After three years of reconstruction it is finally ready; the newly designed Weltmuseum Wien will be reopened on 25 October with several special exhibitions. After the opening ceremony, the Weltmuseum Wien will be accessible again after closing for three years. Visitors are free to explore the new museum until 1am at night. The centerpiece of the new museum will be the new collection, designed from the ground up. In 14 rooms, which are arranged like a string of stories, the central collections are shown and interpreted from a contemporary perspective. They will show a total of 3,127 objects as well as numerous photographs. In doing so, surprising connections between Austria and the world are often made visible. All visitors will be invited to rediscover the world-wide collections including the Two Court Dwarfs, the two worldwide unparalleled figures that are among the earliest artworks from the Benin Kingdom.
Africa, a continent without a History? Although the preconceptions persist, the facts themselves are undeniable: Africans have never lived in isolation. Although ignored for a long time, exchanges within Africa, and outside of its borders, began thousands of years ago, well before independence, colonisation and the arrival of the first Portuguese ships at the end of the 15th century. This is demonstrated in the sculptures, gold and ivory pieces, paintings and other artworks presented in the African Routes exhibition.
Step into the studio of Henri Matisse, brimming with the artist’s treasured objects. Focusing exclusively on their important role in his work for the first time, we will reveal how this eclectic collection took on new life in his transcendent art.
Africa is considered the cradle of humanity - all our ancestors come from there. Today the continent comprises more than 50 countries and has the world's widest range of languages and cultures. The exhibition presents impressive examples of traditional art from sub-Saharan Africa. The spectrum ranges from courtly bronzes from the realm of Benin, powerful power figures from the Congregation and centuries-old filigree Ivory carvings from West Africa to fascinating ancestral sculptures or masks from Mali to Tanzania. A special focus of the exhibition are works by international contemporary artists such as Romuald Hazoumé, El Loko, Pieter Hugo and Ransome Stanley.
When and how did they start working iron in Africa? It is clear from the archaeological findings that in 500 BC there were blacksmiths throughout the continent who melted copper and iron ore in clay kilns. Weapons made of iron gave their owners legal and religious authority, and they carried them, danced with them in ceremonies, waved them and threw them into the air. African blades were the currency of their owners' most precious possessions. The ceremonial swords and the weapons presented here are of the most special types, valued by their fine engraving, their ornaments and the composition of their materials.
Equatorial Africa has given the African arts some of its most outstanding masterpieces. From the plastic power of the Fang to the naturalist elegance of the Punu, a panorama of the main artistic styles of this vast region. In the heart of Atlantic Equatorial Africa, the cultural area encompassing the Gabonese Republic, the Republic of Equatorial Guinea, Southern Cameroon and the West of the Republic of Congo, is a region of great sculptural tradition. The plastic genius of the artists Fang, Kota, Tsogo and Punu is particularly illustrated in a religious sculpture linked to the cult of ancestors and the masks of spirit. Through a selection of emblematic - and often unique - works of major public and private collections, the exhibition proposes to study its main styles, in the manner of a "classical" art history. To explore the correspondences, mutations and peculiarities of the artistic production of the numerous groups inhabiting a vast area shaped by the migrations. To reveal, in short, the creativity and exceptional originality of the arts of each of the peoples of the Atlantic equatorial forest.
To celebrate the 40th anniversary of the Barbier-Mueller Museum, the late Michel Butor selected 100 masterpieces, some of them masterpieces, from the Museum's collections. Inspired by these receptacles of provenance, epochs, cultures and diverse materials, he wrote a poem for each of them after having first classified them by "rays" according to the role that their forms whispered to him. From the great civilizations of Antiquity, from major cultures in Africa, Oceania, the Americas and, to a lesser extent, from Asia, these receptacles will rub shoulders with contemporary Western vases, chosen by Michel Butor. Each piece will reflect the aesthetic criteria predominant in the culture from which it emerged, and will reveal information about the ritual or ceremonial context in which its use took place.
Over the course of 6 years of continued development and consolidation, artgenève has taken root in the Geneva Lake region, establishing itself as a high end and internationally renowned contemporary and modern art fair. The fair now wishes to enrich its artistic offering with the inclusion of Historic, Modern and Contemporary Design, and Tribal Art. The famous PAD, established 21 years ago in Paris in the Tuileries and expanded to Berkeley Square in London 11 years ago, will bring together 25 carefully selected galleries.
Be dazzled by over 200 gleaming gold items of regalia, colorful and intricately woven silk kente cloth, ceremonial furniture, state swords, linguist staffs, and other significant objects related to Asante royals from the 19th through the 21st centuries. Founded around 1701 with wealth derived from the gold trade with North Africa and Europe, the Asante Kingdom was a very powerful polity in West Africa. The Power of Gold: Asante Royal Regalia from Ghana, inspired by works in the DMA’s collection and featuring objects from public and private collections, reveals the splendor of Asante regalia, much of which is made of gold.
The exhibition ‘Beyond Compare’ introduces superlative works of art from Africa from the Ethnologisches Museum into the peerless sculpture collection of the Bode Museum. Pairs of sculptures from both continents will be placed throughout the permanent collection and a special-exhibition gallery will address specific themes. The experimental juxtaposition of works from two continents reveals possible correlations on various levels, including historic contemporaneity, iconographic and technological similarities, and artistic strategies. Despite stylistic differences, striking similarities appear in the ways works of art function in both contexts. Power figures from the Congo were used to protect villages and communities, just as Gothic depictions of the Virgin of Mercy were. At the same time comparisons also expose contrasts, as with depictions of motherhood, which rely on different visual languages in Africa and Europe and convey different messages.