ArtSlant - Recently added en-us 40 Stuart Brisley - Modern Art Oxford - September 20th - November 16th <p style="text-align: justify;">One of the most Influential figures &thinsp;in post war British art, Stuart Brisley brings his own brand of expressive work to Modern Art Oxford.&nbsp; This exhibition&nbsp;reveals aspects of Brisley&rsquo;s broader artistic practice and includes early and rarely seen works alongside more recent paintings, video and a new sculpture.</p> <p style="text-align: justify;">&ldquo;All work needs content,&rdquo; says Brisley, &ldquo;without content there is no work.&rdquo; Alongside the distinct formalism that underpins six decades of practice, Brisley has unflinchingly probed the contemporary political, cultural and social contexts in which we live, in particular the monarchy and the British class system.</p> <p style="text-align: justify;">Commissioned by Modern Art Oxford Stuart Brisley's&nbsp;new sculptural work&nbsp;<em>State of Denmark</em>&nbsp;incorporates a crown which hangs above a wedge shaped structure with an open end. One side of which symbolizes the monarchy with the other representing a republican proposition. Overlooking the sculpture is a balcony and inside a pencil portrait of the child prince George can be seen. Visitors are invited to comment on the subjects of monarchy and republicanism on the panels which form an integral part of the work.</p> <p style="text-align: justify;">This show also includes film and performance photography of some of Brisley&rsquo;s most iconic work and traces enduring themes in his work such as the body as a tool for directly addressing individual autonomy and fundamental notions of power, authority,&nbsp;community&nbsp;and freedom.</p> <p style="text-align: justify;"><em>State of Denmark</em>&nbsp;surveys the breadth and consistent inventiveness of Brisley&rsquo;s practice and asserts his influence of one of the most important and enduring voices in international contemporary art.</p> <p style="text-align: justify;">Please feel free to use photography and social media in all of the galleries.</p> <p>&nbsp;</p> Fri, 19 Sep 2014 08:49:55 +0000 Amna Badawy, Nouran Sherif, Muhammad Taymour, Reem El-Maghraby, Shadwa Ali, Tuqa El-Harouny - The Townhouse Gallery - September 21st - October 29th <p><em>Procrastination is a bacterium that thrives in conditions of high workloads</em></p> <p><strong>Interruption</strong>&nbsp;is the sixth iteration of Townhouse's biennial student and recent graduate exhibition, "The Pick." &nbsp;Previous Picks have challenged the problems associated with shows that carry labels such as "emerging" or "young," which satisfy a fetish for and expectation of experimentation, making it okay to dismiss the artist and their work as "not ready" if they do not live up to a premeditated standard of potential and endorsing preconceived notions of what "young artist" work is supposed to look like.</p> <p>In this attempt,&nbsp;<strong>Interruption&nbsp;</strong>intervenes to question and bypass such labels by bringing together artists (and their artworks) under a concept of imposed manipulations that could be influencing our behavior unconsciously.</p> <p><em>&nbsp;In the beginning was the noise</em></p> <p><strong>Parasites alter host function by attacking the immune system, controlling secretions of fighting bodies against intruders, allowing for their survival within the body of the host.</strong></p> <p><em>&nbsp;The oriented movement of an organism in response to gravity</em></p> <p><strong>In states where the instinct to survive is activated, behavioral mechanisms and basic functioning become exposed and vulnerable to attack by bodies that can intervene and eventually alter host behavior.</strong></p> <p><em>&nbsp;Induced vulnerability strategies</em></p> <p><strong>Hosts begin to behave autonomously and willingly, to achieve the parasite's own desires, whilst simultaneously leading themselves into their own destruction.</strong></p> <p><em>&nbsp;Unintentional self-destruction</em></p> <p><strong>Interruption proposes a theory of deliberately manufactured strategies that may lead to states of procrastination and self-imposed, unintentional disorder.</strong></p> <p><em>&nbsp;The parasite parasites the parasited</em></p> <p><strong>Special thanks to Kaya Behkalam, Khaled Galaleldeen, Medrar and Ania Szremski for their support, and a special thanks to Ahmad Aiyad for the design.</strong></p> Thu, 18 Sep 2014 08:18:44 +0000 Yuri Sobolev - Moscow Museum of Modern Art [17 Ermolaevsky] - September 17th - November 9th <p>The MMOMA exhibition &ldquo;The Islands of Yuri Sobolev&rdquo; is a continuation of the series of projects on the history of Russian contemporary art dating to the latter part of the 20<sup>th</sup>&nbsp;century. A retrospective of the work by Yuri Sobolev (aka Yuri Nolev-Sobolev, 1928-2002) will be held at the museum venue in 17 Ermolayevsky Lane. The exhibition comprises graphic works, book and magazine illustrations, animated cartoons and slide films. It also includes video and photographic documents pertaining to the artist&rsquo;s work for theatrical productions: video footage of a multi-screen show for ICSID World Design Congress (1975); slide films for the following theatrical productions:&nbsp;<em>What Happened after the Rescue&nbsp;</em>(1987-1988),&nbsp;<em>Post&nbsp;</em>(1981), and&nbsp;<em>ODMO&nbsp;</em>(1988) portraying the new wave of 1980s artists. Materials pertinent to the performances of the students of the Yuri Sobolev School, and those relating to the KukArt festival and the archives are also part of the exhibition. Exhibits displayed at each floor of the venue correspond to the particular period of the artist&rsquo;s career. &nbsp;&nbsp;</p> <p>The works on view span more than forty years of Yuri Sobolev&rsquo;s career. It is worthy of note that Russia&rsquo;s contemporary art has been around just a little bit longer. The artist&rsquo;s strategy rested on his pursuit of modern approaches and novelty, the above striving mostly formed the concept of his art. The idea of combining classical art and today&rsquo;s world images in the same centerfold, in the same cover or a frame &ndash; the technique that became all the rage several decades later &ndash;&nbsp; that idea dawned upon the artist far too early. Sobolev used a variety of media for reproducing that method in his original graphic works, on the pages of&nbsp;<em>Znaniye-Sila&nbsp;</em>(Knowledge Is Power) magazine, in the sketches for the animated film&nbsp;<em>Glass Concertina&nbsp;</em>(1968) directed by Andrei Khrjanovsky, in the annual publication&nbsp;<em>Nauka i Chelovechestvo&nbsp;</em>(Science and Humanity) of 1962 and 1963, and in several other works. Sobolev transferred the strategy based on the tradition of avant-garde editing pioneered by Sergei Eisenstein and Alexander Rotchenko into an area of multimedia experiments &ndash; the totally new and unexplored area as far as the artists of the 1960s and the 1970s were concerned. &nbsp;</p> <p>A multi-screen slide film made by Yuri Sobolev in collaboration with the director Yuri Reshetnikov for the 1975 Congress of the International Council of Societies of Industrial Design (ICSID) became the summit of the artist&rsquo;s quest for new ways of the artistic expression. The congress took place in Moscow&rsquo;s Rossiya cinema and concert hall. The multimedia show running more than 40 minutes on 30 screens was concocted of the images showing modern mechanisms and consumer goods. The images, which had been borrowed from the Western catalogues, were cut together with the images of artwork dating to different times. Despite the revolutionary use of a multiscreen in terms of technology and aesthetics &ndash; the multi-screen projection involved 16 slide projectors &ndash; the ICSID show was eventually banned by the authorities who deemed it ideologically questionable. Aside from taking the opportunity of seeing the video footage pertinent to that ambitious project, the spectator will also have a chance to take a closer look at the preparatory materials explaining the workings of the unique design.</p> <p>The experiments in the field of new media took place while the artist was giving shape to his own plastic language. During his stint in the magazines<em>Dekorativnoye Iskusstvo&nbsp;</em>(Decorative Art) and&nbsp;<em>Znaniye-Sila,&nbsp;</em>Sobolev was one of the first USSR artists who started using a modular grid i.e. the Western design novelty technique for arranging a magazine page. He made good use of the technique as to his art too. In his oeuvre the grid became part of an artwork on purpose; the grid would have several levels/layers so that it could help reveal the artist&rsquo;s ideas. Utilized thus, the pencil grid was transformed from the universal technical means to an artist&rsquo;s module/sign for the purposes of modeling a &ldquo;microcosm&rdquo; of a graphic sheet.&nbsp;</p> <p>&ldquo;The Islands of Yuri Sobolev will enable one to witness how certain ideas and approaches that had been brought forth through the artist&rsquo;s experiments with a particular medium eventually resulted in most unusual discoveries in the course of his work with other media.&nbsp; The exhibition whose core consists of the Yuri Sobolev family collection and archive also includes the works provided by courtesy of the Moscow Museum of Modern Art, the State Tretyakov Gallery, the Cinema Museum, National Center for Contemporary Arts, and Kolodzei Art Foundation. Several pieces of art and archival materials are also on display by courtesy of foreign and Moscow private collectors.</p> <p>&nbsp;</p> <p>About the artist</p> <p>Yuri Sobolev was one of the key artists who helped to bring about the Russian contemporary art in the latter part of the 20<sup>th</sup>&nbsp;century. The majority of his projects proved to be ahead of the times. The artist has been largely unknown to the public as yet. The 1960s saw him participating in the legendary exhibition marking the 30<sup>th</sup>&nbsp;anniversary of the Moscow Artists&rsquo; Union. The exhibition was severely criticized by Nikita Krushchev for &ldquo;avant-gardism.&rdquo; In collaboration with his friend and studio&rsquo;s neighbor Ulo Sooster, the artist was actively experimenting in a variety of styles and trends of the 20<sup>th</sup>&nbsp;century art. Aside from indulging in Surrealism and Dadaism by drawing pictures, the friends would also throw extravagant happenings in a Moscow caf&eacute; called<em>Artisticheskoye&nbsp;</em>(Artists&rsquo; Caf&eacute;) in a bid to reconstruct the bohemian atmosphere of&nbsp;<em>C</em><em>abaret Voltaire</em>. Sobolev&rsquo;s apartment in downtown Moscow nearby Kirovskiye Vorota Square (nowadays called Myasnitskiye Vorota Square) became the site of &ldquo;Nolev Ark&rdquo; (1960-1961). It was the place that attracted artists, poets and jazz musicians, not to mention the regular circle of friends. The &ldquo;Ark&rdquo; drew in the like-minded neighbors before long. The friends &ndash; the artists who were lucky to get their studios in Sretensky Boulevard neighborhood (Ilya Kabakov, Ernst Neizvestny, Ulo Sooster, Viktor Pivovarov, Vladimir Yankilevsky, Anatoly Brusilovsky) formed the eponymous community. Many of them soon got united around the magazine&nbsp;<em>Znaniye-Sila</em>, in which Sobolev worked for 13 years as chief artist. From 1980 to 1990, Yuri Sobolev staged theatrical productions in theatres of the &ldquo;Urals Zone&rdquo; in collaboration with the director Mikhail Khusid. In doing so, he participated in a nonconformist yet notable reform movement in the Soviet puppet theatre art of the 1970s &ndash; 1980s. In 1990, Sobolev moved to St. Petersburg to keep on staging theatrical productions in the frame of Interstudio, the International Studio of Synthesis and Animation, which was founded in collaboration with M. Khusid. Since 1993 he was also an art director of the KukArt Festival of Theatre, Music and Visual Arts. In 1994, at the St. Petersburg Academy of Theatre Art, he handpicked a class of artists to teach them a new course comprising lectures on the history of modern art, performance, video art etc. The &ldquo;Yuri Sobolev School&rdquo;, which also included practical training and participation of students in exhibitions, became the first education project of its kind in this country.</p> <p>&nbsp;</p> <p>About the curators&nbsp;</p> <p>Anna Romanova is an art historian and an independent curator. She authored several publications on contemporary art. She worked as senior research fellow in the Department of New Art Trends of the State Tretyakov Gallery from 2001 to 2006.</p> <p>Major exhibition projects:</p> <ul> <li>Moscow-Warsaw / Warszawa-Moskwa. 1900 &ndash; 2000. Zachęta-Moscow, 2004 &ndash; 2005.</li> <li>Within the Bounds of the Beautiful, Igor Makarevich, Elena Yelagina, State Tretyakov Gallery, Moscow, 2006.</li> <li>Albums Are Few and Far Between These Days, the Pushkin Museum of Fine Arts, Moscow, 2013.</li> </ul> <p>&nbsp;</p> <p>Galina Metelichenko-Soboleva is an artist, a designer, a teacher, and a curator of the course &ldquo;Graphic Design and Advertising&rdquo; in the International School of Design in St. Petersburg. She works in the field of video art since 1996.</p> <p>2006 &ndash; 2014 &ndash; an artist/exhibition manager at the Tauride Palace museum.</p> Thu, 18 Sep 2014 08:01:04 +0000 Yukinori Yanagi - Michael Janssen Singapore - September 27th - November 9th <p>YUKINORI YANAGI</p> <p>Born in 1959 in Fukuoka, Japan. Lives and works in Hiroshima, Japan.</p> <p>Yanagi is one of the most influential Japanese artists of his generation. In his works Yanagi uses national symbols to question the politics and ideology of contemporary Japan. Yanagi works with several media and has used live ants, neon lights and plastic toys to create his installations and scultpures.</p> <p>Yanagi was the first Japanese artist to be awarded the Aperto prize at the Venice Biennale in 1993. His solo exhibitions were held at Anthony d&rsquo;Offay (London), Peter Blum (New York), Miyake Fine Arts (Tokyo), and he participated at numerous international exhibitions such as the 1996 São Paulo Biennial and the 1997 Biennale de Lyon. Yanagi was also one of the first non-American artists selected for the Whitney Biennial in 2000.</p> <p>In 1992 he had a solo exhibition at the Benesse Art Site Museum in Naoshima, Japan and was captivated by the beauty of the islands of the Seto Inland Sea. Later, in 1995, he encountered the abandoned copper refinery in Inujima island, to which he relocated and started the &ldquo;Inujima Project&rdquo;. Completed in 2008, it is known today as The Inujima Seirensho Art Museum. Today Yanagi resides and works at Art Base Momoshima, a new art facility opened in 2012 utilizing an abandoned junior high school in Momoshima, an island in Onomichi City close to Hiroshima.</p> <p>Selected exhibitions</p> <p>2014: Michael Janssen Singapore (solo); Miyake Fine Arts, Tokyo (solo).</p> <p>2013: Mori Art Museum, Tokyo (group); Seoul Olympic Museum of Art, Seoul, South Korea (group); Okinawa Prefectural Museum and Art Museum, Okinawa, Japan (group); Yokohama Museum of Art, Kanagawa, Japan (group); Fukuoka Art Museum, Fukuoka, Japan (group); MoA - Museum of Art, Seoul, South Korea (group).</p> Thu, 18 Sep 2014 07:55:27 +0000 David Lamelas - KUNSTHALLE BASEL - September 21st - November 2nd <p>David Lamelas (*1946) gilt als einer der Pioniere der Konzeptkunst der 1960er und 1970er Jahre und ist heute vor allem durch seine strukturalistischen Filme und Medieninstallationen bekannt. Bereits w&auml;hrend seines Studiums an der Academia des Bellas Artes in Buenos Aires zeigte er seine Arbeiten am progressiven Instituto Torcuato di Tella, einem der wichtigsten Zentren der k&uuml;nstlerischen Avantgarde in Argentinien. Zu internationaler Bekanntheit gelangte er 1968, als er Argentinien mit seiner Arbeit&nbsp;<em>Office of Information about the Vietnam War on Three Levels: The Visual Image, Text and Audio</em>&nbsp;auf der Biennale in Venedig vertrat, gefolgt von seiner Teilnahme an der von Harald Szeemann organisierten documenta V (1972). Seit den 1970er Jahren lebt und arbeitet Lamelas abwechselnd in Europa, den USA und Argentinien.</p> <p>Angeregt durch die Bekanntschaften mit Marcel Broodthaers und den Galeristen der Antwerpener Galerie Wide White Space, zog David Lamelas 1968 nach Europa und begann, Bildhauerei am Central St. Martins in London zu studieren. Hier f&uuml;hrt sein Interesse an &bdquo;skulpturalen Formen ohne physisches Volumen&ldquo; zu einer verst&auml;rkten Auseinandersetzung mit den Medien Fotografie, Text und schliesslich Film. Trotz der vielen unterschiedlichen Richtungen, die Lamelas mit seinen Werken einschl&auml;gt, zeichnet sich bereits hier das zentrale Thema ab, das viele seiner Arbeiten verbindet: die Besch&auml;ftigung mit Zeit, Raum und der Vermittlung von Information.</p> <p>Die Ausstellung in der Kunsthalle Basel zeigt, wie Lamelas die Bildhauerei aus dem traditionellen Verh&auml;ltnis von Masse und Volumen l&ouml;st und mit einem weiteren Material &ndash; Zeit &ndash; erg&auml;nzt, das gebunden ist an die Erfahrung des Betrachters. F&uuml;r ihn ist Skulptur nicht nur das Zusammenspiel &auml;sthetischer Faktoren, sondern auch ein Zusammentreffen r&auml;umlicher und sozialer Interaktionen. Der Ort des Kunstwerkes &ndash; als Entstehungsort ebenso wie als Ort der Pr&auml;sentation &ndash; spielt ebenso eine wichtige Rolle im konzeptuellen Ansatz seiner Arbeiten.</p> Thu, 18 Sep 2014 07:42:41 +0000 Roy Lichtenstein - GAM - Galleria Civica d’Arte Moderna e Contemporanea di Torino - September 27th - January 25th, 2015 <p>In quasi mezzo secolo di carriera ho dipinto fumetti e puntini per soli due anni. <br />Possibile che nessuno si sia mai accorto che ho fatto altro? <br />R.L.</p> <p>GAM Torino presenta una grande esposizione dedicata ai lavori su carta di Roy Lichtenstein, maestro indiscusso della Pop Art, nato a New York (1923-1997). Per la prima volta arrivano in Italia circa 200 opere, grazie alla stretta collaborazione con l&rsquo;Estate e la Roy Lichtenstein Foundation, oltre a importanti prestiti provenienti dalla National Gallery di Washington, dall&rsquo;Art Institute di Chicago, e da molte collezioni pubbliche e private europee e italiane.</p> <p>Un&rsquo;occasione straordinaria che GAM offre al pubblico perch&eacute; &egrave; rara la possibilit&agrave; di ammirare un tanto rilevante quanto ricco corpus di opere su carta del maestro americano. Completano l&rsquo;esposizione alcuni grandi dipinti e sculture oltre a una documentazione fotografica, testimonianza dell&rsquo;artista al lavoro.</p> <p>In mostra dunque la parte pi&ugrave; intima e privata di Roy Lichtenstein e tra le opere, le Prime Idee, ovvero le idee primigenie, fonte di ispirazione di lavori che in un secondo tempo sono divenuti i grandi capolavori conosciuti nel mondo.</p> Thu, 18 Sep 2014 07:25:55 +0000 Group Show - espacio trapézio - September 17th - November 2nd <p>An Atlas for a Duplicated Reality es una colecci&oacute;n, un atlas formado por 30 documentos posicionados en el l&iacute;mite entre el mapa y el diagrama, entre la representaci&oacute;n art&iacute;stica y la arquitectura. 30 documentos que describen la duplicidad planteada, la realidad y la ficci&oacute;n, la realidad y la imaginaci&oacute;n, la realidad y apariencia, desde la completa precisi&oacute;n con la que se han analizado y descrito los lugares.<br />Un estudio de investigaci&oacute;n que parte de Madrid R&iacute;o como ejemplo claro de una de esas realidades complejas que, con una historia profunda y traum&aacute;tica, ha visto modificada radicalmente su existencia. La transformaci&oacute;n de los programas en superficie, pero tambi&eacute;n de su entorno pr&oacute;ximo, de las infraestructuras y condici&oacute;n fision&oacute;mica, en los que se ha introducido una nueva realidad, unos nuevos habitantes, una nueva condici&oacute;n naturalizada, permite entrar a debatir la realidad y sus m&uacute;ltiples caras y conocerla con profundidad para delimitar cu&aacute;les y c&oacute;mo son esas caras, y c&oacute;mo pueden ser utilizadas para operar los cambios de la manera m&aacute;s precisa.<br />El proyecto establece un discurso te&oacute;rico que busca confrontar la realidad con sus complementos: la imaginaci&oacute;n, la ficci&oacute;n y la apariencia, encontrando en esa confrontaci&oacute;n nuevas posibilidades de lectura y representaci&oacute;n.<br />An Atlas for a Duplicated Reality es el resultado del taller del mismo nombre impartido en el Tricontinental Master&rsquo;s Degree in Integrated Architectural Projects de la Escuela de Arquitectura de la Universidad Europea de Madrid y dirigido por N&eacute;stor Montenegro y Antoni Gelabert, en el que diez alumnos de distintas nacionalidades (Ecuador, Espa&ntilde;a, Italia, Jap&oacute;n, Rep&uacute;blica Dominicana, etc.) y formaci&oacute;n (arquitectos, ingenieros, dise&ntilde;adores industriales, etc.), han aplicado nuevas t&eacute;cnicas operativas de an&aacute;lisis y descripci&oacute;n de aquellos lugares que son susceptibles de convertirse en objeto de transformaci&oacute;n urbana.<br />Cuatro eventos asociados al proyecto expositivo tratar&aacute;n de desentra&ntilde;ar los procesos que han permitido la reflexi&oacute;n sobre la necesidad de transformaci&oacute;n de aquello que ha sido ya asumido como real.</p> Thu, 18 Sep 2014 07:07:23 +0000 Bruno Vilela - Amparo 60 - September 25th - October 30th <p>A partir do pr&oacute;ximo dia 24, a Amparo 60 vai receber a exposi&ccedil;&atilde;o&nbsp;<em>Animattack</em>, do artista Bruno Vilela. A mostra, que tem curadoria de Moacir dos Anjos e &eacute; a segunda do artista na galeria, &eacute; composta por 15 desenhos e 1 pintura, in&eacute;ditos no Recife, realizados pelo artista entre 2012 e 2014. Na abertura, ser&aacute; lan&ccedil;ado o livro hom&ocirc;nimo, que traz o registro de estudos e obras da s&eacute;rie, com um texto do curador.</p> <p>Esses novos trabalhos se relacionam de v&aacute;rias maneiras com a produ&ccedil;&atilde;o anterior do artista, seja pela t&eacute;cnica, o uso do pastel seco (que fica na fronteira entre o desenho e a pintura) e do papel, pelos desdobramentos dos seus estudos de anatomia percept&iacute;veis na presen&ccedil;a da figura humana, ou mesmo nas refer&ecirc;ncias m&iacute;sticas, orientais e nos estudos do inconsciente no campo da psicologia e psican&aacute;lise, desenvolvidos por Bruno Vilela.</p> <p><em>O t&iacute;tulo da exposi&ccedil;&atilde;o, Animattack,</em>&nbsp;&eacute; uma palavra criada da fus&atilde;o de duas outras:&nbsp;<em>Anima&nbsp;</em>e&nbsp;<em>Attack</em>. O artista teve como fonte a defini&ccedil;&atilde;o do termo&nbsp;<em>Anima</em>, proposta por Carl Jung, que a percebe como uma esp&eacute;cie de Deusa, uma met&aacute;fora para esse esp&iacute;rito que representa o inconsciente masculino. Atrav&eacute;s desse olhar, se resgatam as figuras da Grande M&atilde;e, &nbsp;da Feiticeira, da Bruxa, da Santa, presentes em centenas de civiliza&ccedil;&otilde;es, h&aacute; mil&ecirc;nios, nas mais diversas religi&otilde;es.</p> <p>Essa entidade surge como guia, como um esp&iacute;rito que orienta o guerreiro na floresta, ou como uma bruxa assustadora, o s&iacute;mbolo da mulher amada e da m&atilde;e&nbsp;da inf&acirc;ncia perdida. &ldquo;Sempre que aparece, envolta em fuma&ccedil;a, como espectro, sombra, traz muito medo, pavor, p&acirc;nico ao homem, que logo foge dela. &Eacute; o lado selvagem, feminino, m&iacute;stico da alma masculina. Por isso o&nbsp;<em>attack</em>, o p&acirc;nico&rdquo;, explica.</p> <p>Segundo ele, p&acirc;nico vem de&nbsp;<em>PAN</em>, figura m&iacute;tica grega que surge no caminho do homem que tenta&nbsp;mudar, aprofundar, cruzar o vale secreto do inconsciente. &ldquo;&Eacute; preciso vencer&nbsp;<em>PAN&nbsp;</em>e a&nbsp;<em>Anima</em>&nbsp;funciona como guia, como Hermes, Exu e Merc&uacute;rio. &Eacute; sacerdotisa, or&aacute;culo, o primeiro ancestral, o sentido da vida&rdquo;, detalha.</p> <p>Nessa exposi&ccedil;&atilde;o de desenhos, os tons de turquesa, a &aacute;urea m&iacute;tica, a luz espiritual, remetem ao movimento dos Orientalistas que surgiu&nbsp;na pintura no s&eacute;culo XVII, atrav&eacute;s de nomes como Delacroix, Ingres e Moreux. As cores dos filmes coloridos&nbsp;na t&eacute;cnica do Technicolor, como&nbsp;<em>Narciso Negro</em>&nbsp;(1947),&nbsp;<em>O ladr&atilde;o de Bagda</em>(1940),&nbsp;entre outros, s&atilde;o liga&ccedil;&otilde;es est&eacute;ticas de interesse para quem quiser aprofundaro entendimento dessas obras.</p> <p>&nbsp;</p> <p>Para Bruno Vilela, a ideia central para compreender seu trabalho &eacute; mitologia pessoal. &ldquo;Temos medo do desconhecido. O que &eacute; recorrente no meu trabalho &eacute; a busca pelo desconhecido, pelo aprofundamento das quest&otilde;es do inconsciente, os estudos das mitologias antigas dos povos, perdidas e esquecidas. &Eacute; o oposto do sombrio. Sombrio &eacute; a vis&atilde;o de dentro da caverna, da zona de conforto. Eu quero olhar &ldquo;l&aacute; fora&rdquo;, longe da sombra, do sombrio. A vis&atilde;o do &ldquo;outro lado&rdquo;, das profundezas do inconsciente, guiada pela mitologia pessoal &eacute; um universo sem fim&rdquo;, finaliza.</p> Thu, 18 Sep 2014 06:39:30 +0000 - A Gentil Carioca - September 16th - October 18th Thu, 18 Sep 2014 06:28:29 +0000 - MICA - Maryland Institute College of Art - October 2nd - November 2nd <p>Highlights the personal and professional work of the College's award-winning teaching staff.</p> Thu, 18 Sep 2014 06:08:48 +0000 Group Show - Kunstmuseum Basel - September 20th - January 4th, 2015 <p class="bodytext">Over the years, works of art from the private collection of Richard and Ulla Dreyfus-Best in Basel have been seen in exhibitions around the world, but until now they have yet to be seen by the general public as an ensemble. With the exhibition For Your Eyes Only, uniquely and for the first time, the public will be privileged to see how these works combine and speak to one another.</p> <p class="bodytext">A selection of more than one hundred paintings, sculptures, drawings, natural curios, and artefacts reveals the special world of this collection, memorable in terms of its ambition and singularity and manifesting a contemporary reference to issues about the influential power of art through the ages. At a time when &ldquo;crossovers&rdquo;&mdash;of media, techniques, and genres&mdash;shape perceptions of art in general, the Dreyfus-Best Collection is both prescient and exemplary.<br /><br />In assembling their collection, the collectors have held to strict principles that have excluded random elements of chance. They not only made of originality and quality essential criteria, they also required that all works specifically reference &ldquo;artifice&rdquo; (in the strict sense of the word). The outcome is a truly distinct and contemporary &ldquo;cabinet of curiosities.&rdquo; The collection juxtaposes secular works of art with erotic and religious art from the Middle Ages to the present; Renaissance and Baroque master drawings share space with the arcane worlds of Surrealist painting; eccentric visions of the 18th century encounter the fantastic artifices of Mannerism; Symbolism and Pop Art meet on common ground. The thread that ties all these works is an artificiality that continually probes and experiments limits.</p> <p class="bodytext">&nbsp;</p> <p class="bodytext">A collaboration with the Peggy Guggenheim Collection, Venedig</p> Thu, 18 Sep 2014 05:50:41 +0000 Werner von Mutzenbecher - Kunstmuseum Basel - August 12th - October 16th <p>Schwerpunkte der Ausstellungen bilden Werke aus den sp&auml;teren 1990er-Jahren. M&uuml;sste man sie mit einem Stilbegriff belegen, so w&auml;re vielleicht der der geometrischen Abstraktion angebracht, wie ihn Piet Mondrian und Theo van Doesburg formulierten oder Josef Albers w&auml;hrend seiner Zeit im Bauhaus praktizierte. Anders als sp&auml;ter Josef Albers h&auml;lt WvM am Figurativen fest, das immer wieder zum Vorschein kommt oder Ausgangspunkt von Bildern ist. Das erleichtert ihm die Verbindung zu anderen Medien, auch zu Dichtung und Film.</p> <p>&Uuml;berraschend und weniger bekannt sind WvMs fr&uuml;he, von ihm selbst gedruckten grafischen Arbeiten von 1958 und 1964, die am Beginn der Ausstellung zu sehen sind. Es sind teilweise Studien nach der Natur, darunter Portr&auml;ts der Grossmutter und von ihm selbst, aber auch Rindersch&auml;del, die im Unterschied zum menschlichen Sch&auml;del ausgreifende, expressiv nutzbare Konturen aufweisen. Eine deutlichere Hinwendung zur Abstraktion zeigen die Atelierstilleben von 1964. Die Formen werden durch sich wiederholende, bald suchende, bald die Form wieder aufl&ouml;sende Striche umrissen.</p> <p>Im Vergleich zu den sp&auml;teren druckgrafischen Arbeiten zeigen die fr&uuml;hen Arbeiten WvMs eine Offenheit, welche in den Selbstportraits besonders greifbar wird. Fast scheint es, als sei diese Offenheit im Laufe der Jahre zur&uuml;ckgenommen oder besser, verwandelt worden. Vielleicht hat sie sich in der Sprache und im literarischen Schaffen WvMs, wie auch im Ausdruck der bewegten Bilder, im Film, neue R&auml;ume geschaffen.</p> <p>WvM bevorzugt die Techniken der Kaltnadelradierung und der Radierung, welche die Linie auch noch in feinsten Nuancen zur Geltung bringen. Immer wieder kombiniert er diese Techniken mit der Aquatinta, welche es erm&ouml;glicht, schwarze oder farbige Fl&auml;chen in grosser Geschlossenheit und Dichte zu drucken. Diese Tiefdrucktechniken markieren den Rand der Druckplatte deutlich auf dem Papier und betten die Darstellung sozusagen in dessen Oberfl&auml;che ein. Durch den &Auml;tzvorgang oder das Kratzen in die Druckplatte entstehen unterschiedlich scharf begrenzte Striche, welche eine eigene &auml;sthetische Qualit&auml;t besitzen, deren Tiefe und Ausdruck der K&uuml;nstler besonders sch&auml;tzt.</p> Thu, 18 Sep 2014 05:47:14 +0000 Paul-Martial - Kunstmuseum Basel - July 5th - October 19th <p class="bodytext">On July 5, 2014, the Kunstmuseum Basel opens a new exhibition presenting a selection of one hundred photographs from the archives of the Paris-based advertising agency<em>&Eacute;ditions Paul-Martial</em>. The black-and-white pictures formed the basis for posters, newspaper advertisements, and brochures and show ordinary things: buildings, cars, typewriters, radiators, mannequins. What was unusual and novel, however, were the composition, lighting, and exposure of the pictures. In today&rsquo;s perspective, the collection reflects the multifaceted evolution of photography from the 1920s onward. At the same time, it is an invaluable source for historians, documenting early forms of the carefully designed presentation of commodities and strategies designed to lure the consumer. The photographs are part of a collection newly acquired from the Herzog Collection and have never been on public display.&nbsp;<br /><br /></p> <p class="bodytext">Cans make it possible to preserve food for the long term; zippers allow bags and pockets to be securely closed; rubber soles protect the walker from slipping; car jacks make it easier to change a tire: the advertising photographs produced by&nbsp;<em>&Eacute;ditions Paul-Martial&nbsp;</em>tell stories about everyday life and how products like radiators, boilers, and cooking stoves help make it more pleasant. This renders the collection an extraordinarily valuable resource for historians: it illustrates the early history of the staging of consumer goods and the strategies employed to seduce the viewer. Beyond consumer products, the agency&rsquo;s photographers also captured the new worlds of work in factories and offices and the rise of modern travel and communication technologies. For the time being, most of the photographs&rsquo; creators remained anonymous; in the business perspective, individual authorship was obviously a secondary concern, especially since the majority of the pictures were a sort of intermediate product to be used by graphic artists in the design of brochures and posters.&nbsp;<br /><br /></p> <p class="bodytext"><strong>New Objectivity and&nbsp;<em>Neues Sehen&nbsp;<br /></em></strong>The historic photographs also reflect the multifaceted evolution of photography as an art in its own right from the 1920s onward. Pictures of buildings, machines, and selected products hew to the sober aesthetic of the New Objectivity, which took hold after the Great War. Photographs of transformer stations and bridges point to the&nbsp;<em>Neues Sehen</em>(New Vision) of the Bauhaus photographers and the works of the Russian avant-garde, which emphasized diagonal lines to heighten the dynamic quality of the picture&mdash;this influence is also evident in techniques such as &nbsp;photomontage and double exposures. In isolated objects and enigmatic motifs such as a pinecone, the surreal, mysterious, and sometimes also absurd infiltrate the world of ordinary things. The photographers&rsquo; love of experimentation is palpable throughout: they often created small series in which they tried different lighting effects and unusual angles of view. The selection of a hundred photographs is drawn from a larger collection the museum acquired from the collection of Peter and Ruth Herzog, Basel, in 2012 through a combined purchase-and-donation agreement. The exhibition was designed in close collaboration between the curator, Anita Haldemann, and the photography collector and expert Peter Herzog. donn&eacute; au mus&eacute;e en 2012.</p> Thu, 18 Sep 2014 05:42:28 +0000 Ryan Pierce - Elizabeth Leach Gallery - October 2nd - November 1st <p>In&nbsp;<em>Sad Gods</em>, Portland-based artist,&nbsp;<strong>Ryan Pierce</strong>, investigates the link between our yearning to understand the nonhuman world and our desire to conquer it. The artist draws on inspiration from the journals of Spanish conquistadors and Enlightenment-era botanists, as well as indigenous American narratives foretelling European invasion. Pierce considers whether we are living in an era of new exploration, as we reshape our landscape through climate change, industrial agriculture and bio-engineering.&nbsp;<br /><br />Pierce received his MFA from California College of the Arts in 2007 and a BFA from Oregon College of Art &amp; Craft in 2003. His work has been exhibited both nationally and internationally, including the CUE Foundation (New York, NY), Hudson Valley Center for Contemporary Art (Peekskill, NY), Roberts and Tilton Gallery (Los Angeles, CA), Lisa Dent Gallery (San Francisco, CA), and Babel Gallery (Trondheim, Norway). He has received recognition from Art in America, Art Papers, Art Week, and the Oregonian, and grants from The Joan Mitchell Foundation, San Francisco Foundation, and the Regional Arts and Culture Council. He is the recipient of a 2012 Individual Artist Fellowship from the Oregon Arts Commission. Pierce is the co-founder of Signal Fire, an organization that provides wilderness residencies and retreats to artists of all disciplines.</p> Thu, 18 Sep 2014 05:18:16 +0000 Ann Hamilton - Elizabeth Leach Gallery - October 1st - November 1st <p>Ann Hamilton&nbsp;is a visual artist internationally recognized for her large-scale multi-media installations, as well as photographs, performances, videos, and objects. The exhibition&nbsp;<em>Book Weights</em>&nbsp;at the Elizabeth Leach Gallery compliments the Henry Art Gallery&rsquo;s exhibition,&nbsp;<em>Ann Hamilton: a common sense</em>, which will be on view at the Henry October 11, 2014 - April 26, 2015.<br /><br />Hamilton received a BFA in textile design from the University of Kansas and an MFA in sculpture from the Yale School of Art. Among her many honors, Hamilton has been the recipient of the Heinz Award, MacArthur Fellowship, United States Artists Fellowship, NEA Visual Arts Fellowship, Louis Comfort Tiffany Foundation Award, Skowhegan Medal for Sculpture and the Guggenheim Memorial Fellowship. She has represented the United States in the 1991 Sao Paulo Bienal, the 1999 Venice Biennale, and has exhibited extensively around the world. Her major museum installations include The Pulitzer Foundation for the Arts (St. Louis, MO), Guggenheim Museum (New York, NY), MASS MoCA (North Adams, MA), Hirshhorn Museum and Sculpture Garden (Washington D.C.), Musee d'art Contemporain (Lyon, France), Stedelijk Van Abbemuseum (Eindhoven, The Netherlands), The Art Institute of Chicago (Chicago, IL), The Museum of Modern Art (New York, NY), The Tate Gallery (Liverpool, United Kingdom), Dia Center for the Arts (New York, NY), Museum of Contemporary Art (Los Angeles,CA).&nbsp;</p> Thu, 18 Sep 2014 05:15:08 +0000 Stephen Hayes - Elizabeth Leach Gallery - October 1st - November 1st <p>Inspired by scenes of farms along Interstate 5 between Portland and Corvallis, Oregon,&nbsp;<strong>Stephen Hayes</strong>&nbsp;examines the ways in which our society has become increasingly disconnected to our sources of food. In&nbsp;<em>dust...</em>&nbsp;, Hayes&rsquo; paintings are more intimately scaled than in previous exhibitions, yet his ability to capture the essence of a swiftly passing landscape is ever apparent. His works of seemingly forgotten agricultural structures under lush expanses of big sky reference what once had been a small farming community, since replaced by large industrial operations. Working from memory himself, the artist evokes a narrative of farming in days past.&nbsp;<br /><br />Hayes has shown his work locally and internationally, including exhibitions at the Portland Art Museum (Portland, OR), The Art Gym at Marylhurst University (Marylhurst, OR), Northwest Museum of Art and Culture (Spokane, WA), American Culture Center (Sapporo &amp; Nagoya, Japan), and The Phillips Collection (Washington, D.C.). He has had several commissions for public art projects in the region, and his works can be found in the the collections of Oregon State University (Corvallis, OR), New York Public Library (New York, NY), Portland Art Museum&rsquo;s Gilkey Center for Graphic Arts (Portland, OR), University of Oregon (Eugene, OR), and the new Randall Children&rsquo;s Hospital at Legacy Emmanuel (Portland, OR), as well as numerous private and public collections.&nbsp;</p> Thu, 18 Sep 2014 05:12:09 +0000