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APRIL - MAY 2016 The bimonthly electronic journal of the Basil and Elise Goulandris Foundation
EDITORIAL TEAM
Georgia Alevizaki, Paraskevi Gerolymatou, Andreas Georgiadis, Maria Koutsomallis, Alexandra Papakostopoulou, Kleio Panourgias, Irene Stratis Designed and edited by
Τ + 30 210 - 72 52 896 www.moca-andros.gr | www.goulandris.gr
CONTENTS
IN PLACE OF A PROLOGUE
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By Kyriakos Koutsomallis, Director of the Basil and Elise Goulandris Foundation
iNTERVIEW
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with British Ambassador in Greece, Mr John Kittmer
I N S I D E T H E F O U N D AT I O N ' S P E R M A N E N T C O L L E C T I O N
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Maurice de Vlaminck
FORMER BEGF SCHOLARS
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Katerina Fotinaki
I N T E R N AT I O N A L L I S T I N G S / C U LT U R E A list of major art shows around the world
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I N P L A C E O F A P R O LO G U E
It is with great joy that we are renewing our contact via the present, 16th edition of our electronic newsletter. In the spring edition of G, we have the pleasure and honour of presenting a profound interview with the British Ambassador to Greece John Kittmer. He talks about his particular ties with Greece and his relationship with the Greeks, in a text characterised by knowledge, eloquence and sensitivity. He talks about the country’s traditions and customs, contemporary art in all its forms and manifestations, theatre, music, painting, poetry; the Greece he was introduced to through Ritsos’ poetry which he immersed himself in during his doctoral studies. There is also an interesting interview with former Goulandris Foundation scholar Katerina Fotinaki whom, following comprehensive studies in modern composition, talks about her approach to the complementary, harmonious relationship between musical composition and poetry with passion and dedication. She is interested in how poetry is approached by musicians and set to music. In closing we would like to thank you, the recipients of this newsletter, with the reminder that we look forward to sharing your experiences, impressions and other observations via all social media channels. Kyriakos Koutsomallis Director
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INTERVIEW WITH BRITISH AMBASSADOR IN GREECE
JOHN KITTMER
«Ritsos has in every way added to my appreciation of Greece» You recently wrote that in a world of instability diplomats are, unfortunately, not clairvoyants. This statement conceals both hope and a new premise: If diplomats were clairvoyants perhaps better things could happen. Or, to put it differently, diplomacy could – as a hub of government – articulate more positive messages, closer to the resolution of problems or, at least to their processing? I think I was making the simple point that diplomats do not have access to some sort of special knowledge that enables us to foresee the consequences of policy choice in a globalised world where actions and processes – whether undertaken by state actors, corporations, groups or individuals – can have bewilderingly diffuse and unexpected impacts. Clearly in diplomacy as in life generally, if there were a single, clear line between what we set out to do, how we do it and what we ultimately achieve when we put our intentions into action, the choices we make about how to realise our goals would be somewhat easier than they are. As it is, complexity, uncertainty, information failures and gaps, unpredictability, the lightening speed of modern communications, bizarre mutations of past experiences, new factors and developments – all conspire to make the effect of choice and decision-making in foreign policy a difficult, somewhat random, matter. The end of the Cold War or the invasion of Iraq are obvious examples. Closer to the present, the Syrian Civil War has made rational policy choice difficult. Six years ago, this began as a rising against the Assad regime, in what seemed likely to transmute into a bipolar conflict. The emergence on the scene, however, of Daesh has transformed the war into a sort of tripolarity, with all the complexity and devastation we have subsequently seen. Perhaps our policy choices would have been different in all these cases if we had been able better to foresee consequences.
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Government has its rules or, if you like, its framework. As does art. The latter usually plots its evolution by questioning that framework. Could art perhaps inform politics? Is this wishful thinking, an imaginative hypothesis, or an applied experience in contemporary society? I think that what you mean here is art’s willingness to break out of its boundaries, its relentlessly interrogative and transgressive nature. Perhaps policy-making is, by contrast, inevitably bounded. Civil servants and diplomats have to work within the law, bureaucratic conventions and political constraints. But there is always a place for creativity within such processes. Some of the greatest policy achievements of recent time have shown that in abundance: let’s think of the Northern Ireland peace process, for example, or the gradual establishment of an independent Kosovo, or the expansion of the European Union after the fall of the Berlin Wall. Officials and Ministers working on these policies could not simply work ‘within the box’. They had to think the unthinkable. That’s not so different from what an artist is doing.
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INTERVIEW Though not immune from climate change, Greece’s seasons are among its
Your declared deep love of Greece has clearly deepened while living in the country. What are these new means of love that were previously unseen?
I could answer this in many different ways (not least because, in the past three years, I have been able both to travel to many places that were new to me and to meet many Greeks, whom I could not otherwise have expected to meet – from the highest to the humblest). But let me simply opt for one thing and say that I am hugely enjoying Greece’s seasons. Previously, I had lived here never for longer than four or five weeks, generally in the summer or the springtime. I had no real sense of the seasonal cycle in Greece. Now I know how gently summer fades into autumn. The colour of the trees on Athos as the fall begins. Nature’s abundance (olives, acorns, seeds, chestnuts) underfoot. Or the surprising depths of winter (not this year, of course). Snow and bitterly cold winds driving across Parnitha, while inside the forest a certain warmth implausibly hangs on. And those first moments when you sense that nature is at last rousing herself for springtime. The bright flowers around the Acropolis or in the orchards of Aegina or across the meadows of Nemea. The smell of the blossom – almond, bitter orange, wisteria, jasmine – that pervades even the city. And then summer arrives so swiftly: the light suddenly changes from gentle imprecision to razor-sharp definition and clarity, and your senses, already dazzled by Greek luminescence, become aware simultaneously of the deep smell of the earth. Rosemary, thyme, sage, baked clay. Though not immune from climate change, Greece’s seasons are among its greatest glories. Outside my window a wisteria is now on the verge of its spring efflorescence. I can hardly wait.
greatest glories
Sometimes with reproach and sometimes with admiration the Greeks have been branded as living in a now culture. What do you think? There are many aspects of Greek life that strike an Englishman as idiosyncratic, perhaps unusual. Those of us who know you well know that you’re somewhat different from us. That’s not a bad thing, though truly bridging our two cultures can be harder than first seems likely. I’m not a huge fan of generalisations. And it seems undiplomatic and impolitic to cast my individual impressions, gathered over many years, into some form
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I fell in love at first sight with what I saw of Greece, the
of generalised summary that your readers may simply see as a rag-bag of stereotypes. But I do agree in part with the premise of the question: there is an arresting and attractive immediacy to much of Greek life. This is particularly true in the summer, when everyone wants to be outdoors, engaging with all of Greece’s boundless possibilities: its colours, smells, tastes, the sounds of Greek life. At such moments, it may seem as if your most characteristic form of collective endeavour is the kafeneio or, in these years at least, the noisy but evanescent demonstration. Everyone is talking, watching, gesturing, arguing. It is all very instantaneous. And it is all very compelling. Equally, however, there may be some disadvantages in this sort of arrangement. The preference for politics over governance; for consumption over production; for the improvised moment over the carefully designed plan; yes, perhaps for today over next week. At the same time, no one, least of all you, can forget that you have an ancient culture and an ancient language. These give a depth to Greek life, which only a fool could miss. What some of your closest friends, however, would like to see is a little more investment by yourselves in your own future, by which I mean a real willingness to discuss in positive terms what sort of country you want to be in five, ten, twenty years’ time, and a new commitment to achieving it. Less ambitiously, can we perhaps hope for some medium-term planning for growth and investment?
Greek way of life, the Greek people
You have an academic interest in Giannis Ritsos (PhD) and indeed in areas of his work that are not so well-known. In what ways have you reconnected with Greece through Ritsos’ work? Was this a complementary or a confrontational process? Ritsos has in every way added to my appreciation of Greece. I encountered him first through Theodorakis’ musical settings of some of his most famous works, then through the poetry itself, then through his life and a more critical and analytical appreciation of the role he has played in Greek culture. Ritsos lived the history of Greece, particularly of the Greek Left, in the 20th century. For me, his life and poetry opened doors into a better understanding of the 1930s, the Occupation and Civil War, the Cold War, the Junta, the early years of the restored democracy. You would expect me to have learned much about politics and society through Ritsos. But his poetry has also been a window onto Greek tradition, religion, folklore and myth; the Greek character; wider Greek literature and art;
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INTERVIEW
Greek modernism; the sometimes contrasting aesthetics of the Greek Left and Ritsos’ own instincts; the wider relationships between modern Greek culture and European culture. In my time as ambassador here, I have also had the privilege to meet some of Ritsos’ friends and family, people who knew him and understood him. All of this has enhanced my relationship with Greece. I am a proselyte not for Ritsos’ party affiliations, but for the light his life and works cast on the Greek 20th century. He has been my Vergil.
You are amongst those who have a deep appreciation of art and follow developments unfailingly. What are the aspects of contemporary Greek art that fill you with optimism? 10. Theatre, music, painting, poerty. Which aspect of contemporary Greek artistic production touches you most?
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I do value art in all its manifestations. For me life without art would be like life without religion. Not even two-dimensional. But you are perhaps too kind to me. I have lacked the time and resource to pursue my interests in Greek art with anything like the devotion and enthusiasm that it merits. I remain an amateur, with very patchy knowledge, of the current cultural scene in Athens – let alone broader Greece. For me, literature and drama are the essential things, which I can’t do without, but I am an enthusiastic loiterer at art exhibitions and galleries, and I listen to music (ancient, classical, religious, modern: folk and popular) whenever I can. I am optimistic about the arts and culture in Greece, because I see and recognise your ambition and creativity, and can discern with what plurality of vision you are approaching artistically the times in which you live. Your publishing industry, while small by European standards, is also deeply serious about what it does. And your numerous theatres are not afraid to be experimental or, by contrast, ambitiously popular. Since I’ve been here, I’ve been tuning into new poetry collections by established voices and new voices: Patrikios, Hatzopoulos, Dimoula, Angelaki-Rooke; magisterial new or posthumous editions (e.g. the new Leivaditis, new collections of unpublished material by Ritsos). I am currently enjoying reading the many different voices in Futures, Theo Chiotis’ excellent collection of poems of the crisis. Theatrically, I have seen unforgettable and utterly contrasting attempts to bring to the stage the Iliad and Thucydides’ History of the Peloponnesian War. I have enjoyed hugely creative productions of Persians, Rhesus, Timon of Athens, Ecclesiazusae. Most recently, Mikroutsikos’ new musical, Journey to the Southern Cross, bowled me over. There is a lot going on here, and that is even before I turn to music and art (space forbids…), and the recent Bond and Holmes exhibition I inaugurated at AKTO College. You should feel proud of your creative industries and find ever more inventive and effective ways to sustain them. They could play a really big part in your future.
What are you first memories of Greece? Your first visit here? When did your dream of someday living here, turn into a concrete aim? I first came to Greece in the Easter of 1984. I was sixteen; it was only my second time out of the UK. The country seized me and shook me up: emotionally, psychologically, aesthetically. I fell in love at first sight with what I saw of Greece, the Greek way of life, the Greek people. After some time in Athens, we travelled for ten days in a terrible old coach
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INTERVIEW You should feel proud of your creative industries and find ever more inventive and effective ways to sustain them. They could play a really big part in your future
around the Peloponnese and Boeotia, visiting Mycenaean, archaic, classical, Hellenistic, Roman, Byzantine, Frankish and Venetian sites. We spent a fortnight on Aegina and Siphnos. Everywhere, my teacher introduced us to real Greeks, to the customs of the here and now, to Greek reality as it is lived. I learned, I watched, I breathed it all in and I started to dream. I knew then that I would do all I could to go on and study Greek at university. And, to be only a little fanciful, I knew then that I would always be pursuing Greece, as a lover pursues a love that never dies. Over thirty years later, as I contemplate the end of my four-year posting as British Ambassador – in January 2017, none of that has changed, though my love affair has broadened, deepened and matured.
How difficult is everyday life in Athens for a European? And what are the positives that balance out (if they do) the situation? A big and rather difficult question. Aren’t Greeks Europeans too?! I think the answer must depend substantially on who you are and what you’re doing here. I myself am in a hugely privileged position and I try never to forget that. Although I dislike being encumbered with security restrictions, my life here is otherwise very easy, and only a churlish or hostile diplomat would be ungrateful to be here. Equally, I know no one in my immediate circle of British contacts who is unhappy: expat colleagues outside the Embassy, my British staff within the Embassy, my partner – we all seem to be getting on fine. Sure, the administration (general paperwork and taxation, for those who have to pay) has all the problems for non-Greeks that you yourselves encounter as native Athenians. But, for a European who is in work and able to support herself or himself, the blessings of life here clearly outweigh the bureaucratic inconveniences. In this seventh year of this awful crisis, you may find this hard to believe, but for me at least to think of myself as an honorary Athenian is a privilege which I count, and know I shall always count, as one of the greatest of my life. I am very grateful.
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I N S I D E T H E F O U N D AT I O N ' S PERMANENT COLLECTION
Maurice de Vlaminck (1876 – 1958)
Nature morte / Still life c. 1922/1923, oil on canvas, 53.5 x 64.5 cm
This painting comes from the period of Vlaminck’s work which critics call the ‘lyric period’. It is an attempt to express, in terms of relative opposition to the rigid austerity of Cézanne’s constructions in an earlier phase, the change which, just after the First World War, liberated shapes from their rigidity and proposed a richer and more subtle use of colour. It was first revealed to the public with some sensation during a show held by Druet in 1919, which caused Gustave Geffroy, author of the preface to its accompanying catalogue, to say: “However, instead of imitating Cézanne, he nourished himself from the substance of his work in order to express himself personally and translate his powerfully dramatic vision. Vlaminck’s arrangement is his own and his colour, dark, rich, dense, and warm, is equally his own creation.” For, what characterizes Maurice de Vlaminck’s artistic personality par excellence is that he listened to himself above all else, remaining faithful to his instincts, to his spontaneity, to his worship of nature, which was always for him a special source of his painter’s emotions; most of the time he kept himself outside the mainstream, unless it coincided with his own sensibility (as was the case with Fauvism and afterward, to some extent, Expressionism). This would cause him to violently reject Cubism, which he felt too conceptual for his tastes. Though his painting is frequently identified with country landscapes, along with portraits, it was marked from the beginning to the end of his career by still lifes. These always put objects from daily life center stage and illustrate his different stylistic stages; stages he passed through without ever having liberated himself from a continuously scrupulous compositional structure nor escaping the vehement rendition of the materiality suggested.
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FORMER BEGF SCHOLARS
Katerina Fotinaki BEGF scholar 2008-2009 in Music Composition
Photo © Lauren Pasch
You have studied contemporary composition, singing and literature. These seemingly divergent paths seem to coexist harmoniously in your artistic life. How did you manage this? From as far back as I can remember I had a great love of the Word and especially poetry. Poetry has such a strong musical identity that in my consciousness it is more a musical genre than a literary one. In this way, my interest in Literature and Composition is everything but divergent. I would actually say that they are complimentary. As far as singing is concerned, the educational experience I had at the Phonetic Art School of Spiros Sakkas was beyond the narrow framework of the voice as ‘technique’. I would say it was more like a realisation of the need to reconnect words and music with the body via the voice in a way that the emotions that occur from these two elements does not exist in a theoretical sphere but is a real experience every time. You are targeting an international audience. By developing the vehicle of poetry you are clearly aiming for your songs to have a special gravitas in relation to the word. How do you deal with the fact that this poetic verbalism is expressed in a language that is foreign to your audience? How is the imagery in your work completed through an ‘alien’ linguistic environment in which the word is often another component of the visual or aesthetic result and not word itself? I am very happy you have asked this question. The musical substance of poetry is an issue that concerns me deeply. Before I even melodise a poem, I try to find its own music, the rhythm, the harmony created by the succession of consonants and vowels
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that made the poet chose one word over another. In the same way, I try to make the additional music I propose (I say ‘additional’ music because I believe that the music of the word itself is a given…) a kind of rhythmical counterpoint and melodic enrichment to the initial music. The result that occurs is primarily musical and secondly related to the ‘meaning’ of the poem. This is why language is not such a great obstacle. And something more. I believe that poetry is somehow related to… Magic. I say this in a slightly humorous way, but when one reads the same poem in a repetitive manner, ten, twenty times, it’s as if the words take on another dimension and the poem becomes a… spell. This is how I approach poetry as a musician. Like a witch choosing the magical phrases that will exorcise the evil, the ugliness that exists around and inside us. The music ‘comes’ on its own. You have said that ‘if you are not completely given to what you do, you will be crushed’. How did you reach such a ‘difficult’ admission? Existing in the sphere of the arts is absolutely exciting but also very… dangerous. It is very easy to be swept away by one’s own narcissism and enter a process of self-reproduction as soon as the praise, the awards and the distinctions start occurring. Thankfully, the responsibility I feel towards poets, towards the texts I dare touch, does not allow me such behaviour. My conscience does not allow me to say ‘who cares, that’s good even though I’ve done it before’, when, for example, I am working on a poem by Solomos, Palamas or Elytis. When it leaves my hands to travel (on CD or at a concert) I have to be sure I have done the best I can (composition, orchestration, interpretation) and that I have struggled to come up with a music, I did not use what was already there. Let me revert back to the question. In this type of work, especially in relation to issues of livelihood and the sacrifices it requires at a personal level, one cannot afford to be parsimonious with time, dedication or risk. It is like the sea, you either get in and swim or you stay out; you cannot sit paddling in the shallows because its cold and you are afraid… If you don’t love what you do with a passion you will get weary. You will get weary at the first unsuccessful performance, the third time you cannot afford your rent, at the twelfth taxi driver who asks ‘music’s fine but what do you do for a living?’ I’d rather not give details of my personal course but one thing’s for sure, if I wasn’t so stubborn and didn’t feel such a need to do what I do, I would have given up a long time ago for serious reasons. Is there a female voice (or even method) in music these days? Difficult question. I’m afraid I do not think I can answer. But I am not sure this is true only of the here and now. I doubt whether there is a female stylistic model in art recorded in my consciousness, at least not in music. There is a definite dynamic female presence but I don’t know if there is a type of ‘school’.
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Photo Miltos Pantelias - Artwork Irini Gonou
‘The Cicadas’ clearly refer to an optimistic world. Surely a very bright one. If this is true, what pushed you towards this choice given the rather dark image of the world that surrounds us? This is what we were talking about before. About poetry and… magic. For me, Elytis’ poem ‘The Cicadas’ contains a powerful dual symbolism. Firstly, the obvious: the poet asks the cicadas if ‘king Helios is alive’ and they answer ‘he’s alive’ (in Greek they respond ‘zi zi zi zi zi…’, which is the sound made by the cicadas) which for me is a very optimistic message for Greece currently experiencing such dark times…
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FORMER BEGF SCHOLARS But it also has another symbolism. When Aesop created the… unacceptable fable about the cicada and the ant, he concealed a very important fact: that after being born, cicadas spend up to 17 years underground before hatching, coming to the surface and singing for just one summer! How dare he call the cicada lazy! This is a bit like the Greeks who have been accused of being… the ‘cicadas of Europe’; we have been living in difficult conditions for some time, and generally we have always been very patient before re-surfacing to sing… And how beautifully we sing (from Homer to this day…). The fact that some people believe we are lazy is unworthy of comment – just seeing how hardworking even teenagers are – between school, English lessons, extra teaching, etc. - is enough to show if we are lazy as a people. What is your opinion of today’s art of song writing in Greece? I am afraid we suffer slightly from the syndrome of the children of successful parents; who live in their shadow unable to confront them in order to outdo them. Of course, I include myself in this category! The era of Manos Hadjidakis was so defining for song writing that we are still in its wake. I am not talking only of the music of Hadjidakis himself, but of the circle of composers he helped and supported through competitions, commissions, etc. Now there is no longer this kind of mentor to truly support Greek song writing, it is difficult to avoid mimicry. I am however optimistic because the darker the era, the brighter its art. Song writing especially because it is so closely connected to everyday life that it cannot but break the shackles of the past in order to dynamically and with originality express that which we are currently experiencing. What are you planning to focus on for your next steps? This year I am very pleased to be on a extended tour with various projects in several countries (France, Switzerland, Belgium, Canada, New York, Berlin, UK, Holland, Spain). Alongside all these trips I am preparing for the recording of my project entitled ‘SPELLΞΟΡΚΙ’ created with the defining assistance of two artist, Irene Gkonou and Miltos Pantelias, two theatre professionals, Aglaia Pappa and Foteini Papachristopoulou, and a scientist, Giorgos Andrikopoulos who offered valuable information on magic in antiquity. The theatrical version of ‘Spell’ has already been staged in Greece and France and I am now preparing the compositions for the recording (several of British 19th century poetry – this is the first time I have written music for non-Greek verses) which will also contain some unexpected remakes (e.g. a punk song). I have also happily accepted an invitation by the Music Village to present a summer seminar on ‘the musical DNA of the word’, based on my research on the discovery and processing of the music of poetry. The Music Village entered my life a couple of years ago and has since become a great source of inspiration through my interaction with so many untiring and talented musicians (both young and older, Greek and foreign).
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INTERNATIONAL LISTINGS / CULTURE
LONDON
National Gallery: DELACROIX and the rise of Modern Art
This exhibition is a tribute to the most important representative of French Romanticism. British art and literature, real or imaginary journeys to North Africa, biblical scenes, human passions were all sources of inspiration. His paintings were dominated by scenes of violence and war, murder but also stories of love. Duration of exhibition: 17/02 -26/05/2016 www.nationalgallery.org.uk
LONDON
Royal Academy of Arts In the age of Giorgione
The exhibition attempts to unravel the complex mesh of influences that formulated Giorgione’s work alongside some of the best-known artists of the Renaissance. Also on display are works by Bellini, Dürer, Titian, Sebastiano del Piombo, Lorenzo Lotto and others. Duration of exhibition until: 05/06/2016 www.royalacademy.org.uk
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LONDON
Victoria & Albert Museum Botticelli Reimagined
Sandro Botticelli (1445-1510) is recognised as one of the greatest artists of all times. The Botticelli Reimagined exhibition is the largest exhibition of the artist’s work in Britain since 1930. Alongside 50 original works, the exhibition also examines his influence on contemporary artists and attempts to reinterpret his work in a contemporary manner. Duration of exhibition until: 03/07/2016 www.vam.ac.uk
BRUSSELS
Royal Museums of Fine Arts of Belgium: From Floris to Rubens
Η έκθεση περιλαμβάνει ενενήντα σχέδια από ολλανδούς καλλιτέχνες του 16ου και 17ου αιώνα, προερχόμενα από ιδιωτικές συλλογές. Σχέδια, πίνακες ζωγραφικής, βιτρώ, ταπετσαρίες καθώς και προσχέδια καλλιτεχνών όπως ο Frans Floris και Peter Paul Rubens, Hendrick Goltzius, Cornelis De Vos, Pieter Stevens και Adriaen Frans Boudewijns. Duration of exhibition: 20/1 - 15/5/2016 www.fine-arts-museum.be
PA R I S
Grand Palais Carambolages
The 185 artworks presented in the exhibition are very different to each other but when combined, each leads to the next and the one after through connections in technique or influence. It is, in a sense, like the billiard ball hitting another and both together hitting the following target. On display are works by Boucher, Giacometti, Rembrandt, Man Ray, Annette Messager and others, in an approach that is ground-breaking in the history of art.
PA R I S
Centre Pompidou Paul Klee – Irony at work
One of the largest retrospective exhibitions on Paul Klee with around 250 of his works. The exhibition is structured in seven thematic units that highlight every step of Paul Klee’s artistic evolution. Duration of exhibition 06/04 -01/08/2016 www.centrepompidou.fr
Duration of exhibition until: 04/07/2016 www.grandpalais.fr
PA R I S
Musee d’ Orsay: Le Douanier Rousseau. L'innocence archaïque
Henri Rousseau is a unique case in the history of European art. This exhibition examines the archaic innocence of his works and questions the notion of archaism. The exhibition includes works by Seurat, Delaunay, Kandinsky and Picasso but also unknown artists that introduce the richness of the relationships with Rousseau. Duration of exhibition until: 17/07/2016 www.musee-orsay.fr
PA R I S
Centre Pompidou Gérard Fromanger
The exhibition develops through a series of drawings, accounts and instances that weave a history of artistic, cultural and social events connected to Fromanger’s creative course that spans over half a century in Pari, covering the period from 1964 to 2015. Duration of exhibition until: 16/05/2016 www.centrepompidou.fr
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INTERNATIONAL LISTINGS / CULTURE
A msterdam
Rijksmuseum: Breitner - Girl in kimono
The countless versions of Breitner’s composition ‘Girl in Kimono’ are the focus of this exhibition. The exhibition presents the full series of 14 works for the first time. Also on display are drawings, sketches and photographs. Duration of exhibition: 20/2 -22/5/2016 www.rijksmuseum.nl
PA R I S
Musee Picasso Picasso. Sculptures
Following the reopening of the national Picasso Museum which attracted millions of visitors, the museum is presenting the first major international exhibition of Picasso’s sculptures. The aim of the exhibition is the observation of the artist’s sculptures from a different view point. Duration of exhibition until: 28/08/2016 www.museepicassoparis.fr
HAMBURG
Bucerius Kunst Forum Picasso – Window to the world
This exhibition focuses on the theme of the window in Picasso’s work and how he deals with it in his art. The window symbolises human relationships since it transcends the boundaries between painting and sculpture. Duration of exhibition until: 16/05/2016 www.buceriuskunstforum.de
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ROME
Scuderie del Quirinale Correggio & Parmigianino. Art in Parma in the 16th century
The exhibition contains a selection of masterpieces by two great Renaissance artists - Antonio Allegri known as Correggio (1489-1534) and Francesco Mazzola known as Parmigianino (1503-1540). Duration of exhibition until: 26/06/2016 www.scuderiequirinale.it
S wit z erland Fondation Beyeler JEAN DUBUFFET
NEW YORK
The Frick Collection: Van Dyck The Anatomy of Portraiture
METAMORPHOSES OF LANDSCAPE In the first large-scale retrospective exhibition of Jean Dubuffet in Switzerland, the Fondation Beyerler presents the multifaceted foundations of his output through around 100 artworks. The exhibition is based on Dubuffet’s exciting idea that the landscape can be transformed, in his paintings, into a body, face or object.
This is one of the most comprehensive exhibitions ever organised of Van Dyck’s work as a portraitist and the first large exhibition of the artist to take place in the United States in over twenty years.
FLORENCE
BILBAO
Duration of exhibition until: 05/6/2016 www.frick.org
Duration of exhibition: 31/1-8/5/2016 www.fondationbeyeler.ch
Palazzo Strozzi From Kandinsky to Pollock
The Palazzo Strozzi is hosting the exhibition From Kandinsky to Pollock in collaboration with the Guggenheim collections. Marcel Duchamp, Max Ernst, Man Ray, Picasso and many others are in conversation with their contemporary American colleagues including Pollock, Rothko, Willem de Kooning, Alexander Calder, Roy Lichtenstein and Twombly. Duration of exhibition until: 24/7/2016 www.palazzostrozzi.org
Guggenheim Museum Louise Bourgeois – Structure of existence: The Cells
Working with a broad variety of materials and forms, Louise Bourgeois created a body of work that spans over seven decades. She developed concepts and inventions that later became milestones of modern art. Among her most innovative and advanced sculptures are Cells, a series of architectural spaces that deal with a broad range of emotions. Duration of exhibition until: 4/9/2016 www.bourgeois.guggenheim-bilbao.es
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