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In the exhibition facts &\; figures Galerie Wilm a Tolksdorf presents recent works by Silke Wagner. In its multifaceted and medial diverse work\, the artist deals with socio-political and socio-cultu ral issues which she translates through aesthetic forms in the sphere of vi sual art. She transforms political terms into the reality of the social and at the same time creates a new platform of publicity. In words of the phil osopher Philipp Thomas Silke Wagner "exposes us to the overlooked\, mainly to which we indeed somehow know\, but its clear recognition is uncomfortabl e."

As a starting point for the exhibition\, gathering ten new w orks\, Silke Wagner uses numbers and statistics demonstrating the various a spects of a globalized and economized society. The first work that dealt wi th this topic was created in 2012 for the Biennale Bern. The twelve motifs of the work\, 53 Fahnen fü\;r Bern\, found themselves on flags in public spaces\, as free available postcards and framed silkscreen print s. As a graphic translation of statistical analyzes in lines and geometric shapes they visualize the individual motifs of global issues\, such as the distribution of private and public capital\, the gold recovery by child lab or and the decline in global biodiversity.

The new works by Silk e Wagner pursue this critical approach while expanding its medial and forma l vocabulary. The three spherical lamps of the work Figure X\, for example\, illustrate by their respective size and diverse illuminating pow er of the bulbs the life-satisfaction level in Germany. While Figure V< /em> captures the distribution of wage and income in production and sale of jeans in the form of denim-wall-curtain haptically and graphically. Beyond the aesthetic pictorialization of socially relevant issues the works by Si lke Wagner are "self-reflective\, they formulate their symbolic-representat ive quality and prove themselves as artifacts." (Gabriele Sand\, Sprengel M useum Hannover)

The most important exhibitions and projects by S ilke Wagner include German Open\, Kunstmuseum Wolfsburg\, skulptur projekte mü\;nster 07\, Playing the City\, Schirn Kunsthalle Frankfurt\, Emsche rkunst 2010\, Biennale Bern 2012\, Weather Report\, Landesgalerie Linz and Tatort Paderborn among others. Her work has been shown in several solo exhi bitions\, including Neuer Berliner Kunstverein\, Kunstverein in Hamburg\, O ldenburger Kunstverein and most recently at the Kunsthalle Gö\;ppingen.

DTEND:20150321 DTSTAMP:20150129T202626 DTSTART:20150207 GEO:50.1116287;8.7129814 LOCATION:Galerie Wilma Tolksdorf Frankfurt\,Hanauer Landstrasse 136 \nFrank furt am Main\, D-60314 SEQUENCE:0 SUMMARY:facts & figures\, Silke Wagner UID:371936 END:VEVENT BEGIN:VEVENT DTEND:20150206T210000 DTSTAMP:20150129T202626 DTSTART:20150206T190000 GEO:50.1116287;8.7129814 LOCATION:Galerie Wilma Tolksdorf Frankfurt\,Hanauer Landstrasse 136 \nFrank furt am Main\, D-60314 SEQUENCE:0 SUMMARY:facts & figures\, Silke Wagner UID:371937 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Chen Shun-Chu: \;Coral Stone Mountain

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Curated by Mei-ching Fang

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Chen Shun-Chu is representative of mid-career artists who came to prominence in Taiwan&rsquo\;s post-martial law period. Images for his intensely emotional artwork come from his own family. In th e 1990s he started making mixed-media work with photographic images\, which introduced freshness and rigor into the Taiwanese art world with its restr ained style and subtle connotations.

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As Chen&rsquo\;s first major r etrospective held in Taiwan\, the exhibition will include photographs\, pho to installations\, and hand-painted fragments of old furniture from the 199 0s to the present. The retrospective is named for coral stone\, a natural b uilding material found in the Penghu Islands\, to express the artist&rsquo\ ;s complex feelings of attachment for his hometown and family. Settlers arr iving in Penghu several hundred years ago developed knowledge of local mate rials\, thus gathering light and porous coral stones from the ocean to buil d structures that would withstand the powerful winds that frequently lash t he islands. These structures still stand today\, protecting descendants of those first ancestors from Penghu&rsquo\;s cold winds and burning sun. The exhibition is arranged chronologically on the third floor of the museum and charts the course of Chen&rsquo\;s rich career. For Chen\, the irregularit y of the small coral stones seen in Penghu reflected the ups and downs of f amily life in his hometown\, and their network of pores suggested the inter connectedness of memories.

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Penghu is actually not mountainous\, but piles of coral stone are a part of the islands&rsquo\; imagery as Chen&rsq uo\;s rich memories of his hometown suggest. The coral stone of his childho od was intimately linked to his feelings for his hometown\, and after movin g to the main island of Taiwan to attend university\, dealing with each boa t ride back to Penghu intensified his nostalgia. As it happens\, all of Che n&rsquo\;s residences in Taiwan\, from Yangming Mountain and Shenkeng\, to Xindian where he eventually settled\, were in mountain areas. Living in the mountains and breathing in nature revitalized Chen and gave him the necess ary energy for a fresh start\, and the mountains supported him and nourishe d his creative spirit. In his final series of work\, he piled coral into to wering altars to praise the vitality of art\, and combined silk screening a nd acrylic paints to make offerings of flowers\, fruit and beans while exte nding the possibilities of art.

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Chen began his journey with photogr aphy and received many awards for his outstanding talent while in college. Later\, he produced his photographic series \;Image and Imagery \;about the 1980s on the 64 islands comprising the Penghu archipelago \, \;On the Road \;presenting autobiographical extracts fr om 20 years of the artist&rsquo\;s life\, and \;The Remnant Vision< /em> \;in 2011\, which is about longing and regret. These works involve the uncommon scenery Chen encountered in his wanderings\, as his camera ac companied him on distant artistic journeys. With photography\, he found ins piration from life and used his rational and solitary vision to reveal emot ions hidden within objects. Black and white images accumulated on photograp hic paper as Chen explored revelation throughout his cool and isolated ques t. He was detached yet tolerant as he waited and pondered\, observing the t hings he saw on life&rsquo\;s road. It seems Chen followed his impulses\, w hich made the content of his work broad and often obscure\, but as a travel er\, he relied on his own aesthetic judgments\, and with a camera as a tool \, captured elegant memories as they would come.

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Still\, a single m edium offered insufficient expressive opportunities for an artist such as C hen who made bold breakthroughs. In 1992\, while rummaging through several decades of old family photographs and precious fragments of old furniture\, Chen discovered poignant subject matter among these layers of space and ti me. Each fragment of old furniture leads us to a past encapsulated in time\ , and each thin piece of photographic paper emits alienation and a thirst f or warmth. Chen created his work \;Family Boxes \;by hand- painting and restoring meaning to each piece of furniture containing dead i nsects\, cotton thread and light bulbs. He selected old photographs of fami ly members using his profound sensitivity\, and then blended intangible mem ories of past lives into an entirely new aesthetic dimension.

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Chen broke through the restrictions of documentary and portraiture to actively d evelop the potential of mixing photography with different media\, and succe ssfully enriching its language. He captured variations and correspondences between space and time\, extended the language of the medium and intensifie d visual aesthetics while actively seeking a new context in contemporary ar t and photography. The Taipei Fine Arts Museum is presenting this solo exhibition to extend Chen Shun-Chu&rsquo\;s artis tic expression and language to his fellow citizens. Moreover\, with this re view of the artist&rsquo\;s creative trajectory\, the museum carefully form ulates contemporary photography as a fundamental media\, and the use of mix ed media\, space and the environment in an experimental\, explorative fashi on. The exhibition not only extends the concept of creative photography\, b ut also enriches the possible uses and significance of images. Chen Shun-Ch u saw the future from the past\, but his work will show us the past from th e future.

DTEND:20150426 DTSTAMP:20150129T202626 DTSTART:20150124 GEO:25.1253109;121.530997 LOCATION:Taipei Fine Arts Museum\,181\, ZhongShan N. Road\, Sec. 3\, \nTaip ei \, SEQUENCE:0 SUMMARY:Coral Stone Mountain\, Chen Shun-Chu UID:371855 END:VEVENT BEGIN:VEVENT DTEND:20150124T170000 DTSTAMP:20150129T202626 DTSTART:20150124T150000 GEO:25.1253109;121.530997 LOCATION:Taipei Fine Arts Museum\,181\, ZhongShan N. Road\, Sec. 3\, \nTaip ei \, SEQUENCE:0 SUMMARY:Coral Stone Mountain\, Chen Shun-Chu UID:371856 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Testimony of Food: Ideas and Food

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text by \;Jo Hsiao

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The destiny of a people depends on its food and its regime. Cereals create artistic peoples. It was \;aqua vit ae \;that decimated the Indian races. I consider Russia to be an aristo cracy sustained by alcohol. Who is to say if the abuse of chocolate did not play a role in the downfall of the Spanish nation? \;
---Hon oré\; de Balzac\, \;Traité\; des excitants modernes \;("Treatise on Modern Stimulants")

In Part 1 of his &ldqu o\;Treatise on Food and Money&rdquo\; in the \;Book of Han\, t he scholar of the Eastern Han dynasty Ban Gu (32-92 BCE) proposed that a su fficient food supply was necessary for a peaceful populace. The relationshi p between food and humankind can be traced back to prehistoric times. In ca ve paintings we discover the images of animals\, representing humanity&rsqu o\;s most primal desire for food. Human beings used their own power to sati sfy their own needs\, extracting sustenance from the storehouse of nature. Not only people\, but all life forms seek to reproduce and multiply using t he food they absorb. But as humankind has progressed to a higher level\, fo od too has evolved from the desire for simple satiation to become the abili ty to transform reality through thought. Food has become visible\, smellabl e\, tastable\, palpable\, and can even offer access to the heart. Food has risen above the purely material level to become a marriage of idea and feel ing\, and it reveals to us a greater power of expression: It is food\, and it is something beyond food. Food begins with the sense of taste\, but it d oes not end there. When thought serves as a go-between\, it builds a bridge between humankind and food\, and forms a multifarious relationship compose d of psychology\, physiology\, sense of self\, class\, faith and values. Pe ople create food\, and food has a social function: in this world founded on the cornerstone of culture\, food is culture\, and culture is the sum of m any different customs\, systems\, thoughts\, ethical teachings\, rituals an d human activities.

In \;Dream of the Red Chamber\, Cao Xueqin wrote that banquets should be held on the New Year and birthday s\, when celebrating promotion to high office\, admiring flowers or recitin g poetry\, on outings\, when welcoming or bidding farewell to guests\, at w eddings and funerals. The banquets at Daguan Park were emblematic of the af fluence and harmony of the upper class in the early Qing dynasty\, and they also intimated the untamable desires hidden in the human heart. Ultimately \, the decadence of Daguan Park served as an allegory for the entire age\, demonstrating that &ldquo\;feasting is tantamount to delighting in calamity .&rdquo\; When Balzac spoke of food\, he pondered the relationship between people and food\, its impact on human productivity and its ability to chang e human vitality. He felt that culinary habits expressed the special charac ter of each age. Be it grains\, alcohol or chocolate\, he emphasized the so cial and material nature of food\, particularly its expression in daily lif e and its entanglement with the human consciousness.

The renowne d 17th-century Dutch still life painter Pieter Claesz (1597-1661) often mad e food the subjects of his works. Meat pies\, bread\, lemons\, olives\, nut s\, fruit and wine served up a sensorial feast both visual and olfactory. Y et Claesz intentionally employed simple colors and subdued lighting to port ray the sumptuousness of food. Here\, a superfluity of victuals embodied a symbolic image lying between the material and spiritual worlds: signifying the transitory state of matter while implying the ineradicable state of the spirit. In Claesz&rsquo\;s paintings food took on the meaning of deviating from the two worlds by suppressing the senses. \;Basket of Fruit \;is a work by the Italian baroque painter Michelangelo Merisi da C aravaggio (1571-1610). This painting did not portray lush vegetation at the height of bloom\, but rather a basket of fruit on the verge of decay. With drooping clusters of grapes\, a bug-bitten apple and withered leaves\, Car avaggio presented us with an animated\, immediate reality. His basket of fr uit forces us to confront the fragility of life and the inevitability of de ath.

Food has always been an active participant in the human wor ld. Food has its own unique language. It is visual\, auditory\, gustatory\, olfactory\, tactile. It conveys and corresponds\, either directly or metap horically\, striking straight at the subtlest of ideas through the human se nses. Through the channel of human thought\, it allows us to resonate with all our senses\, taking us through a limit-experience\, a spiritual awakeni ng. The magical power of food lies in the complexity of images it possesses \, and these multiple images are its greatest area of abundance. &ldquo\;Th e Testimony of Food&rdquo\; attempts to practice the language\, thought and symbols of food\, and even to create or intuit a unique drama from it. &ld quo\;The Testimony of Food&rdquo\; explores the many facets of cuisine\, fr om its forms to its text. It endows food with a theatrical role\, allowing food to be viewed as a performer\, and allowing the viewer to ponder the me tadrama that food acts out. And standing on such a foundation of ideas\, th is exhibition not only explores the technical level of food\, its forms and aesthetic expressions\, but also ruminates on and revisits humankind&rsquo \;s must fundamental desires\, embarking on the ultimate pursuit of the cer ebral/visceral\, the rational/irrational in human life.

Food Theatre Scripts:

Scene 1: Faith

Sharing food is the most ancient form of social interaction in human history. In Latin A merica\, devout Catholics take food and pray together on pilgrimage. In Tai wan temples always prepare a bountiful supply of victuals during major fest ivals\, for the sustenance of worshippers. Here\, food makes people&rsquo\; s faith fuller and more substantial. Food gives cohesion to a gathering\, a llowing people&rsquo\;s mutually interflowing feelings of intimacy to take deep root. Expressed at the psychological level\, the experience of breakin g bread together through the vehicle of religion awakens the spiritual dime nsion of humankind&rsquo\;s survival instinct\, activating the deepest stra ta of the human soul. In the contemporary age\, eating has become a form of intellectual faith\, from vegetarianism to cucina povera (&ldquo\;cuisine of the poor&rdquo\;). Through food\, we may consciously criticize and refle ct on the environment and society\, and thus gain fresh perspective.
< br />Scene 2: Desire
Consumed\, absorbed\, broken dow n and digested\, food fulfills our physiological needs\, and also replenish es the energy the body has expended. Yet unrestrained overeating is a human attempt to fulfill our own unbounded desires\, compelling our rapacious ps yches to expand without check and overwhelm our physiological functions. De sire is like the roots of a plant\, buried deep in the earth and hidden out of sight\, continuously growing to maintain the plant&rsquo\;s life. Accor ding to rhizome theory\, desires are the subconscious expressions of the de epest regions of the human soul. They ceaselessly grow\, endowed with form\ , so that we may rely on them for our survival. In this way\, overeating re presents an archetype of human desire. It alters our lives\, leading to ent irely new likenesses.

Scene 3: Culture
In some sense\, food is built on a system of lineage and inheritance\; as a re sult\, it possesses the qualities of culture. These qualities are of a spir itual rather than a material nature\, and they become habitual behavior whe n passed on from one generation to the next. For example\, the documentary &ldquo\;Noodle Road&rdquo\; produced by KBS of Korea attempted to answer th e question\, &ldquo\;Where did noodles first appear?&rdquo\; Many archeolog ists believe that Xinjiang\, the starting point of the Silk Road that conne cted East and West\, was the cradle of the noodle. According to Chinese his torical data\, the earliest noodles can be traced back to the Eastern Han d ynasty about 1900 years ago. Noodles have become an inseparable part of Chi nese people&rsquo\;s dining habits. Because their shape is &ldquo\;long and thin&rdquo\; (a homonym for &ldquo\;longevity&rdquo\;)\, noodles are also considered symbols of long life. And so it has become a tradition to eat no odles to celebrate one&rsquo\;s birthday. Further up north in Korea\, noodl es are sacraments of worship. In the ceremonies of Southeast Asia\, they sy mbolize happiness. No matter what meaning it takes\, once food is accepted\ , it forms no ideological divide. Whatever antagonisms may exists in a soci ety surrounding religion or ethics\, food explores the foundation hidden be neath thoughts\, and dining traditions become a part of the cultural inheri tance.

Scene 4: Memory
Food is a kind of m emory. Food is a return to life. Taste is not merely the physiological trig gering of our taste buds to select food\, but is also driven by certain pow erful feelings\, manifested at a certain distance. Memory becomes whole and takes on meaning only when food joins the spectrum of elements in the mnem onic palette. Like a crystalline structure\, memory gains emotional specifi city when augmented by the tastes of food\, wakening our feelings\, be they piquant or muted\, joyful or painful.

Scene 5: Relation ship
Food\, family and faith are the values that sustain huma nkind\, and over time they grow into &ldquo\;tradition.&rdquo\; In both Eas t and West\, traditions do not disappear\, but persist through change. In a family\, the dining table is the place where family members bond\, and the auguries of new relations may be witnessed. In Taiwan\, Japan\, South Kore a and some Southeast Asian countries\, people use food to symbolically comm emorate ancestors or venerate gods. Food builds connections between family members. People interact with gods and ghosts through food too. From the pe rspective of contemporary psychology\, food creates power relationships amo ng people\, and between people and spirits. This bespeaks the spiritual dif ference between man and animal. Therefore\, food illustrates something exce edingly complex: the simultaneous coexistence of love and hate\, respect an d disdain in the same rite.

Scene 6: Decadence< br />In his &ldquo\;Treatise on Modern Stimulants\,&rdquo\; Honoré\; de Balzac considered the role of &ldquo\;tabac.&rdquo\; He wrote: &ldquo\;H umanity probably never dreamed what joy could be gained from being a chimne y.&rdquo\; The poor would rather starve and smoke than receive food or coin . Here\, &ldquo\;tabac&rdquo\; refers to hallucinogenic opium\, derived fro m poppy seeds\, or tobacco inhaled in hookahs. In different countries\, the y are given different names and forms. These elegant smoking devices may ev en approach the level of exquisite works of art. Smoke tinted with the scen t of flowers swirls up slowly\, pure and white. The entire process\, from p reparation to inhalation\, is like a sacred ritual. When the smoke expands in the mouth and hits the brain\, it&rsquo\;s like beautiful religious musi c leading us to fly across the sky. There\, we no longer feel the weight of the mundane world. We soar toward a beautiful realm\, perhaps to paradise. All of a sudden\, it takes on concrete form. Except for hallucinations\, n othing remains!

Scene 7: Knowledge
The Fre nch gastronome Brillat Savarin once declared that &ldquo\;dining habits rev eal the character of a generation.&rdquo\; According to this idea\, Balzac contended that tobacco decimated the Turks and the Dutch\, chocolate might have caused the decline of Spain\, and Russia was a tyranny built on alcoho l (Traité\; des excitants modernes). Today\, the World Health Organiz ation suggests that 5-15 percent of our calorie intake should come from pro tein\, 15-30 percent from fat\, and 50-75 percent from cholesterol. Thanks to the advance of health science\, experts adamantly admonish us what to ea t\, and what not to eat. In this era\, a healthy diet has become a lifestyl e guide. &ldquo\;Low fat\,&rdquo\; &ldquo\;high fiber&rdquo\; and &ldquo\;o rganic&rdquo\; have become the biggest selling points. Vegetables are more popular than meat\, and a glut of sugar and starch are verboten. We believe in the knowledge on which health and dietary experts insist\, treating it as dogma for cultivating a healthy life. &ldquo\;Too much&rdquo\; and &ldqu o\;not enough&rdquo\; determine the dining habits of our generation.
< br />Scene 8: Consumption
Food causes war. In human h istory\, there have been too many incidents of people fighting over food. T he struggle between humanity and Mother Nature usually involves food as wel l. Today\, a surfeit or dearth of food will lead to conflict &ndash\; the w ar of market supply and demand\, the war for corporate survival. Recently\, the over-production of peaches has led to fierce demonstrations by farmers in Europe. The relationship between humanity\, farming and nature has turn ed to a complex interconnection between technology\, corporations and consu mers. In the era of consumption\, food is mass-produced by corporations. Pl anting the earth is the source of food for fewer and fewer of us\, as food retreats farther and farther from our lives. We cannot force anyone to pond er the debate over food ethics\, whether they are struggling to fill their bellies or yearning to delight their palates. According to the psychology o f consumption\, modern people cannot tolerate monotonous dining experiences \; therefore\, a kitchen rich in dining culture can never rival multination al corporations\, with their unending pursuit of novelty.

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食物箴言:思想與食物
The Testimony of Food: Ideas and Food< br />Date: February 07 - May 03\, 2015
Opening: 2015.02.06\, 15:00PMVenue: \;Taipei Fine Arts Museum\, Galleries 1 A\, 1B
Sponsor: Colorful Life|耕易溫馨生活館
Curator by \; Jo Hsiao|蕭 淑文
Assistant Curator by Bohsin Chien|簡伯勳
Organizer by Waverly Lee | 李瑋芬
Opening Performance by Yi Wei Keng | 耿一偉

展出藝術家Artists:
張恩滿+半路咖啡Chang En Man +Halfway Caf&eacut e\;、王德瑜Wang Te Yu、黃博志Huang Po Chih、林其蔚Lin Chi Wei、陳慧嶠Chen Hui Chiao、廖堉安Liao Yu An、袁廣鳴Yuan Goang Ming、王董碩Wang Tung Shuo、郭文泰Craig Quintero、劉信佑Liu Hsin Yu、廖祈羽Liao Chi Yu、王俊傑Wang Jun Jieh、楊俊Yan g Jun、林明弘 Michael Lin、湯皇珍+謝東寧Tang Huang Chen + Hsieh Tung Ning、張暉明Chang Huei Ming、何采柔Joyce Ho 、侯怡亭 Hou I Ting、李明學Lee Ming Hsueh、涂維政Tu Wei Cheng、邵樂人Larry Shao

DTEND:20150503 DTSTAMP:20150129T202626 DTSTART:20150207 GEO:25.1253109;121.530997 LOCATION:Taipei Fine Arts Museum\,181\, ZhongShan N. Road\, Sec. 3\, \nTaip ei \, SEQUENCE:0 SUMMARY:The Testimony of Food: Ideas and Food\, Wang Te-Yu\, Po-Chih Huang\ , Lin Chi-Wei\, Chen Hui-Chiao\, Liao Yu-an\, Yuan Goang-ming\, Wang Tung-S huo\, Craig Quintero\, Liu Hsin-Yu\, Liao Chi-Yu\, Wang Jun-Jieh\, Yang Jun \, Michael Lin\, Tang Huang-Chen\, Chang Huei-Ming\, Joyce Ho\, Hou I-Ting\ , Lee Ming-Hsueh\, Tu Wei-Cheng\, Larry Shao\, Hsieh Tung-Ning UID:371849 END:VEVENT BEGIN:VEVENT DTEND:20150206T170000 DTSTAMP:20150129T202626 DTSTART:20150206T150000 GEO:25.1253109;121.530997 LOCATION:Taipei Fine Arts Museum\,181\, ZhongShan N. Road\, Sec. 3\, \nTaip ei \, SEQUENCE:0 SUMMARY:The Testimony of Food: Ideas and Food\, Lin Chi-Wei\, Liao Chi-Yu\, Yuan Goang-ming\, Joyce Ho\, Liu Hsin-Yu\, Po-Chih Huang\, Tang Huang-Chen \, Chang Huei-Ming\, Chen Hui-Chiao\, Hou I-Ting\, Yang Jun\, Wang Jun-Jieh \, Michael Lin\, Lee Ming-Hsueh\, Craig Quintero\, Larry Shao\, Wang Te-Yu\ , Hsieh Tung-Ning\, Wang Tung-Shuo\, Tu Wei-Cheng\, Liao Yu-an UID:371850 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150823 DTSTAMP:20150129T202626 DTSTART:20150509 GEO:33.466978;-112.072569 LOCATION:Phoenix Art Museum\,1625 N. Central Avenue \nPhoenix\, AZ 85004 SEQUENCE:0 SUMMARY:Hidden Histories in Latin American Art UID:371777 END:VEVENT BEGIN:VEVENT DTEND:20150509T170000 DTSTAMP:20150129T202626 DTSTART:20150509T100000 GEO:33.466978;-112.072569 LOCATION:Phoenix Art Museum\,1625 N. Central Avenue \nPhoenix\, AZ 85004 SEQUENCE:0 SUMMARY:Hidden Histories in Latin American Art UID:371778 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Drawn from the impr essive collection of the Vilcek Foundation in New York\, this exciting exhi bition presents rarely-before seen masterworks of American Modernism.

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Works in the exhibition date fr om the early 1900s to the Post-war era. A wide range of modern stylistic ap proaches in various media (paintings\, sculpture\, and works on paper) are presented\, with particular emphasis given to American artistic responses t o the geometric compositions of cubism\, the nature-based abstractions by a rtists of the Stieglitz Circle\, and the regionally-inspired modernism prod uced in the American Southwest after the first World War.

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To complement the Vilcek collection\, Phoen ix Art Museum will exhibit approximately 40 examples of modernist American art from the Museum&rsquo\;s own superb collection of art from this era. Th e combined installations will offer a thorough representation of the many w ays in which American artists responded and contributed to modernist trends in the early twentieth century.

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The exhibition is organized by The Philbrook Museum of Art.

DTEND:20150906 DTSTAMP:20150129T202626 DTSTART:20150605 GEO:33.466978;-112.072569 LOCATION:Phoenix Art Museum\,1625 N. Central Avenue \nPhoenix\, AZ 85004 SEQUENCE:0 SUMMARY:From New York to New Mexico: Masterworks of American Modernism from the Vilcek Foundation Collection UID:371775 END:VEVENT BEGIN:VEVENT DTEND:20150605T170000 DTSTAMP:20150129T202626 DTSTART:20150605T100000 GEO:33.466978;-112.072569 LOCATION:Phoenix Art Museum\,1625 N. Central Avenue \nPhoenix\, AZ 85004 SEQUENCE:0 SUMMARY:From New York to New Mexico: Masterworks of American Modernism from the Vilcek Foundation Collection UID:371776 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition expectation th at photographs are infinitely reproducible multiples. Typically photographs are printed from a negative or digital capture\, and can be produced in ed itions ranging from a few prints to several hundred. However\, some photogr aphic processes &ndash\; including daguerreotypes\, tintypes\, and Polaroid prints &ndash\; produce only a single\, one-of-a-kind object.

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In other cases\, artists choose to use materials in a way that produces a unique artwork\, such as sculpting and collaging w ith or painting and drawing on photographs. The exhibition will include wor ks from the entire history of the photographic medium\, from the 1840s to t he present day. \; Unique photographs by David Emitt Adams\, Pierre Cor dier\, Betty Hahn\, Bill Jay\, Chris McCaw\, Joyce Neimanas\, Susan Rankait is and Andy Warhol will be included.

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Tweet your unique experience with #1ofakindphoto on Instagram and Twitter.< /p> DTEND:20151025 DTSTAMP:20150129T202627 DTSTART:20150411 GEO:33.466978;-112.072569 LOCATION:Phoenix Art Museum\,1625 N. Central Avenue \nPhoenix\, AZ 85004 SEQUENCE:0 SUMMARY:One-of-a-Kind: Unique Photographic Objects from the Center for Crea tive Photography\, Andy Warhol\, Susan Rankaitis\, Joyce Neimanas\, Chris M cCaw\, Bill Jay\, Betty Hahn\, Pierre Cordier\, David Emitt Adams UID:371773 END:VEVENT BEGIN:VEVENT DTEND:20150411T170000 DTSTAMP:20150129T202627 DTSTART:20150411T100000 GEO:33.466978;-112.072569 LOCATION:Phoenix Art Museum\,1625 N. Central Avenue \nPhoenix\, AZ 85004 SEQUENCE:0 SUMMARY:One-of-a-Kind: Unique Photographic Objects from the Center for Crea tive Photography\, David Emitt Adams\, Pierre Cordier\, Betty Hahn\, Bill J ay\, Chris McCaw\, Joyce Neimanas\, Susan Rankaitis\, Andy Warhol UID:371774 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Following the prolonged trauma of World War II\, a renewed public appetite for color and pattern flourish ed in Britain. Designers responded enthusiastically to the freedom of the p ost-war period\, creating dynamic and stimulating patterns inspired by art\ , science\, and everyday life. Czech-born Jacqueline Groag was one of the m ost versatile women designers of this period. From the colorful and playful to the abstract and representational\, Groag&rsquo\;s work contributed to Britain&rsquo\;s spirit of renewal and defined the popular &ldquo\;contempo rary&rdquo\; style. An extremely inventive artist with a finely tuned sense of color\, Groag utilized collage and drawing to develop her exceptional c hild-like visions.

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Pattern Play: The Contemporary Designs of Jacqueline Groag \;provides a rare opp ortunity to view these original works on paper alongside Groag's lively\, b old designs for furnishing textiles\, dress fabrics\, laminates\, and other decorative surfaces drawn primarily from the Denver collection of Jill A. Wiltse and H. Kirk Brown III.

DTEND:20150809 DTSTAMP:20150129T202627 DTSTART:20150404 GEO:33.466978;-112.072569 LOCATION:Phoenix Art Museum\,1625 N. Central Avenue \nPhoenix\, AZ 85004 SEQUENCE:0 SUMMARY:Pattern Play: The Contemporary Designs of Jacqueline Groag\, Jacque line Groag UID:371771 END:VEVENT BEGIN:VEVENT DTEND:20150404T170000 DTSTAMP:20150129T202627 DTSTART:20150404T100000 GEO:33.466978;-112.072569 LOCATION:Phoenix Art Museum\,1625 N. Central Avenue \nPhoenix\, AZ 85004 SEQUENCE:0 SUMMARY:Pattern Play: The Contemporary Designs of Jacqueline Groag\, Jacque line Groag UID:371772 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Na ch einer grossen Karriere in Deutschland\, u.a. als Lehrer am Bauhaus\, sah sich Paul Klee 1933 aufgrund der politischen Entwicklungen und als «\ ;entarteter Kü\;nstler»\; gezwungen\, in seine Heimatstadt Bern zu rü\;ckzukehren\, wo er sein einmaliges Spä\;twerk schuf.

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Die&nb sp\;Ausstellung vermittelt einen Ü\;berblick ü\;ber \;Klees k&u uml\;nstlerisches Gesamtwerk und hä\;lt bei \;seinen Berner Motiven \, Berner Sammlern und \;den wichtigen Berner Ausstellungen inne. Daneb en werden \;Klees Auswirkungen auf Berner Kunstschaffende sichtbar.&nbs p\;Das letzte Atelier von Paul Klee am Kistlerweg 6 in Bern wird \;reko nstruiert und erlaubt einen authentischen Einblick in die \;beeindrucke nd bescheidene Arbeitssituation eines der bedeutendsten \;Kü\;nstle r des 20. Jahrhunderts.

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DTEND:20150525 DTSTAMP:20150129T202627 DTSTART:20150214 GEO:46.9488917;7.4740985 LOCATION:Zentrum Paul Klee\,Monument im Fruchtland 3 \nBern\, 3006 SEQUENCE:0 SUMMARY:Klee in Bern\, Paul Klee UID:371551 END:VEVENT BEGIN:VEVENT DTEND:20150214T170000 DTSTAMP:20150129T202627 DTSTART:20150214T100000 GEO:46.9488917;7.4740985 LOCATION:Zentrum Paul Klee\,Monument im Fruchtland 3 \nBern\, 3006 SEQUENCE:0 SUMMARY:Klee in Bern\, Paul Klee UID:371552 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Gr eat art is not perfect. [&hellip\;] Perfectionist art does not move me.&nbs p\;
Henry Moore 1957

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Henry Moore (1898&ndash\;1986) is seen today as one of the most important English scul ptors of the 20th \;century. His early work from the 1920s and 1930s wa s initially controversial\, as the distortions and simplifications of the h uman figure were seen as an attack on traditional forms of representation.& nbsp\;

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Moore continued his liberation of the figure from the classical tradition. His engagement with so-called &lsquo\;primitive&rsquo\; art as w ell as with contemporary sculptural forms of expression were of great impor tance to Moore&rsquo\;s development. He regularly visited the British Museu m in London\, where he devoted intense study to non-European art. In Paris he also made contact with the avant-garde &ndash\; with Constantin Brancusi and Pablo Picasso\, among others.

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In the 1930s Moore increasingly developed abstract biomorphic forms. He based these on his collection of bo nes\, shells and stones\, in which he was able to study natural metamorphos is &ndash\; growth\, wear\, change. His artistic goal was to create living forms as nature does. For that reason he emphasized the direct treatment of the material &ndash\; stone or wood. Only later did he also have his sculp tures cast in metal. Moore became one of the protagonists of the London art scene. He expressed himself in several essays about his own work\, and ass umed an autonomous position. At the same time\, he refused to allow himself to be entirely co-opted by contemporary art movements\, either by Surreali sm or geometrical abstraction.

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During the Second World War Moore fl ed the air raids on London for the countryside\, where he lived until his d eath. During that time he produced only a few sculptures\, but captured the situation of people seeking refuge in the London Underground in numerous d rawings. In the post-war era Moore increasingly had the opportunity to show his works abroad. He also realized large numbers of commissions for art in the public space. His sculptural work was concentrated\, as it had been be fore the war\, on the depiction of the human figure. Now he was criticised by younger artists\, because clinging to figuration was considered too trad itionalist. Whether Moore was making abstract or figurative sculptures\, he was always concerned with developing a universal pictorial language out of elemental forms.

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In his late work above all he produced an extensi ve body of over 700 lithographs. This shift from sculpture to printed work may also have had something to do with the ageing artist&rsquo\;s declining manpower. With his printed works Moore created a new artistic space for hi mself far from his sculptural works. \;

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The exhibition shows with 2 8 sculptures and 42 works on paper from the collections of the Tate and the British Council for the first time in 25 years in Switzerland an overview of the work of one of the greatest sculptors of the 20th century.

\n DTEND:20150525 DTSTAMP:20150129T202627 DTSTART:20150130 GEO:46.9488917;7.4740985 LOCATION:Zentrum Paul Klee\,Monument im Fruchtland 3 \nBern\, 3006 SEQUENCE:0 SUMMARY:Solo Exhibition\, Henry Moore UID:371549 END:VEVENT BEGIN:VEVENT DTEND:20150129T200000 DTSTAMP:20150129T202627 DTSTART:20150129T180000 GEO:46.9488917;7.4740985 LOCATION:Zentrum Paul Klee\,Monument im Fruchtland 3 \nBern\, 3006 SEQUENCE:0 SUMMARY:Solo Exhibition\, Henry Moore UID:371550 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition is presented in Yekaterinburg by the Art Center &ldquo\;Perinnye Ryady&rdquo\; in St-Peter sburg. It consists of original graphic art works and posters by 20 most imp ortant pop art artists.

DTEND:20150322 DTSTAMP:20150129T202627 DTSTART:20150206 GEO:56.834585;60.616523 LOCATION:Yekaterinburg Gallery of Modern Art\,32\, Krasnoarmeyskaya-St. \nY ekaterinburg\, Yekaterinburg SEQUENCE:0 SUMMARY:Pop Art Forum\, Banksy\, Andy Warhol\, Robert Rauschenberg\, Group Show\, Robert Indiana UID:371547 END:VEVENT BEGIN:VEVENT DESCRIPTION:

XVA Gallery is pleased to anno unce the solo exhibition of Iranian born\, New York based\, artist Samira A bbassy - An Autobiography &\; other Confessions. This is the first time Abbassy will exhibit her work in the UAE.

The exhibition will consist of oil paintings on canvas or gesso panel\, accompanied by works o n paper\, from 2009-2014. Abbassy&rsquo\;s works are very process based\, e xploring ideas of cultural identity as expressed through self-portraits and re-interpreted stories of her homeland. Abbassy states &lsquo\;I use self- portraiture as a way of examining and defining myself in a constantly shift ing cultural context. Although seemingly autobiographical\, the figures are not me\, but &ldquo\;the archetypal self&rdquo\;. &ldquo\;The Self&rdquo\; is examined as a phenomenon which combines autobiographical\, cultural\, p sychic and chemical aspects\, in which events/ narratives become incorporat ed into or cause dismemberment of the body.&rsquo\;

DTEND:20150401 DTSTAMP:20150129T202627 DTSTART:20150207 GEO:25.2145565;55.3032906 LOCATION:XVA Gallery Al Fahidi\,Al Fahidi Neighborhood \nBur Dubai\, SEQUENCE:0 SUMMARY:An Autobiography & Other Confessions\, Samira Abbassy UID:371543 END:VEVENT BEGIN:VEVENT DTEND:20150207T210000 DTSTAMP:20150129T202627 DTSTART:20150207T180000 GEO:25.2145565;55.3032906 LOCATION:XVA Gallery Al Fahidi\,Al Fahidi Neighborhood \nBur Dubai\, SEQUENCE:0 SUMMARY:An Autobiography & Other Confessions\, Samira Abbassy UID:371544 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150215T120000 DTSTAMP:20150129T202627 DTSTART:20150215T110000 GEO:45.5262912;-122.6831303 LOCATION:Waterstone Gallery\,424 NW 12th Ave \nPortland\, Oregon 97209 SEQUENCE:0 SUMMARY:'Una Voce Fra Le Voci' Artists' Talk\, Group Show UID:371542 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Group Show of Gallery Artists

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First Thursday Recep tion\, February 5th\, 6-8pm

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Artists' Talk\, February 15th\, 11am

DTEND:20150301 DTSTAMP:20150129T202627 DTSTART:20150203 GEO:45.5262912;-122.6831303 LOCATION:Waterstone Gallery\,424 NW 12th Ave \nPortland\, Oregon 97209 SEQUENCE:0 SUMMARY:Una Voce Fra Le Voci\, Group Show UID:371540 END:VEVENT BEGIN:VEVENT DTEND:20150204T200000 DTSTAMP:20150129T202627 DTSTART:20150204T170000 GEO:45.5262912;-122.6831303 LOCATION:Waterstone Gallery\,424 NW 12th Ave \nPortland\, Oregon 97209 SEQUENCE:0 SUMMARY:Una Voce Fra Le Voci\, Group Show UID:371541 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Reception sponsored by KPMG

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Antonia Hirsch's pract ice testifies to a long-standing engagement with the quantitative\, spatial and syntactic systems that structure an understanding of our universe.&nbs p\; The opposite of chaos\, cosmos can be defined as a complex and organize d system: the ordered universe. \; Hirsch's work often relates these or dering structures to embodied and visual experience\, considering how the i deological nature of these representational systems expresses itself throug h particular forms of abstraction.

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Negative Space is an exhibition of new work that investigates the in terrelation of inner and outer worlds. \; As the title indicates\, the works consider the space around and between subjects and systems. \; Th e installation includes images and objects whose origin ranges from astrono my to contemporary mobile devices acting as points of departure to address a complex network of speculative ideas. \; The exhibition's exploration of seeing and believing manifests in evocations of outer space and devices \, such as the Claude glass (or black mirror) used by 18th and 19th century landscape painters\, that simultaneously pull the user into an interior wo rld while projecting worlds away. \; This thread between inner and oute r space continues in Hirsch's dramatic anamorphic video projection of an as teroid hurtling through a black void. \; On closer inspection\, the ast eroid reveals itself to be a far more terrestrial entity - an old potato\, pocked and wrinkled. \; Together with a framed image of the genuine art icle (Asteroid 433 Eros) and a glass screen with the ambiguous profile of e ither the asteroid or the potato drawn upon it\, the viewer finds their ref lection similarly thrust into the fold. \;

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As all cosmologies attempt to understand the implicit order withi n a whole\, Hirsch's work opens up a space for speculation on desire and hu man experience. \; Taking up a history of reflection\, Negative Spa ce sets forth inquiries into the contexts of technology\, philosophy a nd creative practice\, questioning how we and our devices - both historical and present day - favour the image over the "real."

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Hirsch is a Berlin based artist\, writer and editor. \; Her work has been exhibited at the Contemporary Art Gallery\, Vancouver\; The Power Plant\, Toronto\; Taipei Fine Arts Museum\; Tramway\, Glasgow\; a nd ZKM Museum of Contemporary Art\, Karlsruhe\, among others\, and is held in the public collections fo the Vancouver Art Gallery\, National Gallery o f Canada\, and Sackner Archive of Concrete &\; Visual Poetry\, Miami Bea ch. \; Her writing and projects have appeared in artecontexto\ , C Magazine\, Fillip\, and The Happy Hypocrite.  \; She is the editor of the anthology Intangible Economies (< em>Fillip\, 2012).

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The exhibitio n Negative Space is a catalyst for a parallel publication operatin g between an artist book and a topical anthology that will be released by S FU Gallery in 2015. \; Edited and introduced by Hirsch\, it contains co nversations and texts by artists\, writers\, and theorists.

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Negative Space is organized by the Southern Alberta Art Gallery in collaboration with SFU Galleries. \; Funding as sistance from the Canada Council for the Arts\, Alberta Foundation for the Arts\, and the City of Lethbridge.

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DTEND:20150412 DTSTAMP:20150129T202627 DTSTART:20150214 GEO:49.69597;-112.8370982 LOCATION:Southern Alberta Art Gallery\,601 Third Avenue South \nLethbridge\ , Alberta T1J 0H4 SEQUENCE:0 SUMMARY:Negative Space\, Antonia Hirsch UID:371538 END:VEVENT BEGIN:VEVENT DTEND:20150214T220000 DTSTAMP:20150129T202627 DTSTART:20150214T200000 GEO:49.69597;-112.8370982 LOCATION:Southern Alberta Art Gallery\,601 Third Avenue South \nLethbridge\ , Alberta T1J 0H4 SEQUENCE:0 SUMMARY:Negative Space\, Antonia Hirsch UID:371539 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Reception sponsored by KPMG

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This latest body of wo rk by Graeme Patterson tells a nostalgic story of two characters who embark on a series of bittersweet adventures. \; From childhood to adulthood\ , stages of life are conveyed in idiosyncratic animated videos that accompa ny large sculptures containing highly detailed miniature worlds. \; Eac h of the sculptures reflects on a stage of life. \; Though Patterson fo cuses on male friendships\, viewers can relate to the subtleties and comple xities inherent in all close relationships.

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Figures of a bison and a cougar represent Patterson and a childhood friend who moved away. \; The animals are central characters throughout the loose\, yet highly complex narrative that is a point of connection for all the works in the exhibition. \; In The Mountain\, the chi ldhood homes of the young friends are recreated. \; Viewers can peer in side tiny windows to see rooms decorated as Patterson remembers them from t he 1980s\, with furniture and flooring made from tiny Popsicle sticks\, and scraps of fabric used for carpet and curtains. \; In Grudge Match< /em>\, comprised of a set of gymnasium bleachers\, scenes of high school sp orts are played out in the projection. \; Viewers are invited to sit on the first three rows of the bleachers to watch the animation. \; Two c harred bunk beds are joined to form Camp Wakonda\, which is popula ted with dramatic scenes from Patterson's memory including a school bus cra sh and tiny projected flames. \; Player Piano Waltz is a funct ioning player piano that represents the completed transformation to manhood . \; A modified cylinder plays Patterson's own composition\, which is a ctivated along with projections when viewers deposit a dollar coin. \; Atop the piano is a model building in which the bison and cougar now enact the pastimes of adulthood. \;

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To conclude the experience of this exhibition\, viewers are encouraged to watc h Secret Citadel\, a 30-minute animation that plays continuously.& nbsp\; This piece brings together the many scenes within each sculpture\, a nd evokes the vulnerabilities of friendship and of loneliness\, love and lo ss. \;

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Graeme Patterson lives in Sackville\, New Brunswick. \; Since graduating from NSCAD in 2002 his w ork has shown nationally and internationally including several solo exhibit ions at significant Canadian art galleries. \; Some of his recent accom plishments include\; 2012 Canada Council for the Arts Victor Martyn Lynch-S taunton Award (media arts)\, Atlantic finalist for the 2014 and 2009 Sobey Art Award\, finalist for the Lieutenant Governor of Nova Scotia Masterworks Arts Award\, and a 2011 Juno award nomination for album package of the yea r.  \; \;

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Graeme Patterso n: Secret Citadel is co-produced by the Art Gallery of Hamilton (AGH) and the Art Gallery of Nova Scotia (AGNS) and is co-curated by Melissa Benn ett\, Curator of Contemporary Art\, AGH and Sarah Fillmore\, Chief Curator\ , AGNS. \; Funding assistance from the Canada Council for the Arts\, Al berta Foundation for the Arts\, and the city of Lethbridge.

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DTEND:20150412 DTSTAMP:20150129T202627 DTSTART:20150214 GEO:49.69597;-112.8370982 LOCATION:Southern Alberta Art Gallery\,601 Third Avenue South \nLethbridge\ , Alberta T1J 0H4 SEQUENCE:0 SUMMARY:Secret Citadel\, Graeme Patterson UID:371536 END:VEVENT BEGIN:VEVENT DTEND:20150214T220000 DTSTAMP:20150129T202627 DTSTART:20150214T200000 GEO:49.69597;-112.8370982 LOCATION:Southern Alberta Art Gallery\,601 Third Avenue South \nLethbridge\ , Alberta T1J 0H4 SEQUENCE:0 SUMMARY:Secret Citadel\, Graeme Patterson UID:371537 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150404 DTSTAMP:20150129T202627 DTSTART:20150213 GEO:47.5657684;7.5738861 LOCATION:von Bartha\, Basel\,Kannenfeldplatz 6 \nBasel\, 4056 SEQUENCE:0 SUMMARY:Solo Exhibition\, Terry Haggerty UID:371535 END:VEVENT END:VCALENDAR