Museo Correr, Venice

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Museo Correr, Venice
NEW OBJECTIVITY.
Modern German Art in the Weimar Republic 1919 – 1933
Press Conference:  Wednesday April 29, 2015 | 11 am

Exhibition Curator Stephanie Barron,  and Senior Curator of Modern Art at LACMA
May 1 – August 30, 2015
Second Floor Piazza San Marco Venezia
http://www.correr.visitmuve.it
Vaporetto: Route 1 or Route 2
alight at Vallaresso or San Zaccaria
http://www.visitmuve.it

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Otto Dix  Portait of the Lawyer Hugo Simons (Porträt des Rechtsanwalts Hugo Simons), 1925

Tempera and oil on plywood 100.3 × 70.3 cm

Montreal Museum of Fine Arts © Otto Dix, by SIAE 2015

This new turn to realism, best recognized by a 1925 exhibition in Mannheim, Neue Sachlichkeit (of
which New Objectivity is the English translation), has at times been called Post-Expressionism,
neo-naturalism, Verism, and Magic Realism. The diverse group of artists associated with this new
realism was not unified by manifesto, political tendency, or geography, they shared a skepticism
regarding the direction Germany society was taking in the years following World War I and an
awareness of the human isolation these changes brought about.
Germany’s financial, sociopolitical, and emotional defeat in WWI took a profound toll on the nation.
In contrast to their Expressionist predecessors—who had enthusiastically embraced the war
before confronting its harrowing realities on the battlefield—practitioners of the New Objectivity
movement were disillusioned with the complex realities of the new Germany. Digressing from Expressionism’s
penchant for bold, abstract subjectivity, the Weimar Republic’s burgeoning group of
artists favored realism, precision, objective sobriety, and the appropriation of Old Master painting
techniques, including a nostalgic return to portraiture and heightened attention to the appearance
of surface.
New Objectivity: Modern German Art in the Weimar Republic, 1919–1933 is organized into five
thematic sections: Life in Democracy and the Aftermath of the War examines both the polar
conditions dividing Germany’s rising bourgeoisie and those suffered most from the war’s
aftereffects, including maimed war veterans, the unemployed, prostitutes, and victims of political
corruption and violence; The City and the Nature of Landscape addresses the growing
disparity between an increasingly industrialized urbanity and nostalgic longing for the pastoral;
Still Life and Commodities highlights a new form of the traditional still life in which quotidian
objects–often indicative of mass production–are staged to create object-portraits; Man and
Machine looks to artists’ attempts to reconcile the transformative yet dehumanizing effects of
rapid industrialization; and lastly, New Identities: Type and Portraiture showcases a new trend
in portraiture in which subjects are rendered as social typecasts rather than individual subjects.
Stephanie Barron, Exhibition Curator and Senior Curator of Modern Art at LACMA, said,
“Close examinations of this period still yield new insights into a complicated chapter in modern
German art. With very different backgrounds, these artists—some among the most well-known
artists of the century, while others are virtually unknown outside Germany—eschewed emotion,
gesture, and ecstasy, and sought instead to record and unmask the world around them with a
close, impersonal, restrained gaze. Together, they created a collective portrait of a society in uneasy
transition, in images that are as striking today as they were in their own time.”

02

Christian Schad Germany, 1894 – 1982
Selbstbildnis mit Modell, 1927  Oil on wood 76 x 61.5 cm
Private Collection, Loan by Courtesy of Tate Gallery London
© Bettina Schad, Archiv U. Nachlab & Christian Schad, by SIAE 2015

“There is no doubt that New Objectivity’s many approaches to realism—sometimes critical or satirical;
sometimes chilly and unperturbed, or amazing and magical; other times devoted to rendering
the world in minute detail, or observing it through the distortion produced by the photographic
lens—provided vivid artistic solutions to the challenges of a tumultuous era,” said Gabriella Belli

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August Sander “Bricklayer”, 1928 © Die Photographische Sammlung/
SK Stiftung Kultur – August Sander Archiv, Koln, by SIAE 2015

New Objectivity: Modern German Art in the Weimar Republic, 1919–1933 debuts at Museo Correr
(May 1–August 30, 2015), where it will be on view during the Venice Biennale before traveling to
LACMA in an expanded format in Fall 2015. The exhibition is accompanied by a fully illustrated,
scholarly catalogue available—co-edited by Barron and Sabine Eckmann—in both English and Italian
editions.

Credit
New Objectivity :
Modern German Art in the Weimar Republic, 1919–1933
The exhibition was organized by the Los Angeles County Museum of Art
in association with Fondazione Musei Civici di Venezia.
The exhibition is supported in part by the Art Mentor Foundation Lucerne,
the Robert Gore Rifkind Foundation, Philippa Calnan, and Suzanne Deal Booth.
Additional support provided by Margo Leavin and Wendy Stark.
Publication support by The Ahmanson Foundation
and Lloyd and Margit Cotsen.

GENERAL INFORMATION
Venue
Museo Correr
Second Floor Piazza San Marco Venezia
Open to the public
May 1st, 2015 – August 30th, 2015 | 10 am – 7 pm (daily)
http://www.correr.visitmuve.it
Vaporetto
Route 1 or Route 2
alight at Vallaresso or San Zaccaria
http://www.visitmuve.it

Press information
Fondazione Musei Civici di Venezia
Press office Riccardo Bon
Villaggio Globale International

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http://www.estherartnewsletter.com/index.php/news/news-international

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Tel Aviv Gallerys

Sommer Contemporary Art
Peter Halley| Recent Works
Opening: Saturday, March 28th | 19:30 pm
project room (S2)
Lyle Ashton Harris | Mapping Desire
Exhibition: March 28 – May 23, 2015
13 Rothschild Blvd. Tel Aviv, 66881 Israel
http://www.sommergallery.com

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Peter Halley, Power Trip, 2014, acrylic, day-glo acrylic and roll-a-tex on canvas 102×114 cm

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Lyle Ashton Harris, Untitled (Oak Bluffs), 1996, Duraflex
Print on dibond, 122 x 112 cm

RAW ART GALLERY
ISHAI SHAPIRA KALTER, “HOBBY”
Opening: Thursday, March 26 | 8PM
Curator: Nogah Davidson

Exhibition: March 26 – May 9 2015
3 Shvil Ha’Meretz St. Building 8, 4th Floor,
Tel-Aviv 66535. Israel.
http://www.rawart-gallery.com

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Ishai Shapira Kalter, You Will Never Know Who I’m Working
For (Detail #1), 60x60cm, Oil on Canvas, 2015

Alon Segev Gallery
Tal Mazliach – Stella Vine
Exhibition: 26.03. – 24.04.2015
6 Rothschild Blvd Tel Aviv 6688109
http://alonsegev.com

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Dvir Gallery
Miroslaw Balka – RMMBRNC
opening:
May 2 – June 13, 2015
Reshit Hochma 14 Tel Aviv
PO Box 35411 – Tel Aviv 6135302
http://www.dvirgallery.com/

Image-exhibition

http://www.facebook.com/dvirgallery

Julie M. Gallery, Tel Aviv
EITAN BUGANIM Beirut
Exhibition: March 12 – April 25, 2015
10 Betzalel Yafe st., Tel Aviv, Israel
http://www.juliem.com/#!current-exhibition/ck5k

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Givon Art Gallery

Moshe Gershuni GERMANIA
Works from the Berlin exhibition that were not shown in Israel
11.3.2015 – 11.4.2015
35 Gordon St. Tel Aviv, Israel 63414

http://givonartgallery.com/wordpress/index.php

invite_web

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http://www.estherartnewsletter.com/index.php/news/news-international

ARTSPACE GALLERY LONDON

ARTSPACE GALLERY LONDON
YVES HAYAT TRANSPARENCIES
Preview March Tuesday 31st 2015 | 6 – 9pm
Exhibition: 31.March – 18. April  2015
7 Milner Street, London SW3 2QA
http://www.artspace-london.com

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Yves Hayat, Hermès Bag with barbed wire
(Femmes au bord de la crise de guerre series)

YVES HAYAT belongs to that category of remarkable artists who have something to say and
who says it with such talent that they stamp their impression on the art of our time. His works,
modern, contemporary, are however the product of a deeply classical culture. Thanks to all the
techniques which belong to our time: photography, superimposition of images, etc…. he creates
an original work rooted in the human cultural heritage but which, through the strength of its subjects,
conveys every dimension of our era.
Through a strictly artistic approach, Yves Hayat expresses a philosophical thought, not in complicated
words but by speaking to our senses, in a clear, untortured way. He presents the essence
of our human condition and of our time, bringing out its distinctive characteristics and its
violence (…)

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IDEES NOIRES

Inkjet print on transparent film, burnt and included in
plexiglass boxes 15 x 20 x 6 cm, ed. 8 & 30 x 40 x 10 cm, ed. 3

The originality of Yves Hayat’s works lies in the amalgam of artistic perception with the images
from a communication and information based society. The titles he gives to his works (Business
must go on, Parfum de Révolte, the Icons are Tired, Idées Noires …), utterly high jacked
advertising slogans, have the effect of giving a meaning to the pollution of our everyday lives.
They reveal our identity and display our own brand. Not a celebration of barbarity, but rather the
fascination created by human ambivalence (…).

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Inkjet print on transparent film, burnt and included in plexiglass boxes
15 x 20 x 6 cm, ed. 20 & 30 x 40 x 10 cm, ed. 3

PARFUM DE REVOLTE
Inkjet print on transparent film, burnt and included in plexiglass boxes
15 x 20 x 6 cm, ed. 20 & 30 x 40 x 10 cm, ed. 3
The Arab Spring is certainly a “popular” topic for contemporary artists to reflect upon in their work. It’s highly relevant, it’s in the news and many art institutions and galleries are eager to seize the moment and through these artists’ visions present their own mirror to the global political unrest.
In the recent years many artists of Arab descent have chosen quite a few unique means for expressing their thoughts and feelings about the current events in the Middle East. Some chose graphic literal forms and language, and some found much more subtle yet no less powerful tools to express themselves. Such was the body of work by a French artist of Egyptian descent Yves Hayat.
Hayat, an established artist best known for his photographic works, chose an iconic image recognizable the world over. But the true meaning of these layered transparent film prints, encased in clear plexiglass boxes, becomes apparent only if you give each image the careful consideration it deserves. Suddenly this object of beauty and desire assumes a far more sinister personality. Juxtaposed
within one object the outlined images of the sculpted Chanel N. 5 bottles and the words Baghdad, Kabul, Homs, Istanbul, Lhassa in their clean, unobstructed, elegant fonts appear menacing. As Mark Hachem, the owner of the eponymous gallery in Paris tells us, that is the point.
The artist’s intention is to draw our collective attention to the West’s underlaying intention for launching wars, consumerization
of the conflict zones and the imposition of a capitalist system, a Western culture of heightened consumerism
onto cultures foreign to it. With elegance and subtlety Hayat points to these various forms of colonization using instantly
recognizable imagery and allowing the viewer to complete the narrative without a single superfluous word.
Art Southampton 2013, iInterview of Mark hachem by Kristina Nazarevskaia © galleryIntell 2013

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LES ICONES SONT FATIGUEES / THE ICONS ARE TIRED

(…) Enclosed in Plexiglass boxes, the «Icons are tired,» are the sleepy faces of celebrities : Dali and Frida Kahlo,
Che Guevara and Marilyn Monroe, Jim Morrison and Mao. Those faces are marked by the deterioration of an
old and burnt film. Yves Hayat, real navigator in a virtual time, doesn’t hesitate to close the eyes of those he
represents. This universe of consumed icons, finally shows in a mirror, through the system of advertising and
fashion, receiving the reflection of the same seductive look returned to Narcisse by the pond which reflected,
sentencing him to solitude, and tends to exclude dialogue with the otherness .(…)
Viana Conti
Yves Hayat_nel Mito digitale dell’immagine per una Riscrittura del Corpo – Genova october 2008 – Translated from Italian

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YVES HAYAT

Originally from Egypt, Yves Hayat first developed his aesthetic sensibilities living in this country enriched with history and cultural diversity. Art was his first love. In 1956, after the Egyptian Revolution, Hayat left for France. For five years, he studied Art at the Ecole Nationale des Arts Décoratifs of Nice.

In 1973, Hayat chooses to go into advertising and marketing, which led him to open his own agency. The creative trade captive Hayat. His experience in the field also enabled him to discover and learn to use new forms of technologies, and to master his techniques. In the 1990s, equipped with those skills, he decided to return to the Art and rediscovers the old masters, photographing people, the streets, society products, museum paintings and recuperating magazine and web images which are carefully classified. Hayat is a perfect example of his time: an open mind on society, its streets, its media, its internet. While running his successful advertising business, he starts to show his artwork in galleries. Soon, his art activity took precedence over his profession, which he stopped in 2002.

Although Yves Hayat does not consider himself as a painter, photographer or designer, he is widely known as a “plasticien”, an untranslatable French term that refers to an artist who puts the meaning of his work to the fore and uses all the various media artistic expression, all the techniques and supports to express it.

Yves Hayat explains : “I admit that I’m more interest in manipulating reality than in recording it. My artwork between photography, installation and “Figuration Narrative” proposes visions where theatricalization is a part of the project. I am a total visual consumer: I film, download, scan, retouch…. as the director of a new reality. Using superimpositions, shifts, misappropriations, I confront past and present, beauty and horror, luxury and violence, indifference and fanaticism. Through a questioning about the art/ politic/ media relations, I try to conceive a critical art work where the attraction for the culture of media, cinema and advertising shows through. Using modern techniques, my work proposes a report of what our history and our society have thought, generated, transformed, destroyed… while always keeping in mind that when the work of Art creates unrest, it evacuates the common place”.

As François Birembaux wrote, YVES HAYAT belongs to that category of remarkable artists who have something to say and who says it with such talent that they stamp their impression on the art of our time. His works, modern, contemporary, are however the product of a deeply classical culture. Thanks to all the techniques which belong to our time: photography, superimposition of images, etc…. he creates an original work rooted in the human cultural heritage but which, through the strength of its subjects, conveys every dimension of our era.

Through a strictly artistic approach, Yves Hayat expresses a philosophical thought, not in complicated words but by speaking to our senses, in a clear, untortured way. He presents the essence of our human condition and of our time, bringing out its distinctive characteristics and its violence (…)
The originality of Yves Hayat’s works lies in the amalgam of artistic perception with the images from a communication and information based society. The titles he gives to his works (Business must go on, Parfum de Révolte, the Icons are Tired,…), utterly high jacked advertising slogans, have the effect of giving a meaning to the pollution of our everyday lives. They reveal our identity and display our own brand. Not a celebration of barbarity, but rather the fascination created by human ambivalence (…).
EXHIBITIONS :
Since 2006, Yves Hayat exhibited for solo shows in Paris, Vienna, Cologne, Geneva, Brussels, Greece, Kuwait, Beirut, Monaco, Cannes… and New York and Istanbul in 2015
and in institutional places such as Paris City Hall (Solo show), Venice (Palazzo Bonvicini, Biennale 2013 (Solo show) and Vitraria Glass+A Museum in 2014-2015), Alliance Française of Montevideo (Solo show), Docks of Marseilles (Solo show), Sigmund Freud Museum Vienna, Klosterneuburg Monastery Vienna, Château-Musée Grimaldi Cagnes-France, …

He was also presented on several international art Fairs :
Scope Basel, Art Beirut, ArtFair Cologne, Art Southampton-New York, Contemporary Istanbul, Art Stage Singapore, Scope Miami, Art 14 London, India Art Fair, FotoFever Paris, Art Miami New York,…

All details on:
http://www.hayat-art.com
https://www.facebook.com/pages/Yves-Hayat-Art/420718804705040
PRESS BOOK

CATALOGUE 2014

SHOWS

Opening Hours:
Tuesday – Friday 11am – 6pm / Saturday 11am – 4pm

Mark Hachem Gallery Paris
http://www.markhachem.com

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http://www.estherartnewsletter.com/index.php/news/news-international

Tate Modern

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Tate Modern
Agnes Martin
3 June – 11 October 2015
Supported by The Henry Luce Foundation and Terra Foundation for American Art
Additional support from Artworkers Retirement Society, the Agnes Martin Exhibition Supporters Group, Tate Americas Foundation and Tate International Council
Tate Modern, Level 3 West
Bankside London SE1 9TG

Arrive via the main entrance, Holland Street
http://www.tate.org.uk/

Agnes Martin born 1912
American abstract painter born in Maklin, Saskatchewan, Canada. Moved to the USA in 1932. Studied at universities in Oregon, California and New Mexico. Became a US citizen 1940. Attended Teachers College at Columbia University, New York, from 1941-2 and 1951-2, studying first history and social studies, then changing to fine arts. Painted still lifes and portraits until c.1952-4 when she developed an abstract biomorphic style influenced by Abstract Expressionism, with pale washes of colour. Taught at the University of New Mexico, Albuquerque, 1954-6, then lived in Taos 1956-7; returned to New York 1957. First one-woman exhibition at the Betty Parsons Gallery, New York, 1958. Through contacts with artists such as Kelly and Reinhardt, began to experiment with symmetrical compositions of rectangles or circles within a square, then from c.1960-1 to work with grids of delicate horizontal and vertical lines. Left New York in 1967 shortly after the death of Reinhardt and moved to Cuba, New Mexico, where she lives now.
Published in:
Ronald Alley, Catalogue of the Tate Gallery’s Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, p.488

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Agnes Martin Friendship 1963
incised gold leaf and gesso on canvasMuseum of Modern Art, New York

Agnes Martin is perhaps most recognised for her evocative paintings marked out in subtle pencil lines and pale colour washes. Although restrained, her style was underpinned by her deep conviction in the emotive and expressive power of art. Martin believed that spiritual inspiration and not intellect created great work. ‘Without awareness of beauty, innocence and happiness’ Martin wrote ‘one cannot make works of art’.
Martin lived and worked in New York, becoming a key figure in the male-dominated fields of 1950s and 1960s abstraction. Then in 1967, just as her art was gaining acclaim, Martin abandoned the city and went in search of solitude and silence. For almost two years she travelled across the US and Canada before finally settling in New Mexico as Georgia O’Keeffe, Mark Rothko, DH Lawrence and Edward Hopper had done before her. Working within tightly prescribed limits she imposed on her own practice Martin was able to continue to make extraordinary, visionary paintings, for over three decades until her death in 2004.
This is the first retrospective of Martin’s work since 1994. Covering the full breadth of her practice, this extensive exhibition will reveal Martin’s early and little known experiments with different media and trace her development from biomorphic abstraction to the mesmerising grid and striped canvases that became her hallmark.
Exhibition organised by Tate Modern in collaboration with Kunstsammlung Nordrhein-Westfalen, Düsseldorf,

Los Angeles County Museum of Art and Solomon R Guggenheim Museum, New York

Open daily from 10.00–18.00 and until 22.00 on Friday and Saturday

Level 3, Bankside SE1
Arrive via the main entrance, Holland Street
http://www.tate.org.uk/

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Esther Attar-Machanek
ArtNetWorking |Press
Kegelgasse 2/11 | A-1030 Wien
http://www.estherartnewsletter.com/index.php/news/museum-
EstherArtNewsletter
Art Newsletter Non – profit
Daily Opening Exhibition contemporary art Worldwide .

Owner/ founder: Esther Attar-Machanek
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https://twitter.com/essie224

Cafe Leopold Panarium fürs neunerhaus

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Cafe Leopold
Panarium fürs neunerhaus
Do. 09.04. 2015 | Start: 20:30Uhr
Cafe: Bo Candy & His Broken Hearts  LIVE!
Sain Mus LIVE!
Herr Hermes (ORF)  DJ-Set
Como (Swell Time)  DJ-Set
Donnerstag: Freie Spende
Museumsplatz 1, 1070 Wien
http://panarium.at/programm/
http://www.neunerhaus.at/
http://www.cafe-leopold.at/?n=6

Panarium_FlyerWEB_7
Cafe Leopold
Panarium fürs neunerhaus
Salon: Future & The Lovers  LIVE!
Fr. 10.04. 2015 | ab 22 Uhr
Lylit  LIVE!
Monsterheart  LIVE!

monsterheart
Midas  DJ-Set
Live Visuals by Linsensuppe
Cafe: Nana ODK  DJ-Set
Scooby Duo  (Irieology  & Olinclusive ) DJ-Set
B.Visible  DJ-Set
Freitag: VVK Jugendinfo 8€ // AK 10€

Museumsplatz 1, 1070 Wien
http://panarium.at/programm/
http://www.neunerhaus.at/
http://www.cafe-leopold.at/?n=6

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Zwei Nächte lang spielt das Panarium-Benefizmusikfestival groß auf und serviert im Cafe Leopold ein buntes Musikprogramm aus
Jazz und Soul, Hip-Hop und Deep House, Blues und Swing.
Live und von der Platte sorgen Wiener Bekanntheiten und aufstrebende NewcomerInnen gemeinsam für Tanzlaune und Frühlingsgefühle.
Und das alles für einen guten Zweck!
„neunerhaus“, das obdachlose Menschen in Wien
nachhaltig betreut und medizinisch versorgt.

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9. & 10. Mai: Benefizmusikfestival

Zwei Frühlingsnächte lang füllt das Panarium das Cafe Leopold im Museumsquartier mit einer sorgfältigen Auswahl an MusikerInnen.
Unterstützt wird dieses Jahr das neunerhaus, das obdachlose Menschen nachhaltig betreut und unter anderem medizinisch versorgt.

PANARIUM – BENEFIZ FÜRS NEUNERHAUS TAG 1
Donnerstag 09.04.2015 / Start: 20:30 Uhr / CAFE LEOPOLD

Live im Cafe: Bo Candy & His Broken Hearts, ein Wiener Quartett das zwischen Folk und Rythm & Blues variiert. Außerdem Sain Mus mit ihrem akustischen Kammerjazz.
Und an den Plattenspielern: Entertainer und Swing-Conferencier Herr Hermes (und die unteren 10‘000) und Como von Swell Time, der elegant die 60er wiederauferstehen lässt.

PANARIUM – BENEFIZ FÜRS NEUNERHAUS TAG 2
Freitag 10.04.2015 / Start: 22 Uhr / SALON LEOPOLD
Gleich drei Live Konzerte und jede Menge topmotivierte DJs:

Auf der Salon Bühne freuen wir uns auf emotionale Momente mit Future & The Lovers, den unwiderstehlichen Soul & Funk Klängen von Lylit & Band (R&B, hat es schon auf MTV gespielt) und auf einen Auftritt von Monsterheart (ist für den Amadeus-Award nominiert), die ihre Definition von Synthiepop zum Besten geben wird. Außerdem sorgt Midas mit einem DJ-Set für Stimmung.
Im Cafe viel R&B und Hip-Hop mit einer Brise 90ies mit Nana ODK, Irieology x Olinclusive und B.Visible.

Donnerstag: Freie Spende
Freitag: VVK Jugendinfo 8€ // AK 10€

Weiterführende Links:

www.cafe-leopold.at
panarium.at
https://de-de.facebook.com/PanariumBenefizmusikfestival

http://www.estherartnewsletter.com

Esther Attar-Machanek
ArtNetWorking |Press
Kegelgasse 2/11 | A-1030 Wien
EstherArtNewsletter
Owner Art Newsletter Non – profit
Daily Opening Exhibition contemporary art Worldwide .
http://www.estherartnewsletter.com/index.php/event-log
https://estherartnewsletter.wordpress.com
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Tate Modern

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Tate Modern
The EY Exhibition: Sonia Delaunay
and Marlene Dumas
Private view: Thursday 16 April 2015 | 18.45 – 21.30pm

curated at Tate Modern by Juliet Bingham, Curator International Art,

with Juliette Rizzi, Assistant Curator, and was organised by the Musée d’Art Moderne

de la Ville de Paris, Paris-Musées and Tate Modern.
Exhibition: 15 April – 9 August 2015
The Eyal Ofer Galleries, Level 3

Bankside SE1
Arrive via the main entrance, Holland Street
http://www.tate.org.uk/whats-on/tate-modern/exhibition/ey-exhibition-sonia-delaunay

sonia
Sonia Delaunay  Rhythm 1945  Grey Art Gallery
New York  © Pracusa 2014083

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Marlene Dumas Scope Magazine Pin-up 1973 Private collection
© Marlene Dumas
Sonia Delaunay (1885–1979) was a key figure in the Parisian avant-garde and became the European doyenne of abstract art.
Throughout the first half of the twentieth century, she celebrated the modern world of movement, technology and urban life, exploring new ideas about colour theory together with her husband Robert Delaunay.
This will be the first UK retrospective to assess the breadth of her vibrant artistic practice across a wide range of media. It will feature the groundbreaking paintings, textiles and clothes she made across a sixty-year career, as well as the results of her innovative collaborations with poets, choreographers and manufacturers, from Diaghilev to Liberty.
Delaunay is one of the crucial reference points in modern art and design
VOGUE

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Tate Modern
Talks and lectures
The EY Exhibition: Sonia Delaunay
Curator’s tour:
Tuesday 26 May 2015 | 18.30 – 20.30 pm

Curator Juliet Bingham leads a tour of The EY Exhibition:

Sonia Delaunay, revealing Sonia Delaunay’s inspirations and development as an artist.
Exhibition: 15 April – 9 August 2015
The Eyal Ofer Galleries, Level 3
http://www.tate.org.uk/

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Tate Modern
The EY Exhibition: Sonia Delaunay
Curator’s tour:
Thursday 18 June 2015, 18.30 – 20.30pm

Join curator Juliette Rizzi for a tour of The EY Exhibition: Sonia Delaunay, tracing Delaunay’s role as a leading figure in the movement of Abstraction, exploring her lifelong commitment to colour and the versatility she brought to her practice.
Exhibition: 15 April – 9 August 2015
The Eyal Ofer Galleries, Level 3
http://www.tate.org.uk/

Sonia Delaunay (1885–1979) was a key figure in the Parisian avant-garde, whose vivid and colourful work spanned painting, fashion and design. From 15 April 2015, Tate Modern will present the first UK retrospective to assess the breadth of her vibrant artistic career, from her early figurative painting in the 1900s to her energetic abstract work in the 1960s. This exhibition will offer a radical reassessment of Delaunay’s importance as an artist, showcasing her originality and creativity across the twentieth century.

Born in Odessa and trained in Germany, Sonia Delaunay (née Stern, then Terk) came to Paris in 1906 to join the emerging avant-garde. She met and married the artist Robert Delaunay, with whom she developed ‘Simultaneism’ – abstract compositions of dynamic contrasting colours and shapes. Many iconic examples of these works will be brought together at Tate Modern, including Bal Bullier 1913 and Electric Prisms 1914. Her work expressed the energy of modern urban life, celebrating the birth of electric street lighting and the excitement of contemporary ballets and ballrooms.

The EY Exhibition: Sonia Delaunay will show how the artist dedicated her life to experimenting with colour and abstraction, bringing her ideas off the canvas and into the world through tapestry, textiles, mosaic and fashion. Delaunay premiered her first ‘simultaneous dress’ of bright patchwork colours in 1913 and opened a boutique in Madrid in 1918. Her Atelier Simultané in Paris went on to produce radical and progressive designs for scarves, umbrellas, hats, shoes and swimming costumes throughout the 1920s and 1930s. Clients included the Hollywood star Gloria Swanson and the architect Erno Goldfinger, as well department stores like Metz & Co and Liberty. The exhibition will reveal how Delaunay’s designs presented her as a progressive woman synonymous with modernity: embroidering poetry onto fabric, turning her apartment into a three-dimensional collage, and creating daring costumes for Diaghilev’s Ballets Russes.

The diverse inspirations behind Delaunay’s work will also be explored, from the highly personal approach to colour which harked back to her childhood in Russia, to the impact of her years in Spain and Portugal where she painted Market in Minho 1915 and Flamenco Singers 1915-16. The show will also reveal the inspiration provided by modern technology throughout Delaunay’s career, from the Trans-Siberian Railway to the aeroplane, and from the Eiffel Tower to the electric light bulb. It will also include her vast seven-metre murals Motor, Dashboard and Propeller, created for the 1937 International Exposition in Paris and never before shown in the UK.

Following her husband’s death in 1941, Sonia Delaunay’s work took on more formal freedom, including rhythmic compositions in angular forms and harlequin colours, which in turn inspired geometric tapestries, carpets and mosaics. Delaunay continued to experiment with abstraction in the post-war era, just as she had done since its birth in the 1910s, becoming a champion for a new generation of artists and an inspiring figure for creative practitioners to this day.

The EY Exhibition: Sonia Delaunay is curated at Tate Modern by Juliet Bingham, Curator International Art, with Juliette Rizzi, Assistant Curator, and was organised by the Musée d’Art Moderne de la Ville de Paris, Paris-Musées and Tate Modern. The exhibition will be accompanied by a fully-illustrated catalogue from Tate Publishing and a programme of talks and events in the gallery.

Notes to editors

The EY Exhibition

The EY Exhibition: Sonia Delaunay is part of the three-year arts partnership between EY and Tate. This follows The EY Exhibition: Paul Klee – Making Visible which ran at Tate Modern from 14 October 2013 to 9 March 2014 and The EY Exhibition: Late Turner – Painting Set Free which runs at Tate Britain from 10 September 2014 to 25 January 2015. The partnership helps Tate to realise its ambitious arts programme across Tate Modern and Tate Britain, with EY’s support being extended through corporate memberships at Tate Liverpool, Tate St Ives and at many of the Plus Tate partners around the country. The partnership, announced in July 2013 makes EY one of the largest corporate supporters of Tate.

Martin Cook, Managing Partner Commercial, UK & Ireland at EY, said:
“Delaunay was a pioneer of colour and abstraction and an important figure in 20th century art. We are delighted that The EY Exhibition: Sonia Delaunay is part of the arts partnership between EY and Tate. This unique relationship is an example of how EY teams with other organisations that share our commitment to diverse perspectives and creating inclusive cultures and thus contributes to our purpose of building a better working world.”

Open daily from 10.00 – 18.00 and until 22.00 on Friday and Saturday

Image credit: Sonia Delaunay
Prismes electriques 1914
Centre Pompidou Collection, Mnam / Cci, Paris
© Pracusa 2013057

http://www.estherartnewsletter.com/index.php/news/news-international

Mo.ë Vienna

Mo.ë Vienna
NO NO NOISE
How I Learned to Stop Worrying and Love the Void

Eröffnung: Dienstag, 28. April 2015 | 19 Uhr
Opening: Tuesday, April 28, 2015 | 7 pm
Performance at 8 pm: ULLA RAUTER Silent Flute
5VOLTCORE | EVA HÖFLER | ANDREJ POLUKORD | HETI HNAH PRACK | ULLA RAUTER

JULIA RIEDERER | PATRICK TOPITSCHNIG | BERNHARD WEBER

Curated by Eva Höfler
Ausstellung: 29. April – 2. Mai 2015 | 17 – 19 Uhr
Exhibition: April 29 – May 2 | 5 – 7 pm
Thelemangasse 4, 1170 Wien

http://www.moe-vienna.org/
http://www.5voltcore.com
http://andrejpolukord.tumblr.com
http://www.ullarauter.com
http://salon.io/juliariederer
http://www.topitschnig.com

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What happens to the void, an essential and utopic category of modernity, in contemporaneity? Contemporaneity is characterised by the simultaneous presence of multiple, often incompatible times, places, subjectivities and socialities. Everything is here at once and slipping away at the same time. The fragmentation of the contemporary corresponds to the fragmentation of the void, whose qualities can only be experienced through the presence of its absence. The exhibition is an enquiry into these qualities, refracted by contemporaneity. In the exhibited works, emptiness can be found in escapism, existential issues, in absence and disintegration, in the systematic and aleatoric production of content, in utopic and dystopic scenarios, in overload.

Esther Attar-Machanek
ArtNetWorking |Press
Kegelgasse 2/11 | A-1030 Wien
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