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Dada ExhibitionsLia Perjovschi: Dada Legacy / Anti ArtCabaret Voltaire Opening Day: Duration: Opening hours: 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' Responseat 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. Price: Free Age Suitability: All Ages ROUGE CABARET Love, Death, the Terrifying and Beautiful World of Otto Dix at the Montreal Museum of Fine ArtsMontreal, – 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. Lady Gaga's Bathroom Tryst with DuchampLONDON— 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. Man Ray: Unconcerned But Not IndifferentObtained 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) 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.comExhibition 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 |
Kurt Schwitters: Color and Collage