I wouldn't have seen it if I hadn't believed it. Marshall McLuhan

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:

14 October – 30 November, St. Stephens Cathedral, Stephansplatz 3, Vienna: Eva Petric’s Collective Corona Rose. The artist created CORONA ROSE at her parents' house in Slovenia where she got "stuck" at the onset of the coronavirus pandemic this March, after flights from Europe to New York City were banned and planned events in NYC were all postponed till further notice. Since then her Corona Rose has further expanded into a Collective Corona Rose, with additions made by members of the Experimental Idrija Lace makers group led by Maja Svetlik from the Idrija Lace School. In this up-lifting action during the they spent 400 hours creating the above roses and petals to serve as the base of Corona Collective Rose. Its official presentation marked by the sunlight shining through the cathedral windows will take place at 10.30 on October 14 and its presentation marked by the shine of the cathedral lights will take place on Nov. 15 at 20.00. Both presentations will be enriched by Austrian composer Rupert Huber playing on the cathedral organ the extract from his composition Teardrops. Mo – Sa, 6 – 22 h, Su, 7 – 22 h. 



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.

30 October – 17 January 2021, BOZAR/Centre for Fine Arts, Ravensteinstraat 23, Brussels: Facing Van Eyck. The Miracle of Detail. The exhibition looks at Jan van Eyck’s extraordinary works through a contemporary lens. Thanks to pioneering digital techniques and new scientific research at the Royal Institute for Cultural Heritage (KIK-IRPA), you can get closer to Van Eyck and his secrets than ever before. Take an immersive dive into Van Eyck’s pictorial microcosmos by zooming in on landscapes, architecture, textiles, human figures and everyday objects, and unveil fascinating details hardly visible to the naked eye. Benjamin Glorieux composed a Van Eyck-inspired piece especially for the exhibition - a sensory experience that fascinates both the eye and the ear. A richly illustrated film focuses on Jan van Eyck’s devotional images and links him to the Byzantine icon. By delving deeper into the reception and appropriation of Byzantine models in Van Eyck's work the film explores the religious and artistic exchanges between East and West in the 15th century. A new way of looking at Jan van Eyck's oeuvre through 20 digitized works that show you the radicality and freshness of his fascinating visual language. Openingstijden:

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25 September – 31 January 2021, National Gallery Prague, Staroměstské nám. 1/12, 110 15 Staré Město, Prague: Rembrandt: Portrait of a Man. This is an extensive exhibition project presenting over 110 artworks from renowned local and foreign institutions and private collections as well as the only Rembrandt’s painting in the Czech Republic, Scholar in His Study, currently exhibited in the Schwarzenberg Palace as part of the Old Masters permanent exhibition. The central piece of the exhibition is the portrait of Scholar in His Study from the NGP’s collections dated 1634 which was a period full of success in Rembrandt’s both professional and private lives. “The exhibition will try to clarify the inner life captured in the expression of the portrayed man, whether it was an unknown man or Rembrandt himself, through other Rembrandt’s works as well as works of his contemporaries and followers (Jan Lievens, Gerrit Dou, Ferdinand Bol, Govaert Flinck or Christopher Paudiss)”, says the curator Lucie Němečková. Learning about Rembrandt’s creation can never do without his graphics and drawings, as Rembrandt devoted the same intensity and creativity to graphics as to his paintings. That is why his works on paper are given as much attention as works on canvas. 10 – 18 h (Wed until 20 h).



29 May – 3 January 2021, Kunsten Museum of Modern Art Aalborg, Kong Christians Allé 50, Aalborg: Louise Nevelson – Sculptor of Shadows. Kunsten is presenting a comprehensive special exhibition of works by one of the most highly-esteemed American sculptors of the 20th century, Louise Nevelson (1899-1988). This exhibition is the first solo presentation in Denmark, in 47 years, of this highly influential artist, who for years enchanted viewers with her monumental sculptures. Louise Nevelson has been described as a ‘Furniture Mystic’, an ‘Architect of Shadows’, ‘The Queen of Assemblage’ and ‘Visual Art’s Answer to Karen Blixen’. In the post-war years, on the basis of what she referred to as a life-long love affair with art, she set out to breathe new life into sculpture. The exhibition will present several of Louise Nevelson’s distinctive works: assemblages several metres long, made from salvaged bits of wood painted monochromatically in black, white and gold, and small, rarely-shown collages. As part of Kunsten’s The Past Retold series, this exhibition will include a broad selection of Nevelson’s works dating from the mid-1950ss to the 1980s. Together, they will provide an in-depth insight into this artist and her powerful wooden sculptures. Her black wooden sculpture in particular and the shadows that play a key role in the artist’s practice, will form a basis for our appreciation of Nevelson’s work. The exhibition will also tell the story of a highly idiosyncratic artistic personality, who dedicated her life to art, making it an active element in her artistic mission. The exhibition will be presented in Kunsten’s Main Gallery. Its enticing light will set the scene for a holistic sensory experience, underpinning the theatrical dimension that is inextricably associated with Nevelson’s art. Light, which was so important to Alvar Aalto in his architecture, will interact uniquely with Louise Nevelson’s massive, physically alluring works. Hours:



14 March 2020 – 3 January 2021, Compton Verney Art Gallery, Kineton, Warkwickshire: Cranach: Artist and Innovator. Cranach’s paintings of German nobility and the leaders of the Protestant Reformation made him a highly sought after portraitist in his own time, while today he is best known for his seductive paintings of the female nude, which beautifully express temptation and its consequences. Cranach was also a talented entrepreneur, founding a successful publishing business and producing powerful woodcut illustrations for Luther’s translation of the Bible. Featuring some of Cranach’s most beguiling paintings and illustrations, on loan from the National Gallery, the Royal Collection, the British Museum and Waddesdon Manor, the exhibition will also showcase Cranach’s enduring appeal to a range of modern and contemporary artists, including: John Currin, Isabelle Hayman, Michael Landy, Wolfe von Lenkiewicz, Andrew McIntosh, Ishbel Myerscough, Claire Partington, Pablo Picasso and Raqib Shaw. Tu – Su, 10 – 17 h.

8 July 2020 - 17 January 2021, The National Gallery, Trafalgar Square, London: Titian, Love, Desire, Death. Titian’s sensuous interpretation of Classical myths of love, temptation, and punishment. In 1551, Prince Philip of Spain, the future King Philip II, commissioned Titian, the most famous painter in Europe, to produce a group of paintings showing Classical myths primarily taken from the Roman poet Ovid’s ‘Metamorphoses’. The exhibition reunites all six paintings in the series, from Boston, Madrid, and London, for the first time in over four centuries. Included are ‘Diana and Actaeon’ and ‘Diana and Callisto’; works we own jointly with the National Galleries of Scotland. Combining Titian’s remarkable talent as both artist and storyteller, the mythological scenes capture moments of high drama; a fatal encounter, the shameful discovery, a hasty abduction. Titian expertly manipulates paint and colour to dazzling effect; capturing luminous flesh, sumptuous fabrics, water, reflection, and atmospheric, almost enchanted, landscapes. We see gods and goddesses, yet their faces show very human, and very relatable, emotions: guilt, surprise, shame, desperation, and regret. 

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,

7 October 2020 – 3 January 2021, National Gallery, Trafalgar Square, London: Sin. The exhibition brings together paintings from the National Gallery’s collection dating from the 16th to the 18th century with loans from important private and public collections including modern and contemporary works by Andy Warhol, Tracey Emin, and Ron Mueck. There will be 15 works on display. Sin has been a recurrent subject for artistic exploration over the centuries across the world. Sin in a religious context means an immoral act that is considered to be a transgression against divine law. In a secular world, it means a serious or regrettable fault, offence or omission. Sin is as universal as it is personal. Most people at some point in their life will do something they regret, although the gravity of their ‘sin’ and the way each individual or society deals with it very much depends on the country, time and socio-cultural context. While the concerns, ambiguities, perceptions and representations of sin extend across world religions and even to those of no faith, Sin will primarily explore this conception in Christianity and through the work of artists who work principally within a Christian context. Many artists over the centuries have sought to depict the seven deadly sins (pride, greed, lust, envy, gluttony, wrath and sloth), the group of sins defined as the worst by the sixth-century pope, Gregory I (Saint Gregory the Great). Open daily 10am–6pm Friday until 9pm. Free admission.

8 October – 31 December, Portsmouth Roman Catholic Cathedral, Bishop Crispian Way, Portsmouth: Little bits of God by Pete Coding. Little Bits of God is a free-standing mosaic depicting Biblical and contemporary imagery. It was commissioned by the Bible Society and the Catholic Church of England and Wales as part of an initiative called The God Who Speaks and will go on tour. ;

3 December - 16 January 2021, Gagosian (Davies Street), 17-19 Davies Street, London: exhibition of new works by acclaimed artist and author Edmund de Waal, made during lockdown earlier this year. This is the first time in sixteen years that de Waal has made single works that are not parts of installations. They are specifically designed to be touched and held in the hand. Edmund de Waal said, “I made these pots in lockdown during the spring and early summer. I was alone in my studio and silent and I needed to make vessels to touch and hold, to pass on. I needed to return to what I know—the bowl, the open dish, the lidded jar. When you pick them up you will find the places where I have marked and moved the soft clay. Some of these pots are broken and patched on their rims with folded lead and gold; others are mended with gold lacquer. Some hold shards of porcelain. In the studio, I had two old Chinese bowls from the Song dynasty. One was patched on the rim with iron. The other had a beautiful thin golden thread running from the rim, repaired using the Japanese art of kintsugi. Kintsugi is not an art of erasure—the invisible mend, the erasing of a mistake—but rather a way of marking loss. Both these bowls were central to the making of this work. The exhibition has been installed so that it can also be seen from the street. Tu – Sa, 10 – 18 h, by appointment.



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.



Until 3 January 2021, Musée Marmottan Monet, 2 Rue Louis Boilly, Paris: Cezanne and the Master Painters. A dream of Italy. For the first time, the painter’s works will be presented alongside pictures by the great Italian masters from the 16th, 17th, 18th and 19th centuries. A remarkable selection of canvases by the forerunner of Cubism, including an iconic Montagne Sainte-Victoire, and the essential Pastorale and still lifes, will thus face a rare ensemble of paintings by the likes of Tintoretto, El Greco, Ribera, Giordano, Poussin and, in the modern era, Carrà, Sironi, Soffici and Pirandello, and of course Boccioni and Morandi. “Cezanne et les Maîtres. Rêve d’Italie” features some sixty masterpieces from leading public and private collections around the world (the Louvre and Musée d’Orsay in Paris, the National Gallery of Art in Washington, the Thyssen-Bornemisza collection in Madrid, the Pola Museum in Kanagawa, and the Walker Art Gallery, Liverpool, etc.). The first part of the exhibition will bring out the manifest importance of Latin culture in Cézanne’s work and the way in which he drew on the example of his illustrious predecessors in order to lay the foundations for his “new” painting. Given this strong Italian influence, it is hardly surprising that his own work should in turn have influenced artists south of the Alps. This is demonstrated in the second part of the show, where works by the masters of the Novecento, such as Carrà, and figures such as Morandi and Boccioni can be seen revisiting his concerns, thereby confirming the timeless importance of Cézanne’s work, and its pivotal role in the art of the 20th century. Tu – Su, 10 – 18 h (th until 21 h).

22 July 2020 – 3 January 2021, Musée du Hiéron, 13 Rue de la Paix, Paray-le-Monial: Donations acquisitions - Les nouvelles richesses du musée du Hiéron. Cette exposition témoigne de l'enrichissement récent des collections du musée du Hiéron, avec la donation de trois ensembles d’oeuvres d’après-guerre qui questionnent les nouvelles formes de l’art chrétien : Anne Dangar (1885-1951) et ses céramiques réalisées pour l’Abbaye de la-Pierre-qui-Vire, Jean Lerat (1913-1992) ou encore l'écrivain Henri Vincenot (1912-1985), dont l’oeuvre peint reste méconnu. L’acquisition de plusieurs céramiques de Jacqueline Lerat (1920-2009) complètent ces donations, ainsi qu'une oeuvre contemporaine de Pascal Convert, « Écorce de pierre », 2018-2019. Horaires:

22 October 2020 – 18 January 2021, Musée de Louvre, Rue de Rivoli, Paris : Body and Soul. Italian Renaissance Sculpture from Donatello to Michelangelo. Following on from the "Springtime of the Renaissance" exhibition (September 26, 2013–January 6, 2014), the "Body and Soul" exhibition, organized in collaboration with the Castello Sforzesco Museum in Milan, seeks to bring to light the main themes and ideas developed in Italy during the second half of the Quattrocento. In the first two decades of the 16th century, these elements would lead to a defining moment in the history of Renaissance sculpture, with the arrival on the art scene of one of the greatest creators of all time, Michelangelo. The exhibition will focus primarily on the art of sculpting, but will also explore a number of works from other fields (painting, printmaking, and drawing). Sculptors were drawn to the interpretation of human beings; both in outward appearance and inner state. The portrayal of human figures in their range of movements took highly innovative forms at the time. These explorations of the expression and emotions of the human figure were at the heart of the approaches of the leading sculptors of the time, from Donatello to Michelangelo. The exhibition discusses three major themes: “Fury and Grace” firstly reveals the interest for complex compositions and the intensification of bodily movements; next, “Affect and Persuasiveness” aims to highlight how emotional states were at the core of artistic practices, with the clear desire to have a powerful impact on viewers’ emotions; and lastly, “From Dionysos to Apollo” brings to light the inexhaustible contemplation of classical antiquity expressed in sculpture, developing the search for new harmony that transcended the naturalism of gestures and extreme emotions. Hours:



12 July – 21 February 2021, Franz Marc Museum, Besucherparkplatz, Mittenwalder Str. 50, Kochel am See: Anselm Kiefer: Opus Magnum. In 2016 Anselm Kiefer grouped six large-format photographs together with twenty-three glass vitrines under the title Opus Magnum. Like time capsules the contents of these glass cabinets reflect the variety of topoi in his œuvre. The transparent shrines contain a complex ensemble of objects and meanings, rich in associations. They are both clear yet dense, light and heavy simultaneously. Emanating from the wealth of this subject matter the exhibition explores the important role of literary, mythological and biblical motifs in Anselm Kiefer’s work, juxtaposing the glass vitrines with short, associative texts by contemporary writers, including Marion Poschmann, Christoph Ransmayr and Ferdinand von Schirach. Through this literary approach Anselm Kiefer’s motifs – that reappear time and again in ever new variations – are explored in a different light. Along with Georg Baselitz and Gerhard Richter, Anselm Kiefer is one of those German artists who, born during or shortly after the Nazi period and the war in Germany, took a stance against the general silence regarding Germany’s recent past that prevailed: “I was living among people who were all there at that time but who never wanted to talk about it. That time was an empty space” is how Kiefer described this situation himself. His deep rootedness in the Romantic period and history of ideas, as well as the correlation between mythology and modernism that characterise his work, are closely associated with his views on history. Hours:

1 August – 30 November, Kunst Station St. Peter, Leonhard-Tietz-Str. 6, Köln: REPLACE RUBENS: Gerhard Richter — Grauer Spiegel. Der in der Kunst-Station Sankt Peter gezeigte „Graue Spiegel“ verweist in seiner Idee auf wichtige Werke Richters, wie „4 Glasscheiben“ (1967), „Schwarz, Rot, Gold“ (1999) und „Acht Grau“ (2002) zurück. Der Künstler hat in den vielen Jahren seines Schaffens immer das Zusammenspiel von Bild, Raum und Betrachtenden im Blick gehabt. Der „Graue Spiegel“ ist Richters raumbezogene Antwort auf die Anfrage, die Wand, auf der gewöhnlich das Bild „Kreuzigung Petri von Peter Paul Rubens (1638/40), zu sehen ist, zu gestalten. Der „Graue Spiegel“ steht für Richters kontinuierlich geäußerten Zweifel, ob das, was wir sehen, der eigentlichen Wirklichkeit des Wahrgenommenen entspricht. Di – So, 11 – 18 U.

30 Oktober – 11 April 2021, Stiftung Christliche Kunst, Schloss Wittenberg, Lutherstadt Wittenberg: Avantgarde in Wittenberg. 19 Jahre Stiftung Christliche Kunst Wittenberg. Vor 19 Jahren übergaben der württembergische Kunstliebhaber Dr. Ulrich Scheufelen und seine Frau Dr. Gisela Meister-Scheufelen ihre Sammlung mit herausragender religiös-existenzialistischer Grafik der Moderne in die Stadt Wittenberg und gründeten die „Stiftung Christliche Kunst Wittenberg“. 19 Jahre betreute Jutta Brinkmann als Vorsitzende die Stiftung Christliche Kunst Wittenberg, erweiterte die Sammlung und hat sie im In- und Ausland bekannt gemacht. 19 Jahren heißen auch 19 spannende Ausstellungen, die in dieser Zeit neben der Dauerausstellung sowohl in Wittenberg als auch an zahlreichen Orten in Europa gezeigt wurden. Dazu kommen mehrere Kunstpreisträger und Wettbewerbsgewinner, die sich bis heute der Stiftung verbunden fühlen. Zeit also, einmal innezuhalten und mit einer Ausstellung avantgardistischer und hochaktueller Kunst an die letzten Jahre zu erinnern und gleichzeitig in die Zukunft zu blicken. Zu sehen sind Werke von u.a. Marc Chagall, Edouard Manet, Ernst Barlach, Käthe Kollwitz, Karl Schmidt-Rottluff, Max Beckmann, Oskar Kokoschka, Georges Grosz, Otto Dix, Wassily Kandinsky, Georges Rouault, Otto Pankok, Antonio Saura, Arnulf Rainer, Werner Tübke, Bernhard Heisig, Wolfgang Mattheuer, Joseph Beuys, Bodil Kaalund, Bjørn Nørgaard/Lene Adler Petersen, Michael Morgner, Thomas A. Straub, Regina M. Stiegler, Wieland Payer, Edgar Knobloch und Michael Triegel.

30 October 2020 – 31 January 2021, Jakobushaus, Reussstrasse 2, Goslar: Zusammenspiel: Kunst im sakralen Raum: Sakrale Kunst unter modernen Vorzeichen? Das klingt schwierig. Bedeutet Sakralität nicht immer auch Affirmation? Und ist diese für moderne Kunst nicht grundsätzlich ein Problem? Jedenfalls ist die Gefahr des Trivialen groß, wenn ein Kunst- werk unserer Erwartung nur wenig hinzufügt. In der Tat scheint eine Geschichte der Entfremdung zwischen Kunst und Kirche, wenn man sie schreiben wollte, über weite Strecken jener zwischen Kirche und Moderne zu entsprechen. Ist das so? Wo wären Brückenschläge möglich und nötig? Oder wer unterschätzt hier wen oder was? Vernissage in Kooperation mit der Künstlerseelsorge im Bistum Hildesheim, 27 Oktober 19 U.



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



25 September - 29 November, Museum Het Rembrandthuis, Jodenbreestraat 4, Amsterdam: Life/Time.  Rembrandt, Abraham van Dijck and Aat Veldhoen. In the time of corona, when we have to keep distance from each other, we depend even more on contact by eye. Rembrandt was good at looking, with a sympathetic eye – his imags of old people are intimate, vulnerable, and at the same time powerful. In the exhibition Life/Time Rembrandt’s etchings of old people will be shown alongside work by his pupil Abraham van Dijck and his great fan Aat Veldhoen. There are old people slumbering in their chairs. But we also see wise old men in their studies or a spry pancake baker. Life/Time is an ode to old age in its richness and many facets. The high point of this collection exhibition is the newest acquisition of The Rembrandt House Museum: a small painting by Rembrandt pupil Abraham van Dijck. The museum purchased it last year at an auction. It represents an old man close to falling asleep. Old people often symbolized the transience of life, in seventeenth-century Dutch art. But his man is an artist, he has a palette and a brush in his hand. The message here could be: life passes, but the painting will remain. Art triumphs over death. Tu – Su, 10 – 18 h.

26 September – 3 January 2021, Mauritshuis, Plein 29, The Hague: Alone with Vermeer. The renowned French novelist Marcel Proust visited the Mauritshuis in 1902 and was deeply impressed by Vermeer’s masterpiece. Many years later he wrote in a letter: ‘From the moment that I saw View of Delft in the museum in The Hague, I knew that I had seen the most beautiful painting in the world’. This exhibition consists solely of the View of Delft. During a pre-booked slot, visitors will have the opportunity – either alone or in a very small group – to experience in silence the effect that this very special artwork has on them. An ideal viewing experience is being created to support this: subtle design, perfect lighting and no external sounds or distractions. Alone with Vermeer. For many this display offers the opportunity to (re)discover their favorite painting, with which they sometimes already have a strong bond, in a unique environment. Hours: ; Book your time slot alone with View of Delft:

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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.

18 September 2020 – 7 March 2021: l’Espace Graffenried, Place du Marché 2, Aigle: Eugène Burnand. A travers champs. Hommage à l’artiste vaudois Eugène Burnand (1850-1921), aux diverses techniques utilisées et aux thèmes privilégiés dans son oeuvre: entre le Jorat et le Midi, les scènes naturalistes et religieuses, le dessin, l’illustration et la peinture. Me – Ven: 10 – 12, 13 – 17 h; Sa – Di: 10 - 12, 13.30 – 16 h. Entrée libre. 

28 October – 28 February, International Museum of the Reformation, St. Peters Square, Rue du Cloître 4, Geneva: Calvin in America. Puritan Reformists who had crossed the ocean to found a community in accordance with their aspirations, firmly rooted in Protestant and Calvinist values. This was a founding moment for what was to become the United States of America. * Aboard the Mayflower: Embark on the emblematic boat that crossed the Atlantic in 1620, an unforgettable virtual reality experience, design by Artanim, in the company of the first Reformed community in America. * 60 historical and current records: On loan from 17 American museums or libraries, private individuals or from the MIR’s rich collection, explore 60 documents, memorabilia, statistics and objects that evoke the religious and Protestant identity of the USA from 1620 to today, through unique scenography designed by artist Séverin Guelpa. * The Four Freedoms: Norman Rockwell’s famous World War II posters are presented in a sanctuary-like space to highlight the four founding freedoms of America: freedom of speech, freedom of worship, freedom from want, and freedom from fear. * American religious music: Nine pieces of music inspired by religion in America, from 1773 to today, are on display in the Museum’s small music room and include choir singing, ballads, blues and jazz. * Religion in the movies: A 20-minute loop of various excerpts from famous films produced in North America introduces visitors to how religion permeates culture and has inspired great directors. Hours: ;

31 October – 14 February 2021, Kunstmuseum Basel: Rembrandt’s Orient. West Meets East in Dutch Art of the Seventeenth-Century. For someone who, for all we know, never left his native country, Rembrandt Harmensz. van Rijn had a strikingly broad horizon. As an artist, collector, and citizen, he came into contact with artifacts, objects of utility, and humans from all parts of the known world. Rembrandt’s curiosity about everything foreign and his insatiable collector’s appetite were legendary even in his lifetime and part and parcel of his singular creative genius. Amsterdam, the center of his life, was the perfect place for a man of such boundless interests: the Dutch East and West India Companies had their headquarters and home port here, as did other trading partnerships. In the seventeenth century, the city was a true cultural melting pot. Legates and merchants from far-flung places were a daily sight in the streets of the young Dutch Republic. The exhibition focuses on one of the most consequential strands in this constellation: the Orient—an umbrella term for diverse Eastern non-European cultures rather than a well-defined geographic designation—fired Rembrandt’s imagination throughout his career. It inspired the painter has he envisioned the settings of biblical histories, one of his favorite genres. Several self-portraits show the artist in exotic costumes. His copies of miniatures created at the court of the Great Mughals were a tribute to Asian creativity and taste without precedent in Dutch art. Last but not least, he was an eager consumer of Japanese paper, which he liked to use for his etchings. The selection of exhibits is not limited to Rembrandt’s oeuvre. In addition to works by his colleagues and students, the presentation includes publications and other sources that illustrate the contemporary vision of the Orient. Placing Rembrandt’s work in this broader context reveals both the ways in which his take on the East was typical of his time and what set his perspective on its cultures apart from those of his contemporaries. And there is yet another reason why Rembrandt’s Orient scrutinizes Golden-Age Dutch artists’ responses to Eastern artifacts: by contrasting their own daily surroundings with these models, they made a key contribution to the genesis and definition of the specific European identity that to this day has remained a subject of ongoing renegotiation. Hours:



Postponed, Swallowfield Farm, 7296 Telegraph Trail, Langley, BC: A Creature Chronicle. Considering Creation: Faith and Fable. Fact and Fiction”. The artist Betty Spackman created a 15-panel double-sided circular art installation about 24 feet in diameter and 8 feet high. The painted and collaged images taken from a multitude of art, science and faith references are meant to provoke contemplation and conversation about the difficult questions of what it is to be human. From the stories of genesis to the still-being-written stories of contemporary bioscience, layers of concern and celebration are woven together around our complex philosophical debates about creation in the context of developing post/trans humanism. The intent of this exhibition is to create conversations around pertinent, timely questions of what it is to be human and the various narratives about our origins and future as human beings. Speakers for the Symposium include National and International Scientists and Artists. This exhibition presents the Christian Faith in relation to Science and the Arts. Panel speakers are both Christian and non-Christian scholars and artists. Ma, tu, th, 10 – 16 h, sa, 12 – 16 h. We, reserved bookings for classes & groups, contact Betty Spackman at



20 September 2020 – 28 March 2021, Allentown Art Museum, 31 North Fifth Street, Allentown, PA: Rembrandt Revealed. When the Museum’s 1632 Portrait of a Young Woman was sent out for routine conservation in 2018, the conservators made an exciting discovery: while this painting had previously been attributed to Rembrandt’s studio, during cleaning they found clear evidence that Rembrandt himself had painted it. The Museum will be celebrating the return of this important work to the galleries with the exhibition Rembrandt Revealed, which will illuminate how conservation science has helped us better understand this painting and its authorship. Through a close focus on Portrait of a Young Woman, this exhibition will offer a deep dive into the conservation process, with an appealing and accessible step-by-step understanding of decisions and discoveries. It will also explore the complexities and uncertainties of the attribution process and invite the public to participate in that conversation. We - Sa, 11 – 16 h, Su, 12 – 16 h.




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