A leading representative of arte povera
The Greek arte povera artist Nakis Panayotidis was born in 1947 in Athens. He settled in Switzerland in 1973 after studying architecture in Turin (in 1966) and visual arts in Rome (enrolled 1967). Since then he lives and works both in Bern and in Greece—on Serifos Island of the Cyclades.
The Exhibition offers a representative insight into contemporary Swiss artistic creation from the early 1980 through to the present, with its selection of artworks of the collection Kunst Heute Foundation, founded in 1982 and based in Bern. In cooperation with some of Bern’s patrons of the arts, the Foundation set itself the goal to put together an independent collection of recent Swiss art. Until a short while ago, the collection has been constantly expanded by the purchasing committee, comprised of young art mediators and artists. The works selected for the current show investigate what is characteristic for the reality of our lives today, for the contemporary world we call post-modern.
Fenster zur Gegenwart - Werke aus der Sammlung
Philipp Gassers zweite grosse, «kosmologisch» zu nennende Medien-Installation «1000 Teilchen (beschleunigt)» erfüllt das Gemüt der Besucher im Raum des Kunstmuseum Bern im PROGR mit einer Andachtsstimmung ohnegleichen. Hier wird ein White Cube zur hermetisch abgedunkelten Black Box umgebaut, um gleichzeitig interstellare, lebensweltliche wie subatomare Stimmungsbilder hervorzurufen.
Hans Arp and his wife Sophie Taeuber-Arp produced a number of artworks together. Find out in the video how the richly contrasting pictures mirror the relationship between the two artists.
At its last meeting, the Board of Trustees of the Kunstmuseum Bern categorically resolved that it will establish a “Gurlitt” research body and defined its tasks and structure. However, this decision can only first be implemented when the pending application of Cornelius Gurlitt’s cousin for a certificate of inheritance has been probated in Munich. The Board of Trustees regrets this delay, in particular because it will impede the settlement of restitution cases that have already been clarified and endorsed by the Kunstmuseum Bern, but the circumstances are beyond its control.