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Upcoming week at the 1st< /sup> edition of Amsterdam Art Fair\, Flatland G allery presents "light ruptures poetry" with Ruud van Empel\, Jeroen Robert Kramer\, Jocelyn Lee\, Sanja Maru&scaron\;ić\, E rwin Olaf\, Jaap Scheeren\, Anoek Steketee and Paolo Ventura on the AMSTERD AM ART FAIR at Citroë\;n Garage.

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Special guest of the gallery is the edgy &lsquo\;humanwear&rsquo\; fashion house of MAISON the FAUX consisting of the young tale nts Joris Suk\, Tessa de Boer and Hans Hutting. The arty-fashion hook up is to tease today&rsquo\;s art cliché\;s about the readymade. Can a tru e fitting room in the booth allow a conceptual transformation as a conseque nce of bringing it from the back of the catwalk surroundings to the white c ube of the gallery?

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In the booth of F latland MAISON the FAUX&rsquo\; latest designs have been set up in embarras sing glory. Let your self go in the privacy of the fitting room and take a selfie or try on one of the unique pieces of the HOUSE\; but watch out not to step into the buttercream frosted pink cupcake that was tossed on the fl oor by the fashionista that went in before you!

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 \;&lsquo\;The Fictional House&rsquo\;\, a rough translation of MAISON the FAUX\, is rooted in a great sense of humour and self-mockery \, combined with a deep love of fashion. MAISON the FAUX aspires to be an a ffectionate reaction to the current fashion industry and a big faux wink in the direction of an audience liberated enough to move freely through an of ten narrow-minded world.

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MAISON the FAUX started in July 2013\, when designer s Joris Suk\, Tessa de Boer &\; Hans Hutting graduated from the departme nt of Fashion Design (BA) at ArtEZ School of the Arts in Arnhem\; the birth place of MAISON the FAUX. After a graduation with honours\, MAISON the FAUX participated in the Much\, Much collective and stormed off to Paris Fashio n Week. A series of guerrilla fashion shows attracted widespread attention\ , offering a glimpse of the label&rsquo\;s unique signature. The fashion sh ow during the Mercedes Benz Fashion Week Amsterdam on 23 January 2014 symbo lized the official launch of the couture house MAISON the FAUX. Since the l aunch MAISON the FAUX designed two collections: &lsquo\; It&rsquo\;s cleani ng day&rsquo\; and &lsquo\; Make a U-turn if possible&rsquo\;. As head of t he creative team of MAISON the FAUX\, designers Joris Suk\, Tessa de Boer & amp\; Hans Hutting head the Arnhem-based fashion House. For every season an d project MAISON the FAUX collaborates with creative individuals\, the so c alled "Residents" looking to shake up the fashion scene\, create room for y oung designers and to innovate design and production.

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Flatland Gallery is a Dutch contemporary ar t gallery\, previously based in Utrecht and Paris\, and relocated in 2012 t o Amsterdam. The gallery is internationally acclaimed (especially) in the f ield of contemporary photography and has a high reputation for film\, video \, installations\, sculptures\, painting and drawings. The success of Flatl and Gallery over the last three decades can be attributed to the twin pilla rs of a cosmopolitan outlook and an independent standpoint. The gallery is defined by championing unknown artists. +

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Visitors are looked over by Fauve\, the black Flatco ated Retriever.

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VIP Opening Wed 27 May\, 17.00 - 21. 00 uur

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Flatland Galle ry@

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AMSTERDAM ART FAIR

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Kunsthal Citroë\ ;n

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27 May - 31 May 2015

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VIP o pening Wed 27 May\, 3.00 - 5.00 pm (invitation needed)

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VIP evening Opening Wed 27 May\, 5.00 - 9.00 pm (tickets can be bought a t the entrance!!!)

\n< p align="center">Amsterdamartfair.nl

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DTEND:20150527T210000 DTSTAMP:20150526T134917 DTSTART:20150527T150000 GEO:52.3601715;4.8918082 LOCATION:Flatland Gallery\,Lijnbaansgracht 314 \nAmsterdam\, 1017 WZ SEQUENCE:0 SUMMARY:AMSTERDAM ART FAIR\, Ruud Van Empel\, Jeroen Robert Kramer\, Jocely n Lee\, Sanja Marusic\, Erwin Olaf\, Jaap Scheeren\, Anoek Steketee\, Paolo Ventura UID:384821 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;Life is just more exciting with a camera in my hand. Taking pictures feels right\, more right than anything else in life. I have to respect and honor the insanity of it all. Photography is where we live. I&rsquo\;m going if you&rsquo\;re going . This is the road trip. This is how we do it. Join the circus and run away from home. The journey is the destination.&rdquo\; \;
Ryan M cGinley\, Purple Fashion #19\, 2013

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Kunsthal KAdE&rsquo\;s new summer exhibition is a majo r overview of work by American photographer Ryan McGinley (b. 1977\, New Je rsey\, US). The show will include works from every series and period in the photographer&rsquo\;s career\, from the gritty snapshots of his early life in the urban underworld of late-1990s Manhattan right through to his recen t\, highly aesthetic &lsquo\;road movie&rsquo\; photographs of young nudes shot amid the untamed nature of the rural United States.< br />
Over the last 15 years\, Ryan McGinley&rsquo\;s photographs have come to symbolise what is now known as the &lsquo\;hipster&rsquo\; or &lsq uo\;indie&rsquo\; generation. Ryan McGinley came to adulthood in the late & rsquo\;90s\, in the then still unruly skateboard and graffiti culture of th e Lower East Side area of New York&rsquo\;s Downtown Manhattan. He had his first encounter with a camera as a graphic design student in 1997 and immed iately began obsessively photographing everything in sight. He was a &lsquo \;photoblogger&rsquo\; avant la lettre\, producing paper &lsquo\;zines&rsqu o\; for distribution among his friends. At first\, his pictures showed his own immediate world: friends with whom he partied the night away\, the art scene in which he moved\, the urban subculture of which he was part\, and t he music world in which he hung out. He focused on what he saw around him\, presenting the sex\, the drugs\, the high jinks\, the petty crime and the night life just as it was. His pictures were shot in living rooms\, bathroo ms and railway tunnels\, on roofs\, in cafes and out on the streets. \;

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Nudity was always a regular feature\ , but in the early 00s it became Ryan McGinley&rsquo\;s main subject. The s hift was triggered by a trip he took to the state of Vermont in 2003. He sp ent the summer with a group of friends\, staying at a holiday home lent to him by a collector friend and took photographs of his companions in its rur al surroundings. The nudity of the models\, the &lsquo\;idyllic&rsquo\; lan dscape and the carefree and ebullient atmosphere of the resulting snapshot- like photographs were to become the components of McGinley&rsquo\;s signatu re style. \;
The relaxed playfulness of the images suggests comple te spontaneity. And to some extent the poses were indeed spontaneous. But t hey always sprang from an idea and a manipulated situation. McGinley compar es it to skateboarding\, where endless practice is required to make a trick look smooth and completely mastered. At that time\, Ryan McGinley was taki ng hundreds of photographs to find out what worked and how to capture a sit uation in the most striking image. After that\, it was chance\, the unexpec ted\, and on-the-spot improvisation that produced &lsquo\;the crucial momen t&rsquo\;: something that resembles Henri Cartier-Bresson&rsquo\;s &lsquo\; decisive moment&rsquo\;\, but is the product of a situation generated by en dless repetition over time. The images are therefore both staged and sponta neous.  \;

The trip to Vermont showed what could be achieved and led the way to five &lsquo\;summer road trips&rsquo\;\, ranging across the United States and producing the images at the heart of McGinley&rsquo\ ;s oeuvre. These trips were undertaken between 2005 and 2010 and involved g roups of hipsters travelling in a couple of vans. Initially\, the participa nts were simply McGinley&rsquo\;s close friends but later they included mod els &ndash\; preferably &lsquo\;ordinary&rsquo\;-looking boys and girls &nd ash\; scouted via studio sessions.

For his &lsquo\;Moonmilk&rsqu o\; series\, McGinley worked for some time in a cave in Idaho\, experimenti ng with coloured lights in the cavernous spaces. In another series\, he pho tographed fans at Morrissey concerts. Then\, around 2010\, there was a seri es of portraits with wild animals. In &lsquo\;YEARBOOK&rsquo\; &ndash\; to be included in the show at Kunsthal KAdE &ndash\;McGinley displays hundreds of his studio portraits in the form of an installation covering entire wal ls. \;

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The world of Ryan McGinley is a pseudo-reality: a modern-day paradise that is happy\, liberated\, car efree\, naughty\, free-spirited and bohemian. Despite the occasional sharp edge &ndash\; the odd bruise or black eye &ndash\; it is never dreary or de pressing. More like Johan van der Keuken&rsquo\;s &lsquo\;Wij zijn 17&rsquo \; (&lsquo\;We are 17&rsquo\;) or Ed van der Elsken&rsquo\;s &lsquo\;Love o n the Left Bank&rsquo\; than Nan Goldin&rsquo\;s grim picture of the Lower East Side underground in the 1980s or Larry Clark&rsquo\;s merciless explor ation of a self-destructive group of youngsters in Tulsa (Oklahoma) in the 1970s.  \;

The varied American landscape that McGinley uses as a setting is not just a backdrop\; he sees its presence as a homage to h is country&rsquo\;s wealth of stunning natural environments. The White Sand s desert in New Mexico is one of his favourite places\; he returns to it co nstantly and it has never been omitted from any of his road trips. \;Movement is a striking feature of his photographs. His models are frequ ently caught in motion: running\, falling\, dancing\, tumbling\, flailing t heir limbs\, swimming or climbing. The action gives the images a cinematic quality. It creates not only a sense of spontaneity\, but greater scope for contingency\, endowing the photographs with a dynamism impossible to achie ve in fully staged fixed poses. \;

The forthcoming overview at Kunsthal KAdE is to include around 50 works on loan from private collect ions in the Netherlands\, England\, France\, Germany\, Belgium\, Norway\, A ustria and Ireland. The &lsquo\;YEARBOOK&rsquo\; installation will fill a s ingle wall in the main gallery. Sigur Ros&rsquo\;s music video &lsquo\;Var& uacute\;ð\;&rsquo\;\, directed by Ryan McGinley\, can be viewed in the v ideo projection space and a selection of &lsquo\;behind the scenes&rsquo\; shots will be on display in the separate education area. \;

There&rsquo\;s no instruction manual on how to do this\, no recipe. It& rsquo\;s a puzzle. We&rsquo\;ve had to figure all this shit out along the w ay\, inventing it as we go along. \;
Ryan McGinley\, Purple F ashion #19\, 2013

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Summary
Kunsthal KAdE&rsquo\;s new summer exhibition is a major overview of work by American photographer Ryan McGinley (b. 1977\, New Jersey\, US) . The show will include works from every series and period in the photograp her&rsquo\;s career\, from the gritty snapshots of his early life in the ur ban underworld of late-1990s Manhattan right through to his recent\, highly aesthetic &lsquo\;road movie&rsquo\; photographs of young nudes shot amid the untamed nature of the rural United States. The world of Ryan McGinley i s a pseudo-reality: a modern-day paradise that is happy\, liberated\, caref ree\, naughty\, free-spirited and bohemian. Despite the occasional sharp ed ge &ndash\; the odd bruise or black eye &ndash\; it is never dreary or depr essing. Movement is a striking feature of his photographs. His models are f requently caught in motion: running\, falling\, dancing\, tumbling\, flaili ng their limbs\, swimming or climbing. The varied American landscape that M cGinley uses as a setting is not just a backdrop\; he sees its presence as a homage to his country&rsquo\;s wealth of stunning natural environments. T he forthcoming overview at Kunsthal KAdE is to include around 50 works on l oan from private collections in the Netherlands\, England\, France\, German y\, Belgium\, Norway\, Austria and Ireland. The &lsquo\;YEARBOOK&rsquo\; in stallation will fill a single wall in the main gallery. Sigur Ros&rsquo\;s music video &lsquo\;Varú\;ð\;&rsquo\;\, directed by Ryan McGinley\ , can be viewed in the video projection space and a selection of &lsquo\;be hind the scenes&rsquo\; shots will be on display in the separate education area. \;

DTEND:20150830 DTSTAMP:20150526T134917 DTSTART:20150530 GEO:52.1588806;5.3802507 LOCATION:Kunsthal KAdE\,Eemplein 77 \nAmersfoort\, 3812 EA SEQUENCE:0 SUMMARY:Photographs 1999-2015\, Ryan McGinley UID:384741 END:VEVENT BEGIN:VEVENT DTEND:20150530T170000 DTSTAMP:20150526T134917 DTSTART:20150530T120000 GEO:52.1588806;5.3802507 LOCATION:Kunsthal KAdE\,Eemplein 77 \nAmersfoort\, 3812 EA SEQUENCE:0 SUMMARY:Photographs 1999-2015\, Ryan McGinley UID:384742 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150718 DTSTAMP:20150526T134917 DTSTART:20150606 GEO:52.3575334;4.8888493 LOCATION:GRIMM Gallery\,Frans Halsstraat 26 \nAmsterdam\, 1072 BR SEQUENCE:0 SUMMARY:Solo Exhibition\, Letha Wilson UID:384283 END:VEVENT BEGIN:VEVENT DTEND:20150606T200000 DTSTAMP:20150526T134917 DTSTART:20150606T180000 GEO:52.3575334;4.8888493 LOCATION:GRIMM Gallery\,Frans Halsstraat 26 \nAmsterdam\, 1072 BR SEQUENCE:0 SUMMARY:Solo Exhibition\, Letha Wilson UID:384284 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Galerie Gabriel Rolt p roudly presents\, Which character from LOST are you?\, the first s olo exhibition of Dustin Pevey at Galerie Gabriel Rolt. \;The exhibition opens saturday May 23rd\, 17.00hrs

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Dustin Pevey (1980 (Texas\, USA) Lives and works in Brooklyn\, New York &\; Marfa\, Texas) is a process- oriented abstract painter who&rsquo\;s canvases are layered with paint\, di gital compositions\, and found images derived from the mundane visuals of e veryday life in the twenty-first century. His paintings are often populated by jpegs of trending internet imagery\, advertisements\, logos\, and other detritus from both the digital and physical world that he inhabits. Taken out of context these elements obscure one another seemingly evoking the fee lings of distraction\, disillusionment\, and confusion of life mediated by overlapping objects and information. Pevey&rsquo\;s work has been presented in solo exhibitions at Retrospective Gallery in Hudson\, New York\; Marfa Book Company in Texas\, and Bill Brady Miami\, as well as a two person exhi bition at Galeria Massimo Audiello in Mexico City. His work has also been s hown in group exhibitions at Galerie Gabriel Rolt\, Johannes Vogt Gallery i n New York\, and Angstrom Gallery in Los Angeles. Pevey´\;s work is he ld in the collection of Charles Saatchi\, Stanley Hollander\, Nerman Museum of contemporary art.

DTEND:20150620 DTSTAMP:20150526T134917 DTSTART:20150523 GEO:52.3519271;4.9020278 LOCATION:Galerie Gabriel Rolt\,Tolstraat 84 \nAmsterdam\, 1073 SE SEQUENCE:0 SUMMARY:Which character from LOST are you?\, Dustin Pevey UID:384281 END:VEVENT BEGIN:VEVENT DTEND:20150523T190000 DTSTAMP:20150526T134917 DTSTART:20150523T170000 GEO:52.3519271;4.9020278 LOCATION:Galerie Gabriel Rolt\,Tolstraat 84 \nAmsterdam\, 1073 SE SEQUENCE:0 SUMMARY:Which character from LOST are you?\, Dustin Pevey UID:384282 END:VEVENT BEGIN:VEVENT DESCRIPTION:

As one of the most important sculptors of his generation\, Stephan B alkenhol&rsquo\;s (1957\, Fritzlar\, Germany) predominately figurative work s have influenced the contemporary idea of sculpture in an enduring way. Lo dged in the temporal and stylistic continuity that extends from ancient Egy pt\, through medieval polychrome wood statuary to Renaissance portraiture\, his archetypical figures\, usually carved out of one massive block of wood \, are a kind of twenty-first century &ldquo\;every man&rdquo\; or &ldquo\; every woman.&rdquo\; Neither idealized nor individualized&mdash\;frozen in mundane postures\, representing nobody in particular&mdash\;the figures do not seek to impose or represent. Instead\, the lightness\, appeal\, and sim plicity emerging from the wood give them an enigmatic presence\, unpretenti ous in their character of play. \;

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With Balkenhol&rsquo\;s work\, one is encouraged to observe. There is no pathos speaking from the figures&rsquo\; gestures and expressions&mdash\;every emotion would already be a reading which would pi n down the figure&mdash\;and as they are only what they are\, they become a stonishingly open for the viewer\, liberated from all political\, religious or allegorical implications\, free in their \;own \;reali ty\; one that\, though in a way seemingly &ldquo\;not of this world\,&rdquo \; still belongs to our present. \;

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As Balkenhol himself comments\, his figures are\, in some way\, &ldquo\;exactly like us\,&rdquo\; as they &ldquo\;say a lot a nd nothing.&rdquo\; The wood corresponds to the tempo of Balkenhol&rsquo\;s thoughts and labour. It is both resistant and alive material that can be r esearched in the process of chiselling. The sculptural possibilities are\, in a way\, already hidden in the wood of the tree trunk.

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St ephan Balkenhol\, who studied at the Hochschule fü\;r Bidende Kü\;n ste in Hamburg in the class of Ulrich Rü\;ckriem\, has exhibited widely in galleries and museums around the globe\, including major solo exhibitio ns at the Austrian Landesgalerie Linz (2014-2015)\, Kunstmuseum Ravensburg (2014)\, Skulpturenpark Waldfrieden in Wuppertal (2014\,)Musé\;e de G renoble (2010-2011)\, Deichtorhallen Hamburg (2008-2009)\, Staatliche Kunst halle Baden/Baden (2006)\, the National Museum of Art\, Osaka/Tokyo (2005)\ , Fries Museum Leeuwarden (2001)\, and the Hirshhorn Museum and Sculpture G arden\, Washington D.C. (1995). He has made a number of sculptures for the public space throughout Europe\; e.g. Germany\, France and the Netherlands. Balkenhol was recently awarded the French Order of Arts and Letters (2014).

DTEND:20150711 DTSTAMP:20150526T134917 DTSTART:20150530 GEO:52.3601501;4.8919833 LOCATION:Galerie Akinci\,Lijnbaansgracht 317 \nAmsterdam\, 1017 WZ SEQUENCE:0 SUMMARY:New Sculptures\, Stephan Balkenhol UID:384279 END:VEVENT BEGIN:VEVENT DTEND:20150530T190000 DTSTAMP:20150526T134917 DTSTART:20150530T170000 GEO:52.3601501;4.8919833 LOCATION:Galerie Akinci\,Lijnbaansgracht 317 \nAmsterdam\, 1017 WZ SEQUENCE:0 SUMMARY:New Sculptures\, Stephan Balkenhol UID:384280 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Ann et Gelink Gallery proudly presents Hisachika Takahashi annotated by Yuk i Okumura: Memory of Past and Future Memory\, which presents a continu ation of the collaboration between the younger and older Japanese artists\, following their joint project during Okumura&rsquo\;s residency at WIELS\, 2013. Focusing on Takahashi&rsquo\;s work and life\, as annotated by Okumu ra&rsquo\;s gestures\, the exhibition revolves around how memory can go bey ond personal identities and material realities. Furthermore\, the show also delves into questions surrounding authorship\, art making\, and exhibition format.

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Both artists address realit y\, authorship and collaboration in different ways. Often taking memory as a starting point for collaboration\, Takahashi approaches how our personal vision and relations to others impact our interpretation and connection to reality. In many ways it reflects his personal life\, in which interactions with other artists have been integral since the mid-60s. Okumura on the ot her hand looks at how language shapes our interpersonal and social realitie s. Often referencing to other artists&rsquo\; work\, his artistic position resembles that of a translator\, ghostwriter\, editor\, or curator. Both ar tists&rsquo\; approaches merge into one whole in the show.

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The starting point of the show is Okumura&rsquo\;s i ntervention on a fragment of a 1969 painting by Takahashi\, which he had fi rst given to Robert Rauschenberg. Takahashi has gifted the fragment to Okum ura and invited him to collaborate beyond space and time. Both Takahashi&rs quo\;s act of gifting the fragment and Okumura&rsquo\;s response in approac hing the story and history behind it\, rather than the painting itself\, in dicate the artistic attitudes that run throughout the show.

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Serving as an &ldquo\;annotation&rdquo\; in the who le narration of the show is Okumura&rsquo\;s new video work. It presents hi s dialogue with Daniel Baumann (chief curator of Kunsthalle Zurich). In res ponse to Baumann&rsquo\;s blog post titled "Who is Hisachika Takahashi?\," Okumura attempts to re-enact Takahashi&rsquo\;s practice in the form of an interview\, where memorizing someone else&rsquo\;s memory plays a critical role.

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On view on the back wall of th e gallery is Takahashi&rsquo\;s work 3015 Calendar. In 1972\, Taka hashi transferred images from various readymade calendars of that year onto 12 sheets of large paper\, in order to make a calendar for the year 2000. He was inspired to do so by the fact that the year 2000 would be the first year in the future to have the same calendar as 1972. Takahashi returned to the work in 2015 and used the paper to create another calendar that applie s to one thousand years in the future. This time\, Takahashi parleys with h is fantasy that he will be still alive\, at 1075 years old. The twelve draw ings will be complete in collaboration with the viewer\, who fantasizes his or her future appointments.

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The exh ibition continues in the Bakery with Memory of No Memory\, a seria l project executed by Takahashi in 1973\, dedicated to his beloved red hunt ing hat\, which he replaced every six months from July 1970 through June 19 76. Created by means of frottage with pencil and crayon\, each drawing affe ctionately and variously portrays his past\, present\, or future red hat\, which he had or would have worn\, lost\, found\, misplaced\, and replaced t ime and again.

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Through the layers of different interactions and re-interpretations\, the exhibition is overall a show about human life and creativity\, established by past and future mem ory. By posing the question who we are and what our (shared) memories mean over time Hisachika Takahashi annotated by Yuki Okumura: Memory of Past and Future Memory posits that mortality or individuality does not alw ays have to be the final answer.

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Hisachika Takahashi

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Hisachika Takahashi was born in 1940 in Tokyo and he currently lives and works in Vermont and Paris. Selected solo exhibitio ns include shows at Wide White Space in Antwerp\, 112 Greene Street (later renamed White Columns) in New York\, Tampa Museum of Art in Tampa\, \;P roject Room of WIELS Contemporary Art Centre in Brussels and Sean Kelly Gal lery in New York. He has participated in group exhibitions in several museu ms and institutions\, such as Museum of Modern Art in New York and Musee Ga lliera in Paris among others. He had also been an assistant of Robert Rausc henberg from 1969 to 2008.

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Yuki Okumura

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Yuki Okumura was born in 1978 in Aomori and he currently live s and works in Brussels and Maastricht. Recent solo exhibitions include sho ws at MISAKO &\; ROSEN in Tokyo\, HEDAH in Maastricht and Aichi Prefectu ral Museum of Art in Aichi. He has participated in numerous group exhibitio ns in museums and institutes\, such as WIELS Contemporary Art Centre in Bru ssels\, Mori Art Museum in Tokyo and DiverseWorks in Houston\, among others . He also works as a translator between Japanese and English in the field o f contemporary art.

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DTEND:20150711 DTSTAMP:20150526T134917 DTSTART:20150528 GEO:52.371217;4.877114 LOCATION:Annet Gelink Gallery\,Laurierstraat 187-189 \nAmsterdam\, NL 1016 PL SEQUENCE:0 SUMMARY:Hisachika Takahashi annotated by Yuki Okumura: Memory of Past and F uture Memory\, Hisachika Takahashi\, Yuki Okumura UID:384277 END:VEVENT BEGIN:VEVENT DTEND:20150528T200000 DTSTAMP:20150526T134917 DTSTART:20150528T180000 GEO:52.371217;4.877114 LOCATION:Annet Gelink Gallery\,Laurierstraat 187-189 \nAmsterdam\, NL 1016 PL SEQUENCE:0 SUMMARY:Hisachika Takahashi annotated by Yuki Okumura: Memory of Past and F uture Memory\, Yuki Okumura\, Hisachika Takahashi UID:384278 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Where do artists get their ins piration? Not infrequently from muses: individuals who have special signifi cance for them. In antiquity\, the Nine Muses were divine beings: in the ce nturies that followed they took on an earthly and human form. The new exhib ition in De Hallen Haarlem Summer Series examines which muses - women as we ll as men\, mothers and lovers\, fellow artists and children &ndash\; have been significant for modern Dutch art. Individuals who inspired by their un usual personality\, their enchanting body\, their artistic expressions or t heir intimate relationship with the artist. A broad range of paintings\, ph otographs\, films and spatial works from the 19th and 20th centuries\, comp lemented by outstanding works of art from our own time\, explore how the ro le of the Muse kept on inspiring new insights and shapes. A major exhibitio n with works by Jan Sluijters\, Isaac Israels\, Charlotte van Pallandt\, Ja n Toorop\, Carel Willink and many others

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Hoe komen kunstenaars aan hun inspiratie? Niet zelden dankzij m uzen: personen die een uitzonderlijke betekenis voor hen hebben. In de Oudh eid waren de Negen Muzen goddelijke wezens\, in de eeuwen daarna namen ze e en aardse en menselijke vorm aan. De nieuwe tentoonstelling in De Hallen Ha arlem Zomerserie onderzoekt welke muzen &ndash\; vrouwen maar ook mannen\, moeders en minnaars\, collega-kunstenaars en kinderen &ndash\; van betekeni s waren voor de moderne Nederlandse kunst. Personen die inspireerden door h un ongebruikelijke persoonlijkheid\, hun betoverende lichaam\, hun artistie ke uitingen\, dan wel hun intieme band met de kunstenaar. Met een breed sca la aan schilderijen\, fotowerken\, films en ruimtelijke kunstwerken uit de 19de en 20ste eeuw\, aangevuld met opmerkelijke kunstwerken uit onze eigen tijd\, wordt \; verkend hoe de rol van de Muze telkens weer inspireerde tot nieuwe inzichten en vormen. Een omvangrijke tentoonstelling met werken van Jan Sluijters\, Isaac Israels\, Charlotte van Pallandt\, Jan Toorop\, Carel Willink en vele anderen.

DTEND:20150830 DTSTAMP:20150526T134917 DTSTART:20150606 GEO:52.3811508;4.6360573 LOCATION:De Hallen Haarlem\,Grote Markt 16 \nHaarlem\, SEQUENCE:0 SUMMARY:O MUSE! - De Hallen Haarlem Summer Series\, Jan Sluijters\, Isaac I sraels\, Charlotte van Pallandt\, Jan Toorop\, Carel Willink UID:384275 END:VEVENT BEGIN:VEVENT DTEND:20150606T170000 DTSTAMP:20150526T134917 DTSTART:20150606T110000 GEO:52.3811508;4.6360573 LOCATION:De Hallen Haarlem\,Grote Markt 16 \nHaarlem\, SEQUENCE:0 SUMMARY:O MUSE! - De Hallen Haarlem Summer Series\, Isaac Israels\, Jan Slu ijters\, Jan Toorop\, Charlotte van Pallandt\, Carel Willink UID:384276 END:VEVENT BEGIN:VEVENT DESCRIPTION:

What's with all the black?
What black?

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I just made some painti ngs that look black but they are not.
Turns out they are pretty much i mpossible to photograph.
There&rsquo\;s not so much daylight in my stu dio.

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You seem to be working in a brig ht studio.

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My studio is pretty bright even without direct sunlight.

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I neve r work at night unless it's summer.

DTEND:20150718 DTSTAMP:20150526T134917 DTSTART:20150523 GEO:52.3706006;4.8798566 LOCATION:Martin Van Zomeren\,Hazenstraat 20 \nAmsterdam\, 1016 SP SEQUENCE:0 SUMMARY:Summer Show\, Fiona Mackay\, Cornelius Quabeck UID:384273 END:VEVENT BEGIN:VEVENT DTEND:20150523T190000 DTSTAMP:20150526T134917 DTSTART:20150523T170000 GEO:52.3706006;4.8798566 LOCATION:Martin Van Zomeren\,Hazenstraat 20 \nAmsterdam\, 1016 SP SEQUENCE:0 SUMMARY:Summer Show\, Fiona Mackay\, Cornelius Quabeck UID:384274 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150620 DTSTAMP:20150526T134918 DTSTART:20150502 GEO:52.3703359;4.8801005 LOCATION:Stigter van Doesburg\,Elandsstraat 90 \nAmsterdam\, NL 1016 SH SEQUENCE:0 SUMMARY:Relational Voodoo\, Semâ Bekirovic UID:384272 END:VEVENT BEGIN:VEVENT DESCRIPTION:

touchy-feely (ˈtʌtʃɪˈfiːlɪ)
adj
1. openly displaying one's emotions and affections \;ˈtouch y-ˈfeeliness

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touchy feely&nb sp\;is an exhibition about the visual and sensual attractiveness expressed on the flat surface by six contemporary male artists. The group exhibition displays a range of art works with a strong allure\, evoking a feeling of w anting to be touched groped or even scratched.

An exhibition at the MAC/VAL Musee d&rsquo\;Art Contemporain in the outskirts of Paris\, cur rently on view\, questions and represents masculinity in the 21st century. The works exhibited offer new ways of thinking about the male artist and th e masculine presence in contemporary art and society\, giving a broader per spective on gender roles.

The show at gallery Juliette Jongma br ings to light similar concerns. The ongoing search for new ways of manifest ing on the flat surface\, results in bold gestures mixed with fragile endin gs.

Overlight Chrome 4 \;by Florian &\; Michael Quistrebert reflects this contrasting energy with materialistic heaviness\, shine and fragility. Confronting the viewer with a conspicuous presentatio n of luminous silver chrome paint and bright white led lights. The choice o f materials used in the works\, such as car-paint and pigments\, provokes t houghts about the meaning of the skin of painting\, in a culture where the skin or surface has grown to a primary locus for temptation - the flimsy pl ace where the erotic manifests.

The perfectionistic strivings of Just Quist&rsquo\;s new Transpire Series are emphasized by soft color patt erns and fixed figures\, suggesting almost designerly elements into his wor k. This series introduces works with sharp silhouettes\, that are both expr essive and controlled at the same
time. The artist often uses the para bola figure\, drawn from mathematics. All made out of different materials ( from modeling paste to polyester) and colors\, these art works show a matt\ , creamy\, hard or soft surface.

Nathan Azhderian questions or s lightly mimics the art world when he takes a rose as the main character of his art work. Memories of Valentines-Day assembled with a shade of Internat ional Klein Blue bring a sense of contrast. Azhderian highly pleases our vi sual senses with broken mirrors\, hot pink colors and a shiny finishing. Th e artist is attracted to familiar materials\, such as aluminium foil or pol yester\, by emphasizing the cheap sentiment of these materials\, his works are strongly appealing to our emotions.

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Mike Pratt takes on a narrative approach in his art work\, through the m aking of wax moulds of round garden tables. The shape is reminiscent of anc ient greekTondi\, circular paintings that later attracted renaissa nce painters like Botticelli and Michelangelo as well. Pratt&rsquo\;s Tondi interpretations are big round abstract surfaces which turn more pragmatic when realistic objects\, like grapes\, appear in the dé\;cor. His wor ks are\, despite their layers and broad connotations\, frank and simple ges tures.

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The effort of the painter beco mes apparent in the artwork of S.L Martinez when he recreates the structure of the backside of the canvas. He carefully carves the shapes on the under layment with thick carbon paper\, which he densely paints in soft and paste l colors\, metamorphosing the canvas- construction into the subject. The co lor shades derive a particular sensitivity in the works\, that conflict wit h the thick\, sculptural layers of paint\, tempting the viewer to touch.

DTEND:20150613 DTSTAMP:20150526T134918 DTSTART:20150516 GEO:52.3559633;4.8934992 LOCATION:Galerie Juliètte Jongma\,Gerard Doustraat 128a \nAmsterdam\, 1073V X SEQUENCE:0 SUMMARY:Touchy Feely\, Florian and Michaël Quistrebert\, nathan azhderian\, Mike Pratt\, Just Quist\, S.L. Martínez UID:384271 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Reading (deappel.nl) (2015) un ravels through a recurring fade in and fade out of words. Based on an algor ithm which randomly selects snippets of text\, the work emphasises the spee d of online movement\, forging us to slow down. Through its tacit pace\, it draws attention to aspects of hypertextuality\, amassing to a form of poet ry innate to the online environment. The work is accessible via the Stedeli jk Museum website and will travel to the website of de Appel arts centre (w ww.deappel.nl)\, expanding the ideas of (the museum)space. The notion of ti me is challenged\, not only through the pace of the appearing words\, but a lso due to the fact that the performance starts at 8pm in different time zo nes\, allowing an intercontinental audience witness the intervention on the website\, either accidentally or on purpose.

The performance t akes place in the context of the exhibition Your Time Is Not My Time\, which is part of the Curatorial Program me Final Project\, on view at de Appel arts centre from May 23 until J une 28. This show revolves around the radical change of the conditions of v isuality. How images have shifted from the personal realm to a currency in cybernetic participation\, where the value or/and power resides in being se en. This new visual economy has blurred the lines between producers and aud ience\, enlarging the concept of authorship. A version of Benjamin Forster& rsquo\;s work will be on view at the website of de Appel arts centre for th e duration of the exhibition.

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A bout the artist

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Benjamin For ster (1985\, Australia) is a media artist who has brought together digital technologies\, drawing\, installation and print to trace the boundaries of logic\, economy and language. Forster was the winner of the 2010 Fremantle Arts Centre Print Award Non-Acquisitive prize in Australia. He received a B achelor of Visual Arts with First Class Honours from the Australian Nationa l University in 2008 and has participated in residencies at the Perth Insti tute of Contemporary Arts\, the Museum of Contemporary Art Australia in Syd ney and HIAP in Helsinki.

Credits
Benjamin Forster
Rea ding (stedelijk.nl).
online performance\, website Stedelijk Museum Ams terdam\, May 21\, 8pm-10pm
Reading (deappel.nl).
online durationa l performance\, website de Appel arts centre\, May 22 &ndash\; June 28

This performance is co-curated by Barbara Cueto\, Bas Hendrikx\, LI an Ladia\, who are participants of the Curatorial Programme 2014-15 of de A ppel arts centre\, in collaboration with the Stedelijk Museum Public Progra m.

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The Curatorial Programme is a 10-m onth long training programme for young\, international curators\, which has been organized by de Appel arts centre since 1994. This year\, de final pr oject of the Curatorial Programme consists of two exhibitions: Spell to Spelling ** Spelling to Spell and Your Time Is Not My Time\, on view from 23 May until 28 June\, 2015.

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Reading (deappel.nl) (2015) ontvouwt zich door het c ontinu verschijnen en verdwijnen van woorden. Op basis van een algoritme da t willekeurige tekstfragmenten selecteert\, benadrukt het werk de snelheid van online processen. Door middel van tekst\, dwingt de performance ons het tegenovergestelde te doen: de tijd nemen. Met het opgelegde tempo wordt de aandacht gericht op aspecten van hypertextualiteit\, wat leidt tot een vor m van poë\;zie die uniek is voor de online omgeving. Het werk is toegan kelijk via de website van het Stedelijk Museum en zal vervolgens doorreizen naar de website van de Appel\, om zo het idee van (de museum)ruimte te ver breden. Ook het concept van tijd wordt op de proef gesteld: niet alleen doo r het tempo waarin de woorden verschijnen\, maar ook door het feit dat de p erformance in verschillende tijdzones om acht uur 's avonds begint\, waardo or een intercontinentaal publiek getuige kan zijn van de interventie op de website &ndash\; hetzij toevallig\, hetzij bewust.

De performanc e vindt plaats in het kader van de tentoonstelling Your Time is Not My Time\, onderdeel van het Curatorial Programme Final Project i n de Appel arts centre (22 mei &ndash\; 28 juni 2015). De tentoonstelling g aat in op de radicaal veranderde situatie rondom het visuele: hoe beelden d ie eens tot het domein van ons persoonlijke leven behoorden een soort valut a zijn geworden voor deelname aan het cybernetische leven\, waar gezien wor den hun waarde en/of macht bepaalt. Deze nieuwe visuele economie heeft de s cheidslijn vervaagd tussen makers en publiek\, en daardoor het concept van auteurschap verder opgerekt. Gedurende de tentoonstelling zijn versies van het werk van Benjamin Forster te zien op www.deappel.nl de website van de Appel.

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Over de kunstenaar
Benjamin Forster (1985\, Austral ië\;) is een mediakunstenaar die in zijn werk digitale technieken\, tek eningen\, installaties en drukwerk samenbrengt om de grenzen van logica\, e conomie en taal af te tasten. Forster was de winnaar van de 2010 Fremantle Arts Centre Print Award Non-Acquisitive Prize in Australië\;. Hij behaa lde in 2008 een BA in beeldende kunst met de hoogste distinctie aan de Aust ralian National University en nam deel aan residencies aan het Perth Instit ute of Contemporary Arts\, het Museum of Contemporary Art Australia in Sydn ey en HIAP in Helsinki.

Credits
Benjamin Forster
Readi ng (stedelijk.nl)
online performance\, website Stedelijk Museum Amsterdam\, 21 mei 2015
Reading (deappel.nl)
online duuronderscheid presentatie\, website de Appel arts centre\, 2 2 mei &ndash\; 28 juni 2015

Dit programma is mede-samengesteld door Barbara Cueto\, Bas Hendrikx en Lian Ladia\, deelnemers aan de Appel C uratorial Programme 2014-15\, in samenwerking met het Public Program van he t Stedelijk Museum.

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De Appel Curatori al Programme is een opleiding van tien maanden voor jonge\, internationale curatoren. Dit jaar bestaat het eindproject van het Curatorial Programme ui t twee tentoonstellingen: Spell to Spelling ** Spelling to Spell e n Your Time Is Not My Time\, te zien van 23 mei tot 28 juni 2015.< /p>\n

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DTEND:20150628 DTSTAMP:20150526T134918 DTSTART:20150522 GEO:52.3733534;4.9063163 LOCATION:de Appel Arts Centre\,Prins Hendrikkade 142 \nAmsterdam\, 1011 AT SEQUENCE:0 SUMMARY:Reading\, Benjamin Forster UID:384270 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150704 DTSTAMP:20150526T134918 DTSTART:20150523 GEO:52.3724598;4.8774859 LOCATION:Ellen de Bruijne Projects\,Rozengracht 207 A \nAmsterdam\, 1016 LZ SEQUENCE:0 SUMMARY:The Documentary – Resistance and Critical Tendencies in Art\, Kaspe r Akhøj\, Otto Berchem\, Dora Garcia\, Maria Pask\, Susan Philipsz UID:384268 END:VEVENT BEGIN:VEVENT DTEND:20150523T190000 DTSTAMP:20150526T134918 DTSTART:20150523T170000 GEO:52.3724598;4.8774859 LOCATION:Ellen de Bruijne Projects\,Rozengracht 207 A \nAmsterdam\, 1016 LZ SEQUENCE:0 SUMMARY:The Documentary – Resistance and Critical Tendencies in Art\, Kaspe r Akhøj\, Otto Berchem\, Dora Garcia\, Maria Pask\, Susan Philipsz UID:384269 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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You are cordially invited to the opening of the final project of the Curatorial Programme 2014 - 2015 with two exhi bitions: Spell to Spelling ** Spelling to Spell and Your Time Is Not My Tim e. The exhibitions are on show until the 28th of June.

During th e opening a storytelling performance by David Bernstein will take place in the library of de Appel arts centre from 7 - 9 pm.

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Spell to Spelling ** Spelling to Spell emerges in the spaces be tween the linguistic and associative relations of the notions of the spell and the spelling. Participating artists\, interpreters\, archaeologists\, s cientists\, historians\, pilgrims\, butchers and crossword experts include: David Bernstein (US)\, Francisco Camacho (CO)\, Alberto De Michele (IT)\, Christian Fogarolli (IT)\, Ola Lanko (UA)\, Martin La Roche (CL)\, Myriam L efkowitz (FR)\, Charles Matton (FR)\, Robertas Narkus (LT)\, Ossip (NL).

Your Time Is Not My Time deals with the blurred boundarie s between audience and producer\, exploring an expansive (or disappearing) notion of authorship. Participating artists include: Keren Cytter (IL)\, La v Diaz (PH)\, Benjamin Forster (AU)\, André\;s Galeano (ES)\, Riley H armon (US)\, Tilman Hornig (DE)\, Metahaven (NL)\, Alexandra Navratil (CH)\ , Sam Smith (AU)\, Wu Tsang (US)\, Bruno Zhu (PT).

The exhibitio ns are accompanied by an extensive public programme that includes a series of talks\, workshops\, performances and film screenings. The public program me takes place at different locations\, between May 17 and June 28. The fir st two event will take place in collaboration with the Stedelijk Museum. Fo r the full list and updates\, please see \;http://deappel.nl/vis it/programme/future.

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With thanks to \;Ammodo\, VSBfonds\, Fonds 21

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Curators
The exhibitions\, public p rogramme and catalogue are curated by the six participants of the Curatoria l Programme 2014-2015: Barbara Cueto\, Bas Hendrikx\, Chiara Ianeselli\, In ga Lã\;ce\, Lian Ladia\, Rani Lavie.

About the Cur atorial Programme
Initiated in 1994 as an in-house internatio nal training trajectory for young curators\, the Curatorial Programme of de Appel arts centre offers its participants hands-on experience and skills f or the further development of their professional career. Each year the prog ramme culminates with the collective development of a final project at de A ppel arts centre.

Opening hours exhibition Tuesday to Sunday fro m 11 to 6pm.

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U bent van harte uitgenodigd voor de opening van het \;eind project van het Curatorial Programme 2014 - 2015 \;  \;met twee tentoonstellingen: Spell to Spelling ** Spelling to Spell en You r Time Is Not My Time. De tentoonstellingen zijn te zien tot en met 28 Juni .

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Tijdens de opening is er een storyt elling performance van David Bernstein in de bibliotheek van de Appel arts centre van 19 - 21 uur.

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Spell to Spel ling ** Spelling to Spell gaat in op de linguï\;stische en associatieve verbanden tussen de begrippen &lsquo\;spell&rsquo\; (een spreuk\, bezwerin g) en &lsquo\;spelling&rsquo\; (het spellen). \;
Deelnemende kunst enaars: David Bernstein (US)\, Francisco Camacho (CO)\, Alberto De Michele (IT)\, Christian Fogarolli (IT)\, Ola Lanko (UA)\, Martin La Roche (CL)\, M yriam Lefkowitz (FR)\, Charles Matton (FR)\, Robertas Narkus (LT)\, Ossip ( NL).

Your Time Is Not My Time onderzoekt de vervagende grenzen t ussen het publiek en de maker\, waarbij het steeds breder wordende (of miss chien juist vernauwde) idee van auteurschap onder de loep wordt genomen. De elnemende kunstenaars: Keren Cytter (IL)\, Lav Diaz (PH)\, Benjamin Forster (AU)\, André\;s Galeano (ES)\, Riley Harmon (US)\, Tilman Hornig (DE )\, Metahaven (NL)\, Alexandra Navratil (CH)\, Sam Smith (AU)\, Wu Tsang (V S)\, Bruno Zhu (PT).

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Met dank aan \;Ammodo\, VSBfonds\, Fonds 21

De tentoonstell ingen gaan gepaard met een uitgebreid publieksprogramma met onder andere le zingen\, workshops\, performances en filmscreenings. Het publieksprogramma vindt plaats op verschillende locaties. Het eerste twee events vindt plaats in samenwerking met het Stedelijk Museum. Voor een volledige lijst en upda tes\, zie http://deappel.nl/visit/programme/future.

Curatoren
De tentoonstellingen\, het publieksprogramm a en de publicatie zijn samengesteld door de zes deelnemers van het Curator ial Programme 2014-2015: Barbara Cueto\, Bas Hendrikx\, Chiara Ianeselli\, Inga Lã\;ce\, Lian Ladia en Rani Lavie.

Over het C uratorial Programme
Sinds 1994 organiseert de Appel arts cent re het Curatorial Programme. Dit programma biedt jonge\, internationale ten toonstellingsmakers een scala aan praktische ervaringen en vaardigheden waa rmee zij hun professionele carriè\;re verder kunnen ontwikkelen. Het programma duurt 10 maanden en sluit ieder jaar af met een gezamenlijk eindp roject dat door de deelnemers wordt ontwikkeld.

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DTEND:20150628 DTSTAMP:20150526T134918 DTSTART:20150522 GEO:52.3733534;4.9063163 LOCATION:de Appel Arts Centre\,Prins Hendrikkade 142 \nAmsterdam\, 1011 AT SEQUENCE:0 SUMMARY:Your Time Is Not My Time\, David Bernstein\, Francisco Camacho\, Al berto de Michele\, Christian Fogarolli\, Ola Lanko\, Martin La Roche\, Myri am Lefkowitz\, Charles Matton\, Robertas Narkus\, Ossip UID:384266 END:VEVENT BEGIN:VEVENT DTEND:20150522T210000 DTSTAMP:20150526T134918 DTSTART:20150522T180000 GEO:52.3733534;4.9063163 LOCATION:de Appel Arts Centre\,Prins Hendrikkade 142 \nAmsterdam\, 1011 AT SEQUENCE:0 SUMMARY:Your Time Is Not My Time\, David Bernstein\, Francisco Camacho\, Al berto de Michele\, Christian Fogarolli\, Ola Lanko\, Myriam Lefkowitz\, Cha rles Matton\, Robertas Narkus\, Ossip\, Martin La Roche UID:384267 END:VEVENT BEGIN:VEVENT DESCRIPTION:

You are cordially invited to t he opening of the final project of the Curatorial Programme 2014 - 2015 < /a>with two exhibitions: Spell to Spelling ** Spelling to Spell and Your Ti me Is Not My Time. The exhibitions are on show until the 28th of June.

During the opening a storytelling performance by David Bernstein wil l take place in the library of de Appel arts centre from 7 - 9 pm.

\n\n
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Spell to Spelling ** Spelling to Spell emerges in the spaces between the linguistic and associative relations of the notio ns of the spell and the spelling. Participating artists\, interpreters\, ar chaeologists\, scientists\, historians\, pilgrims\, butchers and crossword experts include: David Bernstein (US)\, Francisco Camacho (CO)\, Alberto De Michele (IT)\, Christian Fogarolli (IT)\, Ola Lanko (UA)\, Martin La Roche (CL)\, Myriam Lefkowitz (FR)\, Charles Matton (FR)\, Robertas Narkus (LT)\ , Ossip (NL).

Your Time Is Not My Time deals with the b lurred boundaries between audience and producer\, exploring an expansive (o r disappearing) notion of authorship. Participating artists include: Keren Cytter (IL)\, Lav Diaz (PH)\, Benjamin Forster (AU)\, André\;s Galean o (ES)\, Riley Harmon (US)\, Tilman Hornig (DE)\, Metahaven (NL)\, Alexandr a Navratil (CH)\, Sam Smith (AU)\, Wu Tsang (US)\, Bruno Zhu (PT).

The exhibitions are accompanied by an extensive public programme that in cludes a series of talks\, workshops\, performances and film screenings. Th e public programme takes place at different locations\, between May 17 and June 28. The first two event will take place in collaboration with the Sted elijk Museum. For the full list and updates\, please see \;
http://deappel.nl/vi sit/programme/future.

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Wit h thanks to \;Ammodo\, VSBfonds\, Fonds 21

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Curators
The exhibitions\, public programme and catalogue are curated by the six participants of the Curatori al Programme 2014-2015: Barbara Cueto\, Bas Hendrikx\, Chiara Ianeselli\, I nga Lã\;ce\, Lian Ladia\, Rani Lavie.

About the Cu ratorial Programme
Initiated in 1994 as an in-house internati onal training trajectory for young curators\, the Curatorial Programme of d e Appel arts centre offers its participants hands-on experience and skills for the further development of their professional career. Each year the pro gramme culminates with the collective development of a final project at de Appel arts centre.

Opening hours exhibition Tuesday to Sunday fr om 11 to 6pm.

\n
\n
\n

U bent van harte uitgenodigd voor de opening van het \;eind pro ject van het Curatorial Programme 2014 - 2015 \; \;met twee ten toonstellingen: Spell to Spelling ** Spelling to Spell en Your Time Is Not My Time. De tentoonstellingen zijn te zien tot en met 28 Juni.

\n

Tijdens de opening is er een storytelling perform ance van David Bernstein in de bibliotheek van de Appel arts centre van 19 - 21 uur.

\n

Spell to Spelling ** Spelli ng to Spell gaat in op de linguï\;stische en associatieve verbanden tus sen de begrippen &lsquo\;spell&rsquo\; (een spreuk\, bezwering) en &lsquo\; spelling&rsquo\; (het spellen). \;
Deelnemende kunstenaars: David Bernstein (US)\, Francisco Camacho (CO)\, Alberto De Michele (IT)\, Christi an Fogarolli (IT)\, Ola Lanko (UA)\, Martin La Roche (CL)\, Myriam Lefkowit z (FR)\, Charles Matton (FR)\, Robertas Narkus (LT)\, Ossip (NL).

Your Time Is Not My Time onderzoekt de vervagende grenzen tussen het publ iek en de maker\, waarbij het steeds breder wordende (of misschien juist ve rnauwde) idee van auteurschap onder de loep wordt genomen. Deelnemende kuns tenaars: Keren Cytter (IL)\, Lav Diaz (PH)\, Benjamin Forster (AU)\, Andr&e acute\;s Galeano (ES)\, Riley Harmon (US)\, Tilman Hornig (DE)\, Metahaven (NL)\, Alexandra Navratil (CH)\, Sam Smith (AU)\, Wu Tsang (VS)\, Bruno Zhu (PT).

\n

Met dank aan \;Ammodo\, VSBfonds\, Fonds 21

De tentoonstellingen gaan gep aard met een uitgebreid publieksprogramma met onder andere lezingen\, works hops\, performances en filmscreenings. Het publieksprogramma vindt plaats o p verschillende locaties. Het eerste twee events vindt plaats in samenwerki ng met het Stedelijk Museum. Voor een volledige lijst en updates\, zie http://deapp el.nl/visit/programme/future.

Curatoren
De tentoonstellingen\, het publieksprogramma en de publicatie zijn samen gesteld door de zes deelnemers van het Curatorial Programme 2014-2015: Barb ara Cueto\, Bas Hendrikx\, Chiara Ianeselli\, Inga Lã\;ce\, Lian Ladi a en Rani Lavie.

Over het Curatorial Programme< br />Sinds 1994 organiseert de Appel arts centre het Curatorial Programme. Dit programma biedt jonge\, internationale tentoonstellingsmakers een scala aan praktische ervaringen en vaardigheden waarmee zij hun professionele ca rriè\;re verder kunnen ontwikkelen. Het programma duurt 10 maanden en sluit ieder jaar af met een gezamenlijk eindproject dat door de deelnemers wordt ontwikkeld.

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\n DTEND:20150628 DTSTAMP:20150526T134918 DTSTART:20150522 GEO:52.3733534;4.9063163 LOCATION:de Appel Arts Centre\,Prins Hendrikkade 142 \nAmsterdam\, 1011 AT SEQUENCE:0 SUMMARY:Spell to Spelling ** Spelling to Spell\, Sam Smith\, Keren Cytter\, Tilman Hornig\, Riley Harmon\, Andres Galeano\, Lav Diaz\, Metahaven\, Ale xandra Navratil\, Benjamin Forster\, Bruno Zhu\, Wu Tsang UID:384264 END:VEVENT BEGIN:VEVENT DTEND:20150522T210000 DTSTAMP:20150526T134918 DTSTART:20150522T180000 GEO:52.3733534;4.9063163 LOCATION:de Appel Arts Centre\,Prins Hendrikkade 142 \nAmsterdam\, 1011 AT SEQUENCE:0 SUMMARY:Spell to Spelling ** Spelling to Spell\, Keren Cytter\, Lav Diaz\, Benjamin Forster\, Andres Galeano\, Riley Harmon\, Tilman Hornig\, Metahave n\, Alexandra Navratil\, Sam Smith\, Wu Tsang\, Bruno Zhu UID:384265 END:VEVENT END:VCALENDAR