Bruegel

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ALBERTINA
Bruegel. Das Zeichnen der Welt
Drawing the World
Presse: Donnerstag, 7. September 2017 | 10 Uhr
Eröffnung: Donnerstag, 7. September 2017 | 18:30 Uhr
Kuratorin: Eva Michel
THOMAS DROZDA, BM F. KUNST U. KULTUR
Ausstellung: 8 September – 3 December 2017
Albertinaplatz 1, A-1010 Wien
http://www.albertina.at/

 

 

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Pieter Bruegel d. Ä. Die Trägheit, 1557
Feder in Graubraun © Albertina, Wien

 

 

 

In autumn of 2017, the Albertina is devoting a comprehensive exhibition to Pieter Bruegel the Elder, the 16th century’s most important Netherlandish draughtsman. With its 100 works, this exhibition presents the entire spectrum of Bruegel’s drawn and printed oeuvre and seeks to shed light on his artistic origins by juxtaposing his output with high-quality works by important predecessors such as Bosch and Dürer.
Included are around 20 of the Dutch artist’s most beautiful drawings from the museum’s own extensive holdings as well as from international collections, a selection that also brings together two of his final drawings—Spring and Summer—for the first time in many years. Furthermore, numerous printed treasures—sought out and painstakingly restored at the Albertina over the course of long-running research efforts—are being shown for the first time.
Humanity’s Tragedy and Greatness
Pieter Bruegel’s drawings, done on the eve of the Dutch Revolt against Spanish rule and amidst an era of political, social, and religious transformations, conjure up a complex pictorial world. Bruegel reflects on social conditions in a way that is humorous, down-to-earth, perceptive, and deeply critical. And as a moralist, he makes a theme of human beings’ tragedy and greatness, ridiculousness and weakness.
Bruegel’s works stand out for his immense interest in the real world inhabited by his contemporaries: they feature peasants working in the fields, picturesque landscapes, alpine peaks, and intimate river valleys, but also numerous satirical and moralising takes on contemporary society as well as absurd and comical grotesques. The portrayal of the individual recedes in favour of illustrations of specific archetypes. At turns keenly observant of nature or engaging in parodic exaggeration, the artist the constant conflict between ideal and reality from various angles. His penchant for the rough-hewn and folksy, along with unsanitised impressions of social conditions, is something that he has in common with the roughly contemporary authors Rabelais, Cervantes, and Shakespeare, who, in their literature, turned the world into stage and formulated universal insights, while his deeply moral approach is akin to that of Michel de Montaigne or Francis Bacon.
In Bruegel’s most famous drawing—The Painter and the Connoisseur, one of the masterpieces held by the Albertina—the artist makes a theme of art production itself: he confronts viewers with the serious, intellectual work of the painter, in response to which a purported art connoisseur can do nothing but gape perplexedly and reach into his purse. In this work, art meets with the incomprehension of the buyer and of society at large.

 

 

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Pieter Bruegel the Elder Big Fish eat little Fish, 1556
Pen and ink © The Albertina Museum, Vienna

 

 

Numerous Precious Works Rediscovered
Pieter Bruegel the Elder is one of the 16th century’s foremost draughtsmen. Even during his lifetime, his drawings enjoyed the greatest popularity and were coveted collector’s items—with many also being reproduced as copperplate prints and widely disseminated. His audience consisted not of the peasants who so often populated his pictures, but rather of the educated elite.
Alongside The Painter and the Connoisseur, the Albertina owns five other drawings from Breughel’s own hand—meaning that alongside those of the Kupferstichkabinett in Berlin and the Museum Boijmans van Beuningen, this is one of the world’s largest collections of his rare drawings, of which only around 60 are extant. The Albertina is also one of a very few collections worldwide that own the artist’s entire printed oeuvre—with many of them even present in multiple examples, including numerous rarities and even a few unique state proofs.
Most of the Albertina’s rich holdings of early Netherlandish, Dutch and Flemish art were acquired by Albertina founder Duke Albert and by the former Imperial Court Library. Bruegel’s work in the Albertina has been analysed over several years of research. In the process, numerous precious works have been rediscovered, works such as a large-format view of Antwerp by a Bruegel contemporary of which only one further copy is known. Many of these have never before been exhibited and were therefore given conservational attention for the very first time.
In light of the countless publications and exhibitions on Bruegel, it may come as a surprise that new finds of works by such a famous master can still occur—which is why it is all the more cheering to have discovered over 100 additional copies of prints by Bruegel, works previously unknown to researchers, that have now been restored for this exhibition with the utmost care.

Two Masters – Two Worldviews
The Albertina will be focusing on more than just Bruegel this autumn; simultaneously, another large exhibition will feature one of the greatest 16th-century Italian masters: Raphael. The Albertina’s dual focus on these two great masters from the art-historical canon thus places two entirely contrasting worldviews side-by-side, making autumn 2017 a one-of-a-kind opportunity to experience the aestheticised idealism of Raphael in combination with the Netherlandish moralist Bruegel’s merciless realism.

 

 

 

ALBERTINA
Bruegel. Das Zeichnen der Welt
Drawing the World
KuratorInnenführungen
4. Oktober 2017 | 17.30 Uhr
Kuratorin:  Dr. Eva Michel
Ausstellung: 8 September – 3 December 2017
Albertinaplatz 1, A-1010 Wien
http://www.albertina.at/

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KunsthausBaselland

Kunsthaus BASELLAND
MARCIA HAFIF | MAJA RIEDER
Presserundgang:
Mittwoch, 13. September 2017 | 11 Uhr
Vernissage:
Donnerstag, 14. September 2017 | 18.30 Uhr
Ausstellung: 15. September – 12. November 2017
St. Jakob-Strasse 170, CH-4132 Muttenz
http://kunsthausbaselland.ch/
http://kunsthausbaselland.ch/events/maja-rieder/

 

Kunsthaus BASELLAND
MARCIA HAFIF | MAJA RIEDER
Donnerstag, 14. September 2017 | 18:30
Vernissage
Begrüssung und Einführung:
Marina Meijer, Präsidentin Kunstverein Baselland
Tanya Ward, Press and Cultural Attaché, U.S. Embassy Bern
Esther Roth, Leiterin kulturelles.bl
Ines Goldbach, Direktorin/Kuratorin Kunsthaus Baselland
Ausstellung: 15. September – 12. November 2017
St. Jakob-Strasse 170, CH-4132 Muttenz
http://kunsthausbaselland.ch/

 

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Marcia Hafif painting Shade Paintings, New York studio 2013.

 

 

Kunsthaus BASELLAND
MARCIA HAFIF | MAJA RIEDER
Kunsthaus-Gespräch am Abend #5
Dienstag, 3.10.2017 | 18 Uhr
Mit Persönlichkeiten aus Kultur, Wirtschaft,
Wissenschaft und Politik über die aktuellen Ausstellungen
Zu Gast: Elisabeth Augstburger, Landrätin EVP BL,
Landrats­präsidentin 2017/2018
Ausstellung: 15. September – 12. November 2017
St. Jakob-Strasse 170, CH-4132 Muttenz
Kunsthaus BASELLAND
MARCIA HAFIF | MAJA RIEDER
Mittwoch-Matinée /Kuratorenführung
Mittwoch, 4. Oktober 2017 | 10 -12 Uhr
Ausstellung: 15. September – 12. November 2017
St. Jakob-Strasse 170, CH-4132 Muttenz

 

Marcia Hafif (*1929, USA, lebt in New York und Laguna Beach) ist eine der VorreiterInnen, die in den 1970er-Jahren die Vorstellungen von der Praxis des Malens und des Kunstverständnisses an sich um grundlegend neue Perspektiven erweitert haben. Seit den 1980er- Jahren werden Begriffe wie «radikal» für die Beschreibung ihrer monochromen Malerei verwendet. Die Zeichnungen auf Papier – vertikale, flächendeckende Bleistiftstriche – nahmen 1972 ihren Anfang und führten zum vertikalen Strich in Farbe. Das Arbeiten in beiden Medien führt Hafif immer noch weiter und schreibt das fort, was sie als The Inventory bezeichnet. Jede Serie in The Inventory entwickelt ein Medium – unter Verwendung traditioneller Methoden und Materialien für die Herstellung von Farbe und die Vorbereitung des Untergrundes. Das Kunsthaus Baselland zeigt u. a. Werke aus diesen Serien, die vielleicht ihre radikalsten sind: die Black Paintings (1979/80), in denen sie durch das Überlagern von Ultramarinblau und Umbrabraun zu Schwarz gelangte. Weiter werden auch Fotografien und Filme zu sehen sein.

 

 

 

Kunsthaus BASELLAND
Marcia Hafif
Marcia Hafif. Book Launch und Gespräch in der Ausstellung
Mittwoch, 25. Oktober 2017 | 18 Uhr
Mit Roland Wäspe, Direktor Kunstmuseum St. Gallen,
und Ines Goldbach.
Ausstellung: 15. September – 12. November 2017
St. Jakob-Strasse 170, CH-4132 Muttenz
http://kunsthausbaselland.ch/

 

 

KunstmuseumStGallen

https://estherartnewsletter.wordpress.com/2017/08/19/marcia-hafif/

 

MAJA RIEDER

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Maja Rieder Juxtapose No. 7, 2007 / 2016
Grafit, Tusche und Gouache auf Papier 150 x 214 cm
Maja Rieder (*1979, CH, lebt in Basel) beschäftigt sich seit Beginn ihres Schaffens konsequent mit der Frage, wie die Zeichnung mit dem Raum eine Verbindung eingehen kann. Bei Rieder ist es nicht die Kontur oder beschreibende Linie, sondern die Schaffung von konkreten Formulierungen, etwa von geometrischen Grundformen mit Graft – meist in Pulverform –, Überlagerungen oder auch Faltungen von Papierblättern respektive grossen Bahnen. Durch das Übereinanderlegen, das Falten, aber auch das Aussparen, Abdecken und dadurch Freilassen von Papierfeldern entstehen Positiv-Negativ-Formen und -Figuren, die von der Künstlerin teilweise über weite Raumpartien hinweg installiert werden und auf den architektonischen Raum einwirken können. Es wird der bislang grösste Auftritt von Maja Rieder sein, die für ihre Einzelausstellung das gesamte untere Geschoss des Kunsthaus Baselland einnehmen wird. Die Publikation zu Maja Rieder erscheint im Verlag für moderne Kunst, Wien.

 

Kunsthaus BASELLAND
Maja Rieder
Kunsthaus-Gespräche am Abend #5
Dienstag, 24. Oktober 2017 | 18 Uhr
Mit Persönlichkeiten aus Kultur, Wirtschaft, Wissenschaft
und Politik über die aktuellen Ausstellungen. Zu Gast:
Elisabeth Augstburger,
Landrätin EVP BL, Landratspräsidentin 2017/2018.
Ausstellung: 15. September – 12. November 2017
St. Jakob-Strasse 170, CH-4132 Muttenz
http://kunsthausbaselland.ch/
http://kunsthausbaselland.ch/events/maja-rieder/

 

 

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Maja Rieder X gelb, 60 Teile, 2013
Tusche und Gouache auf Papier je 54 × 40 cm

Kunsthaus BASELLAND
Maja Rieder
Maja Rieder. Book Launch und Abendrundgang
Dienstag, 31. Oktober 2017 | 18Uhr
Mit Maja Rieder und Ines Goldbach.
Ausstellung: 15. September – 12. November 2017
St. Jakob-Strasse 170, CH-4132 Muttenz
http://kunsthausbaselland.ch/events/maja-rieder/

Kunsthaus BASELLAND
Maja Rieder
Abendrundgang: Maja Rieder. Zeichnung heute
Dienstag, 7. November 2017 | 18 Uhr
Mit Anita Haldemann,
Leiterin Kupferstichkabinett Kunstmuseum Basel.
Ausstellung: 15. September – 12. November 2017
St. Jakob-Strasse 170, CH-4132 Muttenz
http://kunsthausbaselland.ch/events/maja-rieder/

 

Kunsthaus BASELLAND
Maja Rieder
Finissage. Workshops mit Kunstschaffenden
Sonntag, 12. November 2017 | 10:00-12:30 (inkl. Pause)
Spezieller Workshop für Kinder und – parallel – für Erwachsene zum Thema Falten, Stecken, Färben mit den Künstlerinnen Maja Rieder
und Katharina Anna Wieser.
Ausstellung: 15. September – 12. November 2017
St. Jakob-Strasse 170, CH-4132 Muttenz
http://kunsthausbaselland.ch/

 

 

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marcia-hafif

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Kunstmuseum St. Gallen
MARCIA HAFIF
Pressekonferenz:
Freitag, 15. September 2017 | 12 Uhr
Eröffnung:
Freitag, 15. September 2017 | 18:30
Kurator: Roland Wäspe
Ausstellung: 16. September 2017 – 14. Januar 2018
Museumstrasse 32, CH-9000 St.Gallen
http://www.kunstmuseumsg.ch/unser-programm/aktuelle-ausstellungen/marcia-hafif.html

 

 

 

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Marcia Hafif

16. September 2017 – 14. Januar 2018, Kunstmuseum

Das Kunsthaus Baselland in Muttenz und das Kunstmuseum St.Gallen haben in enger Kooperation zwei Ausstellungen entwickelt, die sich den zentralen Aspekten des Schaffens von Marcia Hafif (*1929 Pomona, CA, lebt in Laguna Beach und New York) aus je anderer Perspektive widmen und erstmals einen Überblick über ihr Schaffen bieten.
Marcia Hafif gehört zu den bedeutendsten amerikanischen Malerinnen; ihr Schaffen wirkte bereits früh auf die europäische Kunst. 1961 bis 1969 malte sie in Rom in der Tradition des amerikanischen Hard Edge Painting. Mit der Rückkehr in die USA setzte die konzeptuelle Untersuchung zu Farbe und Struktur des Tafelbildes ein, für die ihr Schaffen exemplarisch steht. Spezifisch ist dabei, dass sie frei und experimentell Rahmenbedingungen des Gebrauchs industriell hergestellter Farbe veränderte.

«I was experimenting. Not knowing where I was going.»

‹Radical Painting› steht für eine monochrome Malerei, die ohne jeden Abbildcharakter die reine Wirkung von Farbe auf einem Träger untersucht. Auch wenn Marcia Hafif den Begriff für ihr eigenes Schaffen nicht angewendet wissen möchte, geht er doch auf sie zurück. Von Thomas Krens ins renommierte Williams College in Williamstown, MA, eingeladen, versammelte sie 1984 in der namengebenden Ausstellung «Radical Painting» solidarisch 12 Malerinnen und Maler mit ähnlichen Ansätzen, unter ihnen in Europa bekannte Künstler wie Olivier Mosset oder Joseph Marioni.

Seit den 1960er Jahren hat Marcia Hafif eindrückliche Werkserien geschaffen, welche die Möglichkeiten der Farbfeldmalerei grundlegend erforscht und um immer neue Aspekte erweitert haben. Das Unerwartete und Experimentelle zu tun, war dabei gleichsam ihr Markenzeichen.

An Extended Grey Scale (1973) mit 106 Gemälden gehört ebenso dazu wie die berühmten Black Paintings (1979/80), in denen sie ein tiefes Schwarz durch Überlagern von Ultramarinblau und gebranntem Umbra erzielte. Neuste Werkreihen der Shade Paintings (seit 2013) stehen neben den zweifarbigen, in empirischer Annäherung an den Goldenen Schnitt vertikal unterteilten TGGTs (Tomatoes, Grapes and Green Tea; 2006) und der brillanten Farbtransparenz der Glaze Paintings (1995).

Die Ausstellung weitet sich aus auf das Feld der Zeichnung: Das Füllen eines Blattes Papier mit kurzen vertikalen Strichen und unter Messung der dafür benötigten Zeit repräsentiert einen Werktypus, den Marcia Hafif bis heute parallel verfolgt. Im Jahr 2017 entstandene Ipad-Fotografien, direkt aus dem Studio in Laguna Beach, spannen den Bogen zu den konzeptuellen Schwarzweiss-Fotografien der Pomona Houses aus dem Jahr 1971, in denen sie 45 Häuser ihrer Geburtsstadt in streng frontaler Ansicht als Reihung fotografierte.

Kurator: Roland Wäspe

 

 

Kunstmuseum St. Gallen
MARCIA HAFIF
Gespräch
Mittwoch, 29. November 2017 | 18:30
Mit Ines Goldbach, Direktorin Kunsthaus Baselland,
und Roland Wäspe, Direktor Kunstmuseum St. Gallen.
Ausstellung: 16. September 2017 – 14. Januar 2018
Museumstrasse 32, CH-9000 St.Gallen
http://www.kunstmuseumsg.ch/

Die Ausstellung zu Marcia Hafif im Kunsthaus Baselland wurde
in Kooperation mit dem Kunstmuseum St. Gallen entwickelt.

 

KunsthausBaselland

https://estherartnewsletter.wordpress.com/2017/08/19/marcia-hafif/

 

 

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singing-stones

 

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EXPO CHICAGO
The international exposition of contemporary & modern art
13-17 September 2017
opening preview Wednesday 13 SEP 2017
Navy pier | Chicago

 

 

Artsy and EXPO CHICAGO
The Roundhouse
DuSable Museum of African American History
Palais de Tokyo | Singing Stones
Opening celebration Night
Tuesday, 12. September 2017 | 8 – 11 pm
Extended hours during EXPO ART WEEK
Wednesday, 13. September 2017 | 10 am–7 pm
Thursday, 14. September 2017 | 10 am–7pm
Friday, 15. September 2017 | 10am–7 pm
Saturday, 16. September 2017 10m–7pm
Sunday, 17. September 2017 noon–7pm
Featuring
Wilfrid Almendra, Daniel G. Baird, Floating Museum, Dorian Gaudin,
Lola Gonzàlez, Bouchra Khalili, Guillaume Leblon, Florian Pugnaire
& David Raffini, Cauleen Smith, Thomas Teurlai, Raphaël Zarka,
and Andrew Schachman
Curated by Katell Jaffrès

Exhibition: 13. September –29. October 2017
740 East 56th Place, Chicago, Illinois 60637

https://www.expochicago.com/

 

 

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Palais de Tokyo presents a group exhibition in Chicago in partnership with the Institut français and EXPO CHICAGO, alongside the Chicago Architecture Biennial, with the participation of the DuSable Museum of African American History, Mana Contemporary Chicago, the Graham Foundation and The Cultural Services of the French Embassy.
The exhibition, which brings together thirteen artists, including a designer, amidst one of Chicago’s iconic buildings, explores the multiple relationships between art and architecture. It is being presented in an architectural masterpiece, which is strongly rooted in the city’s history and will be reopening to the public for the first time for many years: The Roundhouse. At the heart of this remarkable edifice, the show creates an intimate dialogue between original productions and pre-existent works. A selection of the onsite pieces, conceived and produced specifically for this event by guest artists in dialogue with the architectural envelope that surrounds them, distinguish themselves by providing a support, or a frame, for the works of other artists, while being artworks themselves.

Palais de Tokyo’s “Singing Stones,” curated by Katell Jaffrès,
brings together 11 emerging artists from both the French and Chicago art scenes, as part of the first off-site exhibition in the United States, in
partnership with the INSTITUT FRANÇAIS. Presented within The
Roundhouse—a 17,000 sq. ft space built in 1881 and designed by
Burnham & Root—at the DuSable Museum of African American History, the exhibition will present an intimate dialogue between original productions and pre-existing works.

 

 

 

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The Roundhouse / DuSable Museum Campus

 

 

Dans le cadre de son premier hors-les-murs aux USA, le Palais de Tokyo présente, en partenariat avec l’ INSTITUT FRANÇAIS, l’expo “Singing Stones”, curatée par Katell Jaffrès, réunissant 11 artistes émergents de la scène française et de la scène artistique de Chicago. Présentée au sein de The Roundhouse—un espace de 17 000 sq. ft. construit en 1881 par Burnham & Root—au DuSable Museum of African American History, l’exposition mettra en dialogue productions originales et travaux pré-existants.

https://www.expochicago.com/programs/palais-de-tokyo-hors-les-murs

https://www.expochicago.com/programs/palais-de-tokyo-hors-les-murs

 

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artmarketbudapest17

artmarketBudapest2017_en

ART MARKET BUDAPEST
VIP Preview: 11. October 2017 | pm
Thursday, 12. October 2017 | 11 am – 8 pm
Friday, 13. October 2017 | 11 am – 10 pm
Saturday, 14. October 2017 | 11 am – 8 pm
Sunday, 15. October 2017 | 11 am – 8 pm
12-15 OCTOBER 2017
1024 Budapest, Kis Rókus u. 16-20. (Millenáris)
http://www.artmarketbudapest.hu

 

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http://artmarketbudapest.hu/art-photo-budapest/

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ISRAEL ANNOUNCED AS GUEST OF HONOR OF ART MARKET BUDAPEST 2017
BUDAPEST WILL HOST A LARGE SCALE ISRAELI ART FESTIVAL,
AS ANNOUNCED AT THE OPENING EVENT OF FRESH PAINT IN TEL AVIV

Art Market Budapest, Central and Eastern Europe’s leading international contemporary art fair announced to have selected and welcome Israel as guest of honor in 2017. The prominent art event in Budapest, Hungary will direct attention towards the high-level, yet internationally lesser-known Israeli art scene with an extraordinarily rich and diverse selection of artistic components in October. The announcement of the large scale Israeli art festival was made in Tel Aviv at the opening ceremony of Fresh Paint, Israel’s largest and highly attended contemporary art fair. Art Market Budapest also opened a special group exhibition at Fresh Paint to celebrate the cooperation with its Israeli partners. The next edition of Art Market Budapest and its Israeli guest program will take place between October 12-15, 2017, and will be joined by CAFe Budapest, one of Europe’s most significant contemporary art festivals to make Budapest a home-away-from-home for actors of the Israeli art scene.

Art Market Budapest, Central and Eastern Europe’s leading contemporary art fair established in 2011 is among Europe’s prominent art events presenting 100 exhibitors from over 25 countries and welcoming around 30,000 international visitors annually. The fair features thousands of artworks by over 500 artists on a 6,000 square meters large exhibition space at one of the most attractive and unusual fair locations in Europe. Over 50 complementary events including a four-day long conference, satellite exhibitions and other cultural and social events add to the visual richness of the prestigious international show.
Art Market Budapest efficiently combines inspiring artistic content originating from emerging regions in and beyond Europe as well as works by the progressive new generation of artists of the already established Western markets.

In October 2017, the upcoming edition of Art Market Budapest will present a rich and diverse program dedicated to the extraordinarily colorful and high-level, yet internationally lesser-known Israeli art scene. A large scale exhibition at the fair location organized with the collaboration of Israeli art galleries on hundreds of square meters will, in the framework of the Israeli art festival titled ART.IS.REAL, be complemented by numerous other accompanying events and exhibitions at other venues in Budapest.

In recent years, prestigious guest programs of Art Market Budapest have offered the audience a uniquely wide ranging view of contemporary art from Poland, the cities of Berlin (Germany) and Cluj (Romania) and the region of the Western Balkans. On location at Art Market Budapest in October 2017 a complex display of exhibits introducing dozens of Israeli artists will await guests with complementing events such as art performances, presentations and panel discussions, thus creating opportunities for direct contact with defining figures of the Israeli art scene. The show and events at Art Market Budapest will be accompanied by further exhibitions at a number of other venues throughout Budapest. Among them, an exhibition of historic significance depicting the years of the founding of the State of Israel by Hungarian-born Israeli photographer Zoltán Kluger promises to be one of the special delicacies. The diverse art programs will be complemented by Israeli musical and dance performances organized by CAFe Budapest, one of Europe’s most notable contemporary art festivals.

In preparation for the guest of honor program, organizers are collaborating with prominent Israeli institutions such as Fresh Paint, Israel’s most notable art fair and the Israel Museum in Jerusalem, whose world-renowned director, James S. Snyder will personally make an appearance in Budapest by giving a lecture on the ‘Day of Israeli Art’ on October 15. Art Market Budapest will separately announce the name of a world famous artist to be presented as special artist guest of the Israeli art program in Budapest. Further partners, participants and program elements will also be revealed later.

The international announcement of the Israeli guest program of Art Market Budapest, ART.IS.REAL took place under special circumstances in Tel Aviv at the opening ceremony of Fresh Paint 9 contemporary art fair, in the framework of one of Israel’s top contemporary art events. Present at the event were Israeli partners of Art Market Budapest and, among others, Nicole Loeser (Berlin), Member of the Board of Art Market Budapest along with Founding Director Attila Ledényi and other members of the Budapest fair management. Hungarian Ambassador Dr. Andor Nagy gave guests of the opening event a welcoming address.

As part of the collaboration with Fresh Paint and to celebrate its cooperation with its Israeli and Hungarian partners, Art Market Budapest opened a show titled ‘Talking papers’, a selection of works by Israeli and Hungarian artists on view in one of Fresh Paint’s largest exhibition spaces. The purpose of the show is to invite artists from Israel and Hungary into a thought-provoking and inspiring artistic dialogue, and is meant to be a starting point for artists and other actors of the Israeli and Hungarian contemporary art scenes to come, work and think together. ’Talking paper’ is to be continued and further developed at Art Market Budapest where Israeli contemporary art will be in the focus in Budapest, Art Market Budapest and its Israeli guest program will be taking place between October 12-15.

Artists represented by the following galleries are presented at the show ‘Talking papers’ organized with the support of the Hungarian Embassy in Tel Aviv: Hezi Cohen Gallery – Tel Aviv, Deák Erika Gallery – Budapest, Inda Gallery – Budapest, P8 Gallery – Tel Aviv, RawArt Gallery – Tel Aviv, Supermarket Gallery – Budapest, VILTIN Gallery – Budapest.

http://artmarketbudapest.hu/art-israel-art-real/?lang=en

 

 

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ART MARKET BUDAPEST | 2017
START by Serge Tiroche, Budapest, Hungary
http://www.st-art.co.il/
http://www.amirnave.com/exhibitions/
http://artmarketbudapest.hu/?lang=en

 

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ART PHOTO BUDAPEST

A UNIQUE SECTION OF ART MARKET BUDAPEST, DEDICATED ENTIRELY TO ART PHOTOGRAPHY

ART MARKET BUDAPEST dedicates an entire section and a complete exhibition hall to the art of photography: ART PHOTO BUDAPEST is the only international photo fair in the Central and Eastern European region.

BUDAPEST is the fast developing young European capital of photography with its photographic traditions rooted in the works of such 20th century masters as Moholy–Nagy, André Kertész, Robert Capa, Brassai and others, while a wide range of institutions and initiatives support a new generation of contemporary photographers.

http://artmarketbudapest.hu/art-photo-budapest/?lang=en

 

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MILLENÁRIS CULTURAL CENTER

Art Market Budapest found the proper meeting place for contemporary art and its audience. The perfect location for such an encounter and for international visitors and exhibitors is BUDAPEST and within Hungary’s capital it is the MILLENARIS cultural and convention center.

The venue of Art Market Budapest and its supplementary events is this centrally located, Europa Nostra awarded former industrial complex prepared to provide the most adequate circumstances for both the audience and the contributing exhibitors. We already tested it, come and see with your own eyes.

 

 

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annet-couwenberg

baltimoremuseumofart

The Baltimore Museum of Art
ANNET COUWENBERG:
FROM DIGITAL TO DAMASK
Opening: 16. August 2017 | 2 pm–3 pm
Artist Talk— 10. September 2017 | 3 p.m.
Curated by Anita Jones, Curator of Textiles
Exhibition: 17.August 2017 — 18. February 2018
10 Art Museum Drive, Baltimore, MD 21218-3898
https://artbma.org/

 

 

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Annet Couwenberg. Puff 3. 2014.
Collection of the Artist. Photography by Dan Meyers

 

 

This intimate exhibition of approximately 11 works by Maryland-based artist Annet Couwenberg reveals the intersection of science, art, technology, and history that makes textiles such a fascinating art form.

In the summer of 2014, Couwenberg, a Maryland Institute College of Art professor and internationally exhibited artist, received a prestigious Smithsonian Artist Research Fellowship (SARF). As a part of this program, which paired scientists with visual artists, Couwenberg worked with Dr. Lynne Parenti at the National Museum of Natural History to examine fish fossils. She has applied the patterns and structures of aquatic life forms captured through advanced technological methods to her artwork, which is also visually connected to traditional textiles and costume forms drawn from her own Dutch heritage.

In her latest efforts, she pays homage to the Netherland’s production of damask during the 17th century, when this fabric was referred to as “white gold”. Returning to her homeland, she wove four panels featuring designs generated by her Smithsonian studies adapted to damask patterns and inspired by the BMA’s Portrait of a Young Woman (1634) by Dutch artist Frans Hals.

 

 

annet

 

Artist Talk— 10. September 2017 | 3 p.m.

Annet Couwenberg: From Digital to Damask reveals the fascinating
intersection between art, science, history, and technology.

https://artbma.org/exhibitions/berman-annet-couwenberg?

 

 

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הפרפר חוצה את הכביש

couldnt stop reading, so Touching and sad.

עד ראיה

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פרשת החיים הקצרה מדי של שלי גולדמן

“אַל תַּחְשְׁבִי שֶׁהַחַיִּים קְצָרִים. / חִשְׁבִי: אֵיזֶה נִסָּיוֹן מְיֻחָד. / שֶׁהֲרֵי הָאֹרֶךְ אֵינוֹ הָעִנְיָן כָּאן כְּלָל וְעִקָּר, אֶלָּא שֶׁהִתְאַפְשֵׁר בִּכְלָל לַחֲווֹת אֶת זֶה. מַה שֶּׁהִתְרַחֵשׁ בְּמַהֲלָכָם הוּא בְּעֶצֶם / שׁוּלִי. זֶה שֶׁהִתְאַפְשֵׁר לַחֲווֹת אֶת הַהַתְחָלָה וְאֶת הַסּוֹף בְּלִי לְהָבִין מַה קּוֹרֶה /  וְזֶה שֶׁהִתְאַפְשֵׁר לְהִתְקַיֵּם בֵּין לְבֵין / וְלַעֲשׂוֹת מַשֶּׁהוּ בְּלִי לְהָבִין שׁוּם דָּבָר גַּם בְּיַחַס אֵלָיו. וְזֶה שֶׁחֵלֶק הָאֲרִי הוּא הָאִי־קִיּוּם / וְשֶׁהַשֶּׁמֶץ הַזֶּה, הַחַיִּים, הֵם רַק מַה שֶּׁבְּנִגּוּד אֵלָיו. / לִרְגָעִים הָאִי־קִיּוּם נַעֲשֶׂה רָגִישׁ וּמֵבִין אֶת עַצְמוֹ. / אִי־אֶפְשָׁר לִדְרֹש הֶמְשֵׁכִיּוּת מֵהַתּוֹפָעָה הַזֹּאת. אֲבָל זֶה שֶׁהִתְאַפְשֵׁר לַחֲווֹת אוֹתָהּ, / שֶׁאֶפְשָׁר לִקְרֹא אוֹתָהּ, /שֶׁאֶפְשָׁר לָשִׁיר אוֹתָהּ וְלִכְתֹּב, / שֶׁהִתְאַפְשֵׁר לְצַיֵּר אוֹתָהּ וּלְנַגֵּן,
שֶׁהִתְאַפְשֵׁר לִרְקֹד וּלְצַלֵּם, / שֶׁהִתְאַפְשֵׁר לְהַצִּיג אוֹתָהּ, לְבַכּוֹת אוֹתָהּ  / וְלִצְחֹק, לִלְעֹג לָהּ וְלֶאֱהֹב, / וְזֶה שֶׁזֶּה כָּאַב כָּל כָּךְ, / וְשֶׁהִיא הָיְתָה…

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