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The Contemporary Arts Museum Houston is pleased to present The Andy Monument\, October 2012 – April 2013\, on the Museum’ s front lawn at the corner of Bissonnet and Montrose in the heart of the Ho uston Museum District. Inspired by Andy Warhol’s art and life\, New York-ba sed artist Rob Pruitt created the seven-foot tall sculpture as a tribute to the late Pop artist. The ribbon cutting ceremony formally welcoming The Andy Monument to Houston will take place on Saturday\, October 20\, 6-8PM\, with speci al guest Lynn Wyatt performing the honors.

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“We are thrilled to bring Rob Pruitt’s Andy Monument to Houston. This piece graced the spo t outside of the old Warhol Factory in Union Square in NY\, and it was so p opular with area residents that its tenure there was extended twice. It is a piece that makes people first curious and then happy. Even as a young tee nager I found in the persona of Andy Warhol license to be the person I want ed to be\, and I think that experience is common for many people who learne d to love art via Warhol. They will now have a suitable pilgrimage site in Houston\,” says Director Bill Arning.

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Pruitt’s sculpture adapts and transforms the familiar tradition of classical statuary. The figure is bas ed on a combination of digital scanning of a live model and hand sculpting\ , its surface finished in chrome\, mounted atop a concrete pedestal. Andy W arhol (1928-1987) was an American artist and is considered the quintessenti al Pop artist\, celebrating fame\, wealth\, and glamour and in so doing cha nging the course of both popular culture and art history—inspiring most art ists who have risen to fame in the past 30 years in significant ways. In hi s larger than life persona Warhol remains one of New York's enduring icons. Today his iconic images of the Campbell Soup can\, Elvis\, or Warhol are s o ubiquitous to appear safe but it’s not hard to remember how strange and d ownright dangerous these were when they were first hung in museums. Pruitt’ s sculpture depicts Warhol as a ghostly\, silver presence: a potent cultura l force as both artist and self-created myth.

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Warhol spent some tim e in Houston in the 1960s and ’70s when John and Dominique de Menil brought him to town replete with his superstars in tow. He became a confidant of t he de Menils and found a number of portrait commissions here\, including Mr s. de Menil\, Caroline Wiess Law\, and Lynn Wyatt. In Houston\, people can view works by Warhol at both The Museum of Fine Arts\, Houston\, and The Me nil Collection\, which has major holdings of his work\, including iconic pa intings such as Lavender Disaster (19 73) (from the Electric Chair series\, currently on view) and of the Campbel l’s Soup can.

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The Andy Monument was organized by Public Art Fund and was originally on view in Union Squ are\, New York\, March 30\, 2011 – September 4\, 2012\; the exhibition was curated by Nicholas Baume\, Director and Chief Curator of the Public Art Fu nd. “Inspired by Warhol and his story\, Rob moved to New York as a young ma n and even met Warhol when he visited the ‘Factory’ to interview for a job. Rob’s memory of the artist that day formed the vision for this sculpture\, and I think that personal connection will resonate with many who come to v isit\, just as it does with me\,” said Baume.

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CAMH was able to rais e part of the funds necessary to bring the sculpture to Houston through onl ine crowd-funding campaign launched on indiegogo.com\, which received both local and national press.

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ABOU T ROB PRUITT

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Rob Pruitt’s work is rooted in a pop sensibil ity and a playful critique of art world structures. His conceptual projects have included performance-based artworks like his recent Art Awards that were presented at the Solomon R. Guggenheim Museum (2009 and 2010) and modeled after Hollywood awards ceremonies\, as well as simple gestures that promote possibilities for creativity in everyday life\, as demonstrate d in the series 101 Art Ideas You Can Do Yourself (2001). His work is always characterized by an incisive humor and exuberant visual flair. P ruitt lives and works in New York City.

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DTEND:20130430 DTSTAMP:20140711T153718 DTSTART:20121008 GEO:29.726257;-95.391068 LOCATION:Contemporary Arts Museum Houston\,5216 Montrose Boulevard \nHousto n\, TX 77006 SEQUENCE:0 SUMMARY: The Andy Monument\, Rob Pruitt UID:261014 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Eine ungewöhnliche Idee stieß auf ungewöhnliche Resonanz: TA LENT ! ALERT - diesen Aufruf startete die Galerie und forderte damit noch u nbekannte Nachwuchs-Fotokünstler auf\, ihre Arbeiten einzusenden. Innerhalb weniger Tage erreichten die Galerie fast 200 Einsendungen. Aus ihnen wurde n 15 ausgewählt\, um ihre Werke bis zum 30. April 2013 in der Galerie auszu stellen. Zu sehen sind über 60 Arbeiten aller Genres.

DTEND:20130430 DTSTAMP:20140711T153718 DTSTART:20130410 GEO:53.5481314;10.0021784 LOCATION:Flo Peters Gallery\,Chilehaus C Pumpen 8 \nHamburg \, 20095 SEQUENCE:0 SUMMARY:TALENT ! ALERT\, Andreas Rehmann\, Rainer Harf\, Antje Bakker\, Bri tta Kirst\, Carsten Minkwitz\, Dorthe Peperkorn\, Lars Lindemann\, Geiser-B orgwardt\, Jonas Maron\, Laura J Gerlach\, Marius Tegethoff\, Benno Riffel\ , Christian Stemper\, Olaf Roessler\, Doc Heinrich UID:270468 END:VEVENT BEGIN:VEVENT DTEND:20130409T203000 DTSTAMP:20140711T153718 DTSTART:20130409T173000 GEO:53.5481314;10.0021784 LOCATION:Flo Peters Gallery\,Chilehaus C Pumpen 8 \nHamburg \, 20095 SEQUENCE:0 SUMMARY:TALENT ! ALERT\, Antje Bakker\, Geiser-Borgwardt\, Laura J Gerlach\ , Rainer Harf\, Doc Heinrich\, Britta Kirst\, Lars Lindemann\, Jonas Maron\ , Carsten Minkwitz\, Dorthe Peperkorn\, Andreas Rehmann\, Benno Riffel\, Ol af Roessler\, Christian Stemper\, Marius Tegethoff UID:270469 END:VEVENT BEGIN:VEVENT DESCRIPTION:

El proyecto de Javier Díaz-Guardiola analiz a cómo un nutrido grupo de creadores actuales son testigos de las desviacio nes que ofrecen los medios de masas en el ejercicio de su actividad comunic ativa. Son jóvenes artistas que trabajan con los contenidos de los media\, y que en muchas ocasiones los utilizan como soporte de sus propios trabajos y reflexiones. “Matar al mensajero…” está integrada por doce artistas que presentan propuestas plásticas muy diversas.

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Carlos Aires (Ronda\, 1974) exhibe un conjunto de 16 fotografías interv enidas con incisiones de oro\, pertenecientes a la serie Long Play. El arti sta se introduce en los grandes archivos\, en este caso los de ABC\, la Bib lioteca Nacional y el Fotomuseum de Amberes\, recopilando imágenes asociada s a un concepto determinado. Es una nota característica de estos trabajos l a introducción de letras doradas\, de cierta caligrafía gótica\, que hacen referencias a títulos de famosas canciones pop.

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Ignacio Bau tista (Madrid\, 1982) utiliza el papel periódico como sop orte y sobre él dispone una doble página original de un diario\, no importa su ideología. A su lado\, la misma doble\, es intervenida por el artista\, mediante el uso de barras y lápices de pastel sobre el original. En ellas\ , los representantes políticos y jefes de Estado que ilustraban las informa ciones se desvanecen\, de forma que las apariencias de los valores que repr esentan se ocultan y\, al tiempo\, se revela el poder oculto\, invisible de la imagen en nuestros medios de comunicación. Una vez que los políticos de sparecen\, solo quedan los decorados de sus representaciones\, verdaderos e scenarios del poder\, ahora atrezo manierista y retórico.

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A lejandro Bombín (Madrid\, 1985) reproduce al milímetro\, sobre lienzo o papel\, algunas imágenes extraídas de medios impresos\, peri ódicos y revistas. Para ello\, va acotando sus partes\, cubriendo el resto\ , y reproduciendo poco a poco lo que queda al descubierto. El resultado fin al\, como en el caso de trabajos como Cierre u ¡Oiga\, mire! (2012)\, inten ta ser lo más fiel posible al original\, pero la imposibilidad de haber rea lizado la labor de forma global\, sino por fragmentos\, da como resultado i mperfecciones\, fronteras borrosas\, piezas que no casan… Una especie de es caneado de naturaleza física pero realmente mental. Porque a Bombín le inte resa el concepto de desobjetualización de la información\, la desaparición de los formatos impresos y cómo buena parte de nuestra memoria aún está alb ergada en un formato analógico. La pintura inmóvil intenta atrapar cierto m ovimiento.

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Salvador Díaz (México\, 1977) también se sirve de las páginas de los periódicos para intervenirlas\, con capas y capas de pintura. Sus intervenciones eliminan fragmentos de texto\, subrayan determinados iconos\, complementan la información\, la resaltan\, dan su lectura personal… El resultado final es una expresiva malla de elem entos y mensajes en las que se solapan las referencias\, se cruzan los moti vos\, se reafirman o se contradicen. Son las noticias de la noticia. Nuevos titulares. Nuevos puntos de vista\, basados en la potencialidad de la pint ura\, que una vez más se defiende de las acusaciones de estatismo.

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Juanma Carrillo (Logroño\, 1978) y Félix Fernández (Lugo\, 1977) presentan un proyecto colectivo: el vídeo This Leak\, con la colaboración del músico Rubeck. La pieza audiov isual nació pensada como videoclip\, desarrollada por un creador como es Ca rrillo que navega entre las aguas del vídeo y el cine\, y por el artista y performer Félix Fernández\, que amplifica las posibilidade s plásticas de la imagen en movimiento. La obra sitúa a su protagonista\, u n broker que trabaja en Wall Street en la ciudad de Nueva York\, inmerso en la maraña de relaciones impuestas por el sistema capitalista y afectado po r sus decisiones\, que difícilmente puede controlar. Las noticias extractad as de los diferentes medios de comunicación audiovisuales norteamericanos ( que oímos de fondo) se convierten en una especie de banda sonora que termin a martilleando su conciencia. Es así como el vídeo nos conecta con una ener gía de cambio y un proceso catártico personal\, que confirma que ninguna no ticia nos es ajena.

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Daniel Martín Corona (Madr id\, 1980) exhibe nuevos dibujos a lápiz de su serie 3-2-1. El artista se centra en la realidad que pretenden vender los medios audiovisuales. Pa ra ello\, toma los telediarios de las más destacadas cadenas nacionales e i nternacionales y las reduce a sus líneas maestras en función de cuatro pará metros: logo\, sintonía de cabecera\, infografía empleada y la mesa sobre l a que trabajan los presentadores. El resultado es una especie de universo f uturista\, más virtual que real\, de unos medios que se esfuerzan por hacer nos creer estar lo más cerca posible de “la verdad” y del “mundo real”. Eso s mismos escenarios son intercambiables (lo mismo da llamarlos RTVE o BBC)\ , dado que lo que menos importa es la información con la que “se rellenan”. Con sus obras en papel\, Corona los reduce a sus esencias en pocas líneas\ , tan frágiles como manipulables.

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Carlos Salazar Arenas (Bogotá\, 1973) presenta obras en las que la intención va má s allá de lo meramente documental\, proponiendo una mirada crítica e irónic a de la realidad circundante. Valiéndose de las portadas de diferentes peri ódicos internacionales presenta su serie de papeles de “Primera plana” que dejan de lado el poder de los grandes titulares\, para obligarnos a reparar en la fuerza de la imagen\, irreal por descontextualizada. Real por manipu lada.
Miguel Soler (Sevilla\, 1975) presenta una animación visual con formada por un cubo suspendido en el espacio que va rotando\, y en cada una de sus caras nos muestra el logo de un medio de comunicación: radio\, tele visión\, prensa\, agencias de noticias… Son más de un centenar. Cada uno es diferente del anterior. Cada uno nos ofrece el poder de su marca y la idea de ser el único que nos entregará la verdad absoluta. Pero\, en esa danza enigmática\, todos nos terminan pareciendo iguales.

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Los dibujos rec ientes de la serie “Cada día en superficie es un día bueno”\, de la frances a Françoise Vanneraud (Nantes\, 1984) estén llenos de blancos\, de vacíos\, de información ausente. Vanneraud reproduce las portadas de los grandes di arios internacionales\, pero solo copia en blanco y negro\, aquellas notici as con un sentido positivo. Fuera quedan catástrofes\, crímenes\, casos de corrupción… Pero se nos congela en cierta manera la mirada al comprobar cóm o gran parte de estas informaciones están relacionadas con la frivolidad\, con la cultura como comparsa\; en definitiva\, con lo superfluo.

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Diego Vallejo (Salamanca\, 1986) rescata imágenes d e los medios a las que dota de una segunda oportunidad. Las obras de su ser ie “Incidentes” surgen como evidencias visuales de paisajes en los que\, om itiendo los textos de la noticia en las que tienen su origen\, su contexto se torna en un lugar de sucesos. La imagen\, que pasó a ser una representac ión a partir de la toma fotográfica con intención periodística\, queda así de nuevo representada y rescatada de su intencionalidad primera para mostra r las alteraciones visuales de la instantánea en la prensa.

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Roberto Villalón (Ermua\, 1973) analiza de forma irónica los excesos del mundo de arte. Su cámara recorre algunas inauguraciones ex positivas recientes para conformar un mosaico de cierta “fauna” que pulula por esos actos sociales y los chispazos de irrealidad que en ellos se suced en.Gente que transforma toda esta parafernalia\, a veces caduca en sus form as\, en su propio medio. Un medio que\, como los de masas\, debe ser analiz ado.

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Martín Vitaliti (Buenos Aires\, 1978) entiende el conjunto de viñetas como si de un mapa –a veces mental– se tr atara\, donde la historieta dota de desarrollo espacial al tiempo\, formali zándolo esquemáticamente y seriándolo. Nuevos ecosistemas para personajes t an conocidos como El Capitán Trueno\, Asterix o Los Cuatro Fantásticos. La capacidad narrativa del formato se reconstruye y se amplía.

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Febrero 2013

DTEND:20130430 DTSTAMP:20140711T153718 DTSTART:20130208 GEO:40.4228864;-3.6868107 LOCATION:Galeria Fernando Pradilla\,Claudio Coello 20 \nMadrid\, Spain 2800 1 SEQUENCE:0 SUMMARY:“Matar al mensajero” Jóvenes artistas y medios de masas\, Martín Vi taliti\, Roberto Villalón\, Diego Vallejo\, Carlos Salazar Arenas\, Daniel Martín\, Juanma Carrillo\, Félix Fernández\, Salvador Díaz\, Alejandro Bomb ín\, Ignacio Bautista\, Carlos Aires UID:267502 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Referred to as a "radial radical\," the African American con temporary artist Chakaia Booker used tires as her primary material in const ructing these large-scale sculptures on loan from Marlborough Gallery\, Che lsea\, N.Y. Spiky\, dark\, imposing and beautiful\, these works interact wi th the museum's peaceful\, minimalist sculpture garden in new ways. Booker\ , who received her MFA from the City College of New York\, has work in the collections of the Metropolitan Museum of Art\, the Studio Museum in Harlem and the National Aeronautics and Space Administration (NASA)\, among many others. She also designs clothing and accessories from rubber and creates h eadpieces from unconventional materials.

DTEND:20130430 DTSTAMP:20140711T153718 DTSTART:20120430 GEO:33.9447369;-83.3790812 LOCATION:Georgia Museum of Art\,90 Carlton Street University of Georgia \n Athens\, GA 30602-6719 SEQUENCE:0 SUMMARY:Defiant Beauty\, Chakaia Booker UID:220992 END:VEVENT BEGIN:VEVENT DESCRIPTION:

POST is an exhibition series for which the invited artists s end the works and materials by post. The staff at Kunsthal Charlottenborg i s responsible for installing the exhibition following the artist's enclosed instructions. The exhibition series started 1 February 2013

Wal ead Beshty is the third artist presented in the exhibition series POST.

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In his early works the theme of ‘in-between ness’ is literally represented in the sites he chose to photograph… depicti ng locations trapped in a state of geographic and temporal limbo\, neither fully abandoned\, nor actively integrated in the urban context. More recent ly\, this engagement with the in-between has grown into a means of producti on\, making use of such mundane procedures as air travel or sending a packa ge\, activities that usually recede into the background of an artist’s prod uctive life… From his early inquiries into the problem of photographic tran sparency\, the means of production and how the work enters the world has be come a chief concern.” - Jacob Fabricius\, foreword to Natural His tories (JRP|Ringier\, 2011)

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For POST Walead Beshty developed a new project that\, in addition to being sho wn in the exhibition hall\, will take place in the offices of Kunsthal Char lottenborg and at the Art Academy\, on the other side of the yard. Using ha ndbills and posters scavenged from his neighborhood in Los Angeles\, Beshty plays with how global themes that are as pertinent to Los Angeles as they are to Copenhagen (the credit crisis\, unemployment\, and predatory loaning practices)\, are expressed in the vernacular of the local\, in forms that are sometimes only legible when taken out of context. Taking the term “post ” as his point of departure\, Beshty uses “postings” or public solicitation s\, to explore this question of the local. The paternalistic tone of voice present in the signage is drawn into conflict with its new surroundings\, h ighlighting the fragility of its own authority as much as those of the voic es that are native to its new context.

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Walead Beshty (b. 1976\, London\, UK) is an artist and writer working in Los Angeles\, and Associate Professor in the Graduate Art Department of Ar t Center College of Design. Recent solo exhibitions include\, Travel Pi ctures at Thomas Dane Gallery\, London\; Securities and Exchanges  at Ullens Center for Contemporary Art\, Beijing\; A Diagram of For ces at Malmö Konsthall\, Sweden / CA2M\, Madrid and PROCESSCOLORFIELD at Regen Projects\, Los Angeles\; am ong others. Beshty’s work is included in many public collections including The Museum of Modern Art\, New York\; The Guggenheim Museum\, New York\; Th e Hammer Museum\, Los Angeles\; The Museum of Contemporary Art\, Los Angele s\; and The Whitney Museum of American Art\, New York\, among others. Besht y is represented by Regen Projects\, Los Angeles\; Thomas Dane Gallery\, Lo ndon\; and Galerie Rodolphe Janssen\, Brussels.

DTEND:20130430 DTSTAMP:20140711T153718 DTSTART:20130402 GEO:55.6801007;12.5883377 LOCATION:Kunsthal Charlottenborg\,Nyhavn 2 \nCopenhagen\, 1051 SEQUENCE:0 SUMMARY:POST \, Walead Beshty UID:273862 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Vanessa Safavi\, 1980 in Lausanne geboren\, Iranisch-Schweiz er Herkunft\, lebt und arbeitet in Berlin und Basel\, verbringt jedoch imme r wieder sehr viel Zeit auf Reisen. Ihre Auseinandersetzung mit anderen Kul turen geht einher mit einem Interesse an Ethnografie\, Entfremdung und Iden tität. Dieses Interesse gilt sowohl den Eigenschaften einer möglichen unive rsellen Natur des Menschen\, als auch der Untersuchung\, auf welche Weise s ich bestimmte Bevölkerungsgruppen und ihre kulturellen Identitäten innerhal b einer Population herausbilden. Der Einzelne ist dabei als Teil der Gemein schaft ebenso wichtig wie sein Umfeld\, das Einfluss auf ihn ausübt. Safavi schafft es\, dieses Interesse am Sozialen wie Politischen in ihre Praxis z u übernehmen und auf ihre Werke zu übertragen. Diesem Ansatz folgend bedien t sich Safavi unterschiedlicher Materialien. Sie hat ein ausgeprägtes Gespü r zu observieren und Materialien auf der Grundlage ihrer Beobachtung auszuw ählen und als Bedeutungsträger weiter zu verhandeln.

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In ihren Insta llationen Real Life is Elsewhere (2011) im Kunsthaus Glarus und Plenty of None (2010) in der Galerie Chert in Berlin verwendete Safa vi Sand\, den sie grossflächig im Ausstellungsraum verteilte. Vollkommen na türlich wirkte die Oberfläche der Installation\, die mit einer unglaubliche n Präsenz den Raum einnahm. Während man in der Berliner Arbeit verschiedene Kleidungsstücke im Sand ‒ teils vergraben\, teils besser sichtbar ‒ ausmac hen konnte\, fand man im Glarus kleine Sandskulpturen in der Installation. Die Wüste als Symbol unendlicher Fläche und Freiheit ist ebenso ein Ort von Angst und Einsamkeit. Die Auseinandersetzung mit einem so spezifischen Mat erial wie Sand geht einher mit einem Interesse an verschiedenen Kulturen so wie Geographien wie denen des Kontinents Afrika. Das Land ist geprägt von G egensätzen\, eigenen kulturellen Identitäten\, Machtungleichheiten innerhal b nachkolonialer Kulturen\, vom Tourismus und seinen Auswirkungen auf Volk und Land gar nicht erst zu sprechen. Safavi ‒ sie hielt sich für ein Atelie rprogramm in Kapstadt auf ‒ setzt sich mit diesen Eigenschaften und dem kul turellem Erbe auseinander. Sie verweist auf eine höchst spannende Art auf d en auch heute noch wichtigen Einfluss von Volkskunst\, traditioneller Kunst \, innerhalb zeitgenössischer Kunstproduktion und somit auf eine Ästhetik\, die auch in der Imitation des sogenannten „Primitiven“ in der Kunstgeschic hte wiederzufinden ist\; die Adaption von fremden Kulturen. Safavi bedient sich oft einfacher Materialien und die Arbeiten werden mit einfachen Mittel n umgesetzt. Allerdings geht es ihr nicht nur um die Beschäftigung mit hist orischen Referenzen\, sondern auch um die Aussagekraft dieser künstlerische n Praxen und Kunstrichtungen.

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Die Auseinandersetzung mit dieser bes timmten Formensprache ist auch in ihrer neuen Arbeit After the Monument Comes the People zu erkennen. Ausgang ist die mehrteilige Arbeit  Les Figures Autonomes\, die im Kunsthaus Glarus und im Centre Culturel Suisse in Paris gezeigt wurde. Im Jahr 2011 entstanden\, bilden die abstra kten Figuren\, die vereinfachte zeichenhafte Abbildungen des menschlichen I ndividuums sind\, einen komplexen Werkkörper. Individualität findet sich da hingehend\, dass sich jede Skulptur von der anderen in Form\, Farbe und Grö sse unterscheidet. So hinterfragt sie die Möglichkeit der Ausbildung von Id entität mittels physikalischer Merkmale auf eine ironische Art und Weise.\n

Mit After the Monument Comes the People greift Safavi die A rbeit an Les Figures Autonomes erneut auf und schafft abstrakte\, schlanke und aufrechte\, das Individuum widerspiegelnde Formen. 23 Figuren reihen sich repetitiv nebeneinander und füllen die Rückwand der Kunsthalle Basel. In ihrer Gänze eignet sich die Arbeit etwas Monumentales an\, währen d sie gleichzeitig in einer Leichtigkeit daherkommt\, die nur selten bei Ar beiten dieser Grösse zu finden ist. Die dünnen\, leichten Stahlrahmen ‒ wei ss beschichtet\, in drei verschiedenen Grössen ‒ treten aus der Wand hervor . Teilweise findet man offene Messingringe an den oberen Enden der Arbeiten \, die der Figur ein „Gesicht“ gibt und ein weiterer Verweis auf die Indivi dualität jeder einzelnen Figur ist\, die hier als Teil einer „Gemeinschaft“ daherkommen könnte. Die weissen Rahmen stehen jedoch kaum im Kontrast zur blass-grauen Fassade\; sie verschmelzen mit dem Hintergrund und heben erneu t den Gemeinschaftsgedanken der Arbeit hervor. In Safavis Werk\, in den vor hergehenden Skulpturen Les Figures Autonomes wie in den neuen Inst allationen\, finden sich Ähnlichkeiten zum Konstruktivismus und späteren En twicklungen innerhalb der Geometrischen Abstraktion.

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Safavi setzt s ich mit der Bedeutung von Monumenten in verschiedenen Kulturen auseinander. Sie hebt deren ursprüngliche Funktion als Verkörperung der Gemeinschaft od er Sinnbild der Macht auf und verweist mit dem Titel auf das emanzipatorisc he Potenzial sozialer Bewegungen\; nach den Monumenten kommt die Gemeinscha ft. Oft meint man\, Monumente würden die Ideale und Ziele des Volkes verkör pern. Meist unterstützen sie jedoch die politischen Ziele des Staates ‒ ein es Staates\, der Monumente vom Volk für das Volk bauen lässt. Safavi bietet hier einen Ansatz\, der die Auflösung dieser ideologischen Sichtweise vors chlägt und Hoffnung liefert. Sie geht darauf ein\, dass nach der Bedeutungs auflösung der einzelnen Monumente ‒ sei es die Ablösung der Regierung\, des Regimes oder die Zerstörung des Monuments ‒ die Gemeinschaft\, das Volk\, zurückkehrt\, mit seinen eigenen Werten und seiner eigenen ideologischen Si chtweise\, welche sie zu einer Einheit wachsen lässt. Giorgio Agamben führt dies mit treffenden Äusserungen in seinem Werk „The Coming Community“ (Dt. : „Die kommende Gemeinschaft“) aus. Er beschreibt darin eine Gesellschaft\, die nur eine „neue“ zukunftsbringende sein kann\, wenn sie noch keine fest gelegten ideologischen Grundsätze hat\, sondern sie erst aus der Gemeinscha ft heraus entwickelt. Safavis Arbeit repräsentiert eine Sichtweise auf unse r historisches Erbe und stellt in Frage\, wie man sich als Individuum gegen über diesem positioniert bzw. wie man als Gemeinschaft mit diesen kulturprä genden Phänomen ideologisch errichteter Stätte umgehen soll. Ihr Ansatz und ihr Rückschluss ist im Titel auf den Punkt gebracht: After the Monumen t Comes the People. Nach dem Monument\, der diktierten Ideologie\, kom men die Menschen\, die Gemeinschaft und diese formuliert ihre eigenen Ziele .

DTEND:20130430 DTSTAMP:20140711T153718 DTSTART:20120610 GEO:47.5537585;7.5913088 LOCATION:KUNSTHALLE BASEL\,STEINENBERG 7 \nBASEL\, CH-4051 SEQUENCE:0 SUMMARY:After the Monument Comes the People\, Vanessa Safavi UID:222544 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Join us in celebrating new paintings by Cleland Powell.

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* All artist proceeds to benefit TEAM GLEASON

DTEND:20130430 DTSTAMP:20140711T153718 DTSTART:20130406 GEO:29.922973;-90.089775 LOCATION:Sibley Gallery\,3427 MAGAZINE STREET \nNEW ORLEANS\, LA 70115 SEQUENCE:0 SUMMARY:Cleland Powell - New Paintings\, Cleland Powell UID:268409 END:VEVENT BEGIN:VEVENT DTEND:20130406T210000 DTSTAMP:20140711T153718 DTSTART:20130406T180000 GEO:29.922973;-90.089775 LOCATION:Sibley Gallery\,3427 MAGAZINE STREET \nNEW ORLEANS\, LA 70115 SEQUENCE:0 SUMMARY:Cleland Powell - New Paintings\, Cleland Powell UID:268410 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Selected new works from gallery artists.

DTEND:20130430 DTSTAMP:20140711T153718 DTSTART:20130401 GEO:43.393823;-79.7084768 LOCATION:Trias Gallery\,11 Bronte Road Unit 29\nOakville\, Ontario L6L 0E1 SEQUENCE:0 SUMMARY:APRIL EXHIBITION\, Ruth Dwyer\, Christopher Estridge\, Pat Fairhead \, Telford Fenton\, Hugo Frones\, Charles Gibbons\, Inuit Sculpture\, Anne- Marie Kornachuk\, Donald Liardi\, Kirsten Muenzberg\, Arthur Potts\, Hanna Ruminski\, Ernestine Tahedl\, GISELA WITTENBERG UID:272627 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Don’t miss your chance to see one of the icons of Roman art on view in the MFA’s Roman Art Gallery only through May 1. The Capitoline “ Brutus\,” a world-famous bronze portrait of a Roman statesman is on loan fr om the Palazzo dei Conservatori/Capitoline Museum\, Rome\, for just a short time. The loan of this extraordinary work of art is part of an ongoing par tnership between the Museum of Fine Arts and Italy that started with the tr ansfer of thirteen antiquities to Italy in 2006. The head is believed to be of L. Junius Brutus\, founder of the Roman Republic\, and possibly ancesto r to the Brutus who assassinated Caesar. Long associated with liberty—and o ne of the earliest examples of Western portraiture—this image has been an i con of Roman art since its discovery in the 16th century.

DTEND:20130501 DTSTAMP:20140711T153718 DTSTART:20130118 GEO:42.331976;-71.1016439 LOCATION:Museum of Fine Arts Boston\,465 Huntington Avenue \nBoston\, MA 02 115 SEQUENCE:0 SUMMARY: Visiting Masterpieces - The Capitoline Brutus UID:254842 END:VEVENT BEGIN:VEVENT DTEND:20130118T214500 DTSTAMP:20140711T153718 DTSTART:20130118T100000 GEO:42.331976;-71.1016439 LOCATION:Museum of Fine Arts Boston\,465 Huntington Avenue \nBoston\, MA 02 115 SEQUENCE:0 SUMMARY: Visiting Masterpieces - The Capitoline Brutus UID:254843 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Veronica Dyer has included a new series of abstract portraits in this exhibit. She describes her art as spontaneous. " In each of my pieces anything is possible and each work is wrought with ris k. Yet in spite of this\, many times I consciously leave empty spaces - bla nk\, untouched canvas - which leaves the viewer to traverse the blank areas in the process\, feeling the integration of the whole." 

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Working p rimarily with acrylics\, she builds her artwork in consecutive layers. It i s the constant progression of a piece that excites her - the changes\, the challenges and the accidents\, too. From that comes her enjoyment and fulfi llment\, seeing and feeling the canvas acquire its own life\, an expression of the intangible coming from all realms of her experiences.

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Dyer was born in Venezuela and has resided in the United States for the last 12 years. Her love of art and special capacity for painting are natural extens ions of her family gifts. She took her first art classes at age 13 with her grandfather\, Italian artist Nerino de Panfilis\, who painted in the style of the figurative movement\, which ultimately lead Dyer to the self-discov ery at an early age that her "style" was one that offered more freedom\, on e that represents a combination of different cultures\, blending an Old Wor ld sensibility with the new.

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Dyer's paintings can be found in priva te collections in Venezuela\, Canada\, the United States\, Mexico and Switz erland. Her work is currently represented by Affaire D'Arte in Galveston\, TX\, Galeria Regina\, Mixed Emotions Fine Art and Archway Gallery in Housto n\, TX.

DTEND:20130502 DTSTAMP:20140711T153718 DTSTART:20130406 GEO:29.745451;-95.4021024 LOCATION:Archway Gallery\,2305 Dunlavy \nHouston\, Texas 77006 SEQUENCE:0 SUMMARY: An Element of Space \, Veronica Dyer UID:269930 END:VEVENT BEGIN:VEVENT DTEND:20130406T200000 DTSTAMP:20140711T153718 DTSTART:20130406T170000 GEO:29.745451;-95.4021024 LOCATION:Archway Gallery\,2305 Dunlavy \nHouston\, Texas 77006 SEQUENCE:0 SUMMARY: An Element of Space \, Veronica Dyer UID:269931 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A new selection will be displayed\, which concentrates aroun d the theme of “Alienation/Estrangement”. These prominent terms that have g ained significance in the sociological\, conceptual\, psychological\, polit ical and philosophical sense\, in and after the twentieth century. Curated by Billur Tansel\, this theme is explored through suggestions offered by di fferent international artists via video installation\, sculpture\, painting and texture.

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Proje4L was founded by collectors Sevda and Can Elgiz under the name of “Istanbul Museum of Contemporary Art” in its former prem ises in Levent. The museum opened in 2001\, when there were no non-profit i nstitutions in Turkey dedicated to contemporary art. In September 2011\, El giz Museum started celebrating the 10th year of its commitment to contempor ary art in Turkey with a book and a panel of international women collectors as well as special exhibitions and events that will be lasting until Septe mber 2012.

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Established with a mission to promote the development of contemporary art in Turkey\, the initiative focused on providing space\, s upport and international visibility to projects by young Turkish artists. A s new art institutions and museums bloomed in Turkish art scene in 2005\, t he collectors converted the space to a private collection museum under the name ‘Elgiz Museum of Contemporary Art’ to host the Elgiz Collection. Proje 4L/Elgiz Museum of Contemporary Art is located in the dynamic business dist rict of Istanbul\, Maslak and is open to the public free of charge.

\nThe First Institution of Contemporary Art in Turkey\n

Elgiz Collec tion consists of works of by influential Turkish and international artists\ , such as Ömer Uluç\, Fahrelnissa Zeid\, Abdurrahman Öztoprak\, Tracey Emin \, Jan Fabre\, Barbara Kruger\, Cindy Sherman\, Andy Warhol\, Julian Schnab el\, Sol LeWitt\, Peter Halley\, Paul McCarthy\, Gilbert &\; George\, Ro bert Rauschenberg\, Doug Aitken. The eclectic content of the collection all ows the viewer to enjoy a comprehensive journey through the major contempor ary art movements of the last two decades\, while promoting the globalizati on of Turkish art. With the integration of new works by young artists the E lgiz Collection maintains its dynamism and prevalence.

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DTEND:20130503 DTSTAMP:20140711T153718 DTSTART:20130122 GEO:41.1149724;29.0198061 LOCATION:Elgiz Museum of Contemporary Art\,Meydan Sokak Beybi Giz PlazaB Bl ok Maslak \nIstanbul\, SEQUENCE:0 SUMMARY:Alienation/Estrangement\, ROGER WEIK UID:281276 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Documentary photographer Peter Beste grew up in the Houston area\, and began photographing an in-depth study of Houston's rap culture i n late 2004. A collaboration with writer Lance Scott Walker during that per iod has produced two books\, Houston Rap\, and The Houston Rap Tapes\, both of which will be relea sed by Sinecure books in spring 2013. The former is a 280 page photo book w ith an oral history and an introduction by Bun B of UGK\, while the latter is a book of Walker's interviews with an introduction by Willie D of Geto B oys. This exhibit will include images from both books and others from Beste 's collection of thousands of photographs of members of the Houston rap com munity and the neighborhoods of Fifth Ward\, Third Ward and South Park.

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Beste has had solo exhibitions in London\, New York\, Tokyo\, Stockhol m\, Copenhagen\, Bogotá\, Berlin\, Oslo\, San Francisco\, Austin\, Los Ange les\, Atlanta and many others. His work has appeared in American Photo\, Ar kitip\, British Journal of Photography\, Dazed and Confused\, London Observ er\, Modern Painters\, VH1\, MTV\, NRK (Norway)\, XXL and many others.

DTEND:20130503 DTSTAMP:20140711T153718 DTSTART:20130301 GEO:29.729597;-95.382338 LOCATION:Houston Museum of African American Culture\,4807 Caroline \n Houst on\, TX 77004 SEQUENCE:0 SUMMARY:Houston Rap\, Peter Beste UID:271144 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Boo Ritson depicts characters and still lifes drawn from her own imagined narratives merged with borrowed Americana.  For each piece sh e paints her subject in a thick emulsion and then has the scene photographe d while the paint is still wet.  The resulting image sits somewhere between painting\, sculpture\, performance and photography. Ritson has always loca ted her work in an American cultural context and has been fascinated by the process and the history of painting.

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“The hyper-real\, high-key ca st of American stereotypes are drawn from imagined narratives and American iconography\,” Ritson said.  “The fictional timeless American landscape is collaged together from elements found closer to home\, in Chesham\, England or Cornwall.  It’s a very English-centric view of utopia that takes the la nguage from the wide-open spaces that we associate with America.”

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T his exhibition is accompanied by a beautifully illustrated catalogue availa ble for sale.

DTEND:20130503 DTSTAMP:20140711T153718 DTSTART:20130225 GEO:30.3106687;-104.0161021 LOCATION:Marfa Contemporary\,100 East San Antonio St. \nMarfa\, TX 79843 SEQUENCE:0 SUMMARY: Homecoming\, Boo Ritson UID:265426 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Once Zhuangzi dreamt he was a butterfly\, a butterfly flitti ng and fluttering around\, happy with himself and doing as he pleased. He d idn't know he was Zhuangzi. Suddenly\, he woke up and there he was\, solid and unmistakable Zhuangzi. But he didn't know if he was Zhuangzi who had dr eamt he was a butterfly\, or a butterfly dreaming he was Zhuangzi. Between Zhuangzi and a butterfly there must be some distinction! This is called the Transformation of Things. (2\, tr. Burton Watson 1968:49) We perceive the world around us by finding an object\, investigating it\, and labeling (pro cess and understand) it. All sorts of previous knowledges are involved thro ughout the process of perceiving an object. My interest lands on where the imagination will go if we deny things we believe true. My work is about per ception\, and ambiguity is the key. Is what we think what we see what it is ? Is it my reflection in a mirror\, or am I a reflection in a mirror? Do ba ts sleep upside down\, or is everything else upside down? What if…? When yo u pay attention to what is ambiguous\, you will unlock the portal to anothe r dimension within. Ordinary is extraordinary\, nothing becomes anything wh en you openyour mind.

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Bio:

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Originally from South Kor ea\, Soomin Jung moved to San Antonio\, Texas in 2002. She attended the Uni versity of Texas at San Antonio (UTSA) where she graduated with a B.F.A. in Art and Art History in 2005. Three years later\, she received an M.F.A.\, also in Art and Art History\, and is currently a drawing instructor at UTSA .

DTEND:20130503 DTSTAMP:20140711T153718 DTSTART:20130308 GEO:29.444126;-98.492244 LOCATION:REM Gallery\,219 East Park \nSan Antonio\, TX 78212 SEQUENCE:0 SUMMARY: The Other Side\, Soomin Jung UID:263217 END:VEVENT BEGIN:VEVENT DTEND:20130308T210000 DTSTAMP:20140711T153718 DTSTART:20130308T180000 GEO:29.444126;-98.492244 LOCATION:REM Gallery\,219 East Park \nSan Antonio\, TX 78212 SEQUENCE:0 SUMMARY: The Other Side\, Soomin Jung UID:263218 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Although widely over-looked in the field of modern and conte mporary art\, Sylvia Sleigh was a realist painter who became an important p art of New York’s feminist art scene in the 1960s and beyond. She was parti cularly well-known for her explicit paintings of male nudes\, which challen ged the art historical tradition of male artists painting female subjects a s objects of desire. The exhibition at Tate Liverpool will be Sleigh’s firs t UK retrospective\, and the largest exhibition of her work to date. 

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Sleigh trained in painting at Brighton art School at a time when female art students were\, as she recalled\, ‘treated in a second-rate fashion’. D espite having a solo exhibition at Kensington Art Gallery in 1953\, she rec eived little public recognition until her move to New York in the 1960s. Th ere Sleigh and her husband\, the art critic and Guggenheim curator Lawrence Alloway\, together created a home that welcomed artists\, writers and musi cians\, many of whom Sleigh painted. These works radiate a sense of friends hip and emotional attachment between the artist and her sitters\, in additi on to presenting an array of significant cultural figures from the time.     

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Sleigh painted portraits of both genders\, including details such as body hair and tan-lines which rejected the idealisation of female bodie s previously found in art history. By portraying the humanising and individ ual details of each person Sleigh aimed to remove objectification\, not des ire\, from art.  Sleigh’s practice produced a body of work that highlights the beauty to be found in every person painted\, regardless of their gender and supposed imperfections. Her female gaze still has a powerful impact on viewers and the formal qualities of her painting seem poignantly contempor ary. 

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Tate Liverpool has invited LA-based artist Frances Stark to r espond to the exhibition\, offering an interpretation of Sleigh’s work and a contemporary consideration of her relevance and impact.

DTEND:20130503 DTSTAMP:20140711T153718 DTSTART:20130208 GEO:53.4042717;-2.9948087 LOCATION:Tate Liverpool\,Albert Dock\, Liverpool Waterfront \nLiverpool \, L3 4BB SEQUENCE:0 SUMMARY:Solo Exhibition\, Sylvia Sleigh UID:259616 END:VEVENT BEGIN:VEVENT DESCRIPTION:

My work is a constant questioning of the medium of photo graphy\, of its two-dimensionality\, display\, and subject matter. I work w ith the space of the photograph\, to find ways to extend the space of repre sentation into the real space of the viewer as well as to show a space beyo nd the picture plane.
—Elisa Sighicelli

Gagosian Ga llery is pleased to present recent works by Elisa Sighicelli.

Sighicelli's latest body of work uses light\, objects\, and singular instal lation methods to explore the physical qualities of the photograph\, expand ing the image beyond the two-dimensional picture plane. In Untitled (Ta pe) (2011)\, she joins the photograph of a sheet of back-lit paper wit h a fragment of tape placed on each side with an actual piece of tape\, pla ced directly onto the photographic image\, thus creating three distinct spa tial planes\, wherein two photographic representations merge with the tangi ble object. In Untitled (Leningrad at Night) (2011) she takes a ph otograph printed from an old Soviet slide\, and artfully folds and installs it in the corner of a room\, transforming a banal image into an architectu ral aspect of its chosen space. The lightbox Untitled (Blue Fabric) (2012) features a swathe of blue fabric\, bathed in sunlight from an unse en window. Certain areas of the photograph have been masked by applying bla ck paint to the reverse side of the lightbox\, so that the manipulated ligh t creates a glow around the edges of the fabric. Light\, used here like a p ainter's palette\, acquires a sculptural quality that unites the second and third dimensions.

The works in the exhibition explore the rel ationship between representation and reality in diverse ways. Some engage w ith the idea of trompe l'oeil\, while others explore the possibiblity of cr eating images that balance the concerns of abstraction with the reality of the object photographed. In photography the mechanics of display—mounting\, framing—are usually assumed\, however Sighicelli proposes a dramatic re-th inking by making the subject matter of the photograph coincide with its dis play\, as in the case of Untitled (Punctum) (2012) and Untitle d (Wood) (2012). In Untitled (Puntum)\, a single nail is used to fasten an image of three brightly colored\, intertwined pieces of strin g to the wall. The nail also gives the illusion of being a part of the phot ograph\; the means by which the photographic string is joined together. Untitled (Wood) (2012) is a photograph of a sheet of wood\, mounted o n two actual slabs of the same wood Sighicelli photographed\, to form a thr ee-dimensional hanging object--here\, the display exists as an integral par t of the work.

Elisa Sighicelli was born in T urin\, Italy in 1968 where she lives and works today. She studied at the Sl ade School of Fine Art in London. Exhibitions include "Santiago"\, Centro G alego de Arte Contemporánea\, Santiago de Compostela\, Spain (2000)\; "No W orld Without You: Reflection and Identity in New British Art\," Herzliya Mu seum of Contemporary Art\, Tel Aviv\, Israel (2001)\; Fondation Salomon\, A lex\, France (2003)\; "Guardami\, la Percezione del Video"\, Palazzo delle Papesse\, Centro Arte Contemporanea\, Siena\, Italy (2005)\; Galleria Civic a d'Arte Moderna e Contemporanea\, Turin\, Italy (2007)\; Italian Pavilion at the 53rd Biennale di Venezia\, Venice\, Italy (2009)\; "Silences Where T hings Abandon Themselves"\, Museum of Comtemporary Art\, Zagreb\, Republic of Croatia\; and "Marking Time\," Museum of Contemporary Art\, Sydney\, Aus tralia (2012).



Mon travail est un constant q uestionnement sur la technique photographique\, son caractère bidimensionne l\, son affichage et son objet. Je travaille avec l'espace de la photograph ie\, afin de trouver des moyens d'étendre l'espace de la représentation dan s l'espace réel de l'observateur et de dévoiler un espace au-delà du plan p ictural.
—Elisa Sighicelli

Gagosian Gallery est heu reuse de présenter des œuvres récentes d'Elisa Sighicelli.

Les dernières œuvres de Sighicelli se servent de la lumière\, d'objets et des méthodes d'installation singulières pour explorer les qualités physiques de la photographie\, en étendant l'image au-delà du plan pictural bidimension nel. Dans Untitled (Tape) (2011)\, elle joint la photographie d'un e feuille de papier éclairée par derrière\, un fragment de bande adhésive p lacé de chaque côté de celle-ci\, avec un véritable morceau de bande adhési ve\, placé directement sur l'image photographique. Elle crée ainsi trois pl ans spatiaux dans lesquels deux représentations photographiques s'unissent avec l'objet tangible. Dans Untitled (Leningrad at Night) (2011) S ighicelli prend une photographie imprimée à partir d'une ancienne image sov iétique\, la plie de façon artistique et l'installe dans le coin d'une pièc e\, transformant une image banale en un aspect architectural de son espace choisi. Le caisson lumineux Untitled (Blue Fabric) (2012) présente une bande de tissu bleu\, baignant dans la lumière du soleil d'une fenêtre invisible. Certaines zones de la photographie ont été masquées en appliqua nt de la peinture noire au dos du caisson\, de sorte à ce que la lumière ma nipulée crée un halo lumineux autour des bords du tissu. La lumière\, utili sée ici telle la palette de couleurs d'un peintre\, acquiert une qualité sc ulpturale qui unit les seconde et troisième dimensions.

Les œu vres présentées dans le cadre de l'exposition explorent la relation entre r eprésentation et réalité de différentes façons. Certaines s'inspirent de l' idée du trompe l'œil alors que d'autres explorent la possibilité de la créa tion d'images mettant en parallèle les préoccupations de l'abstraction avec la réalité de l'objet photographié. En photographie\, les mécanismes de pr esentation—montage\, composition—sont habituellement assumés. Toutefois\, S ighicelli propose une vision dramatique repensée en accordant le sujet de l a photographie avec la présentation de celle-ci\, comme dans le cas d'U ntitled (Punctum) (2012) et d'Untitled (Wood) (2012). Dans Untitled (Punctum)
(2012)\, un simple clou est utilisé pour accroche r au mur une image à l'aide de trois fils colorés entremêlés. Le clou donne également l'illusion de faire partie intégrante de la photographie\, moyen par lequel le fil photographique est attaché. Untitled (Wood) (20 12) est une photographie d'une planche en bois\, montée sur deux dalles du même bois photographiées par Sighicelli\, de sorte à former un objet suspen du tridimmensionnel. La présentation existe ainsi telle une partie intégran te de l'œuvre elle-même.

Elisa Sighicelli est née à Turin en Italie en 1968\, où elle vit et travaille aujourd'hui. Elle a suivi des études auprès de la Slade School of Fine Art à Londres. Ses ex positions comprennent notamment "Santiago\," Centro Galego de Arte Contempo ránea\, Saint-Jacques de Compostelle\, Espagne (2000)\; "No World Without Y ou: Reflection and Identity in New British Art\," Herzliya Museum of Contem porary Art\, Tel Aviv\, Israël (2001)\; Fondation Salomon\, Alex\, France ( 2003)\; "Guardami\, la Percezione del Video\, Palazzo delle Papesse\," Cent ro Arte Contemporanea\, Sienne\, Italie (2005)\; Galleria Civica d'Arte Mod erna e Contemporanea\, Turin\, Italie (2007)\; Italian Pavilion at the 53rd Biennale di Venezia\, Venice\, Italy (2009)\; "Silences Where Things Aband on Themselves\," Museum of Comtemporary Art\, Zagreb\, République de Croati e\; et "Marking Time\," Museum of Contemporary Art\, Sydney\, Australie (20 12).

DTEND:20130504 DTSTAMP:20140711T153718 DTSTART:20130312 GEO:46.2027281;6.1501122 LOCATION:Gagosian Gallery - Geneva\,19 place de Longemalle \nGeneva \, 1204 SEQUENCE:0 SUMMARY:Solo Exhibition\, Elisa Sighicelli UID:261815 END:VEVENT BEGIN:VEVENT DTEND:20130312T200000 DTSTAMP:20140711T153718 DTSTART:20130312T180000 GEO:46.2027281;6.1501122 LOCATION:Gagosian Gallery - Geneva\,19 place de Longemalle \nGeneva \, 1204 SEQUENCE:0 SUMMARY:Solo Exhibition\, Elisa Sighicelli UID:261816 END:VEVENT END:VCALENDAR