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A work of spellbinding beauty\,In Search of Vanished Blood  \;is a seminal installation by one of India&rsquo\;s leading \;art ists.

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#NaliniMalani

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Nalini Malani (b. 1946\, Karachi) is India&rsquo\;s foremost video and installation artist and a committed activist for women&rsquo\;s rights. Cu rrently living and working in Mumbai\, Malani came to India as a refugee du ring the 1947 partition of India and Pakistan\, an experience that deeply i nforms her work. This exhibition centers on Malani&rsquo\;s signature multi media installation\, \;In Search of Vanished Blood \;(2012 )\, the title of which comes from a poem by the revolutionary Pakistani poe t Faiz Ahmed Faiz. The installation \;is inspired by \;East German writer and critic Christa Wolf&rsquo\;s 1984 novel \;Cassandra \, about a struggling female artist and visionary. Combining imagery from E astern and Western cultures\, with sound\, projected image\, and light\,&nb sp\;In Search of Vanished Blood \;is an enthralling\, immersiv e experience. The work comprises six 11-minute video projections streamed a round the room through five clear Mylar cylinders\, hand-painted with a var iety of cultural and historical iconography\, which hang in the center of t he room. As the Mylar cylinders rotate\, the colorful and layered imagery i s projected onto the walls\, creating a magical environment reminiscent of lantern slide presentations and other proto-cinema experiments in the 18th and 19th centuries. The presentation of Malani&rsquo\;s immersive video ins tallation will be accompanied by a selection of related works on paper.

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Organized by Eva Respini\, Barbara Lee Chief Curator\, with Jessica Hong\, Curatorial Assistant.

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Support for  \;Nalini Malani: In Search of Vanished Blood \;is generou sly provided by Vivien and Alan Hassenfeld\, Jodi and Hal Hess\, and Barbar a Lee.

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Produced by  \;dOCUMENTA \;(13) in collaboration with the Burger Collection.

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DTEND:20161016 DTSTAMP:20160625T083055 DTSTART:20160629 GEO:42.3528233;-71.0430586 LOCATION:ICA (The Institute of Contemporary Art - Boston)\,100 Northern Ave nue \nBoston\, MA 02210 SEQUENCE:0 SUMMARY:In Search of Vanished Blood\, Nalini Malani UID:422020 END:VEVENT BEGIN:VEVENT DTEND:20160629T170000 DTSTAMP:20160625T083055 DTSTART:20160629T100000 GEO:42.3528233;-71.0430586 LOCATION:ICA (The Institute of Contemporary Art - Boston)\,100 Northern Ave nue \nBoston\, MA 02210 SEQUENCE:0 SUMMARY:In Search of Vanished Blood\, Nalini Malani UID:422021 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For the past two decades\, Minnesota-based artist Chris Larson has devel oped a multimedia practice rooted in sculpture. His work incorporates film\ , video\, photography\, and performance as well as drawing and painting. Of ten he integrates these elements into sculptural installations that referen ce architecture&mdash\;from iconic buildings by architects such as Marcel B reuer to ordinary rural cabins to imaginary\, sometimes illogical structure s&mdash\;while building a unique narrative structure. With \;Land S peed Record\, his latest video installation\, Larson focuses instead o n the objects (and memories) left behind when their context and architectur al enclosure has \;disappeared.

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Titled after a live album by punk ba nd Hü\;sker Dü\;\, who rose to cult status in the 1980s\, Larson&rs quo\;s project explores a group of objects that occupied his studio (a repu rposed industrial warehouse space) for two years. These items originated fr om the childhood home of Grant Hart\, Hü\;sker Dü\;&rsquo\;s drumme r and co-songwriter\, which caught fire and partially burned down in 2011. The smoke-blackened contents&mdash\;furniture\, appliances\, antiques and c ollectibles\, auto parts\, rock-and-roll ephemera\, art supplies\, clothing \, master tapes\, musical instruments&mdash\;had to be quickly cleared from the house to avoid repossession. Larson\, a friend and collaborator of Har t&rsquo\;s\, volunteered for them to be stored in his studio \;space.

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Hart periodically visited the artist&rsquo\;s studio to go through and ar range the objects. Larson writes: &ldquo\;At first glance\, the charred pil e is overwhelming in its massive aggregation\, but upon closer inspection\, certain rules for organization begin to emerge&hellip\;. I started to thin k about what these objects became when removed from their domestic function and relocated to the limbo of my studio\, a space dedicated to my own form al and artistic experimentations. I began to look at the grotesque wreckage of several of Grant&rsquo\;s kits of percussive instruments\, drums\, cymb als\, and sticks which once moved at ferocious speed\, now reduced to stasi s. There are also Studebaker parts (a fascination of Grant&rsquo\;s)\, spee dometers\, hoods\, doors\, engines\, axels\, tires\, and wheels designed to quickly propel these automobiles over the landscape\, now dismembered\, co vered in blackened dust\, silent and still. It is the juxtaposition of this potential speed and current stasis that interested me\, and made me think about how these objects would look through the lens of a camera moving slow ly over the \;pile.&rdquo\;

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To attain this perspective\, Larson devi sed a motorized track onto which he attached a camera that could capture a slow\, methodical pan across the 85-foot-long accumulation of salvaged mate rials. The film is projected in the gallery space alongside Larson&rsquo\;s black-and-white 16mm film footage of close-up vignettes of the objects\, f orming an installation at once reverential and haunting\, an elegy for a mo ment in musical time and a celebration of a creative force that has formed an important part of the Twin Cities&rsquo\; cultural \;history.

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Limited-Edition Vinyl \;LP< /span>

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Accompanying the exhibition is \;Chris Larson: Land Speed Recor d\, a limited-edition\, clear vinyl LP containing the drum track playe d by Yousif Del Valle and recorded in Minneapolis at 7th St Entry on April 14\, 2016. The album\, published by the Walker\, serves as the catalogue fo r the exhibition and includes liner notes by Walker exhibition curator Siri Engberg\, Walker artistic director Fionn Meade\, independent curator (and part of the curatorial team for Documenta 14) Dieter Roelstraete\, and Rev. Russell Rathbun\, a writer and founding preacher at the St. Paul&ndash\;ba sed church House of \;Mercy.

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A separate\, deluxe edition of the LP a dditionally features a color photograph\, signed and numbered by the artist \, of the accumulation of salvaged objects that are the subject of his  \;film.

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Available later this summer in the Walker Shop\, the LP will be released after August 15\, the 35th anniversary of Hü\;sker Dü\;&rs quo\;s album \;Land Speed Record.

DTEND:20170108 DTSTAMP:20160625T083055 DTSTART:20160609 GEO:44.9684358;-93.2885414 LOCATION:Walker Art Center\,1750 Hennepin Ave \nMinneapolis\, MN 55403 SEQUENCE:0 SUMMARY:Land Speed Record\, Chris Larson UID:422019 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Jumana Emil Abboud (born Shefa-'Amr\, Galilee\, 1971) works with drawin g\, installation\, video and performance\, exploring personal and collectiv e memory\, loss\, longing and belonging. Inspired by the cultural landscape of her home\, Abboud draws on the traditions of Palestinian folklore and m yth-making by collecting stories and fairy tales. Investigating these story telling practices and oral histories\, the artist provides new interpretat ions for the tales she has discovered.

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This exhibition brings together a body of recent work\, including the series of drawings \;The Ball ad of the Lady Who Lives Behind Trees \;2005-14 and the film \ ;I Feel Nothing \;2013\, alongside a new video installation. A bboud's delicate drawings depict monsters and magical beings with the lands capes and sites they inhabit including grottos\, wells and trees. Presented as a constellation\, we are encouraged to weave these elements together an d create our own narratives. \;I Feel Nothing \;is a video -poem inspired by a Palestinian folktale \;The Handless Maiden  \;and Titian&rsquo\;s painting \;Noli me Tangere \;c. 1514. Filmed at the Museum of Classical Archaeology\, Cambridge\, the Freu d Museum\, London and locations throughout Palestine\, the work explores no tions of touch and territories of the body.

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Abboud&rsquo\;s three-channe l video installation \;Hide Your Water from the Sun \;2016 \, traces a 1920 study by physician and researcher Dr. Tawfiq Canaan into P alestinian customs and folklore. Canaan analyses &lsquo\;haunted locations& rsquo\; that are primarily attributed to water sources and inhabited by var ious demons. Abboud\, with cinematographer Issa Freij\, has visited these l ocations\, documenting the sites where the original wells and springs have long since disappeared. The exhibition is accompanied by an audio guide wit h Abboud reading passages from Canaan&rsquo\;s study.

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The artist wishes to acknowledge the support of the British Council\, Delfina Foundation\, Ra na Sadik and Samer Younis

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A second chapter of the video installation&nbs p\;Hide Your Water from the Sun \;will be presented in the exh ibition \;Jumana Emi l Abboud: \;Haunted Springs and Water Demons in Palestine& nbsp\;at Kunstraum\, London\, 14 May &ndash\; 23 July 2016.

DTEND:20161002 DTSTAMP:20160625T083055 DTSTART:20160506 GEO:54.9667925;-1.5864567 LOCATION:BALTIC Centre For Contemporary Art\,Gateshead Quays South Shore Ro ad\nGateshead\, NE8 3BA SEQUENCE:0 SUMMARY:Solo Exhibition\, Jumana Emil Abboud UID:422018 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;L&rsquo\;image vol&eac ute\;e&rdquo\; (The stolen image) is a group show curated by artist Thomas Demand\, open to the public from 18 March to 21 August 2016. Within an exhi bition architecture designed by sculptor Manfred Pernice\, the show occupie s both levels of the Nord gallery at Fondazione Prada in Milan.

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&ldquo\;L&rsquo\;image volé\;e\,&rdquo\; i ncludes more than 90 works produced by over 60 artists from 1820 through th e present day. Demand&rsquo\;s idea for the exhibition is to explore the wa y we all rely on pre-existing models\, and how artists have always referred to existing imagery to make their own. Questioning the boundaries between originality\, conceptual inventiveness and the culture of the copy\, the pr oject focuses on theft\, authorship\, annexation and the creative potential of such pursuits.

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The exhibition pre sents three possible investigations: the physical appropriation of the obje ct or its absence\; theft as related to the image per se rather than the co ncrete object itself\; and the act of stealing through the making of an ima ge. The exhibition has been conceived as an eccentric\, unconventional expl oration of such topics through empirical inquiry. Rather than an encycloped ic analysis\, it offers visitors an unorthodox insight into a voyage of art istic discovery and research.

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The fir st section of the exhibition displays photographs\, paintings and films in which the stolen or missing object becomes the scene or evidence of a crime . Included in this section are works that directly echo criminal ideas\, su ch as Maurizio Cattelan&rsquo\;s framed theft report for an immaterial artw ork he claimed as robbed &ndash\; Senza titolo (1991) -\, orStolen Rug< /em> \;(1969)\, a Persian carpet that Richard Artschwager commissioned to be stolen for the exhibition &ldquo\;Art by Telephone&rdquo\; in Chicago . Other works evoke the absence resulting from an act of theft\, like the c anvas by Adolph von Menzel\, \;Friedrich der Grosse auf Reisen (1854)\, which had the portrayed faces incised from it.

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Other pieces are based on the alteration of preexisting artworks\, for example\, \;Richter-Modell (interconti) \;( 1987)\, a painting by Gerhard Richter that was transformed into a coffee ta ble by Martin Kippenberger and Pierre Bismuth&rsquo\;s \;Unfolded O rigami \;(2016)\, who made new work out of original posters by Dan iel Buren. All these works explore the notion of authors&rsquo\; control ov er their own creations.

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The second pa rt of the exhibition analyzes the logic behind appropriation within the cre ative process. This section begins with the concept of counterfeiting and f alsification\, exemplified by the hand-reproduced banknote by forger Gü \;nter Hopfinger. The exhibition moves on to explore practices that are clo se to Appropriation Art\, such as Sturtevant&rsquo\;s \;Duchamp Man Ray Portrait \;(1966)\, who reclaims a photographic portrait of M arcel Duchamp realized by Man Ray\, substituting both the author and the su bject of the photograph with herself. Other artists drive the logic of coun terfeiting to its limit\, including taking possession of another artist&rsq uo\;s identity. Other artworks are &lsquo\;improvements&rsquo\; or modifica tions of preexisting images\, for example the dé\;figurations by Asge r Jorn\, or collages such as those by Wangechi Mutu\, realized from medical illustrations and anatomical drawings. Artists such as Haris Epaminonda\, Alice Lex-Nerlinger and John Stezaker\, meanwhile\, encompass postcards\, p hotograms or archival images into their works. Along with these\, Erin Shir reff and Rudolf Stingel create their paintings or videos using a photograph ic reproduction of an artwork from the past as their starting point.

\n< p style="text-align: justify\;">This section continues with a group of work s in which the artists borrow elements from another medium or language\, or decontextualize the images themselves. Thomas Ruff\, in \;jpeg ib0 1 \;(2006) alters an image sourced from the web\; Anri Sala explor es the potential of film to reveal hidden temporal dynamics in \;Ag assi \;(2006)\; Guillaume Paris\, in the video \;Fountain< /em> \;(1994)\, presents a loop of brief sequences from the animated fi lm \;Pinocchio \;(1940). The ground floor of the Nord gall ery also includes sculptural work by Henrik Olesen\, and new works by Sara Cwynar\, Mathew Hale\, Oliver Laric and Elad Lassry.

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The third part of the show is installed in the lower level of the Nord gallery\, marking the first time this area has been used as an exhibition space. This final\, subversive part of &ldquo\;L&rsquo\;image vo lé\;e&rdquo\; deals with the production of images which\, by their ve ry nature\, reveal hidden aspects on a private or public level. John Baldes sari\, in his installationBlue Line (Holbein) \;(1988)\, inser ts a hidden camera that produces stolen images of visitors inside an adjoin ing space\, calling into question the role of the spectator.

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Sophie Calle\, in the series \;The Hotel \;(1981)\, aims to combine the artistic and private realms in her re search\, revealing intimate details of strangers&rsquo\; lives. Another clu ster of works develop considerations on public or openly political issues. Christopher Williams in \;SOURCE&hellip\;(1981) reveals unoffi cial perspectives on institutional communication\, by selecting four archiv e photographs of John Fitzgerald Kennedy that portray the American Presiden t from behind\, and therefore considered inappropriate for public circulati on at the time.

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In the photographs&nb sp\;Americas II\, Bahamas Internet Cable System (BICS-1) \;and  \;Globenet \;(2015)\, Trevor Paglen exposes the material infrastructure of mass surveillance\, documenting the transoceanic system o f undersea cables transmitting sensitive data.

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The final part of the exhibition presents a show within the show curated by a prominent contemporary industrial designer\, featuring spy too ls used by the GDR and the Soviet Union on their citizens: technological in struments capable of breaking down the barriers of the private sphere\, sel ected for the prophetic beauty of their rational design as related to conte mporary computers and smartphones.

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&l dquo\;L&rsquo\;image volé\;e&rdquo\; is accompanied by an illustrated book published by Fondazione Prada with newly commissioned short stories b y Ian McEwan and Ali Smith\, essays by Russell Ferguson\, Christy Lange and Jonathan Griffin\, and contributions by Rainer Erlinger and Daniel McClean .

DTEND:20160821 DTSTAMP:20160625T083055 DTSTART:20160328 GEO:45.4404895;12.3318301 LOCATION:Fondazione Prada - Ca' Corner Della Regina\,Calle de Ca' Corner\, Santa Croce 2215 \nVenezia\, 30135 SEQUENCE:0 SUMMARY:“L’image volée” (The stolen image)\, Group Show UID:422017 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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&ldquo\;Space d oes not exist\; it is just a metaphor for the structure of our existence.&r dquo\; Louise Bourgeois

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Louise Bourge ois (1911&ndash\;2010) is one of the most influential artists of the twenti eth century. Working with a wide range of materials and forms\, she created a body of work that extended over seven decades.

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Over her long career as an artist\, Louise Bourgeois developed concepts and formal inventions that later became key positions in contempo rary art\; these included the use of environmental installation and theatri cal formats\, and the engagement with psychoanalytic and feminist themes. B oth her distinctive sculptural forms and her outstanding drawings and graph ic works are second to none. Among the most innovative and sophisticated sc ulptural works in her extensive oeuvre are the \;Cells\, a ser ies of architectural spaces that deal with a range of emotions. Created ove r a span of two decades\, the \;Cells \;present individual microcosms\; each is an enclosure that separates the internal from the ext ernal world. In these unique spaces\, the artist arranged found objects\, c lothes\, furniture\, and sculptures to create emotionally charged\, theatri cal sets.

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Including the five precurso r works to the Cells that first emerged in 1986 with \;Articulated Lair\, Louise Bourgeois created approximately 60 \;Cells& nbsp\;over the course of her career. This exhibition is the largest overvie w of this body of work to date. \;

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DTEND:20160904 DTSTAMP:20160625T083055 DTSTART:20160318 GEO:43.2687658;-2.9372485 LOCATION:Guggenheim Museum Bilbao\,Avenida Abandoibarra\, 2 \n Bilbao \, B IZKAIA SEQUENCE:0 SUMMARY:Structures of Existence: The Cells\, Louise Bourgeois UID:422013 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20080621 DTSTAMP:20160625T083055 DTSTART:20070621 GEO:30.2689637;-97.7424637 LOCATION:The Contemporary Austin - Jones Center\,700 Congress Avenue \nAust in\, Texas 78701 SEQUENCE:0 SUMMARY:New American Talent: The Twenty-Second Exhibition \, Tom Mueske\, L aura Shipp\, Kirk Stoller\, Ryan Thayer UID:421821 END:VEVENT BEGIN:VEVENT DESCRIPTION:

High on a rocky promontory\, s et against the background of the ruddy mesas of Monument Valley\, a rider t urns his horse. He marks a legendary spot. The site has a special place in the canon of Hollywood&rsquo\;s repertoire of images. It is from here that John Wayne looked out over the magnificent panorama of the Colorado Plateau in &lsquo\;The Searchers&rsquo\;\; it was here that John Ford&mdash\;the m ost Brechtian of filmmakers (Straub/Huillet)&mdash\;set his camera and pann ed over the Mittens and Merrick Butte. He shot nine films in Monument Valle y and the spectacular lookout point bears his name: John Ford&rsquo\;s Poin t.

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The borderlands between Utah and A rizona belong to the Navajo Nation Reservation and members of this\, the se cond largest Indian community in the USA\, were actors and extras in Ford&r squo\;s westerns in the 1950s and still work as photo models for tourists.< /p>\n

Dorit Margreiter opens her show with the wide open spaces of the prairie and the shot that has become a myth. Th e film\, in a 16mm format\, shows the rider and horse in movement\, in a lo ng shot and close up against the background landscape. The clatter of the a nalogue projector brings an avant-garde film feeling to the Cinemascope Wes tern genre.

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Magreiter has called her show &lsquo\;Neue Rä\;ume&rsquo\;. Taken literally\, the title might ap ply to the newly-renovated gallery but might just as easily be taken as a d aring metaphor for a new start or a scenographic code.

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With her all-new works (2015/16)&mdash\;film (installatio n)\, photographs\, sculptures and exposures on paper&mdash\;Margreiter has blazed an exciting trail through the gallery. She stages\, orders\, layers and stretches her subjects all across its spaces. The concern here is with the transfer zones between everyday life and exhibition space\, the product ion of images and the consequences that the various forms of production and reproduction have on our perception.

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There has not been a solo show by the artist in Vienna for a long time. Fo r her first appearance at the Charim Galerie\, Dorit Margreiter works with the linkages\, connections and referential webs of content of the individua l works between and to each other &ndash\; over and above her usual confide nt handling of architecture\, installation and display.

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The lead piece is &lsquo\;Transfer (Monument Valley)&rsq uo\;\, the film at the beginning of the exhibition. At its side is a purely digital work from the &lsquo\;Experimental Noise&rsquo\; series. The pigme nt prints show &lsquo\;interference&rsquo\; filters used to impart credible age to the polished world of digital imaging using imperfections such as s cratches\, dust or chemical smears. These are commentaries on modern image processing that appeal to our yearning for materiality\, handcrafted object s and analogue techniques.

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&lsquo\;Ex perimental Noise&rsquo\; returns in the last room\, this time in a dialogue with a freefloating mobile suspended from the ceiling. Dorit Margreiter ha s been working with kinetic sculptures since 2011. However\, they have litt le to do with Alexander Calder&rsquo\;s playful arabesques. Letters that ca ll to mind the functionality and simple clarity of auhaus typography form w ords. The semantic content of the aluminium templates\, painted in various shades of grey\, (each letter in a different colour) disappears behind the reduction of an abstract sign. Hung low so that it is somehow &lsquo\;in th e way&rsquo\;\, the object becomes a surface for projections of various spa tial categories which go beyond pure determiners of location. The kind that Belgian word/image virtuoso Broodthaers for whom the space only comes into being when it is named and the kind that is most interesting for Dorit Mar greiter: the permeable\, flexible and mobile pictorial space in which the v iewer plays a critical role as part of the image.

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Margreiter makes her space&ndash\;time procedures clear with a series of wall works\, exposures with titles such as &lsquo\;ciné\;m a (Light Drawing)&rsquo\;. The cut-outs of the &lsquo\;ciné\;ma&rsquo \; alphabet are arranged on light-sensitive blue paper and exposed to the s un for a few months. The images are &lsquo\;finished&rsquo\; when the artis t stops the yellowing of this quasi photographic process by removing it fro m the light source. Abstractions reminiscent of Lá\;szló\; Moho ly Nagy&rsquo\;s have been created.

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< br />Along with cross-references to constructivist photo objects\, Margreit er occasionally dips into the movie prop box with relish\, laying out Weste rn film requisites such as snaffles\, reins and spurs. In this way she poin ts out how the time and place of an event or process mutually influence eac h other.

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In the main room of th e gallery Dorit Margreiter tells a story of production and destruction\, of original and reproduction\, using the Ennis Brown house in Los Angeles whi ch was built by Frank Lloyd Wright in 1923/24 from prefabricated concrete b locks. The relief ornaments of the &lsquo\;textile block system&rsquo\; rep licate motifs that are to be found in the ruins of the Maya city of Uxmal\, Mexico. The house\, a legendary film location&mdash\;Ridley Scott shot mat erial for &lsquo\;Blade Runner&rsquo\; there in 1982&mdash\;was destroyed b y an earthquake and became a ruin. Restoration was not completed on one of the &lsquo\;100
most endangered sites&rsquo\; in the world until 2007.

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Margreiter&rsquo\;s black and white photograph show parts of the ornamental frieze on the facade as they lain t here for years\, in the rubble. In a stage-like setting she confronts the p hotograph with a life-size bronze cast of a wall fragment. If one is remind ed of Joseph Kosuth&rsquo\;s &lsquo\;One and Three Chairs&rsquo\; from 1965 \, one of the canonical works of conceptual art that interrogates the vario us manifestations of a single object\, this is because Dorit Margreiter is also concerned with &lsquo\;using an area of discourse in order to describe another&rsquo\; &ndash\; two alternative reproductions\, the shift from tw o to three dimensions using different mediums.

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Finally\, Dorit Margreiter completes her multi-layered exhibition in which various narratives interweave and link spatially with a minimalis t room installation that carries the element of process within it &ndash\; in front of the widows that open onto Dorotheergasse\, tins\, cylinders (or rollers) are arranged on a sheet of Yves Klein blue paper. By the end of t he presentation the summer sun will have produced a wonderful in situ expos ure. (Brigitte Huck)

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Auf dem Felsenvorsprung wendet ein Re iter sein Pferd. Vor den rotglü\;henden Tafelbergen des Monument Valley markiert er einen legendä\;ren Ort. Die Stelle nimmt einen kanonischen Platz im Bildrepertoire Hollywoods ein. Von hier aus ü\;berblickt John Wayne in &sbquo\;The Searchers&rsquo\; (1956) das groß\;artige Panora ma auf dem Colorado Plateau\, hier platziert John Ford\, der &sbquo\;brecht ischten aller Filmemacher&rsquo\; (Straub/Huillet) seine Kamera\, und schwe nkt ü\;ber die Mittens und Merrick Butt. Neun Filme hat er im Monument Valley gedreht\, der spektakulä\;re Aussichtspunkt trä\;gt seinen N amen\, John Ford&rsquo\;s Point.

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Das Grenzgebiet zwischen Utah und Arizona gehö\;rt zur Navajo Nation Reserv ation und Stammesangehö\;rige der zweitgrö\;ß\;ten indianische n Gemeinschaft der USA - in den 1950ern Schauspieler und Komparsen in Fords Western &ndash\; jobben heute als Fotomotiv fü\;r Touristen.

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Mit dem weiten\, leeren Raum der Prä\;rie und einer zum Mythos erhobenen Einstellung erö\;ffnet Dorit Margreiter ihre Ausstellung.

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Der Film im 16 mm F ormat zeigt Reiter und Pferd in Bewegung\, in einer Totale\, und im Close U p vor der Landschaft. Das Rattern des analogen Projektors bringt Avantgarde film Feeling ins Cinemascope des Western Genres.

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Neue Rä\;ume&rsquo\; nennt Margreiter ihre Show. Der Titel mag\, nimmt man ihn buchstä\;blich\, die neu renovierte Galerie meinen\ , kö\;nnte darü\;berhinaus jedoch ebenso als kü\;hne Aufbruchsm etapher oder szenographischer Code dienen. Mit ihren &ndash\; durchgehend - neuen Arbeiten (2015/16) &ndash\; Film(Installation)\, Fotografie\, Skulpt ur und Belichtungen auf Papier - legt Margreiter einen aufregenden Parcours durch die Galerie. Sie inszeniert\, reiht\, schichtet und verspannt ihr Th ema quer ü\;ber die Rä\;ume. Um die Transferzonen zwischen Alltagsw elt und Ausstellungsraum geht es\, um die Produktion von Bildern\, und um d ie Folgen\, die verschiedene Formate von Produktion und Reproduktion fü \;r unsere Wahrnehmung haben.

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Schon l ange hat es keine Einzelausstellung der Kü\;nstlerin in Wien gegeben. F ü\;r ihre ersten Auftritt in der Charim Galerie arbeitet Dorit Margreit er &ndash\; ü\;ber den gewohnt souverä\;nen Umgang mit Architektur\ , Installation und Display hinaus - mit Verknü\;pfungen\, Zusammenh&aum l\;ngen und den inhaltlichen Bezugsgeflechten einzelner Werke unter- und zu einander.

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Aufmacher ist &sbquo\;Trans fer(Monument Valley)&rsquo\;\, der Film am Beginn der Ausstellung. Ihm steh t ein rein digitales Werk aus der Serie 'Experimental Noise' zur Seite. Die Pigmentprints zeigen Stö\;rfilter\, die verwendet werden\, um die glat te Welt des digital imaging glaubwü\;rdig mit Alter zu versehen\, mit I mperfektionen wie Kratzer\, Staub oder Chemieschlieren. Es sind Kommentare zur modernen Bildbearbeitung\, die unser Fernweh nach Materialitä\;t\, Handwerk und das Analoge ansprechen.

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Im letzten Ausstellungsraum kehrt &sbquo\;Experimental Noise&rsquo\; wieder \, diesmal im Dialog mit einem frei schwebenden Mobile\, das von der Decke hä\;ngt. Seit 2011 arbeitet Dorit Margreiter an dem Genre der kinetisch en Plastik\, das allerdings wenig mit den spielerischen Arabesken Alexander Calders zu tun hat. Buchstaben\, die an die funktionale und schlichte Klar heit der Bauhaus-Typographen erinnern\, ergeben Wö\;rter.

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Zunä\;chst Vornamen von Frauen\, als private u nd berufliche Referenzen\, dann\, wie im vorliegenden Fall\, das Wort &sbqu o\;ciné\;ma&rsquo\;. Der semantische Gehalt der in Grautö\;nen la ckierten Aluminium Schablonen (jeder Buchstabe hat eine Farbe) verschwindet hinter ihrer Reduktion auf ein abstraktes Zeichen. Tief gehä\;ngt\, so daß\; es irgendwie &sbquo\;im Weg&rsquo\; ist\, wird das Objekt zur Pr ojektionsflä\;che verschiedener rä\;umlicher Kategorien\, die ü \;ber eine reine Ortsangabe hinausgehen. Die Sorte des belgischen Wort/Bild Virtuosen Marcel Broodthaers&rsquo\;\, fü\;r den der Raum erst entsteh t\, wenn man ihn benennt\, und die Sorte\, die Dorit Margreiter vor allem i nteressiert: der durchlä\;ssige\, bewegliche und mobile Bildraum\, in d em der Betrachter als Teil des Bildes eine wichtige Rolle spielt.

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Mit einer Serie von Wandarbeiten\, Belichtung en\, die Titel wie &sbquo\;ciné\;ma (Light Drawing)&rsquo\; tragen\, macht Margreiter ihr Raum-Zeit Verfahren deutlich. Auf lichtempfindlichem\, blauen Buntpapier werden die Schablonen des &sbquo\;ciné\;ma&rsquo\; Alphabets arrangiert und ü\;ber mehrere Monate hinweg der Sonne ausges etzt. Die Bilder sind &sbquo\;fertig&rsquo\;\, wenn die Kü\;nstlerin de n quasi fotografischen Vergilbungsprozess durch Lichtentzug stoppt. Abstrak tionen sind entstanden\, die an Kompositionen von Lá\;szló\; Mo holy Nagy erinnern. Neben den Querverweisen auf konstruktivistische Fotopla stiken greift Margreiter gelegentlich auch einmal vergnü\;gt in die Kis te der Movie Props\, und legt Western-Filmrequisiten wie Trense\, Zü\;g el und Sporen aus. So zeigt sie auf\, wie sich Zeit und Ort eines Ereigniss es bzw. Vorgangs gegenseitig bedingen. Im Hauptraum der Galerie erzä\;h lt Dorit Margreiter die Geschichte von Produktion und Destruktion\, von Ori ginal und Reproduktion : sie erzä\;hlt sie anhand der Geschichte des En nis Brown Hauses in Los Angeles\, das Frank Lloyd Wright 1923/24 aus vorgeg ossenen Betonblö\;cken errichtet. Die Reliefornamente des &sbquo\;texti le block system&rsquo\; zitieren Motive\, wie sie in der Ruinenstadt Uxmal der Maya zu finden sind. Die legendä\;re Filmlocation (1982 etwa dreht Ridley Scott dort &sbquo\;Blade Runner&rsquo\;) wurde von einem Erdbeben ze rstö\;rt und verfiel zur Ruine\, erst 2007 war die Restaurierung eines der &sbquo\;100 Most Endangered Sites&rsquo\; der Welt abgeschlossen.

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Margreiters Schwarz Weiß\; Fotografie zeigt Stü\;cke von den Ornamentleisten der Fassade\, wie sie jahrelang im Schutt lagen. In einem bü\;hnenhaften Setting stellt sie der Fotogr afie den 1:1 Bronzeabguß\; des Mauerfragments gegenü\;ber. Denkt m an an Joseph Kosuths &sbquo\;One and Three Chairs&rsquo\;\, 1965\, einem ka nonischen Werk der Konzeptkunst\, das die verschiedenen Erscheinungsformen eines Gegenstands hinterfragt\, so geht es auch Dorit Margreiter darum\, &s bquo\;einen Diskursbereich zu verwenden\, um einen anderen zu beschreiben&r squo\;. Zwei Varianten des Reproduzierens\, die Verschiebung vom Zwei- zum Dreidimensionalen\, das Verwenden verschiedener Medien.

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Schließ\;lich beendet Dorit Margreiter ihre vielsch ichtige Ausstellung\, in der sich unterschiedliche Erzä\;hlungen verfle chten und rä\;umlich verbinden\, mit einer minimalistischen Rauminstall ation\, die das Element des Prozessualen in sich trä\;gt : vor den Fens tern zur Dorotheergasse sind Dosen\, Zylinder bzw. Walzen auf einem Blatt d es Yves-Klein-blauen Buntpapiers angeordnet. Bis zum Ende der Prä\;sent ation im Juli wird die Sommersonne eine wunderbare In Situ Belichtung erzeu gt haben. (Brigitte Huck)  \;

DTEND:20160731 DTSTAMP:20160625T083055 DTSTART:20160601 GEO:48.207418;16.3692705 LOCATION:Charim Galerie\,Dorotheergasse 12/1 \nWien\, 1010 SEQUENCE:0 SUMMARY:Neue Räume [New Spaces]\, Dorit Margreiter UID:421806 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Centro de Arte Con temporá\;neo of Má\;laga is pleased to present this exhibition by Pilar Albarrací\;n. Curated by Fernando Francé\;s\, Rito s de fiesta y sangre features a representative selection of the artist &rsquo\;s work produced over the last decade and a half. The 10 pieces on d isplay include sculptures\, installations\, embroideries\, photographs and videos. The artist invites spectators to explore different stereotypes of S panish culture\, but from a different perspective. Using irony and referenc es to festivals and folklore\, Albarrací\;n examines these typical im ages that are known all over the world to critique the way in which certain cliché\;s persist in the collective imaginary. With its powerful und erlying image of decontextualised\, highly symbolic elements\, her work lea ves no spectator indifferent. The artist lives and works in Seville and Mad rid.

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&ldquo\;I reflect my ideas i n my work\; there&rsquo\;s a belief that as an artist you can&rsquo\;t get things wrong\, but I feel free. A lot of spontaneity has been lost\,&rdquo\ ; explains Pilar Albarrací\;n (Seville\, 1968) when she describes her work. In Ritos de fiesta y sangre\, the artist takes a look back at some of the works she has produced in the last 15 years. Andalusian ster eotypes and cliché\;s are examined from a different perspective that fluctuates between criticism and irony. Pilar Albarrací\;n&rsquo\;s w ork addresses themes such as social inequalities\, female identity and viol ence. Using elements that are conceptually simple yet have a strong emotion al undercurrent\, she provokes different sensations in spectators\, none of whom can remain indifferent to the situations that confront them in the ga llery.

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As Fernando Francé\;s\, director of CAC Má\;laga\, points out\, &ldquo\;Pilar Albarrací \;n borrows these stereotypes from the past and reinvents them in the prese nt\, but with a warning: a cultural legacy taken to its extreme can have un expected results. Festivals also contain an element of tragedy\, tradition also bears traces of modern existence. Neither one action nor the other is exclusive. It is in the age-old rites that live on today that the capacity to create exists\, like acts that are inherited\, that are constantly repea ted\, that form part of the cultural legacy that endures in contemporary so cieties. \; [...] In this axiom there is a tension that is resolved con ceptually through the image and that plays a predominant role. Meanwhile\, the impact of what is projected through it transcends what it represents. T he artist selects symbols of popular culture and adopts a specific stance t owards them\, questioning the authenticity bestowed on them by the passage of time. Suddenly\, what was originally the excuse or pretext for defining certain identifying traits crumbles before the spectator&rsquo\;s eyes\, ha ving been manipulated by the artist. And it does so violently\, as if the s tage curtain had fallen abruptly.&rdquo\;

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As a multidisciplinary artist\, she uses video\, photography\, install ation\, performance\, sculpture\, drawing and embroidery to present her vis ion of the issues that concern her. Meanwhile\, she captures the spectator& rsquo\;s attention and provokes different emotions through her use of colou r\, especially shades of red. In the Sevillian artist&rsquo\;s hands\, the stereotypes and image of the Andalusian vernacular adopt a different positi on. Stripped of their festive aesthetic\, they become a vehicle for denounc ing the unequal distribution of roles in society\, on the grounds of gender or for other reasons\, as in the case of ethnic minorities. The artist off ers a social and cultural critique in which both humour and tragedy in equa l parts serve to underscore her denunciation. Throughout her career\, she h as skilfully reinterpreted the codes that form the basis of her work\, inva riably tinged by her ironic vision of reality. Pilar Albarrací\;n exp loits the power of traditional images\, transforming their elements to turn them into contemporary symbols\, as we see in the installation El Toro (2015).

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In Asnerí\;a< /em> (2010)\, it is the animal&rsquo\;s underlying symbolism that provides the context for the installation. Various attributes are associated with do nkeys\, but they have always been identified as clumsy and lacking in intel ligence. The artist recreates a scene in which a donkey\, perched on a heap of books\, is engrossed in the act of reading. Thus\, Pilar Albarrac&iacut e\;n ridicules the excessive vanity found in certain art circles by likenin g the donkey to the art expert. Animals are present in another of her insta llations (Pavos Reales\, 2010) where their purpose is to emphasise changing roles in contemporary society. Using birds&mdash\;in this case\, peafowl&mdash\;the artist visualises the reversal of the male and female ge nders by stripping the peacock of his colourful feathers\, his most identif ying trait\, and placing them on the peahen. Lastly\, the animal world and the relationship that is established between humankind and nature\, but fro m the subjugation of the beast to human action\, is exposed in the document ary Padre Padrone (2010).

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Em broidery as an almost exclusively female artistic practice is present in se veral of Pilar Albarrací\;n&rsquo\;s works. In the series Para&ia cute\;sos Artificiales (2001) and Guapa (2015)\, this techniq ue is used deliberately to bestow greater importance on an artistic skill t raditionally associated with the female universe but which is denied&mdash\ ;unfairly\, in the artist&rsquo\;s opinion&mdash\;the status of a fine art.

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The irony she employs in her works i s occasionally combined with anger\, another of the emotions that is portra yed in her work through allusions to elements of times past that live on to day. In juxtaposing these contradictory feelings\, the artist levels critic ism at popular culture and the censorship that still persists in certain ci rcles (Prohibido el cante\, 2001-2013).

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Pilar Albarrací\;n (Seville\, 1968) graduated with a degr ee in Fine Arts from the University of Seville in 1993. One of the most con troversial contemporary artists on the national scene\, she has attracted g reat international acclaim. She first exhibited her art in 1997\, in Madrid and Seville\, the cities where she still lives and works today. Since then \, her work has been featured in major group and individual exhibitions at galleries and museums around the world\, including the Musé\;e d&rsqu o\;Art Moderne de la Ville de Paris\, the Hamburger Bahnhof in Berlin\, PSI at the MoMA in New York\, the Modern Sanat Mü\;zesi in Istanbul\, the National Centre for Contemporary Arts in Moscow\, and the contemporary art museum Kiasma in Helsinki. She has also participated in several biennials\, such as those of Venice\, Busan (Korea)\, Moscow and Seville.

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El Centro de Arte Contempor&aacut e\;neo de Má\;laga presenta la exposició\;n de Pilar Albarrací\;n. Ritos de fiesta y sangre\, comisariada por Fernando Francé\;s\, consiste en una selecció\;n representa tiva de su trabajo realizado durante los ú\;ltimos 15 añ\;os. E n la decena de obras que forman parte de la exposició\;n se podr&aacu te\;n ver esculturas\, instalaciones\, bordados\, fotografí\;as y v&i acute\;deos. La artista invita al espectador a que se adentre en los estere otipos de la cultura españ\;ola\, pero desde una perspectiva diferent e. Con ironí\;a y haciendo referencia a la fiesta y el folclore\, Alb arrací\;n interpreta tó\;picos mundialmente conocidos para hace r una crí\;tica sobre có\;mo ciertos cliché\;s perviven e n el imaginario colectivo. Su trabajo no deja indiferente al espectador\, y a que se encuentra ante situaciones con un poder de la imagen latente y en el que subyacen elementos descontextualizados con una fuerte carga simb&oac ute\;lica. Actualmente\, vive y trabaja entre Sevilla y Madrid.

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&ldquo\;Mis ideas las r eflejo en mi obra\; existe la creencia de que como artista no te puedes equ ivocar\, pero yo me siento libre. La espontaneidad se ha perdido mucho&rdqu o\;\, aclara Pilar Albarrací\;n (Sevilla\, 1968) cuando explica su tr abajo. En Ritos de fiesta y sangre\, la artista lleva a cabo un re corrido por sus trabajos realizados en los ú\;ltimos 15 añ\;os. Los estereotipos y cliché\;s andaluces son interpretados desde una p erspectiva distinta\, que se mueve entre la crí\;tica y la iron&iacut e\;a. Pilar Albarrací\;n aborda en su obra temas como las desigualdad es sociales\, la identidad femenina o la violencia. Recurre a elementos con ceptualmente sencillos\, pero con una fuerte carga emocional\, provocando d iferentes sensaciones en el espectador\, que no permanece indiferente ante lo que contempla en la sala expositiva.

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Para Fernando Francé\;s\, director del CAC Má\;laga: &ldquo\ ;Pilar Albarrací\;n recoge estos estereotipos del pasado y los reinte rpreta en el presente\, pero con una advertencia: una herencia cultural lle vada al lí\;mite encuentra desenlaces inesperados. En la fiesta tambi é\;n hay drama\, en lo tradicional tambié\;n se encuentra vesti gios modernos de existencia. Ni una acció\;n ni la otra son excluyent es. En los ritos mantenidos durante siglos de existencia reside la capacida d de crear\, como actos que se heredan\, que se repiten continuamente\, que forman parte de la herencia cultural que perviven en las sociedades actual es.  \;[...] En este axioma existe una tensió\;n que se resuelve de forma conceptual\, a travé\;s de la imagen\, que tiene un papel pr eponderante y lo que se proyecta a travé\;s de ella tiene un alcance& nbsp\; má\;s allá\; de lo que representa. La artista escoge ent re los sí\;mbolos de la cultura popular y se posiciona ante ellos\, c uestionando la autenticidad que le otorga el paso del tiempo. De repente\, aquello que ha sido excusa o pretexto para definir unas señ\;as de id entidad se desmorona ante los ojos del espectador\, una vez que ha sido man ipulado por la artista. Y\, ademá\;s\, lo hace de una manera violenta \, como si bajara el teló\;n del teatro de golpe&rdquo\;.

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La artista multidisciplinar trabaja con los v&ia cute\;deos\, fotografí\;as\, instalaciones\, performances\, esculturas\, dibujos y bordados para exponer su visió\;n sobre asunto s que le preocupan. El uso del color\, sobre todo la gama de los rojos\, pe rsigue captar la atenció\;n del espectador de la sala y provocar dife rentes emociones. En la artista sevillana\, los estereotipos y la imagen de l verná\;culo andaluz adoptan una posició\;n diferente a la fes tiva\, para convertirse en una forma de denunciar el reparto desigual de ro les en la sociedad\, bien sea por motivos de gé\;nero o por otras raz ones\, como las minorí\;as é\;tnicas. La artista ejerce una cr& iacute\;tica social y cultural en las que se sirve del humor y la tragedia a partes iguales para hacer efectiva su denuncia. A lo largo de su trayecto ria ha sabido reinterpretar los diferentes có\;digos a partir de los cuales realiza su trabajo\, siempre con una visió\;n sarcá\;sti ca de la realidad. Pilar Albarrací\;n recurre al poder de las im&aacu te\;genes tradicionales\, transformando elementos que la convierten en s&ia cute\;mbolos actuales\, como en la instalació\;n El Toro (20 15).

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En Asnerí\;as (20 10) la artista emplea la carga simbó\;lica del animal para esta insta lació\;n. Al asno se le atribuyen diferentes caracterí\;sticas\ , aunque siempre se le ha identificado con un animal torpe y de escasas cua lidades intelectuales. La artista recrea una escena en la que un asno\, sob re una montañ\;a de libros\, lee atentamente un ejemplar. De esta man era\, Pilar Albarrací\;n ridiculiza el exceso de vanidad que son cara cterí\;sticos de ciertos ambientes artí\;sticos\, equiparando a l burro con el experto en arte. En otra de sus instalaciones\, el animal ta mbié\;n es empleado para enfatizar en el cambio de roles de la socied ad actual (Pavos Reales\, 2010). A travé\;s de un ave\, en e ste caso\, el pavo real\, la artista visualiza la inversió\;n de los gé\;neros masculinos y femeninos\, despojando al macho de las vistosa s plumas\, el elemento que má\;s lo identifica\, y vistiendo con ella s a la hembra. Por ú\;ltimo\, el mundo animal y la relació\;n q ue se establece entre el hombre y la naturaleza\, pero desde la sumisi&oacu te\;n de la bestia a la acció\;n humana\, se visualiza en el document al Padre Padrone (2010).

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El bordado como prá\;ctica artí\;stica casi en exclusiva femenina está\; presente en varios trabajos de Pilar Albarrací\;n. En la serie Paraí\;sos Artificiales (2001) o en Guapa (2 015) recurre a esta té\;cnica con la intenció\;n de otorgarle u na mayor importancia a una té\;cnica artí\;stica ancestral liga da al universo femenino\, pero\, a juicio de la artista\, excluida injustam ente de las Bellas Artes.

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La iron&iac ute\;a que emplea en sus trabajos a veces se contrapone a la rabia\, otras de las emociones que queda retratada en su obra aludiendo a tiempos pasados \, pero con continuidad en el presente. Al recurrir a estos sentimientos en contrados\, la artista hace una crí\;tica de la cultura popular y la censura\, que aú\;n pervive en ciertos ambientes (Prohibido el ca nte\, 2001-2013).

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Pilar Albarrac í\;n (Sevilla\, 1968) obtuvo en 1993 la Licenciatura en Bellas Artes por la Universidad de Sevilla. Es una de las artistas contemporá\;nea s má\;s controvertidas del panorama nacional y con un gran reconocimi ento internacional. En 1997 expuso por primera vez en Madrid y Sevilla\, ci udades en las que actualmente vive y trabaja. A partir de entonces\, su tra bajo se ha podido ver en importantes exposiciones\, tanto colectivas como i ndividuales\, en galerí\;as y museos de todo el mundo\, como el Mus&e acute\;e d&rsquo\;Art Moderne de la Ville de Paris\; el Hamburger Bahnhof d e Berlí\;n\; el PS1 del MoMA en Nueva York\; el Istambul Modern Sanat Mü\;zesi de Estambul\; el National Center for Contemporary Arts de Mos cú\; o el Museo Kiasma de Helsinki. Tambié\;n ha participado en las bienales de Venecia\, Busan (Corea)\, Moscú\;\, Sevilla\, entre otras.

DTEND:20160918 DTSTAMP:20160625T083055 DTSTART:20160618 GEO:36.7140627;-4.4251276 LOCATION:Centro de Arte Contemporáneo de Málaga\,C/ Alemania \nMalaga\, 29 001 SEQUENCE:0 SUMMARY:Ritos de fiesta y sangre\, Pilar Albarracin UID:421803 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Centro de Arte Con temporá\;neo of Má\;laga is pleased to host Miss Van&rsquo\;s f irst show at a museum. For The Wind in My Hair\, the title of the exhibition curated by Fernando Francé\;s\, the Barcelona-based French artist has selected 39 paintings made in the last three years\, some of wh ich are now being shown for the first time. Recently\, Miss Van has alterna ted between outdoor mural interventions in her hometown of Toulouse\, a pra ctice she began two decades ago\, and canvases painted in the studio\, but she has always maintained a highly characteristic style: her paintings depi ct women whose faces are covered by masks that represent different things\, often wild animals. In some cases her characters pose with suggestive sens uality\, but in others their gestures are quite innocent and even childish. Miss Van currently lives and works in Barcelona.

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Speaking of her working process in the studio\ , Miss Van (b. Toulouse\, 1973) explains\, &ldquo\;I find inspiration in ev erything around me and life in general: things I see on the internet\, in b ooks or other documents\; I print off the images I like and go over them ti me after time\, even though ultimately I don&rsquo\;t rely on them to make everything more original.&rdquo\; At her first museum exhibition\, this Fre nch artist based on Barcelona will present a selection of paintings produce d over the last three years. The Wind in My Hair comprises works i n which we find the characteristic female figures that populate Miss Van&rs quo\;s artistic universe\, marked by deliberate ambiguity (sensual and soph isticated yet simultaneously wild and innocent). Two decades ago\, the arti st began painting the walls and facades of her hometown. Today she combines her work on canvas with mural interventions across the globe.

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For Fernando Francé\;s\, director of the CA C Má\;laga\, &ldquo\;Miss Van&rsquo\;s women are energetically sensua l and feminine\, apparently docile but with a wild\, defiant gaze. Riddled with ambiguity and confusion\, her characters straddle the fence between re ality and fantasy. Her art is based on emotion\, on sentiment. In fact\, Mi ss Van feels that her &lsquo\;personality is the only thing I can contribut e to my work\; the rest\, the technique\, is something that can be learned or copied&rsquo\;. In this respect\, her iconographic universe is littered with beings that are half woman and half animal: female cats that manifest an innate desire bordering on the subconscious\, sensuality and eroticism r olled into one. The cat as a symbolic animal also represents the mysterious side of woman\, her malice and independence\, her feline facet. The choice of an animal with claws\, a beast that scratches\, is far from trivial and anything but coincidental. There is a desire to represent stereotypical an d real aspects of the feminine role. But at the same time the cat is an ani mal which\, though kept as a household pet\, has freedom and independence\; a cat is autonomous and can never be fully domesticated. The cat represent s the untameable domestic animal.&rdquo\;

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Her women have evolved over time\, concealing more of their faces and physiognomies. Almond-shaped eyes\, long lashes\, feline gazes and tiny mou ths [p1] are their most prominent identifying features. Some of her figures are overtly sensual\, wearing masks that conceal their faces yet pr ovocatively reveal the rest of their bodies (I Feel Safer Here\, 2 016)\; others\, however\, have faces and torsos covered with a variety of o rnamental elements (Sepia\, 2015) that heighten the sense of myste ry. She uses feathers\, hats\, masks and sequins&mdash\;staples of feminine imagery&mdash\;to emphasise the principal attributes of women. Miss Van ta kes these elements and reinterprets them with an aesthetic reminiscent of t he classic ideal of beauty in the early 20th century\, when women changed t he way they dressed as a symbol of freedom and began revealing more of thei r bodies.

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In her works\, the artist d epicts a world close to the land of dreams and desires. The pastel palette she uses creates an atmosphere verging on the oneiric\, but the dark mask i s an incongruous element that disturbs the peace of Miss Van&rsquo\;s idyll ic scenes (Mujeres Pá\;jaros[p2] \, 2016). Over time\ , she has gradually covered up the faces of her figures\, and in some poses she stresses their sensuality\, but in other works their attitudes are qui te the contrary\, reflecting a more childish and naive behaviour. She striv es to emphasise the sophistication of her characters while also underscorin g their raw wildness\, drawing spectators into a double game when they obse rve her work in the gallery.

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Miss Van accentuates the most typical feminine features and\, as a woman\, she feel s she must preserve the more emotional\, authentic side\, although she also likes to show several facets of the same figure\, giving each a different look and feel. &ldquo\;I try to surprise myself in each of my works and sta rt something without knowing how it&rsquo\;s going to end&rdquo\;\, she cla rifies.

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Vanessa Alice Bensimon\, know n to the world as Miss Van (b. Toulouse\, France\, 1973)\, currently lives and works in Barcelona\, although her art interventions have taken her to c ities across the globe. Her most important solo shows of recent years inclu de Glamorous Darkness at StolenSpace[p3] \, London (2014)\; Room For Cream at Soze Gallery\, Los Angeles (2013)\; Wild At Heart at Dorothy Circus Gallery\, Rome (2012)\; Wild At Heart at Copro Gallery\, Santa Monica (2012)\; Muses at Inoperable\, V ienna\; Bailarinas at Jonathan LeVine Gallery\, New York\; Twi nkles at Galerie Magda Danysz\, Paris\; Twinkles at 18 Galler y\, Shanghai\; Cachetes Colorados at Upper Playground\, Mexico Cit y\; She-Wolves at Merry Karnowsky Gallery\, Los Angeles (2010)\; < em>Still a Little Magic at Upper Playground\, San Francisco\; and Canto Negro y Brujerí\;as [p4] at Merry Karnowsky Gallery \, Berlin (2008). In recent years\, Miss Van has participated in a number o f group exhibitions\, most notably Winter Group Show at Vertical G allery\, Chicago\; XX: A Moment in Time at Saatchi Gallery\, Londo n (2016)\; Cultivate at Soze Gallery\, Los Angeles\; Coney Art Walls on Coney Island\, New York\; Freedom in Berlin (2015)\ ; Egré\;gore at Yves Laroche Gallery\, Montreal\; Le M.U .R in Paris (2014)\; and Love &\; Hate at StolenSpace\, Lo ndon.

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El Centro de Ar te Contemporá\;neo de Má\;laga presenta la pri mera exposició\;n en un museo de Miss Van. En El viento en mi pel o\, nombre de la exposició\;n comisariada por Fernando Franc&eac ute\;s\, la artista francesa afincada en Barcelona selecciona 39 pinturas r ealizadas durante los ú\;ltimos tres añ\;os\, algunos de estos trabajos son iné\;ditos. Las intervenciones en los muros y paredes de Toulouse\, ciudad natal de Miss Van\, hace dos dé\;cadas\, las ha si multaneado en los ú\;ltimos añ\;os con el trabajo en el estudio y sobre un lienzo\, pero siempre ha mantenido un estilo muy caracter&iacut e\;stico: sus pinturas muestran mujeres con el rostro cubierto por una m&aa cute\;scara con representaciones diferentes\, como pueden ser animales salv ajes. Sus personajes posan con actitudes en algunos casos sugerentes\, sens uales\, y en otras ocasiones con gestos contrarios\, incluso infantiles. &n bsp\;En la actualidad\, Miss Van reside y trabaja en Barcelona.

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&ldquo\;Me inspira todo lo que me rodea y la vida en general: lo que veo en internet\, en libros u otros documentos\; las imá\;genes que me gustan las imprimo y las repaso una y otra vez\, aunque luego no me apoy e en ellas para que todo sea má\;s original&rdquo\;\, explica Miss Va n (Toulouse\, 1973) sobre el proceso de trabajo que lleva a cabo en el estu dio. La artista francesa afincada en Barcelona expondrá\; por primera vez en un museo una selecció\;n de pinturas realizadas en los &uacut e\;ltimos tres añ\;os. El viento en mi pelo se compone de &n bsp\;obras en las que se pueden ver a las caracterí\;sticas figuras f emeninas que forman parte del universo artí\;stico de Miss Van\, en e l que mantiene la ambigü\;edad en sus personajes (sensuales y sofistica dos\, a la vez que salvajes e inocentes). Hace dos dé\;cadas\, la art ista comenzó\; a pintar los muros y paredes en su ciudad natal. En la actualidad\, combina el trabajo en el lienzo con las intervenciones en mur os y paredes de todo el mundo.

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Para F ernando Francé\;s\, director del CAC Má\;laga: &ldquo\;Miss Van concibe a la mujer ené\;rgicamente sensual y femenina\, con una doci lidad aparente\, pero con mirada desafiante y fiera. Repleta de ambigü\ ;edades y confusiones\, sus personajes pertenecen al mundo real y a la fant así\;a. Su trabajo artí\;stico se basa en la emoció\;n\, en el sentimiento. De hecho Miss Van entiende que su &ldquo\;personalidad e s lo ú\;nico que puedo aportar a mi trabajo\, lo demá\;s\, la t é\;cnica\, es algo que se aprende o se puede copiar&rdquo\;. En ese s entido\, sus iconografí\;as representan seres mitad mujer mitad anima l. Gatas que evidencian un deseo innato pró\;ximo al inconsciente. Se nsualidad y erotismo a un mismo tiempo. La gata como animal simbó\;li co representa tambié\;n el lado misterioso de la mujer\, su maldad\, su independencia\, su lado felino. Elegir un animal con uñ\;as\, que arañ\;a\, no es un asunto baladí\;\, no es por casualidad. Hay un deseo de representar aspectos tó\;picos y reales del rol femenino. Pero al tiempo la gata es un animal que\, aunque domé\;stico\, tiene su propia libertad e independencia\, es autó\;nomo y nunca se llega a domesticar del todo. La gata representa al animal domé\;stico indom able&rdquo\;.

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Las representaciones de sus mujeres han evolucionado con el paso del tiempo\, ocultando má\; s partes de su cara y fisionomí\;a. Los ojos almendrados\, largas pes tañ\;as\, miradas felinas y pocas diminutas son sus señ\;as de identidad. Algunas de sus figuras tienen un aire sensual\, al  \;cubrir el rostro con las mascaras\, pero al mostrar de forma sugerente el resto d el cuerpo (I Feel Safer Here\, 2016)\; otras\, sin embargo\, est&a acute\;n cubiertas por una serie de elementos ornamentales\, desde el rostr o hasta el torso (Sepia\, 2015)\, potenciando el lado misterioso. Las plumas\, sombreros\, má\;scaras o lentejuelas forman parte del id eario femenino para resaltar precisamente los principales atributos de la m ujer. Miss Van recoge estos elementos y los reinterpreta con una esté \;tica cercana a la belleza clá\;sica de principios del siglo pasado\ , cuando la mujer cambió\; su indumentaria como sí\;mbolo de li bertad y empezó\; a mostrar má\;s partes del cuerpo.

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La artista expresa en sus trabajos un mundo cer cano al de los sueñ\;os y los deseos. La gama de colores pasteles que utiliza representa una atmó\;sfera cercana al mundo oní\;rico\ , pero a la que se contrapone la má\;scara oscura\, como un elemento perturbador dentro de la escena idí\;lica representada por Miss Van ( Mujeres Pá\;jaros\, 2016). A lo largo del tiempo\, ha ido cu briendo los rostros de sus figuras y en algunas poses juega con la sensuali dad\, pero tambié\;n hay otras obras con actitudes contrarias\, refle jando un comportamiento má\;s infantil e inocente. En sus personajes busca potenciar el lado má\;s sofisticado\, pero tambié\;n el m á\;s salvaje\, proponiendo un doble juego al espectador que ve su tra bajo en sala.

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Miss Van potencia las c aracterí\;sticas femeninas\, y como mujer\, siente que tiene que mant ener intacto el lado má\;s emotivo y auté\;ntico\, aunque tambi é\;n le gusta enseñ\;ar varias caras de las mismas figuras\, co nformando en cada una de ellas una esté\;tica diferente. \; &ldqu o\;Intento sorprenderme en cada uno de mis trabajos y empezar algo sin sabe r có\;mo va a acabar&rdquo\;\, aclara.

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Vanessa Alice Bensimon es conocida mundialmente como Miss Van (Toul ouse\, Francia\, 1973) reside y trabaja actualmente en Barcelona\, aunque s us intervenciones artí\;sticas la han llevado por ciudades de todo el mundo.  \;Entre sus exposiciones individuales realizadas en los &uacut e\;ltimos añ\;os destacan Glamorous Darkness en StolenSpace Gallery de Londres (2014)\; Room For Cream en Soze Gallery de Los Á\;ngeles (2013)\;  \;Wild At Heart en Dorothy Circus Ga llery de Roma (2012)\; Wild At Heart en Copro Gallery de Santa M&o acute\;nica (2012)\; Muses en la galerí\;a Inoperable de Vie nna\; Bailarinas en Jonathan LeVine Gallery de Nueva York\; Tw inkles en Galerie Magda Danysz de Paris\; Twinkles en 18 Gall ery\, Shanghai\; Cachetes Colorados en \; UpperPlayground de M é\;xico DF\; She-Wolves en Merry Karnowsky Gallery de Los &A acute\;ngeles (2010)\;  \;Still a little Magic en Upper Playgr ound de San Francisco y Brujerí\;as en Merry Karnowsky Galle ry de Berlí\;n (2008)\, entre otras. Recientemente y en los ú\; ltimos añ\;os\, Miss Van ha participado en las colectivas  \; Winter Group Show en la Vertical Gallery de Chicago\; XX : A Momen t In Time en Saatchi Gallery de Londres (2016)\; Cultivate en Soze Gallery de Los Á\;ngeles\; Coney Art Walls en Coney Is land en Nueva York\; Freedom en Berlí\;n (2015)\; Egr&ea cute\;gore en Yves Laroche Gallery de Montreal\; Le M.U.R en Paris (2014) y Love &\; Hate en StolenSpace de Londres\, entre otras.

DTEND:20160918 DTSTAMP:20160625T083055 DTSTART:20160621 GEO:36.7140627;-4.4251276 LOCATION:Centro de Arte Contemporáneo de Málaga\,C/ Alemania \nMalaga\, 29 001 SEQUENCE:0 SUMMARY:The Wind in My Hair\, Miss Van UID:421801 END:VEVENT BEGIN:VEVENT DTEND:20160621T220000 DTSTAMP:20160625T083055 DTSTART:20160621T203000 GEO:36.7140627;-4.4251276 LOCATION:Centro de Arte Contemporáneo de Málaga\,C/ Alemania \nMalaga\, 29 001 SEQUENCE:0 SUMMARY:The Wind in My Hair\, Miss Van UID:421802 END:VEVENT BEGIN:VEVENT DESCRIPTION:

"50/50" to celebrate the first five decades of art at Baton Rouge Gallery

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This year\, Baton Rouge Gallery &ndash\; center for contemporary art (&ldquo\;BRG&rdquo\;) is proudly celebrating 50 years of art exhibitions a nd cultural programming in service of the residents and visitors of Louisia na&rsquo\;s capital region. In recognition of the artists who have added so much to the area by sharing their works with visitors at BRG\, the gallery will host a special retrospective exhibition titled &ldquo\;50/50&rdquo\; from July 3 &ndash\; 28\, 2016. &ldquo\;50/50&rdquo\; features fifty works from the gallery&rsquo\;s founding artist members\, artists of note over th e past 50 years and current artist members. \;

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An anniversary celebration and opening rece ption will be held on Wednesday\, July 6 from 7 &ndash\; 10 p.m. This eveni ng will be a chance for local art fans to relive memories\, celebrate the a rtists who have left a lasting impression on our community and BRG&rsquo\;s evolution from a small 12-artist cooperative gallery to a dynamic contempo rary arts center with over 55 artist members. The event will include live m usic from The Michael Foster Project\, special guests\, a video presentatio n and more. \;

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Edward Pramuk\, one of the gallery&rsquo\;s founding artist members explain s\, &ldquo\;When we first got this thing started\, we had no better than a 50/50 shot at it working.&rdquo\; Back in the mid-1960s\, the landscape of art in Baton Rouge was dramatically different than it is today. Over the pa st five decades\, the city has progressed and embraced the arts more than m ight have been imagined by the artists who opened the gallery. \;

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Over the past 50 years\, the gallery has called a number of venues home\, including locations on Co nvention Street\, Fourth Street\, and for a brief time\, even Kornmeyer&rsq uo\;s Furniture Store on Florida Boulevard. However in 1984\, the gallery f ound a lasting home within the community\, when it reached a cooperative en deavor agreement with BREC (the recreation and parks commission for East Ba ton Rouge Parish)\, resulting in a 32-year public-private partnership and a prime location in BREC&rsquo\;s City Park. \;

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BRG is free and open to the public Tuesday &ndash\; Sunday\, 12 &ndash\; 6 p.m. \;

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&ldquo\;50/50&rdquo\; will represent a diverse and multimedia look at local art over the past 50 years with paintings\, print s\, photography\, sculpture\, stained glass\, ceramics\, fiber art and more . \;

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The artist s slated to be represented in this exhibition include (listed in alphabetic al order): Jamie Baldridge\, Charles Barbier\, Judi Betts\, Anne Boudreau\, Adalie Brent\, James Burke\, Mary Ann Caffery\, Samuel J. Corso\, Michael Crespo\, Timothy Cundiff\, Edgar Dayries\, Paul Dean\, Paul A. Dufour\, Car oline Durieux\, Mary Lee Eggart\, Malaika Favorite\, Rosemary Goodell\, Joh n Goodheart\, Frankie Gould\, Russell Guirl\, Frank Hayden\, Randell Henry\ , Timothy Hewes\, David Horton\, Margaret Humphris\, Kathryn Hunter\, Ross Jahnke\, Amy James\, Jim Jeansonne\, Libby Johnson\, Henrietta Joseph\, Kel li Scott Kelley\, Al Lavergne\, Haejung Lee\, Kathleen Lemoine\, William Le wis\, A.J. Meek\, Matt Morris\, Fred Packard\, Jacqueline Dee Parker\, Edwa rd Pramuk\, Kevin Rhodes\, Janice Sachse\, Steve Schmidt\, Don Thornton\, V an Wade-Day\, Michaelene Walsh\, Robert Warrens\, Robert Wiggs and Joseph Y oder.

DTEND:20160728 DTSTAMP:20160625T083055 DTSTART:20160703 GEO:30.4356437;-91.1687964 LOCATION:Baton Rouge Gallery\,1515 Dalrymple Drive \nBaton Rouge \, LA 708 08 SEQUENCE:0 SUMMARY:50/50\, Jamie Baldridge\, Charles Barbier\, Judi Betts\, Anne Boudr eau\, Adalie Brent\, James Burke\, Mary Ann Caffery\, Samuel J. Corso\, Mic hael Crespo\, Timothy Cundiff\, Edgar Dayries\, Paul Dean\, Paul A. Dufour\ , Caroline Durieux\, Mary Lee Eggart\, Malaika Favorite\, Rosemary Goodell\ , John Goodheart\, Frankie Gould\, Russell Guirl\, Frank Hayden\, Randell H enry\, Timothy Hewes\, David Horton\, Margaret Humphris\, Kathryn Hunter\, Ross Jahnke\, Amy James\, Jim Jeansonne\, Libby Johnson\, Henrietta Joseph\ , Kelli Scott Kelley\, Al Lavergne\, Haejung Lee\, Kathleen Lemoine\, Willi am Lewis\, A.J. Meek\, Matt Morris\, Fred Packard\, Jacqueline Dee Parker\, Edward Pramuk\, Kevin Rhodes\, Janice Sachse\, Steve Schmidt\, Don Thornto n\, Van Wade-Day\, Michaelene Walsh\, Robert Warrens\, Robert Wiggs\, Josep h Yoder UID:421799 END:VEVENT BEGIN:VEVENT DTEND:20160706T220000 DTSTAMP:20160625T083055 DTSTART:20160706T190000 GEO:30.4356437;-91.1687964 LOCATION:Baton Rouge Gallery\,1515 Dalrymple Drive \nBaton Rouge \, LA 708 08 SEQUENCE:0 SUMMARY:50/50\, Jamie Baldridge\, Charles Barbier\, Judi Betts\, Anne Boudr eau\, Adalie Brent\, James Burke\, Mary Ann Caffery\, Samuel J. Corso\, Mic hael Crespo\, Timothy Cundiff\, Edgar Dayries\, Paul Dean\, Paul A. Dufour\ , Caroline Durieux\, Mary Lee Eggart\, Malaika Favorite\, Rosemary Goodell\ , John Goodheart\, Frankie Gould\, Russell Guirl\, Frank Hayden\, Randell H enry\, Timothy Hewes\, David Horton\, Margaret Humphris\, Kathryn Hunter\, Ross Jahnke\, Amy James\, Jim Jeansonne\, Libby Johnson\, Henrietta Joseph\ , Kelli Scott Kelley\, Al Lavergne\, Haejung Lee\, Kathleen Lemoine\, Willi am Lewis\, A.J. Meek\, Matt Morris\, Fred Packard\, Jacqueline Dee Parker\, Edward Pramuk\, Kevin Rhodes\, Janice Sachse\, Steve Schmidt\, Don Thornto n\, Van Wade-Day\, Michaelene Walsh\, Robert Warrens\, Robert Wiggs\, Josep h Yoder UID:421800 END:VEVENT BEGIN:VEVENT DESCRIPTION:

With her latest exhibition\, M ystic Shift\, April Hammock looks at the impact one&rsquo\;s environment ca n have on the mind\, as well as the impact one&rsquo\;s mind might have on their environment. Using fragmented\, cloaked\, mutated figures &ndash\; al ong with anthropomorphic imagery &ndash\; she plays with interlocking space s and forms\, hinting at the interchangeability of time and space. In the p ast\, Hammock was greatly influenced by prominent abstract artists (De Koon ing\, Kandinsky\, etc.)\, but more recently she has turned a more critical eye towards their psychological connections to color and space. \;

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An artist member at BRG since 2001\, Hamm ock received her Masters of Fine Arts in Painting and Drawing from Louisian a State University. Her work is often influenced by both metaphysics and a perceived ambiguity between exterior and interior spaces. She has exhibited work in national and local galleries from New York to California\, as well as throughout her home state of Louisiana. Hammock has taught art at Louis iana State University\, University of Louisiana at Lafayette and Southeaste rn Louisiana University. She currently is an instructor for Talented Visual Arts in the East Baton Rouge Gifted and Talented Program at Baton Rouge Ma gnet High School.

DTEND:20160629 DTSTAMP:20160625T083055 DTSTART:20160601 GEO:30.4356437;-91.1687964 LOCATION:Baton Rouge Gallery\,1515 Dalrymple Drive \nBaton Rouge \, LA 708 08 SEQUENCE:0 SUMMARY:Mystic Shift\, April Hammock UID:421798 END:VEVENT BEGIN:VEVENT DESCRIPTION:

With this exhibition\, BRG art ist member Michael w. Howes continues to explore the mythical world he has created in response to the beauty he finds in the Louisiana landscape. Bein gs known as &ldquo\;rugas\,&rdquo\; irds&rdquo\; and more represent the fro gs\, birds and alligators found in an area of Louisiana special to Howes: L ake Boeuf (roughly 50 miles west of New Orleans). His sculptures consist of both fabricated metals\, hand-carved wood\, string and various other mater ials. \;

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A BRG Artist Member sinc e 1995\, Howes taught sculpture at Nicholls State University in Thibodaux\, Louisiana before retiring in 2008. Howes&rsquo\; work has participated in juried and invitational shows throughout the U.S.\, in addition to internat ional exhibitions in New York and New Jersey\, London and Florence\, Italy. Howes has completed more than eighteen commissions for private residences and public settings. In collaboration with other sculptors and designers\, he has also created public art works in the cities of Covington\, Franklin\ , and Monroe\, Louisiana.

DTEND:20160629 DTSTAMP:20160625T083055 DTSTART:20160601 GEO:30.4356437;-91.1687964 LOCATION:Baton Rouge Gallery\,1515 Dalrymple Drive \nBaton Rouge \, LA 708 08 SEQUENCE:0 SUMMARY:Lac Boeuf Inhabs\, Michael w. Howes UID:421797 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A popular artist during her ti me as a BRG artist member in the 1980s\, Malaika Favorite makes her return with Seven Ways of Seeing\, her first exhibition since rejoining BRG last F all. Within the works featured\, Favorite offers viewers an alternative way of appreciating everyday possessions. For her\, every object\, subject and action offers multiple symbolic connotations. By asking herself what the c onceivable reinterpretations of a specific thing might be\, the resulting i nvention might offer multiple visual stories that inspire deeper insight in to what possessions say about our culture and values. \;

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Favorite received her MFA in painting and drawing f rom Lousiana State University. After working for several years as a univers ity-level instructor\, she left academics in 1995 to focus on her art makin g. Today\, she works in combining canvas\, wood\, metal and other media wit h an aim of creating an unexpected surprise within her work. In recent year s\, Favorite&rsquo\;s work has been exhibited at the Alexandria Museum of A rt (Alexandria\, LA)\, The Museum of Contemporary Art of Georgia and The Mc Kenna Museum of Art (New Orleans\, LA).

DTEND:20160629 DTSTAMP:20160625T083055 DTSTART:20160601 GEO:30.4356437;-91.1687964 LOCATION:Baton Rouge Gallery\,1515 Dalrymple Drive \nBaton Rouge \, LA 708 08 SEQUENCE:0 SUMMARY:Seven Ways of Seeing\, Malaika Favorite UID:421796 END:VEVENT BEGIN:VEVENT DESCRIPTION:

With her latest exhibition \, Passionate about Palms\, Judi Betts takes gallery visitors to some of her favorite paradises by recreating tropical landscapes with her signat ure &ldquo\;creative realism&rdquo\; watercolor style. A sought after works hop instructor\, she has travelled to all corners of the globe to share her expertise with others and has gained an appreciation for the shapes and si zes of tropical foliage in the process. \;

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&ldquo\;For me\, [palm trees] are like fireworks\,&rdquo\; said B etts. &ldquo\;I like the symemetry and irregularity in shapes. Also\, I&rsq uo\;m fascinated by the spaces in between.&rdquo\;

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A BRG artist member since 1969\, Betts is one of America&rsqu o\;s most decorated watercolor artists. In 2012 she was recognized by the W atercolor USA Honor Society with their Lifetime Achievement Award\, she&rsq uo\;s received the Louisiana Governor&rsquo\;s Award and has presented more than 425 workshops across the world including in Norway\, Puerto Rico\, Ba li and Canada. Her work can also be found in the permanent collections of t he New Orleans Museum of Art and the Springfield (MO) Art Museum.

DTEND:20160629 DTSTAMP:20160625T083055 DTSTART:20160601 GEO:30.4356437;-91.1687964 LOCATION:Baton Rouge Gallery\,1515 Dalrymple Drive \nBaton Rouge \, LA 708 08 SEQUENCE:0 SUMMARY:Passionate about Palms\, Judi Betts UID:421795 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Mit David Altm ejd (US)\, Johanna K. Becker (D)\, Steven Claydon (GB)\, Bjö\;rn Dahlem (D)\, Koenraad Dedobbeleer (B)\, Laurent Fié\;vet (F)\, Hedwig Hoube n (NL/B)\, Valé\;rie Mannaerts (B)\, Matthew Monahan (USA)\, Tobias R ehberger (D)

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Erö\;ffnung: Freitag\, 10. Juni\, 19.30 Uhr
Einfü\;hrung: Prof. Stefan Heidenreich\, Kunstakademie Dü\;sseldorf
Anschlie&sz lig\;end Imbiss auf Einladung der Kunsthalle Mü\;nster

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Internationalen Tendenzen der Skulptur in de r Gegenwartskunst thematisiert die Ausstellung "Solid Liquids"\, die vom 11 . Juni bis 25. September in der Kunsthalle Mü\;nster gezeigt wird. Die Ausstellung wurde von Dr. Gail B. Kirkpatrick\, Leiterin der Kunsthalle M&u uml\;nster und Marcus Lü\;tkemeyer als Ko-Kurator konzipiert und wird v on Kunststiftung NRW und vom Ministerium fü\;r Familie\, Kinder\, Jugen d\, Kultur und Sport des Landes Nordrhein-Westfalen gefö\;rdert. Gezeig t werden Skulpturen und Installationen internationaler Kü\;nstlerInnen\ , darunter David Altmejd (US)\, Johanna K. Becker (D)\, Steven Claydon (GB) \, Bjö\;rn Dahlem (D)\, Koenraad Dedobbeleer (B)\, Laurent Fié\;v et (F)\, Hedwig Houben (NL/B)\, Valé\;rie Mannaerts (B)\, Matthew Mon ahan (USA)\, Tobias Rehberger (D).

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Solid Liquids &ndash\; Das Ausstellungskonzept:

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Fest und doch flü\;ssig\, dieses Gegensatzpaa r bildet die Klammer einer Ausstellung zur Skulptur in der Gegenwartskunst\ , die aktuelle Tendenzen und jü\;ngste Beobachtung zum kü\;nstleris chen Umgang mit dem Material prä\;zisiert und in Zusammenschau bringt: Einerseits\, so fü\;hrt das Ausstellungskonzept aus\, ist inne rhalb skulpturaler Produktionen der Gegenwart zu auffä\;llig\, dass ver traute kü\;nstlerische Praktiken der 1960er bis 1990er Jahre neu angeei gnet und vermengt werden: Readymade\, Appropriation\, Konzept\, Performance und Partizipation sind mit unterschiedlichsten Erzä\;hlungen angef&uum l\;llt und dienen der Inszenierung subjektiver Deutungsmodelle zu spezifisc hen Phä\;nomenen unserer Zeit. (Oft sind solche Arbeiten materialarm\, kaum kö\;rperhaft und erscheinen daher flü\;chtig\, wodurch sie abe r umso suggestiver wirken.) Andererseits ist eine neue Faszination fü\;r die ä\;sthetischen Potenziale von Material\, fü\;r desse n Form- und Ausdrucksmö\;glichkeiten bis hin zu Freistellungen auf Sock eln beobachtbar: im Atelier (eigenhä\;ndig) angefertigte\, skulpturale Arbeiten ohne Scheu vor Figuration\, vor Zufä\;llen\, vor rein formalen Entscheidungen oder vor Mythologisierungen.

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Aus kuratorischer Sicht stellen sich ausgehend von den zehn ausgew& auml\;hlten internationalen Positionen vielfä\;ltige Fragen zur Neuvero rtung der Skulptur: Definieren diese Arbeiten die Grenzen der Bildenden Kun st an den Ü\;bergä\;ngen zu Design\, zur Technik\, zur Dokumentatio n oder auch zur Wissenschaft nicht mittlerweile neu? Oder greifen gar die k ü\;nstlerischen Grenzgä\;nge auf Erkenntnisebenen zu\, die sich uns bisher verstellt haben?

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In einer dig italisierten Gegenwart\, die in der Verwirbelung von Zeit- und Raumebenen z war unendliche Mö\;glichkeiten\, aber kaum lebensweltliche Orientierung bietet\, riskieren die &bdquo\;Solid Liquids&ldquo\;\, neuartige Verschr&a uml\;nkungen von Zeit und Raum. Von einem intensivierten Interesse am Mater ial geleitet\, bewegen sich die Objekte um einen Kern\, der einerseits f&uu ml\;r sie selbst unzugä\;nglich scheint\, andererseits den Betrachter z u Rate zieht und zu fragen scheint: "Sag du mir\, wer oder was ich bin."

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Auch die in der Kunsthalle Mü\;nste r gezeigten Arbeiten laden ihre Betrachter ein\, konzentriert zu tieferen S chichten vorzudringen. Aber dort\, wo das Material Ein- und Durchsichten ge wä\;hrt\, finden sich womö\;glich nur weitere Oberflä\;chen. In ihren ü\;berraschend komplexen\, nicht linearen Anordnungen ziehen die se den Blick in ein atemberaubend sinnliches Labyrinth und lassen darin den Verstand taumeln &ndash\; nicht zuletzt um das menschliche Begehren sich s elbst zu erkennen\, unabhä\;ngig davon\, wie andere einen sehen.

\n< p style="text-align: justify\;">Vermittlungsprogramme
Im Hinblick auf die 2017 in Mü\;nster stattfindenden Skulptur Projekt e ergeben sich aus der Zusammenstellung der internationalen Positionen weit erfü\;hrende Fragestellungen nach den verä\;nderten kü\;nstleri schen Praktiken im Umgang mit dem Material innerhalb der Entwicklung der Ge genwartskunst.
Eine wissenschaftliche Kooperation mit dem Kunsthisto rischen Institut der WWU Mü\;nster im Rahmen eines Seminars mit Prof. D r. Ursula Frohne verleiht dem Projekt wissenschaftliche Nachhaltigkeit. Ein aus dem Ausstellungskonzept abgeleitetes materialbezogenes Vermittlungspro gramm vertieft \; unterschiedliche Aspekte der Diskussion um die Entwic klung der Skulptur in der Gegenwartskunst.

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Rahmenprogramm und Fü\;hrungen

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17. Juni\, 17 Uhr:
Kü\;nstlergesprä\;ch mit Johanna K. Becker. Das Gesprä\;c h fü\;hrt Benedikt Fahrnschon.

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8. Juli\, 17 Uhr:
Material-Gesprä\;ch mit Verena P ü\;schel\, Bildhauerin\, und Christoph Krü\;mpel\, Kunstakademie M& uuml\;nster\, Werkstatt Bildhauerische Techniken. Das Gesprä\;ch fü \;hrt Benedikt Fahrnschon

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Kur atorenfü\;hrungen jeweils um 17 Uhr:
21. Juli
(Dr. Gail B. Kirkpatrick) und 7. September (Marcus Lü\;tkemeyer )
18. September\, 16 Uhr: Fü\;hrung mit Stephan ie Kanne. \; Weitere Fü\;hrungen auf Anfrage.

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Die Ausstellung wird von der Kunststiftung NRW und vom Min isterium fü\;r Familie\, Kinder\, Jugend\, Kultur und Sport des Landes Nordrhein-Westfalen unterstü\;tzt. Die Kunsthalle Mü\;nster ist ein e Institution der Stadt Mü\;nster. Sie wird gefö\;rdert von den Sta dtwerken Mü\;nster GmbH und vom Freundeskreis der Kunsthalle Mü\;ns ter.

DTEND:20160925 DTSTAMP:20160625T083055 DTSTART:20160611 GEO:51.95202;7.64399 LOCATION:AZKM Muenster\,Hafenweg 28 \nMünster \, 48155 SEQUENCE:0 SUMMARY:Solid Liquids - Internationale Tendenzen der Skulptur in der Gegenw artskunst\, David Altmejd\, Johanna K. Becker\, Steven Claydon\, Bjorn Dahl em\, Koenraad Dedobbeleer\, Laurent Fiévet\, Hedwig Houben\, Valérie Mannae rts\, Matthew Monahan\, Tobias Rehberger UID:421794 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This is the second in a series of curated exhibitions on contemporary Australian drawing at the Art Galle ry of NSW.

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It will feature the works of six artists for whom drawing is a central part of their practice and who se work engages with narrative\, memory and experience.

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The artists are Jumaadi\, Maria Kontis\, Richard Lewer\, Noel McKenna\, Catherine O&rsquo\;Donnell and Nyapanyapa Yunupingu.

DTEND:20161211 DTSTAMP:20160625T083055 DTSTART:20160730 GEO:-33.8715119;151.2148424 LOCATION:Art Gallery of New South Wales\,The Domain \nSydney\, NSW 2000 SEQUENCE:0 SUMMARY:Close to Home: Dobell Australian Drawing Biennial 2016\, Jumaadi\, Maria Kontis\, Richard Lewer\, Noel McKenna\, Catherine O’Donnell\, Nyapany apa Yunupingu UID:421790 END:VEVENT BEGIN:VEVENT DTEND:20160730T170000 DTSTAMP:20160625T083055 DTSTART:20160730T100000 GEO:-33.8715119;151.2148424 LOCATION:Art Gallery of New South Wales\,The Domain \nSydney\, NSW 2000 SEQUENCE:0 SUMMARY:Close to Home: Dobell Australian Drawing Biennial 2016\, Jumaadi\, Maria Kontis\, Richard Lewer\, Noel McKenna\, Catherine O’Donnell\, Nyapany apa Yunupingu UID:421791 END:VEVENT END:VCALENDAR