Beauty is not pasted over suffering but grows out of it—like the proverbial shoot from parched ground. Bruce Herman

Exhibitions 2020

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1 October – 28 August 2021, Dom Museum, Stephansplatz 6, Vienna: Fragile Creation. Artworks from the Middle Ages to the present illustrate the complex connection between human beings and their environment. From loving care to exploitation, from menace to fascination, the relationship between people and nature is an ever-present topic—and was of existential importance long before the life-threatening consequences of global warming and pollution we are faced with today. Hours:



20 September 2019 – 20 September 2024: St Peter’s Church, Grote Markt 1, Leuven: Between Heaven and Earth. The restored St Peter’s Church in Leuven is the setting for an experience that touches all the senses. Immerse yourself in the fascinating story of this Gothic church and renew your acquaintance with its art treasures: outstanding works by Flemish Masters in their authentic context. ‘Mixed Reality’ brings Dirk Bouts’ Last Supper to life and lets you discover the vibrant Leuven of the past and present. The Last Supper by Dirk Bouts, an absolute masterpiece, is undoubtedly the most important highlight of Saint Peter’s Church. Moreover, with the exception of The Martyrdom of Saint Erasmus, it is the only artwork by a Flemish Primitive which, 600 years after it was painted, still hangs in exactly the same place for which it was intended.

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16 July – 30 April 2021, Ditchling Museum of Art + Craft, Lodge Hill Lane, Ditchling, East Sussex: John Newling: Tillage. John Newling is a pioneer of public art with a social purpose. Born in Birmingham in 1952, he is known for site-specific work that explores the relationships between people, place and culture, and the transformative power of incorporating nature into everyday life. This exhibition features works spanning Newling’s 40 year career, including new work responding to society’s need to evolve in the face of the climate emergency, and living through the global pandemic. Newling has described his work as a ‘collaboration with nature’, a description which has never seemed more relevant, with the pressing need for humanity to take responsibility for our impact on the ecosystem. Hours:

Online exhibition, Society of Catholic Artists UK,

6 March – 13 June, National Gallery, Trafalgar Square, London: Dürer’s Journeys: Travels of a Renaissance Artist. The first major UK exhibition of German Renaissance artist Albrecht Dürer in nearly 20 years. Through paintings, drawings, prints, and letters, this exhibition follows Dürer’s travels across Europe, bringing to life the artist himself, and the people and places he visited. Check before visit:

21 April – 15 August, The Wallace Collection, Hertford House, Manchester Square, London: Rubens: Reuniting the Great Landscapes. For the first time in over two hundred years, Peter Paul Rubens’s (1577-1640) two great masterpieces of landscape painting, The Rainbow Landscape (The Wallace Collection) and A View of Het Steen in the Early Morning (The National Gallery) will be reunited as part of an exhibition at the Wallace Collection. Although kept together in Rubens’s own collection, the paintings were brought to London in 1803, and separated for good with The Rainbow Landscape eventually entering the Wallace Collection and A View of Het Steen in the Early Morning, the National Gallery collection. Painted as a companion pair, these sweeping panoramic works show Rubens’s newly acquired manor house and estate, Het Steen, at Elewijt (between Brussels and Antwerp) as it was in about 1636. They both celebrate the fertile countryside of Brabant, and pay homage to the great Flemish tradition of landscape painting. The visitor to this exhibition will have a unique opportunity to experience these great paintings together and on their own, and to be immersed in their wealth of detail and ambitious scale. The exhibition will be accompanied by a documentary film, and by a richly illustrated, detailed monograph dedicated to the two paintings, available now. Hours: ;



23 April – 31 October, Kadriorg Art Museum, A. Weizenbergi 37, Tallinn: From Memling to Rubens: The Golden Age of Flanders. The magnificent exhibition introduces the abundant 15th‒17th century Flemish art collection of The Phoebus Foundation, and provides an overview of the versatility of the Belgian art culture of the time. The display juxtaposes the long tradition of religious art and portraits reflecting the importance and rising self-awareness of the individual with moralising satire and political comments. The richness and curiosity of the era is reflected in the art cabinet, and new discoveries and the spreading of knowledge are the goals of the print cabinet. The display includes portrayals of the cultural and political elite of the time, as well as of the famous court jester Elisabeth, and valuable masterpieces by outstanding artists, including Hans Memling, Catharina van Hemessen, Frans Floris, Peter Paul Rubens and Anthony van Dyck. The 15th-17th centuries formed a period of economic and cultural prosperity in Flanders (nowadays the northern part of Belgium), well exemplified by the preserved artistic heritage. The mission of the privately owned The Phoebus Foundation is to preserve that heritage and introduce it to wider audiences around the globe. Hours: ;



2 June 2020 – 31 December 2022, Ateneum Art Museum, Kaivokatu 2, Helsinki: Stories of Finnish Art. Stories of Finnish Art illustrates the development of art in Finland from 1809 until the 1970s. At the exhibition, the story of Finnish art is juxtaposed with international developments in art and contemporary social events. On display, side by side, are Finnish and international masterpieces from our collections, such as Le Corbusier’s Two Women (1939), Hugo Simberg’s The Wounded Angel (1903), Edvard Munch’s Bathing Men (1907–08), and Vincent van Gogh’s Street in Auvers-sur-Oise (1890). The works on display in the halls of modern art highlight the post-Second World War reconstruction period and the emergent media society. The exhibition features paintings, sculptures and prints by Finnish and foreign artists such as Anitra Lucander, Unto Pusa, Ulla Rantanen, Anita Snellman and Sam Vanni. Prints by foreign artists are exhibited on a regularly changing basis. The exhibition also includes Eino Ruutsalo’s experimental films and advertisements. Tu – Fr, 10 – 18 h (We, Th until 20 h), Sa, Su, 10 – 17 h.



12 mars – 30 avril, Galerie Laurentin, 23, quai Voltaire, Paris : Alfred Manessier - La Couleur 1940-60. Nouvel hommage à Alfred Manessier, important artiste de la Nouvelle Ecole de Paris, cette exposition dévoile un ensemble d’une trentaine d'oeuvres aux couleurs éclatantes des années 1940 aux années 1960. Dans la mouvance de l'abstraction lyrique, Manessier a recueilli des impressions sensibles auprès de la nature et de la baie de Somme, tout en développant une inspiration profondément liée au sacré. Ouverture :



13 March – 27 June, Museum Barberini, Humboldtstraße 5-6, Potsdam: Rembrandt’s Orient. West Meets East in Dutch Art of the 17th Century. With 120 works including masterpieces by Rembrandt, Ferdinand Bol, Jan van der Heyden, Willem Kalf, Pieter Lastman, and Jan Lievens, the exhibition Rembrandt’s Orient examines how the painters of the Dutch Golden Age reacted to the regions of the Middle and Far East—known collectively as the “Orient” in the language of that era. Turbans and carpets, sabers and silk robes––Rembrandt and his contemporaries repeatedly painted objects from distant lands. The resulting works of art provide evidence of the first wave of globalization and reflect the influence of foreign cultures on the Netherlands in the seventeenth century. This significant art-historical period was shaped by a thirst for knowledge, a passion for collecting, and a pride of possession; it also inspired painters to create novel history scenes, portraits, and still lifes. However, encounters between the West and the East did not occur at eye level, nor was the exchange based on equality. Foreignness offered an intriguing contrast to the world of the Dutch, but it hardly aroused a more profound level of sympathy. This was no different for Rembrandt than for his other contemporaries, and this attitude––which this exhibition invites visitors to reflect upon––remains unchanged to this day in many parts of the Western world. The show provides an opportunity to question this persistent Eurocentrism. Hours: ;



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



12 February – 30 May, Rijksmuseum, Museumstraat 1, Amsterdam: Slavery. Slavery brings together ten real-life stories about people in slavery, about slaveholders, about people who freed themselves from slavery, and about people brought to the Netherlands in slavery. This exhibition centers on slavery in the Dutch colonial period spanning from the seventeenth to the nineteenth century, and sheds light on the countries and regions where the Netherlands was actively involved in slavery and the slave trade. 9  - 17 h.

2 March – 6 June, Bonnefanten, Avenue Ceramique 250, Maastricht: Brueghel and Contemporaries: Art as Covert Resistance? The starting point of this exhibition is the Carrying of the Cross by Pieter Brueghel the Younger. A seemingly religious subject that can also be interpreted as a critical commentary on the power structures and religious reality in Flanders around 1600. In the exhibition Brueghel and contemporaries: art as hidden resistance? the work of Pieter Brueghel the Younger is shown alongside other interpretations of the crucifixion by predecessors, contemporaries and followers. Hours:;http://

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9 March – 13 June, Museo Nacional del Prado, Calle Ruiz de Alarcón 23, Madrid: Marinus. Painter from Reymerswale. The first monographic exhibition dedicated to Marinus van Reymerswale, a Flemish artist who was active in the first half of the sixteenth century and of whom the Prado Museum preserves the largest collection of paintings attributed to his hand. The paintings of this enigmatic painter, known above all for his paintings of money changers, collectors and figures related to the financial market that experienced a monetary revolution during the 16th century with its  center in Antwerp, will be presented together with comparative examples that will show the innovative way in which Marinus dealt with these subjects. Mo – Sa, 10 – 20 h, Su, 10 – 17 h.

2 July – 18 July, Espacio Travesía de San Mateo, 8, Madrid:  ARCOmadrid es la feria internacional de arte contemporáneo de España, la oportunidad ideal para admirar las obras de arte del famsos artista belga Luc-Peter Crombé. Estas pinturas han sido seleccionadas por Silvia Boyer.



2 July 2019 – 1 July 2021, Reformierte Kirche Veltheim, Feldstrasse 6, Winterthur: Transformation# – Temporäre Kapelle Dorfkirche Veltheim. Vernissage Mittwoch, 4. September, 18.30 Uhr mit einer Installation des iranisch - schweizerischen Künstlers Navid Tschopp. Im 21. Jahrhundert ist mitten in Winterthur neben einer reformierten Kirche eine neue Kapelle entstanden. Während der zweijährigen Projektdauer entstehen insgesamt 12 Installationen in der temporären Kapelle und schaffen einen neuen Raum der Inspiration für Begegnungen zwischen Kunst und Kirche. In der Auseinandersetzung mit der Geschichte und aktuellen Themen soll Neues erfahren und wahrgenommen werden können. Reformation. Tausend Jahre Dorfkirche Veltheim. Weiterbauen an der Kirche. Eine Kapelle auf Zeit. Baumaterial der Asylunterkunft Kirche Rosenberg. Wärmedämmung aus.  alten Noten und Geschichten. Ein spiritueller Raum. Kirche trifft Kunst. Transformation.



Dal Schindell Gallery, 5800 University Blvd, Vancouver: A Retrospective: Mae Runions. Runions' banners have long hung in the Regent College Atrium and Chapel. Now brightening the walls of the Dal Schindell Gallery, this colourful exhibition highlights her working art, models and mock-ups, throughout the years. Peruse over thirty years of working art, and hear from Mae herself as she reminisces and speaks of her creative process. 



16 January – 23 May, The Delaware Contemporary, 200 South Madison Street, Wilmington: Vessels: Revisioning the Receptacle, curated by Kathrine Page. Sandra Bowden has two of her book/boxes, Pearl of Great Price and Book of Nails on show This invitational exhibition of 24 artists reexamines the purpose, shape, illusion and allusion of the vessel. Th – Su, 12 – 17 h.

27 January – 15 May, Krannert Art Museum, 500 East Peabody Drive, Champaign, IL: Sacred/Supernatural: Religion, Myth, and Magic in Early Modern European Prints. Sacred/Supernatural explores some of the methods that European printmakers used to convey extraordinary events and individuals during the early modern period (1450-1800). Sacred/Supernatural includes works by Dutch, English, Flemish, French, German, and Italian relief and intaglio printmakers, dating from the fifteenth through the eighteenth century. While much of the art from this period was devoted to mimesis, or the naturalistic representation of the real world, close attention was also paid to the portrayal of otherworldly subjects. Printmakers invented creative solutions to convey to viewers that something or someone in their images was not of this world, from divine beings and miracles to witches and demons. Hours:

4 April – 26 June, Bridge Projects, 6820 Santa Monica Blvd, Los Angeles, CA: Otherwise/Revival. This is a group exhibition that visualizes the impact of the historic Black church— specifically the Black Pentecostal movement—on contemporary artists. Inspiration for the exhibition is drawn from reflecting on the event of the Azusa Street Revival. On April 9, 1906, from a home on Bonnie Brae Street in downtown Los Angeles, Rev. William J. Seymour preached a sermon on the spiritual gift of speaking in tongues that would change the course of spiritual history. People from diverse races and economic classes congregated to hear Seymour’s sermons—sparking the Black Pentecostal movement. Author and artist Ashon T. Crawley has written extensively on this movement. His concept of “otherwise possibilities” as a reverberation of the Black church experience informed the curatorial query and title of Otherwise/Revival. “Otherwise, as word—otherwise as possibilities, as phrase—announces the fact of infinite alternatives to what is.” For Crawley, the elements of the Black Pentecostal Church—the Hammond organ, emphatic breath, shouting, and glossolalia—create space for “otherwise possibility” to emerge. The works in the exhibition respond to these “otherwise possibilities” embodied by the Black church. Sculptures, paintings, video, and performances celebrate the significance of music, praise, breath, and community. Exhibited artists reflect on their traditions, heritages, passions, and talents to cultivate a space where art thrives and expresses a unifying language for all. – Jasmine McNeal and Cara Megan Lewis, Curators of Otherwise/Revival. We – Sa, 11 – 18 h. With a program of lectures and performances, see

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