ArtSlant - Recently added en-us 40 Silke Wagner - Galerie Wilma Tolksdorf Frankfurt - February 7th - March 21st <p>In the exhibition <em>facts &amp; figures</em> Galerie Wilma Tolksdorf presents recent works by Silke Wagner. In its multifaceted and medial diverse work, the artist deals with socio-political and socio-cultural issues which she translates through aesthetic forms in the sphere of visual art. She transforms political terms into the reality of the social and at the same time creates a new platform of publicity. In words of the philosopher Philipp Thomas Silke Wagner "exposes us to the overlooked, mainly to which we indeed somehow know, but its clear recognition is uncomfortable."<br /><br />As a starting point for the exhibition, gathering ten new works, Silke Wagner uses numbers and statistics demonstrating the various aspects of a globalized and economized society. The first work that dealt with this topic was created in 2012 for the Biennale Bern. The twelve motifs of the work, <em>53 Fahnen f&uuml;r Bern</em>, found themselves on flags in public spaces, as free available postcards and framed silkscreen prints. As a graphic translation of statistical analyzes in lines and geometric shapes they visualize the individual motifs of global issues, such as the distribution of private and public capital, the gold recovery by child labor and the decline in global biodiversity.<br /><br />The new works by Silke Wagner pursue this critical approach while expanding its medial and formal vocabulary. The three spherical lamps of the work <em>Figure X</em>, for example, illustrate by their respective size and diverse illuminating power of the bulbs the life-satisfaction level in Germany. While <em>Figure V</em> captures the distribution of wage and income in production and sale of jeans in the form of denim-wall-curtain haptically and graphically. Beyond the aesthetic pictorialization of socially relevant issues the works by Silke Wagner are "self-reflective, they formulate their symbolic-representative quality and prove themselves as artifacts." (Gabriele Sand, Sprengel Museum Hannover)<br /><br />The most important exhibitions and projects by Silke Wagner include German Open, Kunstmuseum Wolfsburg, skulptur projekte m&uuml;nster 07, Playing the City, Schirn Kunsthalle Frankfurt, Emscherkunst 2010, Biennale Bern 2012, Weather Report, Landesgalerie Linz and Tatort Paderborn among others. Her work has been shown in several solo exhibitions, including Neuer Berliner Kunstverein, Kunstverein in Hamburg, Oldenburger Kunstverein and most recently at the Kunsthalle G&ouml;ppingen.<br /><br /></p> Thu, 29 Jan 2015 13:03:31 +0000 Chen Shun-Chu - Taipei Fine Arts Museum - January 24th - April 26th <h1>Chen Shun-Chu:&nbsp;<em>Coral Stone Mountain</em></h1> <p>Curated by Mei-ching Fang</p> <p><a href="" rel="nofollow">Chen Shun-Chu</a> is representative of mid-career artists who came to prominence in Taiwan&rsquo;s post-martial law period. Images for his intensely emotional artwork come from his own family. In the 1990s he started making mixed-media work with photographic images, which introduced freshness and rigor into the Taiwanese art world with its restrained style and subtle connotations.</p> <p>As Chen&rsquo;s first major retrospective held in Taiwan, the exhibition will include photographs, photo installations, and hand-painted fragments of old furniture from the 1990s to the present. The retrospective is named for coral stone, a natural building material found in the Penghu Islands, to express the artist&rsquo;s complex feelings of attachment for his hometown and family. Settlers arriving in Penghu several hundred years ago developed knowledge of local materials, thus gathering light and porous coral stones from the ocean to build structures that would withstand the powerful winds that frequently lash the islands. These structures still stand today, protecting descendants of those first ancestors from Penghu&rsquo;s cold winds and burning sun. The exhibition is arranged chronologically on the third floor of the museum and charts the course of Chen&rsquo;s rich career. For Chen, the irregularity of the small coral stones seen in Penghu reflected the ups and downs of family life in his hometown, and their network of pores suggested the interconnectedness of memories.</p> <p>Penghu is actually not mountainous, but piles of coral stone are a part of the islands&rsquo; imagery as Chen&rsquo;s rich memories of his hometown suggest. The coral stone of his childhood was intimately linked to his feelings for his hometown, and after moving to the main island of Taiwan to attend university, dealing with each boat ride back to Penghu intensified his nostalgia. As it happens, all of Chen&rsquo;s residences in Taiwan, from Yangming Mountain and Shenkeng, to Xindian where he eventually settled, were in mountain areas. Living in the mountains and breathing in nature revitalized Chen and gave him the necessary energy for a fresh start, and the mountains supported him and nourished his creative spirit. In his final series of work, he piled coral into towering altars to praise the vitality of art, and combined silk screening and acrylic paints to make offerings of flowers, fruit and beans while extending the possibilities of art.</p> <p>Chen began his journey with photography and received many awards for his outstanding talent while in college. Later, he produced his photographic series<em>&nbsp;Image and Imagery</em>&nbsp;about the 1980s on the 64 islands comprising the Penghu archipelago,<em>&nbsp;On the Road</em>&nbsp;presenting autobiographical extracts from 20 years of the artist&rsquo;s life, and<em>&nbsp;The Remnant Vision</em>&nbsp;in 2011, which is about longing and regret. These works involve the uncommon scenery Chen encountered in his wanderings, as his camera accompanied him on distant artistic journeys. With photography, he found inspiration from life and used his rational and solitary vision to reveal emotions hidden within objects. Black and white images accumulated on photographic paper as Chen explored revelation throughout his cool and isolated quest. He was detached yet tolerant as he waited and pondered, observing the things he saw on life&rsquo;s road. It seems Chen followed his impulses, which made the content of his work broad and often obscure, but as a traveler, he relied on his own aesthetic judgments, and with a camera as a tool, captured elegant memories as they would come.</p> <p>Still, a single medium offered insufficient expressive opportunities for an artist such as Chen who made bold breakthroughs. In 1992, while rummaging through several decades of old family photographs and precious fragments of old furniture, Chen discovered poignant subject matter among these layers of space and time. Each fragment of old furniture leads us to a past encapsulated in time, and each thin piece of photographic paper emits alienation and a thirst for warmth. Chen created his work&nbsp;<em>Family Boxes</em>&nbsp;by hand-painting and restoring meaning to each piece of furniture containing dead insects, cotton thread and light bulbs. He selected old photographs of family members using his profound sensitivity, and then blended intangible memories of past lives into an entirely new aesthetic dimension.</p> <p>Chen broke through the restrictions of documentary and portraiture to actively develop the potential of mixing photography with different media, and successfully enriching its language. He captured variations and correspondences between space and time, extended the language of the medium and intensified visual aesthetics while actively seeking a new context in contemporary art and photography. The <a href=";allObj=%7B%22JJMethod%22%3A%22GetEx%22%2C%22Type%22%3A%221%22%7D&amp;ddlLang=en-us" rel="nofollow">Taipei Fine Arts Museum</a> is presenting this solo exhibition to extend Chen Shun-Chu&rsquo;s artistic expression and language to his fellow citizens. Moreover, with this review of the artist&rsquo;s creative trajectory, the museum carefully formulates contemporary photography as a fundamental media, and the use of mixed media, space and the environment in an experimental, explorative fashion. The exhibition not only extends the concept of creative photography, but also enriches the possible uses and significance of images. Chen Shun-Chu saw the future from the past, but his work will show us the past from the future.<br /><br /></p> Wed, 28 Jan 2015 17:49:27 +0000 Group Show - Taipei Fine Arts Museum - February 7th - May 3rd <p><strong>The Testimony of Food: Ideas and Food</strong></p> <p>text by&nbsp;<a href="" rel="nofollow">Jo Hsiao</a></p> <p><em>The destiny of a people depends on its food and its regime. Cereals create artistic peoples. It was&nbsp;aqua vitae&nbsp;that decimated the Indian races. I consider Russia to be an aristocracy sustained by alcohol. Who is to say if the abuse of chocolate did not play a role in the downfall of the Spanish nation?&nbsp;</em><br />---Honor&eacute; de Balzac,&nbsp;<em>Trait&eacute; des excitants modernes</em>&nbsp;("Treatise on Modern Stimulants")<br /><br />In Part 1 of his &ldquo;Treatise on Food and Money&rdquo; in the&nbsp;<em>Book of Han</em>, the scholar of the Eastern Han dynasty Ban Gu (32-92 BCE) proposed that a sufficient food supply was necessary for a peaceful populace. The relationship between food and humankind can be traced back to prehistoric times. In cave paintings we discover the images of animals, representing humanity&rsquo;s most primal desire for food. Human beings used their own power to satisfy their own needs, extracting sustenance from the storehouse of nature. Not only people, but all life forms seek to reproduce and multiply using the food they absorb. But as humankind has progressed to a higher level, food too has evolved from the desire for simple satiation to become the ability to transform reality through thought. Food has become visible, smellable, tastable, palpable, and can even offer access to the heart. Food has risen above the purely material level to become a marriage of idea and feeling, and it reveals to us a greater power of expression: It is food, and it is something beyond food. Food begins with the sense of taste, but it does not end there. When thought serves as a go-between, it builds a bridge between humankind and food, and forms a multifarious relationship composed of psychology, physiology, sense of self, class, faith and values. People create food, and food has a social function: in this world founded on the cornerstone of culture, food is culture, and culture is the sum of many different customs, systems, thoughts, ethical teachings, rituals and human activities.<br /><br />In&nbsp;<em>Dream of the Red Chamber</em>, Cao Xueqin wrote that banquets should be held on the New Year and birthdays, when celebrating promotion to high office, admiring flowers or reciting poetry, on outings, when welcoming or bidding farewell to guests, at weddings and funerals. The banquets at Daguan Park were emblematic of the affluence and harmony of the upper class in the early Qing dynasty, and they also intimated the untamable desires hidden in the human heart. Ultimately, the decadence of Daguan Park served as an allegory for the entire age, demonstrating that &ldquo;feasting is tantamount to delighting in calamity.&rdquo; When Balzac spoke of food, he pondered the relationship between people and food, its impact on human productivity and its ability to change human vitality. He felt that culinary habits expressed the special character of each age. Be it grains, alcohol or chocolate, he emphasized the social and material nature of food, particularly its expression in daily life and its entanglement with the human consciousness.<br /><br />The renowned 17th-century Dutch still life painter Pieter Claesz (1597-1661) often made food the subjects of his works. Meat pies, bread, lemons, olives, nuts, fruit and wine served up a sensorial feast both visual and olfactory. Yet Claesz intentionally employed simple colors and subdued lighting to portray the sumptuousness of food. Here, a superfluity of victuals embodied a symbolic image lying between the material and spiritual worlds: signifying the transitory state of matter while implying the ineradicable state of the spirit. In Claesz&rsquo;s paintings food took on the meaning of deviating from the two worlds by suppressing the senses.&nbsp;<em>Basket of Fruit</em>&nbsp;is a work by the Italian baroque painter Michelangelo Merisi da Caravaggio (1571-1610). This painting did not portray lush vegetation at the height of bloom, but rather a basket of fruit on the verge of decay. With drooping clusters of grapes, a bug-bitten apple and withered leaves, Caravaggio presented us with an animated, immediate reality. His basket of fruit forces us to confront the fragility of life and the inevitability of death.<br /><br />Food has always been an active participant in the human world. Food has its own unique language. It is visual, auditory, gustatory, olfactory, tactile. It conveys and corresponds, either directly or metaphorically, striking straight at the subtlest of ideas through the human senses. Through the channel of human thought, it allows us to resonate with all our senses, taking us through a limit-experience, a spiritual awakening. The magical power of food lies in the complexity of images it possesses, and these multiple images are its greatest area of abundance. &ldquo;The Testimony of Food&rdquo; attempts to practice the language, thought and symbols of food, and even to create or intuit a unique drama from it. &ldquo;The Testimony of Food&rdquo; explores the many facets of cuisine, from its forms to its text. It endows food with a theatrical role, allowing food to be viewed as a performer, and allowing the viewer to ponder the metadrama that food acts out. And standing on such a foundation of ideas, this exhibition not only explores the technical level of food, its forms and aesthetic expressions, but also ruminates on and revisits humankind&rsquo;s must fundamental desires, embarking on the ultimate pursuit of the cerebral/visceral, the rational/irrational in human life.<br /><br /><strong>Food Theatre Scripts:<br /><br />Scene 1: Faith</strong><br />Sharing food is the most ancient form of social interaction in human history. In Latin America, devout Catholics take food and pray together on pilgrimage. In Taiwan temples always prepare a bountiful supply of victuals during major festivals, for the sustenance of worshippers. Here, food makes people&rsquo;s faith fuller and more substantial. Food gives cohesion to a gathering, allowing people&rsquo;s mutually interflowing feelings of intimacy to take deep root. Expressed at the psychological level, the experience of breaking bread together through the vehicle of religion awakens the spiritual dimension of humankind&rsquo;s survival instinct, activating the deepest strata of the human soul. In the contemporary age, eating has become a form of intellectual faith, from vegetarianism to cucina povera (&ldquo;cuisine of the poor&rdquo;). Through food, we may consciously criticize and reflect on the environment and society, and thus gain fresh perspective.<br /><br /><strong>Scene 2: Desire</strong><br />Consumed, absorbed, broken down and digested, food fulfills our physiological needs, and also replenishes the energy the body has expended. Yet unrestrained overeating is a human attempt to fulfill our own unbounded desires, compelling our rapacious psyches to expand without check and overwhelm our physiological functions. Desire is like the roots of a plant, buried deep in the earth and hidden out of sight, continuously growing to maintain the plant&rsquo;s life. According to rhizome theory, desires are the subconscious expressions of the deepest regions of the human soul. They ceaselessly grow, endowed with form, so that we may rely on them for our survival. In this way, overeating represents an archetype of human desire. It alters our lives, leading to entirely new likenesses.<br /><br /><strong>Scene 3: Culture</strong><br />In some sense, food is built on a system of lineage and inheritance; as a result, it possesses the qualities of culture. These qualities are of a spiritual rather than a material nature, and they become habitual behavior when passed on from one generation to the next. For example, the documentary &ldquo;Noodle Road&rdquo; produced by KBS of Korea attempted to answer the question, &ldquo;Where did noodles first appear?&rdquo; Many archeologists believe that Xinjiang, the starting point of the Silk Road that connected East and West, was the cradle of the noodle. According to Chinese historical data, the earliest noodles can be traced back to the Eastern Han dynasty about 1900 years ago. Noodles have become an inseparable part of Chinese people&rsquo;s dining habits. Because their shape is &ldquo;long and thin&rdquo; (a homonym for &ldquo;longevity&rdquo;), noodles are also considered symbols of long life. And so it has become a tradition to eat noodles to celebrate one&rsquo;s birthday. Further up north in Korea, noodles are sacraments of worship. In the ceremonies of Southeast Asia, they symbolize happiness. No matter what meaning it takes, once food is accepted, it forms no ideological divide. Whatever antagonisms may exists in a society surrounding religion or ethics, food explores the foundation hidden beneath thoughts, and dining traditions become a part of the cultural inheritance.<br /><br /><strong>Scene 4: Memory</strong><br />Food is a kind of memory. Food is a return to life. Taste is not merely the physiological triggering of our taste buds to select food, but is also driven by certain powerful feelings, manifested at a certain distance. Memory becomes whole and takes on meaning only when food joins the spectrum of elements in the mnemonic palette. Like a crystalline structure, memory gains emotional specificity when augmented by the tastes of food, wakening our feelings, be they piquant or muted, joyful or painful.<br /><br /><strong>Scene 5: Relationship</strong><br />Food, family and faith are the values that sustain humankind, and over time they grow into &ldquo;tradition.&rdquo; In both East and West, traditions do not disappear, but persist through change. In a family, the dining table is the place where family members bond, and the auguries of new relations may be witnessed. In Taiwan, Japan, South Korea and some Southeast Asian countries, people use food to symbolically commemorate ancestors or venerate gods. Food builds connections between family members. People interact with gods and ghosts through food too. From the perspective of contemporary psychology, food creates power relationships among people, and between people and spirits. This bespeaks the spiritual difference between man and animal. Therefore, food illustrates something exceedingly complex: the simultaneous coexistence of love and hate, respect and disdain in the same rite.<br /><br /><strong>Scene 6: Decadence</strong><br />In his &ldquo;Treatise on Modern Stimulants,&rdquo; Honor&eacute; de Balzac considered the role of &ldquo;tabac.&rdquo; He wrote: &ldquo;Humanity probably never dreamed what joy could be gained from being a chimney.&rdquo; The poor would rather starve and smoke than receive food or coin. Here, &ldquo;tabac&rdquo; refers to hallucinogenic opium, derived from poppy seeds, or tobacco inhaled in hookahs. In different countries, they are given different names and forms. These elegant smoking devices may even approach the level of exquisite works of art. Smoke tinted with the scent of flowers swirls up slowly, pure and white. The entire process, from preparation to inhalation, is like a sacred ritual. When the smoke expands in the mouth and hits the brain, it&rsquo;s like beautiful religious music leading us to fly across the sky. There, we no longer feel the weight of the mundane world. We soar toward a beautiful realm, perhaps to paradise. All of a sudden, it takes on concrete form. Except for hallucinations, nothing remains!<br /><br /><strong>Scene 7: Knowledge</strong><br />The French gastronome Brillat Savarin once declared that &ldquo;dining habits reveal the character of a generation.&rdquo; According to this idea, Balzac contended that tobacco decimated the Turks and the Dutch, chocolate might have caused the decline of Spain, and Russia was a tyranny built on alcohol (Trait&eacute; des excitants modernes). Today, the World Health Organization suggests that 5-15 percent of our calorie intake should come from protein, 15-30 percent from fat, and 50-75 percent from cholesterol. Thanks to the advance of health science, experts adamantly admonish us what to eat, and what not to eat. In this era, a healthy diet has become a lifestyle guide. &ldquo;Low fat,&rdquo; &ldquo;high fiber&rdquo; and &ldquo;organic&rdquo; have become the biggest selling points. Vegetables are more popular than meat, and a glut of sugar and starch are verboten. We believe in the knowledge on which health and dietary experts insist, treating it as dogma for cultivating a healthy life. &ldquo;Too much&rdquo; and &ldquo;not enough&rdquo; determine the dining habits of our generation.<br /><br /><strong>Scene 8: Consumption</strong><br />Food causes war. In human history, there have been too many incidents of people fighting over food. The struggle between humanity and Mother Nature usually involves food as well. Today, a surfeit or dearth of food will lead to conflict &ndash; the war of market supply and demand, the war for corporate survival. Recently, the over-production of peaches has led to fierce demonstrations by farmers in Europe. The relationship between humanity, farming and nature has turned to a complex interconnection between technology, corporations and consumers. In the era of consumption, food is mass-produced by corporations. Planting the earth is the source of food for fewer and fewer of us, as food retreats farther and farther from our lives. We cannot force anyone to ponder the debate over food ethics, whether they are struggling to fill their bellies or yearning to delight their palates. According to the psychology of consumption, modern people cannot tolerate monotonous dining experiences; therefore, a kitchen rich in dining culture can never rival multinational corporations, with their unending pursuit of novelty.<br /><br />--------------<br /><a href="" rel="nofollow">食物箴言:思想與食物</a><br />The Testimony of Food: Ideas and Food<br />Date: February 07 - May 03, 2015<br />Opening: 2015.02.06, 15:00PM<br />Venue:&nbsp;<a href="" rel="nofollow">Taipei Fine Arts Museum</a>, Galleries 1A, 1B<br />Sponsor: Colorful Life|<a href="" rel="nofollow">耕易溫馨生活館</a><br />Curator by&nbsp;Jo Hsiao|<a href="" rel="nofollow">蕭淑文</a><br />Assistant Curator by Bohsin Chien|簡伯勳<br />Organizer by Waverly Lee | 李瑋芬<br />Opening Performance by Yi Wei Keng | <a href="" rel="nofollow">耿一偉</a><br /><br />展出藝術家Artists:<br /><a href="" rel="nofollow">張恩滿</a>+半路咖啡Chang En Man +Halfway Caf&eacute;、<a href="" rel="nofollow">王德瑜</a>Wang Te Yu、<a href=";id=7&amp;ddlLang=en-us" rel="nofollow">黃博志</a>Huang Po Chih、<a href="" rel="nofollow">林其蔚</a>Lin Chi Wei、<a href="" rel="nofollow">陳慧嶠</a>Chen Hui Chiao、<a href="" rel="nofollow">廖堉安</a>Liao Yu An、<a href="" rel="nofollow">袁廣鳴</a>Yuan Goang Ming、<a href="" rel="nofollow">王董碩</a>Wang Tung Shuo、<a href=";tpid=93" rel="nofollow">郭文泰</a>Craig Quintero、<a href="" rel="nofollow">劉信佑</a>Liu Hsin Yu、<a href="" rel="nofollow">廖祈羽</a>Liao Chi Yu、<a href="" rel="nofollow">王俊傑</a>Wang Jun Jieh、<a href="" rel="nofollow">楊俊</a>Yang Jun、<a href="" rel="nofollow">林明弘</a>Michael Lin、<a href="" rel="nofollow">湯皇珍</a>+謝東寧Tang Huang Chen + Hsieh Tung Ning、<a href="" rel="nofollow">張暉明</a>Chang Huei Ming、<a href="" rel="nofollow">何采柔</a>Joyce Ho、<a href="" rel="nofollow">侯怡亭</a>Hou I Ting、<a href="" rel="nofollow">李明學</a>Lee Ming Hsueh、<a href="" rel="nofollow">涂維政</a>Tu Wei Cheng、<a href="" rel="nofollow">邵樂人</a>Larry Shao<br /><br /></p> Thu, 29 Jan 2015 06:20:34 +0000 - Phoenix Art Museum - May 9th - August 23rd Wed, 28 Jan 2015 09:41:16 +0000 - Phoenix Art Museum - June 5th - September 6th <p class="p1" style="text-align: justify;">Drawn from the impressive collection of the Vilcek Foundation in New York, this exciting exhibition presents rarely-before seen masterworks of American Modernism.</p> <p class="p1" style="text-align: justify;">Works in the exhibition date from the early 1900s to the Post-war era. A wide range of modern stylistic approaches in various media (paintings, sculpture, and works on paper) are presented, with particular emphasis given to American artistic responses to the geometric compositions of cubism, the nature-based abstractions by artists of the Stieglitz Circle, and the regionally-inspired modernism produced in the American Southwest after the first World War.</p> <p class="p1" style="text-align: justify;">To complement the Vilcek collection, Phoenix Art Museum will exhibit approximately 40 examples of modernist American art from the Museum&rsquo;s own superb collection of art from this era. The combined installations will offer a thorough representation of the many ways in which American artists responded and contributed to modernist trends in the early twentieth century.</p> <p class="p1" style="text-align: justify;">The exhibition is organized by The Philbrook Museum of Art.</p> Wed, 28 Jan 2015 08:57:12 +0000 Andy Warhol, Susan Rankaitis, Joyce Neimanas, Chris McCaw, Bill Jay, Betty Hahn, Pierre Cordier, David Emitt Adams - Phoenix Art Museum - April 11th - October 25th <p style="text-align: justify;">This exhibition expectation that photographs are infinitely reproducible multiples. Typically photographs are printed from a negative or digital capture, and can be produced in editions ranging from a few prints to several hundred. However, some photographic processes &ndash; including daguerreotypes, tintypes, and Polaroid prints &ndash; produce only a single, one-of-a-kind object.</p> <p style="text-align: justify;">In other cases, artists choose to use materials in a way that produces a unique artwork, such as sculpting and collaging with or painting and drawing on photographs. The exhibition will include works from the entire history of the photographic medium, from the 1840s to the present day.&nbsp; Unique photographs by David Emitt Adams, Pierre Cordier, Betty Hahn, Bill Jay, Chris McCaw, Joyce Neimanas, Susan Rankaitis and Andy Warhol will be included.</p> <p style="text-align: justify;">Tweet your unique experience with #1ofakindphoto on Instagram and Twitter.</p> Wed, 28 Jan 2015 08:54:26 +0000 Jacqueline Groag - Phoenix Art Museum - April 4th - August 9th <p style="text-align: justify;">Following the prolonged trauma of World War II, a renewed public appetite for color and pattern flourished in Britain. Designers responded enthusiastically to the freedom of the post-war period, creating dynamic and stimulating patterns inspired by art, science, and everyday life. Czech-born Jacqueline Groag was one of the most versatile women designers of this period. From the colorful and playful to the abstract and representational, Groag&rsquo;s work contributed to Britain&rsquo;s spirit of renewal and defined the popular &ldquo;contemporary&rdquo; style. An extremely inventive artist with a finely tuned sense of color, Groag utilized collage and drawing to develop her exceptional child-like visions.</p> <p style="text-align: justify;"><em>Pattern Play: The Contemporary Designs of Jacqueline Groag</em>&nbsp;provides a rare opportunity to view these original works on paper alongside Groag's lively, bold designs for furnishing textiles, dress fabrics, laminates, and other decorative surfaces drawn primarily from the Denver collection of Jill A. Wiltse and H. Kirk Brown III.</p> Wed, 28 Jan 2015 08:49:55 +0000 Paul Klee - Zentrum Paul Klee - February 14th - May 25th <div class="kmb_txt_lead"> <p style="text-align: justify;">Nach einer grossen Karriere in Deutschland, u.a. als Lehrer am Bauhaus, sah sich Paul Klee 1933 aufgrund der politischen Entwicklungen und als &laquo;entarteter K&uuml;nstler&raquo; gezwungen, in seine Heimatstadt Bern zur&uuml;ckzukehren, wo er sein einmaliges Sp&auml;twerk schuf.</p> </div> <div class="kmb_txt_paragraph"> <p style="text-align: justify;">Die&nbsp;Ausstellung vermittelt einen &Uuml;berblick &uuml;ber&nbsp;Klees k&uuml;nstlerisches Gesamtwerk und h&auml;lt bei&nbsp;seinen Berner Motiven, Berner Sammlern und&nbsp;den wichtigen Berner Ausstellungen inne. Daneben werden&nbsp;Klees Auswirkungen auf Berner Kunstschaffende sichtbar.&nbsp;Das letzte Atelier von Paul Klee am Kistlerweg 6 in Bern wird&nbsp;rekonstruiert und erlaubt einen authentischen Einblick in die&nbsp;beeindruckend bescheidene Arbeitssituation eines der bedeutendsten&nbsp;K&uuml;nstler des 20. Jahrhunderts.</p> </div> Sun, 25 Jan 2015 17:10:47 +0000 Henry Moore - Zentrum Paul Klee - January 30th - May 25th <div class="kmb_txt_lead"> <p style="text-align: justify;">Great art is not perfect. [&hellip;] Perfectionist art does not move me.&nbsp;<br />Henry Moore 1957</p> <p style="text-align: justify;">Henry Moore (1898&ndash;1986) is seen today as one of the most important English sculptors of the 20th&nbsp;century. His early work from the 1920s and 1930s was initially controversial, as the distortions and simplifications of the human figure were seen as an attack on traditional forms of representation.&nbsp;</p> </div> <div class="kmb_txt_paragraph" style="text-align: justify;"> <p>Moore continued his liberation of the figure from the classical tradition. His engagement with so-called &lsquo;primitive&rsquo; art as well as with contemporary sculptural forms of expression were of great importance to Moore&rsquo;s development. He regularly visited the British Museum in London, where he devoted intense study to non-European art. In Paris he also made contact with the avant-garde &ndash; with Constantin Brancusi and Pablo Picasso, among others.</p> <p>In the 1930s Moore increasingly developed abstract biomorphic forms. He based these on his collection of bones, shells and stones, in which he was able to study natural metamorphosis &ndash; growth, wear, change. His artistic goal was to create living forms as nature does. For that reason he emphasized the direct treatment of the material &ndash; stone or wood. Only later did he also have his sculptures cast in metal. Moore became one of the protagonists of the London art scene. He expressed himself in several essays about his own work, and assumed an autonomous position. At the same time, he refused to allow himself to be entirely co-opted by contemporary art movements, either by Surrealism or geometrical abstraction.</p> <p>During the Second World War Moore fled the air raids on London for the countryside, where he lived until his death. During that time he produced only a few sculptures, but captured the situation of people seeking refuge in the London Underground in numerous drawings. In the post-war era Moore increasingly had the opportunity to show his works abroad. He also realized large numbers of commissions for art in the public space. His sculptural work was concentrated, as it had been before the war, on the depiction of the human figure. Now he was criticised by younger artists, because clinging to figuration was considered too traditionalist. Whether Moore was making abstract or figurative sculptures, he was always concerned with developing a universal pictorial language out of elemental forms.</p> <p>In his late work above all he produced an extensive body of over 700 lithographs. This shift from sculpture to printed work may also have had something to do with the ageing artist&rsquo;s declining manpower. With his printed works Moore created a new artistic space for himself far from his sculptural works.&nbsp;</p> </div> <div class="kmb_txt_paragraph"> <p style="text-align: justify;">The exhibition shows with 28 sculptures and 42 works on paper from the collections of the Tate and the British Council for the first time in 25 years in Switzerland an overview of the work of one of the greatest sculptors of the 20th century.</p> </div> Sun, 25 Jan 2015 17:07:00 +0000 Banksy, Andy Warhol, Robert Rauschenberg, Group Show, Robert Indiana - Yekaterinburg Gallery of Modern Art - February 6th - March 22nd <p style="text-align: justify;">The exhibition is presented in Yekaterinburg by the Art Center &ldquo;Perinnye Ryady&rdquo; in St-Petersburg. It consists of original graphic art works and posters by 20 most important pop art artists.</p> Sun, 25 Jan 2015 17:02:46 +0000 Samira Abbassy - XVA Gallery Al Fahidi - February 7th - April 1st <p style="text-align: justify;">XVA Gallery is pleased to announce the solo exhibition of Iranian born, New York based, artist Samira Abbassy - An Autobiography &amp; other Confessions. This is the first time Abbassy will exhibit her work in the UAE. <br /> <br /> The exhibition will consist of oil paintings on canvas or gesso panel, accompanied by works on paper, from 2009-2014. Abbassy&rsquo;s works are very process based, exploring ideas of cultural identity as expressed through self-portraits and re-interpreted stories of her homeland. Abbassy states &lsquo;I use self-portraiture as a way of examining and defining myself in a constantly shifting cultural context. Although seemingly autobiographical, the figures are not me, but &ldquo;the archetypal self&rdquo;. &ldquo;The Self&rdquo; is examined as a phenomenon which combines autobiographical, cultural, psychic and chemical aspects, in which events/ narratives become incorporated into or cause dismemberment of the body.&rsquo;</p> Sun, 25 Jan 2015 16:59:28 +0000 Group Show - Waterstone Gallery - February 15th 11:00 AM - 12:00 PM <h2>Group Show of Gallery Artists</h2> <p>First Thursday Reception, February 5th, 6-8pm</p> <p>Artists' Talk, February 15th, 11am</p> Sun, 25 Jan 2015 16:57:15 +0000 Group Show - Waterstone Gallery - February 3rd - March 1st <h2>Group Show of Gallery Artists</h2> <p>First Thursday Reception, February 5th, 6-8pm</p> <p>Artists' Talk, February 15th, 11am</p> Sun, 25 Jan 2015 16:56:35 +0000 Antonia Hirsch - Southern Alberta Art Gallery - February 14th - April 12th <p style="text-align: justify;"><strong>Reception sponsored by KPMG</strong></p> <p style="text-align: justify;">Antonia Hirsch's practice testifies to a long-standing engagement with the quantitative, spatial and syntactic systems that structure an understanding of our universe.&nbsp; The opposite of chaos, cosmos can be defined as a complex and organized system: the ordered universe.&nbsp; Hirsch's work often relates these ordering structures to embodied and visual experience, considering how the ideological nature of these representational systems expresses itself through particular forms of abstraction.</p> <p style="text-align: justify;"><em>Negative Space</em> is an exhibition of new work that investigates the interrelation of inner and outer worlds.&nbsp; As the title indicates, the works consider the space around and between subjects and systems.&nbsp; The installation includes images and objects whose origin ranges from astronomy to contemporary mobile devices acting as points of departure to address a complex network of speculative ideas.&nbsp; The exhibition's exploration of seeing and believing manifests in evocations of outer space and devices, such as the Claude glass (or black mirror) used by 18th and 19th century landscape painters, that simultaneously pull the user into an interior world while projecting worlds away.&nbsp; This thread between inner and outer space continues in Hirsch's dramatic anamorphic video projection of an asteroid hurtling through a black void.&nbsp; On closer inspection, the asteroid reveals itself to be a far more terrestrial entity - an old potato, pocked and wrinkled.&nbsp; Together with a framed image of the genuine article (Asteroid 433 Eros) and a glass screen with the ambiguous profile of either the asteroid or the potato drawn upon it, the viewer finds their reflection similarly thrust into the fold.&nbsp;</p> <p style="text-align: justify;">As all cosmologies attempt to understand the implicit order within a whole, Hirsch's work opens up a space for speculation on desire and human experience.&nbsp; Taking up a history of reflection, <em>Negative Space</em> sets forth inquiries into the contexts of technology, philosophy and creative practice, questioning how we and our devices - both historical and present day - favour the image over the "real."</p> <p style="text-align: justify;">Hirsch is a Berlin based artist, writer and editor.&nbsp; Her work has been exhibited at the Contemporary Art Gallery, Vancouver; The Power Plant, Toronto; Taipei Fine Arts Museum; Tramway, Glasgow; and ZKM Museum of Contemporary Art, Karlsruhe, among others, and is held in the public collections fo the Vancouver Art Gallery, National Gallery of Canada, and Sackner Archive of Concrete &amp; Visual Poetry, Miami Beach.&nbsp; Her writing and projects have appeared in <em>artecontexto</em>, <em>C Magazine</em>, <em>Fillip</em>, and <em>The Happy Hypocrite</em>.&nbsp; She is the editor of the anthology <em>Intangible Economies</em> (<em>Fillip</em>, 2012).</p> <p style="text-align: justify;">The exhibition <em>Negative Space</em> is a catalyst for a parallel publication operating between an artist book and a topical anthology that will be released by SFU Gallery in 2015.&nbsp; Edited and introduced by Hirsch, it contains conversations and texts by artists, writers, and theorists.</p> <p style="text-align: justify;"><em>Negative Space</em> is organized by the Southern Alberta Art Gallery in collaboration with SFU Galleries.&nbsp; Funding assistance from the Canada Council for the Arts, Alberta Foundation for the Arts, and the City of Lethbridge. </p> <p>&nbsp;</p> Sun, 25 Jan 2015 16:50:51 +0000 Graeme Patterson - Southern Alberta Art Gallery - February 14th - April 12th <p style="text-align: justify;"><strong>Reception sponsored by KPMG</strong></p> <p style="text-align: justify;">This latest body of work by Graeme Patterson tells a nostalgic story of two characters who embark on a series of bittersweet adventures.&nbsp; From childhood to adulthood, stages of life are conveyed in idiosyncratic animated videos that accompany large sculptures containing highly detailed miniature worlds.&nbsp; Each of the sculptures reflects on a stage of life.&nbsp; Though Patterson focuses on male friendships, viewers can relate to the subtleties and complexities inherent in all close relationships.</p> <p style="text-align: justify;">Figures of a bison and a cougar represent Patterson and a childhood friend who moved away.&nbsp; The animals are central characters throughout the loose, yet highly complex narrative that is a point of connection for all the works in the exhibition.&nbsp; In <em>The Mountain</em>, the childhood homes of the young friends are recreated.&nbsp; Viewers can peer inside tiny windows to see rooms decorated as Patterson remembers them from the 1980s, with furniture and flooring made from tiny Popsicle sticks, and scraps of fabric used for carpet and curtains.&nbsp; In <em>Grudge Match</em>, comprised of a set of gymnasium bleachers, scenes of high school sports are played out in the projection.&nbsp; Viewers are invited to sit on the first three rows of the bleachers to watch the animation.&nbsp; Two charred bunk beds are joined to form <em>Camp Wakonda</em>, which is populated with dramatic scenes from Patterson's memory including a school bus crash and tiny projected flames.&nbsp; <em>Player Piano Waltz</em> is a functioning player piano that represents the completed transformation to manhood.&nbsp; A modified cylinder plays Patterson's own composition, which is activated along with projections when viewers deposit a dollar coin.&nbsp; Atop the piano is a model building in which the bison and cougar now enact the pastimes of adulthood.&nbsp;</p> <p style="text-align: justify;">To conclude the experience of this exhibition, viewers are encouraged to watch <em>Secret Citadel</em>, a 30-minute animation that plays continuously.&nbsp; This piece brings together the many scenes within each sculpture, and evokes the vulnerabilities of friendship and of loneliness, love and loss.&nbsp;</p> <p style="text-align: justify;">Graeme Patterson lives in Sackville, New Brunswick.&nbsp; Since graduating from NSCAD in 2002 his work has shown nationally and internationally including several solo exhibitions at significant Canadian art galleries.&nbsp; Some of his recent accomplishments include; 2012 Canada Council for the Arts Victor Martyn Lynch-Staunton Award (media arts), Atlantic finalist for the 2014 and 2009 Sobey Art Award, finalist for the Lieutenant Governor of Nova Scotia Masterworks Arts Award, and a 2011 Juno award nomination for album package of the year. &nbsp;&nbsp;</p> <p style="text-align: justify;"><em>Graeme Patterson: Secret Citadel</em> is co-produced by the Art Gallery of Hamilton (AGH) and the Art Gallery of Nova Scotia (AGNS) and is co-curated by Melissa Bennett, Curator of Contemporary Art, AGH and Sarah Fillmore, Chief Curator, AGNS.&nbsp; Funding assistance from the Canada Council for the Arts, Alberta Foundation for the Arts, and the city of Lethbridge.</p> <p>&nbsp;</p> Sun, 25 Jan 2015 16:49:42 +0000 Terry Haggerty - von Bartha, Basel - February 13th - April 4th Sun, 25 Jan 2015 16:47:15 +0000