#Klaus biesenbach

[apersoninthegroupchat]

Saw an old friend for lunch at his new job and then ciycled back to the library

Found out a strange private building I had always wanted to see had been converted into a public gallery

Also realized that two institutions I had believed were dead have been resurrected

#putting ave Maria right next to Kumpelnest 3000 - lovely #Stabi Bude returning as Klaus Biesenbachs pet project #I can’t even be mad

[germanpostwarmodern]

Under the aegis of its new director Klaus Biesenbach the Neue Nationalgalerie in Berlin initiated a reevaluation of its collection that in its first istance resulted in an exhibition covering the years 1900 until 1945. With the second reevaluating exhibition the museum takes a look at the particularly charged period between 1945 and 1990, a time during which the Cold War and the divided Germany cast a spell on art in Germany and globally. At the same time art expanded into new forms, materials, mediums and methods, a circumstance that is also reflected in the exhibition’s title: „Zerreißprobe. Kunst zwischen Politik und Gesellschaft“ takes Günter Brus’ performance of the same name as point of departure for a comprehensive overview of pivotal artistic and social themes of the second half of the 20th century. In fourteen sections the exhibition explores aspects like the controversy between realism and abstraction and thus East and West, the everyday and Pop, politics and society or feminism and identity. In line with this conception the curators added as of yet unrepresented positions to the roster by means of additional loans, e.g. works by Kiki Kogelnik and Ewa Partum.

The exhibition is accompanied by a comprehensive catalogue, published by E.A. Seemann in 2023, which in its structure follows the exhibition’s concept: based on exemplary artists the book elaborates on the previously mentioned topics and themes in art, juxtaposes them with other artists and provides an overview of just how multifaceted art became between 1945 and 1990. By including women artists, marginalized positions from behind the iron curtain just as well as figureheads of GDR state art like Willi Sitte exhibition and catalogue shed light on the tensions within art and society and cleverly combine contemporary and art history. Furthermore it also takes a critical look at the forces and predilections the museum’s collection reproduced. A great read (and exhibition)!

#exhibition catalogue #art book #art history #neue nationalgalerie #book #postwar art

[weneedtotalkaboutcate]

THAT OUTFIT!

Cate with Klaus Biesenbach at an event at Neue Nationalgalerie in Berlin.

#cate blanchett #germany #women in film #beautiful women #women in suits #wlw #lydia tár #Maria Schrader #neue nationalgalerie #art

[kunstplaza]

[justinfinity]

Admission fee to moca museum

#Admission fee to moca museum for free#

#Admission fee to moca museum tv#

#Admission fee to moca museum free#

#Admission fee to moca museum free#

The Broad, which has been free to the public for all but special exhibitions since its opening in 2015, has seen more rapid growth. The Hammer Museum’s visitor numbers have increased by 15% since it went free Sarah M. “We’re still a bit of a secret to the general public,” says the Hammer’s director Ann Philbin, “but I think our building project will change that.” Due to be completed in 2022, this involves annexing a neighbouring bank building and creating 60% more gallery space and more street-level accessibility and visibility. But the Westwood-based museum is currently undergoing a major $90m expansion by architect Michael Maltzan that could change those dynamics. Since going free in 2014, the Hammer Museum’s reported attendance has grown by about 15%-from around 210,000 in 2013 to around 240,000 now. Some have also, pre-virus, seen jumps in attendance as a direct or indirect result. All museum directors here see it as a way to make their institutions more accessible to more people, including younger and more diverse demographics. So what exactly is the free admission experiment in Los Angeles all about? It depends on whom you ask. If we have 5,000 people come who wouldn’t come otherwise, that is important.” “I’m not counting on the audience doubling or tripling, I think that would be the wrong goal. “It’s a step towards being more porous, more welcoming and more open,” he said.

#Admission fee to moca museum tv#

In announcing the decision to eliminate MOCA’s general admission charge on 11 January amid much fanfare and local TV coverage, Biesenbach insisted that the decision was not a bid for huge numbers. Indeed, Los Angeles is home to what might be the biggest experiment today with free admission, with all three of its big contemporary art museums-the Hammer, MOCA and the Broad, as well as the more encyclopaedic-minded Getty-charging no general admission fee.

#Admission fee to moca museum for free#

While the Broad opened in 2015 with an explicit mandate from the philanthropist- collectors Eli and Edythe Broad to become a major civic destination drawing serious crowds, the director of the Museum of Contemporary Art (MOCA), Klaus Biesenbach, has tried to change the terms of that conversation, insisting that beefing up lacklustre attendance figures is not his goal.īiesenbach made that clear while unveiling plans for free admission last year, generally seen in the industry to be a bid for increased attendance. MOCA doesn’t have a date yet for when free admission will begin, though Biesenbach did tell the NY Times that the museum will “work on the rollout immediately.The coronavirus has changed US museums’ priorities faster than you can buy hand sanitiser-instead of trying to pack their galleries, institutions have closed their doors altogether to limit virus transmission.īut the question of whether attendance is the best measure of success for museums was alive and well long before the virus figured in, and the debate has played out dramatically in Los Angeles over the past five years. Like The Broad, MOCA plans to charge admission for special exhibits. The Broad (which is across the street from MOCA’s Grand Avenue location) and the Marciano Art Foundation, opened in 20, respectively, offering free general admission. Offering free entry to the museum aligns MOCA with two of LA’s newest art museums. It’s a big development for Biesenbach, who has only been on the job for about seven months, coming on as director in a time of turmoil for the museum that included the cancellation of its annual gala-a major fundraiser for the institution. “MOCA should feel like a public library where you can go and have access to culture.” “I think many of us are at a point where we understand that museums should not be ivory towers,” he said. MOCA’s director, Klaus Biesenbach, said he has long been an advocate of making museum entry free. “Charging admission is counterintuitive to art’s ability and purpose to connect, inspire, and heal people,” Powers told the Times. The donation will also help expand MOCA’s education programs and hire public-facing staff. The museum, which has locations on Grand Avenue in Bunker Hill and on Alameda Street in Little Tokyo, is able to eliminate its $15 general entry fee thanks to a $10 million donation by its board president, Carolyn Clark Powers. Los Angeles’s Museum of Contemporary Art will soon offer free general admission, the New York Times reports.

#Admission fee to moca museum

[whatsonmedia]

Must See Exhibition Around the World!

Europe's art world will be bustling this year with a string of biennial exhibitions being held in 2022. All the exhibitions are curated by famous sculptors or have some significance in todays modern world. Here are list of exhibition which is a must see in 2022 for that extra artistic feeling! 'Barbara Kruger' Neue Nationalgalerie, Berlin April 29- August 28 Barbara Kruger The newly opened Neue Nationalgalerie in Berlin, an exquisite museum of contemporary and modern designed by Mies van der Rohe that will now be headed by Klaus Biesenbach. Will see Kruger install a new text installation for its main floor. Kruger will leave key parts of the building untouched. "Meriem Bennani: Life on the CAPS", Nottingham Contemporary, Nottingham May 7- September 4 Life on the Caps Bennani will show her eight- channel video installation Party on CAPS alongside a newly-commissioned sequel. The films track the movements of inhabitants of a fictional island called CAPS in the middle of the Atlantic ocean across three generations. It is an internment camp for refugees and migrants hoping to head Europe or North America. 'Etel Adnan' Van Gogh Museum, Amsterdam May 20 - September 4 Etel Adnan The Van Gogh Museum will present the first retrospective of work by Etel Adnan since her death in 2021. The acclaimed Beirut- born artists and writer was known for her vivid abstracted landscapes. The Dutch exhibition will consider the overlap in Adnan and Van Gogh's art practices. 'Raphael', National Gallery, London April 9 to July 31 Raphael The Raphael exhibition is the first ever to consider the work of Italian High Renaissance genius so fully and comprehensively. He was able to combine the human and the divine in his art, preaching the ideals of Renaissance humanism. The exhibition portrays 90 works of his, some of which have been provided by other famous museums. 'Hans Hoffmann', German National Museum, Nuremberg May 12- August 21 Hans Hoffman Hans Hoffmann- is the first ever monographic exhibition of the artist. He is known as the most prominent representative of the Durerian Renaissance at the end of 16 century. During his artistic career, Hans Hoffman created quite some copies and compilations of works by the German painter, engraver, and graphic artist Albrecht Durer. The exhibition showcases all the exhibits of Hans Hoffman. Read the full article

[normally0]

Klaus Biesenbach (born 1966 in Bergisch Gladbach, West Germany) is a German curator and the director of the Neue Nationalgalerie. Previously, he had been serving as the director of The Museum of Contemporary Art, Los Angeles (MOCA), from 2018 to 2021. He is also a former Chief Curator at Large at The Museum of Modern Art in New York City and former director of MoMA PS1. He is also the founding director of Kunst-Werke (KW) Institute for Contemporary Art in Berlin and Berlin Biennale.

Biesenbach founded Kunst-Werke (KW) Institute for Contemporary Art in Berlin in 1991, as well as the Berlin Biennale in 1996, and remains Founding Director of both entities. Under his artistic and executive directorship, KW and the Berlin Biennale were started as self-inventive initiatives and are now federally and state funded institutions.

[bopinion]

Book of the month / 2021 / 04 April

I love books. Even though I hardly read any. Because my library is more like a collection of tomes, coffee-table books, limited editions... in short: books in which not "only" the content counts, but also the editorial performance, the presentation, the curating of the topic - the book as a total work of art itself.

björk :archives. A retrospective

Klaus Biesenbach

Monograph / 2015 / Schirmer/Mosel Publishing House

Iceland, the land of geysers, the largest volcanic island on the planet. Home of the Icelandic pony with its exclusive gait of the tölt and the most active literary community in the world. Soccer mecca and most sparsely populated country in Europe. Icelandic names - for example the highest mountain Hvannadalshnúkur - are hardly pronounceable, although the alphabet does not even know many common letters such as C, W, Q and Z. There is a separate holiday for seafarers and a division of time into 3-hour periods starting at midnight. 16 German cities each have more inhabitants than all of Iceland, which has therefore its own dating app to prevent relatives who are biologically too close from mating. It's a fascinating country.

Given the size of the country, it's probably no wonder that Iceland's pop cultural influence internationally is rather limited. Despite the Nobel Prize for Literature winner Halldór Laxness, whose work I don't know, and the crime series The Valhalla Murderers, which I know thanks to Netflix. But wait - wasn't there something else? Yes, that's right, Iceland has a globally successful Gesamtkunstwerk named Björk. Her contributions to music, video, film, fashion and art have influenced a generation worldwide.

Björk Guðmundsdóttir, born in Reykjavík in 1965, has made a name for herself as a singer, music producer, composer, songwriter and actress with a broad interest in different types of music, including pop music, electronic music, trip-hop, alternative rock, jazz, folk music and classical music. To date, she has sold over 20 million albums worldwide. Certainly not only because of the seemingly endless variability of her compositions, but also because of her voice, which one can confidently call unmistakable. She causes goose bumps, whether you like her music or not.

Little Björk attended music school at the age of five and was taught singing, piano and flute, among other things, for ten years. One of the teachers sent a recording of her singing the song "I Love To Love" by Tina Charles to a radio station. The broadcast was heard and liked by an employee of the Icelandic record publisher Fálkinn and subsequently offered her a recording contract - when she was eleven years old. With the help of her stepfather, who played guitar, she recorded her first album. It contained various Icelandic children's songs and cover versions of popular titles, such as "Fool on the Hill" by the Beatles. The album became a great national success.

At 14, Björk formed the girl punk group Spit and Snot, the maximum contrast program to the children's songs. This was followed by the fusion jazz group Exodus, later Tappi Tíkarrass and Kukl (Icelandic for witchcraft), with whom she developed her signature vocal style. First foreign tours to England and West Berlin followed. Then in 1986 came the formation of the band Pukl, later renamed The Sugarcubes. The first single brought respectable success in England and USA, The Sugarcubes reached cult status. The first record deal with Elektra Records led to the album "Life's too good" in 1988, making them the first Icelandic band ever to become world famous.

The transformation into a total work of art began in 1992 at the latest with Björk's move to London. The first solo album, appropriately named "Debut," became the album of the year according to New Musical Express. Now even Madonna wanted to have a whole album written by Björk, but it remained with the title track "Bedtime Story", she remained true to herself and her love of experimentation. The New York based news magazine "Time" named her the "high priestess of art" and in 2015 put her on the list of the 100 most influential people on earth. She rounded off her visual extravaganza, that even her wardrobe was prominently featured in the major retrospective at New York's Museum of Modern Art (MoMA).

Schirmer/Mosel Verlag is an art book publisher in Munich founded in 1974 by Lothar Schirmer and the commercial artist Erik Mosel. Schirmer became friends with artists such as Cy Twombly and Joseph Beuys at a young age and began collecting their works. By buying and reselling art prints and drawings, he earned the start-up capital for his publishing house. With his publishing debut, he ensured the rediscovery of August Sander, a visual artist of the Weimar Republic. There were various publishing collaborations with the MoMA, and in 2015 there was also the retrospective mentioned above. And of course, in keeping with the protagonist, the publication had to become a work of art itself.

"björk :archives" comes in an elegant slipcase containing six parts: four booklets, a paperback and a folded catalogue raisonné poster with the covers of all Björk albums. A closer look is worthwhile: first there is a thematic introduction by the editor and exhibition curator at the MoMA, Klaus Biesenbach. Then an illustrated essay by Alex Ross, music critic of the New Yorker, which deals with Björk's creative dissolution of musical and aesthetic boundaries. Another by Nicola Dibben, professor of musicology at the University of Sheffield, on Björk's creativity and collaborations. And the collected e-mail correspondence similar to a pen pal relationship between Björk and American publicist, philosopher and literary scholar Timothy Morton.

The book itself, the centerpiece of the edition, is about Björk's seven major albums and the characters she created for them. Poetic texts by Icelandic author Sjón, with whom Björk has long collaborated, are joined by a veritable treasure trove of illustrations: Photos of live performances, stills from the music videos of masters like Michel Gondry or Spike Jonze, Björk in stunning costumes by designers like Hussein Chalayan or Alexander McQueen, and PR shots by star photographers like the duo Inez van Lamsweerde & Vinoodh Matadin or provocateur Araki.

The design of the publication quotes music scores and comes from the renowned Parisian design studio M/M. It all adds up to an extraordinary visual masterpiece, a tribute to the magical world of Björk. And that at an hardly believable price of € 19.80. A reviewer on Amazon (no, you shouldn't shop there - support local businesses!) sums it up: "This is a collection of art, stories and references very well organized and assembled with care. The price does absolutely not represent how valuable this product is, I am positively surprised." Positively surprising - that could truly be Björk's mission statement.

Björk's music itself is so rich in pictorial statements that it doesn't really need any exuberantly creative videos to go with it. Therefore, according to Slant Magazine, her best video is her first, relatively simple one: "Big Time sensuality" from her "Debut" album purely shows her joy in music. Here's the link:

https://youtu.be/-wYmq2Vz5yM

#book #book review #björk guðmundsdóttir #björk #the sugarcubes #iceland #schirmer Mosel #MoMA #museum of modern art #new york city #retrospective #Klaus biesenbach #gesamtkunstwerk #Voice #cult #singer songwriter #music #Reykjavik #Youtube

[filmographyyy]

 “ When I met Marina I thought: Oh God, she is in love with me! and it took me a while to understand that she is in love with the world, so its not personal, don’t take it personal I am in love with the world I am not in love only with you! and i realized she is repeating this misunderstanding with every single person in the room “

klaus biesenbach On Marina Abramovic

#marina abramovic #Marina Abramovic: The Artist Is Present (2012) #klaus biesenbach #arts #moma #performance #performance art #love #life #MoMA

[d-criss-news]

klausbiesenbach: 🇵🇷🇺🇸AMERICAN PIE - FOURTH OF JULY thank you the most caring @ricky_martin and @jwanyosef for hosting such a beautiful american celebration at your home - and thank you @darrencriss for the amazing guitar

#darren criss #klaus biesenbach #jwan yosef #ricky martin #mia swier #instagram #video #4th of july #july 2019

[mezimraky]

When I first met her, I thought: “Oh, God, she’s in love with me.” And it took me a while to understand that she is in love with the world. It’s not personal. ”Don’t take it personal. I’m in love with the world. I’m not in love only with you.”

Klaus Biesenbach, on Marina Abrahamović (The Artist is Present, 2012)

#klaus biesenbach #marina abrahamovic #quote #kai.txt #i strive to be that way #but also am currently falling apart because i hate myself so much

[orlandofuriosobloom]

The Museum of Contemporary Art

MOCA

Via @orlandobloom Instagram

#orlando bloom #orlando furioso bloom #orlandofuriosobloom #ofb #orlandobloomedit #obloomedit #smile #smiling #obedit #bloomedit #instagram #katy perry #moca #museum of contemporary art #the museum of contemporary art #patti smith #klaus biesenbach

[lanadelreydailysource]

Lana Del Rey with Klaus Biesenbach, friend and director of MOCA (Museum of Contemporary Art), and Chuck Grant recently.

#lana del rey #dailylarina #ldredit #ldreyedit #lanadelreyedit #Klaus Biesenbach #Chuck #picturesedit #friends #mypost

[hydeordie]

#MOCA #Klaus Biesenbach #Art #Art World #Los Angeles

[kunstplaza]

[whileiamdying]

BJÖRK GETS MOMA RETROSPECTIVE

Still from the "All Is Full of Love" music video, 1999, directed by Chris Cunningham. Music by Björk. Image courtesy One Little Indian.

By Leigh Anne Miller June 18, 2014 11:40am

A Klaus Biesenbach-curated retrospective at New York’s Museum of Modern Art is not a bad way to make your art world debut. In 2015 a show dedicated to Icelandic pop star Björk—famous for her genre-straddling solo albums, otherworldly voice and avant-garde fashion choices—will chronicle her 20-year career, starting with material related to her first album, Debut (1993).

“Björk” (Mar. 7-June 7, 2015) will include costumes, instruments, objects and videos, as well as a “biographical and imaginatively fictitious” narrative written by Björk and Sjón Sigurdsson, an Icelandic poet. (Sigurdsson has occasionally performed with Björk’s band the Sugarcubes.) Biesenbach has also commissioned a new film and music installation, a collaboration with Andrew Huang, who directed the popular video for Björk’s song “Mutual Core,” from her most recent album Biophilia (2011).

Biesenbach has a history of bringing music-related projects into MoMA and PS1’s hallowed halls: in 2011 the museum commissioned a new work by Antony Hegarty (of Antony and the Johnsons) which was performed at Radio City Music Hall; the next year the German electronic band Kraftwerk performed for eight nights in MoMA’s atrium; and last May, as part of Ragnar Kjartansson’s piece for PS1’s performance series Sunday Sessions, the Brooklyn rock band the National played their song “Sorrow” repeatedly for six hours.

#ARTnews #Björk #MoMA #Radio Music City Hall #Sigurdsson #Kraftwerk #Biophilia #Sjón Sigurdsso #Klaus Biesenbach