KARIN KNEFFEL IN THE MEZZANINE OF THE MUSEUM · treatment of one of the icons of Museum Frieder...
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Karin Kneffel 12.10.2019 — 08.03.2020 Karin Kneffel, Untitled, 1998. Oil on Canvas, 300 × 200 cm. DZ BANK AG Kunstsammlung, Düsseldorf Karin Kneffel, Untitled, 2009. Oil on Canvas, 180 × 300 cm. Andreas Gursky Karin Kneffel, Untitled, 2012. Oil on Canvas, 180 × 240 cm. Droege Collection KARIN KNEFFEL 12 OCTOBER 2019 – 8 MARCH 2020 Karin Kneffel’s paintings are like laboratories of memory. Born in 1957, this master student of Gerhard Richter counts among Germany’s most important contemporary painters. This retrospective was realized in close cooperation with the artist herself and Kunsthalle Bremen. Featuring some 140 works from three decades, it traces her artistic development from the photo-realistic, oversized paintings of fruits with which she gained international renown in the early 1990s, to her construction of complex interiors of painting, in which time and image, art, architecture and film blend with one another. While Richter uses smudges and unfocussed images as an artistic means of addressing his own biography, German history and art history, Kneffel used blurred images and reflections. She creates a hallucino- genic form of painting that can assume various states of matter. The viewer sees her pictorial spaces or scenarios, which seem to play out beneath a frozen surface, through panes blurred by condensation or drops of water. Kneffel’s virtuoso work inhabits the border zone be- tween depiction and reality, memory and fiction. Often, her settings seem like psychologically charged scenes for imag- inary plots. In doing so, she uses a range of motifs that could almost be clues or symbols from a Hitchcock movie: withering tulips, cleaning women, the X-shaped cross. For Kneffel, the central question is how we preserve private and collective memories, how we set up inside them and what power structures these arrangements represent. MUSEUM FRIEDER BURDA Lichtentaler Allee 8 b 76530 Baden-Baden +49 7221 39898-0 [email protected] museum-frieder-burda.de OPENING HOURS Tu – Su, 10 a.m. – 6 p.m. Open on all public holidays. Closed on 24 and 31 December. TICKETS Single ticket 14 euros Online ticket 14 euros Reduced 11 euros (students, the disabled, groups of 15 and over) Combi-Ticket with the Staatliche Kunsthalle 18 euros, reduced 14 euros Parents with children 27 euros Children aged 8 and under free of charge Children aged 9 and over 5 euros Groups of school children 2 euros ICOM free of charge AUDIOGUIDE English / German / French, 5 euros Exhibition Catalog The exhibition catalog is pub- lished in English and German by Schirmer/Mosel; 224 pages, hardcover. Price at the museum: 35 euros. STAATLICHE KUNSTHALLE 16 NOV 2019 — 16 FEB 2020: BORIS MIKHAILOV GROUPS AND PRIVATE GUIDED TOURS +49 7221 39898-38, fuehrungen@ museum-frieder-burda.de Fee for guided tours (up to 25 people per group): 75 euros, 60 min FESTSPIELHAUS Combine your stay with a visit to the Festspielhaus. Program and tickets: +49 7221 3013101, festspielhaus.de PREVIEW The Brothers’ Pictures. A Tale of Three Collections 21 MAR – 9 AUG 2020 FOLLOW US #friederburda TIPs for your exhibition visit IN THE MEZZANINE OF THE MUSEUM SONIA GOMES I RISE – I’M A BLACK OCEAN, LEAPING AND WIDE 12 OCTOBER 2019 — 8 MARCH 2020 My work is black, it is feminine, and it is marginal. I‘m a rebel. — Sonia Gomes I Rise – I’m a Black Ocean, Leaping and Wide in Museum Frieder Burda, Baden-Baden, and the Salon Berlin, is the first institutional exhibition in Europe of the work of Brazilian artist Sonia Gomes. Sonia Gomes’ biomorphic sculptures have an eerie, almost magical pre- sence. Born in 1948 as the extramarital daughter of a white industrialist and a black woman, she grew up between two worlds. Gomes uses all kinds of found or gifted materials for her work, such as textiles, drift- wood, furniture or wool, transforming them into sculptures or room-si- zed installations. Her works become vehicles for her own individualism, blending technical virtuosity and a materiality rooted in African folk art and spiritual traditions, a surreal language of form, Brazilian modernism and various currents of contemporary art. The artist specially created the sculpture To De Kooning, 2019 as a treatment of one of the icons of Museum Frieder Burda, the painting Untitled XV by Willem de Kooning. Sonia Gomes’ choice of colors and the sculpture’s intricately intertwined twists and turns give rise to a fasci- nating dialogue between the two artworks. The poetic title of the exhibition is inspired by passages from the poem Still I Rise by Maya Angelou (1928-2014). It is an anthemic protest against racism, sexual violence and the marginalization of black women and reflects the history of slavery. Having previous- ly participated in the 56th Venice Biennale in 2015, Sonia Gomes now counts among the most influential artists in Brazil. This becomes clear in a series of paintings she started in 2009, in which she addressed the city villas Haus Esters and Haus Lange, which were built in 1927/28 by Mies van der Rohe. Initially intended by these collec- tor families as private residences, the houses now serve as exhibition spaces for the Kunstmuseum Krefeld. Kneffel also researched historical photos of the living rooms, which were adorned with art and design, painting life-sized views and hanging them on the corresponding walls of the exhibition spaces – like ghostly mirrors through which we can see the past. Then, she followed the collectors’ artworks to their current locations in European museums and depicted the sculptures and paint- ings as they are displayed by the institutions. In her excursions, Kneffel observes a male-dominated modernity in which women’s contributions are ignored – a deceptive view still reflected by the museums of today. Salon Berlin Museum Frieder Burda, Auguststraße 11–13, 10117 Berlin Tel. +49 30 24047404 SONIA GOMES I RISE – I’M A BLACK OCEAN, LEAPING AND WIDE 7 SEP 2019 — 22 FEB 2020 RWANDAN DAUGHTERS BY OLAF HEINE 7 SEP 2019 — 22 FEB 2020 Cover: Karin Kneffel, Untitled (Detail), 1996. Oil on Canvas, 710 × 240 cm. Kunstsammlung KfW All works of Karin Kneffel: © VG Bild-Kunst, Bonn 2019 EN / FR Sonia Gomes, Eu Me Levanto, from Raiz series (Detail) 2018. Mixed Media, 70 × 82 × 127 cm © Sonia Gomes; Courtesy of Mendes Wood DM São Paulo, Brussels, New York; photo: Bruno Leão
Transcript of KARIN KNEFFEL IN THE MEZZANINE OF THE MUSEUM · treatment of one of the icons of Museum Frieder...
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12.10.2019 — 08.03.2020
Karin Kneffel, Untitled, 1998. Oil on Canvas, 300 × 200 cm. DZ BANK AG Kunstsammlung, Düsseldorf
Karin Kneffel, Untitled, 2009. Oil on Canvas, 180 × 300 cm. Andreas Gursky
Karin Kneffel, Untitled, 2012. Oil on Canvas, 180 × 240 cm. Droege Collection
KARIN KNEFFEL12 OCTOBER 2019 – 8 MARCH 2020
Karin Kneffel’s paintings are like laboratories of memory. Born in 1957, this master student of Gerhard Richter counts among Germany’s most important contemporary painters. This retrospective was realized in close cooperation with the artist herself and Kunsthalle Bremen. Featuring some 140 works from three decades, it traces her artistic development from the photo-realistic, oversized paintings of fruits with which she gained international renown in the early 1990s, to her construction of complex interiors of painting, in which time and image, art, architecture and film blend with one another. While Richter uses smudges and unfocussed images as an artistic means of addressing his own biography, German history and art history, Kneffel used blurred images and reflections. She creates a hallucino-genic form of painting that can assume various states of matter. The viewer sees her pictorial spaces or scenarios, which seem to play out beneath a frozen surface, through panes blurred by condensation or drops of water. Kneffel’s virtuoso work inhabits the border zone be-tween depiction and reality, memory and fiction.
Often, her settings seem like psychologically charged scenes for imag-inary plots. In doing so, she uses a range of motifs that could almost be clues or symbols from a Hitchcock movie: withering tulips, cleaning women, the X-shaped cross. For Kneffel, the central question is how we preserve private and collective memories, how we set up inside them and what power structures these arrangements represent.
MUSEUM FRIEDER BURDALichtentaler Allee 8 b76530 Baden-Baden+49 7221 [email protected]
OPENING HOURSTu – Su, 10 a.m. – 6 p.m.Open on all public holidays. Closed on 24 and 31 December.
TICKETSSingle ticket 14 eurosOnline ticket 14 eurosReduced 11 euros(students, the disabled, groups of 15 and over)Combi-Ticket with the Staatliche Kunsthalle 18 euros, reduced 14 eurosParents with children 27 eurosChildren aged 8 and under free of chargeChildren aged 9 and over 5 eurosGroups of school children 2 eurosICOM free of charge
AUDIOGUIDEEnglish / German / French, 5 euros
Exhibition CatalogThe exhibition catalog is pub-lished in English and German by Schirmer/Mosel; 224 pages, hardcover. Price at the museum: 35 euros.
STAATLICHE KUNSTHALLE16 NOV 2019 — 16 FEB 2020:BORIS MIKHAILOV
GROUPS AND PRIVATE GUIDED TOURS+49 7221 39898-38, [email protected] for guided tours (up to 25 people per group): 75 euros, 60 min
FESTSPIELHAUSCombine your stay with a visit tothe Festspielhaus. Program andtickets: +49 7221 3013101,festspielhaus.de
PREVIEWThe Brothers’ Pictures. A Tale of Three Collections21 MAR – 9 AUG 2020
FOLLOW US#friederburda
TIPs for your exhibition visit IN THE MEZZANINE OF THE MUSEUM SONIA GOMESI RISE – I’M A BLACK OCEAN, LEAPING AND WIDE12 OCTOBER 2019 — 8 MARCH 2020
My work is black, it is feminine, and it is marginal. I‘m a rebel. — Sonia Gomes
I Rise – I’m a Black Ocean, Leaping and Wide in Museum Frieder Burda, Baden-Baden, and the Salon Berlin, is the first institutional exhibition in Europe of the work of Brazilian artist Sonia Gomes.
Sonia Gomes’ biomorphic sculptures have an eerie, almost magical pre-sence. Born in 1948 as the extramarital daughter of a white industrialist and a black woman, she grew up between two worlds. Gomes uses all kinds of found or gifted materials for her work, such as textiles, drift-wood, furniture or wool, transforming them into sculptures or room-si-zed installations. Her works become vehicles for her own individualism, blending technical virtuosity and a materiality rooted in African folk art and spiritual traditions, a surreal language of form, Brazilian modernism and various currents of contemporary art.
The artist specially created the sculpture To De Kooning, 2019 as a treatment of one of the icons of Museum Frieder Burda, the painting Untitled XV by Willem de Kooning. Sonia Gomes’ choice of colors and the sculpture’s intricately intertwined twists and turns give rise to a fasci-nating dialogue between the two artworks.
The poetic title of the exhibition is inspired by passages from the poem Still I Rise by Maya Angelou (1928-2014). It is an anthemic protest against racism, sexual violence and the marginalization of black women and reflects the history of slavery. Having previous-ly participated in the 56th Venice Biennale in 2015, Sonia Gomes now counts among the most influential artists in Brazil.
This becomes clear in a series of paintings she started in 2009, in which she addressed the city villas Haus Esters and Haus Lange, which were built in 1927/28 by Mies van der Rohe. Initially intended by these collec-tor families as private residences, the houses now serve as exhibition spaces for the Kunstmuseum Krefeld. Kneffel also researched historical photos of the living rooms, which were adorned with art and design, painting life-sized views and hanging them on the corresponding walls of the exhibition spaces – like ghostly mirrors through which we can see the past. Then, she followed the collectors’ artworks to their current locations in European museums and depicted the sculptures and paint-ings as they are displayed by the institutions. In her excursions, Kneffel observes a male-dominated modernity in which women’s contributions are ignored – a deceptive view still reflected by the museums of today.
Salon BerlinMuseum Frieder Burda, Auguststraße 11–13, 10117 BerlinTel. +49 30 24047404
SONIA GOMESI RISE – I’M A BLACK OCEAN, LEAPING AND WIDE7 SEP 2019 — 22 FEB 2020
RWANDAN DAUGHTERS BY OLAF HEINE7 SEP 2019 — 22 FEB 2020
Cover: Karin Kneffel, Untitled (Detail), 1996. Oil on Canvas, 710 × 240 cm. Kunstsammlung KfW
All works of Karin Kneffel: © VG Bild-Kunst, Bonn 2019
EN / FR
Sonia Gomes, Eu Me Levanto, from Raiz series (Detail) 2018. Mixed Media, 70 × 82 × 127 cm © Sonia Gomes; Courtesy of Mendes Wood DM São Paulo, Brussels, New York; photo: Bruno Leão
Karin Kneffel12 OCTOBRE 2019 — 8 MARS 2020
Les tableaux de Karin Kneffel ressemblent à des laboratoires du souvenir. Née en 1957, cette élève de Gerhard Richter fait partie des artistes allemandes majeures de notre temps. La rétrospective qui lui est consacrée a été conçue en étroite collaboration avec l’artiste et en coopération avec la Kunsthalle de Brême. Elle regroupe 140 œuvres illustrant le parcours de Karin Kneffel durant trois décennies, allant des tableaux de fruits photoréalistes surdimensionnés, qui lui assurèrent une renommée internationale au début des années 1990, à la construc-tion d’intérieurs picturaux complexes dans lesquels se fondent les plans visuels et temporels, l’art, l’architecture et le cinéma. Si la peinture de Richter avait recours aux effets de flou et « d’essuyé » comme autant de moyens picturaux pour affronter sa propre biographie, le passé de l’Allemagne et l’histoire de l’art, Karin Kneffel utilise elle les fondus et les reflets. Elle crée une peinture hallucinogène capable d’adopter la forme de divers états de la matière. On regarde comme der-rière une vitre embuée, couverte de gouttelettes, ces pièces picturales, ces compositions, qui semblent être comme prises sous une couche superficielle de glace. L’œuvre de Kneffel se meut avec virtuosité aux confins de la reproduction et de la réalité, du souvenir et de la fiction.
Souvent ces mises en scène font l’effet de théâtres lourds de conno-tations psychologiques destinés à d’imaginaires intrigues. On y trouve nombres d’accessoires qui, traces ou symboles, pourraient sortir des films d’Hitchcock : des tulipes qui se fanent, des femmes qui font le ménage, une croix en forme de X. C’est toutefois l’interrogation du pro-cessus de conservation des souvenirs individuels et collectifs, de notre manière de les investir ainsi que de la nature des rapports de force que ces arrangements représentent qui est au centre des préoccupations de Karin Kneffel. Cela est particulièrement manifeste dans une série de tableaux com-mencés en 2009 où elle se penche sur les villas du Bauhaus bâties par Mies van der Rohe en 1927/28, Haus Esters et Haus Lange. À l’origine résidences des familles de collectionneurs, elles sont aujourd’hui des lieux d’exposition du musée des arts de Krefeld. Karin Kneffel a recher-ché des photographies historiques des salons remplis d’œuvres d’art et de design, et réalisé des vues grandeur nature qu’elle a ensuite ac-crochées aux murs des salles d’exposition actuelles - tels des miroirs fantomatiques offrant un regard sur le passé. Elle est ensuite partie en quête des œuvres d’art des collectionneurs pour les retrouver dans les musées européens qui les abritent aujourd’hui, et pour montrer les sculptures et tableaux tels qu’ils sont maintenant présentés par ces institutions. Au fil de ces périples, Kneffel pose son regard sur une époque dominée par les hommes et oublieuse de la contribution assurée par les femmes - une image trompeuse dont les musées d’aujourd’hui se font encore le reflet.
MUSEUM FRIEDER BURDALichtentaler Allee 8 b76530 Baden-Baden+49 7221 [email protected]
HORAIRES D’OUVERTUREMa – Di, 10.00 – 18.00 hOuvert tous les jours fériés. Fermé le 24 et 31 décembre.
BILLETSTarif plein 14 eurosTarif online 14 eurosTarif réduit 11 euros(étudiants, visiteurs handicapés, groupes à partir de 15 personnes)Billet combiné avec la Staatliche Kunsthalle 18 euros, réduit 14 eurosParents avec enfants 27 eurosEnfants jusqu’à 8 ans gratuitScolaires à partir de 9 ans 5 eurosScolaires en groupe 2 eurosMuseums-Pass-Musées, ICOM gratuit
AUDIOGUIDEFrançais / allemand /anglais, 5 euros
CATALOGUE DE L’EXPOSITIONLe catalogue de l’exposition est édité en allemand et anglais par Schirmer/Mosel ; 224 pages, livre relié. Prix au musée: 35 euros.
STAATLICHE KUNSTHALLE16 NOV 2019 — 16 FÉV 2020:BORIS MIKHAILOV
GROUPES ET VISITES GUIDÉES+49 7221 39898-38, [email protected] de la visite guidée (max. 25 personnes par groupe):75 euros, 60 min
FESTSPIELHAUSComplétez votre séjour avec unevisite au Festspielhaus. Billetset programme: +49 7221 3013101,festspielhaus.de
APERÇULes tableaux des frères. L’histoire d’une collection21 MAR — 9 AOU 2020
SUIVEZ NOUS#friederburda
Karin Kneffel, Untitled, 2019. Oil on Canvas, 180 × 240 cm. Courtesy Galerie Rüdiger Schöttle, Munich
À LA MEZZANINE DU MUSÉE SONIA GOMESI RISE – I’M A BLACK OCEAN, LEAPING AND WIDE12 OCTOBRE 2019 — 8 MARS 2020 My work is black, it is feminine, and it is marginal. I'm a rebel.— Sonia Gomes Avec I Rise – I’m a Black Ocean, Leaping and Wide dans le Musée Frieder Burda, Baden-Baden, ainsi qu’au Salon Berlin a lieu la première exposition personnelle institutionnelle de la brésilienne Sonia Gomes en Europe. Les sculptures biomorphiques de Sonia Gomes sont d’une présence inquiétante, même magique. Née en 1948 en tant que fille illégitime d’un industriel blanc et d’une femme noire elle grandit entre deux mon-des. Dans son œuvre Gomes transforme des matériaux des plus variés comme de vieux textiles, des bois flottés, des meubles ou bien de la laine en sculptures et en installations volumineuses. En même temps ses œuvres développent une originalité, une virtuosité formelle et une matérialité qui puisent dans l’art populaire et dans les traditions spiri-tuelles africaines, dans le langage conceptuel du surréalisme, dans le modernisme brésilien et dans l’art contemporain actuel. En tant que réflexion sur une icône du Musée Frieder Burda la peinture Untitled XV de Willem de Kooning l’artiste créa la sculpture To De Kooning 2019. Le choix de couleurs de Sonia Gomes et les entrelacements font entrer les deux œuvres dans un dialogue fascinant. Le titre poétique de l’exposition est inspiré par des passages du poème Still I rise de Maya Angelou (1928 – 2014). Il s’agit d’une protes-tation hymnique contre le racisme, la violence sexuelle, la margina-lisation des femmes noires et de l’histoire de l’esclavage. Après sa participation à la biennale de Venise en 2015, Sonia Gomes appartient aujourd’hui aux artistes femmes les plus influentes du Brésil.
Karin Kneffel, Untitled, 2009. Oil on Canvas, 180 × 550 cm. SCHÖNEWALD, Düsseldorf
Karin Kneffel, Untitled, 2018. Oil on Canvas, 180 × 240 cm. Private CollectionKarin Kneffel, Untitled, 2018. Oil on Canvas, 180 × 220 cm. Private Collection Karin Kneffel, Untitled, 2018. Oil on Canvas, 180 × 240 cm. Private Collection Stuttgart
CONSEILS POUR VOTRE VISITE
Cover: Karin Kneffel, Untitled (Detail), 1996. Oil on Canvas, 710 × 240 cm. Kunstsammlung KfW
All works of Karin Kneffel: © VG Bild-Kunst, Bonn 2019
Salon BerlinMuseum Frieder Burda, Auguststraße 11 – 13, 10117 BerlinTel. +49 30 24047404
SONIA GOMESI RISE – I’M A BLACK OCEAN, LEAPING AND WIDE7 SEP 2019 — 22 FÉV 2020
RWANDAN DAUGHTERS BY OLAF HEINE7 SEP 2019 — 22 FÉV 2020
Sonia Gomes, To De Kooning, 2019. Mixed Media, 180 × 90 × 60 cm © Sonia Gomes; Courtesy of Mendes Wood DM São Paulo, Brussels, New York; photo: Bruno Leão
