ArtSlant - Closing soon en-us 40 Tomoko Taniguchi, Takehiro Yoshimitsu - Art Beatus Gallery - Vancouver - May 11th, 2012 - July 6th, 2012 <p>Curator Yuka Nakamura says that KI (氣in Chinese) - a concept derived from ancient times in Japan - accrues when we breathe. Breathing involves inhaling and exhaling; the two acts are inseparable and the intervals between them generate different kinds of rhythms. It is the rhythm of life that we feel ourselves and creates the impression that we convey to others.  BREATHING, featuring mixed media works by artists, TOMOKO TANIGUCHI and TAKEHIRO YOSHIMITSU was exhibited at our Hong Kong gallery in 2010 and Art Beatus is pleased to present the works again in our Vancouver location from May 11 to July 6, 2012. <br /> <br />Born during World War II in what is now known as North Korea, TOMOKO TANIGUCHI moved to Hiroshima immediately following the end of the war where she spent her childhood amidst the devastation of the A-bomb.  The artist believes that living with a sense of indescribable danger and uncertainty awakened her desire to create. In her creative process, the reality of the moment, of being alive and present, emerges from her psyche and transforms into shapes, colours, and inspirations.  Taniguchi feels that our survival depends on production which inevitably brings about destruction.  Her mission is to leave behind the beauty of life in her art. </p> <p><a href="" target="_blank"></a>TAKEHIRO YOSHIMITSU was born more than 30 years after the war and like many young people in contemporary Japan, faces the emptiness and uneasiness that comes with living in a place affected by war at a time of peace.  With no targets to attack, his focus is on wars that exist elsewhere, pouring the naïveté within him into his art. The “digging out” style in which he applies then removes paint from his canvas is his method of confronting the saturated condition he senses within contemporary society, of coming face-to-face with the wars Japan experienced in the past, and the wars that have been ongoing for years in the world today. Creating and presenting his art is Yoshimitsu’s way of communicating with others and is part of the process of finding meaning for his existence. </p> <p>While there is a generational difference between the artists, there is also a commonality in how war has spurred the development of their individual creative styles. While the rhythm of breathing between two persons defines their special relationship, the artists' different perspectives also create a tension. The rhythm that arises from the tension becomes the breath from both artists, and in turn, that rhythm or ki, will hopefully reach the hearts of audiences to the exhibit.  BREATHING will open with a public reception on Friday, May 11 from 3pm to 6pm and both TANIGUCHI and YOSHIMITSU, from Japan, will be attending the event.</p> Thu, 03 May 2012 01:53:30 +0000 Ara Peterson - LOYAL - May 26th, 2012 - July 6th, 2012 <p>LOYAL is pleased to present&nbsp;<em>Neon Gray</em>, a solo exhibition by Ara Peterson. The exhibition consists of seven new works, including six wall-relief sculptures and one free-standing sculpture. This is Peterson's first solo exhibition outside the USA and his first with Loyal.<br /><br />Ara Peterson uses the materials of paint and wood to record wave patterns into sculptural form. Peterson takes the kinetic attributes of the wave and gives them a static shape. At the same time he takes the static material of wood and gives it the appearance of movement. Each work begins with Peterson's mental image of an object that has the capability of changing and evolving through the various stages of execution. From the idea's conception all the way to its completion as a relief sculpture, Peterson effectively defies the characteristics of both the technology he uses to create the works as well as the material used. The resulting sculptures appear weightless and immaterial before the viewer, visually intense with an animated vibrancy.<br /><br />In&nbsp;<em>Intersecting Streams (Blue)</em>, one of the three major works in the exhibition, Peterson records the dissonant effect of wave patterns intersecting from different directions with varying properties. Standing before the piece over time, new permutations begin to reveal themselves as the viewer slowly begins to decipher the consequence of what Peterson has set into existence.<br /><br />Ara Peterson was born in 1973 in Boston, MA and lives and works in Providence, RI.&nbsp;He graduated with a degree in Film/Video/Animation from the Rhode Island School of Design in 1997. Peterson was one of the founding members of the ground-breaking Providence-based collective Forcefield, who were included in the 2002 Whitney Biennial.Peterson's work has been exhibited extensively internationally including: Ratio 3, San Francisco; MOCA Geffen Contemporary, Los Angeles; Garage Center for Contemporary Culture, Moscow; Bergen Kunsthalle, Norway; Macro Museum, Rome; Deitch Projects, New York; P.S. 1 MOMA, New York; Yerba Buena Center for the Arts, San Francisco; O.H.W.O.W., Miami; Greene Naftali, New York; John Connelly Presents, New York; The Deste Foundation Centre for Contemporary Art, Athens, among many others. Peterson&rsquo;s work is in several important public collections including the Museum of ModernArt, New York; New Museum of Contemporary Art, New York; The Deste Foundation Centre for Contemporary Art, Athens; The Progressive Art Collection, Cleveland; Berkeley Museum of Art and Pacific Film Archive, Berkeley; Albright-Knox, Buffalo.</p> Wed, 23 Oct 2013 11:54:30 +0000 Group Show - ACME Fine Art - May 19th, 2012 - July 7th, 2012 <p>Provincetown Views, a group exhibition featuring twentieth and twenty-first century artwork by more than forty artists will open at ACME Fine Art's 38 Newbury Street Galleries on 19 May 2012. </p> <p>The exhibition will be titled Provincetown Views and will focus thematically on the artists' view of what has come to be considered America's most important art colony, Provincetown Massachusetts. Gallery Director David Cowan has assembled the artwork for the exhibition from a variety of sources, including private collections, estates of artists, artists that ACME Fine Art represents, and from numerous contemporary artists currently creating artwork in Provincetown. This special exhibition is being mounted as a tribute to the Fine Arts Work Center in Provincetown. The Fine Arts Work Center is a not-for-profit organization based in Provincetown, Massachusetts that is the single largest provider of fellowships to emerging visual artists and creative writers in the World. A portion of all sales proceeds throughout the duration of the exhibition will be donated to the Fine Arts Work Center in Provincetown. Provincetown Views will be on view at ACME Fine Art through Saturday 23 June 2012.</p> <p>The exhibition will be presented in a salon style format that will allow the juxtaposition of what might now be considered the traditional viewpoint of artists such as Charles Hawthorne, E. Ambrose Webster and Edwin Dickinson with the point of view demonstrated by modern masters such as Hans Hofmann, Jack Tworkov, Karl Knaths and Giorgio Cavallon. </p> <p>Likewise, the exhibition will showcase classic examples of white-line woodblock "Provincetown" prints by artists like Ferol Warthen, Grace Martin Taylor, and Bill Evaul, alongside monotypes and contemporary "constructions" by artists such as Susan Baker and Paul Bowen. The expressionist's vision of Provincetown will be seen in mid-twentieth century paintings by Maurice Freedman, Myrna Harrison, Lester Johnson and Lillian Orlowsky. This can be seen in contrast to the realist precision presented in the contemporary work created by artists such as John Dowd, Paul Kelly, Marion Roth, and Michael David. Landscapes by twentieth century moderns Daniel Brustlein, Virginia Berresford, Wolf Kahn, and Tony Vevers will be presented alongside interior views by their contemporaries Mary Hackett, and Biala (Janice Tworkov.)</p> <p>In recognition of the essential role that the Fine Arts Work Center in Provincetown plays in assuring the long-term vitality of the contemporary arts scene on the outer Cape, the Provincetown Views exhibition will also feature "views" by a number of former Fine Arts Work Center fellows in the visual arts. In addition to those already mentioned above, this illustrious group will include: Bailey Bob Bailey, Ron Shuebrook, Sharli Powers Land, Stewart MacFarlane, Polly Burnell, and Richard Baker, among others.</p> Fri, 22 Jun 2012 00:47:10 +0000 Telfer Stokes - ART 18/21 - June 16th, 2012 - July 7th, 2012 <p>Presenting an exciting exhibition of work by Telfer Stokes, a major East Anglian artist whose muscular sculptures hewn from industrial off-cuts evoke a verbose bravado and yet hint at a softer dimension through the artist's choice of colour, and witty use of an oft-forgotten medium: titles. Each sculpture can be viewed as an appreciation of texture, form and structure, but beholding the greater work, one can see the same concerns uniting all works into a coherent and comprehensive whole.</p> <p>Works that fall short of Stokes’ incisive self-critique or over time take on a conceptual change in the artist’s mind are returned to the studio, torn asunder and like Proteus, are reborn as something quite new. That Stokes works from the corpses of forgotten industry, behemoths of human endeavour wrought to nothing by time and neglect should be borne in mind. Stokes is merciless in his self-appraisal, constantly adjusting, tinkering and reconsidering pieces even as they hang. <i><a href=";workID=831">Comeback</a>,<b> </b></i>to give an example has been subject to a number of rounds of death and rebirth. Pieces that are not subject to literal, physical reinvention still endure conceptual metamorphosis, with <i>Morriconeish </i>being raised from the ashes of <i>I2D </i>and <i>the Good, the Bad, and the Ugly.</i> The apparent fastness of Stokes’ pieces, verbose, grandiose and statuesque belies this tendency for reinvention and the quest for improvement. Likewise, Stokes’ use of materials: always found, never painted. Arranged, machined and set, finished but still unperfected reflects a quite profound understanding of the lyrical nature of life, and the tendency for all things to move, change, and move again.</p> <p>This major solo show celebrates Telfer Stokes' many years of practice, and continued successes in the eastern region and beyond.</p> Thu, 21 Jun 2012 00:16:00 +0000 Judith Trepp - Art Forum Ute Barth - May 25th, 2012 - July 7th, 2012 <p><span style="font-size: small;" size="2">Characterized by a tension between the visible and invisible, and the juxtaposition of emptiness and abundance, the work of American painter Judith Trepp explores the uncanny interaction of line, surface and space. Art Forum Ute Barth is delighted to present a solo exhibition of the artist's recent works that continue her enquiry into the relationship between expression and subjective experience, as well as a new thematic focus on the perception of nature. Composed of multiple repetitions, connections and fractures, the rhythmic forms of Trepp's paintings draw on a dynamic interplay of harmony and discord. Elemental contrasts such as light and dark, straight and flat, loose and tight, and strong and tender define both her pictorial compositions and working method.</span></p> <p><span style="font-size: small;" size="2">For Trepp, the act of painting always begins with the careful preparation of a surface. By applying multiple layers of egg tempera and diluted washes of colored oil with a loose, feathery Japanese brush, she allows the movement of paint, texture of canvas, and traces of brushstroke to determine the underlying spatial and thematic structure of the picture, as well as draw attention to the apparent significance of her physical action and labor within the painting process. Trepp then inscribes this meticulous surface with a series of painted signs that recall symbolic forms such as mountains and rivers, or even people in motion. Here her brushwork appears at once spontaneous and controlled, her gestures rapid yet precise, as akin to Far Eastern calligraphy, as it is to artists such as Franz Kline, Robert Motherwell and Hans Hoffmann whom have been influential on Trepp's work since the beginning of her career. </span></p> <p><span style="font-size: small;" size="2">Born in 1940's New York, the approach of the New York School, with its emphasis on spontaneous emotional and spiritual expression as an aesthetic strategy, served as Trepp's point of departure in the visual arts (indeed, Harold Rosenberg's description of the canvas as 'an arena in which to act', could still apply to her works today). However, in contrast to classic abstract expressionists such as Kline and Motherwell, Trepp's paintings conceal a skeptical and critical attitude: despite their apparent spontaneity, both her surface preparation and gestural mark-making are based on repeated and perfected sketches, a process that by definition deviates from the logic of expressionism. The viewer thus perceives the borderline between coincidence and control, chaos and order, and is drawn to question the verisimilitude of the picture as the equivalent of experienced impressions.</span></p> <p><span style="font-size: small;" size="2">This relates closely to the ongoing debate around the notion of authenticity in the visual arts which has commanded so much attention since the rise of post-modernity. How, for example, are personal experiences fictionalized in artworks? By what means do the experience and fictional construction link to each other? And how can the viewer verify the expression of the artist within the work? Confronted by Trepp's ambiguous alter-expressionism, one might initially seek answers in the tangible: is the depicted image a line or a surface? Does it present an illusionary space or a two-dimensional form? Are the painted signs fragments of something concrete or solely abstract? Yet it is her denial of a clear boundary between dualisms such as line and surface, surface and space, fragment and totality, that establishes her paintings as rhetorical figures - much like zen buddhistic 'Koans' intended to train us in thought beyond the either/or.</span></p> <p><span style="font-size: small;" size="2">Text by Yujin Kim, May, 2012</span></p> Thu, 10 May 2012 01:32:43 +0000 Ian Davenport - Art Plural Gallery - May 11th, 2012 - July 7th, 2012 <p>Art Plural Gallery is pleased to announce the inaugural solo exhibition of British artist Ian Davenport in Singapore. The exhibition titled Ian Davenport: Between the Lines runs from 11th May through 7th July, 2012 and features new paintings which the artist has specifically created for this exhibition.</p> <p><br />In conjunction with the exhibition will be the publication of Ian Davenport: Between the Lines, a fully illustrated, comprehensive and definitive catalogue of the artist’s poured paintings.<br />I control liquid, I use colour, and I try to choreograph these different elements together. There’s a lot of internal rigour to the process, but at the same time it is about chance.<br />- Ian Davenport</p> <p><br />Former Turner Prize nominee Ian Davenport aims to create a purely visual experience through colours. The artist is recognised for his intense and unconventional painting practice, working with a crescendo of colours orchestrated in rows of lines. His distinctive creative process involves the pouring of paint with an industrial syringe over the body of a working surface, allowing the line of colour to ebb and flow into saturated puddles. Within the stripes and sections, Davenport would literally count the seconds involved in each pour of the paint – deeming it similar to a musical beat. Sometimes this entire process takes place in happenstance and other times, under the pressure of a calculated tilt of the surface. Creating diptychs, triptychs, singular works and at the same time enjoying the culmination of a large-scale monumental piece, the artist’s visual language is deeply rooted in colour, rhythm, timing, control and chance.</p> Sun, 10 Mar 2013 00:52:58 +0000 Sandra Lee - Art Seasons Singapore - June 21st, 2012 - July 7th, 2012 <p>Art Seasons Gallery is proud to announce the Solo Exhibition by Singapore artist Sandra Lee from June 21 to July 8, 2012. Sandra Lee’s works have universal appeal. They adopt a naïve perspective of child-like wondering and wandering, creating isolated episodes that appear to form a larger epic beyond our imagination.</p> <p>Sandra’s works accumulated an encyclopaedia of experiences that reflect the particular sojourn of human beings in a wild and unpredictable world. Her works bear the gravity of profound learning; but also the fragility of innocence and ignorance. They present images we easily recognise, images that we love to look at, and even yearn to be a part of. In entering the universe of an unknown destiny, we seek not so much to escape the clutches of confusion, but are urged to free fall with the suspension of disbelief.</p> <p>Sandra Lee (b. 1968) graduated from LASALLE-SIA College of the Arts with a diploma in Visual Arts in 1998. She was awarded an Honourable Mention in Philip Morris Singapore-ASEAN in 2003 and a National Arts Council of Singapore Bursary in 1996. Her art has been exhibited in the Singapore Art Museum, the Singapore National Museum, and an upcoming art project will be exhibited in The National Art Gallery, Singapore in 2015.</p> Wed, 27 Jun 2012 23:45:43 +0000 Juan Carlos Martínez - Galeria Fernando Pradilla - June 7th, 2012 - July 7th, 2012 <p>Para esta edición de PhotoEspaña 2012, la Galería Fernando Pradilla presenta la exposición individual del fotógrafo español Juan Carlos Martínez. Bajo el título “Reality Show”, el artista presenta una selección de sus series, proyectos e instalaciones entre los que se encuentran “University Neigbours”, “<i>Gay Stalker”, “Fraternity” o “Room Archive”. </i></p> <p>Según Óscar Fernández, autor del ensayo crítico sobre esta muestra, “el título de la exposición no puede ser más certero. El espectáculo de la realidad nos habla del fin de una jerarquía, de la caída del dominio de lo real a manos del show; sin duda el más poderoso invento de la modernidad. El espectáculo maneja las pasiones de tal modo que ha conquistado el monopolio de tales sensaciones asociadas a la imagen. Y, lo que es más importante, ha conseguido que estas últimas sustituyan en muchos casos a la propia realidad. De manera que ésta se convierte, según la nueva lógica  determinada por el imperio de los signos, en un juguete intercambiable. Porque lo real, si bien habla por sí mismo, no es visible sin un marco de lectura que, por lo general, le otorga la maquinaria del espectáculo”</p> <p>Para Fernández, “la serie de fotografías <i>University Neighbours</i>, realizada por Juan Carlos Martínez, nos muestra cómo el oficio de ver implica un juego con el otro donde nadie queda impasible. El clásico “ver y ser visto” es apenas la punta del iceberg de un proceso de interacciones plagado de controversias y, por supuesto, de roles de dominación o sumisión. Pocos episodios como la pintura orientalista del siglo XIX nos descubren esa compleja mecánica del ojo. En ella, el acceso a lo que está vedado, la mostración de lo oculto, se produce a través de un muy sugerente juego de desvelo […]. Así pues, la mostración de lo que puede entenderse como entorno de privacidad y la contemplación, siempre intencionada, de la intimidad del otro constituyen uno de los ejes de la mirada en la modernidad. Se trata de una tradición que surge, y adquiere su sentido, cuando estas dos esferas –la de lo privado y lo público- se convierten en aparentemente incompatibles. En este sentido, no deja de ser paradójico que la idea de vida privada, instituida entonces, surja cuando la burguesía industrial emergente reclamó un espacio propio donde “escenificar” su triunfo personal, al margen de la colectividad. Y es que la intimidad quedó desgajada de lo público no para sustraerse de la mirada ajena sino para portar  más valor cuando fuera mostrada al extraño.</p> <p>Otro concepto que muchas veces se esboza para definir la obra de Juan Carlos Martínez es el de voyeurismo. En este sentido, Óscar Fernández aclara en su ensayo “Lo dicho hasta ahora no debería inducir a pensar que la mirada furtiva, o el voyeurismo, son siempre juegos consentidos, o expresiones cómplices de ciertos rituales sociales. Es evidente que nos vemos asaltados a diario por sistemas de vigilancia y control que invaden parcelas de intimidad que muchos consideran inalienables. Sin embargo, es necesario cuestionar esas certezas sobre las que, a menudo, debatimos acerca de la mirada al otro. Máxime cuando estos debates enarbolan argumentos de tipo ético o moral y cuando asumen la idea pre-moderna de la mirada como un mecanismo unidireccional y siempre autoritario.  Es precisamente este resbaladizo terreno el que pisa Juan Carlos Martínez cuando investiga el modo en que la realidad se despliega ante nosotros. Ordenado por un complejo sistema de dispositivos de representación y tecnologías de mediación, que llevan las posibilidades de la mirada a un territorio nunca antes alcanzado, el concepto mismo de “realidad” requiere ser revisado”.</p> <p>Juan Carlos Martínez es Licenciado en Bellas Artes por la Universidad de Sevilla (2002). Posteriormente se traslada a Madrid para ampliar sus estudios artísticos en la Universidad Complutense. A lo largo de sus años de formación participa en numerosos talleres, seminarios de Arte Contemporáneo y Fotografía; Master EFTI, Taller de postfotografía en la Fundación Pilar y Joan Miró, el taller internacional en Blanca con Bleda y Rosa, las Jornadas de la Imagen del Canal de Isabel II, las Estancias Injuve etc. Ha recibido numerosas becas de producción entre las que destacamos la Beca INICIARTE, Madrid Procesos de AVAM, Vázquez Díaz, Rafael Botí, Francisco Zurbarán, y la residencia en la Fundación Antonio Gala. Además del Primer Premio ABC recibido este año, cabe destacar otros reconocimientos  obtenidos recientemente, entre los que destacan: Finalista en el XLIV Certamen de Artes Plásticas de Caja Sol y la publicación del proyecto “Subfilum Spermopsida” en el número 29 “Peep Show” de la revista EXIT. Entre sus recientes exposiciones individuales se encuentran “Expedición Spermopsida, exhibida en la Galería Fernando Pradilla, “Mi lámpara de gas”, presentada en el Museo de Huelva, “Mirar y ser mirado” en la Sala Avenida de América de la Comunidad de Madrid y “Miraderos. I’m looking for” en la Sala Europa de Badajoz y Centro Cultural San Jorge de Cáceres.</p> <p>Simultáneamente, el Espacio Proyectos de la Galería Fernando Pradilla inaugura la muestra individual del artista canario Alexis W. titulada “La Ventana Indiscreta 1 a 9”, que realiza un recorrido sobre la memoria de las 9 ediciones de esta serie en la que ha trabajado el artista desde el 2003 hasta el 2011. En otras salas del Espacio Proyectos continúa exhibiéndose la exposición del artista Juan Francisco Casas “Obra Reciente”, que coincidió con el lanzamiento del libro monográfico sobre el dibujo de este artista y que ha sido prorrogada hasta finales de julio.</p> Wed, 06 Jun 2012 01:27:13 +0000 Ali Banisadr - Galerie Thaddaeus Ropac - Salzburg Villa Kast - May 26th, 2012 - July 7th, 2012 <div> <p>Galerie Thaddaeus Ropac is delighted to present the latest works  of New York based Iranian artist, Ali Banisadr. <em>Annunciation</em>, <em>The visitors</em>, <em>History</em>… These are the titles of Ali Banisadr’s paintings which oppose the explicit character of their references to their lavishly detailed, profusely coloured and apparently abstract surfaces. What could be the link between these soft balanced and subtly dynamic compositions, marked by sequenced movement, delicately juxtaposed and interpenetrating paintings?</p> <p>In order to identify the connections between the titles and the images of the displayed works, the viewer must yield to the evidence that the artist has blurred his tracks to create an invitation to one’s  own imagination, That is,an invitation to renew his visual and psychological references.</p> <p>Space, place and time appear to be well rendered, while the title, the action of colours and the movement contained within these works function as clues, which instigate a dialogue between memory and emotion.  It is in this sense that the work of Ali Banisadr tends to create a universal experience.</p> <p>As in the futurism codes, the point of view is deconstructed, fragmented and multiplied; creating at first confusion  until it finally conveys a more complete vision of the subject. These paintings are also reminiscent of Picasso’s early cubist period, which was marked by analytical works that deconstructed the perception of the world and the objects in it in order to enable the idea of a single point of view and to eventually better render their essence.</p> <p>According to Ali Banisadr, the work entitled <em>We Haven’t Landed On Earth Yet</em> was inspired by the Biography of Willem De Kooning, who liked to take liberties from reality without giving up representation. The title was de Kooning’s response to the announcement of the first lunar landing. In that context, it was the expression of a wonder at a human race, capable of this fantastic exploit, without having found the reason for its presence on planet Earth.The faraway and almost aerial point of view is not to be seen as a distance between the viewer’s eye and the works but rather as a vantage that leads to highlights details that we might have missed, preventing us from perceiving  the events in their entirety.</p> <p>In breaking up the narrative process while adopting a more distant point of view, Ali Banisadr evokes the attitude of the human race towards its own history. <em>Melencolia I</em> is a fully assumed reference, implying that the artist is sharing Albrecht Dürer’s fascination for universality and the pretention of the unrealistic humanist quest to attain the core of conscience through knowledge.</p> <p>Born in Tehran in 1976, Ali Banisadr moved to the US when he was 12 years old. He studied psychology and was involved with Graffiti art while living in San Francisco. He moved to New York in 2000 and obtained his BFA from School of Visual Arts in 2005 and a MFA from New York Academy of Art in 2007. Banisadr has been in several Museum group shows including Queens Museum of Art in NY, S.M.A.K in Belgium, Gemeente Museum in Netherlands and The Metropolitan Museum of Art . His works are in the Wurth Collection, Essl collection, Pinault Collection, Olbricht Collection, Saatchi collection, The British Museum UK and The Metropolitan Museum of Art in NY. In 2011 Banisadr was ranked number one in Flash Art international magazine’s top 100 artists survey. His work is currently on view at the Metropolitan Museum of Art until September 2012.</p> <p>For the exhibition <em>We Haven’t Landed On Earth Yet</em>, a catalogue will be published with articles by Maryam Ekhtiar  (Senior Research Associate in the Department of Islamic Art, Metropolitan Museum of Art, New York) and Greg Lindquist.</p> </div> Thu, 17 May 2012 00:14:43 +0000 Wang Xingwei - GALERIE URS MEILE Lucerne - April 13th, 2012 - July 7th, 2012 <p>Die Galerie Urs Meile freut sich, Ihnen die Eröffnung der Einzelausstellung von Wang Xingwei in Luzern anzukündigen: Die Ausstellung wird eine Auswahl von etwa zwölf Gemälden zeigen, die Wang Xingwei (*1969 in Shengyang, China; lebt und arbeitet in Peking, China) von 2009 bis heute geschaffen hat.<br /> <br /> Galerie Urs Meile is pleased to announce the opening of the solo exhibition of Wang Xingwei in Lucerne: The exhibition will show a collection of approximatley 12 of Wang Xingwei’s (*1969 in Shengyang, China; lives and works in Beijing, China) paintings from 2009 up until the present day.</p> Fri, 06 Apr 2012 03:36:53 +0000 Gorka Postigo - LA FRESH GALLERY - June 5th, 2012 - July 7th, 2012 <p>En la serie de retratos tomados por Gorka Postigo (Madrid, 1978) el cuerpo se muestra como escenario en el que se representan emociones. El término delusion alude a una definición de los sentimientos, que se reflejan en el cuerpo como un espejismo o una alucinación. Estos a su vez se presentan con una belleza trágica, resistiéndose a ser modificados aunque la realidad objetiva ponga en evidencia lo contrario.</p> Sun, 20 May 2012 01:41:46 +0000 Lucas Johnson - Moody Gallery - June 2nd, 2012 - July 7th, 2012 <p>Lucas Johnson loved to draw - with pencil, pens and inked brushes, but also with the precision of the etching burin and the painterliness of lithography's tusche. He produced prints in a wide range of media and techniques, exploring each over many decades with master printers. The proficiency he acquired led to his prints frequently being used by studios as examples of what could be done in the medium. He sometimes also gave discarded prints (his and others') a second chance in collages.</p> <p>He began with stone lithography at Pratt Institute and Tamarind in the 1960s. A commission for an edition of lithographs in the late 1970s sent him to the Paris atelier of Claude, Bramsen and Georges, where apprentices ground the stones by hand in the basement, and the presses, located at street level, were manually operated.</p> <p>After settling in Houston, Lucas found the welcoming print environment of Little Egypt Enterprises where David Folkman was the master, working on both traditional stone and on metal plates. He also created silkscreens with Allan Smith and etchings with Penny Cerling, friends and affiliates of LEE.</p> <p>After Little Egypt closed its doors, Lucas had an opportunity to create a lithograph once more as a visiting artist the summer of 1981, in Anderson Ranch in Snowmass, Colorado, where he worked with Bud Shark, master printer of Boulder-based Shark Lithography.</p> <p>Mostly, Lucas focused his printmaking endeavors on etchings at Cerling Etching Studios, established by Penny in 1990, exploring multiple techniques - drypoint, intaglio, sugar lift, aquatint until his death in 2002.</p> <p><strong>PLEASE NOTE THE GALLERY IS CLOSED JULY 3 &amp; 4</strong></p> <p> </p> Sun, 24 Jun 2012 01:44:34 +0000 David Evrard - nofound photofair Arles - July 2nd, 2012 - July 7th, 2012 <p>Just a few months before its second edition, which will take place at Garage Turenne on November 16-19, the fair will feature <strong>a solo show by David Evrard in preview</strong>, as well as a booth of <strong>several photography publishers.</strong></p> Sat, 16 Jun 2012 03:21:49 +0000 - ART OSAKA - July 7th, 2012 - July 8th, 2012 <p><strong>Opening Hours</strong></p> <p>July 7 (Sat) 11:00am - 6:00pm<br /> July 8 (Sun) 11:00am - 7:00pm</p> <p><strong>Admission</strong></p> <p>¥1,500. / 1 DAY PASS</p> <p><strong>Exhibitors</strong></p> <p>ARTCOURT Gallery<br /> ASHIYA GARO</p> <p>Chuan Cheng Art Center</p> <p>FUKUGAN GALLERY</p> <p>Galerie Grand Siecle<br /> Gallery artzone-Kaguraoka<br /> GALLERY CAPTION<br /> Gallery Fukuda<br /> Gallery Hosokawa<br /> Gallery IDF<br /> Gallery Jin Esprit +<br /> Gallery Jinsun<br /> Gallery KAZE<br /> Gallery Kobo CHIKA<br /> GALLERY KOGURE<br /> Gallery KUU<br /> Gallery Maek-Hyang<br /> Gallery Nomart<br /> Gallery OUT of PLACE<br /> Gallery SHILLA<br /> Gallery TANTO TEMPO<br /> Gallery TEN<br /> Gallery Yamaguchi Kunst-Bau<br /> Gallery Yamaki Fine Art<br /> Gallery YUKI-SIS</p> <p>hpgrp GALLERY TOKYO</p> <p>imura art gallery<br /> INFORM gallery</p> <p>Kawata Gallery<br /> KENJI TAKI GALLERY<br /> KimJaeSun GALLERY</p> <p>MATSUO MEGUMI +VOICE GALLERY pfs/w<br /> MEM<br /> MIZUMA ART GALLERY<br /> MORI YU GALLERY</p> <p>Oto Gallery</p> <p>Picture Photo Space:Viewing Room</p> <p>Roentgenwerke AG<br /> roid works gallery</p> <p>SAI GALLERY<br /> salon cojica<br /> SHIKISAISHA<br /> studio J</p> <p>TENGENSHA<br /> TEZUKAYAMA GALLERY<br /> The Third Gallery Aya<br /> Toki-no-Wasuremono</p> <p>YOD Gallery<br /> Yoshiaki Inoue Gallery<br /> Yoshimi Arts<br /> YUKARI ART</p> Sat, 16 Jun 2012 07:25:18 +0000 - Beirut Art Fair - July 5th, 2012 - July 8th, 2012 <h3>Art Fair Hours:</h3> <p style="text-align: left;">Friday July 6th to Sunday July 8th, 2012</p> <p style="text-align: left;">From 3pm to 9pm</p> <h3>Exhibiting Galleries:</h3> <p><b>20-21 GALLERY</b></p> <p><b>GALERIE SOPHIE LANOË</b></p> <p><b>ABK ART </b></p> <p><b>GHASSAN ZARD ABOU JAOUDE GALLERY</b></p> <p><b>AGIAL ART GALLERY</b></p> <p><b>ESPACE KETTANEH KUNIGK (TANIT) </b></p> <p><b>AL MOHTARAF</b></p> <p><b>JOANNA SEIKALY ART GALLERY </b></p> <p><b>ARTBAHRAIN.ORG</b></p> <p><b>KARIM BEKDACHE</b></p> <p><b>ART CHOWK THE GALLERY</b></p> <p><b>KOZAH ART GALLERY </b></p> <p><b>ART FACTUM GALLERY </b></p> <p><b>LE SOUS SOL ART GALLERY </b></p> <p><b>ART SAWA </b></p> <p><b>MUSK + AMBER LIFESTYLE CONCEPT STORE </b></p> <p><b>ATHR GALLERY </b></p> <p><b>RAJA' NEHME SERTIN - ART GALLERY </b></p> <p><b>AYYAM </b></p> <p><b>RAMY BOUTROS DESIGN </b></p> <p><b>AZAD ART GALLERY </b></p> <p><b>SABRINA AMRANI ART GALLERY </b></p> <p><b>CARWAN GALLERY </b></p> <p><b>SMOGALLERY </b></p> <p><b>CHINATODAY GALLERY </b></p> <p><b>SOUTH BORDER GALLERY</b></p> <p><b>DARA GALLERY </b></p> <p><b>SPARE ART GALLERY</b></p> <p><b>EMMAGOSS </b></p> <p><b>TAJALLIYAT ART GALLERY </b></p> <p><b>ESQUISSE GALLERY</b></p> <p><b>TASHKEEL </b></p> <p><b>GALERIE EPREUVE D'ARTISTE </b></p> <p><b>THE RUNNING HORSE </b></p> <p><b>GALERIE JANINE RUBEIZ </b></p> <p><b>TRAIT NOIR - AROYA </b></p> <p><b>LE VIOLON BLEU </b></p> <p><b>VILLA DEL ARTE GALLERIES </b></p> <p><b>GALERIE PRINZESSIN MICHAELA NIKOLAJEWNA WOLKONSKY </b></p> <p><b>WADDAH FARIS </b></p> Sat, 16 Jun 2012 08:15:05 +0000 - Beirut Art Fair - July 6th, 2012 - July 8th, 2012 <table border="0" cellpadding="2" cellspacing="2"> <tbody> <tr> <td style="vertical-align: top; font-family: Arial; font-size: 11pt; color: black; font-weight: bold; width: 529px; height: 23px;" colspan="2">Friday, July 6th</td> </tr> <tr> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; font-weight: bold; color: #f0cc01; width: 131px; height: 47px;">4.30 - 6.30 pm</td> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; width: 529px; height: 47px;">Talk between Catherine David, independent curator and Marwan Kassab Bachi, Artist<br /> 14 years of correspondence with Abdel Rahman Munif, poet &amp; writer<br /> Followed by a guided tour of the exhibition</td> </tr> <tr> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; font-weight: bold; color: #f0cc01; width: 131px; height: 23px;">6.15 pm</td> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; width: 529px; height: 23px;">Book signing by Marwan Kassab-Bachi, the Book Corner</td> </tr> <tr> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; font-weight: bold; color: #f0cc01; width: 131px; height: 22px;">7 pm – 8 pm</td> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; width: 529px; height: 20px; font-weight: bold;">Roundtable : Migrant artists</td> </tr> <tr> <td style="vertical-align: top; width: 131px; height: 119px;"></td> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; width: 529px; height: 119px;"> <p><strong>Moderator :</strong><br /> Véronique Rieffel, Director of the Institut des Cultures de L’Islam (Paris) &amp; writer<br /> <br /> <strong>Speakers :</strong><br /> Zoulikha Bouabdellah, Artist<br /> Marwan Kassab-Bachi, Artist<br /> Emmanuel Guiragossian, Artist<br /> Simeen Farhat, Artist</p> <p> </p> </td> </tr> <tr> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; font-weight: bold; color: #f0cc01; width: 131px; height: 43px;">8.15 pm</td> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; width: 529px; height: 43px;">Book signing by Véronique Rieffel, at the Book Corner « Islamania, de l’Alhambra à la burqa, histoire d’une fascination artistique ». Editions Beaux-Arts 2011.</td> </tr> <tr> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; font-weight: bold; color: #f0cc01; width: 131px; height: 43px;" colspan="2"><img src="" alt="press" style="display: block; margin-left: auto; margin-right: auto;" height="1" width="500" /></td> </tr> <tr> <td style="vertical-align: top; font-family: Arial; font-size: 11pt; color: black; font-weight: bold; width: 529px; height: 25px;" colspan="2">Saturday, July 7th</td> </tr> <tr> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; font-weight: bold; color: #f0cc01; width: 131px; height: 65px;">4.30 pm - 5.30 pm</td> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; width: 529px; height: 65px;"><strong>Lecture</strong>: <strong>Transfering the passion of Art throughout the generations</strong><br /> <br /> Yoyo Maeght - Independent curator</td> </tr> <tr> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; font-weight: bold; color: #f0cc01; width: 131px; height: 22px;">5.45 pm – 6.45 pm</td> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; width: 529px; height: 22px;"><strong>Roundtable: Patronage &amp; Foundation</strong></td> </tr> <tr> <td style="vertical-align: top; width: 131px; height: 160px;"></td> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; width: 529px; height: 160px;"> <p><strong>Moderator :</strong><br /> Jean-Marc Decrop, Art Advisor - South Asia<br /> <br /> <strong>Speakers :</strong><br /> Nada Boulos, APEAL Secretary (Association for the Promotion &amp; Exhibition of Art in Lebanon), Art Consultant.<br /> Jean Boghossian, Collector and Boghossian Foundation Director, Belgium<br /> Randa Armanazi, Public Relations &amp; Communication Solidère, BEC director (Beirut Exhibition Center).<br /> Monika Borgmann, Umam Hangar Founder</p> <p> </p> </td> </tr> <tr> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; font-weight: bold; color: #f0cc01; width: 131px; height: 23px;">7 pm – 8 pm</td> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; width: 529px; height: 23px;"><strong>Round Table : Today’s design are tomorrow’s antique</strong></td> </tr> <tr> <td style="vertical-align: top; width: 131px; height: 156px;"></td> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; width: 529px; height: 156px;"> <p>Moderator :<br /> Sophie Skaf, Architect d.p.l.g Paris<br /> <br /> Speakers :<br /> Gregory Gatserelia, Director Smogallery, Beirut<br /> Kamel Miladi, Director of Must + Amber Lifestyle Concept Store, Tunis.<br /> Karim Begdache<br /> Pascale Wakim (Carwan Gallery)<br /> Célia Abou Arbid, Architect &amp; Designer, Faculty at the Lebanese American University (LAU)</p> <p> </p> </td> </tr> <tr> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; font-weight: bold; color: #f0cc01; width: 131px; height: 35px;">8.15 pm</td> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; width: 529px; height: 35px;">Book signing by Sophie Skaf at the Book Corner,<br /> «20x20.Beyrouth.Paris.Tunis.Barcelone » autoedition 2010</td> </tr> <tr> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; font-weight: bold; color: #f0cc01; width: 131px; height: 35px; text-align: center;" colspan="2"><img src="" alt="press" height="1" width="500" /></td> </tr> <tr> <td style="vertical-align: top; font-family: Arial; font-size: 11pt; color: black; font-weight: bold; width: 529px; height: 26px;" colspan="2">Sunday, July 8th</td> </tr> <tr> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; font-weight: bold; color: #f0cc01; width: 131px; height: 22px;">5.15 pm – 6.15 pm</td> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; width: 529px; height: 22px;"><strong>Roundtable : The role of the media in the artistic field</strong></td> </tr> <tr> <td style="vertical-align: top; width: 131px; height: 175px;"></td> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; width: 529px; height: 175px;"> <p><strong>Moderator :</strong><br /> Diala Gemayel - Journalist<br /> <br /> <strong>Speakers :</strong><br /> Elizabeth Markevitch, Founder &amp; CEO of ikonoTV<br /> Judith Benhamou Huet, Art Critic (Le Point/Les Echos)<br /> Isabella Ellaheh Hughes, independent Curator &amp; Dubai Editor (ArtAsiaPacific)<br /> Maha Sultan, Professor of History of Art at the Institut des Beaux Arts- Université Libanaise &amp; Art Critic (Al-Hayat)<br /> Nayla Tamraz, director of the USJ “Curator” MA programme &amp; writer<br /> Myrna Ayad, Editor (CANVAS Magazine)</p> <p> </p> </td> </tr> <tr> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; font-weight: bold; color: #f0cc01; width: 131px; height: 22px;">6.30 pm – 7.30 pm</td> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; width: 484px; height: 22px;"><strong>Roundtable : The Comics</strong></td> </tr> <tr> <td style="vertical-align: top; width: 131px; height: 157px;"></td> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; width: 484px; height: 157px;"> <p><strong>Moderator :</strong><br /> Pascal Odille, Artistic Director - BEIRUT ART FAIR<br /> <br /> <strong>Speakers :</strong><br /> Zeina Abirached, Designer<br /> Mohammed El Sharkawi, Scenarist<br /> Michèle Stanjofski, Designer &amp; teacher at the Alba<br /> Rita Saab Moukarzel, President of the Syndicat des Professionnels du Graphisme et de l’Illustration au Liban (Lebanese Graphic Arts Syndicates), President of the Festival International de la Bande Dessinée (International Festival of Comics) – Beirut</p> <p> </p> </td> </tr> <tr> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; font-weight: bold; color: #f0cc01; width: 131px; height: 19px;">8 pm</td> <td style="vertical-align: top; font-family: Arial; font-size: 10pt; width: 484px; height: 19px;">Book signing of the Comics artists, the Book Corner</td> </tr> </tbody> </table> Sat, 16 Jun 2012 08:18:51 +0000