Cologne and its Journey towards an Arts Capital – Between Protest and Progressivity in the 60s and 70s
Opening on 20 July 2017, 6.00 p.m.
Universität zu Köln
Universität- und Stadtbibliothek
By launching the Kunstmarkt Köln, today’s Art Cologne, as the first art fair for Modern and Contemporary art in 1967, the city of Cologne experienced a major impulse on its way to becoming an arts capital. Therefore, this exhibition’s focus is both on the art fair itself as well as on the events and happenings, which stood in direct opposition to the fair and were even triggered by it. The “Straßenaktion der Organisation für Direkte Demokratie durch Volksabstimmung” (see cover photo), initiated in 1970 by Joseph Beuys, Hans Peter Alvermann, Wolf Vostell, Klaus Staeck and gallery owner Helmut Rywelski, can be seen as a prominent example for this. In addition, selected protagonists from the prosperous gallery and art trade scene of the late 60s were examined: what happened over the course of the democratization of art in those years, which were shaped by vigor, progressivity and protest?
The exhibition was curated by students in conjunction with Günter Herzog and Nadine Oberste-Hetbleck.
The exhibits are shown in dialogue with the video-text portrait “Helga Müller – ein Fragment” by video artist Sabine Bürger.
Universität zu Köln
Jun.-Prof. Dr. Nadine Oberste-Hetbleck
50923 Köln Blog: https://amskoeln.hypotheses.org
This spring, the Liebieghaus Skulpturensammlung will take a look back at a chapter in its history that has rarely been a focus of attention to date: the Nazi period and the acquisitions made during those years. With the aid of twelve selected objects, the exhibition will offer insights into the history of the museum in the years 1933 to 1945 and tell the stories of the people intimately linked with the twelve works. Since 2001, the Städel Museum has been examining its collections with regard to artworks whose owners were deprived of them in connection with Nazi persecution. It was thus one of the first museums in Germany to embark on this task.
In the spring of 2015, its provenance research activities were expanded through the addition of a comprehensive project supported by the German Lost Art Foundation and the city of Frankfurt am Main: the systematic examination of the Liebieghaus Skulpturensammlung holdings. The special exhibition will now present this initiative’s current research results by way of a tour through the sculpture collection’s three main departments – Antiquity, Middle Ages and Renaissance to Neoclassicism. Continue reading “Exh: Between Definite and Dubious, Liebieghaus, Frankfurt a.M., until 27 Aug 2017”→
Alfred Flechtheim. Modernism’s Art Dealer May 21, 2017 – September 17, 2017
The role played by Alfred Flechtheim (1878–1937) in the history of twentieth-century European art cannot be underestimated. He dealt in his galleries with the most important artworks of his time and was a charismatic driving force for artists, museums and collectors. His publication “Querschnitt” was one of the Weimar Republic’s most intellectually stimulating avant-garde magazines. Flechtheim was surrounded by such popular celebrities as Max Schmeling and illustrious artists like Renée Sintenis. Defamed by anti-Semitic hostilities and threatened by the Nazis, he emigrated from Germany in 1933 and died in exile in 1937. Continue reading “Exh.: Alfred Flechtheim. Modernism’s Art Dealer, Berlin, May-Sept 2017”→
On the occasion of the second Hugo Helbing Lecture, delivered on 26 April 2017 by Professor Craig Clunas (University of Oxford), the Zentralinstitut für Kunstgeschichte in Munich has inaugurated an online exhibition on Hugo Helbing (1863-1938) at Google Arts & Culture. Curated by Dr. Meike Hopp (TIAMSA member) and Melida Steinke MA, the exhibition consists of 41 slides (video of curator’s introduction, photos, documents) and explanatory texts presenting Helbing’s wide ranging activities as auctioneer and the „aryanizing“ of his business. It is available in both English and German:
Art and propaganda: art policy in national socialism and its aftermath – Kunst und Propaganda: Kunstpolitik im Nationalsozialismus und ihre Nachwirkungen
Freiburg i. Breisgau, 30.03. – 13.07.2017
On the occasion of the special exhibition National Socialism in Freiburg, the Circle of Friends Augustinermuseum e.V. is organizing a series of lectures on art politics, policies and regulations and the art of the National Socialists [in German].
Thursday, March 30, 7.oopm
Prof. Dr. Christoph Zuschlag (Universität Koblenz-Landau)
Kunst und Kunstpolitik im Nationalsozialismus
Thursday, May 18, 7.oopm
Dr. Tessa Rosebrock (Staatliche Kunsthalle Karlsruhe)
Provenienzforschung in Theorie und Praxis. Erwartungen – Möglichkeiten – Grenzen
Thursday, July 13, 7.oopm
Dr. Tilmann von Stockhausen (Städtische Museen Freiburg)
Das Augustinermuseum im Nationalsozialismus
Exhibition open until 7.00pm on the days of the lectures.
Entrance: 7 Euro non-members; free for members of the Freundeskreises.
Venue: Skulpturenhalle, Augustinermuseum, Freiburg i. Brsg.
ANN: Kunstpolitik im Nationalsozialismus (Freiburg i. Breisgau, 30 Mar-13 Jul 17). In: H-ArtHist, Mar 21, 2017 (accessed Mar 28, 2017).
The documenta Archive is the main lender to a major exhibition on the history of documenta, with stops in Beijing and Shanghai. Curators Prof. Klaus Siebenhaar and Mona Stehle.
In cooperation with the Institute for Arts and Media Management of the Free University of Berlin and the Institute for Art Administration and Education of the Central Academy of Fine Arts (CAFA) in Beijing, the exhibition »The Myth of documenta: Arnold Bode and his Heirs« is on view at the CAFA Art Museum, Beijing from March 1–31, 2017 and includes over 600 items displayed within a space encompassing 1,500 sq m. A selection of the items will then be shown in the exhibition »Arnold Bode and documenta« at the New Gallery of Art in Shanghai through the end of June.
“Art = Capital”, once stated Joseph Beuys. He thus summed up in a concise formula what his worldview was: “Human creativity is the true capital.”
Who Pays? takes Beuys’ concept of capital as starting point to question and elucidate the concomitant transformation of meanings and values of money and capital. Who Pays? has gathered artistic positions from the 1960s to the present. They enable us to pursue our ideas of wealth and poverty, of giving and taking, as well as of participation which are nowadays reduced to purely economic aspects from different perspectives.
Artists: Ovidiu Anton – Gianfranco Baruchello – Joseph Beuys – Susanne Bosch –
Marcel Broodthaers – Filipa César – Felix Gonzalez-Torres – David Hammons – Diango Hernández – Thomas Hirschhorn – Anja Kirschner & David Panos – Alicja Kwade – Thomas Lehnerer – Mark Lombardi – RELAX (chiarenza & hauser & co) – Christof Salzmann
The exhibition and accompanying programs are cooperations of Kunstmuseum Liechtenstein, artsprogram Zeppelin Universität Friedrichshafen, Zukunftswerkstatt Liechtenstein, as well as Haus Gutenberg, Balzers, Liechtensteinische Kunstgesellschaft, Filmclub im Takino, Schaan, TAK Theater Liechtenstein, Schaan, Dialogprojekt Arbogast, Götzis, planoalto Institut, St. Gallen, und TALENTE Vorarlberg.