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/

ARTISRAEL7

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.

 

 

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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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Heinrich_Böll

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Museum Ludwig
THE HUMANE CAMERA.
HEINRICH BÖLL AND PHOTOGRAPHY
Press Conference:
Wednesday, 30. August 2017 | 11 a.m.
Speakers:
Yilmaz Dziewior, Director, Museum Ludwig
Miriam Halwani, Curator Photography Collection
René Böll, Heinrich Böll’s son and lender of the presentation
1.September 2017 – 7. January 2018
Heinrich-Böll-Platz, 50667 Köln

 

 

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Heinz Held Heinrich Böll at his desk, 1971
© Museum Ludwig, Cologne

 

 

On the centenary of Heinrich Böll’s birth, in its new rooms for photography the Museum Ludwig will examine Böll’s relationship to photography and taking photographs—as a public figure, as an object of study, as an aid to his literary work, and as a motif in his writings.

One year after Heinrich Böll’s death, in 1986 the Museum Ludwig was opened in a newly constructed building. The address: Heinrich-Böll-Platz. The museum’s photography collection contains numerous works that show Heinrich Böll. After all, as an author he was a sought-after subject for photographers. During Böll’s lifetime, two volumes of portraits of him photographed by Heinz Held, among others, were published. Böll maintained a friendship with Held and also allowed him to document his private life—a remarkable exception, since Böll tended to be camera-shy. A selection of portraits of Böll from Heinz Held’s estate will be presented for the first time.

Yet texts by Heinrich Böll appeared during his lifetime in nine photo books, revised or reprinted, such as in Chargesheimer’s Unter Krahnenbäumen, Im Ruhrgebiet (both 1958), and Menschen am Rhein (1960). In 1964 Böll published his essay “The Humane Camera” in the catalog for the Weltausstellung der Photographie. In it he formulated a morality of photography: “When the camera is intrusive, when its instrument, the lens, becomes the instrument of the photographer who aims to catch, denounce and expose someone, photography crosses its aesthetic and moral boundaries.” He also speaks of “violations.” And such a violation is transformed into literature in The Lost Honour of Katharina Blum (1974, English translation 1978), when words and images in the yellow press rob Blum’s dignity. The humane, the quality of being human—therein lies Böll’s interest in literature as well as in photography. After all, on one thing he is clear: “I don’t care much for lavish photo books.” To him, seeing was the central sense to understanding the world: “… a good eye is one of the writer’s tools,” he states in “Bekenntnis zur Trümmerliteratur” (1952). For his novel Women in a River Landscape (1985, English translation 1988) Böll asked his son René for photographs of selected places in Bonn, which he then described in the novel. Photographs and corresponding passages from his writings will be combined in the exhibition.

 

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Böll’s relationship to photography is also reflected in his novels and stories about photographers and photographs. Photography continually appears as a motif and a metaphor, most prominently in “Anecdote Concerning the Lowering of Productivity” (1963). With some fifty exhibits including pictures, books, and texts, the exhibition will showcase Böll’s varied engagement with photography.

In addition, the first volume of a new series of publications on the photography collection entitled Die humane Kamera. Heinrich Böll und die Fotografie will be publishedwith eleven illustrations, Heinrich Böll’s text “Die humane Kamera” and an essay by Dr. Miriam Halwani. Price 8 Euros. ISBN 987-3-9807903-6-9.

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red-star-over-russia

TATE_Modern_1_small_use_b

TATE MODERN
RED STAR OVER RUSSIA:
A REVOLUTION IN VISUAL CULTURE 1905 – 55
8 November 2017 – 18 February 2018
Curated by Natalia Sidlina,
Dina Akhmadeeva, Assistant Curator Tate
Tate Modern, Blavatnik Building, Level 2
Supported by Tate Patrons
Bankside London SE1 9TG
http://www.tate.org.uk/whats-on/tate-modern/exhibition/red-star-over-russia
Tate #RedStarOverRussia

 

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Nina Vatolina Fascism – The Most Evil Enemy of Women.
Everyone to the Struggle Against Fascism 1941
Lithograph on paper 860 x 589 mm
Purchased 2016. The David King Collection at Tate

 

 

 

TATE MODERN
RED STAR OVER RUSSIA:
A REVOLUTION IN VISUAL CULTURE 1905 – 55
TALK
Soviet Russia in Contemporary Art
25 Nov 2017 | 11–13 pm
Join three contemporary Russian artists as they revisit
the legacy of the Soviet Union
Sasha Pirogova, Mikhail Tolmachev, Arseny Zhilyaev
8 November 2017 – 18 February 2018
Bankside London SE1 9TG
http://www.tate.org.uk/whats-on/tate-modern/exhibition/red-star-over-russia
Tate #RedStarOverRussia

 

 

 

RED STAR OVER RUSSIA:
A REVOLUTION IN VISUAL CULTURE 1905 – 55
8 November 2017 – 18 February 2018

To mark the centenary of the October Revolution, this autumn Tate Modern will present Red Star over Russia: A Revolution in Visual Culture 1905 – 55. Drawn from the remarkable collection of the late graphic designer David King (1943 – 2016) the exhibition will offer a visual history of Russia and the Soviet Union. From the overthrow of the last Tsar and the revolutionary uprisings of 1917, through to the struggles of the Civil War and Stalin’s campaign of terror, the show will reveal how seismic political events led to the social transformation that inspired a wave of innovation in art and graphic design across the country.

Throughout his lifetime David King assembled one of the most comprehensive collections of Russian and Soviet material in the world, consisting of over a quarter of a million artefacts by famous and anonymous photographers, artists and designers. Featuring over 250 posters, paintings, photographs, books and ephemera, many on public display for the first time, Red Star over Russia will be a rare opportunity to explore this unique collection. It will provide a chance to understand how life and art were transformed during a momentous period in modern world history, and see how artists such as El Lissitzky, Aleksandr Rodchenko and Nina Vatolina captured the revolutionary hopes of a nation in an extraordinary outpouring of visual material.

From 1905 to 1955 Russian and Soviet citizens struggled against the odds to build a new society. The exhibition will explore how new popular art in the form of posters, periodicals, leaflets and banners informed, educated and entertained the Russian people, filtering into the everyday lives of tens of millions of citizens. One of the new propaganda tools developed by the Bolsheviks was ‘agitprop trains’, which were decorated with vivid murals and travelled the country carrying public speakers, pamphlets, film shows and a printing press to disseminate the policies of the new government. Following the October Revolution, art was taken onto the streets in the form of propaganda posters which were displayed on public squares, factories and inside people’s homes. The exhibition will feature striking examples of posters by artists such as Adolf Strakhov, Valentina Kulagina and Dmitrii Moor, whose depictions of heroic, industrial scenes and expressive use of typography captured the revolutionary fervour of the age.

A section of the exhibition will explore the impact of the 1937 ‘Exposition Internationale des Arts et Techniques’ in Paris, which provided an international stage for the Soviet Union to promote the achievements of its art and culture. The magnificent centrepiece of the USSR Pavilion was three giant murals by Aleksandr Deineka which were destroyed when the exhibition ended. A highlight of Red Star over Russia will be the large-scale studies which formed the basis for these dramatic murals. In stark contrast, a further section of the exhibition will be dedicated to the memory of the millions who perished in Stalin’s purges, uncovering some of the personal stories of figures erased from history. It will include poignant prison mugshots of the people who lived in tumultuous times, such as Lenin’s closest allies Lev Kamenev and Grigorii Zinoviev, both executed on false charges, and poster artist Gustav Klutsis, whose works adorned the cities squares long after his execution in 1938. Red Star over Russia will also reveal how images were manipulated during a period of widespread state censorship, to airbrush political figures from official photographs and celebrate the end of the Second World War.

Red Star over Russia: A Revolution in Visual Culture 1905 – 55 is curated by Natalia Sidlina, Adjunct Research Curator, Russian Art, Tate Modern, supported by the V-A-C Foundation, and Matthew Gale, Head of Displays,
Tate Modern, with Dina Akhmadeeva, Assistant Curator,
Collections International Art, Tate Modern,
supported by the V-A-C Foundation.
The exhibition will be accompanied by a new book by Tate publishing.

 

DAVID KING

David King was an acclaimed graphic designer, artist and historian. Born in London in 1943, King studied typography at the London College of Printing (later London School of Printing and Graphic Arts). He worked as Art Editor of The Sunday Times Magazine from 1965 to 1975 where he was credited with creating the visual identity for the supplement, characterized by dynamic picture cropping and a narrative style of photojournalism. He first travelled to Russia in 1970 on an assignment from the magazine to collect information about Trotsky. Throughout his lifetime he assembled one of the world’s most pre-eminent collections of Russian and Soviet material, consisting of over 250,000 artefacts dating from the Russian Revolution to the Khrushchev era. He presented the results of his passionate collecting and thoughtful research in a series of revelatory publications which offered a breathtaking visual history of the Soviet Union in a distinctive style. Publications include The Commissar Vanishes: The Falsification of Photographs and Art in Stalin’s Russia (1997, enlarged 2014), Ordinary Citizens: The Victims of Stalin (2003), and Red Star Over Russia: A Visual History of the Soviet Union from the Revolution to the Death of Stalin (2009). David King passed away in May 2016.

 

 

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