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KLARA LIDÉN’S WINNING EXHIBITION AT BONN’S KUNSTVEREIN

As the winner of this year’s blauorange (blueorange) prize, this week the Swedish artist Klara Lidén will be picking up the award and unveiling her exhibition at Bonn’s Kunstverein. According to a press release from the blauorange foundation, “Rumpfflächen und Plündererbanden” (Peneplains and Plunderers), curated by Christiane Rekade, addresses the city of Bonn through both landscape and history. “A part of me is this poor architect, arguing with questions about the existing structures in the city,” said the Berlin-based Lidén. “A part of me is this amateur dancer or performer, who wants to give back a rhythmic concept to the activity of building and to re-appropriate the built environment.” The jury included Meike Behm (Lingen’s Kunstverein), Kathrin Jentjens (Cologne’s Kunstverein), Frank Motz (ACC Weimar), Katja Schroeder (Westphalia’s Kunstverein), Thomas Thiel (Bielefelder’s Kunstverein), and Christina Végh from Bonn’s Kunstverein. “Rumpfflächen und Plündererbanden” runs November 18, 2010–January 30, 2011.

HAUBROK FOUNDATION LOANS WORKS TO BERLIN’S NATIONALGALERIE

The collection of Berlin’s National Galleries has added a few artworks that reflect the city’s contemporary scene. As the Süddeutsche Zeitung reports, the Haubrok Foundation, founded by the collectors Alex and Barbara Haubrok who opened up an exhibition space at Berlin’s Strausberger Platz, offered the museum a long-term loan of thirteen works by artists including Martin Creed, Olafur Eliasson, Tobias Rehberger, Gregor Schneider, Paola Pivi, and Tino Sehgal. The first work to be unveiled, Sehgal’s performance This Is Propaganda, 2002, can be experienced at the Altes Museum until December 19, 2010.

BASQUIAT PAINTING AT PARIS’S MUSÉE D’ART MODERNE

Officials at the Musée d’Art Moderne de la Ville de Paris were troubled to discover damage to a painting by Jean-Michel Basquiat on display in the artist’s retrospective at the museum. As Le Monde’s Nathaniel Herzberg reports, the museum has now confirmed that the damage took place before the painting arrived at the museum and not during the current exhibition, as was initially believed.

Last week, an art restorer discovered small traces of black felt-tip pen in the lower left-hand corner of the late painter’s work Cadillac Moon, 1981. The marks, which cannot be seen on the reproduction of the work in the exhibition catalogue and which were not detected when the painting arrived at the museum, were initially suspected to be the work of a vandal. Director Fabrice Hergott noted that two guards were posted near the painting, due to the increase in visitors. When the painting was removed to inspect the damage, archivists discovered the same black marks on photographs taken of the painting at the Beyeler Foundation in Basel, where the exhibition was on show last spring. While the mystery is not yet resolved, officials at the museum are relieved, especially in light of the robbery last June of four major paintings by Picasso, Braque, Modigliani, and Léger from the museum. “Basquiat” runs until January 30, 2011.

LOUVRE SEEKS DONATIONS ONLINE

Paris’s Louvre has discovered yet another way of using the Internet. As Agence France-Presse reports, the museum has launched an online appeal for individual donations to acquire a painting by the German master Lucas Cranach. Cranach’s The Three Graces, which has remained in private collections since its completion in 1531, is considered to be a Renaissance masterpiece. The museum is hoping to raise an extra one million euros online from the five million needed to acquire the work for its permanent collection. “We have put together three-quarters of the sum,” said director Henri Loyrette, “which means there must be a last effort in order for this painting to be able to join the national collections.” Each donor can decide upon the amount for the fundraising project, which continues until the January 31, 2011. The painting, suspected to be the result of a private commission, has never been shown in public and has been kept since 1932 by the same collector who has chosen to remain anonymous.

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