News

Insights into growing a collection

11/27/21–15.5.22

Finale - in football it would be a final, for the museum of the Palatinate District Association, which is primarily dedicated to art from the 19th century to the present, it is the upcoming exhibition that brings together numerous acquisitions and donations from the past three decades into a varied course . The show thus honors the achievements of Britta E. Buhlmann, who, as director between 1994 and 2021, expanded and decisively shaped the museum's art collection. In the spring of 2022, there will be a change at the top of the mpk. The director took one last look at purchases and donations and made a very personal selection from them – a Director's Cut to say goodbye.

Visiting numerous trade fairs and exhibitions, meeting and working with artists have been welcome opportunities for Britta Buhlmann and her team to acquire new works for the museum over the past few decades. The donations that artists, collectors and galleries have bestowed on the house are also extensive. Some of the works were acquired as additions to existing collections, while others are unique positions which, over the years, have combined to form an overview of contemporary artistic approaches. On the one hand, numerous styles and on the other hand, thematic complexes emerge, which were and are brought to the attention of our visitors at irregular intervals through temporary exhibitions.

Classic Modernism was expanded through important works by Otto Dix, Hermann Scherer and Carl Buchheister, the sculpture department through important positions by François Morellet, Karin Sander, Kiki Smith, Werner Pokorny and others. A new collection area was established with works by American artists such as Carmen Herrera, Charles Pollock and Richard Pousette-Dart. Quite a few positions were presented to a German or even European audience for the first time at the mpk.

As a special farewell gift for its director, the mpk team has been preparing the extensive Finale exhibition for more than a year. The selected works will impressively show how high-quality the art collection of the house has grown since the 1990s, especially in the area of ​​concrete art, which is an important focus. Painting and sculpture, but also more conceptual processes such as light art, can be studied in detail in the special exhibition using outstanding objects and will stimulate exciting dialogues and perhaps even raise controversial questions. It will be interesting to see how the curators interpret the 1.3 million grains of sand by Jochem Hendricks, the glowing neon tubes by François Morellet and the atmospheric, partly abstract landscapes by Walter Leistikow, Daniel Sigloch and Michael Growe. One thing is certain: for the mpk, the exhibition is by no means the final whistle, but the prelude to new perspectives.

Please note: The exhibition extends over three levels and is presented in full until February 13, 2022. Individual areas will be remodeled for the subsequent exhibitions. The works in the exhibition can be seen as follows:

Level 2 (laboratory and graphics cabinet) by February 13, 2022
Level 3 (skylight
room) by March 13, 2022 Level 0 (showrooms) by May 8, 2022

Curators: Hanna Diedrichs gen. Thormann MA, Dr. Soren Fischer,
Dr. Svenja Kriebel, Andrea Loeschnig MA, Dr. Annette Reich

https://mpk.de/sonderausstellungen/finale-directors-cut/

Galleria Continua is pleased to announce the solo show, Aeolian Landforms and other Particles, by Italian artist Loris Cecchini, the second exhibition to take place in the gallery’s exhibition space inside the iconic Burj Al Arab Jumeirah, situated on the shore of Dubai’s largest private beach and recognized the world over for its distinctive sailboat-inspired shape. For the occasion, Loris Cecchini has developed works that address some of the key themes of the artist’s oeuvre: metamorphosis, natural phenomena and biological structures.

On entering the exhibition, the visitor is greeted by the structure occupying the central part of the space, entitled Waterbones. The modules that make up the structure flow from the ceiling before progressing towards the floor, creating an arrangement that recalls natural constructions to be found in a plethora of biological phenomena. The artist’s Waterbones installations have an inherent faculty for adaptation, a premise conceived by the artist in their development. Consisting of hundreds if not thousands of steel modules called Waterbones, they act as a biological metaphor that, like a particles substance, manage to occupy and fill the determined space. They interact with the architectural volume of their surroundings, finding themselves teetering on the boundary between biological and artificial, inert and dynamic. These modular works play with a form of abstraction; the geometry that is created recalls arabesques. The exhibition includes a number of works under the title Aeolian Landforms. The vibrant and monochromatic surfaces of these works exemplify the erosive effect of air and water and its subsequent phenomena on a range of natural surfaces. This is manifested through the undulating “waves” we find on the surface, evoking the formation of sand dunes to be found in vast deserts that are subject to the manipulations of the wind. Indeed, the word “aeolian” derives from Æolus, the Greek god of the winds and it is a phenomenon that is not only to be found on this earth but also on other planets like Mars. In nature, Aeolian landforms are created when sediment particles are lifted by upwards forces, causing them to roll across the surface until they land, hop from point to point or remain suspended in the air. Once this movement is provoked, it continues via the forces of gravity and momentum, the excess particles that fall out of the chain of movement then go on to dislodge further particles, creating a continuous dynamic phenomenon that feeds itself.

This scientific dynamism is translated by the artist into a poetic image, in this case a sort of bas-relief that evokes a hypnotic movement, a metaphor for interiority but also for landscape, inciting a transitory gaze from the viewer who quickly realizes that there is a depth to the artwork that is determined by the shadows that are created by the light on the surface. The experience becomes an optic phenomenon. The color becomes an emotional field; the dust-like quality of the surface plays with the depth of color thanks to the particular absorption of light in a certain relationship with the idea of the sublime. Exploring space and the relation to space is significant in the artist’s research. The work in this exhibition that most pertains to this is Wallwaves Vibrations (Quanta Canticum): without a frame it becomes part of the wall and the architecture. The visual pattern suggests a reverberation of a sequence of waves on the surface of a liquid, or a sound. It’s as if the architecture is modified by the relationship between the sculpture and the wall and because of this it loses its status as an object. Loris Cecchini, through an extraction process, transforms the phenomenological elements of nature into sculpture, bas-relief, and installation. Within this extraction process, the surrounding context is considered. The desert which encompasses the exhibition location becomes a condition of the gaze for the local inhabitants and international visitors alike, creating both a landscape in the artworks and an emotional landscape in the eyes of the viewer.

https://www.galleriacontinua.com/special-projects/aeolian-landforms-and-other-particles-157

Clemencia Labin is a Venezuelan contemporary artist based in Hamburg Germany. 

She holds degrees from Columbia University, New York and the Hamburg Academy of Art under Franz Erhard Walther and Sigmar Polke. 

She is the founder of the annual arts festival Velada Santa Lucia in Maracaibo and in 2011 she represented Venezuela at the 54th Venice Biennale.

Labin’s work offers a suggestive Caribbean reinterpretation of the concepts and materials rooted in traditional Western art history.  Substituting the classical mediums in painting, with less solemn materials, she breaks through the frame with immersive installations, sculpture and performance.  Challenging the indoctrination of Western tradition in Latin America through a thought-provoking exercise with a socio-political take that produces soft compositions to question the purity of modernism, and the patriarchal chauvinism associated with the myth of the blueprint of a model artist.

http://www.kunstverein-row.de/

Galerie Roger Katwijk will be featuring the third solo exhibition of German artist Dirk Salz from February 26 to March 26, 2022.

The title ‘The World is deep’  refers to the fact that truth and reality is never traceable plain on the surface  but only in the depth like Paul Cézanne already recognized:

'Nature is not on the surface, yet in the depth. The colours are the expression of this depth on the surface. They arise from the roots of the world. They are their life, the life of ideas.‘ (Quote from Cézanne)

The works of Dirk Salz are remarkable for their transparency and reflective nature, the result of a singular blend of resins and pigments which he applies to cork and multiplex. Salz reveals himself as a master of optical illusion through these perfectly executed pieces, which he refers to paintings; in them, the foreground and background blend seamlessly together. Salz slowly builds these entirely abstract works with infinite care, layer by layer, using a diaphanous, pigmented epoxy resin and creating an immeasurable depth in the process. While the smooth resin reflects the environment in which they are placed, the eye of the viewer goes well beyond that reflection and is pulled deeply into the refined works. This fathomless depth is strongest in Salz’s darker pieces, which compellingly suggest elements partially hidden under the gleaming, reflective surface. An example is the series ‘Deep Dives,’ which makes alluring visual reference to dark, shadow-bound water basins.  In the new works Salz is showing 'deep dives‘  composed of same sized rectangles but variable in position and layering - creating new geometrical elements out of themselves and together with the reflection of the environment.  New is also a triangulated form of the picture carrier, that gives specific intended identity to the object character of the work. In his round works Salz is showing two coloured fadings.

Completely new work (within the ‘Fadings' series) - transparent digital prints on glass. In each case three panes standing in a row before the wall. The picture the viewer sees,  is a trick of the perception, because it’s not really one picture but four (an addition of the three panes and the wall behind) - and the reflections of the surroundings. The specific work is titled  ’The four elements’.

https://rogerkatwijk.com/exhibitions.php 

The City of Pembroke Pines and Frank C. Ortis Art Gallery present Elemental: Terra, Tide & Time, a survey of contemporary artists who explore new frontiers between visual art, environmental stewardship, sustainability and the relational duality between rural and urban environments. Between questions of weather and climate, ruin and entropy, boundary and movement, the artists in this exhibition reflect on how our environment is experienced and imagined. Acting as both researcher and renegade, each artist presents their findings through multiple forms of knowledge and practice including artistic approaches, scientific data, technological intervention and social activism.

The Third Space Gallery presents Natural Mystic, an exhibition that features botanical artworks by Andrea Huffman and Meg Wallace.

The Frank Aisles hosts a solo exhibition by Melanie Olivia featuring works from her After-image series.

601 City center Way , Pembroke Pines, FL

ANGELA GLAJCAR - One Man Show

Galeria Marita Segovia
Calle Lagasca 7
28001 Madrid
Spain

https://galeriamaritasegovia.com/gb/65-angela-glajcar

Hanji Works and Contemporary Art, 
Jeonbuk Museum of Art South Korea (KOR)

https://www.jma.go.kr/

Curated by Lucy Bilson

Featuring works by Barbara Astman, Walter Bachinski, Susan Coolen, Michael Flomen, John Hofstetter, Thomas Lax, Ron Martin, David Rifat, Michael Snow, Douglas Walker, Joyce Wieland, and Ossip Zadkine 

https://kwag.ca/content/articulating-legibility-works-permanent-collection