Five centuries of German and Austrian graphics on view at the Montreal Museum of Fine Arts
View of the exhibition GRAFIK! Five Centuries of German and Austrian Graphics. Photo MMFA, Denis Farley.
MONTREAL
.- For the first time, the Montreal Museum of Fine Arts is focusing an exhibition on the sweep of stylistic and cultural developments articulated in printmaking in Germany and Austria from the early history of the medium in the mid-15th century to modern times. GRAFIK! Five Centuries of German and Austrian Graphics presents about 90 works, including several remarkable works on paper, that embrace over 550 years of Germanic creativity. Several of these works on paper have never previously been exhibited, while others have not been shown for some years. Highly important recent Museum acquisitions from all periods are also included.
O carte pe zi Alfabetul distopiilor de Gheorghe Săsărman
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Evin İlyasoğlu : Bahar Ayini
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Marisa Merz, Luciano Fabro, Steven Parrino: Kunstmuseum Liechtenstein receives important donation
Steven Parrino, Crowbar, 1987, photo: Stefan Altenburger Photography, Zürich © The Parrino Family Estate and Gagosian Gallery.
VADUZ
.- Thanks to a generous donation from the Gerda Techow gemeinnützige Stiftung, Vaduz, Kunstmuseum Liechtenstein has acquired a number of important works for its collection. The gift was prompted by the twentieth anniversary of the Museum, that opened in November 2000. This is the most generous private donation since the Museums foundation.
Thanks to the specific, clear-cut profile of its collection, Kunstmuseum Liechtenstein has succeeded in establishing itself internationally in the past two decades. The collection of Italian Arte Povera in particular has received great international recognition. The acquisition of two historically important works of Marisa Merz and Luciano Fabro has further strengthened this section of the collection.
David, Lucas, and Rudolf Zwirner with
Sylvester (2001) by Richard Serra, Glenstone, Potomac, Maryland, 2018. Courtesy David Zwirner Books.
Let’s start at the beginning. What led you to open your art gallery and, eventually, the fair that became Art Cologne?
After the Second World War, it was very empty in Germany. There were just about ten or 12 dealers after all the Jewish dealers had to leave the country and most of the great dealers were Jewish.
At the end of the war, there were fantastic people who came back into politics really fabulous people who spent years and years away during the war. They were really interested in bringing culture, in a democratic way, into the public. These people were really democratic and they suffered under Hitler like Kurt Hackenberg, who was in charge of cultural affairs in Cologne. He was such an inventive figure. Without him, there would have been no way to organize an art fair [like Kunstmarket Köln, which became Art Cologne]. Looking back