Posts Tagged ‘Kunstmuseum Wolfsburg

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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05
Mar
11

Exhibition: ‘Alberto Giacometti. The Origin of Space: Retrospective of the mature work’ at Kunstmuseum Wolfsburg

Exhibition dates: 20th November 2010 – 6th March 2011

 

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.

 

 

Alberto Giacometti. 'La Cage/The Cage' 1950

 

Alberto Giacometti (Swiss, 1901-1966)
La Cage/The Cage
1950
Bronze
175.6 x 37 x 39.6 cm
Collection Fondation Giacometti, Paris (Inv. Nr. : 1994-0177)
Photo: Jean-Pierre Lagiewski
© ADAGP / Fondation Giacometti, Paris / VG Bild-Kunst, Bonn 2010

 

Alberto Giacometti. 'Walking Man I' 1960

 

Alberto Giacometti (Swiss, 1901-1966)
Homme qui marche I/Walking Man I
1960
Bronze
180.5 x 27 x 97 cm
Collection Fondation Giacometti, Paris (Inv. Nr.: 1994-0186)
Photo: Jean-Pierre Lagiewski
© ADAGP / Fondation Giacometti, Paris / VG Bild-Kunst, Bonn 2010

 

Alberto Giacometti. 'Falling Man' 1950

 

Alberto Giacometti (Swiss, 1901-1966)
Homme qui chavire/Falling Man
1950
Bronze, 60 x 22 x 36 cm
Avignon, Musée Calvet (Depot Musée d’Orsay); Gift of Philippe Meyer, 2000 (Inv. Nr.: RF 4655)
Photo: © bpk/RMN/Aix-en-Provence, Musée Granet/Michèle Bellot
© ADAGP / Succession Giacometti / VG Bild-Kunst, Bonn 2010

 

 

“Space does not exist, it has to be created… Every sculpture based on the assumption that space exists is wrong; there is only the illusion of space.”

.
Alberto Giacometti, Notes, circa 1949

 

 

For the first time in 12 years, the Kunstmuseum Wolfsburg is presenting a comprehensive overview of Alberto Giacometti’s mature work in Germany. Around 60 sculptures will be displayed alongside more than 30 paintings and several drawings in the circa 2000 square meter exhibition space. The exhibition offers unique insights into the fascinating oeuvre of one of the most important artists of the twentieth century.

Giacometti’s vision of situating his figures within their own space and temporality will be realised for the first time in Wolfsburg as the exhibition architecture has been specially designed and constructed around the sculptures on display. Each of the carefully chosen works is provided with the space it requires to unfurl its true strengths. The exhibition clearly demonstrates the continued relevance of the work of Giacometti, who died in 1966, and its lasting influence on subsequent generations of artists. With his completely new conception of the human figure in relation to space and time, Giacometti can literally be considered – and this is one of the exhibition’s key theses – the inventor of virtual space.

Organised in cooperation with the Museum der Moderne Salzburg, the exhibition juxtaposes major works from Giacometti’s oeuvre with selected pieces from private collections and the artist’s estate. The works on show in Wolfsburg are drawn in large part from the estate holdings of the Alberto and Annette Giacometti Foundation in Paris; this is the first time they have been presented on this scale in Germany. The display also includes important loans from the Alberto Giacometti Foundation in Zurich, as well as works from leading museums and private collections in Europe and the United States.”

Press release from the Kunstmuseum Wolfsburg website

 

Alberto Giacometti. 'Figure in a Box between Two Boxes which are Houses' 1950

 

Alberto Giacometti (Swiss, 1901-1966)
Figurine dans une boîte entre deux boîtes qui sont des maisons/Figure in a Box between Two Boxes which are Houses
1950
Bronze, glass, figurine painted white, 29.5 x 53.5 x 9.4 cm
Private collection (Inv. Nr.: GS 45)
© ADAGP / Succession Giacometti / VG Bild-Kunst, Bonn 2010

 

Alberto Giacometti. 'Man walking in the Rain' 1948

 

Alberto Giacometti (Swiss, 1901-1966)
Homme qui marche sous la pluie/Man walking in the Rain
1948
Bronze
46.5 x 77 x 15 cm
Kunsthaus Zürich, Alberto Giacometti-Stiftung (Inv. Nr.: GS 35)
© ADAGP / Succession Giacometti / VG Bild-Kunst, Bonn 2010

 

Alberto Giacometti. 'Small Man on a Base' 1940-41

 

Alberto Giacometti (Swiss, 1901-1966)
Petit homme sur socle/Small Man on a Base
1940-41
Bronze, 8/8
Height: 8.4 cm
Louisiana Museum of Modern Art, Humlebæk, Dänemark
Photo: Brøndum & Co. Poul Buchart/Louisiana Museum of Modern Art, Humlebaek, Dänemark
© ADAGP / Succession Giacometti / VG Bild-Kunst, Bonn 2010

 

Alberto Giacometti. 'Large Narrow Head' 1954

 

Alberto Giacometti (Swiss, 1901-1966)
Grande tête mince/Large Narrow Head
1954
Bronze, 4/6
64.5 x 38.1 x 24.4 cm
Collection Fondation Giacometti, Paris (Inv. Nr.: 1994-0175)
Photo: Marc Domage
© ADAGP / Fondation Giacometti, Paris / VG Bild-Kunst, Bonn 2010

 

 

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

Opening hours:
Wednesday – Sunday 11 am – 6 pm
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: ‘Orphans and small groups’ 1994-96

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