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The Busan Biennale is a biannu al international contemporary art show that integrated three different art events held in the city in 1998: the Busan Youth Biennale\, the first bienn ale of Korea that was voluntarily organized by local artists in 1981\; the Sea Art Festival\, an environmental art festival launched in 1987 with the sea serving as a backdrop\; and the Busan International Outdoor Sculpture S ymposium that was first held in 1991. The biennale was previously called th e Pusan International Contemporary Art Festival (PICAF) before it launched.

The biennale has its own unique attribute in that it was formed not out of any political logic or need but rather the pure force of local Busan artists&rsquo\; will and their voluntary participation. Even to this day their interest in Busan's culture and its experimental nature has been the key foundation for shaping the biennale&rsquo\;s identity.

T his biennale is the only one like it in the world that was established thro ugh an integration of three types of art events such as a Contemporary Art Exhibition\, Sculpture Symposium\, and Sea Art Festival. The Sculpture Symp osium in particular was deemed to be a successful public art event\, the re sults of which were installed throughout the city and dedicated to revitali zing cultural communication with citizens. \;

The networks f ormed through the event have assumed a crucial role in introducing and expa nding domestic art overseas and leading the development of local culture fo r globalized cultural communication. Founded 36 years ago\, the biennale ai ms to popularize contemporary art and achieve art in everyday life by provi ding a platform for interchanging experimental contemporary art.

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DTEND:20161130 DTSTAMP:20160723T175039 DTSTART:20160903 GEO:0.0;0.0 LOCATION:Busan Museum of Art\,40 APEC-RO\, Haeundae-gu \nBusan\, SEQUENCE:0 SUMMARY:Busan Biennale 2016: Hybridizing Earth\, Discussing Multitude UID:423917 END:VEVENT BEGIN:VEVENT DESCRIPTION:

One Artist | Two Cities | Two Exhibitions\n

On view at the Southeast Museum of Photography and Snap! Spa ce Contemporary

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Artist Talk and Exhibition Reception at the Southeast Museum of Photography: Saturday\, October 8\, 5:00-7:00 pm
1 200 W. International Speedway Blvd.\, Daytona Beach\, FL 32114

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Exhibition runs from September 27 - December 10\, 2016
Cu rated by Steven Benson\, Daytona State College Professor of Photography

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< strong>Snap! Space Contemporary\, Orlando\, Florida
< span style="text-decoration: underline\;">Exhibition Opening Night with Art ist: Friday\, October 7\, 7:00-10:00 pm
1013 E. Coloni al Dr. Orlando\, FL 32803

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Exhibition runs from October 7 - December 12\, 2016
Curated by Patrick &\; Holly Kahn\, Sna p! Space

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This retrospective exhibition spans over 40 years of image making and leads us through many incarnations of thought and process by on e of the most influential and important photographic artists of the 21st ce ntury.

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For more information: http://www.smponline.org/ex_Ba llen.html

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Museum Admission &\; Parking is free!

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Museum Hours: T\,Th\,F: 11-5 pm\, W: 11-7 pm\, Sat: 1-5 p m. Closed Sundays &\; Mondays.

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The Southeast Mu seum of Photography is a service of Daytona State College\, 1200 W. Interna tional Speedway Blvd.\, Daytona Beach\, FL\, 32114\, (386) 506-4475

DTEND:20161210 DTSTAMP:20160723T175039 DTSTART:20160927 GEO:29.201418;-81.047031 LOCATION:Southeast Museum of Photography\,1200 International Speedway Blvd. \, Bld. 1200 Daytona State College\nDaytona Beach\, FL 32114 SEQUENCE:0 SUMMARY:ROGER BALLEN: IN RETROSPECT\, Roger Ballen UID:423689 END:VEVENT BEGIN:VEVENT DTEND:20161008T190000 DTSTAMP:20160723T175039 DTSTART:20161008T170000 GEO:29.201418;-81.047031 LOCATION:Southeast Museum of Photography\,1200 International Speedway Blvd. \, Bld. 1200 Daytona State College\nDaytona Beach\, FL 32114 SEQUENCE:0 SUMMARY:ROGER BALLEN: IN RETROSPECT\, Roger Ballen UID:423690 END:VEVENT BEGIN:VEVENT DESCRIPTION:

MAM is pleased to present Not Vanishing\, a survey of significant artworks by American Indian ar tists from the Pacific Northwest region. The exhibit was curated by Gail Tr emblay and Miles R. Miller\, and organized for travel by the Museum of Nort hwest Art in LaConner\, WA.

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The surve y includes artists familiar to the Missoula community through MAM exhibits such as Joe Feddersen\, Jaune Quick-to- See Smith\, and James Lavadour\, an d we are happy to see them again. But we are especially excited to introduc e the artwork and perspectives of a new assemblage of skilled\, award-winni ng artists\, in various stages of career\, to our community. Artists in the exhibit include legends that are no longer with us such recently deceased Rick Bartow\, James Schoppert\, and Conrad House\, for whom the Heard Museu m established an award to honor his legacy.

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Not Vanishing displays the rich diversity and wide range of artistic approaches and subject matter found in today&rsquo\;s contemporar y Native art scene. The spectrum of artmaking ranges from the direct deploy ment of traditional materials such as weaving\, beading\, and carving\, to indirect homages using ceramic or glass\, to the European studio media of d rawing\, painting\, printmaking\, photography\, and sculpture. But regardle ss of materials or techniques\, each artist shares a unique artmaking persp ective that honors tradition and heritage\, communicates the struggles of s urviving within a hostile dominant culture\, or both. These artists elevate the discussion using wry humor\, intelligent insight\, and rich talent to share cultural experiences\, make social commentary\, and in some cases to reimagine a bitter past.

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Curator Gail Tremblay (Onondaga/Micmac) teaches at The Evergreen State College in Olymp ia\, WA. She received her BFA in drama from the University of New Hampshire in 1967 and her MFA in creative writing from the University of Oregon in 1 969. Tremblay has been working in the visual arts community of the Pacific Northwest for more than 20 years. Her woven film baskets have been acquired by museums and corporate collections throughout the United States\, includ ing the Portland Art Museum\, the Hallie Ford Museum\, and Microsoft. In 20 01\, Tremblay was awarded the Governor&rsquo\;s Arts and Heritage Award for the State of Washington.

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Miles R. Mi ller (Yakama/Nez Perce) is an artist\, scholar\, and independent curator. H e has developed exhibits with the Burke Museum\, the Hood Museum\, and the Northwest Museum of Art and Culture and worked in the collections of the Na tional Museum of the American Indian (including a curatorial residency)\, t he Peabody Museum\, and the Nez Perce National Historic Park. Miller&rsquo\ ;s research focuses on Native American ethnographic and contemporary arts\, not only as aesthetic objects\, but artworks rich in concepts of authority \, pluralism\, and social identity. As a curator\, he encourages artists to actively articulate their tribal histories and knowledge portrayed in visu al culture and invites audiences to meet cultural specialists who can expre ss their perspectives and experiences.

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First Friday : Blessing by Corwin Clairmont &\; Gallery Talk with Miles R. Miller : August 5\, 7 PM

DTEND:20161210 DTSTAMP:20160723T175039 DTSTART:20160805 GEO:46.8724585;-113.9924354 LOCATION:Missoula Art Museum\,335 N. Pattee St. \nMissoula\, MT 59802 SEQUENCE:0 SUMMARY:Not Vanishing: Contemporary Expressions In Indigenous Art\, 1977-20 15\, Jaune Quick-To-See Smith\, Joe Feddersen\, James Lavadour UID:423569 END:VEVENT BEGIN:VEVENT DTEND:20160805T200000 DTSTAMP:20160723T175039 DTSTART:20160805T170000 GEO:46.8724585;-113.9924354 LOCATION:Missoula Art Museum\,335 N. Pattee St. \nMissoula\, MT 59802 SEQUENCE:0 SUMMARY:Not Vanishing: Contemporary Expressions In Indigenous Art\, 1977-20 15\, Joe Feddersen\, James Lavadour\, Jaune Quick-To-See Smith UID:423570 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Artists often form art groups with her/his contemporaries who share similar visions. Such collectives hav e functioned for the artist to share an otherwise rare opportunity to show their works\, and to lead the mind of the generation by providing a platfor m for the artists to compete with one another. This exhibition introduces a series of works\, mainly contemporary art from Southeast Asia by focusing on invisible networks among the artists.

DTEND:20161225 DTSTAMP:20160723T175039 DTSTART:20161006 GEO:33.5913576;130.4148783 LOCATION:Fukuoka Asian Art Museum (FAAM)\,3-1 Shimokawabata-machi Hakata-ku \nFukuoka City\, SEQUENCE:0 SUMMARY:Fellow Artists! Art Groups in Southeast Asia UID:423559 END:VEVENT BEGIN:VEVENT DTEND:20161006T200000 DTSTAMP:20160723T175039 DTSTART:20161006T100000 GEO:33.5913576;130.4148783 LOCATION:Fukuoka Asian Art Museum (FAAM)\,3-1 Shimokawabata-machi Hakata-ku \nFukuoka City\, SEQUENCE:0 SUMMARY:Fellow Artists! Art Groups in Southeast Asia UID:423560 END:VEVENT BEGIN:VEVENT DESCRIPTION:

To coincide with the special f ocus on Vietnamese film in this year's Focus on Asia International Film Fes tival in Fukuoka 2016\, in this exhibition FAAM presents 50 works from its archive of 400 Vietnamese works. All were originally entrusted by three pri vate collectors from Japan who traveled to Vietnam in the 1980s and 90s. Fr om works featuring traditional materials and techniques such as lacquer and silk\, to pieces such as propaganda posters dating to the Vietnam War\, al l are rich in appeal. Don't miss the show\, especially in conjunction with the Vietnamese films on show this fall.

Note: this exhibition ha s been assisted by a Vietnamese art specialist curator from our partnering museum\, the National Gallery Singapore.

DTEND:20160908 DTSTAMP:20160723T175039 DTSTART:20160908 GEO:33.5913576;130.4148783 LOCATION:Fukuoka Asian Art Museum (FAAM)\,3-1 Shimokawabata-machi Hakata-ku \nFukuoka City\, SEQUENCE:0 SUMMARY:Vietnam on My Mind: From Japanese Private Collections UID:423557 END:VEVENT BEGIN:VEVENT DTEND:20160908T200000 DTSTAMP:20160723T175039 DTSTART:20160908T100000 GEO:33.5913576;130.4148783 LOCATION:Fukuoka Asian Art Museum (FAAM)\,3-1 Shimokawabata-machi Hakata-ku \nFukuoka City\, SEQUENCE:0 SUMMARY:Vietnam on My Mind: From Japanese Private Collections UID:423558 END:VEVENT BEGIN:VEVENT DESCRIPTION:

What do we know about the Phil ippines? It is the country that became one of the bloodiest battlefields in World War II. This is also a place where Ferdinand Magellan\, a worldly-kn own Portuguese explorer died in the course of his journey around the world. The country is also known as having the largest Catholic population in Asi a. This exhibition explores unknown history and culture of the Philippines\ , and the reality of people living there as if traveling through times.

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DTEND:20161225 DTSTAMP:20160723T175039 DTSTART:20160825 GEO:33.5913576;130.4148783 LOCATION:Fukuoka Asian Art Museum (FAAM)\,3-1 Shimokawabata-machi Hakata-ku \nFukuoka City\, SEQUENCE:0 SUMMARY:Time Travel through Art: History of the Philippines UID:423555 END:VEVENT BEGIN:VEVENT DTEND:20160825T200000 DTSTAMP:20160723T175039 DTSTART:20160825T100000 GEO:33.5913576;130.4148783 LOCATION:Fukuoka Asian Art Museum (FAAM)\,3-1 Shimokawabata-machi Hakata-ku \nFukuoka City\, SEQUENCE:0 SUMMARY:Time Travel through Art: History of the Philippines UID:423556 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Art Front Galle ry will present solo exhibition of Masatake Kozaki\, entitled &ldquo\;Becom ing Place&rdquo\;.  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \; &nb sp\;  \;  \;  \;  \;  \;  \;  \;  \;  \ ;  \;  \;  \;  \;  \;  \;  \;  \;  \; & nbsp\;  \;  \;  \;  \;    \;  \;

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Masatake Kozaki\, born in 1972 in Fukushim a Prefecture\, completed his PhD at Tokyo University of the Arts in 2005. H e first attracted attention at the UBS Art Awards in 2000\, and received th e Grand Prize at the 13th Aoki Nishinippon Memorial Art Awards in 2004. He continues his creative work as Associate Professor at Tohoku University of Art and Design\, and has been expanding his range by exhibiting internation ally.

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Kozaki&rsquo\;s ar t takes the composition of traditional &lsquo\;Rakuchu rakugai zu (scen es in and around Kyoto)&rsquo\; or &lsquo\;Nanban folding screens< /em>&rsquo\;\, and exposes our age of desires by using heteromorphic elemen ts seen under the glittering clouds. These elements such as satellites\, ob jects from daily life\, or alien forms seemingly derived from genetic modif ication\, reveal strong influence from Hieronymus Bosch whom Kozaki encount ered as an art student. His series TOUGEN (Peach-blossom Spring)\, takes its name from a Classical Chinese verse on paradise lost\, by Tao Yu anming\, harmonising that world view with the coexisting diversity of conte mporary values.

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Kozaki h as moved on beyond rendering a world vision in bird&rsquo\;s-eye views\, an d he \; records the life of inhabitants within the towns\, including hi mself. If he did not make such records\, would everything disappear into ob livion? Last year\, Kozaki donated a painting on the theme of his home town \, Futabamachi\, in Fukushima Prefecture\, to the town itself. He depicted in his work \; points of local interest\, such as the vermilion murals of Kiyotosaku Oketsu Cave Tomb (a National Historic Site)\, sedentary statu e of the Eleven Headed Kannon where women come to pray for safe delivery of a baby\, or the popular Koriyama Beach. These sites are long-standing embl ems of the town&rsquo\;s life\, everyone&rsquo\;s hopes and amusements\, he re transformed into works of art. They remain in local memories\, associate d with the place for local people\, but the sites now articulate mixed feel ings because the meaning of Kozaki&rsquo\;s hometown has been completely al tered. Viewers sense his urge to convey some message as he grapples with hu ge\, uncertain future issues\, notably decommissioning the Fukushima nuclea r power plant. Kozaki&rsquo\;s change of direction may have begun at the ti me of the disaster\, but has now assumed impressive concrete shape. \;< /p>\n

The motifs most often depicted by Koz aki are unfamiliar or hybridised objects of human desire. He provides the f rightening aspect of contemporary world where the realisation of desires or ideals is not just a dream\, but a possibility. On the other hand\, some o f his work depicts craft objects\, such as daruma or kokeshi d olls\, which directly evoke the culture of this region. Kozaki has dis covered a new world by applying his established style to the origins and ba ckgrounds of local forms\, rather than making work by selecting and combini ng such motifs. How does he interpret the contact point between the lost\, utopian world of TOUGEN and this sense of reality? And how will th is connect with viewers&rsquo\; realities? This solo show marks Kozaki&rsqu o\;s important step towards meeting such challenges.

DTEND:20160821 DTSTAMP:20160723T175039 DTSTART:20160722 GEO:35.6510119;139.703176 LOCATION:Art Front Gallery\,Hillside Terrace A\, 29-18 Sarugaku-cho\, Shibu ya-ku\, \nTokyo \, 150-0033 SEQUENCE:0 SUMMARY:Becoming Place\, Masatake Kozaki UID:423547 END:VEVENT BEGIN:VEVENT DTEND:20160722T200000 DTSTAMP:20160723T175039 DTSTART:20160722T180000 GEO:35.6510119;139.703176 LOCATION:Art Front Gallery\,Hillside Terrace A\, 29-18 Sarugaku-cho\, Shibu ya-ku\, \nTokyo \, 150-0033 SEQUENCE:0 SUMMARY:Becoming Place\, Masatake Kozaki UID:423548 END:VEVENT END:VCALENDAR