Marc De Blieck
Damien De Lepeleire
Hans Op De Beeck
Christoph van den Berg
Mario Garcia Torres
Christian Vetter u.a.
Against the background of the term's history, the exhibition provides a profound insight into the contemporary artistic examination of landscapes, which nowadays increasingly form hybrids of architecture and nature, town and country, and social realm and retreat. Works are shown indicating strategies of the picturesque or even views extending beyond it. One of the main areas of the show is photography surrounded by other artistic media, which are also repeatedly combined or cross-referential.
From 3 October 2009 until 10 January 2010, Marta Herford will be hosting the exhibition
Pittoresk – Neue Perspektiven auf das Landschaftsbild (Picturesque: New Perspectives on
Landscape Painting) developed in cooperation with S.M.A.K. in Ghent.
Artists: Marcel Berlanger, Marc De Blieck, Damien De Lepeleire, Katja Davar, Alexis Destoop, Robert Devriendt, Peter Duka, Cyprien Gaillard, Andreas Gefeller, Geert Goiris, Ellen Harvey, Sylvia Henrich, Axel Hütte, Jan Kempenaers, Jussi Kivi, Mark Klett, Folke Köbberling/Martin Kaltwasser, Susanne Kutter, Oliver Lutz, Helen Mirra, Mariele Neudecker, Hans Op De Beeck, Peter Piller, Rapedius/ Rindfleisch, Gerhard Richter, Katrin Sigurdardottir, Joel Sternfeld, Monica Studer/Christoph van den Berg, Richard Sympson, Mungo Thomson, John Timberlake, Mario Garcia Torres, Wouter Verhoeven, Christian Vetter u.a.
For a long time, the term ‘picturesque’ was discredited in art as describing a perception of landscape and architecture that had been moulded by kitsch or tourism. Yet ‘picturesque’ was originally introduced in the eighteenth century as the third aesthetic category alongside ‘beautiful’ and ‘sublime’, with aspects of nature and culture forming for the first time a unity that was ‘worthy of depiction’. A picturesque subject might for example be the ruins created from architecture left to the mercy of natural forces. On the other hand, nature could be culturally shaped to make it picturesque. Consequently, the idea of the picturesque was at that time closely associated with the emergence of the English landscape garden. Originally referring to painting and graphics, the ‘picturesque’ view of the world enjoyed an unexpected fillip in the nineteenth century with the invention of photography, which in fact equated the view with the picture. The exhibition refers back to the origin of the term ‘picturesque’ by starting with a collection of books from the eighteenth and early nineteenth centuries as well as historical guidebooks to the classic regions of romantic descriptions.
Against the background of the term’s history, the exhibition provides a profound insight into the contemporary artistic examination of landscapes, which nowadays increasingly form hybrids of architecture and nature, town and country, and social realm and retreat. Works are shown indicating strategies of the picturesque or even views extending beyond it. In line with artistic development since the nineteenth century, one of the main areas of the exhibition is photography surrounded by other artistic media, which are also repeatedly combined or cross-referential. In addition, the exhibition features references to familiar formulations of landscapes in the classical modern period.
Image: Mariele Neudecker, Over and Over, Again and Again, 2004. Glas, Wasser, Lebensmittelfarbe, Acrylbindemittel, Salz, Fiberglas, Kunststoff jedes Becken 47,6 x 47,6 x 48,2 cm, jeder Sockel: 111 x 47,6 x 48,2 cm. Courtesy Galerie Barbara Thumm. Fotografie: Jean Brasille / Villa Arson
Karin Barth Fon +49.(0)5221.994430-27 Fax +49.(0)5221.994430-23 Mail: email@example.com
Opening: 2 October 2009, 7.30pm
MARTa Herford gGmbH
Goebenstr. 4-10, 32052 Herford
Tues - Sun and public holidays 11 a.m. – 6 p.m., 1st Wed of every month 11 a.m. – 9 p.m. Closed: 24th, 25th ans 31st of Dec.