Instagram’da takibe alınacak en iyi 15 Çağdaş Sanat Müzesi

0 Posted by - 21 November 2018 - LİSTE, SEVDİĞİMİZ ŞEYLER

Modern sanatın nabzın tutmak isteyen ve dünyada bu konuda neler olup bittiğini merak edenler için 15 önerimiz var.

Tate Modern (Londra – İngiltere)

The Broad (Los Angeles – ABD)

Bu gönderiyi Instagram'da gör

Did you know that a walk along Couleur Additive (2017), a vibrant public art installation by Venezuelan-born artist Carlos Cruz-Diez on the crosswalks of 2nd Street and Grand Avenue will connect you to an adventure spanning more than 10 of Los Angeles’ best cultural institutions? Stop by The Broad and our neighbors along Grand Avenue in #DTLA for the fourth annual Grand Ave Arts: All Access free community event tomorrow, Nov. 3 from 11 am – 4 pm. Go on a family scavenger hunt amid the works of art in the #BroadCollection, and listen to a variety of pop-up gallery talks hosted by our tour VSAs throughout the day! The Shop is also offering a free Broad tote with any purchase on Saturday from 11 am – 4 pm. Free general admission access to the museum is available via the onsite standby line. Check our Twitter @TheBroadStandby for up-to-date wait times. See you soon! #grandavearts . Carlos Cruz-Diez, Couleur Additive, 2017. © Carlos Cruz Diez 📷 @jacob.fischer

The Broad (@thebroadmuseum)'in paylaştığı bir gönderi ()

Museum of Contemporary Art of Rome (Roma – İtalya)

Mori Art Museum (Tokyo – Japonya)

Stedelijk Museum voor Actuele Kunst (S.M.A.K.) (Gent – Belçika)

Whitney Museum of American Art (New York – ABD)

Avustralya Çağdaş Sanat Müzesi (Sidney – Avustralya)

Kröller-Müller Museum (Otterlo – Hollanda)


Guggenheim Museum (Bilbao – İspanya)

Bu gönderiyi Instagram'da gör

The work of two women artists, Hilma af Klint and R. H. Quaytman, currently on view in our rotunda, has challenged us to think about the history of modernist painting in new and vital ways. Follow along this week to discover abstract artists from the #GuggenheimCollection! #AbstractArtWeek __ When Hilma af Klint began creating radically abstract paintings in 1906, they were like little that had been seen before. Yet while many of her better-known contemporaries such as Vasily Kandinsky and Piet Mondrian published manifestos and exhibited widely, af Klint kept her groundbreaking paintings largely private. She rarely exhibited them and, convinced the world was not yet ready to understand her work, stipulated that it not be shown for 20 years following her death. __ Artwork: "Group IV, The Ten Largest" (1907); Photo: David Heald #HilmaAfKlint #RHQuaytman #Guggenheim #AbstractArt

Guggenheim Museum (@guggenheim)'in paylaştığı bir gönderi ()

MoMA PS1 (New York – ABD)

Serpentine Sackler Gallery (Londra – İngiltere)

Centre Pompidou (Paris – Fransa)

Museo Nacional Centro de Arte Reina Sofia (Madrid – İspanya)

Castello di Rivoli (Torino – İtalya)

Kumu Art Museum (Talinn – Estonya)

Bu gönderiyi Instagram'da gör

Nädala teos: Karel Koplimets. Juhtum nr 13. Oodates taarast laeva (2017). Tundes jätkuvalt huvi Soome-Eesti majandussuhete vastu, mille puhul eestlased stimuleerivad Soome majandust, pakkudes seal odavat tööjõudu, samas kui soomlased osutavad eestlastele vastuteene, ostes Eestist ohtralt alkoholi, otsustas kunstnik ette võtta ühe absurdse reisi. Ta kogus Helsingist tühje Eesti maksumärkidega õllepurke, mille olid sinna viinud Soome tarbijad, ning ehitas taarast motoriseeritud parve, millega ta tuli üle Soome lahe tagasi Tallinnasse. Ajal, mil Eesti valitsus on algatanud mitmeid ebaõnnestunud kampaaniaid pidurdamaks tuhandete suuremat sissetulekut lootvate kodanike väljarännet, mõjub Koplimetsa suurejooneline/naeruväärne merereis kui Eesti töölise sümboolne lõplik kojupöördumine. Karel Koplimets (1986) on Tallinnas elav eesti kunstnik, kes töötab narratiivsete installatsioonidega, huvitudes sellistest teemadest nagu konspiratsiooniteooriad, kuritegevus, hirmumehhanismid, paranormaalsed fenomenid ja paranoiad. Tema töid võib iseloomustada ka sõnadega juurdlus ja juhtumianalüüs. Karel Koplimets. Case No 13. Waiting for the Ship of Empties. 2017 Continuing his interest in Finnish-Estonian economic exchanges—whereby Estonians stimulate the Finnish economy by providing cheap labour and the Finns return the favour with extensive alcohol consumption—the artist embarked on an absurdist trip. In Helsinki, he collected empty beer cans bearing Estonian revenue stamps (brought there by Finish consumers) and used them to build a motorized raft, which he used to cross the Gulf of Finland to Tallinn. While the Estonian government has launched numerous unsuccessful campaigns aimed at halting the emigration of thousands of citizens lured abroad by the promise of higher income, Koplimets’s glorious, ludicrous sea journey serves as a symbolic embodiment of the Estonian workers’ eventual return home. #kumu #kumuartmuseum #karelkoplimets #travellers #rändurid #weeklypic #nädalateos

Kumu Art Museum, Tallinn (@kumukunstimuuseum)'in paylaştığı bir gönderi ()

*Kapak görseli: The Broad

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