#Kunstmuseum Wolfsburg

[manuelamordhorst]

Tipp: Leandro Erlich - Schwerelos im Kunstmuseum Wolfsburg

12.?10.?2024?—?13.?7.?2025 Die Welt steht im Kunstmuseum Wolfsburg auf dem Kopf! Der Mond ist auf der Erde gelandet, Wolken verdichten sich in Vitrinen zu fantasievollen Formen, ein Haus hängt in luftiger Höhe und die Besucher*innen schweben scheinbar in der Schwerelosigkeit eines Raumschiffs – die Ausstellung des argentinischen Künstlers Leandro Erlich bietet für jeden zahlreiche „Wow-Effekte“!…

[pikasus-artenews]

PAOLO PELLEGRIN. Fragile Wunder

A Wolfsburg Paolo Pellegrin, uno dei più famosi fotografi documentaristi del nostro tempo, porta il visitatore in uno strordinario viaggio intorno al mondo

[t-jfh]

Philip Taaffe (American, b. 1955)

Untitled V, 1980

Paper collage, 24½" × 16¼"

Philip Taaffe (American, b. 1955)

Snake Eyes, 1993

Mixed media on linen, 73" x 88"

Philip Taaffe (American, b. 1955)

Eros and Psyche, 1994

Mixed media on canvas, 132" x 100½"

Philip Taaffe (American, b. 1955)

The Red Desert, 1997

Mixed media on canvas, 82½" x 112¼"

Philip Taaffe (American, b. 1955)

Calligraphic Study II, 1997

Mixed media on linen, 43¾" × 38"

Philip Taaffe (American, b. 1955)

Painting with Carved Figures, 1998

Mixed media on canvas, 55¾" x 39⅜"

Philip Taaffe (American, b. 1955)

Black Venus, 1999

Mixed media on canvas, 85" x 113"

Philip Taaffe (American, b. 1955)

Composition with Gemstones, 2001

Mixed media on canvas, 85" x 61¼"

Philip Taaffe (American, b. 1955)

Magic Lantern with Rugosa, 2005

Mixed media on canvas, 70" x 139"

Philip Taaffe (American, b. 1955)

Bardo Triangle, 2009

Mixed media on canvas - Triangle: 64½"

Artwork by Philip Taaffe - Gallery 1

See Gallery 2 (containing ten paintings) of this two-part series at next post, below.

A selection of paintings by Philip Taaffe

All artworks ©️ Philip Taaffe

Philip Taaffe artist biography

Philip Taaffe was born in Elizabeth, New Jersey in 1955 and studied at the Cooper Union in New York. His first solo exhibition was in New York in 1982.

He has traveled widely in the Middle East, India, South America and Morocco, where he collaborated with Mohammed Mrabet on the book Chocolate Creams and Dollars, translated by Paul Bowles (Inanout Press, New York: 1993).

Taaffe lived and worked in Naples from 1988-91. He has been included in numerous museum exhibitions, including the Carnegie International, two Sydney Biennials and three Whitney Biennials.

In 1990 his work was the subject of an extensive critical study in Parkett no. 26 (Zurich & New York). His work is in numerous public collections, including the Museum of Modern Art, New York; the Philadelphia Museum of Art; the Whitney Museum of American Art; and the Reina Sofia, Madrid.

In the year 2000, the IVAM museum in Valencia organized a retrospective survey of his work, with contributions by Enrique Juncosa, Robert Rosenblum and Robert Creeley.

In 2001 an extensive survey of his work was presented by the Galleria Civica of Trento, Italy (with texts by Vittoria Coen and Francesco Pellizzi).

In 2004 the Galleria d’Arte Moderna in San Marino (Italy) presented a survey of paintings and drawings based on the artist’s explorations with floating pigments and the paper marbling process, accompanied by the Skira publication, Carte Annuvolate (Cloud Papers) with esssays by Peter Lamborn Wilson and John Yau.

In 2008 the Kunstmuseum Wolfsburg organized a retrospective survey, The Life of Forms in Art: Paintings 1980-2008, with a publication by Hatje Cantz, featuring contributions by Markus Brüderlin, Holger Broeker, Kay Heymer and Brooks Adams. Philip Taaffe presently works and lives in New York City, and West Cornwall, Connecticut.

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You can find a catalogue of Philip Taaffe’s artworks, exhibitions, publications, reference texts and contact details at his website, here:

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Philip Taaffe reference at Wikipedia:

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[marinasosseh]

Re-Inventing Piet. Mondrian und die Folgen

Viele Bilder von Piet Mondrian waren bei der Ausstellung im Kunstmuseum in Wolfsburg, ehrlich gesagt, nicht zu sehen, dafür aber eine beachtliche Anzahl von Werken, die auf die künstlerische Positionierung von Piet Mondrian auf irgendeine Art und Weise reagieren, sei es, dass das Farbschema epigonenhaft aufgenommen wird, die klaren schwarzen Linien anarchistisch verformt oder seine abstrakten…

[schorschidk]

Kunstmuseum Wolfsburg zeigt VW-Werk Fotos von Peter Keetman

Vor 70 Jahren konnte der Fotograf drei Tage lang die Produktion der Käfer im VW-Werk in Wolfsburg fotografieren.

[lottesiu]

Animals are not art supply

Will you claim killing is a form of art? This article argues that animals is not art supply and they should never be killed for making art. This article examines the art of Damien Hirst as an example. Damien Hirst, a British artist known for his controversial works, has been criticized for his use of animals in his art. He killed estimated 913,450 creatures , according to Artnet. Many animal protest groups, e.g. PETA, RSPCA. 100% Animalisti( the Italian animal rights group) had raise their concerns and complaint towards Hirst.

In 1990, Hirst entered the public attention by his work “A Thousand Years”, first exhibited at the warehouse exhibition ‘Gambler’, in 1990. Showing a real decaying cow’s head under ac fly-killer. At that time “Killing animals has nothing to do with art, it just shows the arrogance of people who literally will stop at nothing for their own interests,” a PETA representative said in response to the work. This installation made him 

A Hundred Years. 1990 in The Kunstmuseum Wolfsburg 

 Another Hirst’s most famous pieces created in 1991, The Physical Impossibility of Death in the Mind of Someone Living .He paid a fisherman to caught a 14-foot tiger shark in Australia, then put it in a glass of 5% formaldehyde solution. However, the shark was preserved poorly at the beginning. It began to decayed and the liquid in the glass became grey and muddy. When a collector brought the work, Hirst offer to replace the shark, captured and killed).

The Physical Impossibility of Death in the Mind of Someone Living , 1991

Within one million creatures killed throughout Damien Hirst’s career, mostly are Butterflies. He used real butterfly wing to make a stained glass. Trapped 9000 butterflies in a gallery room in United Kingdom as an art installation.

In 2008, he used real wings to create stained-glass again, named The Rose window. And Hirst said. “I love how it’s turned out; I wanted to create an optimistic kaleidoscope of hope and light and butterflies and I think the result speaks for itself.” Why would he think killing thousands of creature can represent hope and light? Hirst has also used other animals in his works, including cows, sheep and fishes and most of them are capture from the nature environment.

The Rose Window, 2008

What Damien Hirst doing is just showing the world that animals are nothing more that objects to be used for human purposes. With the Natural History series, Hirst said that he, ‘just wanted to do a zoo that worked ... because I hate the zoo, and I just thought it would be great to do a zoo of dead animals, instead of having living animals pacing about in misery ... I never thought of [the works] ... as violent. I always thought of them as sad. There is a kind of tragedy with all those pieces.’ (Quoted in Damien Hirst, pp.122 and 134.) Note 1. However, if Damien Hirst hated the zoo, 

why would he took all those animals away from their home in nature and used them for making art ? He made himself the United Kingdom's richest living artist, with his wealth estimated at US$384 million in the 2020 Sunday Times Rich List by abusing the animals.

Although some people in the art industry had high comment on Damien Hirst. 

"Damien's work always grapples with really essential themes, sort of art and science, life and death, fear and beauty, religion. And he's thinking about these sort of bigger picture ideas, and they're really all really beautifully incorporated in this body of work," says Millicent Wilner, Director of Gagosian Gallery. Many artist also explore the topic of life and dead without abusing animals. For example, Marina Abramović, a Serbian conceptual and performance artist, also explores the topic of death in her art. However, her approach is quite different from that of Damien Hirst. Abramović's work often involves herself and endurance, rather than the use of dead animals. In 1974, her work” Rhythm 0”,  Abramović performed with 72 objects, allowing the audience to decide what to do on her. 

One of her most notable work, “The Artist in Present”. (2009, MoMA).During the art performance, Abramović sat in a chair for over 700 hours, while visitor were invited to take turns sitting opposite her. Both art performance explores the themes of time, life, and the human connection. Abramović’s used her own body as a medium which need great courage.In comparison with Damien Hirst, all he did was paid for someone to capture the animals, then killed them in the name of art. 

Rhythm 0, in Naples in 1974.

In conclusion, Damien Hirst is only an example of abusing animals for art. Sadly, he is not alone. More research and discuss about Animal rights should be conduct. When more people aware of it and join the protest against abuse animal in art. We all have to think if artist expression are more important than a life. 

Note 1 :Manchester , E. (2009) 'away from the flock', Damien Hirst, 1994, Tate. Available at: https://www.tate.org.uk/art/artworks/hirst-away-from-the-flock-ar00499 (Accessed: January 25, 2023). 

[einereiseblog]

Willkommen in Zweibrücken – Eine Stadt voller Sehenswürdigkeiten Zweibrücken, eine Stadt im Südwesten Deutschlands, ist ein wunderbarer Ort, um einen Tag oder ein Wochenende zu verbringen. Die Stadt ist voll von Sehenswürdigkeiten, die ein einzigartiges Erlebnis bieten. Ob Sie sich für historische Gebäude, interessante Museen oder kulturelle Veranstaltungen interessieren, Zweibrücken hat eine Vielzahl von Aktivitäten, die Sie erkunden können. Erkunden Sie die Geschichte von Zweibrücken Die Stadt Zweibrücken hat eine lange und bewegte Geschichte. Einige der bekanntesten Sehenswürdigkeiten sind die Burgruine Wolfsburg, die im 13. Jahrhundert erbaut wurde, und das Schloss Zweibrücken, das im 17. Jahrhundert errichtet wurde. Beide Sehenswürdigkeiten sind ein Muss für jeden, der Zweibrücken besucht. Erkunden Sie die Museen von Zweibrücken Ein weiterer Grund, warum Zweibrücken ein beliebter Ort zum Besuch ist, sind die vielen Museen, die es zu erkunden gibt. Einige der bekanntesten Museen sind das Kunstmuseum Zweibrücken, das Stadtmuseum Zweibrücken und das Museum der deutschen Geschichte. Diese Museen bieten eine Vielzahl von Ausstellungen, die einen Einblick in die Geschichte und Kultur der Stadt geben. Erkunden Sie die Kultur von Zweibrücken Zweibrücken ist auch ein Ort voller Kultur. Es gibt viele verschiedene Veranstaltungen, Festivals und Konzerte, die jedes Jahr stattfinden. Einige der bekanntesten Veranstaltungen sind das Zweibrücker Musikfestival, das jährlich im Juni stattfindet, und das Zweibrücker Weinfest, das jährlich im September stattfindet. Erkunden Sie die Umgebung von Zweibrücken Neben den Sehenswürdigkeiten und Kulturveranstaltungen in Zweibrücken bietet die Stadt auch eine wunderschöne Natur. Es gibt viele Wanderwege und Radwege, die Sie erkunden können, sowie einige der schönsten Strände und Seen der Region. Ein Tag in Zweibrücken Wenn Sie nur einen Tag in Zweibrücken verbringen möchten, gibt es viele verschiedene Möglichkeiten, wie Sie Ihre Zeit verbringen können. Sie können zum Beispiel einen Tag in einem der Museen verbringen, einen Spaziergang durch die Stadt machen oder eine der vielen Kulturveranstaltungen besuchen. Am Ende des Tages können Sie sich dann in einem der vielen Restaurants und Cafés in der Stadt entspannen und die köstliche Küche genießen. Fazit Zweibrücken ist eine wunderschöne Stadt mit vielen Sehenswürdigkeiten und Aktivitäten. Ob Sie sich für Geschichte, Kultur oder Natur interessieren, Zweibrücken hat für jeden etwas zu bieten. Es ist ein Ort, an dem Sie einen Tag oder ein Wochenende verbringen können und sicher sein können, dass Sie ein einzigartiges und unvergessliches Erlebnis haben werden.

[rwpohl]

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[manuelamordhorst]

Tipp: Das Ding mit dem Zufall im Kunstmuseum Celle

27.10.23 – 23.02.25 Kunstmuseum Celle Hier tropft etwas auf den Fußboden und da wurden Rechtecke scheinbar willkürlich auf eine Leinwand geworfen. In der aktuellen Kunstausstellung im Kunstmuseum Celle rund um das künstlerische Schaffen von Lienhard von Monkiewitsch wird sich mit dem Zufall und der Mathematik beschäftigt. Klingt langweilig ist es aber ganz und gar nicht! Das Schicksal,…

[pikasus-artenews]

Macht! Licht! (Potere leggero!) Riflessione critica sul potere leggero della luce in una rassegna di artiste e artisti internazionali.

[t-jfh]

Philip Taaffe (American, b. 1955)

Anthology (Blue), 2009

Mixed media on canvas, 39" x 28¼"

Philip Taaffe (American, b. 1955)

Imaginary Garden with Seed Clusters, 2013

Mixed media on canvas, 97⅞" x 61⅞"

Philip Taaffe (American, b. 1955)

Double Acrosticum (Deep Magenta), 2014

Mixed media on canvas, 76¼" x 55⅛"

Philip Taaffe (American, b. 1955)

Tesserae II, 1990-2015

Mixed media on canvas, 40" x 28"

Philip Taaffe (American, b. 1955)

Blue Manuscript, 2016-2018

Mixed media on canvas, 80¼" x 60"

Philip Taaffe (American, b. 1955)

Holothurian Passages, 2019

Mixed media on canvas, 79¾" x 114"

Philip Taaffe (American, b. 1955)

Totemic Figures, 2022

Mixed media on canvas, 88¾" x 52⅛"

Philip Taaffe (American, b. 1955)

Prismatic Figure, 2022

Mixed media on panel, 62¾" x 22½"

Philip Taaffe (American, b. 1955)

Flowering Leaves II, 2023

Mixed media on canvas, 60½" x 54⅞"

Philip Taaffe (American, b. 1955)

Illumination, 2023

Mixed media on canvas, 92¾" x 66½"

Artwork by Philip Taaffe - Gallery 2

See Gallery 1 (containing ten paintings) of this two-part series at next post, above.

A selection of paintings by Philip Taaffe

All artworks ©️ Philip Taaffe

Philip Taaffe artist biography

Philip Taaffe was born in Elizabeth, New Jersey in 1955 and studied at the Cooper Union in New York. His first solo exhibition was in New York in 1982.

He has traveled widely in the Middle East, India, South America and Morocco, where he collaborated with Mohammed Mrabet on the book Chocolate Creams and Dollars, translated by Paul Bowles (Inanout Press, New York: 1993).

Taaffe lived and worked in Naples from 1988-91. He has been included in numerous museum exhibitions, including the Carnegie International, two Sydney Biennials and three Whitney Biennials.

In 1990 his work was the subject of an extensive critical study in Parkett no. 26 (Zurich & New York). His work is in numerous public collections, including the Museum of Modern Art, New York; the Philadelphia Museum of Art; the Whitney Museum of American Art; and the Reina Sofia, Madrid.

In the year 2000, the IVAM museum in Valencia organized a retrospective survey of his work, with contributions by Enrique Juncosa, Robert Rosenblum and Robert Creeley.

In 2001 an extensive survey of his work was presented by the Galleria Civica of Trento, Italy (with texts by Vittoria Coen and Francesco Pellizzi).

In 2004 the Galleria d’Arte Moderna in San Marino (Italy) presented a survey of paintings and drawings based on the artist’s explorations with floating pigments and the paper marbling process, accompanied by the Skira publication, Carte Annuvolate (Cloud Papers) with esssays by Peter Lamborn Wilson and John Yau.

In 2008 the Kunstmuseum Wolfsburg organized a retrospective survey, The Life of Forms in Art: Paintings 1980-2008, with a publication by Hatje Cantz, featuring contributions by Markus Brüderlin, Holger Broeker, Kay Heymer and Brooks Adams. Philip Taaffe presently works and lives in New York City, and West Cornwall, Connecticut.

•

•

You can find a catalogue of Philip Taaffe’s artworks, exhibitions, publications, reference texts and contact details at his website, here:

•

•

Philip Taaffe reference at Wikipedia:

•

[martalosada]

EBERHARD HAVEKOST, ALEMANIA, 1967-2019

Bowling 2, 2000 Oil on Canvas 200 x 200cm

Intro 1, 2001 Oil on Canvas 80 x 180cm

Kontakt, 1998 Oil on Canvas 180 x 129cm

Mobile 1, 2002 Oil on Canvas 140 x 200cm

Untitled, 1997 Oil on Canvas 150 x 100 cm