Haus der Kunst München

Laure Prouvost

Laure Prouvost has created an installation for the vast central hall of Haus der Kunst that comprises sculptural and filmic elements. We would be floating away from the dirty past is an installation including sculpture, video, and an ambitious spatial intervention. With her inimitable sense of humor and imaginative flair, Prouvost addresses the architectural setting of the Middle Hall in Haus der Kunst, as well as the art institution itself.Experienced together the different elements of this installation invites us to look underneath the shiny surfaces of the museum, into its forgotten past, and out to possible futures. As such Prouvost exposes the underside of the art institution, offering it up as a site for imaginative speculation.Laure Prouvost was Winner of the 2013 Turner Prize, and her work is featured in the British Art Show 8.Published on the occasion of the exhibition at Haus der Kunst, Munich, 27 November 2015 - 18 September 2016.

we would be floating away from the dirty past

János Máttis Teutsch

This Exhibition is a Joint Production of the Hungarian National Gallery [Budapest, 14 March - 24 June 2001], Haus Der Kunst [Münich, 5 July - 7 October 2001] and MissionArt Gallery

Mattis Teutsch and Der Blaue Reiter

Los Angeles County Museum of Art

Martin-Gropius-Bau (Berlin, Germany)

This volume presents an interpretive overview of the complex webs of interaction among the artists and intellectuals of early 20th-century Central Europe.

Exchange and Transformation, 1910-1930

Central European Avant-gardes

Max Ernst

Giorgio De Chirico

Arnold Böcklin

Anja Petz

ein Traum von Liebe und Tod : begleitheft zur ausstellung

Der symbolismus in England 1860-1910

Grosse Kunstausstellung

Lovis Corinth

Lothar Brauner

Andrea Bärnreuther

Lovis Corinth was one of the most exciting artists to emerge from turn-of-the-century Germany. Together with Max Beckmann and Oskar Kokoschka, he became one of the greatest figurative painters of the early twentieth century. An outsider of astonishing individuality, he has resisted categorization by art historians in terms of Impressionism, Expressionism, and other movements. Corinth began his career in the realist tradition in the 1880's, but he was soon at the vanguard of change. Following a period in Munich when his religious and mythological paintings brought him his first taste of fame, Corinth moved to Berlin in 1901, where he spearheaded the protest against Kaiser Wilhelm II's official policy on art. Towards the latter part of his career, Corinth's work clearly reflects his reactions to his own illness and to World War I. Objects are caught up in a play of broad, energetic brush strokes, the paste-like layers of paint applied in sweeping, parallel movements to produce the characteristic hatching that became his hallmark. These later works - mainly landscapes, portraits and self-portraits - continued to be an inspiration to representatives of later movements. Lovis Corinth provides a comprehensive analysis of the artist still little known outside Europe. The Munich and Berlin years, his sources and inspiration, his subject matter, his painting and drawing are examined by authors from America, Britain, and Germany. The book is beautifully illustrated with numerous colour reproductions of his oil paintings, watercolours, drawings, and graphic works, providing the definitive illustrated reference on the artist.

Allan Kaprow

Annette Leddy

Essays look at the life, art, and writings of the inventor of artistic "happenings," along with a retrospective of his works.

Art as Life

Haus der Kunst München

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