BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

This focus exhibition explores Audubon and fellow naturalist -artists&rsquo\; interest in documenting America&rsquo\;s wildlife and plan ts. In addition to works by John James Audubon\, the exhibition includes wo rks by Mark Catesby\, Alexander Wilson\, Martin Johnson Heade\, and Karl Bo dmer. These artists had in common a willingness to take risks and face chal lenges during their expeditions to remote unexplored areas\, and a commitme nt to create detailed studies of America&rsquo\;s flora and fauna based on first-hand observation.

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The main focus of the exhibition is a major new art acquisition: John James Audubon&rsquo\;s oil painting \;Wi ld Turkey Cock\, Hen and Young \;(1826). Audubon created oil paint ings of his watercolor studies of birds to raise funds and to recruit subsc ribers for his famous publication \;The Birds of America \ ;(1827&ndash\;1838). \;Wild Turkey cock\, Hen and Young\, pain ted during his promotional tour in Edinburgh\, Scotland in 1826\, was one o f his earliest oil paintings related to this major work. The American wild turkey was Audubon&rsquo\;s favorite subject and is the largest species in his publication. \;Wild Turkey \;(ca. 1845)\, on loan from the Gilcrease Museum\, is an almost identical copy of the first plate of h is book. The exhibition also features the New York Historical Society&rsquo \;s portrait of Audubon by his son John Woodhouse Audubon\, as well as Crys tal Bridges&rsquo\; double elephant folio copy of Audubon&rsquo\;s \;Birds of America\, re-issued by his son in 1861.

DTEND:20150105 DTSTAMP:20140916T105421 DTSTART:20140927 GEO:36.3820578;-94.2034223 LOCATION:Crystal Bridges Museum of American Art\,600 Museum Way \nBentonvil le\, Arkansas 72712 SEQUENCE:0 SUMMARY: AND THE ARTIST AS NATURALIST\, John James Audubon\, Mark Catesby\, Alexander Wilson\, Martin Johnson Heade\, Karl Bodmer UID:356647 END:VEVENT BEGIN:VEVENT DTEND:20140927T180000 DTSTAMP:20140916T105421 DTSTART:20140927T110000 GEO:36.3820578;-94.2034223 LOCATION:Crystal Bridges Museum of American Art\,600 Museum Way \nBentonvil le\, Arkansas 72712 SEQUENCE:0 SUMMARY: AND THE ARTIST AS NATURALIST\, John James Audubon\, Karl Bodmer\, Mark Catesby\, Martin Johnson Heade\, Alexander Wilson UID:356648 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Journey

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The ultimate road trip\, to a thousand destinations\, for one unforgettable exhibition. In 2013\, Crystal Bridges Museum of American Art&rsquo\;s curatorial team hit the road to investigat e what&rsquo\;s happening in American art today. Over the course of a year\ , the team logged more than 100\,000 miles\, crisscrossing the United State s to visit nearly 1\,000 artists.

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Traveling to communities large an d small\, the Museum sought to discover artists whose work has not yet been fully recognized on a national level. On their travels\, museum curators c onducted hundreds of hours of one-on-one conversations with artists in thei r studios.

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The Exhibition

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The result of this unprecedente d journey is a one-of-a-kind exhibition that draws from every region of the US\, offering an unusually diverse look at American art. \;State o f the Art \;brings together the artwork of more than 100 artists\, ranging from works on canvas and paper to photography and video to install ation and performance art\, and more. The exhibition examines the ways in w hich today&rsquo\;s artists are informed by the past\, innovating with mate rials old and new\, and engaging deeply with issues relevant to our times.< /p> DTEND:20150119 DTSTAMP:20140916T105421 DTSTART:20140913 GEO:36.3820578;-94.2034223 LOCATION:Crystal Bridges Museum of American Art\,600 Museum Way \nBentonvil le\, Arkansas 72712 SEQUENCE:0 SUMMARY:State of the Art UID:356646 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition will provide a critical overview of Willie Do herty&rsquo\;s photographs and videos made on the streets of his native cit y of Derry in Northern Ireland and its surrounding hinterland\, presenting new insight into the artist&rsquo\;s working methods and rationale.

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Since 1985 Doherty has recorded the way in which the city has been shaped and altered in response to unfolding political events as he explored its st reets through the simple acts of walking and looking. The title of the exhi bition\, \;UNSEEN\, refers to Doherty&rsquo\;s self-co nscious method of using the camera in a context where it was imperative for him to avoid undue attention and to minimize the risk of being mistaken fo r a photojournalist or a tourist. The exhibition will reveal how Doherty ha s used the techniques of photojournalism\, documentary landscape photograph y and the appropriation of images and texts to create a body of photographi c work that explores the fine line between fiction and non-fiction.

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UNSEEN \;will present approximately twenty photograph ic and four video works from throughout Doherty&rsquo\;s career and will ex amine how the artist evolved the use of image and text in his early black a nd white works (1985-92) to engage with the complexities of representing a contested landscape.

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A number of works from \;Lapse\, a series of black and white photographs made in the 1980s and early 1990s w ill be shown for the first time\; Doherty here investigating how these negl ected or 'lost' images shift between the present (and our knowledge and und erstanding of) the past.

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Doherty&rsquo\;s large colour cibachromes (1993-99)\, exploit the heightened colour of this particular photographic p rocess to create a body of work that plays with the promise of narrative po tential\, as the images oscillate unsteadily between the staged and the fou nd\, the before and after.

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UNSEEN \;will showc ase a number of Doherty&rsquo\;s most important video installations that pl ace some of Derry&rsquo\;s best-known and more hidden sites as locations fo r his narratives. One of the works \;Remains \;(2013)\, wa s recently acquired by De Pont\, after having debuted at Art Unlimited at B asel 2013. \;Remains \;was made in a number of locations in Derry that have been used since the early 1970& rsquo\;s to carry out kneecappings\, a form of punishment shooting used to control drug use and other forms of so called &lsquo\;anti-social behaviour &rsquo\;.

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UNSEEN \;will provide a unique oppor tunity to appraise the photographic and video work of Willie Doherty in the context where it was produced. The work will be subjected to a different s crutiny\, one that has been shaped by an understanding of how things have t urned out but is subject to the fallibility of human memory and like photog raphy itself\, cannot be relied upon to provide a full account of what happ ened.

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Publication
The exhibition will be acco mpanied by a 250 pp publication\, \;with full colour and duotone photog raphs that will for the first time illustrate all of the photographic works that Willie Doherty has made in Derry between 1985 and 2013.

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The e xhibition \;Willie Doherty: UNSEEN \;is curated by Matt&rs quo\;s Gallery\, London and The Nerve Centre\, Derry. For the show in Tilbu rg new works have been added.

DTEND:20150118 DTSTAMP:20140916T105421 DTSTART:20140920 GEO:51.5671229;5.0765888 LOCATION:De Pont Museum of Contemporary Art\,Wilhelminapark 1 \nTilburg \, 5041 EA SEQUENCE:0 SUMMARY: UNSEEN\, Willie Doherty UID:356613 END:VEVENT BEGIN:VEVENT DTEND:20140920T170000 DTSTAMP:20140916T105421 DTSTART:20140920T110000 GEO:51.5671229;5.0765888 LOCATION:De Pont Museum of Contemporary Art\,Wilhelminapark 1 \nTilburg \, 5041 EA SEQUENCE:0 SUMMARY: UNSEEN\, Willie Doherty UID:356614 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150104 DTSTAMP:20140916T105421 DTSTART:20140830 GEO:51.5671229;5.0765888 LOCATION:De Pont Museum of Contemporary Art\,Wilhelminapark 1 \nTilburg \, 5041 EA SEQUENCE:0 SUMMARY:Stones & Sketches drawings and paintings\, Robert Zandvliet UID:356612 END:VEVENT BEGIN:VEVENT DESCRIPTION:

2014 Visual Art Prize of Prins Bernhard Cultuurfonds Noord-Brabant awarded to Ria van Eyk

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Ria van Eyk (1938) i s considered an exceptional pioneer in the abstract \; textile art that began to flourish during the late 1970s. She was therefore among those key figures who paved the way for an emancipation of textile a rt\, particularly due to her monumental employment of textiles in architect ure. The culmination is her \;Sterrenhemeltapijt(Starry Sky Ca rpet) (1997-1998) which was commissioned by the Building Department of the Dutch government for Amsterdam's Royal Palace. Since the mid 1980s Van Eyk has also been producing paintings and works on paper in which she expresses \, with color and gold leaf\, her fascination with and fondness of the Ital ian Renaissance.

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At the opening of this exhibition in De Pont on 30 August\, the prize will be granted to Ria van Eyk by the Royal Commissione r in the Province of Noord-Brabant. The prize has been awarded for her cons istent and balanced body of work\, as well as its distinct and cogent point s of departure: the 'grid'\, 'color\, 'line' and 'light'. Her oeuvre is cha racterized by simplicity and clarity in terms of form and material\, both i n her textile work and&mdash\;from the mid 1980s onward&mdash\;in her paint ings. Another unusual aspect is her search for the field of tension between pure form and personal lyricism.

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Throughout her long and consisten t career\, Ria van Eyk has continued to seek new approaches. Her efforts to take textile art beyond the context of craft\, and to regard it as a full- fledged visual medium\, have also played a role in her nomination for this prize. Her teaching posts at art schools within the Netherlands and abroad have moreover allowed her to play a significant role\, both as a person and as an artist\, for later generations.

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Annual Art Prize

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With the annual granting of the prize\, the Prins Bernhard Cu ltuurfonds Noord-Brabant focuses on artists who have managed to continue ex pressing their independent outlook in the medium which they have mastered. Because of this\, these artists truly influence our way of seeing and our u nderstanding of life.

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The prize rotates among different disciplines (visual art\, theater\, music and dance) every four years. Within the visu al arts the prizes are distinguished into an incentive prize\, a recognitio n prize and an oeuvre prize.

DTEND:20141026 DTSTAMP:20140916T105421 DTSTART:20140830 GEO:51.5671229;5.0765888 LOCATION:De Pont Museum of Contemporary Art\,Wilhelminapark 1 \nTilburg \, 5041 EA SEQUENCE:0 SUMMARY:An oeuvre\, Ria van Eyk UID:356611 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The seeds for the installation \;The Essential \ ;were sown in 2002\, while Martin and Inge Riebeek were working on a p iece commissioned by a juvenile penitentiary in Veenhuizen: \;Heave n at 4 am. \;This installation consists of an interactive treadmil l. The runner is filmed and plays the lead role in an imaginary escape. Dep ending on the time at which he begins running and the pace chosen\, he is s hown various film images of the world outside the penitentiary. Should the runner opt for a quiet walk\, for instance\, he gets to see images of old p eople sitting on benches in city parks or of sandy white beaches. But if he makes a sprint\, he ends up in a disco or watching a striptease act.

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The Riebeeks devised a route for the virtual escape that ultimately lead s to the southernmost tip of Italy. Along the way to this destination\, the y shot film in twelve European cities. But as they filmed people without as king for their permission\, they soon began to feel like voyeurs. When perm ission was given\, the spontaneity vanished. So they decided to engage pass ersby in conversation by asking them 'What is your dream? What does your pa radise look like?' That resulted in remarkable portraits with all sorts of wishes. People dreamed of eternal love\, of being allowed to be who they ar e\, of having lots of money\, a fascinating career or lots of booze\, drugs or sex. And there are differences: in Nairobi people dream of a home with a garden\; in Turkey and America the accent lies with the well-being of one 's family. A prestigious job is important in Shanghai\, while passion and d esire play a significant role in Rio de Janeiro.

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These encounters\, which once began as the gathering of dreams for young people in a penitent iary\, became an end in themselves for this artist couple. The format is al ways clear and shot in a single take: a person walks up to a fixed camera\, looks into the lens and tells a story. No use is made of zooming in\, or o f other filmic devices and special effects. It's just the camera and the re ality of the person and his or her story. \;

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In recent years th e artists have been posing other questions? 'What\, to you\, is the essence of life right now? What or whom has shaped your character?' This has led t o mini-documentaries in which a life is compressed into a few minutes. The tone\, in comparison to the responses elicited from 'What is your paradise? '\, is different from the start. There people were sharing their desires\, but here they tell about what has happened to them. It's moving to see just how open those being interviewed are in front of the camera. Especially wh en you consider the fact that they've met Martin or Inge simply by chance o ut on the street\, and that this encounter never lasted more than a few hou rs\, including perhaps four or five takes. People tell the Riebeeks stories that they normally tell only to very close friends\, and sometimes not eve n to them. The selection\, made by Inge and Martin on returning from their travels\, provides us with a glimpse of the other and of what is essential to him or her. But there is more. Taking inspiration from the philosophy of Emmanuel Levinas\, in which 'the Other' gives meaning to our existence\, t hey provide us through their work with a glimpse of the essence of our own being.  \;

DTEND:20141026 DTSTAMP:20140916T105421 DTSTART:20140830 GEO:51.5671229;5.0765888 LOCATION:De Pont Museum of Contemporary Art\,Wilhelminapark 1 \nTilburg \, 5041 EA SEQUENCE:0 SUMMARY: The Essential\, Inge Riebeek\, Martin Riebeek UID:356610 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On the heels of a period of rapid modernization\, the Sino-J apanese War (1894&ndash\;1895) established Japan as the preeminent imperial power in East Asia. It also revitalized the centuries-old woodblock publis hing industry in Japan\, providing artists with exciting new subject matter \, including explosions\, naval battles\, and advanced weaponry\, and gave an eager public an action-packed view of the front lines. This special exhi bition draws exclusively from Ruth S. Nelkin&rsquo\;s donation of prints to the Mead Art Museum.

DTEND:20150104 DTSTAMP:20140916T105421 DTSTART:20140913 GEO:42.3705732;-72.5155698 LOCATION:Mead Art Museum\,41 Quadrangle Drive \nAmherst\, MA SEQUENCE:0 SUMMARY:PAIN’S PYROTECHNIC SPECTACLE: The Sino-Japanese War in Print UID:356531 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Animals played many roles in ancient societies of the Americ as. Their frequent depiction in figurines\, on pottery\, and in woven texti les emphasizes their importance to the indigenous inhabitants of Central an d South America. This installation features 18 works of art from the Maya\, Moche\, Chimú\;\, and Aztec cultures\, many exhibited for the first time. The variety of animals represented\, including alpacas\, jaguars\, de er\, and fish\, reflects the diverse natural environments of the Americas\, which range from soaring mountains to arid coastal plains. \;

DTEND:20141012 DTSTAMP:20140916T105421 DTSTART:20140513 GEO:42.3705732;-72.5155698 LOCATION:Mead Art Museum\,41 Quadrangle Drive \nAmherst\, MA SEQUENCE:0 SUMMARY:ANIMALS IN THE ART OF THE ANCIENT AMERICAS UID:356530 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In conjunction with the \;Amherst Schubert Project\, the Mead presents a &ldquo\;Schubert Sound Installation&rdquo\; in the wood pa neled Rotherwas Room. Five speakers\, positioned on stands in a large oval configuration\, each play one of the five parts of Schubert's Cello Quintet (1828)\, previously recorded by the Brentano Quartet and Michael Kannen\, director of chamber music at the Peabody Institute of The Johns Hopkins Uni versity. Moving from one speaker to the next\, the building blocks of Schub ert&rsquo\;s composition can be heard individually\, in various combination s\, or all together.

DTEND:20140928 DTSTAMP:20140916T105421 DTSTART:20140826 GEO:42.3705732;-72.5155698 LOCATION:Mead Art Museum\,41 Quadrangle Drive \nAmherst\, MA SEQUENCE:0 SUMMARY:Schubert Sound Installation UID:356529 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Do You Feel Like We Do? \;presents a new body o f work by Glasgow-based artist Conor Kelly. For Intermedia\, Kelly has prod uced work that embraces the enchanted origins of painting and points to the social potential of the art object in a de-materialised 21st century.

DTEND:20141004 DTSTAMP:20140916T105421 DTSTART:20140919 GEO:55.8660324;-4.2661907 LOCATION:CCA - Centre for Contemporary Arts (Glasgow)\,350 Sauchiehall Stre et \nGlasgow \, Scotland G2 3JD SEQUENCE:0 SUMMARY: Do You Feel Like We Do?\, Conor Kelly UID:356528 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Gregor Wright is an artist based in Glasgow. His work is inf ormed by a variety of interests including science fiction narratives\, earl y computer games\, gambling culture\, philosophy of mind and &ldquo\;a pass ing interest in the occult&rdquo\;. These interests\, linked by the premise s of chance\, logic and fantasy\, also guide the artist&rsquo\;s approach t o making work\, acting as indirect conditions for the production of paintin gs\, sculpture\, relief and installation. The result is a focused experimen tation with materials and an expansive practice which explores meaning in r elationship to colour\, objects and external influences.

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Wright&rsq uo\;s work is often entirely abstract\, combining line\, colour and space w ith occasional representational references. As the title suggests\, he is c oncerned with unsystematic processes typified by the notion of &lsquo\;luck &rsquo\;\, exploring how ideas of chance and control might function within his compositions. At the same time\, Wright is open to historical and forma l triggers and many of his works are decisively planned and wrought.

\n< p>In recent months\, Wright has been working in a vast temporary studio spa ce within an empty Victorian office complex on Buchanan Street in Glasgow\, allowing his working process to spread out along a long corridor of rooms. For this show\, Wright will present a new group of works borne out of this work space\; life-sized foam figures\, clay sculptures\, dinosaurs\, wall drawings\, sculptural paintings and rubble\; a prolific output of works exp loring extinction\, destruction\, perception and intention.

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&ldquo\ ;It turns out that an eerie type of chaos can lurk just behind a faç\ ;ade of order &ndash\; and yet\, deep inside the chaos lurks an even eerier type of order.&rdquo\; - Douglas Hofstadter\, \;Metamagical Themas : Questing For The Essence of Mind And Pattern.

DTEND:20141102 DTSTAMP:20140916T105421 DTSTART:20140919 GEO:55.8660324;-4.2661907 LOCATION:CCA - Centre for Contemporary Arts (Glasgow)\,350 Sauchiehall Stre et \nGlasgow \, Scotland G2 3JD SEQUENCE:0 SUMMARY: Dinosaur Expert I'm Feeling Lucky\, Gregor Wright UID:356527 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Mizuma Art Gallery is delighted to announce the exhibition & ldquo\;The Breath of Nasirun: The Metamorphosis of Tradition&rdquo\; openin g on Wednesday 10th September 2014.

Nasirun was born in 1965 in Cilacap on the island of Java\, Indonesia.

He has been recognize d as one of the most significant artists at work in Indonesia today. In 201 3 alone\, he held exhibitions internationally and was commissioned to produ ce a large-scale installation for inclusion in the Singapore Biennale. His works have been favourably received by Indonesian people. This is his first solo show in Japan.
Indonesia\, like Japan\, is an island nation engu lfed in rich natural scenery. Also like Japan it has a long-held tradition of belief in spirits\, and many Indonesians follow a creed of local animist ic gods known as Kejawen. As an artist raised in this environment\, Nasirun is not attracted by one particular religion in his work\, but by the since rity with which mankind has faith in these kinds of spirits.
Nasirun&r squo\;s works depict his own mental world as a Javanese person\, and his th oughts and emotions regarding the many encounters within daily life there. The metaphors with which he expresses these ideas are the unique visual lan guage with which his pieces take form.
We warmly welcome you to the fi rst solo show in Japan of one of Indonesia&rsquo\;s most well-known\, well- loved artists. \;

DTEND:20141011 DTSTAMP:20140916T105421 DTSTART:20140910 GEO:35.6944416;139.7371014 LOCATION:Mizuma Art Gallery - ICHIGAYA TAMACHI\,3-13 Ichigayatamachi Shinju ku-ku \nTokyo\, 162-0843 SEQUENCE:0 SUMMARY:he Breath of Nasirun: The Metamorphosis of Tradition\, Nasirun UID:356520 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In Deb Mansfield&rsquo\;s new series of photo-tapestries\,And dive into the sea\, \;the precarious nature of travel is explored through internet-found images of island crossings an d early forays into space. Mansfield is renowned for immersing herself in l ittoral regions of her research&mdash\;the geographic spaces that are borde rs\, edges and in-betweens. Through her photography\, tapestry and installa tion works\, we have roved with her into the mangroves of Louisana and Quee nsland\, the extreme snows and icy coasts of Newfoundland\, and the Tasmani an mountains\, at the precipice of a gorge. But beyond the physical\, her w orks also tread the linguistic in-betweens of metaphor and mind&mdash\;expl oring the edges of our consciousness\, the intrepid travels of our imaginat ions.

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And dive into the sea \;thrusts further into this territory of spatial unknowns and the exploration of fan tasy frontiers. Now Mansfield&rsquo\;s in-between space is the social imagi nation of shared images and the immersive digital landscape\, along with th e choppy seas and jutting islands\, transformed within her tapestries.

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Circular frames enclose two of these works\, creating the sense of glim psing through the spherical windows of boats and planes. In \;Ibid& nbsp\;(2013)\, for instance\, we observe the world&rsquo\;s largest vo lcanic stack Balls Pyramid Island. The texture of the tapestry recreates th e scratched surface of a porthole\, smudging and etching our view to outsid e. Yet unlike the nondescript grey tones of passenger craft interiors\, Man sfield&rsquo\;s monochrome imagery is punctuated with flashes of pink\, gre en\, and gold\, rejuvenating the seemingly dated craft of tapestry with a t ouch of Pop Art kitsch. So too\, the made-to-order-online process\, and sin gle-colour weaved threads\, recall Pop artist Andy Warhol&rsquo\;s colour-b locked screen-printing\, and the mass-production practices he celebrated in his studio &lsquo\;The Factory&rsquo\;.

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But while Warhol used exce ss and repetition to reflect our desensitisation to mass-mediated images\, Mansfield&rsquo\;s tapestries offer respite from the visual excesses of net work culture. Her appropriations arehighly selective\, her digital interven tions highly refined. Now\, &ldquo\;there are artists who are navigating th e Web&rsquo\;s choppy info-ocean&rdquo\;\, observes writer Simon Reynolds ( 2011)\, epitomized by Mansfield&rsquo\;s sifting and searching through imag es of floating debris from the 1986 Space ShuttleChallenger \; disaster.

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In devastating recent history\, airplane tragedies have s hifted us from complacency toward global travel to a newfound fear of fligh t. These photo-tapestries don&rsquo\;t aim to desensitise us to this realit y. Rather they are beautiful\, quirky and complex objects that speak to hum an abstractions&mdash\;the allure of the unknown\, the boundlessness of ima gination and a timeless fear of failing.

DTEND:20141025 DTSTAMP:20140916T105421 DTSTART:20140924 GEO:-33.8793696;151.2258673 LOCATION:Stills Gallery\,36 Gosbell Street \nPaddington \, NSW 2021 SEQUENCE:0 SUMMARY:And dive into the sea\, Deb Mansfield UID:356514 END:VEVENT BEGIN:VEVENT DTEND:20140927T170000 DTSTAMP:20140916T105421 DTSTART:20140927T150000 GEO:-33.8793696;151.2258673 LOCATION:Stills Gallery\,36 Gosbell Street \nPaddington \, NSW 2021 SEQUENCE:0 SUMMARY:And dive into the sea\, Deb Mansfield UID:356515 END:VEVENT BEGIN:VEVENT DESCRIPTION:

What does it mean when something you cannot see\, or perhaps you didn&rsquo\;t even know existed\, disappears forever? Stephanie Valent in&rsquo\;s current exhibition \;Closer \;responds to this enigma\, bringing the perpetually overlooked up close into a memorable enc ounter.

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Valentin&rsquo\;s new work continues to explore an ongoing interest in the human relationship to the natural world and the ecological effects of climate change. Through her unorthodox use of the electron micro scope\, the images magnify small and fragile insects up close to the scale of our own bodies. These haunting portrayals of seemingly insignificant cre atures engage the viewer in their stark unfamiliarity\, and yet their curio usly human-like presence invites an interaction\, underscoring the kinship we have with other living beings. Quite removed from the cold science that made them possible Valentin engages a distinctly photographic aesthetic\, c reating warm intimate portraits that invite the viewers&rsquo\; empathy for an otherwise invisible subject.

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Blurring the realms of reality and fantasy\, the subseries \;Adaptation\, artfully plays with th e limits of nature&rsquo\;s design. Valentin has drawn on the scientific ex pertise in ion-beam technology at the University of NSW\, to create microsc opic sculptural interventions on the physical forms of dead insects. Simula ting acceleratedevolutionary changes\, a specialized electron microscope is employed to literally etch with atoms\, sculpting patterns and perforation s in the insects&rsquo\; bodies. While crossing into the realm of science f iction\, these speculative adaptations respond to a very real ecological di lemma: the limited ability of many species to move habitat or evolve quickl y enough to survive a rapidly changing climate. Imagine insect eyes with ph ysically enhanced structure\, scales on a butterfly&rsquo\;s wing mutated f or improved flight\, or additional breathing holes\, multiplied in hexagona l formation.

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Valentin brings into view a surprising parallel world\ , and enables us to better connect with these fellow earth dwellers. At a t ime when both science and species\, are pushed to their limits\, her works expand the possibilities of the scientific image to provoke and engage.

DTEND:20141025 DTSTAMP:20140916T105421 DTSTART:20140924 GEO:-33.8793696;151.2258673 LOCATION:Stills Gallery\,36 Gosbell Street \nPaddington \, NSW 2021 SEQUENCE:0 SUMMARY:Closer\, Stephanie Valentin UID:356512 END:VEVENT BEGIN:VEVENT DTEND:20140927T170000 DTSTAMP:20140916T105421 DTSTART:20140927T150000 GEO:-33.8793696;151.2258673 LOCATION:Stills Gallery\,36 Gosbell Street \nPaddington \, NSW 2021 SEQUENCE:0 SUMMARY:Closer\, Stephanie Valentin UID:356513 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The cubic structural evolution project\, 2004\, is a hands-on installation by Danish-Icelandic artist\, Olafur Eliasson (b. 19 67 Copenhagen). Comprising thousands of pieces of white Lego bricks scatter ed on a 12-metre-long table\, the work invites Gallery visitors to become ' architects' by using the Lego to create endlessly re-forming structures lim ited only by imagination.

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Towering cityscapes emerge out of the rub ble of Lego bricks and constantly evolve as new visitors contribute to the work through construction\, modification\, destruction and re-construction - processes inherent to the lifecycle of any metropolis.

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Being born in Denmark\, Olafur Eliasson shares a connection with popular construction toy Lego (named from the Danish 'leg godt' meaning 'play well'). \;The cubic structural evolution project\, 2004\, comments on community decision-making and urbanism and explores the relationship between maker\, spectator and object.

DTEND:20150301 DTSTAMP:20140916T105421 DTSTART:20140901 GEO:-36.8530441;174.7674098 LOCATION:Auckland Art Gallery Toi o Tāmaki\,Corner of Kitchener and Wellesl ey Streets \nAuckland\, 1010 SEQUENCE:0 SUMMARY: The cubic structural evolution project\, Olafur Eliasson UID:356511 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The E H McCormick Research Library is highlighting early doc uments from the first fifty years of the Gallery's history. The exhibition explores the institution's beginnings: the gifting of works\; the building and the 'fanfare' surrounding New Zealand's first dedicated public art gall ery.

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Timed to coincide with the Auckland Heritage Festival\, includ ed are early audience reactions\, the demonstrated 'civic pride' in the Gal lery\, and the famous visitors it attracted.

DTEND:20141121 DTSTAMP:20140916T105421 DTSTART:20140822 GEO:-36.8530441;174.7674098 LOCATION:Auckland Art Gallery Toi o Tāmaki\,Corner of Kitchener and Wellesl ey Streets \nAuckland\, 1010 SEQUENCE:0 SUMMARY:Beginnings: Auckland Art Gallery 1888–1938 UID:356510 END:VEVENT END:VCALENDAR