BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20150515 DTSTAMP:20150330T105221 DTSTART:20150330 GEO:-22.9048616;-43.1837967 LOCATION:A Gentil Carioca\,Rua Gonçalves Ledo\, 17 Sobrado - Centro\nRio de Janeiro\, 20060-020 SEQUENCE:0 SUMMARY:Obrigado\, Volte Sempre\, Cabelo UID:378715 END:VEVENT BEGIN:VEVENT DESCRIPTION:

MASS MoCA Presents Jim Shaw's Largest U.S. Exhibition

Since the 1970s\, Jim S haw has created a vast body of work spanning diverse media and reference po ints. Shaw&rsquo\;s work mines the essentials of American cultural detritus \, from comic books\, pulp novels\, and album covers\, to vintage advertise ments\, movie posters\, and noise rock. Originating from these sources\, th e work often features recurring characters including himself\, his friends\ , fictional superheroes\, politicians\, and film stars. Combining text and the painted figure with objects and drawings from his unconscious\, Shaw&rs quo\;s works consistently illustrate purposely bad puns\, while twisting po litics\, religion\, and belief into one long dream sequence. \;


For the exhibition at MASS MoCA\, Shaw will focus on over-arching themes of fallibility &ndash\; fallen heroes\, collap sed economies and political figures\, and the idea of sin and doomsday pred ictions. The centerpiece of \;Entertaining Doubts \;will b e a series of large-scale paintings that Shaw began in 2004\, utilizing old theatrical backdrops that he cuts apart. Turning painting into architectur e\, these works essentially function as political cartoons\, populated by f igures such as Barbara Bush\, 20th-century religious prophet Aleister Crowl ey\, and Dan Quayle\, with themes ranging from the seven deadly sins and th e four horsemen of the apocalypse to the great deluge. Continuing this seri es for MASS MoCA\, Shaw will create a new work\, \;Not Since Superm an Died. Using a 24x49-foot shredded backdrop\, this piece will focus on an injured and endangered Superman along with video imagery of floods. T he superhero in peril is a well-known motif\, but here Shaw never shows us the heroic escape\, turning Superman into a mere mortal. \;


In addition to these banner works\, Shaw will al so exhibit additional paintings and objects as well as a series of films re lating to his \;Oism \;project. &ldquo\;Oism&rdquo\; is a false religion created by Shaw\, one that draws from the history of America n religious practices from Mormonism to Scientology. Supposedly founded in the 1840s by Annie O&rsquo\;Wooton\, who discovered a prophesy about &ldquo \;O\,&rdquo\; Shaw&rsquo\;s religion centers on a virgin who gave birth to herself at the dawn of history and brought writing and agriculture to socie ty. &ldquo\;I&rdquo\; &ndash\; a stand-in for patriarchy/ego &ndash\; event ually toppled this matriarchal religion. Shaw weaves a believable tale\, bu t mostly presents us with the idea that his religion\, like all religions\, comes from the imagination of its inventor. In this way\, Shaw can critici ze what has become the business of faith in contemporary society. The films in this series vary &ndash\; one is part of a prog-rock opera light show\; another has a 1970s earth mother performance vibe to it\, recalling early experiments with modern dance\; a third echoes low-budget horror film dream sequences\; and a fourth records a men&rsquo\;s secret society initiation ritual. \;

Whether through paintings\, video\, or objects\, Shaw&rsquo\;s work steadfastly reminds us that the end is near and that rea lity is absurdly plausible. \;


Ji m Shaw (born 1952 in Midland\, Michigan) lives and works in Los Angeles\, C A. He received his B.A. from the University of Michigan\, Ann Arbor\, and h is M.F.A. at the California Institute of the Arts. His work has been shown extensively and has been the subject of numerous solo exhibitions\, includi ng a career retrospective at the Baltic Centre for Contemporary Art\, Gates head\, UK\; CAPC\, Musee de&rsquo\;Art Contemporain de Bordeaux\, France\; MoMA PS1 Contemporary Art Center\, Long Island City\, NY\; Magasin\, Centre National d&rsquo\;Art Contemporain\, Grenoble\, France\; ICA\, London\; an d Musee d&rsquo\;Art Moderne et Contemporain\, Geneva\, Switzerland. Shaw e xhibited at the Encyclopedic Palace in the 55th Venice Biennale\, Venice\, Italy\; Museum Boijmans van Beuningen\, Rotterdam\, the Netherlands\; and t he Chalet Society\, Paris\, France. His work is also featured in prominent public and private collections\, such as the Museum of Modern Art\, NY\; th e Solomon R. Guggenheim Museum\, NY\; the Los Angeles County Museum of Art\ ; and the Walker Art Center\, Minneapolis\, MN. Shaw is represented by Blum &\; Poe\, Metro Pictures\, Simon Lee Gallery\, and Praz-Delavallade\, P aris. \;


This exhibition is s upported by the Horace W. Goldsmith Foundation\, the Massachusetts Cultural Council\, Blum &\; Poe\, Metro Pictures\, Simon Lee Gallery\, Atelier 4 Inc.\, and ArtNet.

DTEND:20160207 DTSTAMP:20150330T105221 DTSTART:20150328 GEO:42.7018108;-73.1146681 LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts SEQUENCE:0 SUMMARY:Entertaining Doubts\, Jim Shaw UID:378599 END:VEVENT BEGIN:VEVENT DTEND:20150328T170000 DTSTAMP:20150330T105221 DTSTART:20150328T110000 GEO:42.7018108;-73.1146681 LOCATION:Mass MOCA\,87 Marshall Street \nNorth Adams\, Massachusetts SEQUENCE:0 SUMMARY:Entertaining Doubts\, Jim Shaw UID:378600 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A solo exhibition at Metro Gallery in Melbourne\, Australia 2012

DTEND:20120702 DTSTAMP:20150330T105221 DTSTART:20120608 GEO:-37.8564706;145.027568 LOCATION:Metro Gallery\,1214 High Street \nMelbourne\, Victoria 3143 SEQUENCE:0 SUMMARY:Jetset\, ABOVE UID:378262 END:VEVENT BEGIN:VEVENT DTEND:20120608T200000 DTSTAMP:20150330T105221 DTSTART:20120608T180000 GEO:-37.8564706;145.027568 LOCATION:Metro Gallery\,1214 High Street \nMelbourne\, Victoria 3143 SEQUENCE:0 SUMMARY:Jetset\, ABOVE UID:378263 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Thief Among Thieves is a group exhibition featuring the work of more than twenty artists working in a broad range of styles and media. Rather than surveying a single theme\, the exhibition instead draws connect ions between the world of art and the world we live in. The title is drawn from the idea that artists continually borrow from the world around them &n dash\; &rdquo\;stealing&rdquo\; from both art history and from any place&nd ash\;past or present\, real or imagined.
Artists featured in the exhib ition include: Matthew Brandt\, Miguel Calderó\;n\, Cynthia Daignault \, Sam Falls\, Theaster Gates\, Patrick Lee\, Nathan Mabry\, Pedro Reyes\, Pedro Reyes\, Amanda Ross-Ho\, Raqib Shaw\, and others.
Thief Among Th ieves will be presented on the second floor of MCA Denver in the Natasha Co ngdon Gallery\, Vicki &\; Kent Logan Promenade Space\, Joseph Crescenti Family Gallery\, and the Mary Caulkins &\; Karl Kister Gallery. This exh ibition is co-organized by Nora Burnett Abrams and Adam Lerner.

This exhibition is supported in part by the Director's Vision Society and C olorado Creative Industries. MCA Denver also thanks the Citizens of the Sci entific and Cultural Facilities District.

DTEND:20150628 DTSTAMP:20150330T105221 DTSTART:20150514 GEO:39.752271;-105.004385 LOCATION:MCA DENVER\,1485 Delgany St. \nDenver\, CO 80202 SEQUENCE:0 SUMMARY:Thief Among Thieves\, Matthew Brandt\, Miguel Calderon\, Cynthia Da ignault\, Sam Falls\, Theaster Gates\, Patrick Lee\, Nathan Mabry\, Pedro R eyes\, Amanda Ross-Ho\, Raqib Shaw UID:378149 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Works presented in the exhibition SETS are shifting along th e interface between photography and film. Places depicted in the works are located in Sicily\, Rome\, Bolzano\, Bergamo\, Trent and were built under M ussolini. The exhibition introduces an extended readability of the publishe d trilogy &lsquo\;Borgo Romanità\; Alleanza&rsquo\; (Hatje Cantz\, 20 14) and expands the photographic image towards the dimension of the cinemat ic.

Three different aspects maintain a focal point of the exhibi tion. The first refers to the pan shots and camera work in movies of the pr opaganda facility &lsquo\;Instituto Luce&rsquo\;\, founded in 1924\, as wel l as in the work of the director Michelangelo Antonioni in his films from t he 1950&rsquo\;s and 1960&rsquo\;s. The second aspect deals with the stoppi ng of the moving image and with the exposing of the view. The third approac h concerns the impact of the historical narration on the public space which today is still used as a stage for the political and everyday life.

The depictions in frescos\, marble and stone generate a specific poli tical dimension of those places. They can be read as &lsquo\;backdrops&rsqu o\; - a technical term taken from area of the stage setting which means a p ainted curtain used as background of the stage. Placed in front of those se ttings things become scenery and persons transform into parts of the play ( mise-en-scè\;ne). Within the works of Johanna Diehl the expression &l squo\;mise-en-scè\;ne&rsquo\; refers to the original 'mettre quelqu'u n\, quelque chose sur la scè\;ne'\, which means as much as &lsquo\;to make someone or something become a subject of the theater or to assign a p lace to someone or something&rsquo\;.

In the movies of the Insti tuto Luce the Italian settlements planed and built under Mussolini formulat e settings for the appearance of power. In doing so\, they turn into frames of ideological iconography and become scenes of the spectacle. Within thei r filmic transition\, they seem only to exist in order to create meaning an d relevance. In the movies of Antonioni these places on the contrary become sites of meandering protagonists who do not know what to do. While in the propaganda movies the architecture obviously dictates how to move\, think a nd behave\, in Antinioni&rsquo\;s films it turns to a medium which reflects the inner conflicts\, isolation and void of the characters.

Joh anna Diehl&rsquo\;s recent works presented in the exhibition encounter this twofold existence of the places by discussing the elements of the filmic w ithin the medium of the photographic image. She restages these places for t he third time while simultaneously dissolving them from the status of frami ng a plot or being a setting for agents\, so that liberated observation fro m an &lsquo\;aesthetic distance&rsquo\; becomes possible in the first place . By releasing and intercepting cinematic images\, Johanna Diehl points tow ard the irresolvable status.

Johanna Diehl (*1977 in Hambu rg\, Germany) lives and works in Berlin. She studied photography/visual art s at the Academy of Visual Arts in Leipzig under Prof. Timm Rautert\, Boris Mikhailov\, and as a master-class student under Prof. Tina Bara. She also studied at the ENSBA Paris under Christian Boltanski and Jean-Marc Bustaman te. Her works have been shown at various national and international exhibit ions. She has received numerous awards\, most recently the working stipend of the Foundation Kunstfonds Bonn and the Akademie Schloss Solitude.
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Galeri e Wilma Tolksdorf: 0049 69 - 430 594 27 /

DTEND:20150530 DTSTAMP:20150330T105221 DTSTART:20150328 GEO:50.1116287;8.7129814 LOCATION:Galerie Wilma Tolksdorf Frankfurt\,Hanauer Landstrasse 136 \nFrank furt am Main\, D-60314 SEQUENCE:0 SUMMARY:SETS\, Johanna Diehl UID:378136 END:VEVENT BEGIN:VEVENT DTEND:20150327T210000 DTSTAMP:20150330T105221 DTSTART:20150327T190000 GEO:50.1116287;8.7129814 LOCATION:Galerie Wilma Tolksdorf Frankfurt\,Hanauer Landstrasse 136 \nFrank furt am Main\, D-60314 SEQUENCE:0 SUMMARY:SETS\, Johanna Diehl UID:378137 END:VEVENT END:VCALENDAR