Exhibitionprogramme 2016 - Gruppenreise-Navi

Exhibition programme 2016
Hans Robert Pippal
22 January – 28 March 2016
Many people know Hans Robert Pippal (1915–1998) above all for his charming views of Vienna. And indeed, it
was with great passion that this perhaps “most Viennese” of 20th-century Austrian painters devoted himself
to his hometown. Pippal painted representative streets and buildings like the Ringstrasse, the State Opera, St.
Stephen’s Cathedral, and the Graben, as well as atmospheric scenes from Vienna’s outer districts. He was
virtually unexcelled at capturing the city’s atmosphere as it changed over the course of the day and the
seasons. Prof. Martina Pippal, the artist’s daughter, recently donated a large group of watercolours, pastels,
drawings, and sketches to the Albertina. A selection of these will now be presented to the public for the first
time.
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Provoke
Between Protest and Performance – Photography in Japan 19601960-1975
29. January – 8 May 2016
The Japanese photo magazine Provoke, which ran for three issues in 1968 and 1969, numbers among the
absolute highlights of post-war photography.
The Albertina, in the world’s first such exhibition, examines this magazine’s complex genesis and presents a
representative cross-section of photographic trends in Japan between 1960 and the 1970s. With around 200
objects, this showing unites works by influential Japanese photographers including Moriyama, Takanashi,
Tomatsu, and Araki. With massive protests taking place during this period in Japan, their images arose as an
expression of political transformation and the renewal of aesthetic norms.
This exhibition is a coproduction between the Albertina, Fotomuseum Winterthur, Le Bal (Paris), and Art
Institute of Chicago.
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1 Hans Robert Pippal: Young Girl in Front of Flower Cart, 1957; Albertina, Vienna
2 Hans Robert Pippal: Venice, Santa Maria della Salute, 1967 ; Albertina, Vienna
3 Hans Robert Pippal: Vienna, 8th district. Theater in der Josefstadt in Winter, ca. 1975: Albertina, Vienna
4 Daido Moriyama: Accident, 1969; Shadai Gallery, Tokyo
5 Yutaka Takanashi: Untitled (Toshi-e), 1969; Private Collection, Chicago
6 Shomei Tomatsu: Blood and Rose, Tokyo; 1969; Albertina, Vienna – Permanent loan of the Austrian Ludwig Foundation for Art and Science
Chagall to Malevich
The Russian AvantAvant-Gardes
26 February 2016 – 26 June 2016
The Russian avant-garde numbers among the most diverse and radical chapters of modernism. Works by
artists such as Mikhail Larionov, Natalia Goncharova, Kasimir Malevich, Wassily Kandinsky, and Marc Chagall
continue to be cherished worldwide, with exhibitions always drawing large audiences. In many cases,
however, Western art historiography still conveys a rather simplified impression of the Russian avant-garde
as a homogeneous phenomenon. This era’s actual diversity can be seen from 26 February 2016 at the
Albertina, with 140 masterpieces demonstrating fundamentally different styles, compositional principles, and
aesthetic ideas that appear not only in simultaneously created works by different artists, but occasionally
even within one and the same artist’s oeuvre.
This comprehensive presentation will also shed light on mutual influences and contacts between individual
artists and groups of artists. The dynamic developments running from primitivism to cubo-futurism to
suprematism, as well as the temporal parallels to figurative expressionism and pure abstraction, will likewise
be demonstrated. This exhibition by the Albertina featuring the painted output of the Russian avant-garde
will serve to counter the notion of art’s linear and one-dimensional development during this period.
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1 Marc Chagall: The Promenade, 1917-1918; Saint Petersburg, State Russian Museum © Bildrecht, Vienna, 2015
2 Natalia Gontscharowa: The Cyclist, 1913; Saint Petersburg, State Russian Museum
3 Marc Chagall: The Fiddler, 1912; Amsterdam, Stedelijk Museum © Bildrecht, Vienna, 2015
4 Natan Altman: Portrait of Poetress Anna Akhmatova, 1915; Saint Petersburg, State Russian Museum, © Bildrecht, Vienna, 2015
5 Michail Larionow: Hairdresser, c. 1907-1909; Albertina, Vienna – Batliner Collection
Anselm Kiefer
Woodcuts
18 March to 19 June 2016
Anselm Kiefer (* 1945 in Donaueschingen, lives and works in Paris) is one of the most important artists of our
era. And the Albertina is mounting a first comprehensive retrospective that includes over 30 monumental
masterpieces from his famous woodcuts along with important pictorial series and thematic groups such as
The Paths of World Wisdom: Hermann’s Battle, The Rhine and Brünhilde - Grane.
Kiefer’s oeuvre bears witness to his intense interest in German history, cultural history, and mythologies. An
individual approach to collage, numerous painterly reworkings, and experimental materials and techniques
make each of his works a unique statement that stands on its own while still remaining networked on
multiple levels with Kiefer’s pictorial worlds in terms of both content and form.
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1 Anselm Kiefer: Atlantik – Wall, 1982-2013; Private Collection, © Anselm Kiefer
2 Anselm Kiefer: The Paths of World Wisdom: Hermann’s Battle, 1993; Albertina, Vienna - Permanent loan of the Austrian Ludwig Foundation for Art
and Science, © Anselm Kiefer
3 Anselm Kiefer: Hortus Conclusus, 2007-2014, Private Collection, © Anselm Kiefer
4 Anselm Kiefer: Brünhilde – Grane, 1977-1978; Courtesy Gallery Thaddaeus Ropac, Paris – Salzburg © Anselm Kiefer
5 Anselm Kiefer: Rhinemaidens, 1982–2013; Courtesy Galerie Thaddaeus Ropac, Paris - Salzburg, © Anselm Kiefer
Erwin Bohatsch
8 April – 12 June 2016
Erwin Bohatsch (*1951 in Mürzzuschlag, Styria), whose works have been the object of international acclaim
ever since the 1980s, has come to number among the most important Austrian artists of his generation. And
now, the Albertina is honouring his diverse output with a solo exhibition.
Bohatsch’s oeuvre is characterised by a constant back-and-forth between figuration and abstraction, between
colour and non-colour, and between line and surface. It also prominently features the question as to
painting’s currency, a question that itself remains as current as ever.
This exhibition juxtaposes the artist’s latest works with representative examples from the past few decades to
explore a multifaceted kaleidoscope representing 40 years of unique and consistent creativity.
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Jim Dine
SelfSelf-Portraits
24 June – 9 October 2016
Jim Dine ranks alongside figures such as Andy Warhol and Roy Lichtenstein as one of the celebrated stars of
American pop art. From the artist’s generous donation to the Albertina, a representative selection of 100
fascinating self-portraits is to be shown that presents Dine in demeanours both unusual and self-critical. The
self-portraits, which Dine began painting in the 1950s, serve to catalyse an independent, intense, and
surprising dialogue with the artist and his output. And Dine’s diverse experiments with a wide range of
techniques and materials address themes including youth and old age, intimacy and extroversion, and
seriality and creativity on paper—enabling these self-portraits to open up new insights into a supposedly
familiar oeuvre.
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1 Erwin Bohatsch: In a Landscape, 1984; Albertina, Vienna, © Erwin Bohatsch
2 Erwin Bohatsch: Untitled, 2014; Albertina, Vienna, © Erwin Bohatsch
3 Erwin Bohatsch: Untitled, 1994; Albertina, Vienna – Donation Ploner Collection, © Erwin Bohatsch
4 Erwin Bohatsch: Les nuits d' été: Teil 6, 2002; Albertina, Vienna, © Erwin Bohatsch
5 Jim Dine: Red Bib, 1989; Albertina, Vienna, © Jim Dine
6 Jim Dine: Big Crying Head, 1989; Albertina, Vienna, © Jim Dine
7 Jim Dine: Self-Portrait with a Hat, 1991; Albertina, Vienna, © Jim Dine
8 Jim Dine: Looking in the Dark #19, 1984; Albertina, Vienna, © Jim Dine
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From End to Beginning: Seurat,
Seurat, Signac, Matisse and Picasso
Pointillism: Developments and Individual Tendencies
16 September 2016 – 8 January 2017
In the autumn of 2016, the Albertina joins forces with the Kröller-Müller Museum to present an exhibition on
pointillism. 120 selected paintings, watercolours, and drawings illuminate the development of this pioneering
dot-based technique between 1886 and 1930.
Luminous masterpieces by Georges Seurat and Paul Signac welcome visitors to this major autumn
presentation. They are joined by selected works of Henri Matisse, André Derain, Pablo Picasso, and Gino
Severini. These painters put an end to a conception of art as an imitation of reality, instead giving rise to new
pictorial realities via the independence of dots, colours, and light in their images. Alongside Seurat, Vincent
van Gogh also had an influence on the succeeding generation of artists by taking up pointillism in Paris and
Arles in a way that was non-systematic but full of expressivity and passion. In this presentation, Van Gogh
assumes a special place.
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1 Georges Seurat: Sunday at Port-en-Bessin, 1888; Kröller-Müller Museum, Otterlo
2 Henri Matisse: Parrot Tulips, 1905; Albertina, Vienna – Batliner Collection
3 Vincent van Gogh: Interior of a Restaurant, 1887; Kröller-Müller Museum, Otterlo
4 Théo van Rysselberghe: In July, before Noon or The Orchard, 1890; Kröller-Müller Museum, Otterlo
5 Achille Laugé: Portrait of Madame Astre, 1892; Musée des Beaux-Arts. Carcassonne
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Art for All
The Colour Woodblock Print in Vienna ca. 1900
21 October 2016 – 22 January 2017
With an exhibition on the colour woodblock print around 1900, the Albertina is showcasing a printing process
that is one of the world’s oldest and was rediscovered during the late 19th century. A special role in its revival
was played by artists of the Vienna Secession including Carl Moll, Emil Orlik, and Kolo Moser, who raised the
technique to an entirely new level. Alongside formal innovations such as the stylisation of surfaces and lines
and the employment of colour contrasts, all of which were significant factors in the development of a modern
pictorial language, this presentation also sheds light on the socio-political dimension of the colour woodblock
print, the reproducibility and easy availability of which rendered it a form of “art for all”.
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FilmFilm-Stills
11 November 2016 – 19 February 2017
Film stills represent both visual traces of film and their own type of photographic image. They are taken onset
during filming in accordance with an elaborate procedure via which a photographer re-stages film scenes
specifically for the still camera.
The Albertina is turning the spotlight on this hybrid genre for the first time in a comprehensive exhibition of
150 film stills taken between 1910 and the 1970s, thus simultaneously shedding light on a cross-section of
various historical schools of photography and filmmaking such as pictorialism, expressionism, and neorealism. Using images by regular still photographers as well as by Magnum members such as Henri CartierBresson and Ernst Haas, three aspects of film stills as an intermedia phenomenon will be given particular
attention: the interfaces between photography and film with their breaks and links, the function of stills as
such, and these stills’ independent artistic value.
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1 Carl Moll: Garden of the Belvedere in Winter, c. 1905; Albertina, Vienna
2 Ludwig Heinrich Jungnickel: Harvesters, 1903; Albertina, Vienna
3 Ludwig Heinrich Jungnickel: Flamingos, 1909; Albertina, Vienna
4 Carl Moser: Fishing Boat at Low Tide, 1906; Albertina, Vienna
5 Horst von Harbou: Brigitte Helm in Metropolis, 1927; Austrian Film Museum © Horst von Harbou - Deutsche Kinemathek
6 Anonym: Bibi Andersson and Liv Ullmann in Persona, 1966; Private Collection, Vienna
7 Anonym: Werner Krauss, Conrad Veidt and Lil Dagover in The Cabinet of Dr. Caligari, 1919; Austrian Film Museum