Slevogts Welt - VR - Eine immersive Reise in das Leben des Künstlers Max Slevogt - Jetzt im Landesmuseum Mainz from Jo Jacobs on Vimeo.
Slevogts Welt - VR - Eine immersive Reise in das Leben des Künstlers Max Slevogt - Jetzt im Landesmuseum Mainz
Gesamtverantwortung:
Dr. Birgit Heide, Direktorin Landesmuseum Mainz, GDKE
Wissenschaftliche Beratung:
Dr. Eva Brachert und Dr. Karoline Feulner, Landesmuseum Mainz, GDKE
Idee und Realisation:
Jo Jacobs und Gunnar Keppler
j-apps.com
Musik in dieser Anwendung:
oer-musik.de
Barbara Klemm, L’Albertinum de Dresde, le hall des antiques, tirage sur papier au gélatino-bromure d’argent, L. 405 ; l. 305 mm, série Inondations catastrophiques à Dresde 2002 - Dresde, Staatliche Kunstsammlungen Dresden, Kupferstich-Kabinett inv. D 2003-1101
Gerhard Richter at Gagosian 541 West 24th Street, New York
March 29, 2021
GERHARD RICHTER
Cage Paintings
April 19–June 26, 2021
541 West 24th Street, New York
__________
One can see, or rather hear, a great example in John Cage’s work of how extensively, cleverly, and sensitively he treats coincidence in order to make music out of it.
—Gerhard Richter
Gagosian is pleased to present Gerhard Richter’s Cage paintings, which were shown at Gagosian Beverly Hills in an exhibition that opened in December 2020. The series was a highlight of the artist’s recent retrospective, Gerhard Richter: Painting After All, at the Metropolitan Museum of Art, New York.
Throughout his career, Richter has navigated between naturalism and abstraction, painting and photography, exploring the conceptual, historical, and material implications of various mediums without ideological restraint. In paintings he produced while studying at the Staatliche Kunstakademie Düsseldorf, Germany, in the early 1960s, his imagery derived from magazine and newspaper photographs; he has continued this exploration throughout his career, manipulating it in ways that have inspired subsequent generations of painters. Richter approaches the concept of abstraction with similar rigor, employing varying combinations of process, expressiveness, and chance. The resultant works range from austere monochromes and mirrors to dynamic, layered, and richly chromatic compositions.
Characterized by their large scale and concentrated materiality, the six Cage paintings (2006) are constructed from intersecting lines, fields, and swaths of color applied with a broad squeegee. By varying the force with which he dragged this tool across the canvas, Richter added and, crucially, removed areas of pigment to generate a highly unpredictable surface. The paintings are titled after influential composer, artist, and philosopher John Cage (1912–1992), whose music Richter was listening to when he produced the series. Cage’s pursuit of indeterminacy in music, reflected in his use of the I Ching and other chance operations as compositional tools, has always resonated with Richter, who has compared his own process to the act of arranging musical notes into a score.
Shown in conjunction with the Cage paintings is a group of abstract drawings Richter made in a single, characteristically intensive working session during the summer of 2020. Richter’s drawings function as autonomous works and have always been an important part of his oeuvre. In the compositions on view, he makes clear use of an eraser to help direct the graphite, emphasizing the self-reflexive nature of drawing, and echoing, perhaps, the subtractive strategy that the creation of the Cage paintings entails.
A catalogue, including an introduction by Larry Gagosian and a conversation between the artist and Hans Ulrich Obrist, artistic director of the Serpentine Galleries in London, will be published to coincide with the exhibition.
A forthcoming episode of Gagosian Premieres will celebrate the exhibition with Obrist, featuring a musical performance by Patti Smith and new choreography created and performed by Rashaun Mitchell + Silas Riener in response to the work.
Gerhard Richter was born in Dresden, Germany, in 1932, and lives and works in Cologne, Germany. His work resides in museum collections throughout the world. Major solo exhibitions include Forty Years of Painting, Museum of Modern Art, New York (2002, traveled to Art Institute of Chicago; San Francisco Museum of Modern Art; and Hirshhorn Museum and Sculpture Garden, Washington, DC); Portraits, National Portrait Gallery, London (2009); Panorama, Tate Modern, London (2011–12, traveled to Neue Nationalgalerie, Berlin, and Centre Pompidou, Paris); ATLAS, Kunsthalle im Lipsiusbau, Dresden, Germany (2012); Drawings and Watercolors 1957–2008, Musée du Louvre, Paris (2012); Streifen & Glas, Galerie Neue Meister, Albertinum, Staatliche Kunstsammlungen Dresden, Germany (2013–14, traveled to Kunst Museum Winterthur, Switzerland); Fondation Beyeler, Riehen/Basel, Switzerland (2014); Birkenau, Museum Frieder Burda, Baden-Baden, Germany (2016); New Paintings, Museum Ludwig, Cologne, Germany (2017); National Gallery, Prague (2017); The Life of Images, Queensland Art Gallery | Gallery of Modern Art, Brisbane, Australia (2017–18); Over Schilderen, Stedelijk Museum voor Actuele Kunst, Ghent, Belgium (2017); Abstraktion, Museum Barberini, Potsdam, Germany (2018); Seascapes, Guggenheim Bilbao, Spain (2019); Painting After All, Metropolitan Museum of Art, New York (2020); and 100 Selbstbildnisse, Kunst Museum Winterthur, Switzerland (2020).
Gemäldegalerie Alte Meister - Albertinum - Staatliche Kunstsammlungen Dresden, Germany
Present painting by Böcklin depicts the Four Horsemen of the Apocalypse who are the forces of man's destruction described in the Bible in the chapter six of the Book of Revelation.
The composition is based on Albrecht Dürer's famous woodcut from 1497–98.
The four horsemen are traditionally named after the powers they represent: War, Famine, Pestilence and Death; only Death, however, is directly named in the Bible.
The war is almost completely out of sight of the observer riding on the right of pestilence. Femine wears a sulfur-yellow garment and holds a sword. At the right edge, death rides victoriously on his horse. His head is crowned with a laurel wreath. His performance is reminiscent of medieval Triumph of Death representations. On his saddle blanket the four letters are ALEP, stands for the Greek word aleptos (invincible, invulnerable). Below the group the city, on which the pestilence spreads fire resembles the architectural features and landscape of a Tuscan town.
Böcklin created the painting a few years before his death in Italy, where he lived since 1895. At that time he had many problems like illness, misfortunes and lack of money, so it was a personal interpretation of destructive powers. Dissatisfied with the painting, he described it as "already unsuccessful"
1953: born in Cape Town, South Africa
Marlene Dumas lives and works in Amsterdam
Education/residencies
1972-1975: studied at The Michaelis School of Fine Art, University of Cape Town (B.A.)
1976-1978: attended Ateliers ‘63, Haarlem
1979-1980: studied at the Psychological Institute, University of Amsterdam
2017
Ein Altarbild für die Annenkirche, Annenkirche, Dresden, 2017
Hope and Fear, Kupferstichkabinett Dresden, Dresden, Germany, 2017
Marlene Dumas. Skulls, Albertinum, Gemäldegalerie Neue Meister, Staatliche Kunstsammlungen, Dresden, Germany, 2017-2018
2015
Marlene Dumas: The Image as Burden, The Beyeler Foundation, Basel, Switzerland, 2015
Marlene Dumas: The Image as Burden, Tate Modern, London, United Kingdom, 2015
Carl Lohse, Roter Klang (Bildnis Ludwig Renn), 1919-21, Öl auf Pappe, 71,5 x 45,5 cm, Albertinum: Galerie Neue Meister, Staatliche Kunstsammlungen Dresden. Foto Hans-Peter Klut
Ausstellung der Preisträgerin des 11. Ernst-Rietschel -Preises für Skulptur 2018 im Mosaiksaal des Dresdener Albertinums.
Nevin Aladağ (* 1972 in Van/ Türkei, lebt und arbeitet in Berlin) erhält den 11. Ernst-Rietschel-Preis für Skulptur. Der Preis wird in diesem Jahr erstmals vom Albertinum, Staatliche Kunstsammlungen Dresden (SKD), gemeinsam mit der Antonius Jugend- und Kulturförderung e.V. vergeben, die das Preisgeld stiftete. Über die Vergabe entschied eine Fachjury, die sich aus der Direktorin des Albertinum Hilke Wagner, Kirsty Bell, freie Autorin für die Kunstzeitschrift frieze, dem Direktor des Bielefelder Kunstvereins Thomas Thiel sowie dem Direktor des Lenbachhaus München Matthias Mühling zusammensetzte.
Nevin Aladağ steht mit ihrer zeitbasierten und performativen Praxis in der Tradition eines erweiterten Skulpturenbegriffs. In ihren Arbeiten spielen die Fragen nach Herkunft, Selbst- und Fremdwahrnehmung ebenso wie die Musik als Ausdrucksträger kultureller Identität eine große Rolle. In vielen ihrer Werke erzeugt sie mit skulptural-performativen Mitteln Töne und Klänge, die sie für rhythmische Kompositionen verwendet.
Für die Ausstellung im Mosaiksaal des Albertinum zu sehen ist, hat die Künstlerin zwei Werke ausgewählt: „Musikzimmer“ und „Raise The Roof“. In den skulpturalen Objekten des „Musikzimmers“ verbinden sich in feinsinniger Weise Form und Funktion. Aus altem Mobiliar entstanden in Zusammenarbeit mit Instrumentenbauern Musikinstrumente, die sowohl in ihrer wohnlichen als auch künstlerischen Funktion als außergewöhnliche Klangkörper nutzbar sind – und während der Ausstellung zu bestimmten Zeiten auch gespielt werden. Durch die auf ihm erzeugte Musik erfährt das Möbelstück eine Transformation und verwandelt sich in einen unerwartet poetischen Klangkörper.
Die zweite Arbeit umfasst sieben gerahmte, aufgesockelte und im Raum stehende Kupferplatten. Auf der Biennale in Venedig 2017 führte Nevin Aladağ die Performance „Raise The Roof“ auf. Sieben Tänzerinnen hinterließen mit den Stiletto-Absätzen ihrer Schuhe Abdrücke auf Kupferplatten, indem sie zu verschiedenen Songs tanzten, die für das Publikum nicht hörbar waren – die Titel der Lieder waren jedoch auf den T-Shirts der Tänzerinnen zu lesen, darunter z.B. „Enjoy the Silence“ von Depeche Mode. Zu hören war allein der rhythmische Klang der Stöckelschuhe. Die Abdrücke der Absätze und die Spuren des Tanzes haben sich als ornamentales Motiv in das Metall eingegraben – ohne den Hinweis auf ihr akustisch begleitetes Entstehen führen die Reliefplatten nun jedoch ein skulpturales Eigenleben.
Der Ernst-Rietschel-Preis für Skulptur
Mit dem Preis, der seit 1991 besteht und alle zwei Jahre vergeben wird, werden Künstler ausgezeichnet, die auf bildhauerische Tätigkeiten spezialisiert sind. Ausrichter war bis 2013 der Ernst-Rietschel-Kulturring e.V. in Pulsnitz in Erinnerung an den dort geborenen Bildhauer Ernst Rietschel (1804–1861). Durch das Goethe-Schiller-Denkmal in Weimar oder das Luther-Denkmal auf dem Dresdner Neumarkt gehört Rietschel zu einem der bedeutendsten deutschen Bildhauer des Spätklassizismus, der mit seinen Skulpturen das Bild Deutschlands als Land der Dichter und Denker entscheidend mitprägte. Frühere Preisträger des in seiner Tradition verliehenen Preises waren unter anderem Johannes Wald (2013), Axel Anklam (2010), Emil Cimiotti (2006) und Werner Stötzer (1994). Mit der Anbindung an das Albertinum erhält der Preis eine neue Ausrichtung, die einen erweiterten Skulpturbegriff zugrunde legt.
Öffnungszeiten: täglich 10 bis 18 Uhr, montags geschlossen
Zur Ausstellung erscheint eine Publikation im Verlag edition metzel (München 2018):
NEVIN ALADAĞ – MUSIKZIMMER
11. ERNST-RIETSCHEL-PREIS FUR SKULPTUR 2018
hrsg. von Astrid Nielsen und Hilke Wagner
64 S., 35 Abbildungen in Farbe, deutsch/ englisch
ISBN 978-3-88960-173-5
9,90 EUR (Museumsausgabe).
Nevin Aladağ – Musikzimmer: Dresden vom 15.03. bis 15.07.2018 Ausstellung der Preisträgerin des 11. Ernst-Rietschel -Preises für Skulptur 2018 im Mosaiksaal des Dresdener Albertinums. Nevin Aladağ
In the atmospheric setting of the 400-year-old Jaegerhof you can admire both Saxon folk art and one of the largest puppet theatre collections in the world. The tour around the museum provides a wide-ranging insight into the fascinating world of folk art and presents an abundance of old traditions as well as more recent and contemporary works that straddle the boundary between everyday life and art: enchanting carved objects from the Ore Mountains and embroidered woven textiles from Lusatia, lavish Sorb costumes and intricate lace from the Vogtland region, painted furniture, richly decorated ceramics and an unusually diverse collection of historic toys. Whatever their age, anyone who would like to explore the rich heritage of Saxon folk art, will find a unique exhibition here. The Puppentheatersammlung (Puppet Theatre Collection) on the upper floor is one of the largest and most important collections of its kind in the world. Here you can immerse yourself in the poetic, dramatic, magical and comic world of historic puppet theatre. The collection’s holdings range from 200-year-old marionettes and fairground hand puppets to Bauhaus theatre figures and items from contemporary puppet theatre. Among the most valuable exhibits are figures and theatre sets from several 19th-century mechanical world theatres. No other European museum has objects of this quality and diversity. Museum für Sächsische Volkskunst mit Puppentheatersammlung (Museum of Saxon Folk Art and Puppet Theatre Collection) is part of the Staatliche Kunstsammlungen Dresden (Dresden State Art Collections) that are among the most prominent museums in the world. The combined holdings of the twelve museums offer the visitor a remarkable thematic diversity. These museums originated from the collections of the Saxon electors and Polish kings. They systematically developed cabinets of curiosities, which were accessible to select circles in their day and still form the core of the wonderful art treasures of the Staatliche Kunstsammlungen Dresden today. The collections are situated in world famous buildings such as the Residenzschloss (Royal Palace), the Zwinger, and the Semperbau (Semper Building), which are among the most important sights in Dresden.
Museum für Sächsische Volkskunst and Puppentheatersammlung (Saxon Folk Art Museum and Puppet Theatre Collection), Jägerhof
Staatliche Kunstsammlungen Dresden (German: [ˈʃtaːtlɪçə ˈkʊnstˌzamlʊŋən ˈdʁeːzdən], Dresden State Art Collections) is a cultural institution in Dresden, Germany, owned by the State of Saxony. It is one of the most renowned and oldest museum institutions in the world, originating from the collections of the Saxon electors in the 16th century.
Today, the Dresden State Art Collections consists of twelve museums. Most of them are located in the Dresden Castle, the Zwinger and the Albertinum.
Museum of Saxon Folk Art and Puppet Theatre Collection, Dresden State Art Collection Dresden, Germany was originally published on HiSoUR Art Collection
The Galerie Neue Meister in Dresden, Germany, displays around 300 paintings from the 19th century until today, including works from Otto Dix, Edgar Degas, Vincent van Gogh and Claude Monet. The gallery also exhibits a number of sculptures from the Dresden Sculpture Collection from the same period. The museum’s collection grew out of the Old Masters Gallery, for which contemporary works were increasingly purchased after 1843.
The New Masters Gallery is part of the Staatliche Kunstsammlungen (State Art Collections) of Dresden. It is located in the Albertinum.
From Caspar David Friedrich to Gerhard Richter. The broad spectrum of works extending from the Romantic period to the present day and the exceptional quality of the paintings in the collection are the defining features of the Galerie Neue Meister (New Masters Gallery) and makes it one of the most important museums of its kind in Germany. The exhibition in the Albertinum contains masterpieces by the Romantic painters as well as 20th-century art and contemporary works. Contemporary art enters into an exciting dialogue with the older holdings of the collection. The 21st-century visitor encounters a broad intellectual universe in which the various stylistic periods are presented in unusual proximity, so that they are experienced in a new and different way. The tour through the exhibition begins with several masterpieces by Caspar David Friedrich, the most important German Romantic artist. It then proceeds in chronological order, featuring further representatives of the Romantic movement (Carl Gustav Carus, Johan Christian Dahl, Ludwig Richter), French and German Impressionists (Claude Monet, Edgar Degas, Max Liebermann, Max Slevogt), Expressionists such as Otto Dix and the Brücke artists (Ernst Ludwig Kirchner, Karl Schmidt-Rottluff) as well as representatives of the Dresden Secession (Bernhard Kretzschmar, Carl Lohse). For the first time a full room are dedicated to each of the artists Sigmar Polke and Georg Baselitz. The tour ends with two halls containing works by Gerhard Richter, which the artist himself designed and for which he has created new works. New media are represented in the form of (sound and video) installations and video films. Occasionally there are surprising encounters with works from the Skulpturensammlung (Sculpture Collection), which is also housed in the Albertinum. The Galerie Neue Meister (New Masters Gallery) is part of the Staatliche Kunstsammlungen Dresden (Dresden State Art Collections) that are among the most prominent museums in the world. The combined holdings of the twelve museums offer the visitor a remarkable thematic diversity. These museums originated from the collections of the Saxon electors and Polish kings. They systematically developed cabinets of curiosities, which were accessible to select circles in their day and still form the core of the wonderful art treasures of the Staatliche Kunstsammlungen Dresden today. The collections are situated in world famous buildings such as the Residenzschloss (Royal Palace), the Zwinger, and the Semperbau (Semper Building), which are among the most important sights in Dresden.
New Masters Gallery, Dresden State Art Collections Dresden, Germany was originally published on HiSoUR Art Collection