Berlinde de bruyckere about body work and material
You are not so, for the first time, their own curator?
Yes, this is very interesting, because we work so closely together. the path through the exhibition makes sense of the early sculpture “aanéén-genaaid” about “piëta” to “into one-another v to p. p. p.”, the horse carcass of “les deux” and the latest works from the series “the met tere huid”.
The leopold museum will take place on the ground floor, where your exhibition, large windows. how will you deal with the light situation?
Because of the drawings we will not be able to leave everywhere, so much light. some of the rooms are darkened and the other illuminated with the light of day. this open, light, very intimate but flows through the halls. it pleases me well, if some of the window is connected to the outside world and to reality.
I have always admired the photographs in their catalogues. they look so atmospheric. i suppose that light, for the reception of their works is very important.
I use a lot of attention, because i’m working in the studio with only natural light. for the piktoralität (figurativeness, n. at the) of the works that is significant. since 1999, i always work with the same photographer mirjam devriendt that i work for every job the right character and the right atmosphere. they also photographed mostly with natural light. together, we are not looking for the perfect view point, so that the sculptures look like a bunch of freaks. i don’t want to shock my plants. this risk is always given, therefore i would like to control it.
What arte povera is? “simple art” from italy, the end of the 1960s
The term arte povera in italian means “poor art”. thus, a shape of the object of art is called, which was coined in the second half of the 1960s and in the 1970s. it is characteristic for the arte povera, to make simple, everyday materials to “archetypes”. the main representatives of the arte povera come from italy, especially from the area around turin.
<, h2>, Georg Baselitz, and the order in the Fondation Beyeler
Georg baselitz: drawn “hero” and “minimum load” in münchen
Georg baselitz neoexpressive and figurative painting of the 1960s, stands for the radical-in germany – and has confirmed this position since then. the exhibition in the pinakothek der moderne brings together two groups of works, which arose at a distance of more than 25 years, also drawing and printmaking are facing each other in the exemplary blocks. the munich collection owes loans of your conveyor duke franz of bavaria, who was one of the early collectors of georg baselitz and until today, the artist is closely associated, some of significant duration.
For michael herring, georg baselitz, an artist who has managed to stay despite his now advanced age “at present, to surprise and to provoke again and again”. for him, baselitz is a “mandarin of the painting” (based on simone de beauvoir), a “spiritual carrier of a specific form of culture” that “has maintained the high form of intellect in the painting for a long time”. these provocations, in the scenic work but also in his statements, the director of the staatliche graphische sammlung munich holds a “breeding ground” of baselitz’s art. the attitude to the painting and to the world is undoubtedly represented by georg baselitz in words and self-assured.
The kunsthaus zürich: art exhibitions 2019 – matisse, picasso, moon landing
The highlights of the exhibition year 2019 at the kunsthaus zürich with henri matisse as a sculptor, picasso, gorky, warhol, from the collection of losers, a thematic exhibition for the 50th anniversary of the moon landing, and a retrospective of the german realist wilhelm leibl quickly outlined. once more, the kunsthaus zürich 2019 loser shows a balanced mix of retrospective, which begins with the monographic exhibition of oskar kokoschka by the end of 2018, thematic exhibitions (landing on the moon, contemporary photography, art after 1945), and the concentrated presentation of the collection.