Line & Stylish Oct. 2013 by LineandStylish Art Magazine

Nº2 EN / OCT 2013

FREE MONTHLY MAGAZINE

Rachel Yedid “The Shape of The Sound”

TECHNICAL FILE Line & Stylish, Art Magazine ERC Registration nr – 126385 Owner: José Eduardo de Almeida e Silva NIF: 179208586 Publisher: José Eduardo de Almeida e Silva Periodicity: Monthly Editorial Address: Urbanização do Lidador Rua 17, nr 106 4470-709 – Oporto - Portugal Contact: +351 926 493 792 Director in Chief: José Eduardo de Almeida e Silva Vice-director: Isabel Gore Editor in Chief: Eduardo Silva Editorial Staff: José Eduardo Silva, Isabel Pereira Coutinho, Luis Peixoto Art and Web Director: Luís Peixoto Guest Redactors for issue nr 2: • Nathalie Lescop-Boeswillwald • Valery Oisteanu Photography: British Museum • Trustees of the British Museum • Museo del Oro, Banco de la Republica, Colombia. Lynch Tham • Ed Higgins III Rachel Yedid • Olivier Fitoussi Brooklyn Museum • Rainer Torrado • Paolo Roversi

• Patrice Stable/Jean Paul Gaultier • The Montreal Museum of Fine Arts, Christine Guest • Alix Malka • Ellen Von Unwerth CAM, Fundação Calouste Gulbenkian, Lisboa • Colecção do CAM/FCG Galerie EIGEN+Art – Leipzig/Berlin • Uwe, Walter, Berlin; VG Bild Kunst, Bonn 2013 Scottish National Gallery,The Mound, Edinburgh • Peter Doig • Michael Werner Gallery, New York and London. Taymour Grahne Gallery- N.Y • Cortesia de Billy Farrell Agency, NY Marlborough Fine Art- London • Avigdor Arikha Sean Kelly Gallery- NY • Mariko Mori : Foto, Christophe Kutner

The Season opening didn’t brought great surprises, the neo-conceptual art still dominates museums and galleries, the auction markets are in the hands of major auction houses reaching significant amounts with classical and modernists masters selling. China start to be the great goal for the major fine art companies, which means that you could find almost everything between Beijing and Shanghai (from pure magnificence to completely rubbish). Europe continues being controlled by London market, in spite of the great efforts made by Germans, and New York still rules the world. In our second issue, we tried to give a kaleidoscopic view to our readers about what, in our point of view, seems more interesting, with a special spot for an interview with a French-Israeli artist. Rachel Yedid, who combines the tangible touch of the visual arts with the abstract sensibility of music, east and west conceptions of art and, above all, a genuine experimental sense. Reason which drove us to a conversation with her. Our first specific attention about what’s going on in Portugal goes to a Portuguese event about the celebration of the 30th anniversary of the biggest Portuguese modern art collection, with an amazing exhibition called “Under the Sign of Amadeo” at the Modern Art Center (CAM), Fundação Calouste Gulbenkian, Lisbon. To finish just mention the return of two great contemporary masters; Peter Doig with a major exhibition at the Scottish National Gallery, The Mound, Edinburgh (his home country) and the metaphorical painting master Neo Rauch, featuring new works at Galerie Eigen + Art, Leipzig (his City).

José Eduardo G. de Almeida e Silva Director in Chief

Cover: “La Musique” - Rachel Yedid Oil on canvas, 120 x 80cm Photo by Olivier Fitoussi 3

INDEX

2 . Technical File 3 . Editorial 6 . Rachel Yedid "The Shape of the Sound" 18 . Beyond El Dorado 25 . Guglielmo Achille Cavellini 26 . Guglielmo Achille Cavellini - Article by Valérie Oisteanu 32 . Valérie Bos 42 . Jean Paul Gaultier "The Fashion World of Jean Paul Gaultier" 63 . Jean Paul Gaultier's Biography 64 . Peter Doig "No Foreign Lands" 68 . Nicky Nodjoumi "Opening Exhibition" 72 . Under The Sign of Amadeo: A Century of Art 78 . Avigdor Arikha: Works from 1966 to 2010 86 . Mariko Mori represented by Sean Kelly 88 . Neo Rauch "Ghosts" 96 . October Highlights

info@lineandstylish.com | +351 926 493 792 4

â&#x20AC;&#x153;The Shape o

By: Isabel Gore e

Rachel Yedid

Foto de Olivier Fitoussi

of The Soundâ&#x20AC;?

e Eduardo Silva

Rachel Yedid is a young born French painter based in Jerusalem who rose at the European Fine Art with a fresh new proposal where anyone, even those less aware, recognize the importance of the sound, shapes and colors used in Rachelâ&#x20AC;&#x2122;s single work. The final result is not a dramatic and hopeless creature lost in the night. On the contrary, the viewer discovers an inner sound which makes the character dance in a silence tune, only followed through his eyes. However, Rachel Yedidâ&#x20AC;&#x2122;s Art has not a lonely expression or a lonely message. Her women have an inner power which is emphasized by the black backgrounds, which gives them a strong feeling that makes them symbolic shape of the sound, here crystallized in paintings. But that is our opinion and after reading her answers you - more than anyone - can get a better picture of the Artist and the work itself.

Mon Enfant ma Soeur

Oil on canvas. 160 x150cm. Photo by Olivier Fitoussi

and I improvise with it. Mozart’s music is always a big challenge and an inspiration source for me. Music and colors, all together, have a strong power. For me, painting with music is often like having an intellectual orgasm. I often ask musicians if they know about that orgasm…they always keep it secret. So how does it feel? It starts from the edges of my toes and rises up like ants and becomes stronger until it reaches my brain area. Hands are also an important corporeal component expression of my works, in each fingertip there is a sound, an expression of an extreme sensuality.

L&S: Being the daughter of an orchestra conductor and a cellist, the passion for music can be considered a normal act. But how do you explain the passion for painting. Rachel Yedid: All my muses are dancers or musicians. Music is very important to me and since my childhood, with my conductor father and my cellist mother, I have learned to play the piano, I participated in high level competitions. I still play a lot but only for myself or for my muses. Music is always present in what I do. I don’t think I could paint without it. Mozart has been a fantasy of mine since I was very young. I always dreamt I’d meet him one day and that we’d do something together. With such a definitive familial background, I was expected to follow my parents’ footsteps, but I broke the mold. Music was the compulsory thing to do, so I escaped into painting.

L&S: Born and based in Paris, You have left France to emigrate in Israel. It wouldn’t have been easier to stay in Paris to strengthen your status as an artist? What led you to assume yourself as a painter in Israel and not in France? Rachel Yedid: EI didn’t t “left” France; I just took some distance as we need to do with an impressionist painting of Pissarro. I travel a lot between France and Israel. I am an artist, a bird flying in the sky. Art is

I was expected to take part in competitions and religious practices, but that had a negative impact on my enjoyment of piano and music. I still play, but I keep it free and fun 10

free and universal. The French Ministry of Foreign affairs just nominated my international art works between France and Israel lhttp://femmesfrancaisesdumonde. tumblr.com/. I created a group exhibition for contemporary art. My new Project, Regards Feminins 2013 http://www.ccfgary-jerusalem.org. il/event/feminins-2013/ (Feminine Visions), gives an international stage to an artist and a dialogue between countries. We started from Jerusalem, and next step will be in France. The success of this project is thanks to the French Israeli Foundation and the French Institute of Jerusalem.

had stumbled across the home of a legendary painter. I saw the name of Miron Sima, but it took me a while to understand that he had lived there. Sima was a Russianborn painter who was acclaimed in his native country and subsequently in Germany before moving to Palestine with the rise of Hitler to power in 1933. Here, he quickly made a name for himself, some kind of a rebel, preferring to portray refugees rather than to subscribe to the iconic artistic ethos of the time. In “ Rachel Yedid’s Artist portrait”, a documentary produced by Richard Gordon, you have a visit of my last squat. http://vímeo.com/29234209.

L&S: The choice of using vacant houses as studios, either in Tel Aviv or Jerusalem, has any influence in your work? Rachel Yedid: When I am painting in a vacant house full of history and mysteries, I feel emotions. There, sometimes I can meet my mysterious “muse”. At the last house, in the heart of Jerusalem, I began to explore my surroundings. I found papers, including love letters, bills and notebooks, and realized I 11

Lullaby- Oil on canvas. 140 x1

100cm. Foto de Olivier Fitoussi

black space… what really could happen in the obscurity, time and space are losing themselves. We are abandoned to our powerful imagination. Each one of us knows this obscurity before we are going “to fall asleep”, we disconnect ourselves from the logical space to the world of dreams.

L&S: What do you mean when you say that “Contemporary Art is a fusion of Arts”? Rachel Yedid: I stimulate my senses and the more awake I am, the more my creativity expresses itself. The fusion of Arts to Art is the fusion of the senses to feel life. It’s the same for love, if it exists it can awaken our senses, or we must also create incentives to find it.

L&S: The female body has been your constant theme and through it the viewer is led to an inner world. Do you think that the representation of women is a sort of symbolic door to spirituality? Why?

Once music stimulates my muse to a movement and a feeling, I look and the emotion is shared, it creates in me colors, materials, perfumes and light.

Rachel Yedid: My filter to express my soul is through my woman identity, and my woman identity is the mirror that Eurydice needs to cross to meet Orpheus, maybe because of my human condition. This year I painted my first men, with my feminine inner vision

L&S: The insistence on using black backgrounds is a way to enhance the figure and the drama that this pretends to transmit or, on the contrary, is it only an aesthetic issue? Rachel Yedid: “Black is not a color” I am sure you have heard this sentence many times. I think that color is a resonance, so black can be a color. Anyway black is not just black! Black for human being is a mysterious imaginative moment. Unknowing 14

The Last Tango

Oil on canvas. 160 x 150cm. Photo by Olivier Fitoussi 15

L & S: Why do your figures appear, most of the time, alone? Rachel Yedid: In my last paintings in the “Creatures of Love” you will discover few couples. Most of my work starts in the loneliness, perhaps to get down to Champs Elysees Orpheus have walked alone. I feel an admiration for Rainer Maria Rilke, and his poetry maybe answer better than me: “Lonelyness” - Rainer Maria Rilke Being apart and lonely is like rain. It climbs toward evening from the ocean plains; from flat places, rolling and remote, it climbs to heaven, which is its old abode. And only when leaving heaven drops upon the city. It rains down on us in those twittering hours when the streets turn their faces to the dawn, and when two bodies who have found nothing, disappointed and depressed, roll over; and when two people who despise each other have to sleep together in one bed, that is when loneliness receives the rivers. L&S: Do you consider valid to say that your paintings can be seen as biographical? Rahel Yedid: I don t think so. After I finish to paint is not anymore mine, each one of you are free to imagine the story of this painting, or just to let free your own emotions. My painting becomes when they meet “you”, from the “outside” world.

L&S: What are your future plans? Rachel Yedid : To be PTo know better the Artwork and aesthetics proposal of Rachel Yedid visit: www.rachelyedid.com

La Musique

Oil on canvas. 120 x 80cm. Photo by Olivier Fitoussi 17

Beyond El Dorado: power and gold in ancient Colombia 17 October 2013 – 23 March 2014. Room 35 Sponsored by Julius Baer. Additional support provided by American Airlines.

Seated female poporo, Quimbaya, gold alloy, AD600-1100. Copyright the Trustees of the British Museum

Bird pectoral, Popayan, gold alloy, AD1001600. Copyright the Trustees of the British Museum

For centuries Europeans were dazzled by the legend of a lost city of gold in South America. The truth behind this myth is even more fascinating. El Dorado – literally “the golden one” -actually refers to the ritual that took place at Lake Guatavita, near modern Bogotá. The newly elected leader, covered in powdered gold, dived into the lake and emerged as the new chief of the Muisca people who lived in the central highlands of present-day Colombia’s Eastern Range. This stunning exhibition, sponsored by Julius Baer, will display some of the fascinating objects excavated from the lake in the early 20th century including ceramics and stone necklaces. 18

In ancient Colombia gold was used to fashion some of the most visually dramatic and sophisticated works of art found anywhere in the Americas before European contact. This exhibition will feature over 300 exquisite objects drawn from the Museo del Oro in Bogotá, one of the best and most extensive collections of Pre-Hispanic gold in the world, as well as from the British Museum’s own unique collections. Through these exceptional objects the exhibition will explore the complex network of societies in ancient Colombia – a hidden world of distinct and vibrant cultures spanning 1600 BC to AD 1700 – with particular focus on the Muisca, Quimbaya, Calima, Tairona, Tolima and Zenú chiefdoms. This important but little understood subject will be explored in this unique exhibition following on from shows in Room 35. Although gold was not valued as currency in pre- Hispanic Colombia, it had great symbolic meaning. It was one way the elite could publicly assert their rank and semi-divine status, both in life and in death. The remarkable objects displayed across the exhibition reveal glimpses of these cultures’ spiritual lives including engagement with animal spirits through the use of gold objects, music, dancing, sunlight and hallucinogenic substances that all lead to a physical and spiritual transformation enabling communication with the supernatural. Animal iconography is used to express this transformation in powerful pieces demonstrating a wide range of imaginative works of art, showcasing avian pectorals, necklaces with feline claws or representations of men transforming into spectacular bats through the use of profuse body adornment.

Articulated nose ornament, Yotoco, gold alloy, 200BC-AD1200. Copyright the Trustees of the British Museum

The exhibition will further explore the sophisticated gold working techniques, including the use of tumbaga, an alloy composed of gold and copper, used in the crafting the most spectacular masterworks of ancient Colombia. Extraordinary poporos (lime powder containers) showcase the technical skills achieved both in the casting and hammering techniques of metals by ancient Colombian artists. Other fascinating objects will include an exceptional painted Muisca textile and one of the few San AgustĂn stone sculptures held outside Colombia. Those, together with spectacular large scale gold masks and other materials were part of the objects that accompanied funerary rituals in ancient Colombia.

Anthropomorphic bat pectoral, Tairona, gold alloy, AD900-1600. Copyright Museo del Oro, Banco de la Republica, Colombia.

Funerary mask, Calima-Malagana, gold alloy, 100BC-AD400. Copyright Museo del Oro, Banco de la Republica, Colombia. 21

Necklace with claw shaped beads, Zenu, gold alloy, 200BC-AD1000. Copyright Museo del Oro, Banco de la Republica, Colombia.

Necklace of red stone and claw shaped beads, Tairona, gold alloy, AD900-1600. Copyright Museo del Oro, Banco de la Republica, Colombia.

Poporo top with human faces, Quimbaya, AD600-1100. Copyright the Trustees of the British Museum

Neil MacGregor, director of the British Museum said “Ancient Colombia has long represented a great fascination to the outside world and yet there is very little understood about these unique and varied cultures. As part of the Museum’s series of exhibitions that shine a light on little known and complex ancient societies this exhibition will give our visitors a glimpse into these fascinating cultures of pre-hispanic South America and a chance to explore the legend of El Dorado through these stunning objects.” BRITISH MUSEUM Great Russell St London WC1B 3DG UK http://www.britishmuseum.org 23

SINGLE PAGE ADD 210x297mm 300 dpi’s

Prefered document types: JPG, TIF

Guglielmo Achille Cavellini (1914 – 1990) At Lynch Tham, New York

Lynch Tham, in collaboration with the Archivio Cavellini, present Guglielmo Achille Cavellini, a survey exhibition covering two distinctive bodies of Cavellini’s works beginning 1966, when he started to devote himself entirely towards self-oriented artworks, to late 1970 when he became famous for autobiographical artistic endeavors associated with Autostoricizzazione (SelfHistoricization). On view are two pivotal series; Crates With Destroyed Works (1966 – 1970) and from the Page of the Encyclopedia (from 1973). In Conjunction with the exhibition the gallery will produce a documentary that features Cavellini’s life as an artist, and his interest and interactions with New York artists such as Andy Warhol, Ray Johnson, Carlo Pittore, Buster Cleveland and Ed Higgins III. The 1981 historical performance of Higgins III, who painted Cavellini’s body as a performance piece in white, red, and green, the colors of the Italian flag , will be-enacted by Steven Rose at the opening reception. Cavellini is a historically important artist who gave context to the Italian Experimentation period and was the first artist to bridge postwar- Italian art with American Pop art. The opening reception it will be on Wednesday, 18 September 2013. The exhibition could be seen from 18 September to 27 October, 2013 at Lynch Tham, 175 Rivington Street, New York 10002.

Guglielmo Achille Cavellini :

Fire and Brimstone By Valery Oisteanu First let us recap 20th century art-history sequence of “avant-garde fire-art”.“Fumage” was a surrealist technique in vogue in the 30’s a blackening frame that accentuated a collage or a poem by burning the margins. Fumage plus mysticism was used by Wolfgang Paalen (1938) with chimera impressions made by the smoke of a candle or kerosene lamp on a piece ofpaper or canvas. Dali also utilized the fire in his paintings, calling it “sfumato”. Since the ‘50’s contemporary artists catalogued as Late Modern (19451960), such as Robert Rauschenberg (USA) and Alberto Burri (Italy) used fire, not as an additive or a destructive process but a transformative “Phoenix like” event of “rebirth from fire”. As early as 1952 Rauschenberg blackened part of his box-assemblages and in 1956 Burri began torching his burlap collages to create a round wound, a black gash in the heart of the painting.

Guglielmo Achille Cavellini With Stickers, 1980. Courtesy of LYNCH THAM 27

Cavellini’s approach was totally different. Being disappointed in the critical responses to his art exhibit, he decided to burn and cut up the artworks in its entirety calling them “Destroyed Works” 1966-70. In “Carboni”, fire was used as a purging process and with the artwork precut into pieces, then burned, reassembled and preserved in an open, plain wooden crate, which would confirm or contradict at the same time, the archival tendencies of the art historians. An example would be “CASSA N.106” containing charred wood segmentsand acrylic paint (29X29X8.5 cm) 1966/1969 whose blue cobalt color survived this incendiary process. Some of the destroyed works were sliced in elegant “yin-yang sections” that could be viewed as a circular sandwiched layers “N. 191” (42x42x9cm) 1967/68, art object without carbonization, or as in a black framed open boxcrate that contains a B&W text on wood, cut into squares and unreadable (although we can envision some lettering from the name Cavellini) also from Destroyed Works: “Cassa N. 131”, 1967. Another fire-method he used was dissecting a mid-section of an artwork and preserving it without carbonization and burning the rest, which created a contrast of colors in the center and black soot in book-ends, as in “Casa con Bruciatura”, N.114 1969 (75.5X78.5 x8cm). Destruction as a conceptual Duchampian experiment, non-retinal art for the mind, perhaps a philosophical deconstruction was GAC’s legacy.

Guglielmo Achille Cavellini painted in white, red, and green, Performance, 1981 by Ed Higgins III, Courtesy of LYNCH THAM 28

Guglielmo Achille Cavellini, Crate with destroyed works No 106, 1966-69, 29x29x8,5 cm. Courtesy of LYNCH THAM copy

A scripted text on canvas titled “Scritura Su Tela”, 1973(147x119cm) has the familiar CAVELLINI stenciled on top of the canvas, each letter in different color. The rest was drawn in small handwriting with a black marker, and then the gaps between the lines were filled in with a larger script. From “The Pages of Encyclopedia”, 1973, we learn about his “linguistic code”, part of “self-historicism” the theater of his life, where he painted on objects, and clothing and live nude models using hand calligraphy. In several artworks, Cavellini used black felt tip pens to write hyperbolic human thoughts sometime illegible, or challenging texts on canvas, wood, hats and suits which he wore. Such art often introduced a performative element; many were created during performance, staging his masterpieces with provocative manifestoes while dispensing self-promoting Centenary stickers for live audiences and on film or video. He also textualizes his works with Fluxus, mail art references and New Realism’s sarcasm, the theater of the absurd shenanigans and neo-dada stints. The “theater of life and death” needed a script and the Narcissus from Brescia recorded “the diary of the genius”, GAC wrote all around himself for posterity, on walls, on clothes, on friends, on lovers and now on our collective memory.

A Short Statement by VALÉRIE BOS Creating personalized artworks “I restore and reinvent the artwork, through the bonding materials, infusing it with a personal style that gives it character and expressiveness”. Self Taught “ I trace my path, I do not want to be formatted, or influenced by current art, patterns or rules”. I am “MY” way, "I follow shortcuts to give another view of the painting”. “I love to change the primary function of certain materials or objects, to shape and give them a new identity.” Diversity is the key word in this virtual exhibition. “Passionate self taught, I follow my instinct. We are going to meet each other, around a virtual exhibition of unique contemporary style works”. By Valérie Bos Contact: http://liliebos.blog4ever.com https://www.facebook.com/LilieBOS?ref=tn_tnmn Translation: L&S

Valérie Bos’ Personalized Artwork Valérie Bos is one of those various artist to whom discipline is not enough, due to the richness of her inner world, indifferent to other elitists’ impositions who seem to exist only to be transgressed or, at least, outdated! Valérie is a sensitive artist, strongly influenced by the material treatment, color and relief, feeding her inspiration with travels, meetings and discoveries.

Yin & Yang Patchwork silver, 30 x 30 cm

Bouddha Penseur Made of resin, this lovely Buddha is covered with various papers and gold leaf. 26cm height / 22cm width

Here, we will discuss another side of her talent, the creation of personlized works of art, between craft and design. Valérie Bos has this special ability to see in a simple object, found by chance, a piece that, after many interventions, will become an original work! In Antiques Fairs, Valérie finds various peaces that, after being restored, are reinvented through the collage of materials like paper, leather, tissue, giving them an unique style with preference for Indian and British themes, with a french touch, giving expression and character to the artwork. The glazed finish work, makes it sustainable over time, like any true art object. In some of her works there is a peculiar trademark; coins covering the eyes of animals and people, inspired by Indian legends, among others, that evoke the passage from the living margins to the dead ones. Valérie Bos demonstrates creativity and refinement in her approach to personalization and to transformations that she makes in the selected objects, revealing a true artistic pursuit, and not a merely decoration. Facing her busts like Buddha, Indian statues and bulldog, the viewer feels the sense of beauty and emotion. Her objects represent an incredible amount of work, research and pure creation, being recognized as an inspired artist, avoiding the mistake of the easy and simplistic labeling of “creative hobby”!

Le Chien John Plaster sculpture

None of this exists in Valérie Bos, and this is what makes the difference between objects “Made in ...” or “reinterpreted” by the so-called “artists” who do not know more than to pick up an existing piece and “scribble”, in a hurry, signing it in order to give an absurd market value and feed the debate about the true creation and art. Rise up against the prohibitive prices of some pieces, set without any sense, to defend the true creators, as Valérie Bos, who do not mislead the public about the quality, price and creation. The work of art, it will not always be connoted with “Inaccessible”, on the contrary! The proverb “all work has to be paid,” applies to all businesses, and art is no exception, but if we want to make it accessible to a large number of people, is not by practicing exorbitant prices, that we will achieve that. Like all artists represented in space NLB Limoges, Valérie Bos shares our vision about things and ethics! Last winter we presented, with great success, Valérie Bos’ personalized creations, and this summer, we will be glad to make you discover her pictorial universe at the Temple courtyard Nat halie Lescop-Boeswillwald PhD in Art History Critic of art criticism Founding President of NLB Space Gallery and review. Translation: L&S

La parisienne Custom resin Bust

FULL PA

420x297mm Prefered documen

AGE ADD

m 300 dpi’s nt types: JPG, TIF

The Fashion World of

Jean Paul Gaultier From the Sidewalk to the Catwalk Presented at the Brooklyn Museum October 25, 2013- February 23, 2014

It's official! Only East Coast venue of this exhibition of innovative work by the celebrated French fashion designer. New creations presented for the first time. For the last four decades, Jean Paul Gaultier has shaped the look of contemporary fashion with his avant-garde creations and cutting-edge designs. The Brooklyn Museum will be the only East Coast venue for The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk, the first international exhibition of this celebrated French couturier’s work. This spectacular overview of Gaultier’s extensive oeuvre will include exclusive material not exhibited in previous venues of the tour, such as pieces from his recent haute couture and readyto-wear collections and stage costumes worn by Beyoncé.

Jean Paul Gaultier © Rainer Torrado

Gaultier’s reputation for witty and daring designs and a ceaseless interest in society, identity, and beauty born of difference has earned him a place in fashion history. The Brooklyn presentation will include Gaultier costumes never before seen in New York, such as items graciously lent by Madonna, like her iconic corsets from the Blond Ambition world tour (1990), as well as costumes from the Confessions tour (2006) and the MDNA tour (2012). Costumes created for Kylie Minogue, Pedro Almodóvar’s Kika (1994) and Bad Education (2004), and Luc Besson’s Fifth Element (1996) will also be part of the exhibition.

The French couturier says of the Brooklyn presentation: “I am proud and honoured that this exhibition will be presented here, where the true spirit of New York lives on. I was always fascinated by New York, its energy, the skyscrapers of Manhattan, that special view of the sky between the tall buildings…. On one of my first trips I decided to walk all the way uptown from the Village until Harlem. It took me the whole day, and I will never forget the pleasure of discovering this great city. But most of all it is a melting pot, a place where you can go around the world in one day, where all the races and creeds live together”. For Gaultier, the street has been the source of his inspiration as well as his ultimate goal, for, like all great couturiers, his greatest desire is for his creations to be worn, lived in, and seen by all the world.

Paolo Roversi (Italian, b. 1947). Tanel Bedrossiantz, 1992. Digital print, 15 x 12 in. (38.3 x 30.8 cm). Jean Paul Gaultier’s “Barbès” women’s ready-to-wear fall-winter collection of 1984–85. © Paolo Roversi

This theatrically-staged show, more of a contemporary installation than a chronological retrospective, will feature 130 haute couture and prêtà-porter ensembles accompanied by audiovisual materials, sketches, early designs, and photographs, all of which testify to Gaultier’s daring, cutting-edge style and the genius and breathtaking craftsmanship of his creations. Gaultier’s rich collaborations with renowned contemporary artists and photographers such as Andy Warhol, Richard Avedon, David LaChapelle, Pierre & Gilles, Herb Ritts, Cindy Sherman, Peter Lindbergh, Stéphane Sednaoui, and Mario Testino, among others, is a major focus of attention. This critically acclaimed touring show, initiated and produced by the Montreal Museum of Fine Arts under the direction of Nathalie Bondil, Director and Chief Curator, and Thierry-Maxime Loriot, curator of the exhibition, in collaboration with Maison Jean Paul Gaultier Paris, has already been seen by close to one million visitors in North America and Europe. “While paying tribute to the creative genius of Jean Paul Gaultier, this exhibition raises the bar in terms of fashion presentation as art in a museum as well as celebrates today’s cultural and ethnic diversity,” says Brooklyn Museum Director Arnold L. Lehman. “Jean Paul Gaultier’s mastery of the complex technical demands of haute couture is matched only by his rich and unrivalled artistic Gaultier considers the exhibition a creative theatrical spectacle in its own right. Many of the mannequins used to display his designs revolve to reveal all angles of an ensemble. Some circulate on a continuously moving catwalk, and many wear remarkable wigs and headdresses created by renowned hairstylist Odile Gilbert and her Atelier 68 team. Throughout the galleries, thirty-two of the mannequins come alive with interactive faces created by technologically 45

A design from Jean Paul Gaultier’s “Raw and Refined” men’s ready-to-wear spring-summer collection of 1994, as seen at his thirtieth anniversary retrospective runway show, October 2006. © Patrice Stable/Jean Paul Gaultier 46

ingenious high-definition audiovisual projections. A dozen celebrities, including Gaultier himself, model Ève Salvail, and bass player Melissa Auf der Maur, have lent their faces and voices to this project. The production and staging of this dynamic audiovisual element is the work of Denis Marleau and Stéphanie Jasmin of UBU/Compagnie de création of Montreal. Jolicoeur International of Quebec realized all the custommade mannequins with different skin tones and positions representing the diversity of Gaultier’s universe. Distinctly different from traditional couture, Gaultier’s avant-garde designs demonstrate a deep understanding of the issues and preoccupations of today’s multicultural society. For inspiration, Gaultier has turned to a variety of cultures and countercultures. Nathalie Bondil, Director and Chief Curator of the Montreal Museum of Fine Arts, initiated the project with the goal of creating an exhibition celebrating Gaultier for his great humanity and his open-minded vision of a society where everyone can be proud and distinctive because of their own identity, as well as for the technical virtuosity or imagination of his creations.

The show is organized into seven thematic sections: ODYSSEY BOUDOIR MUSES PUNK CANCAN SKIN DEEP METROPOLIS URBAN JUNGLE 47

ODYSSEY introduces us to the couturier’s universe and his trademark

themes. Sailors, mermaids, and religious iconography set the tone. Gaultier’s very first design (1971), never before exhibited, is on display. It features stage costumes worn by Beyoncé, as well as dresses created for Catherine Deneuve and Marion Cotillard to wear to the Oscars.

Alix Malka (French). Untitled, n.d. Digital photo, 47 x 74½ in. (119.6 x 189.6 cm). “La Mariée” wedding gown from Jean Paul Gaultier’s “Mermaids” spring-summer haute couture collection of 2008. Latex bodysuit with golden scales; cone bra with shells; long, form-fitting sequined alpaca skirt with latex mermaid’s tail. ©Alix Malka

“Apparitions” gown from Jean Paul Gaultier’s “Virgins (or Madonnas)” women’s haute couture springsummer collection of 2007. “Celestial” print satin strapless sheath; bustier-style top with “hologram” embroidery and bows; ivory silk tulle overskirt; 49

BOUDOIR reveals the designer’s fascination with lingerie and corsetry th

bra, created in the early 1960s, to his many designs for his men’s and women’s director from 2003 to 2010. This section features Gaultier’s trailblazing con and 2012 MDNA tour.

Jean Paul Gaultier (French, b. 1952). Corset-style body suit with garters, 1990, Duchess satin, worn by Madonna, during the “Metropolis” (“Express Yourself”) sequence of the Blond Ambition World Tour (1990). Collection of Madonna, New York. Photo: The Montreal Museum of Fine Arts, Christine Guest 50

hrough the years, from his childhood teddy bear “Nana” wearing the first cone s couture and ready-to-wear lines as well as for Hermès, where he was creative nical bras and corsets made for Madonna’s 1990 Blond Ambition world tour

Jean Paul Gaultier (French, b. 1952). Sketch of Madonna’s stage costumes for her Blond Ambition World Tour, 1989–90, inkjet print, 11 x 17 in. (27.9 x 43.1 cm). © Jean Paul Gaultier

MUSES shows how the couturier

created a new ideal of beauty, beyond the established codes of fashion and society, celebrating difference by erasing all boundaries of body size, skin color, age, religion, and sexuality.

Contact sheet of Jean Paul Gaultier’s photographs of Aïtize Hanson, 1971. © Jean Paul Gaultier 52

PUNK CANCAN demonstrates the

contrasting styles and themes Gaultier has blended throughout his career, from Parisian classicism and elegance to London punk, which he discovered and embraced from its inception. Parisian icons and symbols, such as the beret, the trench coat, and the Eiffel Tower, are transformed under the influence of the imagery of Pigalle’s Paris. London’s tattooed punks, wearing latex, leather, lace, and fishnet, take on new meaning as symbols of elegant, convention defying power. This section features the chiffon camouflage dress that required 312 hours to make worn by New York style icon Sarah Jessica Parker at the 2000 MTV Movie Awards.

Jean Paul Gaultier (French, b. 1952). Riding Coat, 1997–98.Tartan mohair. Photo © Rainer Torrado 54

SKIN DEEP illustrates how

Gaultier creates clothing that becomes a second skin, sometimes through trompe l’oeil effects that give the illusion of nudity, a flayed human body, a skeleton, or tattoos.

A design from Jean Paul Gaultier’s “French Cancan” women’s readyto-wear fallwinter collection of 1991–92, as seen at his thirtieth anniversary retrospective runway show, October 2006. © Patrice Stable/Jean Paul Gaultier 56

METROPOLIS showcases Gaultier’s collaborations with filmmakers; cho

and pop icons such as Tina Turner, Nirvana, Cameo, Lady Gaga, and Kylie M in the 1970s, Gaultier explored the fields of high technology and science fiction. Since his first pieces of electronic jewelry and the High-Tech collectio fashion fabrics not meant for the catwalk, including vinyl, Lycra, and neopre summer collections inspired by pop musicians such as Grace Jones, Boy Geor

One of the designs in Jean Paul Gaultier’s women’s readyto-wear spring-summer collection of 2013 58

oreographers such as Marice Béjart, Angelin Preljocaj, and Régine Chopinot; Minogue. Borrowing from the emerging sounds of new wave and house music

on of 1979, he has stayed ahead of the fashion pack, integrating contemporary ene. This section presents for the first time pieces from one of the designer’s rge, Sade, Madonna, and David Bowie.

One of the designs in Jean Paul Gaultier’s “Tribute to Amy Winehouse” women’s haute couture springsummer collection of 2012 59

URBAN

JUNGLE

where cultures from around the world come together to form a new aesthetic integrated in haute couture. Gaultier mixes and matches multiethnic influences- Bedouin, orthodox Jewish, Chinese, flamenco, Russian, Bollywood, and Nordic - in what he refers to as the urban jungle.

Ellen Von Unwerth (German, b. 1954). Survivors (Laetitia Casta, Vladimir McCary, Jenny Shimizu), 1998. Digital photo. © Ellen Von Unwerth. Jean Paul Gaultier’s “Tattoos” women’s spring-summer ready-to-wear collection of 1994. 60

The exhibition is accompanied by the first major monograph on the French designer, The Fashion World of Jean Paul Gaultier: from the Catwalk to the Sidewalk, published by the Montreal Museum of Fine Arts under the direction of Thierry-Maxime Loriot. This award-winning, 424page catalogue contains more than 550 illustrations and photographs; an introductory essay by Suzy Menkes, Fashion Editor of The New York Times and the International Herald Tribune; fifty exclusive interviews conducted by Loriot with celebrities and collaborators of the couturier (Helen Mirren, Nicole Kidman, Madonna, Catherine Deneuve, Martin Margiela, Dita Von Teese, and Marion Cotillard among others); and two interviews with Gaultier himself. The Brooklyn Museum presentation is organized by Lisa Small, Curator of Exhibitions, Brooklyn Museum.

HALF PAGE ADD 210x148mm 300 dpiâ&#x20AC;&#x2122;s

Prefered document types: JPG, TIF

JEAN PAUL GAULTIER BIOGRAPHY Jean Paul Gaultier was born in a Paris suburb in 1952. He started his career with Pierre Cardin in 1970 on his eighteenth birthday. After working at Esterelle, Patou, and again at Cardin, Gaultier decided to start his own fashion house and staged his first show in Paris in 1976. Critical and commercial success followed quickly, and by the early eighties he was one of the most talked-about young designers. From the beginning of his career, Jean Paul Gaultier wanted to show that beauty has many facets and that we can find it where we least expect it, such as in the lowly tin can, which he first used as a bracelet and later as packaging for his hugely successful perfume. He launched his menswear line in 1984 with the “Male Object” collection and in 1997 realized his dream of starting an haute couture collection, “Gaultier Paris.” He was also the designer for Hermès women’s wear from 2004 to 2011. Throughout his career Gaultier has worked in dance, music, and the cinema. His costumes for Madonna’s Blond Ambition tour have left an indelible imprint on the popular culture. His first collaboration in the cinema was with Peter Greenaway for The Cook, The Thief, His Wife and Her Lover in 1989. He also designed costumes for The City of Lost Children by Marc Caro and Jean-Pierre Jeunet, Fifth Element by Luc Besson, and for Kika, Bad Education, and The Skin I Live In by Pedro Almodóvar.

NO FOREIGN LANDS: Peter Doig 3 August - 3 November 2013

SCOTTISH NATIONAL GALLERY, The Mound, Edinburgh EH2 2EL

Peter Doig, commented:”I left Scotland as a child as many of my generation did; however I know Edinburgh, the city where I was born, through many visits as a child and youth. To be able to exhibit my paintings in the magnificent rooms of the National Galleries is a great honor.” This important international exhibition is collaboration with the Museum of Fine Arts in Montréal. Surveying Doig’s paintings and works on paper of the Page 2 of 3 National Galleries of Scotland is a charity registered in Scotland No. SC003728 past 10 years, this exhibition places particular emphasis on the artist’s approach to serial motifs and recurring imagery. Formally spare yet monumental in scale, at times approaching the exotic in their subject matter, these works show Doig working at the height of his extraordinary powers. Simon Groom, Director of the Scottish National Gallery of Modern Art said: “Peter Doig has been one of the most consistently inventive and seductive painters working anywhere in the world today. His 64

art is figurative and often based on photographic images, but the end effect is to take us into a completely different world of often hallucinatory power. The works reveal a transforming vision of the world, steeped in a sense of beauty and mystery, rich in their imaginative suggestion yet remaining grounded in the real.” Doig first came to prominence in the 1990s with his paintings of winter landscapes, highly atmospheric scenes of lakes (often with a lone canoe), and houses screened by trees and ski slopes. The rich and layered surfaces of his paintings showed that Doig was as much interested in abstract, formal qualities as he was in subject matter. Over the period covered by this exhibition Doig has split his time between a house and studio in Trinidad, a studio in London and a professorship at the Düsseldorf Art Academy. His peripatetic life, memories of a childhood partly spent in Canada and his later life and studies in London have given him a particularly rich visual knowledge. Regardless of where Doig’s motifs originate, his experiences cross-fertilize and enhance his works. As fellow Scot Robert Louis Stevenson wrote in The Silverado Squatters: There are no foreign lands. It is the traveler only who is foreign. Doig the traveler is not merely a foreigner seeking out the exotic; rather, he is like Baudelaire’s flâneur, whose eye uncovers and finds significance in details which transcend locale, while spanning both time and space. Throughout a career of three decades, Doig has reinvigorated a medium considered by many to have fallen into irrelevance. His inventive style, uncommonly sensuous palette and suggestive 65

imagery set him apart from the conceptualism dominating much of contemporary art. Doig’s willingness to take up the challenges posed by the work of Gauguin, Matisse, Bonnard, Marsden Hartley and Edward Hopper places him in an ongoing dialogue with a long line of great artists. Following its debut in Edinburgh, No Foreign Lands: Peter Doig, travels to Canada, where it will be shown at the Museum of Fine Arts in Montréal and curated by Stéphane Aquin. The exhibition is accompanied by a comprehensive catalogue featuring essays by Keith Hartley, Chief Curator at the Scottish National Gallery of Modern Art; Stéphane Aquin, Curator of Contemporary Art in Montréal; and an interview with the artist conducted by Hilton Als, a New York-based critic, author and regular contributor to the New Yorker magazine. Scottish National Gallery,The Mound, Edinburgh, EH2 2EL nginfo@nationalgalleries.org

Cricket Painting (Paragrand), 2006-2012 Oil on canvas 118 1/4 x 78 3/4 inches,300 x 200 cm Image courtesy the artist and Michael Werner Gallery, New York and London. 67

TAYMOUR GRAHNE GALLERY- NY The opening of the gallery’s inaugural exhibition, Nicky Nodjoumi: Chasing The Butterfly and Other Recent Paintings, was attended by many art world figures, including Sheila Canby (Head of The Met’s Department of Islamic Art); Massumeh Farhad (Associate Curator of Islamic Art at the Smithsonian’s Freer and Sackler Galleries); Sheena Wagstaff (Chairman of The Met’s Department of Modern & Contemporary Art); artist Shirin Neshat; and many more.

Taymour Grahne with Nicky Nodjoumi Courtesy of Billy Farrell Agency, NY 68

Courtesy of Billy Farrell Agency, NY

Courtesy of Billy Farrell Agency, NY 69

Nicky Nodjoumi Courtesy of Billy Farrell Agency, NY

Taymour Grahne Gallery 175 Hudson Street New York, NY 10013 Mail: info@taymourgrahne.com 71

Sem título (Clown, Cavalo, Salamandra), c. 1911-12, Amadeo de Souza-Cardoso Coleção do CAM/FCG

Under The Sign of Amadeo: A Century of Art From 26 July 2013 until 19 January 2014

All exhibitions galleries, at CAM, Fundação Calouste Goulbenkian, Lisbon

Curators: Isabel Carlos, Ana Vasconcelos, Leonor Nazaré, Patrícia Rosas and Rita Rosas 72

Commemorating the 30th anniversary of CAM’s (Art Modern Center) opening to the public, in 25 July 1983, an exhibition takes over all places in the center, presenting the entire collection of Amadeo de SouzaCardoso (1887 – 1918) to the public for the first time. The review of this painter pioneering work in the history of modernism in Portugal, like the one which took place when CAM inaugurated three decades ago, honors Amadeo as a major reference in the 20th century art and an anchor to this collection, a common history used as a steering wheel in the voyage proposed by CAM through a century of art, from 1910 to present day, across one of the most significant collections of Portuguese Art of this period, and also featuring important international focuses, whose initial historical acquisitions date back to 1957.

Love Wall, 1961 Peter Blake Coleção do CAM/FCG

Taking up all the spaces in CAM’s building, from 26 July 2013, to 19 January 2014, five percent of its collection of modern and contemporary Art will be on the show, which, thirty years later, amounts to more than 10.000 artworks. This voyage through the past century, under the sign of Amadeo, has many pre-defined ports, featuring various points of interaction with the collection, starting with gallery 01, where the tutelary work of the Portuguese Modernist could be found. In the Nave particular attention is paid to the human body and to performative actions, one of the elective themes guiding this show, bringing the role of the avant-garde closer to today’s public, and restarting the museum as place to encounter live Art.

Figurino para o bailado “A Princesa dos Sapatos de Ferro”, 1918, José de Almada Negreiros (1893-1970) Coleção do CAM/FCG 74

In the first room, a dialogue is established between Portuguese and British Art, one of the historical focuses of the collection, centered on the legacy of Pop Art. In Gallery 1, a selection of master-pieces of the CAM collection provide a synopsis of Modern and Contemporary Art, from the historical avant-gardes of futurism and cubism, through neorealism and surrealism followed by the Neo avant-gardes, up until the more recent years, covering the varied artistic mediums of painting, drawing, sculpture and photography, The collection of film and video is on show in the multi-purpose room, while at the temporary exhibitions room, a diverse group of works thematically explores the idea of stage and theatricality in modernity.

“O Menino Imperativo”, 1952, Marcelino Vespeira . Coleção do CAM/FCG 75

Exhibition’s critical view: José Eduardo Silva The CAM (Modern Art Center) used its thirtieth birthday to present an exhibition as illustrative as possible of its collection, which currently has more than ten thousand art pieces. Thus, designing an exhibition that features all, it would be impossible, and even they choose to display twenty five percent of the collection it still is a complete nonsense. As a result the curators had to make a choice and, in our opinion, the followed model was the one which best represents the spirit of these past thirty years of Calouste Gulbenkian Modern Art Center, with an event that takes as reference the collection greatest name, I mean Amadeo Souza-Cardoso; a crucial artist for the understanding of the last century modernism and CAM’s central element with almost all his works displayed in this event which serves as a starting point for a retrospective of the CAM’s activity. Designed in this way all artistic fields, mediums and trends are presented, with special attention to the Portuguese artists, something understandable due the fact they represent the majority of the collection. Even so, the international contemporary art is well represented, being the British Pop Art works the most obvious expression of it, after all another historical reference of the CAM collection.

Hypnotic Suggestion 505, 1993 - Jane & Louise Wilson Coleção do CAM/FCG

But who exposes ends up being exposed and, in a subtle way, some understand the growing importance that performative arts have in this new life cycle of the CAM. Fact that doesn’t arouse any criticism, rather it is something that deserves my applause. Finally, it should be mentioned that “Under the Sign of Amadeo: A century of Art” is not an exhibition dedicated to the artist who gave the name to it, but is about the institution that holds almost all his modernist pioneer works, here presented in a clean and clear way for the common viewer. Under the Sign of Amadeo is a major world exhibition on modernity using the name of Amadeo Souza Cardozo as a Symbolic way of asserting its richness, and experimental sense, but whose protagonist is the curator team that reaches almost the impossible to get connections so unlikely as the Babel dialogues. 77

Avigdor Arikha: Works from the Estate 1966-2010 Marlborough Fine Art, London 9 October 2013 - 2 November 2013 Marlborough Fine Art London is pleased to present an exhibition of significant works by Avigdor Arikha (1929 – 2010) from his estate. Many children draw, but Avigdor Arikha’s drawings were noticed at the age of twelve, when he was deported to a Romanian-run concentration camp in Transnistria. His drawings of the harrowing scenes he had witnessed in the camp, were shown to Red Cross delegates, and were the catalyst for the transportation of Arikha and 1500 further children to Palestine in 1944. After studying at Jerusalem’s Bezalel School of Art, followed by a scholarship to the École des Beaux Arts in Paris, Arikha struck up close friendships with Alberto Giacometti and Samuel Beckett, whose sparing use of language taught him the significance of every brush stroke. These friendships lasted throughout their lives and accompanied Arikha in the creative shift from his abstract period to what he described as his ‘post-abstract naturalism’.

The exhibition covers the last 45 years of Arikha’s life. He lived as an artist, writer, lecturer and curator. It will explore Arikha’s diverse use of mediums, ranging from pencil, graphite and ink brush (notably Sumi ink), drawings, etchings and aquatint prints, to oils, watercolours and colour pastels. Arikha’s estate is notable in its diversity of subject matter, in which no one genre is privileged over another. Instead, it is the execution of the works that holds utmost importance. The transience of passing instances can be perceived in Arikha’s work, in which the unnoticed and unchecked becomes a lasting and permanent subject, revealing the strangeness of familiar objects, angles and bodies, the fragility of what we observe, and at the same time, its continuance.

Avigdor ARIKHA The Reflection in the Window (painting), 1979 38 x 55 cm 79

Avigdor ARIKHA Still-Life with Blue Napkin (painting), 1985 - 63.5 x 45.5 cm

Avigdor ARIKHA Anneâ&#x20AC;&#x2122;s White Coat (painting),1975 - 146 x 114 cm

Avigdor ARIKHA Orange Sweater on a Chair (pastel),1991 - 67 x 51.5 cm

Avigdor ARIKHA Self-Portrait in a Blue Jacket (pastel), 1993 - 88 x 65 cm

Avigdor ARIKHA Two Roses (pastel), 1995 - 32.5 x 25.3 cm

Avigdor ARIKHA Spoon (watercolour), 1975 - 15.8 x 9.5 cm 85

MARIKO MORI

NOW REPRESENTED BY SEAN KELLY IN NORTH AMERICA

Her early work found its roots in Manga and cyber culture, often depicting Mori herself as a cyborg heroine seemingly from an alternate, pop-futuristic reality, navigating contemporary Tokyo. Her work has since expanded beyond that densely-layered, colorful hyper-reality to include a recent fascination with ancient cultures.

September 12, 2013, New York Sean Kelly is delighted to announce that the gallery now represents Mariko Mori. Mariko Mori is widely regarded as one of the most important artists to emerge from Japan in the past fifty years. Her practice, which is founded in the belief of the interconnectedness of all things, explores universal questions at the intersection of the cosmos, life, death, reality, spirituality and technology.

Among cultures newly explored in Moriâ&#x20AC;&#x2122;s work are the prehistoric Jomon culture in Japan and Celtic traditions in Europe, investigating a more abstract minimalism and celebrating the enlightening and expansive qualities of technological innovation and its 86

Photo: Christophe Kutner

interaction with its surroundings. Employing a diverse range of media including installation, sculpture, performance and works on paper, her practice blurs the lines between sacred reverence and popular culture aesthetics, using references from disparate visual iconographies to create works that conflate the past and future as well as the scientific and spiritual.

Japan (opening on September 27, 2013), and Rebirth: Recent Work by Mariko Mori, at the Japan Society in New York, United States (opening on October 11, 2013).

SEAN KELLY GALLERY 475 Tenth Avenue New York NY 10018 NEW YORK info@skny.com

In the fall of 2013, she will be the subject of two major solo exhibitions: Infinite Renew, at the Espace Louis Vuitton in Tokyo, 87

Neo Rauch Ghosts

Gallery EIGEN + ART Leipzig 21 September - 7 December 2013

Each of the new large-format paintings in the exhibition Gespenster (Ghosts) opens the viewer’s gaze onto a lively scene in which several simultaneous “shapshots” condense into a picture. A muted red-brown undertone suffuses the pictures, out of which the few bright colors in the protagonists’ clothing stand out all the more. The blue spring sky that still dominated the background in Rauch’s last pictures from 2012 is displaced by sunset-red or gray-blue rainclouds, the last remnant of a thunderstorm; the sun is just now peeking out again from behind them.

NEO RAUCH

Das Treffen, (The Meeting) 2013

Oil on canvas, 300 x 250 cm Courtesy of Galerie EIGEN + ART Leipzig/Berlin Â© Foto: Uwe, Walter, Berlin; VG Bild Kunst, Bonn 2013

In Das Treffen (The Meeting), one sees it behind a huge window frame, below which five figures have congregated without communicating with each other. One recalls the green, blue, and red-clothed saints in Giovanni Belliniâ&#x20AC;&#x2122;s Sacra Conversazione, but the central point of the scene is not the Virgin Mary, but a table on which a red and a blue stag beetle wrestle. Below that, the drama is repeated in two intertwining branches, and it plays out in the foreground again in the encounter between two futuristic toy cars. Odd caps with rabbit ears replace a halo; old-fashioned, outmoded costumes replace the saintsâ&#x20AC;&#x2122; robes. Each figure seems to be part of its own story; only the similar coloration of their clothes and their coherent composition bring them together in one picture. In almost all of his paintings, Neo Rauch confronts the viewer in a single picture with this simultaneity of different scenes that in part spatially and in part narratively overlay each other, leading him to sink ever deeper into the scenes in an attempt to grasp the individual strands. As if through a higher power or at the hands of an external string-puller, the figures are placed on their stages and usually first take their final position in the picture in the process of painting.

NEO RAUCH

Das Bannende, (The Spell Caster) 2013

Oil on canvas, 300 x 250 cm Courtesy of Galerie EIGEN + ART Leipzig/Berlin Â© Foto: Uwe, Walter, Berlin; VG Bild Kunst, Bonn 2013

This becomes clear in Das Bannende (The Spell Caster): one’s gaze pans from the kneeling artist in the front left who is painting a sculpture across the silent viewer in the shed in the background to another artist, whose pose and wardrobe come from the 19th century and who has created and may be giving the final touches to a monumental, luminously green-turquoise mythical creature with strange growths on its chin that could equally be teeth or a beard. Next to him, an elegant gentleman shows his female companion a completed, amorphous object that clearly could have come from the hand of the sculptor beside him to the left. One’s gaze ineluctably sweeps back to the latter, circling again and again, from one green color field to the next; these fields are placed in the ochre-red-brown scenery like anchoring points along which the eye jumps, following the routine of the assiduously working artists. Neo Rauch (born 1960 in Leipzg) studied at the Hochschule für Grafik und Buchkunst Leipzig (Academy of Visuals Arts Leipzig). Since 2009 he is honorary professor at the Hochschule für Grafik und Buchkunst Leipzig. Neo Rauch’s works have been on view in numerous exhibitions since 1993:

Solo exhibitions including in the Haus der Kunst, Munich (2001), the Kunsthalle Zürich (2001), the Albertina, Vienna (2004), the Kunstmuseum Wolfsburg (2006), the Metropolitan Museum of Art, New York (2007), and the Museum Frieder Burda (2011). In 2010, Munich’s Pinakothek der Moderne and Leipzig’s Museum of Fine Arts organized a retrospective exhibition in which, in two parallel solo exhibitions, about 120 of the artist’s works were shown.

Galerie EIGEN + ART Leipzig/Berlin Auguststraße 26 D - 10117 Berlin berlin@eigen-art.com 94

SINGLE PAGE ADD 210x297mm 300 dpi’s

Prefered document types: JPG, TIF

OCTOBER H Oxford, UK

London, UK

Francis Bacon / Henry Moore: Flesh and Bone September 12, 2013 – January 19, 2014 Ashmolean Museum Beaumant Street, Oxford OX1 2PH, UK

Mira Schendel September 25, 2013 – January 19, 2014 Tate Modern Tate Modern, Banside, London SE1 9TG

London, UK

Richard Serra: Drawings for the Courtauld September 19, 2013 – January 12, 2014 The Courtauld Gallery, Courtauld Institute of Art, Somerset House, Strand, London WC2R

Van Gogh in Paris September 26, 2013 – November 29, 2014 Eykyn Maclean 30 St. George Street, London W1S 2FH

London, UK

Philip-Lorca diGorcia: East of Eden September 25 – November 16, 2013 David Zwirner, London 24 Grafton Street (Mayfair), London W15 4EZ

Avigdor Arikha; Works from 1966 – 2010 October 9 – November 2, 2013 Marlborough Fine Art London 6 Albemarie Street London W1S 4B

London, UK

Elizabeth I & Her People October 10, 2013 – January 5, 2014 National Portrait Gallery, Wolfson Gallery St Martin Place WC2

Beyond El Dorado: Power and Gold in Ancient Colombia. October 17, 2013 – March 23, 2014 Great Russel Street, London WC1B 3DG

London, UK

Surrey, UK

The EY Exhibition: Paul Klee October 16, 2013 – March 9, 2014 Tate Modern Tate Modern, Banside, London SE1 9TG

Lawrence Watson, Pop Portraits September 21 - December 1, 2013 The Lightbox Chobham Road, Woking, Surrey GU2 4AA 96

HIGHLIGHTS Edinburgh, Scotland

New York, USA

Peter Doig: No Foreign Lands August 3 – November 3, 2013 Scottish National Gallery The Mound, Edinburgh

Kandinsky in Paris, 1934 - 1944 June 28, 2013 – April 23, 2014 Guggenheim, New York 1071 5th Avenue, New York.

New York, USA

Raymond Pettibon: To Wit September 12 – October 26, 2013 David Zwirner, 519 west 15th Street, New York New York 10011

Magritte: The Mystery of the Ordinary September 28, 2013 – January 12, 2014 The Museum of Modern Art (MoMa) 11 West 53 Street, New York

New York, USA

Balthus; Cats and Girls – Paintings and Provocations September 25, 2013 – January 12, 2014 The Metropolitan Museum of Art 1000 Fifth Avenue, New York, New York 10028-0198

Rebirth: Recent Work by Mariko Mori October 11, 2013 – January 12, 2014 The Japan Society, Gallery 333 East 47th Street, New York, NY 10017

New York, USA

Brooklyn, New York, USA

Balthus: The Last Studies September 26, 2013 – December 21, 2014 Gagosian Gallery New York (Madison Avenue). Gagosian 980 Madison Avenue, New York

Gugliemo Achille Cavellini (1914 – 1990) September 18 – October 27, 2013 Lynch Tham 172 Rivington Street New York, NY 10 0002 The Fashion World of Jean Paul Gaultier: From the Sidewalk to Catwalk. October 25, 2013 – February 23, 2014 Brooklyn Museum Morris A. and Meyer Shapiro Wings and Gerald Cantor Gallery, 5Th Floor 200 Eastern Parkway Brooklyn, New York, 11238-4052

Robert Indiana: Beyond Love September 16, 2013 – January 5, 2014 Whitney Museum of American Art 945 Madison Avenue at 75th street, New York 97

OCTOBER H Santa Fe, NM, USA

Leon de los Aldamas, México

Kent Williams / Ophthalm: New Drawings + Paintings October 4, to October 31, 2013 Evoke Contemporary 130 Lincoln Avenue, Suite F, Santa Fe, NM, USA.

Bertha Rodriguez: Reflexiones September 20 – November 1, 2013 Museo de la Ciudad de Leon Hermanos Aldamas 136 col. Zona Centro, Leon de los Aldamas, México

Santa Fe, NM, USA

México City, México.

Studio Incamminati; A Group Exhibition SR Brennen Fine Art October 4 to December 4, 2013 124 West Palace Avenue, Santa Fe, NM, USA

Danh Vo; Log Dog September 27 – November 2, 2013 At Karimanzutto San Miguel Chapultepec 11850 México City

Chicago, Illinois, USA

Moscow, Russia

MCD DNA: Warhol and Marisol September 21, 2013 – June 15, 2014 Museum of Contemporary Art 220 East Chicago Avenue, Chicago, Illinois, USA

Igor Vulokh October 16 – November 24, 2013 Petrovka 25 Moscow Museum of Modern Art

Los Angeles, CA, USA

Moscow, Russia

Tim Biskup: Charge September 28, 2013 – November 2, 2013 Martha Otero 820 North Fairfax Avenue, Los Angeles, CA, USA

Pieter Cornelis “Piet” Mondrian (1872 – 1944); The Road to Abstraction October 14 – November 24, 2013 State Tretyakn Gallery on Krymsky Val Ul. Moscow, 10 Krymky Val Ul. Array

London, UK

Lisbon, Portugal

Under the Sign of Amadeo A Century of Art July 26, 2013 – January 19, 2014 CAM, Fundação Calouste Gulbenkian, Lisbon. Rua Dr. Nicolau Bettencourt, Lisboa, Portugal.

The EY Exhibition: Paul Klee October 16, 2013 – March 9, 2014 Tate Modern Tate Modern, Banside, London SE1 9TG 98

HIGHLIGHTS Hamburg, Germany

Rotterdam, Netherlands

Denmasrk’s Breakthrough to Modernism The Hirschsprung Collection from Eckersberg to Hammer Shoi September 20, 2013 – January 12, 2014 Hamburguer Kunsthalle, Gallery of Contemporary Art

Oscar Kokoschka: Portrait of People and Animals September 21, 2013 – January 19, 2014 Museum Boijmans van Beuningen Rotterdam, Netherlands

Leipzig, Germany

Amsterdam, Netherlands

Neo Rauch: Ghosts September 21 – December 7, 2013 Galerie Eigen + Art, Leipzig Spinnereistrasse 7, Halle 5 D – 04179 Leipzig

Paulina Olowska: Au Bonheur des Dames September 21, 2013 – January 27, 2014 Stedelij Museum Amsterdam Museumplein 10, 1071 DJ Amsterdam

Paris, France

Rome, Italy

George Braque (Retrospective) September 18, 2013 – January 6, 2014 Grand Palais, Galeries Nationales 3 Avenue du Général Eisenhower, 75008 Paris

Urs Fischer September 18 – October 26, 2013 At Gagosian Gallery, Rome I Via Francesco Crispi 16, Rome

Paris, France

Milan, Italy

Paris, France

Venice, Italy

Masculin / Masculin September 24, 2013 – January 5, 2014 Musée D’OrsayMusée D’Orsay 62, Rue de Lille, Paris

Jackson Pollock e Gli Irascibili La Scuola di New York September 24, 2013 – February 16, 2014 Pallazo Reale Piazza Duomo 12, Milano.

The Avant-Gardes of Fin-de-Siécle Paris (Schulhof Collection) September 28, 2013 – January 6, 2014 Peggy Guggenheim Collection Dorsoduro, 701 – 704 Venezia, Itália

Allegro Barbaro, Béla Bartók Et la Modernité Hongroise 1905 – 1920 October 15, 2013 – January 5, 2014 Musée D’Orsay Musée D’Orsay 62, Rue de Lille, Paris 99

OCTOBER HIGHLIGHTS Malaga, Spain

Jonathan Monk: Colors, Shapes, Words (Pink, Blue, Square, Circle, etc.) September 13 – December 8. 2013 El Centro de Arte Contemporáneo de Málaga C/ Alemania, s/n 290001 Malaga, Spain

Hong Kong, China Eye to Ear: Nathan Slate Joseph & Taylor Kufner September 26 – November 2, 2013 Sundaram Gallery 57 – 59 Hollywood Road Central Hong Kong.

Tokyo, Japan Infinite Renew by Mariko Mori September 28, 2013 – January 5, 2014 Espace Loius Vuitton Tokyo Omotesando Bldg. 75 5-7-5 Jingume, Shibuya-Ku, Tokyo 150-0001

100

October, 2013