Raymond Hains et al.
Antworten auf die Wirklichkeit (group show)
Forum Frohner, Krems-Stein
12 September 2020 – 5 April 2021
In the 1960s, the Austrian artist Adolf Frohner (1934–2007) travelled several times to Paris, where he encountered Nouveau Réalisme for the first time. Behind this movement were thirteen artists around the art critic Pierre Restany, a group that between 1960 and 1970 became a forum for a lively exchange of ideas. The approaches taken by the Nouveaux Réalistes were manifold, ranging from an interest in the materiality of objects and an ironic reinterpretation of form to a performative conception of the artwork.
With selected objects, the exhibition Answers to Reality: Adolf Frohner’s Encounter with Nouveau Réalisme explores the connection between Adolf Frohner and the Nouveaux Réalistes. Particularly Frohner’s material pictures, objects, and assemblages of the 1960s reveal distinct references to Nouveau Réalisme. This sheds new light on Frohner’s work of this time, but also on his iconography of the figurative in the late 1960s and 1970s.
Key works from the collection of Vienna’s mumok – Museum moderner Kunst Stiftung Ludwig by Christo and Jeanne-Claude, César, Raymond Hains, and Daniel Spoerri will be presented. In honor of Spoerri’s ninetieth birthday, his work will constitute a focal point of the show.
The exhibition is presented in cooperation with the mumok – Museum moderner Kunst Stiftung Ludwig Wien.
William N. Copley, Raymond Hains et al.
Impasse Ronsin. Murder, Love, and Art in the Heart of Paris (group show)
Museum Tinguely, Basel
16 December 2020 – 5 April 2021
Impasse Ronsin, a dead-end street in the midst of Paris's Montparnasse district, was a unique artists' colony, known for more than a century as a place of art, contemplation, conversation, celebration, innovation, creation and destruction. With Impasse Ronsin. Murder, Love and Art in the Heart of Paris, Museum Tinguely devotes the first ever exhibition to this unusual urban network that was often in the headlines, presenting over 50 artists with more than 200 works, all made at Impasse Ronsin. The place was marked by a broad range of diverse artistic identities that went far beyond the avantgarde, with artists including Constantin Brâncuși. Max Ernst, Marta Minujín, Eva Aeppli, Niki de Saint Phalle and Larry Rivers, through to André Almo Del Debbio and Alfred Laliberté. The exhibition layout is based on the original architectural plan of the colony, surprising visitors with an unprecedented mixture of artworks and stories that bring Paris to life as a melting pot and cosmopolitan city of art.
Raymond Hains et al.
Folklore (group show)
4 November 2020 – 22 February 2021
Seemingly at odds with the idea of the avant-garde, the world of folklore nevertheless permeates whole sections of modernity and contemporary creativity. Far from the clichés of an outdated, backward-looking view of the past, artists have been able to find within it a source of inspiration and an object of critical analysis. The “Folklore” exhibition, conceived by the Centre Pompidou-Metz in partnership with the Mucem, retraces the relationship that artists have had with this concept, focussing on a European definition and history of the term. Thanks to funds of the Mucem, themselves inherited from the musée national des Arts et Traditions populaires, the exhibition also reveals the invention of a discipline, concurrently allowing for unexpected face-to-face encounters.
Opening with a quest for origins and an “exoticism from within”, the exhibition shows how locations such as Brittany for Paul Sérusier and Paul Gauguin, Vologda (Russia) and Bavaria for Vassili Kandinsky and Gabrielle Münter, and Oltenia (Romania) for Constantin Brancusi, serve as breeding grounds for modernity and abstraction. It also addresses the paradoxes of a folklore that claims to be authentic and frequently associated with identity and nationalist claims. As a repository of forms and an inexhaustible source of motifs, folklore contributes to the renewal of artistic vocabulary, from a straightforward, formal borrowing to something more subversive and political. With music, dance, rites, beliefs, superstitions, fantastic creatures, and fundamentally linked to the immaterial, spoken tradition, folklore takes on a quality that is more conceptual than material in the work of many post-war artists such as Constant, Susan Hiller, and Joseph Beuys.
The exhibition sets out the portrait of the “artist as a folklorist” who, influenced by the anthropological dimension of art and a new museography of everyday life in the 1970s, borrow from ethnologists methods of investigation and collecting, before moving on to those of classification and reconstruction. In an era of globalised standardisation and of folklores created for the tourist industry, the exhibition also explores their circulation and transformation as seen by contemporary artists, such as Endri Dani, Jimmie Durham, Mélanie Manchot, Julius Koller, Pierre Huygue, Slavs and Tatars. Revisited and even reinvented, mobile, and no longer anchored to a specific location, folklores continue, like populations, to move with them, and be the subject of critiques as well as a source of fascination.
Over 360 works and objects will be presented in the exhibition, including 190 objects from the Mucem collections, plus the loans of 170 pieces of modern and contemporary art, a large part of which are kept at the Musée national d’Art moderne at the Centre Pompidou.