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Culturekiosque Travel Tips  •  Art and Archaeology: Current Listings • Page 1

Events in Australia

Gods, Myths and Mortals: Greek Treasures Across the Millennia from the Benaki Museum
MELBOURNE  •  Hellenic Museum of Melbourne  •  10 September 2014 - 10 October 2019
 

The exhibition: Gods, Myths and Mortals: Greek Treasures Across the Millennia from the Benaki Museum, offers a manageable, yet complete, picture of the span of Greek civilisation. 

It highlights the unbroken continuation and unity of Hellenism, from earliest prehistory to the Classical and Hellenistic years, from the Roman era to the end of the Byzantine period, and from the centuries of foreign rule up to the revolutionary revival of 1821, and the founding of the Modern Greek state. The captivating progression of Greek art, and the twists and turns of Greece’s history are narrated by representative objects from almost eight millennia, coming as much from Greece itself as from lands where Greek culture took hold. At this crossroads between Europe, Africa and Asia, man – despite long periods of unrest and insecurity – managed to maintain the essential components of his civilisation: an anthropocentric view of the world, lively and inspirational thinking and the fruitful assimilation of as many influences as were accepted from its conquerors over time. 

In the exhibition of the Benaki Museum, aspects of everyday life and different sides of religious expression are presented together with documents about the social and political organisation, in order to record the narrative that can be read within the development of Greek civilisation. 



Hellenic Museum of Melbourne Website


Contact:

Hellenic Museum of Melbourne
280 William Street
Melbourne VIC 3000
Australia


Tel: 61 3 8615 9016

Events in Austria

<P>Anthea Hamilton, <EM>The New Life</EM>exhibition view Secession 2018Photo: Sophie Thun.</P>

Anthea Hamilton, The New Life
exhibition view Secession 2018
Photo: Sophie Thun.

Anthea Hamilton: The New Life
VIENNA  •  Secession  •  14 September - 4 November 2018
 
 
Anthea Hamilton’s interdisciplinary interest in performance is evident in her sculptural assemblages and installations whose tableau-like quality makes them reminiscent of stage sceneries or film sets, and which she has referred to as ‘performative spaces’. Her sculptures, idiosyncratic constructions precariously balanced between emergence and collapse, function like props for stories that remain to be told. Hamilton’s work is rooted in wide-ranging research, on the one hand, whether she explores strands in cultural history such as the roots of 1970s disco, art-historical references like Art Nouveau, radical Italian design or Japanese kabuki theatre, documentary photography or lichen.

Secession Web Site


Contact:

Association of Visual Artists
Vienna Secession
Friedrichstraße 12
1010 Vienna
Austria


Tel: 43/1/587 53 07

Events in Germany

CALLOT: Graphic Monuments
MANNHEIM  •  Kunsthalle Mannheim  •  14 September - 25 November 2018
 

He is a master of the art of etching: Jacques Callot (Nancy 1592–1635) is considered to be one of the most important late Mannerist copper engravers of the early 17th century. He worked for Cosimo di Medici in Florence and later for the courts in Lorraine and Paris, the Netherlands and Spain. That he achieved international fame – as an artist without any paintings, but exclusively as a result of his etchings – is quite remarkable.

Callot loved theatrical grotesques and elegant court scenes, while setting new standards with his war scenes from the Thirty Years’ War. His works thrive on his inexhaustible attention to detail which the etcher has lent a captivating presence, and – despite their small size – monumentality. In order to achieve this level of precision in his pictures Callot invented new etching techniques as well as employing stage-by-stage acid treatment processes for the first time to generate previously unseen spatial atmospheric effects.

Thematically, Jacques Callot also stroke a new path. With his “Capriccios“, or “Caprices”, he created a new genre which, in a playful manner, broke with iconographic rules, enabling an unchained expression of imaginative ideas.

Jacques Callot became famous for his partly literal, partly dramatic depictions of “The Miseries and Misfortunes of War” which represent one of the first series of works addressing this theme. This form was later taken up by numerous artists. The most famous works include Goya’s “The Disasters of War” and the series “The War” by Otto Dix. Instead of celebrating the victories of the rulers, Callot’s pictures depict the possible misconduct of the soldiers and describe the resulting punishments.

Both, his large format siege pictures as well as his topographically accurate landscapes reveal that the artist was less interested in politically important scenes or prominent buildings rather than the harsh as well as cheerful people’s everyday life.

His oeuvre encompasses 1,428 sheets, of which over one third, consisting of over 500 etchings, is part of the Mannheim art collection.



Kunsthalle Mannheim Website


Contact:

Kunsthalle Mannheim
4 Friedrichsplatz
Mannheim, 68165
Germany



Events in Italy

Prototypology: An Index of Process and Mutation
ROME  •  Gagosian Gallery Rome  •  14 January - 2 April 2016
 
 

Prototypology explores research and development in the work of thirty contemporary artists, tracing the evolution from idea to finished artwork through drawings, archives, maquettes, and bricolage. In doing so the exhibition establishes a typology of diverse drafts.

The studio is a liminal zone for sourcing, modifying, and testing. Derived from the Italian word schizzare (splash), a "sketch" represents the initial impulse from mind to hand, the developmental process whereby form begins to emerge. In the laboratory of the studio, bricolage is often used as an instinctual method in the construction of prototypes.

The exhibition includes new works and archival material from Michael Heizer, Takashi Murakami, Albert Oehlen, and Robert Therrien, among other artists. Studies for sculptures by Dan Graham, Claes Oldenburg, Tatiana Trouvé, and Rachel Whiteread reveal moments of process that lead to epiphanies. Monumental, civic, everyday, and otherworldly gestures are visible in a range of preparatory drawings and proposals.

Artists: Vladimir Arkhipov, Richard Artschwager, Nina Beier, Will Boone, Mike Bouchet, Chris Burden, Jason Dodge, Aleksandra Domanović, Dan Graham, Loris Gréaud, Michael Heizer, Carsten Höller, Thomas Houseago, Allan McCollum, Takashi Murakami, Albert Oehlen, Claes Oldenburg, Steven Parrino, Giuseppe Penone, Kirsten Pieroth, Ry Rocklen, Nancy Rubins, Arcangelo Sassolino, David Smith, Rudolf Stingel, Robert Therrien, Mungo Thomson, Tatiana Trouvé, Cy Twombly, Rachel Whiteread



Gagosian Gallery Rome Website


Contact: Gagosian Gallery Rome
Via Francesco Crispi 16
00187 Rome
Italy
Tel: (39) 6 42 08 64 98

Events in Latvia

<EM>Let’s Be Friends?</EM>
Let’s Be Friends?
Let’s Be Friends?
RIGA  •  Latvian National Museum of Art  •  15 September - 28 October 2018
 
 
An exhibition for child audiences Let’s Be Friends? is on view in the 4th Floor Exhibition Halls of the main building of the Latvian National Museum of Art in Riga (Jaņa Rozentāla laukums 1) from 15 September to 28 October 2018. The display invites visitors to explore animal representations in art and encourages children to think about values like friendship, trust, compassion, love, and responsibility. The main goal of the project is to communicate with the youngest visitors of the museum about topics that are important and interesting to them during the time they develop a deeper understanding of the surrounding world. The chosen title Let’s Be Friends? goes along with the way children explore and learn – by asking questions.

Latvian National Museum of Art Website


Contact: Latvian National Museum of Art
Jaņa Rozentāla laukums 1
Rīga, LV-1010
Latvija
Tel: (+371) 67 324 461

Events in Mexico

Carlito Dalceggio: I Do Not Scream For An Audience, I Shout At The Holy
MEXICO CITY  •  Celaya Brothers Gallery  •  25 February - 2 April 2016
 
 

For the exhibition I Do Not Scream For An Audience, I Shout At The Holy, Canadian artist, Carlito Dalceggio (born 1971, Quebec) , presents a series of multidisciplinary, spiritual and symbolic artworks. Butterfly wings, kites, peacock feathers, masks, organic motifs that remind us of Mexican popular art with a peculiar reminiscence of Picasso’s cubism, Rauschenberg’s abstract expressionism and Matisse’s primitivism.

In between art school and travels, Dalceggio installed his studio in different cities: Montreal, Mexico City, Bali, New York and Paris, creating a bohemian spirit with local artists, accumulating collaborations in art, fashion, circus arts, photography, literature and film.



Celaya Brothers Gallery Website


Contact: Celaya Brothers Gallery
Mérida 241
C. U. Benito Juárez
06700 Ciudad de México
D.F., Mexico
Tel: (52) 55 6391 5541

Events in Switzerland

Sam Gilliam: <EM>Idylls I</EM> (1970)Photo by Thomas Clark
Sam Gilliam: Idylls I (1970)
Photo by Thomas Clark
The Music of Color: Sam Gilliam, 1967-1973
BASEL  •  Kunstmuseum Basel  •  9 June - 30 September 2018
 

Sam Gilliam (b. Tupelo, Mississippi, 1933) is one of America’s most prominent abstract painters. Works by the artist, who has lived and worked in Washington, D.C., since 1962, are held by numerous museums including the Art Institute of Chicago, the MoMA (New York), the National Gallery of Art, and the Whitney Museum of Art. The Music of Color is his first solo exhibition in Europe. The show puts the focus on the years between 1967 and 1973, the period of the greatest radicalism in Gilliam’s oeuvre. His Yves Klein Blue, which harks back to his experimental early work, was presented at the 57th Venice Biennale in 2017.

In 1967, Gilliam began work on a series of what came to be known as beveled-edge paintings: he poured acrylic paint directly onto the unprimed canvas, which he folded and crumpled while the paint was still wet. He then stretched the canvas over a chamfered frame, lending the painting a spatial and object-like quality. Gilliam’s signature creative achievement is the drape paintings series, begun in 1968, for which he applied the same procedure as in the beveled-edge paintings but then released the canvas from the stretcher frame. Unlike easel paintings, which usually function independently of their context, the drape paintings evince a performative aspect and interact with their respective settings; they can be installed in a variety of ways depending on the spatial context.

Gilliam strove to blur the widely accepted boundary between painting and sculpture even as prominent contemporaries such as Donald Judd sought to reaffirm it. The paintings he created between 1967 and 1973 stand out for their monumentality and forceful use of color. The canvas becomes a medium that records traces of the production process and exhibits its own physicality. At a time when painting seemed to be in decline, Gilliam breathed new life into it; jazz was an important source of inspiration for his expressive and energetic style.

The Music of Color also probes the political and historical dimension of Gilliam’s oeuvre. While the artist himself rarely comments on political issues, the works in his Martin Luther King series and Jail Jungle reflect the 1968 race riots and the highly polarized debate over black art and abstract painting in 1960s and 1970s America.

The Kunstmuseum Basel presents 45 outstanding works from public and private collections in Europe and the United States.



Kunstmuseum Basel Website


Contact: Kunstmuseum Basel
St. Alban-Rheinweg 60
CH-4010 Basel

Tel: (41) 61 206 62 62

Theaster Gates: Black Madonna
Theaster Gates: Black Madonna
Theaster Gates: Black Madonna
BASEL  •  Kunstmuseum Basel  •  9 June - 21 October 2018
 

The creative practice of the American artist Theaster Gates (b. 1973) ranges from urban interventions and performance pieces to pottery. He is the lead singer of the band The Black Monks of Mississippi and has been appointed the first distinguished visiting artist and director of artist initiatives at the Lunder Institute for American Art, which is part of the Colby College Museum of Art. An urban planner by training, he rose to renown with Dorchester Projects, an urban redevelopment endeavor on Chicago’s impoverished South Side that he has described as «real estate art». His work continually aims to bridge the gulf between art and society and establish cultural communities as a way of initiating social, political, architectural, and urban change. At the 2013 Art Basel, he presented 100 marble slabs from the bathrooms of a bank building slated for demolition that he had inscribed with the words «In Art We Trust»; transformed into bank bonds, they helped raise funding for the Stony Island Arts Bank cultural center. Since then Gates has widely been recognized as a leading voice in contemporary art.

The artist sees himself as a collector of collections and archives, especially of America’s black culture. He is especially interested in forgotten objects, images, and themes, which he integrates into his own creative practice. As a collector of marginalized and obscure archives, Gates will join the Kunstmuseum Basel in a critical engagement with the museum’s Eurocentric collection that will broach fundamental questions concerning its spatial and organizational structures.

In his exhibition at the Kunstmuseum Basel, which will be spread out across two of the museum’s venues, Gates will explore the cult of the Black Madonna, examining both its significance in the history of religion and its aesthetic and metaphorical tenor.



Kunstmuseum Basel Website


Contact: Kunstmuseum Basel
St. Alban-Rheinweg 60
CH-4010 Basel

Tel: (41) 61 206 62 62

Events in United States

Glenn Ligon: What We Said The Last Time
NEW YORK  •  Luhring Augustine  •  27 February - 2 April 2016
 

Luhring Augustine presents What We Said The Last Time, an exhibition of new work by Glenn Ligon, and Entanglements, a curatorial project by the artist. A companion exhibition entitled We Need To Wake Up Cause That’s What Time It Is opened at Luhring Augustine Bushwick on January 16th and remains on view through 17 April 2016. 

What We Said The Last Time features a suite of seventeen inkjet prints that document the paint-spattered pages of the artist’s well-worn copy of James Baldwin’s seminal 1953 essay “Stranger in the Village.” Written during a stay in a remote Swiss mountain hamlet, Baldwin’s text examines complex and urgent questions around blackness, culture, and history. Since 1996, Ligon has used the essay as the basis of his “Stranger” series, including prints, drawings, and dense paintings made with oil stick and often coal dust that oscillate between legibility and obscurity. While creating these canvases, Ligon kept pages of Baldwin’s essay on his studio table for reference, and over the years they became covered with random smudges of black paint, oil stains, and fingerprints. Intrigued by this accumulation of marks, Ligon transformed the book pages into a suite of large-scale prints, using the full text of the essay for the first time in his career. The resulting work is a palimpsest of accumulated personal histories that suggests Ligon’s long engagement with Baldwin’s essay, as well as a new strategy in his ongoing exploration of the interplay between language and abstraction.

Also on view is Entanglements, a curatorial project by Ligon that examines how artists use the studio as a base from which to engage momentous cultural shifts and political events in both direct and oblique ways.  Key to the exhibition is Bruce Nauman’s Violin Tuned D.E.A.D. (1968), a video that presents the artist repetitively playing a single note on a violin with his back to the camera. While discussions of Nauman’s video works from this period have focused on issues of performativity, endurance, and the body, Ligon was interested in how Nauman’s discordant note can be heard as a soundtrack to the war in Vietnam or the brutal violence faced by civil rights workers. While not directly commenting on these issues, the ominous soundscape of Violin Tuned D.E.A.D. nevertheless suggests Nauman’s engagement with that turbulent moment in American history and served as a point of departure for Ligon to consider other works in which the artist’s studio has acted as a conduit for contemporary events. Ligon’s selections posit new identities, conversations or modes of sociability as a response to pressing social and political issues.  Entanglements features artworks and ephemera by Felix Gonzalez-Torres, David Hammons, On Kawara, Glenn Ligon, Bruce Nauman, Adrian Piper, Bob Thompson, Lynette Yiadom-Boakye, and Andy Warhol. 

Glenn Ligon lives and works in New York.



Luhring Augustine Website


Contact: Luhring Augustine
531 West 24th Street
New York, NY 10011
Tel: (1) 212 206 91 00

Lola Álvarez Bravo, Untitled, 1954.Gelatin silver print. Center for Creative PhotographyUniversity of Arizona: Lola Álvarez Bravo Archive 93.6.70 © 1995 Center for Creative Photography, The University of Arizona Foundation.
Lola Álvarez Bravo, Untitled, 1954.
Gelatin silver print. Center for Creative Photography
University of Arizona: Lola Álvarez Bravo Archive 93.6.70
© 1995 Center for Creative Photography, The University of Arizona Foundation.
Lola Álvarez Bravo: Picturing Mexico
ST. LOUIS, MISSOURI  •  Pulitzer Arts Foundation  •  14 September 2018 - 16 February 2019
 
The Pulitzer Arts Foundation explores the career of pioneering Mexican photographer Lola Álvarez Bravo (1903 – 1993) with an exhibition of images that she considered to be her personal photography. Lola Álvarez Bravo: Picturing Mexico presents nearly 50 photographs and photomontages spanning Álvarez Bravo’s fivedecade career. Together, these illuminate the ways in which her modernist aesthetic, with meticulous attention to pattern, light, and composition, contributed to her depictions of Mexico’s diverse inhabitants and landscapes as she traveled the country documenting life in the years following the Mexican Revolution (ca. 1910– 1920).

Pulitzer Arts Foundation Website


Contact: Pulitzer Arts Foundation
3716 Washington Boulevard
St. Louis, MO 63108
Tel: (1) 314 754 18 50

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