Musée cantonal des Beaux-Arts, Lausanne
Alex Katz, "Homage to Monet 1," 2009. Oil on canvas, 183 x 366 cm. Courtesy of the artist © 2013, ProLitteris, Zurich
On Painting. Alex Katz & Félix Vallotton at Musée cantonal des Beaux-Arts
Palais de Rumine, Place de la Riponne 6, Lausanne
"When I showed Alex Katz reproductions of the paintings of Félix Vallotton compared to his own, he kept on exclaiming, 'But what a wonderful painter!' And, with regard to the evident similarities between them, 'It's incredible!' Something passed through the heads of these two artists—who came from utterly different eras, cultures and environments—in which painting became something of a cosa mentale, that is to say when an idea or pictorial concept takes precedence over the execution or visual result. It goes without saying that neither Katz nor Vallotton are conceptual artists but both subject nature and the human figure to a very particular vision and a manifestly anti-naturalist treatment through the practice of a sort of painting for painting's sake. Both accept that a painting is foremost an assemblage of lines and blocks of colour on a flat surface."
Bernard Fibicher, Director and Curator
Bernard Fibicher, Director and Curator
Kunsthalle Mainz
David Claerbout, "Oil workers (of the Shell company of Nigeria) returning home from work, caught in torrential rain," 2013. Video still. HD colour animation, silent, duration endless. © VG-Bild-Kunst, Bonn 2013. Courtesy the artist and galleries Micheline Szwajcer, Yvon Lambert, Hauser & Wirth.
David Claerbout
March 22–June 16, 2013
Kunsthalle Mainz
Am Zollhafen 3-5
55118 Mainz, Germany
www.kunsthalle-mainz.de
Time and its perception are central to David Claerbout's oeuvre. The Belgian artist has been exploring the boundaries between the stationary and the moving picture since 1996. Claerbout's films stretch narrative and action to create a more intensive sense of duration. The typical scarcity of motion in his images and the merging of past, present and future together result in a pictorial experience of great density and reflexivity as well as the utmost sustainability. The concentration on a phenomenology of the image becomes manifest with the aid of these two methods both resulting in deceleration. At times, Claerbout's films are slowed down to such a degree that episodes of everyday life become frozen in aesthetical still lifes. In other cases, photos are serialized by means of digital multiple exposures in such a way that—through the choice of almost identical subjects—the recording of a single instant is melting away to a moving condition. Both methods are borne by a search for silence and concentration of mood. The atmospheric intensity and the pictorial subsequence of the visual experience are characteristic of Claerbout.
Henry Moore Institute
Musée d’art moderne et contemporain Genève. © Mamco, Genève. Photo: I. Kalkkinen, Genève.
The Henry Moore Institute is a centre for the study of sculpture. Our 2013–2014 exhibition programme features a series of exhibitions addressing relationships between sculpture and display, the original and the copy, and how an action, encounter or object becomes a sculpture.
Robert Filliou: The Institute of Endless Possibilities
Filliou declared 'art is what makes life more interesting than art.' This first UK institutional solo exhibition devoted to the French artist asks the question: When does an everyday object become a sculpture? Using tools ranging from mobile museums to absent cleaners, masterpieces to chance operations, telepathic sculptures to musical economies, this spring, the Henry Moore Institute turns into an institute of endless possibilities, conducting its research through forty artworks made between 1962 and 1984.
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