'A Picture of War is Not War', we read in Hito Steyerl's iconic film November (2004), an essayistic Super 8 film tackling the definition of terrorism constructed around the figure of the artist's best friend Andrea Wolf, who was killed as a terrorist in 1998 in Eastern Anatolia after she joined the PKK (Kurdistan Workers' Party). Mixing documentary...
There has been a flurry of triennial and biennial art activity in Japan this year. The Aichi Triennale opened in Nagoya this August, sparking a national debate about the shutting down of a display of formerly censored works—the result of public backlash against a burnt image of Emperor Hirohito and a statue commemorating the women forced into...
Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...
Joan Miró's, Painting (1933). © 2019 Successió Miró / ARS / ADAGP.
Painting, painted by Joan Miró in 1933, in Barcelona, is a composition of black, red, and white blobby shapes and linear glyphs on a ground of bleeding and blending greens and browns. It hangs in Joan Miró: Birth of the World, an enchanting show at the Museum of Modern Art that draws on the museum's immense holdings of Miró's work, along with a few loans. Painting is a bit sombre, for him, but it has the ineffably friendly air of nearly all his art: adventurous but easy-looking, an eager gift to vision and imagination. It invokes a word inevitably applied to Miró: 'poetic,' redolent of the magic, residual in us, of childhood rhymes, with or without figurative elements. Never unsettling in the ways of, say, Matisse or, for heaven's sake, Picasso, Miró is a modernist for everybody.
Forty years after its establishment, Krystyna Gmurzynska and Mathias Rastorfer relocated the gallery from Cologne to its new flagship location in Zurich’s Paradeplatz in 2005. The building that currently houses the gallery dates back to 1857 and it is the same building in which the Dada movement was founded in 1917. The first exhibition in Zurich was a solo exhibition by Alexander Calder entitled, The Modernist, that was thoroughly endorsed by the Calder Foundation, which described it is as, 'rare to experience a presentation of this quality outside of a museum'. As with each exhibition at the gallery the show featured a fully illustrated catalogue with important essays.
Galerie Gmurzynska continues to present unique exhibitions that are both historically well researched and scientifically documented. It also continues to work with leading art historians as well as collaborating with museums on exhibitions and for the enlargement of their permanent collections. Additionally, it currently participates in several art fairs such as Art Basel Miami Beach, Art Basel Hong Kong, Frieze Masters in London, Salon in New York and Art Basel, Switzerland. In the past it has taken part in FIAC, Abu Dhabi and PAD New York.
Both Krystyna Gmurzynska and Mathias Rastorfer were awarded the Chevalier des Art et des Lettres by the French Minister of Culture. Krystyna Gmurzynska was the first foreigner to receive the merit for special achievements by Michael Shvydkoy, the Russian Minister of Culture, recognising her 'important contribution to scientific research, and for the organisation of exhibitions in the field of Russian art of the 20th century.'
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