ArtSlant - Recently added http://www.artslant.com/ew/Events/show en-us 40 Bernhard Luginbühl - von Bartha, Basel - September 4th - October 24th Tue, 07 Jul 2015 15:30:53 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Ewa Stryjnik - Trias Gallery - August 6th - August 16th <p style="text-align: justify;">Ewa Stryjnik was born in Sanok, Poland, moved to Canada in 1987. Graduated with a Bachelor of Fine Arts from University of Waterloo and Masters of Fine Arts from York University. Founder and instructor at PROJECT: ART.</p> <p style="text-align: justify;">The abstract landscapes are about the memory of people, place, and time. They are not necessarily physical territories but rather a feeling of a particular experience. The colour compositions evoke the emotional state, the brushstrokes simulate the event, the objects become human like entities. Among many influences, there is a reference to naive painting. The joy of painting in itself. The love for each brushstroke, mark, colour. The shapes are simplified to capture childlike purity of the form. The process of painting mimics the process of memory. The action of layering, overlapping and scraping off excavate fragments of a remembered/forgotten story.</p> <p style="text-align: justify;">Similar to old walls, the images are covered and revealed, inviting the viewer to look into and beyond the surface.</p> Tue, 07 Jul 2015 15:26:37 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Group Show - Trias Gallery - July 17th - August 5th <p><span style="font-size: small;">A selection of paintings by gallery artists.</span></p> Tue, 07 Jul 2015 15:24:38 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Hagit Lalo - Tel-Aviv Museum of Art - July 10th - October 5th <p style="text-align: justify;">First comprehensive exhibition of works by Hagit Lalo (n&eacute;e Shtriet). A forerunner of Abstract Expressionism in Israel, Lalo traveled in the early 1950s to California, studied art and was awarded a scholarship at the Hans Hoffman School of Fine Art. In 1959 she returned to Israel and held two solo exhibitions as well as participating in several group exhibitions. She died in 1961, not yet 30 years old.</p> <hr /> <p style="text-align: right;">תערוכה מקיפה ראשונה לחגית לאלו (לבית שטרייט), מחלוצות הציור המופשט האקספרסיבי בארץ, שבראשית שנות החמישים למדה אמנות באוניברסיטת קליפורניה, ברקלי. משסיימה בהצטיינות את לימודיה לתואר מוסמך באמנות, זכתה במלגת לימודים בבית הספר של הנס הופמן. ב&ndash; 1959 , לאחר שהציגה בכמה תערוכות קבוצתיות בחוץ לארץ, שבה ארצה והציגה בשתי תערוכות יחיד (בתל אביב ובירושלים) ובכמה תערוכות קבוצתיות. ב&ndash; 1961 , בטרם מלאו לה שלושים, נפטרה בתל אביב.</p> Tue, 07 Jul 2015 15:19:53 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list R.H. Quaytman - Tel-Aviv Museum of Art - May 20th - September 5th <p style="text-align: justify;">First exhibition in Israel by R.H. Quaytman (b. 1961), who works in &ldquo;Chapters,&rdquo; groups of paintings which she views as elements relating to one another like words within a sentence. The paintings, installed in a gallery designed by the artist, were made following her visits in Israel, and draw on her ongoing investigation into the language of painting and the painted images&rsquo; relationship to the literal. The exhibition&rsquo;s title and theme reflect Quaytman&rsquo;s interest in Gershom Scholem&rsquo;s writing and library, and in Hebrew lettering and numbering.</p> <hr /> <div class="txt"> <p style="text-align: right;">תערוכה ראשונה בישראל לאמנית הניו יורקית ר"ה קוויטמן (R.H. Quaytman, נ' 1961) המייחדת לכל פרויקט "פרק" &ndash; קבוצת ציורים שהם בעיניה פרטים המתקשרים זה לזה, כמו מילים במשפט. ציורי פרק 29: חקק נוצרו בעקבות ביקורי האמנית בישראל, והם מוצבים בגלריה שהיא עיצבה במיוחד לתערוכה.<br /> ר"ה קוויטמן היא אמנית החיה ופועלת בניו יורק. ב־2005 הייתה בין מייסדי הגלריה הקואופרטיבית Orchard בלואר איסט סייד בעיר ואף ניהלה אותה. ב־2001 הציגה במוזיאון קווינס לאמנות 40 ציורים שהגיבו לידיעה מעיתון ישן ובה דווח על תאונת דרכים שהתרחשה לא רחוק מהמוזיאון, ובין ההרוגים בה היו סבה ואבי סבה. בדיעבד היו 40 הציורים ועוד 40 ציורים מאותו הזמן לפרק 1. מאז 2001 היא מייצרת ציורים בקבוצות שהיא מכנה "פרקים". כל תערוכה היא פרק המגיב למקום התצוגה, לאדריכלות שלו או לתנאיו המיוחדים. ה"פרקים" מאפשרים לקוויטמן לחשוב על היחסים הנרקמים בין הציורים בתוך הסדרה, כמו פסקאות בפרק של ספר, וכן על היחסים שבין ה"פרקים" עצמם.<br /> בציורים, המצוירים על לוחות עץ, מוטבעים הדימויים בשכבות של ג'סו והדפס רשת. הדפסי הרשת מבוססים על דוגמאות מופשטות או על תצלומים &ndash; מהם תצלומי ארכיון שנסרקו, ומהם תצלומים שצילמה האמנית עצמה. השאלות המעסיקות את קוויטמן נוגעות לעשייה העכשווית בציור ולזיקתו הן להיסטוריה שלו והן למדיומים אחרים, כמו צילום והדפס. <br /> במוזיאון תל אביב לאמנות מציגה קוויטמן את פרק 29 &ndash; 26 ציורים, כולם מן החודשים האחרונים, שנוצרו בעקבות שני ביקורי האמנית בישראל. העניין שלה בוולטר בנימין ובציורו של פול קלה אנגלוס נובוס (מלאך חדש) מ־1920, שבאוסף מוזיאון ישראל, ירושלים, הניב ביקורים חוזרים בספרייה של גרשם שלום בירושלים ועיון בהתכתבות המסועפת בין שלום לבנימין בנוגע לתמונה; נסיעותיה למדבר וכן התעניינותה בטיפוגרפיה העברית ובצד המיסטי של אותיות האלף־בית בקבלה &ndash; כל אלה התכנסו לסדרת העבודות החדשה. <br /> כמו בכל אחת מתערוכותיה, גם את התערוכה במוזיאון תל אביב לאמנות, שכותרתה חקק, עיצבה האמנית עצמה. הפעם הקירות בנויים בצורת האות ה"א, באופן שמתייחס לגריד של התקרה (5&times;5 ריבועים). כיוון הכתיבה בעברית מימין לשמאל הופך מבחינתה לכלי התבוננות באופן שבו ציורים "נקראים". <br /> התערוכה במוזיאון תל אביב לאמנות תהיה פרק חשוב ביצירתה של קוויטמן לקראת הרטרוספקטיבה המוזיאלית הראשונה המתוכננת לה ב־2016 במוזיאון לאמנות עכשווית, לוס אנג'לס. לקהל בישראל זאת הזדמנות להתוודע לאחת האמניות שבמרכז השיח העכשווי בנושא הציור וזיקות המדיום הציורי לעשייה האמנותית הרדיקלית של שנות השבעים, כמו אמנות מושגית וביקורת מוסדית.</p> <p style="text-align: right;">מרק גודפרי (Mark Godfrey), אוצר התערוכה, הוא אוצר לאמנות בין־לאומית במוזיאון טייט מודרן, לונדון. עם התערוכות החשובות שאצר נמנות תערוכות יחיד של פרנסיס אליס, רוני הורן, גרהרד ריכטר, אלגיירו בואטי וזיגמר פולקה. מאמריו מתפרסמים בכתבי עת חשובים, כמו Artforum, Frieze, Afterall, October, ו־Parkett.</p> <p style="text-align: right;">&nbsp;</p> <p style="text-align: right;">מפגש עם האמנית והאוצר (באנגלית) יתקיים בערב הפתיחה באולם ההרצאות ע"ש מירי שטרית, הבניין ע"ש שמואל והרטה עמיר, בשעה 18:30. הכניסה חופשית</p> </div> Tue, 07 Jul 2015 15:10:32 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Reut Ferster, Roy Mordechay, Shai Ratner, Dalit Sharon, Meir Tati - Tel-Aviv Museum of Art - May 22nd - October 31st <p style="text-align: justify;">Work environments, such as a carpentry shop, a forced labor camp, a fashion accessories business, a store for construction materials and a building site, have been used by the artists and are now cast into the museum space through the prism of contemporary art. The exhibition explores such notions as routine, manual labor, industry, livelihood and parasitism; in an era when the concept of a family business is on the verge of extinction, &ldquo;Workplace&rdquo; is a gesture to a disappearing world.</p> <hr /> <p style="text-align: right;">סביבות עבודה, כגון נגרייה, מחנה לעבודות כפייה, חנות סיטונאית לאביזרי אופנה, בית מסחר לחומרי בניין ואתר בנייה, סיפקו לאמנים מרחבי פעולה במסגרת הפרויקט. העתקת ה"סביבות" השונות לחלל המוזיאון, מבעד לפריזמה של האמנות העכשווית, העלתה מגוון של סוגיות תרבותיות, היסטוריות ופוליטיות. התערוכה חוקרת מושגים, כגון שגרה, עמל כפיים, תעשייה, פרנסה וטפילות. בעידן שבו מוסד ה"עסק המשפחתי" הוא על סף היכחדות, "סביבות עבודה" היא בבחינת מחווה לעולם הולך ונעלם.</p> Tue, 07 Jul 2015 15:08:10 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Otte Wallish - Tel-Aviv Museum of Art - May 29th - September 19th <p style="text-align: justify;">First solo exhibition in a museum for graphic artist, designer and illustrator<br /> Otte Wallish (1906&ndash;1977), who immigrated to Israel in 1934. Alongside designing posters on topics such as pioneering, illegal immigration, Holocaust and renewal, Wallish designed commercial posters and exhibitions. His works served ideological Zionism and its formation, culminating in the design of the ceremony and scroll of the Declaration of Independence. On show are posters gifted by the artist&rsquo;s son Eri Wallish and items from the son&rsquo;s collection.</p> <hr /> <p style="text-align: right;">תערוכת יחיד ראשונה במוזיאון לאוטה וליש (1977-1906) הגרפיקאי, המאייר ומעצב הכרזות שעלה לארץ ב&ndash;1934. לצד עיצוב כרזות במגוון נושאים &mdash; ביניהם חלוציות, העפלה, שואה ותקומה, בניית הארץ וכרזות בהזמנת חברות מסחריות שונות &mdash; הוא עסק בעיצוב תערוכות רשמיות וחומרים ששירתו את המנגנון האידיאולוגי הציוני ושימשו להבניית הנרטיב הציוני, פעילות שתגיע לשיאה בעיצובם החזותי של טקס הכרזת המדינה ומגילת העצמאות. בתערוכה מבחר מהכרזות שבאוסף המוזיאון, תרומת בנו ערי וליש, ופריטים מאוסף הבן.</p> Tue, 07 Jul 2015 15:06:49 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Vered Kaminski - Tel-Aviv Museum of Art - June 10th - November 28th <p style="text-align: justify;">How far can nature be imitated?<br /> How can resonance be created with an object? Goldsmith Vered Kaminski (b. 1953) has been working for the past three decades along the seam between local material environments and processes of construction and deconstruction. Kaminski is a graduate of the Department of Jewelry and Fashion at Bezalel Academy of Arts and Design, Jerusalem; her work is held in numerous public collections, including the Stedelijk Museum, Schiedam; Mus&eacute;e des Arts D&eacute;coratifs, Paris; and the Jewish Museum, New York.</p> <hr /> <p style="text-align: right;">עד איזה גבול אפשר לחקות את הטבע?<br /> איך יוצרים תהודה למקום באמצעות אובייקט? הצורפת ורד קמינסקי פועלת בשלושת העשורים האחרונים בטווח שבין הסביבה החומרית המקומית ובין תהליכים של פירוק ובנייה מחדש. <br /> קמינסקי (נ' 1953) היא בוגרת המחלקה לצורפות בבצלאל, האקדמיה לאמנות ועיצוב ירושלים. עבודותיה כלולות באוספים ציבוריים רבים, ביניהם במוזיאון סטדליק, סכידם, הולנד, במוזיאון לאמנויות דקורטיביות, פריז, ובמוזיאון היהודי של ניו יורק.</p> Tue, 07 Jul 2015 15:05:24 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Ann Lislegaard - Tel-Aviv Museum of Art - June 10th - September 19th <p style="text-align: justify;">Ann Lislegaard&rsquo;s (b. 1964, Norway) layered work is a reading of technological existence in a world that blurs the distinction between living creatures and machines. Lislegaard uses science fiction as raw material for constructing spaces which confront concrete architectural spaces and fictitious ones, examining the dialectics between interior and exterior in changing environments. In her work Crystal World (after J.G. Ballard) (2006) she juxtaposes architect Lina Bo Bardi&rsquo;s Glass House (1951) on the outskirts of S&atilde;o Paulo with the crystal jungle in J.G. Ballard&rsquo;s 1966 novel Crystal World.</p> <hr /> <div class="body-info"> <div class="txt" style="width: 71%;"> <p style="text-align: right;">עבודתה המרובדת של אן ליסלגארד&nbsp;(נ' 1964, נורבגיה) היא קריאה של ההוויה הטכנולוגית בעולם המטשטש את ההבחנות בין יצורים חיים למכונות. ספרות מדע בדיוני משמשת לה חומר גלם בהבניית מרחבים לעימות בין חללים אדריכליים קונקרטיים למרחבים בדיוניים ולבחינת הדיאלקטיקה בין פנים לחוץ בסביבות משתנות. בעבודה עולם של בדולח (בעקבות ג'יי&ndash;ג'י באלארד) (2006) היא מעמתת את בית הזכוכית שבנתה לעצמה האדריכלית לינה בו בארדי בפאתי סאו פאולו (1951) עם יער&nbsp;הבדולח&nbsp;מספרו&nbsp;של&nbsp;ג'יי&ndash;ג'י&nbsp;באלארד (The Crystal World (1966 .</p> </div> </div> Tue, 07 Jul 2015 15:04:06 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Leonid Balaklav - Tel-Aviv Museum of Art - June 25th - October 10th <p style="text-align: justify;">Leonid Balaklav (b. in Bieltzi, Moldavia, USSR, 1956 ) explores and paints himself and others time and again, somewhat obsessively. He finds something different in the same &ldquo;model&rdquo;&mdash;the light, the background, or a sitter who has meanwhile aged. The exhibition is comprised of self-portraits, portraits of the artist&rsquo;s family, and portraits of others. The third group offers a social section&mdash;professors, politicians, curators, collectors and neighbors&mdash;met by an immigrant to a new land, and sets a map of &ldquo;characters&rdquo; from all levels of society.</p> <hr /> <p style="text-align: right;">ליאוניד בלקלב (נ' 1956, מולדביה) חוקר ומצייר שוב ושוב את עצמו ומודלים אחרים. יש משהו אובססיבי בחקירות אלו, שכן בכל פעם הוא מוצא משהו שונה באותו "דוגמן" &mdash; האור, הרקע או מודל שפשוט הזדקן בינתיים. בתערוכה שלוש קבוצות: דיוקנאות עצמיים, משפחת האמן ודיוקנאות של אנשים אחרים. הקבוצה השלישית מאפשרת לנו הצצה לחתך חברתי של הדמויות &mdash; כמו פרופסורים, פוליטיקאים, אוצרים, אספנים ושכנים &mdash; שפוגש עולה/מהגר המגיע לארץ חדשה, ופורשׂת לפנינו מפה של "טיפוסים" מכל שכבות האוכלוסייה.</p> Tue, 07 Jul 2015 15:02:35 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Group Show - Tel-Aviv Museum of Art - May 15th - September 5th <p style="text-align: justify;">THIS PLACE is a monumental artistic endeavor initiated by photographer Frederic Brenner, who believes that only through the eyes of great artists can we begin to understand the complexities of Israel&mdash;its history, its geography, its inhabitants, its daily life&mdash;and the resonance it has for people around the world.</p> <p style="text-align: justify;">Inspired by historical models that gathered artists to ask essential questions about culture, society and individuals, including the Mission H&eacute;liographique in 19th-century France and the Farm Security Administration in the United States, Brenner first conceived the idea for the project in 2006. After seeking the advice of a group of international curators, he invited eleven acclaimed photographers to join him in exploring Israel and the West Bank as both place and metaphor.</p> <p style="text-align: justify;">The 12 photographers participating in This Place are <strong>Wendy Ewald, Martin Kollar, Josef Koudelka, Jungjin Lee, Gilles Peress, Fazal Sheikh, Stephen Shore, Rosalind Solomon, Thomas Struth, Jeff Wall, Nick Waplington, and Frederic Brenner</strong> himself. Together, this group represents one of the most original and distinguished collections of artists to ever collaborate on a project, and it is certainly the most acclaimed group of photographers to ever turn their attention to Israel and the West Bank.</p> <p style="text-align: justify;">Each photographer spent approximately six months in residence, pursuing his or her own artistic interests. Through these residencies, which stretched over four years (2009 to 2013), thousands of original art works were created. These images combine to create not a single, monolithic vision, but rather a diverse and fragmented portrait, alive with all the rifts and paradoxes of this important and highly contested place.</p> <p style="text-align: justify;">Now a major traveling exhibition, the show is curated by Charlotte Cotton, an internationally recognized curator and former head of the photography department at the Los Angeles County Museum of Art (LACMA). The first show opened in Prague at the DOX Centre for Contemporary Art in October, 2014. This Place next travels to the Tel Aviv Museum of Art. In the fall of 2015, the exhibition will come to the United States, where it will be on view at the Norton Museum of Art and close at the Brooklyn Museum of Art in February of 2016. Additional venues could be announced in the coming months.</p> <p style="text-align: justify;">This Place will publish a total of 13 books, including a comprehensive catalog and 12 monographs. Nine of these books have already been released, and the remaining four will be published in 2015. The books include:</p> <p style="text-align: justify;">- Frederic Brenner, An Archaeology of Fear and Desire (MACK)<br /> - Wendy Ewald, This is Where I Live (MACK)<br /> - Martin Kollar, Field Trip (MACK)<br /> - Josef Koudelka, Wall (Aperture)<br /> - Jungjin Lee, Unnamed Road (MACK)<br /> - Fazal Sheikh, The Erasure Trilogy (Steidl)<br /> - Stephen Shore, From Galilee to the Negev (Phaidon)<br /> - Rosalind Solomon, THEM (MACK)<br /> - Thomas Struth, Thomas Struth (MACK)<br /> - Nick Waplington, Settlement (MACK)</p> <p style="text-align: justify;"><br /> This Place includes an ambitious series of public programs, including artist talks, panel discussions, school visits and programs on college campuses. Artwork and the stories behind it will be showcased through digital channels, social media and on the project website at This-Place.org, which provides an evolving body of original content, including video conversations with each of the artists, press coverage and other content. </p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">The project is organized by Chronicle of a People Foundation, Inc., New York. The tour is managed by Curatorial Assistance, Pasadena, California. <br /> Project Initiator: Frederic Brenner </p> <hr /> <p style="text-align: right;">תערוכת "מקום זה" חושפת שנים־עשר מסעות צילום בישראל ובגדה המערבית בתצלומיהם של פרדריק ברנר, ונדי איוולד, מרטין קולר, יוזף קודלקה, ג'ונג'ין לי, ז'יל פרס, פייזל שיח', סטיבן שור, רוזלינד פוקס סולומון, תומס שטרוט, ג'ף וול וניק וופלינגטון. עבודותיהם מביאות את סיפורו ההטרוגני של אזור עימות ומזמינות את הצופים למקם את עצמם באחד מאזורי הסכסוך הטעונים פוליטית והמתוחים ביותר בעולם.<br /> תערוכה &ndash; בנסיבות המיוחדות לישראל ולגדה המערבית, בעיקר בשנים 2012-2009 &ndash; פורשׂת לעיני הצופים טווח מסוים בתוך רצף סיפורו של אזור זה. אותם שנים־עשר מסעות צילום קוראים לצופים להאמין שיש מקום לאמנות ולהתעמקות בה לא רק כדי להמחיש את נסיבות העימות אלא כדי ליצור מרחב פתוח לדיון מביטוי נוכחותם של הצלמים בתצלומיהם.</p> <p style="text-align: right;">&nbsp;</p> <p style="text-align: right;">אוצרת אורחת: שרלוט קוטון<br /> אוצרת אחראית: נילי גורן<br /> מייסד הפרויקט: פרדריק ברנר</p> <p style="text-align: right;">&nbsp;</p> <p style="text-align: right;">הפרויקט בארגון קרן Chronicle of a People Foundation Inc., ניו יורק. ניהול התערוכה הנודדת &ndash; Curatorial Assistance, פסדינה, קליפורניה.</p> <p style="text-align: right;"><br /> בחסות</p> <p>&nbsp;</p> Tue, 07 Jul 2015 15:00:21 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Hanna Pettyjohn - Silverlens Manila - July 16th - August 15th <p style="text-align: justify;">With <strong>By Land or By Air</strong>, Silverlens Galleries presents Thirteen Artists Award winner Hanna Pettyjohn&rsquo;s first show of 2015. The 36 paintings comprise a work about the passage of time as well as all other passages; a migratory mentality known to all who live away from home.</p> <p style="text-align: justify;">As the perpetual traveller is wont to learn, lightness is not only more efficient; it is often essential. At 12&rdquo; x 16&rdquo;, these paintings are distinctly smaller than any Pettyjohn has created since the concise and arid landscapes of 2011&rsquo;s <strong>Few and Far Between</strong>, which conveyed a sense of isolation while driving through the western United States. Some sparseness remains in the white backdrop of these new works, thick and stippled, interrupted by dripping earthen tones that run down and off the edge of the canvas, stretching into the unseen.</p> <p style="text-align: justify;">Thus framed by light and dark, cloud and mud, wet earth against brittle sky, many of the subjects for this series of paintings are the self-same swaths of cloth seen in works from previous shows such as 2013&rsquo;s <strong>Bundle</strong>, <strong>The Glass Between Us</strong>, and <strong>Witherland</strong>. In those shows, Pettyjohn experimented with and expanded her vocabulary of images and textures, exposing them to varying characteristics of light, focus and environment. In the first two shows, <strong>Bundle </strong>and <strong>The Glass Between Us</strong>, the same textile materials were portrayed in both portrait and still life formats allowing the exploration of conditions such as warmth and cold, interior and exterior, fabric and flesh. Concluding with <strong>Witherland</strong>, Pettyjohn discarded these distinctions by combining the contrasting elements through manipulation. Here, the fragments have now been abstracted from any context of setting or collage, achieving an effect somewhere between singular focus and compartmentalization. &nbsp;</p> <p style="text-align: justify;">Like flotsam adrift, each painting refers to an absent whole. Visual components of larger paintings similar to those in the upcoming show <strong>A Web of When and Where</strong> in Taipei have been plucked and arranged into isolated formations. Assembled in four groups of nine, all of the paintings share the title <em>Unearthed</em> appended by a signifier pointing towards a reference. Eighteen of the 36 paintings (<em>Unearthed A 1-9</em> and <em>Unearthed C</em> <em>1-9</em>) reference works of the same name (<em>Unearthed A</em> from Art Basel Hong Kong 2014 and <em>Unearthed C</em> from Art Taipei 2014). The remainder (<em>Unearthed MTJ 1-9</em> and <em>Unearthed MNL 1-9</em>) reference multiple sources including <em>Unbundled A</em> (The Glass Between Us), <em>HP II </em>(Bundle), <em>Witherlands</em> (Christie&rsquo;s), <em>HP MNL</em> (Art Fair Philippines 2014), and <em>Unearthed I</em> (upcoming). In all of them, folds and tufts of stripes and shadows tell a story of relations looking both forward and behind.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Staged in a row, this catalogue of visual echoes portends an assessment of surrogate manifestations, further complemented by an installation of wooden crates and lids positioned below each painting. Dried splatters of clay connect the two pieces tentatively between floor and wall, just as the crates themselves connect this show to 2010&rsquo;s <strong>Year of Glad</strong>.&nbsp; That previous show consisted of four paintings depicting the people and places that made up Pettyjohn&rsquo;s own family history through images taken from aerial maps and old photographs. The four chambers that were constructed &nbsp;to house those paintings were filled alternately with wooden crates or arrows in stacked or scattered arrangements.</p> <p style="text-align: justify;">Presented together, the crates, paintings and streaks of clay in this present show form an apt representation of Hanna Pettyjohn&rsquo;s evolving artistic process.&nbsp; Splitting her time between Manila and Texas, the act of packing and unpacking has become second nature to her. In recent years she has produced her paintings primarily in America and become adept at anticipating the various logistical concerns that accompany shipping her paintings overseas for exhibition. Far more than accurate measurements, bubble wrap or &ldquo;This Side Up&rdquo; stickers, however, those concerns involve the mindful act of letting go. No amount of meticulous taping and reinforcement can quell the anxiety of releasing one's creations into unknown hands and unknowable hazards. &nbsp;</p> <p style="text-align: justify;">Knowing this, <strong>By Land or By Air</strong> becomes as much about the journey of Pettyjohn&rsquo;s art as it is about her own journey. Having attained some independence from the artist through their harrowing travails, why shouldn&rsquo;t the constituents of her images scatter like leaves from a tall pile, unbox themselves, and skim up to their perch on the gallery wall? Continuing the process of deconstruction and reconstruction that has informed so much of her past work, Hanna Pettyjohn has fashioned a diaspora in oil on canvas. Reflections dislocated by their own momentum remain connected, by land or by air.</p> Tue, 07 Jul 2015 14:49:49 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Jenifer K. Wofford - Silverlens Manila - July 16th - August 15th <p style="text-align: justify;">For &lsquo;Collapse,&rsquo; Jenifer K Wofford is presenting a new body of work referencing the aftermath of seismic ruptures. These paintings of empty, ghostly earthquake landscapes and destroyed roads suggest both destruction and renewal. The works, ranging in size from 2x3 to 4x5 feet, are carefully rendered in acrylic on canvas.</p> <p style="text-align: justify;">&nbsp;Wofford began this new series in 2014-2015.</p> <p style="text-align: justify;">&nbsp;Having lived around the Pacific Rim most of her life, Wofford maintains a personal connection to the very real effects of tectonic instability. However, &lsquo;Collapse&rsquo; is not simply about literal earthquakes: each image in this series implies a broader sense of rupture-- political, personal, environmental or technological.</p> <p style="text-align: justify;">&nbsp;Wofford's work takes many forms (often drawing, photography and performance), but has rarely been large- format paintings. &lsquo;Collapse&rsquo; is the first iteration of a new, ongoing series of larger works on canvas.</p> <p style="text-align: justify;">&nbsp;The new series relates to Wofford&rsquo;s perpetual return to liminal themes in her projects&mdash;to moments and sites of change and transition. Two recent projects that clearly connect to &lsquo;Collapse&rsquo; are her 2012 drawings of volcanic eruptions, and her 2014 illustrated web project about the 1989 Northern California earthquake.</p> <p style="text-align: justify;">&nbsp;After visiting Pompeii in 2011, Wofford became keenly interested in artists' renderings of the eruption of Mt Vesuvius in AD 79, and the tension in these historic images. She then produced a small series of ink drawings investigating specific earthquakes around the world and in different eras.</p> <p style="text-align: justify;">&nbsp;In 2014, Wofford&rsquo;s research into the political and global events of 1989 sharpened into a more direct focus on the Loma Prieta earthquake of that same year. As this disaster dramatically reshaped the culture and landscape of the San Francisco Bay Area, Wofford chose to engage with this moment of rupture by creating &lsquo;Earthquake Weather,&rsquo; an illustrated web project. She collected people's personal memories of the day of the quake, and then illustrated them.</p> <p style="text-align: justify;">&nbsp;&lsquo;Collapse&rsquo; began with a single painting of a scene from the 1989 Loma Prieta earthquake in California, but evolved into a series of images of roads earthquakes in Costa Rica, Alaska, Japan, Peru, and the Philippines.&nbsp;</p> <p style="text-align: justify;">&nbsp;The detailed aesthetic of these paintings was loosely inspired by the 18<sup>th</sup> century &lsquo;ruins&rsquo; paintings of Hubert Robert, and more directly influenced by books including &ldquo;The Aesthetics of Ruins&rdquo; (Robert Ginsburg), &ldquo;Collapse&rdquo; (Jared Diamond), &ldquo;A Crack In The Edge of the World (Simon Winchester), &ldquo;The Shallows&rdquo; (Nicholas Carr), &ldquo;The Age of Earthquakes&rdquo; (Douglas Coupland, Hans Ulrich Obrist, Shumon Basar), and art essays by Hans Belting, Peter Weibel, and Piotr Piotrowski.</p> <p style="text-align: justify;">&nbsp;Wofford&rsquo;s process is the culmination of a deliberate &ldquo;slowing down&rdquo; of her usual faster paced projects, having taken some time off from exhibiting to experiment and expand her practice last year. The speed at which the contemporary world is moving, and the fragmented, distracted nature of technology-addicted San Francisco, has led her to a studio practice that moves more quietly, and with less urgency.</p> <p style="text-align: justify;">&nbsp;Wofford expects to expand the &lsquo;Collapse&rsquo; series in the months to come. She is also planning for a large-scale collaborative performance piece, in conjunction with the show &ldquo;Public Works&rdquo; at the Mills College Art Museum in Oakland California, in November.</p> Tue, 07 Jul 2015 14:49:48 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Gina Osterloh - Silverlens Manila - July 16th - August 15th <p style="text-align: justify;"><strong>Nothing to See Here, There Never Was&mdash;an Essay in Four Parts<br /> Jan Christian Bernabe, Ph.D.</strong></p> <p style="text-align: justify;">What you see in contemporary Filipino American photographer Gina Osterloh&rsquo;s current solo exhibition <em>Nothing to See Here, There Never Was</em> at Silverlens Gallery, composed of 14 photographic works and one single-channel video piece, defies, exceeds, and often belies expectations. Bodies (or the lack thereof), techniques of viewing, and photographic modernity preoccupy Osterloh&rsquo;s mind in her latest solo exhibition.</p> <p style="text-align: justify;">I.</p> <p style="text-align: justify;">Throughout her artistic oeuvre, Gina Osterloh&rsquo;s photographs are bound together by a sense of estrangement. Her work compels us to move a little closer to scrutinize their details, to see whether what we are looking at is what we had expected. These details unsettle and disorient us; they direct us to the artist&rsquo;s hand&mdash;whether through the colorful cut paper in her 2008 <em>Cut Room</em> series or the obvious staging of large sheaths of white paper in her 2012 <em>Dots</em> and <em>Web</em> photographs, the latter two are covered with hand-drawn dots and lines. And from her hand, we are moved to think about the artist&rsquo;s body, for her hand functions as a synecdoche, even if we cannot visually see either within the photographic frames.</p> <p style="text-align: justify;">It is this sense of the <em>absent presence</em> that also weaves itself across her photographic archive. In her oft-cited treatise <em>On Photography,</em> Susan Sontag writes: &ldquo;A photograph is both a pseudo-presence and a token of absence.&rdquo;<a href="http://www.silverlensgalleries.com/exhibitions.php?nothing-to-see-here-there-never-was=289#_ftn1">[1]</a> Sontag&rsquo;s words resonate in Osterloh&rsquo;s recent <em>Blue Rectangle (Wide Shot</em>) and <em>Blue Rectangle (Medium Shot</em>), both of which render visible a rectangular object that had once been present. Soft clouds of paint enshroud the invisible remnants of the rectangular objects. The two photographs, when paired together, play tricks on our eyes and cause us to question the very nature of the objects themselves: What are they? Are they moving away or towards us? Are they the same object? Osterloh pictures the improbable paradox&mdash;the absent presence&mdash;but more importantly, she reveals her investment in the photographic medium itself, as a technology that is capable of concretizing <em>and</em> eviscerating narratological and epistemic certitudes.</p> <p style="text-align: justify;">Whether by camouflage or mimesis, two terms often attached to criticism of her work, Osterloh&rsquo;s photographs capture her ongoing engagement, or confrontation with, the ground upon which visuality is contingent. I am reminded here of Alan Sekula and his deployment of the &ldquo;shadow archive&rdquo; to describe nineteenth-century photographic practices. For Sekula, the photographic archive of the nineteenth century &ldquo;encompasses an entire social terrain,&rdquo; which, as he argues, unified &ldquo;a single hermeneutic paradigm.&rdquo;<a href="http://www.silverlensgalleries.com/exhibitions.php?nothing-to-see-here-there-never-was=289#_ftn2">[2]</a>Osterloh&rsquo;s pieces go beyond the evidentiary functions of photography and the sentimentalism often associated with vernacular practices. We might argue that her turn to abstraction immediately distances her photographic work from the medium&rsquo;s social functions&mdash;indeed, from the social terrain writ large. Though to dismiss the social altogether from her work would be to deny Osterloh&rsquo;s hand in her craft, indeed, the whole of her body and experiences.</p> <p style="text-align: justify;">While we might also argue that there is neither one unified or unifying interpretative ground on which we might stand steadily when we look at Osterloh&rsquo;s photographs&mdash;a disconcerting prospect, no doubt&mdash;we might, however, consider that this unsteadiness marks an opportunity for the critic-viewer to advance their own hermeneutic frame. Moreover, we might consider how deeply invested Osterloh is to photography&rsquo;s history. That is, Osterloh&rsquo;s work hinges precisely on a conceptualism that is as much about how we think about the functions of photography&mdash;or photography&rsquo;s ontology&mdash;as it is about the quotidian acts that we participate in such as looking and reading bodies rendered (in)visible by photographic practices.</p> <p style="text-align: justify;">II.</p> <p style="text-align: justify;">Photography, and to some degree performance, allows Osterloh to enact visually a system of <em>calls and responses</em> in the Althusserian sense. Though rather than the audible act of hailing and responding unflinchingly to the hail&mdash;that is, being interpellated into a system for which the subjectivity of the receiver is produced&mdash;Osterloh uses photography to capture the limits, slippages, and perhaps the failures of interpellation and, ironically, the functions of photography as part of the interpellative process itself. If the interpellative system produces subjectivity of the body who is hailed, the body&rsquo;s response to the hail ultimately limns a form of identificatory practice that at once may be normative, while the potential of a misfired call and response may likewise also exist. We might consider, for example, Osterloh&rsquo;s 2008 <em>Dots Front Misfire - Shooting Blanks</em> and the ways in which the interpellative demands of the call (the hail) is mis-recognized (the response) such that the subjectivity of the configured body staged at its center becomes a <em>proxy</em>body&mdash;a body that is a stand-in, an outlier of sorts. The proxy body fails to assimilate into the larger symbolic order of the room, which itself indexes the social.</p> <p style="text-align: justify;">We might take pause here to think about Osterloh&rsquo;s 2007 series <em>Press and Erase</em>, in particular <em>#2</em>; the body hailed is not configured out of paper but rather performed by the artist. The enclosure is constructed out of large reams of red paper with a black circular cut out (the orifice) set off center. With only the hands of a body dressed in black visible, the body is positioned in such a way as to convey the body&rsquo;s attempt to enter the orifice. But the body&rsquo;s flattened hands evidence the impossibility of doing so. <em>Press and Release #2</em> captures precisely the weighty demands of identification, and more specifically the challenges and dangers of attempts to transgress the constitution of the subject by eluding the hail (escaping through the black orifice). The red enclosure thus defines the symbolic system of the social for which bodies are constituted materially and epistemically as known or knowable subjects. When paired next to her 2014 <em>Orifice and Color Field Red</em>, the body that was once present within the red enclosure has disappeared into the black void. The body has seemingly transgressed the symbolic order, yet at what cost? The black orifice has reduced the body into a singular point in the photographic frame and displaced it to an unknowable space. Transgression enacts a type of material and epistemic violence, the pain of which is rendered visible in the photograph by the body&rsquo;s open mouth.</p> <p style="text-align: justify;">III.</p> <p style="text-align: justify;">Osterloh negotiation of a politics of sociality&mdash;or a politics of belonging&mdash;runs across the gamut of her oeuvre. Yet Osterloh&rsquo;s engagement with sociality is one based not on expected or aspirational models of communal or collective successes, but rather her work offers a counterintuitive challenge to notions of identity formations facilitated by the very nature of photography, especially within minoritarian communities that invest in particular types of narratives of belonging. If earlier works pictured the construction (constructed nature) of bodies within the photographic field through performance and paper and cardboard creations, Osterloh makes a distinct move in recent work to reduce processes of identification, and more broadly sociality, to their most minimalist of structures. Think here, for example, of the photographs <em>Dots</em> and <em>Web</em>, which on the surface picture respectively benign-looking dots and webs; to leave interpretation at just what is visible would undermine the investment that Osterloh has with photography&rsquo;s ability to capture those which are not manifest visually but rather intellectually. This conceptual fundament, of which the absent presence is part of a larger aesthetic ethos, creates opportunities to think about <em>Dots</em> and <em>Web</em> as meta-commentaries on those that comprise the social (dots) and the social&rsquo;s investment in cohesion (webs). It is only later that we see in <em>Drawing for the Camera</em> (2014) the limits of the social&rsquo;s imperative for cohesion through its entropic configuration of lines.</p> <p style="text-align: justify;"><em>Dots</em> and <em>Web</em> guide us to Osterloh&rsquo;s most recent work in <em>Nothing To See Here, There Never Was (Grids #1-#6)</em>, <em>Drawing for the Camera,</em> and <em>Intimacy Is Never Perfect,</em> which, prior to the exhibition at Silverlens, were shown at the Fran&ccedil;ois Ghebaly Gallery in Los Angeles in 2014. Looking at Osterloh&rsquo;s turn to gridded systems, I am reminded of Martin Jay&rsquo;s essay &ldquo;Scopic Regimes of Modernity,&rdquo; in which he argues against Cartesian perspectivalism, describing it as the &ldquo;the dominant, even totally hegemonic, visual model of the modern era,&rdquo; which &ldquo;best expressed the &lsquo;natural&rsquo; experience of sight valorized by the scientific world view.&rdquo;<a href="http://www.silverlensgalleries.com/exhibitions.php?nothing-to-see-here-there-never-was=289#_ftn3">[3]</a> In <em>Nothing To See Here, There Never Was (Grids #1-#6)</em>, Osterloh unwittingly (or not) offers up a challenge to the singular scopic regime to which photography&rsquo;s ontology is firmly associated. The gridded patterns in Osterloh&rsquo;s series do not correspond to the Western Cartesian model of perspective, which has been associated by scholars and critics to the masculine and heterosexist gaze&mdash;a frame that marks photography&rsquo;s ontological foundations as rational, gendered, <em>and </em>sexualized. These attributions of photography can and should be applied to the ways in which the social body is constituted by the medium itself. Osterloh&rsquo;s gridded photographs perform a type of epistemic work that questions the possibilities of multiple visual regimes that photography is capable of paradoxically producing, doing so in an ironic and self-referential manner. Moreover, the social body for Osterloh, absent and yet also eerily present, within the artist&rsquo;s grid systems is always creating new modes of vision and representation and non-normative modes of social communion. There is perhaps <em>Nothing to See Here, There Never Was</em>, as is written in the piece for which the current show is titled. We might think of the title as an apt rejection of the dominant visual systems that have dislocated the subject precisely because of the very constraints placed upon the medium of photography.</p> <p style="text-align: justify;">IV.</p> <p style="text-align: justify;">By way of conclusion, I turn to Osterloh&rsquo;s meditative 16mm film projection loop <em>Press and Outline</em>. Described by the artist as &ldquo;both odd as well as intimate,&rdquo; the viewers of Osterloh&rsquo;s film watches the artist, clad in a black leotard, slowly and sometimes awkwardly performing a dance with her shadow in silence. Osterloh&rsquo;s movements are slow and yet deliberate, and her body is never separated from her shadow&mdash;it is perhaps her shadow that takes the lead and influences Osterloh&rsquo;s kinesthetics. Like her photographs, <em>Press and Outline</em> separates the viewer from that which is being observed&mdash;Osterloh&rsquo;s performance at center&mdash;producing a distance that is marked by an a type of ethnographic objectivity (think here of the popular ethnographic convention of positioning the camera in front of bodies of the Other and letting the camera roll). The film also envisions a type of queer reduplication of self, endlessly dancing with each other by the very nature of the looped film.</p> <p style="text-align: justify;">There is certainly something <em>queer</em> about the black-and-white film and Osterloh&rsquo;s performance therein captured. Indeed, the anachronistic feel of the 16mm film hearkens to a time and space where film was used tout court to supplement scientific studies of the Other. Let me pause here and qualify my use of the term queer. On one hand, my deployment of queer is to suggest one possible epistemic lens through which to view Osterloh&rsquo;s film and does not necessarily act as identifying marker of Osterloh&rsquo;s lived real-time experience. That being said, my use of queer is also not meant to evacuate the term of the non-normative sexual body by merely using it as an analytic frame; on the contrary, it is precisely the engagement with (hetero)normativity that marks the potency of the term. Thinking about the film as queer and using a queer critical framework allow us to question how Osterloh&rsquo;s moving picture is in constant negotiation of larger normative visual regimes that govern modes of identificatory engagement. The dance that Osterloh performs exploits photography&rsquo;s narcissistic ontology, as Carol Mavor writes, &ldquo;for queer (re)production.&rdquo;<a href="http://www.silverlensgalleries.com/exhibitions.php?nothing-to-see-here-there-never-was=289#_ftn4">[4]</a> What is produced then is a queer performance that is at its core about the self, and more specifically the larger forces that constitutes the precarious ground on which the self is endlessly constituted.</p> <p style="text-align: justify;">A dancer&rsquo;s worst nightmare is to fall, afterall.</p> <div><br /><hr size="1" /> <div style="text-align: justify;"> <p><a href="http://www.silverlensgalleries.com/exhibitions.php?nothing-to-see-here-there-never-was=289#_ftnref1">[1]</a> Susan Sontag, <em>On Photography,</em> (New York: Picador, 1973), 16.</p> </div> <div style="text-align: justify;"> <p><a href="http://www.silverlensgalleries.com/exhibitions.php?nothing-to-see-here-there-never-was=289#_ftnref2">[2]</a> Alan Sekula, &ldquo;The Body and the Archive,&rdquo; <em>October</em> 39 (Winter 1986), 10.</p> </div> <div style="text-align: justify;"> <p><a href="http://www.silverlensgalleries.com/exhibitions.php?nothing-to-see-here-there-never-was=289#_ftnref3">[3]</a> Martin Jay, &ldquo;Scopic Regimes of Modernity&rdquo; in <em>Vision and Visuality</em> (Seattle, WA: Bay Press, 1988), 4&ndash;5.</p> </div> <div> <p style="text-align: justify;"><a href="http://www.silverlensgalleries.com/exhibitions.php?nothing-to-see-here-there-never-was=289#_ftnref4">[4]</a> Carol Mavor, <em>Becoming: The Photographs of Clementina, Viscountess Hawarden</em>, (Durham, NC: Duke University Press, 1999), 107. </p> </div> </div> Tue, 07 Jul 2015 13:20:41 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Orsolya Baász, Imre Berze, Barna Éltes, Enikő Lini, Mira Marincas, László Máthé - Műcsarnok - June 17th - September 13th <p style="text-align: justify;">Exhibition of young artists from the &rsquo;Barab&aacute;s Mikl&oacute;s Guild&rsquo; as part of the Cluj / Kolozsv&aacute;r / Klausenburg European Youth Capital 2015 event series.</p> <p style="text-align: justify;">Cluj-Napoca (Kolozsv&aacute;r, Klausenburg) is the European Youth Capital in 2015. The program&rsquo;s mission is to support youngsters and youth organizations in their active participation in changing the society through a sustainable, responsible and inclusive urban development process, through linking Transylvania and Romania with the major urban centers in Europe. The aim of the Budapest Center is to present Cluj and the European Youth Capital 2015 project to the Budapest public. The communications partner of the Center is the Mathias Corvinus Collegium. <br /><br /> The Barab&aacute;s Mikl&oacute;s Guild was founded by K&aacute;roly K&oacute;s and S&aacute;ndor Szolnay in 1929 as the advocacy group of the Transylvanian Hungarian artists. The inception of the Guild was modelled on and supported by &rsquo;the Helicon community&rsquo; of writers, and it received financial support from Count Mikl&oacute;s B&aacute;nffy. The Guild made its debut appearance in Cluj (Kolozsv&aacute;r) at the Teleki Palace following its foundation in 1930. Its artists: K&aacute;roly K&oacute;s, S&aacute;ndor Szolnay, Imre Nagy, D&aacute;vid J&aacute;ndi, Ign&aacute;c Udvardy, N&aacute;ndor Gallasz, Gyula Podlipny &eacute;s Albert Varga, and later the younger artists: L&aacute;szl&oacute; Andr&aacute;s, Zolt&aacute;n Andr&aacute;sy, P&eacute;ter Bal&aacute;zs, Irma Br&oacute;sz, Istv&aacute;n Debitzky, Erzs&eacute;bet Erdei, J&uacute;lia Ferenczy, Istv&aacute;n Incze, Andr&aacute;s K&oacute;s, Ferenc K&oacute;sa-Huba, Piroska Makkai, Istv&aacute;n Olajos, G&aacute;bor Piskolty, Edit Rod&eacute;, J&uacute;lia Tollas represented many different regions in Transylvania. The relaunch of the Guild after decades of forced silence was initiated by the painter B&eacute;la Abodi Nagy and the sculptor Andr&aacute;s K&oacute;s &ndash; both emeritus professors and former chairs of the Ion Andronescu Art School in Cluj &ndash; and it was put into practice by 47 artists and art theorists in 1994. The new Guild answers to the demands of a new age and respects its own traditions. The Guild found a home after years of homelessness on 18 November 2005. This significant event meant the beginning of a busy Guild life: monthy exhibitions, lectures and talks were organized and encouraged by the Munk&aacute;csy-award winner painter Mikl&oacute;s Jakobovits who led the Guild from Nagyv&aacute;rad (Oradea) from its relaunch until he was alive.</p> <hr /> <p style="text-align: justify;">Kolozsv&aacute;r viseli 2015-ben az Eur&oacute;pa Ifj&uacute;s&aacute;gi Főv&aacute;rosa c&iacute;met. Az egy&eacute;ves program c&eacute;lja, hogy megerős&iacute;tse &eacute;s t&aacute;mogassa az ifj&uacute;s&aacute;gi szervezetek akt&iacute;v t&aacute;rsadalmi r&eacute;szv&eacute;tel&eacute;t egy fenntarthat&oacute;, felelős, befogad&oacute; v&aacute;rosfejleszt&eacute;s megval&oacute;s&iacute;t&aacute;s&aacute;ban, &ouml;sszek&ouml;tve Erd&eacute;lyt, Rom&aacute;ni&aacute;t Eur&oacute;pa nagyv&aacute;rosaival. Ezt a c&eacute;lt szolg&aacute;lja a Budapest K&ouml;zpont is, mely Kolozsv&aacute;rt &eacute;s az Ifj&uacute;s&aacute;gi Főv&aacute;ros projektet h&iacute;vatott bemutatni a budapestieknek. A K&ouml;zpont kommunik&aacute;ci&oacute;s partnere Mathias Corvinus Coll&eacute;gium. <br /> <br /> Az erd&eacute;lyi magyar k&eacute;pzőműv&eacute;szek &eacute;rdekv&eacute;delmi szervezete, a Barab&aacute;s Mikl&oacute;s C&eacute;h az &iacute;r&oacute;k helikoni k&ouml;z&ouml;ss&eacute;g&eacute;nek mint&aacute;j&aacute;ra, annak &eacute;gisze alatt alakult meg 1929-ben K&oacute;s K&aacute;roly &eacute;s Szolnay S&aacute;ndor vezet&eacute;s&eacute;vel, gr&oacute;f B&aacute;nffy Mikl&oacute;s t&aacute;mogat&aacute;s&aacute;val. A megalakul&aacute;st k&ouml;vető &eacute;vben, 1930-ban a C&eacute;h Kolozsv&aacute;ron, a Farkas utcai Teleki-palota termeiben mutatkozott be a k&uuml;l&ouml;nb&ouml;ző erd&eacute;lyi r&eacute;gi&oacute;k k&eacute;pviselet&eacute;ben jelentkező műv&eacute;szek &ndash; K&oacute;s K&aacute;roly, Szolnay S&aacute;ndor, Nagy Imre, J&aacute;ndi D&aacute;vid, Udvardy Ign&aacute;c, Gallasz N&aacute;ndor, Podlipny Gyula &eacute;s Varga Albert alkot&aacute;saival, majd k&eacute;sőbb a fiatalok, Andr&aacute;s L&aacute;szl&oacute;, Andr&aacute;sy Zolt&aacute;n, Bal&aacute;zs P&eacute;ter, Br&oacute;sz Irma, Debitzky Istv&aacute;n, Erdei Erzs&eacute;bet, Ferenczy J&uacute;lia, Incze Istv&aacute;n, K&oacute;s Andr&aacute;s, K&oacute;sa-Huba Ferenc, Makkai Piroska, Olajos Istv&aacute;n, Piskolty G&aacute;bor, Rod&eacute; Edit, Tollas J&uacute;lia &ndash; műveivel. A C&eacute;h t&ouml;bb &eacute;vtizedes k&eacute;nyszersz&uuml;net ut&aacute;n &ndash; egykori tagjainak, Abodi Nagy B&eacute;la festőműv&eacute;sznek &eacute;s K&oacute;s Andr&aacute;s szobr&aacute;szműv&eacute;sznek, a kolozsv&aacute;ri Ion Andreescu K&eacute;pzőműv&eacute;szei Főiskola nyugalmazott tansz&eacute;kvezető tan&aacute;rainak kezdem&eacute;nyez&eacute;s&eacute;re &ndash; 1994 janu&aacute;rj&aacute;ban, 47 műv&eacute;sz &eacute;s elm&eacute;leti szakember r&eacute;szv&eacute;tel&eacute;vel alakult &uacute;jj&aacute;, az &uacute;j korszak &uacute;j k&ouml;vetelm&eacute;nyeinek figyelembe v&eacute;tel&eacute;vel, de a trad&iacute;ci&oacute;khoz hűen. A 2005. november 18-i sz&eacute;kh&aacute;zavat&aacute;s jelentős d&aacute;tum a C&eacute;h &eacute;let&eacute;ben: megszűnt a hontalans&aacute;g &aacute;llapota, s megindulhatott az a pezsgő szervezeti &eacute;let, a havi rendszeress&eacute;ggel megrendezett t&aacute;rlatok, szakmai besz&eacute;lget&eacute;sek sorozata, amelyet a szervezetet Nagyv&aacute;radr&oacute;l vezető Jakobovits Mikl&oacute;s Munk&aacute;csy-d&iacute;jas festőműv&eacute;sz m&aacute;r a kezdet-kezdet&eacute;től, &eacute;lete v&eacute;g&eacute;ig szorgalmazott.</p> Tue, 07 Jul 2015 11:51:38 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Alwin Lay - Natalia Hug Gallery - September 3rd - October 17th Tue, 07 Jul 2015 11:43:50 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list