BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

Environmental artist Patrick Dougherty will create a site-sp ecific work on the front lawn of the Academy starting Feb. 6. In just over two weeks\, the North Carolina-based artist will twist and weave tree sapli ngs to create large\, organic sculptures. The surrounding environment and i ts given materials play a significant role in shaping his sculptures and in this case\, his work will draw from the architectural elements of the Acad emy’s historical building and grounds.

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In 2005\, Dougherty used str awberry guava saplings to fashion a sculpture that wound sinuously around t he giant monkeypod tree on Spalding House’s lawn. This time\, O‘ahu artist and landscape architect Leland Miyano helped Dougherty harvest materials su ch as strawberry guava and ash from Ho‘omaluhia Botanical Gardens.

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Dougherty combines his carpentry skills and his love and knowledge of natur e to create whimsical\, elegant woven masses that often relate to architect ural structures or even evolve into cocoon-like organic vessels. He began w orking on simple structures in 1980s and since then has created more than 2 00 sculptures around the world.

DTEND:20130304 DTSTAMP:20141225T161500 DTSTART:20120206 GEO:21.304039;-157.848549 LOCATION:The Honolulu Museum of Art\,900 South Beretania Street \nHonolulu\ , HI 96814 SEQUENCE:0 SUMMARY:Footloose\, Patrick Dougherty UID:197866 END:VEVENT BEGIN:VEVENT DESCRIPTION:

“…it is not enough for us to open our eyes\, to pay atten tion\, to be aware\, for new objects suddenly to light up and emerge out of the ground”
--Foucault

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"How does histor y become `personal'—only when it is survived\, or only when private lives b ecome public knowledge? What constitutes an `experience' of history—`being there\,' being told about it (telling it)\, being taught it (teaching it)\, reading about it\, writing it? Or does history become `personal' when an i ndividual cares about it?"
Susan Crane\, "(Not) Writing Histo ry"

“Can a history of the 25 January revolution be written ?” asked Mai Elwakil in the epilogue to the catalogue published after the “ Speak\, Memory” symposium that was held at Townhouse in October 2011. Just a few months after the symposium\, which looked at archival strategies in a rtistic and institutional practice in the postcoloniality and economic peri phery\, the question of the archive took on an unprecedented urgency in rev olutionary Egypt.

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In the two years since 25 January 2011\, history has been unfolding in a rapid-fire series of stutters and starts\, confused by radically conflicting narratives of events\, punctuated by causes celeb res that are forgotten within a matter of weeks\, and characterized by the eerie\, almost performative repetition of the same events over and over.

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In her essay\, Elwakil referred to an article by Yasser Abdallah: “21 February: The people want to restore memory\,” in which he diagnosed the p eople of Egypt with collective political amnesia. But in the face of this a mnesia (perhaps the condition that triggers this endless repetition of viol ence on the same streets and same dates year after year)\, multiple archiva l initiatives have emerged—from the Mosireen video collective\, to the onli ne platform Qomra\, to Khaled Fahmy’s digital archive initiative\, as well as internet activism projects like the Arab Digital Expression Foundation a nd the Arab Techies.

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As the Egyptian state has systematically made its own archives either almost impossible to access or destroyed them throu gh institutionalized neglect or outright vandalism\, citizen journalism and online platforms have been held up as the answer to preserving fast-erodin g memories and testimonies\, and crafting alternative historical narratives . There is a popular idea that the internet is infinite and forever – capab le of housing a never ending amount of information that will always be acce ssible\; a utopian\, democratic platform that can be engaged with by all. B ut reality is more complicated\; the information highway is complicated by a host of checkpoints and barriers\, blockages enforced by the state and ec onomic policies. Sites are shut down\, YouTube videos are deleted\, photos are copied and inserted into different contexts\; images are not fixed in t he original narrative from which they were taken.

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Sponsored by Qomr a.org\, “Digitizing Memory” is an exhibition and event series that seeks\, for the first time\, to bring this network of initiatives into real space. The exhibition has a practical aim on one hand: to introduce audiences to t he Qomra video archive initiative\, and offer a series of workshops. It als o aims to chart the genesis and interrelations between similar initiatives\ ; host closed session meetings between the leaders of these different initi atives to see how they can mutually support each other\; and a public panel discussion where participants from these initiatives will discuss the conc eptual concerns behind digital archival practice in the current moment: As the very actors in unfolding political events are the ones documenting them \, are we seeing the end of the ideal of the objective\, removed documentar ian/journalist? And if so\, can history be written in the first person? Is it possible to catalogue and index this (verging on the sublime) flood of i mages and videos in the midst of this fluctuating\, unfolding history\, wit hout the distance (in terms of time and affect) presumed to be needed to al low these events to coalesce into something comprehensible?

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Abou t Qomra.org

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Qomra.org is an innovative online platform that allows citizen-to-citizen information sharing in order to increase politic al awareness and strengthen civil society. Qomra provides a user-friendly p latform to upload\, share and discuss content\, bypassing mainstream censor ship mechanisms and allowing users to freely express political ideas and op inions in real time. User participation will create a permanent archive of various forms of documentation of events from before and during the ongoing revolution\, through which citizens can share their knowledge and hold the ir representatives accountable for abuses of power.

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Program of Events in Townhouse's Factory Space
 

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Exhibit ion
February 24 – March 6\, 2013

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Panel Discussion< /p>\n

February 27\, 2013\, 7 pm
Reception at 9 pm

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Worksh ops

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Tuesdays\, February 26 &\; March 5
7 pm

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"ليس كافيا أن نفتح أعيننا، أن ننتبه، أن نعي أشياء جديد ة نورت و ظهرت من الأرض"
فوكولت 

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"متى يصبح التاريخ < i>شخصياً فقط عندما ينجو، أم عندما تصبح الحياة الخاصة معرفة عامة؟ ما يشك ل تجربة من التاريخ هو أن تكون هناك، أن يحكى لك عنه؟ (أو تحكي)، أن يدرس لك؟ (أو تدرسه؟)، أن تقرأ عنه أو تكتبه؟ أو أن التاريخ يصبح شخصيا عندما يهتم به ا لأفراد؟"

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سوزان كرين- (عدم) كتابة التاريخ
 

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"هل يمكن أن يدون تاريخ ثورة ٢٥ يناير؟" تسأل مي الوكيل في خاتمة ال كاتالوج الذي تم نشره بعد سيمبوزيوم "تكلم..ذاكرة" الذي انعقد في تاون هاوس في أكتوبر ٢٠١١. بعد أشهر قليلة من السمبوزيوم ، الذي فحص استراتيجيات الأرشفة ف ي الممارسات الفنية و المؤسسية ما بعد الإستعمار و التوسع الاقتصادي ، أخذ الت ساؤل عن الأرشيف أهمية ملحة في مصر الثورية.

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في فترة عامين منذ ٢٥ يناير، بدأ التاريخ ينكشف في تسلسل سريع من العثرات و البدايات، يربكها التضارب الراديكالي في سرد الأحداث التي تحكيها قضايا تظهر و تختفي في ظرف أس ابيع و التي تحوطها الغرابة و تكرار الأحداث.
 

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في مق الها، أشارت الوكيل الى مقال آخر لياسر عبد الله: "٢١ فبرابر: الشعب يريد استع ادة الذاكرة"، و التي شخص فيها حالة الشعب المصري كحالة جماعية من فقدان الذاك رة السياسية (و التي ربما تسبب التكرار اللانهائي للعنف في نفس الشوارع و نفس التواريخ عام بعد عام)، وظهرت مبادرات أرشفة متعددة - بداية من مركز الفيديو ل مُصرين، و قمرة المبادرة التوثيقية على الانترنت، الى مبادرة خالد فهمي للأرشي ف الرقمي إضافة الى مشاريع الناشطين على الانترنت مثل مؤسسة التعبير الرقمي (أ ضف) و تقنيين العرب.
 

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في الوقت الذي جعلت الدولة الم صرية - بشكل منهجي - الوصول الى أرشيفها مستحيلا أو دمرته بالإهمال المؤسسي أو بالتخريب المباشر، ظهرت صحافة المواطن و المبادرات الرقمية كمحاولة للحفاظ عل ى الذكريات والشهادات المتآكلة، و صياغة بديلة لسرد التاريخ.
 

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هناك اعتقاد شائع ان الانترنت قادر دائما على احتواء قدر لا متناهي من المعلومات التي يسهل دائما الحصول عليها و مساحة مثالية و ديمقراطية متاحة للجميع. و لكن الواقع أكثر تعقيدا : الطريق الى المعلومات تعقد بمجموعة من نقا ط التفتيش و الحواجز، هذا الانسداد فرضته الدولة و السياسات الاقتصادية. حجب ا لمواقع الالكترونية و حذف مقاطع فيديو من يوتيوب و نسخ الصور ثم ادراجها في سي اقات مختلفة غير التي تم التقاطها فيها.
 

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تحت رعاية موقع قمرة، "التوثيق الرقمي للذكريات" هو معرض و سلسلة من الفاعليات التي تهدف الى تقديم هذه الشبكة من المبادرات الى الواقع. لهذا المعرض هدف عملي، من جهة : تعريف الجمهور بمبادرة قمرة لأرشفة الفيديو و تقديم سلسلة من ورش العمل. و ي هدف أيضاً الى ولادة وتداخل المبادرات المماثلة، و عقد مجموعة من الاجتماعات ا لمغلقة بين قادة هذه المبادرات لبحث وسائل تبادل الدعم فيما بينهم، و حلقة نقا ش عامة و التي تناقش فيها كل المبادرات المشاركة المخاوف الفكرية وراء الممارس ة الرقمية الأرشيفية حالياً: في الوقت الذي يمثل فيه الفاعلون في الحراك السيا سي الأشخاص الموثقين لتلك الأحداث، هل نرى نهاية الصحافة أو التوثيق الحيادي؟ و بناء على ذلك، هل يمكن كتابة التاريخ بصيغة المتكلم؟ و هل هناك امكانية لجدو لة و فهرسة هذا الفيض من الصور و مقاطع الفيديو (و التي قاربت على التسامي) في هذا التاريخ الذي يتميز بالتذبذب والانكشاف المستمر، بدون المسافة (من حيث ال وقت و التأثير) المطلوب وجودها للسماح لهذه الأحداث بتكوين شئ مفهوم.
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عن قمرة: Qomra.org
 

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هي مبادرة مبتكرة تتيح للمواطنين تبادل المعلومات من أجل زيادة الوعي السياسي و تعزيز ا لمجتمع المدني. توفر "قمرة" مساحة الكترونية سهلة الاستعمال لرفع، وتبادل ومنا قشة المحتوى، متجاوزة آليات الرقابة التقليدية مما يسمح للمستخدمين في التعبير عن الأفكار و الآراء السياسية في نفس اللحظة. مشاركة المستخدمين ستسمح بخلق أ رشيف دائم لمختلف أشكال توثيق الأحداث من قبل و أثناء الثورة المستمرّة، و الت ي من خلالها يستطيع المواطنون تبادل معرفتهم و محاسبة ممثليهم على إساءة إستخد ام السلطة.


برنامج الأنشطة في مساحة المصنع في تاون ها وس

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المعرض

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٢٤ فبراي ر- ٦ مارس ٢٠١٣
الإفتتاح الساعة السابعة مساءاً

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حلقة نقاش
٢٧ فبراير ٢٠١٣ - ٧ مساءاً ريسبشن ٩ مساءاً

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ورش العمل
الثلاث اء، فبراير ٢٦ و مارس ٥
٧ مساءاً

DTEND:20130306 DTSTAMP:20141225T161500 DTSTART:20130224 GEO:30.0444196;31.2357116 LOCATION:The Townhouse Gallery\,Hussein El Me'mar Pasha St. off Mahmoud Bas youni St.\nCairo \, SEQUENCE:0 SUMMARY:Digitizing Memory UID:262221 END:VEVENT BEGIN:VEVENT DTEND:20130224T210000 DTSTAMP:20141225T161500 DTSTART:20130224T190000 GEO:30.0444196;31.2357116 LOCATION:The Townhouse Gallery\,Hussein El Me'mar Pasha St. off Mahmoud Bas youni St.\nCairo \, SEQUENCE:0 SUMMARY:Digitizing Memory UID:262222 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130308 DTSTAMP:20141225T161500 DTSTART:20130117 GEO:39.7527584;-104.9980043 LOCATION:Robischon Gallery\,1740 Wazee Street \nDenver\, 80202 SEQUENCE:0 SUMMARY:Karen Kitchel: New Work\, Karen Kitchel UID:251878 END:VEVENT BEGIN:VEVENT DTEND:20130117T200000 DTSTAMP:20141225T161500 DTSTART:20130117T180000 GEO:39.7527584;-104.9980043 LOCATION:Robischon Gallery\,1740 Wazee Street \nDenver\, 80202 SEQUENCE:0 SUMMARY:Karen Kitchel: New Work\, Karen Kitchel UID:251879 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Art Plural Gallery is pleased to announce the inaugural solo exhibition of French artist Fabienne Verdier in Southeast Asia. The exhibi tion runs from 25 January to 9 March 2013 and features some of her latest d rawings and large-scale paintings. 

Fabienne Verdier will be sha ring about her work and philosophy at an art talk organised by the gallery on a date to be confirmed later. A comprehensive\, fully-illustrated art bo ok will be launched during this occasion.

For her Southeast Asia n premiere\, Fabienne Verdier explores the theme of abstract landscapes ins pired by her journey by the coastline of Norway. Verdier seeks inspiration from the living – the movement of life forces through stone and soil. Encap sulating the transience of things\, Verdier’s forms are restrained yet spon taneous. Following her solo show at the gallery\, another solo exhibition w ill take place at the Groeninge Museum in Bruges come March 2013.

DTEND:20130309 DTSTAMP:20141225T161500 DTSTART:20130125 GEO:1.294176;103.849427 LOCATION:Art Plural Gallery\,38 Armenian Street \nSingapore\, 179942 SEQUENCE:0 SUMMARY:Fabienne Verdier: A Solo Exhibition\, Fabienne Verdier UID:243487 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Indeterminacy of a rrangement of parts is a literal aspect of the physical existence of the th ing.

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Robert Morris\, Notes on Sculpture 4: Beyond Objects\, Art forum\, 1968 

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The term Anti Form< /em>\, formulated by Robert Morris at the end of the ‘60’s marks the abando nment of the traditional concept of artistic production: a radical challeng e that has catalyzed the attention towards new aesthetic models. Materials become the prominent elements of the artwork’s compositional process\, prev ailing on the necessity\, essential in Minimalism\, to plan and arrange bef orehand.

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The progressive ideas divulg ed through the Anti Form Manifesto\, once considered subversive\, are translated\, today\, in the theories that identify an increasingly glob alized art structure. 

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Brand New Gallery departs from these assumptions to present Beyond the Object\, a group show < /em>appositely conceived to combine works by artists with disparate backgro unds and from different generations\, inevitably forced to confront themsel ves with production\, exploring the interaction between composition and for m which radically becomes an archetype endowed with its own language.

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The artists employ a post-minimalist lexic on\, occasionally pictorial\, at times closer to installation and assemblag e of daily materials\, to underline the experiential role of art as a tool to generate new perceptive possibilities in the disoriented spectator. The act of creation coincides with the process of production. The relationship between the real space into which the spectator moves and the physical pres ence of the piece gains more and more importance for these artists who invi te the public to interact with their works in a physical dialogue which all ows an empirical recognition of the object.

DTEND:20130309 DTSTAMP:20141225T161500 DTSTART:20130115 GEO:45.4896874;9.1833589 LOCATION:Brand New Gallery\,Via Farini 32 \nMilan\, 20159 SEQUENCE:0 SUMMARY:Beyond The Object\, Aaron Aujla\, Gabriele Beveridge\, Andy Boot\, Sophie Bueno-Boutellier\, Sarah Crowner\, Robert Davis\, Michael Delucia\, Tomas Downes\, Ed Fornieles\, Raphael Hefti\, Julian Hoeber\, Parker Ito\, Sachin Kaeley\, Barbara Kasten\, Sean Kennedy\, Jason Kraus\, James Krone\, Daniel Lefcourt\, Tony Lewis\, Lloyd Corporation\, Andrea Longacre-White\, Marie Lund\, Dave McDermott\, Matthew Metzger\, Carter Mull\, David Ostrow ski\, Virginia Overton\, Michael Part\, Hayal Pozanti\, Noam Rappaport\, Da vina Semo\, Lucien Smith\, Chris Succo\, Mika Tajima\, Oscar Tuazon\, Artie Vierkant\, Emily Wardill UID:253321 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Brand New Gallery is delighted to present Love at last sight\, Nazafarin Lotfi’s first Italian solo exhibition.

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On show a selection of inedited works \, appositely tailored for the Milanese space\, that investigate on the rel ationship between the artist and her production. Nazafarin Lotfi imposes an overwhelming distance between herself and her works\; she moves away from the origins of conception up to an extreme point of no return so that the r emaining void can be filled in by the presence of the spectator. In spite o f this attempt of detachment\, an intimate relationship between the artist and her works is inevitably established. The creative act thus becomes an o ccasion to manifest her thoughts\, instinctively expressed\, without being restricted by pre-determined hierarchical orders. 

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The works verge towar ds monochromy and the color palette is reduced to an absolute minimum. The dark surfaces  devour light\, denying any form of visibility and concealing misleading heterogeneous elements\, withdrawn from their daily use. The ar tist’s interest towards empty spaces and interruptions descends from her ar chitectural academic background and represents an invitation towards the un known: this position is emphasized by the transitivity of the adopted mater ials and by the selected processes of production whose functions overlap an d boundaries are blurred.

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If previously this process was employed for a narrative purpose\, now Nazafarin Lotfi implements the inverse procedure\, pushing her works to spontaneously release a story. In her new series the a rtist explores every trace reported on the canvas. The layers are positione d and contemporaneously rejected\, leaving behind one and only ephemeral ma rk. The sculptures\, like the paintings\, are created through a mechanism o f destruction and removal. In this process the composition can never be con sidered complete and obsessively becomes the starting point for a successiv e production. The image thus represents the presence of the artist’s ultima te action on the canvas.

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Nazafarin Lotfi was born in 1984 in Mashad \, Iran. After having obtained her bachelor at the University of Tehran in 2007\, she moved to the United States where\, in 2011\, she achieved a Mast er of Fine Arts at the Chicago School of Art Institute.

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Her work has bee n included in international exhibitions in the United States\, Europe and A sia\, amongst which NURTUREart Benefit at Chelsea Art Museum\, NY\ , In Between all’Autumn Space\, Chicago\, IL and Faux-Cult at Noglobe\, Brooklyn\, NY. She lives and works in Chicago\, IL.\n

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DTEND:20130309 DTSTAMP:20141225T161500 DTSTART:20130115 GEO:45.4896874;9.1833589 LOCATION:Brand New Gallery\,Via Farini 32 \nMilan\, 20159 SEQUENCE:0 SUMMARY:Love at last sight \, Nazafarin Lotfi UID:253322 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This retrospective by Oregon painter Jerry Baron includes pa intings and drawings spanning a period of over 30 years. He has exhibited h is works in Montana\, Idaho\, Colorado\, Washington and Oregon\, including 10 years in Portland’s Pearl District\, the city’s center for art galleries . He has also had two one-person exhibits at the Jacobs Gallery in the Hult Center for the Performing Arts in Eugene. The exhibition features 65 paint ings and 95 drawings.

DTEND:20130309 DTSTAMP:20141225T161500 DTSTART:20130208 GEO:43.367203;-124.214786 LOCATION:Coos Art Museum\,235 Anderson Avenue \nCoos Bay\, OR 97420 SEQUENCE:0 SUMMARY:Color Me Baron - Retrospective of Paintings and Drawings \, Jerry B aron UID:255703 END:VEVENT BEGIN:VEVENT DTEND:20130208T190000 DTSTAMP:20141225T161500 DTSTART:20130208T170000 GEO:43.367203;-124.214786 LOCATION:Coos Art Museum\,235 Anderson Avenue \nCoos Bay\, OR 97420 SEQUENCE:0 SUMMARY:Color Me Baron - Retrospective of Paintings and Drawings \, Jerry B aron UID:255704 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Annual art competition for high school students from through out southern Oregon. Sponsored in part by Southwestern Oregon Community Col lege Foundation.

DTEND:20130309 DTSTAMP:20141225T161500 DTSTART:20130208 GEO:43.367203;-124.214786 LOCATION:Coos Art Museum\,235 Anderson Avenue \nCoos Bay\, OR 97420 SEQUENCE:0 SUMMARY:Vision 2013 UID:255705 END:VEVENT BEGIN:VEVENT DTEND:20130208T190000 DTSTAMP:20141225T161500 DTSTART:20130208T170000 GEO:43.367203;-124.214786 LOCATION:Coos Art Museum\,235 Anderson Avenue \nCoos Bay\, OR 97420 SEQUENCE:0 SUMMARY:Vision 2013 UID:255706 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Dass er ein herausragender Fotograf war\, wurde schon zu seinen Leb zeiten erkannt und gewürdigt: FRANZ MÜNSTER (1898 – 1974) erhielt über Jahr zehnte hindurch Auszeichnungen\, Medaillen und Urkunden bei nationalen Foto wettbewerben. Das beeindruckende Werk des Amateurfotografen\, der ab 1937 i n Hamburg als selbständiger Fotoreporter tätig war\, ist vielfältig und kan n durchaus neben so bedeutenden Namen wie Heinrich Kühn oder Gertrude Käseb ier bestehen. Neben piktorialistischen Genreszenen und idyllischen Naturauf nahmen lassen sich in späteren Arbeiten bereits Einflüsse der Avantgarde-Ph otographie erkennen.

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Die Flo Peters Gallery zeigt erstmals einen ei nzigartigen Querschnitt seines Schaffens: Rund 40 Vintage-Arbeiten aus sein em Nachlass werden im 1. Stock der Galerie im Chilehaus präsentiert.

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DTEND:20130309 DTSTAMP:20141225T161500 DTSTART:20130123 GEO:53.5481314;10.0021784 LOCATION:Flo Peters Gallery\,Chilehaus C Pumpen 8 \nHamburg \, 20095 SEQUENCE:0 SUMMARY:Im ersten Stock: Vintage-Photographien \, FRANZ MÜNSTER UID:256053 END:VEVENT BEGIN:VEVENT DTEND:20130122T200000 DTSTAMP:20141225T161500 DTSTART:20130122T180000 GEO:53.5481314;10.0021784 LOCATION:Flo Peters Gallery\,Chilehaus C Pumpen 8 \nHamburg \, 20095 SEQUENCE:0 SUMMARY:Im ersten Stock: Vintage-Photographien \, FRANZ MÜNSTER UID:256054 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In New York sind seine Arbeiten heiß begehrt und sind dort b ereits in bedeutenden Sammlungen vertreten: Die Fotografien des Australiers TOBY BURROWS. Toby Burrows\, Jahrgang 1971\, studierte Malerei und Fotogra fie am Sydney College of Arts. Nach seinem Abschluss leitete er vier Jahre lang den größten Fotostudio Komplex Europas\, die Londoner Holborn Studios\ , und arbeitete in diesem Rahmen mit Fotografen wie Richard Avedon\, Albert Watson oder David Bailey zusammen. Seit 2008 widmet sich Burrows in persön lichen Projekten verstärkt der künstlerischen Fotografie\, womit er in sein er ersten Einzelausstellung im Jahre 2008 in Sydney unmittelbar große Beach tung fand und mehrfach ausgezeichnet wurde. Es folgten Ausstellungen seiner Werke in Galerien in London\, New York und Hamburg\, wo er jetzt auch erst mals sein neuestes Werk präsentiert: 20 Groß- und Mittelformate seiner Seri e SOLILOQUY\, neben Highlights seiner Erfolgsserie FALLEN.

DTEND:20130309 DTSTAMP:20141225T161500 DTSTART:20130123 GEO:53.5481314;10.0021784 LOCATION:Flo Peters Gallery\,Chilehaus C Pumpen 8 \nHamburg \, 20095 SEQUENCE:0 SUMMARY: "Soliloquy"\, Toby Burrows UID:256055 END:VEVENT BEGIN:VEVENT DTEND:20130122T200000 DTSTAMP:20141225T161500 DTSTART:20130122T180000 GEO:53.5481314;10.0021784 LOCATION:Flo Peters Gallery\,Chilehaus C Pumpen 8 \nHamburg \, 20095 SEQUENCE:0 SUMMARY: "Soliloquy"\, Toby Burrows UID:256056 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Gagosian Gallery is pleased to announce an exhibition that j uxtaposes paintings by Joan Mitchell and sculptures by John Chamberlain.

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Born just one year apart in the Midwestern United States\, Mitchell a nd Chamberlain were inspired by the muscular spontaneity of Abstract Expres sionists such as Franz Kline and Willem De Kooning. Mitchell is considered a principal figure in the second generation of Abstract Expressionists as w ell as one of the few female exponents. Her lively and impassioned painting s laud the beauty of the natural world. Chamberlain is best known for his m etal sculptures constructed from discarded automobile-body parts and other modern metal detritus\, where the industrial origin of materials is undersc ored by a cumulative formal elegance.

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Mitchell worked for the most part on large-scale canvases and multiple panels\, striving to evince a nat ural rhythm that emanated from the expansiveness of gesture and from uninhi bited use of color\; Chamberlain's emphasis on discovered or improvised cor relations between material and color rather than a prescribed idea of compo sition have often prompted descriptions of his work as three-dimensional Ab stract Expressionist paintings. The painter and the sculptor share a prefer ence for excess and spontaneity in their art-making. The energetic clustere d brushwork of Mitchell's Yves (1991)\, Untitled (1987-88 ) and Row Row (1982) perfectly complements Chamberlain's crumpled\ , crushed\, bent\, and welded ACEDIDDLEY (2008) GOOSECAKEWALK< /em> (2009) and STUFFEDWITHSURPRISE

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(2011)\, in which swee ping\, sterling contours suggest an aggregate of brushstrokes.

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Joan Mitchell (1925-1992) was born in Chicago and at tended Smith College and The Art Institute of Chicago. She moved to France in the late 1950s and in 1967 she settled in Vertheuil\, where she lived un til her death. Her work is part of numerous public collections including Mu seum of Modern Art\, New York\; Whitney Museum of American Art\, New York\; Tate Collection\, London\; and the San Francisco Museum of Modern Art. Ret rospective surveys include "Joan Mitchell Pastels\," Whitney Museum of Amer ican Art\, New York (1992)\; "The Paintings of Joan Mitchell\," Whitney Mus eum of American Art\, New York (2002)\; and "The Paintings of Joan Mitchell \," Birmingham Museum of Art\, Alabama (2003\, travelled to Modern Art Muse um of Fort Worth\, Texas and Phillips Collection\, Washington\, DC through 2004).

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John Chamberlain (1927-2011) was born in Ro chester\, Indiana. He attended the Art Institute of Chicago (1951-52) and B lack Mountain College (1955-56) and moved to New York in 1956. His work is represented in many major public collections including Chinati Foundation\, Marfa\, Texas\; Menil Collection\, Houston\; Solomon R. Guggenheim Museum\ , New York\; Whitney Museum of American Art\, New York\; Museum Ludwig\, Co logne\; and Tate Modern\, London. He had his first retrospective at the Sol omon R. Guggenheim Museum\, New York\, in 1971\, followed by more than one hundred one-person exhibitions\, including Dia Art Foundation (1983)\; "Joh n Chamberlain: Sculpture\, 1954-1985\," Museum of Contemporary Art\, Los An geles (1986)\; Staatlich Kunsthalle Baden-Baden (1991)\; "John Chamberlain: Sculpture\," Stedelijk Museum\, Amsterdam (1996)\; "John Chamberlain: Foam Sculptures (1966-79) and Photographs (1989-2004)\," Chinati Foundation\, M arfa\, Texas (2005-06)\; and "John Chamberlain: American Tableau\," Menil C ollection\, Houston (2009). His most recent retrospective\, "Choices\," was held at the Solomon R. Guggenheim Museum\, New York in 2012. His work has been included in numerous international survey exhibitions\, including Bien al de São Paulo (1961\, 1994)\, Biennale di Venezia (1964)\, Whitney Bienni al (1973\, 1987)\, and Documenta 7 (1982). "Chamberlain at the Fairchild" i s on view at the Fairchild Tropical Botanic Garden in Coral Gables\, Florid a through April 30\, 2013. 

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Chamberlain died in Manhattan in 2011.< span style="text-decoration: underline\;">

DTEND:20130309 DTSTAMP:20141225T161500 DTSTART:20130208 GEO:41.9034732;12.4855785 LOCATION:Gagosian Gallery - Rome\,Via Francesco Crispi 16 \nRome\, 00187 SEQUENCE:0 SUMMARY: Chamberlain\, Mitchell\, Joan Mitchell\, John Chamberlain UID:258500 END:VEVENT BEGIN:VEVENT DTEND:20130208T200000 DTSTAMP:20141225T161500 DTSTART:20130208T180000 GEO:41.9034732;12.4855785 LOCATION:Gagosian Gallery - Rome\,Via Francesco Crispi 16 \nRome\, 00187 SEQUENCE:0 SUMMARY: Chamberlain\, Mitchell\, John Chamberlain\, Joan Mitchell UID:258501 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Galerie Eva Presenhuber is delighted to announce its second solo show of Josh Smith (b.1976) in its Maag Areal gallery. This show will present a wide array of Smith’s painterly evolution\, ranging in different sizes\, techniques and motifs.

Josh Smith has come to public recognition through his instantly identifiable abstract style\, from his Na me Paintings to his collages and his favoured motifs such as the fish or th e leaf. The idea behind these recurring motifs is to achieve an impenetrabl e abstraction\, yet an abstraction that makes its methods clear and reveals its making. The urgency felt in the paintings is actually a cover for a lo ng thought process\, for a careful and meticulous selection in which the br ushstrokes\, the collaged elements are brought together to form an image. T he elements of the paintings put together quickly\, sometimes painted direc tly onto walls confront us with wrongful common visions of preciousness tow ards art and even more so towards painting as a practice. In this exhibitio n\, Smith will show his new body of work and particularly a large grid of 1 5 paintings\, displayed together to present as one painting\, it is in fact a collage of all different paintings that are worked on separately.

Smith comes from a background of print-making and is fascinated wit h producing books\, the idea of repetition being at the core of these pract ices\, they find their ways in his visual aesthetics. Painting his name rep eatedly\, or an abstraction of a leaf or a fish helps the viewer to get awa y from the object itself\, not focusing on how it is rendered but rather on how it is painted. Cleaved away from the signification of what is depicted \, the lines and curves\, the palette become the subject of his work. The r epetition of his own work within his oeuvre is linked to the fact that noth ing goes to waste in Smith’s studio\, posters\, prints and papers of all so rts are recycled and incoporated into collages and paintings\, old announce ment posters become the basis for new announcement paintings\, older painti ngs are reprinted\, glued and repainted.

Josh Smith has manag ed to overcome the challenges of painting\, incoporating disparate elements whilst creating a unique style\, constantly reinventing himself. He is a m aster of colour and composition and in this new show\, he displays works cr eating self entities that are coherent with each other. It is undeniable th at it is in this eternal quest for abstraction that lies Smith’s ambitious side\, his self-confidence to pursue new directions\, and this quest reveal s his audacity and brashness.
Josh Smith has had solo exhibitions at the Brant Foundation\, CT\, USA\, Museum Dhondt-Dhanenens in Deurle\, Belg ium\, Centre d'Art Contemporain in Geneva\, Switzerland\, amongst others an d has participated in the 54th Venice Biennale\, and other important group shows such as Younger Than Jesus in the New Museum\, NY\, USA.

DTEND:20130309 DTSTAMP:20141225T161500 DTSTART:20130118 GEO:47.3863528;8.5169459 LOCATION:Galerie Eva Presenhuber (Maag Areal)\,Zahnradstrasse 21 \nZurich\, 8031 SEQUENCE:0 SUMMARY: 24 HOURS\, Josh Smith UID:251218 END:VEVENT BEGIN:VEVENT DTEND:20130117T200000 DTSTAMP:20141225T161500 DTSTART:20130117T180000 GEO:47.3863528;8.5169459 LOCATION:Galerie Eva Presenhuber (Maag Areal)\,Zahnradstrasse 21 \nZurich\, 8031 SEQUENCE:0 SUMMARY: 24 HOURS\, Josh Smith UID:251219 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Die Gruppenausstellung "In the Air Tonight" präsentiert vier Künstlerinnen und Künstler aus London. Der Titel ist eng mit dem kuratoris chen Ansatz und dem Inhalt der Schau verbunden und weckt Assoziationen und Erinnerungen an einen Popsong von 1981.
Die Essenz dieser Ausstellung bildet das Zentrum derkünstlerischen Produktion\, die Ästhetik\, um Entwick lungen aufzugreifen\, die förmlich “in der Luft” liegen. Der Zusatz “tonigh t” weist auf die kuratorische Wahl\, das Fragmentarische und das Temporäre der ausgestellten Konstellation hin.
Im Gegensatz zur Wahl eines festu mrissenen Themas bildeten ein intensiver Rechercheprozess und ein durch Zuf all geprägter Zugang den Kern der kuratorischen Praxis.
Aus einer viel stimmigen Situation unterschiedlicher künstlerischer Ansätze werden die Que rverbindungen und ästhetischen Überlappungen zwischen den Werken sichtbar: Beispielsweise eine reduzierte Farbgebung\, feinausgearbeitete Oberflächen und ein hoher Impetus auf den Zusammenhang von Form und Inhalt gehören zu d en geteilten Ästhetiken.
Recherchereisen im Oktober 2011 und Juli 2012 sowie Erfahrungen aus mehreren Aufenthalten in London bilden die Basis für die Ausstellung. Verschiedene Generationen von Künstlern mit unterschiedli chen Herkünften wurden für die Schau gewählt. Sie kommen aus Großbritannien \, Griechenland und den USA. Die Herkunft wird dabei durch vielfältige Reis en und Aufenthalte kombiniert. Während in der Vormoderne nationale Zugehöri gkeiten und Traditionen die Formung der kulturellen Produktion bestimmte\, bewegen sich Künstler heutzutage durch einen Ozean globaler Neustrukturieru ngen. Dabei ist die Kunst\, diesen Wandel der Ortsbezüge zu greifen (Arjun Appadurai). Für die Recherche von "In the Air Tonight" war das Experiment e ine mögliche visuelle Kultur aus London zu fassen essentiell.
"In the Air Tonight" ist deshalb eine bewusst komponierte Ausstellung und eine kura torische Methode – inspiriert durch Visual Culture und Ästhetik. Es ist der Versuch\, präzise Verbindungen zwischen Künstlern aufzuzeigen\, die in Lon don leben und arbeiten. Sie alle stehen für ihr individuelles Oeuvre\, die Kombination verschiedener Ortsbezüge und für spezifische konzeptuelle Frage stellungen.
Gleichzeitig zeigt die Ausstellung einen geteilten Diskurs \, der im reduzierten Farbspektrum\, minimalistischen Gesten und der Kombin ation von fein herausgearbeiteten Oberflächen und Formen in den gewählten W erken sichtbar wird. Diese Ausstellung lädt den Betrachter ein\, sich mit d iesen sublimen\, jedoch nicht weniger eindrucksvollen Werken zu beschäftige n. Dabei kommt der Zusatz “tonight” einer Aufforderung für eine erhöhte Auf merksamkeit gleich: Denn wie es das Dunkel des nächtlichen Zwielichts – nic ht Licht\, nicht Schatten – ausmacht\, gilt es den Blick schärfer zu stelle n\, um des Nachts die Konturen zu erkennen. Die Betrachter sind dazu eingel aden\, sich auf solch ein ästhetisches Experiment einzulassen. Dann entsteh t aus all diesen losen Verbindungen ein leises\, jedoch eindringliches Summ en: Something is “in the Air Tonight.”
Christine Nippe\, 2012

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In the Air Tonight is a gathering of works by four London-based artists int o an exhibition whose content and curatorial approach evoke and coincide st rongly with associations and memories of
a pop song from 1981. The ess ence of this exhibition is reflected in its title\, as well as in its devot ion to an aesthetics—aesthetics being the core of artistic production—which allows the comprehension of developments in art that are literally “in the air.” The addition of “tonight” is a reference to the act of curation\, th e fragmentary and temporary quality of an exhibited constellation. Rather t han being based on a clear-cut theme\, the nucleus of the curatorial practi ce that gave rise to In the Air Tonight was shaped by an intensive research process and a chance-driven approach. The idea was to produce a many voice d setting that includes contrasting artistic methods so as to reveal cross- references and aesthetic overlappings such as reduced color spectrums\, ela borately treated surfaces\, and a common drive toward the linkage of form a nd content.
In the Air Tonight arose out of several periods of residen ce in and research trips to London\, both in October 2012 and July 2012. Ar tists of different generations with different origins—Great Britain\, Greec e\, and the United States—were chosen and yet\, these origins are hybridize d through multiple journeys and stays in other places. While premodern time s saw cultural production’s  determination through national belonging and t radition\, artists nowadays navigate through an ocean of global restructuri ngs. The art lies in grasping this transformation of the relevance of site (Arjun Appadurai). An experiment geared to the uncovering of a possible com mon visual culture particular to London was an essential component of the r esearch.
In the Air Tonight is\, as such\, an intricately devised exhi bition as well as a curatorial method inspired by the disciplines of Visual Culture and Aesthetics. It is an attempt to highlight precise interconnect ions between artists who live and work in London. Each artist is featured w ith works that are exemplary of his or her oeuvre\, that signify specific c onceptual interrogations as well as combinations of contrasting site-refere nces. At the same time\, these works also display a shared discourse that i s based not only on the minimalistic gesture\, but also on the combination of painstakingly prepared surfaces. Viewers are invited to immerse themselv es in these sublime yet penetrant works. The addendum “tonight” is hence a call for heightened scrutiny. For just as one is compelled in the dusk—whic h is neither light nor shadow—to focus his or her gaze in order to recogniz e the contours of the night\, so are viewers invited to engage with this ae sthetic experiment.
All these loose connections result in a quiet\, ye t insistent hum: there’s something in the air tonight.
Christine Nippe \, 2012

DTEND:20130309 DTSTAMP:20141225T161500 DTSTART:20130122 GEO:51.06768;13.75488 LOCATION:Galerie Gebr. Lehmann\, Dresden\,Gorlitzer Strasse 16 \nDresden\, D-01099 SEQUENCE:0 SUMMARY:IN THE AIR TONIGHT\, Athanasios Argianas\, Susan Hiller\, Rowena Hu ghes\, Elizabeth McAlpine UID:253305 END:VEVENT BEGIN:VEVENT DTEND:20130119T210000 DTSTAMP:20141225T161500 DTSTART:20130119T160000 GEO:51.06768;13.75488 LOCATION:Galerie Gebr. Lehmann\, Dresden\,Gorlitzer Strasse 16 \nDresden\, D-01099 SEQUENCE:0 SUMMARY:IN THE AIR TONIGHT\, Athanasios Argianas\, Susan Hiller\, Rowena Hu ghes\, Elizabeth McAlpine UID:253306 END:VEVENT BEGIN:VEVENT DESCRIPTION:

i8 Gallery is pleased to announce an exhibition of new works by Ragna Róbertsdóttir. This will be the artist’s third solo exhibition at the gallery.
Róbertsdóttir´s latest works are characterised by ambigu ities of time and place. The work consists of natural materials gathered fr om the sea\, including shells from Arnarfjördur in the remote Icelandic Wes tfjords. There the artist has been avidly collecting shells and has been dr awn by the cycle that occurs as shellfish grow\, develop their own unique f orm\, and then decay into the homogeneity of the gravel and yellow sands th at are characteristic of the fjord´s beaches. Róbertsdóttir´s collection an d classification of shells has taken place over many years\, and their disp lay here has been executed with patience and meticulous attention – all for the brief moment of the exhibition. Róbertsdóttir also uses sea salt\, bot h in its raw state – as in one of her geometric wall installations – but al so in pieces based upon the random crystallizations that occur through evap oration of water.
The continual undercurrent of change and transformat ion that surrounds us is the main subject of Róbertsdóttir´s exhibition. Th e material world is either becoming or decaying\, constantly reforming into something utterly different\, through processes of varying duration. As an artist Róbertsdóttir directs our attention to these natural evolutions\, b ut she also intervenes\, becoming a participant by transforming raw materia l through her work. Like an alchemist\, the artist gathers materials from n ature and transforms them\, so that they take on new value as works of art\ , conforming to a different set of rules within culture.
Ragna Róberts dóttir´s (b. 1945) works have been exhibited widely – in Europe\, the US\, China and Australia. Solo exhibitions include Bury Art Gallery Museum + Arc hives\, Bury\, UK (2008)\, New Bedford Art Museum\, Massachusetts\, US (200 5)\, Chinese European Art Center\, Xiamen\, China (2004)\, Reykjavik Art Mu seum – Kjarvalsstadir\, Iceland (2004)\, National Gallery of Iceland\, Reyk javik\, Iceland (2003) and Kunstmuseum Bern\, Switzerland (1991).

DTEND:20130309 DTSTAMP:20141225T161500 DTSTART:20130117 GEO:64.1512903;-21.9479731 LOCATION:i8 Gallery\,Tryggvagata 16\, \nReykjavik\, 101 SEQUENCE:0 SUMMARY:exhibition of new works\, RAGNA RÓBERTSDÓTTIR UID:254504 END:VEVENT BEGIN:VEVENT DESCRIPTION:

KATZ CONTEMPORARY is delighted to announce its second solo e xhibition by Stéphane Zaech
(*1966\, Vevey\, lives and works in Montre ux and Villeneuve\, Switzerland). In addition to opulent\,
colourful o il paintings the gallery space will feature more toned-down\, subtly colour ed drawings.
Parallel to the exhibition\, art&\;fiction is publishi ng The Crossing ZAECH Peintures/Paintings with an
introduction by Giov anni Carmine.
The artist Stéphane Zaech\, born and raised in the Frenc h-speaking part of Switzerland\, masterfully
plays with citations from art history: The viewers find themselves reminded of Titian\, Diego Velàzq uez and Pablo Picasso as well as contemporary artists such as George Condo or John Currin. Zaech arranges his artistic borrowings into baroque images\ , stretches female bodies into multiple perspectives - citing Picassoʼs Les Demoiselles dʼAvignon (1907) - or deconstructs facial features.
The v irtuoso painter thus opens up a world of whimsical imagery and guides the v iewers into an Opera reale\, into a perfectly composed contemporary oeuvre\ , within which they can immerse in the artistʼs visual world.
The fact that Zaechʼs works exclusively feature figural and scenic motifs\, as well as composition and colouring of his oil paintings in particular\, inevitab ly reveal 17th century Dutch painting as a source of his inspiration. The p iece Steady State\, however\, evokes entirely different associations: The g uitar depicted in a cubist manner - clearly citing the example of Picassoʼs silent sculptural guitars made of cardboard (1912-14) - is combined with t he depiction of a male body\, whose placement within the composition resemb les portraits by Diego Velàzquez. Zaech succeeds to transfer the image into the present through the figureʼs modern attire. In the two pieces Soie and La Alba the reference to today becomes evident as well: Unlike in old pain ting tradition there are no male artists accessorized with a pallet\, inste ad we see gracious female bodies dressed like dancers.
Zaech manages t o translate and adapt the traditional composition of the masters of art his tory to the contemporary in his drawings as well as his oil paintings. The featured works of the exhibition thus take the viewer on a journey through the history of art. In a chain of associations Zaech forms
contradicto ry visions and bizarre imageries into a new entity. The artist questions we ll-known viewing patterns and creates his very own pictoral universe - terr ifying and magnificent at once. Stéphane Zaech plays with this correlation and invites the viewer into his Opera reale of fascinating and perfectly co mposed pieces\, entirely in the sense of classical painting.
Last year \, Stéphane Zaechʼs (*1966\, Vevey\, lives and works in Montreux and Villen euve\, (Switzerland) work was featured in several group exhibitions\, inclu ding Contemporain...ou bien? La collection dʼart BCV in the Fondation de lʼ Hermitage in Lausanne\, Review in the CentrePasquArt\, Biel\, and ... itʼs only Malerei but i like it at Kunstverein Offenburg Mittelbaden (Germany). Zaechʼs works are part of several domestic and foreign private and public c ollections.

DTEND:20130309 DTSTAMP:20141225T161500 DTSTART:20130118 GEO:47.3720925;8.533975 LOCATION:Katz Contemporary\,Talstrasse 83 CH\nZurich\, Switzerland 8001 SEQUENCE:0 SUMMARY: Opera reale\, STÉPHANE ZAECH UID:254507 END:VEVENT BEGIN:VEVENT DTEND:20130117T200000 DTSTAMP:20141225T161500 DTSTART:20130117T180000 GEO:47.3720925;8.533975 LOCATION:Katz Contemporary\,Talstrasse 83 CH\nZurich\, Switzerland 8001 SEQUENCE:0 SUMMARY: Opera reale\, STÉPHANE ZAECH UID:254508 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Daan van Golden was born in Rotterdam in 1936 and studied at the Rotterdam Academy of the Fine Arts and Technical Sciences\, where he s pecialised in painting and drawing. He lives and works in Schiedam in the N etherlands. An overview of his oeuvre was shown at the Camden Arts Centre i n London in 2009 and was later on show in Geneva and Lisbon. The Wiels Cont emporary Art Centre in Brussels also mounted a large retrospective exhibiti on of his work in 2012. We are delighted to be holding the first gallery ex hibition by Daan van Golden in Switzerland.
Daan van Golden developed his style in Japan in 1963 and has adhered to it to this very day. Having p reviously painted abstract-expressionistic works\, between 1963 and 1965 in Japan he refined a technique that involved Japanese enamel paints and enab led him to give his works an unimagined colourfulness and presence. He bega n painting textile and paper patterns with extreme precision and at an almo st meditative speed. His models included tablecloths\, fabrics and packagin g. He generally focussed on everyday items which he experienced in his surr oundings\, transferring them to an artistic context in his unique way and t hereby unifying life and art. He also varied the colour and size of one and the same motif which\, through this kind of appropriation\, took on a life of its very own. Later he used the same kind of variation and abstraction to produce enlarged details from\, for example\, works by Jackson Pollock o r Henri Matisse. He also used the media of photography and silk-screen prin ting\, and here too\, varied and frequently reinterpreted details.
Van Golden is often linked with Pop Art\, although the latter exhibits neither ironic distance from its motifs\, nor an exaggeration of what is depicted. A comparison with Minimal Art also falls short\, as van Golden’s works for eground the seriousness of his meditative\, slow execution and are imbued w ith an individuality comparable more to the artistic positions of\, for exa mple\, Paul Thek\, Oyvind Fahlström or Dieter Roth.
Van Golden hovered between all these tendencies and positions and was frequently exhibited in the same context\, to which he was considered to be formally suited. At th e same time\, he clearly pointed up the limits of the respective stylistic trend.
Our exhibition consists both of works dating from the 1970s onw ards\, and the new series “Double Prints”\, photographs combining earlier w orks that link his paintings of grids\, patterns and organic forms from the 1960s and 70s with the silhouette-like images from series such as “Heerenl ux”. These small- to mediumsized photographs forge a link between van Golde n’s early years and today. Complemented by photographs from the series “You th is an Art”\, taken of his daughter over the course of the years\, the wh ole exhibition becomes a kind of summary of his artistic interests and his views of the world of everyday life and the world of art – his aim having a lways been to unite these.

DTEND:20130309 DTSTAMP:20141225T161500 DTSTART:20130118 GEO:47.3691009;8.5477998 LOCATION:Mai 36 Galerie\,Victor Gisler Rämistrasse 37\nZurich\, 8001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Daan van Golden UID:252700 END:VEVENT BEGIN:VEVENT DTEND:20130117T200000 DTSTAMP:20141225T161500 DTSTART:20130117T180000 GEO:47.3691009;8.5477998 LOCATION:Mai 36 Galerie\,Victor Gisler Rämistrasse 37\nZurich\, 8001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Daan van Golden UID:252701 END:VEVENT END:VCALENDAR