MAXXI CollectionThe Large Glass | Rome | Italy

MAXXI CollectionThe Large Glasscurated by Alex Da Corte| Rome, Italy

Runs until 225/10/26

  The Museum Collection’s new display presents a new vision in which an artist or intellectual brings works of art, architecture, and photography together. This is an opportunity for appreciation and research to present the works of great masters and contemporary artists.

For The Large Glass, the curatorship is entrusted to Alex Da Corte, an American conceptual artist who experiments with different media, including painting, sculpture, installation, performance, and video. Exploring the various nuances of contemporary experience, Da Corte reads the MAXXI Collection in an organic sense: “Within the swelling curves of Zaha Hadid’s grand design, we see the classical elements of water, wind, fire, and earth. We see growth, decay, transformation, and nature’s seep through all things […] As the world churns and crusts in alchemy, we take our journey toward an inevitable invisible ether. We may move beyond, with nature as our guide, to a glass age. Here we may exist everywhere, evolving, while leaving no physical trace.”

Featuring works by: Francis Alÿs, Atelier Van Lieshout, AWP and Atelier Oslo, Massimo Bartolini, Alighiero Boetti, DEMOGO, Luigi Ghirri, Domenico Gnoli, Wolf Kahlen, Ugo La Pietra, Marisa Merz, Luigi Pellegrin, Giuseppe Penone, Michelangelo Pistoletto, Lauretta Vinciarelli, Kara Walker, Gal Weinstein.

MAXXI 

National Museum of 21st Century Arts | Via Guido Reni, 4 A| Rome| Italy
 

Don Quixote Pavilion and Garden at the Rijksmuseum |Amsterdam

 Don Quixote Pavilion and Garden at the Rijksmuseum |Amsterdam | The Netherlands 

An exceptional donation from the Don Quixote Foundation will enable the Rijksmuseum to enrich the city of Amsterdam with a public sculpture garden of international stature. In this green space with three pavilions, visitors will enjoy sculptures by world-renowned artists such as Alberto Giacometti, Louise Bourgeois, Alexander Calder, Jean Arp, Roni Horn and Henry Moore. The new garden will also host temporary sculpture exhibitions. The Don Quixote Foundation is donating 60 million euros to fund the development of the new site. It is also giving a large number of sculptures on long-term loan to the Rijksmuseum. The museum’s new exhibition space will be known as the Don Quixote Pavilion and Garden at the Rijksmuseum.

 Sculpture garden

The sculpture garden will be situated just a stone’s throw from the Rijksmuseum, at the intersection of Boerenwetering, Ruysdaelkade and Stadhouderskade. Three existing pavilions and their adjoining gardens will be merged with Carel Willinkplantsoen to form a single sculpture garden. The pavilions, built in the Amsterdam School style, will be open to the public for the first time. These buildings will be transformed into sculpture exhibition spaces designed by the London firm Foster + Partners. The garden itself will be designed by the Belgian landscape architect Piet Blanckaert.
Greater biodiversity

In addition to the outstanding sculptures, more space will be made for trees and plants. Twenty-two new mature trees and a wider variety of native flowers and plants will contribute to increased biodiversity in the city.
Free public access

The main entrance to the sculpture garden will be located on Stadhouderskade. Visitors will be able to access the sculpture garden free of charge during the day. Exact opening hours will be determined in consultation with the municipality and local residents.
Don Quixote Foundation

The Don Quixote Foundation is the Rijksmuseum’s largest private benefactor. It has supported the annual sculpture exhibition in the Rijksmuseum Gardens since the museum reopened in 2013, ensuring admission to the exhibitions remains free. Thanks to an additional donation of 12.5 million euros in 2023, the foundation has made it possible to continue staging exhibitions in the Rijksmuseum Gardens. In 2017, the foundation gave the unique flora and fauna albums of Anselmus de Boodt—containing more than 700 16th-century watercolours and drawings – on long-term loan to the museum. The foundation also supported the Rijksmuseum’s 2022 exhibition Crawly Creatures.

>>>  The permit application has been submitted, and the plan is for the sculpture garden to open in autumn 2026.

.............

The iconic Rijksmuseum in the heart of Amsterdam is one of the things you need to see when you visit the Netherlands. Rijksmuseum moves you through more than 8,000 works of Dutch art and history including masterpieces by Vermeer, Rembrandt, and Van Gogh.

..

 Rijksmuseum | Museumstraat 1, Amsterdam

 

 

S.M.A.K. museum: Philippe Van Snick | dynamic project, Gent, Belgium

 Philippe Van Snick | dynamic project

22|10|2022 - 5|03|2023

S.M.A.K. museum | Gent, Belgium

dynamic project showcases the wide-ranging oeuvre of Philippe Van Snick (Ghent, 1946 – Brussels, 2019). The exhibition is structured around ten clusters, a reference to the decimal system (0-9) that is intrinsic to Philippe Van Snick’s work. As an artist, he observed the complexity of life and the world around him. He translated his insights and reflections into a simplified visual language.

In the exhibition rooms, key works alternate with surprising and lesser-known ones. It is almost impossible to categorise Philippe Van Snick’s oeuvre due to the urge for freedom, openness and non-conformism that it expresses.

                                photo credit|: S.M.A.K. museum
Van Snick integrated a varying system into his methodology, one that is both mathematical and poetic in nature. As early as the 1970s, he developed his own alphabet consisting of the ten numbers (0-9) and a consistent, clear, ten-colour palette. This colour scheme includes primary colours (red, yellow and blue), secondary colours (orange, green and violet), non-colours (white and black) and material colours (gold and silver). He later added light blue. Van Snick used materials and techniques economically in favour of a concentrated visual language.

Philippe Van Snick’s oeuvre shows no abrupt stylistic breaks. It is more a meandering process of reflection in which his intentions become visible. His works are characterised by a personal note, an understated artistic gesture and the echo of vulnerability. Special attention is paid to Van Snick’s intimate living environment in Brussels, his garden and home in France, and his lifelong fascination with the beautiful structures and cycles of nature. He instinctively played with natural elements in his work, which he complemented with geometric interventions.

dynamic project presents Van Snick’s first sculptural analyses and his mathematics-based explorations of time and space. Also on view are conceptual photographs and short films. The exhibition reflects on Van Snick’s later experiments with colour, in which he started mixing the ten shades. This gave rise to a more nuanced colour palette that was even closer to his internal world, while also building on his interest in the landscape, the external realm.

Philippe Van Snick’s artistic production also includes many innovative and permanent public art projects.

Curators: Marta Mestre & Luk Lambrecht

*****

Biography
Philippe Van Snick (Ghent, 1946 – Brussels, 2019) is one of Belgium’s most important
contemporary artists. Combining the legacy of modern abstract art and the conceptual
art of the 1970s, his work explores a field of speculations on the perception of the world and life. Van Snick’s work has repeatedly been considered from the perspective of the fundamentals of painting, yet recent reviews of the oeuvre have shed light on his recurring experiments. These traverse a wide range of disciplines: conceptual photography, film, installation, artist books, and site-specific projects.Like a spiral, Philippe Van Snick’s work constantly unfolds from the infinitesimal to the infinite. His artistic proposals not only encompass mathematical rigor but also an experimental attitude that embraces the element of chance in life. They are poetic and unconventional, at once tense and airy, empathetic and yearning for the world, still and dynamic. Van Snick created his first works after graduating from the Royal Academy of Fine Arts in Ghent: abstract ‘white’ paintings, drawings and installations. At the end of the 1960s, he participated in the 6th Paris Biennale at the Musée d ́Art Moderne de la Ville de Paris. He soon emerged as one of the most promising artists of his generation. In the midst of the cultural and political upheavals of the 1970s, his affinity with the
conceptual art of the time prompted him to study communication theory, indeterminacy, and physics. This, in turn, propelled him towards a ‘dynamic’ worldview. He exhibited in leading museums and galleries in Antwerp and Brussels, such as the X-One Gallery, the Wide White Space and Plus Kern, together with artists such as Daniel Buren, David Lamelas, Ian Wilson and Raoul De Keyser. Van Snick developed his ‘decimal system’ within the context of conceptual photography, creating simple works that addressed notions of time and duration,
everyday life and human action. The system, which makes his work unique, revolves
around a series of numbers composed of ten digits from 0 to 9, which can be endlessly
combined. Van Snick subsequently widened the scope of his practice by combining numbers and colours. He also turned to painting, using an abstract, minimal language that was recognised in the art world. Instead of slipping into a hermetic, self-referential formalism, Van Snick wanted to embrace the endless variations in the world, nature and human action. In his references, the playful legacy of concretism – in the guise of Georges Vantongerloo – is ever present in the background. Many of his projects attest to an affective worldview:a continuous ‘fair play’ between the subject and the conditions of perception and experience. Philippe Van Snick’s ‘grammar’ and his free spirit are revealed in his numerous projects, mainly in Brussels and Ghent, but also in Japan, Canada, Italy, the United Kingdom or Brazil. Amongst many other themes, his work is characterised by subjects such as duality Traditionele L-vormige kamer (1969) or Day | Nacht (1984, 1986); the instability of perception Polychrome Déstabilisé (1979) and Monochrome Déstabilisé 1980), or Pans de Sensation (2005-07); the microscopic and the cosmologicalInstability of Fundamentals (1990); and the place of the observer Territorium (1999and 2000).Throughout his artistic career, Philippe Van Snick dedicated himself to capturing theunstoppable rhythm and movement of nature. This determined his choice of arigorously conceptual visual language. He gained these experiences in the intimatesetting of his own garden, a domestic extension of his studio and life, and an importantplace for the contemplation of the essence of his work

S.M.A.K. museum

Jan Hoetplein 1
9000 Gent | BELGIUM  

more here:  https://smak.be

Ludwig Museum, Budapest : SMALLER WORLDS - DIORAMA IN CONTEMPORARY ART

SMALLER WORLDS - DIORAMA IN CONTEMPORARY ART 

Open: 14. OCTOBER, 2022 – 15. JANUAR, 2023

 

 Ludwig Museum, Budapest, Hungary

 

Bazaar spectacle, a tool for scientific illustration, children’s toy, or therapeutic method? As the love child of art and the entertainment industry, since the beginning of the 20th century the diorama has been a beloved, though nowadays often critically viewed presentational medium of natural science museums. This presentational format that combines painting methods, stage design and optical illusion, aims to present natural scientific or anthropological results and theories to laypersons as an immersive installation, conveying the illusion of reality within the limited space of a box.

However, the origins of the diorama are rooted much more in visual arts than in the natural sciences. Louis Daguerre, the French painter heralded as the pioneer of photography, presented the prototype of diorama in Paris in the 19th century. He placed layers of grandiose painted canvases on top of each other, which he brought to life with projected light effects.

Other than its educative purposes, much like the so-called peep show and the doll house (which gained popularity in the second half of the 19th century), the diorama achieves a visceral effect in the spectator through a deep psychological mechanism. Here, the mischievous thrill of voyeurism meets other-worldly mistery and the absolute control over this fantasy world. With their secrecy and obscurity, peep shows were able to show the unspeakable and undepictable, hence becoming the form of expression for grotesque and horroristic fiction over time. In close kinship with the diorama, miniature doll houses are popular therapeutic tools in child psychology for processing trauma.

The contemporary works displayed at this exhibition make use of the complex mode of action of the diorama, to render our inextricable modern world accessibleand intelligible not only for the spectator but also for the artist. The works presented take on layers of almost mystical connotations. They awake a childlike wonder in us, allowing a glimpse into another dimension, be it science-fictional, scary, or simply an expression of our subconscious.

In terms of their format, the works presented here at Ludwig Museum range from scientific, field-table-like representations (Ádám ALBERT, Kata TRANKER), through eclectic collections (György BP SZABÓ, Zsili Bertalan BABOS), to works evoking doll houses (Eva GONGGRIJP, Eszter SZABÓ). Multiple works evoke a grotesque dreamworld (László KARÁCSONYI, Géza SZÖLLŐSI, Pista HORROR, Janie GEISER). We may come across miniature worlds (Curtis SANTIAGO), as well as monumental immersive installations (Tracey SNELLING). We step out of the limited space defined by the model’s box, to become a part of the world of the diorama (Alexandra CROUWERS, Daniel ERNST).

Using the tools of contemporary art, these diverse artistic attitudes explore the different forms of appearance of the diorama-feeling and its receptive mechanism.

 

EXHIBITED ARTISTS 
ALBERT Ádám | BABOS Zsili Bertalan | BP. SZABÓ György | Alexandra CROUWERS | Mark DION | Nathalie DJURBERG & Hans BERG | Daniel ERNST | Janie GEISER | GOMBOS Andrea | Eva GONGGRIJP | GWIZDALA Dáriusz | ICKO Dávid | KARÁCSONYI László | Tomasz KULKA | OVÉ PICTURES (Veronika OBERTOVÁ & Michaela ČOPÍKOVÁ) | PISTA HORROR | Curtis Talwst SANTIAGO | Wieland SCHÖNFELDER | Tracey SNELLING | SZABÓ Eszter | SZAUDER Dávid | SZÖLLŐSI Géza | TRANKER Kata | UJHÁZI Péter

CURATORS 
Jan ELANTKOWSKI, PETRÓ Zsuzska

CONCEPT
PETRÓ Zsuzska

 This exhibition of the Liszt Fest is jointly presented by Müpa Budapest and Ludwig Museum – Museum of Contemporary Art.

 more info here :

 www.ludwigmuseum.hu

 

Ed van der Elsken @ Rijksmuseum and Nederlands Fotomuseum

Rijksmuseum and Nederlands Fotomuseum acquire artistic estate of Ed van der Elsken

Ed van der Elsken, from the Photo Book Een liefdesgeschiedenis in Saint Germain des Prés’ (Love on the Left Bank), before 1956. Gelatin silver print.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Rijksmuseum and the Nederlands Fotomuseum have jointly acquired the artistic estate of the photographer Ed van der Elsken (1925-1990), safeguarding for the nation the largest archive of work by one of the most important Dutch photographers of the 20th century. This acquisition will make it possible, for the first time, to gain a complete understanding of Van der Elsken’s artistic practice over the entire course of his more than 40-year career.

Van der Elsken’s widow Anneke Hilhorst has for 30 years managed her late husband’s artistic legacy, comprising 10,000 objects. The Rijksmuseum is to obtain more than 7,700 prints, while the Nederlands Fotomuseum will add 3,000 contact sheets and 300 photographs to its collection. The Rijksmuseum and the Nederlands Fotomuseum are working together to open up the archive and restore, study and digitise his work so it is accessible to all.

This autumn the Rijksmuseum will partner with the Nederlands Fotomuseum to stage an exhibition of Van der Elsken’s work. This exhibition focusing on the photographer’s methodology will show the artist’s hand at work in the designs for two photobooks, proof prints, book cover designs, photographs featuring the artist’s own descriptions and marks, and contact sheets. It is only through the acquisition of Van der Elsken’s entire artistic legacy that we are able to present his work in such an extensive way.

The collection was for a large part donated by Anneke Hilhorst, and partly purchased with the support of the Mondriaan Fund, the Rembrandt Association (thanks in part to its dedicated Photography and Video Fund and Dura Kunstfonds), BankGiro Lottery players, the Paul Huf Fonds/Rijksmuseum Fonds and the Marque Joosten en Eduard Planting Fonds/Rijksmuseum Fonds. The acquisition was made possible thanks to the mediation of Annet Gelink Gallery Amsterdam.

Anneke Hilhorst, widow of Ed van der Elsken: I have always regarded my ownership of Ed’s work as a great responsibility. I have never considered it to be mine alone; first and foremost, it is historical heritage of the photographic and visual arts in the Netherlands. I have now passed on this responsibility in complete confidence that the work of Ed van der Elsken will be cherished and well looked after by the Rijksmuseum and the Nederlands Fotomuseum. Highly specialised people will now escort his work into a long and beautiful future. For this I can feel only gratitude.

Taco Dibbits, General Director of the Rijksmuseum: Ed van der Elsken makes the everyday extraordinary. He offers us an intimate glimpse into the changes that took place in the second half of the 20th century, and that are still relevant in our lives today. He is one of the great Dutch masters of the 20th century, and Anneke Hilhorst does us a great honour in entrusting his legacy to us. We and the Nederlands Fotomuseum will together ensure that Van der Elsken’s work is made accessible to all, now and in the future.

Birgit Donker, Director of the Nederlands Fotomuseum: Ed van der Elsken’s photographs and contact prints constitute an exceptional addition to our wonderful collection; we maintain the complete archive of Van der Elsken’s negatives and slides. Until now this collection included only a limited number of prints, on two themes. Through this joint acquisition, the Nederlands Fotomuseum collection will now include early work by this important photographer, who is part of our national DNA.

Ed van der Elsken Contact sheet Saint-Germain-des-Prés, Parijs (Love on the Left Bank), 1950-1954.

Artistic legacy
Van der Elsken’s artistic estate contains many surprises, including more than 2,000 vintage prints, multiple prints from a single negative, cover designs, dummy photo book designs (including one for his 1966 masterpiece Sweet Life) and contact sheets. It is a whole of many parts and a source for further scholarly research. The series and sequences of images on the contact prints offer a comprehensive overview of the photographer’s entire oeuvre, with many of them including the descriptions and markings that reveal what was most important to him. The contact sheets therefore form a vital link between the negatives and his prints. There is also evidence of Van der Elsken’s abiding interest in experimentation in the domain of design, particularly in the form of his book dummies. He designed his own magnum opus Sweet Life,  experimenting with sequence, size, juxtaposition and printing techniques. The Sweet Life dummy will have a prominent place in this autumn’s exhibition. 

 Ed van der Elsken
Ed van der Elsken (1925-1990) photographed, amongst others, in the Netherlands, Paris, South Africa, Sierra Leone, Japan, Hong Kong, Mexico, the United States, and Indonesia, and built a body of work that is extraordinarily wide-ranging and rich. His direct and disarming approach was part of what made him the epitome of the ‘people photographer’ – it was this directness that enabled him to capture the human essence of his subjects. Van der Elsken’s used his uniquely raw and individual style to show that photography is about more than just an image; his photographs express a personal vision. Van der Elsken is acknowledged internationally as a pioneer of the subjective viewpoint; of the photographer’s vision and portrayal of people and the world.

Combined efforts and indispensable support
The collection was for a large part donated by Anneke Hilhorst, and partly purchased with the support of the Mondriaan Fund, the Rembrandt Association (thanks in part to its dedicated Photography and Video Fund and Dura Kunstfonds), BankGiro Lottery players, the Paul Huf Fonds/Rijksmuseum Fonds and the Marque Joosten en Eduard Planting Fonds/Rijksmuseum Fonds.

It is thanks to donations and bequests from private individuals, funds, family and other foundations, government and business that museums such as the Rijksmuseum and the Nederlands Fotomuseum can continue to exist and to connect people, art and history. 

Rijksmuseum Amsterdam

Postbus 74888
1070 DN Amsterdam
The Netherlands
E-mail: info@rijksmuseum.nl
Telephone: +31 (0) 20 6747 000
Visiting address
Museumstraat 1
1071 XX Amsterdam

Budapest, The Ludwig Museum – Museum of Contemporary Art will reopen on August 20th.

LUDWIG MUSEUM – MUSEUM OF CONTEMPORARY ART, BUDAPEST IS OPENING WITH THREE NEW EXHIBITIONS


After several months of shutdown due to the COVID-19, the Ludwig Museum – Museum of Contemporary Art will reopen on August 20th.

The first exhibition is a new selection from the museum’s collection entitled Time Machine. The exhibition was created during the short break caused by the pandemic, under extraordinary circumstances, so the organizers could not ignore the lessons of the recent period. This time, works have been selected that reveal different aspects of personal, artistic and historical time to the viewer, and the works themselves can be seen as time machines that allow us to travel mentally.

From September 4, a selection from Art Collection Telekom entitled Keeping The Balance will be on view, which seeks to answer the question how to find and maintain the right balance in a complex, contradictory and often conflict-laden reality. The selection features works by artists with mostly Eastern European roots.

The exhibition BarabásiLab: Hidden Patterns. The Language of Network Thinking will open on 10 October. It presents the last 20 years of research based on the so-called Barabási networks mainly related to the activity of physicist and network researcher Albert-László Barabási. By following the development of network visualization – presenting the main projects of Barabási research lab – the viewer can gain insight into the application of this comprehensive method in art. Using state-of-the-art technology, network diagrams and structures vividly describe the hidden connections and relationships that underlie the studied phenomena.

The Ludwig Museum, including the museum shop, is open from Tuesday to Sunday from 10 a.m. to 6 a.m.

The museum does its best to protect the health of the visitors and staff, so we ask you to wear a mask when visiting our exhibitions and keep a distance of one and a half meters in the exhibition spaces.

Raoul De Keyser @ S.M.A.K.

Raoul De Keyser .oeuvre
S.M.A.K.
Belgium
22.09 until 27.01.2019
  Raoul De Keyser (1930-2012, Deinze) is viewed as the discrete master among the Belgian painters of the last fifty years. As from his debut in 1964 De Keyser developed unique tactile work in which the distinction between the figurative and the abstract dissolved in its poetic alliance with the painter’s everyday life. His artistic practice emerged from the Nieuwe Visie, a local variant of international Pop Art that was also influenced by literature.
Following his experiments with the fundamental elements of painting, including colour, paint and canvas, that were so typical of the 1970s, De Keyser’s visual idiom opened up and became more fluent. This signalled the start of a steady growth in international success, one of the highlights being his participation in Documenta IX in 1992. The artist frequently painted over earlier work or revived it in different formats. This game of looking both back and forward is also apparent in his final works. The title of the exhibition is an indication that in a certain sense each of De Keyser’s works includes the notion of a retrospective.
By unfolding De Keyser’s work both chronologically and thematically, oeuvre offers an insight into the artist’s method and his lifelong exploration of the boundaries of painting. In addition to more than a hundred paintings, a major ensemble of works on paper can also be seen; this is part of the gift the artist made to the Museum of Fine Arts in Ghent in 2008.
The setting in the middle room on the first floor was designed by the architects Robbrecht and Daem, who have previously created several exhibition spaces for De Keyser’s work (e.g. Documenta IX).
Publication
The exhibition is accompanied by an extensive catalogue, published by S.M.A.K. and Pinakothek der Moderne in association with Verlag der Buchhandlung Walther Koenig (Cologne) and Mercatorfonds (Brussels). This richly illustrated book contains the first comprehensive chronology of the artist’s life and work which was created in collaboration with the Archives Raoul De Keyser at Ghent University.
Film programme
Belgian art historian Koen Brams will present a wide-ranging film programme of television and film excerpts on the art and life of Raoul De Keyser.
Talks
Lastly, there will be an extensive series of talks including conversations between the curators of the two exhibitions, Martin Germann and Bernhart Schwenk. Erik Rinckhout, Bernard Dewulf and Steven Jacobs will also give talks and/or guided tours. More detailed information will be available later.
This exhibition is a joint project with the Pinakothek der Moderne in Munich.


location:
S.M.A.K.
Jan Hoetplein 1, 9000 Gent
9000 Gent
Belgium

T +32 (0)9 240 76 01
E info@smak.be
 http://smak.be

Ugo Rondinone in Museum Boijmans Van Beuningen | Rotterdam

Ugo Rondinone in Museum Boijmans Van Beuningen | Rotterdam

Ugo Rondinone | Vocabulary of Solitude
February 13–May 29, 2016 
Museum Boijmans Van Beuningen
Rotterdam |The Netherlands

 

Ugo Rondinone, Vocabulary of solitude. sleep, 2014. 

Clown costume, masker, live performance. Collection of the artist. 

photocredit:  Museum Boijmans Van Beuningen

This spring the magical world of artist Ugo Rondinone (b. 1964, Switzerland, lives and works in New York) will be present at the Museum Boijmans Van Beuningen in Rotterdam, during the Art Rotterdam Week. The artist will bring together new and existing works in a large installation like a colour spectrum revealing the various facets of existence. Forty-five life-size clown sculptures will form the centrepiece of Vocabulary of Solitude, the artist’s first solo exhibition in the Netherlands.

On the floor of the 1500m2 Bodon Galleries visitors will see forty-five life-size sculptures of passive and contemplative clowns, each named after an everyday activity: dream, sleep, yawn, read, cook. Together they describe by artist a person’s solitary day at home. The clown sculptures have never previously been exhibited and will be transported directly to Rotterdam from Rondinone’s studio in New York.

 

 Ugo Rondinone, vierzehnterseptemberzweitausendundfünfzehn, 2015. 

Acryl on canvas, 520 x 270 cm. Collection of the artist

 photocredit:  Museum Boijmans Van Beuningen

Rainbows is an installation includes half mandala paintings created with an airbrush technique. The optical effect of the large rainbow bands of colour makes them dance before your eyes. The large window of the Bodon Galleries will be covered with a filter in all the colours of the rainbow, creating an intense colourful glow throughout the garden gallery. The rainbow theme continues in thousands of drawings by children: young artists who have responded to the artist’s request for help in creating a 4 x 30 metre wall of rainbow drawings.

 

 Ugo Rondinone, The Eighteenth Hour of the Poem, 2007. 

Wax and pigments, 140 x 82 x 82 cm. Artist's collection.

  photocredit:  Museum Boijmans Van Beuningen

Ugo Rondinone -  one of the world’s leading visual artists, has an Italian origin , born in Brunnen, Switzerland in 1964, currenty based in New York since 1998. He studied at the Hochschule für Angewandte Kunstin in Vienna. Earlier on in his career  Rondinone has collaborated  with Austrian performance artist Hermann Nitsch. He came to international attention during the 1990s with his installations by sculpture, painting, video, sound and photography. Rondinone represented Switzerland at the 52th Venice Biennale in 2007. He has been the curator of the exhibitions The Third Mind at the Palais de Tokyo in Paris (2007) and The Spirit Level at Barbara Gladstone Gallery in New York (2012). He had major solo exhibitions at Centre Pompidou, the Louisiana Museum of Modern Art, the Kunsthalle Wien , Palais Tokyo, Museum Leuven in Belgium . The work of Ugo Rondinone is represented by Galerie Eva Presenhuber (Zürich), Barbara Gladstone Gallery (New York – Brussels), Galerie Almine Rech (Paris – Brussels), Sadie Coles HQ (London) and Galerie Esther Schipper (Berlin).

 

 Ugo Rondinone, Still. Life, 2013. 

Bronze, and lead paint, 12.5 x 14 x 12.5 cm. Artist's collection

  photocredit:  Museum Boijmans Van Beuningen

Ugo Rondinone : “Good art revolutionizes your whole being. It is something that stops you, or slows you down.”


practical info:
Museum Boijmans Van Beuningen
Museumpark 18-20
3015 CX Rotterdam
The Netherlands
www.boijmans.nl