ArtSlant - Recently added http://www.artslant.com/ew/Events/show en-us 40 Bill Viola, William Kentridge, Marco Brambilla, Mat Collishaw, Jacco Olivier, Ger Van Elk, Marina Alexeeva, Elisa Sighicelli, Marzia Migliora - Museu Nacional d'Art de Catalunya - May 28th - August 30th <p style="text-align: justify;">Even though painting and moving image art do not represent space and time in the same way, in a significant part of the video production process, that has occurred from the origins of this medium until the present, emerges the 'pictorial unconscious' that becomes the principal&nbsp;<em>leimotif</em><em>&nbsp;</em>of this exhibition.</p> <p style="text-align: justify;">Illumination, color, composition, iconography or staging inform us of a shared vocabulary between both mediums that are extremely interrelated in the works of current video artists in the&nbsp;<strong>Sorigu&eacute; Collection</strong>, such as&nbsp;<strong>Bill Viola, William Kentridge, Marco Brambilla, Mat Collishaw</strong>,&nbsp;<strong>Jacco Olivier</strong>,&nbsp;<strong>Ger Van Elk</strong>,<strong>Marina Alexeeva</strong>&nbsp;or&nbsp;<strong>Elisa Sighicelli &amp; Marzia Migliora,</strong>whose video creations establish a retroactive dialogue with some of the most esteemed works in the collections of the&nbsp;<strong>Museu Nacional d&rsquo;Art de Catalunya</strong>.</p> <p style="text-align: justify;">The film director Eric Rohmer put it very bluntly:<strong>&nbsp;</strong><strong>&ldquo;All organization of forms in the interior of a flat surface stems from prictorial art"</strong><strong>&nbsp;</strong>and Nam June Paik, one of the pioneers of video art, expressed it in a comparable way:&nbsp;<strong>&ldquo;In the same way that a collage has substituted oil painting, the cathode ray tube will replace the canvas".</strong></p> <p style="text-align: justify;">In&nbsp;<strong>The pictorial unconscious</strong>, the video creations establish a retroactive dialogue with some of the most esteemed works in the collection of the&nbsp;<strong>Museu Nacional d&rsquo;Art de Catalunya.</strong></p> <hr /> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">En el marco del Festival Loop 2015, se establece&nbsp;<strong>Un di&aacute;logo entre la colecci&oacute;n de videoarte de la Fundaci&oacute;n Sorigu&eacute; y la colecci&oacute;n del Museu Nacional d&rsquo;Art de Catalunya.</strong></p> <p style="text-align: justify;">Aunque la imagen en movimiento y la pintura no representan el espacio y el tiempo de la misma manera, en una parte significativa de la producci&oacute;n videogr&aacute;fica realizada desde los or&iacute;genes de este soporte hasta la actualidad aflora una suerte de&nbsp;<strong>&ldquo;inconsciente pict&oacute;rico&rdquo;</strong>&nbsp;que se convierte en principal<em>leitmotiv</em>&nbsp;de esta exposici&oacute;n.</p> <p style="text-align: justify;">Iluminaci&oacute;n, color, composici&oacute;n, iconograf&iacute;a o puesta en escena, nos informan de un vocabulario compartido entre la pintura y el videoarte, que alcanza grados de conexi&oacute;n sorprendentes en el trabajo de algunos vide-artistas presentes en la&nbsp;<strong>Colecci&oacute;n Sorigu&eacute;</strong>, como&nbsp;<strong>Bill Viola, William Kentridge, Marco Brambilla, Mat Collishaw</strong>,&nbsp;<strong>Jacco Olivier</strong>,&nbsp;<strong>Ger Van Elk</strong>,<strong>Marina Alexeeva</strong>&nbsp;o&nbsp;<strong>Elisa Sighicelli &amp; Marzia Migliora</strong>, cuyas videocreaciones establecen un di&aacute;logo retroactivo con algunas de las obras m&aacute;s destacadas de la colecci&oacute;n del&nbsp;<strong>Museu Nacional d&rsquo;Art de Catalunya</strong>.</p> <p style="text-align: justify;">El director de cine Eric Rohmer lo planteaba de forma tajante:<strong>&ldquo;Toda organizaci&oacute;n de formas en el interior de una superficie plana, deriva del arte pict&oacute;rico&rdquo;</strong><strong>&nbsp;</strong>y Nam June Paik, uno de los pioneros del videoarte, lo expres&oacute; hace ya m&aacute;s de 40 a&ntilde;os &nbsp;de forma equivalente:&nbsp;<strong>&ldquo;De la misma manera que el collage ha sustituido a la pintura al &oacute;leo, el tubo de rayos cat&oacute;dicos sustituir&aacute; al lienzo.&rdquo;</strong></p> <p style="text-align: justify;">En un sentido an&aacute;logo, el cr&iacute;tico y cineasta Jacques Aumont insist&iacute;a a&ntilde;os despu&eacute;s en que&nbsp;<strong>&ldquo;la historia del cine, por lo menos desde que se convirti&oacute; en apto para ser pensado como arte (&hellip;) no tiene sentido si se separa de la historia de la pintura&rdquo;.</strong></p> <p style="text-align: justify;">En algunos trabajos de los artistas presentes en esta exposici&oacute;n el movimiento f&iacute;lmico est&aacute; retenido, o m&aacute;s bien &ldquo;suspendido&rdquo; por una suerte de &ldquo;temporalidad pict&oacute;rica&rdquo;, de manera que sus im&aacute;genes se construyen como si se tratara de cuadros aut&oacute;nomos, mediante largos planos fijos en los que los movimientos de las figuras se producen de un modo tan ralentizado, que a veces resulta casi imperceptible, por lo que podr&iacute;amos hablar de&nbsp;<em><strong>tableaux vivants</strong></em>&nbsp;en la misma medida en que otros citan composiciones, motivos iconogr&aacute;ficos y puestas en escena que derivan de la pintura mural medieval, renacentista o decimon&oacute;nica. Hablamos pues, de una historia de paradojas ya que los nuevos monitores LCD y las pantallas de plasma extraplanas est&aacute;n abriendo todo un nuevo abanico de posibilidades a quienes intentan "reinventar" la idea de "cuadro" como "pintura en movimiento", para unos, o como "video objeto", para otros, aunque con ello regresen nada menos que a los tiempos del "cuadro transportable", tal y como se entend&iacute;a a finales de la edad media.</p> <p style="text-align: justify;">Se plantea, de este modo, una reflexi&oacute;n sobre las relaciones entre los dispositivos electr&oacute;nicos de registro y edici&oacute;n de im&aacute;genes y los procesos de creaci&oacute;n en pintura, que revelan mecanismos tales como la diferencia entre &ldquo;tiempo de la historia&rdquo; y &ldquo;tiempo del relato&rdquo; que en estas piezas se equiparan, forzando al espectador al placer -<em>ya</em><em>&nbsp;</em>casi olvidado- de la contemplaci&oacute;n. &Eacute;sto no impide que en todas y cada una de estas obras tambi&eacute;n se deslicen contenidos cr&iacute;ticos de orden pol&iacute;tico, social o cultural, plenamente imbricados en la contemporaneidad.</p> <p style="text-align: justify;">Habr&iacute;a que dar la raz&oacute;n, en consecuencia, a quienes se&ntilde;alan que hoy las artes visuales se han convertido en el lugar com&uacute;n de una &ldquo;<strong>pictorialidad difusa&rdquo;</strong><strong>&nbsp;</strong>en la que ya nada es exactamente fotograf&iacute;a, ni exactamente pintura, ni exactamente v&iacute;deo, sino simplemente &ldquo;imagen&rdquo;, y es de hecho, ese valor polis&eacute;mico y deconstructivo de las im&aacute;genes el que ha servido en los &uacute;ltimos a&ntilde;os para la reformulaci&oacute;n de los g&eacute;neros pict&oacute;ricos tradicionales, as&iacute; como para sedimentar las distintas estrategias de hibridaci&oacute;n caracter&iacute;sticas de la producci&oacute;n art&iacute;stica actual. En este sentido, esta exposici&oacute;n no debe ser vista como un s&iacute;ntoma de retorno a las fuentes de la historia del arte, como a la era de la circulaci&oacute;n promiscua de la imagen, aquella que sabe que s&oacute;lo puede ser ya &ldquo;imagen de otra imagen&rdquo;.</p> <p style="text-align: justify;">&nbsp;</p> Tue, 30 Jun 2015 16:11:59 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Reinhold Engberding - Conduit Gallery - June 27th - August 1st <p>Hamburg based sculptor Reinhold Engberding&rsquo;s work addresses the topics of identity, intimacy, privacy, longing and desire. During a recent Artist Residency at CentralTrak with the University of Texas Dallas, Engberding covered the large exhibition space with images of young men, questioning whether they could possibly be his sons. In the installation,&nbsp;<em>Is That My Son</em>, Engberding used images gathered from an online archive of police mug shots.</p> <div id="exhib_info" class="container_24"> <div class="grid_8"> <p>For his Conduit exhibition, Engberding channeled memories of his own experience as an altar boy after having been given Dallas high school band uniforms. The uniforms reminded the artist of liturgical garments which led to a process of de-constructing and flatly re-constructing several uniforms into constellations of pattern and ambiguous form. Along with exposed stitching, the garments are embroidered with words from a poem composed by poet and frequent collaborator, Holger B. Nidden-Grien, a fictional character created by the artist in 1996.</p> <p>Reinhold Engberding studied landscape architecture and Fine Arts in Kassel, Kiel and The Hague. He has lived in Hamburg, Germany since 1982.</p> <div>&nbsp;</div> </div> </div> Mon, 29 Jun 2015 03:31:05 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Wally Cardona - Kelowna Art Gallery - July 4th - September 20th Mon, 29 Jun 2015 03:26:36 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Peter Saul, KAWS, Erik Parker - Centro de Arte Contemporáneo de Málaga - June 26th - September 27th <p style="text-align: center;"><strong>THE CAC M&Aacute;LAGA PRESENTS THE EXHIBITION&nbsp;<em>RESPECT</em></strong></p> <p style="text-align: justify;">&nbsp;<strong>The CAC M&aacute;laga is presenting the exhibition&nbsp;<em>Respect</em>, a selection of four works by three artists of two different generations which aims to create a connecting link between the exhibitions on Shepard Fairey and D*Face also on display. This exhibition, curated by Fernando Franc&eacute;s, consists of two paintings by Peter Saul, considered one of the founding figures of American Pop Art, and one painting each by KAWS and Erik Parker, representing street artists of the generation born around the 1970s. This exhibition has benefitted from the collaboration of the Automotor Premium.</strong>&nbsp;</p> <p style="text-align: justify;">The exhibition&nbsp;<em>Respect</em>&nbsp;brings together three artists: Peter Saul, Erik Parker and KAWS, with a selection of four paintings that will together create a connecting link between the exhibitions on the street artists D*Face, whose career now spans fifteen years, and Fairey, with twenty-five years of creative activity. The exhibition presents four paintings on canvas, two by Peter Saul, one by Erik Parker and one by KAWS.<em>Respect</em>&nbsp;aims to pay tribute to artists who have been reference points and have influenced the work of young and older artists within the context of street art.</p> <p style="text-align: justify;">Peter Saul&rsquo;s early use of comics in reference to Pop culture in his paintings of the late 1950s means that he is now considered one of the founding figures of Pop Art. Saul&rsquo;s work connects this trend with Surrealism and Expressionism. Over the course of his career he has produced more than 800 works which fall into clearly defined phases, such as his distinctive and personal interpretations of the Vietnam War and his subsequent move towards a glamorous representation of poor people, influenced by 19<sup>th</sup>-century painting. Peter Saul is represented in the present exhibition with two canvases entitled&nbsp;<em>Duet</em>&nbsp;(2014) and<em>Future Woman</em>&nbsp;(2013).</p> <p style="text-align: justify;">Erik Parker is characterised by a use of his own inventive architecture and a style distinguished by a preference for neon combined with daring graphic compositions. Parker&rsquo;s paintings are nourished by a range of influences including American psychedelic culture, underground comics, the Chicago Imagists, hip-hop and heavy, as well as artists such as Picasso, Francis Bacon and Roy Lichtenstein. The mixed media on canvas&nbsp;<em>Underground Spiritual</em>&nbsp;(2004), in which the title appears in the work itself, will be on display at the CAC M&aacute;laga until 27 September.</p> <p style="text-align: justify;">The work by KAWS in this exhibition, which was previously exhibited at the CAC M&aacute;laga between March and June 2014, is entitled&nbsp;<em>THIS IS THE WAY (GARFIELD 1)</em>. It offers an example of how this artist transforms icons of popular culture, adding elements characteristic of his work such as the use of the letter &ldquo;x&rdquo; for the eyes. KAWS&rsquo;s images represent creatures with bodies derived from characters in comics, on this occasion the famous cat Garfield from the now classic comic strip.</p> <hr /> <p style="text-align: center;"><strong>EL CAC M&Aacute;LAGA PRESENTA LA EXPOSICI&Oacute;N&nbsp;<em>RESPECT</em></strong></p> <p style="text-align: justify;"><strong>El CAC M&aacute;laga acoge la exposici&oacute;n&nbsp;<em>Respect</em>, una selecci&oacute;n de cuatro obras de tres artistas de dos generaciones diferentes que sirve de puente entre las muestras de Shepard Fairey y D*Face. La exposici&oacute;n comisariada por Fernando Franc&eacute;s est&aacute; constituida por dos pinturas de Peter Saul, considerado como uno de los padres del Pop Art americano, junto a dos pinturas de KAWS y Erik Parker en representaci&oacute;n de artistas urbanos nacidos en torno a los a&ntilde;os 70. En esta exposici&oacute;n colabora Automotor Premium.</strong></p> <p style="text-align: justify;"><strong>&nbsp;</strong></p> <p style="text-align: justify;">La exposici&oacute;n&nbsp;<em>Respect</em>&nbsp;re&uacute;ne a tres artistas como Peter Saul, Erik Parker y KAWS para la exposici&oacute;n<em>Respect</em>. Se trata de una selecci&oacute;n de cuatro cuadros que sirven como puente entre las muestras de dos artistas urbanos como D*Face, con 15 a&ntilde;os de carrera, y Obey, con 25. En&nbsp;<em>Respect</em>&nbsp;se podr&aacute;n contemplar cuatro obras pinturas realizadas sobre lienzos, dos de ellas de Peter Saul, una de Erik Parker y otra de KAWS.&nbsp;<em>Respect&nbsp;</em>es un manera de rendir homenaje a aquellos artistas que han servido de referencia y han influenciado dentro del arte urbano en general a j&oacute;venes y no tan j&oacute;venes.</p> <p style="text-align: justify;">El temprano uso de referencias de dibujos animados en la cultura pop en sus pinturas por parte de Peter Saul a finales de los a&ntilde;os 50 motiv&oacute; que se convirtiese en uno de los padres del&nbsp;<em>Pop Art</em>. Su trabajo conecta esta corriente con el Surrealismo y el Expresionismo. Durante su carrera, ha realizado m&aacute;s de 800 obras en distintas etapas muy definidas, como sus interpretaciones personales de la Guerra de Vietnam y el posterior cambio hacia un tratamiento glamuroso de personajes pobres influenciado por la pintura del siglo XIX. Para esta exposici&oacute;n, Peter Saul aporta dos acr&iacute;licos sobre lienzos tituladas&nbsp;<em>Duet&nbsp;</em>(2014) y&nbsp;<em>Future Woman</em>&nbsp;(2013).</p> <p style="text-align: justify;">Por su parte, Erik Parker se caracteriza por el empleo de su propia arquitectura inventiva y un estilo diferenciado por el gusto por el ne&oacute;n con composiciones gr&aacute;ficas arriesgadas. Sus pinturas se inspiran en diversos elementos como la subcultura psicod&eacute;lica americana, los c&oacute;mics&nbsp;<em>underground</em>s<em>,&nbsp;</em>la Chicago Imagist, el hip hop y el heavy, as&iacute; como artistas como Picasso, Francis Bacon y Ray Lichtenstein.&nbsp;<em>Underground Spiritual&nbsp;</em>(2004)<em>,&nbsp;</em>t&iacute;tulo que puede leerse sobre la propia pintura que se expondr&aacute; en el CAC hasta el 27 de septiembre, est&aacute; realizada por medio de t&eacute;cnica mixta sobre lienzo.</p> <p style="text-align: justify;">En la obra que aporta KAWS, que ya expuso en el CAC M&aacute;laga entre marzo y junio del 2014, a&nbsp;<em>Respect</em>,<em>THIS IS THE WAY (GARFIELD 1)&nbsp;</em>(2013), puede contemplarse c&oacute;mo el artista transforma iconos de la cultura popular, a&ntilde;adiendo elementos caracter&iacute;sticos de su obra, como son las equis en lugar de ojos. Sus im&aacute;genes representan a seres con cuerpo de personajes de dibujos animados. En esta ocasi&oacute;n, se trata del famoso gato protagonista de las ya cl&aacute;sicas tiras c&oacute;micas.</p> <p>&nbsp;</p> Fri, 26 Jun 2015 19:19:15 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Fiona Tan - BALTIC Centre For Contemporary Art - July 10th - November 1st <h3 style="text-align: justify;"><span style="font-size: small;">This summer BALTIC presents a survey exhibition and a major new commission by the Dutch artist and filmmaker Fiona Tan. Born in 1966 in Pekan Baru, Indonesia, Tan works within the contested territory of representation: how we represent ourselves and the mechanisms that determine how we interpret the representation of others.</span></h3> <p style="text-align: justify;"><span style="font-size: small;">Photography and film &ndash; made by herself, by others, or a combination of both &ndash; are her media; research, classification and the archive, her strategies. Her skilfully crafted and intensely human film and video installations explore history, time and our place within them.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The spectacular new commission&nbsp;<em>DEPOT</em>, made especially for our Level 4 gallery, re-imagines &lsquo;Jonah the Giant Whale&rsquo;, a preserved whale exhibited inside a lorry which toured across Europe from the 1950s to the mid-1970s. Tan will rebuild the 71-foot-long vehicle; however, it will now contain a cabinet of curiosities, inviting the viewer to climb aboard. Drawing on Newcastle&rsquo;s forgotten history as a major whaling port, Depot is an exhibition within an exhibition, an immersive presentation that will also include a new film installation incorporating footage from the depots of natural history museums internationally.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition continues on Level 3 with two further significant film installations from Tan&rsquo;s career.<em>Disorient</em>&nbsp;2009 juxtaposes fantasy and the reality of the trade route between Venice and Asia, with a voiceover comprised solely of evocative quotes from Marco Polo&rsquo;s 700-year-old book The Travels.<em>Inventory</em>&nbsp;2012 was filmed at Sir John Soane&rsquo;s Museum in London and presents intimate details of the celebrated architect&rsquo;s personal collection, which is housed in one of the most extraordinary public museums in the world. A contemplative visual essay,&nbsp;<em>Inventor</em>y explores Tan&rsquo;s preoccupation with time, memory and place, and is as much a meditation on the human impulse to collect as a reflection on Tan&rsquo;s artistic practice to date.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>DEPOT</em>&nbsp;is support by Sfumato Foundation with assistance from the Art Fund, the Mondriaan Fund and the Embassy of the Netherlands.</span></p> Fri, 26 Jun 2015 19:09:26 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Marianne Little, Justine Cromb, Helen McPherson, Merle Parker, Carol Rowlands, Birgit Kreuzkamp - Gallery 6NINE - June 17th - July 5th Thu, 25 Jun 2015 16:12:45 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Darron Davies, Greg Ferry, Erich Schipp, Marianne Little, Aneta Bozic - Gallery 6NINE - June 17th - July 5th <h4 style="text-align: justify;">Quiet Land</h4> <p style="text-align: justify;"><em>Darron Davies </em></p> <p style="text-align: justify;">Quiet Land is a selection of landscape photography exploring landscape from a metaphoric perspective. The landscapes carry an intensity, a sense of presence. One image "Beyond" - a Finalist in the 2012 Blake Art Prize - is simply the image of a tree , but it is cave-like, like an entry into another world. Is it natural or is it man-made? What lies beyond? A bike path embankment looks like an ancient face, other images speak through their stillness. Quiet Land explores the mystery, and otherness in landscapes. The best photos speak for themselves: a world of secrets far beyond the footsteps of man.</p> <h4 style="text-align: justify;">Melton Hole</h4> <p style="text-align: justify;"><em>Greg Ferry </em></p> <p style="text-align: justify;">Melton is one of the fastest growing and affordable suburbs in Victoria, located approximately 40Km from Melbourne&rsquo;s CBD. Many people say we are seeing the end of affordable home ownership and in a way to me Melton represents a sad sort of last stand of the Australian dream. The culture of the place I suspect is a direct result of that. I&rsquo;m sure nobody really dreams of living there. Objects past loved, worn out, or so devaluated that nobody wants them also end up here where they may have a new life or final ending. These are small paintings as they are commenced as plein air sketches. This is Melton as I experienced it.</p> <h4 style="text-align: justify;">Voids Between Us</h4> <p style="text-align: justify;"><em>Erich Schipp </em></p> <p style="text-align: justify;">Erich's work is based off a style of abstract expressionism which was inspired and heavily influenced by his mentor and father Heinz Helmut. All paintings produced are hand made from recycled timber and canvas sealed using rabbit skin glue.<br /> This body of work is a collaboration of two painting series. One of which was developed last year based on a solo motorcycle trip around Australia, titled Long Roads. The other half of this exhibition is a body of work developed over the last five years titled Voids Between Us. The purpose of this work is to show the viewer the connection of our own humanity and our understanding of that within the universe we live in. Using deep oil colours, texture and shape to express this idea further</p> <h4 style="text-align: justify;">Scarred Earth</h4> <p style="text-align: justify;"><em>Marianne Little </em></p> <p style="text-align: justify;">This group of works was inspired by the landscape of Wilsons Prom a short time after fire burnt through a large area of the park and left a vertical pattern of black and burnt trees against a scarred horizontal background.<br /> The works are a combination of drawing, photos and manipulated handmade paper.</p> <h4 style="text-align: justify;">unNatural Hybrids</h4> <p style="text-align: justify;"><em>Aneta Bozic </em></p> <p style="text-align: justify;">To control and manipulate the natural<br /> Within shed, laboratories and kitchens<br /> We play at being the creator <br /> Blurring the lines between <br /> Animal, vegetable and mineral<br /> Fauna, flora and ore<br /> Form and functions, transposed and confused<br /> Curious and harmonious<br /> From museum artefact to domestic display<br /> Our gardens of unNatural Hybirds</p> <p style="text-align: justify;">&nbsp;</p> Thu, 25 Jun 2015 16:12:36 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list - GALLERI NICOLAI WALLNER - July 2nd - August 8th Thu, 25 Jun 2015 16:08:11 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Markku Laakso - Galleria Heino - August 8th - September 6th Thu, 25 Jun 2015 16:07:03 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Group Show - Galleri Christoffer Egelund - June 25th - August 15th <p style="text-align: justify;">Galleri Christoffer Egelund proudly presents SUMMERTIME '15, our annual big group show.<br /> <br /> Before we all go on holiday, drop by the gallery and enjoy works by the artists.</p> Thu, 25 Jun 2015 16:01:40 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Ugo Rondinone - Galerie Eva Presenhuber (Maag Areal) - June 13th - July 24th <p style="text-align: justify;">The Galerie Eva Presenhuber is pleased to open an exhibition with new works by Ugo Rondinone on June 13, 2015.<br /> <br /> How do you make a place for yourself in the world? And how, at the same time, do you keep the world at bay? The tide will continually rise or fall, at times precariously. And with it you remain buoyant, or vulnerable. You find ways to protect yourself, you build walls. The walls represent stability, the outer, more formidable layer of our skin. When you inhabit a room long enough, you come to see it as an extension of your own body. To let others inside or come close is rarely without hesitation. Whose windows and doors are always left wide open?<br /> <br /> For some, art is a way of making a place in the world. And not only, for that place can be thought of in terms of memory and a free floating dislocation.<br /> <br /> How do you reconcile the past, account for its traces? Without being held hostage by them, devoted to their maintenance? Rooms left behind, if they mean anything, stay with us. And an empty room, is there any such thing? Every room is inhabited by all who have been there, by those who leave an impression. What occurred there, nearly as visible as contours imprinted on the other side of a bed. What one represents, even in the seemingly abstract, is a longing. For what was, for what might have been, or will be. A particular reality, the illusion of itstruthfulness not easily shaken.<br /> <br /> An invented world can be a place of wonder, as in childhood. Children forever curious about what&rsquo;s behind the door, pressing their faces to the window, hiding behind the wall. The play of hide-and-seek, doesn&rsquo;t it relate to art? Clues, laid out like stepping stones in front of a sleepwalker. Following them, the sleeper dreams vividly in color, eyes wide open.<br /> <br /> We enter the exhibition of Ugo Rondinone.<br /> <br /> As he has so many times before, the artist transforms a room which is not a room, a gallery, a space of claimed neutrality, a white box that awaits its animation. The same can be said of a studio. There are nine free-standing walls. These are paintings that refer to his former studio in New York. Upon moving into the space, Rondinone covered the walls with burlap, and painted them with rows of bricks in various shades of white, as if building a wall, surrounding himself, enveloping himself within. When he moved his studio uptown three years ago, he took them with him and began to repaint them, employing the color spectrum. Just as a wall is a kind of skin, so too is the canvas, and in this case the material of the paintings is oil on burlap, oil that seeps into its pores. In the artist&rsquo;s remark&mdash;&ldquo;My father was a bricklayer, my mother was a seamstress&rdquo;&mdash;we understand that art can sometimes offer a mode of autobiography. The references to the parental activities are shown in the laying of bricks in tidy rows on one side of the painting and the sewing of burlap pieces creating a patchwork on the other side. The symbol of the brick wall has been frequently used by Rondinone. For instance, the sculptural installation from 2006,<em>nestingground</em>, a large black plexiglass wall that forms an L-shaped corner, the implication of a room, inside and out. The outside shows a white brick wall pattern printed on the black plexiglass. The inside shows a cluster of photos pinned to the black tinted plywood wall. The photos show walls, stairs, windows and doors, which the artist took in Matera, the Italian village where his parents grew up.<br /> <br /> It&rsquo;s worth noting that since 1991 there are various video and sculpture works for which paneled wood walls or brickwalls serve as a symbol for isolation. For instance, one projection features a man, seen close-up and in profile, walking past a brick wall that fills the screen. He is in continuous motion yet never arrives anywhere. This video installation from<em>&nbsp;</em>1999 is narratively titled<em>, it&rsquo;s late and the wind carries a faint sound as it moves through the trees. it could be anything. the jingling of little bells perhaps, or the tiny flickering out of tiny lives. i stroll down the sidewalk and close my eyes and open them and wait for my mind to go perfectly blank. like a room no one has ever entered, a room without any doors or windows. a place where nothing happens.</em><br /> <br /> The studio, the place where art is born, has long been a subject for artists. Even to be absent in the picture, they foreground themselves in the activity with which they are occupied, reminding us that art is and isn&rsquo;t conjured out of thin air. And here resides the palpable reality of its magic. We have, throughout the history of art, been allowed into this otherwise unseen place, offered a window onto this necessarily insular, private world. And yet these brick paintings do not replicate studio views, or evidence what goes on there, certainly not in the traditional sense of pictures within pictures. These are brick walls, rendered with paint in red, pink, orange, yellow, green, light and dark blue, black, and white. Impastoed, the paint has been applied with a brush nearly as wide as the brick, a familiar gesture, frosted as it were. There are times when the texture of life insists on being represented. Here, the artist is dealing with the thing itself, transformed. He is, in this sense, a re-maker of reality.<br /> <br /> Other artists have created brick walls. Cady Noland dealt with this image in the early-to-mid &lsquo;90s, with silkscreens on aluminum panels that were set on the floor, leaned against the wall. Somewhat naturalistic, they were printed with red ink, yet in their flatness, their lack of depth, they suggested, as her work so often does, a facade, a prop, a sign of containment and control. More recently, Kelley Walker has been producing &ldquo;brick wall&rdquo; paintings that engage with the circulation of images and how they are embedded within a system, its structure, the allegorical mortar with which it is held in place. For both Noland and Walker, information is always imprinted, always passes through a filter or screen.<br /> <br /> Ugo Rondinone&rsquo;s brick walls offer another sort of architecture, one that relates to the act of painting and, in their installation, to the poetics of space, to intimacy and isolation. The paintings are arranged in the gallery so that the viewer must wend his or her way through the room, a room which has now been overtaken by another. At first, viewers see these walls from the front, the picture plane. Up close the &ldquo;bricks&rdquo; are clearly composed of brushstrokes, with an artifice, a plastic quality that reinforces rather than undermines their physicality. In between the individual bricks, the &ldquo;mortar&rdquo; with which they are held together is raw burlap. Often, at the far left and right edges, and at the top and bottom of the painting, one can see the material clearly, its weave, as if an actual wall was chipped, weathered and worn over time. And yet there is no pretense to trompe l&rsquo;oeil. Quite the opposite. These works are meant to be apprehended as paintings. Paint does not simply hover in space, but must be grounded. And one way to do so is by showing its components. From behind, the viewer can see the full expanse of bare, rough burlap, a material more readily associated with raw goods and manual labor than with a rarefied object and fine art. The back of a painting, an unvarnished surface normally hidden by the clean white gallery wall, now given equal prominence.<br /> <br /> At the end of the space, further movement is impossible. One arrives at a massive, cartoonish door, resolutely sealed. Here, the artist&rsquo;s comment&mdash;&rdquo;My work is naive, childlike&rdquo;&mdash;rings true. This is a door imagined from a fantastic tale of giants, perhaps from a bedtime story, their shuddering footsteps, and the resounding weight of a portal which thunders ominously shut behind them. This door, made manifest, rendered visible without any loss of irreality, is appropriately titled,&nbsp;<em>lax low lullaby</em>. On the way to and from this end-point, the viewer will pass a number of windows, though not in the usual sense framing an external view. They are not transparent. Instead, they reinforce the interiority of the space, its staging of enclosure. Windows and doors have served as symbols for longing and introspection in Rondinone&rsquo;s work since the early &lsquo;90s. The window frames in this exhibition are at once natural&mdash;seemingly wood hewn and rustic, referring directly to the windows in the artist&rsquo;s farmhouse&mdash;and psychedelic. Painted in hues ranging from neutral to candy-colored, they contain, rather than panes of clear glass, opaque glass in purple, canary yellow, midnight blue, with titles like&nbsp;<em>the abyss, the nonbeing</em>, and&nbsp;<em>the vacuum</em>. They are reflective. We don&rsquo;t look outward, but inward. As with the brick wall paintings and the sculpture of the door, these works position us in between spaces, as well as objects within space, that are simultaneously real and imagined. To have been dislocated in this way is not entirely unpleasant. All sorts of sensations, just as memories, may unexpectedly be roused. The painted brick walls, around which we may circulate and lose sight of one another at every turn, create a stage-set, rendering viewers as surrogate performers. This has been the artist&rsquo;s engagement from the very beginning of his life in art, a narrative that loops back as this story continues to unfold.<br /> <br /> In Ugo Rondinone&rsquo;s exhibition,&nbsp;walls + windows + doors, we are reminded how the past is brought to life in the present, and how the here and now, actively inhabited, can be transformative. As we animate and reanimate people and places, as we elevate them in our minds, we make a place for ourselves in the world, and go on.<br /> <br /> <br /> <em>Bob Nickas<br /> New York, Monday, May 18, 2015<br /> On the occasion of the exhibition of Ugo Rondinone at Galerie Eva Presenhuber Zurich 2015</em></p> Thu, 25 Jun 2015 15:54:35 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Group Show - Moscow Museum of Modern Art [17 Ermolaevsky] - July 9th - August 23rd <p style="text-align: justify;">The <em>Origin of Species</em> is the graduation project of a young curator Lena Vazhenina, who majored in Curating Contemporary Art Exhibitions at the School of Contemporary Art <em>Free Workshops</em> in 2015. The project is also a part of the annual exhibition of contemporary art the <em>Workshop&rsquo;2015</em> <em>Sub Observationem </em>/ <em>Under Surveillance</em>.</p> <p style="text-align: justify;">The project is inspired by some quotations from the scholarly works of a natural historian Charles Darwin, notably: &lsquo;<em>There is grandeur in this view of life, with its several powers, having been originally breathed into a few forms or into one; and that, whilst this planet has gone cycling on according to the fixed law of gravity, from so simple a beginning endless forms most beautiful and most wonderful have been, and are being, evolved.&rsquo;</em> Darwin&rsquo;s evolution is continuous; it is the process in constant motion. This very fact hinders our understanding of its details, our comprehension of the whole. We involved the artists who had managed to suspend evolution if only for a moment; they had managed to observe nature and Man, his position in the stream of evolution, they had got the opportunity to try and understand how organisms and cultures live and die. Anyway nature will prevail at long last. Get your eyes off the artworks and just take a closer look at one another &ndash; this very moment evolution is going on in each and every of us.</p> <p style="text-align: justify;"><strong>The exhibition participants</strong>: Maria Ionova-Gribina, Egor Svillar, Mila Nesterova, Maria Vladimirova, Alexander Lyubin, Mariana Fantich and Dominic Young, Lena Vazhenina, Konstantin Karabasov, Anna Nazarova, Jim Wilson (The Ishaya Foundation Publishing), Setxu Xirau Roig, Mrr Chrstms.</p> <p style="text-align: justify;">At the exhibition you can also hear the <em>God&rsquo;s Chorus of Crickets</em> music by Jim Wilson (The Ishaya Foundation Publishing).</p> <hr /> <p style="text-align: justify;">Проект &laquo;Происхождение видов&raquo; является дипломным проектом молодого куратора Лены Важениной, закончившей в 2015 году отделение &laquo;Кураторство проектов актуального искусства&raquo; Школы современного искусства &laquo;Свободные мастерские&raquo;, а также <strong>&ndash;</strong> частью ежегодной выставки молодых художников &laquo;<a href="http://www.mmoma.ru/exhibitions/ermolaevsky17/masterskaya2015_sub_observationem/">Мастерская 2015</a>&raquo;, тема которой &laquo;Sub observationem&raquo; (Под наблюдением).</p> <p style="text-align: justify;">Проект вдохновлен цитатами из научных трудов натуралиста Чарлза Дарвина:&nbsp; &laquo;Есть величие в этом воззрении, по которому жизнь с её различными проявлениями Творец первоначально вдохнул в одну или ограниченное число форм; и между тем как наша планета продолжает вращаться согласно неизменным законам тяготения, из такого простого начала развилось и продолжает развиваться бесконечное число самых прекрасных и самых изумительных форм&raquo;. Эволюция Дарвина непрерывна и находится в постоянном движении. Это мешает нам разглядеть ее в деталях, чтобы понять ее. Мы обратились к художникам, которые смогли на миг приостановить эволюцию, смогли понаблюдать за природой, за человеком и его положением в потоке эволюции, попробовать понять, как живут и умирают организмы и культуры. В конце концов, природа все равно окажется сильнее: отвлекитесь ненадолго от работ художников просто присмотритесь друг к другу, эволюция продолжается в каждом из нас прямо сейчас.</p> <p style="text-align: justify;"><strong>Участники: </strong>Мария Ионова-Грибина, Егор Свиллар, Мила Нестерова, Мария Владимирова, Александр Любин, Mariana Fantich и Dominic Young, Лена Важенина, Константин Карабасов, Анна Назарова, Jim Wilson (The Ishaya Foundation Publishing), Setxu Xirau Roig, Мрр Крстмс.<br />Также на выставке прозвучит музыка Jim Wilson (The Ishaya Foundation Publishing) &laquo;God&rsquo;s Chorus of Crickets&raquo;.</p> Thu, 25 Jun 2015 15:45:19 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Group Show - Moscow Museum of Modern Art [17 Ermolaevsky] - July 8th - August 23rd <p style="text-align: justify;">The Moscow Museum of Modern Art and the School of Contemporary Art <em>Free Workshops</em> present the exhibition <em>Workshop&rsquo;2015</em>: <em>Sub Observationem / Under Surveillance</em>. Among the participants are young artists from Russia and abroad selected by means of competition. This summer it will be the major event of the young art programme of the Moscow Museum of Modern Art. The exhibition will include paintings, videoart, photos, installations, performances and works in other media.</p> <p style="text-align: justify;">The participants of the <em>Workshop&rsquo;201</em>5 reflect on the subject defined by the Latin expression: <em>Sub Observationem</em> (or <em>Under Surveillance</em>). Observation is the most ancient method of acquiring knowledge. Generalizing the data got from observation gave birth to Science. Science in its turn has systematically elaborated the monitoring parameters and has been working on ever more sophisticated observation devices and means to accumulate and analyze the data retrieved. Elaborating the theme the curator offered, artists examine the situation of our everyday life being under total surveillance and recorded on video during every single moment.We are being monitored through video cameras at the entrance halls, in the streets, and at the institutions; we are being unobtrusively observed by means of gadgets allowing to control the movement of an individual and discover his whereabouts with the help of geolocation system; our choice of webpages is tracked to propose us the content we are supposed to get interested in and so forth. We are not even surprised or terrified to find ourselves under close and mostly self imposed surveillance: we tend to take it for granted.</p> <p style="text-align: justify;">The graduation project of a young curator Lena Vazhenina, who majored in Curating&nbsp; Contemporary Art Exhibitions at the School of Contemporary Art <em>Free Workshops</em> in 2015, will also be the part of the exhibition, as well as the final project made by the students from Vladislav Efimov&rsquo;s <em>Studio of Project Photography</em>.</p> <p style="text-align: justify;">The annual exhibition <em>Workshop</em> of the Moscow Museum of Modern Art and the School of Contemporary Art <em>Free Workshops</em> has been held since 2001, and every year it discovers new names on the Russian art scene.</p> <hr /> <p>&nbsp;</p> <p style="text-align: justify;">Московский музей современного искусства и Школа современного искусства &laquo;Свободные мастерские&raquo; представляют выставку &laquo;Мастерская 2015. Sub observationem&raquo;, которая станет главным событием молодежной программы ММОМА этого лета. В выставке принимают участие молодые художники из России и зарубежья, отобранные на конкурсной основе. В экспозиции - живопись, видео-арт, фотография, инсталляции, перформанс и другие виды искусства.</p> <p style="text-align: justify;">Участники &laquo;Мастерской 2015&raquo; размышляют над темой &laquo;Sub observationem&raquo; (или &laquo;Под наблюдением&raquo;). Наблюдение <strong>&ndash; </strong>древнейший способ познания. Обобщение полученных при наблюдении данных породило Науку. Наука, в&nbsp;свою очередь, выработала систему параметров мониторинга и&nbsp;разрабатывает всё более изощрённые приборы наблюдения и&nbsp;средства накопления и анализа полученных данных. Развивая заданную куратором тему, художники анализируют ситуацию тотальной слежки и ежесекундной видео-фиксации нашей повседневной жизни путем установки видеокамер в подъездах домов, на улицах, в учреждениях, а также использования гаджетов, позволяющих ненавязчиво контролировать передвижение человека и обнаруживать его местоположение при помощи геолокации, следить за просматриваемыми страницами в интернете и предлагать заведомо интересный ему контент и&nbsp;т.д. Ощущение нахождения себя &laquo;под колпаком&raquo; (при чем, в большинстве случаев &ndash; добровольного) уже не удивляет и не ужасает, а принимается со смирением.</p> <p style="text-align: justify;">Также в рамках выставки будет представлен дипломный проект молодого куратора Лены Важениной, закончившей в 2015 году отделение &laquo;Кураторство проектов актуального искусства&raquo; (Школа современного искусства &laquo;Свободные мастерские&raquo;, и финальный проект студентов &laquo;Мастерской проектной фотографии&raquo; Владислава Ефимова.</p> <p style="text-align: justify;">Ежегодный выставочный проект &laquo;Мастерская&raquo; Московского музея современного искусства и Школы современного искусства &laquo;Свободные мастерские&raquo; существует с 2001 года и каждый год открывает новые имена российской художественной жизни.&nbsp;</p> <p style="text-align: justify;"><strong>Участники выставки:</strong> ARg_pg, Iron Lily (Дмитрий Пронин), Наталья Александер, Илина Червонная, Ева Аракчеева, Арт-группа &laquo;Untitled&raquo;, София Асташова, Дарья Барыбина, Анастасия Белова, Анастасия Качалова, Мария Богданова, Ильмира Болотян, Данила Булатов, Ольга Бутеноп, Юлия Вергазова, Александр Веревкин, Географ Смирнов, Марина Герасимова, Кирилл Жилкин, Дмитрий Жильцов, Анна Зайидова, Ольга Зиновьева, Лена Зубцова, Маша Ив, Елизавета Извекова, Екатерина Исаева, Анастасия Каплина, Дария Полякова, Оля Захарьева, Ирина Ключникова, Александра Мезенцева, Саша Князева, Сергей Колосов, Олег Комаров, Евгения Косушкина, &nbsp;Евгения Красавчик, Ольга Красуцкая, Кам Лачинский, Вик Лащенов, Мария Макарова, Ипполит Маркелов и группа "18 apples", Наталия Монахова, Катерина Муравьева, Дарья Неретина, Дарья Никитина, Ольга Осипова, Марианна Мангилева, Павел Отдельнов, Федор Петрик, Анна Ротаенко, Наталья Петрова, Дамир Романенко, Ирина Рудниченко, Соня Румянцева, Галия Садарова, Анна Семенова-Ганц, Андрея Слащилин, Яна Сметанина, Екатерина Солодина, Полина Суровова, Алена Терешко, Анна &nbsp;Толкачева, Елизавета Tульчинская, Илья Федотов-Федоров, Михаил Филюшин, Лёля Фролова, Екатерина Царева, Андрей Черкасов, Виктория Щербенко, Фаина Юнусова.</p> Thu, 25 Jun 2015 15:42:50 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Alvaro Seixas - Mercedes Viegas Arte Contemporânea - June 18th - July 18th <p style="text-align: justify;">Em sua segunda individual na Mercedes Viegas Arte Contempor&acirc;nea o artista carioca Alvaro Seixas apresenta uma instala&ccedil;&atilde;o concebida especialmente para o espa&ccedil;o da galeria, constitu&iacute;da em grande parte por in&uacute;meras pinturas, de diferentes t&eacute;cnicas e formatos.</p> <p style="text-align: justify;">Nascido em 1982, Seixas explora em seus trabalhos as ideias de &ldquo;pintura&rdquo;, &ldquo;abstra&ccedil;&atilde;o&rdquo; e &ldquo;apropria&ccedil;&atilde;o&rdquo; e como esses conceitos se relacionam com o panorama art&iacute;stico-cultural atual.</p> <p style="text-align: justify;">O t&iacute;tulo da mostra remete ao popular e elementar programa de computador utilizado para cria&ccedil;&atilde;o de desenhos simples e edi&ccedil;&atilde;o de imagens. Desse modo, o artista investiga o aparente &ldquo;formalismo&rdquo; de suas obras e sugere o car&aacute;ter visualmente ecl&eacute;tico de suas pinturas, nas quais uma s&eacute;rie de procedimentos t&eacute;cnicos ou movimentos art&iacute;sticos distintos como o Construtivismo e o Expressionismo Abstrato s&atilde;o editados, conciliados, rediscutidos e, principalmente, recontextualizados.</p> <p style="text-align: justify;">Um dos destaques da instala&ccedil;&atilde;o &eacute; uma s&eacute;rie de pinturas nas quais o artista emprega tintas spray neon, multicoloridas e de grande luminosidade, associadas a materiais tradicionais como a tinta &oacute;leo, conferindo grande vibra&ccedil;&atilde;o &oacute;tica &agrave; superf&iacute;cie pict&oacute;rica e colocando em contato certos elementos do vocabul&aacute;rio hist&oacute;rico da pintura com artigos e ferramentas industriais recentes. Algumas das telas que integram a mostra s&atilde;o dotadas de estruturas met&aacute;licas que conferem um aspecto c&ecirc;nico e pouco usual a tais objetos, explorando os limites f&iacute;sicos e conceituais da &ldquo;pintura&rdquo;.</p> <p style="text-align: justify;">Doutor em Linguagens Visuais pela UFRJ, Seixas foi o mais jovem dos artistas selecionados em 2014 para concorrer &agrave; 5&ordf; Edi&ccedil;&atilde;o do Pr&ecirc;mio CNI-SESI Marcantonio Vila&ccedil;a para as Artes Pl&aacute;sticas e atualmente participa de uma mostra coletiva associada &agrave; premia&ccedil;&atilde;o, em exibi&ccedil;&atilde;o no MAC-USP, S&atilde;o Paulo.</p> <p style="text-align: justify;">Dentre suas principais exposi&ccedil;&otilde;es se destacam as coletivas &ldquo;Rumos Ita&uacute; Cultural Artes Visuais &ndash; Trilhas do Desejo&rdquo; (2008-2009, Instituto Ita&uacute; Cultural, S&atilde;o Paulo; Pa&ccedil;o Imperial, Rio de Janeiro); &ldquo;Pal&aacute;cio&rdquo; (2012, Pr&ecirc;mio Projeteis Artes Visuais, Funarte, Pal&aacute;cio Gustavo Capanema, Rio de Janeiro); &ldquo;Ornamentos&rdquo; (2013, A Gentil Carioca, Rio de Janeiro), e a individual &ldquo;Keep Dripping&rdquo; (2012, tamb&eacute;m na galeria Mercedes Viegas).</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">O curador Raphael Fonseca assina o texto cr&iacute;tico sobre a mostra.</p> Thu, 25 Jun 2015 15:38:13 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Group Show - Mai 36 Galerie - Showroom - June 12th - July 31st Thu, 25 Jun 2015 15:35:59 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Marte Eknæs, Marianne Hurum - Kunstnernes Hus - June 17th - August 30th <p style="text-align: justify;">Kunstnernes Hus har gleden av &aring; invitere til ny vernissage for Foaj&eacute;utstillinger, en utstillingsserie som ble innledet i 2014. Denne sommeren stiftes bekjentskap med to yngre norske kunstnerskap. Marte Ekn&aelig;s og Marianne Hurum har sammenstilt en utstilling best&aring;ende av et titalls verk med utgangspunkt i to sammensatte kunstnerposisjoner som deler en rekke felles interesseomr&aring;der. I Foaj&eacute;en p&aring; Kunstnernes Hus vil samarbeidet kretse rundt en parallell unders&oslash;kelse av formale og mediespesifikke problemstillinger innenfor maleri og skulptur. Gjennom en rekke tilsynelatende forr&aelig;derisk enkle grep vil kunstnerne komplisere Foaj&eacute;ens aktive og ukonvensjonelle utstillingsrom.</p> <p style="text-align: justify;">Marianne Hurum viser en ny serie malerier p&aring; en eksisterende, tempor&aelig;r veggarkitektur i Foaj&eacute;en. Hurum har tidligere utforsket maleriets ulike grenseland gjennom &aring; eksperimentere med ulike presentasjonsmodus og monteringsanordninger, gjennom &aring; t&oslash;ye og manipulere blindrammer, og gjennom fotogram. Malerier som vises p&aring; Kunstnernes Hus er fulle av liv; velsminkede &oslash;yne blinker mot betrakteren og en tubelignende figurasjon snor seg frem over overflaten som et m&ouml;biusb&aring;nd uten begynnelse og slutt.</p> <p style="text-align: justify;">Ekn&aelig;s skulpturale oppdagelsesreiser i ulike materialer festes p&aring; den andre siden p&aring; fast grunn, p&aring; s&oslash;ylene i sandsten. Om Hurums malerier kan sees som en lek med ideen om en slags fiktiv skulptur, finner vi b&aring;de maleriske og minimale hard-edge kvaliteter i Ekn&aelig;s frih&aring;ndsb&oslash;rstede metallplater og myke oppbl&aring;sbare flytemadrasser som spennes rundt stenen p&aring; vei opp Foaj&eacute;ens b&aelig;rende arkitektoniske komponenter. Formen har sitt hjem i en urban verden der arkitektur kompletteres med produktestetikk og grafisk design. Ekn&aelig;s tittler understreker verkenes ubestemmelige funksjon, eller indikerer kanskje et potensial i framtidige, mulige anvendelsesomr&aring;der.</p> <p style="text-align: justify;">Neste Foaj&eacute;utstilling: Martin Creed, november 2015.</p> <p style="text-align: justify;">Foaj&eacute;utstillinger vises i samarbeid med Advokatfirmaet DLA Piper Norway DA.</p> Thu, 25 Jun 2015 15:33:20 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list