Nยบ4 EN / DEC 2013
FREE MONTHLY MAGAZINE
TECHNICAL FILE Line & Stylish, Art Magazine ERC Registration nr – 126385 Owner: José Eduardo de Almeida e Silva Publisher: José Eduardo de Almeida e Silva NIF: 179208586 Periodicity: Monthly Editorial Address: Urbanização do Lidador Rua 17, nr 106 4470-709 – Oporto - Portugal Contact: +351 926 493 792 Director in Chief: Eduardo Silva Vice-director: Isabel Gore Editor in Chief: Eduardo Silva Editorial Staff: José Eduardo Silva Isabel Pereira Coutinho Luís Peixoto Art and Web Director: Luís Peixoto Photography: Twelve Artists under 35 years to follow • Alexey Chizhov - Courtesy • Benjamin Garcia- Courtesy • Chrissy Angliker - Courtesy Photo Chrissy Angliker: ©Jasper Wheeler • Daniel Ochoa and Arcadia ContemporaryCourtesy • Eric Pedersen- Courtesy • Federico Infante - Courtesy Photo © Eliza Lamb • Hayv Kahram - Courtesy • Jason Bard Yarmosky - Courtesy • Julien Spianti - Courtesy Photo © Anthony Lycett • Kamalky Laureano - Courtesy • Lionel Smit - Courtesy • Patrick Earl Hammie - Courtesy Fondation Beyeler • © Luise Heuter • © Nic Tenwiggenhorn Fundação Calouste Gulbenkian • Museu Nacional do Azulejo, Lisboa © DirecçãoGeral do Património Cultural/Arquivo de Documentação Photográfica (DGPC/ADF) – Luísa Oliveira, 2011 • Musée du Louvre, Département des Antiquités Orientales, Paris © Musée du Louvre, Dist. RMN-Grand Palais/ Raphaël Chipault.
• Museu Calouste Gulbenkian, Lisboa © Fundação Calouste Gulbenkian • Photo: Catarina Gomes Ferreira • Musée d’Orsay, 1989 © 2013 • Nederlands Tegelmuseum Kunstmuseum Wolfsburg • © The Josef and Anni Albers Foundation/VG Bild-Kunst, Bonn 2013 • © Kunsthaus Zürich, donation of Dr. Joseph Scholz Stiftung,© 2013 Kunsthaus Zürich. • München, Bayerische Staatsgemäldesammlungen -Neue Pinakothek © Photo: bpk | Bayerische Staatsgemäldesammlungen • Fondation Beyeler, Riehen/Basel, Beyeler Collection © Photo: Peter Schibli, Basel • Stiftung Moritzburg Halle (Saale) – Kunstmuseum desLandes Sachsen-Anhalt © Photo: Klaus E. Göltz, Halle. • Sound: Franz Pomassl. © Photo: mumok/Lisa Rastl • Museum Frieder Burda, Baden-Baden • © The Estate of Sigmar Polke, Cologne / VG Bild-Kunst, Bonn 2013. • Musée de Cluny, Paris • ©Photo: bpk | RMN - Grand Palais | Franck Raux • Museum Boijmans Van Beuningen, Rotterdam • ©Photo: Studio Tromp, Rotterdam Musée de L’Orangerie • Arquitecto Enrique Garcí Formenti, © Photo Francisco Kochen ,© ADAGP, Paris 2013.Col. Museo Dolores Olmedo, Xochimilco, México, © Photographs : Erik Meza /Javier Otaola ; image © Archivo Museo Dolores Olmedo © image Archivo Museo Dolores Olmedo ©2013 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / ADAGP, Paris © Photo Francisco Kochen © ADAGP, Paris 2013 Museum of Biblical Art, Dallas • Juan Carlos Del Valle The Metropolitan Museum of Art • Courtesy of JAR, Paris. • ©Jozsef Tari Photography • © Katharina Faerber Potography 2
The December Issue of Line & Stylish Art Magazine will be remembered by the first time that we have published a list of our artistic preferences. Something that took a great effort of our team as we intend to give an overview of what is happening in Fine Art world, mainly with young artists. As all lists, this one has also failures, mainly by the absence of several names. But a list is a list and its real value is very relative, yet it is an important factor to the full understanding of who made it. According to this view this is the first time that we openly express our aesthetic preferences. However in this issue, we take a look at some artist Medias and materials almost forgotten as tiles and textiles. The first one is on view till January 26, 2014 at the Gulbenkian Museum in Lisbon, which gives to art lovers and professionals a unique chance to learn and appreciate the magnificence of the tiles through a very well design exhibition. The textiles and the importance they play in Fine Art could be found in the exhibition presented by the Kunstmuseum Wolfsfbourg, Germany, titled; “Fabric as Material and Concept in Modern Art from Klimt to Present”; explaining the key role that textiles always have played in Fine Art. Once again we hope that you enjoy our work. For further questions or suggestions, please contact us through our mail: email@example.com
José Eduardo G. de Almeida e Silva Director in Chief
Cover: LUIS PEIXOTO 3
ART&TEXTILES Fabric as Material and Concept in Modern Art from Klimt to the Present
JEWELS BY JAR
THE SPLENDOUR OF CITIES THE ROUTE OF THE TILE
TWELVE ARTISTS under 35 years to follow
132. FRIDA KAHLO / DIEGO RIVERA Art in Fusion
TEMPTATION Juan Carlos Del Valle
firstname.lastname@example.org +351 926 493 792 5
Thomas Schütte October 6, 2013 – February 2, 2014
Thomas Schütte Walser’s Wife, 2011, Lacquer on aluminium, 65 x 38 x 54 cm © 2013, ProLitteris, Zurich. Photo: Luise Heuter 6
Fondation Beyeler presents Thomas Schütte on view October 6, 2013February 2, 2014. This exhibition of Thomas Schütte’s work was arranged in close collaboration with the artist and presents a wide range of sculptures, drawings and watercolors that provide deep insight into Schütte’s figurative work. Monumental women of steel, great spirits of bronze, caricatural figurines of modelling clay, lifesize heads and figures of ceramic, delicate watercolor portraits, and self-portraits drawn in front of the shaving mirror will all be on display reflecting Schütte’s radical love of experiment and resistance of categorization. Bringing together works from the past thirty years, the show includes indoor and outdoor sculptures, works that have not been seen in public for many years, and others that are brand new. With his small and large sculptures in bronze, steel, ceramic and glass, Schütte takes up the age old tradition of figurative sculpture and proceeds to develop heads and figures that assert their irrevocable place in the present, both in their immediacy and their manufacture. At the entrance of the museum stands a group of Die Fremden, which as early as 1992 reflected the effectiveness and versatility of Schütte’s handling of the human figure. Introspective, eyes lowered, and equipped with suitcases and traveling bags, the ceramic figures challenge wind and weather. Are they arriving or departing? Are they visitors, refugees, or just people traveling through?
His figure series, such as the United Enemies, has been part of the artist’s oeuvre for decades. The 1994 figures, modeled of Fimo, a brand of plasticine, and later tied together, make the viewer feel like giants with their astonishingly dolllike, arts-and-crafts appearance. Twenty years later, the just under fourmeter-tall double sculptures of patinated bronze relegate the viewer to miniatures. After facing a strange yet familiar figurine, viewers gaze upwards at a monumental bronze sculpture of enigmatic origin. Such shifts in scale are a typical example of Schütte’s method. Schütte’s sculptures enter the scene as on a stage; rather than being autonomous and selfcontained,they always relate to their surroundings and the audience. For years, this masterful play of monumentality and intimacy has been conducted in the public space, where Schütte’s figures are visible to all, whether native, tourist or passerby. His outdoor sculptures, whether the United Enemies at the entrance to New York’s Central Park or Vater Staat (Father State) outside the Neue Nationalgalerie in Berlin, seem naturally integrated in the everyday life of the city. This was especially evident this summer in the case of the sculpture group Vier Grosse Geister (Four Big Spirits), occupying at three sites in Zurich, Geneva and Bern. It was this year’s example of the continuation of a Fondation Beyeler tradition of presenting art to a wide audience in the public realm.
Thomas Schütte Blumen für Konrad (Flowers for Konrad), 1998,Ink on paper, 39 x 29 cm © 2013, ProLitteris, Zurich.Photo: Nic Tenwiggenhorn 9
Thomas SchĂźtte United Enemies, 2011 (detail),Patinated bronze ÂŠ 2013, ProLitteris, Zurich. Photo: Nic Tenwiggenhorn
With his small and large-scale sculptures in bronze, steel, aluminum, ceramic, glass, wood and wax,Thomas Schütte continues the long tradition of figurative sculpture that was called profoundly into question in the 20 th century, developing figures whose immediacy of appeal and technique make them absolutely of the present day. There is a strong connection between Schütte’s art and the Fondation Beyeler, the museum’s collection notably represents the modern image of man, with artists like Paul Cézanne, Henri Matisse, Pablo Picasso, Alberto Giacometti, and Francis Bacon. Schütte is an artist who, a few generations later, is again tracing the nature of being human in figures and heads made under quite different circumstances.
Thomas Me Memorial, 2007–2009, Gla
© 2013, ProLitteris, Zurich. 12
s Sch端tte azed ceramic, 21 x 26 x 55 cm
.Photo: Nic Tenwiggenhorn 13
Active in Düsseldorf, the German sculptor and draftsman Thomas Schütte ( He studied from 1973 to 1981 at the Düsseldorf Art Academy, first in the cla Cologne and the Rhineland were the most vital art center in Europe, where, fo greater presence than anywhere else on the Continent. One focus of this activ Thomas Schütte had his first one-man show, in 1981.
It was the beginning of a continually developing, astonishing career. In the e objects, shown at exhibitions yet seldom translated into actual structures. On at the 1987 “Documenta 8”.
Simultaneously with this conceptual work, Schütte had begun to develop a fig assembled of various materials. Apparently, however, the time was not yet ri Die Fremden (The Strangers) found great acclaim during “Documenta IX” in K a sculptural oeuvre centered on the human figure. At the time, this was an un time, an impressive figurative oeuvre emerged, whose radicality and innovat
Since then Schütte has logically and successfully pursued his work in both ar himself on the one hand as a builder of utopian and actual architectural mod are linked by drawings, which trace a recognizable path through the artist’s e
(b. 1954) is among most fascinating and innovative artists of his generation. ass of Fritz Schwegler, then with Gerhard Richter. At that period, Düsseldorf, or instance, the avant-garde of American Minimal and Conceptual Art had a vity was the gallery run by Konrad Fischer, where the young, as-yet unknown
early 1980s, Schütte became known for his architectural-looking models and ne exception was Eis (Ice), a sort of ice cream parlor that was much frequented
gurative oeuvre, at the onset of which stood tiny figures and heads formed and ipe for this brand of art – until 1992, when the polychrome ceramic figures of Kassel. Alongside his model-like constructions, Schütte had begun to develop nexpected theme, and it took on more and more importance for the artist. In tive traits seemed hardly imaginable any more in this field.
reas. Presenting dels, on the other he shows new groups of figures and heads. The two activities entire oeuvre.
Baselstrasse 101 CH-4125 Riehen / Basel Switzerland 15
Art&Textiles Fabric as Material and Concept in Modern Art from Klimt to the Present 12.10.2013 â€“ 02.03.2014 of Deceleration in 2011, this exhibition represents a further step in the pursuit of modernism in the 21st century that the museum has been undertaking since 2006.
Nothing, no material, no technique is as capable of touching our sensual and mental existence so universally as textiles, particularly at a time that is in danger of becoming ever less sensuous due to increasing virtualization. Textiles with their abundance of weaves and textures that evolved over the millennia are the ideal medium to fulfill this need for sensuality.
This large-scale exhibition encompasses approximately 170 works by over 80 artists, among them major paintings by Gustav Klimt, Vincent van Gogh, Edgar Degas, Henri Matisse, Paul Klee and Jackson Pollock. But artifacts whose creatorsâ€™ remain nameless can also be viewed in the circa 2700 square meters large exhibition space, for example a pre-Columbian textile fragment from the collection of Anni Albers.
The Kunstmuseum Wolfsburg again devotes itself to a central aspect of human life from the perspective of art in a historically far reaching, interdisciplinary multimedia exhibition that encompasses the most diverse cultures. After Interior/ Exterior in 2008 and The Art 16
Anni Albers Black-White-Gold I, 1950, Cotton, jute and metallic ribbon,63,5 x 48,3 cm ÂŠ The Josef and Anni Albers Foundation/VG Bild-Kunst, Bonn 2013 17
Philippe de Champaigne Le linceul de Veronica, before 1654, Oil on canvas,70,5 x 56 cm Kunsthaus Zürich, donation of the Dr. Joseph Scholz Stiftung © 2013 Kunsthaus Zürich 18
Edgar Degas La Repasseuse, ca. 1869, Oil on canvas,92.5 x 73.5 cm M체nchen, Bayerische Staatsgem채ldesammlungen -Neue Pinakothek Photo: bpk | Bayerische Staatsgem채ldesammlungen 19
ethnographical museums, for example fine African Kuba cloth.
Our exploration of the significance of the textiles also involves a kind of “re-reading” of the history of modern art from Art Nouveau to the present. The modern separation of applied and fine art resulted in the systematic, decades-long exclusion of all handicrafts from the art historical canon. In the process, modernism drew decisive impulses from the ties between art and craftsmanship.
Its comprehensive approach makes Art & Textiles a fundamental exhibition. The origins and complementary supplement can be found in counterpart, the 2001 Ornament and Abstraction exhibition (Fondation Beyeler) that examined the significance of the ornament for the development of abstract art. The intellectual patron of that show was the Viennese art historian Alois Riegl whose universal history of form from 1893 led from humankind’s earliest patterns to the Egyptian lotus motif and the Greek palmette and from there to the arabesque ornament. The thesis of the exhibition was that they can be traced further in abstract art. In doing so, Riegl responded to Gottfried Semper, who in 1863 saw technology and the dealing with material as the origin of forms and symbols. “Form follows material”: This is the formula that can be applied to the Art & Textiles project.
Those expecting to primarily be confronted with textiles in this exhibition will be surprised. Visitors will not only encounter works of art made out of textiles, for example the typical knitted pictures by Rosemarie Trockel, but also paintings illustrating textiles like the hanging laundry in Edgar Degas’s “Woman Ironing” or the sumptuous BallEntrée that envelopes Marie Henneberg in a textile cloud in her portrait by Gustav Klimt (1901). Videos deal with the notion of the textile (Kimsooja) or immerse the viewer in a cosmos of constantly shifting nets (Peter Kogler). Objects are furthermore on show that one otherwise encounters solely in 20
La broderie Tapisserie faisant partie de la vie seigneuriale, the Middle Ages Tapestry ca. 265 x 224 cm MusĂŠe de Cluny, Paris Photo: bpk | RMN - Grand Palais | Franck Raux 21
Paul Klee Untitled [Gefangen/Diesseits - Jenseits/Figur], ca.1940,Oil, recessed drawing with colored paste on paste-primed jute,55.2 x 50.1 x 2 cm.Fondation Beyeler, Riehen/Basel, Beyeler Collection Photo: Peter Schibli, Basel 23
Gustav Klimt Portrait of Marie Henneberg, 1901/02, oil on canvas, 140 cm × 140 cm, Stiftung Moritzburg Halle (Saale) – Kunstmuseum desLandes Sachsen-Anhalt Photo: Klaus E. Göltz, Halle
for example in Material and AntiForm Art (Eva Hesse), Soft and Pop Art (Sigmar Polke), Fluxus (Joseph Beuys) as well as Minimal Art (Agnes Martin). “Textile Art” itself was long stigmatized as being a mere handicraft and dismissed as a “women’s matter” associated with domestic housework until Rosemarie Trockel produced her first knitted pictures in the early 1980s, reevaluating the cliché of the textile as a genderspecific form of expression. The chapter “Spider Women” is consequently devoted to the most important protagonists of feminist art, including, alongside Trockel, Louise Bourgeois, Mona Hatoum and Ghada Amer. Artists have considerably expanded the textile’s range of meanings since then and presentday art production is virtually interspersed with works made from yarn and fabrics, sewn sculptures and crocheted installations.
The Art & Textiles exhibition begins during the eventful Art Nouveau period when artists and designers such as William Morris and Henry van de Velde in Paris, Brussels, London and Vienna set about breaking down the hierarchy between art and handicraft in favor of a comprehensive life plan. Textile fashioning was also the connecting link to painting that was in the process of becoming abstract after Édouard Vuillard, Henri Matisse and Gustav Klimt. The visitor follows the golden thread of the exhibition to the Bauhaus in the German cities of Weimar and Dessau, where textile design reached an initial highpoint and the foundations for the enfolding of so-called fiber art were laid. But it was less the heralding of a separate art movement that proved fruitful than the ever more self-evident use of textiles as a medium, technique, material and concept in avant-garde art, 25
Vincent van Gogh A WeaverÂ´s Cottage, 1884 Oil on canvas on wood,47 x 61,3 cm 1237 (MK) Museum Boijmans Van Beuningen, Rotterdam Photo: Studio Tromp, Rotterdam 27
Sigmar Polke Tree of Life, 1983 Acrylic on cloth,180 x 150 cm Museum Frieder Burda, Baden-Baden ÂŠ The Estate of Sigmar Polke, Cologne / VG Bild-Kunst, Bonn 2013 28
But the “textile cosmos” extends far beyond the realm of art, fundamentally bearing on our appropriation of the world. “To be human is to be involved with cloth” says the textile scholar Beverly Gordon. Textiles literally accompany us all our lives, from the diaper to the burial shroud. As Gottfried Semper already determined in 1860, spinning and weaving concern a primal technique from which all the other arts developed. “Civilization first exists,” Hartmut Böhme explains, “when it has mastered the cultural techniques of ‘binding’ and ‘connecting.’” The Jacquard loom, this exemplary archetype of industrialization, introduced the punched card principle, making it a prototype of digital pictorial culture. This highly topical analogy of mechanical weaving and digital processing tempts one to comprehend the World Wide
Web as a kind of weaving loom of the Internet age. The exhibition at the Kunstmuseum Wolfsburg also pursues the question concerning the share of textile techniques in the birth of abstraction. The orthogonal fabric structure of warp and woof finds its equivalent in the rectangular grid pattern that conquered modern painting in the late 1920s (Piet Mondrian). Art & Textiles also pays particular attention to the second main occurrence in modern art, namely the exit of painting from the picture into space. The exhibition traces the “thread from the picture into space” based on historical installations in addition to those that have been produced for this occasion (Leonora Tawney, Fred Sandback, Chiaru Shiota, Peter Kogler). 29
Installat Peter Kogler,Oh
Sound: Fran Photo: ÂŠ mum 30
tionview hne Titel, 2008
nz Pomassl mok/Lisa Rastl 31
The largest chapter featuring exhibits from Africa, South America, and the Orient is dedicated to the intercultural dialogue. The universality of textiles makes them a kind of world language. “Global Art” that is supposedly no longer oriented on the Western concept of art is being discussed everywhere. But how should it be exhibited by a still Westernoriented art world? Ethnological museums and museums of nonEuropean art, for example the future Humboldtforum in Berlin, must ask themselves this question. The Kunstmuseum Wolfsburg suggests its own presentation model in this exhibition that is based on combining objects from various art historical and cultural contexts. The Wolfsburg wall system facilitates a versatile staging of the exhibition, and even occasionally becomes an exhibit itself, for instance in the replication of the unique Café Samt & Seide constructed in Berlin in 1927 by Lilly Reich and Mies van der Rohe.
List of Artists Magdalena Abakanowicz, Nevin Aladag, Anni Albers, Ghada Amer, El Anatsui, Burak Arikan, Gertrud Arndt, Joseph Beuys, Pierrette Bloch, Alighiero e Boetti, Pierre Bonnard, Louise Bourgeois, Louis Cane, Philippe de Champaigne, Edgar Degas,Sonia Delaunay-Terk,Birgit Dieker, Frauke Eigen, Noa Eshkol, Friederike Feldmann, Lucio Fontana, Mariano Fortuny, Imi Giese, Domenico Gnoli, Vincent van Gogh, Sonia Gomes, Sebastian Hammwöhner, Mona Hatoum, Olaf Holzapfel, Pieter Hugo, Johannes Itten, Sergej Jensen, Mike Kelley, Bharti Kher, Anselm Kiefer, Kimsooja, Paul Klee, Gustav Klimt, Imi Knoebel, Peter Kogler, Yayoi Kusama, Liz Larner, Max Liebermann, Man Ray, Piero Manzoni, Brice Marden, Agnes Martin, Henri Matisse, Claude Mellan, Mario Merz, Ludwig Mies van der Rohe, und Lilly Reich, Piet Mondrian François Morellet, Robert Morris, William Morris, Koloman Moser, Blinky Palermo, Janet Passehl, Michelangelo Pistoletto, Sigmar Polke, Jackson Pollock, Jessica Rankin, Robert Rauschenberg, Gerhard Richter, Jens Risch, Christian Rohlfs, Reiner Ruthenbeck, Robert Ryman, Fred Sandback, Viviane Sassen, Chiharu Shiota, Yinka Shonibare, Katharina Sieverding, Pierre Soulages, Sophie Taeuber-Arp, Dorothea Tanning, Lenore Tawney, Joaquín Torres-García, Rosemarie Trockel, Heinrich Wilhelm Trübner, Félix Vallotton, Henry van de Velde, Édouard Vuillard, Andy Warhol, Pae White, Wols
Kunstmuseum Wolfsburg Hollerplatz 1 38440 Wolfsburg Germany 33
November 20, 2013–March 9, 2014 Gallery 913
This exhibition will feature more than four hundred works by one of the most acclaimed jewelry designers of the last thirty-five years, Joel A. Rosenthal, who works in Paris under the name JAR.
The exhibition will be the first devoted to a contemporary artist of gems at the Metropolitan Museum and will feature a selection of JAR’s finest pieces—from jewels in classical flower forms and organic shapes to witty objets d’art- all executed with the most exquisite gem stones including diamonds, sapphires, garnets, topazes, tourmalines, and citrines in an original combination of colors. Rosenthal’s one-of-a-kind creations place him among the ranks of history’s greatest jewelers.
Born in New York and educated at Harvard, Rosenthal moved to Paris soon after his graduation in 1966 and began to experiment with jewelry making. JAR opened in 1978 on the Place Vendome - the same space he occupies today. Very early in his career, Rosenthal revealed his superb sense of color, whether in the hue of an exotic violet sapphire, the shimmer of topaz and ruby, or the simple clarity of a perfect diamond. His works quickly became known for their unique design, the quality of their stones, and their remarkable craftsmanship, but above all for their fearless beauty. He is known for his pavé technique - the setting of small stones so close together that they appear as a continuous surface of jewels -and uses subtle gradations of color to create a painterly effect.
The exhibition will be the first retrospective of his work in America; the only other major exhibition of Rosenthal’s work was held in 2002 at Somerset House in London.
The Metropolitan Museum of Art 1000 Fifth Avenue New York, New York 10028-0198 NY 34
Diamonds, lilac sapphires, garnets, aluminum, silver, and gold Private collection Photograph by Jozsef Tari. Courtesy of JAR, Paris.
Diamonds, silver, and platinum Private collection Photograph by Jozsef Tari. Courtesy of JAR, Paris.
Cameo and Rose Petal Brooch, 2011 Rubies, diamonds, silver, gold Private collection Photograph by Jozsef Tari. Courtesy of JAR, Paris.
Colored Balls Necklace,1999
Rubies, sapphires, emeralds, amethysts, spinels, garnets, opals, tourmalines, aquamarines, citrines, diamonds, silver, and gold Private Collection Photograph by Jozsef Tari. Courtesy of JAR, Paris
Diamond, tourmalines, and gold Private collection Photograph by Katharina Faerber. Courtesy of JAR, Paris.
Agate, diamonds, a sapphire, silver, and gold Private collection Photograph by Katharina Faerber. Courtesy of JAR, Paris.
THE SPLENDOUR OF CITIES THE ROUTE OF THE TILE 25 October 2013 â€“ 26 January 2014
Curating: JoĂŁo Castel-Branco Pereira and Alfonso Pleguezuelo
This unprecedented exhibition opens up a fascinating voyage through the world of the tile and on display at the Gulbenkian Museum through to 26th January 2014. The exhibition brings together around two hundred pieces with their origins stretching from Central Asia through to Western Europe and loaned by landmark national and international museums and collections. In effect, this represents the first time the tile is placed in dialogue with ornamentation and the protection of architecture on an international scale and featuring such diverse cultures ranging from Ancient Egypt through to contemporary times.
“Minerva” Mythological panel, Lisbon, 2nd quarter of the eighteenth century (c. 1725-1759)
National Tile Museum, Lisbon © General Direction for Cultural Heritage / Archive Photographic Documentation (DGPC / ADF) - Luisa Oliveira, 2011
The Brilliance of Cities. The tile route represents an opportunity to confirm in an original fashion just how the Portuguese have interrelated with this art form that has accompanied them ever since the late 15th century and which, given its constant presence in our daily lives, is recognised as part of its very own identity. While simultaneously enabling an understanding as to just how this technique moved with time and adapted to new fashions, the exhibition also shows how other peoples took advantage of this object in order to enrich their own surrounding environments. The reference contained in the exhibition title, the tile route, conveys one of the key ideas of this project: the identification of the cultural influence of other, sometimes very distant, peoples and the acceptance of other fashions conveyed by men who down through the centuries travelled great distances in order to trade objects. Following a brief presentation of the earliest glazed ceramic pieces and their architectural styles, the exhibition takes on aesthetic criteria to approach facets shared by various centres of production and featuring pieces produced in different historical periods. The sections thereby established deal with questions such as the myth of golden ceramics, the conquests of geometry, the importance of heraldry, the weighting of classical figurative culture, the role of Christian mythology, mimesis or the stylisation of nature, the reflections of the great genres of European painting, the influence of cloths, the seduction that the West has always experienced towards the Orient and the representations of both utopia and daily routines and practices. The objective of this exhibition collection is not to convey a historical panorama in the academic sense but rather to display the attractions of a common and shared heritage that so aptly symbolises the fertile cultural bridge between the East and West that long held such fascination to Calouste Gulbenkian. The exhibition spans five thematic sections that combine pieces with differing geographic origins and that reveal how, despite the major social, political, religious and cultural differences existing and generating internal matrices, there are many deep reaching confluences in both the approaches and their outcomes.
“Panel of Tiles” Iznik, Turkey, c. 1575
Museu Calouste Gulbenkian, Lisbon © Calouste Gulbenkian / Photo: Catarina Gomes Ferreira
1. IN THE ORIGINS
Ancient Egypt, Mesopotamia, Assyria and Persia all hosted examples of the application of ceramics to architecture and that experienced an enormous level of expansion and resulting in a brilliant and long lasting history. As in other domains, Byzantium played a crucial role in establishing a bridge between the East and the West, between the Classical Era and the Middle Ages, as well as between the Christian and the Islamic worlds. The enigmatic golden ceramics, the prodigious geometrical complexity of the paired ceramic mosaics, the perfection of production techniques and the role tiles began playing in architectonic interiors and exteriors are some of the major contributions made by the Mediterranean countries to the field of ceramics.
2. WALLS THAT TALK
Throughout the Middle Ages, Islam and Christianity drew from their religious texts not only the core of their belief systems but also discovered there a fertile source of aesthetic expression. Calligraphy was one of the most important of all artistic genres to the Islamic world. Texts inscribed on the walls of buildings holding religious purposes turned into some great and large open book from which believers could recall the tenets of their faith. Public spaces, especially in the Modern Ages, also got converted into places charged with iconic messages, warnings and instructions with a diverse set of purposes. Heraldry, information of public interest, information on the ownership of the respective properties, political propaganda and commercial interests represent just some of the purposes of this written and designed architectural style.
“Tile representing bust of a young man” Persia, Isfahan, c. 1620, the Safavid period
Museu Calouste Gulbenkian, Lisbon © Calouste Gulbenkian / Photo: Catarina Gomes Ferreira
3. ORNAMENTATION AND TRANSMITTING MESSAGES
It is not just the alphabetic or symbolic messages that are susceptible to reading and interpreting. The ornamental style also offers up information on peoples and their cultures with apparently trivial forms burdened down with values and initially less obvious belief systems. There are deliberate intentions in the very choice of sources of inspiration for these decorative universes, in the artistic transformations to which the patterns of nature are subject to, in the beauty of the underlying geometry chosen, in the infinite repetition of the motifs, in the fantastic ornamentation evoking glorious past times or the exotic adornments that hark back to remote and legendary cultures.
“Wall Covering Panel” Between 1876 and 1877 Paris
Musée d’Orsay, don de la Société des Amis du Musée d’Orsay, 1989 © 2013. White Images/Scala, Florence. William Morris (1834-1896) and William Frend De Morgan (1839-1917)
4. POETIC NARRATIVES
It is the bond between art and literature that, in Mediterranean countries, provides the means of understanding the poetic narratives and down from classical times through to the contemporary period. The great eras of the past have defined the archetypes deemed worthy of emulating and that have seeped deeply into the profound knowledge of the human soul. Greek and Roman myths, biblical stories, the lives and deaths of prophets and martyrs, the great heroes of universal literature, lost and much desired paradises and also the minor stories drawn from the daily lives of mortals â€“ everything finds an echo and reflection in these large and small portrayals and in the resplendent colours so typical of tile panels.
“Archer” “Glazed brick panel ” Iran, Susa, reign of Darius I, Achaemenid period
Musée du Louvre, Département des Antiquites Orientales, Paris © Musée du Louvre, Dist. RMN-Grand Palais / Raphaël Chipault
ÂŠNederlands Tege Provenance: House Kareol in Aerdenhout (Haarlem, Netherland (1864-
elmuseum, Otterlo ds), built between 1906-1910, demolished in 1979, Max Laeuger -1952)
5. PRESENT AND FUTURE
The tile does not merely bear witness to the past. Its functional virtues, its capacity to adapt to new languages, its versatility in providing responses to new realities, new aesthetics and new ethical and religious values helped foster its survival into the modern world. Through mass production, the Industrial Revolution of the 19th century enabled its democratisation even while also on no rare occasion in unqualified and non-differentiated formats and generating reactions among both the more demanding strata of the population and among creative artists. They were together responsible for the development of tiles with great aesthetic potential whether in the forms of unique, one-off works or mass production prototypes of the highest artistic standards.
Among the leading international institutions that have loaned pieces for this exhibition are: the Louvre, the d’Orsay Museum, the Museum of the Decorative Arts; the Quay Branly Museum and the Pompidou Centre, Paris; the National Museum of Ceramics, Sevres; the National Museum of the Renaissance, Ecouen; the Valencia de Don Juan Institute, Madrid; the Museum of the Fine Arts, Seville; the Museum of Design, Barcelona and the González Martí National Museum of Ceramics, Valencia; the Royal Museums of Art and History, Brussels; the Municipal Museum of the Hague and the Boijmans-van Beuningen Museum, Rotterdam. In addition to pieces from the Gulbenkian Museum itself, the collection also features key pieces from other Portuguese museums: the Machado de Castro National Museum, Coimbra; the National Tile Museum, the Museum of Portuguese Decorative Arts – the Ricardo do Espírito Santo Silva Foundation, the Bordalo Pinheiro Museum and the City Museum, Lisbon; the Alberto Sampaio Museum, Guimarães; the Museum of Évora; the Museum of Lamego; the Faro Municipal Museum; the Berardo Collection, Bacalhoa, Sangalhos and Funchal, in addition to pieces from private collections. The exhibition, organised by the Calouste Gulbenkian Museum, was co-commissioned by its director, João Castel-Branco Pereira, and by Alfonso Pleguezuelo, professor at the University of Seville
Fundação Calouste Gulbenkian Sala de Exposições Temporárias da Sede Fundação Calouste Gulbenkian Avenida Berna 45, 1067-001 Lisboa 57
under 35 yea
This is not a contest, and far less a sort of investment guide for vicious collect obviously, this isn’t the list of the good looking 2013 young artists. We don’t n is to show through these twelve artists, how painting is changing in such an o that we have worked hard to assemble twelve Artists from different countrie
All of them are here, not because they will be the future Masters of the Univers of the execution and simultaneously reminding curators, collectors and cr choosing colors and compositions, but also how to communicate ideas and blindness, to recover the concept of “Talent”. I know that’s not fair, not even invisible thing called Talent makes all the difference… of course work gives a folks, independently of the artistic expression used in their works.
As I said above, this is not a contest, reason why the artists are presented in has no secret meaning. The same could be said about the presentation of each note. By doing so, we hope to give the choice to the interested readers to seek knowledge about the work and its producer without the need of accepting th
To: Alexey Chizhov, Benjamin Garcia, Chrissy Angliker, Daniel Ochoa, Eri Spianti, Kamalky Laureano, Lionel Smit, Patrick Earl Hammie, Thanks for making the world a little more interesting place to grow old. 58
ars to follow
By: JosĂŠ Eduardo Silva
tors looking for young emerging artists able to duplicate money in a year and, need that kind of cheap propaganda; they donâ€™t need it as well. Our intention obvious way that sometimes we do not realize that. So it was with great pride es, cultures and backgrounds.
se, but because their work deserves to be exalted by the quality and originality ritics that to become a painter you need to know how to do it, not only by d play with the viewer emotions and, at the end of almost five decades of n democratic, but only a few of us have the skills to be an artist, because that a precious help, but is not enough. It is this gift that links these twelve young
n alphabetic order, which means the way they appear in the following pages h artist, where we have just published 3 photos and a very short biographical more information about an artist in order to acquire a deeper and a personal he ideas of others.
ic Pederson, Federico Infante, Hayv Kahram, Jason Bard Yarmosky, Julien
Alexey Chizhov Alexey Chizhov was born in 1980 in Leningrad (St. Petersburg), Russia where he continues to live and work. He studied History of Art Psychology at Herzen University, and later completed his studies in painting at the Academy of Fine Arts in St. Petersburg. His work has been featured in numerous group exhibitions in Russia and can be found in many public and private collections in Russia and abroad. Since 1997-2001 Herzen University Bachelor of Arts’ Diploma. Since 2004-2010 St. Petersburg Academy of Fine Arts Painter’s Diploma. Exhibitions:2013 «Fields of Peace» Erarta, St. Petersburg, Russia.2012 «Between Heaven and Earth» Rizzordi Art Foundation, St Petersburg, Russia - «Social Networks» Erarta, St. Petersburg, Russia - «Archipelago Baltia» in the Baltic Biennale. Rizzordi Art Foundation, St Petersburg, Russia - 2012 «A natural paradise» Erarta, London. 2011 «Stability» Erarta, St. Petersburg, Russia. 2010 «Black Gold» gallery «Kitchen». http://alexeyChizkov.ru
Oil on canvas, 150х100 cm Courtesy ALEXEY CHIZHOV
Orpheus and Eurydice, 2011
Oil on canvas, 250x500 cm Courtesy ALEXEY CHIZHOV
Orpheus and Eurydice, 2011
Oil on canvas, 250x500 cm Courtesy ALEXEY CHIZHOV
Benjamin Garcia â€œI was born in Venezuela (1986) and graduated from the Caracas Institute of Design specializing in illustration for 2d/3d animation before I started to paint full time. My first influences came from comic artists like Moebius and Bill Sienkiewicz, and then later from Lucian Freud. My focus is mostly on portraits with an aesthetic language that is implicitly dark and subtly surreal with an approach to my subjects that are often subjective and intense. My style is very much inspired by the nebulous and unclear images of the mind, finding in this its true baseâ€?. http://beng-art.com
Benjamin Garcia Courtesy Benjamin Garcia
“I’m not living, I’m just killing time”, 2013 Oil on canvas, 140 x 140cm Courtesy Benjamin Garcia
” I thought I was someone else, someone good”, 2013
Oil on canvas, 130 x 100cm Courtesy Benjamin Garcia
Oil on canvas, 130 x 150cm Courtesy Benjamin Garcia
Chrissy Angliker Chrissy Angliker is a Brooklyn based Swiss Artist. She was born in Zurich, Switzerland, and raised in Greifensee and Winterthur. Her artistic inclinations emerged at an early age. Beginning in 1996 she was fortunate to study with the Russian artist Juri Borodatchev, who became her artistic mentor for several years. In 1999 at age 16, Chrissy moved to the US to study Fine Art at the Walnut Hill School in Natick, Massachusetts. In 2002, Chrissy had her first solo show at Gallery Juri in Winterthur, Switzerland. Seeking to broaden her means of expression, she then pursued a degree in Industrial Design at the Pratt Institute in Brooklyn, New York. The skills she developed there, including three-dimensional design, relationships between objects, and creating character through form, continue to influence her artwork. After spending her post-graduate years working in the design field, Chrissyâ€™s creative expression shifted back to painting in 2008. Chrissyâ€™s art is focused on visually translating her perception of herself in relationship to the world. www.chrissy.ch
CHRISSY ANGLIKER Photo: Asper Wheeler Courtesy Chrissy Angliker
48” x 48”. Acrylic on Canvas , 2013 Courtesy Chrissy Angliker
“Last Days of Summer”
36” x 48”. Acrylic on Canvas , 2013 Courtesy Chrissy Angliker
48” x 48”. Acrylic on Canvas , 2013 Courtesy Chrissy Angliker
Daniel Ochoa Daniel Ochoa is an American artist, born in 1980, who is originally from Northern California. He currently works in Brooklyn, New York. He is represented by Arcadia Contemporary, NY, NY. Hespe Gallery, San Francisco, CA. and Julie Nester Gallery, Park City, UT. â€œThe experiences I had growing up in a bicultural family fuel the imagery and emotional quality of my work. My father is an immigrant from Mexico, and my mother a white American. Over time, I began to recognize cultural dichotomies and to accommodate conflicting viewpoints based on context. With a constantly shifting sense of identity, I explore imagery through my work that is informed by photos, emotions, and memory. Painting in layers, I use masking techniques to jumble formal qualities such as abstraction and realistic representation. Recently, I have sourced imagery from Google Street View and social media networks as a way to trace the effect technology has on the construction of images. The combination of divergent elements suggests a pluralistic reality bridging the historical framework of painting, personal perspective and the influence of technology on image making.â€? www.danielochoa.com
“Esperando at Night”
Oil and mixed media on canvas, 34”x 39” Courtesy of Arcadia Contemporary
“High Street Entrada”
Oil and mixed media on canvas, 42”x50” Courtesy of Arcadia Contemporary
“Union Street Entrada” Oil and mixed media on canvas, 48”x36” Courtesy Arcadia Contemporary
Eric Pedersen Eric Pedersen was born in the Detroit metro area of Michigan in 1981. Twenty three years later he moved to Los Angeles where he currently lives and works. In 2009 he graduated from the Los Angeles Academy of Figurative Art. In 2013 he was accepted into the Masters Program at the New York Academy of Art. Selected Solo and Group Exhibitions: 2014, Arcadia Gallery “New Artists” New York New York - 2013, Katherine Cone Gallery “Sleeping Giants” Los Angeles California / Arcadia Gallery “LA Art Show” Los Angeles California / Arcadia Gallery “Small Works” New York New York / Katherine Cone Gallery “Rouge” Los Angeles California / 2013, Katherine Cone Gallery “Selfish” Los Angeles California / Q Art Salon, “Group Show” Santa Ana California / Maxwell Alexander Gallery, “Still, Life, and Land” Los Angeles California / Q Art Salon, “Figured Out” Santa Ana California – 2012 LAAFA Gallery, “The Figure” Santa Monica California / LAAFA Gallery, “Faces” Santa Monica California / Art Share LA, “The Karma Underground” Los Angeles California / Lancaster Museum of Art and History, “The Contemporary Figure: Past Presence” Lancaster California / Bergamot Station Arts Center, “Embody” Santa Monica California / Linus Gallery, “Nude but Not Rude” Pasadena California – 2010 Artwalk “LAAFA Graduation show” Los Angeles California - 2008, Gallery Nucleus, “LAAFA group show” Alhambra California - 2007, Gallery Nucleus, “LAAFA group show” Alhambra California
Oil on polyflax on aluminum panel 12 x 18 in. (30.5 x 46 cm.) Courtesy Eric Pedersen
“Zero Nine Two One One Nine Eight Eight” 2012 Oil on canvas on aluminum panel, 77 x 96 in. (195.5 x 244 cm.) Courtesy Eric Pedersen
“The Untitled Painting of Sarah Sleeping” 2011 Oil on canvas , 78 x 112 in. (198 x 284.5 cm.) Courtesy Eric Pedersen
Federico Infante Federico Infante is a Chilean artist, living and working in New York. He received his BFA from Finis Terrae University (Santiago, Chile) in 2002 and graduated in Spring 2013 with his MFA in llustration from the School of Visual Arts in New York. â€œI grew up in a place where I was forced to develop my powers of contemplation. The magnificence of the Chilean landscape changes and challenges your perspective. It made me think clearly about my decision to become an artist. For me, this was the right path. New York and its people have altered my creative process in a beautiful and positive way. Hidden in this city are images more mysterious than any I could ever imagine. The challenge of a new painting lies in each new day.â€? - Federico Infante http://federicoinfante.com
FEDERICO INFANTE Photo: Eliza Lamb
“The writer” , 2013 Acrylic on canvas, 70 x 48 Courtesy Federico Infante
“ Untitled “,2013
Acrylic on canvas, 40 x 50 inch Courtesy Federico Infante
Acrylic on canvas, 48 x 100 inch Courtesy Federico Infante
Hayv Kahram Hayv Kahraman born in Baghdad, Iraq (1981), currently lives and works in Los Angeles. Her work has been featured in exhibitions throughout the world including Echoes: Islamic Art and Contemporary Artists, Nelson-Atkins Museum, Kansas City; The Jameel Prize 2011 â€“ Shortlist Exhibition, Victoria and Albert Museum, London. Traveled to venues including: Museum of Fine Arts, Houston; the Cantor Center, Stanford University; Fertile Crescent, Paul Robeson Center for the Arts, Princeton ; Newtopia: The State of Human Rights, Kazerne Dossin Museum, Mechelen, Belgium. She was shortlisted for the 2011 Jameel Prize at the Victoria and Albert Muesum. Recent solo exhibitions include; Let the Guest be the Master, Jack Shianman gallery, New York, Extimacy, The third line gallery, Dubai, Seven Gates, Green Cardamom, London. Her work is included in several public collections including the American Embassy, Baghdad; The Barjeel Art Foundation, Sharjah; MATHAF Museum of Modern Art, Doha; and The Rubell Family Collection, Miami. http://hayvkahraman.com/
Hayv Kahram Courtesy Hayv Kahram
“Corporeal Mappings”, 2011 Oil on mobile panels, 80x80x5 Courtesy Hayv Kahram
“Bab el Sheikh”, 2013
Oil on panels, aluminum,103x170” Courtesy Hayv Kahram
“Collective Cut”, 2009
Oil on canvas, 42x68” Courtesy Hayv Kahram
Jason Bard Yarmosky Jason Bard Yarmosky, born in 1987 in Poughkeepsie, New York. Yarmosky began drawing as a child. He graduated with a BFA from the School of Visual Arts in New York City in 2010. With his focus on painting his grandparents, Yarmosky devotes his efforts to exploring the concept of aging. His paintings and drawings have been exhibited and collected throughout the United States and around the world. His work has appeared in numerous publications such as Azart Magazine, American Art Collector, Fine Art Connoisseur, American Artist Drawing, New American Paintings, High Fructose, and the Huffington Post. He is a past winner of the Elizabeth Greenshields Award. http://www.jasonyarmosky.com/
Jason Bard Yarmosky Courtesy Yarmosky
“Trick or Treaters” Oil on canvas, 80”x65” Private Collection Courtesy Jason Bard Yarmosky
“The Boxer”, 2012 Oil on canvas 72”x60” Private Collection Courtesy Jason Bard Yarmosky
“Sleep Walking”, 2013 Oil on canvas 83”x73” Colecção Privada Courtesy Jason Bard Yarmosky
Julien Spianti Julien Spianti, born in 1982 in Chartres, France, went to Paris to study philosophy. In 2004, he obtained a masterâ€™s degree in aesthetic philosophy at La Sorbonne, but reading Rilke convinced him to dedicate himself exclusively to art and creation and to give up his academic studies. Then, he directed several experimental videos, wrote short stories and started to set up his first personal exhibitions of drawings inspired by Leibnizâ€™s metaphysical theories. His work, which is now mainly focused on paintings, is deeply inspired by his literary and philosophic culture: to represent contemporary historic events and figures, he uses mythological places and biblical characters. He showed his work in international fairs and galleries in France (Marie Vitoux in Paris), in Switzerland (Galerie C.), in England (Rosenfeld Porcini) and in Belgium (Fred Lanzemberg). http://www.julienspianti.com
Julien Spianti (Panorama) Photo: Anthony Lycett
“After the flood”, 2013 Oil on panel, 50x60cm Courtesy Julien Spianti
Oil on canvas, 162x130cm Courtesy Julien Spianti
“La terre vaine”, 2013
Oil on canvas , 150x150cm Courtesy Julien Spianti
Kamalky Laureano Kamalky Laureano was born in the Dominican Republic in a town called Higuey on the east region of the country where the only source of art was local honest people trying to survive selling paintings of the beach and animals. During the time he spent in school, nothing interested him as much as drawing which he started at the age of four. By the time school ended, he knew he wanted to major in art, so at the age of 18 in 2002, he began to study in the fine art school of Santo Domingo. Two years later he changed to Altos de Chavon School of Design affiliated parsons, NY. Laureano has been the winner of 2 regional contests in his country 2001, 2002, and his work has been exhibited in France, Mexico, as well as the Dominican Republic. He has shows forthcoming in Mexico and New York. “My work is motivated by my feelings toward how I experience my life. Art is communication. It is the conscious living of the world around us in every second. My subjects captivate me as if they were music and melodies. I feel compelled to listen to them and play back their song the way I hear it. I am inspired by the singer’s face that sings to me every day” – Kamalky Laureano. http://kamalkylaureano.carbonmade.com
Kamalky Laureano Courtesy Kamalky Laureano
‘’ The Wonderful Gift III ‘’, 2013 Acrylic on canvas, 120 x 80 cm. Private collection– Courtesy Kamalky Laureano
‘’ Lidium ‘’ Prognosis series, 2012
Acrylic on canvas , 220 x 150 cm Courtesy Kamalky Laureano
‘’ Supernova ‘’, 2012
Acrylic, watercolor ink and oil on canvas, 220 x 150 cm Courtesy Kamalky Laureano
Lionel Smit Lionel Smit, was born in Pretoria, South Africa in 1982, he started developing school at Pro Arte Alphen Park. He now lives and works in Cape Town. He is best known for his contemporary portraiture executed through monumental canvasses and sculptures. Smit exhibits locally in South Africa where he is considered one of the countries youngest investment artists. He is currently exhibiting on art fairs in Amsterdam, Germany, India, Miami, Monaco and Hong Kong. Over the past 10 years he has established a substantial international following with collectors ranging from the Standard Chartered Bank to Laurence Graff Art Collection at Graff Delaire wine estate. Smit’s painting has been exhibited at the National Portrait Gallery, where it was chosen as the ‘face’ of the BP Portrait Award 2013. He was recently honored with a Ministerial Award from the Department of Culture for Visual Art and a highlight of his career has been the publication of one of his paintings on the cover of Christie’s Auction Catalogue. Selected exhibitions: 2013 - Strarta Art Fair, Saatchi Gallery, Rook & Raven, London - Fragmented. Solo exhibition, Rook & Raven, London -100 Accumulation, solo exhibition, Everard Read, Johannesburg -BP Portrait Award Exhibition, National Portrait Gallery, London -Wonder Works Exhibition, The Cat Street Gallery, Hong Kong. 2012 Compendium, solo exhibition, 34FineArt, Cape Town - Accumulation of Disorder, installation, University of Stellenbosch Gallery, Stellenbosch - Strata, solo exhibition, Rook and Raven, London -Winter Exhibition, Everard Read, Johannesburg - Robert Bowman Gallery, India Art Fair, India - Jhb Art Fair, Everard Read 2011 - Surface, solo exhibition, Artspace, Johannesburg - 34FineArt, ArtMonaco ‘11, Monaco -MOMAC, group exhibition, Roberta Moore Fine Art, England. 2010 - Out of the Office, group exhibition, Kunstmuseum Bochum, Germany - Cynthia Reeves Projects, Art Miami, USA - We are not Witches, Saatchi Gallery, London Submerge, solo exhibition, 34FineArt, Cape Town. http://www.lionelsmit.co.za
Lionel Smit in Studio Courtesy Lionel Smit
“Disclose & Conceal Series”, 2013 Oil on Canvas 170 x 230cm. Courtesy Lionel Smit
“Lumination”, 2013 Oil on Canvas , 230 X 170cm Courtesy Lionel Smit
“Transparent Behavior”, 2013 Oil on Belgian Linen, 120 X 120cm, 2013 Courtesy Lionel Smit
Patrick Earl Hammie Patrick Earl Hammie (b. in 1981, New Haven, Connecticut) is best known for his monumental portraits that use body language and narrative to reconfigure inherited conceptions of ideal beauty and heroic nudity. Hammie earned his BA from South Carolinaâ€™s Coker College in 2004, and his MFA from the University of Connecticut in 2008. In 2009 he was an artist in residence at Wellesley College, supported by the Alice C.Cole Fellowship in Studio Arts. In 2011 he was an artist in residence at The John Michael Kohler Art Center, supported by an award from Alliance of Artists Communities. Hammie is currently an assistant professor at the University of Illinois at a Urbana R Campaign. In addition to exhibiting, he maintains an active speaking Schedule as a public lecturer, visiting artist, panelist, and critic. He has received several awards and recognitions, including the Tanne Foundation award, Midwestern Voices and Visions award, Award of Excellence from the Zhou B.Art Center in Chicago, Arnold O. Beckman Research Award, and a Dave Bown Projects Award. His work is featured in What the Body Says; Power and Vulnerability, Poets/Artists Magazine, 2011, Fgure, Face, Identity, Sprocket box, Entertainment, 2011 and From Motion to Stillness, Poets/Artists Magazine, 2013. http://patrickearlhammie.com/
Patrick Hearl Hammie Courtesy Patrick Hearl Hammie
Oil on linen, 68” x 96”. Courtesy Patrick Hearl Hammie
“Study for Aureole” 2013 Charcoal on paper, 42” x 60” Courtesy Patrick Hearl Hammie
“Icarus II”, 2013
Oil on linen, 58” x 80” Courtesy Patrick Hearl Hammie
Frida Kahlo / Diego Rivera Art in Fusion Musée de l’Orangerie 9 October 2013 - 13 January 2014
This exhibition has been organised by the Public Establishment of the Musée d’Orsay and Musée de l’Orangerie with exceptional loans from the Museo Dolores Olmedo, Mexico.
Frida Kahlo Autorretrato con Changuito/Self Portrait, 1945
Huile sur masonite / Oil on masonite, 56 x 41,5 cm Col. Museo Dolores Olmedo, Xochimilco, México Photographs by Erik Meza / Javier Otaola ; image © Archivo Museo Dolores Olmedo ©2013 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / ADAGP, Paris
If Frida Kahlo (1907-1954) is today one of the best known and most popular figures of 20th century Mexican art, it is undoubtedly because of her personality and the originality of a body of work that defies all efforts to classify it. Her work is, above all, the expression of a life - a tragic and turbulent life, one that challenged all conventions, a life known in all its detail and recently the subject of a film, making her a true icon. The mere mention of her name excites enthusiasm and admiration, but her work is rarely exhibited, and has not been shown in France for fifteen years. The selection to go on show at the Musée de l’Orangerie includes major works by the artist, with masterpieces from the Museo Olmedo, which holds one of the main collections of Frida Kahlo’s work, including the very famous Colonne brisée [Broken Column]. The life and work of Frida Kahlo cannot be separated from those of her companion Diego Rivera (1886- 1957). Together they became figures of legend, and both have a place in the pantheon of 20th century Mexican artists. Famous for his large mural paintings, Rivera’s easel paintings, drawings and prints, which form a large part of his artistic production, are less well known to the public in Europe. The exhibition aims to trace his artistic career from the early Cubist images, revealing his links with the Paris artists whose works are a key element in the Orangerie collection, to the paintings that established him as the founder of the 20th century school of Mexican art. Visitors are invited to discover the many aspects of the art of Rivera. His travels throughout Europe influenced his vision and his repertoire without ever distancing him from his roots, thus confirming his place in history as the founder of the nationalist school.
Diego Rivera Autorretrato con Chambergo /Self Portrait with Chambergo 1907
Huile sur toile/Oil on canvas 85 x 62,2 cm Col. Museo Dolores Olmedo, Xochimilco, México Photographs by Erik Meza / Javier Otaola ; image © Archivo Museo Dolores Olmedo ©2013 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / ADAGP, Paris
Huile sur toile Col. Museo Dolores Olm Photographs by Erik Meza / Javier Otaola ; ©2013 Banco de México Diego Rivera Frida Kah
e, 26 x 55,5 cm medo, Xochimilco, México ; image © Archivo Museo Dolores Olmedo hlo Museums Trust, Mexico, D.F. / ADAGP, Paris
Huile sur toile/ Oil o Col. Museo Dolores Olm Photographs by Erik Meza / Javier Otaola ; ©2013 Banco de México Diego Rivera Frida Kah
/ Hopeless 1945
on canvas, 40 x 30,5 medo, Xochimilco, México ; image © Archivo Museo Dolores Olmedo hlo Museums Trust, Mexico, D.F. / ADAGP, Paris
The exhibition devoted to the legendary couple Diego Rivera and Frida Kahlo presents their works together, as if to confirm the impossibility of their divorce that was in fact finalised but reconsidered after just one year apart. It also gives us a better view of their respective artistic worlds, so different and yet so complementary, through the deeprooted attachment they shared for their country: a cycle of life and death, revolution and religion, realism and mysticism, workers and peasants.
Diego Rivera Retrato de Dolores Olmedo (Tehuana), 1955
Huile sur toile, 201,2 x 153,1 cm Col. Museo Dolores Olmedo, Xochimilco, México Photographs by Erik Meza / Javier Otaola ; image © Archivo Museo Dolores Olmedo ©2013 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / ADAGP, Paris
Huile sur toile, Col. Museo Dolores Olm Photographs by Erik Meza / Javier Otaola ; ©2013 Banco de México Diego Rivera Frida Kah
27,5 x 38,6 cm medo, Xochimilco, México ; image © Archivo Museo Dolores Olmedo hlo Museums Trust, Mexico, D.F. / ADAGP, Paris
Frida Kahlo La Columna Rota, 1944
Huile sur toile, 39,5 x 30,5 cm Col. Museo Dolores Olmedo, Xochimilco, México Photographs by Erik Meza / Javier Otaola ; image © Archivo Museo Dolores Olmedo ©2013 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / ADAGP, Paris
Frida Kahlo Autorretrato con Traje de Terciopelo/ Self Portrait in a Velvet Dress, 1926 Huile sur toile, 79,7 x 59,9 cm Collection particulière Arquitecto Enrique Garcí Formenti © Photo Francisco Kochen ,© ADAGP, Paris 2013
Diego Rivera Vendedora de Alcatraces, 1943 Huile sur masonite, 152 x 120,5 cm Collection particuliĂ¨re ÂŠ Photo Francisco Kochen
Diego Rivera La Canoa Enflorada, 1931
Huile sur toile, 201,5 x 160 cm Col. Museo Dolores Olmedo, Xochimilco, México Photographs by Erik Meza / Javier Otaola ; image © Archivo Museo Dolores Olmedo ©2013 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / ADAGP, Paris
Mi Nana y
Huile sur meta Col. Museo Dolores Olm Photographs by Erik Meza / Javier Otaola ; ©2013 Banco de México Diego Rivera Frida Kah
y Yo, 1937
al, 30,5 x 35 cm medo, Xochimilco, México ; image © Archivo Museo Dolores Olmedo hlo Museums Trust, Mexico, D.F. / ADAGP, Paris
Diego Rivera Fusilamiento de Maximiliano
Poncif pour fresque Col. Museo Dolores Olmedo, Xochimilco, México Photographs by Erik Meza / Javier Otaola ; image © Archivo Museo Dolores Olmedo ©2013 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / ADAGP, Paris
Marie- Paule Vial, director, Musée de l’Orangerie Beatrice Avanzi, curator, Musée d’Orsay Leila Jarbouai, curator, Musée d’Orsay Josefina Garcia, director, Museo Dolores Olmedo collections
Musée de l’Orangerie 62, rue de Lille 75001 Paris France 151
Temptation JUAN CARLOS DEL VALLE Museum of Biblical Art, Dallas September 11, 2013 – January 6, 2014
Processed foods as a reflection of human vacillation between the sacred and the profane With his pictorial interpretations of mass-produced cakes, cookies, snack foods and candy that have become icons of global culture, the Mexican painter Juan Carlos del Valle provokes an encounter between the sacred and the profane.
between the permissible and the forbidden. Juan Carlos del Valle’s pictorial concept is a bold interpretation of the still life genre, generating controversy through the altered social values depicted in each piece. In portraits suggestive of human values and behaviors, these processed foods become menacing and seductive witnesses to our own duality.
Temptation is made up of two sections: one containing a selection of works from his public religious art project Our Daily Bread (2009– 2010, Mexico City), and the second featuring a visual narrative that addresses essential aspects of the dimensions of the sacred and the profane. The show is a perturbing yet seductive confrontation
With a curatorial design centering on the evocations that create the chromatic and material atmospheres of each painting, Temptation relies on the aesthetic 152
alteration of food icons in order to generate a reflection on the diversity of Humanity, the essence of Divinity, the darkness of the Descent, the excess of Ecstasy, the illumination of Virtue, and the irrevocability of Duality.
of Mexico through the General Consulate of Mexico in Dallas, Temptation is an exhibition of fifty-one small-format paintings whose unsettling artistic concept stands out in the context of Mexican contemporary art. Having pioneered in Mexico the re-connection between contemporary art and religious experience, Juan Carlos del Valle is notable for his interest in turning painting into a relational art form.
Organized as a collaboration between the Museum of Biblical Art and the Mexico Institute, both in Dallas, Texas, and the support of the Ministry of Foreign Affairs 153
JUAN CARLOS DEL VALLE (Mexico City, 1975)
Juan Carlos del Valle’s free and independent nature has allowed him to train and develop his art unaffected by social demands and artistic trends. Having studied under Spanish painter Demetrio Llordén (1931–2000) for four years, the artist has constructed a personal concept which has been exhibited in major Mexican and international museums since 2004. Del Valle has had forty-two solo shows in Mexico alone. Two of his more recent events have been the tribute exhibition Chavela Vargas and Juan Carlos del Valle: An Existential Dialogue (San Ildefonso College and the Spanish Cultural Center in Mexico, Mexico City, 2012), and the show The Better to Eat You With (Isidro Fabela Cultural Center/Casa del Risco Museum, Mexico City, 2012; and the Felipe Santiago Gutiérrez Museum, Toluca, State of Mexico, 2013).
Museum of Biblical Art 7500 Park Lane, Dallas, Texas 75225 Usa 154
DECEMBER H New York, USA
New York, USA
Leonardo da Vinci; Treasures from the Biblioteca Reale, Turim October 25, 2013 – February 2, 2014 Morgan Library 29 East 36th Street, New York
Brancusi in New York, 1913-2013 November 7, 2013 – January 11, 2014 Paul Kasmin Gallery 293 10th Avenue, NY 1001
New York, USA
New York, USA
Ilya & Emilia Kabakov November 2 – December 21, 2013 Pace New York 32 East 57th Street, New York
Jewels by Jar November 20, 2013 – March 9, 2014 The Metropolitan Museum of Art, Gallery 913, 1000 Fifth Avenue, New York
New York, USA
Williem de Kooning: Ten Paintings 1983 – 1985 Gagosian Gallery (Madison Av) 980 Madison Avenue, New York
The Surrealists; Works from Collection November 3, 2013 – March 2, 2014 Philadelphia Museum of Art 2600 Benjamin Franklin Parkway Philadelphia
New York, USA
Dallas, Texas, USA
Peter Doig; Early Works November 6, 2014 – January 4, 2014 Michael Werner Gallery, New York
Juan Carlos del Valle; Temptation September 12, 2013 – January 6, 2014 Museum of Biblical Art, Dallas The Biblical Arts Center, 7500 Park Lane, Dallas
HIGHLIGHTS Beverly Hills, CA, USA
Avedon: Women November 1 – December 21, 2013 Gagosian Gallery, Beverly Hills 456 North Camden Drive, Beverly Hills, California, USA
Tom Wesselman November 14, 2013 – December 21, 2014 Alan Cristea Gallery 31 & 34 Cork Street, London
Turner and Constable; Sketching from Nature October 5, 2013 – January 5, 2014 Tuner Contemporary Margate UK
Under Pressure: Politics in Contemporary Photography. November 1, 2013 – March 2, 2014 Museum der Modern, Salzburg Mönchsberg 32, Salzburg, Austria
Kevin Francis Gray November 20, 2013 – January 25, 2014 Pace London, Mayfair 6 Burlington Gardens, London
Franz Gertsch; Nature’s Secret October 26, 2013 – February 16, 2014 Museum Frieder Burder Lichtentaler Allee 8b, Baden-Baden
Facing the Modern; The Portrait in Vienna, 1900 October 9, 2013 – January 12, 2014 The National Gallery Trafalgar Square, London
Guy Bourdin; Retrospective November 1, 2013 – January 2, 2014 Deichtorhallen, Internationale Kunst Und Photografie, Hamburg Deichtorstrasse 1-2, Hamburg
DECEMBER H Wolfsburg, Germany
Art & Textiles Fabric as Material and Concept In Modern Art from Klimt to the Present. October 10, 2013 – March 3, 2014 Kunstmuseum Wolfsburg Hollerplatz 1, Wolfsburg, Germany
Thomas Schütte October 6, 2013 – February 2, 2014 Fondation Beyeler BaselStrasse 10, 4125 Rieben
Aiko Tezuka – Rewonen November 9 – December 21, 2013 Michael Janssen Galerie Postdamer Str. 63, 10785 Berlin
Frida Kahlo / Diego Rivera Art in Fusion October 9, 2013 – January 13, 2014 Musèe de L’Orangerie 62 Rue de Lille, 7500 1 Paris
Raw Truth: Auerbach – Rebrandt December 12, 2013 – March 16, 2014 Rijsksmuseum – Amsterdam Museumstraat 1, 1071 Amsterdam
The Surrealists; Works from Collection November 3, 2013 – March 2, 2014 Philadelphia Museum of Art 2600 Benjamin Franklin Parkway Philadelphia
Rene Rimbert (1896-1991) “Poetry of the Silence and Flemish Reminiscence” November 1, 2013 – April 25, 2014 Artevera’s Gallery 1 Rue Etienne Dumont, 1204 Genève, Suisse
The Splendour of Cities The Route of the Tile. October 25, 2013 – January 26, 2014 Fundação Calouste Gulbenkian Sala de Exposições da Sede, Avenida de Berna 45, Lisboa, Portugal 158
HIGHLIGHTS Oporto, Portugal
Habitar(s) November 30, 2013 – February 23, 2014 Galeria da Biblioteca Municipal Almeida Garrett Rua D. João de Castro, 210, Porto, Portugal
Tel Aviv, Israel Joana Vasconcelos; Lusitania 2013 November 4, 2013 – April 26, 2014 Tel Aviv Museum of Art The Lightfall, Herta and Paul Amir Building, 27 Shaul Hamelech Blv, Tel Aviv, Israel