24. 01. 2014 – 16. 03. 2014

Justina M Barnicke Gallery
Hart House

University of Toronto
7 Hart House Circle

Toronto, ON M5S 3H3


A project by Charles Stankievech
During WWII, Sir Anthony Blunt was a spy who worked for the British counterintelligence Ministry of Security Service popularly known as MI5. After the war he was knighted and given several prestigious positions including Surveyor of the Kings Pictures, Director of the Courtauld Institute of Art, and consultant for the National Gallery of Canada, acquiring for the latter the early 17th C. painting Augustus and Cleopatra by Nicholas Poussin. However by the 1970s, cracks started publically surfacing in the dual identities of Poussin’s painting and Blunt’s persona—constructions that both hid a secret Ant(h)ony: that of the excluded Marc Antony in the painting and the secret life of Anthony Blunt outside of the painting. First in 1971, the National Gallery of Canada revoked Blunt’s attribution of the painting to Poussin relegating it to an unknown Italian painter—a decision never conceded by Blunt who maintained his original 1938 diagnosis to the end of his life. The crisis of identity doubled in 1978 with the parliamentary pronouncement by Prime Minister Margret Thatcher when she revealed to the public that Sir Blunt was a double agent working for the Soviets since the time he started his profession as an Art Historian at Cambridge, thus casting a dual blow to the legitimacy of both his “intelligences.” The British intelligence community already knew for decades that Blunt was part of the Cambridge Spy Ring, but Blunt had strategically negotiated immunity and secrecy in exchange for revealing information as a gambit that ultimately proved politically useless. In the end, Blunt has remained an enigma and his exposé posed more questions than answers: specifically, the question remains whether he was such an ambitious curator because of his passion for art, or whether his superlative professionalism was the perfect cover for his intelligence career; and generally, his narrative questions straightforward notions of agency, authorship and attribution that resonate beyond his particular circumstances. What appears at first to be a rare story in the art world reveals after some investigation a pattern of secret crossovers between two parallel worlds. (mehr)


37. Bremer Förderpreis für Bildende Kunst 2013

02. 03. – 04. 05. 2014

Opening: Sa., 01. 03 2014, 19 h

Tue.–Sat. 12 - 18 h
Sun. 11 - 18 h

Städtische Galerie Bremen
Buntentorsteinweg 112
28201 Bremen

What is Europe? Is there a European identity? Is Europe a place or rather an idea, as put forward by Bernard-Henri Lévy? Can we consider Europe as a political and cultural community, which consists of the sum of its individual members and thus from numerous national, regional units and individual identities? Or do we need to understand and live Europe as a singular, unique identity, so it has a future? Do we want to be and to become primarily Europeans or will we see ourselves more rooted in our national and cultural heritage?

In the exhibition "Who Makes Europe" young artists from different European countries raises these questions. On display are objects, videos and installations as well as graphics and computer-aided works.
The first exhibition was held in spring 2013 at the Cultural Center "Matadero" in Madrid.mehr

new release

Quick #10
Die Welt im Spiegel

44 pages, 14 x 20 cm, 2-coloured
ourpress, Berlin
7 Euro
limited to 250 copies