ArtSlant - Recently added http://www.artslant.com/ams/Events/show en-us 40 - Galerie Juliètte Jongma - September 27th 5:00 PM - 10:00 PM <p style="text-align: justify;">Hosted by Galerie Juliette Jongma&nbsp;and Kunstverein.</p> <p style="text-align: justify;"><strong>Eau de Cologne&nbsp;</strong>is an anti-fashion show and a raw punk, fuzz-pop festival.</p> <p style="text-align: justify;"><strong>Eau de Cologne</strong>&nbsp;takes its name from Monika Spr&uuml;th&rsquo;s radical female only in-house gallery magazine by the same title, published only three times between 1985-1993.</p> <p style="text-align: justify;">With k.i. Beyonc&eacute;, Michiel Ceulers and Anthony Salvador, Echo + Seashell, Laurent-David Garnier, Richard John Jones, Nancy Acid, Ana Navas and introducing I&rsquo;m With Her Records. Hot dogs by Ron Blaauw.</p> <div style="text-align: left;">Line-up:<br />17.00 &nbsp;Ana Navas performance<br />&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Michiel Ceulers and Anthony Salvador&nbsp;solo exhibition at Galerie Juliette Jongma<br />18.00 &nbsp;Hot dogs food<br />19.00 &nbsp;Richard John Jones performance<br />20.00 &nbsp;Echo + Seashell plugged<br />21.00 &nbsp;Nancy Acid unplugged&nbsp;</div> <p style="text-align: left;">Thanks to Stadsdeel Zuid and Amsterdams Fonds voor de Kunst</p> Tue, 23 Sep 2014 06:12:39 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list - eye - October 22nd 2:00 PM - 3:30 PM <div class="panel-col"> <div class="panel-pane pane-entity-field pane-node-body"> <div class="pane-content"> <div class="body"> <p class="intro" style="text-align: justify;">With<em> Solid Light Films and Other Works (1971-2014)</em> EYE presents the first solo exhibition of British artist Anthony McCall in the Netherlands. Since the 1970s McCall has produced a remarkable body of work that includes drawing, performance and &ndash; most importantly for this exhibition &ndash; large-scale light projection installations, so-called solid light films. These sculptural light projections are at once minimalist in form and magical in effect, theoretical in essence and visceral when experienced. The solid light films are in a permanent state of flux, consistently refusing to be classified by the confined categories of art history, such as &lsquo;sculpture&rsquo; and &lsquo;film&rsquo;.</p> <p style="text-align: justify;">McCall&rsquo;s consistent refusal to conform to rigid art and film historical classifications is one of the reasons for presenting his work at EYE. &nbsp;The show reflects one of the key objectives of EYE&rsquo;s exhibition programme that is to show how the medium of film also develops outside the auditorium of conventional cinema. In this light, McCall&rsquo;s work exceeds conventional expectations of what film can be or do. After all, it is film in the sense that the work is rooted in the essentials of film, but also visual art, as it contains many aspects that previously belonged to that domain.<br /><br />McCall&rsquo;s work reveals how the medium of film also develops outside its traditional venue of the cinema auditorium. It derives from the artistic context of the nineteen sixties and early seventies, in which performance art, minimal art, expanded cinema, structural film and conceptual art played an important role. Artists such as Andy Warhol, Richard Serra, John Cage and Allan Kaprov provides the rich, multidisciplinary foil against which to read McCall&rsquo;s projections<br /><br /><strong>Solid Light Films</strong><br />In McCall&rsquo;s first solid light film Line Describing a Cone (1973) a white dot on the screen gradually grows into a full circle. With the help of artificial haze, the light beam becomes highly visible so that the initial thin line projecting the dot slowly turns into a hollow cone: a &lsquo;line describing a cone&rsquo;. Entering the dark, misty space, the visitor immediately turns to the projector from which emanates the light cone wrapping around his/her body like a large halo.<br /><br />With this work McCall set out to examine the foundations of film while simultaneously offering a critique of the cinema industry. McCall turns cinema&rsquo;s raison d&rsquo;&ecirc;tre on its head and draws the viewer&rsquo;s attention away from the projected image towards the projection beam itself. By presenting his work in a museum space, McCall also challenges the visitor to relate physically to the moving light sculptures. The haze in the gallery space enforces the bodily and intimate encounter between the viewer and the solid light films. It produces a kind of thick, &lsquo;soft&rsquo; atmosphere in which audience and work become immediately embalmed, connected.<br /><br /><strong>Development</strong><br />In the late 1970s McCall&rsquo;s art practice gradually moved away from film installations. However, after working as a graphic designer for twenty years, McCall was invited to present Line Describing a Cone at the ground-breaking exhibition Into the Light at the New York Whitney Museum in 2001. Improved technical conditions, such as easy-to-handle projectors and controllable hazers enabled the reinstallation of his work. Furthermore, digital design software allowed McCall to revisit and expand on his &lsquo;70s works.<br /><br />McCall made his first digital solid light film Doubling Back in 2003. This consists of two projected wave forms, which slowly travel across each other.<br /><br />The exhibition at EYE features numerous early works by McCall; drawings, photographic works, performance and slide pieces, which formed the overtures to his first solid light film. It also traces the gradual development from the early works Line Describing a Cone and Four Projected Movements (1975) &ndash; which will be presented digitally in the exhibition &ndash; to the first and later digitally produced installations Doubling Back (2003) and Face to Face (2013), McCall&rsquo;s first expanded, double projection piece. Finally, the exhibition also presents Travelling Wave (1972/2013). This work holds a unique position in McCall&rsquo;s oeuvre as it is purely sound-based.<br /><br />The exhibition is curated by Jaap Guldemond (EYE&rsquo;s Director of Exhibitions) and experimental film buff Dr Maxa Zoller, freelance curator and publicist.<br /><br /><strong>Publication</strong><br />The exhibition is complemented by the publication Anthony McCall, Face to Face. This book contains an interview with the artist by co-curator Maxa Zoller, an essay by art historian Luke Smythe and McCall&rsquo;s reflections on his own work. These texts are accompanied by an extensive selection of reproductions showing McCall&rsquo;s large-scale light projections and works on paper. The result is rich and nuanced impression of McCall&rsquo;s fascinating oeuvre.<br />Published by EYE in collaboration with nai010 publishers. 168 pp. &euro; 19.50 For more information on the book or to order a copy, contact Ester Martens, pr/marketing, nai010 publishers, 010-2010132 (direct), <a href="mailto:ester@nai010.com" rel="nofollow">ester@nai010.com</a> / <a href="http://www.nai010.com/mccall" rel="nofollow" target="_blank">www.nai010.com/mccall</a></p> </div> </div> </div> </div> Mon, 22 Sep 2014 16:00:57 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list - eye - October 18th 2:00 PM - 3:30 PM <div class="panel-col"> <div class="panel-pane pane-entity-field pane-node-body"> <div class="pane-content"> <div class="body"> <p class="intro" style="text-align: justify;">With<em> Solid Light Films and Other Works (1971-2014)</em> EYE presents the first solo exhibition of British artist Anthony McCall in the Netherlands. Since the 1970s McCall has produced a remarkable body of work that includes drawing, performance and &ndash; most importantly for this exhibition &ndash; large-scale light projection installations, so-called solid light films. These sculptural light projections are at once minimalist in form and magical in effect, theoretical in essence and visceral when experienced. The solid light films are in a permanent state of flux, consistently refusing to be classified by the confined categories of art history, such as &lsquo;sculpture&rsquo; and &lsquo;film&rsquo;.</p> <p style="text-align: justify;">McCall&rsquo;s consistent refusal to conform to rigid art and film historical classifications is one of the reasons for presenting his work at EYE. &nbsp;The show reflects one of the key objectives of EYE&rsquo;s exhibition programme that is to show how the medium of film also develops outside the auditorium of conventional cinema. In this light, McCall&rsquo;s work exceeds conventional expectations of what film can be or do. After all, it is film in the sense that the work is rooted in the essentials of film, but also visual art, as it contains many aspects that previously belonged to that domain.<br /><br />McCall&rsquo;s work reveals how the medium of film also develops outside its traditional venue of the cinema auditorium. It derives from the artistic context of the nineteen sixties and early seventies, in which performance art, minimal art, expanded cinema, structural film and conceptual art played an important role. Artists such as Andy Warhol, Richard Serra, John Cage and Allan Kaprov provides the rich, multidisciplinary foil against which to read McCall&rsquo;s projections<br /><br /><strong>Solid Light Films</strong><br />In McCall&rsquo;s first solid light film Line Describing a Cone (1973) a white dot on the screen gradually grows into a full circle. With the help of artificial haze, the light beam becomes highly visible so that the initial thin line projecting the dot slowly turns into a hollow cone: a &lsquo;line describing a cone&rsquo;. Entering the dark, misty space, the visitor immediately turns to the projector from which emanates the light cone wrapping around his/her body like a large halo.<br /><br />With this work McCall set out to examine the foundations of film while simultaneously offering a critique of the cinema industry. McCall turns cinema&rsquo;s raison d&rsquo;&ecirc;tre on its head and draws the viewer&rsquo;s attention away from the projected image towards the projection beam itself. By presenting his work in a museum space, McCall also challenges the visitor to relate physically to the moving light sculptures. The haze in the gallery space enforces the bodily and intimate encounter between the viewer and the solid light films. It produces a kind of thick, &lsquo;soft&rsquo; atmosphere in which audience and work become immediately embalmed, connected.<br /><br /><strong>Development</strong><br />In the late 1970s McCall&rsquo;s art practice gradually moved away from film installations. However, after working as a graphic designer for twenty years, McCall was invited to present Line Describing a Cone at the ground-breaking exhibition Into the Light at the New York Whitney Museum in 2001. Improved technical conditions, such as easy-to-handle projectors and controllable hazers enabled the reinstallation of his work. Furthermore, digital design software allowed McCall to revisit and expand on his &lsquo;70s works.<br /><br />McCall made his first digital solid light film Doubling Back in 2003. This consists of two projected wave forms, which slowly travel across each other.<br /><br />The exhibition at EYE features numerous early works by McCall; drawings, photographic works, performance and slide pieces, which formed the overtures to his first solid light film. It also traces the gradual development from the early works Line Describing a Cone and Four Projected Movements (1975) &ndash; which will be presented digitally in the exhibition &ndash; to the first and later digitally produced installations Doubling Back (2003) and Face to Face (2013), McCall&rsquo;s first expanded, double projection piece. Finally, the exhibition also presents Travelling Wave (1972/2013). This work holds a unique position in McCall&rsquo;s oeuvre as it is purely sound-based.<br /><br />The exhibition is curated by Jaap Guldemond (EYE&rsquo;s Director of Exhibitions) and experimental film buff Dr Maxa Zoller, freelance curator and publicist.<br /><br /><strong>Publication</strong><br />The exhibition is complemented by the publication Anthony McCall, Face to Face. This book contains an interview with the artist by co-curator Maxa Zoller, an essay by art historian Luke Smythe and McCall&rsquo;s reflections on his own work. These texts are accompanied by an extensive selection of reproductions showing McCall&rsquo;s large-scale light projections and works on paper. The result is rich and nuanced impression of McCall&rsquo;s fascinating oeuvre.<br />Published by EYE in collaboration with nai010 publishers. 168 pp. &euro; 19.50 For more information on the book or to order a copy, contact Ester Martens, pr/marketing, nai010 publishers, 010-2010132 (direct), <a href="mailto:ester@nai010.com" rel="nofollow">ester@nai010.com</a> / <a href="http://www.nai010.com/mccall" rel="nofollow" target="_blank">www.nai010.com/mccall</a></p> </div> </div> </div> </div> Mon, 22 Sep 2014 16:00:44 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list - eye - October 16th 2:00 PM - 3:30 PM <div class="panel-col"> <div class="panel-pane pane-entity-field pane-node-body"> <div class="pane-content"> <div class="body"> <p class="intro" style="text-align: justify;">With<em> Solid Light Films and Other Works (1971-2014)</em> EYE presents the first solo exhibition of British artist Anthony McCall in the Netherlands. Since the 1970s McCall has produced a remarkable body of work that includes drawing, performance and &ndash; most importantly for this exhibition &ndash; large-scale light projection installations, so-called solid light films. These sculptural light projections are at once minimalist in form and magical in effect, theoretical in essence and visceral when experienced. The solid light films are in a permanent state of flux, consistently refusing to be classified by the confined categories of art history, such as &lsquo;sculpture&rsquo; and &lsquo;film&rsquo;.</p> <p style="text-align: justify;">McCall&rsquo;s consistent refusal to conform to rigid art and film historical classifications is one of the reasons for presenting his work at EYE. &nbsp;The show reflects one of the key objectives of EYE&rsquo;s exhibition programme that is to show how the medium of film also develops outside the auditorium of conventional cinema. In this light, McCall&rsquo;s work exceeds conventional expectations of what film can be or do. After all, it is film in the sense that the work is rooted in the essentials of film, but also visual art, as it contains many aspects that previously belonged to that domain.<br /><br />McCall&rsquo;s work reveals how the medium of film also develops outside its traditional venue of the cinema auditorium. It derives from the artistic context of the nineteen sixties and early seventies, in which performance art, minimal art, expanded cinema, structural film and conceptual art played an important role. Artists such as Andy Warhol, Richard Serra, John Cage and Allan Kaprov provides the rich, multidisciplinary foil against which to read McCall&rsquo;s projections<br /><br /><strong>Solid Light Films</strong><br />In McCall&rsquo;s first solid light film Line Describing a Cone (1973) a white dot on the screen gradually grows into a full circle. With the help of artificial haze, the light beam becomes highly visible so that the initial thin line projecting the dot slowly turns into a hollow cone: a &lsquo;line describing a cone&rsquo;. Entering the dark, misty space, the visitor immediately turns to the projector from which emanates the light cone wrapping around his/her body like a large halo.<br /><br />With this work McCall set out to examine the foundations of film while simultaneously offering a critique of the cinema industry. McCall turns cinema&rsquo;s raison d&rsquo;&ecirc;tre on its head and draws the viewer&rsquo;s attention away from the projected image towards the projection beam itself. By presenting his work in a museum space, McCall also challenges the visitor to relate physically to the moving light sculptures. The haze in the gallery space enforces the bodily and intimate encounter between the viewer and the solid light films. It produces a kind of thick, &lsquo;soft&rsquo; atmosphere in which audience and work become immediately embalmed, connected.<br /><br /><strong>Development</strong><br />In the late 1970s McCall&rsquo;s art practice gradually moved away from film installations. However, after working as a graphic designer for twenty years, McCall was invited to present Line Describing a Cone at the ground-breaking exhibition Into the Light at the New York Whitney Museum in 2001. Improved technical conditions, such as easy-to-handle projectors and controllable hazers enabled the reinstallation of his work. Furthermore, digital design software allowed McCall to revisit and expand on his &lsquo;70s works.<br /><br />McCall made his first digital solid light film Doubling Back in 2003. This consists of two projected wave forms, which slowly travel across each other.<br /><br />The exhibition at EYE features numerous early works by McCall; drawings, photographic works, performance and slide pieces, which formed the overtures to his first solid light film. It also traces the gradual development from the early works Line Describing a Cone and Four Projected Movements (1975) &ndash; which will be presented digitally in the exhibition &ndash; to the first and later digitally produced installations Doubling Back (2003) and Face to Face (2013), McCall&rsquo;s first expanded, double projection piece. Finally, the exhibition also presents Travelling Wave (1972/2013). This work holds a unique position in McCall&rsquo;s oeuvre as it is purely sound-based.<br /><br />The exhibition is curated by Jaap Guldemond (EYE&rsquo;s Director of Exhibitions) and experimental film buff Dr Maxa Zoller, freelance curator and publicist.<br /><br /><strong>Publication</strong><br />The exhibition is complemented by the publication Anthony McCall, Face to Face. This book contains an interview with the artist by co-curator Maxa Zoller, an essay by art historian Luke Smythe and McCall&rsquo;s reflections on his own work. These texts are accompanied by an extensive selection of reproductions showing McCall&rsquo;s large-scale light projections and works on paper. The result is rich and nuanced impression of McCall&rsquo;s fascinating oeuvre.<br />Published by EYE in collaboration with nai010 publishers. 168 pp. &euro; 19.50 For more information on the book or to order a copy, contact Ester Martens, pr/marketing, nai010 publishers, 010-2010132 (direct), <a href="mailto:ester@nai010.com" rel="nofollow">ester@nai010.com</a> / <a href="http://www.nai010.com/mccall" rel="nofollow" target="_blank">www.nai010.com/mccall</a></p> </div> </div> </div> </div> Mon, 22 Sep 2014 16:00:17 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list - eye - October 15th 2:00 PM - 3:30 PM <div class="panel-col"> <div class="panel-pane pane-entity-field pane-node-body"> <div class="pane-content"> <div class="body"> <p class="intro" style="text-align: justify;">With<em> Solid Light Films and Other Works (1971-2014)</em> EYE presents the first solo exhibition of British artist Anthony McCall in the Netherlands. Since the 1970s McCall has produced a remarkable body of work that includes drawing, performance and &ndash; most importantly for this exhibition &ndash; large-scale light projection installations, so-called solid light films. These sculptural light projections are at once minimalist in form and magical in effect, theoretical in essence and visceral when experienced. The solid light films are in a permanent state of flux, consistently refusing to be classified by the confined categories of art history, such as &lsquo;sculpture&rsquo; and &lsquo;film&rsquo;.</p> <p style="text-align: justify;">McCall&rsquo;s consistent refusal to conform to rigid art and film historical classifications is one of the reasons for presenting his work at EYE. &nbsp;The show reflects one of the key objectives of EYE&rsquo;s exhibition programme that is to show how the medium of film also develops outside the auditorium of conventional cinema. In this light, McCall&rsquo;s work exceeds conventional expectations of what film can be or do. After all, it is film in the sense that the work is rooted in the essentials of film, but also visual art, as it contains many aspects that previously belonged to that domain.<br /><br />McCall&rsquo;s work reveals how the medium of film also develops outside its traditional venue of the cinema auditorium. It derives from the artistic context of the nineteen sixties and early seventies, in which performance art, minimal art, expanded cinema, structural film and conceptual art played an important role. Artists such as Andy Warhol, Richard Serra, John Cage and Allan Kaprov provides the rich, multidisciplinary foil against which to read McCall&rsquo;s projections<br /><br /><strong>Solid Light Films</strong><br />In McCall&rsquo;s first solid light film Line Describing a Cone (1973) a white dot on the screen gradually grows into a full circle. With the help of artificial haze, the light beam becomes highly visible so that the initial thin line projecting the dot slowly turns into a hollow cone: a &lsquo;line describing a cone&rsquo;. Entering the dark, misty space, the visitor immediately turns to the projector from which emanates the light cone wrapping around his/her body like a large halo.<br /><br />With this work McCall set out to examine the foundations of film while simultaneously offering a critique of the cinema industry. McCall turns cinema&rsquo;s raison d&rsquo;&ecirc;tre on its head and draws the viewer&rsquo;s attention away from the projected image towards the projection beam itself. By presenting his work in a museum space, McCall also challenges the visitor to relate physically to the moving light sculptures. The haze in the gallery space enforces the bodily and intimate encounter between the viewer and the solid light films. It produces a kind of thick, &lsquo;soft&rsquo; atmosphere in which audience and work become immediately embalmed, connected.<br /><br /><strong>Development</strong><br />In the late 1970s McCall&rsquo;s art practice gradually moved away from film installations. However, after working as a graphic designer for twenty years, McCall was invited to present Line Describing a Cone at the ground-breaking exhibition Into the Light at the New York Whitney Museum in 2001. Improved technical conditions, such as easy-to-handle projectors and controllable hazers enabled the reinstallation of his work. Furthermore, digital design software allowed McCall to revisit and expand on his &lsquo;70s works.<br /><br />McCall made his first digital solid light film Doubling Back in 2003. This consists of two projected wave forms, which slowly travel across each other.<br /><br />The exhibition at EYE features numerous early works by McCall; drawings, photographic works, performance and slide pieces, which formed the overtures to his first solid light film. It also traces the gradual development from the early works Line Describing a Cone and Four Projected Movements (1975) &ndash; which will be presented digitally in the exhibition &ndash; to the first and later digitally produced installations Doubling Back (2003) and Face to Face (2013), McCall&rsquo;s first expanded, double projection piece. Finally, the exhibition also presents Travelling Wave (1972/2013). This work holds a unique position in McCall&rsquo;s oeuvre as it is purely sound-based.<br /><br />The exhibition is curated by Jaap Guldemond (EYE&rsquo;s Director of Exhibitions) and experimental film buff Dr Maxa Zoller, freelance curator and publicist.<br /><br /><strong>Publication</strong><br />The exhibition is complemented by the publication Anthony McCall, Face to Face. This book contains an interview with the artist by co-curator Maxa Zoller, an essay by art historian Luke Smythe and McCall&rsquo;s reflections on his own work. These texts are accompanied by an extensive selection of reproductions showing McCall&rsquo;s large-scale light projections and works on paper. The result is rich and nuanced impression of McCall&rsquo;s fascinating oeuvre.<br />Published by EYE in collaboration with nai010 publishers. 168 pp. &euro; 19.50 For more information on the book or to order a copy, contact Ester Martens, pr/marketing, nai010 publishers, 010-2010132 (direct), <a href="mailto:ester@nai010.com" rel="nofollow">ester@nai010.com</a> / <a href="http://www.nai010.com/mccall" rel="nofollow" target="_blank">www.nai010.com/mccall</a></p> </div> </div> </div> </div> Mon, 22 Sep 2014 15:59:33 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Anthony McCall - eye - September 28th 2:30 PM - 4:30 PM <div class="panel-col"> <div class="panel-pane pane-entity-field pane-node-body"> <div class="pane-content"> <div class="body"> <p class="intro" style="text-align: justify;">With<em> Solid Light Films and Other Works (1971-2014)</em> EYE presents the first solo exhibition of British artist Anthony McCall in the Netherlands. Since the 1970s McCall has produced a remarkable body of work that includes drawing, performance and &ndash; most importantly for this exhibition &ndash; large-scale light projection installations, so-called solid light films. These sculptural light projections are at once minimalist in form and magical in effect, theoretical in essence and visceral when experienced. The solid light films are in a permanent state of flux, consistently refusing to be classified by the confined categories of art history, such as &lsquo;sculpture&rsquo; and &lsquo;film&rsquo;.</p> <p style="text-align: justify;">McCall&rsquo;s consistent refusal to conform to rigid art and film historical classifications is one of the reasons for presenting his work at EYE. &nbsp;The show reflects one of the key objectives of EYE&rsquo;s exhibition programme that is to show how the medium of film also develops outside the auditorium of conventional cinema. In this light, McCall&rsquo;s work exceeds conventional expectations of what film can be or do. After all, it is film in the sense that the work is rooted in the essentials of film, but also visual art, as it contains many aspects that previously belonged to that domain.<br /><br />McCall&rsquo;s work reveals how the medium of film also develops outside its traditional venue of the cinema auditorium. It derives from the artistic context of the nineteen sixties and early seventies, in which performance art, minimal art, expanded cinema, structural film and conceptual art played an important role. Artists such as Andy Warhol, Richard Serra, John Cage and Allan Kaprov provides the rich, multidisciplinary foil against which to read McCall&rsquo;s projections<br /><br /><strong>Solid Light Films</strong><br />In McCall&rsquo;s first solid light film Line Describing a Cone (1973) a white dot on the screen gradually grows into a full circle. With the help of artificial haze, the light beam becomes highly visible so that the initial thin line projecting the dot slowly turns into a hollow cone: a &lsquo;line describing a cone&rsquo;. Entering the dark, misty space, the visitor immediately turns to the projector from which emanates the light cone wrapping around his/her body like a large halo.<br /><br />With this work McCall set out to examine the foundations of film while simultaneously offering a critique of the cinema industry. McCall turns cinema&rsquo;s raison d&rsquo;&ecirc;tre on its head and draws the viewer&rsquo;s attention away from the projected image towards the projection beam itself. By presenting his work in a museum space, McCall also challenges the visitor to relate physically to the moving light sculptures. The haze in the gallery space enforces the bodily and intimate encounter between the viewer and the solid light films. It produces a kind of thick, &lsquo;soft&rsquo; atmosphere in which audience and work become immediately embalmed, connected.<br /><br /><strong>Development</strong><br />In the late 1970s McCall&rsquo;s art practice gradually moved away from film installations. However, after working as a graphic designer for twenty years, McCall was invited to present Line Describing a Cone at the ground-breaking exhibition Into the Light at the New York Whitney Museum in 2001. Improved technical conditions, such as easy-to-handle projectors and controllable hazers enabled the reinstallation of his work. Furthermore, digital design software allowed McCall to revisit and expand on his &lsquo;70s works.<br /><br />McCall made his first digital solid light film Doubling Back in 2003. This consists of two projected wave forms, which slowly travel across each other.<br /><br />The exhibition at EYE features numerous early works by McCall; drawings, photographic works, performance and slide pieces, which formed the overtures to his first solid light film. It also traces the gradual development from the early works Line Describing a Cone and Four Projected Movements (1975) &ndash; which will be presented digitally in the exhibition &ndash; to the first and later digitally produced installations Doubling Back (2003) and Face to Face (2013), McCall&rsquo;s first expanded, double projection piece. Finally, the exhibition also presents Travelling Wave (1972/2013). This work holds a unique position in McCall&rsquo;s oeuvre as it is purely sound-based.<br /><br />The exhibition is curated by Jaap Guldemond (EYE&rsquo;s Director of Exhibitions) and experimental film buff Dr Maxa Zoller, freelance curator and publicist.<br /><br /><strong>Publication</strong><br />The exhibition is complemented by the publication Anthony McCall, Face to Face. This book contains an interview with the artist by co-curator Maxa Zoller, an essay by art historian Luke Smythe and McCall&rsquo;s reflections on his own work. These texts are accompanied by an extensive selection of reproductions showing McCall&rsquo;s large-scale light projections and works on paper. The result is rich and nuanced impression of McCall&rsquo;s fascinating oeuvre.<br />Published by EYE in collaboration with nai010 publishers. 168 pp. &euro; 19.50 For more information on the book or to order a copy, contact Ester Martens, pr/marketing, nai010 publishers, 010-2010132 (direct), <a href="mailto:ester@nai010.com" rel="nofollow">ester@nai010.com</a> / <a href="http://www.nai010.com/mccall" rel="nofollow" target="_blank">www.nai010.com/mccall</a></p> </div> </div> </div> </div> Mon, 22 Sep 2014 15:56:16 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Anthony McCall - eye - September 28th - November 30th <div class="panel-col"> <div class="panel-pane pane-entity-field pane-node-body"> <div class="pane-content"> <div class="body"> <p class="intro" style="text-align: justify;">With<em> Solid Light Films and Other Works (1971-2014)</em> EYE presents the first solo exhibition of British artist Anthony McCall in the Netherlands. Since the 1970s McCall has produced a remarkable body of work that includes drawing, performance and &ndash; most importantly for this exhibition &ndash; large-scale light projection installations, so-called solid light films. These sculptural light projections are at once minimalist in form and magical in effect, theoretical in essence and visceral when experienced. The solid light films are in a permanent state of flux, consistently refusing to be classified by the confined categories of art history, such as &lsquo;sculpture&rsquo; and &lsquo;film&rsquo;.</p> <p style="text-align: justify;">McCall&rsquo;s consistent refusal to conform to rigid art and film historical classifications is one of the reasons for presenting his work at EYE. &nbsp;The show reflects one of the key objectives of EYE&rsquo;s exhibition programme that is to show how the medium of film also develops outside the auditorium of conventional cinema. In this light, McCall&rsquo;s work exceeds conventional expectations of what film can be or do. After all, it is film in the sense that the work is rooted in the essentials of film, but also visual art, as it contains many aspects that previously belonged to that domain.<br /><br />McCall&rsquo;s work reveals how the medium of film also develops outside its traditional venue of the cinema auditorium. It derives from the artistic context of the nineteen sixties and early seventies, in which performance art, minimal art, expanded cinema, structural film and conceptual art played an important role. Artists such as Andy Warhol, Richard Serra, John Cage and Allan Kaprov provides the rich, multidisciplinary foil against which to read McCall&rsquo;s projections<br /><br /><strong>Solid Light Films</strong><br />In McCall&rsquo;s first solid light film Line Describing a Cone (1973) a white dot on the screen gradually grows into a full circle. With the help of artificial haze, the light beam becomes highly visible so that the initial thin line projecting the dot slowly turns into a hollow cone: a &lsquo;line describing a cone&rsquo;. Entering the dark, misty space, the visitor immediately turns to the projector from which emanates the light cone wrapping around his/her body like a large halo.<br /><br />With this work McCall set out to examine the foundations of film while simultaneously offering a critique of the cinema industry. McCall turns cinema&rsquo;s raison d&rsquo;&ecirc;tre on its head and draws the viewer&rsquo;s attention away from the projected image towards the projection beam itself. By presenting his work in a museum space, McCall also challenges the visitor to relate physically to the moving light sculptures. The haze in the gallery space enforces the bodily and intimate encounter between the viewer and the solid light films. It produces a kind of thick, &lsquo;soft&rsquo; atmosphere in which audience and work become immediately embalmed, connected.<br /><br /><strong>Development</strong><br />In the late 1970s McCall&rsquo;s art practice gradually moved away from film installations. However, after working as a graphic designer for twenty years, McCall was invited to present Line Describing a Cone at the ground-breaking exhibition Into the Light at the New York Whitney Museum in 2001. Improved technical conditions, such as easy-to-handle projectors and controllable hazers enabled the reinstallation of his work. Furthermore, digital design software allowed McCall to revisit and expand on his &lsquo;70s works.<br /><br />McCall made his first digital solid light film Doubling Back in 2003. This consists of two projected wave forms, which slowly travel across each other.<br /><br />The exhibition at EYE features numerous early works by McCall; drawings, photographic works, performance and slide pieces, which formed the overtures to his first solid light film. It also traces the gradual development from the early works Line Describing a Cone and Four Projected Movements (1975) &ndash; which will be presented digitally in the exhibition &ndash; to the first and later digitally produced installations Doubling Back (2003) and Face to Face (2013), McCall&rsquo;s first expanded, double projection piece. Finally, the exhibition also presents Travelling Wave (1972/2013). This work holds a unique position in McCall&rsquo;s oeuvre as it is purely sound-based.<br /><br />The exhibition is curated by Jaap Guldemond (EYE&rsquo;s Director of Exhibitions) and experimental film buff Dr Maxa Zoller, freelance curator and publicist.<br /><br /><strong>Publication</strong><br />The exhibition is complemented by the publication Anthony McCall, Face to Face. This book contains an interview with the artist by co-curator Maxa Zoller, an essay by art historian Luke Smythe and McCall&rsquo;s reflections on his own work. These texts are accompanied by an extensive selection of reproductions showing McCall&rsquo;s large-scale light projections and works on paper. The result is rich and nuanced impression of McCall&rsquo;s fascinating oeuvre.<br />Published by EYE in collaboration with nai010 publishers. 168 pp. &euro; 19.50 For more information on the book or to order a copy, contact Ester Martens, pr/marketing, nai010 publishers, 010-2010132 (direct), <a href="mailto:ester@nai010.com" rel="nofollow">ester@nai010.com</a> / <a href="http://www.nai010.com/mccall" rel="nofollow" target="_blank">www.nai010.com/mccall</a></p> </div> </div> </div> </div> Mon, 22 Sep 2014 15:54:42 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Herman de Vries - Art Affairs - September 25th - January 24th, 2015 <p style="text-align: justify;">starting as of now, herman de vries will be in the picture for a full year!<br /> <br /> a large and beautiful survey of his work in the stedelijk museum of schiedam opened september 20 (running through january 18, 2015); at the same time, more recent work is on show in the 'ketel factory', schiedam.<br /> <br /> an exhibition catalogue, as well as a new book have been published: "herman de vries &ndash; overal stroomt mijn oog" by cees de boer (dutch language).<br /> <br /> spring 2015, the famous museum kr&ouml;ller-m&uuml;ller in otterlo will follow with a survey of de vries' drawings from the period 1970-1975.<br /> <br /> working for over 40 years with this artist, art affairs supports the museum presentations showing works of all periods available to the public.<br /> <br /> and last but not least, herman de vries is selected to represent the netherlands at the venice biennale 2015; this show is curated by colin huizing &amp; cees de boer.</p> Mon, 22 Sep 2014 15:45:26 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Jean-Baptiste Maitre - Martin Van Zomeren - October 11th - November 15th Mon, 22 Sep 2014 15:35:44 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Pat Andrea - Galerie Ramakers - October 12th - November 9th Mon, 22 Sep 2014 15:34:55 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Dan Walwin - Galerie Fons Welters - October 11th - November 15th Mon, 22 Sep 2014 15:31:12 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Femmy Otten - Galerie Fons Welters - October 11th - November 15th Mon, 22 Sep 2014 15:31:05 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Pieter Hugo - Cokkie Snoei Rotterdam - October 11th - November 15th <p style="text-align: justify;">Kin is a bittersweet perspective on Hugo's homeland of South Africa. It is a meditation on the ideals of home, both familial and humanistic. It explores the tenuous ties that both bind us to and repel us from others.</p> <p style="text-align: justify;">The exhibition is located at the gallery in Rotterdam, both rooms</p> <p class="text" style="text-align: justify;">&nbsp;</p> Mon, 22 Sep 2014 15:28:54 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list - Stedelijk Museum Schiedam - November 14th - December 5th Fri, 19 Sep 2014 14:27:36 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Kristina Benjocki, Sebastian Diaz Morales, Peter Fengler, Priscila Fernandes, Daniele Genadry, Walid Sadek, Rayyane Tabet, Esmé Valk, Cynthia Zaven - Stedelijk Museum (Bureau Amsterdam) - September 13th - November 9th <p class="flindent" style="text-align: justify;"><span style="font-size: small; color: #000000;"><strong><strong>Stedelijk Museum Bureau Amsterdam presents <em>This is the Time. This is the Record of the Time</em>, a collaborative project with the American University of Beirut (AUB) Art Gallery, developed by curators Angela Harutyunyan and Nat Muller. The exhibition features newly commissioned works by nine artists based in Lebanon and the Netherlands. <em>This is the Time. This is the Record of the Time</em> is the second of four exhibitions in SMBA in the series of the Stedelijk Museum&rsquo;s Global Collaborations programme. The show will travel to AUB Art Gallery in March 2015.</strong><br /></strong></span></p> <p class="flindent" style="text-align: justify;"><span style="font-size: small; color: #000000;"><em>This is the Time. This is the Record of the Time</em> takes its cue from Laurie Anderson&rsquo;s ominous 1982 song <em>From the Air</em>. Anderson&rsquo;s song <a class="dic" style="color: #003b00;" href="http://www.smba.nl/en/dictionary/depict/"><span style="color: #000000;">depict</span></a>s a feeling of imminent disaster, characterized by a loss of control over our agency and positioning in the world. We seem to live in an era of acceleration, ever-expanding and dominating technology, and ongoing crises that are more than ever before <a class="dic" style="color: #00ff00;" href="http://www.smba.nl/en/dictionary/experience/"><span style="color: #000000;">experience</span></a>d on a global scale. While we can share our daily events to a degree that was not possible before, we seem to have less <a class="dic" style="color: #00c300;" href="http://www.smba.nl/en/dictionary/power/"><span style="color: #000000;">power</span></a> over the course that the world is taking. Although we are constantly exposed to the various histories in the making, because of the incessant news feeds, social media and other recording devices we might understand less of our current times as we become overloaded with information. Events <a class="dic" style="color: #00ff00;" href="http://www.smba.nl/en/dictionary/play/"><span style="color: #000000;">play</span></a> out in real-time, we have them at our fingertips, but does that really help shed light on our current condition? Angela Harutyunyan and Nat Muller suggest that we are in dire need of reconsidering how we <a class="dic" style="color: #00ff00;" href="http://www.smba.nl/en/dictionary/experience/"><span style="color: #000000;">experience</span></a> and record our times.</span></p> <p class="flindent" style="text-align: justify;"><span style="font-size: small; color: #000000;"><em>This is the Time. This is the Record of the Time</em> activates different temporalities and calls on us to pause and reflect, even if only for a <a class="dic" style="color: #00b400;" href="http://www.smba.nl/en/dictionary/moment/"><span style="color: #000000;">moment</span></a>. The artists investigate to what extent the recording mechanisms and <a class="dic" style="color: #00ff00;" href="http://www.smba.nl/en/dictionary/material/"><span style="color: #000000;">material</span></a> recordings of our lived times represent and <a class="dic" style="color: #004900;" href="http://www.smba.nl/en/dictionary/influence/"><span style="color: #000000;">influence</span></a> our <a class="dic" style="color: #002d00;" href="http://www.smba.nl/en/dictionary/perception/"><span style="color: #000000;">perception</span></a> of temporality. The works engage with hi<a class="dic" style="color: #00ab00;" href="http://www.smba.nl/en/dictionary/story/"><span style="color: #000000;">story</span></a>, politics, form, social and <a class="dic" style="color: #00bc00;" href="http://www.smba.nl/en/dictionary/individual/"><span style="color: #000000;">individual</span></a> narrative and lived <a class="dic" style="color: #00ff00;" href="http://www.smba.nl/en/dictionary/experience/"><span style="color: #000000;">experience</span></a> from a <a class="dic" style="color: #00ff00;" href="http://www.smba.nl/en/dictionary/contemporary/"><span style="color: #000000;">contemporary</span></a> angle that looks into the past and at the present <a class="dic" style="color: #00b400;" href="http://www.smba.nl/en/dictionary/moment/"><span style="color: #000000;">moment</span></a>, and glances into the <a class="dic" style="color: #00ff00;" href="http://www.smba.nl/en/dictionary/future/"><span style="color: #000000;">future</span></a>. Rather than making sweeping generalisations or seeking truths, many works in the exhibition are personal and open-ended, hinting at the suggestion that &ldquo;records of the time&rdquo; are always partial, incomplete and subjective. Take for example Rayyane Tabet&rsquo;s site-specific durational <a class="dic" style="color: #003400;" href="http://www.smba.nl/en/dictionary/intervention/"><span style="color: #000000;">intervention</span></a> &ndash; for a week &ndash; where he covers the exhibition space in pencil tally marks. Or Kristina Benjocki&rsquo;s reinterpretation and re<a class="dic" style="color: #00ff00;" href="http://www.smba.nl/en/dictionary/material/"><span style="color: #000000;">material</span></a>ization of Yugoslav hi<a class="dic" style="color: #00ab00;" href="http://www.smba.nl/en/dictionary/story/"><span style="color: #000000;">story</span></a>, by <a class="dic" style="color: #008100;" href="http://www.smba.nl/en/dictionary/transform/"><span style="color: #000000;">transform</span></a>ing excerpts of hi<a class="dic" style="color: #00ab00;" href="http://www.smba.nl/en/dictionary/story/"><span style="color: #000000;">story</span></a> books into woven carpets.</span></p> <hr /> <p class="flindent" style="text-align: justify;"><span style="font-size: small; color: #000000;"><strong>Stedelijk Museum Bureau Amsterdam presenteert <em>This is the Time. This is the Record of the Time</em>, een samenwerkingsproject met de American University of Beirut (AUB) Art Gallery in Libanon, ontwikkeld door gastcuratoren Angela Harutyunyan en Nat Muller. De tentoonstelling toont nieuw werk van negen in Nederland en Libanon gevestigde kunstenaars. <em>This is the Time. This is the Record of the Time</em> is de tweede van vier presentaties in SMBA in de reeks van het Global Collaborations-<a class="dic" style="color: #00ff00;" href="http://www.smba.nl/nl/dictionary/programma/"><span style="color: #000000;">programma</span></a> van het Stedelijk Museum. <br /></strong></span></p> <p class="flindent" style="text-align: justify;"><span style="font-size: small; color: #000000;"><strong> De tentoonstelling reist in maart 2015 door naar AUB Art Gallery in Beiroet. </strong></span></p> <p class="flindent" style="text-align: justify;"><span style="font-size: small; color: #000000;">De titel van <em>This is the Time. This is the Record of the Time</em> komt uit Laurie Andersons onheilspellende song <em>From the Air</em> uit 1982. Anderson schetst hierin een beeld van een naderende ramp gekenmerkt door het verlies van controle over ons handelen en onze positionering in de wereld. De <a class="dic" style="color: #00ff00;" href="http://www.smba.nl/nl/dictionary/tijd/"><span style="color: #000000;">tijd</span></a> waarin we <a class="dic" style="color: #00c000;" href="http://www.smba.nl/nl/dictionary/leven/"><span style="color: #000000;">leven</span></a> lijkt er een van voortdurende versnelling, immer groeiende en dominerende technologie, en een toenemend aantal crisissen die op mondiale schaal worden ervaren. Terwijl we dagelijkse gebeurtenissen kunnen delen op een schaal die voorheen niet mogelijk was, lijken we minder macht te hebben over de koers van de wereld. Door de onophoudelijke stroom aan <em>newsfeeds, social media</em> en andere manieren van registreren, staan we in voortdurende verbinding met de <a class="dic" style="color: #00cd00;" href="http://www.smba.nl/nl/dictionary/geschiedenis/"><span style="color: #000000;">geschiedenis</span></a> in ontwikkeling. Toch lijken we minder van onze huidige <a class="dic" style="color: #00ff00;" href="http://www.smba.nl/nl/dictionary/tijd/"><span style="color: #000000;">tijd</span></a> te kunnen begrijpen. Gebeurtenissen spelen zich <em>live</em> af, binnen handbereik, maar kunnen we de huidige stand van zaken ook echt begrijpen? Angela Harutyunyan en Nat Muller suggereren in hun tentoonstelling een heroverweging hoe we onze <a class="dic" style="color: #00ff00;" href="http://www.smba.nl/nl/dictionary/tijd/"><span style="color: #000000;">tijd</span></a> ervaren en vastleggen.</span></p> <p class="flindent" style="text-align: justify;"><span style="font-size: small; color: #000000;"><em>This is the Time. This is the Record of the Time</em> spoort aan tot pauzering en beschouwing, al is het maar voor even. De kunstenaars gaan in op registratietechnieken en materi&euml;le opnames die onze perceptie van <a class="dic" style="color: #00ff00;" href="http://www.smba.nl/nl/dictionary/tijd/"><span style="color: #000000;">tijd</span></a> representeren en be&iuml;nvloeden. Via <a class="dic" style="color: #00cd00;" href="http://www.smba.nl/nl/dictionary/geschiedenis/"><span style="color: #000000;">geschiedenis</span></a>, politiek, esthetiek en collectieve en <a class="dic" style="color: #004500;" href="http://www.smba.nl/nl/dictionary/individu/"><span style="color: #000000;">individu</span></a>ele verhalen, werpen de kunstwerken een blik op het verleden, het heden, en de toekomst. In plaats van generaliserende statements of het poneren van waarheden zijn de werken in de tentoonstelling juist persoonlijk en open. Ze zinspelen op de suggestie dat een &lsquo;record of the time&rsquo; al<a class="dic" style="color: #00ff00;" href="http://www.smba.nl/nl/dictionary/tijd/"><span style="color: #000000;">tijd</span></a> gedeeltelijk, onvolledig en subjectief is. Neem bijvoorbeeld Rayyane Tabet&rsquo;s plaats- en <a class="dic" style="color: #00ff00;" href="http://www.smba.nl/nl/dictionary/tijd/"><span style="color: #000000;">tijd</span></a>sbepaald werk waarvoor hij een week lang de tentoonstellings<a class="dic" style="color: #00ff00;" href="http://www.smba.nl/nl/dictionary/ruimte/"><span style="color: #000000;">ruimte</span></a> in SMBA met telstreepjes zal markeren. Of de herinterpretatie van de Joegoslavische <a class="dic" style="color: #00cd00;" href="http://www.smba.nl/nl/dictionary/geschiedenis/"><span style="color: #000000;">geschiedenis</span></a> door Kristina Benjocki, die fragmenten uit <a class="dic" style="color: #00cd00;" href="http://www.smba.nl/nl/dictionary/geschiedenis/"><span style="color: #000000;">geschiedenis</span></a>boeken omzet in geweven tapijt.</span></p> <p>&nbsp;</p> Fri, 19 Sep 2014 14:22:44 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Group Show - Rijksmuseum Amsterdam - November 1st - January 11th, 2015 <p class="text-intro text-strong" style="text-align: justify;"><span style="font-size: small;">Running from 1 November 2014 &ndash; 11 January 2015, 'Modern Times. Photography in the 20th Century' will be the Rijksmuseum&rsquo;s first ever photography exhibition to showcase the outstanding collection of 20,000 20th-century works that it has amassed since deciding in 1994 to extend its photographic holdings beyond the 19th century.</span></p> <div class="text-free-input clearfix"> <p style="text-align: justify;"><span style="font-size: small;">In a display of more than 400 images, the exhibition will trace photography&rsquo;s key developments during the 20th century, including the introduction of colour, the growth of documentary and news photography, and photography as a pure art form. A wide-ranging overview, it will also explore photography&rsquo;s role in fashion and advertising and will feature some amateur works.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Rare photographs by Brassa&iuml;, Ed van der Elsken, John Gutmann, Lewis Hine, William Klein, Jacques-Henri Lartigue, Joel Meyerowitz, L&aacute;szl&oacute; Moholy-Nagy, Eadweard Muybridge, Man Ray and W. Eugene Smith will be displayed as part of the exhibition <em>Modern Times. Photography in the 20th Century</em>. This major photographic survey will inaugurate the Rijksmuseum&rsquo;s newly renovated Philips Wing, the final stage in the museum&rsquo;s recent acclaimed transformation.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition and its accompanying publication, <em>Modern Times. Photography in the 20th Century</em>, have been made possible thanks to the long-standing sponsorship of <a href="https://www.rijksmuseum.nl/en/join-us/our-sponsors/baker-mckenzie">Baker &amp; McKenzie</a>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The Rijksmuseum in Amsterdam is the Netherlands national museum dedicated to arts and history. The Museum&rsquo;s Philips Wing, newly renovated by Spanish architects Cruz y Ortiz, will open its doors for the first time on 1 November 2014 with the launch of <em>Modern Times. Photography in the 20th Century,</em> the inaugural exhibition, which will occupy all nine of the Wing&rsquo;s new exhibition rooms.</span></p> <h3 style="text-align: justify;"><span style="font-size: small;">From Muybridge to Sassen</span></h3> <p style="text-align: justify;"><span style="font-size: small;"><em>Modern Times</em> ranges over the whole of the 20th century, and also spans the decades on either side. The earliest images are Eadweard Muybridge&rsquo;s motion studies, including a galloping horse from 1887, and George Hendrik Breitner&rsquo;s early photographs. The exhibition&rsquo;s most recent works were shot in Suriname in 2013 by the exciting Dutch photographer Viviane Sassen. Among the rarest masterpieces are photographs by John Gutmann (<em>Olympic diver</em>), L&aacute;szl&oacute; Moholy-Nagy (<em>Pont Transbordeur</em>), Man Ray&rsquo;s Peggy Guggenheim, Lartigue&rsquo;s early photographs of home-made aeroplanes and Joel Meyerowitz&rsquo;s <em>Moon Launch</em>.</span></p> <h3 style="text-align: justify;"><span style="font-size: small;">Vintage</span></h3> <p style="text-align: justify;"><span style="font-size: small;"><em>Modern Times. Photography in the 20th Century</em> is the Rijksmuseum&rsquo;s first major presentation to the public of the 20th-century photography collection that it has amassed over the past two decades. During that time the collection has earned international acclaim, both for its range and depth. It is especially remarkable for its large number of original vintage prints, which are often extremely rare. In many cases, the Rijksmuseum holds the only original print known to exist of an image, or that is, at the very most, one of just a few.</span></p> <h3 style="text-align: justify;"><span style="font-size: small;">Development of the 20th-century photographic collection</span></h3> <p style="text-align: justify;"><span style="font-size: small;">The Rijksmuseum has assembled an international collection of 20,000 20th-century photographs since it began updating its collection of 19th-century photography in 1994. The Rijksmuseum&rsquo;s total photography collection comprises more than 130,000 photos. The exhibition <em>Modern Times</em> is the sequel to the large-scale retrospective exhibition in 1996: <em>A New Art. Photography in the 19th Century.</em></span></p> <h3 style="text-align: justify;"><span style="font-size: small;">Baker &amp; McKenzie</span></h3> <p style="text-align: justify;"><span style="font-size: small;">Since 2007, the international law firm Baker &amp; McKenzie has been a dedicated sponsor of the Rijksmuseum. The firm&rsquo;s contribution has enabled the Rijksmuseum to purchase more than 90 major photographic works over the years in a collection including work by L&aacute;szl&oacute; Moholy-Nagy, Bill Brandt, Robert Capa and Helen Levitt. Thanks to Baker &amp; McKenzie Amsterdam, the Rijksmuseum has been able to substantially expand, conserve and present to the general public its collection of 20th-century photography.</span></p> <h3 style="text-align: justify;"><span style="font-size: small;">Benefactors</span></h3> <p style="text-align: justify;"><span style="font-size: small;">The last 10 years the Rijksmuseum has been able to accumulate its collection of 20th-century photography thanks to the support of Baker &amp; McKenzie, the Rijksmuseum Fund (Familie W. Cordia, Paul Huf Fonds, Johan Huizinga Fonds, Fonds 1975 en Stefanie Georgina Alexa N&uuml;hn Fonds), the BankGiro Lottery, the Rembrandt Association (Vereniging Rembrandt) and Titus Cirkel.</span></p> <h3 style="text-align: justify;"><span style="font-size: small;">Publication</span></h3> <p style="text-align: justify;"><span style="font-size: small;">A richly illustrated publication will be released for the exhibition. Also entitled Modern Times. Photography in the 20th Century, it will be available in the Rijksshop, through the webshop and in bookstores.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Responsible for both the exhibition and its accompanying publication are Mattie Boom and Hans Rooseboom, Curators of Photography at the Rijksmuseum.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Modern Times. Photography in the 20th Century</em> </span><br /><span style="font-size: small;"> 1 November 2014 &ndash; 11 January 2015</span><br /><span style="font-size: small;"> Rijksmuseum, Museumstraat 1, 1071 XX Amsterdam, Netherlands</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Zeldzame foto&rsquo;s van wereldberoemde fotografen zoals Jacques-Henri Lartigue, Lewis Hine, L&aacute;szl&oacute; Moholy-Nagy, Man Ray, Brassa&iuml;, W. Eugene Smith, Ed van der Elsken en William Klein zijn vanaf 1 november 2014 te zien in de tentoonstelling 'Modern Times. Fotografie in de 20ste Eeuw'. Het is de eerste grote overzichtstentoonstelling 20ste-eeuwse fotografie uit eigen collectie die het Rijksmuseum presenteert.</span></p> <div class="text-free-input clearfix"> <p style="text-align: justify;"><span style="font-size: small;">Met ruim 400 foto&rsquo;s laat de tentoonstelling de grote ontwikkelingen zien die de fotografie in de 20ste eeuw doormaakte: de opkomst van de journalistieke fotografie, amateurfotografie, kleurenfotografie, mode- en reclamefotografie en fotografie als kunst. <em>Modern Times</em> toont een breed overzicht: van zuiver documentair tot autonoom kunstzinnig. En van Eadweard Muybridge tot Viviane Sassen.</span></p> <p style="text-align: justify;"><span style="font-size: small;">De tentoonstelling <em>Modern Times. Fotografie in de 20ste Eeuw</em> en de bijbehorende publicatie <em>Modern Times. Photography in the 20th Century</em> zijn mogelijk gemaakt door de jarenlange sponsoring van Baker &amp; McKenzie.</span></p> <h3 style="text-align: justify;"><span style="font-size: small;">Van Muybridge tot Sassen</span></h3> <p style="text-align: justify;"><span style="font-size: small;"><em>Modern Times</em> beslaat een &lsquo;lange 20ste eeuw&rsquo;. De vroegste foto&rsquo;s zijn de bewegingsstudies van Eadweard Muybridge met o.a. een galopperend paard uit 1887, gevolgd door vroege foto&rsquo;s van George Hendrik Breitner. De meest recente foto&rsquo;s maakte Viviane Sassen in Suriname in 2013. Haar kleurenfoto&rsquo;s worden internationaal zeer gewaardeerd. Tot de zeldzame topstukken behoren foto&rsquo;s van John Gutmann (<em>Olympische duikster</em>), L&aacute;szl&oacute; Moholy-Nagy (<em>Pont Transbordeur</em>), Man Ray&rsquo;s Peggy Guggenheim, Lartigue&rsquo;s vroege zelfbouw-vliegtuigjes en Joel Meyerowitz&rsquo; <em>Moon Launch.</em></span></p> <h3 style="text-align: justify;"><span style="font-size: small;">Vintage</span></h3> <p style="text-align: justify;"><span style="font-size: small;">Met de tentoonstelling <em>Modern Times. Photography in the 20th Century</em> treedt het Rijksmuseum voor het eerst naar buiten met fotografie die het de afgelopen tien jaar heeft verzameld. De collectie is inmiddels uitgegroeid tot een internationaal toonaangevende verzameling die gekenmerkt wordt door de grote hoeveelheid <em>vintage</em> afdrukken. Vaak gaat het om unieke exemplaren waarvan maar &eacute;&eacute;n of een handvol originele afdrukken bekend is.</span></p> <h3 style="text-align: justify;"><span style="font-size: small;">Totstandkoming collectie 20ste&ndash;eeuwse fotografie</span></h3> <p style="text-align: justify;"><span style="font-size: small;">Het Rijksmuseum heeft een internationale collectie 20ste-eeuwse fotografie bestaande uit in totaal 20.000 werken. De collectie 19de-eeuwse fotografie bestaat uit 130.000 werken. De tentoonstelling <em>Modern TImes</em> is het vervolg op de grote overzichtstentoonstelling in 1996, <em>Een nieuwe kunst. Fotografie in de 19de eeuw.</em></span></p> <h3 style="text-align: justify;"><span style="font-size: small;">Openingstentoonstelling Philipsvleugel</span></h3> <p style="text-align: justify;"><span style="font-size: small;"><em>Modern Times</em> is de openingstentoonstelling van de vernieuwde Philipsvleugel, de nieuwe tentoonstellingsvleugel van het Rijksmuseum die op 1 november 2014 haar deuren opent. De tentoonstelling beslaat alle negen tentoonstellingszalen. <em>Modern Times</em> is hier van 1 november 2014 tot en met 11 januari 2015 te zien.</span></p> <h3 style="text-align: justify;"><span style="font-size: small;">Document Nederland</span></h3> <p style="text-align: justify;"><span style="font-size: small;">Tegelijkertijd opent op 1 november in de nieuwe Philipsvleugel <em>Document Nederland</em>, de jaarlijkse foto-opdracht van het Rijksmuseum. De fotograaf Hans van der Meer fotografeerde het grensgebied van Nederland en Belgi&euml;.</span></p> <h3 style="text-align: justify;"><span style="font-size: small;">Baker &amp; McKenzie</span></h3> <p style="text-align: justify;"><span style="font-size: small;">Vanaf 2007 is <a href="https://www.rijksmuseum.nl/nl/steun-het-rijks/onze-sponsoren/baker-mckenzie">Baker &amp; McKenzie Amsterdam</a> toegewijd sponsor van het Rijksmuseum. Hun bijdrage heeft het Rijksmuseum door de jaren heen in staat gesteld ruim 90 foto&rsquo;s aan te kopen. In deze verzameling fotografie bevindt zich werk van fotografen als L&aacute;szl&oacute; Moholy-Nagy, Bill Brandt, Robert Capa en Helen Levitt.. Dankzij Baker &amp; McKenzie Amsterdam is het Rijksmuseum in staat gesteld de collectie 20ste- eeuwse fotografie uit te breiden, te behouden en te presenteren aan een groot publiek.</span></p> <h3 style="text-align: justify;"><span style="font-size: small;">Begunstigers</span></h3> <p style="text-align: justify;"><span style="font-size: small;">Baker &amp; McKenzie, het Rijksmuseum Fonds (Familie W. Cordia Fonds, het Paul Huf Fonds, het Johan Huizinga Fonds, het Fonds 1975 en het Stefanie Georgina Alexa N&uuml;hn Fonds), de BankGiroLoterij, de Vereniging Rembrandt en de Titus Cirkel hebben het Rijksmuseum de afgelopen 10 jaar in staat gesteld 20ste-eeuwse fotografie te verzamelen.</span></p> <h3 style="text-align: justify;"><span style="font-size: small;">Publicatie</span></h3> <p style="text-align: justify;"><span style="font-size: small;">Bij de tentoonstelling verschijnt een rijk ge&iuml;llustreerde publicatie onder de titel <em>Modern Times. Photography in the 20th Century</em>, Verkrijgbaar in de Rijksshop, webwinkel en in de boekhandel.</span></p> <p style="text-align: justify;"><span style="font-size: small;">De tentoonstelling en de bijbehorende publicatie zijn gemaakt door Mattie Boom en Hans Rooseboom, beiden conservator fotografie van het Rijksmuseum.</span></p> </div> </div> Fri, 19 Sep 2014 14:12:56 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list