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Rita Magalhaes (Oporto\, 1974). Recientemen te ha tenido exposiciones individuales las galerías Fúcares (Madrid)\, Pedr o Cera (Lisboa)\, Vilaseco-Hauser (La Coruña)y Pedro Oliveira (Oporto)\, ad emas de participar en diversas y numerosas muestras colectivas entre las qu e cabe destacar Resonancia Visual comisariada por David Barro en el Museo M ACUF (A Coruña)\, ColecciónBanco Espirito Santo\, (Lisboa)\, Centro Helio O iticica de (Rio de Janeiro).Ha participado en ferias internacionales en Art Basel (Art33)\, ARCO Madrid y MadridFoto\, entre otras muchas. Cuenta con o bra en colecciones públicas y privadas como Fundacion EDP (Lisboa)\, CAC (M alaga)\, CGAC (Santiago de Compostela) \, Colección BesArt de Lisboa\, DA2 (Salamanca) \, Fundación CalousteGulbekian(Lisboa) \, Fundacion COFF (San S ebastian)\, FundacionFotoColectania (Barcelona)\, MEIAC (Badajoz) \, Fundac ión Carmona e Costa (Lisboa).

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“Mise en Scène” en ARANAPOVED Aes su primera exposición individual en la galería y la primera vez que su obra se muestra en Madrid dentro del Festival PHOTOESPAÑA en colaboración c on la galería Vilaseco-Hauser.

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Fuente de la mirada pura

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La mirada de Rita es como la de Ulises.Es una mirada que vuelve sin cesar\, y que vuelve a sí misma como fuente de to da la mirada que fue\, que es y que será. Intenta reconocer lo que apenas s e había adivinado\, tal vez una sola vez\, o que incluso tan solo se imagin ó.Lo que se deseó ver. Esa mirada también es la de la pintura. La mirada mi steriosa que crea mundos\, que desvela\, dibuja\, borra\, reinventa su prop io mundo\, no tanto tal y como es\, sino como podría ser. Así\, ésta mirada va recorriendo el mundo.Va mirando a su alrededor\, curiosa como la mirada de un niño\, buscando en cada elemento su indicio más secreto\, la puerta que a pocos se entreabre\, el aviso de que algo se aproxima y se divisa a l o lejos\, tierno y violento a la vez\, como lo que vislumbran los párpados al abrirse poco a poco después del sueño\, o incluso antes de despertarse. Pero también mira algo que nunca se podrá captar\, puesto que si captado qu edase para siempre\, de igual modo se perdería.

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Toda una mirada nac ida en medio del silencio\, como corresponde a la mirada propia de la conte mplación\, distraída a la par que atenta\, curiosa e indiferente\, interna y externa cual finísima película entre ambos. Lo que ella capta\, por lo ta nto\, no son las cosas tal y como las vemos sino tal y como son antes y des pués de que ya sean o de que hayan sido\, lo que queda en el medio\, y las sorprende por el camino que las lleva a convertirse en lo que van a ser. Un a mirada así casi no se ve.Va pasando con sigilo entre las cosas\, y en ell as apenas se deposita\, casi ni las toca\, apenas notan su presencia y asom bra\, la vuelve táctil\, visible\, bajo una luz difusa que revela tanto com o esconde. Una mirada así devuelve a las cosas su misterio\, no queriéndola s dibujadas y nítidas\, o abstractas\, sino llenas de simbolismo y distanci a\, operando como agentes de metamorfosis.

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Es la mirada que revela. Es la mirada de la hechicera\, la mirada que vuelve al punto de partida – d ijo – y que vuelve a sí misma\, porque donde quiera que se pose\, abre una patria.La patria inesperada donde se alojala fuente de la mirada pura.

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Bernardo Pinto de Almeida

DTEND:20130725 DTSTAMP:20140802T020249 DTSTART:20130601 GEO:40.4136965;-3.6967703 LOCATION:ARANAPOVEDA Galeria\,C/ Lope de Vega\, 22 \nMadrid\, 28014 SEQUENCE:0 SUMMARY:MISE EN SCÈNE \, Rita Magalhaes UID:279921 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130725 DTSTAMP:20140802T020249 DTSTART:20130627 GEO:41.3830356;2.1705993 LOCATION:Nogueras Blanchard Barcelona\,xucla\, 7 \nBarcelona\, 08001 SEQUENCE:0 SUMMARY: The Story Behind l Páginas\, Tatiana Mesa UID:287911 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Indirectly\, Yours is a painting show turned into a single installation. The paintings by Tai are interventions of the actual palettes of other local painters to create a sort of portrait of that parti cular painter's work and personality. To tease out the language of each art ist is to embody their mindset and focus and to go back to consider the dri ed paint anew is to see a compression of all of the paintings that also cou ld have existed.

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The final installation is determined by John Nicol who has also been given complete creative control over the objects\, which can be altered in any way he likes. John was chosen as his installations a nd sculptural works focus on preciousness as a problem and he responds to i t in a playful way. His past works have tended to involve found objects and commonplace materials\, where this show will push his sensibilities when d econstructing another person's work in a completely different vein of intui tion.

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Indirectly\, Yours will be the first part of a joint curatorial project that will culminate with an exhibition in the summer of 2015\, where John Nicol and Cedric Tai plan to bring the work of Glasgow-b ased artists to Detroit\, Michigan for the first time.

DTEND:20130726 DTSTAMP:20140802T020249 DTSTART:20130706 GEO:55.8660324;-4.2661907 LOCATION:CCA - Centre for Contemporary Arts (Glasgow)\,350 Sauchiehall Stre et \nGlasgow \, Scotland G2 3JD SEQUENCE:0 SUMMARY:Indirectly\, Yours\, Cedric Tai UID:286312 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Dvorak Sec Contemporary is pleased to announce the launch of its solo exhibition of young Slovak artist A&scaron\;ot Haas (1981)\, show ing in Prague for the first time. A&scaron\;ot Haas often works with the co ncept of optical illusion of objects giving the viewer a number of diverse ideas and encourages mutual communication. His works are unique in form\, c ontent and manner in which the boundaries of reality rather change the view er's world.

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On his solo exhibition A&scaron\;ot Haas showcases his original effective light objects made of glass and plastic that create a ga me of illusion and takes the viewer into the virtual world of different col ors and shapes. A&scaron\;ot Haas is fascinated by geometry\; the play with shapes\, colors\, light\, high-tech and cybernetics. The exhibition offers viewers not only the artist's luminous objects in three-dimensional scale\ , but also monumental paintings depicting enlarged details of imperfections in the virtual world. The viewer can enter into his works not only mentall y\, but physically\, allowing them to transform. Through his works\, the ar tist creates a new atmosphere\, which changes every moment. A&scaron\;ot Ha as confronts the viewer.

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DTEND:20130726 DTSTAMP:20140802T020249 DTSTART:20130605 GEO:50.0892901;14.4220183 LOCATION:Dvorak Sec Contemporary\,Dlouha 5 \nPrague\, 110 00 SEQUENCE:0 SUMMARY:Lit Up!\, Ašot Haas UID:279526 END:VEVENT BEGIN:VEVENT DESCRIPTION:

I have maybe two or three things on my mind\, and some m ight be impossible. Some might be in contradiction to other orders\, but I will still try them.

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--Albert Oehlen

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Gagosian Gallery is pleased to present recent work by Albert Oehlen.

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Albert Oehlen was born in 1954 in Krefeld\, Germany and studied at the Ho chschule für Bildende Kunst. From 2000-09 he was a professor of painting at the Kunstakademie\, Düsseldorf. Recent solo exhibitions include Musée d'ar t moderne et contemporain de Strasbourg (2002)\; "I know whom you showed la st summer\," Museum of Contemporary Art\, Miami (2005)\; "Réalité abstraite \," Musée d'art moderne de la ville de Paris (2009)\; "Albert Oehlen-Werke aus der Sammlung\," Räume für Kunst (2010)\; Carré d'Art-Musée d'art contem porain de Nimes (2011)\; and "Painting from the Zabludowicz Collection: Alb ert Oehlen\," Zabludowicz Collection\, London (2013). His work will be incl uded in the 2013 Venice Bienalle\, and a major solo exhibition will open la ter this year at the Museum Moderner Kunst\, Vienna.

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J'ai peut-être deux ou trois choses à l'esprit et certaines peuvent être impossibles. Certaines peuvent être en contradict ion à d'autres mais je les essaierai quand même.

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--Albert Oehl en

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Gagosian Gallery est heureuse de présenter des œuvres récentes d 'Albert Oehlen.

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Albert Oehlen est né à Krefeld en Allemagne et a étudié à la Hochschule für Bildende Kunst. De 2000 à 2009 il a été professeur de peinture à la Kunstakademie de Düsseldorf. Ses exposit ions individuelles récentes comprennent notamment le Musée d'art moderne et contemporain de Strasbourg (2002)\; «I know whom you showed last summer\,» Museum of Contemporary Art\, Miami (2005)\; «Réalité abstraite\,» Musée d' art moderne de la ville de Paris (2009)\; «Albert Oehlen-Werke aus der Samm lung\,» Räume für Kunst (2010)\; Carré d'Art-Musée d'art contemporain de Nî mes (2011)\; et «Painting from the Zabludowicz Collection: Albert Oehlen\,» Zabludowicz Collection\, Londres (2013). Son travail sera inclus à la Bien nale de Venise 2013 et une exposition individuelle majeure ouvrira égalemen t cette année au Museum Moderner Kunst de Vienne.

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DTEND:20130726 DTSTAMP:20140802T020249 DTSTART:20130523 GEO:46.2027281;6.1501122 LOCATION:Gagosian Gallery - Geneva\,19 place de Longemalle \nGeneva \, 1204 SEQUENCE:0 SUMMARY:Solo Exhibition\, Albert Oehlen UID:275165 END:VEVENT BEGIN:VEVENT DTEND:20130523T200000 DTSTAMP:20140802T020249 DTSTART:20130523T180000 GEO:46.2027281;6.1501122 LOCATION:Gagosian Gallery - Geneva\,19 place de Longemalle \nGeneva \, 1204 SEQUENCE:0 SUMMARY:Solo Exhibition\, Albert Oehlen UID:275166 END:VEVENT BEGIN:VEVENT DESCRIPTION:

I am fascinated by the act--whatever form it takes--of m aking art. And in a broad sense\, by how an artist responds to the world an d the action that occurs from that interaction...I wanted to get rid of the readymade and figure out what I looked like and how I reacted to the world .

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--Thomas Houseago

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Gagosian Gallery is pleased to pre sent "Roman Figures\," an exhibition of new sculpture by Thomas Houseago.\n

Engaging in a continuous dialogue with the past\, Houseago retraces the history of figurative sculpture through the conditions of his own time. Drawing upon mythology\, African tribal art\, cartoon imagery\, Italian Ma nnerism\, science fiction\, and robots\, he wrests new vitality from the cl assical figure. Houseago's giants have iron rebar skeletons and are made fr om plaster\, hemp\, and wood. Rough from jigsaw cuts and incorporating draw n parts\, these visceral figures are distinctly postmodern in that they ret rofit ancient and modern art history to the terms of popular culture and th e traumatic realities of everyday life.

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"Roman Figures" presents th e large-scale sculpture Reclining Figure (For Rome) together with seven sculpted masks and Untitled (Walking Boy on Plinth) (all wor ks 2013). The Roman Masks build upon the Western modernist fascina tion with spiritually charged tribal objects from Africa and the South Paci fic. Crafted from clay\, cast into plaster\, and reinforced with iron armat ures\, the linear yet highly expressive skull-like reliefs\, in which sculp tural mass is imbued with the momentous quality of painting\, provide start ling new interpretations of the transhistorical\, transcultural genre of vanitas or mortuary art.

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Reclining Figure (For Rome) is cast in plaster and hemp from a clay form\, and supported by a framewo rk of partially exposed rebar. The headless body rests prone on a plywood p linth\, its surface roughly smeared by hand\, recalling the fragmented yet revered relics of antiquity where the majesty of sculptural form has been s ubjected to the vicissitudes of time's passage.

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Thomas Hous eago was born in 1972 in Leeds\, England. He studied at the Centra l Saint Martins College of Art\, London and De Ateliers\, Amsterdam. Recent exhibitions include the "The Artist's Museum\," MOCA\, Los Angeles (2010)\ ; "What Went Down\," Modern Art Oxford (2010\, traveled to Ashmolean Museum \, Museum Abteiberg\, Mönchengladbach\, and Centre International d'Art et d u Paysage de l'Ile de Vassivière\, through 2011)\; "The Beat of the Show\," Inverlieth House\, Edinburgh (2011)\; "The World Belongs to You\," Palazzo Grassi\, Venice (2011)\; and "Where the Wild Things Are" and "Thomas House ago: Hermaphrodite\," Sainsbury Centre for the Visual Arts\, Norwich (2012) . His work was included in the 2010 Whitney Biennial. In January 2013\, the Dijon art center Le Consortium installed a selection of Houseago's sculptu res around the streets of Aix-en-Provence\, France. A major solo exhibition \, "As I Went Out One Morning\," is on view through November 11 at Storm Ki ng Art Center in Mountainville\, New York\, and "Thomas Houseago: Striding Figure/Standing Figure" will be on view at Galleria Borghese\, Rome from Ma y 26 through July 7\, 2013.    

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Houseago lives and works in Los Angeles.

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Sono affascinato dall'atto --qualunque forma abbia--del produrre arte. E\, in un senso più ampio\, da come un artista interagisca con il mondo e dall'azione che scaturisce da qu esta interazione...Volevo liberarmi del readymade e capire come io mi mostr assi e reagissi al mondo.

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--Thomas Houseago

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Gagosian Gallery è lieta di presentare "Roman Figures\," una mostra di nuo ve sculture di Thomas Houseago.

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Il tratto peculiare del lavoro di T homas Houseago è il dialogo continuo che le sue opere intraprendono con il passato-dal quale partono per ripercorrere il lungo percorso storico-artist ico della scultura--e con il presente-che interpretano in maniera creativa tramite contaminazioni e influssi diversi tra loro (mitologia\, Arte Africa na tribale\, cartoni animati\, Manierismo Italiano\, fantascienza e robots) . Houseago crea\, con materiali semplici quali il gesso\, la canapa\, il fe rro e il legno\, delle figure complesse\, le quali\, sorrette da scheletri di tondini di ferro\, coniugano una spiccata materialità e tridimensionalit à--arti grezzi e mastodontici\, tagliati con il seghetto--con la leggerezza del segno e della pittura a mano libera. Chiaramente postmoderne nel modo in cui rivisitano la storia dell'arte in termini della cultura popolare\, l e figure viscerali di Houseago incarnano l'estetica e le reazioni del corpo alle realtà traumatiche della vita contemporanea.

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La mostra "Roman Figures" presenta la scultura monumentale\, Reclining Figure (For Rome ) insieme a sette maschere scolpite e alla scultura Untitled (Walk ing Boy on Plinth) (tutte del 2013). Le Roman Masks  coniugan o il fascino modernista occidentale con la carica spirituale di oggetti tri bali dell'Africa e del Sud Pacifico. Realizzate in gesso da un calco di arg illa e rinforzate con armature in ferro\, le maschere lineari\, simili a te schi ma comunque altamente espressive\, e nelle quali la massa scolpita è i mpregnata della notevole qualità della pittura\, provocano nuove e sorprend enti interpretazioni del genere trans-storico e transculturale della Vanita s o della Mortuary Art.

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Reclining Figure (For Rome) è real izzata\, da un calco di argilla\, in gesso e canapa e sostenuta da una stru ttura di tondini di ferro parzialmente a vista. Il corpo acefalo e prono po ggia su un basamento di compensato\, con una superficie rozzamente spalmata a mano. L'opera è una reminiscenza di reliquie dei tempi antichi\, frammen tate ma comunque venerate\, dove la maestà della forma scultorea è stata so ttoposta alle vicissitudini dello scorrere del tempo.

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Thoma s Houseago (nato nel 1972 a Leeds\, Inghilterra)\, ha frequentato il Saint Martins College of Art\, Londra e il De Ateliers\, Amsterdam. Tra le sue recenti esibizioni si annoverano: "The Artist's Museum\," MOCA\, Los Angeles (2010)\; "What Went Down\," Modern Art Oxford (2010)--mostra itine rante Ashmolean Museum\, Museum Abteiberg\, Mönchengladbach\, e Centre Inte rnational d'Art et du Paysage de l'Ile de Vassivière (2011)--"The Beat of t he Show\," Inverlieth House\, Edimburgo (2011)\; "The World Belongs to You\ ," Palazzo Grassi\, Venezia (2011)\; "Where the Wild Things Are" e "Thomas Houseago: Hermaphrodite\," Sainsbury Centre for the Visual Arts\, Norwich ( 2012). Il suo lavoro è stato incluso nella Biennale del Whitney Museum del 2010. A gennaio 2013\, the Dijon Art Center Le Consortium ha installato una selezione di sculture di Thomas Houseago per le strade di Aix-en-Provence\ , Francia. La più importante mostra personale dell'artista\, "As I Went Out One Morning\," ha aperto a maggio 2013 allo Storm King Art Center a Mounta inville\, New York. Il 26 maggio 2013 inaugura alla Galleria Borghese a Rom a la mostra "Thomas Houseago: Striding Figure/Standing Figure" che aperta f ino al 7 luglio 2013.

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Houseago vive e lavora a Los Angeles. 

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DTEND:20130726 DTSTAMP:20140802T020249 DTSTART:20130604 GEO:41.9034721;12.4855785 LOCATION:Gagosian Gallery - Rome\,Via Francesco Crispi 16 \nRome \, 00187 SEQUENCE:0 SUMMARY:Roman Figures\, Thomas Houseago UID:278341 END:VEVENT BEGIN:VEVENT DTEND:20130604T200000 DTSTAMP:20140802T020249 DTSTART:20130604T180000 GEO:41.9034721;12.4855785 LOCATION:Gagosian Gallery - Rome\,Via Francesco Crispi 16 \nRome \, 00187 SEQUENCE:0 SUMMARY:Roman Figures\, Thomas Houseago UID:278342 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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El proceso de elaboración de mis imágenes es largo en el tiempo debido a que todos mis trabajos están construidos con programa s informáticos\, editando por acumulación\, empíricamente y por el método d e la exageración\, respetando al máximo la transcripción de los lugares que \, a menudo\, utilizo como recurso o dispositivo: centros de negocios\, cen tros comerciales\, fábricas\, lugares de trabajo o de ocio\, centros de pod er\, incluso hechos sociales que he venido observando.

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Mis imágenes se articulan uniendo varias temporalidades\, usando efectos anacrónicos y trabajando entre lo estético y lo político. En mi trabajo fotográfico\, las referencias a la historia de la pintura se convierten en mis instrumentos de parodia: el juego es la descripción "de lo contemporáneo".
El uso de una iconografía pasada (matriz de mis imágenes)\, como propaganda y pint ura histórica\, me permite renovar la descripción de nuestra realidad y rev elar su arcaísmo (1).

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   (1) “La  contemporaneidad se inscribe en el presente marcándose sobre tod o lo arcaico. Sólo aquél\, que percibe los indicios y las firmas de lo arca ico en  lo más moderno y lo más reciente\, puede ser contemporáneo.” Giogio Agamben\, What is an Apparatus and Other Essays\, Stan dford University Press. Essay What is the Contemporary\, chap. 6\, p. 50.

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DTEND:20130726 DTSTAMP:20140802T020249 DTSTART:20130604 GEO:40.4063419;-3.6816482 LOCATION:Galería Cero\,C/ Fuenterrabia 13 \nMadrid\, 28014 SEQUENCE:0 SUMMARY:"Marines\, landscapes and small incidents" \, Vincent Debanne UID:280698 END:VEVENT BEGIN:VEVENT DESCRIPTION:

About The Renaissance Series.

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What I cherish the mos t about Photography is its empiric/investigative/dubitative character. It's as if it were an extraordinary device that enables you to imagine or glimp se the often elusive profile of reality.

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Assertive is only the cert ainty that reality itself includes a large percentage of invisible elements as well.

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There are no stories to be told but\, maybe\, discourses to be structured.

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Therefore\, the position of my camera is always: ordinary\, shared\, mediated\, inclusive and often\, well visible.

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In this project about the Sacred Renaissance in Italy\, I've been aiming at an equidistant point among sculpture\, painting and dust.

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Vincenzo Castella
Milano\, 28-01-2013

DTEND:20130726 DTSTAMP:20140802T020249 DTSTART:20130525 GEO:40.4233691;-3.6940532 LOCATION:Galeria Fúcares (Madrid)\,Conde de Xiquena 12 \nMADRID\, 28004 SEQUENCE:0 SUMMARY:“Cronache del Rinascimento”\, Vincenzo Castella UID:278336 END:VEVENT BEGIN:VEVENT DTEND:20130525T140000 DTSTAMP:20140802T020249 DTSTART:20130525T120000 GEO:40.4233691;-3.6940532 LOCATION:Galeria Fúcares (Madrid)\,Conde de Xiquena 12 \nMADRID\, 28004 SEQUENCE:0 SUMMARY:“Cronache del Rinascimento”\, Vincenzo Castella UID:278337 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The third installment in the MIFF Media Forum Expanded C inema series — Mocumentary: Reality Is Not Enough presents th e cutting-edge selection of contemporary art works in the genre formed in-b etween cinema\, video and media art. The exposition curated by Olga Shishko (art director of the MIFF Moscow Media Forum) is compiled of the masterpie ces of the modern artists from Russia and abroad\, utilizing pseudo documen tary and mocumentary strategies in their creative practices. Mocumentar y: Reality Is Not Enough poses the question of blurred borders between fiction and reality in the era of media addiction\, infoglut and uncritica l consumption of data and images.

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     Mocumentary\, a genre long-e stablished and well-known to the audience\, gathers significant attention a mong contemporary artists as an active critical strategy. It first appeared in cinema more than 50 years ago as a complete fiction made in accordance to the documentary rules and complies with the parameters of the quality hi storical evidence. Just as a well-made documentary film\, a mocumentary con tains a story supported by facts\, witness interviews\, play-by-play record ings\, material evidence and expert opinions. But in contrast to the qualit ative documentary study\, mocumentary replaces all the elements of the narr ative with false or parody to create a comic effect and becomes a false sto ry from the beginning to the end — events that never happened\, fraudulent facts\, fake experts and counterfeit records. 

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     Mo cumentary: Reality Is Not Enough focuses on the application of the moc umentary practices both as a creative technique and as tool to make an arti stic statement. In contemporary art this genre provides an opportunity to q uestion the truth behind the visible and the transmitted and to deconstruct established historical paradigms. With the help of fakes and simulations m odern artists play out the wide-spread myths\, false stereotypes and genera lly accepted facts. The main goal of the experiment is the audience self-cr iticizing\, propaganda and disinformation in media\, the niceties of the so cial contract and painful historical experience.

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     All the artis ts presented at the Mocumentary: Reality Is Not Enough exhibition work with imperceptible transition from reality to its distorted reflection in the age of television boom\, media consumption\, and the growing passiv ity of the audience in fact analysis. They represent a critical overview an d an active political position\, creating the new legends by means of video \, editing\, special effects\, and dramatizations. And they can turn all th e tricks of the documentary into a no-lose weapon of art play for rewriting history\, exposing the complexes and defining pain thresholds of individua ls\, society\, eras and nations. Mocumentary: Reality Is Not Enough displays the cutting-edge contemporary art research in the man's place in history\, the substitution of reality by skillfully crafted illusions and the boundaries between the historical and political statement.

DTEND:20130726 DTSTAMP:20140802T020249 DTSTART:20130625 GEO:55.747061;37.600277 LOCATION:Moscow Museum of Modern Art [10 Gogolevsky]\,10 Gogolevsky Blvd. \ nMoscow\, SEQUENCE:0 SUMMARY:Expanded Cinema 3 — Mocumentary: Reality Is Not Enough UID:282884 END:VEVENT BEGIN:VEVENT DTEND:20130625T200000 DTSTAMP:20140802T020249 DTSTART:20130625T120000 GEO:55.747061;37.600277 LOCATION:Moscow Museum of Modern Art [10 Gogolevsky]\,10 Gogolevsky Blvd. \ nMoscow\, SEQUENCE:0 SUMMARY:Expanded Cinema 3 — Mocumentary: Reality Is Not Enough UID:282885 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Strangelove’s Weegee is an exhibition of photograph s by American tabloid photographer\, Weegee\, taken on the set of Dr. S trangelove or: How I Learned to Stop Worrying and Love the Bomb. The e xhibition also includes publicity stills\, posters\, lobby cards and other material related to the film. The exhibition explores Weegee’s tabloid aest hetics and Kubrick’s interest in them. Among the photographs taken by Weege e on the film set are fight scenes in the War Room\, including the famous p ie fight cut by Kubrick from the final version of the film. Curated by John O’Brian.

DTEND:20130726 DTSTAMP:20140802T020249 DTSTART:20130614 GEO:49.3153022;-123.0796641 LOCATION:Presentation House Gallery\,333 Chesterfield Avenue \nNorth Vancou ver\, BC \, Canada V7M 3G9 SEQUENCE:0 SUMMARY:Strangelove’s \, Weegee UID:278817 END:VEVENT BEGIN:VEVENT DTEND:20130614T170000 DTSTAMP:20140802T020249 DTSTART:20130614T120000 GEO:49.3153022;-123.0796641 LOCATION:Presentation House Gallery\,333 Chesterfield Avenue \nNorth Vancou ver\, BC \, Canada V7M 3G9 SEQUENCE:0 SUMMARY:Strangelove’s \, Weegee UID:278818 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Model Opera features a suite of images by Chinese p hotographer Zhang Yaxin that vividly record the actors and scenery of the C ommunist Party-sanctioned “model operas” staged during the latter part of t he Cultural Revolution. Yaxin\, who also served as chief photographer of th e Communist Party leaders\, devoted eight years of his life to photographin g the operas\, which assembled China’s best playwrights and performers. His photographs were disseminated extensively within China on posters\, stamps and craftworks. Facilitated by Helga Pakasaar.

DTEND:20130726 DTSTAMP:20140802T020249 DTSTART:20130614 GEO:49.3153022;-123.0796641 LOCATION:Presentation House Gallery\,333 Chesterfield Avenue \nNorth Vancou ver\, BC \, Canada V7M 3G9 SEQUENCE:0 SUMMARY:Model Opera \, Zhang Yaxin UID:278820 END:VEVENT BEGIN:VEVENT DTEND:20130614T170000 DTSTAMP:20140802T020249 DTSTART:20130614T120000 GEO:49.3153022;-123.0796641 LOCATION:Presentation House Gallery\,333 Chesterfield Avenue \nNorth Vancou ver\, BC \, Canada V7M 3G9 SEQUENCE:0 SUMMARY:Model Opera \, Zhang Yaxin UID:278821 END:VEVENT BEGIN:VEVENT DESCRIPTION:

"All Kinds of Everything" features mixed-media works by Atla nta\, Georgia-based artist Jiha Moon. These works were created during and a fter her residency at the Fabric Workshop and Museum in Philadelphia\, Penn sylvania. Moon&rsquo\;s vibrant and dense works are teeming with formal and conceptual elements such as bold color combinations\, visual references to Eastern and Western culture\, and an engagement with "high" and "low" form s of art. Provocative and playful\, Moon&rsquo\;s collaged compositions emb race "all kinds of everything\," from painted landscapes sprinkled with sti ckers to glittery pop culture emblems\, and encourage multiple interpretati ons.

DTEND:20130726 DTSTAMP:20140802T020249 DTSTART:20130610 GEO:33.7977392;-84.3900964 LOCATION:SCAD Gallery 1600\,1600 Peachtree St \nAtlanta\, GA SEQUENCE:0 SUMMARY: "All Kinds of Everything"\, Jiha Moon UID:286806 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Art Plural Gallery is pleased to present Assemblage\, a solo exhibition of Korean artist Chun Kwang Young. Featuring 22 of his latest works\, the exhibiti on will run from 29 May to 27 July 2013.

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Chun Kwang Young has spent his career see king the individuality of a style that allows him to express the dualities indigenous to his work. Beginning the long journey into Abstract Expression ism in the 1970s\, a move to America spurred him to embrace a direction tha t could freely express the divide he encountered between promises and reali ty. From there\, Chun sought a personal language and a strong voice that wo uld allow him to incorporate influences from his homeland. A seminal moment came in 1995\, when Chun began to create structural works of art made of t he assemblage of hundreds of polystyrene foam triangles wrapped in Korean m ulberry paper. Known as hanji\, the paper is deeply rooted in Kore an tradition and was at one time a ubiquitous household material\, as well as a means of wrapping various objects such as medicine and food.

In the words of the artist\, “I think the thing I first saw [as a ch ild] was my mother’s face\, and then there was mulberry paper. This paper i s not just for writing and drawing\, but is like the spirit and soul of Kor eans.”

DTEND:20130727 DTSTAMP:20140802T020249 DTSTART:20130529 GEO:1.294176;103.849427 LOCATION:Art Plural Gallery\,38 Armenian Street \nSingapore\, 179942 SEQUENCE:0 SUMMARY: Assemblage\, Chun Kwang Young UID:274973 END:VEVENT BEGIN:VEVENT DTEND:20130528T210000 DTSTAMP:20140802T020249 DTSTART:20130528T180000 GEO:1.294176;103.849427 LOCATION:Art Plural Gallery\,38 Armenian Street \nSingapore\, 179942 SEQUENCE:0 SUMMARY: Assemblage\, Chun Kwang Young UID:274974 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The name of the exhibition stems from Zhuangzi’s leisurely t ravels (Xiao yaoyou). Zhuangzi says that the book Qi Xie records the weird and eccentric. Therefore those who find fun in hills and mountains bestow t heir sentiments upon the landscape\, and seek pleasure in it. The Chinese h as a special preference to hills and rivers. To entrust your feelings to th e hills and rivers is to be immersed in nature. In other word\, for each Ch inese intellectual\, there lives in the bottom of his heart unique rivers a nd hills.

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In this series\, Wang intends to express is unnamed senti ments by depicting the hills and rivers in his own heart and imagination. T o put it another way\, the curious hills and landscapes on the canvas are t he broad reflection of his frame of mind\, solitude and memories\, while th e details and bizarre life forms on the painting an emblem of the sense of absurdity at the bottom of the artist’s heart.  Is existence vain? Does it mean anything? Is our sense of existence enshrined in the long river of tim e and in the lofty tower built of experiences and memories? Or is the human race fleeing towards an unknown imagined future world? And is the price of escape the abandonment of the current world? Or maybe the erudite you beli eve that Wang has strayed from the point? However\, the questions above are the rudimentary reasons for is work “mountain Lore.” Strange life forms li ve in dark and high mountains. They live incommunicado and relate a fairyta le attributable to no age\, no race and no nation. They live happily and lo nely because they reside in his dreams.

DTEND:20130727 DTSTAMP:20140802T020249 DTSTART:20130711 GEO:1.3001259;103.849316 LOCATION:ART SEASONS Singapore\,1 Selegie Road \nSingapore\, SEQUENCE:0 SUMMARY:MOUNTAIN LORE\, Wang Tianxuan UID:284049 END:VEVENT BEGIN:VEVENT DTEND:20130711T210000 DTSTAMP:20140802T020249 DTSTART:20130711T180000 GEO:1.3001259;103.849316 LOCATION:ART SEASONS Singapore\,1 Selegie Road \nSingapore\, SEQUENCE:0 SUMMARY:MOUNTAIN LORE\, Wang Tianxuan UID:284050 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Joshua Jensen-Nagle's new series Summer Seduction depicts ba thers and sun worshipping beach goers in a soft dreamlike state\, a techniq ue that he has mastered over his career. The hazy coloured leisure settings portrayed in Jensen-Nagle’s new pieces bestow an instant feeling of sereni ty to the viewer. He states that his inspiration comes from the need to esc ape contemporary life or “the mundane day-to-day tasks we all struggle thro ugh so we can eventually leave it behind for a few weeks and stare off into the deep blue.” Jensen-Nagle explains that even though many of these beach es are often crowded\, hot and difficult to get to\, the eventual reward of basking in the salt and sun is worth the effort. “It is a necessity to rej uvenate our mind and body with such rituals and this series explores such a practice.” Jensen-Nagle’s images trigger for the viewer a distant memory\, blurred by the possibility that it was never experienced at all. Perhaps i t is a memory of a place where time has no meaning and waking from dreaming is not a consideration.

DTEND:20130727 DTSTAMP:20140802T020249 DTSTART:20130713 GEO:49.2585083;-123.1389054 LOCATION:Bau-Xi Gallery - Vancouver\,3045 Granville Street \nVancouver\, BC V6H 3J9 SEQUENCE:0 SUMMARY:Summer Seduction\, Joshua Jensen-Nagle UID:284898 END:VEVENT BEGIN:VEVENT DTEND:20130713T160000 DTSTAMP:20140802T020249 DTSTART:20130713T140000 GEO:49.2585083;-123.1389054 LOCATION:Bau-Xi Gallery - Vancouver\,3045 Granville Street \nVancouver\, BC V6H 3J9 SEQUENCE:0 SUMMARY:Summer Seduction\, Joshua Jensen-Nagle UID:284930 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Gordon Wiens’ Form and Formlessness provides an alternative to the intense experience of modern day living through its subdued colour p alette\, textural elements and ordered forms. “I offer my current paintings as objects for self-immersion - quiet spaces for contemplation and the opp ortunity to find balance and perspective.”
The viewer recognizes the g eometric strips layered upon one another\, iconic of Wiens’ style\, however in this latest series\, flecks of bright pink and fresh greens emerge thro ugh the many bands of whites and greys. The process is both intricate and h ighly detailed\, with careful attention paid to where each form is placed\, yet it is also a meditative and tranquil one\, describes Wiens.
“I am inspired by the processes of nature more than nature itself. It is the ess ence of this that is evident in my work\, visible in the co-existence of fo rm and formlessness in each piece.”

DTEND:20130727 DTSTAMP:20140802T020249 DTSTART:20130713 GEO:49.2585083;-123.1389054 LOCATION:Bau-Xi Gallery - Vancouver\,3045 Granville Street \nVancouver\, BC V6H 3J9 SEQUENCE:0 SUMMARY:Form & Formlessness\, Gordon Wiens UID:284899 END:VEVENT BEGIN:VEVENT DTEND:20130713T160000 DTSTAMP:20140802T020249 DTSTART:20130713T140000 GEO:49.2585083;-123.1389054 LOCATION:Bau-Xi Gallery - Vancouver\,3045 Granville Street \nVancouver\, BC V6H 3J9 SEQUENCE:0 SUMMARY:Form & Formlessness\, Gordon Wiens UID:284931 END:VEVENT END:VCALENDAR