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

Mit der Ausstellung &ldquo\;Sk ulptur&rdquo\;\, die am 5. September in Wuppertal erö\;ffnet wird\, pr& auml\;sentiert die Galerie GRÖ\;LLE pass:projects Arbeiten von acht Bil dhauern\, alle auf eine ganz besondere Weise ausgewä\;hlt wurden.

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Wolfgang Flad\, Kurator der Ausstellung\, ist selbst Bildhauer und hat somit weit mehr als einen rein theoretischen Z ugang zum Thema Skulptur. \; Aus seiner eigenen gelebten Erfahrung wei& szlig\; er genau\, welche konzeptuellen und technischen Fragen sich in der Auseinandersetzung mit dreidimensionalen

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Formen und Materialien im Raum stellen. Welche Vielfalt an Mö\;glic hkeiten im Bereich der Bildhauerei existiert\, zeigt sich in den von Wolfga ng Flad zusammengestellten Objekten\, zu denen auch eine eigene Arbeit geh& ouml\;rt.

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Wolfgang Flad legt einersei ts Wert auf eine ganz subjektive\, individuelle Auswahl der Kü\;nstler und seinen ganz persö\;nlichen Blick auf die Bildhauerei\, andererseits lassen sich zahllose Ä\;hnlichkeiten\, Verbindungen und Parallelen in den Ansichten und Herangehensweisen der einzelnen Kü\;nstler ablesen. G enau genommen handelt es sich bei allen gezeigten Arbeiten um Plastiken\, a lso um eine Form der Bildhauerei\, bei der es insbesondere um das
Zus ammenfü\;gen und Modellieren von Material geht.

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Die bei GRÖ\;LLE pass:projects gezeigten\, abstrakten Sk ulpturen\, bestehen aus ganz unterschiedlichen Werkstoffen\, von Pappe &uum l\;ber Textilien und Holz
bis hin zu gefundenen Alltagsgegenstä\; nden\, die aneinandergefü\;gt\, aufeinandergestapelt\, aufgeschichtet u nd auf die verschiedensten Weisen additivzusammengesetzt wurden. \; All en Arbeiten liegt zudem eine starke Farbigkeit zugrunde.
Es existiert \, wie im eigenen Werk des Kurators und Bildhauers Wolfgang Flad\, ein abst rakt malerischer Ansatz im Raum\,
der bei der Vielfalt der Exponate a lles in einen schlü\;ssigen Zusammenhang bringt.

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Zu den Kü\;nstlern:

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Auf der Schnittstelle zwischen Malerei und Skulptur und als Ausnahme zwi schen den rein bildhauerischen Positionen der teilnehmenden Kü\;nstler zeigt
Arturo Herrera kleinformatige Leinwä\;nde\, auf denen er au sgeschnittene\, bedruckte Stoffe\, Taschen und Filzstü\;cke collagiert\ , die er abschließ\;end ungezwungen bemalt.

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Gesine Grundmann bildet aus hunderten\, kreisrund ausgeschnitte nen Eierkartons eine Sä\;ule\, die durch die Unterschiedlichkeit der &u uml\;ber die Jahre
gesammelten Kartons eine lebendige Oberflä\;ch e erhä\;lt und an die langsam gewachsene Rinde eines Baumes erinnert.\n

Florian Japp verbindet Metallgestelle mit Seilen\, Holzplatten\, Seifen\, Turnschuhen und anderen Alltagsgegenst& auml\;nden\,
die nur scheinbar eine Funktion erfü\;llen und Assoz iationen zu Fitnessgerä\;ten erzeugen.

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Gereon Krebber besprü\;ht unzä\;hlige Schichten von Folien\, die zu immer dickeren Volumen umwickelt werden\, um diese schließ\;lic h mit Flammen
zu durchlö\;chern und deren Oberflä\;che zu ver schmelzen. Das so entstandene\, vielschichtige Gebilde weckt Erinnerungen a n Korallen und Schwä\;mme.

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Bei Ja ana Caspary schmiegt sich scheinbar eine Tischdecke um ein Beistelltischche n aus den Sechzigerjahren.
Das tatsä\;chliche Aussehen des Mö \;belstü\;cks wird fü\;r immer verborgen bleiben\, da es sich hier um einen abstrakten Gipsfaltenwurf handelt\,
der durch Modellieren un d Schleifen eine fließ\;ende glatte Oberflä\;che erhalten hat.

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Johannes Weiß\; setzt einen klassiz istischen Sockel\, dessen Weiß\; durch einen farbigen Ast durchbrochen wird\, mit einer an eine Vase erinnernden\,
farbigen Skulptur zusamm en\, sodass das Gesamtbild in einem ganz typischen Kunstgewerbemuseum zu fi nden sein kö\;nnte\, aber eben doch verstö\;rend anders wirkt.

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Vanessa Henn fü\;hrt die typis chen mit PVC bezogenen Handlä\;ufe von Treppengelä\;ndern der Nachk riegsmoderne ad absurdum. \;Das ihm zugrunde liegende Metallband formt sie zu einer Endlosschleife in mehreren ü\;bereinander liegenden Kreise n.

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Wolfgang Flad baut aus ges tapelten Ovalen einen Sockel\, der wie ein Rohling fü\;r eine erst noch zu bauende Skulptur wirkt\,
und setzt darauf als Kontrast dazu ein a us Holzresten und Pappmache gebautes\, filigran fließ\;endes\, organis ch wirkendes Objekt.

DTEND:20151018 DTSTAMP:20150902T183824 DTSTART:20150905 GEO:51.25013;7.1281 LOCATION:GRÖLLE pass:projects\,Friedrich-Ebert-Straße 143e \nWuppertal\, 42 117 SEQUENCE:0 SUMMARY:Skulptur\, Arturo Herrera\, Gesine Grundmann\, Florian Japp\, Gereo n Krebber\, Jaana Caspary\, Johannes Weiß\, Vanessa Henn\, Wolfgang Flad UID:394848 END:VEVENT BEGIN:VEVENT DTEND:20150905T210000 DTSTAMP:20150902T183824 DTSTART:20150905T190000 GEO:51.25013;7.1281 LOCATION:GRÖLLE pass:projects\,Friedrich-Ebert-Straße 143e \nWuppertal\, 42 117 SEQUENCE:0 SUMMARY:Skulptur\, Jaana Caspary\, Wolfgang Flad\, Gesine Grundmann\, Vanes sa Henn\, Arturo Herrera\, Florian Japp\, Gereon Krebber\, Johannes Weiß UID:394849 END:VEVENT BEGIN:VEVENT DESCRIPTION:

You are invited to Natural Dia logues our tenth group of exhibitions for 2015.

Featuring work s by Rob Hall\, Minna Loft\, Madeleine Palser Barto\, Celeste Magee\, Jack Standaar\, Laura Johnston\, Alexander Stimpson\, Carol Rowlands and items f rom a workshop run by Lorna Crane at 69 Smith St Gallery on August 7th & \; 8th.

Please join the artists at the opening Saturday 21st A ugust 4pm - 6pm

DTEND:20150906 DTSTAMP:20150902T183824 DTSTART:20150819 GEO:-37.8067559;144.982801 LOCATION:Gallery 6NINE\,69 Smith St Fitzroy\nMelbourne\, 3066 SEQUENCE:0 SUMMARY:Reflections and Dialogues\, Rob Hall\, Minna Loft\, Madeleine Palse r Barto\, Celeste Magee\, Jack Standaar\, Laura Johnston\, Alexander Stimps on\, Carol Rowlands UID:394847 END:VEVENT BEGIN:VEVENT DESCRIPTION:

From 27 August to 31 October\, Galerie Thaddaeus Ropac is showing a solo exhibition with new works by pho tographer Elger Esser.

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The exhibition comprises two series of works\, in which Esser focuses on the garden of en tomologist Jean-Henri Fabre (1823-1915) as well as on the motif of sunset. Claude Monet's garden in Giverny\, the topic of the last exhibition at Gale rie Thaddaeus Ropac in Paris (2011)\, is now followed by a further landscap e with a Weltbild projected on to it. The leitmotiv of th e exhibition is the iris: the iris as a flower\, the iris of t he sun\, the iris of the photography.

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Esser&rsquo\;s latest works were developed in the g arden of famous entomologist Jean-Henri Fabre in Sé\;rignan-du-Comtat in the county of Vaucluse. The scientist and author of Souvenirs Entom ologiques lived there with his family for over 30 years until his deat h\, the estate being the fulfilment of a long-cherished dream. In Souve nirs Entomologiques Fabre writes: "This is what I have been looking fo r\, hoc erat in votis: a piece of land\, no\, not particularly big \, but enclosed and protected from curious gazes\; a piece of land\, abando ned\, infertile\, burned by the sun but hospitable for thistles and hymenop tera. [...] It is a harmas. That is what an uncultivated\, rocky a rea\, which has been surrendered to wild thyme is called [...]." In these w orks\, the viewer's eye immediately encounters dense vegetation. The viewer is virtually drawn into the thicket. "There is no longer any real 'sublime ' in the romantic sense\; rather\, the sublime reveals itself in the intern alisation."\, says Elger Esser.  \;It is the projection of an imaginary world into the landscape\, which\, in the more recent series\, increasingl y shifts into the photographer&rsquo\;s focus.

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As a contrast to this\, in the series of the sunsets\, the viewer 's eye can wander unhindered across the vast plain. This series of works is characterised by an impressionistic glowing brightness. Here Esser premi&e grave\;res a new technique in which he prints on silver-plated sheets of co pper placed on a console and leaning object-like against the wall.

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Elger Esser was born in Stuttgart in 1967 and spent his childhood in Rome. In the 1990s he studied in the famous class o f Bernd and Hilla Becher at the Kunstakademie/Dü\;sseldorf\, where Esse r now lives and works. The classic genres of veduta and landscape are centr al themes in Esser's photographs. His works are characterised by largely mo nochromatic colouring\, a preference for diffuse\, uniform lighting and a c onstant tension between micro and macro structures. With sensitive and prec ise observation\, Elger Esser captures the exact moment at which the charac ter and the atmosphere of a landscape are revealed. Not by chance are Esser 's photographs often associated with the (travel) literature of the late 18 th and 19th centuries. In his more recent series\, the resolution of the ph otographs increasingly assumes a painterly quality.

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Extensive solo exhibitions at Kunstmuseum/Stuttgart (2009)\, Museum voor Moderne Kunst/Arnhem (2010)\, Institute of Modern Art/Nurember g (2013) and Florida Museum of Photographic Arts/Tampa (2014)\, will be fol lowed in the next two years by monographic exhibitions in the Kunsthalle/Ka rlsruhe (2016) and the Landesgalerie/Linz (2017). In 2016\, Schirmer/Mosel publishers are bringing out a book about the heliogravure series Combra y.

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Esser's works are represented in numerous institutional collections including those of the Metropolitan Museum of Art/New York\, Guggenheim Museum/New York\, Centre Pompidou/Paris \, Kunsthaus/Zurich\, Stedelijk Museum/Amsterdam\, Albright-Knox Art Galler y/Buffalo\, Stä\;dtische Galerie im Lenbachhaus and Kunstmuseum/Stuttga rt.

DTEND:20151031 DTSTAMP:20150902T183824 DTSTART:20150828 GEO:47.8045175;13.0431523 LOCATION:Galerie Thaddaeus Ropac - Salzburg Villa Kast\,Mirabellplatz 2A \n Salzburg\, 5020 SEQUENCE:0 SUMMARY:Irides\, Elger Esser UID:394846 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ausgangspunkt fü\;r die So lo - Ausstellung &bdquo\;Urgarage \; &ndash\; eine Skulptur \; f&uu ml\;rs Volk&ldquo\; von Till Velten ist eine Ü\;berdachung gegenü\; ber dem \; Haupteingang der Viadukt - Markthalle und \; somit keine 150m von der \; Galerie Nicola von Senger entfernt. Diese Ü\;berda chung\, ein \; Ü\;berbleibsel der ersten Garage der Emil Frey AG\, kommt uns wie ein \; amerikanischer Freund entgegen\, ein mobiler Freig eist fü\;r Farbe\, \; Form und Funktion. In Betracht dieses fr ohen Baldachins werden wir \; zurü\;cktransportiert\, in eine Vergangen heit wo Skulpturen Autos \; waren\, und Autos Skulpturen im ö\;ffen tlichen Raum.

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In unseren Zeiten und B reiten voll stockendem Verkehr und \; Autogebü\;hren wird vergessen \, dass das Auto einmal \; das \; Vehi kel fü\;r \; Glü \;ck\, Mobilitä\;t und Schö\;nheit war. Das Zentrum der Mondä\; nitä\;t war \; nicht Kunst und Kunstmessen\, nicht Kü\;nstler u nd Theoretiker waren \; die Traumberufe\, sondern Autos und Autosalons\ , Mechaniker und \; Rennfahrer.

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U m uns von diesem einmaligen Mobilitä\;tsve rsprechen\, dass die \; Autobegeisterung hervorgebracht hat\, nochmals mobilisieren zu \; lasse n\, verbiegt sich der Kü\;nstler Till Velten vor der anglophilen \; Mechaniker - und Rennfahrer - Familie Frey. Durch Kü\;nstlerporträ \;ts der \; Autodynastie Frey \, nä\;ml ich Emil Frey\, se ine Frau Rö\;sli Frey und \; Walter Frey wird dies eine Gegenü\;berstel lung zwischen einer \; immobilen Malerei\, die eine Anerkennung nicht e rkä\;mpfen muss\, und \; einer mobilen Skulptur\, die \; noch&n bsp\; nicht zur Kenntnis genommen wird.

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Ausgangspunkt fü\;r die Sol o
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-
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Ausstellung &bdquo\;Urgarage
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&ndash\;
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eine Skulptur
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fü\;rs Volk&ldquo\; von Till Velten ist eine Ü\;berdachung gegenü\;ber de m
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Haupteingang der Viadukt
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-
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Marktha lle und
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somit keine 150m von der
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Galerie Nicola von Senger e ntfernt. Diese Ü\;berdachung\, ein
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Ü\;berbleibsel der ersten Garage der Emil Frey AG\, kommt uns wie ein
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amerikanischer Freund ent gegen\, ein mobiler Freigeist fü\;r Farbe\,
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Form und Funktion. In Betracht dieses fr
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ohen Baldachins werden wir
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zurü\;ck transportiert\, in eine Vergangenheit wo Skulpturen Autos
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waren\, und Autos Skulpturen im ö\;ffentlichen Raum.
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In unseren Zeiten und B reiten voll stockendem Verkehr und
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Autogebü\;hren wird vergessen\ , dass das Auto einmal
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das
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Vehi
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kel fü\;r
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Glü\;ck \, Mobilitä\;t und Schö\;nheit war. Das Zentrum der Mondä\;nit& auml\;t war
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nicht Kunst und Kunstmessen\, nicht Kü\;nstler und Th eoretiker waren
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die Traumberufe\, sondern Autos und Autosalons\, Mech aniker und
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Rennfahrer.
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Um uns von diesem einmaligen Mobilit&a uml\;tsve
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rsprechen\, dass die
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Autobegeisterung hervorgebra cht hat\, nochmals mobilisieren zu
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lassen\, verbiegt sich der Kü\ ;nstler Till Velten vor der anglophilen
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Mechaniker
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-
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und Rennfahrer
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-
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Familie Frey. Durch Kü\;nstlerporträ\;ts der
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Autodynastie
\n Frey\n
\ , nä\;ml
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ich Emil Frey\, se
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ine Frau Rö\;sli Fre y und
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Walter Frey
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wird dies eine Gegenü\;berstellung zw ischen einer
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immobilen Malerei\, die eine Anerkennung nicht erkä\ ;mpfen muss\, und
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einer mobilen Skulptur\, die
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noch
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nicht zur Kenntnis genommen wird.
DTEND:20150912 DTSTAMP:20150902T183824 DTSTART:20150828 GEO:47.3889215;8.5249604 LOCATION:Galerie Nicola von Senger\,Limmatstr. 275 \nZurich\, 8005 SEQUENCE:0 SUMMARY:Urgarage - eine Skulptur fürs Volk\, Till Velten UID:394845 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20151031 DTSTAMP:20150902T183824 DTSTART:20150906 GEO:54.37982;12.52047 LOCATION:Galerie Born\,Südstraße 22 Boddenlandschaft \nBorn am Darß\, 18375 SEQUENCE:0 SUMMARY:Die Richtigen\, Martin Assig UID:394843 END:VEVENT BEGIN:VEVENT DTEND:20150905T200000 DTSTAMP:20150902T183824 DTSTART:20150905T180000 GEO:54.37982;12.52047 LOCATION:Galerie Born\,Südstraße 22 Boddenlandschaft \nBorn am Darß\, 18375 SEQUENCE:0 SUMMARY:Die Richtigen\, Martin Assig UID:394844 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20151003 DTSTAMP:20150902T183824 DTSTART:20150911 GEO:-22.9844111;-43.1892952 LOCATION:Galeria Inox\,Av. Atlântica\, 4240 - subsolo 101 \nRio de Janeiro\ , 22070-002 SEQUENCE:0 SUMMARY:Puxa\, Celina Portella UID:394842 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A labourer working in a factor y left work every day with a wheelbarrow of sand. After a few days the guar d at the gate asked him why he was taking the sand and whether he had permi ssion. The guy got furious and dumped the sand from the wheelbarrow in fron t of the gatehouse and drove off. In actual fact he was stealing wheelbarro ws\, not sand.

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Pracujący w fa bryce robotnik\, wychodząc z pracy\, co dzień wywoził taczkę piasku. Po kil ku dniach wartownik na bramie zakładu spytał go\, dlaczego wywozi piasek i czy ma na to zgodę. Facet się zdenerwował\, wywalił mu piasek z taczki prze d stró\;żó\;wkę i odjechał. Tak naprawdę kradł taczki\, a nie p iasek.

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A labourer working in a factory left work every day with a wheelbarrow of sand. After a few days the guard at the gate asked him why h e was taking the sand and whether he had permission. The guy got furious an d dumped the sand from the wheelbarrow in front of the gatehouse and drove off. In actual fact he was stealing wheelbarrows\, not sand.

DTEND:20151031 DTSTAMP:20150902T183824 DTSTART:20150925 GEO:52.2369945;20.9938938 LOCATION:Galeria Dawid Radziszewski\,Krochmalna 3 \nWarsaw\, 00-864 SEQUENCE:0 SUMMARY:Some Girls Are Bigger Than Others\, Mihut Boscu Kafchin\, Łukasz Ja strubczak\, Tomasz Kowalski\, Marcin Zarzeka UID:394840 END:VEVENT BEGIN:VEVENT DTEND:20150925T210000 DTSTAMP:20150902T183824 DTSTART:20150925T170000 GEO:52.2369945;20.9938938 LOCATION:Galeria Dawid Radziszewski\,Krochmalna 3 \nWarsaw\, 00-864 SEQUENCE:0 SUMMARY:Some Girls Are Bigger Than Others\, Łukasz Jastrubczak\, Mihut Bosc u Kafchin\, Tomasz Kowalski\, Marcin Zarzeka UID:394841 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20151219 DTSTAMP:20150902T183824 DTSTART:20151009 GEO:46.2027281;6.1501122 LOCATION:Gagosian Gallery - Geneva\,19 place de Longemalle \nGeneva \, 1204 SEQUENCE:0 SUMMARY:Villers | Picasso UID:394838 END:VEVENT BEGIN:VEVENT DTEND:20151009T200000 DTSTAMP:20150902T183824 DTSTART:20151009T180000 GEO:46.2027281;6.1501122 LOCATION:Gagosian Gallery - Geneva\,19 place de Longemalle \nGeneva \, 1204 SEQUENCE:0 SUMMARY:Villers | Picasso UID:394839 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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A man sets out to draw the world. As years go by\, he peoples a s pace with images of provinces\, kingdoms\, mountains\, bays\, ships\, islan ds\, fishes\, rooms\, instruments\, stars\, horses\, and individuals. A sho rt time before he dies\, he discovers that the patient labyrinth of lines t races the lineaments of his own face.

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Jorge Luis Borges\, The Aleph and Other Stories

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&nb sp\;

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Group exhibition of Henna-Riikka Halonen\, Johanna Leck lin and Milla-KariinaOja whose w orks actively reflect the nature of realities and the possibilities of thei r interpretation. These three Finnish artists have all gained international recognition and work mostly with the means of moving image and photography .

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Henna-Riikka Halonen´\;s works explore how to create stories within stories and how to weave events into events. In this\, different realities overlap and the viewers awaken to the meaningful openness of the narratives and of the ser ies of events. In her practice Johanna Lecklin works with stories\, which s he re-tells turning the viewer&rsquo\;s attention towards effects caused by the different ways of telling and representing stories. How does the story change when it is told again? In Milla-Kariina Oja´\;s artwork the qu estion of the private and public space intertwine. What is familiar and wha t is unknown and how do these spaces and situations merge with each other?< strong> \;

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Henna-Riikka Halonen is showing an installation\, Eden\, The Po(w)der of Fear. The installation co nsists of a short film\, drawings and a poster\, and is continuation for a performance Halonen constructed for Lilith Performance Studio in Malmö\ ;\, Sweden during spring summer 2014. The live performance Eden\, The P ow(d)er of Fear took place in a labyrinth-like construct\, in which th e young actors from Malmö\; repeated strange rituals and viewers were l et in to wander freely. A throw of a dice governed the order of the scenes inside of the set\, where a group of &ldquo\;students&rdquo\; were spending time\, indulging in transgressive behavior of all sorts\; games\, plays\, rituals and other activities. The starting point for the project was the Fr ench Nouveau Romain writer Alain Robbe Grillet&rsquo\;s film \;L'Ed en et Apres from 1970.

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Milla-Kariina Oja is showing a selection of h er photography series Home-Project (2010) and a v ideo work Falling House (2013). They both belong to the on-going research in Oja ́s recent years works on ones individual sp ace\, home and borders. Home-Project was realized in Finland and C hina\, where Oja travelled with a self made house-shaped construction to di fferent landscapes carefully setting up her house there and then photograph ing it. Falling House follows the destruction of a two-storey hous e in a town in South China.

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Johanna Lecklin is showing two moving image w orks\, The Cage (2015) and A Christma s Tale (2013). Lecklin is interested in experimenting with st orytelling. Both of the works are inspired by recorded stories from her sto rytelling project Story Café\;. They are part of a series of works in different film genres that depict girls being mean. In The Ca ge the main character is later dealing with her memories. Lecklin has arranged her café\; and made recordings in ca 15 cities around Europe .

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This exhibiti on is part of Dí\;as Nó\;rdicos\, multidiscipl inary festival of Nordic culture in Madrid\, and was kindly supported by Arts Promotion Centre Finland\, \;Frame Visual A rt Finland and \;Ibero-American Institute of Finland.

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Henna-Riikka Halonen (b.1975) uses a wide range of historical an d cultural references\, including Avant-Garde theatre and science fiction l iterature and cinema &ndash\; testing the tensions between performers\, aud ience and acting and non-acting. She creates stories within stories\, space s within spaces\, events within events\, in which social possibilities are both rehearsed\, performed and re-performed. In this\, references and eleme nts are brought together through a collage like process.

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She has worked on and produced ma ny collaborative large scale video projects and commissions in UK\, Israel\ , Ireland\, France and Finland and has shown her work widely in internation al exhibitions and festivals such as Research pavilion\, Venice Biennale 20 15\, You Imagine What you Desire\, Biennale of Sydney 2014\, Eden The Pow(d )er of Fear\, Lilith Performance Studio (Malmo\, Sweden)\, Fictitious Entry \, Uqbar (Berlin)\, Video Dumbo festival (New York)\, Gallery Factory (Seou l)\, Transmediale 2012 (Berlin)\, Centre Pompidou (Paris)\, Festival De Nou veau Cinema (Montreal)\, Brussels Short film Festival\, Musrara Mix (Jerusa lem)\, Collective Gallery (Edinburgh)\, Incheon International Biennale (Kor ea).

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Halonen gr aduated with MFA Fine Art from Goldsmiths College\, London in 2006 and is c urrently doing Doctoral studies at the Finnish Academy of Fine Arts. She li ves and works in Helsinki\, Finland.

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Johanna Lecklin (b. 1972) often uses storytelling as a point of departure for her work\, and a sks audiences to participate in interviews\, storytelling events and secret confessions. Her interest lies especially in moving image on the border of documentary and fiction.

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She has arranged solo exhibitions for example in Gallery Forum B ox in Helsinki and in Haninge Art Hall in Sweden. Her works have been shown in the collection exhibition Contemporary Portrait. Face to Face (2015-2016) in the Contemporary Art museum Kiasma in Helsinki and in the City States exhibition in Liverpool Biennial 2010\, and on several i nternational art and film festivals such as Kasseler Dokumentarfilm- &\; Videofest in Germany\, New Screen New-Castle\, Newcastle\, UK\, and Tamper e Film Festival\, Tampere\, Finland.

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Lecklin has graduated with a master&rsquo\;s degree f rom the Finnish Academy of Fine Arts 2003 and from Helsinki University 2008 . She is doing her doctoral studies at the Finnish Academy of Fine Arts and at Helsinki University. She has studied at the Fine Art Media department a t Slade School of Fine Arts\, UCL in London 1998-99. She lives and works in Helsinki\, Finland.

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Milla-KariinaOja´\;s< /strong> (b.1976) recent works investigate the characteristics of different individual spaces\, attempting to ask what is similar between them\, what connects the spaces\, not architecturally or materially\, but on an emotion al level. In our memories the spaces we have lived in get the same meaning. They have all been shelters for us\, spaces of protection and comfort. In our memories they become one.

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Her work moves on the borders of photography and video\, oft en including some performative qualities. Her work has been exhibited in ga lleries\, art centres and museums in Europe and China. Her newest video ins tallation Behind dark curtains snow seems to be whiter was part of the international Turku Biennial 2015 at the Contemporary Art Museum Aboa Vetus &\; Ars Nova (Turku\, Finland). Home-Project featured now in Espacio \;Trapezio was exhibited previously as a s olo show in Beijing at one of \; Chinas most prominent platforms for co ntemporary photography and video art\, The Three Shadows Photography Art Ce ntre and was also part of the Special Projects -Foreign artists in China pl atform at the Art Beijing Contemporary art fair 2010. Other exhibitions inc lude: Imagine Gallery (Beijing)\, Photography Gallery Hippolyte (Helsinki)\ , Oulu Museum of Art (Oulu\, Finland)\, Lahti Museum of Art (Lahti\, Finlan d) Lianzhou International art photography festival\, (Lianzhou\, China)\, G alleria Ferran Cano (Barcelona).

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Oja is currently based in Helsinki. She graduated with BA (Hons) Fine Art Photography from Manchester Metropolitan University 1999. She continued her studies in a Fine Art PhD program 2000-2002 at the Univer sity of Barcelona\, Spain\, where she lived and worked for 7 years until sh e moved to China in 2006.

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Un hombre se propone la tarea de dibuj ar el mundo. A lo largo de los añ\;os puebla un espacio con imá \;genes de provincias\, de reinos\, de montañ\;as\, de bahí\;as \, de naves\, de islas\, de peces\, de habitaciones\, de instrumentos\, de astros\, de caballos y de personas. Poco antes de morir\, descubre que ese paciente laberinto de lí\;neas traza la imagen de su cara.

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Jorge Luis Borge s\, El Aleph y otras historias.

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Exposició\;n colect iva de Henna-Riikka Halonen\, Johanna Lecklin y Milla-KariinaOja\, cuyos trabajos reflejan la naturaleza de la realidad y las posibilidades de su interpretac ió\;n. Estas tres artistas finlandesas\, que han ganado reconocimient o a nivel internacional\, trabajan con la fotografí\;a y la imagen en movimiento.

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El trabajo de Henna-Riikka Halonen explora có\;mo crea r historias dentro de historias y có\;mo tejer acontecimientos dentro de otros acontecimientos. De este modo las diferentes realidades se superp onen y los espectadores aprecian la apertura significativa de los relatos y de la serie de acontecimientos. En su prá\;ctica\, Johanna L ecklin trabaja con historias\, las cuales vuelve a contar y hace a sí\; una llamada de atenció\;n sobre los efectos que generan la s diferentes maneras de contar y representar historias ¿\;có\;m o cambia la historia al volver a contarla? En la obra Milla-Kariina Oja la cuestió\;n del espacio pú\;blico y privado se mezcla ¿\;qué\; es lo familiar y qué\; es lo desconocido y có\;mo se funden estos espacios y situaciones entre ellos?  \;

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Henna-Riikka Halonen muestra una instalació\;n\, < strong>Eden\, The Po(w)der of Fear. É\;sta consiste en un cortometraje\, dibujos y un pó\;ster\, y es la continuaci&oacu te\;n de una performance que Halonen construyó\; para el Lilith Perfo rmance Studio en Malmö\; (Suecia) a lo largo de la primavera y el veran o de 2014. La performance Eden\, The Po(w)der of Fear tuvo lugar e n una construcció\;n laberí\;ntica en la cual jó\;venes a ctores de Malmö\; repetí\;an extrañ\;os rituales y entre lo s que los espectadores deambulaban libremente.

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Un lanzamiento de un dado rige el orden de las escenas en el interior del escenario\, donde un grupo de "estudiantes" pasan el tiempo\, permitié\;ndose una actitud transgresora con juegos \, rituales y otras actividades. El punto de partida del proyecto fue la pe lí\;cula L'Eden \;et Aprè\;s de 1970 del escritor de la nouveau roman francesa Robbe Grillet.

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Johanna Lecklin muestra dos obras de imagen en movimiento\, The Cage< /strong> (2015) y A Christmas Tale (2013). Leckli n está\; interesada en experimentar con la narració\;n. Ambos t rabajos está\;n inspirados en historias grabadas de su proyecto de na rració\;n de historias llamado Story Café\;. É\; stos forman parte de una serie de obras de diferentes gé\;neros cinem atográ\;ficos que representan niñ\;as que se comportan de forma cruel. En The Cage\, la protagonista está\; enfrentá\ ;ndose a sus recuerdos. Lecklin ha organizado su café\; y ha realizad o grabaciones en 15 ciudades a lo largo de Europa.

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Milla-Kariina Oja mues tra una selecció\;n de su serie de fotografí\;a Hom e-Project (2010) y el obra de ví\;deo Falli ng House (2013). Ambos trabajos pertenecen a una investigaci& oacute\;n presente en el trabajo de los ú\;ltimos añ\;os de Oja \, que tratan sobre el espacio individual\, el hogar y las fronteras. H ome-Project fue realizado en Finlandia y China\, donde Oja viajó \; a diferentes paisajes con una construcció\;n en forma de casa hech a por ella misma y la instaló\; cuidadosamente para luego fotografiar la. Falling House sigue la destrucció\;n de una casa de dos plantas en un pueblo al sur de China.

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Esta exposició\;n forma parte de D&iac ute\;as Nó\;rdicos\, festival multidisciplinar de cultura n& oacute\;rdica en Madrid\, y cuenta con la amable colaboració\;n del < strong>Arts Promotion Centre Finland\, \;Frame Visual Art Finland y el Instituto Iberoamericano de Finlandia. \;

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Henna-Riikka Halonen (1975) usa una gran variedad de refer encias histó\;ricas y culturales\, \; incluyendo teatro de vangua rdia y literatura y cine de ciencia ficció\;n -poniendo a prueba las tensiones entre los actores \; el pú\;blico y la actuació\; n y la no actuació\;n. Crea historias dentro de historias\, espacios dentro de espacios\, acontecimientos dentro de acontecimientos\, en los cua les las posibilidades sociales son ensayadas\, interpretadas y reinterpreta das. Referencias y elementos se unen a travé\;s de un proceso similar a un collage.

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Ha trabajado y producido muchos proyectos de ví\;deo colaborativos a gran escala\, y comisionados en Reino Unido\, Israel\, Irlanda\, Francia y Finlandia\, y ha exhibido su trabajo en festivales y exposiciones internaci onales como en el Research pavilion\, Bienal de Venecia 2015\, You imag ine What\, you Desire\, Bienal de Sydney 2014\, Eden The Pow(d)er of Fear\, Lilith Performance Studio (Malmö\;\, Suecia)\, Ficti tious Entry\, Uqbar (Berlí\;n)\, Video Dumbo festival (Nueva Yor k)\, Gallery Factory (Seú\;l)\, Transmediale 2012 (Berlí\;n)\, Centre Pompidou (Parí\;s)\, Festival du Nouveau Cinema (Montreal)\, B russels Short film Festival\, Musrara Mix (Jerusalé\;n)\, Collective Gallery (Edimburgo)\, Incheon International Biennale (Korea).

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Halonen se graduó\; co n \; un MFA de Bellas Artes en Goldsmiths College\, Londres en 2006 y a ctualmente se realiza acutalmente estudios de doctorado en la Finnish Acade my of Fine Arts. Vive y trabaja en Helsinki\, Finlandia.

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Johanna Lecklin (1972) a menudo usa la narració\;n como punto de pa rtida para su trabajo y pide a su pú\;blico participar en entrevistas \, contar acontecimientos y confesiones secretas. Le interesa especialmente la imagen en movimiento en la frontera entre documental y ficció\;n.

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Ha realizado exposiciones individual es en la galerí\;a Forum Box en Helsinki y en Haninge Art Hall en Sue cia. Sus obras han sido expuestas en la exposició\;n colectiva llamad a Contemporary Portrait. Face to Face (2015-2016) en el Contempora ry Art museum Kiasma en Helsinki y en la exposició\;n City States en la Bienal de Liverpool de 2010\, y en diferentes festivales intern acionales de arte y cine como en el Kasseler Dokumentarfilm &\; Videofes t en Alemania\, New Screen New-Castle\, Newcastle\, Reino Unido\, y el Tamp ere Film Festival\, Tampere (Finlandia).

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Lecklin está\; graduada con un \; m&aac ute\;ster en la Finnish Academy of Fine Arts (2003) y en la Universidad de Helsinki (2008). Actualmente realiza su doctorado en la academia Finnish Ac ademy of Fine Arts y en la universidad de Helsinki. Ha estudiado en el depa rtamento de medios audiovisuales en la Slade School of Fine Arts\, UCL en L ondres (1998-99). Vive y trabaja en Helsinki\, Finlandia.

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Los trabajos r ecientes de \;Milla-Kariina Oja (1976) investigan las caracterí\;sticas de los diferentes espacios individuales\, tratando de preguntar qué\; hay de similar entre ellos\, qué\; es lo que conecta los espacios\, no arquitectó\;nica o materialmente\, sino a nivel emocional. En nuestros recuerdos\, los espacios en los que hemos vivi do tienen el mismo significado. Todos han sido refugios para nosotros\, esp acios de protecció\;n y de confort.

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Su trabajo se mueve por las fronteras entre la f otografí\;a y el ví\;deo\, incluyendo a menudo calidades perfor mativas. Su trabajo ha sido expuesto en galerí\;as\, centros de arte y museos en Europa y China. Su instalació\;n de ví\;deo m&aacut e\;s reciente Behind dark curtains snow seems to be whiter  \;formó\; parte de la Bienal Internacional de Turku 201 5 en el museo de Arte Contemporá\;neo Aboa Vetus &\; Ars Nova (Tur ku\, Finlandia). Home-Project\, presentado ahora en el Espacio \;Trapé\;zio\, fue expuesto previamente como exposi ció\;n individual en Beijing en una de las plataformas má\;s de stacadas de fotografí\;a y videoarte de China\, The Three Shadows Pho tography Art Centre y formó\; parte del Special Projects - Foreig n artists in China en la feria de arte Art Beijing Contemporary (2010) . Otras exposicones: Imagine Gallery (Beijing)\, Photography Gallery Hippol yte (Helsinki)\, Oulu Museum of Art (Oulu\, Finlandia)\, Lahti Museum of Ar t (Lahti\, Finlandia) Lianzhou International art photography festival\, (Li anzhou\, China)\, Galleria Ferrá\;n Cano (Barcelona).

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Oja actualmente vive en Helsin ki. Se graduó\; con honores como licenciada en fotografí\;a art í\;stica en la Manchester Metropolitan University 1999. Continu&oacut e\; sus estudios en un programa de artes plá\;sticas de 2000 a 2002 e n la Universidad de Barcelona\, Españ\;a\, donde vivió\; y trab ajó\; durante siete añ\;os hasta mudarse a China en 2006.

DTEND:20151012 DTSTAMP:20150902T183824 DTSTART:20150905 GEO:40.4244585;-3.6990948 LOCATION:espacio trapézio\,Augusto Figueroa\, 24 Mercado de San Antón - 2ª planta\nMadrid\, 28004 SEQUENCE:0 SUMMARY:She peoples a space with images of realms\, moods\, rooms\, ghosts and stars\, enna-Riikka Halonen\, Johanna Lecklin\, Milla-KariinaOja UID:394836 END:VEVENT BEGIN:VEVENT DTEND:20150904T220000 DTSTAMP:20150902T183824 DTSTART:20150904T200000 GEO:40.4244585;-3.6990948 LOCATION:espacio trapézio\,Augusto Figueroa\, 24 Mercado de San Antón - 2ª planta\nMadrid\, 28004 SEQUENCE:0 SUMMARY:She peoples a space with images of realms\, moods\, rooms\, ghosts and stars\, enna-Riikka Halonen\, Johanna Lecklin\, Milla-KariinaOja UID:394837 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ben Dallas&rs quo\; dimensional works strike a balance between painting and sculpture\, f inding harmony in precise geometric forms and painterly abstract surface. I n Serials\, the artist presents work from several series of wall m ounted constructions that share a common focus. Each series offers a likene ss but not sameness\, presenting a uniformity in the work while allowing fo r differences to emerge upon closer examination. In the series Twice\, Dallas&rsquo\; simple dualistic combinations consist of two painted pa nels\, fitted together creating a structural component of equal importance to the layers of paint applied to the work's surface.

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Dallas&rsquo\; dimensional paintings are developed and con structed mostly by intuitive sensibility with little planning or premeditat ion. By encouraging accidents and surprises in his process\, he obtains a l ess predictable result from his initial intention.

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Dallas received an MA in Art History from the University of I llinois in 1971. His work has been in exhibitions nationally including the Rockford Art Museum (Rockford\, IL)\, Orange County Center for Contemporary Art (Santa Ana\, CA)\, Ukrainian Institute of Modern Art (Chicago\, IL) an d the San Francisco Craft and Folk Art Museum (San Francisco\, CA). Dallas has shown with the Elizabeth Leach Gallery since 1996.

DTEND:20150926 DTSTAMP:20150902T183824 DTSTART:20150903 GEO:45.5261379;-122.6802156 LOCATION:Elizabeth Leach Gallery\,417 N.W. 9th Avenue \nPortland\, Oregan SEQUENCE:0 SUMMARY:Serials\, Ben Dallas UID:394834 END:VEVENT BEGIN:VEVENT DTEND:20150903T200000 DTSTAMP:20150902T183824 DTSTART:20150903T180000 GEO:45.5261379;-122.6802156 LOCATION:Elizabeth Leach Gallery\,417 N.W. 9th Avenue \nPortland\, Oregan SEQUENCE:0 SUMMARY:Serials\, Ben Dallas UID:394835 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Through formal abstraction\, < strong>Michelle Ross examines the boundaries between painting and popular culture\, creating new relationships\, both conceptual and aestheti c\, that mirror the shifting realities of our time. Ross continues her sear ch for ways that popular media can be altered or modified to create a great er understanding of space and form. In her 2013 exhibition at Elizabeth Lea ch Gallery\, Ross examined the integration of digital photography with abst ract painting. For Trust Falls and Transparent Things\, she turns her focus to color\, surface\, and the abstract forms referenced in her ear lier body of work.

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In Trust Falls &\; Transparent Things\, Ross demonstrates a looser\, freer style in her painting. Working in multiple scales\, the artist creates thinly lay ered paintings\, using abstract modernist compositions as a method of trans forming universal and familiar themes.

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Ross received her BFA from Pacific Northwest College of Art (Portland\, O R) and her MFA from Washington State University (Pullman\, WA). Her work ha s been exhibited in solo and group exhibitions both nationally and internat ionally. In 2012\, Ross was named as a Hallie Ford Fellow in the Visual Art s. Her work is held by a number of collections including the Rhode Island S chool of Design Special Collections (Providence\, RI)\, Willamette Universi ty (Salem\, OR) and the Portland Art Museum (Portland\, OR). In 2011 she re ceived and participated in the Contemporary Northwest Art Awards exhibition at the Portland Art Museum.

DTEND:20150926 DTSTAMP:20150902T183824 DTSTART:20150903 GEO:45.5261379;-122.6802156 LOCATION:Elizabeth Leach Gallery\,417 N.W. 9th Avenue \nPortland\, Oregan SEQUENCE:0 SUMMARY:Trust Falls & Transparent Things\, Michelle Ross UID:394832 END:VEVENT BEGIN:VEVENT DTEND:20150903T200000 DTSTAMP:20150902T183824 DTSTART:20150903T180000 GEO:45.5261379;-122.6802156 LOCATION:Elizabeth Leach Gallery\,417 N.W. 9th Avenue \nPortland\, Oregan SEQUENCE:0 SUMMARY:Trust Falls & Transparent Things\, Michelle Ross UID:394833 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20151015T190000 DTSTAMP:20150902T183824 DTSTART:20151015T180000 GEO:38.6993052;-93.2719665 LOCATION:DAUM MUSEUM OF CONTEMPORARY ART\,3201 West 16th St. \nSedalia\, Mi ssouri 65301 SEQUENCE:0 SUMMARY:Garry Noland Gallery Talk\, Garry Noland UID:394831 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20151001T190000 DTSTAMP:20150902T183824 DTSTART:20151001T180000 GEO:38.6993052;-93.2719665 LOCATION:DAUM MUSEUM OF CONTEMPORARY ART\,3201 West 16th St. \nSedalia\, Mi ssouri 65301 SEQUENCE:0 SUMMARY:Miki Baird Gallery Talk\, Miki Baird UID:394830 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Kindred Virtuosities is an exhibition of diverse artworks by three artists whose studios are loc ated in Kansas City&mdash\;Miki Baird\, Garry Noland\, and Susan White. Alt hough clearly individual\, the exhibits by this group of three share a numb er of characteristics that mark them as compatible and complementary explor ations. Among their common strategies is the embrace of non-art materials a nd alternative processes and a facility for working in both two and three d imensions. Shared formal procedures include layering\, systematic organizat ion\, and mass replication. Miki Baird alternates between meticulously desi gned photographic assemblages of thousands of images and enormous accumulat ions of shredded junk mail\, collected from the mailbox of one address. Bot h of her endeavors engage everyday phenomena by weaving together the design s and repetitions inherent in the quotidian. Garry Noland forges links betw een pattern\, process\, and transformation. His large-scale duct-tape colla ges engage the vocabulary of vintage domesticity&mdash\;peeling layers of a ged wallpaper or linoleum flooring\, say\, or the controlled randomness of a crazy quilt. This embrace of the abject and found object continues in his series of Failed Monuments\, where large nuggets of reclaimed doc k foam are resuscitated by a partial gilding with golden adhesive tape. Fin ally\, Susan White is engaged primarily with pyrography and &ldquo\;thorn w orks&rdquo\;&mdash\;three-dimensional assemblages made from the thorns of t he honey locust tree. Her pyrographs\, large drawings on thick rag paper\, are made with the use of a burning tool with which White creates drifting g alaxies of many small marks that become poetic evocations of constellations or cells or prayer. Her thorn sculptures\, in their accumulation\, have a more architectural character\, although the right-angle alignment of thorn to branch creates a cubistic tracery that relates as much to drawn lines as it does to constructed forms.

DTEND:20151222 DTSTAMP:20150902T183824 DTSTART:20150926 GEO:38.6993052;-93.2719665 LOCATION:DAUM MUSEUM OF CONTEMPORARY ART\,3201 West 16th St. \nSedalia\, Mi ssouri 65301 SEQUENCE:0 SUMMARY:Kindred Virtuosities\, Miki Baird\, Garry Noland\, Susan White UID:394828 END:VEVENT BEGIN:VEVENT DTEND:20150926T170000 DTSTAMP:20150902T183824 DTSTART:20150926T130000 GEO:38.6993052;-93.2719665 LOCATION:DAUM MUSEUM OF CONTEMPORARY ART\,3201 West 16th St. \nSedalia\, Mi ssouri 65301 SEQUENCE:0 SUMMARY:Kindred Virtuosities\, Miki Baird\, Garry Noland\, Susan White UID:394829 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150913 DTSTAMP:20150902T183824 DTSTART:20150618 GEO:38.6993052;-93.2719665 LOCATION:DAUM MUSEUM OF CONTEMPORARY ART\,3201 West 16th St. \nSedalia\, Mi ssouri 65301 SEQUENCE:0 SUMMARY:Plates\, Platters\, and Discs: Selections from the Collection\, Jun Kaneko\, Peter Voulkos\, Jim Leedy\, Ken Ferguson\, Robert Sperry UID:394827 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150913 DTSTAMP:20150902T183824 DTSTART:20150618 GEO:38.6993052;-93.2719665 LOCATION:DAUM MUSEUM OF CONTEMPORARY ART\,3201 West 16th St. \nSedalia\, Mi ssouri 65301 SEQUENCE:0 SUMMARY:An Expressive Bounty: Selections from the Collection\, Victor Babu\ , Robert Kushner\, Betty Woodman\, Jim Waid\, Hunt Slonem UID:394826 END:VEVENT END:VCALENDAR
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