Posts Tagged ‘Kunsthaus Zürich

08
Sep
14

Exhibition: ‘Cindy Sherman – Untitled Horrors’ at Kunsthaus Zürich

Exhibition dates: 6th June – 4th September 2014

 

I remember some time in the dim distant past when Cindy Sherman’s photographs actually had relevance and were important in and of themselves… but perhaps my memory is playing tricks with me. Memory is a strange thing for we remember only fragments of fragments, like an echo chamber, a distant echo of something (the construction of identity and gender) that was once cutting edge, now overtaken by reality itself – on the red carpet, in the cosmetic surgery offices, in the media mags. Once there may have been an original, an original Cindy Sherman, an original idea, but now there just seems to be pastiche after pastiche of a Sherman nobody is sure ever really existed.

There are certainly some horrors among this posting, images that I wish I had never seen, and never really wish to see again. As the amount of ‘Untitled’ works rises (untitled is such a cop out!) the numbers, and the body count, become irrelevant. The early work, through the 80s to the early 90s, had important things to say but now the artist formally know as Sherman is earth mother goddess to all, and ancestral trickster to many. Enough please!

Dr Marcus Bunyan

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

 

 

Installation view of 'Cindy Sherman - Untitled Horrors' at Kunsthaus Zürich

 

Installation view of Cindy Sherman – Untitled Horrors at Kunsthaus Zürich
Photo: Lena Huber

 

Cindy Sherman. 'Untitled #93' 1981

 

Cindy Sherman
Untitled #93
1981
Chromogenic color print
61 × 121.9 cm
Astrup Fearnley Collection, Oslo
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

Cindy Sherman. Untitled #122 1983

 

Cindy Sherman
Untitled #122
1983
Chromogenic color print
89.5 × 54 cm
Vanmoerkerke Collection, Belgium
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

Cindy Sherman. 'Untitled #129' 1983

 

Cindy Sherman
Untitled #129
1983
Chromogenic color print
89.7 × 59.3 cm
Louisiana Museum of Modern Art, Humlebæk, Denmark, Donation: The New Carlsberg Foundation
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New Yor

 

Cindy Sherman. 'Untitled #146' 1985

 

Cindy Sherman
Untitled #146
1985
Chromogenic color print
184.2 × 125.4 cm
Skarstedt Gallery, New York
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

Cindy Sherman. 'Untitled #153' 1985

 

Cindy Sherman
Untitled #153
1985
Chromogenic color print
170.8 × 125.7 cm
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

Cindy Sherman. 'Untitled #170' 1987

 

Cindy Sherman
Untitled #170
1987
Chromogenic color print
179.1 x 120.7 cm
Collection Metro Pictures, New York
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

Cindy Sherman. 'Untitled #216' 1989

 

Cindy Sherman
Untitled #216
1989
Chromogenic color print
221.3 × 142.5 cm
Astrup Fearnley Collection, Oslo
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

 

“From 6 June to 14 September 2014, the Kunsthaus Zürich plays host to a major retrospective featuring American artist Cindy Sherman (b. 1954). Sherman is one of the leading exponents of staged photography. In her work she deals with issues of identity, (gender) roles and physicality, almost always using herself as the model. Cindy Sherman’s earliest works were created in 1975. Preceding the celebrated ‘Untitled Film Stills’ (1977-1980), these photographs were produced at home using an external shutter release, yet they were already concerned with the issues of identity and role play that are central to her oeuvre. The exhibition Cindy Sherman – Untitled Horrors includes a selection of these early and rarely shown works as well as her latest pieces, some of them monumental and covering entire walls. Sherman references the techniques and forms of advertising, cinema and classical painting.

THE THREATENING HEART OF UNTITLED HORRORS

The principal focus of the overview, which has been compiled by the Kunsthaus together with the artist, is the threatening and grotesque. The retrospective’s subtitle, ‘Untitled Horrors’, is partly a reference to the exhibition’s content, but also a play on the fact that Cindy Sherman invariably labels her photos ‘Untitled’. She leaves it to the viewer to read the pictures in their own way, inviting them to develop the stories behind them as they see fit, and come up with their own titles.

110 WORKS IN TOTAL

The presentation includes all the key works from the various phases of Cindy Sherman’s artistic career. Iconic pieces from the early period, such as the famous ‘Untitled Film Stills’ series, reminiscent of Italian Neo-Realism and American film noir, appear alongside the later photographs of ‘Hollywood/Hampton Types’ (2000-2002), while the ‘Clowns’ (2003-2004) encounter the ‘Sex Pictures’ series from 1992. These juxtapositions reveal the remarkable consistency with which, throughout her long career, the artist has engaged with fundamental issues of human existence and repeatedly explored new avenues of formal expression. Curated by Mirjam Varadinis and created in association with the Astrup Fearnley Museet, Oslo, and the Moderna Museet, Stockholm, the 110-work presentation dispenses with a linear or chronological approach, choosing instead to create unexpected combinations that shed new light on the oeuvre of this important artist and her exploration of the self through film and photography.”

Text from the Kunsthaus Zürich website

 

Cindy Sherman. 'Untitled #235' 1987-1991

 

Cindy Sherman
Untitled #235
1987-1991
Chromogenic color print
228.6 × 152.4 cm
Private collection, courtesy Segalot LP, New York
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

Cindy Sherman. 'Untitled #304' 1994

 

Cindy Sherman
Untitled #304
1994
Chromogenic color print
154.9 × 104.1 cm
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

Cindy Sherman. 'Untitled #324' 1996

 

Cindy Sherman
Untitled #324
1996
Chromogenic color print
146.7 × 99.1 cm
Collection Metro Pictures & Skarstedt Gallery
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

Cindy Sherman. 'Untitled #348' 1999

 

Cindy Sherman
Untitled #348
1999
Gelatin silver print
97,8 × 66 cm
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

Cindy Sherman. 'Untitled #352' 2000

 

Cindy Sherman
Untitled #352
2000
Chromogenic color print
68.6 × 45.7 cm
Collection Magasin 3 Stockholm Konsthall
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

Cindy Sherman. 'Untitled #363 (Bus Riders I)' 1976/2000

 

Cindy Sherman
Untitled #363 (Bus Riders I)
1976/2000
Gelatin silver print
18.9 x 12.7 cm
Tate; purchased with funds provided by the American Fund for the Tate Gallery, 2001
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

Cindy Sherman. 'Untitled #420' 2004

 

Cindy Sherman
Untitled #420
2004
Chromogenic color print (2-teilig)
Each: 182.4 × 115.8 cm
Astrup Fearnley Collection, Oslo
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

Cindy Sherman. 'Untitled #458' 2007-2008

 

Cindy Sherman
Untitled #458
2007-2008
Chromogenic color print
195 × 147 cm
Astrup Fearnley Collection, Oslo
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

Cindy Sherman. 'Untitled #544' 2010 / 2012

 

Cindy Sherman
Untitled #544
2010 / 2012
Chromogenic color print
172.7 × 254 cm
Astrup Fearnley Collection, Oslo
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

Cindy Sherman. 'Untitled #549-C' 2010

 

Cindy Sherman
Untitled #549-C
2010
Pigment / print on PhotoTex, adhesive fabric,
Dimensions variable
© Cindy Sherman. Courtesy of the artist and Metro Pictures, New York

 

 

Kunsthaus Zürich
Heimplatz 1
CH–8001 Zurich

Opening hours:
Tue/Fri–Sun 10 am – 6 pm
Wed/Thu 10 am – 8 pm

Kunsthaus Zürich website

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22
Nov
12

Exhibition: ‘Dark Romanticism. From Goya to Max Ernst’ at the Städel Museum, Frankfurt

Exhibition dates: 26th September 2012 – 20th January, 2013

 

Many thankx to the Städel Museum for allowing me to publish the reproductions of the artwork in the posting. Please click on the photographs for a larger version of the image.

 

 

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Installation photographs of Dark Romanticism. From Goya to Max Ernstat the Städel Museum, Frankfurt. Photos: Norbert Miguletz

 

Arnold Böcklin. 'Villa by the Sea' 1871-1874

 

Arnold Böcklin (Swiss, 1827-1901)
Villa by the Sea
1871-1874
Oil on canvas
108 x 154cm
Städel Museum, Frankfurt am Main

 

Caspar David Friedrich. 'Kügelgen's Tomb' 1821-22

 

Caspar David Friedrich (German, 1774-1840)
Kügelgen’s Tomb
1821-22
Oil on canvas
41.5 x 55.5cm
Die Lübecker Museen, Museum Behnhaus Drägerhaus, on loan from private collection

 

Ernst Ferdinand Oehme. 'Procession in the Fog' 1828

 

Ernst Ferdinand Oehme (German, 1797-1855)
Procession in the Fog
1828
Oil on canvas
81.5 x 105.5cm
Galerie Neue Meister, Staatliche Kunstsammlungen Dresden

 

Samuel Colman. 'The Edge of Doom' 1836-1838

 

Samuel Colman (American, 1780-1845)
The Edge of Doom
1836-1838
Oil on canvas
137.2 x 199.4cm
Brooklyn Museum, Bequest of Laura L. Barnes

 

Salvador Dalí. 'Dream caused by the Flight of a Bee around a Pomegranate a Second before Awakening' 1944

 

Salvador Dalí (Spanish, 1904-1989)
Dream caused by the Flight of a Bee around a Pomegranate a Second before Awakening
1944
Oil on wood
51 x 41cm
Museo Thyssen-Bornemisza, Madrid
© VG Bild-Kunst, Bonn 2012

 

 

The Städel Museum’s major special exhibition Dark Romanticism. From Goya to Max Ernst will be on view from September 26th, 2012 until January 20th, 2013. It is the first German exhibition to focus on the dark aspect of Romanticism and its legacy, mainly evident in Symbolism and Surrealism. In the museum’s exhibition house this important exhibition, comprising over 200 paintings, sculptures, graphic works, photographs and films, will present the fascination that many artists felt for the gloomy, the secretive and the evil. Using outstanding works in the museum’s collection on the subject by Francisco de Goya, Eugène Delacroix, Franz von Stuck or Max Ernst as a starting point, the exhibition is also presenting important loans from internationally renowned collections, such as the Musée d’Orsay, the Musée du Louvre, both in Paris, the Museo del Prado in Madrid and the Art Institute of Chicago. The works on display by Goya, Johann Heinrich Fuseli and William Blake, Théodore Géricault and Delacroix, as well as Caspar David Friedrich, convey a Romantic spirit which by the end of the 18th century had taken hold all over Europe. In the 20th century artists such as Salvador Dalí, René Magritte or Paul Klee and Max Ernst continued to think in this vein. The art works speak of loneliness and melancholy, passion and death, of the fascination with horror and the irrationality of dreams. After Frankfurt the exhibition, conceived by the Städel Museum, will travel to the Musée d’Orsay in Paris.

The exhibition’s take on the subject is geographically and chronologically comprehensive, thereby shedding light on the links between different centres of Romanticism, and thus retracing complex iconographic developments of the time. It is conceived to stimulate interest in the sombre aspects of Romanticism and to expand understanding of this movement. Many of the artistic developments and positions presented here emerge from a shattered trust in enlightened and progressive thought, which took hold soon after the French Revolution – initially celebrated as the dawn of a new age – at the end of the 18th century. Bloodstained terror and war brought suffering and eventually caused the social order in large parts of Europe to break down. The disillusionment was as great as the original enthusiasm when the dark aspects of the Enlightenment were revealed in all their harshness. Young literary figures and artists turned to the reverse side of Reason. The horrific, the miraculous and the grotesque challenged the supremacy of the beautiful and the immaculate. The appeal of legends and fairy tales and the fascination with the Middle Ages competed with the ideal of Antiquity. The local countryside became increasingly attractive and was a favoured subject for artists. The bright light of day encountered the fog and mysterious darkness of the night.

The exhibition is divided into seven chapters. It begins with a group of outstanding works by Johann Heinrich Fuseli. The artist had initially studied to be an evangelical preacher in Switzerland. With his painting The Nightmare (Frankfurt Goethe-Museum) he created an icon of dark Romanticism. This work opens the presentation, which extends over two levels of the temporary exhibition space. Fuseli’s contemporaries were deeply disturbed by the presence of the incubus (daemon) and the lecherous horse – elements of popular superstition – enriching a scene set in the present. In addition, the erotic-compulsive and daemonic content, as well as the depressed atmosphere, catered to the needs of the voyeur. The other six works by Fuseli – loans from the Kunsthaus Zürich, the Royal Academy London and the Staatsgalerie Stuttgart – represent the characteristics of his art: the competition between good and evil, suffering and lust, light and darkness. Fuseli’s innovative pictorial language influenced a number of artists – among them William Blake, whose famous water colour The Great Red Dragon from the Brooklyn Museum will be on view in Europe for the first time in ten years.

The second room of the exhibition is dedicated to the Spanish artist Francisco de Goya. The Städel will display six of his works – including masterpieces such as The Witches’ Flight from the Prado in Madrid and the representations of cannibals from Besançon. A large group of works on paper from the Städel’s own collection will be shown, too. The Spaniard blurs the distinction between the real and the imaginary. Perpetrator and victim repeatedly exchange roles. Good and evil, sense and nonsense – much remains enigmatic. Goya’s cryptic pictorial worlds influenced numerous artists in France and Belgium, including Delacroix, Géricault, Victor Hugo and Antoine Wiertz, whose works will be presented in the following room. Atmosphere and passion were more important to these artists than anatomical accuracy.

Among the German artists – who are the focus of the next section of the exhibition – it is Carl Blechen who is especially close to Goya and Delacroix. His paintings are a testimony to his lust for gloom. His soft spot for the controversial author E. T. A. Hoffmann – also known as “Ghost-Hoffmann” in Germany – led Blechen to paint works such as Pater Medardus (Alte Nationalgalerie, Berlin) – a portrait of the mad protagonist in The Devil’s Elixirs. The artist was not alone in Germany when it came to a penchant for dark and disturbing subjects. Caspar David Friedrich’s works, too, contain gruesome elements: cemeteries, open graves, abandoned ruins, ships steered by an invisible hand, lonely gorges and forests are pervasive in his oeuvre. One does not only need to look at the scenes of mourning in the sketchbook at the Kunsthalle Mannheim for the omnipresent theme of death. Friedrich is prominently represented in the exhibition with his paintings Moon Behind Clouds above the Seashore from the Hamburger Kunsthalle and Kügelgen’s Grave from the Lübecker Museums, as well as with one of his last privately owned works, Ship at Deep Sea with full Sails.

Friedrich’s paintings are steeped in oppressive silence. This uncompromising attitude anticipates the ideas of Symbolism, which will be considered in the next chapter of the exhibition. These ‘Neo-Romantics’ stylised speechlessness as the ideal mode of human communication, which would lead to fundamental and seminal insights. Odilon Redon’s masterpiece Closed Eyes, a loan from the Musée d’Orsay in Paris, impressively encapsulates this notion. Paintings by Arnold Böcklin, James Ensor, Fernand Khnopff or Edvard Munch also embody this idea. However, as with the Romantics, these restrained works are face to face with works where anxiety and repressed passions are brought unrestrainedly to the surface; works that are unsettling in their radicalism even today. While Gustave Moreau, Max Klinger, Franz von Stuck and Alfred Kubin belong to the art historical canon, here the exhibition presents artists who are still to be discovered in Germany: Jean-Joseph Carriès, Paul Dardé, Jean Delville, Julien-Adolphe Duvocelle, Léon Frédéric, Eugène Laermans and Lucien Lévy-Dhurmer.

The presentation concludes with the Surrealist movement, founded by André Breton. He inspired artists such as Ernst, Brassaϊ or Dalí, to create their wondrous pictorial realms from the reservoir of the subconscious and celebrated them as fantasy’s victory over the “factual world”. Max Ernst vehemently called for “the borders between the so-called inner and outer world” to be blurred. He demonstrated this most clearly in his forest paintings, four of which have been assembled for this exhibition, one of them the major work Vision Provoked by the Nocturnal Aspect of the Porte Saint-Denis (private collection). The art historian Carl Einstein considered the Surrealists to be the Romantics’ successors and coined the phrase ‘the Romantic generation’. In spite of this historical link the Surrealists were far from retrospective. On the contrary: no other movement was so open to new media; photography and film were seen as equal to traditional media. Alongside literature, film established itself as the main arena for dark Romanticism in the 20th century. This is where evil, the thrill of fear and the lust for horror and gloom found a new home. In cooperation with the Deutsches Filmmuseum the Städel will for the first time present extracts from classics such as Frankenstein (1931), Dracula (1931), Faust (1926), Vampyr (1931-32) and The Phantom Carriage (1921) within an exhibition.

The exhibition, which presents the Romantic as a mindset that prevailed throughout Europe and remained influential beyond the 19th century, is accompanied by a substantial catalogue. As is true for any designation of an epoch, Romanticism too is nothing more than an auxiliary construction, defined less by the exterior characteristics of an artwork than by the inner sentiment of the artist. The term “dark Romanticism” cannot be traced to its origins, but – as is also valid for Romanticism per se – comes from literary studies. The German term is closely linked to the professor of English Studies Mario Praz and his publication La carne, la morte e il diavolo nella letteratura romantica of 1930, which was published in German in 1963 as Liebe, Tod und Teufel. Die schwarze Romantik (literally: Love, Death and Devil. Dark Romanticism).

Press release from the Städel Museum website

 

Francisco de Goya. 'Flying Folly (Disparate Volante)' 1816-1819

 

Francisco de Goya (Spanish, 1746-1828)
Flying Folly (Disparate Volante)
from “The proverbs (Los proverbios)”, plate 5, 1816-1819, 1.
Edition, 1864
Etching and aquatint
21.7 x 32.6cm
Städel Museum, Frankfurt am Main

 

Friedrich Wilhelm Murnau. 'Nosferatu – A Symphony of Horror' Germany 1922

 

Friedrich Wilhelm Murnau (German, 1888-1931)
Nosferatu – A Symphony of Horror
Germany 1922
Filmstill
Silent film
© Friedrich-Wilhelm-Murnau-Stiftung

 

Edvard Munch. 'Vampire' 1916-1918

 

Edvard Munch (Norwegian, 1863-1944)
Vampire
1916-1918
Oil on canvas
85 x 110cm
Collection Würth
Photo: Archiv Würth
© VG Bild-Kunst, Bonn 2012

 

René Magritte. 'Sentimental Conversation' 1945

 

René Magritte (Belgian, 1898-1967)
Sentimental Conversation
1945
Oil on canvas
54 x 65cm
Private Collection
© VG Bild-Kunst, Bonn 2012

 

Paul Hippolyte Delaroche. 'Louise Vernet, the artist's wife, on her Deathbed' 1845-46

 

Paul Hippolyte Delaroche (French, 1797-1856)
Louise Vernet, the artist’s wife, on her Deathbed
1845-46
Oil on canvas
62 x 74.5cm
Musée des Beaux-Arts de Nantes
© Musée des Beaux-Arts de Nantes

 

Gabriel von Max. 'The White Woman' 1900

 

Gabriel von Max (Austrian, 1840-1915)
The White Woman
1900
Oil on canvas
100 x 72cm
Private Collection

 

William Blake (1757-1827) 'The Great Red Dragon and the Woman Clothed with the Sun' c.1803-1805

 

William Blake (British, 1757-1827)
The Great Red Dragon and the Woman Clothed with the Sun
c. 1803-1805
Watercolour, graphite and incised lines
43.7 x 34.8cm
Brooklyn Museum, Gift of William Augustus White

 

Roger Parry (1905-1977) 'Untitled' 1929

 

Roger Parry (French, 1905-1977)
Untitled
1929
Illustration from Léon-Paul Fargue’s “Banalité” (Paris 1930)
Gelatin silver print
21.8 x 16.5cm
Collection Dietmar Siegert
© VG Bild-Kunst, Bonn 2012

 

 

Städelsches Kunstinstitut und Städtische Galerie
Schaumainkai 63, 60596 Frankfurt
Phone: +49(0)69-605098-170

Opening hours:
Tuesday – Wednesday, Saturday – Sunday 10-18 h
Thursday – Friday 10-21 h
Monday closed

Städel Museum 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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