• Max Ernst, Pétales et jardin de la nymphe Ancolie (Petals in the Garden of the Nymph Ancolie), 1934, oil on plaster transferred to block board panels, 13' 7 1/2“ x 17' 5”. © 2008 Estate of Max Ernst/Artists Rights Society (ARS), New York/ADAGP, Paris.

    “Max Ernst in the Garden of the Nymph Ancolie”

    The Menil Collection
    1533 Sul Ross Street
    October 31, 2008–February 15, 2009

    Curated by Josef Helfenstein and Annja Müller-Alsbach

    Heavily damaged on its lower half, then darkly overpainted and covered with varnish, Pétales et jardin de la nymphe Ancolie (Petals in the Garden of the Nymph Ancolie), 1934, languished for decades in the storage facilities of the Kunsthaus Zürich. Now, restored to its vivid-hued glory, Max Ernst’s monumental mural—which takes as its central motif a birdlike “nymph” emerging from an enormous red flower—goes on view for the first time since its original display in prewar Zurich, where it graced the walls of the Mascotte nightclub. For its US debut, Ancolie will be accompanied by some one hundred of the artist’s rarely exhibited paintings, drawings, and sculptures from the Menil’s renowned Surrealist collection, along with works selected by the Museum Tinguely in Basel—the mural’s home during restoration.

  • Cildo Meireles

    Museu d'Art Contemporani de Barcelona (MACBA)
    Plaça dels Angels, 1
    February 11–May 3, 2009

    The Museum of Fine Arts, Houston
    1001 Bissonnet
    June 7–September 20, 2009

    Tate Modern
    October 14, 2008–January 11, 2009

    Curated by Guy Brett and Vicente Todolí

    The Tate’s large survey promises to bring out the eclecticism of this major figure of Brazilian art. While associated primarily with Conceptual art of a political kind, Cildo Meireles has in fact pursued diverse fields of investigation—philosophical, anthropological, aesthetic, and ethical. The Tate presents about eighty works made between the 1960s and the present, ranging from whimsical spatial interventions to large installations that challenge the audience’s perceptual and intellectual capacities. The accompanying catalogue should stand out against a vast but not always exciting literature on this maverick artist.