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Copenhagen Contemporary: “James Turrell: Aftershock”.. and More

Denmark_Copenhagen

Copenhagen Contemporary: “James Turrell: Aftershock”

James Turell, ‘Aftershock,’ 2021, installation view of Light & Space at Copenhagen Contemporary. ©James Turrell; Photo by Florian Holzherr

Copenhagen Contemporary presents “Aftershock,” an exhibition by American artist James Turrell (b. 1943), through December 30. Since the mid-1960s, Turrell has been working with light and space to create immersive environments. For each of his exhibitions, he organizes light and space to suit the venue.

Turrell describes his work as a vessel for light. Light and color are used as physical materials to fill the space, and amid the visual overload, the viewer experiences silence. The religious undertones of his work stem from his Quaker upbringing. Cognitive psychology has also influenced Turrell.

He talks about his work using the Ganzfeld theory, which states that the brain experiences hallucinations when exposed to a flood of intense color. The pilot experience is another way he describes his work. He wants the viewer amid the field of light to experience disorientation, a sense similar to that of flying through clouds or dense fog.

UK_London

Tate Britain: “Isaac Julien: What Freedom Is to Me”

Installation view of Isaac Julien’s ‘What Freedom is to me - Homage 2022.’ ©Isaac Julien. Courtesy the artist and Victoria Miro

Tate Britain opens “Isaac Julien: What Freedom Is to Me” on April 26, Isaac Julien’s (b. 1960) first major UK exhibition. Film director and artist, he led the development of British black independent cinema in the 1980s and has been a representing artist in the intersection of film and contemporary visual art. Distinctive features of his works are video installations with multiple screens arranged in a three-dimensional structure and poetic images that weave together the stories of people from different times and spaces through dance.

Born black in London, Julian has voiced strong political messages through art during his 40 years career. The exhibition primarily focuses on his works regarding black and queer existence. Julien’s first work, ‘Who Killed Colin Roach? (1983),’ addressed the 1983 death of Colin Roach, a young British black man shot at the entrance of a police station. His seminal work ‘Looking for Langston (1989)’ was about the queer artists of the Harlem Renaissance in the 1920s. His new film, ‘Once Again…Statues Never Die (2022),’ also explores the Harlem Renaissance and tells about the conversation between art collector Albert Barnes and philosopher Alain Locke.

France_Paris

Musée d'Orsay: “Manet / Degas”

Edgar Degas, ‘The Bellelli Family,’ 1858-1869. © Musée d’Orsay, dist. RMN-Grand Palais / Sophie Crépy

Édouard Manet (1832-1883) and Edgar Degas (1834-1917) were pioneers of 19th-century French art who greatly influenced younger Impressionists and later Modernists. The Musée d’Orsay presents “Manet / Degas” through July 23, intending to explore the relationship between the two masters. More than 150 works by both artists are juxtaposed, including masterpieces such as Manet’s ‘Le Balcon (1868-1869)’ and Degas’s ‘Portrait de Famille (1858-1869).’ The show collaborated with the Metropolitan Museum of Art and will travel to New York in September.

Manet and Degas shared similar subject matter – café scenes, horse racing, prostitution, and interior scenes – but upon a side-by-side look, their works reveal a painterly collision, which suggests the diversity of early Modern painting. Records of their relationships with family, friends, colleagues, and their divergent careers convey the general mood of the 19th-century Paris art scene.

Manet and Degas were close in the 1870s, but their friendship soon changed into a lifelong rivalry and conflict. The reclusive Degas and the gregarious Manet went their separate ways. Yet despite their antagonism, they exchanged influences, and after Manet’s death, Degas paid tribute to him by purchasing more than 80 of his works. The exhibition tells the rich story of their interpersonal relationship, with Degas’ collection of Manet’s works after the latter’s death on view.

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