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Heather Gaudio Fine Art is pleased to prese nt its upcoming exhibition &ldquo\;Turns of Phrase&rdquo\; featuring sculpt ure by John Clement and paintings by Matthew Heller. \; The exhibition will be held June 4-July 9\, with an opening reception for the artists on S aturday\, June 11 from 5-7pm.

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John Clement brings color and monumentality to three-dimensional curvilinear fo rms made of steel. \; A disciple of Mark di Suvero and John Henry\, two of the most renowned sculptors of our time\, Clement learned the art of we lding\, rigging and engineering\, and developed a keen understanding for la rge-scale public artworks. \; He skillfully coils and welds long steel pipes to form deceivingly simple yet elegant ellipses\, accentuating surrou nding architecture or landscape with pops of bright color. \; \; Ar cs\, angles and intersecting lines imply movement and create playful doodle s on positive and negative spaces. \; Based in New York City\, Clement has had numerous exhibitions and public commissions across the United State s and abroad. \; The exhibit will showcase sculptures in different size s that can be placed in or outdoors.

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Also included in the show is t he language-based artwork of Mathew Heller\, an artist who resides in Los Angeles. Heller draws from a personal narrative for inspira tion\, using a visual form favored by Conceptual artists during the 1960s.& nbsp\; \; His paintings replace imagery with poems or lyrics\, words pa inted on canvas in the form of printed text.  \; \;Some of the pros e comes from his own writings\, others from poems or songs by cultural lege nds such as John Lennon and David Bowie. The language gets re-contextualize d and can be interpreted not only for what it states but how the typography occupies the space on the canvas. \; Other works in the show focus on a particular word\, either repeated multiple times on the canvas\, or pains takingly painted to deceive the viewer into thinking it is done with materi als other than paint.

DTEND:20160709 DTSTAMP:20160531T011219 DTSTART:20160604 GEO:41.1461135;-73.4933388 LOCATION:Heather Gaudio Fine Art\,21 South Avenue \nNew Canaan\, CT 06840 SEQUENCE:0 SUMMARY:"Turns of Phrase"\, John Clement and Matthew Heller UID:419772 END:VEVENT BEGIN:VEVENT DTEND:20160611T190000 DTSTAMP:20160531T011219 DTSTART:20160611T170000 GEO:41.1461135;-73.4933388 LOCATION:Heather Gaudio Fine Art\,21 South Avenue \nNew Canaan\, CT 06840 SEQUENCE:0 SUMMARY:"Turns of Phrase"\, John Clement and Matthew Heller UID:419773 END:VEVENT BEGIN:VEVENT DESCRIPTION:

As every citizen with a smartphone\, laptop or tablet knows\ , photography is becoming increasingly &lsquo\;distributed&rsquo\;. Driven by the vast replicative power of digital algorithms\, photographs now move with tremendous speed across a wide variety of devices and platforms. The d istinction between the still and the moving image is becoming increasingly blurred. At the same time\, digital vision is now profoundly social\, impli cated in many \;areas of human activity. Certainly\, this is having an impact on practice as younger artists in particular work with a range of me dia and no longer easily describe themselves as photographers.

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In o ur daily work we find ourselves speaking more of the photographic than phot ography\, of photographic media\, rather than the medium. This poses a chal lenge for a photography museum with a distinctive\, but significantly analo gue history. We are convinced that Fotomuseum Winterthur needs to react dec isively and that this means far more than simply re-embracing a rather out- dated &lsquo\;digital turn&rsquo\;.

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On 10 April 2015 Fotomuseum Win terthur launched \;a new exhibition format titled SITUATIONS\, which al lows us to react more quickly to developments within photographic culture. The role of SITUATIONS is to define Fotomuseum Winterthur&rsquo\;s vision o f what photography is becoming\, at the same time offering an innovative in tegration of physical exhibition space and virtual forum. Using tags and cl usters as a mode of curatorial classification the aim is to integrate the r eal and the virtual in relation to exhibition in a new way.

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Numbere d consecutively\, a SITUATION may last a few hours\, or two months\, and mi ght be photographic imagery\, a film\, a text\, an on-line interview\, a sc reenshot\, a photo-book presentation\, a projection\, a Skype lecture\, a p erformance etc. It might take place in Winterthur or perhaps in Sã\;o Paulo or Berlin and be streamed on our website. The idea is to construct a constantly growing archive of SITUATIONS\, reframing the idea of exhibitio n in relation to new technologies and both our local and global audiences.< /p>\n

The SITUATIONS programme is organised around key clusters: the firs t was Relations (SITUATIONS #1 to #8)\, examining the changing soc ial ontology of photography in relation to digital culture. The second clus ter Seeing Machines (SITUATION #9 to #19) explored the way that te chnologies of seeing are increasingly devoid of human agency\, the unpreced ented power of algorithmic vision developing a new mode of &lsquo\;seeing&r squo\;. Formats (SITUATION #20 to #22)\, the third cluster\, dealt with lost and changing visual formats and the implications of these medial transformations for an examination of art and photography. Cluster four\, Vanishing (SITUATION #23 to #27)\, explored the transitional momen ts inherent in the act of vanishing and asked how\, and in what way\, these moments are marked by the dynamics of (re-)configuration and (re-)appearan ce. \;Witnessing radical transformations in the production\, distributi on and consumption of images that migrate across mobile and interactive dis plays\, the fifth cluster\, (in)stability \;(SITUATION #28 to #31)\, revolved around moments of (in)stability in the history and contempo rary experience of photography and film. Cluster six\, Play (SITUA TION #32 to #38) looked at new play practices and platforms &ndash\; \; artistic game modifications\, the gamification of photography\, or new form s of social online interaction &ndash\; \; that have emerged in the dig ital realm\, questioning\, in turn\, how new parameters of game/play challe nge the agency of the players. Each cluster can be searched and reordered b y visitors in the SITUATIONS online archive using a system of tags. Over ti me\, new clusters and combinations &ndash\; and new virtual exhibitions &nd ash\; will emerge.

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The latest cluster\, launched on 28 May 2016\, i s Proletariats (SITUATION #39 to 40). This cluster looks at issues of labour from a historical perspective. How can the complex imbrications of labour\, subjectivity\, gender and social positioning be deconstructed t hrough artistic strategies of representation? What role do photographic and visual media play in the constitution of labour &ndash\; and what is their potential for political agency and their capacity to trigger revolt?

DTEND:20160828 DTSTAMP:20160531T011219 DTSTART:20160528 GEO:47.4961116;8.73879 LOCATION:Fotomuseum Winterthur\,Gruzenstrasse 44 + 45 \nWinterthur\, Zurich 8400 SEQUENCE:0 SUMMARY:SITUATIONS / Proletariats UID:419679 END:VEVENT BEGIN:VEVENT DTEND:20160527T210000 DTSTAMP:20160531T011219 DTSTART:20160527T180000 GEO:47.4961116;8.73879 LOCATION:Fotomuseum Winterthur\,Gruzenstrasse 44 + 45 \nWinterthur\, Zurich 8400 SEQUENCE:0 SUMMARY:SITUATIONS / Proletariats UID:419680 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Although largely ignored in its day\, the short-lived magazi ne Provoke (1968&ndash\;1969) was one of the most important photographic pu blications of the 20th century. In existence for just three issues\, it cry stallized the best in Japanese photography from the 1960s. This major exhib ition is the first to explore the full context and influence of the magazin e as a collective project. It situates Provoke between the political moveme nts of the 1960s and the flourishing of photography in relation to Japanese performance art during the early 1970s. In a lively installation that feat ures works by Nobuyoshi Araki\, Eikō Hosoe\, Kazuo Kitai\, Daidō Moriyama\, Takuma Nakahira\, Shōmei Tōmatsu and many more\, the exhibition explores t he magazine&rsquo\;s work of provocation\, reflecting both the spirit of pr otest and the performative aspects of Japanese camera work.

DTEND:20160828 DTSTAMP:20160531T011219 DTSTART:20160528 GEO:47.4961116;8.73879 LOCATION:Fotomuseum Winterthur\,Gruzenstrasse 44 + 45 \nWinterthur\, Zurich 8400 SEQUENCE:0 SUMMARY:Provoke: Between Protest and Performance – Photography in Japan 196 0–1975\, Nobuyoshi Araki\, Eikō Hosoe\, Kazuo Kitai\, Daido Moriyama\, Taku ma Nakahira\, Shomei Tomatsu UID:419675 END:VEVENT BEGIN:VEVENT DTEND:20160527T210000 DTSTAMP:20160531T011219 DTSTART:20160527T180000 GEO:47.4961116;8.73879 LOCATION:Fotomuseum Winterthur\,Gruzenstrasse 44 + 45 \nWinterthur\, Zurich 8400 SEQUENCE:0 SUMMARY:Provoke: Between Protest and Performance – Photography in Japan 196 0–1975\, Nobuyoshi Araki\, Eikō Hosoe\, Kazuo Kitai\, Daido Moriyama\, Taku ma Nakahira\, Shomei Tomatsu UID:419676 END:VEVENT BEGIN:VEVENT DESCRIPTION:

FACULTY FOCUS 2016
New Work from the S outheast Center for Photographic Studies

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June 8 &ndash\; September 24\, 2016

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Exhibition Opening Reception: Wednesday\ , June 8\, 5:00 &ndash\; 7:00 p.m.

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FEATURING: Steven Benson ▪ Dan Biferie ▪ Eric Breitenbach ▪ Charles Hodges ▪ Steffen Mittelhaeuser ▪ Gary Monroe ▪ Justin Nolan ▪ Patricia Nuss ▪ Per Hans Romnes ▪ Jayanti Se iler ▪ Steven Spencer ▪ Laine M. Wyatt

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Faculty Focus exhibitions are presented biennially and feature photo graphic works from faculty of the Southeast Center for Photographic Studies \, a joint enterprise of the photography programs at Daytona State College\ , the University of Central Florida (Daytona Campus) and the Southeast Muse um of Photography. This year&rsquo\;s exhibition is a survey of new work by photography professors with Daytona State College and the University of Ce ntral Florida\, Daytona Beach.

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Museum Hours: T\,Th \,F: 11-5 pm\, W: 11-7 pm\, Sat: 1-5 pm. Closed Sundays &\; Mond ays and for Summer Recess (August 1-15\, 2016)

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The Southeast Museum of Photography is a service of Daytona State Coll ege\, 1200 W. International Speedway Blvd. (Building 1200) Daytona Beach\, FL\, 32114\, 386-506-4475.

DTEND:20160525 DTSTAMP:20160531T011219 DTSTART:20160525 GEO:29.201418;-81.047031 LOCATION:Southeast Museum of Photography\,1200 International Speedway Blvd. \, Bld. 1200 Daytona State College\nDaytona Beach\, FL 32114 SEQUENCE:0 SUMMARY:FACULTY FOCUS 2016\, Steven Benson ▪ Dan Biferie ▪ Eric Breitenbach ▪ Charles Hodges ▪ Steffen Mittelhaeuser ▪ Gary Monroe ▪ Justin Nolan ▪ Pa tricia Nuss ▪ Per Hans Romnes ▪ Jayanti Seiler ▪ Steven Spencer ▪ Laine M. Wyatt UID:419460 END:VEVENT BEGIN:VEVENT DTEND:20160608T190000 DTSTAMP:20160531T011219 DTSTART:20160608T170000 GEO:29.201418;-81.047031 LOCATION:Southeast Museum of Photography\,1200 International Speedway Blvd. \, Bld. 1200 Daytona State College\nDaytona Beach\, FL 32114 SEQUENCE:0 SUMMARY:FACULTY FOCUS 2016\, Steven Benson ▪ Dan Biferie ▪ Eric Breitenbach ▪ Charles Hodges ▪ Steffen Mittelhaeuser ▪ Gary Monroe ▪ Justin Nolan ▪ Pa tricia Nuss ▪ Per Hans Romnes ▪ Jayanti Seiler ▪ Steven Spencer ▪ Laine M. Wyatt UID:419461 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An exhibition of posters reali sed by Mac Adams\, Darren Banks\, Eva Barto\, Olivier Castel\, Philippe Dec rauzat\, Peter Downsbrough\, Charles de Meaux\, Charlotte Moth\, Mai-Thu Pe rret\, Denis Savary\, Laurent Schmid\, Nicolas Eigenheer &\; Jeremy Scho rderet\, Phoebe Unwin\, Jacques Villeglé\;\, Alan Vega\, and Lawrence Weiner.

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Along with trailers realised with Nick Cave\, F.M. Einheit\, Cosey Fanni Tutti\, Sam Gleaves\, Lee Rana ldo\, Laetitia Sadier\, Susan Stenger\, and Alan Vega.

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The Exhibition of a Film is an exhibition as a f eature film for cinemas. Parallel to the release of the film directed by Ma thieu Copeland and produced by the HEAD-Genè\;ve &ndash\; originally presented as part of the Biennial of Moving Images 2014\, and subsequently at Tate Modern and the Centre Pompidou in 2015\, and alongside with the rel ease of the eponymous book &ndash\; the Centre d&rsquo\;Art Contemporain Ge nè\;ve in co-production with the CNEAI is pleased to present an exhib ition of the derivative products accompanying the film.

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Taking its construct both within th e reality of a film and the possible textures offered by the cinematic envi ronment\, The Exhibition of a Film (L&rsquo\;Exposition d&rsquo\;un fil m) is thought as a polyphony of sound and images and aims at being som ething other than a structuralist &lsquo\;epic&rsquo\;\, or a suite of arti st&rsquo\;s short films one after the other. Instead\, each layer is consti tutive of the whole\, becoming a potential field of action. An exhibition f or a context\, namely a film screened in a cinema\, that brings together 46 major artists\, visual artists\, choreographers\, performers or musicians\ , all having a specific relationship with moving image. Bound by the intrin sic properties of this social space\, The Exhibition of a Film is as much an exhibited film\, the film of an exhibition and a filmed exhibiti on.

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The book\, The Exhibition of a Film\, proposes what wo uld an exhibition be if we changed the environment from the gallery\, museu m\, or Kunsthalle\, to that of the cinema? Expanded\, this anthology is art iculated through a series of interviews\, commissioned text and reprints th at examine the relationship between the exhibition and film: their temporal ities\, their space\, their mode of production.

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The publication The Exhibition of a Film features contributions by Mac Adams\, Chanta l Akerman\, Fia Backströ\;m\, Darren Banks\, Eva Barto\, Franç\;o is Bovier\, Olivier Castel\, Philippe Decrauzat\, Peter Downsbrough\, Tim E tchells\, Morgan Fisher\, Liam Gillick\, John Giorno\, Lore Gablier\, Phili ppe Grandrieux\, Joanna Hogg\, Isidore Isou\, Christian Lebrat\, Anne Marqu ez\, Charles de Meaux\, Claudia Mesch\, Philippe-Alain Michaud\, Meredith M onk\, Charlotte Moth\, Mai-Thu Perret\, Lee Ranaldo\, Denis Savary\, Lauren t Schmid\, Leah Singer\, Susan Stenger\, Phoebe Unwin\, Andrew V. Uroskie\, Ben Vautier\, Alan Vega\, Jacques Villeglé\;\, Lawrence Weiner\, Api chatpong Weerasethakul\, Ian White. Edited by Mathieu Copeland\, and publis hed by the HEAD Geneva University of Art and Design and Les Presses du R&ea cute\;el.

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Une exposition de posters ré\;alisé\;s par Mac Adams\, Dar ren Banks\, Eva Barto\, Olivier Castel\, Philippe Decrauzat\, Peter Downsbr ough\, Charles de Meaux\, Charlotte Moth\, Mai-Thu Perret\, Denis Savary\, Laurent Schmid\, Nicolas Eigenheer &\; Jeremy Schorderet\, Phoebe Unwin\ , Jacques Villeglé\;\, Alan Vega\, et Lawrence Weiner.

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Ainsi que des bandes-annonces ré\;alisé \;es avec Nick Cave\, F.M. Einheit\, Cosey Fanni Tutti\, Sam Gleaves\, Lee Ranaldo\, Laetitia Sadier\, Susan Stenger\, et Alan Vega.

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L'exposition d'un film est une exposition conç\; ue comme un long mé\;trage ciné\;matographique. En parall&egrav e\;le de la sortie du film ré\;alisé\; par Mathieu Copeland et produit par la HEAD-Genè\;ve &ndash\; pré\;senté\; initia lement dans le cadre de la Biennale de l'Image en Mouvement 2014\, puis not amment en 2015 à\; la Tate Modern ainsi qu'au Centre Pompidou\, et po ur accompagner la sortie du livre é\;ponyme &ndash\; le Centre d'Art Contemporain Genè\;ve en co-production avec le CNEAI se ré\;jou it de pré\;senter une exposition des objets dé\;rivé\;s\, dé\;rivants et annonceurs qui accompagnent le film.

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Partant autant de la ré\;alité\; du film que de l'ensemble des textures que recouvre le ciné\;ma\, L'Expositio n d'un Film propose une choré\;graphie polyphonique qui ne se pense p as comme un «\;é\;pique»\; film structurel et structuralist e\, et se situe à\; l'opposé\; d'une suite de sé\;quences s'ajoutant les unes aux autres. Discré\;pante\, chaque strate consti tutive de l'ensemble s'offre comme autant de champs d'actions possibles. Un e exposition pour un contexte\, soit un film pré\;senté\; en sa lle de ciné\;ma rassemblant 46 artistes majeurs qui ont tous un rappo rt spé\;cifique au ciné\;ma\, qu'ils soient plasticiens\, chor& eacute\;graphes\, performers ou musiciens. Contrainte par les proprié \;té\;s intrinsè\;ques de cet espace social\, L'Exposition d'un Film s'affirme à\; la fois comme un film exposé\;\, le film d' une exposition ou encore comme une exposition filmé\;e.

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L'ouvrage L'Exposition d' un Film propose ce que serait une exposition qui\, au lieu de prendre place dans un musé\;e ou dans une galerie\, prendrait place au cin&ea cute\;ma. Cette anthologie se donne pour ambition\, à\; partir d'un e nsemble d'entretiens\, de textes de commande et de textes republié\;s pour l'occasion\, de revenir sur le rapport entre l'exposition et le film : leurs temporalité\;s\, leurs espaces\, ou encore leurs modes de pro ductions.

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La publication L'Exposi tion d'un Film regroupe des contributions de Mac Adams\, Chantal Akerm an\, Fia Backströ\;m\, Darren Banks\, Eva Barto\, Franç\;ois Bovi er\, Olivier Castel\, Philippe Decrauzat\, Peter Downsbrough\, Tim Etchells \, Morgan Fisher\, Liam Gillick\, John Giorno\, Lore Gablier\, Philippe Gra ndrieux\, Joanna Hogg\, Isidore Isou\, Christian Lebrat\, Anne Marquez\, Ch arles de Meaux\, Claudia Mesch\, Philippe-Alain Michaud\, Meredith Monk\, C harlotte Moth\, Mai-Thu Perret\, Lee Ranaldo\, Denis Savary\, Laurent Schmi d\, Leah Singer\, Susan Stenger\, Phoebe Unwin\, Andrew V. Uroskie\, Ben Va utier\, Alan Vega\, Jacques Villeglé\;\, Lawrence Weiner\, Apichatpon g Weerasethakul\, Ian White. Edité\; par Mathieu Copeland et publi&ea cute\; par avec la HEAD &ndash\; Haute é\;cole d'art et de design\, G enè\;ve et les Presses du Ré\;el.

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DTEND:20160619 DTSTAMP:20160531T011219 DTSTART:20160520 GEO:46.198733;6.1376678 LOCATION:Centre d’Art Contemporain Genève\,10\, Rue des Vieux-Grenadiers 12 05 \nGenève\, 1205 SEQUENCE:0 SUMMARY:L’Exposition d’un film (produits dérivés)\, Mac Adams\, Darren Bank s\, Eva Barto\, Olivier Castel\, Philippe Decrauzat\, Peter Downsbrough\, C harles de Meaux\, Charlotte Moth\, Mai-Thu Perret\, Denis Savary\, Laurent Schmid\, Nicolas Eigenheer\, Jeremy Schorderet\, Phoebe Unwin\, Jacques Vil leglé\, Alan Vega\, Lawrence Weiner UID:419402 END:VEVENT BEGIN:VEVENT DTEND:20160519T200000 DTSTAMP:20160531T011219 DTSTART:20160519T180000 GEO:46.198733;6.1376678 LOCATION:Centre d’Art Contemporain Genève\,10\, Rue des Vieux-Grenadiers 12 05 \nGenève\, 1205 SEQUENCE:0 SUMMARY:L’Exposition d’un film (produits dérivés)\, Mac Adams\, Darren Bank s\, Eva Barto\, Olivier Castel\, Charles de Meaux\, Philippe Decrauzat\, Pe ter Downsbrough\, Nicolas Eigenheer\, Charlotte Moth\, Mai-Thu Perret\, Den is Savary\, Laurent Schmid\, Jeremy Schorderet\, Phoebe Unwin\, Alan Vega\, Jacques Villeglé\, Lawrence Weiner UID:419403 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Each year\, a dozen Genevan ar tists and makers compete for one of the bursaries awarded by the Berthoud\, Lissignol-Chevalier and Galland funds of the City of Geneva within the fie ld of plastic and applied arts.

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The e xhibition of the nominees at the Centre offers a true picture of youthful c reativity in Geneva\, demonstrating the different visions of the world that co-exist in the city.

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For this 18th edition at the Centre\, special consideration will be given to fashion desi gn and painting\, alongside singular and varied installations.

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NOMINATED ARTISTS 2016
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Emmanuelle Bayart
Delphine Depres
Bastien Gachet
Fé\;licien Goguey
Simone Holliger
Zara Idelson
Cl&e acute\;mentine Kü\;ng
Yoan Mudry
Zora Oberhä\;nsli
P ilar Pilar
Alan Schmalz

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Chaque anné\;e\, une douzaine d'artistes et cré\;ateurs de Gen& egrave\;ve concourent pour l'une des bourses offertes par les Fonds Berthou d\, Lissignol-Chevalier et Galland de la Ville de Genè\;ve\, dans le domaine des arts plastiques et des arts appliqué\;s.

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L'exposition des nominé\;s au Centre propose un vé\;ritable é\;tat de la jeune cré\;ation à\; Gen& egrave\;ve\, té\;moigne des diffé\;rentes visions du monde qui y coexistent.

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Pour cette 18è\;m e é\;dition au Centre\, une place particuliè\;re est accord&eac ute\;e au stylisme et à\; la peinture\, aux cô\;té\;s d&rs quo\;installations singuliè\;res et varié\;e.

DTEND:20161016 DTSTAMP:20160531T011219 DTSTART:20160916 GEO:46.198733;6.1376678 LOCATION:Centre d’Art Contemporain Genève\,10\, Rue des Vieux-Grenadiers 12 05 \nGenève\, 1205 SEQUENCE:0 SUMMARY:Bourses de la Ville de Genève 2016\, Emmanuelle Bayart\, Delphine D epres\, Bastien Gachet\, Félicien Goguey\, Simone Holliger\, Zara Idelson\, Clémentine Küng\, Yoan Mdry\, Zora Oberhänsli\, Pilar Pilar\, Alan Schmalz UID:419400 END:VEVENT BEGIN:VEVENT DTEND:20160915T200000 DTSTAMP:20160531T011219 DTSTART:20160915T180000 GEO:46.198733;6.1376678 LOCATION:Centre d’Art Contemporain Genève\,10\, Rue des Vieux-Grenadiers 12 05 \nGenève\, 1205 SEQUENCE:0 SUMMARY:Bourses de la Ville de Genève 2016\, Emmanuelle Bayart\, Delphine D epres\, Bastien Gachet\, Félicien Goguey\, Simone Holliger\, Zara Idelson\, Clémentine Küng\, Yoan Mdry\, Zora Oberhänsli\, Pilar Pilar\, Alan Schmalz UID:419401 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Centre d&rsquo\;Art Contem porain Genè\;ve is happy to present Night Shift\,the first m ajor solo exhibition in a Swiss institution by Swiss artist Sonia Kacem (b. 1985\, Geneva)\, from 20 May to 14 August 2016.

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Since its origins\, the work of Sonia Kacem is driven by the de eply intuitive and sensual relationship she has with her chosen materials. Her voluminous ephemeral site-specific compositions are the result of an ar ray of spontaneous gestures\, which use a kind of performative system attem pting to merge the content and the container\, the macro- and the microscop ical.

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The ephemeral and modular aspec t of Sonia Kacem&rsquo\;s installation requires preliminary plastic researc h work\, taking place in the studio. She stores an array of materials that might one day serve her: dust samples\, pieces of fabrics\, sketches\, mode ls\, bric-a-brac of objects\, books where she jots down ideas and reinterpr ets old works to develop new ones.

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Night Shift was conceived during her four-month residency at the Cen tre\, and reflects its own architectural format. Objects manufactured in th e industrial world and the matter &ndash\; retrieved or rented for the occa sion &ndash\; are here taken out of context\, deprived of their artifact st atus\, grouped and staged in provisional situations echoing the two very di stinct spaces intended to receive them: the open space of the second floor\ , with its natural light\, evoking a horizon versus the fragmentation of th e closed rooms of the third floor.

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These autonomous and built forms confront the random and disorderly nature of installation. Through its sculptural components and i ts appearance of dé\;cor\, this project walks the trails of fiction o r drama\, question the notion of the status of the artwork and of the produ ction cycle while staying in the abstract register.

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Sonia Kacem studied at the Haute é\;cole d&rsquo\;art et de design (HEAD) in Geneva and at the CCW Graduate School\, University o f the Arts in London. Today she lives and works in Geneva. She has had solo exhibitions at\, amongst others: Kunsthalle Sankt Gallen\; Kunstverein N&u uml\;rnberg\; Galerie Gregor Staiger\, Zurich\; La Rada\, Locarno\; T293\, Rome. Her work has also been shown in group exhibitions in Europe\, includi ng at: Musé\;e d&rsquo\;art moderne et contemporain (Mamco)\, Geneva Autocenter\, Berlin\; Miart\, Milan\; Aanant&\;Zoo\, Berlin\; Swiss Art Awards\, Basel\; Sommer&\;Kohl\, Berlin\; Bucharest Biennale 4\, Buchare st. Sonia Kacem will also be &lsquo\;guest resident&rsquo\; at the Rijksaka demie van beeldende kunsten\, Amsterdam between May and November 2016.

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Le Centre d&rsquo\;Art Contempora in Genè\;ve est fier de pré\;senter Night Shift\,la pr emiè\;re exposition personnelle d&rsquo\;envergure dans une instituti on suisse romande de l&rsquo\;artiste genevoise Sonia Kacem (*1985\, Gen&eg rave\;ve) du 20 mai au 14 aoû\;t 2016.

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Depuis ses origines\, le travail de Sonia Kacem est animé\; pa r la relation profondé\;ment intuitive et sensuelle qu'elle entretien t avec les objets et maté\;riaux. Ses volumineuses mise en scè\ ;nes in situ sont le ré\;sultat d&rsquo\;un ensemble de gestes sponta né\;s faisant appel à\; une sorte de systè\;me performati f visant à\; mê\;ler contenant et contenu\, micro- et macroscopi que.

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L'aspect é\;phé\;m&e grave\;re et modulaire des installations de Kacem né\;cessite un trav ail de recherche plastique pré\;liminaire en atelier. Elle y conserve tout un maté\;riel susceptible de lui servir: des é\;chantillo ns de poussiè\;re\, des morceaux de tissus\, des croquis\, des maquet tes\, des objets de bric-à\;-brac\, des cahiers où\; l'artiste note des idé\;es et ré\;interprè\;te ses travaux existant s.

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Night Shift fut con&ccedi l\;ue lors de sa ré\;sidence au sein de l&rsquo\;institution. Les obj ets manufacturé\;s et la matiè\;re &ndash\; ré\;cup&eacut e\;ré\;s ou loué\;s pour l&rsquo\;occasion &ndash\; se voient i ci sortis de leur contexte\, privé\;s de leur fonction d&rsquo\;artef acts\, groupé\;s et mis en scè\;ne dans des situations provisoi res faisant é\;cho aux deux espaces trè\;s distincts les accuei llant: l&rsquo\;espace trè\;s ouvert\, doté\; de lumiè\;r e naturelle et donnant une idé\;e d&rsquo\;horizon du deuxiè\;m e é\;tage\, face à\; la fragmentation et la sé\;quence de s salles cloisonné\;es du troisiè\;me é\;tage.

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Les formes autonomes et co nstruites confrontent l'alé\;atoire et le dé\;sordre du geste d e l'arrangement installatif. Par ses composants sculpturaux et ses allures de dé\;cor\, cette production arpente les pistes de la fiction ou dra maturgie\, questionne les notions du statut de l&rsquo\;&oelig\;uvre et du cycle de production tout en restant dans le registre d'abstraction.

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Sonia Kacem a é\;tudié\; à \; la Haute é\;cole d'art et design (HEAD) à\; Genè\;ve e t à\; la CCW Graduate School\, University of the Arts in London. Elle vit et travaille actuellement à\; Genè\;ve. Elle a pré\; senté\; son travail dans des expositions personnelles entre autres &a grave\; la Kunsthalle Sankt Gallen\; le Kunstverein Nü\;rnberg\; la Gal erie Gregor Staiger\, Zurich\; La Rada\, Locarno et T293\, Rome. Ses &oelig \;uvres ont é\;galement pré\;senté\;es dans des expositio ns de groupe en Europe: Musé\;e d'art moderne et contemporain (Mamco) \, Genè\;ve\; Autocenter\, Berlin\; Miart\, Milan\; Aanant&\;Zoo\, Berlin\; Swiss Art Awards\, Bâ\;le\; Sommer &\; Kohl\, Berlin\; Bu carest Biennale 4\, Bucarest. Sonia Kacem sera é\;galement «\;gu est resident»\; à\; la Rijksakademie van beeldende kunsten\, Ams terdam entre mai et novembre 2016.

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DTEND:20160814 DTSTAMP:20160531T011219 DTSTART:20160520 GEO:46.198733;6.1376678 LOCATION:Centre d’Art Contemporain Genève\,10\, Rue des Vieux-Grenadiers 12 05 \nGenève\, 1205 SEQUENCE:0 SUMMARY:Night Shift\, Sonia Kacem UID:419398 END:VEVENT BEGIN:VEVENT DTEND:20160519T200000 DTSTAMP:20160531T011219 DTSTART:20160519T180000 GEO:46.198733;6.1376678 LOCATION:Centre d’Art Contemporain Genève\,10\, Rue des Vieux-Grenadiers 12 05 \nGenève\, 1205 SEQUENCE:0 SUMMARY:Night Shift\, Sonia Kacem UID:419399 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160702 DTSTAMP:20160531T011219 DTSTART:20160601 GEO:-30.0159771;-51.2039903 LOCATION:Bolsa de Arte de Porto Alegre\,R. Visconde do Rio Branco\, 365 \nP orto Alegre\, 90220-231 SEQUENCE:0 SUMMARY:Poética Orgânica\, Hugo França UID:419396 END:VEVENT BEGIN:VEVENT DTEND:20160531T210000 DTSTAMP:20160531T011219 DTSTART:20160531T190000 GEO:-30.0159771;-51.2039903 LOCATION:Bolsa de Arte de Porto Alegre\,R. Visconde do Rio Branco\, 365 \nP orto Alegre\, 90220-231 SEQUENCE:0 SUMMARY:Poética Orgânica\, Hugo França UID:419397 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Blum &\; Poe is pleased to present an exhibition of new sculptures by Susumu Koshimizu. This is Koshim izu&rsquo\;s second solo exhibition with the gallery.

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Koshimizu was one of the core figures of Mono-ha (School o f Things)\, a movement that radically redefined the Japanese art scene duri ng the late 1960s and early 1970s with ephemeral installations of natural a nd industrial materials. From early on\, Koshimizu&rsquo\;s investigation o f material\, surface\, and space resulted in some of Mono-ha&rsquo\;s most iconic artworks. At the Paris Youth Biennale in 1971\, he exhibited Fro m Surface to Surface (Wooden Logs Placed in a Radial Pattern on the Ground) (1971)\, a circular arrangement of thirty pine beams sliced at varyin g intervals and angles.

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In the mid-19 70s\, Koshimizu began his Working Table series\, which develops th e ideas initially explored in From Surface to Surface. The surface s of these sculptures are variously incised with pools of water\, or supple mented with stacks of branches and elongated protrusions reminiscent of hor ns or ribs. Koshimizu has expert knowledge of carving\, joinery\, and the q ualities of wood and has made sculptures out of pine\, cedar\, cherry\, bir ch\, cypress\, hemlock\, paulownia\, oak\, maple\, chestnut\, \;and zel kova.

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Koshimizu debuted his Worki ng Table series internationally at the Venice Biennale in 1976. Howeve r\, the sculptures were lost at the close of the show. The Working Tabl es in this exhibition are conceived as a variation of these lost works \, consisting of four tables whose carved surfaces form an interlocking ser ies of geometric patterns. Juxtaposed against the gallery&rsquo\;s expansiv e view of the Meiji Shrine forest\, these sculptures are a meditation on th e quality of wood in its natural and manmade states.

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Susumu Koshimizu was born in Uwajima\, Ehime Prefecture\, i n 1944\, and currently lives and works in Kyoto and Osaka. He studied in th e sculpture department at Tama Art University\, Tokyo\, from 1966 to 1971. Since then\, he has had numerous solo exhibitions in Japan\, including at t he Museum of Fine Arts\, Gifu (1992)\; Ehime Prefectural Museum of Art &nbs p\;(1992)\; Kuma Museum of Art\, Ehime (2005)\; and Kyoto City University o f Arts (2010).

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Following his inclusio n in Requiem for the Sun: The Art of Mono-ha\, curated by Mika Yos hitake and held at Blum &\; Poe\, Los Angeles in 2012\, Koshimizu has be en featured in many landmark surveys\, most recently: Other Primary Str uctures\, Jewish Museum\, New York (2014)\; Prima Materia\, P unta della Dogana\, Venice\, Italy (2013)\; and \;Parallel Views: I talian and Japanese Art from the 1950s\, 60s\, and 70s\, The Warehouse \, Dallas\, Texas (2013).

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Previously he was included in Reconsidering Mono-ha\, National Museum of Art\ , Osaka (2005)\; Century City: Art and Culture in the Modern Metropolis \, Tate Modern\, London (2001)\; Japanese Art after 1945: Scream A gainst the Sky\, Yokohama Museum of Art\, Guggenheim Museum Soho\, New York\, and San Francisco Museum of Modern Art (1994)\; Sã\;o Paulo B iennale (1983)\; and Tokyo Biennale &rsquo\;70: Between Man and Matter< /em>\, Tokyo Metropolitan Art Museum (1970).

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Blum &\; Poe東京では5月14日より小清水漸による個展を開催致します。当ギャラリーにて2回目の個展とな る本展では、小清水の新作彫刻を中心とした作品群を発表致します。

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小清水は1 960年代後半から70年代にかけて台頭した「もの派」グループの中心メンバーの一人として知られています。当時の日本の芸術環境を根本 から再定義することを 目的とした「もの派」の作家たちは、自然の物質や産業資材を一時的に用いたインスタレーション作品を展開しました。小清水の物質、断 面、空間への強い関心とそ れを追求する姿勢は「もの派」作品の中でも最も象徴的と言える作品をいくつも編み出しました。1971年の第7回パリ青年ビエン ナーレでは、様々な角度や間隔 で彫り込みを入れた30本の松の板を円形に配置した作品「表面から表面へ」(1971年)を出品しました。

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小清水は1970年代半ば頃より、当初「表面から表面へ」にて追求したアイディアをさらに発展させた「作業台」シリーズの制作に取 りかかります。 様々な彫り込みが施されたこれらの彫刻作品の表面には所々に水が張られ、時には積み上げた枝木、角やあばら骨を思わせる形状の細長い突起物が追 加されま す。彫刻、建具、木の材質に関する専門的かつ豊富な知識を持ち合わせていた小清水は、松、杉、桜、樺、ヒノキ、ツガ、桐、ナラ、カエデ、栗の木、欅( けや き)など、実に多くの木材を用いた彫刻を制作しました。

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1976年のベ ネチア・ビエンナーレへの出品が、「作業台」のシリーズがはじめて国際的な場で披露されるきっかけとなりましたが、それらの作品は展 覧会の閉幕とともに所在不 明になってしまいます。本展に登場する「作業台」は、当時失われた作品の新たなバリエーションとして構想され、様々に合わさる幾 何学模様の彫り込みが表面に施 された4つの台から成っています。ギャラリーの窓から覗く明治神宮の森の広大な展望を背景に配置された彫刻作品は、自然の 「木」と人の手が加えられた「木」の それぞれの本質に心を巡らせる、瞑想的な空間として立ち上がります。

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小清水漸
1944年、愛媛県宇和島市生まれ。現在、京都と大阪を拠点に活動。1966年から1971年まで東京の多摩美術大学の彫刻学科に 在籍。以来、岐 阜県美術館 (1992年)、愛媛県美術館 (1992年)、久万美術館 (愛媛、2005年)、京都市立芸術大学 (2010年) など、多数の個展を開催。 2012年に吉竹美香氏キュレーションの「太陽へのレクイエム:もの派の美術」展 (Blum &\; Poe、ロサンゼルス) で紹介されたことを機に 、海外においても小清水の存在が注目を集める。近年では「Other Primary Structures」展 (ユダヤ博物館、ニューヨーク、2014年) をはじめ、「Prima Materia」(Punta della Dogana、ベネチア、2013年) 、「Parallel Views &mdas h\;1950、60、70年代のイタリアと日本の美術」(The Warehouse、テキサス州ダラス、2013年) などの大規模かつ歴史的な展覧会への 出展を果たす。主なグループ展に「もの派&mdash\;再考」(国立国際美術館、大阪、2005年) 、「Century City: Art and Cu lture in the Modern Metropolis」(テート・モダン、ロンドン、2001年) 、「戦後日本の前衛美術」(横浜美術館、後にニュ ーヨーク、グッゲンハイム美術館、サンフランシスコ近代美術館へ巡回、1994年) 、第17回サンパウロ・ビエンナーレ (1983年) 、第10回日本国際 美術展 (東京ビエンナーレ)「人間と物質」展 (東京都美術館、1970年) などが挙げられる。

DTEND:20160702 DTSTAMP:20160531T011219 DTSTART:20160514 GEO:35.6692904;139.7070557 LOCATION:Blum & Poe Tokyo\,1-14-34 Jingumae\, Shibuya \nJingumae\, Shibuya\ , Tokyo\, 150-0001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Susumu Koshimizu UID:419394 END:VEVENT BEGIN:VEVENT DTEND:20160514T200000 DTSTAMP:20160531T011219 DTSTART:20160514T180000 GEO:35.6692904;139.7070557 LOCATION:Blum & Poe Tokyo\,1-14-34 Jingumae\, Shibuya \nJingumae\, Shibuya\ , Tokyo\, 150-0001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Susumu Koshimizu UID:419395 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160625 DTSTAMP:20160531T011219 DTSTART:20160611 GEO:49.2585083;-123.1389054 LOCATION:Bau-Xi Gallery - Vancouver\,3045 Granville Street \nVancouver\, BC V6H 3J9 SEQUENCE:0 SUMMARY:Solo Exhibition\, Steven Nederveen UID:419393 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Anthony Redpath is a Vancouver -based photographer whose artistic practice focuses on the exploration of t he constant transformations of contemporary life in coastal communities.&nb sp\; \;Redpath&rsquo\;s photographs play with themes of illusion and pa radox to create images often laced with irony. \; \;With his strong sense of design and knowledge of technique\, garnered from his work within the advertising world\, Redpath expresses his interest in contemporary art \, popular culture and social issues through beautifully composed\, crisp a nd resonant imagery.

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Redpath&rsquo\;s work was recently featured in the highly acclaimed &lsquo\;New Romantics&r squo\; exhibition at The Rooms in Newfoundland\, and he has been awarded by and featured in many publications\, including Canadian Art\, Archive\, Com munication Arts\, and Zoom magazine.

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Redpath's next solo exhibition will be held at Bau-Xi Vancouver in May 2016 .

DTEND:20160607 DTSTAMP:20160531T011219 DTSTART:20160526 GEO:49.2585083;-123.1389054 LOCATION:Bau-Xi Gallery - Vancouver\,3045 Granville Street \nVancouver\, BC V6H 3J9 SEQUENCE:0 SUMMARY:Solo Exhibition\, Anthony Redpath UID:419392 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160521 DTSTAMP:20160531T011219 DTSTART:20160505 GEO:49.2585083;-123.1389054 LOCATION:Bau-Xi Gallery - Vancouver\,3045 Granville Street \nVancouver\, BC V6H 3J9 SEQUENCE:0 SUMMARY:Spectra\, Pat O'Hara UID:419391 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Solo Show \; verlä\;ng ert bis Ende Juni (Besuch nach tel. Vereinbarung)

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Wegen des grossen Interesses bieten wir 2 Kü\;nstl er-Fü\;hrungen durch die Ausstellung \;an:

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MEET THE ARTIST \; am Samstag\, 7. Mai  \;15 Uhr

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MEET TH E ARTIST \; am Sonntag\, 8. Mai  \;12 Uhr

DTEND:20160630 DTSTAMP:20160531T011219 DTSTART:20160331 GEO:47.3556855;8.5616846 LOCATION:Art Forum Ute Barth\,Kartausstrasse 8 CH\nZurich \, 8008 SEQUENCE:0 SUMMARY:Solo Exhibition\, Maya Vonmoos UID:419390 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ARNDT and A3 are pleased to in vite you to a party to celebrate the launch of our new space and offices at Gillman Barracks\, Block 47.

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ARNDT w ill present works by leading Chinese artist Yang Jiechang. Entitled 100 Layers of Ink\, the pieces dating back to the late eighties and are t he result of focused repetition and process.

Since his emigrat ion to Europe in 1988 Yang Jiechang has worked on a series entitled 100 Lay ers of Ink. The first and most outstanding works of this series\, a set of four large-scale ink paintings\, were exhibited in the seminal show Les mag iciens de la terre at the Centre Georges Pompidou\, Paris in 1989. In these large monochrome black paintings\, which are a continuation of his early a bstract works\, the dualistic principle of Taoism is evoked by the black an d shiny surface of the ink shapes.

This series is the result o f the artist applying ink to the same piece of paper\, day after day\, unti l the paper is completely saturated. Despite the materials employed sharing association to those used by literati to make traditional paintings\, Yang reinvents them by entirely removing the artist&rsquo\;s gesture as an inde x of meaning. By obsessively building layers on layers of ink\, thus creati ng a black object that does not display skill\, imagery\, or personality\, Yang subverts the traditional technique and aesthetic appearance of traditi onal Chinese ink and wash painting. This position can be considered as a de construction of Chinese painting and its tradition into its basic elements: paper\, water\, and ink.

Taking on a shimmery\, luminescent q uality\, the paper itself shifts from a two-dimensional surface to a three- dimensional object\, merging figure and ground. The simple abstract forms s eem to stretch beyond their margins and beyond the painting\, recalling the process of sublimation of the self in meditation. The multiple layers of i nk the artist applies to the paper connote time and enliven a black space. A major concept one can perceive throughout Yang's artistic oeuvre is that of the ambivalence of perception and experience. The artist looks for exper iences that stimulate an insecurity in the viewer. Yang aims to push the pe rception of his work to extremes\, to a point where mind and body\, where t he individual life and the life as natura naturans meet. This understanding of life again is related to Chan-Buddhism and to Taoist thought. Here indi vidual life and life as a creative force of nature are regarded as an entit y\, as are its material and its spiritual aspects. Similarly\, Yang Jiechan g&rsquo\;s shiny black abstract works seem to dissolve into or emerge from an amorphous\, yet spirited cosmos.

DTEND:20160731 DTSTAMP:20160531T011219 DTSTART:20160506 GEO:1.279311;103.804888 LOCATION:ARNDT Singapore\,Gillman Barracks Blk 22 Lock Road #01-35 \nSingap ore \, 108939 SEQUENCE:0 SUMMARY:Chinese Ink Drawings: 100 Layers of Ink\, Yang Jiechang UID:419388 END:VEVENT BEGIN:VEVENT DTEND:20160506T210000 DTSTAMP:20160531T011219 DTSTART:20160506T180000 GEO:1.279311;103.804888 LOCATION:ARNDT Singapore\,Gillman Barracks Blk 22 Lock Road #01-35 \nSingap ore \, 108939 SEQUENCE:0 SUMMARY:Chinese Ink Drawings: 100 Layers of Ink\, Yang Jiechang UID:419389 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Miranda Young is no stranger t o the Arkansas Arts Center. She took classes and appeared in theater produc tions as a child\, has been an instructor in the Museum School for the past decade\, is the scenic designer and properties manager for the Children&rs quo\;s Theatre\, and is even the proud mother of a Museum School student. W hile Young&rsquo\;s work in the Children&rsquo\;s Theatre provides her with a lot of teaching moments\, the majority of her teaching is done in the Mu seum School through her Introduction to Printmaking and Open Studio classes . Young is particularly fond of the Open Studio classes where she brings in some of her own works and gives demonstrations. She says\, &ldquo\;The AAC has given me the opportunity to make art all day as my job&mdash\;it feeds my need to make art and I appreciate that.&rdquo\; Young has a BFA in prin tmaking and painting from the Kansas City Art Institute.

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I love learning about animals and the meanings that humans place on them. I am particularly interested in the predator and prey relationship. Although this doesn&rsquo\;t always tr anslate directly into my work it does inform the posture of the animals tha t I chose to fixate on. In most of my work you will find an animal removed from its natural surroundings as to focus directly on the posturing of the animal. This turns the animal into a design element in the work rather than looking at the animal in its natural environment. This idea was discovered naturally through working but may be informed by my desire to explore the spiritual and emotional meanings that humans place on the animal\, which al so removes the animal from its natural environment.

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This combined with an interest in design and bold graphic pr ints and drawings has lead me to making large scale linocuts and sculptures of animals. I am in love with discovering the textures of the animal&rsquo \;s fur and skin through the carving of the lino plate and the scrafito car ving process in the clay. I am always thinking of color throughout the proc ess of carving but color is added during printing through a process called Chine Collé\;. This layering of dyed mulberry papers adds color while also accentuating the graphic nature of the carving. This process is rever sed in the sculpture process\, as the color is added before the carving and allows me to look at the color layering process in a more painterly way.\n

Miranda Young

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Printmaking Depa rtment

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Arkansas Arts Center Museum Sc hool

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DTEND:20160529 DTSTAMP:20160531T011219 DTSTART:20160223 GEO:34.7395668;-92.2671004 LOCATION:Arkansas Art Center-Museum of Art\,501 East 9th Street \nLittle R ock\, Arkansas 72202 SEQUENCE:0 SUMMARY:A Printed Menagerie\, Miranda Young UID:419341 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Delta Exhibition of Pa inting and Sculpture formed in 1958 to feature contemporary work by ar tists from Arkansas and bordering states. Today\, the Annual Delta Exhibiti on has grown to encompass works in all media as showcase for the dynamic vi sion of the artists of the Mississippi Delta region. The exhibition reflect s the region&rsquo\;s strong traditions of craftsmanship and observation\, combined with innovative use of materials and an experimental approach to s ubject matter. This year's exhibition is June 10th through August 28\, 2016 .

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Liz Garvey will serve as juror for the 58th Annual Delta Exhibition. She is the co-founder and owner of Garvey-Simon Art Access\, Inc. (est. in 2010). Prior to her current role \, she was Co-Director of the venerable Schmidt-Bingham Gallery on 57th Str eet in New York\, where she worked from 1989-1998\; and then President and Owner of EKG Art Advisory\, (1999-2009). She has been a fine art dealer and advisor in New York City for over 20 years and leverages her professional relationships with galleries\, auction houses\, private dealers and artists to offer clients a relaxed entry into the often intimidating visage of the New York art world. Liz maintains a boutique gallery in Manhattan that is focused on drawing\, works on paper\, unusual materials and design\; while also acting as curator and advisor to select private clients. Liz is a memb er of ArtTable\, and a founding member of the New York chapter of the Assoc iation of Women Art Dealers.

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Garvey w ill select the artworks to be exhibited and will assign the $2500 Grand Awa rd and two $750 Delta Awards. Additionally\, a $250 Contemporaries Delta Aw ard will be selected by the Contemporaries\, an auxiliary membership group of the Arkansas Arts Center.

DTEND:20160828 DTSTAMP:20160531T011219 DTSTART:20160610 GEO:34.7395668;-92.2671004 LOCATION:Arkansas Art Center-Museum of Art\,501 East 9th Street \nLittle R ock\, Arkansas 72202 SEQUENCE:0 SUMMARY:58th Annual Delta Exhibition UID:419339 END:VEVENT BEGIN:VEVENT DTEND:20160610T170000 DTSTAMP:20160531T011219 DTSTART:20160610T100000 GEO:34.7395668;-92.2671004 LOCATION:Arkansas Art Center-Museum of Art\,501 East 9th Street \nLittle R ock\, Arkansas 72202 SEQUENCE:0 SUMMARY:58th Annual Delta Exhibition UID:419340 END:VEVENT END:VCALENDAR