Blind Landscape - Modern Art Museum of Forth Worth
17.04.11 - 19.06.11
Blind Landscape - Museum of Contemporary Art Cleveland, USA
28.01.11 - 08.05.11
This survey presents a spectrum of the artist's most recent and ambitious projects created between 2005 and 2010. Featured among the exhibition's ten works is the artist's latest graphite and steel sculpture, Drawn Waters (Borrowdale) (2009); and Epic (2009), a monumental graphite wall installation. Resembling an immense, cascading branch, Vertigo (sotto en su) (2007) includes eight layers of precision-cut, highly polished metal woven into an intricate, reflective arboreal pattern that suspends from the ceiling high above the viewer.
'Nuit Bleue' - Sortie le 13 avril 2011
Projections de presse:
- Mardi 1er Mars, à 11h
- Jeudi 17 mars, à 11h
- Mercredi 6 avril, à 11h
A l'Espace Saint-Michel, 7 place Saint Michel, 75005 Paris
Réservation 01 55 79 03 43 ou firstname.lastname@example.org
'Femme objet / Femme sujet' - Abbaye Saint-André, Centre d'Art Contemporain, Meymac, France
Ida Tursic & Wilfried Mille, 'It was the dirty end of winter', Musée des Beaux-Arts de Dôle, Franche-Comté, France
18.01.11 - 30.04.11
Ida Tursic et Wilfried Mille ont fait l’objet de plusieurs expositions monographiques. Ils ont pris part à des expositions collectives telles que La Force de L’Art à Paris en 2005 ou The Freak Show au Musée d’art contemporain de Lyon (2007, reprise l’année suivante au Musée de la Monnaie de Paris). Ils ont remporté le 11e Prix Fondation d’Entreprise Ricard en 2009.
Pour leur exposition au musée des Beaux-Arts de Dole, ils présenteront une soixantaine d’œuvres récentes parcourant les thématiques de leur production (nus, scènes de genre, paysage). Elles rendront compte de leur relation particulière au monde de l’image, exprimée par des procédés plastiques variés. La scénographie de l’exposition tissera un fil d’ariane autour de ce questionnement sur le visible et sa représentation. Elle se basera sur le principe d’une déambulation orientée depuis la périphérie de l’espace pour se diriger vers son cœur, visant à mettre en œuvre « une expérience physique de l’exposition.
Almine Rech Gallery @ VIP ART FAIR
January 22-30 2011
The Fair will open on Saturday, January 22, 2011 at 8:00 a.m. EST and conclude on Sunday, January 30, 2011, at 7:59 a.m. EST. Browsing the Fair is free of charge.
To access interactive capabilities, visitors must have a VIP Tickets.
Visitors are encouraged to request an invitation in advance.
More information: www.vipartfair.com
'Gravity moves me' - FRAC Champagne Ardenne, Reims, France
04.02.11 - 17.04.11
Gravity Moves Me, première exposition institutionnelle de Tom Burr en France, réunit un ensemble d’œuvres inédites spécialement conçues par l’artiste américain pour les espaces du FRAC Champagne-Ardenne.
Une anthologie des textes de Tom Burr, éditée par le FRAC Champagne-Ardenne, est actuellement en préparation et sera publiée dans le courant de l’année 2011.
Commissaire de l’exposition : Florence Derieux
The shop @ Almine Rech
Almine Rech Gallery is pleased to announce the opening of “The Shop” on Saturday 20 November. The Shop located at 20 rue de l’Abbaye, in Brussels proposes limited editions as well as artists books and catalogues.
Occupying two floors, this new project will present new editions focusing alternately on artists who are currently at the forefront of the contemporary art scene. Visitors will notably discover a range of limited editions from Matthias Bitzer, Gregor Hildebrandt, Damien Hirst, Richard Prince, Anselm Reyle, Cindy Sherman, Matthieu Ronsse, James Turrell and Franz West.
The Shop will also give the gallery and its artists the opportunity to develop and present new projects through the creation of new editions and publications.
Creative Caribbean Network - Bass Museum, Miami Beach, Florida, U.S.A.
02.12.10 - 03.06.11
The Bass Museum presents the most comprehensive exhibition of the artist’s work in the last ten years. The exhibition features the US premiere of the installation Ten Thousand Waves along with films and photographs from earlier series Paradise Omeros, Baltimore and Vagabondia. In subtle yet complex narratives, Julien’s body of work is a meditation on the cultural impact of global migration. His installations are presented on an epic scale; poetic and art-historical references are interwoven into frank portrayals of human drama.
Katja Strunz @ Muzeum Sztuki w Lodzi
Afterimages of Life. Władysław Strzemiński and Rights for Art
11.30.10 - 02.27.11
Władysław Strzemiński is an iconic figure, one of the most radical artists connected with the inter-war avant-garde movement in Poland. He is also a crucial figure for the Muzeum Sztuki in Lodz: it is thanks to his efforts that the International Collection of Modern Art of the “a.r” group was created and marked the beginnings of the institution. Afterimages of Life is the first monographic exhibition of the artist in the period of the last 17 years. Its objective is the re-interpretation of Władysław Strzemiński’s works and placing them in the context of contemporary world. The multi-layered activities of Strzemiński aimed not only at transforming of the so-called high art – painting, sculpture, architecture – but also at transforming the broadly-understood design, which would eventually lead to transformation of men’s surroundings and their lives. Today, his attitude is generally interpreted solely in historical context but the questions to which he tried to find answers – what laws govern art, what are art’s rights, can art be separated from life and to what extent can art influence life – seem to be topical still.
What are „afterimages”, the key notion to Strzemiński’s theory of seeing? Physiologically speaking, retina retains the object for a longer time than the moment of seeing the ting actually lasts: it remembers the image although the gaze has already. This is why the eye has a possibility of overlapping and mixing images: those that are still on the retina, although we do not look at them anymore, and those we see in real time. It can thus be said that the overlapping of images makes it possible to transfer visual elements from one area onto the other, e.g. from painting onto sculpture, from sculpture onto architecture, from architecture onto life. This was some phenomena discovered in painting can be applied in everyday life, interior design, or even urban planning design.
The second part of the title: Władysław Strzemiński and Rights for Art refers to the artist’s deliberations on the „right” to which he devoted a large part of his research. Strzemiński was deeply convinced that art has the right to participate in life and life has the right to participate in art. Art then, according to Strzemiński should discover essential elements of life and create their artistic counterparts. Art is not a creation separated from reality but functions within it and results from it.
Broadening the field of interpretation of Strzemiński’s works, the curators invited a German artist, Katja Strunz, who re-works the theme of avant-garde in her own work, to cooperate in creating the exhibition. Thanks to her intervention in the shape of the architecture of the exhibition we are given a new commentary to the works of Strzemiński. Strunz, using the letters of Strzemiński’s alphabet created in the 1930s, put together the word Zeittraum, That outlines the space of the exhibition.
Afterimages of Life. Władysław Strzemiński and Rights for Art are the largest and the most important production of the Museum in 2010. The exhibition is accompanied by a series of lectures conducted by international guests, an analytic seminar of reading Strzemiński’s theoretical texts, a discussion panel and workshops and educational activities for wide audiences. Related to the exhibition, three publications will be issued: the exhibition catalogue, a brochure connected with Katja Strunz’s artistic design and a book consisting of interpretations aimed at filling the gap in research into Strzemiński’s works.
Władysław STRZEMIŃSKI (1893-1952) – is considered to be the most important figure of avant-garde art in Poland. A painter, graphic artist, theoretician and educator, he was the pioneer of avant-garde in the Poland of the 1920s and 1930s. The theory of Unism he developed is an important contribution to the history of world art of the 20th century. His theoretical activities dominated the avant-garde art. thought. He was the author of many books and articles: Unism in Painting (1928), Space Composition. Time-Space Rhythm and its Calculations (1931) – written together with his wife, Katarzyna Kobro – and Theory of Vision published posthumously (1958) count among the most important ones. A student and a close friend of Kasimir Malevich, he brought to Poland and disseminated the ideas of constructivism. He was a member of the most important avant-garde groups of the 1920s: „Blok” „Praesens” and „a.r.”. He was also the organiser of modern art: in 1929, with the members of “a.r.”, he begun collecting the International Collection of Modern Art that consisted of donations by the representatives of European avant-garde: Theo van Doesburg, Max Ernst, Kurt Schwitters, Pablo Picasso (lost during World War II) and others. In 1931, at the J. and K. Bartoszewicz Municupal Museum of History and Art in Lodz (today: Muzeum Sztuki), a room of modern art. was opened: one of the first permanent museum exhibitions in the world devoted to avant-garde art. Almost 20 years later, in 1948, Strzemiński designed the Neoplastic Room in the newly obtained building of Muzeum Sztuki, whose sole purpose was the presentation of the Collection. After the Second World War, Strzemiński was a lecturer at the Academy of Art in Lodz for a short time. In that time he passed on the avant-grade traditions onto the students in spite of the social realism starting to dominate in the field of art. He educated a generation of artists for whom his creative output has remained a reference point until today. It is thanks to himself and his wife Katarzyna Kobro that Lodz has come to be associated with avant-garde and modern art in general.
Place: ms², 19 Ogrodowa St.
Vernissage: 30th November 2010, 6.00 pm.
Exhibition design: Katja Strunz
Curators: Paulina Kurc-Maj, Jarosław Lubiak
Consultation: Zenobia Karnicka