Archive for the Beaux Arts category
Max Klinger at the Museum of Modern and Contemporary Art, Strasbourg, and OH MAH GAWD IS SHE BACK OR WAT
by Suzanne on July 22nd, 2012
An die Schönheit; Vom Tode Zweiter Teil by Max Klinger, etching, 1890, courtesy V&A London – click to enlarge
Hi. I guess I’m back. Let’s see whether I can still werq dis blog, yo.
In case you were wondering, I’ve been mainly hanging out over on FB (yes, yes, I know… stop looking at me like that – it just so happens that most of my online contacts are over there and it’s just been too convenient to stay in touch). Anyway, just like most other anti-social online platforms, I’m using FB in a very unusual and actually useful way so if you care about getting a more daily dose of Wurzeltod®, you can subscribe to its public updates.
I’ll try to do a better job at mirroring my FB posts to my Twitter like I used to do in the past for all those of you who rightly boycott FB, but let’s face it, it’s just not in my nature to ever be concise enough to tweet successfully.
I have also fed the forum with loads of new content, so go check it out and please note that a lot of the posts are NSFW. I can highly recommend the Symbiosis/Parasitism/Mutual Decay, the Eros & Thanatos as well as the Eyeballs thread. They make me happy. Yes they do.
Flickr update is also imminent, btw, maybe this news is of interest to those of you who still mainly remember me for sporting industrial insulation tape on nipples and other shit we used to do on Fotolog in the early noughties for reasons I now ABSOLUTELY cannot remember.
NEVER MIND.. on to more important matters now: Art that doesn’t suck. We’ll start with painter, sculptor and engraver genius Max Klinger.
Brahmsphantasie, Opus XII: Abduction of Prometheus by Max Klinger, etching, 1894 – click to enlarge
Max Klinger. We had him here back in 2008 with two examples from his magnificent dream-inspired Paraphrases about the Finding of a Glove series from 1881.
Now the Museum of Modern and Contemporary Art in Strasbourg is presenting a vast range of his engravings in a show called Max Klinger – The Theatre of the Bizarre which, as the title suggests, hopes to focus on how Klinger was forever driven by dream imagery and the relentless search for ways to visualise the cryptic, the elusive, the primordial, the eldritch, the uncharted, the subconscious.
Strasbourg hasn’t sent me the press login through yet but with the museum’s graphic arts room housing nearly 200 of Klinger’s engravings, I can guarantee you that you will find some fantastic oneiric trouvailles at this retrospective.
Rettungen Ovidischer Opfer, Opus II: Erstes Intermezzo by Max Klinger, etching, courtesy British Museum London – click to enlarge
On show: May 15 – Sep 16, 2012
Hours: Tue – Sun: 10 AM – 6 PM
by Suzanne on February 18th, 2012
A Study of “Because Cathy taught him what she learnt” by Hisaji Hara, 2010 – click to enlarge
I think it must have been the lovely Nana Rapeblossom who first introduced me to Hisaji Hara‘s work a few months back and I must admit that it comes as a bit of a surprise to see him showing at Michael Hoppen now.
Don’t get me wrong, I have nothing against Hoppen as it’s a fantastic gallery with superb curating and as a matter of fact, they’re also hosting a marvellous Guy Bourdin show at Hoppen Contemporary right now – but it seems I had just subconsciously assumed that for his first solo show on European soil, he would choose a museum rather than gallery context given his penchant for highly composed arrangements and established European painters, especially (and obviously) Balthus.
A Study of “But it was one of their chief amusements to run away to the moors” by Hisaji Hara, 2010 – click to enlarge
There’s softened spatial serenity, composed simplicity, powdered sexuality, layered architecture, and ahistorical frozen theatricality to his works which are all aspects that are becoming ever rarer in a contemporary photography landscape which often seems dominated by the ironic dirty scenester snapshot so it’s a huge joy and inspiration to see such works being appreciated “over here”. Definitely a must-see for all London folks.
Opens Feb 24. Details below.
A Study of “Katia Reading” by Hisaji Hara, 2009 – click to enlarge
On show: Feb 24 – Mar 31, 2012
Hours: Mon – Fri: 10.30 AM – 6 PM, Sat: 10.30 – 5 PM
by Suzanne on December 26th, 2011
To wrap up 2k11 on the Wurzelblog, I decided to post the 20 articles you guys liked best – according to likes, shares and reactions – and I must say, you’ve got a rather amazing and futureproof taste in the arts, people.
Many thanks for taking the time to submit stories, comment and interact in the past year(s).
(In order of popularity and ordered into rather random categories. Click on images to read stories.)
ART FEATURES & REVIEWS
HISTORY & SCIENCE
by Suzanne on November 19th, 2011
La poupée by Hans Bellmer, painted wood, papier-mâché, mixed media, 1935/36, 61×170×51 cm, courtesy Centre Georges Pompidou, Musée national d’art moderne, photo © Collection Centre Pompidou/Vertrieb RMN/Georges Meguerditchian/ProLitteris – click to enlarge
I dislike the way big art metropoleis *cough* London *cough* always label their sell-out shows *cough* Leonardo da Vinci *cough* as “Shows of the Century” when - IF you can afford the outrageous admission prices at all - these shows are normally so totally overrun you really can’t appreciate the art or are even given a specific time slot and need to get the hell out after 30 minutes. Trust me, I know. I actually went to the last “big da Vinci thing” in London a couple of years back but I can’t even recall whether it was at the V&A, the Royal Academy or the British Museum. All I remember is that I COULDN’T SEE SHIT and people had the NERVE to bring their Dan Browns along. Jesus Christ.
Anyways, so thankfully, there’s always the smaller, quieter places that put on masterpieces of curating in the middle of nowhere – pretty much overlooked by the international media.
Well, one such tremendous art historical chef-d’oeuvre of a show is currently taking place at the Fondation Beyeler in Riehen near Basel.
Amongst the usual suspects that I won’t even bother mentioning here because the Beyeler is pretty notorious for its huge collection of surrealist art, you will meet the conjoined limbs of Hans Bellmer, the giant eyes of Paul Delvaux, the apocalyptic dreamscapes of Max Ernst and the sculptural synaesthesia of Méret Oppenheim.
Yes, I know right?! o_O
The exhibition looks also very stunning from an interior design point of view and a lot of effort, time.. and obviously money.. has been spent to contextualise and document the pieces. Definitely one to check out if you’re in Switzerland.
Surrealismus in Paris runs until the end of January 2012. Details below.
Der Gegenpapst by Max Ernst, oil on canvas, 1941/42, 161×127 cm, courtesy Peggy Guggenheim Collection, photo © David Heald/The Solomon R. Guggenheim Foundation/ProLitteris – click to enlarge
On show: Oct 2, 2011 – Jan 29, 2012
Hours: Mon – Sun: 10 AM – 6 PM
Admission: CHF 25.– (but special deals with public transport!)
by Suzanne on November 4th, 2011
There’s those types of collectors who simply got it all: The Dürer, Schongauer and Goya engravings, the Chapman Bros and Berlinde de Bruyckere sculptures, the cabinet de curiosités, basically, the most drool-worthy art from the 16th century to dato.
Such a person is Thomas Olbricht – a medical doctor and totally compulsive art collector from Essen.
His modern art segment alone includes artists such as Glenn Brown, Maurizio Cattelan, Mat Collishaw, John Currin, Nathalie Djurberg, Marlène Dumas, Katharina Fritsch, Julie Heffernan, Ron Mueck, Tim Noble and Sue Webster, Patricia Piccinini, Pierre et Gilles, Floria Sigismondi, Kiki Smith and Sam Taylor-Wood.
But yeah, you guessed it, I could go on forever and ever. DAYUM.
Anyways, for the first time ever, a fantastic chunk of some 150 works of his collection is traveling to France to go on show at the phenomenal Maison Rouge in Paris that I reported about back in March when they had the tasty Tous Cannibales exhibition there.
Olbricht’s Memories of the Future opened in late October and will remain on show until mid-January of 2012. All details below.
On show: Oct 22, 2011 – Jan 15, 2012
Hours: Wed – Sun: 11 AM – 7 PM, late-night Thu until 9 PM
Catalogue: Published in French and English with colour illustrations, €25.
by Suzanne on October 31st, 2011
Installation view of Imaginifragus by Nicola Samori at Christian Ehrentraut, 2011 – click to enlarge
I normally don’t post installation views of shows but in the case of Italian-born Nicola Samori‘s new exhibition Imaginifragus, I’ll make an exception to this rule as the hanging and contextualisation really does do his oeuvre absolute justice (needless to say, it’s worth enlarging these two pictures).
Deconstructive nihilism and auto-aggressive existentialism never looked so technically impeccable and aesthetically pleasing.
The show opened last weekend and will remain on view until December 17. An etching in an edition of twelve (hurry!) has been released especially for this show. Contact Anne Kathrin Wegener at the gallery for further details.
Installation view of Imaginifragus by Nicola Samori at Christian Ehrentraut, 2011 – click to enlarge
On show: Oct 28 – Dec 17, 2011
Hours: Tue – Sat: 11 AM – 6 PM
by Suzanne on September 11th, 2011
Girl on Couch by Marianna Gartner, oil on wood, 20×20 cm, 2009 – click to enlarge
Canadian artist Marianna Gartner whose oeuvre naturally plays with the past and present seems like a very logical choice for the new edition of Interventions which opens this coming Thursday, September 15.
From the press release:
“For her intervention, she is going to create new paintings in which she takes up aspects from works by Ferdinand Georg Waldmüller, Anton Romako, Michael Pacher, and others in order to interpret them in her own artistic language.”
All details below.
Bad Friedrich (detail) by Marianna Gartner, oil on canvas, 200×120 cm, 2008 – click to enlarge
On show: Sep 15 – Dec 18, 2011
Address: Upper Belvedere, Prinz Eugen-Straße 27, 1030, Vienna, Austria, tel: + 43 1 79 557-0, email: firstname.lastname@example.org
Opening hours: Daily: 10 AM – 6 PM
Admission: € 9.50
by Suzanne on August 25th, 2011
Grimoire by Rosa Loy, casein on linen, 24 x 30 cm, 2010, photo by Uwe Walter – click to enlarge
Rosa Loy and husband Neo Rauch - the artist couple with the best names - will be exhibiting 80 of their works in a self-curated double show entitled Hinter den Gärten (Behind the Gardens) at Essl Museum from September 1st onwards.
I think this – their very first show together – is a fantastic opportunity to see how this very prolific artist couple has influenced and inspired one another, getting ever closer, yet how they have retained their own styles and artistic techniques – with Neo working mainly in oil and Rosa focussing on casein.
I have featured Neo a couple of times in the past so I decided to post two works by Rosa here – one that’s going to be exhibited at Hinter den Gärten (Dampf, bottom) and a small-format one that’s very dear to me but has sadly been stolen in Leipzig on March 4 this year (Grimoire, top).
Dampf by Rosa Loy, casein on linen, 170 x 130 cm, 2006, photo by Mischa Nawrata © VBK Wien & VG Bildkunst Bonn – click to enlarge
Opening reception: Sep 1, 2011, 7.30 PM – the artists will be in attendance
On show: Sep 2 – Nov 20, 2011
Opening hours: Tue – Fri: 10 AM – 6 PM, Wed: 10 AM – 9 PM
Catalogue: The exhibition will be accompanied by a 260-page catalogue published by Prestel.
by Suzanne on August 1st, 2011
1 – Evacuate by Kate MccGwire, bird feathers coming out of pot – click to enlarge
When news reached me a month ago that Meadow Arts were curating a year-long site-specific group show of taxidermy, sculpture and installation art entitled House of Beasts at the breathtaking Attingham Park in Shrewsbury (Charles Darwin‘s birthplace – how perfect!), I knew that there was still hope that the Elder Gods can indeed hear our prayers and pleas for great art exhibitions in the UK and do receive our sacrifices.
2 – Foreground: Untitled (Sphere) by Alastair Mackie, mouse skulls, wood, glass, courtesy the artist and All Visual Arts / Background: Herd by Susie MacMurray, cut antlers, silk velvet, Meadow Arts Commission 2011 – click to enlarge
Where Nina Saunders‘ little fox (picture 3) just stretched its paws and yawned, where Tessa Farmer‘s insect warriors battle fearlessly with their porcupine spine spears, where Daphne Wright‘s swan (picture 7) is drying its feathers after an invigorating swim in the River Tern, where Polly Morgan‘s magpie (picture 5) just picked up the phone, where Kate MccGwire‘s leech-like feather blob (picture 1) is spooking and creeping around the house like it’s trapped in some Edward Gorey book or Ray Caesar artwork.
4 – Chandelier (Katy’s Convoy) by Nina Saunders, chandelier with taxidermy birds, courtesy the artist – click to enlarge
I’ve had a long love and passion for artists combining bone and filigree with taxidermy, so I immediately knew this would work perfectly at an old manor house like Attingham Park but when I saw the line-up of artists, I did need to reach for the smelling salts, it is that amazing.
5 – One for Sorrow by Polly Morgan, bakelite telephone and taxidermy magpie, courtesy the artist – click to enlarge
Featured artists include:
*INHALES* Ruth Claxton, Mat Collishaw, Tessa Farmer, Rachel Goodyear, Kathleen Herbert, Alastair Mackie, Susie MacMurray, Kate MccGwire, Polly Morgan, Nina Saunders, Anj Smith, Daphne Wright *EXHALES*.
6 – The Beast in Me by Mat Collishaw, digital photograph, courtesy Anne Faggionato – click to enlarge
Yeah, I know, right? A plethora of reasons to drag yourself to Shropshire before mid-July 2012. Details below.
Many thanks to Anne de Charmant, director of Meadow Arts for the in-situ image material.
7 – Swan by Daphne Wright, cast marble dust, Meadow Arts Commission 2007 – click to enlarge
On show: Jul 2, 2011 – Jul 15, 2012
by Suzanne on July 25th, 2011
By Gabriel von Max – click to enlarge
Reader and fantastic artist Benjamin A. Vierling (I recently posted about his current exhibition at Roq la Rue) informed me the other day that one of my favourite evolutionary theorists, monkey painters and homines universales, the emotive Gabriel Cornelius Ritter von Max, currently has a retrospective - the first von Max solo show in the US of A ever - entitled Be-tailed Cousins and Phantasms of the Soul devoted to his work at Seattle’s Frye Museum.
The exhibition has been organised in collaboration with the Städtische Galerie im Lenbachhaus – whose own von Max retrospective I blogged about here – but the Frye show seems to be focussing more on the religious and ecstatic works.
Being learned in parapsychological subjects such as somnambulism, hypnotism and spiritism, von Max‘s work always had a dual focus on both the (eroticised) spiritual mysticism and the (satirised) natural sciences.
I was also delighted to see that there seems to be a few of his lesser known graphic works for Goethe’s Faust on display.
From the Frye’s press release:
“The artist’s first solo exhibition in America includes more than 120 works, including 36 paintings from public and private collections in Europe and America as well as original drawings, woodcuts on the theme of Faust, illustrated letters, rare photographs, and antiquarian publications illustrated by Max.”
The show runs until the end of October. Details below.
The Seeress of Prevorst (Frederica Hauffe) by Gabriel von Max, oil on canvas, 1892, courtesy National Gallery in Prague – click to enlarge
On show: Jul 9 – Oct 30, 2011
Opening hours: Tue – Sun: 11 AM – 5 PM
Catalogue: A 100-page, fully illustrated exhibition catalogue published by the Frye Art Museum and distributed by the University of Washington Press will be available in the Frye Store for $30.