1
AUGUST - SEPTEMBER 2014 The bimonthly electronic journal of the Basil and Elise Goulandris Foundation
EDITORIAL TEAM
Georgia Alevizaki, Paraskevi Gerolymatou, Andreas Georgiadis, 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
5
By Kyriakos Koutsomallis, Director of the Basil and Elise Goulandris Foundation
AN EXHIBITION
6
S o p h ia V ari Basil and Elise Goulandris Foundation, Moca - Andros
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
16
Auguste Rodin, Head of “Tragic Muse”
education programs for children
18
in Basil and Elise Goulandris Foundation, Moca - Andros
FORMER BEGF SCHOLARS
20
Konstantinos Ignatiadis
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
28
4
I N P L A C E O F A P R O LO G U E
We are happy to present the current issue of G, which features, among other things, an interview with Constantinos Ignatiadis, a former BEGF scholar who has excelled in his particular field of interest. Following the opening of the Sophia Vari exhibit, which was discussed in detail in the previous issue, we feel warm thanks are due to Minister of Culture and Sports Mr. Costas Tasoulas for attending the event and for greeting it in such heartfelt terms. We are equally indebted to the crowds of art-lovers that joined us that night, as much as to the over 200 guests, personally invited by Sophia Vari and Fernando Botero, who came in from Europe and America to honor this doyenne of Art. Finally, it is worth noting that in the context of the current exhibit the Museum of Contemporary Art, Andros, will again be organizing education programs for children aged 6 to 13, as well as guided tours of the exhibition. Kyriakos Koutsomallis Director
5
6
MUSEUM OF CONTEMPORARY ART
SOPHIA VARI
29.06 - 28.09.2014 - ANDROS The exhibition of work by renowned Greek artist Sophia Vari, which has been organized by the Basil and Elise Goulandris Foundation to take place at the Museum of Contemporary Art, Andros, opened on the evening of Saturday, 28 June, bringing together a large crowd of international luminaries. Numerous representatives of the art world including collectors and fellow artists, guests of both the Museum and the artist and her husband, sculptor and painter Fernando Botero, attended the opening in honor of Sophia Vari, a world-famous artist marked for her multicultural background in art. Guests were received by the Foundation's President, Ms. Fleurette Karadonti, VicePresident Ms. HÊlène Ahrweiler, and Director Mr. Kyriakos Koutsomallis, while Minister of Culture and Tourism Mr. Costas Tassoulas spoke of the significance of the event, pointing out that Sophia Vari represents that aspect of Greece 'that cannot stand to be restricted or confined'. Attendees included, among others: British Ambassador to Greece John Kittmer, Princess Ira von Furstenberg, Prince Nikolaos and Tatiana Blatnik, artists Marina Karella, Andreas Kontellis, Yorgos Rorris, Alekos Fasianos, and Maria Filopoulou, Marina Lambraki-Plaka, Olga Mentzafou, Efi Andreadi, Nonika Galinea, Katerina Helmi, Yorgos Papastefanou, Calliope, Yorgos and Anna Dalara, Thanassis Niarchos, and gallerists Stefano Contini (Venice) and Marion Meyer (Paris).
Pictured from the left are: Director of the BEG Foundation Mr. Kyriakos Koutsomallis, Foundation President Ms. Fleurette Karadontis, Greek Minister of Culture and Tourism Mr. Costas Tassoulas, and Ms. Sophia Vari. 7
8
MUSEUM OF CONTEMPORARY ART
SOPHIA VARI
29.06 - 28.09.2014 - ANDROS
9
Jet-setters against a backdrop of Aegean blue The cosmopolitan air of artist Sophia Vari blended with the north summer wind of the Cyclades last Saturday on the island of Andros when an exhibition featuring her vastly diverse work – sculpture, drawings, watercolors, and collages – opened at the Goulandris Museum. The last time the island saw anything as glamorous as this was when the Goulandrises were still around. Almost as many as 150 international art world jet setters – collectors, art dealers, auction house representatives from New York all the way to Tokyo – travelled to Andros at the invitation of the famous sculptress herself and of her husband, the even more famous Colombian painter Fernando Botero. Tall and slender, elegant, and thoroughly enchanting, 74-year-old Sophia Vari was there to welcome us to the exhibit and show us around offering a preview before the actual opening. She was dressed in white, one hand adorned by a huge gold ring, a piece of the art jewelry she creates. 'She has been here day and night poring over every single detail of the exhibition and catalogue. She is a perfectionist,' pointed out MoCA, Andros Director Kyriakos Koutsomallis.' 'Not to put too fine a point on it, I drove them crazy,' remarks Vari herself laughing and adds that the exhibition was especially designed for Andros. 'I am returning home – Andros has a special place in my heart.' Sophia Vari remembers how 25 years ago her French students and herself visited Andros and spent the entire summer painting at the island's elementary school, complete with easels and models. 'At the end we held an exhibition that attracted many visitors, even priests from nearby Tinos, who were particularly interested in... the nudes.' Elise Goulandris' promise regarding a solo exhibition at MoCA, Andros, dates from back then. Now that promise is being fulfilled, albeit belatedly. In response, the artist has donated one of her works to the Museum. Known for her monumental sculptures found in museum collections and public spaces around the world (one such space being Kotzia Square, Athens) Sophia Vari believes
10
MUSEUM OF CONTEMPORARY ART
that 'monumentality is not a matter of scale, but rather depends on the extent to which a work harmonizes with its surroundings'. She goes on to remark that although she wants to be modern, she does not want to be entirely contemporary, her work aiming at 'harmony, beauty, strength, and elegance'. She works daily for eight to nine hours. 'When I open the door to my studio my hands still shake to this day. It feels like being in love, and about to meet my lover.' Botero and herself, though, steal time away from work whenever they can and spend it visiting little villages around the Colombian countryside. 'Stunning landscapes with such poetic names,' like Belmira, Retira, whose musical quality seems to have inspired the titles in her most recent geometric collages. In the Andros exhibit we are confronted with a symphony in black and white, with mass and forms replacing notes. Bronze sculptures painted a glossy black, white Thassos marble sparkling diamond-like. And more: aquarelles from her Paris show 'I Love Blue', inhabited by shapes and colors that are definitively Greek. She explains: 'Cobalt blue is a symbol of my sense of nostalgia for Greece. They can take everything away from us except for the blue of the sea and sky.' She loves white marble because it is filled with light and mystery. 'It can evoke disturbing images, like that of a cemetery, but it can also evoke the image of the Acropolis. I once made an experiment. Having known that the Acropolis was painted in antiquity, I decided to paint some of my sculptures a blue color. I was elated. But upon seeing them the next morning, I felt really badly, as if the marble had lost its soul.' She herself describes her work as 'a bit baroque with a touch of zen. I always tend to produce an abundance of form and mass. But then I start removing things, abstracting, editing the piece as it were until the composition can be made clearer. I move from exaggeration to simplicity.'. By Pari Spinou, I Efimerida ton Sintakton, 30.6.2014
11
'I am a bit on the baroque side, but also quite the zen type.' She claims the two most vital influences she has received were those of Picasso and the art of Greek antiquity. This past Saturday evening wind-swept Andros became the place to be for many a member of the international jet-set. The 'magnet' pulling them was the Sophia Vari exhibit at the Museum of Contemporary Art of the Basil and Elise Goulandris Foundation, which included a number of surprises, not least among them the announcement of the artist donating her work 'Le jour des jours' to the Andros Museum. As coffee shops and ouzo joints around the square in Chora were being transported to World Cup land with the help of gigantic TV monitors, indefatigable Sophia Vari addressed the audience that attended the opening of her exhibition (including Greek Minister of Culture Costas Tassoulas, British Ambassador to Greece John Kittmer, and Princess Ira von Furstenberg among others) speaking about the sublime burden of her Greek background. 'I wanted to do my absolute best for this exhibition, precisely because it is being held in Greece,' remarked the artist. Her birthplace is constantly in her thoughts although she has long been away from it, her concern over Greece made obvious by her latest body of work, 'I Love Blue and I Love Greece', which is political without being a manifesto, and was produced abroad at a time when the situation in Greece was going 'from bad to worse'. 'They can take everything away from us except two things: the sky and the sea,' she remarked. Both are blue, which is the dominant color in her aquarelles on canvas. Among these, her circular composition of Greek flags has pride of place. Although the artist would hold that she does not create work as either commentary or retort, she actually seems to be responding to more than just the Greek crisis. Russian lack of good taste and the ephemeral nature of contemporary installation art both seem to have provided inspiration for her work. Her own installation of small-scale silver sculptures is a direct answer to both. 'I don't feel entirely contemporary. I am not interested in engaging in any kind of criticism. Every artist heads down a road of
12
MUSEUM OF CONTEMPORARY ART
their own.' She believes that creating work that is likely to withstand time is her way of dealing with mortality. But if there were any surprises to be had at the exhibit, which is composed mainly of sculptures done in Thassos marble (hints of a dialogue with the paradigm of ancient Greek art) and bronze, these would have to be the collages. 'I love collages. There is nothing harder to make. They are like music, like the notes one needs to combine to create a melody.' Botero and herself both work in their studios for eight to nine hours a day. Only when in Colombia do they do away with this rule and roam the countryside instead, exploring the little villages that 'have the strangest names' – 'eyebrow' for example. Every collage in the exhibition is named after a Colombian hamlet, we are told of the works with the tongue-twisting titles and Russian avant-garde undertones. There is a distinctive dualism to both her life and work as the artist herself remarks: 'I have been a little on the baroque side ever since I was young, but am also quite the zen type.' Every work has a six-month gestation period. It is only after that time that the final brushstrokes and corrections are decided upon and applied. She is very open about her influences. While personally offering a guided tour of the exhibition she spoke of Picasso with great enthusiasm twice, not to mention the art and aesthetic principles of classical antiquity. Upon seeing the Parthenon in the colors in which it was originally painted, she resolved to paint her own sculptures. 'I apply color and build new compositions on top of older ones, and then go on to strip the work of anything superfluous. Some works just happen to take on a monumental quality. What my work actually strives after is beauty, strength, elegance, and harmony,' explains the artist, whose Andros show also includes samples of the jewelry she creates, which might be described as microsculpture. Nota bene: void in her sculpture 'is to be understood as form, not a mere hole'. Still, the most important thing is that to this day every time she opens the door to her studio her heart beats fast: 'It feels like being in love.' . Ioanna Kleftogianni, Eleftherotypia, 30.6.2014
13
THIS EXHIBITION in Andros is a very emotional event for me, because of my love for the island, but, more importantly, because I knew and loved Basil and Elise Goulandris; I had known their dream to build this museum on the island and was always secretly wishing that I would one day show my work in it. And now, my wish has come true. WHAT I WANT is for the exhibition to be a success, naturally, but more so I want my foreign friends travelling to the island to have a good time. They are always asking me what the island is like, the sea, the land... They want to see Greece's most beautiful island. I pray that everything goes well; I think to myself, 'Please, let it not rain...' GREECE IS MY HOME, the blood in my veins, my very soul. Because this is where I was born. Obviously, I have been away long and my Greek is rather poor – and by now, at 73, it is a bit late to try and improve my pronunciation – but still, I am more Greek than the Greeks themselves. The merest reference to 'dolmadakia' brings tears to my eyes – 'oh, how long before I am back in Greece,' I think to myself. Perhaps, it is because I am looking at things from the outside that everything appears so idealized. I am of course aware of how nice and smooth things appear when looked at from a distance... EVERYTHING BEGAN in Paris where I was studying painting. I chose painting to begin with because it seemed fairly simple. A few pigments, a canvas, a subject of some sort or other – and you think you are getting somewhere. Sculpture is more complicated, the requirements are different, the materials are harder to deal with and costlier. And yet eventually I was drawn to it. Perhaps because I am Greek and this means I grew up surrounded by the marble ruins of antiquity, by ancient sculptures. At first I was a sculptress who just happened to be painting. MARBLE moves me immensely – so much so that even when faced with a rough, uncut block of marble I hesitate to touch it for I find that it is in itself a work of art. PARIS was bristling with all kinds of art movements at the time I was starting out, but I looked for what was in me, that distinguishing quality that would be mine alone. It is
14
MUSEUM OF CONTEMPORARY ART
important for an artist to develop a personal style, a style the public may come to recognize. THE ARTIST lives inside you. In a way the artist is selfish, and drills deep inside himself to draw out the material of his art. No doubt he is influenced by the world around him, but the real wealth of his art lies within himself. WHEN I MET BOTERO, I had already produced some work of my own, albeit humble. But he was such a hard worker, so completely committed to his work that all of a sudden I felt I was lazy by comparison. I was feeling guilty for every single minute that passed when I wasn't in my studio working. Botero taught me to just go to the studio and work, not wait to be inspired first. He is still my strictest judge. TWO ARTISTS living under the same roof is no easy thing. There are of course exceptions to the rule. However, it is a positive thing when the man is the most important artist between them... JUST A BIT OF ANGER is good for art –not as something that finds its way into the work, but as something that drives you to it; getting angry over what's going on around us, over all the devastation and human suffering. THE ANDROS EXHIBIT features a selection of my work to date, paintings and small-scale sculptures. One of my large-scale sculptures, from the 'Monumental' series is also on show, where the height of the ceiling so allowed – I measured it myself over eighty times just to make sure, because, of course, I could not cut the work to make it fit! MY NAME is Kalogeropoulou. Vari is the name of the place where I was born and love so much. That's why I chose it – plus, Kalogeropoulou would be too long a name to try and sign small sculptures with. THE PLACES I LIVE at and love are, obviously, Greece, Pietrasanta in Italy, which is strewn with marble carving studios and a favorite place for many artists, and, of course, Colombia, which reminds me so much of my own country. Antonis Kyriazanos, Madame Figaro, 28.7.2014
15
RECENT NEWS
16
MUSEUM OF CONTEMPORARY ART EDUCATION PROGRAMS FOR CHILDREN
Come, let's look for the secret in Sophia Vari's treasures!
EDUC ATI O N PR OGR AMS F OR C H ILDREN AT T H E M USEUM OF CONTEMP O R ARY AR T, ANDR O S In the context of the Sophia Vari exhibition now running at the Basil and Elise Goulandris Foundation, Andros, the museum presents an education program for children aged 6 to 13 titled Come, let's look for the secret in Sophia Vari's treasures!. The aim of the museum's education programs is to allow children creative access to the artist's work so that they may directly experience the underlying principles of her art. The program features 90-minute sessions involving interactive activities and games that are designed to acquaint children with the works through experience. Each session concludes with a creative task that encourages participants to tap Sophia Vari's practice and the ideas it embodies to express their own thoughts and mental images. The program runs from 1 to 31 August, 2014. To register please call: 22820 22444 Participation fee: 5â‚Ź
17
18
I N S I D E T H E F O U N D AT I O N ' S PERMANENT COLLECTION
Auguste Rodin (1840 - 1917)
Head of “Tragic Muse” Bronze 4/12, 30x19x24 cm, 1891/1897
Far beyond the evocation of Melpomene and more than the symbolic representation of the dramatic repertoire of Victor Hugo, to whom this figure refers, the lines of the face, whose deformations bear witness to an almost unspeakable suffering, make this character a moving allegory, the painful incarnation, stylistically without precedent in the history of art, of the tensions of creation and the vicissitudes of inspiration, which indicated the greatness of the artist’s work. The “Tragic Muse” was conceived as part of the composition for a monument to Victor Hugo intended for the Luxembourg Gardens in Paris and displayed in plaster at the 1897 Salon, the commission for which followed the one intended for the Panthéon and remained unfulfilled, following the rejection of the project presented by Rodin to the committee in charge. It was, nevertheless, a reduced monument of only the figure of the famous poet and writer which would finally take its place at the Palais Royal in 1909. In the meantime, the sculptor had decided against the incorporation of the Muses initially planned (in fact, alongside “Tragic Muse” there also appeared “The inner Voice”). Despite all this, “Victor Hugo and the Muses”, cast in bronze many years later, has, since 1964, been located where avenues Victor Hugo and Henri Martin in Paris meet.
19
Autoportait with Jean Bertholle.
20
FORMER BEGF SCHOLARS
Konstantinos Ignatiadis BEGF Scholarship 1986-87, for studies in "Photography"
Archangel Photographer The word photography is used inappropriately. Perhaps we cannot but use it in the same way we use the words painting, sculpture – as mere reference to method and materials. It took the entire twentieth century, or a century-and-a-half’s worth of photography, to get there. There is no image in literature – Magritte was the first to point it out. This idea formed the very foundation of his art and thought. The rest is but a question of genre and skill; visual discourse is a form of metaphysics, and then again it isn’t – there is a world of difference between an image and an illustrated calendar. There is the kind of obscure, wordy metaphysics and then there is the lapidary kind, and there is the kind of photography that is scarcely more than a literature of the subject, a narrative-less description. Konstantinos Ignatiadis’ photographs are nothing of the sort. They precede writing and come after all manner of description. They are revelations in themselves. When wanting to situate and define a negative concept, we tend to use a Greek word, apophatic – that which is expressed without being said. In Ignatiadis’ portraits the photographer is nowhere to be found – there is no gesture, no inflection, no intervention on his part to give him away. These images constitute mental nudes – their subject has been unveiled by the photographer making all captions redundant, all explication meaningless. In the end the name, capacity, reason for being, profession of the subject of these pictures is of little importance. They seem to have travelled to us through the centuries and our own epoch linked inseparably to a space and style that is their own, face- and body-wise. This is eloquently expressed in the following remark by Victor Hugo: form is the deep that rises to the surface. It is through form that we may come to know the essential, the immaterial wherein all comes together, conjoins, and is inseparable and indivisible; that is, irreducible to one element or the other. It is the bare spirit, that most inexpressible of things, that which cannot be reduced to words. Four-year-old Aldous Huxley was once staring out the window in deep absorption. His slightly older brother Julian gently asked him what he was thinking about. Aldous turned to him and said: “skin”. Sir Julian and Aldous Huxley would eventually become, each in their own manner, a philosopher and a scientist. When Konstantinos Ignatiadis contemplates his subject, when he frames it and shoots, the click denotes skin. A picture is taken; it is developed, enlarged, perhaps framed. It is mounted on a wall, placed on a mantelpiece, reproduced. A certain format is chosen over another depending on how dense the image itself is, how bare the space it will occupy, how a given
21
Autoportrait in Nikopolis.
shadow falls. This is different to the assembly line at a Peugeot or Mercedes-Benz factory. It is different even to the work of a potter in the country. Degas would pick his inks, a stick of charcoal, a hard crayon, paper of a particular size and weight. He would highlight space around a face by outlining an object, hinting at texture. He is perhaps the greatest portrait artist of the previous centuries. Now these photographs are works we stoop over, tend to revisit, make our way through. What else might one do with a Vermeer, a Pieter de Hooch? Go on an expedition. Make a stop, then resume the journey. The emptiness within, a final call, a space to oneself. The subjects in these photographs would not have known they would find themselves in some other place, possibly exposed. Gottfried Honegger does nothing but play with the geometric integrity of form, with the objectivity of chance. Here, to his right, hovers one of his relief sculptures, on the wall a shadow, the faint oblique imprint of a cross. It flies across that white surface, around the studio, a manifestation of the providence of light and shadow on a bare wall. In this catalogue I am browsing through there is Schnabel as well, overwhelmed by materiality with which he is obsessed, but... who are these people standing before him, their back to us, dressed in black – well, what do you know, it’s two student rabbis! And what is this shadow falling upon the large canvas against which Aurelie Nemours is silhouetted in profile – is it an easel, the guillotine of Time that is so cruel to artists, or is it a bird of prey
22
Aurélie Nemours
standing at the window? Silent, satiated, its immense beak distorted by a distant sun: skin. Skin is the bond in all human exchange. It breathes, it asphyxiates. There is more poignancy in Victor Hugo’s strangely perspicacious remark than in Vinteuil’s little musical phrase echoing through the pages of Proust. Meret Oppenheim and Francis Bacon were both extensively photographed, but never like this, and just before leaving this world behind to boot. They are revealed, washed clean of the stain of others’ eyes and of all judgment. They could now go in peace. Meret abandons the ink and printing press of received ideas that weighed down on her work, especially her fur teacup (complete with teaspoon and saucer). Francis on the other hand, he is Vim powder used as toothpaste and the now extinct crease in one’s pants. He was the world’s most civilized man. Here he is, finally rid of the grotesque accoutrements heaped on him for the better part of five decades by his biographers and by photographers who found in him a small prop for their own fantasies. Bacon was a Berliner of the 20s lost in the realm of twentieth century English painting. In himself, first of all, and in a paradigm of French classicism laid down by
23
Îœeret Oppenheim
24
Julian Schnabel
the Academy, Bacon found a stylistic grandeur that was always accurate albeit somewhat hesitant. The implications are momentous. His studio has been reconstructed in New York like the tomb of Tutankhamen, and passed through the doors of a great manor, the Met. This turns the spotlight on the exterior of his work, which means the work is effectively misappreciated. A steak and the butcher’s paper in which it is wrapped are two very different things.
25
Francis Bacon
26
Gottfried Honegger
Konstantinos Ignatiadis’ portraits are situated beyond every notion of a common place, outside that space that is filled by the absence of the gaze. They are knowledgeable and intuitive, evoking an elusive sense of the unknown. The most ill-treated of all the animals on this earth since Noah’s Ark is the snake. What ignorance! The snake is constantly in contact with the ground and the whole of nature, with tree trunks, foliage and flowers. He knows the world by means of his tongue, which is why he sticks it out. Slight gestures, quick furtive jerks. It is through his tongue, his extrasensitive taste buds, that he can sense humidity in the air, drought, his own loneliness. Danger. Upon which it either flees, or coils round itself. Ignatiadis has a secret, invisible instinct. One remark we commonly make of photographers is: What an eye! We should be saying more often what silly grandiloquence, what a mediocre chef, how sour this wine! Here Emily Dickinson’s words go slithering by like an elegant little blindworm: The world is no conclusion. It is an apt description of Ignatiadis’ art. None of his photographs are either iron mask or curtain. Duration is a trap: his snapshots seem to open up right when we thought we had not seen a single thing. Translated from the French by Maria Skamaga
27
INTERNATIONAL LISTINGS / CULTURE
LONDON
NATIONAL GALLERY Making colour
A first in the UK, the exhibition is a journey into the world of colour, exploring materials used to create pigments, from lapis lazuli to cadmium, gold and silver. Exhibition runs from 18 June to 7 September 2014. www.nationalgallery.org.uk
LONDON
TATE MODERN KAZIMIR MALEVICH
This is the first major Malevich retrospective to be held in almost 25 years, for the purpose of which a number of museums, foundations, private and public collections around the world have joined forces. Exhibition runs from 16 July to 26 October 2014. www.tate.org.uk
28
LONDON
TATE BRITAIN Late Turner: Painting Set Free
The first extensive exhibition of JMW Turner's later work sheds light on an especially creative period in his painting (1835-1850) during which the artist would paint some of his most resonant and celebrated works.
Exhibition runs from 10 September 2014 through to 18 January 2015. www.tate.org.uk
LONDON
TATE MODERN HENRI MATISSE – The Cut-Outs
The exhibit features Matisse's paper cut-outs: as many as 120 works created between 1943 and 1954, many of which have never been shown before. Exhibition runs from 14 April to 7 September 2014. www.tate.org.uk
PA R I S
CENTRE POMPIDOU Marcel Duchamp. La peinture, même
The show brings together almost 100 works by Duchamp, focusing especially on his preliminary drawings and studies for The Large Glass (La grand verre, 1915-1923). Exhibition runs from 24 September 2014 through to 5 January 2015. www.centrepompidou.fr
FRANKFURT
Stadel Museum Lichtbilder
The art of photography is explored through works by pioneers of the medium and celebrated photographers (Nadar, Gustave Le Gray, Roger Fenton, Julia Margaret Cameron, Brassaï, André Kertész, Dora Maar, Otto Steinert, Man Ray). Exhibition runs from 9 July to 5 October 2014. www.staedelmuseum.de
PA R I S
CENTRE POMPIDOU Man Ray, Picabia et la revue
“Litterature” (1922-1924) The exhibition focuses on a critical period in the history of contemporary art, an interim stage between the demise of Dada and the advent of Surrealism. It features twenty six drawings created by Francis Picabia in the early 20s for the cover of Littérature. Exhibition runs from 2 July to 8 September 2014. www.centrepompidou.fr
ROME
Museo dell'Ara Pacis HENRI CARTIER BRESSON
An exhibition devoted to the work of photography master Henri Cartier Bresson, featuring next to his photographs a collection of documents, drawings, books, and magazines. Exhibition runs from 26 September 2014 through to 6 January 2015. www.arapacis.it
29
INTERNATIONAL LISTINGS / CULTURE
VIENNA
ALBERTINA MUSEUM: Joan Mir贸
This Miro monograph brings together almost 100 works by the Catalan artist including paintings, drawings, and art objects. The works on show resonate with the rare poetry for which the famous surrealist was known. Exhibition runs from 12 September 2014 through to 11 January 2015. www.albertina.at
BASEL
FONDATION BEYELER SAISON COURBET
An extensive survey of the work of Gustave Courbet, one of the most important precursors of Modernism: the show features his seminal landscapes, self-portraits, and nudes, especially his representations of female nudes by the water. His famous work L'origine du monde will be shown for the first time in Europe outside of France. Exhibition runs from 7 Sept. 2014 through to 18 Jan. 2015. www.fondationbeyeler.ch
COPENHAGEN
Louisiana Museum of Modern Art: EMIL NOLDE
Emil Nolde (1867-1956), one of the most important representatives of German Expressionism, had strong ties with Denmark. The exhibition features as many as 140 works from the artist's most active years, including oil paintings, watercolors, drawings, and prints, many of which have never been shown before. Exhibition runs from 4 July to 19 October 2014. www.louisiana.dk
30
VENICE
GUGGENHEIM MUSEUM FOR YOUR EYES ONLY, A PRIVATE COL-
LECTION, FROM MANNERISM TO SURREALISM The exhibition presents a large selection of works from the private collection of Richard and Ulla Dreyfus-Best in Basel. It includes almost 110 works by such artists as Arnold B枚cklin, Victor Brauner, Pieter Brueghel the Elder, Giorgio de Chirico, Francesco Clemente, Dali, Ernst, Magritte, Man Ray and Andy Warhol, among many others.
Exhibition runs from 24 May to 31 August 2014. www.guggenheim-venice.it
MADRID
MUSEO THYSSEN - BORNEMISZA POP MYTHS. Pop Art Myths aims to trace the
origins of international pop art through the private mythologies of its major exponents: Warhol, Rauschenberg, Wesselmann, Lichtenstein, Hockney, Hamilton, the Recap Team, etc. The exhibition brings together works from 50 museums and private collections around the world. Exhibition runs from 10 June to 14 September 2014. www.museothyssen.org
NEW YORK
WHITNEY MUSEUM of AMERICAN ART JEFF KOONS
Koons is as popular as he is controversial. The exhibition explores the artist's career through a selection of more than 120 objects created from 1978 to the present. Exhibition runs from 27 June to 19 October 2014. www.whitney.org
TOKYO
Setagaya Art Museum Looking East
Almost 150 works from the collection of the Museum of Fine Arts, Boston, mainly paintings and objects, revive a period spanning the latter half of the nineteenth century and reaching up to the early decades of the twentieth, when the West was fascinated with all things Japanese. Exhibition runs from 28 June to 19 October 2014. www.setagayaartmuseum.or.jp
PHILADELPHIA
THE BARNES FOUNDATION THE WORLD IS AN APPLE: THE STILL LIFES OF PAUL CEZANNE
The exhibit comprises 21 masterpieces that bring into focus the innovation and wealth of Cezanne's art, and attest his rare intuitive powers and unerring aesthetic sensibility. Exhibition runs from 22 June to 22 September 2014. www.barnesfoundation.org
31
visit our new official page in facebook
B E Goulandris Foundation Ίδρυμα Β Ε Γουλανδρή 32