Munich: Peter Lindbergh and his Supermodels

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White Shirts: Estelle Léfebure, Karen Alexander, Rachel Williams, Linda Evangelista, Tatjana Patitz & Christy Turlington, Malibu, 1988 © Peter Lindbergh (Courtesy of Peter Lindbergh, Paris / Gagosian Gallery)

PETER LINDBERGH

FROM FASHION TO REALITY

April 13 – August 27, 2017
daily 10 – 20 h

Kunsthalle München
Theatinerstraße 8
80333 München

www.kunsthalle-muc.de

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Kate Moss, Paris, 2014 Vogue Italia © Peter Lindbergh (Courtesy of Peter Lindbergh, Paris / Gagosian Gallery) Giorgio Armani, S/S 2015

This exhibition about German photographer Peter Lindbergh (born 1944 in Lissa), one of the most influential fashion photographers of the past 40 years, features more than 220 photographs. His iconic images, with which he heralded the supermodel phenomenon in the 1990s, will be presented along with unpublished photographs and unseen material, varying from personal notes, storyboards, props, polaroids, contact sheets and films to monumental prints. His avant-garde images quickly addressed concerns of society in a world with established aesthetic codes: his pure black-and-white photographs have determined the course of fashion photography since the early 1980s.

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Tribute to Nijinski (Kristen McMenamy), New York, 1993 Harper’s Bazaar © Peter Lindbergh (Courtesy of Peter Lindbergh, Paris / Gagosian Gallery) Valentino, Spring/Summer 1993

Lindbergh’s predominantly black and white photographs that capture the fleeting moment opened up a new dimension of realism in fashion photography, revolutionizing the visual idiom of the well-known magazines and fashion labels. Avoiding the artifice of fashion photography, Lindbergh was the first to focus on the unique personalities of his models. Instead of beautifully dressed human “clothes horses”, he portrayed self-assured, expressive personas, from the femme fatale to the heroine, but also the female dancer and the actress. His oeuvre is characterized by portraits that radiate a certain lack of inhibition and physical grace.

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Pina Bausch, Paramount Studios, Los Angeles, 1996 © Peter Lindbergh (Courtesy of Peter Lindbergh, Paris / Gagosian Gallery) Giorgio Armani

About the exhibition

The exhibition “From Fashion to Reality” is an homage to Lindbergh’s multifaceted oeuvre from 1978 to the present day. The show has a thematic approach, marking his creative development and focusing on the passions he developed over the years.

Eight different sections have been devised: “Supermodels”, “Couturiers”, “Zeitgeist”, “Dance”, “The Darkroom”, “The Unknown”, “Silver Screen” and “Icons”.

Supermodels

Models like Naomi Campbell, Linda Evangelista, Kate Moss, Christy Turlington and Tatjana Patitz, among others, were young and unknown when Lindbergh photographed them in the late 1970s and 1980s. Later, their first names became household names that rolled off tongues the world over. While the focus of influential fashion magazines like Harper’s Bazaar or Vogue had hitherto been on the clothes, the spotlight was now being shone onto the women presenting them. This section shows Lindbergh’s iconic pictures from the 1990s and is complemented with photographs from the recent reunion of the supermodels (published in Vogue Italia, September 2015). Lindbergh shows that twenty-five years later, they have not lost any of their beauty and personality.

Check it out! The exhibition is really great!

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Charlotte Rampling, Paris, 1987 Vanity Fair © Peter Lindbergh (Courtesy of Peter Lindbergh, Paris / Gagosian Gallery)

 

 

Duesseldorf: Myth Tour de France

thumb_P5180021_1024NRW-Forum Duesseldorf
Ehrenhof 2
40479 Düsseldorf

The exhibition Mythos Tour de France lasts until July 30, 2017.Sabine-2 (Large)Sabine2-Bearbeitet (Large)

For her long-term project „Allez le Tour“ my friend Nicola Mesken has been photographing fans on the fringes of the route Tour the France for twelve years now. Using an analogue compact camera and black-and-white film she documents life on the fringes of the route and shows the fans’ quiet moments – sitting on their folding chairs, preparing breakfast, or playing Scrabble to make the waiting time pass more quickly.

 

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Nicola Mesken (left) about the approach of her Tour de France photography. Photo: Enric Boixadós

An international group exhibition showcases till July 30, 2017 the powerful imagery of the most important bicycle race in the world. It features portraits of cyclists, film documentaries, installations, landscape shots and mood images. The exhibition spans more than 80 years of Tour history with over 120 works by 20 international artists. It is shining a light on the tumultuous history of the Tour de France, showing its splendour and its more shady aspects and demonstrate how sporting events and image events are interdependent.

Beside Nicola Mesken there are works by Otto Berchem, Robert Capa, Laurent Cipriani, Andreas Gursky, Harry Gruyaert, Martin Höfer, Philipp Hympendahl, Richard Kalvar, Timm Kölln, Kraftwerk, Guy Le Querrec, Louis Malle, Reinhard Mucha, Pascal Rivet, Kai Schäfer, Paul Smith, Olaf Unverzart, Stephan Vanfleteren and John Vink.

Here you see an approach of Nicola Mesken’s work. It is an impressive testimony of sticking to a long planned project as well as ambition and courage. During 7 minutes the film will take you in an unknown world of both: the unconditional love to photography and the hard, often cruel challenges of a sport event which is unique on our planet.

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If you cannot get enough of the pics and impressions: Get Nico’s art book „Allez le tour“. It is in English, French, German and Spanish. You can order here!

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Nicola Mesken with Allez le tour! Follow her on Instagram! And on Facebook!

Picasso, Kulturspeicher Wuerzburg

Picasso, Tête de Faune, Kopf des Faun, 1962, Farblinolschnitt, Museum Kunstpalast Düsseldorf, © Succes~1

Picasso, Tête de Faune, Kopf des Faun, 1962, Farblinolschnitt, Museum Kunstpalast Düsseldorf, © Succes~1

Kulturspeicher Wuerzburg

till January 17, 2016.

Graphics from the Kunstpalast Museum’s collection, Duesseldorf.

Pablo Picasso is, without a doubt, the most famous artist of the 20th century. The artist was not only active as a painter and sculptor, but also left behind an extensive collection of graphic works. From his first etching in 1904 until the last years of his life, prints remained an integral part of his work, totalling eventually 2.400 images.

Picasso, Françoise, 1946, Farblithographie, Museum Kunstpalast Düsseldorf, © Succession PicassoVG Bild~1

Picasso, Françoise, 1946, Farblithographie, Museum Kunstpalast Düsseldorf, © Succession PicassoVG Bild~1

One is amazed not only by the magnitude of this productivity, but also by the technical diversity of his graphics. Picasso made use of the full spectrum of graphic techniques, ranging from drypoint, aquatint, lithography and linocut, to rare and complex methods such as sugar lift and experimental combinations of various techniques.

Picasso, Trois Nus debout, Drei stehende Akte, 1927, Radierung, Museum Kunstpalast Düsseldorf, © Succe~1

Picasso, Trois Nus debout, Drei stehende Akte, 1927, Radierung, Museum Kunstpalast Düsseldorf, © Succe~1

The themes of his graphics mirror his entire painting universe: figurative representations with portrait characteristics appear alongside still lives, animal illustrations and allegorical and mythological scenes. Most of the time, they were linked to his personal fortunes, often a direct reflection of his daily routine. Whenever he was inspired by literary works, he took the freedom of reinterpreting the original texts and gave characters, such as the bull-man „Minotaur“, both positive and negative features.

Picasso, Maternité, Mutterschaft, 1924, Radierung, Museum Kunstpalast Düsseldorf, © Succession Picasso~1

Picasso, Maternité, Mutterschaft, 1924, Radierung, Museum Kunstpalast Düsseldorf, © Succession Picasso~1

With a total of 73 prints, the Stiftung Kunstmuseum Duesseldorf (Duesseldorf Art Museum Foundation) possesses a graphic cross-section of most of the artist’s creative phases from the 1920s on. Among these are unique prints, such as the rare 1924 etching „Maternité“ (Maternity) or the 1929 figure (Bather Opening a Cabin), as well as series and portfolios such as the illustrations for the story „Chef d’oeuvre inconnu“ (1952) by Honoré de Balzac, or prints from the famous „Suite Vollard“, a series of graphics purchased from Picasso by the art dealer Ambroise Vollard, which was only published after Vollard’s death at the end of the 1940s.

Picasso, Le départ, Der Aufbruch, 1951, Farblithographie, Museum Kunstpalast Düsseldorf, © Succession ~1

Picasso, Le départ, Der Aufbruch, 1951, Farblithographie, Museum Kunstpalast Düsseldorf, © Succession ~1

The portfolio of bullfighting depictions „La Tauromaquia“ (1959) – inspired by José Delgado y Galvet’s book which explained, for the first time in 1796, the process of bullfighting – is complete, as well as the enigmatic series „Poèmes et Lithographies“ (1960), where, on each plate, Picasso inscribed individual, somewhat surreal handwritten texts which contrast with the masterful illustrations.

Picasso, Tête de taureau, tournée à gauche, Stierkopf, nach links gedreht, 1948, Lithographie, Museum ~1

Picasso, Tête de taureau, tournée à gauche, Stierkopf, nach links gedreht, 1948, Lithographie, Museum ~1

Picasso, Paloma et Claude, 1950, Farblithographie, Museum Kunstpalast Düsseldorf © Succession PicassoV~1

Picasso, Paloma et Claude, 1950, Farblithographie, Museum Kunstpalast Düsseldorf © Succession PicassoV~1

In a 1968 multiple-figures scene, which is part of a vast graphic series, the 87-year old artist reunites once again the themes of his painting theatre: painter and model, the different stages of life, allegories of freedom (the lamb), masculine strength (the horse), tamed by the tender gesture of the figure on the right, and erotic obsessions – so to speak the banishment of fear, just a few years before the artist’s death, and the longing for mythical happiness.

Picasso, Petite Tête de femme couronnée, Kleiner Frauenkopf mit Krone, 1962, Farblinolschnitt, Museum ~1

Picasso, Petite Tête de femme couronnée, Kleiner Frauenkopf mit Krone, 1962, Farblinolschnitt, Museum ~1

On the occasion of the exhibition at the Museum im Kulturspeicher in Wuerzburg, the collection of Picasso’s graphic works from the Kunstmuseum Duesseldorf will be published for the first time. A selection of photographs, taken by Hubertus Hierl in 1966 when Picasso was visiting a bullfight in Arles, complete the exhibition.

Picasso, Figure, Figur (Badende in der Kabine), 1929, Lithographie, Museum Kunstpalast Düsseldorf, © S~1

Picasso, Figure, Figur (Badende in der Kabine), 1929, Lithographie, Museum Kunstpalast Düsseldorf, © S~1

Bauhaus in Dessau: The Kornhaus

L1160694 (Large)The Kornhaus, a restaurant and pub, was erected in 1929–30 on the banks of the Elbe near the steamship pier, and commissioned by the city of Dessau and the Schultheiss-Patzenhofer Brewery. The name commemorates the granary that stood there from the mid-1800s until the 1870s.L1160692 (Large)The Kornhaus was planned by Bauhaus architect Carl Fieger and built using a mix of construction techniques with brickwork walls and a reinforced concrete frame. The individual cubic corpora are grouped around the kitchen and the catering block. The upper floor included a dance hall and a restaurant area from which one reached the banks of the Elbe. The front, semicircular building in the west was originally conceived as an open balcony, but in mid-construction, was closed in with glass. The basement floor featured a bar with a separate entrance.L1160693 (Large)In spite of several refurbishments, many of the Kornhaus’ original features are still preserved. Renovated in 1996, the building is today once more open to the public – a historically resonant meeting place in one of Dessau’s most attractive places.

Karl Lagerfeld, Modemethode (Fashion Method), Bonn

karl-lagerfeld_schreibtisch1500Bundeskunsthalle Bonn

Until September 13, 2015

Karl Lagerfeld is one of the world’s most renowned fashion designers and widely celebrated as an icon of the zeitgeist. Karl Lagerfeld. Modemethode at the Art and Exhibition Hall of the Federal Republic of Germany is the first comprehensive exhibition to explore the fashion cosmos of this exceptional designer and, with it, to present an important chapter of the fashion history of the twentieth and twenty-first centuries.

Karl Lagerfeld is known for injecting classic shapes with new life and for taking fashion into new directions. For the past sixty years – from 1955 to today – Lagerfeld’s creations have consistently demonstrated his extraordinary feel for the ‘now’. Right from the start of his career, the designer has worked for luxury houses such as Balmain, Patou, Fendi, Chloé, Karl Lagerfeld and Chanel. As creative director and chief designer of Chanel since 1983, he is regarded among experts as the sole legitimate successor to the founder and fashion legend Coco Chanel. Since 1965 Lagerfeld has been designing two – of late even four – collections per year for the Italian house of Fendi, not to mention his own eponymous label.

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Karl Lagerfeld is celebrated as a fashion genius not only for continuously revitalising classics like the Chanel suit, but also for endlessly reinventing himself. Having realised by the early 1960s that the future of fashion could not lie in haute couture alone, Lagerfeld embraced the younger ready-to-wear (prêt-à-porter) lines: „Fashion that does not reach the streets is not fashion“ (Lagerfeld). In addition to clothing, Lagerfeld designs a wide range of accessories to accompany his collections. Equally progressive in matters of distribution and marketing, he advocates bold ideas and a paradigm change in the fashion industry. Since the 1990s Lagerfeld has been complementing his work for luxury brands with collaborations with companies that produce affordable clothes for mass audiences. In 2004 he was the first well-known designer to create an exclusive collection for the Swedish fashion retailer H&M – a successful concept that has since continued with other designers, among them Stella McCartney, Comme des Garçons and Versace.

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‘Modemethode’, Karl Lagerfeld’s ‘fashion method’, is his ambitious, all-encompassing approach: From the initial sketch to the finished garment, from the accessories, the architectural setting and music of the fashion shows, to the photographs and graphic design of press material, advertising, catalogues and window displays –  every last little detail is devised by the designer himself.

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The Film! Click here!

For all Exhibition Views:
Photos: David Ertl, 2015
Courtesy of © Kunst- und Ausstellungshalle der Bundesrepublik Deutschland GmbH