Umberto Boccioni, Dynamism of a Cyclist, 1913. Oil on canvas, 70 x 95 cm. Gianni Mattioli Collection, Long-term loan to the Peggy Guggenheim Collection, Venice
February 18–December 31, 2009
Peggy Guggenheim Collection, Venice
One hundred years after the publication in Le Figaro on
February 20, 1909, of the Futurist Manifesto, signed by the “jeune
poète Italien” Filippo Tommaso Marinetti, the Peggy Guggenheim
Collection celebrates this revolutionary avant-garde movement with the
exhibition Masterpieces of Futurism at the Peggy Guggenheim Collection, curated by Philip Rylands, director of the museum.
Cai Guo-Qiang, Inopportune: Stage One, 2004. Nine cars and sequenced multichannel light tubes, dimensions variable. Seattle Art Museum, Gift of Robert M. Arnold, in honor of the 75th Anniversary of the Seattle Art Museum, 2006. Exhibition copy installed at Guggenheim Museum Bilbao, 2009
March 17–September 6, 2009
Guggenheim Museum Bilbao
Designed
by the artist as a site-specific installation, the Guggenheim’s
exhibition presents art as a process that unfolds in time and space,
dealing with ideas of transformation, expenditure of materials, and
connectivity.
Vasily Kandinsky, Blue
Mountain, 1908–9. Oil on canvas,
283.87 x 245.16 cm. Solomon R. Guggenheim Museum, Solomon R. Guggenheim
Founding Collection, Gift, Solomon R. Guggenheim 41.505. ©
2008 Artists
Rights Society (ARS), New York/ADAGP, Paris
KandinskyApril 8–August 10, 2009
Centre Pompidou, Paris
This presentation of more
than 100 paintings will bring together works from the three partner
institutions, which have the greatest concentration of the artist's work in the
world—the Solomon R. Guggenheim Museum, New York; Centre Georges Pompidou,
Paris; and Städtische Galerie
im Lenbachhaus,
Munich—as well as draw significant loans from private and public
holdings. The final iteration of this traveling exhibition will investigate
both Kandinsky’s formal and conceptual contributions to the course of abstraction
in the 20th century, concentrating on his innovations in painting.
Organized by Tracey Bashkoff,
Associate Curator for Collections and Exhibitions, the Solomon R. Guggenheim
Museum; Annegret Hoberg, Lenbachhaus; and Christian Derouet,
Centre Pompidou.
Robert Rauschenberg, Mercury Zero Glut, 1987. Assembled metal, 27 x 44.5 x 21.6 cm. Private collection
May 30–September 20, 2009
Peggy Guggenheim Collection, Venice
Robert Rauschenberg: Gluts
features a selected group of approximately forty sculptures drawn from
the holdings of institutions and private collections in the United
States and abroad. While
Rauschenberg has been comprehensively investigated in recent
international shows, a focused exhibition examining his sculpture has
not been organized since 1995.
Juan Gris, Newspaper and Fruit Dish (Journal et compotier),
1916. Oil on canvas, 46 x 37.8 cm. Solomon R. Guggenheim Museum, New
York, Gift, Estate of Katherine S. Dreier 53.1341. Juan Gris © 2003
Artists Rights Society (ARS), New York/ADAGP, Paris
June 26, 2009–January 10, 2010
Guggenheim Museum Bilbao
From Private to Public: Collections at the Guggenheim
explores the intriguing parallels between a diverse group of art
enthusiasts whose lives intersected over several decades. In
conjunction with a presentation of the museum’s collections of early
modern art from Impressionism to Surrealism, a selection of
contemporary photography, video, painting, and sculpture from the Bohen
Foundation will also be on view.
Imi Knoebel, Ohne Titel, 1968/72. Gelatin silver print, 24 x 31 cm. Deutsche Bank Collection. © Imi Knoebel
July 4–August 2, 2009
Deutsche Guggenheim Berlin
In Enduros, part two of the two-part exhibition the Deutsche Guggenheim dedicates to artist Imi Knoebel, more than 200 collages, drawings, photographs, and prints from the Deutsche Bank Collection offer fascinating insight into the development of the artist’s nonobjective formal vocabulary.
Josef Albers, Study for Homage to the Square, n.d. Oil over pencil on cardboard, 33.3 x 29.9 cm. Deutsche Bank Collection
August 14–October 11, 2009
Deutsche Guggenheim Berlin
Organized by Carmen Giménez, Curator of Twentieth-Century Art at the Solomon R. Guggenheim Museum, New York, the exhibition Abstraction and Empathy brings together works that embody an aesthetic divide similar to the one described in Wilhelm Worringer’s seminal 1908 book also titled Abstraction and Empathy, wherein periods of anxiety and intense
spirituality experience artistic production that tends toward a flat, crystalline “abstraction”
while cultures that are oriented toward science and the physical world are dominated by more
naturalistic, embodied styles, which Worringer grouped under the term
“empathy.”
Maurice Prendergast, Festa del Redentore, ca. 1899.
Watercolor and pencil on paper, (11 x 17 in.; 27.9 x 43.2 cm). Williams
College Museum of Art, Gift of Mrs. Charles Prendergast (91.18.5)
October 10, 2009–January 3, 2010
Peggy Guggenheim Collection, Venice
This is the first exhibition of Prendergast’s art to be presented in
Italy as well as the first assembling of the paintings he made during
his two trips to Italy.
Julie Mehretu, Notations, 2009. Ink and acylic on canvas, 304.8 x 426.7 cm. © Julie Mehretu
October 28, 2009–January 10, 2010
Deutsche Guggenheim Berlin
For the fifteenth project of Deutsche Guggenheim’s commission program, American artist Julie Mehretu will premiere a new suite of paintings. Inspired by a multitude of sources, including historical photographs, urban-planning grids, modernism, and graffiti, these semiabstract works explore the intersections of power, history, dystopia, and the built environment and their impact on the formation of personal and transcommunal identities.
László Moholy-Nagy, AXL II, 1927. Oil on canvas, 37 x 29 1/8 inches (94.1 x 73.9 cm). Solomon R. Guggenheim Museum, New York, Gift, Mrs. Andrew P. Fuller 64.1754
January 22–April 11, 2010
Deutsche Guggenheim Berlin
This exhibition will take an international sequence of case studies from the early nineteenth century through 1933, when the Bauhaus closed in Berlin and the ascendancy of Fascism and Stalinism curbed or negatively reframed such endeavors, and examine the evolution of utopian ideas in modern Western artistic thought and practice. |
