ArtSlant - Recently added http://www.artslant.com/ew/Events/show en-us 40 Michael Aaron Williams - Trespass Gallery - July 12th - August 3rd Thu, 31 Jul 2014 02:24:28 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Mounira Al Solh - Nogueras Blanchard Barcelona - July 9th - July 31st <p>NoguerasBlanchard da continuaci&oacute;n al ciclo expositivo &lsquo;The Story Behind&rsquo; en su espacio de Barcelona, con la muestra Reclining men with sculpture de la serie Stamps Sketches and Short Stories de Mounira Al Solh (1978, Beirut).</p> <p>Gran parte del arte contempor&aacute;neo se recrea en el relato sobre s&iacute; mismo, historias que median entre la obra y el espectador ya sea para transmitir la intenci&oacute;n del artista, explicar el proceso de trabajo que subyace en las im&aacute;genes o hacerse eco de las interpretaciones m&aacute;s atinadas. Narrar, contar, explicar todo el universo interpretativo que rodea aquello que presenciamos se ha convertido en un elemento m&aacute;s de las obras. El ciclo &lsquo;The Story Behind&rsquo; presenta un grupo de obras donde historias, ya sean ficticias o reales, dan cuerpo a ese mundo oral y paralelo que acompa&ntilde;a a las im&aacute;genes.</p> <p>En el proceso de creaci&oacute;n y dise&ntilde;o de sellos postales intervienen una serie de decisiones pol&iacute;ticas. Mounira Al Solh se centra en algunas historias que podr&iacute;an haber sucedido para proponer sellos conmemorativos de dichos eventos. En un hipot&eacute;tico e improbable acuerdo entre L&iacute;bano, Siria, Ir&aacute;n y el Reino Unido, estos pa&iacute;ses deciden crear un sello conmemorativo conjunto- Al Solh inventa aqu&iacute; cuatro situaciones que podr&iacute;an ser suficientemente importantes para los cuatro pa&iacute;ses como para ser celebradas con un sello.</p> <p>Hip&oacute;tesis, ficciones y un amplio sentido del humor caracterizan la producci&oacute;n art&iacute;stica de Mounira Al Solh. Jugando con el efecto de lo inesperado, se centra en historias que pueden parecer ligeras pero que sirven como excusa para empezar una conversaci&oacute;n. An&eacute;cdotas, situaciones extra&ntilde;as e incluso personales se desarrollan en cuestiones micro-sociales y micro-est&eacute;ticas, o como en el caso del proyecto que nos ocupa, micro-pol&iacute;ticas. Mezclando personajes como Mahmoud Ahmadinejad, Francis Bacon, Rafic Hariri o Gerrit Rietveld Al Solh construye encuentros memorables, que pueden parecer inocentes e inocuos pero que en realidad son c&aacute;usticos.</p> <p>Mounira Al Solh vive y trabaja entre Beirut y Amsterdam.</p> <p>Mounira Al Solh ha estudiado pintura en la Universidad Libanesa de Beirut y Bellas Artes en la Academia Gerrit Rietveld en Ansterdam donde ha sido residente en la Reijksakademie. Ha expuesto individualmente en el CCA de Glasgow, el Stedelijk Museum Bureau de Amsterdam, la galer&iacute;a Sfir-Semler en Beirut y en el Kunsthalle Lissabon en Lisboa. Entre sus exposiciones colectivas cabe destacar New Museum, NY; Marrackech Biennale 5, Marrakech (comisario: Hicham Khaldi); 'Artificial Amsterdam, de Appel, Amsterdam (comisarios: Gerardo Mosquera y Rieke Vos); Manifesta 8, Murcia (comisario: Cuauht&eacute;moc Medina), 11th Istambul Biennial (Comisario: WHW Collective).</p> Thu, 31 Jul 2014 02:12:19 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list - Martin Asbæk Gallery - August 8th - September 20th Thu, 31 Jul 2014 01:53:42 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Paulo Climachauska - LURIXS: Arte Contemporânea - August 22nd - October 3rd <p>LURIXS: Arte Contempor&acirc;nea is very pleased to present, from August 22nd to October 3rd, Natureza Econ&ocirc;mica [Economic Nature], Paulo Climachauska&rsquo;s first solo show at the gallery since the commencement of his representation last year. Surprisingly rendering in an array of vivid colours, the exhibition brings together ten works from the artist&rsquo;s new, namesake series.&nbsp;</p> <p>Paulo Climachauska&rsquo;s works are deeply rooted in his fascination with the interrelationships between economy, society and the arts, examining the general view of art as a socio-economic element and its association to economic abstraction and financial derivatives. The artist&rsquo;s dual-layered approach to this subject, consistent to Ludwig Mier van der Rohe&rsquo;s (1886-1969) postulation that &ldquo;less is more&rdquo;, uses icons rooted in our collective imaginary as an analogy to question established ways of interpretation. In fact, the evolution of Climachauska&rsquo;s works can be widely attributed to the way he rethinks, reconsiders and deconstructs standards. From redrawing the world through the systematic repetitive action of subtracting mathematical operations, to using figures common to gambling and speculation environments, the artist reasons therefore as an economist, a sociologist, a political pundit.</p> <p>Climachauska&rsquo;s new series, Natureza Econ&ocirc;mica [Economic Nature], carries on the artist&rsquo;s roving in using art as a way to conduct and challenge spectators to contemplate on the connections among the value of the arts, people and society. However, the colourful representations, as well as its given titles (<em>Dune</em>,&nbsp;<em>Archipelago</em>,<em>Waterfall</em>, and so on) puzzles the observer. Are these economic graphs or representational nature paintings? Could it be both? Is nature being used as an illusion to convey a message or as a veil to lightly obscure it? Open-ended questions are put out there through the rearrangement of these familiar images into unique artworks, as the artist acknowledges, however, that in the end, each observer is the only natural and genuine interpreter.</p> <p>_</p> <p>Paulo Climachauska (b. 1962, S&atilde;o Paulo) lives and works in S&atilde;o Paulo. Graduated in History and Archaeology at the University of S&atilde;o Paulo, Climachauska had his first exhibition in 1991 at the Museu de Arte Contempor&acirc;nea da Universidade de S&atilde;o Paulo. Following his participation in the 26th International S&atilde;o Paulo Biennial, the 8th Biennial of Cuenca, and the 14th Biennial of San Juan, his works have been featured in solo exhibitions at Moderna Musset (Stockholm, Sweden), Oi Futuro Flamengo (Rio de Janeiro, Brazil), Project 01 (Park Gauflstrafle, Germany), and Pa&ccedil;o Imperial (Rio de Janeiro, Brazil), among other important galleries and institutions. He has also taken part in group exhibition at the Museu da Escultura Brasileira (S&atilde;o Paulo), Chateau de Fermelmont (Fermelmont, Belgium), Vancouver Biennial (Vancouver, Canada), Fundac&iacute;on Barrie (Vigo, Spain), Henry Moore Institute (Leeds, England), and the Toyota Contemporary Art Museum (Tokyo, Japan), to name a few. Climachauska&rsquo;s works are present in major art collections, both in Brazil and beyond, such as the Pinacoteca do Estado de S&atilde;o Paulo, Museu de Arte Moderna de S&atilde;o Paulo, Instituto Ita&uacute; Cultural, Museu de Arte Moderna do Rio de Janeiro, Fondation Cartier Pour l&rsquo;Art Contemporain, Lhoist Collection and Patricia Phelps de Cisneros Collection.</p> Thu, 31 Jul 2014 01:50:58 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Emma Ainala, Ida Koitila, Berit Talpsepp-Jaanisoo - Helsinki Contemporary - August 8th - August 31st <p>Helsinki Contemporary&rsquo;s autumn season begins with a group exhibition by three young artists,&nbsp;<em>Time that Remains</em>. Its theme is time and the concept of time. The artists approach their theme from several different viewpoints: subjectively and objectively, using the means of images and language, within the worlds of fairy tale and science. Their works contemplate myths, memories and truths that have a life in time. We cannot halt the passage of time, but can we preserve a moment?</p> <p>Ida Koitila&rsquo;s works often deals with the passage of time. In her sculptures she combines the meanings linked to different materials and objects with linguistic and cultural concepts. In the&nbsp;<em>Time that Remains</em>&nbsp;exhibition the unifying theme of Koitila&rsquo;s works is human biological, intellectual and cultural evolution: the way that time shapes and develops us. Vocabulary and symbols from classical Greece recur in the titles of her works, and provide a key for interpreting their meanings.</p> <p>A snake eating its own tail,&nbsp;<em>Ouroboros</em>, is a symbol of the universe and cyclicity, in which life and death are one. Koitila&rsquo;s&nbsp;<em>Ouroboros</em>&nbsp;is made up of parts reminiscent of vertebrae. A straight spine has been bent into a circle, contrary to its own nature, and attained a new one. In&nbsp;<em>Oxymoron</em>&nbsp;extinguished matches form a source of fire, the sun. The work is a visual and linguistic game, which also deals with the human relationship with controlling the powers of nature. In&nbsp;<em>Evolution</em>, a work that borrows the shape of a church window, the clams and bits of bone refer to the strata of time. In the&nbsp;<em>stained glass window&nbsp;</em>the biological evolution of humankind and the world has replaced the creation story of the church.</p> <p>Berit Talpsepp-Jaanisoo workswithsculpture, photography and video. In her art she has dealt with people&rsquo;s subjective memories and the notion of history. She also considers the nostalgia that is associated with them in relation to the potential objectivity of art. For the exhibition Talpsepp-Jaanisoo has created three sculptures of people, all twice their natural size. As a starting point of these objects, she sees her earlier photographic work &ndash; the nude photographs of artists. This time, the artist uses photography as a tool to sculpt life into the surfaces of her sculptures, which combine the three-dimensional objects and the fragments cut from the photographs.</p> <p>The sculptures are three-dimensional objects that act as physical manifestations of memory. In the two-dimensional surface of a painting the physical experience is left more open to interpretation. The photograph, meanwhile, was long seen as representing an objective rendering of reality, and as more accurate than immediate human experience. Talpsepp-Jaanisoo&rsquo;s photograph-covered print sculptures are an interesting synthesis of these elements.</p> <p>Paraphrasing the film theorist Andr&eacute; Bazin, the artist compares her works to mummies. In ancient Egypt mummies were a way of preserving a person&rsquo;s physical being, of exempting it from the passage of time. A mummy was the preservation of life via a representation of life.</p> <p>In her works Emma Ainala interprets the stratified nature of time refracted through her own world of imagination. Ainala&rsquo;s works often contain references to popular culture and, at the same time, to the various periods and mythologies of art history. They look at history, but also powerfully dissect the present day.</p> <p>Ainala describes the mood of her paintings as film stills, as moments suspended from time, which have something strangely familiar and yet unidentified about them. In&nbsp;<em>Farewell to the mermaids (hen night)&nbsp;</em>she juxtaposes figures recognisable as female icons with the imagery of her childhood. Priscilla Presley, Brigitte Bardot and Chlo&euml; Sevigny are mixed with My Little Pony and Disney&rsquo;s Ariel. H.C. Andersen&rsquo;s tragic little mermaid and her story remind us of childhood and of the renunciation of girlhood. Of the moment when you have to take a step into the inexorable reality of adulthood and human relationships.</p> <p>In Ainala&rsquo;s large-format paintings real, mythical and dreamlike figures and motifs merge to form their own reality, which can be interpreted in many different ways. In Ainala&rsquo;s works time appears in pictorial, narrative and stylistic layers, which are tinged with sentimentality and with the nostalgia that Talpsepp-Jaanisoo, too, deals with.</p> <p>Mikaela Lostedt &amp; Marja Kosunen</p> <p>&nbsp;</p> <p>Emma Ainala (b. 1989 Helsinki) lives and works in Savonlinna. She graduated from the Finnish Academy of Fine Arts in 2013. Ainala&rsquo;s solo exhibitions have been seen for example at Galleria Huuto on J&auml;tk&auml;saari in 2014, at Hasan &amp; Partners in 2013. Ainala has also taken part in numerous group exhibitions, the latest being Kunsthalle Helsinki&rsquo;s&nbsp;<em>Young Artists 2013</em>&nbsp;exhibition.</p> <p>Ida Koitila (b. 1983 Bor&aring;s, Sweden) lives and works in Berlin. She graduated from the Finnish Academy of Fine Arts in 2011 and has subsequently actively taken part in group exhibitions in Finland, Sweden and Germany. Koitila&rsquo;s two solo exhibitions were seen at Galleria Sinne and Galleri Bergman in Helsinki in 2012 and after this she has also exhibited solo in Bor&aring;s, Sweden and in Berlin.</p> <p>Berit Talpsepp-Jaanisoo (b. 1984 Tartu, Viro) lives and worksin Finland. She has studied at the Estonian Academy of Arts and Glasgow School of Art. She has taken part in group exhibitions in Finland, Estonia, Britain and elsewhere.</p> <p>&nbsp;</p> Thu, 31 Jul 2014 01:39:35 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Jussi Tiainen - Galleria Ama - August 8th - August 31st Wed, 30 Jul 2014 23:50:43 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Arthur Arnold - Galeria Movimento - August 13th - August 29th <p class="p1"><span style="font-size: small;">Estado de S&iacute;tio &eacute; o instrumento atrav&eacute;s do qual o Chefe de Estado suspende temporariamente os direitos e as garantias dos cidad&atilde;os e os poderes legislativo e judici&aacute;rio s&atilde;o submetidos ao executivo, tudo como medida de defesa da ordem p&uacute;blica.(Arts. 137 a 141 da CF)&nbsp;</span></p> <p class="p2">N&atilde;o estar&iacute;amos vivendo em um Estado de S&iacute;tio?&nbsp;</p> <p class="p2">Esta &eacute; a pergunta que nos acompanha desde as manifesta&ccedil;&otilde;es de junho de 2013 at&eacute; os dias de hoje, per&iacute;odo em que protestar tornou-se crime. A pol&iacute;cia &eacute; coercitiva, os manifestantes s&atilde;o tratados como v&acirc;ndalos e o Poder de Pol&iacute;cia alega &ldquo;estado de exce&ccedil;&atilde;o&rdquo; para burlar a constitui&ccedil;&atilde;o.</p> <p class="p3">&Eacute; sobre esse cen&aacute;rio que Arthur Arnold apresenta a exposi&ccedil;&atilde;o Estado de S&iacute;tio, pronunciando-se com imagens de protesto, viol&ecirc;ncia, desigualdade, discrimina&ccedil;&atilde;o, abuso de poder, muta&ccedil;&otilde;es simb&oacute;licas, opress&atilde;o e criminalidade. Trata-se de uma mostra de pintura e sobre pintura, de um artista que vive e trabalha no mesmo contexto de suas imagens.&nbsp;</p> <p class="p2">Arnold nos apresenta uma produ&ccedil;&atilde;o que explora com intensidade tanto as camadas pol&iacute;ticas como pict&oacute;ricas da arte. S&atilde;o pinturas que incitam o espectador a refletir sobre aquilo que muitos preferem &ldquo;fechar os olhos&rdquo;. Trabalhos que conquistam o espectador atrav&eacute;s de sua excel&ecirc;ncia formal (composi&ccedil;&atilde;o, cor e gesto), para ent&atilde;o incitar a uma medita&ccedil;&atilde;o conceitual e brutal do que &eacute; visto dentro e fora da galeria de arte.&nbsp;</p> <p class="p2">Paula Borghi, 1986, S&atilde;o Paulo-SP. Cr&iacute;tica de arte, curadora da Resid&ecirc;ncia de Arte da Red Bull, idealizadora do PROJECTO MULTIPLO de arte impressa, foi integrante do grupo de cr&iacute;tica do CCSP (Centro Cultural S&atilde;o Paulo) de 2011-2013 e do Pa&ccedil;o das Artes S&atilde;o Paulo 2012-2013. Desenvolve desde 2010 trabalhos e pesquisas em espa&ccedil;os independentes e resid&ecirc;ncias de arte na Am&eacute;rica Latina.</p> Wed, 30 Jul 2014 23:44:10 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Piero Golia - Gagosian Gallery - Rome - July 14th - September 12th Wed, 30 Jul 2014 23:30:15 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Group Show - Museum der bildenden Künste Leipzig - July 13th - October 19th <p>Marking the 250th anniversary of the Academy of Visual Arts Leipzig, the Museum of Fine Arts Leipzig presents a selection of paintings and illustrations from its own collection, created by artists who have taught at the Academy since 1947. The focus of the selection is on the artistic community between teachers and students who themselves frequently become teachers. This genealogical approach illuminates the various phases and emphases at the Academy, also the continuities and fractures in artistic perceptions.&nbsp;</p> Wed, 30 Jul 2014 22:48:18 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Group Show - Museum der bildenden Künste Leipzig - July 13th - October 19th <p>Celebrations to mark the 250th anniversary of the Academy of Visual Arts Leipzig will feature representative work by graduates over the last 20 years, focusing on the artistic genres of installation, photography, film and conceptual art, which in addition to painting and illustration have defined teaching at the Academy for many years. The invited artists are united in their equally dedicated and analytical view of the complex phenomena apparent in the reality of contemporary life. In doing so they aspire to the artistic maxims of young Goethe, one of the most prominent students under Friedrich Oeser, the first Director of the Academy, who described subjective perception and orientation toward social developments as essential aspects of artistic endeavour.&nbsp;</p> Wed, 30 Jul 2014 22:43:36 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Yulia Zastava - Moscow Museum of Modern Art [9 Tverskoy Blvd] - July 1st - August 24th <p>The Moscow Museum of Modern Art and Paperworks Gallery present &ldquo;Blinking,&rdquo; an exhibition of works by Yulia Zastava. The exhibition includes objects, videos and drawings. It is held in the frame of the 4th Moscow Biennale of Young Art.</p> <p>&nbsp;The artist makes use of her project for bringing out some means of self-hypnosis. Within the confines of her easily recognizable style, Yulia Zastava is looking into the processes of overflowing and regeneration. Her works find themselves somewhere in between modern art and salon art which are the successors to the avant-garde art and kitsch &ndash; the classic opposites. An exquisite style of the artist&rsquo;s graphic work and painting is integrated with her personal peculiarity: Zastava is an artist working with the history of art, cinema and literature. Instead of straightforwardly combining citations and paraphrases in her work she employs a nearly surrealistic mechanism for making a collage of images, the mechanism based on the game of chance and free associations. &nbsp;&nbsp;</p> <p>Each of Zastava&rsquo;s canvases is a fragment of a dream featuring a dreamer who is either watching TV or a movie in a motion-picture theatre. On the screen the dreamer can see the sequences of movie scraps changing frantically before his eyes. Those are the bits of the movies he has either seen or never seen before. The dreamer may as well go leafing through the book or find himself in a museum of fine arts. As he takes a closer look at the pictures that used to be the &ldquo;freeze frames,&rdquo; the knowledgeable spectator can identify the characters pertaining to&nbsp;<em>The Wizard of Ozz,&nbsp;</em>a well-known novel adaptation produced in the golden age of Hollywood. Alternatively, he can recognize the characters of&nbsp;<em>Possession,&nbsp;</em>a drama directed by Andrzei Zulawski. The abstract paintings that are either perceived as a random part of the series or seem to be included in it to ease tension created by the concentrated surrealistic imagery &ndash; these paintings correspond to the inner logic of narrative too. The color psychedelic and simple black-and-white abstract works are none other but the TV screens distorted by interference graphics. These are the screens still awaiting a &ldquo;signal&rdquo; with the artist&rsquo;s visions in it.</p> <p>&nbsp;Yulia Zastava is not merely creating series of graphic works and paintings. First and foremost, she aims to concoct an ethereal, special emotional state. The visual images are by far not the only ones playing the role for forming the above state. Sound, video and objects as well are becoming part of a symbolic space of Zastava&rsquo;s project.&nbsp;</p> Wed, 30 Jul 2014 22:37:51 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Matt Morris - Baton Rouge Gallery - center for contemporary art - August 3rd - August 28th Wed, 30 Jul 2014 21:57:32 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Katie Knoeringer - Baton Rouge Gallery - center for contemporary art - August 3rd - August 28th Wed, 30 Jul 2014 21:56:09 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Dawn Black - Baton Rouge Gallery - center for contemporary art - August 3rd - August 28th Wed, 30 Jul 2014 21:56:51 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Txema Novelo - Museo de Arte Carrillo Gil - April 11th - June 11th <h3 class="post_subtitle"><em>Still Movie</em>&nbsp;is the second feature of&nbsp;<a href="http://installationmag.com/txema-novelos-emerald-sapphire-gold/" rel="nofollow" target="_blank">Txema Novelo</a>&rsquo;s film pentalogy&nbsp;<em>The Anagram Movie Series</em>. The film will have its solo opening at the Museo de Arte Carrillo Gil in Mexico City on April 11th 2014.&nbsp;&ldquo;..kno what you want, be your own boss, do what you hav to, and take nothing for granted.&rdquo; (sic) -&nbsp;Thee Temple of Psychick Youth</h3> <p dir="ltr">Divided in five complex chapters&nbsp;<em>Still Movie</em>&nbsp;is a union of many themes. &nbsp;Exemplary of the contemporary way in which we access information through the internet &ndash; think time travel and infinite research possibilities, webs of relationships between subjects, etc. &nbsp;It juxtaposes references ranging from very early paintings depicting paradise to modern paintings of industrial times, references Nietzsche as well as Bob Dylan, and shows the striking similarities of symbols found in Mitla Oaxacan pyramids with that Atari video game icons. &nbsp;Besides the myriad of thematic allusions,&nbsp;<em>Still Movie</em>&nbsp;also becomes a new way to see painting. Its scenes are pictorial, sometimes imitating paintings themselves, and at times digital versions of old paintings become video and change colors, fading and coming back to life.</p> Wed, 30 Jul 2014 23:44:12 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Claude Monet - State Hermitage Museum, St. Petersburg (Winter Palace of Peter the Great) - May 21st - September 13th <p>On May 21, 2014, the Winter Palace welcomed the grand opening of the exhibition &ldquo;Claude Monet. Three Scenes from the Beyeler Foundation&rdquo; from the series &ldquo;World Museum Masterpieces at the Hermitage,&rdquo; prepared by the State Hermitage and the Beyeler Foundation, Switzerland.</p> <p>The exposition is on display in the impressionist halls, exquisitely complementing the paintings by Claude Monet from the State Hermitage collection, which includes a fine range of Monet&rsquo;s early work, beginning with the celebrated&nbsp;<em>Women in the Garden</em>&nbsp;and two oversized Montgeron canvasses. These &ldquo;garden&rdquo; scenes, painted in Sainte-Adresse and Montgeron, cry out for comparison with the later views of Giverny.</p> <p>The artistry of Claude Monet (1840&ndash;1926) can be nominally divided into three periods. The early period stretches from his first landscape sketches (1856) to his first personal exhibition at the Durand-Ruel Gallery in 1883. It was then that the artist settled in Giverny, a place he chose as the cornerstone for the rest of his life. The next, central period is striking first and foremost for his series of landscapes, variations on a single motif:&nbsp;<em>Haystacks</em>,&nbsp;<em>Poppy Field</em>,&nbsp;<em>Poplars</em>. The final and most extended period begins in 1892&nbsp;with his rendering of the Rouen Cathedral and continues with the large group&nbsp;<em>Views of the River Thames in London</em>&nbsp;and more definitively by the series of depictions of the sprawling Giverny garden created by Monet himself:&nbsp;&nbsp;<em>In the Meadow</em>,<em>&nbsp;Japanese Footbridge</em>,<em>&nbsp;Water Lilies</em>.</p> <p>The Beyeler Foundation, founded in 1997 in Riehen, Switzerland by one of the best gallerists of the 20th Century, won acclaim for its featured works by impressionists and the contemporary masters whose names continue to define the path of world art. The exposition showcases three paintings by Claude Monet that beautifully illustrate the facets of his art that are missing from the Hermitage collection. They are all part of the Giverny period &ndash; even&nbsp;<em>Rouen Cathedral</em>, begun in Rouen (1892), continued there (1893) but finished within the confines of his Giverny studio (1894), when his artistic mastery was no longer in need of any hints from nature.</p> <p>The general problem of the&nbsp;<em>Rouen Cathedral</em>&nbsp;series, comprising a total of 30 canvases, was not only the consistent rendering of the transitory state of the cathedral&rsquo;s lighting, but also in the pictorial transfiguration of visual effects in &ldquo;symphonic&rdquo; arrangement. Each and every nuance is striking. The morning rays are already streaming into the upper floors of Alban Tower, yet the cathedral&rsquo;s foundation continues to slumber in deep shadow, the gothic stones tamed by the air enshrouding them.</p> <p>All of Monet&rsquo;s later work is associated with Giverny. He planted gardens there that were at once an amazing feat of gardening skill and a fertile environment for painting. The Big Pond is magnificent, landscaped in the Eastern tradition, complete with the wooden footbridge above it and the lush vegetation dotting its banks.&nbsp;<em>Japanese Footbridge</em>&nbsp;from the Beyeler Foundation (1918&ndash;1924) was painted following a series of dramatic event&rsquo;s in the artist&rsquo;s life: the death of his wife, his eldest son&rsquo;s heart attack, his deteriorating vision. But in the summer of 1914, despite all of his misfortunes, he took up the brush once again, finding the best medicine and solace in his work. His connection with nature is becoming too fragile. It&rsquo;s no longer a landscape in the common sense of the word or even a flight of fancy on a conventional theme, but an expression of sheer awe in the face of the eternal green elements. The rhythmics of this awe becomes the meaning of his work. &nbsp;</p> <p>The main theme of the older artist&rsquo;s paintings &ndash;&nbsp;<em>Water Lilies</em>. He paints them over and over again, without thinking about the purpose of his canvases. Over time, the idea came about to put them in the Orangerie Building at Tuileries Garden. Not all of them were &ldquo;well-suited,&rdquo; and the ones that didn&rsquo;t make the cut remained unknown until the mid-20th Century. The generality of the color splashes in the later&nbsp;<em>Water Lilies</em>&nbsp;(1914-17) is striking: blue water and a green blotch of leaves, nothing more. But it&rsquo;s important to remember that Monet&rsquo;s generalizations were inspired by his pantheistic attitude towards the eternal green of nature, his homage to the vitality of the water element and world of vegetation.</p> Tue, 29 Jul 2014 06:44:35 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list