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Manifesta 10: Casus Pacis

"The State Hermitage Museum in St. Petersburg was selected by the Manifesta Foundation to host Manifesta 10 in 2014 because of its critical intellectual and historical relationship with Eastern and Western Europe: a uniting principal that is also central to Manifesta, as the single roving European biennial of contemporary art. Manifesta 10 considers the historical perspective of St. Petersburg's view to the West, and its extensive relationship with Europe at large. Over 50 artists were invited by curator Kasper König to illustrate their own sections in the catalogue.

Photo impression exhibition opening "Francis and Nature"

Niel Steenbergen, De armoede van FranciscusDe gestigmatiseerde Franciscus
Everything was enchanting. Geen passender entourage voor de opening van de tentoonstelling "Franciscus en de natuur" was denkbaar. De jonge kunstenaar Pavel van Houten sprak het toegestroomde publiek in de prachtige kloostertuin van het Museum voor religieuze kunst op 28 juni jl toe. Een begaafd gitarist bracht muziek uit Franciscus' tijd, Albeniz en Messiaen ten gehore, terwijl een dolgelukkige dichter luidkeels zijn pasgemaakte gedichten declameerde. De wethouder (zie op foto hierboven in gesprek met de kunstenaar Rinke Nijburg) deed daar nog een schepje bovenop door het museumpersoneel een hart onder de riem te steken.

Romantiek uit Rusland in het Teylermuseum in Haarlem

Tijdens de eerste helft van de negentiende eeuw is in Noord-Europa een nieuw ‘Romantisch’ sentiment te bespeuren in muziek, literatuur en beeldende kunst. In fraaie ‘pittoreske’ en ‘sublieme’ voorstellingen brachten kunstenaars de wereld in beeld. Het verre en het exotische vormde daarbij een belangrijke inspiratiebron, terwijl een nieuwe nadruk op het persoonlijke tot uiting komt in het intieme karakter van de voorstellingen. Tijdens de Romantiek werd in Rusland de basis gelegd voor een geheel nieuwe verbeelding van eigen land en identiteit.

Modern Russian Pioneers IV: Kazimir Malevich (see 15/3/13)

The Blue Rose Exhibition in 1907 was one of the first Russian avant-garde events. A departure from a naturalist style, a symbolist tendency and an interest in the spiritual characterised the exposition. Although Kazimir Malevich did not participate in the show, he clearly took an interest in symbolist aesthetics and the exhibited works. This can be seen in several studies for a fresco also known as the Yellow Series, shown at the exhibition "The Great Change" in the Bonnefantemuseum in Maastricht (Spring 2013) and the exhibition "Kazimir Malevich and the Russian Avant-Garde’’ in the Stedelijk Museum in Amsterdam (19.

Modern Russian Pioneers III: Natalya Goncharova (see 15/3/13)

In December 1909, a group of artists around Goncharova launched neo-primitivist art at the third exhibition of the ‘Golden Fleece’, in which they affirmed a national identity in a similar vein to the artists of Abramtsevo. They explored Russian roots as found in the country’s ‘primitive’ pagan, as well as medieval, Orthodox past and continued to propagate the rural myth of ‘obshchina’, as well as the spiritual notion of ‘sobornost’. In line with the Slavophiles and Abramtsevo artists’ circle, the neo-primitivists cherished their peasants and saints, their land and their religion as symbols of a national identity.

Modern Russian Pioneers II: Breaking with the Past

Breaking with the past
Russia certainly was not the only country with a feudal system in 19th century Europe. It is not a coincidence that a critical realist current in art emerged in mid 19th century in France also. Like Russian realists after the abolishment of serfdom in 1861, French artists sympathised with the so-called 'lower' classes after their 1848 revolution and the abolishment of slavery in French colonies a year later. This can be demonstrated in Gustave Courbet's famous painting of the 'Stone Breakers' (1849) and Francois Miller's 'Sower' (1950).

Modern Russian Pioneers I: Introduction (see blogpost 15/03/13)

Various group and solo exhibitions of early twentieth-century Russian avant-gardist art shown in the late 1980s and 1990s in Western Europe, following Mikhail Gorbachev’s policy of ‘glasnost’, aroused my professional interest in Russian art history. The renewed acquaintance first led to research in preparation for the design of courses about Russian art, secondly to a PhD-research project on the late nineteenth-century Russian art practices of Abramtsevo artists’ circle, and the hypothesis that this circle holds a key to a more profound understanding of ‘the Russian avant-garde’, and to Russian culture as a whole.

Symposium Stedelijk Museum Amsterdam

Symposium "Aftermath and Afterlife of the Russian Avant-Garde", Stedelijk Museum Amsterdam, 16-17 January 2014


Malevich, 1915: "The artist of colour, the artist of sound and the artist of volume - these are the people who open the hidden world and reincarnate it into the real".

Malevich, 1927: "..the suprematist square appeared at the time, naked: the shell fell away".


   
                                            

Franse 'profeten' in de Hermitage: De 'Nabis'

De Nabis, twee lezingen op 't Plein van Siena, Amsterdam (25 okt en 8 nov) & rondleiding 

Deze herfst kunt u in deHermitagenader kennismaken met het werk van Paul Gauguin, Maurice Denis en Pierre Bonnard. Dit waren moderne kunstenaars, die christelijke thema’s en decoratieve kunst niet schuwden. Hun werk was zeer geliefd in zowel Parijs als Moskou. In twee lezingen nemen we hun werk onder de loep en daarna bekijken we de schilderijen in onze eigen Hermitage aan de Amstel.

2e Lezing: 8 november, 10.

Exhibition "Moscow School: Tradition and Today", Ikonenmuseum, Kampen

For more information, see the following sites:


Extended due to success to 29/03/2014!



Bij de tentoonstelling is een boekje verschenen, verkrijgbaar bij Boekhandel Kirchner en natuurlijk in het Ikonenmuseum in Kampen.
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