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Anthology of time-based works
Edited by Yilmaz Dziewior, Matthias Muhling. Text by Francis McKee, Yilmaz Dziewior, Matthias Muhling.
Under the open sky
"Wassily Kandinsky and Gabriele Münter--we know them as leading figures of the Blue Rider. Yet the two were close collaborators for years before the artists' group was founded. The exhibition undertakes a pioneering reconstruction of their itinerant life between 1902 and 1908. The pair traveled widely and light, working under the open sky to create paintings in small formats and photographs. Oil sketches produced right in front of the motifs and photographs show scenes and sceneries in and around Kallmünz, Rotterdam, Tunis, Rapallo, Paris, and other destinations. Among these works are oil studies, photographs, and sketchbooks by Gabriele Münter that have never been on display in an exhibi...
The Lenbachhaus
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The Blue Rider
»Das ganze Werk, Kunst genannt, kennt keine Grenzen und Völker, sondern die Menschheit.« So schrieben es Franz Marc und Wassily Kandinsky 1911 für ihren Almanach Der Blaue Reiter. Dieses programmatische Jahrbuch etablierte den Blauen Reiter (ca. 1911–1914) als einen der ersten transnationalen Künstler*innenkreise. Und dieses Credo inspirierte das Lenbachhaus dazu, das Werk der beteiligten Künstler*innen – unter ihnen Gabriele Münter, Alfred Kubin, Maria Marc und Elisabeth Epstein – nicht nur ästhetisch und historisch, sondern in seinen geistigen, sozio-ökonomischen sowie politischen Zusammenhängen zu betrachten. Denn nicht nur mit Worten, sondern auch mit Bildern und Taten setzte sich der Kreis des Blauen Reiter für ein globales, gleichberechtigtes Kunstverständnis ein. Gefangen in der Zeit der kolonialen Weltordnung vor dem Ersten Weltkrieg, gelang es allerdings auch ihnen nicht, eine emanzipatorische Praxis von Kunst jenseits nationaler Zugehörigkeit sowie tradierter Hierarchien und Gattungen umzusetzen.
1972, Sarah Morris
Text by Matthias Muhling.
Florine Stettheimer
Florine Stettheimer (1871-1944) was among the most fascinating artists on the New York arts scene during the first half of the twentieth century, and the painter and poet counted among her fans Andy Warhol and Marcel Duchamp, who organized a retrospective of her work at the Museum of Modern Art. With a longstanding interest in beauty contests and celebrity, Wall Street and consumer culture, Stettheimer anticipated in her work many of the same interests that would later characterize Pop Art, and her synthesis of the arts and urban life remains a source of inspiration for many artists working today. Published to accompany a major retrospective of Stettheimer’s work at the Lenbachhaus in Munich, this well-illustrated book brings together the artist’s paintings and poems, as well as her designs for studio and stage, offering deep insights into Stettheimer’s exceptional life and influence on the artists around her.
Lea Lublin
Lea Lublin, nearly unknown, yet rediscovered At the age of 12, Lea Lublin (*1929 in Poland, +1999 in Paris) joined at the Academy of Fine Arts in Buenos Aires; in 1968 she exhibited herself for three weeks alongside her 8 months old son in a Parisian museum; two years later one of her paintings was confiscated in Argentina and Lublin was charged with three months of probation for public indecency. In her exhibition »The Striptease of the Jesus Child« at Yvon Lambert's Paris-based gallery, Lublin inquired into the underlying eroticism in Christian painting. On the trail of Marcel Duchamp in Buenos Aires, Lublin purloined the French artist's former letterbox as a piece of evidence for her th...
Gabriele Muenter
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Monica Bonvicini
Confronting the overlap between patriarchy and architecture head on, Monica Bonvicini (born 1965) has attracted international attention with her video "Wallfucking" (1995)--in which a naked woman rubs her genitals against a wall protuberance--and with her site-specific installations using chains, steel and leather. "Architecture is the ultimate erotic act," asserts an installation in this monograph; "carry it to excess."
Gabriele Münter
This volume presents the paintings of Gabriele Münter in ten thematic sections that bring the artist's creative process to the fore. For the first time, Münter's paintings are accompanied by a large number of her photographs from North America, taken around the turn of the nineteenth to the twentieth century. The picture that emerges from the whole is that of an extraordinarily open-minded and adventuresome artist.
