ArtSlant - Recently added http://www.artslant.com/ew/Events/show en-us 40 Nathan Carter, Kim Dickey - MCA DENVER - October 7th 6:00 PM - 10:00 PM <p>Join MCA Denver for a mercurial garden party, celebrating the fall openings of Kim Dickey: Words Are Leaves, Nathan Carter: Ladies and Gentlemen, Meet The Dramastics, and Bodacioussss. The celebration includes roaming performances by Pythian Whispers, rooftop garden DJ set by Alphabets, projection mapping by Orchidz3ro, limited edition Meet the Dramastics koozies and merchandise, beverages, and other general nonsense.<br />&nbsp;<br />6PM VIP and members&rsquo; preview<br />7-10PM Opening celebration<br />&nbsp;<br />Tickets:<br />$10 Members, $15 Nonmembers,&nbsp; $45 VIP<br />VIP ticket includes: express entry, 2 drink tickets, artist walkthrough, VIP no-line bar, snacks, VIP bathroom, Meet The Dramastics koozie. <br /><br />All ages.<br />Purchase tickets: http://bit.ly/mcafall16<br />Facebook event page: https://www.facebook.com/events/663063210535418/<br /><br /></p> Tue, 27 Sep 2016 18:28:47 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Nell, Rebecca Baumann, Ross Manning, Nick Mangan, Pedro Wonaeamirri, Constanze Zikos - MCA - Museum of Contemporary Art, Sydney - December 19th - March 19th, 2017 <div id="moz-reader-content" class="line-height4" style="display: block;"> <div id="readability-page-1" class="page"> <div class="col-md-6"> <h4 style="text-align: justify;">Celebrating 25 Years of Primavera: young Australian Artists</h4> <p style="text-align: justify;"><em>Primavera at 25</em> celebrates the silver jubilee of the MCA&rsquo;s annual Primavera exhibition showcasing the work of young Australian artists.</p> <p style="text-align: justify;">An anniversary presents a moment for reflection, an opportunity in which to consider the past and contemplate the future. Taking this significant milestone as a departure point, <em>Primavera at 25</em> brings together works by Primavera alumni artists that explore concepts of transformation, time and history.</p> <p style="text-align: justify;">A number of works in the exhibition, including artworks by Nell, Rebecca Baumann and Ross Manning, appear to transform in front of our eyes, spinning and turning, shimmering and sparkling, or shape shifting to create new forms.</p> <p style="text-align: justify;">Time is explored in artworks by Tim Silver and Emma White that mark set intervals or deliberately age. While artists including Simon Yates, Sangeeta Sandrasegar and Heather Douglas draw upon personal and social memories in their works.</p> <p style="text-align: justify;">Elsewhere artists such as Nick Mangan, Pedro Wonaeamirri and Constanze Zikos consider our relationship to the past through works that employ motifs from the past, reflect on our cultural histories or reinterpret traditional designs using contemporary materials.</p> <p style="text-align: justify;">After its presentation at the MCA, Primavera at 25 will tour throughout the country. </p> </div> </div> </div> Tue, 27 Sep 2016 15:04:08 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Tatsuo Miyajima - MCA - Museum of Contemporary Art, Sydney - November 23rd - March 5th, 2017 <p style="text-align: justify;"><strong>2016-2017 Sydney International Art Series</strong></p> <p style="text-align: justify;">Tatsuo Miyajima is one of Japan&rsquo;s leading contemporary artists, known for his immersive and technologically-driven sculptures and installations. This Sydney-exclusive exhibition will be his first major survey exhibition in the Southern Hemisphere, encompassing key works from the beginnings of his career to the present.</p> <p style="text-align: justify;">Central to his practice are numerical counters that count from 1 to 9 repeatedly using light-emitting diodes (LEDs), then go dark momentarily. For Miyajima, the cyclical repetition of numbers, along with the shift from light to dark, reflect the importance of time. He draws inspiration from Buddhist philosophy, with its exploration of mortality and human cycles of death and renewal.</p> <p style="text-align: justify;">Beat the lines and book your ticket online or become a <a title="http://www.mca.com.au/join-and-support/membership/" href="http://www.mca.com.au/join-and-support/membership/" target="_blank">member</a> and enjoy unlimited entry to the exhibition.</p> <p style="text-align: justify;">Curated by MCA Chief Curator Rachel Kent.</p> <h4>#Miyajima</h4> <h4 style="text-align: justify;">About the Artist</h4> <p style="text-align: justify;">Tatsuo Miyajima is known for his immersive, technology-driven sculptures and installations. This will be his first major solo exhibition in Australia, encompassing key sculptures and installations from the beginnings of his career to the present, as well as video and performance works which have expanded his object-based practice over time. The exhibition will be curated by MCA Chief Curator Rachel Kent, who worked closely with Miyajima on her international exhibition Marking Time, which inaugurated the newly re-developed MCA&rsquo;s opening season in 2012.</p> <p style="text-align: justify;">Miyajima has held solo exhibitions in Japan, the United States and Europe over the past two decades, including San Francisco Museum of Modern Art (1997), the Hayward Gallery, London (1997), Museo d&rsquo;Arte Contemporanea di Roma (2004), Art Tower Mito, Japan (2008) and Ullens Center for Contemporary Art, Beijing (2011). He represented Japan at the Venice Biennale in 1999 with the vast installation <em>Mega Death</em> &ndash; which will form a highlight of his Sydney survey &ndash; a room-scale installation of brilliant, blinking blue LEDs, each representative of human life or energy. A silent, twinkling memorial to the Holocaust, the lights are programed to switch off at intervals, plunging viewers into complete darkness momentarily, before lighting up and counting once more.</p> <h4 style="text-align: justify;">Sydney International Art Series</h4> <p style="text-align: justify;">The Sydney International Art Series brings the world&rsquo;s most outstanding exhibitions to Australia, exclusively to Sydney, every summer.</p> <p style="text-align: justify;">The 2016&ndash;17 series showcases two inspired exhibitions &ndash; <em>Tatsuo Miyajima: Connect with Everything</em> at the MCA and <a title="http://www.artgallery.nsw.gov.au/exhibitions/nude/" href="http://www.artgallery.nsw.gov.au/exhibitions/nude/" target="_blank"><em>Nude: art from the Tate collection</em></a> at the Art Gallery of New South Wales. Purchase a Sydney International Art Pass today to see both exhibitions and save 20%.</p> Tue, 27 Sep 2016 15:01:20 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list zong ning - Herzliya Museum of Contemporary Art - September 29th - December 24th Tue, 27 Sep 2016 14:55:29 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list - Herzliya Museum of Contemporary Art - September 29th - December 24th <p style="text-align: right;">פרס מפעל חיים: דני קרמן<br /> <br />פרס שרת התרבות והספורט לאמנות פלסטית: אניסה אשקר, צחי בוחבוט, יהושע בורקובסקי, שרון גלזברג, מיכל היימן, מיכאל חלאק, רמי מימון, אהד פישוף, אנג'לה קליין, טל שוחט<br /> <br />פרס האמן הצעיר: ורד אהרונוביץ, מיכל בראור, נועה גור, ציון אברהם חזן, שחר פרדי כסלו, ורד נסים, להלי פרילינג, אלעד רוזן, סמאח שחאדה, ליהי תורג'מן<br /> <br />פרס העיצוב: עירית אבא, איתי אהלי, ניל ננר, עמית צורן, דינה שהם</p> Tue, 27 Sep 2016 14:55:25 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Martha Pfanschmidt - Waterstone Gallery - October 4th - October 30th Fri, 23 Sep 2016 16:30:54 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Luna Paiva - Nogueras Blanchard Barcelona - September 8th - September 23rd <p style="text-align: justify;">&ldquo;A pesar de que el significado de los antiguos t&oacute;tems se haya perdido, su sentido a&uacute;n permanece. Una mano humana altera la naturaleza con un prop&oacute;sito, estas pilas antiguas marcan un sendero u honran a un dios, miden las estrellas o recuerdan una guerra. No podemos saber su motivo con certeza. Si uno se para a la sombra de un hito megal&iacute;tico, sentir&aacute; su poder: una energ&iacute;a antigua y latente, atenuada por nuestra ignorancia pero no por eso menos poderosa. Sabemos que contiene un sentido profundo, aunque nunca sabremos precisamente cu&aacute;l es. En estos hitos de piedra desparramados por el planeta descubrimos trazos de nuestros ancestros, formas simples que todav&iacute;a creamos en la poca naturaleza virgen que nos queda. Es una base de comunicaci&oacute;n y expresi&oacute;n a trav&eacute;s de la materia: los principios de la escultura.</p> <p style="text-align: justify;">Las esculturas de Luna Paiva, aqu&iacute; en exposici&oacute;n, se inclinan sobre su esp&iacute;ritu oculto y poderoso. Al igual que la tradici&oacute;n antigua en que se inspiran, los hitos de Paiva no revelan sus secretos f&aacute;cilmente. Se pueden discernir trazos de historia humana, el juego entre las propiedades sutiles de los metales, y como se aprendi&oacute; a moldearlos. Podemos sentir su presencia elevada y &aacute;spera. Pero su poder yace en sus misterios.</p> <p style="text-align: justify;">Fundidos en bronce, estos t&oacute;tems resplandecientes asumen el aura de su material. Trabajados y moldeados, forjados hasta el fetiche, los fundidores de estatuas e &iacute;dolos prefieren el bronce por sus propiedades particulares. Compuesto de cobre y usualmente esta&ntilde;o, el bronce, d&uacute;ctil y duradero, se expande lo justo al asentarse para llenar los detalles m&aacute;s finos del molde. Se puede verter en poses grandiosas y din&aacute;micas. La terminaci&oacute;n de la p&aacute;tina puede conceder al metal cientos de colores qu&iacute;micos y transformar su dureza fr&iacute;a en una piel suave con moretones frescos y manchas de sangre; y a su vez, darle a la inm&oacute;vil estatua la ilusi&oacute;n de movimiento en curso y una gracia animal. El material perfecto para dar forma y homenaje a los dioses.</p> <p style="text-align: justify;">Los cultos han desaparecido, los &iacute;dolos profanados. De los bronces m&aacute;s antiguos, s&oacute;lo unos pocos de los m&aacute;s bellos han sobrevivido. El cuerpo de un dios derretido en pos de armas y dinero. El camino de todas las religiones. Cu&aacute;ntos crucifijos de bronce se han fundido en el barril de un ca&ntilde;&oacute;n, el bolsillo de un sacerdote. Pero el metal de inagotables usos persiste y se utiliza una y otra vez, adapt&aacute;ndose a cada nueva necesidad. Y, con la misma facilidad, se vuelve a adaptar.</p> Fri, 23 Sep 2016 16:24:02 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Michael Schwarzman - Moscow Museum of Modern Art [25 Petrovka] - October 19th - January 15th, 2017 <p style="text-align: justify;">The Moscow Museum of&nbsp;Modern Art in&nbsp;partnership with the Heritage Foundation of&nbsp;Michael Schwarzman presents an&nbsp;exhibition VERTOGRADS OF&nbsp;MICHAEL SCHWARTZMAN dedicated to&nbsp;the artist&rsquo;s 90th anniversary. The works from the state and private collections are united under the idea of&nbsp;the curator Sergey Khachaturov to&nbsp;show the art of&nbsp;the master through various dialogues with art history, both present and past. <br /> <br /> The term &laquo;hieratism&raquo; introduced by&nbsp;Michael Schwarzman in&nbsp;context of&nbsp;current artistic life in&nbsp;Greek means &laquo;the sacred&raquo;. The philosophy of&nbsp;the &laquo;hieratic art&raquo; appeared in&nbsp;the 1960-s and eventually resulted in&nbsp;the system of&nbsp;sign and architectonic codes. Throughout his creative life the artist has consistently moved away from the imitative realistic method striving to&nbsp;get closer to&nbsp;understanding signs of&nbsp;the spiritual hierarchy. He&nbsp;formed his own definition of&nbsp;the image-sign&nbsp;&mdash; hierature. The fate of&nbsp;a&nbsp;hierat, according to&nbsp;Schwarzman, is&nbsp;a&nbsp;vision and understanding of&nbsp;everything created by&nbsp;the Lord, as&nbsp;well as&nbsp;glorification of&nbsp;the Lord&rsquo;s gifts via creativity. <br /> <br /> The name of&nbsp;the exhibition &laquo;Vertograds of&nbsp;Michael Schwarzman&raquo; figuratively reveals the hieratic art of&nbsp;the artist and accordingly the logic of&nbsp;the exhibition&rsquo;s structure. The &laquo;vertograd&raquo; is&nbsp;a&nbsp;very old form of&nbsp;the word &laquo;orchard&raquo; and in&nbsp;the Christian tradition the &laquo;vertograd&raquo; means the Garden of&nbsp;Eden. The image of&nbsp;the latter known from old icons (The Mother of&nbsp;God &laquo;Hortus Conclusus&raquo; by&nbsp;Nikita Pavlovets) supposedly inspired Schwarzman for the creation of&nbsp;hieratures full of&nbsp;mysteries, experience and knowledge of&nbsp;the Universe. <br /> <br /> The jubilee exhibition in&nbsp;the Moscow Museum of&nbsp;Modern Art has a&nbsp;unique design of&nbsp;the exposition. Eight halls of&nbsp;the main building of&nbsp;the Museum, 25&nbsp;Petrovka street, will become eight branches on&nbsp;the either side of&nbsp;the common axis similar to&nbsp;the trunk of&nbsp;the tree. Each branch is&nbsp;a&nbsp;section devoted to&nbsp;a&nbsp;special theme interconnected with the other ones: &laquo;The Crystal&raquo;, &laquo;The House of&nbsp;a&nbsp;Collector&raquo;, &laquo;The Mirror Perspective of&nbsp;the Sign&raquo;, &laquo;A&nbsp;Forgotten Factory Shed&raquo;, &laquo;The Palm Grove&raquo;, &laquo;The Garden of&nbsp;a&nbsp;Birdwatcher&raquo;, &laquo;Glasshouses of&nbsp;Memory&raquo; and &laquo;The Tree of&nbsp;Life&raquo;. The exposition starts with &laquo;The Crystal&raquo; section. Rotating the crystal we&nbsp;are witnessing a&nbsp;fascinating process of&nbsp;communication of&nbsp;Schwarzman&rsquo;s art with great traditions of&nbsp;the world culture. The esoteric treatise of&nbsp;Robert Fludd provided by&nbsp;the Russian National Library, books on&nbsp;gardening, film by&nbsp;Peter Greenaway and breathtaking stage illusions in&nbsp;old prints will help to&nbsp;understand the philosophy of&nbsp;the artist &laquo;through the light&raquo; and the facets of&nbsp;his sacred themes. For the first time, the art of&nbsp;Michael Schwarzman will be&nbsp;shown in&nbsp;active interaction, in&nbsp;a&nbsp;dialogue with masters of&nbsp;different epochs. On&nbsp;display are also canvases by&nbsp;the artist&rsquo;s &laquo;interlocutors&raquo; of&nbsp;various years from Hubert Robert to&nbsp;Kazimir Malevich, from Yakov Chernikhov to&nbsp;very young artists interested in&nbsp;problems of&nbsp;the nature philosophy. <br /> <br /> The project includes works from the collections of&nbsp;the State Russian Museum, the State Tretyakov Gallery, A.&nbsp;Bakhrushin Theater Museum, the State Hermitage, the Russian National Library, IN&nbsp;ARTIBUS Foundation, Foundation of&nbsp;Yakov Chernikhov, &laquo;EKATERINA&raquo; Culture Foundation, private collections. <br /> <br /> The catalogue will be&nbsp;published under the sponsorship of&nbsp;AVC Charity Foundation.<br /> The State Russian Museum will present a&nbsp;collection of&nbsp;works by&nbsp;Michael Schwarzman at&nbsp;the exhibition to&nbsp;be&nbsp;held in&nbsp;St. Petersburg in&nbsp;2017.</p> <p style="text-align: justify;"><strong>About the curator:</strong></p> <p style="text-align: justify;">Sergey Khachaturov is&nbsp;an&nbsp;art historian, an&nbsp;Associate Professor of&nbsp;the Chair for Russian Art History of&nbsp;the History Department of&nbsp;M.&nbsp;Lomonosov Moscow State University, teacher of&nbsp;A.&nbsp;Rodchenko Moscow School of&nbsp;Photography and Multimedia. He&nbsp;is&nbsp;an&nbsp;author of&nbsp;several books and more than one thousand articles in&nbsp;periodicals and professional editions on&nbsp;the topics of&nbsp;fine arts, architecture, actual art life, music and theater, he&nbsp;is&nbsp;a&nbsp;winner of&nbsp;the Prize of&nbsp;the Russian Ministry of&nbsp;Culture.</p> <hr /> <p>&nbsp;</p> <p style="text-align: justify;"><strong>Куратор: </strong>Сергей Хачатуров<br /> <strong>Архитектура: </strong>Кирилл Асс и&nbsp;Надя Корбут</p> <p style="text-align: justify;">Московский музей современного искусства совместно с Фондом наследия Михаила Шварцмана представляют выставку &laquo;Вертограды Михаила Шварцмана&raquo;, приуроченную к 90-летию со дня рождения художника. Многочисленные работы из&nbsp;разных коллекций (государственных и&nbsp;частных) объединены одной кураторской идеей Сергея Хачатурова: показать искусство мастера в&nbsp;различных диалогах с&nbsp;историей художественного творчества как прошлого, так и&nbsp;настоящего.</p> <p style="text-align: justify;">Термин &laquo;иератизм&raquo;, введенный Михаилом Шварцманом в контекст актуальной художественной жизни, в переводе с греческого означает &mdash; &laquo;священный&raquo;. Философия &laquo;иератического искусства&raquo; начала формироваться еще в&nbsp;60-х годах и&nbsp;в&nbsp;итоге выразилась в&nbsp;системе знаково-архитектонических кодов. Художник Михаил Шварцман на&nbsp;протяжении творческой жизни последовательно удалялся от&nbsp;подражательного реалистического метода в&nbsp;желании приблизиться к&nbsp;пониманию знаков духовной иерархии. Он&nbsp;сформулировал собственное определение образа- знака: иература. Судьба иерата, по&nbsp;Шварцману, есть видение и&nbsp;познание того, что создал Бог, и&nbsp;воспевание его даров с&nbsp;помощью творчества.</p> <p style="text-align: justify;">Название выставки&nbsp;&mdash; &laquo;Вертограды Михаила Шварцмана&raquo;&nbsp;&mdash; образно выражает иератическое искусство художника, и&nbsp;соответственно, логику построения выставки. &laquo;Вертоград&raquo;&nbsp;&mdash; древняя форма слова &laquo;Сад&raquo;, а&nbsp;в&nbsp;христианской традиции &laquo;Вертоград&raquo; обозначает Райский Сад. Образ последнего, известный по&nbsp;старинным иконам (Никита Павловец, &laquo;Богоматерь Вертоград Заключенный&raquo;), будто&nbsp;бы вдохновлял Шварцмана на&nbsp;создание иератур, полных тайн, опыта и&nbsp;знаний Универсума.</p> <p style="text-align: justify;">Юбилейная выставка в&nbsp;ММОМА имеет уникальное экспозиционное решение. Восемь залов главного здания Музея на&nbsp;Петровке 25&nbsp;станут восемью ветвями по&nbsp;сторонам единой оси, которую можно уподобить древесному стволу. Каждая ветвь&nbsp;&mdash; раздел со&nbsp;своей темой, взаимосвязанной с&nbsp;другими: &laquo;Кристалл&raquo;, &laquo;Дом коллекционера&raquo;, &laquo;Зеркальная перспектива знака&raquo;, &laquo;Забытый заводской ангар&raquo;, &laquo;Пальмовый лес&raquo;, &laquo;Сад орнитолога&raquo;, &laquo;Оранжереи памяти&raquo; и&nbsp;&laquo;Древо жизни&raquo;. Раздел &laquo;Кристалл&raquo; откроет экспозицию. Вращая кристалл, мы&nbsp;наблюдаем увлекательный процесс общения искусства Шварцмана с&nbsp;великими традициями мировой культуры. Предоставленный Российской государственной библиотекой эзотерический трактат Роберта Фладда, книги по&nbsp;садоводству, обманки, кинофильм Питера Гринуэя и&nbsp;головокружительные сценические иллюзии в&nbsp;старинных гравюрах помогут познать философию художника &laquo;на&nbsp;просвет&raquo;, в&nbsp;гранях его сокровенных тем. Впервые искусство Михаила Шварцмана будет показано в&nbsp;активном взаимодействии, диалоге с&nbsp;мастерами различных эпох. На&nbsp;выставке будут представлены картины его &laquo;собеседников&raquo; разных эпох, от&nbsp;Гюбера Робера до&nbsp;Казимира Малевича, от&nbsp;Якова Чернихова до&nbsp;совсем молодых художников, увлеченных натурфилософской проблематикой.</p> <p style="text-align: justify;">В&nbsp;проекте участвуют работы из&nbsp;коллекций Государственного Русского музея, Государственной Третьяковской галереи, Театрального музея&nbsp;им. А.&nbsp;А.&nbsp;Бахрушина, Государственного Эрмитажа, Российской государственной библиотеки, Международного Архитектурного Благотворительного Фонда им. Якова Чернихова,&nbsp;Фонда Якова Чернихова, Фонда культуры &laquo;ЕКАТЕРИНА&raquo;, частных собраний. При поддержке Фонда AVC Charity к&nbsp;открытию выставки будет выпущен каталог.</p> <p style="text-align: justify;">Государственный Русский музей представит коллекцию работ Михаила Шварцмана в Санкт- Петербурге на выставке в 2017 году.</p> <p style="text-align: justify;"><strong>О&nbsp;кураторе:</strong></p> <p style="text-align: justify;">Сергей Хачатуров&nbsp;&mdash; историк искусства, доцент кафедры истории отечественного искусства исторического факультета МГУ имени М.&nbsp;В.&nbsp;Ломоносова, преподаватель Московской школы фотографии и&nbsp;мультимедиа&nbsp;им. А.&nbsp;Родченко. Автор нескольких книг и&nbsp;более тысячи статей в&nbsp;периодических и&nbsp;профессиональных изданиях на&nbsp;темы: изобразительное искусство, архитектура, актуальная художественная жизнь, музыка и&nbsp;театр. Лауреат премии министерства культуры&nbsp;РФ.</p> Fri, 23 Sep 2016 16:20:55 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list - Moscow Museum of Modern Art [25 Petrovka] - October 19th - January 15th, 2017 <p style="text-align: justify;"><strong>Кураторы: </strong>Анна Карганова, Валерия Волкова<br /> <strong>Архитектор экспозиции: </strong>Алексей Подкидышев</p> <p style="text-align: justify;">Московский музей современного искусства совместно с&nbsp;Фондом русского абстрактного искусства представляет выставку &laquo;Студия &laquo;Новая реальность&raquo; (1958&ndash;1991). Трансформация сознания&laquo;&mdash;масштабную ретроспективу одноименного творческого объединения, которая призвана рассказать историю зарождения и&nbsp;развития андеграундного в&nbsp;СССР абстрактного искусства, а&nbsp;также познакомить зрителей с&nbsp;уникальной педагогической системой и&nbsp;теориями, на&nbsp;которых основывалась работа Студии.</p> <p style="text-align: justify;">Основанная после Второй мировой войны &laquo;Новая реальность&raquo; замышлялась как альтернатива существующей в&nbsp;то&nbsp;время Академии художеств, участники которой выступали за&nbsp;возрождение традиций активного творческого поиска, свойственного русским художникам-авангардистам начала XX&nbsp;века: В.&nbsp;Кандинскому, К. Малевичу, А.&nbsp;Родченко. Её&nbsp;основательЭлийБелютин&nbsp;&mdash; фигура легендарная и&nbsp;неоднозначная, талантливый художник-новатор и&nbsp;педагог, он&nbsp;создал уникальные формы творчества ипостроил системный теоретический базис, применимый как в&nbsp;области искусства, так и&nbsp;в&nbsp;области методологии. Разработанная им&nbsp;уникальная образовательная программа была направленна на&nbsp;внутреннее раскрепощение человека, на&nbsp;расширение его эмоционального диапазона и&nbsp;поиск новых средствдля чувственной документации действительности. Основываясь на&nbsp;этих идеях, он&nbsp;создавал свою"Теорию всеобщей контактности&laquo;&nbsp;&mdash; оригинальную творческую методику для работы с&nbsp;учениками, направленную не&nbsp;только на&nbsp;объективное отображение окружающего мира, но&nbsp;и&nbsp;на&nbsp;презентацию его личного восприятия. Так одним из&nbsp;самых действенных методов стала коллективная работа, благодаря которой зачастую появлялись уникальные произведения колоссальных масштабов, или практика совместных творческих пароходных поездок, а&nbsp;также работа в&nbsp;одной мастерской, выставки в&nbsp;необычных контекстах&nbsp;&mdash; например в&nbsp;лесу. Всё это, по&nbsp;тому времени, представляется уникальным опытом для искусства, и&nbsp;является интереснейшим материалом для современных исследователей.</p> <p style="text-align: justify;">На&nbsp;протяжении советского периода выставочная и&nbsp;образовательная деятельности &laquo;Новой реальности&raquo; оставались малоизвестными для широкой аудитории. Подвергшись критике первого секретаря ЦК&nbsp;КПСС Никиты Хрущева во&nbsp;время одной из&nbsp;первых крупных выставок Студии в&nbsp;1962&nbsp;в Манеже, студийцы надолго ушли в&nbsp;творческое подполье. И&nbsp;только с&nbsp;1989&nbsp;года, когда действие режима ослабло (хотя сам Белютин никогда не&nbsp;позиционировал свое искусство как антирежимное), студийцы начинают активно участвовать в&nbsp;процессе легализации советского андеграунда.</p> <p style="text-align: justify;">Выставка &laquo;Студия &bdquo;Новая реальность&ldquo; (1958&ndash;1991). Трансформация сознания&raquo; впервые соберет живопись, графику и&nbsp;архивные фотографии из&nbsp;коллекции Фонда русского абстрактного искусства, продемонстрировав системный подход к&nbsp;представлению творчества Студии. Кураторами выставки подготовлен подробный анализ как теоритических основ работы Студии, так и&nbsp;практических, являющихся ярким воплощением методологии Белютина. А&nbsp;уникальная архитектура экспозиции, широкое использование мультимедиа и&nbsp;серия специальных мастер-классов, подготовленных сотрудниками Музея на&nbsp;основе педагогической методики Белютина, позволят зрителю стать не&nbsp;просто очевидцем, но&nbsp;и&nbsp;полноценным участником самых знаковых событий в&nbsp;жизни Студии. Основу экспозиции составили работы двадцати пяти художников-членов студии: ее&nbsp;основателя, его последователей и&nbsp;учеников, состоявших во&nbsp;главе группы (В.&nbsp;Зубарев, Т. Тер-Гевондян, М.&nbsp;Эсмонт, Е. Радкевич, В.&nbsp;Преображенская и&nbsp;многие другие). В&nbsp;их&nbsp;произведениях проявляются смелые эксперименты с&nbsp;цветом, формой и&nbsp;пространством, характерные для авангардистов начала XX&nbsp;века, а&nbsp;также новаторские идеи самого Белютина, реализуемые им&nbsp;при работе со&nbsp;своими последователями.</p> <p style="text-align: justify;">Выставка &laquo;Студия &bdquo;Новая реальность&ldquo; (1958&ndash;1991). Трансформация сознания&raquo; в&nbsp;MMOMA призвана вписать имена Белютина и&nbsp;его учеников в&nbsp;контекст российского и&nbsp;мирового искусства, рассказать историю их&nbsp;работы над созданием новых творческих форм, актуальных, своевременных и&nbsp;живых. Это демонстрация нового искусства своего времени: свободного от&nbsp;условностей, существующего вне политической пропаганды, не&nbsp;только чутко реагирующего на&nbsp;изменения, происходящие в&nbsp;общественном сознании, но&nbsp;и&nbsp;часто становившегося источником этих изменений.</p> <p style="text-align: justify;"><strong>О&nbsp;Фонде:</strong></p> <p style="text-align: justify;">Фонд русского абстрактного искусства&nbsp;&mdash; некоммерческая организация, созданная с&nbsp;целью содействия культурным, просветительским и&nbsp;общественным инициативам. Основной своей задачей фонд ставит формирование правильного научного и&nbsp;исторического понимания русского абстрактного искусства в&nbsp;общемировом контексте.</p> Fri, 23 Sep 2016 16:17:37 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Kristján Gudmundsson - i8 Gallery - September 3rd - October 24th Fri, 23 Sep 2016 16:05:19 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Sarah Crowner - Galerie Nordenhake - September 29th - November 4th <p style="text-align: justify;">This exhibition has emerged out of conversations with Sarah Crowner that started two years ago when I first showed her the Tutsi basketry from Rwanda and Burundi that my father, Clive Loveless, and his colleague, Andres Moraga, have championed for the last 25 years. In these discussions, we realized the complexity of presenting objects made by anonymous artists together with an established contemporary artist; presenting traditional artefacts in combination with work made by a formally trained artist.<br /><br />Crowner&rsquo;s forays into the ambiguous cross-over of form and function, her practice of re-articulation of artist and craft-people&rsquo;s work from other periods and geographic contexts, and not least her interest in hard-edged abstraction, project a strong affinity to these intricately woven, geometrically patterned baskets.<br /><br />In a process of reconstructing and reassembling, Crowner has mined modern art history and other artist&rsquo;s experiments in painting, sculpture, craft, textiles and performance. She has explored modes of display with her ceramic tile platforms, theatre backdrops and scenography, and blurred the lines between applied arts and fine art. Here Crowner presents a new suite of sliced and sewn canvases in different hues of blue and has designed a viewing bench and group of seats distributed within the space.<br /><br />In an adjoining room a constellation of Tutsi baskets are displayed on individual shelves against a painted wall in a presentation conceived by Crowner. The small-scale coiled and woven baskets are adorned with reverberating zigzag and triangular patterns and constitute a variety of sculptural volumes and forms evoking the traditional architecture from the region.<br /><br />In the African Great Lake region, basketry was an elemental and all-purpose technology &ndash; portable, lightweight and adaptable. Among the Tutsi and Hutu peoples of Rwanda and Burundi, it became a prestige art that was emblematic of status and social connection. Made by noble women, these refined objects are concentrated expressions of artistry and skill. Intended for display and presentation, they were used to stow personal finery and valuables, but served primarily as gifts or tribute for high-ranking chiefs and ceremonial exchanges between families.&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Ben Loveless, Galerie Nordenhake</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">On Saturday 1st October, 11.00, Vanessa Drake Moraga will give a talk on the background, history and role of Tutsi basketry.<br /><em><strong><br /></strong></em><em><strong>A Woven Universe: The Prestige Basketry Tradition of Rwanda and Burundi.&nbsp;</strong></em>An introduction to the cultural, aesthetic and historic landscape of the Tutsi and Hutu peoples.<br /><strong><br /></strong><strong>Sarah Crowner</strong> was born in Philadelphia in 1974 and lives and works in Brooklyn, New York. She received her BA from the University of California, Santa Cruz and her MFA from Hunter College, New York. Crowner&rsquo;s current solo exhibition, Beetle in the Leaves, at MASS MoCA, North Adams, MA runs through to January 2017 and will be accompanied by a major new monograph. Her work has been included in group exhibitions at the Jewish Museum, New York (2015); Museum of Fine Arts, Boston (2014); Walker Art Center, Minneapolis (2013); WIELS, Contemporary Art Centre, Brussels, Belgium (2013); ICA, Philadelphia (2013); Zacheta National Museum of Art, Warsaw, Poland (2013); Museum of Modern Art, New York (2013); and the 2010 Whitney Biennial, Whitney Museum of American Art, New York. Her work is held in the collections of Guggenheim Museum, New York, Museum of Modern Art, New York and the Walker Art Canter, Minneapolis. Her first exhibition at Galerie Nordenhake was in 2012.<br /><strong><br /></strong><strong>Vanessa Drake Moraga</strong> is an independent textile scholar and writer, who curated the landmark exhibition Weaving Abstraction: Kuba Textiles and the Woven Arts of Central Africa (The Textile Museum, Washington DC 2011). She is based in the San Francisco area.<br /><strong><br /></strong><strong>Clive Loveless</strong> is a renowned ethnographic and folk art dealer, working by appointment only from his apartment in west London.<br /><strong><br /></strong><strong>Andres Moraga</strong> is an internationally known dealer in textiles and ethnographic art located in the San Francisco area.</p> Thu, 29 Sep 2016 18:19:47 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list - Forum Box - Space for Art - September 30th - October 23rd <p style="text-align: justify;"><strong>The Factory of the World (2014) Short film</strong></p> <p style="text-align: justify;"><br />The Factory of the World presents video images from a former electronics factory in northern Finland. The factory was closed in 2003 when the production was moved to China. The images are juxtaposed with audio narration about working conditions in Chinese factories. The work observes how the lives and destinies of workers in China and in Finland are connected in the global networks of commerce and capitalism.</p> <p style="text-align: justify;">The Factory of the World has been shown in numerous film festivals, and featured in the official selections at LISFE-short film festival in Leiden, Interfilm-festival in Berlin, FIFE Environmental Film Festival in Paris, Punto de Vista -festival in Pamplona, and Helsinki Short Film Festival.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Entangled (2016) Short film</strong></p> <p style="text-align: justify;"><br />Entangled illuminates our intimate relationship with the textile industry in Asia by juxtaposing and intertwining two elements: our everyday clothing and the working conditions in the Asian textile factories where those clothes are mostly manufactured. The film makes viewers uncomfortably aware of the human price that has been paid to manufacture their clothes.</p> <p style="text-align: justify;">Most clothing and textiles sold in Europe today are made in Asian countries, especially in China and Bangladesh. Our skin is in daily contact with materials that have been manufactured and stitched together by - predominantly - women on the other side of the world. Entangled highlights this material connection and our complicity and entanglement with the lives and destinies of workers in Asian textile factories.</p> <p style="text-align: justify;">Entangled approaches its topic from an unusual angle: through children's clothes and children's experiences. Taking a personal approach, the filmmakers counted how many of their 5-year old daughter's clothes had been manufactured in Asian countries, and found that most of them had been made in Bangladesh. Part of the film's imagery consists of close-ups of their daughter's clothes - the materials, the seams, the stiches - at times so close that familiar becomes strange, and yet emphasizes a haptic visuality through a visceral sense of materia.</p> <p style="text-align: justify;">The audio narration of the film consists of dramatized stories in which the children of the mother's who work in the textile factories describe their lives, hopes, and dreams. Their simple needs and human desires are contrasted dramatically with scenes from a child's life in Europe.</p> <p style="text-align: justify;">The script is based on the Swedwatch report "44 Children with parents working in a textile industry dream of a better life".</p> <p style="text-align: justify;">The film is a companion piece to Rainio &amp; Roberts' short film The Factory of the World (2014) that juxtaposes images of a disused Finnish electronics factory with working conditions in the Chinese consumer electronics industry. The series of films investigates how almost all the products that we use daily are made in Asian countries and how our entire way of life is entwined with a global system of exploitation.</p> <p style="text-align: justify;">Minna Rainio and Mark Roberts collaborate to produce research-based multi-channel moving image installations and short films that investigate the impact of social and political power on individual experience and history, and its manifestation in physical spaces. Their art has dealt with issues such as Finnish-Russian border, refugees' experiences in Finland and the international trafficking of women. Their most recent works investigate climate change and global inequality. Rainio &amp; Roberts have exhibited widely in Finland, Europe, United States and South America including Kiasma Museum of Contemporary Art in Helsinki (2004), Finnish Photography Triennial<br />(Salo Art Museum 2006), Ludwig Forum f&uuml;r Internationale Kunst in Aachen, Germany (2008), Finnish Cultural Institute in Paris (2008), Franklin Art Works Gallery in Minneapolis (2010), Governor's Island Gallery in New York (2011), Finnish Museum of Photography (2012), Pori Art Museum (2013), Lule&aring; Konsthallen (2015) and M&auml;ntt&auml; Art Festival (2015). Their films have also been shown in numerous international festivals and shown in competition in the Official Selections of Interfilm (Berlin), Punto de Vista (Spain), LISFE (Leiden), and FIFE (Paris).</p> <p style="text-align: justify;">Rainio and Roberts both studied photography in England. Roberts has also studied Film Scriptwriting in the University of Salford, Greater Manchester. Rainio gained her doctorate in arts in 2015 from the University of Lapland. During 2009-2011 Rainio held the position of Visiting Associate Professor in Photography at the University of Minnesota.</p> <hr /> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>The Factory of the World (2014) Lyhytelokuva</strong></p> <p style="text-align: justify;"><br />The Factory of the World koostuu staattisista videokuvista, jotka kuvaavat suljettua pohjois-suomalaista elektroniikkatehdasta. Tehdas suljettiin, kun sen koko tuotanto siirrettiin Kiinaan. Kuvien rinnalla kertoja&auml;&auml;ni kuvailee ty&ouml;skentelyolosuhteita kiinalaisissa tehtaissa. Elokuvassa suomalaisen elektroniikkatehtaan ja kiinalaisten tehdasty&ouml;l&auml;isten kohtalot kietoutuvat toisiinsa globaalissa markkinataloudessa.</p> <p style="text-align: justify;">The Factory of the World on ollut esill&auml; lukuisten elokuvafestivaaleilla kilpailusarjoissa vuosina 2015-2016. Se on esitetty kilpailusarjoissa mm. LISFE-festivaalilla Leidenissa, Interfilm-lyhytelokuvafestivaaleilla Berliiniss&auml;, FIFE- festivaalilla Pariisissa, Punto de Vista -festivaalillla Pamplonassa ja Helsingin lyhytelokuvafestivaaleilla.</p> <p style="text-align: justify;"><strong>Kietoutuneet/Entangled (2016)</strong></p> <p style="text-align: justify;"><strong>Lyhytelokuva</strong></p> <p style="text-align: justify;"><br />Lyhytelokuva Kietoutuneet/Entangled tarkastelee Aasian maiden tekstiiliteollisuutta rinnastaen kaksi toisiinsa kietoutunutta ilmi&ouml;t&auml;: jokap&auml;iv&auml;iset vaatteemme ja ty&ouml;skentelyolosuhteet aasialaisissa tekstiilitehtaissa. Teos tekee katsojansa ep&auml;mukavan tietoiseksi siit&auml; inhimillisest&auml; hinnasta, joka vaatteiden valmistamisesta on maksettu.</p> <p style="text-align: justify;">Suurin osa Euroopassa myyt&auml;vist&auml; vaatteista ja tekstiileist&auml; on valmistettu Aasian maissa, etenkin Kiinassa ja Bangladeshissa. Ihomme on p&auml;ivitt&auml;in kosketuksissa materiaaleihin, jotka on valmistettu kaukana t&auml;&auml;lt&auml;, maapallon toisella puolella, usein naisten tekemin&auml;. Lyhytelokuva Kietoutuneet/Entangled tekee t&auml;m&auml;n materiaalisen yhteyden ja osallisuutemme ja kietoutuneisuutemme aasialaisten tekstiilitehtaiden ty&ouml;l&auml;isten el&auml;m&auml;&auml;n ja kohtaloihin n&auml;kyv&auml;ksi.</p> <p style="text-align: justify;">Elokuva l&auml;hestyy aihettaan lastenvaatteiden ja lasten kokemusten v&auml;lityksell&auml; ja osittain my&ouml;s henkil&ouml;kohtaisesta n&auml;k&ouml;kulmasta. Elokuvaa varten taiteilijat laskivat kuinka suuri osa heid&auml;n 5-vuotiaan lapsensa vaatteista on valmistettu Aasian maissa ja huomasivat, ett&auml; suurin osa on tehty Bangladeshissa. Osa teoksen kuvista koostuu l&auml;hikuvista lastenvaatteista, niiden materiaaleista, saumoista ja ompeleista. L&auml;hikuvat menev&auml;t v&auml;lill&auml; niin l&auml;helle, ett&auml; kuva muuttuu abstraktiksi tehden tutusta vierasta ja toisaalta korostaen pinnan ja materian tuntua, haptista visuaalisuutta.</p> <p style="text-align: justify;">Teoksen audionarratiivi koostuu dramatisoiduista tarinoista, joissa Bangladeshin tekstiilitehtailla ty&ouml;skentelevien &auml;itien lapset kertovat el&auml;m&auml;st&auml;&auml;n ja toiveistaan. Bangladeshilaisten lasten arki, unelmat ja toiveet rinnastuvat kohtauksiin lapsen el&auml;m&auml;st&auml; Euroopassa.</p> <p style="text-align: justify;">K&auml;sikirjoitus pohjautuu Swedwatchin julkaisemaan raporttiin "44 Children with parents working in a textile industry dream of a better life."</p> <p style="text-align: justify;">Teos on jatkoa lyhytelokuvalle The Factory of the World (2014), joka rinnastaa suljetun pohjois-suomalaisen elektroniikkatehtaan ja ty&ouml;skentelyolosuhteet kiinalaisissa elektroniikkatehtaissa. Molemmat teokset tarkastelevat, miten l&auml;hes kaikki p&auml;ivitt&auml;in k&auml;ytt&auml;m&auml;mme kulutustuotteet on valmistettu Aasian maissa ja miten koko el&auml;m&auml;ntapamme on kietoutunut yhteen t&auml;m&auml;n globaalin j&auml;rjestelm&auml;n kanssa.</p> <p style="text-align: justify;">Minna Rainio (TaT) ja Mark Roberts (MA) toteuttavat liikkuvan kuvan installaatioita ja lyhytelokuvia, jotka k&auml;sittelev&auml;t yhteiskunnallisia ja poliittisia teemoja yksitt&auml;isten ihmisten el&auml;m&auml;ntarinoiden v&auml;lityksell&auml;. Teokset pohjautuvat perusteelliseen taustatutkimukseen ja ne yhdistelev&auml;t dokumentaarisia ja fiktiivisi&auml; elementtej&auml;. Installaatiot ovat k&auml;sitelleet mm. Suomen ja Ven&auml;j&auml;n v&auml;list&auml; rajaa, pakolaisten kokemuksia Suomessa, ja suomalaisten siirtolaisten kokemaa rasismia Yhdysvalloissa. Heid&auml;n uusin teossarjansa liittyy ilmastonmuutokseen ja globaaliin eriarvoisuuteen. Rainion ja Robertsin teokset ovat olleet esill&auml; laajasti yksityis- ja ryhm&auml;n&auml;yttelyiss&auml; Suomessa, Euroopassa, Yhdysvalloissa ja Etel&auml;-Amerikassa mm. Nykytaiteen museo Kiasmassa Helsingiss&auml; (2004), Suomalaisen valokuvataiteen biennaalissa Salon taidemuseossa (2006), Ludvig Forum f&uuml;r Internationale Kunst-museossa Aachenissa (2008), Suomen kulttuuri-instituutissa Pariisissa (2008), Franklin ArtWorks-galleriassa Minneapolisissa (2010), Governor&acute;s Islandin galleriassa New Yorkissa (2011), Valokuvataiteen museossa Helsingiss&auml; (2012), Porin taidemuseossa (2013), Luulajan taidehallissa (2015) ja M&auml;nt&auml;n kuvataideviikoilla<br />(2015) ja heid&auml;n lyhytelokuviaan on esitetty lukuisilla elokuvafestivaaleilla.</p> <p style="text-align: justify;">Rainio ja Roberts ovat molemmat opiskelleet valokuvataidetta Englannissa. Roberts on opiskellut my&ouml;s elokuvak&auml;sikirjoittamista Salfordin yliopistossa. Rainio v&auml;itteli taiteen tohtoriksi kev&auml;&auml;ll&auml; 2015 Lapin yliopistossa. Vuosina 2009-2011 Rainio toimi valokuvataiteen vierailevana professorina Minnesotan yliopistossa Yhdysvalloissa.</p> Fri, 23 Sep 2016 15:43:40 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Salla Myllylä - Forum Box - Space for Art - September 2nd - September 25th <p style="text-align: justify;">The video consists of six one-minute episodes. In each of them a random everyday object - a tree, a swing, a ship, a plant, a fire place, a traffic island - is set free of its environment. A hand paints a mask for the object or reveals it behind a painted surface by scratching. The result looks like a still life, but only momentarily: the season changes, the ship leaves, light moves or rain washes away the paint.</p> <p style="text-align: justify;">The video consists of six one-minute episodes. In each of them a random everyday object - a tree, a swing, a ship, a plant, a fire place, a traffic island - is set free of its environment. A hand paints a mask for the object or reveals it behind a painted surface by scratching. The result looks like a still life, but only momentarily: the season changes, the ship leaves, light moves or rain washes away the paint.</p> <hr /> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Video koostuu sarjasta minuutin mittaisia episodeja. Niiss&auml; irrotetaan ymp&auml;rist&ouml;st&auml;&auml;n satunnaisen tuntuisia arkisia objekteja - puu, keinu, laiva, huonekasvi, leivinuuni ja liikenteenjakaja. K&auml;si maalaa valitulle kohteelle rajauksen tai raaputtaa sen esiin maalatun pinnan alta. Ymp&auml;rist&ouml;st&auml;&auml;n vapautettuna esine muuttuu kuvaksi, mutta vain hetkellisesti: vuodenaika muuttuu, laiva l&auml;htee, valo vaihtelee ja sade pesee maalin pois.</p> <p style="text-align: justify;">Salla Myllyl&auml; asuu ja ty&ouml;skentelee Helsingiss&auml;. H&auml;n on valmistunut Vapaasta taidekoulusta 2009 ja Taideyliopiston Kuvataideakatemiasta 2014. H&auml;n ty&ouml;skentelee paikkasidonnaisesti piirustuksen, maalauksen ja liikkuvan kuvan v&auml;limaastossa. Myllyl&auml;n teoksia on esitetty n&auml;yttelyiss&auml; mm. Galleria Huuto J&auml;tk&auml;saaressa (2015), Frankfurter Kunstvereiniss&auml; (2014), Charlottenborgin taidehallissa K&ouml;&ouml;penhaminassa (2012) sek&auml; festivaaleilla kuten Tampereen elokuvajuhlilla (2016), Japan Media Art Festivalilla (2016) ja art:screen-festivaaleilla &Ouml;rebrossa.</p> Fri, 23 Sep 2016 15:39:14 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Matthew Picton - Elizabeth Leach Gallery - October 6th - October 29th <p style="text-align: justify;"><strong>Matthew Picton</strong>&rsquo;s wall-mounted sculptures of urban environments constructed from paper and vellum provide aerial views of urban environments. Unlike street maps, Picton&rsquo;s representations are at once cartographic, topographical and cultural, incorporating period-specific texts and popular culture ephemera. In <em>The Fall</em>, Picton aims to illuminate pivotal moments in urban history through the lens of literary and cinematic imagery. These works explore the inversions of power and authority and the moral upending of society and civilization. Born in London England, Picton studied politics and history at the London School of Economics. His work is included in the collections of the De Young Museum (San Francisco, CA), the Herbert Museum of Art (Coventry, UK), the Fidelity Bank collection (London, UK), the Stadt Museum (Dresden, Germany) and the New York University Langone Medical Center Collection (New York, NY).</p> Fri, 23 Sep 2016 15:35:29 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Malia Jensen - Elizabeth Leach Gallery - October 6th - October 29th <p style="text-align: justify;"><strong>Malia Jensen</strong> combines intensely seductive materials with a dark sense of humor. Metaphorically rich, at times perplexing, the artist uses quintessentially human traits, such as desire, greed, lust, and a need to reveal the humor, brutality and beauty of our daily lives. In <em>Ground Effects</em>, Jensen reflects on her fascination with natural and human made cycles; the building, collapsing and rebuilding of the systems we use to sustain our bodies and the natural world which surrounds us. Jensen&rsquo;s work has been exhibited at PICA (Portland, OR), Melbourne International Arts Festival (Melbourne, Australia) and New Museum (New York, NY), among many others. This will be Jensen&rsquo;s fifth solo exhibition at the Elizabeth Leach Gallery.</p> Fri, 23 Sep 2016 15:35:25 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Jorge Perianes - Centro de Arte Contemporânea Graça Morais - April 23rd - August 28th <div> <p style="text-align: justify;">Considerada uma das produ&ccedil;&otilde;es mais imaginativas e surpreendentes do atual panorama art&iacute;stico espanhol, o trabalho de Jorge Perianes (Ourense, Espanha, 1974) tem na condi&ccedil;&atilde;o humana o centro da sua reflex&atilde;o.</p> <p style="text-align: justify;">As suas obras funcionam como sedutoras plataformas de leitura sobre as quais radica, entre uma pintura objetual ou uma escultura pict&oacute;rica, a cria&ccedil;&atilde;o de um universo inquietante, profundamente metaf&oacute;rico e simb&oacute;lico.</p> <p style="text-align: justify;">Encriptadas pela atrativa morfologia ou pelo colorido das obras, cujo sentido, tantas vezes paradoxal &agrave; forma, n&atilde;o se descodifica num primeiro olhar; as suas cria&ccedil;&otilde;es parecem atuar como imagens aparentemente ing&eacute;nuas que escondem, mais do que mostram, armadilhando a nossa aten&ccedil;&atilde;o.</p> <p style="text-align: justify;">Para a constru&ccedil;&atilde;o da sua met&aacute;fora, Perianes adotou uma subtil alian&ccedil;a entre o humor e a ironia, criando a partir de m&uacute;ltiplas formas, cores, texturas e ambientes, uma cosmogonia e um imagin&aacute;rio de encantamento capaz de envolver imediatamente o visitante numa experi&ecirc;ncia fortemente imersiva.</p> <p style="text-align: justify;">A sua obra vive fora dos limites disciplinares da pintura e da escultura, mistura-se e expande-se no espa&ccedil;o, com quem estabelece um desejado efeito de ru&iacute;na, que se projeta no conjunto muito diverso de elementos vinculados &agrave; pr&oacute;pria arquitetura, completando-se e adquirindo sentidos nela.</p> <p style="text-align: justify;">Perianes insiste nas grandes montagens cenogr&aacute;ficas, como a instala&ccedil;&atilde;o que concebeu para esta exposi&ccedil;&atilde;o: uma estrutura colossal de onde irrompe, possante, uma montanha coberta de vegeta&ccedil;&atilde;o natural, estilha&ccedil;ando a arquitetura que a aniquila, refor&ccedil;ando, assim, a imagem da fragmenta&ccedil;&atilde;o, da ru&iacute;na e do abismo existencial em que se formaliza grande parte da sua gram&aacute;tica art&iacute;stica.</p> <p style="text-align: justify;">&nbsp;</p> <p><strong>Comiss&aacute;rio: </strong>Jorge da Costa</p> <p><strong>Produ&ccedil;&atilde;o</strong>: Munic&iacute;pio de Bragan&ccedil;a / Centro de Arte Contempor&acirc;nea Gra&ccedil;a Morais</p> <p><strong>Colabora&ccedil;&atilde;o:</strong> Cole&ccedil;&atilde;o MICA &ndash; Vigo / Galeria Fernando Santos &ndash; Porto /Galeria Max Estrella - Madrid</p> </div> Fri, 23 Sep 2016 15:30:59 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list