Events

From March 2018 to September 2019, the Bowl of the BMW Museum will be dedicated to a wide range of subjects, including electric mobility, carbon, battery technology and renewable raw materials. A themed area of around 30 stations will demonstrate the diversity of electric mobility, various aspects of sustainable material selection and production, as well as some of the challenges facing emission-free mobility in the future. As part of continuing technological developments, the first approaches to solving these problems have already been implemented successfully. The task now is to make further advancements in digitalisation that would allow for fully autonomous driving. The BMW i brand stands for visionary mobility and vehicle concepts. It implements innovations and thereby contributes pioneering work within the enterprise. The brand’s drive is electric, its values sustainable and its design progressive. The BMW Museum is honouring the achievements of the brand that first set new standards with the BMW i3 and the BMW i8 and revolutionised individual mobility in large cities through a variety of mobility services. But it did not stop there: BMW i launched countless new, independent business areas within the enterprise, and has been aiming for new horizons and taking on new challenges since the beginning of 2018. Once again, the brand is carrying out pioneering work and is ready to realise new innovations.

Gustav Klimt is probably the artist most associated with Austrian art. His death in 1918 – the same year as the deaths of Egon Schiele, Koloman Moser, and Otto Wagner – is seen as the end of an era. However, their influence on the art world had waned even before this. Only peripherally affected by the political turmoil, a vibrant art scene developed in the countries of the Austro-Hungarian Empire with artists striving for change. The exhibition at the Lower Belvedere will guide you through this post-Klimt era. The interwar years are characterized by the wish for international connections that transcended new political and ideological boundaries. There was a vibrant exchange of ideas between artists resulting in constructivist, expressionist, and fantastical trends. Cosmopolitan networks emerged among the artists of the former Austro-Hungarian Empire while art magazines made an increasingly important contribution to disseminating these new ideas. The outbreak of the Second World War brought this internationalism to an abrupt end and the sense of a shared culture faded, once again, into the background. The exhibition seeks to reveal the parallels during this period and demonstrate continuity and change in the art of the Austro-Hungarian Empire and its successor nation states. Featuring works by around eighty artists including Josef Capek, Friedl Dicker-Brandeis, Albin Egger-Lienz, Gustav Klimt, Oskar Kokoschka, Koloman Moser, Antonin Prochaska, Egon Schiele, Lajos Tihanyi, and many more.

“We don’t know the contour of feeling; we only know what molds it from without.” – Rainer Maria Rilke (1875-1926), Fourth Duino Elegy Celebrated as one of the most influential sculptors working today, Ursula von Rydingsvard is best known for her large-scale works and signature use of cedar wood. Her sculptures’ abstract shapes reference the mark of the human hand—evidence of the artist’s meticulous process of cutting, shaping, and assembling her works from thousands of cedar blocks—while simultaneously evoking the grandeur and power of nature. Guest curated by Mark Rosenthal, Ursula von Rydingsvard: The Contour of Feeling focuses on von Rydingsvard’s artistic development since 2000 and her continued commitment to experimentation throughout her career. Alongside a survey of recent works, the inclusion of select early sculptures will provide insight into the artist’s longstanding material and thematic interests. Featuring approximately 20 works—over half of which are large scale—the exhibition includes many sculptures never before exhibited in the United States. The Contour of Feeling will also mark the debut of a new large-scale sculpture created in collaboration with The Fabric Workshop and Museum specifically for the exhibition. Constructed from leather—a first for the artist—the piece’s scale is in keeping with recent work, while the new material represents an expansion for von Rydingsvard’s practice. It will mark the second collaboration between the artist and FWM, the first being in 1989 when she created a new work from felt. By spotlighting her more recent work and contrasting it with earlier pieces, Ursula von Rydingsvard: The Contour of Feeling highlights the artist’s evolution and presents a window into a unique synthesis of emotional fragility and imposing scale in her work that marks von Rydingsvard as an extraordinary artist of our time.

Hello World. Revising a Collection is a critical inquiry into the collection of the Nationalgalerie and its predominantly Western focus: What could the collection look like today, had an understanding characterised its concept of art, and consequently also its genesis, that was more open to the world? How might the canon and the art historical narratives themselves have changed? With these questions as starting points, the exhibition unfolds in more than ten thematic chapters as a many-voiced collaboration of internal and external curators, encompassing the whole exhibition space of the Hamburger Bahnhof – Museum für Gegenwart – Berlin. Hello World places the focus on transnational artistic networks and cross-cultural entanglements from the late 19th century to the present. The exhibition presents over 120 paintings, sculptures, installations, videos and films by some 80 artists, chosen from the collection of the Nationalgalerie. These provide points of departure for an exploration into hidden stories and new perspectives on the collection and its history. Such stories include Heinrich Vogeler’s path to the Soviet Union, Dadaist Tomoyoshi Murayama’s sojourn in Berlin in the 1920s, and the collaborations between Nicolás García Uriburu and Joseph Beuys. To do so, Hello World also incorporates works drawn from the collections of the Ethnologisches Museum, the Museum für Asiatische Kunst, the Kupferstichkabinett, and the Kunstbibliothek (all also of the Staatliche Museen zu Berlin), as well as the Staatsbibliothek Berlin and international loans.

Innovative Impressions explores an under-studied aspect of three Impressionists' careers: their groundbreaking prints and the techniques they developed through collaboration and experimentation. The artists of the Impressionist group are known for their innovative painting methods. Three of these artists—Mary Cassatt, Edgar Degas, and Camille Pissarro—also expanded the boundaries of the print medium in similar ways. Innovative Impressions highlights the groundbreaking printmaking techniques practiced by three artists who learned from each other while developing very different bodies of work. Thanks to such artistic exchanges, the artists produced prints that were among the most daringly creative works of their careers. Philbrook is the exclusive venue for the exhibition, which is curated by Sarah Lees, Hardman Curator of European Art, and features a wide range of prints along with key paintings by each artist, lent from collections across the US.

From a geographic perspective, Europe is a maritime continent. In terms of length of coastline relative to its overall size, Europe is the most sea-bound of all the five continents. Nevertheless, Central and Eastern Europe in particular can often seem very remote from the sea. At first glance, the sea for many nations only plays a role in the daily lives of those who live on the coast, or as a holiday destination. How fundamental the sea has been in shaping Europe’s development, and the role it continues to play right up to the present day, will be highlighted from June 2018 in a new special exhibition entitled Europe and the Sea. The exhibition investigates the sea’s significance as a space in which Europeans ruled and traded, as a bridge and border, a resource, and a place of imagination and memory. Using 13 distinct themes, each assigned a European seaport to serve as an example, the display encompasses a historical range spanning from antiquity through to the immediate present. This in turn demonstrates how mastery of the seas over the centuries has represented a significant component of European power politics. Today, the role of the sea as a bridge and border is once again of urgent relevance: millions of people fleeing war, terror, and poverty are setting off for Europe. However, other factors such as the use and exploitation of the oceans’ resources concern us more than ever, and will in the future play a significant role for the environment and global climate.

In executing his designs for the Medici Chapel in Florence between 1524 and 1534, Michelangelo created an unsurpassed highlight of Renaissance sculpture. Inparticular, the four monumental personifications of the Times of Day (Dawn, Dusk, Day and Night), with their daring nakedness and striking poses, had an immense influence on generations of artists. This is also reflected infour small-scale copies held in the Dresden Skulpturensammlung, which have so far received little attention. In this exhibition, investigatory evidence is carefully pieced together to demonstrate why the statuettes should be regarded as early works by the great Flemish sculptor Jean de Boulogne (1529-1608), known as Giambologna.

Almost Alive Hyperrealistic Sculpture in Art Opening: July 20, 2018 July 21 to October 21, 2018