Podcast appearances and mentions of hans arp

Founded in Chicago in 1914, the avant-garde journal the Little Review became a giant in the cause of modernism, publishing literature and art by luminaries such as T.S. Eliot, Djuna Barnes, William Butler Yeats, James Joyce, Ezra Pound, Pablo Picasso, Max Ernst, Gertrude Stein, Jean Toomer, William Carlos Williams, H.D., Amy Lowell, Marcel Duchamp, Joseph Stella, Hans Arp, Mina Loy, Emma Goldman, Wyndham Lewis, Hart Crane, Sherwood Anderson, and more. Perhaps most famously, the magazine published Joyce's Ulysses in serial form, causing a scandal and leading to a censorship trial that changed the course of literature. In this episode, Jacke talks to scholar Holly A. Baggett about her book Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review, which tells the story of the two Midwestern women behind the Little Review, who were themselves iconoclastic rebels, living openly as lesbians and advocating for causes like anarchy, feminism, free love, and of course, groundbreaking literature and art. PLUS Phil Jones (Reading Samuel Johnson: Reception and Representation, 1750-1970) stops by to discuss his choice for the last book he will ever read. Additional listening: 600 Doctor Johnson! (with Phil Jones) 564 H.D. (with Lara Vetter) 165 Ezra Pound The music in this episode is by Gabriel Ruiz-Bernal. Learn more at gabrielruizbernal.com. Help support the show at patreon.com/literature or historyofliterature.com/donate. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pro-Palästina-Demos in der Schweiz und weltweit, schwere Unwetter in Bosnien und Herzegowina, US-Wahlkampf spaltet Männer und Frauen, das Bozar in Brüssel zeigt Hans Arp und Sophie Taeuber-Arp

Manuel Cargaleiro já tinha deixado a sua marca em Paris numa das mais conhecidas estações de metro, a Champs Elysées-Clémenceau, mas a capital francesa pediu-lhe mais. Aos 92 anos, o artista português juntou aos painéis de azulejos instalados em 1995 novas obras que são inauguradas esta segunda-feira. Nesse dia, o pintor e ceramista vai ser duplamente condecorado por Portugal e Paris. Nesta entrevista, realizada em 2017, o "mestre" recorda os tempos iniciais em Paris, quando a cidade era "uma aldeia de artistas". Esta segunda-feira, Manuel Cargaleiro vai inaugurar novos painéis na estação Champs Elysées-Clémenceau, em Paris, e depois vai receber a Medalha Grand Vermeil, a mais alta condecoração da cidade, e a Medalha de Mérito Cultural de Portugal na presença do Primeiro-Ministro português.Galardões que se juntam a outros de um artista que vive em Paris desde 1957, que conviveu com nomes precursores da arte contemporânea como Max Ernst, Hans Arp, Serge Poliakoff, Alfred Manessier, Sonia Delaunay, Zao Wou-Ki, Maria Helena Vieira da Silva, Arpad Szènes, Roger Bissière, Natalie Gontcharova e Michel Larionov, entre muitos outros.Era também vizinho de Picasso mas tinha uma admiração tão grande por ele que não teve coragem de falar com ele… À sua casa, no bairro dos artistas, vinham bater muitos portugueses que chegavam clandestinamente a França…Uma conversa sobre arte, memórias e muito trabalho num ateliê repleto de telas e centenas de desenhos e guaches…

Das "Dada-Manifest 1918", das der Dichter Tristan Tzara im Dezember des Jahres veröffentlicht, trägt Dada aus Zürich in die Welt: Kunst gegen Krieg und Spießbürgertum. Von Claudia Belemann.

If you found yourself nodding off while solving today's crossword, that's probably because of all the Z's in the grid - but that was the only boring bit. How could you DOZEOFF in the face of such dazzling clues as 1A, Half of an orange? RED (we're still working that one out

Hans Arp war einer der wichtigsten Künstler des Dadaismus. In Zürich hat er die Bewegung, die 1917 als Protest gegen den Ersten Weltkrieg begann, mitbegründet. Er studierte Kunst und arbeitete als bildender Künstler, aber er verfasste auch Lyrik. Sein Gedicht vom „großen Mondtreffen“ ist ein klangvolles Beispiel für die Kunst, mit Worten zu jonglieren, die Hans Arp virtuos beherrschte. Was er in seinem Gedicht formuliert, ist nichts, was wir mit dem realen Mond in Verbindung bringen. Stattdessen betreibt er eine kühne Akrobatik mit Mond-Wortspielen, er arbeitet ganz frei wie etwa ein Jongleur mit brennenden Fackeln, so als versuche er, wie weit er es mit Worten treiben könne. Dabei verletzt er nie die Syntax des Satzes und wirft nicht die Worte frei in den Raum. Arp ist kein Sprachzertrümmerer, sondern ein Sprachzauberer. Er belässt die Worte in ihren Satzzusammenhängen, aber er spielt mit dem Wort-Sinn, er verbindet die Worte in unvorhergesehener Weise miteinander. Es ist viel Bewegung in diesem Text, in dem völlig neue Wortschöpfungen kurz auftauchen, nur um gleich wieder zu verschwinden und der nächsten Formulierung Platz zu machen. Was bleibt, ist allein das Wort Mond, das auf diese Weise ein ganz eigenes Leben bekommt.

In unserer 34. Folge sprechen Felix von Boehm und Charlotte Paulus mit Jorinde Voigt über das "Konkrete Relief" von Hans Arp von 1916-1917. Die Arbeit wurde 1979 von den Freunden der Nationalgalerie aus dem Nachlass von Hannah Höch erworben. In unserem Podcast mit Diandra Donecker haben wir auch bereits über das "Dada-Relief" von Hans Arp gesprochen, das ebenfalls aus dem Nachlass von Hannah Höch stammt.

Tristan Tzara, one of the most important figures in the twentieth century's most famous avant-garde movements, was born Samuel Rosenstock (or Samueli Rosenștok) in a provincial Romanian town, on April 16 (or 17, or 14, or 28) in 1896. Tzara became Tzara twenty years later at the Cabaret Voltaire in Zurich, when he and others (including Marcel Janco, Hugo Ball, Richard Huelsenbeck, and Hans Arp) invented Dada with a series of chaotic performances including multilingual (and nonlingual) shouting, music, drumming, and calisthenics. Within a few years, Dada (largely driven by Tzara) became an international artistic movement, a rallying point for young artists in Paris, New York, Barcelona, Berlin, and Buenos Aires. With TaTa Dada, Marius Hentea offers the first English-language biography of this influential artist. As the leader of Dada, Tzara created "the moment art changed forever." But, Hentea shows, Tzara and Dada were not coterminous. Tzara went on to publish more than fifty books; he wrote one of the great poems of surrealism; he became a recognized expert on primitive art; he was an active antifascist, a communist, and (after the Soviet repression of the Hungarian Revolution) a former communist. Hentea offers a detailed exploration of Tzara's early life in Romania, neglected by other scholars; a scrupulous assessment of the Dada years; and an original examination of Tzara's life and works after Dada. The one thing that remained constant through all of Tzara's artistic and political metamorphoses, Hentea tells us, was a desire to unlock the secrets and mysteries of language. Marius Hentea, a Romanian-born literary scholar, teaches in the Department of Literary Studies at Ghent University. He is the author of Henry Green at the Limits of Modernism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Tristan Tzara, one of the most important figures in the twentieth century's most famous avant-garde movements, was born Samuel Rosenstock (or Samueli Rosenștok) in a provincial Romanian town, on April 16 (or 17, or 14, or 28) in 1896. Tzara became Tzara twenty years later at the Cabaret Voltaire in Zurich, when he and others (including Marcel Janco, Hugo Ball, Richard Huelsenbeck, and Hans Arp) invented Dada with a series of chaotic performances including multilingual (and nonlingual) shouting, music, drumming, and calisthenics. Within a few years, Dada (largely driven by Tzara) became an international artistic movement, a rallying point for young artists in Paris, New York, Barcelona, Berlin, and Buenos Aires. With TaTa Dada, Marius Hentea offers the first English-language biography of this influential artist. As the leader of Dada, Tzara created "the moment art changed forever." But, Hentea shows, Tzara and Dada were not coterminous. Tzara went on to publish more than fifty books; he wrote one of the great poems of surrealism; he became a recognized expert on primitive art; he was an active antifascist, a communist, and (after the Soviet repression of the Hungarian Revolution) a former communist. Hentea offers a detailed exploration of Tzara's early life in Romania, neglected by other scholars; a scrupulous assessment of the Dada years; and an original examination of Tzara's life and works after Dada. The one thing that remained constant through all of Tzara's artistic and political metamorphoses, Hentea tells us, was a desire to unlock the secrets and mysteries of language. Marius Hentea, a Romanian-born literary scholar, teaches in the Department of Literary Studies at Ghent University. He is the author of Henry Green at the Limits of Modernism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Tristan Tzara, one of the most important figures in the twentieth century's most famous avant-garde movements, was born Samuel Rosenstock (or Samueli Rosenștok) in a provincial Romanian town, on April 16 (or 17, or 14, or 28) in 1896. Tzara became Tzara twenty years later at the Cabaret Voltaire in Zurich, when he and others (including Marcel Janco, Hugo Ball, Richard Huelsenbeck, and Hans Arp) invented Dada with a series of chaotic performances including multilingual (and nonlingual) shouting, music, drumming, and calisthenics. Within a few years, Dada (largely driven by Tzara) became an international artistic movement, a rallying point for young artists in Paris, New York, Barcelona, Berlin, and Buenos Aires. With TaTa Dada, Marius Hentea offers the first English-language biography of this influential artist. As the leader of Dada, Tzara created "the moment art changed forever." But, Hentea shows, Tzara and Dada were not coterminous. Tzara went on to publish more than fifty books; he wrote one of the great poems of surrealism; he became a recognized expert on primitive art; he was an active antifascist, a communist, and (after the Soviet repression of the Hungarian Revolution) a former communist. Hentea offers a detailed exploration of Tzara's early life in Romania, neglected by other scholars; a scrupulous assessment of the Dada years; and an original examination of Tzara's life and works after Dada. The one thing that remained constant through all of Tzara's artistic and political metamorphoses, Hentea tells us, was a desire to unlock the secrets and mysteries of language. Marius Hentea, a Romanian-born literary scholar, teaches in the Department of Literary Studies at Ghent University. He is the author of Henry Green at the Limits of Modernism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Tristan Tzara, one of the most important figures in the twentieth century's most famous avant-garde movements, was born Samuel Rosenstock (or Samueli Rosenștok) in a provincial Romanian town, on April 16 (or 17, or 14, or 28) in 1896. Tzara became Tzara twenty years later at the Cabaret Voltaire in Zurich, when he and others (including Marcel Janco, Hugo Ball, Richard Huelsenbeck, and Hans Arp) invented Dada with a series of chaotic performances including multilingual (and nonlingual) shouting, music, drumming, and calisthenics. Within a few years, Dada (largely driven by Tzara) became an international artistic movement, a rallying point for young artists in Paris, New York, Barcelona, Berlin, and Buenos Aires. With TaTa Dada, Marius Hentea offers the first English-language biography of this influential artist. As the leader of Dada, Tzara created "the moment art changed forever." But, Hentea shows, Tzara and Dada were not coterminous. Tzara went on to publish more than fifty books; he wrote one of the great poems of surrealism; he became a recognized expert on primitive art; he was an active antifascist, a communist, and (after the Soviet repression of the Hungarian Revolution) a former communist. Hentea offers a detailed exploration of Tzara's early life in Romania, neglected by other scholars; a scrupulous assessment of the Dada years; and an original examination of Tzara's life and works after Dada. The one thing that remained constant through all of Tzara's artistic and political metamorphoses, Hentea tells us, was a desire to unlock the secrets and mysteries of language. Marius Hentea, a Romanian-born literary scholar, teaches in the Department of Literary Studies at Ghent University. He is the author of Henry Green at the Limits of Modernism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Tristan Tzara, one of the most important figures in the twentieth century's most famous avant-garde movements, was born Samuel Rosenstock (or Samueli Rosenștok) in a provincial Romanian town, on April 16 (or 17, or 14, or 28) in 1896. Tzara became Tzara twenty years later at the Cabaret Voltaire in Zurich, when he and others (including Marcel Janco, Hugo Ball, Richard Huelsenbeck, and Hans Arp) invented Dada with a series of chaotic performances including multilingual (and nonlingual) shouting, music, drumming, and calisthenics. Within a few years, Dada (largely driven by Tzara) became an international artistic movement, a rallying point for young artists in Paris, New York, Barcelona, Berlin, and Buenos Aires. With TaTa Dada, Marius Hentea offers the first English-language biography of this influential artist. As the leader of Dada, Tzara created "the moment art changed forever." But, Hentea shows, Tzara and Dada were not coterminous. Tzara went on to publish more than fifty books; he wrote one of the great poems of surrealism; he became a recognized expert on primitive art; he was an active antifascist, a communist, and (after the Soviet repression of the Hungarian Revolution) a former communist. Hentea offers a detailed exploration of Tzara's early life in Romania, neglected by other scholars; a scrupulous assessment of the Dada years; and an original examination of Tzara's life and works after Dada. The one thing that remained constant through all of Tzara's artistic and political metamorphoses, Hentea tells us, was a desire to unlock the secrets and mysteries of language. Marius Hentea, a Romanian-born literary scholar, teaches in the Department of Literary Studies at Ghent University. He is the author of Henry Green at the Limits of Modernism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Tristan Tzara, one of the most important figures in the twentieth century's most famous avant-garde movements, was born Samuel Rosenstock (or Samueli Rosenștok) in a provincial Romanian town, on April 16 (or 17, or 14, or 28) in 1896. Tzara became Tzara twenty years later at the Cabaret Voltaire in Zurich, when he and others (including Marcel Janco, Hugo Ball, Richard Huelsenbeck, and Hans Arp) invented Dada with a series of chaotic performances including multilingual (and nonlingual) shouting, music, drumming, and calisthenics. Within a few years, Dada (largely driven by Tzara) became an international artistic movement, a rallying point for young artists in Paris, New York, Barcelona, Berlin, and Buenos Aires. With TaTa Dada, Marius Hentea offers the first English-language biography of this influential artist. As the leader of Dada, Tzara created "the moment art changed forever." But, Hentea shows, Tzara and Dada were not coterminous. Tzara went on to publish more than fifty books; he wrote one of the great poems of surrealism; he became a recognized expert on primitive art; he was an active antifascist, a communist, and (after the Soviet repression of the Hungarian Revolution) a former communist. Hentea offers a detailed exploration of Tzara's early life in Romania, neglected by other scholars; a scrupulous assessment of the Dada years; and an original examination of Tzara's life and works after Dada. The one thing that remained constant through all of Tzara's artistic and political metamorphoses, Hentea tells us, was a desire to unlock the secrets and mysteries of language. Marius Hentea, a Romanian-born literary scholar, teaches in the Department of Literary Studies at Ghent University. He is the author of Henry Green at the Limits of Modernism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Kunsthistorikerin und Auktionshausleiterin Diandra Donecker spricht über Hans Arps "Dada-Relief" (1917) aus der Sammlung der Nationalgalerie sowie die Beziehung zwischen Museen und Auktionshäusern im Kunstmarkt.

Der Mediziner Carl Laszlo flüchtet nach der Befreiung aus Auschwitz nach Basel, schreibt psychiatrische Aufsätze, Theaterstücke, verlegt eine Zeitschrift – verschuldet sich. Hans Arp hilft ihm aus der Patsche, überlässt ihm Bilder zum Verkauf und entzündet damit eine Besessenheit für die Kunst. Carl Laszlo erfindet sich neu, beginnt frühe Expressionisten, Jugendstil und Art Déco zu sammeln, gründet eine Galerie. Plötzlich Kunsthändler nutzt er das Trauma von Auschwitz zur eigenen Wiedergeburt. Er entdeckt die Beatniks und die Popart in New York, verliert sich im Rausch und kommt dafür, sechzigjährig, in Haft. Weil seine Villa vor Kunstwerken bald aus den Nähten platzt, mitbegründet er die Art Basel und gibt damit der Stadt Basel, die ihn einst nur geduldet hat, etwas zurück Der gebürtige Ungar betrachtet alles mit jüdischem Humor, ist religiös, gebildet – Weltbürger.

My guest this week is Janet Taylor, an artist and art teacher at the high school and college levels. Find her work and more about her at www.jatayolorart.com In 1936, Meret Oppenheim was having lunch with friends when they began to joke about wrapping things in fur. She went back to her studio later and wrapped a cup, saucer, and spoon in fur thus creating what many consider to be the quintessential Surrealist sculpture, Object. Meret Oppenheim was a highly talented artist. She moved to Paris at age 18, and she was almost immediately recognized for her brilliance. Artists like Hans Arp and Alberto Giacometti invited her to participate in group shows, Object was inspired by her lunch conversation with Pablo Picasso, and Object was purchased by MoMA. Unfortunately, Oppenheim also struggled with depression and stepped out of the limelight for some period. For over a decade, focused on art conservation work to pay the bills, but ironically destroyed much of the art that she was creating in her own studio. When she did return to exhibiting her work with renewed confidence, her brilliance was again recognized. Although she is largely associated with the Surrealist movement, she also tackled issues of gender in a lot of her work. As she accepted an award from the city of Basel, she said, “I think it is the duty of a woman to lead a life that expresses her disbelief in the validity of the taboos that have been imposed upon her kind for thousands of years. Nobody will give you freedom; you have to take it.” Who ARTed is an Airwave Media Podcast. Connect with me: Website | Twitter | Instagram | Tiktok Support the show: Merch from TeePublic | Buy me a coffee As always you can find images of the work being discussed at www.WhoARTedPodcast.com and of course, please leave a rating or review on your favorite podcast app. You might hear it read out on the show. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Alberto Giacometti – André Breton“Amitiés Surréalistesà l'Institut Giacometti, Parisdu 19 janvier au 10 avril 2022Interview de Serena Bucalo-Mussely, conservatrice à la Fondation Giacometti et co-commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 17 janvier 2022, durée 24'36.© FranceFineArt.Communiqué de presseCommissaires :Serena Bucalo-Mussely, conservatrice, Fondation Giacometti,en collaboration avec Constance Krebs, directrice éditoriale, Association Atelier André BretonL'Institut Giacometti, en collaboration avec l'Association Atelier André Breton et le Centre Pompidou, Musée national d'art moderne, présente une exposition inédite « Alberto Giacometti – André Breton, amitiés surréalistes » du 19 janvier au 10 avril 2022.L'adhésion d'Alberto Giacometti au surréalisme dure à peine cinq ans (1930 – 1935) pendant lesquels ses recherches autour de l'érotisme, du jeu et de l'onirisme le distinguent comme l'un des artistes les plus innovants du mouvement. Il noue alors des liens forts avec ses compagnons artistes et intellectuels qu'il poursuivra bien après avoir pris ses distances avec le groupe.Fruit de recherches dans les archives personnelles de Giacometti et celles de Breton, cette exposition associe à une sélection d'œuvres surréalistes du sculpteur, un ensemble de chefs-d'œuvre prêtés exceptionnellement par le Centre Pompidou, le Musée d'art moderne de Paris (MAM), le Musée National Picasso-Paris, le Musée des Beaux-Arts de Bruxelles et le Moderna Museet de Stockholm, ainsi que par des collections privées. L'amitié forte entre Giacometti et Breton y est mise en lumière tout comme ses relations avec les artistes et intellectuels surréalistes dont il est le plus proche. Hans Arp, Victor Brauner, Claude Cahun, Leonora Carrington, Salvador Dalí, Max Ernst, André Masson, Joan Miró, Meret Oppenheim, Pablo Picasso, Yves Tanguy, mais aussi René Crevel, Lise Deharme, Paul Éluard, Georges Hugnet, Jacqueline Lamba, Tristan Tzara sont ainsi représentés.Pour accompagner l'exposition, un catalogue est co-édité par la Fondation Giacometti, Paris et FAGE édition, Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Das Basler Ehepaar Annie und Oskar Müller-Widmann begann schon früh, expressionistische Kunst zu sammeln, und entdeckte gegen Ende der 1920er-Jahre auch die abstrakte Kunst für sich. Das Haus des Paars auf dem Bruderholz in Basel war ein Treffpunkt, an dem die herausragenden Protagonistinnen und Protagonisten der Moderne verkehrten, darunter auch Hans Arp und Sophie Taeuber-Arp. Oskar und Annie Müller-Widmann wurden zu engen Freunden der beiden und die ersten und über Jahre hinweg wichtigsten Sammler ihrer Werke. Erstmals werden nun in diesem Band die Briefe und Postkarten veröffentlicht, die Sophie Taeuber-Arp zwischen 1932 und 1942 an das Ehepaar Müller-Widmann schrieb. Darin geht es um das künstlerische Schaffen, um Ausstellungen und andere Projekte, aber auch um private Umstände des Künstlerinnenlebens. Das geschlossen erhaltene Konvolut stellt ein äußerst wichtiges Zeugnis zu Leben und Schaffen Sophie Taeuber-Arps dar. Sämtliche Postkarten werden als Faksimiles abgebildet, die Texte aller Briefe und Karten sowohl in Originalsprache transkribiert als auch in deutscher Übersetzung wiedergegeben. Walburga Krupp, die führende Kennerin von Sophie Taeuber-Arps Schaffen, hat die Briefe kommentiert und arbeitet in einem Essay die Besonderheiten dieses Briefwechsels heraus. Walburga Krupp war 1990–2012 Kuratorin der Stiftung Hans Arp und Sophie Taeuber-Arp in Rolandseck und ist Co-Kuratorin der großen Taeuber-Arp-Retrospektive in Basel, New York und London 2021. Simona Martinoli ist Kuratorin der Fondazione Marguerite Arp in Locarno und Dozentin an der Università della Svizzera italiana in Mendrisio.

Georgia Bellas performs a Hans Arp poem.

Out now: VernissageTV Magazine No. 48, July 2021. In this issue: Museum Langmatt, Olafur Eliasson, Sophie Taeuber-Arp & Hans Arp, ...

To follow up on my comments last week about differences between poetry as a recording of experience and poetry as a transformation of experience, I read surrealistic poems to affirm the importance of getting beyond the self-indulgent confessional voice that dominates (and, as I suggested last week, that suffocates) so much contemporary poetry. I read poems by André  Breton, Hans Arp, Andrei Codrescu, Helen Ivory, Philip Lamantia, James Tate, and Joyce Mansour.  I end the program with one of my own poems.

See pictures and read more on materiallyspeaking.comGuus Jooss lives in Holland but comes to Pietrasanta in Italy for several months a year to work in marble.Guus used to work as a museum teacher and researcher in the Netherlands when he wasn't creating his own art. Before that, he went to an art academy in Utrecht for a year, but mostly learnt about sculpture through doing the work himself. He also did some teaching and found himself describing for his students skills that he didn't realise he'd learnt.When working in marble he considers himself rather old-fashioned as his heroes are artists of earlier generations: Henry Moore, Constantin Brâncuși, Alberto Viani, Isamu Noguchi and Hans Arp, all of whom had a classical, figurative, training but then moved on to pure form. He likes the honesty of one form made in one material.With an affinity to antiquity, Guus makes collages that reference his love of history. Old civilizations that are lost are recreated by him in images which look a little like tapestries or Persian rugs. He's fascinated by the regularity of geometric patterns that Islamic artists made in the sixth and seventh centuries. He talks us through his process and the way he expresses the layers of history.Guus tells how Homo Ludens, a book by Dutch historian and cultural theorist Johan Huizinga, explains the importance of play in society. Like Huizinga, Guus believes that adult creativity should be approached with the same urgency that a child approaches play, that is to say, as a matter of life and death.A keen swimmer, Guus found that open water swimming strengthened his lungs after what may, or may not have been, a dose of Covid. At the beginning of lockdown he enjoyed the chance to focus on work, but the need for a hug finally forced him to admit that isolation was actually a difficult experience.Since this episode was recorded in September 2020, we've had another winter of lockdown. Like others who moved out of towns and cities during the pandemic, Guus relocated from Utrecht to the countryside where he has fresher air and more studio space.guusjooss.nl

Today, program 101, we discuss artist couples who have been working side by side, in partnership. We begin with two couples profiled in Intimate Collaborations, by Bibiana Obler: Wassily Kandinsky & Gabrielle Münter and Hans Arp & Sophie Taeuber. We then talk about mid-century American artist couples like Kienholz: Ed and Nancy Reddin Kienholz; Cristo […]

Auf den ersten Blick ganz unterschiedlich, auf den zweiten Blick haben sie viel gemeinsam : die Fondation Beyeler in Riehen bei Basel stellt die zwei großen Bildhauer Auguste Rodin und Hans Arp gegenüber und entdeckt spannende Analogien. Eine ausgesprochen sehenswerte Ausstellung,die man vor Ort besuchen kann.

Autor: Schmitz, Rudolf Sendung: Fazit Hören bis: 19.01.2038 04:14

Bund schliesst Beizen schon um 19 Uhr / Nothilfe wird um 1,5 Milliarden erhöht / Die aktuellen Corona-Zahlen / Ur-Fasnächtler: «2019 war meine letzte Fasnacht» / SP will Hallen für Bettler öffnen / Auguste Rodin und Hans Arp in der Fondation Beyeler

Das Arp-Museum im Bahnhof Rolandseck zeigt Werke von Salvador Dalí und Hans Arp, auf den ersten Blick eine ungewöhnliche Kombination. Claudia Friedrich findet aber Gemeinsamkeiten zwischen den Künstlern. Von Claudia Friedrich.

Der exzentrische Savador Dalí, weltweit bekanntester Surrealist im Dialog mit Hans Arp. Zu sehen im Hans Arp-Museum Rolandseck. Die hochkarätige Ausstellung hat Anja Reinhardt besucht.

Der exzentrische Savador Dalí, weltweit bekanntester Surrealist im Dialog mit Hans Arp. Zu sehen im Hans Arp-Museum Rolandseck. Die hochkarätige Ausstellung hat Anja Reinhardt besucht.

The Alsace artist, Hans Arp, had already played a central role as artist and poet in the Dadaist movements in Zürich and Paris. Humour and irony also characterised his later work, especially the reliefs.

Der Elsässer Hans Arp spielte als Künstler und Dichter schon bei den Dadaisten in Zürich und Paris eine zentrale Rolle. Humor und Ironie prägten auch sein späteres Werk, etwa die Reliefe.

“Sell as little as possible but as much as necessary.” --Loretta Wurtenberger on the Arp estate's guiding principle. Loretta Wurtenberger is one of the founders of the Institute for Artists’ Estates (http://www.artists-estates.com/)and has been managing the estate of Hans Arp since 2009. The prospect of managing artists’ estates has become a new topic lately, so we’re presenting the audio of Dr. Wurtenberger’s talk from the Keeping the Legacy Alive conference held in Berlin in September of 2016. Entitled Back to Square One, Wurtenberger’s talk describes the seven-year odyssey the Hans Arp estate made from controversy over posthumous casts to a vibrant discussion of the artist in the academic world, museums and on the art market. The talk begins with a brief biography of Arp, the conditions of the from Arp’s death in 1966 through the mismanagement of a German dealer and the controversies surround posthumous castings. In 2009, when Wurtenberger took over the the strategic management of the estate, Arp was out of fashion. There was no academic interest; the Catalogue Raisonné was out dated; the last US exhibition of the artist had been in the 1980s; and Arp’s work was undervalued on the art market. Wurtenberger helped the foundation focus on repositioning Arp through sponsoring academic research, enabling museum exhibitions not only of the best known blockbuster works by Arp but also of the lesser known works held by the estate, and by enhancing the artist’s market in Europe and the US. Finally, Wurtenberger explains that the Arp foundation is not legally allowed to have an endowmen t. So it must sell from its holdings enough each year to cover the annual expenses.

Hans Arp (1886–1966) ist eine der zentralen Figuren der klassischen Moderne, und im Kunstmuseum Winterthur ist er dank dem Legat Friedrich-Jezler breit vertreten. Darauf baut die Ausstellung auf, die in drei Kapitel gegliedert ist. Sie beginnt Ende der 1920er Jahre mit einer Gruppe von Bildreliefs. Damit hatte Arp eine neue Form erfunden, in der er die bildhafte Wirkung der Malerei, die räumliche Präsenz der Plastik, das Prinzip der Collage und den Automatismus der Zeichnung zu einer Synthese brachte. Das zweite Kapitel befasst sich mit Arps neuartigen skulpturalen Lösungen: Die 1930er Jahre waren das Jahrzehnt der Concrétions, abstrakten, sockellosen Skulpturen. Sie wirken wie Naturschöpfungen, als ob sie analog der Schöpfung des Kosmos entstanden wären, festgehaltene Momente aus einem stetigen Fliessen und Werden. Am Ende der Ausstellung stehen Werke der Nachkriegszeit. In dieser Periode schlug Arp in der Bemalung der Reliefs eine überraschende Brücke vom Prinzip des Zufalls zum zeitgenössischen Informel. In den Skulpturen experimentierte er mit der Wirkung verschiedenster materieller Ausführungen. Obwohl nun bereits zum Klassiker der neueren Plastik avanciert, behielt Arp in seiner Arbeitsweise den Humor und die unbekümmerte Respektlosigkeit vor vermeintlich festen Werten bei, die ihn stets angeleitet hatte.

Mit Richard Tuttle (*1941) wurde 2015 ein grösserer Sammlungsblock aufgebaut, den der amerikanische Künstler in einem Saal des Museums installierte. Nun ist Tuttle erneut präsent mit einer Ausstellung, die im Dialog mit den gleichzeitig gezeigten Werken von Hans Arp steht. Von äusserer Verwandtschaft der Œuvres der beiden Künstler zu sprechen, wäre nicht angebracht. Die Berührung verläuft auf einer anderen Ebene: Tuttle interessiert der Gedanke, dass Arp nicht nur Bildhauer, sondern auch Dichter war und dass in seinem Werk Sprache und Skulptur miteinander verbunden sind, ein Thema, an dem er ebenfalls arbeitet. Arps Skulptur steht, wie Tuttle sagt, auf dem Sockel der Sprache.Damit ist schon etwas zum geistigen Ansatz ausgesagt, von dem Tuttle in seiner Ausstellung ausgeht. Tuttle ist ein Künstler, der den Entstehungsprozess seiner Werke stets thematisiert, und dies gilt auch für diese Ausstellung, die nicht von einer im voraus bestimmten, festen Aufreihung von Werken, sondern vom Werden eines Ensembles bestimmt ist. Das griechische Wort “kallirroos”, das Tuttle aus seiner Lektüre antiker Texte als Titel für die Ausstellung gewählt hat, bedeutet “schön-fliessend”, eine Qualität, die sowohl für Arps wie für Tuttles Arbeit gilt. Neben wichtigen älteren Werken wie den in den frühen 1970er Jahren konzipierten, jeweils an Ort ausgeführten Paper Octagonals oder den Wire Pieces wird Tuttle vor allem neue, für die Ausstellung geschaffene Arbeiten zeigen.

Hans Arp and his wife Sophie Taeuber-Arp produced a number of artworks together. Find out in the video how the richly contrasting pictures mirror the relationship between the two artists. From the podcast series featuring highlights of the Kunstmuseum Bern Collection.

Hans Arp und seine Frau Sophie Taeuber-Arp schufen mehrere gemiensame Kunstwerke. Entdecken Sie im Video, wie die Beziehung der beiden sich auch in kontrastreichen Bildern widerspiegelt. Aus der Podcast-Serie zu Highlights aus der Sammlung des Kunstmuseums Bern.

The bizarre, humorous, erotic and poetic oeuvre of Meret Oppenheim is on display in the Bank Austria Kunstforum in Vienna till 14 July 2013. An exhibition portrait produced by CastYourArt.

Meret Oppenheims skurriles, humorvolles, erotisches und fragmentarisches Oeuvre ist derzeit im Bank Austria Kunstforum zu besichtigen. Ein Ausstellungsporträt von CastYourArt.