and Laissées, before concluding with the “last workshop”.
Hantaï’s works are shown alongside the works of other major artists that had an influence on the artist, including Henri Matisse and Jackson Pollock, whose artistic influences were decisive in Hantaï’s development, and Michel Parmentier and Daniel Buren, who were Hantaï’s peers in the 1960s scene at the Cité des Fleurs. An unprecedented in situ intervention by Daniel Buren, called Mur(s) pour Simon (“Wall(s) for Simon”) and designed as a tribute to Hantaï, is on display.
Curator and manager of the catalogue: Anne Baldassari
Fondation Louis Vuitton 8, Avenue du Mahatma Gandhi Bois de Boulogne, 75116 Paris
Claudine Drai, sophisticated French artist who has always investigated the relationship between the material and immaterial, between presence and absence, returns to Venice with an unprecedented project after the success of the exhibition “Le lien des mondes” in 2017.
This new project involves the genius of cinema Wim Wenders with a movie dedicated to the artist shown at the Teatrino of Palazzo Grassi and ACP – Palazzo Franchetti, in the fascinating spaces of the second Noble Floor, which today hosts, as well as exhibition halls important, also the Giorgio Morandi Library.
FROM FAUVISM TO SURREALISM. MASTERPIECES FROM THE MUSÉE D’ART MODERNE DE PARIS
February 11, 2022 - May 22, 2022
Musée Guggenheim Bilbao
The Musée d’Art Moderne de Paris (MAM) and the Guggenheim Museum Bilbao present a selection of nearly seventy masterpieces by significant artists that illustrates the history of the MAM collection while offering an overview of the avant-garde artistic movements born in Paris during the first decades of the twentieth century.
The MAM was built on the occasion of the historic Exposition Internationale (1937) to be a home to the collections of modern art of the city of Paris, which expanded rapidly in the following years thanks to major acquisitions of works by important artists of the Parisian art scene. However, MAM was only formalized as a museum in 1961. Patrons were an integral source of support for this project, especially Dr. Maurice Girardin, whose museum bequest of 1953 became the nucleus for the collection of modern masters, including the Fauves, Cubists, and representatives of the School of Paris.
Organized chronologically over three successive sections, from the beginning of the twentieth century to the period following World War II, the selection of works in this exhibition presents an historical perspective of the main protagonists involved in these pivotal artistic movements. The exhibition begins with representative works of Fauvism and Cubism, emphasizing those artists whose audacious freedom revolutionized art and changed traditional perception of landscape, human figure, and still life; followed by the generation of international artists who gave birth to the School of Paris during the interwar period; and finally a presentation of artists involved with Surrealism, which was led by the poet André Breton since its founding in 1924 in its historical home of Paris.
Through the present day, MAM continues its dynamic approach to acquisitions through its artistic and cultural policy of gathering exemplary representations of historical avant-garde movements. Many of these works are presented in Bilbao for the first time in this exhibition.
Curated by Fabrice Hergott, director of the Musée d´Art Moderne de Paris in cooperation with Hélène Leroy, curator of the Musée d´Art Moderne de Paris, and Geaninne Gutiérrez-Guimarães, curator of the Guggenheim Museum Bilbao
Exhibition organized by the Guggenheim Museum Bilbao and the Musée d’Art Moderne de Paris, Paris Musées
Bernar Venet, 1961-2021: 60 Years of Performance, Painting and Sculpture
January 20, 2022 - May 30, 2022
Kunsthalle Berlin, Aéroport de Tempelhof, Allemagne
In the most comprehensive retrospective of Bernar Venet’s work to date, more than 150 works show all facets of his 60-year oeuvre.
Bernar Venet Retrospective, 60 Years of Sculpture, Painting & Performance, 1961—2021. is the first in a series of exhibitions to unfold over the next two years in the Kunsthalle Berlin across the spectacular hangars 2 and 3 of Berlin’s emblematic Tempelhof Airport. The exhibition is the internationally-renowned French artist’s largest and most comprehensive retrospective in the world to date, spanning the entirety of his complex and widely diverse oeuvre as a sculptor, painter, performance artist – and radical conceptual artist. The exhibition will bring together over 150 works, reflecting the artist’s uncompromising approach and natural obsession for constantly shaping his environment through his art.
The retrospective charts the trajectory of the artist’s career from his very beginnings in his studio, which was made available to him by the French army during his military service, and from which the cornerstone of a body of work that has repeatedly called itself into question. Venet has consistently affirmed his concept of art as an attitude which extends far beyond the formal and the spatial. His aspirations to this day are firmly rooted in the unbounded desire to simply never accept the world as it is, instead lending it his own perspective. Landscapes and spaces suddenly assume a new dimension, allowing the observer to differently view – and feel – the energetically charged space in which his signature steel lines, arcsand angles are installed.
The exhibition is a personal homage to Dr. Paul Wember, as Venet pays tribute to the director of the Kaiser Wilhelm Museum in Krefeld.
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