Archive for the Beaux Arts category
by Suzanne on July 24th, 2011
Les Feuilles mortes (detail) by Ernest Biéler, oil on canvas, 149.7 x 481.5 cm, 1899, courtesy Kunstmuseum Bern - click to enlarge
A beautiful and very comprehensive retrospective at Kunstmuseum Bern is currently honouring one of the great - and often forgotten - Swiss symbolist and Art Nouveau painters: The enigmatic and empathetic Ernest Biéler.
In the very centre of Dreamt Reality (Geträumte Wirklichkeit / Réalité rêvée) stand the two gorgeously esoteric Biéler works that the Kunstmuseum Bern owns (the rest of the works coming mostly from private collectors): Les Feuilles mortes (1899, top and below) and Les Sources (1900, middle and bottom).
Les Feuilles mortes by Ernest Biéler, oil on canvas, 149.7 x 481.5 cm, 1899, courtesy Kunstmuseum Bern - click to enlarge (FUCKING DO IT!)
Born in 1863 - and therefore a contemporary of famed Swiss Nabis artist Félix Vallotton - Biéler grew up in Lausanne and later studied art in Paris. Shortly before the turn of the century, he returned to Switzerland, impoverished but vastly experienced, first working from his studio in Geneva, then helping the great Ferdinand Hodler with his frescos for the Landesausstellung and finally - getting ever more artistic inspiration from the stunning Savièse region - he decided to settle in the Valais region.
Les Sources (detail) by Ernest Biéler, oil on canvas, 172 x 486 cm, 1900, courtesy Kunstmuseum Bern - click to enlarge
Dreamt Reality opened earlier this month and will remain on show until mid-November. Details below.
Les Sources by Ernest Biéler, oil on canvas, 172 x 486 cm, 1900, courtesy Kunstmuseum Bern - click to enlarge (FUCKING DO IT!)
On show: Jul 8 - Nov 13, 2011
Opening hours: Wed - Sun: 10 AM - 5 PM, Tue: 10 AM - 9 PM
Admission: CHF 18
Catalogue: Ernest Biéler. Geträumte Wirklichkeit / Réalité rêvée. Hrsg. Kunstmuseum Bern / Matthias Frehner, Ethel Mathier & Fondation Pierre Gianadda (in German / French)
by Suzanne on July 7th, 2011
The Tale of the Golden Toad by Madeline Von Foerster, oil and egg tempera on panel, 24" x 36" - click to enlarge
It's great to see a show with two artists who go absolutely perfectly together and manage to enhance each other's oeuvres magically.
For many moons, Madeline has shown an uncanny anachronistic skill to amalgamate Renaissance style with Wunderkammer fauna and flora and add a certain doll-like feel to her protagonists who always seem to contain a grain of Olimpia despite the lively shimmer and sumptuous richness of the pearls and silk.
And even though homines universales like Ole Worm, Albertus Seba and Ernst Haeckel would undoubtedly be collectors of her work if they were contemporaries, nothing ever looks dated. In The Tale of the Golden Toad, the details in the lace are just as fresh and youthful as the organic details under the glass dome.
There is something slightly unnerving about The Tale of the Golden Toad though - it's the moment you realise that the protagonist has actually become part of the Wunderkammer and - starting from her hands and just like Daphne, just like Francesca Woodman - seems to be turning into a display herself.
Vierling's artistic approach is just as epic if a bit more mythologically inclined. With intricately painted ornamental wooden frames containing grotesque scenes and tiny insects, he manages to create a multi-dimensional trompe-l'œil that's quite breathtaking.
Medusa by Benjamin A. Vierling, egg tempera & oil on panel, 22" x 22", 2011 - click to enlarge
Opening reception: Friday, July 8, 6 - 9 PM, both artists will be in attendance
On show: Jul 8 - Aug 6, 2011
Opening hours: Wed - Sat: 1 - 6 PM
by Suzanne on June 29th, 2011
- I -
Courtauld Gallery, London
I was supposed to go see a Toulouse-Lautrec & Jane Avril exhibition (apart from some St Vitus Dance pictures from the Salpêtrière, it wasn't worth it) but ended up staring at the gorgeous ceilings and floors of the Courtauld. Magnificent and esoteric.
- II -
The amazingly talented and ever inspiring Amrei Hofstätter of Verticospuppets posted this on my Facebook wall the other day. Watch it - it's like Leni Riefenstahl only wetter and portrays human robotics at its finest.
- III -
A few months ago, Sir Substrom was kind enough to share Jóhann Jóhannson/Bill Morrison's The Cause of Labour is the Hope of the World with me which visualises everything summarised by the term "epic" and I'm glad to say that the commentary-less documentary it serves as a trailer to, The Miners' Hymns, is now available on DVD from the BFI.
Take that, neofolk!
by Suzanne on June 29th, 2011
Just a very brief heads-up for London Schiele lovers:
Yes, as always, I have ranted about the exhibition being very poorly lit, very poorly framed, hung and documented, but in the end, it's about the works, isn't it, and just like Bellmer's ingenious drawings, Schieles need to be seen face-to-face to be understood as his line work follows its own inherent logic, fragility, narrative, psychopathology and, maybe together with Alberto Giacometti's portraits, his drawings are some of the most sculptural works ever created in two dimensions.
Don't miss this. Details below. Oh, and here's a slideshow with some pictures I took when I visited the show last Friday:
(Sincere apologies for the blurred pictures, the lighting of the show as very poor but at least you get to see a few glimpses of the paper structures and textures as well.)
On show: May 19 - Jun 30, 2011
Address: Richard Nagy, 22 Old Bond Street, 2nd Floor, London, W1S 4PY, United Kingdom, tel: +44 207 262 6400, email: firstname.lastname@example.org
Gallery hours: Tue - Sat: 12 - 5 PM
by Suzanne on June 13th, 2011
As if it hasn't been a particularly sad month for the arts & humanities losing so many great thinkers and creators already, with Leonora Carrington, Jack Kevorkian and Jeffrey Catherine Jones leaving us, I just read about the passing of Sibylle Ruppert over on John Coulthart's Feuilleton and MonsterBrains.
I first came across Sibylle's work at HR Giger's castle/museum in Gruyères, Switzerland, and I was absolutely astonished by how her oeuvre brought together both a Bellmeresque laciness, a glossy surreal fetishism and the most steroid-induced masculinity I had ever seen outside of He-Man at that point. I was confused that I had never heard of her before because her absolutely otherworldly talent was so stricking, it just made no sense it hadn't been further discovered and exploited yet.
But maybe that's precisely what made her such an outstanding (artist's) artist - that she worked in relative obscurity and with obscurity - yet leading such a colourful and accomplished life as a ballerina, touring the world as a chorus girl, teaching art in mental institutions and drug rehabilitation centres - all the while being absolutely possessed by the daemon of art (... and the Marquis de Sade).
From her fascinating biography on HR's website:
"After the war they were taken in by an aristocratic family [who] owned a castle, and Sibylle spent her early childhood years as if in a dream world. Her father was a graphic designer and young Sibylle spent hours upon hours near his desk watching as he drew. One day she seized his hand and promised him that she would paint nice colourful pictures just like him. Her first drawing surprised everyone, it was a brutal illustration of a fist striking the middle of a face – she was 6 years old."
I am so very grateful I got to see your work face to face, Sibylle. Thank you for leaving your visions, your nightmares, your subconscious behind for us to inspect. You will be sorely missed.
by Suzanne on June 9th, 2011
Stereotype 08 by Atsushi Suwa, oil on canvas, 2008 - click to enlarge
A technically absolutely brilliant artist who makes it seem totally effortless to cram a trompe-l'oeil with the entire mirror perspective of Jan van Eyck's Arnolfini Portrait into a small camera lens (below), he has shown time and again that he cannot simply be reduced to realism - despite his obvious and vast talent for it.
By Atsushi Suwa - click to enlarge
His intimate collaboration with the famous and awe-inspiring butoh dancer Kazuo Ohno or his documentary Father series show a very deep emotional involvement with the subject, a desire to dissect traumata and fears, to look mercilessly at the fabric and tissue of life. And death.
I'm not entirely sure what will be presented at the exhibition, but I'm pretty certain it's near impossible for Atsushi Suwa to disappoint. Details below.
By Atsushi Suwa
On show: Jun 9 - Jul 9, 2011
Gallery hours: Daily: 1 - 7 PM, except Wed & Sun
by Suzanne on June 7th, 2011
Interview by Neo Rauch, oil on canvas, 2006, Museum Frieder Burda, Photo: Uwe Walter © VG Bild-Kunst - click to enlarge
Amongst them, two of my favourites: Interview from 2006 (above) and Die Fuge from 2007 (below).
Interview reminds me a lot of indoor/outdoor scenes from Veiko Õunpuu's brilliant The Temptation of St. Tony (particularly the pitch-black night outside the posh modernist house surrounded by no other light pollution, indeed no other signs of civilisation).
Have the guests had too much to drink, are they hypnotised, the subjects of a ritual, just having their pulses felt or are they dead? Whatever happened, it's an unnerving scene and the fact that the pose on the left is somewhat reminiscent of a pietà doesn't really make things any easier. It seems that Rauch, in an almost anti-Gregory Crewdson manner, uses bolder colours and more obvious intra-pictorial light sources the more obscure and enigmatic the narrative is and one thing is for certain: I would really like that sculpture in the background with the pink eels/penes on it. À propos, this is by far not the only Rauch that shows slightly objectophile tendencies.
If one looks more closely at the title of the piece, 2006 was a time when Rauch's works started to fetch enormous prices at auctions and he was interviewed by every art magazine in this solar system so one could suspect it to be a criticism on the draining nature his sudden stardom, the omnipresence of journalists had on his life as an artist with the two lifeless men representing the two sides of Rauch, the artist (right) and the "public person Rauch" (left).
Die Fuge by Neo Rauch, oil on canvas, 2007, Hamburger Kunsthalle, Photo: Uwe Walter © VG Bild-Kunst - click to enlarge
In Die Fuge, adolescents are floating in an anti-gravitational state while firefighters seem overpowered by a huge crevasse that opened in the earth from which a somewhat symbiotic person with a trunk for a lower body and a chain emerges. A figure sits forlorn and apathetic in a plastic chair his legs rather Goethesque looking. Again, Rauch deliberately adds breaks, indeed huge sinkholes to the visual narrative and linear logic and lets the semiconscious and the archaic reign at will.
To be perfectly honest with you, I think absorbing 36 Rauchs would give me a bit of a brain tumour, but you have until mid-September to see the show so do take your time.
In related news, I agree that it's a great shame Rauch isn't teaching anymore, but I think it's pretty clear that this man needs to paint.
On show: May 28 - Sep 18, 2011
Admission: 10 €
Gallery hours: Tue - Sun: 10 AM - 6 PM
by Suzanne on June 5th, 2011
By Markus Schinwald - click to enlarge
I must admit that before I saw the vision of hell that is Michael Stipe, Courtney Love and S4lem united at a Venice "art" event for the super-rich, super-bored and super-tasteless, my hopes for this 54th edition of the Venice Biennale were actually pretty high and this post looked very different when I started writing it and heck, I was even considering lifting my biennale boycott for the occasion.
Thérèse by Markus Schinwald, oil on canvas, 2007
Ah well, I still admire some of the bold choices this year's curator Bice Curiger (of Parkett and Kunsthaus Zürich fame) made and let's be fair, there are many great young artists exhibiting and for the first time, the Biennale actually feels almost... familiar.
Beatrice by Markus Schinwald, oil on canvas, 2007 - click to enlarge
Yes, you could argue that he's recently been doing very similar things at Yvon Lambert and has been showing the works on exhibit all over the place, most notably at the Migrosmuseum in Zürich, but still, BUT STILL, he has a great talent for the haunting (particularly in his film oeuvre), the uncomfortable, the uncanny, the unheimlich.
Here's an introduction to his Venice exhibition:
On show: Jun 4 - Nov 27, 2011
Address: The Venice Biennale, Austrian Pavilion, Giardini, 30124 Venezia, Italy, tel: +39-41.2728397
by Suzanne on May 24th, 2011
La Storia by Nicola Samori, oil on copper (?), 2009 - click to enlarge
His work struck an immediate chord with me as it exemplifies a certain poetic and narrative deconstructive (in the truest meaning of the word) trend that I've witnessed with a bunch of other young artists.
Most remarkably of course the great Titus Kaphar, in a more aggressive manner Valerie Hegarty, and even - in a more satirical and playful sense - Seb Patane and Ruth Claxton. The list could beyond doubt go on, but my brain is very leaky.
J.V. by Nicola Samori, oil on copper (?), 2009 - click to enlarge
Nicola Samori's works, however, are a lot darker and more nihilistic than any of his above contemporaries' and that's precisely why I find them particularly mesmerising.
Please note that the works featured here are from 2009 so you probably won't get to see the exact ones.
J.V. by Nicola Samori, oil on panel, 2009 - click to enlarge
On show: May 13 - July 9, 2011
Gallery hours: Tue - Sat: 11 AM - 6 PM
by Suzanne on May 21st, 2011
Den Reinen ist Alles rein, den.... from Jugend 1896, Band 1 (Nr. 1-26), page 289 - click to enlarge
Okay, so I'll freely admit that I took the announcement of a special Jugendstil exhibition at MKG Hamburg as an excuse to obsessively plunder the online archives of Munich/Leipzig's weekly fin-de-siècle Jugend magazine that the University Library Heidelberg kindly put online for... err... 4 hours?
Die Kugelläuferin by Fidus from Jugend 1896, Band 1 (Nr. 1-26), page 297 - click to enlarge
You may have seen some of the more symbolist pieces - mainly works by Hugo Reinhold Karl Johann Höppener a.k.a. Fidus - pop up on various Tumblrs around the end of last year fueled by an article on John Coulthart's feuilleton, if I'm not mistaken.
Scene im Hades from Jugend 1896, Band 2 (Nr. 27-52), page 815 - click to enlarge
At any rate, if you have some time on your hands to check out the archives, it is indeed very interesting to witness how styles changed from 1896 to around 1905 - in the case of Jugend magazine, you'll notice a shift from the frivolous to the restrictive, from the decorative to the minimalist, from the experimental to the organised, the ornamental to the photographic. It's a very curious and somewhat melancholy thing how layout changes and ever more invasive ads rang in modernity in the microcosmos of an arts and crafts magazine.
Der Wolken[...] by Fidus from Jugend 1896, Band 1 (Nr. 1-26), page 60/61 - click to enlarge
If you pay very close attention, you may even find some rather dark pieces by Käthe Kollwitz as well as a multitude of ever more ridiculous and subliminal Odol ads (i, ii, iii, iv, v, vi - the list could frankly go on forever, but HELL, I never even liked Odol).
Am Grossen Gitter by Fidus from Jugend 1905, Band 1 (Nr. 1-26), page 309 - click to enlarge
Back to the exhibition though: It opened yesterday at Museum für Kunst und Gewerbe (MKG) in Hamburg and will remain on display until the end of August. Its title Grafikdesign im Jugendstil. Der Aufbruch des Bildes in den Alltag promises a very transdisciplinary approach to the osmotic Jugendstil, the "explodierenden Bilderwelt" as the MKG puts it and although I haven't received the official preview images yet, I am confident that with 350 artworks from the turn of the century, this is an exhibition of high educational and aesthetic value.
I can still remember my first visit to the MKG and their collection of Jugendstil furniture, jewellery and art is already breathtaking. Add to that hundreds of graphic works that have influenced neo-symbolist artists of today to an astounding degree, then I really wouldn't miss it.
All details below.
Das neue Strahlen from Jugend 1896, Band 1 (Nr. 1-26), page 81 - click to enlarge
On show: May 20 - Aug 28, 2011
Gallery hours: Tue - Sun: 11 AM - 6 PM, Thu: 11 AM - 9 PM