Reaching beyond the perception of everyday things, Takehito Koganezawa’s work fosters unprecedented latitude for imagination. His new work On a Cloudy Day You Can See Never, 2011 – which was created on site and is named after the famous Broadway musical On a Clear Day You Can See Forever from the 1960s – is an installation that purposefully plays into the Langen Foundation architecture ...
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For the current exhibition of works of twentieth century painting from the Viktor and Marianne Langen Collection, a selection has been made of paintings that were made in the period from the beginning of the twentieth century up to the Second World War. On the basis of the works shown, the new beginnings in the first third of the century are traced. The different paths the artists pursued in this period artistically in recasting a world order are graphically shown, including how these paths repeatedly crossed and influenced each other.
The exhibition, Japanese Representations of Nature from the Victor and Marianne Langen Collection, shows works from the tradition of monochrome ink painting, called suiboku-ga in Japan, that was introduced during the course of adopting Zen Buddhism in Japan. Monochrome ink painting was the expression of the Zen Buddhist maxim of maximum effect with minimum means. Only what is essential, the first and last brushstroke of a process, are presented on paper or silk.
The exhibition, System Analysis, provides insight into the works of a group of younger artists from New York. Liz Deschenes, Wade Guyton, Eileen Quinlan, Blake Rayne, Reena Spaulings and Cheyney Thompson do not conceive themselves as constituting a group, but they are friends and share an interest in questions concerning the making and the conditions of images today.
