Artist News
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- Hann Trier & Norbert Kricke----------
- Alice Neel in NUDES----------
- Ernst Wilhelm Nay in Mythos und Massaker----------
- Norbert Kricke at Franz Marc Museum, Kochel----------
- Alice Neel in Dix und die Gegenwart----------
- Alice Neel at Munchmuseet, Oslo----------
- Alice Neel at OCMA, CA----------
- Alice Neel at Barbican Centre, London----------
- Alice Neel at Centre Pompidou, Paris----------
- Neil Gall at British Museum----------
- Norbert Kricke at Lehmbruck Museum, Duisburg----------
- Alice Neel at Musée de l'Elysée, Lausanne----------
- Norbert Kricke in Eisen- und Stahlplastik----------
- Ernst Wilhelm Nay - Retrospektive----------
- Vivian Greven at Museum Langmatt, CH----------
- Alice Neel at MET, New York----------
- Stefan Löffelhardt in "Nachts"----------
- Vivian Greven @ ak-raum----------
- Nils Dunkel in Berlin Masters 2019----------
- Nils Dunkel @ Salon Dahlmann----------
- Alice Neel @ Museum of Modern Art Warsaw----------
- Norbert Kricke @ ZKM Karstruhe----------
- Stefan Löffelhardt @ Kunsthaus Essen----------
- Norbert Kricke @ Triennale Fellbach----------
- Öyvind Fahlström @ Kunstverein Hamburg----------
- Michael Wutz @ Kupferstichkabinett, Berlin----------
- Vivian Greven @ Lyles & King, New York----------
- Vivian Greven @ Kadel Willborn, Düsseldorf----------
- Greven @ Golsa Gallery, Oslo----------
- Alice Neel @ David Zwirner, New York----------
- Alice Neel @ Centre Pompidou Metz----------
- Vivian Greven @ Galerie Thomas Fuchs----------
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- David Schutter in 'Kleine Welt'----------
- David Schutter in 'Trance' by Albert Oehlen----------
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- Michael Wutz in 'Auf dem Weg zum Motiv'----------
- David Schutter in 'Content is a Glimpse'----------
- Öyvind Fahlström @ Met Breuer, New York----------
- Ernst Wilhelm Nay at Staatsgalerie Stuttgart----------
- Alice Neel at Kunsthalle Mannheim----------
- Norbert Kricke at Museum Palais Populaire----------
- Vivian Greven at Sammlung Philara----------
- Vivian Greven at Practise----------
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- Norbert Kricke at LH2 Contemporary----------
- Vivian Greven at Kunstmuseum Stuttgart----------
- Ernst Wilhelm Nay Symposium----------
- Vivian Greven at Lyles & King, New York----------
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- Öyvind Fahlström at Ludwig Forum Aachen----------
- Neil Gall at Henry Moore Institute, Leeds----------
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- Neil Gall at z20 Sara Zanin Gallery----------
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- Michael Wutz at Kunstmuseum Stuttgart----------
- Alice Neel at Tate Modern, London----------
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- Tom Chamberlain at Thinking Tantra, Plymouth----------
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- Tom Chamberlain at Drawing Room, London----------
- Alice Neel at S.M.A.K., Gent----------
- E.W. Nay at Haus der Kunst, Munich----------
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- Jonathan Bragdon at Kunstmuseum Thun----------
- Alice Neel at Talbot Rice Gallery, Edinburgh----------
- E.W. Nay at Angermuseum Erfurt----------
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- Alice Neel at Ateneum Art Museum, Helsinki----------
- David Schutter at Magazzino, Rome----------
- Alice Neel at Whitney Museum, New York----------
- Alice Neel at The Met Breuer, New York----------
- E.W. Nay at Centre Pompidou, Paris----------
- Öyvind Fahlström at MoMA, New York----------
- Öyvind Fahlström at Kunsthalle Baden-Baden----------
- Michael Wutz at Kunstverein Gütersloh----------
- Michael Wutz at Galerie Friese, Berlin----------
- Wolfgang Betke at Kienzle Art Foundation----------
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- Jack Pierson at Schirn Kunsthalle Frankfurt----------
- David Schutter at Fondazione Memmo, Rome----------
- E.W. Nay at Almine Rech Gallery, London----------
- David Schutter at P420, Bologna----------
- Michel Auder at the Martos Gallery----------
- Michael Wutz at Bauart Galeri, Istanbul----------
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- Neil Gall at Simmons & Simmons, London----------
- Stefan Löffelhardt at kunstgalerie, Bonn----------
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- Öyvind Fahlström at MNCARS, Madrid----------
- Gavin Turk at Manchester Art Gallery----------
- Erich Reusch at Art Academy Düsseldorf----------
- Erich Reusch at Museum Ettlingen----------
- Michel Auder at the Whitney Biennial----------
- David Schutter at Rhona Hoffman Gallery----------
- Michael Wutz at Städtische Galerie Wolfsburg----------
- Michael Wutz at blank_space gallery, Sidney----------
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- Jack Pierson at Galerie Rudolfinum, Prague----------
- Wolfgang Betke at Ballhaus Ost, Berlin----------
- Wolfgang Betke at Nicole Gnesa, Munich----------
- Michael Auder in the Whitney Biennial 2014----------
- Jonathan Bragdon at the Kunsttempel Kassel----------
- Tom Chamberlain at La Maison Rouge, Paris----------
- Erich Reusch at Kunstverein Ruhr----------
- Öyvind Fahlström at MACBA, Barcelona----------
- Michael Auder at Portikus, Frankfurt/Main----------
- Öyvind Fahlström at Raven Row, London----------
- Wolfgang Betke at Nicole Gnesa, Munich----------
- Michael Wutz at Haus am Lützowplatz, Berlin----------
- “Anleitung zum direkteren Staunen” – 5.09.13----------
- Thomas Rentmeister at Stadtmuseum, Borken----------
- Neil Gall at The Torrance Art Museum, USA----------
- E.W. NAY in BONN and NEW YORK----------
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- Behind Pop - Kito Nedo about Ray Johnson----------
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Vivian Greven at SOYUZ Project Space, Pescara
L’ESULE E LE GRAZIE
Wilhelm von Gloeden | Vivian Greven
Curated by Marialuisa Pastò
25.02 – 30.03.2018 by appointment
SOYUZ is pleased to present "L'esule e le Grazie", an exhibition that brings together works by Wilhelm von Gloeden and new works by German artist Vivian Greven - for the first time in Italy - curated by Marialuisa Pastò.
There is no presence without absence. We could even argue that the latter sharpens every visual manifestation, because it exists only in relation to a presence that makes it evident. Much of the intrinsic power of the very concept of universality owes its existence to something that is actually absent. From this perspective, loss becomes the space where real and ideal meet, blending into each other. The place where the form becomes eternal and only Beauty can reveal its truth.
“Beauty is the only thing that time cannot harm. Philosophies fall away like sand, creeds follow one another, but what is beautiful is a joy for all seasons, a possession for all eternity.” - wrote Oscar Wilde.
The most sublime absence is the one that legitimise its presence in the form of the past, to which the concept of beauty is origin and essence. Even though it recurred throughout time in various forms, the past always implies the sense of the Arcadian return to that untouched world lived in the golden age of Classical Civilisation, which in turn becomes measure for present experiences. The Greeks deemed that beauty had ontological foundations and searched for its expression in nature and particularly in the human body – the most noble and high of the natural beings – with the inevitable erotic and sensual aura that distinguishes it.
Looking to von Gloeden and Vivian Greven, the spirit of classical art seems to walk along the perceptions of our time. The firm and primitive beauty of the subjects of the German photographer reminds of the still poses of Classical Greek sculpture. Stripped of any additional ornaments, the models reach their essence in the perfection of their muscles. Magna Graecia’s loyalty to light, tableau vivant in the open air, and the evocative atmosphere that frames them pay tribute to the myth dimension. The decorum of the ephebes – even when implicitly vain – makes the body the place of their own representation. These are images of voluptuous bodies – of some kind of disturbing voyeurism – that praise a triumphal youth.
“It’s Ellade, its ancient ideal of beauty, which lives on […] in those bodies that look carved like Greek sculptures.” – wrote Peyrefitte. In Gloeden’s images (1856 – 1931) they become arcane beings that live in the dimension of possibility. They are ideal models in the enchanted and metaphysical atmosphere of Taormina, “the last phase of a Mediterranean dream where one can reconnect with lost unity” – as the Island is described in “L'Exilé de Capri”. In the words of the very same Roger Peyrefitte, written in its “Les Amours singulières”, baron von Gloeden says: «The whole history of Italy, Sicily and Greece, in one word the Mediterranean, was summed up in Taormina […] I stood on the Acropolis of Beauty».
In the works of German artist Vivian Greven (*1985), classic aesthetic ideals chase one another on the canvas, appearing as composed gestures and harmonic elegance of the forms.
The majesty and kindness of her subjects remind as much of the Olympic Greek sculptures as of Canova’s aesthetics. The soft and discreet lines that shape her faces embody the internal tension that underlie Winckelmann’s neoclassical postulates, which he himself used to describe as “noble simplicity and quiet greatness, both in posture and expression” ("edle Einfalt und stille Größe"). Greven’s Graces stand as untouched creatures that answer to the principles of the purest classicism: objects of an ideal, universal, eternal beauty.
The subjects of the works presented in this exhibition define the ability of the sign to convey meaning to the form – ideal models legitimised in the space of all times, which is per se outside of time. The beauty of their untarnished perfection tells the absence of discontinuity of past references to present experience, in turn reinforcing their original greatness.
Marialuisa Pastò
More Infromation: http://the-soyuz.org/home/l-esule-e-le-grazie/