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

One of the most Influential fi gures &thinsp\;in post war British art\, Stuart Brisley brings his own bran d of expressive work to Modern Art Oxford. \; This exhibition \;rev eals aspects of Brisley&rsquo\;s broader artistic practice and includes ear ly and rarely seen works alongside more recent paintings\, video and a new sculpture.

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&ldquo\;All work needs con tent\,&rdquo\; says Brisley\, &ldquo\;without content there is no work.&rdq uo\; Alongside the distinct formalism that underpins six decades of practic e\, Brisley has unflinchingly probed the contemporary political\, cultural and social contexts in which we live\, in particular the monarchy and the B ritish class system.

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Commissioned by Modern Art Oxford Stuart Brisley's \;new sculptural work \;Stat e of Denmark \;incorporates a crown which hangs above a wedge shap ed structure with an open end. One side of which symbolizes the monarchy wi th the other representing a republican proposition. Overlooking the sculptu re is a balcony and inside a pencil portrait of the child prince George can be seen. Visitors are invited to comment on the subjects of monarchy and r epublicanism on the panels which form an integral part of the work.

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This show also includes film and performance photography of some of Brisley&rsquo\;s most iconic work and traces enduri ng themes in his work such as the body as a tool for directly addressing in dividual autonomy and fundamental notions of power\, authority\, \;comm unity \;and freedom.

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State of Denmark \;surveys the breadth and consistent inventiveness of Bri sley&rsquo\;s practice and asserts his influence of one of the most importa nt and enduring voices in international contemporary art.

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Please feel free to use photography and social media i n all of the galleries.

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DTEND:20141116 DTSTAMP:20140920T000513 DTSTART:20140920 GEO:51.7505585;-1.2579166 LOCATION:Modern Art Oxford\,30 Pembroke Street \nOxford\, OX1 1BP SEQUENCE:0 SUMMARY:The State of Denmark\, Stuart Brisley UID:357203 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Procrastination is a bacterium that thrives in condition s of high workloads

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Interruption \;is the sixth iteration of Townhouse's biennial student and recent graduate exhibi tion\, "The Pick."  \;Previous Picks have challenged the problems assoc iated with shows that carry labels such as "emerging" or "young\," which sa tisfy a fetish for and expectation of experimentation\, making it okay to d ismiss the artist and their work as "not ready" if they do not live up to a premeditated standard of potential and endorsing preconceived notions of w hat "young artist" work is supposed to look like.

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In this attempt\,  \;Interruption \;intervenes to question and bypas s such labels by bringing together artists (and their artworks) under a con cept of imposed manipulations that could be influencing our behavior uncons ciously.

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 \;In the beginning was the noise

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Parasites alter host function by attacking the immune system\, control ling secretions of fighting bodies against intruders\, allowing for their s urvival within the body of the host.

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 \;The orient ed movement of an organism in response to gravity

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In s tates where the instinct to survive is activated\, behavioral mechanisms an d basic functioning become exposed and vulnerable to attack by bodies that can intervene and eventually alter host behavior.

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&nbs p\;Induced vulnerability strategies

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Hosts begin to beh ave autonomously and willingly\, to achieve the parasite's own desires\, wh ilst simultaneously leading themselves into their own destruction.

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 \;Unintentional self-destruction

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Int erruption proposes a theory of deliberately manufactured strategies that ma y lead to states of procrastination and self-imposed\, unintentional disord er.

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 \;The parasite parasites the parasited\n

Special thanks to Kaya Behkalam\, Khaled Galaleldeen\, Medra r and Ania Szremski for their support\, and a special thanks to Ahmad Aiyad for the design.

DTEND:20141029 DTSTAMP:20140920T000513 DTSTART:20140921 GEO:30.0444196;31.2357116 LOCATION:The Townhouse Gallery\,Hussein El Me'mar Pasha St. off Mahmoud Bas youni St.\nCairo \, SEQUENCE:0 SUMMARY:Interruption\, Amna Badawy\, Nouran Sherif\, Muhammad Taymour\, Ree m El-Maghraby\, Shadwa Ali\, Tuqa El-Harouny UID:357093 END:VEVENT BEGIN:VEVENT DTEND:20140921T220000 DTSTAMP:20140920T000513 DTSTART:20140921T200000 GEO:30.0444196;31.2357116 LOCATION:The Townhouse Gallery\,Hussein El Me'mar Pasha St. off Mahmoud Bas youni St.\nCairo \, SEQUENCE:0 SUMMARY:Interruption\, Shadwa Ali\, Amna Badawy\, Tuqa El-Harouny\, Reem El -Maghraby\, Nouran Sherif\, Muhammad Taymour UID:357094 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The MMOMA exhibition &ldquo\;The Islands of Yuri Sobolev&rdq uo\; is a continuation of the series of projects on the history of Russian contemporary art dating to the latter part of the 20th \;cen tury. A retrospective of the work by Yuri Sobolev (aka Yuri Nolev-Sobolev\, 1928-2002) will be held at the museum venue in 17 Ermolayevsky Lane. The e xhibition comprises graphic works\, book and magazine illustrations\, anima ted cartoons and slide films. It also includes video and photographic docum ents pertaining to the artist&rsquo\;s work for theatrical productions: vid eo footage of a multi-screen show for ICSID World Design Congress (1975)\; slide films for the following theatrical productions: \;What Happen ed after the Rescue \;(1987-1988)\, \;Post \;(198 1)\, and \;ODMO \;(1988) portraying the new wave of 1980s artists. Materials pertinent to the performances of the students of the Yur i Sobolev School\, and those relating to the KukArt festival and the archiv es are also part of the exhibition. Exhibits displayed at each floor of the venue correspond to the particular period of the artist&rsquo\;s career. & nbsp\; \;

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The works on view span more than forty years of Yuri Sobolev&rsquo\;s career. It is worthy of note that Russia&rsquo\;s contempo rary art has been around just a little bit longer. The artist&rsquo\;s stra tegy rested on his pursuit of modern approaches and novelty\, the above str iving mostly formed the concept of his art. The idea of combining classical art and today&rsquo\;s world images in the same centerfold\, in the same c over or a frame &ndash\; the technique that became all the rage several dec ades later &ndash\; \; that idea dawned upon the artist far too early. Sobolev used a variety of media for reproducing that method in his original graphic works\, on the pages of \;Znaniye-Sila \;(Knowled ge Is Power) magazine\, in the sketches for the animated film \;Gla ss Concertina \;(1968) directed by Andrei Khrjanovsky\, in the ann ual publication \;Nauka i Chelovechestvo \;(Science and Hu manity) of 1962 and 1963\, and in several other works. Sobolev transferred the strategy based on the tradition of avant-garde editing pioneered by Ser gei Eisenstein and Alexander Rotchenko into an area of multimedia experimen ts &ndash\; the totally new and unexplored area as far as the artists of th e 1960s and the 1970s were concerned.  \;

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A multi-screen slide film made by Yuri Sobolev in collaboration with the director Yuri Reshetnik ov for the 1975 Congress of the International Council of Societies of Indus trial Design (ICSID) became the summit of the artist&rsquo\;s quest for new ways of the artistic expression. The congress took place in Moscow&rsquo\; s Rossiya cinema and concert hall. The multimedia show running more than 40 minutes on 30 screens was concocted of the images showing modern mechanism s and consumer goods. The images\, which had been borrowed from the Western catalogues\, were cut together with the images of artwork dating to differ ent times. Despite the revolutionary use of a multiscreen in terms of techn ology and aesthetics &ndash\; the multi-screen projection involved 16 slide projectors &ndash\; the ICSID show was eventually banned by the authoritie s who deemed it ideologically questionable. Aside from taking the opportuni ty of seeing the video footage pertinent to that ambitious project\, the sp ectator will also have a chance to take a closer look at the preparatory ma terials explaining the workings of the unique design.

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The experimen ts in the field of new media took place while the artist was giving shape t o his own plastic language. During his stint in the magazinesDekorativn oye Iskusstvo \;(Decorative Art) and \;Znaniye-Sila\,  \;Sobolev was one of the first USSR artists who started using a modula r grid i.e. the Western design novelty technique for arranging a magazine p age. He made good use of the technique as to his art too. In his oeuvre the grid became part of an artwork on purpose\; the grid would have several le vels/layers so that it could help reveal the artist&rsquo\;s ideas. Utilize d thus\, the pencil grid was transformed from the universal technical means to an artist&rsquo\;s module/sign for the purposes of modeling a &ldquo\;m icrocosm&rdquo\; of a graphic sheet. \;

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&ldquo\;The Islands of Yuri Sobolev will enable one to witness how certain ideas and approaches th at had been brought forth through the artist&rsquo\;s experiments with a pa rticular medium eventually resulted in most unusual discoveries in the cour se of his work with other media. \; The exhibition whose core consists of the Yuri Sobolev family collection and archive also includes the works p rovided by courtesy of the Moscow Museum of Modern Art\, the State Tretyako v Gallery\, the Cinema Museum\, National Center for Contemporary Arts\, and Kolodzei Art Foundation. Several pieces of art and archival materials are also on display by courtesy of foreign and Moscow private collectors.

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About the artist

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Yuri Sobolev was one of the key artists who helped to bring about the Russian contemporary art in the latt er part of the 20th \;century. The majority of his projects proved to be ahead of the times. The artist has been largely unknown to the public as yet. The 1960s saw him participating in the legendary exhibition marking the 30th \;anniversary of the Moscow Artists&rsquo\ ; Union. The exhibition was severely criticized by Nikita Krushchev for &ld quo\;avant-gardism.&rdquo\; In collaboration with his friend and studio&rsq uo\;s neighbor Ulo Sooster\, the artist was actively experimenting in a var iety of styles and trends of the 20th \;century art. Aside f rom indulging in Surrealism and Dadaism by drawing pictures\, the friends w ould also throw extravagant happenings in a Moscow café\; calledA rtisticheskoye \;(Artists&rsquo\; Café\;) in a bid to recons truct the bohemian atmosphere of \;Cabaret Voltaire. Sobolev&rsquo\;s apartment in downtown Moscow nearby Kirovskiye Vorota Squa re (nowadays called Myasnitskiye Vorota Square) became the site of &ldquo\; Nolev Ark&rdquo\; (1960-1961). It was the place that attracted artists\, po ets and jazz musicians\, not to mention the regular circle of friends. The &ldquo\;Ark&rdquo\; drew in the like-minded neighbors before long. The frie nds &ndash\; the artists who were lucky to get their studios in Sretensky B oulevard neighborhood (Ilya Kabakov\, Ernst Neizvestny\, Ulo Sooster\, Vikt or Pivovarov\, Vladimir Yankilevsky\, Anatoly Brusilovsky) formed the epony mous community. Many of them soon got united around the magazine \; Znaniye-Sila\, in which Sobolev worked for 13 years as chief artist. F rom 1980 to 1990\, Yuri Sobolev staged theatrical productions in theatres o f the &ldquo\;Urals Zone&rdquo\; in collaboration with the director Mikhail Khusid. In doing so\, he participated in a nonconformist yet notable refor m movement in the Soviet puppet theatre art of the 1970s &ndash\; 1980s. In 1990\, Sobolev moved to St. Petersburg to keep on staging theatrical produ ctions in the frame of Interstudio\, the International Studio of Synthesis and Animation\, which was founded in collaboration with M. Khusid. Since 19 93 he was also an art director of the KukArt Festival of Theatre\, Music an d Visual Arts. In 1994\, at the St. Petersburg Academy of Theatre Art\, he handpicked a class of artists to teach them a new course comprising lecture s on the history of modern art\, performance\, video art etc. The &ldquo\;Y uri Sobolev School&rdquo\;\, which also included practical training and par ticipation of students in exhibitions\, became the first education project of its kind in this country.

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About the curators&nbs p\;

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Anna Romanova is an art historian and an independent curator. S he authored several publications on contemporary art. She worked as senior research fellow in the Department of New Art Trends of the State Tretyakov Gallery from 2001 to 2006.

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Major exhibition projects:

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 \;

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Galina Metelichenko-Sobol eva is an artist\, a designer\, a teacher\, and a curator of the course &ld quo\;Graphic Design and Advertising&rdquo\; in the International School of Design in St. Petersburg. She works in the field of video art since 1996.\n

2006 &ndash\; 2014 &ndash\; an artist/exhibition manager at the Taur ide Palace museum.

DTEND:20141109 DTSTAMP:20140920T000513 DTSTART:20140917 GEO:55.749646;37.62368 LOCATION:Moscow Museum of Modern Art [17 Ermolaevsky]\,17 Ermolaevsky Lane \nMoscow \, SEQUENCE:0 SUMMARY:The islands of Yuri Sobolev\, Yuri Sobolev UID:357092 END:VEVENT BEGIN:VEVENT DESCRIPTION:

YUKINORI YANAGI

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Born in 1959 in Fukuoka\, Japan. Liv es and works in Hiroshima\, Japan.

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Yanagi is one of the most influe ntial Japanese artists of his generation. In his works Yanagi uses national symbols to question the politics and ideology of contemporary Japan. Yanag i works with several media and has used live ants\, neon lights and plastic toys to create his installations and scultpures.

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Yanagi was the fi rst Japanese artist to be awarded the Aperto prize at the Venice Biennale i n 1993. His solo exhibitions were held at Anthony d&rsquo\;Offay (London)\, Peter Blum (New York)\, Miyake Fine Arts (Tokyo)\, and he participated at numerous international exhibitions such as the 1996 São Paulo Biennial and the 1997 Biennale de Lyon. Yanagi was also one of the first non-American a rtists selected for the Whitney Biennial in 2000.

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In 1992 he had a solo exhibition at the Benesse Art Site Museum in Naoshima\, Japan and was captivated by the beauty of the islands of the Seto Inland Sea. Later\, in 1995\, he encountered the abandoned copper refinery in Inujima island\, to which he relocated and started the &ldquo\;Inujima Project&rdquo\;. Complet ed in 2008\, it is known today as The Inujima Seirensho Art Museum. Today Y anagi resides and works at Art Base Momoshima\, a new art facility opened i n 2012 utilizing an abandoned junior high school in Momoshima\, an island i n Onomichi City close to Hiroshima.

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Selected exhibitions

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20 14: Michael Janssen Singapore (solo)\; Miyake Fine Arts\, Tokyo (solo).

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2013: Mori Art Museum\, Tokyo (group)\; Seoul Olympic Museum of Art\, Seoul\, South Korea (group)\; Okinawa Prefectural Museum and Art Museum\, O kinawa\, Japan (group)\; Yokohama Museum of Art\, Kanagawa\, Japan (group)\ ; Fukuoka Art Museum\, Fukuoka\, Japan (group)\; MoA - Museum of Art\, Seou l\, South Korea (group).

DTEND:20141109 DTSTAMP:20140920T000513 DTSTART:20140927 GEO:1.278398;103.804586 LOCATION:Michael Janssen Singapore\, 9 Lock Road \nSingapore \, 108973 SEQUENCE:0 SUMMARY: MONEY / FLOWER\, Yukinori Yanagi UID:357090 END:VEVENT BEGIN:VEVENT DTEND:20140926T210000 DTSTAMP:20140920T000513 DTSTART:20140926T190000 GEO:1.278398;103.804586 LOCATION:Michael Janssen Singapore\, 9 Lock Road \nSingapore \, 108973 SEQUENCE:0 SUMMARY: MONEY / FLOWER\, Yukinori Yanagi UID:357091 END:VEVENT BEGIN:VEVENT DESCRIPTION:

David Lamelas (*1946) gilt als einer der Pioniere der Konzep tkunst der 1960er und 1970er Jahre und ist heute vor allem durch seine stru kturalistischen Filme und Medieninstallationen bekannt. Bereits wä\;hre nd seines Studiums an der Academia des Bellas Artes in Buenos Aires zeigte er seine Arbeiten am progressiven Instituto Torcuato di Tella\, einem der w ichtigsten Zentren der kü\;nstlerischen Avantgarde in Argentinien. Zu i nternationaler Bekanntheit gelangte er 1968\, als er Argentinien mit seiner Arbeit \;Office of Information about the Vietnam War on Three Leve ls: The Visual Image\, Text and Audio \;auf der Biennale in Venedi g vertrat\, gefolgt von seiner Teilnahme an der von Harald Szeemann organis ierten documenta V (1972). Seit den 1970er Jahren lebt und arbeitet Lamelas abwechselnd in Europa\, den USA und Argentinien.

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Angeregt durch di e Bekanntschaften mit Marcel Broodthaers und den Galeristen der Antwerpener Galerie Wide White Space\, zog David Lamelas 1968 nach Europa und begann\, Bildhauerei am Central St. Martins in London zu studieren. Hier fü\;hr t sein Interesse an &bdquo\;skulpturalen Formen ohne physisches Volumen&ldq uo\; zu einer verstä\;rkten Auseinandersetzung mit den Medien Fotografi e\, Text und schliesslich Film. Trotz der vielen unterschiedlichen Richtung en\, die Lamelas mit seinen Werken einschlä\;gt\, zeichnet sich bereits hier das zentrale Thema ab\, das viele seiner Arbeiten verbindet: die Besc hä\;ftigung mit Zeit\, Raum und der Vermittlung von Information.

\n< p>Die Ausstellung in der Kunsthalle Basel zeigt\, wie Lamelas die Bildhauer ei aus dem traditionellen Verhä\;ltnis von Masse und Volumen lö\;st und mit einem weiteren Material &ndash\; Zeit &ndash\; ergä\;nzt\, das gebunden ist an die Erfahrung des Betrachters. Fü\;r ihn ist Skulptur nicht nur das Zusammenspiel ä\;sthetischer Faktoren\, sondern auch ein Zusammentreffen rä\;umlicher und sozialer Interaktionen. Der Ort des Ku nstwerkes &ndash\; als Entstehungsort ebenso wie als Ort der Prä\;senta tion &ndash\; spielt ebenso eine wichtige Rolle im konzeptuellen Ansatz sei ner Arbeiten.

DTEND:20141102 DTSTAMP:20140920T000513 DTSTART:20140921 GEO:47.5537585;7.5913088 LOCATION:KUNSTHALLE BASEL\,STEINENBERG 7 \nBASEL\, CH-4051 SEQUENCE:0 SUMMARY:Solo Exhibition\, David Lamelas UID:357087 END:VEVENT BEGIN:VEVENT DTEND:20140920T210000 DTSTAMP:20140920T000513 DTSTART:20140920T190000 GEO:47.5537585;7.5913088 LOCATION:KUNSTHALLE BASEL\,STEINENBERG 7 \nBASEL\, CH-4051 SEQUENCE:0 SUMMARY:Solo Exhibition\, David Lamelas UID:357088 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In quasi mezzo secolo di carriera ho dipinto fumetti e punti ni per soli due anni.
Possibile che nessuno si sia mai accorto che ho fatto altro?
R.L.

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GAM Torino presenta una grande esposizione dedicata ai lavori su carta di Roy Lichtenstein\, maestro indiscusso della Pop Art\, nato a New York (1923-1997). Per la prima volta arrivano in Ital ia circa 200 opere\, grazie alla stretta collaborazione con l&rsquo\;Estate e la Roy Lichtenstein Foundation\, oltre a importanti prestiti provenienti dalla National Gallery di Washington\, dall&rsquo\;Art Institute di Chicag o\, e da molte collezioni pubbliche e private europee e italiane.

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U n&rsquo\;occasione straordinaria che GAM offre al pubblico perché\; & egrave\; rara la possibilità\; di ammirare un tanto rilevante quanto ricco corpus di opere su carta del maestro americano. Completano l&rsquo\;e sposizione alcuni grandi dipinti e sculture oltre a una documentazione foto grafica\, testimonianza dell&rsquo\;artista al lavoro.

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In mostra du nque la parte più\; intima e privata di Roy Lichtenstein e tra le ope re\, le Prime Idee\, ovvero le idee primigenie\, fonte di ispirazione di la vori che in un secondo tempo sono divenuti i grandi capolavori conosciuti n el mondo.

DTEND:20150125 DTSTAMP:20140920T000513 DTSTART:20140927 GEO:45.0650757;7.6693027 LOCATION:GAM - Galleria Civica d’Arte Moderna e Contemporanea di Torino\,Vi a Magenta\, 31 \nTurin\, 10128 SEQUENCE:0 SUMMARY:Solo Exhibition\, Roy Lichtenstein UID:357086 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An Atlas for a Duplicated Reality es una colecció\;n\, un atlas formado por 30 documentos posicionados en el lí\;mite entre el mapa y el diagrama\, entre la representació\;n artí\;stica y la arquitectura. 30 documentos que describen la duplicidad planteada\, la realidad y la ficció\;n\, la realidad y la imaginació\;n\, la realidad y apariencia\, desde la completa precisió\;n con la que se h an analizado y descrito los lugares.
Un estudio de investigació\ ;n que parte de Madrid Rí\;o como ejemplo claro de una de esas realid ades complejas que\, con una historia profunda y traumá\;tica\, ha vi sto modificada radicalmente su existencia. La transformació\;n de los programas en superficie\, pero tambié\;n de su entorno pró\;xi mo\, de las infraestructuras y condició\;n fisionó\;mica\, en l os que se ha introducido una nueva realidad\, unos nuevos habitantes\, una nueva condició\;n naturalizada\, permite entrar a debatir la realidad y sus mú\;ltiples caras y conocerla con profundidad para delimitar c uá\;les y có\;mo son esas caras\, y có\;mo pueden ser uti lizadas para operar los cambios de la manera má\;s precisa.
El p royecto establece un discurso teó\;rico que busca confrontar la reali dad con sus complementos: la imaginació\;n\, la ficció\;n y la apariencia\, encontrando en esa confrontació\;n nuevas posibilidades de lectura y representació\;n.
An Atlas for a Duplicated Reality es el resultado del taller del mismo nombre impartido en el Tricontinental Master&rsquo\;s Degree in Integrated Architectural Projects de la Escuela de Arquitectura de la Universidad Europea de Madrid y dirigido por Né \;stor Montenegro y Antoni Gelabert\, en el que diez alumnos de distintas n acionalidades (Ecuador\, Españ\;a\, Italia\, Japó\;n\, Rep&uacu te\;blica Dominicana\, etc.) y formació\;n (arquitectos\, ingenieros\ , diseñ\;adores industriales\, etc.)\, han aplicado nuevas té\; cnicas operativas de aná\;lisis y descripció\;n de aquellos lug ares que son susceptibles de convertirse en objeto de transformació\; n urbana.
Cuatro eventos asociados al proyecto expositivo tratar&aacut e\;n de desentrañ\;ar los procesos que han permitido la reflexi&oacut e\;n sobre la necesidad de transformació\;n de aquello que ha sido ya asumido como real.

DTEND:20141102 DTSTAMP:20140920T000513 DTSTART:20140917 GEO:40.4244585;-3.6990948 LOCATION:espacio trapézio\,Augusto Figueroa\, 24 Mercado de San Antón - 2ª planta\nMadrid\, 28004 SEQUENCE:0 SUMMARY:an atlas for a duplicated reality\, Francisco Almeida\, Giulia Cose ntino\, Cesar Curiel\, David de la Fuente\, Setsuko Kanai\, Miguel López\, Alejandra Ordehi\, Vera Patricio\, Martín Sevillano\, Mazakazu Shirane UID:357085 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A partir do pró\;ximo dia 24\, a Amparo 60 vai receber a exposiç\;ã\;o \;Animattack\, do artista Bruno V ilela. A mostra\, que tem curadoria de Moacir dos Anjos e é\; a segun da do artista na galeria\, é\; composta por 15 desenhos e 1 pintura\, iné\;ditos no Recife\, realizados pelo artista entre 2012 e 2014. Na abertura\, será\; lanç\;ado o livro homô\;nimo\, que traz o registro de estudos e obras da sé\;rie\, com um texto do curador.< /p>\n

Esses novos trabalhos se relacionam de vá\;rias maneiras com a produç\;ã\;o anterior do artista\, seja pela té\;cnica\ , o uso do pastel seco (que fica na fronteira entre o desenho e a pintura) e do papel\, pelos desdobramentos dos seus estudos de anatomia percept&iacu te\;veis na presenç\;a da figura humana\, ou mesmo nas referê\;n cias mí\;sticas\, orientais e nos estudos do inconsciente no campo da psicologia e psicaná\;lise\, desenvolvidos por Bruno Vilela.

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O tí\;tulo da exposiç\;ã\;o\, Animattack\,  \;é\; uma palavra criada da fusã\;o de duas outras: \;A nima \;e \;Attack. O artista teve como fonte a defini ç\;ã\;o do termo \;Anima\, proposta por Carl Jung\ , que a percebe como uma espé\;cie de Deusa\, uma metá\;fora pa ra esse espí\;rito que representa o inconsciente masculino. Atrav&eac ute\;s desse olhar\, se resgatam as figuras da Grande Mã\;e\,  \; da Feiticeira\, da Bruxa\, da Santa\, presentes em centenas de civiliza&cce dil\;õ\;es\, há\; milê\;nios\, nas mais diversas religi&ot ilde\;es.

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Essa entidade surge como guia\, como um espí\;rito que orienta o guerreiro na floresta\, ou como uma bruxa assustadora\, o s&i acute\;mbolo da mulher amada e da mã\;e \;da infâ\;ncia perd ida. &ldquo\;Sempre que aparece\, envolta em fumaç\;a\, como espectro \, sombra\, traz muito medo\, pavor\, pâ\;nico ao homem\, que logo fog e dela. É\; o lado selvagem\, feminino\, mí\;stico da alma masc ulina. Por isso o \;attack\, o pâ\;nico&rdquo\;\, explica .

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Segundo ele\, pâ\;nico vem de \;PAN\, figura m& iacute\;tica grega que surge no caminho do homem que tenta \;mudar\, ap rofundar\, cruzar o vale secreto do inconsciente. &ldquo\;É\; preciso vencer \;PAN \;e a \;Anima \;funciona co mo guia\, como Hermes\, Exu e Mercú\;rio. É\; sacerdotisa\, or& aacute\;culo\, o primeiro ancestral\, o sentido da vida&rdquo\;\, detalha.< /p>\n

Nessa exposiç\;ã\;o de desenhos\, os tons de turquesa\, a á\;urea mí\;tica\, a luz espiritual\, remetem ao movimento d os Orientalistas que surgiu \;na pintura no sé\;culo XVII\, atrav é\;s de nomes como Delacroix\, Ingres e Moreux. As cores dos filmes c oloridos \;na té\;cnica do Technicolor\, como \;Narciso N egro \;(1947)\, \;O ladrã\;o de Bagda(1940)\,&n bsp\;entre outros\, sã\;o ligaç\;õ\;es esté\;ticas de interesse para quem quiser aprofundaro entendimento dessas obras.

\n< p> \;

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Para Bruno Vilela\, a ideia central para compreender seu trabalho é\; mitologia pessoal. &ldquo\;Temos medo do desconhecido. O que é\; recorrente no meu trabalho é\; a busca pelo desconheci do\, pelo aprofundamento das questõ\;es do inconsciente\, os estudos das mitologias antigas dos povos\, perdidas e esquecidas. É\; o opost o do sombrio. Sombrio é\; a visã\;o de dentro da caverna\, da z ona de conforto. Eu quero olhar &ldquo\;lá\; fora&rdquo\;\, longe da sombra\, do sombrio. A visã\;o do &ldquo\;outro lado&rdquo\;\, das pr ofundezas do inconsciente\, guiada pela mitologia pessoal é\; um univ erso sem fim&rdquo\;\, finaliza.

DTEND:20141030 DTSTAMP:20140920T000513 DTSTART:20140925 GEO:-8.1091966;-34.8915982 LOCATION:Amparo 60\,Av. Eng. Domingos Ferreira 92A - Pina\nRecife\, PE\, 51 011-050 SEQUENCE:0 SUMMARY:ANIMATTACK\, Bruno Vilela UID:357081 END:VEVENT BEGIN:VEVENT DTEND:20140924T210000 DTSTAMP:20140920T000513 DTSTART:20140924T190000 GEO:-8.1091966;-34.8915982 LOCATION:Amparo 60\,Av. Eng. Domingos Ferreira 92A - Pina\nRecife\, PE\, 51 011-050 SEQUENCE:0 SUMMARY:ANIMATTACK\, Bruno Vilela UID:357082 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141018 DTSTAMP:20140920T000513 DTSTART:20140916 GEO:-22.9048616;-43.1837967 LOCATION:A Gentil Carioca\,Rua Gonçalves Ledo\, 17 Sobrado - Centro\nRio de Janeiro\, 20060-020 SEQUENCE:0 SUMMARY: Maria Laet + Pontogor UID:357080 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Highlights the personal and professional work of the College 's award-winning teaching staff.

DTEND:20141102 DTSTAMP:20140920T000513 DTSTART:20141002 GEO:39.3076461;-76.6215533 LOCATION:MICA - Maryland Institute College of Art\,1300 Mount Royal Avenue \nBaltimore\, MD 21217 SEQUENCE:0 SUMMARY:Faculty Exhibition UID:357077 END:VEVENT BEGIN:VEVENT DTEND:20141002T190000 DTSTAMP:20140920T000513 DTSTART:20141002T170000 GEO:39.3076461;-76.6215533 LOCATION:MICA - Maryland Institute College of Art\,1300 Mount Royal Avenue \nBaltimore\, MD 21217 SEQUENCE:0 SUMMARY:Faculty Exhibition UID:357078 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Over the years\, works of art from the priv ate collection of Richard and Ulla Dreyfus-Best in Basel have been seen in exhibitions around the world\, but until now they have yet to be seen by th e general public as an ensemble. With the exhibition For Your Eyes Only\, u niquely and for the first time\, the public will be privileged to see how t hese works combine and speak to one another.

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A sel ection of more than one hundred paintings\, sculptures\, drawings\, natural curios\, and artefacts reveals the special world of this collection\, memo rable in terms of its ambition and singularity and manifesting a contempora ry reference to issues about the influential power of art through the ages. At a time when &ldquo\;crossovers&rdquo\;&mdash\;of media\, techniques\, a nd genres&mdash\;shape perceptions of art in general\, the Dreyfus-Best Col lection is both prescient and exemplary.

In assembling their col lection\, the collectors have held to strict principles that have excluded random elements of chance. They not only made of originality and quality es sential criteria\, they also required that all works specifically reference &ldquo\;artifice&rdquo\; (in the strict sense of the word). The outcome is a truly distinct and contemporary &ldquo\;cabinet of curiosities.&rdquo\; The collection juxtaposes secular works of art with erotic and religious ar t from the Middle Ages to the present\; Renaissance and Baroque master draw ings share space with the arcane worlds of Surrealist painting\; eccentric visions of the 18th century encounter the fantastic artifices of Mannerism\ ; Symbolism and Pop Art meet on common ground. The thread that ties all the se works is an artificiality that continually probes and experiments limits .

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A collaboration with the Peggy Guggenheim Collection\, Venedig

DTEND:20150104 DTSTAMP:20140920T000513 DTSTART:20140920 GEO:47.5543595;7.5939819 LOCATION:Kunstmuseum Basel\,St. Alban-Graben 16 \n Basel\, CH-4010 SEQUENCE:0 SUMMARY:For Your Eyes Only - A private collection between Mannerism and Sur realism\, Hans Baldung Grien\, Hans Bellmer\, Arnold Böcklin\, Victor Braun er\, Pieter Bruegel the Elder\, Angelo Caroselli\, Giorgio de Chirico\, Fra ncesco Clemente\, Salvador Dalí\, Monsù Desiderio\, Gustave Doré\, Max Erns t\, Frans Floris\, Johann Heinrich Füssli\, Maarten van Heemskerck\, Jan va n Kessel\, Alfred Kubin\, René Magritte\, Man Ray\, Gustave Moreau\, Richar d Oelze\, Bartholomäus Spranger\, Yves Tanguy\, Andy Warhol UID:357073 END:VEVENT BEGIN:VEVENT DTEND:20140920T180000 DTSTAMP:20140920T000513 DTSTART:20140920T100000 GEO:47.5543595;7.5939819 LOCATION:Kunstmuseum Basel\,St. Alban-Graben 16 \n Basel\, CH-4010 SEQUENCE:0 SUMMARY:For Your Eyes Only - A private collection between Mannerism and Sur realism\, Hans Bellmer\, Arnold Böcklin\, Victor Brauner\, Angelo Caroselli \, Francesco Clemente\, Salvador Dalí\, Giorgio de Chirico\, Monsù Desideri o\, Gustave Doré\, Pieter Bruegel the Elder\, Max Ernst\, Frans Floris\, Jo hann Heinrich Füssli\, Hans Baldung Grien\, Alfred Kubin\, René Magritte\, Gustave Moreau\, Richard Oelze\, Man Ray\, Bartholomäus Spranger\, Yves Tan guy\, Maarten van Heemskerck\, Jan van Kessel\, Andy Warhol UID:357074 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Schwerpunkte der Ausstellungen bilden Werke aus den spä\ ;teren 1990er-Jahren. Mü\;sste man sie mit einem Stilbegriff belegen\, so wä\;re vielleicht der der geometrischen Abstraktion angebracht\, wie ihn Piet Mondrian und Theo van Doesburg formulierten oder Josef Albers w&a uml\;hrend seiner Zeit im Bauhaus praktizierte. Anders als spä\;ter Jos ef Albers hä\;lt WvM am Figurativen fest\, das immer wieder zum Vorsche in kommt oder Ausgangspunkt von Bildern ist. Das erleichtert ihm die Verbin dung zu anderen Medien\, auch zu Dichtung und Film.

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Ü\;berrasch end und weniger bekannt sind WvMs frü\;he\, von ihm selbst gedruckten g rafischen Arbeiten von 1958 und 1964\, die am Beginn der Ausstellung zu seh en sind. Es sind teilweise Studien nach der Natur\, darunter Porträ\;ts der Grossmutter und von ihm selbst\, aber auch Rinderschä\;del\, die i m Unterschied zum menschlichen Schä\;del ausgreifende\, expressiv nutzb are Konturen aufweisen. Eine deutlichere Hinwendung zur Abstraktion zeigen die Atelierstilleben von 1964. Die Formen werden durch sich wiederholende\, bald suchende\, bald die Form wieder auflö\;sende Striche umrissen.

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Im Vergleich zu den spä\;teren druckgrafischen Arbeiten zeigen di e frü\;hen Arbeiten WvMs eine Offenheit\, welche in den Selbstportraits besonders greifbar wird. Fast scheint es\, als sei diese Offenheit im Lauf e der Jahre zurü\;ckgenommen oder besser\, verwandelt worden. Vielleich t hat sie sich in der Sprache und im literarischen Schaffen WvMs\, wie auch im Ausdruck der bewegten Bilder\, im Film\, neue Rä\;ume geschaffen.\n

WvM bevorzugt die Techniken der Kaltnadelradierung und der Radierung \, welche die Linie auch noch in feinsten Nuancen zur Geltung bringen. Imme r wieder kombiniert er diese Techniken mit der Aquatinta\, welche es erm&ou ml\;glicht\, schwarze oder farbige Flä\;chen in grosser Geschlossenheit und Dichte zu drucken. Diese Tiefdrucktechniken markieren den Rand der Dru ckplatte deutlich auf dem Papier und betten die Darstellung sozusagen in de ssen Oberflä\;che ein. Durch den Ä\;tzvorgang oder das Kratzen in d ie Druckplatte entstehen unterschiedlich scharf begrenzte Striche\, welche eine eigene ä\;sthetische Qualitä\;t besitzen\, deren Tiefe und Aus druck der Kü\;nstler besonders schä\;tzt.

DTEND:20141016 DTSTAMP:20140920T000513 DTSTART:20140812 GEO:47.5543595;7.5939819 LOCATION:Kunstmuseum Basel\,St. Alban-Graben 16 \n Basel\, CH-4010 SEQUENCE:0 SUMMARY:Druckgrafik\, Werner von Mutzenbecher UID:357071 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On July 5\, 2014\, the Kunstmuseum Basel op ens a new exhibition presenting a selection of one hundred photographs from the archives of the Paris-based advertising agencyÉ\;ditions Pau l-Martial. The black-and-white pictures formed the basis for posters\, newspaper advertisements\, and brochures and show ordinary things: buildin gs\, cars\, typewriters\, radiators\, mannequins. What was unusual and nove l\, however\, were the composition\, lighting\, and exposure of the picture s. In today&rsquo\;s perspective\, the collection reflects the multifaceted evolution of photography from the 1920s onward. At the same time\, it is a n invaluable source for historians\, documenting early forms of the careful ly designed presentation of commodities and strategies designed to lure the consumer. The photographs are part of a collection newly acquired from the Herzog Collection and have never been on public display. \;

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Cans make it possible to preserve food for the l ong term\; zippers allow bags and pockets to be securely closed\; rubber so les protect the walker from slipping\; car jacks make it easier to change a tire: the advertising photographs produced by \;É\;ditions P aul-Martial \;tell stories about everyday life and how products li ke radiators\, boilers\, and cooking stoves help make it more pleasant. Thi s renders the collection an extraordinarily valuable resource for historian s: it illustrates the early history of the staging of consumer goods and th e strategies employed to seduce the viewer. Beyond consumer products\, the agency&rsquo\;s photographers also captured the new worlds of work in facto ries and offices and the rise of modern travel and communication technologi es. For the time being\, most of the photographs&rsquo\; creators remained anonymous\; in the business perspective\, individual authorship was obvious ly a secondary concern\, especially since the majority of the pictures were a sort of intermediate product to be used by graphic artists in the design of brochures and posters. \;

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New Objectivity and \;Neues Sehen \;
The historic photographs also reflect the multifaceted evolution of photograph y as an art in its own right from the 1920s onward. Pictures of buildings\, machines\, and selected products hew to the sober aesthetic of the New Obj ectivity\, which took hold after the Great War. Photographs of transformer stations and bridges point to the \;Neues Sehen(New Vision) of the Bauhaus photographers and the works of the Russian avant-garde\, which emphasized diagonal lines to heighten the dynamic quality of the picture&m dash\;this influence is also evident in techniques such as  \;photomont age and double exposures. In isolated objects and enigmatic motifs such as a pinecone\, the surreal\, mysterious\, and sometimes also absurd infiltrat e the world of ordinary things. The photographers&rsquo\; love of experimen tation is palpable throughout: they often created small series in which the y tried different lighting effects and unusual angles of view. The selectio n of a hundred photographs is drawn from a larger collection the museum acq uired from the collection of Peter and Ruth Herzog\, Basel\, in 2012 throug h a combined purchase-and-donation agreement. The exhibition was designed i n close collaboration between the curator\, Anita Haldemann\, and the photo graphy collector and expert Peter Herzog. donné\; au musé\;e en 2012.

DTEND:20141019 DTSTAMP:20140920T000513 DTSTART:20140705 GEO:47.5543595;7.5939819 LOCATION:Kunstmuseum Basel\,St. Alban-Graben 16 \n Basel\, CH-4010 SEQUENCE:0 SUMMARY: World of Ordinary Things\, Paul-Martial UID:357069 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In \;Sad Gods\, Portland-based artist\, \;< strong>Ryan Pierce\, investigates the link between our yearning to understand the nonhuman world and our desire to conquer it. The artist dra ws on inspiration from the journals of Spanish conquistadors and Enlightenm ent-era botanists\, as well as indigenous American narratives foretelling E uropean invasion. Pierce considers whether we are living in an era of new e xploration\, as we reshape our landscape through climate change\, industria l agriculture and bio-engineering. \;

Pierce received his MF A from California College of the Arts in 2007 and a BFA from Oregon College of Art &\; Craft in 2003. His work has been exhibited both nationally a nd internationally\, including the CUE Foundation (New York\, NY)\, Hudson Valley Center for Contemporary Art (Peekskill\, NY)\, Roberts and Tilton Ga llery (Los Angeles\, CA)\, Lisa Dent Gallery (San Francisco\, CA)\, and Bab el Gallery (Trondheim\, Norway). He has received recognition from Art in Am erica\, Art Papers\, Art Week\, and the Oregonian\, and grants from The Joa n Mitchell Foundation\, San Francisco Foundation\, and the Regional Arts an d Culture Council. He is the recipient of a 2012 Individual Artist Fellowsh ip from the Oregon Arts Commission. Pierce is the co-founder of Signal Fire \, an organization that provides wilderness residencies and retreats to art ists of all disciplines.

DTEND:20141101 DTSTAMP:20140920T000513 DTSTART:20141002 GEO:45.5261379;-122.6802156 LOCATION:Elizabeth Leach Gallery\,417 N.W. 9th Avenue \nPortland\, Oregan SEQUENCE:0 SUMMARY: Sad Gods\, Ryan Pierce UID:357066 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ann Hamilton \;is a visual artist internationally recogn ized for her large-scale multi-media installations\, as well as photographs \, performances\, videos\, and objects. The exhibition \;Book Weigh ts \;at the Elizabeth Leach Gallery compliments the Henry Art Gall ery&rsquo\;s exhibition\, \;Ann Hamilton: a common sense\, whi ch will be on view at the Henry October 11\, 2014 - April 26\, 2015.
< br />Hamilton received a BFA in textile design from the University of Kansa s and an MFA in sculpture from the Yale School of Art. Among her many honor s\, Hamilton has been the recipient of the Heinz Award\, MacArthur Fellowsh ip\, United States Artists Fellowship\, NEA Visual Arts Fellowship\, Louis Comfort Tiffany Foundation Award\, Skowhegan Medal for Sculpture and the Gu ggenheim Memorial Fellowship. She has represented the United States in the 1991 Sao Paulo Bienal\, the 1999 Venice Biennale\, and has exhibited extens ively around the world. Her major museum installations include The Pulitzer Foundation for the Arts (St. Louis\, MO)\, Guggenheim Museum (New York\, N Y)\, MASS MoCA (North Adams\, MA)\, Hirshhorn Museum and Sculpture Garden ( Washington D.C.)\, Musee d'art Contemporain (Lyon\, France)\, Stedelijk Van Abbemuseum (Eindhoven\, The Netherlands)\, The Art Institute of Chicago (C hicago\, IL)\, The Museum of Modern Art (New York\, NY)\, The Tate Gallery (Liverpool\, United Kingdom)\, Dia Center for the Arts (New York\, NY)\, Mu seum of Contemporary Art (Los Angeles\,CA). \;

DTEND:20141101 DTSTAMP:20140920T000513 DTSTART:20141001 GEO:45.5261379;-122.6802156 LOCATION:Elizabeth Leach Gallery\,417 N.W. 9th Avenue \nPortland\, Oregan SEQUENCE:0 SUMMARY:Book Weights\, Ann Hamilton UID:357065 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Inspired by scenes of farms along Interstate 5 between Portl and and Corvallis\, Oregon\, \;Stephen Hayes \;exa mines the ways in which our society has become increasingly disconnected to our sources of food. In \;dust... \;\, Hayes&rsquo\; pain tings are more intimately scaled than in previous exhibitions\, yet his abi lity to capture the essence of a swiftly passing landscape is ever apparent . His works of seemingly forgotten agricultural structures under lush expan ses of big sky reference what once had been a small farming community\, sin ce replaced by large industrial operations. Working from memory himself\, t he artist evokes a narrative of farming in days past. \;

Hay es has shown his work locally and internationally\, including exhibitions a t the Portland Art Museum (Portland\, OR)\, The Art Gym at Marylhurst Unive rsity (Marylhurst\, OR)\, Northwest Museum of Art and Culture (Spokane\, WA )\, American Culture Center (Sapporo &\; Nagoya\, Japan)\, and The Phill ips Collection (Washington\, D.C.). He has had several commissions for publ ic art projects in the region\, and his works can be found in the the colle ctions of Oregon State University (Corvallis\, OR)\, New York Public Librar y (New York\, NY)\, Portland Art Museum&rsquo\;s Gilkey Center for Graphic Arts (Portland\, OR)\, University of Oregon (Eugene\, OR)\, and the new Ran dall Children&rsquo\;s Hospital at Legacy Emmanuel (Portland\, OR)\, as wel l as numerous private and public collections. \;

DTEND:20141101 DTSTAMP:20140920T000513 DTSTART:20141001 GEO:45.5261379;-122.6802156 LOCATION:Elizabeth Leach Gallery\,417 N.W. 9th Avenue \nPortland\, Oregan SEQUENCE:0 SUMMARY: dust...\, Stephen Hayes UID:357064 END:VEVENT END:VCALENDAR