Currents Winter 2018; Vol. 34, No. 1 - Page 32

In Hamburg American Women’s Club of Hamburg Deichtorhallen Halle für Aktuelle Kunst PROOF: Francusci Goya, Sergei Eisenstein, Robert Longo Through May 27 With works by Francisco Goya (1746–1828), Sergei Eisenstein (1898–1948), and Robert Longo (1953), the exhibition PROOF offers insights into the particular positions from which art- ists reflect on the social, cultural, and political complexities of their times. From the eighteenth to the twenty-first centuries across three continents, these three artists expe- rienced the turbulence of a turn of the century as well as the seismic effects of revolution, civil rights movements, and war. In the eighteenth and nine- teenth centuries, Goya chose the medium of printmaking for his socially critical series of works and haunting im- ages of war. Beginning in the 1920s, Eisenstein dealt with Russian his- tory in classic films such as The Battleship Potemkin (1925) and Ivan the Terrible (1945). The New York-based artist Robert Longo explores burn- ing contemporary issues such as terrorism, refugee movements, modern warfare, and symbols of power in his drawings ranging up to 7.5 meters in size. PROOF is initiated by Garage Museum of Contemporary Art, Moscow; curated by Garage chief curator, Kate Fowle in collaboration with Robert Longo. Haus der Photographie gute aussichten deluxe New German Photography of the Düsseldorf School Through May 21 The exhibit is the result of thirteen years of work on the young talent promotion proj- ect gute aussichten: New German Photography. Since 2004 the project has organized more than 130 exhibitions around the world for its now 114 award winners. gute aussichten deluxe presents twenty-five of the most out- standing photographers from among the award winners, whose work has continued to develop steadily and significantly during this time. The exhibition reflects the continuity and transformation of the medium of photography in all its facets and offers a unique overview of a generation of young photographers who have left behind their forma- tive influences from the Düsseldorf School and are visually clearly rooted in the present. 32