ArtSlant - Recently added http://www.artslant.com/ew/Events/show en-us 40 Shahzia Sikander - MAXXI - Museo nazionale delle arti del XXI secolo - June 22nd - October 23rd <p style="text-align: justify;">Shahzia Sikander observes the present through the lens of the imagination, symbols, literature and history of diverse cultural traditions. Her rich, complex oeuvre is housed for the first time in an Italian museum with this exhibition that shows the artist&rsquo;s work from 1990&rsquo;s to the present day.</p> <p style="text-align: justify;">In the exhibition the artist will create a layout specifically for the museum with over 30 works in various media and idioms, from drawing to miniatures referring to the Indo-Persian tradition and from video to digital animation. Included are works born from critical thinking and inquiry of historical, literary and political positions that delineate the inherent complexity of universal themes ranging from the pre-colonial to the post-colonial, geopolitical changes, migration, cultural quarantine and the birth of nations and religion and ultimately human identity.</p> Fri, 01 Jul 2016 18:25:35 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Jennifer Allora and Guillermo Calzadilla - Art Gallery of Alberta - June 3rd - August 28th <p style="text-align: justify;"><em>Allora &amp; Calzadilla: Echo to Artifact&nbsp;</em>is the first major exhibition in Canada of the work of internationally renowned artists, Jennifer Allora and Guillermo Calzadilla. It features film, sculpture, sound pieces and performances, and new work based on the artists&rsquo; research into western Canada&rsquo;s prehistoric past. The works in the exhibition consider the nature of sound, music and the voice as a way to animate both natural forms and man-made artifacts and include the remains of dinosaurs, a piece of Hadean rock and the oldest musical instrument ever discovered.</p> <p style="text-align: justify;">The artists note: &ldquo;The exhibition bears witness to incomplete presences and resonant remainders from the past. It finds in music a measure and a reckoning with these elusive forces and the abyss that lies between.&rdquo;</p> <p style="text-align: justify;">In the summer of 2014, Allora &amp; Calzadilla made a research trip to Alberta and visited the Burgess Shale and the Royal Tyrrell Museum of Palaeontology. A main feature of the AGA exhibition is the sculptural installation,&nbsp;<em>Intervals</em>, composed of transparent acrylic lecterns and dinosaur bones. These accompany&nbsp;<em>Lifespan</em>, a live vocal performance centered on a piece of the Earth&rsquo;s mantle from the Acasta River Gneiss (NWT) and estimated to be over four billion years old.</p> <p style="text-align: justify;"><em><strong>Allora &amp; Calzadilla: Echo to Artifact&nbsp;</strong></em>also features three films:&nbsp;<em>Apotomē</em>&nbsp;(2013),<em>3</em>&nbsp;(2013) and&nbsp;<em>Raptor&rsquo;s Rapture</em>&nbsp;(2012), all of which stem from the artists&rsquo; research into specific historical artifacts and their musical affinities.&nbsp;<em>The Great Silence</em>(2014), a three-channel video installation, focuses on the world&rsquo;s largest radio telescope, which transmits and captures radio waves to and from the farthest edges of the universe. Located in Esperanza, Puerto Rico, it is also home to the last members of an endangered species of parrots.</p> <h3 style="text-align: justify;"><strong>Lifespan Live Performances</strong></h3> <p style="text-align: justify;">As part of&nbsp;<em>Allora and Calzadilla: Echo to Artifact</em>, the artwork&nbsp;<em>Lifespan</em>&nbsp;includes daily performances by three vocalists.</p> <p style="text-align: justify;"><strong>Tuesday and Friday:&nbsp;</strong>11:30 am, 12:30 pm, 1:30 pm<br /><strong>Wednesday and Thursday:&nbsp;</strong>6, 7, 8 pm<br /><strong>Saturday and Sunday:&nbsp;</strong>1, 2, 3 pm</p> <p style="text-align: justify;">Each performance lasts approximately 15 minutes.</p> <p style="text-align: justify;"><strong>About the Artists<br /></strong>Jennifer Allora (born 1974, Philadelphia) and Guillermo Calzadilla (born 1971, Havana) have collaborated&nbsp;on a conceptually rigorous body of work&nbsp;since 1995. Through a research-based approach, their work traces intersections of deep history, material culture, and politics through a wide variety of mediums, namely performance, sculpture, sound, video, and photography.</p> <p style="text-align: justify;">Their work has been exhibited and collected widely in public institutions and private collections. Recent solo exhibitions have been presented at; Dia Art Foundation, Guayanilla&ndash;Pe&ntilde;uelas, Puerto Rico (2015);&nbsp;Philadelphia Museum of Art and Fabric Workshop and Museum (2014); Trussardi Foundation, Milan (2013); Indianapolis Museum of Art (2012); the US Pavilion at the 54th Venice Biennale (2011); the Museum of Modern Art (2010);&nbsp;The National Museum of Art, Architecture and Design, Oslo (2009);&nbsp;Haus der Kunst, Munich (2008); Stedelijk Museum Amsterdam (2008); Serpentine Gallery, London (2007);&nbsp;Kunsthalle Z&uuml;rich, Zurich (2007) and&nbsp;The Renaissance Society, Chicago (2007).&nbsp;Among numerous group exhibitions, they have participated in the&nbsp;&ldquo;51st&nbsp;and&nbsp;56thVenice Biennale (2005, 2015); Documenta 13, Kassel, Germany (2012); the 5th, 7th, and 10th Gwangju Biennials, South Korea (2004, 2008, 2014); and the 24th and the 29th S&atilde;o Paulo Biennial (1998, 2010).</p> <p style="text-align: justify;">Allora and Calzadilla live and work in San Juan, Puerto Rico.</p> <p style="text-align: justify;"><em>Allora &amp; Calzadilla: Echo to Artifact</em>&nbsp;is organized by the Art Gallery of Alberta. Presented by Enbridge&nbsp;and&nbsp;United States Consulate General Calgary.</p> Fri, 01 Jul 2016 18:18:13 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Group Show - Liverpool Biennial - July 9th - October 16th <p style="text-align: justify;"><span style="font-size: small;">Liverpool Biennial 2016 will unfold through the landscape of the city. It is organised as a story narrated in several episodes: fictional worlds sited in galleries, public spaces, unused buildings and online, which draw from Liverpool&rsquo;s past, present and future.</span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Episodes</span></h2> <p style="text-align: justify;"><span style="font-size: small;">Liverpool Biennial 2016 is organised as a series of six episodes: fictional worlds that draw from Liverpool&rsquo;s past, present and future.</span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Flashback</span></h2> <p style="text-align: justify;"><span style="font-size: small;">A flashback is a way of experiencing history as it punctures the present unexpectedly. Flashbacks can rupture established narratives and provide new understandings of history. In this episode, artists interpret flashbacks through film and the exhibiting of artefacts.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Venues:&nbsp;<a href="http://www.biennial.com/2016/exhibition/fact" target="_blank">FACT</a>,&nbsp;<a href="http://www.biennial.com/2016/exhibition/saw-mill" target="_blank">Saw Mill</a>,&nbsp;<a href="http://www.biennial.com/2016/exhibition/open-eye-gallery_2" target="_blank">Open Eye Gallery</a></span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Monuments from the future</span></h2> <p style="text-align: justify;"><span style="font-size: small;">Artists have been asked to impersonate the role of futurologists. They are invited to imagine what Liverpool might look like in 20, 30 or 40 years, and to design a monument for these scenarios. As a result of this process a series of public art commissions will travel across time. Sculptures appear from the future but are situated in the present. Each one will mark an imagined future &ndash; an event, landscape, person or story that is yet to arrive.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Venues:&nbsp;<a href="http://www.biennial.com/2016/exhibition/public-realm" target="_blank">Granby Four Streets</a>,&nbsp;<a href="http://www.biennial.com/2016/exhibition/public-realm" target="_blank">Liverpool ONE</a>,&nbsp;<a href="http://www.biennial.com/2016/exhibition/public-realm" target="_blank">Clarence Dock</a>,&nbsp;<a href="http://www.biennial.com/2016/exhibition/public-realm" target="_blank">Liverpool&rsquo;s Commercial District</a>,&nbsp;<a href="http://www.biennial.com/2016/exhibition/cains-brewery" target="_blank">Cains Brewery</a></span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Ancient Greece</span></h2> <p style="text-align: justify;"><span style="font-size: small;">Liverpool&rsquo;s links to the Greek world stem from the early 1800s, when architects such as John Foster and Harvey Lonsdale Elmes created Liverpool&rsquo;s neoclassical cityscape as a re-imagining of Ancient Greece: invoking its reputation as the cradle of democracy and civilisation in order to validate Liverpool&rsquo;s political and economic circumstances. In the same spirit, the Liverpool artist Samuel Austin compared Liverpool to Carthage, an ancient city renowned for its extensive trade. His watercolour,&nbsp;<em>Carthage</em>&nbsp;(1826), now on display in the Walker Art Gallery, depicts Liverpool&rsquo;s neoclassical buildings as a backdrop, blurring the boundaries of time and place between the ancient world and contemporary Liverpool. This is similar to the way the Greeks imagined and depicted their own myths, on vases and friezes: collapsing a linear notion of time and space to tell a story with multiple simultaneous aspects.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Venues:&nbsp;<a href="http://www.biennial.com/2016/exhibition/tate-liverpool" target="_blank">Tate Liverpool</a>,&nbsp;<a href="http://www.biennial.com/2016/exhibition/public-realm" target="_blank">George&rsquo;s Dock Ventilation Tower</a></span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Software</span></h2> <p style="text-align: justify;"><span style="font-size: small;">Software is usually considered as something functional &ndash; a series of programs, instructions or rules that direct the computer to perform specific operations &ndash; but it can also open a portal to other dimensions and imaginative worlds. The Software episode points towards this broader understanding of software beyond technical application to ideas of scores and choreographies, through which one thing affects another without practical outcome.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Venues:&nbsp;<a href="http://www.biennial.com/2016/exhibition/bluecoat" target="_blank">Bluecoat</a>,&nbsp;<a href="http://www.biennial.com/2016/exhibition/exhibition-research-centre_2" target="_blank">Exhibtion Research Centre</a>,&nbsp;<a href="http://www.biennial.com/2016/exhibition/online" target="_blank">Online</a>,&nbsp;<a href="http://www.biennial.com/2016/exhibition/fact" target="_blank">FACT</a>,&nbsp;<a href="http://www.biennial.com/2016/exhibition/the-oratory" target="_blank">the Oratory</a>,&nbsp;<a href="http://www.biennial.com/2016/exhibition/abc-cinema" target="_blank">ABC Cinema</a></span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Chinatown</span></h2> <p style="text-align: justify;"><span style="font-size: small;">Liverpool&rsquo;s Chinatown has existed since the late 1890s and is the oldest in Europe. Its entrance is marked by a traditional arch imported from Shanghai. In the same way that the city&rsquo;s merchant class linked itself to Ancient Greece through neoclassical architecture, this arch links Liverpool&rsquo;s Chinese community to an image of home. But as China itself changes, this architectural symbol changes its meaning. Many now see Chinatown as a nostalgic image existing in collective memory: today, Chinatown is more dispersed, and might even exist primarily in online networks, or through economic investment. In 2015, vast cranes from China entered the mouth of the River Mersey to form part of the automated new deep water superport: Liverpool2. There are plans for the development of a &lsquo;New Chinatown&rsquo; commercial district, close to Cains Brewery in Liverpool. Throughout Liverpool Biennial 2016, echoes of these different Chinatowns resound in spaces across the city, to be encountered in everyday settings such as supermarkets, pubs and restaurants.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Venues:&nbsp;<a href="http://www.biennial.com/2016/exhibition/cains-brewery" target="_blank">Cains Brewery</a>,&nbsp;<a href="http://www.biennial.com/2016/exhibition/public-realm" target="_blank">pubs</a>,&nbsp;<a href="http://www.biennial.com/2016/exhibition/public-realm" target="_blank">restaurants</a>,&nbsp;<a href="http://www.biennial.com/2016/exhibition/public-realm" target="_blank">supermarkets</a></span></p> <h2 style="text-align: justify;"><span style="font-size: small;">Children's Episode</span></h2> <p style="text-align: justify;"><span style="font-size: small;">Artists are invited to consider children as the primary audience: sometimes making work with them, sometimes for them. Children imagine the space between fiction and reality differently, sometimes seeing it as the same thing. They experiment with the social organisation that adults construct, apparently playing along whilst inventing their own rules.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Venues:&nbsp;<a href="http://www.biennial.com/2016/exhibition/cains-brewery" target="_blank">Cains Brewery</a>,&nbsp;<a href="http://www.biennial.com/2016/exhibition/open-eye-gallery_2" target="_blank">Open Eye Gallery</a>,&nbsp;<a href="http://www.biennial.com/2016/exhibition/public-realm" target="_blank">Arriva city buses</a>,&nbsp;<a href="http://www.biennial.com/2016/exhibition/abc-cinema" target="_blank">ABC Cinema</a></span></p> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong><a class="mainnavi_2 red selected" href="http://www.biennial.com/events">Events</a></strong></span></p> <p style="text-align: justify;">&nbsp;</p> Fri, 01 Jul 2016 16:40:30 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Amy Sillman - Portikus - July 2nd - September 4th <p style="text-align: justify;">Portikus&nbsp;is delighted to present&nbsp;<em>the ALL-OVER</em>, the first institutional solo exhibition in Germany&nbsp;by the American artist Amy Sillman. Sillman works&nbsp;primarily&nbsp;in the medium of painting, as well as&nbsp;with&nbsp;drawing and animation. She lives and works in New York.&nbsp;In&nbsp;2015, she&nbsp;was appointed&nbsp;professor of painting at the St&auml;delschule in Frankfurt am Main.<br /><br />Sillman&rsquo;s works can be categorized as abstract painting, although her abstractions repeatedly allow&nbsp;forms and figures to be recognized. The title&nbsp;of the exhibition &ndash;&nbsp;<em>the ALL-OVER&nbsp;</em>&ndash;&nbsp;refers to a concept often used&nbsp;to describe&nbsp;abstract painting.&nbsp;At its most literal, it refers to the practice of completely covering the canvas, a format that resists a traditional figure/ground hierarchy.&nbsp;The classic example of the style is embodied by&nbsp;the work of&nbsp;the American artist Jackson Pollock, though as the influential critic Clement Greenberg pointed out, the style in fact&nbsp;originated with&nbsp;the Ukrainian-American artist Janet Sobel. Sillman adapts&nbsp;this&nbsp;&ldquo;all-over&rdquo;&nbsp;idea,&nbsp;using&nbsp;it as the title for&nbsp;her exhibition, which does not feature drip paintings as such,&nbsp;but&nbsp;which updates the&nbsp;idea of total coverage of the canvas through&nbsp;mechanical means&nbsp;(via inkjet printing) used in combination with the gestural.&nbsp;<em>Panorama</em>, consisting of twenty-four canvases, was&nbsp;developed for Portikus&nbsp;and is&nbsp;here seen&nbsp;in its entirety&nbsp;for the&nbsp;first time.&nbsp;With their&nbsp;large, all-over format,&nbsp;the&nbsp;paintings&rsquo;&nbsp;various motifs&nbsp;seem to&nbsp;run continuously&nbsp;around the walls of the exhibition space, but in fact are repeated prints of the artist's drawings&nbsp;with painterly interventions added.&nbsp;The logic of animation, its repetition and looping, infects the paintings, as they keep repeating their own starting points, while each proposes a new start. The combination of print and painting on canvas makes it&nbsp;difficult to tell which levels and forms are &ldquo;real&rdquo; &ndash; actually painted &ndash; and which&nbsp;have been mechanically reproduced.&nbsp;Partly&nbsp;composed&nbsp;with&nbsp;muddy pastel colours, partly&nbsp;with&nbsp;luminous pinks and reds, the&nbsp;artworks&nbsp;are characterized by&nbsp;overlapping techniques. The significance of the format&nbsp;is&nbsp;retained&nbsp;by&nbsp;<em>Panorama</em>&rsquo;s sequential display&nbsp;and&nbsp;its sheer scale. The materiality is lost through the superimposition of print and oil paint. What remains is pure colour and gesture.<br /><br />Serving&nbsp;as an introduction to the exhibition is&nbsp;<em>Kick the Bucket (loop for Portikus)</em>, a new animation&nbsp;which Sillman&nbsp;created especially for&nbsp;Portikus.&nbsp;In addition to the humorous, partly tragi-comic story,&nbsp;the piece foregrounds the&nbsp;superimposition of different drawings and&nbsp;paintings. The technique used&nbsp;is&nbsp;thus comparable&nbsp;to the works on canvas, which&nbsp;combine&nbsp;painting and&nbsp;industrial printing as a way of&nbsp;generating form and dynamic movement.&nbsp;<br /><br />For a number of years, Sillman has made small artist&rsquo;s books.&nbsp;The exhibition&nbsp;additionally&nbsp;sees&nbsp;the publication of&nbsp;<em>the O.G.#10</em>,&nbsp;her tenth zine.&nbsp;Taking&nbsp;the form&nbsp;of a fold-out booklet,&nbsp;the zine&nbsp;makes reference to&nbsp;a number&nbsp;of the works in the exhibition and also contains poetry&nbsp;created&nbsp;by friends of the artist.&nbsp;In the exhibition&nbsp;space, the books are&nbsp;purchased&nbsp;through a&nbsp;small clay figure: the visitor throws a Euro in the wide-open mouth of the figure, which then&nbsp;expels&nbsp;the coin into a small bucket&nbsp;behind it.</p> <hr /> <p style="text-align: justify;">Der Portikus freut sich, die Ausstellung&nbsp;<em>the ALL-OVER</em>der amerikanischen K&uuml;nstlerin Amy Sillman zu pr&auml;sentieren - ihre erste institutionelle Einzelausstellung in Deutschland.&nbsp;Malerei geh&ouml;rt neben Zeichnung und Animation zu den bevorzugten Medien der in New York lebenden und arbeitenden K&uuml;nstlerin, die seit 2015 Professorin f&uuml;r Malerei an der St&auml;delschule in Frankfurt/Main ist.<br /><br />Sillmans Arbeiten lassen sich der abstrakten Malerei zuordnen, obgleich ihre Abstraktionen immer wieder Formen oder Figuren erkennen lassen. Der Ausstellungstitel&nbsp;<em>the ALL-OVER</em>&nbsp;bezieht sich dabei auf einen Begriff in der Kunst, der abstrakte Malerei beschreibt und wortw&ouml;rtlich daf&uuml;r steht, die Leinwand, entgegen einer traditionellen Figur/Grund Hierarchie, fl&auml;chendeckend zu bearbeiten. Die &bdquo;Drip Paintings&ldquo; des amerikanischen K&uuml;nstlers Jackson Pollock z&auml;hlen zu den klassischen Beispielen dieser Arbeitsweise, obwohl der einflussreiche Kunstkritiker Clement Greenberg darauf hinwies, dass es die ukrainisch-amerikanische K&uuml;nstlerin Janet Sobel war, die diesen Stil begr&uuml;ndete. Sillman adaptiert diesen Begriff und nutzt ihn f&uuml;r den Titel ihrer Ausstellung, in der zwar keine &bdquo;Drip Paintings&ldquo; zu sehen sind, welche aber die Idee der fl&auml;chigen Bearbeitung der Leinwand mithilfe mechanischer Verfahren (dem Tintenstrahldruck) aufgreift und mit gestisch ausgef&uuml;hrter Malerei erweitert.&nbsp;<em>Panorama</em>&nbsp;ist eine aus 24 Leinw&auml;nden bestehende Werkgruppe, die neu f&uuml;r den Portikus entwickelt wurde und das erste Mal in G&auml;nze zu sehen ist. Scheinbar ohne Unterbruch reihen sich die verschiedenen Motive an den W&auml;nden des Ausstellungsraumes auf: Es sind gedruckte Wiedergaben von Sillmans Zeichnungen, die durch malerische Eingriffe erg&auml;nzt werden. Die Logik der Animation &ndash; Vervielf&auml;ltigung und Wiederholung &ndash; greift auf das Gem&auml;lde &uuml;ber. Auch wenn die Arbeiten zuweilen auf einer gemeinsamen Ausgangslage basieren, schl&auml;gt jedes doch einen neuen Beginn vor. Die Kombination von Druck und Malerei l&auml;sst nicht leicht erkennen, welche Ebenen und Formen echt, also tats&auml;chlich gemalt sind und welche durch ein mechanisches Verfahren reproduziert wurden. In teils schlammigen Pastellt&ouml;nen und teils in leuchtend rosa und roten T&ouml;nen gehalten, verk&ouml;rpern die Arbeiten eine &Uuml;berlagerung dieser Techniken. Die Bedeutung des Formats wird durch die Aneinanderreihung der Leinw&auml;nde und die schiere Gr&ouml;&szlig;e von&nbsp;<em>Panorama</em>aufgehoben, die Materialit&auml;t wiederum geht durch die &Uuml;berlagerung von Druck und &Ouml;lfarbe verloren. Reine Farbigkeit und Geste bleiben.<br /><br />Als Einleitung zur Ausstellung steht&nbsp;<em>Kick the Bucket (loop for Portikus)</em>, eine neue Animation Sillmans f&uuml;r den Portikus. Neben der humorvollen und teils tragisch-komischen Story steht die &Uuml;berlagerung verschiedener Zeichnungen und der Malerei im Vordergrund und nimmt damit Bezug auf die Leinw&auml;nde in der Ausstellung, die auf &auml;hnliche Weise Form und Bewegung generieren.<br /><br />Anl&auml;sslich der Ausstellung erscheint&nbsp;<em>the O.G. #10</em>, das zehnte Zine der K&uuml;nstlerin, die seit einigen Jahren auch kleine K&uuml;nstlerb&uuml;cher produziert. In Form eines Leporellos werden die in der Ausstellung gezeigten Werke aufgegriffen und mit Gedichten befreundeter Lyriker erg&auml;nzt. Eine kleine Tonfigur verkauft und bewacht symbolisch die Heftchen. Der Besucher ist aufgefordert einen Euro in den weitge&ouml;ffneten Mund der Figur zu werfen, die daraufhin diesen in einen kleinen Eimer ausscheidet.</p> Fri, 01 Jul 2016 16:26:23 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list 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