PAINTlNG
The Private Klee: Works By Paul Klee From The Biirgi Collection
* ‘k t ‘k t A Festival coup for the gallery
The National Gallery of Modern Art's latest exhibition is simply staggering. Taking in Paul Klee's career from start to finish, the works are drawn from the private collection of the Bijrgi family, shown in its entirety here for the first time.
The Biirgis' were among the first supporters of the artist and loyal collectors until his death in 1940. Providing a unique insight into Klee’s development, the collection shows the artist's career, traces echoes and references between paintings and grasps the links between his diverse techniques, subjects and theories. In short, Klee comes to life as you walk from room to room. Best known for his small, scratchy watercolours that verge on the abstract, a wealth of these intimate, colourful works adorn the walls.
But where the show really excels is as an eye-opener for those unfamiliar with Klee’s oeuvre as a whole. Etchings from the Inventionen series, which are pointedly satirical scenes from an imaginary mythology, full of grotesque ungainly figures, are a world away from the scribbly broken lines of the famous watercolours. Klee's almost clinical exercises in art theory, like Spatial Study (no. IV), a series of geometrical lines that form a tangle of impossible shapes, or Uncomposed In Space, coolly tackle the representation of perspective.
Finally, there are large-format works from Klee's last
GROUP SHOW
Detail from Mllntle WIsman's photograph and sound installation A Demand For Identity
Bartolo: La vendetta, oh! La vendetta! 1921
days, where stark black lines form graphic patterns that defy interpretation, in contrast to the earlier recognisable figures swimming to the surface of abstract lines. Exhibited in isolation, it might come as a surprise to learn that these widely varied paintings, drawings and prints came from the hand of one man. But here the collection logically leads the viewer along, so that a minutely detailed, lively landscape sketched from the 19005 becomes inextricably linked to blocky graphic exercises from Klee’s time at the Bauhaus.
The Private Klee is a joyous celebration of the work of one of the 20th century’s most influential artists that will leave you dizzy and reluctant to leave. Don't miss this unique chance to appreciate the artist’s career as a whole. (lack Mottram)
l The Private Klee: Works By Paul Klee From The Burgi Collection, National Gallery Of Modern Art ./ Venue 66) 624 6200, until 22 Oct, Mon—Sat 70am—5pm, Sun noon-5pm. £4 lf3/,'/oint With Da/i £6 /£4.50/.
Exp orng rtuas o‘ butchery ano femae sexuaiity, th s seem bg'y commonplace comes: c act becomes inc-teas rtgly reougnant
In star< constrast, Jone Murray and John K. McG'egor's Watermarks, ‘s a ser es 0‘ a- egor-ca- photographs and poems. Using the R-ver Tev-ot as a metaphor .‘or themes 0‘ me, loss and renewai, lvch'egor's rnoooy blac< and white c ose-ups capture every ' pp‘e, undu'atao", swel and movement of tee river, perfectly complementeo by Murray's thOught-orov0king poems.
Mgntie Wisman's photograph and sotind .nstaliation A Demand For Identity ouestiorls now .r‘d Vibuals present tneir personal ty. Enter the darkeneo r00m and a senes of plaster 0‘ Par 5 smeared t'aces giare back at you. The p‘aster begins to crack, as
ECA Festival Exhibitions * * * * A plethora of ocular delights
Edinburgh College of Art has dareo to be different. The only venue to house over ten exhibitiOns; photography, installation, scwpture, video and painting are all contained under one roof.
Do'nin-ating the ma r‘ ga‘Eery is How To Butterfly A Leg Of Lamb, a collaboratve piece by A0 ga O’B'en and Mary Kef'y. En argeo photographs of raw meat and 0000' red t'Oloeo napkins share the space w tn a or S'J"€, sta niess stee 5 N. A v oeo on a CO"’.I"‘uOuS ooo revea‘s steo-by-steo rst'uct ons on now to prepare the lamp t'or putter‘ ying. Fema e r“ar‘os tear at the f‘esn. Eve'y souno s ado o e.
rhout'ns are agape w tn eyes woe Open. The light source sw:tcnes on. and off wnile a soundtrack resumes, making tne viewer ‘eel ni-at-ease.
W tn Such a strong, diverse and engaging programme of works 0n snow, thus :5 c early one of the visual r“igns of :ne Festva . (Helen Monaghan) I ECA Festival EXD/b/l/ODS, Edinburgh College of Art “Venue 73/, 227 6000, until 26 Aug, daily 70am—5pm. Free.
inning
The shows guaranteed to deliver a visual sensation
Alphonse Mucha — Master OfArt Nouveau
Epitomising the Art Nouveau movement, a major retrospective of the work of Czech artist Alphonse Mucha featuring the decorative panels and poster art which turned him into a household name. Alphonse Mucha — Master Of Art Nouveau, City Art Centre, 529 3993, until 30 Sep, Mon-Sat 70am—6pm,- Sun noon-5pm. £3 (£2.50); season ticket £7. 50; family ticket £9.
The Private Klee: Works By Paul Klee .From The Burgi Collection
See reView, left. The Private Klee: Works By Paul Klee From The BUrgi Collection, National Gallery Of Modern Art (Venue 66) 624 6200, until 22 Oct, Mon-Sat 70am—5pm, Sun noon—5pm. £4 (£3), joint with Dali £6 (£4.50).
Shirin Neshat
Dealing with social, cultural and religi0us codes of Muslim sooeties, New York-based, Iranian-born artist Shirin Neshat shows her award-winning video installation Turbulent along with the first UK SCreening of Soli/oquy. Shirin Neshat, Fruitmarket Gallery, 225 2383, until 23 Sep, Mon—Sat
7 lam—8.30pm, Sun noon—8.30pm. Free.
ECA Festival Exhibitions
See review, left. ECA Festival Exhibitions, Edinburgh College Of Art (Venue 73), 227 6000, until 26 Aug, daily 70am—5pm. Free.
Heaven And Hell And Other Worlds
Looking death squarely in the eye, Heaven And Hell offers a smorgasbord of global beliefs on the afterlife. Heaven And He// And Other Worlds, Royal Museum, 247 4279, until 77 Feb, Mon—Sat 70am—5pm, Tue 70am—8pm, Sun noon-5pm. £3 (f 7.50), under 785 free, Tue from 4.30—8.30pm. Free.
72 THE LIST FESTIVAL GUIDE 17—24 Aug 2000