Emilio Vedova, Berlin, 64, 1964, Courtesy Fondazione Emilio e Annabianca Vedova, Venedig, Italy, photo © Paolo Mussat Sartor

Emilio Vedova, Berlin, 64, 1964, Courtesy Fondazione Emilio e Annabianca Vedova, Venedig, Italy, photo © Paolo Mussat Sartor

Postwar: Art Between the Pacific and the Atlantic, 1945-1965 #postwar

Exhibition:

Image Trailer Postwar Play video

Trailer of the exhibition.

In order of appearance:

  1. Carl Andre, Timber Piece (Well), 1964/1970 | Museum Ludwig, Cologne, donation Ludwig, Cologne | © VG Bild-Kunst, Bonn 2016 | Foto: Rheinisches Bildarchiv Köln
  2. Karel Appel, Exodus No. 1, 1951, Private collection, Courtesy Blum & Poe, Los Angeles, © K. Appel Foundation/ VG Bild-Kunst, Bonn 2016
  3. Isamu Noguchi, Humpty Dumpty, 1946, Whitney Museum of American Art, New York, © The Isamu Noguchi Foundation and Garden Museum/ VG Bild-Kunst, Bonn 2016
  4. Maria Lassnig, Schwarzer Kopf des Vaters (Black Head of the Father), 1956/57, Maria Lassnig Foundation, Vienna, Maria Lassnig Stiftung / Englisch: © Maria Lassnig Foundation
  5. León Ferrari, The Western Christian Civilization (La civilización occidental y cristiana), 1965, © Fundación Augusto y León Ferrari. Arte y Acervo, Buenos Aires
  6. Gyula Kosice, Variation in Blue, 1945, Kosice Museum, Buenos Aires, © Gyula Kosice
  7. Lygia Clark, Contra Releva (Counter Relief), 1959, Paula and Jones Bergamin Collection, Rio de Janeiro, © Lygia Clark Foundation
  8. Sigmar Polke, Rasterzeichnung (Porträt Lee Harvey Oswald), 1963, Private collection, © The Estate of Sigmar Polke, Cologne / VG Bild-Kunst, Bonn 2016
  9. Willem de Kooning, Black Untitled, 1948, The Metropolitan Museum of Art, New York, © The Willem de Kooning Foundation, New York / VG Bild-Kunst, Bonn 2016
  10. Jacques (Mahé de la) Villeglé, “OUI”-Rue Notre-Dames-des Champs, 1958, Private collection, Courtesy Galerie Georges-Philippe & Nathalie Vallois, Paris, © VG Bild-Kunst, Bonn 2016
  11. Roy Lichtenstein, Atomic Burst, 1965, Modern Art Museum of Fort Worth, TX, The Benjamin J. Tillar Memorial Trust, © VG Bild-Kunst, Bonn 2016
  12. Movimento Nucleare (Enrico Baj, Sergio Dangelo, Joe C. Colombo), Nuclear Composition ("Nuclear Composition"), 1951, Private collection, Courtesy Archivio Baj, Vergiate
  13. Asger Jorn, De gule Øjne (Yellow Eyes), 1953, Galerie Van de Loo, Munich, © Donation Jorn, Silkeborg / VG Bild-Kunst, Bonn 2016
  14. Wassilij Jakowlew, Portrait of Georgy Zhukov, Marshal of the Soviet Union, 1946, The State Tretyakov Gallery, Moscow
  15. Andrzej Wróblewski, Rozstrzelanie z gestapowcem (Rozstrzelanie VI) / Execution with a Gestapo Man (Execution VI), 1949, Private collection of Wojtek Radlinski, Poland
  16. Gerard Sekoto, Head of a Man, 1963, Courtesy Grosvenor Gallery, London, © Gerard Sekoto Foundation/ VG Bild-Kunst, Bonn 2016
  17. Joseph Beuys, Hirschdenkmäler (Monuments to the Stag), 1949-58, Courtesy Galerie Thaddaeus Ropac, Paris - Salzburg © VG Bild-Kunst, Bonn 2016
  18. Ahmed Shibrain, Untitled, 1963, Iwalewahaus, University of Bayreuth, Bayreuth
  19. Georg Baselitz, Die große Nacht im Eimer, (Big Night Down The Drain), 1962/63, Collection of the artist, Munich © Georg Baselitz, 2016
  20. Enrico Baj, Nuclear Art and the BUM Manifesto, 1951, Collection of Anita Belenghi, Milan
  21. Ibrahim El-Salahi, Self-Portrait of Suffering, 1961, Iwalewa Haus, University of Bayreuth, Bayreuth © VG Bild-Kunst, Bonn 2016
  22. Jean Dubuffet, La Dame au Pompon, 1946, National Gallery of Art, Washington D.C., USA, Chester Dale Fund 1986.11.1 © VG Bild-Kunst, Bonn, 2016
  23. Jean Dubuffet, Corps de dame – Pièce de boucherie, 1950, Fondation Beyeler, Basel, © VG Bild-Kunst, Bonn 2016
  24. Niki de Saint Phalle, Grand Tir – Séance de la Galérie J, 1961, Private collection, Courtesy Galerie Georges-Philippe & Nathalie Vallois, Paris, © Niki Charitable Art Foundation / VG Bild-Kunst, Bonn 2016
  25. Ivan Kožarić, Figura, 1956, Museum of Contemporary Art, Zagreb, Courtesy City of Zagreb, Studio Kožarić
  26. Willem de Kooning, Woman, 1953-54, Brooklyn Museum, New York, © The Willem de Kooning Foundation, New York / VG Bild-Kunst, Bonn 2016
  27. Sandú Darié, Sin Título, (Estructura Transformable) [Untitled, (Transformable Structure)], ca. 1950s, Private collection, London, Courtesy David Zwirner, New York/London
  28. Alberto Burri, Sacco e oro (Sackcloth and Gold), 1953, Fondazione Palazzo Albizzini Collezione Burri, Città di Castello, © VG Bild-Kunst, Bonn 2016
  29. Frank Bowling, Swan II, 1964, Courtesy of the Artist and Hales Gallery, © VG Bild-Kunst, Bonn 2016
  30. Lee Bontecou, Untitled, 1962, The Museum of Fine Arts, Houston, Gift of D. and J. de Menil
  31. Charles Hossein Zenderoudi, The Sun and the Lion, 1960, Grey Art Gallery. New York University Art Collection. Gift of Abby Weed Grey, 1975, © VG Bild-Kunst, Bonn 2016
  32. Fateh al-Moudarres, Untitled, 1962, Mathaf: Arab Museum of Modern Art, Doha, Qatar
  33. Asger Jorn, Il Delinquente, 1956, Galerie Van de Loo, Munich, © Donation Jorn, Silkeborg / VG Bild-Kunst, Bonn 2016
  34. Joseph Beuys, Hirschdenkmäler (Monuments to the Stag), 1949-58, Courtesy Galerie Thaddaeus Ropac, Paris - Salzburg © VG Bild-Kunst, Bonn, 2016
  35. Robert Indiana, The Confederacy Alabama, 1965, Miami University Art Museum, Oxford, Ohio, © Morgan Art Foundation / ARS, New York / VG Bild-Kunst, Bonn 2016
  36. Maqbool Fida Husain, Man, 1951, Peabody Essex Museum, Salem, Massachusetts
  37. Renato Guttuso, Boogie Woogie, 1953, Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Trento e Rovereto, © VG Bild-Kunst, Bonn 2016
  38. Alberto Giacometti, La Cage [première version], 1949-1950, Fondation Alberto et Annette Giacometti, Paris, © Alberto Giacometti Estate (Fondation Alberto et Annette Giacometti, ADAGP) Paris, 2016
  39. Ivo Gattin, Red Surface with Two Slashes, 1962, Marinko Sudac Collection, Zagreb
  40. Ben Enwonwu, Going, 1961, University of Lagos
  41. Ibrahim El-Salahi, Vision of the Tomb, 1965, The Africa Center, formerly the Museum for African Art © VG Bild-Kunst, Bonn 2016
  42. Ibrahim El-Salahi, The Prayer, 1960, Iwalewa Haus, University of Bayreuth, Bayreuth © VG Bild-Kunst, Bonn 2016
  43. Anwar Jalal Shemza, City Wall, 1960, Private collection, New York, © Estate of Anwar Jalal Shemza
  44. Joaquim Rodrigo, Kultur 1962, Museu Nacional de Arte Contemporânea do Chiado, Lisbon
  45. Robert Rauschenberg, Axle, 1964, Museum Ludwig, Cologne, donation Ludwig, Cologne, © Robert Rauschenberg Foundation / VG Bild-Kunst, Bonn 2016
  46. Carol Rama, Tovaglia (Table Cloth), 1951, Courtesy Galerie Isabella Bortolozzi, Berlin
  47. Viktor Efimovich Popkov, The Builders of Bratsk, 1960, The State Tretyakov Gallery, Moscow, © VG Bild-Kunst, Bonn 2016
  48. Jackson Pollock, There Were Seven in Eight, c.1945, The Museum of Modern Art, New York, © Pollock-Krasner Foundation/ VG Bild-Kunst, Bonn 2016
  49. On Kawara, Thinking, 1952, Chiba City Museum of Art, Chiba
  50. Joseph Beuys, Hirschdenkmäler (Monuments to the Stag), 1949-58, Courtesy Galerie Thaddaeus Ropac, Paris - Salzburg © VG Bild-Kunst, Bonn, 2016
  51. Joan Mitchell, Lucky Seven, 1962, Berardo Museum, Lisbon, © Estate of Joan Mitchell
  52. Siah Armajani, Shirt #1, 1958, The Metropolitan Museum of Art, New York, © Siah Armajani / VG Bild-Kunst, Bonn 2016
  53. Joseph Beuys, Hirschdenkmäler (Monuments to the Stag), 1949-58, Courtesy Galerie Thaddaeus Ropac, Paris - Salzburg © VG Bild-Kunst, Bonn, 2016
  54. Marta Minujín, My Mattress, 1962, Collection of the artist, Buenos Aires, © Marta Minujin
  55. Mawalan Marika, Sydney from the Air, 1963, National Museum of Australia, Canberra, © VG Bild-Kunst, Bonn 2016
  56. Maruki Iri & Toshi, Fire (Panel II) from Hiroshima Panels (series of 15 panels), 1950-82, Maruki Gallery, Higashi-Matsuyama, Saitama, Japan, © Maruki gallery for the Hiroshima panels
  57. Maruki Iri & Toshi, Fire (Panel II) from Hiroshima Panels (series of 15 panels), 1950-82, Maruki Gallery, Higashi-Matsuyama, Saitama, Japan, © Maruki gallery for the Hiroshima panels
  58. David Medalla, Cloud Gates, Museo Nacional Centro de Arte Reina Sofia, Madrid, Long-term loan of Baró Galería, Sao Paulo, 2014
  59. Pablo Picasso, Massacre in Korea, 1951, Musée national Picasso, Paris, © Succession Picasso / VG Bild-Kunst, Bonn 2016
  60. Enrico Baj, Nuclear Art and the BUM Manifesto, 1951, Collection of Anita Belenghi, Milan
  61. Colette Oluwabamise Omogbai, Agony, 1963, Iwalewahaus, University of Bayreuth, Bayreuth
  62. Helen Frankenthaler, Lorelei, 1957, Brooklyn Museum, New York, © Helen Frankenthaler Foundation Inc./ VG Bild-Kunst, Bonn 2016
  63. Antonio Berni, La pampa tormentosa [The Stormy Pampas], 1963, Private collection of Inés Berni, Buenos Aires
  64. Emilio Vedova, Berlin, 64, 1964, © Fondazione Emilio e Annabianca Vedova, Venezia, Photo © Paolo Mussat Sartor
  65. Lucio Fontana, Concetto Spaziale, 1949, Fondazione Lucio Fontana, Milan, © Lucio Fontana by SIAE / VG Bild-Kunst, Bonn 2016
  66. Ellsworth Kelly, Spectrum Colors Arranged by Chance V, 1951, © Estate of the artist, Spencertown, Studio Ellsworth Kelly
  67. Atsuko Tanaka, Electric Dress, Atsuko Tanaka, Electric Dress, 1956, Takamatsu Art Museum, © Kanayama Akira and Tanaka Atsuko Association
  68. Gego, Vibracion en negro, 1957, The Museum of Fine Arts, Houston, Fundación Gego Collection at the Museum of Fine Arts, Houston, © Fundación Gego
  69. Francis Bacon, Fragment of a Crucifixion, 1950, Collection Van Abbemuseum, Eindhoven, The Netherlands, © The Estate of Francis Bacon. All Rights reserved/ VG Bild-Kunst, Bonn 2016
  70. Eduardo Paolozzi, Robot, c.1956, Courtesy Grosvenor Gallery, London, © Trustees of the Paolozzi Foundation, Licensed by/ VG Bild-Kunst, Bonn 2016
  71. Francis Newton Souza, Degenerates, 1957, Courtesy of Aicon Gallery © Estate of FN Souza. All rights reserved / VG Bild-Kunst, Bonn 2016
  72. Valentin Ngwenya Malangatana, Untitled, 1961, Iwalewahaus, University of Bayreuth, Bayreuth
  73. Carolee Schneemann, Colorado House, 1958, Courtesy Hales Gallery, © VG Bild-Kunst, Bonn 2016
  74. Wifredo Lam, Lunguanda Yembe, 1950, Museu Coleção Berardo, Lisbon, © VG Bild-Kunst, Bonn 2016

Despite thorough research it was not always possible to determine the identity of the copyright holders for all images. We ask copyright holders with justified claims to contact Haus der Kunst.

"Postwar: art Between the Pacific and the Atlantic, 1945-1965" examines the vibrant and turbulent postwar period as a global phenomenon for the first time in recent exhibition history. In eight dramatic chapters, the exhibition guides visitors through the first 20 years following the end of World War II, demonstrating how artists coped with and responded to the traumas of the Holocaust, the atomic bombs on Hiroshima and Nagasaki; how the two political blocs of the Cold War exploited the arts and created competition between realism and abstraction, and how displacement and migration produced new cosmopolitan contexts across the world. The postwar period also marked the end of European colonial systems; the rise of nation-building, decolonization and liberation movements; the partition of countries in Europe, Asia, and the Middle East; as well as the civil rights movement in the United States. These changes unleashed an incredible energy
visible in the art of the time. New technologies began to pour into everyday life; the space age fascinated artists as well as the masses, opening up a completely new and dynamic field of artistic consideration.

As an in-depth, global study, the exhibition shows painting, sculpture, installation, collage, performance, film, artist books, documents, photography, in total more than 350 works by 218 artists from 65 countries.

Rauschenberg Axle Museum Ludwig 1500

Robert Rauschenberg, Axle, 1964, Museum Ludwig, donation Ludwig, Cologne © Robert Rauschenberg Foundation / VG Bild-Kunst, Bonn 2016

The term "Postwar" describes the historical period following the end of World War II in 1945. These years delineate the decisive defeat of Germany in Europe and of Japan in Asia, marking a turning point in global history. In the field of art, the postwar period marks a particular historical and cultural turning point, too, for it brought about the waning dominance of Western European art capitals and the rise of the international presence and hegemony of contemporary American art, popular culture, and mass media. The state of the arts also revealed a distinct ideological fault line: Behind the terms "socialist realism" and "abstraction" the simplifying binary between communism and capitalist democracy, socialism and liberal democracy was cast against the backdrop of the Cold War, which often obscured more complex motivations for artistic production.

Fangor Figures Muzeum Sztuki W Lodzi Frei

Wojciech Fangor, Postaci (Figuren), 1950. Muzeum Sztuki in Łódź. Courtesy Galeria Stefan Szydlowski

On a global scale, however, several factors complicated this binary — decolonization struggles, independence movements, and anti-colonial resistance in Africa, Asia, and the Middle East — even as the Cold War powers courted and sought control of the new nations. These increasingly independent actors suggested quite different orientations and alliances — including pan-Africanism and the Non-Aligned Movement — in the wake of imperialism and the end of the war.

Reflecting on the varied trajectories of thinking of this period "Postwar: art Between the Pacific and the Atlantic, 1945-1965"  maps the itineraries of art and politics that interlocked the world into a single entity. The question was asked everywhere: what would global modernity look like? If we are to refigure the cartographies of postwar modernism, what sort of methodologies might we deploy? To what extent did the political exert pressure on the aesthetic, or the cultural on the artistic? In turn, how did artists, critics, and intellectuals negotiate, resist, or even subvert political ideologies or cultural nationalism?

Zenderoudi The Sun And The Lion Grey Art Gallery Nyu Art Collection

Charles Hossein Zenderoudi, The Sun and the Lion, 1960. Grey Art Gallery. New York - © VG Bild-Kunst, Bonn 2016

Probing differing concepts of artistic modernity — such as abstraction, realism, figuration, and representation — the exhibition explores how individual receptions and formulations of modernism informed the variant manifestations of modern art. By following these divergent and convergent vectors of influence, the exhibition invites reflection on the development of art that straddles continents, political structures, economic patterns, and institutional frameworks.

Yet in another sense, "Postwar: art Between the Pacific and the Atlantic, 1945-1965" is entirely unprecedented, in that for the first time it examines art of the postwar era from multiple perspectives — East and West, North and South, colonizer and colonized, Pacific and Atlantic. Organized in eight thematic sections, "Postwar" illuminates these epochal social changes – "Aftermath: Zero Hour and the Atomic Era"; "Form Matters"; "New Images of Man"; "Realisms"; "Concrete Visions"; "Cosmopolitan Modernisms"; "Nations Seeking Form"; "Networks, Media, and Communication".

Maruki Fire Panel Ii Right Maruki Gallery For The Hiroshima Panels Foundation 1500

Maruki Iri und Toshi, Fire (Panel II), from the series Hiroshima Panels (15 Panels), 1950-82, Maruki Gallery, Higashi-Matsuyama, Saitama, Japan

Public tours

Haus der Kunst offers guided tours of the exhibition "Postwar: Art Between the Pacific and the Atlantic, 1945-1965" in German several times a week (2 € / person). Public tours in English take place every Friday at 6:30 pm alternating with the other exhibitions at Haus der Kunst.

Additional services such as "Art After Work", "Art Cocktail", "Art, Coffee, Cake", and "Do you speak art?" (in German) can be found here.

Each of these tours can also be booked in English at the time of your choice.
Reservation is required.

Tours in English

Tours in German

No tours scheduled in German

Private tours

Private tours can also be booked for the time of your choice.

Info & Reservation:
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Under the patronage of Frank-Walter Steinmeier, Foreign Minister of the Federal Republic of Germany