Lisl Ponger. Beautiful Other

(Sunday) (Sunday)

The exhibition Lisl Ponger: Schöne Fremde / The Beautiful Other is the second stage of a thematic dialogue between the works of Ernst Ludwig Kirchner and contemporary artistic practices. Since the 1970s the Austrian artist Lisl Ponger (b. 1947) has been concerned with cultural stereotypes and the construction of gazes at the interface of art, art history and ethnology. She employs the media of photography, film and installation to examine and question conceptions of the “other” and their visual representation. European art history is rich in images of the other that vacillate between defamation and marginalisation on the one hand and exoticism and desire on the other. The appropriation and emulation of so-called “primitive art,” in particular, constituted a crucial source of inspiration and premise for the artistic avant-garde of the 20th century. Certainly for the expressionists and Cubists visits to ethnographic collections provided numerous stimuli. And we know that Ernst Ludwig Kirchner, too, was preoccupied with the art of West Africa and Oceania.

Kirchner Museum Davos
Promenade 82
7270 Davos
Switzerland
Array
http://www.kirchnermuseum.ch

Price

Erwachsene CHF 12.00 AHV, Rentner, IV CHF 10.00 Familienkarte (2 Erwachsene mit max. 5 Kinder) CHF 24.00 Kinder, Studenten und Lehrlinge CHF 5.00 Gruppen (min. 10 Personen) CHF 10.00 Mitglieder des Kirchner Verein Davos gratis ICOM, IKT und VMS gratis

Opening hours

Selection of further exhibitions in: Switzerland

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01.01.2016 - 01.01.2030
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Museumstrasse 2
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Lisl Ponger. Beautiful Other Kirchner Museum Davos Main address: Kirchner Museum Davos Promenade 82 7270 Davos, Switzerland Kirchner Museum Davos Promenade 82 7270 Davos, Switzerland

The exhibition Lisl Ponger: Schöne Fremde / The Beautiful Other is the second stage of a thematic dialogue between the works of Ernst Ludwig Kirchner and contemporary artistic practices. Since the 1970s the Austrian artist Lisl Ponger (b. 1947) has been concerned with cultural stereotypes and the construction of gazes at the interface of art, art history and ethnology. She employs the media of photography, film and installation to examine and question conceptions of the “other” and their visual representation. European art history is rich in images of the other that vacillate between defamation and marginalisation on the one hand and exoticism and desire on the other. The appropriation and emulation of so-called “primitive art,” in particular, constituted a crucial source of inspiration and premise for the artistic avant-garde of the 20th century. Certainly for the expressionists and Cubists visits to ethnographic collections provided numerous stimuli. And we know that Ernst Ludwig Kirchner, too, was preoccupied with the art of West Africa and Oceania.

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