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

From 1 July 2013\, the Groninger Museum will display three p ortraits of the Groningen resistance fighter Anda Kerkhoven. Anda Kerkhoven (1919- 1945) grew up in Indonesia as the daughter of a wealthy tea plantat ion owner. She was a woman of principle in many matters\, as well as a conv inced pacifist. The Medical School in Batavia (now Jakarta) could not accom modate her objections against vivisection. Groningen University was willing to accept conscientious objectors with regard to this principle\, and Anda was able to take up student life in Groningen in 1938.

\n

However\, t his life was soon plunged into disorder with the Nazi occupation of 1940. A nda Kerkhoven became active in the resistance\, in the &lsquo\;De Groot&rsq uo\; group. She was arrested by the Sicherheitsdienst (the German secret se rvices) on 27 December 1944. However\, she withstood severe interrogation a nd torture in the Scholtenshuis (German headquarters in Groningen at the ti me) on the Grote Markt\, without revealing significant information. In addi tion\, with her steadfastness she managed to encourage and console her fell ow prisoners. In the night of 19 March 1945\, along with resistance fighter Gerrit J. Boekhoven\, she was executed and buried by two NSB officers near the Oosterbroekweg on the border between Haren and Glimmen. There had been no trial.

Their grave was discovered after liberation. To great public attention\, Anda Kerkhoven was reburied in the Noorderbegraafplaats \, and her remains were finally transferred to the Loenen fields of honour near Apeldoorn in 1967.

Anda Kerkhoven was interested in art\, h ad a creative nature\, and posed for artists\, including Ploeg painter Joha n Dijkstra\, on several occasions. Unwittingly\, these portraits form a mon ument to this remarkable\, brave and gifted woman.

\n

 \;

DTEND:20130925 DTSTAMP:20140714T115931 DTSTART:20130702 GEO:53.2124091;6.5660593 LOCATION:Groninger Museum\,Museumeiland 1 \nGroningen\, 9711 SEQUENCE:0 SUMMARY:Anda Kerkhoven - A Groningen resistance fighter \, Johan Dijkstra UID:289273 END:VEVENT BEGIN:VEVENT DESCRIPTION:

With his latest BRG exhibition\, &ldquo\;Sharp/Blunt\,&rdquo \; Scott Finch uses two different mediums to tell different parts of the sa me story over and over again in different ways. The first\, works created u sing china markers and paper\, see the artist channel intuitive urges with the artist intentionally snuffing out temptations to fall back on well-worn ideas. The second style observed in this single body of work results from the artist&rsquo\;s use of scratchboards where he has layered imagery produ ced by gouging the india ink surface of a prepared board. Here\, textures a nd volumes appeal to the tactile cravings of the viewer&rsquo\;s eye. As Fi nch puts it\, &ldquo\;This appears to be two bodies of work\, but it isn&rs quo\;t. This is one vision filtered through two different processes as the spirit moves. The pendulum swings to extremes but it remains tethered to th e same center all the time.&rdquo\;  \;

\n

A BRG artist member sin ce 2002\, Finch received his Masters of Fine Arts at Temple University&rsqu o\;s Tyler School of Art. He has been featured by the Critic's Choice Exhib ition at the Dallas Visual Art Center\, the Fleisher Art Challenge at the F leisher Art Memorial in Philadelphia\, and the Gulf South Regional Artists Exhibition at Bridge for Contemporary Art in New Orleans. His professional experience includes: East Baton Rouge Parish School System\, Talented Visua l Artist\; Southeastern Louisiana University\, Hammond\, Adjunct Faculty\; Baton Rouge Community College\, Baton Rouge\, Adjunct Faculty\; Texas Sculp ture Association\, Dallas\, Executive Director.

DTEND:20130926 DTSTAMP:20140714T115931 DTSTART:20130901 GEO:30.4356437;-91.1687964 LOCATION:Baton Rouge Gallery - center for contemporary art\,1515 Dalrymple Drive \nBaton Rouge \, LA 70808 SEQUENCE:0 SUMMARY:Sharp/Blunt\, Scott Finch UID:294823 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Kelli Scott Kelley&rsquo\;s exhibition\, &ldquo\;The Gift\,& rdquo\; continues her exploration of humankind&rsquo\;s connections\, disco nnections and impact upon the natural world. She does so by placing figures \, animals and objects in metaphorical narratives. This body of mixed-media drawings is executed using collaged re-purposed papers\, many of which wer e salvaged from her son&rsquo\;s discarded school papers. In going through these piles of papers\, she found numerous drawings that complemented her w ork nicely.

\n

As Kelley herself explains\, "In some of my pieces\, th ere is a dialog between his doodles and my images."

\n

A Baton Rouge G allery artist member since 2000\, Kelley earned her Masters of Fine Art fro m the University of Massachusetts\, Amherst and her Bachelors of Fine Arts from Louisiana State University. Since moving back to her hometown of Baton Rouge\, Kelley has been teaching art at Louisiana State University\, where she is now an Associate Professor of Painting. Kelley has shown her work a cross the country including Hooks Epstein Gallery\, Mississippi University for Women and the Boulder Museum of Contemporary Art.

DTEND:20130926 DTSTAMP:20140714T115931 DTSTART:20130901 GEO:30.4356437;-91.1687964 LOCATION:Baton Rouge Gallery - center for contemporary art\,1515 Dalrymple Drive \nBaton Rouge \, LA 70808 SEQUENCE:0 SUMMARY:The Gift\, Kelli Scott Kelley UID:294824 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;Occupants Test Prints\,&rdquo\; John Harlan Norris&r squo\; third BRG exhibition\, continues his examination of professional por traiture\, but sees him introduce colorful mixed-media prints to his series of oil-on-canvas paintings for the first time. Norris finds inspiration in the ways we allow the roles we play in our daily lives to define us. Wheth er pursuing leisure\, prosperity or social status\, we assume identities th at both define us and fail to define us. With his work\, Norris delves into the possibilities and limitations of our occupations at a time when we fre quently change jobs\, balance multiple roles and cannot easily delineate be tween public and private life. &ldquo\;The works concentrate on tools\, uni forms\, ephemera and other signifiers that both define the [subject&rsquo\; s] roles and obscure their identifying qualities\,&rdquo\; says Norris.&nbs p\;

\n

A BRG artist member since 2009\, Norris is currently an assista nt professor of art at Arkansas State University. He received his Masters o f Fine Arts from Louisiana State University\, having earned his Bachelors o f Art degree at Centre College (in his home state of Kentucky). Since gradu ating\, Norris has taught drawing and design at Louisiana State University\ , University of Louisiana at Lafayette and Southern University (Baton Rouge ). His work has been shown in Chicago and Houston as well as throughout Lou isiana and Kentucky. It is fitting that Norris investigate professional rol es as he balances multiple himself\, as a visual artist\, instructor and mu sician. His band\, Harlan\, has released three albums\, The Still Beat\, Sp iderette and 2011&rsquo\;s Night Loop.

DTEND:20130926 DTSTAMP:20140714T115931 DTSTART:20130901 GEO:30.4356437;-91.1687964 LOCATION:Baton Rouge Gallery - center for contemporary art\,1515 Dalrymple Drive \nBaton Rouge \, LA 70808 SEQUENCE:0 SUMMARY:Occupants Test Prints \, John Harlan Norris UID:294825 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bau-Xi Vancouver is delighted to exhibit the latest work fro m Vancouver artist Bobbie Burgers. This series\, entitled Alchemy will be o n display from Sept 13th to Sept 26th\, 2013.

\n

There are many laws of alchemy\, but the first and most important one is t he fact that everything has life and every life is part of something.

\n

Fo r painter Bobbie Burgers the lifecycle\, beauty and existence of flora and fauna in the natural world are nothing short of magical. Likewise\, the pro cess of painting- mixing colours and integrating light and shadow\, also cr eate endless mysterious and unpredictable results.

\n

To Burgers\, this idea is liberating. &ldquo\;When you look at all the wondrous things h appening around us\, like seeds and water and soil creating a flower\, I th ink anything can happen.&rdquo\; In Alchemy\, she explores how nature incorporates light and shadows to form new colours. She executes this into brilliant yellows and sage greens in her paintings of Okanagan hills and lush floral arrangements. \n

Like the alchemical process\, painting also is an ancient technique\, obs erves Burgers. &ldquo\;Alchemists dreamt of transforming base metals into g old. I dream of turning paint into happiness.&rdquo\; Burgers&rsquo\; hope is to provoke memories and transport the viewer to the sights and scents of summer. &ldquo\;I wanted these works to bottle up the essence of summer\, to keep the warm - the soft breeze\, the smell of dry grasses\, the feel of sandy feet - all in a small little vial to be worn around ones neck during the long nights of winter. There to be uncorked and deeply inhaled every n ow and then.&rdquo\;

\n

 \;

\n

 \;

DTEND:20130926 DTSTAMP:20140714T115931 DTSTART:20130913 GEO:49.2585083;-123.1389054 LOCATION:Bau-Xi Gallery - Vancouver\,3045 Granville Street \nVancouver\, BC V6H 3J9 SEQUENCE:0 SUMMARY:ALCHEMY\, Bobbie Burgers UID:294797 END:VEVENT BEGIN:VEVENT DTEND:20130913T200000 DTSTAMP:20140714T115931 DTSTART:20130913T180000 GEO:49.2585083;-123.1389054 LOCATION:Bau-Xi Gallery - Vancouver\,3045 Granville Street \nVancouver\, BC V6H 3J9 SEQUENCE:0 SUMMARY:ALCHEMY\, Bobbie Burgers UID:295238 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130926 DTSTAMP:20140714T115931 DTSTART:20130912 GEO:18.4642226;-66.1159433 LOCATION:Obra Galería Alegría\,301 Calle de la Cruz \nOld San Juan\, 00901 SEQUENCE:0 SUMMARY:Menagerie\, Jorge Tort\, Angelika Buettner UID:294903 END:VEVENT BEGIN:VEVENT DTEND:20130912T220000 DTSTAMP:20140714T115931 DTSTART:20130912T190000 GEO:18.4642226;-66.1159433 LOCATION:Obra Galería Alegría\,301 Calle de la Cruz \nOld San Juan\, 00901 SEQUENCE:0 SUMMARY:Menagerie\, Angelika Buettner\, Jorge Tort UID:294904 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130927 DTSTAMP:20140714T115931 DTSTART:20130831 GEO:40.81183;-73.9247539 LOCATION:BronxArtSpace\,305 East 140th Street 1st Floor\nBronx\, NY 10454 SEQUENCE:0 SUMMARY:Fundamental Ephemeris\, Bernd Metz\, Astrid Stricker\, Aline von de r Assen\, Jutta Heun\, Eva Weingartner UID:318808 END:VEVENT BEGIN:VEVENT DTEND:20130831T200000 DTSTAMP:20140714T115931 DTSTART:20130831T180000 GEO:40.81183;-73.9247539 LOCATION:BronxArtSpace\,305 East 140th Street 1st Floor\nBronx\, NY 10454 SEQUENCE:0 SUMMARY:Fundamental Ephemeris\, Jutta Heun\, Bernd Metz\, Astrid Stricker\, Aline von der Assen\, Eva Weingartner UID:318809 END:VEVENT BEGIN:VEVENT DESCRIPTION:

126 is delighted to present new work OVERLAND | THE ONGOING by Tim Acheson (Ireland) and Winnie Pun (Hong Kong).

\n

Tim Acheson's new work deals with the duality of a sense of perspective. \;Although w e observe our surrounding landscape we are simultaneously in a landscape of memory  \;and outside references. The work looks at the simultaneous n ature of seeing and memory\, perspective and location. \;

\n

Tim A cheson is a visual artist based in Galway City. His practice\, consisting o f object making\, video and field recording\, deals with the human aspect a nd reaction to the physical landscape. He is currently a member of Engage S tudios.

\n

Winnie Pun's work encourages active looking. Seeing is alwa ys in motion within each image\, and each image portrays a mechanism of see ing that can be continued in other work\, and in other mediums. It is not h er intention to create photographic paintings or photographic images that r esemble paintings as such. The banality of subject matter is non-narrative\ , but has the intention to slow down viewer&rsquo\;s perception. The indire ctness induces an ambiguous moment where the mechanism of seeing and the na ture of representation can be confronted.

\n

Winnie received her Bache lor of Fine Art Degree from GMIT in 2011. Her work has been selected for va rious exhibitions including RDS Student Awards (2010)\, Eigse Carlow Arts F estival (2012) and Osage Gallery\, Hong Kong (2013). She is currently based in Hong Kong.

DTEND:20130928 DTSTAMP:20140714T115931 DTSTART:20130907 GEO:53.2705588;-9.0566677 LOCATION:126\, Artist-run Gallery\,4 Commerce House Flood Street \nGalway City \, SEQUENCE:0 SUMMARY:OVERLAND | THE ONGOING\, Tim Acheson\, WINNIE PUN UID:295323 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Dord Burrough&rsquo\;s fey\, pale paintings with their paste l palette of mauves\, lilacs\, pinks\, soft greens and deep violets\, are a nostalgic homage to the alchemy and systems of the natural and netherworld s.
The distinctive romantic\, sometimes grotesque\, paintings\, focus on Dord&rsquo\;s underlying longing\, (one that a large section of modern s ociety shares)\, for a return to our original harmonious bond with nature.< br />The artist views the loss of connection as linked to the way Western c ultures devalue their unconscious and subliminal perceptions as they increa singly focus on materialism and profit - unlike many ancient and Eastern so cieties which embrace natural cycles and differing levels of consciousness within their traditions and everyday way of life.
While Dord Burrough works within the conventional genres of portraiture\, still life and landsc ape\, they are accessed through a psychedelic lens. The lushly impasto and ostensibly figurative paintings are not truly representational but are spec ulative and introspective visions of her relationship and self identificati on with nature\, approached through the experience of meditative states.
There is a history of liminal states as vehicles in the creation of art\ ; of artists and poets who make visual the memories from altered states and levels of perception. Notable among them is the Romantic poet\, Samuel Tay lor Coleridge who in the late eighteenth century took opium as a dysentery cure at Ash Farm in Devon\, unwittingly unleashing his unconscious with a p lant extract as a conduit to an inner world and conceiving of the epic poem Kubla Khan and the pleasure dome of Xanadu.
The landscapes of Dord Bu rrough unfold with a latter day Flora or Ophelia\, embedded in a voluptuous confection of plant life\, who revels\, almost wallows\, in the abundance of nature in the bucolic painting Am Ende der Wald [at the end of the fores t]. The artist embraces the characteristics of cacti in Cactus heart\; euph oric floral lollipop explosions suggestive of the hallucinogenic and medici nal allure of cactus juice sit atop spiny\, prickly stems signalling &ldquo \;danger\, don&rsquo\;t touch&rsquo\;. A sense of total immersion and raptu rous surrender characterises Bathing in the forest with birds\, an exultant painted paean to being at one with nature in an idyllic floral cosmos.
The portraits are gestural and &lsquo\;organic&rsquo\; in style\, many wr eathed in garlands and evocative of myths\, nymphs\, satyrs and cultural ri tes. The still life genre introduces the dark side in both palette and sent iment. Indoor plant dreaming about the outside world depicts a neglected de siccated plant\, constricted and parched deprived of light and its outdoor environment.
A different level of consciousness\, an escapist\, somnol ent valerian induced blissful torpor is invoked in the lavender hues of the text based painting\, Sleep. In contrast is the rude awakening of I though t I would be young forever fuck\, signalling our complacency in the face of the inevitable life cycle of bloom and droop.
Since graduating with a Bachelor of Fine Art degree majoring in Painting from Queensland College o f Art in 2008\, Dord Burrough has lived and exhibited in Germany and Austra lia\, including &lsquo\;Test Pattern&rsquo\; at Ryan Renshaw Gallery in 201 2. She was a finalist in &lsquo\;The Churchie National Emerging Art Prize i n 2011 and 2012 and was recently artist in residence at Level Gallery in Br isbane from April to June 2013\, concluding with an exhibition\, The Howlin g Unknown.
Dord Burrough is a contemplative and experimental artist wh o seeks ways to make visual her personal and the collective dilemma of our increasing alienation from the natural world and the innate self.

DTEND:20130928 DTSTAMP:20140714T115931 DTSTART:20130904 GEO:-33.8653276;151.1675429 LOCATION:Artereal Gallery\,747 Darling Street \nRozelle \, NSW 2039 SEQUENCE:0 SUMMARY: DEEP GREEN\, DORD BURROUGH UID:293771 END:VEVENT BEGIN:VEVENT DTEND:20130904T200000 DTSTAMP:20140714T115931 DTSTART:20130904T180000 GEO:-33.8653276;151.1675429 LOCATION:Artereal Gallery\,747 Darling Street \nRozelle \, NSW 2039 SEQUENCE:0 SUMMARY: DEEP GREEN\, DORD BURROUGH UID:293772 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Artereal Gallery is pleased to present the exhibition ME DUSA 0.1\, by sound artist Robin McCarthy. McCarthy&rsquo\;s predomina ntly theatre based practice has incorporated sound design\, installation an d original score for numerous international theatre companies\, festivals a nd recordings. For the first time in Australia\, McCarthy will exhibit MESDUSA 0.1 in a gallery setting.

\n

In MEDUSA 0.1\, the artist presents a soundscape of a post apocalyptic time\, told through a s eries of audio tubes distributed in the project space. For much of the perf ormance a number of these tubes remain silent\, only sporadically contribut ing to the harmonising chorus of the narrative\, stemming from a central hu b\, or &lsquo\;black box&rsquo\; &ndash\; a record or history of McCarthy&r squo\;s subterranean staging. These portholes guide the viewer into the art ist&rsquo\;s fractured narrative of environments\, or perhaps more appropri ately\, scenes. These are most certainly linked to the product of image mak ing\, an exercise of the aural molding and seducing ones comprehension (and wonder) of a world existing outside our own. \; These audio cues creat e story\, or an aura\, one difficult to alienate from the desire to attach imagery. It is here that McCarthy employs his open narrative to great effec t.

\n

In two particular scenes\, McCarthy presents the listener with a space of industrial workings\, the mechanized\, repetitive movements of he avy machinery that shake and dominate these soundscape. This in turn is con trasted with a lobby\, where elevator music and melodic tunes are interrupt ed by uncanny intermissions and jarring\, which suggest that the world we a re eavesdropping upon contains an underbelly of acute distaste and lurking menace. It is the intersection of these types of scenes that elevate a sens e of tension in McCarthy&rsquo\;s work. These disjointed moments and places seem to seamlessly break and join again\, to collide\, intersect and inter fere with one another\, their opposing existence propping each other up.

\n

The psycho-narrative and sci-fi tone of McCarthy&rsquo\;s MEDUSA 0.1\, along with the fracturing of its soundscapes can be linked to th e cinematic works of David Lynch or Chris Marker&rsquo\;s La Jeté \;e. Here one can see the influence of such work on the psyche\, its e volution\, susceptibility and control of our recognition and experience of reality- where narrative impacts the psychological state and vice versa. Ho wever\, while this may be accurate in the stylistic tone of MEDUSA 0.1< /em>\, the influence of 80&rsquo\;s and 90&rsquo\;s indie film of McCarthy& rsquo\;s generation should not be overlooked. The intersection of narrative and social structures in films such as Harmony Korine&rsquo\;s Gummo and Richard Linklater&rsquo\;s Slacker\, where the audience is presented with pieces\, or fragments of a social sphere\, where the overar ching tone is developed not by a linear narrative\, but by placing together the ingredients of a &lsquo\;place&rsquo\; or &lsquo\;time&rsquo\; and all owing them to speak for themselves by painting a picture of the &lsquo\;gre ater&rsquo\; environment\, not just a singular beginning and end of an indi vidual story. This same technique is employed in MEDUSA 0.1\, wher e the audience and listener navigates only the peepholes to a world where c haracters are never properly introduced\, formulating their own structures\ , hierarchies and reasoning.

\n

Robin McCarthy is a sound designer\, c omposer and creator. He has been sound designer for The Sydney Theatre Comp any\, NIDA and Autograph\, London. McCarthy has collaborated with artists a nd musicians as well as filmmakers\, where he created the sound design to t he animated short Gristle winner of the Melbourne International An imation Festival (2012) as well as being part of the official selection for numerous Australian and International film festivals.

\n

- Matt Glenn (Curator)

DTEND:20130928 DTSTAMP:20140714T115931 DTSTART:20130904 GEO:-33.8653276;151.1675429 LOCATION:Artereal Gallery\,747 Darling Street \nRozelle \, NSW 2039 SEQUENCE:0 SUMMARY: MEDUSA 0.1\, Robin McCarthy UID:293773 END:VEVENT BEGIN:VEVENT DTEND:20130904T200000 DTSTAMP:20140714T115931 DTSTART:20130904T180000 GEO:-33.8653276;151.1675429 LOCATION:Artereal Gallery\,747 Darling Street \nRozelle \, NSW 2039 SEQUENCE:0 SUMMARY: MEDUSA 0.1\, Robin McCarthy UID:293774 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Two equine works by Ruston\, La.\, artist Hooshang Khorasani will be exhibited in Massachusetts at an invitational show that is connect ed to the book "True Grit."

\n

 \;

\n

"Equine Allure" and "In Flight" will be part of the "Horse Sense" show at Attleboro (Mass.) Arts M useum from Sept. 20-28.

\n

 \;

\n

The exhibit complements the city of Attleboro's annual summer reading initiative\, The Big Read/Attleb oro's 1ABC (1 Adventure\, 1 Book\, 1 Community)\, which is funded by the Na tional Endowment for the Arts. This year's book selection is "True Grit\," a much-loved American classic with a dynamic frontier story\, legendary cha racters and complex adventures. The program encourages the community to rea d a selected book at the same time and for readers to expand their connecti on to the book through related arts and cultural programs.

\n

 \;< /p>\n

"Horse Sense" features more than 30 works from 15 artists and honor s the strength\, impact\, companionship and powerful work of the horse.

\n

 \;

\n

Throughout "True Grit\," the reader finds several exam ples of the symbiotic relationship between a character in the novel and his or her horse. In more than one instance\, the life and well-being of each depends on the other. Horses are portrayed as the working partners of the m ain characters\, but author Charles Portis also vividly demonstrates a pure and simple bond that cannot be ignored. One memorable example is protagoni st Mattie's relationship with her horse\, Little Blackie\, and her relentle ss search for her father's murderer &ndash\; and his lost horse\, Judy.

\n

 \;

\n

A Sept. 21 reception will open with cowboy violin musi c\, followed by a ceremony to kick off Attleboro's reading of "True Grit." Additionally\, representatives from a therapeutic riding center will discus s how such riding uses the magnetic bond between people and horses to teach such skills as listening\, balance\, motor control\, and a variety of othe r attributes that help people promote independence and self-confidence.

\n

 \;

\n

Hooshang's paintings are 30-by-40-inch acrylics on can vas.

\n

 \;

\n

More information can be found at www.attleboro artsmuseum.org.

DTEND:20130928 DTSTAMP:20140714T115931 DTSTART:20130920 GEO:41.9443413;-71.2814454 LOCATION:Attleboro Arts Museum\,86 Park Street \nAttleboro\, MA 02703 SEQUENCE:0 SUMMARY:Horse Sense\, Hooshang Khorasani UID:296269 END:VEVENT BEGIN:VEVENT DTEND:20130921T160000 DTSTAMP:20140714T115931 DTSTART:20130921T140000 GEO:41.9443413;-71.2814454 LOCATION:Attleboro Arts Museum\,86 Park Street \nAttleboro\, MA 02703 SEQUENCE:0 SUMMARY:Horse Sense\, Hooshang Khorasani UID:296270 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Chaos meets Order. This is the root premise of my current st udio explorations.
These drawings and \;sculptures illustrate a p rocess of dissecting the exacting
language of architectural space wit h conceptual \;reanalysis and physical agitation.
 \;
T he house form represents a perfect\, stable structural icon. It acts as a universal memory \;of home. \;The perfection is slowly disrupt ed and worn by its
function as vessel for living. \;Eventually\, time takes its toll\, along with acts of nature\,
to weaken the struc ture. Its final demise\, \;brought \;on by disaster\, development\,
or rotting neglect\, will permanently disrupt the perfection of the house
and leave a dynamic reorganization of its geometry.
All t hat is left of the disrupted structure is the \;footprint hinting at th e perfection
that once was. \;The energy behind this disruption o f order is what I am attempting to convey.
 \;
The floor pl an has been a reoccurring image in my work. It is the first instrument of f unctional
organization before a structure is built. It is the footpri nt left behind when the structure is gone.
It creates volume with a f ew simple lines. It contains and releases space with the interplay
be tween \;mass and void. It acts as a structural grid for the chaotic pro cess of living. In the end\,
the floor plan is a snapshot into the li ves of the people who have inhabited it.

DTEND:20130928 DTSTAMP:20140714T115931 DTSTART:20130906 GEO:29.7820125;-95.3737488 LOCATION:Avis Frank Gallery\,1606 White Oak Dr. \n Houston \, Texas 77009 SEQUENCE:0 SUMMARY:HOMEWRECKER Disrupted Architecture\, Dan Havel UID:294051 END:VEVENT BEGIN:VEVENT DTEND:20130906T200000 DTSTAMP:20140714T115931 DTSTART:20130906T180000 GEO:29.7820125;-95.3737488 LOCATION:Avis Frank Gallery\,1606 White Oak Dr. \n Houston \, Texas 77009 SEQUENCE:0 SUMMARY:HOMEWRECKER Disrupted Architecture\, Dan Havel UID:294052 END:VEVENT BEGIN:VEVENT DESCRIPTION:

CAM museum caged\; gates become exposition space for the solidly behind protest of 18 Neapolitan artists.

\n

A long cage has been issued before CAM museum after recent news events\; from June the 28th 2013 on the gratings are hanging the works of 18 Neapolitan artists\, inspired by Casoria museum adventures and realized as solidly behind to CA M cultural campaign.
On June the 28th at 7.30 pm CAM museum opens to WellCAM_Welcome to the politically uncorrect museum.
Eight years after\, the most rumoured museum in Europe is still open and its act ivity lively even though\, like a caged lion\, its entrance appears closed up in a metal fencing bringing the visitor to the museum path but dividing him from the rest of the world. That cage\, from June the 28th\, is becomin g an exposition space\, an open door to art\, bringing works out with its a rms open wide to the road. Hanging on the gratings are the works 18 Neapoli tan artists realized as solidly behind the cultural resistance of CAM as in spired by the Casoria museum adventures.
From racism to corrupted pol itics\, from violence to camorra\, the story of the museum is involved in t he social meaning of art.
Its story mixes perseverance and dedication \, provocation and reflection\, a difficult pathway for a space on a degrad ed province\, which has become a reference and a symbol for those supportin g culture notwithstanding the "arduous" place. Local and international situ ation hinted a thread to the artistic agenda of CAM. This inquiry through a news-based art has been many times unwelcome to criminal organizations and toupper politics spheres.
With this exhibition CAM wants to celebrat e\, with those ones who supported it\, eight years commitment for culture a nd its vigour notwithstanding uncountless adversities.

DTEND:20130928 DTSTAMP:20140714T115931 DTSTART:20130628 GEO:40.9126957;14.2986191 LOCATION:CAM Casoria International Contemporary Art Museum\,Via Duca D’Aost a 63/A \nCasoria\, 80026 SEQUENCE:0 SUMMARY:WellCAM - Welcome to the politically incorrect museum\, Piero Chiar iello\, Gerardo Di Fiore\, Di Guida & Vargas\, Fabio Donato\, Peppe Esposit o\, Luciano Ferrara\, Gianluigi Gargiulo\, Giovanni Izzo\, Barbara La Ragio ne\, Lello Lopez\, Rosa Panaro\, Ivan Piano\, Sergio Riccio\, Emilio Rizzo\ , Franco Silvestro\, Vincenzo Starnone\, Tony Stefanucci\, Paula Sunday UID:283136 END:VEVENT BEGIN:VEVENT DTEND:20130628T213000 DTSTAMP:20140714T115931 DTSTART:20130628T193000 GEO:40.9126957;14.2986191 LOCATION:CAM Casoria International Contemporary Art Museum\,Via Duca D’Aost a 63/A \nCasoria\, 80026 SEQUENCE:0 SUMMARY:WellCAM - Welcome to the politically incorrect museum\, Piero Chiar iello\, Fabio Donato\, Peppe Esposito\, Luciano Ferrara\, Gerardo Di Fiore\ , Gianluigi Gargiulo\, Giovanni Izzo\, Lello Lopez\, Rosa Panaro\, Ivan Pia no\, Barbara La Ragione\, Sergio Riccio\, Emilio Rizzo\, Franco Silvestro\, Vincenzo Starnone\, Tony Stefanucci\, Paula Sunday\, Di Guida & Vargas UID:283137 END:VEVENT BEGIN:VEVENT DESCRIPTION:

La galerí\;a Fú\;cares_Almagro se complace en pr esentar la segunda exposició\;n individual de Roberto Infantes (Daimi el\, 1981).

\n

En la nueva serie que Roberto Infantes nos presenta en esta exposició\;n\, nos encontramos con paisajes urbanos y paisajes d e su tierra\, La Mancha\, desarrollados a partir de fotografí\;as en color de aquello que ve\, sin modificar\, pero con el añ\;adido de la pintura o la superposició\;n del collage.

\n

Lo que el artista pretende es generar otra realidad\, su realidad\, su ficció\;n...\, a quello que no es\, que no llegará\; a ser\, pero que nunca va ha sabe r\, realmente\, có\;mo es.

\n

El trá\;nsito que supone ir desde lo urbano a lo rural\, es una suerte de nomadismo en busca del lugar ideal. A veces\, la invasió\;n del hormigó\;n de las nuevas con strucciones\, se funden con el paisaje desde la contradicció\;n que d estruye cualquier posibilismo esté\;tico.

\n

En los actuales tra bajos de Roberto Infantes\, la pintura se superpone espacialmente a la foto grafí\;a a travé\;s de la plancha de metacrilato que forman par te de la propia obra. Es ahí\; donde\, como una ensoñ\;aci&oacu te\;n\, la pintura acentú\;a el devenir del paisaje con el paso del t iempo.

\n

Las insistentes lí\;neas verticales y horizontales que definí\;an espacios\, han desaparecido de las obras de Infantes\; si n embargo\, el repertorio formal de sus actuales trabajos se sirve de trozo s de madera\, hilos\, elementos vegetales...\, cuyo resultado son met&aacut e\;foras establecidas a partir de edificaciones ficticias que está\;n contenidas en la propia imagen. Estas obras\, tiene una relació\;n c on los espacios teatrales en los que se desarrolla una tridimensionalidad q ue posiblemente va a generar el desarrollo de un universo propio.

DTEND:20130928 DTSTAMP:20140714T115931 DTSTART:20130706 GEO:38.8868916;-3.7105821 LOCATION:Galeria Fúcares (Almagro)\,San Francisco\, 3 \nALMAGRO\, 13270 SEQUENCE:0 SUMMARY: "Horizontes"\, Roberto Infantes UID:285253 END:VEVENT BEGIN:VEVENT DTEND:20130706T200000 DTSTAMP:20140714T115931 DTSTART:20130706T180000 GEO:38.8868916;-3.7105821 LOCATION:Galeria Fúcares (Almagro)\,San Francisco\, 3 \nALMAGRO\, 13270 SEQUENCE:0 SUMMARY: "Horizontes"\, Roberto Infantes UID:285254 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Galleri Christoffer Egelund proudly presents the site specif ic installation Human Desires by the Danish artist Louise Hindsgavl (b. 197 3).

Anthropomorphic frogs with feathery wings and their friends occupy the project room at Galleri Christoffer Egelund from Friday\, Augus t the 30th. The series Human Desires consists of hovering nightmare tableau s in porcelain displaying human lust and desire - the forbidden kind. The b estial side of man has taken over\, and this is evident as the porcelain fi gurines are composed of equal parts human and animal. In one of the mobiles a player with a cow&rsquo\;s head is conducting female genital surgery on herself\, grinning\, apparently unaffected by the circumstances (Human Desi res #7). The artist emphasizes the absurdity of such a voluntary cosmetic o peration particularly if you consider its evil twin: involuntary female cir cumcision\, also known as Female Genital Mutilation\, often seen in parts o f Africa and The Middle East. In another part of the room we are confronted with the remnants of a playhouse after a bombing raid. This is a case of v engefulness where innocence was ignored.

As always\, in the narr ative universes of Louise Hindsgavl we are lured in by the beautiful\, seem ingly innocent\, porcelain and then in for a thought-provoking shock when t he traditional shepherd girl grows animal limbs and conducts cosmetic genit al surgery.

Louise Hindsgavl graduated from Designskolen\, Kold ing\, DK\, in 1999 and has exhibited widely in Denmark\, Europe\, the US an d Asia since her graduation. She is represented in major collections worldw ide including: National Museum Stockholm\, Sweden\; Victoria and Albert Mus eum London\, UK\; Minneapolis Institute of Arts\, MIA\, USA\; Carlsberg Art Fondation\, DK\; The The Rö\;hsska Museum\, Gothenburg\, SE\; Designmu seum\, Copenhagen\, DK\; Trapholt\, Kolding\, DK\; ASU Art Museum\, Arizona \, USA etc. Furthermore\, among others\, she has received: The Danish Art F oundation work grant of 3 years (2010)\, Silkeborg artist grant (2010)\, Th e Danish Art Foundation grant (2008\, 2006\, 2004) and The Biennale Award\, The Biennale of Arts and Craft and Design (2004). For an elaborated biogra phy\, please visit: www.christofferegelund.dk.

DTEND:20130928 DTSTAMP:20140714T115931 DTSTART:20130830 GEO:55.6871469;12.5924385 LOCATION:GALLERI CHRISTOFFER EGELUND\,Bredgade 75 \n1260 Copenhagen K\, SEQUENCE:0 SUMMARY: HUMAN DESIRES\, Louise Hindsgavl UID:294808 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Texas Biennial is an independent survey of contemporary art in Texas. The fifth edition of the exhibition will take place in the fa ll of 2013\, making the Texas Biennial the longest-running state biennial i n the U.S. In celebration of the fifth anniversary of the project\, the Tex as Biennial presents two special exhibitions on view simultaneously at Lawn dale Art Center in Houston and Big Medium in Austin\, August 23 ‒ September 28\, 2013. Co-curated by former Biennial curators Michael Duncan (TX★09) a nd Virginia Rutledge (TX★11)\, the Texas Biennial Invitational at Lawndale will showcase current work by four previous Biennial artists\, two of whom &ndash\; McNeil and Tucker &ndash\; have also been selected for th e 2013 Texas Biennial group survey exhibition opening September 5 at San An tonio&rsquo\;s Blue Star Contemporary Art Museum. Christie Blizard (Lubbock \, San Antonio / TX★09\, TX★11) will show video and performance based work\ ; Marcelyn McNeil (Houston / TX★11) will contribute paintings from her ongo ing exploration of abstraction\; Tom Orr (Dallas / TX★07\, TX★11)will be re presented by both sculptural and two dimensional work\; and Brad Tucker (Au stin / TX★07\, TX★11) will install sculptures from two of his most recent s eries.

DTEND:20130928 DTSTAMP:20140714T115931 DTSTART:20130823 GEO:29.7298273;-95.3866026 LOCATION:Lawndale Art Center\,4912 Main Street \nHouston\, TX 77002 SEQUENCE:0 SUMMARY:Texas Biennial Invitational \, Christie Blizard\, Marcelyn McNeil\, Tom Orr\, Brad Tucker UID:292731 END:VEVENT END:VCALENDAR