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Rineke Dijkstra, Thomas Struth et al.

The End of an Age (group show)
Gemeentemuseum Den Haag, The Hague
4 February - 3 September 2017

Thomas Struth, Ana Grefe (stehend), 1997 © Thomas Struth. Courtesy of Gemeentemuseum Den Haag
Thomas Struth, Ana Grefe (stehend), 1997 © Thomas Struth. Courtesy of Gemeentemuseum Den Haag

Emotional vulnerability, a search for personal identity and physical change are all key characteristics of adolescence. Contemporary photographers like Paul Graham, Rineke Dijkstra, Thomas Struth and Thomas Ruff create portraits that attempt to convey the transition to adulthood. In the 1990s, they captured the euphoria of adolescents at the end of an era. The End of an Age in the Vincent Award Room features a selection of their images.

Gemeentemuseum Den Haag, The Hague


Additional:

Thomas Struth

Ways of Seeing (group show)
NYU Abu Dhabi Art Gallery, Abu Dhabi
3 September - 17 November 2018

Ways of Seeing brings together 26 internationally-acclaimed artists and art collectives from the region and the world, working in a variety of media, including painting, sculpture, photography, sound, film, and installation. This exhibition is curated by Sam Bardaouil and Till Fellrath, founders of the multi-disciplinary curatorial platform Art Reoriented, and co-chairmen of the Montblanc Cultural Foundation.

The exhibition is based on John Berger’s seminal 1972 text on visual culture, Ways of Seeing, in which he shifted the emphasis of art criticism away from the professional art-expert and relocated it within the grasp of the layperson. In taking its cue from Berger’s groundbreaking argument, this exhibition invites the viewer to actively engage with the artwork, and to explore the ways by which artists assign forms and concepts that seem familiar with renewed appearances and meanings.

NYU Abu Dhabi Art Gallery, Abu Dhabi


Thomas Struth

Nature Unleashed: The Image of Catastrophe since 1600 (group show)
Hamburger Kunsthalle, Hamburg
29 June - 14 October 2018

Thomas Struth, Louvre 4, Paris 1989, 1989 © Thomas Struth
Thomas Struth, Louvre 4, Paris 1989, 1989 © Thomas Struth

In a large-scale exhibition spanning several epochs, the Hamburger Kunsthalle traces based on important works how artists working in different media picture natural catastrophes while also shedding light on humanity’s failure to come to terms with nature due, among other things, of our faith in technology. Nature Unleashed: The Image of Catastrophe since 1600 features approximately 120 exhibits, including paintings, drawings, prints, sculptures, photographs, films and videos. As viewers make their way past blazing fires, earthquakes, floods, volcanic eruptions and sinking ships, they will take note of pictorial constants in the expression of such disasters but will also become aware of the differences in depiction from one era to the next. The show’s special appeal lies in the close juxtaposition of artworks created centuries apart. The trajectory of exhibited works spans an arc from the years around 1600 to the present day. Contemporary works serve to anchor the theme in the here and now and underline its topicality.

Catastrophes are omnipresent. The media constantly reports on natural disasters, acts of war, political upheavals and other crisis scenarios, characterising them all with the common term “catastrophe”. Catastrophes don’t just happen, they are made. It is only in our perception, in our active engagement with such drastic events that they take on distinctive contours and reveal their typical face. Every age makes its own catastrophes and redefines the criteria by which certain events are labelled as such. These fundamental observations form the basis for the exhibition project.

Hamburger Kunsthalle, Hamburg


Rineke Dijkstra

Rineke Dijkstra (solo show)
De Pont Museum, Tilburg
10 March - 22 July 2018

Rineke Dijkstra, Vondelpark, Amsterdam, June 19, 2005, 2005 © Rineke Dijkstra
Rineke Dijkstra, Vondelpark, Amsterdam, June 19, 2005, 2005 © Rineke Dijkstra

Rineke Dijkstra (Sittart 1959) became internationally known with her "Beach Portraits" during the 1990s. With this moving series of photographs, she established her reputation as a maker of portraits that express the identity, vulnerability and dignity of the subjects. Last year she was granted the Hasselblad Award, a prestigious photography prize.

Dijkstra prefers to work in series, which allow the differences and similarities among the portrait subjects and their cultural backgrounds to emerge in a subtle manner. The time-consuming process of working with a technical camera determines her approach. She creates the conditions and plays with the light, which appears to be natural and yet has a slightly different appearance. She chooses her figures carefully, but chance plays a significant role as well. The sharply focused photographs give the viewer a sense of being face to face with the portrait subjects. At the same time, the serial character of the work also makes the subjects lose a certain degree of individuality. As a viewer, one mainly identifies with the universal human feelings (e.g. shyness, a lack of ease) displayed by them.
The theme of transformation keeps on surfacing in various series, such as the one in which a friendly-looking French boy evolves, in just a few years, into a stalwart soldier. But is this real, or is he playing a role?

Such questions interest Dijkstra. Despite the faithfully rendered appearance of the photograph, the portrait subject ultimately remains unfathomable and elusive. Who is hiding behind a mask, and who is showing his or her true face? This dilemma is subtly conveyed in the video of Marianna, a ten-year-old Russian ballerina who practices her dance steps in a pink studio. The cloyingly sweet surroundings and the spirited music stand in stark contrast to the stern voice of a teacher who is giving instructions off screen. With each new attempt to execute the steps perfectly, Marianna smiles as she has been conditioned to do, but gradually a certain fatigue and defiance nonetheless begin to emerge.

De Pont Museum, Tilburg


Thomas Struth

Image Building: How Photography Transforms Architecture (group show)
Frist Art Museum, Nashville
20 July - 28 October 2018

Thomas Struth, Pergamon Museum I, Berlin, 2001 © Thomas Struth
Thomas Struth, Pergamon Museum I, Berlin, 2001 © Thomas Struth

Image Building: How Photography Transforms Architecture explores the changing relationship between viewer, photographer, and architect, from the 1930s to the present. Demonstrating how photographers connect a building’s identity with the people who reside in, work in, visit, or simply look at it, the exhibition also reveals how this understanding may be layered, reinforced, or in some instances radically reinterpreted.

Buildings and the way they are photographed are visible symbols of a society’s desires and the social, economic, and aesthetic concerns of an era. Photographers choose between black-and-white and color, sharp contrast and soft focus, and straightforward and dramatic framing to record their subjects. Contemporary photographers add the use of new digital technologies, allowing for an even greater manipulation of an image. Whatever the medium, the intent is to involve the viewer in understanding the symbolism of architecture and public spaces. By combining different contexts and frames of meaning, Image Building invites viewers to actively experience structures and spaces in novel and expanded ways.

Many architects hope that their conceptual intentions will last as long as the actual structures. Creating a perception—a mental or actual image of a structure—has become a vital element to architectural practice, shaping architects’ ideas about how buildings will look in addition to how they are experienced. But the messages contained in architecture are filtered and even altered by the lenses of a changing society. This exhibition presents fascinating photographic conversations between architect and artist, past and present, and facts, dreams, and illusions.

Frist Art Museum, Nashville


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