Rineke Dijkstra

RE-VISIONS (group show)
Pinakothek der Moderne - Sammlung Moderne Kunst, Munich
28 February - 17 November 2019

For more than four decades Ann and Jürgen Wilde have been compiling their unique collection of modern and contemporary photography, which has been affiliated with the Bayerische Staatsgemäldesammlungen since 2010, as the Ann and Jürgen Wilde Foundation. Works by photographers like Aenne Biermann, Florence Henri, and Germaine Krull lie at the collection’s core. The program at Galerie Wilde (1972–1985), which was the only gallery in Germany to specialize in photography at the time of its founding, was also innovative for including female photographers, among them Jan Groover, Marcia Resnick, Gwenn Thomas, and Deborah Turbeville. To this day, Ann Wilde remains particularly interested in promoting and acquiring work made by female artists and photographers. On the occasion of her birthday, the donor is opening her private collection to the public for the first time. Re-visions presents photographs that speak to Ann Wilde personally: work from the 1920s up to the present, made by artists like Johanna Diehl, Rineke Dijkstra, Marie Jo Lafontaine, Barbara Probst, Alexandra Ranner, Judith Joy Ross, Martina Sauter, Eva-Maria Schön, Kathrin Sonntag, and Heidi Specker.

Pinakothek der Moderne - Sammlung Moderne Kunst, Munich


Rineke Dijkstra, Joan Mitchell et al.

Five Ways In: Themes from the Collection (group show)
Walker Art Center, Minneapolis
14 February 2019 – 26 September 2021

Joan Mitchell, 
Joan Mitchell, "Posted", 1977; oil on canvas; Collection Walker Art Center, Gift of Joanne and Philip Von Blon, 1989

This exhibition, drawn from the Walker’s world-renowned collections, looks backward and forward at contemporary art in our time, showcasing both cornerstone works that have built the collection and works by a younger generation that point to new strengths and directions. The exhibition presents collection highlights within five approaches to subject matter long explored by artists: portraiture; the interior scene; landscape and the observed environment; still life and the everyday; and abstraction, areas that serve as thematic sections for unexpected groupings of works from the collection.

Featuring more than 100 works, the exhibition includes examples ranging from painting and sculpture to drawing, collage, video, photography, prints, and installations. Many of the works on view are longtime favorites for Walker visitors, presented alongside newer acquisitions, many on view for the first time in this context. Works by Joan Mitchell and Rineke Dijkstra are included.

Walker Art Center

Rineke Dijkstra et al.

Observations – Highlights of the Centre Pompidou New Media Collection (group show)
Centre Pompidou x West Bund Museum Project, Shanghai
West Bund Museum, Hall 1
8 November 2019 – 29 March 2020

Rineke Dijkstra,
Rineke Dijkstra, "I see a Woman Crying (Weeping Woman), Tate Liverpool", 2009-2010. © Rineke Dijkstra. Photo © G. Meguerditchian.

“Observations” is the first of a series of exhibitions devoted to the various sections of the permanent collection at the Musée National d’Art Moderne, Centre Pompidou. It features 15 artists from the New Media collection, with works from the early days of video, at the turn of the 1970s, through to contemporary experiments with digital imagery. Rineke Dijkstra's work "I see a Woman Crying (Weeping Woman)" will be presented in the section "Time Suspended".

As an act of knowledge, observation has always been a mainspring driving the development of arts and sciences. In either domain, it consists in focussing the gaze to achieve an attentive perception of things in order to question not only the changes they undergo but also the development of the tools we study them with. “Machines of vision” such as telescopes, microscopes and cameras can influence our representations of the reality they open up to us and contribute to giving them their unique shape. As such, they contribute to cultures of observation.

The analogue camera lens provided our eyes with a sophisticated instrument to support human vision by concentrating our attention thanks to a constructed frame and perspective. With digital technology, the transformation of images into strings of coded data has shaken up the visual systems of representation which have accompanied the constitution of a body of knowledge since the invention of photography in the early 19th century. Images no longer need an author or even a human viewpoint; they access reality via their own path and produce other forms of knowledge.

Employing a retrospective eye, this exhibition reveals how artists have approached and embraced these developments. Starting with early real-time images produced by television through to the debate on intimacy in public places brought about by increasing camera networks, from aesthetic contemplation where the sense of time seems to be suspended, to the transformation of real images by big data, the exhibited works playfully and poetically stretch and repurpose the media, exercising critical lucidity. They speak of our capacity to gaze, pay attention, and create new conditions for a visual experience, to write alternative accounts of the world.

Featuring a variety of works in a non-linear pathway that leaves room for visitors to take their own initiatives, this project has adopted an open approach, attentive to everybody’s role in the shared experience of images.

Centre Pompidou x West Bund Museum Project