ArtSlant - Recently added en-us 40 Brian Willmont, Keegan McHargue, Jeanette Mundt, Ryan Schneider, James Ulmer - GSB/Gallery Steinsland Berliner - May 22nd - June 20th Wed, 03 Jun 2015 16:57:11 +0000 Group Show - GSB/Gallery Steinsland Berliner - April 17th - May 16th Wed, 03 Jun 2015 13:52:16 +0000 Malin Gabriella Nordin - GSB/Gallery Steinsland Berliner - March 19th - April 11th Wed, 03 Jun 2015 13:21:46 +0000 Linnéa Sjöberg, Julia Peirone, Klas Eriksson - GSB/Gallery Steinsland Berliner - February 13th - March 7th Wed, 03 Jun 2015 13:14:30 +0000 - Galerie Wilma Tolksdorf Frankfurt - June 6th - August 28th <p><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Galerie Wilma Tolksdorf shows works by the artist J&ouml;rg Sasse from the new series &sbquo;Cotton Paintings&rsquo;.</span></p> <p><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Whereas works from the series &lsquo;Tableaus&rsquo; and &lsquo;Skizzen&rsquo; (sketches) had already existing photographs as initial point, the recent works are based on scanned fabrics. In the subsequent digital editing compositions of forms and structures evolve reminding us of painting rather than photography.</span></p> <p><span style="font-family: arial,helvetica,sans-serif; font-size: small;">The reference to painting is already implied in the title of the new works - deliberately they are named &lsquo;Paintings&rsquo;. J&ouml;rg Sasse had therefore collected fabrics from diverse archives. Each design is edited on computer and compounded to new configurations. His approach in its method is similar to the collage. The overlaps in the final works stay often perceptible.</span></p> <p><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Being a device working with light, the scanner is attributed to the primer input tools of the photography. In the process of editing J&ouml;rg Sasse uses techniques of collage and painting. In the end the structures of the diverse creations of the particular fabrics become not only visible, but they also determine the great tactile attraction of the new works. The images are printed with pigmented ink on paper made of 100% cotton. The surface is matt and open.</span></p> <p><span style="font-family: arial,helvetica,sans-serif; font-size: small;">Questions concerning the conditions and origins of an photographic image already raised by J&ouml;rg Sasse in his series &lsquo;Tableaus&rsquo; and &lsquo;Skizzen&rsquo; are pursued consequently in his recent works: Which criteria define a photography and which categories specify a painting? Which are the essential components to define photography in comparison to other media? And how relevant or negotiable is this borderline between the media in the context of contemporary art production?</span></p> <p><span style="font-family: arial,helvetica,sans-serif; font-size: small;">&nbsp;</span></p> <p><span style="font-family: arial,helvetica,sans-serif; font-size: small;">J&ouml;rg Sasse (*1962) is one of the most renowned artists working in the medium photography. His works are part of outstanding institutional and corporate art collections worldwide such as Guggenheim Museum, New York, Banco Espirito Santo Photography Collection, Lissabon, MUMOK, Vienna, Kunsthalle Z&uuml;rich, Fotomuseum Winterthur and St&auml;del Museum, Frankfurt. Jorg Sasse has internationally shown his works in numerous solo and group exhibitions.</span></p> <p><span style="font-family: arial,helvetica,sans-serif; font-size: small;">From July 10<sup>th</sup> on the recent series will be also on view at the exhibition &lsquo;Serendipity - Vom Gl&uuml;ck des Findens&rsquo;at theKunsthalle Bielefeld and will be published in the accompanying catalogue<em>.</em></span></p> Tue, 02 Jun 2015 10:01:54 +0000 Nikolai Cherkasov - Yekaterinburg Gallery of Modern Art - May 28th - June 28th Mon, 01 Jun 2015 16:25:46 +0000 Radamés “Juni” Figueroa - Walter Otero Contemporary Art - May 28th - August 14th Mon, 01 Jun 2015 16:22:25 +0000 2501 - Wunderkammern - June 9th - July 25th <p style="text-align: justify;"><strong>Wunderkammern is proud to present <em>NOMADIC EXPERIMENT &ndash; on the brink of disaster</em>, a solo show by Milan-based artist 2501. </strong> <br /><br /> <strong>Jacopo Ceccarelli, also known as 2501 (Milan, 1981) is among the most important Italian artists in the international Urban Art scene</strong>. The artist has participated in numerous exhibitions and festivals all over the world, showing in prestigious institutions like the <strong>Center for Contemporary Art Luigi Pecci in Prato, the Milan Triennale, and the MACRO in Rome</strong>. In 2013 he participated in <em>Back 2 Back to Biennale</em>, an official satellite event of the<strong> 55th Venice Biennale</strong>, and in 2009 he won the Street Art Award at the <em>Metropolis Art Prize 2009</em> with the video <em>Mask</em>, projected in Times Square, NYC. This year, 2501 will show at the <strong>Internazionali BNL d&rsquo;Italia at the Foro Italico</strong>, Rome, in a project created in collaboration with Wunderkammern.<br /><br /> 2501 began painting at the age of 14 in his hometown of Milan. After living in Sao Paolo, Brazil, where he came in contact with the school of South American graffiti, the artist began experimenting with a range of techniques and materials, combining painting on canvas, mural painting, sculpture, installation, photography, video, and documentary. The Milanese artist&rsquo;s style is distinct from that of other artists for his <strong>sinuous and overwhelming wavy lines that invade the work surface</strong>, transforming it and giving it a feeling of movement and three-dimensionality. The work becomes hypnotic, capable of activating the imagination and the interpretation of the observer, conjuring images and possible visions. In order to create this effect, 2501 focuses on the simple <strong>chromatic pairing of black and white, at times embellished by the color gold</strong>.<br /><br /> The solo show at Wunderkammern is the final part in a trilogy of exhibitions developed for the project <strong><em>NOMADIC EXPERIMENT</em></strong>, after those in Miami and Los Angeles. The reflection of the artist for this project begins with the condition that characterizes our contemporaneity, always &ldquo;<strong>on the brink of disaster</strong>&rdquo; as it is articulated by fast, frenetic, fleeting times, which induce a constant mutation of our way of life. The artist indulges this condition by moving, exploring, experimenting new forms, materials, and ideas. The practice of nomadism implies a continuous wandering, briefly adapting to the places traveled before departing once again towards unknown lands. There are no spatial or temporal limitations, nor roadblocks or constraints: 2051&rsquo;s production of images follows the geographical, but also mental and emotional, meandering of the artist.<br /><br /> The show <em>NOMADIC EXPERIMENT</em> &ndash; on the brink of disaster is arranged as an aesthetic exploration which can be experienced on many levels, in relation to the architectural space of the gallery and to the diversified production of the artist. On the ground floor 2501 presents brand new works created using various techniques and materials: <strong>paintings on wood, canvas and paper, ceramic installations, and photographs</strong>. In addition,<strong> the &ldquo;shreds&rdquo; will be on display &ndash; fragments of material, painting and plaster</strong>, taken from interior and exterior walls on which the artist worked. On the lower level 2501 exhibits <strong>two videos and &ldquo;The Machine&rdquo;</strong>, a mechanized installation with which the observers can interact, thus becoming participants in the artistic narration.<br /><br /> For <em>NOMADIC EXPERIMENT &ndash; on the brink of disaster</em>, 2501 will create a <strong>large exterior mural in the public space</strong>. Furthermore, in February the Milanese artist finished the public installation <em>Axonometry of the circle</em> (Istituto Manzi &ndash; Via de Magistris 15) for the Wunderkammern project <em>Light Up Torpigna!</em>. The critical essay for the solo show at the gallery is curated by Nina Bassoli and G. Matta.<br /><br /> <em>NOMADIC EXPERIMENT &ndash; on the brink of disaster</em> is the concluding exhibition of Wunderkammern&rsquo;s artistic project <strong><em>Limitless</em></strong>, after the solo shows by the artists Sam3 (Spain), L&rsquo;Atlas (France), Sten Lex (Italy) and Alexey Luka (Russia). <em>Limitless</em> explores the concept of limitation in its possible shapes and manifestations, designating Art as the preferred means of overcoming barriers that we are subjected to on a daily basis, and for reflecting on limitless reality.</p> <hr /> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Wunderkammern &egrave; lieta di presentare <em>NOMADIC EXPERIMENT &ndash; on the brink of disaster</em>, la mostra personale dell&rsquo;artista milanese 2501. </strong> <br /><br /> <strong>Jacopo Ceccarelli aka 2501 (Milano, 1981) &egrave; tra i pi&ugrave; importanti artisti italiani nella scena attuale dell&rsquo;Urban Art</strong>. L&rsquo;artista ha partecipato a numerose mostre e festival in tutto il mondo, esponendo in prestigiose istituzioni quali il <strong>Centro per l&rsquo;Arte Contemporanea Luigi Pecci di Prato, la Triennale di Milano e il MACRO di Roma</strong>. Nel 2013 ha partecipato a <em>Back 2 Back to Biennale</em>, evento collaterale ufficiale della <strong>55&deg; Biennale di Venezia</strong>, e nel 2009 ha vinto il premio Street Art Award al <em>Metropolis Art Prize 2009</em> con il video <em>Mask</em>, proiettato a Times Square (New York). Quest&rsquo;anno 2501 espone agli <strong>Internazionali BNL d&rsquo;Italia al Foro Italico</strong>, Roma, nell&rsquo;ambito di un progetto realizzato in collaborazione con Wunderkammern. <br /><br /> 2501 ha cominciato a dipingere all&rsquo;et&agrave; di 14 anni nella sua citt&agrave;, Milano. In seguito al soggiorno a San Paolo, Brasile, durante il quale viene in contatto con la scuola di graffitismo sudamericana, l&rsquo;artista comincia a sperimentare con diverse tecniche e materiali, combinando pittura su tela, pittura murale, scultura, installazione, fotografia, video e documentario. Lo stile dell&rsquo;artista milanese si distingue da ogni altro per le <strong>sinuose e travolgenti linee ondulate che invadono la superficie di lavoro</strong>, trasformandola e conferendole effetti di movimento e di tridimensionalit&agrave;. L&rsquo;opera diventa ipnotica, capace di attivare l&rsquo;immaginazione e l&rsquo;interpretazione dell&rsquo;osservatore portando alla mente immaginari e visioni possibili. Per ottenere questo effetto, 2501 si basa sul semplice<strong> binomio cromatico del bianco e nero, talvolta arricchito dal colore oro</strong>. <br /><br /> La personale a Wunderkammern &egrave; l&rsquo;ultima della trilogia di mostre pensate per il progetto <strong><em>NOMADIC EXPERIMENT</em></strong>, dopo quelle di Miami e Los Angeles. La riflessione dell&rsquo;artista per questo progetto parte dalla condizione che caratterizza la nostra contemporaneit&agrave;, sempre &ldquo;<strong>on the brink of disaster</strong>&rdquo; (sull&rsquo;orlo del precipizio) poich&eacute; scandita da tempi rapidi, frenetici, sfuggevoli, i quali inducono un mutamento costante del nostro modo di vivere. L&rsquo;artista asseconda questa condizione muovendosi, esplorando, sperimentando nuove forme, materiali ed idee. La pratica del nomadismo implica il continuo spostarsi, appropriandosi brevemente dei luoghi attraversati prima di ripartire verso altri territori ignoti. Non vi sono confini spaziali o temporali, n&eacute; freni o costrizioni: la produzione di immagini di 2501 segue il viaggio libero dell&rsquo;artista, quello geografico ma anche quello mentale ed emozionale. <br /><br /> La mostra <em>NOMADIC EXPERIMENT &ndash; on the brink of disaster</em> si configura come un&rsquo;esplorazione estetica percorribile a pi&ugrave; livelli, in relazione allo spazio architettonico della galleria e alla produzione diversificata dell&rsquo;artista. Al piano terra 2501 presenta opere inedite realizzate utilizzando tecniche e materiali diversi: <strong>dipinti su legno, tela e carta, installazioni in ceramica, fotografie</strong>. Sono inoltre esposti<strong> gli strappi, frammenti di materia, dipinto e intonaco</strong>, asportati da muri interni o esterni sui quali l&rsquo;artista &egrave; intervenuto. Al livello sotterraneo 2501 espone invece <strong>due video e la Macchina</strong>, un&rsquo;installazione meccanica con la quale gli spettatori potranno interagire rendendosi partecipi della narrazione artistica. <br /><br /> Per la mostra <em>NOMADIC EXPERIMENT &ndash; on the brink of disaster</em> 2501 realizzer&agrave; <strong>un grande intervento murale</strong> nello spazio pubblico. L&rsquo;artista milanese ha inoltre terminato lo scorso febbraio a Roma l&rsquo;intervento pubblico <em>Assonometria del cerchio</em> (Istituto Manzi &ndash; Via de Magistris 15) nell&rsquo;ambito del progetto di Wunderkammern <em>Light Up Torpigna!</em>. Il testo critico della mostra personale in galleria &egrave; curato da Nina Bassoli e G. Matta. <br /><br /> <em>NOMADIC EXPERIMENT &ndash; on the brink of disaster</em> &egrave; la mostra conclusiva del progetto artistico di Wunderkammern <strong><em>Limitless</em></strong>, dopo le personali degli artisti Sam3 (Spagna), L&rsquo;Atlas (Francia), Sten Lex (Italia) e Alexey Luka (Russia). <em>Limitless</em> esplora il concetto di limite nelle sue possibili forme e manifestazioni, designando l&rsquo;Arte come il mezzo preferenziale per il superamento delle barriere a cui siamo quotidianamente sottoposti e per una riflessione sulla realt&agrave; illimitata.</p> Mon, 01 Jun 2015 16:18:16 +0000 Barry McGee, Todd James - V1 Gallery - May 30th - June 27th <p style="text-align: justify;">V1 CONTEMPORARY ART CENTRE is pleased to welcome back Barry McGee and Todd James for their second double exhibition in Copenhagen.</p> <p style="text-align: justify;">The exhibition consists of new works in a variety of media &ndash; paintings on canvas and wood, sculpture, drawing and an array of various elements. The exhibition is organized, or disorganized, as a collaborative installation between the two artists. Booth artists work with a distinct, bold and iconic visual language. In FUD the two merge creating rhythm and disruption, visual punk. Todd James and Barry McGee have throughout their careers been interested in the periphery, people and places just outside or inside &ldquo;the normal&rdquo;. They both understand and sometimes champion the outsider and see beauty in anarchy and autonomy. Their artistic output has a rare empathetic quality, delivering critique and resistance in a consumerist culture obsessed with progress, without falling into the pitfall of righteousness.</p> <p style="text-align: justify;">Todd James, born 1969, lives and works on the American east cost in New York City. His work is informed by the images we know from the constant stream of media we are swimming in. He distills these images, giving the viewer a chance for brief contemplation, in a time that rarely offers such. He has developed a distinctive artistic style informed by the world of cartoons and graffiti as well as painters such as Willem de Kooning, Peter Saul, Matisse and Franz Kline. His paintings are colorful, often humorous, aggressive and gentle at the same time. In his new body of work Todd James has created bold tableaus populated by naked women smoking cigarettes, lounging with plants, cats and cobras. A large striking totem like painting is a homage to the late great Rammellzee. James has recently exhibited at The Venice Biennale 2015, Lazarides Gallery, Galleria Javier Lopez and MOCA Los Angeles.</p> <p style="text-align: justify;">Barry McGee, born 1966, lives and works on the American west coast in San Francisco. He works in a wide variety of media; painting on wood, drawing, zines, photography, sculpture and large-scale installation. McGee refuges hierarchies of material or subject matter and all formats are treated equally. McGee's artistic style incorporates a multitude of inspirations &ndash; American folk art, sign making, op art and graffiti. His work is influenced by, and reflects upon contemporary society, especially those that tend to be left behind by it, or choose not to play by its rules. In the recent body of work McGee pushes his imagery into the iconic, figures and shapes are barely indicated, then repeated and mixed with abstract patterns. McGee has recently been the subject of three large survey exhibitions at the Modern Art Museum of Ft. Worth Texas, the Berkeley Art Museum and the Institute of Contemporary Art in Boston.</p> <p style="text-align: justify;">Barry McGee and Todd James practices are influenced by bicoastal metropolitan culture. They share a passion for graffiti and independent movements in general. A passion that originated before the popularity the net brought to the &ldquo;culture&rdquo; and before the aesthetic was accepted (and appropriated) by commercial forces and cultural institutions.</p> <p style="text-align: justify;">Both artists have become recognized as highly influential pioneers, probably against their will and efforts. They have collaborated on numerous occasions over the past 15 years &ndash; The seminal Street Market exhibitions, 2000, (with Steve Powers) at Deitch Projects that would travel to Tokyo and the Venice Biennale in 2001, the Beautiful Losers exhibitions and Art In The Streets, MOCA, Los Angeles. Their last collaborate effort in Copenhagen was Brush Strokes in 2010. A limited edition publication created on the occasion of FUD featuring work by Lydia Fong, Magnus Vind, Alicia McCarthy, Josh Lazcano, E.B ITSO, Dan Murphy and Todd James will be available for free.</p> <p style="text-align: justify;">We look forward to seeing you.</p> Mon, 01 Jun 2015 16:14:58 +0000 Jodi Wheeler - Trias Gallery - June 3rd - June 14th <p style="text-align: justify;">I create acrylic paintings on canvas with photo transfers (my photography). Inspired by the beauty of northern Ontario, urban landscapes and the everyday happenings around us. Trying to capture simple moments that my viewers can relate to. The text I carve into my paintings I write free hand into the wet paint and is left in a way that is intentionally difficult to read and at times incomplete. I add the writing to add texture and intrigue the viewer with the idea of a memory to be told, and the viewer is left to imagine their own story.</p> Mon, 01 Jun 2015 16:11:25 +0000 Nathan Slate Joseph, Ricardo Mazal, Kenro Izu, Steve McCurry, Robert Polidori - Sundaram Tagore Gallery - Singapore - June 5th - July 19th <p style="text-align: justify;">Sundaram Tagore Singapore is pleased to present <em>Being There</em>, a group show that typifies the gallery&rsquo;s longstanding mission of sparking intercultural dialogue through the fine arts.<br /> <br /> Each of the artists in this exhibition share a global perspective and are inspired by far-flung travels. They take locations as diverse as Cuba, France, the Himalayas, India and the Americas as their inspiration and subject matter. With elements from both East and West, their works emanate a dynamism and duality, from the diversity of content to their unique techniques and mediums.<br /> <br /> <strong>Nathan Slate Joseph</strong> has been an integral part of the New York School of Art for more than forty years. He welds recycled steel plates into intricate, dimensional arrangements, blurring the boundary between painting and sculpture. His raw, tactile works allude to issues of globalization, immigration and climate change. Often bearing exotic place-name titles, these works suggest an airborne view of layered patchworks of human habitation and cultivation. Joseph&rsquo;s work is installed at Jean Georges at the Trump International Hotel, New York; Inagiku at the Waldorf-Astoria, New York; and the Dan Eilat Hotel, Eilat, Israel. Private collectors include artist John Chamberlain, singer-songwriter Joni Mitchell and chef Jean-Georges Vongerichten. He was awarded an Art in Architecture Award from the American Institute of Architects in 2003<br /> <br /> <strong>Ricardo Mazal</strong>, one of Mexico&rsquo;s most prominent contemporary artists, explores themes of transformation and regeneration through a multidisciplinary approach to painting that combines photography and digital technology. In 2004, Mazal embarked on a trilogy examining the sacred burial rituals of three cultures: the Mayan tomb of The Red Queen in Mexico, the Peace Forest cemetery in Germany and the sacred sky burials of Mount Kailash in Tibet. The resulting images are an amalgamation of kinetic geometric forms, amplified by the large scale of the canvases. Mazal&rsquo;s work is included in the collections of the Scottsdale Museum of Contemporary Art, Arizona; Museo de Arte Moderno, Mexico City; Museo de Arte Abstracto Manuel Felguerez, Zacatecas, Mexico; Maeght Foundation, Paris; and Deutsche Bank, New York and Germany.<br /> <br /> <strong>Kenro Izu</strong>, one of the greatest living platinum printers, uses a custom-built, three-hundred-pound Deardorff camera to produce deeply compelling images of revered religious monuments in Syria, Jordan, England, Chile and most recently, Buddhist and Hindu monuments in Cambodia, Burma, Indonesia, Vietnam and India. He captures not only magnificent architectural sites, but worshippers across the globe engaged in religious and spiritual practice. His work is in the collections of the Smithsonian Institution&rsquo;s Arthur M. Sackler Gallery, Washington, D.C.; the Museum of Fine Arts, Boston; the Canadian Centre for Architecture, Montreal; the J. Paul Getty Museum, Los Angeles; the Museum of Fine Arts, Houston; The Metropolitan Museum of Art, New York; the San Francisco Museum of Modern Art; Tokyo Metropolitan Museum of Photography; and Galleria Civica di Modena. He is also the recipient of numerous honors, including the Lucca Photo Award from the Photo Lux Festival, Italy; a National Endowment for Arts Grant and a John Simon Guggenheim Memorial Foundation Fellowship.<br /> <br /> Photographer <strong>Steve McCurry</strong> is best known for his evocative color images, many of which have become modern icons. He captures the essence of human struggle and joy and has covered many areas of international and civil conflict, including Burma, Sri Lanka, Beirut, Cambodia, the Philippines, the Gulf War, the former Yugoslavia, and continuing coverage of Afghanistan and Tibet. McCurry has been a member of Magnum Photos since 1986. He is the recipient of numerous awards, including Magazine Photographer of the Year in 1984 and the Olivier Rebbot Memorial Award in 1986 and 1992. McCurry has published several books, including The Unguarded Moment (2009), Looking East (2006), Steve McCurry (2005), The Path to Buddha: A Tibetan Pilgrimage (2003), South Southeast (2000), Portraits (1999), Monsoon (1988), and The Imperial Way (1985).<br /> <br /> <strong>Robert Polidori&rsquo;s</strong> atmospheric photographs of buildings&mdash;exteriors and interiors&mdash;altered by the passage of time and the people who have lived in them are investigations into the psychological implications of the human habitat. He has shot all over the world: decaying mansions in the formerly splendid metropolis of Havana, the colonial architecture of Goa and urban dwellings in China and Dubai among other countries. The Metropolitan Museum of Art in New York commissioned him to photograph New Orleans in the wake of Hurricane Katrina and exhibited those photographs in 2006. Polidori won the World Press Photo of the Year Award in 1998 and the Alfred Eisenstaedt Award for Magazine Photography in 1999 and 2000. He has published eleven books and his work is in the collections of The Metropolitan Museum of Art and The Museum of Modern Art, New York; the Victoria and Albert Museum, London; and the Biblioth&egrave;que nationale de France, Paris.<br /> <br /> <strong>The Venice Biennale</strong> <br /> <br /> Work by selected gallery artists is currently on view in <em>Frontiers Reimagined</em>, an official Collateral Event of the 56th International Art Exhibition of la Biennale di Venezia, at the Museo di Palazzo Grimani in Venice, Italy. The exhibition, which focuses on globalism, has been organized by Sundaram Tagore and Tagore Foundation International, a nonprofit cultural organization dedicated to dialogue between Asia and the West. <br /> <br /> Mounted with the patronage of the Italian Ministry of Culture, and in partnership with the Venetian state museum authority il Polo museale del Veneto, <em>Frontiers Reimagined</em> includes the work of more than forty painters, sculptors, photographers and installation artists from Asia, Africa and the West. The show is on view through November 22.</p> Mon, 01 Jun 2015 15:58:56 +0000 Hans Rosenström - Sinne - June 6th - August 2nd <p style="text-align: justify;">An exhibition in two parts:<br /> DEN ENA in Elverket, DEN ANDRA in Sinne<br /> 6.6.&ndash;2.8., Tue to Sun 11AM-5PM<br /> <br /> WELCOME to the opening on the 5th of June.<br /> 4:30-6:30PM in ELVERKET and 8-10PM in SINNE.<br /> <br /> PERFORMANCE in Sinne at 8.30PM.<br /> <br /> FREE BUS TRANSPORT:<br /> 3:00PM bus leaves from Kiasma to Elverket<br /> 6:30PM bus leaves from Elverket to Sinne<br /> 10:00PM bus leaves from Sinne to Eken&auml;s<br /> Binding bookings by the 1st of June at the latest.<br /> phn: 019 223 90 10<br /><br /> Please note! Limited Seating!</p> <hr /> <p style="text-align: justify;">N&auml;yttely kahdessa osassa:<br /> DEN ENA Elverketiss&auml;, DEN ANDRA Sinness&auml;<br /> 6.6.&ndash;2.8., ti&ndash;su klo 11&ndash;17<br /> <br /> TERVETULOA avajaisiin perjantaina 5. kes&auml;kuuta <br /> klo. 16.30&ndash;18.30 ELVERKETISS&Auml; ja klo. 20.00&ndash;22.00 SINNESS&Auml;!<br /> <br /> PERFORMANSSI Sinness&auml; kl 20.30<br /> <br /> ILMAINEN LINJA-AUTOKULJETUS:<br /> Klo 15.00 l&auml;ht&ouml; Kiasman edest&auml; Elverketiin<br /> Klo 18.30 l&auml;ht&ouml; Elverketist&auml; Sinneen.<br /> Klo 22.00 l&auml;ht&ouml; Sinnest&auml; Tammisaareen.<br /> Sitoavat ilmoitukset viimeist&auml;&auml;n 1.6.<br /> puh. 019 223 90 10<br /><br /> Huom! Rajoitetusti paikkoja!</p> Mon, 01 Jun 2015 15:55:18 +0000 Group Show - ShanghART Singapore - May 23rd - July 19th <p style="text-align: justify;">ShanghART Gallery is pleased to present &lsquo;Paper&rsquo;, a group exhibition from 23 May to 19 July 2015 by eleven established and upcoming artists &ndash; Ding Yi, Chen Xiaoyun, Geng Jianyi, Li Shan, Liu Weijian, Pu Jie, Shen Fan, Sun Xun, Tang Maohong, Xue Song and Zhang Enli. Using paper as the main medium, the artists represent a variety of styles, from applying pastels and watercolour to collages and installation. An educative talk will be organized in collaboration with a local recognized conservator on The Art of Paper Preservation on 27 June 2015, 3 &ndash; 5pm. <br /><br />Though the paper is undoubtedly the most primitive and traditional medium for artistic creation, it has been gradually less regarded and used as a material by artists. This exhibition hopes to showcase the versatility of paper as a medium.<br /><br />As one of the most influential and first few collage artists in China, Xue Song uses not only printed images and texts but also soot and ashes to create his work. Each fragment expresses the complex aspects of the Chinese history and culture. It was through a fire that burned down his studio in 1990 that led Xue Song to invent the new artistic technique and style. His work ironically presents the fragility of paper and the powerful message it can deliver. <br /><br />Paper, is one of the Chinese notable inventions, various traditional objects were made of it, such as the lantern, fan and umbrella. In Pu Jie&rsquo;s &ldquo;A Pile of Good Luck&rdquo; series, he collected the remains of the firecrackers, meticulously handpicked, glued and shaped them. As firecrackers are often used on auspicious occasions and it symbolises good blessings and prosperity. While Geng Jianyi&rsquo;s &lsquo;Scanning a Fissure&rsquo;, presents his close observation on the resemblance of a patient&rsquo;s faint heartbeat and the fissures of the concrete by scratching the pencil continuously onto the paper over the gravel.<br /><br />Since the late 1980s, Shen Fan has adopted the stone rubbing method to create paper oil paintings. Shen Fan's work can be regarded as incomplete and fragmented records of daily meditation: he repeats the same patterns and forms in order to remove individualism or eliminate any desire for self-expression, aiming for the distillation of pure spirituality. In contrast, Li Shan&rsquo;s &ldquo;Untitled&rdquo; is based on his life experience, his childhood memory and nostalgia, presenting traditional North-eastern Chinese playing cards and rural agriculture life. It investigates cultural heritage with a contemporary composition.<br /><br />There are myriad possibilities paper can be used as a medium in creating art. The carefully curated show is part of ShanghART&rsquo;s dedicated effort to conserve, research, educate and widen awareness of contemporary art, encourages and enriching aesthetic dialogues.</p> Mon, 01 Jun 2015 15:48:25 +0000 Ramonn Vieitez - Portas Vilaseca Galeria - June 18th - July 18th Mon, 01 Jun 2015 15:40:14 +0000 Group Show - Parisian Laundry - June 4th - July 4th <p style="text-align: justify;">Parisian Laundry invites you to our annual summer group exhibition. Featuring works by gallery artists and selected guests, <em>Summertime in Paris: Spectiveretro</em>, playfully suggests a convergence and muddling of the past, present and future. The exhibition proposes a dynamic and exciting dialogue between artworks from distinctive and developed practices. Please join Parisian Laundry in celebrating the work of Dean Baldwin, Paul Hardy, Laurie Kang, Karen Kraven, Rick Leong, Luc Paradis, Matus Racek, Celia Perrin Sidarous, Justin Stephens and Janet Werner.</p> <hr /> <p style="text-align: justify;">Parisian Laundry est heureuse de vous inviter &agrave; son exposition de groupe estivale annuelle. Avec les &oelig;uvres d&rsquo;artistes de la galerie ainsi que d&rsquo;artistes invit&eacute;s,<em> Summertime in Paris: Spectiveretro</em> propose un amusant amalgame du pass&eacute;, du pr&eacute;sent et du futur. Un dialogue aussi excitant que dynamique entre diff&eacute;rentes techniques artistiques vous y attend. Joignez-vous &agrave; Parisian Laundry pour c&eacute;l&eacute;brer les &oelig;uvres de Dean Baldwin, Paul Hardy, Laurie Kang, Karen Kraven, Rick Leong, Luc Paradis, Matus Racek, Celia Perrin Sidarous, Justin Stephens et Janet Werner.</p> Mon, 01 Jun 2015 15:36:23 +0000 David LaChapelle - Palazzo delle Esposizioni - April 30th - September 13th <p style="text-align: justify;">David LaChapelle, the great American artist and photographer, comes back, after more than fifteen year, at Palazzo delle Esposizioni with one of the most important and exhaustive retrospective. </p> <p style="text-align: justify;">There&nbsp;are nearly&nbsp;100 works on view, some presented for first time in a museum including many large-scale works. </p> <p style="text-align: justify;">Rome has been a milestone in the artistic life of David LaChapelle. In 2006, during a journey in Italy, the artist has the chance of a private visit of the Sistine Chapel; his artistic sensibility is so unsettled by the beauty and power of Roman art that those elements give the ultimate drive to the necessity of a change of his artistic production. </p> <p style="text-align: justify;">Until then LaChapelle prefers that his photos would be published on fashion magazines and books, without critical texts. </p> <p style="text-align: justify;">The goal has never been to restrict to the mere picture, but to reach the broader audience as possible &ndash; this is the way to be a pop artist &ndash; and lead the lecture of his work on emotional shock level. </p> <p style="text-align: justify;">LaChapelle pushed his aesthetics to the limit, but in 2006 walked out on the scene.</p> <p style="text-align: justify;">He turned away from worldliness in order to live in a wild island in the middle of the Pacific Ocean &ldquo;I said what I wanted to say&rdquo;. </p> <p style="text-align: justify;">The exhibition is&nbsp;focused on the works realized by the artist starting from 2006, when he produces the monumental series titled &ldquo;The Deluge&rdquo;, which leads to a meaningful turning point in the artistic path of David LaChapelle. </p> <p style="text-align: justify;">Through the realization of &ldquo;The Deluge&rdquo;, modeled after Michelangelo&rsquo;s impressive fresco in the Sistine Chapel, the artist returns to conceiving works with the unique purpose to exhibit in art galleries and in museums.</p> <p style="text-align: justify;">A work that is not commissioned and destined to the pages of a fashion magazine or an advertising campaign.</p> <p style="text-align: justify;">After &ldquo;The Deluge&rdquo;, the American photographer begins to produce artwork with new aesthetical and conceptual concerns. </p> <p style="text-align: justify;">The most evident sign of the change is the vanishing of the human presence in the serial works: the living models, that in all the previous works (the only exception is &ldquo;The Electric Chair&rdquo;, 2001, personal interpretation of Andy Warhol&rsquo;s famous artwork) have had a central part in the composition and in the message embodied by the image, disappear. The &ldquo;Car Crash&rdquo;, &ldquo;Negative Currencies&rdquo;, &ldquo;The Earth Laughs in Flowers&rdquo;, &ldquo;Gas Stations&rdquo;, &ldquo;Land Scapes&rdquo;, up to the most recent &ldquo;Aristocracy&rdquo; series, follow this new aesthetic choice: LaChapelle resoundingly deletes the flesh, what was the previously identifiable element of his art. </p> <p style="text-align: justify;">To allow the public to know the "origins" of LaChapelle work before &ldquo;The Deluge&rdquo;, the exhibition also includes a selection of some of the most renowned and loved photos that made him famous, realized during the decade between 1995 and 2005. A body of work that will gather all the portraits of celebrities, from music to fashion and movies, scenes based on religious themes with surrealistic touches, references to masterpieces of art history and cinema, an artistic production defined by the chromatic saturation and movement, with which the American photographer reached his particular aesthetical style and influenced many artists of the following generations. </p> <p style="text-align: justify;">In the exhibition there&nbsp;is also a projection space dedicated to the backstage videos, which, describing the composite process of photo sets construction, clearly reveal as that the artist&rsquo;s role is extended also to direction and scenic design of his own photos.</p> <p style="text-align: justify;">David LaChapelle is today one of the most famous and appreciated photographer in the world. Born in Fairfield, CT in 1963, he embraced a post-pop style, in some way surrealist, which makes him unique in the world. </p> <p style="text-align: justify;">His artworks are exhibited in the most important public and private international collections and in many museums, among those: Mus&eacute;e D&rsquo;Orsay, Paris; the Brooklyn Museum, New York; the Museum of Contemporary Art, Taipei; the Tel Aviv Museum of Art, Tel Aviv; Los Angeles County Museum of Art (LACMA), Los Angeles; The National Portrait Gallery, London; Fotografiska Museet, Stockholm e The National Portrait Gallery a Washington DC. </p> <p style="text-align: justify;">David LaChapelle lives and works in Los Angeles and Hawaii.</p> <hr /> <p style="text-align: justify;">Al Palazzo delle Esposizioni torna dopo oltre quindici anni il grande artista fotografo americano David LaChapelle con una delle pi&ugrave; importanti e vaste retrospettive a lui dedicate. Sono infatti esposte circa 100 opere di cui alcune totalmente inedite, altre presentate per la prima volta in un museo e&nbsp; molte di grande formato.</p> <p style="text-align: justify;">&nbsp;<br />Roma &egrave; stata una citt&agrave; fondamentale nella carriera artistica di LaChapelle. Nel 2006 infatti, durante un soggiorno nella Capitale, David LaChapelle ha occasione di visitare privatamente la Cappella Sistina; la sua sensibilit&agrave; artistica &egrave; scossa dalla bellezza e dalla potenza dell&rsquo;arte romana che danno il definitivo impulso alla necessit&agrave; di imprimere una svolta alla sua produzione. Fino ad allora LaChapelle ha preferito che le sue foto viaggiassero sulle pagine di riviste di moda e di cataloghi senza testi.</p> <p style="text-align: justify;">L&rsquo;obiettivo non &egrave; mai stato fermarsi alla mera illustrazione, ma raggiungere un pubblico quanto pi&ugrave; vasto possibile &ndash; &egrave; questo il suo modo di essere un artista pop &ndash; e portare la lettura dell&rsquo;opera sul piano dello shock emotivo.</p> <p style="text-align: justify;">&nbsp;<br />LaChapelle ha spinto la sua estetica fino al limite, ma nel 2006 se n&rsquo;&egrave; andato di scena. Ha voltato le spalle alla mondanit&agrave; per ritirarsi a vivere in un&rsquo;isola selvaggia, nel mezzo del Pacifico: &ldquo;Avevo detto quello che volevo dire&rdquo;.</p> <p style="text-align: justify;">&nbsp;<br />La mostra &egrave; concentrata perci&ograve; sui lavori realizzati dall&rsquo;artista a partire dal 2006, anno di produzione della monumentale serie intitolata &ldquo;The Deluge&rdquo;, che segna un punto di svolta profonda nel lavoro di David LaChapelle. Con la realizzazione di &ldquo;The Deluge&rdquo;, ispirato al grande affresco michelangiolesco della Cappella Sistina, LaChapelle torna a concepire un lavoro con l&rsquo;unico scopo di esporlo in una galleria d&rsquo;arte o in un museo, opere non commissionate e non destinate alle pagine di una rivista di moda o a una campagna pubblicitaria.</p> <p style="text-align: justify;">&nbsp;<br />Dopo The Deluge, la produzione del fotografo americano si volge verso altre direzioni estetiche e concettuali. Il segnale pi&ugrave; evidente del cambiamento &egrave; la scomparsa dai lavori seriali della presenza umana: i modelli viventi che in tutti i lavori precedenti (unica eccezione &egrave; The Electric Chair del 2001, personale interpretazione del celebre lavoro di Andy Warhol) hanno avuto una parte centrale nella composizione del set e nel messaggio incarnato dall&rsquo;immagine, spariscono. Le serie <em>Car Crash</em>, <em>Negative Currencies</em>, <em>Hearth Laughs in Flowers</em>, <em>Gas Stations</em>, <em>Land Scape</em>, fino alla pi&ugrave; recente <em>Aristocracy</em>,seguono questa nuova scelta formale: LaChapelle cancella clamorosamente la carne, elemento caratterizzante della sua arte.</p> <p style="text-align: justify;">&nbsp;<br />Per permettere al pubblico di conoscere le &ldquo;origini&rdquo; del lavoro di LaChapelle degli anni precedenti a The Deluge,&nbsp;&egrave; esposta anche una selezione di opere che comprende ritratti di celebrit&agrave; del mondo della musica, della moda e del cinema, scene con tocchi surrealisti basati su temi religiosi, citazioni di grandi opere della storia dell'arte e del cinema; una produzione segnata dalla saturazione cromatica e dal movimento, con cui il fotografo americano ha raggiunto la propria riconoscibile cifra estetica e ha influenzato molti artisti delle generazioni successive.</p> <p style="text-align: justify;">&nbsp;<br />Le opere di David LaChapelle sono presenti in numerose importanti collezioni pubbliche e private internazionali, e esposte in vari musei, tra i quali il Mus&eacute;e D&rsquo;Orsay, Paris; the Brooklyn Museum, New York; the Museum of Contemporary Art, Taipei; the Tel Aviv Museum of Art; the Los Angeles County Museum of Art (LACMA); The National Portrait Gallery, London; and the Fotographfiska Museet, Stockholm, Sweden. The National Portrait Gallery in Washington, DC.</p> <p style="text-align: justify;">&nbsp;<br />L&rsquo;esposizione ospita anche una rassegna di filmati che attraverso i back stage dei suoi set fotografici, ci illustrano il complesso processo di realizzazione e produzione dei suoi lavori.</p> Mon, 01 Jun 2015 15:32:57 +0000