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Even though painting and movin g image art do not represent space and time in the same way\, in a signific ant part of the video production process\, that has occurred from the origi ns of this medium until the present\, emerges the 'pictorial unconscious' t hat becomes the principal \;leimotif \;of this ex hibition.

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Illumination\, color\, comp osition\, iconography or staging inform us of a shared vocabulary between b oth mediums that are extremely interrelated in the works of current video a rtists in the \;Sorigué\; Collection\, such as&n bsp\;Bill Viola\, William Kentridge\, Marco Brambilla\, Mat Collish aw\, \;Jacco Olivier\, \;Ger Van Elk\,Marina Alexeeva \;or \;Elisa Sighicelli &\; Marzia Migliora\,whose video creations establis h a retroactive dialogue with some of the most esteemed works in the collec tions of the \;Museu Nacional d&rsquo\;Art de Catalunya.

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The film director Eric Rohmer put it very bluntly: \;&ldquo\;All organization of forms in the interior of a flat surface stems from prictorial art" \;and Nam June Paik\, one of the pioneers of video a rt\, expressed it in a comparable way: \;&ldquo\;In the same wa y that a collage has substituted oil painting\, the cathode ray tube will r eplace the canvas".

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In \ ;The pictorial unconscious\, the video creations establish a retroactive dialogue with some of the most esteemed works in the collect ion of the \;Museu Nacional d&rsquo\;Art de Catalunya.

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En el marco del Festival Loop 2015\, se establece \;< strong>Un diá\;logo entre la colecció\;n de videoarte de la Fun dació\;n Sorigué\; y la colecció\;n del Museu Nacional d& rsquo\;Art de Catalunya.

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Aun que la imagen en movimiento y la pintura no representan el espacio y el tie mpo de la misma manera\, en una parte significativa de la producció\; n videográ\;fica realizada desde los orí\;genes de este soporte hasta la actualidad aflora una suerte de \;&ldquo\;inconscient e pictó\;rico&rdquo\; \;que se convierte en principalleitmotiv \;de esta exposició\;n.

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Iluminació\;n\, color\, composició\;n\, iconograf& iacute\;a o puesta en escena\, nos informan de un vocabulario compartido en tre la pintura y el videoarte\, que alcanza grados de conexió\;n sorp rendentes en el trabajo de algunos vide-artistas presentes en la \;Colecció\;n Sorigué\;\, como \;Bill Vi ola\, William Kentridge\, Marco Brambilla\, Mat Collishaw\, \; Jacco Olivier\, \;Ger Van Elk\,Marina Alexeeva \;o \;Elisa Sighicelli &\; Ma rzia Migliora\, cuyas videocreaciones establecen un diá\;log o retroactivo con algunas de las obras má\;s destacadas de la colecci ó\;n del \;Museu Nacional d&rsquo\;Art de Catalunya.

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El director de cine Eric Rohmer lo planteaba de forma tajante:&ldquo\;Toda organizació\;n de formas en el interior de una superficie plana\, deriva del arte pictó \;rico&rdquo\; \;y Nam June Paik\, uno de los pioneros del videoarte\, lo expresó\; hace ya má\;s de 40 a&nt ilde\;os  \;de forma equivalente: \;&ldquo\;De la misma man era que el collage ha sustituido a la pintura al ó\;leo\, el tubo de rayos cató\;dicos sustituirá\; al lienzo.&rdquo\;

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En un sentido aná\;logo\, el cr&iac ute\;tico y cineasta Jacques Aumont insistí\;a añ\;os despu&eac ute\;s en que \;&ldquo\;la historia del cine\, por lo menos des de que se convirtió\; en apto para ser pensado como arte (&hellip\;) no tiene sentido si se separa de la historia de la pintura&rdquo\;.

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En algunos trabajos de los artistas presentes en esta exposició\;n el movimiento fí\;lmico est&aac ute\; retenido\, o má\;s bien &ldquo\;suspendido&rdquo\; por una suer te de &ldquo\;temporalidad pictó\;rica&rdquo\;\, de manera que sus im á\;genes se construyen como si se tratara de cuadros autó\;nomo s\, mediante largos planos fijos en los que los movimientos de las figuras se producen de un modo tan ralentizado\, que a veces resulta casi impercept ible\, por lo que podrí\;amos hablar de \;tableaux vi vants \;en la misma medida en que otros citan composicion es\, motivos iconográ\;ficos y puestas en escena que derivan de la pi ntura mural medieval\, renacentista o decimonó\;nica. Hablamos pues\, de una historia de paradojas ya que los nuevos monitores LCD y las pantall as de plasma extraplanas está\;n abriendo todo un nuevo abanico de po sibilidades a quienes intentan "reinventar" la idea de "cuadro" como "pintu ra en movimiento"\, para unos\, o como "video objeto"\, para otros\, aunque con ello regresen nada menos que a los tiempos del "cuadro transportable"\ , tal y como se entendí\;a a finales de la edad media.

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Se plantea\, de este modo\, una reflexió\;n s obre las relaciones entre los dispositivos electró\;nicos de registro y edició\;n de imá\;genes y los procesos de creació\;n e n pintura\, que revelan mecanismos tales como la diferencia entre &ldquo\;t iempo de la historia&rdquo\; y &ldquo\;tiempo del relato&rdquo\; que en est as piezas se equiparan\, forzando al espectador al placer -ya& nbsp\;casi olvidado- de la contemplació\;n. É\;sto no impi de que en todas y cada una de estas obras tambié\;n se deslicen conte nidos crí\;ticos de orden polí\;tico\, social o cultural\, plen amente imbricados en la contemporaneidad.

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Habrí\;a que dar la razó\;n\, en consecuencia\, a quienes señ\;alan que hoy las artes visuales se han convertido en el lugar co mú\;n de una &ldquo\;pictorialidad difusa&rdquo\; \;en la que ya nada es exactamente fotografí\;a\, ni exactamente pintura\, ni exactamente ví\;deo\, sino simplemente &l dquo\;imagen&rdquo\;\, y es de hecho\, ese valor polisé\;mico y decon structivo de las imá\;genes el que ha servido en los ú\;ltimos añ\;os para la reformulació\;n de los gé\;neros pict&oacu te\;ricos tradicionales\, así\; como para sedimentar las distintas es trategias de hibridació\;n caracterí\;sticas de la producci&oac ute\;n artí\;stica actual. En este sentido\, esta exposició\;n no debe ser vista como un sí\;ntoma de retorno a las fuentes de la hi storia del arte\, como a la era de la circulació\;n promiscua de la i magen\, aquella que sabe que só\;lo puede ser ya &ldquo\;imagen de ot ra imagen&rdquo\;.

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DTEND:20150830 DTSTAMP:20150630T214424 DTSTART:20150528 GEO:41.368205;2.152231 LOCATION:Museu Nacional d'Art de Catalunya\,Palau Nacional Parc de Montjuïc \nBarcelona\, 08038 SEQUENCE:0 SUMMARY:The Pictorial Unconscious\, Bill Viola\, William Kentridge\, Marco Brambilla\, Mat Collishaw\, Jacco Olivier\, Ger Van Elk\, Marina Alexeeva\, Elisa Sighicelli\, Marzia Migliora UID:388684 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Hamburg based sculptor Reinhold Engberding&rsquo\;s work add resses the topics of identity\, intimacy\, privacy\, longing and desire. Du ring a recent Artist Residency at CentralTrak with the University of Texas Dallas\, Engberding covered the large exhibition space with images of young men\, questioning whether they could possibly be his sons. In the installa tion\, \;Is That My Son\, Engberding used images gathered from an online archive of police mug shots.

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For his Conduit exhibition\, Engberd ing channeled memories of his own experience as an altar boy after having b een given Dallas high school band uniforms. The uniforms reminded the artis t of liturgical garments which led to a process of de-constructing and flat ly re-constructing several uniforms into constellations of pattern and ambi guous form. Along with exposed stitching\, the garments are embroidered wit h words from a poem composed by poet and frequent collaborator\, Holger B. Nidden-Grien\, a fictional character created by the artist in 1996.

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Reinhold Engberding studied landscape architecture and Fine Arts in Kassel \, Kiel and The Hague. He has lived in Hamburg\, Germany since 1982.

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\n DTEND:20150801 DTSTAMP:20150630T214424 DTSTART:20150627 GEO:32.796183;-96.818269 LOCATION:Conduit Gallery\,1626 C Hi Line Dr. \n Dallas\, TX 75207 SEQUENCE:0 SUMMARY:reversing a thing does not prove its reverse\, Reinhold Engberding UID:388575 END:VEVENT BEGIN:VEVENT DTEND:20150627T200000 DTSTAMP:20150630T214424 DTSTART:20150627T180000 GEO:32.796183;-96.818269 LOCATION:Conduit Gallery\,1626 C Hi Line Dr. \n Dallas\, TX 75207 SEQUENCE:0 SUMMARY:reversing a thing does not prove its reverse\, Reinhold Engberding UID:388576 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150920 DTSTAMP:20150630T214424 DTSTART:20150704 GEO:49.8914132;-119.4965934 LOCATION:Kelowna Art Gallery\,1315 Water Street \nKelowna\, BC V1Y 9R3 SEQUENCE:0 SUMMARY:Mapping me in...\, Wally Cardona UID:388573 END:VEVENT BEGIN:VEVENT DTEND:20150703T210000 DTSTAMP:20150630T214424 DTSTART:20150703T190000 GEO:49.8914132;-119.4965934 LOCATION:Kelowna Art Gallery\,1315 Water Street \nKelowna\, BC V1Y 9R3 SEQUENCE:0 SUMMARY:Mapping me in...\, Wally Cardona UID:388574 END:VEVENT BEGIN:VEVENT DESCRIPTION:

THE CAC MÁ\;LAGA PRESENTS THE EXHIBITION \;RESPECT

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 \;The CAC Má\;laga is presenting the exhibition \;Respect\, a selection of four works by three arti sts of two different generations which aims to create a connecting link bet ween the exhibitions on Shepard Fairey and D*Face also on display. This exh ibition\, curated by Fernando Francé\;s\, consists of two paintings b y Peter Saul\, considered one of the founding figures of American Pop Art\, and one painting each by KAWS and Erik Parker\, representing street artist s of the generation born around the 1970s. This exhibition has benefitted f rom the collaboration of the Automotor Premium. \;

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The exhibition \;Respect \;brin gs together three artists: Peter Saul\, Erik Parker and KAWS\, with a selec tion of four paintings that will together create a connecting link between the exhibitions on the street artists D*Face\, whose career now spans fifte en years\, and Fairey\, with twenty-five years of creative activity. The ex hibition presents four paintings on canvas\, two by Peter Saul\, one by Eri k Parker and one by KAWS.Respect \;aims to pay tribute to arti sts who have been reference points and have influenced the work of young an d older artists within the context of street art.

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Peter Saul&rsquo\;s early use of comics in reference to Pop cu lture in his paintings of the late 1950s means that he is now considered on e of the founding figures of Pop Art. Saul&rsquo\;s work connects this tren d with Surrealism and Expressionism. Over the course of his career he has p roduced more than 800 works which fall into clearly defined phases\, such a s his distinctive and personal interpretations of the Vietnam War and his s ubsequent move towards a glamorous representation of poor people\, influenc ed by 19th-century painting. Peter Saul is represented in the pr esent exhibition with two canvases entitled \;Duet \;(2014 ) andFuture Woman \;(2013).

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Erik Parker is characterised by a use of his own inventive architecture and a style distinguished by a preference for neon combined with daring gr aphic compositions. Parker&rsquo\;s paintings are nourished by a range of i nfluences including American psychedelic culture\, underground comics\, the Chicago Imagists\, hip-hop and heavy\, as well as artists such as Picasso\ , Francis Bacon and Roy Lichtenstein. The mixed media on canvas \;U nderground Spiritual \;(2004)\, in which the title appears in the work itself\, will be on display at the CAC Má\;laga until 27 Septemb er.

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The work by KAWS in this exhibiti on\, which was previously exhibited at the CAC Má\;laga between March and June 2014\, is entitled \;THIS IS THE WAY (GARFIELD 1). I t offers an example of how this artist transforms icons of popular culture\ , adding elements characteristic of his work such as the use of the letter &ldquo\;x&rdquo\; for the eyes. KAWS&rsquo\;s images represent creatures wi th bodies derived from characters in comics\, on this occasion the famous c at Garfield from the now classic comic strip.

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EL CAC MÁ\;LAGA PRESENTA LA EXPOSICIÓ\; N \;RESPECT

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El CAC Má\;laga acoge la exposició\;n \;Respect\, una selecció\;n de cuatro obras de tres artistas de dos generaci ones diferentes que sirve de puente entre las muestras de Shepard Fairey y D*Face. La exposició\;n comisariada por Fernando Francé\;s est& aacute\; constituida por dos pinturas de Peter Saul\, considerado como uno de los padres del Pop Art americano\, junto a dos pinturas de KAWS y Erik P arker en representació\;n de artistas urbanos nacidos en torno a los añ\;os 70. En esta exposició\;n colabora Automotor Premium.

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\n< p style="text-align: justify\;">La exposició\;n \;Respect \;reú\;ne a tres artistas como Peter Saul\, Erik Parker y KAWS para la exposició\;nRespect. Se trata de una selecció\ ;n de cuatro cuadros que sirven como puente entre las muestras de dos artis tas urbanos como D*Face\, con 15 añ\;os de carrera\, y Obey\, con 25. En \;Respect \;se podrá\;n contemplar cuatro obras pinturas realizadas sobre lienzos\, dos de ellas de Peter Saul\, una de Eri k Parker y otra de KAWS. \;Respect \;es un manera de rendi r homenaje a aquellos artistas que han servido de referencia y han influenc iado dentro del arte urbano en general a jó\;venes y no tan jó\ ;venes.

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El temprano uso de referencia s de dibujos animados en la cultura pop en sus pinturas por parte de Peter Saul a finales de los añ\;os 50 motivó\; que se convirtiese en uno de los padres del \;Pop Art. Su trabajo conecta esta corri ente con el Surrealismo y el Expresionismo. Durante su carrera\, ha realiza do má\;s de 800 obras en distintas etapas muy definidas\, como sus in terpretaciones personales de la Guerra de Vietnam y el posterior cambio hac ia un tratamiento glamuroso de personajes pobres influenciado por la pintur a del siglo XIX. Para esta exposició\;n\, Peter Saul aporta dos acr&i acute\;licos sobre lienzos tituladas \;Duet \;(2014) y&nbs p\;Future Woman \;(2013).

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Por su parte\, Erik Parker se caracteriza por el empleo de su propia arqu itectura inventiva y un estilo diferenciado por el gusto por el neó\; n con composiciones grá\;ficas arriesgadas. Sus pinturas se inspiran en diversos elementos como la subcultura psicodé\;lica americana\, lo s có\;mics \;undergrounds\, \;la Chicago Im agist\, el hip hop y el heavy\, así\; como artistas como Picasso\, Fr ancis Bacon y Ray Lichtenstein. \;Underground Spiritual \; (2004)\, \;tí\;tulo que puede leerse sobre la propia pin tura que se expondrá\; en el CAC hasta el 27 de septiembre\, est&aacu te\; realizada por medio de té\;cnica mixta sobre lienzo.

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En la obra que aporta KAWS\, que ya expuso en el CAC Má\;laga entre marzo y junio del 2014\, a \;Respect \,THIS IS THE WAY (GARFIELD 1) \;(2013)\, puede contemplarse c ó\;mo el artista transforma iconos de la cultura popular\, añ\; adiendo elementos caracterí\;sticos de su obra\, como son las equis e n lugar de ojos. Sus imá\;genes representan a seres con cuerpo de per sonajes de dibujos animados. En esta ocasió\;n\, se trata del famoso gato protagonista de las ya clá\;sicas tiras có\;micas.

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DTEND:20150927 DTSTAMP:20150630T214424 DTSTART:20150626 GEO:36.7140627;-4.4251276 LOCATION:Centro de Arte Contemporáneo de Málaga\,C/ Alemania \nMalaga\, 29 001 SEQUENCE:0 SUMMARY:Respect\, Peter Saul\, KAWS\, Erik Parker UID:388428 END:VEVENT BEGIN:VEVENT DTEND:20150626T200000 DTSTAMP:20150630T214424 DTSTART:20150626T100000 GEO:36.7140627;-4.4251276 LOCATION:Centro de Arte Contemporáneo de Málaga\,C/ Alemania \nMalaga\, 29 001 SEQUENCE:0 SUMMARY:Respect\, KAWS\, Erik Parker\, Peter Saul UID:388429 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This summer BALTIC presents a survey exhibition and a major new commiss ion by the Dutch artist and filmmaker Fiona Tan. Born in 1966 in Pekan Baru \, Indonesia\, Tan works within the contested territory of representation: how we represent ourselves and the mechanisms that determine how we interpr et the representation of others.

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Photography and film &ndash\; made by herself\, by others\, or a combination of both &ndash\; are her media\; res earch\, classification and the archive\, her strategies. Her skilfully craf ted and intensely human film and video installations explore history\, time and our place within them.

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The spectacular new commission \;DEP OT\, made especially for our Level 4 gallery\, re-imagines &lsquo\;Jon ah the Giant Whale&rsquo\;\, a preserved whale exhibited inside a lorry whi ch toured across Europe from the 1950s to the mid-1970s. Tan will rebuild t he 71-foot-long vehicle\; however\, it will now contain a cabinet of curios ities\, inviting the viewer to climb aboard. Drawing on Newcastle&rsquo\;s forgotten history as a major whaling port\, Depot is an exhibition within a n exhibition\, an immersive presentation that will also include a new film installation incorporating footage from the depots of natural history museu ms internationally.

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The exhibition continues on Level 3 with two further significant film installations from Tan&rsquo\;s career.Disorient  \;2009 juxtaposes fantasy and the reality of the trade route between V enice and Asia\, with a voiceover comprised solely of evocative quotes from Marco Polo&rsquo\;s 700-year-old book The Travels.Inventory \ ;2012 was filmed at Sir John Soane&rsquo\;s Museum in London and presents i ntimate details of the celebrated architect&rsquo\;s personal collection\, which is housed in one of the most extraordinary public museums in the worl d. A contemplative visual essay\, \;Inventory explores Tan&rsq uo\;s preoccupation with time\, memory and place\, and is as much a meditat ion on the human impulse to collect as a reflection on Tan&rsquo\;s artisti c practice to date.

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DEPOT \;is support by Sfumato Foundatio n with assistance from the Art Fund\, the Mondriaan Fund and the Embassy of the Netherlands.

DTEND:20151101 DTSTAMP:20150630T214424 DTSTART:20150710 GEO:54.96689;-1.60479 LOCATION:BALTIC Centre For Contemporary Art\,Gateshead Quays South Shore Ro ad\nGateshead\,\, NE8 3BA SEQUENCE:0 SUMMARY:Depot\, Fiona Tan UID:388427 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150705 DTSTAMP:20150630T214424 DTSTART:20150617 GEO:-37.8067559;144.982801 LOCATION:Gallery 6NINE\,69 Smith St Fitzroy\nMelbourne\, 3066 SEQUENCE:0 SUMMARY:Group Exhibition\, Marianne Little\, Justine Cromb\, Helen McPherso n\, Merle Parker\, Carol Rowlands\, Birgit Kreuzkamp UID:388318 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Quiet Land

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Darron Davies

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Quiet Land is a selection of landscape photography exploring landsc ape from a metaphoric perspective. The landscapes carry an intensity\, a se nse of presence. One image "Beyond" - a Finalist in the 2012 Blake Art Priz e - is simply the image of a tree \, but it is cave-like\, like an entry in to another world. Is it natural or is it man-made? What lies beyond? A bike path embankment looks like an ancient face\, other images speak through th eir stillness. Quiet Land explores the mystery\, and otherness in landscape s. The best photos speak for themselves: a world of secrets far beyond the footsteps of man.

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Melton Hole

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Greg Ferry

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Melton is one of the fastest growing and affordable suburb s in Victoria\, located approximately 40Km from Melbourne&rsquo\;s CBD. Man y people say we are seeing the end of affordable home ownership and in a wa y to me Melton represents a sad sort of last stand of the Australian dream. The culture of the place I suspect is a direct result of that. I&rsquo\;m sure nobody really dreams of living there. Objects past loved\, worn out\, or so devaluated that nobody wants them also end up here where they may hav e a new life or final ending. These are small paintings as they are commenc ed as plein air sketches. This is Melton as I experienced it.

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Voids Between Us

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Erich Schipp

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Erich's work is based off a style of abstract expressionism which was inspired and heavily influenced by his mentor and father Heinz Helmut. All paintings pr oduced are hand made from recycled timber and canvas sealed using rabbit sk in glue.
This body of work is a collaboration of two painting series. One of which was developed last year based on a solo motorcycle trip aroun d Australia\, titled Long Roads. The other half of this exhibition is a bod y of work developed over the last five years titled Voids Between Us. The p urpose of this work is to show the viewer the connection of our own humanit y and our understanding of that within the universe we live in. Using deep oil colours\, texture and shape to express this idea further

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Scarred Earth

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Marianne Little

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This gro up of works was inspired by the landscape of Wilsons Prom a short time afte r fire burnt through a large area of the park and left a vertical pattern o f black and burnt trees against a scarred horizontal background.
The works are a combination of drawing\, photos and manipulated handmade paper.

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unNatural Hybrids

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Aneta Bozic

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To control and manipulate the natural
Within shed\, laboratori es and kitchens
We play at being the creator
Blurring the line s between
Animal\, vegetable and mineral
Fauna\, flora and ore
Form and functions\, transposed and confused
Curious and harmo nious
From museum artefact to domestic display
Our gardens of u nNatural Hybirds

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DTEND:20150705 DTSTAMP:20150630T214424 DTSTART:20150617 GEO:-37.8067559;144.982801 LOCATION:Gallery 6NINE\,69 Smith St Fitzroy\nMelbourne\, 3066 SEQUENCE:0 SUMMARY:Views of Our World\, Darron Davies\, Greg Ferry\, Erich Schipp\, Ma rianne Little\, Aneta Bozic UID:388317 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150808 DTSTAMP:20150630T214424 DTSTART:20150702 GEO:55.666607;12.5385291 LOCATION:GALLERI NICOLAI WALLNER\,Ny Carlsberg Vej 68 OG\nCopenhagen V\, 17 60 SEQUENCE:0 SUMMARY:Donde Esta La Playa? The Summer Show UID:388316 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150906 DTSTAMP:20150630T214424 DTSTART:20150808 GEO:60.1642165;24.9402654 LOCATION:Galleria Heino\,Uudenmaankatu 16-20 \nHelsinki\, FI-00120 SEQUENCE:0 SUMMARY:Paintings\, Markku Laakso UID:388315 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Galleri Christoffer Egelund pr oudly presents SUMMERTIME '15\, our annual big group show.

Bef ore we all go on holiday\, drop by the gallery and enjoy works by the artis ts.

DTEND:20150815 DTSTAMP:20150630T214424 DTSTART:20150625 GEO:55.6871469;12.5924382 LOCATION:Galleri Christoffer Egelund\,Bredgade 75 CopenhagenDK-1260 SEQUENCE:0 SUMMARY:Summertime ’15 – The Big Annual Group Show\, Armando Marino\, Chris toffer Joergensen\, Daniel Van Deer Noon\, Eamon O’Kane\, Emilie Lundstrøm\ , Ghost of A Dream\, Helle Mardahl\, Henrik S. Simonsen\, Jonas Liveröd\, L ouise Hindsgavl\, Kristian Devantier\, Line Busch\, Kim William Catton\, Ma ria Torp\, Marie Bancks\, Marie Bjerre\, Michael Johansson\, Steinunn Thora rinsdottir\, Thierry Feuz\, Yuichi Hirako\, Louise Sparre UID:388311 END:VEVENT BEGIN:VEVENT DTEND:20150625T180000 DTSTAMP:20150630T214424 DTSTART:20150625T160000 GEO:55.6871469;12.5924382 LOCATION:Galleri Christoffer Egelund\,Bredgade 75 CopenhagenDK-1260 SEQUENCE:0 SUMMARY:Summertime ’15 – The Big Annual Group Show\, Marie Bancks\, Marie B jerre\, Line Busch\, Kim William Catton\, Kristian Devantier\, Ghost of A D ream\, Thierry Feuz\, Louise Hindsgavl\, Yuichi Hirako\, Christoffer Joerge nsen\, Michael Johansson\, Jonas Liveröd\, Emilie Lundstrøm\, Helle Mardahl \, Armando Marino\, Daniel Van Deer Noon\, Eamon O’Kane\, Henrik S. Simonse n\, Louise Sparre\, Steinunn Thorarinsdottir\, Maria Torp UID:388312 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Galerie Eva Presenhuber is pleased to open an exhibition with new works by Ugo Rondinone on June 13\, 2015.

How do you make a place for yourself in the world? And how\, at the same time\, do you keep the world at bay? The tide will contin ually rise or fall\, at times precariously. And with it you remain buoyant\ , or vulnerable. You find ways to protect yourself\, you build walls. The w alls represent stability\, the outer\, more formidable layer of our skin. W hen you inhabit a room long enough\, you come to see it as an extension of your own body. To let others inside or come close is rarely without hesitat ion. Whose windows and doors are always left wide open?

For so me\, art is a way of making a place in the world. And not only\, for that p lace can be thought of in terms of memory and a free floating dislocation.< br />
How do you reconcile the past\, account for its traces? Withou t being held hostage by them\, devoted to their maintenance? Rooms left beh ind\, if they mean anything\, stay with us. And an empty room\, is there an y such thing? Every room is inhabited by all who have been there\, by those who leave an impression. What occurred there\, nearly as visible as contou rs imprinted on the other side of a bed. What one represents\, even in the seemingly abstract\, is a longing. For what was\, for what might have been\ , or will be. A particular reality\, the illusion of itstruthfulness not ea sily shaken.

An invented world can be a place of wonder\, as i n childhood. Children forever curious about what&rsquo\;s behind the door\, pressing their faces to the window\, hiding behind the wall. The play of h ide-and-seek\, doesn&rsquo\;t it relate to art? Clues\, laid out like stepp ing stones in front of a sleepwalker. Following them\, the sleeper dreams v ividly in color\, eyes wide open.

We enter the exhibition of U go Rondinone.

As he has so many times before\, the artist tran sforms a room which is not a room\, a gallery\, a space of claimed neutrali ty\, a white box that awaits its animation. The same can be said of a studi o. There are nine free-standing walls. These are paintings that refer to hi s former studio in New York. Upon moving into the space\, Rondinone covered the walls with burlap\, and painted them with rows of bricks in various sh ades of white\, as if building a wall\, surrounding himself\, enveloping hi mself within. When he moved his studio uptown three years ago\, he took the m with him and began to repaint them\, employing the color spectrum. Just a s a wall is a kind of skin\, so too is the canvas\, and in this case the ma terial of the paintings is oil on burlap\, oil that seeps into its pores. I n the artist&rsquo\;s remark&mdash\;&ldquo\;My father was a bricklayer\, my mother was a seamstress&rdquo\;&mdash\;we understand that art can sometime s offer a mode of autobiography. The references to the parental activities are shown in the laying of bricks in tidy rows on one side of the painting and the sewing of burlap pieces creating a patchwork on the other side. The symbol of the brick wall has been frequently used by Rondinone. For instan ce\, the sculptural installation from 2006\,nestingground\, a larg e black plexiglass wall that forms an L-shaped corner\, the implication of a room\, inside and out. The outside shows a white brick wall pattern print ed on the black plexiglass. The inside shows a cluster of photos pinned to the black tinted plywood wall. The photos show walls\, stairs\, windows and doors\, which the artist took in Matera\, the Italian village where his pa rents grew up.

It&rsquo\;s worth noting that since 1991 there are various video and sculpture works for which paneled wood walls or brick walls serve as a symbol for isolation. For instance\, one projection featur es a man\, seen close-up and in profile\, walking past a brick wall that fi lls the screen. He is in continuous motion yet never arrives anywhere. This video installation from \;1999 is narratively titled\, it &rsquo\;s late and the wind carries a faint sound as it moves through the t rees. it could be anything. the jingling of little bells perhaps\, or the t iny flickering out of tiny lives. i stroll down the sidewalk and close my e yes and open them and wait for my mind to go perfectly blank. like a room n o one has ever entered\, a room without any doors or windows. a place where nothing happens.

The studio\, the place where art is bor n\, has long been a subject for artists. Even to be absent in the picture\, they foreground themselves in the activity with which they are occupied\, reminding us that art is and isn&rsquo\;t conjured out of thin air. And her e resides the palpable reality of its magic. We have\, throughout the histo ry of art\, been allowed into this otherwise unseen place\, offered a windo w onto this necessarily insular\, private world. And yet these brick painti ngs do not replicate studio views\, or evidence what goes on there\, certai nly not in the traditional sense of pictures within pictures. These are bri ck walls\, rendered with paint in red\, pink\, orange\, yellow\, green\, li ght and dark blue\, black\, and white. Impastoed\, the paint has been appli ed with a brush nearly as wide as the brick\, a familiar gesture\, frosted as it were. There are times when the texture of life insists on being repre sented. Here\, the artist is dealing with the thing itself\, transformed. H e is\, in this sense\, a re-maker of reality.

Other artists ha ve created brick walls. Cady Noland dealt with this image in the early-to-m id &lsquo\;90s\, with silkscreens on aluminum panels that were set on the f loor\, leaned against the wall. Somewhat naturalistic\, they were printed w ith red ink\, yet in their flatness\, their lack of depth\, they suggested\ , as her work so often does\, a facade\, a prop\, a sign of containment and control. More recently\, Kelley Walker has been producing &ldquo\;brick wa ll&rdquo\; paintings that engage with the circulation of images and how the y are embedded within a system\, its structure\, the allegorical mortar wit h which it is held in place. For both Noland and Walker\, information is al ways imprinted\, always passes through a filter or screen.

Ugo Rondinone&rsquo\;s brick walls offer another sort of architecture\, one th at relates to the act of painting and\, in their installation\, to the poet ics of space\, to intimacy and isolation. The paintings are arranged in the gallery so that the viewer must wend his or her way through the room\, a r oom which has now been overtaken by another. At first\, viewers see these w alls from the front\, the picture plane. Up close the &ldquo\;bricks&rdquo\ ; are clearly composed of brushstrokes\, with an artifice\, a plastic quali ty that reinforces rather than undermines their physicality. In between the individual bricks\, the &ldquo\;mortar&rdquo\; with which they are held to gether is raw burlap. Often\, at the far left and right edges\, and at the top and bottom of the painting\, one can see the material clearly\, its wea ve\, as if an actual wall was chipped\, weathered and worn over time. And y et there is no pretense to trompe l&rsquo\;oeil. Quite the opposite. These works are meant to be apprehended as paintings. Paint does not simply hover in space\, but must be grounded. And one way to do so is by showing its co mponents. From behind\, the viewer can see the full expanse of bare\, rough burlap\, a material more readily associated with raw goods and manual labo r than with a rarefied object and fine art. The back of a painting\, an unv arnished surface normally hidden by the clean white gallery wall\, now give n equal prominence.

At the end of the space\, further movement is impossible. One arrives at a massive\, cartoonish door\, resolutely sea led. Here\, the artist&rsquo\;s comment&mdash\;&rdquo\;My work is naive\, c hildlike&rdquo\;&mdash\;rings true. This is a door imagined from a fantasti c tale of giants\, perhaps from a bedtime story\, their shuddering footstep s\, and the resounding weight of a portal which thunders ominously shut beh ind them. This door\, made manifest\, rendered visible without any loss of irreality\, is appropriately titled\, \;lax low lullaby. On th e way to and from this end-point\, the viewer will pass a number of windows \, though not in the usual sense framing an external view. They are not tra nsparent. Instead\, they reinforce the interiority of the space\, its stagi ng of enclosure. Windows and doors have served as symbols for longing and i ntrospection in Rondinone&rsquo\;s work since the early &lsquo\;90s. The wi ndow frames in this exhibition are at once natural&mdash\;seemingly wood he wn and rustic\, referring directly to the windows in the artist&rsquo\;s fa rmhouse&mdash\;and psychedelic. Painted in hues ranging from neutral to can dy-colored\, they contain\, rather than panes of clear glass\, opaque glass in purple\, canary yellow\, midnight blue\, with titles like \;the abyss\, the nonbeing\, and \;the vacuum. They are reflec tive. We don&rsquo\;t look outward\, but inward. As with the brick wall pai ntings and the sculpture of the door\, these works position us in between s paces\, as well as objects within space\, that are simultaneously real and imagined. To have been dislocated in this way is not entirely unpleasant. A ll sorts of sensations\, just as memories\, may unexpectedly be roused. The painted brick walls\, around which we may circulate and lose sight of one another at every turn\, create a stage-set\, rendering viewers as surrogate performers. This has been the artist&rsquo\;s engagement from the very beg inning of his life in art\, a narrative that loops back as this story conti nues to unfold.

In Ugo Rondinone&rsquo\;s exhibition\, \;w alls + windows + doors\, we are reminded how the past is brought to life in the present\, and how the here and now\, actively inhabited\, can be trans formative. As we animate and reanimate people and places\, as we elevate th em in our minds\, we make a place for ourselves in the world\, and go on.

Bob Nickas
New York\, Monday\, May 18\, 2015 On the occasion of the exhibition of Ugo Rondinone at Galerie Eva Pres enhuber Zurich 2015

DTEND:20150724 DTSTAMP:20150630T214424 DTSTART:20150613 GEO:47.3863528;8.5169459 LOCATION:Galerie Eva Presenhuber (Maag Areal)\,Zahnradstrasse 21 \nZurich\, 8031 SEQUENCE:0 SUMMARY:Walls + Windows + Doors\, Ugo Rondinone UID:388310 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Origin of Species is the graduation project of a young curator Lena Vazhenina\, who majored in Curating Contemporary Art Exhibitions at the School of Contemporary Art Free Workshops in 2015. The project is also a part of the annual e xhibition of contemporary art the Workshop&rsquo\;2015 Sub Obs ervationem / Under Surveillance.

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The project is inspired by some quotations from the scholarly wor ks of a natural historian Charles Darwin\, notably: &lsquo\;There is gr andeur in this view of life\, with its several powers\, having been origina lly breathed into a few forms or into one\; and that\, whilst this planet h as gone cycling on according to the fixed law of gravity\, from so simple a beginning endless forms most beautiful and most wonderful have been\, and are being\, evolved.&rsquo\; Darwin&rsquo\;s evolution is continuous\; it is the process in constant motion. This very fact hinders our understan ding of its details\, our comprehension of the whole. We involved the artis ts who had managed to suspend evolution if only for a moment\; they had man aged to observe nature and Man\, his position in the stream of evolution\, they had got the opportunity to try and understand how organisms and cultur es live and die. Anyway nature will prevail at long last. Get your eyes off the artworks and just take a closer look at one another &ndash\; this very moment evolution is going on in each and every of us.

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The exhibition participants: Maria Ionov a-Gribina\, Egor Svillar\, Mila Nesterova\, Maria Vladimirova\, Alexander L yubin\, Mariana Fantich and Dominic Young\, Lena Vazhenina\, Konstantin Kar abasov\, Anna Nazarova\, Jim Wilson (The Ishaya Foundation Publishing)\, Se txu Xirau Roig\, Mrr Chrstms.

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At the exhibition you can also hear the God&rsquo\;s Chorus of Crickets m usic by Jim Wilson (The Ishaya Foundation Publishing).

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Проект «\;Происхождение видов»\; являет ся дипломным проектом молодого куратора Лены Важениной\, закончившей в 2015 году отделение «\;Кураторство проектов актуального искусства»\; Школы современного искусства «\;Свободные мастерские»\;\, а также &ndash\; частью ежегодной выставки молодых художников &la quo\;Мастерская 2015»\;\, тема которой «\;Sub observationem»\; (Под наблюдением).

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Проект вдохновлен цитатами из научных трудов натуралиста Чарлза Дарвин а: \; «\;Есть величие в этом воззрении\, по которому жизнь с её ра зличными проявлениями Творец первоначально вдохнул в одну или ограниченное число форм\; и между тем как наша планета продолжает вращаться согласно неи зменным законам тяготения\, из такого простого начала развилось и продолжае т развиваться бесконечное число самых прекрасных и самых изумительных форм& raquo\;. Эволюция Дарвина непрерывна и находится в постоянном движении. Это мешает нам разглядеть ее в деталях\, чтобы понять ее. Мы обратились к худо жникам\, которые смогли на миг приостановить эволюцию\, смогли понаблюдать за природой\, за человеком и его положением в потоке эволюции\, попробовать понять\, как живут и умирают организмы и культуры. В конце концов\, природ а все равно окажется сильнее: отвлекитесь ненадолго от работ художников про сто присмотритесь друг к другу\, эволюция продолжается в каждом из нас прям о сейчас.

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Участники: Мария Ионова-Грибина\, Егор Свиллар\, Мила Нестерова\, Мария Владимирова\, Александр Любин\, Mariana Fantich и Dominic Young\, Лена Важенина\, Конста нтин Карабасов\, Анна Назарова\, Jim Wilson (The Ishaya Foundation Publishi ng)\, Setxu Xirau Roig\, Мрр Крстмс.
Также на выставке прозвучит музык а Jim Wilson (The Ishaya Foundation Publishing) «\;God&rsquo\;s Chorus of Crickets»\;.

DTEND:20150823 DTSTAMP:20150630T214424 DTSTART:20150709 GEO:55.749646;37.62368 LOCATION:Moscow Museum of Modern Art [17 Ermolaevsky]\,17 Ermolaevsky Lane \nMoscow \, SEQUENCE:0 SUMMARY:Origin of Species\, Maria Ionova-Gribina\, Egor Svillar\, Mila Nest erova\, Maria Vladimirova\, Alexander Lyubin\, Mariana Fantich & Dominic Yo ung\, Lena Vazhenina\, Konstantin Karabasov\, Anna Nazarova\, Jim Wilson\, Setxu Xirau Roig\, Mrr Chrstms UID:388308 END:VEVENT BEGIN:VEVENT DTEND:20150709T200000 DTSTAMP:20150630T214424 DTSTART:20150709T120000 GEO:55.749646;37.62368 LOCATION:Moscow Museum of Modern Art [17 Ermolaevsky]\,17 Ermolaevsky Lane \nMoscow \, SEQUENCE:0 SUMMARY:Origin of Species\, Mrr Chrstms\, Maria Ionova-Gribina\, Konstantin Karabasov\, Alexander Lyubin\, Anna Nazarova\, Mila Nesterova\, Setxu Xira u Roig\, Egor Svillar\, Lena Vazhenina\, Maria Vladimirova\, Jim Wilson\, M ariana Fantich & Dominic Young UID:388309 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Moscow Museum of Modern Ar t and the School of Contemporary Art Free Workshops present the ex hibition Workshop&rsquo\;2015: Sub Observationem / Under Surve illance. Among the participants are young artists from Russia and abro ad selected by means of competition. This summer it will be the major event of the young art programme of the Moscow Museum of Modern Art. The exhibit ion will include paintings\, videoart\, photos\, installations\, performanc es and works in other media.

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The part icipants of the Workshop&rsquo\;2015 reflect on the subject define d by the Latin expression: Sub Observationem (or Under Surveil lance). Observation is the most ancient method of acquiring knowledge. Generalizing the data got from observation gave birth to Science. Science in its turn has systematically elaborated the monitoring parameters and has been working on ever more sophisticated observation devices and means to a ccumulate and analyze the data retrieved. Elaborating the theme the curator offered\, artists examine the situation of our everyday life being under t otal surveillance and recorded on video during every single moment.We are b eing monitored through video cameras at the entrance halls\, in the streets \, and at the institutions\; we are being unobtrusively observed by means o f gadgets allowing to control the movement of an individual and discover hi s whereabouts with the help of geolocation system\; our choice of webpages is tracked to propose us the content we are supposed to get interested in a nd so forth. We are not even surprised or terrified to find ourselves under close and mostly self imposed surveillance: we tend to take it for granted .

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The graduation project of a young c urator Lena Vazhenina\, who majored in Curating \; Contemporary Art Exh ibitions at the School of Contemporary Art Free Workshops in 2015\ , will also be the part of the exhibition\, as well as the final project ma de by the students from Vladislav Efimov&rsquo\;s Studio of Project Pho tography.

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The annual exhibition Workshop of the Moscow Museum of Modern Art and the School of Cont emporary Art Free Workshops has been held since 2001\, and every y ear it discovers new names on the Russian art scene.

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Московский музей современного искус ства и Школа современного искусства «\;Свободные мастерские»\; пр едставляют выставку «\;Мастерская 2015. Sub observationem»\;\, ко торая станет главным событием молодежной программы ММОМА этого лета. В выст авке принимают участие молодые художники из России и зарубежья\, отобранные на конкурсной основе. В экспозиции - живопись\, видео-арт\, фотография\, и нсталляции\, перформанс и другие виды искусства.

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Участники «\;Мастерской 2015»\; размышляют над темой «\;Sub observationem»\; (или «\;Под наблюдением»\;). На блюдение &ndash\; древнейший способ познания. Обобщение по лученных при наблюдении данных породило Науку. Наука\, в \;свою очередь \, выработала систему параметров мониторинга и \;разрабатывает всё боле е изощрённые приборы наблюдения и \;средства накопления и анализа получ енных данных. Развивая заданную куратором тему\, художники анализируют ситу ацию тотальной слежки и ежесекундной видео-фиксации нашей повседневной жизн и путем установки видеокамер в подъездах домов\, на улицах\, в учреждениях\ , а также использования гаджетов\, позволяющих ненавязчиво контролировать п ередвижение человека и обнаруживать его местоположение при помощи геолокаци и\, следить за просматриваемыми страницами в интернете и предлагать заведом о интересный ему контент и \;т.д. Ощущение нахождения себя «\;под колпаком»\; (при чем\, в большинстве случаев &ndash\; добровольного) у же не удивляет и не ужасает\, а принимается со смирением.

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Также в рамках выставки будет представлен дипломный пр оект молодого куратора Лены Важениной\, закончившей в 2015 году отделение & laquo\;Кураторство проектов актуального искусства»\; (Школа современно го искусства «\;Свободные мастерские»\;\, и финальный проект студ ентов «\;Мастерской проектной фотографии»\; Владислава Ефимова.\n

Ежегодный выставочный проект «\;М астерская»\; Московского музея современного искусства и Школы современ ного искусства «\;Свободные мастерские»\; существует с 2001 года и каждый год открывает новые имена российской художественной жизни. \;< /p>\n

Участники выставки: ARg_pg\, Iron Lily (Дмитрий Пронин)\, Наталья Александер\, Илина Червонная\ , Ева Аракчеева\, Арт-группа «\;Untitled»\;\, София Асташова\, Да рья Барыбина\, Анастасия Белова\, Анастасия Качалова\, Мария Богданова\, Ил ьмира Болотян\, Данила Булатов\, Ольга Бутеноп\, Юлия Вергазова\, Александр Веревкин\, Географ Смирнов\, Марина Герасимова\, Кирилл Жилкин\, Дмитрий Ж ильцов\, Анна Зайидова\, Ольга Зиновьева\, Лена Зубцова\, Маша Ив\, Елизаве та Извекова\, Екатерина Исаева\, Анастасия Каплина\, Дария Полякова\, Оля З ахарьева\, Ирина Ключникова\, Александра Мезенцева\, Саша Князева\, Сергей Колосов\, Олег Комаров\, Евгения Косушкина\,  \;Евгения Красавчик\, Оль га Красуцкая\, Кам Лачинский\, Вик Лащенов\, Мария Макарова\, Ипполит Марке лов и группа "18 apples"\, Наталия Монахова\, Катерина Муравьева\, Дарья Не ретина\, Дарья Никитина\, Ольга Осипова\, Марианна Мангилева\, Павел Отдель нов\, Федор Петрик\, Анна Ротаенко\, Наталья Петрова\, Дамир Романенко\, Ир ина Рудниченко\, Соня Румянцева\, Галия Садарова\, Анна Семенова-Ганц\, Анд рея Слащилин\, Яна Сметанина\, Екатерина Солодина\, Полина Суровова\, Алена Терешко\, Анна  \;Толкачева\, Елизавета Tульчинская\, Илья Федотов-Фед оров\, Михаил Филюшин\, Лёля Фролова\, Екатерина Царева\, Андрей Черкасов\, Виктория Щербенко\, Фаина Юнусова.

DTEND:20150823 DTSTAMP:20150630T214424 DTSTART:20150708 GEO:55.749646;37.62368 LOCATION:Moscow Museum of Modern Art [17 Ermolaevsky]\,17 Ermolaevsky Lane \nMoscow \, SEQUENCE:0 SUMMARY:Workshop’2015: Sub Observationem / Under Surveillance\, ARg_pg\, Ir on Lily (Dmitry Pronin)\, Natalia Alexander\, Ilina Chervonnaya\, Eva Arakc heeva\, Untitled art group\, Sofia Astashova\, Daria Barybina\, Anastasia B elova\, Anastasia Kachalova\, Maria Bogdanova\, Ilmira Bolotyan\, Danila Bu latov\, Olga Butenop\, Yulia Vergazova\, Alexander Verevkin\, Geographer Sm irnov\, Marina Gerasimova\, Kirill zhilkin\, Dmitry Zhiltzov\, Anna Zayidov a\, Olga Zinovieva\, Lena Zubtsova\, Masha Iv\, Elizaveta Izvekova\, Ekater ina Isaeva\, Anastasia Kaplina\, Daria Polyakova\, Olya Zakharova\, Irina K luchnikova\, Alexandra Mezentseva\, Sasha Knyazeva\, Sergey Kolosov\, Oleg Komarov\, Evgenia Krasavchik\, Olga Krasutskaya\, Kam Lachinskiy\, Vik Lasc henov\, Maria Makarova\, Ippolit Markelov\, 18 Apples art group\, Natalia M onakhova\, Katerina Muravieva\, Daria Neretina\, Olga Osipova\, Marianna Ma ngileva\, Pavel Otdelnov\, Fyidor Petrik\, Anna Rotayenko\, Natalia Petrova \, Damir Romanenko\, Irina Rudnichenko\, Sonya Rumiantseva\, Galia Sadarova \, Anna Semenova-Gants\, Andrey Slaschilin\, Yana Smetanina\, Ekaterina Sol odina\, Polina Surovova\, Alena Tereshko\, Anna Tolkachova\, Elizaveta Tulc hinskaya\, Ilia Fedotov-Fyodorov\, Mikhail Filyushin\, Lyolya Frolova\, Eka terina Tsareva\, Andrey Cherkasov\, Viktoria Scherbenko\, Faina Yunusova UID:388306 END:VEVENT BEGIN:VEVENT DTEND:20150708T200000 DTSTAMP:20150630T214424 DTSTART:20150708T120000 GEO:55.749646;37.62368 LOCATION:Moscow Museum of Modern Art [17 Ermolaevsky]\,17 Ermolaevsky Lane \nMoscow \, SEQUENCE:0 SUMMARY:Workshop’2015: Sub Observationem / Under Surveillance\, Natalia Ale xander\, Eva Arakcheeva\, ARg_pg\, Sofia Astashova\, Daria Barybina\, Anast asia Belova\, Maria Bogdanova\, Ilmira Bolotyan\, Danila Bulatov\, Olga But enop\, Andrey Cherkasov\, Ilina Chervonnaya\, Ilia Fedotov-Fyodorov\, Mikha il Filyushin\, Lyolya Frolova\, Marina Gerasimova\, 18 Apples art group\, U ntitled art group\, Ekaterina Isaeva\, Masha Iv\, Elizaveta Izvekova\, Anas tasia Kachalova\, Anastasia Kaplina\, Irina Kluchnikova\, Sasha Knyazeva\, Sergey Kolosov\, Oleg Komarov\, Evgenia Krasavchik\, Olga Krasutskaya\, Kam Lachinskiy\, Vik Laschenov\, Iron Lily (Dmitry Pronin)\, Maria Makarova\, Marianna Mangileva\, Ippolit Markelov\, Alexandra Mezentseva\, Natalia Mona khova\, Katerina Muravieva\, Daria Neretina\, Olga Osipova\, Pavel Otdelnov \, Fyidor Petrik\, Natalia Petrova\, Daria Polyakova\, Damir Romanenko\, An na Rotayenko\, Irina Rudnichenko\, Sonya Rumiantseva\, Galia Sadarova\, Vik toria Scherbenko\, Anna Semenova-Gants\, Andrey Slaschilin\, Yana Smetanina \, Geographer Smirnov\, Ekaterina Solodina\, Polina Surovova\, Alena Teresh ko\, Anna Tolkachova\, Ekaterina Tsareva\, Elizaveta Tulchinskaya\, Alexand er Verevkin\, Yulia Vergazova\, Faina Yunusova\, Olya Zakharova\, Anna Zayi dova\, Kirill zhilkin\, Dmitry Zhiltzov\, Olga Zinovieva\, Lena Zubtsova UID:388307 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Em sua segunda individual na M ercedes Viegas Arte Contemporâ\;nea o artista carioca Alvaro Seixas ap resenta uma instalaç\;ã\;o concebida especialmente para o espa& ccedil\;o da galeria\, constituí\;da em grande parte por inú\;m eras pinturas\, de diferentes té\;cnicas e formatos.

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Nascido em 1982\, Seixas explora em seus trabalhos as ideias de &ldquo\;pintura&rdquo\;\, &ldquo\;abstraç\;ã\;o&rdqu o\; e &ldquo\;apropriaç\;ã\;o&rdquo\; e como esses conceitos se relacionam com o panorama artí\;stico-cultural atual.

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O tí\;tulo da mostra remete ao popular e elem entar programa de computador utilizado para criaç\;ã\;o de dese nhos simples e ediç\;ã\;o de imagens. Desse modo\, o artista in vestiga o aparente &ldquo\;formalismo&rdquo\; de suas obras e sugere o car& aacute\;ter visualmente eclé\;tico de suas pinturas\, nas quais uma s é\;rie de procedimentos té\;cnicos ou movimentos artí\;st icos distintos como o Construtivismo e o Expressionismo Abstrato sã\; o editados\, conciliados\, rediscutidos e\, principalmente\, recontextualiz ados.

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Um dos destaques da instala&cce dil\;ã\;o é\; uma sé\;rie de pinturas nas quais o artista emprega tintas spray neon\, multicoloridas e de grande luminosidade\, asso ciadas a materiais tradicionais como a tinta ó\;leo\, conferindo gran de vibraç\;ã\;o ó\;tica à\; superfí\;cie pict ó\;rica e colocando em contato certos elementos do vocabulá\;ri o histó\;rico da pintura com artigos e ferramentas industriais recent es. Algumas das telas que integram a mostra sã\;o dotadas de estrutur as metá\;licas que conferem um aspecto cê\;nico e pouco usual a tais objetos\, explorando os limites fí\;sicos e conceituais da &ldqu o\;pintura&rdquo\;.

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Doutor em Linguag ens Visuais pela UFRJ\, Seixas foi o mais jovem dos artistas selecionados e m 2014 para concorrer à\; 5ª\; Ediç\;ã\;o do Prê \;mio CNI-SESI Marcantonio Vilaç\;a para as Artes Plá\;sticas e atualmente participa de uma mostra coletiva associada à\; premia&cce dil\;ã\;o\, em exibiç\;ã\;o no MAC-USP\, Sã\;o Paul o.

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Dentre suas principais exposi&cced il\;õ\;es se destacam as coletivas &ldquo\;Rumos Itaú\; Cultura l Artes Visuais &ndash\; Trilhas do Desejo&rdquo\; (2008-2009\, Instituto I taú\; Cultural\, Sã\;o Paulo\; Paç\;o Imperial\, Rio de J aneiro)\; &ldquo\;Palá\;cio&rdquo\; (2012\, Prê\;mio Projeteis A rtes Visuais\, Funarte\, Palá\;cio Gustavo Capanema\, Rio de Janeiro) \; &ldquo\;Ornamentos&rdquo\; (2013\, A Gentil Carioca\, Rio de Janeiro)\, e a individual &ldquo\;Keep Dripping&rdquo\; (2012\, també\;m na gale ria Mercedes Viegas).

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O curador Raphael Fonseca assina o texto cr& iacute\;tico sobre a mostra.

DTEND:20150718 DTSTAMP:20150630T214424 DTSTART:20150618 GEO:-22.9769499;-43.2357499 LOCATION:Mercedes Viegas Arte Contemporânea\,Rua João Borges\, 86 \nRio de Janeiro\, 22451-100 SEQUENCE:0 SUMMARY:Paintbrush\, Alvaro Seixas UID:388305 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150731 DTSTAMP:20150630T214424 DTSTART:20150612 GEO:47.3689916;8.5475461 LOCATION:Mai 36 Galerie - Showroom\,Rämistrasse 35 \nZürich\, 8001 SEQUENCE:0 SUMMARY:Group Exhibition\, Ian Anüll\, John Baldessari\, Troy Brauntuch\, P edro Cabrita Reis\, Koenraad Dedobbeleer\, Flavio Garciandia\, Peter Hujar\ , Robert Mapplethorpe\, Matt Mullican\, Thomas Ruff\, Hiroshi Sugimoto\, Pa ul Thek UID:388304 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Kunstnernes Hus har gleden av å\; invitere til ny vernissage for Foajé\;utstillinger\, en utst illingsserie som ble innledet i 2014. Denne sommeren stiftes bekjentskap me d to yngre norske kunstnerskap. Marte Eknæ\;s og Marianne Hurum har sa mmenstilt en utstilling bestå\;ende av et titalls verk med utgangspunk t i to sammensatte kunstnerposisjoner som deler en rekke felles interesseom rå\;der. I Foajé\;en på\; Kunstnernes Hus vil samarbeidet k retse rundt en parallell undersø\;kelse av formale og mediespesifikke problemstillinger innenfor maleri og skulptur. Gjennom en rekke tilsynelat ende forræ\;derisk enkle grep vil kunstnerne komplisere Foajé\;e ns aktive og ukonvensjonelle utstillingsrom.

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Marianne Hurum viser en ny serie malerier på\; en eksisterende \, temporæ\;r veggarkitektur i Foajé\;en. Hurum har tidligere ut forsket maleriets ulike grenseland gjennom å\; eksperimentere med ulik e presentasjonsmodus og monteringsanordninger\, gjennom å\; tø\; ye og manipulere blindrammer\, og gjennom fotogram. Malerier som vises p&ar ing\; Kunstnernes Hus er fulle av liv\; velsminkede ø\;yne blinker mo t betrakteren og en tubelignende figurasjon snor seg frem over overflaten s om et mö\;biusbå\;nd uten begynnelse og slutt.

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Eknæ\;s skulpturale oppdagelsesreiser i ulike mater ialer festes på\; den andre siden på\; fast grunn\, på\; s&o slash\;ylene i sandsten. Om Hurums malerier kan sees som en lek med ideen o m en slags fiktiv skulptur\, finner vi bå\;de maleriske og minimale ha rd-edge kvaliteter i Eknæ\;s frihå\;ndsbø\;rstede metallpla ter og myke oppblå\;sbare flytemadrasser som spennes rundt stenen p&ar ing\; vei opp Foajé\;ens bæ\;rende arkitektoniske komponenter. F ormen har sitt hjem i en urban verden der arkitektur kompletteres med produ ktestetikk og grafisk design. Eknæ\;s tittler understreker verkenes ub estemmelige funksjon\, eller indikerer kanskje et potensial i framtidige\, mulige anvendelsesområ\;der.

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Nes te Foajé\;utstilling: Martin Creed\, november 2015.

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Foajé\;utstillinger vises i samarbeid med Advoka tfirmaet DLA Piper Norway DA.

DTEND:20150830 DTSTAMP:20150630T214424 DTSTART:20150617 GEO:59.9194278;10.7306191 LOCATION:Kunstnernes Hus\,Wergelandsveien 17 \nOslo\, N-0167 SEQUENCE:0 SUMMARY:Foajéutstilling: Marte Eknæs og Marianne Hurum\, Marte Eknæs\, Mari anne Hurum UID:388303 END:VEVENT END:VCALENDAR