Jewish Museum Munich
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The opening of the Jewish Museum Munich in 2007 brings to a close almost eight decades of continuous effort to find a home for Jewish history and culture in Munich. The result is a museum that is dedicates to Munich's eventful Jewish history as well as to the most diverse aspects of Jewish culture in the past and present.
janvier 1900, Munich, Berlin, London, New York
Jewish Museum Munich
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The opening of the Jewish Museum Munich in 2007 brings to a close almost eight decades of continuous effort to find a home for Jewish history and culture in Munich. The result is a museum that is dedicates to Munich's eventful Jewish history as well as to the most diverse aspects of Jewish culture in the past and present.
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The first Venice Biennale of Architecture in 1980 was one of those events whose later reputation far exceeds the amount of attention it attracted at the time. Although attended by a relatively modest number of people, the Biennale has come to be seen as a defining moment and a turning point in relation to the history of architectural postmodernism. Routinely referred to,(...)
Exhibiting the postmodern: the 1980 Venice Architecture Biennale
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The first Venice Biennale of Architecture in 1980 was one of those events whose later reputation far exceeds the amount of attention it attracted at the time. Although attended by a relatively modest number of people, the Biennale has come to be seen as a defining moment and a turning point in relation to the history of architectural postmodernism. Routinely referred to, often with an assumed familiarity, by people who forget that they never actually saw it themselves, the exhibition has acquired a formidable “afterlife,” as Léa-Catherine Szacka calls it. It has been in this afterlife that the exhibition came into its own.
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What began in 1986 as a small circle of fans of constructive-concrete art has today grown into the Museum Haus Konstruktiv in Zurich, boasting a collection of 900 works.
Thinking outside the box: the Museum Haus Konstruktiv collection
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What began in 1986 as a small circle of fans of constructive-concrete art has today grown into the Museum Haus Konstruktiv in Zurich, boasting a collection of 900 works.
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The building of the Victoria and Albert Museum, begun in 1857, is the most elaborately designed and decorated museum in Britain. This book is the first to consider the V as a work of art in itself, presenting drawings, watercolours and historic photographs relating to the museum’s 19th-century exteriors and interiors. Much of this visual material is previously unpublished(...)
Designing the V: the museum as a work of art (1857-1909)
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The building of the Victoria and Albert Museum, begun in 1857, is the most elaborately designed and decorated museum in Britain. This book is the first to consider the V as a work of art in itself, presenting drawings, watercolours and historic photographs relating to the museum’s 19th-century exteriors and interiors. Much of this visual material is previously unpublished and is outside the canon of Victorian art and design. The V’s first Director, Henry Cole, conceived the museum’s building as a showcase for leading Victorian artists to design and decorate. This book reveals for the first time the ways in which Cole’s expressed policy to ‘assemble a splendid collection of objects representing the application of Fine Arts to manufacture’ was applied to the fabric of the building, as he engaged leading painters such as Frederic Leighton, G.F. Watts and Edward Burne-Jones, as well as specialists in decoration such as Owen Jones and Morris and Company, to decorate and design for a building raised by engineers using innovatory materials and techniques. This book represents a fascinating, untold chapter in the history of British 19th-century art, design, architecture and museums, and provides an essential key to understanding the evolution of the museum’s early collections and identity.
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The focus of this large book is an 18th century Dutch cabinet from the Rijksmuseum’s furniture collection. This cabinet houses a collection of curiosities including a mini-apothecary’s shop filled with over 300 jars, pots, and bottles containing medicines. Concealed behind the rear wall of the cabinet, 55 secret drawers reveal a varied collection of over 2,000 naturalia(...)
The collector's cabinet and miniature pharmacy
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The focus of this large book is an 18th century Dutch cabinet from the Rijksmuseum’s furniture collection. This cabinet houses a collection of curiosities including a mini-apothecary’s shop filled with over 300 jars, pots, and bottles containing medicines. Concealed behind the rear wall of the cabinet, 55 secret drawers reveal a varied collection of over 2,000 naturalia specimens – including seeds, flowers, roots, resins, ores, and a great deal more. The cabinet was probably owned by a wealthy doctor or pharmacist and its contents were intended as a curiosity, for the amusement of a select group of friends. 21st century readers will be equally impressed by this exceptional Dutch collector’s cabinet.
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La revue annuelle du Musée des Arts Contemporains au Grand-Hornu (MAC's) fait peau neuve avec un nouveau numéro consacré au thème du musée et de sa critique par les artistes. Dits n° 22 offre un panorama de projets artistiques contemporains et internationaux proposant une réflexion sur la notion muséale, avec Yto Barrada, Christoph Büchel, Jacques Charlier, LaToya Ruby(...)
Dits n° 22 : musées pour cible
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La revue annuelle du Musée des Arts Contemporains au Grand-Hornu (MAC's) fait peau neuve avec un nouveau numéro consacré au thème du musée et de sa critique par les artistes. Dits n° 22 offre un panorama de projets artistiques contemporains et internationaux proposant une réflexion sur la notion muséale, avec Yto Barrada, Christoph Büchel, Jacques Charlier, LaToya Ruby Frazier, Tamar Guimarães, Jompet Kuswidananto, Wesley Meuris, Rei Naito, Ryue Nishizawa, Noah Purifoy, Dayanita Singh, Fiona Tan et Fred Wilson.
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Avec la naissance du ministère des Affaires culturelles en 1959, les Maisons de la culture deviennent le programme phare de la politique de décentralisation culturelle menée en France sous les auspices d’André Malraux. Hauts lieux de la scène théâtrale, ces Maisons ont été des instruments de diffusion des arts plastiques, de la musique ou du cinéma et dans certains cas de(...)
Les maisons de la culture en France
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Avec la naissance du ministère des Affaires culturelles en 1959, les Maisons de la culture deviennent le programme phare de la politique de décentralisation culturelle menée en France sous les auspices d’André Malraux. Hauts lieux de la scène théâtrale, ces Maisons ont été des instruments de diffusion des arts plastiques, de la musique ou du cinéma et dans certains cas de la culture architecturale. Les plus grands architectes ont été sollicités : Oscar Niemeyer, André Wogenscky ou encore Le Corbusier.
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How do you exhibit a building, a locality, a city? "Exhibit A" reveals how architecture has pushed the boundaries of exhibition as a medium and how, in turn, exhibitions have shaped the discipline of architecture. Focusing on 80 landmark architecture exhibitions mounted in countries around the world between 1948 and 2000, and featuring 300 images, this groundbreaking(...)
Exhibit A: Exhibitions that transformed architecture 1948-2000
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How do you exhibit a building, a locality, a city? "Exhibit A" reveals how architecture has pushed the boundaries of exhibition as a medium and how, in turn, exhibitions have shaped the discipline of architecture. Focusing on 80 landmark architecture exhibitions mounted in countries around the world between 1948 and 2000, and featuring 300 images, this groundbreaking overview is both a vital reference and a visually compelling study of the way we look at built work.
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Now into its 50th edition, after its historical beginnings as Kunstmarkt Köln ’67, Art Cologne is still one of the most important art fairs in the world. And it still has its roots in Kunstmarkt Köln ’67, as a fair for classic modernism, postwar and contemporary art. Originated by the Cologne gallery owners Hein Stünke and Rudolf Zwirner, Kunstmarkt Köln ’67 opened on(...)
août 2016
Art Cologne 1967-2016: the first art fair
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Now into its 50th edition, after its historical beginnings as Kunstmarkt Köln ’67, Art Cologne is still one of the most important art fairs in the world. And it still has its roots in Kunstmarkt Köln ’67, as a fair for classic modernism, postwar and contemporary art. Originated by the Cologne gallery owners Hein Stünke and Rudolf Zwirner, Kunstmarkt Köln ’67 opened on September 12, 1967, in Gürzenich, the City of Cologne’s gothic banqueting hall, and was to change the international art market forever. How revolutionary this first fair was can only be understood today by means of the immediate reactions at the time, which were recorded in a flood of media reports. With a wealth of documents and illustrations, this weighty volume traces the history of the fair in chronological order.
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Tate Modern opened its doors in 2000, since when it has become the most popular modern and contemporary art attraction in the world, now welcoming more than 5 million visitors a year. Working with the shell of the former Bankside Power Station, internationally acclaimed architects Herzog & de Meuron created a gallery of singular power and beauty, whose spaces articulate a(...)
novembre 2016
Tate Modern: building a museum for the 21st century. Herzog & de Meuron
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Tate Modern opened its doors in 2000, since when it has become the most popular modern and contemporary art attraction in the world, now welcoming more than 5 million visitors a year. Working with the shell of the former Bankside Power Station, internationally acclaimed architects Herzog & de Meuron created a gallery of singular power and beauty, whose spaces articulate a rare affinity with contemporary art. With the second major phase of the building now complete, Tate Modern presents a striking combination of the raw and the refined, of found industrial spaces and dazzling contemporary architecture. This is the definitive book of the building, and tells vividly the story of Tate Modern and the building of a twenty-first-century museum.