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

Galerie Wilma Tolksdorf shows works by the artist Jö\; rg Sasse from the new series &sbquo\;Cotton Paintings&rsquo\;.

\n

Whereas works from the series &lsquo\;Tableaus&rsquo\; and &lsquo\;Ski zzen&rsquo\; (sketches) had already existing photographs as initial point\, the recent works are based on scanned fabrics. In the subsequent digital e diting compositions of forms and structures evolve reminding us of painting rather than photography.

\n

The reference to painting is alr eady implied in the title of the new works - deliberately they are named &l squo\;Paintings&rsquo\;. Jö\;rg Sasse had therefore collected fabrics f rom diverse archives. Each design is edited on computer and compounded to n ew configurations. His approach in its method is similar to the collage. Th e overlaps in the final works stay often perceptible.

\n

Bein g a device working with light\, the scanner is attributed to the primer inp ut tools of the photography. In the process of editing Jö\;rg Sasse use s techniques of collage and painting. In the end the structures of the dive rse creations of the particular fabrics become not only visible\, but they also determine the great tactile attraction of the new works. The images ar e printed with pigmented ink on paper made of 100% cotton. The surface is m att and open.

\n

Questions concerning the conditions and orig ins of an photographic image already raised by Jö\;rg Sasse in his seri es &lsquo\;Tableaus&rsquo\; and &lsquo\;Skizzen&rsquo\; are pursued consequ ently in his recent works: Which criteria define a photography and which ca tegories specify a painting? Which are the essential components to define p hotography in comparison to other media? And how relevant or negotiable is this borderline between the media in the context of contemporary art produc tion?

\n

 \;

\n

Jö\;rg Sasse (*1962) is one of the most renowned artists working in the medium photography. His wo rks are part of outstanding institutional and corporate art collections wor ldwide such as Guggenheim Museum\, New York\, Banco Espirito Santo Photogra phy Collection\, Lissabon\, MUMOK\, Vienna\, Kunsthalle Zü\;rich\, Foto museum Winterthur and Stä\;del Museum\, Frankfurt. Jorg Sasse has inter nationally shown his works in numerous solo and group exhibitions.\n

From July 10th on the recent series will be also on vie w at the exhibition &lsquo\;Serendipity - Vom Glü\;ck des Findens&rsquo \;at theKunsthalle Bielefeld and will be published in the accompanying cata logue.

DTEND:20150828 DTSTAMP:20150603T085352 DTSTART:20150606 GEO:50.1116287;8.7129814 LOCATION:Galerie Wilma Tolksdorf Frankfurt\,Hanauer Landstrasse 136 \nFrank furt am Main\, D-60314 SEQUENCE:0 SUMMARY:JÖRG SASSE UID:385697 END:VEVENT BEGIN:VEVENT DTEND:20150606T180000 DTSTAMP:20150603T085352 DTSTART:20150606T150000 GEO:50.1116287;8.7129814 LOCATION:Galerie Wilma Tolksdorf Frankfurt\,Hanauer Landstrasse 136 \nFrank furt am Main\, D-60314 SEQUENCE:0 SUMMARY:JÖRG SASSE UID:385698 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150628 DTSTAMP:20150603T085352 DTSTART:20150528 GEO:56.834585;60.616523 LOCATION:Yekaterinburg Gallery of Modern Art\,32\, Krasnoarmeyskaya-St. \nY ekaterinburg\, Yekaterinburg SEQUENCE:0 SUMMARY:Formula of landscape. Ural. Volga river. Crimea\, Nikolai Cherkasov UID:385646 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150814 DTSTAMP:20150603T085352 DTSTART:20150528 GEO:18.4647581;-66.0950288 LOCATION:Walter Otero Contemporary Art\,402 Ave. Constitucion \n San Juan\, 00906 SEQUENCE:0 SUMMARY:No Fear\, Dead or Alive\, Radamés “Juni” Figueroa UID:385645 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Wunderkammern is proud to present NOMADIC EXPERIMENT &ndash\; on the brink of disaster\, a solo show by Milan-based artist 2501.

Jac opo Ceccarelli\, also known as 2501 (Milan\, 1981) is among the most import ant Italian artists in the international Urban Art scene. The arti st has participated in numerous exhibitions and festivals all over the worl d\, showing in prestigious institutions like the Center for Contemp orary Art Luigi Pecci in Prato\, the Milan Triennale\, and the MACRO in Rom e. In 2013 he participated in Back 2 Back to Biennale\, a n official satellite event of the 55th Venice Biennale\, a nd in 2009 he won the Street Art Award at the Metropolis Art Prize 2009 with the video Mask\, projected in Times Square\, NYC. This year\, 2501 will show at the Internazionali BNL d&rsquo\;Italia at the Foro Italico\, Rome\, in a project created in collaboration wi th Wunderkammern.

2501 began painting at the age of 14 in his h ometown of Milan. After living in Sao Paolo\, Brazil\, where he came in con tact with the school of South American graffiti\, the artist began experime nting with a range of techniques and materials\, combining painting on canv as\, mural painting\, sculpture\, installation\, photography\, video\, and documentary. The Milanese artist&rsquo\;s style is distinct from that of ot her artists for his sinuous and overwhelming wavy lines that invade the work surface\, transforming it and giving it a feeling of mov ement and three-dimensionality. The work becomes hypnotic\, capable of acti vating the imagination and the interpretation of the observer\, conjuring i mages and possible visions. In order to create this effect\, 2501 focuses o n the simple chromatic pairing of black and white\, at times embell ished by the color gold.

The solo show at Wunderkammer n is the final part in a trilogy of exhibitions developed for the project < strong>NOMADIC EXPERIMENT\, after those in Miami and Los Angeles. The reflection of the artist for this project begins with the cond ition that characterizes our contemporaneity\, always &ldquo\;on th e brink of disaster&rdquo\; as it is articulated by fast\, freneti c\, fleeting times\, which induce a constant mutation of our way of life. T he artist indulges this condition by moving\, exploring\, experimenting new forms\, materials\, and ideas. The practice of nomadism implies a continuo us wandering\, briefly adapting to the places traveled before departing onc e again towards unknown lands. There are no spatial or temporal limitations \, nor roadblocks or constraints: 2051&rsquo\;s production of images follow s the geographical\, but also mental and emotional\, meandering of the arti st.

The show NOMADIC EXPERIMENT &ndash\; on the brink of disaster is arranged as an aesthetic exploration which can be experience d on many levels\, in relation to the architectural space of the gallery an d to the diversified production of the artist. On the ground floor 2501 pre sents brand new works created using various techniques and materials: paintings on wood\, canvas and paper\, ceramic installations\, and photo graphs. In addition\, the &ldquo\;shreds&rdquo\; will be o n display &ndash\; fragments of material\, painting and plaster\, taken from interior and exterior walls on which the artist worked. On the l ower level 2501 exhibits two videos and &ldquo\;The Machine&rdquo\; \, a mechanized installation with which the observers can interact \, thus becoming participants in the artistic narration.

For NOMADIC EXPERIMENT &ndash\; on the brink of disaster\, 2501 will cre ate a large exterior mural in the public space. Furthermor e\, in February the Milanese artist finished the public installation Ax onometry of the circle (Istituto Manzi &ndash\; Via de Magistris 15) f or the Wunderkammern project Light Up Torpigna!. The critical essa y for the solo show at the gallery is curated by Nina Bassoli and G. Matta.

NOMADIC EXPERIMENT &ndash\; on the brink of disaster is the concluding exhibition of Wunderkammern&rsquo\;s artistic project Limitless\, after the solo shows by the artists Sam3 (Spain)\, L&rsquo\;Atlas (France)\, Sten Lex (Italy) and Alexey Luka (Russ ia). Limitless explores the concept of limitation in its possible shapes and manifestations\, designating Art as the preferred means of overc oming barriers that we are subjected to on a daily basis\, and for reflecti ng on limitless reality.

\n
\n

&nbs p\;

\n

Wunderkammern è\; l ieta di presentare NOMADIC EXPERIMENT &ndash\; on the brink of disaster \, la mostra personale dell&rsquo\;artista milanese 2501.
Jacopo Ceccarelli aka 2501 (Milano\, 1981) è\; tra i più\; importanti artisti italiani nella scena attuale dell&rsquo\; Urban Art. L&rsquo\;artista ha partecipato a numerose mostre e fes tival in tutto il mondo\, esponendo in prestigiose istituzioni quali il Centro per l&rsquo\;Arte Contemporanea Luigi Pecci di Prato\, la Trien nale di Milano e il MACRO di Roma. Nel 2013 ha partecipato a B ack 2 Back to Biennale\, evento collaterale ufficiale della 55 °\; Biennale di Venezia\, e nel 2009 ha vinto il premio Street Art Award al Metropolis Art Prize 2009 con il video Mask\ , proiettato a Times Square (New York). Quest&rsquo\;anno 2501 espone agli Internazionali BNL d&rsquo\;Italia al Foro Italico\, Roma\ , nell&rsquo\;ambito di un progetto realizzato in collaborazione con Wunder kammern.

2501 ha cominciato a dipingere all&rsquo\;età\; di 14 anni nella sua città\;\, Milano. In seguito al soggiorno a San Paolo\, Brasile\, durante il quale viene in contatto con la scuola di graf fitismo sudamericana\, l&rsquo\;artista comincia a sperimentare con diverse tecniche e materiali\, combinando pittura su tela\, pittura murale\, scult ura\, installazione\, fotografia\, video e documentario. Lo stile dell&rsqu o\;artista milanese si distingue da ogni altro per le sinuose e tra volgenti linee ondulate che invadono la superficie di lavoro\, tra sformandola e conferendole effetti di movimento e di tridimensionalit&agrav e\;. L&rsquo\;opera diventa ipnotica\, capace di attivare l&rsquo\;immagina zione e l&rsquo\;interpretazione dell&rsquo\;osservatore portando alla ment e immaginari e visioni possibili. Per ottenere questo effetto\, 2501 si bas a sul semplice binomio cromatico del bianco e nero\, talvolta arric chito dal colore oro.

La personale a Wunderkammern &e grave\; l&rsquo\;ultima della trilogia di mostre pensate per il progetto NOMADIC EXPERIMENT\, dopo quelle di Miami e Los Ang eles. La riflessione dell&rsquo\;artista per questo progetto parte dalla co ndizione che caratterizza la nostra contemporaneità\;\, sempre &ldquo \;on the brink of disaster&rdquo\; (sull&rsquo\;orlo del p recipizio) poiché\; scandita da tempi rapidi\, frenetici\, sfuggevoli \, i quali inducono un mutamento costante del nostro modo di vivere. L&rsqu o\;artista asseconda questa condizione muovendosi\, esplorando\, sperimenta ndo nuove forme\, materiali ed idee. La pratica del nomadismo implica il co ntinuo spostarsi\, appropriandosi brevemente dei luoghi attraversati prima di ripartire verso altri territori ignoti. Non vi sono confini spaziali o t emporali\, né\; freni o costrizioni: la produzione di immagini di 250 1 segue il viaggio libero dell&rsquo\;artista\, quello geografico ma anche quello mentale ed emozionale.

La mostra NOMADIC EXPERIMENT &ndash\; on the brink of disaster si configura come un&rsquo\;esplora zione estetica percorribile a più\; livelli\, in relazione allo spazi o architettonico della galleria e alla produzione diversificata dell&rsquo\ ;artista. Al piano terra 2501 presenta opere inedite realizzate utilizzando tecniche e materiali diversi: dipinti su legno\, tela e carta\, in stallazioni in ceramica\, fotografie. Sono inoltre esposti gli strappi\, frammenti di materia\, dipinto e intonaco\, asporta ti da muri interni o esterni sui quali l&rsquo\;artista è\; intervenu to. Al livello sotterraneo 2501 espone invece due video e la Macchi na\, un&rsquo\;installazione meccanica con la quale gli spettatori potranno interagire rendendosi partecipi della narrazione artistica.

Per la mostra NOMADIC EXPERIMENT &ndash\; on the brink of disas ter 2501 realizzerà\; un grande intervento murale nello spazio pubblico. L&rsquo\;artista milanese ha inoltre terminato lo scorso febbraio a Roma l&rsquo\;intervento pubblico Assonometria del c erchio (Istituto Manzi &ndash\; Via de Magistris 15) nell&rsquo\;ambit o del progetto di Wunderkammern Light Up Torpigna!. Il testo criti co della mostra personale in galleria è\; curato da Nina Bassoli e G. Matta.

NOMADIC EXPERIMENT &ndash\; on the brink of disast er è\; la mostra conclusiva del progetto artistico di Wunderkamm ern Limitless\, dopo le personali degli artisti S am3 (Spagna)\, L&rsquo\;Atlas (Francia)\, Sten Lex (Italia) e Alexey Luka ( Russia). Limitless esplora il concetto di limite nelle sue possibi li forme e manifestazioni\, designando l&rsquo\;Arte come il mezzo preferen ziale per il superamento delle barriere a cui siamo quotidianamente sottopo sti e per una riflessione sulla realtà\; illimitata.

DTEND:20150725 DTSTAMP:20150603T085352 DTSTART:20150609 GEO:41.8772027;12.5407292 LOCATION:Wunderkammern\,124\, Via Gabrio Serbelloni \nRoma\, Lazio 00176 SEQUENCE:0 SUMMARY:Nomadic Experiment – on the brink of disaster\, 2501 UID:385643 END:VEVENT BEGIN:VEVENT DTEND:20150609T210000 DTSTAMP:20150603T085352 DTSTART:20150609T190000 GEO:41.8772027;12.5407292 LOCATION:Wunderkammern\,124\, Via Gabrio Serbelloni \nRoma\, Lazio 00176 SEQUENCE:0 SUMMARY:Nomadic Experiment – on the brink of disaster\, 2501 UID:385644 END:VEVENT BEGIN:VEVENT DESCRIPTION:

V1 CONTEMPORARY ART CENTRE is pleased to welcome back Barry McGee and Todd James for their second double exhibition in Copenhagen.

\n

The exhibit ion consists of new works in a variety of media &ndash\; paintings on canva s and wood\, sculpture\, drawing and an array of various elements. The exhi bition is organized\, or disorganized\, as a collaborative installation bet ween the two artists. Booth artists work with a distinct\, bold and iconic visual language. In FUD the two merge creating rhythm and disruption\, visu al punk. Todd James and Barry McGee have throughout their careers been inte rested in the periphery\, people and places just outside or inside &ldquo\; the normal&rdquo\;. They both understand and sometimes champion the outside r and see beauty in anarchy and autonomy. Their artistic output has a rare empathetic quality\, delivering critique and resistance in a consumerist cu lture obsessed with progress\, without falling into the pitfall of righteou sness.

\n

Todd James\, born 1969\, lives and works on the American east cost in New York City. His work is informed by the images we know from the constant stream of media we are swimming in . He distills these images\, giving the viewer a chance for brief contempla tion\, in a time that rarely offers such. He has developed a distinctive ar tistic style informed by the world of cartoons and graffiti as well as pain ters such as Willem de Kooning\, Peter Saul\, Matisse and Franz Kline. His paintings are colorful\, often humorous\, aggressive and gentle at the same time. In his new body of work Todd James has created bold tableaus populat ed by naked women smoking cigarettes\, lounging with plants\, cats and cobr as. A large striking totem like painting is a homage to the late great Ramm ellzee. James has recently exhibited at The Venice Biennale 2015\, Lazaride s Gallery\, Galleria Javier Lopez and MOCA Los Angeles.

\n

Barry McGee\, born 1966\, lives and works on the America n west coast in San Francisco. He works in a wide variety of media\; painti ng on wood\, drawing\, zines\, photography\, sculpture and large-scale inst allation. McGee refuges hierarchies of material or subject matter and all f ormats are treated equally. McGee's artistic style incorporates a multitude of inspirations &ndash\; American folk art\, sign making\, op art and graf fiti. His work is influenced by\, and reflects upon contemporary society\, especially those that tend to be left behind by it\, or choose not to play by its rules. In the recent body of work McGee pushes his imagery into the iconic\, figures and shapes are barely indicated\, then repeated and mixed with abstract patterns. McGee has recently been the subject of three large survey exhibitions at the Modern Art Museum of Ft. Worth Texas\, the Berkel ey Art Museum and the Institute of Contemporary Art in Boston.

\n

Barry McGee and Todd James practices are influenc ed by bicoastal metropolitan culture. They share a passion for graffiti and independent movements in general. A passion that originated before the pop ularity the net brought to the &ldquo\;culture&rdquo\; and before the aesth etic was accepted (and appropriated) by commercial forces and cultural inst itutions.

\n

Both artists have become re cognized as highly influential pioneers\, probably against their will and e fforts. They have collaborated on numerous occasions over the past 15 years &ndash\; The seminal Street Market exhibitions\, 2000\, (with Steve Powers ) at Deitch Projects that would travel to Tokyo and the Venice Biennale in 2001\, the Beautiful Losers exhibitions and Art In The Streets\, MOCA\, Los Angeles. Their last collaborate effort in Copenhagen was Brush Strokes in 2010. A limited edition publication created on the occasion of FUD featurin g work by Lydia Fong\, Magnus Vind\, Alicia McCarthy\, Josh Lazcano\, E.B I TSO\, Dan Murphy and Todd James will be available for free.

\n

We look forward to seeing you.

DTEND:20150627 DTSTAMP:20150603T085352 DTSTART:20150530 GEO:55.667614;12.5613121 LOCATION:V1 Gallery\,Flæsketorvet 69 - 71 \nCopenhagen \, 1711 SEQUENCE:0 SUMMARY:FUD\, Barry McGee\, Todd James UID:385642 END:VEVENT BEGIN:VEVENT DESCRIPTION:

I create acrylic paintings on canvas with photo transfers (my photography). Inspired by the beauty of nor thern Ontario\, urban landscapes and the everyday happenings around us. Try ing to capture simple moments that my viewers can relate to. The text I car ve into my paintings I write free hand into the wet paint and is left in a way that is intentionally difficult to read and at times incomplete. I add the writing to add texture and intrigue the viewer with the idea of a memor y to be told\, and the viewer is left to imagine their own story.

DTEND:20150614 DTSTAMP:20150603T085352 DTSTART:20150603 GEO:43.393823;-79.7084768 LOCATION:Trias Gallery\,11 Bronte Road Unit 29\nOakville\, Ontario L6L 0E1 SEQUENCE:0 SUMMARY:Moments and Memories\, Jodi Wheeler UID:385641 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sundaram Tagore Singapore is p leased to present Being There\, a group show that typifies the gal lery&rsquo\;s longstanding mission of sparking intercultural dialogue throu gh the fine arts.

Each of the artists in this exhibition share a global perspective and are inspired by far-flung travels. They take loca tions as diverse as Cuba\, France\, the Himalayas\, India and the Americas as their inspiration and subject matter. With elements from both East and W est\, their works emanate a dynamism and duality\, from the diversity of co ntent to their unique techniques and mediums.

Nathan S late Joseph has been an integral part of the New York School of Ar t for more than forty years. He welds recycled steel plates into intricate\ , dimensional arrangements\, blurring the boundary between painting and scu lpture. His raw\, tactile works allude to issues of globalization\, immigra tion and climate change. Often bearing exotic place-name titles\, these wor ks suggest an airborne view of layered patchworks of human habitation and c ultivation. Joseph&rsquo\;s work is installed at Jean Georges at the Trump International Hotel\, New York\; Inagiku at the Waldorf-Astoria\, New York\ ; and the Dan Eilat Hotel\, Eilat\, Israel. Private collectors include arti st John Chamberlain\, singer-songwriter Joni Mitchell and chef Jean-Georges Vongerichten. He was awarded an Art in Architecture Award from the America n Institute of Architects in 2003

Ricardo Mazal\, one of Mexico&rsquo\;s most prominent contemporary artists\, explores themes of transformation and regeneration through a multidisciplinary appro ach to painting that combines photography and digital technology. In 2004\, Mazal embarked on a trilogy examining the sacred burial rituals of three c ultures: the Mayan tomb of The Red Queen in Mexico\, the Peace Forest cemet ery in Germany and the sacred sky burials of Mount Kailash in Tibet. The re sulting images are an amalgamation of kinetic geometric forms\, amplified b y the large scale of the canvases. Mazal&rsquo\;s work is included in the c ollections of the Scottsdale Museum of Contemporary Art\, Arizona\; Museo d e Arte Moderno\, Mexico City\; Museo de Arte Abstracto Manuel Felguerez\, Z acatecas\, Mexico\; Maeght Foundation\, Paris\; and Deutsche Bank\, New Yor k and Germany.

Kenro Izu\, one of the greates t living platinum printers\, uses a custom-built\, three-hundred-pound Dear dorff camera to produce deeply compelling images of revered religious monum ents in Syria\, Jordan\, England\, Chile and most recently\, Buddhist and H indu monuments in Cambodia\, Burma\, Indonesia\, Vietnam and India. He capt ures not only magnificent architectural sites\, but worshippers across the globe engaged in religious and spiritual practice. His work is in the colle ctions of the Smithsonian Institution&rsquo\;s Arthur M. Sackler Gallery\, Washington\, D.C.\; the Museum of Fine Arts\, Boston\; the Canadian Centre for Architecture\, Montreal\; the J. Paul Getty Museum\, Los Angeles\; the Museum of Fine Arts\, Houston\; The Metropolitan Museum of Art\, New York\; the San Francisco Museum of Modern Art\; Tokyo Metropolitan Museum of Phot ography\; and Galleria Civica di Modena. He is also the recipient of numero us honors\, including the Lucca Photo Award from the Photo Lux Festival\, I taly\; a National Endowment for Arts Grant and a John Simon Guggenheim Memo rial Foundation Fellowship.

Photographer Steve McCurry is best known for his evocative color images\, many of which have become modern icons. He captures the essence of human struggle and joy and has covered many areas of international and civil conflict\, including Bur ma\, Sri Lanka\, Beirut\, Cambodia\, the Philippines\, the Gulf War\, the f ormer Yugoslavia\, and continuing coverage of Afghanistan and Tibet. McCurr y has been a member of Magnum Photos since 1986. He is the recipient of num erous awards\, including Magazine Photographer of the Year in 1984 and the Olivier Rebbot Memorial Award in 1986 and 1992. McCurry has published sever al books\, including The Unguarded Moment (2009)\, Looking East (2006)\, St eve McCurry (2005)\, The Path to Buddha: A Tibetan Pilgrimage (2003)\, Sout h Southeast (2000)\, Portraits (1999)\, Monsoon (1988)\, and The Imperial W ay (1985).

Robert Polidori&rsquo\;s atmospher ic photographs of buildings&mdash\;exteriors and interiors&mdash\;altered b y the passage of time and the people who have lived in them are investigati ons into the psychological implications of the human habitat. He has shot a ll over the world: decaying mansions in the formerly splendid metropolis of Havana\, the colonial architecture of Goa and urban dwellings in China and Dubai among other countries. The Metropolitan Museum of Art in New York co mmissioned him to photograph New Orleans in the wake of Hurricane Katrina a nd exhibited those photographs in 2006. Polidori won the World Press Photo of the Year Award in 1998 and the Alfred Eisenstaedt Award for Magazine Pho tography in 1999 and 2000. He has published eleven books and his work is in the collections of The Metropolitan Museum of Art and The Museum of Modern Art\, New York\; the Victoria and Albert Museum\, London\; and the Bibliot hè\;que nationale de France\, Paris.

The Venice Biennale

Work by selected gallery artists is current ly on view in Frontiers Reimagined\, an official Collateral Event of the 56th International Art Exhibition of la Biennale di Venezia\, at the Museo di Palazzo Grimani in Venice\, Italy. The exhibition\, which focuses on globalism\, has been organized by Sundaram Tagore and Tagore Foundation International\, a nonprofit cultural organization dedicated to dialogue be tween Asia and the West.

Mounted with the patronage of the It alian Ministry of Culture\, and in partnership with the Venetian state muse um authority il Polo museale del Veneto\, Frontiers Reimagined inc ludes the work of more than forty painters\, sculptors\, photographers and installation artists from Asia\, Africa and the West. The show is on view t hrough November 22. www.frontiersreimagined.org.

DTEND:20150719 DTSTAMP:20150603T085352 DTSTART:20150605 GEO:1.27725;103.803731 LOCATION:Sundaram Tagore Gallery - Singapore\,#01-05 Gillman Barracks 5 Loc k Road\nSingapore \, 108933 SEQUENCE:0 SUMMARY:Being There\, Nathan Slate Joseph\, Ricardo Mazal\, Kenro Izu\, Ste ve McCurry\, Robert Polidori UID:385633 END:VEVENT BEGIN:VEVENT DTEND:20150605T210000 DTSTAMP:20150603T085352 DTSTART:20150605T180000 GEO:1.27725;103.803731 LOCATION:Sundaram Tagore Gallery - Singapore\,#01-05 Gillman Barracks 5 Loc k Road\nSingapore \, 108933 SEQUENCE:0 SUMMARY:Being There\, Kenro Izu\, Nathan Slate Joseph\, Ricardo Mazal\, Ste ve McCurry\, Robert Polidori UID:385634 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An exhibition in two parts:
DEN ENA in Elverket\, DEN ANDRA in Sinne
6.6.&ndash\;2.8.\, Tue t o Sun 11AM-5PM

WELCOME to the opening on the 5th of June.
4:30-6:30PM in ELVERKET and 8-10PM in SINNE.

PERFORMANCE in Sinne at 8.30PM.

FREE BUS TRANSPORT:
3:00PM bus leaves f rom Kiasma to Elverket
6:30PM bus leaves from Elverket to Sinne
10:00PM bus leaves from Sinne to Ekenä\;s
Binding bookings by th e 1st of June at the latest.
phn: 019 223 90 10
proartibus@proa rtibus.fi
Please note! Limited Seating!

\n
\n

Nä\;yttely kahdessa osassa:
DEN ENA Elverketiss& auml\;\, DEN ANDRA Sinnessä\;
6.6.&ndash\;2.8.\, ti&ndash\;su klo 11&ndash\;17

TERVETULOA avajaisiin perjantaina 5. kesä\;k uuta
klo. 16.30&ndash\;18.30 ELVERKETISSÄ\; ja klo. 20.00&ndash\ ;22.00 SINNESSÄ\;!

PERFORMANSSI Sinnessä\; kl 20.30

ILMAINEN LINJA-AUTOKULJETUS:
Klo 15.00 lä\;htö\; K iasman edestä\; Elverketiin
Klo 18.30 lä\;htö\; Elverketi stä\; Sinneen.
Klo 22.00 lä\;htö\; Sinnestä\; Tammisa areen.
Sitoavat ilmoitukset viimeistä\;ä\;n 1.6.
puh. 0 19 223 90 10
proartibus@proartibus.fi
Huom! Rajoitetusti paikko ja!

DTEND:20150802 DTSTAMP:20150603T085352 DTSTART:20150606 GEO:60.1633568;24.9420087 LOCATION:Sinne\,Iso Roobertinkatu 16 \nHelsinki\, 00120 SEQUENCE:0 SUMMARY:Ett Kluvet Hus\, Hans Rosenström UID:385631 END:VEVENT BEGIN:VEVENT DTEND:20150605T220000 DTSTAMP:20150603T085352 DTSTART:20150605T200000 GEO:60.1633568;24.9420087 LOCATION:Sinne\,Iso Roobertinkatu 16 \nHelsinki\, 00120 SEQUENCE:0 SUMMARY:Ett Kluvet Hus\, Hans Rosenström UID:385632 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ShanghART Gallery is pleased t o present &lsquo\;Paper&rsquo\;\, a group exhibition from 23 May to 19 July 2015 by eleven established and upcoming artists &ndash\; Ding Yi\, Chen Xi aoyun\, Geng Jianyi\, Li Shan\, Liu Weijian\, Pu Jie\, Shen Fan\, Sun Xun\, Tang Maohong\, Xue Song and Zhang Enli. Using paper as the main medium\, t he artists represent a variety of styles\, from applying pastels and waterc olour to collages and installation. An educative talk will be organized in collaboration with a local recognized conservator on The Art of Paper Prese rvation on 27 June 2015\, 3 &ndash\; 5pm.

Though the paper is u ndoubtedly the most primitive and traditional medium for artistic creation\ , it has been gradually less regarded and used as a material by artists. Th is exhibition hopes to showcase the versatility of paper as a medium.

As one of the most influential and first few collage artists in China \, Xue Song uses not only printed images and texts but also soot and ashes to create his work. Each fragment expresses the complex aspects of the Chin ese history and culture. It was through a fire that burned down his studio in 1990 that led Xue Song to invent the new artistic technique and style. H is work ironically presents the fragility of paper and the powerful message it can deliver.

Paper\, is one of the Chinese notable inventio ns\, various traditional objects were made of it\, such as the lantern\, fa n and umbrella. In Pu Jie&rsquo\;s &ldquo\;A Pile of Good Luck&rdquo\; seri es\, he collected the remains of the firecrackers\, meticulously handpicked \, glued and shaped them. As firecrackers are often used on auspicious occa sions and it symbolises good blessings and prosperity. While Geng Jianyi&rs quo\;s &lsquo\;Scanning a Fissure&rsquo\;\, presents his close observation on the resemblance of a patient&rsquo\;s faint heartbeat and the fissures o f the concrete by scratching the pencil continuously onto the paper over th e gravel.

Since the late 1980s\, Shen Fan has adopted the stone rubbing method to create paper oil paintings. Shen Fan's work can be regard ed as incomplete and fragmented records of daily meditation: he repeats the same patterns and forms in order to remove individualism or eliminate any desire for self-expression\, aiming for the distillation of pure spirituali ty. In contrast\, Li Shan&rsquo\;s &ldquo\;Untitled&rdquo\; is based on his life experience\, his childhood memory and nostalgia\, presenting traditio nal North-eastern Chinese playing cards and rural agriculture life. It inve stigates cultural heritage with a contemporary composition.

Ther e are myriad possibilities paper can be used as a medium in creating art. T he carefully curated show is part of ShanghART&rsquo\;s dedicated effort to conserve\, research\, educate and widen awareness of contemporary art\, en courages and enriching aesthetic dialogues.

DTEND:20150719 DTSTAMP:20150603T085352 DTSTART:20150523 GEO:1.278398;103.804586 LOCATION:ShanghART Singapore\,9 Lock Road\, #02-22\, Gillman Barracks \nSin gapore\, 108937 SEQUENCE:0 SUMMARY:Paper \, Ding Yi\, Chen Xiaoyun\, Geng Jianyi\, Li Shan\, Liu Weiji an\, Pu Jie\, Shen Fan\, Sun Xun\, Tang Maohong\, Xue Song\, Zhang Enli UID:385628 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150718 DTSTAMP:20150603T085352 DTSTART:20150618 GEO:-22.9864472;-43.2249413 LOCATION:Portas Vilaseca Galeria\,Av. Ataulfo de Paiva\, 1079\, ss 109 \nRi o de Janeiro\, Rio de Janeiro 22440-034 SEQUENCE:0 SUMMARY:ASSIM: Enjoy the Silence\, Ramonn Vieitez UID:385625 END:VEVENT BEGIN:VEVENT DTEND:20150617T210000 DTSTAMP:20150603T085352 DTSTART:20150617T190000 GEO:-22.9864472;-43.2249413 LOCATION:Portas Vilaseca Galeria\,Av. Ataulfo de Paiva\, 1079\, ss 109 \nRi o de Janeiro\, Rio de Janeiro 22440-034 SEQUENCE:0 SUMMARY:ASSIM: Enjoy the Silence\, Ramonn Vieitez UID:385626 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Parisian Laundry invites you t o our annual summer group exhibition. Featuring works by gallery artists an d selected guests\, Summertime in Paris: Spectiveretro\, playfully suggests a convergence and muddling of the past\, present and future. The exhibition proposes a dynamic and exciting dialogue between artworks from d istinctive and developed practices. Please join Parisian Laundry in celebra ting the work of Dean Baldwin\, Paul Hardy\, Laurie Kang\, Karen Kraven\, R ick Leong\, Luc Paradis\, Matus Racek\, Celia Perrin Sidarous\, Justin Step hens and Janet Werner.

\n
\n

Parisi an Laundry est heureuse de vous inviter à\; son exposition de groupe estivale annuelle. Avec les &oelig\;uvres d&rsquo\;artistes de la galerie a insi que d&rsquo\;artistes invité\;s\, Summertime in Paris: Spect iveretro propose un amusant amalgame du passé\;\, du pré\; sent et du futur. Un dialogue aussi excitant que dynamique entre diff&eacut e\;rentes techniques artistiques vous y attend. Joignez-vous à\; Pari sian Laundry pour cé\;lé\;brer les &oelig\;uvres de Dean Baldwi n\, Paul Hardy\, Laurie Kang\, Karen Kraven\, Rick Leong\, Luc Paradis\, Ma tus Racek\, Celia Perrin Sidarous\, Justin Stephens et Janet Werner.

DTEND:20150704 DTSTAMP:20150603T085352 DTSTART:20150604 GEO:45.482877;-73.5843654 LOCATION:Parisian Laundry\,3550 St-Antoine Ouest \nMontréal\, QC H4C 1A9 SEQUENCE:0 SUMMARY:Summertime in Paris - Spectiveretro\, Dean Baldwin\, Paul Hardy\, L aurie Kang\, Karen Kraven\, Rick Leong\, Luc Paradis\, Matus Racek\, Celia Perrin Sidarous\, Justin Stephens\, Janet Werner UID:385623 END:VEVENT BEGIN:VEVENT DTEND:20150603T200000 DTSTAMP:20150603T085352 DTSTART:20150603T180000 GEO:45.482877;-73.5843654 LOCATION:Parisian Laundry\,3550 St-Antoine Ouest \nMontréal\, QC H4C 1A9 SEQUENCE:0 SUMMARY:Summertime in Paris - Spectiveretro\, Dean Baldwin\, Paul Hardy\, L aurie Kang\, Karen Kraven\, Rick Leong\, Luc Paradis\, Matus Racek\, Celia Perrin Sidarous\, Justin Stephens\, Janet Werner UID:385624 END:VEVENT BEGIN:VEVENT DESCRIPTION:

David LaChapelle\, the great A merican artist and photographer\, comes back\, after more than fifteen year \, at Palazzo delle Esposizioni with one of the most important and exhausti ve retrospective.

\n

There \;are ne arly \;100 works on view\, some presented for first time in a museum in cluding many large-scale works.

\n

Rome has been a milestone in the artistic life of David LaChapelle. In 2006\, d uring a journey in Italy\, the artist has the chance of a private visit of the Sistine Chapel\; his artistic sensibility is so unsettled by the beauty and power of Roman art that those elements give the ultimate drive to the necessity of a change of his artistic production.

\n

Until then LaChapelle prefers that his photos would be publis hed on fashion magazines and books\, without critical texts.

\n

The goal has never been to restrict to the mere pi cture\, but to reach the broader audience as possible &ndash\; this is the way to be a pop artist &ndash\; and lead the lecture of his work on emotion al shock level.

\n

LaChapelle pushed hi s aesthetics to the limit\, but in 2006 walked out on the scene.

\n

He turned away from worldliness in order to liv e in a wild island in the middle of the Pacific Ocean &ldquo\;I said what I wanted to say&rdquo\;.

\n

The exhibiti on is \;focused on the works realized by the artist starting from 2006\ , when he produces the monumental series titled &ldquo\;The Deluge&rdquo\;\ , which leads to a meaningful turning point in the artistic path of David L aChapelle.

\n

Through the realization o f &ldquo\;The Deluge&rdquo\;\, modeled after Michelangelo&rsquo\;s impressi ve fresco in the Sistine Chapel\, the artist returns to conceiving works wi th the unique purpose to exhibit in art galleries and in museums.

\n

A work that is not commissioned and destined t o the pages of a fashion magazine or an advertising campaign.

\n

After &ldquo\;The Deluge&rdquo\;\, the American ph otographer begins to produce artwork with new aesthetical and conceptual co ncerns.

\n

The most evident sign of the change is the vanishing of the human presence in the serial works: the liv ing models\, that in all the previous works (the only exception is &ldquo\; The Electric Chair&rdquo\;\, 2001\, personal interpretation of Andy Warhol& rsquo\;s famous artwork) have had a central part in the composition and in the message embodied by the image\, disappear. The &ldquo\;Car Crash&rdquo\ ;\, &ldquo\;Negative Currencies&rdquo\;\, &ldquo\;The Earth Laughs in Flowe rs&rdquo\;\, &ldquo\;Gas Stations&rdquo\;\, &ldquo\;Land Scapes&rdquo\;\, u p to the most recent &ldquo\;Aristocracy&rdquo\; series\, follow this new a esthetic choice: LaChapelle resoundingly deletes the flesh\, what was the p reviously identifiable element of his art.

\n

To allow the public to know the "origins" of LaChapelle work before &ldquo\;The Deluge&rdquo\;\, the exhibition also includes a selection of so me of the most renowned and loved photos that made him famous\, realized du ring the decade between 1995 and 2005. A body of work that will gather all the portraits of celebrities\, from music to fashion and movies\, scenes ba sed on religious themes with surrealistic touches\, references to masterpie ces of art history and cinema\, an artistic production defined by the chrom atic saturation and movement\, with which the American photographer reached his particular aesthetical style and influenced many artists of the follow ing generations.

\n

In the exhibition t here \;is also a projection space dedicated to the backstage videos\, w hich\, describing the composite process of photo sets construction\, clearl y reveal as that the artist&rsquo\;s role is extended also to direction and scenic design of his own photos.

\n

Dav id LaChapelle is today one of the most famous and appreciated photographer in the world. Born in Fairfield\, CT in 1963\, he embraced a post-pop style \, in some way surrealist\, which makes him unique in the world.

\n

His artworks are exhibited in the most importa nt public and private international collections and in many museums\, among those: Musé\;e D&rsquo\;Orsay\, Paris\; the Brooklyn Museum\, New Yo rk\; the Museum of Contemporary Art\, Taipei\; the Tel Aviv Museum of Art\, Tel Aviv\; Los Angeles County Museum of Art (LACMA)\, Los Angeles\; The Na tional Portrait Gallery\, London\; Fotografiska Museet\, Stockholm e The Na tional Portrait Gallery a Washington DC.

\n

David LaChapelle lives and works in Los Angeles and Hawaii.

\n
\n

Al Palazzo delle Esposizioni torna dopo oltre quindici anni il grande artista fotografo americano David LaChapelle con una delle più\; importanti e vaste retrospettive a lui dedicate. Sono infatti esposte circa 100 opere di cui alcune totalmente inedite\, al tre presentate per la prima volta in un museo e \; molte di grande form ato.

\n

 \;
Roma è\; stat a una città\; fondamentale nella carriera artistica di LaChapelle. Ne l 2006 infatti\, durante un soggiorno nella Capitale\, David LaChapelle ha occasione di visitare privatamente la Cappella Sistina\; la sua sensibilit& agrave\; artistica è\; scossa dalla bellezza e dalla potenza dell&rsq uo\;arte romana che danno il definitivo impulso alla necessità\; di i mprimere una svolta alla sua produzione. Fino ad allora LaChapelle ha prefe rito che le sue foto viaggiassero sulle pagine di riviste di moda e di cata loghi senza testi.

\n

L&rsquo\;obiettivo non è\; mai stato fermarsi alla mera illustrazione\, ma raggiungere un pubblico quanto più\; vasto possibile &ndash\; è\; questo il suo modo di essere un artista pop &ndash\; e portare la lettura dell&rsquo \;opera sul piano dello shock emotivo.

\n

 \;
LaChapelle ha spinto la sua estetica fino al limite\, ma nel 2006 se n&rsquo\;è\; andato di scena. Ha voltato le spalle alla mond anità\; per ritirarsi a vivere in un&rsquo\;isola selvaggia\, nel mez zo del Pacifico: &ldquo\;Avevo detto quello che volevo dire&rdquo\;.

\n< p style="text-align: justify\;"> \;
La mostra è\; concentrat a perciò\; sui lavori realizzati dall&rsquo\;artista a partire dal 20 06\, anno di produzione della monumentale serie intitolata &ldquo\;The Delu ge&rdquo\;\, che segna un punto di svolta profonda nel lavoro di David LaCh apelle. Con la realizzazione di &ldquo\;The Deluge&rdquo\;\, ispirato al gr ande affresco michelangiolesco della Cappella Sistina\, LaChapelle torna a concepire un lavoro con l&rsquo\;unico scopo di esporlo in una galleria d&r squo\;arte o in un museo\, opere non commissionate e non destinate alle pag ine di una rivista di moda o a una campagna pubblicitaria.

\n

 \;
Dopo The Deluge\, la produzione del foto grafo americano si volge verso altre direzioni estetiche e concettuali. Il segnale più\; evidente del cambiamento è\; la scomparsa dai lav ori seriali della presenza umana: i modelli viventi che in tutti i lavori p recedenti (unica eccezione è\; The Electric Chair del 2001\, personal e interpretazione del celebre lavoro di Andy Warhol) hanno avuto una parte centrale nella composizione del set e nel messaggio incarnato dall&rsquo\;i mmagine\, spariscono. Le serie Car Crash\, Negative Currencies \, Hearth Laughs in Flowers\, Gas Stations\, Lan d Scape\, fino alla più\; recente Aristocracy\,seguono questa nuova scelta formale: LaChapelle cancella clamorosamente la carne\, elemento caratterizzante della sua arte.

\n

 \;
Per permettere al pubblico di conoscere le &ldquo\;origini &rdquo\; del lavoro di LaChapelle degli anni precedenti a The Deluge\,  \;è\; esposta anche una selezione di opere che comprende ritratti di celebrità\; del mondo della musica\, della moda e del cinema\, scene con tocchi surrealisti basati su temi religiosi\, citazioni di grandi opere della storia dell'arte e del cinema\; una produzione segnata dalla saturaz ione cromatica e dal movimento\, con cui il fotografo americano ha raggiunt o la propria riconoscibile cifra estetica e ha influenzato molti artisti de lle generazioni successive.

\n

 \;Le opere di David LaChapelle sono presenti in numerose importanti colle zioni pubbliche e private internazionali\, e esposte in vari musei\, tra i quali il Musé\;e D&rsquo\;Orsay\, Paris\; the Brooklyn Museum\, New Y ork\; the Museum of Contemporary Art\, Taipei\; the Tel Aviv Museum of Art\ ; the Los Angeles County Museum of Art (LACMA)\; The National Portrait Gall ery\, London\; and the Fotographfiska Museet\, Stockholm\, Sweden. The Nati onal Portrait Gallery in Washington\, DC.

\n

 \;
L&rsquo\;esposizione ospita anche una rassegna di filmati che attraverso i back stage dei suoi set fotografici\, ci illustrano il co mplesso processo di realizzazione e produzione dei suoi lavori.

DTEND:20150913 DTSTAMP:20150603T085352 DTSTART:20150430 GEO:41.8996582;12.491572 LOCATION:Palazzo delle Esposizioni\,Via Nazionale\, 194 \nRoma\, 00184 SEQUENCE:0 SUMMARY: Dopo il Diluvio\, David LaChapelle UID:385622 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On view in A. Charlotte Mann a nd Joshua Mann Pailet Gallery\, this exhibition presents a selection of wor ks from the permanent collection by Brassaï\;\, Jaroslav Rossler\, Flor ence Henri\, Clarence John Laughlin\, and others that investigate\, play wi th\, and exploit reflections and mirror images in modern photography.

\n

The use of mirrors and reflections prolife rated in modern photography between the world wars. This was a time of exte nsive philosophical self-reflection spurred by the growing interest in the field of psychology with Sigmund Freud and Carl Jung\, and modern societies &rsquo\; struggle to remodel themselves after the ravages of World War I. G lobal anxiety\, coupled with the desire to look inward\, could have provoke d artists&rsquo\; obsession with the mirror.

\n

This practice was geographically and philosophically widespread. Th e depiction of reflections was seen throughout Europe\, particularly in Fra nce\, Germany\, and Czechoslovakia\, and in the United States. Artists from disparate backgrounds and ideologies adopted and adapted the technique to suit their goals\, further revealing the depth of an underlying identity cr isis.

\n

While some artists manipulated the photographic process using collage and montage\, others represented in this show used the camera as a means of realistic documentation\, optical i llusion\, or a combination of the two. The use of the mirrored surface is i n keeping with Lá\;szló\; Moholy-Nagy&rsquo\;s &ldquo\;New Visi on&rdquo\; aesthetic\, which argued for the production of a photographic im age\, rather than a reproduction. The camera was seen as an extension of th e artist&rsquo\;s eye\, but one that went beyond the human eye&rsquo\;s cap ability\, able to capture limitless depths on a single plane.

\n

The photographic process and resulting photographs act as mirrors\, capturing a specific scene and reflecting it back to the viewer. Including reflective surfaces within photographs created a world en abyme\, a world that refers to itself within itself. Several artists took the opportunity to include reflections of themselves\, and occasionally the ir cameras\, further implicating their process. These works became examinat ions of the artist and his or her place in society\, whether serious and fo rmal like Florence Henri&rsquo\;s Selbsportrait (1928) or lighthea rted and experimental like Jaroslav Rossler&rsquo\;s Self-Portrait\, Pa ris (1931).

DTEND:20150809 DTSTAMP:20150603T085352 DTSTART:20150401 GEO:29.986293;-90.093148 LOCATION:New Orleans Museum of Art\,1 Collins Diboll Circle City Park\nNew Orleans\, LA 70124 SEQUENCE:0 SUMMARY:Self/Reflection\, Brassaï\, Jaroslav Rossler\, Florence Henri\, Cla rence John Laughlin UID:385621 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An unnamed man stands in front of the aquarium at the Jardin des Plantes in Paris. He goes there regularly and often spends the entire morning with his face pressed against the glass of the water tank. In November 1902\, R ainer Maria Rilke had visited the same botanical garden\, and he later reco rded in a well-known poem his impression of a panther in a cage\, for whom there seemed to be &ldquo\;a thousand bars / and back behind those thousand bars no world.&rdquo\; But the protagonist of our story is not so interest ed in felids\, or any other mammals for that matter. The creatures that cap ture his attention are some little amphibians that seem absolutely indiffer ent to their imprisonment inside the aquarium. They are axolotls\, a specie s of salamanders that spend their lives in a larval stage\, as if they were patiently waiting for a metamorphosis that is not meant to happen.

He is fascinated by their qu ietness and the inexpressive look in their pink Aztec faces. A deadpan expr ession that nonetheless feels oddly familiar to him. Perhaps it&rsquo\;s ju st the indigenous phonetics of their name &mdash\;ax-ol-oh-tl&mdash\;\, so difficult to pronounce for Europeans\, which reminds him of the continent w here he was born. But these creatures seem to look back at him from an unfa thomable depth. And somehow he knows that they know. Until one day he notic es with horror that for quite a while\, a few minutes\, maybe a few hours\, he has been staring at his own face pressed against the glass of the water tank. He is now an axolotl. And no understanding seems possible with the e xpressionless man that looks at him through the glass. His thinking has bec ome a thinking inside the aquarium. Now he is certain that the other axolot ls also know. They must think as well\, however quietly. Amphibian thinking is no longer alien to him. Perhaps he is just projecting human intelligenc e onto his peers? But now that he inhabits another body\, is he still a man ? And the familiar face staring at him from the other side\, what does he a ctually know? Can those enormous non-amphibian eyes even recognise his pers onhood from outside of the aquarium?

The exhibition AXOLOTLISM takes as its point of departure a n enigmatic story by Julio Cortá\;zar\, &ldquo\;Axolotl&rdquo\; (1956 )\, in which the Argentinean writer short-circuited the distance between ob server and observee. In this fiction\, Cortá\;zar invited the reader to think beyond a static dichotomy of subject and object. It might well be possible to approach this type of fiction as a methodology. A strategy towa rds perspectivism that opens up space for a radical questioning of what con stitutes us as persons and subjects of rights. Inspired by Cortá\;zar &rsquo\;s amphibious writing\, this exhibition seeks a line of escape from humanism and its exclusions\, through the work of artists whose practice ex plores various forms of radical otherness\, nonhuman agency and nonverbal t hought\, while guided by a materialist sensibility and solicitude for the n onhuman world.

Becomi ng amphibian is not a change of substance\; it is an exercise of political imagination. An exercise involving the embodiment of an otherness that is m ultiple and variable\, which creates a situation in which no one viewpoint can lay claim to a monopoly of truth. In the eyes of the axolotl\, the noti on of human nature becomes blurred and civilisation is but a water tank. AX OLOTLISM doesn't have a language of its own\; it always speaks idioms inven ted elsewhere. AXOLOTLISM is not another form of anthropological pluralism\ , but an ontological one. AXOLOTLISM does not seek an absolute understandin g of the worlds of others\; it multiplies our universe through theirs.

AXOLOTLISM is just a fict ion\, but it has its own history. That of those who are not yet human\, and those who are not entirely human\, but also those who are not just human a ny longer. This is a history of becomings. A history that is set in motion every time that somebody\, somewhere\, loses their face to become woman\, b ecome child\, become animal\, become pack\, become indigenous\, become mad\ , become amphibian\, become minor\, become collective\, become imperceptibl e\, become blurred&hellip\; Histories of axolotlism are all made of impossi ble crossovers and intersections. They are histories of exodus and transmut ation\, dissolution and passage\, flows of desire and lines of escape that go beyond the individual and stand against any fixed and stable identity. < /span>

This exhibition is the result of the fourth edition of the NoguerasBlanchard Curatorial Open Call .

On the opening date \, a new performance work by Oreet Ashery will take place in the gallery fr om 12 to 3pm. Ashery&rsquo\;s new performance\, Có\;mo matar a un cer do (How to Kill a Pig)\, involves the participation of Alex de la Croix\, J uliá\;n Cruz\, Nina Paszkowski\, and Ana Sá\;ez.

\n

Art ists:

Oreet Ashery (b. 1966 Jerusalem\, IL) is an artist based in London. Ashery&rsquo\ ;s work confronts social and gender constructions through an interdisciplin ary practice spanning live art\, sculpture\, video\, and photography. In he r earlier work\, Ashery has embodied a variety of male characters of her ow n creation\, subverting gender relationships while exploring issues of powe r\, agency and cultural identity. Her work has been presented at Tate Moder n\, London\; Overgaden\, Copenhagen\; Secession\, Vienna\; Museu do Chiado\ , Lisbon\; Le Transpalette\, Bourges\; ICA\, London\; HKW Haus der Kulturen der Welt\, Berlin\; Brooklyn Museum\, New York\; and Kunstlerhaus Bethanie n\, Berlin. In 2012\, Ashery participated in the 7th Liverpool Biennial.

Jacopo Miliani (b. 1979 Florence\, IT) is an artist based in Milan. His work takes the form of cho reographic installations and performances that reflect on the conditions of spectatorship and explore the dynamic relationships between language\, rep resentation and the body\, often bringing influences from the history of fa shion\, cinema and dance. Recent exhibitions and performances include Fonda zione Giuliani\, Rome\; Galeria Vermelho\, Sã\;o Paulo\; CAC Grenoble \; ICA Studio\, London\; Kunsthalle Lissabon\, Lisbon\; MACRO\, Rome\; Deut sche Bank Kunst Halle\, Berlin\; MARCO\, Vigo\; David Roberts Art Foundatio n\, London\; Velan Centre for Contemporary Art\, Turin\; and MADRE\, Naples .

Daniel Steegmann Ma ngrané\; (b. 1977 Barcelona\, ES) is an artist based in Rio de Janeir o. Influenced by Amerindian cosmology and radical anthropology\, Steegmann& rsquo\;s interdisciplinary practice oscillates between subtle\, poetic and raw experimentations that question the relationship between language and th e non-human world\, while inviting the viewer to think beyond the nature-cu lture divide. His work has been presented at Fondazione Giuliani\, Rome\; C RAC Alsace\, Altkirch\; Extra City\, Antwerp\; Akademie der Kunste\, Berlin \; CA2M\, Madrid\; Museu de Arte Moderna\, Sã\;o Paulo. He has partic ipated in the New Museum Triennial (2015)\; the 9th Mercosul Biennial (2013 )\; and the 30th Bienal de Sã\;o Paulo (2012).

Zin Taylor (b. 1978 Calgary\, CA) is an art ist based in Brussels. Storytelling and narration are essential to his prac tice\, which encompasses elements of sculpture and performance along with d rawing\, writing\, and moving image. Taylor&rsquo\;s works often take the a ppearance of ambiguous linguistic propositions that interrogate the very st ructure and syntax of visual language. Recent exhibitions include Portikus\ , Frankfurt\; FRAC Ile-de-France\; Le Plateau\, Paris\; Museum of Contempor ary Art\, Chicago\; Kunsthalle Wien\, Vienna\; Kunsthal Charlottenborg\, Co penhagen\; The Artist&rsquo\;s Institute\, New York\; MuHKA\, Antwerp\; KIO SK\, Ghent\; Witte de With\, Rotterdam\; Bard College\, New York\; and The Power Plant\, Toronto.


Wu Tsang (b. 1982 Massachusetts\, US) is an artist\, performer\, and film maker based in Los Angeles. His work focuses on narratives that construct i dentity in relation to others. Tsang is interested in the socio-political d imensions of communities and is inspired by his involvement with queer\, tr ans\, and immigrant communities in Los Angeles. His work has been presented at the ICA\, London\; Migros Museum\, Zurich\; Tate Modern\, London\; the Stedelijk Museum\, Amsterdam\; MoMA\, New York\; and MOCA\, Los Angeles. In 2012\, Tsang took part in the Whitney Biennial\, the New Museum Triennial\ , the Gwangju Biennial\, and the Liverpool Biennial.

Curator:

Sabel Gavaldon (b. 1985 Barcelona) is an independent cu rator and researcher based in London. In 2012\, he graduated from the Curat ing Contemporary Art programme at the Royal College of Art. Recent projects include the group exhibitions &lsquo\;M/Other Tongue&rsquo\; at Tenderpixe l\, London (2015)\; &lsquo\;Contratiempos&rsquo\; at CaixaForum\, Barcelona \; &lsquo\;Llocs comuns&rsquo\; at Can Felipa\, Barcelona (both 2014)\; and &lsquo\;A Museum of Gesture&rsquo\; at La Capella\, Barcelona (2013). &lsq uo\;A Museum of Gesture&rsquo\; is an ongoing exhibition and research proje ct exploring the potential of gesture\, body movement and style as forms of semiotic resistance adopted by subordinate groups and political minorities . This project has been presented in the form of talks and workshops at Cit tadellarte&ndash\;Fondazione Pistoletto\, Biella (2015)\; Lugar a Dudas\, C ali\, Colombia\; and Chisenhale Gallery\, London (both 2014). Other recent talks include &lsquo\;On the Relative Size of Things in the Universe&rsquo\ ; at the Camden Arts Centre\, London\; and the Architectural Association\, London (both 2015). In 2014\, Gavaldon was resident curator of the artist-r un-space Lugar a Dudas\, in Cali\, Colombia\, with the financial support of the Triangle Network.

With thanks to the galleries Clifton Bevenevento (New York)\, Esther Schi pper (Berlin)\, Frutta (Rome)\, Supportico Lopez (Berlin)\, and Waterside C ontemporary (London). We are also grateful to Dimitri Jeurissen\, Lilou Vid al\, and the Instituto Italiano de Cultura de Madrid for their support.

\n
\n

\n

\n

Un hombre an&oacut e\;nimo se inclina frente al acuario del Jardin des Plantes en Parí\; s. Visita este lugar casi a diario y con frecuencia se pasa la mañ\;a na entera con la cara pegada al cristal. En noviembre de 1902\, Rainer Mari a Rilke estuvo en el mismo jardí\;n botá\;nico y má\;s ta rde habrí\;a de plasmar en un conocido poema su impresió\;n de una pantera encerrada en una jaula\, para la que parecí\;a haber &ldq uo\;mil barrotes / y tras los mil barrotes ningú\;n mundo&rdquo\;. Pe ro al protagonista de nuestro relato apenas le interesan los felinos ni el resto de mamí\;feros. Las criaturas que captan su atenció\;n so n unos pequeñ\;os anfibios que parecen completamente indiferentes a s u encierro dentro del acuario. Se trata de axolotls\, una especie de salama ndra cuya vida transcurre en estado larvario\, esperando pacientemente una metamorfosis que no ha de llegar.

Le fascina su quietud y la falta de expresió\;n en sus p equeñ\;os rostros aztecas. Una mirada de esfinge que sin embargo le r esulta extrañ\;amente familiar. Puede que solamente se trate de la fo né\;tica indí\;gena de su nombre &mdash\;ax-ol-oh-tl&mdash\;\, cuya difí\;cil pronunciació\;n para los europeos le trae recuer dos del continente en el que nació\;. Pero estas criaturas parecen de volverle la mirada desde una profundidad insondable. Y de algú\;n mod o sabe que ellos tambié\;n saben. Hasta que un dí\;a se da cuen ta horrorizado de que lleva un buen rato\, unos minutos\, o tal vez unas ho ras\, observando su propio rostro pegado al cristal del acuario. Ahora es u n axolotl. Y parece imposible que pudiera entenderse con el hombre inexpres ivo que lo mira a travé\;s del cristal. Su pensamiento es ahora un pe nsamiento dentro del acuario. De repente está\; seguro de que los otr os axolotls saben. Ellos tambié\;n deben de pensar\, si bien lo hacen en silencio. Este pensamiento anfibio no le resulta del todo ajeno. &iques t\;Quizá\; esté\; simplemente proyectando una inteligencia huma na a sus semejantes? Pero ahora que habita otro cuerpo\, ¿\;aú\ ;n puede decir que es un hombre? Y el rostro familiar que lo observa desde el otro lado\, ¿\;qué\; sabe en realidad? ¿\;Pueden siqui era esos enormes ojos no-anfibios reconocer su persona desde fuera del acua rio?

La exposici&oacu te\;n AXOLOTLISMO retoma un relato de Julio Cortá\;zar &mdash\;&ldquo \;Axolotl&rdquo\;\, 1956&mdash\; que cortocircuitó\; la distancia ent re observador y observado. En aquel relato enigmá\;tico\, el escritor argentino invitaba al lector a pensar má\;s allá\; de la dicot omí\;a entre sujeto y objeto. Se podrí\;a abordar este tipo de ficció\;n como una metodologí\;a. Una estrategia de corte persp ectivista que abre la posibilidad de un cuestionamiento radical de aquellas nociones que nos constituyen como personas y sujetos de derecho. Inspir&aa cute\;ndose en la escritura anfibia de Cortá\;zar\, esta exposici&oac ute\;n busca una lí\;nea de escape al humanismo y sus exclusiones\, a travé\;s del trabajo de artistas cuya obra parte de una sensibilidad materialista y cuya prá\;ctica explora distintas formas de alteridad radical donde lo humano se desdibuja.

Devenir anfibio no es un cambio de substancia\, sino un e jercicio de imaginació\;n polí\;tica. Un ejercicio para el que hay que ponerse en el lugar de una alteridad que es siempre mú\;ltipl e y variable\, dibujando un escenario en el que ningú\;n punto de vis ta está\; en posició\;n de reclamar un monopolio sobre la verda d. A ojos del axolotl\, la idea de naturaleza humana se desdibuja y la civi lizació\;n no es otra cosa que un acuario. El AXOLOTLISMO no tiene un lenguaje propio\; habla en idiomas inventados en otros lugares. El AXOLOTL ISMO no es otra forma de pluralismo antropoló\;gico\, sino ontol&oacu te\;gico. El AXOLOTLISMO no busca una comprensió\;n absoluta del mund o de los otros\, sino multiplicar nuestro universo a travé\;s del suy o.

El AXOLOTLISMO no es má\;s que una ficció\;n\, si bien tiene su propia historia. La de aquellos que no son humanos aú\;n y la de aquellos que no lo so n del todo\, pero tambié\;n la de aquellos que no son ya humanos sola mente. Es por tanto una historia de devenires. Una historia que se pone en marcha cada vez que alguien\, en algú\;n lugar\, pierde su forma para devenir mujer\, devenir niñ\;o\, devenir animal\, devenir manada\, d evenir indí\;gena\, devenir loco\, devenir anfibio\, devenir menor\, devenir colectivo\, devenir imperceptible\, devenir impreciso... Las histor ias del axolotlismo se concretan en encuentros monstruosos e intersecciones imposibles. Historias de é\;xodo y transmutació\;n\, disoluci& oacute\;n y pasaje\, flujos de deseo y lí\;neas de fuga que desbordan lo individual y se resisten a tomar una identidad estable.
< br /> Esta exposició\;n es el result ado de la cuarta edició\;n del Open Call que organiza NoguerasBlancha rd.

\n

Artistas:

Oreet Ashery (1966 J erusalé\;n\, IL) es una artista afincada en Londres. El trabajo de As hery aborda construcciones sociales y de gé\;nero mediante una pr&aac ute\;ctica interdisciplinar en la que se combinan performance\, escultura\, video y fotografí\;a. En el pasado\, Ashery ha encarnado a mú\ ;ltiples personajes masculinos de su propia invenció\;n para subverti r las relaciones de gé\;nero y explorar cuestiones de poder\, agencia e identidad cultural. Su trabajo ha sido expuesto en Tate Modern\, Londres \; Overgaden\, Copenhague\; Secession\, Viena\; Museu do Chiado\, Lisboa\; Le Transpalette\, Bourges\; ICA\, Londres\; HKW Haus der Kulturen der Welt\ , Berlí\;n\; Brooklyn Museum\, Nueva York\; Kunstlerhaus Bethanien\, Berlí\;n. En 2012\, Ashery formó\; parte de la sé\;ptima edició\;n de la Bienal de Liverpool.

Jacopo Miliani (19 79 Florencia\, IT) es un artista afincado en Milá\;n. Su prá\;c tica se concreta en instalaciones coreográ\;ficas y performances que reflexionan sobre las condiciones del espectador y exploran las relaciones diná\;micas entre el lenguaje\, el cuerpo y su representació\;n \, apropiá\;ndose de referencias procedentes de la historia de la mod a\, el cine o la danza. Entre sus exposiciones y performances recientes se cuentan la Fondazione Giuliani\, Roma\; Galeria Vermelho\, Sao Paulo\; CAC Grenoble\; ICA Studio\, Londres\; Kunsthalle Lissabon\, Lisboa\; MACRO\, Ro ma\; Deutsche Bank Kunst Halle\, Berlí\;n\; MARCO\, Vigo\; David Robe rts Art Foundation\, Londres\; Velan Centre for Contemporary Art\, Tur&iacu te\;n\; MADRE\, Ná\;poles.

Daniel Steegmann Mangran&eac ute\; (1977 Barcelona\, ES) es un artista afincado en Rio de Janeiro. Influ ido por las cosmologí\;as amerindias y la antropologí\;a radica l\, el trabajo de Steegmann oscila entre experimentaciones sutiles\, po&eac ute\;ticas y crudas que cuestionan la relació\;n del lenguaje con el mundo no-humano\, desafiando cualquier distinció\;n entre naturaleza y cultura. Su trabajo se ha expuesto en Fondazione Giuliani\, Roma\; CRAC A lsace\, Altkirch\; Extra City\, Amberes\; Akademie der Kunste\, Berlí \;n\; CA2M\, Madrid\; Museu de Arte Moderna\, Sao Paulo. Steegmann ha parti cipado en la Trienal del New Museum (2015)\; la 9ª\; Bienal de Mercosul (2013)\; y la 30ª\; Bienal de Sã\;o Paulo (2012).

Zin Taylor (1978 Calgary\, CA) es un artista afincado en Bruselas. Las t&ea cute\;cnicas narrativas\, dialó\;gicas y discursivas juegan un papel crucial en el trabajo de Taylor\, cuya prá\;ctica combina escultura y performance junto con el dibujo\, la escritura y la imagen en movimiento. Sus trabajos a menudo toman la forma de proposiciones ambiguas que parecen interrogarse sobre la propia estructura y la sintaxis del lenguaje visual. Entre sus exposiciones recientes se cuentan Portikus\, Frá\;ncfort\; FRAC Ile-de-France\; Le Plateau\, Parí\;s\; Museum of Contemporary Ar t\, Chicago\; Kunsthalle Wien\, Viena\; Kunsthal Charlottenborg\, Copenhagu e\; The Artist&rsquo\;s Institute\, Nueva York\; MuHKA\, Amberes\; KIOSK\, Gante\; Witte de With\, Rotterdam\; Bard College\, Nueva York\; The Power P lant\, Toronto.

Wu Tsang (1982 Massachusetts\, US) es un arti sta\, performer y cineasta afincado en Los Angeles. Su trabajo examina aque llas narrativas que configuran nuestra identidad en relació\;n a los otros. Interesado en la dimensió\;n polí\;tica de distintas com unidades en los má\;rgenes\, el trabajo de Tsang está\; directa mente inspirado por su implicació\;n en colectivos trans\, queer y mi grantes de Los Angeles. Su trabajo ha sido expuesto en ICA\, Londres\; Migr os Museum\, Zú\;rich\; Tate Modern\, Londres\; Stedelijk Museum\, &Aa cute\;msterdam\; MoMA\, Nueva York\; MOCA\, Los Angeles. En 2012\, Tsang pa rticipó\; en la Whitney Biennial\, la Trienal del New Museum\, la Bie nal de Gwangju y la Bienal de Liverpool.

Comisario:
Sabel Gavaldon (1985 Barcelona) es un curador e investigador independi ente afincado en Londres. En 2012 se graduó\; del programa Curating C ontemporary Art del Royal College of Art. Entre sus proyectos recientes se cuentan las exposiciones &lsquo\;M/Other Tongue&rsquo\; en Tenderpixel\, Lo ndres (2015)\; &lsquo\;Contratiempos&rsquo\; en CaixaForum\, Barcelona\; &l squo\;Llocs comuns&rsquo\; en Can Felipa\, Barcelona (ambas 2014)\; y &lsqu o\;Un museo del gesto&rsquo\; en La Capella\, Barcelona (2013). &lsquo\;Un museo del gesto&rsquo\; es un proyecto de investigació\;n en curso qu e investiga el potencial del gesto y el estilo como formas de resistencia s emió\;ticas adoptadas por las minorí\;as polí\;ticas y gr upos subalternos. Este proyecto se ha presentado en forma de charlas y tall eres en Cittadellarte&ndash\;Fondazione Pistoletto\, Biella (2015)\; Lugar a Dudas\, Cali\, Colombia\; y Chisenhale Gallery\, Londres (ambas 2014). Ot ras charlas recientes incluyen &lsquo\;On the Relative Size of Things in th e Universe&rsquo\; en Camden Arts Centre\, Londres\; y la Architectural Ass ociation\, Londres (2015). En 2014\, Gavaldon fue curador residente del esp acio Lugar a Dudas\, en Cali\, Colombia\, con el apoyo de Gasworks y Triang le Network.

Nuestros agradecimientos a las galerí\;as C lifton Bevenevento (Nueva York)\, Esther Schipper (Berlí\;n)\, Frutta (Roma)\, Supportico Lopez (Berlí\;n) y Waterside Contemporary (Londr es). Tambié\;n le estamos agradecidos a Dimitri Jeurissen\, Lilou Vid al y al Instituto Italiano de Cultura de Madrid por su apoyo.

\ n

 \;

\n\n

Un hombre anó\;nimo se inclina frente al acuario del J ardin des Plantes en Parí\;s. Visita este lugar casi a diario y con f recuencia se pasa la mañ\;ana entera con la cara pegada al cristal. E n noviembre de 1902\, Rainer Maria Rilke estuvo en el mismo jardí\;n botá\;nico y má\;s tarde habrí\;a de plasmar en un conoci do poema su impresió\;n de una pantera encerrada en una jaula\, para la que parecí\;a haber &ldquo\;mil barrotes / y tras los mil barrotes ningú\;n mundo&rdquo\;. Pero al protagonista de nuestro relato apena s le interesan los felinos ni el resto de mamí\;feros. Las criaturas que captan su atenció\;n son unos pequeñ\;os anfibios que parec en completamente indiferentes a su encierro dentro del acuario. Se trata de axolotls\, una especie de salamandra cuya vida transcurre en estado larvar io\, esperando pacientemente una metamorfosis que no ha de llegar.
< br /> Le fascina su quietud y la falta de expresió\;n en sus peque&nt ilde\;os rostros aztecas. Una mirada de esfinge que sin embargo le resulta extrañ\;amente familiar. Puede que solamente se trate de la fon&eacut e\;tica indí\;gena de su nombre &mdash\;ax-ol-oh-tl&mdash\;\, cuya di fí\;cil pronunciació\;n para los europeos le trae recuerdos del continente en el que nació\;. Pero estas criaturas parecen devolverl e la mirada desde una profundidad insondable. Y de algú\;n modo sabe que ellos tambié\;n saben. Hasta que un dí\;a se da cuenta horr orizado de que lleva un buen rato\, unos minutos\, o tal vez unas horas\, o bservando su propio rostro pegado al cristal del acuario. Ahora es un axolo tl. Y parece imposible que pudiera entenderse con el hombre inexpresivo que lo mira a travé\;s del cristal. Su pensamiento es ahora un pensamien to dentro del acuario. De repente está\; seguro de que los otros axol otls saben. Ellos tambié\;n deben de pensar\, si bien lo hacen en sil encio. Este pensamiento anfibio no le resulta del todo ajeno. ¿\;Quiz á\; esté\; simplemente proyectando una inteligencia humana a su s semejantes? Pero ahora que habita otro cuerpo\, ¿\;aú\;n pued e decir que es un hombre? Y el rostro familiar que lo observa desde el otro lado\, ¿\;qué\; sabe en realidad? ¿\;Pueden siquiera eso s enormes ojos no-anfibios reconocer su persona desde fuera del acuario?
La exposició\;n AXOLOTLISMO retoma un relato de Julio Cor tá\;zar &mdash\;&ldquo\;Axolotl&rdquo\;\, 1956&mdash\; que cortocircu itó\; la distancia entre observador y observado. En aquel relato enig má\;tico\, el escritor argentino invitaba al lector a pensar má \;s allá\; de la dicotomí\;a entre sujeto y objeto. Se podr&iac ute\;a abordar este tipo de ficció\;n como una metodologí\;a. U na estrategia de corte perspectivista que abre la posibilidad de un cuestio namiento radical de aquellas nociones que nos constituyen como personas y s ujetos de derecho. Inspirá\;ndose en la escritura anfibia de Cort&aac ute\;zar\, esta exposició\;n busca una lí\;nea de escape al hum anismo y sus exclusiones\, a travé\;s del trabajo de artistas cuya ob ra parte de una sensibilidad materialista y cuya prá\;ctica explora d istintas formas de alteridad radical donde lo humano se desdibuja.
< br /> Devenir anfibio no es un cambio de substancia\, sino un ejercicio de imaginació\;n polí\;tica. Un ejercicio para el que hay que pone rse en el lugar de una alteridad que es siempre mú\;ltiple y variable \, dibujando un escenario en el que ningú\;n punto de vista est&aacut e\; en posició\;n de reclamar un monopolio sobre la verdad. A ojos de l axolotl\, la idea de naturaleza humana se desdibuja y la civilizaci&oacut e\;n no es otra cosa que un acuario. El AXOLOTLISMO no tiene un lenguaje pr opio\; habla en idiomas inventados en otros lugares. El AXOLOTLISMO no es o tra forma de pluralismo antropoló\;gico\, sino ontoló\;gico. El AXOLOTLISMO no busca una comprensió\;n absoluta del mundo de los otr os\, sino multiplicar nuestro universo a travé\;s del suyo.
El AXOLOTLISMO no es má\;s que una ficció\;n\, si bien tie ne su propia historia. La de aquellos que no son humanos aú\;n y la d e aquellos que no lo son del todo\, pero tambié\;n la de aquellos que no son ya humanos solamente. Es por tanto una historia de devenires. Una h istoria que se pone en marcha cada vez que alguien\, en algú\;n lugar \, pierde su forma para devenir mujer\, devenir niñ\;o\, devenir anim al\, devenir manada\, devenir indí\;gena\, devenir loco\, devenir anf ibio\, devenir menor\, devenir colectivo\, devenir imperceptible\, devenir impreciso... Las historias del axolotlismo se concretan en encuentros monst ruosos e intersecciones imposibles. Historias de é\;xodo y transmutac ió\;n\, disolució\;n y pasaje\, flujos de deseo y lí\;nea s de fuga que desbordan lo individual y se resisten a tomar una identidad e stable.

Esta exposició\;n es el resultado de la cuarta edició\;n del Open Call que organiza NoguerasBlanchard.

\n

Artistas:

Oreet Ashery (1966 Jerusalé\;n\, IL) es una artista afincad a en Londres. El trabajo de Ashery aborda construcciones sociales y de g&ea cute\;nero mediante una prá\;ctica interdisciplinar en la que se comb inan performance\, escultura\, video y fotografí\;a. En el pasado\, A shery ha encarnado a mú\;ltiples personajes masculinos de su propia i nvenció\;n para subvertir las relaciones de gé\;nero y explorar cuestiones de poder\, agencia e identidad cultural. Su trabajo ha sido exp uesto en Tate Modern\, Londres\; Overgaden\, Copenhague\; Secession\, Viena \; Museu do Chiado\, Lisboa\; Le Transpalette\, Bourges\; ICA\, Londres\; H KW Haus der Kulturen der Welt\, Berlí\;n\; Brooklyn Museum\, Nueva Yo rk\; Kunstlerhaus Bethanien\, Berlí\;n. En 2012\, Ashery formó\ ; parte de la sé\;ptima edició\;n de la Bienal de Liverpool.
Jacopo Miliani (1979 Florencia\, IT) es un artista afincado en Milá\;n. Su prá\;ctica se concreta en instalaciones coreogr&aac ute\;ficas y performances que reflexionan sobre las condiciones del especta dor y exploran las relaciones diná\;micas entre el lenguaje\, el cuer po y su representació\;n\, apropiá\;ndose de referencias proced entes de la historia de la moda\, el cine o la danza. Entre sus exposicione s y performances recientes se cuentan la Fondazione Giuliani\, Roma\; Galer ia Vermelho\, Sao Paulo\; CAC Grenoble\; ICA Studio\, Londres\; Kunsthalle Lissabon\, Lisboa\; MACRO\, Roma\; Deutsche Bank Kunst Halle\, Berlí\ ;n\; MARCO\, Vigo\; David Roberts Art Foundation\, Londres\; Velan Centre f or Contemporary Art\, Turí\;n\; MADRE\, Ná\;poles.

Daniel Steegmann Mangrané\; (1977 Barcelona\, ES) es un artista afi ncado en Rio de Janeiro. Influido por las cosmologí\;as amerindias y la antropologí\;a radical\, el trabajo de Steegmann oscila entre expe rimentaciones sutiles\, poé\;ticas y crudas que cuestionan la relaci& oacute\;n del lenguaje con el mundo no-humano\, desafiando cualquier distin ció\;n entre naturaleza y cultura. Su trabajo se ha expuesto en Fonda zione Giuliani\, Roma\; CRAC Alsace\, Altkirch\; Extra City\, Amberes\; Aka demie der Kunste\, Berlí\;n\; CA2M\, Madrid\; Museu de Arte Moderna\, Sao Paulo. Steegmann ha participado en la Trienal del New Museum (2015)\; la 9ª\; Bienal de Mercosul (2013)\; y la 30ª\; Bienal de Sã\; o Paulo (2012).

Zin Taylor (1978 Calgary\, CA) es un artista afincado en Bruselas. Las té\;cnicas narrativas\, dialó\;gicas y discursivas juegan un papel crucial en el trabajo de Taylor\, cuya pr&aac ute\;ctica combina escultura y performance junto con el dibujo\, la escritu ra y la imagen en movimiento. Sus trabajos a menudo toman la forma de propo siciones ambiguas que parecen interrogarse sobre la propia estructura y la sintaxis del lenguaje visual. Entre sus exposiciones recientes se cuentan P ortikus\, Frá\;ncfort\; FRAC Ile-de-France\; Le Plateau\, Parí\ ;s\; Museum of Contemporary Art\, Chicago\; Kunsthalle Wien\, Viena\; Kunst hal Charlottenborg\, Copenhague\; The Artist&rsquo\;s Institute\, Nueva Yor k\; MuHKA\, Amberes\; KIOSK\, Gante\; Witte de With\, Rotterdam\; Bard Coll ege\, Nueva York\; The Power Plant\, Toronto.

Wu Tsang (1982 Massachusetts\, US) es un artista\, performer y cineasta afincado en Los An geles. Su trabajo examina aquellas narrativas que configuran nuestra identi dad en relació\;n a los otros. Interesado en la dimensió\;n pol í\;tica de distintas comunidades en los má\;rgenes\, el trabajo de Tsang está\; directamente inspirado por su implicació\;n en colectivos trans\, queer y migrantes de Los Angeles. Su trabajo ha sido ex puesto en ICA\, Londres\; Migros Museum\, Zú\;rich\; Tate Modern\, Lo ndres\; Stedelijk Museum\, Á\;msterdam\; MoMA\, Nueva York\; MOCA\, L os Angeles. En 2012\, Tsang participó\; en la Whitney Biennial\, la T rienal del New Museum\, la Bienal de Gwangju y la Bienal de Liverpool.

Comisario:

Sabel Gavaldon (1985 Barcelona) es un cu rador e investigador independiente afincado en Londres. En 2012 se gradu&oa cute\; del programa Curating Contemporary Art del Royal College of Art. Ent re sus proyectos recientes se cuentan las exposiciones &lsquo\;M/Other Tong ue&rsquo\; en Tenderpixel\, Londres (2015)\; &lsquo\;Contratiempos&rsquo\; en CaixaForum\, Barcelona\; &lsquo\;Llocs comuns&rsquo\; en Can Felipa\, Ba rcelona (ambas 2014)\; y &lsquo\;Un museo del gesto&rsquo\; en La Capella\, Barcelona (2013). &lsquo\;Un museo del gesto&rsquo\; es un proyecto de inv estigació\;n en curso que investiga el potencial del gesto y el estil o como formas de resistencia semió\;ticas adoptadas por las minor&iac ute\;as polí\;ticas y grupos subalternos. Este proyecto se ha present ado en forma de charlas y talleres en Cittadellarte&ndash\;Fondazione Pisto letto\, Biella (2015)\; Lugar a Dudas\, Cali\, Colombia\; y Chisenhale Gall ery\, Londres (ambas 2014). Otras charlas recientes incluyen &lsquo\;On the Relative Size of Things in the Universe&rsquo\; en Camden Arts Centre\, Lo ndres\; y la Architectural Association\, Londres (2015). En 2014\, Gavaldon fue curador residente del espacio Lugar a Dudas\, en Cali\, Colombia\, con el apoyo de Gasworks y Triangle Network.

Nuestros agradecimi entos a las galerí\;as Clifton Bevenevento (Nueva York)\, Esther Schi pper (Berlí\;n)\, Frutta (Roma)\, Supportico Lopez (Berlí\;n) y Waterside Contemporary (Londres). Tambié\;n le estamos agradecidos a Dimitri Jeurissen\, Lilou Vidal y al Instituto Italiano de Cultura de Madr id por su apoyo.

\n

 \;

\n