Museum LA8: Technical Paradises. The future portrayed in 19th century caricatures
24th September 2016 – 5th March 2017
Museum of 19th Century Art and Technology (LA8), Lichtentaler Allee 8
Machines are also amusing, particularly when seen for the very first time. From the start of the 19th century, increasing numbers of people were being confronted by increasing numbers of machines in their daily lives – at first in the early industrial factories and through steamship and rail transport, then in the residential areas and later in the home. When the living environment is fundamentally changed by something new, the first spontaneous reactions prove to be particularly revealing.
Caricatures were the perfect medium to chronicle people’s surprise, the unbelievable admiration, the enthusiasm and the fears of contemporaries with regard to the new arrival of the historically significant ‘industrial machines’. The caricature accompanied the machine’s revolutionary rise as it was the art medium of the day and attracted large audiences. The more popular caricatures became due to wider circulation and their appearance in newspapers, the more this success was attributed to machines and the ever improving printing presses. This did not, however, prevent the caricaturists scorning such industrial progress and question the meaning of the snorting ‘king’s of steam’ and the beastly savagery of the ‘iron horse’, not to mention the machines’ helpfulness to human beings on their way towards a technical paradise.
Museum Frieder Burda: Katharina Grosse
11 June to 9 October 2016
Museum Frieder Burda, Lichtentaler Allee
Katharina Grosse (*1961) is one of the most important painters of her generation. Since the 1990s she has been relentlessly asking questions of the medium’s constraints and has increasing expanded the picture beyond its traditional borders into the surrounding space.
While Grosse’s earlier panel paintings dealt primarily with the painting surface’s area and distinguished themselves by the overlapping and superimposing horizontal and vertical brushstrokes, her multi-layered template works attach importance to the room itself due to the spray techniques used. Simultaneously, the extension of the painting into the room has developed since 1998 resulting in dimensions coming into play with one another. Time and reality adopt a new format as the perception of the architectural space, the image plane and the illusion become distorted.
The main focus of the monographic exhibition in the Frieder Burda Museum is on panel painting. Works are presented from different creative periods that interact not only with each other but also with the museum’s architecture by Richard Meier.
Staatliche Kunsthalle: renovation work
Due to renovation work being carried out on the listed building’s roof, the upper floor of Staatliche Kunsthalle cannot be used for exhibitions until November 2016. Both the 45cbm studio and the café on the ground floor are however open. The upper floor will reopen in November 2016 with a solo exhibition by Berlin resident and artist Michael Müller entitled ‘Was sich alles Kunst nennt – All things they call art’. Michael Müller occupies himself with the human understanding of a world where there is a predominant belief in having a wide range of systems that are never reviewed. At the forefront are issues such as taste, beauty, and other aesthetic attributes. The installations, paintings, sculptures, video projections and objects in the exhibition serve as a means of scrutinising the function of art and the connecting rituals.
Romance & Roulette – The World Spa in the 19th Century
Baden-Baden City Museum
The Fabergé Museum is the first of its kind to devote itself to the life’s work of Carl Fabergé. The complete spectrum of his work is represented in this unique collection beginning with the famous imperial Easter eggs for the Tsar’s family through to the exquisite pieces of jewellery and high quality everyday items from the time of the First World War.
Among the many exhibits are the world’s largest collection of luxurious cigarette cases and a wide variety of miniature animals made from precious stones. Works by recognized, contemporary master goldsmiths such as Bolin, Boucheron, Cartier, Ovtschinikov, Sazikov, Chlebnikov, and Falite ensure that all observers will be impressed. In addition to this, the museum has an extensive and ever growing archive which holds a number of valuable treasures in the form of photographs and original personal documents relating to Carl Fabergé and his master craftsmen.
The museum also takes you on a fascinating journey through the ‘golden age’ of craftsmanship towards the end of the 19th and the beginning of the 20th century.
Museum Frieder Burda: The candle
22 October 2016 – 12 February 2017
Museum Frieder Burda, Lichtentaler Allee, Lichtentaler Allee 8b
At the centre of the exhibition in the Frieder Burda Museum is one of the icons of the Frieder Burda collection: the ‘Candle’ (1982) by Gerhard Richter. Originating from this masterwork the candle theme with its deep roots in art and cultural history is pursued further with the aid of paintings, sculptures and installations. The image of a burning candle is timeless and at the same time charged with emotion; it is obvious as well as being significant and symbolic. The mystifying image of lighting, burning and extinguishing a candle is regarded as a spiritual metaphor for the cycle of life and has had a permanent place in religious contexts for centuries. The candle also reveals an air of sadness, it is also a symbol of Vanitas, stands for the arts and sciences and, last but not least, typifies eroticism and lust. In contemporary art, the candle becomes an artistic object of its own in experimental works.
High-calibre loans from international museums and important private collections from the classical modern period to the present day illuminate one of the most prominent themes in visual art.