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Shahzia Sikander observes the present through the lens of the imagination\, symbols\, literature and hist ory of diverse cultural traditions. Her rich\, complex oeuvre is housed for the first time in an Italian museum with this exhibition that shows the ar tist&rsquo\;s work from 1990&rsquo\;s to the present day.

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In the exhibition the artist will create a layout spec ifically for the museum with over 30 works in various media and idioms\, fr om drawing to miniatures referring to the Indo-Persian tradition and from v ideo to digital animation. Included are works born from critical thinking a nd inquiry of historical\, literary and political positions that delineate the inherent complexity of universal themes ranging from the pre-colonial t o the post-colonial\, geopolitical changes\, migration\, cultural quarantin e and the birth of nations and religion and ultimately human identity.

DTEND:20161023 DTSTAMP:20160701T213335 DTSTART:20160622 GEO:41.9284846;12.4664813 LOCATION:MAXXI - Museo nazionale delle arti del XXI secolo\,Via Guido Reni\ , 4/A \nRome\, 00196 06 3210181 SEQUENCE:0 SUMMARY:Ecstasy as Sublime\, Heart as Vector\, Shahzia Sikander UID:422593 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Allora &\; Calzadilla: Echo to Artifact \;is the first major exhibition in Canada of the work of internationally renowned artists\, Jennifer Allora and Guillermo Ca lzadilla. It features film\, sculpture\, sound pieces and performances\, an d new work based on the artists&rsquo\; research into western Canada&rsquo\ ;s prehistoric past. The works in the exhibition consider the nature of sou nd\, music and the voice as a way to animate both natural forms and man-mad e artifacts and include the remains of dinosaurs\, a piece of Hadean rock a nd the oldest musical instrument ever discovered.

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The artists note: &ldquo\;The exhibition bears witness to inco mplete presences and resonant remainders from the past. It finds in music a measure and a reckoning with these elusive forces and the abyss that lies between.&rdquo\;

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In the summer of 201 4\, Allora &\; Calzadilla made a research trip to Alberta and visited th e Burgess Shale and the Royal Tyrrell Museum of Palaeontology. A main featu re of the AGA exhibition is the sculptural installation\, \;Interva ls\, composed of transparent acrylic lecterns and dinosaur bones. Thes e accompany \;Lifespan\, a live vocal performance centered on a piece of the Earth&rsquo\;s mantle from the Acasta River Gneiss (NWT) and estimated to be over four billion years old.

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Allora &\; Calzadilla: Echo to Artifact \;also features three films: \;Apotomē \;(2013)\,3 \;(2013) and \;Raptor&rsquo\;s Rapture \;(201 2)\, all of which stem from the artists&rsquo\; research into specific hist orical artifacts and their musical affinities. \;The Great Silence< /em>(2014)\, a three-channel video installation\, focuses on the world&rsqu o\;s largest radio telescope\, which transmits and captures radio waves to and from the farthest edges of the universe. Located in Esperanza\, Puerto Rico\, it is also home to the last members of an endangered species of parr ots.

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Lifespan Live Performan ces

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As part of \;Al lora and Calzadilla: Echo to Artifact\, the artwork \;Lifespan  \;includes daily performances by three vocalists.

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Tuesday and Friday: \;11:30 am\ , 12:30 pm\, 1:30 pm
Wednesday and Thursday: \;6\ , 7\, 8 pm
Saturday and Sunday: \;1\, 2\, 3 pm

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Each performance lasts approximately 15 minutes.

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About the ArtistsJennifer Allora (born 1974\, Philadelphia) and Guillermo Calza dilla (born 1971\, Havana) have collaborated \;on a conceptually rigoro us body of work \;since 1995. Through a research-based approach\, their work traces intersections of deep history\, material culture\, and politic s through a wide variety of mediums\, namely performance\, sculpture\, soun d\, video\, and photography.

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Their wo rk has been exhibited and collected widely in public institutions and priva te collections. Recent solo exhibitions have been presented at\; Dia Art Fo undation\, Guayanilla&ndash\;Peñ\;uelas\, Puerto Rico (2015)\; \; Philadelphia Museum of Art and Fabric Workshop and Museum (2014)\; Trussard i Foundation\, Milan (2013)\; Indianapolis Museum of Art (2012)\; the US Pa vilion at the 54th Venice Biennale (2011)\; the Museum of Modern Art (2010) \; \;The National Museum of Art\, Architecture and Design\, Oslo (2009) \; \;Haus der Kunst\, Munich (2008)\; Stedelijk Museum Amsterdam (2008) \; Serpentine Gallery\, London (2007)\; \;Kunsthalle Zü\;rich\, Zur ich (2007) and \;The Renaissance Society\, Chicago (2007). \;Among numerous group exhibitions\, they have participated in the \;&ldquo\;51 st \;and \;56thVenice Biennale (2005\, 2015)\; Documenta 13\, Kasse l\, Germany (2012)\; the 5th\, 7th\, and 10th Gwangju Biennials\, South Kor ea (2004\, 2008\, 2014)\; and the 24th and the 29th Sã\;o Paulo Bienn ial (1998\, 2010).

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Allora and Calzadi lla live and work in San Juan\, Puerto Rico.

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Allora &\; Calzadilla: Echo to Artifact \;is organi zed by the Art Gallery of Alberta. Presented by Enbridge \;and \;Un ited States Consulate General Calgary.

DTEND:20160828 DTSTAMP:20160701T213335 DTSTART:20160603 GEO:53.5448657;-113.4887209 LOCATION:Art Gallery of Alberta\,2 Sir Winston Churchill Square \nEdmonton\ , Alberta T5J 2C1 SEQUENCE:0 SUMMARY:Allora & Calzadilla: Echo to Artifact\, Jennifer Allora and Guiller mo Calzadilla UID:422592 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Liverpool Biennial 2016 will unfold through the landscape of the city. I t is organised as a story narrated in several episodes: fictional worlds si ted in galleries\, public spaces\, unused buildings and online\, which draw from Liverpool&rsquo\;s past\, present and future.

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Episodes

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Liverp ool Biennial 2016 is organised as a series of six episodes: fictional world s that draw from Liverpool&rsquo\;s past\, present and future.

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Flashbac k

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A flashback is a way of experiencing history as it punctures the pres ent unexpectedly. Flashbacks can rupture established narratives and provide new understandings of history. In this episode\, artists interpret flashba cks through film and the exhibiting of artefacts.

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Venues: \;FACT\,&n bsp\;Saw Mill\, \;Open Eye Gallery

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Monuments from the future

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Artists have been asked to impersonate the role of futurolo gists. They are invited to imagine what Liverpool might look like in 20\, 3 0 or 40 years\, and to design a monument for these scenarios. As a result o f this process a series of public art commissions will travel across time. Sculptures appear from the future but are situated in the present. Each one will mark an imagined future &ndash\; an event\, landscape\, person or sto ry that is yet to arrive.

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Venues: \;Granby Four Streets\,&nb sp\;Liverpool ONE\, \;Clarence Dock\, \;Liverpo ol&rsquo\;s Commercial District\, \;Cains Brewery\n

Anci ent Greece

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Liverpool&rsquo\;s links to the Greek world stem from the ea rly 1800s\, when architects such as John Foster and Harvey Lonsdale Elmes c reated Liverpool&rsquo\;s neoclassical cityscape as a re-imagining of Ancie nt Greece: invoking its reputation as the cradle of democracy and civilisat ion in order to validate Liverpool&rsquo\;s political and economic circumst ances. In the same spirit\, the Liverpool artist Samuel Austin compared Liv erpool to Carthage\, an ancient city renowned for its extensive trade. His watercolour\, \;Carthage \;(1826)\, now on display in the Walker Art Gallery\, depicts Liverpool&rsquo\;s neoclassical buildings as a backdrop\, blurring the boundaries of time and place between the ancient w orld and contemporary Liverpool. This is similar to the way the Greeks imag ined and depicted their own myths\, on vases and friezes: collapsing a line ar notion of time and space to tell a story with multiple simultaneous aspe cts.

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Venues: \;Tate Liverpool\, \;George&rsquo\;s Dock Ventilation Tower

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Software

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Software is usually considered as something functional &ndash\; a series of programs\, instructions or rul es that direct the computer to perform specific operations &ndash\; but it can also open a portal to other dimensions and imaginative worlds. The Soft ware episode points towards this broader understanding of software beyond t echnical application to ideas of scores and choreographies\, through which one thing affects another without practical outcome.

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Venues: \;Bluec oat\, \;Exhibtion Research Centre\, \;< a href="http://www.biennial.com/2016/exhibition/online" target="_blank">Onl ine\, \;FACT\, \;the Oratory\, \;ABC Cinema

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Chinatown

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Liverpool&rsquo\;s Chinatown has existed since the late 189 0s and is the oldest in Europe. Its entrance is marked by a traditional arc h imported from Shanghai. In the same way that the city&rsquo\;s merchant c lass linked itself to Ancient Greece through neoclassical architecture\, th is arch links Liverpool&rsquo\;s Chinese community to an image of home. But as China itself changes\, this architectural symbol changes its meaning. M any now see Chinatown as a nostalgic image existing in collective memory: t oday\, Chinatown is more dispersed\, and might even exist primarily in onli ne networks\, or through economic investment. In 2015\, vast cranes from Ch ina entered the mouth of the River Mersey to form part of the automated new deep water superport: Liverpool2. There are plans for the development of a &lsquo\;New Chinatown&rsquo\; commercial district\, close to Cains Brewery in Liverpool. Throughout Liverpool Biennial 2016\, echoes of these differe nt Chinatowns resound in spaces across the city\, to be encountered in ever yday settings such as supermarkets\, pubs and restaurants.

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Venues: \ ;Cains Brewery\, \;pubs\, \;restaurants\,& nbsp\;supermarkets

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Children's Episode

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Artists are invited t o consider children as the primary audience: sometimes making work with the m\, sometimes for them. Children imagine the space between fiction and real ity differently\, sometimes seeing it as the same thing. They experiment wi th the social organisation that adults construct\, apparently playing along whilst inventing their own rules.

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Venues: \;Cains Brewery\ , \;Open Eye Gallery\, \;Arriva city buses\,& nbsp\;ABC Cinema

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Events

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DTEND:20161016 DTSTAMP:20160701T213335 DTSTART:20160709 GEO:53.3952112;-2.9805767 LOCATION:Liverpool Biennial\,Liverpool \nLiverpool\, Merseyside L1 0BW SEQUENCE:0 SUMMARY:Liverpool Biennial 2016\, Lawrence Abu Hamdan\, Andreas Angelidakis \, Simeon Barclay\, Alisa Baremboym\, Jacqueline Bebb\, Lucy Beech\, Sarah Browne\, Jesse Jones\, Lindsey Bull\, Robert Carter\, Lauren Velvick\, Mari ana Castillo Deball\, Yin-Ju Chen\, Ian Cheng\, Marvin Gaye Chetwynd\, Nina Chua\, Celine Condorelli\, Audrey Cottin\, Matthew Crawley\, Koenraad Dedo bbeleer\, Frances Disley\, Jason Dodge\, Lara Favaretto\, Daniel Fogarty\, Danielle Freakley\, Coco Fusco\, Ramin Haerizadeh\, Rokni Haerizadeh\, Hesa m Rahmanian\, Hato\, Ana Jotta\, Samson Kambalu\, Oliver Laric\, Mark Lecke y\, Adam Linder\, Marcos Lutyens\, Jumana Manna\, Rita McBride\, Dennis McN ulty\, Harry Meadley\, Elena Narbutaitė\, Lu Pingyuan\, Michael Portnoy\, S ahej Rahal\, Stephen Sheehan\, Koki Tanaka\, Suzanne Treister\, Villa Desig n Group\, Krzysztof Wodiczko\, Betty Woodman UID:422570 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Portikus \;is delighted to present \;the ALL-OVER\, the first institutional solo exhibit ion in Germany \;by the American artist Amy Sillman. Sillman works  \;primarily \;in the medium of painting\, as well as \;with \;d rawing and animation. She lives and works in New York. \;In \;2015\ , she \;was appointed \;professor of painting at the Stä\;delsc hule in Frankfurt am Main.

Sillman&rsquo\;s works can be categor ized as abstract painting\, although her abstractions repeatedly allow  \;forms and figures to be recognized. The title \;of the exhibition &nd ash\; \;the ALL-OVER \;&ndash\; \;refers to a concept often used \;to describe \;abstract painting. \;At its most lit eral\, it refers to the practice of completely covering the canvas\, a form at that resists a traditional figure/ground hierarchy. \;The classic ex ample of the style is embodied by \;the work of \;the American arti st Jackson Pollock\, though as the influential critic Clement Greenberg poi nted out\, the style in fact \;originated with \;the Ukrainian-Amer ican artist Janet Sobel. Sillman adapts \;this \;&ldquo\;all-over&r dquo\; \;idea\, \;using \;it as the title for \;her exhibit ion\, which does not feature drip paintings as such\, \;but \;which updates the \;idea of total coverage of the canvas through \;mecha nical means \;(via inkjet printing) used in combination with the gestur al. \;Panorama\, consisting of twenty-four canvases\, was  \;developed for Portikus \;and is \;here seen \;in its entirety  \;for the \;first time. \;With their \;large\, all-over fo rmat\, \;the \;paintings&rsquo\; \;various motifs \;seem to  \;run continuously \;around the walls of the exhibition space\, bu t in fact are repeated prints of the artist's drawings \;with painterly interventions added. \;The logic of animation\, its repetition and loo ping\, infects the paintings\, as they keep repeating their own starting po ints\, while each proposes a new start. The combination of print and painti ng on canvas makes it \;difficult to tell which levels and forms are &l dquo\;real&rdquo\; &ndash\; actually painted &ndash\; and which \;have been mechanically reproduced. \;Partly \;composed \;with \; muddy pastel colours\, partly \;with \;luminous pinks and reds\, th e \;artworks \;are characterized by \;overlapping techniques. T he significance of the format \;is \;retained \;by \;Pa norama&rsquo\;s sequential display \;and \;its sheer scale. Th e materiality is lost through the superimposition of print and oil paint. W hat remains is pure colour and gesture.

Serving \;as an intr oduction to the exhibition is \;Kick the Bucket (loop for Portikus) \, a new animation \;which Sillman \;created especially for&nb sp\;Portikus. \;In addition to the humorous\, partly tragi-comic story\ , \;the piece foregrounds the \;superimposition of different drawin gs and \;paintings. The technique used \;is \;thus comparable&n bsp\;to the works on canvas\, which \;combine \;painting and \; industrial printing as a way of \;generating form and dynamic movement.  \;

For a number of years\, Sillman has made small artist&rs quo\;s books. \;The exhibition \;additionally \;sees \;the publication of \;the O.G.#10\, \;her tenth zine. \;Tak ing \;the form \;of a fold-out booklet\, \;the zine \;makes reference to \;a number \;of the works in the exhibition and also contains poetry \;created \;by friends of the artist. \;In the exhibition \;space\, the books are \;purchased \;through a  \;small clay figure: the visitor throws a Euro in the wide-open mouth of th e figure\, which then \;expels \;the coin into a small bucket \ ;behind it.

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Der Portikus freu t sich\, die Ausstellung \;the ALL-OVERder amerikanischen K&uu ml\;nstlerin Amy Sillman zu prä\;sentieren - ihre erste institutionelle Einzelausstellung in Deutschland. \;Malerei gehö\;rt neben Zeichnu ng und Animation zu den bevorzugten Medien der in New York lebenden und arb eitenden Kü\;nstlerin\, die seit 2015 Professorin fü\;r Malerei an der Stä\;delschule in Frankfurt/Main ist.

Sillmans Arbeiten lassen sich der abstrakten Malerei zuordnen\, obgleich ihre Abstraktionen i mmer wieder Formen oder Figuren erkennen lassen. Der Ausstellungstitel  \;the ALL-OVER \;bezieht sich dabei auf einen Begriff in der K unst\, der abstrakte Malerei beschreibt und wortwö\;rtlich dafü\;r steht\, die Leinwand\, entgegen einer traditionellen Figur/Grund Hierarchie \, flä\;chendeckend zu bearbeiten. Die &bdquo\;Drip Paintings&ldquo\; d es amerikanischen Kü\;nstlers Jackson Pollock zä\;hlen zu den klass ischen Beispielen dieser Arbeitsweise\, obwohl der einflussreiche Kunstkrit iker Clement Greenberg darauf hinwies\, dass es die ukrainisch-amerikanisch e Kü\;nstlerin Janet Sobel war\, die diesen Stil begrü\;ndete. Sill man adaptiert diesen Begriff und nutzt ihn fü\;r den Titel ihrer Ausste llung\, in der zwar keine &bdquo\;Drip Paintings&ldquo\; zu sehen sind\, we lche aber die Idee der flä\;chigen Bearbeitung der Leinwand mithilfe me chanischer Verfahren (dem Tintenstrahldruck) aufgreift und mit gestisch aus gefü\;hrter Malerei erweitert. \;Panorama \;ist eine a us 24 Leinwä\;nden bestehende Werkgruppe\, die neu fü\;r den Portik us entwickelt wurde und das erste Mal in Gä\;nze zu sehen ist. Scheinba r ohne Unterbruch reihen sich die verschiedenen Motive an den Wä\;nden des Ausstellungsraumes auf: Es sind gedruckte Wiedergaben von Sillmans Zeic hnungen\, die durch malerische Eingriffe ergä\;nzt werden. Die Logik de r Animation &ndash\; Vervielfä\;ltigung und Wiederholung &ndash\; greif t auf das Gemä\;lde ü\;ber. Auch wenn die Arbeiten zuweilen auf ein er gemeinsamen Ausgangslage basieren\, schlä\;gt jedes doch einen neuen Beginn vor. Die Kombination von Druck und Malerei lä\;sst nicht leicht erkennen\, welche Ebenen und Formen echt\, also tatsä\;chlich gemalt s ind und welche durch ein mechanisches Verfahren reproduziert wurden. In tei ls schlammigen Pastelltö\;nen und teils in leuchtend rosa und roten T&o uml\;nen gehalten\, verkö\;rpern die Arbeiten eine Ü\;berlagerung d ieser Techniken. Die Bedeutung des Formats wird durch die Aneinanderreihung der Leinwä\;nde und die schiere Grö\;ß\;e von \;Panor amaaufgehoben\, die Materialitä\;t wiederum geht durch die Ü\; berlagerung von Druck und Ö\;lfarbe verloren. Reine Farbigkeit und Gest e bleiben.

Als Einleitung zur Ausstellung steht \;Kick t he Bucket (loop for Portikus)\, eine neue Animation Sillmans fü\;r den Portikus. Neben der humorvollen und teils tragisch-komischen Story ste ht die Ü\;berlagerung verschiedener Zeichnungen und der Malerei im Vord ergrund und nimmt damit Bezug auf die Leinwä\;nde in der Ausstellung\, die auf ä\;hnliche Weise Form und Bewegung generieren.

Anl&a uml\;sslich der Ausstellung erscheint \;the O.G. #10\, das zeh nte Zine der Kü\;nstlerin\, die seit einigen Jahren auch kleine Kü\ ;nstlerbü\;cher produziert. In Form eines Leporellos werden die in der Ausstellung gezeigten Werke aufgegriffen und mit Gedichten befreundeter Lyr iker ergä\;nzt. Eine kleine Tonfigur verkauft und bewacht symbolisch di e Heftchen. Der Besucher ist aufgefordert einen Euro in den weitgeö\;ff neten Mund der Figur zu werfen\, die daraufhin diesen in einen kleinen Eime r ausscheidet.

DTEND:20160904 DTSTAMP:20160701T213335 DTSTART:20160702 GEO:50.1081305;8.6878394 LOCATION:Portikus\,Alte Brücke 2 / Maininsel \nFrankfurt\, D–60594 SEQUENCE:0 SUMMARY:the ALL-OVER\, Amy Sillman UID:422568 END:VEVENT BEGIN:VEVENT DTEND:20160701T210000 DTSTAMP:20160701T213335 DTSTART:20160701T190000 GEO:50.1081305;8.6878394 LOCATION:Portikus\,Alte Brücke 2 / Maininsel \nFrankfurt\, D–60594 SEQUENCE:0 SUMMARY:the ALL-OVER\, Amy Sillman UID:422569 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160924 DTSTAMP:20160701T213335 DTSTART:20160818 GEO:59.3458661;18.0378473 LOCATION:Galerie Nordenhake\,Hudiksvallsgatan 8 \nStockholm\, SE-113 30 SEQUENCE:0 SUMMARY:Solo Exhibition\, Elena Damiani UID:422311 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160716 DTSTAMP:20160701T213335 DTSTART:20160622 GEO:-22.9752959;-43.2293341 LOCATION:Galeria Silvia Cintra + Box 4\,Rua das Acácias\, 104 Rio de Janeir o 22451-060 SEQUENCE:0 SUMMARY:Solo Exhibition\, Sebastião Salgado UID:422310 END:VEVENT BEGIN:VEVENT DESCRIPTION:

While working on &bdquo\;Krzyż owieniec. Nikt na nim psó\;w nie powiesi&rdquo\; I was painting an or dinary individual &ndash\; everyman\, a character whose traits each of us c arries. And then I thought about priests. With their overwhelmingly distinc t way of life they embody this type of extremely disconnected people\, whom it is difficult to identify with.

It is impossible to percei ve the clergy only as the enemies of freedom and modernity in Poland\, alth ough they are usually approached with almost divine solemnity\, or ignored. One does not enter into a deep relationship with clerics (my friends don&r squo\;t go out for a beer with a friend priest)\, as I think&hellip\; that is how it usually happens ... rather without looking at the real work they actually do (I think that Polish society is doing something similar with ar tists\, only associating them with different stereotypes). This idea drove me to extend the reach of the meaning in this painting with the people from the clergy.

In &bdquo\;At the gate of Thebes" I showed a cle ar space &ndash\; unspoiled\, divine and I have moved a human form onto it. Oedipus at the gate of Thebes has already committed a patricide\, his moth er lives in the city\, towards which he is aiming. Once\, when he will lear n the truth\, he will blind himself and he will go into voluntary exile. I' d like to leave it like that\, completely apart from the painting.
< br /> "White Flag" tells a story about different ways of practicing chauvin ism. I have applied onto canvas\, flags and other emblems of being &rdquo\; saturated&rdquo\; with discrimination\, and actively participating in Evil\ , that man is causing to another man: younger learns from the older\, someo ne wants to be a leader and knows how to do it\, someone imitates him\, som eone gives a safe-conduct to his authority and power.

"Oblivi on" is a work about two inseparable things. About passing and constancy. Du ring the process of painting I have lived with what belongs to the past\, a ccepting it as much as I could afford to\, with sweet passion for what was best in the past life and with love\, with pretensions that scandalized me\ , and\, last but not least\, with the old beliefs... each was different as I was gradually becoming mature. And suddenly it hit me\, at some point dur ing my work on the painting\, a pure\, poignant vision of a car accident fl ashed in me. It wasn&rsquo\;t any particular memory or connection\, shockin g and determining the future life of this painting\, suspended over it with the face of a judgment and casting a new light. I didn&rsquo\;t ignore it\ , I continued to work. So I inscribed the accident into the painting&rsquo\ ;s order\, and I made it the motif of "Oblivion".

Krzysztof M ężyk

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Podczas pracy nad obraze m "Krzyżowieniec. Nikt na nim psó\;w nie powiesi" malowałem pospolite go człowieka &ndash\; everymana\, postać\, któ\;rej cechy nosi każdy z nas. Wtedy pomyślałem o księżach. Poprzez przytłaczającą odmienność życia \, uosabiają oni osoby z któ\;rymi trudno się utożsamić\, skrajnie od łączone.

Nie sposó\;b widzieć w klerze jedynie wrog&oac ute\;w wolności i nowoczesności w Polsce\, choć podchodzi się przecież do k lerykó\;w z namaszczeniem bliskim boskiemu\, albo ignoruje. Nie wchod zi się w głęboką relację (moi znajomi nie chodzą z kolegą księdzem na piwo) \, jak sądzę... tak się to dzieje... nie patrząc zazwyczaj na ich prawdziwą pracę\, jaką wykonują (myślę\, że polskie społeczeństwo robi coś podobnego z artystami\, tylko wiąże z nimi inne stereotypy). Ta myśl powiodła mnie d o rozszerzenia zasięgu znaczenia o osoby z kleru w tym obrazie.

W pracy "Przed bramą Teb" pokazałem czystą przestrzeń &ndash\; nieskażon ą\, boską i przeniosłem na nią postać człowieka. Edyp u wró\;t Teb do konał już ojcobó\;jstwa\, jego matka zamieszkuje miasto\, do kt&oacut e\;rego Edyp zmierza. Kiedyś\, gdy pozna prawdę\, odejmie sobie wzrok i uda się na dobrowolne wygnanie. Chciałbym to tak zostawić\, zupełnie obok obra zu.

"Biała flaga" opowiada o ró\;żnych drogach uprawian ia szowinizmu. Naniosłem na płó\;tno flagi i inne emblematy "nasycani a się" dyskryminacją\, aktywnym uczestnictwem w Złu\, któ\;re człowie k wyrządza drugiemu człowiekowi: młodszy uczy się od starszego\, ktoś chce być przywó\;dcą i wie jak się to robi\, ktoś go naśladuje\, ktoś daje glejt swoim autorytetem i władzą.

"Zapomnienie" jest pracą o dwó\;ch nierozrywalnych rzeczach. O przemijaniu i trwaniu. W czasie procesu malarskiego żyłem tym\, co należy do przeszłości\, akceptując ją ta k jak mnie na to stać\, ze słodką namiętnością do tego\, co w przeszłym życ iu najlepsze i miłością\, z pretensjami\, któ\;re mnie gorszą oraz\, last but not least\, dawnymi wiarami... każda była inna w miarę dojrzewania . I nagle krach\, w pewnym momencie pracy nad obrazem zabłysła we mnie czys ta\, dojmująca wizja wypadku samochodowego. Nie była żadnym konkretnym wspo mnieniem\, czy powiązaniem\, wstrząsająca i determinująca przyszłe życie te go obrazu\, zawieszona nad nim obliczem wyroku i rzucająca nowe światło. Ni e zignorowałem jej\, kontynuowałem pracę. Wpisałem więc wypadek w porządek obrazu i uczyniłem motywem "Zapomnienia".

Krzysztof Mężyk

DTEND:20160722 DTSTAMP:20160701T213335 DTSTART:20160624 GEO:52.2369945;20.9938938 LOCATION:Galeria Dawid Radziszewski\,Krochmalna 3 \nWarsaw\, 00-864 SEQUENCE:0 SUMMARY:Krzysztof Mężyk UID:422308 END:VEVENT BEGIN:VEVENT DTEND:20160624T220000 DTSTAMP:20160701T213335 DTSTART:20160624T190000 GEO:52.2369945;20.9938938 LOCATION:Galeria Dawid Radziszewski\,Krochmalna 3 \nWarsaw\, 00-864 SEQUENCE:0 SUMMARY:Krzysztof Mężyk UID:422309 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Opening reception: Thursday\, June 9th\, from 6:00 to 8:00pm


For a long time\, I've been curious about applying the methodology of art as one way--which I think is equal to science and o ther powerful explanatory concepts&mdash\;for us to understand what is surr ounding us and what we are.
&mdash\;Carsten Hö\;ller

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Gagosian Gallery is pleased to present "Zoolo gy\," Carsten Hö\;ller's first exhibition in Geneva.

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Trained as a scientist\, Hö\;ller both echoes and s urpasses scientific procedures in his work as an artist. Many of his projec ts invite viewer participation in order to question the facts and forms of human life. From carousels that reflect and disorient\, to winding slippery slides\, to vision-flipping goggles\, Hö\;ller actively interrogates t he functions of logic\, perception\, and entertainment in the larger biosph ere.

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"Zoology" is a selection of H&ou ml\;ller's recent sculptures\, photographs\, and prints\, made between 2008 and 2016\, which consider how different forms of animal life might relate to human embodied awareness. Through taxidermy\, casting\, molding\, and co llage\, Hö\;ller presents beings that cannot be easily categorized: the y are animals\, but they do not occur in nature\; they are the products of anthropocentric will&mdash\;of mutation\, breeding\, and grafting. And just as the scientist turns captive birds into hybrids\, Hö\;ller turns sna kes into soft\, squeezable curves of neon-pink artificiality. In their colo r and form\, the animals become implacable rarities&mdash\;in Divisions (Roach and Surface) (2016)\, minimalist-industrial materials and a mo dulated orange grid form a suspension chamber for a small\, shiny fish\; wh ile in the series of photogravures Canaries (2009)\, birds perch w ith feathers growing at wild\, intersecting angles. "Zoology" thus adds ano ther layer to Hö\;ller's phenomenological queries: instead of entering at will a carousel\, a gigantic die\, or a slide\, we encounter rubbery cre atures and experience the childlike urge to prod and pull\, although the ob jects&mdash\;being art&mdash\;are strictly out of bounds. It is this tactil e wit that brings the sculptures into a surreal or hyperreal realm\, betwee n human and animal\, between nature and art\, taking us along with them.

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Carsten Hö\;ller w as born in 1961 in Brussels\, Belgium to German parents. He lives and works in Stockholm\, Sweden\, and Biriwa\, Ghana. His works have been shown inte rnationally over the last two decades\, including "Synchro System\," Fondaz ione Prada\, Milan (2000)\; "One Day One Day\," Fä\;rgfabriken\, Stockh olm (2003)\; "Half Fiction\," ICA\, Boston (2003)\; "7\,8 Hz\," Le Consorti um\, Dijon (2004)\; "Une exposition à\; Marseille\," Musé\;e d' Art Contemporain\, Marseille (2004)\; "Carsten Hö\;ller: Test Site\," T ate Modern\, London (2006)\; "Amusement Park\," MASS MoCA\, Massachusetts ( 2006)\; "Carrousel\," Kunsthaus Bregenz\, Austria (2008)\; "The Double Club \," Fondazione Prada\, London (2008)\; "Double Slide\," Museum of Contempor ary Art\, Zagreb (2009)\; "Divided Divided\," Museum Boijmans van Beuningen \, Rotterdam (2010)\; "SOMA\," Hamburger Bahnhof\, Museum fü\;r Gegenwa rt\, Berlin (2010)\; "Carsten Hö\;ller: Double Carousel with Zö\;ll ner Stripes\," Museum of Contemporary Art of Rome\, Italy (2011)\; "Experie nce\," New Museum of Contemporary Art\, New York (2011)\; "Leben\," Thyssen -Bornemisza Art Contemporary\, Vienna (2014)\; "Golden Mirror Carousel\," N ational Gallery of Victoria\, Melbourne (2014&ndash\;15)\; Carsten Hö\; ller "Decision\," Hayward Gallery\, London (2015).

The Sli de at the ArcelorMittal Orbit (2016)\, Hö\;ller's commissioned add ition to Anish Kapoor's ArcelorMittal Orbit (2012)\, is permanentl y installed at Queen Elizabeth Olympic Park\, London. "Doubt\," a major ins tallation survey curated by Vicente Todoli is currently on view at Pirelli HangarBicocca\, Milan through July 31\, 2016.

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Vernissage: jeudi\, 9 juin\, de 18h00 à\; 20h00

J'ai voulu depuis longtemps appliquer la mé\;thodologie de l'art comme é\;tant un moyen qui\, je pense\, est l'é\;quiva lent de la science et d'autres concepts explicatifs puissants\, pour nous f aire comprendre ce qui nous entoure et ce que nous sommes.
&mdash \;Carsten Hö\;ller

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La galerie Gag osian a le plaisir de pré\;senter «\;Zoology»\;\, la premi& egrave\;re exposition de Carsten Hö\;ller à\; Genè\;ve.

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De formation scientifique\, Carsten H&ou ml\;ller fait é\;cho\, dans son travail d'artiste\, aux procé\; dures scientifiques tout en les dé\;passant. Nombreux sont ses projet s qui sollicitent la participation du spectateur pour questionner la r&eacu te\;alité\; et les formes de la vie humaine. Des carrousels qui scint illent et dé\;sorientent aux lunettes à\; verres protubé\ ;rants en passant par des toboggans rotatoires\, Hö\;ller s'interroge c onstamment sur les fonctions de la logique\, de la perception et du diverti ssement dans l'immense biosphè\;re.

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«\;Zoology»\; est une sé\;lection de sculptures\, de p hotographies et de gravures ré\;centes que Carsten Hö\;ller a r&e acute\;alisé\;es entre 2008 et 2016\; ces &oelig\;uvres examinent com ment les diffé\;rentes formes de la vie animale peuvent se rapprocher de la conscience exprimé\;e par l'ê\;tre humain. Au travers de la taxidermie\, du coulage\, du moulage et du collage\, Hö\;ller montre des ê\;tres qui ne sont pas faciles à\; cataloguer: ce sont bie n des animaux\, mais on ne les trouve pas dans la nature. Ils sont le produ it d'une volonté\; anthropocentrique de mutation\, de reproduction et de greffe. Tout comme les scientifiques transforment les oiseaux captifs e n ê\;tres hybrides\, Hö\;ller mé\;tamorphose les serpents en des courbes douces et tordues d'un rose artificiel tel que celui des n&eac ute\;ons. De par leurs couleurs et leurs formes\, les animaux deviennent de s rareté\;s implacables comme dans Divisions (Roach and Surface)< /em> (2016) constitué\;es de maté\;riaux industriels minimalist es et d'un cadre orange qui forment une chambre de suspension pour un petit poisson brillant\; dans Canaries (2009)\, une sé\;rie de ph otogravures\, des oiseaux perché\;s portent des plumes poussant sauva gement à\; des angles intersecté\;s. «\;Zoology»\; aj oute une autre couche aux questions phé\;nomé\;nologiques que s e pose l'artiste: au lieu d'entrer comme on l'aimerait dans un carrousel\, un immense dé\; ou un toboggan\, on tombe sur des cré\;atures c aoutchouteuses et on ressent une envie enfantine pressante de pousser et de tirer\, alors que les objets\, é\;tant de l'art\, sont strictement i nterdits d'accè\;s. C'est cette approche tactile qui emmè\;ne l es sculptures dans un royaume surré\;aliste ou hyperré\;aliste\ , oscillant entre l'humain et l'animal\, entre la nature et l'art\, et qui nous emporte dans son sillage.

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Carsten Hö\;ller est né\; en 1961 à\; Bruxelles de parents allemands. Il vit et travaille à\; Stockholm\, en Su&egrav e\;de\, et Biriwa\, Ghana. Ses &oelig\;uvres ont é\;té\; pr&eac ute\;senté\;es à\; l'é\;chelle internationale au cours de s deux derniè\;res dé\;cennies. Parmi ses expositions mus&eacut e\;ales ré\;centes on compte «\;Synchro System»\;\, Fondazi one Prada\, Milan (2000)\; «\;One Day One Day»\;\, Fä\;rgfabr iken\, Stockholm (2003)\; «\;Half Fiction»\;\, ICA\, Boston (2003 )\; «\;7\,8 Hz»\;\, Le Consortium\, Dijon (2004)\; «\;Une ex position à\; Marseille»\;\, Musé\;e d'Art Contemporain\, M arseille (2004)\; «\;Test Site»\;\, Tate Modern\, London (2006)\; «\;Amusement Park»\;\, MASS MoCA\, Massachusetts (2006)\; « \;Carrousel»\;\, Kunsthaus Bregenz\, Autriche (2008)\; «\;The Dou ble Club»\;\, Fondazione Prada\, Londres (2008)\; «\;Double Slide »\;\, Museum of Contemporary Art\, Zagreb (2009)\; «\;Divided Div ided»\;\, Boijmans van Beuningen Museum\, Rotterdam (2010)\; «\;S OMA»\;\, Hamburger Bahnhof\, Museum fü\;r Gegenwart\, Berlin (2010 )\; «\;Carsten Hö\;ller: Double Carousel with Zö\;llner Stripe s»\;\, Museum of Contemporary Art of Rome\, Italy\; «\;Experience »\;\, New Museum of Contemporary Art\, New York (2011)\; «\;Leben »\;\, Thyssen-Bornemisza Art Contemporary\, Vienne (2014)\; «\;Go lden Mirror Carousel»\;\, National Gallery of Victoria\, Melbourne (20 14&ndash\;15)\; Carsten Hö\;ller «\;Dé\;cision»\;\, Hay ward Gallery\, Londres (2015).

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Th e Slide at the ArcelorMittal Orbit (2016)\, la derniè\;re commis sion de Carsten Hö\;ller\, viendra s'ajouter de faç\;on permanent e à\; ArcelorMittal Orbit \;d'Anish Kapoor au Parc Olymp ique de Londres. «\;Doubt»\;\, une exposition majeure organis&eac ute\;e par Vicente Todoli est actuellement pré\;senté\;e &agrav e\; la Pirelli HangarBicocca\, Milan jusqu'au 31 Juillet 2016.

DTEND:20160812 DTSTAMP:20160701T213335 DTSTART:20160609 GEO:46.2027281;6.1501122 LOCATION:Gagosian Gallery - Geneva\,19 place de Longemalle \nGeneva \, 1204 SEQUENCE:0 SUMMARY:Zoology\, Carsten Höller UID:422307 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Opening reception: Thursday\, May 26th\, from 7:00 to 9:00pm


I want colored mirrors\; they are the key to this story. Some are fixed\, others shift\, others are angled...sometimes two or three models are in different scale\; their meaning is established by the interior.
&mdash\;Jean Nouvel

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Gagosian Gallery is pleased to present Triptyques\, a series of limited edition mirrors\, and Boî\;te à\; outils (Tool Box)\, a sculpture by Jean Nouvel.

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L ike many Modernist predecessors who worked across related disciplines\, Nou vel describes himself as an architect and a designer. His design products d erive from architectural commissions\, or from alternative visions that cor respond to his building design but which are linked to specific use. Regard less of the scale of the object or the architecture\, Nouvel employs the sa me rigorous approach\, imbuing the objects and accoutrements of everyday li fe with a certain lyricism that is also streamlined and utilitarian.

\n< p style="text-align: justify\;">As the title suggests\, Triptyques are three-paneled colored mirrors\, each in an edition of six. The central panel is fixed to the wall\, while flanking and cantilevered panels are en gineered to be movable. Four mirrors are presented\, each different in colo r and orientation. Nouvel comments\, "The mirror is a piece that you want t o live with\, in which you reflect intimate images&mdash\;images from your home\; you can capture a piece of a window in it somewhere." Colors range f rom light orange to blood orange to red\, his signature color. The mirror f inds its essence whether open or closed. When opened\, Nouvel's mirrors evi nce the importance of color in their surroundings\; when closed\, they pres erve a certain austere elegance.

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The extra-large stainless steel tool box titled Boî\;te à\; outi ls (1987&ndash\;2011)\, meanwhile\, is an emblematic and celebrated de sign. It is an object of function and fantasy at the same time&mdash\;a del uxe storage system based on the standard toolbox that can be found in every household. Nouvel has reinterpreted this utilitarian staple\, streamlining it while endowing it with additional features.

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Jean Nouvel was born in Fumel in 1945 and studi ed at the É\;cole des Beaux-Arts\, Paris. A key protagonist of intell ectual debate in France regarding architecture\, he was a founding member o f Mars 1976 and Syndicat de l'Architecture. Nouvel's buildings include Mus& eacute\;e du Quai Branly\, Paris\; Fondation Cartier pour l'Art Contemporai n\, Paris\; Lucerne Culture and Congress Centre\, Switzerland\; Torre Agbar \, Barcelona\; and Guthrie Theater\, Minneapolis. The Louvre Abu Dhabi\, an d the National Museum of China (NAMOC) are among the projects currently in planning. Nouvel's distinctions include the Aga Khan Award for Architecture for the Institut du Monde Arabe (1989)\; the Gold Medal of the Royal Insti tute of British Architects (2001)\; the Wolf Prize in Arts (2005)\; and the Pritzker Prize (2008). Exhibitions of his work&mdash\;including "Jean Nouv el\," a retrospective at Centre Georges Pompidou\, Paris (2001)&mdash\;have been held throughout the world\, from New York to Rio de Janeiro and Tokyo .

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In 1995 Nouvel created the Jean Nou vel Design Agency (JND) to develop design and interior design projects in p arallel with the architectural practice Ateliers Jean Nouvel. Several serie s of furniture and industrial objects have been developed and commercialize d\, from the Less Less collection (Unifor)\, coffee service (Alessi)\, ligh ting (Artemide)\, chairs (Emeco\, Emu\, Figueras) and tables (Cassina &\ ; Molteni). \;Gagosian Gallery\, in partnership with Galerie Patric k Seguin\, are the sole distributors and producer of Jean Nouvel limited ed ition furniture.

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&Epsilo n\;&gamma\;&kappa\;&alpha\;ί&nu\;&iota\;&alpha\;: &Pi\;έ&mu\;&pi\;&tau\;&et a\; 26&eta\; &tau\;&omicron\;&upsilon\; &Mu\;&alpha\;ΐ&omicron\;&upsilon\;\ , 19:00&ndash\;21:00 &mu\;.&mu\;.


&Theta\;έ&lambda\ ;&omega\; &chi\;&rho\;&omega\;&mu\;&alpha\;&tau\;&iota\;&sigma\;&tau\;&omic ron\;ύ&sigmaf\; &kappa\;&alpha\;&theta\;&rho\;έ&phi\;&tau\;&epsilon\;&sigma f\;\, &pi\;&alpha\;ί&zeta\;&omicron\;&upsilon\;&nu\; &pi\;&rho\;&omega\;&ta u\;&alpha\;&gamma\;&omega\;&nu\;&iota\;&sigma\;&tau\;&iota\;&kappa\;ό &rho\ ;ό&lambda\;&omicron\; &sigma\;' &alpha\;&upsilon\;&tau\;ή &tau\;&eta\; &del ta\;&omicron\;&upsilon\;&lambda\;&epsilon\;&iota\;ά &mu\;&omicron\;&upsilon \;. &Omicron\;&rho\;&iota\;&sigma\;&mu\;έ&nu\;&omicron\;&iota\; &epsilon\;ί &nu\;&alpha\;&iota\; &sigma\;&tau\;&epsilon\;&rho\;&epsilon\;&omega\;&mu\;έ &nu\;&omicron\;&iota\;\, ά&lambda\;&lambda\;&omicron\;&iota\; &mu\;&epsilon \;&tau\;&alpha\;&kappa\;&iota\;&nu\;&omicron\;ύ&nu\;&tau\;&alpha\;&iota\;\, ά&lambda\;&lambda\;&omicron\;&iota\; &beta\;&rho\;ί&sigma\;&kappa\;&omicro n\;&nu\;&tau\;&alpha\;&iota\; &upsilon\;&pi\;ό &gamma\;&omega\;&nu\;ί&alpha \;... &Mu\;&epsilon\;&rho\;&iota\;&kappa\;έ&sigmaf\; &phi\;&omicron\;&rho\; έ&sigmaf\; &delta\;ύ&omicron\; ή &tau\;&rho\;ί&alpha\; &kappa\;&omicron\;&m u\;&mu\;ά&tau\;&iota\;&alpha\; &epsilon\;ί&nu\;&alpha\;&iota\; &delta\;&iot a\;&alpha\;&phi\;&omicron\;&rho\;&epsilon\;&tau\;&iota\;&kappa\;ή&sigmaf\; &kappa\;&lambda\;ί&mu\;&alpha\;&kappa\;&alpha\;&sigmaf\;. &Tau\;&omicron\; &epsilon\;&sigma\;&omega\;&tau\;&epsilon\;&rho\;&iota\;&kappa\;ό &tau\;&omi cron\;&upsilon\;&sigmaf\; &epsilon\;ί&nu\;&alpha\;&iota\; &alpha\;&upsilon\ ;&tau\;ό &pi\;&omicron\;&upsilon\; &tau\;&omicron\;&upsilon\;&sigmaf\; &pi\ ;&rho\;&omicron\;&sigma\;&delta\;ί&delta\;&epsilon\;&iota\; &nu\;ό&eta\;&mu \;&alpha\;.
&mdash\;Jean Nouvel

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&Eta\; &gamma\;&kappa\;&alpha\;&lambda\;&epsilon\;&rho\;ί Gagosian &pi \;&alpha\;&rho\;&omicron\;&upsilon\;&sigma\;&iota\;ά&zeta\;&epsilon\;&iota\ ; &tau\;&alpha\; έ&rho\;&gamma\;&alpha\; Triptyques\, &mu\;&iota\; &alpha\; &sigma\;&epsilon\;&iota\;&rho\;ά &alpha\;&pi\;ό &kappa\;&alpha\;&t heta\;&rho\;έ&phi\;&tau\;&epsilon\;&sigmaf\; &sigma\;&epsilon\; &pi\;&epsil on\;&rho\;&iota\;&omicron\;&rho\;&iota\;&sigma\;&mu\;έ&nu\;&omicron\; &alph a\;&rho\;&iota\;&theta\;&mu\;ό &kappa\;&omicron\;&mu\;&mu\;&alpha\;&tau\;&i ota\;ώ&nu\;\, &kappa\;&alpha\;&iota\; &tau\;&omicron\; &gamma\;&lambda\;&up silon\;&pi\;&tau\;ό Boî\;te à\; outils (&Epsilon\;&rho\ ;&gamma\;&alpha\;&lambda\;&epsilon\;&iota\;&omicron\;&theta\;ή&kappa\;&eta\ ;) &tau\;&omicron\;&upsilon\; Jean Nouvel.

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&Omicron\; Nouvel &alpha\;&pi\;&omicron\;&kappa\;&alpha\;&lambda\;&ep silon\;ί &tau\;&omicron\;&nu\; &epsilon\;&alpha\;&upsilon\;&tau\;ό &tau\;&o micron\;&upsilon\; &alpha\;&rho\;&chi\;&iota\;&tau\;έ&kappa\;&tau\;&omicron \;&nu\;&alpha\; &kappa\;&alpha\;&iota\; &nu\;&tau\;&iota\;&zeta\;ά&iota\;&n u\;&epsilon\;&rho\;&mdash\;ό&pi\;&omega\;&sigmaf\; &kappa\;&alpha\;&iota\; &pi\;&omicron\;&lambda\;&lambda\;&omicron\;ί ά&lambda\;&lambda\;&omicron\;& iota\; &Mu\;&omicron\;&nu\;&tau\;&epsilon\;&rho\;&nu\;&iota\;&sigma\;&tau\; έ&sigmaf\; &sigma\;&tau\;&omicron\; &pi\;&alpha\;&rho\;&epsilon\;&lambda\;& theta\;ό&nu\;\, &tau\;&omega\;&nu\; &omicron\;&pi\;&omicron\;ί&omega\;&nu\; &tau\;&omicron\; έ&rho\;&gamma\;&omicron\; &delta\;&epsilon\;&nu\; &pi\;&e psilon\;&rho\;&iota\;&omicron\;&rho\;ί&zeta\;&epsilon\;&tau\;&alpha\;&iota\ ; &sigma\;&epsilon\; έ&nu\;&alpha\;&nu\; &mu\;ό&nu\;&omicron\; &tau\;&omicr on\;&mu\;έ&alpha\; &delta\;&rho\;&alpha\;&sigma\;&tau\;&eta\;&rho\;&iota\;& omicron\;&pi\;&omicron\;ί&eta\;&sigma\;&eta\;&sigmaf\;. &Tau\;&alpha\; &pi\ ;&rho\;&omicron\;ϊό&nu\;&tau\;&alpha\; &tau\;&eta\;&sigmaf\; &delta\;&omicr on\;&upsilon\;&lambda\;&epsilon\;&iota\;ά &tau\;&omicron\;&upsilon\; έ&chi\ ;&omicron\;&upsilon\;&nu\; ά&lambda\;&lambda\;&omicron\;&tau\;&epsilon\; &o mega\;&sigmaf\; &pi\;&eta\;&gamma\;ή έ&mu\;&pi\;&nu\;&epsilon\;&upsilon\;&s igma\;&eta\;&sigmaf\; έ&nu\;&alpha\; &alpha\;&rho\;&chi\;&iota\;&tau\;&epsi lon\;&kappa\;&tau\;&omicron\;&nu\;&iota\;&kappa\;ό έ&rho\;&gamma\;&omicron\ ; &pi\;&omicron\;&upsilon\; &tau\;&omicron\;&upsilon\; έ&chi\;&epsilon\;&io ta\; &alpha\;&nu\;&alpha\;&tau\;&epsilon\;&theta\;&epsilon\;ί\, ά&lambda\;& lambda\;&omicron\;&tau\;&epsilon\; &alpha\;&pi\;&omicron\;&tau\;&epsilon\;& lambda\;&omicron\;ύ&nu\; &epsilon\;&nu\;&alpha\;&lambda\;&lambda\;&alpha\;& kappa\;&tau\;&iota\;&kappa\;έ&sigmaf\; &pi\;&rho\;&omicron\;&tau\;ά&sigma\; &epsilon\;&iota\;&sigmaf\; &pi\;&omicron\;&upsilon\; &pi\;&alpha\;&rho\;&al pha\;&pi\;έ&mu\;&pi\;&omicron\;&upsilon\;&nu\; &mu\;&epsilon\;&nu\; &sigma\ ;&tau\;&omicron\;&nu\; &tau\;&rho\;ό&pi\;&omicron\; &pi\;&omicron\;&upsilon \; &sigma\;&chi\;&epsilon\;&delta\;&iota\;ά&zeta\;&epsilon\;&iota\; &kappa\ ;&tau\;ί&rho\;&iota\;&alpha\;\, έ&chi\;&omicron\;&upsilon\;&nu\; ό&mu\;&ome ga\;&sigmaf\; &mu\;&iota\;&alpha\; &pi\;&omicron\;&lambda\;ύ &sigma\;&upsil on\;&gamma\;&kappa\;&epsilon\;&kappa\;&rho\;&iota\;&mu\;έ&nu\;&eta\; &chi\; &rho\;ή&sigma\;&eta\;. &Eta\; &sigma\;&chi\;&omicron\;&lambda\;&alpha\;&sig ma\;&tau\;&iota\;&kappa\;ό&tau\;&eta\;&tau\;&alpha\; &mu\;&epsilon\; &tau\; &eta\;&nu\; &omicron\;&pi\;&omicron\;ί&alpha\; &pi\;&rho\;&omicron\;&sigma\ ;&epsilon\;&gamma\;&gamma\;ί&zeta\;&epsilon\;&iota\; &omicron\; Nouvel &tau \;&eta\; &delta\;&omicron\;&upsilon\;&lambda\;&epsilon\;&iota\;ά &tau\;&omi cron\;&upsilon\;\, &alpha\;&sigma\;&chi\;έ&tau\;&omega\;&sigmaf\; &kappa\;& lambda\;ί&mu\;&alpha\;&kappa\;&alpha\;&sigmaf\;\, &alpha\;&pi\;ό έ&nu\;&alp ha\; &mu\;&iota\;&kappa\;&rho\;ό &alpha\;&nu\;&tau\;&iota\;&kappa\;&epsilon \;ί&mu\;&epsilon\;&nu\;&omicron\; έ&omega\;&sigmaf\; έ&nu\;&alpha\; &alpha\ ;&rho\;&chi\;&iota\;&tau\;&epsilon\;&kappa\;&tau\;ό&nu\;&eta\;&mu\;&alpha\; \, &epsilon\;&mu\;&pi\;&omicron\;&tau\;ί&zeta\;&epsilon\;&iota\; &tau\;&alp ha\; &alpha\;&nu\;&tau\;&iota\;&kappa\;&epsilon\;ί&mu\;&epsilon\;&nu\;&alph a\; &kappa\;&alpha\;&theta\;&eta\;&mu\;&epsilon\;&rho\;&iota\;&nu\;ή&sigmaf \; &chi\;&rho\;ή&sigma\;&eta\;&sigmaf\; &mu\;&epsilon\; &lambda\;&upsilon\; &rho\;&iota\;&sigma\;&mu\;ό &pi\;&omicron\;&upsilon\; &tau\;&omicron\;&upsi lon\;&sigmaf\; &pi\;&rho\;&omicron\;&sigma\;&delta\;ί&delta\;&epsilon\;&iot a\; &tau\;&epsilon\;&lambda\;&epsilon\;&iota\;ό&tau\;&eta\;&tau\;&alpha\; & sigma\;&tau\;&eta\; &mu\;&omicron\;&rho\;&phi\;ή &alpha\;&lambda\;&lambda\; ά &sigma\;&upsilon\;&nu\;ά&mu\;&alpha\; &kappa\;&alpha\;&iota\; &chi\;&rho\ ;&eta\;&sigma\;&tau\;&iota\;&kappa\;ό&tau\;&eta\;&tau\;&alpha\;.

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Ό&pi\;&omega\;&sigmaf\; &upsilon\;&pi\;&omicron \;&delta\;&eta\;&lambda\;ώ&nu\;&epsilon\;&iota\; &kappa\;&alpha\;&iota\; &o micron\; &tau\;ί&tau\;&lambda\;&omicron\;&sigmaf\; &tau\;&omicron\;&upsilon \;&sigmaf\;\, &tau\;&alpha\; έ&rho\;&gamma\;&alpha\; Triptyques (& Tau\;&rho\;ί&pi\;&tau\;&upsilon\;&chi\;&alpha\;) &epsilon\;ί&nu\;&alpha\;&i ota\; &chi\;&rho\;&omega\;&mu\;&alpha\;&tau\;&iota\;&sigma\;&tau\;&omicron\ ;ί &kappa\;&alpha\;&theta\;&rho\;έ&phi\;&tau\;&epsilon\;&sigmaf\; &pi\;&omi cron\;&upsilon\; &alpha\;&pi\;&omicron\;&tau\;&epsilon\;&lambda\;&omicron\; ύ&nu\;&tau\;&alpha\;&iota\; &alpha\;&pi\;ό &tau\;&rho\;ί&alpha\; &mu\;έ&rho \;&eta\;&mdash\;&omicron\; &kappa\;&alpha\;&theta\;έ&nu\;&alpha\;&sigmaf\; &upsilon\;&pi\;ά&rho\;&chi\;&epsilon\;&iota\; &sigma\;&epsilon\; έ&xi\;&iot a\; &kappa\;&omicron\;&mu\;&mu\;ά&tau\;&iota\;&alpha\;. &Tau\;&omicron\; &k appa\;&epsilon\;&nu\;&tau\;&rho\;&iota\;&kappa\;ό &tau\;&mu\;ή&mu\;&alpha\; &epsilon\;ί&nu\;&alpha\;&iota\; &sigma\;&tau\;&epsilon\;&rho\;&epsilon\;&o mega\;&mu\;έ&nu\;&omicron\; &sigma\;&tau\;&omicron\;&nu\; &tau\;&omicron\;ί &chi\;&omicron\;\, &epsilon\;&nu\;ώ &tau\;&alpha\; &pi\;ά&nu\;&epsilon\;&la mbda\; &pi\;&omicron\;&upsilon\; &beta\;&rho\;ί&sigma\;&kappa\;&omicron\;&n u\;&tau\;&alpha\;&iota\; &delta\;&epsilon\;&xi\;&iota\;ά &kappa\;&alpha\;&i ota\; &alpha\;&rho\;&iota\;&sigma\;&tau\;&epsilon\;&rho\;ά &tau\;&omicron\; &upsilon\; &epsilon\;ί&nu\;&alpha\;&iota\; έ&tau\;&sigma\;&iota\; &kappa\;& alpha\;&tau\;&alpha\;&sigma\;&kappa\;&epsilon\;&upsilon\;&alpha\;&sigma\;&m u\;έ&nu\;&alpha\; ώ&sigma\;&tau\;&epsilon\; &nu\;&alpha\; &mu\;&pi\;&omicro n\;&rho\;&omicron\;ύ&nu\; &nu\;&alpha\; &kappa\;&iota\;&nu\;&omicron\;ύ&nu\ ;&tau\;&alpha\;&iota\;. &Sigma\;&tau\;&eta\;&nu\; έ&kappa\;&theta\;&epsilon \;&sigma\;&eta\; &pi\;&alpha\;&rho\;&omicron\;&upsilon\;&sigma\;&iota\;ά&ze ta\;&omicron\;&nu\;&tau\;&alpha\;&iota\; &tau\;έ&sigma\;&sigma\;&epsilon\;& rho\;&iota\;&sigmaf\; &kappa\;&alpha\;&theta\;&rho\;έ&phi\;&tau\;&epsilon\; &sigmaf\;\, &delta\;&iota\;&alpha\;&phi\;&omicron\;&rho\;&epsilon\;&tau\;&i ota\;&kappa\;&omicron\;ί &mu\;&epsilon\;&tau\;&alpha\;&xi\;ύ &tau\;&omicron \;&upsilon\;&sigmaf\; &omega\;&sigmaf\; &pi\;&rho\;&omicron\;&sigmaf\; &tau \;&omicron\; &chi\;&rho\;ώ&mu\;&alpha\; &alpha\;&lambda\;&lambda\;ά &kappa\ ;&alpha\;&iota\; &omega\;&sigmaf\; &pi\;&rho\;&omicron\;&sigmaf\; &tau\;&et a\;&nu\; &pi\;&rho\;&omicron\;&sigma\;έ&gamma\;&gamma\;&iota\;&sigma\;&eta\ ;. &Omicron\; Nouvel &alpha\;&nu\;&alpha\;&phi\;έ&rho\;&epsilon\;&iota\; &s igma\;&chi\;&epsilon\;&tau\;&iota\;&kappa\;ά: «\;&Omicron\; &kappa\;&a lpha\;&theta\;&rho\;έ&phi\;&tau\;&eta\;&sigmaf\; &epsilon\;ί&nu\;&alpha\;&i ota\; έ&nu\;&alpha\; &alpha\;&nu\;&tau\;&iota\;&kappa\;&epsilon\;ί&mu\;&eps ilon\;&nu\;&omicron\; &mu\;&epsilon\; &tau\;&omicron\; &omicron\;&pi\;&omic ron\;ί&omicron\; &sigma\;&upsilon\;&gamma\;&kappa\;&alpha\;&tau\;&omicron\; &iota\;&kappa\;&epsilon\;ί&sigmaf\;\, &alpha\;&nu\;&tau\;&alpha\;&nu\;&alph a\;&kappa\;&lambda\;ώ&nu\;&tau\;&alpha\;&iota\; &sigma\;' &alpha\;&upsilon\ ;&tau\;ό&nu\; &pi\;&omicron\;&lambda\;ύ &pi\;&rho\;&omicron\;&sigma\;&omega \;&pi\;&iota\;&kappa\;έ&sigmaf\; &epsilon\;&iota\;&kappa\;ό&nu\;&epsilon\;& sigmaf\;&mdash\;&epsilon\;&iota\;&kappa\;ό&nu\;&epsilon\;&sigmaf\; &alpha\; &pi\;' &tau\;&omicron\; &sigma\;&pi\;ί&tau\;&iota\; &sigma\;&omicron\;&upsi lon\;. &Kappa\;&alpha\;&mu\;&iota\;ά &phi\;&omicron\;&rho\;ά &beta\;&lambda \;έ&pi\;&epsilon\;&iota\;&sigmaf\; &mu\;έ&chi\;&rho\;&iota\; &kappa\;&alpha \;&iota\; &tau\;&eta\; &theta\;έ&alpha\; έ&xi\;&omega\; &alpha\;&pi\;' &tau \;&omicron\; &pi\;&alpha\;&rho\;ά&theta\;&upsilon\;&rho\;&omicron\; &mu\;έ& sigma\;&alpha\; &alpha\;&pi\;' &tau\;&omicron\;&nu\; &kappa\;&alpha\;&theta \;&rho\;έ&phi\;&tau\;&eta\; &sigma\;&omicron\;&upsilon\;»\;. &Alpha\;& pi\;ό &chi\;&rho\;ώ&mu\;&alpha\;&tau\;&alpha\;\, &chi\;&rho\;&eta\;&sigma\; &iota\;&mu\;&omicron\;&pi\;&omicron\;&iota\;&epsilon\;ί ό&lambda\;&eta\; &t au\;&eta\;&nu\; &gamma\;&kappa\;ά&mu\;&alpha\; &tau\;&omicron\;&upsilon\; & pi\;&omicron\;&rho\;&tau\;&omicron\;&kappa\;&alpha\;&lambda\;ί\, &alpha\;&p i\;ό &tau\;&omicron\; &alpha\;&nu\;&omicron\;&iota\;&chi\;&tau\;ό&chi\;&rho \;&omega\;&mu\;&omicron\; &mu\;έ&chi\;&rho\;&iota\; &tau\;&omicron\; &sigma \;&alpha\;&gamma\;&kappa\;&omicron\;&upsilon\;ί&nu\;&iota\; &kappa\;&alpha\ ;&iota\; &tau\;&omicron\; &kappa\;ό&kappa\;&kappa\;&iota\;&nu\;&omicron\;\, &pi\;&omicron\;&upsilon\; &epsilon\;ί&nu\;&alpha\;&iota\; &kappa\;&alpha\; &iota\; &tau\;&omicron\; &chi\;&rho\;ώ&mu\;&alpha\; &pi\;&omicron\;&upsilon \; &chi\;&alpha\;&rho\;&alpha\;&kappa\;&tau\;&eta\;&rho\;ί&zeta\;&epsilon\; &iota\; &tau\;&eta\; &delta\;&omicron\;&upsilon\;&lambda\;&epsilon\;&iota\; ά &tau\;&omicron\;&upsilon\;. &Omicron\; &kappa\;&alpha\;&theta\;&rho\;έ&ph i\;&tau\;&eta\;&sigmaf\; &alpha\;&pi\;&omicron\;&kappa\;&tau\;ά &delta\;&io ta\;&alpha\;&phi\;&omicron\;&rho\;&epsilon\;&tau\;&iota\;&kappa\;ό &nu\;ό&e ta\;&mu\;&alpha\; &alpha\;&nu\;ά&lambda\;&omicron\;&gamma\;&alpha\; &mu\;&e psilon\; &tau\;&omicron\; &alpha\;&nu\; &epsilon\;ί&nu\;&alpha\;&iota\; &al pha\;&nu\;&omicron\;&iota\;&chi\;&tau\;ό&sigmaf\; ή &kappa\;&lambda\;&epsil on\;&iota\;&sigma\;&tau\;ό&sigmaf\;. Ό&tau\;&alpha\;&nu\; &epsilon\;ί&nu\;& alpha\;&iota\; &alpha\;&nu\;&omicron\;&iota\;&chi\;&tau\;&omicron\;ί\, &omi cron\;&iota\; &kappa\;&alpha\;&theta\;&rho\;έ&phi\;&tau\;&epsilon\;&sigmaf\ ; &tau\;&omicron\;&upsilon\; Nouvel &phi\;&alpha\;&nu\;&epsilon\;&rho\;ώ&nu \;&omicron\;&upsilon\;&nu\; &pi\;ό&sigma\;&omicron\; &sigma\;&eta\;&mu\;&al pha\;&nu\;&tau\;&iota\;&kappa\;ό &epsilon\;ί&nu\;&alpha\;&iota\; &tau\;&omi cron\; &chi\;&rho\;ώ&mu\;&alpha\; &sigma\;&tau\;&omicron\;&nu\; &pi\;&epsil on\;&rho\;&iota\;&beta\;ά&lambda\;&lambda\;&omicron\;&nu\;&tau\;&alpha\; &c hi\;ώ&rho\;&omicron\;. Ό&tau\;&alpha\;&nu\; &epsilon\;ί&nu\;&alpha\;&iota\; &kappa\;&lambda\;&epsilon\;&iota\;&sigma\;&tau\;&omicron\;ί\, &tau\;&omicr on\;&upsilon\;&sigmaf\; &chi\;&alpha\;&rho\;&alpha\;&kappa\;&tau\;&eta\;&rh o\;ί&zeta\;&epsilon\;&iota\; &eta\; &alpha\;&upsilon\;&sigma\;&tau\;&eta\;& rho\;ή &kappa\;&omicron\;&mu\;&psi\;ό&tau\;&eta\;&tau\;&alpha\;.

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&Eta\; &delta\;&epsilon\; &upsilon\;&pi\;&epsil on\;&rho\;&mu\;&epsilon\;&gamma\;έ&theta\;&eta\;&sigmaf\; &epsilon\;&rho\;& gamma\;&alpha\;&lambda\;&epsilon\;&iota\;&omicron\;&theta\;ή&kappa\;&eta\; &alpha\;&pi\;ό &alpha\;&nu\;&omicron\;&xi\;&epsilon\;ί&delta\;&omega\;&tau\ ;&omicron\; &alpha\;&tau\;&sigma\;ά&lambda\;&iota\; &mu\;&epsilon\; &tau\;ί &tau\;&lambda\;&omicron\; Boî\;te à\; outils (1987&ndas h\;2011) &epsilon\;ί&nu\;&alpha\;&iota\; έ&nu\;&alpha\; &alpha\;&nu\;&tau\; &iota\;&kappa\;&epsilon\;ί&mu\;&epsilon\;&nu\;&omicron\; &pi\;&alpha\;&sigm a\;ί&gamma\;&nu\;&omega\;&sigma\;&tau\;&omicron\; &kappa\;&alpha\;&iota\; & epsilon\;&mu\;&beta\;&lambda\;&eta\;&mu\;&alpha\;&tau\;&iota\;&kappa\;ό. &P i\;&rho\;ό&kappa\;&epsilon\;&iota\;&tau\;&alpha\;&iota\; &gamma\;&iota\;&al pha\; &alpha\;&nu\;&tau\;&iota\;&kappa\;&epsilon\;ί&mu\;&epsilon\;&nu\;&omi cron\; &chi\;&rho\;&eta\;&sigma\;&tau\;&iota\;&kappa\;ό &pi\;&omicron\;&ups ilon\; &tau\;&alpha\;&upsilon\;&tau\;ό&chi\;&rho\;&omicron\;&nu\;&alpha\; & epsilon\;&xi\;ά&pi\;&tau\;&epsilon\;&iota\; &tau\;&eta\; &phi\;&alpha\;&nu\ ;&tau\;&alpha\;&sigma\;ί&alpha\;: έ&nu\;&alpha\; &pi\;&omicron\;&lambda\;&u psilon\;&tau\;&epsilon\;&lambda\;έ&sigmaf\; &sigma\;ύ&sigma\;&tau\;&eta\;&m u\;&alpha\; &alpha\;&pi\;&omicron\;&theta\;ή&kappa\;&epsilon\;&upsilon\;&si gma\;&eta\;&sigmaf\; &mu\;&epsilon\; &sigma\;&eta\;&mu\;&epsilon\;ί&omicron \; &alpha\;&nu\;&alpha\;&phi\;&omicron\;&rho\;ά&sigmaf\; &tau\;&eta\;&nu\; &kappa\;&lambda\;&alpha\;&sigma\;&iota\;&kappa\;ή &epsilon\;&rho\;&gamma\;& alpha\;&lambda\;&epsilon\;&iota\;&omicron\;&theta\;ή&kappa\;&eta\; &pi\;&om icron\;&upsilon\; &upsilon\;&pi\;ά&rho\;&chi\;&epsilon\;&iota\; &sigma\;&ch i\;&epsilon\;&delta\;ό&nu\; &sigma\;&epsilon\; &kappa\;ά&theta\;&epsilon\; &nu\;&omicron\;&iota\;&kappa\;&omicron\;&kappa\;&upsilon\;&rho\;&iota\;ό. & Omicron\; Nouvel &epsilon\;&pi\;&alpha\;&nu\;&epsilon\;&rho\;&mu\;&eta\;&nu \;&epsilon\;ύ&epsilon\;&iota\; &alpha\;&upsilon\;&tau\;ό &tau\;&omicron\; & kappa\;&alpha\;&theta\;&eta\;&mu\;&epsilon\;&rho\;&iota\;&nu\;ό &chi\;&rho\ ;&eta\;&sigma\;&tau\;&iota\;&kappa\;ό &alpha\;&nu\;&tau\;&iota\;&kappa\;&ep silon\;ί&mu\;&epsilon\;&nu\;&omicron\; &pi\;&rho\;&omicron\;&iota\;&kappa\; ί&zeta\;&omicron\;&nu\;&tau\;ά&sigmaf\; &tau\;&omicron\; &mu\;&epsilon\; &e psilon\;&pi\;&iota\;&pi\;&lambda\;έ&omicron\;&nu\; &chi\;&alpha\;&rho\;&alp ha\;&kappa\;&tau\;&eta\;&rho\;&iota\;&sigma\;&tau\;&iota\;&kappa\;ά &kappa\ ;&alpha\;&iota\; &iota\;&delta\;&iota\;ό&tau\;&eta\;&tau\;&epsilon\;&sigmaf \;.

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&Omicron\; Jean Nouvel &gamma\;&epsilon\;&nu\;&nu\;ή&theta\;&eta\;&kappa\;&epsilon\; &sigma \;&tau\;&omicron\; Fumel &tau\;&omicron\; 1945 &kappa\;&alpha\;&iota\; &sig ma\;&pi\;&omicron\;ύ&delta\;&alpha\;&sigma\;&epsilon\; &sigma\;&tau\;&eta\; &nu\; É\;cole des Beaux-Arts &sigma\;&tau\;&omicron\; &Pi\;&alpha\;&r ho\;ί&sigma\;&iota\;. Έ&pi\;&alpha\;&iota\;&xi\;&epsilon\; &rho\;ό&lambda\; &omicron\; &pi\;&rho\;&omega\;&tau\;&alpha\;&gamma\;&omega\;&nu\;&iota\;&si gma\;&tau\;&iota\;&kappa\;ό &sigma\;&tau\;&eta\; &gamma\;&alpha\;&lambda\;& lambda\;&iota\;&kappa\;ή &delta\;&iota\;&alpha\;&nu\;ό&eta\;&sigma\;&eta\; ό&sigma\;&omicron\;&nu\; &alpha\;&phi\;&omicron\;&rho\;ά &tau\;&eta\;&nu\; &alpha\;&rho\;&chi\;&iota\;&tau\;&epsilon\;&kappa\;&tau\;&omicron\;&nu\;&io ta\;&kappa\;ή &kappa\;&alpha\;&iota\; ή&tau\;&alpha\;&nu\; έ&nu\;&alpha\; & alpha\;&pi\;ό &tau\;&alpha\; &iota\;&delta\;&rho\;&upsilon\;&tau\;&iota\;&k appa\;ά &sigma\;&tau\;&epsilon\;&lambda\;έ&chi\;&eta\; &tau\;&omicron\;&ups ilon\; &kappa\;&iota\;&nu\;ή&mu\;&alpha\;&tau\;&omicron\;&sigmaf\; Mars 197 6 &kappa\;&alpha\;&iota\; &tau\;&omicron\;&upsilon\; Syndicat de l'Architec ture. &Mu\;&epsilon\;&tau\;&alpha\;&xi\;ύ &tau\;&omega\;&nu\; &pi\;&iota\;& omicron\; &gamma\;&nu\;&omega\;&sigma\;&tau\;ώ&nu\; &kappa\;&tau\;&iota\;&r ho\;ί&omega\;&nu\; &tau\;&omicron\;&upsilon\; &sigma\;&upsilon\;&gamma\;&ka ppa\;&alpha\;&tau\;&alpha\;&lambda\;έ&gamma\;&omicron\;&nu\;&tau\;&alpha\;& iota\; &tau\;&omicron\; &Mu\;&omicron\;&upsilon\;&sigma\;&epsilon\;ί&omicro n\; &tau\;&eta\;&sigmaf\; &Alpha\;&pi\;&omicron\;&beta\;ά&theta\;&rho\;&alp ha\;&sigmaf\; &Mu\;&pi\;&rho\;&alpha\;&nu\;&lambda\;ί (&Pi\;&alpha\;&rho\;ί &sigma\;&iota\;)\, &tau\;&omicron\; Ί&delta\;&rho\;&upsilon\;&mu\;&alpha\; &Sigma\;ύ&gamma\;&chi\;&rho\;&omicron\;&nu\;&eta\;&sigmaf\; &Tau\;έ&chi\;&n u\;&eta\;&sigmaf\; &Kappa\;&alpha\;&rho\;&tau\;&iota\;έ (&Pi\;&alpha\;&rho\ ;ί&sigma\;&iota\;)\, &tau\;&omicron\; &Pi\;&omicron\;&lambda\;&iota\;&tau\; &iota\;&sigma\;&tau\;&iota\;&kappa\;ό &kappa\;&alpha\;&iota\; &Sigma\;&upsi lon\;&nu\;&epsilon\;&delta\;&rho\;&iota\;&alpha\;&kappa\;ό &Kappa\;έ&nu\;&t au\;&rho\;&omicron\; &tau\;&eta\;&sigmaf\; &Lambda\;&omicron\;&upsilon\;&ka ppa\;έ&rho\;&nu\;&eta\;&sigmaf\; (&Epsilon\;&lambda\;&beta\;&epsilon\;&tau\ ;ί&alpha\;)\, &omicron\; &pi\;ύ&rho\;&gamma\;&omicron\;&sigmaf\; Agbar (&Be ta\;&alpha\;&rho\;&kappa\;&epsilon\;&lambda\;ώ&nu\;&eta\;) &kappa\;&alpha\; &iota\; &tau\;&omicron\; &theta\;έ&alpha\;&tau\;&rho\;&omicron\; Guthrie (& Mu\;&iota\;&nu\;&epsilon\;ά&pi\;&omicron\;&lambda\;&iota\;&sigmaf\;). &Tau\ ;&omicron\; &mu\;&omicron\;&upsilon\;&sigma\;&epsilon\;ί&omicron\; &tau\;&o micron\;&upsilon\; &Lambda\;&omicron\;ύ&beta\;&rho\;&omicron\;&upsilon\; &s igma\;&tau\;&omicron\; Ά&mu\;&pi\;&omicron\;&upsilon\; &Nu\;&tau\;ά&mu\;&pi \;&iota\; &kappa\;&alpha\;&iota\; &tau\;&omicron\; &Epsilon\;&theta\;&nu\;& iota\;&kappa\;ό &Mu\;&omicron\;&upsilon\;&sigma\;&epsilon\;ί&omicron\; &tau \;&eta\;&sigmaf\; &Kappa\;ί&nu\;&alpha\;&sigmaf\; (NAMOC) &epsilon\;ί&nu\;& alpha\;&iota\; &delta\;ύ&omicron\; &alpha\;&pi\;ό &tau\;&alpha\; &tau\;&rho \;έ&chi\;&omicron\;&nu\;&tau\;&alpha\; έ&rho\;&gamma\;&alpha\; &tau\;&omicr on\;&upsilon\; &pi\;&omicron\;&upsilon\; &beta\;&rho\;ί&sigma\;&kappa\;&omi cron\;&nu\;&tau\;&alpha\;&iota\; &sigma\;&epsilon\; &sigma\;&tau\;ά&delta\; &iota\;&omicron\; &sigma\;&chi\;&epsilon\;&delta\;&iota\;&alpha\;&sigma\;&m u\;&omicron\;ύ. &Omicron\; Nouvel έ&chi\;&epsilon\;&iota\; &tau\;&iota\;&mu \;&eta\;&theta\;&epsilon\;ί &mu\;&epsilon\; &tau\;&omicron\; &beta\;&rho\;& alpha\;&beta\;&epsilon\;ί&omicron\; &alpha\;&rho\;&chi\;&iota\;&tau\;&epsil on\;&kappa\;&tau\;&omicron\;&nu\;&iota\;&kappa\;ή&sigmaf\; Aga Khan &gamma\ ;&iota\;&alpha\; &tau\;&omicron\; &Iota\;&nu\;&sigma\;&tau\;&iota\;&tau\;&o micron\;ύ&tau\;&omicron\; &Alpha\;&rho\;&alpha\;&beta\;&iota\;&kappa\;&omic ron\;ύ &Kappa\;ό&sigma\;&mu\;&omicron\;&upsilon\; (1989)\, &mu\;&epsilon\; &tau\;&omicron\; &Chi\;&rho\;&upsilon\;&sigma\;ό &Mu\;&epsilon\;&tau\;ά&lam bda\;&lambda\;&iota\;&omicron\; &alpha\;&pi\;ό &tau\;&omicron\; &Beta\;&alp ha\;&sigma\;&iota\;&lambda\;&iota\;&kappa\;ό &Iota\;&nu\;&sigma\;&tau\;&iot a\;&tau\;&omicron\;ύ&tau\;&omicron\; &Beta\;&rho\;&epsilon\;&tau\;&alpha\;& nu\;ώ&nu\; &Alpha\;&rho\;&chi\;&iota\;&tau\;&epsilon\;&kappa\;&tau\;ό&nu\;& omega\;&nu\; (2001)\, &mu\;&epsilon\; &tau\;&omicron\; &beta\;&rho\;&alpha\ ;&beta\;&epsilon\;ί&omicron\; Wolf &sigma\;&tau\;&eta\;&nu\; &tau\;έ&chi\;& nu\;&eta\; (2005) &kappa\;&alpha\;&iota\; &mu\;&epsilon\; &tau\;&omicron\; &beta\;&rho\;&alpha\;&beta\;&epsilon\;ί&omicron\; Pritzker (2008). &Epsilon \;&kappa\;&theta\;έ&sigma\;&epsilon\;&iota\;&sigmaf\; &mu\;&epsilon\; &tau\ ;&eta\; &delta\;&omicron\;&upsilon\;&lambda\;&epsilon\;&iota\;ά &tau\;&omic ron\;&upsilon\;&mdash\;ό&pi\;&omega\;&sigmaf\; &eta\; &alpha\;&nu\;&alpha\; &delta\;&rho\;&omicron\;&mu\;&iota\;&kappa\;ή «\;Jean Nouvel»\; & sigma\;&tau\;&omicron\; &Kappa\;έ&nu\;&tau\;&rho\;&omicron\; &Pi\;&omicron\ ;&mu\;&pi\;&iota\;&nu\;&tau\;&omicron\;ύ &sigma\;&tau\;&omicron\; &Pi\;&alp ha\;&rho\;ί&sigma\;&iota\; (2001)&mdash\;έ&chi\;&omicron\;&upsilon\;&nu\; & delta\;&iota\;&omicron\;&rho\;&gamma\;&alpha\;&nu\;&omega\;&theta\;&epsilon \;ί &sigma\;&epsilon\; &omicron\;&lambda\;ό&kappa\;&lambda\;&eta\;&rho\;&om icron\; &tau\;&omicron\;&nu\; &kappa\;ό&sigma\;&mu\;&omicron\;\, &alpha\;&p i\;ό &tau\;&eta\; &Nu\;έ&alpha\; &Upsilon\;ό&rho\;&kappa\;&eta\; έ&omega\;& sigmaf\; &tau\;&omicron\; &Rho\;ί&omicron\; &Nu\;&tau\;&epsilon\; &Tau\;&ze ta\;&alpha\;&nu\;έ&iota\;&rho\;&omicron\; &kappa\;&alpha\;&iota\; &tau\;&om icron\; &Tau\;ό&kappa\;&iota\;&omicron\;.

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&Tau\;&omicron\; 1995 &omicron\; Nouvel ί&delta\;&rho\;&upsilon\;&sigm a\;&epsilon\; &tau\;&omicron\; Jean Nouvel Design Agency (JND) &gamma\;&iot a\;&alpha\; &nu\;&alpha\; &alpha\;&sigma\;&chi\;&omicron\;&lambda\;&eta\;&t heta\;&epsilon\;ί &mu\;&epsilon\; &tau\;&omicron\;&nu\; &sigma\;&chi\;&epsi lon\;&delta\;&iota\;&alpha\;&sigma\;&mu\;ό &pi\;&rho\;&omicron\;ϊό&nu\;&tau \;&omega\;&nu\; &kappa\;&alpha\;&iota\; &epsilon\;&sigma\;&omega\;&tau\;&ep silon\;&rho\;&iota\;&kappa\;ώ&nu\; &chi\;ώ&rho\;&omega\;&nu\;\, &pi\;&alpha \;&rho\;ά&lambda\;&lambda\;&eta\;&lambda\;&alpha\; &mu\;&epsilon\; &tau\;&o micron\; &alpha\;&rho\;&chi\;&iota\;&tau\;&epsilon\;&kappa\;&tau\;&omicron\ ;&nu\;&iota\;&kappa\;ό &tau\;&omicron\;&upsilon\; &gamma\;&rho\;&alpha\;&ph i\;&epsilon\;ί&omicron\; Ateliers Jean Nouvel. Έ&kappa\;&tau\;&omicron\;&ta u\;&epsilon\; έ&chi\;&omicron\;&upsilon\;&nu\; &sigma\;&chi\;&epsilon\;&del ta\;&iota\;&alpha\;&sigma\;&tau\;&epsilon\;ί &kappa\;&alpha\;&iota\; &beta\ ;&gamma\;&epsilon\;&iota\; &sigma\;&tau\;&eta\;&nu\; &pi\;&alpha\;&rho\;&al pha\;&gamma\;&omega\;&gamma\;ή &alpha\;&rho\;&kappa\;&epsilon\;&tau\;έ&sigm af\; &sigma\;&upsilon\;&lambda\;&lambda\;&omicron\;&gamma\;έ&sigmaf\; &epsi lon\;&pi\;ί&pi\;&lambda\;&omega\;&nu\; &kappa\;&alpha\;&iota\; &alpha\;&nu\ ;&tau\;&iota\;&kappa\;&epsilon\;&iota\;&mu\;έ&nu\;&omega\;&nu\; &beta\;&iot a\;&omicron\;&mu\;&eta\;&chi\;&alpha\;&nu\;&iota\;&kappa\;&omicron\;ύ &nu\; &tau\;&iota\;&zeta\;ά&iota\;&nu\;\, ό&pi\;&omega\;&sigmaf\; &eta\; &sigma\; &upsilon\;&lambda\;&lambda\;&omicron\;&gamma\;ή Less Less (Unifor)\, &pi\;& rho\;&omicron\;ϊό&nu\;&tau\;&alpha\; &gamma\;&iota\;&alpha\; &tau\;&omicron \; &sigma\;&epsilon\;&rho\;&beta\;ί&rho\;&iota\;&sigma\;&mu\;&alpha\; &tau\ ;&omicron\;&upsilon\; &kappa\;&alpha\;&phi\;έ (Alessi)\, &phi\;&omega\;&tau \;&iota\;&sigma\;&tau\;&iota\;&kappa\;ά (Artemide)\, &kappa\;&alpha\;&rho\; έ&kappa\;&lambda\;&epsilon\;&sigmaf\; (Emeco\, Emu\, Figueras) &kappa\;&alp ha\;&iota\; &tau\;&rho\;&alpha\;&pi\;έ&zeta\;&iota\;&alpha\; (Cassina\, Mol teni). \;&Eta\; Gagosian Gallery\, &sigma\;&epsilon\; &sigma\;&upsi lon\;&nu\;&epsilon\;&rho\;&gamma\;&alpha\;&sigma\;ί&alpha\; &mu\;&epsilon\; &tau\;&eta\;&nu\; &gamma\;&kappa\;&alpha\;&lambda\;&epsilon\;&rho\;ί Patri ck Seguin\, &epsilon\;&iota\;&nu\;&alpha\;&iota\; &omicron\;&iota\; &alpha\ ;&pi\;&omicron\;&kappa\;&lambda\;&epsilon\;&iota\;&sigma\;&tau\;&iota\;&kap pa\;&omicron\;ί &pi\;&alpha\;&rho\;&alpha\;&gamma\;&omega\;&gamma\;&omicron \;ί &kappa\;&alpha\;&iota\; &delta\;&iota\;&alpha\;&nu\;&omicron\;&mu\;&eps ilon\;ί&sigmaf\; &tau\;&eta\;&sigmaf\; &pi\;&epsilon\;&rho\;&iota\;&omicron \;&rho\;&iota\;&sigma\;&mu\;έ&nu\;&eta\;&sigmaf\; έ&kappa\;&delta\;&omicron \;&sigma\;&eta\;&sigmaf\; &epsilon\;&pi\;ί&pi\;&lambda\;&omega\;&nu\; &tau\ ;&omicron\;&upsilon\; Jean Nouvel.

DTEND:20160730 DTSTAMP:20160701T213335 DTSTART:20160526 GEO:37.9767641;23.7385736 LOCATION:Gagosian Gallery - Athens\,3 Merlin Street \nAthens \, 10671 SEQUENCE:0 SUMMARY:Solo Exhibition\, Jean Nouvel UID:422306 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Single-channel video works hav e become an important part of the art world offerings among other reasons d ue to their extreme portability: they can be shipped around the world by wa y of a dropbox link\, they can be streamed online\, played on a small TV\, projected on a wall\, presented as part of a bigger programme\, screened in film festivals. In short: their display method is standardised and they tr avel cheaply. They are the traveling work by definition.

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On the other hand\, traditional artworks with a strong physical presence need special packing to survive and sophisticated logisti cs to arrive from place to place. The film addresses the complex web of shi pping that lies behind the international art world and traveling exhibition s while being\, in itself\, one of the most portable kinds of artworks ther e is.

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Yksikanavaisista videot eoksista on muotoutunut tä\;rkeä\; osa taidemaailmaa tarjontaa muun muassa niiden erittä\;in helpon liikuteltavuuden vuoksi. Niitä\; v oidaan lä\;hettä\;ä\; ympä\;ri maailmaa dropbox-linkin avul la\, esittä\;ä\; verkossa\, nä\;yttä\;ä\; pieneltä\ ; TV-ruudulta tai heijastaa seinä\;lle\, esittä\;ä\; osana laaj empaa ohjelmistoa tai elokuvafestivaaleilla. Lyhyesti sanottuna\, yksikanav aiset videoteokset ovat esittä\;mistavoiltaan standardisoitu ja ne matk ustavat halvalla. Nä\;iden tö\;iden luontona on matkustaa.

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Toisaalta perinteiset taideteokset\, joilla o n vahva fyysinen olemus\, tarvitsevat erityisen kuljetuslaatikon\, jossa ne sä\;ilyvä\;t ehjinä\;\, ja monimutkaisen logistiikan kulkiessa an paikasta toiseen. Elokuvan aiheena on taidemaailman vaativa kuljetusverk osto ja kiertä\;vä\;t nä\;yttelyt\, samalla itse ollen yksi lii kuteltavin taideteoksen muoto mitä\; on olemassa.

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Sound Design : Karri Niinivaara / B-Sound
Colour grading: Jussi Myllyniemi / Whitep oint
Supported by: AVEK / Elena Nä\;sä\;nen &\; TAIKE
Produced by: Kolme Perunaa

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http://kolmeperunaa.com/le-rappel.html

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Axel Straschn oy (born 1978) is a visual artist from Buenos Aires based in Helsinki worki ng on long-term and research focused projects.

DTEND:20160731 DTSTAMP:20160701T213335 DTSTART:20160701 GEO:60.1620735;24.9242003 LOCATION:Forum Box - Space for Art\,Ruoholahdenranta 3a \nHelsinki\, 00180 SEQUENCE:0 SUMMARY:Le rappel à l'ordre\, Axel Straschnoy UID:422303 END:VEVENT BEGIN:VEVENT DTEND:20160630T200000 DTSTAMP:20160701T213335 DTSTART:20160630T170000 GEO:60.1620735;24.9242003 LOCATION:Forum Box - Space for Art\,Ruoholahdenranta 3a \nHelsinki\, 00180 SEQUENCE:0 SUMMARY:Le rappel à l'ordre\, Axel Straschnoy UID:422305 END:VEVENT BEGIN:VEVENT DESCRIPTION:

By Water - Icelandic a rtists on the shores of Finland\, is a major exhibition mounted by the Pro Artibus Foundation\, which will extend across four exhibition spac es\, and outdoors in the town of Tammisaari\, in summer 2016. The project c ontinues the series of exhibitions of Nordic contemporary art produced by P ro Artibus\, and is the most extensive showing of Icelandic contemporary ar t ever held in Finland.

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The theme of the exhibition is the relationship between water and people. The starting p oint is the significance of water in Icelandic culture and society. In Icel and as well as Finland the sea has been something that both divides and uni tes. Throughout the history of humankind the question of water and its use\ , ownership of water and its conservation and protection\, have been interw oven with culture\, trade\, industry and art. This everyday theme\, humanki nd's dependence on water\, is a good starting point for an exhibition that presents the diversity and richness of Icelandic contemporary art.

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The exhibition will spread out across various municipalities and exhibition spaces like an archipelago. In Helsinki it w ill be shown at the Amos Anderson Art Museum and Forum Box gallery. In Tamm isaari it will be at Gallery Elverket\, Villa Schildt and in outdoor spaces in the town. The individual contributions have all been planned with the c haracter of the exhibition space in mind. The artists represent the polymor phous indiscipline of Icelandic contemporary art\, and the choices have bee n guided more by an interest in the differences between Icelandic artists t han by a desire to find national common ground.

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The contributing artists represent different generations and app roaches\, but they have all worked with the theme of water prior to this ex hibition. At the Amos Anderson Art Museum: Steinunn Gunlaugsdóttir\, Ásdi ́s Sif Gunnarsdóttir\, Hekla Dögg Jónsdóttir\, Sirra Sigrún Sigurð\ ;ardóttir and Rúrí. Gallery Elverket: Olga Bergmann &\; Anna Hallin\, Birgir Snæ\;björn Birgisson\, Ósk Vilhjálmsdóttir and Gunnar Jón sson. Tammisaari outdoor areas: Unndór Egill Jónsson and Finnbogi Péturs son. Villa Schildt: Bjarki Bragason. Galleria Forum Box: Kolbeinn Hugi.

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The title of the exhibition contains a m inor play on words. The Finnish Veden varassa implies dependence on water\, but also finding oneself in water and being there\, and implicitly staying on the surface. Trampa vatten\, the Swedish title of the exhibition\, refe rs primarily to staying on the surface of the water. The English By Water i s linked to being beside water\, along with the way things are transported with the aid of water\, via water or waterways. The trilingual title is als o aimed at those who deal with these three languages every day. Multilingua lism suits small nations that often have to communicate in a language other than their native tongue.

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By Water w ill be accompanied by an English-language publication containing supplement ary texts\, articles profiling the contemporary-art scenes in Iceland and F inland\, and a art of the written and spoken word by Ásdís Sif Gunnarsdó ttir.

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PhD Juha-Heikki Tihinen

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Bio
Kolbeinn Hugi (1979)

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Born in Reykjaví\;k\, Kolbein n Hugi is an Iceland-resident artist of the generation that emerged in the wake of the great cataclysmic rift between art and artists in the bleak\, n eo-capitalist Reykjaví\;k of modern times.

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Kolbeinn Hugi has developed a complex audio-visual language tha t uses found materials\, foamed water\, fabrics\, and layered\, synthesized soundscapes. Visual pyramid and diamond motifs form a ritualistic system w ithin his work. He often uses his body as a tool or vehicle for ideas withi n his practice\, with recurring themes including absurd realities\, dream s paces\, utopian projections and humankind's modern-day disconnection and sy stematic alienation from the environment.

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Kolbeinn Hugi was contacted by Edgar Cayce in the informal setting of the dream-state trances established by the great sleeping medium after his death in 1945. There\, Kolbeinn Hugi absorbed the acute sensitivity to time and space associated with Cayce's phantom sculptures as they are installed in his Astral Pavilion.

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Kolbeinn's w ork is simple and needs no explanation\, aiming for the heart\, not the hea d.

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His work has been widely exhibited in the western world\, and is housed in the collection of the National Gal lery of Iceland.

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www.kolbeinnhugi.net

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Veden varassa - islantilaistaiteilijoita Suomen rann ikoilla on Pro Artibus -sä\;ä\;tiö\;n jä\;rjest&au ml\;mä\; suurnä\;yttely\, joka levittyy neljä\;ä\;n nä\ ;yttelytilaan ja Tammisaaren kaupungin alueelle kesä\;llä\; 2016. H anke jatkaa Pro Artibuksen tuottamien pohjoismaisten nykytaidenä\;yttel yiden sarjaa ja on laajin koskaan jä\;rjestetty islantilaisen nykytaite en esittely Suomessa.

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Nä\;yttelyn teemana on veden ja ihmisen vä\;linen suhde. Lä\;htö\;kohtana on veden merkitys islantilaisessa kulttuurissa ja yhteiskunnassa. Meri on o llut niin Islannissa kuin Suomessakin sekä\; erottava että\; yhdist ä\;vä\; asia. Lä\;pi ihmiskunnan historian kysymys vedestä\ ; ja sen kä\;ytö\;stä\;\, sen omistus ja vaaliminen ovat asioit a\, jotka kietoutuvat niin kulttuuriin\, kauppaan\, teollisuuteen kuin tait eeseenkin. Arkipä\;ivä\;inen teema\, ihmisen riippuvaisuus vedest&a uml\;\, on hyvä\; lä\;htö\;kohta nä\;yttelylle\, joka esitt elee islantilaisen nykytaiteen moninaisuutta ja rikkautta.

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Nä\;yttely leviä\;ä\; eri paikkakunnille ja nä\;yttelytiloihin kuin saaristo. Nä\;yttely on esillä\; Hel singissä\; Amos Andersonin taidemuseossa ja Forum Box -galleriassa. Tam misaaressa nä\;yttely on esillä\; Galleria Elverketissä\;\, Vil la Schildtissä\; ja kaupungin alueella. Yksittä\;iset osuudet ovat kaikki suunniteltu nä\;yttelytilojensa luonteen perusteella. Nä\;yt telyn taiteilijat edustavat islantilaisen nykytaiteen monimuotoista kuritto muutta ja valintoja\, on ohjannut enemmä\;n kiinnostuneisuus islantilai sten taiteilijoiden vä\;lisiä\; eroja kohtaan kuin halua lö\;yt ä\;ä\; kansallisia yhtenevä\;isyyksiä\;.

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Nä\;yttelyn taiteilijat edustavat eri sukupolvia ja lä\;hestymistapoja\, mutta he kaikki ovat työ\;skennelleet vesi-te eman kanssa jo ennen tä\;tä\; nä\;yttelyä\;. Amos Andersoni n taidemuseossa: Steinunn Gunlaugsdóttir\, Ásdís Sif Gunnarsdóttir\, He kla Dögg Jónsdóttir\, Sirra Sigrún Sigurð\;ardóttir ja Rúrí. Gall eria Elverketissä\;: Olga Bergmann &\; Anna Hallin\, Birgir Snæ \;björn Birgisson\, Ósk Vilhjálmsdóttir ja Gunnar Jónsson. Tammisaares sa kaupunkitilassa: Unndór Egill Jónsson ja Finnbogi Pétursson. Villa Sc hildtissä\;: Bjarki Bragason. Galleria Forum Boxissa: Kolbeinn Hugi.

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Nä\;yttelyn nimeen sisä\;ltyy p ienoinen sanaleikki. Suomeksi veden varassa tarkoittaa riippuvaisuutta vede stä\;\, mutta myö\;s veteen joutumista ja siellä\; olemista\, j a implisiittisesti pinnalla pysyttelyä\;. Ruotsiksi nä\;yttelyn nim i trampa vatten viittaa lä\;hinnä\; veden pinnalla pysyttelyyn. Eng lannin By water liittyy veden ä\;ä\;rellä\; olon lisä\;ksi siihen\, kuinka asiat kuljetetaan veden avulla\, vesitse tai vesiteitse. Ko lmikielinen nimi on myö\;s suunnattu niille\, jotka ovat kolmen kielen kanssa tekemisissä\; pä\;ivittä\;in. Monikielisyys sopii pienil le kansoille\, jotka joutuvat kommunikoimaan usein myö\;s muulla kuin & auml\;idinkielellä\;ä\;n.

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N&a uml\;yttelyn yhteydessä\; julkaistaan englanninkielinen julkaisu\, joka sisä\;ltä\;ä\; nä\;yttelyn oheistekstejä\;\, Islannin ja Suomen nykytaidekenttä\;ä\; esitteleviä\; artikkeleja ja Ás dís Sif Gunnarsdóttirin sanataideteoksen.

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FT Juha-Heikki Tihinen

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Trampa vatten - islä\;ndska konstnä\;rer vid finl ä\;ndska kusten\, ä\;r ett omfattande utstä\;llningspr ojekt av Stiftelsen Pro Artibus. Under sommaren 2016 sprider utstä\;lln ingen ut sig ö\;ver fyra utstä\;llningsutrymmen och intar dessutom offentliga platser i Ekenä\;s stad. Projektet ä\;r en fortsä\;t tning på\; Pro Artibus serie av nordiska samtidskonstutstä\;llning ar\, och den hittills stö\;rsta fö\;revisningen av islä\;ndsk k onst i Finland.

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Temat fö\;r utst& auml\;llningen ä\;r fö\;rhå\;llandet mellan vatten och mä\ ;nniska. Utgå\;ngspunkten ä\;r vattnets betydelse i den islä\; ndska kulturen och samhä\;llet. Bå\;de på\; Island och i Finl and har vattnet varit en avskiljande\, men samtidigt fö\;renande faktor . Under hela mä\;nsklighetens historia har frå\;gan om vattnet och dess bruk\, om att ä\;ga och vä\;rna vatten\, varit inblandad i ku ltur\, kommers\, industri och konst. Det alldagligaste av teman\, mä\;n niskans beroende av vatten\, ä\;r en god utgå\;ngspunkt fö\;r en utstä\;llning som fö\;revisar den islä\;ndska samtidskonsten s må\;ngfald och rikedom.

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Likt e n skä\;rgå\;rd sprider sig utstä\;llningen ö\;ver flera or ter och utstä\;llningsutrymmen. I Helsingfors visas utstä\;llningen i Amos Andersons konstmuseum och i galleri Forum Box. I Ekenä\;s ä \;r Galleri Elverket\, Villa Schildt och stadens offentliga platser i bruk. Utstä\;llningsutrymmets karaktä\;r ligger till grund fö\;r pla neringen av varje enskild del. Det ä\;r ett intresse fö\;r skillnad erna mellan de islä\;ndska konstnä\;rerna\, snarare ä\;n nation ell samstä\;mmighet\, som styrt valen av konstnä\;rer. Fö\;ljak tligen representerar utstä\;llningen den islä\;ndska samtidskonsten s må\;ngsidiga val och bå\;ngstyrighet.

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Utstä\;llningens konstnä\;rer representerar olika gene rationer och tillvä\;gagå\;ngssä\;tt\, men alla har redan tidi gare arbetat med temat vatten. I Amos Andersons konstmuseum: Steinunn Gunla ugsdóttir\, Ásdís Sif Gunnarsdóttir\, Hekla Dögg Jónsdóttir\, Sirra Sigrún Sigurð\;ardóttir och Rúri. I Galleri Elverket: Olga Bergmann & amp\; Anna Hallin\, Birgir Snæ\;björn Birgisson\, Ósk Vilhjálmsdót tir och Gunnar Jónsson. På\; offentliga platser i Ekenä\;s stad: Unndór Egill Jónsson och Finnbogi Pétursson. I Villa Schildt: Bjarki Bra gason. I galleri Forum Box: Kolbeinn Hugi.

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Utstä\;llningens namn ä\;r en lek med ord. På\; finska b etyder veden varassa att vara beroende av vatten\, men också\; att ham na och vara i vattnet\, och implicit att hå\;lla sig på\; ytan. D et svenska namnet trampa vatten syftar i fö\;rsta hand på\; det si stnä\;mnda. Engelskans by water tillfö\;r betydelsen av att vara vi d vattnet\, men också\; att transportera nå\;gonting vattenvä \;gen eller med hjä\;lp av vatten. Den tresprå\;kiga titeln ä\ ;r också\; riktad till dem\, som dagligen har att gö\;ra med tre s prå\;k. Flersprå\;kighet passar fö\;r en få\;taligare be folkning\, som ofta må\;ste kommunicera på\; andra språ\;k & auml\;n modersmå\;let.

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I samband med utstä\;llningen ger Pro Artibus ut en engelsksprå\;kig publik ation. Den innehå\;ller till utstä\;llningen relaterade texter\, a rtiklar som presenterar samtidskonstens fä\;lt på\; Island och i F inland samt ett ordkonstverk av Ásdís Sif Gunnarsdóttir.

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FD Juh a-Heikki Tihinen

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By Water - Icelandic artists on the shores of Finland\, is a major exhibition mounted by the Pro Artibus Fou ndation\, which will extend across four exhibition spaces\, and outdoors in the town of Tammisaari\, in summer 2016. The project continues the series of exhibitions of Nordic contemporary art produced by Pro Artibus\, and is the most extensive showing of Icelandic contemporary art ever held in Finla nd.

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The theme of the exhibition is the relationship between water a nd people. The starting point is the significance of water in Icelandic cul ture and society. In Iceland as well as Finland the sea has been something that both divides and unites. Throughout the history of humankind the quest ion of water and its use\, ownership of water and its conservation and prot ection\, have been interwoven with culture\, trade\, industry and art. This everyday theme\, humankind's dependence on water\, is a good starting poin t for an exhibition that presents the diversity and richness of Icelandic c ontemporary art.

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The exhibition will spread out across various muni cipalities and exhibition spaces like an archipelago. In Helsinki it will b e shown at the Amos Anderson Art Museum and Forum Box gallery. In Tammisaar i it will be at Gallery Elverket\, Villa Schildt and in outdoor spaces in t he town. The individual contributions have all been planned with the charac ter of the exhibition space in mind. The artists represent the polymorphous indiscipline of Icelandic contemporary art\, and the choices have been gui ded more by an interest in the differences between Icelandic artists than b y a desire to find national common ground.

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The contributing artists represent different generations and approaches\, but they have all worked with the theme of water prior to this exhibition. At the Amos Anderson Art Museum: Steinunn Gunlaugsdóttir\, Ásdís Sif Gunnarsdóttir\, Hekla Dögg Jónsdóttir\, Sirra Sigrún Sigurð\;ardóttir and Rúrí. Gallery Elve rket: Olga Bergmann &\; Anna Hallin\, Birgir Snæ\;björn Birgisson\ , Ósk Vilhjálmsdóttir and Gunnar Jónsson. Tammisaari outdoor areas: Unn dór Egill Jónsson and Finnbogi Pétursson. Villa Schildt: Bjarki Bragason . Galleria Forum Box: Kolbeinn Hugi.

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The title of the exhibition co ntains a minor play on words. The Finnish Veden varassa implies dependence on water\, but also finding oneself in water and being there\, and implicit ly staying on the surface. Trampa vatten\, the Swedish title of the exhibit ion\, refers primarily to staying on the surface of the water. The English By Water is linked to being beside water\, along with the way things are tr ansported with the aid of water\, via water or waterways. The trilingual ti tle is also aimed at those who deal with these three languages every day. M ultilingualism suits small nations that often have to communicate in a lang uage other than their native tongue.

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By Water will be accompanied b y an English-language publication containing supplementary texts\, articles profiling the contemporary-art scenes in Iceland and Finland\, and a art o f the written and spoken word by Ásdís Sif Gunnarsdóttir.

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PhD Juha-Heikki Tihinen

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Bio
Kolbeinn Hugi (1979)

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Born in Reykjaví\;k \, Kolbeinn Hugi is an Iceland-resident artist of the generation that emerg ed in the wake of the great cataclysmic rift between art and artists in the bleak\, neo-capitalist Reykjaví\;k of modern times.

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Kolbeinn Hugi has developed a complex audio-visual language that uses found materia ls\, foamed water\, fabrics\, and layered\, synthesized soundscapes. Visual pyramid and diamond motifs form a ritualistic system within his work. He o ften uses his body as a tool or vehicle for ideas within his practice\, wit h recurring themes including absurd realities\, dream spaces\, utopian proj ections and humankind's modern-day disconnection and systematic alienation from the environment.

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Kolbeinn Hugi was contacted by Edgar Cayce in the informal setting of the dream-state trances established by the great s leeping medium after his death in 1945. There\, Kolbeinn Hugi absorbed the acute sensitivity to time and space associated with Cayce's phantom sculptu res as they are installed in his Astral Pavilion.

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Kolbeinn's work i s simple and needs no explanation\, aiming for the heart\, not the head.

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His work has been widely exhibited in the western world\, and is hous ed in the collection of the National Gallery of Iceland.

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www.kolbeinnhugi.net

DTEND:20160731 DTSTAMP:20160701T213335 DTSTART:20160701 GEO:60.1620735;24.9242003 LOCATION:Forum Box - Space for Art\,Ruoholahdenranta 3a \nHelsinki\, 00180 SEQUENCE:0 SUMMARY:By Water - Icelandic artists on the shores of Finland\, Steinunn Gu nlaugsdóttir\, Ásdís Sif Gunnarsdóttir\, Hekla Dögg Jónsdóttir\, Sir ra Sigrún Sigurðardóttir\, Rúrí\, Olga Bergmann\, Anna Hallin\, Birgir Snæbjörn Birgisson\, Ósk Vilhjálmsdóttir\, Gunnar Jónsson\, Unndór Eg ill Jónsson\, Finnbogi Pétursson\, Bjarki Bragason\, Kolbeinn Hugi UID:422302 END:VEVENT BEGIN:VEVENT DTEND:20160630T200000 DTSTAMP:20160701T213335 DTSTART:20160630T170000 GEO:60.1620735;24.9242003 LOCATION:Forum Box - Space for Art\,Ruoholahdenranta 3a \nHelsinki\, 00180 SEQUENCE:0 SUMMARY:By Water - Icelandic artists on the shores of Finland\, Olga Bergma nn\, Birgir Snæbjörn Birgisson\, Bjarki Bragason\, Steinunn Gunlaugsdótti r\, Ásdís Sif Gunnarsdóttir\, Anna Hallin\, Kolbeinn Hugi\, Hekla Dögg Jónsdóttir\, Gunnar Jónsson\, Unndór Egill Jónsson\, Finnbogi Péturss on\, Rúrí\, Sirra Sigrún Sigurðardóttir\, Ósk Vilhjálmsdóttir UID:422304 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Selected groups of works execu ted with different media will illustrate successive phases in the career of the internationally renowned American artist Roni Horn (*1955). In additio n to works on paper\, photographs and glass sculptures\, the show will incl ude a multipartite work for one wall executed especially for the exhibition &ndash\; a new type of work for Roni Horn.

DTEND:20170101 DTSTAMP:20160701T213335 DTSTART:20161002 GEO:47.5881851;7.6510443 LOCATION:Fondation Beyeler\,Baselstrasse 101 \nRiehen / Basel \, CH-4125 SEQUENCE:0 SUMMARY:Solo Exhibition\, Roni Horn UID:422300 END:VEVENT BEGIN:VEVENT DTEND:20161002T180000 DTSTAMP:20160701T213335 DTSTART:20161002T100000 GEO:47.5881851;7.6510443 LOCATION:Fondation Beyeler\,Baselstrasse 101 \nRiehen / Basel \, CH-4125 SEQUENCE:0 SUMMARY:Solo Exhibition\, Roni Horn UID:422301 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For the first time in a quarte r of a century\, a Swiss exhibition will be devoted to one of the most fasc inating chapters in modern art: Der Blaue Reiter. The exhibition held in Mu nich in 1911 and the artistic movement by the same name resulted in a revol utionary new experience of art. The presentation will highlight the Almanac of the same name published by Wassily Kandinsky and Franz Marc\, which her alded a turning-point in art and has left its mark on generations of artist s right up until today.

DTEND:20170122 DTSTAMP:20160701T213335 DTSTART:20160904 GEO:47.5881851;7.6510443 LOCATION:Fondation Beyeler\,Baselstrasse 101 \nRiehen / Basel \, CH-4125 SEQUENCE:0 SUMMARY:Kandinsky\, Marc & Der Blaue Reiter\, Wassily Kandinsky\, Franz Mar c UID:422298 END:VEVENT BEGIN:VEVENT DTEND:20160904T180000 DTSTAMP:20160701T213335 DTSTART:20160904T100000 GEO:47.5881851;7.6510443 LOCATION:Fondation Beyeler\,Baselstrasse 101 \nRiehen / Basel \, CH-4125 SEQUENCE:0 SUMMARY:Kandinsky\, Marc & Der Blaue Reiter\, Wassily Kandinsky\, Franz Mar c UID:422299 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Thirteen works o n long-term loan to the Fondation Beyeler \;
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In the first presentation of the long-term loan nine paintin gs by Pablo Picasso from the Anthax Collection Marx will be displayed toget her side by side with works by the Spanish painter that belong to the colle ction of the Fondation Beyeler. A total of around twenty works by Picasso i s on show.

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The subject of the female portrait\, which was so popular in the mid-twentieth century\, predominates in the group of paintings\, with\, for example\, Tê\;te de femme< /em> (December 2\, 1939) from the Anthax Collection Marx providing a wonder ful complement to the Fondation Beyeler&rsquo\;s Buste de femme au chap eau (Dora) (November 30\, 1939). The loaned works therefore provide an excellent and impressive extension to the museum&rsquo\;s existing collect ion of thirty-four works by Pablo Picasso. The long-term loan consists of n ine paintings and two works on paper by Picasso as well as sculptures by Al berto Giacometti and Constantin Brancusi. This is the first occasion that t he Picasso works are being presented to the public as a group.

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The Fondation Beyeler will in future integrate th e works into exhibitions of its own collection\, so that local residents an d visitors from Basel can have the pleasure of seeing additional Picasso wo rks. The Marx family has chosen the Fondation Beyeler for this public prese ntation because the works are particularly well suited for the museum&rsquo \;s high quality programme. In addition\, Riehen is located close to Bromba ch bei Lö\;rrach\, the birthplace of the collector Dr. Erich Marx\, and his children are alumni of Basel grammar schools and the University of Bas el. Through the public presentation of the works from the Anthax Collection Marx\, which has been negotiated since 2013\, the family would like to dem onstrate its special ties to the area. \;

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DTEND:20160814 DTSTAMP:20160701T213335 DTSTART:20160628 GEO:47.5881851;7.6510443 LOCATION:Fondation Beyeler\,Baselstrasse 101 \nRiehen / Basel \, CH-4125 SEQUENCE:0 SUMMARY:Anthax Collection Marx\, Alberto Giacometti\, Constantin Brancusi\, Pablo Picasso UID:422297 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Since the begin ning of her career in the late 1970s\, Roni Horn\, who was born in New York in 1955\, has worked with visually and materially diverse media: she creat es drawings\, photographs\, texts\, artists&rsquo\; books and sculptures. T here are themes that recur in many of Horn&rsquo\;s works. They primarily i nclude the mutability and multiplicity of identity as well as the capacity of art to recognize the divergence between the essence of a thing and its v isual appearance. The deliberate\, playful use of language and text always plays an important role in Horn&rsquo\;s oeuvre. \;

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The Selected Gifts\, 1974-2015\, which is made up of 67 separate photographs\, will be publicly exhibited for the first ti me from June 11\, 2016. As the title itself indicates\, the objects photogr aphed are gifts that Roni Horn has received over the past forty years\, mor e or less since the beginning of her career. They include books\, a love le tter\, drawings and photographs by friends\, the petrified egg of a dinosau r\, a stuffed swan. The significance\, history and material value of these objects are hard to determine. These extremely diverse objects are recorded photographically with an "objective" gaze and printed in one of five forma ts of the same height (33 x 33\, 35.6\, 40.6\, 45.7 or 48.3 cm). With a few exceptions all objects are reproduced actual size. The photographs of the selected gifts have a documentary function. At the same time &ndash\; parti cularly when seen as a group &ndash\; they constitute a possible portrait o f the artist\, as mirrored in the gift givers choice.

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The exhibition Roni Horn\, which will ru n as from October 2\, 2016 alongside the presentation of The Selected G ifts\, 1974-2015\, will bring together selected groups of works\, some of them new\, that include the drawings and sculptural oeuvre of Roni Horn . The exhibition is the result of close cooperation between the artist and Theodora Vischer\, Senior Curator of the Fondation Beyeler\, and is being e specially designed for the Fondation Beyeler&rsquo\;s exhibition space.

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The exhibition focuses on the fleeting\, precarious and exhilarating moment of fragile balance as express ed through the works of Calder and Fischli/Weiss in the early- and late-twe ntieth century\, respectively. Their exemplary formulations for that moment seem at first sight to be completely dissimilar\, but on closer examinatio n they prove to be two sides of the same coin\, resulting from different pe rspectives on the same theme at different times.

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Featuring works by Calder in an open and cross space dialogue w ith works by Fischli/Weiss\, the exhibition will chart significant historic al milestones in Calder&rsquo\;s oeuvre\, from Cirque Calder in the 1920s a nd his shift to abstraction in 1930 to his invention of the mobile in the e arly 1930s\, culminating in his brilliantly virtuoso treatment of the forma l possibilities that arose as a result. The works of Fischli/Weiss perform as counterpoints in this narrative that lends the exhibition its special qu ality. \;

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Moments of observation and experimentation take on a significance of their own in this unexpected combination\, turning the relationship between gravity and weightlessness i nto something viewers can experience in a new perspective as a remarkably v ibrant process. Lightness and weight\, probing the boundaries of playfulnes s\, failure and chance as artistic practice\, steering the fine line betwee n humour and poetry\, conceptualizing the tightrope artist as the prototype for an existential reality &ndash\; there are many trajectories that make it possible for works by Calder and Fischli/Weiss to be experienced togethe r and yet to stand alone. Only once will there be a direct encounter betwee n the works by Fischli/Weiss and Calder\, within the gallery that opens the exhibition and introduces its exciting narrative. \;

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The exhibition is curated by Theodora Vischer\, Senior Curator at the Fondation Beyeler\, and developed in close cooperation with the Calder Foundation in New York and the artist Peter Fischli.

DTEND:20160904 DTSTAMP:20160701T213335 DTSTART:20160529 GEO:47.5881851;7.6510443 LOCATION:Fondation Beyeler\,Baselstrasse 101 \nRiehen / Basel \, CH-4125 SEQUENCE:0 SUMMARY:Calder & Fischli/Weiss\, Alexander Calder\, Peter Fischli & David W eiss UID:422293 END:VEVENT END:VCALENDAR