The ‘Black Bandits’ exhibition opens today in Berlin at ‘The House on Lützowplatz’ to celebrates Adolph Freiherr von Lützow and the 200th anniversary of the Battle of Waterloo (June 18, 1815) as the end of the Napoleonic Wars. This exhibition features two works by Johannes Albers.
‘Saccharibacter floricola’ by Johannes Albers, 190cm X 180cm, oil on canvas, 2014
The House on Lützowplatz (‘Haus am Lützowplatz’) is an exhibition and event space supported by the Art Association founded in 1960 “House on Lützowplatz - Cultural Patronage Berlin”.
The exhibition in the Lützowplatz does not pursue purely historical review of the topic. Being aware of the strength and explosiveness of the current historical narrative, it relies on the autonomy of contemporary art in terms of a resonance thereby open space between past and present.It's in the works, which have been partially established especially for the exhibition, not the illustration of history, but the mark of fractures and dislocations in the process of remembering the events of two hundred years ago, and their traces in today's collective consciousness.
‘200 Years’ by Johannes Albers, 90cm X 90cm X 51 cm, glass, dust, waste, 2015
Ludwig Adolph Wilhelm Freiherr von Lützow (May 18, 1782 - December 6, 1834) was commander of a volunteer unit that was formed along with other so-called ‘Hunter Detachment’ for increased staffing of the Prussian army for the war against France in February 1813.The Lützow Free Corps consisted largely of “non-Prussian foreigners”. Their clothes were brought uniformly colored black, resulting in particular for the cavalry of the Lützower the nickname “Black Hunter” was derived.Narrated is also on the French side, the term “brigands noirs”, ie black guerrillas or bandits, as their opponents as regular troops did sometimes not consider them.
The Lützow Free Corps was ultimately not very successful militarily, but gained in the course of the national liberation movement and the pre-March legendary status.In it fought a particularly high proportion of artists and intellectuals.At the end of the Napoleonic Wars, after the victory over Napoleon at the Battle of Leipzig (19 10.1813) and the conquest of Paris in May 1814, the Free Corps was disbanded.The professional soldiers of the Lutzow were integrated into regular regiments of the Prussian army.Lützow commanded a cavalry brigade during the last coalition war against Napoleon and was seriously wounded at Ligny on June 16, 1815.Parts of its original Freikorps fought two days later at the Battle of Waterloo and Napoleon captured personal car with hat, sword, and all orders.
Several Lützower engaged after 1815 in the fraternity movement and wore their black uniforms as a sign of aspirations to join the democratic ideals of freedom of the French Revolution with thoughts of a unified nation-state.The first student fraternity founded in Jena - before the students compounds were separated in country teams - received in 1816 a flag whose colors relate to the uniform of the Lützow Free Corps had (black skirt, red cuffs, gold buttons) and from the off, according to a among historians not undisputed evidence chain, then the first black-red-gold colors ableiteten 1848 officially used in the Frankfurt National Assembly as a symbol of a unified, parliamentary Germany.
The Lützowplatz was named after Baron von Lützow on 23 November 1869.
Other Criteria are pleased to unveil ‘Canon‘, Damien Hirst's new butterfly print.
Having been depicted in art, embedded in resin and characterised in literature for many centuries, the butterfly has wide significance as a symbol of love, regeneration, fortune, freedom, spirituality and death. The butterfly has fascinated Damien Hirst since his early days as an artist and is arguably one of the most popular and frequently used motifs in his work.
“You have to find universal triggers. Everyone’s frightened of glass, everyone’s frightened of sharks, everyone loves butterflies” Damien Hirst
‘History is now: 7 Artists Take On Britain’, housed at The Hayward Gallery, is an exhibition offering a radical new way of thinking about how we got to where we are today.
Eduardo Paolozzi, Take-off, 1972 (from original Bunkcollages 1947-52)
© Trustees of the Paolozzi Foundation. Licensed by DACS 2015
The Hayward Gallery let seven artists take on the cultural history of the United Kingdom. John Akomfrah, Simon Fujiwara, Roger Hiorns, Hannah Starkey, Richard Wentworth and Jane and Louise Wilson each curate different sections of the exhibition, looking at particular periods of cultural history. Their varied and curatorial 'takes' on Britain provide new perspectives and illuminate key moments in the nation's journey from the post-war period to the present day.
The artists pursue inventive ways of exploring our recent history, spanning ideas and topics as varied as the Cold War, post-Thatcherite society, protest movements, feminism, BSE, and celebrity culture.
They artists have selected over 250 objects from both public and private art collections as well as everyday artefacts including maps, costumes, newspapers, films, and personal diaries, together with scientific and military displays. Two works from Damien Hirst's iconic series – ‘Natural History’ and the Spot Paintings – are on display as part of Roger Hiorns examination of the BSE epidemic.
‘Out of Sight. Out of Mind.’ (1991) by Damien Hirst
Courtesy of White Cube © Damien Hirst and Science Ltd. All rights reserved, DACS 2015
While each section of the exhibition is distinct in both focus and style, taken together, ‘History is now: 7 Artists Take On Britain’ provokes reflection and debate on the events, people, and objects that have shaped the nation in recent decades, so informing our future decisions and directions.
‘History is now: 7 Artists Take On Britain’ is co-curated by Dr Cliff Lauson, Hayward Gallery Curator.
This exhibition will be running until April 26th.
Other Criteria were pleased to launch The Folly Acres Cook Book in New York City on Wednesday, April 8th.
Sue Webster presented her semi-autographical cookbook and read some extracts. The book combines recipes from the kitchen of the Gloucestershire smallholding shared by the artist-duo Tim Noble and Sue Webster, along with drawings, photographs, thoughts, anecdotes and personal memories.
‘Somewhere along the way, my artistic instinct got the better of me and what started life with good intention as an authentic cookbook somewhere in the style of Gwyneth Paltrow — it started to melt away halfway into something far more interesting and less practical' explained Sue Webster. 'This is a punk-y cookbook. This is a fucked-up cookbook,' she added. 'Some of them are edible, and some of them are just ideas.’
Sue Webster’s close friend, PJ Harvey, contributed a poem as an introduction to the book - inspired by her visit to Folly Acres, which she read at the launch. PJ Harvey also realised a surprise performance and sang a few tracks. 'I had to leave the room and come backstage and cry, because that last song of Polly’s' confessed Sue Webster.
They talk about it...
STYLE.COM: “Webster is bringing the viewer inside the artist’s mind with The Folly Acres Cook Book, a just-released collection of homegrown recipes, illustrated diary entries, and autobiographical scrawlings rendered by Webster from 2010 to 2014.”
ARTINFO: “Harvey herself appeared in full force to celebrate at Other Criteria, reading aloud the poem she wrote for the book’s introduction before grabbing her black lacquered acoustic and launching into a few of Webster’s favorites”
Photo: Samantha Nandez/BFAnyc.com
MTV RE:DEFINE is an exhibition and auction that brings together music and iconic commissioned artworks by established and emerging artists.
‘Fake’ by Michael Craig-Martin
The event will be held at The Goss-Michael Foundation in Dallas on Friday the 10th of April 2015 where iconic artist Michael Craig-Martin will be honoured. Together the MTV Staying Alive Foundation, The Goss-Michael Foundation, and Future Tense, has raised over $4 million in support of MTV Staying Alive Foundation’s fight against HIV/AIDS.
‘Umbrella (blue)’ by Michael Craig-Martin will be on sale at MTV RE:DEFINE auction.
(Courtesy of Gagosian Gallery)
The unique event includes cocktails and dinner, live and silent auctions of world-class contemporary art, and musical entertainment. MTV Staying Alive Foundation is a grassroots HIV prevention and awareness charity that focuses on engaging, educating and empowering youth communities around the world. Dallas Contemporary is a non-collecting art museum that presents new and challenging ideas from regional, national, and international artists. As part of the programme, ten works by Michael Craig-Martin will be on display spread over ten public spaces in Dallas.
Michael Craig-Martin, conceptual artist and painter is mostly famous for his iconic line drawings of every day objects where colour and line are key to his particular minimalist aesthetic, which has been imitated widely in the fields of art and design. Craig-Martin continues to work in various mediums, always maintaining an elegant restraint and conceptual clarity. He studied Fine Art at the Yale University School of Art and Architecture and, on completion of his studies in 1966, he moved to London where he has lived ever since. In 1980 Craig-Martin became a tutor at Goldsmiths College teaching acclaimed artists such as, Damien Hirst, Sarah Lucas and Gary Hume.
Other Criteria are pleased to present the exclusive sale of a limited edition collection of Damien Hirst jewellery. These exquisite pieces incorporate the individually cast forms of perfectly replicated pills, embossed with the logos and compound numbers of the drugs.
The two ‘5 Pill’ and ‘7 Pill’ necklaces are available in rose, white and yellow 18-carat gold, as well as silver.
The charm bracelet, which includes a miniature 18 carat with diamonds skull, in homage to Hirst’s iconic For the Love of God (2007), is rendered in white and yellow gold.
Each piece includes an individual plaque engraved with the artist’s signature and an edition number.
The collection was first produced to coincide with Hirst’s largest retrospective exhibition to date in Qatar, Doha in 2013-2014. Science – and the position of pharmaceuticals in today’s society – remains one of the most enduring and important themes in Hirst’s work. In a 2006 interview he explained: ‘The whole story of science, alchemy and everything; it’s fantastic. Trying to understand the world, looking for the keys to understanding: that’s what artists do as well in some ways. It’s… the forms, the utopia, the hope, the cure.’ Here, the artist continues his investigation of the correlation between science, belief and beauty in spectacular fashion. This extremely limited collection of fine hand made jewellery is a stylish and visually stunning encapsulation of Hirst’s art.
To discover this exclusive collection, click here.
- Tracey Emin's iconic installation work, 'My Bed' (1998) will be returning to Tate Britain, after the current owner, Count Duerckheim confirmed the work will return to the UK on a ten year loan. 'My Bed' was first show in 1999 at the Tate Britain, in the Turner Prize Exhibition where Emin was shortlisted. Returning after fifteen years, the piece will be open to the public on 31 March 2015.
Emin's 'My Bed' was conceived during a traumatic relationship breakdown in her council flat near Waterloo station in 1998. The work gives us a snapshot of this distressing period but also acts as an unconventional self-portrait through the use of honest objects. The installation features the artist’s own stained sheets, condoms, blood-stained underwear and empty bottles of alcohol. The installation will be shown alongside a refresh of Tate Britain's galleries featuring major works by Gilbert & George, Anish Kapoor, Nicholas Pope and John Gerrard. Emin has also selected two works by Francis Bacon, 'Study of a Dog' (1952) and 'Reclining Woman' (1961). The juxtaposition is intended to create a dialogue, with works by both artists dealing in different ways with turmoil and intense emotion.
Tracey Emin’s art is one of disclosure, using her life events as inspiration for works ranging from painting, drawing, video and installation, to photography, needlework and sculpture. Emin reveals her hopes, humiliations, failures and successes in candid and, at times, excoriating work that is frequently both tragic and humorous.