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Rineke Dijkstra, Rebecca Warren et al.

Für Barbara, curated by Leo Koenig (group show)
Hall Art Foundation I Schloss Derneburg, Derneburg
1 July 2017 - 31 March 2018

Rineke Dijkstra, Hel, Poland, August 12, 1998 © Rineke Dijkstra
Rineke Dijkstra, Hel, Poland, August 12, 1998 © Rineke Dijkstra

The Hall Art Foundation is pleased to announce a group exhibition, Für Barbara, to be held at its Schloss Derneburg location in honor of recently deceased gallerist Barbara Weiss. A lifelong advocate for women in the arts, Weiss was also a friend of the Hall's and inspired the inclusion of many works by female artists in the Hall and Hall Art Foundation collections. The exhibition, curated by Leo Koenig, includes over 90 paintings, sculptures, photographs, installations, works on paper and videos by an international and multi-generational roster of female artists dating from the 1950s to 2017.

''In and beyond her gallery, Barbara advocated for women of all generations and in all positions in the arts. Her calm resolve and unruffled tenacity never overshadowed the self-determination of her artists, or eclipsed the autonomy of their work. With this exhibition, we celebrate a woman who subtly challenged the status quo by introducing ideas that would have been deemed revolutionary were they presented by any other person. The radical was an everyday occurrence with Barbara, because she presented it as fundamental.''
- Leo Koenig

Hall Art Foundation


Additional:

Rineke Dijkstra

Ecstasy (group show)
Kunstmuseum Stuttgart, Stuttgart
29 September 2018 - 24 February 2019

Rineke Dijkstra, video still, The Krazyhouse (Megan, Simon, Nicky, Philip, Dee), Liverpool, UK, 2009, 2009 © Rineke Dijkstra
Rineke Dijkstra, video still, The Krazyhouse (Megan, Simon, Nicky, Philip, Dee), Liverpool, UK, 2009, 2009 © Rineke Dijkstra

Ecstasy is one of the oldest and one of the most astounding phenomena of European and non-European cultures. Originally forged in the context of religion and ritual, the transcendental experience of ecstasy was first conceptualized in antiquity. It has been an integral part of Western social theories ever since, even as its definition and social significance have been continually modified and expanded. In indigenous cultural spaces, ecstasy generally bears positive connotations and is experienced within the context of ritual acts, but it was and is often perceived as threatening in societies dominated by industrialization, capitalism, and globalization. Here ecstasy means loss of control, and it harbors the danger of an individual or an entire collective deviating from the norm. Exceptions are transcendental experiences within religious contexts or profane ecstasies, as may be observed during sporting events, concerts, or politically motivated activities.
In its cultural significance and complexity, ecstasy also entered the visual arts and engaged in extraordinary alliances with the related disciplines of music and dance.

Beginning in the fall of 2018, the Kunstmuseum Stuttgart will, for the first time, trace these and other connections as it dedicates itself to the phenomenon of ecstasy in a large thematic exhibition. Drawing from paradigmatic examples from antiquity to the present, the exhibition illuminates the various spiritual, political, psychological, social, sexual, and aesthetic implications of euphoric and intoxicated states between asceticism and excess.

In approximately ten thematic rooms, the visitor will become familiar with the various faces of
ecstasy and with the shifting social significance of mind-altering states as it changed over the
centuries. In so doing, it will also consider how different cultural spheres handle the phenomenon of ecstasy. With art at its foundation, the exhibition will introduce the viewer to the various ways that artists have approached ecstatic states—from pictorial representations to video and installation works to kinesthetic experiences. The visitor may therefore not only comprehend but also experience the relevance and historical development of ecstasy. Music plays a central role here, as it unifies transcendental experience in all cultures. Rhythmic sounds, repetitive movements, and visual stimuli prepare the groundwork for reaching a state of »being beside oneself.«

Kunstmuseum Stuttgart, Stuttgart


Rineke Dijkstra

Collection Centre Pompidou (group show)
Centre Pompidou, Malaga, from 28 March 2015 - ongoing

Rineke Dijkstra, I See a Woman Crying ( Weeping Woman ), 2009
Rineke Dijkstra, I See a Woman Crying ( Weeping Woman ), 2009

The world famous gallery Centre Pompidou is coming to Malaga. Without doubt the Pompidou art center in Paris is one of the greatest homes of twentieth century art. In line with the arresting appearance of the Pompidou in Paris the Malaga collection will be housed in the large glass cube, built with a cultural purpose in mind and which is situated at the corner which joins Muelle Uno and Muelle Dos of Malaga’s newly renovated port. The new Malaga Pop-Up museum will house a fine selection of its French mother. The museum that is at time of writing under full construction is expected to open on March 28th, just before the touristic season takes off.


Centre Pompidou, Malaga