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

&lsquo\;Norman Rockwell and his Contemporaries&rsquo\; \;is a thematic exploration of artworks by Rockwell and his peers: those influenced by Rockwell and those who influenced the Master himself. T he most noted artist-illustrators of his time were colleagues\, classmates\ , and friends who lived and worked in nearby artist communities: New Rochel le\, Greenwich Village\, and Westport. Their common purpose was to portray our nation visually and meet its ever-rising demands for more images as pub lishing was in a transformative phase\, with 4 color printing\, and new dis tribution systems expanding capabilities and reaching wider audiences. The illustrators reflected and molded American society by depicting prototypica l themes and mores still held dear today. \;Featured alongside Rockwell are: John Clymer\, Steven Dohanos\, John Falter\, George Hughes\, J.F. Ker nan\, J.C. Leyendecker\,  \;Norman Price\, and more.

DTEND:20140831 DTSTAMP:20140822T150250 DTSTART:20140522 GEO:41.469672;-71.30607 LOCATION:National Museum of American Illustration\,Vernon Court 492 Bellevu e Avenue \nNewport\, Rhode Island 02840 SEQUENCE:0 SUMMARY:Norman Rockwell and his Contemporaries\, John Clymer\, Norman Rockw ell\, Steven Dohanos\, John Falter\, George Hughes\, J.F. Kernan\, J.C. Ley endecker\, Norman Price UID:352407 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Du haut d&rsquo\;une colline de Kaboul\, deux enfants se sui vent dans une course effré\;né\;e à\; travers la ville. I ls jouent au cerceau avec une bobine de film (bobine se dit reel en anglais )\, que l&rsquo\;un dé\;roule et que l&rsquo\;autre enroule. Rythm&ea cute\;e par un mé\;lange de bruits mé\;talliques et urbains\, u ne ligne se dé\;ploie et laisse derriè\;re elle la trace invisi ble du jeu. Mise à\; l&rsquo\;é\;preuve\, la pellicule s&rsquo\ ;imprè\;gne au fil de sa course de la poussiè\;re\, de l&rsquo\ ;eau et du feu de la rue. \;

Ce film reprend toutes les th&e acute\;matiques de recherche propres à\; Francis Alÿ\;s\, qui sig ne ici une oeuvre-clé\; de son parcours. En choisissant un lieu de co nflit\, l&rsquo\;artiste donne à\; voir une scè\;ne du quotidie n qui\, sans dé\;but ni fin\, nous conduit du ré\;el à\; la fable. Par la ré\;pé\;tition d&rsquo\;un acte (une roue qui tourne)\, une ligne est tracé\;e - visible et invisible\, fronti&egra ve\;re et dessin -\, elle laisse entrevoir un autre Kaboul. \;

Montré\; pour la premiè\;re fois en Suisse\, \;REEL- UNREEL \;a é\;té\; ré\;alisé\; depuis l&rs quo\;Afghanistan\, en ré\;ponse à\; une invitation à\; pa rticiper à\; la Documenta (13). La premiè\;re projection eut li eu en 2011\, dans les ruines du Cinema Behzad de Kaboul\, ancien lieu cultu rel aujourd&rsquo\;hui dé\;truit par les bombardements. Depuis 2010\, Francis Alÿ\;s poursuit ses voyages dans la capitale afghane.


Francis Alÿ\;s (Anvers *1959) vit et travaille depuis 1986 à\; Mexico City\, où\; il ré\;alise sa premiè\;re performance en 1989. Architecte de formation\, il dé\;veloppe son tra vail à\; partir de ses dé\;ambulations dans l&rsquo\;espace urb ain. Ses flâ\;neries donnent lieu à\; des performances film&eacu te\;es\, mais aussi à\; des esquisses\, des dessins sur papier calque superposé\;s\, des peintures\, des collections d&rsquo\;objets trouv é\;s. Son travail a é\;té\; montré\; à\; plus ieurs reprises au MADRE (Naples 2014)\, Schaulager (Bâ\;le 2011\, 2006 )\, MOMA (New York 2011)\, à\; la Tate Modern\, (Londres 2010)\, au W iels (Bruxelles 2010) ou au Museo Reina Sofia (Madrid 2002). Francis Al&yum l\;s a aussi é\;té\; invité\; à\; participer &agrav e\; la Documenta (13) (Kassel 2011) et aux Biennales Sao Paulo (2010\, 1998 ) et de Venise (2007\, 2001\,1999).

DTEND:20141005 DTSTAMP:20140822T150250 DTSTART:20140913 GEO:46.4614876;6.845291 LOCATION:Musée Jenisch Vevey\,Avenue de la Gare 2 \n Vevey\, CH –1800 SEQUENCE:0 SUMMARY: REEL-UNREEL\, Francis Alÿs UID:352403 END:VEVENT BEGIN:VEVENT DTEND:20140913T180000 DTSTAMP:20140822T150250 DTSTART:20140913T100000 GEO:46.4614876;6.845291 LOCATION:Musée Jenisch Vevey\,Avenue de la Gare 2 \n Vevey\, CH –1800 SEQUENCE:0 SUMMARY: REEL-UNREEL\, Francis Alÿs UID:352404 END:VEVENT BEGIN:VEVENT DESCRIPTION:

To celebrate the arrival of summer\, Vevey is pleased to wel come Markus Raetz (b. 1941)\, one of the most fascinating Swiss artists of his generation. Comprising more than 150 works from every period of the Ber nese artist&rsquo\;s career\, the exhibition \;SEE-SAW \;i nvites audiences to explore an exuberant world in which chance is mixed wit h surprise\, as well as a generous measure of poetry. \;

For this first retrospective in the canton of Vaud the Musé\;e Jenisch V evey\, which is home to the cantonal prints collection\, is focusing on Mar kus Raetz&rsquo\;s passion for engraving and his insatiable curiosity about the various techniques of printmaking. Dating from his childhood\, his ear liest prints bear witness to an appetite for multiplying and reversing moti fs that is as strong now as it ever was. What appears to be a single image turns out to conceal others\; it is transformed and revealed afresh as it i s viewed in different ways.
Playing on the resonances between printing \, sculpture and drawing\, the exhibition emphasises the transitions from o ne medium to the other\, demonstrating how the shifts from sketchbook to pr int and sculpture enhance \;the work&rsquo\;s semantic richness. \;

DTEND:20141005 DTSTAMP:20140822T150250 DTSTART:20140626 GEO:46.4614876;6.845291 LOCATION:Musée Jenisch Vevey\,Avenue de la Gare 2 \n Vevey\, CH –1800 SEQUENCE:0 SUMMARY:SEE-SAW\, Markus Raetz UID:352402 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Nada mais aflitivo para um artista\, que uma folha de papel\ , ou uma tela\, em branco: porque daí\; advé\;m sua condi&ccedi l\;ã\;o solitá\;ria encoberta pelas sombras de uma multid&atild e\;o.

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O exercí\;cio da arte é\; uma aventura pela qual o artista vislumbra suas aç\;õ\;es num campo cheio de escaramu& ccedil\;as\, onde as inú\;meras ideaç\;õ\;es incidem sobr e seus atos. O artista é\; algué\;m que se oferta à\; fra gilidade pela sua necessidade de absorç\;ã\;o\, pela sua prem&e circ\;ncia em emitir um silê\;ncio significante\, a partir de como adm inistra os ruí\;dos das imagens\; agrega para si\, essa instâ\;n cia paradoxal: sacerdote e sacrifí\;cio. Mas é\; no vé\;r tice destas contradiç\;õ\;es onde se abre o gozo\, a potê\ ;ncia deflagrada como soma de suas administraç\;õ\;es que lhe i nsta legitimidade perante as sombras que lhe oprimiam\, agora nominada pela imagem de seus rostos que configuram o corpo reconhecí\;vel da socie dade que lhe aceita.

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Uma vez instituí\;do\, o artista opera c omo um malabarista\, sempre no fio da navalha\, burlando sua invalidez\; po rque o meio de arte é\; eminentemente excludente\, porta um gene perv erso que lhe é\; constitutivo: admite com resistê\;ncia novas ve rdades que podem se tornar referê\;ncias está\;veis\, mas o fant asma da suspensã\;o estará\; sempre rondando à\; medida d e seu humor cortesã\;o.

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Pela minha condiç\;ã\;o d e artista\, me faç\;o presente aqui\, por uma funç\;ã\;o meramente mediadora\, ou ao menos para emitir um ponto de vista que se abst é\;m da formalizaç\;ã\;o crí\;tica\, ou atividade a nalí\;tica\, tendo como objeto a obra de outro artista\, já\; d iversamente explorada por pensadores experientes sobre as ideias que est&at ilde\;o contidas na espacialidade complexa da obra de Hildebrando de Castro .

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A intenç\;ã\;o aqui é\; tentar extrair um ponto de vista que possa vislumbrar algum filtro diferente\, pela paridade exper iencial nessa vivê\;ncia que o ato de criar implica\, e\, sobretudo\, por uma identificaç\;ã\;o mais ou menos aproximada na forma com o sempre administrou os riscos pelos quais deliberadamente escolheu\, e o t ornou um artista consagrado\, mesmo trilhando caminhos que suscitaram provo caç\;õ\;es administradas de forma surpreendente\, decidida e co rajosa.

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Hildebrando de Castro é\; um artista que em toda sua trajetó\;ria deflagra desafios no contrapé\; das expectativas. Sua obra porta de imediato uma condiç\;ã\;o pela qual levanta c erta tensã\;o\, no modo como enreda suas qualidades de irrefutá \;vel preciosismo em sua fatura.

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Artista eminentemente figurativo\, grifado por qualidades té\;cnicas obsessivas\, abrindo pela  \;mimese \;toda sua instrumentaç\;ã\;o argumentativa\, para alé\;m da inevitá\;vel evocaç\;ã\;o hiper-rea lista\, porque distante do seu acriticismo. Desenhista de observaç\;& atilde\;o pelos câ\;nones tradicionais\, usando modelos para a constru ç\;ã\;o de suas narrativas\, para em seguida assumir a fotograf ia como um aporte de agilizaç\;ã\;o processual\, alé\;m d o sintoma que tais usos refletem simbolicamente como ato incurso em seu tem po.

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O uso da imagem como recurso para a representaç\;ã\ ;o de sua imagé\;tica lhe retira das ideias naturalistas do passado\, mas se reporta a esse passado instaurando ironicamente novas extensõ \;es que se sobrepõ\;em aos valores esté\;ticos instituí\ ;dos historicamente. O universo onde se apoia as narrativas de Hildebrando de Castro sã\;o providos pelo territó\;rio da arte\, do pensame nto do homem sobre o homem\, suas idiossincrasias e as coisas que cria e se cerca.

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Sua arte\, portanto\, transpõ\;e a ideia da janela qu e representa\, para o espaç\;o do simulacro. Lida com um trâ\;ns ito entre signos reconhecí\;veis\, situaç\;õ\;es\, compor tamentos\, erotismo e religiosidade\, conceitos instituí\;dos - a seu s aditivos provocantes\, irô\;nicos\, onde está\; a serviç \;o de deslocamentos que subvertem o usual\, que estendem a natureza de sua s construç\;õ\;es subversivas no encontro de novas subjetividad es em busca de elucidaç\;õ\;es.

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A produç\;ã \;o de imagens no mundo contemporâ\;neo é\; excessiva. O olhar & eacute\; forç\;ado a uma alienaç\;ã\;o. Há\; um lim ite para a decodificaç\;ã\;o de suas (in) discriminaç\;&o tilde\;es. Considerando apenas as imagens da arte pela sua histó\;ria \, testemunhamos o que foi filtrado como imagens exemplares: aquelas que tr azem em si valores imanentes\, em suas metodologias de feitura\, que os lig a a seu tempo\, trazendo para a superfí\;cie o esforç\;o que lh es tornaram importantes\, como legado do visí\;vel\, para interesse d o olhar saturado\, que se conforta ou reage ao que há\; de reflexo do mundo\, do homem\, a partir do que rege as é\;ticas\, as esté\ ;ticas\, que sã\;o enquadramentos polí\;ticos da visualidade.\n

As narrativas de Hildebrando de Castro abrem de imediato\, questiona mentos dessa politizaç\;ã\;o das imagens. No plano da arte figu rativa &ndash\; usando aqui uma expressã\;o gené\;rica &ndash\; é\; onde parece residir o desafio maior. O artista\, por possuir ess e aparato té\;cnico irretocá\;vel\, essa qualidade &ldquo\;imit ativa&rdquo\;\, resvala na necessidade premente em negociar o que pode port ar uma condiç\;ã\;o narcisista de desenhar e pintar com precios ismo. Tornar a esterilidade narcí\;sica - ou meramente diluidora do p reciosismo - numa qualidade funcional no lé\;xico do seu tempo\, e em sua pertinê\;ncia de extensã\;o\, como linguagem que ativa o qu e revela de novo\, pelas surpresas a que somos hipnoticamente atraí\; dos em seu trabalho.

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Assim\, o que converte suas imagens em afirma& ccedil\;õ\;es visuais tã\;o contundentes é\; essa mistura de precisã\;o té\;cnica irrepreensí\;vel à\;s esco lhas de variados repertó\;rios que lhe servem como diferencial que ch ega a ser insolente. Escolhas que em sua soma perfaz sua trajetó\;ria que recorre a variadas estraté\;gias\, desde a montagem de um cen&aa cute\;rio que busca a ambiê\;ncia precisa para o que quer expressar\, ao uso e afinidade com modelos vivos recorrentes\, que atendem à\;s s olicitaç\;õ\;es de sua imaginaç\;ã\;o para seus com entá\;rios\, e arrematam uma espé\;cie de choque té\;rmic o quando manipula diferentes aportes contidos na cultura\, pelo que apreend e de suas iconografias\, objetos\, situaç\;õ\;es insó\;li tas\, valores ecoló\;gicos encontrados entre o sublime e o deboche\; na destruiç\;ã\;o da natureza\, ou nas naturezas das destrui&cc edil\;õ\;es\, pelos relativismos promovidos na \; interface da cu ltura e suas dinâ\;micas transformativas

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Como artista autodida ta\, admite que provavelmente a origem de seus encaminhamentos independente s dos antolhos acadê\;micos lhe tenham conferido suas liberdades de es colhas\, pautadas inicialmente em sua memó\;ria pessoal de adolescent e\, já\; interessado no binô\;mio sagrado\profano\, ou\, para se r mais preciso\, religiã\;o e erotismo\, onde articulou muitas de sua s ideaç\;õ\;es iconográ\;ficas.

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Imagens potentes\ , em geral\, sem comentá\;rios circundantes que possam diluir sua ima nê\;ncia. A Hidelbrando\, importa grifar uma ideia central circundada\ , via de regra\, por fundos brancos ou negros\, a dramatizar seu pendor pel a estranheza\, sexismos\, dramaticidade\, ironia beirando o humor negro\, t angê\;ncia ao escatoló\;gico\, perversã\;o\, retratos\, lu dicidade de labor e humor.

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Mas em sua trajetó\;ria de aproxim adamente 25 anos\, há\; a lida solitá\;ria\, a cozinha oculta e m que se dã\;o todos os processamentos de um artista em que\, do pont o de vista de sua obra\, nã\;o há\; espaç\;os para a soci abilidade: conquista pela retina ou coraç\;õ\;es expostos\, ou melhor\, pela cogniç\;ã\;o entre ambos. Neste sentido\, falar d e modo &ndash\; ao menos esquemá\;tico &ndash\; de sua genealogia\, o u evoluç\;ã\;o\, a sublinhar seus procedimentos té\;cnico s em funç\;ã\;o do que contribuiu em suas transformaç\;&o tilde\;es ao longo destes anos de trabalho incessante\, onde reside por lei de causa e efeito a sucessã\;o imbricada de que um resultado sucede a outros.

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Assim\, o que caracteriza singularmente este artista\, &e acute\; seu modo í\;mpar de fazer suceder interesses sempre cuidadosa mente escolhidos a serviç\;o de uma precisã\;o gritante\, mesmo referindo à\;s subjetividades que ele nos traz à\; tona. De mo do resumido\, ou apenas nominando os encadeamentos temá\;ticos de Hil debrando\, a partir da forma poé\;tica que Denise Mattar\, curadora d e ILUSÕ\;ES DO REAL - mostra que apresentou sem intuito retrospectivo \, mas que fornece toda a linhagem pela qual é\; possí\;vel com preender a trajetó\;ria do artista: Historias Insó\;lit as\, \;Entes Humanos\,Inquieto Cora&c cedil\;ã\;o\, \;Corpos Fragmentados\,&n bsp\;Infâ\;ncia Perversa* e \;Arquitetura da Luz\, \;que é\; objeto da mostra aqui presente.

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Estas imagens que ora vemos na Paulo Darzé\; Galeria de Arte dize m respeito à\;s atualizaç\;õ\;es deste artista emblem&aac ute\;tico\, que possui trajetó\;ria rica e transformadora pelo que &e acute\; grifado em sua importâ\;ncia no panorama da arte brasileira. A qui presenciamos a beleza inteligente de imagens que nã\;o guardam ne nhuma inocê\;ncia. Sã\;o articuladas cuidadosamente no que nos o ferece de sua beleza em sua camada mais aparente\, alé\;m dos muitos substratos que suas abordagens referendam a serviç\;o de um olhar pre ciso em suas estraté\;gias cirú\;rgicas.

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O que nesta mo stra testemunhamos é\; mais um de seus surpreendentes posicionamentos como artista que escolhe para suas afirmaç\;õ\;es visuais verd adeiros desafios de algué\;m acostumado a reinventar\, ou reintroduzi r\, no campo das imagens\, suas possibilidades infinitas. Neste recorte de sua produtividade Hildebrando de Castro abre mais uma vez seu surpreendente repertó\;rio\, a mapear entre frestas\, o que a histó\;ria tor na passado\, e ele torna presente. Com estes brise-soleils\, se debru&ccedi l\;a nos estaleiros onde se originaram as construç\;õ\;es refle xivas\, a arte\, e\, també\;m\, a arquitetura brasileiras em seu limi ar hegemô\;nico\, onde evoca a acepç\;ã\;o moderna instaur ada por uma metabolizaç\;ã\;o local.

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Estas imagens dos brise-soleils introduz certa contraç\;ã\;o em relaç\;&ati lde\;o ao que conhecemos de Hildebrando. Recolhido de seu cará\;ter m ais dramá\;tico\, mas conservando seu princí\;pio de resolu&cce dil\;õ\;es pictó\;ricos formais impecá\;veis\, mantendo s ua ironia de forma mais velada\, pela pró\;pria natureza do tema que aborda.

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Nesta mostra Hildebrando trata da convergê\;ncia de du as \;escrituras \;que permeiam pela sua pintura as disposi ç\;õ\;es de um recorte arquitetô\;nico que enceta as janel as com seu aporte simbó\;lico na histó\;ria da visualidade\, o que remete ao problema autorreferente da arte.

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A partir da apar&eci rc\;ncia\, e da pró\;pria metodologia da arte Concreta\, seus campos de cor e forma executados em seu estado geomé\;trico e cromaticamente assé\;ptico\, respectivamente\, o artista entroniza de imediato uma questã\;o \;vocabular \;do ideá\;rio concretis ta.

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A reversibilidade\, expressã\;o contingencial do impasse concretista - que assinalava o problema de figura/fundo - é\; escolha deliberada de Hildebrando que nã\;o deixa de revolver seus genes con stitutivos de temas anteriores\, onde o enquadramento de perversã\;o se reveste aqui\, de uma sofisticaç\;ã\;o enredada numa perspec tiva puramente retiniana a brincar com sensos de contenç\;õ\;es como aporte de seus objetos temas\, em estado de suspensã\;o.

\n< p>Mas nestes brise-soleils há\; també\;m a posiç\;ã \;o do artista que aparece mais uma vez na regê\;ncia de sua politiza& ccedil\;ã\;o\, no que tange à\;s imagens que\, à\; guisa de suas escolhas\, perscruta crí\;tica que sublinha as utopias modern as\, nestas abordagens que apontam direç\;õ\;es da arte e da ar quitetura\, nos oferece també\;m um sentido de territorializaç\ ;ã\;o desta incursã\;o como problemas localizados\, isto &eacut e\;\, a incursã\;o de um capí\;tulo da histó\;ria recente da arte e da cultura brasileira imersa nas extensõ\;es do modernismo \, onde se origina o começ\;o da hegemonia da arte brasileira.

\n< p>Nã\;o haveria nestas imagens dos brise-soleils\, um tipo de urdidur a que guarda os mesmos sentidos de perversã\;o que orientaram muitos dos trabalhos de Hildebrando em suas diversas fases anteriores? Nã\;o é\; essa diretiva que ele nos obriga a tomar com a retina em riste a sondar a imaterialidade de algo que evoca o concreto\, em sua instâ\; ncia temá\;tica\, a da arquitetura em seus detalhes funcionais\, que apontam para um dispositivo que em certa medida é\; um impedimento pa rcial da funç\;ã\;o transparente que deve possuir as janelas\, e que nos provoca a olhar ao que ele mesmo assinala nada haver por sua inex istê\;ncia suspensa\, congelada pelos seus simulacros num detalhe func ional arquitetô\;nico cuja funç\;ã\;o é\; reter a lu z de forma modular? Nã\;o é\; també\;m\, a condiç\; ã\;o alusiva ao Concretismo\, a negaç\;ã\;o do pró\ ;prio tema\, quando articula seus campos cromá\;ticos a serviç\ ;o de algo que parece contradito ao que remete?

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Assim\, me parece q ue o artista ao construir um jogo de impactante sofisticaç\;ã\; o e beleza\, que parece envolver a ele pró\;prio\, o espectador e o q ue problematiza com o objeto pictó\;rico\, as funcionalidades dos obj etos enquadrados em seus historicismos\, e a maneira que os envolve com sua s articulaç\;õ\;es conceituais\, cobertas por uma inteligente a bordagem onde nos endereç\;a a atenç\;ã\;o para a afirma& ccedil\;ã\;o de Michel Foucault: A relaç\;ã\;o da lin guagem com a pintura é\; uma relaç\;ã\;o infinita*. A este respeito nã\;o me furto em estender nestes jogos visuais de Hi ldebrando de Castro trazendo de imediato\, mais uma vez\, Foucault\, em sua aná\;lise de &lsquo\;Las Niñ\;as&rsquo\; de Velá\;squez\ , aqui simplificando a paridade suspensiva do que Hildebrando de Castro ati va como princí\;pio de reversibilidades em suas construç\;&otil de\;es visuais eivadas a um inteligente conceitualismo que me parece conduz ir suas operacionalidades atravé\;s da pintura.

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Vauluizo Beze rra Julho 2014

DTEND:20140920 DTSTAMP:20140822T150250 DTSTART:20140822 GEO:-12.9950197;-38.5272237 LOCATION:Paulo Darze Galeria de Arte\,Rua Dr. Chrysippo de Aguiar \nSalvado r\, Bahia 40081-310 SEQUENCE:0 SUMMARY:Solo Exhibition\, Hildebrando de Castro UID:352240 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141102 DTSTAMP:20140822T150250 DTSTART:20140823 GEO:47.3692547;8.5485607 LOCATION:Natasha Akhmerova’s Barbarian Art Gallery\,PROMENADENGASSE 19 \nZu rich\, 8001 SEQUENCE:0 SUMMARY:Group Show\, Ji Sim Hyun\, Vladimir Kupriyanov\, Daria Marchik\, Ar mando Rearte UID:352239 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Das Werk von Peter Hujar (geboren 1934 in Trenton\, New Jers ey\; gestorben 1987) hat seit den
Achtziger Jahren immer wieder bedeu tende Ausstellungen erfahren. So erstmals in der Schweiz 1982 in der Kunsth alle Basel\, 1994 im Fotomuseum Winterthur und im selben Jahr im Stedelijk Museum Amsterdam und 2007 im ICA London. Mai 36 Galerie zeigte zuletzt 2011 in der Ausstellung Paul Thek &ndash\; cityscapes and other ideas Hujars Fo tos Thek&rsquo\;s Studio 1967.
Es freut uns Ihnen die Vertretung des P eter Hujar Estates durch die Mai 36 Galerie bekannt zu geben!
Aus der Modefotografie kommend\, wie seine New Yorker Kollegen Irving Penn\, Richar d Avedon und
Robert Mapplethorpe\, unterscheidet sich Peter Hujar jed och stark von diesen. Zeitlebens fä\;llt ihm das Imposante und die Vord ergrü\;ndigkeit der Modefotografie als Aufgabe schwer\, interessiert si ch Hujar doch fü\;r das Darstellen von eigentlichem Leben mehr und er z eigt dies pur: in seiner Kö\;rperlichkeit\, in drastischen Szenerien\, oder im Falle der Tierportraits humorvoll die Unschuld der Kreaturen hervor hebend.
Seine Vorbilder sind etwa Wegee oder Diane Arbus. Der eine ver folgt die katastrophischen und
hysterischen Momente des Stadtlebens\, die andere offenbart die psychologischen Randsituationen der Gesellschaft aus analysierender Distanz. Hujar selbst ist Teil dieses Lebens\, das er da rstellt. Er ü\;berä\;sthetisiert nicht\, sondern zeigt in seinen Au fnahmen eine fast intime Beziehung zum Abgebildeten oder den Portraitierten . Seine Bildkomposition ist fein aber nicht aufdringlich\, wirkt eher beil& auml\;ufig. Er liegt mit seinen Aufnahmen immer etwas neben dem Erwarteten\ , was ihm bei seiner \;Modefotografie Schwierigkeiten einbrachte\, jedo ch in seiner freien Fotografie den besonderen Reiz ausmacht.
Sein Eint auchen in die Welt seiner Freunde und die Darstellung New Yorks von den Sec hziger Jahren bis in die Achtziger Jahre zeigt eine Stadt\, die es so nicht mehr gibt. Da wo Subkultur blü\;hte\, die heute unser kulturelles Ged& auml\;chtnis der Stadt ausmacht und die er pur und direkt portraitierte\, h at sich Gentrifizierung durchgesetzt und profitiert noch von eben dieser Ve rgangenheit. Dem Leben ganz nah und Oberflä\;chlichem fern\, zeigt sein Werk das unverblü\;mte Antlitz dieser vergangenen Zeit.
Dass im P ortraitieren des Lebens gleichzeitig ein Portraitieren des Todes liegt &nda sh\; so meint Susan
Sontag\, von der er drei berü\;hmte Aufnahmen machte &ndash\; ist das Verdienst Hujars und seiner Fotokunst.
Seine Aufnahmen sind Fenster in beide Reiche gleichzeitig. Das Reich des Lebens m it der
vergä\;nglichen Kreatur\, ob Mensch oder Tier\, das Reich des Todes dargestellt insbesondere anhand der Fotografien aus den Katakombe n Palermos: bekleidete Leichnahme\, die\, recht mitgenommen\, wie auf eine andere Zukunft warten.
Unsere Ausstellung im Showroom umfasst Werke au s fast allen Bereichen seines Schaffens: Akte
und Portraits\, Stadtan sichten\, Interieurs\, Nachtaufnahmen sowie auch Tieraufnahmen und
Au fnahmen aus den Katakomben Palermos\, die 1963 entstanden. (Text: Axel Jabl onski)

DTEND:20141025 DTSTAMP:20140822T150250 DTSTART:20140829 GEO:47.3689916;8.5475461 LOCATION:Mai 36 Galerie - Showroom\,Rämistrasse 35 \nZürich\, 8001 SEQUENCE:0 SUMMARY: WORKS 1966 - 1985 \, Peter Hujar UID:352237 END:VEVENT BEGIN:VEVENT DTEND:20140828T200000 DTSTAMP:20140822T150250 DTSTART:20140828T180000 GEO:47.3689916;8.5475461 LOCATION:Mai 36 Galerie - Showroom\,Rämistrasse 35 \nZürich\, 8001 SEQUENCE:0 SUMMARY: WORKS 1966 - 1985 \, Peter Hujar UID:352238 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Hauser &\; Wirth is pleased to present the work of the Be lgian artist Philippe Vandenberg for the first time in Switzerland. Curated by Harald Falckenberg\, &lsquo\;Philippe Vandenberg. Dog Day&rsquo\; compr ises oil paintings that were predominantly created in the decade before Van denberg&rsquo\;s death in 2009. His works testify to his quarrels with hims elf and the world\, as well as an obsession that expresses itself through a n enormous creative drive. Above all\, these qualities are the result of hi s endless search for form.

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In Vandenberg&rsquo\;s second exhibition at Hauser &\; Wirth\, Falckenberg will show the artist as a driven crea tor who is unable to find peace of mind\, and never allows his audience pea ce of mind either. His work seems to be the product of an artistic impetus\ , a visionary and vehement creativity. Painting as an elixir of life is sim ultaneously his salvation and his torment:

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&lsquo\;There is pain in painting: the anguish\, the doubt\, the panic\, the pangs\, the obsessive fear of being unable to meet the demands of the canvas&hellip\; Thus I pain t from failure to failure\, from hope to hope.&rsquo\;

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His painting s stand between the poles of destruction and creation\, to the extent that these forces depend on each other. He tirelessly paints over one layer in f avour of another. Like a slogan\, the command &lsquo\;Kill them all&rsquo\; is displayed across a canvas. This is a reference to the aspect of destruc tion within the creative process\, to which Vandenberg attributes great imp ortance: destruction as a prerequisite for creating something new.

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The endless search for form became the main subject matter for his late wor ks in particular\, in which letters and lines\, both solid and broken\, pla y an important role. While letters form words in some of the paintings in t he exhibition\, in others they are obscured by smudges of oil paint to the point beyond recognition. Geometric patterns are combined in a seemingly en dless repetition. Whether fine strokes or narrow letters\, drawn on a multi -layered ground in oil and chalk\, his letters become a motif. Word for wor d\, usually somewhat chaotically arranged\, they result in fragments of sen tences. It is as if language gets in the way of painting\, as if it disrupt ed the paintbrush from working and forced it to write\; partial sentences s eem to obsessively buzz around his head. Vandenberg&rsquo\;s works open up the depths of human existence to the viewer and expose intense feelings far from pure emotionality. He writes:

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&lsquo\;I am an artist of emoti on and reflections. I don&rsquo\;t mean sentimentalism\, the emotional\, bu t the shock of the emotion that triggers\, as it were\, the reflection. Onl y reflection creates space.&rsquo\;

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It is most likely this reflecti on that drives him to his limits\, that makes him carve the words into the still-wet oil paint\, down to the linen\, as if he had to banish them out o f his head and onto the canvas &ndash\; sentences of unfathomable despair t hat cry out for life and death. In these powerful late works\, one can neve r shake the impression that Vandenberg used painting to rid himself of his inner demons.

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About the Artist

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The Belgian artist Philippe Vandenberg (1952 &ndash\; 2009) began his studies in liter ature and art history before turning to painting and graduating from the Ro yal Academy of Fine Arts in Ghent\, Belgium in 1976.

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After several solo and group exhibitions in Europe\, Vandenberg exhibited for the first t ime in New York in 1986\, whereupon the Guggenheim Museum acquired one of h is paintings for its collection. At the time\, Vandenberg was considered on e of the most successful Belgian contemporary artists. Several important so lo exhibitions followed\, including one in 1995 at the Museum van Hedendaag se Kunst in Ghent (now the S.M.A.K.)\, in 1999 at the MuHKA &ndash\; Museum voor Hedendaagse Kunst in Antwerp\, and in 2006 with &lsquo\;L&rsquo\;impo rtant c&rsquo\;est le Kamikaze: Oeuvre 2000 &ndash\; 2006&rsquo\; at the Mu sé\;e Rimbaud in Charleville-Mé\;ziè\;res. The De Pont Mu seum in Tilburg (2012) and the Maison Rouge in Paris (2014) recently showed works by the artist in dialogue with the Belgian artist Berlinde De Bruyck ere.

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Solo exhibitions at the Langen Foundation in Neuss and the S.M .A.K. in Ghent are currently being planned.

DTEND:20141108 DTSTAMP:20140822T150250 DTSTART:20140830 GEO:47.3892908;8.5248503 LOCATION:Hauser & Wirth Zürich\,Limmatstrasse 270 \nZurich\, 8005 SEQUENCE:0 SUMMARY: Dog Day \, Philippe Vandenberg UID:352235 END:VEVENT BEGIN:VEVENT DTEND:20140829T200000 DTSTAMP:20140822T150250 DTSTART:20140829T180000 GEO:47.3892908;8.5248503 LOCATION:Hauser & Wirth Zürich\,Limmatstrasse 270 \nZurich\, 8005 SEQUENCE:0 SUMMARY: Dog Day \, Philippe Vandenberg UID:352236 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Hauser &\; Wirth is excited to announce Matthew Day Jacks on&rsquo\;s first solo exhibition in Zurich\, &lsquo\;Family&rsquo\;\, comp rising over a dozen new works in the media of sculpture\, painting\, photog raphy and work on paper.

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Matthew Day Jackson&rsquo\;s interdiscipli nary practice investigates the outermost limits of human experience. Drawin g inspiration from layers of history that chart mechanical invention\, terr itorial-exploration\, warfare and medicine\, Jackson works simultaneously w ith new technology and back-to-basics craftsmanship to create works that de fy easy categorisation.

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&lsquo\;All art is a self-portrait\, but at the same time\, the source of the form\, is a further meditation on the ma terial used. This meditation is a continuation of a dialogue about the mate rial that we use to describe who we are\, beyond our flesh. We express ours elves to people we know and those we don&rsquo\;t\, at various levels of in timacy\, from the perfect stranger to someone with whom we would have sex. In our society and experience\, which is increasingly dependent on branding \, these outward expressions become who we are\, from the paint on our door \, the textiles we wear and furniture we have\, to the type of TV or car th at we may own. These are layers of flesh to be mined\, to better understand and know our person in relationship to society and culture.&rsquo\;

\n< p>&ndash\; Matthew Day Jackson

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&lsquo\;Family&rsquo\; explores the domestic and examines boundaries of human perception\, flitting between the individual and universal in a rhizomatic fashion. Extending through the ga llery\, &lsquo\;Commissioned Family Portrait&rsquo\; consists of 82 photogr aphs of the artist and his family. These photographs were made using a Beck man &\; Whitley high-speed rotating mirror framing camera\, operated by engineer and scientist Tim Samaras (1957 &ndash\; 2013). This technology wa s developed in the 1950s and used primarily during military weapons testing \, in order to analyse the efficacy of explosions and shockwaves from nucle ar detonations. The camera is capable of capturing over a million frames pe r second. The resulting image is created by 97\,500 exposures &ndash\; an i mage that is blurry\, reminiscent of Victorian spirit photography. The arti st and his family are the only human beings ever to have been photographed by this camera.

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&lsquo\;Self-Portrait Progression (monster-self)&rs quo\; is a figurative shelf-piece exploring the monstrous as a way of consi dering portraiture. For over a decade Jackson has been creating figurative sculpture using the human form and its systems as a structure through which to consider the constituent attributes of society and culture. Made of ele mental materials\, the figures begin to take on qualities of the environmen t we inhabit. In Jackson&rsquo\;s sculpture\, &lsquo\;flesh&rsquo\; is usua lly implied\, and exists only in the mind of the viewer. For this work\, Ja ckson has integrated tools and processes from horror film special effects. The horror genre reverberates throughout the exhibition as a hyperbolic rem inder of the masks we wear and the roles we play in our daily interaction. Jackson suggests that society is mirrored in the world around us: the gener ated narratives in film\, print and the Internet reflect our interests\, wh o and what we are. &lsquo\;Self-Portrait Progression (monster-self)&rsquo\; can be interpreted as a forensic exploration of the many facets of humanki nd.

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&lsquo\;Frivolous time piece&rsquo\; is a custom-made cuckoo cl ock based on the Apple 2 house in Nevada\, built in 1955 by the Army Corp o f Engineers who wanted to discover how the average American home would fare under nuclear attack. Prior to testing\, the house was &lsquo\;dressed&rsq uo\; like a life-sized dollhouse. Mannequins\, food\, linens and home d&eac ute\;cor were shipped to the testing site to create a &lsquo\;more realisti c&rsquo\; destruction of the home as well as demonstrating the roles in the narrative of American life in the 1950s. Fabricated in the Black Forest\, the clock presents carved representations of the artist&rsquo\;s family: Ma tthew Day Jackson\, his wife\, two sons and dog. Programmed to chime at qua rter past and quarter to the hour\, the clock plays OMD&rsquo\;s &lsquo\;En ola Gay&rsquo\;\, a song that addresses the atomic bombing of Hiroshima on 6 August 1945\, during the final stages of World War II and &lsquo\;Winter Wonderland&rsquo\;\, merging the geographical\, historical and temporal. Th e base of the clock\, reminiscent of a cross-section of Earth\, is a scale model of human skin.

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Using the family dog &lsquo\;Beastie&rsquo\; a s the subject for &lsquo\;Synthesis of Canine Dynamism&rsquo\;\, Jackson co nsiders Futurist works such as Umberto Boccioni&rsquo\;s &lsquo\;Unique For ms of Continuity in Space&rsquo\; in this striking stainless steel sculptur e. Recalling Futurism&rsquo\;s desire to capture movement in image and form \, Jackson employed photography and imaging software to capture the animal in motion for the creation of this sculptural form. The domesticated dog\, its appearance and behaviour\, is an object lesson on the evolution of soci ety over the last 34\,000 years. Jackson explores the perpetual struggle be tween sculpture and movement in this work while responding to our current m oment of radical social and cultural changes stemming from technology. The base of the sculpture is a cast plastic cross-section of the floor in an av erage American suburban home.

DTEND:20141108 DTSTAMP:20140822T150250 DTSTART:20140830 GEO:47.3892908;8.5248503 LOCATION:Hauser & Wirth Zürich\,Limmatstrasse 270 \nZurich\, 8005 SEQUENCE:0 SUMMARY:Family\, Matthew Day Jackson UID:352233 END:VEVENT BEGIN:VEVENT DTEND:20140829T200000 DTSTAMP:20140822T150250 DTSTART:20140829T180000 GEO:47.3892908;8.5248503 LOCATION:Hauser & Wirth Zürich\,Limmatstrasse 270 \nZurich\, 8005 SEQUENCE:0 SUMMARY:Family\, Matthew Day Jackson UID:352234 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Galerie Eva Presenhuber is delighted to announce the second solo exhibition of Los Angeles based artist Sam Falls. The exhibition will feature a new body of work centered around the series of the Fern and Palm Paintings. \;

&bdquo\;These rain and plant works come out of my continued interest in the duality between representation and abstractio n while also employing universal means to bridge the gap between artist and viewer\, as well as the gaps between photography\, painting\, and sculptur e. In a time when mechanical reproduction and technology constantly loom ov er visual art\, I want to reinforce the natural elements as constructive to ols not in opposition\, but more as reciprocation\, undermining the alienat ing means of production that technology continues to offer within art. What I mean is that the camera and darkroom\, or computer and printer\, when em ployed as an artistic tool can create a material distance between productio n and reception that looses both conceptual integrity and a legible recepti on. Like the sun works I&rsquo\;ve made\, the rain can function as a descri ptive artistic tool while also being a universal state of shared experience . As I move around the canvas outside\, the viewer walks to work in the rai n\, drives home to dinner in the rain\, and eventually comes in from the ra in to the gallery.

I took plants as the common subject matter fo r this body of work not only for their legacy in art history\, but their re ference to place. The works here were made from west to east\, from the pal m fronds in my backyard in Venice\, California\, to the abounding ferns bor dering my mom&rsquo\;s hayfield where I grew up in Vermont\, to the trees a round the grounds of a recent residency in Sarvisalo\, Finland. Beyond the native vegetation delineating geography\, these &ldquo\;paintings&rdquo\; r epresent duration and environment\, visible in the scattered heavy rains of Southern California\, to the light spring mist in Vermont\, to the consist ent light drizzle of the Scandinavian archipelago. Representation and abstr action are the fundamental elements of western art history and contemporary art\, respectively\, and the conceptual goal of these works is to address the present relevance of both forms in one work. The works are essentially landscape paintings\, where there is a discrete image of the plant\, as wel l as a pure abstraction unique to the precipitation that created it. Like a photogram\, the image is a negative of the actual subject\, and like an ic on\, the subject surpasses its image to reference a world outside of the pa inting. And like the paintings of Pollock or Frankenthaler\, they&rsquo\;re made flat\, but now on the ground outside by the hand of nature rather tha n the hand of the artist. And that&rsquo\;s what I think is relevant today\ , an image that speaks to an empirical place outside the frame\, and pure a bstraction that returns the viewer to their own references and understandin g of process\, not the ghost of the artist in the studio with an idiosyncra tic impulse and method. Furthermore\, the colors function as a serial descr iptive agent\, they&rsquo\;re chosen at random and used only as an illustra tive tool - their mixture and color combinations a virtue of the material a nd process\, not creative or emotional decisions. \;

As Sol Lewitt said\, &ldquo\;When an artist uses a conceptual form of art\, it mea ns that all of the planning and decisions are made beforehand and the execu tion is a perfunctory affair&rdquo\; (Sol Lewitt\, Paragraphs on Conceptual Art). The palm fronds were harvested from the various palm species in my b ack yard in Venice and placed on the raw canvas\, cut to fit the respective palms\, then a dry pigment is scattered over the entire piece and left for the rain. It rains short and hard\, the canvas is heavily speckled in a sh ort rain and in a longer storm it really blends and runs. As it dries somet imes water from an overhanging palm tree will drop and leave a large heavy drop\, or an alley cat will even walk over the painting\, further describin g the surroundings. \;

The ferns were collected at night fro m a large swath of land and the bare canvas drop cloth large enough to cove r the space would be laid down and the ferns scattered again in situ. With dry pigment again blanketing the entire set-up\, they would be set by the o vernight dew\, retrieved and stored in the barn to dry before the heavy aft ernoon thunderstorms came in. Because of the lightness of the ferns they ha d to be made like this with mist rather than rain\, which I found would flo od the canvas and wash away the ferns and their image. The sun would also c ause the cut ferns to coil and wilt\, so the night time was the right time. The works are quiet and calm compared to the heavy rains of Los Angeles an d the city.

Lastly\, when I arrived for a residency in Finland a t the beginning of June the apple trees were in full bloom and as I watched the flowering trees&rsquo\; pedals fall I realized it was a unique time an d place to be. I set canvases out underneath the trees and secured them to the ground - they collected the falling pedals and after the trees were bar e I proceeded with the earlier explained process. So here not only was the composition of color random but the composition of the subject matter was i ts own doing\, completely natural. \;

The scale of these wor ks is an environmental size\, they inhabited the outdoors before the indoor s. Influenced both by the traditional scale of the studio and massive works of Land Art\, these works reside somewhere in between. Their relational es sence of the project also falls between these histories\, where the studio could be the equivalent of renting a private apartment and Land Art the ass ertive erection of a public building\, these works are &ldquo\;leave no tra ce&rdquo\; camping\; going out into nature with only what you can carry\, s pending time alone and interacting with a shared space\, then taking away w ith you everything you came with\, along with an enriched connection to the work. The ideal translation of this is that it mimics the viewer&rsquo\;s interaction with the work in the gallery. I can faithfully say these works not only serve as a conceptual testament to the tools of nature amidst tech nology\, but the value of our mutual experience of the world in which we li ve.&ldquo\; \;Sam Falls

Sam Falls currently has an exhibition at the Public Art Fund in New York\, NY\, USA. He will also have a solo exhibition at Pomona College\, CA\, USA\, and at the BallRoom Marfa in 2015. Solo and group exhibitions of his work have been held at LAXART\, Los Angeles\, CA\, USA\, 2013\, Madre Museum\, Naples\, Italy\, 2014.  \;

DTEND:20141025 DTSTAMP:20140822T150250 DTSTART:20140830 GEO:47.3863528;8.5169459 LOCATION:Galerie Eva Presenhuber (Maag Areal)\,Zahnradstrasse 21 \nZurich\, 8031 SEQUENCE:0 SUMMARY:Solo Exhibition\, Sam Falls UID:352231 END:VEVENT BEGIN:VEVENT DTEND:20140829T200000 DTSTAMP:20140822T150250 DTSTART:20140829T180000 GEO:47.3863528;8.5169459 LOCATION:Galerie Eva Presenhuber (Maag Areal)\,Zahnradstrasse 21 \nZurich\, 8031 SEQUENCE:0 SUMMARY:Solo Exhibition\, Sam Falls UID:352232 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Galerie Eva Presenhuber is delighted to announce a new exhib ition of Canadian artist Steven Shearer.

Steven Shearer&rsquo\;s practice encompasses many different medias\, from found photography\, draw ing\, and painting to collage and focuses on a melancholic vision of youth\ , tinted by strong references to the iconography of extreme metal cuture. H is world is one of alienation and repulsion towards the everyday\, a world whose heroes are death-metal rockers\, 1970s prefab boy bands and teen star s\, amature glam-rockers and guitar-wielding teenaged suburban dreamers. Sh earer is not interested in the fame of his characters but much more so in t heir downfall. The artist applies to these themes an almost anthropological or phrenological approach\, one in which he obsessively wanders and browse s the internet to create a comprehensive archive of these images\, organise d by him within themes of his own. These subcultures are reflections of She arer&rsquo\;s own suburban youth\, aiming at shedding light onto the insecu rities and vulnerabilities of adolescents\, characteristics that never quit e disappear into adulthood and are at the core of the human soul. \;
Using this set of references as a starting point\, Shearer displays in d elicate drawings and extremely intricate paintings\, portraits of these onc e famous faces\, or unknown characters in a way that reminds one of Pre Rap haelite imagery. This exhibition focuses on portraiture\, a development in the artist&rsquo\;s vision whereby his imagery has overcome his archival ob session\, creating anonymous\, androgynous characters\, whose averted gaze emphasises their objectification as well as their own self absorbed and ego centric entities. \;
On display is also a large group of Poems\, a series of drawings that the artist has pursued throughout his career\, ins pired by scatological and blasphemous Black &\; Death Metal song titles and text written by the artist\, it presents visions of the nihilistic subl ime and draws attention to its operatic poetry but also to its relations wi th broader histories and traditions.

It is not the violence or t he blasphemous aspect of these images that is most striking in these works\ , but indeed\, Shearer&rsquo\;s delicacy\, sincerity and craftsmanship\, su ccessfully allowing the viewer to find himself in the experience of others.  \;

Steven Shearer will have 2017 a big exhibition at the Na tional Gallery of Canada in Ottawa. He has represented Canada at the 54th V enice Biennale\, and has had solo exhibitions worldwide in institutions suc h as University Museum of Arts and Sciences\, Mexico\, 2008\, New Museum\, New York/NY\, USA\, 2008\, The Power Plant\, Toronto/ON\, Canada\, 2007\, I kon Gallery\, Birmingham\, UK\, 2007\, De Appel. Center for Contemporary Ar t\, Amsterdam\, Netherlands\, 2007. Group exhibitions including his works h ave been held at Palais de Tokyo\, Paris\, FR\, Seattle Art Museum\, Seattl e/WA\, USA\, Kunstforum Ostdeutsche Galerie\, Regensburg\, Germany\, Renais sance Society\, Chicago/IL\, USA\, Kunstmuseum Luzern\, Luzern\, Switzerlan d\, Casino Luxembourg. Forum d'Art Contemporain\, Luxembourg.

DTEND:20141025 DTSTAMP:20140822T150250 DTSTART:20140830 GEO:47.3892908;8.5248503 LOCATION:Galerie Eva Presenhuber (Löwenbräu-Areal)\,Limmatstr. 270\, \nZuri ch\, CH-8005 SEQUENCE:0 SUMMARY:Solo Exhibition\, Steven Shearer UID:352229 END:VEVENT BEGIN:VEVENT DTEND:20140829T200000 DTSTAMP:20140822T150250 DTSTART:20140829T180000 GEO:47.3892908;8.5248503 LOCATION:Galerie Eva Presenhuber (Löwenbräu-Areal)\,Limmatstr. 270\, \nZuri ch\, CH-8005 SEQUENCE:0 SUMMARY:Solo Exhibition\, Steven Shearer UID:352230 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Galerie Eva Presenhuber is pleased to announce the first exh ibition of New York based artist Wyatt Kahn.

Wyatt Kahn has come to prominence on the international art scene with a series of works using a technique that he developed\, building forms by cutting shaped MDF stretc her panels and covering them with raw canvas. He then assembles them togeth er\, using the three dimensional elements to create a two dimensional work. This allows him to explore the realm of the pictorial composition beyond t he traditional techniques and avoids flatness. The gaps between the stretch ers create the lines of an abstract composition but also opens the possibil ity for another space and another image\, thus the wall on which the canvas is hanging becomes an active part of the work. \;
Having evolved from using white canvases\, the artist explored the possibility of an under lying monochromatic color\, creating different hues of colors on the surfac e\, allowing that color to come through in a muted way. \;
For thi s new exhibition\, Kahn presents a new body of work which focuses on a conc ept of representation of an object through all its aspects: visual\, sensat ional and conceptual. For these works\, the shaped stretchers come together to create the shape of the actual object\, the motifs used to cover the fi rst layer of the stretchers are the epitome of the representation of that o bject\, drawn by hand in an almost automatic way. These works are extremely intricate and also fathom the possibility of synesthesia in a visual form.  \;

Wyatt Kahn will have a solo exhibition at the Contempora ry Art St Louis Museum in 2015\, and has had solo shows at LAXART in Los An geles\, USA 2014 and was part of ReMap 4 in Athens\, Greece. \;
He has received his BFA from the School of the Art Institute of Chicago in 20 06 and his MFA from Hunter College in New York in 2012. \;

DTEND:20141025 DTSTAMP:20140822T150250 DTSTART:20140830 GEO:47.3892908;8.5248503 LOCATION:Galerie Eva Presenhuber (Löwenbräu-Areal)\,Limmatstr. 270\, \nZuri ch\, CH-8005 SEQUENCE:0 SUMMARY:Solo Exhibition\, Wyatt Kahn UID:352227 END:VEVENT BEGIN:VEVENT DTEND:20140829T200000 DTSTAMP:20140822T150250 DTSTART:20140829T180000 GEO:47.3892908;8.5248503 LOCATION:Galerie Eva Presenhuber (Löwenbräu-Areal)\,Limmatstr. 270\, \nZuri ch\, CH-8005 SEQUENCE:0 SUMMARY:Solo Exhibition\, Wyatt Kahn UID:352228 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In the field of watercolor Johnson's approach is both unique and recognizable. Multiple layers of watercolor medium give these painting s a patina saturated in color. Mystery serves as the background for his exp loration and development of each tree which are botanically correct or crea ted. This has been his signature style for many years. Very small to full s heet paintings will be displayed.

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Artist Talk on Sunday the 21st at 11:00am \; \;

DTEND:20140928 DTSTAMP:20140822T150250 DTSTART:20140902 GEO:45.5262912;-122.6831303 LOCATION:Waterstone Gallery\,424 NW 12th Ave \nPortland\, Oregon 97209 SEQUENCE:0 SUMMARY:Themes and variations\, Scott Johnson UID:352224 END:VEVENT BEGIN:VEVENT DTEND:20140903T210000 DTSTAMP:20140822T150250 DTSTART:20140903T170000 GEO:45.5262912;-122.6831303 LOCATION:Waterstone Gallery\,424 NW 12th Ave \nPortland\, Oregon 97209 SEQUENCE:0 SUMMARY:Themes and variations\, Scott Johnson UID:352225 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140831 DTSTAMP:20140822T150250 DTSTART:20140825 GEO:60.1633568;24.9420087 LOCATION:Sinne\,Iso Roobertinkatu 16 \nHelsinki\, 00120 SEQUENCE:0 SUMMARY:Black Market UID:352223 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ShanghART Gallery is honoured to present Sun Xun&rsquo\;s so lo exhibition \;'Palimpsestes&rsquo\; on 29th August to 5th October 201 4. The exhibition showcases 23 paintings from the \;&lsquo\;Palimpseste s&rsquo\; collection created by Sun Xun from 2013 &ndash\; 2014. It is a se ries of illustration\, painted \;directly on tree barks\, presenting th e idea that the existence of a story unfolds before the creation of \;p aper.
&lsquo\;Palimpsestes&rsquo\; is the Latin word for the first pri meval book made from goatskin which words were inked\, \;scraped off it s content and re-written or painted again\, in doing so\, destruction and c ontinuity appears \;to exist on the same medium.
The repetitive pr ocess of writing and erasing seems to be a metaphor of a story dissolving i nto eternality\, as the same story becomes part of another narrative and mo ving into annals of history contemporaneously.
Sun Xun&rsquo\;s main a rtistic practice of an animated film is presented in a different but simila r framework in \;this series\, expanding his narrative creation in vari ous approaches comparable to a dictionary\, drama \;or a monument. Thes e oeuvre reflects the artist&rsquo\;s rumination on the past\, present and being in the \;moment\, as well as his explorations and experimentation of the multifarious narrative medium.

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ARTIST INTRODUCTION
Sun Xun (b.1980) was born in Fuxin\, Liaoning Province. He currently lives and works in Beijing. He graduated from the China Academy of Fine Arts in 2005 and founded &pi\; Animation Studio in the following year. Sun Xun complete d his first 3D animated film "Magic Party and Dead Crow\," which was \; nominated in the 8th Rome Film Festival 2013\, and has received Young Artis t Award in The 8th AAC Art \;China Awards for the Most Influential in 2 014. Some notable awards include Best Young Artist\, Chinese \;Contempo rary Art Awards (2010)\, Young Art Award\, Taiwan Contemporary Art Link (20 10)\, and the Arts \;Fellowship by Citivella Ranieri Foundation\, Italy (2010).
Sun Xun&rsquo\;s recent major exhibitions include Yesterday I s Tomorrow\, Hayward Gallery\, London\, UK (2014)\; Brave New World\, Edoua rd Malingue Gallery\, Hong Kong (2014)\; Magician Party and Dead Crow\, Sha nghART Beijing\, Beijing (2013)\; The 4th Moscow International Biennale for Young Artists Exhibition in Moscow\, Russia (2014)\; My Generation: Chines e Young Artists\, Tampa Museum of Art >\;and Museum of Fine Arts\, St. Pe tersburg\, Florida\, U.S.A (2014)\; Chinese Ink: Past as Present in Contemp orary China\, The Metropolitan Museum of Art\, New York\, U.S.A (2013)\; Do cumentary Fortnight 2013\, MoMA&rsquo\;s International Festival of Nonficti on Film and Media\, New York\, U.S.A (2013).

DTEND:20141003 DTSTAMP:20140822T150250 DTSTART:20140829 GEO:1.278398;103.804586 LOCATION:ShanghART Singapore\,9 Lock Road\, #02-22\, Gillman Barracks\, \nS ingapore\, 108937 SEQUENCE:0 SUMMARY:PALIMPSESTES \, Sun Xun UID:352222 END:VEVENT BEGIN:VEVENT DTEND:20140829T210000 DTSTAMP:20140822T150250 DTSTART:20140829T180000 GEO:1.278398;103.804586 LOCATION:ShanghART Singapore\,9 Lock Road\, #02-22\, Gillman Barracks\, \nS ingapore\, 108937 SEQUENCE:0 SUMMARY:PALIMPSESTES \, Sun Xun UID:352243 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Administration is just Oulipian Poetry \;is a s ignificant solo exhibition by Western Australian born\, Los Angeles-based a rtist\, George Egerton-Warburton.

A large architectural interven tion will see carved pieces of the gallery walls suspended from a sprawling 7 metre mobile\, an exploration of the ways in which our creative energies and small artistic gestures can affect the balance of power. Egerton-Warbu rton's interconnected installation will see the gallery filled with paintin gs\, videos\, sculptures and the scent of rain on dirt\, as it collectively forms a sensorially charged\, contemplative environment.

The ar tist is creating a world within a world where everything is literally held in the balance\, but where\, perhaps\, the small joys and tiny tedious acti ons of the everyday administration of our lives can be considered poetic an d artistic.

DTEND:20141102 DTSTAMP:20140822T150250 DTSTART:20140913 GEO:-31.9490864;115.8593222 LOCATION:PICA - Perth Institute of Contemporary Art\,Perth Cultural Centre\ , James Street \nPerth\, WA 6000 SEQUENCE:0 SUMMARY: Administration is Oulipian Poetry\, George Egerton-Warburton UID:352221 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Talented WA artist Erin Coates has been commissioned to re-s hape the geography of the PICA spaces through an ambitious and grand scale installation\, inspired by the artist's background in urban climbing and in terest in architecture. Coates creates a new landscape inside PICA\, connec ting the ground and first floors with a 7 metre high mountainous structure housing a micro-cinema and surrounded by wall drawings\, a 3D film and an i nteractive climbing room.

For this project Coates draws a fluid relationship between drawing\, 3-dimensional structures and moving image. E ach element interacts with another: the towering central architectural scul pture is formed from the tessellating lines based on the points of contact made during her climbs\; recordings of bodies moving across built forms gen erate the shapes of cast climbing holds in the gallery\; and large diagramm atic wall drawings reveal a matrix of invisible routes and information laye red over architecture and public art throughout the city. \;

KINESPHERE \;is a major solo project that uses utopic\, absur dist and guerrilla strategies to find new physical interactions with everyd ay environs and to critically challenge the way we are patterned to read an d use the built environment. It is a significant new project by a Western A ustralian artist at a pivotal point in her career.

DTEND:20141102 DTSTAMP:20140822T150250 DTSTART:20140913 GEO:-31.9490864;115.8593222 LOCATION:PICA - Perth Institute of Contemporary Art\,Perth Cultural Centre\ , James Street \nPerth\, WA 6000 SEQUENCE:0 SUMMARY:KINESPHERE\, Erin Coates UID:352220 END:VEVENT END:VCALENDAR