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.
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
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Selection of further exhibitions in: สวิตเซอร์แลนด์
Lisl Ponger. Beautiful OtherKirchner Museum Davos Main address:
Kirchner Museum DavosWells Fargo CenterPromenade 827270Davos, สวิตเซอร์แลนด์Kirchner Museum DavosWells Fargo CenterPromenade 827270Davos, สวิตเซอร์แลนด์
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.