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

The 100th Anniversary of World War I is to be marked in 2014 . That global war was one of the deadliest conflicts in history\, which sho ok humanity to its core and paved the way for major political changes and t ragic events of the 20th century.

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The State Museum and Exhibition C enter ROSPHOTO presents a unique exhibition project On Both Sides\, which g ives an opportunity to look at the events of WWI from a point of view of tw o participants of the conflict &ndash\; a Russian and German gunner officer s. The display features the rare and unique photographs from wartime photo albums from ROSPHOTO&rsquo\;s collection.

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Alas\, World War I is not a well-explored theme for the Russians\, we know little about its heroes a nd military operations. No sooner had the war finished than the Revolution and the Civil War broke out. The First World War I was treated as an imperi alistic conflict by the Soviet power and thus\, they did their best to wipe it from memory: no books were written\, no films were made to pay tribute to fallen heroes and victims of war. All that remained were archival docume nts and photographs.

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The exhibition On Both Sides not only reconstr ucts the dramatic events of WWI\, but also makes the viewers feel spiritual connection with Russia that we have lost. \;

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The guests to the display will see the amateur photographs from the album of Platon Alekseye v (1882&ndash\;1952)\, a staff captain of the 1st Life Guard Artillery Brig ade\, covering his life on the frontline from the first days of war to the February revolution of 1917.

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The featured album represents a record of all events that Platon Alekseyev witnessed during wartime: combat actio ns and redeployments\, the killed and wounded\, prisoners of war\, burials of comrades-in-arms\, decoration ceremonies and prayer services\, holidays and everyday life of soldiers and officers\, battlefield brotherhood. \ ;

The second part of the exhibition is dedicated to the photo al bum depicting the life of the officers of the German Army. Those pictures w ere taken from &ldquo\;the other side of the frontline&rdquo\; by Karl Joha nnes Konrad Strauss\, a lieutenant of the 2nd Bavarian Regiment of Field Ar tillery.

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One can see both albums in digital form at the exhibition. Besides\, they have prepared a special project &ldquo\;On the Eve of&helli p\;\,&rdquo\; covering the life of the Russian Empire in 1913 on the eve of WWI.

DTEND:20141012 DTSTAMP:20140831T062355 DTSTART:20140905 GEO:59.933264;30.310468 LOCATION:РОСФОТО (Rosphoto)\,35 Bolshaya Morskaya street \nSt Petersburg\, SEQUENCE:0 SUMMARY:The Exhibition Dedicated to World War I. On Both Sides. UID:354014 END:VEVENT BEGIN:VEVENT DTEND:20140904T200000 DTSTAMP:20140831T062355 DTSTART:20140904T180000 GEO:59.933264;30.310468 LOCATION:РОСФОТО (Rosphoto)\,35 Bolshaya Morskaya street \nSt Petersburg\, SEQUENCE:0 SUMMARY:The Exhibition Dedicated to World War I. On Both Sides. UID:354015 END:VEVENT BEGIN:VEVENT DESCRIPTION:

What kind of times are they\, when
A talk about trees i s almost a crime
Because it implies silence about
so many horrors ?
- From the poem To Those Born Later
By Bertolt Brecht\, transla ted by John Willett.

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The German poet and playwright Bertolt B recht wrote these
words from exile in Denmark after leaving Germany f earing
persecution from the Nazis. He wrote with frustration at
the evil he witnessed and questioned how one could discuss
something as seemingly trivial as the trees instead of speaking
of the real is sues affecting the world. In Drawings: Bark
Peter Neilson&rsquo\;s tig ht focus on the beauty and distinctiveness
of tree bark invites the v iewer to consider the significance
of trees in our current time where \, among other economic
and political horrors\, the unprecedented des truction of the
natural environment threatens our future.
Master fully executed in charcoal\, chalk and conté\; Peter
Neilson ca ptures the varied textures and unique patterns
found in the bark. Lik e human skin\, it tells an individual story\,
changing with age and e xperience. It allows identification
through common characteristics &n dash\; smooth\, dappled\, bumpy\,
fissured\, muscular &ndash\; which classify at a species level\, \;while
distinct acquired markings chart the journey which
is unique to that tree. Neilson&rsquo\;s draw ings extol the
diversity and magnificence of trees prompting us to consider our future alongside theirs.
This is the fourth suite of Peter Neilson&rsquo\;s drawings which
Australian Galleries has shown: Tools (2010)\, Musical
Instruments (2012) and Kitchen Implements (20 12). These
new works give weight and stature to Neilson as an
a rtist masterful of the subject matter and perhaps more
importantly\, able to realize the work\, not as &lsquo\;illustrative&rsquo\;
soluti ons\, but as &lsquo\;drawing&rsquo\; solutions\, that is\, bringing a
sympathetic and honouring eye to the subject but also
the drawing ma rks which create the image.

DTEND:20140921 DTSTAMP:20140831T062355 DTSTART:20140902 GEO:-37.8070781;144.9847519 LOCATION:AUSTRALIAN GALLERIES 35 Derby Street\,35 Derby Street \nCollingwoo d \, VIC 3066 SEQUENCE:0 SUMMARY: Drawings: Bark\, Peter Neilson UID:354013 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Set against an endless backdrop of open skies and the barren
plains of Mallee\, where he spent his childhood\, Graeme
Drend el&rsquo\;s characters play out an alternate future narrative
around the hulking Art Deco monolith of the former Mildura
Base Hospital. Th e site was mooted by the government as a
potential location to be use d as a supply depot in the 1940&rsquo\;s as
paranoia of a Japanese in vasion increased. Drendel&rsquo\;s paintings
allude to the possible r epercussions of this in &lsquo\;what if&rsquo\; scenarios
combined wi th delirious recollections of his own dealings with
the hospital as a patient in his youth. Uniformed men and
naked women mingle with char acters in Oriental dress and a
waistcoated hare in this new and unexp lored civilization.
Drendel&rsquo\;s paintings are highly descriptive\ , employing his own
personal symbolism to convey a moment in the unfo lding social
interactions which form this pseudo-society. The stark r ural
background allows the viewer to focus on the relationships
between the grouped figures\, their clothing\, expressions and
body language the only clues to the mystery of their lives.

DTEND:20140921 DTSTAMP:20140831T062355 DTSTART:20140902 GEO:-37.8070781;144.9847519 LOCATION:AUSTRALIAN GALLERIES 35 Derby Street\,35 Derby Street \nCollingwoo d \, VIC 3066 SEQUENCE:0 SUMMARY: Surrender\, Graeme Drendel UID:354012 END:VEVENT BEGIN:VEVENT DESCRIPTION:

With its genesis in the personal library of artist Kurt Seli gmann\, the acknowledged magic expert of the surrealist group\, this collab oration of the Johnson Museum and Cornell Library&rsquo\;s Division of Rare and Manuscript Collections examines the surrealists&rsquo\; interests in m agic\, the supernatural\, and indigenous spirituality as expressed in their art and writings. By illuminating this less-studied aspect of their practi ce\, \;Surrealism and Magic \;will consider how historical sources and world events drove surrealist artists to seek a magical presen ce in their world.

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Along with rare books on magic and witchcraft fr om the fifteenth through twentieth centuries from Seligmann&rsquo\;s librar y (acquired by Cornell upon the artist&rsquo\;s death in 1962)\, magic-them ed works of art by Seligmann will be shown with drawings\, collages\, and p aintings by other surrealists and artists in their circle\, including Andr& eacute\; Breton\, Victor Brauner\, Max Ernst\, René\; Magritte\, Leon ora Carrington\, Dorothea Tanning\, Roberto Matta\, Jean Dubuffet\, Enrico Donati\, and Wifredo Lam.

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Books\, pamphlets\, correspondence\, ephe mera\, and film will contextualize the concept of magic\, trace surrealism& rsquo\;s changing presence both in Paris and the Americas during World War II\, express the viewpoints of key figures\, and reveal the surrealists&rsq uo\; interest in the American landscape\, Native North American art\, Haiti an vodou\, and Cuban \;santerí\;a.

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Surrealis m and Magic \;will travel to the \;Boca Raton Museum of Art&nb sp\;(January 26&ndash\;April 5\, 2015). An exhibition website will be onlin e in September. \;

DTEND:20141221 DTSTAMP:20140831T062355 DTSTART:20140830 GEO:42.4507239;-76.485587 LOCATION:Herbert F. Johnson Museum of Art\,Cornell University 114 Central A venue\n Ithaca\, NY 14853-4001 SEQUENCE:0 SUMMARY:SURREALISM AND MAGIC\, Andre Breton\, Victor Brauner\, Max Ernst\, René Magritte\, Leonora Carrington\, Dorothea Tanning\, Roberto Matta\, Jea n Dubuffet\, Enrico Donati\, Wifredo Lam UID:354009 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The multiple ways that globalization has altered Taiwan over the last decade have become important sources for artistic creation\, as t he works of thirty-three artists included in this exhibition demonstrate. A dopting the philosophical connotations of the Chinese character \;j ie \;界 \;(meaning scope and/or boundary)\, this exhibition exa mines the intricate and complicated human and natural boundaries navigated and negotiated by individuals\, as well as by Taiwan as a whole\, in today& rsquo\;s interconnected world.

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The viewpoints of several generation s of artists reveal how identity has become more fluid\, variable\, remixed \, and multidimensional\, less determined or defined by ethnicity\, locatio n\, or national allegiances. Works by the generations who grew up\, lived t hrough\, and struggled against Martial Law (which was lifted in 1987) addre ss issues pertaining to local and international politics and the major soci al and environmental concerns of our time. Works by younger generations rev eal how globalization has affected individual life experience\, exposing an inner world tinged with both playfulness and anxiety.

DTEND:20141221 DTSTAMP:20140831T062355 DTSTART:20140816 GEO:42.4507239;-76.485587 LOCATION:Herbert F. Johnson Museum of Art\,Cornell University 114 Central A venue\n Ithaca\, NY 14853-4001 SEQUENCE:0 SUMMARY:JIE (BOUNDARIES): CONTEMPORARY ART FROM TIAWAN\, Chang Chia-ying\, Chang En-Tzu\, Chang Li-Ren\, Agi Chen\, Chen Chieh-jen\, Chen Ching-Yuan\, Chen Wan-Jen\, Chiu Chao-tsai\, Chou Yu-Cheng\, Hou Shur-tzy\, Hsia Yi-fu\ , Hsu Wei-hui\, Huang Chin-hua\, Huang Hsin-chien\, Huang Ming-Chang\, Vinc ent J. F. Huang\, Kuo I-Chen\, Liao Chi-Yu\, Lin Hsin-yueh\, Lin Shu-min\, Lo Chan-peng\, No2Good\, Su Hui-Yu\, Tsai Ou-bao\, Tu Pei-Shih\, Tu Wei-Che ng\, Wu Cheng-chang\, Yang Mao-Lin\, Yao Jui-chung\, Yeh Tzu-chi\, Yeh Yili \, Yu Cheng-Ta\, and Yuan Jai UID:354008 END:VEVENT BEGIN:VEVENT DESCRIPTION:

With his imaginative pictorial motifs\, Joan Miró\; is one of the most popular artists of the 20th century. The Albertina is dedi cating a solo exhibition to the Catalonian artist containing around 100 pai ntings\, drawings and objects\, which strives to emphasise the poetic quali ty of the famous Surrealist. \;

Miró\;'s painting is c haracterised by a sense of lightness and spontaneity. He looks upon the wor ld with a carefree\, almost childish fascination for all things. His unmist akable pictorial language is as magical as it is universal. Moons\, stars a nd comets\, eyes and insects\, birds and women populate his paintings and a re among the most recognisable elements of his art. Miró\;'s works pr ovide insight into his poetic perception and interpretation of the original \, of that which is actually essential in things\, the world and the univer se.

DTEND:20150111 DTSTAMP:20140831T062355 DTSTART:20140912 GEO:48.2045607;16.368969 LOCATION:Albertina\,Albertinaplatz 1 \nVienna\, 1010 SEQUENCE:0 SUMMARY:From Earth to Sky\, Joan Miro UID:354006 END:VEVENT BEGIN:VEVENT DTEND:20140912T180000 DTSTAMP:20140831T062355 DTSTART:20140912T100000 GEO:48.2045607;16.368969 LOCATION:Albertina\,Albertinaplatz 1 \nVienna\, 1010 SEQUENCE:0 SUMMARY:From Earth to Sky\, Joan Miro UID:354007 END:VEVENT BEGIN:VEVENT DESCRIPTION:

His revisions developed in the 1950s made the artist Arnulf Rainer\, born in 1929 in Baden near Vienna\, known throughou t the world. The Albertina honours the internationally renowned artist on t he occasion of his 85th birthday with a comprehensive retrospective\, in wh ich important stations of his complex artistic development are presented th rough key works. Rainer's intensive search for new artistic paths\, as well as his fascinating strategies and experimental processes make him one of t he most influential living artists of the present.

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T he exhibition encompasses more than 120 works that have been made available by international museums and private lenders. The works range from Rainer& rsquo\;s early works with central forms\, over-paintings\, and crucifixes\, through the self-depictions of the Face Farces and Body Poses and the rewo rkings into death masks and veiled pictures\, up to the most recently creat ed works.

DTEND:20150106 DTSTAMP:20140831T062355 DTSTART:20140903 GEO:48.2045607;16.368969 LOCATION:Albertina\,Albertinaplatz 1 \nVienna\, 1010 SEQUENCE:0 SUMMARY:Solo Exhibition\, Arnulf Rainer UID:354004 END:VEVENT BEGIN:VEVENT DTEND:20140903T210000 DTSTAMP:20140831T062355 DTSTART:20140903T100000 GEO:48.2045607;16.368969 LOCATION:Albertina\,Albertinaplatz 1 \nVienna\, 1010 SEQUENCE:0 SUMMARY:Solo Exhibition\, Arnulf Rainer UID:354005 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ikkan Art Gallery is pleased to present \;Space Flow er\, an exhibition of new works by internationally renowned Japanese m edia artist\, Naoko Tosa. In conjunction with the exhibition\, Naoko Tosa w ill transform Singapore&rsquo\;s portscape with an exterior projection of h er new works on the facade of Tanjong Pagar Distripark outside the gallery on the opening night of the exhibition. Don&rsquo\;t miss this \;one night only \;projection mapping showcase!
 \;Tosa&rsquo\;s new series of works pays homage to Rimpa\, one of the maj or historical schools of Japanese painting that was founded in Kyoto in the 17th century. Famed for its usage of luxurious golden colour\, one of its key exponents was the artist Korin Ogata\, whose paintings of &ldquo\;Wind God and Thunder God&rdquo\; have become representative of the style. The fr agmentation of flowers by the elements of wind and thunder in Tosa&rsquo\;s works serves as an allegory for the fading of old customs and the beckonin g of a new future.

DTEND:20141101 DTSTAMP:20140831T062355 DTSTART:20140905 GEO:1.272078;103.836708 LOCATION:Ikkan Art Gallery\,39 Keppel Road\, #01-05 Tanjong Pagar Distripar k\n Singapore \, 089065 SEQUENCE:0 SUMMARY:Space Flower\, Naoko Tosa UID:354000 END:VEVENT BEGIN:VEVENT DTEND:20140905T210000 DTSTAMP:20140831T062355 DTSTART:20140905T180000 GEO:1.272078;103.836708 LOCATION:Ikkan Art Gallery\,39 Keppel Road\, #01-05 Tanjong Pagar Distripar k\n Singapore \, 089065 SEQUENCE:0 SUMMARY:Space Flower\, Naoko Tosa UID:354001 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Karsten \;Fö\;dinger's art is prepared for extreme s. The young German artist&rsquo\;s inaugural exhibition at RaebervonStengl in in 2010 presented a concrete V-formation in the gallery &mdash\; a heavy weight structure designed to break the path of an avalanche. For his follow up exhibition\, 'Angsteisen' (2012)\, he filled the entirety of the galler y's floor with an iron lattice\, an over-reinforced structure that would ma ke doubly safe a concrete fundament were it to be cast on its floor. At Art Basel Statements later that year he won the Baloise Kunst Preis for with a crystalline configuration of raw wooden beams created to resist the unlike ly but possible event of an earthquake. Ready for the low-probability\, hig h impact possibilities thrown up by geography\, Fö\;dinger&rsquo\;s art also responds directly to its immediate environment.
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&lsquo\;Domestic Wildcards&rsquo\;\, \;Fö\;dinger&rsquo\ ;s third solo exhibition with the gallery\, plays with the viewer&rsquo\;s expectations. Both gallery spaces are filled with pillar pedestals\, each m ade with different techniques and to different designs and specifications. These are built in part out of the heavy-duty construction materials that h ave become a signature of his work &mdash\; reinforced concrete\, steel\, b rick and wood &mdash\; but unusually also employ substances better suited f or model-making: plywood\, wood-filler\, chipboard and paint. Presented lik e a body of classical sculptures\, these works give the immediate impressio n of being more domesticated than his previous projects\, yet their raison d&rsquo\;ê\;tre is the opposite of tame. The sculptures grew out of an unrealisable idea \;Fö\;dinger first proposed for the inaugural ex hibition at RaebervonStenglin which has become an on-going quest for the ar tist: to remove an existing pillar of a gallery and replace it with a subst itute structure &mdash\; an Atlas-like sculpture that would bear the weight of the overlying part of the architecture. The new works are just such sub stitute structures\, except in that they are now denied of any functionalit y\, plinths that have supplanted the part of sculpture. They are &lsquo\;wi ldcards&rsquo\; in the sense that the fitness for their purpose is untellab le like jokers in a pack\; &lsquo\;domestic&rsquo\; in their promise of ser vitude\, or suggesting a similarity to the racing cyclists who create the s lipstream for another to gain the lead.
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Blu rring the distinction between art and engineering\, \;Fö\;dinger&rs quo\;s sculptures employ formal vocabularies that are at once structural an d related to art history. There is a dialectic of forces at work in his art \, a simultaneous coming together of opposing physical energies and a varie ty of visual languages. Recalling the pedestals of antiquity encountered in museums\, the forms of these pseudo-utilitarian sculptures refers to Minim alist and Process-based art and to the broader aesthetics of Modernism\, ea ch reference deliberately complicated by the other. In bringing these oppos ites together\,&lsquo\;Domestic Wildcards&rsquo\; \;points towards doub t and absurdity\, reverberating with acute twenty-first century sense of am bivalence.
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Karsten Fö\;dinger was born in 1978 in Mö\;nchengladbach\, Germany. He stud ied at the Staatliche Akademie der Bildenden Kü\;nste Karlsruhe and liv es and works in Karlsruhe. His solo museum exhibitions include &lsquo\;Stru ttin&rsquo\;&rsquo\;\, Kunstforum Baloise\, Basel (2013)\; &lsquo\;Collecti on display: 14. Baloise Art Prize&rsquo\;\, Galerie der Gegenwart\, Hamburg er Kunsthalle\, Hamburg (2013)\; &lsquo\;Void&rsquo\;\, KIOSK\, Ghent (2012 )\; &lsquo\;C30/37\; XD1\, XF2&rsquo\;\, Kunsthalle St. Gallen (2012)\; and &lsquo\;Cantilever&rsquo\;\, Palais de Tokyo\, Paris (2011). His previous exhibitions at RaebervonStenglin were &lsquo\;Angsteisen&rsquo\; (2012) and &lsquo\;Grand opening at RaebervonStenglin&rsquo\; (2010). He is the recip ient of the 2012 Baloise Kunst-Preis\, Art 43 Basel Statements.
DTEND:20141031 DTSTAMP:20140831T062355 DTSTART:20140830 GEO:47.3872784;8.5172203 LOCATION:RaebervonStenglin\,Pfingstweidstrasse 23 \nZürich\, CH - 8005 SEQUENCE:0 SUMMARY:Domestic Wildcards\, Karsten Födinger UID:353999 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Working in sculpture\, drawing\, photography\, and performan ce\, Lesley Dill uses a variety of media to explore themes of language\, th e body\, and transformational experience. Her large-scale installation\,&nb sp\;Faith &\; The Devil\, investigates the philosophical and ex istential conundrums of evil and underlying faith in the world. \;

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The source and lynchpin for this investigation is \;Big Gal Fai th\, an eight-foot tall female figure whose wild hair of words and lav ish twenty-six foot wide dress of drawn images and texts express themes of cruelty\, violence\, lust\, forgiveness\, reflection\, and transcendence.&n bsp\;Big Gal Faith \;is accompanied by an androgynous figure r epresenting Lucifer\, who has words of hate on his front and words of joy o n his back. The project is a walk through a person&rsquo\;s mind &ndash\; e ncompassing a world in which unfathomable actions co-exist with times of re flection and illumination.

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Lesley Dill received her BA from Trinity College in 1972 and MFA from the Maryland Institute of Art in 1980. Her wo rk has been widely exhibited and can be found in the collections of the Wea therspoon Art Museum\, the Albright Knox Art Gallery\, the Cleveland Museum of Art\, and the Metropolitan Museum of Art\, among many others.

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A s the Fall 2014 Falk Visiting Artist at the Weatherspoon and the Art Depart ment at the University of North Carolina at Greensboro\, Dill will present a lecture and gallery talk on her work and participate in MFA graduate stud ent critiques.

DTEND:20141207 DTSTAMP:20140831T062355 DTSTART:20140913 GEO:42.906271;-76.794657 LOCATION:Weatherspoon Art Museum\,Corner of Spring Garden & Tate St \nGreen sboro\, NC 27402-6170 SEQUENCE:0 SUMMARY: Falk Visiting Artist\, Faith & The Devil\, Lesley Dill UID:353997 END:VEVENT BEGIN:VEVENT DTEND:20140913T170000 DTSTAMP:20140831T062355 DTSTART:20140913T130000 GEO:42.906271;-76.794657 LOCATION:Weatherspoon Art Museum\,Corner of Spring Garden & Tate St \nGreen sboro\, NC 27402-6170 SEQUENCE:0 SUMMARY: Falk Visiting Artist\, Faith & The Devil\, Lesley Dill UID:353998 END:VEVENT BEGIN:VEVENT DESCRIPTION:

How do artists learn from and influence one another? This ex hibition explores the relationships between the work of American abstract a rtists Al Held and Robert Mangold in the 1960s and onwards. \;

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Intensely interested in working within the language of geometric abstractio n to challenge notions of perspectival space\, from 1967 to1977 Held devote d himself to creating large-scale\, black &\; white paintings. At that t ime\, the younger artist\, Mangold\, focused on combining line with geometr ic planes of color to similarly explore the possibilities for creating dime nsionality and depth. The exhibition\, which is culled from the Weatherspoo n&rsquo\;s permanent collection\, features important paintings from this pe riod\, as well as others dating through 1992.

DTEND:20141207 DTSTAMP:20140831T062355 DTSTART:20140906 GEO:42.906271;-76.794657 LOCATION:Weatherspoon Art Museum\,Corner of Spring Garden & Tate St \nGreen sboro\, NC 27402-6170 SEQUENCE:0 SUMMARY: B/W to Color\, Al Held\, Robert Mangold UID:353993 END:VEVENT BEGIN:VEVENT DTEND:20140906T170000 DTSTAMP:20140831T062355 DTSTART:20140906T130000 GEO:42.906271;-76.794657 LOCATION:Weatherspoon Art Museum\,Corner of Spring Garden & Tate St \nGreen sboro\, NC 27402-6170 SEQUENCE:0 SUMMARY: B/W to Color\, Al Held\, Robert Mangold UID:353994 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This groundbreaking exhibition will unite the Plains Indian masterworks found in European and North American collections\, from pre-con tact to contemporary\, ranging from a 2\,000-year-old \;Human Effig y \;stone pipe to 18th-century painted robes to a 2011 beaded adap tation of designer shoes.

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The distinct Plains aesthetic&mdash\;sing ular\, ephemeral and materially rich&mdash\;will be revealed through an arr ay of forms and media: painting and drawing\; sculptural works in stone\, w ood\, antler and shell\; porcupine quill and glass bead embroidery\; feathe r work\; painted robes depicting figures and geometric shapes\; richly orna mented clothing\; composite works\; and ceremonial objects. \;

Together the 140 works will reveal the accomplishments of Plains Indian artists\, not only as the makers of objects that sustain tradition and embo dy change\, but as the bearers of individual creative expression and innova tion. Many nations are represented&mdash\;Osage\, Quapaw\, Omaha\, Crow\, C heyenne\, Arapaho\, Lakota\, Blackfeet\, Pawnee\, Kiowa\, Comanche\, Mesqua kie\, Kansa and others. Objects will travel from France\, Germany\, Austria \, Switzerland\, Canada and the United States.

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The exhibition is be ing organized by Museé\; du quai Branly in Paris in collaboration wit h The Nelson-Atkins Museum of Art\, Kansas City\, and The Metropolitan Muse um of Art\, New York. It is curated by Gaylord Torrence\, one of the nation 's leading scholars of Plains Indian art and the Fred and Virginia Merrill Senior Curator of American Indian Art at the Nelson-Atkins.

DTEND:20150111 DTSTAMP:20140831T062355 DTSTART:20140919 GEO:39.0450648;-94.5809671 LOCATION:The Nelson-Atkins Museum of Art\,4525 Oak Street \nKansas City\, M O 64111 SEQUENCE:0 SUMMARY:The Plains Indians: Artists of Earth and Sky UID:353846 END:VEVENT BEGIN:VEVENT DTEND:20140919T210000 DTSTAMP:20140831T062355 DTSTART:20140919T100000 GEO:39.0450648;-94.5809671 LOCATION:The Nelson-Atkins Museum of Art\,4525 Oak Street \nKansas City\, M O 64111 SEQUENCE:0 SUMMARY:The Plains Indians: Artists of Earth and Sky UID:353847 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Roaring lions and foliage create a dynamic pattern on this l ate-16th century Italian panel of woven silk\, probably made to embellish a garment. The stylized\, compact design of flora and fauna on an emerald gr een ground is derived from Islamic models. \;

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During the Renais sance\, Italian ports served as important points of trade with the Middle E ast\, and merchants throughout Europe were eager to purchase the latest goo ds influenced by these exotic wares. \;

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The exhibition\, in Gal lery P6\, displays Italian\, French and Spanish textiles influenced by this Middle Eastern trade and aesthetic tradition\, spanning the 15th-17th cent uries. Woven of sumptuous silk and exhibiting varied weaving techniques and ornamentation\, these textiles were costly luxury goods and highly prized by the wealthy merchant classes.

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Some of the most popular\, althoug h still very expensive\, textiles during the Renaissance were monochromatic velvets with repeating patterns used for upholstery\, draperies and garmen ts. \;These examples demonstrate the variety of cut pile designs and pr inting techniques used for Renaissance textile production.

DTEND:20150215 DTSTAMP:20140831T062355 DTSTART:20140831 GEO:39.0450648;-94.5809671 LOCATION:The Nelson-Atkins Museum of Art\,4525 Oak Street \nKansas City\, M O 64111 SEQUENCE:0 SUMMARY:Worldly Luxuries: Repetition in Renaissance Textiles UID:353840 END:VEVENT BEGIN:VEVENT DTEND:20140831T170000 DTSTAMP:20140831T062355 DTSTART:20140831T120000 GEO:39.0450648;-94.5809671 LOCATION:The Nelson-Atkins Museum of Art\,4525 Oak Street \nKansas City\, M O 64111 SEQUENCE:0 SUMMARY:Worldly Luxuries: Repetition in Renaissance Textiles UID:353841 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The \;axis mundi \;is a connector between h eaven and earth\, a point of beginning and ending. The convergence of the f our compass points\, it bridges the known and unknown\, the experienced and the believed. The \;axis mundi \;is a universally shared phenomenon: Norse mythology has the cosmic ash tree Yggdrasil\, which unifi es the nine homeworlds\, while the Bodhi Tree was the site of the Buddha&rs quo\;s enlightenment. The Biblical tradition situates the Tree of Life and the Tree of Knowledge of Good and Evil in the Garden of Eden.

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The&n bsp\;axis mundi \;serves as the unifying construct for the fir st site-specific installation at MOCRA\, an exhibition that reflects on the communities we exist in physically and those we share existentially&mdash\ ;our ever widening and intersecting personal and collective \;axes mundi&mdash\;utilizing multiple elements to create an abstracted envir onment in which color\, form and the contemplative nature of MOCRA's space work collaboratively.

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Axis Mundi \;highlights signific ant architectural features of MOCRA&rsquo\;s nave gallery and emphasizes th e space's original purpose as a chapel for Jesuits who studied philosophy a t Saint Louis University. The exhibition centers on a tall\, glistening whi te structure that reaches from the floor to the ceiling thirty feet above\, a tether signaling our globally connected existence without referencing a specific tradition. Four wall hangings from Niederlander's \;Essent ial Drawingsseries\, imagery initiated from detailed photographs of he r physical sculptures and then redefined through continued expansion and co ntraction\, surround the suspended structure. Finally\, two of the chapel&r squo\;s ten stained glass windows are exposed yet covered with translucent film so that the figural imagery of the windows is abstracted to reference the undefined and unifying light that guides humanity.

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Abou t the artist

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Rebecca Niederlander grew up in St. Lou is but relocated to Los Angeles in 1995. Her site-specific sculptural insta llations are labor-intensive abstractions that use repetition and the inher ent ephemeral nature of the materials to address the individual's position within the larger intergenerational community. She is also co-founder of th e social practice BROODWORK\, in which she curates\, writes\, speaks and de signs actions and objects that explore the interweaving of the creative pra ctices and family life&mdash\;in particular\, parenthood. \;

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Re cent projects have included commissioned works for the Los Angeles Internat ional Airport and the Trajector Art Fair in Brussels\, Belgium\, as well as  \;BROODWORK: It&rsquo\;s About Time \;at OTIS College of Art and Design\, which explored the relationship of time to the creative pr ocess and family. Niederlander is a recipient of numerous grants including the National Endowment for the Arts\, the Durfee Foundation\, and the Corne ll University Council of Creative and Performing Arts. \;

DTEND:20141214 DTSTAMP:20140831T062355 DTSTART:20140914 GEO:38.6365913;-90.233257 LOCATION:Museum of Contemporary Religious Art (MOCRA)\,Saint Louis Universi ty 221 N. Grand Blvd.\nSt. Louis\, MO 63103 SEQUENCE:0 SUMMARY:axis mundi\, Rebecca Niederlander UID:353838 END:VEVENT BEGIN:VEVENT DTEND:20140914T160000 DTSTAMP:20140831T062355 DTSTART:20140914T140000 GEO:38.6365913;-90.233257 LOCATION:Museum of Contemporary Religious Art (MOCRA)\,Saint Louis Universi ty 221 N. Grand Blvd.\nSt. Louis\, MO 63103 SEQUENCE:0 SUMMARY:axis mundi\, Rebecca Niederlander UID:353839 END:VEVENT BEGIN:VEVENT DESCRIPTION:

PARTicipate \;is an exhibition of Stacey L. Kir by&rsquo\;s experimental &lsquo\;performative interactions.&rsquo\; Kirby w ill transform CAM&rsquo\;s Media Lab into in the \;Bureau of Person al Belonging \;and set the stage for participatory performance art and installation.PARTicipate \;offers a glimpse into Kirby&rs quo\;s ongoing face-to-face dialogue with over 2000 people about belonging\ , identity and the validity of our voices. Visitors to the \;Bureau of Personal Belonging \;will transform into participants as they engage with the officer on duty (performed by Kirby herself) in such works as \;The Declaration Project \;and \;VALIDnation. Participants are encouraged to find their own voice through writing th eir responses to prompts on paper &ldquo\;forms&rdquo\; that they then subm it for departmental approval\, contributing to a growing archive of persona l histories.

DTEND:20141026 DTSTAMP:20140831T062355 DTSTART:20140905 GEO:35.776894;-78.645685 LOCATION:Contemporary Art Museum Raleigh\,409 W Martin Street \nRaleigh\, N C 27603 SEQUENCE:0 SUMMARY:PARTicipate\, Stacey Kirby UID:353834 END:VEVENT BEGIN:VEVENT DTEND:20140905T183000 DTSTAMP:20140831T062355 DTSTART:20140905T110000 GEO:35.776894;-78.645685 LOCATION:Contemporary Art Museum Raleigh\,409 W Martin Street \nRaleigh\, N C 27603 SEQUENCE:0 SUMMARY:PARTicipate\, Stacey Kirby UID:353835 END:VEVENT BEGIN:VEVENT DESCRIPTION:

NANZUKA is pleased to announce the upcoming solo exhibition of new works by Ryuichi Ohira.
This will be Ohira's first time exhibi ting at NANZUKA.

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Ryuichi Ohira was born in Tokyo in 1982\, was rais ed in Chiba prefecture\, and earned his doctorate at Tokyo University of th e Arts.In addition to winning the Fumio Nanjo (Mori Art Museum Director) Pr ize at SICF 6th in 2005 and the Ataka Prize at the 54th Tokyo University of the Arts Graduation Works Exhibition in 2006\, Ohira dedicated a statue of "Kan'nagara" to ?kunitama Shrine in 2010\, participated in the large-scale solo exhibition B?ken Yar? at the Tsuruoka Art Forum in 2012\, and exhibit ed and dedicated his piece "TONGARIMARU" at Yorishiro Project 2013 held at the world heritage site Kamigamo Shrine in 2013\, showcasing his works alre ady in a variety of modes through a number of different exhibitions and pro jects.

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Ohira develops his works by breaking down and reassembling t he non-physical\, from things that affect people's automatic behaviors\, to presences that have been made the subject of worship and faith from ancien t times to today. His scientific review of what people perceive as the subl imity of shapes and spaces\, of an unexplainable air or presence\, is appar ent in his works. For instance\, "Belt Partition" (2005)\, a piece that emp hasizes and reaffirms the effect of motif with a realistic replication of a partition\, made out of carved and painted wood\, that creates compartment s and dividers\;"Sanctuary" (2010)\, a piece in which two golden surveillan ce cameras carved out of wood are arranged in the manner of guardian dogs o n shrine grounds\, symbolically implying a sacred space\; and the aforement ioned piece dedicated to Kamigamo Shrine\, "TONGARIMARU" (2013)\, in which he pursues an abstraction of the conical tatesuna (cones of sand)\, which a re regarded as the shrine's yorishiro (a place where spirits manifest)\, br eaking them down into two primary geometric forms―the triangle as seen from straight on and the circle as seen from above.

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This exhibition wil l consist of an installation of small to large\, flat and three-dimensional woodcarvings and sculptures. There are some charred with abstract engravin gs\, lines carved arbitrarily during the production process\, and some char red with symbolic\, figurative engravings\; he adopts carbonization as a me thod that enables him to come and go freely between the intentional and the unintentional\, without being subject to chance\, daring to venture to unc ontrollable realms within his work. One can sense that through these experi mental works he takes on the anti-art ideas that came forth from Automatism \, Dada\, and Fluxus\, the "sacred objects" and "secular objects" written a bout in Mircea Eliade's books\, and Walter Benjamin's concept of "aura"\, a nd pursues the question of how the ineffable beauty and sublimity spoken of within all of these arise. Ohira presents us with the world of these piece s\, burnt and blackened from his experimentation\, under the guise of a "ma gnificent view".

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Of the exhibition\, Ohira comments:
There is a custom in this world to take a tree felled by\, say\, lightning\, and ma ke it into an icon\, as a sacred tree. Humans attribute meaning to somethin g\, and try\, forcibly\, even\, to implant a nature of continuity and law. They look for clues within an uncertain and ambiguous world. From such huma n instability and hope come "gods" and "religion"\, "sacred ground" discove red through the attribution of contrasts between spaces and places via the senses\, the feeling of security that comes with the concepts of "everyone has it" and "everyone is going" created by today's commercial media\, and t he aspiration and longing for "high-rise city condominiums" and "supercars" . Although we know what we are trying to do\, we are not aware of what is d riving those thoughts. Where does the sensation of experiencing a "magnific ent view" come from\; what makes us able to call something a "magnificent v iew"\; and is it actually a "magnificent view"? Isn't it important that the notion of a "magnificent view" is not pressed upon us by someone\, but rat her that each individual finds one's own "magnificent view" from within?

DTEND:20140927 DTSTAMP:20140831T062355 DTSTART:20140830 GEO:35.6599969;139.7019064 LOCATION:NANZUKA\,Shibuya Ibis Build #B1F 2-17-3 Shibuya Shibuya-ku \nToky o \, 150-0002 SEQUENCE:0 SUMMARY:Magnificent View\, Ryuichi Ohira UID:353830 END:VEVENT BEGIN:VEVENT DTEND:20140830T200000 DTSTAMP:20140831T062355 DTSTART:20140830T180000 GEO:35.6599969;139.7019064 LOCATION:NANZUKA\,Shibuya Ibis Build #B1F 2-17-3 Shibuya Shibuya-ku \nToky o \, 150-0002 SEQUENCE:0 SUMMARY:Magnificent View\, Ryuichi Ohira UID:353831 END:VEVENT END:VCALENDAR