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Durcheinander / Commotion

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DAMIEN HIRST / ARNULF RAINER © Courtesy of the Arnulf Rainer Museum
Durcheinander / Commotion

Josefsplatz 5
2500 Baden
Austria
April 25th, 2014 - October 5th, 2014
Opening: April 25th, 2014 10:00 AM - 5:00 PM

QUICK FACTS
WEBSITE:  
http://www.arnulf-rainer-museum.at
COUNTRY:  
Austria
EMAIL:  
office@arnulf-rainer-museum.at
PHONE:  
+43(0)2252 209196 - 11
OPEN HOURS:  
T├Ąglich von 10.00 bis 17.00 Uhr
TAGS:  
painting

DESCRIPTION

The exhibition DAMIEN HIRST / ARNULF RAINER generates an artistic dialogue between two of the most influential artists alive today and ignores generational boundaries. Both Arnulf Rainer (b.1929) and Damien Hirst (b.1965) work consistently at expanding their own artistic vocabulary but nevertheless discover that they have in common a recognition of the regenerative power of painting.

The Dutch curator of the exhibition, Rudi Fuchs, is regarded as one of the most internationally recognised exhibition makers. He has composed a carefully assembled group of eighty works of the two exceptional artists for the architecturally demanding space. The works of Arnulf Rainer and Damien Hirst continuously alternate and, as in a literary narrative or musical composition, they thereby develop a creative dialogue.

Hirst’s paintings were realised in a studio in the garden of his home in Devon, England. In complete contrast to the large-scale sculptural and serial works created with the help of assistants, in this series the artist became directly and personally involved with one of the fundamental genres and mediums of art history: still life and oil painting.

Between 2008 and 2012 Damien Hirst attempted to disengage from the influence of his obligations and other distractions so as to get closer to the essence of his art by returning to painterly techniques; the result is the powerful series of paintings, Two Weeks One Summer.

Damien Hirst and Arnulf Rainer are akin to each other in their attitude to art in general and to painting in particular. In the 1950s Arnulf Rainer formulated articles and propositions that contain what, for him, was painting’s central task: to be a “visual ‘form’ of spiritual consciousness”. He then went on to an intensive concern with the proximity and consequences of life and death. In his painstakingly calculated installations and assemblages Damien Hirst is also concerned with the big issues of growth and decay. The two artists are bound by the insight that painting, as the most complex means of artistic expression, forces the painter to be truthful.

A catalogue, with an article by Rudi Fuchs, will be published to accompany the exhibition.

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