Pinakothek der Modern presents FEELINGS. ART AND EMOTION

100 paintings, objects, and films from around 40 international contemporary artists invite us to intuitively approach art from an emotional perspective.

What does art provoke in us? To what extent does our view of art depend on our personal experiences and memories? Which feelings emerge as we contemplate works of art, if our gaze is led by intuition alone? The exhibition FEELINGS seeks to encourage this direct dialogue between artwork and viewer in order to stimulate an intense emotional engagement. The works exhibited are characterized by enigmatic motifs and atmospheric visual spaces. Joy, excitement, anger, revulsion, sadness, and numerous other emotional reactions may ensue upon viewing the works. The choice of exhibits is subjective; the art historical context and explanatory wall texts have been deliberately omitted.

Tadeusz Kantor Die tote Klasse, 1975 installation, wooden floor, -bench, -tables, puppets, clothes, 150 x 150 x 300cm 2007 acquired by PIN. Freunde der Pinakothek der Moderne e.V. Photo: Bayerische Staatsgemäldesammlungen, Sibylle Forster © Tadeusz Kantor

When does a picture attract us, when does it repel us? The study of emotions is still a young branch of psychology, sociology, history, and neuroscience. Ever since the Enlightenment, the focus has been on humankind as primarily rational beings; their view of the world and images was dominated by intellect above all else. Today, however, it can be proven that emotions have much more influence over us than we have previously wanted to admit. It is no coincidence that politics and advertising have long—and thoroughly manipulatively—relied on using images to evoke feelings and then utilized these for their own ends.

Vlassis Caniaris Chicken Coop, 1974 mixed media, various dimensions 2018 acquired by PIN. Freunde der Pinakothek der Moderne e.V. © Vlassis Caniaris

Art, on the other hand, is formed in free contexts, creates a purely personal relationship with the audience, and exists without a discernible purpose. The contemplation of works of art offers the opportunity to become more familiar with one’s own emotional world, for it is not uncommon for images to trigger associations with experiences that literally “get under your skin” and are sometimes stored for a long time. Art touches upon our personal emotional archive. Whether works are perceived as pleasant or unpleasant, whether they confuse or delight, all essentially depends on the stored experience. More importance is usually ascribed to reasoning than to feelings when viewing art, for it seems to contradict its complexity and intellectual depth. This dominance of the rational discourages many people from engaging with contemporary art in particular. FEELINGS wishes to subvert these threshold fears, for intuition represents an essential approach to art. After all, the creation of a work is also based on personal experience.

Sam Taylor Johnson Soliloqui I, 1998 colour printing, C-print, 211 x 257 cm (Blattmaß) 1999 acquired by PIN. Freunde der Pinakothek der Moderne e.V. Photo: Bayerische Staatsgemäldesammlungen © Sam Taylor Johnson

FEELINGS seeks to highlight this perspective on art. The exhibition features contributions from the following artists: Hans Aichinger, Monika Baer, Heike Kathi Barath, Vlassis Caniaris, Gregory Crewdson, Alex Da Corte, Nathalie Djurberg and Hans Berg, Drei Hamburger Frauen, Marlene Dumas, Elmgreen & Dragset, Tracey Emin, Gotthard Graubner, Jenny Holzer, Thilo Jenssen, Tadeusz Kantor, Ruprecht von Kaufmann, Mike Kelley and Paul McCarthy, Jochen Klein, Rosa Loy, Rosilene Luduvico, Stephan Melzl, Olaf Metzel, Miwa Ogasawara, Catherine Opie, Laura Owens, Richard Prince, Bernhard Prinz, Alexandra Ranner, Wilhelm Sasnal, Markus Schinwald , Norbert Schwontkowski, Cindy Sherman, Sam Taylor Johnson, Jessica Vaughn, Gillian Wearing, Amelie von Wulffen, and Artur Zmijewski.

The exhibited works are from the holdings of the Bavarian State Painting Collections, the Goetz Collection, and other private collections.

The exhibition is supported by

PIN. Freunde der Pinakothek der Moderne e. V.

Curators: Bernhart Schwenk and Nicola Graef.

- Redazione

PINAKOTHEK DER MODERNE

FEELINGS

OPENING | 07 NOVEMBER 2019, 7.00 P.M.

EXHIBITION DURATION | 08 NOVEMBER 2019 – 04 OCTOBER 2020

Sammlung Moderne Kunst und Staatliche Graphische Sammlung München Barer Str. 29  D-80799 München  T +49 (0)89 23805-122/ -253 / -286  F +49 (0)89 23805-125 

www.pinakothek.de

Marlene Dumas Cupid, 1994 oil on canvas, 180 x 140 cm 2008 acquired as loan of the Michael and Eleonore Stoffel Foundation, Cologne Photo: Bayerische Staatsgemäldesammlungen, Haydar Koyupinar © Marlene Dumas

Tate Liverpool to present Don Mccullin

MAJOR TATE BRITAIN RETROSPECTIVE TOURS TO NORTH WEST OF ENGLAND

Tate Liverpool presents a major retrospective of the legendary British photographer Sir Don McCullin (b. 1935). Following the huge success of Don McCullin at Tate Britain in spring 2019, the exhibition will tour to Tate Liverpool where it will be on display from 5 June until 27 September 2020. Exclusively for its presentation at Tate Liverpool it will feature a number of additional images, not shown in Tate Britain, of Liverpool and the wider region.

Liverpool 8 1961

Featuring more than 250 photographs, the exhibition showcases some of his most impactful photographs captured over the last 60 years. It features many of his iconic war photographs – including images from Vietnam, Northern Ireland and more recently Syria. But it also focuses on the work he did at home in the UK, recording scenes of poverty and working-class life in the industrial north and London’s East End, as well as meditative landscapes of his beloved Somerset, where he lives.​ Alongside McCullin’s hand-printed silver gelatin prints, the exhibition also includes the photographer’s magazine spreads, contact sheets, his helmet and the Nikon camera which took a bullet for him in Cambodia.

For the presentation at Tate Liverpool the exhibition will show additional photographs further depicting life and industrial scenes of Liverpool and other northern towns and cities during the 1960s and 70s. Having been born into a working-class family in London, McCullin identified with the most deprived parts of the north of the UK, including areas of Bradford and Liverpool. He recognised his own origins in the conditions of those he photographed and was committed to the practice of ‘reporting back’ and publicly highlighting these areas that were largely unseen by the British middle classes.

Homeless Irishman, Spitalfields, London 1935

Helen Legg, Director, Tate Liverpool, said: ‘The public and critical response to the exhibition at Tate Britain was overwhelmingly positive and we’re thrilled to be bringing this large-scale show to Liverpool. We hope audiences will enjoy this opportunity to see his powerful images which cover the major conflicts of the last half century alongside McCullin’s historic images of Liverpool and the wider north of England.’

Don McCullin said ‘I first visited Liverpool as a boy of fifteen when I worked on a steam train that went into the city three or four times a week. As a young man I returned as a photojournalist. I spent time with artists and poets including Adrian Henri and Brian Patten for a Telegraph Magazine story written by Roger McGough; documented the police for The Sunday Times in the 1970s; and collaborated with Jonathan Miller on an assignment for The Observer. It was a unique city but felt familiar to me as someone who grew up in an area that was also left impoverished by policies of deindustrialisation. I’m delighted to be showing my work at Tate Liverpool and to have the opportunity to return to the city, a place I love and has played a major part in my life and career.’

Consett, County Durham 1976

Don McCullin was born in 1935 in Finsbury Park, London and became a photographer during National Service in the RAF. He began taking photographs in 1958, documenting his surroundings and local community. In 1959 his photograph The Guvnors, a portrait of a notorious local gang, was published in The Observer, launching his career as a photojournalist. In 1961, McCullin travelled to Germany on his own initiative, funding the trip himself, to photograph the building of the Berlin Wall. The images he took won him a British Press Award and a permanent contract with The Observer. He is most famous for his photographs of war, in which he focuses on the effects of conflict on civilians. Many of these images were taken for The Sunday Times Magazine, for which he was a foreign correspondent between 1966 and 1984.

Don McCullin Tate Liverpool from 5 June – 27 September 2020.

The exhibition tours from Tate Britain where it was on display from 5 February – 6 May 2019. The exhibition was originally conceived by Simon Baker, Director of The Maison Européene de la Photographie, Paris, with Shoair Mavlian, Director of Photoworks, assisted by Aïcha Mehrez, Assistant Curator of Contemporary British Art, Tate Britain. The exhibition at Tate Liverpool is co-curated by Tamar Hemmes, Assistant Curator Tate Liverpool, and Aïcha Mehrez. It is accompanied by a fully illustrated catalogue.

- Redazione

Protester, Cuban Missile Crisis, Whitehall, London 1962

Tate Modern presents the work of Dora Maar

This autumn, Tate Modern presents the first UK retrospective of the work of Dora Maar (1907–97) whose provocative photographs and photomontages became celebrated icons of surrealism. Featuring over 200 works from a career spanning more than six decades, this exhibition shows how Maar’s eye for the unusual also translated to her commercial commissions, social documentary photographs, and paintings – key aspects of her practice which have, until now, remained little known.

Dora Maar, Untitled (Hand Shell), 1934

Born Henriette Théodora Markovitch, Dora Maar grew up between Argentina and Paris and studied decorative arts and painting before switching her focus to photography. In doing so, Maar became part of a generation of women who seized the new professional opportunities offered by advertising and the illustrated press. Tate Modern’s exhibition will open with the most important examples of these commissioned works. Around 1931, Maar set up a studio with film set designer Pierre Kéfer specialising in portraiture, fashion photography and advertising. Works such as Untitled (Les années vous guettent) c.1935 – believed to be an advertising project for face cream that Maar made by overlaying two negatives – will reveal Maar’s innovative approach to constructing images through staging, photomontage and collage. Striking nude studies such as that of famed model Assia Granatouroff will also reveal how women photographers like Maar were beginning to infiltrate relatively taboo genres such as erotica and nude photography.

During the 1930s, Maar was active in left-wing revolutionary groups led by artists and intellectuals. Reflecting this, her street photography from this time shot in Barcelona, Paris and London captured the reality of life during Europe’s economic depression. Maar shared these politics with the surrealists, becoming one of the few photographers to be included in the movement’s exhibitions and publications. A major highlight of the show will be outstanding examples of this area of Maar’s practice, including Portrait d’Ubu 1936, an enigmatic image thought to be an armadillo foetus, and the renowned photomontages 29, rue d’Astorg c.1936 and Le Simulateur 1935. Collages and publications by André Breton, Georges Hugnet, Paul and Nusch Eluard, and Jacqueline Lamba will place Maar’s work in context with that of her inner circle.

In the winter of 1935–6 Maar met Pablo Picasso and their relationship of around eight years had a profound effect on both their careers. She documented the creation of his most political work Guernica 1937, offering unprecedented insight into his working process. He in turn immortalised her in the motif of the ‘weeping woman’. Together they made a series of portraits that combined experimental photographic and printmaking techniques, anticipating her energetic return to painting in 1936. Featuring rarely seen, privately-owned canvases such as La Conversation 1937 and La Cage 1943, and never-before exhibited negatives from the Dora Maar collection at the Musée National d’art Moderne, the exhibition will shed new light on the dynamic between these two artists during the turbulent wartime years.

Dora Maar, Model in Swimsuit, 1936

After the Second World War, Maar began dividing her time between Paris and the South of France. During this period, she explored diverse subject matter and styles before focusing on gestural, abstract paintings of the landscape surrounding her home. Though these works were exhibited to acclaim in London and Paris into the 1950s, Maar gradually withdrew from artistic circles. As a result, the second half of her life became shrouded in mystery and speculation. The exhibition will reunite over 20 works from this little-known – yet remarkably prolific – period. Dora Maar concludes with a substantial group of camera-less photographs that she made in the 1980s when, four decades after all but abandoning the medium, Maar returned to her darkroom.

Dora Maar is curated by Karolina Ziebinska-Lewandowska, Curator, Centre Pompidou, Paris, Damarice Amao, Assistant Curator, Centre Pompidou, Paris and Amanda Maddox, Associate Curator, the J. Paul Getty Museum, Los Angeles with Emma Lewis, Assistant Curator, Tate Modern. The Tate Modern presentation is curated by Emma Lewis, Assistant Curator with Emma Jones, Curatorial Assistant, Tate Modern.

Dora Maar, Untitled (Legs), 1935

Dora Maar

Curated by: Karolina Ziebinska-Lewandowska

Period: 20 November 2019 – 15 March 2020

Opening hours: 10.00 – 18.00 from Sunday to Thursday and until 22.00 on Friday and Saturday

Where: Tate Modern, Bankside, London