Cadavre Exquis (German: exquisite or delicious corpse) refers to a playful method developed in Surrealism, to give space to coincidence in the creation of texts and images. Definition of André Breton
Again and again we use a variety of ways to give coincidence a chance, here in the form of this really amusing form of Cadavre exquis.
A friend of mine came up to me, asking if we could test some of his new wines from last year. Of course we wanted to do so. We`ve had nine wines to taste and a lot of fun and discussion about quality of wines and the combination between arts and wine. Funny Friday.
Palace Museum Beijing and the Royal Ontario Museum Toronto, most of which have never been shown in Europe, spans a period of more than 500 years. The main focus is on the unique portraits of the Qing Dynasty (1644–1912), including images of members of the imperial court, ancestors, military figures, and informal portraits of artists and famous women. These portraits evidence a blossoming of the genre that had never been seen before.
Portrait painting has a 2000-year-old tradition in China. Beginning in the middle of 16th century, the late Ming Dynasty brought with it an economic boom and great intellectual openness that spurred a significant moment of florescence. It was in this period that Italian Jesuit painters visited the country, such as Matteo Ricci, who brought new techniques of European portrait painting with him in 1583. After the Manchu people conquered China in 1644 and established the Qing Dynasty, the imperial court in Beijing was host to a lively cultural exchange between China and Europe. This is particularly well reflected in the portrait paintings. The Jesuit painter Giuseppe Castiglione (Chinese name: Lang Shining; Milan 1688 –Beijing 1766) is a key figure of this period.
Potrait traditions – The Livinig and the Dead
Chinese portrait painting is characterized by two traditions of representation: images of ancestors and images of living figures. Ancestor portraits were created to honor deceased family members, who were venerated as part of religious observance within the family. Most were painted by professional but anonymous artists and are unsigned. On the other hand, there are portraits signed by often famous artists depicting well-known figures, such as officials, artists, poets, or those in the military, along with ordinary citizens shown in both single and group family portraits.
In exhibitions on Chinese portrait painting to date, only one of these traditions of representation has always been the central theme. However, Faces of China is deliberately dedicated to both of these two traditions, as developments in one always informed developments in the other. While the upper exhibition hall is dedicated to portraits of princely figures, officials, and artists, the focus in the galleries on the lower exhibition hall is on private individuals, families, and ancestral portraits.
At the beginning of the winter semester, we visit the Museum of Natural History in Berlin to be confronted with extraordinary figures on site and implement them in drawings. This is always a very varied and interesting discussion and we look forward to it.