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Exhibitions

Stuart Dunkel

Rehs Contemporary


06 April 2020 -30  April 2020

 

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 On Monday, April 6th, Rehs Contemporary will unveil a digital exhibition, A|MUS|E, featuring new work from Stuart Dunkel on their website – www. RehsCGI.com. Dunkel, who has seen rapid success in the last few years, has compiled more than 40 original paintings for this project – the largest number of available works in one venue by the artist.

Stuart Dunkel’s subject matter ranges widely – his works can be classified as still life, landscapes, or even genre paintings – but one quirky characteristic is consistent throughout… the presence of a little white mouse named Chuckie; his Muse. A muse is most commonly thought of as the source of inspiration for a creative artist – for Dunkel, he thinks of it as more of a “magnificent obsession.” But it is not just about what he is painting, as the artist says, “there is rhythm and harmony; my life has been dedicated to the pursuit of beauty.”

Dunkel, a world renowned oboist, turned his full attention from music to painting in the mid-1990s. Early on, much of his work focused on rendering various animals… that was until he submitted a painting of a mouse to a local gallery, where it found a buyer. Ever since, the mouse, which is in the biological genus Mus, has become the iconic feature of Dunkel’s work.

 

Stuart Dunkel, Family Portrait: Rabbit, 6 x 12 inches.

Black in Rembrandt’s Time

Rembrandt House Museum

06 March 2020 –31 May 2020,

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Photography by Mike Bink for The Rembrandt House Museum, Amsterdam.

 

A new exhibition at the Rembrandt House Museum in Amsterdam tells the story of the black community in 17th century Dutch society and how the portrayal of black figures in Western art reveals much about attitudes to race.

With a keen eye, surprising discoveries can be made in Jacob van der Ulft’s gouache painting The Market in Dam Square, Amsterdam (1653). Amidst all the loading and unloading of goods, trading and gossiping, are a trio of turbaned men from the East and, mixing in with the crowd at a fish stall, a black-skinned man dressed in blue.

Black in Rembrandt’s Time, which opened at the Rembrandt House Museum on 6 March, combines 17th century artworks and records from the city archives to reveal an irrefutable truth: the Netherlands has been multicultural for some 400 years, and black people – at odds with a myth of monoculturalism – were both present and free in 17th century Amsterdam.

Rembrandt’s neighbours

The black community in Rembrandt’s time were mostly sailors, soldiers, and servants, and were concentrated around the Jodenbreestraat, where the museum – Rembrandt’s former home – stands today. Rubbing shoulders with other migrants from Germany, Portugal, Spain and Scandinavia, was a diverse black diaspora: Africans, West Indians and Brazilians accompanying repatriating Dutch families from the colonies or in service to Sephardic Jews fleeing persecution.

 

 

 

Corita Kent___Joyful Revolutionary

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Taxispalais Kunsthalle Tirol

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02 April 2020 - 05 July 2020

At age 18, Corita Kent (1918–1986) joined the religious order of the Sisters of the Immaculate Heart of Mary in Los Angeles, teaching and eventually chairing Immaculate Heart College’s art department. As an artist and art educator she very soon reached the status of a living legend. For the first time in the German-speaking context, the TAXISPALAIS Kunsthalle Tirol presents a comprehensive selection of her compelling serigraphs from the 1960s. In the manner of Pop Art, Corita Kent appropriated advertisement motifs and slogans as well as popular songs’ lyrics​, combining these pop culture references with biblical verses, news content and quotations from literature in order to produce emphatic and joyful poster works in the service of peace and social justice.
 

 

 

 

Curated by Nina Tabassomi.
 

Exhibition flyer with: Corita Kent, american sampler, 1969 (Courtesy of the Corita Art Center, Immaculate Heart Community Los Angeles, Photograph by Arthur Evans)

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Frankfurter Kunstverein

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How to Make a Paradise

Seduction and Dependence in Generated Worlds

 27 March 2020 - 16 August 2020


Participating Artists: Tega Brain, Julian Oliver & Bengt Sjölén, Elisabeth Caravella, Kate Crawford & Vladan Joler, Fleuryfontaine, Keiken + George Jasper Stone, Jakob Kudsk Steensen, Lauren Lee McCarthy, Jaakko Pallasvuo, Julien Prévieux

Paradise stirs fulfillment and longing: for far away and beauty, for effortless existence. Digital gadgets are available anytime, anywhere. They promise expansion of our comfort zone, and abduct us from the here and now. They transport us into worlds whose surface appearance is adaptable to our wishes.

Playful, user-friendly and with the tone of a soft voice, they effortlessly help us through everyday life. To ensure that digital assistants respond to a clap of hands or swipe of a finger, the globe is spanned with a powerful infrastructure of satellites, underground cables, databases and server farms operated by a handful of global corporations. These services use energy, raw materials and low-paid labor, but provide quick access to fulfilment of our immediate desires. In return, their users are drawn into dependency. Artificial intelligence, robotics and virtual reality serve the promise of a better world, a technically optimized solution, free of human error.

Through access to digital tools we feel enabled to act with self-empowerment in the virtual sphere. We survey the web in search of solutions for our everyday problems. Online DIY – do it yourself – culture provides access to collective knowledge, equipping us to act autonomously. This new freedom of action is characterized by the use of tools and applications that don’t require knowledge of computer language or the complexity of their systems. Operational knowledge (“how to”) is usually sufficient, doing comes before understanding.

We reflect ourselves in digital surfaces. We constantly optimize our skills, our self and our individual world. We long for seduction and the feeling of closeness without intimacy, of excitement without consequence, in individual paradises. With a digital body as a fabricated manifestation of our artificially staged self, we move through the matrix of the digital world in search of recognition and self-assurance through the likes of online communities.



 

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Elisabeth Caravella, Howto, 2014, a Le Fresnoy production, with the support of the Fondation d'entreprise Hermès, ©the artist, Courtesy: the artist