Art cannot be used to show the validity of Christianity; it should rather be the reverse. Hans Rookmaaker

Exhibitions 2018

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20 September 2018 – 25 August 2019, Dom Museum, Stephansplatz 6, Vienna: Show Me Your Wound. Images of suffering and pain are omnipresent. Not just in mass media, but also in art. Mental and physical wounds are just as much a part of life as the attempt to cope with these injuries and to include them positively in one's own biography. The exhibition focuses on artistic representations of physical, psychological, and sociopolitical wounds against the backdrop of a Christian pictorial tradition. The works shown span the Middle Ages to modern and contemporary art, exposing very different approaches to the subject of wounds, such as the vulnerability of the artists’ own bodies or the slicing of the canvas. ; 

10 July – 20 October, Kunsthistorisches Museum (KHM). Maria-Theresien-Platz, Vienna: Jan van Eyck: "Als Ich Can". The exhibition presents three of the circa twenty extant works by Jan van Eyck, offering a glimpse of the art produced during the reign of Duke Philipp the Good, when the Burgundian Low Countries witnessed a unique flowering of courtly and urban civilisation. Jan van Eyck (ca.1390-1441), the favorite court painter of Philipp the Good, duke of Burgundy (1396-1467), is celebrated for his virtuosity in the use of oil paint and his skill in combining naturalism and realism with brilliant colours. Already regarded as an epoch-making artist by his contemporaries, he was soon renowned throughout Europe as the founder of Early Netherlandish painting. Jan van Eyck was one of the first artists north of the Alps to sign and date his works. His use of a motto is remarkable. In the early fifteenth century, it was highly unusual for a painter – then still regarded as a mere craftsman – to have his own device, something reserved for the dukes of Burgundy and the nobility. Jan van Eyck chose AΛΣ · IXH · XAN as his motto and generally inscribed it in pseudo-Greek letters; it is, however, in Dutch and means “as I can” or “as best I can” as in “as best I can, not as I would”, which is presumably meant to imply the artist’s modest appreciation of his own work. 10 – 18 h (th until 21 h).



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23 July 2018 – January 2020, Great St Mary’s Church, Senate House Hill, Cambridge: Liviu Moan: Archetypes. The Archetypes exhibition explores five great themes found in almost every culture and society: revelation, sacrifice, belief, transcendence and destiny. Liviu Mocan expresses them using 21st-century technology, whilst drawing inspiration from the 16th-century Reformation – which itself was a retrieval of 1st-century ideas. Each sculpture can be approached in three ways: through the artist’s title, through the archetype it interprets, or by way of the five solas of the Reformation. Mocan’s interpretation draws on his own personal faith, which grew and was refined under the communist regime in Romania. The exhibition thus invites visitors into a multi-faceted conversation between history, faith, art and philosophy. 9 – 18 h. ;

27 February – 1 September, Newport Street Gallery, Newport Street, London: John Bellany and Alan Davie: Cradle of Magic. Tu – su, 10 – 18 h. 

27 March – 11 August, Tate Britain Art Gallery, Milbank, London: Van Gogh and Britain. Van Gogh and Britain presents the largest collection of Van Gogh’s paintings in the UK for nearly a decade. Some of his most famous works will be brought together from around the world – including Shoes, Starry Night on the Rhône, L'Arlésienne, and two works he made while a patient at the Saint-Paul Asylum, At Eternity’s Gate and Prisoners Exercising. They will be joined by the very rarely lent Sunflowers from London’s National Gallery. Van Gogh lived in England as a young man for several crucial years. He walked the streets alone, dreaming of the future. He fell in love with British culture, especially the novels of Charles Dickens and George Eliot. And he was inspired by the art he saw here, including paintings by Constable and Millais which are featured in the exhibition. They affected his paintings throughout his career. The exhibition also looks at the British artists who were inspired by Van Gogh, including Francis Bacon, David Bomberg, and the young Camden Town painters. It shows how his vision set British artists on the road to modern art. Mo – su, 10 – 18 h.

25 May – 28 September, North Yorkshire: Sculpt: 7 Artists across 7 Churches: St. Mary's Church, North Stainley; St Nicholas' Church, West Tanfield; Church Of St. Michael The Archangel, Well: St Mary's Chapel, Snape Castle, Snape; St. Mary's Church, Masham; St. Paul's Church, Healey; St John the Evangelist Church, Mickley.

31 May - 28 July, The Manger Gallery, Kings Newton Fields, Kings Newton Lane, Melbourne, Derbyshire DE73 8DD: Secret Places: images of safety and solace by Michael Cook. The Manger Gallery specialises in contemporary British Romanticism, religious and visionary work. 'Secret Places’ includes figurative and landscape pieces, real and imagined. Images of Holy Wells, hollows, contemplative figures (human and animal), versions of the St Kevin legend, and the Garden of Gethsemane. Except for Open Weekends please phone or email ahead of your visit. 01333 862365. 

1 July – 15 August, The Ismaili Centre, 1 Cromwell Gardens. Entrance South Kensington, London: Kevork Mourad: Seeing Through Babel.

5 July – 3 August, Ushaw College, Woodland Road, Durham, Co Durham: Mat Collishaw will see the artist create a site-specific installation that explores the themes of martyrdom and treason, worship and heresy at Ushaw, the former seminary in County Durham. 11 – 15 h.

12 July – 1 October, All Saints and St Andrew’s Kingston, Church Lane, Cambridge: Bettina Furnée: A World to Come.

16 July – 1 September, Manchester Cathedral, Victoria St, Manchester: Elizabeth Kwant: Habeas Corpus. ‘Habeas Corpus’ is an ongoing body of work playfully commenting upon British Immigration Removal Centres. The prints take the form of vintage travel posters, each recording the name, location and capacity at each removal centre. Colours allude to institutional architecture and mass-produced furniture found in public buildings. For the Cathedral exhibition, the prints have been realised as a series of flags installed in the Regimental Chapel (pictured) which will hang alongside the permanent regimental flags - embodying the act of protest occupying a physical presence within the space. Accompanying this exhibition is a newly commissioned light box series, conceived for the Regimental Chapel. Mediterranea - a series of large scale brightly coloured flags will also occupy the Chapter House, highlighting the ongoing migrant crisis in the Mediterranean. Su, Mo – Th, 8.30 – 18.30 h, Fr, Sa, 8.30 – 17.30 h.



4 octobre 2018 – 3 octobre 2019, Lugdunum, 17 rue Cléberg, Lyon : Bonae Memoriae. Premiers chrétiens sur la colline de Fourvière. 4e 7e siècle. Seront présentés, beaucoup pour la première fois, des objets tirés des réserves de Lugdunum ou découverts lors des fouilles récemment réalisées par l’Inrap, Institut national de recherches archéologiques préventives, sur la colline de Fourvière. Ils illustrent l’évolution des pratiques funéraires de l’ère « païenne » à l’ère chrétienne, de l’Antiquité au Moyen Âge. Horaires :

8 February – 31 December, Centre International du Vitrail, 5 Rue du Cardinal Pie, Chartres : Images et lumière, le vitrail contemporain en France 2015-2019. Le centre international du vitrail (CIV) de Chartres fait actuellement, dans le cadre d’une exposition, le point sur la création contemporaine de vitraux de ces cinq dernières années en France. Plus de 60 œuvres, conçues par 19 artistes contemporains sont exposées dans les grandes salles voûtées du XIIIe siècle du CIV. Au total, ce ne sont pas moins que 28 chantiers de vitraux, réalisés entre 2015 et 2019, qui sont présentés au sein de l’exposition ; un témoignage fort de la vitalité de la création contemporaine dans ce domaine. Jours et heures d’ouverture :

17 April – 29 July, Musée du Louvre, Rue de Rivoli, Paris : Broderies de tradition byzantine en Roumanie du XVe au XVIIe siècle. Dans le cadre de la Saison France-Roumanie 2019, et à l’occasion du prêt emblématique par la Roumanie de la Bannière de saint Georges du prince Étienne le Grand, l’exposition se propose de mettre en valeur le caractère exceptionnel des collections roumaines de broderies religieuses de tradition byzantine et post-byzantine, fleuron du patrimoine roumain et universel. Horaires :



12 April 2018 – 30 September 2019, Jewish Museum Berlin, Lindenstraße 9-14, Berlin: Ganzfeld "Aural". An Installation by James Turrell. In a temporary structure in the museum garden, we are presenting the immersive installation Ganzfeld “Aural”. “Aural” is the Berlin premiere of a Ganzfeld by the world’s foremost light sculptor. The installation is part of the Ganzfeld Pieces series, in which Turrell creates liminal zones of experience. Upon entering the Ganzfeld “Aural” installation, visitors are immersed in a space that reveals neither its light source nor its dimensions. Their eyes lose their frame of reference; their gaze is unleashed. Light, color, and space melt together. The installation’s gradual color shifts are punctuated by flashes of light. James Turrell demands time from his visitors. Our eyes must first adjust before the light’s effect fully unfolds. Suddenly, we perceive the slightest stimuli and changes. This leads to dreamlike experiences reminiscent of thick fog, expanses of snow, or the dark of night.  Light is a central symbol in Judaism linking the beginning and end of creation. James Turrell’s works can be seen as one of the most spectacular artistic interpretations of the creation of light. Hours:

18 January – 22 December, Düsseldorf, Essen, Krefeld, Mönchengladbach, Trier, Troisdorf und Saarbrücken. Wanderausstellung der Evangelische Kirche im Rheinland. “und… LICHT”. Mit Licht beschäftigen sich Kunst und Kirche gleichermaßen. In Anlehnung an Bibelverse wie den vom Anfang der Bibel „Und Gott sprach: Es werde Licht! Und es ward Licht“ hat die Evangelische Kirche im Rheinland (EKiR) international renommierte Künstlerinnen und Künstler im Jahr 2019 zu einer Wanderausstellung eingeladen. Sie trägt den Titel „und … LICHT“ und soll den Dialog zwischen Theologie und Lichtkunst vertiefen. Die Wanderausstellung startet am 18. Januar 2019 in der evangelischen Johanneskirche in Saarbrücken und wird 2019 in sechs weiteren Städten auf dem Gebiet der EKiR zu sehen sein: in Düsseldorf, Essen, Krefeld, Mönchengladbach, Trier, Troisdorf und Saarbrücken. Ausgestellt werden Videoinstallationen, Projektionen, Glasarbeiten, Fotografien und Lichtobjekte. http://

24 March – 27 October, Glasmalereimuseum Linnich, Rurstraße 9, Linnich: Licht-Zeichen. Die Kunst von Johannes Schreiter. Als einer der namhaftesten Künstler und Lehrer seines Fachs hat Johannes Schreiter die Glasmalerei der Gegenwart - insbesondere die architekturgebundene - maßgeblich geprägt und weiterentwickelt. Professor Schreiter zeigte sich für Glasfenstergestaltungen in der Bundesrepublik Deutschland, in Frankreich, Wales, England, Schweden, Israel und den USA verantwortlich. Die Sonderausstellung präsentiert Werke von Schreiter aus der zweiten Hälfte des zwanzigsten Jahrhunderts sowie einige seiner Glasbilder aus dem 21. Jahrhundert. Zur "Licht-Zeichen"-Ausstellung wird ein Begleitprogramm angeboten, das einen Vortrag, eine Exkursion und mehrere Workshops beinhaltet. Di – So, 11 – 17 U.

12 April – 8 September, Museum am Dom, Bischof-Stein-Platz 1, Trier: Zug um Zug - was aus Figuren Menschen macht. Arbeiten von Künstlern aus dem Grödnertal/Südtirol. Der Titel der Ausstellung nimmt Bezug auf ein Werk der Ausstellung. Roland Perathoner hat bekannte Personen des öffentlichen Lebens in Südtirol als Figuren eines Schachspiels dargestellt: das Leben als großes Spiel um Anerkennung, Einfluss, Macht und Gewinn. Aber zu einem menschlichen Miteinander braucht es noch mehr: beispielsweise Wertschätzung, Verständnis, Vertrauen, gegenseitigen Respekt und Begegnung auf Augenhöhe. Erst das macht aus Figuren Menschen! Die Ausstellung versammelt Werke von elf Künstlern aus dem Grödnertal in Südtirol. Ausgewählt wurden Werke, die in der einen oder anderen Weise die Begegnung von Menschen mit sich selbst, mit anderen Menschen oder mit Gott zum Thema hatten. Dass Begegnungen und Beziehungen zwischen Menschen nicht immer gelingen und durchaus ihre Hindernisse haben, wird an vielen der Arbeiten deutlich. Folgende Künstler sind mit Werken in der Ausstellung vertreten: Filip Moroder Doss, Armin Grunt, Gerald Moroder, Hubert Mussner, Eric Perathoner, Roland Perathoner, Ivo Piazza, Georg Demetz Pilat, Hermann Josef Runggaldier, Thaddäus Salcher, Flavio Senoner. Di – Sa, 9 – 17 U, so, 13 – 17 U. 

12 April – 15 September, The ‘Neue Galerie’ in Hamburger Bahnhof, Museum für Gegenwart, Invalidenstraße 50-51, Berlin: Exhibition Emil Nolde – A German Legend. The Artist during the Nazi Regime. What impact did the ‘Third Reich’ have on Emil Nolde’s artistic work? To what extent do some of his works, such as his depictions of mythic sacrificial scenes or ‘Nordic’ people, correspond with his sympathies for the Nazi regime? What effects did Nolde’s defamation and professional ban have on his artistic practice and political outlook? Moreover, how did the myths about Nolde develop in the post-war period? The centrepiece of the exhibition is a reconstruction of the ‘painting gallery’ in Nolde’s studio house in Seebüll, a display of paintings and watercolours just as the aging artist himself arranged them during the wartime winter of 1941/42. Hours:

12 April – 11 August, Gemäldegalerie Alte Meister, Schloss Wilhelmshöhe, Schlosspark 1, Kassel: … verliebt in Saskia. It must have been Love. Rembrandt met Saskia in 1633. He was already well on his way to becoming a prominent painter, and she came from a wealthy family in Leeuwarden. Soon after their first meeting, the couple announced their engagement and in 1634 were married in the Frisian village of St. Annaparochie. After the wedding the couple moved to Amsterdam, where Rembrandt had his studio. The painter liked to use his new wife as a model. A number of his drawings and etchings depicting Saskia are included in the exhibition. Rembrandt and Saskia had four children. The first three died as infants. Only their fourth baby, Titus, would reach adulthood. But Saskia did not live to see this. Soon after Titus’ birth and eight years after the wedding, Saskia died in 1642 at the age of 29. The highlight of the exhibition is the portrait of Saskia that Rembrandt completed after her death. Saskia in Profile in Rich Costume, one of his most personal masterpieces. Tu – Su, 10 – 17 h (We until 20 h).

13 April – 18 August, Augusteum, Collegienstraße 54, Wittenberg: Verehrt. Geliebt. Vergessen. Maria zwischen den Konfessionen. Die Ausstellung stellt die wechselvolle Geschichte der Marienfrömmigkeit im Reformationsjahrhundert mit wertvollen Zeugnissen der Kunst wie auch der Theologie, Literatur und Musik aus über 40 Sammlungen vor. 9 – 18 U. 

19 April – 1 September, Schloss Wittenberg: Maria zwischen Liebe und Verzweiflung. Mit Beginn der Moderne vollzieht sich ein Wechsel hinsichtlich der Typologisierung der Maria: Die Jungfrau und Mutter Gottes wird zu einer ganz weltlichen Frau und Mutter mit der ganzen Bandbreite an zutiefst menschlichen Gefühlen. Mo – Sa, 10 – 17 U, So, 12 – 17 U. 

25 April – 1 September, Stiftung St. Matthäuskirche, Matthäikirchplatz, Berlin: Raul Walch. Auf der Grenze. Der Berliner Künstler Raul Walch hat sich dreißig Jahre nach dem Berliner Mauerfall auf den Weg an die Ränder Europas gemacht, um an den Außengrenzen nach den Wurzeln Europas zu suchen. Im Kontext seiner künstlerischen Forschung entstanden Fotografien, Stoff- und Flugobjekte, die sich im Kirchenraum der St. Matthäus-Kirche zu einem raumgreifenden Mobile verdichten: Der Balanceakt Europa, die vielteilige Identität eines Kontinents als bewegliche Mindmap über den Köpfen der Kirchenbesucher. Der Kirchenraum, selbst Grenzort zwischen dem Sichtbaren und dem Unsichtba-ren, dem Profanen und dem Heiligen, zwischen Kunst und Kirche, wird zum Dreh- und Angelpunkt der Frage nach dem  Gleichgewicht in einem Zusammenleben der Vielen. Di – So, 11 – 18 U.

10 May – 2 September, Hamburger Kunsthalle, Glockengießerwall, Hamburg: Im Licht des Nordens. Dänische Malerei der Sammlung Ordrupgaard. Eine der spektakulärsten Sammlungen dänischer Malerei des 19. und frühen 20. Jahrhunderts, mit einer Auswahl seiner Meisterwerke ist zu Gast. Die ausgestellten Arbeiten bieten einen repräsentativen Überblick über die Entwicklungstendenzen innerhalb der dänischen Malerei während eines ganzen Jahrhunderts und verdeutlichen zugleich deren besondere Errungenschaften. Der Bogen spannt sich von den Wegbereitern des sogenannten »Goldenen Zeitalters« der dänischen Kunst über die Vertreter der nationalromantischen Richtung bis zu den Fünen-Malern, die auf der gleichnamigen dänischen Insel die Freilichtmalerei praktizierten. Di – So, 10 – 18 U (Do bis 21 U).

17 May – 24 July, DG Deutsche Gesellschaft für christliche Kunst, Finkenstraße 4, München: Doppelpass III: ‚Stille über den kalten Fluten des Inns‘. Silvia Hatzl und C.A. Wasserburger. Silvia Hatzl konzipiert für den Galerieraum, im Dialog mit den Werken ihres jüngst verstorbenen Vaters C.A. Wasserburger eine raumspezifische Installation. Der Betrachter betritt ein ‚Skulpturenbild‘, das sich je nach Standpunkt und Lichteinfall verändert. Die Lebendigkeit, Unebenheit und Transparenz des Materials weckt Assoziationen an japanische Shoji Papiere. Die lichtmalerischen Membranen geben den Blick auf zwei große Gewänder frei, die als Platzhalter für Personen fungieren. Das Material für die Gewänder gewinnt Silvia Hatzl aus der Bearbeitung von tierischer Haut oder Därmen. Mit welchen Mitteln C.A. Wasserburger seine Lebenszeit der Nachwelt in einer Skulptur hinterlassen hat, zeigt eine große Vitrine mit einer Sammlung von Gefäßen mit Bleistiftabrieb und den Reststücken vieler Bleistifte. Daneben ein Tisch mit vierzehn Büchern, die vom Künstler angefüllt wurden mit Berichten und Zeichnungen.  Das Zeugnis ist niemandem mehr zugänglich, da die Tagebücher mit verschweißten Metallbändern vor neugierigen Blicken geschützt wurden. Di – Fr, 12 – 18 U.

18 May – 11 October, Museum für zeitgenössische Kunst Diether Kunerth, Marktpl. 14a, Ottobeuren: Markus Lüpertz „ET IN ARCADIA EGO“. Das bislang einzige, von James Hofmaier bearbeitete Verzeichnis der Graphiken von Markus Lüpertz nennt als früheste Arbeit mit der Nummer 1 eine Kaltnadelradierung (2 Motive, Kreuzabnahme und Kreuzigung), die um 1960/62 entstand. Insgesamt werden etwa 380 Nummern in dem 1991 veröffentlichten Katalog verzeichnet, neben Kaltnadelradierungen sind darunter Linol- und Holzschnitte, Ätzungen und Aquatinten, Prägungen oder Vernis mou sowie Lithographien und Serigraphien (Siebdrucke). Geschaffen hat Lüpertz sie sowohl auf die klassische Art und Weise als auch eher unkonventionell, zum Beispiel mit Hilfe von Bohrmaschinen. Di – Fr, 11 – 16 U, Sa, So, 12 – 17 U.

19 May – 18 August, Draiflessen Collection, Georgstr. 18, Mettingen: Glaube. Teil 1 der Ausstellungstrilogie „Glaube, Liebe, Hoffnung“. Der erste Teil widmet sich dem Begriff Glaube. Mit ihm verbinden sich Sehnsüchte, Trost- und Zukunftsversprechen, aber auch Ängste, Enttäuschungen und Zweifel. Die Ausstellung Glaube versammelt eine komprimierte Auswahl an Kunstwerken aus dem 20. und 21. Jahrhundert, die sich auf unterschiedliche Art und Weise mit existenziellen Fragen des Menschseins, mit Glaube und Zweifel auseinandersetzen. Mi – So, 11 – 17 U.

24 May – 11 August, Dommuseum Hildesheim, Domhof 18-21, Hildesheim: Vegetabil. Der aktuellen Frage nach dem Kulturtransfer asiatischer Kontemplation und Naturwahrnehmung in den divergenten Kontext Mitteleuropas widmet sich die Ausstellung „Vegetabil“ im Dommuseum Hildesheim. Ausgehend von Morio Nishimuras (geb. 1960 in Tokio) organischer Plastik „Süßer Regen“ werden im Dommuseum Hildesheim historische Publikationen vom Mittelalter bis ins 20. Jahrhundert ausgestellt, die sich unterschiedlichen Aspekten der Pflanzenwelt widmen. Während die Skulptur von Nishimura die feine Struktur und das vegetabil Gewachsene in einer raumgreifenden, sich zwischen abstrakt und gegenständlich einzuordnenden Formgebung entfaltet, zeigen die historischen Buchillustrationen das weite Spektrum des Interesses an der Pflanzenwelt auf.  Im Kräuterbuch „Hortus sanitatis“ (1491) sind heilsame Pflanzen beschrieben und abgebildet, in dem der Andacht dienenden „Hortulus animae“ (1593) bilden die Ranken und Blätter als Ornamente Rahmung und Verzierung, Meyers „Flora des Königreichs Hannover“ (1783) zeigt in großformatigen Kupferstichen die heimische Pflanzenwelt wohingegen eine Schrift Richard Piepers mit farbenprächtigen Abbildungen der Flora Asiens versehen ist. Die Skulptur „Süßer Regen“ von Morio Nishimura wird dem Dommuseum von der ‚Dr. Christiane Hackerodt Kunst- und Kulturstiftung‘ (Hannover) als Auftakt einer weiterführenden Kooperation zur Verfügung gestellt. Die zahlreichen historischen Publikationen entstammen der reichhaltigen Sammlung der Dombibliothek Hildesheim. Di – So, 11 – 17 U.

30 May – 1 September, Kunstmuseum Kloster Unser Regierungsstraße 4, Magdeburg: Martin Assig. Weil ich geboren wurde. Die Ausstellung öffnet den Blick auf das umfangreiche aktuelle Werk von Martin Assig und nimmt Bezug auf die Entstehungsgeschichte des Fußbodenbildes in der Kirche. Das Bodenbild  für die Klosterkirche vervollständigt diesen Raum und fügt sich ästhetisch ein, als wäre es schon immer hier. Immer schon gab es in diesem Bauwerk Fußböden, die aus Gipsestrich bestehen und darin Bilder einzulegen, war zur Bauzeit des Klosters typisch für den Harzraum. Daher wurde das Bild von Martin Assig in dieser alten aufwändigen Technik durch die Firma Huschenbeth, Mühlhausen, ausgeführt. Di – Fr, 10 – 17 U, Sa, So, 10 – 18 U.

16 June – 28 July, Kunst-Station St. Peter Köln, Jabachstraße 1, Köln: Kathy Prendergast: Atlas. Die Künstlerin hat einen handelsüblichen AA-Straßenatlas für Europa in ein komplexes und raumgreifendes visuelles Statement verwandelt. Über hundert Exemplare wurden von der Künstlerin mit schwarzer Tusche akribisch überzeichnet, wobei alle geografischen Details beseitigt wurden – bis auf Städte und Gemeinden, die als kleine Punkte in einem schwarzen Meer verbleiben. Grenzen, Flüsse und Namen sind verschwunden. Allein die Orte menschlicher Besiedlung geben noch geografische Orientierung. Angeordnet auf Klapptischen bilden die Atlanten eine vollständige, wenn auch verzerrte Karte Europas, seiner Grenzen und Landmassen. Von der Empore der Kirche eröffnet sich ein Gesamtüberblick über die Installation und die Anordnung Europas. Hier präsentiert die Künstlerin zudem ihre eigens für Sankt Peter entwickelte skulpturale Arbeit „The Road“, in der sie fragmentarische Straßenstücke aus der kartografischen Fläche in den dreidimensionalen Raum fortführt. Mi – So, 12 – 18 U.

6 July – 11 August, Museum Kirche in Franken, Rothenburger Str. 16, Bad Windsheim: Ausstellung: Kunst unterm Kirchendach. Beim Thema „Kunst und Kirche“ geht der Blick meist weit zurück in die Zeiten von Romanik, Gotik oder Barock. Doch die christlichen Kirchen sind auch heute noch wichtige Auftraggeber für Kunstschaffende. Der Dialog mit der zeitgenössischen Kunst ist unersetzlich für lebendige Gemeinden, wenn sie nach einer zeitgemäßen, liturgisch und künstlerisch angemessenen Gestalt des Kirchenraums streben. Die Deutsche Gesellschaft für christliche Kunst hat in Kooperation mit dem Verein Ausstellungshaus für christliche Kunst(VAH) eine Auswahl solcher Projekte zusammengestellt.Das Museum Kirche in Franken freut sich, eine Wanderausstellung zu zeigen, die sich durch Gegenwartsbezug,ökumenische und interreligiöse Offenheit auszeichnet. 10 – 18 U.

13 August – 16 October, Landeskirchenamt Hannover, Rote Reihe 6, Hannover: Kunst trotz(t) Ausgrenzung. Mit dieser Wanderausstellung wird die öffentliche Auseinandersetzung mit gesellschaftlichen Ausgrenzungsphänomenen gesucht. Künstler*innen, die sich ganz unterschiedlich sozial und kulturell verorten, laden mit ihren Werken ein breites Publikum dazu ein, neue Perspektiven auf eine Gesellschaft der Vielfalt zu gewinnen und einen eigenen Standpunkt in einer zentralen politischen Debatte zu finden.



19 February 2018 – 26 February 2025, Uffizi Galleries, Piazzale degli Uffizi 6, Florence: Caravaggio and the 17th century. Hours:

7 May – 29 September, Canton Scuola Synagogue, Calle Orto, 1191, Venice: Edmund de Waal, Psalm. British artist and author, Edmund de Waal will be the first contemporary artist to create a major work for the Ghetto in Venice which will be unveiled during the preview week of the Venice Biennale, opening on 7th May 2019. The exhibition is called psalm and will be in two parts. The first is located in the Canton Scuola, the beautiful 16th-century synagogue in the Ghetto Nuovo, which is now part of the Jewish Museum. New installations of porcelain, marble and gold will reflect the literary and musical heritage of this extraordinary place. For the first time, the Women’s Gallery within the synagogue will hold contemporary art. The intention is to animate spaces that are little known and little understood by visitors to the Biennale and to bring new audiences into the Ghetto. The second part of the work will be a pavilion based at the Ateneo Veneto, the fifteenth-century building near the Fenice Opera House that has been an historic centre for cultural debate in Venice. Here, Edmund de Waal is constructing a small building within the main space that will house 2000 books by exiled writers, from Ovid to the present day.

11 May – 24 November, Palazzo Querini, Calle Lunga San Barnaba, Dorsoduro: Rothko in Lampedusa. Rothko in Lampedusa is an independent exhibition organised by UNHCR taking place during the 58th Venice Biennale and curated by Francesca Giubilei and Luca Berta. The exhibition reflects upon the migrant crisis utilising a poignant artistic language. The common thread weaving throughout the exhibition is Mark Rothko, the artist who escaped from the repressive Soviet regime in the beginning of the 20th century. If this particular refugee had not been able to explore his artistic potential in his host country, we would not have his extraordinary artworks today. So among the indefinite number of today’s refugees, could there be a Rothko of the 21st century? The exhibition, therefore, intends to create a dialogue between established contemporary artists and six younger refugee artists, who will be welcomed and hosted in the city of Venice. This artist in residency programme is in partnership with the island of San Servolo. Acclaimed international artists like Ai Weiwei, Dihn Q. Lê, Nalini Malani, Abu Bakarr Mansaray, Christian Boltanski, Artur Żmijewski, Richard Mosse, and Adel Abdessemed will play a pivotal role in presenting refugees as not societal burdens but valued individuals.



31 January – 15 September, Mauritshuis, Plein 29, The Hague: Rembrandt and the Mauritshuis. The Mauritshuis has one of the most renowned and important collections of paintings by Rembrandt in the world. The museum will exhibit all of the eighteen paintings in the collection that are or have been attributed to Rembrandt. Among those are masterpieces such as The Anatomy Lesson of Dr Nicolaes Tulp and Rembrandt’s late self-portrait, but also other paintings that are no longer considered to be by Rembrandt and are rarely – if ever – on display. All of these works together show the shifting perception of Rembrandt throughout the centuries. 10 am – 6 pm (Mo from 1 pm, Th until 8 pm).

14 April – 29 March 2020, Stadhuismuseum Zierikzee, Meelstraat 6, Zierikzee: Franchoys Ryckhals. A Master from Zeeland in the Golden Age. Franchoys Ryckhals, painter and draftsman from Middelburg, was active from circa 1630 to 1647. A large volume of about 120 of his paintings and drawings are known, indicating a succesful care Ryckhals was largely forgotten in the eighteenth century, but was re-discovered in 1917. Much of his work consists of farmhouse interiors with livestock, vegetables and people. He also painted rural landscapes, a few in with a biblical theme, and fish on the beach as well as still-lifes with valuables. Although Ryckhals was rediscovered in the nineteenth century he remains unknown to the general public. The Stadsmuseum Zierikzee is about to bring the artist into the limelight. The exhibition includes works from the Goedaert Collectie, as well as loans from the Mauritshuis, the Noord-Hollands Archief in Haarlem, the Elsene museum in Brussel, the Zeeuws Museum in Middelburg, and several private collections. Hours (in Dutch):

25 May – 5 September, Drawing Centre Diepenheim, Kuimgaarden 1, Diepenheim: Marisa Rappard: Clouded Matter. Drawing Centre's curator Nanette Kraaikamp writes: 'In her drawings, Marisa Rappard intuitively explores what it means to be human in a world of technology that is changing with incredible speed. While drawing, she investigates the influence digital phenomena such as filtered newsfeeds, big data and fake news have upon our daily lives. Navigating between abstraction and figuration, switching abruptly between confusing perspectives, using vibrating hatchings and layers of colour, Rappard creates a body of work just as complex. We – Su, 11 – 17 h.

20 June – 3 October, Museum De Lakenhal, Oude Singel 32, Leiden: Rembrandt & the Dutch Golden Age. The galleries of Museum De Lakenhal exhibit leading works from the Golden Age of Leiden’s masters such as Rembrandt Harmensz. van Rijn, Jan van Goyen, Jan Steen and the Leiden Fijnschilders (literally ‘fine painters’). This exhibition tells the story of Leiden and the flourishing artists who made it the birthplace of the Dutch Golden Age. Early 17th century Leiden was the workplace of diverse painters, each of which would prove to be of crucial significance to Dutch Golden Age art. The young Rembrandt and Jan Lievens worked closely together in their formative years as artists and during the time they spent in Leiden they laid the foundations for an oeuvre that would be of global significance. From the outset, they presented themselves through their paintings and etchings as experimental and inquisitive artists. At the same time, Jan van Goyen and the maritime artist Jan Porcellis were developing as pioneers of Dutch landscape painting. Leiden also gained prominence through painters such as Jan Davidsz, de Heem and David Bailly who focused on vanitas still lifes, which dealt with the concept of transience. The masterpieces of these great artists can be admired at the exhibition. Tu – Sun 10 – 17 h.

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27 October 2018 – 20 January 2020, Scottish National Portrait Gallery, 1 Queen Street, Edinburgh: Art and Analysis: Two Netherlandish Painters working in Jacobean Scotland. Focusing on the artists Adrian Vanson and Adam de Colone, this small exhibition presents the findings of a collaborative research project with the National Galleries of Scotland (NGS) Conservation and Curatorial departments and paintings conservator Dr. Caroline Rae who was the Caroline Villers Research Fellow for the academic year 2016-17. NGS has been jointly hosting (with the Courtauld Institute of Art) Caroline, whose research is primarily focused on the technical examination of five paintings attributed to Adrian Vanson and eight paintings attributed to Adam de Colone in the NGS collection.  She has also examined a further portrait attributed to Vanson, Sir John Maitland, 1st Lord Maitland of Thirlestane, in the National Trust collection at Ham House. This painting will be on display as part of the exhibition. Adrian Vanson (died around 1604-10) and Adam de Colone (around 1595–1628) were Netherlandish artists who lived and worked in Scotland at the end of the sixteenth and beginning of the seventeenth centuries. During this period many Protestant Netherlanders fled their home to escape religious persecution by the Catholic Hapsburgs. Taking advantage of the flourishing trade links between Britain and the Low Countries many settled with their families in this country and became tradesmen and artists. Vanson and de Colone, whose families were related by marriage, became successful artists and painted wealthy members of Scottish society including the King and members of his court. Both artists had a demonstrable impact on the development of early Scottish portraiture, in particular influencing the first known native Scottish portrait painter George Jamesone (ca. 1589-90 – 1644). Hours:

2 August – 25 August, St John's Church, Princes Street, Edinburgh: ABRAHAM: Out of One, Many.



19 March – 30 November, Narodni Muzej, Trg Republike 1a, 11000 Belgrade: Netherlandish Prints from the Collection of the National Museum in Belgrade. Ninety-six prints made between 1518 and 1740 – from works done by Lucas van Leyden to those made by Jan Punt – will be displayed at the the museum, most of them are on display for the first time. The National Museum’s collection of Dutch and Flemish prints was formed during the twentieth century.



25 June – 29 September, Museo del Prado, Calle de Ruiz de Alarcon, 23, Madrid: Velázquez, Rembrandt, Vermeer. Parallel visions. This exhibition on late 16th- and early 17th-century Dutch and Spanish painting is the result of an extensive and important research project on the part of the Museum arising from a collaborative agreement with the Rijksmuseum in Amsterdam, which will be lending a significant group of works. The exhibition will offer a reflection on the pictorial traditions represented by Spain and the Low Countries. While the art-historical literature, particularly that generated in Holland, has considered these traditions as essentially different, this exhibition will aim to juxtapose the historical myths and artistic realities of the two countries and to reflect on the numerous traits that they share. In order to appreciate these parallels the exhibition will include major works by artists such as Velázquez, Rembrandt, Ribera, Frans Hals and Vermeer.Mo – sa, 10 – 18 h, su, 10 – 17 h.



28 October 2018– 27 October 2019, Kunstmuseum Thurgau, Ittinger Museum, Kartause Ittingen, Warth: Till Velten - La condition humaine. Was ist der Mensch? Und: Welches Bild machen wir von ihm? Um diese Fragen kreist die Installation „La condition humaine“ von Till Velten, die im Kunstmuseum Thurgau ab dem 28. Oktober 2018 gezeigt wird. Der Basler Konzeptkünstler schafft eine Serie von Porträts von aussergewöhnlichen Menschen und stellt diese einer Auswahl von Werken des Autodidakten Erich Bödeker gegenüber. Mit dieser Gegenüberstellung schafft er Erfahrungsfelder, auf denen sich das Publikum grundsätzlichen Fragen über die menschliche Existenz stellen muss. Mo – So, 11 – 18 U.

4 May 2019 – 5 April 2020, Kunstmuseum St. Gallen, Museumstrasse 32, St. Gallen: Altmeister – Geschichten: Die Schenkung Maria und Johannes Krüppel-Stärk. Das Ehepaar Maria und Johannes Krüppel-Stärk hat dem Kunstmuseum  St. Gallen seine grossartige Kollektion vermacht: 57 Gemälde, 89 Zeichnungen, 1 358 Druckgrafiken niederländischer und deutscher Herkunft vom 15. bis zum 17. Jahrhundert. Das St.Galler Altmeisterwunder findet so eine wunderbare Fortsetzung, insbesondere dank der reichen Grafiksammlung, die den Altmeister-Bestand grundlegend erweitert. Herausragend sind die religiösen Szenen der deutschen Kupferstecher, allen voran Schongauer und Dürer. Einen weiteren Schwerpunkt bildet die Landschaftsdarstellung, wobei die Entwicklung von der flämischen Gebirgsphantasie zur «realistischen» holländischen Flachlandschaft im Zentrum steht: Viele grosse Namen, von Bruegel d. Ä. über van Ruisdael bis zu Rembrandt, sind mit Hauptblättern vertreten. Ausgesuchte holländische Zeichnungen, etwa von van Goyen, ergänzen perfekt die vorhandenen Werkgruppen der betreffenden Künstler und Stilrichtungen. Ebenso führen Gemälde von Cuyp, van Kessel und Ruysch völlig neue ikonografische Aspekte in die Sammlung ein. Altmeister-Geschichten wird den magistralen Zuwachs in thematischen Facetten präsentieren und vielfältig in Bezug setzen zur bestehenden Sammlung. Öffnungszeiten: ;



1 June – 15 September, Royal Ontario Museum, 100 Queen’s Park, Toronto: In the Age of Rembrandt: Dutch Paintings from the Museum of Fine Arts, Boston. An unprecedented collection of over sixty paintings –  including works from Rembrandt van Rijn, Frans Hals, Jan Steen, and Jacob van Ruisdael  – provides insight into the 17th century Dutch and Flemish ways of life, whether through luxurious still life, humorous genre scenes, sumptuous portraits, or detailed landscapes, cityscapes, and architectural paintings. The 17th century Dutch Golden Age exhibited a new approach to art. Independence from Spanish Catholic monarchical rule and the establishment of a Dutch Protestant Republic spurred a boost in global trade, a scientific revolution, and a burgeoning middle class. This political and religious freedom paved the way for a newly democratic period in art history. Instead of the extravagant portrayals of royalty, history, and religious subjects seen elsewhere in Europe, Dutch artists often depicted ordinary people, everyday life, and scenes that appealed to middle-class citizens and fueled a competitive art market. 10 – 17.30 h.

25 June – 26 January 2020, Âjagemô Exhibition Space, Canada Council for the Arts, 150 Elgin Street (ground floor), Ottawa, Ontario: Open Channels. Discover the works of visual artists who took part in the Canada C3 sailing expedition organized for the 150th anniversary of Confederation, in 2017. Aboard the ship, they drew inspiration from Canada’s ever-evolving environmental, social and cultural landscapes, as well as from dialogue between Indigenous and non-Indigenous peoples. The artists: Lizzie Ittinuar, Sarni Pootoogook, Deanna Bailey, Soheila Esfahani, Christine Fitzgerald, Anna Gaby-Trotz, Phil Irish, Benjamin Kikkert, Paula Murray, Dominique Normand, Geoff Phillips, Francine Potvin, Leslie Reid, Rachel Rozanski, Véronique Tifo. 7 – 21 h.

17 July – 8 August, Dal Schindell Gallery, 5800 University Blvd, Vancouver, BC: Now and Then, Phil Long & Paul Spilsbury. Remembering and envisioning: This collaboration features works in oil, acrylic, watercolour, and ink by now and then artists Dr. Phil Long and Dr. Paul Spilsbury. Mo – fr, 8.30 – 17 h, sa, 12 – 16 h.



16 October 2018 – 4 October 2020, MET, New York: In Praise of Painting. Dutch Masterpieces at the Met. Dutch paintings of the seventeenth century—the Golden Age of Rembrandt, Hals, and Vermeer—have been a highlight of The Met collection since the Museum's founding purchase in 1871. This exhibition brings together some of the Museum's greatest paintings to present this remarkable chapter of art history in a new light. Through sixty-seven works of art organized thematically, In Praise of Painting orients visitors to key issues in seventeenth-century Dutch culture—from debates about religion and conspicuous consumption to painters' fascination with the domestic lives of women. The exhibition provides a fresh perspective on the canon and parameters of the Dutch Golden Age by uniting paintings from Benjamin Altman's bequest, the Robert Lehman Collection, and the Jack and Belle Linsky Collection. Works typically displayed separately in the Museum's galleries—such as Rembrandt's Gerard de Lairesse and Lairesse's own Apollo and Aurora—are presented side by side, producing a visually compelling narrative about the tensions between realism and idealism during this period. The presentation also provides the opportunity to conserve and display rarely exhibited paintings, including Margareta Haverman's A Vase of Flowers—one of only two known paintings by the artist and the only painting by an early modern Dutch woman currently in The Met collection. The exhibition takes its title from one of the period's major works of art theory, Philips Angel's The Praise of Painting (1642), a pioneering defense of realism in art. Hours:

6 April – 8 September, Fine Arts Museums of San Francisco, Legion of Honor Museum, 100 34th Avenue, Lincoln Park, San Francisco, CA: The Early Celebrity of Peter Paul Rubens. A major exhibition of works by the Flemish Baroque painter—the biggest US exhibition dedicated to the artist in over a decade. Peter Paul Rubens (1577–1640) was both a prodigious artist and one of the most extraordinary figures of the seventeenth century. Renowned for his virtuosic handling of oil paint, his taut depiction of dramatic action, and his sensuous coloring, Rubens was also an international diplomat, a shrewd businessman, a widely-read intellectual, a friend to scholars and monarchs, and the master of a prolific workshop. His early biographers regularly present Rubens as an aristocrat-artist, the favorite of Europe’s noble class, but this was far from an assured outcome. The Early Celebrity of Peter Paul Rubens will focus on what is arguably the artist’s most innovative period of production, from 1608 until about 1620. It was during these years that Rubens came to dominate Flemish painting through a series of social and artistic choices that laid the groundwork for his international fame and established a visual style that would guide ambitious painters for generations to come. Tu – su, 9.30 – 17.15 h.

30 April – 28 July, Metropolitan Museum of Art, 1000 5th Ave, New York: Selections from the Department of Drawings and Prints: Rembrandt. This temporary installation will commemorate the 350th anniversary of the death of the great Dutch draftsman, painter, and printmaker Rembrandt van Rijn. On display will be a selection of drawings and prints by the artist, from both the Department of Drawings and Prints and the Robert Lehman Collection, as well as an assortment of ephemeral material related to the etching revival and the cult of Rembrandt in the nineteenth century. Su – th, 10 – 17.30 h, fr, sa, 10 – 21 h.

10 May - 31 August, St. Christopher’s Episcopal Church, 625 Main St, Chatham, MA: Violent Grace: Paintings and Drawings by Edward Knippers. The Gallery at St. Christopher’s is hosting the art of Edward Knippers whose paintings are dramatic tableaux, Baroque in their expressive intensity and theatrical settings; they do what many art historians have said could never be done again: make the classic biblical subjects come alive in paint. With nearly 30 paintings that focus on the life of Christ, the highlight of the exhibition is a 16’ The Baptism of Jesus. 

18 May – 28 September, National Museum of the Marine Corps, 18900 Jefferson Davis Hwy. Triangle, Virginia: War Dogs: Never Above You, Never Below You, Always Beside You. An exhibition that explores the loyalty, bravery, and sacrifices made by the warfighters’ “best friend.” This exhibition combines sculptures by artist James Mellick with combat art from the collections of the National Museum of the Marine Corps, the United States Coast Guard, and the United States Navy, along with artifacts related to Marine Corps working dogs. Mellick’s creations, carved from wood, are symbolic of the sacrifices made by canine and human warriors alike. Twenty-eight works of combat art by 21 artists capture military dogs at work around the globe, from the jungles of the Pacific during WWII through the wars in Iraq and Afghanistan. Unique artifacts tell stories of specific Marine Corps dogs and handlers. 9 am – 5 pm. 

19 May – 2 September, SFMOMA, 151 Third St, San Francisco: Andy Warhol—From A to B and Back Again. Few American artists are as ever-present and instantly recognizable as Andy Warhol (1928–1987). Through his carefully cultivated persona and willingness to experiment with non-traditional art-making techniques, Warhol understood the growing power of images in contemporary life and helped to expand the role of the artist in society. This exhibition — the first Warhol retrospective organized in the U.S. since 1989 — reconsiders the work of one of the most inventive, influential, and important American artists. Beneath the glamour of Warhol’s wide-ranging creations is a deep engagement with the social issues of his time that continue to resonate today. Stretching across three floors of SFMOMA, featuring a dozen works unique to this museum, and building on a wealth of new materials, research, and scholarship that has emerged since the artist’s untimely death in 1987, this exhibition reveals new complexities about the Warhol we think we know, and introduces a Warhol for the 21st century. Th – Tu, 10 – 17 h (Th until 21 h).

20 June – 15 September, McNay Art Museum, 6000 North New Braunfels, San Antonio, Texas: Andy Warhol: Portraits. Andy Warhol: Portraits features over 120 paintings, prints, photographs, and films that depict the artist’s favorite genre: the portrait. This exhibition presents a snapshot of New York’s art and social scene from the 1960s through the 1980s through portraits of Warhol’s friends and patrons, movie stars and musicians, and celebrities of the day that range in style from the pristinely-idealized to the heartbreakingly-raw. Personalities who populated Warhol’s inner circle are represented; some widely recognized names include Joan Collins, Debbie Harry, Dennis Hopper, Mick Jagger, Robert Rauschenberg, and Andy Warhol himself. The presentation takes a multi-dimensional approach to the work, exploring the formal, conceptual, social, and political implications of portraiture, identity, and fame. Andy Warhol: Portraits invites the viewer into Warhol’s world, by examining the artist’s personal life, studio process, and use of a variety of mediums. We – Fr, 10 – 18 h, Sa, 10 – 17 h, Su, 12 – 17 h.

20 June – 22 August, ArtReach Gallery, Lovers Lane United Methodist Church, Dallas, TX: Living Encounters with God. Russ Reed has been painting for 25 years and is especially interested in stories of people and transformation. His major creative influences include many of the baroque masters, but especially Rembrandt, Caravaggio, and Zurbarán. More contemporary influences include the small portraits of Lucian Freud. These artists reveal a great deal with their realistic portrayals, but at the same time leave behind much mystery for us to ponder. Russ’s body of work extends the understanding of the ancient narratives into the reality of the present day. This focus places Russ in the continuum of centuries of figural and narrative artists. When not painting, Russ and his wife Terri also lead the Art & Faith community of artists in the southwest Dallas area through Faith Bible Church in Desoto, Texas. 

2 July – 1 June 2020, New Bedford Whaling Museum, 18 Johnny Cake Hill, New Bedford, MA: De Wind is Op! Climate, Culture and Innovation in Dutch Maritime Painting. The exhibition will explore our extraordinary collections of Golden Age Dutch and Flemish paintings through a fresh lens. These works will be interpreted around the themes of wind, climate and sea as the drivers behind a uniquely Dutch national identity represented in maritime works of art of this period. Dutch artists arguably invented seascape painting, and were the first to specialize in this genre. Their influence reverberates in all that followed, from the work of J.M.W. Turner to Winslow Homer to New Bedford artists William Bradford and Albert Pinkham Ryder. De Wind is Op! will include up to 50 paintings, prints, and other related artifacts drawn from the Museum’s Dutch collections, one of the largest and important of this genre outside of the Netherlands. There will also be a complementary exhibition in the fall of 2019 of European and American prints, paintings, and charts related to wind and climate themes. Hours:

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