ArtSlant - Recently added http://www.artslant.com/ew/Events/show en-us 40 John Clement and Matthew Heller - Heather Gaudio Fine Art - June 4th - July 9th <p><strong>Heather Gaudio Fine Art</strong> is pleased to present its upcoming exhibition &ldquo;Turns of Phrase&rdquo; featuring sculpture by John Clement and paintings by Matthew Heller.&nbsp; The exhibition will be held June 4-July 9, with an opening reception for the artists on Saturday, June 11 from 5-7pm.</p> <p>&nbsp;</p> <p><strong>John Clement </strong>brings color and monumentality to three-dimensional curvilinear forms made of steel.&nbsp; A disciple of Mark di Suvero and John Henry, two of the most renowned sculptors of our time, Clement learned the art of welding, rigging and engineering, and developed a keen understanding for large-scale public artworks.&nbsp; He skillfully coils and welds long steel pipes to form deceivingly simple yet elegant ellipses, accentuating surrounding architecture or landscape with pops of bright color.&nbsp;&nbsp; Arcs, angles and intersecting lines imply movement and create playful doodles on positive and negative spaces.&nbsp; Based in New York City, Clement has had numerous exhibitions and public commissions across the United States and abroad.&nbsp; The exhibit will showcase sculptures in different sizes that can be placed in or outdoors.</p> <p>Also included in the show is the language-based artwork of <strong>Mathew Heller</strong>, an artist who resides in Los Angeles. Heller draws from a personal narrative for inspiration, using a visual form favored by Conceptual artists during the 1960s.&nbsp;&nbsp; His paintings replace imagery with poems or lyrics, words painted on canvas in the form of printed text. &nbsp;&nbsp;Some of the prose comes from his own writings, others from poems or songs by cultural legends such as John Lennon and David Bowie. The language gets re-contextualized and can be interpreted not only for what it states but how the typography occupies the space on the canvas.&nbsp; Other works in the show focus on a particular word, either repeated multiple times on the canvas, or painstakingly painted to deceive the viewer into thinking it is done with materials other than paint.</p> Sat, 28 May 2016 17:39:00 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list - Fotomuseum Winterthur - May 28th - August 28th <p>As every citizen with a smartphone, laptop or tablet knows, photography is becoming increasingly &lsquo;distributed&rsquo;. Driven by the vast replicative power of digital algorithms, photographs now move with tremendous speed across a wide variety of devices and platforms. The distinction between the still and the moving image is becoming increasingly blurred. At the same time, digital vision is now profoundly social, implicated in many&nbsp;areas of human activity. Certainly, this is having an impact on practice as younger artists in particular work with a range of media and no longer easily describe themselves as photographers.</p> <p>In our daily work we find ourselves speaking more of the photographic than photography, of photographic media, rather than the medium. This poses a challenge for a photography museum with a distinctive, but significantly analogue history. We are convinced that Fotomuseum Winterthur needs to react decisively and that this means far more than simply re-embracing a rather out-dated &lsquo;digital turn&rsquo;.</p> <p>On 10 April 2015 Fotomuseum Winterthur launched&nbsp;a new exhibition format titled SITUATIONS, which allows us to react more quickly to developments within photographic culture. The role of SITUATIONS is to define Fotomuseum Winterthur&rsquo;s vision of what photography is becoming, at the same time offering an innovative integration of physical exhibition space and virtual forum. Using tags and clusters as a mode of curatorial classification the aim is to integrate the real and the virtual in relation to exhibition in a new way.</p> <p>Numbered consecutively, a SITUATION may last a few hours, or two months, and might be photographic imagery, a film, a text, an on-line interview, a screenshot, a photo-book presentation, a projection, a Skype lecture, a performance etc. It might take place in Winterthur or perhaps in S&atilde;o Paulo or Berlin and be streamed on our website. The idea is to construct a constantly growing archive of SITUATIONS, reframing the idea of exhibition in relation to new technologies and both our local and global audiences.</p> <p>The SITUATIONS programme is organised around key clusters: the first was <em>Relations</em> (SITUATIONS #1 to #8), examining the changing social ontology of photography in relation to digital culture. The second cluster <em>Seeing Machines</em> (SITUATION #9 to #19) explored the way that technologies of seeing are increasingly devoid of human agency, the unprecedented power of algorithmic vision developing a new mode of &lsquo;seeing&rsquo;. <em>Formats</em> (SITUATION #20 to #22), the third cluster, dealt with lost and changing visual formats and the implications of these medial transformations for an examination of art and photography. Cluster four, <em>Vanishing</em> (SITUATION #23 to #27), explored the transitional moments inherent in the act of vanishing and asked how, and in what way, these moments are marked by the dynamics of (re-)configuration and (re-)appearance.&nbsp;Witnessing radical transformations in the production, distribution and consumption of images that migrate across mobile and interactive displays, the fifth cluster,<em> (in)stability&nbsp;</em>(SITUATION #28 to #31), revolved around moments of (in)stability in the history and contemporary experience of photography and film. Cluster six, <em>Play</em> (SITUATION #32 to #38) looked at new play practices and platforms &ndash;&nbsp;artistic game modifications, the gamification of photography, or new forms of social online interaction &ndash;&nbsp; that have emerged in the digital realm, questioning, in turn, how new parameters of game/play challenge the agency of the players. Each cluster can be searched and reordered by visitors in the SITUATIONS online archive using a system of tags. Over time, new clusters and combinations &ndash; and new virtual exhibitions &ndash; will emerge.</p> <p>The latest cluster, launched on 28 May 2016, is <em>Proletariats</em> (SITUATION #39 to 40). This cluster looks at issues of labour from a historical perspective. How can the complex imbrications of labour, subjectivity, gender and social positioning be deconstructed through artistic strategies of representation? What role do photographic and visual media play in the constitution of labour &ndash; and what is their potential for political agency and their capacity to trigger revolt?</p> Fri, 27 May 2016 15:02:21 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Nobuyoshi Araki, Eikō Hosoe, Kazuo Kitai, Daido Moriyama, Takuma Nakahira, Shomei Tomatsu - Fotomuseum Winterthur - May 28th - August 28th <p>Although largely ignored in its day, the short-lived magazine Provoke (1968&ndash;1969) was one of the most important photographic publications of the 20th century. In existence for just three issues, it crystallized the best in Japanese photography from the 1960s. This major exhibition is the first to explore the full context and influence of the magazine as a collective project. It situates Provoke between the political movements of the 1960s and the flourishing of photography in relation to Japanese performance art during the early 1970s. In a lively installation that features works by Nobuyoshi Araki, Eikō Hosoe, Kazuo Kitai, Daidō Moriyama, Takuma Nakahira, Shōmei Tōmatsu and many more, the exhibition explores the magazine&rsquo;s work of provocation, reflecting both the spirit of protest and the performative aspects of Japanese camera work.</p> Fri, 27 May 2016 14:49:45 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Steven Benson ▪ Dan Biferie ▪ Eric Breitenbach ▪ Charles Hodges ▪ Steffen Mittelhaeuser ▪ Gary Monroe ▪ Justin Nolan ▪ Patricia Nuss ▪ Per Hans Romnes ▪ Jayanti Seiler ▪ Steven Spencer ▪ Laine M. Wyatt - Southeast Museum of Photography - May 25th - May 25th <p><strong>FACULTY FOCUS 2016</strong><br />New Work from the Southeast Center for Photographic Studies</p> <p>June 8 &ndash; September 24, 2016</p> <p><strong>Exhibition Opening Reception:</strong> Wednesday, June 8, 5:00 &ndash; 7:00 p.m.</p> <p><strong>FEATURING: Steven Benson ▪ Dan Biferie ▪ Eric Breitenbach ▪ Charles Hodges ▪ Steffen Mittelhaeuser ▪ Gary Monroe ▪ Justin Nolan ▪ Patricia Nuss ▪ Per Hans Romnes ▪ Jayanti Seiler ▪ Steven Spencer ▪ Laine M. Wyatt</strong></p> <p><em><strong>Faculty Focus</strong> </em>exhibitions are presented biennially and feature photographic works from faculty of the Southeast Center for Photographic Studies, a joint enterprise of the photography programs at Daytona State College, the University of Central Florida (Daytona Campus) and the Southeast Museum of Photography. This year&rsquo;s exhibition is a survey of new work by photography professors with Daytona State College and the University of Central Florida, Daytona Beach.</p> <p><strong>Museum Hours:</strong> T,Th,F: 11-5 pm, W: 11-7 pm, Sat: 1-5 pm. <strong>Closed Sundays &amp; Mondays and for Summer Recess (August 1-15, 2016)</strong></p> <p>&nbsp;</p> <p>The Southeast Museum of Photography is a service of Daytona State College, 1200 W. International Speedway Blvd. (Building 1200) Daytona Beach, FL, 32114, 386-506-4475.</p> Wed, 25 May 2016 17:21:58 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Group Show - Centre d’Art Contemporain Genève - May 20th - June 19th <p style="text-align: justify;">An exhibition of posters realised by Mac Adams, Darren Banks, Eva Barto, Olivier Castel, Philippe Decrauzat, Peter Downsbrough, Charles de Meaux, Charlotte Moth, Mai-Thu Perret, Denis Savary, Laurent Schmid, Nicolas Eigenheer &amp; Jeremy Schorderet, Phoebe Unwin, Jacques Villegl&eacute;, Alan Vega, and Lawrence Weiner.</p> <p style="text-align: justify;">Along with trailers realised with Nick Cave, F.M. Einheit, Cosey Fanni Tutti, Sam Gleaves, Lee Ranaldo, Laetitia Sadier, Susan Stenger, and Alan Vega.</p> <p style="text-align: justify;"><em>The Exhibition of a Film</em> is an exhibition as a feature film for cinemas. Parallel to the release of the film directed by Mathieu Copeland and produced by the HEAD-Gen&egrave;ve &ndash; originally presented as part of the Biennial of Moving Images 2014, and subsequently at Tate Modern and the Centre Pompidou in 2015, and alongside with the release of the eponymous book &ndash; the Centre d&rsquo;Art Contemporain Gen&egrave;ve in co-production with the CNEAI is pleased to present an exhibition of the derivative products accompanying the film.</p> <div class="span4" style="text-align: justify;"> <p>Taking its construct both within the reality of a film and the possible textures offered by the cinematic environment, <em>The Exhibition of a Film (L&rsquo;Exposition d&rsquo;un film)</em> is thought as a polyphony of sound and images and aims at being something other than a structuralist &lsquo;epic&rsquo;, or a suite of artist&rsquo;s short films one after the other. Instead, each layer is constitutive of the whole, becoming a potential field of action. An exhibition for a context, namely a film screened in a cinema, that brings together 46 major artists, visual artists, choreographers, performers or musicians, all having a specific relationship with moving image. Bound by the intrinsic properties of this social space, <em>The Exhibition of a Film</em> is as much an exhibited film, the film of an exhibition and a filmed exhibition.</p> <p>The book, <em>The Exhibition of a Film,</em> proposes what would an exhibition be if we changed the environment from the gallery, museum, or Kunsthalle, to that of the cinema? Expanded, this anthology is articulated through a series of interviews, commissioned text and reprints that examine the relationship between the exhibition and film: their temporalities, their space, their mode of production.</p> <p>The publication <em>The Exhibition of a Film</em> features contributions by Mac Adams, Chantal Akerman, Fia Backstr&ouml;m, Darren Banks, Eva Barto, Fran&ccedil;ois Bovier, Olivier Castel, Philippe Decrauzat, Peter Downsbrough, Tim Etchells, Morgan Fisher, Liam Gillick, John Giorno, Lore Gablier, Philippe Grandrieux, Joanna Hogg, Isidore Isou, Christian Lebrat, Anne Marquez, Charles de Meaux, Claudia Mesch, Philippe-Alain Michaud, Meredith Monk, Charlotte Moth, Mai-Thu Perret, Lee Ranaldo, Denis Savary, Laurent Schmid, Leah Singer, Susan Stenger, Phoebe Unwin, Andrew V. Uroskie, Ben Vautier, Alan Vega, Jacques Villegl&eacute;, Lawrence Weiner, Apichatpong Weerasethakul, Ian White. Edited by Mathieu Copeland, and published by the HEAD Geneva University of Art and Design and Les Presses du R&eacute;el.</p> <hr /> <p>&nbsp;</p> </div> <p style="text-align: justify;">Une exposition de posters r&eacute;alis&eacute;s par Mac Adams, Darren Banks, Eva Barto, Olivier Castel, Philippe Decrauzat, Peter Downsbrough, Charles de Meaux, Charlotte Moth, Mai-Thu Perret, Denis Savary, Laurent Schmid, Nicolas Eigenheer &amp; Jeremy Schorderet, Phoebe Unwin, Jacques Villegl&eacute;, Alan Vega, et Lawrence Weiner.</p> <p style="text-align: justify;">Ainsi que des bandes-annonces r&eacute;alis&eacute;es avec Nick Cave, F.M. Einheit, Cosey Fanni Tutti, Sam Gleaves, Lee Ranaldo, Laetitia Sadier, Susan Stenger, et Alan Vega.</p> <p style="text-align: justify;">L'exposition d'un film est une exposition con&ccedil;ue comme un long m&eacute;trage cin&eacute;matographique. En parall&egrave;le de la sortie du film r&eacute;alis&eacute; par Mathieu Copeland et produit par la HEAD-Gen&egrave;ve &ndash; pr&eacute;sent&eacute; initialement dans le cadre de la Biennale de l'Image en Mouvement 2014, puis notamment en 2015 &agrave; la Tate Modern ainsi qu'au Centre Pompidou, et pour accompagner la sortie du livre &eacute;ponyme &ndash; le Centre d'Art Contemporain Gen&egrave;ve en co-production avec le CNEAI se r&eacute;jouit de pr&eacute;senter une exposition des objets d&eacute;riv&eacute;s, d&eacute;rivants et annonceurs qui accompagnent le film.</p> <p style="text-align: justify;">Partant autant de la r&eacute;alit&eacute; du film que de l'ensemble des textures que recouvre le cin&eacute;ma, L'Exposition d'un Film propose une chor&eacute;graphie polyphonique qui ne se pense pas comme un &laquo;&eacute;pique&raquo; film structurel et structuraliste, et se situe &agrave; l'oppos&eacute; d'une suite de s&eacute;quences s'ajoutant les unes aux autres. Discr&eacute;pante, chaque strate constitutive de l'ensemble s'offre comme autant de champs d'actions possibles. Une exposition pour un contexte, soit un film pr&eacute;sent&eacute; en salle de cin&eacute;ma rassemblant 46 artistes majeurs qui ont tous un rapport sp&eacute;cifique au cin&eacute;ma, qu'ils soient plasticiens, chor&eacute;graphes, performers ou musiciens. Contrainte par les propri&eacute;t&eacute;s intrins&egrave;ques de cet espace social, L'Exposition d'un Film s'affirme &agrave; la fois comme un film expos&eacute;, le film d'une exposition ou encore comme une exposition film&eacute;e.</p> <div class="span4"> <p style="text-align: justify;">L'ouvrage <em>L'Exposition d'un Film</em> propose ce que serait une exposition qui, au lieu de prendre place dans un mus&eacute;e ou dans une galerie, prendrait place au cin&eacute;ma. Cette anthologie se donne pour ambition, &agrave; partir d'un ensemble d'entretiens, de textes de commande et de textes republi&eacute;s pour l'occasion, de revenir sur le rapport entre l'exposition et le film : leurs temporalit&eacute;s, leurs espaces, ou encore leurs modes de productions.</p> <p style="text-align: justify;">La publication<em> L'Exposition d'un Film</em> regroupe des contributions de Mac Adams, Chantal Akerman, Fia Backstr&ouml;m, Darren Banks, Eva Barto, Fran&ccedil;ois Bovier, Olivier Castel, Philippe Decrauzat, Peter Downsbrough, Tim Etchells, Morgan Fisher, Liam Gillick, John Giorno, Lore Gablier, Philippe Grandrieux, Joanna Hogg, Isidore Isou, Christian Lebrat, Anne Marquez, Charles de Meaux, Claudia Mesch, Philippe-Alain Michaud, Meredith Monk, Charlotte Moth, Mai-Thu Perret, Lee Ranaldo, Denis Savary, Laurent Schmid, Leah Singer, Susan Stenger, Phoebe Unwin, Andrew V. Uroskie, Ben Vautier, Alan Vega, Jacques Villegl&eacute;, Lawrence Weiner, Apichatpong Weerasethakul, Ian White. Edit&eacute; par Mathieu Copeland et publi&eacute; par avec la HEAD &ndash; Haute &eacute;cole d'art et de design, Gen&egrave;ve et les Presses du R&eacute;el.</p> </div> Wed, 25 May 2016 07:06:35 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Group Show - Centre d’Art Contemporain Genève - September 16th - October 16th <p style="text-align: justify;">Each year, a dozen Genevan artists and makers compete for one of the bursaries awarded by the Berthoud, Lissignol-Chevalier and Galland funds of the City of Geneva within the field of plastic and applied arts.</p> <p style="text-align: justify;">The exhibition of the nominees at the Centre offers a true picture of youthful creativity in Geneva, demonstrating the different visions of the world that co-exist in the city.</p> <p style="text-align: justify;">For this 18th edition at the Centre, special consideration will be given to fashion design and painting, alongside singular and varied installations.</p> <h6 style="text-align: justify;">NOMINATED ARTISTS 2016</h6> <p style="text-align: justify;">Emmanuelle Bayart<br />Delphine Depres<br />Bastien Gachet<br />F&eacute;licien Goguey<br />Simone Holliger<br />Zara Idelson<br />Cl&eacute;mentine K&uuml;ng<br />Yoan Mudry<br />Zora Oberh&auml;nsli<br />Pilar Pilar<br />Alan Schmalz</p> <hr /> <p style="text-align: justify;">Chaque ann&eacute;e, une douzaine d'artistes et cr&eacute;ateurs de Gen&egrave;ve concourent pour l'une des bourses offertes par les Fonds Berthoud, Lissignol-Chevalier et Galland de la Ville de Gen&egrave;ve, dans le domaine des arts plastiques et des arts appliqu&eacute;s.</p> <p style="text-align: justify;">L'exposition des nomin&eacute;s au Centre propose un v&eacute;ritable &eacute;tat de la jeune cr&eacute;ation &agrave; Gen&egrave;ve, t&eacute;moigne des diff&eacute;rentes visions du monde qui y coexistent.</p> <p style="text-align: justify;">Pour cette 18&egrave;me &eacute;dition au Centre, une place particuli&egrave;re est accord&eacute;e au stylisme et &agrave; la peinture, aux c&ocirc;t&eacute;s d&rsquo;installations singuli&egrave;res et vari&eacute;e.</p> Wed, 25 May 2016 07:04:15 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Sonia Kacem - Centre d’Art Contemporain Genève - May 20th - August 14th <p style="text-align: justify;">The Centre d&rsquo;Art Contemporain Gen&egrave;ve is happy to present <em>Night Shift,</em>the first major solo exhibition in a Swiss institution by Swiss artist Sonia Kacem (b. 1985, Geneva), from 20 May to 14 August 2016.</p> <p style="text-align: justify;">Since its origins, the work of Sonia Kacem is driven by the deeply intuitive and sensual relationship she has with her chosen materials. Her voluminous ephemeral site-specific compositions are the result of an array of spontaneous gestures, which use a kind of performative system attempting to merge the content and the container, the macro- and the microscopical.</p> <p style="text-align: justify;">The ephemeral and modular aspect of Sonia Kacem&rsquo;s installation requires preliminary plastic research work, taking place in the studio. She stores an array of materials that might one day serve her: dust samples, pieces of fabrics, sketches, models, bric-a-brac of objects, books where she jots down ideas and reinterprets old works to develop new ones.</p> <p style="text-align: justify;"><em>Night Shift</em> was conceived during her four-month residency at the Centre, and reflects its own architectural format. Objects manufactured in the industrial world and the matter &ndash; retrieved or rented for the occasion &ndash; are here taken out of context, deprived of their artifact status, grouped and staged in provisional situations echoing the two very distinct spaces intended to receive them: the open space of the second floor, with its natural light, evoking a horizon versus the fragmentation of the closed rooms of the third floor.</p> <div class="span4"> <p style="text-align: justify;">These autonomous and built forms confront the random and disorderly nature of installation. Through its sculptural components and its appearance of d&eacute;cor, this project walks the trails of fiction or drama, question the notion of the status of the artwork and of the production cycle while staying in the abstract register.</p> <p style="text-align: justify;">Sonia Kacem studied at the Haute &eacute;cole d&rsquo;art et de design (HEAD) in Geneva and at the CCW Graduate School, University of the Arts in London. Today she lives and works in Geneva. She has had solo exhibitions at, amongst others: Kunsthalle Sankt Gallen; Kunstverein N&uuml;rnberg; Galerie Gregor Staiger, Zurich; La Rada, Locarno; T293, Rome. Her work has also been shown in group exhibitions in Europe, including at: Mus&eacute;e d&rsquo;art moderne et contemporain (Mamco), Geneva Autocenter, Berlin; Miart, Milan; Aanant&amp;Zoo, Berlin; Swiss Art Awards, Basel; Sommer&amp;Kohl, Berlin; Bucharest Biennale 4, Bucharest. Sonia Kacem will also be &lsquo;guest resident&rsquo; at the Rijksakademie van beeldende kunsten, Amsterdam between May and November 2016.</p> <hr /> <p style="text-align: justify;">Le Centre d&rsquo;Art Contemporain Gen&egrave;ve est fier de pr&eacute;senter <em>Night Shift,</em>la premi&egrave;re exposition personnelle d&rsquo;envergure dans une institution suisse romande de l&rsquo;artiste genevoise Sonia Kacem (*1985, Gen&egrave;ve) du 20 mai au 14 ao&ucirc;t 2016.</p> <p style="text-align: justify;">Depuis ses origines, le travail de Sonia Kacem est anim&eacute; par la relation profond&eacute;ment intuitive et sensuelle qu'elle entretient avec les objets et mat&eacute;riaux. Ses volumineuses mise en sc&egrave;nes in situ sont le r&eacute;sultat d&rsquo;un ensemble de gestes spontan&eacute;s faisant appel &agrave; une sorte de syst&egrave;me performatif visant &agrave; m&ecirc;ler contenant et contenu, micro- et macroscopique.</p> <p style="text-align: justify;">L'aspect &eacute;ph&eacute;m&egrave;re et modulaire des installations de Kacem n&eacute;cessite un travail de recherche plastique pr&eacute;liminaire en atelier. Elle y conserve tout un mat&eacute;riel susceptible de lui servir: des &eacute;chantillons de poussi&egrave;re, des morceaux de tissus, des croquis, des maquettes, des objets de bric-&agrave;-brac, des cahiers o&ugrave; l'artiste note des id&eacute;es et r&eacute;interpr&egrave;te ses travaux existants.</p> <p style="text-align: justify;"><em>Night Shift</em> fut con&ccedil;ue lors de sa r&eacute;sidence au sein de l&rsquo;institution. Les objets manufactur&eacute;s et la mati&egrave;re &ndash; r&eacute;cup&eacute;r&eacute;s ou lou&eacute;s pour l&rsquo;occasion &ndash; se voient ici sortis de leur contexte, priv&eacute;s de leur fonction d&rsquo;artefacts, group&eacute;s et mis en sc&egrave;ne dans des situations provisoires faisant &eacute;cho aux deux espaces tr&egrave;s distincts les accueillant: l&rsquo;espace tr&egrave;s ouvert, dot&eacute; de lumi&egrave;re naturelle et donnant une id&eacute;e d&rsquo;horizon du deuxi&egrave;me &eacute;tage, face &agrave; la fragmentation et la s&eacute;quence des salles cloisonn&eacute;es du troisi&egrave;me &eacute;tage.</p> <div class="span4"> <p style="text-align: justify;">Les formes autonomes et construites confrontent l'al&eacute;atoire et le d&eacute;sordre du geste de l'arrangement installatif. Par ses composants sculpturaux et ses allures de d&eacute;cor, cette production arpente les pistes de la fiction ou dramaturgie, questionne les notions du statut de l&rsquo;&oelig;uvre et du cycle de production tout en restant dans le registre d'abstraction.</p> <p style="text-align: justify;">Sonia Kacem a &eacute;tudi&eacute; &agrave; la Haute &eacute;cole d'art et design (HEAD) &agrave; Gen&egrave;ve et &agrave; la CCW Graduate School, University of the Arts in London. Elle vit et travaille actuellement &agrave; Gen&egrave;ve. Elle a pr&eacute;sent&eacute; son travail dans des expositions personnelles entre autres &agrave; la Kunsthalle Sankt Gallen; le Kunstverein N&uuml;rnberg; la Galerie Gregor Staiger, Zurich; La Rada, Locarno et T293, Rome. Ses &oelig;uvres ont &eacute;galement pr&eacute;sent&eacute;es dans des expositions de groupe en Europe: Mus&eacute;e d'art moderne et contemporain (Mamco), Gen&egrave;ve; Autocenter, Berlin; Miart, Milan; Aanant&amp;Zoo, Berlin; Swiss Art Awards, B&acirc;le; Sommer &amp; Kohl, Berlin; Bucarest Biennale 4, Bucarest. Sonia Kacem sera &eacute;galement &laquo;guest resident&raquo; &agrave; la Rijksakademie van beeldende kunsten, Amsterdam entre mai et novembre 2016.</p> </div> </div> Wed, 25 May 2016 07:02:20 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Hugo França - Bolsa de Arte de Porto Alegre - June 1st - July 2nd Wed, 25 May 2016 06:58:24 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Susumu Koshimizu - Blum & Poe Tokyo - May 14th - July 2nd <p style="text-align: justify;">Blum &amp; Poe is pleased to present an exhibition of new sculptures by Susumu Koshimizu. This is Koshimizu&rsquo;s second solo exhibition with the gallery.</p> <p style="text-align: justify;">Koshimizu was one of the core figures of Mono-ha (School of Things), a movement that radically redefined the Japanese art scene during the late 1960s and early 1970s with ephemeral installations of natural and industrial materials. From early on, Koshimizu&rsquo;s investigation of material, surface, and space resulted in some of Mono-ha&rsquo;s most iconic artworks. At the Paris Youth Biennale in 1971, he exhibited <em>From Surface to Surface (Wooden Logs Placed in a Radial Pattern on the Ground)</em> (1971), a circular arrangement of thirty pine beams sliced at varying intervals and angles.</p> <p style="text-align: justify;">In the mid-1970s, Koshimizu began his <em>Working Table</em> series, which develops the ideas initially explored in <em>From Surface to Surface</em>. The surfaces of these sculptures are variously incised with pools of water, or supplemented with stacks of branches and elongated protrusions reminiscent of horns or ribs. Koshimizu has expert knowledge of carving, joinery, and the qualities of wood and has made sculptures out of pine, cedar, cherry, birch, cypress, hemlock, paulownia, oak, maple, chestnut,&nbsp;and zelkova.</p> <p style="text-align: justify;">Koshimizu debuted his <em>Working Table</em> series internationally at the Venice Biennale in 1976. However, the sculptures were lost at the close of the show. The<em> Working Tables</em> in this exhibition are conceived as a variation of these lost works, consisting of four tables whose carved surfaces form an interlocking series of geometric patterns. Juxtaposed against the gallery&rsquo;s expansive view of the Meiji Shrine forest, these sculptures are a meditation on the quality of wood in its natural and manmade states.</p> <p style="text-align: justify;">Susumu Koshimizu was born in Uwajima, Ehime Prefecture, in 1944, and currently lives and works in Kyoto and Osaka. He studied in the sculpture department at Tama Art University, Tokyo, from 1966 to 1971. Since then, he has had numerous solo exhibitions in Japan, including at the Museum of Fine Arts, Gifu (1992); Ehime Prefectural Museum of Art &nbsp;(1992); Kuma Museum of Art, Ehime (2005); and Kyoto City University of Arts (2010).</p> <p style="text-align: justify;">Following his inclusion in <em>Requiem for the Sun: The Art of Mono-ha</em>, curated by Mika Yoshitake and held at Blum &amp; Poe, Los Angeles in 2012, Koshimizu has been featured in many landmark surveys, most recently: <em>Other Primary Structures</em>, Jewish Museum, New York (2014); <em>Prima Materia</em>, Punta della Dogana, Venice, Italy (2013); and&nbsp;<em>Parallel Views: Italian and Japanese Art from the 1950s, 60s, and 70s</em>, The Warehouse, Dallas, Texas (2013).</p> <p style="text-align: justify;">Previously he was included in <em>Reconsidering Mono-ha</em>, National Museum of Art, Osaka (2005); <em>Century City: Art and Culture in the Modern Metropolis</em>, Tate Modern, London (2001); <em>Japanese Art after 1945: Scream Against the Sky</em>, Yokohama Museum of Art, Guggenheim Museum Soho, New York, and San Francisco Museum of Modern Art (1994); S&atilde;o Paulo Biennale (1983); and <em>Tokyo Biennale &rsquo;70: Between Man and Matter</em>, Tokyo Metropolitan Art Museum (1970).</p> <hr /> <p style="text-align: justify;">Blum &amp; Poe東京では5月14日より小清水漸による個展を開催致します。当ギャラリーにて2回目の個展となる本展では、小清水の新作彫刻を中心とした作品群を発表致します。</p> <p style="text-align: justify;">小清水は1960年代後半から70年代にかけて台頭した「もの派」グループの中心メンバーの一人として知られています。当時の日本の芸術環境を根本 から再定義することを目的とした「もの派」の作家たちは、自然の物質や産業資材を一時的に用いたインスタレーション作品を展開しました。小清水の物質、断 面、空間への強い関心とそれを追求する姿勢は「もの派」作品の中でも最も象徴的と言える作品をいくつも編み出しました。1971年の第7回パリ青年ビエン ナーレでは、様々な角度や間隔で彫り込みを入れた30本の松の板を円形に配置した作品「表面から表面へ」(1971年)を出品しました。</p> <p style="text-align: justify;">小清水は1970年代半ば頃より、当初「表面から表面へ」にて追求したアイディアをさらに発展させた「作業台」シリーズの制作に取りかかります。 様々な彫り込みが施されたこれらの彫刻作品の表面には所々に水が張られ、時には積み上げた枝木、角やあばら骨を思わせる形状の細長い突起物が追加されま す。彫刻、建具、木の材質に関する専門的かつ豊富な知識を持ち合わせていた小清水は、松、杉、桜、樺、ヒノキ、ツガ、桐、ナラ、カエデ、栗の木、欅(けや き)など、実に多くの木材を用いた彫刻を制作しました。</p> <p style="text-align: justify;">1976年のベネチア・ビエンナーレへの出品が、「作業台」のシリーズがはじめて国際的な場で披露されるきっかけとなりましたが、それらの作品は展 覧会の閉幕とともに所在不明になってしまいます。本展に登場する「作業台」は、当時失われた作品の新たなバリエーションとして構想され、様々に合わさる幾 何学模様の彫り込みが表面に施された4つの台から成っています。ギャラリーの窓から覗く明治神宮の森の広大な展望を背景に配置された彫刻作品は、自然の 「木」と人の手が加えられた「木」のそれぞれの本質に心を巡らせる、瞑想的な空間として立ち上がります。</p> <p style="text-align: justify;">小清水漸<br />1944年、愛媛県宇和島市生まれ。現在、京都と大阪を拠点に活動。1966年から1971年まで東京の多摩美術大学の彫刻学科に 在籍。以来、岐阜県美術館 (1992年)、愛媛県美術館 (1992年)、久万美術館 (愛媛、2005年)、京都市立芸術大学 (2010年) など、多数の個展を開催。2012年に吉竹美香氏キュレーションの「太陽へのレクイエム:もの派の美術」展 (Blum &amp; Poe、ロサンゼルス) で紹介されたことを機に、海外においても小清水の存在が注目を集める。近年では「Other Primary Structures」展 (ユダヤ博物館、ニューヨーク、2014年) をはじめ、「Prima Materia」(Punta della Dogana、ベネチア、2013年) 、「Parallel Views &mdash;1950、60、70年代のイタリアと日本の美術」(The Warehouse、テキサス州ダラス、2013年) などの大規模かつ歴史的な展覧会への出展を果たす。主なグループ展に「もの派&mdash;再考」(国立国際美術館、大阪、2005年) 、「Century City: Art and Culture in the Modern Metropolis」(テート・モダン、ロンドン、2001年) 、「戦後日本の前衛美術」(横浜美術館、後にニューヨーク、グッゲンハイム美術館、サンフランシスコ近代美術館へ巡回、1994年) 、第17回サンパウロ・ビエンナーレ (1983年) 、第10回日本国際美術展 (東京ビエンナーレ)「人間と物質」展 (東京都美術館、1970年) などが挙げられる。</p> Wed, 25 May 2016 06:54:18 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Steven Nederveen - Bau-Xi Gallery - Vancouver - June 11th - June 25th Wed, 25 May 2016 06:48:54 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Anthony Redpath - Bau-Xi Gallery - Vancouver - May 26th - June 7th <p style="text-align: justify;">Anthony Redpath is a Vancouver-based photographer whose artistic practice focuses on the exploration of the constant transformations of contemporary life in coastal communities.&nbsp;&nbsp;Redpath&rsquo;s photographs play with themes of illusion and paradox to create images often laced with irony.&nbsp;&nbsp;With his strong sense of design and knowledge of technique, garnered from his work within the advertising world, Redpath expresses his interest in contemporary art, popular culture and social issues through beautifully composed, crisp and resonant imagery.</p> <p style="text-align: justify;">Redpath&rsquo;s work was recently featured in the highly acclaimed &lsquo;New Romantics&rsquo; exhibition at The Rooms in Newfoundland, and he has been awarded by and featured in many publications, including Canadian Art, Archive, Communication Arts, and Zoom magazine.</p> <p style="text-align: justify;">Redpath's next solo exhibition will be held at Bau-Xi Vancouver in May 2016.</p> Wed, 25 May 2016 06:47:57 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Pat O'Hara - Bau-Xi Gallery - Vancouver - May 5th - May 21st Wed, 25 May 2016 06:47:35 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Maya Vonmoos - Art Forum Ute Barth - March 31st - June 30th <p style="text-align: justify;">Solo Show&nbsp; verl&auml;ngert bis Ende Juni (Besuch nach tel. Vereinbarung)</p> <p style="text-align: justify;">Wegen des grossen Interesses bieten wir 2 <strong>K&uuml;nstler-F&uuml;hrungen</strong> durch die Ausstellung&nbsp;an:</p> <p style="text-align: justify;"><strong>MEET THE ARTIST</strong>&nbsp; am Samstag, 7. Mai &nbsp;15 Uhr</p> <p style="text-align: justify;"><strong>MEET THE ARTIST&nbsp;</strong> am Sonntag, 8. Mai &nbsp;12 Uhr</p> Wed, 25 May 2016 06:37:12 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Yang Jiechang - ARNDT Singapore - May 6th - July 31st <p style="text-align: justify;">ARNDT and A3 are pleased to invite you to a party to celebrate the launch of our new space and offices at Gillman Barracks, Block 47.</p> <p style="text-align: justify;">ARNDT will present works by leading Chinese artist Yang Jiechang. Entitled <em>100 Layers of Ink</em>, the pieces dating back to the late eighties and are the result of focused repetition and process.<br /> <br /> Since his emigration to Europe in 1988 Yang Jiechang has worked on a series entitled 100 Layers of Ink. The first and most outstanding works of this series, a set of four large-scale ink paintings, were exhibited in the seminal show Les magiciens de la terre at the Centre Georges Pompidou, Paris in 1989. In these large monochrome black paintings, which are a continuation of his early abstract works, the dualistic principle of Taoism is evoked by the black and shiny surface of the ink shapes.<br /> <br /> This series is the result of the artist applying ink to the same piece of paper, day after day, until the paper is completely saturated. Despite the materials employed sharing association to those used by literati to make traditional paintings, Yang reinvents them by entirely removing the artist&rsquo;s gesture as an index of meaning. By obsessively building layers on layers of ink, thus creating a black object that does not display skill, imagery, or personality, Yang subverts the traditional technique and aesthetic appearance of traditional Chinese ink and wash painting. This position can be considered as a deconstruction of Chinese painting and its tradition into its basic elements: paper, water, and ink.<br /> <br /> Taking on a shimmery, luminescent quality, the paper itself shifts from a two-dimensional surface to a three-dimensional object, merging figure and ground. The simple abstract forms seem to stretch beyond their margins and beyond the painting, recalling the process of sublimation of the self in meditation. The multiple layers of ink the artist applies to the paper connote time and enliven a black space. A major concept one can perceive throughout Yang's artistic oeuvre is that of the ambivalence of perception and experience. The artist looks for experiences that stimulate an insecurity in the viewer. Yang aims to push the perception of his work to extremes, to a point where mind and body, where the individual life and the life as natura naturans meet. This understanding of life again is related to Chan-Buddhism and to Taoist thought. Here individual life and life as a creative force of nature are regarded as an entity, as are its material and its spiritual aspects. Similarly, Yang Jiechang&rsquo;s shiny black abstract works seem to dissolve into or emerge from an amorphous, yet spirited cosmos.</p> Wed, 25 May 2016 06:30:20 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Miranda Young - Arkansas Art Center-Museum of Art - February 23rd - May 29th <p style="text-align: justify;">Miranda Young is no stranger to the Arkansas Arts Center. She took classes and appeared in theater productions as a child, has been an instructor in the Museum School for the past decade, is the scenic designer and properties manager for the Children&rsquo;s Theatre, and is even the proud mother of a Museum School student. While Young&rsquo;s work in the Children&rsquo;s Theatre provides her with a lot of teaching moments, the majority of her teaching is done in the Museum School through her Introduction to Printmaking and Open Studio classes. Young is particularly fond of the Open Studio classes where she brings in some of her own works and gives demonstrations. She says, &ldquo;The AAC has given me the opportunity to make art all day as my job&mdash;it feeds my need to make art and I appreciate that.&rdquo; Young has a BFA in printmaking and painting from the Kansas City Art Institute.</p> <div class="accentBox"> <p style="text-align: justify;">I love learning about animals and the meanings that humans place on them. I am particularly interested in the predator and prey relationship. Although this doesn&rsquo;t always translate directly into my work it does inform the posture of the animals that I chose to fixate on. In most of my work you will find an animal removed from its natural surroundings as to focus directly on the posturing of the animal. This turns the animal into a design element in the work rather than looking at the animal in its natural environment. This idea was discovered naturally through working but may be informed by my desire to explore the spiritual and emotional meanings that humans place on the animal, which also removes the animal from its natural environment.</p> <p style="text-align: justify;">This combined with an interest in design and bold graphic prints and drawings has lead me to making large scale linocuts and sculptures of animals. I am in love with discovering the textures of the animal&rsquo;s fur and skin through the carving of the lino plate and the scrafito carving process in the clay. I am always thinking of color throughout the process of carving but color is added during printing through a process called Chine Coll&eacute;. This layering of dyed mulberry papers adds color while also accentuating the graphic nature of the carving. This process is reversed in the sculpture process, as the color is added before the carving and allows me to look at the color layering process in a more painterly way.</p> <p style="text-align: justify;">Miranda Young</p> <p class="readability-styled" style="display: inline; text-align: justify;">Printmaking Department</p> <p style="text-align: justify;">Arkansas Arts Center Museum School</p> </div> Tue, 24 May 2016 17:22:24 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list - Arkansas Art Center-Museum of Art - June 10th - August 28th <p style="text-align: justify;">The <em>Delta Exhibition of Painting and Sculpture</em> formed in 1958 to feature contemporary work by artists from Arkansas and bordering states. Today, the Annual Delta Exhibition has grown to encompass works in all media as showcase for the dynamic vision of the artists of the Mississippi Delta region. The exhibition reflects the region&rsquo;s strong traditions of craftsmanship and observation, combined with innovative use of materials and an experimental approach to subject matter. This year's exhibition is June 10th through August 28, 2016.</p> <p style="text-align: justify;">Liz Garvey will serve as juror for the <em>58th Annual Delta Exhibition</em>. She is the co-founder and owner of Garvey-Simon Art Access, Inc. (est. in 2010). Prior to her current role, she was Co-Director of the venerable Schmidt-Bingham Gallery on 57th Street in New York, where she worked from 1989-1998; and then President and Owner of EKG Art Advisory, (1999-2009). She has been a fine art dealer and advisor in New York City for over 20 years and leverages her professional relationships with galleries, auction houses, private dealers and artists to offer clients a relaxed entry into the often intimidating visage of the New York art world. Liz maintains a boutique gallery in Manhattan that is focused on drawing, works on paper, unusual materials and design; while also acting as curator and advisor to select private clients. Liz is a member of ArtTable, and a founding member of the New York chapter of the Association of Women Art Dealers.</p> <p style="text-align: justify;">Garvey will select the artworks to be exhibited and will assign the $2500 Grand Award and two $750 Delta Awards. Additionally, a $250 Contemporaries Delta Award will be selected by the Contemporaries, an auxiliary membership group of the Arkansas Arts Center.</p> Tue, 24 May 2016 17:20:59 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list