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From 26th September 2014 un til 11th January 2015 the exhibition SOROLLA Y ESTADOS UNIDOS is on at the FUNDACIÓ\;N MAPFRE gallery in Paseo de Recoletos. This exh ibition is the first to include 150 paintings by Joaquí\;n Sorolla (1 863-1923)\; it follows the fascinating story of the Valencian painter in th e United States\, displaying some of his best work outside Spain and examin ing his extraordinary international fame.

DTEND:20150111 DTSTAMP:20141001T153413 DTSTART:20140926 GEO:40.4226767;-3.6922754 LOCATION:FUNDACIÓN MAPFRE Sala Recoletos\,Paseo de Recoletos 23 \nMadrid\, 28004 SEQUENCE:0 SUMMARY:SOROLLA Y ESTADOS UNIDOS (SOROLLA AND THE UNITED STATES)\, Joaquín Sorolla UID:359153 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150117 DTSTAMP:20141001T153413 DTSTART:20141108 GEO:51.06768;13.75488 LOCATION:Galerie Gebr. Lehmann\, Dresden\,Gorlitzer Strasse 16 \nDresden\, D-01099 SEQUENCE:0 SUMMARY:looking glass world\, Martin Mannig UID:359149 END:VEVENT BEGIN:VEVENT DTEND:20141107T200000 DTSTAMP:20141001T153413 DTSTART:20141107T180000 GEO:51.06768;13.75488 LOCATION:Galerie Gebr. Lehmann\, Dresden\,Gorlitzer Strasse 16 \nDresden\, D-01099 SEQUENCE:0 SUMMARY:looking glass world\, Martin Mannig UID:359150 END:VEVENT BEGIN:VEVENT DESCRIPTION:
The symbol of the ark speaks of rescue. In the bible Noah built a giant ship to save his family and pairs of anima ls from the Flood. During the three-year bridging period before the opening of the Kunsthalle's new building at Friedrichsplatz\, the city of Mannheim 's important art collection must be stored off-site. Right now\, however\, visitors can find more than 240 of the collection's masterpieces in a theme d arrangement in its temporary abode: the renovated\, daylight rooms of the Jugendstil-Building. They will remain in this 'ark' until the completion o f the Kunsthalle's Museum Quarter in 2017.
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The display spans from Manet's key work\, the " Execution of Emperor Maximilian of Mexico" to the Romanticism of Caspar Dav id Friedrich\; from Modernism to international art figures Fernand Lé \;ger and Francis Bacon. The compressed design of the exhibition opens up n ew connections and insights\; combines the treasures of Impressionism and E xpressionism or Neue Sachlichkeit with regional perspectives and other surp rises from the vaults. Generous sponsorship\, for the conservation of artwo rks\, from the city's citizens and the Friends of the Kunsthalle\, the Wilh elm-Mü\;ller-Stiftung\, the Heinrich-Vetter-Stiftung\, the company S&uu ml\;dzucker and the city of Mannheim\, enables the show to feature a sensat ional 92 paintings and 57 frames\, newly-restored or cleaned. A "room of wo nders" is at the start of the tour through the eight themed rooms\, includi ng "history and myth"\, "landscape and city"\, "portraits and self-portrait s"\, "yearning for Italy" and "penchant for abstraction". At the end\, ARCH E allows you to peek into the conservation studio\; after all\, the rescue work must go on. The Mannheim collection reveals its many facets and storie s. It owes its excellent quality to the bold vision of Fritz Wichert\, Gust av F. Hartlaub and Walter Passarge\, former art historian-directors. Still it would all be unimaginable without the civic-minded philanthropy that sha pes the Kunsthalle&lsquo\;s future. \;

A \;Tonwelt \ ;audio guide for the exhibition is available.
DTEND:20160501 DTSTAMP:20141001T153413 DTSTART:20140418 GEO:49.4832636;8.475048 LOCATION:Kunsthalle Mannheim\,Friedrichsplatz 4 \nMannheim\, 68165 SEQUENCE:0 SUMMARY:ARCHE. The Collection returns\, Édouard Manet\, Caspar David Friedr ich\, Fernand Léger\, Francis Bacon UID:359097 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Franz Bernhard. Drawings and Sc ulptures \;// &ldquo\;As a human\, I am interested in humans. As a sculptor\, I am interested in the image of the human.&rdquo\; Franz Be rnhard attracted attention throughout Germany with his powerful\, monumenta l sculpture &ldquo\;Groß\;e Mannheimerin&rdquo\; at the highway access road to Mannheim\, the City of Squares. In 2014\, the prominent artist fro m Southwest Germany would have turned 80. The Kunsthalle Mannheim dedicates an anniversary exhibition to him\, which features around 30 drawings as we ll as selected sculptures that bear witness to Bernhard&rsquo\;s major arti stic theme: humans as signs in space.
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In his drawings and sculptures\, Bernhard plays with abstract forms that are only faintly reminiscent of the human figure. Rewo rked numerous times\, the sculptures made of iron and wood appear as signs in space. They are not depictions\, but allegories of bodily postures such as standing\, lying\, toppling. An abstract detail often refers to the whol e. For Bernhard\, the sheet of paper also functioned as material that he in tegrated in the effect of the artwork\, treating the surfaces of his drawin gs with sandpaper and spatulas. What all his pieces have in common is the r elentless physical work performed on them. In cooperation with the Kunsthal le Mannheim\, the last large sculptures created shortly before his unexpect ed death in 2013 will be presented in the Skulpturenpark Heidelberg. Franz Bernhard was born in former Czechoslovakia\, from where he was expelled in 1946. From 1959 to 1966 he studied sculpture under Wilhelm Loth and Fritz K lemm at the Kunstakademie Karlsruhe and was exhibited in 1977 at the docume nta 6 in Kassel. Bernhard was a member of the Akademie der Kü\;nste Ber lin from 1990 to 1992. In 1998\, he received the Order of Merit of the Fede ral Republic of Germany and was awarded an Honorary Professorship of the St ate of Baden-Wü\;rttemberg in 2004. A multivolume catalogue raisonn&eac ute\; of his drawings will be released concurrently with the exhibition. DTEND:20141109 DTSTAMP:20141001T153413 DTSTART:20140920 GEO:49.4832636;8.475048 LOCATION:Kunsthalle Mannheim\,Friedrichsplatz 4 \nMannheim\, 68165 SEQUENCE:0 SUMMARY: Drawings and Sculptures\, Franz Bernhard UID:359096 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Manet\, Cé\;zanne\, Van G ogh &ndash\; Guests from Around the World \;// &ldquo\;The Car dplayers&rdquo\; by Paul Cé\;zanne (1892/95) are flown in from London \,&ldquo\;The Dead Toreador&rdquo\; (probably 1864)\, a main work by &Eacut e\;douard Manet\, is arriving from Washington. Key pieces from outstanding museums in the United States and Europe encounter the high-quality collecti on of late 19th-century\, modern French art of Kunsthalle Mannheim. A dialo gue between masterpieces begins in the lavishly refurbished Jugendstil buil ding. For the first time\, the museum in Mannheim places the focus on its m ost valuable art treasures and enables the audience to view rare loans from around the world.
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Guest curator Dr. Marie-Amé\;lie zu Salm-Salm juxtaposes the work s in Mannheim with carefully selected\, imposing counterparts from major Eu ropean and American museums\, thus highlighting important artistic innovati ons of this unique rise to modernism - like the treatment of colour and lig ht\, questions of composition\, the choice of motifs\, and the use of new p ainting techniques. Key works by Manet\, Cé\;zanne and Van Gogh\, as well as paintings by Delacroix\, Courbet\, Corot\, Pissarro\, Sisley\, Mone t\, and Renoir enter into a fascinating dialogue of styles and motifs. The focus on top class works of French painting allows visitors an intensive en counter with the individual work and its counterpart. \;
Mirrored by the other\, the key works of Mannheim can be newly perceived and taken t o one&rsquo\;s heart. \;
A surprise waits for the visitor at the e nd of the tour: The view to 20th-century abstraction with pivotal works by Piet Mondrian\, Ellsworth Kelly and Josef Albers\, exemplarily reveal the i mpact of Impressionism on art and artists of the 20th century and their way of dealing with form and colour. \;
Dr. Marie-Amé\;lie zu S alm-Salm (born in 1973) studied art history\, philosophy and ethnology in P aris and Heidelberg and received her doctorate under Prof. Serge Lemoine. S he has been a guest curator at the Musé\;e national d'histoire et d'a rt Luxembourg\, the Musé\;e d&rsquo\;Orsay Paris and the Bundeskunsth alle Bonn.
DTEND:20150118 DTSTAMP:20141001T153413 DTSTART:20140926 GEO:49.4832636;8.475048 LOCATION:Kunsthalle Mannheim\,Friedrichsplatz 4 \nMannheim\, 68165 SEQUENCE:0 SUMMARY:Manet\, Cézanne\, Van Gogh – Guests from Around the World \, Paul C ezanne\, Édouard Manet\, Vincent Van Gogh\, Fabienne Delacroix\, Gustave Co urbet\, Jean-Bapiste-Camille Corot\, Camille Pissarro\, Alfred Sisley\, Cla ude Monet\, Pierre Auguste Renoir UID:359095 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Born in Vietnam in 1960\, Vietnamese-American artist \;A n-My Lê\;&rsquo\;s adolescence was marked by conflict. In \;Saigon \, she grew up experiencing nightly mortar attacks \;and the daily pres ence of American soldiers. In 1975\, \;the final year of the war\, she and her family were among \;those airlifted to safety and they finally settled in the \;United States as political refugees. \;  \;

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An-My Lê\; graduated in biology from Stanford\, before \;tur ning to photography\, which she studied at Yale \;University. The recip ient of many awards\, including \;the prestigious MacArthur Genius Awar d (2012)\, she is \;widely recognised as one of the most significant&nb sp\;photographers working in the world today.  \;

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This exhibiti on surveys four major series: peaceful \;scenes evocative of conflict\, in Viê\;t Nam\, (1994&ndash\;1998)\; \;fictional scenes staged by hobbyist war re-enactors in \;Small Wars\, (1999-2002)\; a film showin g the American \;military training for the Iraq war in 29 Palms\, (2003 -2004)\; and the most comprehensive showing yet of \;Events Ashore (200 5-2014)\, a magnum opus\, ten years \;in the making\, which depicts the US navy on missions \;across the globe. Also shown for the first time are \;drawings by An-My Lê\; inspired by images and texts \;en graved on replicas of zippo lighters owned by \;American troops in Viet nam.  \; Lê\; has consistently explored the myth and memory of&nbs p\;war through photography and film. While her personal \;experience of conflict has shaped both her life and her \;artistic subject matter\,< /p>\n

Lê\;&rsquo\;s work transcends that personal \;story. She a voids simple representations and simple \;judgements about the US milit ary machine\, and\, like \;many great photographers maintains a certain distance \;from her subject in order to create nuanced pictures. \ ;&lsquo\;My goal has been to... address issues of power and \;fragility . My intention is not to dictate a message. It is a \;call for perspect ive\, not a call to action.&rsquo\; \;  \;

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The exhibition h as been programmed to coincide with the centenary of the First World War\, and will subsequently be presented at the Hasselblad Center\, Gothenburg\, Sweden (20 February &ndash\; 17 May 2015). An-My Lê\;'s work will be i ncluded in Tate Modern&rsquo\;s group exhibition Conflict\, Time\, Photogra phy (26 November 2014 &ndash\; 15 March 2014).  \;

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A new book\, Events Ashore\, published by Aperture to coincide with the exhibition\, is available from the Gallery Shop.  \;

DTEND:20141123 DTSTAMP:20141001T153413 DTSTART:20140919 GEO:52.0448706;-0.7493402 LOCATION:MK Gallery\,900 Midsummer Blvd . \nMilton Keynes \, MK9 3QA SEQUENCE:0 SUMMARY:Solo Exhibition\, An-My Le UID:359090 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In Passionate Pursuit \;explores the richly div erse collection of Arlene and the late Harold Schnitzer\, their promised gi ft to the community\, and the profound impact they have had as philanthropi sts on cultural patronage in Portland.

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For more than half a century the Schnitzers have collected art. This exhibition will allow visitors to see more than 100 works from the internationally renowned collection of one of our region&rsquo\;s most legendary couples.

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The exhibition will includes selections from the Schnitzers&rsquo\; magnificent collection of Han dynasty Chinese art\, 19th and 20th century silver\, Native American ce ramics and beaded bags\, international glass works\, and paintings and scul ptures by Northwest and West Coast post-war masters.

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In Passion ate Pursuit \;will explore themes of collecting\, legacy\, and civ ic engagement through a series of associated lectures and discussions\, a f ully illustrated color publication documenting the collection with an inter view between the curator and the collector\, essays by Museum curators\, an d a signature video program featuring Museum Director Brian Ferriso in conv ersation with Arlene Schnitzer.

DTEND:20150111 DTSTAMP:20141001T153413 DTSTART:20141018 GEO:45.5164787;-122.6838571 LOCATION:Portland Art Museum\,1219 SW Park Avenue \nPortland\, Oregon 9720 5 SEQUENCE:0 SUMMARY:In Passionate Pursuit UID:359007 END:VEVENT BEGIN:VEVENT DTEND:20141018T170000 DTSTAMP:20141001T153413 DTSTART:20141018T100000 GEO:45.5164787;-122.6838571 LOCATION:Portland Art Museum\,1219 SW Park Avenue \nPortland\, Oregon 9720 5 SEQUENCE:0 SUMMARY:In Passionate Pursuit UID:359008 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In 2012\, Oregon-based sculptor Chris Antemann was invited t o participate in the Art Studio program of the renowned Meissen Porcelain M anufactory to collaborate with the Meissen master artisans on unique pieces and a series of limited editions of her sculptures\, resulting in a grand installation that reinvents and invigorates the great porcelain figurative tradition. Using the Garden of Eden as her metaphor\, the artist created a contemporary celebration of the 18th-century banqueting craze. Inspired by Meissen&rsquo\;s great historical model of Johann Joachim Kä\;ndler&rsq uo\;s monumental \;Love Temple \;(1750)\, Antemann created her own 5-foot version. Stripping the original design back to its basic fo rms\, she added her own figures\, ornamentation\, and flowers\, as well as a special finial with three musicians to herald the guests to the banquet b elow. Employing her signature wit and formal references to classic Baroque Meissen figurines\, Antemann has invented a new narrative on contemporary m orality through her one-of-a-kind porcelain figures in a setting that evoke s the decadence of Boucher and Watteau.

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Antemann&rsquo\;s \;Love Temple \;is the centerpiece and heart of the installation. I t was designed to house a host of semi-clothed revelers around a banquet of &ldquo\;forbidden fruit.&rdquo\; After sculpting the \;Love Temple  \;and banquet table\, Antemann expanded the vision of the install ation to include a pleasure garden made up of eight separate pieces that su rrounds the temple\, creating an elaborate tableau in the great tradition o f royal 18th-century \;sur la table.

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Accompanying the lavish and overflowing banquet table is a massive 12-light porcelain chande lier and a collection of smaller sculptures to accompany the table along th e gallery walls\, evoking the tradition of palatial porcelain rooms. The sm all\, intimate vignettes entertain with playful scenes of dalliance and sed uction.

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Don&rsquo\;t miss this irreverent look at history and the d ecorative arts tradition in this brilliant porcelain sculpture.

DTEND:20150208 DTSTAMP:20141001T153413 DTSTART:20140927 GEO:45.5164787;-122.6838571 LOCATION:Portland Art Museum\,1219 SW Park Avenue \nPortland\, Oregon 9720 5 SEQUENCE:0 SUMMARY:Forbidden Fruit - Chris Antemann at Meissen\, Chris Antemann UID:359002 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Wendy Red Star&rsquo\;s socially critical installation draws inspiration and employs imagery from growing up on the Crow Indian Reserva tion in south-central Montana. Historic photographs and regalia are juxtapo sed with tapestries\, text\, and objects she has constructed to re-humanize a past tribal leader whose image has been appropriated for commercial use. Photographs of Chief Medicine Crow (c. 1848-1920) were taken in Washington \, D.C.\, when he and four other tribal leaders were coerced into signing a treaty ceding a portion of tribal lands to the United States Government. H is image has frequently been used to represent a stereotypical\, nameless\, Indian &ldquo\;brave.&rdquo\; Red Star&rsquo\;s newest installation is an extension of her earlier work\, which employed gender-focused\, political s elf-imagery\, not unlike the art of Cindy Sherman\, Ana Mendieta\, and Frid a Kahlo\, to draw attention to the marginalization of Native Americans. In APEX\, by replicating a historical museum diorama\, she names and honors Me dicine Crow\, and revises the white man&rsquo\;s historical paradigm.

DTEND:20141207 DTSTAMP:20141001T153413 DTSTART:20140906 GEO:45.5164787;-122.6838571 LOCATION:Portland Art Museum\,1219 SW Park Avenue \nPortland\, Oregon 9720 5 SEQUENCE:0 SUMMARY:APEX \, Wendy Red Star UID:359001 END:VEVENT BEGIN:VEVENT DESCRIPTION:

With a career spanning more than seven decades and an oeuvre comprising thousands of paintings\, drawings\, sculpture\, prints\, cerami cs\, collages\, and assemblages\, Pablo Picasso is the 20th century&rsquo\; s most important and influential artist. His iconic \;Les Demoisell es d&rsquo\;Avignon \;(1907\, Museum of Modern Art\, New York) for ever transformed the art of painting\, and his violent\, tragic \;G uernica(1937\, Museo Reina Sofí\;a\, Madrid) drives home to this day the horrors of war. In the museum&rsquo\;s own collection\, \; Fan\, Pipe\, and Glass \;(1911) is on permanent display as a remar kable example of Picasso&rsquo\;s pioneering Analytical Cubism\, but the ar tist&rsquo\;s prints&mdash\;in which the collection is also strong&mdash\;a re exhibited only rarely. \;

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This exhibition unveils for the fi rst time a sizeable concentration of Picasso&rsquo\;s prints from the perma nent collection. Examples of lithography and intaglio from all periods of h is career&mdash\;including his early Blue and Rose Periods\, his Cubist pha se\, his later classical abstraction\, and his linocuts from the 1950s and 1960s&mdash\;will offer a mini-survey of the artist&rsquo\;s work that will bring to light his expertise as a printmaker\, approaching his craft with the same spirit of innovation with which he undertook his paintings.

DTEND:20150104 DTSTAMP:20141001T153413 DTSTART:20141009 GEO:21.304039;-157.848549 LOCATION:The Honolulu Museum of Art\,900 South Beretania Street \nHonolulu\ , HI 96814 SEQUENCE:0 SUMMARY:Picasso Prints\, Pablo Picasso UID:358998 END:VEVENT BEGIN:VEVENT DTEND:20141009T163000 DTSTAMP:20141001T153413 DTSTART:20141009T100000 GEO:21.304039;-157.848549 LOCATION:The Honolulu Museum of Art\,900 South Beretania Street \nHonolulu\ , HI 96814 SEQUENCE:0 SUMMARY:Picasso Prints\, Pablo Picasso UID:358999 END:VEVENT BEGIN:VEVENT DESCRIPTION:

At the critical juncture between traditional and modern Chin ese art in the beginning of the 20th century\, Qi Baishi (1864&ndash\;1957) emerged as the leading representative of Chinese painting. With no formal education\, Qi rose from humble origins to a position of prominence that in cluded appointments to the National People&rsquo\;s Congress and the Nation al Artists&rsquo\; Association. \;

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In an age when Chinese paint ers were turning to the outside world to study Western models\, Qi advocate d traditional ink painting. At the same time\, his spontaneous technique br ought a refreshing new perspective to the genre\, forming the foundation fo r the development of new national styles by younger artists later in the ce ntury. Qi&rsquo\;s paintings of &ldquo\;small life&rdquo\; subjects such as lychees and shrimp are immediately accessible\, yet surprisingly subtle\, his light touch infusing his works with energy.

DTEND:20150125 DTSTAMP:20141001T153413 DTSTART:20141002 GEO:21.304039;-157.848549 LOCATION:The Honolulu Museum of Art\,900 South Beretania Street \nHonolulu\ , HI 96814 SEQUENCE:0 SUMMARY: Modern Master\, Qi Baishi UID:358996 END:VEVENT BEGIN:VEVENT DTEND:20141002T163000 DTSTAMP:20141001T153413 DTSTART:20141002T100000 GEO:21.304039;-157.848549 LOCATION:The Honolulu Museum of Art\,900 South Beretania Street \nHonolulu\ , HI 96814 SEQUENCE:0 SUMMARY: Modern Master\, Qi Baishi UID:358997 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition looks at one of the most significant artisti c groups in mid twentieth-century Melbourne\, which gathered at the Boyd fa mily property\, Open Country\, at Murrumbeena. It presents the work of Aust ralia&rsquo\;s first studio potter\, Merric Boyd and the impact of war on h is family and their artistic output. It also explores the exuberant post-wa r production of paintings\, drawings\, ceramics and sculpture by Arthur Boy d\, John Perceval and others at Open Country and the Arthur Merric Boyd Pot tery.

DTEND:20150301 DTSTAMP:20141001T153413 DTSTART:20141017 GEO:0.0;0.0 LOCATION:NGV (National Gallery Victoria) The Ian Potter Centre\,Federation Square Cnr Russell & Flinders Sts \nMelbourne\, Victoria SEQUENCE:0 SUMMARY:Outer Circle - The Boyds and the Murrumbeena Artists\, Arthur Boyd\ , John Perceval UID:358994 END:VEVENT BEGIN:VEVENT DTEND:20141017T170000 DTSTAMP:20141001T153413 DTSTART:20141017T100000 GEO:0.0;0.0 LOCATION:NGV (National Gallery Victoria) The Ian Potter Centre\,Federation Square Cnr Russell & Flinders Sts \nMelbourne\, Victoria SEQUENCE:0 SUMMARY:Outer Circle - The Boyds and the Murrumbeena Artists\, Arthur Boyd\ , John Perceval UID:358995 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition will represent the first large-scale retrosp ective of Robert Jacks who is one of Australia&rsquo\;s most significant an d accomplished abstract artists. From his first sell-out solo exhibition at Gallery A in Melbourne in 1966\, through to his ongoing exploration of abs traction in painting\, sculpture\, drawing and printmaking\, his work has c harted a distinctive and influential path through late twentieth and early twenty-first century Australian art.

Born in 1943 Jacks studied sculpture at Prahran Technical College from 1958&ndash\;1960 and painting a t RMIT in 1961&ndash\;62. His first solo exhibition was held to great accla im in 1966 and in 1968 his work was included in the landmark exhibition\,&n bsp\;The Field\, at the National Gallery of Victoria. Beginning in 1968\, Jacks spent ten years living and working in Canada and the United S tates. It was during this period\, much of which was spent in New York\, in which Jacks met such artistic luminaries as Sol LeWitt and Donald Judd\, a nd that his unique visual language matured\, incorporating influences from the major exponents of contemporary abstraction\, minimalism and conceptual practice. It is also this experience which makes Jacks a unique figure wit hin the history and development of twentieth century Australian art.

DTEND:20150215 DTSTAMP:20141001T153413 DTSTART:20141003 GEO:0.0;0.0 LOCATION:NGV (National Gallery Victoria) The Ian Potter Centre\,Federation Square Cnr Russell & Flinders Sts \nMelbourne\, Victoria SEQUENCE:0 SUMMARY: Order & Variation\, Robert Jacks UID:358992 END:VEVENT BEGIN:VEVENT DTEND:20141003T170000 DTSTAMP:20141001T153413 DTSTART:20141003T100000 GEO:0.0;0.0 LOCATION:NGV (National Gallery Victoria) The Ian Potter Centre\,Federation Square Cnr Russell & Flinders Sts \nMelbourne\, Victoria SEQUENCE:0 SUMMARY: Order & Variation\, Robert Jacks UID:358993 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This multi-disciplinary collection display continues the&nbs p\;Melbourne Now \;focus on contemporary Indigenous art practi ce\, but expands the compass from greater Melbourne to the length and bread th of Indigenous Australia.

DTEND:20150127 DTSTAMP:20141001T153413 DTSTART:20140930 GEO:0.0;0.0 LOCATION:NGV (National Gallery Victoria) The Ian Potter Centre\,Federation Square Cnr Russell & Flinders Sts \nMelbourne\, Victoria SEQUENCE:0 SUMMARY:INDIGENOUS ART UID:358991 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Artist Carsten Hö\;ller works to turn reality on its hea d\, creating situations through which we can reimagine how we move through the world and reconsider our place in it. Drawing on social spaces outside the museum\, such as the amusement park\, zoo\, or playground\, the interac tions that Hö\;ller proposes through objects and situations open up a r ange of new and unexpected sensory revelations in art.

Underscor ing the 2014 Melbourne Festival microtheme of circus\, the spectacular life -size \;Golden Mirror Carousel \;offers visitors to Federa tion Court a powerfully different physical and mental encounter than its tr aditional fairground counterpart. With each slow turn\, participants are ca rried further into a gleaming\, gilded looking-glass reflection\, a step an d a world away.

Golden Mirror Carousel \;is support ed by the Loti &\; Victor Smorgon Fund.
Presented by Melbourne Fest ival and National Gallery of Victoria\, with the assistance of Gagosian Gal lery\, New York.

DTEND:20150301 DTSTAMP:20141001T153413 DTSTART:20141010 GEO:-37.8610974;144.9848245 LOCATION:NGV (National Gallery of Victoria) International\,180 St Kilda Roa d \nMelbourne\, Victoria 3000 SEQUENCE:0 SUMMARY:Golden Mirror Carousel\, Carsten Höller UID:358989 END:VEVENT BEGIN:VEVENT DTEND:20141010T170000 DTSTAMP:20141001T153413 DTSTART:20141010T100000 GEO:-37.8610974;144.9848245 LOCATION:NGV (National Gallery of Victoria) International\,180 St Kilda Roa d \nMelbourne\, Victoria 3000 SEQUENCE:0 SUMMARY:Golden Mirror Carousel\, Carsten Höller UID:358990 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The unconventional and playfully irreverent designs of Jean Paul Gaultier will be celebrated in the first international exhibition dedi cated to this groundbreaking French couturier.

The National Gall ery of Victoria will be the only Australian venue for \;The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk\, which will feature more than 140 superbly crafted garments in addition to photog raphs\, sketches\, stage costumes\, excerpts from runway shows\, film\, tel evision\, concerts and dance performances.

DTEND:20150208 DTSTAMP:20141001T153413 DTSTART:20141017 GEO:-37.8610974;144.9848245 LOCATION:NGV (National Gallery of Victoria) International\,180 St Kilda Roa d \nMelbourne\, Victoria 3000 SEQUENCE:0 SUMMARY:From the Sidewalk to the Catwalk\, Jean Paul Gaultier UID:358987 END:VEVENT BEGIN:VEVENT DTEND:20141017T170000 DTSTAMP:20141001T153413 DTSTART:20141017T100000 GEO:-37.8610974;144.9848245 LOCATION:NGV (National Gallery of Victoria) International\,180 St Kilda Roa d \nMelbourne\, Victoria 3000 SEQUENCE:0 SUMMARY:From the Sidewalk to the Catwalk\, Jean Paul Gaultier UID:358988 END:VEVENT END:VCALENDAR