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Candice Breitz: The Character is the first major solo exhibition in Australia by internationally renowned South Africa n artist Candice Breitz.

To what extent are our lives 'scripted' for us by the media we consume and other influences that we enc ounter in our intimate and social environments? Pop music\, cinema and cele brity culture converge in the artist's video installations to reflect on ho w we create\, define and perform our identities in a world of mass media sa turation.

Through inventively re-edited interviews\, fan perfo rmances and montaged cinema sequences\, Breitz's works present a new take o n contemporary portraiture by creating innovative narratives to probe and a nalyse individual experience.

A major part of the exhibition w ill be the inclusion of The Woods\, a new work making its internat ional debut. Co-commissioned with the Peabody Essex Museum\, Breitz's new t rilogy focuses on child performers and the performance of childhood to prob e aspirations and promises embedded in mainstream cinema.

From adoring Michael Jackson fans re-performing the Thriller album\, t o in-depth interviews with identical twins and studied re-performances of p opular 'rom-com' scenes\, Breitz playfully yet astutely investigates the ex tent to which our lives are constructed by parameters dictated to us by the media\, society\, and the particular moment in time that we are born into.

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Please note: ACMI will be closed on Christmas Day

DTEND:20130311 DTSTAMP:20141228T045022 DTSTART:20121206 GEO:-37.814107;144.96328 LOCATION:ACMI (Australian Centre for the Moving Image)\,Federation Square\, Flinders Street \nMelbourne\, Victoria SEQUENCE:0 SUMMARY:The Character \, Candice Breitz UID:251489 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Wellington Media Collective was established in 1978 as a confederation of graphic designers\, printers\, photographers\, and associ ates. Underpinned by a belief in the power of media arts to intervene in so cial space\, their activities over two decades have involved the production of posters\, magazines\, catalogues\, and leaflets for community and polit ical groups\, ranging from trade unions to arts and activist organisations. This retrospective exhibition examines the politics of style implicit in t he Collective’s substantial body of graphic work\, and through this lens\, surveys a history of public culture in Wellington and New Zealand. The Coll ective’s graphic archives interweave a story of political activism with a c ultural history of performance and art\, both located against a changing ec onomic environment\, new networks of distribution and communication\, and t he technological shift from page to screen. Comprising original prints\, po sters\, publications and ephemeral material\, as well as oral histories pro vided by members of the Collective\, the exhibition draws on an archival pr oject undertaken in collaboration with the Alexander Turnbull Library and t he Department of Museum and Heritage Studies\, Victoria University of Welli ngton. A major book project documenting the Collective’s history will be la unched at exhibition’s close. Coordinated and edited by Ian Wedde with Mark Derby and Jenny Rouse\, and designed by Wellington Media Collective\, the extensively illustrated monograph is co-published with Victoria University Press.

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Gallery closed for summer break from 22 December 201 2 to 21 January 2013

DTEND:20130210 DTSTAMP:20141228T045022 DTSTART:20121023 GEO:-41.2881416;174.7682365 LOCATION:Adam Art Gallery Te Pātaka Toi\,Victoria University of Wellington Gate 3\, Kelburn Parade \nWellington \, SEQUENCE:0 SUMMARY:We Will Work With You! Wellington Media Collective 1978-1998 UID:245599 END:VEVENT BEGIN:VEVENT DESCRIPTION:

1974-75\, Series of 45 gelatin silver prints of text and ima ges on 24 backing boards
Kirk Gallery

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The Adam Art Gallery is proud to present a one work exhibition of Martha Rosler’s The Bowery i n Two Inadequate Descriptive Systems (1974-75). A seminal piece of pho to-conceptual art and a reference point in traditions of socially-oriented creative practice\, The Bowery offers a portrait of what was once New York City’s most archetypical skid-row. Pairing images of derelict stor efronts and empty street corners with a descriptive poetics of drunkenness and vagrancy\, Rosler’s photo-text installation refuses the direct represen tation of an implied human subject in favour of a layered interrogation of the adequacy of both visual and literary modes to the experience of social marginalisation. Nonetheless\, the work insists upon the political resonanc e of the material settings of urban blight. Images and text are intersperse d with occasional blank panels in the space of a photographic image\, and i t is this dialectic between concreteness and the incommensurable which lend s The Bowery its enduring critical charge. Martha Rosler works in video\, photography\, text\, installation\, and performance\, and as an ess ayist and social commentator. Her preoccupations center on everyday life an d the politics of the public sphere\, often with an attention to women’s ex perience. The Adam Art Gallery will host a series of public events to suppo rt this exhibition\, including two fora on documentary practice co-sponsore d by the Elam School of Fine Arts\, University of Auckland. Martha Rosler w ill participate in the inaugural Adam Art Gallery Skype Conversati on series in early 2013\, discussing politics\, activism\, and the digital commons in the context of her recent projects.

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Gallery clos ed for summer break from 22 December 2012 to 21 January 2013.

DTEND:20130210 DTSTAMP:20141228T045022 DTSTART:20121023 GEO:-41.2881416;174.7682365 LOCATION:Adam Art Gallery Te Pātaka Toi\,Victoria University of Wellington Gate 3\, Kelburn Parade \nWellington \, SEQUENCE:0 SUMMARY:The Bowery in Two Inadequate Descriptive Systems\, Martha Rosler UID:245600 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ron and Mark Hanson\, the editors of Wellington and Taipei b ased White Fungus magazine\, have been invited to prepare a series of poste rs to accompany the Wellington Media Collective and Martha Rosler exhibitio ns. Unfolding over the eight week duration of the exhibition in the Adam’s Window space\, this poster sequence and its associated free newsprint publi cation will take this remark by current Prime Minister John Key as a point of departure: “Our children are important… They are the consumers of th e future.” Reflecting upon the concrete impact of neo-liberal thinking on Wellington’s urban and architectural fabric over recent decades\, the W hite Fungus brothers talk back at local brandings of the city as New Zealan d’s ‘Creative Capital.’ An emphasis on print publication ties the magazine’ s zine aesthetic to a legacy informed by the Wellington Media Collective\, and the project proposes the protest poster as at once a mode of still-cont emporary activism and the formal expression of a local style. The Adam Art Gallery will run a Poster Competition to accompany the White Fungus commiss ion\, judged by Wellington Media Collective\, White Fungus\, artist John La ke\, and Kate Daellenbach\, School of Marketing and International Business\ , Victoria University of Wellington.

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Gallery closed for sum mer break from 22 December 2012 to 21 January 2013.

DTEND:20130210 DTSTAMP:20141228T045022 DTSTART:20121023 GEO:-41.2881416;174.7682365 LOCATION:Adam Art Gallery Te Pātaka Toi\,Victoria University of Wellington Gate 3\, Kelburn Parade \nWellington \, SEQUENCE:0 SUMMARY:The Consumers of the Future\, a commissioned project by White Fungu s\, Mark Hanson\, Ron Hanson UID:245601 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Throughout 2012\, visit ors will be treated to some of the very best of these attributes the Akron Art Museum has to offer\, both in terms of its holdings and its ability to recognize such works long before other museums have considered them.

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It’s the museum’s 90th anni versary year\, and curators and staffers are looking to its past and its le gacy to demonstrate just how rich are its history and holdings\, and how ad roit they are at putting together new shows.
-Dorothy Shinn\ , Akron Beacon Journal

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 As part of the ongoing celebration of the m useum’s 90th anniversary the Corbin Gallery features an exhibition of works commissioned over several decades. The museum has a long history of commis sioning artworks by local artists including paintings\, photographs\, print design\, jewelry and pottery to commemorate milestones\, anniversaries and special events.

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A highlight of this exhibition is an abstract pain ting by Al Bright\, the result of a performance commissioned by the museum that kicked off the 90th anniversary on February 5\, 2012. The exhibition a lso includes a print by University of Akron professor and artist Hui-Chu Yi ng\, commissioned to honor the past presidents of the Board of Trustees.

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Photographs by Robert Glenn Ketchum\, Andrew McAllister and Penny Rak off are also among the works on view in this intimate exhibition. Several w orks created for the Masked Balls over the years will be featured\, includi ng copper masks by Don Drumm.

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The Anniversary Show offers an opport unity for viewers to reflect on the many special moments that make up the m useum’s timeline through works created exclusively for the Akron Art Museum .

DTEND:20130203 DTSTAMP:20141228T045022 DTSTART:20120721 GEO:41.084168;-81.5156825 LOCATION:Akron Art Museum\,One South High \nAkron\, Ohio 44308 SEQUENCE:0 SUMMARY:The Anniversary Show: Commemorative Art Through the Years UID:257592 END:VEVENT BEGIN:VEVENT DESCRIPTION:

"Lovers of beautiful gl ass sculpture will be in for a treat over the next six months\, because the Akron Art Museum is showing works by two outstanding artists.

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Brent Kee Young\, who teaches at the Cleveland Institute of Art\, and Sungsoo Kim\, who teaches at Kent Stat e University School of Art\, have each developed new\, highly individual an d divergent techniques that push the boundaries of glass sculpture."
- Dorothy Shinn\, Akron Beacon Journal

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The Akron Art Museu m joins dozens of Ohio museums and galleries in celebrating the 50th annive rsary of the studio glass movement in the United States\, which began with the Toledo Glass Workshops in 1962. Featuring artists at the forefront of c ontemporary glassmaking\, New Artifacts: Works by Brent Kee Young and S ungsoo Kim pays tribute to the pioneering spirit of the movement’s fou nders. Works by Cleveland Institute of Art professor and department head Yo ung are juxtaposed with the works of Kim\, an adjunct professor at Clevelan d Institute of Art and Kent State University. Each has developed diverging and highly personal techniques that expand our understanding of the possibi lities for glass.

DTEND:20130407 DTSTAMP:20141228T045022 DTSTART:20121020 GEO:41.084168;-81.5156825 LOCATION:Akron Art Museum\,One South High \nAkron\, Ohio 44308 SEQUENCE:0 SUMMARY:New Artifacts\, SungSoo Kim\, Brent Kee Young UID:257594 END:VEVENT BEGIN:VEVENT DESCRIPTION:

"The sculptures are mag nificent to behold\, the paintings even more so. But best of all\, this exh ibit captures the essence of an era\, and it does so with little-known work s and late-career paintings that reveal the artist’s interest in gravity\, suspension and motion."
-Dorothy Shinn\, Akron Beacon Journa l

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Adolph Gottlieb\, a first-generation abstract expressionist paint er whose art was central to the development of mid-twentieth century painti ng in America\, was among only three of his fellow painters to create both two- and three-dimensional works. Gottlieb’s sculptures are little-known an d have rarely been seen in the United States. Adolph Gottlieb: Sculptor< /i> includes sculptures\, maquettes and templates\, as well as several majo r paintings from the 1960s and 1970s that illustrate the important relation ship between the artist’s drawings and sculptures. Additionally\, the conne ctions between Gottlieb and his contemporaries will be examined in an adjac ent presentation drawn from the museum’s collection of painting and sculptu re.

DTEND:20130217 DTSTAMP:20141228T045022 DTSTART:20121027 GEO:41.084168;-81.5156825 LOCATION:Akron Art Museum\,One South High \nAkron\, Ohio 44308 SEQUENCE:0 SUMMARY: Sculptor\, Adolph Gottlieb UID:257591 END:VEVENT BEGIN:VEVENT DESCRIPTION:

At irregular intervals\, the Alb ertina invites artists to respond to the venue of the palace\, the museum\, and the Habsburg staterooms in specially conceived interventions.

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The series is introduced by Markus Hofer (born in Haslach/Austria in 1977)\, whose objects sculpturally accentuate the int erior and exterior of the building\, with the artist fathoming and explorin g the site’s spatial conditions and qualities. His artistic interventions a re meant to irritate and frequently only reveal themselves as what they are at second glance or when looked at more closely\, thereby putting into que stion the extant substance. Markus Hofer draws attention to the ordinary an d familiar\, thereby modifying our perception and visual habits.

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For his intervention in the Albertina\, Hofer dev otes himself to what is hidden and undetected. His interest concentrates on the institution as a building\, yet he understands the museum not only as a depository of collectibles\, but - equally importantly - also as storage of history and stories. These are to be discovered\, just as the invisible is to be rendered visible. Markus Hofer unearths things\, opens compartment s\, and encourages us to take a look behind the facade.

DTEND:20130127 DTSTAMP:20141228T045022 DTSTART:20121018 GEO:48.2045607;16.368969 LOCATION:Albertina\,Albertinaplatz 1 \nVienna\, 1010 SEQUENCE:0 SUMMARY:Intervention 1\, Markus Hofer UID:256065 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Austrian artist Erwin Wurm (b. 1954\, Bru ck an der Mur) has successfully established himself on the international ar t scene for several years now\, such as with his One Min ute Sculptures (stagings of mostly bizarre situations that have been c aptured in photographs) and his defamiliarizations of objects (such as Fat Car).

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In the focus of the a rtist’s first one-man show at the Albertina is a new group of works that is currently in the process of completion. In it\, Erwin Wurm deals with the human body in a cross-media approach by confronting the real manifestation of the body in the 21st century with the body language of Gothic art\, whic h results from the spirit of internalization and asceticism.

DTEND:20130217 DTSTAMP:20141228T045022 DTSTART:20121212 GEO:48.2045607;16.368969 LOCATION:Albertina\,Albertinaplatz 1 \nVienna\, 1010 SEQUENCE:0 SUMMARY:De Profundis\, Erwin Wurm UID:256066 END:VEVENT BEGIN:VEVENT DESCRIPTION:

“Before he descends\, a di ver never knows what he will bring back up.” (Max Ernst)

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The Albertina will devote an exhibition - his first retrosp ective in Austria - to Max Ernst\, the great pictorial inventor. Presenting a selection of 180 paintings\, collages\, and sculptures\, as well as rele vant examples of illustrated books and documents\, the exhibition will asse mble works related to all of the artist’s periods\, discoveries\, and techn iques\, thereby introducing his life and œuvre within a both biographic and historical context.

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Together with Matisse\, Picasso \, Beckmann\, Kandinsky\, and Warhol\, Max Ernst no doubt numbers among the leading figures of 20th-century art history. An early protagonist of Dadai sm\, a pioneer of Surrealism\, and the inventor of such sophisticated techn iques as collage\, frottage\, grattage\, decalcomania\, and oscillation\, h e withdraws his work from catchy definition. His inventiveness when it come s to handling pictorial and inspirational techniques\, the breaks between h is countless work phases\, and his switching back and forth between themes cause irritation. Yet what remains a constant is his consistence in terms o f contradiction.
Max Ernst was a restless personality who always strov e for freedom. Torn between the realization of his personal aims in life an d the social and political obstacles during a turbulent period\, he neverth eless always looked ahead: a “flight into the future”. A misunderstood and revolting artist\, he had moved from Cologne to Paris in 1922\, where he jo ined the circle of the Surrealists\; he was detained as hostile alien twice \, attempted to get away\, and was released thanks to lucky “coincidences”. In 1941 he escaped into American exile
Remembrance\, discovery\, recy cling\, and collage were the combined motor that drove him in his work.  Un der these aspects\, the exhibition positions Max Ernst’s œuvre between refe rences to the past\, contemporary political events\, and a prophetic and vi sionary perspective of the future. He who attested to himself a “virginity complex” in the face of empty canvases went always in search of means that would allow him to augment the hallucinatory capacities of his mind\, so th at visions would arise automatically in order to “rid him of his blindness” .

DTEND:20130505 DTSTAMP:20141228T045022 DTSTART:20130123 GEO:48.2045607;16.368969 LOCATION:Albertina\,Albertinaplatz 1 \nVienna\, 1010 SEQUENCE:0 SUMMARY:Retrospective\, Max Ernst UID:256067 END:VEVENT BEGIN:VEVENT DTEND:20130123T210000 DTSTAMP:20141228T045022 DTSTART:20130123T100000 GEO:48.2045607;16.368969 LOCATION:Albertina\,Albertinaplatz 1 \nVienna\, 1010 SEQUENCE:0 SUMMARY:Retrospective\, Max Ernst UID:256068 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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Religion\, Ritual and Performance in the Renais sance brings together more than 80 works\, sacred and secular\, spanni ng the late thirteenth to early seventeenth centuries\, from both Northern and Southern Europe. The objects—which include paintings\, sculptures\, and decorative arts—are from the collections of the AMAM and Yale University A rt Gallery.

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The exhibition was made possible by a generous grant fr om the Andrew W. Mellon Foundation\, as part of a collection-sharing initia tive. It presents works used in private devotion\, public worship\, religio us processions\, and other rites and rituals\, such as marriages\, alongsid e those of a more secular nature\, including portraits and chests\, which n evertheless perform functions related to self-fashioning and display. Among the many exceptional works in the exhibition are two portable altarpieces that would have been used in private devotion: one\, a painted triptych (th e earliest on view\, from ca. 1280-90)\, is discreet and intimate\, while t he other\, a lapis lazuli- and coral-encrusted work complete with its case (one of the latest works\, from 1608)\, is a masterpiece of craftsmanship. The exhibition allows the AMAM to supplement its rich Renaissance collectio n with superb paintings from Yale by Taddeo and Agnolo Gaddi\, Sano di Piet ro\, Ridolfo Ghirlandaio\, Lucas van Leyden\, and Jacopo Tintoretto\, among many others\, as well as sculptures from France\, Germany\, and Italy.

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An exciting aspect of the exhibition is the opportunity it presents to see works by Apollonio di Giovanni\, Neri di Bicci\, Mariotto di Nardo\, a nd Barthel Bruyn the Elder from both the AMAM and YUAG collections. Also re united are six enigmatic paintings from a series of twelve by Maerten van H eemskerck. A very large early fifteenth-century Florentine altarpiece is se en in its full glory\, emphasizing the fragmentary nature of so many other Renaissance paintings whose original surrounding works have been lost. The exhibition will be used extensively in teaching\, research\, and public pro grams during the 2012-13 academic year.

DTEND:20130630 DTSTAMP:20141228T045022 DTSTART:20120828 GEO:41.29366;-82.216485 LOCATION:Allen Memorial Art Museum\,Oberlin College 87 North Main Street \ nOberlin\, OH 44074 SEQUENCE:0 SUMMARY:Religion\, Ritual\, and Performance in the Renaissance\, Maerten va n Heemskerck\, Barthel Bruyn the Elder\, Mariotto di Nardo\, Neri di Bicci\ , Apollonio di Giovanni\, Jacopo Ligozzi UID:236057 END:VEVENT BEGIN:VEVENT DESCRIPTION:

As in earlier periods\, the art of the 20th and 21st centuri es engages in a dialogue with the important themes of religion\, ritual\, a nd performance. Works from the AMAM collection by artists from diverse back grounds and artistic approaches reflect a broad array of responses to these concepts. Examples by artists such as Louise Bourgeois and photographer Ho lly Wright address religion\, ranging from the Christian tradition to other beliefs from around the world. Other artists like Jackie Winsor employ the idea of ritual as an art-making strategy\, while Alison Saar and José Bedi a present it as a subject. Ephemeral performance art is documented in works by artists including Joseph Beuys\, Dennis Oppenheim\, and Ana Mendieta. DTEND:20130630 DTSTAMP:20141228T045022 DTSTART:20120828 GEO:41.29366;-82.216485 LOCATION:Allen Memorial Art Museum\,Oberlin College 87 North Main Street \ nOberlin\, OH 44074 SEQUENCE:0 SUMMARY:Religion\, Ritual\, and Performance in Modern and Contemporary Art\ , Audrey Flack\, Ana Mendieta\, Holly Wright\, Jackie Winsor\, Alison Saar\ , José Bedia\, Joseph Beuys\, Dennis Oppenheim\, Louise Bourgeois UID:236058 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition brings together exquisite examples of Muslim figurative and non-figurative art.  Illustrated manuscripts and calligraph ic samples from regions ranging from North Africa in the West to the Persia n Plateau in the East will allow visitors to examine and take pleasure in s ome of the diverse aesthetic traditions of the Muslim world. This exhibitio n coincides with Professor Esra Akin-Kivanc’s courses “Visual Cultures of t he Muslim World” and “Approaches to Islamic Art and Architecture.”

DTEND:20130630 DTSTAMP:20141228T045022 DTSTART:20120906 GEO:41.29366;-82.216485 LOCATION:Allen Memorial Art Museum\,Oberlin College 87 North Main Street \ nOberlin\, OH 44074 SEQUENCE:0 SUMMARY:Beyond the Surface: Text & Image in Islamic Art UID:236062 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130202 DTSTAMP:20141228T045022 DTSTART:20130111 GEO:55.666301;12.627523 LOCATION:Andersen's Contemporary\,Amager Strandvej 50 \nCopenhagen S\, Cope nhagen 2300 SEQUENCE:0 SUMMARY: El Camino Del Hardcore - Rejsen Til Nordens Indre\, Gæoudjiparl UID:254490 END:VEVENT BEGIN:VEVENT DTEND:20130111T200000 DTSTAMP:20141228T045022 DTSTART:20130111T170000 GEO:55.666301;12.627523 LOCATION:Andersen's Contemporary\,Amager Strandvej 50 \nCopenhagen S\, Cope nhagen 2300 SEQUENCE:0 SUMMARY: El Camino Del Hardcore - Rejsen Til Nordens Indre\, Gæoudjiparl UID:254491 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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NO RACE NO SEX NO AGE
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Das Gesicht als I dee
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\nANDREAS GRIMM MUNCHEN freut sich Ihnen Arbei ten aus dem Zyklus DIE SONNE UM MITTERNACHT SCHAUEN – III/196/1973 von Kath arina Sieverding zu präsentieren. Es ist die zweite Einzelausstellung bei A ndreas Grimm.
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Katharina Sieverding lebt un d arbeitet in Düsseldorf\, Berlin und Wien. Ihre künstlerischen Arbeiten um fassen Dokumentarfotografie\, raumbezogene Film-\, Video-\, Dia-\, Projekti ons-\, Lightdisplay- und Printarbeiten analoger wie digitaler Prozesse. 197 0 entschied sich Katharina Sieverding zu einer konsequenten großflächig dim ensionierten Bildkonzeption und -präsentation mittels Film- und Fotoapparat ur.
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Sie war 1982\, 1977 und 1972 documenta-Teilne hmerin. Auf der Biennale in Venedig präsentierte sie 1997 den Werkblock Steigbilder I – IX/1997 im deutschen Pavillon und bekam 2004 den Goslae r Kaiserring verliehen. Zu den zahlreichen Ausstellungen zählen Präsentatio nen u.a. im Solomon R. Guggenheim Museum New York\, Walker Art Center Minne apolis\, ICA Boston\, im MoMA P.S.1 New York und MoMA San Francisco\, Kunst halle Detroit\; weiterhin im Museum Folkwang Essen\, dem Van Abbemuseum Ein dhoven\, in der Neuen Nationalgalerie Berlin\, in der Kunstsammlung K20 NRW Düsseldorf\, im Deutsche Guggenheim Berlin\, in den Kunst-Werken Berlin\, im Ludwig Museum Budapest\, im Migros Museum Zürich\, im Stedelijk Museum A msterdam und Tate Liverpool.
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1973 entsteht innerhalb des Gesamtzyklus DIE SONNE UM MITTERNACHT SCHAUEN – I VII/196 /1973 der Werkblock III\, der aus 56 monumentalen Goldportraits und 28 gespiegelten Diptychen von Katharina Sieverding besteht.
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Sieverdings Gesicht ist auf diesen Portraits mit Goldstaub bedeckt und bildfüllend im Anschnitt. Diese Gesichter haben keinen Namen\, kein Ges chlecht\, keine Herkunft und kein Alter – sie sind die Idee eines Gesichts\ , das Fragen aufwirft zur Konzeptualität von Identität\, zur magischen Aufl adung des Antlitzes\, zur Anrufung von Bildern und zu dem\, wie Bilder auf uns zurückblicken.
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Die goldene Maskierung entzieht das Gesicht der eindeutigen Zuschreibbarkeit und stellt es zur Disposition\, ein ähnlic hes Maquillage-Konzept wie Sieverding es bereits in dem 16mm - Film "LIFE - DEATH" von 1969 angewendet hat.
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„Nun impliziert die Versuchung der totalen Maske (die antike Maske zum Beispiel) möglicherw eise weniger das Thema des Geheimnisses (wie es bei den italienischen Halbm asken der Fall ist) als das eines Archetypus des menschlichen Gesichts.“ (R oland Barthes\, 1957)
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Heute\, vierzig Jahre nach ihrer Entstehung\, haben die Arbeiten nichts an Aktualität verloren\, sonde rn ermöglichen eine Reflexionsschnittstelle dafür\, dass sich auf andere We ise identifikatorische Prozesse mehr und mehr von einer körperlichen Zugehö rigkeit lösen.
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Katharina Sieverding ist in zahlre ichen internationalen Sammlungen vertreten\, darunter: Museum of Modern Art \, New York\; Museum of Modern Art\, San Francisco\; Stedelijk Museum\, Ams terdam\; Migros Museum für Gegenwartskunst\, Zürich\; Nationalgalerie Berli n\; Hamburger Bahnhof\, Berlin\; Staatsgalerie Stuttgart\, Bundeskunstsamml ung\, Kunstsammlung Nordrhein-Westfahlen\, Düsseldorf\; Lenbachhaus\, Münch en\; Hamburger Kunsthalle\; Sammlung zeitgenössischer Kunst der Bundesrepub lik Deutschland\, Bonn.
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Die Ausstellung wurde erm öglicht in Zusammenarbeit mit der Galerie Sabine Knust\, München.
DTEND:20130302 DTSTAMP:20141228T045022 DTSTART:20130118 GEO:48.1458066;11.5728047 LOCATION:ANDREAS GRIMM - MÜNCHEN\,Türkenstrasse 11 \nMünchen\, D-80333 SEQUENCE:0 SUMMARY:Die Sonne um Mitternacht schauen III/196/1973\, Katharina Sieverdin g UID:254492 END:VEVENT BEGIN:VEVENT DTEND:20130117T210000 DTSTAMP:20141228T045022 DTSTART:20130117T190000 GEO:48.1458066;11.5728047 LOCATION:ANDREAS GRIMM - MÜNCHEN\,Türkenstrasse 11 \nMünchen\, D-80333 SEQUENCE:0 SUMMARY:Die Sonne um Mitternacht schauen III/196/1973\, Katharina Sieverdin g UID:254493 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Los mundo s interiores y los espacios deshabitados son una constante en el trabajo de los últimos años de Ignacio Llamas. Sin embargo este hecho no impide que l a (inexistente) figura humana cobre especial importancia en su obra\; Los e spacios\, los volúmenes\, la luz no son sino los testigos de la presencia y las vivencias de las personas y seres que habitan (habitamos) dichos espac ios y que los impregnan y dotan de sentido.

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Es precisamente ese marcado carácter vivencial el que se convierte en el hilo conductor de la exposición “Sangrar luz” articulad o a través de la luz como elemento esencial en su trabajo y elemento clave por el que se percibe la realidad plasmada en los escenarios y el espacio-v olumen como cosmos (en este caso de reducidas dimensiones) en el que se des arrolla la comedia humana que la luz ilumina o\, a menudo\, llena de penumb ras y umbrías a la vez que evidencia la carga espiritual de la que los esce narios han quedado impregnados.

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El elem ento-icono de la maleta deviene en esencia de la serie como símbolo del via je interior al que se invita al espectador y una alusión a su vez al viaje de la vida\, es decir\, al viaje hacia la muerte.

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Ignacio Llamas ap unta\, apenas perfila lo sucedido. Queda a la discreción del espectador y d e su archivo de vivencias el completar las historias\, el hacer suyo lo nar rado o simplemente contemplar los restos del naufragio.

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La exposición se compone de una selección muy cuidada y ex tremadamente escueta de piezas fotográficas y una única instalación que dia loga con las mismas.

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“Sangrar luz” es su pri mera exposición individual en ARANAPOVEDA

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Ignacio Llamas (Toledo\, 1970) Licenciado en Bellas Artes por la U CM. A principios de los noventa realiza su primera exposición individual. D esde entonces muestra con asiduidad su obra en galerías\, museos y centros de arte. Ha realizado exposiciones individuales y colectivas en las galería s españolas Espacio Líquido (Gijón)\, Adora Calvo (Salamanca)\, EGAM (Madri d) \, Del Sol (Santander)\, Ángeles Baños (Badajoz)\, entre otras\, además de exponer en galerías en Portugal\, Italia\, Alemania\, EEUU y Argentina. Ha participado con frecuencia en ferias de arte contemporáneo internacional es como ARCO\, TIAF\, ArteBA\, ArtBrussels\, Foro Sur\, Artesantander\, Art eLisboa y en instituciones como Museo Patio Herreriano\, Museo de Arte Cont emporáneo Unión FENOSA o Fundación Caixa Galicia\, además de haber recibido la mención de honor en el premio de fotografía Purificación García en 2010 . Su obra forma parte de las colecciones institucionales de Museo Patio Her reriano\, Colección Unión Fenosa\, Colección Circa XX – Pilar Citoler\, Fun dación Coca Cola\, Colección BESart\, Colección Caja Madrid\, Colección Caj a Castilla La Mancha o Colección Ayuntamiento de Pamplona.

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DTEND:20130205 DTSTAMP:20141228T045022 DTSTART:20121129 GEO:40.4136965;-3.6967703 LOCATION:ARANAPOVEDA Galeria\,C/ Lope de Vega\, 22 \nMadrid\, 28014 SEQUENCE:0 SUMMARY: SANGRAR LUZ\, Ignacio Llamas UID:248474 END:VEVENT BEGIN:VEVENT DTEND:20121129T220000 DTSTAMP:20141228T045022 DTSTART:20121129T200000 GEO:40.4136965;-3.6967703 LOCATION:ARANAPOVEDA Galeria\,C/ Lope de Vega\, 22 \nMadrid\, 28014 SEQUENCE:0 SUMMARY: SANGRAR LUZ\, Ignacio Llamas UID:248475 END:VEVENT END:VCALENDAR