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Place, Space and Memory in the Art of Edvard Munch
06.02.2014

 

Ateneum-salissa klo 15

Ateneumin taidemuseon Tuusulanjärven taiteilijayhteisöä esittelevän Järven lumo -näyttelyn teemoihin liittyen järjestetään Ateneum-salissa huippuluento "Place, Space and Memory in the Art of Edvard Munch".

Luennon pitää Oslon yliopiston ja Wellsley Collegen taidehistorian professori Patricia G. Berman, joka on Munchin, James Ensorin sekä tanskalaisen 1900-luvun vaihteen maalaustaiteen asiantuntija. Hänen erikoisalaansa ovat kansallisen taiteen ja julkisen tilan muotoutumisen problematiikka sekä gender-tutkimus.

Noin tunnin kestävän englanninkielisen luennon jälkeen yleisöllä on mahdollisuus esittää kysymyksiä.
Tilaisuus on maksuton. Tervetuloa!

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Edvard Munch's lifelong engagement with the Norwegian coastal town of Åsgårdstrand is one of our primary understandings of his motifs. The town's meandering shoreline, multicolored rocks, and forests populate most of his best-known works, the paintings that constituted his Frieze of Life.

In them, he filtered the topography into motifs that fused memory with observation, creating a poetics of place. Between 1896 and the mid-1930s, Munch translated his motifs into wall decorations produced on commission. The first of these commissions was for a home at Lysaker, west of Kristiania (Oslo). The Lysaker community consisted of artists, politicians, literary figures, and scientists, who, like the intellectuals who built their homes on Lake Tuusula, saw their houses, and their community, as models for a national efflorescence.

The lecture considers the curious case of Åsgårdstand, the town, transposed into "landscape," an abstract ideal, and then into a branding device - and a repository of memory - through its deployment into commissioned public and domestic spaces.