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Cover for  PS: Ich liebe Dich
Cars
Driven by Design
They are fast, beautiful, eccentric and innovative – the sports cars from the 1950s to the 1970s are objects whose bodies and engines combine to form a sensuous mixture of modern and classic elements, of design and aesthetics. In recent decades these automobiles have not just become sought-after collector’s items, but, in their capacity as “imagination machine” and Gesamtkunstwerk, they enjoy cult status. Against this backdrop the exhibition presents around 25 outstanding sports cars, all of which rank among the very icons of the history of design. In terms of unifying form, technology, design and emotion, each of the selected cars is evocative of a synaesthetic sculpture. The exhibition features legendary sports cars such as the Mercedes Benz 300 SL, the aero-dynamically designed Jaguar E-Type, Alfa Romeo’s Giulietta Spider which, streamlined and elegant, embodies “La Dolce Vita”, as well as the Lamborghini Countach, praised as a “supercar”. The show marks the beginning of a series of exhibitions directing the focus on the museum’s collection of applied art.
Event information:
Düsseldorf | Museum Kunstpalast
27/09/2018 - 10/02/2019
Accompanying publication:
Cover for  Käthe Kollwitz
Käthe Kollwitz
Permanent Exhibition
After more than 25 years of enthusiastic collecting, the museum's exhibits now comprise about 300 drawings, more than 500 prints, and all her posters and sculptures. Among the drawings - a focal point of the collection - there are some of her most impressive works, many from her later phase when she was predominantly preoccupied with the theme of death. Of her earlier work, three of the less than ten pastel and charcoal drawings that have been preserved and which she produced for the satirical periodical "Simplicissimus" are represented in the museum's collection. Sketch-like preparatory drawings, which throw light on the genesis of important prints, are also part of the collection. A focal point of these works is the history of the creation of her cycle entitled "Peasants' War" (1901-1908) and her series named "War" (1921/1922). In the field of prints all her great cycles are represented. These are milestones not only in the development of Käthe Kollwitz' work, but also in the development of 20th century prints in general. These prints include her earlier cycles "A Weavers' Revolt" (1893-1897) and "Peasants' War" (1901-1908) which were based on literary models, the woodcut series "War" (1921-1922), "Proletariat" (1925) and the later series of lithographs "Death" (1934-1937). In addition, the collection comprises individual works such as her last lithograph "Seed for sowing should not be milled" from the year 1941, which is the artist's legacy in her fight against war and the death of soldiers in action. Recently, the Käthe Kollwitz Museum in Cologne succeeded in acquiring very rare prints from an important private collection which had been largely unknown to the general public. Among them are three early self-portraits: two etchings and a large-scale colour lithograph from 1903/4. The "Self-portrait en face" is printed in four colours. Being an experimental leaf, no further prints were made. For this reason, this print is unique and a highlight in the artist's œuvre as well as an example of the museum's successful acquisition policy. The 15 bronze sculptures are of particular importance as almost all the examples shown in the museum are rare early casts. Together with the copy of "The Mourning Parents" in the ruin of the church of Alt St. Alban and the relief on the Levy tombstone in the Jewish cemetery in Bocklemünd, Cologne provides the unique opportunity of an overview of the artist's complete sculptural work. The Kollwitz posters, all of which are represented in the museum, are a rare highlight of the collection. The artist created them above all in the 1920s following her motto "I would like to exert influence in these times". The posters express an anti-war message and emphasise the artist's commitment to social justice, humanity and peace. Another part of the collection which is meanwhile almost complete is Käthe Kollwitz' book illustrations. All the works by Käthe Kollwitz illustrated in our Internet presentation are part of the collection of the Käthe Kollwitz Museum Köln.
Event information:
Cologne | Käthe Kollwitz Museum
10/10/2018 - 10/10/2019
Accompanying publication:
Cover for  Auf Freiheit zugeschnitten
Tailored for Freedom
The Artistic Dress in 1900 in Fashion, Art and Society
This ambitious exhibition will for the first time examine a key moment in the history of fashion, when artists and architects developed a radical, new vision for dress that liberated the female body. The unity of art and life at the base of the “Reform” movement around 1900 motivated artists and architects to include woman’s dresses into their innovative aesthetic design experiments. They introduced their ideas to the public in a groundbreaking exhibition at the Kaiser Wilhelm Museum in 1900, which serves as the point of departure of Tailored for Freedom. The exhibition will present the artistic dress as a part of the Gesamtkunstwerk idea within the socio-political context of the European “Reform” movement and will include fashion, paintings, sculptures, applied arts, photography, dance and advertising notably from German reform movement centres, the Wiener Werkstätte, the British Arts and Crafts movement and Paul Poiret.
Event information:
Krefeld | Kaiser Wilhelm Museum
12/10/2018 - 24/02/2019
Accompanying publication:
Cover for  Florenz und seine Maler
Florence and its Painters
From Giotto to Leonardo da Vinci
With some 100 masterpieces from the 15th century, this exhibition focuses on the ground-breaking artistic innovations that occurred at the birthplace of the Renaissance, and present the production of its major painters and their workshops. High calibre paintings, sculptures and drawings provide multi-faceted insights into the conceptual worlds and working methods of these artists. Painters in the Florence of the House of Medici engaged innovatively with themes, forms and techniques. They investigated reality with a new confidence, seeking out the laws of harmony and beauty, drawing after nature and studying the works of Antiquity. In doing so, they attained an unprecedented diversity of artistic forms of expression, not just for profane pictorial narratives and portraits, but also for the images of private and ecclesiastical devotion.
Event information:
München | Alte Pinakothek
18/10/2018 - 03/02/2019
Accompanying publication:
Cover for  Egon Schiele
Egon Schiele
Pathways to a Collection
2018 is the centenary of Egon Schiele’s death. Marking this occasion, the Belvedere is showing its collection of Schiele paintings with highlights including Eduard Kosmack, Façade of a House, Death and Maiden, Embrace, and Four Trees. Visitors can look forward to an outstanding presentation shedding light on the full extent of the Schiele collection once housed at the Belvedere. The exhibition places a focus on the collection’s history. Curator Kerstin Jesse will answer questions about the works’ acquisition, their subject matter, and the people they portray. Preliminary studies and sketches will also be included. The Belvedere conservation department has been researching Egon Schiele’s works and his painting techniques since 2016 and their findings will be presented in the show. The exhibition presents an opportunity to gain an insight into the artist’s working methods while also offering a fascinating glimpse of his works’ pathways into the museum’s collection.
Event information:
Wien | Unteres Belvedere - Orangerie
19/10/2018 - 17/02/2019
Accompanying publication:
Cover for  König der Tiere
King of the Animals
Wilhelm Kuhnert and the Image of Africa
More than any other painter of his time, Wilhelm Kuhnert shaped the notion of Africa. Between 1891 and 1912 he was one of the first Euro­pean artists to travel through the German colonies of North and East Africa, which were still largely unex­plored at the time. During these jour­neys, his sketches of the animal and plant world were often created under diffi­cult condi­tions. These served as the basis for his monu­mental paint­ings, which he later created in his Berlin studio and exhib­ited inter­na­tion­ally with great success. Kuhnert stood out for his almost scien­tific approach: He captured the char­ac­ter­is­tics of the animals and the land­scape in which they lived with great preci­sion. It is not surprising that his animal pictures were published in zoolog­ical books like Brehms Tier­leben (Brehm’s Life of Animals), as wall charts for school class­rooms and on the wrap­pers of Stoll­w­erck choco­late. Although Wilhelm Kuhnert remains one of the most frequently collected acad­emic painters to this day, his work is largely unknown by the broader public. Now, for the first time, the SCHIRN is presenting a compre­hen­sive retro­spec­tive of his life and work. The exhi­bi­tion combines studies and paint­ings from Euro­pean and Amer­ican museums, private collec­tions, and Kuhnert’s estate with numerous prints and commer­cial graphics and publi­ca­tions by the artist. Here, Kuhnert’s work is seen not only as a mirror of the history of art and natural science, but also against the back­ground of the history of colo­nialism. As such it also makes a contri­bu­tion to the current debate on the handling of Germany’s colo­nial past.
Event information:
Frankfurt am Main | Schirn Kunsthalle Frankfurt
25/10/2018 - 27/01/2019
Accompanying publication:
Cover for  Eye to I
Eye to I
Self-Portraits from 1900 to Today
Drawing primarily from the National Portrait Gallery’s vast collection of self-portraits, this exhibition will explore how American artists have chosen to portray themselves since the beginning of the last century. As people are confronted each day with “selfies” via social media and as they continue to examine the fluidity of contemporary identity, this is an opportune time to reassess the significance of self-portraiture in relation to the country’s history and culture. The exhibition will feature more than 75 works by artists such as Josef Albers, Patricia Cronin, Imogen Cunningham, Elaine de Kooning, Edward Hopper, Joan Jonas, Jacob Lawrence, Alice Neel, Louise Nevelson, Diego Rivera, Lucas Samaras, Fritz Scholder, Roger Shimomura, Shahzia Sikander and Martin Wong. “Eye to I: Self-Portraits from 1900 to Today” is curated by Brandon Brame Fortune, chief curator, National Portrait Gallery. This exhibition concludes the Portrait Gallery’s 50th anniversary celebrations, and an expanded, illustrated companion book will be published in spring 2019.
Event information:
Washington | National Portrait Gallery
02/11/2018 - 18/08/2019
Accompanying publication:
Cover for  World Receivers
World Receivers
Georgiana Houghton – Hilma af Klint – Emma Kunz
The exhibition World Receivers. Georgiana Houghton—Hilma af Klint—Emma Kunz will offer insight into an extraordinary and largely obscure episode in the history of modernism: without knowing of each other, Georgiana Houghton (1814–1884) in England, Hilma af Klint (1862–1944) in Sweden, and Emma Kunz (1892–1963) in Switzerland devised singular abstract visual languages fraught with symbolism. They pursued their convictions with great perseverance and confidence; their shared desire was to translate the laws of nature and spiritual and extrasensory phenomena into images. Their works are rarely on public view, and our exhibition will be the first to show the three artists together. Curated by Karin Althaus and Sebastian Schneider In cooperation with Victorian Spiritualists' Union, Melbourne The Hilma af Klint Foundation, Stockholm Emma Kunz Zentrum, Würenlos
Event information:
München | Städtische Galerie im Lenbachhaus
06/11/2018 - 10/03/2019
Accompanying publication:
Cover for  Lacquer Friends of the World
Lacquer Friends of the World
The Museum of Lacquer Art is a facility owned by BASF in Münster. The museum is in the heart of the city and displays a globally unique collection of lacquer art from East Asia, Europe and the Islamic world with objects from the past two millennia. Our regularly occurring special exhibitions place special emphasis on both traditional and contemporary aspects of lacquer art.
Event information:
Münster | Museum of Lacquer Art
25/11/2018 - 24/02/2019
Accompanying publication:
Cover for  Utrecht, Caravaggio und Europa
Utrecht, Caravaggio and Europe
At the start of the Dutch Golden Age, Rome was the centre of the world. Young painters from across Europe made their way to the Eternal City, where – so the rumour went – the painter Caravaggio had caused a revolution. A new realism in the art of painting, unparalleled drama, grand gestures and mysteries of light: everyone wanted to see it for themselves. Among them were the Utrecht painters Dirck van Baburen, Hendrick ter Brugghen and Gerard van Honthorst. During the heyday of European Caravaggism, between 1600-1630, some 2700 artists were listed in Rome, of which 572 were foreigners. They all visited the same churches and viewed the same collections. They conversed with each other, and of course they painted! And they painted the same themes, used the same sources of inspiration, but the works they produced were nonetheless very different. Utrecht, Caravaggio and Europe examines precisely these differences between the European followers of Caravaggio. By presenting the works on the basis of themes, it is immediately evident how each artist remained rooted in his own cultural background. Utrecht, Caravaggio and Europe brings the Rome of 1600 to 1630 to Utrecht. Presenting seventy masterpieces, this exhibition is the first to display the Utrecht Caravaggists alongside their European counterparts: the Italian painters Caravaggio, Bartolomeo Manfredi, Cecco da Caravaggio, Giovanni Antonio Galli (Lo Spadarino), Giovanni Serodine, Orazio Borgianni and Orazio Gentileschi, the Spaniard Jusepe de Ribera, the French Nicolas Régnier, Nicolas Tournier, Simon Vouet and Valentin de Boulogne, and the Flemish Gerard Seghers and Theodoor Rombouts. The exhibition comprises over sixty loan pieces, from museum and private collections across Europe and the United States, including the Vatican Museums, the Louvre (Paris), the Galleria degli Uffizi (Florence), the National Gallery of Art of London and the National Gallery of Art of Washington DC, but also from churches in Rome. The paintings by the Utrecht Caravaggists are so recognisably Dutch, because they took Caravaggio’s realism one step further. Baburen and Ter Brugghen also painted the ugly sides of reality: monstrous noses, rotten teeth, dirty fingernails. Ter Brugghen even has the questionable honour of having painted the ugliest but also the most realistic baby in seventeenth century art. Gerard van Honthorst was very successful in Rome. Honthorst’s invention of illuminating his scenes from a hidden, indirect source of light became so famous that he was nicknamed ‘Gherardo delle Notti’: Gerard of the Nights. Just like Dirck van Baburen, he received important commissions for altar pieces, and works by both artists were purchased by important collectors such as Cardinal Giustiniani, who was also a patron of Caravaggio. Their paintings were hung in the halls of his palazzo, next to those of the Italian, Flemish, French and Spanish painters. The exhibitions follows the three Utrecht artists on their Roman adventure, demonstrates how this affected their work, and displays their most accomplished pieces.
Event information:
Utrecht | Centraal museum
15/12/2018 - 24/03/2019
Accompanying publication:
Cover for  True to the Eyes
True to the Eyes
The Howard and Carole Tanenbaum Photography Collection
This exhibition presents more than 200 photographs from the extraordinary and eclectic collection of the long-time Toronto couple. The Tanenbaums were among the first Canadian collectors to engage with the medium during its late 20th century rise to prominence; over time, they assembled one of the country’s great holdings of photography. True to the Eyes highlights a range of humanistic photographs in many genres, from anonymous vernacular imagery to masterworks by such notable photographers as Southworth & Hawes, William Notman, Ernest J. Bellocq, Brassaï, Lisette Model, Diane Arbus, Mary Ellen Mark, Jim Goldberg, and Edward Burtynsky. Through four decades of building their collection, the Tanenbaums have acquired images revealing aspects of family, wealth and poverty, civil rights, nature and the land, and Canadian life. The exhibition is accompanied by a richly-illustrated book published in partnership with Hirmer Verlag.
Event information:
Toronto | Main Gallery and University Gallery, Ryerson Image Centre
23/01/2019 - 07/04/2019
Accompanying publication:
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