Beijing, Buenos Aires, Bombay (today’s Mumbai), Casablanca, Khartoum, Kyoto, Lahore, Łódź, Nsukka, São Paulo, Tokyo: in the twentieth century, artists all over the globe banded collectively in collectives. The tendency of like-minded persons to function in groups and guidance every other is universal however the considerations pursued by these groups, their aesthetic procedures, political goals, and utopian visions, categorical them selves in commonly various methods relying on the time and place. The exhibition “Group Dynamics—Collectives of the Modernist Period” examines selected illustrations to get rid of a gentle on the emergence and evolution of collectives and their engagement with the societies and cultures close to them. The interval less than thing to consider in the presentation—from close to 1910 to the 1980s—spans worldwide modernization movements and anticolonial struggles for independence.
Groups are propelled by steadfast loyalties and irreconcilable ruptures. Their dynamic is unpredictable: collaboration, discussion, conviviality, rivalry, friendship, open-mindedness, inclusion, dissociation, weariness, controversy, enjoy, polemics, and enthusiasm are characteristic characteristics of the lives of teams. They supply us with 1 feasible product for an understanding of art that is not grounded in the unique: artwork does not come into becoming in a vacuum, it grows out of exchanges of suggestions and social interactions.
At the dawn of the twentieth century, many individuals loved unparalleled mobility: artists struck up associations with colleagues outside of the bounds of their towns and nations, teams sharpened their courses in solidarity with international developments—and, frequently, in opposition to standard artwork academies and adversaries in their speedy vicinity. The founding of new artwork schools and collectives, the publication of programmatic writings or publications were concomitants, but also engines of this phenomenon.
The modern period brought sustained changes of social construction: the globe took on a more cosmopolitical forged, though course distinctions became entrenched. The modernist period of time marks a late culmination of European colonial rule, but also its demise in the sort of struggles for liberation in a lot of colonized components of the world. In art and lifestyle, the thought of modernism encompasses antithetical still reinforcing tendencies such as the perception in progress and esotericism, a fetishistic embrace of technological innovation and mother nature cults. Quite a few artists and groups framed their individual modernity as a radical software, a newfound resolve also mirrored in various manifestos. The manifold resonances among the artists and works gathered in the exhibition generate a panoramic portrayal of dynamic synergy and antagonism, a intricate worldwide world in which art serves as a compass and a lead to that sparks lively and boisterous exchanges of strategies.
Collectives represented in the exhibition: Action, Tokyo Artistas del Pueblo, Buenos Aires Bombay Progressive Artists‘ Group, Bombay (today‘s Mumbai) Casablanca Faculty, Casablanca Crystalists, Khartoum Grupa “a.r.”, Łódź Grupo dos Cinco, São Paulo Khartoum Faculty, Khartoum Kokuga Sosaku Kyokai, Kyoto Lahore Art Circle, Lahore Martín Fierro, Buenos Aires Mavo, Tokyo Nsukka School, Nsukka Wuming Huahui / No Name Group, Beijing.
Curatored by Karin Althaus, Susanne Böller, Sarah Louisa Henn, Dierk Höhne, Eva Huttenlauch, Matthias Mühling, Tanja Schomaker, Stephanie Weber.
At Lenbachhaus, Munich
right until June 12, 2022