Tag: contemporary artist

Harvest – Brisbane – Australia

Alexander COOSEMANS - Flanders 1627-1689 - Still life c.1650 - Oil on canvas - 58.2 x 83.5cm Bequest of The Hon. Thomas Lodge Murray Prior, MLC 1892 Collection: Queensland Art Gallery | Gallery of Modern Art

Alexander COOSEMANS – Flanders 1627-1689 – Still life c.1650 – Oil on canvas – 58.2 x 83.5cm
Bequest of The Hon. Thomas Lodge Murray Prior, MLC 1892
Collection: Queensland Art Gallery | Gallery of Modern Art


From june 28 to september 21 2014 – Queensland Art Gallery –  GOMA

‘Harvest’ explores the production, consumption and symbolism of food. It takes as a point of departure colonial legacies and globalisation, labour and consumption in relation to the food industry. The exhibition will include over 100 works from all areas of the Gallery’s Collection, and will be presented in conjunction with the Australian Cinémathèque program ‘Harvest: Food on Film’.

The exhibition draw on the Gallery’s historical and contemporary collections to consider the social, political and aesthetic implications of food production, distribution and consumption.

‘Food has long given sustenance to the artistic imagination – from the exotic foods and spices pictured in seventeenth-century northern European still-life paintings to contemporary artists’ renderings of global brands,’

‘On entering the Gallery audiences will encounter a major new wallpaper commission from California-based artist duo Fallen Fruit (David Burns and Austin Young) whose public projects and site-specific installations work with fruit as a motif or material.

The relationship between food and art has never been so richly illustrated or explored than it will be in this exhibition. For food and art lovers alike, ‘Harvest’ explores the Gallery’s Collection in a very different light.’

‘In those 100 works are include the new acquisitions such as Mika Rottenberg’s video installation Mary’s cherries 2004, a fantastical comment on the absurdity of modern means of production and Yael Bartana’s photographs recreating imagined ‘lost’ images by Jewish-German photographers Leni and Herbert Sonnenfeld,’

Shirana Shahbazi, Iran/Switzerland b.1974; Sirous Shaghaghi, Iran / Still life: Coconut and other things 2009 / Synthetic polymer paint on canvas / Gift of the artist through the Queensland Art Gallery Foundation 2010 / Commissioned as part of a workshop for Kids’ APT6 / Collection: Queensland Art Gallery / © The artist

Shirana Shahbazi, Iran/Switzerland b.1974; Sirous Shaghaghi, Iran / Still life: Coconut and other things 2009 / Synthetic polymer paint on canvas / Gift of the artist through the Queensland Art Gallery Foundation 2010 / Commissioned as part of a workshop for Kids’ APT6 / Collection: Queensland Art Gallery / © The artist

Xu Zhen’s ShangART Supermarket 2008 recreates a fully stocked convenience store in the gallery space, while Aernout Mik’s video Pulverous 2003 shows a group of people fastidiously, often violently, demolishing the contents of a different kind of supermarket.

Also featured will be Rirkrit Tirvanija’s Untitled (lunch box) 2009, a fortnightly Thai lunch that four random Gallery visitors can sample, and Danish trio Superflex’s video documenting the inundation of a replica fast food restaurant in Flooded McDonald’s 2009.

Contemporary works by Aboriginal and Torres Strait Islander artists included in the show trace ongoing connections between food, country, and cultural knowledge, such as Evelyn McGreen’s spirit basket linocuts and Emily Kame Kngwarreye’s yam dreaming paintings.

Queensland Art Gallery


Franz Graf – See What Sees You – Vienna – Austria

Franz Graf, SIEheWASDICHSIEHET, 2009, Courtesy Galerie Krizinger © Bildrecht, Vienna, 2013

From Jan 29, 2014 until May 18, 2014 – Belvedere – 21er Haus
Franz Graf (born in Tulln in 1954) lives and works in Vienna and the Waldviertel region in Lower Austria. He studied with Oswald Oberhuber at the University of Applied Arts Vienna. From 1979 to 1984, he cooperated closely with Brigitte Kowanz. Between 1997 and 2006, he was a visiting professor at the Academy of Fine Arts Vienna.

His works are black and white and depict figures and abstract ornaments. Frequently, the basic shapes he uses are circles combined with letters, word fragments and quotes – his art is material poetry. Graf brings together drawings, photographs, audio and video art, prints and objects from daily life to create open systems that form aesthetic spaces of experience rather than multimedia installations.

For his exhibition at the 21er Haus in Vienna, Graf entangles the many levels of his oeuvre again to juggle emptiness and abundance, black-and-white contrasts, fine delicate details and large iconic, archaic and modern elements in his signature style.

For this purpose, he produces a new series of works that is juxtaposed with pieces by international and national contemporary artists as well as with works from the collections of the Belvedere and of the artist himself. The sum of these parts not only forms an exuberant exhibition in the main hall of the 21er Haus, but also a stage on which Franz Graf will permanently extend his installation throughout the duration of the exhibition. Additionally, it will host performances and collaborative art productions every other week.

Belvedere


Olga Tobreluts. The New Mythology – Moscow – Russia

Olga Tobreluts. Ups and downs. Oil on canvas. 2012


January 24 to February 24 2013 – Moscow Museum of Modern Art

The Moscow Museum of Modern Art in collaboration with Triumph Gallery present a large-scale retrospective exhibition of Olga Tobreluts, a Russian artist, who became well-known internationally, primarily as a pioneering media art artist and a creator of massive video installations. She is one of the first contemporary artists who picked modern computer technologies as a medium. The latter enabled Tobreluts to develop her own singular yet extremely recognizable style one can clearly tell even in her early works. Tobreluts’s artworks appear to be intricate manipulations, in which historical realities and myths of modern culture are melted together for the purpose of transforming them into a magical super reality.

Olga Tobreluts. Venus. Print. 2003. Courtesy of The Moscow House of Photography.

Olga Tobreluts gave up using computer technologies as her artistic medium in 2003. The year saw her return to painting. She managed to find out her own painting manner by employing ancient painting techniques. She keeps developing her manner while carrying out experiments with the chemical makeup of paints to expand her range of methods of light transmission.
The MMOMA retrospective exhibition will show Olga Tobreluts’ well-known series of works made available courtesy of several museum and private collections. Apart from the above, the artist’s experimental works will be put on display for the first time

Moscow Museum of Modern Art – MMOMA


Constant Permeke – Retrospective – Bruxelles – Belgium

Constant Permeke Leonie 1929-32 Privéverzameling Fotograaf: Hugo Maertens, Brugge © SABAM 2012


From October 11, 2012 to January 20th 2013 – Bozar – Centre for fine Arts

He was a contemporary of Otto Dix and Egon Schiele. But the expressionism Constant Permeke (1886-1969) demonstrated had a very specific personality, reflecting the little people of Flanders – workers, women with many children and peasants – who led a very rugged existence. Dark colors, the power of charcoal often mixed with paint, the monumental approach (the rigidity of his women reminds one of antique goddesses) made Permeke the herald of Flemish expressionism.

Constant Permeke De Sjees 1926 Collection MuZEE, Oostende Fotograaf : AD-ART Sint-Amandsberg © SABAM 2012


Y
et his reputation did not cross the borders easily. By bringing together 130 of his works, the organizers also wish to show his modernity and they chose to confront him to two contemporary artists – Marlene Dumas and her nudes, Thierry de Cordier and his landscapes.

Centre for fine Arts, Bozar


Alexander Kuzkin. It’s White. It’s Black – Moscou – Russia



May 13 — June 12, 2011 – Moscow Museum of Modern Art

Moscow Museum of Modern Art and the «G. O. S. T.» gallery present the project «Alexander Kuzkin. It’s White. It’s Black», the first retrospective show of the artist since 1985. The aim of the project is to show the artist’s wide range of interests. Kuzkin worked as a book designer, illustrator, industrial designer, painter, photographer, poster artist and graphic designer.

The first part of the exhibition contains prints. Alexander Kuzkin was a student of the Moscow University of Printing Arts, the Faculty of Printing Technology. The university was famed for its free creative atmosphere. Though the artist studied industrial design, he found time for mastering his drawing techniques.

The next part of the exhibition demonstrates the book design and two conceptual books-objects. Kuzkin was very imaginative, when he was occupied with book design. He invented an object, rather than just decorated a book. In a sense, he was one of the founders of the mail art in Russia. Kuzkin created a project of the edition «The Sorrows of Young Werther» by Goethe. It was a combination of the mail art and book design. Pieces of the edition, displayed at the exhibition, are letters to be mailed to readers during a certain period of time.

His second celebrated book-object is Anna Akhmatova’s «Requiem». It consists of the series of lithographs with verses in the Chinese style. Kuzkin created this edition for the International Book Art Exhibition in Germany in 1982. It was a period when the «Requiem» was still suppressed and was not published in full. The exhibition presents the layout of the book, restored by Andrei Kuzkin, the artist’s son, who is a well-known contemporary artist, the winner of the Innovation Prize 2009.

The exhibition also demonstrates the artist’s posters. Kuzkin was a talented poster artist. His language was new and individual.

The last artworks by Kizkin are remarkable for the abstract style and bold creative idea. In the early 1980s, such art was still provocative and distinguished the artists who were not afraid of experimenting and did not limit their creativity by self-censorship.

It is impossible to label what art movement Kuzkin’s original and many-sided art belongs to. His artworks have features of minimalism, concept art and abstract art. It makes his art close to the Western Modernist art of the 20 century. Thus, Kuzkin becomes an original representative of the Russian Nonconformist art.

Alexander Kuzkin died from heart disease in 1983. He was 33. He knew he would not live a long life. But it did not prevent him from following his own creative way, experimenting, trying different spheres and taking the risk. Alexander Kuzkin achieved so much in his short life. The fact can’t stop surprising.

Museum Hours


The dynamic dead Roee Rosen – Warsaw – Poland

Roee Rosen "Hilarious", video, 2010

Until July 3, 2011   – Museum of Ujazdowski Castle
Roee Rosen – painter, writer, filmmaker, winner of the 67th Orizzonti Venice Film Festival in 2010, enjoys his deserved reputation as the most intellectually provocative contemporary artist in Israel.

The art-world attention was drawn to Roee Rosen in 1997, when in his work Live and Die as Eva Braun he offered the viewer possibility to embody Eva Braun, mistress of Adolf Hitler – with all the political, ethical and erotic consequences of such a game. The installation was shown at the Israel Museum in Jerusalem and the key exhibition Mirroring Evil at the Jewish Museum in New York. In Warsaw, next to Eva Braun Rosen presents two other narratives that take place on the border between fiction and reality: Justine Frank and Confessions. In the first project Rosen creates a character (and oeuvre) of a fictitious interwar surrealist artist, a Belgian Jew named Justine Frank. In Confessions, the artist divulges a breakthrough in the history of perversion and pure evil”, a final confession, which Rosen presents through the voices of three illegal female immigrants working in Israel.
The fourth project showcased in Roee Rosen’s exhibition in Warsaw is his penultimate video Hilarious. Shot in the convention of a television stand-up comedy, Hilarious is an experiment in the field of too far-reaching jokes and tragic comedy.
The presentation is complemented by selections from the painting series Frosted Self Portraits, Martyr’s paintings and The Funeral Paintings inwhich we are invited to look and see from the dead artist’s point of view – Roee Rosen lying in his grave, the “dynamic dead.”
The intellectual provocation is Roee Rosen’s favored method of initiating a discussion, the artist takes a morally ambiguous position in the debate and proposes the most impossible points of view. Rosen’s artistic creation is a risky game, played with the viewer by an artist who presents himself as a notorious iconoclast, an enthusiast of transgressive gestures, ostentatiously (and not without perverse pleasure) breaking the rules of decency and political correctness. The key move in this game is manipulation with the concept of personality – role play, creating fictional characters and appropriation of someone else’s identity. The heroines and objects of these demonic operations are mostly women – female doubles, alter egos of the artist that become medium of a quasi-theatrical performance, but also the symbolic victims of possession.
The spectacle of Rosen’s art takes place at the crossroads of visual arts, literature and cinema, to meet the complex narratives between fiction and reality, in risky masquerades and provocative mystifications.

Museum Hours


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