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Dada Exhibitions

Lia Perjovschi: Dada Legacy / Anti Art

Cabaret Voltaire
Spiegelgasse 1
CH-8001 Zürich
Switzerland

Opening Day:
Thursday, 26 August 2010, 6 pm – 8 pm

Duration:
26 August 2010 – 20 February 2011

Opening hours:
Tuesday - Sunday 12:30 - 18:30
Saturday 11:00 - 17:00

Lia Perjovschi (born in Sibiu in 1961, lives and works in Bucharest) was asked by Cabaret Voltaire to direct a focus of her art of continuous research at Dada with a view to creating a subjective mind map. She has created six Timelines of about a hundred diagrams.

Rather than presenting an end-product, this six-month exhibition at Cabaret Voltaire is a sort of stock-taking in preparation for Dada 2016. After about four years of Dada-related exhibitions with very specific themes, Dada Legacy / Anti Art stakes out new territory, presenting the whole diversity and complexity of Dada. It is Lisa Perjovschi's suggestion to Cabaret Voltaire to pursue the question as to what can be learnt from Dada.


The Seduction of Duchamp: Bay Area Artists' Response

at Art Museum of Los Gatos, Los Gatos, California

September 11 - October 22, 2010

The Museums of Los Gatos in collaboration with ArtZone 461 Gallery present their groundbreaking exhibition, The Seduction of Duchamp: Bay Area Artists' Response. Discover the ingenuity and innovation of the Dada movement as 35 Bay Area artists interpret the work of Marcel Duchamp. Experience the Life and Times of Marcel Duchamp at The History Museum at Forbes Mill.

4 Tait Ave.
Los Gatos, CA 95031
(408) 354-2646

Price: Free

Age Suitability: All Ages

Santa Cruz Sentinel


ROUGE CABARET Love, Death, the Terrifying and Beautiful World of Otto Dix at the Montreal Museum of Fine Arts

Montreal, – From September 24, 2010, to January 2, 2011, the Montreal Museum of Fine Arts will be presenting ROUGE CABARET: The Terrifying and Beautiful World of Otto Dix, the first North American exhibition devoted to Otto Dix (1891-1969), one of the twentieth century's most important German painters. A keen observer of the world, which he viewed as "terrifying and beautiful," Otto Dix leaves no one indifferent. Some 220 works, including about forty rare and fragile paintings, many of them painted in tempera on wood panels, large watercolours and powerful prints, illustrate his acerbic yet moving vision of the eventful era in which he lived, from World War I to World War II, from the Germany of the Weimar Republic to the rise of the Third Reich. Several complete series of prints will also be on display, including the outstanding "War" series (1924).

"This is the first North American exhibition of this scope devoted to Otto Dix," said Nathalie Bondil, Director and Chief Curator of the Montreal Museum of Fine Arts, "and the fact that it is being presented in Montreal is highly significant. One of Dix's paintings, Portrait of the Lawyer Hugo Simons, eloquently recounts the destinies of two men – the painter and his model – who lived through a twentieth-century tragedy. But it is also the story of a city's battle to conserve this highly symbolic work. Rarely in this city has a work of art sparked such a concerted effort to preserve our collective heritage."

Following World War I, Germany experienced a burgeoning of artistic creativity unequalled in Europe. The Roaring Twenties, a time of joyful and unbridled revelry, was also marked by violence, poverty and decadence generated by a disastrous political and economic situation, which Otto Dix observed with an unflinching eye. His depictions of battlefield scenes illustrating the horrors of war, dejected veterans reduced to begging, the moral misery of prostitutes, the myriad victims of a social order that had lost its bearings, and compelling portraits of anonymous figures, bohemians and intellectuals were all conveyed in a brutal realism that is as disturbing as it is fascinating.

BIOGRAPHICAL NOTES

Born in 1891 in Untermhaus, near Gera, Germany, to a family of modest means, Otto Dix studied painting at the Royal School of Arts and Crafts in Dresden. Enlisting in the army as a volunteer, he was profoundly affected by the World War I. He quickly acquired a scandalous reputation, disassociated himself from Expressionism and briefly joined the nihilist Dada movement. Along with George Grosz, he became a central figure in the New Objectivity (Neue Sachlichkeit), a major art movement that took a realistic and often scathing look at a society in the grip of a deep malaise and pessimism between the two World Wars: "We wanted to see things naked, to see them clearly – almost without art," Dix explained. In both his technique and his style, he draws on the tradition of the German Renaissance, and his work depicts the most mundane and the crudest aspects of urban life in minute detail. Sought after as a portrait painter between the two World Wars, he captured the leading intellectuals and bohemians of the time. In 1933, with Hitler's rise to power, Dix was immediately deemed a "degenerate" artist by the Nazi regime. His works were ridiculed, held up as negative examples, removed from German museums, confiscated, sold off and in many cases destroyed, which explains why they are so rare today.

Forced to quit his teaching position at the Dresden Academy of Fine Arts, Dix embarked on his "interior emigration." He moved his family to the countryside close to the Swiss border, near Lake Constance, where he devoted himself to landscape painting. Conscripted in 1944 and taken prisoner in France, he was rehabilitated in his final years and is considered today as a major painter of the twentieth century. He died in 1969.

The Montreal presentation of this exhibition, organized in partnership with the Neue Galerie New York, includes extensive educational content presented alongside the exceptional selection of works by Dix from private and public collections in Europe and North America. Photographs, excerpts from documents and films by G. W. Pabst, Fritz Lang, Robert Wiene, Paul Leni, Walter Ruttmann, Phil Jutzi and F. W. Murnau, along with archival materials, form a moving testimonial to the tumultuous interwar period, relating the excesses and anguish of this society exposed and captured in Dix's work. It also pays tribute to the extraordinary collective effort to keep the compelling Portrait of the Lawyer Hugo Simons in Montreal, at the Museum of Fine Arts. The acquisition of this painting in 1993 attracted attention well beyond our borders.

An excerpt shot in Germany from Quebec filmmaker Jennifer Alleyn's new film, Dix fois Dix, will also be previewed as part of the exhibition.

www.mbam.qc.ca


Lady Gaga's Bathroom Tryst with Duchamp

LONDON— Perhaps the 20th century's most notorious artist, Marcel Duchamp is often grouped with the Dada movement, though the artist was never a card-carrying member of any circle other than his own. Now, however, he's finally been swept up by an irresistible force: the Gaga movement. For a show at London's SHOWstudio.com gallery, Lady Gaga, — already more famous than the readymade creator will ever be, has signed the side of a urinal with the inscription, "I'm not fucking Duchamp but I love pissing with you." The work, entitled "Armitage Shanks," is on view as part of a show called "Inside/Out" — and the price is available only on request.

ARTINFO


Man Ray: Unconcerned But Not Indifferent

Obtained from the mother of all Man Ray collections, Unconcerned But Not Indifferent includes over 400 works from the Man Ray Trust. This exhibit features rarities that have never been publicly released before.

Unconcerned But Not Indifferent will place his artwork in relation to the objects and images from which he drew inspiration. The curator of the exhibit strives to implant visitors with a broader knowledge of Man Ray's works and methods by presenting source material and objects for the first time in a public setting. The exhibit runs from July 14 to September 13 at the National Art Center, Tokyo.

July 14 to September 13, 10 a.m.- 6 p.m. (Closed Tuesdays)
The National Art Center, Tokyo.
Adults: ¥1,500, College students: ¥1,200, High school students: ¥800.
More info at +81 3 5777 8600 and online.

Read more: Man Ray: Unconcerned But Not Indifferent | CNNGo.com http://www.cnngo.com/tokyo/play/man-ray-unconcerned-not-indifferent#ixzz0uXpcwrMC


Twisted Pair: Marcel Duchamp / Andy Warhol at The Andy Warhol Museum on artrepublic.com

Exhibition running from May 23 2010 until Sep 12 2010

Marcel Duchamp (1887-1968) and Andy Warhol (1928-1987) are among the most influential artists of the 20th century, and their influence continues to grow among contemporary artists in the 21st century. Both artists' early works were notorious and iconoclastic in their eras but are recognized now as important touchstones of modern art history. These include Duchamp’s Dada Fountain (1917) and Warhol’s Pop Art Campbell’s Soup Cans (1962).

Among their shared interests and themes are optical-effect experiments, language and puns, pseudonyms, sexuality, identity and role-playing, money, fame and death. To generate new art, both Duchamp and Warhol mined their personal archives and recycled their previous works. In other equally interesting ways, the artists are in complete opposition.

OPENING HOURS: Tue, Wed, Thur, Sat and Sun: 10.00 – 17.00 Fir: 10.00 – 22.00

117 Sandusky Street
Pittsburgh PA


American Modernism: The Shein Collection

National Gallery of Art, East Building, Washington, DC

May 16, 2010 -- –January 2, 2011

American Modernism: The Shein Collection presents 20 masterpieces by Patrick Henry Bruce, Stuart Davis, Charles Demuth, Arthur Dove, Marcel Duchamp, Marsden Hartley, John Marin, Georgia O'Keeffe, Man Ray, Charles Sheeler, and other renowned artists. The collection demonstrates the importance of the early American modernists in the development of the avant-garde in the United States and Europe during the 20th century.

In 2008 and 2009, the Gallery received three gifts from Edward and Deborah Shein: John Storrs' Auto Tower, Industrial Forms (c. 1922), Marcel Duchamp's Fresh Widow (1920/1964), and John Marin's The Written Sea (1952). The Sheins intend to continue making gifts of important works from their collection with their ultimate goal of giving all 20 of their masterworks to the Gallery.

Among the works on display are exceedingly rare objects such as Painting (Still Life) (c. 1919), by Patrick Henry Bruce, one of only 25 extant paintings from Bruce's brilliant late still-life series; Charles Demuth's iconic precisionist painting of American industry, End of the Parade, Coatesville, Pa. (1920); Marsden Hartley's Pre-War Pageant (1913), a singular precursor to his famous German officer series; Man Ray's precocious canvas, Legend (1916); a machine image by Morton Livingston Schamberg, Painting VI (1916), executed shortly before the artist's tragic early death at age 37 in 1918; and a recently discovered, large-scale pair of cast-concrete works by the sculptor John Storrs, Auto Tower, Industrial Forms (c. 1922).

The trio of artists most consistently championed by the photographer Alfred Stieglitz—Arthur Dove, John Marin, and Georgia O'Keeffe —is also represented, respectively, by their classic masterpieces Sunrise I (1936), Sunset (1922), and Dark Iris No. 2 (1927). In addition, helping to bridge the history of this generation of American artists before and after World War II are the late masterworks The Written Sea (1952) by Marin, Composition around White (1959) by Charles Sheeler, Unfinished Business (1962) by Stuart Davis, and Marcel Duchamp's 1964 version of Fresh Widow. Completing the collection are important paintings and drawings by Arthur B. Davies, Edwin Dickinson, Preston Dickinson, Stanton Macdonald-Wright, Alfred Maurer, Joseph Stella, and Max Weber.


Guggenheim Bilbao to host exhibition on Henri Rousseau

May 25 - September 12, 2010

The Basque museum has prepared a retrospective on the French artist to mark a hundred years since his death.

Marking 100 years since his death in 1910, the Guggenheim Museum Bilbao, in collaboration with the Fondation Beyeler of Basel, plans to dedicate an exhibition to French painter Henri Rousseau.

Approximately forty masterpieces will provide a sweeping review of the tremendous breadth of his artistic career and underscore Rousseau's importance as one of the most pioneering artist of his age, whose influence was destined to belie early descriptions of him as "charming, though rather odd and naïve."

Rousseau is considered one of the forefathers of modern art. His works revolutionised the concept of creative art during his lifetime and beyond. He was also a great influence for many upcoming young artists; over the years, Picasso, Léger and Max Ernst would all draw inspiration from the French artist's often innovative works.


Kurt Schwitters: Color and Collage

October 22, 2010 –- January 30, 2011

The German artist Kurt Schwitters (1887-1948) remains one of the most influential figures of the international avant-garde. In the years following the First World War he coined the term "Merz," in reference to his ambition to "make connections between everything in the world." Hoping to unify life and art by incorporating non-art into his work, this pioneer of installation art came closest to his ideal with his Merzbau, a room-size walk-in sculpture constructed of found materials.

Placing special emphasis on the significance of color and light in the artist's work and delving into the relationship between collage and painting, Kurt Schwitters: Color and Collage will present the first overview in the U.S. of the artist's oeuvre since the MoMA retrospective of 1985. In addition to a full-scale reconstruction of the Merzbau, the exhibition will include roughly 100 assemblages, reliefs, sculptures, and collages from 1918–-1947, with emphasis on Merz works from the 1920s (Dada) and 1940s.

Guest curated by Isabel Schulz, co-editor of the Kurt Schwitters catalogue raisonné and curator of the Kurt Schwitters Archive at the Sprengel Museum Hannover, in collaboration with Menil Director Josef Helfenstein, Color and Collage will present key works from American and European museums and private collections.

The exhibition will be accompanied by a fully illustrated catalogue featuring essays by Schulz along with noted scholars Leah Dickerman and Gwendolen Webster.

The Menil Collection


From Miro to Warhol: The Berardo Collection in Paris at Musée du Luxembourg

PARIS.- José Berardo, born in 1944 on the island of Madeira, is one of the biggest Portuguese entrepreneurs. Barely aged 19, he emigrated to South Africa where he made a fortune working in various fields (goldmining, wine, banking, telecommunications). He came back to Portugal in 1986 and started gathering one of the most interesting collections of modern and contemporary art in Europe, which he continues augmenting.

An eclectic and ambitious collector, José Berardo was eager to share his collection with a wide audience. Two years ago, he signed a partnership with the Portuguese state, just like the one that was established in Madrid for the Thyssen collection: 862 works are on deposit for ten years in a museum bearing his name, in the Belém Cultural Centre, in Lisbon. After those ten years, the state will benefit from an exclusive purchasing option.

Since it opened some twelve months ago, the Berardo Collection Museum has attracted more than 400,000 visitors. It boasts a very dynamic policy of acquisitions and temporary exhibitions.

Examples of such private generosity toward the public are few and far between. Gathering more than 500 artists who all contributed to the evolution of modern art from 1900 to the present day, this collection allows visitors to "experience the twentieth century", in the collector's own words. Those works came to fill in the gaps in the collections of Portuguese museums (their acquisition policy had been restricted by the dictatorship which lasted until 1974).

When the new museum opened to the public in June 2007, Prime Minister José Sócrates hailed the international dimension of this exceptional initiative: "The European path of modern art used to go no further than Madrid. From now on, it starts from here".

The seventy-four works on display in the Musée du Luxembourg correspond to five major artistic movements in the twentieth century: Surrealism (Miró, Dali, Ernst, Breton...), one of the strong points of the pre-1945 collection; abstraction from 1910 to the immediate post-war period (Mondrian, Tanguy, Arp...); Europe vs. America in the 1960s, with Nouveau Réalisme and Pop Art (Warhol, Klein, Soulages, Mitchell...) ; post-1945 plastic explorations (Riopelle, Schnabel, Stella...).

The first section brings together eclectic works, to capture the spirit of the collection and José Berardo's passion for art: Pablo Picasso's Head of a Woman (circa 1909) is shown next to Jackson Pollock's Head (1938-41) and Karel Appel's Jump Into Space (1953). Francis Gruber's Sitting Nude with Green Chair (1944) meets Eugène Leroy's Standing Nude (1958) and Germaine Richier's Big Manta (1946-51). A 1914 landscape by Amadeo de Souza-Cardoso, the greatest Portuguese painter of the early twentieth century, confronts a 1953 landscape by Nicolas de Staël. Portrait painting is represented with Balthus' Portrait of a Woman in a Blue Dress (1935).

The second sequence is devoted to Surrealism, one of the collection's fortes, with an evocation of the Dada movement and the origins of Surrealism. The selected works survey the trend's main representatives and their sources of inspiration: Man with Candle (1925) by Joan Miró, Black Landscape (1923) and Shell-Flowers (1929) by Max Ernst, Le Gouffre argenté by René Magritte (1926), The Invincible Cohort (1928) by Giorgio de Chirico, Woman Attacked by Birds (1943) by André Masson , The Ice Knight (1938) by Victor Brauner, The Spinning Top (1956) by Hans Bellmer, The Encounter (1936) by Jacques Hérold, The Couple (1937) by Óscar Dominguez, Man Ray Café (1948) by Man Ray, Lunguanda Yembe (1950) by Wifredo Lam, and The Café de la Marine (circa 1930) by Pierre Roy.

Next, visitors will find a 'curiosity cabinet' gathering a Salvador Dali artefact (Aphrodisiac White Telephone, 1936), a folding screen painted by Yves Tanguy (The Firmament, 1932), a "box" by Joseph Cornell (Hôtel de l'Etoile, 1956), drawings by Victor Brauner, Joan Miró, Julio González and Roberto Matta, and a 1933 Cadavre Exquis associating André Breton, Valentine Hugo, Tristan Tzara and Greta Knutson. This ensemble is indicative of the manifold Surrealism's plastic manifestations. A transition toward the next section is managed with two paintings by Jean [Hans] Arp (Untitled, circa 1926, and Feuilles placées selon les lois du hasard, 1937) and a drawing by Arshile Gorky (a study for Bull in the Sun, 1942).

The third section shows the various trends in European geometric abstraction between the wars. Drawings by Georges Vantongerloo (Studies II, 1918) and by Liubov Sergeievna Popova (Composition, 1917) illustrate the birth of the movement, De Stijl for the Dutch artist and Suprematism for the Russian painter. A second work by the Portuguese Amadeo de Souza-Cardoso, Pelas Janelas (Desdobramento - Intersacção), 1914, is indicative of his radical evolution toward abstraction. The display is centred on Piet Mondrian's Composition with Yellow, Black, Blue, Red and Grey (1923), hanging next to Composition #28 (1930), a painting by Jean Gorin, whom Mondrian considered "France's only neo-plastician". Around those two works, paintings and drawings illustrate various trends, from Giacomo Balla's Futurism (Untitled, 1929) to Max Bill's experiment with "concrete art" (Progression in Six Steps, 1942-43). Several movements are shown in sequence: the "Circle and Square" association, the "Concrete Art" group or the "Abstraction-Creation" association are represented by Victor Servranckx (Composition, 1923), Marcelle Cahn (Abstract Composition, 1925), Amédée Ozenfant (Composition with Decanter, 1926-30), Ben Nicholson (Painting, Cadmium Red, Lemon and Cerulean, 1936), Robert Delaunay (Reliefs; Rhythms, 1932), Carl Buchheister (Diagonalkomposition 332r Fahne, 1932), Jean Hélion (Equilibrium, 1934) and Làszlo Moholy-Nagy (CH XIV, 1939). An ebony sculpture by Georges Vantongerloo (S X R, 1936) proves that most of these painters were also interested in applied arts and architecture.

American Pop Art and French "Nouveau Réalisme" are on view in the next section. The 1960s Europe vs. America confrontation has particularly interested the collector. Nouveau Réalisme is represented with works by Yves Klein (IKB 103, 1956) and Lucio Fontana (Concetto spaziale, 1960); torn posters by Jacques Villeglé (Libération, 1964) are displayed next to Mimmo Rotella's Lava Bene (1963).

Pop Art is present through works by Robert Indiana (Black Diamond American Dream #2, 1962), Andy Warhol (Campbell's Soup Can, 1965 and Ten-Foot Flowers, 1967), Tom Wesselmann (Great American Nude #52, 1963), Allan D'Arcangelo (Self-Portrait, Smoke Dream, 1963) and Roy Lichstentein (Mirror #1, 1971), beside a Jean Tinguely sculpture (Indian Chief, 1961) and one of Louise Nevelson's golden "furniture- sculptures" (Royal Tide – Dawn, 1960).

The last section surveys though partially significant post-war experiments. Geometric abstraction is embodied by Portuguese painter Maria Helena Vieira da Silva (Composition, 1948), then by Victor Vasarely (Bellatrix II, 1957), until the more and more "minimal" forms by Ad Reinhardt (Abstract Painting, 1962) and Joseph Albers (study for Homage to the Square: Blond Autumn, 1964). Lyrical abstraction and gestural painting are shown in parallel, with Jean-Paul Riopelle's Orange Abstraction (1952), Pierre Soulages' Painting, 10 November 1963 (1963) and Joan Mitchell's Lucky Seven (1962).

The exhibition ends with a big geometric Frank Stella, Hagamatana II (1967), which is more than 4,50 m. long. On the last wall of the room, the human figure reappears: to an uncanny portrait by Portuguese painter Lourdes Castro (Sombra projectada, 1964) answers Julian Schnabel's vehement Portrait of Jacqueline (1984), the only work deliberately chosen to go the 1960s limit retained for this project. This latter work shows that painters never stop experimenting, while, at the same time, bearing witness to the richness of José Berardo's collection, which also includes a large section of contemporary art.

Finally, a monumental bronze sculpture by César, Homage to Léon (1964), stands on the museum's patio.

Artdaily.org