ArtSlant - Recently added http://www.artslant.com/ew/Events/show en-us 40 Miriam Vlaming - Galerie Dukan - Saint Ouen - October 1st - October 31st <p class="Pa2" style="text-align: justify;"><strong>We are very pleased to present Miriam Vlaming&rsquo;s (1971) first solo show &laquo;Eden&raquo; at the Galerie Dukan Saint Ouen. </strong></p> <p class="Pa2" style="text-align: justify;">Miriam Vlaming, one of the most important representatives of the &ldquo;Neue Leipziger Schule&rdquo;, was born in 1971 in Hilden, close to D&uuml;sseldorf. In 1991 she started studying Educational Science, Psychology and Sociology at the Heinrich-Heine-University in D&uuml;ssel&shy;dorf. However, in the course of time Miriam got more and more attracted to art and the&shy;refore, she decided to transfer to the University of Graphic and Book Arts in Leipzig. She was even lectured by Arno Rink, one of the great masters of the &ldquo;Neue Leipziger Schule&rdquo;. In 1999 Miriam graduates with distinction and becomes Rink&rsquo;s master student for two years. Owing to her training and figurative adjusted work she gets ascribed to the &ldquo;Neue Leipziger Schule&rdquo;, just as Neo Rauch and Matthias Weischer for instance. However, Miriam decides to follow a special way within this art direction: she exploits the limits of abstrac&shy;tion to the fullest, more than many others situated in Leipzig. The structures of a complex &ldquo;Malakt&rdquo; (an act of painting) play a significant role in her paintings, which are made of egg tempera and appear on giant canvases. Sometimes, the figurative &ndash; Human being, lands&shy;cape and the material thing &ndash; seems to be woven-in by the painting. Multilayered works are created in the double sense, which suggest an insight into foreign spheres and worlds. This, in particular, stems from the individual colorfulness, which often varies in one ground color, along with special artistic, shimmering structures. After graduating, Miriam takes on a teaching assignment (2001-2003) and in 2011, she teaches at the 14th international sum&shy;mer academy for graphic art in Dresden. Her art paintings have become part of various international solo exhibitions. Among those, the show &ldquo;YOU PROMISED ME&rdquo; can be em&shy;phasized, which took place in 2008 in the Art Hall Mannheim, which gathered around 50 paintings. Furthermore, Miriam Vlaming&rsquo;s art works have been adopted by several impor&shy;tant public collections and museums, including the Von-der-Heydt-Museum in Wuppertal, the ALTANA cultural endowment, the art collection of the Deutsche Bundesbank as well as the company collection Robert Bosch GmbH. Miriam Vlaming lives and works in Berlin.</p> <p class="Pa3" style="text-align: justify;" align="right">Text: Dr. Agnes Thum</p> <p class="Pa3" style="text-align: justify;" align="right">Translated by (D/E) Anna Kittlinger</p> <p class="Pa2" style="text-align: justify;"><strong>Field Research in &laquo;Eden&raquo; carried out by Susanne Altmann </strong></p> <p class="Pa2" style="text-align: justify;">Miriam Vlaming has worked as a visual anthropologist for a long time, particularly through the use of photographic models. As well as family portraits, group photographs, supposedly homely idylls, handcrafted ornaments, marginal architecture and additionally gardens, be&shy;long in her repertoire. Her artistic interpretations enhance, disguise and generalise, while commenting on these motifs. However, she was never distracted by narrative content, and remained a passionate painter. I believe that, if Vlaming was pushed to decide, she would always sacrifice the legibility of her paintings for experiments with light and colour. Still, she ruins surfaces which appear idyllic, while staging the canvas effectively as a palimpsest of injuries and non-formulated scraps of memory. In Vlaming&rsquo;s early works, which she created in Leipzig, she creates a unique angle of artwork, which constantly draws the viewer into the medium of pure painting, through the dynamic swirl of non-objective elements. In this res&shy;pect, Vlaming remains true to herself. In &laquo;Eden&raquo;, her latest production, to solely concentrate on the exotic phenotype of her protagonists, would be to do her an injustice. Nevertheless, the current cycle emphasises Miriam Vlaming&rsquo;s interest in the unknown other. This could be a delicate matter, if considered in the debate on postcolonial image worlds. This debate, if held in a controlled environment, would completely prevent the enjoyment of exotic topics. The view on the other or different certainly belongs to the wealth of pictorial forms and has done so since ever. If we only think about the fascination of the expressionist Br&uuml;cke painters for African masks and woodcarvings from the South Pacific, or the longing for Asian culture, painted by French members of the avant-garde. As attractive as those approaches might have been, there were always contemporary illusions of a paradise involved, which- in a wes&shy;tern civilization- only existed as a projection. A paradise without quotation marks. When Mi&shy;riam Vlaming is working with the term &laquo;Eden&raquo; today, she carries the ambivalence between astonishment and sarcasm. This even begins with her well-tried method of including existing artwork into her paintings, now with extended cultural and ethnic references. Within her subjects, she quotes the production of images of the &laquo;white man&raquo; and his camera. But ins&shy;tead of a critical comment, in this case, the painting takes over. Miriam Vlaming vehemently re-establishes the autonomy of the then portrayed, who are looking into the lens with either justifiable mistrust or true willingness. She emphasizes moments of the foreign and sinister and creates a new, self-confident aura, that cleverly infiltrates our western stereotypes. Ag&shy;gressively and ironically exaggerated masks and costumes as in &laquo;Uncle Freak&raquo; or &laquo;Initiation&raquo; seem to reverse role relations. Viewers might feel slightly uncomfortable, almost like objects of observation. Her composition of patterns, vegetation and visual hyperboles, provides the subjects with a certain re-framing, a new frame; or according to anthropologist Christopher Pinney: She is looking through a kind of &laquo;anti-camera&raquo; and chooses a technology of depic&shy;tion that is contrary to photography. Unlike numerous other field working conceptual artists, Miriram Vlaming does not assume theories. However, she does not have to do so. She achie&shy;ves powerful and highly relevant final results solely due to her picturesque intuition. She suc&shy;ceeds in both the artistic recapture of a field which is mined with discursive tripping hazards, as well as the emancipation of ethnographic iconic documents, and often dubious contexts of the work&rsquo;s creation. The closest to conscious embedding into critical reflection she gets, is with her series &laquo;Human Nature&raquo;, where she paraphrases the arbitrariness of gender and ethnic identities in 12 variations of one face. The smallest variations of complexion, lips, noses or lids automatically request classifications. Proficiently, Miriam Vlaming transfers the viewer&lsquo;s own and superficial prejudices: prejudices, which often and automatically involve dramatizing differences instead of determining similarities. Especially in light of the current debate on the foreign and its perceived threat, the comparatively economic series appears as an appeal to our common sense. Insofar &laquo;Human Nature&raquo; can be read as a leitmotif, which promises the vision of a prospective, global &laquo;Eden&raquo;.</p> <p style="text-align: justify;">Susanne Altmann, May 2016</p> <hr /> <p class="Default" style="text-align: justify;">&nbsp;</p> <p class="Pa0" style="text-align: justify;">&nbsp;<strong>Nous sommes tr&egrave;s heureux de vous pr&eacute;senter &laquo;EDEN&raquo; la premi&egrave;re exposition de Miriam Vlaming (1971) &agrave; la galerie Dukan Saint Ouen</strong></p> <p class="Pa2" style="text-align: justify;">Miriam Vlaming, une des plus importante repr&eacute;sentante de la &laquo;Nouvelle &Eacute;cole de Leipzig&raquo;, est n&eacute;e en 1971 &agrave; Hilden, pr&egrave;s de D&uuml;sseldorf, en Allemagne. En 1991, elle commence &agrave; &eacute;tudier la science de l&rsquo;&eacute;ducation, la psychologie et la sociologie &agrave; l&rsquo;Universit&eacute; Heinrich-Heine de D&uuml;sseldorf. Toutefois, au fil du temps, Miriam est de plus en plus attir&eacute;e par l&rsquo;art et par cons&eacute;quent, d&eacute;cide d&rsquo;entrer &agrave; l&rsquo;&Eacute;cole des Beaux-Arts de Leipzig. Arno Rink, un des grands ma&icirc;tres de la &laquo;Nouvelle &Eacute;cole de Leipzig&raquo; y a m&ecirc;me &eacute;t&eacute; son professeur. En 1999, Miriam Vlaming obtient son dipl&ocirc;me avec f&eacute;licitations et entre directement pour deux ann&eacute;es en post-dipl&ocirc;me avec Arno Rink. En raison de cette formation et de son style figuratif, son travail s&rsquo;inscrit alors dans le mouvement de la &laquo;Nouvelle &Eacute;cole de Leipzig&raquo;, tout comme Neo Rauch et Matthias Weischer par exemple. N&eacute;anmoins, Miriam Vlaming d&eacute;cide de suivre un chemin particulier dans son travail artistique. Elle exploite les limites de l&rsquo;abstraction au maximum, bien plus que ces autres coll&egrave;gues de Leipzig. Les structures de ce complexe &laquo;Malakt&raquo; (acte de peindre) jouent un r&ocirc;le significatif dans ses peintures faites de tempera &agrave; l&rsquo;oeuf sur des canvas de tr&egrave;s grands formats. Parfois, le figuratif - l&rsquo;&Ecirc;tre Humain, le paysage et la &laquo;chose mat&eacute;rielle&raquo; - semble &ecirc;tre tiss&eacute; par la peinture. Les travaux multi calques et leurs caract&egrave;res tr&egrave;s color&eacute;s cr&eacute;ent des doubles sens, laissant sugg&eacute;rer un aper&ccedil;u entre sph&egrave;res &eacute;trang&egrave;res et autres mondes pittoresques comme des sortes de structures miroitantes. Apr&egrave;s avoir obtenu son dipl&ocirc;me, Miriam Vlaming accepte un poste d&rsquo;enseignante (2001-2003) et enseigne &agrave; la 14e Universit&eacute; d&rsquo;&eacute;t&eacute; internationale d&rsquo;arts graphiques de Dresde. Elle a expos&eacute; son travail dans de nombreuses expositions person&shy;nelles &agrave; travers le monde. On peut souligner parmis celles-ci, l&rsquo;exposition &laquo;YOU PROMISED ME&raquo; en 2008, au Art Hall de Mannheim en Allemagne, comptant pr&egrave;s de 50 oeuvres. Par ailleurs, les oeuvres de Miriam Vlaming font maintenant partie d&rsquo;importantes collections publiques et priv&eacute;es ou de mus&eacute;es comme le Von-der-Heydt Museum &agrave; Wuppertal, la fon&shy;dation culturelle Atlana en Allemagne, la collection d&rsquo;art de la Deutsche Bundesbank aussi bien que de la collection Robert Bosch. Miriam Vlaming vit et travaille &agrave; Berlin.</p> <p class="Pa3" style="text-align: justify;" align="right">Texte : Dr. Agnes Thum</p> <p class="Pa2" style="text-align: justify;"><strong>Eden - par Susanne Altmann</strong></p> <p class="Pa2" style="text-align: justify;">Par son usage de mod&egrave;les photographiques, Miriam Vlaming est une anthropologue vi&shy;suelle de longue date. Portraits de famille et autres groupes, idylles domestiques sup&shy;pos&eacute;es, ornements artisanaux, architectures marginales ou jardinets font partie de son repertoire. Ses interpr&eacute;tations picturales commentent les motifs, tout en les amplifiant, les voilant ou les g&eacute;n&eacute;ralisant. Cependant elle ne se laisse jamais entrainer par leur teneur narrative, mais reste une peintre passion&eacute;e. Si elle devait choisir, je crois qu&rsquo;elle sacrifi&shy;rait la lisibilit&eacute; de ses peintures sur l&rsquo;autel de la finesse artisanale, de l&rsquo;autonomie de la forme et des exp&eacute;riences de couleur et de lumi&egrave;re. Encore et toujours elle d&eacute;truit les surfaces trop parfaites, elle met efficacement en sc&egrave;ne la toile comme un palimpseste fait d&rsquo;infractions et de bribes de souvenirs que partiellement formul&eacute;es. Cela lui fournit une position singuli&egrave;re dans la g&eacute;n&eacute;alogie de la jeune figuration lipsienne, car ses compositions entra&icirc;nent le spectateur toujours profond&eacute;ment dans le medium de la peinture pure, dans un tourbillon dynamique d&rsquo;&eacute;l&eacute;ments non figuratifs. Avec sa derni&egrave;re production, Eden, Miriam Vlaming reste fid&egrave;le &agrave; cette position et on lui ferait tort si l&rsquo;on ne se concentrait que sur le ph&eacute;notype exotique des ses protagonistes. Pourtant, ce nouveau cycle fait prevue de son int&eacute;r&ecirc;t pour l&rsquo;inconnu. Cela peut poser probl&egrave;me si l&rsquo;on consid&egrave;re le d&eacute;bat autour de l&rsquo;imagerie postcoloniale. Si on menait ce d&eacute;bat de mani&egrave;re politiquement correcte, le plaisir des sujets exotiques serait compl&egrave;tement interdit. Comme le d&eacute;montre de mani&egrave;re impressionante le curateur philosophe Wolfgang Scheppe dans son exposition &laquo; Die Ver&shy;messung des Unmenschen. Zur &Auml;sthetik des Rassismus &raquo;, ce sont justement ces images-l&agrave; qui pourraient donn&eacute;es lieu au d&eacute;bat - car elles contiennent ces normes douteuses des grands voyageurs du 19&egrave;me si&egrave;cle, qui se croyaient chercheurs. Pour porter un regard critique sur les archives obsessionnelles de l&rsquo;ethnologue controvers&eacute; Bernhard Struck (1888-1971), les crit&egrave;res de classement sont intitul&eacute;s &laquo; Le mensurateur comme &eacute;chelle &raquo;, &laquo; Le phantasme de la primitivit&eacute; &raquo; ou &laquo; Voyeurisme scientifique et ethnopornographie &raquo;.</p> <p class="Pa2" style="text-align: justify;">Ces perspectives sont n&eacute;cessairement racistes, historiques et pourtant porteuses jusqu&rsquo;&agrave; nos jours, en choisissant une approche artistique on nous montre que les m&eacute;canismes de tels t&eacute;moignages imag&eacute;s pseudo-scientifiques ne peuvent &ecirc;tre d&eacute;jou&eacute;s par des moyens scientifiques. Ce n&rsquo;est que par la confrontation &agrave; leur abondance dans un projet artistique qu&rsquo;un regard dans le gouffre de leurs pr&eacute;tentions est rendu possible. Le terrain est min&eacute; par ces sujets, mais la mani&egrave;re dont Miriam Vlaming l&rsquo;entame avec ses r&eacute;appropriations picturales peut &ecirc;tre qualifi&eacute; de cons&eacute;quent, hautement r&eacute;fl&eacute;chi et presque avant-gardiste.</p> <p class="Pa2" style="text-align: justify;">C&rsquo;est un v&eacute;ritable grand-&eacute;cart: car le regard port&eacute; sur autrui ou le diff&eacute;rent constitue de&shy;puis toujours la richesse des formes dans la cr&eacute;ativit&eacute;. Pensons &agrave; la fascination des artistes du groupe Die Br&uuml;cke pour les masques africains et les sculptures des mers du sud, ou le d&eacute;sir de la culture asiatique qui s&rsquo;est articul&eacute;e dans la peinture de l&rsquo;avant-garde fran&ccedil;aise. Aussi s&eacute;duisantes que ces approches puissent avoir &eacute;t&eacute;, elles se r&eacute;f&eacute;raient toujours &agrave; une illusion de paradis propre &agrave; leur temps, qui n&rsquo;existait que dans la projection h&eacute;g&eacute;moniale de la civilisation occidentale. Un paradis sans guillemets. Quand Miriam Vlaming op&egrave;re avec ce terme aujourd&rsquo;hui, elle apporte d&eacute;j&agrave; ces ambigu&iuml;t&eacute;s entre &eacute;tonnement et sar&shy;casme. Il en va de m&ecirc;me avec sa m&eacute;thode &eacute;prouv&eacute;e d&rsquo;int&eacute;grer des images pr&eacute;existantes dans les peintures, mais en multipliant leurs liens culturels et ethniques. Dans ses sujets, elle cite la production d&rsquo;images de &bdquo;l&rsquo;homme blanc&ldquo; et de sa cam&eacute;ra, mais la peinture prend la place du commentaire critique. Dans Initiation (2016), elle d&eacute;tourne un ensemble de danseurs, pr&eacute;suppos&eacute;s aborig&egrave;nes, par des arabesques &agrave; la Matisse et des ornements prolif&eacute;rants. Avec un usage quasiment excessif de formes et couleurs dans Uncle Freak (2016), elle fait &eacute;merger deux hommes masqu&eacute;s d&rsquo;une jungle de motifs - comme d&rsquo;un filet parabolique d&rsquo;interpr&eacute;tations exotisantes. Miriam Vlaming r&eacute;tablit ainsi l&rsquo;int&eacute;grit&eacute; des mod&egrave;les de jadis, qui visaient l&rsquo;objectif soit par m&eacute;fiance justifi&eacute;e, soit de bon gr&eacute;. Elle accentue les moments d&rsquo;&eacute;tranget&eacute; et d&rsquo;inqui&eacute;tude et cr&eacute;e une aura nouvelle, confiante, qui infiltre habilement nos clich&eacute;s occidentaux. Masques et costumes agressivement et ironiquement exag&eacute;r&eacute;s, semblent inverser la r&eacute;partition des r&ocirc;les: les spectateurs et spec&shy;tatrices peuvent sentir un l&eacute;ger inconfort, comme s&rsquo;il &eacute;taient eux-m&ecirc;mes les objects ob&shy;serv&eacute;s. Les vestiges photographiques sont recadr&eacute;s par un dense tissu de de d&eacute;coration, v&eacute;g&eacute;tation et exc&egrave;s visuels, ou bien, selon la conclusion de l&rsquo;anthropologue Christopher Pinney: elle regarde comme &agrave; travers une &bdquo;anti-cam&eacute;ra&ldquo;, choisissant une technologie de la repr&eacute;sentation contraire &agrave; la photographie.</p> <p class="Pa2" style="text-align: justify;">Miriam emm&egrave;ne l&rsquo;observateur au-del&agrave; de ses pr&eacute;jug&eacute;s superficiels, qui consistent sou&shy;vent &agrave; dramatiser les diff&eacute;rences au lieu de constater des points communs. Sa strat&eacute;gie de l&rsquo;accrochage lin&eacute;aire rappelle de mani&egrave;re &eacute;prouvante les moulages phr&eacute;nologiques de visages de personnes extra-europ&eacute;ennes, autrefois si populaires, qu&rsquo;on r&eacute;alisait pour les expositions anthropologiques et zoologiques. Cette tournure artistique renvoie &agrave; l&rsquo;absur&shy;dit&eacute; qu&rsquo;il y a dans le traitement des humains comme des objets d&rsquo;&eacute;tude, dans l&rsquo;anonymat et la d&eacute;gradation. La peinture comme commentaire critique ! Plus particuli&egrave;rement dans la confrontation actuelle &agrave; l&rsquo;&eacute;tranger et ses menaces suppos&eacute;es, cette s&eacute;rie relativement humble semble comme un appel &agrave; la raison. Dans ce sens, &laquo; Human Nature &raquo; peut &ecirc;tre lu comme un leitmotiv, promettant un &laquo; Eden futur &raquo;, global. Autant d&rsquo;utopie est permise.</p> <p style="text-align: justify;">Susanne Altmann, Mai 2016</p> Fri, 30 Sep 2016 19:20:24 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Nathan Carter, Kim Dickey - MCA DENVER - October 7th 6:00 PM - 10:00 PM <p>Join MCA Denver for a mercurial garden party, celebrating the fall openings of Kim Dickey: Words Are Leaves, Nathan Carter: Ladies and Gentlemen, Meet The Dramastics, and Bodacioussss. The celebration includes roaming performances by Pythian Whispers, rooftop garden DJ set by Alphabets, projection mapping by Orchidz3ro, limited edition Meet the Dramastics koozies and merchandise, beverages, and other general nonsense.<br />&nbsp;<br />6PM VIP and members&rsquo; preview<br />7-10PM Opening celebration<br />&nbsp;<br />Tickets:<br />$10 Members, $15 Nonmembers,&nbsp; $45 VIP<br />VIP ticket includes: express entry, 2 drink tickets, artist walkthrough, VIP no-line bar, snacks, VIP bathroom, Meet The Dramastics koozie. <br /><br />All ages.<br />Purchase tickets: http://bit.ly/mcafall16<br />Facebook event page: https://www.facebook.com/events/663063210535418/<br /><br /></p> Tue, 27 Sep 2016 18:28:47 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Nell, Rebecca Baumann, Ross Manning, Nick Mangan, Pedro Wonaeamirri, Constanze Zikos - MCA - Museum of Contemporary Art, Sydney - December 19th - March 19th, 2017 <div id="moz-reader-content" class="line-height4" style="display: block;"> <div id="readability-page-1" class="page"> <div class="col-md-6"> <h4 style="text-align: justify;">Celebrating 25 Years of Primavera: young Australian Artists</h4> <p style="text-align: justify;"><em>Primavera at 25</em> celebrates the silver jubilee of the MCA&rsquo;s annual Primavera exhibition showcasing the work of young Australian artists.</p> <p style="text-align: justify;">An anniversary presents a moment for reflection, an opportunity in which to consider the past and contemplate the future. Taking this significant milestone as a departure point, <em>Primavera at 25</em> brings together works by Primavera alumni artists that explore concepts of transformation, time and history.</p> <p style="text-align: justify;">A number of works in the exhibition, including artworks by Nell, Rebecca Baumann and Ross Manning, appear to transform in front of our eyes, spinning and turning, shimmering and sparkling, or shape shifting to create new forms.</p> <p style="text-align: justify;">Time is explored in artworks by Tim Silver and Emma White that mark set intervals or deliberately age. While artists including Simon Yates, Sangeeta Sandrasegar and Heather Douglas draw upon personal and social memories in their works.</p> <p style="text-align: justify;">Elsewhere artists such as Nick Mangan, Pedro Wonaeamirri and Constanze Zikos consider our relationship to the past through works that employ motifs from the past, reflect on our cultural histories or reinterpret traditional designs using contemporary materials.</p> <p style="text-align: justify;">After its presentation at the MCA, Primavera at 25 will tour throughout the country. </p> </div> </div> </div> Tue, 27 Sep 2016 15:04:08 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Tatsuo Miyajima - MCA - Museum of Contemporary Art, Sydney - November 23rd - March 5th, 2017 <p style="text-align: justify;"><strong>2016-2017 Sydney International Art Series</strong></p> <p style="text-align: justify;">Tatsuo Miyajima is one of Japan&rsquo;s leading contemporary artists, known for his immersive and technologically-driven sculptures and installations. This Sydney-exclusive exhibition will be his first major survey exhibition in the Southern Hemisphere, encompassing key works from the beginnings of his career to the present.</p> <p style="text-align: justify;">Central to his practice are numerical counters that count from 1 to 9 repeatedly using light-emitting diodes (LEDs), then go dark momentarily. For Miyajima, the cyclical repetition of numbers, along with the shift from light to dark, reflect the importance of time. He draws inspiration from Buddhist philosophy, with its exploration of mortality and human cycles of death and renewal.</p> <p style="text-align: justify;">Beat the lines and book your ticket online or become a <a title="http://www.mca.com.au/join-and-support/membership/" href="http://www.mca.com.au/join-and-support/membership/" target="_blank">member</a> and enjoy unlimited entry to the exhibition.</p> <p style="text-align: justify;">Curated by MCA Chief Curator Rachel Kent.</p> <h4>#Miyajima</h4> <h4 style="text-align: justify;">About the Artist</h4> <p style="text-align: justify;">Tatsuo Miyajima is known for his immersive, technology-driven sculptures and installations. This will be his first major solo exhibition in Australia, encompassing key sculptures and installations from the beginnings of his career to the present, as well as video and performance works which have expanded his object-based practice over time. The exhibition will be curated by MCA Chief Curator Rachel Kent, who worked closely with Miyajima on her international exhibition Marking Time, which inaugurated the newly re-developed MCA&rsquo;s opening season in 2012.</p> <p style="text-align: justify;">Miyajima has held solo exhibitions in Japan, the United States and Europe over the past two decades, including San Francisco Museum of Modern Art (1997), the Hayward Gallery, London (1997), Museo d&rsquo;Arte Contemporanea di Roma (2004), Art Tower Mito, Japan (2008) and Ullens Center for Contemporary Art, Beijing (2011). He represented Japan at the Venice Biennale in 1999 with the vast installation <em>Mega Death</em> &ndash; which will form a highlight of his Sydney survey &ndash; a room-scale installation of brilliant, blinking blue LEDs, each representative of human life or energy. A silent, twinkling memorial to the Holocaust, the lights are programed to switch off at intervals, plunging viewers into complete darkness momentarily, before lighting up and counting once more.</p> <h4 style="text-align: justify;">Sydney International Art Series</h4> <p style="text-align: justify;">The Sydney International Art Series brings the world&rsquo;s most outstanding exhibitions to Australia, exclusively to Sydney, every summer.</p> <p style="text-align: justify;">The 2016&ndash;17 series showcases two inspired exhibitions &ndash; <em>Tatsuo Miyajima: Connect with Everything</em> at the MCA and <a title="http://www.artgallery.nsw.gov.au/exhibitions/nude/" href="http://www.artgallery.nsw.gov.au/exhibitions/nude/" target="_blank"><em>Nude: art from the Tate collection</em></a> at the Art Gallery of New South Wales. Purchase a Sydney International Art Pass today to see both exhibitions and save 20%.</p> Tue, 27 Sep 2016 15:01:20 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list zong ning - Herzliya Museum of Contemporary Art - September 29th - December 24th Tue, 27 Sep 2016 14:55:29 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list - Herzliya Museum of Contemporary Art - September 29th - December 24th <p style="text-align: right;">פרס מפעל חיים: דני קרמן<br /> <br />פרס שרת התרבות והספורט לאמנות פלסטית: אניסה אשקר, צחי בוחבוט, יהושע בורקובסקי, שרון גלזברג, מיכל היימן, מיכאל חלאק, רמי מימון, אהד פישוף, אנג'לה קליין, טל שוחט<br /> <br />פרס האמן הצעיר: ורד אהרונוביץ, מיכל בראור, נועה גור, ציון אברהם חזן, שחר פרדי כסלו, ורד נסים, להלי פרילינג, אלעד רוזן, סמאח שחאדה, ליהי תורג'מן<br /> <br />פרס העיצוב: עירית אבא, איתי אהלי, ניל ננר, עמית צורן, דינה שהם</p> Tue, 27 Sep 2016 14:55:25 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list