ArtSlant - Closing soon en-us 40 - Metropolitan Museum of Manila - February 18th, 2014 - April 8th, 2014 <p>To enhance and nurture the connection of the Filipino community with its international community, the Metropolitan Museum, in partnership with the Japan Foundation, presents the travelling exhibition Winter Garden: the Exploration of the Micropop Imagination in Contemporary Japanese.</p> <p>The exhibition will feature works from 14 acclaimed Japanese artists who will tap on the theme called Micropop, as coined by the curator, Ms. Midori Matsui. Micropop, according to Ms. Matsui, is a combination of the artists' distinct views of the world through the combination of fragments and imbuing the obsolete or the commonplace with new functions or meanings. This exhibition will reflect the struggles of the newer artistic generation in the face of globalization, and will gradually transform the perception of the world with the use of small, but impactful changes on everyday objects.</p> Sat, 08 Feb 2014 00:58:26 +0000 Mona Abaza - Mashrabia Gallery - March 29th, 2014 - April 10th, 2014 <p>All around a former Izba. Inventing an archive, recording memory and daily life in a village.<br /> This exhibition turns around a former cotton estate, an Izba, the house and the offices of this estate and the former workers camp turned today into a village. Two life-worlds, remnants of the previous landowner&rsquo;s life styles and today's village.</p> Sat, 29 Mar 2014 03:53:37 +0000 Hooshang Khorasani - Masur Museum of Art - April 11th, 2014 - April 11th, 2014 <p>Two abstracts by Ruston, La., artist Hooshang Khorasani will be part of the Masur Museum of Art's fifth annual "Off the Wall" event.</p> <p>&nbsp;</p> <p>This silent auction of art by local and national artists will be hosted by the Twin City Art Foundation from 6:30-9:30 p.m. Friday, April 11, 2014.</p> <p>&nbsp;</p> <p>Hooshang's paintings are "Springtime View" (A and B), both 6x6-inch acrylic/mixed media on canvas.</p> <p>&nbsp;</p> <p>In addition to the exhibit and auction, the evening will also include music by Rocket 88 of Oxford, Miss., and the popular Bon Voyage Trip Raffle. Proceeds from the fundraiser support exhibitions and educational programs at the Masur.</p> <p>&nbsp;</p> <p>Tickets for admission are $50 per person, which includes one chance in the Bon Voyage Raffle. Extra chances are $50 each.</p> <p>&nbsp;</p> <p>The Masur is located at 1400 S. Grand St. in Monroe, La. For additional information contact Evelyn Stewart at (318) 329-2237.</p> Tue, 08 Apr 2014 17:40:54 +0000 - Nevada Museum of Art - March 7th, 2014 - April 11th, 2014 <p>The Scholastic Art and Writing Awards, a national competition, was founded in 1923 to identify and document outstanding achievement by young artists and writers in the visual and literary arts. Year after year the program continues to see increased participation from students and communities across the country. In the past six years, submissions have exceeded 1 million works. More than $30 million in awards and scholarships have been awarded. The Scholastic Art and Writing Awards is the longest-running, most prestigious recognition program for creative teens in the U.S., and the largest source of scholarships for young artists and writers. Past award winners include important American artists and writers such as Truman Capote, Robert Redford, Sylvia Plath, Richard Avedon, Cindy Sherman, Andy Warhol and Reno&rsquo;s own Michael Sarich.</p> <p>Since 1999, the Nevada Museum of Art has overseen the Northern Nevada regional visual arts component of The Scholastic Art and Writing Awards. The Museum proudly partners with the Holland Project Gallery to present this diverse exhibition of exceptional artwork, representing the talents of middle and high school students from Carson City, Churchill, Douglas, Elko, Eureka, Humboldt, Lander, Lyon, Mineral, Pershing, Storey, Washoe, and White Pine counties. Submissions were judged on originality, technical skill and the emergence of a personal vision.</p> <p>From over 1,300 pieces of art submitted in 15 categories, a blind panel of four judges selected 53 individual pieces and three portfolios to receive Gold Key awards. Of the Gold Key individual pieces, five were nominated for the American Visions Award. These American Visions nominated works are displayed at the Nevada Museum of Art, while all other Gold Key works are featured in the exhibition at the Holland Project Gallery. Gold Key award winners and American Vision nominees also go on to compete at the national level, where the artworks are juried along with more than 15,000 other works. National award winners are eligible for a number of scholarships and are recognized in a ceremony at Carnegie Hall in New York City. Judges selected 75 additional individual submissions and one portfolio to receive the Silver Key award for outstanding achievement at the regional level. The panel selected 158 individual submissions and 14 portfolios to receive Honorable Mention recognition. Finally, students demonstrating exceptional talent will be awarded scholarships.</p> <p>American Visions Award Nominees will be on display at the Museum. View Gold Key award winning works at the Holland Project Gallery, 140 Vesta Street, Reno.</p> Tue, 18 Mar 2014 06:58:48 +0000 Group Show - Anita Schwartz Galeria de Arte - February 12th, 2014 - April 12th, 2014 <p>Anita Schwartz Galeria de Arte apresenta, a partir de 12 de fevereiro de 2014, a exposi&ccedil;&atilde;o coletiva &ldquo;&Eacute;ter&rdquo;, com 24 obras de 17 artistas representados pela galeria, sendo tr&ecirc;s delas &ndash; dos artistas Gustavo Speridi&atilde;o e Ot&aacute;vio Schipper &ndash; in&eacute;ditas. As demais obras foram produzidas entre 1999 e 2013, em diferentes t&eacute;cnicas e suportes, como pintura, desenho, escultura, instala&ccedil;&atilde;o e <em>site specific</em>.</p> <p>&ldquo;&Eacute;ter &eacute; uma reuni&atilde;o de obras do acervo que preenchem delicadamente o espa&ccedil;o da galeria. Na mostra, encaramos o desafio de selecionar trabalhos que se confundem com o ambiente expositivo, seja por transpar&ecirc;ncias, reflex&otilde;es ou camuflagens. Por isso, o t&iacute;tulo da exposi&ccedil;&atilde;o se refere ao &eacute;ter, no sentido de uma subst&acirc;ncia hipot&eacute;tica, menos densa que o ar, que j&aacute; se acreditou ocupar todo universo&rdquo;, afirma Anita Schwartz.</p> <p>A mostra, que ocupar&aacute; todo o espa&ccedil;o expositivo da galeria, ter&aacute; obras dos artistas Abraham Palatnik, Ana Holck, Angelo Venosa, Antonio Manuel, Carla Guagliardi, Carlos Z&iacute;lio, Claudia Bakker, Daisy Xavier, Estela Sokol, Everardo Miranda, Gustavo Speridi&atilde;o, Ivens Machado, Nuno Ramos, Otavio Schipper, Sabrina Barrios, Waltercio Caldas e Wanda Pimentel. As pinturas &ldquo;Eis que surge&rdquo; e &ldquo;Nuvem&rdquo;, ambas em carv&atilde;o sobre tela, de Gustavo Speridi&atilde;o, e a escultura &ldquo;&Oacute;culos para Ernst Lanzer #3&rdquo;, de Otavio Schipper, foram produzidas no ano passado e ser&atilde;o mostradas pela primeira vez ao p&uacute;blico.</p> <p>Os trabalhos s&atilde;o muitas vezes t&atilde;o sutis que exigem do espectador uma aten&ccedil;&atilde;o, uma entrega do olhar. &ldquo;A exposi&ccedil;&atilde;o busca encorajar os visitantes a contemplarem as obras, propondo um novo olhar sobre o espa&ccedil;o&rdquo;, diz a galerista.</p> Sun, 06 Apr 2014 23:02:35 +0000 Robert Kushner - Carl Solway Gallery - January 10th, 2014 - April 12th, 2014 <p class="ExhibitionText">Robert Kushner's exhibition at Carl Solway Gallery includes paintings from 2010 to the present, a small selection of prints and The Four Seasons, four large-scale paintings recently removed from Cincinnati's Tower Place. The works feature his signature botanical subjects, often set against backgrounds of richly textured geometric patterns. An early participant in the Pattern and Decoration Movement in the 1970s, Kushner continues to draw upon a wide range of influences including the decorative arts of Asian and Islamic cultures; such recognized Western artists as Henri Matisse, Georgia O'Keeffe and Pierre Bonnard; and Asian artists such as the 18th century Japanese painter, Jakuchu Ito, and Chinese painters, Wu Changshi (1844-1927) and Qi Baishi (1836-1957).</p> <p class="ExhibitionText">To quote the artist, "I never get tired of pursuing new ideas in the realm of ornamentation. Decoration, an abjectly pejorative dismissal for many, is a very big, somewhat defiant declaration for me&hellip;The eye can wander, the mind think unencumbered through visual realms that are expansively and emotionally rich. Decoration has always had its own agenda, the sincere and unabashed offering of pleasure and solace."</p> <p class="ExhibitionText">In 1990, Robert Kushner was commissioned to create paintings for the atrium of Tower Place, the shopping mall adjacent to the Carew Tower. Completed in 1930, the Carew Tower is one of Cincinnati's finest buildings from the Art Deco era. The mall was a busy center of downtown activity until many of the stores moved to the suburbs. The Tower Place building was recently sold and Carl Solway Gallery was able to rescue the four paintings, 9 feet by 27 feet each.</p> <p class="ExhibitionText">Best known as a painter, Robert Kushner's prolific artistic output encompasses large-scale murals for public and private spaces, installations, performances and costume designs for dance companies. In 2004, he installed two monumental mosaic murals titled Four Seasons Seasoned at the 77th Street and Lexington Avenue subway station in Manhattan. He recently completed an 80-foot long marble mosaic, Welcome, for the Raleigh Durham International Airport in North Carolina. Kushner's most recent installation, Scriptorium, comprised of over 1000 drawings of flowers and plants on book pages dating from 1500 to 1920, has been exhibited internationally.</p> <p class="ExhibitionText">Kushner's work is included in many major public collections such as The Museum of Modern Art, New York; The Metropolitan Museum of Art, New York, The Whitney Museum of Art, New York; The National Gallery of Art, Washington, D.C.; The Philadelphia Museum of Art; J. Paul Getty Trust, Los Angeles; San Francisco Museum of Modern Art; Tate Gallery, London; Museum Ludwig, St. Petersburg, Russia and the Galleria degli Ufizzi, Florence, Italy. His work has been extensively exhibited since 1973 in the United States, Europe and Japan and was included in the Whitney Biennial three times (1975, 1981 and 1985) and the Venice Biennale twice. He was the subject of solo exhibitions at the Whitney Museum of American Art, the Brooklyn Museum and the Institute of Contemporary Art in Philadelphia.</p> <p class="ExhibitionText">Born in Pasadena, California in 1949, Robert Kushner attended the University of California, San Diego. He was first active in the arts community of southern California and moved to New York City in the 1970s where, as a young artist, he supported himself as a restorer and collector of Oriental carpets. In addition to his artwork, Kushner has written many articles for art publications and, in 2006, edited Amy Goldin: Art in a Hairshirt, a collection of her writings. The late critic was an important professor and mentor to the artist.</p> Sat, 11 Jan 2014 06:32:45 +0000 - Centro de Arte Fundación Ortíz - Gurdian /Banpro - March 18th, 2014 - April 12th, 2014 <p><strong>Nicaraguan Biennial BAVNIC IX</strong><br /> March 18th - April 12th, 2014<br />21 national artists<br />16&nbsp; International artists<br />9&nbsp; locations</p> <h3>Official Inauguration BAVNIC IX</h3> <p class="date_start">When: Tue, March 18, 7:00PM - Tue, March 18, 9:00PM</p> <p class="location">Where: Plaza Espa&ntilde;a, Managua, Nicaragua</p> <p>The official opening event will be held in the recently opened Ortiz-Gurdian/BANPRO Fundation Art Center, Plaza Espa&ntilde;a, Managua, Nicaragua.</p> <p>This year, the biennial will be held in different locations and provinces. <a href="" target="_blank"></a></p> <p>For more information, please contact:</p> <p>Juanita Bermudez <br /><a href="" target="_blank"> </a><a href="" target="_blank"><br /> </a>Tel: 88834837</p> <p>Managua, Nicaragua</p> Mon, 03 Mar 2014 17:27:23 +0000 - Coos Art Museum - March 7th, 2014 - April 12th, 2014 <p>An exhibit of works by students Preschool-12 from Coos, Curry, and western Douglas counties. Sponsored in part by grants from Coquille Tribal Community Fund, Coos County Cultural Coalition and The Autzen Foundation.</p> Sun, 16 Feb 2014 23:57:26 +0000 - Coos Art Museum - March 7th, 2014 - April 12th, 2014 <p>Annual art competition for high school students from throughout southern Oregon. Sponsored in part by Southwestern Oregon Community College Foundation.</p> Sun, 16 Feb 2014 23:58:58 +0000 Juanita Carrasco, Adriana Duque, Federico Pardo, Javier Vanegas - Galeria Fernando Pradilla - March 12th, 2014 - April 12th, 2014 <p>Cuatro artistas colombianos se re&uacute;nen en esta exposici&oacute;n para aportar sus reflexiones y ejercicios creativos apoyados en una disciplina art&iacute;stica que afianza cada vez m&aacute;s su creciente presencia en el panorama del arte contempor&aacute;neo: la fotograf&iacute;a, que como instrumento de creaci&oacute;n, t&eacute;cnica de registro o extensi&oacute;n expresiva de las ideas de los artistas, ha ido impregnando de manera notable las diversas propuestas creativas de la posmodernidad. La fotograf&iacute;a es hoy un lenguaje dominante en casi todos los campos, utilizado por muchos artistas, lo que avala el car&aacute;cter de transversalidad y permeabilidad de los discursos pl&aacute;sticos del arte contempor&aacute;neo.</p> <p><strong>Juanita Carrasco</strong> <em>(Bogot&aacute;, 1977)</em>, <strong>Adriana Duque</strong> <em>(Manizales, 1968)</em>, <strong>Federico Pardo</strong> <em>(Bogot&aacute;, 1982)</em> y <strong>Javier Vanegas</strong> <em>(Bogot&aacute;, 1984)</em> son cuatro fot&oacute;grafos colombianos que registran e interpretan su realidad, definida por un contexto hist&oacute;rico social determinado; son artistas que viven y trabajan en Colombia, pa&iacute;s al que miran y particularizan desde sensibilidades muy distintas. Sus fotograf&iacute;as abarcan tem&aacute;ticas diferentes, y es el tratamiento y el enfoque que le dan a la imagen fotografiada lo que confiere singularidad a cada una de sus propuestas.</p> <p><strong>Juanita Carrasco</strong> construye su obra en torno a la ciudad y el territorio, y se centra en la dualidad de la percepci&oacute;n para documentar una realidad a partir de aproximaciones y alejamientos respecto de la imagen fotografiada, o como lo define la propia artista, combinando una perspectiva macro y una micro para registrar la transformaci&oacute;n de la vida urbana. La obra que se exhibe en la muestra pertenece a la serie Microcosmos, y recrea las m&uacute;ltiples aristas de una ciudad contempor&aacute;nea, su ciudad: Bogot&aacute;, reflexionando sobre el tiempo y el espacio, revelando zonas inconscientes de la geograf&iacute;a que luego construye y articula. El trabajo de Carrasco no se enfoca &uacute;nicamente hacia la fotograf&iacute;a topogr&aacute;fica; ha producido diversas series como &ldquo;El t&iacute;pico Corrientazo&rdquo;, &ldquo;Darse Cuenta&rdquo; o &ldquo;Champeta&rdquo;, en las que busca fragmentos de calles de ciudades, costumbres, comidas, residuos, trabajadores, para luego reutilizarlos en los complejos laberintos que recrea.</p> <p><strong>Adriana Duque</strong> pertenece a ese grupo de fot&oacute;grafos subjetivos que narran historias, sugiriendo algo m&aacute;s de lo que revelan sus im&aacute;genes. A partir de una cuidada elaboraci&oacute;n de la imagen fotogr&aacute;fica, Duque propone situaciones metaf&oacute;ricas a medio camino entre la realidad y la ficci&oacute;n. Las fotograf&iacute;as seleccionadas para la exposici&oacute;n sintetizan los argumentos del cr&iacute;tico Carlos E. Betancourt cuando apunta que &ldquo;algunas im&aacute;genes oscilan entre lo siniestro y la familiaridad de lo cotidiano, en espacios con un car&aacute;cter ambiguo. Sus escenarios son espacios identificables que combinan arquetipos espaciales occidentales con lugares familiares de la cotidianidad dom&eacute;stica colombiana&rdquo;.</p> <p>La imagen como testimonio y documento se convierte en el cuerpo conceptual de la obra fotogr&aacute;fica de <strong>Federico Pardo</strong>, que registra la transformaci&oacute;n de un espacio como medio para conservar la memoria. Las obras de la serie &ldquo;Sucesi&oacute;n&rdquo; que se exponen en esta muestra tienen como punto de partida el relato de un acontecimiento que marc&oacute; la historia de una poblaci&oacute;n colombiana: Armero, que en noviembre de 1985, fue sepultada por una avalancha de lodo que arras&oacute; con todo, pero que tras el abandono y la p&eacute;rdida, encontr&oacute; color en un espacio rebosante de oscuridad.</p> <p>Con estas obras, Pardo se propone retratar un proceso ecol&oacute;gico inevitable. Un proceso de sucesi&oacute;n biol&oacute;gica en el que unas especies colonizan un espacio, permitiendo con su presencia que otras lleguen y se establezcan m&aacute;s tarde. Para el artista, esta serie pretende manifestar el paso del tiempo a trav&eacute;s de la biolog&iacute;a y la ecolog&iacute;a de un paisaje en sucesi&oacute;n. Las fotograf&iacute;as son testigo del ciclo natural de vida-muerte-vida; y se convierten en la mirada de un bi&oacute;logo que rescata lo que existe sobre lo que dej&oacute; de existir. A Federico Pardo le interesa capturar ese fen&oacute;meno biol&oacute;gico de destrucci&oacute;n y construcci&oacute;n, revelando un documento que dialoga con el entorno y los significados que de all&iacute; se derivan.</p> <p><strong>Javier Vanegas</strong>, presenta en esta exposici&oacute;n su serie fotogr&aacute;fica Ampo, t&eacute;rmino que define lo blanco resplandeciente y que se utiliza especialmente para hablar del blanco de la nieve o para resaltar la pureza. En esta serie, su autor &ldquo;intenta reconocer y evidenciar a un grupo social particular haciendo uso de un medio que visibiliza el motivo de su exclusi&oacute;n&rdquo;, y este grupo concretamente es el de los albinos, personas que por una condici&oacute;n gen&eacute;tica determinada carecen de una pigmentaci&oacute;n normal y que, en determinados momentos hist&oacute;ricos, han sufrido segregaci&oacute;n, discriminaci&oacute;n, e incluso persecuci&oacute;n.</p> <p>Vanegas, que en series anteriores hab&iacute;a abordado el tema de la exclusi&oacute;n o discriminaci&oacute;n por condiciones sociales, sexuales, etc., en esta ocasi&oacute;n afinca su discurso vali&eacute;ndose de una t&eacute;cnica fotogr&aacute;fica pr&aacute;cticamente en desuso en la fotograf&iacute;a contempor&aacute;nea, conocida como colodi&oacute;n h&uacute;medo o ambrotipo. Aqu&iacute;, el artista examina las posibilidades expresivas de la propia disciplina fotogr&aacute;fica; se centra en la correspondencia del medio fotogr&aacute;fico y el modelo a fotografiar, enfatizando as&iacute; una relaci&oacute;n de tipo simbi&oacute;tica entre t&eacute;cnica y tem&aacute;tica. Para Vanegas, la soluci&oacute;n t&eacute;cnica empleada en la serie de Ampo &ldquo;evidencia la condici&oacute;n del modelo, en tanto que s&oacute;lo mediante la positivaci&oacute;n a trav&eacute;s de un fondo oscuro, la imagen consigue hacerse visible&rdquo; y es que, parad&oacute;jicamente, s&oacute;lo la irrupci&oacute;n de la oscuridad permite percibir el blanco sobre blanco, el Ampo, en definitiva.</p> Tue, 11 Mar 2014 02:46:23 +0000 Group Show - Galeria Murilo Castro - March 13th, 2014 - April 12th, 2014 Thu, 27 Mar 2014 06:45:51 +0000 Isabel Ribeiro - Galeria Quadrado Azul, Porto - March 8th, 2014 - April 12th, 2014 <div id="bio-tab" class="tab" style="display: block;"> <div class="bio"> <p>Galeria Quadrado Azul, in Porto, opens a solo exhibition by Isabel Ribeiro on March 8, 4 pm. A series of recent works in painting are focused on two topics that have been approached by the artist: the city and the absence. <br /> The term <em>fracciente</em> was freely created by the artist from the collage of the words &lsquo;failure&rsquo; and &lsquo;conscious&rsquo;. This idea runs through the oil paintings and the mural that reveal interior and exterior details of the contemporary city: details which are empty, desolate and without inhabitant.<br />&nbsp; &nbsp;&nbsp;</p> <p>Isabel Ribeiro born in 1976, in Covilh&atilde;, Portugal. Lives and works between Porto and Lisbon. Painting, drawing, sculpture and video are the media used by the artist to represent situations and spaces. For the construction of images she appropriates references from the western literary imaginary or from everyday signage.<br />Starting exhibiting in 2001, she is interested in the diversity of anxieties generated in modernity that have to do with a failure of the individual with his environment: the individual and the collective crisis, the conflict between the individual and the social, transformations of space, forces of change, the constant failure of the movements that advocate change, the loneliness of the fight, dilemmas and the longevity of the community, depression and tedium.<br />A usual procedure in many of her paintings is the production of slightly changes, displacements, new frameworks, the substitution or deletion of elements from the image of reference. They are images indicating places to escape, places that talk about failure. Other works, auto-biographical, are distorted only by the contingency of the technique. <br />The artist&rsquo;s name is also connected to the foundation of Sal&atilde;o Ol&iacute;mpico and Projecto Ap&ecirc;ndice, two of the spaces that arouse in Porto, in the last years, managed by the artists themselves.<br />Most recent exhibitions include, in 2013: the solo intervention in the group project <em>Casa Ocupada</em>, at Casa da Cerca, Almada, Portugal, ant the participation in the group exhibitions: <em>PROYECTOR</em>, Espa&ccedil;o Malmo, Madrid, Spain; <em>War(m) Up</em>, Casa Bernardo, Caldas da Rainha, Portugal. In 2012: <em>Au del&agrave; des mots</em>, R&eacute;sidence Andr&eacute; de Gouveia, Paris, France; <em>Para al&eacute;m das palavras</em>, Espa&ccedil;o Campanh&atilde;, Porto, Portugal; <em>shapes and forces</em>, Galeria Quadrado Azul, Porto, Portugal; <em>Aproxima&ccedil;&otilde;es &agrave; profundidade</em>, Sala do Veado, Lisbon, Portugal; <em>Cinco S&eacute;culos de Desenho na Colec&ccedil;&atilde;o da FBAUP</em>, Museu Nacional Soares dos Reis, Porto, Portugal.</p> </div> </div> Tue, 04 Mar 2014 07:33:25 +0000 Yan Xing - GALERIE URS MEILE Lucerne - February 14th, 2014 - April 12th, 2014 <p class="bodytext">Galerie Urs Meile is pleased to present <span class="intern">Yan Xing&rsquo;s</span> first solo exhibition (*1986 in Chongqing, China; lives and works in Beijing and Los Angeles) in Lucerne. Known as one of the emerging artists on the Chinese contemporary art scene, Yan Xing creates multilayered works using different media such as video, photography, installation and performance. The exhibition will show two of his recent projects, which refer to a variety of sources from art, history, politics, and literature. The artist describes his practice as a &ldquo;unique system of integration,&rdquo; which, at first glance, could be thought of as a practice of reconstructing and quoting. But Yan Xing sees himself as an artist in the avant-garde tradition, who understands art as a kind of game in which the players make their next move according to the rules and actions of their colleagues. So it is only natural that Yan Xing&rsquo;s works refer to, appropriate, and refine the work of other artists who blazed the trail for him. According to avant-garde custom, Yan Xing also writes short, highly articulate texts on his works. These comments tend to obscure rather than convey the work&rsquo;s individual point of origin. But this is really not what they were intended for. With these texts Yan Xing simply situates his work in the context in which he wants them to be regarded. <br />For <em>Arty, Super-Arty</em><sup>1</sup> Yan Xing restaged seven of Edward Hopper&rsquo;s (1882&ndash;1967) famous paintings against a black background, even imitating their famous light contrasts. Unlike the original, he uses film and photography; his images are black and white; his characters are all male, and Yan Xing himself is in every picture. His reinterpretation of Hopper&rsquo;s famously melancholy works emphasizes the lack of communication between the protagonists. Somehow one always seems to be waiting for the other, looking at his vis-&agrave;-vis, who seems withdrawn and unaffected. Yan Xing&rsquo;s intention is to confront Hopper&rsquo;s artistic universe with his more realistic approach. It is as if he is trying out an old ritual on himself, as if he is conducting a kind of experiment to find out if the old rites are still of value to him. As a historical movement, Appropriation Art was mainly concerned with institutional critique, and Yan Xing is also walking in the shoes of his forbears, with the aim of providing insight into the rules and rituals of art itself. A similar topic&mdash;namely &ldquo;the core theme of contemporary art&rdquo;&mdash;is also one of the subjects of the second exhibited project, <em>Two videos, three photographs, several related masterpieces, and American art</em> (2013)<sup>2</sup>. The videos, photographs, installation and marble sculpture extol acts of violence, sex, captivity, and enslavement, while combining modern and classic aesthetics. Wooden dildos, modeled after cultural relics, are presented on a shiny steel plinth next to two whips, a bowl, and a handkerchief. The series of photographs depicts two nude black males engaging in ancient sports, such as archery or javelin throwing; their poses are reminiscent of antique Greek statues and the overall staging was inspired by Robert Mapplethorpe (1946&ndash;1989). The same two models reappear in the video installation, playing flute to a caged bird, next to the Chinese character 寿, which means longevity. This character is also carved in a marble block reminiscent of a gravestone, and thus contradicts its meaning. <br />Despite the variety of different inspirations and allusions, the end result is recognizably Yan Xing, who gives his complex and complicated subtexts a sleek appearance. He combines the different media, connecting ancient Greek sculpture with American photography from the 1960s, American painting from the 1940s, Chinese superstition, queer topics, and theoretical commentary. It is Yan Xing&rsquo;s &ldquo;unique system of integration&rdquo; that turns all these seemingly unrelated interests and aesthetics into a harmonious composition.<br /><br />Yan Xing was born in Chongqing in 1986, and currently lives and works in Beijing, China, and Los Angeles, USA. He graduated from the Oil Painting Department of Sichuan Fine Arts Institute in 2009. Yan Xing has won the <em>Chinese Contemporary Art Award (CCAA) &ndash; Best Young Artist Award</em> and also received a nomination for the <em>Future Generation Art Prize</em> from the Victor Pinchuk Foundation in 2012. His recent major exhibitions include: <em>Building Bridges &ndash; Zeitgen&ouml;ssische Kunst aus China</em>, Wolfsberg, Ermatingen, Switzerland (2013); 2012 <em>Future Generation Art Prize</em>, Collateral Event of the 55th Venice Biennale, Palazzo Contarini Polignac, Venice, Italy (2013); <em>China China</em>, PinchukArtCentre, Kiev, Ukraine (2013); <em>ON | OFF: China&rsquo;s Young Artists in Concept and Practice</em>, Ullens Center for Contemporary Art (UCCA), Beijing, China; <em>Yan Xing</em>, Chinese Arts Centre, Manchester, UK (2012); <em>Unfinished Country: New Video From China</em>, Contemporary Arts Museum Houston (CAMH), Houston, USA (2012); <em>The III Moscow International Biennale for Young Art</em>, Central House of Artists (CHA), Moscow, Russia (2012); <em>The Seventh Shenzhen Sculpture Biennale,</em> OCT Contemporary Art Terminal (OCAT), Shenzhen, China (2012). His works are also in the Rubell Family Collection, Miami, USA; M+ Museum for Visual Culture, Hong Kong; the Yuz Foundation, Jakarta, Indonesia; and the Kadist Art Foundation, Paris, France.<br /><br /></p> <div><hr /> <div id="ftn1"> <p class="bodytext"><sup>1</sup> 2013, 3 film stills, photography (b/w), ultra giclee, 96 x 136 cm (framed), based on single channel HD video, b/w, silent, 9&rsquo;16&rsquo;&rsquo;<br /><sup>2</sup> 2013, video installation, 2-channel digital video (b/w, silent, loop), photographs, sculpture, installation</p> </div> </div> <p class="bodytext">&nbsp;</p> <hr /> <h3><a title="Ai Weiwei " href="">&nbsp;</a></h3> <p class="bodytext">Die Galerie Urs Meile freut sich, die erste Einzelausstellung von <span class="intern">Yan Xing</span> (*1986 in Chongqing, China, lebt und arbeitet in Beijing und Los Angeles) in Luzern auszurichten. Als einer der aufstrebenden Künstler der chinesischen Kunstszene bekannt, kreiert Yan Xing ausdifferenzierte Arbeiten unter Einbezug verschiedener Medien wie Video, Fotografie, Installation und Performance. Die Ausstellung wird zwei seiner jüngsten Projekte zeigen, für die der Künstler Quellen aus den Bereichen Kunst, Geschichte, Politik und Literatur heranzieht. Yan Xing bezeichnet sein Vorgehen als &laquo;eigenes System der Verwertung&raquo;. Auf den ersten Blick k&ouml;nnte dies als künstlerische Praxis verstanden werden, die sich auf das Rekonstruieren und Zitieren konzentriert. Aber Yan Xing sieht sich in der Tradition der Avantgarden und deren Verst&auml;ndnis von Kunst als einer Art Spiel, in dem die Akteure ihre n&auml;chsten Schritte abh&auml;ngig von den Man&ouml;vern ihrer Mitspieler planen. Daher ist es nur konsequent, wenn er sich in seinen Arbeiten auf die Werke seiner Wegbereiter bezieht, diese sich aneignet und sch&auml;rft. Ganz den Gepflogenheiten der Avantgarden verpflichtet, schreibt Yan Xing auch kurze, dichte Texte, die allerdings eher den Ausgangspunkt des individuellen Werkes verunkl&auml;ren, als ihn zu beleuchten. Aber das ist auch nicht das Ziel seines Kommentars; mit ihm ordnet er lediglich sein Schaffen in den Kontext ein, aus dem heraus er es verstanden haben will. In der Arbeit <em>Arty, Super-Arty</em><sup>1</sup> hat Yan Xing sieben ikonische Gem&auml;lde von Edward Hopper (1882&ndash;1967) neu inszeniert. Vor einem schwarzen Hintergrund stellte er sie bis auf ihre berühmten Lichtkontraste nach. Anders als das Original benutzt er Film und Fotografie, beschr&auml;nkt sich auf Schwarz-Weiss und seine Personen sind allesamt M&auml;nner, auch ist er selbst in jedem Bild. In seinen Versionen von Hoppers bekanntermassen melancholischen Arbeiten ist der Mangel an Kommunikation zwischen den Protagonisten versch&auml;rft. Einer der Dargestellten scheint immer auf den anderen zu warten, sein Gegenüber erscheint gleichgültig und verschlossen. Yan Xings erkl&auml;rte Absicht war es, dem künstlerischen Universum von Edward Hopper seinen eigenen realistischeren Zugang entgegenzusetzen. Es ist, als ob er ein Experiment durchführt, um herauszufinden, ob die alten Rituale noch von Wert für ihn sind. Institutionskritik war das Hauptbestreben von Appropriation Art als historischer Bewegung und auch Yan Xing wendet die Methoden seiner Vorg&auml;nger an, um die Regeln und Riten von Kunst zu ergründen. <br />Eine &auml;hnliche Frage &ndash; die nach dem &laquo;Kernthema Zeitgen&ouml;ssischer Kunst&raquo; &ndash; besch&auml;ftigt ihn in der zweiten ausgestellten Werkgruppe <em>Two videos, three photographs, several related masterpieces, and American art</em><sup>2</sup>. Die Videos, die Fotografien, die Installationen und die Marmorskulptur idealisieren Gewaltakte, Sex, Gefangenschaft und Versklavung durch ihre Umsetzung in einer zugleich modernen und klassischen &Auml;sthetik. Auf einem polierten Stahlsockel liegen Holzdildos, Kopien von historischen Fundstücken, neben zwei Peitschen, einer Reisschale und einem Taschentuch. Die Serie von Fotografien zeigt unter anderem zwei nackte, dunkelh&auml;utige M&auml;nner bei der Ausübung klassischer Sportarten wie Speer- oder Diskuswurf. Ihre Posen erinnern an antike griechische Statuen und die Gesamtinszenierung ist von Robert Mapplethorpe (1946&ndash;1989) inspiriert. Dieselben Darsteller kommen in der Videoinstallation vor. Einer von ihnen spielt Fl&ouml;te für einen Vogel, der in einem K&auml;fig gefangen ist, w&auml;hrend gleichzeitig auf dem zweiten Monitor das chinesische Symbol 寿 (zhou) für Langlebigkeit zu sehen ist. Dieses Schriftzeichen ist auch in eine Marmorplatte eingraviert, die an einen Grabstein erinnert und mit dieser Symbolik den guten Wünschen für ein langes Leben zuwiderl&auml;uft. <br />Ungeachtet der Vielzahl an unterschiedlichen Inspirationen und Referenzen ist das Endergebnis immer unverkennbar Yan Xing, der seine komplexen und komplizierten Subtexte in einer aufger&auml;umten und klaren Sprache materialisiert. Er kombiniert unterschiedliche Medien, vereint Skulpturen aus der griechischen Antike mit amerikanischer Malerei der 1940er und amerikanischer Fotografie der 1960er, chinesischem Aberglauben, queeren Themen und theoretischem Kommentar. Sein &laquo;eigenes System der Verwertung&raquo; fügt all diese scheinbar unverwandten Interessensgebiete und Stile zu einem harmonischen Ganzen zusammen.<br /><br />Yan Xing wurde 1986 in Chongqing geboren und lebt aktuell in Beijing, China und Los Angeles, USA. Er schloss 2009 sein Studium der &Ouml;lmalerei am Sichuan Fine Arts Institute ab. Yan Xing hat den <em>Chinese Contemporary Art Award (CCAA) &ndash; Best Young Artist Award</em> gewonnen und war 2012 für den <em>Future Generation Art Prize</em> der Victor Pinchuk Foundation nominiert. Eine Auswahl seiner jüngsten Ausstellungen beinhaltet: <em>Building Bridges &ndash; Zeitgen&ouml;ssische Kunst aus China</em>, Wolfsberg, Ermatingen, Schweiz (2013); <em>2012 Future Generation Art Prize</em>, Collateral Event of the 55th Venice Biennale, Palazzo Contarini Polignac, Venedig, Italien (2013); <em>China China</em>, PinchukArtCentre, Kiev, Ukraine (2013); <em>ON | OFF: China&rsquo;s Young Artists in Concept and Practice</em>, Ullens Center for Contemporary Art (UCCA), Beijing, China; <em>Yan Xing</em>, Chinese Arts Centre, Manchester, UK (2012); <em>Unfinished Country</em>: <em>New Video From China</em>, Contemporary Arts Museum Houston (CAMH), Houston, USA (2012); <em>The III Moscow International Biennale for Young Art</em>, Central House of Artists (CHA), Mosau, Russland (2012); <em>The Seventh Shenzhen Sculpture Biennale</em>, OCT Contemporary Art Terminal (OCAT), Shenzhen, China (2012). Seine Arbeiten befinden sich in den folgenden Sammlungen: The Rubell Family Collection, Miami, USA; M+ Museum for Visual Culture, Hong Kong; Yuz Foundation, Jakarta, Indonesien und The Kadist Art Foundation, Paris, Frankreich.<br /><br /></p> <hr /> <p class="bodytext"><sup>1</sup> 2013, Fotografie (b/w), ultra gicl&eacute;e, 96 x 136 cm (gerahmt), basierend auf Einkanal HD Video, s/w, stumm, 9&rsquo;16&rsquo;&rsquo;<br /><sup>2</sup> 2013, Video-Installation, Zweikanal-Digital-Video (s/w, stumm, Loop), Fotografien, Skulptur, Installation</p> <p class="bodytext">&nbsp;</p> Sat, 25 Jan 2014 03:21:41 +0000 Shepard Fairey - Gallery Speerstra - Bursins - March 15th, 2014 - April 12th, 2014 <p style="text-align: justify;"><span style="font-size: small;">The Speerstra Gallery presents for the first time in Switzerland American street artist Shepard Fairey (OBEY). The "Print Show" presents a selection of 50 prints dated from 2005 untill 2013, the show will be curated by French collector and art specialist J&eacute;rome Catz.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Shepard Fairey is one of the greatest contemporary street artist today. Hailed by his peers since the mid-1990s, his work became recognized worldwide in 2008, when he signed the image of the poster campaign of Barack Obama. Activism, Punk Rock, Skate Kulture are his sources of inspiration. It's propaganda campaign "Obey" associated with the stylized face of the icon, the wrestler Andre the Giant, quickly takes on international proportions. His ability to iconify famous people or noble cause, coupled with his vision of the city and its labor force make him worthy heir to Andy Warhol. The first major art institution to pay tribute to his works has been the ICA Boston in 2009 and Jeffrey Dietch (former director of MOCA) hold the exhibition Mayday at Dietch projects in 2010.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Speerstra Gallery / Jerome Catz </em></span></p> <hr /> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="font-size: small;">La Speerstra Gallery pr&eacute;sentes pour la premi&egrave;re fois en Suisse l'artiste street art Am&eacute;ricain Shepard Fairey (OBEY). L'exposition "The Print Show" pr&eacute;sente une s&eacute;lection de 50 s&eacute;rigraphies datant de 2005 a 2013 r&eacute;unis par la Gallery Speerstra et J&eacute;rome Catz, commissaire de l'exposition.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Shepard Fairey est l&rsquo;un des plus grands street artist contemporain. Acclam&eacute; par ses pairs depuis le milieu des ann&eacute;es 1990, son travail ne fait que monter en puissance jusqu&rsquo;en 2008, date &agrave; laquelle il signe l&rsquo;image du poster de campagne de Barack Obama. Militantisme, Punk-Rock, Skate Kulture sont ses sources d&rsquo;inspiration. Sa campagne de propagande "OBEY" associ&eacute;e au visage stylis&eacute; de son ic&ocirc;ne, le catcheur Andr&eacute; The Giant, prend tr&egrave;s rapidement des proportions internationales. Sa facilit&eacute; &agrave; iconifier des personnages c&eacute;l&egrave;bres ou une noble cause, associ&eacute;e &agrave; sa vision de la Ville et sa force de travail font de lui le digne h&eacute;ritier d&rsquo;Andy Warhol. La premi&egrave;re grande institution artistique &agrave; lui rendre hommage aura &eacute;t&eacute; le ICA de Boston en 2009, puis Jeffrey Dietch (ex-directeur du MOCA) lui &agrave; d&eacute;di&eacute; un de ses Dietch project en 2010 avec l&rsquo;exposition Mayday.</span></p> <p style="text-align: justify;"><em><span style="font-size: small;">Speerstra Gallery / Jerome Catz</span> </em></p> <p style="text-align: justify;"><em><span style="font-size: small;"><br /></span></em><span style="font-size: small;"><strong>Le vernissage aura lieu le samedi 15 mars de 14 &agrave; 18 heures en pr&eacute;sence du&nbsp;commissaire de l&rsquo;exposition Mr J&eacute;rome Catz, ce dernier fera une pr&eacute;sentation g&eacute;n&eacute;rale du travail de Shepard Fairey. D&eacute;but de l&rsquo;intervention &agrave; 16h. dur&eacute;e 30 minutes. &nbsp;Mr Catz est aussi auteur de l&rsquo;ouvrage Street Art Mode d&rsquo;Emploi paru chez Flammarion en juin 2013.</strong></span></p> Thu, 13 Mar 2014 18:52:20 +0000 Goshka Macuga - Index - December 14th, 2013 - April 12th, 2014 <p style="font: normal normal normal 9px/normal Verdana; color: #999999; margin: 0px;"><span class="Apple-style-span" style="font-size: small; color: #000000;">In 2012 Goshka Macuga visited Afghanistan twice to research her project for DOCUMENTA(13) opening that same year. During her stay she visited the Afghan Film Archive in Kabul and learnt about their precarious and endangered operation during the Taliban era. The threats to the archive are due to a constant lack of resources needed to digitize stocks of newsreels, feature and documentary films, and funding to maintain equipment and the premises. Macuga became interested in supporting the archive and decided to buy small strips of film that have been</span></p> <p style="font: normal normal normal 9px/normal Verdana; color: #999999; margin: 0px;"><span class="Apple-style-span" style="font-size: small; color: #000000;">thrown away through the process of digitization. Following extensive email correspondence with an Afghan mediator, she was sent a parcel of 35mm cut offs. Surprisingly, the material turned out to be 19 separate film rolls containing only censored, sexually explicit scenes from foreign and Afghan films.</span></p> <p style="font: normal normal normal 9px/normal Verdana; color: #999999; margin: 0px;"><span class="Apple-style-span" style="font-size: small; color: #000000;">&nbsp;</span></p> <p style="font: normal normal normal 9px/normal Verdana; color: #999999; margin: 0px;"><span style="font-size: small; color: #000000;">For her newly commissioned works presented at Index &ndash; The Swedish Art Foundation in coproduction&nbsp; with BAC &ndash; Baltic Art Center, Visby, the artist proposed to re-edit and recontextualize&nbsp;these censored footages. In re-ordering the material Macuga presents a new&nbsp;comparative reading to the differing perception,&nbsp;norms, conditioning to and permitted exposure&nbsp;of physical intimacy, violence and gender discrimination in Afghan&nbsp;and Western cultures. The&nbsp;display defines a dialogue with the archival material that in <em>Non-consensual Act (in progress)&nbsp;</em>takes the form of a film, prints and documents. Included in the exhibition are excerpts of&nbsp;correspondence uncovering the&nbsp;obstacles, contradictions and opportunities that arose in&nbsp;approaching the material under scrutiny.&nbsp;</span></p> <p style="font: normal normal normal 9px/normal Verdana; color: #999999; margin: 0px;"><span style="font-size: small; color: #000000;">&nbsp;</span></p> <p style="font: normal normal normal 9px/normal Verdana; color: #999999; margin: 0px;"><span class="Apple-style-span" style="font-size: small; color: #000000;">Macuga&rsquo;s practice connects different areas and methods of research. Her inquiries are often focused on institutional histories proposing unconventional associative readings of their social and political histories. Her strategic orchestration of existing materials, collectables and archival documents support the reframing of established narratives.</span></p> <p style="font: normal normal normal 9px/normal Verdana; color: #999999; margin: 0px;"><span class="Apple-style-span" style="font-size: small; color: #000000;">&nbsp;</span></p> <p style="font: normal normal normal 9px/normal Verdana; color: #999999; margin: 0px;"><span class="Apple-style-span" style="font-size: small; color: #000000;">This is not the first time Macuga has worked with materials that have been removed from their source. Her series <em>Untitled </em>(2008) used photographs belonging to a Vietnam War veteran as part of the installation <em>I Become Death</em>, as well as the documentary film <em>Snake Society</em> in collaboration with the anthropologist Julian Gastelo, both shown at Kunsthalle Basel in 2009. In these works she selected images that resonated with her on-going research on Aby Warburg&rsquo;s study of the rituals and iconography of Hopi American Indian art.</span></p> <p style="font: normal normal normal 9px/normal Verdana; color: #999999; margin: 0px;"><span class="Apple-style-span" style="font-size: small; color: #000000;">&nbsp;</span></p> <p style="font: normal normal normal 9px/normal Verdana; color: #999999; margin: 0px;"><span class="Apple-style-span" style="font-size: small; color: #000000;">Born in Poland in 1967, Goshka Macuga lives and works in London since 1989. She has exhibited extensively internationally in solo exhibitions at <strong>Museum of Contemporary Art Chicago</strong> (2012), <strong>Walker Art Center, Minneapolis</strong> (2011), <strong>Zacheta National Gallery of Art, Warsaw </strong>(2011), <strong>Whitechapel Gallery, London </strong>(2010), <strong>Kunsthalle Basel</strong> (2009), and <strong>Tate Britain</strong>, London (2007). Macuga&rsquo;s work was also included in <strong>dOCUMENTA</strong><strong>(13)</strong> (2012), the 53rd</span></p> <p style="font: normal normal normal 9px/normal Verdana; color: #999999; margin: 0px;"><span class="Apple-style-span" style="font-size: small; color: #000000;"><strong>Venice Biennial</strong> (2009), the 5th <strong>Berlin Biennial</strong> (2008) and the <strong>Liverpool Biennial</strong> (2006). In 2008 she was nominated for the prestigious <strong>Turner Prize</strong> contemporary art award.</span></p> <p style="font: normal normal normal 9px/normal Verdana; color: #999999; margin: 0px;"><span class="Apple-style-span" style="font-size: small; color: #000000;">&nbsp;</span></p> <p style="font: normal normal normal 9px/normal Verdana; color: #999999; margin: 0px;"><span class="Apple-style-span" style="font-size: small;"><span style="color: #000000;"><em>Non-consensual Act (in progress)</em> was co-commissioned by <strong>Index &ndash; The Swedish Contemporary Art Foundation</strong> and <strong>BAC &ndash; Baltic Art Center, Visby</strong>. The exhibition is kindly supported by the <strong>Polish Institute Stockholm</strong>, <strong>Andrew Kreps Gallery</strong> and <strong>Iaspis The Swedish Arts Grants Commitee</strong>.</span> <br /></span></p> Fri, 13 Dec 2013 22:51:01 +0000 Galina Kurlat - Lawndale Art Center - February 28th, 2014 - April 12th, 2014 <p><em>Safe Distance</em> explores the intimate relationship between photographer and sitter. This relationship becomes as much about the process of making the images as the final photograph.&nbsp;The slow, tenuous process of creating large format photographs invites the sitter to orchestrate his or her own compositions.&nbsp; Each gesture, conscious or not, informs the viewer, while the direction of the subjects' gaze becomes their choice to reveal or hide. Using Polaroid positive/negative black and white film, a fragile medium that has a tendency to react to changes in temperature and humidity, Kurlat deliberately manipulates the negatives while allowing others to degrade, resulting in a controlled serendipity to dictate the final portrait.</p> Sat, 01 Mar 2014 02:23:43 +0000