Salvador Dalí: Liquid Desire is the first comprehensive retrospective of the work of Salvador Dalí ever to be staged in Australia. The exhibition is drawn from the holdings of the two largest collections of Dalí in the world: – the Fundació Gala-Salvador Dalí in Figueres, Spain; and the Salvador Dalí Museum in St Petersburg, Florida, USA. The exhibition opens 13 June and will be on view through 4 October, 2009 at the National Gallery of Victoria (NGV). This year the Melbourne Winter Masterpieces series includes Salvador Dalí: Liquid Desire at the National Gallery of Victoria and A Day in Pompeii at Melbourne Museum. Melbourne Winter Masterpieces is an initiative of the Victorian Government.
From his birth in 1904 until his death in 1989 at the age of 85, Salvador Dalí’s life spanned almost a century of dramatic social and artistic change. A full retrospective, the exhibition will comprise more than 200 works in all media including painting, drawing, watercolour, etchings, jewellery, sculpture, fashion, cinema and photography. It will trace the genius of Dalí from his earliest years as a 14-year-old Impressionist painter, to the final paintings, addressing science and physics, created when the artist was in his seventies.
Dalí’s artistic imagination was constantly fed by the ruggedly romantic landscapes of his native Catalonia, the vast wind-swept plains of the Empordà, and the rocky ‘otherworld’ of the Cap de Creus. These landscapes, infused with his unique imagination, informed the now-classic Surrealist paintings with which Dalí astonished the Parisian art world in the early 1930s. A strong group of paintings from the period of Dalí’s involvement with Surrealism in Paris will be included in the exhibition.
Salvador Dalí’s life spanned almost a century of dramatic social and artistic change. Salvador Dalí: Liquid Desire traces the extraordinary innovation Dalí brought to his art at every stage of his remarkable career, from his earliest years as an exceptionally talented 14-year-old to the final majestic paintings created when the artist was in his seventies.
The exhibition moves through Dalí’s experimentation with Cubism, Abstraction, Neoclassicism and New Objectivity during his student years and his leadership of the Surrealist movement in Paris during the 1930s. Salvador Dalí: Liquid Desire will also include the most significant Dalí work held in an Australian collection, the Lobster Telephone from the National Gallery of Australia, arguably one of the most famous sculptures of the twentieth century.
A highlight of the exhibition will be the return to Australia of the artist’s 1932 painting Memory of the Child-Woman. This was the first Dalí painting ever to be seen in Australia in 1939 and was met with great controversy.
Dalí’s ties with Spain were severed with the outbreak of the Spanish Civil War in 1936 and, with the outbreak of the Second World War, Salvador and his wife Gala relocated from Paris to the United States (where they were resident from 1940-48). While resident in the USA Dalí was actively involved with the fashion, theatre, publishing and film industries. Post-war, his art engaged with the atomic age and nuclear theory, as well as exploring a unique and personal religious mysticism.
Salvador Dalí: Liquid Desire is a kaleidoscopic and panoramic exhibition that will surprise and delight visitors as it explores the life and art of one of the most colourful and influential figures of the twentieth century.
Visit : http://www.ngv.vic.gov.au/
As the international tour of the last Gilbert & George retrospective (2007–2009) did not include Berlin, Arndt & Partner are now presenting a solo exhibition of the celebrity artist duo in its gallery rooms behind the Hamburger Bahnhof. It is the first Gilbert & George solo show in Berlin for 14 years. The exhibition features a selection of 20 large-scale pieces from the Jack Freak Pictures, the largest Gilbert & George group of pictures to date. The thrust of the content is given by the colors and shapes of the Union Jack flag that dominate the bulk of the pictures as well as the recurring motive of medals, emblems and trees. In the Jack Freak Pictures the artist duo explores aspects of nationhood and of the sentient individual in the nets of society. In his essay published in the catalogue accompanying the exhibition the British writer Michael Bracewell describes these pictures as “the most iconic, philosophically astute and visually violent works that Gilbert & George have ever created…” On view 16 June through 18 September, 2009.
Gilbert & George, who met as students of sculpture at St. Martin’s School of Art in London 42 years ago, embarked on a joint artistic career that was to encompass a wide range of media from drawing to video and their trademark pictures. Further, the pair revolutionized the concept of sculpture by presenting themselves as “living sculptures” dressed in the quintessentially British tailored suit, shirt and tie. But it was their monumental trademark pictures composed of a gridlike array of smaller images which they began to create in the early 70s that first brought them international fame. Figures, cityscapes, symbols, plants, bodily fluids, excrements and text interlock in pictorial messages as visually powerful as their content is provocative. The pictures, which started out in black and white and later assumed increasingly luminous, bold colors, generally also depict portraits of the artists themselves and seize on taboo subjects like sexuality, race, religion and national identity with a brash and fearless candor.
The Jack Freak Pictures again feature the bodies and/or faces of the artists. In these compositions, their bodies function as stylized representatives of the individual in society, whose relationship to social norms and categories, to national, religious and sexual identification processes is relentlessly explored and commented upon. Departing from their earlier oeuvre, some of their new pictures split the raw images into much smaller fragments before merging them into new forms. The result is a fascinating kaleidoscopic mix of the monstrously grotesque with an intricate ornamental structure reminiscent of sacred art. In ever new variations, Gilbert & George order the signs and fragments of social life they find in their neighborhood – the multicultural East End of London –, where solidarity and friendship are as visible as intolerance and marginalization.
Gilbert & George
Gilbert, born in 1943 in the Ladin Dolomites, Italy, studied at the Wolkenstein School of Art in South Tyrol, the Hallein School of Art in Austria and the Munich Academy of Fine Arts before coming to London and enrolling at St Martin’s School of Art. George, born in 1942 in Devon, England, studied at the Dartington Hall College of Art, the Oxford Art School and St. Martin’s School of Art, where he met Gilbert in Anthony Caro’s sculpture class in 1967. They have lived and worked together in London ever since.
The duo has accumulated a long list of international distinctions and exhibitions at major institutions. They were awarded the Turner Prize in 1986, a prize they had already been nominated for two years earlier, and represented the UK at the 51st Venice Biennial in 2005. Solo exhibitions of their art have been held at the Stedelijk Museum, Amsterdam (1971 and 1996), the Guggenheim Museum, New York (1985), Wiener Secession, Vienna (1992), the National Art Gallery, Beijing (1993), the Musée d’Art Moderne de la Ville, Paris (1997), the Kunstmuseum Bonn (1999), the Serpentine Gallery, London (2002), and the Bonnefanten Museum, Maastricht (2006). Their second retrospective, which toured museums including the Tate Modern, London (2007), and the Haus der Kunst, Munich (2007), was on show at the Brooklyn Museum, New York, until the beginning of the year.
Visit Arndt & Partner at : http://www.arndt-partner.de/
The 40th edition of Art Basel closed on Sunday, June 14, 2009. This year, the annual reunion of the international artworld attracted 61,000 artists, collectors, curators, and art lovers from around the globe, slightly more than last year and the highest number ever. The participating galleries, art connoisseurs, and the media were unanimous in pronouncing this a strong year for the show. Art 40 Basel demonstrated the health of the high-quality segment within the art market: Collectors rewarded excellent material and strong booth presentations with unexpectedly strong sales throughout the week.
The show drew 61,000 visitors and 2,800 media representatives. A great many artists also attended the event, among them Stefan Balkenhol, Matthew Barney, Elmgreen and Dragset, Thomas Demand, Olafur Eliasson, Liam Gillick, Dan Graham, Subodh Gupta, Joan Jonas, Jeff Koons, Mark Leckey, Sigmar Polke, Ed Ruscha, Nedko Solakov, Not Vital and Franz Erhard Walther. And over 50 museum groups visited Art 40 Basel, as did major private collectors from North and South America, Europe and the emerging markets of the artworld.
In this 40th edition of the show, more than 300 galleries from 29 countries exhibited works by over 2,500 artists. Participating galleries displayed their most interesting pieces and presented them in carefully curated booths. Many stands featured thematic exhibitions and one-person shows and many galleries presented video works, installations and large sculptures. Paintings, works on paper, and photography continued to be strongly represented. Private collectors came from all continents, as did representatives of almost all the world’s major museums. Many exhibitors reported excellent results given the current conditions, adding that they also made valuable new contacts for the future of their program, and look forward to Art 41 Basel, which takes place June 16 through June 20, 2010.
One of the most spectacular events at this year’s Art Basel was the presentation of “Il Tempo del Postino” at Theater Basel. All three nights were completely sold out and many art lovers extended their stay to experience this unique presentation, which many viewers aftewards described as a “historical artworld event”. Curated by Hans Ulrich Obrist and Philippe Parreno as a group exhibition that would occupy time rather than space, “Il Tempo del Postino” (Postman Time) presented a sequential display of timebased art on the theatre stage. The Basel edition of “Il Tempo del Postino” was directed by Hans Ulrich Obrist, Philippe Parreno, Anri Sala and Rirkrit Tiravanija; each of the twenty artists – Doug Aitken, Matthew Barney & Jonathan Bepler, Tacita Dean, Thomas Demand, Trisha Donnelly, Olafur Eliasson, Peter Fischli / David Weiss, Liam Gillick, Dominique Gonzalez-Foerster, Douglas Gordon, Carsten Höller, Pierre Huyghe, Koo Jeong-A, Philippe Parreno, Anri Sala, Tino Sehgal and Rirkrit Tiravanija & Arto Lindsay – created an act of different length. “Il Tempo del Postino” was organized by Art Basel, Fondation Beyeler and Theater Basel and was originally co-commissioned by the Manchester International Festival and Théâtre du Châtelet, Paris for the World Premiere in Manchester in July 2007.
Art Unlimited spotlighted 60 ambitious works and once again drew a huge audience. Many of the exhibited pieces were created especially for Art 40 Basel and the 10th edition of this special exhibition was especially strong this year. Highlights included major works by legendary artists such as Sigmar Polke, Lawrence Weiner, Franz Erhard Walther, Mel Bochner, Bruce Connor, Daido Moriyama, Nan Goldin, Hans-Peter Feldmann, Roni Horn and Jesús Rafael Soto, joined by pieces from younger and emerging stars as Thea Djordjadze, Ayse Erkmen, Bharti Kher, Mai Thu Perret, Falke Pisano, Banks Violette and Andro Wekua.
The Art Premiere sector was of extraordinary quality and showed an interesting mix of carefully curated exhibitions in the booths of the galleries. Art Premiere featured artistic dialogues juxtaposing two artists such as Reneé Green and Adrian Piper (Elisabeth Dee Gallery), Joan Jonas and Sung Hwan Kim (Wilkinson Gallery), presentations by a single artist such as Kerry James Marshall (Jack Shainman Gallery) and exceptional art historical material – a new possibility within the sector – featuring seminal works by Gino di Dominicis (Galleria Lia Rumma), Mario Merz (Tucci Russo Studio per l’Arte Contemporanea) and General Idea (Galerie d’Art Contemporain Frédéric Giroux).
With its 27 single-artist projects from young galleries and artists from around the globe, this year’s Art Statements was often described by viewers as ranking among the strongest editions the sector has ever produced. The two Bâloise Art Prizes of CHF 30,000 per artist were awarded to Nina Canell and Geert Goiris, and Bâloise Insurance Group will acquire works by both artists and once again donated them to the Hamburger Kunsthalle und the MUMOK Museum of Modern Art Ludwig Foundation in Vienna.
The exhibition area on the exhibition square in front of the buildings hosting Art Basel again served as an arena for the Public Art Projects. The sector on Messeplatz placed art in the urban context and encourages interaction with the general public. The eight works by internationally renowned artists Valentin Carron, General Idea, Mark Handforth, Jeppe Hein, Gabriel Kuri, Mathieu Mercier, John McCracken and Ken Price delighted both visitors and passerby.