Louisiana Museum of Modern Art || Exhibition: Yayoi Kusama. In Infinity || until 24.01.2016

Yayoi Kusama is a true singular figure in modern art, highly original and tremendously popular. Now, Louisiana unfolds Kusama’s life’s work in a comprehensive and fascinating retrospective exhibition, the first in Scandinavia.

Based in Tokyo, Kusama (b. 1929) has gained world fame in recent decades for her universe of brightly colored, sprawling patterns covering the surfaces of paintings and sculptures and spreading across entire rooms. In the center of this boundless visual universe stands Kusama herself, often wearing patterned clothes that make her blend in with her art.

The exhibition is a presentation of Kusama’s works from more than six decades and features a variety of the many artistic media in which she has worked: from visual art to performance, film, literature and design. A special feature of this exhibition is the involvement of Kusama’s work with fashion and design including the artist’s earliest, unique fashion design from the 1960s. In addition to this the exhibition displays a selection of Kusama’s youth works from Japan, which has never been exhibited before, examples of both her earliest and newer installation works and a new series of paintings, which the 86 year old Kusama has created specifically for the exhibition at Louisiana.

The exhibition at Louisiana is supported by C.L. Davids Fond og Samling.
After Louisiana the exhibition travels on to Henie Onstad Kunstcenter, Oslo, Norway, Moderna Museet/ArkDes, Stockholm, Sweden and HAM – Helsinki Art Museum, Finland. The Scandinavian tour is supported by Japan Foundation.



Source: Louisiana Museum of Modern Art


Museo Nacional Centro de Arte Reina Sofía || Exhibition: Andrzej Wróblewski: Recto / Verso || until 28.02.2016

Andrzej Wróblewski (1927–1957) is, despite his short life, one of the most important Polish artists of the 20 th century. This exhibition, the first retrospective held outside his country, enables his work to be contemplated in a way that goes beyond the reductionist clichés of socialist realism or Outsider Art, through which art from countries in the Soviet sphere of influence has been studied until recently. Wróblewski was an artist that could work on the borders between abstraction and figuration, combining formal invention with the analysis of daily life and its limits – the degradation of war and dictatorial politics – by means of a profound human and political commitment.

The exhibition focuses on his double-sided paintings (painted on both sides: recto and verso), and presents mainly two different periods of his work: its beginnings at the end of the 1940s as he searched for his own painterly language, and the very end, when, disillusioned with the politics of real socialism, he attempted to redefine his work, both formally and thematically.

The exhibition is co-organised by the Muzeum Sztuki Nowoczesnej, Warsaw, in collaboration with the Andrzej Wróblewski Foundation and Culture.pl.

Source: Museo Nacional Centro de Arte Reina Sofía

Gemäldegalerie, Berlin || Exhibition: The Botticelli Renaissance || until 24.01.2016

The Florentine painter Sandro Botticelli (1445-1510) is celebrated as one of the most important painters of the Italian Renaissance. His paintings have been endlessly reproduced and interpreted. His motifs – widely borrowed and adapted – have gone out into the world, often at a considerable remove from the originals. Indeed, they can take us so far away from the actual paintings by Botticelli that the artist’s name has come to stand for fashion and lifestyle, with no mention at all of his work. Products are named after him, displays of popular culture follow patterns established by him, and individual figures, chief among them his iconic Venus, have become part of the collective visual memory.

Botticelli’s fame today was by no means a foregone conclusion. Quickly forgotten after his death, he was only rediscovered in the nineteenth century. The English Pre-Raphaelites and their admiration for Botticelli’s work were instrumental in ushering in an extraordinary renaissance that went on to captivate the imagination of a growing circle of artists and, eventually,  to enchant the public at large.

Since then, Botticelli’s work has been interpreted in many different ways. Yet it continues to raise a multitude of questions. How does a painter acquire international fame? What made Botticelli a pop icon? Why are his works considered timeless? What is it that makes him so ‘European’ that his Venus appears on the obverse of a 10 cent euro coin? What we can safely say is that Botticelli, more than almost any other Old Master, inspired and continues to inspire modern and contemporary art.

The exhibition traces the fascinating history of these shifting appropriations and re-evaluations right up to the present and is the first to present the artist’s work – a selection of more than fifty originals by Botticelli – in the context of these adaptations and interpretations in a wide range of media spanning painting, drawing, sculpture, photography, video, fashion and design. Among the 150 works on display are numerous masterpieces by artists such as Edgar Degas, Edward Burne-Jones, Dante Gabriel Rossetti, René Magritte, Andy Warhol, Cindy Sherman and Bill Viola on loan from the world’s leading collections.

Made possible by the Sparkassen-Finanzgruppe, the LOTTO-Stiftung Berlin and the Kaiser Friedrich Museumsverein.

Source: Gemäldegalerie

Musée Belvue || Exhibition: Gender@war 1914-1918 – women and men to war || until 03.01.2016

Gender@war 1914-1918 shows visitors some of the many upheavals ordinary men and women faced during the First World War: its disruptive impact on work and family, the violence they both experienced, their joint contribution to the war effort, and more. This richly illustrated exhibition focuses on Germany, Belgium, France and Great Britain. Taking an original and comparative approach, it will make you think deeply about the effects of armed conflict on the status of men and women in society.

A catalogue and educational tools for teachers are also available.

Organised by the Archive and Research Centre for Women’s History, in collaboration with the BELvue Museum.

Practical info

Musée Belvue || Exhibition: Gender@war 1914-1918 - women and men to war || until 03.01.2016

Musée Belvue || Exhibition: Gender@war 1914-1918 – women and men to war || until 03.01.2016

Musée Belvue || Exhibition: Gender@war 1914-1918 - women and men to war || until 03.01.2016

Musée Belvue || Exhibition: Gender@war 1914-1918 – women and men to war || until 03.01.2016


Source: Musée Belvue

The State Tretyakov Gallery || Exhibition: The mark of Malevich. Graphics from the State Tretyakov Gallery’s collection || until 14.02.2016

December 19th (old style) 2015 will mark the one hundredth anniversary of the opening of the legendary “Last Futurist Exhibition of paintings: 0.10”, which showcased Kazimir Malevich’s “Black Suprematist Square” for the first time and marked the moment when Suprematism was declared a new movement in art.

The objective of the exhibition is to show the graphic heritage of Malevich and his circle of artists from works stored in the Tretyakov Gallery and to explain how the  experiments of the leading masters of the Russian avant-garde  preceded the appearance of Suprematism, and also exactly how this movement developed under his influence.

Source: The State Tretyakov Gallery

Munch Museum || Exhibition: Vigeland + Munch: Behind the Myths || until 17.01.2016

For the first time a major dual exhibition will be devoted to two giants in the history of Norwegian art, Edvard Munch and Gustav Vigeland. Their work, development and ambitions have many interesting traits in common, which will provide the public with an opportunity to discover new connections between the two.

Munch (1863-1944) and Vigeland (1869-1943) worked during the same period. One primarily as a painter and printmaker, the other as a sculptor. With only a six-year difference in age, they were affiliated with the same circles and influenced by the same contemporary art movements. And for a period they both lived and worked – even in adjoining rooms – in Berlin.

The connection between Munch and Vigeland has often been mentioned, yet has never been the subject of in-depth investigations. Many are of the opinion that the two were rivals. This exhibition wishes to clarify the connections between them by presenting their artistic careers side by side, from the time they began studying at The Royal College of Design in Kristiania, to the time they became well-established artists at Ekely and Frogner respectively. A red thread running through the exhibition is their common development with regard to choice of motifs. For example when they followed the contemporary trends and depicted angst-filled characters, ambiguous love motifs or ominous Judgement Day motifs. The works of a young and not yet famous Vigeland are highlighted here, from a time when his sculptures had a more dramatic content and were smaller in format than the ones we know from the Vigeland Park. An interesting similarity from a later period can be found in the artists’ works representing monumental renderings of entangled piles of human bodies, such as Munch’s painting The Human Mountain and Vigeland’s sculpture The Monolith.

There are many interesting connections that open up to new ways of viewing the two artists. From reciprocal influence and common sources of inspiration, to thematic and formal similarities. In certain instances it is difficult to distinguish one from the other, while in a larger perspective one can clearly see the striking differences.

Source: Munch Museum

Astrup Fearnley Museet || Exhibition: The World is Made of Stories || until 28.02.2016

Works from the Astrup Fearnley Collection

Nobody can see, perceive or apprehend the whole world on their own. We all learn about the world through others, through different kinds of stories told by the media or by individuals. The exhibition ‘The World is Made of Stories’ is a constellation of narrative works that tell private and public stories. Together, they make up a multi-layered narrative referring to different times and geographical places. It is a story about art history, urbanism, politics, memory, sexuality and violence, religion and aesthetics, to name just a few of the themes that the artists have addressed in their works using a variety of materials, techniques and narrative structures. ‘The World is Made of Stories’ offers a polyphony of voices, objects and images, which enlighten while also raising important questions.

Astrup Fearnley Museet || Exhibition: The World is Made of Stories || until 28.02.2016

Astrup Fearnley Museet || Exhibition: The World is Made of Stories || until 28.02.2016

Source: Astrup Fearnley Museet