ArtSlant - Recently added en-us 40 Thomas Canto - Wunderkammern - November 21st - January 9th, 2016 <p style="text-align: justify;"><strong>Wunderkammern is proud to present the solo show <em>Still&nbsp;lifes&nbsp;of&nbsp;space</em>&nbsp;time&nbsp;by French artist Thomas Canto, with the critical essay by&nbsp;Achille Bonito Oliva.</strong><br /><br /> Thomas Canto (1979), is considered one&nbsp;of&nbsp;the most promising French artists on the contemporary art scene. He has exhibited in important institutions such as the <strong>Palais de Tokyo</strong> in Paris (projection of the light painting short film &laquo; All senses &raquo;, 2012), and created installations for the <strong>Nuit Blanche</strong> in Paris (2014), the <strong>Outdoor Urban Art Festival</strong> in Rome (2014), the <strong>Urban art Biennale</strong> in Volklingen, Germany, (2015) and the <strong>Mohammed VI Modern and Contemporary Art Museum</strong>, Rabat, Morocco, (2015). He has recently made an installation for the <strong>K11 Art Foundation</strong> in Hong Kong, that will be exhibited at the <strong>Wuhan Art Museum</strong>, China, in 2016. </p> <p style="text-align: justify;">The artist transposes his personal vision&nbsp;of&nbsp;the environment directly into his art by creating an abstract and multiple projection&nbsp;of&nbsp;the disorganized entanglement related to the experiences&nbsp;of&nbsp;life. Inside his visionary landscapes, strongly influenced by the surrounding architecture, no fixed bearing is any longer conceivable. The displacement of&nbsp;vanishing points in Thomas Canto's highly complex constructions is what confers them their unique dynamism. These visual effects are present in both his environmental installations and his atelier artworks, that preserve indeed the same dynamism and volumetric feature. Thomas Canto is able to convey in his work multiple artistic influences, among which Constructivism, Suprematism, Op Art and Urban Art.&nbsp;</p> <p style="text-align: justify;"><strong><em>Still lifes of space time</em>, Thomas Canto's first solo exhibition in Italy</strong>, will mirror the artist's unique research, based on a constant exploration of the three-dimensional space, of pure aesthetics and performative experience. By combining painted surfaces and nylon wires on his artworks and installations, the artist will produce an abstract and complex universe and give rise to new geometries through shadows and light variations that will fill the gallery space. Space and time are fundamental notions in the artist's works; when facing them the spectator ceases to be a simple observer, instead he is immersed in an overall experience that actively transforms his perception of these dimensions and is constantly pushed to assess reality through new perspectives.</p> <p style="text-align: justify;">For his exhibition at Wunderkammern, Thomas Canto will create an indoor site-specific installation with a video mapping projection, allowing the audience to directly experience his art inside the gallery space. He will present new mixed media artworks, realized with painted wood and canvas, nylon wires and plexi-glass boxes. A special limited edition lithography will be released, produced by the historical Idem studio in Paris, in collaboration with Print Them All. The critical essay will be presented by Achille Bonito Oliva.</p> <hr /> <p style="text-align: justify;"><strong>Wunderkammern &egrave; lieta di presentare la mostra personale <em>Still lifes of space time</em> dell'artista francese Thomas Canto, con testo critico di Achille Bonito Oliva.</strong><br /><br /> Thomas Canto (1979), &egrave; considerato uno dei pi&ugrave; promettenti artisti francesi nel panorama dell'arte contemporanea. Ha esposto in importanti istituzioni come il <strong>Palais de Tokyo</strong> di Parigi (proiezione di un video, &laquo;All senses&raquo;, 2012) e ha realizzato installazioni per la <strong>Nuit Blanche</strong> di Parigi (2014), l'<strong>Outdoor Urban Art Festival</strong> di Roma (2014), la <strong>Biennale di Arte Urbana</strong> di Volklingen, Germania (2015) e il <strong>Mohammed VI Modern and Contemporary Art Museum</strong> di Rabat, Marocco (2015). Recentemente ha realizzato un'installazione per la <strong>K11 Art Foundation</strong> di Hong Kong, che sar&agrave; esposta al <strong>Wuhan Art Museum</strong>, in Cina, nel 2016.</p> <p style="text-align: justify;">L'artista traspone direttamente nella propria produzione artistica la sua personale visione dell'ambiente, creando una proiezione astratta e molteplice di quell'intreccio disorganizzato relativo alle esperienze della vita. Dentro ai suoi paesaggi visionari, fortemente influenzati dall'architettura circostante, non &egrave; pi&ugrave; concepibile un punto di vista fisso. Il decentramento dei punti di fuga nelle costruzioni complesse dell'artista &egrave; ci&ograve; che conferisce loro un dinamismo unico. Questi effetti visivi sono presenti sia nelle sue installazioni ambientali che nelle sue opere d'atelier, che conservano infatti lo stesso dinamismo e caratteristiche volumetriche. Thomas Canto &egrave; in grado di far convergere nelle sue opere molteplici influenze artistiche, tra le quali il Costruttivismo, il Suprematismo, l'Op Art e l'Arte Urbana. </p> <p style="text-align: justify;"><strong><em>Still lifes of space time</em>, prima mostra personale di Thomas Canto in Italia</strong>, rispecchia la ricerca originale dell'artista, basata su una costante esplorazione dello spazio tridimensionale, dell'estetica pura e della pratica performativa. Combinando superfici dipinte e fili di nylon nelle sue opere e installazioni, l'artista creer&agrave; un universo astratto e complesso, e dar&agrave; origine a nuove geometrie attraverso ombre e variazioni di luce che riempiranno lo spazio della galleria. Spazio e tempo sono nozioni fondamentali nelle opere di Thomas Canto; di fronte a queste ultime lo spettatore cessa di essere un semplice osservatore e viene invece immerso in un'esperienza coinvolgente che trasforma in modo attivo la percezione di queste dimensioni ed &egrave; costantemente spinto ad analizzare la realt&agrave; attraverso nuove prospettive. </p> <p style="text-align: justify;">Per la sua mostra a Wunderkammern, Thomas Canto creer&agrave; un'installazione site-specific animata attraverso una proiezione di video mapping, grazie alla quale il pubblico potr&agrave; sperimentare in maniera diretta la sua arte all'interno dello spazio della galleria. L'artista esporr&agrave; nuove opere in tecnica mista, realizzate con legno dipinto e tela, fili di nylon e scatole di plexiglas. Sar&agrave; inoltre presentata un'edizione limitata di litografie, prodotte dallo storico studio Idem di Parigi, in collaborazione con Print Them All. Il testo critico della mostra sar&agrave; curato da Achille Bonito Oliva.</p> Sat, 28 Nov 2015 17:39:52 +0000 Group Show - V1 Gallery - November 27th - January 9th, 2016 <p style="text-align: center;">V1 GALLERY PROUDLY PRESENTS</p> <p style="text-align: center;">13</p> <p style="text-align: justify;">13 - unlucky, mysterious, mathematically prime, the number of guests at the last supper, lucky, full moon, the first year of teenage bloom or doom. V1 Gallery is turning 13.</p> <p style="text-align: justify;">On this occasion we have invited 13 artists that we respect and admire and have worked with in the past 13 years to contribute a painting each. 13 paintings from 13 artists that all approach the history and potential of painting from various positions. 13 is a celebration of contemporary painting, a medium that has been developed, challenged, declared dead and resurrected continuously for the past 150 years.</p> <p style="text-align: justify;">The exhibition is an eclectic mix of painterly styles; Geoff McFetridge&rsquo;s super flat painting technique and compositional tightrope, Eddie Martinez&rsquo; bold and heartfelt development of the CoBrA and abstract expressionist movements, Misaki Kawai&rsquo;s furious future figuration, Thomas &Oslash;vlisen&rsquo;s genre defying minimal trash abstraction, Sara-Vide Ericson&rsquo;s suspenseful beyond photo realism and into the real (scary) style, John Copeland&rsquo;s vibrant and visceral expression balancing between abstraction and figuration. Painting seems to be in good shape in 2015 thanks to the many artists that have continued to take it serious as an artistic option for giving idea form.</p> <p style="text-align: justify;">As an appendix to one of the paintings in 13; The New Hope (Revisited) by Troels Carlsen, we are pleased to present the exhibition Guilty Pleasure in our downstairs gallery. <br />The exhibition revolves around Carlen&rsquo;s process in re-engaging the motif from his 2005 painting The New Hope. A kind of study room that contains variations of the motif in etchings, drawings, watercolors and smaller canvases, providing the viewer insight into Carlsen&rsquo;s reflections, approach and method.</p> <p style="text-align: justify;">We look forward to seeing you.</p> <p style="text-align: justify;">V1 Gallery</p> <p style="text-align: justify;">OPENING: FRIDAY NOVEMBER 27. 2015. TIME: 17.00 - 22.00 <br />EXHIBITION PERIOD NOVEMBER 28 &ndash; JANUARY 09. 2016. <br />THE GALLERY WILL BE CLOSED 24.12 &ndash; 04.01.16</p> Sat, 28 Nov 2015 17:35:28 +0000 Jasmina Metwaly, Ikon Chiba, Walid El-Sawi, Yuseph Bashat, Sidy Benamar, Malak Helmy, Sarah Samy - The Townhouse Gallery - November 29th - January 12th, 2016 <p style="text-align: justify;">Hito Steyerl fervently defends the poor image.<span style="color: #6a14ea;">1</span> The low-resolution degenerate: what she calls &ldquo;the wretched of the screen,&rdquo; the image that lives on the Internet. The bootlegged and the widely circulated bad versions of their more visually superior counterparts speak of the rich image&rsquo;s marginalization. The good image of experimental film and video art may be be stored in archives, screened occasionally, like a dinosaur on tour. The work of the sidelined cinephiles that were ostracized by commercial platforms have thus been reproduced in poor image, &ldquo;whether they like it or not.&rdquo;<span style="color: #6a14ea;">2</span></p> <p style="text-align: justify;"><br /> In some instances, one can make the observation that the natural cycles of the norm and the counter-norm dictate that the original, poor image might appear as a reaction, as a conscious or a subconscious revolution against the high-definition, over-aestheticization of both the commercial and the experimental.&ldquo;A Worthy Degenerate&rdquo; is an exhibition that thinks about the &ldquo;poor image&rdquo; as an original in itself beyond this endless feedback loop. Steyerl claims that the poor image is not assigned any value within the hierarchy of images; it is in need of defense as it nobly supplements the content of the rich image, keeping it alive. But the poor image has a valuable existence. Hasn&rsquo;t it taken up its place in media, film and artistic production? Doesn&rsquo;t it also live in galleries and museum spaces alongside the 35mm stunners? Hasn&rsquo;t it been internalized into this marginalized&nbsp;<br /> community of the experimental as an original?</p> <p style="text-align: justify;">In our postmodern landscape, to glance upon the poor image is to provide for the admittance of reality, a move away from the escapism that denies material surroundings, the root of imagination. Exhibited here is a world of content that is created by the poor image.</p> <p style="text-align: justify;">&nbsp;<br /> 1 Steyerl, Hito. "The Wretched of the Screen: In Defense of the Poor Image." E-flux 10 (2009): 31-46.&nbsp;<br />2 Ibid</p> <hr /> <p style="text-align: right;">تدافع هيتو ستيرل عن الصورة الرديئة ، او ما تسميه هي &ldquo;معذبي الصورة&rdquo;. تدافع بحماسة عن قاطني الانترنت من الكائنات المرئية، فهذه هي البيئة الحاضنة للصور الرديئة. تلك العينات المرئية في سعة تداولها ورواجها تشهد على تهميش الأصل المرئي ذو الجودة العالية. في رواج الصورة الرديئة اشارة للجحر المنسي الذي استوطنته الصورة الأصلية، لم يغن عنها جمالها و جودتها شيئا، فتراجعت في غناها إلى الهامش لتعيش في الأرشيف عادة، تخرج منه لتعرض احيانا، كالديناصورات في ترحال عبر المعارض.<br /><br />&ldquo;ما هي عليه&rdquo; معرض يرى الأصل في الصورة الرديئة. تطرح ستيريل فرضية حول نبل الصورة الرديئة، التي تنسى قيمتها في سلطوية الصور، فتحتاج من يدافع عنها، لكونها بالرغم من ردائتها، الوسيط الذي يستطيع من خلاله محتوى الصورة الأصلية المهمشة التنقل عبر حيوات عدة، فيبقى استمرار /تداول المضمون ممكنا. ولكن للصورة الرديئة قيمة، تكمن في كونها ما هي عليه، تكمن في ردائتها. ألم تاخد مكانا في الاعلام، في الأفلام، في الانتاج الفني؟ الاتكون الصور الرديئة مجاورة لصور ال ٣٥مم المبهر في نفس المتاحف واماكن العرض؟ ألم تندرج بعفوية ضمن التجريبي المهمش؟</p> Sat, 28 Nov 2015 17:30:55 +0000 Robert Marchessault, Caroline Ji, Anne-Marie Kornachuk - Trias Gallery - November 5th - November 29th <p style="text-align: justify;"><span style="font-size: small;">A selection of new paintings by gallery artists. Also introducing guest artists Robert Marchessault and Caroline Ji.</span></p> Sat, 28 Nov 2015 17:26:16 +0000 Immanuel Amunue - The Townhouse Gallery - November 19th - December 19th <p style="text-align: justify;">&ldquo;The unknown is an abstraction; the known, a desert; but what is half-known, half-seen, is the perfect breeding ground for desire and hallucination.&rdquo;</p> <p style="text-align: justify;">Join us on Thursday, November 19, at 7 pm in the Townhouse West for &ldquo;The Blue Flowers,&rdquo; Rundu-based researcher Immanuel Amunue's solo exhibition.</p> <p style="text-align: justify;">Over the past decade, Amunue has created a dense body of research that weaves together such disparate elements as Brazilian neo-abstraction, desert studies, computer-generated poetry, post-Internet art, a world history of natural disasters, pataphysics and the Paris-based workshop for potential literature. The paintings in this exhibition were extracted from one strand of this ongoing research project, which interrogates the meaning and possibilities of abstract painting.</p> <p style="text-align: justify;">Questioning why abstraction recurs at certain pinnacle moments in western history, Amunue was especially intrigued by mid-20th century geometric abstraction in North and South America. However, he was unable to travel and see these paintings in person. He began copying the works himself based on digital images found through Google image search, both as a form of note-taking and out of a personal desire to experience the images in a material form.&nbsp;</p> <p style="text-align: justify;">When he was invited to show his paintings at Townhouse, Amunue asked the gallery&rsquo;s staff to take the paintings into the desert, photograph them, and exhibit the resulting images, as well. The painting thus returns to the digital realm from which his copy was extracted. Amunue suggests that each iteration of the image (the inaccessible &ldquo;original&rdquo; painted by the artist, the digital image found on Google, his copy, his copy sitting in the desert, and finally the digital photograph of his copy sitting in the desert) is equally as real as any other version of the image.</p> <p style="text-align: justify;">By extracting the paintings from the body of research of which they form an integral part, we found a host of questions emerged, concerning the possibility of an aesthetic encounter with an &ldquo;image as such&rdquo; free of the burden of art historical knowledge, the art historical implications of return and repetition, and the copy as a pedagogical form.</p> Sat, 28 Nov 2015 17:20:10 +0000 Janice Wright Cheney - Southern Alberta Art Gallery - December 5th - January 31st, 2016 <p style="text-align: justify;"><strong>Opening Reception: Saturday, December 5 at 8 PM<br /> Reception Sponsored by Three Legged Dog: Graphic Design</strong></p> <p style="text-align: justify;">&nbsp; Comprising hundreds of rats of various shades and colours created from a wide range of recycled vintage fur coats, this compelling installation by Fredericton based artist Janice Wright Cheney incites contradictory feelings of fascination and unease.</p> <p style="text-align: justify;">&nbsp; The progeny of rattus norvegicus, or the Norway rat, a most opportunistic creature thought to have arrived in North America on ships in the 1700s, are everywhere, both inside and outside of the stacked cages. They have fully colonized the space, and fully invaded our imaginations. Their fecundity and massification, a common theme in horror movies for accentuating already repelling aspects of a phobia, signal the transgression of safe, secure normalcy, a threat to the established order, triggering the primal fear of being over-run and eaten by hordes of creepy-crawly vermin.</p> <p style="text-align: justify;">&nbsp; There is a long tradition in the visual arts of turning to animals to chart human experience of the world and to address eternal questions about the human condition. Wright Cheney&rsquo;s art practice can be viewed as part of this tradition and contributes to the topical field of critical animal studies. Focusing on the cultural construction and problematization of rats because they transgress spaces designated for human habitation, <em>Cellar</em> explores our fundamental fear belief systems by asking the critical question: Where do we locate the border between human beings and rats?</p> <p style="text-align: justify;">&nbsp; Curators: Lianne McTavish and Terry Graff</p> <p style="text-align: justify;"><br /> Organized by the Beaverbrook Art Gallery in partnership with the Art Gallery of Nova Scotia, and with the support of the Canada Council for the Arts, the Province of New Brunswick, the City of Fredericton (Arts, Culture &amp; Heritage Funding Program), and the Nova Scotia Department of Communities, Culture and Heritage. Additional funding assistance from the Alberta Foundation for the Arts, and the City of Lethbridge. We acknowledge the support of the Canada Council for the Arts, which last year invested $153 million to bring the arts to Canadians throughout the country. Nous remercions le Conseil des arts du Canada de son soutien. L&rsquo;an dernier, le Conseil&nbsp; a investi 153 millions de dollars pour mettre de l&rsquo;art dans la vie des Canadiennes et des Canadiens de tout le pays. Text adapted from original didactic at Beaverbrook Art Gallery, written by Terry Graff.</p> Sat, 28 Nov 2015 17:12:32 +0000 Corinne Thiessen - Southern Alberta Art Gallery - December 5th - January 31st, 2016 <p style="text-align: justify;"><em>Factory Logic</em>, a new large-scale installation by Lethbridge artist, Corinne Thiessen, presents a herd of marionette-like horses trotting obediently, systematically in place. &nbsp;Never stopping yet never going anywhere, their measured cadence soothes and pacifies, as we contemplate their endlessly looping cycle.&nbsp;</p> <p style="text-align: justify;">Honing a material language developed in earlier works, such as <em>A Horse in Motion</em> (2013) and <em>Chronic</em> (2015), <em>Factory Logic</em> uses a combination of natural and industrial material to create a fascinating and whimsical hybrid. Fashioning a series of tree branches with hinges that collapse upon impact with the floor, Thiessen ingeniously simulates the strike of the horses' hooves. &nbsp;Four legs are secured to a geometric armature made of steel and copper pipe, and two 12-volt rotating motors perpetuate a lilting, cyclical motion.&nbsp;</p> <p style="text-align: justify;">It is in this methodic repetition that we encounter the absurd, a thread that runs through much of Theissen's work. &nbsp;It calls to mind the myth of Sisyphus, the ultimate absurd hero. &nbsp;Both irreverent and impudent, Sisyphus is condemned by the Gods to ceaselessly roll a bolder to the top of a mountain, only to have it fall back on him each time he reaches the pinnacle. &nbsp;A tragic hero caught for all eternity, straining in toil, acutely aware of the futility of his struggle. &nbsp;And yet, he continues on. &nbsp;Camus writes:&nbsp;</p> <p style="text-align: justify;"><em>"I leave Sisyphus at the foot of the mountain! &nbsp;One always finds one's burden again... The universe henceforth without a master seems to him neither sterile nor futile. &nbsp;Each atom of that stone, each mineral flake of that night filled mountain, in itself forms a world. &nbsp;The struggle itself toward the heights is enough to fill a man's heart. &nbsp;One must imagine Sisyphus happy."</em></p> <p style="text-align: justify;">Corinne Thiessen is a multidisciplinary artist born in Winnipeg, Manitoba.&nbsp; She holds an MFA from the University of Lethbridge. She&nbsp;is curious about human social activity, especially pertaining to deviance, social norms, self-regulation and social control.&nbsp;Through kinetic objects, drawing, video and performance, her work explores physical and ideological impediments, repression and &ldquo;acting out.&rdquo; &nbsp;Thiessen has presented in group exhibitions and collaborative performances at home and abroad such as&nbsp;<em>Ortstermin</em>,&nbsp;Berlin. Her recent site-specific installation,&nbsp;<em>Chronic</em>&nbsp;was on view at the Esker Foundation in spring 2015.&nbsp; Her collaborative drawing performance and installation<em> Liar, Liar!</em> with Amy Modahl has been&nbsp;exhibited at the Petit Trianon, Stride Gallery and upcoming at Soo Visual Arts Centre in Minneapolis. She has participated in artist residencies at Zentrum f&uuml;r Kunst und Urbanistik in Berlin, and&nbsp;<em>ReMaking,</em> and<em>&nbsp;Mutopia 7&nbsp;</em>at the Banff Centre.&nbsp; She has published in&nbsp;<em>Reconstruction: Studies in Contemporary Culture</em>&nbsp;as well as&nbsp;<em>(Re)Activating Objects: Social Theory and Material Culture</em>&nbsp;at the University of Western Ontario. Thiessen has taught at the post-secondary level in the Media department at Lethbridge College and in the Faculty of Fine Arts at the University of Lethbridge. &nbsp;</p> <p style="text-align: justify;"><em>Factory Logic</em> is organized by the Southern Alberta Art Gallery and curated by Christina Cuthbertson.&nbsp; Funding assistance from the Alberta Foundation for the Arts, and the City of Lethbridge. We acknowledge the support of the Canada Council for the Arts, which last year invested $153 million to bring the arts to Canadians throughout the country. Nous remercions le Conseil des arts du Canada de son soutien. L&rsquo;an dernier, le Conseil&nbsp; a investi 153 millions de dollars pour mettre de l&rsquo;art dans la vie des Canadiennes et des Canadiens de tout le pays.</p> Sat, 28 Nov 2015 17:10:56 +0000 Sarah Anne Johnson - Southern Alberta Art Gallery - December 5th - January 31st, 2016 <p style="text-align: justify;"><strong>Opening Reception: Saturday, December 5 at 8 PM<br /> </strong><strong>
</strong><strong>Reception Sponsored by Three Legged Dog: Graphic Design</strong></p> <p style="text-align: justify;">Sarah Anne Johnson's latest exhibition is a continuation of themes she explored in <em>House on Fire</em> (2009) and <em>Dancing With The Doctor</em> (2010). &nbsp;These works reflect on trauma sustained as a result of CIA experiments on mind control undertaken from 1950 to 1973. &nbsp;Under the banner of MKUltra, US and Canadian citizens were administered paralytic and psychedelic drugs, subjected to electroconvulsive therapy, isolation, sensory deprivation, drug-induced coma, and verbal and sexual abuse by researchers and psychologists studying the alteration of mental states and brain function. &nbsp;In the 1950s Johnson's maternal grandmother, Velma Orlikow, sought help for postpartum depression and became an unwilling and unwitting participant in the experiments.&nbsp;</p> <p style="text-align: justify;"><em>Dancing with the Doctor</em> embodied the experiences of MKUltra through dance - blurring the lines between Orlikow's hospital experiences of hallucinations, pain, and sensory deprivation with the flashbacks and embodied trauma that ensued after she was released. &nbsp;<em>House on Fire</em> explored these concepts further through sculpture, photography and a macabre dollhouse in which each room represented another horrifying component of the experiments. &nbsp;At SAAG, Johnson's latest exploration of her family history combines elements of both projects and recreates, in human scale, each of the rooms from the burning dollhouse. &nbsp;Presenting Hospital Hallway - a sterile, clinical space with no doors and no escape - Johnson sets the stage in the first of a series of projects that will take years to complete. &nbsp;A series of videos lines the walls, each featuring the artist as she plays the patient, her grandmother, caught in a claustrophobic and nightmarish purgatory. She moves within and against the walls, both resistant and dependent, her movements gradually communicating the loss of control, loss of self, and total loss of body and mind.&nbsp;</p> <p style="text-align: justify;">While this exhibition is an exploration of family trauma and the reimagined horrors of the experiments of MKUltra, it can also serve as a more general exploration of the stigma surrounding mental illness. &nbsp;As the character grapples with control, struggling to maintain a sense of self, the contortions of her body mirror the visceral pain one feels when dealing with anxiety, depression, and myriad other mental illnesses. &nbsp;As Johnson delves into this personal history, she provides a glimpse into both the traumas of the past and the realities of the present.&nbsp;</p> <p style="text-align: justify;">Winnipeg-based Sarah Anne Johnson received her BFA from the University of Manitoba in 2002 and went on to complete her MFA in Photography at the Yale School of Art in 2004. &nbsp;Her first exhibition <em>Tree Planting</em> (2005) was purchased by the Guggenheim Museum. &nbsp;The National Gallery of Canada (NGC) bought most of <em>The Galapagos Project</em> (2007). &nbsp;Johnson was chosen along with other reputable Canadian artists by curator Jonathan Shaughnessy to be shown in <em>Builders</em> (2012), a featured exhibition for the biennale at NGC. &nbsp;Johnson is a finalist for the Sobey Art Award and was nominated on the shortlist in 2011 and longlist in 2009. &nbsp;She is represented by Stephen Bulger Gallery in Toronto and Julie Saul Gallery in New York.</p> <p style="text-align: justify;">This exhibition is organized by the Southern Alberta Art Gallery. &nbsp;Funding assistance from the Alberta Foundation for the Arts, and the City of Lethbridge. We acknowledge the support of the Canada Council for the Arts, which last year invested $153 million to bring the arts to Canadians throughout the country. Nous remercions le Conseil des arts du Canada de son soutien. L&rsquo;an dernier, le Conseil&nbsp; a investi 153 millions de dollars pour mettre de l&rsquo;art dans la vie des Canadiennes et des Canadiens de tout le pays.</p> Sat, 28 Nov 2015 17:09:50 +0000 Ana Elisa Egreja, bruno dunley, Mirian Alfonso, Pedro Caetano, Ricardo Alcaide, Tiago Tebet, Tony Camargo - SIM Galeria - November 11th - December 23rd <p style="text-align: justify;">The history of image<br /><br /><br />&ldquo;Without culture and the relative freedom it implies, society, no matter how perfect it may be, is anything but a jungle. That's why every authentic creation is a gift to the future.&rdquo;<br />Albert Camus<br /><br />The exhibition was planned to show the complete turn that artists everywhere were able to take and now enjoy on the nature of creation in painting. Saying that, at the return of the painting in the 80s, after its supposed death in the 70s, all modern aspects were eliminated in their certainties and their "isms" is no longer enough to understand the complexity of changes, as well as the expansion of possibility of reaching new senses, which is possible to verify in this field today.<br /><br />Creating is extracting from nothing, something that did not exist before. It concerns the creation itself. Being it the result of a kind of inherent power or the result of a special power, given by the subject named artist. In each case, it may involve both dream and nightmare, desire, daydream, remembrance, sublimation, redemption, purification, return or even salvation, depending on the mental or emotional history generator of the need to create. Anyway, no matter the reason, it will always be the artist&rsquo;s task to perform a synthesis, concentrate content and transform it, changing thus the common notions beyond the standardized values.<br /><br />There is an intention. Something to do, which implies selection and decision leading choices and dropouts. The creation comprises a series of linked steps, thus the initial desire has to be informed, and the artist will trace a way, so to design a mental plan to achieve his purpose. At that moment, he can choose a language that he has already mastered or take risks on a new ground to develop a new method or system that is able to access the image or idealized object. In the next step, the unconscious overlaps the rational, and all kinds of poetic associations are evoked as a scramble of letters before arranging them for the game. This preposterous consultation admits multiple possibilities that appear in an anti-hierarchical way and full of subjectivity. So, hopefully, already in an advanced stage of the process, the artist possibly glimpsed solution, and creative thinking will lead to a closed form, completeness, the icon. What happened so far in the mental framework will take shape through action, materializing in scale, color and number.<br /><br />Despite the final image, the characteristics of the object and the technique used to produce it, the creative process that generated it is relevant. The mental journey, the history of the image, which brings the references of the particular universe where it comes from. These processes may arise associated with intuitive methods, loaded with special features linked to personal stories. As affective methods, they may be based on comfort memories, the projection of ideal worlds, touching dramatic pictures such as a theatrical performance, or may be bound to streamlined propositions as, for example, the deliberate creation of a conflict for subsequent resolution. References often come from parallel areas, migrate from architecture, with its geometric elements of perspective views. Influences can also come from fashion and styles, such as the old "modern" and what is now modern "again", now realized in speed, movement, technological means.<br /><br />What can be seen here as a major change in the way of creating images in painting is precisely the importance that the process of making them gained. There is a relevance on the issue of the artist's attitude and in the process of formative thought, which magnetizes the picture and complete the idea. The attitude that is evident is choosing a specific object and trying to find a legitimizing solution that does not obey any rules other than the one created by the artist himself. Purely formal or technical aspects, to any standard or facility for use of ink, fabrics and materials, are all discarded. Although one can make use of traditional techniques such as oil on canvas, such use shall be conditional upon the intrinsic need of the image.<br /><br />There is a clear increase of freedom, which, on one hand, just makes the task more challenging. On the other hand, we can see now a clear approach to the creative process in painting with that of any other language, for example, performance, sculpture, video, installation. Thus, we could classify the time as the "the empire of attitude" where cohabit the sincere artist, the arte povera, the architect, the designer, the philosopher, the technological man and even a mad man; all connected by research in painting. They choose the two-dimensional image as their artistic development field, guide time and pace, insist and give up, and that is what matters. What is the story, the reference, what will be shown, what will be hidden; anyway, what is evident today is the particular bundle of choices, the uniqueness of the images as a register, as a testimony.<br /><br />Once released from the walls of the studio, the final step begins, which is the communication. The paintings go out into the world, where they will be related, possibly contextualized, finding a higher or lower degree of adhesion, becoming thus part of the people&rsquo;s imagination and part of the singular universe of invented things.<br /><br />Leda Catunda, S&atilde;o Paulo, 2015</p> <hr /> <p style="text-align: justify;">A hist&oacute;ria da imagem<br /><br />&ldquo;Sem a cultura, e a liberdade relativa que ela pressup&otilde;e, a sociedade, por mais perfeita que seja, n&atilde;o passa de uma selva. &Eacute; por isso que toda a cria&ccedil;&atilde;o aut&ecirc;ntica &eacute; um dom para o futuro.&rdquo;<br />- Albert Camus<br /><br /><br />A exposi&ccedil;&atilde;o foi pensada para evidenciar a completa guinada que artistas de todas as partes puderam dar, e agora desfrutar, sobre a natureza da cria&ccedil;&atilde;o em pintura. Dizer que, no retorno da pintura nos anos 80, depois de sua suposta morte nos anos 70, todas as vertentes modernas foram pulverizadas em suas certezas e seus &ldquo;ismos&rdquo; j&aacute; n&atilde;o &eacute; suficiente para compreender a complexidade das modifica&ccedil;&otilde;es, bem como a amplia&ccedil;&atilde;o da possibilidade de alcance de novos sentidos, que vem sendo poss&iacute;vel verificar nesse campo hoje.&nbsp;<br /><br />Criar &eacute; extrair do nada, algo que n&atilde;o existia antes. Interessa a cria&ccedil;&atilde;o em si. Seja ela resultado de um poder inerente da esp&eacute;cie, ou ainda, resultado de um poder especial, autoatribu&iacute;do pelo sujeito denominado artista. Em cada caso, poder&aacute; envolver tanto sonho como pesadelo, desejo, devaneio, lembran&ccedil;a, sublima&ccedil;&atilde;o, reden&ccedil;&atilde;o, purifica&ccedil;&atilde;o, resgate ou mesmo salva&ccedil;&atilde;o, dependendo do hist&oacute;rico ps&iacute;quico ou emocional gerador da necessidade de criar. De toda forma, n&atilde;o importa o motivo, sempre caber&aacute; ao artista a tarefa de realizar s&iacute;ntese, concentrar conte&uacute;do e transformar, alterando, assim, as no&ccedil;&otilde;es comuns para al&eacute;m dos valores padronizados.<br /><br />H&aacute; inten&ccedil;&atilde;o. Algo a fazer, que implica sele&ccedil;&atilde;o e decis&atilde;o conduzindo escolhas e desist&ecirc;ncias. A cria&ccedil;&atilde;o compreende uma s&eacute;rie de etapas encadeadas, desse modo, o desejo inicial dever&aacute; ser informado e o artista rastrear&aacute; um modo, como quem arquiteta um plano mental para realizar seu intento. Nesse momento, poder&aacute; optar por uma linguagem que j&aacute; domina ou se arriscar num terreno novo a fim de desenvolver m&eacute;todo ou sistema in&eacute;dito que garanta poder alcan&ccedil;ar a imagem ou o objeto idealizado. No passo seguinte, o inconsciente se sobrep&otilde;e ao racional, e toda sorte de associa&ccedil;&otilde;es po&eacute;ticas &eacute; evocada, como num embaralhar de cartas antes de organiz&aacute;-las para o jogo. Essa consulta despropositada admite possibilidades m&uacute;ltiplas, que surgem de forma anti-hier&aacute;rquica e repletas de subjetividade. Ent&atilde;o, com sorte, j&aacute; num est&aacute;gio avan&ccedil;ado do processo, o artista eventualmente vislumbrar&aacute; solu&ccedil;&atilde;o, e o pensamento criativo o conduzir&aacute; a uma forma fechada, &agrave; completude, ao &iacute;cone. O que acontecia at&eacute; ent&atilde;o no &acirc;mbito mental tomar&aacute; forma atrav&eacute;s da a&ccedil;&atilde;o, materializando-se em escala, cor e n&uacute;mero.<br /><br />A despeito da imagem final, das caracter&iacute;sticas do objeto e da t&eacute;cnica empregada para produzi-lo, interessa o processo criativo que o gerou. O percurso mental, a hist&oacute;ria da imagem, que traz as refer&ecirc;ncias do universo particular de onde prov&eacute;m. Esses processos podem surgir associados a m&eacute;todos intuitivos, carregados de particularidades ligadas a hist&oacute;rias pessoais. Afetivos, podem se basear em mem&oacute;rias de conforto, na proje&ccedil;&atilde;o de mundos ideais, com imagens dramatizadas, como numa encena&ccedil;&atilde;o teatral, ou podem estar ligados a proposi&ccedil;&otilde;es racionalizadas como, por exemplo, a da cria&ccedil;&atilde;o deliberada de um conflito para sua posterior resolu&ccedil;&atilde;o. Refer&ecirc;ncias, muitas vezes, adv&ecirc;m de &aacute;reas paralelas, migram da arquitetura, com seus elementos geom&eacute;tricos, das vistas em perspectiva. Influ&ecirc;ncias podem vir tamb&eacute;m da moda e de estilos, como o antigo &ldquo;moderno&rdquo; e daquilo que hoje &eacute; moderno &ldquo;de novo&rdquo;, agora percebido na velocidade, no movimento, no tecnol&oacute;gico.<br /><br />O que se observa aqui, como principal mudan&ccedil;a na forma de criar imagens em pintura, &eacute; justamente a import&acirc;ncia que o processo de faz&ecirc;-las passou a ter. H&aacute; um refor&ccedil;o na quest&atilde;o da atitude do artista e no rastro do pensamento formativo, que imanta a imagem e completa a ideia. A atitude que se evidencia &eacute; a de escolher um recorte espec&iacute;fico e de se envolver em busca de uma solu&ccedil;&atilde;o legitimadora, que n&atilde;o obedece nenhuma regra que n&atilde;o seja aquela criada pelo pr&oacute;prio artista. Aspectos puramente formais ou t&eacute;cnicos, no sentido de qualquer academia ou norma para o uso de tintas, telas e materiais, est&atilde;o totalmente descartados. Ainda que se possa lan&ccedil;ar m&atilde;o de t&eacute;cnicas tradicionais, como &oacute;leo sobre tela, esse uso estar&aacute; condicionado a uma necessidade intr&iacute;nseca da imagem.&nbsp;<br /><br />Verifica-se um evidente ganho de liberdade que, por um lado, s&oacute; torna a tarefa mais desafiadora. Por outro lado, percebe-se agora uma aproxima&ccedil;&atilde;o clara do processo de cria&ccedil;&atilde;o em pintura com o de qualquer outra linguagem, como, por exemplo, performance, escultura, v&iacute;deo, instala&ccedil;&atilde;o. Poder&iacute;amos, assim, classificar o momento como sendo o do &ldquo;imp&eacute;rio da atitude&rdquo; onde coabitam o artista sincero, o arte-p&oacute;vera, o arquiteto, o designer, o fil&oacute;sofo, o tecnol&oacute;gico e mesmo o louco; todos conectados pela investiga&ccedil;&atilde;o em pintura. Fazem da imagem bidimensional seu campo de desenvolvimento art&iacute;stico, pautam tempo e ritmo, insistem e desistem, e esse &eacute; o assunto. Qual &eacute; a hist&oacute;ria, a refer&ecirc;ncia, o que vai se mostrar, o que vai ser ocultado; de todas as maneiras, o que se evidencia hoje &eacute; o feixe particular de escolhas, a unicidade das imagens enquanto registro, enquanto testemunho.<br /><br />Uma vez soltas das paredes do ateli&ecirc;, inicia-se a etapa final, que &eacute; a da comunica&ccedil;&atilde;o. As pinturas saem para o mundo, onde ser&atilde;o relacionadas, possivelmente contextualizadas, encontrando maior ou menor grau de ader&ecirc;ncia. Passando, desse modo, a pertencer ao imagin&aacute;rio das pessoas e a fazer parte do singular universo das coisas inventadas.<br /><br /><br /><br />Leda Catunda, S&atilde;o Paulo, 2015</p> Sat, 28 Nov 2015 17:02:38 +0000 Jaakko Pietiläinen - Sinne - December 3rd - December 20th <p style="text-align: justify;">The exhibition by Jaakko Pietil&auml;inen consist of the video piece "Sibelius" which he has written, directed and edited. He has also composed the music and plays the split main character: as himself and as a reborn Jean Sibelius. By declaring himself a genius the main character becomes a classic male artist. On his journey through his private dreamlike creative ecstasy he loses touch with reality. He sinks deeper into his tragical hubris while his friends and relatives stand helpless.<br /> <br /> Pietil&auml;inen deconstructs the romantic nationalist art hero. Behind the easy going narrative and the picturesque and scenic imagery there is lurking darker nuances: By entering the role as Sibelius, Pietil&auml;inen is confronted with his own self - and with the nationalism - and its pitiful core. After the question "Who am I?" or "Who are we?" comes silence.<br /> <br /> The hero in the piece is an unsettled male artist fluctuating between self-loving and self-loathing. In the end he is always focused on himself. He believes that he is channeling celestial harmonies, but instead he leaves behind a trail of sorrow and misery. The relation to the character is understanding and intimate which blurs the border to fiction.. <br /> <br /> Jaakko Pietil&auml;inen is an artist and scenographer with a background in graphic design. His is interested in the borderland between fine art and performing arts. Pietil&auml;inen has worked as a set-, light- and costume designer with among other directors such as Katariina Numminen, Anna-Mari Karvonen and Akse Petterson and with the choreographer Jeremy Wade. He has also designed the visual profile for Sinne and Pro Artibus. With his solo show "Sibelius" Pietil&auml;inen is debuting as a visual artist. <br /> <br /> The exhibtion is supported by AVEK, TAIKE and Suomen n&auml;ytelm&auml;kerho ry.<br /> <br /> TRAILER<br /> <a href=";h=VAQEZX4h_&amp;enc=AZNzEEbpe9_FhkgO9YTO2S4YMPD1EA-bpXv7TVQUS63RGYpdX6BC_DVXbQTjGUyhglE&amp;s=1" rel="nofollow nofollow" target="_blank"></a><br /> <br /> Story, director, editor and music: Jaakko Pietil&auml;inen<br /> Cinematographer: Jonatan Sundstr&ouml;m<br /> Sounds: Jorma Kaulanen<br /> Animations: Eero Pitk&auml;nen<br /> VFX consultant: Leo Liesvirta<br /> Aerial cinematographer: Aarne Tapola<br /> Scenography construction and assistance: Elina Vainio<br /> Translation proofing: Henna Vainio<br /> Cast: Jaakko Pietil&auml;inen, Akse Pettersson, Joonas Heikkinen, Noora Dadu, Antti Mattila, Samuli Niittym&auml;ki, Unski and Ypi.<br /> Musicians: Ville Koponen, Erkki Lasonpalo, Carmen Moggach-Laivaara and Tomas Nu&ntilde;ez-Garc&eacute;s</p> <hr /> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Jaakko Pietil&auml;inens ust&auml;llning best&aring;r av videoverket "Sibelius" som han regisserat, klippt och skrivit manus till. Han har &auml;ven komponerat musiken samt spelat verkets delade huvudroll: som sig sj&auml;lv och som en p&aring; nytt f&ouml;dd Jean Sibelius. Huvudkarakt&auml;ren f&ouml;rklarar sig sj&auml;lv till ett geni och blir s&aring;ledes en klassisk manlig konstn&auml;r som p&aring; v&auml;gen genom sin dr&ouml;mlika kreativa extas tappar kontakten med verkligheten. Samtidigt som han sjunker allt djupare in i sin tragiska hybris st&aring;r hans n&auml;rmaste omgivning handfallen. <br /> <br /> Pietil&auml;nen dekonstruerar den nationalromantiska konstn&auml;rshj&auml;lten. Under ytan av verkets l&auml;ttsinniga ber&auml;ttande och m&aring;leriska och natursk&ouml;na bilder finns m&ouml;rkare toner: Genom att stiga in i rollen som Sibelius m&ouml;ter Pietil&auml;inen sitt eget jag - och samtidigt nationalismen - och dess ynkliga k&auml;rna. Efter fr&aring;gan "Vem &auml;r jag?" eller "Vem &auml;r vi?" ekar tystnaden.<br /> <br /> Verkets hj&auml;lte &auml;r labil. En manlig konstn&auml;r som pendlar mellan sj&auml;lv&auml;lskande och sj&auml;lvf&ouml;rakt. I slut&auml;ndan &auml;r han &auml;nd&aring; alltid fokuserad p&aring; sig sj&auml;lv. Han tror sig kanalisera sf&auml;rernas harmonier, men ist&auml;llet sprider han sorg och el&auml;nde runt omkring sig. F&ouml;rh&aring;llandet till hj&auml;lten &auml;r f&ouml;rst&aring;ende och n&auml;ra och gr&auml;nsen till fiktion suddas ut.<br /> <br /> Jaakko Pietil&auml;inen &auml;r konstn&auml;r och scenograf med bakgrund i grafisk formgivning. Hans intresse ligger i det som r&ouml;r sig i gr&auml;nslandet mellan bild och scenkonst. Pietil&auml;inen har arbetat som scenograf, ljus- och kostymdesigner med regiss&ouml;rerna Katariina Numminen, Anna-Mari Karvonen och Akse Petterson och med koreografen Jeremy Wade. Han har ocks&aring; designat Sinnes och Pro Artibus grafiska utrryck. Med soloutst&auml;llningen "Sibelius" debuterar Pietil&auml;inen som bildkonstn&auml;r.<br /> <br /> Utst&auml;llningen har gjorts med st&ouml;d fr&aring;n AVEK, TAIKE och Suomen n&auml;ytelm&auml;kerho ry.<br /> <br /> TRAILER<br /> <a href="" rel="nofollow nofollow" target="_blank"></a><br /> <br /> Manus, regi, klipp och musik: Jaakko Pietil&auml;inen<br /> Foto: Jonatan Sundstr&ouml;m<br /> Ljud: Jorma Kaulanen<br /> Animation: Eero Pitk&auml;nen<br /> VFX konsult: Leo Liesvirta<br /> Flygfoto: Aarne Tapola<br /> Scenografibygge och assistans: Elina Vainio<br /> &Ouml;vers&auml;ttningshj&auml;lp: Henna Vainio<br /> I rollerna: Jaakko Pietil&auml;inen, Akse Pettersson, Joonas Heikkinen, Noora Dadu, Antti Mattila, Samuli Niittym&auml;ki, Unski och Ypi<br /> Musiker: Ville Koponen, Erkki Lasonpalo, Carmen Moggach-Laivaara och Tomas Nu&ntilde;ez-Garc&eacute;s</p> Sat, 28 Nov 2015 16:52:59 +0000 Jenna Sutela, Lars TCF Holdhus - Sinne - November 5th - November 29th <p style="text-align: justify;">"To survive at any expense to the host invaded. To be an animal, to be a body. To be an animal body that the virus can invade. To be animals, to be bodies. To be more animal bodies, so that the virus can move from one body to another. To stay present as an animal body, to stay absent as antibody or resistance to the body invasion."<br /> <br /> The idea of language as a virus, altering our material and worldly conditions, is one of the starting points for әṾӨȻ&Delta; Sat, 28 Nov 2015 16:54:29 +0000 Geloy Concepcion - Silverlens Manila - November 26th - December 19th <p style="text-align: justify;">Silverlens is pleased to present&nbsp;<em>Second Degree of Portrayal,&nbsp;</em>Geloy Concepcion&rsquo;s first solo exhibition.</p> <p style="text-align: justify;">The allure of the necessary self has always had a strong hold in Concepcion, beginning, according to him, in childhood when a clown showed up in his own birthday party, and the boy was less enthralled by the hired performer's sleight of hand than in taking a peek behind the backdrop post-festivity to glimpse at the man now stripped of the white painted face and cheap satin garb. Fast forward to present and the 23-year old photographer and street artist mines this still ongoing dutiful curiosity to masked personages in&nbsp;<em>Second Degree of Portrayal</em>.&nbsp;</p> <p style="text-align: justify;">Through eight color portraits, he captures professional performers and modern day fantasists, in varying stages of dress and undress, their faces mostly fully painted on, leaving only the outlines of their heretofore original identities open to recognition. Each sitting was done in a small makeshift studio in the artist's home in Pandacan, Manila; the collection of works taking 24 weeks to complete.</p> <p style="text-align: justify;">Clowns and cosplayers, street mimes and screen villains, forgotten drag queens &nbsp;and men in uniform, this is Concepcion's signature cast of characters. People he has encountered while roaming the city as a street artist and documentary photographer. Whose stories he has listened to, and whose issues he carries. At the same time, Concepcion has always nurtured a devout fascination for the roles people play&mdash;whether by choice or forced by duty&mdash;the masks we put on before we put ourselves out in the world. It is there in his portraits, published earlier this year in Esquire, of cinema's largely forgotten villains whose tough facades break into their more tender, human incarnations when confronted by his camera. It is there in&nbsp;<em>Reyna delas Flores</em>, his homage to the men of Pasay's Home for The Golden Gays, each of them captured in their&nbsp;<em>Santacruzan</em>&nbsp;best but betraying the punishing decay of decades, resulting in pictures that are sad and celebratory, nostalgic but done in the spare, straightforward language of contemporary photography. In these and in his new photographs for<em>Second Degree of Portrayal</em>, Concepcion is less engaged with what is on display and ready for the taking, and more in revealing the authentic self; the person seeking the less-than-perfunctory attention, the human spirit behind the layers of rented costumes and disposable cosmetics, the soul lurking beneath second skin.</p> <p style="text-align: justify;"><em>Second Degree of Portrayal</em>&nbsp;will be on view from 26 November to 19 December 2015 at Silverlens, 2/F YMC Bldg. 2, 2320 Don Chino Roces Ave. Extension, Makati City. For inquiries, contact or (02) 816 0044.</p> <p style="text-align: justify;">-Jerome Gomez</p> Sat, 28 Nov 2015 18:00:27 +0000 Nadim Abbas, Kwan Sheung-chi, Kong Chun Hei, Angela Su, Sarah Lai, Luke Ching, Gary-Ross Pastrana, Cocoy Lumbao - Silverlens Manila - November 26th - December 19th <p class="p1" style="text-align: justify;">Silverlens presents <em>I submit to the wisdom of the body</em>, a group exhibition featuring six contemporary artists from Hong Kong, namely, Nadim ABBAS, KWAN Sheung Chi, KONG Chun Hei, Angela SU, Sarah LAI, and Luke CHING. They will be joined by Filipino artists Gary-Ross PASTRANA and Cocoy LUMBAO, who are part of the show&rsquo;s organizing and curatorial team, in establishing the proposition of how the practice of making art is akin to submitting/surrendering oneself to the forces of a collective entity&mdash;whether they may be the conditions of society or of a given space, a prevalent culture, the effects of media, or even the state of the curated project itself&mdash;emphasizing the idea that the compliances we knowingly or unknowingly partake in, play an important role in the formation of each work.&nbsp;</p> <p class="p1" style="text-align: justify;">Represented by Hong Kong&rsquo;s Gallery EXIT, the 6 artists exemplify the region&rsquo;s progressive stance in finding new ways to address notions about art. Young and dynamic, this group of artists have chosen exceptional strategies in re-defining creative expression, either through subject or their chosen medium, which ranges from oil paint to video; from metalwork to robotics. We are introduced to Nadim ABBAS&rsquo;s and KWAN Sheung Chi&rsquo;s conceptual works, to KONG Chun Hei&rsquo;s series of drawings mounted on steel and metal plates, Angela SU&rsquo;s slideshow video, Sara LAI&rsquo;s oil paintings, and Luke CHING&rsquo;s mixed media installations. The show is then concluded with submitted works by Gary-Ross PASTRANA and Cocoy LUMBAO, as curator and writer, respectively, as they engage with the show&rsquo;s concept of inclusivity.&nbsp;</p> <p class="p1" style="text-align: justify;">The show&rsquo;s polemic on what shapes artworks is also a reflection on Silverlens&rsquo; continuing efforts to transcend borders across Asia&rsquo;s art communities. After a successful show in Hong Kong&rsquo;s Gallery EXIT that featured Filipino artists, Silverlens attempts to stage through this exhibition a kind of counterpoint which addresses any commonality between two localities, and submits to the idea and the possibility of breaking cultural barriers.&nbsp;</p> <p class="p2" style="text-align: justify;"><em>I submit to the wisdom of the body</em> will be on view from 26 November to 19 December 2015 at Silverlens, 2/F YMC Bldg. 2, 2320 Don Chino Roces Ave. Extension, Makati City. For inquiries, contact or (02) 816 0044.</p> <p class="p3" style="text-align: justify;">&nbsp;</p> <p class="p3" style="text-align: justify;">-Cocoy Lumbao</p> Sat, 28 Nov 2015 16:44:42 +0000 Jigger Cruz, Pow Martinez - Silverlens Manila - November 26th - December 19th Sat, 28 Nov 2015 16:40:51 +0000 Birdhead, Chen Xiaoyun, Liang Shaoji, Shao Yi, Wang Youshen, Xu Zhen (MadeIn Company), Zhu Jia - ShanghART Singapore - November 21st - January 10th, 2016 <p style="text-align: justify;">This exhibition unveils installations, sculptures, photographs, paintings, porcelain and a video work which have traveled from prestigious art fairs like Art Basel in Miami Beach and FIAC (Foire Internationale d'Art Contemporain) in Paris. <br />These 7 artists showcase works of existence in thoughts, perhaps representing one's inherent need to seek an analogy with the unknown.&nbsp;&nbsp;</p> <p style="text-align: justify;">Artist Introduction<br />BIRDHEAD (est. 2004), works and lives in Shanghai. BIRDHEAD is an artist collective - Song Tao (b.1979) and Ji Weiyu (b.1980) whose oeuvre consists of photographic images of everyday life in their native city of Shanghai. The snap-shot aesthetic of their extensive and accumulative photo-series (black and white as well as color) delivers a subjective and organic take on today's urban reality. Recent exhibitions include: New Photography 2012, MoMA, NewYork, U.S.A.(2012); Reactivation - 9th Shanghai Biennale, Power Station of Art, Shanghai(2012); The 54th Venice Biennale - ILLUMInations, Venice, Italy (2011); China Power Station - part 4, Pinacoteca Agnelli, Torino, Italy (2010); The World of Other's: A Contemporary Art Exhibition, Museum of Contemporary Art, Shanghai (2008); China Power Station II, Astrup Fearnley Museum of Modern Art, Oslo, Norway (2007). And their solo exhibitions include: Welcome to Birdhead World Again-Beijing 2012, ShanghART Beijing, Beijing(2012); Birdhead: New Village, EX3 Centro per l'arte Contemporanea Firenze, Florence, Italy (2011); Artist File 2011 The NACT Annual Show of Contemporary Art, National Art Center, Tokyo, Japan (2011).<br /><br />CHEN XIAOYUN (b.1971) works and lives in Beijing. Since his participation in the group exhibition 'Art for Sale' held in Shanghai in 1999, he started his contemporary art creation and practice in video art, and has become one of the most important experimental artists in the most recent decade. His recent solo exhibitions include: Hysteria, Metaphorical and Metonymical Life-World, A4 Contemporary Arts Center, Chengdu (2013); Darker than Darkness, Death beyond Death, Fire Burning Fire, Walking Down along the Stairway. , ShanghART Beijing (2013); "Zhuiku Tablet" Annotation-CHEN Xiaoyun Solo Exhibition, ShanghART Beijing (2012); Why Life, ShanghART Beijing (2011). Chen Xiaoyun has participated in various international art exhibition and festivals, including Moving On Asia, Towards a New Art Network 2004-2013, City Gallery Wellington, New Zealand (2013); Perspectives 180 - Unfinished Country, New Video from China, The Contemporary Art Museum in Houston, U.S.A. (2012); Moving Image In China: 1988-2011, Minsheng Art Museum,Shanghai (2011).<br /><br />LIANG SHAOJI (b. 1945) , working and living in Tiantai Mountain, Zhejiang Province. LIANG Shaoji is well known for working with animals and nature in his art. A silkworm symbolizes generosity; its thread stands for human life and history. LIANG often makes use of this symbolism to soften or ease the violence, cruelty or sadness represented by the objects he uses. He has exhibited widely in international Biennales and Trienniales, such as Venice (1999), Istanbul (1999), Lyon (2000) and Shanghai Biennales (2000 and 2006) etc. Recent exhibitions include: Questioning Heaven, Liang Shaoji Solo Exhibition, Gao Magee Art Gallery, Madrid, Spain (2012);Liang Shaoji Solo Exhibition, Prince Claus Fund, Amsterdam, the Netherlands (2009); An Infinitely Fine Line-Liang Shaoji Solo Exhibition, Zendai MOMA, Shanghai (2009); CLOUD, ShanghART H-Space, Shanghai (2007); Art of Change, Hayward Gallery, London, U.K. (2012); etc. The prizes he was presented include Chinese Contemporary Art Awards (CCAA) in 2002 and Prince Claus Awards in 2009.<br /><br />SHAO YI (b.1967), lives and works in Hang Zhou and Shanghai. His meticulously made objects operate on the threshold between sculpture, installation art, and craft. In many of the new (2010/2011) works, the unexpected combination of stylistically distinct objects and material suggest various kinds of personal and mythical relationships. Combined together, these objects and paintings comprise subtle geometries and undistorted perspectives. Recent exhibitions include Time of the Dragon - Contemporary Art from Shanghai, Rauma Art Museum, Finland (2012);&nbsp;&nbsp;Pulse Reaction, An Exchange Project on Art Practice, Times Museum, Guangdong (2012); Elementary Spectacle, ShanghART Gallery, Shanghai (2010), Contemporary Art Exhibition in Songjiang, Songjiang Creative Studio, Shanghai (2009); Light Fogging - Shao Yi Solo Exhibition, BizArt, Shanghai (2008).<br /><br />WANG YOUSHEN (b. 1964), resides and works in Beijing. His art is characterized by a focus on the influence mass media exerts on our thoughts, emotions, and actions. Recent exhibitions include WANG-YOUSHEN, Double Solo Exhibition, U.S.A. (2013); The Seventh Shenzhen Sculpture Biennale, Accidental Message: Art is Not a System, Not a World, OCAT, Shenzhen (2012); Reshaping History: Chinart from 200-2009, The Theme, China National Convention Center, Beijing(2010); Lianzhou International Photo Festival, Lianzhou, Guangdong(2009); Wang Youshen, Washing, Kwai Fung Hin Art Gallery, Hong Kong (2007); the 27th Bienal de Sao Paulo, Brazil (2006); Zooming into Focus, National Art Museum of China (Beijing, 2005); Between Past and Future: New Photography and Video from China, (U.S.A., U.K. and Germany, 2004-2005); 5th Shanghai Biennale: Techniques of the Visible, Shanghai Art Museum (2004); Washing &ndash; New Works by Wang Youshen, ShanghART Gallery, Shanghai (2004) and 45th Venice Biennale, Italy(1993).<br /><br />XU ZHEN / MADEIN (est. 2009), MadeIn Company was established in 2009 in Shanghai by artist XU Zhen. It is a contemporary art creation company focusing on the production of creativity, and devoted to the research of contemporary culture's infinite possibilities. In 2013, the launch of &lsquo;XU Zhen&rsquo; was announced, a brand produced by MadeIn Company ("Xu Zhen - Produced by MadeIn Company"). MadeIn Company's exhibitions include: La Biennale de Lyon (2013); "China China", A Group Show of Chinese Artists, Pinchuk ArtCentre, Kiev, Ukraine (2013); MadeIn Company, Minsheng Art Museum, Shanghai (2012); Distance Produces Beauty, A Display Co-curated and Created by GUEST, TOF and MadeIn Company, ShanghART, Beijing (2012); Physique of Consciousness, Kunsthalle Bern, Switzerland (2011), Long March Space, Beijing (2011); Action of Consciousness, ShanghArt Gallery, Shanghai, China (2011); Seeing One's Own Eyes&ndash;Middle East Contemporary Art Exhibition, ShanghART Gallery &amp; H-Space, Shanghai (2009), S.M.A.K., Gent, Belgium (2009) and IKON Gallery, Birmingham, UK (2010); MadeIn company also participated in the 8th Shanghai Biennale and the 7th Busan Biennale, Korea (both 2010), and group exhibitions at UCCA, Beijing (2009) and Rijskakademie, Amsterdam (2011), among others. Curatorial projects include the solo show Standing on the Shoulders of Little Clowns&mdash;&mdash;An Exhibition by "GUEST", UCCA, Beijing(2012); group show Bourgeoisified Proletariat, Shanghai Songjiang Creative Studio (2009), besides exhibitions at MadeIn Space (2010) and TOP Contemporary Art Center (2011).<br /><br />ZHU JIA (b. 1963) , works and lives in Beijing. As a pioneer of the practice of video art in China, Zhu Jia always tries to capture ordinary scenes through distinctive methods of practice. Selected exhibitions include: Mobile M+: Moving Images, Hong Kong (2015); Landseasky, Revisiting Spatiality in video art, OCT Contemporary Art Terminal, Shanghai (2014); Out of the Box, The Threshold of Video Art in China (1984-1998), Guangdong Times Museum, Guangzhou(2011); Trans Local Motion&mdash;7th Shanghai Biennale, Shanghai Art Musuem, Shanghai (2008); 10th International Istanbul Biennial-Not only Possible, But also Necessary-Optimism in the Age of Global War, Istanbul, Turkey (2007); Zooming into Focus (NAMOC)-Contemporary Chinese Photography and Video from the Haudenschild Collection, National Art Museum Of China, Beijing (2005); 50th International Art Exhibition Venice Biennale-Dreams and Conflicts. The Dictatorship of the Viewer, Venice, Italy (2003); Tempo, the Works Show of Contemporary Art in 20th, The Museum of Modern Art (MOMA), New York, U.S.A. (2002); Living in Time-29 Contemporary Artists from China, National galerie im Hamburger Bahnhof Museum fuer Gegenwartskunst, Berlin, Germany (2001); Every Day-11th Biennale of Sydney, Museum of Contemporary Art etc., Sydney, Australia (1998); Trade Routes: History and Geography, 2nd Johannesburg Biennale, Johannesburg, South Africa (1997).</p> Sat, 28 Nov 2015 11:31:13 +0000 Francesco Arena, Andrea Büttner, John Cage, Giorgio Griffa, Elín Hansdóttir, Jiri Kovanda, Perejaume, Wilfredo Prieto, Ignacio Uriarte - Nogueras Blanchard Madrid - November 14th - January 9th, 2016 <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">The exhibition addresses the concept of alterity associated with The Book of Disquiet(1) that describes, in a diary format, the reflections of Bernardo Soares, one of Fernando Pessoa&rsquo;s heteronyms, on subjects such as the search of his own personality, his interaction with his surroundings and the inconclusive phenomenon that is produced in this encounter. </p> <p style="text-align: justify;">The phenomenological-existential theories about "otherness" in vogue whilst The Book was written, between 1913 and 1935, placed the other&rsquo;s subjectivity as essential to the Self. The subject of the other ego is capital for Husserl&rsquo;s Phenomenology as well as the constitution of the being of the Heideggerian Dasein(2). Likewise, quoting Husserl, &ldquo;the "Other", according to his own constituted sense, points to me myself; the other is a "mirroring" of my own self and yet not a proper mirroring, an analogue of my own self and yet again not an analogue in the usual sense.&rdquo; (3) <br /> <br /> This &ldquo;mirroring&rdquo; becomes evident when one is alone, states of isolation and solitude reveal our evidence to ourselves (a person understood as consciousness and the world understood as an object constructed by that consciousness) and the connection that we have with the entities that surround us. &ldquo;The man in the corner of the dance-hall dances with all the dancers. He sees everything, and because he sees everything, he lives everything.&rdquo; (4) We exist for one another, we are against one another, we can do without one another, we walk past one another, we do not matter to one another. These relations in the exhibition occur between the individual and his internal self (Pessoa and his heteronyms, Griffa and the lines he draws on the paper or the spectator who sees his reflection in the work of Perejaume); between two individuals (the two fictional characters in Kovanda&rsquo;s work and amidst Hansd&ouml;ttir&rsquo;s play of lights and shadows); between individual and collective (John Cage-Erik Satie-Merce Cunningham). <br /> <br /> These two last examples are summarized in the story of a curious shadow in the life of John Cage: the French composer and pianist Erik Satie. Cheap Imitation was a convenient solution to an annoying problem. Merce Cunningham, Cage&rsquo;s life partner, had the desire to use the first part of Satie&rsquo;s symphonic drama Socrate for a dance. Cage went on to complete his transcription, extending his work to the other two movements of the drama, and encouraged Cunningham to do the same. However, without the permission of Satie&rsquo;s publisher, Cage and Cunningham were faced with the problem of a scheduled dance premiere with no music that could be legally performed. Cage's inventive solution was to create a solo piano piece using the I Ching and based, rhythmically, on Socrate and Cunningham&rsquo;s dance. The result is a music that has the rhythms and general contours of Satie&rsquo;s music, but which is otherwise completely different. The work in this exhibition is a working sheet of the piece transcribed for orchestra in 1972. Cage commented that in making a composition that differed so much from his regular work, his ideas were sinking in a confusion caused by his great love. Cage-Satie-Cunningham didn&acute;t live, paraphrasing Husserl, with each other or simply alongside one another, but in one another: &ldquo;The other is co-present in me&rdquo;. (5) <br /> <br /> In a different way, Pessoa carried his heteronyms within and it is through them we can know his otherness. In the specific case of Bernardo Soares, his desassossego (a Portuguese word of complex translation due to its multiple meanings, and illustrated in the exhibition by the work of Arena (6) associated with his monotonous routine (the endless movement of papers that are being accumulated and after have drifted away)(7) draws empathy from us when we recognize ourselves as individuals in constant change in search of something which is beyond what we have in our hands. In this way the opacity that is seen in the unknown individual, which can be confused with the one of an object, falls to the ground and reveals the Other on a level that makes us see our selves in them. According to Scheler, the person can never be thought as an invariable thing, highlighting, like Husserl, the irreducible aspects of the individual. &ldquo;Being with one another requires a special approach in order to see through them&rdquo;. <br /> <br /> Tiago de Abreu Pinto </p> <p style="text-align: justify;">&nbsp;</p> <h3 style="text-align: justify;">(1) Since the 60s occurred several attempts to publish the work but always unsuccessfully because Pessoa had left the papers in complete disarray. It was first published in 1982. In 1991, Teresa Sobral Cunha published an edition where there were two heteronyms (Vicente Guedes and Bernardo Soares) . In 1998, Richard Zenith attributes, as in the first publication, all the work to Bernardo Soares. The important matter is that there are disputes over the authorship until today. <br /> <br /> (2) There are different translations of this concept widely used by different philosophers but accentuated by Heidegger in his works. It is transcribed in all languages for its uncertainty. The 'Da' is associated with a spatial-relational element indicating 'here', 'there', 'yonder'. And 'Sein' is &lsquo;to be&rsquo;. In short, it refers to being through into existence. <br /> <br /> (3) Husserl, E. (1982): Cartesian Meditations, The Hague: Martinus Nijhoff Publishers, p. 94 <br /> <br /> (4) Pessoa, F. (2002): The Book of Disquiet, England: Penguin, [344] <br /> <br /> (5) Rodemeyer, L. M. (2006), Intersubjective Temporality, The Netherlands: Springer, p. 165 <br /> <br /> (6) The Italian words which have its initials in the Portuguese word Desassossego are: Dado (Screw), Euro (Euro coin), Sasso (Stone), Accendino (Lighter), Scatola (Box), Sega (Saw), Ombrello (Umbrella), Spirale (Spiral), Stringa (Shoelace), Elastico (Elastic), Giornale (Newspaper) and Occhiali (Glasses). <br /> <br /> (7) It relates to the kind of being of these things at hand that are an essential reference to possible wearers pointed by Heidegger in the &sect; 26 of Being and Time <br /> <br /> (8) Heidegger, M. (1996), Being and Time, New York: State University of New York Press, p. 116</h3> <hr /> <h3>&nbsp;</h3> <p style="text-align: justify;"><span style="font-size: small;">La exposici&oacute;n aborda el concepto de alteridad asociado al Libro del desasosiego(1) que describe, en un formato de diario, las reflexiones de uno de los m&aacute;s de 60 heter&oacute;nimos de Fernando Pessoa acerca de temas como la b&uacute;squeda de su personalidad, su interacci&oacute;n con el entorno y el fen&oacute;meno siempre inconcluso que se produce en este encuentro. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Las teor&iacute;as fenomenol&oacute;gico-existenciales acerca de la otredad en boga durante la redacci&oacute;n del Libro, escrito entre 1913 y 1935, pon&iacute;an a la subjetividad ajena como esencial al Yo. La cuesti&oacute;n del alter ego es capital para la fenomenolog&iacute;a de Husserl as&iacute; como la constituci&oacute;n del ser del Dasein heideggeriano(2). As&iacute; mismo, citando a Husserl, &uml;el &laquo;otro&raquo; remite, por su sentido constituido, a m&iacute; mismo: el otro es reflejo de m&iacute; mismo y, sin embargo, no es propiamente un reflejo; es un an&aacute;logo de m&iacute; mismo y de nuevo no es, sin embargo, un an&aacute;logo en el sentido habitual.&uml;(3) </span><br /> <br /><span style="font-size: small;"> Este reflejo se vuelve patente cuando uno est&aacute; solo ya que el aislamiento y la soledad siempre nos ponen en evidencia a nosotros mismos (al sujeto entendido como conciencia y al mundo entendido como objeto construido por esa conciencia) y a la conexi&oacute;n que tenemos con las entidades presentes en el entorno que vivimos. Seg&uacute;n Pessoa, &uml;quien est&aacute; en el rinc&oacute;n de la sala baila con todos los bailarines. Lo ve todo y, porque lo ve todo, lo vive todo.&uml;(4) Somos uno para otro, estamos uno contra otro, prescindimos los unos de los otros, pasamos unos al lado de los otros, no nos interesamos los unos por los otros. En la exposici&oacute;n, estas relaciones ocurren entre individuo y su mundo interior (Pessoa y sus heter&oacute;nimos, Griffa y las l&iacute;neas que traza sobre el papel o el espectador que se ve reflejado en la obra de Perejaume); entre dos individuos (entre los dos personajes ficticios en la obra de Kovanda, entre la luz y la sombra de Hansd&ouml;ttir); entre el individuo y el colectivo (la triangulaci&oacute;n John Cage-Erik Satie-Merce Cunningham). </span><br /> <br /><span style="font-size: small;"> Estos dos &uacute;ltimos ejemplos se pueden resumir en la historia de una gran sombra presente en la vida de John Cage: la del compositor y pianista franc&eacute;s Erik Satie. Cheap Imitation fue la soluci&oacute;n conveniente para un problema molesto. Merce Cunningham, compa&ntilde;ero de vida de Cage, ten&iacute;a el deseo de utilizar la primera parte del drama sinf&oacute;nico Socrate de Satie para una danza. Cage lleg&oacute; a completar su transcripci&oacute;n, lo ampli&oacute; a los otros dos movimientos, y anim&oacute; a Cunningham que hiciera lo mismo. Sin embargo, sin el permiso del editor de Satie, Cage y Cunningham se enfrentaron con el problema de un estreno ya programado sin una m&uacute;sica que se pudiera interpretar. La soluci&oacute;n inventiva de Cage fue hacer una pieza para piano con la t&eacute;cnica del I Ching y basada r&iacute;tmicamente en Socrate y en la coreograf&iacute;a de Cunningham. El resultado es Cheap Imitation (1969): una obra que tiene el ritmo e incluso algunos de los aspectos generales de la m&uacute;sica de Satie, pero que por lo dem&aacute;s es completamente diferente, y que en 1972 Cage arregl&oacute; para orquestra. Cage dijo que al hacer esta obra, tan distinta de su trabajo habitual, sus ideas se hund&iacute;an en una confusi&oacute;n provocada por el amor. Cage-Satie-Cunningham no vivieron, parafraseando a Husserl, uno junto al Otro o simplemente uno con el Otro, sino que uno en el Otro: &ldquo;Llevo a los otros en m&iacute;&rdquo;.(5) </span><br /> <br /><span style="font-size: small;"> De manera distinta, Pessoa llevaba en s&iacute; a sus heter&oacute;nimos, y a trav&eacute;s de ellos se puede conocer a la otredad del escritor. En este caso concreto a Bernardo Soares, su desassossego (palabra portuguesa de dif&iacute;cil traducci&oacute;n debido a sus m&uacute;ltiples significados, ilustrado aqu&iacute; a trav&eacute;s de la obra de Francesco Arena)(6) asociado a su mon&oacute;tona rutina (el movimiento sin fin de las hojas que se van acumulando y luego desapareciendo)(7) nos causa empat&iacute;a al reconocernos tambi&eacute;n como individuos en constante cambio y en b&uacute;squeda de algo m&aacute;s de lo que tenemos. De esta forma la opacidad que vemos en un desconocido, que se puede confundir con la del objeto, se desmorona y nos desvela al Otro a un nivel que nos hace vernos reflejados en &eacute;l. Como dec&iacute;a Scheler, la persona no debe ser pensada jam&aacute;s como una cosa invariable, destacando, de la misma manera que Husserl, el car&aacute;cter irreductible del individuo. En la relaci&oacute;n con los Otros siempre estaremos en b&uacute;squeda de caminos especiales para acercarnos a fin de conocer las vivencias que tras ellos se ocultan. </span><br /> <br /><span style="font-size: small;"> Tiago de Abreu Pinto </span></p> <h3 style="text-align: justify;"><span style="font-size: small;">(1) Ocurrieron muchos intentos de publicaci&oacute;n de la obra desde los 60 pero siempre inconclusas ya que Pessoa la hab&iacute;a dejado en completo desorden. Fue publicada por primera vez en 1982. En 1991, Teresa Sobral Cunha public&oacute; una edici&oacute;n donde aparec&iacute;an dos heter&oacute;nimos (Vicente Guedes y Bernardo Soares). En 1998, Richard Zenith atribuye, como en la primera publicaci&oacute;n, toda la obra a Bernardo Soares. Lo importante es que hasta hoy existen controversias sobre la autor&iacute;a. </span><br /> <br /><span style="font-size: small;"> (2) Hay distintas traducciones de este concepto muy usado por distintos fil&oacute;sofos pero m&aacute;s acentuado por Heidegger en sus obras. Se transcribe en todos los idiomas por su dif&iacute;cil traducci&oacute;n. El &acute;Da&acute; est&aacute; asociado a un car&aacute;cter espacial indicando &acute;aqu&iacute;&acute;, &acute;ah&iacute;&acute;, &acute;all&iacute;&acute;. Y el &acute;Sein&acute; est&aacute; asociada al &acute;ser&acute;. En pocas palabras, alude al hombre como lanzado a la existencia. </span><br /> <br /><span style="font-size: small;"> (3) Husserl, E. (1985): Meditaciones Cartesianas, Madrid: Fondo de Cultura Econ&oacute;mica, p. 154 </span><br /> <br /><span style="font-size: small;"> (4) Pessoa, F. (1984): Libro del desasosiego, Barcelona: Seix Barral, p.279. </span><br /> <br /><span style="font-size: small;"> (5) Temporalizaci&oacute;n Intersubjetiva en: La intersubjetividad en Husserl. Bosquejo de una teor&iacute;a, Julia V. Iribarne, Menno-Arend Herlyn &amp; Rainer Sepp, p. 382 </span><br /> <br /><span style="font-size: small;"> (6) Las palabras en italiano que tienen sus iniciales en la palabra Desassossego son: Dado (Tuerca), Euro (Moneda de Euro), Sasso (Piedra), Accendino (Mechero), Scatola (Caja), Sega (Sierra), Ombrello (Paraguas), Spirale (Espiral), Stringa (Cord&oacute;n), Elastico (Elastico), Giornale (Peri&oacute;dico) y Occhiali (Gafas). </span><br /> <br /><span style="font-size: small;"> (7) Cuesti&oacute;n de la esencial remisi&oacute;n a sus posibles portadores acentuada por Heidegger en el &sect; 26 del Ser y Tiempo</span></h3> Sat, 28 Nov 2015 11:08:18 +0000