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  •    Auteur : Museum Ludwig (Cologne, Allemagne).
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Documents en rayon : 14

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Résumé : Contient le Catalogue raisonné des oeuvres en laine (Werkverzeichnis der Wollarbeiten = Catalog raisonné of wool works)

Résumé : Ouvrage publié à l'occasion de l'exposition "Das achte Feld : Geschlechter, Leben und Begehren in der Kunst seit 1960", Museum Ludwig, Köln, du 19 août au 12 novembre 2006.

Résumé : Nouveau vitrail de la cathédrale de Cologne par Gerhard Richter.

Résumé : Le musée Ludwig de Cologne est le premier musée d'art contemporain à avoir créé une section photographie d'envergure internationale particulièrement représentative de l'histoire de la photo du XXe siècle. Cet ouvrage propose de découvrir, de A à Z, cette exposition permanente dont la pièce maîtresse est la collection de L. Fritz Gruber.

Résumé : Sommaire : Louise Lawler: memory images of art under spectacle / Benjamin H.D. Buchloh -- The exterminating angel / Hal Foster -- "Not stone": acting in and with Louise Lawler's pictures / Sven Lütticken -- In the beginning was the cow: re:presentation in the work of Louise Lawler / Philipp Kaiser.

Résumé : This comprehensive catalogue raisonné documents and depicts Yang's entire oeuvre, from early action-based objects to lacquer paintings, photographs, works on paper and video, anthropomorphic sculptures, performative works, and large-scale installations with venetian blinds. The abbreviation ETA is internationally recognized as meaning "estimated time of arrival," among other things, and points to an artistic career in transit and the constant itineracy of an artist who has exhibited internationally since 1994.

Résumé : "Ursula Schultze-Bluhm, who is known sim­p­ly as Ur­su­la, was one of the most im­por­tant Ger­man artists of the se­cond half of the twen­ti­eth cen­tu­ry. She was born in Mit­ten­walde, Ger­many, in 1921 and died in Cologne in 1999. Mu­se­um Lud­wig's ex­hi­bi­tion Ur­su­la--That's Me. So What?, which is the first com­pre­hen­sive mu­se­um show on the artist in over thir­ty years, of­fers a fresh look at her oeu­vre. The show con­tains 236 works, of which 44 are from the col­lec­tion of the Mu­se­um Lud­wig.Ur­su­la's life and work of­fer an un­con­ven­tio­n­al nar­ra­tive of artis­tic in­de­pen­dence. Her art ex­em­pli­fies the idea that Sur­re­al­ism is not a style, but an at­ti­tude. Ur­su­la sub­vert­ed re­al­i­ty and found the un­can­ny in the ev­ery­day, challenging the au­thor­i­ties of so­ci­e­ty and art by imagin­ing new worlds in which old hi­erarchies are thrown over­board and new ways of life are con­ceiv­able. Ur­su­la shared this utopian imag­i­na­tion with artists such as Leono­ra Car­ring­ton, Leonor Fi­ni, Dorothea Tan­n­ing, and Uni­ca Zürn.It is im­pos­si­ble to un­am­bigu­ous­ly cat­e­go­rize the essence of Ur­su­la's works. Terms such as naive paint­ing, Sur­re­al­ism, or in­di­vi­d­u­al mythol­o­gy on­ly touch on in­di­vi­d­u­al as­pects of her un­ortho­dox vi­su­al ideas, which al­ways con­vey an in­tense­ly sen­su­al ex­pe­ri­ence. As ear­ly as 1954, Jean Dubuf­fet in­te­grat­ed works by her in­to his Musée de l'Art Brut. Like An­dré Bre­ton, Dubuf­fet ap­pre­ci­at­ed the unconven­tio­n­al nar­ra­tive style of her texts and pic­tures, which--at least on first glance--seem to stand out­side of time. While they of­ten re­fer to mythol­o­gy, they usu­al­ly re­flect the artist's own emotional states, fears, and ob­ses­sions. 'I im­pose my vi­sions on re­al­i­ty--I am com­plete­ly ar­ti­fi­cial,' Ur­su­la de­clared, charac­ter­iz­ing her unu­su­al par­al­lel worlds in which ex­tra­v­a­gant char­ac­ters exist and the familiar and the un­can­ny are per­cepti­ble. Beau­ty and tran­sience, the fairy-like and the mon­strous, thrive side by side. One of Ur­su­la's char­ac­teris­tic sub­jects was Pan­do­ra, the woman who was cre­at­ed from clay in Greek mythol­o­gy, in whose sto­ry the most ter­ri­ble evils and the most ex­cel­lent gifts are inse­para­b­ly in­ter­twined. Ur­su­la's scenes are frequently in­habit­ed by fantas­ti­cal hy­brid crea­tures, and the al­lure of trans­for­ma­tion is tan­gi­ble ev­ery­where, challenging time-worn du­alisms such as wo­m­an/man and hu­man/na­ture.This overview ex­hi­bi­tion at the Mu­se­um Lud­wig aims to pre­sent Ur­su­la's cap­ti­vat­ing and self-as­sured work to a new gen­er­a­tion of mu­se­um vis­i­tors. The show re­veals that it is the indi­vi­d­u­al­i­ty of Ur­su­la's work that al­lows it to touch on so many fun­da­men­tal and top­i­cal is­sues, in­clud­ing fe­male self-de­ter­mi­na­tion and the chal­leng­ing of estab­lished gen­der identities, with a world­view in which ev­ery­thing is in­ter­con­nect­ed and mu­tu­al­ly de­pen­dent."--

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