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Riga
Art Nouveau. Its Beginnings, Influences and Original Nature
Dates:04/05/2018-20/08/2018

Within the landscape of global art, Latvia has written an enduring story with its brilliant examples of Art Nouveau. By highlighting the Art Nouveau heritage, the Latvian National Museum of Art wants to show Riga’s special place in the European cultural palette at the end of the 19th century and at the beginning of the 20th century, at a time when Latvian national consciousness was forming. The rapid rise of the Baltics’ biggest metropolis, Riga at the turn of the century inspired the fantasies of architects, who developed the idea of Art Nouveau through the design of richly decorated façades, colourful interiors and overall aesthetic harmony. In addition to architecture, which is the most well-known part of the artistic heritage of this period, vivid examples of Art Nouveau are also found in applied arts, graphic art of books and magazines, and painting. It should be noted that the Art Nouveau epoch in Latvia was not just a moment before the birth of the state, but also the time when the formation of national professional art took place and the new style became one of the catalysts for the modernization of artistic expression. The exhibition is a meeting of various national schools, with the objective of allowing the viewer to identify their similarities, influences and differences. Although the Art Nouveau style of Riga is undeniably peculiar, its features are closely related to the processes in other countries. The exposition is also a story of the most notable manifestations of Art Nouveau in Europe, visualising these through painting, graphic art, sculpture and decorative applied arts. It traces the roots, beginnings and flourishing of this style, and offers a clearer understanding of the original nature of Art Nouveau in Latvia, which are exemplified in comparison with the oeuvre of the greatest Art Nouveau metropolises – Paris, London, Brussels and other most vibrant cities of Europe. In terms of time, all that separates us from the age of Art Nouveau is just over a century, and the volume of material available is enormous, as a result of which this exhibition is merely a tiny angle within a much greater whole. Highlighted therein, alongside Latvia’s contribution, are those countries and sources of inspiration that helped the style to evolve and develop in our region. It is the story of France and Japonism, Louis Majorelle’s, Hector Guimard’s and Émile Gallé’s refined forms of dishes and vessels, furniture and architectural details, Belgium and Congo style, floral motifs in the patterns of William Morris and Walter Crane in Great Britain, Faberge’s sophistication in Russia, as well as Art Nouveau period art in Germany, Austria, Czech Republic, Denmark, Sweden, Netherlands, and Switzerland. The works on show have retained their aesthetic merits in the modern world, delighting the demanding contemporary spectator with their elegant forms. Moreover, the exhibition is an attempt to clear the playing field of sentimentality, neo-romantic exaggerations and sensuality, returning instead to the primordial tale of the harmony, plasticity and synthesis combined with functionality. From harsh, simplistic games of geometric shapes and volumes, to supple plant motifs that break down any symmetry – all of this is Art Nouveau. For their great help in organising the exhibition and compiling the catalogue, as well as for their special assistance in selecting the works, the Latvian National Museum of Art and the Art Museum RIGA BOURSE would like to thank the Musée d’Orsay in Paris, the Victoria and Albert Museum in London, the Sainsbury Centre for Visual Arts in Norwich, the Royal Museums of Art and History in Brussels, Centre Pompidou – Musée national d’art moderne in Paris and the M. K. Čiurlionis National Art Museum in Kaunas, the National History Museum of Latvia, the Museum of the History of Riga and Navigation, the Museum of Literature and Music in Riga, Rainis and Aspazija’s Memorial Museum, the Riga Art Nouveau Centre, Viktor Astanin, the Belēvičs family, the Academic Library of the University of Latvia in Riga. Project implemented with the support of the Ministry of Culture of the Republic of Latvia and the French Institute in Latvia. The exhibition Art Nouveau. Its Beginnings, Influences and Original Nature is the Art Museum RIGA BOURSE dedication to Latvia’s Centenary.

Bruxelles
Affiches Belle Époque
Dates:09/05/2018-03/09/2018

Une collection inédite De 1885 à 1914, Bruxelles vit l’une des périodes les plus fastes de son histoire, que cela soit dans le domaine économique, social, politique, technologique, urbanistique mais surtout culturel. L’émergence de cercles artistiques et de l’Art nouveau confère à la capitale belge une place primordiale sur l’échiquier européen de la création. L’affiche illustrée, qui apparaît dans toute sa fantaisie à Paris dans les années 1870-1880, trouve à Bruxelles un engouement immédiat. Des artistes, célèbres ou méconnus, s’essaient avec bonheur à l’art de l’affiche, séduits par ce média éphémère, techniquement exigeant mais tellement exaltant car susceptible de colorer la ville et ses faubourgs. Porteuses de messages publicitaires, elles annoncent la société de consommation. Une multitude de produits y sont vantés, depuis le téléphone jusqu’au vélo, en passant par les voitures, les biscuits, le chocolat, le café, le tabac ou l’alcool, sans oublier les cirques et autres théâtres. Les artistes jettent leur dévolu sur l’image de la femme bourgeoise et libérée à la fois, qui apparaît comme le fer de lance de cette envie de luxe et de modernité. Rythmé par des expositions universelles, le temps est à l’émulation et à la surenchère, de la part des artistes mais aussi des imprimeurs bruxellois. Ceux-ci se familiarisent avec la technique de la lithographie en couleurs et n’ont rapidement, techniquement parlant, plus rien à envier à leurs homologues parisiens. Ernest De Try, un homme, une collection A la Belle Époque, l’engouement est immense pour les affiches, créant un phénomène d’ « affichomanie » et les amateurs, comme Ernest de Try, constituent de véritables collections. Ernest de Try naît à Bruxelles en 1881 et y décède en 1960. Dès 1906, il part pour l’Afrique, où il développe une multitude de projets comme investisseur, homme de confiance ou administrateur. Homme d’affaires, il est aussi un homme de presse, créant et dirigeant des journaux ou assurant les correspondances vers la presse européenne. Probablement ingénieur, il est parallèlement l’auteur de brevets d’invention et de perfectionnement dans le domaine de la construction en préfabriqué. 1929 sonne le glas de ses activités coloniales ; il se consacre surtout à la littérature et à la poésie, passion qui le tient depuis son jeune âge. Il cède en 1934 aux Archives de la Ville de Bruxelles plus de 300 affiches. Sans que l’on connaisse les motivations de l’homme à rassembler cette collection, celle-ci se caractérise par son exceptionnelle attention à la vie quotidienne et se focalise surtout sur Bruxelles. Son important fonds d’Archives est, par ailleurs, conservé aux Archives générales du Royaume. La collection de Try n’a jamais été montrée au public en tant que telle. Toutefois, pour des raisons de conservation, cette exposition présente surtout des fac-similés. Ceux-ci, non encadrés, évoquent l’extraordinaire foisonnement des affiches dans les rues d’alors. Une vingtaine d’originaux encadrés permettent cependant de jouir de la beauté et de la subtilité des encres lithographiques utilisées à l’époque. Une bande-son originale composée de morceaux de la Belle Époque accompagne le parcours de l’exposition. Celle-ci a été créée par Marc Danval. Pour les kids Couleurs, dessins, techniques, un parcours ludique est spécialement dédié aux enfants de 7 à 12 ans. Atelier Kitchen Litho 26 et 27 mai 2018 à 10h et 14h30 (durée 3h) Atelier grand public pour expérimenter la technique de la lithographie. Tarif : € 12 , réservation obligatoire : service.educatif@brucity.be Visites guidées de l’exposition € 75,00 (semaine) / € 90,00 (weekend) + € 6,00/ personne (entrée)

Nancy
L'Ecole de Nancy. Art nouveau et industrie d'art
Dates:19/05/2018-03/09/2018

Découvrez comment l’École de Nancy a révolutionné la déco! La nouvelle exposition du musée de l’École de Nancy, présentée au Musée des Beaux-Arts, s'intéresse aux procédés techniques les plus modernes mis en œuvre par les industriels de l'Art nouveau pour produire des meubles et objets à la fois fonctionnels et dotés d’une esthétique inédite.

LIVERPOOL
Life in Motion : Egon Schiele/ Francesca Woodman
Dates:24/05/2018-23/09/2018

10 years on from our acclaimed exhibition of Gustav Klimt, Tate Liverpool showcases the works of his radical protégé, Egon Schiele, alongside the sublime photography of Francesca Woodman. Both artists are known for their intimate and unapologetic portraits, which look beneath the surface to capture their subjects’ emotions. Schiele’s (1890–1918) drawings are strikingly raw and direct. He had a distinctive style using quick marks and sharp lines to portray the energy of his models. Woodman used long exposures to create blurred images that captured extended moments in time. Her photographs can be surreal, humorous and at times painfully honest. The close encounter between these two exceptional artists offers an intense viewing experience and a new perspective on their personal and powerful works. This project is co-financed by the European Regional Development Fund through the Interreg Atlantic Area Programme with additional support from Tate Liverpool Members

LIVERPOOL
Life in motion: Egon Schiele / Francesca Woodman
Dates:24/05/2018-23/09/2018

Life in Motion combines the work of radical Austrian expressionist Egon Schiele (1890 – 1918) and American photographer Francesca Woodman (1958 – 1981), exploring the remarkable ability of these artists to capture and suggest movement in order to create dynamic, extraordinary compositions that highlight the expressive nature of the human body.

The exhibition offers a rare opportunity to see a large number of Schiele's drawings in the North of England, bringing attention to the artist's technical virtuosity, distinctive vision and unflinching depictions of the human figure.

Working at the other end of the 20th century, Woodman's photographs help to refocus perceptions of Schiele's work, highlighting how his practices and ideas continue to have a relevance to contemporary art. The exhibition will include images from Woodman's My House Series, Providence, Rhode Island, 1976 and her Eel Series, Roma, May 1977 - August 1978.

Brtnice
Josef Hoffmann - Koloman Moser : On the Use and Effect of Architecture
Dates:29/05/2018-28/10/2018

The exhibition studies the relationship of Josef Hoffmann and one of the protagonists of the 2018 celebrations – Koloman Moser. Koloman Moser, »a multi-faceted multi-creator«, as Ludwig Hevesi called him during an exhibition discussion in 1900, cannot be approached in the same way as Josef Hoffmann in terms of his art. Both share an unbridled creative drive and fantasy, manifested in thousands of sketches. But while Hoffmann always remains a tectonically strict designer, Koloman Moser represents an idyllically decorative element in all of his projects. He is the artistic antipode to the design practice of Josef Hoffmann, focusing on architecture and shaped by schooling under Otto Wagner. With Moser, figurative work continues to remain a theme; the illustrative element is obvious even in the most severe designs. As one of the artists of the art renovation in Vienna around 1900 he decidedly contributed to the diffusion of art in the Secession style and in applied graphics. The exhibition is a confrontation of the designs by both protagonists of the "Wiener Werkstätte". The exhibition has been organised with financial support from the European Fund for Regional Development and from the state funds of the Czech Republic within the Bilateral Networks of Design project.

Vienna
Post Otto Wagner : From the Postal Savings Bank to Post-Modernism
Dates:30/05/2018-30/09/2018

To mark the 100th anniversary of the death of Otto Wagner (1841–1918) the MAK exhibition POST-OTTO WAGNER: From the Postal Savings Bank to Post-Modernism investigates Wagner’s role as the “Father of Modernism” and points out not only the context and the interaction between Wagner and other protagonists of early Modernism, but also the influence his epochal work had on his contemporaries, students, and following generations of architects and designers. Starting with Wagner’s most important works—for example the building for the Vienna Metropolitan Railway (1894¬–1900), the regulation of the Danube Canal (from 1894), the Imperial Royal Austrian Postal Savings Bank (1903–1910) and the church St. Leopold am Steinhof (1902–1904), as well as residential and commercial buildings and his study Die Großstadt [The Metropolis] (1911)—subject areas are presented in a way which makes it possible to easily understand Wagner’s long-lasting effect on the architecture from Modernism to Post-Modernism and on to the present. In three chapters, the exhibition approaches Wagner’s legacy. In doing so it illustrates the architect’s rejection of the language of form found in Historicism as well as his influence on modern architecture and urban planning. The development of the metropolis in and around 1900 also made new building types necessary: In Vienna this included the modern residential and commercial buildings as well as department stores and hotels, which, as a result of Otto Wagner’s rejection of Historicism in favor of new possibilities for building, had to position themselves, and which represent a widely spread architectural type still today. Earlier than others Wagner recognized the increasing importance of technology and engineering which manifested itself in new constructions and working materials. Consequently, he postulated a so-called “Nutzstil” [Functional style] whose forms should result from the materials, constructions, and functions. Through this break with the aesthetics of Historicism and prevailing architectural styles Wagner became a leading figure of Viennese Modernism. After 1900, under the strong influence of architects like Josef Hoffmann, Joseph Maria Olbrich, Josef Plečnik, Max Fabiani, or also István Medgyaszay, Jan Kotěra, and Pavel Janák, the Wagner School became a type of laboratory for style pluralism and individualistic approaches to style, aspects which were once again topical in Post-Modernism. The exhibition is accompanied by the publication POST-OTTO WAGNER: From the Postal Savings Bank to Post-Modernism by Sebastian Hackenschmidt, Iris Meder, and Ákos Moravánszky, edited by Christoph Thun-Hohenstein and Sebastian Hackenschmidt. German/English, ca. 300 pages with numerous color illustrations. MAK/Birkhäuser Verlag, Vienna 2018. Available as of the end of June at the MAK Design Shop and at MAKdesignshop.at. Curator Sebastian Hackenschmidt, Curator, MAK Furniture and Woodwork Collection Expert Advisors Iris Meder, Architectural historian and freelance curator Ákos Moravánszky, Professor emer. of architectural theory, ETH Zurich

Otterlo
Odilon Redon. La littérarture et la musique
Dates:02/06/2018-09/09/2018

In Odilon Redon. La littérature et la musique, the Kröller-Müller Museum sheds new light on the oeuvre of French artist Odilon Redon (Bordeaux 1840-Paris 1916). With a large number of paintings, pastels, drawings and lithographs, the exhibition shows the important role that literature and music play in Redon’s life and work. Appealing to the senses Redon is a painter, pastelist, draughtsman and lithographer, but he also learns to play violin and piano and acquires a love of literature at an early age. He has close friendships with writers and composers, is himself active as a writer and gives music recitals. For him, music, literary themes and visual art are inextricably linked. In his own time, he was already highly praised for his entirely unique way of combining these different expressive powers in his work. More than anyone, Redon thus embodies the popular late nineteenth-century concept of synaesthesia: the idea that a more intense experience can be created by appealing to several senses simultaneously. Themes in the exhibition Redon finds his inspiration in literary and musical sources, from classical antiquity to Richard Wagner. The exhibition demonstrates this based on a series of specific themes, such as the winged horse (Pegasus) or his depiction of women, who appear as both a symbol of beauty (Béatrice) and in the shape of the femme fatale (Salomé). Redon uses these themes time and again, gives them changing forms and always provides them with new meanings and associations. His admiration for Wagner is apparent in his depictions of Brünnhilde and Parsifal, among other things. But the link with music is usually not so literal and he is more interested in evoking a mood. His contemporaries often describe his work in terms of a musical experience, while he refers to himself as a ‘peintre symphonique’. ‘My drawings inspire and do not provide definitions. They do not determine anything. Just like music they place us within an ambiguous world of the indeterminate.’ (A –soi-même, 1961) Word and image Redon’s role as a writer and illustrator is explored in the exhibition in a number of lithographic series that he made for texts by writers he admired, such as Gustave Flaubert, Edgar Allen Poe and Charles Baudelaire. He also combines lithographs with his own texts, creating visual and textual poetry, as in Hommage à Goya (Homage to Goya). Here, word and image form a whole. Special loan The exhibition consists of 167 works from an important private collection, the museum’s own extensive Redon holdings and a number of loans from other public and private collections. La littérature et la musique can therefore offer an unprecedented view of the breadth and variety of themes in Redon’s entire oeuvre, from his powerful black and white lithographs to his radiant, colourful pastels. Publication The exhibition is accompanied by a publication of the same name, with contributions from an international group of leading authors in the field of symbolism and Redon’s work. Guest curator Cornelia Homburg is responsible for the compilation of the book. The book is available in Dutch and English and is published by nai010 publishers. The book is for sale at our museumshop and webshop. The exhibition will also travel to Ny Carlsberg Glyptotek in Copenhagen, where it is showing from 11 October 2018 to 20 January 2019.

Alesund
New artworks from the collection
Dates:08/06/2018-31/12/2018

The exhibition features the latest additions to the museums Art Nouveau collection. The selection presented consists of both new purchases and donations, and includes furniture, glass, ceramics, book art, metal works and textile art.

Riga
Small Flags Workshop
Dates:14/06/2018-03/08/2018

During the summer, we invite family, pre-school and school-age children to apply for the "Little Flags Workshop" to create an ornate jewelry for summer nights and garden festivals in Art Nouveau style. Participants of the museum's teachers will also have the opportunity to explore the exhibition Art Nouveau. Initial Impact Peculiarity ". Let's look, listen and find out what a bird is Art Nouveau, but we will use the flags to make impressions of the exhibition. TARGET AUDIENCE: Family, preschool and school age children MATERIALS FOR TAKING ACCOUNT: Lightweight cotton fabric approximately 35x25 cm (per person) SHARING FEES: 2.50 EUR. APPLICATIONS AND ADDITIONAL INFORMATION: The number of seats is limited (20 participants). Requires advanced login. T: (+371) 67 357536 E: Maija.Mackus@lnmm.lv

Wien
Gustav Klimt
Dates:22/06/2018-04/11/2018

This exhibition marking the 100th anniversary of the death of Gustav Klimt, who also passed away in 1918, honors THE protagonist of Viennese Modernism par excellence, who saw the Secession as a venue for the fight for spiritual and artistic modern art. His highly contested, allegorical Faculty Paintings, which were destroyed during the last days of war in 1945, were seen as a paradigm shift and a credo of a new thematic and formal notion of the fin-de-siècle: spirit and matter, nature and art, as well as Eros and Thanatos constituted the program of his artistic oeuvre. The pictorial works of the avant-gardist Klimt further express a longing for beauty and sensuality. Along with works from the holdings of the Leopold Museum and the Leopold family’s private collection, the presentation will feature exhibits from the Klimt Foundation, works given to the museum as a permanent loan by a Klimt descendant as well as select international loans from private and institutional collections. Thus, the exhibition retraces Klimt’s artistic evolution from an exponent of late Historicism towards one of the most eminent representatives of Viennese Jugendstil. “From Sketch to Painting” – Klimt’s Last Masterpiece The Bride One of the highlights of this presentation is the room curated by Sandra Tretter (Klimt Foundation) devoted to Klimt’s Symbolist painting The Bride. The artist designed his last masterpiece on the basis of numerous drawings and studies, ranging stylistically between Jugendstil and Expressionism. The large-scale group of figures will be shown for the first time in the context of pertinent work drawings and the artist’s only extant sketchbook from 1917. This authentic document from the collection of the Klimt Foundation not only contains pencil sketches for lost Klimt paintings but illustrates in a unique manner the work process behind his unfinished painting The Bride, which was last documented for posterity by the artist’s favorite photographer Moriz Nähr within the intimate setting of Klimt’s Hietzing studio.

Nancy
Conférence à deux voix : "Art nouveau et cadre de vie en 1900"
Dates:23/06/2018-23/06/2018

Sur réservation - 3 euros

Bruxelles
Visite Art nouveau- Art Déco dans le parc de Saurupt
Dates:23/06/2018-23/06/2018

Art nouveau? Art Déco? Ce circuit dans le parc de Saurupt, avec ses magnifiques demeures, vous permettra de découvrir ces deux courants architecturaux et décoratifs qui sont encore très souvent confondus. Tarif : 10€ Tarif réduit : 5€ Gratuit pour les moins de 6 ans Pass famille (2 adultes + 2 enfants) : 25€ Sur réservation préalable obligatoire à l'office de tourisme de Nancy, place Stanislas

Paris
Le nouveau Paris de 1900
Dates:23/06/2018-23/06/2018

Cette visite sera l’occasion de découvrir des constructions d’Hector Guimard au cœur de la capitale et d’apprécier le bouillonnement artistique qui s’empare des façades à l’aube du XXe siècle. Nous nous intéresserons à plusieurs architectes qui ont participé à l’embellissement de la rue Réaumur après de son percement, ainsi qu’à différents types d’édifices : immeuble d’habitation et de bureaux, brasserie, grand magasin, édifice cultuel, etc. L’Art nouveau sous toutes ses formes sera le sujet de ce parcours qui prévoit un court trajet en métro, et, comme d’habitude, de la marche.

 
III coupDefouet International Congress
Dates:27/06/2018-30/06/2018

The Art Nouveau European Route brings together local governments and other institutions in the common quest for the protection, promotion and diffusion of Art Nouveau heritage. To fully explore and bring to light the value of Art Nouveau heritage, therefore, a Congress organised by the Art Nouveau European Route cannot limit its scope to the analyses and interpretation of the tangible heritage; it must go deeper into the reality of the communities that created it. In this third edition of the coupDefouet International Congress, the main thematic strand proposes to look into new perspectives on Art Nouveau heritage of cities by means of cinematographic language. Given the coincidence in the time of the birth of both, footage from this age is especially significant. Together with other later filmed material related to Art Nouveau, it may provide new insights into this artistic movement and a deeper knowledge of what has been preserved, as well as what was lost or forgotten. A second theme strand centres on the relationship of Art Nouveau works and artists with politics, and in particular with colonialism, while the third strand explores the importance of drug use and/or attitudes towards sex in Art Nouveau artists, and how this influenced their work. Finally, the section on research and doctoral theses in progress, in which presentations from both seasoned and young researchers are welcome, will complete the four thematic strands of the programme.

With the support of the Culture Programme of the European Union

Responsible publisher: Bety Waknine, General Director,
Bruxelles Urbanisme & Patrimoine,
CCN - Rue du Progrès 80, B. 1, 1035 Brussels - Belgium