{"id":5810,"date":"2016-10-30T11:14:00","date_gmt":"2016-10-30T10:14:00","guid":{"rendered":"http:\/\/kunstmuseum.mscg-it.de\/?post_type=exhibition&#038;p=5810"},"modified":"2021-12-07T17:17:57","modified_gmt":"2021-12-07T16:17:57","slug":"this-was-tomorrow-pop-art-in-great-britain","status":"publish","type":"exhibition","link":"https:\/\/www.kunstmuseum.de\/en\/exhibition\/this-was-tomorrow-pop-art-in-great-britain\/","title":{"rendered":"This Was Tomorrow. Pop Art in Great Britain"},"content":{"rendered":"\n<div class=\"wp-container-1 wp-block-group alignfull has-gray-background-color has-background\">\n<h2>Info<\/h2>\n\n\n\n<div class=\"wp-block-columns\">\n<div class=\"wp-block-column\" style=\"flex-basis:66.66%\">\n<p>Richard Hamilton\u2019s trail\u00adbla\u00adzing multi\u00admedia instal\u00adla\u00adtion \u201cFun House\u201d was realized for the exhibi\u00adtion \u201cthis is tomorrow\u201d in London in 1956. Exactly sixty years later, the retro\u00adspec\u00adtive survey \u201cThis Was Tomorrow\u201d at the Kunst\u00admu\u00adseum Wolfsburg brings together not only painting, sculpture, collage, archi\u00adtec\u00adture, drawing and instal\u00adla\u00adtion, but also film, music, televi\u00adsion and photo\u00adgraphy in one multi\u00admedia, spatial mise-en-sc\u00e8ne, to create a compre\u00adhen\u00adsive panorama of Pop Art in Great Britain.<\/p>\n\n\n\n<!--more mehr-->\n\n\n\n<p>What exactly is new and different about this exhibi\u00adtion in terms of art and cultural history? On one hand, there\u2019s the intense look at female protago\u00adnists of Pop Art, the strong focus on the future-oriented archi\u00adtects Alison and Peter Smithson, Cedric Price, and Archigram (each of whom was closely linked to the art scene), as well as the deter\u00admined inclusion of music, magazines, televi\u00adsion, and film as media of equal value that also crossed borders. Second, there\u2019s the expanded timeframe: the exhibi\u00adtion ranges from Eduardo Paolozzi\u2019s early Parisian collages from 1947 to the climax and culmi\u00adna\u00adtion of \u201cSwinging London\u201d around Mick Jagger and Robert Fraser, the star gallerist and pop-networker par excel\u00adlence, in&nbsp;1968.<\/p>\n\n\n\n<p>Atmos\u00adphe\u00adri\u00adcally dense interior spaces reflect the intense encoun\u00adters among artists, the dreari\u00adness of the English capital in the post-war years, and the first future-oriented art and archi\u00adtec\u00adture projects. Nigel Henderson\u2019s powerful, black-and-white photos of a recon\u00adstruc\u00adtion full of privation are juxta\u00adposed here with the Smithsons\u2019 models and drawings for their \u201cHouse of the Future\u201d. Comics, science fiction, scien\u00adtific book illus\u00adtra\u00adtions, adver\u00adti\u00adse\u00adments, Hollywood films, and magazine pages are shown as sources of inspi\u00adra\u00adtion that go beyond classic concepts of high and low art. Following the spatial explosion of Richard Hamilton\u2019s \u201cFun House\u201d, which has been recon\u00adstructed in all its sensual details, including a jukebox and the scent of straw\u00adber\u00adries, visitors enter a veritable \u201ccity of the sixties\u201d in the grand hall of the Kunstmuseum.<\/p>\n\n\n\n<p>In the 16-meter-high hall, visitors encounter streets, squares, and artist\u2019s houses of various sizes and heights for the highly indivi\u00addual, and often closely related\u2014in terms of both friendship and thematic content\u2014stakeholders of the art and cultural scene of the \u201cSwinging Sixties\u201d: key protago\u00adnists such as Peter Blake, David Hockney, R. B. Kitaj and Allen Jones, along with generally lesser-known but essential figures such as Derek Boshier, Peter Phillips, Richard Smith, Gerald Laing, Patrick Caulfield, Antony Donaldson, Colin Self and Joe Tilson, as well as the often neglected, decidedly feminine stances of Pauline Boty and Jann Haworth can be experi\u00adenced there in larger groups of&nbsp;works.<\/p>\n\n\n\n<p>In every case, it\u2019s about exempli\u00adfying and bringing to life the numerous cross-connec\u00adtions, largely forgotten today, between the then incre\u00ada\u00adsingly fluid forms of culture and their creative stake\u00adhol\u00adders. The exhibition\u2019s broad scope\u2014ranging from the initial spark of Paolozzi\u2019s early magazine collages and the works by Colin Self and Gerald Laing, which oscillate between nuclear fear and a euphoric belief in progress, to Hamilton\u2019s pictorial relief of Mick Jagger and Robert Fraser in handcuffs after being arrested for drug abuse\u2014enables visitors to experi\u00adence the artistic and cultural-histo\u00adrical signi\u00adfi\u00adcance of British Pop Art with all their senses, while presen\u00adting this period as an essential prehistory of our own present day.<\/p>\n\n\n\n<p>The exhibi\u00adtion is supported by Volks\u00adwagen Financial Services AG.<\/p>\n\n\n\n<h2>Artists, architects, film directors, music bands and photographers<\/h2>\n\n\n\n<p>Michel\u00adan\u00adgelo Antonioni, Archigram, David Bailey, The Beatles, Peter Blake, Derek Boshier,&nbsp;Pauline Boty, Patrick Caulfield, Antony Donaldson, Richard Hamilton, Jann Haworth, Nigel Henderson, David Hockney, Allen Jones, R. B. Kitaj, Gerald Laing, Roger Mayne, Lewis Morley, Eduardo Paolozzi, Peter Phillips, Cedric Price, Ken Russell, James Scott, Colin Self, Michael Seymour, Richard Smith, Alison and Peter Smithson, Lord Snowdon, The Rolling Stones, Joe Tilson, The&nbsp;Who.<\/p>\n\n\n\n<h2>The catalogue<\/h2>\n\n\n\n<p>Wienand Verlag publishes the eponymous, extensive catalogue of the exhibi\u00adtion, in both German and English. Edited by Ralf Beil and Uta Ruhkamp, the catalogue features essays by Ralf Beil, David E. Brauer, Anne Massey, Rainer Metzger, Uta Ruhkamp, and John-Paul Stonard; texts by Daniel F. Herrmann, Kay Heymer, Francis Outred, Sue Tate, Victoria Walsh, and others; as well as a chrono\u00adlogy of the years 1947 to 1968. 432 pages, approx. 400 illus\u00adtra\u00adtions, 24 x 31 cm, hard cover, 38 \u20ac in the Museum Shop.<\/p>\n\n\n\n<h2>Curators of the exhibition<\/h2>\n\n\n\n<p>Dr. Ralf Beil, Director, Dr. Uta Ruhkamp, Curator , Kunst\u00admu\u00adseum Wolfsburg<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column\" style=\"flex-basis:33.33%\"><\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Richard Hamilton\u2019s trail\u00adbla\u00adzing multi\u00admedia instal\u00adla\u00adtion \u201cFun House\u201d was realized for the exhibi\u00adtion \u201cthis is tomorrow\u201d in London in 1956. Exactly sixty years later, the retro\u00adspec\u00adtive survey \u201cThis Was Tomorrow\u201d at the Kunst\u00admu\u00adseum Wolfsburg brings together not only painting, sculpture, collage, archi\u00adtec\u00adture, drawing and instal\u00adla\u00adtion, but also film, music, televi\u00adsion and photo\u00adgraphy in one multi\u00admedia, spatial&nbsp;[\u2026]<\/p>\n","protected":false},"featured_media":5599,"menu_order":0,"template":"","meta":{"wp_typography_post_enhancements_disabled":false,"kunstmuseum_formatted_page_title":"","exhibition_title":"This Was Tomorrow","exhibition_subtitle":"Pop Art in Great Britain","exhibition_alternative_text":"October 30, 2016 \u2013 February 19, 2017","exhibition_start_date":"2016-10-30T10:47:00","exhibition_end_date":"2017-02-19T10:47:00","exhibition_gallery":"[6789,6791,6793]","exhibition_poster":7639},"tags":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v19.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>This Was Tomorrow. 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