ArtSlant - Openings & events en-us 40 Dennis Hopper - Gagosian Gallery - Rome - September 23rd 6:00 PM - 8:00 PM <p><em>This is a story of a man/child who chose to develop his five senses and live and experience rather than just read.</em><br />&mdash;Dennis Hopper<br /><br />Gagosian Rome is pleased to announce an exhibition of the late Dennis Hopper&rsquo;s photographs of the 1960s, together with the&nbsp;<em>Drugstore Camera</em>&nbsp;series of the early 1970s and continuous screenings of his films and interviews. This will be the first major exhibition of Hopper's work in Rome.<br /><br />Hopper established his reputation as a cult actor and director with&nbsp;<em>Easy Rider</em>&nbsp;(1969), and maintained this status with gritty performances in&nbsp;<em>The American Friend</em>&nbsp;(1977),&nbsp;<em>Apocalypse Now</em>(1979),&nbsp;<em>Blue Velvet</em>&nbsp;(1986),&nbsp;<em>Hoosiers</em>&nbsp;(1986), and as director of&nbsp;<em>Colors</em>&nbsp;(1988). During his rise to Hollywood stardom, he captured the establishment-busting spirit of the 1960s in photographs that travel from Los Angeles to Harlem to Tijuana, Mexico, and which portray iconic figures including Jane Fonda, Andy Warhol, and John Wayne.<br /><br />Spontaneous portraits of now-legendary artists, actors, and musicians are among a selection of nearly one hundred signed vintage prints. Claes Oldenburg appears at a wedding, standing among plaster cake slices that he created as party favors, plated and placed in uniform rows on the ground. Andy Warhol, wearing dark sunglasses and a skinny tie, smiles impishly from behind a small flower arrangement, while Ed Ruscha is pictured in front of a neon-lit appliance shop. Balanced at the top of a ladder, Robert Irwin gestures at Hopper while clenching the end of a light bulb between his teeth; members of the Grateful Dead blow kisses at the camera.<br /><br /><em>Drugstore Camera</em>&nbsp;photographs were shot in Taos, New Mexico, where Hopper based himself following the production of&nbsp;<em>Easy Rider</em>&nbsp;and into the 1980s, and where he is now buried. Taken with quick-use cameras and developed in drugstore photo labs,&nbsp;<em>Drugstore Camera</em>&nbsp;documents Hopper&rsquo;s friends and family among the ruins and open vistas of the desert landscape; female nudes in shadowy interiors; road trips to and from his home state of Kansas; and impromptu still lifes of discarded objects. These images, and many other cultural events, iconic individuals, and intimate moments that caught Hopper&rsquo;s attention, constitute a captivating view of the sixties and seventies that combines political idealism and humanistic optimism with California cool.<br /><br /><strong>Dennis Hopper</strong>&nbsp;was born in 1936 in Dodge City, Kansas, and died in Venice, California in 2010. Public collections include Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; and Carnegie Museum of Art, Pittsburgh. Major exhibitions include &ldquo;Dennis Hopper: Black and White Photographs,&rdquo; Fort Worth Art Center Museum, Texas (1970, traveled to Corcoran Gallery of Art, Washington, D.C.); &ldquo;Dennis Hopper: A Keen Eye; Artist, Photographer, Filmmaker,&rdquo; Stedelijk Museum, Amsterdam (2001); &ldquo;Dennis Hopper: A System of Moments,&rdquo; Museum f&uuml;r angewandte Kunst, Vienna (2001); &ldquo;Dennis Hopper: Double Standard,&rdquo; Museum of Contemporary Art, Los Angeles (2010); &ldquo;The Lost Album,&rdquo; Martin Gropius Bau, Berlin (2012); &ldquo;Dennis Hopper: En el camino,&rdquo; Museo Picasso, M&aacute;laga (2013); and &ldquo;The Lost Album,&rdquo; Gagosian New York (2013).<br /><br />&ldquo;Dennis Hopper: The Lost Album&rdquo; is on view at Royal Academy of Arts, London through October 19, 2014.</p> Thu, 04 Sep 2014 01:45:53 +0000 - Guggenheim Museum Bilbao - September 23rd 10:00 AM - 8:00 PM <p>Marking the end of the first period of the management agreement with the&nbsp;<strong>Solomon R. Guggenheim Foundation</strong>, the&nbsp;<strong>Guggenheim Museum Bilbao</strong>&nbsp;presents a major exhibition from the permanent collection that will occupy the entire exhibition space, with masterpieces from the museums in the Guggenheim Constellation. The Art of Our Times covers the main artistic movements of the 20th century, including monographic spaces dedicated to important artists from the Bilbao collection, such as&nbsp;<strong>Jorge Oteiza</strong>&nbsp;and&nbsp;<strong>Eduardo Chillida</strong>, as well as contemporary installations from the New York museum. This closes the first period of collaboration with the Guggenheim Foundation with a comprehensive show parallel to the one held in 1997 for the Museum&rsquo;s inauguration, highlighting the development of the Guggenheim Collections in these years and featuring some of its most important foundations.</p> Thu, 11 Sep 2014 00:02:32 +0000 Group Show - MCA - Museum of Contemporary Art, Sydney - September 23rd 10:00 AM - 5:00 PM <p>People don&rsquo;t like painting alone&rsquo; &ndash; Ngalangka Nola Taylor, Martu artist</p> <p><em>Martu Art from the Far Western Desert</em>&nbsp;brings together a selection of collaborative paintings by 29 Martu artists of their Ngurra (Country), a vast area of the Great Sandy, Little Sandy and Gibson Deserts in Western Australia. Depicting in intricate detail the desert landscape and its stories, the artworks illustrate the Martu people&rsquo;s intimate knowledge of the region.</p> <p>The vibrant paintings are the result of highly social and collaborative processes that involve older and younger artists coming together to paint and talk, tell stories and sing, remember and educate, ensuring that Martu history, culture and knowledge is passed on to future generations.</p> Mon, 04 Aug 2014 03:34:15 +0000 Group Show - MCA - Museum of Contemporary Art, Sydney - September 23rd 10:00 AM - 5:00 PM <p><em>Primavera</em>&nbsp;is an annual exhibition of young Australian artists aged 35 years and under. Since 1992, the Primavera series has showcased the works of artists in the early stages of their career, many of whom have gone on to exhibit nationally and internationally. In 2014, Primavera celebrates its 23rd edition.</p> <p>The&nbsp;MCA&nbsp;has invited artist Mikala Dwyer as a guest curator for&nbsp;<em>Primavera 2014</em>. Dwyer has exhibited widely in Australia and abroad and was one of four artists in the inaugural&nbsp;<em>Primavera: The Belinda Jackson Exhibition of Young Artists</em>&nbsp;at the&nbsp;MCA&nbsp;in 1992.</p> <p><em>Primavera</em>&nbsp;curator Mikala Dwyer said of her approach to the process of working on the exhibition:</p> <p>&lsquo;I am privileged to have travelled to parts of Australia I have never been to in the process of curating Primavera for the&nbsp;MCA, visiting and viewing the work of many brilliant young artists.</p> <p>When I think through the work of the artists I&rsquo;ve selected for&nbsp;<em>Primavera</em>, all sorts of ideas, interests and associations pop up, including Surrealism, robotics, queer fertility, ritual, time, witchcraft, science, alchemy, dreaming and telepathy.</p> <p>This&nbsp;<em>Primavera</em>&nbsp;is but a small selection of young Australian artists making wonderful work driven by an endless intelligence and deep curiosity. I am ever grateful for their inspiration and resilience.&rsquo;</p> Mon, 04 Aug 2014 03:39:43 +0000 Elizabeth Dove - Missoula Art Museum - September 23rd 10:00 AM - 5:00 PM <p>This intimate exhibition of nine works from the&nbsp;<em>Corpus of the Unknowable&nbsp;</em>series was created in 2004 by Elizabeth Dove, Associate Professor of Art at the University of Montana. Dove incorporates text into her graphic works as a way of exploring memory and knowledge. She states, &ldquo;I have been cutting up a dictionary for several years now, letter by letter, and saving the definitions to use in artwork.&nbsp;<em>Corpus of the Unknowable&nbsp;</em>displays about a hundred of these cut-up definitions; each print holding text dust behind a skin-like surface. Selecting dictionary definitions and then cutting them up talks about a perpetual search for meaning, the patient digestion of enormous qualities of information in an effort to understand, the impossibility of stabilizing knowledge&hellip;&rdquo;</p> <p>The works that are made of collage, collagraph, and cut-up dictionaries will be featured in the Goldberg Family Library. They were accessioned into the MAM Collection through a generous gift from the artist. MAM is grateful that direct gifts to the museum&rsquo;s collection from practicing artists helps the MAM Collection grow.</p> Mon, 01 Sep 2014 00:36:01 +0000 Bruno Vilela - Amparo 60 - September 24th 7:00 PM - 9:00 PM <p>A partir do pr&oacute;ximo dia 24, a Amparo 60 vai receber a exposi&ccedil;&atilde;o&nbsp;<em>Animattack</em>, do artista Bruno Vilela. A mostra, que tem curadoria de Moacir dos Anjos e &eacute; a segunda do artista na galeria, &eacute; composta por 15 desenhos e 1 pintura, in&eacute;ditos no Recife, realizados pelo artista entre 2012 e 2014. Na abertura, ser&aacute; lan&ccedil;ado o livro hom&ocirc;nimo, que traz o registro de estudos e obras da s&eacute;rie, com um texto do curador.</p> <p>Esses novos trabalhos se relacionam de v&aacute;rias maneiras com a produ&ccedil;&atilde;o anterior do artista, seja pela t&eacute;cnica, o uso do pastel seco (que fica na fronteira entre o desenho e a pintura) e do papel, pelos desdobramentos dos seus estudos de anatomia percept&iacute;veis na presen&ccedil;a da figura humana, ou mesmo nas refer&ecirc;ncias m&iacute;sticas, orientais e nos estudos do inconsciente no campo da psicologia e psican&aacute;lise, desenvolvidos por Bruno Vilela.</p> <p><em>O t&iacute;tulo da exposi&ccedil;&atilde;o, Animattack,</em>&nbsp;&eacute; uma palavra criada da fus&atilde;o de duas outras:&nbsp;<em>Anima&nbsp;</em>e&nbsp;<em>Attack</em>. O artista teve como fonte a defini&ccedil;&atilde;o do termo&nbsp;<em>Anima</em>, proposta por Carl Jung, que a percebe como uma esp&eacute;cie de Deusa, uma met&aacute;fora para esse esp&iacute;rito que representa o inconsciente masculino. Atrav&eacute;s desse olhar, se resgatam as figuras da Grande M&atilde;e, &nbsp;da Feiticeira, da Bruxa, da Santa, presentes em centenas de civiliza&ccedil;&otilde;es, h&aacute; mil&ecirc;nios, nas mais diversas religi&otilde;es.</p> <p>Essa entidade surge como guia, como um esp&iacute;rito que orienta o guerreiro na floresta, ou como uma bruxa assustadora, o s&iacute;mbolo da mulher amada e da m&atilde;e&nbsp;da inf&acirc;ncia perdida. &ldquo;Sempre que aparece, envolta em fuma&ccedil;a, como espectro, sombra, traz muito medo, pavor, p&acirc;nico ao homem, que logo foge dela. &Eacute; o lado selvagem, feminino, m&iacute;stico da alma masculina. Por isso o&nbsp;<em>attack</em>, o p&acirc;nico&rdquo;, explica.</p> <p>Segundo ele, p&acirc;nico vem de&nbsp;<em>PAN</em>, figura m&iacute;tica grega que surge no caminho do homem que tenta&nbsp;mudar, aprofundar, cruzar o vale secreto do inconsciente. &ldquo;&Eacute; preciso vencer&nbsp;<em>PAN&nbsp;</em>e a&nbsp;<em>Anima</em>&nbsp;funciona como guia, como Hermes, Exu e Merc&uacute;rio. &Eacute; sacerdotisa, or&aacute;culo, o primeiro ancestral, o sentido da vida&rdquo;, detalha.</p> <p>Nessa exposi&ccedil;&atilde;o de desenhos, os tons de turquesa, a &aacute;urea m&iacute;tica, a luz espiritual, remetem ao movimento dos Orientalistas que surgiu&nbsp;na pintura no s&eacute;culo XVII, atrav&eacute;s de nomes como Delacroix, Ingres e Moreux. As cores dos filmes coloridos&nbsp;na t&eacute;cnica do Technicolor, como&nbsp;<em>Narciso Negro</em>&nbsp;(1947),&nbsp;<em>O ladr&atilde;o de Bagda</em>(1940),&nbsp;entre outros, s&atilde;o liga&ccedil;&otilde;es est&eacute;ticas de interesse para quem quiser aprofundaro entendimento dessas obras.</p> <p>&nbsp;</p> <p>Para Bruno Vilela, a ideia central para compreender seu trabalho &eacute; mitologia pessoal. &ldquo;Temos medo do desconhecido. O que &eacute; recorrente no meu trabalho &eacute; a busca pelo desconhecido, pelo aprofundamento das quest&otilde;es do inconsciente, os estudos das mitologias antigas dos povos, perdidas e esquecidas. &Eacute; o oposto do sombrio. Sombrio &eacute; a vis&atilde;o de dentro da caverna, da zona de conforto. Eu quero olhar &ldquo;l&aacute; fora&rdquo;, longe da sombra, do sombrio. A vis&atilde;o do &ldquo;outro lado&rdquo;, das profundezas do inconsciente, guiada pela mitologia pessoal &eacute; um universo sem fim&rdquo;, finaliza.</p> Thu, 18 Sep 2014 06:39:32 +0000 Kara Walker - Fleming Museum - September 24th 5:30 PM - 7:00 PM <p>Kara Walker is one of the leading American artists working today. Walker created this series of fifteen large-scale prints combining lithography and screenprinting in 2005. Each print began with an enlargement of a woodcut plate from Alfred H. Guernsey and Henry M. Alden's Harper's&nbsp;<em>Pictorial History of the Civil War</em>, first published in Chicago in 1866. Once enlarged, these illustrations were then printed using offset lithography. Finally, they were screenprinted with an overlay of Walker's signature silhouetted figures, rendered in solid black ink.</p> <p>This print series marks the first time Walker has incorporated into her work the type of visual cultural material that influenced the development of her own aesthetic. With&nbsp;<em>Harper's Pictorial History of the Civil War (Annotated)</em>, Walker turns what had formerly been quaint Victorian parlor art into fueled narratives about slavery, sexuality, violence, race, and American culture. For the past twenty years, Walker has investigated disturbing aspects of American culture and human psyche through the interactions and identities of her silhouetted characters, employing a sharp-edged sense of humor. She satirizes the constructs of stereotypes as she stretches them to extreme forms, asking viewers to sort out fantasy from reality, and, in the process, examine our own prejudices.</p> <p>Walker is well known for her technique of appropriating the 18th and 19th century figural format of the cut-paper silhouette, interweaving Southern antebellum nostalgia, Civil War iconography, and black racist stereotypes in powerful and often discomfiting imagery.</p> Sun, 21 Sep 2014 00:26:17 +0000 - Fleming Museum - September 24th 5:30 PM - 7:00 PM <p>The Civil War profoundly impacted the lives of Vermonters, including the soldiers who fought on the battlefield, the medical staff and civilians who accompanied them, and their family members and descendants. More than 34,000 Vermonters went to war - almost ten percent of the state's population, and Vermonters were connected to major historical events such as John Brown's raid on Harper's Ferry in 1859, major battles during the war, as well as during the abolitionist movement. When the war ended, families set aside letters, medals, military equipment, and other reminders of the war from home and the battlefield. The collections of the Fleming reflect those war experiences, as Vermonters donated family heirlooms to the museum. From quilts made for soldiers' fundraisers to prized uniforms to fragments of hardtack (a Civil war ration), these objects continue to be studied by University classes and researchers. Letters from Bailey-Howe Library's Special Collections preserve and tell the stories of Vermont families during the Civil War. Works of fine and decorative art from the Fleming's collections add to these stories: a drawing by Winslow Homer of a Civil War soldier contemplating a grave, and sculptures by John Rogers depicting Union soldiers. From the personal to the public, the art and objects created during and about the Civil War deepen our understanding of the Civil War, and reveal how Vermonters have chosen to remember the powerful events that were a part of it.</p> Sun, 21 Sep 2014 00:25:39 +0000 - Fleming Museum - September 24th 5:30 PM - 7:00 PM <p>Joseph Becker and his colleagues served as artist-reporters for Frank Leslie's&nbsp;<em>Illustrated Newspaper</em>. They documented the Civil War, observing and drawing on the battlefields, in military encampments, and on the move, sending their drawings back to the weekly for publication. In addition to documenting the war, they also submitted drawings of the construction of the railroads, the laying of the transatlantic cable in Ireland, Chinese workers in the West, the Indian Wars, the Great Chicago Fire, and other aspects of nineteenth-century American history and culture. These "first-hand" drawings document in lively detail key developments in the history of America as it struggled to establish its national identity. While the Civil War was the first war to be documented by photography, these journalists' drawings often provide more detail, drama, and emotion than did the new technology of the camera.</p> <p>While most of the drawings were turned into engravings for publication in the&nbsp;<em>Illustrated Newspaper</em>, the drawings themselves have never been published. The tour of this exhibition, organized by the McMullen Museum of Art at Boston College, offers is the first opportunity for scholars and the general public to see selections form this important and previously unknown collection.</p> Sun, 21 Sep 2014 00:24:54 +0000 Franz Marc, August Macke - Kunstmuseum Bonn - September 24th 8:00 PM - 10:00 PM <p>On 6 January 1910, August Macke visited Franz Marc in his Munich studio for the first time. This was the beginning of a friendship that presents one of the special events in the history of early modern art both from a social and, above all, artistic point of view. The insights gained through this acquaintance are not limited to the lives of the two artists, but also point out the effect this friendship had on the artistic discussion of that time in general. August Macke died at the beginning of the First World War in 1914, Franz Marc fell only two years later.</p> <p>On the occasion of the 100<sup>th</sup>&nbsp;anniversary of August Macke&rsquo;s death Kunstmuseum Bonn and St&auml;dtische Galerie im Lenbachhaus, Munich, present for the first time an exhibition that exclusively deals with the friendship between August Macke and Franz Marc and their art. A comprehensive selection of 185 paintings, watercolors, drawings, sketchbooks, objects and other documents will bring together the works of the two artists.</p> <p>Apart from the collection of Kunstmuseum Bonn and Lenbachhaus, Munich, numerous loans from international museums and private collections illustrate how Macke and Marc despite their very different characters found their artistic ways by inspiring each other, how they developed their subjects, forms of color and determined painting&rsquo;s relation to the world both from a perceptive and aesthetic point of view.</p> Thu, 28 Aug 2014 03:08:15 +0000 Vasili Shukhaev - Moscow Museum of Modern Art [25 Petrovka] - September 24th 12:00 PM - 8:00 PM <p>The Moscow Museum of&nbsp;Modern Art presents a&nbsp;large-scale retrospective exhibition of&nbsp;works by&nbsp;Vasili Ivanovich Shukhaev (1887-1973), a&nbsp;XX century artist, a&nbsp;master draftsman and painter. The exhibition held in&nbsp;the Museum&rsquo;s main venue is&nbsp;meant to&nbsp;display Shukhaev&rsquo;s lifework in&nbsp;all the varieties and genres of&nbsp;his art. Aside from containing some well-known artworks from the major museums&rsquo; collections, the exhibition also includes a&nbsp;number of&nbsp;paintings, drawings, theatre productions sketches and book illustrations which have never been exhibited to&nbsp;date.</p> <p>The Vasili Shukhaev exhibition is&nbsp;the first part of&nbsp;a&nbsp;large research project conducted by&nbsp;the MMOMA. The second part will be&nbsp;embodied as&nbsp;a&nbsp;symposium on&nbsp;various aspects of&nbsp;life and work of&nbsp;the artist.</p> <p>Vasili Shukhaev lived a&nbsp;long, complex and eventful life that fully reflects all the facets of&nbsp;the drama befallen the Russian artistic intelligentsia in&nbsp;the 20th century. Historical events, politics, plus certain peculiarities of&nbsp;the art scene of&nbsp;the pre- and post-revolution Russia and that of&nbsp;Paris between the two world wars&nbsp;&mdash; all the above combined in&nbsp;the artist&rsquo;s personal life and his career alike.</p> <p>Vasili Shukhaev was born in&nbsp;Moscow in&nbsp;1887. He&nbsp;studied at&nbsp;Stroganov College in&nbsp;Moscow and at&nbsp;the Imperial Academy of&nbsp;Arts in&nbsp;St. Petersburg, from whence he&nbsp;set off to&nbsp;Italy on&nbsp;a&nbsp;two-year pensionnaire trip to&nbsp;perfect himself in&nbsp;painting. He&nbsp;began teaching in&nbsp;Petrograd, and then continued to&nbsp;do&nbsp;so&nbsp;in&nbsp;Paris years ago. He&nbsp;also taught in&nbsp;Leningrad and Tbilisi. In&nbsp;1920, Shukhaev immigrated to&nbsp;Finland. Afterwards he&nbsp;moved to&nbsp;France, where the artist spent 14&nbsp;years. Having returned to&nbsp;his motherland, the artist spent a&nbsp;mere two years working in&nbsp;there&nbsp;&mdash; though it&nbsp;was a&nbsp;happy and productive stint for him&nbsp;&mdash; before he&nbsp;got arrested in&nbsp;1937 for committing &laquo;crimes&raquo; stipulated in&nbsp;the notorious Article&nbsp;58 (On&nbsp;the responsibility for counter-revolutionary activities) of&nbsp;the Soviet Criminal Code. As&nbsp;a&nbsp;result, Shukhaev was exiled to&nbsp;the Kolyma region. Since 1947&nbsp;he lived and worked in&nbsp;Georgia for the following twenty-five years, spending his summertime in&nbsp;the village of&nbsp;Tsikhisdjvari, and later at&nbsp;his friends&rsquo; dacha in&nbsp;Nikolina Gora, Moscow region.</p> <p>Thematically and chronologically, a&nbsp;full-fledged display of&nbsp;Shukhaev&rsquo;s oeuvre spanning nearly seven decades of&nbsp;the 20th century, has been a&nbsp;mission impossible until recently. The artist&rsquo;s works are quite scattered all over the world, they pop up&nbsp;occasionally in&nbsp;a&nbsp;variety of&nbsp;exhibitions, auctions and publications. At&nbsp;long last, the above will be&nbsp;put on&nbsp;view along with the works provided by&nbsp;the state-controlled and private collections located in&nbsp;Russia, Georgia, Kazakhstan and other countries.</p> <p>In&nbsp;view of&nbsp;the 100th anniversary of&nbsp;World War&nbsp;I, special attention will be&nbsp;paid to&nbsp;the portraits of&nbsp;the Russian Army officers (1916)&nbsp;&mdash; the artist&rsquo;s sketches for his major yet unfinished painting The Regiment in&nbsp;the Field (The Russian Museum). It&nbsp;is&nbsp;for the first time that the previously unknown Russian servicemen will retreat their names and biographical data.</p> <p>Both the exhibition and its catalogue will include the records pertinent to&nbsp;the Shukhaevs&rsquo; case. The records are on&nbsp;display by&nbsp;courtesy of&nbsp;the Federal Security Service (FSB) of&nbsp;the Russian Federation. The documents, which are made public for the first time, will enable one to&nbsp;remove the veil of&nbsp;secrecy from the circumstances as&nbsp;to&nbsp;the imprisonment of&nbsp;the Shukhaevs. The documents can also help to&nbsp;shed light on&nbsp;their life at&nbsp;a&nbsp;prison camp in&nbsp;Magadan.</p> <p>Shukhaev&rsquo;s work commissioned by&nbsp;the Russian theatre directors V.E. Meirkhold, N.F. Baliyev, L.V. Varpakhovsky and his work in&nbsp;a&nbsp;theatre of&nbsp;Magadan Gulag are yet another part of&nbsp;the artist&rsquo;s legacy that has been in&nbsp;want of&nbsp;a&nbsp;proper research for a&nbsp;long time. The exhibits will throw a&nbsp;new light on&nbsp;those works.</p> <p>Unique editions of&nbsp;A.S. Pushkin&rsquo;s The Queen of&nbsp;Spades (1922) and Boris Godunov (1924) illustrated by&nbsp;Shukhaev, and the original sheets of&nbsp;the illustrations from museum funds will certainly enrich the exhibition. Shukhaev received several commissions from the American magazine Vanity Fair to&nbsp;draw caricatures of&nbsp;the famous politicians and writers in&nbsp;the 1930s. The caricatures on&nbsp;display are likely to&nbsp;stir the spectator&rsquo;s interest. The MMOMA staff did a&nbsp;good deal of&nbsp;scientific research work including that for attribution purposes as&nbsp;part of&nbsp;the preparations for mounting this exhibition. The work enabled the staff to&nbsp;ascertain the titles, date and provenance of&nbsp;a&nbsp;number of&nbsp;the works.</p> Thu, 28 Aug 2014 03:50:30 +0000 - ISTANBUL MUSEUM OF MODERN ART - September 25th 10:00 AM - 8:00 PM <p>Within the scope of its 10th&nbsp;year, Istanbul Modern is preparing an exhibition in honor of the 100th&nbsp;anniversary of Turkish film: &ldquo;One Hundred Years of Love&rdquo;. A first in Turkey, this research exhibition covers this century-old adventure of film in Turkey starting from 1914, considered to mark the birth of the history of cinema in Turkey. The exhibition features moments of encounter between film and audience and the amazing collective and individual worlds created by this encounter. Compiling visual and written representations of film such as posters, photographs, box office reports, gala invitations, newspaper clippings and advertisements, lobby cards, and autographed photos of stars, the exhibition aims to render visible the memory of a history whose sources have been poorly preserved and has been kept alive only by personal efforts.</p> <p>&ldquo;One Hundred Years of Love&rdquo; begins by treating of the audience&rsquo;s most concrete relationship with cinema, in other words, cinema spaces. Emphasizing that movie theaters are &ldquo;temples of audience&rdquo;, the exhibition offers a presentation ranging from the first movie houses in Turkey to today&rsquo;s festival halls. Elements connecting the audience with films and the cinema also constitute a major part of the exhibition: Newspaper advertisements, programs and flyers, brochures, magazines, and posters about films distributed by movie theaters. Another important section in the exhibition features scenes from close to 50 Turkish films showing spectators and auditoriums.</p> <p>For the exhibition, a comprehensive catalogue for the exhibition will be published. The catalogue will feature articles focusing on the relationship between film and audience, along with various archival visual material.</p> Sun, 31 Aug 2014 22:27:09 +0000 Richard Avedon, Stan Douglas, James Welling, Marco Breuer, Margaret Bourke-White - Minneapolis Institute of Arts - September 25th 10:00 AM - 9:00 PM <p>In the 1930s, American poet Ezra Pound famously encouraged modern artists to &ldquo;make it new.&rdquo; Modernists heeded the call through abstraction, 12-tone music, collage, photomontage, and other experimental approaches to the visual arts, film, dance, and architecture. Today, to make it absolutely new is almost impossible given the sheer quantity of art produced since Pound&rsquo;s slogan. Still, contemporary artists are drawn to the new, and historic artworks have acquired new meanings. This exhibition will feature a selection of recent acquisitions of photographs by Richard Avedon, Stan Douglas, Marco Breuer, and Margaret Bourke-White, among others&mdash;many presented in the MIA&rsquo;s galleries for the first time&mdash;in an innovative installation that reveals how powerful images can acquire new, and provocative, meanings.</p> Mon, 04 Aug 2014 02:23:26 +0000 - Moving Image Istanbul - September 25th 5:00 PM - 9:00 PM <p><strong>Hours:</strong><br />Thu, Sept 25, 2014: 17:00 &ndash; 21:00 (Vernissage)<br />Fri, Sept 26, 2014: 12:00 &ndash; 20:00<br />Sat, Sept 27, 2014: 12:00 &ndash; 20:00<br />Sun, Sept 28, 2014: 12:00 &ndash; 18:00</p> <p>Admission:&nbsp;<strong>FREE</strong></p> Thu, 28 Aug 2014 09:57:34 +0000 - NGV (National Gallery of Victoria) International - September 25th 10:00 AM - 5:00 PM <p>Anchored within the world of scent,&nbsp;<em>Hyper-Natural</em>&nbsp;explores how designers in the medium of scent select synthetic fragrances to put together extraordinary designs. These designs, when built, become extraordinary works of scent art. Curated by former New York Times perfume critic and author Chandler Burr,&nbsp;<em>Hyper-Natural</em>&nbsp;introduces us to the thoughtful, intricate, fascinating, and virtually unknown medium of design&mdash;invisible, powerful&mdash; and expands our concept of design itself.<br /><br />This exhibition is part of NGV garden programs to celebrate the arrival of spring. Through September the Grollo Equiset Garden will come to life as 18,000 newly planted flowers bloom, a unique installation of mist will create an ephemeral cloud, with&nbsp;<em>Hyper-Natural</em>&nbsp;offering an invitation to enjoy the garden on a sensory journey of discovery.<br />
<br /><em>Hyper-Natural</em>&nbsp;presents 7 ingenious synthetic scent molecules created from the birth of the first such molecules in the 1850s to the hugely sophisticated molecular scents of today.<br /><br />

Each of these 7 molecules will be paired with a major work of olfactory art, a perfume, in which that molecule played a major role, and visitors will come to understand the scent molecule&rsquo;s special part in the work. They will also understand the work of art as a whole and how it came from that design.

<br /><br />The exhibition will be located in the sculpture garden at NGV International, St Kilda Road. Visitors will embark of a sensory journey through the garden to smell the 14 molecules and scent works. 

In addition to the exhibition, a program of Scent Design events led by Burr will allow visitors to experience to world of olfactory art from many perspectives.<br /><br />

Burr will also present a series of curatorial conversations and a remarkable &lsquo;Scent Dinner&rsquo; &ndash; Burr will create an invisible olfactory menu made of gourmand scent materials, and a chef then translates that into a parallel edible culinary menu that translates from scent into edible tastes.The evening takes the audience through an olfactory gourmand journey of discovery.

&nbsp;<br /><br />Burr, who wrote the book;&nbsp;<em>The Emperor of Scent&nbsp;</em>and is Curator of the Department of Olfactory Art in New York, says a key inspiration for the project is to &ldquo;get visitors to move beyond mere emotional responses and memories and to recognize and think critically about scent design&rdquo;.</p> Thu, 04 Sep 2014 05:33:18 +0000 C215, Etam Cru, Herakut, Vhils - Wunderkammern - September 25th 7:00 PM - 9:00 PM <h3>myFINBEC: tasting Urban Art</h3> <p>Wunderkammern is pleased to present the show &ldquo;myFINBEC: tasting Urban Art&rdquo;, in collaboration with&nbsp;<strong>Cave Fin Bec</strong>. The show will be part of the event<strong>&nbsp;&ldquo;Roma Art 2Nights&rdquo;.</strong><br /><br />The project myFINBEC starts in 2012 from Yvo Mathier, the owner of Cave Fin Bec located in Sion (Canton of Valais, Switzerland) and his passion for art. Cave Fin Bec produces high quality organic wine; in 2012, it won five gold medals for its wines in the largest wine competition in the world, the<em>&nbsp;AWC International Wine Challenge</em>.&nbsp;<br /><br />With the aim of combining wine and art in one, unique, experience, myFINBEC invites some of the most important Urban Art artists from all over the world to create artworks on Cave Fin Bec wine cases.&nbsp;<strong>Each single artwork is painted on a wall formed by 84 cases, which contain each one six bottles of wine; on their labels, the artistic image of the work is reproduced.</strong>&nbsp;<br /><br />The myFINBEC project is doing a European Tour with a series of four day pop-up shows held in various international cities, and will be hosted in Rome by Wunderkammern gallery. At the show eight murals will be presented, each measuring over three meters high by two meters wide. Visitors will be able to purchase sections of the original art in the form of wood wine cases. These wood cases will later by filled with six bottles of Cave Fin Bec&rsquo;s organic red and white wine. Also available at the art show are limited edition signed art prints of each painting.<br /><br />The four artists presented by myFINBEC 2014 and Wunderkammern are:&nbsp;<strong>C215, Etam Cru, Herakut and Vhils</strong>.&nbsp;<br /><br /><strong>C215&nbsp;</strong>(Christian Gu&eacute;my, France, 1973), artist represented by Wunderkammern, uses the stencil technique to give voice to the protagonists of the street and to contextualize themes from Renaissance and classic tradition in the present. At the exhibition Au-del&agrave; du Street-Art at Mus&eacute;e de la Poste in Paris, he exposed together with artists such as Banksy, Invader and Shepard Fairey; in 2013, Wunderkammern dedicated to C215 a solo-show.&nbsp;<br /><br /><strong>Etam Cru&nbsp;</strong>is the duo of Polish artists Bezt and Sainer; graduated in Fine Arts, their work ranges from Urban Art to illustration, and graphic design. Their production tells about surreal stories, through characters which find themselves in unexpected contexts; the observer is invited to relate with these figures with curiosity.&nbsp;<br /><br /><strong>Herakut&nbsp;</strong>is a duo of German street artists, Hera and Akut; since 2004 they combine their talents to create stories of imaginary worlds, populated by figures inspired with individual characters. In particular, Hera creates their forms and proportions, while Akut paints the photorealistic elements. Together, the duo has realized exhibitions and performances all over the world.&nbsp;<br /><br />Finally&nbsp;<strong>Vhils&nbsp;</strong>(Alexandre Farto, 1987) is a Portuguese artist internationally known. An engraving master, he works on different layers of the mural surface, as well as on wood or metal. Vhils developed his engraving techniques, arriving at a new sophisticated method consisting in micro-explosions that carve the wall, letting emerge the artist's anonymous faces.&nbsp;</p> Thu, 11 Sep 2014 04:59:34 +0000