ArtSlant - Current exhibits http://www.artslant.com/ew/Events/show en-us 40 Candice Breitz - ACMI (Australian Centre for the Moving Image) - December 6th, 2012 - March 11th, 2013 <p><strong><em>Candice Breitz: The Character</em> is the first major solo exhibition in Australia by internationally renowned South African artist Candice Breitz.<br /> <br /> </strong>To what extent are our lives 'scripted' for us by the media we consume and other influences that we encounter in our intimate and social environments? Pop music, cinema and celebrity culture converge in the artist's video installations to reflect on how we create, define and perform our identities in a world of mass media saturation.<br /> <br /> Through inventively re-edited interviews, fan performances and montaged cinema sequences, Breitz's works present a new take on contemporary portraiture by creating innovative narratives to probe and analyse individual experience.<br /> <br /> A major part of the exhibition will be the inclusion of <em>The Woods</em>, a new work making its international debut. Co-commissioned with the Peabody Essex Museum, Breitz's new trilogy focuses on child performers and the performance of childhood to probe aspirations and promises embedded in mainstream cinema.<br /> <br /> From adoring Michael Jackson fans re-performing the <em>Thriller</em> album, to in-depth interviews with identical twins and studied re-performances of popular 'rom-com' scenes, Breitz playfully yet astutely investigates the extent to which our lives are constructed by parameters dictated to us by the media, society, and the particular moment in time that we are born into.</p> <p><strong>Please note: ACMI will be closed on Christmas Day</strong></p> Sat, 22 Dec 2012 03:24:24 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list - Adam Art Gallery Te Pātaka Toi - October 23rd, 2012 - February 10th, 2013 <p>The Wellington Media Collective was established in 1978 as a confederation of graphic designers, printers, photographers, and associates. Underpinned by a belief in the power of media arts to intervene in social space, their activities over two decades have involved the production of posters, magazines, catalogues, and leaflets for community and political groups, ranging from trade unions to arts and activist organisations. This retrospective exhibition examines the politics of style implicit in the Collective’s substantial body of graphic work, and through this lens, surveys a history of public culture in Wellington and New Zealand. The Collective’s graphic archives interweave a story of political activism with a cultural history of performance and art, both located against a changing economic environment, new networks of distribution and communication, and the technological shift from page to screen. Comprising original prints, posters, publications and ephemeral material, as well as oral histories provided by members of the Collective, the exhibition draws on an archival project undertaken in collaboration with the Alexander Turnbull Library and the Department of Museum and Heritage Studies, Victoria University of Wellington. A major book project documenting the Collective’s history will be launched at exhibition’s close. Coordinated and edited by Ian Wedde with Mark Derby and Jenny Rouse, and designed by Wellington Media Collective, the extensively illustrated monograph is co-published with Victoria University Press.</p> <p><strong>Gallery closed for summer break from 22 December 2012 to 21 January 2013</strong></p> Sun, 04 Nov 2012 02:02:06 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Martha Rosler - Adam Art Gallery Te Pātaka Toi - October 23rd, 2012 - February 10th, 2013 <p>1974-75, Series of 45 gelatin silver prints of text and images on 24 backing boards<br /> Kirk Gallery</p> <p>The Adam Art Gallery is proud to present a one work exhibition of Martha Rosler’s<em> The Bowery in Two Inadequate Descriptive Systems </em>(1974-75). A seminal piece of photo-conceptual art and a reference point in traditions of socially-oriented creative practice, <em>The Bowery</em> offers a portrait of what was once New York City’s most archetypical skid-row. Pairing images of derelict storefronts and empty street corners with a descriptive poetics of drunkenness and vagrancy, Rosler’s photo-text installation refuses the direct representation of an implied human subject in favour of a layered interrogation of the adequacy of both visual and literary modes to the experience of social marginalisation. Nonetheless, the work insists upon the political resonance of the material settings of urban blight. Images and text are interspersed with occasional blank panels in the space of a photographic image, and it is this dialectic between concreteness and the incommensurable which lends <em>The Bowery</em> its enduring critical charge. Martha Rosler works in video, photography, text, installation, and performance, and as an essayist and social commentator. Her preoccupations center on everyday life and the politics of the public sphere, often with an attention to women’s experience. The Adam Art Gallery will host a series of public events to support this exhibition, including two fora on documentary practice co-sponsored by the Elam School of Fine Arts, University of Auckland. Martha Rosler will participate in the inaugural Adam Art Gallery<em> Skype</em> Conversation series in early 2013, discussing politics, activism, and the digital commons in the context of her recent projects.</p> <p><strong>Gallery closed for summer break from 22 December 2012 to 21 January 2013.</strong></p> Sun, 04 Nov 2012 02:04:21 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Mark Hanson, Ron Hanson - Adam Art Gallery Te Pātaka Toi - October 23rd, 2012 - February 10th, 2013 <p>Ron and Mark Hanson, the editors of Wellington and Taipei based White Fungus magazine, have been invited to prepare a series of posters to accompany the Wellington Media Collective and Martha Rosler exhibitions. Unfolding over the eight week duration of the exhibition in the Adam’s Window space, this poster sequence and its associated free newsprint publication will take this remark by current Prime Minister John Key as a point of departure: “<em>Our children are important… They are the consumers of the future.</em>” Reflecting upon the concrete impact of neo-liberal thinking on Wellington’s urban and architectural fabric over recent decades, the White Fungus brothers talk back at local brandings of the city as New Zealand’s ‘Creative Capital.’ An emphasis on print publication ties the magazine’s zine aesthetic to a legacy informed by the Wellington Media Collective, and the project proposes the protest poster as at once a mode of still-contemporary activism and the formal expression of a local style. The Adam Art Gallery will run a Poster Competition to accompany the White Fungus commission, judged by Wellington Media Collective, White Fungus, artist John Lake, and Kate Daellenbach, School of Marketing and International Business, Victoria University of Wellington.</p> <p><strong>Gallery closed for summer break from 22 December 2012 to 21 January 2013.</strong></p> Sun, 04 Nov 2012 02:06:26 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list - Akron Art Museum - July 21st, 2012 - February 3rd, 2013 <p style="text-align: center;"><strong>Throughout 2012, visitors will be treated to some of the very best of these attributes the Akron Art Museum has to offer, both in terms of its holdings and its ability to recognize such works long before other museums have considered them.</strong></p> <p style="text-align: center;"><strong>It’s the museum’s 90th anniversary year, and curators and staffers are looking to its past and its legacy to demonstrate just how rich are its history and holdings, and how adroit they are at putting together new shows.</strong><br /> -Dorothy Shinn, Akron Beacon Journal</p> <p> As part of the ongoing celebration of the museum’s 90th anniversary the Corbin Gallery features an exhibition of works commissioned over several decades. The museum has a long history of commissioning artworks by local artists including paintings, photographs, print design, jewelry and pottery to commemorate milestones, anniversaries and special events.</p> <p>A highlight of this exhibition is an abstract painting by Al Bright, the result of a performance commissioned by the museum that kicked off the 90th anniversary on February 5, 2012. The exhibition also includes a print by University of Akron professor and artist Hui-Chu Ying, commissioned to honor the past presidents of the Board of Trustees.</p> <p>Photographs by Robert Glenn Ketchum, Andrew McAllister and Penny Rakoff are also among the works on view in this intimate exhibition. Several works created for the Masked Balls over the years will be featured, including copper masks by Don Drumm.</p> <p>The Anniversary Show offers an opportunity for viewers to reflect on the many special moments that make up the museum’s timeline through works created exclusively for the Akron Art Museum.</p> Mon, 28 Jan 2013 22:41:40 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list SungSoo Kim, Brent Kee Young - Akron Art Museum - October 20th, 2012 - April 7th, 2013 <p style="text-align: center;"><strong>"Lovers of beautiful glass sculpture will be in for a treat over the next six months, because the Akron Art Museum is showing works by two outstanding artists.</strong></p> <p style="text-align: center;"><strong>Brent Kee Young, who teaches at the Cleveland Institute of Art, and Sungsoo Kim, who teaches at Kent State University School of Art, have each developed new, highly individual and divergent techniques that push the boundaries of glass sculpture.</strong>"<br /> - Dorothy Shinn, Akron Beacon Journal</p> <p>The Akron Art Museum joins dozens of Ohio museums and galleries in celebrating the 50th anniversary of the studio glass movement in the United States, which began with the Toledo Glass Workshops in 1962. Featuring artists at the forefront of contemporary glassmaking, <em>New Artifacts: Works by Brent Kee Young and Sungsoo Kim</em> pays tribute to the pioneering spirit of the movement’s founders. Works by Cleveland Institute of Art professor and department head Young are juxtaposed with the works of Kim, an adjunct professor at Cleveland Institute of Art and Kent State University. Each has developed diverging and highly personal techniques that expand our understanding of the possibilities for glass.</p> Mon, 28 Jan 2013 22:44:56 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Adolph Gottlieb - Akron Art Museum - October 27th, 2012 - February 17th, 2013 <p style="text-align: center;"><strong>"The sculptures are magnificent to behold, the paintings even more so. But best of all, this exhibit captures the essence of an era, and it does so with little-known works and late-career paintings that reveal the artist’s interest in gravity, suspension and motion.</strong>"<br /> -Dorothy Shinn, Akron Beacon Journal</p> <p>Adolph Gottlieb, a first-generation abstract expressionist painter whose art was central to the development of mid-twentieth century painting in America, was among only three of his fellow painters to create both two- and three-dimensional works. Gottlieb’s sculptures are little-known and have rarely been seen in the United States. <i>Adolph Gottlieb: Sculptor</i> includes sculptures, maquettes and templates, as well as several major paintings from the 1960s and 1970s that illustrate the important relationship between the artist’s drawings and sculptures. Additionally, the connections between Gottlieb and his contemporaries will be examined in an adjacent presentation drawn from the museum’s collection of painting and sculpture.</p> Mon, 28 Jan 2013 22:36:58 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Markus Hofer - Albertina - October 18th, 2012 - January 27th, 2013 <p class="avtext" align="left">At irregular intervals, the Albertina invites artists to respond to the venue of the palace, the museum, and the Habsburg staterooms in specially conceived interventions.</p> <p class="avtext" align="left">The series is introduced by Markus Hofer (born in Haslach/Austria in 1977), whose objects sculpturally accentuate the interior and exterior of the building, with the artist fathoming and exploring the site’s spatial conditions and qualities. His artistic interventions are meant to irritate and frequently only reveal themselves as what they are at second glance or when looked at more closely, thereby putting into question the extant substance. Markus Hofer draws attention to the ordinary and familiar, thereby modifying our perception and visual habits.</p> <p class="avtext" align="left">For his intervention in the Albertina, Hofer devotes himself to what is hidden and undetected. His interest concentrates on the institution as a building, yet he understands the museum not only as a depository of collectibles, but - equally importantly - also as storage of history and stories. These are to be discovered, just as the invisible is to be rendered visible. Markus Hofer unearths things, opens compartments, and encourages us to take a look behind the facade.</p> Sat, 19 Jan 2013 03:59:22 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Erwin Wurm - Albertina - December 12th, 2012 - February 17th, 2013 <p class="avtext">The Austrian artist Erwin Wurm (b. 1954, Bruck an der Mur) has successfully established himself on the international art scene for several years now, such as with his <em class="avtext">One Minute Sculptures</em> (stagings of mostly bizarre situations that have been captured in photographs) and his defamiliarizations of objects (such as <em class="avtext"> Fat Car</em>).</p> <p class="avtext">In the focus of the artist’s first one-man show at the Albertina is a new group of works that is currently in the process of completion. In it, Erwin Wurm deals with the human body in a cross-media approach by confronting the real manifestation of the body in the 21st century with the body language of Gothic art, which results from the spirit of internalization and asceticism.</p> Sat, 19 Jan 2013 04:02:34 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Max Ernst - Albertina - January 23rd, 2013 - May 5th, 2013 <p class="avtext"><em class="avtext">“Before he descends, a diver never knows what he will bring back up.”</em> (Max Ernst)</p> <p class="avtext"><br />The Albertina will devote an exhibition - his first retrospective in Austria - to Max Ernst, the great pictorial inventor. Presenting a selection of 180 paintings, collages, and sculptures, as well as relevant examples of illustrated books and documents, the exhibition will assemble works related to all of the artist’s periods, discoveries, and techniques, thereby introducing his life and œuvre within a both biographic and historical context.</p> <p class="avtext">Together with Matisse, Picasso, Beckmann, Kandinsky, and Warhol, Max Ernst no doubt numbers among the leading figures of 20th-century art history. An early protagonist of Dadaism, a pioneer of Surrealism, and the inventor of such sophisticated techniques as collage, frottage, grattage, decalcomania, and oscillation, he withdraws his work from catchy definition. His inventiveness when it comes to handling pictorial and inspirational techniques, the breaks between his countless work phases, and his switching back and forth between themes cause irritation. Yet what remains a constant is his consistence in terms of contradiction.<br />Max Ernst was a restless personality who always strove for freedom. Torn between the realization of his personal aims in life and the social and political obstacles during a turbulent period, he nevertheless always looked ahead: a “flight into the future”. A misunderstood and revolting artist, he had moved from Cologne to Paris in 1922, where he joined the circle of the Surrealists; he was detained as hostile alien twice, attempted to get away, and was released thanks to lucky “coincidences”. In 1941 he escaped into American exile<br />Remembrance, discovery, recycling, and collage were the combined motor that drove him in his work.  Under these aspects, the exhibition positions Max Ernst’s œuvre between references to the past, contemporary political events, and a prophetic and visionary perspective of the future. He who attested to himself a “virginity complex” in the face of empty canvases went always in search of means that would allow him to augment the hallucinatory capacities of his mind, so that visions would arise automatically in order to “rid him of his blindness”.</p> Sat, 19 Jan 2013 04:06:14 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Maerten van Heemskerck, Barthel Bruyn the Elder, Mariotto di Nardo, Neri di Bicci, Apollonio di Giovanni, Jacopo Ligozzi - Allen Memorial Art Museum - August 28th, 2012 - June 30th, 2013 <p></p> <p><em>Religion, Ritual and Performance in the Renaissance</em> brings together more than 80 works, sacred and secular, spanning the late thirteenth to early seventeenth centuries, from both Northern and Southern Europe. The objects—which include paintings, sculptures, and decorative arts—are from the collections of the AMAM and Yale University Art Gallery.</p> <p>The exhibition was made possible by a generous grant from the Andrew W. Mellon Foundation, as part of a collection-sharing initiative. It presents works used in private devotion, public worship, religious processions, and other rites and rituals, such as marriages, alongside those of a more secular nature, including portraits and chests, which nevertheless perform functions related to self-fashioning and display. Among the many exceptional works in the exhibition are two portable altarpieces that would have been used in private devotion: one, a painted triptych (the earliest on view, from ca. 1280-90), is discreet and intimate, while the other, a lapis lazuli- and coral-encrusted work complete with its case (one of the latest works, from 1608), is a masterpiece of craftsmanship. The exhibition allows the AMAM to supplement its rich Renaissance collection with superb paintings from Yale by Taddeo and Agnolo Gaddi, Sano di Pietro, Ridolfo Ghirlandaio, Lucas van Leyden, and Jacopo Tintoretto, among many others, as well as sculptures from France, Germany, and Italy.</p> <p>An exciting aspect of the exhibition is the opportunity it presents to see works by Apollonio di Giovanni, Neri di Bicci, Mariotto di Nardo, and Barthel Bruyn the Elder from both the AMAM and YUAG collections. Also reunited are six enigmatic paintings from a series of twelve by Maerten van Heemskerck. A very large early fifteenth-century Florentine altarpiece is seen in its full glory, emphasizing the fragmentary nature of so many other Renaissance paintings whose original surrounding works have been lost. The exhibition will be used extensively in teaching, research, and public programs during the 2012-13 academic year.</p> Sun, 09 Sep 2012 00:59:28 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Audrey Flack, Ana Mendieta, Holly Wright, Jackie Winsor, Alison Saar, José Bedia, Joseph Beuys, Dennis Oppenheim, Louise Bourgeois - Allen Memorial Art Museum - August 28th, 2012 - June 30th, 2013 <p>As in earlier periods, the art of the 20th and 21st centuries engages in a dialogue with the important themes of religion, ritual, and performance. Works from the AMAM collection by artists from diverse backgrounds and artistic approaches reflect a broad array of responses to these concepts. Examples by artists such as Louise Bourgeois and photographer Holly Wright address religion, ranging from the Christian tradition to other beliefs from around the world. Other artists like Jackie Winsor employ the idea of ritual as an art-making strategy, while Alison Saar and José Bedia present it as a subject. Ephemeral performance art is documented in works by artists including Joseph Beuys, Dennis Oppenheim, and Ana Mendieta.</p> Sun, 09 Sep 2012 01:05:14 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list - Allen Memorial Art Museum - September 6th, 2012 - June 30th, 2013 <p>This exhibition brings together exquisite examples of Muslim figurative and non-figurative art.  Illustrated manuscripts and calligraphic samples from regions ranging from North Africa in the West to the Persian Plateau in the East will allow visitors to examine and take pleasure in some of the diverse aesthetic traditions of the Muslim world. This exhibition coincides with Professor Esra Akin-Kivanc’s courses “Visual Cultures of the Muslim World” and “Approaches to Islamic Art and Architecture.”</p> Sun, 09 Sep 2012 01:20:38 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Gæoudjiparl - Andersen's Contemporary - January 11th, 2013 - February 2nd, 2013 Sun, 27 Jan 2013 21:02:49 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Katharina Sieverding - ANDREAS GRIMM - MÜNCHEN - January 18th, 2013 - March 2nd, 2013 <div> <div>NO RACE NO SEX NO AGE</div> <div>Das Gesicht als Idee</div> <div></div> <b>ANDREAS GRIMM MUNCHEN </b>freut sich Ihnen Arbeiten aus dem Zyklus DIE SONNE UM MITTERNACHT SCHAUEN – III/196/1973 von Katharina Sieverding zu präsentieren. Es ist die zweite Einzelausstellung bei Andreas Grimm.</div> <div> </div> <div><b>Katharina Sieverding</b> lebt und arbeitet in Düsseldorf, Berlin und Wien. Ihre künstlerischen Arbeiten umfassen Dokumentarfotografie, raumbezogene Film-, Video-, Dia-, Projektions-, Lightdisplay- und Printarbeiten analoger wie digitaler Prozesse. 1970 entschied sich Katharina Sieverding zu einer konsequenten großflächig dimensionierten Bildkonzeption und -präsentation mittels Film- und Fotoapparatur.</div> <div> </div> <div>Sie war 1982, 1977 und 1972 documenta-Teilnehmerin. Auf der Biennale in Venedig präsentierte sie 1997 den Werkblock <i>Steigbilder I – IX/1997</i> im deutschen Pavillon und bekam 2004 den Goslaer Kaiserring verliehen. Zu den zahlreichen Ausstellungen zählen Präsentationen u.a. im Solomon R. Guggenheim Museum New York, Walker Art Center Minneapolis, ICA Boston, im MoMA P.S.1 New York und MoMA San Francisco, Kunsthalle Detroit; weiterhin im Museum Folkwang Essen, dem Van Abbemuseum Eindhoven, in der Neuen Nationalgalerie Berlin, in der Kunstsammlung K20 NRW Düsseldorf, im Deutsche Guggenheim Berlin, in den Kunst-Werken Berlin, im Ludwig Museum Budapest, im Migros Museum Zürich, im Stedelijk Museum Amsterdam und Tate Liverpool.</div> <div> </div> <div><b>1973</b> entsteht innerhalb des Gesamtzyklus <b>DIE SONNE UM MITTERNACHT SCHAUEN – I VII/196/1973</b> der Werkblock III, der aus 56 monumentalen Goldportraits und 28 gespiegelten Diptychen von Katharina Sieverding besteht.</div> <div> </div> <div>Sieverdings Gesicht ist auf diesen Portraits mit Goldstaub bedeckt und bildfüllend im Anschnitt. Diese Gesichter haben keinen Namen, kein Geschlecht, keine Herkunft und kein Alter – sie sind die Idee eines Gesichts, das Fragen aufwirft zur Konzeptualität von Identität, zur magischen Aufladung des Antlitzes, zur Anrufung von Bildern und zu dem, wie Bilder auf uns zurückblicken.</div> <div>Die goldene Maskierung entzieht das Gesicht der eindeutigen Zuschreibbarkeit und stellt es zur Disposition, ein ähnliches Maquillage-Konzept wie Sieverding es bereits in dem 16mm - Film "LIFE - DEATH" von 1969 angewendet hat.</div> <div> </div> <div>„Nun impliziert die Versuchung der totalen Maske (die antike Maske zum Beispiel) möglicherweise weniger das Thema des Geheimnisses (wie es bei den italienischen Halbmasken der Fall ist) als das eines Archetypus des menschlichen Gesichts.“ (Roland Barthes, 1957)</div> <div> </div> <div>Heute, vierzig Jahre nach ihrer Entstehung, haben die Arbeiten nichts an Aktualität verloren, sondern ermöglichen eine Reflexionsschnittstelle dafür, dass sich auf andere Weise identifikatorische Prozesse mehr und mehr von einer körperlichen Zugehörigkeit lösen.</div> <div> </div> <div>Katharina Sieverding ist in zahlreichen internationalen Sammlungen vertreten, darunter: Museum of Modern Art, New York; Museum of Modern Art, San Francisco; Stedelijk Museum, Amsterdam; Migros Museum für Gegenwartskunst, Zürich; Nationalgalerie Berlin; Hamburger Bahnhof, Berlin; Staatsgalerie Stuttgart, Bundeskunstsammlung, Kunstsammlung Nordrhein-Westfahlen, Düsseldorf; Lenbachhaus, München; Hamburger Kunsthalle; Sammlung zeitgenössischer Kunst der Bundesrepublik Deutschland, Bonn.</div> <div> </div> <div>Die Ausstellung wurde ermöglicht in Zusammenarbeit mit der Galerie Sabine Knust, München.</div> Sun, 27 Jan 2013 21:07:32 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Ignacio Llamas - ARANAPOVEDA Galeria - November 29th, 2012 - February 5th, 2013 <div id="texto_expo"> <p style="text-indent: 10px;">Los mundos interiores y los espacios deshabitados son una constante en el trabajo de los últimos años de Ignacio Llamas. Sin embargo este hecho no impide que la (inexistente) figura humana cobre especial importancia en su obra; Los espacios, los volúmenes, la luz no son sino los testigos de la presencia y las vivencias de las personas y seres que habitan (habitamos) dichos espacios y que los impregnan y dotan de sentido.</p> <p style="text-indent: 10px;">Es precisamente ese marcado carácter vivencial el que se convierte en el hilo conductor de la exposición <strong>“Sangrar luz”</strong> articulado a través de la luz como elemento esencial en su trabajo y elemento clave por el que se percibe la realidad plasmada en los escenarios y el espacio-volumen como cosmos (en este caso de reducidas dimensiones) en el que se desarrolla la comedia humana que la luz ilumina o, a menudo, llena de penumbras y umbrías a la vez que evidencia la carga espiritual de la que los escenarios han quedado impregnados.</p> <p style="text-indent: 10px;">El elemento-icono de la maleta deviene en esencia de la serie como símbolo del viaje interior al que se invita al espectador y una alusión a su vez al viaje de la vida, es decir, al viaje hacia la muerte.</p> <p>Ignacio Llamas apunta, apenas perfila lo sucedido. Queda a la discreción del espectador y de su archivo de vivencias el completar las historias, el hacer suyo lo narrado o simplemente contemplar los restos del naufragio.</p> <p style="text-indent: 10px;">La exposición se compone de una selección muy cuidada y extremadamente escueta de piezas fotográficas y una única instalación que dialoga con las mismas.</p> <br /> <p><strong><i>“Sangrar luz”</i> es su primera exposición individual en ARANAPOVEDA</strong></p> <br /> <p><strong>Ignacio Llamas (Toledo, 1970)</strong> Licenciado en Bellas Artes por la UCM. A principios de los noventa realiza su primera exposición individual. Desde entonces muestra con asiduidad su obra en galerías, museos y centros de arte. Ha realizado exposiciones individuales y colectivas en las galerías españolas Espacio Líquido (Gijón), Adora Calvo (Salamanca), EGAM (Madrid) , Del Sol (Santander), Ángeles Baños (Badajoz), entre otras, además de exponer en galerías en Portugal, Italia, Alemania, EEUU y Argentina. Ha participado con frecuencia en ferias de arte contemporáneo internacionales como ARCO, TIAF, ArteBA, ArtBrussels, Foro Sur, Artesantander, ArteLisboa y en instituciones como Museo Patio Herreriano, Museo de Arte Contemporáneo Unión FENOSA o Fundación Caixa Galicia, además de haber recibido la mención de honor en el premio de fotografía Purificación García en 2010. Su obra forma parte de las colecciones institucionales de Museo Patio Herreriano, Colección Unión Fenosa, Colección Circa XX – Pilar Citoler, Fundación Coca Cola, Colección BESart, Colección Caja Madrid, Colección Caja Castilla La Mancha o Colección Ayuntamiento de Pamplona.</p> </div> Sat, 24 Nov 2012 00:57:27 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list