International Art News

Robert Longo, 2012 – Tiger – 33 x 42 inch – Archival pigment print on paper

From February 1st 2013 to March 30th 2013 – Galerie Fluegel-Roncak
Robert Longo who was born 1953 in Brooklyn/New York, is an American Artist who became famous for his large scale photorealistic charcoal drawings.
He has developed several distinct bodies of work including monsterwaves about to break, atomic clouds rising into the sky, sharks or tigers. The bombs and the waves are things that exist at the moment of their being he explains: a bomb is meant to explode, a rose in born to bloom, a wave is destined to crash. They are at the moment of their fulfillment.

Robert Longo – The Face, 2005 – Pigmented print – 38 x 39 inches

Robert Longo has had retrospective exhibitions at the Hamburger Kunstverein and Deichtorhallen; the Menil Collection in Houston; the Los Angeles County Museum of Art; the Museum of Contemporary Art in Chicago; the Hartford Athenaeum and the Isetan Museum of Art in Tokyo and many more.
His works are in all major museum collections worldwide.

Galerie Fluegel-Roncak

From Sept 07, 2012 to Oct 06, 2012 – Gallery Voss
Harding Meyer´s central theme still is the grappling with the human physiognomy, to which he adds, in his current exposition “Features”, a new approach by transforming photographic works.

Over the last fifteen years, he has consequently developed further the solitary portraits integrated in the paintings. The models are mainly taken from the wide range of the media: he searches magazines, the internet and TV for the starting point of his pictures. In a long forming process, layer by layer, Harding Meyer turns the media stereotype into the individual intended: the picture as picture. He reconstructs a biography, the biography of faces generated by the media, but the aim is the creation of anonymity as identity.

For the first time Meyer offers a look into his photographic activities, the origin of which can be found in his collection of portrait photographs.
In “Features” he shows a photographic series of collage-like “sculptures”, in which he mixes elements of various faces. He cuts out facial fragments, pins them to faceless Styrofoam heads, sometimes adding a glass eye, and finally equips them with hats thus creating heads that will strike the spectator as human and artificial at the same time. Here it is the right eye of a prisoner meeting a model´s glaring red lips, there it is coarse-grained pixel noses and most delicate eyelashes. To take pictures of such objects he uses the iPhone as well as traditional cameras.

Gallery Voss

El Greco and Jorge Manuel, Immaculate Conception, 1607-1613, oil on canvas, 108 x 82 cm, © Museo Thyssen-Bornemisza. Madrid

From April 28 to August 12, 2012 – Museum Kunstpalast
It is for the first time that the elective affinity between early Expressionism and El Greco is examined with direct reference to originals and that the phenomenon of an Old Master becoming the catalyst of a young avantgarde art movement is illustrated this vividly. The intention is to reveal the multifaceted levels on which exponents of Expressionism concerned themselves with El Greco’s pictorial world. In the process, attention is paid to the genres of religious painting as well as portrait and landscape painting. A wealth of works tell us of the profound fascination which, quite astonishingly from today’s perspective.

The Vision of Saint John, aka The Opening of the Fifth Seal (1608-1614), oil on canvas painting by El Greco, 222.3 cm x 193cm, located at the Metropolitan Museum of Art, New York City

El Greco inspired Beckmann, Macke, Kokoschka, Franz Marc and all the German avant-garde of the XXth century? This is one thing most had forgotten but this exhibition “El Greco and the Modernists” is here to remind us. It is presented one century after the storm that took place when the paintings by El Greco arrived on German soil. They belonged to the Nemes collection, and were presented in Berlin, then in Dusseldorf in 1912 and finally at the Städtische Kunsthalle. It was there that the young artists were able to see this strange artist up close and the way he transformed proportions using an aggressive palette, filling his compositions with ecstatic characters with wax-colored complexions… One hundred years later, the dream of bringing together the great master and his students is finally a reality. Next to some forty paintings by El Greco, brought in from the Metropolitan, the Louvre or Toledo, we h ave works by Beckmann, Lehmbruck or Oppenheimer put in counterpoint, proving that Cézanne was not their only reference.

Museum Kunstpalast

Fabián Marcaccio: "Child Soldier Structural Canvas", 2011, pigmentierte Tinte auf Leinwand, Aluminium, Alkydharz-Farbe, Silikon, Foto: © LehmbruckMuseum, Courtesy Galerie Thaddaeus Ropac, Paris

Until June 17, 2012 – LehmbruckMuseum
Fabián Marcaccio, born in Rosario de Santa Fe in Argentina in 1963, has been living and working in New York for more than twenty years. He became known in Germany, first and foremost, for his solo exhibitions at the Württembergischer Kunstverein Stuttgart (2000), the Kunstverein Köln (2001) and for his participation in the Documenta XI (2002).

Since the early 1990s Fabián Marcaccio is concerned with questioning and expanding the classical concept of painting. In his “Paintaints” – a neologism formed from the terms “painting” and “mutant” – the concepts of painting, sculpture and object art are fused. The continually increasing sculptural tendency of his works has been recently condensed into large figurative tableaus, “Structural Canvas Paintants”, due to whose outstanding sculptural quality he was awarded the Bernhard Heiliger Award for Sculpture. In his new group of works Marcaccio seizes on contemporary subjects from politics, economy and society. Among them are globalisation, bank crashes, transsexuality, genetic engineering and terrorism as well as the role of the media. In “CNN-Paintant”, for example, he shows the frazzled body of a reporter working for the Cable News Network that lies on the floor and thus points to the never-ending infotainment culture of war, blood and horror that informs our visual everyday life. Like in a kind of modern history painting, Marcaccio tells about contemporary historical moments or events but asks his spectators to question their verisimilitude.

LehmbruckMuseum

Sarah - Alex Katz, 2012 - 104 x 99 cm-41 x 39 inch - Lithograph on paper Edition: 60

From May 12 to July 06, 2012 – Galerie Fluegel-Roncak
On view are paintings and prints, mostly from the last 15 years with his famous portraits and landscapes.
Alex Katz was born in 1927 on July 24th in Brooklyn/New York and is one of the most important artists of american contemporary and pop art. His works are in all major museums around the world including Albertina/Vienna or MOMA/New York.
He developed his own kind of painting by producing iconic, cool effective images of life in the wealthy leisure class, and of natural idylls. In a further step, he reproduced, reflected, and reduced his motifs in his prints, which retained the planes of deep, radiant color that characterize his paintings.
Alex Katz celebrates his 85th Birthday on July 24th 2012.

Galerie Hours

Claude Monet (1840-1926) »London, Houses of Parliament. Burst of Sunlight in the Fog«, 1904, Musée d’Orsay, Paris. Bequest of Count Isaac de Camondo, 1911, © RMN (Musée d'Orsay)/Hervé Lewandowski

Until 28 May 2012 – The Staatsgalerie Stuttgart
The Staatsgalerie Stuttgart will present approximately seventy late works – some quite large in scale – by William Turner, Claude Monet and Cy Twombly. The outstanding loans will serve to illuminate similarities and interrelationships between the works and exemplify their common characteristics.

Cy Twombly »Quattro Stagioni« (A Painting in Four Parts), 1993-1995, Part II: Estate, Tate, Purchased with assistance from the American Fund for the Tate Gallery and Tate Members 2002, Tate, London 2011, © Cy Twombly Foundation

The Staatsgalerie will be the only venue in Germany to show the outstanding late works of three of the greatest painters of the last two centuries. The exhibition will not only unite works by William Turner, Claude Monet and the late Cy Twombly, but also offer the visitors new perspectives on the art of each, in and of itself.

In his landscapes and seascapes, the English painter William Turner (1775–1851) developed an abstract pictorial language which was adopted by the Impressionists.

Joseph Mallord William Turner (1775-1851) »War. The exile and the Rock Limpet«, exh. 1842 Tate. Accepted by the nation as part of the Turner Bequest 1856, © Tate, London 2011

Claude Monet (1840–1926) translated the motifs of that harbinger of abstraction into series with differing light atmospheres. With Cy Twombly (1928–2011) the exhibition will extend the spectrum to encompass the present: an important of exponent of Abstract Expressionism, the American developed the poetic pictorial language further in his monumental paintings.

Museum Hours