ArtSlant - Closing soon en-us 40 - Arte Fiera - Art First - January 25th, 2013 - January 28th, 2013 <p><b>Opening time</b><br />Opening to visitors: from Friday 25 to Monday 28 January<br />Opening hours: from Friday 25 to Sunday 27 January, from 11.00 am to 7.00 pm; Monday 28 January from 11.00 am to 5.00 pm</p> <p> </p> <p><b>Entry tickets</b><br />Daily ticket: € 20.00<br />Pass for 4 days: € 35.00<br />Pass for 3 days: € 33.00<br />Pass for 2 days: € 30.00</p> <p><strong>Exhibitors</strong></p> <p><strong>Modern and contemporary art</strong></p> <div class="x"></div> <p>A ARTE STUDIO INVERNIZZI<br /> MILANO (Pad. 25 Stand A/1)<br /><br /> ALEANDRI ARTE MODERNA<br /> ROMA (Pad. 26 Stand B/25)<br /><br /> ALLEGRA RAVIZZA ART PROJECT<br /> MILANO (Pad. 25 Stand A/31)<br /><br /> L'ARIETE<br /> BOLOGNA (Pad. 25 Stand B/72)<br /><br /> ARTEVALORI<br /> GENOVA (Pad. 25 Stand B/26)<br /><br /> ARTITALIA - LUIGI PROIETTI<br /> SPELLO (Pad. 26 Stand B/68)<br /><br /> ALESSANDRO BAGNAI<br /> FIRENZE (Pad. 25 Stand B/13)<br /><br /> BASE GALLERY<br /> TOKYO (Pad. 25 Stand B/73)<br /><br /> BECK &amp; EGGELING<br /> DÜSSELDORF (Pad. 26 Stand B/35)<br /><br /> GALLERIA BIANCONI<br /> MILANO (Pad. 25 Stand A/25)<br /><br /> BIASUTTI &amp; BIASUTTI <br /> TORINO (Pad. 25 Stand B/56)<br /><br /> FLORA BIGAI ARTE CONTEMPORANEA<br /> PIETRASANTA (Pad. 26 Stand A/28)<br /><br /> BLU <br /> MILANO (Pad. 26 Stand A/10)<br /><br /> BONELLI <br /> CANNETO SULL'OGLIO (Pad. 25 Stand B/33)<br /><br /> BONIONI ARTE<br /> REGGIO EMILIA (Pad. 25 Stand B/65)<br /><br /> ALESSANDRA BONOMO <br /> ROMA (Pad. 25 Stand A/69)<br /><br /> VALENTINA BONOMO <br /> ROMA (Pad. 25 Stand A/67)<br /><br /> BOXART <br /> VERONA (Pad. 25 Stand B/41)<br /><br /> CA' DI FRA'<br /> MILANO (Pad. 25 Stand B/21)<br /><br /> CARDELLI &amp; FONTANA<br /> SARZANA (Pad. 26 Stand A/38)<br /><br /> CARDI<br /> PIETRASANTA (Pad. 25 Stand A/21)<br /><br /> CARLINA<br /> TORINO (Pad. 26 Stand A/52)<br /><br /> CARZANIGA <br /> BASEL (Pad. 25 Stand B/9)<br /><br /> ANTONELLA CATTANI<br /> BOLZANO (Pad. 25 Stand B/45)<br /><br /> CINQUANTASEI <br /> BOLOGNA (Pad. 26 Stand B/32)<br /><br /> CLAUDIO POLESCHI ARTE CONTEMPORANEA<br /> LUCCA (Pad. 25 Stand B/51)<br /><br /> ANTONIO COLOMBO ARTE CONTEMPORANEA<br /> MILANO (Pad. 25 Stand B/8)<br /><br /> COLOSSI ARTE CONTEMPORANEA<br /> BRESCIA (Pad. 26 Stand A/58)<br /><br /> CONTINI <br /> VENEZIA (Pad. 26 Stand A/44)<br /><br /> CONTINUA<br /> SAN GIMIGNANO (Pad. 25 Stand B/14)<br /><br /> MAURIZIO CORRAINI<br /> MANTOVA (Pad. 25 Stand B/29)<br /><br /> PAOLO CURTI/ANNAMARIA GAMBUZZI &amp; CO.<br /> MILANO (Pad. 25 Stand A/9)<br /><br /> DE' FOSCHERARI <br /> BOLOGNA (Pad. 26 Stand B/3)<br /><br /> UMBERTO DI MARINO<br /> NAPOLI (Pad. 25 Stand B/50)<br /><br /> DI PAOLO ARTE<br /> BOLOGNA (Pad. 26 Stand B/44)<br /><br /> ROBERT DREES<br /> HANNOVER (Pad. 25 Stand B/16)<br /><br /> 2000 &amp; NOVECENTO<br /> REGGIO EMILIA (Pad. 26 Stand B/2)<br /><br /> L'ELEFANTE<br /> TREVISO (Pad. 26 Stand B/29)<br /><br /> FAMA <br /> VERONA (Pad. 25 Stand B/32)<br /><br /> SANTO FICARA<br /> FIRENZE (Pad. 26 Stand B/49)<br /><br /> FORMA GALLERIA<br /> MILANO (Pad. 25 Stand B/30)<br /><br /> FORNI<br /> BOLOGNA (Pad. 26 Stand A/24)<br /><br /> FUMAGALLI<br /> MILANO (Pad. 25 Stand B/20)<br /><br /> STUDIO D'ARTE G.R.<br /> SACILE (Pad. 26 Stand B/12)<br /><br /> GALLERIA DELL'INCISIONE<br /> BRESCIA (Pad. 26 Stand B/48)<br /><br /> GALLERIA DELLO SCUDO<br /> VERONA (Pad. 26 Stand A/6)<br /><br /> GALLERIA FREDIANO FARSETTI<br /> FIRENZE (Pad. 26 Stand B/31)<br /><br /> GARIBOLDI <br /> MILANO (Pad. 26 Stand B/9)<br /><br /> GOETHE <br /> BOLZANO (Pad. 25 Stand B/57)<br /><br /> GUASTALLA CENTRO ARTE<br /> LIVORNO (Pad. 26 Stand B/39)<br /><br /> STUDIO GUASTALLA <br /> MILANO (Pad. 26 Stand B/19)<br /><br /> GIACOMO GUIDI<br /> ROMA (Pad. 25 Stand B/4)<br /><br /> GUIDI &amp; SCHOEN <br /> GENOVA (Pad. 25 Stand B/17)<br /><br /> GALERIE HOLLENBACH<br /> Stuttgart (Pad. 25 Stand B/31)<br /><br /> IL CHIOSTRO ARTE CONTEMPORANEA<br /> SARONNO (Pad. 26 Stand B/28)<br /><br /> IL SEGNO<br /> ROMA (Pad. 25 Stand A/49)<br /><br /> IN ARCO<br /> TORINO (Pad. 25 Stand A/11)<br /><br /> JEROME ZODO CONTEMPORARY<br /> MILANO (Pad. 25 Stand B/76)<br /><br /> JOHN MARTIN <br /> LONDON (Pad. 25 Stand A/77)<br /><br /> DOROTHEA VAN DER KOELEN<br /> MAINZ (Pad. 25 Stand A/29)<br /><br /> KRO ART CONTEMPORARY <br /> WIEN (Pad. 25 Stand B/2)<br /><br /> MATTEO LAMPERTICO <br /> MILANO (Pad. 26 Stand A/2)<br /><br /> GALLERIA DEL LAOCOONTE<br /> ROMA (Pad. 26 Stand B/25)<br /><br /> L'INCONTRO <br /> CHIARI (Pad. 26 Stand A/12)<br /><br /> DIANA LOWENSTEIN <br /> MIAMI (Pad. 25 Stand A/57)<br /><br /> MAAB STUDIO D'ARTE<br /> PADOVA (Pad. 25 Stand A/31)<br /><br /> MARCOROSSI ARTECONTEMPORANEA<br /> MILANO (Pad. 25 Stand A/39)<br /><br /> PRIMO MARELLA<br /> MILANO (Pad. 25 Stand B/66)<br /><br /> MAZZOLENI GALLERIA D'ARTE<br /> TORINO (Pad. 26 Stand B/50)<br /><br /> MONTRASIO ARTE <br /> MONZA (Pad. 26 Stand A/48)<br /><br /> NINA DUE<br /> MILANO (Pad. 25 Stand A/31)<br /><br /> OPEN ART<br /> PRATO (Pad. 26 Stand A/42)<br /><br /> OSART<br /> MILANO (Pad. 25 Stand B/10)<br /><br /> P420<br /> BOLOGNA (Pad. 25 Stand B/62)<br /><br /> BARBARA PACI<br /> PIETRASANTA (Pad. 26 Stand B/55)<br /><br /> PACI CONTEMPORARY<br /> BRESCIA (Pad. 26 Stand A/56)<br /><br /> PHOTOGRAPHICA FINE ART<br /> LUGANO (Pad. 25 Stand B/28)<br /><br /> POGGIALI E FORCONI<br /> FIRENZE (Pad. 25 Stand B/38)<br /><br /> POLESCHI ARTE <br /> LUCCA (Pad. 26 Stand B/40)<br /><br /> PROGETTO ARTE ELM<br /> MILANO (Pad. 26 Stand B/45)<br /><br /> PROMETEOGALLERY<br /> MILANO (Pad. 25 Stand B/1)<br /><br /> STUDIO D'ARTE RAFFAELLI<br /> TRENTO (Pad. 25 Stand A/73)<br /><br /> REPETTO <br /> ACQUI TERME (Pad. 26 Stand A/34)<br /><br /> RICCARDO COSTANTINI<br /> TORINO (Pad. 26 Stand B/15)<br /><br /> ROBERTA LIETTI ARTE CONTEMPORANEA<br /> COMO (Pad. 25 Stand A/31)<br /><br /> RONCHINI<br /> TERNI (Pad. 25 Stand A/51)<br /><br /> LIA RUMMA<br /> MILANO (Pad. 25 Stand A/15)<br /><br /> RUSSO<br /> ROMA (Pad. 26 Stand B/53)<br /><br /> S.A.L.E.S.<br /> ROMA (Pad. 25 Stand B/48)<br /><br /> SANGALLO ART STATION<br /> FIRENZE (Pad. 26 Stand B/24)<br /><br /> SAPONE<br /> NICE (Pad. 26 Stand B/16)<br /><br /> MIMMO SCOGNAMIGLIO <br /> MILANO (Pad. 25 Stand A/17)<br /><br /> SPAZIO TESTONI<br /> BOLOGNA (Pad. 26 Stand B/60)<br /><br /> TEGA<br /> MILANO (Pad. 26 Stand B/7)<br /><br /> FABIO TIBONI / SPONDA<br /> BOLOGNA (Pad. 25 Stand A/63)<br /><br /> TONELLI<br /> MILANO (Pad. 26 Stand A/30)<br /><br /> TORBANDENA<br /> TRIESTE (Pad. 26 Stand B/13)<br /><br /> TORNABUONI ARTE<br /> FIRENZE (Pad. 26 Stand A/14)<br /><br /> STUDIO TRISORIO<br /> NAPOLI (Pad. 25 Stand A/3)<br /><br /> PAOLA VERRENGIA<br /> SALERNO (Pad. 25 Stand B/5)<br /><br /> STUDIO GIANGALEAZZO VISCONTI<br /> MILANO (Pad. 26 Stand B/8)<br /><br /> VOSS<br /> DÜSSELDORF (Pad. 25 Stand B/61)</p> <p><strong>Young galleries</strong></p> <p>ART FORUM arte contemporanea<br /> BOLOGNA (Pad. 25 Stand B/106)<br /><br /> ARTOPIA<br /> MILANO (Pad. 25 Stand B/102)<br /><br /> ATLANTICA<br /> ALTAVILLA (Pad. 25 Stand A/101)<br /><br /> BIANCA <br /> PALERMO (Pad. 25 Stand A/81)<br /><br /> ARTE BOCCANERA <br /> TRENTO (Pad. 25 Stand A/83)<br /><br /> BY gallery<br /> MILANO (Pad. 25 Stand B/82)<br /><br /> CAMERA 16<br /> MILANO (Pad. 25 Stand B/104)<br /><br /> EDUARDO SECCI CONTEMPORARY<br /> FIRENZE (Pad. 25 Stand A/99)<br /><br /> GALLERIA MARIE-LAURE FLEISCH<br /> ROMA (Pad. 25 Stand B/80)<br /><br /> FEDERICO LUGER<br /> MILANO (Pad. 25 Stand B/100)<br /><br /> MARIO MAZZOLI<br /> BERLIN (Pad. 25 Stand A/97)<br /><br /> MC2 GALLERY <br /> MILANO (Pad. 25 Stand B/98)<br /><br /> MLB MARIA LIVIA BRUNELLI <br /> FERRARA (Pad. 25 Stand B/96)<br /><br /> THE GALLERY APART<br /> ROMA (Pad. 25 Stand A/91)<br /><br /> THE POOL NYC<br /> NEW YORK (Pad. 25 Stand A/105)<br /><br /> TRAFFIC GALLERY<br /> BERGAMO (Pad. 25 Stand B/88)<br /><br /> WUNDERKAMMERN<br /> ROMA (Pad. 25 Stand B/90)<br /><br /> ZAHORIAN &amp; CO <br /> BRATISLAVA (Pad. 25 Stand A/89)<br /><br /> ZAK PROJECT SPACE<br /> MONTERIGGIONI (Pad. 25 Stand A/107)</p> <p><strong>Solo Show</strong></p> <p>ARTESILVA<br /> SEREGNO (Pad. 26 Stand B/65)<br /><br /> ENRICO ASTUNI<br /> BOLOGNA (Pad. 26 Stand B/75)<br /><br /> ANTONIO BATTAGLIA<br /> MILANO (Pad. 26 Stand B/59)<br /><br /> de' Bonis<br /> REGGIO EMILIA (Pad. 26 Stand B/73)<br /><br /> PAOLO MARIA DEANESI GALLERY<br /> ROVERETO (Pad. 26 Stand B/72)<br /><br /> DEP ART<br /> MILANO (Pad. 26 Stand A/76)<br /><br /> EIDOS IMMAGINI CONTEMPORANEE<br /> ASTI (Pad. 26 Stand A/68)<br /><br /> MARCHESE<br /> PRATO (Pad. 26 Stand A/70)<br /><br /> MELESI <br /> LECCO (Pad. 26 Stand B/67)<br /><br /> OTTO GALLERY<br /> BOLOGNA (Pad. 26 Stand A/62)<br /><br /> ALBERTO PEOLA<br /> TORINO (Pad. 26 Stand A/60)<br /><br /> SIX<br /> MILANO (Pad. 26 Stand B/100)<br /><br /> STUDIO G7 <br /> BOLOGNA (Pad. 26 Stand A/78)<br /><br /> z2o Galleria I Sara Zanin<br /> ROMA (Pad. 26 Stand B/57)</p> Sat, 26 Jan 2013 00:21:33 +0000 - Bau-Xi Gallery - Vancouver - January 12th, 2013 - January 28th, 2013 <p>To ring in the New Year, Bau-Xi Gallery will be introducing The White Show. Our gallery artists will be exhibiting new work in a variety of media, sizes and formats – each interpreting this loose theme in unique and varied ways. The white palette, often used in the study of light, allows the various works to be illuminated from within.</p> Thu, 17 Jan 2013 01:47:30 +0000 Group Show - DOX Center for Contemporary Art - October 19th, 2012 - January 28th, 2013 <p>In autumn of 2012, DOX is hosting an exhibition based on the collection <br />of Julius Hummel. Viennese Actionism fought for individual freedom and its movement contributed to greater interpersonal and sexual tolerance. To this day the cultural shock caused by their rebellion against baroque Catholicism and the sacred family can still be felt. </p> <p>The work of the four main protagonists of Viennese Actionism - Otto Muehl, Hermann Nitsch, Rudolf Schwarzkogler a Günter Brus - would not have been possible without its preceding and contemporary influences. Surrounded by a repressed political past, both men and women were seeking to explore the experience of the highs and lows of "being human" against the hypocrisy towards sentiments and drang. </p> <p>The women’s attempts to bring about changes in the revolutionary 1960s mostly remained unknown, nevertheless they contributed to Actionism through their choices of companion and with their personal physical commitment. The share of the feminine and androgynous, which is both consciously and unconsciously present in the work of the Actionists before the concept of gender as we know it today has been established, forms Julius Hummel’s selection for this exhibition– providing the opportunity to newly examine the effort and outcome of the contributions within the Viennese Actionism both in the field of art and within contemporary society. </p> <p></p> <p>Admission restricted to 18+</p> Sat, 29 Dec 2012 03:09:21 +0000 Carol Jerrems - National Gallery of Australia - August 25th, 2012 - January 28th, 2013 <p>Carol Jerrems's gritty, poetic and elusive images show people trying to find a new way of life and action in the 1970s. Her images have come to define a decade in Australia's history.</p> <p>In contrast to an earlier generation of internationally renowned magazine photojournalists such as David Moore, the new generation did not seek commissioned commercial or magazine work and took instead a low key intimate approach with a diaristic personal-documentary style of imagery focussed on themselves and their own, mostly urban, environments. Jerrems put her camera where the counter culture suggested; women's liberation, social inclusiveness for street youths and Indigenous people in the cities who were campaigning for justice and land rights.</p> <p>Carol Jerrems was the first contemporary Australian woman photographer to have work acquired by a number of museums including the National Gallery of Australia. The National Gallery holds an extensive archive of Jerrems photographs and film work gifted by the artist’s mother Joy Jerrems in 1983. The current exhibition concentrates on prints signed or formally exhibited, by Carol Jerrems in her lifetime dating from 1968-1978.</p> Sat, 29 Sep 2012 00:29:35 +0000 - NGV (National Gallery of Victoria) International - August 31st, 2012 - January 28th, 2013 <p><em>The Four Horsemen</em> presents images of death and disaster in prints, illuminated manuscripts, illustrated books and paintings from the fifteenth to the early eighteenth centuries. This was a period of great turmoil in Europe, during which bitter religious conflict, war, famine and pestilence generated deep anxiety. Dramatic events and natural disasters were increasingly read as divine punishments or warnings that the Last Days were imminent.<br /> <br /> This exhibition explores the ways in which artists gave expression to the beliefs and fears that plagued individuals and whole societies. The 120 works on display, including Albrecht Dürer’s extraordinary woodcuts illustrating the Apocalypse, prints by Hans Holbein, Jacques de Gheyn and Jacques Callot, illustrate witches, monsters, demons and the Devil. Death, personified as a skeleton, featured prominently in the visual culture of the period, and is represented in all guises - dancing, riding on horseback, and stalking unsuspecting men and women as they go about their daily lives.<br /> <br /> The works in this exhibition are drawn from the Prints &amp; Drawings collection of the NGV and include key loans from the State Library of Victoria and the Special Collections of the Baillieu Library, University of Melbourne.</p> Sun, 12 Aug 2012 06:15:02 +0000 Lynet McDonald - Redbud Gallery - January 5th, 2013 - January 28th, 2013 <p>Lynet McDonald is a self taught artist born and raised in Mexico City. She moved to the United States when she was fifteen years old and has lived in different US cities since then. She currently resides in the Houston area.</p> <p> "My favorite topic to draw and paint has always been women's faces. That was what I first remember drawing when I was a child. Early in childhood, I figured out that I could express myself through my drawings. I could transfer all my feelings to the women in my sketches. Their facial expressions would show exactly how I felt at that moment in time. This was a very empowering tool for me. If I felt sad, I would sketch a sad woman and she would end up carrying the sadness in the end. I would get a sense of relief afterwards because I had spoken through my drawing. I continued drawing and painting women until my senior year in high school. I stopped doing art when I went to college. After I graduated, my focus shifted to my programming career. Many years went by and my art work became a mere memory. Finally in 2006, after I had left my career to take care of my daughter, I started painting again. It felt wonderful to once again enter that other world where anything is possible. The world where you can create whatever you want and you can be whoever you wish to be. I had forgotten about that place for many years, but thankfully, I found it again."</p> Sat, 29 Dec 2012 02:27:06 +0000 Sara Al Haddad - The Pavilion Downtown Dubai - December 11th, 2012 - January 28th, 2013 <div> <p>The Pavilion Downtown is pleased to present the first solo exhibition by local artist Sara Al Haddad. Using thread and yarn as a preferred medium, this body of work revolves around the process and the (sometimes) futile attempts of tackling and releasing our inner negative or unresolved thoughts and feelings. Phrases that reflect the artist’s wandering reflections are expressed through different stylistic stitches – with knots highlighting their complex nature. Yarn and thread as a material here symbolizes thoughts and feelings: delicate yet easily tangled.</p> <p>The process of stitching those thoughts allows the artist time for their contemplation, which leads to their eventual acceptance and understanding. This series is a continuous work in progress reflecting on the obsessive, repetitive and continuous in everyday existence, while at the same time, the flexibility, movement and versatility of the yarn fibers allows for different emotions to be conveyed.  Moreover, the repetitive motion involved in stitching provides a pace for serenity, a self-therapeutic approach to meditation and regulating the artist’s overflowing surge of emotions and thoughts that are literally bursting at the seams.</p> <p>Besides the text based works, and the large stitched wall installation presented in gallery one, Sara will also be producing works as an intervention with The Pavilion space whereby knitted and crocheted fabric will be placed in strategic locations for The Pavilion visitors to find, ponder and interact with.</p> </div> Sat, 26 Jan 2013 08:19:54 +0000 Christian Jankowski - The Pavilion Downtown Dubai - January 10th, 2013 - January 28th, 2013 <p>The Pavilion Downtown Dubai is proud to present Christian Jankowski’s video installation <em>The Eye of Dubai – a</em> black and white film that recalls Jankowski’s first trip to Dubai, and is accompanied by a television documentary from the BBC World News series ‘Collaboration Culture’ which chronicled the making of the film. Upon their arrival in Dubai, the artist and his film crew were led by their local guide, Rami Farook, who took them to various destinations throughout the city where they remained blindfolded until the last night of their trip when they viewed their film for the first time.</p> <p>The starting point for the work was an invitation by the BBC to participate in their Collaboration Culture series. For this project, two films were produced:  one was created by Jankowski’s Berlin-based film crew, which consisted of a director (Jankowski), a cinematographer and a sound recordist and the other film, directed and produced by the BBC, is a documentation of Jankowski’s project.</p> <p>Throughout their stay in Dubai, the film crew remained blindfolded and relied solely on a local collaborator to lead them though the city. Under the Collaboration Culture series, the BBC connected Jankowski to Dubai-based curator Rami Farook, who became an emblematic figure in the process. By being blindfolded, the artist was not influenced by his sense of sight, and handed responsibility to Farook to guide them around the city. Farook’s personal tour of Dubai started at Burj Khalifa and continued on to a number of destinations that included amongst others an artist studio, a gallery, and Ski Dubai. Upon arrival at each destination, Farook refrained from revealing the location and instead left the film crew entirely unaware of their surroundings.</p> <p>The initial edit of the film also took place blindfolded in Dubai. On the last night of the crews trip and a few seconds before the presentation of the film, Farook removed Jankowski’s blindfold so that the artist – and later his crew – could finally see the result of their work, as well as the faces of their Emirati guide and the BBC team. Only then were they able to compare their inner images and their non-visual impressions to the images of their film.</p> <p><strong>ABOUT CHRISTIAN JANKOWSKI</strong></p> <p>Christian Jankowski was born in 1968 in Göttingen, Germany and lives and works in Berlin. His work is a performance which engages collaborators to collude with him. The collaborative nature of Jankowski’s practice is paramount, as each participant unintentionally contributes his or her own texture to the experience. His videos, films, and installations have been exhibited nationally and internationally in places such as Sala de Arte Publico Siqueiros, Mexico City, MX (2012), MACRO, Rome, IT (2012), Nassauischer Kunstverein Wiesbaden, DE (2009), Kunstmuseum Stuttgart, DE (2008), Miami Art Museum, Miami, FL (2007), and MIT List Visual Art Center, Massachusetts (2005). He has participated in numerous Biennials, including the Venice Biennial in 1999, the Whitney Biennial at the Whitney Museum of American Art, New York in 2002 and the Taipei and Sydney Biennials in 2010.</p> Sat, 26 Jan 2013 08:23:09 +0000 - Dallas Museum of Art - July 7th, 2012 - January 30th, 2013 <p>This installation drawn primarily from the Museum’s collection brings together works in all media from disparate periods to explore themes and ideas that drive an artist’s creative process. Sections will be devoted to thematic associations including abstraction, minimalism, and the figure. Historical and literal associations such as the use of text, the construction of typologies, and the tradition of Vanitas will structure other groupings. Works from the collection that have never before been seen will be installed alongside a number of recent acquisitions to focus a new lens on ways of discovering the collection. </p> <p><i>Variations on Theme: Contemporary Art 1950s–Present</i> is organized by the Dallas Museum of Art. Additional support is provided by TWO X TWO for AIDS and Art, an annual fundraising event that jointly benefits amfAR, The Foundation for AIDS Research and the Dallas Museum of Art, and by the Contemporary Art Initiative through the gifts of an anonymous donor, Arlene and John Dayton, Jennifer and John Eagle, Amy and Vernon Faulconer, Kenny Goss, Tim Hanley, Marguerite Steed Hoffman, The Karpidas Foundation, Janelle and Alden Pinnell, Allen and Kelli Questrom, Cindy and Howard Rachofsky, Deedie and Rusty Rose, Gayle and Paul Stoffel, and Sharon and Michael Young. Air transportation provided by American Airlines.</p> Thu, 09 Aug 2012 01:43:12 +0000 - The Douglas Hyde Gallery - November 23rd, 2012 - January 30th, 2013 <p>Chantehs are small bags made by nomadic weavers in Iran and elsewhere in the Middle East. They are unpretentious and modest, full of charm and character. In the past they were never made for sale, because chantehs are the most personal of tribal weavings. Some, known as 'dokhtarbaf' or 'nashibaf', were bags made by girls learning skills from their mothers. Such chantehs are tiny and as naïve as a child's drawing. Some, called 'bibibaf' or 'ostadbaf', were dowry pieces, designed to show a young woman's skill or mastery of the craft, and thus to demonstrate that she would be an asset to her future husband's family. Others were made as wedding gifts or to celebrate special<br />occasions, but most commonly they served to carry small objects for personal use. They were private things.<br />Rugs and carpets, although often made for utilitarian purposes, were also commodities, for ever since the 19th century nomadic Persian womenfolk have contributed substantially to the tribal economy by selling them to dealers and middlemen. Even 'khorjin', saddlebags for camels, horses, and donkeys, were often made for sale. Chantehs were not, partly because they were personal possessions and also because they had no value in the marketplace. <br />Their weavers didn't have business interests in mind when chantehs were made; the women were not thinking of profit when they wove these modest bags, nor were they bound by aesthetic rules. They could make what they wanted. As always, they spun sheep's wool, dyed it with materials such as madder root, pomegranate rind, walnut husks, and vine leaves; they drew on design traditions that were based on ancient motifs and symbols, but they were nonetheless free to create exactly what came to their hands and imagination. Chantehs are the expression of informality and freedom from the expectations of others; it is not insignificant, therefore, that they were very often intended as gifts.<br />The preceding text is taken from ‘Questions of Travel’, published by the Douglas Hyde Gallery in 2010.<br />'Chanteh' is an exhibition of over 200 old and antique tribal bags from the Fars region of Iran. This unique and beautiful collection was put together by the late Parviz Homayounpour and has been lent to us by Label STEP (Switzerland), a foundation that works for fair conditions in carpet production and trade.<br /><br /></p> Sat, 10 Nov 2012 03:09:25 +0000 Eva Rothschild - The Douglas Hyde Gallery - November 23rd, 2012 - January 30th, 2013 <p>Paradise: [1] an enclosed garden [2] the garden of Eden [3] a place of bliss, felicity, or delight [4] heaven In this series of exhibitions, artists make a selection of work that reflects their idea of The Paradise. As a response both to The Paradise and to the Chanteh exhibition in Gallery 1, Eva Rothschild has chosen to show a selection of new and recent sculptures.<br />Eva Rothschild held a major solo exhibition at the Douglas Hyde Gallery in 2005. Since then, her work has been shown widely, including a large installation at Tate Britain, and commissions for the Whitechapel Gallery, London, and Public Art Fund, New York. In 2014, a substantial exhibition of her work will be held at Dublin City Gallery, The Hugh Lane.</p> Sat, 10 Nov 2012 03:14:43 +0000 Andrey Kamenev - Yekaterinburg Gallery of Modern Art - January 21st, 2013 - January 30th, 2013 <p>The exhibition consists of 50 photos taken by the chief photographer of National Geographic magazine Andrey Kamenev in different parts of the world.</p> <p>The exhibition space is divided in two parts, the light one and the dark one, where you can see 35 color prints and 25 special ultraviolet prints, respectively.</p> Thu, 17 Jan 2013 04:50:11 +0000 - Baton Rouge Gallery - January 2nd, 2013 - January 31st, 2013 <p>Presented by Baton Rouge Gallery center for contemporary art (BRGCCA), Surreal Salon 5 is aimed at once again engaging audiences in a multi-sensory art experience like no other in the region by shedding light on the growing popularity and exceptional quality of the pop-surrealist/lowbrow movement. </p> <p>This exhibition will be held from January 2-31, 2013 at BRGCCA. The exhibition will feature works from 43 artists from 18 states.</p> Sun, 20 Apr 2014 09:58:02 +0000 Lenka Kohoutová - DOX Center for Contemporary Art - November 29th, 2012 - January 31st, 2013 <div class="ST-content ST-content-type-text ST-content-section-content paragraph">COCKEREL is not what it seems. <br /> <br /> Five outfits expanding into the world of objects, adopting the morphology of plastic crates in puff printing, or transposing their structure into the details of the pleating of a skirt, a blouse, the sleeves of overalls… This is the pilot collection from COCKEREL by Lenka Kohoutová. <br /> <br /> And in return a vase, a designer object that has lent clothing the technological essence of weaving, and yarn winds round its curves line by line. The object enters into a direct dialogue with the woman and becomes part of her outfit. It displays attributes previously seen as something that people do – it gets dressed (or is dressed). <br /> <br /> It’s about establishing equilibrium rather than grabbing attention, which is strictly divided between clothing, object and space. Individual items of clothing are redefined in their fundamental forms – blouse, skirt, trousers and their derivatives. It’s about looking for the essence of clothing as a covering for the body, in confrontation with other objects in a particular time and space. <br /> <br /> The red yellow black white blue girl picks up a vase and walks down the street…</div> <div class="ST-content ST-content-type-text ST-content-section-content paragraph"></div> <div class="ST-content ST-content-type-text ST-content-section-content paragraph2"> <p>The strong “rooster” colours point to the planned development of the brand, but they also evoke the spirit of the 1960s, and besides the power of their primary colours they also possess impact, dynamism, drive and confidence.</p> <p>In Lenka Kohoutová’s designs there is something constant, something that prevails – the world, circumstances, moments – working in a system that functions in its place and time. In COCKEREL nothing exists in isolation and everything interacts. The basic structures and colours of plastic crates have been imprinted into the anatomy of the clothing, and the body comprises the substance of the form and gives shape to the prints.</p> <p>In the designer’s personal story the moment has come for her to present her unique concept and collection and launch her own brand. This move is above all about the need to create. She offers a collection that simply IS, take it or leave it, and for the customer this display of freedom is uniquely refreshing and daring.</p> <p>What we wear makes us who we are, or who we want to be. If the designer’s ambition is to treat clothing as individual items, this is less about elevating each item than letting COCKEREL come into our lives piece by piece.</p> </div> Sun, 27 Jan 2013 06:18:19 +0000 Karel Adamus - DOX Center for Contemporary Art - January 7th, 2013 - January 31st, 2013 <div class="ST-content ST-content-type-text ST-content-section-content paragraph">The work by Karel Adamus, 10 POEMS PICTURES, inspired by the graphics of Albrecht Durer finds itself at the border of several genres. It represents the author’s work, in the form of a volume with ten poems. In the way it reinterprets the works of others, it relates to the traditions of collage, the ready-made and appropriation art. In the context of Adamus’ work, we are dealing with an important realisation exploring the possibilities of visual poetry, which is probably the most famous author’s cycle of Poem-Pictures. The set was formed in 1971 and the publication of the Kassel Edition Boczkowski was managed by Jiři Kolář.</div> <div class="ST-content ST-content-type-text ST-content-section-content paragraph">Some of the initial works, by Adamus, that occupy the interface between  semantic and visual poetry, date back to the years of  1967 – 1969. They are still entirely semantic texts, aiming through the spatial arrangement of  language components to emphasize the esthetic aspects of recording language. The building blocks of semantic poetry are words and letters, the same as in experimental poetry. The experiment lies  in their non-tradional usage. Nevertheless, the feeling experienced by someone viewing visual poetry, can be compared to the feelings experienced after reading semantic poem.</div> <div class="ST-content ST-content-type-text ST-content-section-content paragraph">The initial lettristic Visual poems (from 1969), are followed by The Lyrical Miniatures (1969 - 1970), in which different types of typewriters appear for the first time. First of all as hardly noticeable signs (punctuation signs) and after that as letters. Above all it is the use of typescript, so well liked by many writers of visual poetry, which Adamus transforms into a distinctive tool of nonverbal and yet still written – expression.</div> <div class="ST-content ST-content-type-text ST-content-section-content paragraph">In the poems created with the use of a typewriter – a magical tool, which provides all signs with the same space, so that the paper placed within it, rests under some invisible, yet precise and calculable grid – where the importance is given not to the word, but to the sign. The sign freed from mediating concepts, becomes an esthetic unit. Something that is initially a purely functional script of the typewriter is made anew into an esthetic form. Fixed signs are displayed on the surface of the paper, independent of the semantics, the grammar, the typescript; placing emphasis more on the non – verbal, esthetic components of the work.</div> <div class="ST-content ST-content-type-text ST-content-section-content paragraph">In contrast to classical authors such as Josef Hiršal and Bohumila Grögerová, Adamus is not concerned here primarily with making the word independent, liberating it from the burden of political misuse, rather he aims at the mediation of the experience of poetry in another way. He neither moves towards a more speculative manner of work as expressed by The Theory of texts, by Max Bense ; but emphatically develops a visual esthetic and the lyrical qualities of typescript. He brings the initial, general idea into a final, definitive form , usually in one flash of inspiration, “in one go”. He holds the view that a plan which is too precise can be harmful to the outcome.</div> <div class="ST-content ST-content-type-text ST-content-section-content paragraph">When Adamus first began involving the typewriter in the creative process, he worked with Durer’s graphics, the dialogue of classical artworks and the optical and rhythmical characteristics of the machine; the new unity – powerful impulse towards independent treatment of the entire surface of the paper, in order to create its own structure.</div> <div class="ST-content ST-content-type-text ST-content-section-content paragraph">Lucie Rohanová</div> Sat, 04 May 2013 03:57:10 +0000 Curro Ulzurrun, Jordi Teixidor, Teo Soriano, Carlos Pascual, Ana H. del Amo, Nuria Fuster, Luis Fega, Eduard Arbós - Galeria Fernando Pradilla - November 8th, 2012 - January 31st, 2013 <p>El <strong>Espacio Proyectos</strong> de la Galería Fernando Pradilla presenta el proyecto <em><strong>“Mundo Material”</strong></em> que ha contado con el comisariado del artista español <strong>Emilio Gañán</strong>. La exposición agrupa la obra de los reconocidos artistas españoles<strong> Eduard Arbós, Luis Fega, Nuria Fuster, Ana H. del Amo, Carlos Pascual, Teo Soriano, Jordi Teixidor y Curro Ulzurrun.</strong><em></em></p> <p><em><strong>Mundo Material</strong></em> se plantea como un acercamiento al trabajo de una serie de pintores de raíz abstracta, que a través de la geometría alcanzan un nuevo conjunto de posibilidades que ofrece la experiencia pictórica.</p> <p>La década de los 90 del siglo XX supuso para la pintura un cambio de sensibilidad que quedó reflejado en numerosas propuestas que incidían en una reconsideración de lo que habían sido las vanguardias históricamente establecidas. Bajo esa nueva mirada, las tendencias que acentuaban el aspecto material y objetual de la pintura abrieron una etapa que alcanza nuestros días.</p> <p>La presente muestra ofrece un panorama en el que artistas de diferentes generaciones plantean su trabajo desde la transgresión de los límites de la pintura, empleando medios materiales y configuraciones espaciales donde el rigor geométrico, la corporeidad o la ironía conceptual forman parte de un lenguaje común y diverso a la vez.<br /> La aproximación a esta nueva dimensión de la pintura se puede abordar de diversas maneras, pero una de las más interesantes sería la que han venido desarrollando este conjunto de artistas, que trabajan las formas desde las dos dimensiones, y cuya experimentación sobre el propio medio les ha llevado a las conclusiones que se pretenden mostrar en este proyecto. Por otro lado, existe también otra dimensión en el planteamiento de una experimentación a través de la pintura, y es aquella que se centra en la problemática intrínseca al propio medio, y que desde el mismo, trata de abordarla y negociar sus últimas posibilidades.<br /> Mundo Material presenta, por tanto, estas dos vías de acercamiento a nuevas formas de expresión a través de la pintura, como una propuesta que invita a reflexionar sobre sus límites y horizontes. En un escenario en el que el auge de la fotografía que ha tenido lugar en la última década está dejando paso a un renovado interés por lo pictórico, surge la necesidad de acercar al público a las nuevas propuestas que plantean estos artistas, propuestas que versan sobre la pintura que rompe con la bidimensionalidad, para trasladarse a nuevos soportes y replantear los límites entre la superficie pictórica y el objeto.</p> <div class="jwts_clearfix"> </div> Fri, 14 Dec 2012 23:56:43 +0000