December 27, 2014

The photograph and Australia, Art Gallery of NSW, Sydney

The photograph and Australia
Art Gallery of New South Wales, Sydney
21 March - 8 June 2015 
Queensland Art Gallery
June - September 2015

David Moore
Migrants arriving in Sydney 1966 
Gelatin silver photograph 
Art Gallery of New South Wales, gift of the artist 1997 
© Lisa, Karen, Michael and Matthew Moore

The photograph and Australia at the Art Gallery of NSW is the largest exhibition of Australian photography held since 1988 that borrows from collections nationwide and looks at the history of the medium.

Reflecting an evolving image of Australia from the 1840s until today, The photograph and Australia presents more than 400 photographs by more than 120 artists, including Morton Allport, Richard Daintree, Paul Foelsche, Samuel Sweet, JJ Dwyer, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Tracey Moffatt, Robyn Stacey, Ricky Maynard, Anne Ferran and Patrick Pound.

The works of renowned artists and those considered to be national icons are shown alongside those by unknown photographers and everyday material, such as domestic albums and postcards. The photographs in this exhibition tell people’s stories, illustrate where and how they lived, and communicate official public narratives. Scientific photography such as the earliest Australian X-rays and astronomical photographs appear alongside contemporary representations of people and place.

Sourced from more than 35 private and public collections across Australia, England and New Zealand, including the National Gallery of Australia, the National Library of Australia and the State Library of Victoria, The photograph and Australia uncovers hidden gems dating from 1845 until now.

From mass media’s evolution in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography has been harnessed to create the idea of a nation and reveals how our view of the world, ourselves and each other has been changed by the advent of photography.

It also explores how photography operates aesthetically, technically, politically and in terms of distribution and proliferation, in the Australian context. Highlights include works by Australia’s first professional photographer, George Goodman and recent works by Simryn Gill.

Curated from a contemporary perspective, the exhibition takes a thematic rather than a chronological approach looking at four interrelated areas: Aboriginal and settler relations; exploration: mining, landscape and stars; portraiture and engagement; collecting and distributing photography.

Exhibition curator, Judy Annear, senior curator, photographs, Art Gallery of NSW, said: ‘We are proud to present The photograph and Australia, an exhibition that considers how the photograph invented modern Australia.

Audiences are invited to experience the richness of Australian photography, past and present, and the sense of wonder the photograph can still induce through its ability to capture both things of the world and the imagination.’

Director Michael Brand stated: ‘We hope that The photograph and Australia will contribute to an understanding of the richness and complexity of the medium and provide impetus for further explorations of the photograph’s production, function and dissemination in this country. We trust that in doing so, it will also help place Australian photography in a broader international context.’

A richly illustrated publication will accompany the exhibition, reflecting the exhibition themes and investigating how Australia itself has been shaped by photography.

There will be related education programs, digital resources, a substantial film program and live events. A major symposium will also be held at the Art Gallery of NSW on 18 April addressing the proliferation and distribution of photographic images.

The photograph and Australia will be open to the public at the Art Gallery of NSW in the major exhibition gallery from 21 March to 8 June 2015, before travelling to the Queensland Art Gallery, where it will be open to the public from June to September 2015.

Art Gallery of NSW - Sydney - Australia

Taking it all away: MCA Collection, Sydney

Taking it all away: MCA Collection 
Museum of Contemporary Art , Sydney, Australia
Through 22 February 2015

Stuart Ringholt
Stuart Ringholt
Untitled (Clock), 2014, clockwork, tubular bells, world globe, steel, glass, electronics 
Museum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2014
Installation view Stuart Ringholt: Kraft, Monash University Museum of Art, Melbourne, 2014
Image courtesy the artist and Milani Gallery, Brisbane © the artist, photograph: Andrew Curtis

What might happen if you took away time, so a 24-hour day passed in just 18 hours? What are you left with once 260 volunteers have spent five years erasing a magazine by hand – page by page? These questions about our relationship to time, and how it might be spent and measured, represent one line of enquiry within Taking it all away, an exhibition of works drawn from the Museum of Contemporary Art Collection that is on display this summer.

Taking it all away: MCA Collection presents works that speculate upon the continued importance of Minimalism and conceptual art, the processes of erasure and abstraction, and the social impact of art.

The exhibition includes work by Gordon Bennett, Christian Capurro et. al. (featuring Chris Bond), Peter Cripps, Gail Hastings, Robert Hunter, Rose Nolan and Stuart Ringholt. It presents recent works acquired by the MCA Foundation, along with artworks drawn from the MCA Collection.

Exhibition highlights include Christian Capurro’s erased magazine, which passed through the hands of 250 people over five years and Stuart Ringholt’s 18-hour clock, which explores not only the potential impact of time being taken away but also cosmology and our place within a vast universe. 

In different ways Peter Cripps, Gail Hastings and Robert Hunter explore how art activates our senses of spatiality and temporality, requiring not only our occupation of space but also our input of time and contemplation. Through mirrored surfaces, subtle painted grids or objects to walk around, these works map out the interaction between gallery and spectator.

Gordon Bennett’s soft ground etchings featuring black squares directly reference the origins of abstraction, while Rose Nolan’s banners recall the radical aesthetics of Constructivism’s political slogans. Yet hers are a call to arms of a more individualistic nature, in which party ideology is pared down to personal anxiety.

Natasha Bullock, MCA Senior Curator said ‘If there is a link between the diverse works by the artists featured in Taking it all away it is in their exploration of the dynamics of space and time, set against the complexities of modern life.’

The museum dedicates this exhibition to the memory of artists Gordon Bennett and Robert Hunter, who both sadly passed away during its development.

Gordon Bennett was born 1955, Monto, Queensland. Lived and worked Brisbane. Died Brisbane 2014.
Christian Capurro was born 1968, Dampier, Western Australia. Lives and works Melbourne.
Peter Cripps was born 1948, Melbourne. Lives and works Melbourne.
Gail Hastings was born 1965, Perth. Lives and works Sydney.
Robert Hunter was born 1947, Melbourne. Lived and worked Melbourne. Died Melbourne 2014.
Rose Nolan was born 1959, Melbourne. Lives and works Melbourne.
Stuart Ringholt was born 1971, Perth. Lives and works Melbourne.

Museum of Contemporary Art Australia

December 26, 2014

Weegee: At the Movies! Bow Tie Chelsea Cinemas, NYC

Weegee: At the Movies! 
Bow Tie Chelsea Cinemas, NYC 
Through June 14, 2015 

WEEGEE, [Girls laughing at movie, New York], ca. 1943. 
with infrared film
© Weegee/ International Center of Photography.

Fourteen images by Weegee—best known for his tabloid photographs of New York City’s crime scenes, urban crowds, and nightlife in the 1930s and ’40s—are on display on the second floor of the Bow Tie Chelsea Cinemas  (260 West 23rd Street) to celebrate the theater’s reopening. The photographs are part of a series Weegee made in New York City theaters in the mid-1940s with infrared film.

From bemused children to entwined couples, lonely sleepers to exhilarated teenage girls, this gallery of portraits constitutes a powerful, unique, and moving tribute to cinema lovers. The passion conveyed in these images—their lyricism, magic, and poetry— remind us of the quintessential role played by the arts, and specifically still and moving images, in our society.

The photographs exhibited here are part of the Weegee archive, representing the largest holding of this master photographer’s work, which is housed at the International Center of Photography. The archive containing nearly 20,000 prints, negatives, tear sheets, manuscript drafts, correspondence, and other personal memorabilia.

Weegee: Biography 

Weegee was born Usher Fellig on June 12, 1899, in the town of Lemburg (now in Ukraine). He first worked as a photographer at age fourteen, three years after his family immigrated to the United States, where his first name was changed to the more American-sounding Arthur. Self-taught, he held many other photographyrelated jobs before gaining regular employment at a photography studio in lower Manhattan in 1918. This job led him to others at a variety of newspapers until, in 1935, he became a freelance news photographer. 

He centered his practice around police headquarters, and in 1938 he obtained permission to install a police radio in his car. This allowed him to take the first and most sensational photographs of news events and offer them for sale to publications such as the Herald-Tribune, Daily News, Post, the Sun, and PM Weekly, among others.

During the 1940s, Weegee’s photographs appeared outside the mainstream press and met success there as well. New York’s Photo League held an exhibition of his work in 1941, and the Museum of Modern Art began collecting his work and exhibited it in 1943. Weegee published his photographs in several books, including Naked City (1945), Weegee’s People (1946), and Naked Hollywood (1953). After moving to Hollywood in 1947, he devoted most of his energy to making 16-millimeter films and photographs for his “Distortions” series, a project that resulted in experimental portraits of celebrities and political figures. He returned to New York in 1952 and lectured and wrote about photography until his death on December 27, 1968.

Weegee’s photographic oeuvre is unusual in that it was successful in the popular media and respected by the fine-art community during his lifetime. His photographs’ ability to navigate between these two realms comes from the strong emotional connection forged between the viewer and the characters in his photographs, as well as from Weegee’s skill at choosing the most telling and significant moments of the events he photographed. ICP’s retrospective exhibition of his work in 1998 attested to Weegee’s continued popularity; his work is frequently recollected or represented in contemporary television, film, and other forms of popular entertainment.

About Bow Tie Cinemas, New York
Founded by B.S. Moss in 1900, four generations of family ownership have guided Bow Tie Cinemas from its origins in Vaudeville to its current holdings of fifty-five theaters in the eastern United States. 2015 marks the 115th anniversary of Bow Tie Cinemas and the completed renovation of its flagship Chelsea Cinemas in Manhattan. In addition to a permanent photography exhibit curated by The International Center of Photography, the all-new Chelsea Cinemas’ upgrades will include: luxury seating and reserved seating, a new lobby and interior box office, concession stands and enhanced food offerings.

About ICP, New York
The International Center of Photography (ICP) is the world’s leading institution dedicated to the practice and understanding of photography and the reproduced image in all its forms. Through our exhibitions, educational programs, and community outreach, we offer an open forum for dialogue about the role images play in our culture. Since our founding, we have presented more than 700 exhibitions and offered thousands of classes, providing instruction at every level. ICP is a center where photographers and artists, students and scholars can create and interpret the world of the image within our comprehensive educational and archival facilities. Visit for more information.

December 23, 2014

On Kawara, Silence at the Guggenheim Museum, New-York

On Kawara, Silence
Solomon R. Guggenheim Museum, New-York
February 6 - May 3, 2015

The Solomon R. Guggenheim Museum will present the first comprehensive exhibition of the work of ON KAWARA (1933-2014), the broadest representation to date of his practice since 1963. On Kawara—Silence invites the viewer to consider a body of work that engages the nature and experience of time and place.

Installed along the spiral ramps of the museum according to a framework of 12 sections, or “chapters,” devised by the artist, the exhibition features work from 1963 through 2013 and includes every category of On Kawara’s output, much of it produced during his travels across the globe: monochrome Date Paintings (from the Today series); telegrams (the I Am Still Alive series); stamped tourist postcards (the I Got Up series); city maps marked with the route taken by the artist on a given day (the I Went series); lists of names of people encountered that day (the I Met series); newspaper cuttings (the I Read series); a complete inventory of paintings (the Journals); and vast calendars (One Hundred Years and One Million Years). Numerous drawings produced in Paris and New York in 1964, which are fascinating proposals for unrealized works, and Kawara’s only two extant paintings of 1965, Location and Title, which herald the Today series, offer a historical perspective and indicate the emergence of the pictorial idiom he continued to pursue throughout his career. The exhibition also presents three months of consecutive Today paintings, identified by the artist collectively as Everyday Meditation, part of which was displayed in the 1971 Guggenheim International Exhibition. As part of the One Million Years project, a continuous live recitation of dates from an immense ledger will occur three days a week during the run of the exhibition on the ground floor of the Guggenheim rotunda.

Born in Kariya, Japan, ON KAWARA achieved early recognition during the 1950s as a young member of the Tokyo avant-garde. The artist left Japan in 1959, moving first to Mexico City and then to Paris before settling in New York City. During that period of relocation, he abandoned his early surrealistic representations of the body. In 1966 his practice acquired the form it would take thereafter—the intermittent yet persistent production of paintings and other works, most of which serve to identify the time and place of the artist’s whereabouts on the day they were made.

On Kawara’s work is often associated with the rise of Postminimal and Conceptual art. Yet in its complex wit and existential reach, it also stands well apart. At the heart of On Kawara—Silence are paintings from the Today series, created over the course of seven decades according to intensive protocols. With each painting, the date is inscribed in white acrylic against a monochromatic ground in variants of blue, red, or very dark gray, in the language of the place where the painting was made. The strict range of dimensions for the Date Paintings is preordained, and the process of making them is seemingly mechanical, although the paintings were, in fact, meticulously produced by hand. A painting was either finished in the course of a given day or destroyed. On some days, two, and, very occasionally, three, were made. The exhibition presents over 150 Date Paintings, many accompanied by the handmade storage boxes that Kawara often lined with cuttings from the daily press. Such cuttings, representing topics both historical and banal—politics, natural disaster, celebrity, space exploration, sports—place Kawara’s work in a context of current events, although any logic of selection is difficult to discern.

“I Got Up.” “I Went.” “I Read.” “I Met.” Much of Kawara’s work deploys such first-person declarations, which seem to designate little more—yet nothing less—than his very being in the world. More than 1,500 tourist postcards, addressed, stamped, and mailed to friends and acquaintances including artists, gallerists, collectors, critics, and curators such as John Baldessari, Germano Celant, Herman Daled, Kasper König, Sol LeWitt, Lucy Lippard, Toshiaki Minemura, and Adrian Piper bearing the message “I GOT UP AT,” followed by the precise time Kawara began his day, are featured in On Kawara—Silence. The exhibition also includes city maps upon which the artist traced his route in a single day, and more than 100 telegrams delivered between 1969–2000, each bearing the simple message “I AM STILL ALIVE.” These series, produced according to their own set of rules, record the basic activities of the artist’s life. Like the Date Paintings, they appear to be purely systematic. While close examination reveals the work’s unexpectedly personal qualities—not least the discipline and endurance implied by the artist’s relentless record keeping—indications of personal experience are elusive. Throughout his lifetime, the artist’s official biography consisted only of the number of days he had been alive. The schematic nature of his oeuvre means that, despite its subjective nature and focus on self-examination, it remained surprisingly abstract.

On Kawara said very little about his art and preferred to leave much about it unexplained. He did, however, identify one central theme: human consciousness, an individual’s heightened awareness of his or her existence in the world. Kawara also said that a Date Painting represents a paradox—that each painting forever signifies the present by bearing the name and date of the day it was made, yet once the day is over, that present belongs only to the past.

Exhibition curator Jeffrey Weiss observes that Kawara’s work represents an expansive practice, a field of operations and activities that occur over time according to remarkably consistent terms: “The artist believed the best way for us to engage his work was by direct encounter, through which we can discover its relevance to our own lives.”

On Kawara—Silence is organized by Jeffrey Weiss, Senior Curator, Solomon R. Guggenheim Museum, with Anne Wheeler, Assistant Curator, Solomon R. Guggenheim Museum, in close cooperation with the artist.

The Leadership Committee for On Kawara—Silence is gratefully acknowledged for its support, with special thanks to David Zwirner, New York/London; Glenstone; Leonard and Louise Riggio; and Konrad Fischer Galerie, Düsseldorf and Berlin.

This exhibition is also supported by the National Endowment for the Arts.

On Kawara—Silence: Exhibition Catalogue
On Kawara—Silence will be accompanied by an exhibition catalogue with essays contributed by Jeffrey Weiss and Anne Wheeler as well as artist Daniel Buren; Whitney Davis, George C. and Helen N. Pardee Professor of History and Theory of Ancient and Modern Art, University of California at Berkeley, and Visiting Professor of History of Art, University of York; Maria Gough, Joseph Pulitzer Jr. Professor of Modern Art, Harvard University; Ben Highmore, Professor of Cultural Studies, University of Sussex; novelist and critic Tom McCarthy; and Susan Stewart, Avalon Foundation University Professor of the Humanities and Director of the Society of Fellows in the Liberal Arts, Princeton University. Featuring more than four hundred images and available in four different colors of cover that correspond with the monochromes of artist’s Date Paintings, the book will offer authoritative descriptions of each category of the artist’s work and will be available for $65 in a hardcover edition beginning in February at

December 13, 2014

Gu Changwei at MoCA Shanghai - “ i ” Contemporary Art of GU Changwei

“ i ” Contemporary Art of GU Changwei
Museum of Contemporary Art, Shanghai
December 13, 2014 - March 31, 2015 

The Museum of Contemporary Art Shanghai presents an exhibition of works by Gu Changwei.

One of China’s most famous film directors today, Gu Changwei began studying art in his pre-college days. In 1978 he was enrolled into the Cinematography Department of Beijing Film Academy as his entry to the movie industry. His practice and exploration of contemporary art, however, has so far remained largely unknown to the public. In this sense, “ i ” Contemporary Art of Gu Changwei is a presentation of his art works after years of silent accumulation.

In this exhibition, the artist used different media including video, two dimensional pieces, and installation. All the works are closely linked to our day-to-day lives and yet they have represented an unexpected and extraordinary splendor. In front of these works, we question on ourselves and derive all kinds of solutions, which also hide behind the artist's interpretation of the contemporary social values, and thinking of the current physical existence.

This solo exhibition is not intended as a summary or extension of Gu Changwei’s achievements as an artist. Rather, it marks a beginning with a unique perspective, a sober-minded meditation expressed with passion. Here and now, we will see an old friend of ours opening up his brave new world of “ i ” to us.

To explain his motivation in creating these works, Gu Changwei quotes from Marcel Duchamp: “Art is not about itself but about the attention we bring to it.”

The curator of this exhibition, Kong Chang’an was among the curators and organizers of the China/Avant Garde ‘89. In the early 1990s, as an eminent art critic, he introduced China’s contemporary art to the West through Flash Art, a world-famous art magazine. Besides, he is the first Chinese curator to work for the 45th Venice Biennale in “Aperto” in 1993. In recent years, Kong has been more involved in research and practice on visual/video art in the United States.

“ i ” Contemporary Art of Gu Changwei at the MoCA Shanghai is a display of contemporary art based on the trans-disciplinary cooperation between a celebrated film director and a senior curator and on an intellectual dialogue by means of visual/video art. For China’s art circles, it will be the year’s finale notable for its flickering novelty.

Organized by the Museum of Contemporary Art, Shanghai 
Curator: KONG Chang’an

People's Park, 231 West Nanjing Road, Shanghai

Updated 30.06.2019

December 3, 2014

Editions limitées, Galerie Maeght, Paris

Editions limitées
Galerie Maeght, Paris 
5 décembre 2014 - 17 janvier 2015 

La Galerie Maeght met à l’honneur la richesse du métier d’éditeur d’art. « Editions limitées » originales : gravures, lithographies, phototypies et livres de bibliophilie des plus grands maîtres dialoguent avec les oeuvres récentes de jeunes artistes.

L’exposition présente des oeuvres rares de Valerio Adami, Jean Bazaine, Georges Braque, Pol Bury, Alexandre Calder, Marc Chagall, Eduardo Chillida, Jean Cortot, François Fiedler, Gérard Gasiorowski, Joan Miró, Jean-Paul Riopelle, Guy de Rougemont, Pierre Tal-Coat, Antoni Tapiès, Raoul Ubac, Manolo Valdès et Bram Van Velde. Leur répondront Enzo Cucchi, Marco Del Re, Luc Doerflinger, Cécile Granier de Cassagnac, Ra’anan Levy, Pierre Roy-Camille et W4.

Valerio Adami, Placard Derrida, 1976.
Lithographie originale, 74 x 100 cm. 
© Galerie Maeght, Paris.

Des chefs d’oeuvre. L’exposition présentera des oeuvres gravées de Georges Braque ou Eduardo Chillida aux côtés de gravures ou lithographies originales de Joan Miró, Bram Van Velde ou encore Jean-Paul Riopelle.

L’ensemble réuni par Isabelle Maeght parcourt plus de cinquante années d’édition et témoigne de la richesse du dialogue entre artistes, poètes, imprimeurs, relieurs et graveurs. Ensemble, ils dépassent les limites de l’édition traditionnelle pour réaliser des oeuvres gravées et ouvrir de nouveaux horizons. « Un très bel ouvrage de bibliophilie, une gravure originale de Joan Miró ou une lithographie originale de Georges Braque, ce sont des années de patience et de ferveur, des techniques virtuoses, une immense poésie : des oeuvres d’art à part entière », précise Isabelle Maeght. Avec plus de 12 000 titres publiés, Maeght Éditeur est aujourdhui reconnu comme le plus important éditeur de lithographies et de gravures originales au monde.

La collection des « Placards » porte l’empreinte de ces échanges entre arts graphiques, littérature et poésie. Ainsi, à l’initiative de la Galerie Maeght, poètes, écrivains et artistes collaboré étroitement sur des lithographies originales de grand format : Valerio Adami et Jacques Derrida, Jean Bazaine et André Frénaud, Pol Bury et Honoré de Balzac, Eduardo Chillida et Edmond Jabes, Jean Cortot et Guillaume Apollinaire, Gérard Gasiorowski et Gilbert Lascault, Pierre Tal-Coat et Jean Daive, Antoni Tapiès et Brossa Joan Brossa, etc. A redécouvrir.

Pierre Tal-Coat, Placard Daive, 1978.
Lithographie originale, 55,7 x 76,2 cm.
© Galerie Maeght, Paris.

Jean Bazaine, Placard Frénaud, 1977.
Lithographie originale, 65 x 85 cm. 
© Galerie Maeght, Paris.

Jean Cortot, Placard Apollinaire,1996. 
Lithographie originale, 68 x 99 cm. 
© Galerie Maeght, Paris.

Eduardo Chillida, Placard Jabes, 1975. 
Lithographie originale, 60 x 96,5 cm. 
© Galerie Maeght, Paris.

La série des eaux-fortes originales de Jean Cortot témoigne du lien étroit entre artistes, écrivains et poètes. Dès 1974, Jean Cortot réalise une oeuvre singulière, fondée sur une étonnante symbiose entre écriture et peinture. Dans cette série, l’artiste rend hommage aux grands écrivains, philosophes, poètes et musiciens qu'il aime, notamment Guillaume Apollinaire, Jacques Audiberti, Blaise Cendrars, René Char, Michel Déon, Paul Éluard, Max Jacob, Pierre-Jean Jouve, Mallarmé, Fernando Pessoa, Pétrarque, Raymond Queneau et Jean Tardieu.

Jean Cortot, Paul Eluard, 2008. 
Eau-forte originale éditée à 35 exemplaires, 25 x 33 cm. 
© Galerie Maeght, Paris.

Jean Cortot, Guillaume Apollinaire, 2002. 
Eau-forte originale éditée à 35 exemplaires, 25 x 33 cm. 
© Galerie Maeght, Paris.

Jean Cortot, Max Jacob, 2008. 
Eau-forte originale éditée à 35 exemplaires, 25 x 33 cm. 
© Galerie Maeght, Paris.

Jean Cortot, Audiberti, 2002. 
Eau-forte originale éditée à 35 exemplaires, 25 x 33 cm. 
© Galerie Maeght, Paris.

La Galerie Maeght propose également des oeuvres récentes de Marco Del Re, Luc Doerflinger, Cécile Granier de Cassagnac, Ra'anan Levy, Pierre Roy-Camille et W4, témoignant de l’intérêt sans cesse renouvelé des artistes pour l’édition. De grandes eaux-fortes originales de Pierre Roy-Camille dialogueront avec des linogravures originales de Marco Del Re, des gravures originales rehaussées à l’aquarelle de Cécile Granier de Cassagnac, des impressions numériques sur plexiglas originales de W4 ainsi que des monotypes originaux de Luc Doerflinger et des gravures originales de Ra’anan Levy.

Pierre Roy-Camille, Bouliki 
Lithographie, 2014. 51,5 x 76 cm. 
© Galerie Maeght, Paris.

Ra’anan Levy, Mains III 
Gravure, 2014, 53 x 56,5 cm 
© Galerie Maeght, Paris.

Arianna d’Enzo Cucchi et Nanni Ballestrini. Depuis 1998, poètes et artistes se rencontrent à travers la collection de bibliophilie « Duos ». Ces ouvrages de poésie, illustrés de lithographies, eaux-fortes ou phototypies originales, sont édités en un nombre limité d’exemplaires. Le dernier de ces livres-objets, Arianna, est le fruit du dialogue entre l’artiste Enzo Cucchi et le poète Nanni Ballestrini.

Enzo Cucchi et Nanni Ballestrini, Arianna, 2014.
Collection de bibliophilie « Duos ». 
© Galerie Maeght, Paris.

Programmation de la Galerie Maeght, Paris :
Jean-François Spricigo, « Carnets du ciel » : 7 - 29 novembre 2014
« Éditions limitées » : 5 décembre 2014 - 17 janvier 2015
« Bronzes » : 22 janvier - 7 mars 2015
Ra’anan Levy : 13 mars - 16 mai 2015

November 22, 2014

Samiro Yunoki, MNAAG, Musée Guimet, Paris : La danse des formes. Textiles de Samiro Yunoki

La danse des formes. Textiles de Samiro Yunoki 
MNAAG, Musée Guimet, Paris
Jusqu'au 12 janvier 2015

Cette exposition marque l’entrée dans les collections de 71 œuvres, essentiellement textiles, données au musée national des arts asiatiques - Guimet par Samiro Yunoki, artiste japonais né en 1922 à Tokyo.

Issu d’une famille d’artistes, Samiro Yunoki s’oriente vers des études d’histoire, d’art et d’esthétique au sein de l’université de Tokyo et s’intéresse après la Seconde Guerre mondiale au travail du textile et des techniques artisanales, en suivant les enseignements de Keisuke Serizawa, grand artiste japonais (1895-1984) dont il fut l’élève.

La diversité des pièces de la donation reflète la variété de son œuvre qui allie savoir ancestral et vision moderne, tant dans les techniques et matériaux employés que dans les motifs décoratifs eux-mêmes. Eclatantes de modernité, ces œuvres attestent d’une parfaite maitrise de la technique japonaise de la teinture au pochoir, technique du katazome, littéralement « teinture à partir d’une forme ».

L’artiste se distingue également par l’emploi de couleurs vives, en parfaite harmonie avec la texture du tissu ainsi que par des motifs imaginaires abstraits mais si évocateurs qu’ils en deviennent presque figuratifs. Une extrême clarté des formes et un remarquable sens du mouvement donnent un caractère singulier à l’œuvre de Samiro Yunoki qui, outre les textiles, s’exprime sur des supports très diversifiés tels que peinture sur verre, collages, sculptures ou livres illustrés pour enfants.

En marge d’œuvres imprégnées par le Japon traditionnel, une grande partie de son travail est très ouvertement influencée par l’Occident et notamment Matisse. Yunoki ne considère pas ses textiles comme de simples décors en aplats mais comme des objets d’art tridimensionnels et dynamiques qui se déploient dans l’espace.

Autour de l’exposition, tarifs, informations pratiques et horaires :

Présidente de l’établissement : Sophie Makariou
Commissaire : Aurélie Samuel, chargée de la section textiles au MNAAG

Samiro Yunoki. La danse des formes 
Catalogue de l'exposition
Coédition musée national des arts asiatiques – Guimet / Réunion des musées nationaux – Grand Palais, 2014
Auteurs : Samiro Yunoki ; Aurélie Samuel ; Kévin Kennel, assistant section Textiles au MNAAG.
Broché, 48 pages, 40 illustrations - Prix : 10 euros 

November 16, 2014

Ann Edholm at Galerie Nordenhake, Berlin - Trotz

Ann Edholm: Trotz
Galerie Nordenhake, Berlin
November 15, 2014 - January 10, 2015

Galerie Nordenhake presents new and recent works by Ann Edholm from her latest body of work titled Trotz (In Spite of All). With an elaborate network of cultural, religious and symbolic references Ann Edholm meticulously merges classical painting with elemental geometric shapes and slight painterly gestures. The size of the canvases and the relationship between form, scale and colour in the compositions subtly define the meeting between viewer and painting.

Working in extended series Ann Edholm often stages large, occasionally even monumental, paintings that straddle both geometric abstraction and subtle expressionism. The latter reveals itself in barely perceptible details, such as small fingerprints or smear marks made by the brush or, more often, the palette knife, thus destabilising the seemingly solid compositional patterns of basic geometric shapes, simultaneously reminiscent of, for instance, the Russian Suprematist Kazimir Malevich and the American Abstract Expressionist Barnett Newman. Her latest paintings from Trotz connect to these sources as well as they point to profound layers of Expressionism in her oeuvre.

Looking at the “Trotz”-paintings art historian Tom Sandqvist emphasises the painter’s specific and decidedly non-abstract approach: „Ann Edholm has again and again fought against the conception of being an abstract painter. Now it’s obvious that her paintings are more than realistic, they are – indeed – painfully real confronting us with our own dark ugliness.”

The four large scale black and red paintings from the series Trotz entitled Oświęcim (2014) are based on the four famous photos taken inside Auschwitz–today’s Oświęcim–by prisoners in 1944, discussed by French philosopher and art historian Georges Didi-Huberman in his book Images malgré tout (2004). Of one and a half million surviving photos related to Nazi concentration camps, only four depict the actual process of mass killing perpetrated at the gas chambers. These images, taken clandestinely in spite of the ban of images by one of the Jewish prisoners forced to help carry out the atrocities, were made as a potent act of resistance. Ann Edholm’s paintings hereby also are an act of resistance, as they remind us not only of our own pain in realising who we really are, but also of our greatness when refusing to forget and why we make images in spite of all. Didi-Huberman’s relentless consideration of these harrowing scenes demonstrates how Holocaust testimony can shift from texts and imaginations to irrefutable images that attempt to speak the unspeakable. Indeed, Didi-Huberman puts the agenda already in his first sentence: ”In order to know, we must imagine for ourselves.”

ANN EDHOLM was born in Stockholm in 1953, and now lives and works in Nyköping, Sweden. Last year her site-specific commission for the ECOSOC Session Chamber at the United Nations headquarters in New York DIALOGOS was inaugurated. Ann Edholm has had solo exhibitions at Karlskrona Konsthall (2012), Millersgården (with Håkan Rehnberg) in Stockholm (2007), Göteborgs Konstmuseum (2003), and Uppsala Konstmuseum (2003) among others. In 2009 she participated in the Tirana Biennial, Albania. Her works have been exhibited in group exhibitions at abc - art Berlin Contemporary in Berlin (2011), Immanuel Kant State University in Kaliningrad (2006), IASPIS in Stockholm (1999), Rooseum in Malmö (1996 and 1992), Frankfurter Kunstverein in Frankfurt/Main (1995), Moderna Museet in Stockholm (1995 and 1991), and PS1 in New York (1988). In 2007 she was honoured with an award from the Landstinget Sörmlands artist fund and was awarded with the second price of the Carnegie Art Award 2012. She has been exhibiting with Galerie Nordenhake since 1994.

Lindenstrasse 34, 10969 Berlin

November 5, 2014

Ai Weiwei at La Virreina Image Centre, Barcelona

Ai Weiwei: On the Table
La Virreina Image Centre, Barcelona

5 November 2014 - 1 February 2015

On the Table. Ai Weiwei offers a comprehensive view of the artist's life and work through the display of a variety of artworks and materials, set up to match the scale of La Virreina Image Centre.

The exhibition aims to give an idea of the scope of Ai Weiwei's artistic career, from his beginnings in 1980s New York to his present-day status as the best-known and most influential Chinese artist in the world. Work by this media-savvy activist calling for greater freedom in China can now be found in leading contemporary art museums and collections worldwide.

Ai Weiwei makes use of a number of artistic practices, including photography and documentary film, sculpture, design and architecture, in operations that transcend formats and disciplines to create images that infiltrate and propagate through social networks and popular culture. In addition to several key pieces for appreciating this artist’s work, the show at La Virreina Image Centre also presents unseen work, new productions and installations by Ai Weiwei specially designed for this exhibition.

Curator: Rosa Pera


Ai Weiwei is well known for his longstanding confrontation with the Chinese communist government and for his large-scale installations in leading contemporary art museums and events worldwide. He works on a global scale with any format and medium that comes to hand—or simply invents new ones.

A staunch defender in the struggle for freedom, he has used his work as a potent mouthpiece for speaking out against the unseen repression and censorship as China opens up to capitalist markets. As an artist, he strives tirelessly to raise critical awareness in society.

On the Table. Ai Weiwei aims to give a comprehensive overview of his work by exploring some of his best-known pieces alongside previously unseen work. Ai Weiwei makes use of a wide range of techniques—including photography, architecture, video, sculpture, graphic design, installations, objects and music videos, among others—but central to all his work is the role of the image as a construction and vehicle for reality. He then uses this to explore the tensions between truth and lies, evidence and ambiguity, control and freedom, politics, art, power and society.

Ai Weiwei sees art as a device for striking up dialogues within various contexts, comparing and contrasting different traditions and visions, negotiating, dissecting, projecting and sharing: like a table on which we can lay out our credentials and show our cards, discovering what is underneath and, if necessary, turning the tables.

Rosa Pera

La Virreina Image Centre and La Fábrica have prepared a catalogue to accompany the exhibition On the Table. Ai Weiwei. It offers an insightful rereading of the artist’s work and runs to 180 pages, including over 240 pictures of 42 pieces. The idea, design, editing and sequence of images were all personally overseen by Ai Weiwei himself. The catalogue also includes an interview with the artist in his studio in Beijing by Llucià Homs, director of La Virreina Image Centre, and an essay by Rosa Pera, curator of the show, entitled Image and Power in Three Movements and a Device.

La Virreina Centre de la Imatge
Palau de la Virreina
La Rambla, 99. 08002 Barcelona

October 28, 2014

Exposition Baccarat, Petit Palais, Paris : La légende du cristal

Baccarat. La légende du cristal
Petit Palais, Paris
Jusqu'au 4 janvier 2015

A l’occasion du 250e anniversaire de Baccarat, le Petit Palais exposer dans ses Grandes Galeries les chefs-d’oeuvre de la plus illustre manufacture de cristal au monde, étonnants témoignages de la virtuosité de ses artisans.

Baccarat : Candélabre dit « du Tsar »,
commandé pour le tsar Nicolas II en 1896
© Archives Baccarat

Il s’agit de la première rétrospective en France dédiée à Baccarat depuis l’exposition du Bicentenaire aux Arts décoratifs en 1964. En accord avec l’architecture du Petit Palais élevé pour l’Exposition universelle de 1900, l’exposition présente les créations de Baccarat conçues pour les grandes expositions parisiennes de 1823 à 1937, au cours desquelles la manufacture conquiert une notoriété internationale. C’est également à la faveur de ces rendez-vous que Baccarat attire par son éclat les commandes des grands de ce monde.

Baccarat : Calices couverts et verre à jambe haute peints à l’or en relief, 
Exposition Internationale de l’Est de la France, Nancy, 1909
© Baccarat
Photographe : Patrick Schüttler

Dans une scénographie raffinée sublimant la virtuosité et le savoir-faire des artisans du cristal, le visiteur découvre au sein du parcours d’exposition les oeuvres rassemblées selon leurs affinités stylistiques ou leur contexte de création. Un choix exceptionnel de près de cinq cents pièces historiques est présenté, en majorité provenant de la collection privée de la manufacture lorraine et complété d’emprunts prestigieux au musée d’Orsay, au Louvre, aux Arts décoratifs, à la Cité de la Céramique, aux Arts et Métiers, au château de Compiègne et aux musées de Nancy. De nombreux dessins et documents d’archives inédits permettent de retracer la genèse des créations exposées et de dévoiler les sources d’inspiration qui ont nourri les artisans de la célèbre manufacture depuis 250 ans.

Baccarat : Vase « Simon » : « Allégorie de l’Eau », gravé par Jean-Baptiste Simon, 
Exposition Universelle, Paris, 1867
© Baccarat
Photographe : Patrick Schüttler

Ainsi, sont présentées des oeuvres exceptionnelles comme le monumental « Vase Négus », « la Toilette de la duchesse de Berry », ou les « Vases Simon » créés pour l’exposition universelle de 1867 à Paris. Des pièces de services issues de grandes commandes royales ou conçus pour les puissants du monde entier comme le tsar Nicolas II, l’empereur du Japon, ou encore des maharadjas témoigneront de l’excellence du savoir-faire de Baccarat. Une table mettant en scène certaines de ces commandes soulignera le triomphe de la manufacture dans le domaine de l’art de vivre. Un espace spécifique retrace l’histoire légendaire du verre Harcourt, pièce iconique, inspiré du calice d’apparat et gravé du monogramme royal commandé par le Roi Louis-Philippe en 1840.

L’exposition s’achève de manière éblouissante par une galerie où est accrochée une série de lustres en majesté, dont le plus monumental resplendi de 250 lumières dans la galerie d’honneur du Petit Palais.

Commissariat de l'exposition :
Michaela LERCH-MOULIN, conservateur de la Collection patrimoniale, Baccarat
Dominique MOREL, conservateur en chef au Petit Palais

Petit Palais, Musée des Beaux-Arts
Avenue Winston Churchill - 75008 Paris

October 15, 2014

Exposition Sonia Delaunay, Paris, Musée d'Art moderne de la Ville de Paris

Sonia Delaunay - Les couleurs de l’abstraction
Musée d’Art moderne de la Ville de Paris 
17 octobre 2014 - 22 février 2015

Première grande rétrospective parisienne consacrée à Sonia Delaunay depuis 1967, l’exposition organisée par le Musée d’Art moderne de la Ville de Paris rassemble, aux côtés de trois reconstitutions exceptionnelles d’environnements, plus de 400 œuvres : peintures, décorations murales, gouaches, estampes, mode et textiles. Cette monographie qui suit l’évolution de l’artiste de l’aube du XXème siècle à la fin des années 1970, met en lumière l’importance de son activité dans les arts appliqués, sa place spécifique au sein des avant-gardes européennes, ainsi que son rôle majeur dans l’abstraction dont elle figure parmi les pionniers.

Le parcours chronologique, largement documenté, illustre la richesse et la singularité de l’œuvre de Sonia Delaunay marquée par un dialogue soutenu entre les arts. L’ensemble des œuvres choisies révèle une approche personnelle de la couleur, réminiscence de son enfance russe et de son apprentissage de la peinture en Allemagne. 

Tandis que Robert Delaunay conceptualise l’abstraction comme un langage universel, Sonia Delaunay l’expérimente sur les supports les plus variés (tableaux, projets d’affiches, vêtements, reliures, objets domestiques) et crée à quatre mains avec le poète Blaise Cendrars La Prose du Transsibérien et de la Petite Jehanne de France. Durant la Grande Guerre, son passage en Espagne et au Portugal coïncide avec un premier développement de ses activités dans les domaines du théâtre et de la mode qu’elle commercialise à Madrid dès 1918, puis à son retour à Paris dans les années 1920. La décennie suivante marque l’épanouissement d’une abstraction épurée, caractéristique du style international, et en harmonie avec l’architecture comme en témoignent les grandes décorations murales du Pavillon de l’Air de l’Exposition internationale des arts et techniques, présentées à Paris pour la première fois depuis 1937. Le rôle de « passeur » de l’artiste entre la génération des pionniers de l’abstraction et celle de l’après-guerre se manifeste à travers sa participation aux Salons des Réalités Nouvelles, son implication dans les projets d’architecture et sa présence au sein de la galerie Denise René. Dès l’après-guerre, la peinture de Sonia Delaunay connaît un profond renouvellement qui culmine, à la fin des années 1960, dans un art abstrait intensément poétique. Sa créativité formelle et technique s’exprime alors dans des œuvres monumentales (peinture, mosaïque, tapis, tapisserie) et son œuvre tardive connaît un ultime essor dans les albums d’eaux-fortes et les éditions Artcurial. 

Servie par la reconstitution d’ensembles et de dispositifs inédits, et la présence de photographies et de films d’époque, l’exposition souligne le paradoxe d’une œuvre profondément inscrite dans son temps – de la belle époque aux années 1970 – et la constance des recherches formelles et la quête de synthèse des arts rendent également atemporelle.

L’exposition sera ensuite présentée à la Tate Modern de Londres du 15 avril au 9 août 2015.

Exposition réalisée avec le concours exceptionnel de la Bibliothèque nationale de France et du Centre Pompidou

September 25, 2014

Thai & Singapore Artists @ Sundaram Tagore Gallery, NYC


Anthropos New York 
Sundaram Tagore Gallery, NYC
Through October 4, 2014 

Chatchai Puipia
Life in the City of Angels: The Healing, 2014
Oil on canvas, 72.8 x 62.9 inches / 185 x 160 cm
Image courtesy Sundaram Tagore Gallery, New York

Sundaram Tagore Gallery brings together emerging and established artists from Thailand and Singapore in Anthropos New York. Photography, painting, sculpture, video and mixed-media installations by twelve artists exploring the human condition will be on view. Curated by Loredana Pazzini-Paracciani, Anthropos New York offers insight into the social, political and religious dynamics artists are confronting in these two diverse cultures.

This large-scale exhibition, on view concurrently at the gallery’s Chelsea and Madison Avenue locations, offers a rare opportunity to see work by some of Southeast Asia’s most innovative artists.

FROM THAILAND: Chatchai Puipia, Chusak Srikwan, Kamin Lertchaiprasert, Kamolpan Chotvichai, Nino Sarabutra, Piyatat Hemmatat and Tawan Wattuya.

FROM SINGAPORE: Ho Tzu Nyen, Jason Wee, Jeremy Sharma, John Clang and Lavender Chang.

About the ARTISTS:

CHATCHAI PUIPIA, one of Thailand's most prominent and influential artists, unveils a new series of large self-portraits. The reclusive painter’s last solo exhibition was in 2011 in conjunction with the release of his monograph Chatchai Is Dead. If Not He Should Be.

CHUSAK SRIKWAN’S work focuses on traditional Thai nang yai puppets, which have been essential instruments of performance and visual art for centuries. Srikwan carves light-and-shadow figures from cowhide, a practice he learned from his grandfather, a master of the craft-based art.

HO TZU NYEN, who was featured in the Guggenheim show No Country: Contemporary Art for South and Southeast Asia, makes films, videos and stages live performances related to historical and philosophical texts and artifacts. Ho is one of Singapore’s most prominent artists.

Dividing his time between Singapore and New York, writer and artist JASON WEE traces the arc of changing histories and spaces, transforming these changes into visual and written materials. Wee is the founder of Grey Projects, Singapore, an alternative art space that focuses on emerging practices and censorship.

JEREMY SHARMA works primarily as a painter, but his body of work includes video, photography, drawing and installation. His practice investigates the concept of art as a reflection of a conscious life in the age of mechanical, industrial and digital reproduction and interconnectivity.

JOHN CLANG’S work focuses on time, displacement and human existence. His photography examines and raises questions about the world he lives in, offering not pictorial documentation, but an intimate reflection of his mind.

Throughout his career, KAMIN LERTCHAIPRASERT has worked in a variety of media, including painting, prints, sculpture and installation. Lertchaiprasert’s primary concern is the expression of the Buddhist philosophy that life and art are one. Lertchaiprasert is one of the most important Thai artists working today; his art is in major institutional collections including the Guggenheim’s.

Informed by the Buddhist teachings of anatta (no self), KAMOLPAN CHOTVICHAI challenges the limitations of materials in her artwork through the use of simple tools and techniques, such as cutting, which she uses to dissolve her own image printed on canvas. 

LAVENDER CHANG’S conceptual photography is a reflection of her sensitivity toward the physical and psychological human experiences surrounding her. She focuses these subtle experiences to create images that invite further contemplation, suggesting the passage of time, intimacy and morality.

NINO SARABUTRA explores the human condition with her installation What Will You Leave Behind? Covering the exhibition floor with thousands of palm-sized porcelain skulls, Sarabutra encourages viewers to walk across the carpet of skulls while contemplating life and death.

Fascinated with the Rorschach test since youth, PIYATAT HEMMATAT applies the same technique in his photographic essay Titans, mirroring shots of nature he's captured in his travels, revealing surprising and powerful likenesses to human anatomy.

The sublime watercolors of TAWAN WATTUYA explore the cultural contradiction in Thai society, which on one hand praises social respectability, yet on the other coexists with the socially unacceptable—specifically the internationally patronized sex trade, which is rarely discussed openly.

A catalogue accompanies Anthropos New York. It includes essays by the curator; Professor Nikos Papastergiadis of the University of Melbourne, author of Cosmopolitanism and Culture (Cambridge: Polity Press, 2012); and Professor Maurizio Peleggi of the National University of Singapore, editor of The Journal of Southeast Asian Studies.

ABOUT THE CURATOR: Loredana Pazzini-Paracciani holds a master’s degree in Asian Art Histories and is a lecturer in the Singapore LASALLE-Goldsmiths Fine Arts Programme. She writes for academic journals, art magazines and symposium publications, and works as an independent curator for commercial and institutional organizations in Singapore, Bangkok, New York and London, improving the visibility of young and emerging artists from Southeast Asia. Her academic and curatorial focus is the contemporary art of Thailand. 

Sundaram Tagore Gallery, New York 
Venues: 547 W. 27th Street and 1100 Madison Avenue

September 21, 2014

Niki de Saint Phalle au Grand Palais, Paris

Niki de Saint Phalle 
Grand Palais, Paris 
Jusqu'au 2 février 2015

Niki de Saint Phalle au Grand Palais 
Affiche de la Réunion des musées nationaux-Palais 
© Réunion des musées nationaux-Grand Palais, Paris 2014

Niki de Saint Phalle (1930-2002) est l’une des artistes les plus populaires du milieu du XXe siècle mais paradoxalement la richesse et la complexité de son oeuvre restent à découvrir. Elle compte parmi les premières artistes femmes à acquérir de son vivant une reconnaissance internationale et à jouer de sa personnalité médiatique. Niki est d’ailleurs l’une des premières personnalités – au même moment que Warhol – à utiliser la presse et les media pour contrôler ou orienter la réception de son travail. 

Autodidacte, Niki de Saint Phalle s’inspire de Gaudi, Dubuffet et Pollock pour mettre en place dès la fin des années 50 un univers singulier, en dehors de toute tendance et mouvement. Son parcours biographique y est sublimé par la création de grands thèmes et de mythes qui articuleront ensuite toute son oeuvre. On en connaît le caractère joyeux et coloré, mais on en a oublié la violence, l’engagement et la radicalité. Qu’il s’agisse de l’audace de ses performances, du contenu politique et féministe de son travail ou de l’ambition de ses réalisations dans l’espace public.

Cette rétrospective, première grande exposition consacrée à Niki de Saint Phalle depuis vingt ans, présente toutes les facettes de l’artiste qui fut à la fois peintre, assemblagiste, sculpteure, graveuse, performeuse et cinéaste expérimentale, et renouvelle profondément le regard posé sur son travail. Plus de 200 oeuvres et archives dont beaucoup sont inédites émaillent un parcours de 2000 m2 à la fois chronologique et thématique, ponctués d’écrans montrant l’artiste commentant son travail. Des maquettes de projets architecturaux et une sculpture-fontaine (L’Arbre de Vie) devant l’entrée du Grand Palais, permettent d’évoquer l’ampleur et la diversité de son oeuvre publique.

Niki de Saint Phalle
Dolorès, 1968-1995, 550 cm, polyester peint sur grillage, Sprengel Museum, Hanovre 
© 2014 Niki Charitable Art Foundation, All rights reserved. Donation Niki de Saint Phalle

Niki de Saint Phalle : Une artiste franco-américaine
Née en France où elle passera une grande partie de sa vie mais élevée aux États-Unis et choisissant d’y passer la fin de sa carrière, elle ne cessera de voyager entre ses deux pays d’origine et d’en réconcilier les tendances artistiques. Connue comme la seule artiste femme du Nouveau Réalisme en France, on a oublié que c’était aussi une artiste américaine - dont les oeuvres sont à replacer dans une histoire des Combine Paintings Néo Dada - au côté de Jasper Johns et Robert Rauschenberg, mais aussi à l’origine du Pop Art dont son approche renouvelle la lecture. Le multiculturalisme - les références à l’art des natifs d’Amérique et à la civilisation mexicaine, la question raciale et la critique de la politique de Georges Bush sont autant de sujets américains qui caractérisent ses dernières oeuvres.

Niki de Saint Phalle : La première artiste féministe
Articuler une vie de femme avec une vie d’artiste, renouveler la représentation du corps féminin et de l’érotisme, réinterpréter les grandes figures mythiques, interroger le rôle de la femme dans la société et en proposer un autre sont autant de thèmes contenus dans son travail dès la fin des années 50 et qui seront récurrents jusqu’à la fin de la vie. Fille, épouse, mère, guerrière, sorcière et déesse, pour n’en citer que quelques-unes, sont autant de facettes ou d’interprétations possibles des fameuses « Nanas » qui sont autant d’autoportraits, à la fois réels et fantasmés, de l’artiste et de la femme contemporaine. De fait, les séries successives des Mariées, Accouchements, Déesses puis après les Nanas, des Mères dévorantes, recréent une véritable mythologie féminine. S’y ajoutent les performances, les textes et les déclarations de l’artiste, le contenu des longs métrages : autant de preuves pour réhabiliter Niki de Saint Phalle comme la première grande artiste féministe du XXe siècle.

Niki de Saint Phalle
Skull (Meditation Room), Sprengel Museum, Hanovre, donation de l’artiste en 2000 
© 2014 Niki Charitable Art Foundation, All rights reserved / Photo : Michael Herling

Niki de Saint Phalle : Une artiste engagée
Le féminisme n’est qu’un élément de sa lutte précoce et constante contre les conventions et les carcans de la pensée. Chacune de ses oeuvres comporte plusieurs niveaux de lecture et d’interprétation dont on a souvent omis le caractère politique au profit d’une lecture décorative et superficielle de son oeuvre. Aller au-delà, c’est reconnaître par exemple aux « Tirs » toute leur puissance subversive. Ces performances, où des tableaux étaient détruits à la carabine par l’artiste ou le public invité, furent à la fois fondatrices dans l’histoire du happening et particulièrement scandaleuses car orchestrées par une femme. Dirigés contre une vision de l’art, une idée de la religion, une société patriarcale, une situation politique où guerre froide et guerre d’Algérie s’entremêlent, un pays – les États-Unis – où le port d’arme est légalisé, les Tirs sont à l’image de son oeuvre ultérieure, qui se nourrit presque toujours de questionnements sociétaux. Niki de Saint Phalle fut l’une des premières artistes à aborder la question raciale et à défendre les droits civiques puis un multiculturalisme américain ; une des premières aussi à utiliser l’art pour sensibiliser le grand public aux ravages du sida.

Niki de Saint Phalle : A l’avant-garde d’un art public
Première femme à s’imposer dans l’espace public à l’échelle mondiale, Niki de Saint Phalle a eu le souci très tôt de s’adresser à tous, bien au-delà du seul public des musées. Le choix d’un art public est à voir comme un choix politique ; il est précoce puisqu’elle en fait une direction essentielle de ses recherches dès le milieu des années 60. Projets architecturaux et sculptures monumentales se suivent ensuite tout au long de sa carrière : fontaines, parcs pour enfants, jardins ésotériques et maisons habitables sont parmi ses plus importantes réalisations. Central et majestueux, le Jardin des Tarots est son oeuvre majeure, qu’elle a entièrement financé elle-même, en partie grâce au développement d’éditions ; un parfum, du mobilier, des bijoux, des estampes, des livres d’artistes.

Niki de Saint Phalle
Vue du Jardin des Tarots, Garavicchio, Italie 
© Laurent Condominas

Cette exposition est organisée par la Réunion des musées nationaux - Grand Palais avec l’aimable participation de la Niki Charitable Art Foundation et co-organisée avec le Guggenheim Museum de Bilbao. Elle bénéficie de prêts exceptionnels des musées de Hanovre et Nice, qui ont reçu d’importantes donations de l’artiste. Elle sera présentée au musée Guggenheim de Bilbao du 27 février au 29 juin 2015.

Commissariat général : Camille Morineau

Grand Palais, Paris

September 3, 2014

Panasonic HC-X1000 Ultra HD 4K Camcorder

Panasonic HC-X1000 Ultra HD 4K Camcorder 

Panasonic HC-X1000 Ultra HD 4K Camcorder

Panasonic is today launching the HC-X1000, its first prosumer camcorder capable of recording 4K 60p/50p video images on an SD card. Featuring a LEICA Dicomar Lens alongside a new BSI Sensor, and Crystal Engine Pro 4K, the HC-X1000 produces stunning, lifelike images in Ultra HD 4K resolution.

With versatile file formats - including AVCHD, MOV and MP4 - and high bit rates, the HC-X1000 is ideal for a wide range of shooting applications. In addition, features and functions such as three manual rings, 2-Channel XLR Audio Input Terminals, ND Filters, and Dual SD Card Slots demonstrate how the HC-X1000 is designed to meet and exceed professional requirements.

Mobile, Ultra HD video in 4K

Ideal for shooting high quality documentaries and events, the HC-X1000 records in QFHD resolution (3840 x 2160) and Cinema 4K (4096 x 2160) formats which produce smooth flowing 60p/50p images.

The HC-X1000’s 1/2.3” BSI Sensor offers increased readout speed which makes it possible to handle large-volume 4K data at 60 fps/50 fps, suppressing the rolling shutter distortion that often occurs when shooting moving subjects.

In addition, the high speed Crystal Engine Pro 4K processes the massive volume of data required for 4K shooting quickly and accurately, while a new noise reduction system achieves clear images with minimal noise even when shooting in extreme low-light situations.

Featuring a high-performance lens, which has passed all of LEICA’s stringent inspection standards in areas such as resolution and contrast, the HC-X1000 is able to render sharp, crisp images and produce the distinctive nuances and subtle shading that LEICA lenses are renowned for. Three ND filters (1/4, 1/16, 1/64) are built into the lens to suppress the amount of incident light in different shooting environments. This allows you to shoot at a slow shutter speed in bright daylight for example, or fully open the lens to attain high resolution and a shallow depth of field.

Versatile and high bit rate recording

Featuring versatile recording formats, bit rates and editing options, the HC-X1000 is ideal for a wide variety of prosumers and professionals.  AVCHD format is available alongside MOV and MP4 for quick and easy editing, and Full HD recording employs ALL-Intra compression for a maximum bit rate of 200 Mbps, bringing outstanding quality to the image production.

The HC-X1000 has also been designed with cinematographers in mind - its 4K video supports not only QFHD resolution (3840 x 2160) for TV broadcasting, but also Cinema 4K (4096 x 2160) for movie production.

The superb 4K recording capabilities offered by the HC-X1000 also provides a lot more flexibility in the editing suite. 4K allows you to crop your composition and choose the perfect frame, as well as zoom 200 percent while maintaining HD quality; turn stationary footage into panning shots; tilt and level the footage; or easily stabilise your film.

Ergonomic design with professional features and functions

The HC-X1000 boasts an ergonomic design, with covers to prevent operating errors while shooting, and a button layout that's designed for easy operation wherever you’re filming.

In spite of the HC-X1000's compact body, it features a wide variety of manual controls to enable fast and intuitive camera work, including a focus ring, iris ring, a zoom ring on the lens barrel, and an illuminating LED ring to easily verify that recording is in progress.

The HC-X1000’s versatile 3.5” Slide-Retractable Touch LCD serves as a high definition, 1,152,000-dot monitor and menu-setting touch panel. When not in use, it slides into the front handle for extra mobility and safety. It also rotates 270 degrees vertically for easy high-angle, low-angle and self-interview shooting.

In addition, the HC-X1000’s two built-in SD card slots provide extra flexibility and peace of mind.  Using two slots enables you to record the same data onto both SD cards at the same time, meaning you can easily swap between them and never have to worry about losing the data. Additionally with Auto-Switch Recording, when the first card reaches full capacity the system automatically and seamlessly switches to the second card.  Furthermore, with Background Recording [only available in Full HD], you can set the SD card in Slot 2 to record continuously from the moment a recording event starts, and record only necessary scenes onto the SD card in Slot 1 by turning REC on and off. This eliminates the worry of not recording important scenes that take place while the REC switch is turned off.

The HC-X1000 also sports a 2-channel XLR audio input terminal for external microphones or line recording with a +48 V phantom power supply, enabling the use of professional-spec, high-performance sound recording equipment.

August 20, 2014

Wifredo Lam: Imagining New Worlds at the McMullen Museum of Art at Boston College

Wifredo Lam: Imagining New Worlds
The McMullen Museum of Art at Boston College

August 30 - December 14, 2014

The McMullen Museum of Art at Boston College presents a groundbreaking retrospective of masterpieces—many never before displayed together—by surrealist artist Wifredo Lam (1902–82). Recognized today as an international visionary in the artistic world, this is the first exhibition to examine Lam as a global figure whose work expanded cultural boundaries and transcended established categories among artistic movements of the twentieth century.

Wifredo Lam: Imagining New Worlds presents more than forty paintings and a wide selection of works on paper. Born in Cuba to parents of Chinese and African/Spanish descent, Lam provided a new context for art. Rooted in four continents, he gave expression to his multiracial and multicultural ancestry and engaged with the major political, literary, and artistic circles that defined his century.

Comprised of many of Lam’s greatest works, this display offers a reexamination of the range of his canon, a reassessment of his importance in twentieth-century art, and chronicles how his poetic imagination inspired depictions of “new worlds.”

Drawn from major public and private collections in Europe, Latin America, and the United States, the paintings, drawings, etchings, lithographs, African and Oceanic sculptures from Lam’s personal collection, and photographs on display—which represent all of the artist’s major periods—are outstanding examples which reveal the imprint on Lam’s hybrid style of surrealism, magic realism, modernism, and postmodernism. Together, these works offer a new understanding of Lam, giving expression to his heritage and experience.

“The McMullen Museum is pleased to present a retrospective examination of this most important twentieth-century artist, Wifredo Lam, as a global figure. Drawn from US, Latin American, and European collections, many of Lam’s most outstanding works will be exhibited together for the first time. The interdisciplinary team of scholars contributing to the exhibition’s narrative and catalogue has forged a new understanding of Lam’s relationship to artistic, literary, religious, and political movements of the last century,” said McMullen Museum Director and Professor of Art History Nancy Netzer.
Previous studies of Wilfredo Lam’s body of work have focused on his European associations, and assumed that artistic and literary movements in France and Italy most profoundly affected his art. The McMullen presentation highlights the artist’s Spanish influences—which have been underappreciated until this exhibition—and demonstrates their presence in several of his greatest masterpieces.

The exhibition also examines the influence of Spanish baroque poets and Spanish, French, and Latin American avant-garde artists and writers including Pablo Picasso, André Breton, Federico García Lorca, Alejo Carpentier, Gabriel García Márquez, and Aimé Césaire.

Organized by the McMullen Museum of Art at Boston College, Wifredo Lam: Imagining New Worlds is curated by Elizabeth T. Goizueta, who teaches in the Hispanic Studies section of Boston College’s Department of Romance Languages and Literatures. Her research interests focus on the relationship between art and literature in twentieth-century Latin America and Spain, and she works closely with the McMullen to promote Latin American art.

“The McMullen Museum is the first museum to unite Lam’s paintings with his drawings, etchings, portfolios, and books and to make new connections among them,” she said. “Outstanding loans of paintings and works on paper selected from private collections and museums demonstrate a metamorphosis in the artist’s imagery and iconography, providing visitors with an opportunity to trace Lam’s development over six decades. Visitors will have access to some of Lam’s greatest masterpieces, allowing a reexamination of the breadth of Lam’s oeuvre and a reassessment of his position in twentieth-century art.”

This exhibition is underwritten by Boston College and the Patrons of the McMullen Museum. Following its debut at the McMullen Museum, the exhibition will travel to Atlanta’s High Museum of Art, where it will be on display from February 14–May 24, 2015.
Wifredo Lam: Imagining New Worlds

Cuban surrealist Wifredo Lam was born during the same year that the island gained its independence from Spain, which foreshadowed his later involvement in the major political, literary, and artistic movements that came to define the twentieth century. The artist defies categorization, though he is often appropriated by primitivists, Latin Americanists, magical realists, surrealists, modernists, and postmodernists, according to exhibition organizers—and that a contemporary examination of the artist requires an expansion of preconceptions, boundaries, and frontiers, and must be grounded in multiple contexts.

Academic Painting: Portraits, Still Lifes, Cityscapes, and Embracing the Avant-Garde
Spain (1923–38)
The exhibition opens with paintings from Lam’s Spanish period and explores his strong association with academic painting, such as portraits, still lifes, cityscapes and his eventual embrace of the Spanish avant-garde movement and its direct impact on his artistic development.

Engaging Picasso and the French Surrealists
France (1938–41)
In this section, some of the finest paintings and drawings from Lam’s French surrealist period reveal nascent iconography that he develops later in his Cuban period.

Metamorphosis of Images: Synthesizing Human, Animal, and Vegetal
Cuba (1941–46)
This section encompasses Lam’s first Cuban period and demonstrates how his surrealist roots evolved to culminate in his characteristic hybrid style. Included are some of Lam’s best-known works from his most prolific decade, which trace his developing narrative. Lam’s painterly lexicon would continue to harness the imagination of surrealism and wed it to the new consciousness of magical realism.
Visualizing Syncretism
Cuba (1946–51)
At the end of 1945, Lam traveled to Haiti, marking the beginning of his second Cuban period. The Haitian syncretic mixing of religious and cultural traditions and its imagery left an imprint on Lam’s style. He began to incorporate elements of the Cuban syncretic religion Santería, which combines elements of African Yoruba and Roman Catholic religions, into his works.

Back in Paris (1951–60)
Lam moved back to Paris in 1951. For the rest of his life he lived in Europe and Cuba and traveled extensively to the United States. During the 1950s his style evolved from groundbreaking ideas—first manifest in the invention of hybrid images—to greater abstraction. By the end of the decade, he experimented with gestural splattering and ink splotching.

Figuring Abstraction: Monumental Paintings
Paris (1960–70)
Lam’s inventive iconography culminates in his large compositions from the 1960s. Tensions evident in his work between figuration and abstraction are resolved in this decade when he embarks on a series of monumental paintings.

Collaborating with Poets
Italy (1960–82)
Lam’s first experiments with engraving in the 1940s paved the way for a proliferation of graphics in the final decades of his life. In Italy, Lam embarked on a final burst of creativity supplying illustrations for literature and poetry texts.

Three masks from Lam’s personal collection provide a sculptural component to the exhibition, and a sense of space of the artist’s studio where they once resided. The exhibition also is complemented by the display of first-edition publications Wifredo Lam illustrated in conjunction with writers such as André Breton, Gabriel García Marquéz, and Aimé Césaire, culminating with nine prints from the Annociation series, his last published etchings, from 1982.

Exhibition Catalogue
A scholarly catalogue, published by the McMullen Museum, accompanies the exhibition, with essays by experts in a range of disciplines from Boston College, including curator Goizueta, Fine Arts Department Professor and Chair Claude Cernuschi, and Theology Department Flatley Professor Roberto S. Goizueta. Other contributors include Roberto Cobas Amate, curator of Cuban “Vanguardia” art at the Museo Nacional de Bellas Artes in Havana and Lowery Stokes Sims of the Museum of Arts and Design, New York.

The McMullen Museum of Art, Boston College