Podcast appearances and mentions of Marlene Dumas

Todd Evans, President of Rivendell Media, joins us during Shop Talk to discuss all things LGBT media as we head into June. Caught My Eye exposes a fake dating site called MAGAMatch, and the creator is ready to release some rather dark findings. Also, a Marlene Dumas painting sets a record for a living female artist. Our Business Birthday this week celebrates William Coffin Coleman, founder of The Coleman Company. We're all business. Except when we're not. Apple Podcasts: apple.co/1WwDBrC Spotify: spoti.fi/2pC19B1 iHeart Radio: bit.ly/4aza5LW YouTube Music: bit.ly/43T8Y81 Pandora: pdora.co/2pEfctj YouTube: bit.ly/1spAF5a Also follow Tim and John on: Facebook: www.facebook.com/focusgroupradio

Schilderij 'Miss January' van Marlene Dumas is voor 12,2 miljoen geveild in New York. En zou daarmee het duurste kunstwerk van een levende vrouwelijke kunstenaar zijn. Is dat zo? Hoe zit het bij de mannelijke collega's? We zoeken het uit in de rubriek Feit of Fictie.

To unpack the significance of this moment—for South African art, women artists, and the global art market, the R239 million painting sale by artist, Marlene Dumas —we’re joined by Sean O’Toole, a respected art commentator and curator. Sean is known for his incisive writing on contemporary visual culture and his deep knowledge of the South African and international art scenes. Presenter John Maytham is an actor and author-turned-talk radio veteran and seasoned journalist. His show serves a round-up of local and international news coupled with the latest in business, sport, traffic and weather. The host’s eclectic interests mean the program often surprises the audience with intriguing book reviews and inspiring interviews profiling artists. A daily highlight is Rapid Fire, just after 5:30pm. CapeTalk fans call in, to stump the presenter with their general knowledge questions. Another firm favourite is the humorous Thursday crossing with award-winning journalist Rebecca Davis, called “Plan B”. Thank you for listening to a podcast from Afternoon Drive with John Maytham Listen live on Primedia+ weekdays from 15:00 and 18:00 (SA Time) to Afternoon Drive with John Maytham broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show go to https://buff.ly/BSFy4Cn or find all the catch-up podcasts here https://buff.ly/n8nWt4x Subscribe to the CapeTalk Daily and Weekly Newsletters https://buff.ly/sbvVZD5 Follow us on social media: CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/CapeTalk CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567 See omnystudio.com/listener for privacy information.

Un podcast su Artemisia Gentileschi e Marlene Dumas.

Who is Franz Kafka? Few writers have been interpreted so much, and yet remain as mysterious as Kafka. Tonight, Arnon Grunberg and Vivian Liska will discuss his life and work.This year is the 100th anniversary of Franz Kafka's passing. Works like The Trial, The Castle and The Metamorphosis have in the years after his death become cornerstones of modern western literature. Together with professor in German literature Vivian Liska, Arnon Grunberg will discuss the life and work of Franz Kafka. What is the relevance of Kafka's work to contemporary readers? And how does Kafka's literature relate to his Jewish identity?Arnon Grunberg Meets is a series of conversations in De Balie in which Arnon Grunberg speaks with prominent thinkers, writers, artists, and politicians. Grunberg previously spoke with Marlene Dumas, Zadie Smith, Tomas Sedlacek, Ulrich Seidl, Deborah Feldman, and Damiaan Denys.Check out the privacy notice on https://art19.com/privacy and the privacy statement of California on https://art19.com/privacy#do-not-sell-my-info.Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Episode 100: A brush with… Marlene DumasIn this, the 100th episode of A brush with…, Marlene Dumas talks to Ben Luke about her influences—from writers to film-makers and, of course, other artists—and the cultural experiences that have shaped her life and work. Dumas was born in Cape Town, South Africa, in 1953 and lives and works in Amsterdam. She is a painter whose intensity is unrivalled. Using found images and responding to memory, she has the ability to seduce and repel, to lull and to shock, often all in a single image or group of works. She is endlessly daring in her questioning of her medium and what it can do, in the unorthodox formats and scale she chooses for her imagery, in the way she reflects on historic art and ideas, movies and literature, and in her unflinching confrontation of her own life. Her paintings and drawings are a means of responding to external events and internal feelings in ways that can be absurd, confounding, funny and profoundly affecting. And while her themes and language are consistent, she is always pushing herself to new territory and breaking boundaries. She discusses the early influence of comic illustration, the enduring effect on her of Francisco Goya's work, how she grew to love the work of Edgar Degas, Edvard Munch and Jean-Auguste-Dominique Ingres after first dismissing them, and her admiration for Nicole Eisenman and Diane Arbus, among others. She also gives insight in her life in the studio and answers our usual questions, including, “What is art for?”Marlene Dumas: Mourning Marsyas, Frith Street Gallery, London, until 16 November. Hosted on Acast. See acast.com/privacy for more information.

Nederland herbergt een schat aan hedendaagse kunst, vaak ‘verborgen' in privéverzamelingen. Vanaf 18 september 2024 brengt Singer Laren een selectie van deze kunstwerken samen in My World. De tentoonstelling biedt een inkijk in enkele van de belangrijkste particuliere Nederlandse collecties met internationale hedendaagse kunst van topkwaliteit. Er is werk te zien uit alle windstreken van onder anderen Yayoi Kusama, Charles Avery, Ai Weiwei, Zanele Muholi, Marlene Dumas en Anselm Kiefer. De tentoonstelling is samengesteld door kunstcriticus en curator Hans den Hartog Jager en belicht de wereld die een kunstverzamelaar opbouwt en zich steeds verder uitbreidt. Annemieke Bosman gaat met Hans in gesprek.

Annemieke Bosman in gesprek met Maite van Dijk, artistiek directeur Museum MORE. Deze zomer is in Museum MORE de tentoonstelling Licked by the waves | Nieuwe baders in de kunst te zien. Eeuwenlang waren mythologische en Bijbelse verhalen een prachtig, artistiek excuus voor de verbeelding van naakte baadsters in de beeldende kunst. Maar baanbrekende moderne en hedendaagse kunstenaars hebben de bader, vrouwen en mannen, een totaal nieuwe rol gegeven in hun werk. Hun fascinatie voor dit klassieke thema wordt zichtbaar en voelbaar in spetterend plezier, weemoed en soms ook verfrissende ironie. Licked by the waves laat tientallen grensverleggende schilderijen en sculpturen zien van maar liefst 70 internationale topkunstenaars. In hun voorstellingen verkennen ze op boeiende wijze schoonheid, seksualiteit, toe-eigening en de mannelijke of juist vrouwelijke blik. Werk is te zien van Marlene Dumas tot Niki de Saint Phalle.  

For the 29th episode of "Reading the Art World," host Megan Fox Kelly speaks with Richard Shiff, art historian and author of “Writing after Art,” published by David Zwirner Books. Richard shares how he comes to understand an artist's work in a way that will inspire us to observe and understand artists and their processes more fully.“Writing after Art” is an expansive anthology of Richard Shiff's most influential writings, many of which have shaped the art world's understanding of 20th and 21st century artists. These writings first appeared in exhibition catalogs for institutions including the Centre Georges Pompidou, the Solomon R. Guggenheim Museum, The Museum of Modern Art, New York, and Tate Modern, and they spotlight modern masters such as Willem de Kooning, Marlene Dumas, Jasper Johns, Donald Judd, Barnett Newman, Pablo Picasso, Bridget Riley and Peter Saul.Richard Shiff is the Effie Marie Cain Regents Chair in Art at The University of Texas at Austin. His interests range broadly across the field of modern and contemporary art. His publications include Barnett Newman: A Catalogue Raisonné (coauthored, 2004), Doubt (2008), Between Sense and de Kooning (2011), Ellsworth Kelly: New York Drawings 1954–1962 (2014), Joel Shapiro: Sculpture and Works on Paper 1969–2019 (2020), and Sensuous Thoughts: Essays on the Work of Donald Judd (2020). He is currently completing a comprehensive study of the art of Jack Whitten.PURCHASE THE BOOK:  David Zwirner BooksSUBSCRIBE, FOLLOW AND HEAR INTERVIEWS:For more information, visit meganfoxkelly.com, hear our past interviews, and subscribe at the bottom of our Of Interest page for new posts.Follow us on Instagram: @meganfoxkelly"Reading the Art World" is a live interview and podcast series with leading art world authors hosted by art advisor Megan Fox Kelly. The conversations explore timely subjects in the world of art, design, architecture, artists and the art market, and are an opportunity to engage further with the minds behind these insightful new publications. Megan Fox Kelly is an art advisor and past President of the Association of Professional Art Advisors who works with collectors, estates and foundations.Music composed by Bob Golden

L'artiste peintre âgée de 42 ans nous reçoit à la Manufacture de Sèvres avec qui elle collabore pour la première fois.Claire Tabouret évoque son enfance dans la banlieue de Montpellier auprès de parents qui enseignaient la musique. Très jeune, elle assiste à des concerts et se rend dans des musées. Elle lit aussi beaucoup et va au cinéma. L'envie de peindre lui vient devant les toiles de Monet. Après un bac option arts plastiques, elle réalise quelques séries de toiles qui la font peu à peu connaître. Elle détaille ce parcours, le sens de sa recherche nourrie par son environnement ou ses lectures, le travail effectué pour la Manufacture de Sèvres.Elle revient aussi sur sa propre collection de peinture : « J'ai quelques œuvres qui sont assez drôles, assez sexuelles. Par exemple, des toiles de Marlene Dumas qui peint la sexualité comme seulement une femme pourrait le faire. La représentation des hommes, je l'ai beaucoup vue. Dans ma collection, j'ai plutôt des femmes qui s'amusent avec le sexe. »Depuis cinq saisons, la journaliste et productrice Géraldine Sarratia interroge la construction et les méandres du goût d'une personnalité. Qu'ils ou elles soient créateurs, artistes, cuisiniers ou intellectuels, tous convoquent leurs souvenirs d'enfance, tous évoquent la dimension sociale et culturelle de la construction d'un corpus de goûts, d'un ensemble de valeurs.Un podcast produit et présenté par Géraldine Sarratia (Genre idéal) préparé avec l'aide de Diane Lisarelli et Johanna SebanRéalisation : Guillaume GiraultMusique : Gotan Project

Bij de eerste Groene Amsterdammer in het nieuwe jaar hoort, zoals gebruikelijk, een gesprek met de hoofdredacteur, Xandra Schutte.Hoe gaat het met De Groene? Waarom is Vrij Nederland zo weggezakt en groeit De Groene? Is De Groene "loodzwaar en onleesbaar", zoals de Volkskrant in november schreef? Hoe gaat het blad berichten over het kabinet Wilders I? Welke woorden gebruikt De Groene om de oorlog in Gaza te beschrijven? Wat is de verantwoordelijkheid van het weekblad in deze tijd van polarisatie?Lees ook het eerste nummer van het jaar, met gasthoofdredacteur Marlene Dumas.Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

In this special live episode, we speak to writer and broadcaster Octavia Bright about her memoir, This Ragged Grace. We discuss the ways in which Octavia's roles as an interviewer, carer and linguist informed her process as an active listener and developed her writing voice. We explore the distinction between the pornographic and the erotic in relation to memoir writing, and discuss the process of revealing and concealment when writing from lived experience. We chat about the importance of images and symbols in articulating trauma, with reference to Louise Bourgeois' 'Spiral Woman' as a symbol which holds contradictions within recovery. We speak about the interweaving of presence, loss, memory and history within writing and discuss the influence of artists and writers such as Louise Bourgeois, Deborah Levy and Marlene Dumas on Octavia's work. Octavia Bright is a writer and broadcaster. She co-hosts Literary Friction, the literary podcast and NTS Radio show, with Carrie Plitt. Recommended by The New York Times, Guardian, BBC Culture, Electric Literature, The Sunday Times and others, it has run for ten years and has listeners worldwide. She also presents programmes for BBC R4 including Open Book, and hosts literary events for bookshops, publishers, and festivals – such as Cheltenham Literature Festival and events for The Southbank Centre. Her writing has been published in a number of magazines including the White Review, Harper's Bazaar, ELLE, Wasafiri, Somesuch Stories, and The Sunday Times, amongst others. She has a PhD from UCL where she wrote about hysteria and desire in Spanish cinema. References This Ragged Grace by Octavia Bright Living Autobiography series by Deborah Levy Louise Bourgeois Marlene Dumas As always, listen for the discount code and visit Storysmith for 10% discount on Octavia's work.

Ben Luke talks to Marguerite Humeau about her influences—from writers to film-makers, musicians and, of course, other artists—and the cultural experiences that have shaped her life and work.Humeau was born in 1986 in the French city of Cholet, near Nantes, and lives in London. She creates extraordinary sculptural environments in which the scientific and the speculative are fused. She acknowledges the perilous present state of the planet and the future of humanity while exploring histories of life on earth across millennia, drawing on mainstream and fringe scientific theory, science fiction and various cultural phenomena, to create dramatic tableaux that are hugely distinctive in their visual language and subject matter. She asks fundamental questions about the world we inhabit and the meaning of human existence. She discusses her early love of the painting of Marlene Dumas, her awe at the work of Pierre Huyghe and how Nina Simone is an ongoing role model. She also reflects on her fascination with Leonora Carrington and the musicians Angel Bat Dawid and Bendik Giske. Plus, she gives insight into her studio life and answers our usual questions, including the ultimate: “What is art for?”Marguerite Humeau: meys, White Cube Bermondsey, London, until 14 May; Orisons, Black Cube, San Luis Valley, Colorado, 24 June-June 2025. Hosted on Acast. See acast.com/privacy for more information.

De muze fascineert, ook vandaag de dag nog. Toch is er lange tijd weinig aandacht voor het gezicht achter de vrouwen die kunstenaars inspireren, maar dat is aan het veranderen. Wat komen we te weten als we met andere ogen naar de muze kijken? De Muze is Moe van Marlene Dumas in Museum de Lakenhal: https://www.lakenhal.nl/nl/collectie/s-5479 De Leidse stedenmaagd ontvang de neringhe van Abraham Lambertsz. Van den Tempel in Museum de Lakenhal: https://www.lakenhal.nl/nl/collectie/s-427 Meisje in Witte Kimono van George Hendrik Breitner in het Rijksmuseum: https://www.rijksmuseum.nl/nl/collectie/SK-A-3584 Het volledige gedicht The Muse is Exhausted van Marlene Dumas: https://www.marlenedumas.nl/the-muse-is-exhausted/

Annemieke Bosman in gesprek met schrijver en evolutiebioloog Tijs Goldschmidt over het boek "Wolven op het ruiterpad" en het winnen van de P.C. Hooft-prijs voor 'beschouwend proza'. Wolven op het ruiterpad ‘Goldschmidtvariaties' worden ze wel genoemd, de essays van Tijs Goldschmidt, waarin niets is wat het lijkt en waarin cultuur en evolutie altijd meer met elkaar te maken blijken te hebben dan je op het eerste gezicht vermoedt. In een essay over digitalisering van teksten zoekt hij naar parallellen tussen het kopiëren van DNA en het steeds nauwkeuriger kopiëren en sneller verspreiden van teksten (‘culturele evolutie'). In een ander essay legt hij verband tussen klimaatverandering, de verspreiding van exoten en intensief vliegverkeer en ander vervoer tussen continenten. De onderwerpen van Goldschmidts essays zijn verrassender dan ooit: onze omgang met asielzoekers en zwerfwolven; de racistische achtergronden van de zoektocht naar de yeti; een fabeldier dat dreigt te veranderen in de manager van pretpark Himalaya. De rol van pornografie en schaamte in het werk van Marlene Dumas komt ter sprake, maar ook de tribale inspiratie van couturier Walter van Beirendonck. Tijs Goldschmidts essays zijn altijd erudiet maar ook lichtvoetig en associatief. ‘Een essay of persoonlijke beschouwing zou moeten lezen als een brief aan een goede vriend of vriendin,' zegt hij er zelf over. Tijs Goldschmidt (1953) is bioloog en schrijver. Hij publiceerde in literaire tijdschriften, NRC Handelsblad en in boekvorm. Zijn debuut Darwins hofvijver (1994) werd genomineerd voor de AKO-literatuurprijs en is vertaald in onder andere het Engels, Frans, Duits, Italiaans, Pools, Chinees en Japans. Voor de bundel Oversprongen ontving hij in 2001 de Jan Hanlo-essayprijs. Andere titels van hem zijn De andere linkerkant, Doen alsof je doet alsof, Kloten van de engel en Vis in bad.

We blikken terug op tien jaar 'Arnon Grunberg Ontmoet...' Talloze grote denkers, schrijvers, kunstenaars en politici stelden zich kwetsbaar op gaven antwoord op levensvragen. In deze aflevering: Marlene Dumas. Een van de belangrijkste en invloedrijkste kunstenaars in Nederland van dit moment. Over haar kunst, haar methodes en haar boek Sweet Nothings.Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Kultūros žurnalo „Literatūra ir menas“ apžvalga.Režimo ir laisvo žmogaus akistata, antidemokratinės sistemos ir pamatinių kiekvienos asmenybės teisių sandūra, čia ir dabar kuriamų džiazo improvizacijų bei teatro sintezė – tai unikalios Vilniaus mažojo teatro premjeros „Infinity“ temos. Tarptautinio projekto autoriai – režisierė Gabrielė Tuminaitė ir „NoJo Airlines“ įkūrėjas, lietuvių džiazo būgnininkas, kompozitorius Dalius Naujokaitis (Niujorkas, JAV).Pasaulio kultūros apžvalgoje: literatūros Nobelio premijos laureatė Anni Ernaux, Bitlų ir Bondo jubiliejus, kantri muzikos žvaigždė Loreta Lynn.Naujoje MO muziejaus parodoje „Susitikimas, kurio nebuvo“ – Andy Warholo, Guerrilla Girls, Yves Klein'o, Marlene Dumas ir kitų pasaulinio garso menininkų darbai, kviečiantys kalbėti apie itin reikšmingą laikotarpį, tebedarantį įtaką šiandienos pasauliui.Spalio 7–9 dienomis Vilniuje vyko simpoziumas „Vilnelės Odisėja“ diskusijų, praktinių užsiėmimų ir ekskursijų metu klausęs, kaip bendruomenės ir kultūra gali kurti miestą. Ką pavyko išsigryninti ir atrasti, kalbamės su organizatoriais ir dalyviais.Domanto Razausko muzikos naujienų apžvalga.Šiandien minime Pasaulinę psichikos sveikatos dieną – kaip emocinei sveikatai gerinti taikomos dailės, muzikos ir judesio terapijos?Ved. Urtė Karalaitė

zangeres, singer-songwriter en actrice Wende Snijders over Marlene Dumas.

Ein Maschendrahtzaun spielt zumindest symbolisch die Hauptrolle in Marlene Dumas' Bild „The Schoolboys“, was sie 1987 in Öl auf Leinwand gemalt hat. Diesseits des Zauns dominieren Jungen in Schul-Uniformen, dahinter ist schemenhaft eine schwarze Person zu erkennen. Das Bild wirkt durch seine extremen Hell-Dunkelkontraste und die harten, zeichnerischen Elemente in manchen Partien holzschnitthaft. Es ist im wahrsten Wortsinn und auf jeder Ebene einschneidend, so wie der Graben zwischen Schwarz und Weiß in Südafrika. Das Hineinwachsen in ihre Rollen und die Formung der Persönlichkeit ist anhand der unbeholfen bis lässig herumstehenden vier Jungen im Bildvordergrund gut nachvollziehbar: vom runden rosa „Milchgesicht“ zur festen und bestimmten Kantigkeit, die wohl dafür sorgt, dass der Zaun bestehen bleibt. Dieses Bild hat vieles zu erzählen.

Tijs Goldschmidt is schrijver en evolutiebioloog. Nu verschijnt zijn boek Wolven op het ruiterpad-over mensen en andere roofdieren. De essays van Goldschmidt laten onverwachte relaties zien tussen cultuur en evolutie; zoals onze omgang met asielzoekers en zwerfwolven, racistische achtergronden bij de zoektocht naar de yeti en de rol van pornografie en schaamte in het werk van Marlene Dumas.  Pieter van der Wielen gaat met Tijs Goldschmidt in gesprek.

In episode 88, and the SEASON FINALE of Season 7 of The Great Women Artists Podcast, Katy Hessel interviews the esteemed curator, Caroline Bourgeois on MARLENE DUMAS! *BOOK NEWS!* I have written a book! Order The Story of Art without Men here: https://www.waterstones.com/book/the-story-of-art-without-men/katy-hessel/9781529151145 **This episode is brought to you by Alighieri jewellery: www.alighieri.com | use the code TGWA20 at checkout for 20% off!•• A painter of the face, the figure and the human psyche and form, Marlene Dumas is one of the most influential painters alive today. Collecting raw emotion and translating it visually onto the canvas through paint, Dumas derives her work from second hand images. In turn, she creates internal portraits that trigger every sense in your body. Contradictory and complex, verging on the sublime and full of seduction, they are also enveloped in pain. Made without any prior studies, she holds a feeling, an emotion, movement and life in the second of the moment. Although her figures are still, it is like they are moving, and although they are immortalised, it is like they are breathing. I couldn't be more excited to say that she is the artist who we will be discussing today with Caroline Bourgeois, the curator of "Marlene Dumas: Open––End” at Palazzo Grassi in VENICE!! https://www.palazzograssi.it/en/exhibitions/current/open-end-marlene-dumas/ I was astonished going round this exhibition at Palazzo Grassi. I have seen a few works in the flesh by Dumas, but walking around, it was electrifying. Not only do these paintings pulsate with colour and exude sensuality, but they appear full of motion. Dumas captures this raw, internal human emotion that is at once full of strength but vulnerability. Not existing in any physical space, her works teeter on the threshold between life and death, internal and the external… It is like they are memories that are familiar, protective, but also ghoulish and haunting. LIST OF PAINTINGS DISCUSSED HERE: https://www.palazzograssi.it/site/assets/files/9808/guide_marlene-dumas_eng.pdf ENJOY!!! Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Research assistant: Viva Ruggi Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/

Tijdens de opening van de Biënnale van Venetië strijkt Pompidou neer in het Belgisch paviljoen. Samen met Kathleen Weyts en Dirk Snauwaert bespreekt Chantal Pattyn de internationale groepstentoonstelling The Milk of Dreams. In de stad zijn er tal van projecten, o.a. van de Belgische kunstenaars David Claerbout en Koen Vanmechelen. Barbara De Coninck zag de tentoonstelling van Marlene Dumas in Palazzo Grassi. Ook de rijke geschiedenis van Venetië sijpelt tijdens de Biënnale naar boven. Tore Tom

« Open-End » est le titre de la grande exposition consacrée à Marlène Dumas au Palazzo Grassi, l'un des musées de la Fondation Pinault à Venise. L'artiste née en Afrique du Sud où elle s'est formée aux beaux-arts vit aujourd'hui à Amsterdam. L'exposition se déploie sur deux étages et balaye toutes les thématiques chères à l'artiste, les questions de genre, le racisme, les violences de toutes sortes dans des formats divers. ►Le Palazzo Grassi présente « open-end », la grande exposition monographique consacrée à Marlene Dumas jusqu'au 8 janvier 2023. Visite de l'exposition.

La pittura di Marlene Dumas è un labirinto dell'immaginazione. Per comprenderne il retroterra culturale e psicologico, occorre tornare nel paese in cui Dumas è cresciuta, ovvero il Sudafrica dell'apartheid fra gli anni Cinquanta e Settanta del Novecento. È in quel preciso contesto, dominato dalla cultura e dalla lingua Afrikaans, che Dumas ha imparato a confrontarsi con questioni di natura etico-morale e a sviluppare una particolare sensibilità per le zone ambigue dell'esistenza. È sempre in Sudafrica che Dumas comincia a studiare, ma è solo grazie alla decisione di trasferirsi in Europa, ad Amsterdam, che intraprende la carriera d'artista, dedicandovisi con studio e determinazione. A partire dal 1985, e dalla mostra The eyes of the night creatures, stile e poetica di Dumas si mostrano in tutta la loro dirompente novità. Più di un fil rouge attraversa una produzione artistica pluridecennale: lo testimonia anche il curioso dialogo tra un'opera del 1995 e un disegnino risalente al lontano 1963, all'epoca in cui Marlene aveva appena dieci anni. Con il contributo di Marlene Dumas, Marlene Van Niekerk, Makwena Modimola, Adriana Cavarero.

En février et mars 2022, les peintures de Marlene Dumas arrivent enfin à Venise. Le hall bardé de colonnes du Palazzo Grassi est rempli des grandes caisses renfermant les œuvres, en provenance de musées et de collections privées du monde entier. Commence alors la préparation d'"open-end", la première grande exposition monographique de Dumas en Italie. La commissaire d'exposition nous raconte la genèse de cet événement, tandis que le responsable du montage est chargé d'accueillir les œuvres et de les organiser. Entre-temps, Marlene Dumas arrive à Venise pour suivre de près les travaux. Son œuvre est nourrie de ses lectures passionnées de poésies et de romans et par son culte des images. Parmi la centaine d'œuvres exposées, des portraits de Charles Baudelaire, de Pasolini et de Marilyn Monroe…Avec la participation de Marlene Dumas, Caroline Bourgeois, Marco Ferraris, Donatien Grau, Elisabeth Lebovici.

La peinture de Marlene Dumas est un labyrinthe d'imagination. Pour approfondir son background culturel et psychologique, il est nécessaire de retourner dans le pays où elle a grandi, des années cinquante aux années soixante-dix: l'Afrique du Sud, sous l'apartheid. C'est dans ce contexte sensible, dominé par la culture et la langue afrikaans, que Marlene Dumas a appris à se confronter aux enjeux éthiques, développant une sensibilité singulière à l'égard des questions ambiguës de l'existence. C'est aussi en Afrique du Sud qu'elle a commencé son parcours artistique. Sa décision de partir pour l'Europe et de déménager à Amsterdam a changé sa vie, la lançant dans une carrière à laquelle elle s'est consacrée toute entière, avec patience et détermination. A partir de 1985, avec l'exposition The eyes of the night creatures, le style et la poétique de Dumas se montrent dans leur explosive nouveauté. Mais sa production artistique, qui couvre plusieurs décennies, est aussi marquée par une certaine fidélité: en témoigne le curieux dialogue entre une œuvre datant de 1995 et un petit dessin fait en 1963, alors que Marlene n'a que dix ans…Avec la participation de Marlene Dumas, Marlene Van Niekerk, Makwena Modimola, Elisabeth Lebovici.

The paintings of Marlene Dumas finally dock in Venice, between February and March. The colonnade of Palazzo Grassi is filled with the wooden cases used to transport her works; arriving from museums and private collections from all around the world. The first great personal of Dumas in Italy, "open-end", is being set up. The registrar and supervisor of the exhibition takes care to collect the works and prepare them. Meanwhile, Dumas herself has arrived in the lagoon to follow the works closely. Amongst the over one-hundred paintings, there is also a portrait of Pasolini, of her mother, of the poet Charles Baudelaire, and of Marilyn Monroe. With the contribution of Marlene Dumas, Claudia De Zordo, Donatien Grau, Elisabeth Lebovici.

Marlene Dumas' painting is a labyrinth of the imagination. To fully understand its cultural and psychological background, we need to think back at where Dumas grew up: in South Africa under the Apartheid, between the nineteen-fifties and sixties. Here, in a context dominated by the Afrikaans culture and language, Dumas learned to face ethical and moral issues, and she developed a sensitivity towards the ambiguities of our existence. Dumas started her studies in South Africa, but she truly became an artist only after moving to Amsterdam, and focusing on her craft with determination. The style and poetic of Dumas breaks new ground starting from 1985, and her exhibition: The eyes of the night creatures. There is more than one common denominator throughout her decade-long career: as we can tell by observing the striking similarity between a work of 1995, and one of 1963 – when Marlene was just ten-years old. With the contribution of Marlene Dumas, Marlene Van Niekerk, Makwena Modimola, Olivia Laing.

Tra febbraio e marzo i quadri di Marlene Dumas arrivano finalmente a Venezia. Il porticato colonnato di Palazzo Grassi si riempie delle grandi casse di legno usate per trasportare le opere, in arrivo da musei e collezioni private di mezzo mondo. È in questo momento che inizia l'allestimento di "open-end", la prima grande personale di Dumas in Italia. La registrar e il responsabile delle mostre si occupano di accogliere le opere e sistemarle. Nel frattempo anche Dumas è sbarcata in laguna per seguire da vicino i lavori. Tra le cento e più opere in mostra anche un ritratto di Pasolini e della madre, del poeta Charles Baudelaire e di Marilyn Monroe. Con il contributo di Marlene Dumas, Claudia De Zordo, Marco Ferraris, Donatien Grau, Walter Siti.

Arnon Grunberg in gesprek met socioloog Abram de Swaan, die bestudeert hoe massageweld en massamoord zich kunnen voltrekken, en hoe het komt dat de ene groep zich tegen een andere keert.Arnon Grunberg ontmoet is een gesprekkenreeks in waarin de P.C. Hooft-prijswinnaar spreekt met prominente denkers, schrijvers, kunstenaars, en politici. Zo sprak hij eerder onder andere met Marlene Dumas, Zadie Smith, en Tomas Sedlacek.Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

This week, Paris's resurgence: is the French capital stealing London's thunder? As established and up and coming galleries open branches in Paris and the Fiac art fair opens there, we ask Melanie Gerlis if this is indeed a shift of power from the UK to the French capital. For this episode's Work of the Week, Donatien Grau, curator of contemporary programmes at the Musée d'Orsay discusses The Lady of Uruk, a painting from one of the two shows of the work of the South African artist Marlene Dumas that have just opened at the museum. And as the Chateau de Versailles, and the Louvre and the Centre Pompidou in Paris all pay tribute to Christian Boltanski, who died in July, Annalisa Rimmaudo, curator at the Pompidou, discusses the three displays and remembers this leading figure in French art over the past 50 years. See acast.com/privacy for privacy and opt-out information.

“Marlene Dumas“Spleen de Paris – Conversationsau Musée d'Orsay, Parisdu 12 octobre 2021 au 30 janvier 2022Interview de Donatien Grau, conseiller pour les programmes contemporains au musée d'Orsay,par Anne-Frédérique Fer, à Paris, le 11 octobre 2021, durée 8'40.© FranceFineArt.Communiqué de presseProjet conçu par l'artiste, en collaboration avec Donatien Grau, conseiller pour les programmes contemporains au musée d'Orsay, dans le cadre de l'Année Baudelaire.Pour célébrer le bicentenaire de la naissance de Baudelaire (1821-1867), l'artiste Marlene Dumas (née en 1953 à Cape Town, vit et travaille à Amsterdam) a réalisé une série de peintures inspirées du Spleen de Paris, présentées au musée d'Orsay cet automne.L'oeuvre de Marlene Dumas est nourrie de ses lectures passionnées, fragmentaires, de poésie, et de littérature.Ce projet est né de sa collaboration avec l'écrivain et traducteur Hafid Bouazza (1970-2021), avec qui elle avait auparavant réalisé une édition de Vénus et Adonis de Shakespeare. Suite à cette collaboration, Marlene Dumas et Hafid Bouazza ont initié un nouveau projet autour du Spleen de Paris, qui a donné naissance à quinze peintures, toutes inspirées de Baudelaire : on y voit notamment des portraits de Charles Baudelaire et de Jeanne Duval, mais aussi des motifs issus des poèmes – le rat, la bouteille – et des oeuvres peintes directement en lien avec un poème – tels « La Dame d'Uruk », « Le joujou du pauvre », « Le désespoir de la vieille. »Cet ensemble permet de ressentir l'inspiration créatrice que représente Baudelaire pour une des plus grandes peintres vivantes. Il permet aussi de découvrir les multiples formes de peinture que pratique Marlene Dumas : d'oeuvres très précisément peintes – notamment les portraits – des gestes picturaux contrôlés et transformés, l'artiste ne cesse d'expérimenter de nouvelles manières de peindre, et « Le Spleen de Paris » représente un noyau poétique pour sa création. En contrepoint du « Spleen de Paris », le musée d'Orsay présentera « Conversations » de Marlene Dumas, un dialogue de trois oeuvres clefs de l'artiste avec des oeuvres des collections.Les peintures et les dessins de Marlene sont articulés autour de la figure et du visage humains, avec un intérêt particulier pour la relation entre image et texte. Ses expositions personnelles incluent Double Takes, Zeno X, Anvers, 2020; Myths & Mortals, David Zwirner, New York, 2018; The Image as Burden, Tate Modern, Londres, 2015; Measuring Your Own Grave, Museum of Modern Art, New York, 2008–2009; Nom de Personne, Centre Pompidou, Paris, 2001. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Ze is in de loop van de eeuwen verguisd, weggezet als prostitué, gereduceerd tot de draagmoeder van het kind van Jezus. Maar de Bijbel vertelt een ander verhaal over haar: ze is de eerste getuige van de opstanding op Paaszondag. In deze laatste aflevering van dit seizoen hoor je over kunst van Marlene Dumas en Chantal Breukers en werken van Simon Vestdijk en Ida Gerhardt. En dat rond het verhaal van Maria Magdalena.

Può un proiettile cambiare la storia dell'arte? Sì, se se lo becca Andy Warhol. Dopo aver rischiato di morire per mano della scrittrice Valerie Solanas, infatti, Warhol cambia completamente stile, nell'arte e nella vita. Non si circonda più di artisti derelitti, ma di gente di successo e il tema della morte sparisce dalle sue opere. Ma la morte può essere sinonimo di denuncia, come nel caso di Black Lives Matter e delle opere di artisti com Arthur Jafa e Teresa Margolles. O aprire varchi su altri mondi, come nell'arte di Apichatpong “Joe” Weerasethakul. Infine, Costantino e Francesco ci spiegano perché una vespa può essere molto più letale di uno squalo.In questa puntata si parla di Andrej Tarkovskij, Andy Warhol, Valerie Solanas, Richard Nixon, Mao Tse-Tung, Ronald Reagan, Jean-Michel Basquiat, Francesco Clemente, Jed Johnson, Candy Darling, James Dean, Salvador Dalí, Dorothy Pobder, Matteo Salvini, Alexandre Iolas, Leonardo da Vinci, Arthur Jafa, Steve McQueen, Santiago Sierra, Achille Mbembe, Michel Foucault, Teresa Margolles, Laszlo Thot, Michelangelo Buonarroti, Paolo Bonolis, Damien Hirst, Maurizio Cattelan, Marlene Dumas, Francisco Goya, Agnolo Bronzino, Mohammed Bouyeri, Theo van Gogh, Apichatpong “Joe” Weerasethakul e Tacita Dean.

Artista sudafricana emigrata in Olanda, le opere di Marlene Dumas sono incentrate sul corpo umano, attraverso una pittura quasi espressionista. L'articolo Marlene Dumas | ArteDONNA | ArteCONCAS proviene da Andrea Concas - Il mondo dell’arte che nessuno ti ha mai raccontato.

Artista sudafricana emigrata in Olanda, le opere di Marlene Dumas sono incentrate sul corpo umano, attraverso una pittura quasi espressionista. L'articolo Marlene Dumas | ArteDONNA | ArteCONCAS proviene da Andrea Concas - Il mondo dell’arte che nessuno ti ha mai raccontato.

Welcome to our second Lockdown episode, which we recorded a couple of weeks ago. As the world slowly starts to reawaken from the grasps of Covid-19, we're still tasked with consuming the majority of our art digitally. In this episode we review a selection of virtual viewings from around the world, which include: Josh Smith at David Zwirner (via a New York rooftop); Indigenous Art at the National Gallery of Victoria; Marlene Dumas at Xeno X Gallery in Antwerp; a Google tour of the Museu de Arte de São Paulo; a documentary of David Hockney exhibitions at the Royal Academy; and London's first dedicated public art walk 'The Line'. Despite Lockdown, we still live in a fast-paced world, and both of the news stories we discuss have advanced and developed since recording, so we urge you to follow the show notes below for up-to-date coverage. With this podcast we focus our gaze on the art world, but it was important to us to talk about Black Lives Matter and specifically about how the museum and gallery world has responded to it this month. Museums have widely been criticised for a predominantly hollow response to it. We hope to keep our eye on this important topic and observe how the art world sticks to its pledges over time. Elsewhere in the art world we've been following the search for renegade art dealer Inigo Philbrick who sold artworks to multiple buyers, and then fled. (Since recording, Philbrick has now been arrested on the Pacific Island of Vanuatu.)Focusing on American-born artist Chantal Joffe this episode, we discuss her depictions of women, motherhood, and pornography. Working in East London, Joffe relies on self-portraiture, and depicting the women around her, including her teenage daughter. We wonder how her daughter will look back at her time as her mother's muse!SHOW NOTES:Josh Smith 'High as Fuck' at David Zwirner, ongoing: https://www.davidzwirner.com/news/jos-high-as-fuck-exhibition'Marking Time: Indigenous Art from the National Gallery of Victoria', ongoing: https://www.ngv.vic.gov.au/virtual-tours/marking-time/ Marlene Dumas 'Double Takes' at Xeno X Gallery, Antwerp: http://www.zeno-x.com/newsletters/2020MD_vimeo.htmlGoogle Arts and Culture Tour of Museu de Arte de São Paulo Assis Chateaubriand: https://artsandculture.google.com/partner/maspThe David Hockney Royal Academy Documentary: https://www.royalacademy.org.uk/article/exhibition-on-screen-documentary-david-hockneyThe Line: https://the-line.org/Black Lives Matter - what art museums did next: https://makingamark.blogspot.com/2020/06/black-lives-matter-what-art-museums-did-next.htmlArtists, Curators, and Dealers Launch Initiatives to Support Black Lives Matter Movement: https://www.artnews.com/art-news/news/art-world-black-lives-matter-protests-repsonse-1202689676/Here is an up-to-date story that scopes out British museums too: Controversy Over Museums' Black Lives Matter Statements Continues as Critics Pillory British Institutions: https://www.artnews.com/art-news/news/british-museums-black-lives-matter-statements-controversy-1202690203/Alex Greenberger at Art News has widely covered this: https://www.artnews.com/author/alex-greenberger/In search of Inigo Philbrick, the disappearing art dealer: https://www.gq-magazine.co.uk/culture/article/inigo-philbrickThe Art World's Mini-Madoff and Me - Boozy nights and high-stakes art trades with Inigo Philbrick: https://www.vulture.com/2020/03/inigo-philbrick-art-dealer.htmlInigo Philbrick, art world prodigy, is arrested months after fleeing the US in multimillion-pound art scam: https://www.tatler.com/article/inigo-philbrick-art-dealer-arrested-vanuatu-south-pacific-art-fraudChantal Joffe on painting, pastel and parenthood: https://www.apollo-magazine.com/chantal-joffe-artist-interview/

Der in Düsseldorf lebende Bühnenbildner Florian Etti nimmt das Motto unseres „Museums im Kopf“ beim Wort: Das von dem Konzeptkünstler Gordon Matta-Clark 1974 zersägte Haus erinnert ihn nicht nur an Zerstörung und Krieg, sondern auch an einen zerspaltenen Schädel. Die traurigen Aquarelle der südafrikanischen Malerin Marlene Dumas, die er zum Vergleich heranzieht, zeigen für Etti einen Weg in die Innerlichkeit.

Chantal Pattyn praat met Lieze Eneman en Sophie Lauwers over de tentoonstelling van Jacqueline Mesmaeker in Bozar. Jeroen Laureyns trok naar 'Double takes', een overzicht van Marlene Dumas bij galerie Zeno X. Chris Van Camp ontrafelt haar afkomst in haar debuut 'De kus van Dabrowski'.

In deze seizoensafsluiter praten we met Wende Snijders over het werk van Marlene Dumas. Over moederschap, kunst maken en de zwarte randjes van het leven. Meer Naakt op een Kleedje, volg ons op Instagram: @naaktopeenkleedje

In this week's episode of the ArtTactic Podcast, Susie Goodman, executive director at Strauss & Co, a leading auction house in South Africa, joins us to discuss the African art market. First, Susie tells us about the evolution of the African art market over the past 10 years and what role South African has played as the most established art market. Then, she tells us to what extent renowned African contemporary artists, such as Julie Mehretu, Marlene Dumas and Njideka Akunyili Crosby, are collected by African collectors and she also identifies lesser known African artists worthy of consideration by global collectors. Susie also touches on the success of female artists in Africa as well as how the politics of the continent has influenced the kind of art being made by contemporary artists.

Artist Marlene Dumas discusses portraiture with an introduction by Jennifer Higgie.

PROFILE - Kunstadviseur Willem Baars neemt geen blad voor de mond. 'Sommige mensen kunnen zijn bloed wel drinken.'"Ik durf dingen te zeggen, het beestje bij de naam te noemen, daar is niet iedereen van gediend", zegt hij.De kunstwereld was een old boys network. "Toen ik net begon wilde ik de wereld transparanter maken en daarvoor kreeg ik een podium."Al voor dat hij studeerde begon Baars met het verzamelen van kunst. “Ik hou van de mystieke wereld van kunst.”In de laatste vijftien jaar is de kunstwereld volgens Baars veranderd. "Er zijn nieuwe rijken die graag investeren in kunst en ook weten of iets geld waard is. Is het een goede investering?"In de economische hoogtijdagen waren er zelfs fondsen die investeerden in kunst. "De crisis kwma gelukkig op tijd. Die cowboys zijn terug naar de prairie."Op de eerste plaats moet het een goed kunstwerk zijn, vindt Baars. "Daarna komt de waarde." En op het topsegment had de crisis geen invloed. "Een Van Gogh blijft een Van Gogh."De  duurste levende vrouwelijke kunstenares, Marlene Dumas, is te bewonderen in het Stedelijk. "Ik ben kritisch", zegt Baars. "Ik vind  haar een stijlfiguur. Haar stijl is doorzichtig, teveel van hetzelfde. Wie noemt een portret van Mohammed B nou De Buurman?"Het succes van Dumas wijt Baars aan commercie. "De kunstmarkt staat los van de kunstgeschiedenis, er is discrepantie tussen wat kunstkenners zeggen en de markt doet."

PROFILE - Kunstadviseur Willem Baars neemt geen blad voor de mond. 'Sommige mensen kunnen zijn bloed wel drinken.'"Ik durf dingen te zeggen, het beestje bij de naam te noemen, daar is niet iedereen van gediend", zegt hij.De kunstwereld was een old boys network. "Toen ik net begon wilde ik de wereld transparanter maken en daarvoor kreeg ik een podium."Al voor dat hij studeerde begon Baars met het verzamelen van kunst. “Ik hou van de mystieke wereld van kunst.”In de laatste vijftien jaar is de kunstwereld volgens Baars veranderd. "Er zijn nieuwe rijken die graag investeren in kunst en ook weten of iets geld waard is. Is het een goede investering?"In de economische hoogtijdagen waren er zelfs fondsen die investeerden in kunst. "De crisis kwma gelukkig op tijd. Die cowboys zijn terug naar de prairie."Op de eerste plaats moet het een goed kunstwerk zijn, vindt Baars. "Daarna komt de waarde." En op het topsegment had de crisis geen invloed. "Een Van Gogh blijft een Van Gogh."De  duurste levende vrouwelijke kunstenares, Marlene Dumas, is te bewonderen in het Stedelijk. "Ik ben kritisch", zegt Baars. "Ik vind  haar een stijlfiguur. Haar stijl is doorzichtig, teveel van hetzelfde. Wie noemt een portret van Mohammed B nou De Buurman?"Het succes van Dumas wijt Baars aan commercie. "De kunstmarkt staat los van de kunstgeschiedenis, er is discrepantie tussen wat kunstkenners zeggen en de markt doet." 

Mission encre noire Tome 11 Chapitre 155. Pour la troisième chronique de La Brique ou Le livre, Marie-Ève rencontre Julie Lavigne, auteure du livre La traversée de la pornographie : Politique et érotisme dans l'art féministe paru dernièrement aux Éditions du Remue-ménage. À travers les écrits de Georges Bataille et l'analyse de femmes artistes oeuvrant dans le domaine du figuratif et de la vidéo (Carolee Schneemann, Pipilotti Rist, Annie Sprinkle et Marlene Dumas), elle propose un regard subversif des codes de la pornographie mainstream et va creuser là où ça gêne trop souvent. Entre érotisme et pornographie, comment en parler, qu'en dire ? Comment l'art peut permettre cet espace de réflexion ? À écouter, et à lire, pour aller plus loin !    Julie Lavigne est historienne de l'art et professeure au Département de sexologie de l'UQAM. 

Mission encre noire Tome 11 Chapitre 155. Pour la troisième chronique de La Brique ou Le livre, Marie-Ève rencontre Julie Lavigne, auteure du livre La traversée de la pornographie : Politique et érotisme dans l'art féministe paru dernièrement aux Éditions du Remue-ménage. À travers les écrits de Georges Bataille et l'analyse de femmes artistes oeuvrant dans le domaine du figuratif et de la vidéo (Carolee Schneemann, Pipilotti Rist, Annie Sprinkle et Marlene Dumas), elle propose un regard subversif des codes de la pornographie mainstream et va creuser là où ça gêne trop souvent. Entre érotisme et pornographie, comment en parler, qu'en dire ? Comment l'art peut permettre cet espace de réflexion ? À écouter, et à lire, pour aller plus loin !    Julie Lavigne est historienne de l'art et professeure au Département de sexologie de l'UQAM. 

SALT ve Van Abbemuseum işbirliğinde gerçekleştirilen İstanbul Eindhoven-SALTVanAbbe projesinin ilk sergisi İstanbul Eindhoven-SALTVanAbbe: 89’dan Sonra 27 Ocak’ta açılıyor. SALT Beyoğlu ve SALT Galata’da yer alan sergi, Van Abbemuseum koleksiyonundan 1989 sonrası üretilmiş işleri içeriyor. SALT, Van Abbemuseum ekibiyle birlikte, uluslararası platformda iyi bilinen ancak İstanbul’da yeterince tanınmayan ya da işleri hiç gösterilmemiş 15 sanatçının 40’tan fazla işini seçti. Bu işlerin ilham verici önemi ile ilk elden deneyimlenmesi gerektiğine duyulan inancın yanı sıra bu seçki, döneme dair sanatsal pratiklerin incelediği birtakım kilit temalar etrafında şekilleniyor. Bunlar, Marlene Dumas’nın Models [Modeller] adlı resimlerinden oluşan enstalasyon ile Rineke Dijkstra’nın fotoğraflarını da içeren “portreleme”; Allen Ruppersberg’ün, Allen Ginsberg’ün ünlü şiiri Uluma’ya ithafen yaptığı işin başrolü üstlendiği “edebiyat ve metin”; Douglas Gordon ve Rodney Graham’ın pratiği ve işleri üzerinden “film” ve Stanley Brouwn’un kavramsal olarak derinlemesine ele aldığı “zaman ve mekân” gibi temaları kapsıyor. Türkiye’den sanatçılardan seçilen işler, benzer fikir ve yaklaşımlarla görsel ve kavramsal diyaloğa girmeleri için bu tematik bölümlere yerleştirildi. Bunlar arasında Leyla Gediz’in portrelemeye farklı bir yaklaşım öneren işleri, Cevdet Erek’in ritim ve ölçü üzerine çalışmaları, Özlem Günyol & Mustafa Kunt’un coğrafi pozisyon ve çeviri ile oynayan oyunları ile İnci Eviner’in film setine benzeyen alışılmadık panoramaları yer alıyor.

SALT ve Van Abbemuseum işbirliğinde gerçekleştirilen İstanbul Eindhoven-SALTVanAbbe projesinin ilk sergisi İstanbul Eindhoven-SALTVanAbbe: 89’dan Sonra 27 Ocak’ta açılıyor. SALT Beyoğlu ve SALT Galata’da yer alan sergi, Van Abbemuseum koleksiyonundan 1989 sonrası üretilmiş işleri içeriyor. SALT, Van Abbemuseum ekibiyle birlikte, uluslararası platformda iyi bilinen ancak İstanbul’da yeterince tanınmayan ya da işleri hiç gösterilmemiş 15 sanatçının 40’tan fazla işini seçti. Bu işlerin ilham verici önemi ile ilk elden deneyimlenmesi gerektiğine duyulan inancın yanı sıra bu seçki, döneme dair sanatsal pratiklerin incelediği birtakım kilit temalar etrafında şekilleniyor. Bunlar, Marlene Dumas’nın Models [Modeller] adlı resimlerinden oluşan enstalasyon ile Rineke Dijkstra’nın fotoğraflarını da içeren “portreleme”; Allen Ruppersberg’ün, Allen Ginsberg’ün ünlü şiiri Uluma’ya ithafen yaptığı işin başrolü üstlendiği “edebiyat ve metin”; Douglas Gordon ve Rodney Graham’ın pratiği ve işleri üzerinden “film” ve Stanley Brouwn’un kavramsal olarak derinlemesine ele aldığı “zaman ve mekân” gibi temaları kapsıyor. Türkiye’den sanatçılardan seçilen işler, benzer fikir ve yaklaşımlarla görsel ve kavramsal diyaloğa girmeleri için bu tematik bölümlere yerleştirildi. Bunlar arasında Leyla Gediz’in portrelemeye farklı bir yaklaşım öneren işleri, Cevdet Erek’in ritim ve ölçü üzerine çalışmaları, Özlem Günyol & Mustafa Kunt’un coğrafi pozisyon ve çeviri ile oynayan oyunları ile İnci Eviner’in film setine benzeyen alışılmadık panoramaları yer alıyor.

SALT ve Van Abbemuseum işbirliğinde gerçekleştirilen İstanbul Eindhoven-SALTVanAbbe projesinin ilk sergisi İstanbul Eindhoven-SALTVanAbbe: 89’dan Sonra 27 Ocak’ta açılıyor. SALT Beyoğlu ve SALT Galata’da yer alan sergi, Van Abbemuseum koleksiyonundan 1989 sonrası üretilmiş işleri içeriyor. SALT, Van Abbemuseum ekibiyle birlikte, uluslararası platformda iyi bilinen ancak İstanbul’da yeterince tanınmayan ya da işleri hiç gösterilmemiş 15 sanatçının 40’tan fazla işini seçti. Bu işlerin ilham verici önemi ile ilk elden deneyimlenmesi gerektiğine duyulan inancın yanı sıra bu seçki, döneme dair sanatsal pratiklerin incelediği birtakım kilit temalar etrafında şekilleniyor. Bunlar, Marlene Dumas’nın Models [Modeller] adlı resimlerinden oluşan enstalasyon ile Rineke Dijkstra’nın fotoğraflarını da içeren “portreleme”; Allen Ruppersberg’ün, Allen Ginsberg’ün ünlü şiiri Uluma’ya ithafen yaptığı işin başrolü üstlendiği “edebiyat ve metin”; Douglas Gordon ve Rodney Graham’ın pratiği ve işleri üzerinden “film” ve Stanley Brouwn’un kavramsal olarak derinlemesine ele aldığı “zaman ve mekân” gibi temaları kapsıyor. Türkiye’den sanatçılardan seçilen işler, benzer fikir ve yaklaşımlarla görsel ve kavramsal diyaloğa girmeleri için bu tematik bölümlere yerleştirildi. Bunlar arasında Leyla Gediz’in portrelemeye farklı bir yaklaşım öneren işleri, Cevdet Erek’in ritim ve ölçü üzerine çalışmaları, Özlem Günyol & Mustafa Kunt’un coğrafi pozisyon ve çeviri ile oynayan oyunları ile İnci Eviner’in film setine benzeyen alışılmadık panoramaları yer alıyor.

SALT ve Van Abbemuseum işbirliğinde gerçekleştirilen İstanbul Eindhoven-SALTVanAbbe projesinin ilk sergisi İstanbul Eindhoven-SALTVanAbbe: 89’dan Sonra 27 Ocak’ta açılıyor. SALT Beyoğlu ve SALT Galata’da yer alan sergi, Van Abbemuseum koleksiyonundan 1989 sonrası üretilmiş işleri içeriyor. SALT, Van Abbemuseum ekibiyle birlikte, uluslararası platformda iyi bilinen ancak İstanbul’da yeterince tanınmayan ya da işleri hiç gösterilmemiş 15 sanatçının 40’tan fazla işini seçti. Bu işlerin ilham verici önemi ile ilk elden deneyimlenmesi gerektiğine duyulan inancın yanı sıra bu seçki, döneme dair sanatsal pratiklerin incelediği birtakım kilit temalar etrafında şekilleniyor. Bunlar, Marlene Dumas’nın Models [Modeller] adlı resimlerinden oluşan enstalasyon ile Rineke Dijkstra’nın fotoğraflarını da içeren “portreleme”; Allen Ruppersberg’ün, Allen Ginsberg’ün ünlü şiiri Uluma’ya ithafen yaptığı işin başrolü üstlendiği “edebiyat ve metin”; Douglas Gordon ve Rodney Graham’ın pratiği ve işleri üzerinden “film” ve Stanley Brouwn’un kavramsal olarak derinlemesine ele aldığı “zaman ve mekân” gibi temaları kapsıyor. Türkiye’den sanatçılardan seçilen işler, benzer fikir ve yaklaşımlarla görsel ve kavramsal diyaloğa girmeleri için bu tematik bölümlere yerleştirildi. Bunlar arasında Leyla Gediz’in portrelemeye farklı bir yaklaşım öneren işleri, Cevdet Erek’in ritim ve ölçü üzerine çalışmaları, Özlem Günyol & Mustafa Kunt’un coğrafi pozisyon ve çeviri ile oynayan oyunları ile İnci Eviner’in film setine benzeyen alışılmadık panoramaları yer alıyor.