Brücke is Germany’s most important contribution to international modernism. The group was formed in Dresden in 1905 by the four young architecture students <a target="_blank" href=https://www.mutualart.com/Organization/Moderna-Museet--Stockholm/"/Artist/Ernst-Ludwig-Kirchner/45B4A510916A965F">Ernst Ludwig Kirchner</a>, <a target="_blank" href=https://www.mutualart.com/Organization/Moderna-Museet--Stockholm/"/Artist/Fritz-Bleyl/2E95E5D3AC8D8AC2">Fritz Bleyl</a>, <a target="_blank" href=https://www.mutualart.com/Organization/Moderna-Museet--Stockholm/"/Artist/Erich-Heckel/8064BA3FE8F031A1">Erich Heckel</a> and <a target="_blank" href=https://www.mutualart.com/Organization/Moderna-Museet--Stockholm/"/Artist/Karl-Schmidt-Rottluff/1BB674C71FD1FF84">Karl Schmidt-Rottluff</a>. Together they developed a painting style with vivid colours, simplified forms and large colour fields that express internal feelings, rather than reproducing an external reality.</p><p>Die Brücke (bridge) wanted to revive the field of art and break with the prevailing strict moral norms of the German Empire. The artists were inspired by the likes of Paul Gauguin, Vincent van Gogh and Edvard Munch, their motifs including people and nature. They engaged in nude studies, painted portraits, and depicted scenes from the studio where life and art merged. After relocating to the capital, Berlin, in 1911, big city life became another focus of their work.</p><p>Die Brücke formulated manifestos, invited supporters to become members, organised their own exhibitions and tours, as well as designing their own catalogues and posters. The group disbanded in 1913, but their collaboration and marketing strategies have been inspirational for several generations of artists.</p><p>The exhibition is a collaboration with the Brücke Museum in Berlin, which has the most extensive collection of the artist group’s work. The exhibition encompasses around two hundred artworks in a variety of media – painting, woodcuts, works on paper and sculpture.</p><p><br></p>" itemprop="description" />

Katalin Ladik</a>’s poetry, a pioneer of experimental sound, photography, and performance art. She has used her body and voice as both instrument and medium since the 1960s, in Central and Eastern Europe, where she was most active, and beyond. “Ooooooooo-pus” is the first major exhibition of her work in Scandinavia.</p><p>Language is at the heart of Katalin Ladik’s practice. Her expansive attitude to poetry materializes on the pages of her books, in music scores, on the wall, through concrete poems, and visual collages, almost all of them accompanied by sonic interpretations that show the artist’s extraordinary vocal range.</p><p>All these works speak to Ladik’s process of “logopoiesis”: to bring into existence new registers of language through acts of poetry, utterance, and visualization. Or, to follow the title of her eponymous 1976-album, a process of “phonopoetica”, to understand poetry through the voice.</p><p>Say the exhibition title out loud: nine times “O”, rounding your lips and vibrating your vocal cords, a short pause at the dash, and then the gentle push of “pus”. You have now entered the world of Katalin Ladik.</p><p>The visual and sonic poems also allow for a deeper understanding of Katalin Ladik’s work in performance, which is the red thread of throughout the exhibition. A clear feminist position emerges here, as Ladik provocatively challenged established traditions and gender roles by embodying their inherent contradictions. She simultaneously appears as male and female, covered and exposed, inviting and repelling, playful and severe.</p><p>“Ooooooooo-pus” highlight how Ladik’s multifaceted practice is imbued with religious, folkloric, and mythological motifs. After all, all the major themes in her work — language, nationalism, gender, femininity, the body, technology — are deeply mythological.</p><p>Ultimately, sound is the connecting tissue in the exhibition. Each gallery has its own soundtrack based on Ladik’s visual poetry, once again emphasizing that “Ooooooooo-pus” is an exhibition that needs to be said out loud, as it should be heard as much as seen.</p><p><br></p>" itemprop="description" />

Rauschenberg (1925–2008) is regarded as one of the most important artists of the post-war era and has influenced practitioners in a range of directions and practices, such as Pop, Neo-Dada, assemblage, Fluxus, Nouveau réalisme and performance art.</p><p>“Monogram”, which has been part of the Moderna Museet Collection since 1964, belongs to the works that Robert Rauschenberg called “combines” – a kind of hybrid between painting and sculpture. The angora goat was found by Rauschenberg in a used office furniture store and the work went through several reworkings before the goat was finally placed on the collage-like painting, where it now stands.</p><p>The work got its title from the way the horned goat and the car tire wrap around each other like the letters in a monogram. The interpretations of “Monogram” are many and in various ways they have been associated with Rauschenberg’s childhood in Texas, as well as with religion, sexuality and the city of New York.</p><p><br></p>" itemprop="description" />