ArtSlant - Recently added http://www.artslant.com/ber/Events/show en-us 40 Andrea Salvino - Mila Kunstgalerie - September 13th - November 1st Mon, 01 Sep 2014 14:14:48 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Martin Disler - Mehdi Chouakri - September 12th - November 1st Sun, 31 Aug 2014 00:58:46 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Thomas Zipp - Galerie Guido W. Baudach - September 5th - October 18th Sun, 31 Aug 2014 00:53:07 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Martin Kippenberger - Capitain Petzel - September 17th - October 25th <p>The major series of eight paintings on show in the exhibition Window Shopping was made in 1996 during one of the most creative phases in Martin Kippenberger&rsquo;s life. That same year he also created two other series of paintings &ndash; Jacqueline: The Paintings Pablo Couldn't Paint Anymore and The Raft of Medusa.<br /><br />Capitain Petzel is presenting all the works in the series Window Shopping, which has never before been shown in its entirety as a group.<br /><br />Martin Kippenberger selected his source materials for Window Shopping from Flowers, a set of fashion photographs shot by his wife Elfie Semotan for the French magazine View on Colour. Unlike the two other series from 1996 &ndash; Jacqueline and The Raft of Medusa &ndash; which are based on black-and-white photographs, the Window Shopping series was based on colour slides, which inspired the artist to paint in an often translucent and, for him, unusually colourful manner. The idiosyncratic aesthetic of these motifs is taken to a particular extreme in one painting: Kippenberger &lsquo;removed&rsquo; the chair from underneath one of the models (the style of the image is a homage to the rock band &lsquo;Leningrad Cowboys&rsquo;) but makes up for it by adding a third leg. The only self-portrait in this series shows Martin Kippenberger wearing a dress by Issey Miyake. All these paintings were done in Martin Kippenberger&rsquo;s studio in Burgenland, Austria, and were amongst the last works he completed.<br /><br />The eight paintings in this series &ndash; plus an additional eight drawings &ndash; were shown in January 1997 at Galerie Hubert Winter in Vienna as Window Shopping Until 2 a.m. Moreover passers-by could see into a room in the gallery where each of the eight paintings was displayed, in succession, for a few days, along with all eight drawings presented on a shelf bought specifically for that purpose. <br />The order in which the paintings were shown was listed on the exhibition poster, designed by Martin Kippenberger. The image on the poster is a half-portrait of the artist, recalling Elfie Semotan&rsquo;s famous shot of the fashion icon, Helmut Lang. The original fashion photographs by Elfie Semotan &ndash; from her series of Flowers &ndash; complement the paintings and drawings in this exhibition. <br /><br />The exhibition is accompanied by the publication Martin Kippenberger. Window Shopping.<br /><br /><br />Press Contact I Capitain Petzel<br />Svenja Schuhbauer I Telephone: +49 30 240 88130 I Email: schuhbauer@capitainpetzel.de<br />Opening hours: Tuesday-Saturday, 11am - 6pm</p> Fri, 29 Aug 2014 15:20:30 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Elfie Semotan - Capitain Petzel - September 17th - October 25th <p>The major series of eight paintings on show in the exhibition Window Shopping was made in 1996 during one of the most creative phases in Martin Kippenberger&rsquo;s life. That same year he also created two other series of paintings &ndash; Jacqueline: The Paintings Pablo Couldn't Paint Anymore and The Raft of Medusa.<br /><br />Capitain Petzel is presenting all the works in the series Window Shopping, which has never before been shown in its entirety as a group.<br /><br />Martin Kippenberger selected his source materials for Window Shopping from Flowers, a set of fashion photographs shot by his wife Elfie Semotan for the French magazine View on Colour. Unlike the two other series from 1996 &ndash; Jacqueline and The Raft of Medusa &ndash; which are based on black-and-white photographs, the Window Shopping series was based on colour slides, which inspired the artist to paint in an often translucent and, for him, unusually colourful manner. The idiosyncratic aesthetic of these motifs is taken to a particular extreme in one painting: Kippenberger &lsquo;removed&rsquo; the chair from underneath one of the models (the style of the image is a homage to the rock band &lsquo;Leningrad Cowboys&rsquo;) but makes up for it by adding a third leg. The only self-portrait in this series shows Martin Kippenberger wearing a dress by Issey Miyake. All these paintings were done in Martin Kippenberger&rsquo;s studio in Burgenland, Austria, and were amongst the last works he completed.<br /><br />The eight paintings in this series &ndash; plus an additional eight drawings &ndash; were shown in January 1997 at Galerie Hubert Winter in Vienna as Window Shopping Until 2 a.m. Moreover passers-by could see into a room in the gallery where each of the eight paintings was displayed, in succession, for a few days, along with all eight drawings presented on a shelf bought specifically for that purpose. <br />The order in which the paintings were shown was listed on the exhibition poster, designed by Martin Kippenberger. The image on the poster is a half-portrait of the artist, recalling Elfie Semotan&rsquo;s famous shot of the fashion icon, Helmut Lang. The original fashion photographs by Elfie Semotan &ndash; from her series of Flowers &ndash; complement the paintings and drawings in this exhibition. <br /><br />The exhibition is accompanied by the publication Martin Kippenberger. Window Shopping.<br /><br /><br />Press Contact I Capitain Petzel<br />Svenja Schuhbauer I Telephone: +49 30 240 88130 I Email: schuhbauer@capitainpetzel.de<br />Opening hours: Tuesday-Saturday, 11am - 6pm<br /><br /></p> Fri, 29 Aug 2014 15:16:34 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Ohad Matalon - PODBIELSKI CONTEMPORARY - September 19th - November 15th <p>Podbielski Contemporary presents for the second time the Israeli artist Ohad Matalon with his most recent project, a series of images entitled <strong><em>Across a dark Land</em></strong>, shown for the first time in Berlin. Ohad Matalon is one of the most acclaimed and respected Israeli lens-based artists (http://theculturetrip.com). On this occasion Professor Martina Corgnati of the Accademia Albertina-Torino has written an in-depth essay.</p> <p>Ohad Matalon takes us into a Land of Darkness, with no people, almost no life and no daylight. All that attracts the artist&rsquo;s attention are single buildings or structures, even fragmented things, sometimes isolated trees, lonely and solitary. They seem to be leftovers of a disappeared world. A strangeness made stronger thanks to the night, that is, in itself, a &ldquo;different&rdquo;, meaningful dimension: beloved by Romantics and Surrealists, the dark, obscure night is a metaphor of perdition, transgression and departure from reason. Choosing residual elements, abandoned in space in front of a vague, open, blurred and borderless horizon, specifically shot at night, Matalon doesn&rsquo;t only force his viewer but also photography itself to face strangeness, to be out, excluded from a more typical and familiar dimension.</p> <p>So let&rsquo;s get closer: we are, clearly at least in some images, in a war zone. <strong><em>Target ii, Zeelim</em></strong> and <strong><em>A Safety House, Urim</em></strong>, look like riddled buildings; innumerable shots, or blows, pulled the plaster out, wrecked the walls, broke the partitions down. Even the war itself seems to have abandoned them. These images do not inform, do not side with, nor take a stand. The media world and the information channels, especially today, are literally cannibalizing the Middle East greedily waiting for an image that denounces, blames, and distinguishes between good and bad.</p> <p>Ohad Matalon&rsquo;s work generates questions and problems, and distressing ones. It does not give any answer. His images undoubtedly portrait fragments of reality. So, this is in fact the reality of someone who lives on a bleeding border and is constantly under pressure or under attack.</p> <p>Matalon does not hide the political, military and even openly violent evocation that his subjects carry, but nevertheless he bestows on them a very theatrical aura, entirely artificial, that tackles the very nature of the photographic image. It is a fragment of reality but also a set, a stage. Where are we? What do we want to be told? What are we looking for? Violence, beauty, history, spectacularity? Ohad Matalon&rsquo;s images refer openly to the classic, XVIII century aesthetic concept of sublime but they propose a new, convincingly contemporary version of it. <br /> &nbsp; The exhibition at Podbielski Contemporary is part of the <strong><em>6th European Month of Photography </em></strong>Berlin, beginning on the 16th October &ndash; on this occasion we will have a special event. Ohad Matalon exhibits his recent works in a solo show at the <strong><em>Tel Aviv Museum of Art</em></strong> in November 2014.<br /> <br /> (Text by Prof. Martina Corgnati, edited by Martina Burgwinkel)</p> Thu, 28 Aug 2014 23:38:09 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Group Show - Kunstraum Kreuzberg / Bethanien - August 30th - October 26th <p>Ein Projekt des Kunstraum Kreuzberg/Bethanien<br />Der Kunstraum Kreuzberg/Bethanien wird erstmals seit Jahren seine Kunstsammlung &ouml;ffnen, sichten und &ouml;ffentlich zug&auml;nglich machen. Die Ausstellung ist eine schrittweise Ann&auml;herung an die Arbeiten der Sammlung, die sowohl Ank&auml;ufe aus den Jahren 1949 bis 1988, Schenkungen und Nachl&auml;sse umfassen. Die Sammlung reicht von Werken der Sezessionsk&uuml;nstler Hans Baluschek und Erich B&uuml;ttner zu Positionen migrantischer K&uuml;nstler aus den 1980er Jahren. <br />Die Ausstellung ist prozessual angelegt und bietet die Gelegenheit, einen ersten Blick auf die Sammlung zu werfen, Verbindungen zu kn&uuml;pfen und verschiedene Ordnungen auszuprobieren. Sie ist zun&auml;chst eine Bestandaufnahme, &ouml;ffnet aber den Raum f&uuml;r eine sp&auml;tere systematische kuratorische, k&uuml;nstlerische oder kunsthistorische Betrachtung.</p> Thu, 28 Aug 2014 23:26:24 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Martin Disler - Buchmann Galerie - September 12th - November 1st Thu, 28 Aug 2014 23:12:35 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Fiona Rae - Buchmann Box - September 12th - November 1st <p>Buchmann Galerie Berlin is pleased to announce an exhibition of a new set of<br />drawings by Fiona Rae (*1963, lives in London).<br />The works presented in this exhibition form a decided and intensely<br />concentrated body of work. Never before has Fiona Rae focused so closely on<br />the medium of drawing.<br />The major part of her painterly work makes extensive use of bold colour. What<br />makes this exhibition of drawings stand out is the fact that Fiona Rae has<br />set aside her broad colour palette to focus exclusively on black charcoal.<br />Drawing with charcoal seems almost like a liberation, opening up the<br />potential to give the issue of form and background, space, areas and lines a<br />new level of concentrated dynamism. Fiona Rae&rsquo;s signature is clearly legible<br />in these works. In a very loose form, they show the visual codes that she has<br />developed in her painting oeuvre over the past years using fragments culled<br />from the internet, from films, from advertising and pop culture in the<br />broadest sense or from the work of Albrecht D&uuml;rer or Hieronymus Bosch. Fiona<br />Rae avoids appropriating these sources, using them instead as windows onto<br />her own distinctive pictorial lexicon. <br />The charcoal drawings are immediate, expressive and at the same time<br />fascinatingly calculated, creating unique dreamscapes, which reflect the<br />artist&rsquo;s personal strength and dynamism. The end result is a direct and<br />spontaneous gesture on paper that, in turn, is based on insight gained in<br />previous work and which gives these drawings their inescapable explosiveness.</p> Thu, 28 Aug 2014 23:08:16 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Gerda Lepke - Kunsthandel Jörg Maaß - September 5th - October 1st Fri, 29 Aug 2014 19:35:50 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list David Schnell - Galerie EIGEN + ART (Berlin) - September 4th - October 18th <p>On 4 September 2014, Galerie EIGEN + ART is going to open painter David Schnell's solo show from 5 &ndash; 9pm. This will also be on show during the Berlin Art Week.</p> <p>&ldquo;The flexibility and nonchalance he has shown over the last fifteen years in manipulating and combining identifiable elements with 'pictorial' data disconnected from any recognisable reality make him the perfect representative of a 'free and easy' painting approach no longer bothered by the idea of belonging to a particular narrative or tendency.&nbsp;[&hellip;] Schnell's style is not only deliberately impure; it also invariably runs up against a tangle of contradictions that the artist does not necessarily espouse, but at the very least accepts responsibility for. His works are indeed contradictory, 'in the sense,' he comments, 'that even though I strive for a high degree of abstraction in my paintings, I still engage with nature, which I could theoretically photograph. And yes, perhaps also contradictory in the sense that I occasionally try not only to cite various art-historical periods but to make them my own and to translate them into my painterly visual language.' True, the degree of hybridisation of his pictures allows him to summon up successively, not to say simultaneously, complementary sources and references fitting with a deprioritised approach in which 'noble', 'trivial' and 'popular' particulars, often taken from a <em>Gamekultur</em>, are mixed in together. Some of them, such as the references to seventeenth-century Netherlandish landscape painting, are obvious. Others require decoding, sometimes referencing specific events and memories which, like the pictures in this exhibition, draw on the artist's time in Rome. This is case of the church interiors Schnell soaked up there, and of a palette inspired by time-warp postcards and superannuated tourist brochures. It is left to each viewer to graft on his own fields of reference and survivals from the past. And to spot art history greats re-emerging in a given painting, as when, contemplating a number of recent pictures, he finds himself thinking of Clyfford Still's jagged, atomised surfaces. Whatever the case, Schnell's works embody his ability to to find a precarious but nonetheless <em>precise</em> balance between play with illusionistic depth and a handling of surface that intensifies the picture's flatness. This balance, it must be said, has been crucial to the medium at every period in its history, and every painter past and present has come up with his own response to it.&rdquo;&nbsp;(Eric Verhagen)</p> Thu, 28 Aug 2014 22:25:33 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Vitek Marcinkiewicz - Laura Mars Gallery - September 13th - October 11th Wed, 27 Aug 2014 20:03:57 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Jan-Holger Mauss - Laura Mars Gallery - September 6th 6:00 PM - 8:00 PM <p><span style="font-size: small;">Scroll Down for English</span></p> <table width="80%" border="0" cellspacing="0" cellpadding="0"> <tbody> <tr> <td colspan="2" align="left" valign="top"> <p><span style="font-size: small;">Jan-Holger Mauss untersucht Vor- und Nachbilder in Serie. Bilder vor und nach dem Geschehen, weswegen sie entstanden.</span></p> <p><span style="font-size: small;">In &bdquo;ONS&ldquo; radiert er aus Pornoheften die Darsteller aus. Auf diese Weise entstehen unter anderem Landschaftsbilder, Interieurs und Abstraktionen, die durch die Ausradierungen die Bedeutung au&szlig;erhalb ihres urspr&uuml;nglichen Kontextes verschieben.</span></p> <p><span style="font-size: small;">In seiner neuen Arbeit &bdquo;OC&ldquo;, die er erstmals in der Ausstellung &bdquo;Original Copy&ldquo; bei Laura Mars dem Publikum zug&auml;nglich macht, nutzt Mauss Schnitt-, Antext- und Atmosph&auml;re-erzeugende Bilder aus Pornofilmen als Material. Aus der st&auml;ndig anwachsenden Menge von ihm erstellter Takes w&auml;hlt ein Programm per Zufall aus und generiert daraus immer neue Kombinationen, die im Galerieraum projiziert werden.</span></p> <p><span style="font-size: small;">So erhebt er Uneigentliches zum Eigentlichen - das eben kann Kunst.</span></p> <hr /> <p><span style="font-size: small;">Jan-Holger Mauss investigates &ldquo;pre-&ldquo; and afterimages in series; images before and after the respective event that brought them about.</span></p> <p><span style="font-size: small;">In &ldquo;ONS&rdquo; he erases the performers from porn magazines. In this way i.a. landscapes, interiors, and abstractions result which shift meaning, through the erasure, beyond its original context.</span></p> <p><span style="font-size: small;">In his new work &ldquo;OC&rdquo;, made publicly accessible for the first time in the exhibition &ldquo;Original Copy&rdquo; at Laura Mars, Mauss employs for his material voice-over footage, atmosphere-generating and montage images from porn flicks. From the constantly growing amount of takes created by him a program selects at random, producing ever-new combinations which are projected within the gallery space.</span></p> <p><span style="font-size: small;">Thus he elevates the non-essential to the status of the essential &ndash; after all, that&rsquo;s what art can do.</span></p> <p>&nbsp;</p> </td> </tr> </tbody> </table> Wed, 27 Aug 2014 19:54:15 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Shimabuku - Wien Lukatsch Galerie und Buchhandlung für Kunstbücher - September 3rd - October 31st <p>"One day, I saw a red flower floating in the waves at the coast. Will this flower drift away from here to some far place? I wondered. And I thought of the day when these flowers, long ago, drifted here from the continent across the sea. Where will they go, the flowers I cast into the sea? Will they eventually arrive somewhere?"&nbsp;<br />With these words the Japanese artist Shimabuku commented his film Sea and Flowers (2013) in his new catalogue of works from Noto (Japan). In Sea and Flowers he pours a basket of bright pink petals into the sea. The film, without sound and commentary, only shows the movement of the leaves on the water as they disappear further and further.&nbsp;<br />Experiences with nature, animals, eating habits, forms of behavior, the details of daily life and the cultural techniques in different areas of life and societies in which Shimabuku lives and travels, are the subject of his art. All works by Shimabuku originate in the exact observing and interacting, they are a mixture of respect and curiosity for the new and strange. So he learned site-specific techniques and crafts and used some results for his exhibition Noto, for example, the production of iron, building of special racks for drying fruits and manufacturing wind catchers of bamboo on the road. The products and manufacturing techniques were part of his exhibition at the prestigious 21st Century Museum of Contemporary Art, Kanzawa in 2013.</p> <p>In his first solo exhibition in our gallery Shimabuku shows, next to the movie Sea and Flowers, the installation Something that Floats / Something that Sinks (2010), which illustrates that fruits or vegetables of the same kind partly sink, partly float when placed in water.&nbsp;<br />Photograph wearing rain boots (2013) shows a photograph from the Okinawa sea, the area where his family comes from. It is mounted on a simple wooden plate and stands on rubber boots.&nbsp;<br />The installation A Great Day (2011), which consists of many different objects and a film, is documenting an experience of Shimabuku in Moscow: "One day on the street of Moscow, I had kept watching a street seller who sold nothing for long time. Many people passed by in front of him, but nobody stopped there. I started to think how much he can sell in one day. I wondered if ever there will come the day when he sells everything. After a while, I decided to buy everything from such seller on the street."<br />Shimabuku bought the entire offer from the street trader and shows it as a sculpture in the gallery.</p> <p>&nbsp;</p> <p>Shimabuku (* 1969 in Kobe, Japan) lives and works in Berlin.&nbsp;<br />His last major solo exhibition in Europe was in 2014 at the Kunsthalle Bern.&nbsp;<br />In the fall of 2014 Shimabuku will take part in the Taipei Biennale curated by Nicolas Bourriaud, with the title: The Great Acceleration, Art and Its New Ecosystem: A Global Set of Relations.</p> Wed, 27 Aug 2014 02:08:11 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Jazmina Figueroa, Leo Ritz, Sven Daeren, Black Cracker, Rosie Carr, Arko Datto - Mindpirates Projektraum - August 30th 6:00 PM - 10:00 PM <p>The exhibition merges themes of identity and concepts of anonymity: layers which shape identities.&nbsp;These are positioned within the context of &lsquo;margins&rsquo;. The exhibition will be an extension of the&nbsp;SUBCULTURE magazine. Using immersive filmic techniques, all of the individual works represent an&nbsp;inspired exchange which focuses on socio p olitical discourse, unique philosophies, and individual&nbsp;experiences.</p> <p>&lsquo;Crossings&rsquo; by Arko Datto represents a civilization- or culture- constructed in an empty space. Highlighting&nbsp;infrastructures of power, it offers a reflection on the anonymous but somehow very personal patterns of&nbsp;migration and manipulated labour. Positioned in a room by itself, at the end of a long corridor, the book&nbsp;will be deconstructed, displayed on acetate paper and illuminated on a light box.</p> <p>The corridor which leads to this room, will present another photographic series entitled &lsquo;Puberty&rsquo; by Sven&nbsp;Daeren and Leo Ritz. The series captures movements of anonymous adolescents coming in and out of&nbsp;shot. Here, there is a physical border created when observing a moving action. The term &lsquo;puberty&rsquo; is a&nbsp;general statement which encapsulates coming-of-age connotations: experiences which are varied and&nbsp;are an integral stage in establishing identity. Here is the link to the series.</p> <p>Other works include projected documentary video installations in the main room. One film by Jazmina&nbsp;Figueroa focuses on the layers of identity of the musician and visual artist, Black Cracker, who is&nbsp;integrated into the Berlin queer scene.</p> <p>The other is a moving image portrait entitled &lsquo;The Allure of Objects&rsquo; by Rosie Carr. It traces the daily life&nbsp;&nbsp;surroundings of Edward Nowill. Nowill is &lsquo;an analogue technology expert, small gauge film enthusiast,&nbsp;collector of objects, and maker of remarkable things&rsquo;. The film uses conversational dialogue between the&nbsp;artist and subject as a starting point to explore methods of filmmaking and truth seeking. This evokes a&nbsp;sense of Edwards &lsquo;world&rsquo; in which he absents himself from a capitalist, consumer driven existence and&nbsp;instead chooses to build his own reality.</p> <p>&nbsp;</p> Wed, 27 Aug 2014 01:53:14 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list Rui Calçada Bastos - Invaliden1 - September 5th - October 18th <p><strong>At eye level</strong><br /><br />Under the title &lsquo;Passagem de N&iacute;vel&rsquo; [Level Crossing], Rui Cal&ccedil;ada Bastos presents a set of works that have as their main motif an itinerary that is guided by chance, by encounters and by an indiscipline of the gaze, an itinerary that does not fulfill itself at its point of arrival. Over time, his work has developed a multiplicity of approaches intent on questioning the image as the correlate of an event, or as a recording of a particular, identified and named reality. However, this diversity of means and open-field approach bring us again into contact with a kind of absurdity we find in elements from our everyday life that inspire a certain disfunctionality, such as the photograph Untitled that features an interrupted line which we recognise as a road centre line, which has been irregularly painted by accident. Besides that, Cal&ccedil;ada Bastos reutilises subjects and contexts from his work as means to explore poetical and sociopolitical transitions that confront us with that infinite itinerary, in the sense that each image conveys the absence and consequent increase in value of a certain object, as if the path to reach the object was the object itself, as the addressee of a poetics that moves towards an expanded field and takes over the mediation once left to visual means. The sculpture Level crossing that was built in the gallery&rsquo;s space is itself an instance of the artist&rsquo;s contradictory approach. The marks on the wall indicate that a stairway was once there. These marks, which we may immediately associate with memory, also reveal a moment in time, a duration, as well as a sense of change and transitoriness that is sublimated by that architectural element as it reconnects spaces and various levels of the body&rsquo;s transit. The opposite side of the sculpture offers to the viewer the projection of a work on video, Another sequence of events. This contradiction between the past and its reconstruction from the fragment and real-time footage is what draws us to use forms of recording and organising memory.<br />The expanded poetics I have mentioned focuses on the disordered movements of things in the world without, however, searching for an answer or a purpose in them. It is, in Rui Cal&ccedil;ada Bastos&rsquo; work, an indiscipline focused on finding again itineraries and paths that thus attain a new eye level.<br /><br />Jo&atilde;o Silv&eacute;rio</p> <address>Joao Silv&eacute;rio is a Lisbon based curator currently working as curator for the Art Collection of the Luso-American Development Foundation (www.flad.pt). Created the independent project EMPTY CUBE in October 2007. Currently Vice &ndash; President of AICA (International Association of Art Critics) Portuguese section.</address> Wed, 27 Aug 2014 01:31:32 +0000 http://www.artslant.com/ber/Events/list http://www.artslant.com/ber/Events/list