Vlaanderen. Kunsttijdschrift. Jaargang 20

Buitenlands aktueel

Buitenlandse Tentoonstellingen

Duitsland

Haus am Waldsee, Berlin: Juan Genovés (tot 16/1).

Akademie der Künste, Berlin: Die Bühne als Forum (tot 9/1).

Kunsthalle, Bremen: Horst Antes (tot 30/1).

Wallraf-Richartz, Köln: Halbe Unschuld - Weiblichkeit um 1900 (tot 16/1).

Engeland

National Portrait Gallery, London: Godfrey Kneller (tot 16/1).

Tate Gallery, London: Hogarth (tot 6/2).

Frankrijk

Musée national d'art moderne, Paris: Picasso dans les musées soviétiques (tot 3/1) - Naum Gabo (tot 3/1).

Grand Palais, Paris: Fernand Léger (tot 12/1) - Francis Bacon (tot 10/1).

Musée d'art moderne, Paris: Berni - Chavignier, Sara Holt (tot 9/1).

CNAC, Paris: H. Bellmer (tot 17/1) - Daniel Spoerri (28/1 tot 6/3).

Nederland

Stedelijk, A'dam: Gerrit Rietveld (tot 9/1) - J.J. Schoonhoven (tot 9/1) - Monory en Morandi (15/1 tot 27/2).

Gemeentemuseum, Arnhem: Hoogtepunten uit Kröller-Müller (tot 3/1/72).

Dordrechts museum: Daumier (tot 16/1).

van Abbemuseum, Eindhoven: Bram van Velde (tot 3/1) - Jan Dibbets (tot 17/1).

Gemeentemuseum, Den Haag: Fantasie in prent en tekeningen (tot 17/1).

Kasteel Ehrenstein, Kerkrade: Corine Toussein, wolreliëfs en kollages (tot 3/1).

Stedelijk Museum, Leiden: Jan en Charley Toorop, Fernhout (tot 16/1).

Rijksmuseum, Nijmegen: Nehallenia-altaren (tot 19/3).

Agnietenhof, Tiel: Duitse Teaters en teaterkunst (14 tot 31/1).

Centraal Museum, Utrecht: Keuze uit 10 jaar aanwinsten (tot 10/1).

New images of God (U.S.A.)

De Florida Technological University bereidt voor de periode lente '72 - winter '73 een Symposium over ‘Art as a sacred and transcendent Force in a Technological and Profane Environment’, met een reeks lezingen, konferenties, tentoonstellingen, maratons en publikaties. De organisator, Dr. Walther Gaudnek, houdt zich aanbevolen voor alle suggesties en ideeën, die in het kader van het opzet passen (Box 25000 Orlando, Florida, USA). Een aankondigingsposter draagt de volgende tekst van Gaudnek:

[p. 420]

New Images of God.

It must be remembered that the development of abstraction in twentieth century art marked a definite beginning of a rebirth of the spiritual. This remarkable force was smashed brutally by the outbreaks of W.W.1 and W.W.2 Then after 1945, a profanely manipulated public invaded the field of art. With it, the intense vulgarisation of modern art began. Suddenly, industry, banks and offices of prestigious corporations adopted the modern style for its superficially decorative value only. Now, due to the satiation on the part of the general public with regards to their curiosity for modern art, the exploited modernism is beginning to lose even its decorative value.

Notice, we are witness to the fact that the artist is turning again toward the sacred aspect of love and existence. Again, he finds himself in search of new images of God.

One might say that man has always been faced with two alternatives: either he sees in science and technology merely a means by which to manipulate and exploit space, time and matter, light or energy, for their profane utilization; or he envisions the human situation and the atmospheric powers, the fury of the elements for their manifestation of the Holy.

There is no doubt that the human environment is chained to the mystical, metaphysical and transcendental nature of energy, space time and matter. We can see how the experience of transhuman worlds increases with the progress of scientific research. In truth, together with the great advancements of science and technology the persistent cosmic hierogamies continue to create new images of God.