Sharon Engelstein's work has been inspired by i ndustrial design\, commercial inflatables and children's toys.  While her m aterials and techniques have varied over the years\, her forms have maintai ned a certain hybrid identity that she terms "biomorphic."  She combines sh apes that are suggestive but non-specific in ways that are at once fascinat ing\, provocative and humorous.


Engelstein began devel oping her abstract\, bulbous forms over a decade ago when she downloaded a free version of a three-dimensional modeling program.  She discovered that computer-aided design (CAD) was an ideal way of "sketching out forms and co nceptualizing."  Researching how to get "these fully realized\, sculptural entities that were trapped inside my computer out\, without losing the perf ect geometry and organic forms\," she turned to an engineer at a commercial blimp company.  Engelstein sent him her drawings and together they worked out how to fabricate them.  As she states\, "This was a different process f or them\, but it's all computerized - the pattern cutting\, everything - un til the sewers start sewing the shapes together."


For Engelstein\, using technology-based tools to realize her medleys of organic -based forms represents an intersection between nature and science.  The vi nyl and nylon fabric scultpures are inflated by fans that make the corpulen t orbs seem alive and breathing.  Like bouncy castles and the holiday infla tables found on so many American lawns\, Engelstein's work spends its downt ime as fabric puddles awaiting its next performance.


T he exhibition title\, True or False\, refers to Engelstein's compu ter-based technique.  She calls these artworks "booleans\," because in comp uter operations a boolean expression is a formulaic quantification that mak es comparisons or determines conditions or relationships that always result in a value of either true or false.  Just as the computer assigns a value of true or false in certain operations\, as an artist\, Engelstein must det ermine the true-ness or false-ness of each step of her decision-making proc ess in creating the final form of her works.


By virtue of their enormous size and the abstracted formality of their shapes\, her sculptures have a solemnity or gravity that is countered by their charming pastel and tantalizing candy-colored hues.  Their shapes are reminiscent of bathtub ducks\, teddy bears\, or party balloon animals.  At the same time\ , the rounded lumps\, humps and appendages of these curious artworks evoke images of human or animal body parts that possess a soft sensuality.

DTEND:20121008 DTSTAMP:20161025T065458 DTSTART:20120512 GEO:40.2482028;-74.6985891 LOCATION:Grounds For Sculpture\,18 Fairgrounds Road (mailing address) 126 S culptors Way (GPS location)\nHamilton\, New Jersey 08619 SEQUENCE:0 SUMMARY:True or False\, Sharon Engelstein UID:223556 END:VEVENT BEGIN:VEVENT DESCRIPTION:

With the cooperation of Studio Ghibli\, a 'TOKUSATSU – Speci al Effects Museum' will open this summer in our museum. This exhibition wil l spotlight the special craftsmanship such as seen in "miniatures"\, and wi ll present on an unprecedented scale its entrancing world that is distinct from VFX or CG. It will focus on the appeal of Japan's world-class visual t echniques\, known as 'TOKUSATSU'.

DTEND:20121008 DTSTAMP:20161025T065458 DTSTART:20120710 GEO:35.6797138;139.8080024 LOCATION:Museum of Contemporary Art Tokyo\,4-1-1 Miyoshi Koto-ku\n Tokyo \ , 135-0022 SEQUENCE:0 SUMMARY:TOKUSATSU - Special Effects Exhibition UID:220560 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Against the background of the economic development of the se cond half of the twentieth century\, the Japanese fashion industry underwen t a transformation. In 1970 Kenzo Takada and Issey Miyake made their appear ance\, followed in the 1980s by Rei Kawakubo and Yohji Yamamoto\, whose wor k was not confined to a Western context but displayed a new form of aesthet ic that shocked the world. What is the true essence of Japanese fashion? Ho w has the relationship between people and clothes changed? This exhibition will explore the works of Japanese fashion\, which has fascinated the world since the latter part of the twentieth century\, from a variety of angles\ , based largely on the collection of The Kyoto Costume Institute (KCI) but also using video and printed materials.

DTEND:20121008 DTSTAMP:20161025T065458 DTSTART:20120728 GEO:35.6797138;139.8080024 LOCATION:Museum of Contemporary Art Tokyo\,4-1-1 Miyoshi Koto-ku\n Tokyo \ , 135-0022 SEQUENCE:0 SUMMARY:Future Beauty: 30 Years of Japanese Fashion UID:220562 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Many 20th-century photographers relied on their subjects’ at tire to help craft a social narrative. Public Dress\, an installat ion of images from the MFAH photography collection\, presents a sampling of themes that highlight the relationship between photography and everyday dr ess.


Photographs by Ishimoto Yasuhiro and Zig Jackson emphasize a d ecisive moment for both the artist and the subject\, whether in taking a pi cture or selecting what to wear. Robert Frank\, Dan Wiener\, and Geoff Winn ingham inspected the more expressive qualities of their subjects’ choices o f attire\, even of those in uniform. The photographs by Carl Clark\, Will v an Overbeek\, and Janice Rubin explore how people groom themselves for a sp ecial occasion.


Personal style can also be seen as an act of rebell ion\, such as the quiet confrontation of Mohawk-style haircuts shown in pho tographs by Mike Osborne and Joel Sternfeld\, or the contained aggression o f a pair of boots in an image by Chris Killip. In post-punk-era New York\, photographer Maripol shot Polaroids of casual scenes with high fashion in m ind\, resulting in a gritty\, relaxed style that is seen today in fashion b logs and social media.

DTEND:20121008 DTSTAMP:20161025T065458 DTSTART:20120620 GEO:29.726578;-95.3906049 LOCATION:Museum of Fine Arts\, Houston (Law Building)\,1001 Bissonnet Stree t \nHouston\, Texas 77005 SEQUENCE:0 SUMMARY:Public Dress\, Maripol\, Chris Killip\, Mike Osborne\, Joel Sternfe ld\, Janice Rubin\, Will van Overbeek\, Carl Clark\, Geoff Winningham\, Dan Wiener\, Robert Frank\, Zig Jackson\, Ishimoto Yasuhiro UID:230774 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The gallery presents the exhibition of the most recent paint ings by Yekaterinburg artist Mari Ku. It includes 30 works deated 2012. All art works are available for purchase.

DTEND:20121011 DTSTAMP:20161025T065458 DTSTART:20120920 GEO:56.834585;60.616523 LOCATION:Yekaterinburg Gallery of Modern Art\,32\, Krasnoarmeyskaya-St. \nY ekaterinburg\, Yekaterinburg SEQUENCE:0 SUMMARY:MYTERRITORY\, Mari Ku UID:237874 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Chelsea Hotel: a place occupied by ghosts of past lives\ ; a place where many renowned painters\, writers\, filmmakers\, actors and musicians have lived and created important works\; a place where\, in spite of the changes without and within the hotel\, the bohemian tradition is st ill alive. The photographer Julia Calfee lived there for four years and too k pictures that captured the hotel’s character as it has been shaped by res idents past and present. Her photographs are impregnated with a personal ex perience of the place\, as described by her in words that communicate the u nique genius loci: “It was possible to come to live in the Chelsea Hotel wi thout questions about a past\, without a job\, without any credit or credit card or check book… Here it is possible without criticism to be drunk\, st oned\, or screaming with the pain of life\, and know that the police will n ot necessarily be called.”

DTEND:20121012 DTSTAMP:20161025T065458 DTSTART:20120912 GEO:1.294176;103.849427 LOCATION:Art Plural Gallery\,38 Armenian Street \nSingapore\, 179942 SEQUENCE:0 SUMMARY:Julia Calfee: Inside the Chelsea Hotel\, Julia Calfee UID:230671 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The images in this exhibit were produced during Ansen Seale’ s recent trip to China. He works with a special self-made camera that rende rs things clearly only when they are moving.

\n DTEND:20121012 DTSTAMP:20161025T065458 DTSTART:20120913 GEO:29.611745;-98.479108 LOCATION:Bismarck Studios Contemporary Fine Art Gallery\,930 Proton\, Suite 202 \nSan Antonio \, TX 78258 SEQUENCE:0 SUMMARY:China In Motion\, Ansen Seale UID:231988 END:VEVENT BEGIN:VEVENT DTEND:20120913T220000 DTSTAMP:20161025T065458 DTSTART:20120913T190000 GEO:29.611745;-98.479108 LOCATION:Bismarck Studios Contemporary Fine Art Gallery\,930 Proton\, Suite 202 \nSan Antonio \, TX 78258 SEQUENCE:0 SUMMARY:China In Motion\, Ansen Seale UID:231989 END:VEVENT BEGIN:VEVENT DESCRIPTION:

PKM 트리니티 갤러리는 2012년 8월 24일부터 10월 12일까지 작가 이상남(b.1953)의 개인전을 개최한다. 본 전시는 2008년 4월 PKM 트리니티 갤러리 개관전 이후 작가가 약 5년 만에 선보이는 개인전으로\, 그동안 제작한 신 작 회화와 드로잉 중에서 엄선한 작품들(회화 및 드로잉 각 40여 점)의 발표를 통해 현재 정점에 이른 작가의 예술적 기량을 한자리에서 펼쳐보일 예정이다.

1980년대 초반부터 줄곧 현대미술의 메카인 뉴욕에서 활동하며 독창적인 회화언어를 구축해온 이상남은 해외 유수의 비엔날레를 비롯한 다양한 미술관 전시 및 대형 프로젝트를 통하여 국내외 미술시장뿐만 아니라 국제적 평단이 깊이있 게 주목하는 아시아 작가 중 한명으로 그 위상을 구축해왔다.

화면 위로 각인된 독특한 기하하적 도상과 부호들은 형상과 색채가 범람하는 현대사회의 이미지로부터 빌어온 것들로\, 작가의 표현에 따르자면 ‘이미지의 곱씹음’이라는 예술적 과정을 통해 이 상남 고유의 기하추상 이미지로 재탄생된 것이다. 작가는 작업초기부터 스스로 고안해낸 500여 개가 넘는 다양한 공예적 도상들로 화면을 구성해왔는데\, 이같은 그의 작업은 단순한 배열과 조합을 넘어 색과 선\, 그리고 공간이 상호교류하는 가운데 고도의 정제된 에너지를 표 출한다.

작가 이상남의 화면은 아크릴 물감을 칠하고 사포로 갈아내기를 50-100차례 반복한 수겹의 물감층으로 이루어진다. 보이지 않는 엄청난 노동량과 함께 극도의 물질성을 함축하는 그의 작업은 회화와 디자인\, 사물의 경계를 교묘히 흔든다. 서구의 물질성과 동양적 정신성 사이를 가로지르는 특유의 치밀한 공정과정은 지난 30년간 회화의 역할탐구에 천착해온 작가가 말하는 ‘미래 의 아이콘’을 찾는 과정으로\, 대중의 익명적 시선을 사로잡기 위한 찰나의 미학으로 설명된다. 특히 20세기 초반의 기하학적 구상의 회 화가 현대적 감성과 결합한 추상회화가 서구 미술계의 새로운 트렌드로 자리잡고 있는 요즘\, 이상남 작가에게 있어서 기하주의의 탐구는 이 미 1980년대부터 작가가 깊이있게 앞서 천착해온 영역임을 크게 주목할 필요가 있다.

작가는 뉴욕 엘가위머 갤러 리\, 암스테르담 아페르 갤러리 등에서의 개인전을 통하여 세계무대에 진출하였으며\, 2008년에는 조선일보가 발표한 ‘100년 후에도 잊혀지지 않을 작가’ 10인에 선정되었다. 또한 올해 3월 뉴욕 아모리쇼에 PKM 갤러리 단독작가로 출품하여 월스트리트저널 문화섹션의 메인을 장식하였고\, 오는 9월에는 폴란드 제2의 도시 포즈난에서 개최되는 미디에이션 비엔날레의 메인 섹션프로그램 작가 중 한명으로 선 정되어 포즈난 신공항의 로비에 대규모의 회화작품(가로 약 70미터)을 영구 설치하는 영예를 안았다. 동서 유럽의 대륙을 잇는 폴란드 포 즈난의 신공항에 선보이는 그의 대형 예술프로젝트는 벌써부터 현지의 뜨거운 관심을 불러일으키며 곧 그 거대한 위용을 드러낼 예정이다.

PKM Trinity Gallery is delighted to present a solo exhib ition of artist Sang Nam Lee (b.1953) from August 24th through October 12th \, 2012. This is a solo exhibition held in about 5 years since his first so lo exhibition at PKM Trinity Gallery in April\, 2008\, and will display the artistic talents of the artist at the peak right now through the presentat ion of his works (about 40 paintings and about 40 drawings) selected from h is new paintings and drawings.

Sang Nam Lee\, who has built hi s own visual language displaying activities in New York\, which is the Mecc a of modern art\, since the early 1980s\, has constructed his status as one of the Asian artists that not only the art market at home and abroad but a lso the international republic of art critics pay attention to through vari ous exhibitions at galleries and large-scale projects including famous Bien nale overseas.

The unique geometric icons and marks layered on the panels and canvas are borrowed from the image of modern society which has too many shapes and colors\, and according to the expression of the art ist himself\, they are reborn as a geometric and abstract image of Sang Nam Lee’s own through the artistic process of ‘chewing images’. The artist has composed the paintings with over 500 diverse art icons devised by himself since the beginning of the work\, and this work of his expresses a much ref ined energy in the midst of mutual exchanges of colors\, lines and spaces b eyond the simple arrangement and combination.

The works of ar tist Sang Nam Lee is made of several layers of paints on which he repeatedl y painted in acrylic and sanded down 50 through 100 times. His work involvi ng enormous invisible labor and extreme materiality cleverly shakes the bor der between paintings\, design and objects. The unique and elaborate proces s crossing the materiality of the West and the spirituality of the East is the process of searching for ‘the icon of the future’ said by the artist\, who has explored the roles of paintings over the past 30 years\, and is exp lained as the aesthetics of a moment to catch the anonymous eyes of the gen eral public. In particular\, as these days the abstract painting in which t he geometric representational paintings in the early 20th century is combin ed with the modern emotions is settling as a new trend in the Western art w orld\, it is needed to pay a great attention to the fact that the explorati on of geometrism is the area that artist Sang Nam Lee has inquired into in depth since the 1980s.

The artist entered the world stage thr ough solo exhibitions at Elga Wimmer PCC in New York\, Appere Gallery in Am sterdam and so on\, and was selected as one of the ten ‘artists that will n ot be forgotten even in 100 years’ by Chosun Ilbo in 2008. In addition\, he hit the headlines of culture section of Wall Street Journal by submitting works to the Armory Show in New York in March this year as the only artist from PKM Trinity Gallery\, and achieved the distinction to permanently esta blish a large-scale painting (about 70 meters in width) in the lobby of new airport in Poznan by being chosen as one of the artists for main section p rograms of the Mediations Biennale held in Poznan\, the second largest city in Poland in the coming September. His large art project displayed in the new airport in Poznan\, Poland connecting the continents of Eastern and Wes tern Europe is already wakening the interest of the region and is planning to reveal its immense splendor soon.

DTEND:20121012 DTSTAMP:20161025T065458 DTSTART:20120824 GEO:37.5268913;127.0423899 LOCATION:P K M TRINITY GALLERY\,79 Cheongdam-dong\, Gangnam-gu \nSEOUL\, SEQUENCE:0 SUMMARY:Light + Right (Three Moons)\, Sang Nam Lee UID:230352 END:VEVENT BEGIN:VEVENT DTEND:20120824T200000 DTSTAMP:20161025T065458 DTSTART:20120824T180000 GEO:37.5268913;127.0423899 LOCATION:P K M TRINITY GALLERY\,79 Cheongdam-dong\, Gangnam-gu \nSEOUL\, SEQUENCE:0 SUMMARY:Light + Right (Three Moons)\, Sang Nam Lee UID:231747 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Kiska Island is a battlefield landscape of world significanc e and yet is a little known story of the World War II Pacific Theatre. This unique Aleutian WWII exhibit includes both historic and modern day images of the Kiska battlefield landscape. Uninhabited before and after the war\, the island still bears all the scars of battle\, providing a raw and jarrin g image. Kiska Harbor and nearby areas abound with Japanese occupation site s and defensive structures\, many replete with heavy armament that was aban doned in place. U.S. bomb craters dot the tundra\, and Japanese gun barrels still point skyward\, evocative reminders of the ferocity of the air war.< /p> DTEND:20121013 DTSTAMP:20161025T065458 DTSTART:20120504 GEO:58.3002019;-134.4157953 LOCATION:Alaska State Museum\,395 Whittier Street \nJuneau\, Alaska 99801 SEQUENCE:0 SUMMARY:Kiska - a World War II Battlefield Landscape UID:215589 END:VEVENT BEGIN:VEVENT DTEND:20120504T160000 DTSTAMP:20161025T065458 DTSTART:20120504T100000 GEO:58.3002019;-134.4157953 LOCATION:Alaska State Museum\,395 Whittier Street \nJuneau\, Alaska 99801 SEQUENCE:0 SUMMARY:Kiska - a World War II Battlefield Landscape UID:215590 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20121013 DTSTAMP:20161025T065458 DTSTART:20120911 GEO:0.0;0.0 LOCATION:CAIS Gallery Seoul\,97-16\, Chungdam dong\, Kangnam Gu \nSEOUL\, SEQUENCE:0 SUMMARY:Guinness Desire\, Young IL Wee UID:236722 END:VEVENT BEGIN:VEVENT DESCRIPTION:

It is a great pleasure for Galleri Nicolai Wallner to presen t the exhibition Some Boarded up Houses along with other series of recent w orks by Joachim Koester.

Joachim Koester's body of work can ge nerally be characterized as being along the borders between documentary and fiction. Based on meticulous research Koester rediscovers and subtly reart iculates various historical or art-related narratives. Koester often incorp orates an archival approach to the subject matter and the stories upon whic h Koester bases his works are often obscure or historical in form and with a predilection for the occult in one form or another. Again in other works he reclaims certain parts of art history\, reworks them into something more \, a further investigation than initially meant to.

The exhib ition at Galleri Nicolai Wallner is made up of several recent works. Among these is the series Some Boarded up Houses from 2009-2010. In these works J oachim Koester has made a new photographic series of boarded up houses from around the US\, which formally references Bernd and Hilla Becher's famous typologies. Though\, in Koester's photographs\, the houses depicted appear as psychological charged spaces\, haunted by economic turmoil caused by the global financial crisis.

Another series presented at the exhi bition is Occupied Plots\, Abandoned Futures. Voids are a fundamental part of any city. Though rarely recognized as such\, empty spaces make up a psyc hic space within any urban reality. They form a network of holes and latent possibilities\, which for a period challenges stasis and control. In 1970 Ed Ruscha documented a number of such spaces under the title: Real Estate O pportunities. Ruscha photographed empty lots for sale in Los Angeles. With the project Occupied Plots\, Abandoned Futures Koester have revisited some of these exact places. Spaces that by now have been sold\, bought\, built a nd changed. Though the project might be less optimistic than Rucha's. In fa ct\, to re-photograph these 'opportunities' is to engage in an archeology o f abandoned futures.

The series Time of the Hashshashin (2009 ) incorporates textual elements taken from Théophile Gautier's Le Club des Hachichin (published 1846) - a rich imaginary essay that recounts a drug tr ip. Together with images of the remote mountain fortress of Alamut\, loacte d in modern day Iran. Some of the images from Alamut are presented upside d own - giving them a sense of surreal. The fortress is surrounded by the leg end of the 'hashsishins'\, which is a term for a hashish eater and is the r oot of the term 'assassin' – a hired killer. The tale of the hashsishins cl aims that the 11th century Persian missionary Hassan-i-Sabah chose Alamut a s his headquarters where he trained his followers to become assassins. From Alamut the men would leave for their assignments\, fortified by hashish. < br />
The work Demonology is based on quasi-psychedelic drawings fro m a so-called 'demon-wall' located in a Norwegian church dating back to 162 0. From a distance the drawings look like a solid black square but as one m oves closer one can vaguely begin to discern different figures. It is a hid den world that is only exposed briefly in the corner of the eye. Similarly to how the demonic is linked to the shadows\, the person looking at the wor k has to search in the dark after figures that give form to the invisible. In his work Koester explores how our notion of the real connects to the ima ginary and supernatural.

Crystall Ball is about a way of seei ng that does not rely on the eyes. There is a way of seeing that emerges in the state between wakefulness and dream\, when patterns and shapes flash b ehind the eyelids\, or as visions\, trance induced while gazing into a crys tal ball. John Dee (1527–1608)\, scientist and astrologer\, did not possess this "second sight\," but hired necromancer Edward Kelly – earless after a conviction for forgery – as his medium. Together\, over a period of seven years\, they conducted a number of magical séances\, which became known as the Enochian Works. Enveloped in trance\, Kelly would stare into a crystal ball\, apprehending images and messages from the otherworld. At his side\, Dee would transcribe the events with utmost precision. Slowly\, through the se works\, a "long-lost" language called Enochian materialized. A magical s ystem of evocations and a mapping of a mental landscape with numerous celes tial cities inhabited by angels\, and\, further out\, beyond four watchtowe rs\, swarms of demons.

Neither Dee nor Kelly were unequivocal ly successful in their magic ventures. While Uriel\, Madimi\, Ath and the o ther angels they summoned were more friendly and cooperative than the demon Choronzon\, Dee's notes can be read as a list of disappointments. The ange ls made promises and – even more so – demands\, but no matter what actions Dee and Kelly took to accommodate their shifting moods\, uncertainty prevai led. The hidden mechanisms by which the world operates were contrary to div ine assurances never revealed. Despite the new and elaborate "celestial" la nguage of Enochian the otherworld remained as haphazard as the world itself \, and following the advice of the angels led to random or at least surpris ing results. Dee ended his life isolated and poor\, while Kelly\, most like ly\, fell to his death during an attempt to escape imprisonment.

Today part of the lengthy manuscripts that once made up the Enochian Wo rks can be found at The British Library. The crystal ball used in the séanc es are exhibited in a showcase in The British Museum. Here\, the imperial a rchitecture of the museum is reflected in miniature by the crystal ball. A blank surface that although mute\, seems to emanate a narrative persistence \, a sleeping presence\, not unlike a photograph.

The exhibit ion at Galleri Nicolai Wallner coincides with an exhibition at Kunsthal Cha rlottenborg in Copenhagen\, the artist's major institutional presentation i n Denmark. Koester will later this year have a solo exhibition at S.M.A.K. in Gent\, Belgium and\, will in 2013 have a solo exhibition at Palais de To kyo in Paris.

Joachim Koester has shown extensively at galler ies and museums in Europe\, USA\, and Asia including MCA (Chicago)\, Van Ab bemuseum (Eindhoven)\, Musée d'Art moderne de la Ville de Paris (Paris)\, P S1 (New York)\, Moderna Museet (Stockholm)\, Palais de Tokyo (Paris)\, and Louisiana (Humlebæk). His work has been exhibited at the Kwangju Biennale\, Documenta Kassel\, and the Venice Biennale. Koester is permanently represe nted in various public collections amongst others Metropolitan Museum of Ar t (New York)\, Museum of Modern Art (New York)\, S.M.A.K (Ghent)\, The Nati onal Gallery of Denmark (Copenhagen)\, and Moderna Museet (Stockholm).

DTEND:20121013 DTSTAMP:20161025T065458 DTSTART:20120831 GEO:55.666607;12.5385291 LOCATION:Galleri Nicolai Wallner\,Ny Carlsberg Vej 68 OG\nCopenhagen V\, 17 60 SEQUENCE:0 SUMMARY:Some Boarded Up Houses \, Joachim Koester UID:232906 END:VEVENT BEGIN:VEVENT DESCRIPTION:

It is a great pleasure for Galleri Nicolai Wallner to presen t This Nameless Spectacle\, a new video work by Jesper Just.

Jesper Just (b. 1974) is known for his short cinematic film works\, often l ayered with emotionally charged\, ambiguous narratives. His films never pre sent the viewer with an answer to the plot\, but rather leave the viewer pu zzled at the end. Gender\, inter-personal relationships and identity are co mmon themes in Just's oeuvre. Previous works have addressed the relationshi p between men and challenged the typical stereotypical perception of men an d male masculinity and explored some of the most essential and basic feelin gs to human life.

This Nameless Spectacle is a two-channel wor k presented on two opposing screens. The work takes its title from the poem The Right Way by American poet William Carlos Williams. In the poem Willia ms describes the fascination with which we observe anonymous actions\, the nameless spectacles that surround us every day and everywhere: "The Supreme importance – of this nameless spectacle". The panoramic scale of the insta llation is all-consuming and it demands the viewer to become physically inc orporated in the work. When moving the gaze from one projection to the othe r\, the viewer himself edits his own version of the film\, thus adding a si gnificant spatial experience to the work. The action in the film is mirrore d on the two opposing screens and split between the two screens\, bouncing from one to the other.

The work starts slowly in the Parisian garden of Parc des Buttes-Chaumont. Here a woman\, who is confined to a whe el chair\, slowly strolls through the romantic classical park. In an impres sive mise én scene the viewer follows the woman's journey through the sunny idyll of the park. As the scene changes to an urban social residential com plex\, so does the light that becomes gloomy and dark.

In an a lmost Hitchcock-fashion she is then followed closely by a young man\, who p ursues her intensely for some time. Even though the woman seems frightened of him\, there is still an awe of fascination and attraction in her.

She then enters the presumed safety of the building where she lives. As she gets through the door to her apartment\, she surprisingly steps out of the wheelchair\, gets up and goes to the window. In the window across f rom her she sees the young man. He begins blinding her with the reflection of the sun in his open window. The woman falls to the floors and goes into an almost erotic series of spasms while twisting and turning in an orgiasti c manner on the floor. Astonished\, the young man watches the scene with a mixture of fascination and horror. The viewer pays witness to this intense spectacle\, as the sun slowly goes away and the woman's spasms die out.

The relationship between young and old is a common theme in Jespe r Just's works. The tensions between the woman and the young man becomes ev en clearer when his teasing her throws her into an orgasmic frenzy\, a spir itual release and transcendence and conclusion to the short relationship be tween the two.

Jesper Just's ability to compress the narrative paradigm makes the distanced affair that the two share feel much longer an d this brief film of thirteen minutes seems like a full-length feature.

With his film works Jesper Just evokes a sense of normality throu gh his uses of situations\, places thoughts and emotions that people can re late to. But in Just's works\, normality and the familiar seems alien to th e viewer. Like in a dream\, where everything seems familiar but where nothi ng is how it usually is. Film being one of the most familiar mediums in the world\, Just uses codes and signs from the world of film to point to parti cular things you might not find in the popular cultural mainstream context of film. His technicality and scale of production of his films\, Just break s with previous traditions of low budget and documentary style art film and puts forth a new style\, more reminiscent of Hollywood blockbusters rather than the historical art film.

Jesper Just has been selected t o represent Denmark at the 55th Venice Biennial in 2013. For the biennial\, Just will create a new multi-screen film work and will co-orporate with se veral external partners for the execution of the work.

Jesper Just lives and works in New York. His work is permanently represented in t he collections of the Carnegie Museum (Pittsburgh)\, the Guggenheim Museum (New York)\, Museum of Modern Art (New York)\, Moderna Museet (Stockholm)\, Tate Modern (London) and Louisiana (Humlebæk)\, in addition to many others .

DTEND:20121013 DTSTAMP:20161025T065458 DTSTART:20120831 GEO:55.666607;12.5385291 LOCATION:Galleri Nicolai Wallner\,Ny Carlsberg Vej 68 OG\nCopenhagen V\, 17 60 SEQUENCE:0 SUMMARY:This Nameless Spectacle \, Jesper Just UID:232907 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Robin Kankapankatja is a Pitjantjatjara/Yankunytjatjara man born c1930 at Walalkara\, 65 kilometres south west of Kaltjiti\, in the Ana ngu Pitjantjatjara /Yankunytjatjara (APY) Lands. Walalkara Country is 700\, 000 hectares of the Great Victoria Desert protected as the Walalkara Indige nous Protected Area (IPA)1. Tjilpi Robin’s extensive knowledge of this coun try - the plants\, animals\, seasons\, and Tjukurpa2 - are the source for a ll of his work made at Kaltjiti Arts. (Tjilpi is a male with senior or elde r status.)
Robin has been painting with Kaltjiti Arts since 2004 and I have been working with Robin since early 2011 when I was appointed Studio and Gallery Manager at the Kaltjiti art centre. In this short time Robin ha s become a good friend and mentor. I have also been fortunate enough to see his success as an artist rapidly rise to become one of the most highly reg arded in the APY Lands. Robin paints his Tjukrurpa stories from around the mountain ranges at Mimili and all the southern area of the APY Lands from w est to east and especially Walalkara. His father was Pitjantjatjara from we st of Watarru and his mother was Yankunytjatjara from Makiri to the north w est of Walalkara. Unusually\, Robin is custodian for country that involves women’s law - minyma Tjukurpa. Ililya and Puni Puni are two such places tha t feature in Robin’s work.
Robin is married to Antjala Robin who is al so an artist at Kaltjiti and actively involved with APY land management.
Nyangatja ngayuku ara irititja: this is my life from long ago is an impo rtant series of works that depict ancestral travelling journeys from Walalk ara to Mimili and Makiri to Iliya. Anangnu are travelling in the country\, looking for food\, water in rock holes\, adults are teaching children\, mak ing fire and cooking for all of the children. Along the journey\, groups of people meet and sit down to camp. Numerous species of plants and animals a re depicted within the drawings. This diaristic view depicts Robin’s memori es from growing up in the bush many years ago including the time that he fi rst saw a ‘whitefella’ as a teenage boy. “No clothes\, nothing\, we walked all around before all the ‘hallelujah men’ came to Pukatja” The drawings by Robin not only reinforce his deep love for his country and Anangu culture but also highlight his fearless\, uninhibited\, fresh style of mark making. Robin has a love for materials that appears to have no boundaries. Charcoa l\, graphite\, oil sticks\, acrylic\, pastels are all used in confident com bination. His sure sense of line\, placement of figurative elements\, and a pprecition for form and colour create windows or snapshots into an 83 year old man’s memories - before  anthropologists’ notes\, before film documenta tion and before the ‘hallelujah men’. His understanding of the country\, th e wildlife\, and the travelling journeys are intensely detailed and execute d. In one drawing we see Robin illustrate the Itjari tjari - Desert Mole. T he “mole radio\,” as Robin says\, is used to hear and track the moles movem ents underground. In the drawing we see the surface of the ground and what seems to be a cross section where the mole is seen burrowing underneath cre ating caves and pot holes - virtually an x-ray vision of the scene. Robin c ompleted this drawing after his friend Joe Benshemesh\, a past employee of APY Land Management\, visited Robin to catch up and say hello. The drawing was immediately completed in what seemed a couple of minutes. The precisene ss and immediacy was amazing to watch. The lack of hesitation\, and confide nce in the marks\, observation\, memory\, love and appreciation for materia ls are testament to his skill as an accomplished artist.

DTEND:20121013 DTSTAMP:20161025T065458 DTSTART:20120914 GEO:-12.4567363;130.8361945 LOCATION:Paul Johnstone Gallery\,2/2 Harriet Place \nDarwin \, NT 0800 SEQUENCE:0 SUMMARY: Nyangatja ngayuku ara irititja: this is my life from long ago\, RO BIN KANKAPANKATJA UID:237027 END:VEVENT BEGIN:VEVENT DESCRIPTION:

We are pleased to announce the opening of Silverlens Singapo re with a solo exhibition by Luis Lorenzana on September 14\, 2012. There w ill also be a commissioned outdoor sculpture piece by Silverlens artist Gar y Ross Pastrana for the opening.
In Beautiful Pain\, Luis Lorenzana u ses white to create a soothing emptiness\, a space in which scars can be bo rne without danger or damage\, and in which they are sources of beauty. His use of color is controlled\, and as a result it is more stark\, more meani ngful\, against such whiteness. Color evokes a sense of joy\, even as it cr eates turmoil.
There is something extreme about the cracks that fiss ure the human form\, about the thorns that wind themselves around it\, abou t faces sliced open and coming apart. But for Lorenzana\, the series speaks of an “extraordinary joy.” Instead of breaking the subject down\, mutilati on unleashes a wild\, strange beauty. It seems as though there is something potentiating inside the wracked body: leaves and flowers bud among thorns\ ; they sprout out of the ground\, out of the women themselves. The skin par ts to reveal a tiny candy garden\; it is sewn up only to drip color onto th e ground. Lorenzana’s mastery of conventional methods allows him to play ar ound with what one might expect from traditional portraits. He preserves cl othing and posture “in reverence to classical painting practice\,” but take s his subjects past their physical limits as human figures. There is a pris tine quality to the paintings\, even as the bodies in them are on the verge of coming undone: “The beauty here is that they are still impossibly alive \,” Lorenzana says\, “and at peace\, and unaffected\, and detached\, vis a vis the pain.” These figures have transcended suffering and come out the ot her side. The extraordinary joy is there\, and it is perhaps only through b reakage that such ecstasy can emerge.

DTEND:20121013 DTSTAMP:20161025T065458 DTSTART:20120914 GEO:1.274468;103.80417 LOCATION:Silverlens Singapore\,Gillman Barracks 47 Malan Road\nSingapore \, 109444 SEQUENCE:0 SUMMARY:Beautiful Pain \, Luis Lorenzana UID:234530 END:VEVENT BEGIN:VEVENT DTEND:20120914T210000 DTSTAMP:20161025T065458 DTSTART:20120914T190000 GEO:1.274468;103.80417 LOCATION:Silverlens Singapore\,Gillman Barracks 47 Malan Road\nSingapore \, 109444 SEQUENCE:0 SUMMARY:Beautiful Pain \, Luis Lorenzana UID:234531 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Jewelry serves artist Shirley Bar-Amotz as a means
for making socially relevant statements. Using
"free craft" which combin es precious metals with
synthetic materials and ready-made molds\, Ba r-
Amotz creates tiny worlds\, seemingly from European
landscap es: forests\, lakes and snow-capped
mountains\, as well as animals tr apped in mounds of
color\, forming a duality of joyful colorfulness a nd a
tough reality.

DTEND:20121013 DTSTAMP:20161025T065458 DTSTART:20120601 GEO:32.0765663;34.7874508 LOCATION:Tel-Aviv Museum of Art\,27 Shaul Hamelech Blvd \nTel Aviv\, 61332 SEQUENCE:0 SUMMARY:HAPPY DAYS THE 2012 ANDREA M. BRONFMAN PRIZE\, SHIRLEY BAR-AMOTZ UID:218833 END:VEVENT BEGIN:VEVENT DTEND:20120601T140000 DTSTAMP:20161025T065458 DTSTART:20120601T100000 GEO:32.0765663;34.7874508 LOCATION:Tel-Aviv Museum of Art\,27 Shaul Hamelech Blvd \nTel Aviv\, 61332 SEQUENCE:0 SUMMARY:HAPPY DAYS THE 2012 ANDREA M. BRONFMAN PRIZE\, SHIRLEY BAR-AMOTZ UID:218834 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In this group exhibition\, Nick Griffin\, Philip Harrell\, a nd Anne Riley investigate the language of abstraction through the employmen t of additive and subtractive painting techniques. Whether exploring the us e of paint as a binder\, glue\, and surface to be manipulated\, or paint as a historical medium and its relation to contemporary art-making practices\ , each of the artists expounds on the process of mark making.


Throu gh the placement of their works in the Center Space gallery\, Griffin\, Har rell\, and Riley hope to invite the viewer into a deep discussion about the inherent possibilities of abstract painting.


Generous support for Center Space Project comes from the University Co-Op along with Robin a nd Trey Hancock.


Nick Griffin is an artist living and working in Austin. He graduated from The University of Texas at Austin in 2011 with a BFA in Studio Art. He recently had his first solo show at Forus Gallery in Austin and has shown in group exhibitions in Dallas and Austin.


Philip Harrell is an artist living and working in Dallas. He gradu ated from The University of Texas at Austin in 2011 with a BFA in Studio Ar t. He has shown work in group exhibitions in both Austin and Dallas.

\n< p>Anne Riley graduated with a BFA in Studio Art from The University of Texa s at Austin in May 2012. She was awarded a scholarship from UT to attend a residency at Ox-Bow\, where she studied kinetic sculpture. She has exhibite d in group shows in Dallas\, Italy\, and Austin\, and recently had her firs t solo exhibition at ABB Gallery in Austin.


All three artists studi ed painting together under professor Chong Chu at Brookhaven Community Coll ege before to moving to Austin.

DTEND:20121013 DTSTAMP:20161025T065458 DTSTART:20120921 GEO:30.2852475;-97.7327763 LOCATION:Visual Arts Center - University of Texas\,23rd and Trinity Streets \nAustin\, Texas 78712 SEQUENCE:0 SUMMARY:Now What It Never Was\, Nick Griffin\, Philip Harrell\, Anne Riley UID:230723 END:VEVENT BEGIN:VEVENT DTEND:20120921T170000 DTSTAMP:20161025T065458 DTSTART:20120921T110000 GEO:30.2852475;-97.7327763 LOCATION:Visual Arts Center - University of Texas\,23rd and Trinity Streets \nAustin\, Texas 78712 SEQUENCE:0 SUMMARY:Now What It Never Was\, Nick Griffin\, Philip Harrell\, Anne Riley UID:230724 END:VEVENT END:VCALENDAR