Tag Archives: Wassily Kandinsky


The rediscovery of the work that Hilma af Klint (1862–1944) began in 1906—an amalgam of abstraction, surrealism, and figuration—has necessitated a rewriting of the history of abstract art in the West, displacing Wassily Kandinsky as the self-appointed originator of the genre.

Af Klint, a well-educated member of Sweden’s aristocracy, was an adherent to spiritualism, theosophy, and anthroposophy. Coinciding with the scientific revelations of the early twentieth century—radiation, theories of relativity and quantum physics, the discovery of electromagnetic waves—her revolutionary art gave form to the invisible.

Thirty-five years after af Klint’s inclusion in the 1986 LACMA exhibition The Spiritual in ArtAbstract Painting 18901985—and seven years after the landmark Moderna Museet retrospective Hilma af Klint: A Pioneer of Abstraction rocked the art world—Halina Dryschka’s essential documentary BEYOND THE VISIBLE—HILMA AF KLINT is here to stream.

Participants include Moderna Museet director and curator Iris Müller Westermann, af Klint biographer Julia Voss, Swedish art historians Anna Maria Bernitz and Eva-Lena Bengtsson, and family members Ulla, Johan, and Elisabet af Klint.

Here was a woman who consequently followed her own path in life that led to a unique oeuvre. A strong character and, despite all restrictions, Hilma af Klint explored the possibilities that go beyond the visible. She knew that she was doing something important not only for herself but for many people. It is more than time to tell the untold heroine stories. And there are many of them. This is one.

This is a film about a truly successful life. A woman who was not dependent of the opinion of others and kept on going her very unique way of living and working. Dedicated to things that matter in everybody’s life: How do we want to live? How do we achieve a truly content and fulfilled life? And is that what we see real or do we just think it is real?

Hilma af Klint’s oeuvre goes even beyond art because she was looking for the whole picture of life. And with that she comes close to the one question: What are we doing here?Halina Dryschka

See link below for streaming details.


Laemmle Theatres

Hilma af Klint, from top: Group IV, No. 3, The Ten Largest, Youth, 1907; The Swan,No. 17, group IX, SUW/UW Series, 1915; No. 113, group III, The Parsifal Series, 1916; Group I, No. 7, Primordial Chaos, 1906–07; Group IV, No. 7, Adulthood, 1907; No. 3, The Teachings of Buddhism, 1920; No. 2a, The Current Standpoint of the Mahatmas, 1920; Beyond the Visible: Hilma af Klint poster, Zeitgeist Films; Hilma af Klint in Sweden; Tree ofKnowledge, No. 5, 1915; Group X, No. 1, Altarpiece, 1915. Artwork photographs by Albin Dahlström, Moderna Museet, Stockholm, courtesy and © the Hilda afKlint Foundation, Stockholm, the photographer, and Moderna Museet.


BAUHAUS / DOCUMENTA—VISION UND MARKE—a new exhibition in Kassel curated by Philipp Oswalt and Daniel Tyradellis—looks at the crosscurrents between two iconic German institutions:

Bauhaus aimed to confront the crisis of industrialization and the damages caused by the First World War through the applied design of objects, spaces and buildings; documenta took up the romantic idea of the engagement with fine art, through which people should become responsible citizens again.”*

The show—part of the celebration of the Bauhaus centenary—includes works by Marianne Brandt, Marcel Breuer, Bazon Brock, Hans Haacke, Wassily Kandinsky, Barbara Klemm, Aleksandr Ptuschko, and Gilles Raynaldy.


Through September 8.

Neue Galerie

Schöne Aussicht 1, Kassel.

From top: Staircase of the Fridericianum with tapestry by Fritz Winter, 1956–1957, documenta 2, 1959, photograph by Günther Becker; Sculpture Hall at documenta I, Kassel, 1955, featuring works by Hans Arp, Henri Laurens, Alexander Calder, and Henry Moore; rotunda at the Fridericianum, documenta I, photograph by Günther Becker. Below: invitation card for Bauhaus/documenta—Vision und Marke, featuring images of Haus-Rucker-Co, Oase Nr. 7 (Oasis No. 7), documenta 5, 1972, photograph by Carl Eberth; and Wilhelm Wagenfeld ‘s Tischleuchte (table lamp), 1924, photograph by Joachim Fliegner. Images courtesy and © documenta archiv.


Join Arjun Appadurai, Regina Bittner, Beatriz Colomina, Theresia Enzensberger, Jesko Fezer, Thomas Flierl, Benjamin Förster-Baldenius, Ayşe Güleç, Dorothee Halbrock, Ulrike Hamann, Christian Hiller, Joy Kristin KaluÖzcan KaradenizBianca Klose, Klaus Lederer, Gisela Mackenroth, Jacobus North, Anh-Linh Ngo, Marion von Osten, Philipp Oswalt, Stefan Rettich, Bernd Scherer, Schroeter und Berger, Justus H. Ulbricht, and Mark Wigley for an afternoon and evening seminar which asks the question:

What can institutions that are today confronted with attacks from the Right learn from the history of Bauhaus?

Saturday, January 19, from 2 pm to 9:30 pm.
Haus der Kulturen der Welt
John-Foster-Dulles-Allee 10, Berlin.
From top: Gropius studio, Kandinsky-Klee house, 1925–1926, Dessau; Walter Gropius, Bauhaus Building, 1925–1926, Dessau.


Peggy Guggenheim insisted that her collection remain intact in Venice every year between Easter and November 1st, the period when Venice receives its greatest number of visitors, and which coincides with the biennale. But this summer, key artwork from Peggy’s holdings are at the Guggenheim Museum in New York City, where they join works collected by the original contributors to the Guggenheim Foundation—artist and curator Katherine Dreier, dealer Karl Nierendorf, artist Hilla Rebay, gallerist Justin K. Thannhauser, and industrialist Solomon Guggenheim—in VISIONARIES: CREATING A MODERN GUGGENHEIM.

BrâncușiPissarro, Duchamp, Picasso, Calder, Klee, Mondrian, and Pollock are all represented, with a special emphasis on the work of Kandinsky.


SOLOMON R. GUGGENHEIM MUSEUM, 1071 Fifth Avenue, at 88th Street, New York City.


Upper two: Exhibition catalogue, edited by Megan Fontanella; and Oskar Fischinger, Untitled, 1942. Image credit: Solomon R. Guggenheim Museum. Bottom: Peggy Guggenheim.



Peggy Guggenheim- Art Addict