An extensive retrospective dedicated to Roger Raveel (1921-2013), one of the most important Belgian painters of the second half of the 20th century Commemorating the centenary of the artist's birth in 2021, the Centre for Fine Arts - BOZAR will present an extensive retrospective dedicated to Roger Raveel (1921-2013), considered one of the most important Belgian painters of the second half of the twentieth&nbsp;century. While belonging to the generation of artists that emerged following the Second World War, flanked by Magritte and Panamarenko, Raveel radically defended his own independence from the values commonly associated with this generation, notably the supposed superiority of internationality over all forms of local anchorage. In today's context of globalized art and its associated stereotypes, Raveel's choice to draw inspiration from his immediate, intimate surroundings--while always being very well informed about trends in the international art scene--now seems revolutionary, even prophetic.&nbsp; Showcasing some 120 artworks from public and private collections, this catalogue seeks to demonstrate the singularity of Raveel's pictorial language as it took form over time.

Roger Raveel: Retrospection

Arts & Photography

Geeraerts, Ann

Kaiser, Franz

De Boodt, Kurt

Demets, Paul

Claes, Marie

History & Criticism

Mercatorfonds

Hanns Schimansky /anglais/allemand

Reference

Hatje Cantz

Piet Mondrian (1872-1944) emptied Cubism of its representational content, dissembling its angular contours into a few floating horizontal lines and reconstructing it anew as irregular squares of primary color. Mondrian dubbed the abstract style at which he arrived Neoplasticism, a term that eventually became synonymous with De Stijl, the Dutch avant-garde group composed of artists Theo van Doesburg, Bart van der Leck and Vilmos Huszar and the architects Gerrit Rietveld, Robert van 't Hoff and J.J.P. Oud, as well as Mondrian himself. More influential and foundational than any other design ethos of the early twentieth century, De Stijl provided the basis for much of the Bauhaus aesthetic, as well as Concrete art and the architecture of Mies van der Rohe. Collectively, the movement can be said to have translated Mondrian's pure painting into applied design for clothing, furniture (most famously Rietveld's Red and Blue chair), interiors, houses, blocks of flats and even whole towns. This volume looks at the full arc of Mondrian's evolution, from his early works executed in Neoimpressionist and Luminist idioms to his arrival at a pure Neoplastic abstraction, and traces De Stijl's extrapolations of Mondrian's art into a multidisciplinary utopian design project.

Mondrian De Stijl

Janssen, Hans

Mühling, Matthias

Rappe, Felicia

For over four decades, Anton Corbijn, Dutch photographer and the director of award-winning feature films (Control, 2007; The American, 2010; A Most Wanted Man, 2014) and near 100 music videos, has been making portraits of artists and celebrities such as Robert de Niro, Nelson Mandela, Gerhard Richter, David Bowie, William Burroughs, Kurt Cobain, Lucian Freud, Clint Eastwood, Kate Moss, Miles Davis, Allen Ginsberg, Bruce Springsteen, Ai Weiwei, and Patti Smith. His collaboration with some musicians such as U2, Depeche Mode, and Tom Waits stretches over several decades, holding an extremely rare position in that world. This book brings together some of Corbijn's most iconic images. With Schirmer/Mosel, he has published 15 books on his photographic and cinematic work, from his stunning debut Famouz in 1989 and his all-time bestseller Star Trak to his long-time portrait Waits/Corbijn and, most recently, Looking at A Most Wanted Man.

Anton Corbijn: Hollands Deep. A Retrospective

Hoffmann, Felix

Photography & Video

Schirmer/Mosel

Frank Gerritz, born in 1964 in Hamburg, is an artist whose ideas literally move in space. Starting from the floor, his work spills onto the wall and, from there, has an effect back into the room. The sculptor works, among other things, on aluminum panels with paintsticks in such dense layers that the surfaces on the one hand appear sealed, yet the structure of the application on the other hand remains visible. Black is not always black; where the silver-anodized aluminum sur­faces reflect the room, the darker parts of the ­surfaces reveal a shimmering, a residue of light that changes depending on the viewpoint and light conditions. The drawn surfaces--graphite pencil or paintstick on MDF boards or aluminum--develop a materiality characterized by blurred reflections, thus transferring the surfaces of the two-dimen­sional image carriers into a spatial dimension. In addition, Gerritz casts iron blocks based on his own body dimensions; their stand area form the basis for his first prints on paper and define the proportions of his sculptural works in front of the wall. The catalog shows the inherent spatiality of the wall objects and sculptural groups and unfolds specific details.

Frank Gerritz: Temporary Ground: Cat. Museum Wiesbaden

Henning, Andreas

Schaefer, Lea

Collections, Catalogs & Exhibitions

Snoeck Publishing Company

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