ArtSlant - Recently added http://www.artslant.com/ew/Events/show en-us 40 - 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 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Nikolai Cherkasov - Yekaterinburg Gallery of Modern Art - May 28th - June 28th Mon, 01 Jun 2015 16:25:46 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Radamés “Juni” Figueroa - Walter Otero Contemporary Art - May 28th - August 14th Mon, 01 Jun 2015 16:22:25 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list 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 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list 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 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list 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 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list 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. www.frontiersreimagined.org.</p> Mon, 01 Jun 2015 15:58:56 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list 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 /> proartibus@proartibus.fi<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 /> proartibus@proartibus.fi<br /> Huom! Rajoitetusti paikkoja!</p> Mon, 01 Jun 2015 15:55:18 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list 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 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Ramonn Vieitez - Portas Vilaseca Galeria - June 18th - July 18th Mon, 01 Jun 2015 15:40:14 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list 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 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list 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 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Brassaï, Jaroslav Rossler, Florence Henri, Clarence John Laughlin - New Orleans Museum of Art - April 1st - August 9th <p style="text-align: justify;">On view in A. Charlotte Mann and Joshua Mann Pailet Gallery, this exhibition presents a selection of works from the permanent collection by Brassa&iuml;, Jaroslav Rossler, Florence Henri, Clarence John Laughlin, and others that investigate, play with, and exploit reflections and mirror images in modern photography.</p> <p style="text-align: justify;">The use of mirrors and reflections proliferated in modern photography between the world wars. This was a time of extensive philosophical self-reflection spurred by the growing interest in the field of psychology with Sigmund Freud and Carl Jung, and modern societies&rsquo; struggle to remodel themselves after the ravages of World War I. Global anxiety, coupled with the desire to look inward, could have provoked artists&rsquo; obsession with the mirror.</p> <p style="text-align: justify;">This practice was geographically and philosophically widespread. The depiction of reflections was seen throughout Europe, particularly in France, Germany, and Czechoslovakia, and in the United States. Artists from disparate backgrounds and ideologies adopted and adapted the technique to suit their goals, further revealing the depth of an underlying identity crisis.</p> <p style="text-align: justify;">While some artists manipulated the photographic process using collage and montage, others represented in this show used the camera as a means of realistic documentation, optical illusion, or a combination of the two. The use of the mirrored surface is in keeping with L&aacute;szl&oacute; Moholy-Nagy&rsquo;s &ldquo;New Vision&rdquo; aesthetic, which argued for the production of a photographic image, rather than a reproduction. The camera was seen as an extension of the artist&rsquo;s eye, but one that went beyond the human eye&rsquo;s capability, able to capture limitless depths on a single plane.</p> <p style="text-align: justify;">The photographic process and resulting photographs act as mirrors, capturing a specific scene and reflecting it back to the viewer. Including reflective surfaces within photographs created a world en abyme, a world that refers to itself within itself. Several artists took the opportunity to include reflections of themselves, and occasionally their cameras, further implicating their process. These works became examinations of the artist and his or her place in society, whether serious and formal like Florence Henri&rsquo;s <em>Selbsportrait</em> (1928) or lighthearted and experimental like Jaroslav Rossler&rsquo;s <em>Self-Portrait, Paris</em> (1931).</p> Mon, 01 Jun 2015 15:22:45 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Wu Tsang, Zin Taylor, Daniel Steegmann Mangrané, Jacopo Miliani, Oreet Ashery - Nogueras Blanchard Madrid - May 23rd - July 25th <p style="text-align: justify;"><span style="font-size: small;">An unnamed man stands in front of the aquarium at the Jardin des Plantes in Paris. He goes there regularly and often spends the entire morning with his face pressed against the glass of the water tank. In November 1902, Rainer Maria Rilke had visited the same botanical garden, and he later recorded in a well-known poem his impression of a panther in a cage, for whom there seemed to be &ldquo;a thousand bars / and back behind those thousand bars no world.&rdquo; But the protagonist of our story is not so interested in felids, or any other mammals for that matter. The creatures that capture his attention are some little amphibians that seem absolutely indifferent to their imprisonment inside the aquarium. They are axolotls, a species of salamanders that spend their lives in a larval stage, as if they were patiently waiting for a metamorphosis that is not meant to happen. </span><br /> <br /><span style="font-size: small;"> He is fascinated by their quietness and the inexpressive look in their pink Aztec faces. A deadpan expression that nonetheless feels oddly familiar to him. Perhaps it&rsquo;s just the indigenous phonetics of their name &mdash;ax-ol-oh-tl&mdash;, so difficult to pronounce for Europeans, which reminds him of the continent where he was born. But these creatures seem to look back at him from an unfathomable depth. And somehow he knows that they know. Until one day he notices with horror that for quite a while, a few minutes, maybe a few hours, he has been staring at his own face pressed against the glass of the water tank. He is now an axolotl. And no understanding seems possible with the expressionless man that looks at him through the glass. His thinking has become a thinking inside the aquarium. Now he is certain that the other axolotls also know. They must think as well, however quietly. Amphibian thinking is no longer alien to him. Perhaps he is just projecting human intelligence onto his peers? But now that he inhabits another body, is he still a man? And the familiar face staring at him from the other side, what does he actually know? Can those enormous non-amphibian eyes even recognise his personhood from outside of the aquarium? </span><br /> <br /><span style="font-size: small;"> The exhibition AXOLOTLISM takes as its point of departure an enigmatic story by Julio Cort&aacute;zar, &ldquo;Axolotl&rdquo; (1956), in which the Argentinean writer short-circuited the distance between observer and observee. In this fiction, Cort&aacute;zar invited the reader to think beyond a static dichotomy of subject and object. It might well be possible to approach this type of fiction as a methodology. A strategy towards perspectivism that opens up space for a radical questioning of what constitutes us as persons and subjects of rights. Inspired by Cort&aacute;zar&rsquo;s amphibious writing, this exhibition seeks a line of escape from humanism and its exclusions, through the work of artists whose practice explores various forms of radical otherness, nonhuman agency and nonverbal thought, while guided by a materialist sensibility and solicitude for the nonhuman world. </span><br /> <br /><span style="font-size: small;"> Becoming amphibian is not a change of substance; it is an exercise of political imagination. An exercise involving the embodiment of an otherness that is multiple and variable, which creates a situation in which no one viewpoint can lay claim to a monopoly of truth. In the eyes of the axolotl, the notion of human nature becomes blurred and civilisation is but a water tank. AXOLOTLISM doesn't have a language of its own; it always speaks idioms invented elsewhere. AXOLOTLISM is not another form of anthropological pluralism, but an ontological one. AXOLOTLISM does not seek an absolute understanding of the worlds of others; it multiplies our universe through theirs. </span><br /> <br /><span style="font-size: small;"> AXOLOTLISM is just a fiction, but it has its own history. That of those who are not yet human, and those who are not entirely human, but also those who are not just human any longer. This is a history of becomings. A history that is set in motion every time that somebody, somewhere, loses their face to become woman, become child, become animal, become pack, become indigenous, become mad, become amphibian, become minor, become collective, become imperceptible, become blurred&hellip; Histories of axolotlism are all made of impossible crossovers and intersections. They are histories of exodus and transmutation, dissolution and passage, flows of desire and lines of escape that go beyond the individual and stand against any fixed and stable identity. </span><br /> <br /><span style="font-size: small;"> This exhibition is the result of the fourth edition of the NoguerasBlanchard Curatorial Open Call. </span><br /> <br /><span style="font-size: small;"> On the opening date, a new performance work by Oreet Ashery will take place in the gallery from 12 to 3pm. Ashery&rsquo;s new performance, C&oacute;mo matar a un cerdo (How to Kill a Pig), involves the participation of Alex de la Croix, Juli&aacute;n Cruz, Nina Paszkowski, and Ana S&aacute;ez.</span></p> <p style="text-align: justify;"><strong><span style="font-size: small;">Artists: </span></strong><br /> <br /><span style="font-size: small;"> Oreet Ashery (b. 1966 Jerusalem, IL) is an artist based in London. Ashery&rsquo;s work confronts social and gender constructions through an interdisciplinary practice spanning live art, sculpture, video, and photography. In her earlier work, Ashery has embodied a variety of male characters of her own creation, subverting gender relationships while exploring issues of power, agency and cultural identity. Her work has been presented at Tate Modern, London; Overgaden, Copenhagen; Secession, Vienna; Museu do Chiado, Lisbon; Le Transpalette, Bourges; ICA, London; HKW Haus der Kulturen der Welt, Berlin; Brooklyn Museum, New York; and Kunstlerhaus Bethanien, Berlin. In 2012, Ashery participated in the 7th Liverpool Biennial. </span><br /> <br /><span style="font-size: small;"> Jacopo Miliani (b. 1979 Florence, IT) is an artist based in Milan. His work takes the form of choreographic installations and performances that reflect on the conditions of spectatorship and explore the dynamic relationships between language, representation and the body, often bringing influences from the history of fashion, cinema and dance. Recent exhibitions and performances include Fondazione Giuliani, Rome; Galeria Vermelho, S&atilde;o Paulo; CAC Grenoble; ICA Studio, London; Kunsthalle Lissabon, Lisbon; MACRO, Rome; Deutsche Bank Kunst Halle, Berlin; MARCO, Vigo; David Roberts Art Foundation, London; Velan Centre for Contemporary Art, Turin; and MADRE, Naples. </span><br /> <br /><span style="font-size: small;"> Daniel Steegmann Mangran&eacute; (b. 1977 Barcelona, ES) is an artist based in Rio de Janeiro. Influenced by Amerindian cosmology and radical anthropology, Steegmann&rsquo;s interdisciplinary practice oscillates between subtle, poetic and raw experimentations that question the relationship between language and the non-human world, while inviting the viewer to think beyond the nature-culture divide. His work has been presented at Fondazione Giuliani, Rome; CRAC Alsace, Altkirch; Extra City, Antwerp; Akademie der Kunste, Berlin; CA2M, Madrid; Museu de Arte Moderna, S&atilde;o Paulo. He has participated in the New Museum Triennial (2015); the 9th Mercosul Biennial (2013); and the 30th Bienal de S&atilde;o Paulo (2012). </span><br /> <br /><span style="font-size: small;"> Zin Taylor (b. 1978 Calgary, CA) is an artist based in Brussels. Storytelling and narration are essential to his practice, which encompasses elements of sculpture and performance along with drawing, writing, and moving image. Taylor&rsquo;s works often take the appearance of ambiguous linguistic propositions that interrogate the very structure and syntax of visual language. Recent exhibitions include Portikus, Frankfurt; FRAC Ile-de-France; Le Plateau, Paris; Museum of Contemporary Art, Chicago; Kunsthalle Wien, Vienna; Kunsthal Charlottenborg, Copenhagen; The Artist&rsquo;s Institute, New York; MuHKA, Antwerp; KIOSK, Ghent; Witte de With, Rotterdam; Bard College, New York; and The Power Plant, Toronto. </span><br /> <br /><span style="font-size: small;"> Wu Tsang (b. 1982 Massachusetts, US) is an artist, performer, and filmmaker based in Los Angeles. His work focuses on narratives that construct identity in relation to others. Tsang is interested in the socio-political dimensions of communities and is inspired by his involvement with queer, trans, and immigrant communities in Los Angeles. His work has been presented at the ICA, London; Migros Museum, Zurich; Tate Modern, London; the Stedelijk Museum, Amsterdam; MoMA, New York; and MOCA, Los Angeles. In 2012, Tsang took part in the Whitney Biennial, the New Museum Triennial, the Gwangju Biennial, and the Liverpool Biennial. </span><br /> <br /><span style="font-size: small;"> Curator: </span><br /> <br /><span style="font-size: small;"> Sabel Gavaldon (b. 1985 Barcelona) is an independent curator and researcher based in London. In 2012, he graduated from the Curating Contemporary Art programme at the Royal College of Art. Recent projects include the group exhibitions &lsquo;M/Other Tongue&rsquo; at Tenderpixel, London (2015); &lsquo;Contratiempos&rsquo; at CaixaForum, Barcelona; &lsquo;Llocs comuns&rsquo; at Can Felipa, Barcelona (both 2014); and &lsquo;A Museum of Gesture&rsquo; at La Capella, Barcelona (2013). &lsquo;A Museum of Gesture&rsquo; is an ongoing exhibition and research project exploring the potential of gesture, body movement and style as forms of semiotic resistance adopted by subordinate groups and political minorities. This project has been presented in the form of talks and workshops at Cittadellarte&ndash;Fondazione Pistoletto, Biella (2015); Lugar a Dudas, Cali, Colombia; and Chisenhale Gallery, London (both 2014). Other recent talks include &lsquo;On the Relative Size of Things in the Universe&rsquo; at the Camden Arts Centre, London; and the Architectural Association, London (both 2015). In 2014, Gavaldon was resident curator of the artist-run-space Lugar a Dudas, in Cali, Colombia, with the financial support of the Triangle Network. </span><br /> <br /><span style="font-size: small;"> With thanks to the galleries Clifton Bevenevento (New York), Esther Schipper (Berlin), Frutta (Rome), Supportico Lopez (Berlin), and Waterside Contemporary (London). We are also grateful to Dimitri Jeurissen, Lilou Vidal, and the Instituto Italiano de Cultura de Madrid for their support.</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;"><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-PH</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:DontVertAlignCellWithSp/> <w:DontBreakConstrainedForcedTables/> <w:DontVertAlignInTxbx/> <w:Word11KerningPairs/> 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mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin-top:0in; mso-para-margin-right:0in; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0in; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> </span></p> <p style="margin-bottom: 12pt; text-align: justify;"><span style="font-size: small;">Un hombre an&oacute;nimo se inclina frente al acuario del Jardin des Plantes en Par&iacute;s. Visita este lugar casi a diario y con frecuencia se pasa la ma&ntilde;ana entera con la cara pegada al cristal. En noviembre de 1902, Rainer Maria Rilke estuvo en el mismo jard&iacute;n bot&aacute;nico y m&aacute;s tarde habr&iacute;a de plasmar en un conocido poema su impresi&oacute;n de una pantera encerrada en una jaula, para la que parec&iacute;a haber &ldquo;mil barrotes / y tras los mil barrotes ning&uacute;n mundo&rdquo;. Pero al protagonista de nuestro relato apenas le interesan los felinos ni el resto de mam&iacute;feros. Las criaturas que captan su atenci&oacute;n son unos peque&ntilde;os anfibios que parecen completamente indiferentes a su encierro dentro del acuario. Se trata de axolotls, una especie de salamandra cuya vida transcurre en estado larvario, esperando pacientemente una metamorfosis que no ha de llegar. </span><br /> <br /><span style="font-size: small;"> Le fascina su quietud y la falta de expresi&oacute;n en sus peque&ntilde;os rostros aztecas. Una mirada de esfinge que sin embargo le resulta extra&ntilde;amente familiar. Puede que solamente se trate de la fon&eacute;tica ind&iacute;gena de su nombre &mdash;ax-ol-oh-tl&mdash;, cuya dif&iacute;cil pronunciaci&oacute;n para los europeos le trae recuerdos del continente en el que naci&oacute;. Pero estas criaturas parecen devolverle la mirada desde una profundidad insondable. Y de alg&uacute;n modo sabe que ellos tambi&eacute;n saben. Hasta que un d&iacute;a se da cuenta horrorizado de que lleva un buen rato, unos minutos, o tal vez unas horas, observando su propio rostro pegado al cristal del acuario. Ahora es un axolotl. Y parece imposible que pudiera entenderse con el hombre inexpresivo que lo mira a trav&eacute;s del cristal. Su pensamiento es ahora un pensamiento dentro del acuario. De repente est&aacute; seguro de que los otros axolotls saben. Ellos tambi&eacute;n deben de pensar, si bien lo hacen en silencio. Este pensamiento anfibio no le resulta del todo ajeno. &iquest;Quiz&aacute; est&eacute; simplemente proyectando una inteligencia humana a sus semejantes? Pero ahora que habita otro cuerpo, &iquest;a&uacute;n puede decir que es un hombre? Y el rostro familiar que lo observa desde el otro lado, &iquest;qu&eacute; sabe en realidad? &iquest;Pueden siquiera esos enormes ojos no-anfibios reconocer su persona desde fuera del acuario? </span><br /> <br /><span style="font-size: small;"> La exposici&oacute;n AXOLOTLISMO retoma un relato de Julio Cort&aacute;zar &mdash;&ldquo;Axolotl&rdquo;, 1956&mdash; que cortocircuit&oacute; la distancia entre observador y observado. En aquel relato enigm&aacute;tico, el escritor argentino invitaba al lector a pensar m&aacute;s all&aacute; de la dicotom&iacute;a entre sujeto y objeto. Se podr&iacute;a abordar este tipo de ficci&oacute;n como una metodolog&iacute;a. Una estrategia de corte perspectivista que abre la posibilidad de un cuestionamiento radical de aquellas nociones que nos constituyen como personas y sujetos de derecho. Inspir&aacute;ndose en la escritura anfibia de Cort&aacute;zar, esta exposici&oacute;n busca una l&iacute;nea de escape al humanismo y sus exclusiones, a trav&eacute;s del trabajo de artistas cuya obra parte de una sensibilidad materialista y cuya pr&aacute;ctica explora distintas formas de alteridad radical donde lo humano se desdibuja. </span><br /> <br /><span style="font-size: small;"> Devenir anfibio no es un cambio de substancia, sino un ejercicio de imaginaci&oacute;n pol&iacute;tica. Un ejercicio para el que hay que ponerse en el lugar de una alteridad que es siempre m&uacute;ltiple y variable, dibujando un escenario en el que ning&uacute;n punto de vista est&aacute; en posici&oacute;n de reclamar un monopolio sobre la verdad. A ojos del axolotl, la idea de naturaleza humana se desdibuja y la civilizaci&oacute;n no es otra cosa que un acuario. El AXOLOTLISMO no tiene un lenguaje propio; habla en idiomas inventados en otros lugares. El AXOLOTLISMO no es otra forma de pluralismo antropol&oacute;gico, sino ontol&oacute;gico. El AXOLOTLISMO no busca una comprensi&oacute;n absoluta del mundo de los otros, sino multiplicar nuestro universo a trav&eacute;s del suyo. </span><br /> <br /><span style="font-size: small;"> El AXOLOTLISMO no es m&aacute;s que una ficci&oacute;n, si bien tiene su propia historia. La de aquellos que no son humanos a&uacute;n y la de aquellos que no lo son del todo, pero tambi&eacute;n la de aquellos que no son ya humanos solamente. Es por tanto una historia de devenires. Una historia que se pone en marcha cada vez que alguien, en alg&uacute;n lugar, pierde su forma para devenir mujer, devenir ni&ntilde;o, devenir animal, devenir manada, devenir ind&iacute;gena, devenir loco, devenir anfibio, devenir menor, devenir colectivo, devenir imperceptible, devenir impreciso... Las historias del axolotlismo se concretan en encuentros monstruosos e intersecciones imposibles. Historias de &eacute;xodo y transmutaci&oacute;n, disoluci&oacute;n y pasaje, flujos de deseo y l&iacute;neas de fuga que desbordan lo individual y se resisten a tomar una identidad estable. </span><br /> <br /><span style="font-size: small;"> Esta exposici&oacute;n es el resultado de la cuarta edici&oacute;n del Open Call que organiza NoguerasBlanchard. </span></p> <h3 style="text-align: justify;"><span style="font-weight: normal; font-size: small;">Artistas: <br /> <br /> Oreet Ashery (1966 Jerusal&eacute;n, IL) es una artista afincada en Londres. El trabajo de Ashery aborda construcciones sociales y de g&eacute;nero mediante una pr&aacute;ctica interdisciplinar en la que se combinan performance, escultura, video y fotograf&iacute;a. En el pasado, Ashery ha encarnado a m&uacute;ltiples personajes masculinos de su propia invenci&oacute;n para subvertir las relaciones de g&eacute;nero y explorar cuestiones de poder, agencia e identidad cultural. Su trabajo ha sido expuesto en Tate Modern, Londres; Overgaden, Copenhague; Secession, Viena; Museu do Chiado, Lisboa; Le Transpalette, Bourges; ICA, Londres; HKW Haus der Kulturen der Welt, Berl&iacute;n; Brooklyn Museum, Nueva York; Kunstlerhaus Bethanien, Berl&iacute;n. En 2012, Ashery form&oacute; parte de la s&eacute;ptima edici&oacute;n de la Bienal de Liverpool. <br /> <br /> Jacopo Miliani (1979 Florencia, IT) es un artista afincado en Mil&aacute;n. Su pr&aacute;ctica se concreta en instalaciones coreogr&aacute;ficas y performances que reflexionan sobre las condiciones del espectador y exploran las relaciones din&aacute;micas entre el lenguaje, el cuerpo y su representaci&oacute;n, apropi&aacute;ndose de referencias procedentes de la historia de la moda, el cine o la danza. Entre sus exposiciones y performances recientes se cuentan la Fondazione Giuliani, Roma; Galeria Vermelho, Sao Paulo; CAC Grenoble; ICA Studio, Londres; Kunsthalle Lissabon, Lisboa; MACRO, Roma; Deutsche Bank Kunst Halle, Berl&iacute;n; MARCO, Vigo; David Roberts Art Foundation, Londres; Velan Centre for Contemporary Art, Tur&iacute;n; MADRE, N&aacute;poles. <br /> <br /> Daniel Steegmann Mangran&eacute; (1977 Barcelona, ES) es un artista afincado en Rio de Janeiro. Influido por las cosmolog&iacute;as amerindias y la antropolog&iacute;a radical, el trabajo de Steegmann oscila entre experimentaciones sutiles, po&eacute;ticas y crudas que cuestionan la relaci&oacute;n del lenguaje con el mundo no-humano, desafiando cualquier distinci&oacute;n entre naturaleza y cultura. Su trabajo se ha expuesto en Fondazione Giuliani, Roma; CRAC Alsace, Altkirch; Extra City, Amberes; Akademie der Kunste, Berl&iacute;n; CA2M, Madrid; Museu de Arte Moderna, Sao Paulo. Steegmann ha participado en la Trienal del New Museum (2015); la 9&ordf; Bienal de Mercosul (2013); y la 30&ordf; Bienal de S&atilde;o Paulo (2012). <br /> <br /> Zin Taylor (1978 Calgary, CA) es un artista afincado en Bruselas. Las t&eacute;cnicas narrativas, dial&oacute;gicas y discursivas juegan un papel crucial en el trabajo de Taylor, cuya pr&aacute;ctica combina escultura y performance junto con el dibujo, la escritura y la imagen en movimiento. Sus trabajos a menudo toman la forma de proposiciones ambiguas que parecen interrogarse sobre la propia estructura y la sintaxis del lenguaje visual. Entre sus exposiciones recientes se cuentan Portikus, Fr&aacute;ncfort; FRAC Ile-de-France; Le Plateau, Par&iacute;s; Museum of Contemporary Art, Chicago; Kunsthalle Wien, Viena; Kunsthal Charlottenborg, Copenhague; The Artist&rsquo;s Institute, Nueva York; MuHKA, Amberes; KIOSK, Gante; Witte de With, Rotterdam; Bard College, Nueva York; The Power Plant, Toronto. <br /> <br /> Wu Tsang (1982 Massachusetts, US) es un artista, performer y cineasta afincado en Los Angeles. Su trabajo examina aquellas narrativas que configuran nuestra identidad en relaci&oacute;n a los otros. Interesado en la dimensi&oacute;n pol&iacute;tica de distintas comunidades en los m&aacute;rgenes, el trabajo de Tsang est&aacute; directamente inspirado por su implicaci&oacute;n en colectivos trans, queer y migrantes de Los Angeles. Su trabajo ha sido expuesto en ICA, Londres; Migros Museum, Z&uacute;rich; Tate Modern, Londres; Stedelijk Museum, &Aacute;msterdam; MoMA, Nueva York; MOCA, Los Angeles. En 2012, Tsang particip&oacute; en la Whitney Biennial, la Trienal del New Museum, la Bienal de Gwangju y la Bienal de Liverpool. <br /> <br /> Comisario: <br /> <br /> Sabel Gavaldon (1985 Barcelona) es un curador e investigador independiente afincado en Londres. En 2012 se gradu&oacute; del programa Curating Contemporary Art del Royal College of Art. Entre sus proyectos recientes se cuentan las exposiciones &lsquo;M/Other Tongue&rsquo; en Tenderpixel, Londres (2015); &lsquo;Contratiempos&rsquo; en CaixaForum, Barcelona; &lsquo;Llocs comuns&rsquo; en Can Felipa, Barcelona (ambas 2014); y &lsquo;Un museo del gesto&rsquo; en La Capella, Barcelona (2013). &lsquo;Un museo del gesto&rsquo; es un proyecto de investigaci&oacute;n en curso que investiga el potencial del gesto y el estilo como formas de resistencia semi&oacute;ticas adoptadas por las minor&iacute;as pol&iacute;ticas y grupos subalternos. Este proyecto se ha presentado en forma de charlas y talleres en Cittadellarte&ndash;Fondazione Pistoletto, Biella (2015); Lugar a Dudas, Cali, Colombia; y Chisenhale Gallery, Londres (ambas 2014). Otras charlas recientes incluyen &lsquo;On the Relative Size of Things in the Universe&rsquo; en Camden Arts Centre, Londres; y la Architectural Association, Londres (2015). En 2014, Gavaldon fue curador residente del espacio Lugar a Dudas, en Cali, Colombia, con el apoyo de Gasworks y Triangle Network. <br /> <br /> Nuestros agradecimientos a las galer&iacute;as Clifton Bevenevento (Nueva York), Esther Schipper (Berl&iacute;n), Frutta (Roma), Supportico Lopez (Berl&iacute;n) y Waterside Contemporary (Londres). Tambi&eacute;n le estamos agradecidos a Dimitri Jeurissen, Lilou Vidal y al Instituto Italiano de Cultura de Madrid por su apoyo. </span></h3> <p class="MsoNormal" style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-PH</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:DontVertAlignCellWithSp/> <w:DontBreakConstrainedForcedTables/> <w:DontVertAlignInTxbx/> <w:Word11KerningPairs/> <w:CachedColBalance/> </w:Compatibility> <w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="&#45;-"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument> </xml><![endif]--> <p style="margin-bottom: 12.0pt;">Un hombre an&oacute;nimo se inclina frente al acuario del Jardin des Plantes en Par&iacute;s. Visita este lugar casi a diario y con frecuencia se pasa la ma&ntilde;ana entera con la cara pegada al cristal. En noviembre de 1902, Rainer Maria Rilke estuvo en el mismo jard&iacute;n bot&aacute;nico y m&aacute;s tarde habr&iacute;a de plasmar en un conocido poema su impresi&oacute;n de una pantera encerrada en una jaula, para la que parec&iacute;a haber &ldquo;mil barrotes / y tras los mil barrotes ning&uacute;n mundo&rdquo;. Pero al protagonista de nuestro relato apenas le interesan los felinos ni el resto de mam&iacute;feros. Las criaturas que captan su atenci&oacute;n son unos peque&ntilde;os anfibios que parecen completamente indiferentes a su encierro dentro del acuario. Se trata de axolotls, una especie de salamandra cuya vida transcurre en estado larvario, esperando pacientemente una metamorfosis que no ha de llegar. <br /> <br /> Le fascina su quietud y la falta de expresi&oacute;n en sus peque&ntilde;os rostros aztecas. Una mirada de esfinge que sin embargo le resulta extra&ntilde;amente familiar. Puede que solamente se trate de la fon&eacute;tica ind&iacute;gena de su nombre &mdash;ax-ol-oh-tl&mdash;, cuya dif&iacute;cil pronunciaci&oacute;n para los europeos le trae recuerdos del continente en el que naci&oacute;. Pero estas criaturas parecen devolverle la mirada desde una profundidad insondable. Y de alg&uacute;n modo sabe que ellos tambi&eacute;n saben. Hasta que un d&iacute;a se da cuenta horrorizado de que lleva un buen rato, unos minutos, o tal vez unas horas, observando su propio rostro pegado al cristal del acuario. Ahora es un axolotl. Y parece imposible que pudiera entenderse con el hombre inexpresivo que lo mira a trav&eacute;s del cristal. Su pensamiento es ahora un pensamiento dentro del acuario. De repente est&aacute; seguro de que los otros axolotls saben. Ellos tambi&eacute;n deben de pensar, si bien lo hacen en silencio. Este pensamiento anfibio no le resulta del todo ajeno. &iquest;Quiz&aacute; est&eacute; simplemente proyectando una inteligencia humana a sus semejantes? Pero ahora que habita otro cuerpo, &iquest;a&uacute;n puede decir que es un hombre? Y el rostro familiar que lo observa desde el otro lado, &iquest;qu&eacute; sabe en realidad? &iquest;Pueden siquiera esos enormes ojos no-anfibios reconocer su persona desde fuera del acuario? <br /> <br /> La exposici&oacute;n AXOLOTLISMO retoma un relato de Julio Cort&aacute;zar &mdash;&ldquo;Axolotl&rdquo;, 1956&mdash; que cortocircuit&oacute; la distancia entre observador y observado. En aquel relato enigm&aacute;tico, el escritor argentino invitaba al lector a pensar m&aacute;s all&aacute; de la dicotom&iacute;a entre sujeto y objeto. Se podr&iacute;a abordar este tipo de ficci&oacute;n como una metodolog&iacute;a. Una estrategia de corte perspectivista que abre la posibilidad de un cuestionamiento radical de aquellas nociones que nos constituyen como personas y sujetos de derecho. Inspir&aacute;ndose en la escritura anfibia de Cort&aacute;zar, esta exposici&oacute;n busca una l&iacute;nea de escape al humanismo y sus exclusiones, a trav&eacute;s del trabajo de artistas cuya obra parte de una sensibilidad materialista y cuya pr&aacute;ctica explora distintas formas de alteridad radical donde lo humano se desdibuja. <br /> <br /> Devenir anfibio no es un cambio de substancia, sino un ejercicio de imaginaci&oacute;n pol&iacute;tica. Un ejercicio para el que hay que ponerse en el lugar de una alteridad que es siempre m&uacute;ltiple y variable, dibujando un escenario en el que ning&uacute;n punto de vista est&aacute; en posici&oacute;n de reclamar un monopolio sobre la verdad. A ojos del axolotl, la idea de naturaleza humana se desdibuja y la civilizaci&oacute;n no es otra cosa que un acuario. El AXOLOTLISMO no tiene un lenguaje propio; habla en idiomas inventados en otros lugares. El AXOLOTLISMO no es otra forma de pluralismo antropol&oacute;gico, sino ontol&oacute;gico. El AXOLOTLISMO no busca una comprensi&oacute;n absoluta del mundo de los otros, sino multiplicar nuestro universo a trav&eacute;s del suyo. <br /> <br /> El AXOLOTLISMO no es m&aacute;s que una ficci&oacute;n, si bien tiene su propia historia. La de aquellos que no son humanos a&uacute;n y la de aquellos que no lo son del todo, pero tambi&eacute;n la de aquellos que no son ya humanos solamente. Es por tanto una historia de devenires. Una historia que se pone en marcha cada vez que alguien, en alg&uacute;n lugar, pierde su forma para devenir mujer, devenir ni&ntilde;o, devenir animal, devenir manada, devenir ind&iacute;gena, devenir loco, devenir anfibio, devenir menor, devenir colectivo, devenir imperceptible, devenir impreciso... Las historias del axolotlismo se concretan en encuentros monstruosos e intersecciones imposibles. Historias de &eacute;xodo y transmutaci&oacute;n, disoluci&oacute;n y pasaje, flujos de deseo y l&iacute;neas de fuga que desbordan lo individual y se resisten a tomar una identidad estable. <br /> <br /> Esta exposici&oacute;n es el resultado de la cuarta edici&oacute;n del Open Call que organiza NoguerasBlanchard.</p> <h3><span style="font-weight: normal; mso-bidi-font-weight: bold;">Artistas: <br /> <br /> Oreet Ashery (1966 Jerusal&eacute;n, IL) es una artista afincada en Londres. El trabajo de Ashery aborda construcciones sociales y de g&eacute;nero mediante una pr&aacute;ctica interdisciplinar en la que se combinan performance, escultura, video y fotograf&iacute;a. En el pasado, Ashery ha encarnado a m&uacute;ltiples personajes masculinos de su propia invenci&oacute;n para subvertir las relaciones de g&eacute;nero y explorar cuestiones de poder, agencia e identidad cultural. Su trabajo ha sido expuesto en Tate Modern, Londres; Overgaden, Copenhague; Secession, Viena; Museu do Chiado, Lisboa; Le Transpalette, Bourges; ICA, Londres; HKW Haus der Kulturen der Welt, Berl&iacute;n; Brooklyn Museum, Nueva York; Kunstlerhaus Bethanien, Berl&iacute;n. En 2012, Ashery form&oacute; parte de la s&eacute;ptima edici&oacute;n de la Bienal de Liverpool. <br /> <br /> Jacopo Miliani (1979 Florencia, IT) es un artista afincado en Mil&aacute;n. Su pr&aacute;ctica se concreta en instalaciones coreogr&aacute;ficas y performances que reflexionan sobre las condiciones del espectador y exploran las relaciones din&aacute;micas entre el lenguaje, el cuerpo y su representaci&oacute;n, apropi&aacute;ndose de referencias procedentes de la historia de la moda, el cine o la danza. Entre sus exposiciones y performances recientes se cuentan la Fondazione Giuliani, Roma; Galeria Vermelho, Sao Paulo; CAC Grenoble; ICA Studio, Londres; Kunsthalle Lissabon, Lisboa; MACRO, Roma; Deutsche Bank Kunst Halle, Berl&iacute;n; MARCO, Vigo; David Roberts Art Foundation, Londres; Velan Centre for Contemporary Art, Tur&iacute;n; MADRE, N&aacute;poles. <br /> <br /> Daniel Steegmann Mangran&eacute; (1977 Barcelona, ES) es un artista afincado en Rio de Janeiro. Influido por las cosmolog&iacute;as amerindias y la antropolog&iacute;a radical, el trabajo de Steegmann oscila entre experimentaciones sutiles, po&eacute;ticas y crudas que cuestionan la relaci&oacute;n del lenguaje con el mundo no-humano, desafiando cualquier distinci&oacute;n entre naturaleza y cultura. Su trabajo se ha expuesto en Fondazione Giuliani, Roma; CRAC Alsace, Altkirch; Extra City, Amberes; Akademie der Kunste, Berl&iacute;n; CA2M, Madrid; Museu de Arte Moderna, Sao Paulo. Steegmann ha participado en la Trienal del New Museum (2015); la 9&ordf; Bienal de Mercosul (2013); y la 30&ordf; Bienal de S&atilde;o Paulo (2012). <br /> <br /> Zin Taylor (1978 Calgary, CA) es un artista afincado en Bruselas. Las t&eacute;cnicas narrativas, dial&oacute;gicas y discursivas juegan un papel crucial en el trabajo de Taylor, cuya pr&aacute;ctica combina escultura y performance junto con el dibujo, la escritura y la imagen en movimiento. Sus trabajos a menudo toman la forma de proposiciones ambiguas que parecen interrogarse sobre la propia estructura y la sintaxis del lenguaje visual. Entre sus exposiciones recientes se cuentan Portikus, Fr&aacute;ncfort; FRAC Ile-de-France; Le Plateau, Par&iacute;s; Museum of Contemporary Art, Chicago; Kunsthalle Wien, Viena; Kunsthal Charlottenborg, Copenhague; The Artist&rsquo;s Institute, Nueva York; MuHKA, Amberes; KIOSK, Gante; Witte de With, Rotterdam; Bard College, Nueva York; The Power Plant, Toronto. <br /> <br /> Wu Tsang (1982 Massachusetts, US) es un artista, performer y cineasta afincado en Los Angeles. Su trabajo examina aquellas narrativas que configuran nuestra identidad en relaci&oacute;n a los otros. Interesado en la dimensi&oacute;n pol&iacute;tica de distintas comunidades en los m&aacute;rgenes, el trabajo de Tsang est&aacute; directamente inspirado por su implicaci&oacute;n en colectivos trans, queer y migrantes de Los Angeles. Su trabajo ha sido expuesto en ICA, Londres; Migros Museum, Z&uacute;rich; Tate Modern, Londres; Stedelijk Museum, &Aacute;msterdam; MoMA, Nueva York; MOCA, Los Angeles. En 2012, Tsang particip&oacute; en la Whitney Biennial, la Trienal del New Museum, la Bienal de Gwangju y la Bienal de Liverpool. <br /> <br /> Comisario: <br /> <br /> Sabel Gavaldon (1985 Barcelona) es un curador e investigador independiente afincado en Londres. En 2012 se gradu&oacute; del programa Curating Contemporary Art del Royal College of Art. Entre sus proyectos recientes se cuentan las exposiciones &lsquo;M/Other Tongue&rsquo; en Tenderpixel, Londres (2015); &lsquo;Contratiempos&rsquo; en CaixaForum, Barcelona; &lsquo;Llocs comuns&rsquo; en Can Felipa, Barcelona (ambas 2014); y &lsquo;Un museo del gesto&rsquo; en La Capella, Barcelona (2013). &lsquo;Un museo del gesto&rsquo; es un proyecto de investigaci&oacute;n en curso que investiga el potencial del gesto y el estilo como formas de resistencia semi&oacute;ticas adoptadas por las minor&iacute;as pol&iacute;ticas y grupos subalternos. Este proyecto se ha presentado en forma de charlas y talleres en Cittadellarte&ndash;Fondazione Pistoletto, Biella (2015); Lugar a Dudas, Cali, Colombia; y Chisenhale Gallery, Londres (ambas 2014). Otras charlas recientes incluyen &lsquo;On the Relative Size of Things in the Universe&rsquo; en Camden Arts Centre, Londres; y la Architectural Association, Londres (2015). En 2014, Gavaldon fue curador residente del espacio Lugar a Dudas, en Cali, Colombia, con el apoyo de Gasworks y Triangle Network. <br /> <br /> Nuestros agradecimientos a las galer&iacute;as Clifton Bevenevento (Nueva York), Esther Schipper (Berl&iacute;n), Frutta (Roma), Supportico Lopez (Berl&iacute;n) y Waterside Contemporary (Londres). Tambi&eacute;n le estamos agradecidos a Dimitri Jeurissen, Lilou Vidal y al Instituto Italiano de Cultura de Madrid por su apoyo. </span></h3> <p class="MsoNormal">&nbsp;</p> <!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true" DefSemiHidden="true" DefQFormat="false" DefPriority="99" LatentStyleCount="267"> <w:LsdException Locked="false" Priority="0" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="Normal"/> <w:LsdException Locked="false" Priority="9" SemiHidden="false" UnhideWhenUsed="false" QFormat="true" Name="heading 1"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/> <w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/> <w:LsdException 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Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 4"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/> <w:LsdException Locked="false" Priority="67" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/> <w:LsdException Locked="false" Priority="68" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/> <w:LsdException Locked="false" Priority="69" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/> <w:LsdException Locked="false" Priority="70" SemiHidden="false" UnhideWhenUsed="false" Name="Dark List Accent 4"/> <w:LsdException Locked="false" Priority="71" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/> <w:LsdException Locked="false" Priority="72" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful List Accent 4"/> <w:LsdException Locked="false" Priority="73" SemiHidden="false" UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/> <w:LsdException Locked="false" Priority="60" SemiHidden="false" UnhideWhenUsed="false" Name="Light Shading Accent 5"/> <w:LsdException Locked="false" Priority="61" SemiHidden="false" UnhideWhenUsed="false" Name="Light List Accent 5"/> <w:LsdException Locked="false" Priority="62" SemiHidden="false" UnhideWhenUsed="false" Name="Light Grid Accent 5"/> <w:LsdException Locked="false" Priority="63" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/> <w:LsdException Locked="false" Priority="64" SemiHidden="false" UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/> <w:LsdException Locked="false" Priority="65" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/> <w:LsdException Locked="false" Priority="66" SemiHidden="false" UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/> <w:LsdException Locked="false" Priority="67" Mon, 01 Jun 2015 15:22:25 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list - New Orleans Museum of Art - June 26th - October 11th <p style="text-align: justify;">In celebration of the acquisition of a superb Rococo Revival parlor from the Butler-Greenwood Plantation in St. Francisville, Louisiana, this exhibition will feature the parlor in its entirety and component parts, and illuminates its setting, and the taste for revival styles in furniture and the decorative arts prevalent in the mid-19th century South. <em>A Louisiana Parlor: Antebellum Taste and Context</em> is organized by the New Orleans Museum of Art.</p> Mon, 01 Jun 2015 15:14:31 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Willie Birch, Dawn DeDeaux, Isabelle Hayear, Spring Hurlbut, Nicholas Nixon, Christopher Saucedo - New Orleans Museum of Art - May 29th - September 7th <p style="text-align: justify;"><a href="http://noma.org/exhibitions/popup/95" target="_blank"><em>Ten Years Gone </em></a>brings together six artists whose work engages with the broad themes of time, memory, loss and transformation. Timed to coincide with the tenth anniversary of Hurricane Katrina, the exhibition seeks to situate the significance of the past decade within a larger context of human endeavor and life experience through the work of Willie Birch, Dawn DeDeaux, Isabelle Hayear, Spring Hurlbut, Nicholas Nixon, and Christopher Saucedo.</p> <p style="text-align: justify;">&ldquo;We wanted to create an exhibition that not only honors this particular anniversary, but also considers how and why communities and individuals commemorate significant moments in a broader sense,&rdquo; said Susan M. Taylor, director of NOMA. &ldquo;In focusing on works that embody important opposing concepts&mdash;absence and presence, nature and culture, life and death&mdash; <em>Ten Years Gone</em> invites our visitors to consider the present moment as both an ending and a beginning, a chance to reflect on the past but also engage with the future.&rdquo;</p> <p style="text-align: justify;">&ldquo;As the tenth anniversary of Hurricane Katrina approaches, the question of how that event defined New Orleans looms large,&rdquo; said Russell Lord, Freeman Family Curator of Photographs, Prints and Drawings. &ldquo;It is only with the passage of time that the way these events define us becomes clear and in the scope of this city&rsquo;s history, ten years is a small crucible by which to measure the successes or failures of any recovery. <em>Ten Years Gone</em> includes several works that are about time itself, asking us to take a longer view at this pivotal moment.&rdquo;</p> <p style="text-align: justify;">Presented in the second floor Templeman Galleries, the Great Hall, and interspersed throughout the museum, <em>Ten Years Gone</em> creates a series of spaces and juxtapositions that offer a chance to reflect upon the larger issues that an anniversary of a catastrophic event engenders.</p> <p style="text-align: justify;"><strong>Exhibition Overview</strong></p> <p style="text-align: justify;"><em>Ten Years Gone</em> is a multimedia exhibition that includes video, photography, sculpture, and works on paper. Eschewing images of destruction or ruin that so often follow in the wake of tragedy, the exhibition focuses instead on more profound and metaphoric ways of memorializing tragedy and thinking about community recoveries. While some of the works were created in response to Hurricane Katrina, others were a response to different, specific events or to more persistent issues that remain a constant presence in our lives such as ecological issues or personal family life and loss.</p> <p style="text-align: justify;">In the wake of Hurricane Katrina, hundreds of small temporary dwellings produced by crawfish displaced by the changing ecosystem, appeared in artist Willie Birch&rsquo;s backyard. At the same time, new wildflowers grew with great rapidity, reclaiming the yard. Memorializing these temporary natural subjects, Birch cast the dwellings in bronze, and created intricate drawings of the vegetation that take on a slightly menacing air, emphasizing encroachment or colonization. Displayed together in this exhibition, the crawfish dwelling sculptures and drawings of plant-life pose more general questions about the social components of community recoveries.</p> <p style="text-align: justify;">In her <em>Water Markers</em> project, Dawn DeDeaux embeds photographic images of water within tall polished acrylic slabs. The water line in each piece corresponds to a flood level in New Orleans after the levee breaches of Hurricane Katrina. In <em>Ten Years Gone</em>, DeDeaux&rsquo;s <em>Water Markers</em>will be interspersed throughout the galleries, juxtaposed with artworks from different centuries and of different media in order to create a set of conversations that shift back and forth across time, embedding this contemporary artist&rsquo;s reference to Katrina within a broader framework of human representation of landscape and life.</p> <p style="text-align: justify;">Using a watertight encasement for her camera, Isabelle Hayeur visually explores the turbid waters of industrial canals, and high traffic waterways. The natural distortion that occurs when photographing through water produces a strange sense of scale, with small rocks, oyster shells, or underwater plant life often dwarfing the larger man-made structures above. In her images, the line of the water&rsquo;s surface becomes a place of tension, at once a threat and a lure, and reminding us of the fragility of ecological balance.</p> <p style="text-align: justify;">In Spring Hurlbut&rsquo;s video piece, <em>Airborne</em> (2008) the artist appears on screen in front of a black background wearing a respirator mask and opens a container, releasing the fine ash of the cremated remains of deceased acquaintances, including the artist&rsquo;s father. What at first appears to be a clinical lab experiment is quickly transformed into a slow and graceful dance. In combining the personal with the profound, the artist created a piece in which endings are re-staged as beginnings and the reductive finality of death is animated into a vibrant, and often very elegant, afterlife.</p> <p style="text-align: justify;">Since 1975, Nicholas Nixon has photographed his wife and her three sisters each year. This exhibition includes the full set of forty images, tracing the four decades in the lives of these sisters. Although each picture represents a marker of a passing year, it is the space between the pictures in which the lives are truly lived. It is this push and pull, between absence and presence, and the visible and the imagined that gives this project a raw emotional power.</p> <p style="text-align: justify;">Christopher Saucedo created his <em>Floating World Trade Center</em> works as a memorial to both his brother, a New York firefighter who died in the collapse of the towers on September 11th, and to the buildings themselves, with which Saucedo had a long relationship having spent his childhood in Brooklyn. In tufts of white linen pulp pressed into the deep blue of a cotton paper, Saucedo represents the architecture of the site as an almost ineffable presence, floating cloud-like with a weightlessness that upends the physicality of the structures.</p> <p style="text-align: justify;"><em>Ten Years Gone</em> is organized by the New Orleans Museum of Art and is sponsored by an anonymous donor. Additional support is provided by Mr. and Mrs. John Bertuzzi, Tim L. Fields, Esq. and an anonymous donor. The accompanying publication is made possible by American Can Company Apartments.</p> Mon, 01 Jun 2015 15:12:37 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list