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Urban commoners in eighteenth- and nineteenth-century Japan\ , known as the Floating World\, enjoyed a hedonistic lifestyle that include d the pleasure of the companionship of pet animals. Many woodblock prints o f fashionable beauties show them accompanied by elegant\, pampered pets tha t symbolize luxury and sensuality. Formerly a prerogative of the nobility\, pets were now available to newly affluent commoners as well.

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Cats and small dogs we re especially favored as indoor pets\, but monkeys\, mice\, fish\, birds\, and even singing insects were also cherished.  Meanwhile\, on the streets a nd in the countryside\, dogs were beloved pets of both children and adults. Traveling entertainers presented acts by trained monkeys in costumes\, and artists sometimes drew humorous fantasy scenes of animals engaged in human activities.  

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Not just for animal lovers\, “Cats to Crickets” will also appeal to those interested in early modern Ja panese popular culture and fine printmaking.

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DTEND:20130218 DTSTAMP:20140822T133926 DTSTART:20120721 GEO:42.331976;-71.1016439 LOCATION:Museum of Fine Arts Boston\,465 Huntington Avenue \nBoston\, MA 02 115 SEQUENCE:0 SUMMARY: Cats to Crickets Pets in Japan's Floating World UID:231917 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition features a range of works from participants in the MFA's Artful Healing program\, which brings the MFA collection and M useum educators to three partner institutions—Massachusetts General Hospita l\, Children’s Hospital Boston\, and Dana Farber Cancer Institute—to improv e environments through art-making\, promote healing\, and inspire hope in p atients\, families\, and staff. “Artful Healing” highlights approximately 4 0 works\, including drawings\, photographs\, and other 2D media produced by families and individual participants in response to images from the MFA co llection.

DTEND:20130218 DTSTAMP:20140822T133926 DTSTART:20120915 GEO:42.331976;-71.1016439 LOCATION:Museum of Fine Arts Boston\,465 Huntington Avenue \nBoston\, MA 02 115 SEQUENCE:0 SUMMARY:Artful Healing UID:231934 END:VEVENT BEGIN:VEVENT DTEND:20120915T164500 DTSTAMP:20140822T133926 DTSTART:20120915T100000 GEO:42.331976;-71.1016439 LOCATION:Museum of Fine Arts Boston\,465 Huntington Avenue \nBoston\, MA 02 115 SEQUENCE:0 SUMMARY:Artful Healing UID:231935 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Builders presents more than 100 recent and signific ant acquisitions by emerging and established artists instrumental in shapin g perspectives in Canadian art today. The exhibition reflects the work of t he Gallery’s curators in building the collection through an informed unders tanding of contemporary Canadian art across diverse media\, environments an d generations.

DTEND:20130218 DTSTAMP:20140822T133926 DTSTART:20121102 GEO:45.4295366;-75.6989241 LOCATION:National Gallery of Canada\,380 Sussex Drive \nOttawa\, Ontario K1 N 9N4 SEQUENCE:0 SUMMARY:Builders: Canadian Biennial 2012 UID:242250 END:VEVENT BEGIN:VEVENT DTEND:20121102T170000 DTSTAMP:20140822T133926 DTSTART:20121102T100000 GEO:45.4295366;-75.6989241 LOCATION:National Gallery of Canada\,380 Sussex Drive \nOttawa\, Ontario K1 N 9N4 SEQUENCE:0 SUMMARY:Builders: Canadian Biennial 2012 UID:242251 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130219 DTSTAMP:20140822T133926 DTSTART:20130219 GEO:40.7411525;-73.98373 LOCATION:Fountain Art Fair\,68 Lexington Avenue @ 25th Street 69th Regiment Armory\nNew York\, NY 10010 SEQUENCE:0 SUMMARY:The Hullaballoo Collective UID:261321 END:VEVENT BEGIN:VEVENT DTEND:20130219T200000 DTSTAMP:20140822T133926 DTSTART:20130219T180000 GEO:40.7411525;-73.98373 LOCATION:Fountain Art Fair\,68 Lexington Avenue @ 25th Street 69th Regiment Armory\nNew York\, NY 10010 SEQUENCE:0 SUMMARY:The Hullaballoo Collective UID:261322 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For Antonio Rovaldi (Italian\, b. Parma\, 1975\; lives and w orks in Milan)\, frequent long-distance walks and bike rides provide an ope n-air studio for him to contemplate landscape\, space\, and distance. These elements are often key to his drawings\, sculpture\, photography\, perform ance\, and video art. In The Opening Day\, 2009\, a pitcher takes aim at mass-produced ceramics displayed as if they are classical still life s. The artist uses the intangible arc of a fastball to create suspense. Per haps a metaphor is also at play: has moving-image work\, once considered to be outside the realm of fine art\, now shattered this hierarchy?

DTEND:20130219 DTSTAMP:20140822T133926 DTSTART:20120706 GEO:38.8834138;-76.9961784 LOCATION:Hirshhorn Museum and Sculpture Garden\,Independence Ave. @ Seventh St. SW \nWashington\, DC 20013-7012 SEQUENCE:0 SUMMARY:Directions\, Antonio Rovaldi UID:220537 END:VEVENT BEGIN:VEVENT DTEND:20120706T173000 DTSTAMP:20140822T133926 DTSTART:20120706T100000 GEO:38.8834138;-76.9961784 LOCATION:Hirshhorn Museum and Sculpture Garden\,Independence Ave. @ Seventh St. SW \nWashington\, DC 20013-7012 SEQUENCE:0 SUMMARY:Directions\, Antonio Rovaldi UID:220538 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bethany Johnson and Ann Tarantino both utilize elements of c hance and explore the intricacies of systems in their works. In this exhibi tion the artists explore unfamiliar and novel techniques of \;drawing.< /p>\n

Austin-based artist Bethany Johnson&rsquo\;s practice revolves arou nd the study of complex systems and the visual representation of informatio n. Ranging from extremely detailed renderings of landscapes to loosely comp osed drawings made by captured rain\, Johnson proposes different methods of interpreting and recording phenomena. She investigates various methods of science\, cartography\, philosophy\, poetry and visual art. On view for thi s exhibition are Johnson&rsquo\;s two types of rain drawings that utilize 1 9th-century scientific practices of determining rain \;accumulation.

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Ann Tarantino\, based in Pennsylvania\, will create two site-responsi ve works for this exhibition. For an installation in the Driscoll Villa sun porch\, Tarantino will adhere panels laser cut with abstract patterns dire ctly to the windows\, creating what looks like an stained glass installatio n. Throughout the rest of the Villa\, she will draw directly on the wall\, utilizing methods of pouring\, dripping\, and blowing ink onto a surface to create intricate patterns. Referencing the organic patterning of nervous t issue\, the emotional ties revealed through contemporary social networks\, or the labyrinthine streets of ancient cities\, Tarantino abstracts systems that are old and \;new.

DTEND:20130219 DTSTAMP:20140822T133926 DTSTART:20121218 GEO:30.311507;-97.774588 LOCATION:The Contemporary Austin - Laguna Gloria\,3809 West 35th Street \nA ustin\, Texas 78703 SEQUENCE:0 SUMMARY:ShapeShifting: New Methods of Drawing by Bethany Johnson and Ann Ta rantino\, Bethany Johnson\, Ann Tarantino UID:323321 END:VEVENT BEGIN:VEVENT DESCRIPTION: \n\n\n\n\n\n\n
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Untitled\,” a temporary intervention in the Townhouse Fa ctory Space by Cairo-based artist Daniel Rode\, is the culmination of a ser ies of artistic investigations that span the past year and a half.
The aesthetics of error inform the central piece in the installation — a large-format printed banner with a pattern taken from Cairo’s abandoned billboards. When these billboards a re not booked with advertisements and are left empty\, the hidden interior structure of the neon light tubes becomes visible\, creating large abstract patterns that shine across the darkened city. This structure is assembled by hand\, leading to irregularities in the lighting pattern\; and single tu bes or groups of light elements are broken\, creating dark gaps and holes.< /span>

Rode was intrigued bot h by the aesthetics of these patterns\, and by these systematic irregularit ies and failures. A huge billboard is switched on\, but does not fulfill it s function as a carrier of information. This installation responds to these deeply compelling errors in visual communication.

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" بدون عنوان" هو تدخل معاص ر فى مساحة المصنع بالتاون هاوس للفنان "دانيل رود" المقيم فى القاهرة، وهو تت ويج لسلسلة من التجارب الفنية التى امتدت على مدار سنة ونصف.

جماليات الخطأ  هى مصدر الإلهام فى القط عة الأساسية فى التجهيز – وهى لوحة كبيرة مطبوعة بتصميم يستوحى مشهد لوحات الأ علانات بالشوارع عندما تكون شاغرة. تلك اللوحات الإعلانية عندما تخلو من الإعل انات يتبدى بداخلها هيكل من مصابيح النيون وكأنه نسق تجريدى يشع فى ظلام الليل . هذا الهيكل الذى يتم تركيبه باليد يتضمن تكوينات غير منتظمة فى نسق الضوء، ك ما يحدث أن تكون بعض المصابيح قد توقفت عن العمل على نحو يخلق مساحات أو ثقوب سوداء.
 

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أحس "رود" بالدهشة تجاه جماليات تلك ال أشكال الضوئية غير المنتظمة والتى لا تخلو من الأعطال المتوقعة. والحقيقة أنه عندما تتم إضاءة لوحة اعلانات، فإنها لا تقوم بدورها المفترض كناقل للمعلومات. هذا التجهيز هو استجابة لتلك الأعطال الجديرة بالتأمل فى عالم الاتصالات البص رية.

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DTEND:20130220 DTSTAMP:20140822T133926 DTSTART:20130203 GEO:30.0444196;31.2357116 LOCATION:The Townhouse Gallery\,Hussein El Me'mar Pasha St. off Mahmoud Bas youni St.\nCairo \, SEQUENCE:0 SUMMARY:“Untitled”\, Daniel Rode UID:258964 END:VEVENT BEGIN:VEVENT DESCRIPTION:

With the title UnBound\, this exhibition explores how cultur e moves beyond cartographic or physical boundaries\, from the physical pass age of the object to questioning how ideas and histories are carried and re written\, responding to different criteria and value constructs.
Commi ssioned by the Australian Embassy Manila\, in partnership with the Yuchengc o Museum\, Australian curator Gina Fairley has turned to a group of six art ists who live between and across the Philippines and Australia. It is their self-driven passion for nearly two decades that has grown an incredible bo nd and influenced a next generation of artistic exchange.
2013 marks 2 0 years of Tony Twigg coming to Manila\, having presented over 12 solo exhi bitions within this art scene. Diokno Pasilan was involved with the Austral ia Centre as a host for visiting artists when it opened in the early 1990s. He now lives between Melbourne and Palawan and is active in both art scene s. Juni Salvador (who takes his oath on this coming Australia Day) lives ac ross and between Manila and Sydney. David Griggs in recent years has made Q uezon City his home\, and Maria Cruz’s career stretches from Sydney to Mani la to Berlin\, where she has exhibited and taught. This dialogue started in the 1930s\, when Scottish-born\, European-schooled artist Ian Fairweather spent time in the Philippines painting before making Australia his home. To ny Twigg’s installation Anak Bayan (again) draws tribute to that history at the foundation for this exhibition.
These artists are clearly unbound ed by ideas such as ‘nation-based identity\,’ rather choosing to embrace th e intuitive flow of ideas that comes from the movement between places.
UnBound is an exhibition that throws up fresh thoughts on how we define hi stories\, identity\, and movement in our times. Using the metaphor of an ai rport’s transit lounge as the point of intersection for coming and going\, arriving and departing—for ideas of home and away—this exhibition has a par ticularly contemporary feel to it with the frequency with which these artis ts move across our region.
UnBound is an acknowledgment of a long-held creative respect between Australia and the Philippines and the artists who have made both places their home.
QUOTATIONS
“All six artists ha ve been instrumental in taking the work of Filipino artist’s abroad—they ar e great ambassadors and have continued what the Australia Centre started in the 1990s.”
– general quote that you can use or apply.
“The arti sts in this exhibition have been particularly committed in their desire to live and work across our two countries – one that has been driven by passio n\,” said curator Gina Fairley. “As a curator it is fabulous to work with m aterial that connects with audiences of different locations in unique and l ocal ways. Clearly it is this passion that is felt.”
“How culture is t ransported\, repackaged by these artists\, and then interpreted by local au diences\, sits at the core of this exhibition. It is a both an expression a nd a questioning of our times.”
– Gina Fairley\, Australian curator
“The question most often asked is\, ‘So Tony\, where are you based?’ Whi le it is usually just friendly banter\, for me the answer is consequential. It attaches me to a place and defines me within nationalistic structures t hat govern ideas such as Australia’s cultural politics\, but also the kind of global art rhetoric that identifies artists such as myself as peripateti c - born here\, lives there\, lives and works. For me it is a much broader geographic experience that has little to do with cartography or categories. It is about space.”
– Tony Twigg\, Australian artist
“In our pra ctice we always try to make sense of how the materials on hand relate to an idea.”
– Alfredo &\; Isabel Aquilizan\, Filipino artists living in Australia
“Engagement is the key element in the work\; the inter huma n relations that go into the artistic production.” The Aquilizans continued \, “Our projects go beyond their material form. Our interest lies in the wo rks providing a platform for exchange through creative processes\, [and] ne gotiations with the audience.

DTEND:20130220 DTSTAMP:20140822T133926 DTSTART:20130123 GEO:14.5614376;121.0170195 LOCATION:Yuchengco Museum\,RCBC Plaza Corner Ayala Avenue and Sen. Gil J. P uyat Avenue\nMakati City \, 1200 SEQUENCE:0 SUMMARY:UnBound\, Tony Twigg\, Alfredo & Isabel Aquilizan\, Maria Cruz\, Da vid Griggs\, Diokno Pasilan\, Juni Salvador UID:254537 END:VEVENT BEGIN:VEVENT DTEND:20130123T200000 DTSTAMP:20140822T133926 DTSTART:20130123T180000 GEO:14.5614376;121.0170195 LOCATION:Yuchengco Museum\,RCBC Plaza Corner Ayala Avenue and Sen. Gil J. P uyat Avenue\nMakati City \, 1200 SEQUENCE:0 SUMMARY:UnBound\, Alfredo & Isabel Aquilizan\, Maria Cruz\, David Griggs\, Diokno Pasilan\, Juni Salvador\, Tony Twigg UID:254538 END:VEVENT BEGIN:VEVENT DESCRIPTION:
"It's not the story of the battle\; it's the battle of the story!"
Patrick Reinsborough
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In the last few years we have witnessed how the corrosion of the three main modes of so cial imaginary that defined modernity – the market economy\, the public sph ere\, and the self-government of citizens – has reached a critical point. A s a result\, the increasing number of people in different fields\, social s cientists\, artists\, public intellectuals\, and activists are calling for rethinking and reinventing social change. Such voices\, however\, are too o ften fragmented in their respective boundaries\, and\, consequently\, they have not yet been able to articulate a compelling alternative metanarrative that the public would identify with and which would thus result in a major positive change.

The project Cartographies of Hope: Chan ge Narratives was born out of the sense of urgency and the effort to address this situation. It seeks to bring attention to this condition and t o call for joint effort to identify alternatives we can agree. The premise of the project is that narratives of social imaginary play a key role in ge nerating positive changes. Social change is always seen as a certain story\ , which then becomes an important driver of the change itself. This double function of reflection and agency constitutes a methodological core of the project. 
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The last couple of decades have be en characterized by the dominant influence of neo-liberal ideology\, notabl y by its narrative about the market mechanisms as natural principles penetr ating all fields of social life\, including education\, healthcare\, scienc e\, and art. The result is rising inequality\, thinning social cohesion\, a nd the fragmentation of polity. In this situation\, to simply critique and historicize the neo-liberal system is not enough. We need to connect altern ative narratives into a coherent whole –  a metanarrative that would provid e us with a sufficient social cohesion
on one hand and openness and h ope on the other. The project Cartographies of Hope: Change Narratives< /em> comprises of an exhibition\, two conferences\, workshops\, and discuss ions. Its objective is to map different narratives of social imaginary and to start connecting them to a coherent bigger story\,  as well as to develo p networks and shared databases of individuals and institutions associated with those narratives on local and international levels. The exhibition is organized in several sections and subsections that represent diverse narrat ives of change\, while their sum and sequence indicate a larger picture tha t may inspire thinking about a new metanarrative:

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1.  Multitude of social change (local and global\, fast and slow\, generational and inter-personal)

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2.  Crises (ecologial\, financial and economic\, political\, moral)

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3.  Disrespect and pro test (forms of disrespect: injustice\, inequality\, unfreedom\, forms of pr otest\, protest movements)

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4.  Social imagination (solidarity and p articipation\, moral and political dimensions of economy\, global respect a nd justice\, humanity and nature)

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The proj ect is organized by the DOX Centre for Contemporary Art in Prague
in collaboration with the following partners: the Centre for Global Studies in Prague\, the Institute of Sociology of the Czech Academy of Sciences \,
the Council for Foreign Relations\, Prague. Representatives of var ious NGOs
and social movements from the Czech Republic and abroad wil l also participate in the project.

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DTEND:20130221 DTSTAMP:20140822T133926 DTSTART:20121122 GEO:50.1067812;14.4470411 LOCATION:DOX Center for Contemporary Art\,Poupětova 1 \nPrague 7\, SEQUENCE:0 SUMMARY:Cartographies Of Hope: Change Narratives \, Daniel García Andújar\, Kader Attia\, Eva Bakkeslett\, Matthew Connors\, Teddy Cruz\, Amy Francesc hini\, Alexandra Daisy Ginsberg\, Michael Joaquin Grey\, Ingo Günther\, Tor il Johannessen\, Fran Ilich\, OS Kantine\, Krištof Kintera\, Kitchen Budape st\, Kultivator\, Suzanne Lacy\, Steve Lambert\, Daniel Latorre and Natalia Radywyl\, Lize Mogel\, Naeem Mohaiemen\, Nils Norman\, Christian Nold\, Sa scha Pohflepp and Karsten Schmidt\, Morgan Puett\, Oliver Ressler\, Abu Bak r Shawky\, Superflex\, Terreform ONE\, Krzysztof Wodiczko\, The Yes Men\, Z tohoven\, Michael Bielicky & Kamilla B. Richter UID:248481 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130222 DTSTAMP:20140822T133926 DTSTART:20130213 GEO:40.71637;-74.0077067 LOCATION:RH Gallery\,137 Duane St \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Single Fare 3\, James Xavier Barbour\, Lauren Caldarola\, Alyssa Mo nks\, Michael Kagan\, Jean-Pierre Roy\, Stephanie Hogarth\, John Jacobsmeye r\, Zimou Tan\, Brad Kunkle\, Kristy Schmisty\, Scott Goodwillie\, Christia n Fagerlund\, Amber Lia-Kloppel\, Aleah Chapin\, Casey Baugh\, Robert Silve rman\, Debra Goertz\, Brian Booth Craig UID:292007 END:VEVENT BEGIN:VEVENT DTEND:20130213T200000 DTSTAMP:20140822T133926 DTSTART:20130213T180000 GEO:40.71637;-74.0077067 LOCATION:RH Gallery\,137 Duane St \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Single Fare 3\, James Xavier Barbour\, Casey Baugh\, Lauren Caldaro la\, Aleah Chapin\, Brian Booth Craig\, Christian Fagerlund\, Debra Goertz\ , Scott Goodwillie\, Stephanie Hogarth\, John Jacobsmeyer\, Michael Kagan\, Brad Kunkle\, Amber Lia-Kloppel\, Alyssa Monks\, Jean-Pierre Roy\, Kristy Schmisty\, Robert Silverman\, Zimou Tan UID:292008 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Portals of Misconception features a site specific i nstallation by sculptor Aldon Mines and installation artist Shannon Gowen a s well individual works from both artists.  Aldon's sculptures draw viewers in and ask them to question preconceived ideas of functionality and practi cality.  Shannon seamlessly intertwines elements of fiber art\, embroidery\ , collage and sculpture into her installations.  Together they have created an imaginative piece that is as captivating as it is beautiful.

DTEND:20130223 DTSTAMP:20140822T133926 DTSTART:20130119 GEO:29.753448;-95.3940638 LOCATION:BLUEorange\,1208 West Gray Street \nHouston\, TX 77019 SEQUENCE:0 SUMMARY:Portals of Misconception \, Aldon Mines\, Shannon Gowen UID:254872 END:VEVENT BEGIN:VEVENT DTEND:20130119T210000 DTSTAMP:20140822T133926 DTSTART:20130119T180000 GEO:29.753448;-95.3940638 LOCATION:BLUEorange\,1208 West Gray Street \nHouston\, TX 77019 SEQUENCE:0 SUMMARY:Portals of Misconception \, Shannon Gowen\, Aldon Mines UID:254873 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Drop by CMCA during February school vacation week to see The Re cycled Menagerie\, a delightful collection of whimsical creatures crea ted by the late Joel Glassman (1911-2007) of Camden. Made almost entirely f rom discarded and recycled materials\, the menagerie will charm and inspire viewers of all ages. The exhibit will be open Monday through Saturday\, Fe bruary 18 – 23\, 10am to 4pm.

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If you would like to try creating you r own menagerie\, CMCA’s ArtLab will be open from 2-4pm each day of the exh ibit\, stocked with recycled materials (feel free to bring along your own b its and pieces as well).

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Admission to The Recycled Menagerie exhibit and ArtLab is free of charge\, but donations are accepted.

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More about the Artist
Joel Glassman was born in P hiladelphia in 1911. He began designing shoes at age 17\, and continued to design for clients until age 94. Joel and his wife Eleanor lived in Italy f or 15 years\, providing design services for companies all over the world. W hen Joel was 80\, he began to create his Recycled Menagerie. He pr esented his creatures to children in schools and museums\, to encourage the m to create with materials they might throw away. Joel died in Camden\, Mai ne on July 12\, 2007\, three months shy of his 96th birthday.

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DTEND:20130223 DTSTAMP:20140822T133926 DTSTART:20130218 GEO:44.1875349;-69.070328 LOCATION:Center for Maine Contemporary Art\,162 Russell Ave. \nRockport\, M E 04856 SEQUENCE:0 SUMMARY:The Recycled Menagerie: A Special Exhibition & ArtLab for February School Vacation Week\, Joel Glassman UID:260290 END:VEVENT BEGIN:VEVENT DTEND:20130218T170000 DTSTAMP:20140822T133926 DTSTART:20130218T100000 GEO:44.1875349;-69.070328 LOCATION:Center for Maine Contemporary Art\,162 Russell Ave. \nRockport\, M E 04856 SEQUENCE:0 SUMMARY:The Recycled Menagerie: A Special Exhibition & ArtLab for February School Vacation Week\, Joel Glassman UID:260291 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andreas Reiter Raabe zeigt in seiner ersten Einzelausstellun g in unserer Galerie neue Werke
aus unterschiedlichen Arbeitsphasen.Renate Wiehager entwickelt in der Auseinandersetzung mit dem Werk von A ndreas Reiter
Raabe mit dem Begriff der „Distanz“ ein perspektivierend es Konzept\, das die
unterschiedlichen Werkgruppen zueinander in Bezie hung setzt.
„Das Werk von Andreas Reiter Raabe hat sich von Beginn an als eine Abfolge von
Distanzergreifungen realisiert. Die Formen der Di stanznahme umgreifen ein denkbar weites
Spektrum – intelektuelle Kriti k\, materielle Experimente\, gezielte Dislokation von Selbst und
Werk während langer Reisen\, dialogisches Verrichten und neu Entwickeln von Erke nntnis und
Gewissheit. Der Begriff der Distanz wäre für Andreas Reiter Raabe künstlerisch zu wenden\,
insofern er von den frühen Lackbildern und Rahmenobjekten bis zu seinen aktuellen
konzeptuellen Bildfindunge n immer zugleich an der professionellen Beherrschung eines
künstlerisc hen Mediums und an der gleichzeitigen Überwindung desselben gearbeitet hat.
Man könnte\, anders gesagt\, Reiter Raabe – in Phasen der Distanznahm e – als Rezipienten
seines eigenen Werkes bezeichnen. Im künstlerische n Verfertigen sich selbst beobachtend
als Teilnehmer von Kunstgeschich te. Er hat das geistige und formale Repertoire der
wesentlichen Ismen der Moderne – vom Readymade über Informel\, Zero\, Minimal und
Concept Art bis zu Apropriation – nach eigenen Parametern noch einmal durchgespiel t\, um
sich gleichsam den Gang der Argumentation zu vergegenwärtigen. Eine gewisse strategische
Vorgehensweise ist Reiter Raabe hier ebenso wichtig wie ein intuitives Sich-leiten-lassen von
Anregungen\, Zufälle n oder visuellen Eindrücken. Alle Werkgruppen kontrastieren durch ihren
Umgang mit der Farbe – dem Material der Malerei – den Zufall mit Kontroll e\, Ordnung mit
Unordnung und illustrieren so den Konflikt zwischen Ge ist und Materie.“ (Renate Wiehager)
Martin Prinzhorn wiederum betont d as Prozesshafte\, das den Gestaltungsmaterialien selbst
Bildlichkeit z ukommen läßt.
„Es ist immer wieder die Betonung des Prozesses\, die be i den Bildern Reiter Raabes
vorherrscht. Planung und Zufall\, bzw. Int uition werden gleichsam auf einer höheren Ebene
verhandelt\, die das W issen über die surrealistische Bildmaschine oder den erweiterten
expre ssiven Körper mit enthält und anspricht\, nah am Spannungsfeld zwischen Bil d einerseits
und Installation und Skulptur andererseits. In den Bilder n geht es nicht um Auflösung im Sinne
einer Reduktion zum puren Bild h in\, sondern sie handeln auch immer davon\, das Material
zum Bild zu m achen.“ (Martin Prinzhorn)

DTEND:20130223 DTSTAMP:20140822T133926 DTSTART:20121214 GEO:48.207418;16.3692705 LOCATION:Charim Galerie\,Dorotheergasse 12/1 \nWien\, 1010 SEQUENCE:0 SUMMARY:Solo Exhibition\, Andreas Reiter Raabe UID:250211 END:VEVENT BEGIN:VEVENT DTEND:20121213T210000 DTSTAMP:20140822T133926 DTSTART:20121213T190000 GEO:48.207418;16.3692705 LOCATION:Charim Galerie\,Dorotheergasse 12/1 \nWien\, 1010 SEQUENCE:0 SUMMARY:Solo Exhibition\, Andreas Reiter Raabe UID:250212 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Everything you can imagine is real.
—Pablo Pi casso

Gagosian Gallery is pleased to present selected works by Pablo Picasso.

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One of the most influe ntial artists of the twentieth century\, Picasso’s oeuvre encompasses nearl y twenty thousand artworks\, transcending all attempts at categorization.  On view are works in various mediums\, which span the breadth of his divers e and prolific output.

It was Picasso’s maverick ability to ex pand the vocabulary of modern aesthetics\, including non-traditional influe nces while legitimizing new media\, which ushered in a new era in art.  On view are paintings\, drawings\, and terracotta sculptures that attest to th e enduring appeal of his restless virtuosity. Paintings such as Le Peti t Picador (1889)\, Nature morte à la guitar (1924)\, Mari e-Thérèse a la Guirlande (1937) Femme endormie\, symphonie en gris (1943) Portrait d’enfant: Paloma (1952) are exhibited alongs ide robust ceramics such as Centaure (recto) Feuillage (verso) (19 52) and Scène tauromachique (1952)\; as well as ink drawings such as Enfant jouant au train (1ère partie et 2ème partie) (1950) and Le Laboureur céleste (1950).

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This exhibition will coincide with “Picasso at Work: Through the Lense of David Douglas Duncan\,” an exhibition celebrating the historic friendship b etween the American photographer and the artist. “Picasso at Work” is on vi ew at the Musées d’Art et d’Histoire\, Geneva from October 30 through Febru ary 3\, 2013.

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Pablo Picasso was born in Málaga\, Spain in 1881 and died in France in 1973. Rece nt exhibitions of his work include “Picasso: Tradition and the Avant-Garde\ ,” Museo Nacional del Prado and Museo Nacional Centro de Arte Reina Sofía\, Madrid (2006)\; "Picasso and American Art\," Whitney Museum of American Ar t\, New York (2006\, traveled to Walker Art Center\, Minneapolis and San Fr ancisco Museum of Modern Art through 2007)\; "Picasso et les Maîtres\," Gal eries nationales du Grand Palais\, Paris (2008–09)\; “Picasso: Challenging the Past\,” National Gallery\, London (2009)\; and “Picasso at the Metropol itan Museum\,” Metropolitan Museum of Art\, New York (2010). “Picasso: Blac k and White” is on view at the Solomon R. Guggenheim Museum\, New York thro ugh January 23\, 2013.

DTEND:20130223 DTSTAMP:20140822T133927 DTSTART:20121101 GEO:46.2027281;6.1501122 LOCATION:Gagosian Gallery - Geneva\,19 place de Longemalle \nGeneva \, 1204 SEQUENCE:0 SUMMARY:selected works \, Pablo Picasso UID:244351 END:VEVENT BEGIN:VEVENT DTEND:20121101T200000 DTSTAMP:20140822T133927 DTSTART:20121101T180000 GEO:46.2027281;6.1501122 LOCATION:Gagosian Gallery - Geneva\,19 place de Longemalle \nGeneva \, 1204 SEQUENCE:0 SUMMARY:selected works \, Pablo Picasso UID:244352 END:VEVENT BEGIN:VEVENT DESCRIPTION:

"In den letzten Jahren haben sich Annelies Štrbas Fotografie n immer weiter von ihren früheren Abbildungen häuslichen Lebens entfernt\, ihre Serie \,My Life's Dreams' gibt aufschlussreiche Hinweise darauf\, wohi n es ihr Herz mittlerweile gezogen hat: Sie wurde zur Geschichtenerzählerin \, die Märchen spinnt und Handlungsnetze webt\, (...) Die Serie ‚My Life's Dreams' beinhaltet zahlreiche Fotos schlafender Mädchen\, welche an die Dor nröschen-Tradition anknüpfen. Mehr als alles andere künden sie von der Sehn sucht\, sich Unschuld und Staunen zu bewahren. Thematisierte \,Shades of Ti me' die Beschwernisse der Mutterschaft und die Last der Sterblichkeit\, so spiegeln die Bilder aus \,My Life´s Dreams' den Wunsch\, beidem zu entrinne n\, und das möglichst in Anmut und Schönheit. Gleichwohl gibt es auch Hinwe ise auf die Unmöglichkeit solchen Strebens. Die sonderbar eigenständig wirk enden Mädchen im Wald\, so hübsch und blond\, weisen genügend Spuren aktuel ler Lebenswirklichkeit auf\, um anzudeuten\, dass sie in diesem Wunderland fehl am Platze sind\, und das halluzinatorische\, oft neongrelle Kolorit de r Bilder verleiht ihnen eine scharfe und manchmal beängstigende Kontur. Im Kontrast dazu erinnern Stoffschichten und hölzerne Interieurs\, ebenso wie Mohnblumen\, Wälder und gebirgige Landschaften an alte europäische Märchen und die orientalische Exotik der Geschichten aus 1001 Nacht. Diese Bilder s chließen Banalität und Hässlichkeit des gewöhnlichen Daseins ebenso aus wie jeglichen Aspekt des Maskulinen\, sie erschaffen ein Reich ätherischer Wei blichkeit\, des machtvollen Zustands von Traum\, Schlaf und Bewusstlosigkei t. Es ist eine schlaftrunkene\, schwerfällige und schöne Welt\, kurzzeitige Zuflucht vor dem kalten\, starren Blick des Sensenmanns." (John Hutchinson \, aus: My Life's Dreams\, Stuttgart\, 2012)

DTEND:20130223 DTSTAMP:20140822T133927 DTSTART:20130112 GEO:51.3486621;12.3166973 LOCATION:Galerie EIGEN + ART (Leipzig)\,Spinnereistrasse 7 Halle 5\nLeipzig \, 04179 SEQUENCE:0 SUMMARY: My Life's Dreams\, Annelies Strba UID:254822 END:VEVENT BEGIN:VEVENT DTEND:20130112T190000 DTSTAMP:20140822T133927 DTSTART:20130112T110000 GEO:51.3486621;12.3166973 LOCATION:Galerie EIGEN + ART (Leipzig)\,Spinnereistrasse 7 Halle 5\nLeipzig \, 04179 SEQUENCE:0 SUMMARY: My Life's Dreams\, Annelies Strba UID:254823 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Galerie Wilma Tolksdorf is delighted to present works by Jör g Sasse from his series of Still Lifes and Tableaux.

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Whether curtains\, stairways\, radiators\, reflections in windows or unique lighting conditions - with an eye for detail Jörg Sasse reveals fragments of our everyday environment. Since the 1980s the artist has photo graphed seemingly plain everyday objects in private homes\, public building s and shop windows\, unimpressive at first glance. Through unusual perspect ives and detail\, he transfers the preexisting composition into images with a distinct aesthetic quality. The transformation of a rather "simple" obje cts into a picture-worthy image as well as its form\, shift the contextual meaning of the individual picture and their relation to each other.

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For the current exhibition 38 Still Lifes from 1984 to 20 12 are arranged and presented in four blocks. Through the use of databases the artist categorizes his works\, thus being able to examine similarities and differences in order to subsequently compare various constellations to one another. The interaction of materials\, shapes and colors reveal interr elations that any viewer can discover and formulate for themselves.

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Apart from the Still Lifes\, works from the continuously developed series of Tableaux are on view. Since the early 1990s Jörg Sasse has worked with computer-manipulated photographs\, which are mostly based on found and archived footage by amateur photographers. These archive d images serve as starting points\, which are transformed into works whose origin is often no longer recognizable. With the endless possibilities of d igital imaging\, the artist applies the realism of photographic imaging to create independent pictures. Sometimes it seems familiar and picturesque\; sometimes it creates associations in the history of art\, but ultimately re mains an autonomous work in suspense of presence and elusiveness.

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As a former master student of Bernd Becher\, Jörg Sasse (born in 1 962) plays an important role in contemporary art. His works have been exhib ited internationally and are part of world famous art collections\, includi ng the Solomon R. Guggenheim Museum\, New York\, Banco Espirito Santo Photo graphy Collection\, Lisbon\, MUMOK\, Vienna\, Kunsthalle Zurich and Wintert hur Photo Museum. Works from his series of Still Lifes were recently presented in a solo exhibition at C/O Berlin.

DTEND:20130223 DTSTAMP:20140822T133927 DTSTART:20121204 GEO:50.1116287;8.7129814 LOCATION:Galerie Wilma Tolksdorf Frankfurt\,Hanauer Landstrasse 136 \nFrank furt am Main\, D-60314 SEQUENCE:0 SUMMARY:JÖRG SASSE\, Jörg Sasse UID:250087 END:VEVENT BEGIN:VEVENT DTEND:20121201T180000 DTSTAMP:20140822T133927 DTSTART:20121201T150000 GEO:50.1116287;8.7129814 LOCATION:Galerie Wilma Tolksdorf Frankfurt\,Hanauer Landstrasse 136 \nFrank furt am Main\, D-60314 SEQUENCE:0 SUMMARY:JÖRG SASSE\, Jörg Sasse UID:250088 END:VEVENT END:VCALENDAR