Art is God's idea

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. ; 

15 February - 10 June, Albertina, Albertinaplatz 1, Vienna: Rubens to Makart – Liechtenstein. The Princely Collections. For the Principality and House of Liechtenstein, 2019 is an important commemorative year: on 23 January 1719, Emperor Charles VI combined the imperial lordship of Schellenberg and the imperial county of Vaduz to create the imperial principality of Liechtenstein. Prince Anton Florian I von Liechtenstein was its first lord. This event, now 300 years in the past, is being celebrated by the Albertina in Vienna – the city where the family resided until 1938 – with a major exhibition. Works ranging from the painting Venus by Peter Paul Rubens to the life-sized bronze sculpture of Christ in Distress by Adriaen de Vries and the recently acquired Bronze Bust of Emperor Marcus Aurelius, as well as selected artistic treasures from the family’s world-famous collection of Biedermeier works, will stand at the center of this presentation. The Princes of Liechtenstein have already shown their collections in important museums all over the world. However, they have never been accessible to the public in Vienna in their entire breadth, much less so since the new acquisitions of the past 15 years. With this presentation at the Albertina, it will be possible to experience the collections’ most valuable works and their singular quality in a new light. 10 am – 6 pm, We, Fr until 9 pm.



20 February - 26 May, BOZAR (Paleis for Schone Kunsten), Ravensteinstraat 23, Brussels: Printmaking in the Age of Bruegel (1500 – 1585). This exhibition shows the print production in the Southern Netherlands in the age of Bruegel. His graphic oeuvre is just a tip of the iceberg. Not every print was made as a work of art, some were made as news prints or political messages. The increasing production and rising popularity of prints in the sixteenth century is not only an artistic accomplishment. Tu – Su, 10 am – 6 pm, Th until 9 pm.

20 February - 26 May, BOZAR (Paleis for Schone Kunsten), Ravensteinstraat 23, Brussels: Bernard van Orley. Brussels and the Renaissance. Bernard van Orley was one of the pivotal figures of the Renaissance in the Low Countries. BOZAR and other prominent Belgian institutions are teaming up for the first major monographic exhibition devoted to this 16th century artist. Van Orley was a painter at the court of Margaret of Austria and Mary of Hungary and was inundated with commissions. As a young man he was already at the head of one of the biggest workshops of his time. He painted religious subjects and also designed wall tapestries and stained glass windows. In this exhibition special attention is paid to his portraits that place him at the centre of an important network of political advisors, influential clergymen and humanist thinkers. His work was in constant dialogue with that of contemporaries such as Albrecht Dürer and Raphael. From all over the world works by Van Orley will travel back to the place where they were once created, to be reunited in one historic exhibition. A unique opportunity to (re)discover this Brussels master. Tu – Su, 10 am – 6 pm, Th until 9 pm.

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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. ;

3 March – 2 June, Royal Academy of Arts, Burlington House, Piccadilly, London: The Renaissance Nude. Trace the development of the nude through some of the great masters of the Renaissance. Bringing together works by artists such as Titian, Raphael, Michelangelo, Leonardo, Dürer and Cranach, we shed light on a visual tradition at its most vital moment.

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.

29 March – 23 June, York Art Gallery: Ruskin, Turner & the Storm Cloud: Watercolours and Drawings. Our relationship with the environment and questions about mental health will be explored through the watercolours and drawings of two of the most celebrated artists of the 19th Century in this major new exhibition. To celebrate Ruskin’s 200th birthday, ‘Ruskin, Turner & the Storm Cloud: Watercolours and Drawings’ considers the eloquent critical relationship John Ruskin (1819-1900) had with the landscapes of J M W Turner (1775-1851). Through new research, it will reveal Ruskin’s response to Turner’s vision, together with his own experience of close looking at weather patterns, mountains and the built environment. For the first time, this exhibition brings together works from York Art Gallery and partner Abbot Hall Art Gallery, Kendal, with substantial loans from national and regional collections and new commissions by a contemporary artist. The exhibition book will also explore these themes through multiple lenses, in a collection of new essays by artists, climate change scientists, art historians and curators. 10 am – 5 pm. http://

5 April – 14 July, British Library, 96 Euston Road, London: Michael Takeo Magruder Imaginary Cities. This newly-commissioned body of work showcases fantastical cityscapes created by artist in residence Michael Takeo Magruder. Traditional materials combine with cutting–edge digital technologies to remix images and live data from the Library’s digital collection of historic urban maps into fictional cityscapes for the Information Age. Explore four technology-based art installations, exclusively created using images and metadata of 19th-century city maps. Each artwork combines contemporary digital technologies and traditional analogue processes. Algorithmically generated imagery and real-time virtual environments are used next to precious metal gilding and historical woodworking techniques. Shown alongside maps from our digital archive and original source books, the exhibition highlights how the Library is not simply a repository of knowledge, but a storehouse of creative potential that is constantly generating new avenues for culture. Hours: ;

26 April – 8 June, Sarum College, 19 The Close, Salisbury: Claire Reed: Architecture  of Belonging. This exhibition brings together a selection of Claire’s works on paper and in 3D from previous and ongoing projects which explore issues of belonging in a context of change. Claire particularly enjoys working with the people and place in each project, and this exhibition is no exception. As a current MA student at Sarum College studying Theology, Imagination and Culture, Claire is excited about situating her work as a series of conversations within the context of creative theological study and Sarum’s ethos of nourishing the human spirit. Claire holds a First Class BA Honours Degree in Fine Art and has worked extensively in the visual arts throughout her career. Her artwork and collaborative art-dance projects are exhibited and performed in the UK and abroad, whilst her St James’ arts residency in Weybridge, has recently been featured in an MA dissertation and academic paper from St Andrews University as a model of how participatory art can bring renewed relationship and love to Christian and wider communities.

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.

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



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 :

23 March – 23 June, Musée du Hiéron, 13, rue de la Paix, Paray-le-Monial: Libre à Philippe Brame, photographies et poèmes. L’œuvre poétique de Philippe Brame se raconte le temps d’une exposition au musée du Hiéron à Paray-le-Monial. Photographies et poèmes se déploient dans les espaces du musée, dans un dialogue sensible avec les collections. L'ensemble s'organise autour de ses thèmes de prédilection : l’épure, d’une part, choix délibéré de s’arrêter sur le « détail » ou « l’essentiel » ; et le duo Ombre / lumière, avec des éclairages naturels souvent légers, parfois plus tranchés. Me – di, 10.30 – 12.30 et 14 – 18 h.

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:

13 February – 26 May, Städel Museum, Schaumainkai 63, Frankfurt: Tizian und die Renaissance in Venedig. Zu Beginn des 16. Jahrhunderts entwickeln die Künstler der Lagunenstadt eine eigenständige Spielart der Renaissance, die auf rein malerische Mittel und die Wirkung von Licht und Farbe setzt. Einer der wichtigsten Vertreter ist Tizian (um 1488/90–1576), der zeit seines Lebens die zentrale Figur in der venezianischen Kunstszene bleibt. Mit über 20 seiner Werke versammelt die Frankfurter Schau die umfangreichste Auswahl, die in Deutschland je gezeigt wurde. Darüber hinaus sind unter anderem Gemälde und Zeichnungen u.a. von Giovanni Bellini, Lorenzo Lotto, Jacopo Tintoretto  oder Paolo Veronese zu sehen. Di – So, 10 – 18 U (Do, Fr, bis 21 U).

1 March - 30 June, Gemäldegalerie, Matthäikirchplatz, Berlin: Mantegna und Bellini. 1452/3 heiratete der in Padua tätige, aufstrebende Maler und Druckgraphiker Andrea Mantegna in die Familie Bellini ein – eine der führenden Künstlerfamilien im nahe gelegenen Venedig. Mantegnas spektakuläre Bilderfindungen und sein intensives Interesse an der klassischen Antike hinterließen einen tiefen Eindruck bei seinem Schwager Giovanni Bellini. Während dieser Zeit zeigt auch Bellinis Malstil seine Wirkung auf Mantegnas Schaffen. Nach zehn Jahren enger Zusammenarbeit trennen sich ihre Wege: 1460 zog Andrea nach Mantua, wo er bis zu seinem Tode Hofmaler der Fürstenfamilie Gonzaga blieb. Giovanni dagegen verbrachte seine gesamte Künstlerkarriere in Venedig. In unterschiedlichen Umgebungen tätig, entwickelten sich ihre künstlerischen Stile in sehr verschiedene Richtungen. Di – So, 10 – 18 U (Do vis 20 U).

6 March – 7 July, Dommuseum Mainz, Domstrasse 3, Mainz: Vertraut und fremd. Vulgata77. Wie setzen sich zeitgenössische Künstlerinnen und Künstler im „Betriebssystem Kunst“ in der Gegenwart mit der Bibel auseinander? Die Mainzer Sonderausstellung wurde auf Initiative der Ökumenischen Stiftung Bibel und Kultur aus Anlass ihres 30. Gründungsjahres initiiert und in Kooperation mit dem KULTUM Graz und dem Dommuseum realisiert. 2017 in Graz erstmals gezeigt wurde die Ausstellung für das Bischöfliche Dom- und Diözesanmuseum umgestaltet. Di – Fr, 10 – 17 U, Sa, So, 11 – 18 U.

9 March – 10 June, Museumsgalerie Wasseralfingen, Stefansplatz 5, Aalen: Eden. Brandt-Putze-Welzenbach. Inferno in der Kunst
1307 machte sich der Dichter Dante in der göttlichen Komödie auf den Weg durch die drei Jenseitsbereiche Inferno – Purgatorium – Garten Eden. 2019 sind es drei Künstler, die in Wasseralfingen unter dem Ausstellungstitel „ Eden“, in himmlisch-höllische Bereiche vorstoßen. Dazu hat der Aalener Bildhauer Andreas Welzenbach seine Kollegen Axel Brandt aus Düsseldorf und Thomas Putze aus Stuttgart eingeladen. Die drei nähern sich auf humorvolle und infernalisch augenzwinkernde Weise dem Gedanken an ein idyllisches Paradies. Fr – So, 14 – 18 U.

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.

2 April – 26 May, Kunst-Station St. Peter Köln, Jabachstraße 1, Köln: Aljoscha: Alterocentric Eudaimonia. Der russisch-ukrainische Künstler Aljoscha (*1974 in Glukhov) schafft Skulpturen und Installationen, die sowohl Gesellschaft und Bioethik als auch natürliche und künstliche Systeme betreffen. Für den Kirchenraum von Sankt Peter entsteht in der Fastenzeit eine schwarze Bioismus-Skulptur aus Acrylfasern, die an verzweigte Mikroorganismen erinnert. Dieses dunkle Zellengewirr wird zu Ostern durch eine strahlende, bläulich-transparente Installation ersetzt. Parallel dazu und bis 30. April 2019 wird auf dem Aachener Weiher eine biofuturistische Skulptur in Pink inmitten des Wasserbeckens der Parkanlage inszeniert. Mi – So, 12 – 18 U.

6 April – 14 July, Museum für Sepulkralkultur, Weinbergstraße 25, Kassel: Stephan Balkenhol. Der Bildhauer Stephan Balkenhol hat in seinem künstlerischen Schaffen bereits viele Skulpturen, Reliefs und Druckgraphiken geschaffen, in denen er sich mit dem Tod in symbolhafter Weise auseinandersetzt, im Knochenmann, in Serien von Schädelreliefs. Das Museum, das seit 1992 dem Themenspektrum Sterben, Tod, Bestatten, Trauer und Gedenken gewidmet ist, zeigt in Zusammenarbeit mit Stephan Balkenhol alte und neue Arbeiten zum Tod. Die offene und lichtdurchflutete Architektur des von Wilhelm Kücker entworfenen Museums schafft für die meist farbig gefassten Skulpturen besondere Raumsituationen. Di – So, 10 – 17 U (Mi bis 20 U).

12 April – 14 July, Diözesanmuseum, Domplatz 5, Bamberg: Engelwelten. Mit dem Begriff ,Engel' werden so unterschiedliche Phänomene und Vorstellungen bezeichnet, dass ein gemeinsamer Nenner schwer zu finden ist. Bei genauerer Betrachtung stellen sich zu dem vermeintlich gut bekannten Thema viele Fragen. Die Ausstellung zeigt die Vielfalt der ,Engelwelten' in der jüdisch-christlichen Kultur und fragt, auf welcher Grundlage sich diese entwickeln konnte. Die Ahnenschau stößt auf jahrtausendealte griechisch-römische und sogar ägyptisch-kanaanäische oder assyrische Vorbilder, die in den christlichen Engeln weiterleben. Letztendlich bleibt die Definition der Engel ein Versuch, einem unbegreiflichen Aspekt des Seins, etwas ,Unfassbarem', einen Namen zu geben. Di – So, 10 – 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. 

17 April – 21 July, Alte Pinakothek, Barer Str. 27, München: Utrecht, Caravaggio und Europa. Um 1600 war Rom das kulturelle Zentrum der Welt. Die rasant expandierende Metropole zog Künstler und Architekten aus ganz Europa an, unter ihnen auch die Utrechter Maler Hendrick ter Brugghen, Gerard van Honthorst und Dirck van Baburen. Neben der Kunst der Antike studierten sie dort die Meisterwerke der Renaissance. Ihr Hauptinteresse aber galt den revolutionären Neuerungen der Malerei ihrer Zeit, darunter insbesondere jene des Michelangelo Merisi, genannt Caravaggio, der in der Malerei mit neuen Bildthemen, einem bis dahin ungekannten Realismus und starken Kontrasten von Hell und Dunkel einen Umbruch bewirkte. An sieben Abenden erwecken SängerInnen des Opernstudios der Bayerischen Staatsoper die caravaggeske Bilderwelt zum Leben. Die Bilder werden mit zeitgenössischen Ausdrucksmitteln von Musik, Bewegung und atmosphärischen Lichtstimmungen neuartig interpretiert. Di – So, 10 – 18 U (Di bis 20 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.

26 April – 30 June, Kulturkirche St. Stephani, Stephanikirchhof 8, Bremen: Menetekel. Gewogen, für zu leicht befunden. Diese Worte  sind bekannter als jene aus dem Buch Daniel: »MENE MENE TEKEL UPHARSIN«. Mit seiner Projektbeschreibung der Ausstellung Menetekel gewann der Johann Büsen das Kunststipendium der Bremischen Evangelischen Kirche. Das Wort ist ein Unkenruf des Untergangs, laut Duden ein unheildrohendes Zeichen. An wen ist es gerichtet? In der Bibel als Flammenschrift an Belsazar, der in der Nacht darauf getötet wird. Das Gleichnis gilt auch all jenen, die wie Belsazar waren, sind und sein werden. Für Johann Büsen ist Menetekel eines der ersten  Graffitis. Seine eigenen Bilder wirken  mächtig, weil sie Schmelztiegel vieler Bilder sind. Per Computer schweißt er alte und neue Bilder zu neuesten zusammen. Di – So, 11 – 17 U.

4 May – 15 June, Galerie Michael W. Schmalfuss, Steinweg 33, Marburg: Hans Thomann und Thomas Kitzinger. Vernissage, 4 Mai, 16 – 20 U. Do, Fr, 10.30 – 13 U, 15 – 18.30 U. Sa, 10.30 – 16 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.

20 May – 16 June, Hauptkirche St.Nikolai, Harvestehuder Weg 118, Hamburg: buildings II. secret | future. Elena Raulf. Bilder von acht Kirchen im Architekturstil der Nachkriegsmoderne, vorwiegend des Brutalismus. Das Wort Brutalismus leitet sich vom französischen Begriff „béton brut“, „roher Beton“ ab.  Zur Eigenart der Gebäude des Brutalismus gehören jedoch nicht nur die roh gegossenen Betonwände bzw. der unverputzte Sichtbeton, sondern auch die Sichtbarmachung und Betonung der Baukonstruktion und bautechnischer Strukturen.Das neue Konzept sowie die neuen Techniken erlaubten den Architekten ganz neue Weisen der architektonischen Gestaltung. Auffallend viele Kirchen wurden im Nachkriegsdeutschland im Stil des Brutalismus gebaut. Es war insbesondere die skulpturale Eigenschaftdieser Kirchenbauten, die Elena Raulf reizte, das Thema künstlerisch zu interpretieren. „future“ steht hierbei für das seinerzeit zukunftweisende architektonische Konzept des Brutalismus, „secret“ für die durch die angewandte Technik erzeugte Atmosphäre des Geheimnisvollen. Der Untergrund wurde zum Teil mehrfach eingefärbt, das Bild in mehreren Schichten aufgebaut. Die letzte Schicht bildet meistens eine Lasur, die den klar konturierten Formen der Bauwerke durch weiche, amorphe Farbverläufe eine lebendige Struktur verleiht. 9 – 18 U.



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.



11 November 2018 – 26 May 2019, Dordrechts Museum, Museumstraat 40, Dordrecht: Work, Pray and Admire: A new view on art and Calvinism. 400 years Synod of Dordt. In 1618/1619, Dordrecht, or Dordt as it was referred to in English at the time, was the center of Calvinist Europe for six months. More than a hundred professors, politicians and clergymen from the Netherlands and abroad met in Dordrecht for a unique church assembly. This Synod of Dordt had far-reaching consequences for the Dutch Republic’s national politics, church life and culture. The Canons of Dordt for instance, were drafted to lay down a strict religious course. It was also decided to order the first official Dutch translation of the Bible, the Statenvertaling (States Translation). The Synod reinforced the position of Calvinism as an institution independent from the state in the Republic all along the line. For more on the Synod, see Starting in the 17th century – the Dutch Golden Age – the Republic’s political elite consisted of Calvinists. They displayed their wealth and social status with large mansions, stylish interiors and splendid art. However, art and Calvinism, do they really match? Calvinism is rather associated with frugality, austerity and thriftiness, whereas art links up with prosperity and luxury. What was the real nature of the relationship between the Calvinists and art? The exhibition Work, pray and admire unravels stereotypes of art and Calvinism and refutes some persistent myths. It reveals the relationship between Calvinism and art in a wider context that includes literature, music and church architecture. Admire the works by painters from the 17th to the 20th century, such as Ferdinand Bol, Rembrandt, Vincent van Gogh, Theo van Doesburg and Piet Mondrian. Photo and video artist Ahmet Polat introduces a contemporary translation of the notion of Calvinism in our present-day society.

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).

15 February – 10 June, Rijksmuseum, Museumstraat 1, Amsterdam: All the Rembrandts. The Rijksmuseum is in possession of the largest collection of Rembrandt paintings in the world. For the first time, the Rijksmuseum presents the entire collection of Rembrandt paintings, prints and drawings. The collection boasts landscapes, portraits, nudes, scenes from daily life, biblical narratives and his world-famous self-portraits. 9 am – 5 pm.

22 February – 16 June, Bonnefanten museum, Avenue Céramique 250, Maastricht: Master of Elsloo: From Lonely Hand to Collection of Masters. At the end of the Middle Ages, the production of woodcarving thrived in what is now the Meuse-Rhine area. Unfortunately, we seldom know who commissioned or created these statues. To help classify them, the woodcarvers were given a ‘conventional name’, of whom the ‘Master of Elsloo’ is by far the best known. In preparation for this exhibition, several research projects have been carried out in recent years on the statues attributed to this master. Yet his identity still remains shrouded in mystery. The exhibition revisits the art-historical quest from 1940 onwards. Together, over fifty individual statues now form a big collection until 16 June 2019. Hours: ;

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.

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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:

23 November 2018 – 2 June 2019, Queen's Gallery, Palace of Holyroodhouse, Edinburgh: Charles II: Art and Power. After over a decade of austere Cromwellian rule, the restoration of the monarchy in 1660 led to a resurgence of the arts in England. The court of Charles II became the center for the patronage of leading artists and the collecting of great works of art, which served not only as decoration for the royal apartments but also as a means of glorifying the restored monarchy and reinforcing the position of Charles II as the rightful king. From John Michael Wright’s monumental portrait of Charles II in his coronation robes and a glittering silver-gilt plate which adorned the high-altar of Westminster Abbey during the King’s coronation, to paintings by Michiel Jansz van Miereveld, Maarten van Heemskerck and Pieter Bruegel the Elder, tapestries and spectacular silver-gilt furniture, the exhibition shows the rich material world of Charles II’s court and the role of the arts in the re-establishment of the Stuart monarchy. Hours:



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.



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: ;

8 May – 28 June, EPI Kirche, Bleulerstrasse 60, Zürich: Eine Ausstellung mit Hans Thomann, Samuel Buri und Maja Thommen Im Rahmen des Projektes „Kunst & Kommunikation“ zum Reformations-Jubiläum 2019. 9 – 19 U.



15 May – 12 July, Dal Schindell Gallery, 5800 University Blvd, Vancouver, BC: Canadian Viewpoints: Concealed and Revealed. By Natalie Leblanc. This body of work is a creative synthesis of a three-year study entitled O Canada! Reimagining Canadian Identity: A Cosmopolitan Approach to Teaching and Learning, funded by The Social Sciences and Humanities Research Council of Canada. Mo – fr, 8.30 – 17 h, sa, 12 – 16 h.



September 2018 – June 2019, The King’s College, 56 Broadway, New York City: Artist Nicora Gangi loaned six paintings to for use in the 2018-2019 academic year. Educated at the Hartford Art School, Montclair State College, and Syracuse University, Gangi was a professor of art at Syracuse University for 29 years. Gangi is regularly published in artists’ books on pastel paintings. This is now the second year that Gangi has loaned art to King’s. The paintings hang in the executive suite on the fifth floor of The King’s College. Vice President for Student Development Eric Bennett said, “Whenever I need a reminder of the significance of art to The King’s College, I have but to walk outside my office and view Nicora Gangi’s work. I’m truly grateful for our friendship with Nicora - her work is a glimmer of the good and the beautiful.”

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:

5 April - 7 June, Inscape Gallery, 12300 Woodinville Redmond Rd NE, Redmond, Washington: Printing the Word: the Art of Watanabe Sadao. This is an exhibit and presentation on the work of Watanabe with Anne Pyle, a leading scholar and former student of Watanabe. She was Watanabe's only private student and owns the largest collection of his work in the world. This is a rare opportunity to enter the art and history of a great artist and an esteemed student who is so thoroughly engaged with his work. Watanabe used biblical images for his work to tell the story of Jesus in the style of the Japanese folk art movement. His work has been displayed and admired around the world. The Closing Conversation will be on June 7 from 7-9 pm. Please join us for the artist reception on April 5, 19 – 21 h, with exuberant appetizers and an amazing adventure in learning about an artist and his student who have been printing the word to tell a story for the people. Mo – Fr 8 am – 5 pm, Sa 11 am – 5 pm, Su 11 am – 4 pm.

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.

Until 30 June, MOCRA (Museum of Contemporary Religious Art), 221 N Grand Blvd, St. Louis, MO: Gary Logan: Elements. Trinidadian-American artist Gary Logan explores humanity’s relationship with the Earth and its elements through dramatic lighting, atmospheric ambiguity, vivid colors, and rich textures. He finds visual and conceptual inspiration in two rich sources that utilize landscape as a means of exploring the human condition. Logan is drawn to the Taoist emphasis on observation and reverence of nature, as well as Taoist principles such as the harmonious interplay of universal opposites. And like Romantic painters of the nineteenth century, he paints to evoke a sense of the sublime, expressing mystery, grandeur, and raw emotion. Tu – Su, 11 – 16 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. 

25 May – 6 July 6, DENK Gallery, 749 East Temple St., Los Angeles, CA: Lynn Aldrich, O, Magnify. This is the artist's first solo exhibition with DENK and her first in Los Angeles since 2015. A conceptually motivated sculptor, Aldrich's works offer unexpected material propositions to the ordinary. Inspired by everyday household objects and "specimens" she's amassed on expeditions to local hardware stores, Aldrich's sourcing is not all that unlike a 19th-Century naturalist's penchant for in-field collecting, but with the natural milieus transposed for LA's suburban sprawl. Deliberated and planned rather than intuited, Aldrich's transformations of lowly, even empirically worthless, materials through ingenious though minimal, low-tech means, evoke everything from natural phenomena and commercial consumerism to spiritual longing. O, Magnify is inspired by the desire 'to see' and to know, a shared human desire that is pursued by science, philosophy, and sometimes art. Aldrich's own quasi-scientific methods produce objects and metaphors from the empirically observed with or even projections. In addition to the magnification made possible by powerful telescopes and microscopes, the exhibition title is also a nod to biblical Psalm 34:3 where "magnify" is from the Greek word to exalt, to make. Here, the restrictions of scientific discipline make room for mystery and the quest for transcendent meaning. Tu – Sa, 11 – 18 h. 

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