ArtSlant - Recently added http://www.artslant.com/ew/Events/show en-us 40 Elena Damiani - Galerie Nordenhake - August 18th - September 24th Tue, 28 Jun 2016 11:06:37 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Sebastião Salgado - Galeria Silvia Cintra + Box 4 - June 22nd - July 16th Tue, 28 Jun 2016 11:01:39 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list - Galeria Dawid Radziszewski - June 24th - July 22nd <p style="text-align: justify;">While working on &bdquo;Krzyżowieniec. Nikt na nim ps&oacute;w nie powiesi&rdquo; I was painting an ordinary individual &ndash; everyman, a character whose traits each of us carries. And then I thought about priests. With their overwhelmingly distinct way of life they embody this type of extremely disconnected people, whom it is difficult to identify with. <br /> <br /> It is impossible to perceive the clergy only as the enemies of freedom and modernity in Poland, although they are usually approached with almost divine solemnity, or ignored. One does not enter into a deep relationship with clerics (my friends don&rsquo;t go out for a beer with a friend priest), as I think&hellip; that is how it usually happens ... rather without looking at the real work they actually do (I think that Polish society is doing something similar with artists, only associating them with different stereotypes). This idea drove me to extend the reach of the meaning in this painting with the people from the clergy. <br /> <br /> In &bdquo;At the gate of Thebes" I showed a clear space &ndash; unspoiled, divine and I have moved a human form onto it. Oedipus at the gate of Thebes has already committed a patricide, his mother lives in the city, towards which he is aiming. Once, when he will learn the truth, he will blind himself and he will go into voluntary exile. I'd like to leave it like that, completely apart from the painting. <br /> <br /> "White Flag" tells a story about different ways of practicing chauvinism. I have applied onto canvas, flags and other emblems of being &rdquo;saturated&rdquo; with discrimination, and actively participating in Evil, that man is causing to another man: younger learns from the older, someone wants to be a leader and knows how to do it, someone imitates him, someone gives a safe-conduct to his authority and power. <br /> <br /> "Oblivion" is a work about two inseparable things. About passing and constancy. During the process of painting I have lived with what belongs to the past, accepting it as much as I could afford to, with sweet passion for what was best in the past life and with love, with pretensions that scandalized me, and, last but not least, with the old beliefs... each was different as I was gradually becoming mature. And suddenly it hit me, at some point during my work on the painting, a pure, poignant vision of a car accident flashed in me. It wasn&rsquo;t any particular memory or connection, shocking and determining the future life of this painting, suspended over it with the face of a judgment and casting a new light. I didn&rsquo;t ignore it, I continued to work. So I inscribed the accident into the painting&rsquo;s order, and I made it the motif of "Oblivion". <br /> <br /> Krzysztof Mężyk</p> <hr /> <p style="text-align: justify;">Podczas pracy nad obrazem "Krzyżowieniec. Nikt na nim ps&oacute;w nie powiesi" malowałem pospolitego człowieka &ndash; everymana, postać, kt&oacute;rej cechy nosi każdy z nas. Wtedy pomyślałem o księżach. Poprzez przytłaczającą odmienność życia, uosabiają oni osoby z kt&oacute;rymi trudno się utożsamić, skrajnie odłączone. <br /> <br /> Nie spos&oacute;b widzieć w klerze jedynie wrog&oacute;w wolności i nowoczesności w Polsce, choć podchodzi się przecież do kleryk&oacute;w z namaszczeniem bliskim boskiemu, albo ignoruje. Nie wchodzi się w głęboką relację (moi znajomi nie chodzą z kolegą księdzem na piwo), jak sądzę... tak się to dzieje... nie patrząc zazwyczaj na ich prawdziwą pracę, jaką wykonują (myślę, że polskie społeczeństwo robi coś podobnego z artystami, tylko wiąże z nimi inne stereotypy). Ta myśl powiodła mnie do rozszerzenia zasięgu znaczenia o osoby z kleru w tym obrazie. <br /> <br /> W pracy "Przed bramą Teb" pokazałem czystą przestrzeń &ndash; nieskażoną, boską i przeniosłem na nią postać człowieka. Edyp u wr&oacute;t Teb dokonał już ojcob&oacute;jstwa, jego matka zamieszkuje miasto, do kt&oacute;rego Edyp zmierza. Kiedyś, gdy pozna prawdę, odejmie sobie wzrok i uda się na dobrowolne wygnanie. Chciałbym to tak zostawić, zupełnie obok obrazu. <br /> <br /> "Biała flaga" opowiada o r&oacute;żnych drogach uprawiania szowinizmu. Naniosłem na pł&oacute;tno flagi i inne emblematy "nasycania się" dyskryminacją, aktywnym uczestnictwem w Złu, kt&oacute;re człowiek wyrządza drugiemu człowiekowi: młodszy uczy się od starszego, ktoś chce być przyw&oacute;dcą i wie jak się to robi, ktoś go naśladuje, ktoś daje glejt swoim autorytetem i władzą. <br /> <br /> "Zapomnienie" jest pracą o dw&oacute;ch nierozrywalnych rzeczach. O przemijaniu i trwaniu. W czasie procesu malarskiego żyłem tym, co należy do przeszłości, akceptując ją tak jak mnie na to stać, ze słodką namiętnością do tego, co w przeszłym życiu najlepsze i miłością, z pretensjami, kt&oacute;re mnie gorszą oraz, last but not least, dawnymi wiarami... każda była inna w miarę dojrzewania. I nagle krach, w pewnym momencie pracy nad obrazem zabłysła we mnie czysta, dojmująca wizja wypadku samochodowego. Nie była żadnym konkretnym wspomnieniem, czy powiązaniem, wstrząsająca i determinująca przyszłe życie tego obrazu, zawieszona nad nim obliczem wyroku i rzucająca nowe światło. Nie zignorowałem jej, kontynuowałem pracę. Wpisałem więc wypadek w porządek obrazu i uczyniłem motywem "Zapomnienia". <br /> <br /> Krzysztof Mężyk</p> Tue, 28 Jun 2016 10:45:11 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Carsten Höller - Gagosian Gallery - Geneva - June 9th - August 12th <p>Opening reception: Thursday, June 9th, from 6:00 to 8:00pm<br /> <br /> <br /> <em>For a long time, I've been curious about applying the methodology of art as one way--which I think is equal to science and other powerful explanatory concepts&mdash;for us to understand what is surrounding us and what we are.</em><br />&mdash;Carsten H&ouml;ller</p> <p style="text-align: justify;">Gagosian Gallery is pleased to present "Zoology," Carsten H&ouml;ller's first exhibition in Geneva.</p> <p style="text-align: justify;">Trained as a scientist, H&ouml;ller both echoes and surpasses scientific procedures in his work as an artist. Many of his projects invite viewer participation in order to question the facts and forms of human life. From carousels that reflect and disorient, to winding slippery slides, to vision-flipping goggles, H&ouml;ller actively interrogates the functions of logic, perception, and entertainment in the larger biosphere.</p> <p style="text-align: justify;">"Zoology" is a selection of H&ouml;ller's recent sculptures, photographs, and prints, made between 2008 and 2016, which consider how different forms of animal life might relate to human embodied awareness. Through taxidermy, casting, molding, and collage, H&ouml;ller presents beings that cannot be easily categorized: they are animals, but they do not occur in nature; they are the products of anthropocentric will&mdash;of mutation, breeding, and grafting. And just as the scientist turns captive birds into hybrids, H&ouml;ller turns snakes into soft, squeezable curves of neon-pink artificiality. In their color and form, the animals become implacable rarities&mdash;in <em>Divisions (Roach and Surface)</em> (2016), minimalist-industrial materials and a modulated orange grid form a suspension chamber for a small, shiny fish; while in the series of photogravures <em>Canaries </em>(2009), birds perch with feathers growing at wild, intersecting angles. "Zoology" thus adds another layer to H&ouml;ller's phenomenological queries: instead of entering at will a carousel, a gigantic die, or a slide, we encounter rubbery creatures and experience the childlike urge to prod and pull, although the objects&mdash;being art&mdash;are strictly out of bounds. It is this tactile wit that brings the sculptures into a surreal or hyperreal realm, between human and animal, between nature and art, taking us along with them.</p> <p style="text-align: justify;"><strong>Carsten H&ouml;ller</strong> was born in 1961 in Brussels, Belgium to German parents. He lives and works in Stockholm, Sweden, and Biriwa, Ghana. His works have been shown internationally over the last two decades, including "Synchro System," Fondazione Prada, Milan (2000); "One Day One Day," F&auml;rgfabriken, Stockholm (2003); "Half Fiction," ICA, Boston (2003); "7,8 Hz," Le Consortium, Dijon (2004); "Une exposition &agrave; Marseille," Mus&eacute;e d'Art Contemporain, Marseille (2004); "Carsten H&ouml;ller: Test Site," Tate Modern, London (2006); "Amusement Park," MASS MoCA, Massachusetts (2006); "Carrousel," Kunsthaus Bregenz, Austria (2008); "The Double Club," Fondazione Prada, London (2008); "Double Slide," Museum of Contemporary Art, Zagreb (2009); "Divided Divided," Museum Boijmans van Beuningen, Rotterdam (2010); "SOMA," Hamburger Bahnhof, Museum f&uuml;r Gegenwart, Berlin (2010); "Carsten H&ouml;ller: Double Carousel with Z&ouml;llner Stripes," Museum of Contemporary Art of Rome, Italy (2011); "Experience," New Museum of Contemporary Art, New York (2011); "Leben," Thyssen-Bornemisza Art Contemporary, Vienna (2014); "Golden Mirror Carousel," National Gallery of Victoria, Melbourne (2014&ndash;15); Carsten H&ouml;ller "Decision," Hayward Gallery, London (2015).<br /> <br /> <em>The Slide at the ArcelorMittal Orbit</em> (2016), H&ouml;ller's commissioned addition to Anish Kapoor's <em>ArcelorMittal Orbit</em> (2012), is permanently installed at Queen Elizabeth Olympic Park, London. "Doubt," a major installation survey curated by Vicente Todoli is currently on view at Pirelli HangarBicocca, Milan through July 31, 2016.</p> <hr /> <p style="text-align: justify;">Vernissage: jeudi, 9 juin, de 18h00 &agrave; 20h00<br /> <br /> <em>J'ai voulu depuis longtemps appliquer la m&eacute;thodologie de l'art comme &eacute;tant un moyen qui, je pense, est l'&eacute;quivalent de la science et d'autres concepts explicatifs puissants, pour nous faire comprendre ce qui nous entoure et ce que nous sommes.</em><br />&mdash;Carsten H&ouml;ller</p> <p style="text-align: justify;">La galerie Gagosian a le plaisir de pr&eacute;senter &laquo;Zoology&raquo;, la premi&egrave;re exposition de Carsten H&ouml;ller &agrave; Gen&egrave;ve.</p> <p style="text-align: justify;">De formation scientifique, Carsten H&ouml;ller fait &eacute;cho, dans son travail d'artiste, aux proc&eacute;dures scientifiques tout en les d&eacute;passant. Nombreux sont ses projets qui sollicitent la participation du spectateur pour questionner la r&eacute;alit&eacute; et les formes de la vie humaine. Des carrousels qui scintillent et d&eacute;sorientent aux lunettes &agrave; verres protub&eacute;rants en passant par des toboggans rotatoires, H&ouml;ller s'interroge constamment sur les fonctions de la logique, de la perception et du divertissement dans l'immense biosph&egrave;re.</p> <p style="text-align: justify;">&laquo;Zoology&raquo; est une s&eacute;lection de sculptures, de photographies et de gravures r&eacute;centes que Carsten H&ouml;ller a r&eacute;alis&eacute;es entre 2008 et 2016; ces &oelig;uvres examinent comment les diff&eacute;rentes formes de la vie animale peuvent se rapprocher de la conscience exprim&eacute;e par l'&ecirc;tre humain. Au travers de la taxidermie, du coulage, du moulage et du collage, H&ouml;ller montre des &ecirc;tres qui ne sont pas faciles &agrave; cataloguer: ce sont bien des animaux, mais on ne les trouve pas dans la nature. Ils sont le produit d'une volont&eacute; anthropocentrique de mutation, de reproduction et de greffe. Tout comme les scientifiques transforment les oiseaux captifs en &ecirc;tres hybrides, H&ouml;ller m&eacute;tamorphose les serpents en des courbes douces et tordues d'un rose artificiel tel que celui des n&eacute;ons. De par leurs couleurs et leurs formes, les animaux deviennent des raret&eacute;s implacables comme dans <em>Divisions (Roach and Surface)</em> (2016) constitu&eacute;es de mat&eacute;riaux industriels minimalistes et d'un cadre orange qui forment une chambre de suspension pour un petit poisson brillant; dans <em>Canaries </em>(2009), une s&eacute;rie de photogravures, des oiseaux perch&eacute;s portent des plumes poussant sauvagement &agrave; des angles intersect&eacute;s. &laquo;Zoology&raquo; ajoute une autre couche aux questions ph&eacute;nom&eacute;nologiques que se pose l'artiste: au lieu d'entrer comme on l'aimerait dans un carrousel, un immense d&eacute; ou un toboggan, on tombe sur des cr&eacute;atures caoutchouteuses et on ressent une envie enfantine pressante de pousser et de tirer, alors que les objets, &eacute;tant de l'art, sont strictement interdits d'acc&egrave;s. C'est cette approche tactile qui emm&egrave;ne les sculptures dans un royaume surr&eacute;aliste ou hyperr&eacute;aliste, oscillant entre l'humain et l'animal, entre la nature et l'art, et qui nous emporte dans son sillage.</p> <p style="text-align: justify;"><strong>Carsten H&ouml;ller</strong> est n&eacute; en 1961 &agrave; Bruxelles de parents allemands. Il vit et travaille &agrave; Stockholm, en Su&egrave;de, et Biriwa, Ghana. Ses &oelig;uvres ont &eacute;t&eacute; pr&eacute;sent&eacute;es &agrave; l'&eacute;chelle internationale au cours des deux derni&egrave;res d&eacute;cennies. Parmi ses expositions mus&eacute;ales r&eacute;centes on compte &laquo;Synchro System&raquo;, Fondazione Prada, Milan (2000); &laquo;One Day One Day&raquo;, F&auml;rgfabriken, Stockholm (2003); &laquo;Half Fiction&raquo;, ICA, Boston (2003); &laquo;7,8 Hz&raquo;, Le Consortium, Dijon (2004); &laquo;Une exposition &agrave; Marseille&raquo;, Mus&eacute;e d'Art Contemporain, Marseille (2004); &laquo;Test Site&raquo;, Tate Modern, London (2006); &laquo;Amusement Park&raquo;, MASS MoCA, Massachusetts (2006); &laquo;Carrousel&raquo;, Kunsthaus Bregenz, Autriche (2008); &laquo;The Double Club&raquo;, Fondazione Prada, Londres (2008); &laquo;Double Slide&raquo;, Museum of Contemporary Art, Zagreb (2009); &laquo;Divided Divided&raquo;, Boijmans van Beuningen Museum, Rotterdam (2010); &laquo;SOMA&raquo;, Hamburger Bahnhof, Museum f&uuml;r Gegenwart, Berlin (2010); &laquo;Carsten H&ouml;ller: Double Carousel with Z&ouml;llner Stripes&raquo;, Museum of Contemporary Art of Rome, Italy; &laquo;Experience&raquo;, New Museum of Contemporary Art, New York (2011); &laquo;Leben&raquo;, Thyssen-Bornemisza Art Contemporary, Vienne (2014); &laquo;Golden Mirror Carousel&raquo;, National Gallery of Victoria, Melbourne (2014&ndash;15); Carsten H&ouml;ller &laquo;D&eacute;cision&raquo;, Hayward Gallery, Londres (2015).</p> <p style="text-align: justify;"><em>The Slide at the ArcelorMittal Orbit</em> (2016), la derni&egrave;re commission de Carsten H&ouml;ller, viendra s'ajouter de fa&ccedil;on permanente &agrave; <em>ArcelorMittal Orbit</em>&nbsp;d'Anish Kapoor au Parc Olympique de Londres. &laquo;Doubt&raquo;, une exposition majeure organis&eacute;e par Vicente Todoli est actuellement pr&eacute;sent&eacute;e &agrave; la Pirelli HangarBicocca, Milan jusqu'au 31 Juillet 2016.</p> Tue, 28 Jun 2016 10:31:20 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Jean Nouvel - Gagosian Gallery - Athens - May 26th - July 30th <p>Opening reception: Thursday, May 26th, from 7:00 to 9:00pm<br /> <br /> <br /> <em>I want colored mirrors; they are the key to this story. Some are fixed, others shift, others are angled...sometimes two or three models are in different scale; their meaning is established by the interior.</em><br />&mdash;Jean Nouvel</p> <p style="text-align: justify;">Gagosian Gallery is pleased to present <em>Triptyques</em>, a series of limited edition mirrors, and <em>Bo&icirc;te &agrave; outils</em> (Tool Box), a sculpture by Jean Nouvel.</p> <p style="text-align: justify;">Like many Modernist predecessors who worked across related disciplines, Nouvel describes himself as an architect and a designer. His design products derive from architectural commissions, or from alternative visions that correspond to his building design but which are linked to specific use. Regardless of the scale of the object or the architecture, Nouvel employs the same rigorous approach, imbuing the objects and accoutrements of everyday life with a certain lyricism that is also streamlined and utilitarian.</p> <p style="text-align: justify;">As the title suggests, <em>Triptyques </em>are three-paneled colored mirrors, each in an edition of six. The central panel is fixed to the wall, while flanking and cantilevered panels are engineered to be movable. Four mirrors are presented, each different in color and orientation. Nouvel comments, "The mirror is a piece that you want to live with, in which you reflect intimate images&mdash;images from your home; you can capture a piece of a window in it somewhere." Colors range from light orange to blood orange to red, his signature color. The mirror finds its essence whether open or closed. When opened, Nouvel's mirrors evince the importance of color in their surroundings; when closed, they preserve a certain austere elegance.</p> <p style="text-align: justify;">The extra-large stainless steel tool box titled <em>Bo&icirc;te &agrave; outils</em> (1987&ndash;2011), meanwhile, is an emblematic and celebrated design. It is an object of function and fantasy at the same time&mdash;a deluxe storage system based on the standard toolbox that can be found in every household. Nouvel has reinterpreted this utilitarian staple, streamlining it while endowing it with additional features.</p> <p style="text-align: justify;"><strong>Jean Nouvel</strong> was born in Fumel in 1945 and studied at the &Eacute;cole des Beaux-Arts, Paris. A key protagonist of intellectual debate in France regarding architecture, he was a founding member of Mars 1976 and Syndicat de l'Architecture. Nouvel's buildings include Mus&eacute;e du Quai Branly, Paris; Fondation Cartier pour l'Art Contemporain, Paris; Lucerne Culture and Congress Centre, Switzerland; Torre Agbar, Barcelona; and Guthrie Theater, Minneapolis. The Louvre Abu Dhabi, and the National Museum of China (NAMOC) are among the projects currently in planning. Nouvel's distinctions include the Aga Khan Award for Architecture for the Institut du Monde Arabe (1989); the Gold Medal of the Royal Institute of British Architects (2001); the Wolf Prize in Arts (2005); and the Pritzker Prize (2008). Exhibitions of his work&mdash;including "Jean Nouvel," a retrospective at Centre Georges Pompidou, Paris (2001)&mdash;have been held throughout the world, from New York to Rio de Janeiro and Tokyo.</p> <p style="text-align: justify;">In 1995 Nouvel created the Jean Nouvel Design Agency (JND) to develop design and interior design projects in parallel with the architectural practice Ateliers Jean Nouvel. Several series of furniture and industrial objects have been developed and commercialized, from the Less Less collection (Unifor), coffee service (Alessi), lighting (Artemide), chairs (Emeco, Emu, Figueras) and tables (Cassina &amp; Molteni).&nbsp;<em>Gagosian Gallery, in partnership with Galerie Patrick Seguin, are the sole distributors and producer of Jean Nouvel limited edition furniture.</em></p> <hr /> <p style="text-align: justify;">&Epsilon;&gamma;&kappa;&alpha;ί&nu;&iota;&alpha;: &Pi;έ&mu;&pi;&tau;&eta; 26&eta; &tau;&omicron;&upsilon; &Mu;&alpha;ΐ&omicron;&upsilon;, 19:00&ndash;21:00 &mu;.&mu;.<br /> <br /> <br /> <em>&Theta;έ&lambda;&omega; &chi;&rho;&omega;&mu;&alpha;&tau;&iota;&sigma;&tau;&omicron;ύ&sigmaf; &kappa;&alpha;&theta;&rho;έ&phi;&tau;&epsilon;&sigmaf;, &pi;&alpha;ί&zeta;&omicron;&upsilon;&nu; &pi;&rho;&omega;&tau;&alpha;&gamma;&omega;&nu;&iota;&sigma;&tau;&iota;&kappa;ό &rho;ό&lambda;&omicron; &sigma;' &alpha;&upsilon;&tau;ή &tau;&eta; &delta;&omicron;&upsilon;&lambda;&epsilon;&iota;ά &mu;&omicron;&upsilon;. &Omicron;&rho;&iota;&sigma;&mu;έ&nu;&omicron;&iota; &epsilon;ί&nu;&alpha;&iota; &sigma;&tau;&epsilon;&rho;&epsilon;&omega;&mu;έ&nu;&omicron;&iota;, ά&lambda;&lambda;&omicron;&iota; &mu;&epsilon;&tau;&alpha;&kappa;&iota;&nu;&omicron;ύ&nu;&tau;&alpha;&iota;, ά&lambda;&lambda;&omicron;&iota; &beta;&rho;ί&sigma;&kappa;&omicron;&nu;&tau;&alpha;&iota; &upsilon;&pi;ό &gamma;&omega;&nu;ί&alpha;... &Mu;&epsilon;&rho;&iota;&kappa;έ&sigmaf; &phi;&omicron;&rho;έ&sigmaf; &delta;ύ&omicron; ή &tau;&rho;ί&alpha; &kappa;&omicron;&mu;&mu;ά&tau;&iota;&alpha; &epsilon;ί&nu;&alpha;&iota; &delta;&iota;&alpha;&phi;&omicron;&rho;&epsilon;&tau;&iota;&kappa;ή&sigmaf; &kappa;&lambda;ί&mu;&alpha;&kappa;&alpha;&sigmaf;. &Tau;&omicron; &epsilon;&sigma;&omega;&tau;&epsilon;&rho;&iota;&kappa;ό &tau;&omicron;&upsilon;&sigmaf; &epsilon;ί&nu;&alpha;&iota; &alpha;&upsilon;&tau;ό &pi;&omicron;&upsilon; &tau;&omicron;&upsilon;&sigmaf; &pi;&rho;&omicron;&sigma;&delta;ί&delta;&epsilon;&iota; &nu;ό&eta;&mu;&alpha;.</em><br />&mdash;Jean Nouvel</p> <p style="text-align: justify;">&Eta; &gamma;&kappa;&alpha;&lambda;&epsilon;&rho;ί Gagosian &pi;&alpha;&rho;&omicron;&upsilon;&sigma;&iota;ά&zeta;&epsilon;&iota; &tau;&alpha; έ&rho;&gamma;&alpha; <em>Triptyques</em>, &mu;&iota;&alpha; &sigma;&epsilon;&iota;&rho;ά &alpha;&pi;ό &kappa;&alpha;&theta;&rho;έ&phi;&tau;&epsilon;&sigmaf; &sigma;&epsilon; &pi;&epsilon;&rho;&iota;&omicron;&rho;&iota;&sigma;&mu;έ&nu;&omicron; &alpha;&rho;&iota;&theta;&mu;ό &kappa;&omicron;&mu;&mu;&alpha;&tau;&iota;ώ&nu;, &kappa;&alpha;&iota; &tau;&omicron; &gamma;&lambda;&upsilon;&pi;&tau;ό <em>Bo&icirc;te &agrave; outils</em> (&Epsilon;&rho;&gamma;&alpha;&lambda;&epsilon;&iota;&omicron;&theta;ή&kappa;&eta;) &tau;&omicron;&upsilon; Jean Nouvel.</p> <p style="text-align: justify;">&Omicron; Nouvel &alpha;&pi;&omicron;&kappa;&alpha;&lambda;&epsilon;ί &tau;&omicron;&nu; &epsilon;&alpha;&upsilon;&tau;ό &tau;&omicron;&upsilon; &alpha;&rho;&chi;&iota;&tau;έ&kappa;&tau;&omicron;&nu;&alpha; &kappa;&alpha;&iota; &nu;&tau;&iota;&zeta;ά&iota;&nu;&epsilon;&rho;&mdash;ό&pi;&omega;&sigmaf; &kappa;&alpha;&iota; &pi;&omicron;&lambda;&lambda;&omicron;ί ά&lambda;&lambda;&omicron;&iota; &Mu;&omicron;&nu;&tau;&epsilon;&rho;&nu;&iota;&sigma;&tau;έ&sigmaf; &sigma;&tau;&omicron; &pi;&alpha;&rho;&epsilon;&lambda;&theta;ό&nu;, &tau;&omega;&nu; &omicron;&pi;&omicron;ί&omega;&nu; &tau;&omicron; έ&rho;&gamma;&omicron; &delta;&epsilon;&nu; &pi;&epsilon;&rho;&iota;&omicron;&rho;ί&zeta;&epsilon;&tau;&alpha;&iota; &sigma;&epsilon; έ&nu;&alpha;&nu; &mu;ό&nu;&omicron; &tau;&omicron;&mu;έ&alpha; &delta;&rho;&alpha;&sigma;&tau;&eta;&rho;&iota;&omicron;&pi;&omicron;ί&eta;&sigma;&eta;&sigmaf;. &Tau;&alpha; &pi;&rho;&omicron;ϊό&nu;&tau;&alpha; &tau;&eta;&sigmaf; &delta;&omicron;&upsilon;&lambda;&epsilon;&iota;ά &tau;&omicron;&upsilon; έ&chi;&omicron;&upsilon;&nu; ά&lambda;&lambda;&omicron;&tau;&epsilon; &omega;&sigmaf; &pi;&eta;&gamma;ή έ&mu;&pi;&nu;&epsilon;&upsilon;&sigma;&eta;&sigmaf; έ&nu;&alpha; &alpha;&rho;&chi;&iota;&tau;&epsilon;&kappa;&tau;&omicron;&nu;&iota;&kappa;ό έ&rho;&gamma;&omicron; &pi;&omicron;&upsilon; &tau;&omicron;&upsilon; έ&chi;&epsilon;&iota; &alpha;&nu;&alpha;&tau;&epsilon;&theta;&epsilon;ί, ά&lambda;&lambda;&omicron;&tau;&epsilon; &alpha;&pi;&omicron;&tau;&epsilon;&lambda;&omicron;ύ&nu; &epsilon;&nu;&alpha;&lambda;&lambda;&alpha;&kappa;&tau;&iota;&kappa;έ&sigmaf; &pi;&rho;&omicron;&tau;ά&sigma;&epsilon;&iota;&sigmaf; &pi;&omicron;&upsilon; &pi;&alpha;&rho;&alpha;&pi;έ&mu;&pi;&omicron;&upsilon;&nu; &mu;&epsilon;&nu; &sigma;&tau;&omicron;&nu; &tau;&rho;ό&pi;&omicron; &pi;&omicron;&upsilon; &sigma;&chi;&epsilon;&delta;&iota;ά&zeta;&epsilon;&iota; &kappa;&tau;ί&rho;&iota;&alpha;, έ&chi;&omicron;&upsilon;&nu; ό&mu;&omega;&sigmaf; &mu;&iota;&alpha; &pi;&omicron;&lambda;ύ &sigma;&upsilon;&gamma;&kappa;&epsilon;&kappa;&rho;&iota;&mu;έ&nu;&eta; &chi;&rho;ή&sigma;&eta;. &Eta; &sigma;&chi;&omicron;&lambda;&alpha;&sigma;&tau;&iota;&kappa;ό&tau;&eta;&tau;&alpha; &mu;&epsilon; &tau;&eta;&nu; &omicron;&pi;&omicron;ί&alpha; &pi;&rho;&omicron;&sigma;&epsilon;&gamma;&gamma;ί&zeta;&epsilon;&iota; &omicron; Nouvel &tau;&eta; &delta;&omicron;&upsilon;&lambda;&epsilon;&iota;ά &tau;&omicron;&upsilon;, &alpha;&sigma;&chi;έ&tau;&omega;&sigmaf; &kappa;&lambda;ί&mu;&alpha;&kappa;&alpha;&sigmaf;, &alpha;&pi;ό έ&nu;&alpha; &mu;&iota;&kappa;&rho;ό &alpha;&nu;&tau;&iota;&kappa;&epsilon;ί&mu;&epsilon;&nu;&omicron; έ&omega;&sigmaf; έ&nu;&alpha; &alpha;&rho;&chi;&iota;&tau;&epsilon;&kappa;&tau;ό&nu;&eta;&mu;&alpha;, &epsilon;&mu;&pi;&omicron;&tau;ί&zeta;&epsilon;&iota; &tau;&alpha; &alpha;&nu;&tau;&iota;&kappa;&epsilon;ί&mu;&epsilon;&nu;&alpha; &kappa;&alpha;&theta;&eta;&mu;&epsilon;&rho;&iota;&nu;ή&sigmaf; &chi;&rho;ή&sigma;&eta;&sigmaf; &mu;&epsilon; &lambda;&upsilon;&rho;&iota;&sigma;&mu;ό &pi;&omicron;&upsilon; &tau;&omicron;&upsilon;&sigmaf; &pi;&rho;&omicron;&sigma;&delta;ί&delta;&epsilon;&iota; &tau;&epsilon;&lambda;&epsilon;&iota;ό&tau;&eta;&tau;&alpha; &sigma;&tau;&eta; &mu;&omicron;&rho;&phi;ή &alpha;&lambda;&lambda;ά &sigma;&upsilon;&nu;ά&mu;&alpha; &kappa;&alpha;&iota; &chi;&rho;&eta;&sigma;&tau;&iota;&kappa;ό&tau;&eta;&tau;&alpha;.</p> <p style="text-align: justify;">Ό&pi;&omega;&sigmaf; &upsilon;&pi;&omicron;&delta;&eta;&lambda;ώ&nu;&epsilon;&iota; &kappa;&alpha;&iota; &omicron; &tau;ί&tau;&lambda;&omicron;&sigmaf; &tau;&omicron;&upsilon;&sigmaf;, &tau;&alpha; έ&rho;&gamma;&alpha; <em>Triptyques </em>(&Tau;&rho;ί&pi;&tau;&upsilon;&chi;&alpha;) &epsilon;ί&nu;&alpha;&iota; &chi;&rho;&omega;&mu;&alpha;&tau;&iota;&sigma;&tau;&omicron;ί &kappa;&alpha;&theta;&rho;έ&phi;&tau;&epsilon;&sigmaf; &pi;&omicron;&upsilon; &alpha;&pi;&omicron;&tau;&epsilon;&lambda;&omicron;ύ&nu;&tau;&alpha;&iota; &alpha;&pi;ό &tau;&rho;ί&alpha; &mu;έ&rho;&eta;&mdash;&omicron; &kappa;&alpha;&theta;έ&nu;&alpha;&sigmaf; &upsilon;&pi;ά&rho;&chi;&epsilon;&iota; &sigma;&epsilon; έ&xi;&iota; &kappa;&omicron;&mu;&mu;ά&tau;&iota;&alpha;. &Tau;&omicron; &kappa;&epsilon;&nu;&tau;&rho;&iota;&kappa;ό &tau;&mu;ή&mu;&alpha; &epsilon;ί&nu;&alpha;&iota; &sigma;&tau;&epsilon;&rho;&epsilon;&omega;&mu;έ&nu;&omicron; &sigma;&tau;&omicron;&nu; &tau;&omicron;ί&chi;&omicron;, &epsilon;&nu;ώ &tau;&alpha; &pi;ά&nu;&epsilon;&lambda; &pi;&omicron;&upsilon; &beta;&rho;ί&sigma;&kappa;&omicron;&nu;&tau;&alpha;&iota; &delta;&epsilon;&xi;&iota;ά &kappa;&alpha;&iota; &alpha;&rho;&iota;&sigma;&tau;&epsilon;&rho;ά &tau;&omicron;&upsilon; &epsilon;ί&nu;&alpha;&iota; έ&tau;&sigma;&iota; &kappa;&alpha;&tau;&alpha;&sigma;&kappa;&epsilon;&upsilon;&alpha;&sigma;&mu;έ&nu;&alpha; ώ&sigma;&tau;&epsilon; &nu;&alpha; &mu;&pi;&omicron;&rho;&omicron;ύ&nu; &nu;&alpha; &kappa;&iota;&nu;&omicron;ύ&nu;&tau;&alpha;&iota;. &Sigma;&tau;&eta;&nu; έ&kappa;&theta;&epsilon;&sigma;&eta; &pi;&alpha;&rho;&omicron;&upsilon;&sigma;&iota;ά&zeta;&omicron;&nu;&tau;&alpha;&iota; &tau;έ&sigma;&sigma;&epsilon;&rho;&iota;&sigmaf; &kappa;&alpha;&theta;&rho;έ&phi;&tau;&epsilon;&sigmaf;, &delta;&iota;&alpha;&phi;&omicron;&rho;&epsilon;&tau;&iota;&kappa;&omicron;ί &mu;&epsilon;&tau;&alpha;&xi;ύ &tau;&omicron;&upsilon;&sigmaf; &omega;&sigmaf; &pi;&rho;&omicron;&sigmaf; &tau;&omicron; &chi;&rho;ώ&mu;&alpha; &alpha;&lambda;&lambda;ά &kappa;&alpha;&iota; &omega;&sigmaf; &pi;&rho;&omicron;&sigmaf; &tau;&eta;&nu; &pi;&rho;&omicron;&sigma;έ&gamma;&gamma;&iota;&sigma;&eta;. &Omicron; Nouvel &alpha;&nu;&alpha;&phi;έ&rho;&epsilon;&iota; &sigma;&chi;&epsilon;&tau;&iota;&kappa;ά: &laquo;&Omicron; &kappa;&alpha;&theta;&rho;έ&phi;&tau;&eta;&sigmaf; &epsilon;ί&nu;&alpha;&iota; έ&nu;&alpha; &alpha;&nu;&tau;&iota;&kappa;&epsilon;ί&mu;&epsilon;&nu;&omicron; &mu;&epsilon; &tau;&omicron; &omicron;&pi;&omicron;ί&omicron; &sigma;&upsilon;&gamma;&kappa;&alpha;&tau;&omicron;&iota;&kappa;&epsilon;ί&sigmaf;, &alpha;&nu;&tau;&alpha;&nu;&alpha;&kappa;&lambda;ώ&nu;&tau;&alpha;&iota; &sigma;' &alpha;&upsilon;&tau;ό&nu; &pi;&omicron;&lambda;ύ &pi;&rho;&omicron;&sigma;&omega;&pi;&iota;&kappa;έ&sigmaf; &epsilon;&iota;&kappa;ό&nu;&epsilon;&sigmaf;&mdash;&epsilon;&iota;&kappa;ό&nu;&epsilon;&sigmaf; &alpha;&pi;' &tau;&omicron; &sigma;&pi;ί&tau;&iota; &sigma;&omicron;&upsilon;. &Kappa;&alpha;&mu;&iota;ά &phi;&omicron;&rho;ά &beta;&lambda;έ&pi;&epsilon;&iota;&sigmaf; &mu;έ&chi;&rho;&iota; &kappa;&alpha;&iota; &tau;&eta; &theta;έ&alpha; έ&xi;&omega; &alpha;&pi;' &tau;&omicron; &pi;&alpha;&rho;ά&theta;&upsilon;&rho;&omicron; &mu;έ&sigma;&alpha; &alpha;&pi;' &tau;&omicron;&nu; &kappa;&alpha;&theta;&rho;έ&phi;&tau;&eta; &sigma;&omicron;&upsilon;&raquo;. &Alpha;&pi;ό &chi;&rho;ώ&mu;&alpha;&tau;&alpha;, &chi;&rho;&eta;&sigma;&iota;&mu;&omicron;&pi;&omicron;&iota;&epsilon;ί ό&lambda;&eta; &tau;&eta;&nu; &gamma;&kappa;ά&mu;&alpha; &tau;&omicron;&upsilon; &pi;&omicron;&rho;&tau;&omicron;&kappa;&alpha;&lambda;ί, &alpha;&pi;ό &tau;&omicron; &alpha;&nu;&omicron;&iota;&chi;&tau;ό&chi;&rho;&omega;&mu;&omicron; &mu;έ&chi;&rho;&iota; &tau;&omicron; &sigma;&alpha;&gamma;&kappa;&omicron;&upsilon;ί&nu;&iota; &kappa;&alpha;&iota; &tau;&omicron; &kappa;ό&kappa;&kappa;&iota;&nu;&omicron;, &pi;&omicron;&upsilon; &epsilon;ί&nu;&alpha;&iota; &kappa;&alpha;&iota; &tau;&omicron; &chi;&rho;ώ&mu;&alpha; &pi;&omicron;&upsilon; &chi;&alpha;&rho;&alpha;&kappa;&tau;&eta;&rho;ί&zeta;&epsilon;&iota; &tau;&eta; &delta;&omicron;&upsilon;&lambda;&epsilon;&iota;ά &tau;&omicron;&upsilon;. &Omicron; &kappa;&alpha;&theta;&rho;έ&phi;&tau;&eta;&sigmaf; &alpha;&pi;&omicron;&kappa;&tau;ά &delta;&iota;&alpha;&phi;&omicron;&rho;&epsilon;&tau;&iota;&kappa;ό &nu;ό&eta;&mu;&alpha; &alpha;&nu;ά&lambda;&omicron;&gamma;&alpha; &mu;&epsilon; &tau;&omicron; &alpha;&nu; &epsilon;ί&nu;&alpha;&iota; &alpha;&nu;&omicron;&iota;&chi;&tau;ό&sigmaf; ή &kappa;&lambda;&epsilon;&iota;&sigma;&tau;ό&sigmaf;. Ό&tau;&alpha;&nu; &epsilon;ί&nu;&alpha;&iota; &alpha;&nu;&omicron;&iota;&chi;&tau;&omicron;ί, &omicron;&iota; &kappa;&alpha;&theta;&rho;έ&phi;&tau;&epsilon;&sigmaf; &tau;&omicron;&upsilon; Nouvel &phi;&alpha;&nu;&epsilon;&rho;ώ&nu;&omicron;&upsilon;&nu; &pi;ό&sigma;&omicron; &sigma;&eta;&mu;&alpha;&nu;&tau;&iota;&kappa;ό &epsilon;ί&nu;&alpha;&iota; &tau;&omicron; &chi;&rho;ώ&mu;&alpha; &sigma;&tau;&omicron;&nu; &pi;&epsilon;&rho;&iota;&beta;ά&lambda;&lambda;&omicron;&nu;&tau;&alpha; &chi;ώ&rho;&omicron;. Ό&tau;&alpha;&nu; &epsilon;ί&nu;&alpha;&iota; &kappa;&lambda;&epsilon;&iota;&sigma;&tau;&omicron;ί, &tau;&omicron;&upsilon;&sigmaf; &chi;&alpha;&rho;&alpha;&kappa;&tau;&eta;&rho;ί&zeta;&epsilon;&iota; &eta; &alpha;&upsilon;&sigma;&tau;&eta;&rho;ή &kappa;&omicron;&mu;&psi;ό&tau;&eta;&tau;&alpha;.</p> <p style="text-align: justify;">&Eta; &delta;&epsilon; &upsilon;&pi;&epsilon;&rho;&mu;&epsilon;&gamma;έ&theta;&eta;&sigmaf; &epsilon;&rho;&gamma;&alpha;&lambda;&epsilon;&iota;&omicron;&theta;ή&kappa;&eta; &alpha;&pi;ό &alpha;&nu;&omicron;&xi;&epsilon;ί&delta;&omega;&tau;&omicron; &alpha;&tau;&sigma;ά&lambda;&iota; &mu;&epsilon; &tau;ί&tau;&lambda;&omicron;<em> Bo&icirc;te &agrave; outils </em>(1987&ndash;2011) &epsilon;ί&nu;&alpha;&iota; έ&nu;&alpha; &alpha;&nu;&tau;&iota;&kappa;&epsilon;ί&mu;&epsilon;&nu;&omicron; &pi;&alpha;&sigma;ί&gamma;&nu;&omega;&sigma;&tau;&omicron; &kappa;&alpha;&iota; &epsilon;&mu;&beta;&lambda;&eta;&mu;&alpha;&tau;&iota;&kappa;ό. &Pi;&rho;ό&kappa;&epsilon;&iota;&tau;&alpha;&iota; &gamma;&iota;&alpha; &alpha;&nu;&tau;&iota;&kappa;&epsilon;ί&mu;&epsilon;&nu;&omicron; &chi;&rho;&eta;&sigma;&tau;&iota;&kappa;ό &pi;&omicron;&upsilon; &tau;&alpha;&upsilon;&tau;ό&chi;&rho;&omicron;&nu;&alpha; &epsilon;&xi;ά&pi;&tau;&epsilon;&iota; &tau;&eta; &phi;&alpha;&nu;&tau;&alpha;&sigma;ί&alpha;: έ&nu;&alpha; &pi;&omicron;&lambda;&upsilon;&tau;&epsilon;&lambda;έ&sigmaf; &sigma;ύ&sigma;&tau;&eta;&mu;&alpha; &alpha;&pi;&omicron;&theta;ή&kappa;&epsilon;&upsilon;&sigma;&eta;&sigmaf; &mu;&epsilon; &sigma;&eta;&mu;&epsilon;ί&omicron; &alpha;&nu;&alpha;&phi;&omicron;&rho;ά&sigmaf; &tau;&eta;&nu; &kappa;&lambda;&alpha;&sigma;&iota;&kappa;ή &epsilon;&rho;&gamma;&alpha;&lambda;&epsilon;&iota;&omicron;&theta;ή&kappa;&eta; &pi;&omicron;&upsilon; &upsilon;&pi;ά&rho;&chi;&epsilon;&iota; &sigma;&chi;&epsilon;&delta;ό&nu; &sigma;&epsilon; &kappa;ά&theta;&epsilon; &nu;&omicron;&iota;&kappa;&omicron;&kappa;&upsilon;&rho;&iota;ό. &Omicron; Nouvel &epsilon;&pi;&alpha;&nu;&epsilon;&rho;&mu;&eta;&nu;&epsilon;ύ&epsilon;&iota; &alpha;&upsilon;&tau;ό &tau;&omicron; &kappa;&alpha;&theta;&eta;&mu;&epsilon;&rho;&iota;&nu;ό &chi;&rho;&eta;&sigma;&tau;&iota;&kappa;ό &alpha;&nu;&tau;&iota;&kappa;&epsilon;ί&mu;&epsilon;&nu;&omicron; &pi;&rho;&omicron;&iota;&kappa;ί&zeta;&omicron;&nu;&tau;ά&sigmaf; &tau;&omicron; &mu;&epsilon; &epsilon;&pi;&iota;&pi;&lambda;έ&omicron;&nu; &chi;&alpha;&rho;&alpha;&kappa;&tau;&eta;&rho;&iota;&sigma;&tau;&iota;&kappa;ά &kappa;&alpha;&iota; &iota;&delta;&iota;ό&tau;&eta;&tau;&epsilon;&sigmaf;.</p> <p style="text-align: justify;">&Omicron; <strong>Jean Nouvel</strong> &gamma;&epsilon;&nu;&nu;ή&theta;&eta;&kappa;&epsilon; &sigma;&tau;&omicron; Fumel &tau;&omicron; 1945 &kappa;&alpha;&iota; &sigma;&pi;&omicron;ύ&delta;&alpha;&sigma;&epsilon; &sigma;&tau;&eta;&nu; &Eacute;cole des Beaux-Arts &sigma;&tau;&omicron; &Pi;&alpha;&rho;ί&sigma;&iota;. Έ&pi;&alpha;&iota;&xi;&epsilon; &rho;ό&lambda;&omicron; &pi;&rho;&omega;&tau;&alpha;&gamma;&omega;&nu;&iota;&sigma;&tau;&iota;&kappa;ό &sigma;&tau;&eta; &gamma;&alpha;&lambda;&lambda;&iota;&kappa;ή &delta;&iota;&alpha;&nu;ό&eta;&sigma;&eta; ό&sigma;&omicron;&nu; &alpha;&phi;&omicron;&rho;ά &tau;&eta;&nu; &alpha;&rho;&chi;&iota;&tau;&epsilon;&kappa;&tau;&omicron;&nu;&iota;&kappa;ή &kappa;&alpha;&iota; ή&tau;&alpha;&nu; έ&nu;&alpha; &alpha;&pi;ό &tau;&alpha; &iota;&delta;&rho;&upsilon;&tau;&iota;&kappa;ά &sigma;&tau;&epsilon;&lambda;έ&chi;&eta; &tau;&omicron;&upsilon; &kappa;&iota;&nu;ή&mu;&alpha;&tau;&omicron;&sigmaf; Mars 1976 &kappa;&alpha;&iota; &tau;&omicron;&upsilon; Syndicat de l'Architecture. &Mu;&epsilon;&tau;&alpha;&xi;ύ &tau;&omega;&nu; &pi;&iota;&omicron; &gamma;&nu;&omega;&sigma;&tau;ώ&nu; &kappa;&tau;&iota;&rho;ί&omega;&nu; &tau;&omicron;&upsilon; &sigma;&upsilon;&gamma;&kappa;&alpha;&tau;&alpha;&lambda;έ&gamma;&omicron;&nu;&tau;&alpha;&iota; &tau;&omicron; &Mu;&omicron;&upsilon;&sigma;&epsilon;ί&omicron; &tau;&eta;&sigmaf; &Alpha;&pi;&omicron;&beta;ά&theta;&rho;&alpha;&sigmaf; &Mu;&pi;&rho;&alpha;&nu;&lambda;ί (&Pi;&alpha;&rho;ί&sigma;&iota;), &tau;&omicron; Ί&delta;&rho;&upsilon;&mu;&alpha; &Sigma;ύ&gamma;&chi;&rho;&omicron;&nu;&eta;&sigmaf; &Tau;έ&chi;&nu;&eta;&sigmaf; &Kappa;&alpha;&rho;&tau;&iota;έ (&Pi;&alpha;&rho;ί&sigma;&iota;), &tau;&omicron; &Pi;&omicron;&lambda;&iota;&tau;&iota;&sigma;&tau;&iota;&kappa;ό &kappa;&alpha;&iota; &Sigma;&upsilon;&nu;&epsilon;&delta;&rho;&iota;&alpha;&kappa;ό &Kappa;έ&nu;&tau;&rho;&omicron; &tau;&eta;&sigmaf; &Lambda;&omicron;&upsilon;&kappa;έ&rho;&nu;&eta;&sigmaf; (&Epsilon;&lambda;&beta;&epsilon;&tau;ί&alpha;), &omicron; &pi;ύ&rho;&gamma;&omicron;&sigmaf; Agbar (&Beta;&alpha;&rho;&kappa;&epsilon;&lambda;ώ&nu;&eta;) &kappa;&alpha;&iota; &tau;&omicron; &theta;έ&alpha;&tau;&rho;&omicron; Guthrie (&Mu;&iota;&nu;&epsilon;ά&pi;&omicron;&lambda;&iota;&sigmaf;). &Tau;&omicron; &mu;&omicron;&upsilon;&sigma;&epsilon;ί&omicron; &tau;&omicron;&upsilon; &Lambda;&omicron;ύ&beta;&rho;&omicron;&upsilon; &sigma;&tau;&omicron; Ά&mu;&pi;&omicron;&upsilon; &Nu;&tau;ά&mu;&pi;&iota; &kappa;&alpha;&iota; &tau;&omicron; &Epsilon;&theta;&nu;&iota;&kappa;ό &Mu;&omicron;&upsilon;&sigma;&epsilon;ί&omicron; &tau;&eta;&sigmaf; &Kappa;ί&nu;&alpha;&sigmaf; (NAMOC) &epsilon;ί&nu;&alpha;&iota; &delta;ύ&omicron; &alpha;&pi;ό &tau;&alpha; &tau;&rho;έ&chi;&omicron;&nu;&tau;&alpha; έ&rho;&gamma;&alpha; &tau;&omicron;&upsilon; &pi;&omicron;&upsilon; &beta;&rho;ί&sigma;&kappa;&omicron;&nu;&tau;&alpha;&iota; &sigma;&epsilon; &sigma;&tau;ά&delta;&iota;&omicron; &sigma;&chi;&epsilon;&delta;&iota;&alpha;&sigma;&mu;&omicron;ύ. &Omicron; Nouvel έ&chi;&epsilon;&iota; &tau;&iota;&mu;&eta;&theta;&epsilon;ί &mu;&epsilon; &tau;&omicron; &beta;&rho;&alpha;&beta;&epsilon;ί&omicron; &alpha;&rho;&chi;&iota;&tau;&epsilon;&kappa;&tau;&omicron;&nu;&iota;&kappa;ή&sigmaf; Aga Khan &gamma;&iota;&alpha; &tau;&omicron; &Iota;&nu;&sigma;&tau;&iota;&tau;&omicron;ύ&tau;&omicron; &Alpha;&rho;&alpha;&beta;&iota;&kappa;&omicron;ύ &Kappa;ό&sigma;&mu;&omicron;&upsilon; (1989), &mu;&epsilon; &tau;&omicron; &Chi;&rho;&upsilon;&sigma;ό &Mu;&epsilon;&tau;ά&lambda;&lambda;&iota;&omicron; &alpha;&pi;ό &tau;&omicron; &Beta;&alpha;&sigma;&iota;&lambda;&iota;&kappa;ό &Iota;&nu;&sigma;&tau;&iota;&tau;&omicron;ύ&tau;&omicron; &Beta;&rho;&epsilon;&tau;&alpha;&nu;ώ&nu; &Alpha;&rho;&chi;&iota;&tau;&epsilon;&kappa;&tau;ό&nu;&omega;&nu; (2001), &mu;&epsilon; &tau;&omicron; &beta;&rho;&alpha;&beta;&epsilon;ί&omicron; Wolf &sigma;&tau;&eta;&nu; &tau;έ&chi;&nu;&eta; (2005) &kappa;&alpha;&iota; &mu;&epsilon; &tau;&omicron; &beta;&rho;&alpha;&beta;&epsilon;ί&omicron; Pritzker (2008). &Epsilon;&kappa;&theta;έ&sigma;&epsilon;&iota;&sigmaf; &mu;&epsilon; &tau;&eta; &delta;&omicron;&upsilon;&lambda;&epsilon;&iota;ά &tau;&omicron;&upsilon;&mdash;ό&pi;&omega;&sigmaf; &eta; &alpha;&nu;&alpha;&delta;&rho;&omicron;&mu;&iota;&kappa;ή &laquo;Jean Nouvel&raquo; &sigma;&tau;&omicron; &Kappa;έ&nu;&tau;&rho;&omicron; &Pi;&omicron;&mu;&pi;&iota;&nu;&tau;&omicron;ύ &sigma;&tau;&omicron; &Pi;&alpha;&rho;ί&sigma;&iota; (2001)&mdash;έ&chi;&omicron;&upsilon;&nu; &delta;&iota;&omicron;&rho;&gamma;&alpha;&nu;&omega;&theta;&epsilon;ί &sigma;&epsilon; &omicron;&lambda;ό&kappa;&lambda;&eta;&rho;&omicron; &tau;&omicron;&nu; &kappa;ό&sigma;&mu;&omicron;, &alpha;&pi;ό &tau;&eta; &Nu;έ&alpha; &Upsilon;ό&rho;&kappa;&eta; έ&omega;&sigmaf; &tau;&omicron; &Rho;ί&omicron; &Nu;&tau;&epsilon; &Tau;&zeta;&alpha;&nu;έ&iota;&rho;&omicron; &kappa;&alpha;&iota; &tau;&omicron; &Tau;ό&kappa;&iota;&omicron;.</p> <p style="text-align: justify;">&Tau;&omicron; 1995 &omicron; Nouvel ί&delta;&rho;&upsilon;&sigma;&epsilon; &tau;&omicron; Jean Nouvel Design Agency (JND) &gamma;&iota;&alpha; &nu;&alpha; &alpha;&sigma;&chi;&omicron;&lambda;&eta;&theta;&epsilon;ί &mu;&epsilon; &tau;&omicron;&nu; &sigma;&chi;&epsilon;&delta;&iota;&alpha;&sigma;&mu;ό &pi;&rho;&omicron;ϊό&nu;&tau;&omega;&nu; &kappa;&alpha;&iota; &epsilon;&sigma;&omega;&tau;&epsilon;&rho;&iota;&kappa;ώ&nu; &chi;ώ&rho;&omega;&nu;, &pi;&alpha;&rho;ά&lambda;&lambda;&eta;&lambda;&alpha; &mu;&epsilon; &tau;&omicron; &alpha;&rho;&chi;&iota;&tau;&epsilon;&kappa;&tau;&omicron;&nu;&iota;&kappa;ό &tau;&omicron;&upsilon; &gamma;&rho;&alpha;&phi;&epsilon;ί&omicron; Ateliers Jean Nouvel. Έ&kappa;&tau;&omicron;&tau;&epsilon; έ&chi;&omicron;&upsilon;&nu; &sigma;&chi;&epsilon;&delta;&iota;&alpha;&sigma;&tau;&epsilon;ί &kappa;&alpha;&iota; &beta;&gamma;&epsilon;&iota; &sigma;&tau;&eta;&nu; &pi;&alpha;&rho;&alpha;&gamma;&omega;&gamma;ή &alpha;&rho;&kappa;&epsilon;&tau;έ&sigmaf; &sigma;&upsilon;&lambda;&lambda;&omicron;&gamma;έ&sigmaf; &epsilon;&pi;ί&pi;&lambda;&omega;&nu; &kappa;&alpha;&iota; &alpha;&nu;&tau;&iota;&kappa;&epsilon;&iota;&mu;έ&nu;&omega;&nu; &beta;&iota;&omicron;&mu;&eta;&chi;&alpha;&nu;&iota;&kappa;&omicron;ύ &nu;&tau;&iota;&zeta;ά&iota;&nu;, ό&pi;&omega;&sigmaf; &eta; &sigma;&upsilon;&lambda;&lambda;&omicron;&gamma;ή Less Less (Unifor), &pi;&rho;&omicron;ϊό&nu;&tau;&alpha; &gamma;&iota;&alpha; &tau;&omicron; &sigma;&epsilon;&rho;&beta;ί&rho;&iota;&sigma;&mu;&alpha; &tau;&omicron;&upsilon; &kappa;&alpha;&phi;έ (Alessi), &phi;&omega;&tau;&iota;&sigma;&tau;&iota;&kappa;ά (Artemide), &kappa;&alpha;&rho;έ&kappa;&lambda;&epsilon;&sigmaf; (Emeco, Emu, Figueras) &kappa;&alpha;&iota; &tau;&rho;&alpha;&pi;έ&zeta;&iota;&alpha; (Cassina, Molteni).&nbsp;<em>&Eta; Gagosian Gallery, &sigma;&epsilon; &sigma;&upsilon;&nu;&epsilon;&rho;&gamma;&alpha;&sigma;ί&alpha; &mu;&epsilon; &tau;&eta;&nu; &gamma;&kappa;&alpha;&lambda;&epsilon;&rho;ί Patrick Seguin, &epsilon;&iota;&nu;&alpha;&iota; &omicron;&iota; &alpha;&pi;&omicron;&kappa;&lambda;&epsilon;&iota;&sigma;&tau;&iota;&kappa;&omicron;ί &pi;&alpha;&rho;&alpha;&gamma;&omega;&gamma;&omicron;ί &kappa;&alpha;&iota; &delta;&iota;&alpha;&nu;&omicron;&mu;&epsilon;ί&sigmaf; &tau;&eta;&sigmaf; &pi;&epsilon;&rho;&iota;&omicron;&rho;&iota;&sigma;&mu;έ&nu;&eta;&sigmaf; έ&kappa;&delta;&omicron;&sigma;&eta;&sigmaf; &epsilon;&pi;ί&pi;&lambda;&omega;&nu; &tau;&omicron;&upsilon; Jean Nouvel.</em></p> Tue, 28 Jun 2016 10:27:55 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Axel Straschnoy - Forum Box - Space for Art - July 1st - July 31st <p style="text-align: justify;">Single-channel video works have become an important part of the art world offerings among other reasons due to their extreme portability: they can be shipped around the world by way of a dropbox link, they can be streamed online, played on a small TV, projected on a wall, presented as part of a bigger programme, screened in film festivals. In short: their display method is standardised and they travel cheaply. They are the traveling work by definition.</p> <p style="text-align: justify;">On the other hand, traditional artworks with a strong physical presence need special packing to survive and sophisticated logistics to arrive from place to place. The film addresses the complex web of shipping that lies behind the international art world and traveling exhibitions while being, in itself, one of the most portable kinds of artworks there is.</p> <hr /> <p style="text-align: justify;">Yksikanavaisista videoteoksista on muotoutunut t&auml;rke&auml; osa taidemaailmaa tarjontaa muun muassa niiden eritt&auml;in helpon liikuteltavuuden vuoksi. Niit&auml; voidaan l&auml;hett&auml;&auml; ymp&auml;ri maailmaa dropbox-linkin avulla, esitt&auml;&auml; verkossa, n&auml;ytt&auml;&auml; pienelt&auml; TV-ruudulta tai heijastaa sein&auml;lle, esitt&auml;&auml; osana laajempaa ohjelmistoa tai elokuvafestivaaleilla. Lyhyesti sanottuna, yksikanavaiset videoteokset ovat esitt&auml;mistavoiltaan standardisoitu ja ne matkustavat halvalla. N&auml;iden t&ouml;iden luontona on matkustaa.</p> <p style="text-align: justify;">Toisaalta perinteiset taideteokset, joilla on vahva fyysinen olemus, tarvitsevat erityisen kuljetuslaatikon, jossa ne s&auml;ilyv&auml;t ehjin&auml;, ja monimutkaisen logistiikan kulkiessaan paikasta toiseen. Elokuvan aiheena on taidemaailman vaativa kuljetusverkosto ja kiert&auml;v&auml;t n&auml;yttelyt, samalla itse ollen yksi liikuteltavin taideteoksen muoto mit&auml; on olemassa.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Sound Design: Karri Niinivaara / B-Sound<br />Colour grading: Jussi Myllyniemi / Whitepoint<br />Supported by: AVEK / Elena N&auml;s&auml;nen &amp; TAIKE<br />Produced by: Kolme Perunaa</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><a href="http://kolmeperunaa.com/le-rappel.html">http://kolmeperunaa.com/le-rappel.html</a></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Axel Straschnoy (born 1978) is a visual artist from Buenos Aires based in Helsinki working on long-term and research focused projects.</p> Tue, 28 Jun 2016 10:23:09 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Group Show - Forum Box - Space for Art - July 1st - July 31st <p style="text-align: justify;"><strong>By Water - Icelandic artists on the shores of Finland</strong>, is a major exhibition mounted by the Pro Artibus Foundation, which will extend across four exhibition spaces, and outdoors in the town of Tammisaari, in summer 2016. The project continues the series of exhibitions of Nordic contemporary art produced by Pro Artibus, and is the most extensive showing of Icelandic contemporary art ever held in Finland.</p> <p style="text-align: justify;">The theme of the exhibition is the relationship between water and people. The starting point is the significance of water in Icelandic culture and society. In Iceland as well as Finland the sea has been something that both divides and unites. Throughout the history of humankind the question of water and its use, ownership of water and its conservation and protection, have been interwoven with culture, trade, industry and art. This everyday theme, humankind's dependence on water, is a good starting point for an exhibition that presents the diversity and richness of Icelandic contemporary art.</p> <p style="text-align: justify;">The exhibition will spread out across various municipalities and exhibition spaces like an archipelago. In Helsinki it will be shown at the Amos Anderson Art Museum and Forum Box gallery. In Tammisaari it will be at Gallery Elverket, Villa Schildt and in outdoor spaces in the town. The individual contributions have all been planned with the character of the exhibition space in mind. The artists represent the polymorphous indiscipline of Icelandic contemporary art, and the choices have been guided more by an interest in the differences between Icelandic artists than by a desire to find national common ground.</p> <p style="text-align: justify;">The contributing artists represent different generations and approaches, but they have all worked with the theme of water prior to this exhibition. At the Amos Anderson Art Museum: Steinunn Gunlaugsdóttir, Ásdís Sif Gunnarsdóttir, Hekla Dögg Jónsdóttir, Sirra Sigrún Sigur&eth;ardóttir and Rúrí. Gallery Elverket: Olga Bergmann &amp; Anna Hallin, Birgir Sn&aelig;björn Birgisson, Ósk Vilhjálmsdóttir and Gunnar Jónsson. Tammisaari outdoor areas: Unndór Egill Jónsson and Finnbogi Pétursson. Villa Schildt: Bjarki Bragason. Galleria Forum Box: Kolbeinn Hugi.</p> <p style="text-align: justify;">The title of the exhibition contains a minor play on words. The Finnish Veden varassa implies dependence on water, but also finding oneself in water and being there, and implicitly staying on the surface. Trampa vatten, the Swedish title of the exhibition, refers primarily to staying on the surface of the water. The English By Water is linked to being beside water, along with the way things are transported with the aid of water, via water or waterways. The trilingual title is also aimed at those who deal with these three languages every day. Multilingualism suits small nations that often have to communicate in a language other than their native tongue.</p> <p style="text-align: justify;">By Water will be accompanied by an English-language publication containing supplementary texts, articles profiling the contemporary-art scenes in Iceland and Finland, and a art of the written and spoken word by Ásdís Sif Gunnarsdóttir.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">PhD Juha-Heikki Tihinen</p> <p style="text-align: justify;">&nbsp;</p> <p><strong>Bio</strong><br />Kolbeinn Hugi (1979)<br /><br /></p> <p style="text-align: justify;">Born in Reykjav&iacute;k, Kolbeinn Hugi is an Iceland-resident artist of the generation that emerged in the wake of the great cataclysmic rift between art and artists in the bleak, neo-capitalist Reykjav&iacute;k of modern times.</p> <p style="text-align: justify;">Kolbeinn Hugi has developed a complex audio-visual language that uses found materials, foamed water, fabrics, and layered, synthesized soundscapes. Visual pyramid and diamond motifs form a ritualistic system within his work. He often uses his body as a tool or vehicle for ideas within his practice, with recurring themes including absurd realities, dream spaces, utopian projections and humankind's modern-day disconnection and systematic alienation from the environment.</p> <p style="text-align: justify;">Kolbeinn Hugi was contacted by Edgar Cayce in the informal setting of the dream-state trances established by the great sleeping medium after his death in 1945. There, Kolbeinn Hugi absorbed the acute sensitivity to time and space associated with Cayce's phantom sculptures as they are installed in his Astral Pavilion.</p> <p style="text-align: justify;">Kolbeinn's work is simple and needs no explanation, aiming for the heart, not the head.</p> <p style="text-align: justify;">His work has been widely exhibited in the western world, and is housed in the collection of the National Gallery of Iceland.</p> <p style="text-align: justify;"><a href="http://kolbeinnhugi.net/" target="_blank"><strong>www.kolbeinnhugi.net</strong></a></p> <hr /> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Veden varassa - islantilaistaiteilijoita Suomen rannikoilla</strong> on Pro Artibus -s&auml;&auml;ti&ouml;n j&auml;rjest&auml;m&auml; suurn&auml;yttely, joka levittyy nelj&auml;&auml;n n&auml;yttelytilaan ja Tammisaaren kaupungin alueelle kes&auml;ll&auml; 2016. Hanke jatkaa Pro Artibuksen tuottamien pohjoismaisten nykytaiden&auml;yttelyiden sarjaa ja on laajin koskaan j&auml;rjestetty islantilaisen nykytaiteen esittely Suomessa.</p> <p style="text-align: justify;">N&auml;yttelyn teemana on veden ja ihmisen v&auml;linen suhde. L&auml;ht&ouml;kohtana on veden merkitys islantilaisessa kulttuurissa ja yhteiskunnassa. Meri on ollut niin Islannissa kuin Suomessakin sek&auml; erottava ett&auml; yhdist&auml;v&auml; asia. L&auml;pi ihmiskunnan historian kysymys vedest&auml; ja sen k&auml;yt&ouml;st&auml;, sen omistus ja vaaliminen ovat asioita, jotka kietoutuvat niin kulttuuriin, kauppaan, teollisuuteen kuin taiteeseenkin. Arkip&auml;iv&auml;inen teema, ihmisen riippuvaisuus vedest&auml;, on hyv&auml; l&auml;ht&ouml;kohta n&auml;yttelylle, joka esittelee islantilaisen nykytaiteen moninaisuutta ja rikkautta.</p> <p style="text-align: justify;">N&auml;yttely levi&auml;&auml; eri paikkakunnille ja n&auml;yttelytiloihin kuin saaristo. N&auml;yttely on esill&auml; Helsingiss&auml; Amos Andersonin taidemuseossa ja Forum Box -galleriassa. Tammisaaressa n&auml;yttely on esill&auml; Galleria Elverketiss&auml;, Villa Schildtiss&auml; ja kaupungin alueella. Yksitt&auml;iset osuudet ovat kaikki suunniteltu n&auml;yttelytilojensa luonteen perusteella. N&auml;yttelyn taiteilijat edustavat islantilaisen nykytaiteen monimuotoista kurittomuutta ja valintoja, on ohjannut enemm&auml;n kiinnostuneisuus islantilaisten taiteilijoiden v&auml;lisi&auml; eroja kohtaan kuin halua l&ouml;yt&auml;&auml; kansallisia yhtenev&auml;isyyksi&auml;.</p> <p style="text-align: justify;">N&auml;yttelyn taiteilijat edustavat eri sukupolvia ja l&auml;hestymistapoja, mutta he kaikki ovat ty&ouml;skennelleet vesi-teeman kanssa jo ennen t&auml;t&auml; n&auml;yttely&auml;. Amos Andersonin taidemuseossa: Steinunn Gunlaugsdóttir, Ásdís Sif Gunnarsdóttir, Hekla Dögg Jónsdóttir, Sirra Sigrún Sigur&eth;ardóttir ja Rúrí. Galleria Elverketiss&auml;: Olga Bergmann &amp; Anna Hallin, Birgir Sn&aelig;björn Birgisson, Ósk Vilhjálmsdóttir ja Gunnar Jónsson. Tammisaaressa kaupunkitilassa: Unndór Egill Jónsson ja Finnbogi Pétursson. Villa Schildtiss&auml;: Bjarki Bragason. Galleria Forum Boxissa: Kolbeinn Hugi.</p> <p style="text-align: justify;">N&auml;yttelyn nimeen sis&auml;ltyy pienoinen sanaleikki. Suomeksi veden varassa tarkoittaa riippuvaisuutta vedest&auml;, mutta my&ouml;s veteen joutumista ja siell&auml; olemista, ja implisiittisesti pinnalla pysyttely&auml;. Ruotsiksi n&auml;yttelyn nimi trampa vatten viittaa l&auml;hinn&auml; veden pinnalla pysyttelyyn. Englannin By water liittyy veden &auml;&auml;rell&auml; olon lis&auml;ksi siihen, kuinka asiat kuljetetaan veden avulla, vesitse tai vesiteitse. Kolmikielinen nimi on my&ouml;s suunnattu niille, jotka ovat kolmen kielen kanssa tekemisiss&auml; p&auml;ivitt&auml;in. Monikielisyys sopii pienille kansoille, jotka joutuvat kommunikoimaan usein my&ouml;s muulla kuin &auml;idinkielell&auml;&auml;n.</p> <p style="text-align: justify;">N&auml;yttelyn yhteydess&auml; julkaistaan englanninkielinen julkaisu, joka sis&auml;lt&auml;&auml; n&auml;yttelyn oheistekstej&auml;, Islannin ja Suomen nykytaidekentt&auml;&auml; esittelevi&auml; artikkeleja ja Ásdís Sif Gunnarsdóttirin sanataideteoksen.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">FT Juha-Heikki Tihinen</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Trampa vatten - isl&auml;ndska konstn&auml;rer vid finl&auml;ndska kusten</strong>, &auml;r ett omfattande utst&auml;llningsprojekt av Stiftelsen Pro Artibus. Under sommaren 2016 sprider utst&auml;llningen ut sig &ouml;ver fyra utst&auml;llningsutrymmen och intar dessutom offentliga platser i Eken&auml;s stad. Projektet &auml;r en forts&auml;ttning p&aring; Pro Artibus serie av nordiska samtidskonstutst&auml;llningar, och den hittills st&ouml;rsta f&ouml;revisningen av isl&auml;ndsk konst i Finland.</p> <p style="text-align: justify;">Temat f&ouml;r utst&auml;llningen &auml;r f&ouml;rh&aring;llandet mellan vatten och m&auml;nniska. Utg&aring;ngspunkten &auml;r vattnets betydelse i den isl&auml;ndska kulturen och samh&auml;llet. B&aring;de p&aring; Island och i Finland har vattnet varit en avskiljande, men samtidigt f&ouml;renande faktor. Under hela m&auml;nsklighetens historia har fr&aring;gan om vattnet och dess bruk, om att &auml;ga och v&auml;rna vatten, varit inblandad i kultur, kommers, industri och konst. Det alldagligaste av teman, m&auml;nniskans beroende av vatten, &auml;r en god utg&aring;ngspunkt f&ouml;r en utst&auml;llning som f&ouml;revisar den isl&auml;ndska samtidskonstens m&aring;ngfald och rikedom.</p> <p style="text-align: justify;">Likt en sk&auml;rg&aring;rd sprider sig utst&auml;llningen &ouml;ver flera orter och utst&auml;llningsutrymmen. I Helsingfors visas utst&auml;llningen i Amos Andersons konstmuseum och i galleri Forum Box. I Eken&auml;s &auml;r Galleri Elverket, Villa Schildt och stadens offentliga platser i bruk. Utst&auml;llningsutrymmets karakt&auml;r ligger till grund f&ouml;r planeringen av varje enskild del. Det &auml;r ett intresse f&ouml;r skillnaderna mellan de isl&auml;ndska konstn&auml;rerna, snarare &auml;n nationell samst&auml;mmighet, som styrt valen av konstn&auml;rer. F&ouml;ljaktligen representerar utst&auml;llningen den isl&auml;ndska samtidskonstens m&aring;ngsidiga val och b&aring;ngstyrighet.</p> <p style="text-align: justify;">Utst&auml;llningens konstn&auml;rer representerar olika generationer och tillv&auml;gag&aring;ngss&auml;tt, men alla har redan tidigare arbetat med temat vatten. I Amos Andersons konstmuseum: Steinunn Gunlaugsdóttir, Ásdís Sif Gunnarsdóttir, Hekla Dögg Jónsdóttir, Sirra Sigrún Sigur&eth;ardóttir och Rúri. I Galleri Elverket: Olga Bergmann &amp; Anna Hallin, Birgir Sn&aelig;björn Birgisson, Ósk Vilhjálmsdóttir och Gunnar Jónsson. P&aring; offentliga platser i Eken&auml;s stad: Unndór Egill Jónsson och Finnbogi Pétursson. I Villa Schildt: Bjarki Bragason. I galleri Forum Box: Kolbeinn Hugi.</p> <p style="text-align: justify;">Utst&auml;llningens namn &auml;r en lek med ord. P&aring; finska betyder veden varassa att vara beroende av vatten, men ocks&aring; att hamna och vara i vattnet, och implicit att h&aring;lla sig p&aring; ytan. Det svenska namnet trampa vatten syftar i f&ouml;rsta hand p&aring; det sistn&auml;mnda. Engelskans by water tillf&ouml;r betydelsen av att vara vid vattnet, men ocks&aring; att transportera n&aring;gonting vattenv&auml;gen eller med hj&auml;lp av vatten. Den trespr&aring;kiga titeln &auml;r ocks&aring; riktad till dem, som dagligen har att g&ouml;ra med tre spr&aring;k. Flerspr&aring;kighet passar f&ouml;r en f&aring;taligare befolkning, som ofta m&aring;ste kommunicera p&aring; andra spr&aring;k &auml;n modersm&aring;let.</p> <p style="text-align: justify;">I samband med utst&auml;llningen ger Pro Artibus ut en engelskspr&aring;kig publikation. Den inneh&aring;ller till utst&auml;llningen relaterade texter, artiklar som presenterar samtidskonstens f&auml;lt p&aring; Island och i Finland samt ett ordkonstverk av Ásdís Sif Gunnarsdóttir.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">FD Juha-Heikki Tihinen</p> <p><strong>By Water - Icelandic artists on the shores of Finland</strong>, is a major exhibition mounted by the Pro Artibus Foundation, which will extend across four exhibition spaces, and outdoors in the town of Tammisaari, in summer 2016. The project continues the series of exhibitions of Nordic contemporary art produced by Pro Artibus, and is the most extensive showing of Icelandic contemporary art ever held in Finland.</p> <p>The theme of the exhibition is the relationship between water and people. The starting point is the significance of water in Icelandic culture and society. In Iceland as well as Finland the sea has been something that both divides and unites. Throughout the history of humankind the question of water and its use, ownership of water and its conservation and protection, have been interwoven with culture, trade, industry and art. This everyday theme, humankind's dependence on water, is a good starting point for an exhibition that presents the diversity and richness of Icelandic contemporary art.</p> <p>The exhibition will spread out across various municipalities and exhibition spaces like an archipelago. In Helsinki it will be shown at the Amos Anderson Art Museum and Forum Box gallery. In Tammisaari it will be at Gallery Elverket, Villa Schildt and in outdoor spaces in the town. The individual contributions have all been planned with the character of the exhibition space in mind. The artists represent the polymorphous indiscipline of Icelandic contemporary art, and the choices have been guided more by an interest in the differences between Icelandic artists than by a desire to find national common ground.</p> <p>The contributing artists represent different generations and approaches, but they have all worked with the theme of water prior to this exhibition. At the Amos Anderson Art Museum: Steinunn Gunlaugsdóttir, Ásdís Sif Gunnarsdóttir, Hekla Dögg Jónsdóttir, Sirra Sigrún Sigur&eth;ardóttir and Rúrí. Gallery Elverket: Olga Bergmann &amp; Anna Hallin, Birgir Sn&aelig;björn Birgisson, Ósk Vilhjálmsdóttir and Gunnar Jónsson. Tammisaari outdoor areas: Unndór Egill Jónsson and Finnbogi Pétursson. Villa Schildt: Bjarki Bragason. Galleria Forum Box: Kolbeinn Hugi.</p> <p>The title of the exhibition contains a minor play on words. The Finnish Veden varassa implies dependence on water, but also finding oneself in water and being there, and implicitly staying on the surface. Trampa vatten, the Swedish title of the exhibition, refers primarily to staying on the surface of the water. The English By Water is linked to being beside water, along with the way things are transported with the aid of water, via water or waterways. The trilingual title is also aimed at those who deal with these three languages every day. Multilingualism suits small nations that often have to communicate in a language other than their native tongue.</p> <p>By Water will be accompanied by an English-language publication containing supplementary texts, articles profiling the contemporary-art scenes in Iceland and Finland, and a art of the written and spoken word by Ásdís Sif Gunnarsdóttir.</p> <p>&nbsp;</p> <p>PhD Juha-Heikki Tihinen</p> <p>&nbsp;</p> <p><strong>Bio</strong><br />Kolbeinn Hugi (1979)<br /><br /></p> <p>Born in Reykjav&iacute;k, Kolbeinn Hugi is an Iceland-resident artist of the generation that emerged in the wake of the great cataclysmic rift between art and artists in the bleak, neo-capitalist Reykjav&iacute;k of modern times.</p> <p>Kolbeinn Hugi has developed a complex audio-visual language that uses found materials, foamed water, fabrics, and layered, synthesized soundscapes. Visual pyramid and diamond motifs form a ritualistic system within his work. He often uses his body as a tool or vehicle for ideas within his practice, with recurring themes including absurd realities, dream spaces, utopian projections and humankind's modern-day disconnection and systematic alienation from the environment.</p> <p>Kolbeinn Hugi was contacted by Edgar Cayce in the informal setting of the dream-state trances established by the great sleeping medium after his death in 1945. There, Kolbeinn Hugi absorbed the acute sensitivity to time and space associated with Cayce's phantom sculptures as they are installed in his Astral Pavilion.</p> <p>Kolbeinn's work is simple and needs no explanation, aiming for the heart, not the head.</p> <p>His work has been widely exhibited in the western world, and is housed in the collection of the National Gallery of Iceland.</p> <p><a href="http://kolbeinnhugi.net/"><strong>www.kolbeinnhugi.net</strong></a></p> Tue, 28 Jun 2016 10:23:07 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Roni Horn - Fondation Beyeler - October 2nd - January 1st, 2017 <p style="text-align: justify;">Selected groups of works executed with different media will illustrate successive phases in the career of the internationally renowned American artist Roni Horn (*1955). In addition to works on paper, photographs and glass sculptures, the show will include a multipartite work for one wall executed especially for the exhibition &ndash; a new type of work for Roni Horn.</p> Tue, 28 Jun 2016 09:37:59 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Wassily Kandinsky, Franz Marc - Fondation Beyeler - September 4th - January 22nd, 2017 <p style="text-align: justify;">For the first time in a quarter of a century, a Swiss exhibition will be devoted to one of the most fascinating chapters in modern art: Der Blaue Reiter. The exhibition held in Munich in 1911 and the artistic movement by the same name resulted in a revolutionary new experience of art. The presentation will highlight the Almanac of the same name published by Wassily Kandinsky and Franz Marc, which heralded a turning-point in art and has left its mark on generations of artists right up until today.</p> Tue, 28 Jun 2016 09:34:21 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Alberto Giacometti, Constantin Brancusi, Pablo Picasso - Fondation Beyeler - June 28th - August 14th <div id="page" class="container-16 clear-block"> <div id="main" class="column grid-16"> <div id="content"> <div id="content-inner"> <div id="main-content" class="region clear-block"> <div class="ninesixty-twocols-10-6-with-header grid-16 alpha omega"> <div class="panel-layout panel-layout-twocolumn panel-layout-left grid-10 alpha"> <div class="panel-pane pane-views pane-page-content"> <div class="pane-content"> <div class="view view-page-content view-id-page_content view-display-id-default views-row-margin view-dom-id-5"> <div class="view-content"> <div class="views-row views-row-1 views-row-odd views-row-first views-row-last"> <div class="views-field-field-page-content-row-reference-nid"> <div class="view view-field-page-content-row-reference view-id-field_page_content_row_reference view-display-id-default views-row-separator standard-title view-dom-id-4"> <div class="view-content"> <div class="views-row views-row-1 views-row-odd views-row-first views-row-last" style="text-align: justify;">Thirteen works on long-term loan to the Fondation Beyeler&nbsp;</div> </div> <div class="attachment attachment-after"> <div class="view view-field-page-content-row-reference view-id-field_page_content_row_reference view-display-id-attachment_2 view-dom-id-3"> <div class="view-content"> <div class="views-row views-row-1 views-row-odd views-row-first views-row-last"> <div class="views-field-field-text-value"> <div class="field-content"> <p style="text-align: justify;">In the first presentation of the long-term loan nine paintings by Pablo Picasso from the Anthax Collection Marx will be displayed together side by side with works by the Spanish painter that belong to the collection of the Fondation Beyeler. A total of around twenty works by Picasso is on show.</p> <p style="text-align: justify;">The subject of the female portrait, which was so popular in the mid-twentieth century, predominates in the group of paintings, with, for example, <em>T&ecirc;te de femme</em> (December 2, 1939) from the Anthax Collection Marx providing a wonderful complement to the Fondation Beyeler&rsquo;s <em>Buste de femme au chapeau (Dora)</em> (November 30, 1939). The loaned works therefore provide an excellent and impressive extension to the museum&rsquo;s existing collection of thirty-four works by Pablo Picasso. The long-term loan consists of nine paintings and two works on paper by Picasso as well as sculptures by Alberto Giacometti and Constantin Brancusi. This is the first occasion that the Picasso works are being presented to the public as a group.</p> <p style="text-align: justify;">The Fondation Beyeler will in future integrate the works into exhibitions of its own collection, so that local residents and visitors from Basel can have the pleasure of seeing additional Picasso works. The Marx family has chosen the Fondation Beyeler for this public presentation because the works are particularly well suited for the museum&rsquo;s high quality programme. In addition, Riehen is located close to Brombach bei L&ouml;rrach, the birthplace of the collector Dr. Erich Marx, and his children are alumni of Basel grammar schools and the University of Basel. Through the public presentation of the works from the Anthax Collection Marx, which has been negotiated since 2013, the family would like to demonstrate its special ties to the area.&nbsp;</p> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> Tue, 28 Jun 2016 09:28:40 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Roni Horn - Fondation Beyeler - June 11th - January 1st, 2017 <div class="view view-field-page-content-row-reference view-id-field_page_content_row_reference view-display-id-default views-row-separator standard-title view-dom-id-4"> <div class="attachment attachment-after"> <div class="view view-field-page-content-row-reference view-id-field_page_content_row_reference view-display-id-attachment_2 view-dom-id-3"> <div class="view-content"> <div class="views-row views-row-1 views-row-odd views-row-first views-row-last"> <div class="views-field-field-text-value"> <div class="field-content"> <p style="text-align: justify;">Since the beginning of her career in the late 1970s, Roni Horn, who was born in New York in 1955, has worked with visually and materially diverse media: she creates drawings, photographs, texts, artists&rsquo; books and sculptures. There are themes that recur in many of Horn&rsquo;s works. They primarily include the mutability and multiplicity of identity as well as the capacity of art to recognize the divergence between the essence of a thing and its visual appearance. The deliberate, playful use of language and text always plays an important role in Horn&rsquo;s oeuvre.&nbsp;</p> <p style="text-align: justify;"><em>The Selected Gifts, 1974-2015</em>, which is made up of 67 separate photographs, will be publicly exhibited for the first time from June 11, 2016. As the title itself indicates, the objects photographed are gifts that Roni Horn has received over the past forty years, more or less since the beginning of her career. They include books, a love letter, drawings and photographs by friends, the petrified egg of a dinosaur, a stuffed swan. The significance, history and material value of these objects are hard to determine. These extremely diverse objects are recorded photographically with an "objective" gaze and printed in one of five formats of the same height (33 x 33, 35.6, 40.6, 45.7 or 48.3 cm). With a few exceptions all objects are reproduced actual size. The photographs of the selected gifts have a documentary function. At the same time &ndash; particularly when seen as a group &ndash; they constitute a possible portrait of the artist, as mirrored in the gift givers choice.</p> <p style="text-align: justify;">The exhibition<em> <a href="http://www.fondationbeyeler.ch/en/Exhibitions/Preview" target="_blank">Roni Horn</a></em>, which will run as from October 2, 2016 alongside the presentation of <em>The Selected Gifts, 1974-2015</em>, will bring together selected groups of works, some of them new, that include the drawings and sculptural oeuvre of Roni Horn. The exhibition is the result of close cooperation between the artist and Theodora Vischer, Senior Curator of the Fondation Beyeler, and is being especially designed for the Fondation Beyeler&rsquo;s exhibition space. </p> </div> </div> </div> </div> </div> </div> </div> Tue, 28 Jun 2016 09:24:53 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Alexander Calder, Peter Fischli & David Weiss - Fondation Beyeler - May 29th - September 4th <p style="text-align: justify;">The exhibition focuses on the fleeting, precarious and exhilarating moment of fragile balance as expressed through the works of Calder and Fischli/Weiss in the early- and late-twentieth century, respectively. Their exemplary formulations for that moment seem at first sight to be completely dissimilar, but on closer examination they prove to be two sides of the same coin, resulting from different perspectives on the same theme at different times.</p> <p style="text-align: justify;">Featuring works by Calder in an open and cross space dialogue with works by Fischli/Weiss, the exhibition will chart significant historical milestones in Calder&rsquo;s oeuvre, from Cirque Calder in the 1920s and his shift to abstraction in 1930 to his invention of the mobile in the early 1930s, culminating in his brilliantly virtuoso treatment of the formal possibilities that arose as a result. The works of Fischli/Weiss perform as counterpoints in this narrative that lends the exhibition its special quality.&nbsp;</p> <p style="text-align: justify;">Moments of observation and experimentation take on a significance of their own in this unexpected combination, turning the relationship between gravity and weightlessness into something viewers can experience in a new perspective as a remarkably vibrant process. Lightness and weight, probing the boundaries of playfulness, failure and chance as artistic practice, steering the fine line between humour and poetry, conceptualizing the tightrope artist as the prototype for an existential reality &ndash; there are many trajectories that make it possible for works by Calder and Fischli/Weiss to be experienced together and yet to stand alone. Only once will there be a direct encounter between the works by Fischli/Weiss and Calder, within the gallery that opens the exhibition and introduces its exciting narrative.&nbsp;</p> <p style="text-align: justify;">The exhibition is curated by Theodora Vischer, Senior Curator at the Fondation Beyeler, and developed in close cooperation with the Calder Foundation in New York and the artist Peter Fischli.</p> Tue, 28 Jun 2016 09:20:57 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Diego Delas, Fermín Jiménez Landa, MawatreS, Noaz, Alexander Ríos, Andrés Senra - espacio trapézio - June 25th - September 3rd <p style="text-align: justify;"><strong>5&ordm; aniversario Espacio Trap&eacute;zio</strong></p> <p class=" text-justify" style="text-align: justify;"><strong><em>SIN CATALOGAR</em> es un proyecto que re&uacute;ne trabajos art&iacute;sticos que han sido concebidos o desarrollados en espacios no vinculados a la exhibici&oacute;n art&iacute;stica y que podemos ubicar en un &ldquo;entorno sin catalogaci&oacute;n&rdquo;.</strong></p> <p class=" text-justify" style="text-align: justify;">La RAE define &ldquo;catalogar&rdquo; como: &ldquo;Clasificar, encasillar dentro de una clase o grupo a alguien o algo&rdquo;. Vivimos en un sistema que nos invita y nos persuade a clasificar y ordenar pr&aacute;cticamente todo. De forma inconsciente ligamos objetos, actitudes y formas de vida a esquemas prefabricados. &ldquo;Gracias&rdquo; a los medios de comunicaci&oacute;n y a la publicidad, podemos &ldquo;pertenecer&rdquo; a clases o grupos sociales, a im&aacute;genes con las que sentirnos m&aacute;s c&oacute;modos e identificados y a estructuras ligadas a estereotipos hegem&oacute;nicos. Esta construcci&oacute;n de cuestiones estandarizadas y repetidas nos anima a un consumo teledirigido capitaneado por nuestra sociedad capitalista.</p> <p class=" text-justify" style="text-align: justify;">En el sistema del arte, los espacios habituales de exhibici&oacute;n art&iacute;stica se sit&uacute;an en estructuras que dependen de la instituci&oacute;n en mayor o menor medida: museos, centros de arte, salas de exposiciones, galer&iacute;as, espacios independientes&hellip; <strong>Espacio Trap&eacute;zio</strong> podr&iacute;a situarse en esta clasificaci&oacute;n en el rango de espacios independientes pero, por sus peculiaridades, podemos tambi&eacute;n incluirlo en un lugar &ldquo;sin catalogar&rdquo; del mismo modo que las acciones e intervenciones art&iacute;sticas que proponen los artistas que forman parte de esta propuesta.</p> <p class=" text-justify" style="text-align: justify;">En el marco de las artes visuales son muchos los creadores que desarrollan sus proyectos en &aacute;mbitos no necesariamente vinculados al mundo del arte, aunque luego pasen a exhibirse en un contexto art&iacute;stico. Aqu&iacute; podemos tropezar con una aparente contradicci&oacute;n, &iquest;dentro o fuera del arte? &iquest;D&oacute;nde nos situamos? Siempre dentro. Aunque muchos de estos trabajos se inician o se desarrollan totalmente fuera del arte, llega un momento en el que, de forma natural, terminan conect&aacute;ndose con el contexto art&iacute;stico -otras veces nunca han dejado de estar conectados-.</p> <p class=" text-justify" style="text-align: justify;"><strong><em>SIN CATALOGAR</em></strong> nos adentra en cuestiones que nos hacen reflexionar sobre estos contextos dif&iacute;ciles de clasificar y que, sin embargo, tal vez no necesiten esta categorizaci&oacute;n. Estos artistas plantean acciones en el Mercado de San Ant&oacute;n, en el escaparate de una tienda del barrio de Chueca, en el espacio p&uacute;blico, en el &aacute;mbito privado, en Internet&hellip; Son trabajos que buscan unos escenarios con los que generar un di&aacute;logo directo con su contexto. Las obras que forman parte de este proyecto no est&aacute;n localizadas necesariamente en la sala, sino que se ubican en diferentes emplazamientos generando as&iacute; en el espectador la necesidad de salir del espacio expositivo.</p> <p class=" text-justify" style="text-align: justify;">Estas propuestas se encuentran en una l&iacute;nea que podr&iacute;amos situar en ese dentro y fuera del arte, en esa b&uacute;squeda de otros espacios para el desarrollo de c&oacute;digos de comunicaci&oacute;n directa con nuestra sociedad para as&iacute; poder cuestionarla lanzando mensajes visuales claros y directos.</p> Tue, 28 Jun 2016 09:17:42 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Group Show - espacio trapézio - May 6th - June 18th <p class=" text-justify" style="text-align: justify;"><strong>Atelier Solar</strong> es una pista de pruebas, una estaci&oacute;n espacial, una placa de Petri, un castillo hinchable, una granja-escuela, una ruina romana, un plano conceptual, un power point con sonido, una palmera, un juego de rayuela, un laboratorio de pinzas&hellip;</p> <p class=" text-justify" style="text-align: justify;">La&nbsp; exposici&oacute;n <em>Atelier Solar</em> es la presentaci&oacute;n de los trabajos realizados por los 14 artistas residentes durante los primeros nueves meses de este espacio creado por el artista <strong>Daniel Silvo</strong>, el cual organiza y coordina todas las actividades que all&iacute; se desarrollan, con la ayuda de Eva Mansergas y Ezell Polanco.</p> <p class=" text-justify" style="text-align: justify;">En este espacio situado en Ciudad Lineal comen juntos, toman caf&eacute;, charlan, pintan, miran Facebook, invitan a amigas y amigos, ven v&iacute;deos de gatitos, dibujan, ojean cat&aacute;logos de exposiciones, quedan para ir de inauguraciones, hacen alguna que otra fiesta, graban v&iacute;deos, dan talleres, reciben talleres, se cuentan chismes, hablan sobre arte&hellip; Un espacio de trabajo para artistas en el que todos se ayudan en sus procesos creativos por medio de la cr&iacute;tica constructiva, las tormentas de ideas, las citas de autores, las lecturas de textos, las referencias a sus bibliotecas o invitando a artistas, comisarios o galeristas para que les hablen de su trabajo y su experiencia.</p> <p class=" text-justify" style="text-align: justify;">Algunas de las actividades tienen lugar en el local de Ciudad Lineal, como las sesiones cr&iacute;ticas semanales o las visitas profesionales, se trasladan ahora a Espacio Trap&eacute;zio. La sala expositiva ser&aacute; el espacio de discusi&oacute;n donde cada semana podremos conocer m&aacute;s de cerca el trabajo de cada artista en sesiones abiertas al p&uacute;blico y comunicadas p&uacute;blicamente a trav&eacute;s de la web de Atelier Solar (www.ateliersolar.org). En paralelo se invitar&aacute;n a agentes art&iacute;sticos de la ciudad a que conozca los proyectos, y se realizar&aacute;n eventos de diversa &iacute;ndole para facilitar la mediaci&oacute;n con el p&uacute;blico.</p> Tue, 28 Jun 2016 09:16:23 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Group Show - Elizabeth Leach Gallery - July 21st - August 27th <p style="text-align: justify;">Celebrating Elizabeth Leach Gallery&rsquo;s 35th Anniversary</p> <p style="text-align: justify;"><em>Crafting the Future</em> is a group exhibition which explores the role of craft in contemporary art practice. The idea for the show grew out of an observation of a resurgence of various craft traditions and meticulous, labor-intensive, and time-consuming hand-work, within the contemporary art market. Similar to the historic Arts and Craft Movement (1880-1910), which was a response by artists to the Industrial Revolution of the Victorian age, the impulse within some contemporary artists to return to the hand-made is in part a response to the digital age and a cultural shift toward the virtual. Is labor and craft within contemporary art practice an antidote to the overwhelming prevalence of the digital in our everyday lives? Is there a hybrid art practice between the hand-made and the digital?&nbsp; This exhibition features artists who use traditional craft materials or techniques in a conceptual, contemporary way to explore issues relevant in today&rsquo;s society.</p> Tue, 28 Jun 2016 09:12:35 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list MK Guth - Elizabeth Leach Gallery - July 21st - August 27th <p style="text-align: justify;">In the exhibition <em>This Fable is Intended for You: A Work-Energy Principle: Final</em>, multi-disciplinary artist <strong>MK Guth</strong> presents woven rope vessels and forms created as the final chapter of a public project with the World Financial Center started in New York in 2009-10. The original project highlighted the human presence and connectivity of the people in the neighborhood, as well as those who work in the World Financial Center. The components of the objects in this exhibition were first displayed in New York and were part of a performance that intertwined 24 people in an evolving set of sculptural shapes. The resulting works in the Portland exhibition act as vessels to hold these bits of human presence, histories, performances and narratives of the project.</p> <p style="text-align: justify;">MK Guth lives and works in Portland, Oregon. She received a Betty Bowen Special Recognition Award administered through Seattle Art Museum (Seattle, WA) and an Award of Merit from the Bellevue Art Museum (Bellevue, WA). Guth received a project commission from the Portland Institute for Contemporary Art (Portland, OR) and a project commission from the Melbourne International Arts Festival (Melbourne, Australia). MK Guth was featured in the 2008 Whitney Biennial at the Whitney Museum of American Art (New York, NY), and has exhibited with numerous other galleries and institutions, including the Boise Art Museum (Boise, ID), A Gentil Carioca (Rio de Janeiro, Brazil), The Melbourne International Arts Festival (Melbourne, Australia), Nottdance Festival (Nottingham, UK), Swiss Institute (New York, NY), White Columns (New York, NY), Artists Space (New York, NY), Yerba Buena Center for the Arts (San Francisco, CA), and the Henry Art Museum at the University of Washington (Seattle, WA).</p> Tue, 28 Jun 2016 09:12:28 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list