ArtSlant - Openings & events en-us 40 Bryony Dunne - The Townhouse Gallery - September 25th 7:00 PM - 9:00 PM <p style="text-align: justify;">Documentation &ndash; or even a contemplative pursuit &shy;&ndash; is met with a degree of antagonism where public space is almost inaccessible in Cairo. The clamor of the streets is forceful, sites of contestation have become perpetual and monumental, and it is becoming increasingly difficult to be present as a recorder of things. Dunne&rsquo;s work strikes as a flipside to the idea of the &ldquo;public;&rdquo; an involuntary introspectiveness that stemmed, as she once mentioned, out of being more comfortable in the protective solitude of this space &ndash; a seemingly secret garden in the heart of a public zoo.An urge strikes to find any relevance in the stillness of the images to one&rsquo;s brash surroundings; a contrast that forced a dialogue between the two in a hazy state. Restrictions turn into a maddening force, one that occasionally calls for an introvert: the images suggest a complete disconnect, a sense of meditative disengagement that usually comes with myth. There are hand-painted seeds, ones that are deliberately dressed up for extrication. They now exist in blackness with fur swelling out of their odd textures. And there stands a fabled grotto that&rsquo;s hidden from the public. The garden from which they come is a static image.</p> <p style="text-align: justify;">The opening will also feature the launch of a self- published photobook titled 'Seeds of the Zoo' which includes a selection of images, some of which are included in the exhibition, texts by Sara El Adl, Canadian writer Elle Kurancid and Egyptian photojournalist Hamada Elrasam. Kindly supported by Mophradat.</p> <p style="text-align: justify;">About the artist:</p> <p style="text-align: justify;">Bryony Dunne is an Irish-artist based in Cairo. Her first short film brought her to Egypt in 2012 to photograph a network of desert gardens in the Sinai Peninsula. The Orchard Keepers (2014) would go on to be awarded best short at the Iranian International Green Film Festival. In her first feature film, Pembe! (2017), she traces the story of the world&rsquo;s last male Northern White Rhinoceros. Dunne has shown her work at places such as; The Irish Film Institute, London&rsquo;s Mosaic Rooms, Leighton House Museum and Goldsmiths University. In 2016 she was an invited artist-in-residence at Hangar Art and Research Centre in Lisbon. She teaches photography at the German University in Cairo.</p> <p style="text-align: justify;">Townhouse Factory</p> Thu, 22 Sep 2016 17:03:42 +0000 Brigitta Maria Andermatt, Herbert Beyer, Oliver Fauser, Raphael Jacober, Cris Wehrli - ART INTERNATIONAL Zurich - September 29th 6:00 PM - 10:00 PM <p>&nbsp;</p> <p style="text-align: center;" align="center"><span style="font-family: tahoma,arial,helvetica,sans-serif; font-size: x-large; color: #ee3810;"><strong>Identity and Interaction.</strong></span></p> <p align="center"><span style="font-size: medium;"><strong><span style="font-family: tahoma,arial,helvetica,sans-serif;"><span style="color: #c05e3f;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Life between Selfi, Spirit and Logarthythmic Spirals.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</span>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</span> </strong></span></p> <p style="text-align: center;" align="center"><span style="font-family: tahoma,arial,helvetica,sans-serif;"><strong>&nbsp;by Dr. Barbara Aust-Wegemund, Art Critic</strong></span></p> <p style="text-align: center;">&nbsp;</p> <p style="text-align: center;"><img src="" alt="" /></p> <p align="center"><strong><span style="font-family: verdana,geneva;">Copyright Raphael Jacober, Lady with Bast Fiber, Installation, 33 x 43 cm</span> </strong></p> <p style="text-align: justify;"><span style="font-family: verdana,geneva;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-family: verdana,geneva;">Celebrating 18 years in Zurich, Art International Zurich returns to its pioneering location at Zurich Congress Hall, main entry Claridenstrasse. A wellspring of cultural development for Zurich, the art event is the initiator of extraordinary happenings centered in the City District.</span></p> <p style="text-align: justify;"><span style="font-family: verdana,geneva;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-family: verdana,geneva;">Dealing with innovative concepts for integrating successful arts precincts, museums and institutions, as well as established collector-focussed program, the art fair promises that 2016 continues a successful story.</span></p> <p style="text-align: justify;"><span style="font-family: verdana,geneva;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-family: verdana,geneva;">Long-established as the original incubator for emerging work, Zurich&rsquo;s art event celebrates its eighteen&rsquo;s year of introducing new and established galleries to the contemporary art market, a remarkable opportunity for exposure Galerie Zum Harnisch. The Gallery&rsquo;s Director and Swiss Chiefcurator Priska Medam is featuring emerging and mid-career artists in Zurich: Brigitta Maria Andermatt, Herbert Beyer, Oliver Fauser, Raphael Jacober and Cris Wehrli.</span></p> <p>&nbsp;</p> <p align="center"><img src="" alt="" />&nbsp;</p> <p align="center"><span style="font-family: verdana,geneva;"><strong>Copyright Cris Wehrli, Nautilus Logarhythmic Spiral, Mixed Media on Iron Board, 75 x 75 cm</strong></span></p> <p>&nbsp;</p> <p>&nbsp;</p> <p align="center"><img src="" alt="" /><span style="font-family: verdana,geneva;">&nbsp;</span></p> <p align="center"><span style="font-family: verdana,geneva;"><strong>Copyright Brigitta Maria Andermatt, No Title, Photography on Alu Dibond Board, 88 x 64 cm</strong></span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="font-family: verdana,geneva;">Regarding the selection of artists&rsquo; positions the gallery director Priska Medam explains the concept of her curated show: &ldquo;Drawing upon our growing fascination with self-portraiture, consider the global selfie boom, the curated show brings together a collection of works that reveal how people are searching for individuality and identity.</span></p> <p style="text-align: justify;"><span style="font-family: verdana,geneva;">The artists expand the genre&rsquo;s definition by moving beyond the human body and genesis of life to propose other forms of presentation from different perspectives. Together, the works reveal how Swiss contemporary artists have given profound expression to their personal, familial, and communal identities across cultures, media, and time. Finally we are delighted that the art fair jury committee also appreciate the high performance of the selected artists and decided to present our booth at Hall 1, booth K12, where collectors can find us easily.&rdquo;</span></p> <p>&nbsp;</p> <p align="center"><img src="" alt="" />&nbsp;</p> <p align="center"><span style="font-family: verdana,geneva;"><strong>Copyright Herbert Beyer, Laying Nude, Multimedia on Metal Board, 120 x 45 cm</strong></span></p> <p align="center"><span style="font-family: verdana,geneva;">&nbsp;</span></p> <p align="center">&nbsp;</p> <p style="text-align: center;">&nbsp;<img src="" alt="" /></p> <p align="center"><span style="font-family: verdana,geneva;"><strong>Copyright Oliver Fauser, The Kiss,&nbsp; Sculpture, 18 x 30 x 6 cm</strong></span></p> <p align="center"><strong>&nbsp;</strong></p> <p style="text-align: justify;"><span style="font-family: verdana,geneva;">The art fair opens to VIPs and Press on Thursday, September 29, 6 &ndash; 10 pm and runs from September, 30 to October, 2, 2016 at Congress Hall Zurich, Switzerland. Art International Zurich is an important event for all serious collectors, curators, museum directors and interior designers, providing an intimate look at some of the most important works at the forefront of the international contemporary art movement.</span></p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p><span style="font-family: verdana,geneva; color: #f73207;"><strong>LOCATION</strong></span></p> <p><span style="font-family: verdana,geneva;"><strong>Art International Zurich</strong></span><br /><span style="font-family: verdana,geneva;"> <strong>September 30 &ndash; October, 2, 2016</strong></span></p> <p><span style="font-family: verdana,geneva;">Kongresshaus Z&uuml;rich (Congress Hall)</span><br /><span style="font-family: verdana,geneva;"> Main Entry: Claridenstrasse 5 (Entry K)</span><br /><span style="font-family: verdana,geneva;"> 8002 Zurich, Switzerland</span></p> <p><span style="font-family: verdana,geneva;">&nbsp;</span></p> <p><span style="font-family: verdana,geneva; color: #f73207;"><strong>CONTACT ART FAIR</strong></span></p> <p><span style="font-family: verdana,geneva;">Email: <a href="" rel="nofollow"></a></span></p> <p><a href="" target="_blank" rel="nofollow"><span style="font-family: verdana,geneva;"></span></a></p> <p><span style="font-family: verdana,geneva;">Phone: +41 (0)55 52 58 437</span></p> <p><span style="font-family: verdana,geneva;">&nbsp;</span></p> <p><span style="font-family: verdana,geneva; color: #f73207;"><strong>OPENING, VIP First View</strong></span></p> <p><span style="font-family: verdana,geneva;">Thursday, September, 29, 6pm &ndash; 10pm</span></p> <p><strong>&nbsp;</strong></p> <p><span style="font-family: verdana,geneva; color: #f73207;"><strong>OPENING HOURS</strong></span></p> <p><span style="font-family: verdana,geneva;">Friday, September, 30 &ndash; Sunday, October 2, 11 am &ndash; 8 pm</span></p> <p><span style="font-family: verdana,geneva;"><strong>&nbsp;</strong></span></p> <p><span style="font-family: verdana,geneva;"><strong>&nbsp;</strong></span></p> <p><span style="font-family: verdana,geneva; color: #f73207;"><strong>CONTACT &nbsp;GALLERY</strong></span></p> <p><span style="font-family: verdana,geneva;"><strong>Galerie Zum Harnisch</strong></span></p> <p><span style="font-family: verdana,geneva;"><strong>Booth K 12</strong></span></p> <p><span style="font-family: verdana,geneva;">Chiefcurator</span></p> <p><span style="font-family: verdana,geneva;">Priska Medam</span></p> <p><span style="font-family: verdana,geneva;"><a href="" rel="nofollow"></a></span></p> <p><span style="font-family: verdana,geneva;"><a href="" target="_blank" rel="nofollow"></a></span></p> <p><span style="font-family: verdana,geneva;"><strong>&nbsp;</strong></span></p> <p><span style="font-family: verdana,geneva;"><strong>&nbsp;</strong></span></p> <p><span style="font-family: verdana,geneva; color: #f73207;"><strong>CONTACT &nbsp;ARTISTS</strong></span></p> <p><span style="font-family: verdana,geneva;"><strong>Brigitta Maria Andermatt</strong></span></p> <p><span style="font-family: verdana,geneva;"><a href="" target="_blank" rel="nofollow"></a></span></p> <p><span style="font-family: verdana,geneva;">&nbsp;</span></p> <p><span style="font-family: verdana,geneva;"><strong>Herbert Beyer</strong></span></p> <p><span style="font-family: verdana,geneva;"><a href="" target="_blank" rel="nofollow"></a></span></p> <p><span style="font-family: verdana,geneva;">&nbsp;</span></p> <p><span style="font-family: verdana,geneva;"><strong>Oliver Fauser</strong></span></p> <p><span style="font-family: verdana,geneva;"><a href="" target="_blank" rel="nofollow"></a></span></p> <p><span style="font-family: verdana,geneva;">&nbsp;</span></p> <p><span style="font-family: verdana,geneva;"><strong>Raphael Jacober</strong></span></p> <p><a href="" target="_blank" rel="nofollow"><span style="font-family: verdana,geneva;"></span></a></p> <p><span style="font-family: verdana,geneva;">&nbsp;</span></p> <p><span style="font-family: verdana,geneva;"><strong>Cris Wehrli</strong></span></p> <p><a href="" target="_blank" rel="nofollow"><span style="font-family: verdana,geneva;"></span></a></p> <p><span style="font-family: verdana,geneva;">&nbsp;</span></p> <p><span style="font-family: verdana,geneva; color: #f73207;"><strong>CONTACT&nbsp; AUTHOR</strong></span></p> <p><span style="font-family: verdana,geneva;"><strong>Dr. Barbara Aust-Wegemund</strong></span></p> <p><a href="" target="_blank" rel="nofollow"><span style="font-family: verdana,geneva;"></span></a></p> <p><span style="font-family: verdana,geneva;"><a href="" target="_blank" rel="nofollow"></a></span></p> <p style="text-align: justify;"><span style="font-family: verdana,geneva;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-family: verdana,geneva;">Dr. Barbara Aust-Wegemund, born in Zurich/ Switzerland, is an Art Historian and Managing Director at Art History Consulting (AHC). She studied Art History at Christian-Albrechts-University of Kiel (Germany), University for Foreigners Perugia (Italy) and London Guildhall University (UK). The art historian and art critic has written widely on modern and contemporary art. Her essays have been featured in monographs, exhibition catalogues, e-zines, journals and the online editorial department of Goethe Institute Inter Natio</span>nes.</p> Fri, 09 Sep 2016 09:07:15 +0000 Noora Schroderus - Galleria Ama - September 29th 5:00 PM - 7:00 PM Thu, 22 Sep 2016 15:06:50 +0000 Louise Hearman - MCA - Museum of Contemporary Art, Sydney - September 29th 10:00 AM - 9:00 PM <p style="text-align: justify;">This exhibition is the first major museum survey of Australian painter Louise Hearman, featuring painting and drawings from across her more than 25-year practice.</p> <p style="text-align: justify;">The Melbourne-based artist is best known for her dark dream-like paintings where things are never quite as they seem. It is up to us to imagine what is glimmering in the half-light or lurking deep in the shadows, as the artist offers no written clues to the evocative contents of her works, which are nearly always left untitled.</p> <p style="text-align: justify;">Contemplative and obsessive in her approach, Hearman returns repeatedly to a number of motifs in her work &ndash; a child&rsquo;s radiant face, the back of someone&rsquo;s head, a glowing orb, a deserted road, an aeroplane gliding through a liquid sky, a phosphorescent sunset, a melancholic cloud, dogs, flowers, birds, cats and, perhaps most bizarrely, rows of shining teeth smiling at us. The luminous subjects of her portraits tend to float in a sea of blackness or abstract fields of colour, while her landscapes are often set at the edges of bush and suburbia, captured at twilight or dawn, their uncertain light spawning otherworldly forms and imbuing them with a supernatural quality.</p> <p style="text-align: justify;">Hearman collects imagery for her paintings by closely observing and photographing her experiences. She then merges these photographs with other recalled and imagined images in her mind and works in her studio to create unsettling compositions that blend and transform the commonplace into something extraordinary. With great technical skill, she focuses on capturing precise qualities of light in her subjects, conveying moments of intense radiance and darkness. The light in her paintings is beautiful but it can also disfigure, producing undefined spaces and monstrous forms. These disconcerting images are reminiscent of fleeting sensory impressions, like something glimpsed but not quite seen, caught at the moment before conscious apprehension.</p> <p style="text-align: justify;">Hearman&rsquo;s paintings are often said to have a cinematic quality, and like film stills they capture transient moments of imaginary time. By combining commonplace imagery with highly personal visions of the unknown and the unknowable, her art hints at the wonders of the universe and the compelling nonverbal nature of our thoughts and imaginings.</p> Thu, 25 Aug 2016 17:58:32 +0000 Steven Cybulka, Pia van Gelder, Biljana Jancic, Ruth McConchie, Adelle Mills, Mira Oosterweghel, Emily Parsons-Lord, Danae Valenza - MCA - Museum of Contemporary Art, Sydney - September 29th 10:00 AM - 9:00 PM <div id="moz-reader-content" style="display: block;"> <div id="readability-page-1" class="page"> <div class="col-md-6"> <p style="text-align: justify;">Primavera is the MCA&rsquo;s annual exhibition of Australian artists aged 35 and under. With a reputation for uncovering new artistic talent, in 2016 Primavera will celebrate its 25th anniversary, a significant milestone for one of the Museum&rsquo;s iconic programs.</p> <p style="text-align: justify;">Since 1992, the <a title=";custom_search=1" href=";custom_search=1" target="_blank">Primavera</a> series has showcased the works of artists and curators in the early stages of their career, many of whom &ndash; such as <a title="" href="" target="_blank">Shaun Gladwell</a>, <a title="" href="" target="_blank">Mikala Dwyer</a>, <a title="" href="" target="_blank">Rebecca Baumann</a>, <a title="" href="" target="_blank">Jonathan Jones</a> and Jess Johnson &ndash; have gone on to exhibit nationally and internationally.</p> <p style="text-align: justify;">Guest-curated by Emily Cormack, <em>Primavera 2016</em> explores ideas of transmission, highlighting the ways that art can physically connect with the viewer and how an artwork&rsquo;s meaning can be generated by this encounter.</p> <p style="text-align: justify;">The eight artists in <em>Primavera 2016</em> include: <strong>Steven Cybulka</strong> (SA), <strong>Pia van Gelder</strong> (NSW), <strong>Biljana Jancic</strong> (NSW), <strong>Ruth McConchie</strong> (QLD), <strong>Adelle Mills</strong> (VIC), <strong>Mira Oosterweghel</strong> (VIC), <strong>Emily Parsons-Lord</strong> (NSW) and <strong>Danae Valenza</strong> (VIC). Each artist is creating new work for the exhibition.</p> <p style="text-align: justify;">Several public programs will examine the emergent themes in the exhibition. On Thursday 29 September, the artists will discuss the process of making new work for the exhibition with curator Emily Cormack. There will be performances throughout the exhibition and further artist talks on Thursday evenings in November. On Friday 30 September, the artists will come together for MCA ARTBAR to curate a night of performances and live music.</p> <p style="text-align: justify;">Primavera was initiated in 1992 by Dr Edward Jackson AM and Mrs Cynthia Jackson AM and their family in memory of their daughter and sister Belinda, a talented jeweller who died at the age of 29.</p> </div> </div> </div> Thu, 25 Aug 2016 17:58:36 +0000 Kishio Suga - Pirelli HangarBicocca - September 29th 7:00 PM - 9:00 PM <h4 class="no-margin-bottom" style="text-align: justify;"><span style="font-size: small;">The exhibition</span></h4> <div class="text-columns"> <div class="text-column-1"> <p style="text-align: justify;"><span style="font-size: small;">&ldquo;Situations&rdquo;&nbsp;is the first European retrospective dedicated to&nbsp;Kishio Suga&nbsp;(b. 1944 in Morioka, Japan). For the first time in the career of this pivotal figure in contemporary Japanese art, over twenty of his installations, dating from 1969 to the present, are shown together in the Navate space.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Kishio Suga was among the prime movers of Mono-ha, an artistic group born in the late 1960s. He began showing his work at a time of great cultural ferment in Japan and international experimentation, marked by movements like Postminimalism and Land Art in the United States and Arte Povera in Italy. In 1978, Suga was chosen to represent his Country at the Venice Biennale, introducing the West to an artistic language in which the investigation of materials and space is rooted in a deep affinity to nature and the environment.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&ldquo;Situations&rdquo; brings together a series of pieces the artist has adapted to the industrial architecture of Pirelli HangarBicocca. Forging an intense relationship with the vast spaces of the Navate, it unfolds along a single path that balances lightness and gravity, linearity and tension, solidity and intangibility. In keeping with his practice, Suga&rsquo;s works are presented here as temporary projects which exist for the duration of the show, site-specific in both a spatial and temporal sense.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition highlights the common threads and experimental nature of the artist&rsquo;s oeuvre, presenting a landscape of organic and industrial elements&mdash;iron, zinc, wood, stone, and paraffin&mdash;materials which he often finds on site. At Pirelli HangarBicocca, the pieces therefore take on new qualities and characteristics that differ from previous versions.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&laquo;I constructed installation pieces, a format that has become quite common today, inside galleries. I bring a variety of things into the gallery, arranging them and giving them structure so that they occupy the entire space. The installations are never permanent and can be quickly disassembled or demolished. One might say that I create temporary worlds&raquo;</span><br /><span style="font-size: small;">(Kishio Suga,&nbsp;The Conditions Surrounding an Act, 2009)</span></p> <p style="text-align: justify;"><span style="font-size: small;">After graduating from the painting department of Tama Art University in Tokyo in 1968 and working as a studio assistant for American artist Sam Francis,&nbsp;Kishio Sugabegan making and showing his work at a time of great artistic ferment in Japan. The years between 1969 and 1972 witnessed the emergence and growth of Mono-ha, a movement that also included Kōji Enokura, Noriyuki Haraguchi, Shingo Honda, Susumu Koshimizu, Lee Ufan, Katsushiko Narita, Nobuo Sekine, Noburu Takayama, and Katsuro Yoshida. Although the term Mono-ha literally translates as &ldquo;School of Things,&rdquo; the artists were neither an organized group, nor were their individual practices exclusively focused on things or objects. Their diverse work was united by the choice to use simple materials (both natural and industrially manufactured) as a means to explore the relationships between the individual, matter and surrounding space. Their works were often the result of direct, interactive actions, such as suspending, dropping, breaking and stacking. Mono-ha is therefore centered on both the material properties and the performative dimension of the artwork. These thematic and formal aspects can be seen as having a resonance with the Italian movement of Arte Povera.</span></p> <h5 class="no-margin-bottom" style="text-align: justify;"><span style="font-size: small;">Selected Exhibitions</span></h5> <div class="text-column"> <p style="text-align: justify;"><span style="font-size: small;">Kishio Suga (b. 1944 in Morioka, Japan) lives and works in Ito, Japan. He has been exhibiting his work since the late 1960s. In recent years his work has been shown at many institutions around the world, including the Museum of Contemporary Art, Tokyo (2015); the Jewish Museum, New York (2014); Punta della Dogana, Venice and The Warehouse, Dallas (2013); and the Museum of Modern Art, New York (2012). In 2000 he took part in the 3rd Gwangju Biennale and in 1978 he represented Japan at the 38th Venice Biennale.</span></p> <hr /> <h4 class="no-margin-bottom" style="text-align: justify;"><span style="font-size: small;">La mostra</span></h4> <div class="text-columns"> <div class="text-column-1"> <p style="text-align: justify;"><span style="font-size: small;">&ldquo;Situations&rdquo;&nbsp;&egrave; la prima retrospettiva dedicata da un&rsquo;istituzione europea a&nbsp;Kishio Suga(Morioka, Giappone, 1944), figura chiave dell&rsquo;arte contemporanea giapponese. La mostra, a cura di Yuko Hasegawa e Vicente Todol&iacute;, raccoglie nello spazio delle Navate di Pirelli HangarBicocca oltre venti installazioni realizzate da Suga dal 1969 fino a oggi e da lui riadattate per l&rsquo;occasione.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Personalit&agrave; di spicco di Mono-ha, gruppo artistico nato alla fine degli anni Sessanta, Kishio Suga inizia a esporre le sue opere in un contesto di grande fermento culturale per il Giappone, cos&igrave; come a livello internazionale, con la nascita di movimenti come la Post-Minimal Art e la Land Art negli Stati Uniti e l&rsquo;Arte Povera in Italia.&nbsp;Nel 1978 l&rsquo;artista viene invitato a rappresentare il suo paese alla Biennale di Venezia, mostrando in Occidente il suo linguaggio che unisce una relazione profonda con la natura a una ricerca sui materiali e sullo spazio.</span></p> <p style="text-align: justify;"><span style="font-size: small;">La mostra riunisce un insieme di opere ripensate e riadattate dall&rsquo;artista in funzione dell&rsquo;architettura industriale di Pirelli HangarBicocca, creando un intenso legame con i vasti spazi delle Navate e dando vita a un unico percorso dove convivono leggerezza e incombenza, linearit&agrave; e tensione, solidit&agrave; e immaterialit&agrave;. I lavori di Suga si configurano come interventi temporanei che hanno la durata della mostra,&nbsp;site-specific&nbsp;nello spazio e nel tempo. &ldquo;Situations&rdquo;, si presenta come un paesaggio costituito da elementi organici e industriali &ndash; come ferro, zinco, legno, pietre e paraffina &ndash; spesso ricercati in loco. Le opere installate in Pirelli HangarBicocca acquisiscono, dunque, nuove qualit&agrave; e caratteristiche che le rendono diverse da qualsiasi precedente installazione.</span></p> <p style="text-align: justify;"><span style="font-size: small;">&laquo;Realizzo installazioni all&rsquo;interno di spazi espositivi, una forma d&rsquo;arte piuttosto comune oggi. Uso una variet&agrave; di materiali, accostandoli e creando una struttura che si adatta a tutto lo spazio. Le installazioni non sono mai permanenti e possono essere facilmente rimosse e distrutte. Si potrebbe dire che creo mondi temporanei&raquo;&nbsp;(Kishio Suga,&nbsp;The Conditions Surrounding an Act, 2009)</span></p> <p style="text-align: justify;"><span style="font-size: small;">Kishio Suga, dopo aver conseguito una laurea in pittura alla Tama Art University di Tokyo nel 1968 e aver lavorato come assistente di studio dell&rsquo;artista americano Sam Francis, &nbsp;inizia a realizzare ed esporre le sue opere in un contesto di grande fermento artistico per il Giappone. Tra il 1969 e il 1972 si forma e sviluppa il gruppo Mono-ha, di cui fa parte Suga, oltre agli artisti Kōji Enokura, Noriyuki Haraguchi, Shingo Honda, Susumu Koshimizu, Lee Ufan, Katsushiko Narita, Nobuo Sekine, Noburu Takayama e Katsuro Yoshida. L&rsquo;utilizzo di materiali semplici, sia naturali sia provenienti dalla produzione industriale, l&rsquo;indagine sulle relazioni tra uomo e materia, oggetti e spazio circostante, l&rsquo;intervento diretto sulle opere, attraverso azioni che le alterano, accomunano la pratica individuale e personale di questi artisti. Mono-ha, che letteralmente significa &ldquo;scuola delle cose&rdquo;, si presenta quindi come un movimento legato a una dimensione oggettuale e perfomativa dell&rsquo;opera d&rsquo;arte. Aspetti tematici e formali che possono creare una vicinanza tra questo gruppo e quello italiano dell&rsquo;Arte Povera, che negli stessi anni prende vita a Torino.</span></p> <h5 class="no-margin-bottom" style="text-align: justify;"><span style="font-size: small;">Mostre principali</span></h5> <div class="text-column"> <p style="text-align: justify;"><span style="font-size: small;">Kishio Suga (Morioka, Giappone, 1944) vive e lavora a Ito, in Giappone. A partire dalla fine degli anni &rsquo;60 inizia a realizzare le sue opere. Recentemente ha esposto in diverse istituzioni internazionali tra cui: Museum of Contemporary Art, Tokyo (2015); Jewish Museum, New York (2014); Punta della Dogana, Venezia e The Warehouse, Dallas (2013); Museum of Modern Art, New York (2012). Nel 2000 ha partecipato alla 3a&nbsp;Gwangju Biennale e nel 1978 ha rappresentato il Giappone alla 38a&nbsp;Biennale di Venezia.&nbsp;&nbsp;</span></p> </div> </div> </div> </div> </div> </div> Tue, 06 Sep 2016 19:27:19 +0000 Tomoyo Ihaya - Art Beatus Gallery - Vancouver - September 30th 3:00 PM - 6:00 PM <p style="text-align: justify;"><span style="font-family: Helvetica,Arial,sans-serif;">We are very pleased to present returning gallery artist, <strong>Tomoyo Ihaya</strong>, in her fourth solo exhibition at <strong>Art Beatus (Vancouver) Consultancy Ltd</strong>, <em>Eyes Water Fire</em>.<br /> <br /> A self-professed nomad, <strong>Tomoyo Ihaya</strong> is a world traveller with a particular affinity for the wondrous country of India. Since 2005, she has travelled to the subcontinent 15 times, each ranging in duration from 1 to 6 months. &ldquo;After many years of travelling and living abroad, particularly in India, I have grown increasingly sensitive to people who have been forced to migrate due to oppressive and often violent social political situations. I have heard many stories of lost homelands, escapes and life in exile.&rdquo; Driven by her profound sense of empathy and compassion, the works in this exhibition is <strong>Ihaya</strong>'s emotional and visual diatribe against &ldquo;...the suffering of people [because of] forced migration due to wars, suppression, abuse of human rights and loss of homelands and dignity.&rdquo;<br /> </span></p> <p style="text-align: justify;"><span style="font-family: Helvetica,Arial,sans-serif;"><span style="font-family: Helvetica,Arial,sans-serif;">The works in <em>Eyes Water Fire</em> include a mixed media installation, mixed media drawings and an art video. Unlike Surrealism where the juxtaposing of disparate objects are due to the seemingly happenstance of the subconscious, <strong>Ihaya</strong>'s chosen symbols that form her own iconography are deliberate. The water motif is manifested in the image of boats and watery blue legs that, according to the artist, &ldquo;...cross the borders on snow-covered mountains or swimming across an ocean&rdquo; while the image of &ldquo;flames declare resistance and dignity or lights of prayers&rdquo;. The ubiquitous eyes that appear throughout this exhibition represent witnessing, prayers, as well as doors to the mind. In addition, <strong>Ihaya</strong> says, &ldquo;Burning small holes into the eyes with incense sticks is an act of prayer or meditation. The light coming through each tiny hole is a symbol of hope.&rdquo; <strong>Ihaya</strong>'s work in <em>Eyes Water Fire</em> is powerfully poignant as well as earnestly poetic.</span></span></p> <p style="text-align: justify;"><span style="font-family: Helvetica,Arial,sans-serif;"><span style="font-family: Helvetica,Arial,sans-serif;"><span style="font-family: Helvetica,Arial,sans-serif;"><span style="font-family: Helvetica,Arial,sans-serif;">Accomplished in various visual arts disciplines and the recipient of numerous awards, grants and residencies, including the prestigious VADA Award from Vancouver Foundation, <strong>Tomoyo Ihaya</strong> was born in Tsu-City, Japan and earned a Bachelor degree in German Literature from Rikkyo University in Tokyo. After moving to Canada, <strong>Ihaya</strong> studied fine arts at Mount Allison University in Sackville, New Brunswick, Emily Carr Institute of Art and Design in Vancouver and Capilano College in North Vancouver before completing a Master of Fine Arts from the University of Alberta in Edmonton, Alberta. <strong>Ihaya</strong>'s work can be found in numerous collections in Canada, USA, Italy and Asia.<br /> <br /> </span></span></span></span></p> <div align="center"><span style="font-family: Helvetica,Arial,sans-serif;"><em>The artist gratefully acknowledges the support of the Canada Council for the Arts.</em><br /> </span></div> <p>&nbsp;</p> <div align="center"><img src="" alt="" width="200" height="50" /></div> <p>&nbsp;</p> <p><span style="font-family: Helvetica,Arial,sans-serif;"><span style="font-family: Helvetica,Arial,sans-serif;">Opening Reception&nbsp;&nbsp;|&nbsp;&nbsp;<span style="text-decoration: underline;">Friday, September 30</span>, 3 - 6pm<br /> <span style="text-decoration: underline;">Meet the Artist</span>&nbsp;&nbsp;|&nbsp;&nbsp;Tomoyo Ihaya will be in attendence</span></span></p> Wed, 21 Sep 2016 17:55:47 +0000 - Baton Rouge Gallery - September 30th 8:00 PM - 10:00 PM <p style="text-align: justify;">On Friday, September 30, one of the most respected silent films ever, "Sunrise" takes over the Movies &amp; Music on the Lawn screen. The 1927 F.W. Murnau classic is a love story peppered with betrayl, redemption and incredible performances (including Janet Gaynor's, which - along with two other films - earned her the first Best Actress Award at the 1929 Academy Awards).<br /> <br /> Providing the score for the film will be Baton Rouge's own, Minos the Saint. This group is an eclectic chamber folk band that blends acoustic folk and symphonic brass, featuring accordion, danceable rhythms, and improvisation. Each of the band's six members has a diverse musical background, and the result is a fresh brand of experimental-yet-accessible folk rock that uniquely represents Louisiana, and the world.<br /> <br /> Admission is $7 and includes bottomless popcorn. Of course, as always, BRG members get in free! <br /> <br /> Learn more at <a href="" rel="nofollow nofollow" target="_blank"></a>.</p> Fri, 23 Sep 2016 15:15:08 +0000 Sami Parkkinen - Galleria Heino - September 30th 5:00 PM - 7:00 PM Sun, 28 Aug 2016 14:00:13 +0000 Francis Bacon, Pablo Picasso, Henri Matisse, Georges Seurat, Vincent Van Gogh, Paul Gauguin, Edgard Degas, Édouard Manet - Guggenheim Museum Bilbao - September 30th 10:00 AM - 8:00 PM <div class="description"> <p style="text-align: justify;"><em>Francis Bacon: From Picasso to Vel&aacute;zquez</em> presents a selection of nearly 90 of the Anglo-Irish artist&rsquo;s most compelling paintings, including many rarely exhibited works, alongside those by artists who influenced his career.</p> <p style="text-align: justify;">While a fervent Francophile, Francis Bacon was also well-versed in the work of Spanish masters such as Diego Vel&aacute;zquez, and the exhibition explores the influence of both cultures on his art. Bacon, who became a painter after seeing the exhibition <em>Cent dessins par Picasso</em> at Paul Rosenberg&rsquo;s gallery in Paris, was a great connoisseur of French literature and painting. He avidly read the writings of Jean Racine, Honor&eacute; Balzac, Charles Baudelaire, and Marcel Proust and admired the art of &Eacute;douard Manet, Edgard Degas, Paul Gauguin, Vincent van Gogh, Georges Seurat, Henri Matisse, and Pablo Picasso.</p> <p style="text-align: justify;">Aside from the initial contact with Picasso&rsquo;s Parisian output of the 1920s and 1930s, the clearest evidence of Bacon&rsquo;s connection with Spanish culture is undoubtedly his obsession with Vel&aacute;zquez&rsquo;s <em>Portrait of Pope Innocent x</em> painted in 1650. Although Bacon had the chance to see the work at the Galleria Doria Pamphilj during a trip to Rome in 1954, he preferred, however, to have reproductions of the work rather than a memory of the original while producing his more than 50 variations on the motif. In addition to Vel&aacute;zquez, Bacon was fascinated by Francisco Goya, El Greco, and Francisco de Zurbar&aacute;n, whose works he viewed at the Prado Museum, Madrid.</p> <p style="text-align: justify;">Exhibition organized by the Guggenheim Museum Bilbao, in collaboration with <a href="" target="_blank">Grimaldi Forum</a> Monaco.</p> <hr /> <div class="description"> <p style="text-align: justify;"><em>Francis Bacon: de Picasso a Vel&aacute;zquez</em> muestra una selecci&oacute;n de noventa pinturas que se cuentan entre las m&aacute;s importantes y atractivas de este artista brit&aacute;nico nacido en Irlanda, incluyendo muchos trabajos que apenas se han exhibido en p&uacute;blico previamente, junto a la obra de distintos maestros cl&aacute;sicos que influyeron en su carrera.</p> <p style="text-align: justify;">La exposici&oacute;n pretende profundizar en la impronta que las culturas francesa y espa&ntilde;ola dejaron en la obra de Bacon, ferviente franc&oacute;filo y gran conocedor del arte de grandes maestros espa&ntilde;oles, como Vel&aacute;zquez. Bacon inici&oacute; su carrera como pintor tras visitar la exposici&oacute;n <em>Cent dessins par Picasso</em> en la galer&iacute;a Paul Rosenberg de Par&iacute;s. Sumamente interesado en la literatura francesa, fue un &aacute;vido lector de Racine, Balzac, Baudelaire y Proust; y un apasionado del arte de creadores establecidos en Francia, como Manet, Degas, Gauguin, Van Gogh, Seurat, Matisse y Picasso, y otros anteriores, como Ingres, G&eacute;ricault y Daumier.</p> <p style="text-align: justify;">M&aacute;s all&aacute; de sus primeros encuentros parisinos con la obra de Picasso en los a&ntilde;os veinte y treinta, su relaci&oacute;n con la cultura espa&ntilde;ola se manifiesta principalmente en su obsesi&oacute;n por el <em>Retrato del Papa Inocencio x</em>, realizado por Vel&aacute;zquez en 1650. Pese a haber tenido la oportunidad de contemplar esta obra directamente en la Galer&iacute;a Doria Pamphilj, durante un viaje que hizo a Roma en 1954, Bacon prefiri&oacute; tener presentes en su memoria las reproducciones de la pintura, y no el original, durante la creaci&oacute;n de las m&aacute;s de cincuenta obras que dedic&oacute; a este motivo. Adem&aacute;s de Vel&aacute;zquez, a Bacon le fascinaron otros maestros cl&aacute;sicos, como Zurbar&aacute;n, El Greco o Goya, cuya obra pudo admirar en el Museo del Prado de Madrid.</p> <p style="text-align: justify;">Organizada por el Museo Guggenheim Bilbao en colaboraci&oacute;n con <a href="" target="_blank">Grimaldi Forum</a> M&oacute;naco.</p> </div> </div> Thu, 11 Aug 2016 07:51:20 +0000 Roland Persson, Marlon Wobst - Helsinki Contemporary - September 30th 5:00 PM - 7:00 PM <p style="text-align: justify;">Roland Persson and Marlon Wobst ponder the configuration of power in their joint exhibition <em>Animal Farm </em>&ndash; who dominates who, and what happens if the tables are turned? What if the characters in their works are looking at us?<br /><br />Roland Persson (b. 1963) is a Swedish artist working in Stockholm. He is known for painterly silicon sculptures that picture real objects with surrealistic influences. His works have been widely exhibited in solo and group exhibitions in Europe, Russia and Thailand. In Sweden Persson has made numerous public sculptures. In Finland he has previously exhibited in Amos Anderson Art Museum in a joint exhibition with Andreas Eriksson in 2012.<br /><br />Marlon Wobst (b. 1980) is a German painter. The seemingly trivial motives in his works are always slightly slanted. Wobst&rsquo;s works are now exhibited for the first time in Finland. He has participated in solo and group exhibitions in Europe, Brazil and the United States.</p> <hr /> <p style="text-align: justify;">Roland Perssonin ja Marlon Wobstin yhteisn&auml;yttelyss&auml; Animal Farm taiteilijat pohtivat valta-asetelmia &ndash; kuka hallitsee ket&auml;kin ja mit&auml; tapahtuu, jos roolit vaihtuvat? Mit&auml; jos teoksen hahmot katsovatkin meit&auml;?<br /><br />Roland Persson (s. 1963) on ruotsalainen, Tukholmassa ty&ouml;skentelev&auml; taiteilija. H&auml;net tunnetaan maalauksellisista silikoniveistoksista, jotka esitt&auml;v&auml;t todellisia esineit&auml; surrealistisilla vaikutteilla. H&auml;nen teoksiaan on ollut laajalti esill&auml; yksityis- ja ryhm&auml;n&auml;yttelyiss&auml; Euroopassa, Ven&auml;j&auml;ll&auml; ja Thaimaassa. Ruotsissa h&auml;n on tehnyt lukuisia&nbsp; julkisia veistoksia. Suomessa h&auml;nen teoksiaan on aikaisemmin ollut esill&auml; Amos Anderssonin taidemuseossa yhteisn&auml;yttelyss&auml; Andreas Erikssonin kanssa vuonna 2012.<br /><br />Marlon Wobst (s. 1980) on saksalainen maalari, jonka teoksissa p&auml;&auml;llep&auml;in trivialeilta n&auml;ytt&auml;v&auml;t aiheet ovat aina hieman vinoutuneita. Wobstin teoksia n&auml;hd&auml;&auml;n nyt ensimm&auml;ist&auml; kertaa Suomessa. H&auml;nen teoksiaan on n&auml;hty yksityis- ja ryhm&auml;n&auml;yttelyiss&auml; Euroopassa, Brasiliassa ja Yhdysvalloissa.</p> Sun, 21 Aug 2016 15:54:26 +0000 Helio Oiticica - Carnegie Museum of Art - October 1st 10:00 AM - 5:00 PM <p class="intro" style="text-align: center;"><strong>The first comprehensive US retrospective of the influential Brazilian artist.</strong></p> <div class="inner"> <p style="text-align: justify;">Carnegie Museum of Art (CMOA) presents&nbsp;<em>H&eacute;lio Oiticica: To Organize Delirium</em>, the first comprehensive US retrospective of the influential Brazilian artist (1937&ndash;1980). Ranging from beautifully balanced geometric paintings to immersive, interactive environments, Oiticica&rsquo;s work is visually arresting, wholly original, and seeks to build a participatory relationship with audiences. The exhibition is co-organized by CMOA, The Whitney Museum of American Art, and The Art Institute of Chicago.</p> <p style="text-align: justify;">Installed in CMOA&rsquo;s Heinz Galleries and expanding into its Hall of Sculpture,&nbsp;<em>H&eacute;lio Oiticica: To Organize Delirium</em>&nbsp;moves from the artist&rsquo;s two-dimensional works, including&nbsp;<em>Metaesquemas</em>, geometric abstract paintings in bold colors that are so alive with incipient movement that they seem to struggle against the grid that supports them, into his explorations of color and form in three-dimensional space, in which the<em>Metaesquemas&rsquo;</em>&nbsp;geometric shapes take to the air. His&nbsp;<em>Penetrables</em>&nbsp;are colorful structures inspired by makeshift dwellings in the favelas of Rio de Janeiro that can be traversed by viewers.&nbsp;<em>Parangol&eacute;s</em>, works in fabric that can be carried or worn, were originally made for the samba dancers in the Mangueira favela. The poetic or political messages that they often carry, buried within their layers of cloth, could be read only when the dancer was in motion. In addition to original works on display, exhibition copies invite visitors to wear and manipulate the artist&rsquo;s interactive works.</p> <p style="text-align: justify;">The massive installation&nbsp;<em>Eden</em>, installed in the Hall of Sculpture at the heart of the museum, is Oiticica&rsquo;s most ambitious. This huge work includes spaces designed to engage the senses and promote creative thought, tents for sleeping or listening to music, and beds filled with straw for relaxation or light reading. Because of its size, it is rarely presented.</p> <p style="text-align: justify;">The first exhibition to explore in depth the artist&rsquo;s New York years (1971&ndash;1978) and his return to Rio (1978&ndash;1980),&nbsp;<em>H&eacute;lio Oiticica: To Organize Delirium</em>&nbsp;invites a reconsideration of an internationally recognized, yet too-rarely encountered artist.</p> <p style="text-align: justify;"><em>H&eacute;lio Oiticica: To Organize Delirium</em>&nbsp;is organized by Lynn Zelevansky, The Henry J. Heinz II Director, Carnegie Museum of Art; Elisabeth Sussman, Sondra Gilman Curator of Photography, Whitney Museum of American Art; James Rondeau, President and Eloise W. Martin Director, The Art Institute of Chicago; and Donna De Salvo, Deputy Director for International Initiatives and Senior Curator, Whitney Museum of American Art; with Anna Katherine Brodbeck, Associate Curator, Carnegie Museum of Art.</p> <p style="text-align: justify;">&nbsp;</p> </div> Tue, 06 Sep 2016 17:15:50 +0000 Christo and Jeanne-Claude - Contemporary Art Center, Art Tower Mito - October 1st 9:30 AM - 6:00 PM <p style="text-align: justify;">景観を変貌させる大規模なプロジェクトで世界的に有名なニューヨーク在住のアーティスト、クリストとジャンヌ=クロード(Christo、1935 年生まれ/Jeanne-Claude 、1935年生まれ 2009年没)が、1991年秋に米カリフォルニア州南部と茨城県北部で実施した「アンブレラ」のドキュメンテーション展を開催します。この&ldquo;一時的な アート作品&rdquo;では、カリフォルニアの丘陵地帯に1,760本の黄色の傘を、茨城県の水田地帯に1,340本の青色の傘を同時に配置させました。一本の傘の 大きさは高さ6メートル、直径約8.7メートルという巨大なもの。18日間の会期中に日本で50万人、アメリカで200万人が鑑賞しました。本展では、ク リストによるドローイングやコラージュ作品、写真、傘本体ほかの実際に使用された資材、スケールモデルなどを展示し、1991年の「アンブレラ」を振り返 ります。</p> <p style="text-align: justify;">クリストとジャンヌ=クロード<br /> クリスト(1935年ブルガリア生まれ)と妻・ジャンヌ=クロード(1935年フランス人両親のもと、モロッコ・カサブランカ生まれ)のふたりは、 1960年代初頭から「クリストとジャンヌ=クロード」の名で芸術活動を行う。1964年にアメリカに移住し、以降ニューヨークを拠点として、屋外空間で の&ldquo;一時的なアート作品&rdquo;の創作を続ける。2009年にジャンヌ=クロードが亡くなり、引き続き「オーバー・ザ・リバー、コロラド州アーカンサス川のプロ ジェクト」、「ザ・マスタバ、アラブ首長国連邦のプロジェクト」の実現に向けて活動中。2016年「ザ・フローティング・ピアーズ、イタリア、イセオ湖、 2014-2016」を北イタリアで実現した。</p> Sun, 07 Aug 2016 15:39:25 +0000 Debra Smith, Donna Sharrett - Daum Museum of Contemporary Art - October 1st 11:00 AM - 5:00 PM <p style="text-align: justify;">Debra Smith and Donna Sharrett are fiber artists who employ an eclectic and intricately technical practice that bridges the conventional divide between crafts and fine art. Both artists repurpose found fabric in their compositions, which is painstakingly cut and stitched together to form compatible, yet distinct, bodies of work. Sharrett employs a sculptural approach to explore memory and symbolic ritual in her circular assemblages. Smith takes a more painterly interest in the arrangement of her fabric scraps, and concentrates on the formal language of shape, color, and texture in rectangular arrangements that yield a cubist-inspired graphics.</p> <p style="text-align: justify;">The exhibition seeks to spark an aesthetic dialogue between Sharrett&rsquo;s and Smith&rsquo;s oeuvres by installing them in a single, large gallery that affords each a discreet but common space. The work of both is clearly slow to make and there is obvious care, patience, and skill. This is an essential and shared characteristic; however, while they explore similar media and processes, they diverge in terms of intent and presentation.&nbsp; Sharrett&rsquo;s assemblages invite close scrutiny and play to archetypal understanding; Smith&rsquo;s compositions are best contemplated as unified wholes and offer stimulus for the viewer&rsquo;s imaginings.</p> <p style="text-align: justify;">Donna Sharrett, who is based in New York City<strong>,</strong>&nbsp;combines sculpture, craft techniques, and non-traditional materials to create detailed objects that draw on the historical and symbolic significance of the circular form. In&nbsp;her <em>Arrangements</em>, these circular forms and compositions reflect the seamless continuum of ritual that binds the past to the present, and the present to the future. Mirroring the Buddhist&nbsp;<em>mandala</em>, the circle enveloped by the square background characterizes the infinite within the finite. Sharrett incorporates rose petals, synthetic hair, and rings, as well as old neckties, denim and other scrap fabric, buttons, jewelry, and dirt. The materials are chosen specifically for their symbolic values. A variety of needlework techniques are employed, including crochet, embroidery and needlelace, each serving to tie together the ideas of fragility and strength, power and beauty, loss and rebirth, beginning and end.</p> <p style="text-align: justify;">Debra Smith, who maintains a studio in Kansas City, has the aesthetic sensibilities of a painter, but rather than applying pigment to a fabric support, Smith creates her compositions from a palette of already-dyed textiles. These she cuts by hand into geometric shapes, manipulating a limited range of colors and patterns within the grid of an intuitive, planar abstraction. Her practice involves the stitching together and overlapping of found silk fabric, primarily from vintage Japanese kimonos. Smith incorporates both dense and sheer cloth, which creates an interplay of translucent and opaque areas that add air, movement, and dimensionality to the work. Smith hopes that the historic nature of the fabric might connote another layer of meaning for viewers, suggesting an intangible narrative that disrupts the otherwise formal quality of the compositions with ghostly and poetic connections to the past.</p> Wed, 24 Aug 2016 07:11:05 +0000 Adriana Varejâo - Gagosian Gallery - Rome - October 1st 6:00 PM - 8:00 PM <p style="text-align: justify;"><em>In the Baroque, beauty and the grotesque are always like opposites&mdash;it&rsquo;s an aesthetic that deals with contrasts.</em><br /> &mdash;Adriana Varej&atilde;o</p> <p style="text-align: justify;">Gagosian Rome is pleased to announce an exhibition of new and recent work by Adriana Varej&atilde;o.</p> <p style="text-align: justify;">One of Brazil&rsquo;s most renowned living artists, Varej&atilde;o is perhaps best known for her incisive reflections on the rich yet conflicted history and culture of Brazil, embodied in her &ldquo;<em>azulej&atilde;o</em>&rdquo; or &ldquo;big tile&rdquo; paintings, ongoing since the first iteration in 1988. These highly inventive paintings simulate <em>azulejos</em>, or painted tiles whose complex provenance connects Brazil with Portugal through trade and colonization. The <em>azulejo</em>, a square glazed terracotta tile, is the most widely used form of decoration in Portuguese national art, used continuously throughout the country&rsquo;s history from the Middle Ages onward. Traditionally, vast, luxuriously theatrical designs of <em>azulejos</em> were used to decorate both religious and secular buildings, homogenizing the architecture into an illusionistic pictorial whole.</p> <p style="text-align: justify;">The <em>azulejo </em>constantly renewed its vigor, reflecting the organic eclecticism of a culture that was both expansive and open to dialogue. It embraced the lessons of the Moorish artisans, inspired by the ceramics of Seville and Valencia; it later adapted the ornamental formulae of the Italian Renaissance while acknowledging the exoticism of Oriental china; following an ephemeral period of Dutch inspiration, it created fantasy story panels in blue and white that set the tone for a perfect assimilation of widely varied elements. It was used in far distant places of Portugal&rsquo;s empire, such as Brazil. Varej&atilde;o&rsquo;s constant invocation of the <em>azulejo </em>in her art functions as a metaphor for the mixing of cultures, whether by force or by desire.</p> <p style="text-align: justify;">Varej&atilde;o&rsquo;s &ldquo;big tiles&rdquo; are, in fact, rendered on canvas in plaster and oil paint. The plaster is applied thickly to canvases laid on the ground and then left to dry. During the drying process, cracks begin to appear, as if by some natural geological phenomenon, so that every surface is unique and unrepeatable. Within the span of twenty years, these square paintings have ranged slightly in scale, sometimes aggregating into environmentally scaled works such as the operatic <em>Celacanto provoca maremoto</em> (<em>Coelacanth Provokes Seaquake</em>) (2004&ndash;08), now housed in a custom-built pavilion at Instituto Inhotim, a spectacular art park and museum in Minas Gerais, Brazil. In this work, the inscriptions of history, culture, landscape, geography and the human body that populated Varej&atilde;o&rsquo;s earlier paintings have been subsumed into a roiling delirium of blue and white patterns and fragmentary images, rendered in a grid of paintings to simulate a tiled wall of vast proportions. The works in the current exhibition, conceived specifically with the Rome gallery in mind, are Varej&atilde;o&rsquo;s largest single tile paintings to date, measuring 180 centimeters squared. Motifs, such as a cherub&rsquo;s head, an architectural fragment, a rose, and a shell, painted in subtle variations of blue and white according to their specific historical referents, are enlarged to the point where they begin dissolving into opulent abstract gestures.</p> <p style="text-align: justify;">In another ongoing theme in Varej&atilde;o&rsquo;s work, which resonates with the many deceiving features of the Italian Baroque that pervades Roman art and architecture, a single totemic sculpture appears as a free-standing tiled architectural fragment whose cross-section reveals the shock of an interior of bloody viscera described in livid <em>trompe l&rsquo;oeil</em>.</p> <p style="text-align: justify;">Varej&atilde;o will also been invited to present <em>Transbarroco </em>(2014)&mdash;her only multi-channel video installation to date&mdash;at Art Club, curated by Pier Paolo Pancotto, a project within the larger cultural initiative &ldquo;I gioved&igrave; della Villa - Questions d&rsquo;art,&rdquo; at the French Academy in Rome - Villa Medici. This magnificent work, with its sweeping takes of the dizzying interiors in the Baroque churches of Minas Gerais and Bahia in Brazil, and the throbbing soundtrack of Afro Brazilian drums, intercut with recitations of key writings on Brazilian identity, has never been shown outside of Brazil. The intensely hybridized baroque style that it reflects finds a contrapuntal context in the heart of Rome.</p> <p style="text-align: justify;"><strong>Adriana Varej&atilde;o</strong> was born in 1964 in Rio de Janeiro, Brazil, where she lives and works. Major museum collections include the Metropolitan Museum of Art, New York; Solomon R. Guggenheim Museum, New York; Museum of Contemporary Art San Diego; Tate Modern, London; Fondation Cartier pour l&rsquo;art contemporain, Paris; Fundaci&oacute;n &ldquo;la Caixa,&rdquo; Barcelona; Stedelijk Museum, Amsterdam; and Hara Museum, Tokyo. Selected solo institutional exhibitions include &ldquo;Azulej&otilde;es,&rdquo; Centro Cultural Banco do Brasil, Rio de Janeiro and Bras&iacute;lia, Brazil (2001); &ldquo;Chambre d&rsquo;&eacute;chos / C&acirc;mara de ecos,&rdquo; Fondation Cartier pour l&acute;art Contemporain, Paris (2005, travelled to Centro Cultural de Bel&eacute;m in Lisbon and DA2 in Salamanca, Spain); Hara Museum of Contemporary Art, Tokyo (2007); &ldquo;Adriana Varej&atilde;o - Hist&oacute;rias &agrave;s Margens,&rdquo; Museu de Arte Moderna de S&atilde;o Paulo, Brazil (2012, travelled to Museu de Arte Moderna do Rio de Janeiro, Brazil and Museo de Arte Latinoamericano de Buenos Aires (MALBA), Argentina in 2013); &ldquo;Adriana Varej&atilde;o,&rsquo; The Institute of Contemporary Art, Boston (2014); and &ldquo;Adriana Varej&atilde;o: Kindred Spirits,&rdquo; Dallas Contemporary (2015). Varej&atilde;o participated in the Bienal de S&atilde;o Paulo (1994 and 1998); the Biennial of Sydney (2001); SITE Santa Fe (2004); Mercosul Biennial in Visual Art, Brazil (1997, 2005, and 2015); the Istanbul Biennial (2011); the Bienal de Bucareste, Romania (2008); the Liverpool Biennial (1999 and 2006); &ldquo;30x Bienal,&rdquo; Funda&ccedil;&atilde;o Bienal de S&atilde;o Paulo (2013); and the Bienal de Arte de Contempor&acirc;nea de Coimbra, Portugal(2015). In 2008, the Galeria Adriana Varej&atilde;o, a permanent pavilion dedicated to Varej&atilde;o&rsquo;s art, designed by Rodrigo Cervi&ntilde;o Lopez, was inaugurated at Inhotim Centro de Arte Contempor&acirc;nea, Brumadinho, Minas Gerais, Brazil. In 2016 she was commissioned to produce a temporary mural based on <em>Celacanto provoca maremoto</em> to cover the entire facade of the Centro Aquatico for the Summer Olympics in Rio de Janeiro.</p> <p style="text-align: justify;">Varej&atilde;o&rsquo;s video installation <em>Transbarroco </em>will be on view at the French Academy of Rome - Villa Medici from Thursday, September 29&ndash;October 2. The weekly program &ldquo;I gioved&igrave; della Villa - Questions d&rsquo;art&rdquo; is an initiative of the Villa Medici to reflect on the state of contemporary creativity-visual arts, cinema, music, theater, literature, and art history&mdash;through the interaction between different audiences and languages in various forms including lectures, concerts, performances, exhibitions, and installations. Created by Louis XIV in 1666, The French Academy in Rome is a French public institution with three statutory missions: support of professional artists and research fellows through residencies; active cultural and artistic exchange; and the conservation and appreciation of the Villa Medici.</p> <p style="text-align: justify;">The French Academy in Rome celebrates its 350th anniversary in 2016. For more details please visit <a href="" target="_blank"></a>.</p> <hr /> <p style="text-align: justify;"><em>Nel Barocco il bello e il grottesco convivono sempre come opposti: &egrave; un&rsquo;estetica che ha a che fare con i contrasti.</em><br /> &mdash;Adriana Varej&atilde;o</p> <p style="text-align: justify;">Gagosian &egrave; lieta di annunciare una mostra di nuovi lavori di Adriana Varej&atilde;o.<br /> <br /> Tra gli artisti brasiliani pi&ugrave; rinomati, Varej&atilde;o &egrave; molto nota per la sua riflessione incisiva sulla storia e la cultura del Brasile, ricche e allo stesso tempo conflittuali, come rappresentato nella serie dei suoi dipinti &ldquo;maiolica&rdquo; iniziata nel 1988. Queste opere particolarmente creative simulano gli <em>azulejos </em>ovvero le maioliche dipinte che, attraverso complesse vicissitudini legate al commercio e alla colonizzazione, congiungono il Brasile con il Portogallo. L&rsquo;<em>azulejo</em>, una mattonella quadrata in terracotta smaltata, &egrave; il mezzo decorativo maggiormente impiegato nell&rsquo;arte nazionale portoghese fin dal Medio Evo. Tradizionalmente i grandi e teatrali motivi degli <em>azulejos </em>venivano usati per decorare gli edifici sia religiosi che secolari, omogeneizzando cos&igrave; l&rsquo;architettura in un&rsquo;unica illusione pittorica.</p> <p style="text-align: justify;">L&rsquo;<em>azulejo</em> ha costantemente rinnovato la sua forza nei secoli, riflettendo l&rsquo;eclettismo naturale di una cultura espansiva ed aperta al dialogo. La tecnica, che si avvaleva delle lezioni degli artigiani Moreschi ispirati alle ceramiche di Siviglia e Valencia, si adatt&ograve; in seguito alle formule ornamentali del Rinascimento italiano per arrivare a includere anche l&rsquo;esotismo della Cina orientale. Dopo un breve periodo di ispirazione olandese, subentrarono narrazioni figurative fantastiche in bianco e blu, a dimostrazione della perfetta assimilazione di diversi elementi, e diffuse in luoghi dell&rsquo;impero portoghese molto distanti tra loro come per esempio il Brasile. Il costante richiamo all&rsquo;<em>azulejo</em> nell&rsquo;arte di Varej&atilde;o &egrave; una metafora del mescolarsi delle culture, sia volontario che violento.</p> <p style="text-align: justify;">Le grandi maioliche dell&rsquo;artista sono realizzate in gesso e pittura a olio su tela. Uno strato generoso di gesso &egrave; applicato sul fondo delle tele e poi lasciato ad asciugare. Durante il processo di essiccazione, iniziano ad apparire delle crepe che, come nate da un fenomeno geologico naturale, rendono ogni superficie unica ed irripetibile. Nell&rsquo;arco di vent&rsquo;anni questi dipinti squadrati hanno mantenuto la loro dimensione, talvolta andando a creare dei lavori monumentali come <em>Celacanto provoca maremoto </em>(2004&ndash;08), ora ospitato in uno spazio apposito a Inhotim, lo spettacolare parco museo di arte contemporanea nello Stato brasiliano di Minas Gerais. In questo lavoro le scritte sulla storia, la cultura, il paesaggio, la geografia e il corpo umano, che popolavano i primi dipinti di Varej&atilde;o, sono incorporati in un delirio torbido di motivi blu e bianchi e di immagini frammentarie, rappresentate in una struttura a griglia a simulare un&rsquo;enorme parete di maioliche. I lavori in mostra a Roma pensati appositamente per l&rsquo;occasione, sono i pi&ugrave; grandi dipinti-maiolica che Varej&atilde;o abbia prodotto finora (180 cm quadrati). I motivi, quali una testa d&rsquo;angelo, una colonna dorica, una rosa o una conchiglia, sono resi in sfumature leggere di blu e bianco a seconda dei singoli riferimenti storici e ingranditi fino al punto in cui iniziano a dissolversi in opulenti gesti astratti.</p> <p style="text-align: justify;">Seguendo un altro tema del lavoro di Varej&atilde;o, vicino alle caratteristiche illusorie del Barocco italiano che permea l&rsquo;arte e l&rsquo;architettura romana, una singola scultura totemica appare free-standing, come un frammento architettonico maiolicato nel quale, da una sezione trasversale, si intravedono scioccanti viscere insanguinate in un livido <em>trompe l&rsquo;oeil</em>.</p> <p style="text-align: justify;">In occasione della mostra, Varej&atilde;o &egrave; stata invitata a presentare <em>Transbarroco </em>(2014), la sua unica installazione-video multi-canale-all&rsquo;Accademia di Francia a Roma, Villa Medici, all&rsquo;interno di Art Club, un progetto a cura di Pier Paolo Pancotto e parte di un&rsquo;ampia iniziativa culturale intitolata &ldquo;I gioved&igrave; della Villa - Questions d&rsquo;art&rdquo;. Questo magnifico lavoro, con larghe inquadrature di interni spettacolari delle chiese barocche di Minas Gerais e Bahia in Brasile e il palpitante audio del rituale <em>candombl&eacute; </em>intervallato da letture di scritti-chiave per l&rsquo;identit&agrave; brasiliana, viene esposto per la prima volta fuori dal Brasile. Il Barocco profondamente ibrido che il video riflette trova il giusto contrappunto nel contesto del cuore di Roma.</p> <p style="text-align: justify;"><strong>Adriana Varej&atilde;o</strong> &egrave; nata nel 1964 a Rio de Janeiro, Brasile, dove vive e lavora. Le sue opere si trovano nelle pi&ugrave; importanti collezioni museali, tra le quali: Metropolitan Museum of Art, New York; Solomon R. Guggenheim Museum, New York; il Museum of Contemporary Art San Diego; Tate Modern, Londra; Fondation Cartier pour l&rsquo;art contemporain, Parigi; Fundaci&oacute;n &ldquo;la Caixa&rdquo;, Barcellona; Stedelijk Museum, Amsterdam; e Hara Museum, Tokyo. Tra le mostre personali in spazi istituzionali si annoverano &ldquo;Azulej&otilde;es&rdquo;, Centro Cultural Banco do Brasil, Rio de Janeiro e Brasilia, Brasile (2001); &ldquo;Chambre d&rsquo;&eacute;chos / C&acirc;mara de ecos&rdquo;, Fondation Cartier pour l&acute;art Contemporain, Parigi (2005, e poi al Centro Cultural de Bel&eacute;m a Lisbona e DA2 a Salamanca, Spagna); Hara Museum of Contemporary Art, Tokyo (2007); &ldquo;Adriana Varej&atilde;o - Hist&oacute;rias &agrave;s Margens&rdquo;, Museu de Arte Moderna de S&atilde;o Paulo, Brasile (2012, e poi al Museu de Arte Moderna do Rio de Janeiro, Brasile e al Museo de Arte Latinoamericano de Buenos Aires, MALBA, Argentina nel 2013); &ldquo;Adriana Varej&atilde;o&rdquo;, The Institute of Contemporary Art, Boston (2014); e &ldquo;Adriana Varej&atilde;o: Kindred Spirits&rdquo;, Dallas Contemporary (2015). Varej&atilde;o ha partecipato alle seguenti Biennali: Bienal de S&atilde;o Paulo (1994 e 1998); Biennale of Sydney (2001); SITE Santa Fe (2004); Mercosul Biennial in Visual Art, Brasile (1997, 2005 e 2015); Istanbul Biennial (2011); Bienal de Bucareste, Romania (2008); Liverpool Biennial (1999 e 2006); &ldquo;30x Bienal&rdquo;, Funda&ccedil;&atilde;o Bienal di San Paolo (2013); Bienal de Arte de Contempor&acirc;nea de Coimbra, Portogallo (2015). Nel 2008 &egrave; stata inaugurata la Galeria Adriana Varej&atilde;o, un padiglione dedicato all&rsquo;arte dell&rsquo;artista, progettato da Rodrigo Cervi&ntilde;o Lopez, a Inhotim Centro de Arte Contempor&acirc;nea, Brumadinho, Minas Gerais, Brasile. All&rsquo;inizio del 2016 le &egrave; stato commissionato un murale temporaneo basato su <em>Celacanto provoca maremoto</em> per l&rsquo;intera facciata del Centro Aquatico in occasione delle Olimpiadi del 2016 a Rio de Janeiro.<br /> <br /> L&rsquo;installazione video <em>Transbarroco </em>di Varej&atilde;o sar&agrave; in mostra all&rsquo;Accademia di Francia a Roma, Villa Medici da gioved&igrave; 29 settembre al 2 ottobre. Il programma settimanale &ldquo;I gioved&igrave; della Villa - Questions d&rsquo;art&rdquo; &egrave; un&rsquo;iniziativa di Villa Medici che mira a riflettere sullo stato della creativit&agrave; contemporanea-arti visive, cinema, musica, teatro, letteratura e storia&mdash;attraverso le interazioni tra i diversi pubblici e i vari linguaggi che includono letture, concerti, performance, mostre e installazioni. Creata da Luigi XIV nel 1666, l&rsquo;Accademia di Francia a Roma &egrave; un&rsquo;istituzione pubblica francese con tre obiettivi statutari: il supporto agli artisti e ai ricercatori attraverso residenze; attivi scambi culturali ed artistici, e la conservazione e valorizzazione di Villa Medici.</p> <p style="text-align: justify;">L&rsquo;Accademia di Francia a Roma celebra l&rsquo;anniversario dei suoi 350 anni nel 2016. Per ulteriori informazioni si prega di visitare il sito <a href="" target="_blank"></a>.</p> Thu, 22 Sep 2016 10:07:46 +0000 Enrico David - Sharjah Art Foundation - October 1st 10:00 AM - 10:00 PM <p style="text-align: justify;">Exhibiting for the first time in the region, Enrico David&rsquo;s solo exhibition will showcase his metal sculptures, and large scale tapestries which employ artisanal craft technique. David&rsquo;s diverse practice collides at the intersections of sculpture and textiles, drawing, painting and installation. Born in Italy and based in London, David was shortlisted for the 2009 Turner Prize.</p> <hr /> <p style="text-align: justify;">يقدم هذا المعرض الذي يقام للمرة الأولى في المنطقة، مجموعة من أعمال الفنان إنريكو دافيد، والتي تضم منحوتات معدنية ومنسوجات مزخرفة كبيرة الحجم مصنوعة يدوياً. تتداخل ممارسة دافيد الفنية المتنوعة عبر تقاطعات فنون النحت والنسيج والرسم والأعمال التركيبية. تم ترشيح دافيد لجائزة تيرنر في عام 2009. ولد الفنان في إيطاليا ويقيم في لندن.</p> <div class="col-right">&nbsp;</div> Sun, 28 Aug 2016 17:57:25 +0000