Tag: george grosz

Kamagurka, Kamarama – Bruges – Belgium

Kamagurka - The End of Cubism - 2012


From the first of May to the first of August 2012 – Arentshuis and other locations

Artist, painter, theatre and television producer Kamagurka (Luc Zeebroek) will act as curator for a special art project in Bruges: Kamarama. On several locations he will display his own works as well as works of other artists who inspire and fascinate him. It will be an exhibition full of remarkable art, surprising perspectives and a certain amount of humour.

Kati Heck - check - 2012 - courtesy Jan Mostmans


Th
e Arentshuis will act as a live atelier in which Kamagurka will display his own art works. From time to time he will create a new work here, by himself or together with other artists such as David Bade (May 1), Stephen Tunney (May 3 & 4), Werner Mannaers (May 17 & 18), Jeroen Henneman (June 28 & 29) and Muzo (July 10 & 11).

Roland Topor


I
n the Garemijn Hall, Kamagurka displays works from artists who inspired and influenced him. He likes to combine historic and contemporary art. He’s also fascinated by international links and the use of mixed media in art.

Kamagurka - Retrospective VII (kubistische smurfin) - 2012


D
isplayed artists: Capitaine Lonchamps (B), David Bade (NL), Don Van Vliet a.k.a. Captain Beefheart (US), Emile Salkin (F), Francis Picabia (F), Fred Bervoets (B), George Condo (US), George Grosz (D), Georges Ribemont-Dessaignes (F), Herr Seele (B), J.J. Grandville (F), James Ensor (B) , Jan Fabre (B), Jeff Olsson (S), Jeroen Henneman (NL), Kati Heck (D), Luc Tuyman s (B), Lucebert (NL), Marcel Duchamp (F), Markus Lüpertz (D), Max Ernst (D), Muzo (F), Otto Dix (D), Pablo Picasso (E), Paul Joostens (B), René Daniëls (NL), René Magritte (B), Rinus Van de Velde (B), Roland Topor (FR), Stephen Tunney a.k.a. Dogbowl (US), Werner Mannaers (B), Wim Delvoye (B), Wim T. Schippers (NL) and Yves Obyn (B).

Herr Seele - Cowboy Henk, 2011 - courtesy of the artist


Y
ou will also see art works in the streets of Bruges such as his ‘accidental’ portraits of fictive people. There will be 12 portraits spread around the Arentshof garden and alongside the Dijver. If you think you recognize a family member, friend or acquaintance in one of the portraits, you can report this on this website. At the end of the project, Kamagurka will choose the one who is the best lookalike of one of his portraits.

Kamarama


Emotion is a private matter, 130 watercolors, drawings, and prints – Bonn – Germany

Christian Schad, Halbakt, 1929 © VG Bild-Kunst, Bonn 2011


Until th 15th of May 2011 – Kunstmuseum Bonn

Works from the Museum of Prints and Drawings Berlin, on Display with Additional Loans
During the Weimar Republic, Verism and the New Objectivity (Neue Sachlichkeit) were among Germany’s most characteristic art phenomena. These movements no longer responded to the experiences of World War I and the subsequent crisis of society by using the Expressionist utopia of the new man, an ecstasy of the subject and his emotions (“Emotion is a private matter”, Bertold Brecht stated in 1926). Neither did they react with the Constructivism the Bauhaus used for conveying art and life. They rather cast a cool, finely tuned glance to a reality that ran between social misery and the banality of everyday life. Sober, unsentimental and sharp, they rendered figures and things by means of their contours in order to give them sustenance and firmness once again in an attempt to stabilize and make manageable a world that had become unmanageable. Instead of dynamically breaking through boundaries, a static delineation of limits now emerged. Their realism was not a reproduction, but an interpretation of reality that strove to make it secure once again.

This exhibition features 130 watercolors, drawings, and prints from the extensive collection of the Museum of Prints and Drawings Berlin. The selection has been supplemented with 35 loans, paintings in particular. Only by including painting, the New Objectivity’s central means of expression, is it possible to show its precise artistic significance.  The result is a comprehensive panorama comprising works by all of the important artists of the time, such as Otto Dix, George Grosz, Max Beckmann, Carl Grossberg, Conrad Felixmüller, Alexander Kanoldt, Franz Radziwill, Christian Schad, Rudolf Schlichter, Georg Scholz, and Georg Schrimpf. The very scope of this spectrum of around 40 artists clearly demonstrates the impossibility of pinpointing any unifying artistic tendency in terms of style or geography. Granted, the positions, which have been labeled as Verism, New Objectivity or Magic Realism, share common features in their turning toward reality, especially the human image, the precision of the object with a clear picture construction, and the dominance of the line.  But nevertheless, they operate within a broad radius

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