Exhibition Program 2017

Magritte did not see himself as an artist, but rather as a thinking human being who conveyed his thoughts through his painting.

MAGRITTE. THE TREACHERY OF IMAGES

FEBRUARY 10–JUNE 5, 2017

2017 starts with a concentrated solo exhibition devoted to the great Belgian Surrealist, which explores his relationship to the philosophical currents of his time. Throughout his life he sought to imbue painting with meaning equal to that of language. Driven by his curiosity and his affinities with some of the leading philosophers of his age, such as Michael Foucault, he created a remarkable body of work and developed an altered view of the world that is reflected in a unique combination of accurate, masterful painting and conceptual processes. 

René Magritte, La Lampe philosophique, 1936

The Schirn Kunsthalle Frankfurt is presenting an extensive retrospective devoted to Richard Gerstl, comprising nearly all of his known works.

RICHARD GERSTL RETROSPECTIVE

FEBRUARY 24–MAY 14, 2017

The Schirn Kunsthalle Frankfurt is presenting the first extensive German retrospective devoted to Richard Gerstl, comprising nearly all of his known works. He is called the “first Austrian Expressionist”, died at the young age of 25 and is mentioned in the same breath as the great masters of Viennese Modernism: Gustav Klimt, Egon Schiele, and Oskar Kokoschka. During his brief lifetime, the artist created an exciting and unusual, though relatively limited body of work consisting of some 80 artworks and featuring a number impressive highlights and pioneering innovations. Gerstl’s painting reflects his concern with the contradictions of modern art.

Richard Gerstl, The Sisters Karoline and Pauline Fey, March / April 1905

LENA HENKE

APRIL 28–JULY 30, 2017

Lena Henke is fascinated with the systems and structures of urban life as it is inscribed with its everyday stories in the streetscape, in buildings, in and façades. The significance of these symbols wanes with the passing years. Removed and at best liberated from their context, they are often mere clichés that remind us of an original idea. In a predominantly minimalistic formal language, the artist augments her focus on such transformation processes and her dominant interest in architecture, urban planning, Land Art, human relationships, sexuality, and fetishes with subtle references to art history. She will develop a work specifically for the Rotunda of the Schirn Kunsthalle Frankfurt in which interior and exterior merge and in which she underscores the unique character of this freely accessible space.

Viewers are confronted with an almost angry style of painting when Saul addresses the dark side of the American Dream.

PETER SAUL

JUNE 2–SEPTEMBER 3, 2017

Working with his own unique language beginning in the late 1950s, the American painter Peter Saul developed a blend of Pop Art, Surrealism, Abstract Expressionism, San Francisco Funk, and cartoon culture in which he addressed social and political issues. Yet his art is also associated with the aesthetic strategies of California counterculture. Wit, slapstick, word plays, comedy, satire, and often earthy humor are the means he employs in his caricature-style attacks on American high culture. The Schirn is presenting the first comprehensive survey of the previously neglected oeuvre of this great “artist’s artist” in Europe.

PEACE

JULY 1–SEPTEMBER 24, 2017

Depictions of peace are usually limited to standard clichés and familiar symbols. In a discursive group exhibition, the Schirn pursues a different approach and addresses the question of how peace actually works. Works by Jan de Cock, Minerva Cuevas, Ed Fornieles, Michelle Houellebecq, Surasi Kusolwong, Isabel Lewis, Lee Mingwei, Katja Novitskova, Heather Phillipson, Agnieszka Polska, Timur Si-Qin and Ulay offer a new, contemporary perspective on the subject of peace. The exhibition will be accompanied by numerous live events, including poetry readings, concerts, lectures, and cooking sessions in which visitors are invited to take part.

Peter Saul, Saigon, 1967
Katja Novitskova, Pattern of Activation (planetary bonds), 2015

The diorama dramatizes human knowledge about the world, not without influencing and perpetually challenging viewers’ perceptions.

DIORAMA. INVENTING ILLUSION

OCTOBER 6, 2017–JANUARY 21, 2018

The Schirn is presenting a major exhibition devoted to the cultural history of vision. It focuses on the diorama, which is used to reconstruct and realistically stage events, stories, and settings with the aid of various artistic means. Conceived in the 19th century by the French painter and trailblazer of photography Louis Daguerre as a playhouse enlivened with light effects, it became the glass display case par excellence for the illustration of knowledge in museums of natural history. It has served as an essential source of inspiration from the modern period to the present. The exhibition at the Schirn will feature an impressive selection of dioramas and other artworks.

Man With Buffalo, Ottawa 2007

Realistic, ironic, and grotesque works illustrate the struggle for democracy and paint a picture of a society in the midst of crisis and transition.

SPLENDOR AND MISERY IN THE WEIMAR REPUBLIC. FROM OTTO DIX TO JEANNE MAMMEN

OCTOBER 27, 2017–FEBRUARY 25, 2018

The Schirn is devoting a major thematic exhibition to German art from 1918 to 1933. Numerous artists created memorable records of the stories of their contemporaries in their own unique styles. Realistic, ironic, and grotesque works illustrate the struggle for democracy and paint a picture of a society in the midst of crisis and transition. The exhibition features some 200 artworks by both famous and previously little-known artists—Max Beckmann, Kate Diehn-Bitt, Otto Dix, Dodo, Conrad Felixmüller, George Grosz, Carl Grossberg, Hans and Lea Grundig, Karl Hubbuch, Lotte Laserstein, Alice Lex-Nerlinger, Elfriede Lohse-Wächtler, Jeanne Mammen, Oskar Nerlinger, Franz Radziwill, Christian Schad, Rudolf Schlichter, Georg Scholz, and Richard Ziegler. 

Kate Diehn-Bitt, Selbstbildnis mit Sohn, c. 1933

BASQUIAT. BOOM FOR REAL

FEBRUARY 16–MAY 27, 2018

In the late 1970s, Jean-Michel Basquiat teamed up with Al Diaz to write enigmatic graffiti statements across the city under the pseudonym SAMO©. Soon he was drawing in his own blood, collaging baseball cards, creating his own clothing, and painting on doors, window frames, and enormous homemade canvases. Today, Basquiat (1960–1988) is acknowledged as one of the most significant artists of the 20th century. More than 30 years after Basquiat’s last major exhibition in Germany, the Schirn is presenting a major survey devoted to this American artist. The exhibition is also the first to focus on Basquiat’s relationship to music, text, film, and television, situating the artist’s formidable talents within a broader cultural context.

Jean-Michel Basquiat, Untitled (1960), 1983

EXHIBITION PROGRAM 2017

03.01.2017 | René Magritte (1898–1967) conjures enigmatic paintings. In this concentrated solo exhibition devoted to the great Belgian Surrealist, the Schirn Kunsthalle Frankfurt explores his relationship to the philosophical currents of his time. Magritte did not see himself as an artist, but rather as a thinking human being who conveyed his thoughts through his painting. Throughout his life he sought to imbue painting with meaning equal to that of language. Driven by his curiosity and his affinities with some of the leading philosophers of his age, such as Michael Foucault, he created a remarkable body of work and developed an altered view of the world that is reflected in a unique combination of accurate, masterful painting and conceptual processes. Organized in collaboration with the Centre Pompidou, Musée national d’art modern, Paris, the exhibition sheds light on Magritte’s most important pictorial formulas, which deal with the myth of invention and the definition of painting. The quasi-scientific method that Magritte applied in his painting bears witness to his distrust of simple answers and simplistic realism. The Schirn Kunsthalle Frankfurt is presenting some 70 artworks, including numerous masterpieces from major international museums as well as public and private collections, among them the Musée Magritte in Brussels, the Kunstmuseum Bern, the Dallas Museum of Art, the Menil Collection in Houston, the Tate in London, the Metropolitan Museum of Art in New York, the Museum of Modern Art in New York, the National Gallery of Victoria in Melbourne, and the National Gallery of Art in Washington, D.C.

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MAGRITTE. THE TREACHERY OF IMAGES (FEBRUARY 10 - JUNE 5, 2017), René Magritte, La Lampe philosophique, 1936, Oil on canvas, 46 x 55 cm, Private collection © VG Bild-Kunst, Bonn 2017

MAGRITTE. THE TREACHERY OF IMAGES (FEBRUARY 10 - JUNE 5, 2017), René Magritte, Les Mémoires d’un saint, 1960, Oil on canvas, 80 x 99,7 cm, The Menil Collection, Houston © VG Bild-Kunst, Bonn 2017

MAGRITTE. THE TREACHERY OF IMAGES (FEBRUARY 10 - JUNE 5, 2017), René Magritte, La colère des dieux, 1960, Öl auf Leinwand, 80 x 70 cm, Privatsammlung © VG Bild-Kunst, Bonn 2017

RICHARD GERSTL RETROSPECTIVE (FEBRUARY 24 – MAY 14, 2017), Richard Gerstl, Semi-Nude Self-Portrait, 1902/04, Oil on canvas, 159 x 109 cm, © Leopold Museum, Vienna

RICHARD GERSTL RETROSPECTIVE (FEBRUARY 24 – MAY 14, 2017), Richard Gerstl, The Schönberg Family, Late July 1908, Oil on canvas, 88,8 x 109,7 cm, Museum Moderner Kunst Stiftung Ludwig Vienna

RICHARD GERSTL RETROSPECTIVE (FEBRUARY 24 – MAY 14, 2017), Richard Gerstl, The Sisters Karoline and Pauline Fey, March / April 1905, Oil on canvas, 175 x 150 cm, Belvedere, Vienna

PETER SAUL (JUNE 2 – SEPTEMBER 3, 2017), Peter Saul, Saigon, 1967, Acrylic, oil, enamel, and ink on canvas, 236,9 x 361,3 cm, Whitney Museum of American Art © Peter Saul, Photo: Sheldon C. Collins

PETER SAUL (JUNE 2 – SEPTEMBER 3, 2017), Peter Saul, Ronald Reagan in Grenada, 1984, 210 x 180 cm, Acrylic on canvas © Hall Collection. Image courtesy of Hall Art Foundation, Photo: Jeffrey Nintzel

PEACE (JULY 1 – SEPTEMBER 24, 2017), Katja Novitskova, Pattern of Activation (planetary bonds), 2015, Detail, mixed media, dimensions variable Courtesy the artist and Kraupa-Tuskany Zeidler, Berlin, Photo © Katja Novitskova

DIORAMAS. INVENTING ILLUSION (OCTOBER 6, 2017 – JANUARY 21, 2018), Man With Buffalo, Ottawa 2007 © Photo: Richard Barnes

SPLENDOR AND MISERY IN THE WEIMAR REPUBLIC. FROM OTTO DIX TO JEANNE MAMMEN (OCTOBER 27, 2017 – FEBRUARY 25, 2018), Kate Diehn-Bitt, Selbstbildnis mit Sohn, c. 1933, Oil on plywood, 99 x 74 cm, Collection Kunsthalle Rostock

SPLENDOR AND MISERY IN THE WEIMAR REPUBLIC. FROM OTTO DIX TO JEANNE MAMMEN (OCTOBER 27, 2017 – FEBRUARY 25, 2018), Dodo, Logenlogik, 1929, Gouache over pencil on cardboard, 40 x 30 cm, Krümmer fine art

SPLENDOR AND MISERY IN THE WEIMAR REPUBLIC (OCT 27, 2017 – FEB 25, 2018), Conrad Felixmüller, Der Schaubudenboxer, 1921, Berlinische Galerie, Landesmuseum für Moderne Kunst, Fotografie und Architektur, Foto: Kai-Annett Becker © VG Bild-Kunst, Bonn 2017

SPLENDOR AND MISERY IN THE WEIMAR REPUBLIC (OCTOBER 27, 2017 – FEBRUARY 25, 2018), Carl Grossberg, Der gelbe Kessel, 1933, Oil on wood, 94 x 73,3 cm, Von der Heydt-Museum Wuppertal, Foto: Medienzentrum, Antje Zeis-Loi

SPLENDOR AND MISERY IN THE WEIMAR REPUBLIC (OCTOBER 27, 2017 – FEBRUARY 25, 2018), Otto Dix, Zuhälter u. Prostituierte, 1923, Brush & India Ink & waterc. on tracing paper, 51,5 x 38,2 cm, The Morgan Library & Museum, Ph: J. Chiu © VG Bild-Kunst, Bonn 2017

SPLENDOR AND MISERY IN THE WEIMAR REPUBLIC. FROM OTTO DIX TO JEANNE MAMMEN (OCTOBER 27, 2017 – FEBRUARY 25, 2018), George Grosz, Straßenszene (Kurfürstendamm), 1925, Oil on canvas, 82 x 62 cm, Museo Thyssen-Bornemisza, Madrid © VG Bild-Kunst, Bonn 2017

SPLENDOR AND MISERY IN THE WEIMAR REPUBLIC (OCTOBER 27, 2017 – FEBRUARY 25, 2018), Richard Ziegler, Berliner Tageblatt, 1927/28, 49,3 x 36,6 cm,Berlinische Galerie, Landesmuseum für Moderne Kunst, Fotografie und Architektur, Foto: Kai-Annett Becker

BASQUIAT. BOOM FOR REAL (FEBRUARY 16 – MAY 27, 2018), Jean-Michel Basquiat, Untitled (1960), 1983, Courtesy Estate of Jean-Michel Basquiat Estate, Licenced by Artestar, NY © VG Bild-Kunst, Bonn 2017