ArtSlant - Current exhibits en-us 40 - 69 Smith Street Gallery - May 2nd, 2012 - May 20th, 2012 <p>Weird, Ok! Showcases visual material counteractive to commercial advertising, which inhabits and stealthily influences society’s belief systems, encroaching on our freedom and questioning true authenticity within any individual. A collective of upcoming artists/designers who have grown-up with hybrid influences in this technological age share visual communication responses that support alternate thinking.</p> Thu, 03 May 2012 01:43:35 +0000 - 69 Smith Street Gallery - May 2nd, 2012 - May 20th, 2012 <p>69 Smith Street members show.</p> Thu, 03 May 2012 01:45:10 +0000 Ai Weiwei - AIA Houston Chapter - April 19th, 2012 - May 25th, 2012 <p>A major new architectural project by Ai Weiwei—the first since Chinese authorities detained the internationally acclaimed artist last year—will be presented at the Architecture Center Houston from April 19 to May 25, 2012. The exhibition marks the U.S. premiere for the project, which debuted at the Kunsthaus Bregenz in Bregenz, Austria this past summer.</p> <p>In development for the past three years, <i>Five Houses</i> was created by Ai Weiwei in collaboration with Basel-based HHF architects. It is the cornerstone of a larger project, “Ai Weiwei House,” which interprets the concept of a residential building as a Gesamtkunstwerk—a complete work of art. “Ai Weiwei House” is the latest in a lineage of fully designed environments by such noted architects as Josef Hoffmann, Frank Lloyd Wright, and Gerrit Rietveld. Collaborating with specialists in fields ranging from architecture to furniture design, ceramics to textile design, Ai creates the individual elements of the completely furnished “Ai Weiwei House.”</p> <p>Fully integrated in thought and design, the “Ai Weiwei House” project originates in the artist’s own philosophical perspective, expressed in drawings, sculpture, objects, and architecture. In the process, Ai’s conceptual and aesthetic concerns emerge as elements of design. For him, the act of bringing together independent pieces to create a larger whole is the gesture that animates the form—the structure and its contents—and eventually turns it into a home.</p> <p>The exhibit is presented in partnership with AW Asia and scheduled to coincide with the opening of the new <strong>Asia Society Texas Center,</strong> designed by Yoshio Taniguchi, and concurrently, Houston Arts Alliance will exhibit <strong><i>Ai Weiwei’s Circle of Animals/Zodiac Heads</i></strong> in Hermann Park, March 3 – June 3, 2012.</p> <p><i>Ai Weiwei’s Five Houses Exhibit</i> will be curated locally by <strong>Reto Geiser</strong> of MG&amp;Co.</p> <p>Reto Geiser is an architect and scholar with a focus in modern architecture and the contemporary architectural and urban discourse. He is currently the Wortham Assistant Professor at the Rice School of Architecture. Geiser's curatorial works include the exhibition "Explorations: Teaching, Design, Research," Switzerland’s official contribution to the 11th Venice Architecture Biennale. Founded in 2008 by Noëmi Mollet and Reto Geiser, MG&amp;Co. is a collaborative practice that develops spatial strategies in a range of scales from the book to the house, exploring the boundaries of design and research.</p> Fri, 20 Apr 2012 06:35:56 +0000 - Alaska State Museum - May 4th, 2012 - October 13th, 2012 <p>Kiska Island is a battlefield landscape of world significance and yet is a little known story of the World War II Pacific Theatre. This unique Aleutian WWII exhibit includes both historic and modern day images of the Kiska battlefield landscape. Uninhabited before and after the war, the island still bears all the scars of battle, providing a raw and jarring image. Kiska Harbor and nearby areas abound with Japanese occupation sites and defensive structures, many replete with heavy armament that was abandoned in place. U.S. bomb craters dot the tundra, and Japanese gun barrels still point skyward, evocative reminders of the ferocity of the air war.</p> Tue, 01 May 2012 02:14:16 +0000 Dan DeRoux - Alaska State Museum - May 11th, 2012 - October 15th, 2012 <p>Dan DeRoux was born in Juneau in 1951 and has been painting in Alaska most of his life. His paintings hang in a variety of major museums both in Alaska and across the United States. His paintings are filled with imagination that continues to delight the viewer and examine with subtle detail much of Alaska, the world and our human conditions.</p> Tue, 01 May 2012 02:17:00 +0000 - Albertina - February 10th, 2012 - May 13th, 2012 <p class="avtext">The exhibition presents more than 200 pastels, watercolours and drawings of the Impressionists and Post-Impressionists with the primary goal of demonstrating the outstanding position of their work on paper. This is the first international show dedicated exclusively to this theme. Particularly among the artists of Impressionism and Post-Impressionism, drawing achieved a ranking equal to that of painting; an equality that would prove to be pioneering for modernity.</p> <p class="avtext"> <br class="avtext" /> While the paintings of Monet, Degas, Renoir, Pissarro, Manet, Seurat, Signac, Cézanne and Gauguin enjoy great popularity, their at least as impressive work on paper is much less well-known. It was thanks to these artists in particular that the drawing, in addition to its mainly secondary usage as preparatory study material, also received a primary function and was able to redefine itself as a complete, independent work of art.</p> Fri, 16 Mar 2012 05:58:06 +0000 Gustav Klimt - Albertina - March 14th, 2012 - June 10th, 2012 <p class="avtext">The great popularity of the illustrator Gustav Klimt is primarily based on the intoxicating sensuality of his female studies from the nude. The exhibition <em class="avtext">Gustav Klimt - The Drawings</em> memorably visualises just how complex his draughtsmanship really is. The Albertina is showing a large part of its famous Klimt holdings, which consist of 170 sheets. The show is supplemented by outstanding loans from Austrian and international collections. The exhibition features a rich spectrum of figure studies, monumental work drawings and pictorial allegories. Klimt created fascinating effects with economical technical means: with chalk, pencil or coloured pencils, occasionally with a pen or watercolours and gold paint. Several series of figure studies are found in the Albertina that were created by Klimt in connection with important allegorical paintings or portraits. In these sheets he got to the essence of a certain pose, movement or frame of mind step by step. Each sheet has an autonomous significance.</p> <p class="avtext"> <br class="avtext" /> Particularly these rarely shown series convey deep insight into the work methods and the mental and emotional universe of an artist who practically never spoke about his art.</p> Fri, 16 Mar 2012 06:02:01 +0000 Michael John Hunt - American Museum in Britain - March 10th, 2012 - October 28th, 2012 <p class="MainText">Celebrated on both sides of the Atlantic for his meticulously detailed architectural paintings, English artist Michael John Hunt (b. 1941) is entirely self-taught and has an intuitive understanding of perspective that would rival the abilities of many an artist. He has exhibited around the world from Amsterdam to Dubai and counts among his collectors members of the British Royal Family as well as Washington society.</p> <p class="MainText">One of the most striking features of Hunt’s portraits of American historic interiors is his theatrical use of natural light: sunlight filters between wood wall panelling, spills through window panes, and pools onto floorboards by open doorways. Fleeting shadows are thus captured forever in paint. Surprisingly, Hunt creates his pictures with layered acrylics and glazes producing subtleties of light and colour that are more usually associated with oil pigments. Thus Hunt illustrates his innate artistic dexterity – the painterly equivalent of a musician’s ‘perfect pitch’.</p> <p>Founded by Henry Francis du Pont, Winterthur is the premier museum of American decorative arts, reflecting both early America and the du Pont family’s life here. Its 60-acre naturalistic garden is among the country’s best, and its research library serves scholars from around the world. Over the years, Hunt has built up a considerable painted archive of the 175 period rooms on view there and, since this is one of the museums on which the American Museum in Britain was modelled, this exhibition in Bath is most appropriate. Hunt has also produced a similar collection of paintings of Wynkoop House, a fine Colonial period stone house in New York State and the largest in Marbletown, when it was built for Cornelius Evert Wynkoop in 1767. Wynkoop, of Dutch descent, was a successful merchant and served as a Major of the Minutemen of Ulster County in the American Revolution.</p> Sun, 15 Jul 2012 07:50:54 +0000 John James Audubon - American Museum in Britain - March 10th, 2012 - October 28th, 2012 <p class="MainText">John James Audubon is known for his remarkable studies of American birds depicted in their natural habitats. His The Birds of North America (1827-1839), in which he identified 25 new species and a number of new sub-species, is considered to be one of the finest ornithological works ever completed. However, his studies of mammals are less well-known.</p> <p class="MainText">Twelve folio engravings by this great ornithologist, naturalist and painter are on display within the Museum until 28 October.</p> <p class="MainText">John James Audubon’s exotic and often romanticised life has been widely chronicled; searching ‘Audubon’ on the internet produces over ten million hits. Born Jean-Jacques in Haiti in 1785, he was the illegitimate son of Captain Jean Audubon and his French-Creole mistress. He was raised in France, received some naval training, learned to love nature and wildlife, and began to draw. To escape conscription into Napoleon’s army the eighteen year old Audubon was sent to America to manage his father’s new estate, Mill Grove, near Philadelphia. Although Audubon returned to France he finally settled in America in 1806.</p> <p class="MainText">His earliest studies of birds date back to 1804 but work for his epic The Birds of America demanded a more peripatetic way of life and in 1820 Audubon began his travels, supporting himself as a portrait painter and drawing master. His aim was to represent the authentic colours and details characteristics of each species life-size. He collected his own specimens, usually by shooting them, in order to record the colours before the faded. Wiring the birds in life-like positions, he transcribed their outlines as accurate pencil drawings.</p> <p>John James Audubon changed forever the way in which nature is illustrated. His painstakingly executed, life-size images underscore his genius and confirm his place as one of the great American artists of the 19<sup>th</sup> century.</p> Sun, 15 Jul 2012 07:53:17 +0000 FOS - Andersen's Contemporary - March 31st, 2012 - May 16th, 2012 <p><span style="color: #666666; font-size: small;" color="#666666" size="2">Studenter, forældre, advokater, Danmark!<br /> <br /> Du rører, hvad du gør, men hvad rører du med, når kunst er overfladen?<br /> Gennem hvad ses dette fænomen, som er så særligt menneskeligt?<br /> Dette udtryk virker fjernt for os danskere!<br /> <br /> Danmark har aldrig haft en elite. En elite, som naturligt ville hive kulturen frem til en fortsat diskurs og dermed smitte offentligheden; sætte kunsten nær som identitetsskaber. Dette er en af grundene til, at vi som danskere har svært ved at relaterere til det nutidige kunstneriske felt. Det hjælper heller ikke, at hver gang kunsten trækkes frem som historie, så handler det om dens nytteværdi eller mangel på samme, som en kuriositet, et socialt eller et politisk projekt, og som derfor ser ud til aldrig at nå ud over sine egne mangler. <br /> <br /> I afsavnet af en elitær tradition har vi i stedet dannet vort land gennem en lavpraktisk og fornuftig kunnen til middelklassens nødvendige ro, og som i sig selv danner sine egne bivirkninger, såsom en dansk dagligdag – et symptom, som kulturen bearbejder “som måske den sidste instans, vi har”! Dette danske forhold skaber vores rutiner, som former vores sprog og dermed vores reaktion, forventning og forståelse for vores omgivelser, frem og tilbage, det er disse referencer, vi bruger, når vi rører blandt andet ved politik og kunst. Og dette ligner en svær kobling. Det ses som noget andet end dagligdagen, noget på den anden side - lidt som at give en opskrift på sommersalat til en metalfan eller kikærter til en lastbilchauffør. Alle ser lidt på hinanden med et forlegent smil og afstand i blikket og ønsker hinanden en fortsat god dag! <br /> <br /> Kunstens skema er kompliceret, da det bygger sin viden på det irrationelle i modsætning til dagligdagens fysik. Det er en svær kobling, hvis målet er en egentlig poetisk resonans, og mødet mellem objektets dyb og os er ligeledes svær. At nå ind i denne resonans er svær, da vi skal nå ud og kickstarte en knallert. Kunsten og Danmark. Jeg sætter her to forskellige forhold op mod hinanden. Danmark som nation og den poetiske oplevelse hos den enkelte – men jeg gør det, for intimiteten udløser en spænding for begge.<br /> <br /> Og nu vi er ved denne tekst, så savner den heller ikke en særlig situation. Det er en tekst, der taler til en offentlighed og forsøger at perspektivere, at det er den kollektive virkelighed, vi rører med, når vi oplever kunsten. Vore egne referencer er derimod ikke i brug, for hvad er de skabt af, Danmark?<br /> <br /> <br /> FOS<br /> <br /> ENGLISH TEXT:<br /> <br /> Students, parents, lawyers, Denmark!<br /> <br /> You touch what you do, but what do you touch it with, when art is the surface?<br /> Through what do you view this phenomenon, which is so very human?<br /> Contemporary art seems so remote to us Danes!<br /> <br /> Denmark has never had a radical elite. An elite that would naturally pull culture forward into a continued discourse and thus infect the public, placing art closer to the process of forging identities. This lack could be one of the reasons why we collectively have difficulty relating to contemporary art. It does not help that every time it is discussed in the media it is addressed in terms of its practical use or lack thereof, as a curiosity or as a social or political project, therefore never appearing to reach beyond its supposed shortcomings.<br /> <br /> Due to this lack of a critical radical discourse, we have instead formed our country through the prudent skills of a quiet middle class. These Danish every-day life standards create our routines, shaping our language and therefore our responses, expectations and understanding of our surroundings. These are the same references we make use of when addressing politics and art.<br /> <br /> This is like a sticking clutch. Art builds its knowledge of the irrational in contrast to everyday physics. It is a hard shift, if the goal is a truly poetic resonance, in the intimate meeting between the object's depth and our own. Here, I am placing two different conditions next to each other: Denmark as a nation and the poetic experience of the individual - because intimacy plays a part in both.<br /> <br /> This text is not addressing the lack of a specific situation, but wants to address a public to say that it is the collective reality we touch with when we experience art. <br /> <br /> Our own references are not in use what are they then made of, Denmark?</span></p> <p><span style="color: #666666; font-size: small;" color="#666666" size="2">FOS<br /> </span></p> Mon, 09 Apr 2012 01:14:00 +0000 Group Show - ANDREAS GRIMM - MÜNCHEN - April 20th, 2012 - May 31st, 2012 <p><b>Katarina Burin </b>(born 1975 in Bratislava, Slovakia) finished her studies at the Yale University in 2002. The artist works in various media and is mainly interested in the subject of the ubiquity and history of architecture and design. She focuses on how images and documents represent the past, but at the same time define today’s world. Her works have been exhibited worldwide, i.e. at White Columns in New York, at the the Museumsquartier in Vienna and the Thurn &amp; Taxis Palais in Bregenz. In 2009 Katarina Burin received the McDowell Residency scholarship (New Hampshire, USA).</p> <div>Dark, mysterious and threatening are terms that best describe the paintings by <b>Damien Cadio</b> (born 1975 in Mont Saint Aignan, France). Many of his subjects appear to be almost banal, but because of his own aesthetic signature his works give the impression of a latent menace, not unlike the imagery of a David Lynch movie The depiction of the threat is rarely explicit, but it is the coherent thread that unites his entire oeuvre. In the spirit of the 21st century Cadio finds his motifs via Google and Co.. Therefore it is quite possible that some of his paintings awake a certain degree of familiarity. Nevertheless, the artist manages to turn his collected internet findings into uncanny, mysterious icons. Through the movie inspired technique of dramatization, the known and locatable motif is either renounced or strengthened in its meaning.</div> <div> </div> <div>The works of <b>Andreas Chwatal</b> (born 1982 in Regensburg) appear to be something like props, antiques or insights into apartments and bureaus, removed from their original context. In those works graphical and sculptural means are interfused to one installation, trying to showcase the whole of a story in one snippet. As in most of Chwatal’s works, the artist integrates also a textual level: poetic texts, which Chwatal regards as images as well, underlining the fictional character and just seemingly contributing to the decipherment of the presented works. A story is evoked and not unlike a crime story, it pulls the viewer into a vortex. Apparently conflicting elements and memorized images crystallize into a mysterious overall picture.</div> <div> </div> <div><b>Nana Dix</b> (geb.1962 in München) studied Industrial Design at the Fachhochschule (1984 – 85) as well as Art History at the Ludwig-Maximilians-University in Munich (1985 – 89). Her last exhibition “Color Me Beautiful” marks a turning point for Nana Dix from collage back to painting, an organic artistic development. After years of abstinence from the medium of painting she returns and showcases a developed stage. Whereas the former collages reflected the overflow of images and the unrest of our times, the monochromatic color fields of the current exhibition indicate a ruminant withdrawal, which can be regarded as an allusion towards the abstract paintings of Mark Rothko</div> <div> </div> <div><span style="font-size: medium;" size="3">I</span>n his minimalistic art, New York- and Berlin-based artist <b>Jeff Grant</b> (born 1975, New York State, USA) deals with the subject of identity and expectations. In his head studies, dimly contours evoking the idea of human heads are adorned with colourful points and swirling circles that become abstract eyes and mouths (i.e. “Head with dot holes 1”). Jeff Grant describes his own work as “a study in the co-existence of determined facts and shifting, ambiguous definitions.” It seems like that those head-like shapes deliver the “determined facts,” whereas the seemingly “shifting” points and circles constitute the claimed “ambiguity,” the uncertainty of human identity. Jeff Grant graduated from the Goldsmiths College in London in 2000. In 2011 he amazed the public with a great exhibition in South Korea.</div> <div> </div> <div>A particular affinity to architectonic situations and forms of suburbia is characteristic for the work of Swiss artist <b>Daniel Robert Hunziker</b> (born 1965 in Walenstadt, Switzerland). Hunziker blends a particular feeling for space and his impressions of structures into mysterious objects, which can be located somewhere between a model and an installation. The artist finds concrete points of departure for his individual works in constructions he happens to come across in his everyday environment and which he observes first and foremost from the perspective of a sculptor. Hunziker lives and works in Zurich. In 2011 the artist inspired the public with the Gallery von Bartha at Art Basel Unlimited.</div> <div> </div> <div>The imagery of <b>Leonhard Hurzlmeier</b> (born 1983 in Starnberg, Germany) is one of geometry. Clean lines, triangles, rectangles and trapeze converge and coincide, creating works of playful ornamentation, contrasting the more algid abstraction of someone like Mark Rothko. By approaching the paintings of Hurzlmeier, the viewer realizes, that the supposedly even canvases feature a very detailed structure. The artist accentuates the ‘scars’ of the entire painting process and thereby creating an interesting contrast between the calculated motive and the organic feeling of the paintings. Hurzlmeier paints on already used canvases, whose surfaces he completely repaints, however, he allows the ‘old’ texture to shine through and by doing so, his works become immanent documents of time.</div> <div> </div> <div>In 2011 <b>Peter Riss </b>(born 1962 in Kaufbeuren, Germany) managed to elate with his first solo exhibition at our gallery. The artist studied from 1997 – 2001 at the Kunstakademie Düsseldorf with Prof. Gerhard Merz. Peter Riss' paintings and objects are distinguished by an almost excessive aestheticism: glassy lacquer surfaces reflecting the environment (including the viewers), harmonic geometries as well as golden skeletons, animal bones and fawns are all part of Peter Riss’ imagery. Stylistically the viewer may be reminded of the works of Mondrian or even traditional Japanese architecture, as Peter Riss employs a similar way of structuring his space determining installations and objects.</div> <div> </div> <div><b>Stefan Sandner </b>(born 1968 in Vienna, Austria) is one of the most important contemporary representatives from Austria. Through the transfer process of memo to canvas and the immense enlargement, Sandner elevates this seemingly banal scrap of everyday life into the realm of art. Besides the question of the artistic status of his work, Stefan Sandners paintings also put the authorship into question. The notes and memos transferred onto canvas are the intellectual property of known and unknown authors that Sandner appropriates for his purposes. This fact puts the artist also into the direction of Appropriation Art, which centers around the question of authorship, acting accordingly to the Zeitgeist of postmodernism by quoting and copying other material. While quoting these other sources Sandner makes slight changes to subordinate the texts to his aesthetic and compositional needs.</div> <div> </div> <div><b>Matt Saunders </b>(born 1975 in Tacoma, USA), who studied at Harvard as well as at Yale, draws his inspiration for his work from films, but he is not only concerned with the history of that medium. His work engages with our spectatorship of the movies – the way that we identify with them, live with them and experience them over time. Taking the form of painting, drawing, short films, and photography, Saunders’ work takes an approach that is at once analytic and personal, building its own history, both of materials and of subjects. In 2011 Saunders had solo exhibitions at Blum &amp; Poe in Los Angeles and at the Marian Goodman Gallery in Paris. Some of his works are part of the art collection of the MOMA and also the Whitney Museum in New York.</div> <div><b> </b></div> <div>The artist <b>Felix Schramm </b>(born 1970 in Hamburg, Germany) studied with Prof. Jannis Kounellis and graduated in 1997 from the Kunstakademie Düsseldorf. His former oeuvre consists mainly of sculptures and room installations, which are based on the architectural environments of the exhibition space. Walls, floors, ceilings are cracked by bias layers, breaches and dumping space fragments. Horizontals and verticals become bias, whereby the coordinates are corrupted. Breached walls are openings, views, which allow new perspectives and images. Schramm transfers the aesthetic of his sculptural work to a new medium: the collage. His exhibition catalogue already covers institutions such as the Palais de Tokyo in Paris, the Hamburger Bahnhof in Berlin as well as the San Francisco Museum of Modern Art.</div> <div>  </div> <div><b>Lisa Tan </b>(born 1973 in Syracuse, USA) already had three solo exhibitions at our gallery. The artist’s work negotiates her longstanding interest in loss as a constant yet shifting condition of being that shapes the quotidian while anticipating the profound. Her works are marked by an elegant visual economy, and have taken the form of photographs, videos, sculptures, drawings, writing…and a champagne cocktail. Tan lives in Stockholm and New York. In 2011 she got her first solo exhibition in a museum, the Arthouse at the Jones Center in Austin, Texas.</div> <div> </div> <div>With large scale paintings that focus on the more casual things and activities of human life, artist <b>Cornelius Völker</b> (born 1965 in Düsseldorf, Germany) managed to succeed in the harsh art world. Sandwiches, slippers, chocolate bars, lap dogs, women posing with their vacuum cleaner, or people who are putting on a sweater - all these motives, putting emphasize on the prosaicness of everyday life, stand in contrast to the sheer scale of the images as well as the honorable medium of painting itself. However, Völker’s “casual” art amazes the art audience and so the artist was granted with four solo museum exhibitions: the Villa Stuck in Munich, the Wilhelm-Hack-Museum in Ludwigshafen, the Mönchehaus-Museum in Goslar as well as the Von der Heydt-Museum in Wuppertal (all in Germany).</div> Mon, 23 Apr 2012 02:03:40 +0000 - Angelnook Gallery - May 5th, 2012 - June 3rd, 2012 <p>Angelnook Gallery presents the group thematic exhibition, Chakra Forces. This exhibition will focus on art inspired by artists’ interpretation of Chakra Forces and will be held at the Angelnook Gallery from May 5<sup>th</sup> –June 3<sup>rd</sup>, 2012. The Artistic interpretation of a Chakra is a floating lightweight symbol in which many try to catch a glimpse of the definition. According to Tantric tradition, everyone has seven energy centers that serve as junction points between the body and consciousness, or between matter and the mind. These spinning vortices, Chakras, receive, assimilate and express our vital life energy.</p> Fri, 11 May 2012 23:57:47 +0000 Susanne Themlitz, Felipe Ortega Regalado - ARANAPOVEDA Galeria - April 14th, 2012 - June 1st, 2012 <p>La  exposición Otras Flores del Mal da cuenta de cómo para la portuguesa Susanne Themlitz (Figueira de Castelo Rodrigo, Portugal, 1968) y para el español Felipe Ortega-Regalado (Cáceres, 1972), el dibujo es un eje vertebral del proceso creativo. En primer lugar por coincidir ambos plenamente cuando otorgan al dibujo la capacidad de configurar el espacio más inmediato e íntimo desde el cual desenvolver sus respectivos imaginarios. Tan particulares los dos, por cierto, tan ricos e inclasificables, al margen de las poéticas hegemónicas de nuestro presente, como una vez más queda patente en esta muestra. <br /> Pero también porque, en paralelo, ese mismo dibujo que compone por sí solo una parte decisiva de su producción más notable y característica, desde luego la más conocida por el público, les sirve para explorar lúcida e insistentemente sobre una serie de puntos que dota su proyecto de enorme personalidad: la periferia de lo ornamental, los límites de toda construcción figurativa, o la articulación del relato a partir de historias entrecortadas, no plenamente sujetas al orden de la narración, que, además, tanto en Themlitz como en Ortega-Regalado, posee un indiscutible carácter onírico.<br /> Para esta exposición he seleccionado obras pertenecientes a series muy recientes de ambos artistas, que aquí en la galería Aranapoveda entran en diálogo por primera vez, bajo el impulso de la segunda edición del festival A Tres Bandas, que este año quiere hacer especial hincapié en el diálogo entre la escena española y la portuguesa. Este encuentro escueto y equitativo entre ambas refuerza lo singular de cada uno de los elegidos a partir precisamente de revelar puntos de contacto como los que acabo de destacar, pero que sin duda no son los únicos. Queda abierta la ocasión, pues, para que cada espectador encuentre también por su lado otras facetas de contacto y de diferencia: reflejos o paralelismos, contrastes o divergencias que el montaje de la galería ha cuidado al máximo.<br /> Como hilván, trasfondo o excusa de todo ello aparece una iconografía compartida ya desde el título: el fogoso tratamiento de la naturaleza y el orden vegetal, de los hongos y la geometría, de las flores y del paisaje, que tanto ha preocupado últimamente a los dos artistas, donde se refleja un trasfondo de lo orgánico entendido más allá de lo vivo, del cuerpo o de las pasiones. Allí no se esconde ese fondo baudelairiano donde el artificio es rey, donde cada figura alberga un pliegue demoniaco, embriagador, más oscuro de lo que cabría deducir por su seductora apariencia... <br /> Al cabo, en estos dibujos de Susanne Themlitz y de Felipe Ortega-Regalado, sea cual sea el soporte o técnica que adopten en su encarnadura, se configura un escenario plagado de espíritus y ánimas que terminan por infiltrar cierto agitado nerviosismo, desasosiego, incertidumbre o irrealidad, si se quiere incluso algo de perversión, a la idílica tradicional del género paisajístico o de ese otro, menor, de la pintura floral. Por eso no es raro que en ocasiones entreveamos vanitas aquí y allá, entremezcladas con bodegones o vistas de un paisaje indefinible. La naturaleza, en toda esta exposición que tengo el gusto de presentarles, deviene, sí, toda ella alegoría, atravesada como está por el demonio de la analogía, del deslizarse incesantemente unas imágenes sobre otras independientemente ya de quién las haya dibujado.</p> Sun, 20 May 2012 07:00:32 +0000 Julianne Swartz, Ken Landauer - Arizona State University Art Museum - January 21st, 2012 - June 2nd, 2012 <p>Julianne Swartz and Ken Landauer will spend their Social Studies residency at the ASU Art Museum looking for miracles. The artists will explore the miraculous through people's perceptions of it in their lives, interviewing students, school children and community members of all ages and backgrounds. They will combine their findings in an installation of fleeting vignettes playing on all of the available sound and video equipment in the museum's possession. In the words of the artists, "Our installation will strive to embody some beauty, some hocus-pocus and some unexplainable magic."<br />  <br /> If you would like to retell your own miracle or have the artists visit your community group to record their miracles, contact Nicole Herden at <a href=""></a>.</p> Thu, 12 Jan 2012 00:35:08 +0000 - Arizona State University Art Museum - February 4th, 2012 - May 19th, 2012 <p><i>Performing for the Camera</i> presents 50 photographs by artists who use performance as a central part of their process. With elaborate costumes and masquerades, large groups of people, theatrical settings, serial images and cinematic framing, the artists create photographs that are often ambiguous, dreamlike, uncanny or campy. These works blur fact and fiction by staging images for a medium associated with truth -- teasing and inspiring us to complete the story for ourselves.</p> Thu, 12 Jan 2012 00:45:14 +0000 - Arizona State University Art Museum - February 11th, 2012 - May 19th, 2012 <p>Japanese stories are filled with legends and myths of heroes, villains, warriors and ghosts and of extraordinary demonstrations of loyalty, bravery, devotion, honor and dishonor. Many of the stories are based on actual events and people – though sometimes greatly embellished – and others are traditional folk-lore. <br /> In the 17th century, some of the stories were first produced as puppet shows (bunraku) and then developed into Kabuki plays with live actors portraying the characters. The woodblock artists memorialized the actors and play in prints for the consumer audience, visually representing their stories much as our movie and actor posters do today.  <br /> The stories continue through this presentation of 18th- and 19th-century Japanese prints selected from the ASU Art Museum’s print collection.</p> Fri, 09 Mar 2012 09:54:34 +0000