ArtSlant - Openings & events en-us 40 William P. Gottlieb - Bowdoin College Museum of Art - July 10th 10:00 AM - 8:30 PM <p><em>On 52nd Street: The Jazz Photography of William P. Gottlieb</em>&nbsp;features forty vintage photographs of jazz musicians in performance from the collection of the photographer&rsquo;s family. William P. Gottlieb (1917&ndash;2006) began photographing jazz musicians in 1938 to illustrate a weekly feature he wrote for&nbsp;<em>The Washington Post</em>. Over the next decade he created almost 2,000 portraits of more than 250 musicians. This exhibition brings together Gottlieb&rsquo;s photographic portraits of jazz musicians whose rebellious self-expression, charisma, edge, and mystery made them American icons.</p> Fri, 20 Jun 2014 23:06:53 +0000 León Ferrari, Carlos Cruz-Diez, Guillermo Kuitca, Nelson Leirner, Jorge Macchi, Nicolás Paris, Liliana Porter, Luis Tomasello - Sicardi Gallery - July 10th 6:00 PM - 8:00 PM <p>In conjunction with Print Matters 2014, Sicardi Gallery announces an exhibition of prints produced at the Barcelona print workshop Pol&iacute;grafa. Founded in 1961, Pol&iacute;grafa Obra Gr&aacute;fica has published editions featuring more than 300 internationally renowned artists, and the workshop has a longstanding relationship with prominent artists from Latin America. Featuring prints by Carlos Cruz-Diez, Le&oacute;n Ferrari, Guillermo Kuitca, Nelson Leirner, Jorge Macchi, Nicol&aacute;s Paris, Liliana Porter, and Luis Tomasello,&nbsp;<em>Pressed</em>includes examples of some of the most innovative uses of the media to emerge from Latin America today.</p> Fri, 04 Jul 2014 23:41:32 +0000 Marta Chilindron, Graciela Hasper - Sicardi Gallery - July 10th 6:00 PM - 8:00 PM <p>Sicardi Gallery is pleased to announce the opening of&nbsp;<em>Dialogues</em>, an exhibition of new sculptures and paintings by Marta Chilindron and Graciela Hasper. Both artists will be present for an opening reception, from 6-8 pm on Thursday, July 10.</p> <p>In&nbsp;<em>Dialogues</em>, both artists explore geometry and transparency within their respective practices. Chilindron's brightly-colored acrylic sculptures range from 12-inch cubes to almost 6-foot high movable trapezoids and spirals. Hinged together, these works can be reconfigured into variations on each shape, creating an interactive conversation with the viewer. Hasper's untitled acrylic paintings on canvas also take geometry as their starting point. Overlapping and repeated shapes in a palette of bold colors are layered to allow for surprising juxtapositions and vibrant relationships between forms. Hasper's paintings, like Chilindron's sculptures, are not fixed in space; they can be installed vertically or horizontally, or changed over the course of the exhibition.&nbsp;<em>Dialogues</em>&nbsp;places these exquisite constructions and paintings in counterpoint with one another, pointing out their conceptual and aesthetic points of intersection.</p> <p><strong><span style="text-decoration: underline;">About the Artists:</span></strong></p> <p>Born in Buenos Aires,&nbsp;<span style="text-decoration: underline;"><strong>Marta Chilindron</strong></span>&nbsp;was raised in Montevideo and relocated to New York in 1969, where she attended the State University of New York in Old Westbury. She studied at the Camnitzer-Porter Studio in Valdottavo, Italy and in New York, with Julio Alpuy, an Uruguayan artist trained by Joaqu&iacute;n Torres-Garc&iacute;a. She completed numerous public works, some in collaboration with Eduardo Costa. In the late 1990s, Chilindron began making collapsible sculptures, using hinges to allow the objects to be moved and changed. For her 1999 solo exhibition at El Museo del Barrio in New York, she constructed an object that changed from flat plane to a three-dimensional structure that replicated movie theater seats and a screen. In 2000, Chilindron received a Joan Mitchell Foundation grant and began working with transparent materials. Her work has expanded to include the exploration of layered colors and moveable geometric forms. "I like to see all the sides of the work without walking around," she says. "You can stay still and walk with your mind around the works."</p> <p>Chilindron's first public installations were created for the City University of New York (1986, 1987). Her work has been shown in important group exhibitions such as<em>Asterismos: Nuevas Visiones de la Abstraccion Geometrica en el Sur</em>, Museo de Arte de las Americas, Washington, D.C. (2014);&nbsp;<em>Fokus Lodz Biennale 2010</em>, Lodz, Poland (2010);&nbsp;<em>The Sites of Latin America Abstraction</em>, MOLAA, Museum of Latin American Art, Long Beach, CA (2009) and CIFO (Cisneros Fontanals Foundation), Miami, FL (2006). Among others, she has had solo exhibitions at the Museum of Latin American Art (MOLAA), Long Beach, CA (2013); State University of New York, Old Westbury (2006); and El Museo del Barrio, New York (1999). Work by the artist is held in collections including Blanton Museum of Art, Austin, Texas, USA; Cisneros Fontanal Art Foundation, Miami, Florida, USA; El Museo del Barrio, New York, New York, USA; Library of Congress, Washington, D.C., USA; and Sayago &amp; Pardon Collection, Los Angeles, California, USA.</p> <p><strong><span style="text-decoration: underline;">Graciela Hasper</span></strong>&nbsp;has followed a self-directed course of study in the arts, working with Diana Aisenberg between 1987 and 1991, and taking classes in philosophy and art history in her native city of Buenos Aires. In 1993, Hasper participated in an exhibition curated by Jorge Gumier Maier, Nicol&aacute;s Guagnini, and Pablo Siquier, held at the Centro Cultural Rojas de Buenos Aires. Titled&nbsp;<em>Crimen y Ornamento</em>, the exhibition was one of the first to explicitly link the generation of 1990s artists in Buenos Aires with mid-century abstraction. &ldquo;In Argentina, abstraction was repressed because it did not &lsquo;explain&rsquo; national values. It had no value. So I adopted something that had no value and tried to make it valuable, an act of resistance. My work reflects the way a younger artist can respond to Mad&iacute;, to the abstraction of the 1940s and 1950s,&rdquo; Hasper observes. Since the 1990s, Hasper&rsquo;s painting aesthetic has been clean and direct, marked by sharp orthogonal lines and bright color. In 2000, she completed her first residency in the United States, at Apex Art in New York with a Fulbright / FNA Grant. In 2002, she participated in the Chinati Foundation residency. Her most recent work has expanded to a larger scale, even encompassing architectural interventions. For her 2013 public project for the city of Buenos Aires at Museo de Arte Moderno de Buenos Aires (MAMBA),<em>&nbsp;Nudo de Autopista</em>, Hasper painted the columns of several intersecting knots of highways in Buenos Aires.</p> <p>Hasper's first solo exhibition was in 1990, at the Centro Cultural Recoleta in Buenos Aires. She subsequently had solo shows at the Instituto de Cooperaci&oacute;n Iberoamericana, Buenos Aires (1991), Centro Cultural Ricardo Rojas, Buenos Aires (1992), Alianza Francesa, Buenos Aires (1999), the Locker Plant, Chinati Foundation, Marfa, Texas (2002), the Museo de Arte Moderno de Buenos Aires (2013), and the Museo de Arte Moderno de Buenos Aires (2013-2014). Her work has been shown in numerous important group exhibitions at Museo de Arte Latinoamericano de Buenos Aires (MALBA, 2013), Museo de Arte Contempor&aacute;neo de Buenos Aires (MACBA, 2012), Jack S. Blanton Museum of Art, Austin, Texas (2011), Americas Society, New York (2007); Project Row Houses, Houston, Texas (2003); Museo Nacional Bellas Artes, Buenos Aires (2000); and Centro Cultural Ricardo Rojas, Buenos Aires (1993). She is represented in the Bill Gates Foundation Collection, Diane &amp; Bruce Halle Collection, Museo de Arte de Latinoamerica de Buenos Aires (MALBA) Fundaci&oacute;n Costantini, Buenos Aires, Museo de Arte Moderno de Buenos Aires, Museo Arte Contempor&aacute;neo de Buenos Aires, Museo Arte Contempor&aacute;neo de Bahia Blanca, and Museo de Arte Contempor&aacute;neo, Madrid.</p> Fri, 04 Jul 2014 23:46:01 +0000 Frank Callaghan - Silverlens Manila - July 10th 6:00 PM - 9:00 PM <p>Silverlens Galleries is pleased to present&nbsp;<em>Dead Ends</em>, an exhibition by Frank Callaghan. This series includes photographs made in 2012-2014 while the artist lived in London, brought about by his nighttime wanderings that led him to a number of dead ends.&nbsp;</p> <div id="tr223"> <p class="SLBODYLEAD">&nbsp;</p> <p class="SLBODYLEAD">Words by GRP</p> <p class="SLBODYLEAD">I can only describe a picture, a singular picture. To find words, I resolved to view the given photographs repeatedly, in changing order, throughout this task until their elements overlap and the boundaries between each one become fluid, indistinct.&nbsp; I do this to inhabit the picture- or more precisely, the moment it was made. I see now that it couldn&rsquo;t have been a snapshot. Devoid of urgency and haste, I sense no hurry, no danger.&nbsp; I see an iris held open long enough that what it captures is no longer an instant but a wave of moments slowly impressing upon a sensor, information casually gathered, layers of vibrancies building up.&nbsp;</p> <p class="SLBODYLEAD">But there is another picture, although unseen, indeed a missing portrait. It is a picture of a wanderer, a seeker of unplanned beauty negotiating a new and unfamiliar, rigid, almost fortified city. With brick upon layered brick, an intelligent system of walls simultaneously obstructs and directs both view and movement.&nbsp;<em>In the few instances that I played RPG (role-playing) video games, I remember feeling a slight let down whenever I reach the edge of an area in a given stage, parts of the made-up city that the character cannot breach, where he can go no further. Apart from the anxiety that comes from being disoriented and lost, this also exposes the limits of the designed environment and the game loses its spell, momentarily surrendering me back to reality.</em>&nbsp;Still, with the right instincts, one can learn to adapt and behave as the restrictive surroundings dictate. A recalibration ensued; to operate akin to an autonomous space rover programmed to survey and gather proof of life in alien terrain. Each retrieved specimen, framed, with the verticals true and taken always head on, with resolute logical measure, faithful and leveled against an unseen horizon. Only, this rover has learned to feel and embedded within its findings is a realization, a distilled truth writ in a secret language we are all free to decode.</p> <p class="SLBODYLEAD">Truth be told, I actually came close to saying that this wanderer has in fact only taken photographs of light, and perhaps its artifacts. Observe: a hint of night sky in unreal painterly hues, out of frame street lamps beaming on impenetrable but defenseless walls, of shadows- here intersecting to conjure a phantom cube, there softly brushing a brick wall with the outline of leaves and quite intriguingly, more than a few times, of actual&nbsp;<em>bulbs</em>- centrally figured, lighted, cold yet pulsating, alive.&nbsp; But I stopped short of saying this because it is only a guess. As a detective, I am one that rarely asks questions- out of timidity perhaps or the uneasiness that comes in confirming a hunch. And as I get closer, it becomes harder to ask. I contend to quietly look and be at &nbsp;peace with what I find.</p> <p class="SLBODYLEAD">Photographs, if we could agree, are meant to be looked at, seen. The picture we arrived at is not a memento to be kept in a breast pocket; the space it commands is much more expansive. And here it has been freely offered to us to be entered, be immersed and get lost in, explored.</p> <p class="SLBODYLEAD">Frank Callaghan (b. 1980) is a Manila-based artist known for his large-scale photographs of nighttime landscapes.&nbsp;&nbsp; He grew up in Baguio City and pursued a Degree in Economics at the Wharton School of Business, University of Pennsylvania before becoming a full-time photographer.&nbsp; His work has been exhibited in Manila, Singapore, the US, Hong Kong, and Singapore. He was shortlisted for the Ateneo Art Awards in 2010 for Anatomy of Autonomy and in 2011 for Shattering States.</p> </div> Mon, 07 Jul 2014 04:19:29 +0000 Gilda Cordero Fernando - Silverlens Manila - July 10th 6:00 PM - 9:00 PM <p>Silverlens is pleased to announce&nbsp;<em>Same Difference: Ganon pa din ang Diperensya,</em>&nbsp;an exhibition by Gilda Cordero Fernando wherein she&nbsp;demonstrates the kind of transformation one&rsquo;s culture can impose on borrowed language&mdash;a translation marked by the borrower&rsquo;s sensibility, the shift towards the domestication of a concept.</p> <div id="tr224"> <p class="SLBODYLEAD">&nbsp;</p> <p class="SLBODYLEAD">Words by Cocoy Lumbao</p> <p class="SLBODYLEAD">Gilda Cordero-Fernando, through her art, has always made a strong case for the legitimacy of our own culture against the canon of other time-tested narratives. Beyond adaptation or mere retelling, the stories she portrays are a&nbsp;<em>re-contextualization</em>&nbsp;of the hieroglyphics of legends and myths into the vernacular of her own memory, history, and social milieu. Beginning with the title of her latest show in Silverlens Gallery,&nbsp;<em>Same Difference: Ganon pa din ang Diperensya</em>, it demonstrates the kind of transformation one&rsquo;s culture can impose on borrowed language&mdash;a translation marked by the borrower&rsquo;s sensibility, the shift towards the domestication of a concept. It is a staple device for Filipino humor, this verbal subtitling for comedic effect, reminiscent of the different generations of comic duos who have entertained audiences by processing oblique translations into punch lines.&nbsp;</p> <p class="SLBODYLEAD">It is the same kind of process that can be found in Gilda Cordero Fernando&rsquo;s artworks, which are oblique translations of certain texts filtered in three stages: from western archetypes, to the Filipino folklore, down to its punch line&mdash;which is pop culture. Her themes are universal&mdash;the myths of creation, mother and child, romance and apparitions, which achieve localization through her deep understanding of inherent Filipino traits&mdash;wit, humor, grace, and gaiety&mdash;and are further reconstructed through personal memory and firsthand observations of&nbsp;<em>the&nbsp;</em>other modern traits&mdash;gossip, envy, apathy, and naivet&eacute;. It is&nbsp;<em>Mother Nature</em>&nbsp;addressed in<em>mother tongue</em>&nbsp;portrayed by the&nbsp;<em>Fashionista</em>&nbsp;<em>Mom</em>.</p> <p class="SLBODYLEAD">In the first series of paintings,&nbsp;<em>The Aliens are Coming</em>, she depicts different female symbols from different tableaus: the social (the&nbsp;<em>Senora</em>), the fictional (<em>Darna</em>), and the supernatural (<em>Mebuyan</em>,&nbsp;<em>goddess of the Underworld</em>). She puts them against the presence of an uncategorized being, the aliens, who are sexless, ambiguous, and sporting highly speculative existences. Their being is measured against the persona of these female archetypes who lie unfazed, indifferent, or totally na&iuml;ve from any threat they might impose. In the end, the series works out as a narration of the female characters&rsquo; victory against their invaders, who in their hands have reached a violent and whimsical end&mdash;cut into pieces and skewered into sticks for roasting. It is easy to sense the hilarity in the storyline but the juxtaposition of archetypal codes, alien visions, and a banal climax make up for a new brand of mythology, a modern-day fable rendered through painting and drawing by a present-day tribe, whom in itself is faced by the contradictions and absurdity of meaning in everyday life.</p> <p class="SLBODYLEAD">In the series dedicated to the universal concept of&nbsp;<em>Mother and Child</em>, Gilda Cordero Fernando presents a succession of paintings that revolve around the theme, riddled by the nuances of her own arbitrary variations on the given subject, which has become a demonstration of how much the visual image is dependent on the written text or on a single concept. These images are elaborations of that single phrase&mdash;<em>mother and child</em>&mdash;and as much as the poet needs to understand that concept through different lines of thoughts, the artist/painter tries to understand it through different images composed of different colors, symbols, objects, and brushstrokes. There is the&nbsp;<em>Mother and Child Against the Wind</em>,&nbsp;<em>Mother and Son on Plastic Chair</em>,&nbsp;<em>Sleepless Mom with Child</em>,<em>Madonna of the Papaya</em>,&nbsp;<em>The Fashionista Mom</em>, and a few more others in varying mise-en-scene and compositions.</p> <p class="SLBODYLEAD">These scenes are gathered by Gilda Cordero Fernando to make new symbols. These are new symbols for the Madonna and Child, new symbols of the heroine; while there are also new symbols for Adam and Eve, of the animals in exodus, and of men and women in our society. These works, done in watercolor and collage, may exude traces of candidness, instinctual creativity, or a childlike simplicity in the way they fill the frame, but the task of emancipating an inherent Filipino culture through art is still no outsider&rsquo;s business. And Gilda Cordero Fernando, who has waded deep into the context of her environment and the mannerisms, myths, that has shaped her own and her people&rsquo;s identity, has a true insider&rsquo;s track on which direction our culture is headed. &ldquo;This is as it should be&mdash;&ldquo;, as F. Sionil Jose has emphasized in an article affirming Gilda Cordero Fernando&rsquo;s art, &ldquo;the artist who refuses to be contextual is not only blind and insensitive &mdash; that artist had also lost his humanity&rdquo;</p> <p class="SLBODYLEAD">Nonetheless, Gilda Cordero-Fernando would have also said: &ldquo;It is the same difference.&nbsp;<em>Ganon pa din ang Diperensya.</em>&rdquo; It is an oxymoron transposed to breathe a sigh of acceptance:&nbsp;<em>It is the same malady</em>. It is the acceptance of beliefs, memories, histories, fantasies, abilities, and faults. It is the recognition, on her own terms, that everything is interconnected. And it is the resolve, in her own way, to just live and&nbsp;<em>do</em>&mdash;art.&nbsp;</p> <p>Gilda Cordero-Fernando (b. 1930) began to paint at age 70. She has been writing books, columns, articles, and fiction for the past 60 years. She published the first elegant line of Filipinana books in 1977, under the aegis GCF Books. She has also produced theater pieces in the &lsquo;80s and &lsquo;90s, which, like her books, have won many awards.</p> <p>-Cocoy Lumbao</p> </div> Mon, 07 Jul 2014 04:23:14 +0000 Ryan Villamael - Silverlens Manila - July 10th 6:00 PM - 9:00 PM <p class="SLBODYLEAD">Silverlens Galleries is pleased to present&nbsp;<em>Isles</em>, an exhibition by Ryan Villamael in which the artist departs from the wall-bound and framed structure of blank paper foliage, and cuts instead a collection of printed archaic and contemporary maps, forming bell-jar encased sculptures, transforming the concept of map-as-index into map-as-object, as they progress beyond mere representations of territories into symbols of territories, a piece of land in their own right, removed and encapsulated from the rest.</p> <div id="tr225"> <p class="SLBODYLEAD"><em>A map is a snapshot of the story of man. Through geopolitical delineations and divisions, it represents the narrative of political power, cultural life, and human longing in a particular point in history. A map is in itself a story. The odyssey of people groups across space and time, the ebb and flow of civilization, and regions of conflict and tension are, at a glance, captured in a map. Not only do maps function as instruments which represent the accepted and contested geopolitical boundaries, maps also serve as symbols of competing worldviews or ways upon which reality is first defined by power brokers or hegemons and subsequently apprehended by the masses.&nbsp;<br /><br />Maps are instruments of power as well as human longing. It is both political and personal. It speaks of national aspirations as well as individual ambitions. Inasmuch as cartographers seek to present geopolitical reality as accurately as they understand it to be, maps turn out to be political and navigational instruments that only present partial truths, hiding the invisible realities of the marginalized in the fringes of its demarcated spaces. In a sense, maps conceal as much as they reveal.</em></p> <p class="SLBODYLEAD">-Ryan Villamael</p> <p class="SLBODYLEAD">&nbsp;</p> <p class="SLBODYLEAD">For his sixth solo show, Ryan Villamael departs from the wall-bound and framed structure of blank paper foliage and cuts instead a collection of printed archaic and contemporary maps, forming bell-jar encased sculptures, transforming the concept of map-as-index into map-as-object, as they progress beyond mere representations of territories into symbols of territories, a piece of land in their own right, removed and encapsulated from the rest.</p> <p class="SLBODYLEAD">Maps, as representations of territory, primarily occupy the surface of a given paper, and by transforming the two-dimensional map into a structurally complex three-dimensional paper cut sculpture, Ryan Villamael seeks to &ldquo;not only create a personal reinterpretation of the map in terms of its form and context but, more importantly, invite the viewer to reflect upon the cartographic process as being both an existential necessity and as a process that allows for self-discovery.&rdquo;</p> <p class="SLBODYLEAD">For Villamael, the human desire to map the universe is paradoxically intertwined with the desire to map one&rsquo;s personal journey. He continues: &ldquo;Such is the yin and yang of the cartographic process&mdash;it is external and internal, logical and fantastical, visible and invisible, physical and metaphysical.&rdquo;</p> <p class="SLBODYLEAD">Dividing countries from their continents, splitting seas from landmasses, while subsequently linking surface upon surface through his painstakingly detailed process of paper cutting, Ryan Villamael attempts to remap the world from how it is conventionally perceived.In Isles, Ryan Villamael equates his process of paper cutting with the practice of cartography&mdash;the art of map-making. He sees both disciplines as syntheses between imagination and investigation, both as explorations and extrapolations of a given surface, which could either be the contours of a piece of land, or the surface of a constructible form such as paper.&nbsp;</p> <p>Ryan Villamael (b. 1987, Laguna) graduated with a Bachelor&rsquo;s Degree in Painting from the University of the Philippines in 2009. Since then, his works have been shown in Manila, Singapore, Taiwan, and Hong Kong. Although his persistence in sustaining a discipline more often subjected to handicraft is evident from his works, Villamael maintains that his primary interest lies on the conceptual significance of craft in the process of creating contemporary art, and continues to recognize the possibility of how his works can still evolve under this light. The artist currently lives in Quezon City.</p> <p>-Cocoy Lumbao</p> </div> Mon, 07 Jul 2014 04:26:36 +0000 Dan Dailey, Richard Marquis, Mark Peiser, Michael Glancy, Colin Reid, Klaus Moje, František Vízner, Massimo Micheluzzi, Toshio Iezumi - The Honolulu Museum of Art - July 10th 10:00 AM - 4:30 PM <p>See the incredible variety of techniques and artists&rsquo; visions in contemporary glass-making in this exhibition drawn from a 2013 gift of 55 modern and contemporary glass works donated to the museum by Los Angeles collectors Daniel Greenberg and Susan Steinhauser. The works showcase important centers of contemporary glass-making around the world, with artists that range from key Americans, such as Dan Dailey, Richard Marquis, Mark Peiser, and Michael Glancy, to Colin Reid of England, Klaus Moje from Australia, Frantisek Vizner of the Czech Republic, Massimo Micheluzzi of Italy, and Toshio Iezumi from Japan.</p> Wed, 11 Jun 2014 06:19:26 +0000 Toshio Iezumi, Dan Dailey, Richard Marquis, Mark Peiser, Michael Glancy, Colin Reid, Klaus Moje, František Vízner, Massimo Micheluzzi - The Honolulu Museum of Art - July 10th 10:00 AM - 4:30 PM <p style="text-align: justify;">See the incredible variety of techniques and artists&rsquo; visions in contemporary glass-making in this exhibition drawn from a 2013 gift of 55 modern and contemporary glass works donated to the museum by Los Angeles collectors Daniel Greenberg and Susan Steinhauser. The works showcase important centers of contemporary glass-making around the world, with artists that range from key Americans, such as Dan Dailey, Richard Marquis, Mark Peiser, and Michael Glancy, to Colin Reid of England, Klaus Moje from Australia, Frantisek Vizner of the Czech Republic, Massimo Micheluzzi of Italy, and Toshio Iezumi from Japan.</p> Thu, 10 Jul 2014 18:24:57 +0000 Oskar Hansen - The Museum of Modern Art Warsaw - July 10th 12:00 PM - 8:00 PM <p class="lead">The exhibition devoted to the work of Oskar Hansen (1922-2005), an architect, city planner, theoretician and pedagogue, affiliated with Team 10 and the Warsaw Academy of Fine Arts, shows the evolution of Open Form from its beginnings in architectural designs to the application in movies, visual games and performance acts.</p> <div class="tabbed"> <div class="tab target"> <p>The display prepared by the Museum of Modern Art in Warsaw and Museu d'Art Contemporani de Barcelona (MACBA) is the first of the series of international exhibitions devoted to this figure. Another edition will be presented at the Museu de Arte Contempor&acirc;nea de Serralves in Porto in 2015.</p> <p>The axis of the exhibition is the Open Form theory, presented by Hansen in 1959 at the CIAM congress in Otterlo, which advocated enabling users of architecture to actively participate in its formation and put architecture in the position of an absorptive background that exposes everyday events. Aimed at participation, process, change of hierarchy between an artist and viewer, it became a&nbsp;key idea behind Hansen&rsquo;s architectural activity and an inspiring reference point for his students&rsquo; artistic creations. It has been reflected in designs of different scale &ndash; from installations and exhibition pavilions to the Linear Continuous System, a&nbsp;monumental city planning design with the intention to cover the entire territory of Poland and the European continent.</p> <p>Designs executed as envisaged by Open Form as well as ensuing concepts of active negative, absorptive background and the Linear Continuous System are presented in six parts of the exhibition. The Politics of Scale presents Hansen&rsquo;s city planning concepts, whereas Architecture of Events displays mobile architecture designs and relations between architecture and cybernetics. The Anti-Monument part recalls the design of the Road-Monument intended for Auschwitz-Birkenau, which was an attempt at applying Open Form to sculpted monuments. The part entitled House As Open Form invites us to Hansens' private space, while Art and Teaching provides insight into a&nbsp;didactic activity related to Open Form performed by Hansen at the Warsaw Academy of Fine Arts. This topic is continued in the part entitled Tradition of Open Form, which presents works of two generations of Polish artists that refer to Hansen&rsquo;s concepts in various ways. The exhibition&rsquo;s structural design, relating to Hansen&rsquo;s designs of exhibition pavilions and bringing all parts of the display together, constitutes an integral part of the exposition (Architect As Curator).</p> <p>The exhibition has been organized as part of the Oskar Hansen (1922-2005) project. This research and exhibition project is devoted to Hansen's work and highlights the permanence of his concepts in teaching architecture and visual arts in Poland and Norway. Apart from domestic funds, it has been financed by EEA funds from Iceland, Liechtenstein and Norway.</p> </div> </div> Sat, 05 Jul 2014 04:31:17 +0000 Mary Reid Kelley - University Art Museum University at Albany (SUNY) - July 10th 5:00 PM - 7:00 PM <p>The UAM will partner with the&nbsp;Samuel Dorsky Museum of Art, State University of New York at New Paltz&nbsp;to present Mary Reid Kelley&rsquo;s visually rich and intellectually stimulating video art along with the finely crafted and researched costumes, objects, and drawings she creates for her videos. Curated by Daniel Belasco, Curator of Exhibitions and Programs, Samuel Dorsky Museum of Art, State University of New York at New Paltz</p> Sat, 05 Jul 2014 06:10:48 +0000 Group Show - ACME Fine Art - July 11th 5:00 PM - 8:00 PM <p>This year&rsquo;s Summer Salon will feature a variety of summer-themed artworks created during the twentieth century at New England&rsquo;s renowned summer art colonies, as well as a selection of important works reprised from gallery and museum exhibitions of the 2013/2014 season. Highlights will include a beautifully expressive, fully abstract oil on paper by Hans Hofmann, a monumental canvas by contemporary painter Pat Lipsky, and an important oil painting from the mid-1960s held over from our critically acclaimed recent exhibition of works by Jack Tworkov. Other artists whose artwork will form a part of the exhibition include: Edwin Dickinson, Michael Loew, George McNeil, Charles Littler, Kenneth Stubbs, Dorothy Eisner, Maurice Freedman, Hayes Ownby, Panos Ghikas, William Freed, Lillian Orlowsky, Sharli Powers Land, Philip Malicoat, Daniel Brustlein, Robert Beauchamp,Tony Vevers, and Lester Johnson. Sculpture by Gilbert Franklin, Ilya and Resia Schor, and paintings by contemporary artists, Rose Basile, Myrna Harrison and George Lloyd will round out the exhibition.</p> Sat, 05 Jul 2014 21:25:56 +0000 Group Show - ARNDT Singapore - July 11th 6:00 PM - 9:00 PM <p>Manila is a city of extremes, and at a time that only the extreme makes an impression, it still manages to shock. To wander into its streets, to be among the crowds, to be caught in the din of history that barrages you at every corner is to participate in a drama that began centuries ago, but whose cries and whispers echo resound well into the present. The sacred and the profane, the amatory smiles and the feral gaze are all on display here, as the unforgiving sun of its days give way to the artificial neon of night.<br />This exhibition is a guided tour of Manila, by asking its best contemporary artists to act as Virgils ushering us into its depths as well as pointing out the stars of the darkened heavens above this infernal city.<br />Erwin Romulo, 2014</p> Thu, 03 Jul 2014 01:29:26 +0000 Abdulhalim Radwi, Abdulrahman Al Soliman, Mohammad Al Resayes, Mohammed Al Saleem, Abduljabbar Al Yahya, Taha Al Sabban, Abdullah Al Shaikh, Abdullah Hammas - Ayyam Gallery, Jeddah - July 11th 10:00 PM - 12:00 AM <p><em>Taliaa</em>, a group exhibition featuring modern Saudi art from the early 1970s onwards, will be held at Ayyam Gallery Jeddah from 11 July - 16 October.&nbsp;<em>Taliaa</em>&nbsp;showcases a variety of paintings from the eight artists included in the exhibition, these works serve as points of entry into the oeuvres of some of the most significant pioneers of Saudi art, including artists and critics, Abdulhalim Radwi, Abdulrahman Al Soliman and Mohammad Al Resayes, and artists, Mohammed Al Saleem, Abduljabbar Al Yahya, Taha Al Sabban, Abdullah Al Shaikh, and Abdullah Hammas.&nbsp;</p> <p>Born between 1930 and 1960, the above-mentioned artists were among the first to leave the Kingdom in order to pursue formal art education, traveling as far as Spain, Great Britain and Italy. The artists were influenced by Cubism and leading post-war movements of abstraction when developing their individual styles. This impact of Western Modernism is evident in the artists&rsquo; works, however, upon returning to their homeland, those educated in the West sought to create a harmonious union of such adopted techniques combined with local subject matter that referenced their own culture, tradition, and immediate surroundings. Moreover, the desire to assert a uniquely Saudi identity was beginning to take shape, and so the use of colour, palm trees, clay houses, local streets, local architecture, and folk tales from Jeddah, Mecca, Madina and Riyadh found their way into the paintings, both directly and indirectly. For example, in Al Sabban&rsquo;s brightly coloured canvases the neighbourhood and streets of old Jeddah take prominence; in Al Saleem&rsquo;s work the desert becomes a central character, its landscape taking on angular edges to suggest severity. In Radwi&rsquo;s work magnificent mosques abound and for Al Resayes, a conscious borrowing from tradition is referenced in the title of one of his paintings,&nbsp;<em>Borrowed From Tradition.</em></p> <p><em>Taliaa</em>&nbsp;is accompanied by an exhibition catalogue with colour reproductions and an introduction by curator Abdulaziz Ashour that traces the development of modernist painting in Saudi Arabia beginning in the 1960s.</p> <p>&nbsp;</p> Sat, 05 Jul 2014 02:44:09 +0000 Daniel Buren - BALTIC Centre For Contemporary Art - July 11th 10:00 AM - 6:00 PM <p>BALTIC Centre for Contemporary Art, Gateshead presents the work of Daniel Buren (born Boulogne-Billancourt, 1938), widely considered to be France&rsquo;s greatest living artist and one of the most influential and important figures in contemporary art for the last 50 years. Buren has exhibited in many of the world&rsquo;s major art institutions and realised numerous external commissions. This summer, a major exhibition at BALTIC will include new and existing work by Buren in its Level 3 and 4 galleries, including a large-scale commission for its renowned Level 4 gallery.</p> <p>In the 1960s Buren developed a radical form of conceptual art, a &lsquo;degree zero of painting&rsquo;, creating works which draw attention to the relationship between art and context. He abandoned traditional painting and adopted the 8.7 cm wide vertical stripe, used as a &lsquo;visual tool&rsquo; to prompt a reading of the work&rsquo;s surroundings rather than just the work itself. Made with paint, fabric, paper, tape among other materials, the stripes appear in his interventions in galleries, museums, and public sites. For almost four decades, Buren has chosen to make work&nbsp;<em>in situ</em>, responding to a particular location, and colouring the spaces in which they are created.</p> <p>While the stripes have remained a recognisable and intrinsic element of Buren&rsquo;s practice, recently his works have become more sculptural and architectural in form. The artist&rsquo;s installation&nbsp;<em>Excentrique(s)</em>, at the Grand Palais in Paris, commissioned for MONUMENTA, 2012, comprised a series of raised, coloured circular structures covering the 13,500&nbsp;<a title="M&sup2; (disambiguation)" href="">m&sup2;&nbsp;</a>nave and providing a &lsquo;ceiling&rsquo; that could be walked under.</p> <p>At BALTIC, Buren will present a selection of rarely seen reliefs, paintings and sculptures from the last seven years on Level 3.&nbsp;&nbsp;Luminous fibre optic works from the artist&rsquo;s<em>Electric Light</em>&nbsp;series (2011) continue the artist&rsquo;s preoccupation with form, space, light and colour. Other works made with paint, fibreboard and tape play with depth, surface and architecture. The works will provide further insight into the breadth of his practice.&nbsp;</p> Sat, 28 Jun 2014 05:36:41 +0000 Felipe Cusicanqui, Klaus Hack - Galerie Born - July 11th 6:00 PM - 8:00 PM Thu, 10 Jul 2014 02:37:43 +0000 Milton H Greene - Gary Marotta Fine Art - July 11th 7:00 PM - 9:00 PM Thu, 03 Jul 2014 07:23:56 +0000