Posts Tagged ‘geometric composition

01
Nov
20

European art research tour: Vasarely Museum, Budapest permanent exhibition

Visited September 2019 posted November 2020

 

Victor Vasarely (Hungarian-French, 1906-1997) 'Zebras. Prekinetic study (Preliminary study for the kinetic theory. Graphic Period, 1929-1939)' 1939 (installation view)

 

Victor Vasarely (Hungarian-French, 1906-1997)
Zebras. Prekinetic study (Preliminary study for the kinetic theory. Graphic Period, 1929-1939) (installation view)
1939
Gouache, pencil, colour and white chalk on paper
Photo: Marcus Bunyan

 

 

While on my European art trip in 2019, I ventured by tram to the deepest suburbs of Budapest to visit the Vasarely Museum on a Sunday – one of only three days the museum is open. The journey was an experience in itself. The reward was that I got to see an artists work I have always admired (I have a Vasarely serigraph in my collection), set in one of the most beautiful art galleries I have ever seen in my life. What’s not too like.

Critically, I got to examine Vasarely’s work up close and personal, on a large scale. I noted how gestural his work is, even as it is geometric – emerging from his Gesture Drawings. Ground Plans of 1946. There is a mesmerising flow to his compositions, even as they are supposedly set, fixed, in their mathematical complexity.

Even as Josef Albers explored colour in the belief that colours have no inherent emotional associations, so Vasarely investigated the formula for a “plastic alphabet”, a universal visual language based on the structural interplay of form and colour, a programmed language with an infinite number of form and colour variations. Through serialisation and the processes of re-creation, multiplication and expansion, “in pictures based on the mutual association between forms and colours, he claimed to perceive a ‘grammar’ of visual language, with which a set of basic forms making up a composition could be arranged into a system similar to musical notation… He regarded colour-forms as the cells or molecules out of which the universe was made.”

Don’t believe all that is written on the can. While both artists want to euthanise the authenticity of the hand, the feeling of he eye, and the beauty of the object through an investigation of concept, form and replication, when in the presence of these paintings, once, twice, three times, one cannot deny the intimacy of their construction.

Unlike flat reproductions of these paintings in books, their serial reproduction, in these installation photographs you can see the ripples in the surface of these paintings. Their meticulous, hand-crafted production. For example, look at the surface of paintings such as Lom-Lan 2 (1953, below); Marsan (1950 / 1955 / 1958, below); and Sonora (1973, below). From a distance their patterns are stable but optically disturbing. Up close, their surface dis/integrates into swirls and ripples at a molecular level. The musical annotation – colour, form, pattern, repetition – of these optical illusions is subsumed into an aura, an earthly divination of a transient ‘planetary folklore’.

Dr Marcus Bunyan

.
All iPhone images © Dr Marcus Bunyan. Please click on the photographs for a larger version of the image.

 

 

Downstairs galleries

View of the Vasarely Museum, Budapest

 

View of the Vasarely Museum Budapest
Photo: Marcus Bunyan

 

View of the Vasarely Museum, Budapest

 

View of the Vasarely Museum, Budapest showing at second left, Gesture Drawings. Ground Plans (1946); and at second right, Composition (1948)
Photo: Marcus Bunyan

 

Victor Vasarely (Hungarian-French, 1906-1997) 'Gesture Drawings. Ground Plans' 1946 (installation view)

 

Victor Vasarely (Hungarian-French, 1906-1997)
Gesture Drawings. Ground Plans (installation view)
1946
Pencil on paper
Vasarely Museum Budapest
Photo: Marcus Bunyan

 

 

The Galerie Denise René opened in 1944. Its first exhibition was Les dessins et composition de Vasarely (Vasarely’s drawings and graphic compositions). Surrealism influenced his works, and even caught the attention of André Breton. As Denise René recalled: ‘André Breton was even convinced we had found a Surrealist painter; it was mostly the trompe l’œils that made him think so, which abounded in Vasarely’s graphic innovations. Breton invited me and Vasarely to visit him in rue Fontaine. Éluard and Breton both came to see the exhibition, though on different days because Éluard had broken with Breton and Surrealism.’ Vasarely had a painterly turn. Shortly he made experimentations in gesture painting. (Victor Vasarely, Jazz, 1942, inv. V. 195) Later, despite his artistic discoveries, he described his earliest period as Les Fausses Routes (Wrong Roads).

Text from the Vasarely Museum website [Online] Cited 26/10/2020

 

Victor Vasarely. 'Man in motion. Study of Motion (The Man)' 1943

 

Victor Vasarely (Hungarian-French, 1906-1997)
Hombre en movimiento – Estudio del movimiento (El hombre)
Man in motion. Study of Motion (The Man)
1943
Tempera on plywood
117 x 132cm
Vasarely Museum Budapest

 

Victor Vasarely (Hungarian-French, 1906-1997) 'Composition' 1948 (installation view)

 

Victor Vasarely (Hungarian-French, 1906-1997)
Composition (installation view)
1948
Oil on canvas
Vasarely Museum Budapest
Photo: Marcus Bunyan

 

Magyar Grafika (Hungarian Graphics). 'Az Ujság Hirdetés' (The Newspaper is Advertised) Edition 12 1931 (installation view)

 

Magyar Grafika (Hungarian Graphics)
Az Ujság Hirdetés (The Newspaper is Advertised) (installation view)
Edition 12
1931
Vasarely Museum Budapest
Photo: Marcus Bunyan

 

A journal for the development of graphic industries and related professions. Budapest, 1. 1920 – 13. 1932

 

Installation view of the Vasarely Museum, Budapest

Installation view of the Vasarely Museum, Budapest

Installation view of the Vasarely Museum, Budapest

 

Installation views of the Vasarely Museum, Budapest with in the last photo at left, Versant (1952)
Photos: Marcus Bunyan

 

Victor Vasarely (Hungarian-French, 1906-1997) 'Versant' 1952 (installation view)

 

Victor Vasarely (Hungarian-French, 1906-1997)
Versant (installation view)
1952
Acrylic on plywood
Vasarely Museum Budapest
Photo: Marcus Bunyan

 

Installation view of the Vasarely Museum, Budapest

 

Installation view of the Vasarely Museum, Budapest with at right, Lom-Lan 2 (1953)
Photo: Marcus Bunyan

 

Victor Vasarely (Hungarian-French, 1906-1997) 'Lom-Lan 2' 1953 (installation view)

 

Victor Vasarely (Hungarian-French, 1906-1997)
Lom-Lan 2 (installation view)
1953
Oil on fibreboard
Vasarely Museum Budapest
Photo: Marcus Bunyan

 

Installation view of the Vasarely Museum, Budapest

Installation view of the Vasarely Museum, Budapest

 

Installation views of the Vasarely Museum, Budapest showing the painting
Photos: Marcus Bunyan

 

Victor Vasarely (Hungarian-French, 1906-1997) 'Amir ("Rima")' 1953 (installation view)

 

Victor Vasarely (Hungarian-French, 1906-1997)
Amir (“Rima”) (installation view)
1953
Acrylic on plywood
Vasarely Museum Budapest
Photo: Marcus Bunyan

 

Victor Vasarely (Hungarian-French, 1906-1997) 'MORA' Oeuvre profonde cinétique 1954/1960 (installation view)

Victor Vasarely (Hungarian-French, 1906-1997) 'MORA' Oeuvre profonde cinétique 1954/1960 (installation view)

 

Victor Vasarely (Hungarian-French, 1906-1997)
MORA (Oeuvre profonde cinétique) (installation views)
1954/1960 (?) vagy 1955/1964 (?)
Deep kinetic object, silk screen on plexiglas, glass and steel
Vasarely Museum Budapest
Photos: Marcus Bunyan

 

Installation view of the Vasarely Museum, Budapest

 

Installation view of the Vasarely Museum, Budapest showing at left, Orion noir (1970); and at right, Norma (1962-1979)
Photo: Marcus Bunyan

 

Victor Vasarely. 'Orion noir' 1970

 

Victor Vasarely (Hungarian-French, 1906-1997)
Orion noir
1970
Acrylic on canvas
Vasarely Museum Budapest

 

Victor Vasarely (Hungarian-French, 1906-1997) 'Norma' 1962-1979 (installation view)

 

Victor Vasarely (Hungarian-French, 1906-1997)
Norma (installation view)
1962-1979
Acrylic on canvas
Vasarely Museum Budapest
Photo: Marcus Bunyan

 

Installation view of the Vasarely Museum, Budapest

 

Installation view of the Vasarely Museum, Budapest
Photo: Marcus Bunyan

 

Victor Vasarely (Hungarian-French, 1906-1997) 'Chess Set' 1980 (installation view)

Victor Vasarely (Hungarian-French, 1906-1997) 'Chess Set' 1980 (installation view)

 

Victor Vasarely (Hungarian-French, 1906-1997)
Chess Set
1980
Multiple, plexiglass
Vasarely Museum Budapest
Photos: Marcus Bunyan

 

Installation view of the Vasarely Museum, Budapest

 

Installation view of the Vasarely Museum, Budapest showing at left, Marsan-2 (1964/1974); at centre, Gizeh (1955/1962); and at right, Marsan (1950/1955/1958)
Photo: Marcus Bunyan

 

Victor Vasarely (Hungarian-French, 1906-1997) 'Marsan-2' 1964/1974 (installation view)

Victor Vasarely (Hungarian-French, 1906-1997) 'Marsan-2' 1964/1974 (installation view)

 

Victor Vasarely (Hungarian-French, 1906-1997)
Marsan-2 (installation views)
1964/1974
Acrylic on canvas
Vasarely Museum Budapest
Photos: Marcus Bunyan

 

Victor Vasarely (Hungarian-French, 1906-1997) 'Gizeh' 1955/1962 (installation view)

 

Victor Vasarely (Hungarian-French, 1906-1997)
Gizeh (installation view)
1955/1962
Oil on canvas
Donation of Victor Vasarely, 1970
Vasarely Museum Budapest
Photo: Marcus Bunyan

 

Victor Vasarely (Hungarian-French, 1906-1997) 'Marsan' 1950/1955/1958 (installation view)

 

Victor Vasarely (Hungarian-French, 1906-1997)
Marsan (installation view)
1950/1955/1958
Oil on canvas
Donation of Victor Vasarely, 1970
Vasarely Museum Budapest
Photo: Marcus Bunyan

 

Victor Vasarely (Hungarian-French, 1906-1997) 'Naissances' 1954/1960 (installation view)

 

Victor Vasarely (Hungarian-French, 1906-1997)
Naissances (installation view)
1954/1960
From the album Hommage à Johann Sebastian Bach (Éd. Pierre belford, Paris, 1973. Éxemplaire XIV/XX), Supplement no. 3.
Deep kinetic object, plexiglass, silk screen
Vasarely Museum Budapest
Photo: Marcus Bunyan

 

Victor Vasarely (Hungarian-French, 1906-1997) 'Zilia' 1981 (installation view)

 

Victor Vasarely (Hungarian-French, 1906-1997)
Zilia (installation view)
1981
Acrylic on canvas
Vasarely Museum Budapest
Photo: Marcus Bunyan

 

Victor Vasarely (Hungarian-French, 1906-1997) 'Stridio-Z' 1976-1977 (installation view)

 

Victor Vasarely (Hungarian-French, 1906-1997)
Stridio-Z (installation view)
1976-1977
Acrylic on canvas
Vasarely Museum Budapest
Photo: Marcus Bunyan

 

Victor Vasarely (Hungarian-French, 1906-1997) 'Tri-Axo' 1972/1976 (installation view)

 

Victor Vasarely (Hungarian-French, 1906-1997)
Tri-Axo (installation view)
1972/1976
Acrylic on canvas
Vasarely Museum Budapest
Photo: Marcus Bunyan

 

William Seitz. 'The responsive eye' Museum of Modern Art, 1965

 

William Seitz
The responsive eye (book cover)
Museum of Modern Art, 1965
Photo: Marcus Bunyan

 

Installation view of the Vasarely Museum, Budapest

 

Installation view of the Vasarely Museum, Budapest
Photo: Marcus Bunyan

 

Installation view of the Vasarely Museum, Budapest

 

Installation view of the Vasarely Museum, Budapest showing Yllus (1978)
Photo: Marcus Bunyan

 

Victor Vasarely (Hungarian-French, 1906-1997) 'Yllus' 1978 (installation view)

 

Victor Vasarely (Hungarian-French, 1906-1997)
Yllus
1978
Acrylic on canvas
Vasarely Museum Budapest
Photo: Marcus Bunyan

 

 

Upstairs galleries

Installation view of the Vasarely Museum, Budapest

 

Installation view of the Vasarely Museum, Budapest
Photo: Marcus Bunyan

 

Installation view of the Vasarely Museum, Budapest

 

Installation view of the Vasarely Museum, Budapest showing V.P. 102 (1979)
Photo: Marcus Bunyan

 

Victor Vasarely (Hungarian-French, 1906-1997) 'V.P. 102' 1979 (installation view)

 

Victor Vasarely (Hungarian-French, 1906-1997)
V.P. 102 (installation view)
1979
Acrylic on cardboard, mounted on plywood
Vasarely Museum Budapest
Photo: Marcus Bunyan

 

Installation view of the Vasarely Museum, Budapest

 

Installation view of the Vasarely Museum, Budapest showing at left in the display cabinet, KROA-MC (1969); and at centre, Quivar (Ouivar) (1974)
Photo: Marcus Bunyan

 

Installation view of the Vasarely Museum, Budapest

 

Installation view of the Vasarely Museum, Budapest showing at left, Eroed-Pre (1978); and at right, Quivar (Ouivar) (1974)
Photo: Marcus Bunyan

 

Victor Vasarely (Hungarian-French, 1906-1997) 'Eroed-Pre' 1978 (installation view)

 

Victor Vasarely (Hungarian-French, 1906-1997)
Eroed-Pre (installation view)
1978
Acrylic on canvas
Vasarely Museum Budapest
Photo: Marcus Bunyan

 

Victor Vasarely (Hungarian-French, 1906-1997) 'Quivar (Ouivar)' 1974 (installation view)

 

Victor Vasarely (Hungarian-French, 1906-1997)
Quivar (Ouivar) (installation view)
1974
Collage, gouache on cardboard, mounted on plywood
Vasarely Museum Budapest
Photo: Marcus Bunyan

 

Installation view of the Vasarely Museum, Budapest

 

Installation view of the Vasarely Museum, Budapest showing at right, Stri-oet (1979)
Photo: Marcus Bunyan

 

Victor Vasarely (Hungarian-French, 1906-1997) 'Stri-oet' 1979 (installation view)

 

Victor Vasarely (Hungarian-French, 1906-1997)
Stri-oet (installation view)
1979
Acrylic on canvas
Vasarely Museum Budapest
Photo: Marcus Bunyan

 

Installation view of the Vasarely Museum, Budapest

 

Installation view of the Vasarely Museum, Budapest showing at left centre, Stri-oet (1979); and in the display cabinet, KROA-MC (1969). Love the reflection of the colours on the wall behind!
Photo: Marcus Bunyan

 

 

Installation view of the Vasarely Museum, Budapest showing KROA-MC (1969)
Photo: Marcus Bunyan

 

Installation view of the Vasarely Museum, Budapest

 

Installation view of the Vasarely Museum, Budapest showing at left, Bull (1973/74); and at centre left, Orion noir (1963)
Photo: Marcus Bunyan

 

Victor Vasarely (Hungarian-French, 1906-1997) 'Bull' 1973/1974 (installation view)

 

Victor Vasarely (Hungarian-French, 1906-1997)
Bull (installation view)
1973/1974
Acrylic on canvas
Vasarely Museum Budapest
Photo: Marcus Bunyan

 

Victor Vasarely (Hungarian-French, 1906-1997) 'Vega Mir' 1954/1960 (installation view)

 

Victor Vasarely (Hungarian-French, 1906-1997)
Vega Mir (Oeuvre profonde cinétique) (installation view)
1954/1960
From the album Hommage à Johann Sebastian Bach (Éd. Pierre belford, Paris, 1973. Éxemplaire XIV/XX), Supplement no. 1.
Multiple, silk screen on anodised aluminium
Vasarely Museum Budapest
Photo: Marcus Bunyan

 

Victor Vasarely (Hungarian-French, 1906-1997) 'Vega Mir' 1954/1960 (installation view detail)

 

Victor Vasarely (Hungarian-French, 1906-1997)
Vega Mir (Oeuvre profonde cinétique) (installation view detail)
1954/1960
From the album Hommage à Johann Sebastian Bach (Éd. Pierre belford, Paris, 1973. Éxemplaire XIV/XX), Supplement no. 1.
Multiple, silk screen on anodised aluminium
Vasarely Museum Budapest
Photo: Marcus Bunyan. Self portrait with ‘Vega Mir’ 2019

 

Installation view of the Vasarely Museum, Budapest

 

Installation view of the Vasarely Museum, Budapest showing at left, Bi. Octans (1979)
Photo: Marcus Bunyan

 

Victor Vasarely (Hungarian-French, 1906-1997) Bi. Octans 1979 (installation view)

 

Victor Vasarely (Hungarian-French, 1906-1997)
Bi. Octans (installation view)
1979
Acrylic on canvas
Vasarely Museum Budapest
Photo: Marcus Bunyan

 

Installation view of the Vasarely Museum, Budapest

 

Installation view of the Vasarely Museum, Budapest showing at left, Kotzka (1973-1976); and at right, Trybox (1979)
Photo: Marcus Bunyan

 

Victor Vasarely (Hungarian-French, 1906-1997) 'Kotzka' 1973-1976 (installation view)

 

Victor Vasarely (Hungarian-French, 1906-1997)
Kotzka (installation view)
1973-1976
Acrylic on canvas
Vasarely Museum Budapest
Photo: Marcus Bunyan

 

Victor Vasarely (Hungarian-French, 1906-1997) 'Trybox' 1979 (installation view)

 

Victor Vasarely (Hungarian-French, 1906-1997)
Trybox (installation view)
1979
Acrylic on canvas
Vasarely Museum Budapest
Photo: Marcus Bunyan

 

Installation view of the Vasarely Museum, Budapest

 

Installation view of the Vasarely Museum, Budapest showing at centre right, Vonal-Ket (1972/1977)
Photo: Marcus Bunyan

 

Victor Vasarely (Hungarian-French, 1906-1997) 'Vonal-Ket' 1972/1977 (installation view)

Victor Vasarely (Hungarian-French, 1906-1997) 'Vonal-Ket' 1972/1977 (installation view)

 

Victor Vasarely (Hungarian-French, 1906-1997)
Vonal-Ket (installation views)
1972/1977
Acrylic on canvas
Vasarely Museum Budapest
Photos: Marcus Bunyan

 

Installation view of the Vasarely Museum, Budapest

 

Installation view of the Vasarely Museum, Budapest showing at centre left, Sonora (1973)
Photo: Marcus Bunyan

 

Victor Vasarely (Hungarian-French, 1906-1997) 'Sonora' 1973 (installation view)

 

Victor Vasarely (Hungarian-French, 1906-1997)
Sonora (installation view)
1973
Acrylic on canvas
Vasarely Museum Budapest
Photo: Marcus Bunyan

 

 

Vasarely Museum
1033, Budapest Szentlélek tér 6
Phone: + 36 1 388 7551

Opening hours:
Friday 11am – 4.00pm
Saturday – Sunday 11am – 4.00pm

Vasarely Museum website

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02
May
12

Exhibition: ‘Henri Cartier-Bresson. The Geometry of the Moment “Landscapes'” at Kunstmuseum Wolfsburg

Exhibition dates: 3rd September 2011 – 13th May 2012

 

Many thankx to the Kunstmuseum Wolfsburg for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

Henri Cartier-Bresson (French, 1908-2004) 'FRANCE. Brie. 1968'

 

Henri Cartier-Bresson (French, 1908-2004)
FRANCE. Brie. 1968
1968
Gelatin silver print
© Henri Cartier-Bresson /Magnum Photos

 

 

To take a photograph is to align the head, the eye and the heart. It’s a way of life.

To take a photograph is to hold one’s breath when all faculties converge in the face of fleeting reality.

.
Henri Cartier-Bresson

 

 

Henri Cartier-Bresson (French, 1908-2004) 'SOVIET UNION. Armenia. Visitors at village on the Lake Sevan. 1972'

 

Henri Cartier-Bresson (French, 1908-2004)
SOVIET UNION. Armenia. Visitors at village on the Lake Sevan. 1972.
1972
Gelatin silver print
© Henri Cartier-Bresson /Magnum Photos

 

Henri Cartier-Bresson (French, 1908-2004) 'FRANCE. Alpes de Haute-Provence. Near Cereste. 1999'

 

Henri Cartier-Bresson (French, 1908-2004)
FRANCE. Alpes de Haute-Provence. Near Cereste. 1999.
1999
Gelatin silver print
© Henri Cartier-Bresson /Magnum Photos

 

 

Henri Cartier-Bresson was one of the most accomplished and influential photographers of the 20th century; he was the acknowledged ‘master of the moment’, and many of his images are veritable masterpieces of photographic history. With this exhibition, the Kunstmuseum Wolfsburg is featuring another pioneering figure in its series of shows on great modernist photographers, which has to date included Brassaï (2004), Lee Miller (2006) and Edward Steichen (2008). The around 100 exhibits included in this very personal exhibition were originally compiled by Henri Cartier-Bresson, who died in 2004, under the heading of Paysages (Landscapes). His widow, the photographer Martine Franck, has also agreed to lend a rare group of seven lithographs from her private collection exclusively for this presentation.

Born in 1908 in Chanteloup, near Paris, Henri Cartier-Bresson’s original ambition was to be a painter, but he abandoned his art studies after only a short time. In 1930 he decided to concentrate on photography. He later worked as second assistant to the film director Jean Renoir and also directed a number of his own documentary films. After escaping from a German prisoner-of-war camp on his third attempt in 1943 he joined the French Resistance, and in 1947 he founded the now world-famous Magnum photo agency with four colleagues.

During his photographic career Henri Cartier-Bresson travelled widely through Europe, Mexico, India, China, Indonesia, the United States of America and the former Soviet Union. He always used an inconspicuous Leica rangefinder camera, and it was on these travels between 1933 and 1999 that the black-and-white landscape photographs were created. The impressive simplicity and precise composition of these images give them a meditative quality, and also show how strongly Cartier-Bresson’s photographic practice was influenced and inspired by Far Eastern philosophical concepts. In the mid-1960s Georges Braque had given him the book Zen in the Art of Archery by Eugen Herrigel; for Cartier-Bresson, this short monograph contained all the fundamental elements upon which his photographic aesthetic was based, above all because it described actual experience and dealt with every aspect of human life. It was the chronicle of a learning process, a questioning of the self, the pursuit of inner perfection and the achievement of harmony with the world.

All of Cartier-Bresson’s photographs have a black border around them [Marcus: not all!]. This characteristic feature is an explicit reference to the extreme precision of the photographer’s method, as it tells the viewer that the final image is exactly the same as the negative and has therefore not been cropped. The image was mentally ‘edited’ by the photographer as he took the picture – at the very moment when the shutter opened. His photographs contain all the key components: light and shadow, rigorous composition, the golden section, the element of chance. Using this ‘geometry of the moment’, he combined planes and lines, people and situations into a perfect arrangement.

The exhibition is arranged and constructed according to the principle of geometric composition. The Kunstmuseum commissioned the photo artist Frauke Eigen to design a concept for the presentation of the works. Past Cartier-Bresson exhibitions have always been arranged chronologically, thematically and geographically. Frauke Eigen has developed an innovative installation concept that shows the inner connection between the pictures through formal correspondences for the first time. Over and above the individual picture, the visitor becomes aware of how a design principles returns in the next picture in a modified fashion. The viewer can thus trace an abstract story of vivid forms from the first to last photograph, experiencing in the process something about the unique language of Henri Cartier-Bresson.

As a photographer, Cartier-Bresson’s style was marked by discretion and extreme sensitivity. He was also an incredibly self-effacing person: he rarely gave interviews and hated being photographed. In 1947, the Museum of Modern Art in New York even planned a large posthumous retrospective of his work, as they believed that he had been killed in the war. When Cartier-Bresson heard about this he decided to travel to the United States, and the exhibition was subsequently held with the artist present. The Frenchman loved stories like this.

Around 1973, at the height of his fame, Henri Cartier-Bresson abandoned photography and from then on only picked up his camera on rare occasions. Returning to his artistic roots, he devoted his time and energy to drawing, concentrating mainly on landscapes. He regarded this as merely a change in terms of ‘technique’, as his drawings were created with the same eye, the same sense of form and geometry as his photographs. For him, photography was an immediate action, whereas drawing was a form of meditation.

Sam Szafran, a painter and friend of Cartier-Bresson’s, once said to him: “In order to go fast you have to proceed very slowly. You have to observe, see how things occur, understand them, feel them, otherwise you will run into danger…”

In this sense, the exhibition The Geometry of the Moment, which has been organised in cooperation with the photo agency Magnum Photos, Paris and with the foundation HCB, Paris, forms the perfect complement to the large-scale thematic display The Art of Deceleration. Motion and Rest in Art from Caspar David Friedrich to Ai Weiwei, which will be shown in a parallel presentation at the Kunstmuseum Wolfsburg from 12 November 2011 onwards.

Press release from the Kunstmuseum Wolfsburg website

 

Henri Cartier-Bresson (French, 1908-2004) 'Serbia. Bass player on the road Belgrade-Kraljevo, to play at a village festival near Rudnick' Yugoslavia 1965

 

Henri Cartier-Bresson (French, 1908-2004)
Serbia. Bass player on the road Belgrade-Kraljevo, to play at a village festival near Rudnick
Yugoslavia 1965
Gelatin silver print
© Henri Cartier-Bresson /Magnum Photos

 

Henri Cartier-Bresson (French, 1908-2004) 'ITALY. Tuscany. Sienna. 1933'

 

Henri Cartier-Bresson (French, 1908-2004)
ITALY. Tuscany. Sienna. 1933.
1933
© Henri Cartier-Bresson /Magnum Photos

 

“I was visiting the museum and happened to look out of an upstairs window, and saw this empty marketplace, stark in its lack of activity.”

 

 

Kunstmuseum Wolfsburg
Abteilung Kommunikation
Hollerplatz 1 38440
Wolfsburg
Phone: +49 (0)5361 2669 69

Opening hours:
Tuesday to Sunday 11am – 6pm
Monday closed

Kunstmuseum Wolfsburg website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Dogs, chickens, cattle’ 1994-95

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