Karel Appel et al.
Mit heissem Herzen. Aus Leidenschaft zur Kunst. Die Sammlung Becker, van de Loo und Nannen (group show)
Kunsthalle Emden, Emden
19 September 2020 – 14 February 2021
Karel Appel's work Homme et animal, 1951 is included in the group exhibition Mit heissem Herzen. Aus Leidenschaft zur Kunst. Die Sammlung Becker, van de Loo und Nannen at Kunsthalle Emden, on view until 17 January 2021. The exhibition presents a selection of works from the collection Becker, van de Loo and Nannen.
Karel Appel, Albert Oehlen, Thomas Struth et al.
The Essl Collection (group show)
Albertina Modern, Vienna
7 December 2020 – 14 March 2021
The winter/spring season of 2020/2021 at Albertina Modern is given over to the Essl Collection.
This marks the first time that an overview of the Essl Collection’s historical depth and geographical breadth, ranging from American output to artworks from China, has been presented in Austria’s capital city—with 110 masterpieces created between 1960 and the present by famous artists ranging from Antoni Tàpies to Maria Lassnig, and Georg Baselitz, and from Alex Katz to Fang Lijun, Annette Messager and Nam June Paik.
The selected paintings, sculptures, objects, installations, and videos simultaneously provide an impression of the great diversity of media covered by the Essl Collection, which has been held by the ALBERTINA Museum since 2017 and now forms the backbone of the museum’s modern and contemporary art holdings.
This exhibition places the most influential and important Austrian artists in dialog with pivotal international artistic stances of the present era and their foremost proponents.
Karel Appel et al.
Disonata. Art in Sound up to 1980 (group show)
Museo Nacional Centro de Arte Reina Sofía, Madrid
23 September 2020 – 1 March 2021
Curated by Maike Aden, on an original project by Guy Schraenen, this exhibition analyses the development of sound as a creative field of visual arts differentiated from music, from the beginning to the end of the 20th century. The exhibition reflects the efforts of artists who resorted to sound beyond its traditional use in such manifestations as music, poetry or theatre.
By way of introduction, the exhibition includes references to the historical avant-garde; specifically to Futurism, Dadaism and Russian cinema, stopping at pioneering works of media permeability, such as Relâche, Erik Satie, Francis Picabia and René Clair, as well as at futurist experiments materialised in the intonarumori or optophonic poems of Dada, both visual and sound.
The emergence in the middle of the century of technological devices for recording and processing sound expanded the creative possibilities surrounding sound. For example, the exhibition highlights the verbo-vocal research that, following the Dadaist trail, was carried out by lyricism in its drive to do away with language and culture as they had been known up to then. The attempts to "free music" from its more academic and restrictive norms will be reflected in the work of artists such as Karel Appel or Jean Dubuffet. On the other hand, large-scale projects such as the Phillips Pavilion at the 1958 Brussels Universal Exhibition represent paradigmatic experiences that modified the relationship of sound and acoustics with the rest of the arts, demonstrating that everything participates in the same way in the sensitive experience.
The exhibition continues with a room dedicated to the intersections of the object and sound, with works by artists such as Jean Tinguely, the Baschet brothers or Nam June Paik. Fluxus processes, projects and performances will shape the next section, articulated by works by such fundamental figures as John Cage, who inspired many of these borderline creative practices.
The exhibition is articulated with the parallel presentation of a series of sound pieces and diverse materials (from drawings and scores to sculptures, films and photographs) that, as a whole, show a non-visual side of the plastic arts that began to emerge with the avant-garde movements themselves.
Museo Nacional Centro de Arte Reina Sofía