JANUARY - FEBRUARY 2014 The bimonthly electronic journal of the Basil and Elise Goulandris Foundation
EDITORIAL TEAM
Georgia Alevizaki, Paraskevi Gerolymatou, Andreas Georgiadis, Katia Kallitsounaki, Maria Koutsomallis, Alexandra Papakostopoulou, Maria Skamaga, Irene Stratis Designed and edited by
Τ +30 210 - 7252896 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
S O P H I A VA R I
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Announcing of our forthcoming exhibition at MOCA, Andros
PORTRAIT
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Α portrait of director George Dambassis
CONTEMPORARY GREEK ART F rom the F oun d ation ’ s P ermanent C ollection
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RECENT NEWS
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BEGF new Sholarships
FORMER BEGF SCHOLARS
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Myrto Lavda
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
We are very pleased to announce, in this fifth issue of our online bulletin, that the Basil and Elise Goulandris Foundation has received a significant donation by veteran director George Dambassis, a doyen of national television history in Greece. The donation comprises a massive archive of audiovisual work in digital form, almost an one-thousandhour long cultural footage reel. Dambassis, an indefatigable, passionate, and restless philocalist has for half a century now turned his ardent and selfless lens on anything he deemed worth preserving against the workings of time and oblivion. Apart from thoroughly documenting the activities of the Basil and Elise Goulandris Foundation from its inception to the present day, the archive is an extensive record of the activities of other cultural institutions, including museums and archeological sites both in Greece and abroad, especially Europe, and the USA. An archaeological journey along the Asia Minor coastline, from Halicarnassus to Troy is of particular interest. A significant portion of the archive is concerned with life in the Cyclades, especially the island of Andros. Dambassis creates a complete visual register of the island’s churches and monasteries at the same time that he provides an insightful and visually astute record of Andriote customs and traditions, the peculiarities of the island’s social life, and of oral testimonies, aiming to guard them against decay and the passage of time. On the occasion of this significant gift–which the Foundation feels it must put to good use through screenings, and loans to schools and various educational programs– the current issue of our bulletin includes an article by Katia Kallitsounaki, which provides additional information on George Dambassis’ career and his donation to the BEG Foundation. The current issue also features a thought-provoking interview with former BEGF scholar Myrto Lavda, who now heads the Onassis Cultural Center Educational Programs Department. For those interested, we are announcing the thirtieth edition of the Foundation’s scholarships program for postgraduate studies abroad in the fields of art conservation, sculpture, and cultural institutions management. Finally, it is with great pleasure that we inform our art-loving friends that the Foundation’s Museum of Contemporary Art, Andros, will be organizing an exhibition of work by Sophia Vari, scheduled to run from 29 June to 28 September 2014. Kyriakos Koutsomallis Director
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fort h co m ing e x h i b ition
SOPHIA VARI MUSEUM OF CONTEMPORARY ART - ANDROS 29.06 - 28.09.2014 Sophia Vari, an internationally renowned Greek artist with a multicultural art education began her career as a figurative painter, eventually turning to sculpture in the mid80s where she would excel. Vari remained independent throughout her career, never following any particular school of thought or practice, or joining any art movements, steering clear of established beliefs, and engaging in a bold and passionate quest for models she might be inspired from to create her very personal universe of forms. Apart from a large and varied sample of her work in sculpture that is to serve as the exhibit’s main axis, the proposed tribute to her work will include drawings, watercolors, oils, reliefs, and collages, as well microsculptures. The exhibition hopes to make manifest the manifold transformations of form and concept that the artist ingeniously invents and gives shape to through her sustained and highly original dialogue with form. The exhibition's catalogue will be published by SKIRA.
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MUSEUM OF CONTEMPORARY ART - ANDROS
SOPHIA VARI
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PORTRAIT w ritten b y K atia K allitsounaki
The George Dambassis Archive at the B. & E. Goulandris Foundation
I had the good fortune of meeting George Dambassis in 1984 and working with him when I was just starting out, though I had yet to realize I was in fact learning at the side of one of ERT's 'historical' figures. Although Dambassis himself would protest the epithet with a laugh, it is a fact that he was the first television director to be hired in 1965 by what was then an experimental broadcaster, and that he contributed, together with a select staff of journalists and broadcast technicians working under the leadership of Anastassios Peponis, to setting up EIR, the first Greek public broadcaster, later to be renamed EIRT and, finally, ERT. A graduate of the Panteios School of Political Sciences (as the Panteion University was formerly known), Dambassis studied television production and direction at the London School of Television, English at Princeton College and direction and electronic journalism at the Thompson Foundation, Glasgow, and was successfully involved both in musical entertainment and the production of cultural and educational documentaries. Among the hundreds of television shows he directed until his retirement in 2000, Dambassis himself singles out the musicotheatrical show 'Istoria grammeni me notes' (A tale written in notes), written by theater expert Thodoros Hadjipantazis, his portraits of major Greek composers (Hadjidakis, Theodorakis, Markopoulos, Leontis, Moutsis, Chalaris, etc), the series 'Archaeologia' (Archaeology) and 'Archaeologikes ksenagiseis' (Archaeological tours), featuring scripts by renowned archaeologists such as Manolis Andronikos, Evi Touloupa, Vassilis Lambrinoudakis, Io Zervoudaki, Dimitris Pantermalis, and others, the series 'Ageo, riza kai diarkeia' (The Aegean, Origins and Continuity), written by Mattheos Mountes, his portraits of poets Andreas Embeirikos and Odysseus Elytis, and the weekly culture show 'Syneikones' (Collages). Retirement for a man as inquisitive and creative as George Dambassis could not have
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George Dambassis together with Mr Angelos Delivorrias and Mr Kyriakos Koutsomallis.
meant a complete withdrawal from his creative activity. His love for his native island of Andros, and the Cyclades in general, was the reason for his candidacy in the municipal election, in which he was elected for two consecutive terms, first as a member of the Council of the Prefecture, and then as President of the Prefectoral Committee for the Promotion of Tourism in the Cyclades. In this capacity he created a series of documentaries to draw attention to the archaeological sites, museums, academic institutions, architecture,
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PORTRAIT OF
G eorge D a m b assis
folklore, traditions, and local cuisine of those 24 islands, while also presenting in a series of special features a number of scientists, artists, and writers that had ties to the islands or had taken part in local cultural activities. Featured, among others, were architect Yannis Lygizos, historian Dimitrios Polemis, Academy of Athens member Michalis Tiverios, archaeologist Lydia Palaiokrassa, MIT professor Michalis Dertouzos, painters Sotiris Sorongas and Pavlos, sculptor Thodoros, writers Ioanna Karystiani and Marina Karagatsi, etc. Those documentaries and the ones concerned with the exhibitions of the Basil and Elise Goulandris Foundation Museum of Contemporary Art, Andros, which Dambassis created between 1986 and 2013 and on which I had the pleasure of collaborating with him as a music consultant, form a consummate, organic part of his personal archive which covers a wide range of interests. In recent years Dambassis has added to his archive a series of documentaries on Greek antiquities found in the collections of international museums. Travelling through Europe, Asia Minor and America, Dambassis compiled and used an impressively vast amount of information, while also creating a record of archaeological sites and monuments across Magna Graecia in Southern Italy and Sicily, and along the Asia Minor coastline from Halicarnassus to Troy. Convinced that an archive rightfully belongs in the hands of an official institution and must be donated so that it may become accessible to all by means of technology, George Dambassis donated his archive to the Basil and Elise Goulandris Foundation in 2013. To those who are familiar with the bond that connects him to the Foundation ever since the establishment of the Andros Museum of Contemporary Art, his choice came as no surprise. Having acquired the archive, the Foundation proceeded to digitize it and plans to make it available in its new Museum of Contemporary Art, in Athens, once construction is completed, a project that George Dambassis is closely following, putting together material that is to be used in his new documentary, titled 'A Museum is Born'. Katia Kallitsounaki Producer, Third Programme, Greek Radio
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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
Constantin Byzantios (1924 - 2007)
Playing cards Oil on canvas, 195 x 160 cm, 1992
Posed not as portraits or psychological notations but instead as volumes, luminous masses as a counterpoint to the darkly colored planes, these bodies impress us with their silent height, their posture, their immobility. The faces rendered in facets after the fashion of marrons sculptés, of a neo-cubism that aims less at the logical reduction of components than the ordering of small reflective surfaces. The hexagonal cut of dress necklines, the slender tapered hands are like so many assertions of rigor, an attempt at arrangement and accession to an utter impassiveness of things. Even if the painter tries to approach his characters on the plastic level of appearances, without admitting the least trace of emotion or interiority, by playing with mirror reflections to better situate the subject in space, we can’t help but think of a deck of cards fanned out, with no hierarchy and whose only sword is the Queen’s, with her gaze of a goddess from antiquity, frozen in a royal pose, immortalized. As with all major orders, this one too harmonizes and eases itself, introduces props (table, ladder, chair…), separates the participants to allow a gesture to take flight, the jumble of shifting planes, the intrusion of beveled lines, diagonals that break the space. This destabilization does not evoke pathos or fright. As in a theatre distanced from the audience, the actors appear not to feel what their arms and hands are gesticulating, the body collapsing or a protagonist’s disruptive stage-crossing – except in a few paintings where the spark of a “panicked” gaze flares. But in such cases isn’t it ocular dilatation that’s the last stage of immobilization? Indifferent to content, Byzantios makes the passage from object to body the intelligent affirmation of a formal game pushed to the limits of refinement, to its most relentless logic. It’s clearly visible that the uncanny unity of these compositions relies on a twofold language – that of a structuring whose arrangement is deliberately based on relations and that of an apparatus of gestures and situations whose anecdotal significance has been emptied. The highly peremptory ambiguity of Byzantios… Gérald Gassiot-Talabot Art Press, February, 1990
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BEGF SCHOLARSHIPS APPLICATION NOW OPENS FOR THE 2014 BASIL AND ELISE GOULANDRIS FOUNDATION SCHOLARSHIPS IN MEMORY OF BASIL and ELISE GOULANDRIS and PANDELIS P. KARADONTIS The Basil and Elise Goulandris Foundation announces the thirtieth edition of its scholarship program for postgraduate studies abroad in the following disciplines:
1. Fine Art Conservation 2. Sculpture 3. Cultural Institutions Management For more information interested parties may contact the Foundation by phone at 210 7252896 Monday through Friday from 09:00 to 17:00, or visit www.goulandris.gr Applications, complete with all necessary materials, must be submitted no later than March 31, 2014 to the offices of the Basil and Elise Goulandris Foundation (6, P. Aravantinou St., 10674 Athens). DOCUMENTATION Applicants must submit the following documentation to the Selection Committee Registrar, along with all other materials they believe will enhance their application: 1. A letter addressed to the President and Members of the Foundation's Scholarships Selection Committee stating their request for a scholarship. The letter must clearly state the applicant's particular area of interest as described in the Foundation's Scholarships Program. 2. A detailed resume in Greek together with a recent photograph. 3. An endorsed photocopy of the applicant's degree/s and other relevant academic certificates. 4. An official transcript of the applicant's previous academic record. 5. A portfolio containing work samples. 6. An unconditional offer letter from the foreign University specifying that the applicant has indeed been offered a place in the postgraduate program of his/her choice. (If the applicant has not yet received an unconditional offer letter, they may specify that the University's response is pending.) 7. The curriculum offered by the particular school where the applicant will be pursuing his/her postgraduate studies. 8. Photocopies of foreign language certificates. 9. Two (2) letters of recommendation from senior year instructors or employers/colleagues, sealed and signed on the back of the envelope, which the applicant must then enclose in his/her application packet. (Note: Applicants are kindly requested to submit seven (7) copies of their application packet: one (1) original and six (6) photocopies. Only two copies of the portfolio are required. Letters of recommendation are excluded.
For more information, please contact Ms. Alexandra Papakostopoulou at 210 7252896.)
Since 1986 the Basil and Elise Goulandris Foundation has been funding scholarships every year for post-graduate studies abroad on subjects related to art, for students up to 30 years old possessing Greek nationality.
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FORMER BEGF SCHOLARS
Myrto Lavda Sholar B.E.G.F, 2007, for Master of Art and Art Education Program
In recent years there has been an explosion of activity on the part of several institutions organizing learning programs. Both this activity itself and the response it has elicited (which has been positive, to say the least) point to the assumption that Greek society is obviously aware of its need for learning or of the education deficit with which it is faced. What is your own experience of this situation? I too have noticed the flurry of activity undertaken by many museums and other cultural institutions in designing and carrying out educational programs and a very warm reception of such programs on the part of the public. To my mind this means that Greek families, and Greek elementary and high school students are thirsty for new, constructive, imaginative, meaningful proposals on accessing art, be it drama, music, the visual arts, or dance. There are a lot of people who seem to feel the need to experience the creative process first hand, and who keep looking and listening hard for the challenge they crave, for those spaces or individuals that will tempt them and ultimately convince them to put time into such a thing. It may be taking part themselves in an experiential workshop, or attending an open dress rehearsal, or an after performance talk. It may also mean getting to know the artists in a show, or the secrets of putting a show together, or designing a show’s lighting, in short finding out how the end result, which is the sum of the collective work of several different specialists, eventually reaches the audience. This need probably arises from realizing that the ‘official’ education system leaves art– this most important aspect of individual and collective human life–out of its scope. Today, reexamining the values on which the structure of our societies is based implies, among other things, the need to come up with new ways of perceiving and thinking about the world. Art may well be one of them, and it is inseparable from what we call the quality of life on a very deep and fundamental level. Therefore, education does not only open the way for art to be enjoyed and appreciated, but also suggests, through art, the possibility of alternative life stances. Sometimes an educational proposal will immediately find its audience, at other times trust is slower to build in the audience, especially if the proposal is more innovative than usual. But when this happens it is even more rewarding. Art is certainly an ideal educational tool, among other things. Why should education practice in Greece so stubbornly refuse to integrate such a useful approach? The Greek education system is geared toward accumulating information rather than fostering critical thinking and an impetus for research. Art suggests a different approach in and of itself, compelling students to probe beyond accepted limits, draw new connections, combine knowledge and emotion. To make art a vital part of the school system there must first be a change to the system’s general scope, to methodology, and, more
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importantly, to the way in which its program is evaluated. When art courses – provided that such courses are indeed being taught – are based on a prefabricated, fragmentary curriculum which students must assimilate passively, reading and looking at pictures usually in a single textbook, how then can we not expect that aesthetic education will not become inconsequential to them? By contrast, every child carries within them the power to explore, to constantly expand their horizons. As the great American educational philosopher, author, activist, and teacher Maxine Greene put it: ‘For me, the child is a veritable image of becoming, of possibility, poised to reach towards what is not yet, towards a growing that cannot be predetermined or prescribed (Maxine Greene, 1987 -Commencement Address, Bank Street College). Embracing such a perception of the possibilities intrinsic to every child might lead us to redefine the role of education, and, simultaneously, the place of the arts in it. Now, you ask me why the Greek school will not do this. Apart from the basic, systemic reasons for this, there are also some practical issues to consider, such as the costs involved, which the State would most likely want to avoid. New specialized teachers would have to be hired and the schools would have to be supplied with the appropriate equipment. It would be a blessing if the Ministry of Education became a little more sensitive to this issue. Your involvement with art and art education (both its production and study on an international level) is multifaceted: which would you think are the basic principles that art education should revise today? If the arts are to have a meaningful place in the education system as a whole, they cannot be treated as an isolated class: instead, new methodologies must be developed so that the creative, analytical spirit they promote can inform the school’s entire curriculum. There have, of course, been similar attempts in Greece in the past, a notable example being the Melina-Education and Culture program, a primary education program that ran in schools from 1995 to 2001, aiming, among other things, to integrate the arts
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with other subjects. Such a thing presupposes the close collaboration of teachers from different disciplines, an experiential approach to learning on all levels, and a method of student evaluation that is not limited to one-dimensional-bipolar models of right and wrong. The idea on which our program at the Onassis Cultural Center was based combines learning through experience and an interdisciplinary approach, with a focus on dance, drama, music and the visual arts. The program is designed for primary and secondary school students and what makes it stand out is that it involves twelve meetings per group/school, which gives participants enough time to delve deep into the topic at hand and build on the ideas discussed. The program lays emphasis on drawing analogies between different art forms, on the collaboration between different artists and art professionals, on meetings that take place outside the confines of the classroom, whether in outdoor spaces or in other cultural institutions besides the Center itself. Another key aspect of the program lies in helping participants build two particular skills: observing and responding to a work of art, and learning to tap their own creative potential. If creativity is a basic key to growth and knowledge, can one be taught how to be creative? We can be taught to have an appetite for learning, which is in turn the way to discovering one’s creativity: the urge to look things up, to ask questions, to do research in the quest for knowledge, to speak your mind freely, to experiment, to imagine what the end to a story might be, how the story might unfold past that point, how a piece of music might be corporealized... Creativity is inherent to us all, but it needs a patch of fertile ground and the right climate before it can grow; it needs tools and materials, pushing the right buttons to bring it to the surface. You may be unaware of your own creativity simply because you have never been given the chance to participate in something that demands of you to take some initiative. Instructed knowledge is something we, at the Onassis Cultural Center, tend to distrust. What we do is offer some guidelines; basically, ‘teach you how to learn’. We are not interested as much in familiarizing participants with specific subjects, disciplines, and insights, or in teaching them specific skills as we are in making them more open to risk taking, to seeking and finding, to taking up new interests, communicating, believing in themselves, setting the obvious aside. For creativity to take shape and become a platform for interaction and dialogue we must first engage with art’s diverse idioms and practices. Far from being an individual need in itself, creative expression also implies the need to come into contact and communicate with others, and perhaps its consummation as a process depends precisely on that kind of interaction. That is the role of education: it ‘mediates’ between the two, unlocking something of the meaning of both. So that, in the end, we may actually argue that the fulfillment of creativity is something that can be taught. Looking for new horizons and assisting others in their intellectual quests promotes the fulfillment of creativity. As radical Brazilian thinker and critical pedagogy theorist Paulo Reglus Neves Freire notes, ‘Curiosity as restless questioning, as movement toward the revelation of something hidden, as a question verbalized or not, as search for clarity, as a moment of attention, suggestion, and vigilance, constitutes an integral part of the phenomenon of being alive. There could be no creativity without the curiosity that moves
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us and sets us patiently impatient before a world that we did not make, to add to it something of our own making’ (Paulo Freire, Pedagogy of Freedom). One of the things that fills my days with joy is being a witness to the manifold ways in which curiosity and creativity are being expressed by so many different individuals. Over the last years the Onassis Cultural Center has organized a number of educational programs designed for specific population groups based on the idea of difference. What suggested this choice for you? The Onassis Cultural Center aims at being open to everyone and, considering that certain groups face various obstacles in accessing contemporary art, we feel that these must be given special attention. I think we need to overcome those circumstances that exclude some from accessing art and instead find what it is that can bring us all together through art. The question is what brings people together in general – in this case, a program with a specific aim, topic, timeline, etc – and not what drives them apart. Usually this kind of special-population-groups program takes place in ‘special venues’, which can perhaps result in those groups being ghettoized. In other words, kids in intercultural school can be part of the school’s choir, in which however they are around other children from more or less similar social and economic backgrounds; or, a person with a certain disability can be part of the dance team at the institution they live in or special school they attend. I am not judging this: it is necessary that it be there and so it should. We are not trying to replace it, but rather add to it, bringing together different people against the backdrop of art and culture. Art has the power to unite, to create in people a sense of comradeship. We are not interested in what each of us is, but in what we can all do taking art as a starting point. This is why we organize programs for families raising children with autism, collaborate
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with intercultural and other schools in disadvantaged communities, design programs for people over 65 years of age and for mixed groups comprising persons with and without disabilities. These groups of people are part of society, they live and move within it, and it is necessary that they can express themselves and be creative, that they can experience an open, creative process, each in their own way, bringing to it their own dynamics. Through programs based on participation and interaction, workshops involving small groups of participants with an emphasis on personal contact, the aim is to create a context that makes participants feel safe enough to express themselves, to ask questions, even to reject things, or to not understand everything fully at the time. No doubt, there is some gain to be had from all this – from programs, that is, involving workshopsseminars in whose merit we strongly believe. The point is getting people to come into this place that may seem imposing and ‘uninviting’ on the outside and making them feel at home. Our motto at the Onassis Cultural Center, ‘our center is your home’, goes for contemporary art as well... This kind of open access for all is to our mind one of the cornerstones of a democratic society, though in practice it is often obstructed by social, ideological, physical, or practical issues. At least as far as the arts are concerned we are trying to do our best to overcome such obstacles. As the great American philosopher, psychologist, and education reformer John Dewey wrote, ‘democracy has to be born anew every generation, and education is its midwife’ (John Dewey, School and Society, 1889). Could your describe for us the experience of a program you thought was particularly moving and successful in fulfilling its aims, perhaps even revelatory in doing so? I will describe three programs for you, because each is an example of a very important aspect of what I do, namely of the sense of satisfaction and reward that I get through my work. This year we organized a music education program for teenagers in collaboration with the ARTéfacts ensemble, which aimed to familiarize teens with contemporary music. The program brought together kids from an intercultural high school who had previously little or no experience of that kind of music. It is doubtful that by the end of the seminar’s eight meetings participants had managed to grasp every concept they were introduced to, or that they had actually built new technical skills, which was hardly the seminar’s point to begin with, but they had managed to bring their own experiences of music to the program, to create a team, to access uncharted territories across the realm of music, to be present in a meaningful way, and to put together a collective perfor-
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mance of pieces from a contemporary repertoire. Another example would be the program for seniors over 65. It was launched a year ago and it has been very moving to see it evolve, let alone monitor the new ideas and activities it has spawned. Starting with a movement workshop that involved twelve participants it has given way to workshops that attract large audiences, a visual arts group, a resident dance group working on a performance with guidance from the Aerites contemporary dance company, not to mention a series of suggestions and ideas about future activities coming from the participants themselves. Taking a close look at how the movement workshop evolved during that time offers impressive insight in how a mere collection of individuals, each bringing along their own anxieties and insecurities, has grown into a unified group whose members bring out the best in each other, help each other make the most of their potential, take risks, expose themselves, and ultimately transform. To borrow another phrase from Dewey, ‘every experience is a moving force. Its value can be judged only on the ground of what it moves toward and into’ (John Dewey, Experience and Εducation). Last but not least, two of our annual programs for teenagers, one dealing with the theater (The Youth Theater Festival) the other with dance (Dancing to Connect), provide a third example, which illustrates in both cases how a collective creative process culminates in a fully-fledged performance that is on a par with professional artistic productions. The sense of collectivity that blossoms within these arts oriented groups is a magical thing, suggestive of the power art has as an instrument of social cohesion. Seeing a chubby teenager dance and be accepted by themselves first and foremost as well as others, or seeing a kid with poor language skills make sense of a text that’s heavy with meaning, not to mention interpret it on stage, is solid proof of what we call the transformative power of education. In the words of Paulo Freire, ‘Education either functions as an instrument which is used to facilitate integration of the younger generation into the logic of the present system and bring about conformity, or it becomes the practice of freedom, the means by which men and women deal critically and creatively with reality and discover how to participate in the transformation of their world’ (Paulo Freire, Pedagogy of the Oppressed).
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INTERNATIONAL LISTINGS / CULTURE
PA R I S
Centre Pompidou Henri Cartier-Bresson
PA R I S
Musée D' Orsay Gustave Doré
Ten years after the death of the celebrated photographer, the Centre Pompidou organizes a retrospective featuring well known photographs and lesser known items from his work. The show brings together more than 500 photographs, drawings, paintings, films, and documents.
This is the first major Doré retrospective and it aims to bring to light the artist's highly versatile talent (Doré was an accomplished caricaturist, illustrator, painter, sculptor, and engraver) through an extensive presentation of the subject matter he found himself being drawn to throughout his career.
PA R I S
Musée D' Orsay Vincent van Gogh / Antonin Artaud - The Man Suicided by Society
Exhibition runs from 12 Febr through to 9 June, 2014. www.centrepompidou.fr
Exhibition runs from 18 Febr through to 11 May, 2014. www.musee-orsay.fr
PA R I S
Musée de l’Orangerie Les archives du rêve
The exhibition has been curated by German art historian Werner Spies, a friend of Max Ernst and Pablo Picasso. Spies has selected as many as 200 drawings hoping to offer a glimpse into the Musée d'Orsay's vast drawings collection. Exhibition runs from 26 March through to 30 June, 2014. www.musee-orangerie.fr
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Almost 30 paintings and a selection of drawings and letters by Van Gogh are brought together in this exhibit that is based on the essay Antonin Artaud wrote on the eve of the Van Gogh exhibit in Paris, in 1947.
Exhibition runs from 11 March through to 6 July, 2014. www.musee-orsay.fr
VIENNA
ALBERTINA MUSEUM Eric Fischl
LONDON
Dulwich Picture Gallery David Hockney, Printmaker
Eric Fischl (b. 1948, New York) is a major exponent of contemporary figurative art. A painter, sculptor, and graphic artist whose distinct personal style links him to American Realism, Fischl paints scenes that seem to be recreating the action on a movie still. The show focuses on the artist's graphic work, in combination with an eloquent selection of sculptures and watercolors.
The show focuses on Hockney as printmaker: a selection of over 100 works highlights Hockney's use of two printmaking techniques, etching and lithography.
LONDON
LONDON
Exhibition runs from 29 March through to 30 June, 2014. www.dulwichpicturegallery.org.uk/
Exhibition runs from 13 February through to 18 May, 2014. www.albertina.at
The National Gallery VERONESE
This is the first monographic show on the Renaissance artist to be held in the UK bringing together almost 50 works, 10 of which are drawn from the collection of the National Gallery itself. Exhibition runs from 19 March through to 15 June, 2014. www.nationalgallery.org.uk
TATE MODERN Paul Klee: Making visible
Paintings, drawings, and watercolors by the famous artist from collections around the world are on display with a focus on the three most productive periods in his career. Exhibition runs from 16 Oct. 2013 through to 9 March 2014 www.tate.org.uk
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INTERNATIONAL LISTINGS / CULTURE
ROME
MUSEO DEL CORSO FONDAZIONE ROMA (PALAZZO CIPOLLA) Modigliani and contemporary “doomed” artists in early 20th century in Paris
The show features 120 paintings by a group of 'doomed' artists, active in early twentieth century Paris, the chief representative of whom was the Livorno-born Amedeo Modigliani. Modigliani's paintings are complemented by a selection of works by Chaïm Soutine, Derain, Vlaminck, Epstein, and Fournier.
Exhibition runs from 14 Nov. 2013, through to 6 Apr. 2014. www.mostramodigliani.it
MADRID
Thyssen – Bornemisza Museum Cézanne Site/Non-Site
The show focuses on two of the subject matters that figure more prominently in the painter's work: landscapes and still-lifes. Cézanne painted landscapes that reveal no clues about the time of year or hour of the day in which they are captured. By contrast, objects in his still-lifes intimate the passing of the hours or the change of the seasons. Exhibition runs from 4 February through to 18 May, 2014. www.museothyssen.org
ROME
Scuderie del Quirinale Frida Kahlo
An exhibition on the life and work of Mexican artist Frida Kahlo (1907-1954) who was a symbol of avant-garde art at the heart of twentieth century Mexican culture. The show boasts major works drawn from public and private collections in Mexico, the USA, and Europe. Curator Helga Prignitz-Poda, a foremost Kahlo expert is also the editor of the accompanying catalogue. Exhibition runs from 20 March through to 31 August, 2014. www.scuderiequirinale.it
TOLEDO Museum of Santa Cruz & El Greco Venues
The Greek of Toledo
This is a major monographic show concerned with El Greco's relationship to the town of Toledo, an aspect of his life and work unexplored as yet by a visual art show. The exhibition is being organized in the context of events marking the fourth centenary of the artist's death, and it brings together more than 100 of his works, 60 of which are loans returning to Toledo from 29 cities around the world. The exhibition's title, The Greek of Toledo, is actually what El Greco was known as in his time. Exhibition runs from 14 February through to 14 June, 2014. www.elgreco2014.com
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NEW YORK
THE MUSEUM OF MODERN ART Gauguin: Metamorphoses
The exhibition focuses on Gauguin's rare prints and his transfer drawings for his most celebrated paintings, wood sculptures and ceramics. On display are approximately 150 works, including almost 120 works on paper and a selection of some 30 paintings and sculptures related to the drawings, covering a period that stretches from 1889 until his death in 1903. The drawings provide a record of Gauguin's experiments with the various media he would employ throughout his career. Exhibition runs from 8 March through to 8 June, 2014. www.moma.org
EDINBURGH
Scottish National Gallery of Modern Art: Louise Bourgeois, A Woman Without Secrets.
A look at key moments in the great FrenchAmerican sculptor's late work. Exhibition runs from 26 Oct.ober, 2013, through to 18 May, 2014 www.nationalgalleries.org
NEW YORK
THE METROPOLITAN MUSEUM OF ART Antonio Canova
The exhibition presents the seven last plaster models the artist made for sculptures with which he planned to decorate the Tempio Canoviano, the church he built in his birth town of Possagno (in the Treviso province near Venice), later to become his mausoleum. Six of the reliefs come from the Gallerie dell'Accademia in Venice, and one from the Museo-Gipsoteca Antonio Canova, in Possagno.
Exhibition runs from 22 January through to 27 April, 2014. www.metmuseum.org
TOKYO
Mori Art Museum: ANDY WARHOL
After an extensive tour across Asia, the Andy Warhol: 15 Minutes Eternal exhibit has reached its final destination: Tokyo. This is a major retrospective of the work of Pop-Art's standard bearer whose creativity spanned widely spaced genres, consistently conflating the boundaries between high art and contemporary consumer culture. Exhibition runs from 1 February through to 6 May, 2014. www.warhol.org
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B E Goulandris Foundation Ίδρυμα Β Ε Γουλανδρή 28