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At Islamic courts\, tents were symbols of royal power and prosperity\; wealthy dynasties owned thousands of tents in various shapes and sizes. Tents were often presented as luxurio us gifts but also pitched for imperial ceremonies and military campaigns\, and while travelling. The Cleveland Museum of Art has acquired a spectacula r imperial tent\, on display to the public for the first time from July 26\ , 2015\, to June 26\, 2016\, created for Muhammad Shah who ruled Iran from 1834 to 1848 during the Qajar dynasty.

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This royal tent retains its complete ceiling\, with each roof panel displ aying birds flanking the base of blossoming branches. Seven of the original fourteen wall panels form a semicircle\, which allows visitors to see and enter the ornate interior. Featuring inlaid\, brilliantly colored woolen cl oth embellished with silk-thread embroidery\, each interior wall panel is d ecorated with a single large vase of exuberant blossoms set between robust birds on a rocky mound under a niche with blossoming vines. The exterior\, in contrast\, is covered with a plain red cotton cloth.

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This exhibition will include a portrait of the owner and a video with images of the royal family and courtly life\, contextualizing the times in which such tents were commissioned and used.

DTEND:20160626 DTSTAMP:20150705T141244 DTSTART:20150719 GEO:41.509686;-81.611874 LOCATION:Cleveland Museum of Art\,11150 East Boulevard \nCleveland\, OH 441 30 SEQUENCE:0 SUMMARY:Muhammad Shah's Royal Persian Tent UID:389169 END:VEVENT BEGIN:VEVENT DTEND:20150719T170000 DTSTAMP:20150705T141244 DTSTART:20150719T100000 GEO:41.509686;-81.611874 LOCATION:Cleveland Museum of Art\,11150 East Boulevard \nCleveland\, OH 441 30 SEQUENCE:0 SUMMARY:Muhammad Shah's Royal Persian Tent UID:389170 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Chinese Landscape Duets of Arnold Chang and Michael Cherney \;features contemporary landscap es by Arnold Chang (Chinese-American\, b. 1954) and Michael Cherney (Americ an\, b. 1969)\, including solo and collaborative works that are profoundly rooted in the aesthetic tradition of Chinese painting. Respectively employi ng both painting and photography to create artistic dialogues\, the combine d operations of Chang (the painter) and Cherney (the photographer) turn the ir creative processes into artistic improvisations. Their collaboration bre aks the barriers of cultural and geographical constraints\; both artists we re born in New York\, where Chang still resides\, and Cherney lives in Beij ing. A common denominator of the two artists&rsquo\; works is an emphasis o n the harmony of abstract and natural rhythms\; when their respective art f orms are combined\, the rhythms of brush and ink echo the rhythms of nature from which the brushwork is derived.

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Cherney&rsquo\;s photography presents China&rsquo\;s sublime natural beaut y\, imbued with an evocative quality. His poetic vision and &ldquo\;painter ly&rdquo\; style is inspired by the art of Chinese painting. Cherney&rsquo\ ;s photographic excerpts are the first stage for Chang&rsquo\;s composition . Whether they are crystalline structures of mountains\, intriguing pattern s of rock textures\, or velvety masses of vegetation\, the enlarged photo e xcerpts draw our attention to microscopic detail and arouse an awareness of the rhythms of nature.

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Chang&rsquo\; s keen interest is in the abstract art of Chinese literati painting and its associated brush-and-ink \;(bimo)techniques. His creative pur suit can be compared to the act of imitation \;(fang) \;pr acticed by the traditional Chinese artists\, which depends upon mastery of the ancient methods. \;

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The Chang -Cherney dialogue also ingeniously reveals the creative tensions between th e different media and various kinds of visual and mental experiences. In th is exhibition\, direct experience is combined with the transforming power o f memory and intuition. No matter whether the fusion is harmonious or disso nant\, seamless or hard-edged\, the viewer is invited to engage with the ac tive interplay of time\, space\, medium\, and concept.

DTEND:20160216 DTSTAMP:20150705T141244 DTSTART:20150712 GEO:41.509686;-81.611874 LOCATION:Cleveland Museum of Art\,11150 East Boulevard \nCleveland\, OH 441 30 SEQUENCE:0 SUMMARY:Chinese Landscape Duets of Arnold Chang and Michael Cherney\, Arnol d Chang\, Michael Cherney UID:389167 END:VEVENT BEGIN:VEVENT DTEND:20150712T170000 DTSTAMP:20150705T141244 DTSTART:20150712T100000 GEO:41.509686;-81.611874 LOCATION:Cleveland Museum of Art\,11150 East Boulevard \nCleveland\, OH 441 30 SEQUENCE:0 SUMMARY:Chinese Landscape Duets of Arnold Chang and Michael Cherney\, Arnol d Chang\, Michael Cherney UID:389168 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Media Sponsor:

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DTEND:20150816 DTSTAMP:20150705T141244 DTSTART:20150628 GEO:41.509686;-81.611874 LOCATION:Cleveland Museum of Art\,11150 East Boulevard \nCleveland\, OH 441 30 SEQUENCE:0 SUMMARY:Song\, Ragnar Kjartansson UID:389166 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A selection of prints from the past 25 years\, this exhibition showcases the printmaking techniques of a variety of contemporary artists. While some\, including Julia Wachtel and A nnette Lemieux\, use printmaking to comment on contemporary political event s\, others\, such as Lesley Dill and Louise Bourgeois\, use the medium to e xpress personal\, feminist concerns. Traditional landscape themes interest Ellsworth Kelly and Rosemarie Trockel while Lucian Freud and Chuck Close pr efer figurative subjects. Abstraction also remains important\, exemplified by such artists as Terry Winters\, Richard Serra\, and Julie Mehretu.

DTEND:20150726 DTSTAMP:20150705T141244 DTSTART:20150322 GEO:41.509686;-81.611874 LOCATION:Cleveland Museum of Art\,11150 East Boulevard \nCleveland\, OH 441 30 SEQUENCE:0 SUMMARY:Fresh Prints: The Nineties to Now\, Julia Wachtel\, Annette Lemieux \, Lesley Dill\, Louise Bourgeois\, Ellsworth Kelly\, Rosemarie Trockel\, L ucian Freud\, Chuck Close\, Terry Winters\, Richard Serra\, Julie Mehretu UID:389165 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Hostage: The Bachar Tapes (English version) \;is a video work in the form of an experimental documentary by Lebanese artist Walid Raad. The video focuses on the Lebano n hostage crisis&mdash\;the systematic kidnapping of 96 people\, mostly Ame ricans and western Europeans\, which took place in Lebanon between 1982 and 1992. \;Hostage: The Bachar Tapes \;uses this subject to explore notions of fact\, fiction\, and how the two are so easily and often interwoven.

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In the 1980s and early & rsquo\;90s five American men were held captive in Lebanon: Terry Anderson\, David Jacobsen\, Lawrence Jenco\, Thomas Sutherland\, and Benjamin Weir. A fter being freed from their traumatizing captivity\, each man published a b ook describing the brutality they endured. In each testimony\, an unnamed A rab man was mentioned as being detained among them.

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In \;Hostage: The Bachar Tapes\, \;we witne ss two videotapes in which the Arab detainee is personified by Souheil Bach ar. Bachar is portrayed by the well-known Lebanese actor Fadi Abi Samra. In the tapes\, Bachar addresses the cultural\, textual\, and sexual aspects o f his detention with the Americans. In offering Bachar&rsquo\;s &ldquo\;tes timony\,&rdquo\; the work questions who has the right to shape historical n arratives such as this one. Raad has described his complex artwork as &ldqu o\;factual fictions\,&rdquo\; by which &ldquo\;documents\, characters\, and stories operate between the false binary of fiction and nonfiction.&rdquo\ ;

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Screenings of \;Hostage: Th e Bachar Tapes \;will begin every half-hour.

DTEND:20150913 DTSTAMP:20150705T141244 DTSTART:20150609 GEO:41.509686;-81.611874 LOCATION:Cleveland Museum of Art\,11150 East Boulevard \nCleveland\, OH 441 30 SEQUENCE:0 SUMMARY:Hostage: The Bachar Tapes UID:389164 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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This exhibition is made pos sible in part by a gift from Donald F. and Anne T. Palmer.

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DTEND:20150816 DTSTAMP:20150705T141244 DTSTART:20150517 GEO:41.509686;-81.611874 LOCATION:Cleveland Museum of Art\,11150 East Boulevard \nCleveland\, OH 441 30 SEQUENCE:0 SUMMARY:My Dakota: Photographs by Rebecca Norris Webb\, Rebecca Norris Webb UID:389163 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Robert Rauschenberg (1925&ndas h\;2008) is considered one of the most influential American artists of the 20th century. His nuanced approach to the popular culture that surrounded h im and the history of art that preceded him made his voice unique. But does his inclusion in the canon of art history prevent us (viewers firmly roote d in contemporary ways of looking) from seeing his artwork as the incisive commentary that it remains?

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Taking it s name from \;Gloria \;(1956)\, an iconic work by Rauschen berg in the collection of the Cleveland Museum of Art\, this exhibition exp lores the interests and actions of Rauschenberg in the 1950s through a youn ger set of eyes\, those of internationally acclaimed artist Rachel Harrison (b. 1966)\, who has become known for her original approach to art-making t hat simultaneously addresses and analyzes the conventions of art and mass c ulture.

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An amalgam of artistic innova tion\, pop culture trivia\, wry humor\, and sharp critique\, \;Glor ia: Robert Rauschenberg &\; Rachel Harrison \;juxtaposes these two unconventional thinkers\, featuring landmark Combine works and photogra phs by Rauschenberg alongside a grouping of pivotal sculptures and drawings by Harrison.

DTEND:20151025 DTSTAMP:20150705T141244 DTSTART:20150701 GEO:41.509686;-81.611874 LOCATION:Cleveland Museum of Art\,11150 East Boulevard \nCleveland\, OH 441 30 SEQUENCE:0 SUMMARY:Gloria: Robert Rauschenberg & Rachel Harrison\, Robert Rauschenberg \, Rachel Harrison UID:389162 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Even though painting and movin g image art do not represent space and time in the same way\, in a signific ant part of the video production process\, that has occurred from the origi ns of this medium until the present\, emerges the 'pictorial unconscious' t hat becomes the principal \;leimotif \;of this ex hibition.

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Illumination\, color\, comp osition\, iconography or staging inform us of a shared vocabulary between b oth mediums that are extremely interrelated in the works of current video a rtists in the \;Sorigué\; Collection\, such as&n bsp\;Bill Viola\, William Kentridge\, Marco Brambilla\, Mat Collish aw\, \;Jacco Olivier\, \;Ger Van Elk\,Marina Alexeeva \;or \;Elisa Sighicelli &\; Marzia Migliora\,whose video creations establis h a retroactive dialogue with some of the most esteemed works in the collec tions of the \;Museu Nacional d&rsquo\;Art de Catalunya.

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The film director Eric Rohmer put it very bluntly: \;&ldquo\;All organization of forms in the interior of a flat surface stems from prictorial art" \;and Nam June Paik\, one of the pioneers of video a rt\, expressed it in a comparable way: \;&ldquo\;In the same wa y that a collage has substituted oil painting\, the cathode ray tube will r eplace the canvas".

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In \ ;The pictorial unconscious\, the video creations establish a retroactive dialogue with some of the most esteemed works in the collect ion of the \;Museu Nacional d&rsquo\;Art de Catalunya.

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En el marco del Festival Loop 2015\, se establece \;< strong>Un diá\;logo entre la colecció\;n de videoarte de la Fun dació\;n Sorigué\; y la colecció\;n del Museu Nacional d& rsquo\;Art de Catalunya.

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Aun que la imagen en movimiento y la pintura no representan el espacio y el tie mpo de la misma manera\, en una parte significativa de la producció\; n videográ\;fica realizada desde los orí\;genes de este soporte hasta la actualidad aflora una suerte de \;&ldquo\;inconscient e pictó\;rico&rdquo\; \;que se convierte en principalleitmotiv \;de esta exposició\;n.

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Iluminació\;n\, color\, composició\;n\, iconograf& iacute\;a o puesta en escena\, nos informan de un vocabulario compartido en tre la pintura y el videoarte\, que alcanza grados de conexió\;n sorp rendentes en el trabajo de algunos vide-artistas presentes en la \;Colecció\;n Sorigué\;\, como \;Bill Vi ola\, William Kentridge\, Marco Brambilla\, Mat Collishaw\, \; Jacco Olivier\, \;Ger Van Elk\,Marina Alexeeva \;o \;Elisa Sighicelli &\; Ma rzia Migliora\, cuyas videocreaciones establecen un diá\;log o retroactivo con algunas de las obras má\;s destacadas de la colecci ó\;n del \;Museu Nacional d&rsquo\;Art de Catalunya.

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El director de cine Eric Rohmer lo planteaba de forma tajante:&ldquo\;Toda organizació\;n de formas en el interior de una superficie plana\, deriva del arte pictó \;rico&rdquo\; \;y Nam June Paik\, uno de los pioneros del videoarte\, lo expresó\; hace ya má\;s de 40 a&nt ilde\;os  \;de forma equivalente: \;&ldquo\;De la misma man era que el collage ha sustituido a la pintura al ó\;leo\, el tubo de rayos cató\;dicos sustituirá\; al lienzo.&rdquo\;

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En un sentido aná\;logo\, el cr&iac ute\;tico y cineasta Jacques Aumont insistí\;a añ\;os despu&eac ute\;s en que \;&ldquo\;la historia del cine\, por lo menos des de que se convirtió\; en apto para ser pensado como arte (&hellip\;) no tiene sentido si se separa de la historia de la pintura&rdquo\;.

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En algunos trabajos de los artistas presentes en esta exposició\;n el movimiento fí\;lmico est&aac ute\; retenido\, o má\;s bien &ldquo\;suspendido&rdquo\; por una suer te de &ldquo\;temporalidad pictó\;rica&rdquo\;\, de manera que sus im á\;genes se construyen como si se tratara de cuadros autó\;nomo s\, mediante largos planos fijos en los que los movimientos de las figuras se producen de un modo tan ralentizado\, que a veces resulta casi impercept ible\, por lo que podrí\;amos hablar de \;tableaux vi vants \;en la misma medida en que otros citan composicion es\, motivos iconográ\;ficos y puestas en escena que derivan de la pi ntura mural medieval\, renacentista o decimonó\;nica. Hablamos pues\, de una historia de paradojas ya que los nuevos monitores LCD y las pantall as de plasma extraplanas está\;n abriendo todo un nuevo abanico de po sibilidades a quienes intentan "reinventar" la idea de "cuadro" como "pintu ra en movimiento"\, para unos\, o como "video objeto"\, para otros\, aunque con ello regresen nada menos que a los tiempos del "cuadro transportable"\ , tal y como se entendí\;a a finales de la edad media.

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Se plantea\, de este modo\, una reflexió\;n s obre las relaciones entre los dispositivos electró\;nicos de registro y edició\;n de imá\;genes y los procesos de creació\;n e n pintura\, que revelan mecanismos tales como la diferencia entre &ldquo\;t iempo de la historia&rdquo\; y &ldquo\;tiempo del relato&rdquo\; que en est as piezas se equiparan\, forzando al espectador al placer -ya& nbsp\;casi olvidado- de la contemplació\;n. É\;sto no impi de que en todas y cada una de estas obras tambié\;n se deslicen conte nidos crí\;ticos de orden polí\;tico\, social o cultural\, plen amente imbricados en la contemporaneidad.

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Habrí\;a que dar la razó\;n\, en consecuencia\, a quienes señ\;alan que hoy las artes visuales se han convertido en el lugar co mú\;n de una &ldquo\;pictorialidad difusa&rdquo\; \;en la que ya nada es exactamente fotografí\;a\, ni exactamente pintura\, ni exactamente ví\;deo\, sino simplemente &l dquo\;imagen&rdquo\;\, y es de hecho\, ese valor polisé\;mico y decon structivo de las imá\;genes el que ha servido en los ú\;ltimos añ\;os para la reformulació\;n de los gé\;neros pict&oacu te\;ricos tradicionales\, así\; como para sedimentar las distintas es trategias de hibridació\;n caracterí\;sticas de la producci&oac ute\;n artí\;stica actual. En este sentido\, esta exposició\;n no debe ser vista como un sí\;ntoma de retorno a las fuentes de la hi storia del arte\, como a la era de la circulació\;n promiscua de la i magen\, aquella que sabe que só\;lo puede ser ya &ldquo\;imagen de ot ra imagen&rdquo\;.

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DTEND:20150830 DTSTAMP:20150705T141244 DTSTART:20150528 GEO:41.368205;2.152231 LOCATION:Museu Nacional d'Art de Catalunya\,Palau Nacional Parc de Montjuïc \nBarcelona\, 08038 SEQUENCE:0 SUMMARY:The Pictorial Unconscious\, Bill Viola\, William Kentridge\, Marco Brambilla\, Mat Collishaw\, Jacco Olivier\, Ger Van Elk\, Marina Alexeeva\, Elisa Sighicelli\, Marzia Migliora UID:388684 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Hamburg based sculptor Reinhold Engberding&rsquo\;s work add resses the topics of identity\, intimacy\, privacy\, longing and desire. Du ring a recent Artist Residency at CentralTrak with the University of Texas Dallas\, Engberding covered the large exhibition space with images of young men\, questioning whether they could possibly be his sons. In the installa tion\, \;Is That My Son\, Engberding used images gathered from an online archive of police mug shots.

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For his Conduit exhibition\, Engberd ing channeled memories of his own experience as an altar boy after having b een given Dallas high school band uniforms. The uniforms reminded the artis t of liturgical garments which led to a process of de-constructing and flat ly re-constructing several uniforms into constellations of pattern and ambi guous form. Along with exposed stitching\, the garments are embroidered wit h words from a poem composed by poet and frequent collaborator\, Holger B. Nidden-Grien\, a fictional character created by the artist in 1996.

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Reinhold Engberding studied landscape architecture and Fine Arts in Kassel \, Kiel and The Hague. He has lived in Hamburg\, Germany since 1982.

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DTEND:20150801 DTSTAMP:20150705T141244 DTSTART:20150627 GEO:32.796183;-96.818269 LOCATION:Conduit Gallery\,1626 C Hi Line Dr. \n Dallas\, TX 75207 SEQUENCE:0 SUMMARY:reversing a thing does not prove its reverse\, Reinhold Engberding UID:388575 END:VEVENT BEGIN:VEVENT DTEND:20150627T200000 DTSTAMP:20150705T141244 DTSTART:20150627T180000 GEO:32.796183;-96.818269 LOCATION:Conduit Gallery\,1626 C Hi Line Dr. \n Dallas\, TX 75207 SEQUENCE:0 SUMMARY:reversing a thing does not prove its reverse\, Reinhold Engberding UID:388576 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150920 DTSTAMP:20150705T141244 DTSTART:20150704 GEO:49.8914132;-119.4965934 LOCATION:Kelowna Art Gallery\,1315 Water Street \nKelowna\, BC V1Y 9R3 SEQUENCE:0 SUMMARY:Mapping me in...\, Wally Cardona UID:388573 END:VEVENT BEGIN:VEVENT DTEND:20150703T210000 DTSTAMP:20150705T141244 DTSTART:20150703T190000 GEO:49.8914132;-119.4965934 LOCATION:Kelowna Art Gallery\,1315 Water Street \nKelowna\, BC V1Y 9R3 SEQUENCE:0 SUMMARY:Mapping me in...\, Wally Cardona UID:388574 END:VEVENT END:VCALENDAR