Stephan Balkenhol - Auferstehungen/ Meisterwerke aus der Sammlung

Imi Knoebel Guten Morgen, weisses Kätzchen- Haus Konstruktiv Zürich

Imi Knoebel Guten Morgen, weisses Kätzchen- haus konstruktiv Zürich

Imi Knoebel’s career as an artist began at the start of the 1960s in Darmstadt. He attended the art school Werkkunstschule Darmstadt from 1962 to 1964, where he carried out constructivist and structural composition exercises under Hanns Hoffmann-Lederer, based on concepts from the Bauhaus preliminary courses run by Johannes Itten and Lázló Moholy-Nagy. In Darmstadt, he also met Rainer Giese (1942–1974). Knoebel and Giese both adopted Imi as their first name and, from then on, they operated as “IMI & IMI“, whereby Imi was an abbreviation of “Ich mit Ihm“ (me with him) and a salutation that the two young artists would call out to each other when parting.

In 1964, the two Imis moved to Düsseldorf and studied at the local art academy, initially attending the commercial graphics class under Walter Breker. One year later, they switched to the class taught by Joseph Beuys in room 20. They obtained a workroom of their own, which they shared with Jörg Immendorff and Blinky Palermo at first, and which would become the nucleus of Knoebel’s oeuvre: room 19, which Knoebel named one of his key works after in 1968. The fact that there are now four different versions of Raum 19 (Room 19) demonstrates how important this early work remained for all of Knoebel’s work.

The third and largest version of this installation, Raum 19 III (1968/2006), also marks the start of the exhibition at Museum Haus Konstruktiv. Designed as a site-specific constructed image, it constitutes an extensive body of stacked and sequenced fiberboard panels, spatial bodies, angles and stretcher frames. Since 2006, Raum 19 III has been exhibited together with the piece Batterie (Battery, 2005) – an imposing cube of aluminum panels coated in phosphorescent paint. When combined, the two works grow closer and charge each other.

The 21-part body of works entitled Kernstücke (Core Pieces), presented on the fifth floor, also bears witness to the survival and continuation of early artistic concepts. Kernstücke can be read as a kind of artistic (and, in principle, extendable) alphabet that shows the fundamental principles of Knoebel’s understanding of art, from his beginnings to the present day.

Older and more recent works are presented in the exhibition spaces on the fourth floor. Here, it becomes clear that the art theory and artwork of Russian suprematist Kazimir Malevich (1878–1935) served as a key point of reference. In other series, Knoebel strongly refers to American color field painting and the minimalism of the 1960s and 1970s. For instance, in his red, yellow and blue piece Ich Nicht IV (Not Me IV, 2006), he decisively answers Barnett Newman’s question “Who’s Afraid of Red, Yellow and Blue?“ and thus also reactivates the discussion about the central role of the primary colors in the history of 20th-century abstraction.

Another focal point of the exhibition is provided by the new works presented on the second floor, some of which comprise several parts, while others consist of a single free form.

This exhibition is accompanied by a catalog. Published by Hatje Cantz Verlag, it includes texts (in German and English) by Sabine Schaschl, Max Wechsler and Beat Wismer, as well as numerous reproductions of works, and views of the exhibition.

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Hermann Hesse - Dichter, Maler, Kultfigur - Ernst Barlach Museum, Wedel

Hermann Hesse - Dichter, Maler, Kultfigur - Ernst Barlach Museum, Wedel

Throughout his life, Hermann Hesse was a seeker. This is reflected not only in his outstanding literary works, which in 1946 won him the Nobel Prize, but also in his resume. In his home town of Calw, where he was born on July 2, 1877, he spent his youth in the bosom of his family - formative years that found their way into many of his books. Maulbronn, Tübingen and Basel were among the other places Hesse lived. In 1904, he moved to an old farmhouse in Gaienhofen on Lake Constance to embark on a career as a freelance writer. In 1911, he made a journey to India, and moved to Switzerland a short time later, living first in Berne and later in Montagnola (Tessin), where he entered his most prolific period as a writer, and where he also died in 1962. The task of overcoming personal crises is one of the defining elements of Hesse's work, though other issues such as religion and politics also feature prominently.

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Gabriele Münter. Malen ohne Umschweife - Städtische Galerie im Lenbachhaus und Kunstbau München, Louisiana Museum of Modern Art, Dänemark, 2017/2018

Gabriele Münter. Malen ohne Umschweife - Städtische Galerie im Lenbachhaus und Kunstbau München, Louisiana Museum of Modern Art, Dänemark, 2017/2018

Though perhaps not widely known yet, the German painter Gabriele Münter should be acknowledged for her striking contribution to the art of the twentieth century. Taking a present-day look at Münter, this exhibition is the first in several decades to unfold the many aspects of her long and multi-facetted artistic career.

In her own right, German painter Gabriele Münter (1877-1962) has not been widely acknowledged in the history of art until now. Her work has usually been seen and interpreted in the context of German Expressionism and with a focus on her relationship and collaboration with Wassily Kandinsky (1866-1944) in the time of the artist group “Der Blue Reiter” (1911-1914).

With this exhibition – the first comprehensive, retrospective presentation of the painter for several decades – Louisiana therefore wishes to broaden the narrow perspective in which Münter’s work has hitherto been seen. And by unfolding and opening up new aspects of her many-faceted work, the museum seeks to highlight its stylistic complexity and artistic independence.

Much of what Münter created is still unknown,
but 100 years after Münter exhibited for the first time in Denmark, this will finally be remedied. The exhibition takes a present-day look at Münter’s work, which is presented in thematic sections – from the classic genres such as the portrait and landscape through interiors and abstractions to her interest in foreign cultures, folk art and children’s drawings.

Some 130 works are included in the exhibition covering the whole of the artist’s active period. Many of them have not been presented before; others were last on show many decades ago. Most of the works exhibited come from the Gabriele Münter- und Johannes Eichner-Stiftung in Munich, supplemented with rare loans from museums in Europe and the USA.

The exhibition has been organized in collaboration with Städtische Galerie im Lenbachhaus und Kunstbau and the Gabriele Münter- und Johannes Eichner-Stiftung in Munich.

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Christian Awe / Sam Francis / Shingo Francis: Layers of Nature - Beyond the Line - Sezon Museum of Modern Art Sezon, Japan

Christian Awe / Sam Francis / Shingo Francis: Layers of Nature - Beyond the Line - Sezon Museum of Modern Art Sezon, Japan

Sezon Museum of Modern Art is pleased to announce the exhibition “Layers of nature   —— Beyond the Line” beginning on April, 2018.
This exhibition will be showing: Shingo Francis, an internationally active artist who sets base in Japan and America. Christian Awe, an artist from Berlin, marking his first exposure in a Japanese museum. Sam Francis, one of the most influential abstract artists in America during the 20th century. It will be a group exhibition of these three artists.

Shingo Francis captures the natural colors and light into his artworks by coming and going between America and Japan, like if it piles up with our layers of memories sleeping within us, the depth becomes deeper each time it is seen. Moreover, the line that is drawn straight like a horizon makes the boundary of the inner and the outer of the painting vague by the intercourse of the unique colors. What is more, he is going to show new work for this exhibition.

Christian Awe brings the fundamental figure which is discovered using various techniques, as the artist states that, “Even when painting something figurative, it starts turning into abstract.”    Regarding his new work, he creates multi-tiered space in the painting with the droplets which blurs the boundaries between reality and imagination and is complemented by expressive “splashes of color,” covering the layers below them in rivulets or with apparently spontaneous gestures.

And Sam Francis, father of Shingo Francis and the master of abstract art, the colors painted using the artist’s entire body lives inside the works. Giving color to something invisible, the contrast of colors spreads out infinitely, like if it is giving birth to a new ecosystem in a white land.
If we were to call color, light, space, time, various life-forms, including those invisible things surrounding us “Nature”, their works like that nature enfolds our body. At that time, going beyond the lines drawing the outline of the individual, abstract and figurative, and the boundaries of the viewer and object, we will be feeling that our own selves too are part of the layers configuring the nature.

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Gotthard Graubner- Mit den Bildern atmen

Gotthard Graubner- Mit den Bildern atmen, Arp Museum Bahnhof Rolandseck

The Arp Museum Bahnhof Rolandseck is dedicating a major exhibition to Gotthard Graubner (1930–2013), one of the most important abstract painters of our age.

Gotthard Graubner maintained close ties to the Bahnhof Rolandseck from the 1970s onwards. Like numerous other artists, he valued, breathed life into and left his mark on this special location.The show's point of departure is ten extraordinary black-and-white photographs of dancing monks from the Whangdue Phodrang monastery that he took while in Bhutan in 1976 and that are now part of the museum's collection.

Following Graubner's interest in Buddhism, the atmosphere of the exhibition is permeated by this theme. Such formal elements as transparence, lightness and penetration as well as color surface as a living organism all play a role. This is evident not only in the impressive Farbraumkörper [Color Space Bodies] but also in the artist's print works. Biographical notes, such as the body prints in the portfolio Simulacrum from 1978, bring Graubner's authorship vividly to light.

The approximately 50 works allow visitors to trace his development from a muted palette to a veritable ecstasy of colors, to silently immerse themselves in the color spaces, and to – as intended by the artist himself – "breath together with the pictures".

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