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

David Hartt: Stray Light presents col or photographs\, sculptures\, and a video installation by Chicago-based Can adian artist David Hartt (b. 1967) reflecting on the iconic headquarters of the Johnson Publishing Company in downtown Chicago.

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The 11-story M odernist building\, home to Jet and Ebony magazines start ing in 1971\, was heralded as the first major downtown Chicago building des igned by an African-American architect since the 18th century. \;Grante d unprecedented access to film and photograph in this John Moutoussamy&ndas h\;designed building\, Hartt beautifully and earnestly records the time-cap sule nature of the space\, which meticulously retains Arthur Elrod&rsquo\;s original 1971 interior design. The building was purpose-built as the headq uarters of this important publishing company\, and its interior is a clear and exuberant expression of Black taste\, resolutely modern\, colorful\, an d complex\, a pure expression of founder John Johnson&rsquo\;s vision of wh at a leading Black-owned business can be.

Hartt&rsquo\;s film a nd photographs are intimate portraits of the dreams and ideals of the Johns on family&rsquo\;s business\, which continues to exert a force in American culture\, as well as a kind of elegant forensic investigation into the powe r of cultural icons. &ldquo\;Stray Light&rdquo\; is a term used to refer to unpredictable light within a controlled environment\, a fitting metaphor f or this outside observer let into this inner sanctum of African American cu ltural history. Hartt&rsquo\;s works raise questions about the commingling of the personal and the public\, the narratives and ideologies that underli e the Johnson firm\, and their lasting impact today. Further\, the project is also an elegy\, or at least examination\, of the pervasive cultural cond ition of our transition to digital culture\, away from the dominance of pri nt media our lives. The physical&mdash\;the site of the building and also p aper itself&mdash\;is replaced and decentralized. Hartt&rsquo\;s project be came even more poignant with the unexpected news that the building was sold in late 2010 and the company was relocating to another site.

DTEND:20140811 DTSTAMP:20140416T131353 DTSTART:20140517 GEO:40.4436567;-79.9511474 LOCATION:Carnegie Museum of Art\,4400 Forbes Avenue \nPittsburgh\, SEQUENCE:0 SUMMARY: Stray Light\, David Hartt UID:332537 END:VEVENT BEGIN:VEVENT DTEND:20140517T170000 DTSTAMP:20140416T131353 DTSTART:20140517T100000 GEO:40.4436567;-79.9511474 LOCATION:Carnegie Museum of Art\,4400 Forbes Avenue \nPittsburgh\, SEQUENCE:0 SUMMARY: Stray Light\, David Hartt UID:332538 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The photobook is a thriving medium for encountering a group of images\, and the preferred presentation of many photographers. This form of publishing responds to the basic structure of photographic production\, and is growing despite digital distribution of images. Melissa Catanese an d Ed Panar know this terrain well. Catanese and Panar are both artists\, an d owners of Spaces Corners\, a Pittsburgh bookshop dedicat ed to photography books. As part of the Hillman Photography Initiative\, a living laboratory for exploring the rapidly changing field of photography\, Catanese and Panar were invited to the museum as artists in residence. The ir installation\, called The Sandbox transforms the museum&rsquo\; s Coatroom Gallery into a playful hybrid space for encounters with the phot obook: part reading room\, part bookshop\, part library\, part event space. Encounter a rotating selection of photobooks and intimate events emphasizi ng contemporary trends that give the medium its character.

DTEND:20140728 DTSTAMP:20140416T131353 DTSTART:20140503 GEO:40.4436567;-79.9511474 LOCATION:Carnegie Museum of Art\,4400 Forbes Avenue \nPittsburgh\, SEQUENCE:0 SUMMARY:The Sandbox: At Play with the Photobook (part of the Hillman Photog raphy Initiative)\, Melissa Catanese\, Ed Panar UID:332536 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Moment: Paintings by Mary Mitsuda

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Bo rn and raised in Honolulu\, Mary Mitsuda&rsquo\;s works have been widely ex hibited in Hawaiʻi and are included in many public\, private and corporate collections including the Four Seasons Wailea\, Ritz Carlton\, Hawai&lsquo\ ;i State Foundation on Culture and the Arts\, and the Honolulu Museum of Ar t.

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Her acrylic-on-canvas and panel paintings explore the visual eff ects achieved through the juxtaposition of carefully controlled horizontal lines with the spontaneity of dripped and scraped surfaces. In works such a s Piñ\;ata and Vapor Trails\, brushes laden with paint are dragged al ong a horizontal straight edge\, leaving traces of its path as drips\, both large and small\, fall in vertical lines below. Some paint drips continue to the bottom of the canvas\, while others converge and join with other dri ps\, the whole orchestrated to include marks planned and accidental.

\n< p>As in the ʻĀina series\, many of her works incorporate multiple thin laye rs of paint so that underlying textures are visible through the translucent surfaces\, creating a sense of geologic stratification and suggesting diff erent ways of interpreting what is seen. While gazing at Mitsuda&rsquo\;s p aintings\, one can often find recognizable imagery such as flowers\, plants \, landscapes\, and crumpled paper/icebergs\, but often the abstract marks are left for the viewer to interpret.

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She often thinks of her works as portraits or biographies of single moments examined from different pers pectives&mdash\;full of systems\, patterns\, and anomalies created from ind ividual marks that are similar\, yet varied.

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&ldquo\;The moment I a m interested in is the cusp\, the transition between the rise and fall in a cycle\,&rdquo\; says Mitsuda. &ldquo\;It&rsquo\;s generally a quiet moment and when we are aware of being at that balance point\, our vision seems to widen and also deepen. We reconnect with very elemental memories.

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I hope that\, in passing by\, people hear something in the painting\, somet hing in the voice of it that makes them pause\, lean in for a closer listen and look.&rdquo\;

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Hue Wai Pawehe: New Art from Ancient Techniques by Elroy Juan

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Elroy Juan was born on the Hamakua Coast of Hawai&l squo\;i Island\, where he still lives and farms. His mother was of Hawaiian descent\, and an accomplished lei maker\, while his father made woven thro w nets and bamboo baskets. Juan began collaborating with Georgia Sartoris i n 1992 in perfecting methods for growing and dyeing the hue wai pawehe (dec orated Hawaiian water gourd).

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In traditional Hawaiian culture\, gou rds were used in many ways\, including as containers to hold liquids. Juan grows his ipu in a form that can hold water. To create the patterns\, he in cises the skin of a mature gourd with a design\, then dyes it with a mixtur e made from leaves\, roots and bark. The gourds are filled with dye or imme rsed in a vat until the desired effect is achieved. \; \;

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C oncepts for the individual designs arise from observing the ipu while it gr ows\, and by holding it once it is harvested. When beginning a design\, Jua n often thinks of forms of water\, such as rain on a window\, or the surfac e of the ocean. The designs are related to traditional Hawaiian forms but a re unique to the artist and the ipu.

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Juan first showed his hue wai pawehe at Bishop Museum in 2008. HeHe has also exhibited at the Festival of Pacific Arts in New Caledonia and his work is in the collection of the Bis hop Museum\, the Hawai&lsquo\;i State Foundation on Culture and the Arts\, the Royal Hawaiian Hotel\, the Moana Hotel and Qantas Airlines.

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Mo stly 'Alalā: Prints by Margaret Barnaby

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Growing up in New England\ , Margaret Barnaby saw a lot of crows. &ldquo\;They&rsquo\;re big and busy and loud\, and it&rsquo\;s a bird you see easily and often\,&rdquo\; she sa ys. When she moved to Volcano\, Hawai&lsquo\;i Island\, from New York in 19 98\, she learned about the severely endangered native Hawaiian corvid\, the &lsquo\;alala. And it is the absence of crows on Hawai&lsquo\;i Island tha t sparked her interest in the &lsquo\;alala.

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&ldquo\;Due to the agg ressive captive breeding program in Volcano\, there are now around 100 bird s\,&rdquo\; explains the studio art jeweler-turned-woodblock printmaker. &l dquo\;I use the &lsquo\;alala as a symbol of what is best and worst about p eople. We are the reason that these birds and plants are in trouble\, and w e have the power to protect them. Of course\, it doesn&rsquo\;t hurt that a big black bird has a lot of graphic punch&hellip\;.In the Hawaiian languag e the word &lsquo\;alala is synonymous for the bird and for loud crying. Ma ybe the voice of the &lsquo\;alala in my prints can move people to be more aware and caring about the world in which we live.&rdquo\;

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She crea tes the woodblock prints by carving six or more plywood plates by hand. Eac h plate contains part of the image\, and can be used to print one or more c olors. The plates are inked using brayers and rollers with oil-based lithog raphy inks and printed on an etching press in succession to build the final picture. Barnaby prints small variable editions that often take more than a month to complete.

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Barnaby spends considerable time planning the composition of each print. She desires an activated surface so that the vie wer&rsquo\;s attention moves around the image of the birds as they might ap pear in their native Hawaiian habitat.

DTEND:20140822 DTSTAMP:20140416T131353 DTSTART:20140425 GEO:21.308027;-157.861454 LOCATION:The Honolulu Museum of Art at First Hawaiian Center\,999 Bishop St reet
 Honolulu\, \nHonolulu\, HI 96813
 SEQUENCE:0 SUMMARY:Barnaby\, Juan\, Mitsuda\, Margaret Barnaby\, Elroy Juan\, Mary Mit suda UID:332534 END:VEVENT BEGIN:VEVENT DTEND:20140425T180000 DTSTAMP:20140416T131353 DTSTART:20140425T083000 GEO:21.308027;-157.861454 LOCATION:The Honolulu Museum of Art at First Hawaiian Center\,999 Bishop St reet
 Honolulu\, \nHonolulu\, HI 96813
 SEQUENCE:0 SUMMARY:Barnaby\, Juan\, Mitsuda\, Margaret Barnaby\, Elroy Juan\, Mary Mit suda UID:332535 END:VEVENT BEGIN:VEVENT DESCRIPTION:

During the late Meiji period (1868-1912) in Japan\, popular fiction\, particularly romance novels that highlighted the plights and trib ulations of female protagonists\, enjoyed enormous commercial success. Kuchi-e (Japanese woodblock prints produced as frontispieces for these texts) is a genre of Japanese art that\, thanks to collector Philip Roach (b. 1934)\, has finally begun to receive the art historical recognition it deserves.

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The production of kuchi-e prints coincides with the Russo-Japanese War (1904-1905)\, and this rotation focuses on prints th at depict female reactions to that war&mdash\;their anxieties about loved o nes in danger and their mourning of those who died. Kuchi-e artist s such as Mizuno Toshikata (1866-1908)\, whose work is featured in the alco ve of the Japan Gallery\, also published large-scale depictions of battles from the Sino-Japanese war (1894-1895). When paired\, these two portrayals of war&mdash\;one from the battlefield and the other from the home front&md ash\;reveal how popular art in early 20th-century Japan functioned as propa ganda to fuel public support of military campaigns. Also on display in this rotation are several novels within which the kuchi-e frontispiece s were originally published.

DTEND:20140713 DTSTAMP:20140416T131353 DTSTART:20140515 GEO:21.304039;-157.848549 LOCATION:The Honolulu Museum of Art\,900 South Beretania Street \nHonolulu\ , HI 96814 SEQUENCE:0 SUMMARY:War-Torn Hearts: Political Propaganda in Japanese Romance Novels UID:332532 END:VEVENT BEGIN:VEVENT DTEND:20140515T163000 DTSTAMP:20140416T131353 DTSTART:20140515T100000 GEO:21.304039;-157.848549 LOCATION:The Honolulu Museum of Art\,900 South Beretania Street \nHonolulu\ , HI 96814 SEQUENCE:0 SUMMARY:War-Torn Hearts: Political Propaganda in Japanese Romance Novels UID:332533 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Honolulu artist Darius Homayounpour is best known as an indi go dyer for fine art as well as craft work. Formerly the assistant to the c urator of textiles at the Honolulu Museum of Art from 1996 to 2010\, he has long interpreted historic textile forms and structures using various mater ials and methods\, including handmade paper\, hand-woven cloth\, shibori\, and metals\, especially chased silver. This installation represents his tra nslation of the traditionally two-dimensional cloth-based quilt form into a three-dimensional metal structure\, exploring ideas of absorption and refl ection of light\, the layering of thin metallic sheets and air\, as well as the inherent disparity between the familiar comfort of the cloth quilt and its hard-edged metallic version.

DTEND:20140803 DTSTAMP:20140416T131353 DTSTART:20140509 GEO:21.304039;-157.848549 LOCATION:The Honolulu Museum of Art\,900 South Beretania Street \nHonolulu\ , HI 96814 SEQUENCE:0 SUMMARY:Rift: An Installation \, Darius Homayounpour UID:332530 END:VEVENT BEGIN:VEVENT DTEND:20140509T163000 DTSTAMP:20140416T131353 DTSTART:20140509T100000 GEO:21.304039;-157.848549 LOCATION:The Honolulu Museum of Art\,900 South Beretania Street \nHonolulu\ , HI 96814 SEQUENCE:0 SUMMARY:Rift: An Installation \, Darius Homayounpour UID:332531 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The museum&rsquo\;s Orvis Artist in Residence program at Spa lding House continues with O&lsquo\;ahu-based artist Andrew Binkley. On wee kends from April 12 to May 18\, visitors will be able to see the artist at work on his installation A Space Between\, as well as join in.

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Binkley invites visitors to help him&mdash\;they can choose to either look for cracks in the floor of the outdoor Surface Gallery or paint the cr acks. Depending on what they choose\, Binkley will give them a shovel or a cup of gold paint and a brush. Binkley describes the work as\, &ldquo\;an i nvitation for an intimate connection with the grounds of Spalding House whi le encouraging a shift in how we perceive the overlooked aspects of history \, fragility and change.&rdquo\;

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The project is rooted in the ancie nt Japanese art form of kintsugi (golden joinery)\, where if a tre asured tea bowl breaks\, rather than throwing it away\, the pieces are mend ed back together and the remaining fracture is dusted with gold. The act of doing this highlights the cracks and transforms it from being a rejected t race of the &ldquo\;imperfect&rdquo\; and the ephemeral\, to a mark that is accepted\, appreciated\, and cherished.

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The history of how these c racks developed hover over the work\, as do the connotations of gold in thi s context. As both a symbol of honoring and adornment\, revealing a value u nder the surface\, it also holds with it the issues of funding\, or lack th ereof\, in the realms of art and culture and what is deemed of value to pre serve and promote. A pathway will be revealed by clearing a line of gravel in the direction from Spalding House to the Honolulu Museum of Art\, thereb y connecting the two museum spaces together.

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A Space Between also works with transforming the fractures from being a split or separat ion into a path of connection\; bridging the past\, present and future thro ugh the acts of discovery and appreciation. The cracks are a record of time \; a record of the results of conditions coming together\, just as the gold paint is a record of the results of people coming together. This project c reates both a connection to the place within each individual\, but also a c onnection with each other as a group. It deals with the spirit of service a nd offering\, and the spirit of acceptance and appreciation for both histor y and the fleeting moment at hand.

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The project connects with two mu seum exhibitions&mdash\;Light from Shadow: Gold in Japanese Art\, on view at the Beretania Street location through June 1\, and Come Undo ne: The Art of Entropy and Decay\, on view at Spalding House through J uly 6. And during May\, Binkley will expand A Space Between and co nnect it to a yet-to-be-announced exhibition in Kaka&rsquo\;ako dealing wit h the area&rsquo\;s history\, water\, land and people.

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After attend ing art school\, Binkley moved to China\, which led to his being ordained a s a Buddhist monk in Thailand and living the monastic life there for two ye ars. In 2002 he moved to Hawai&lsquo\;i and has been practicing art ever si nce.

DTEND:20140518 DTSTAMP:20140416T131353 DTSTART:20140412 GEO:21.312419;-157.8328477 LOCATION:The Honolulu Museum of Art Spalding House\,2411 Makiki Heights Dr \nHonolulu\, HI 96822 SEQUENCE:0 SUMMARY: A Space Between\, Andrew Binkley UID:332529 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Fashion Detective takes a selection of miscellaneou s garments and accessories as the starting point for a series of investigat ions. Using material evidence and commissioned fictions as alternate interp retative strategies\, the exhibition is an encounter with the art of detect ion.

Any museum archive contains a large number of works which remain unattributed &ndash\; makers unknown. Anonymous and sometimes inscr utable\, these objects have the capacity to incite our curiosity at a time when the world is ordered by brands and logos. Within fashion especially\, the contrast between today&rsquo\;s superstar couturiers and global luxury labels and the nameless dressmakers and tailors of earlier centuries\, coul d not be greater.

From fakes and forgeries to poisonous dyes\, concealed clues and mysterious marks to missing persons\, Fashion Dete ctive offers a number of cases for close examination. Each suggests a specific path of analysis that encourages us to think differently about wha t we see and what we know.

Scrutinising fragments of informati on\, Fashion Detective also puts some of Australia&rsquo\;s best c rime writers on the case. Speculating on the evidence at hand\, a series of new short fictions based around the works on display will introduce plots\ , characters and narrative to the exhibition in order to reveal fashion&rsq uo\;s countless contexts.

Featuring approximately 60 garments and accessories Fashion Detective juxtaposes the testimony of cura tors\, conservators and writers\, and acknowledges the interdependence of s tory and object as well as the public fascination with the social life of c lothes.

DTEND:20140831 DTSTAMP:20140416T131353 DTSTART:20140509 GEO:0.0;0.0 LOCATION:NGV (National Gallery Victoria) The Ian Potter Centre\,Federation Square Cnr Russell & Flinders Sts \nMelbourne\, Victoria SEQUENCE:0 SUMMARY:Fashion Detective UID:332525 END:VEVENT BEGIN:VEVENT DTEND:20140509T170000 DTSTAMP:20140416T131353 DTSTART:20140509T100000 GEO:0.0;0.0 LOCATION:NGV (National Gallery Victoria) The Ian Potter Centre\,Federation Square Cnr Russell & Flinders Sts \nMelbourne\, Victoria SEQUENCE:0 SUMMARY:Fashion Detective UID:332526 END:VEVENT BEGIN:VEVENT DESCRIPTION:

I never saw art as being a safe thing. I know that exist s but that's not something that involves me. David McDiarmid\, 1993

Defying classification\, the work of David McDiarmid encompasses the complex and interconnected histories of art\, craft\, fashion\, music\ , sex\, gay liberation and identity politics\; happily residing in the spac es between high and low art\, popular culture and community engagement. At once kaleidoscopic\, celebratory and darkly humorous in tone\, the artist&r squo\;s idiosyncratic\, highly personal and at times\, confessional work hi ghlights the redefinition and deconstruction of identities &ndash\; "from c amp to gay to queer" &ndash\; drawing on the experiences of a life intensel y lived in Melbourne\, Sydney and New York. Charting the shifts in politics and individual and community expression that unfold across the decades of the 1970s\, 80s and 90s\, this exhibition also reveals McDiarmid&rsquo\;s a rtistic and grassroots political response to the impact of HIV / AIDS durin g the 1980s and beyond\, for which he is best known internationally.

DTEND:20140831 DTSTAMP:20140416T131354 DTSTART:20140509 GEO:0.0;0.0 LOCATION:NGV (National Gallery Victoria) The Ian Potter Centre\,Federation Square Cnr Russell & Flinders Sts \nMelbourne\, Victoria SEQUENCE:0 SUMMARY:When This You See Remember Me\, David McDiarmid UID:332523 END:VEVENT BEGIN:VEVENT DTEND:20140509T170000 DTSTAMP:20140416T131354 DTSTART:20140509T100000 GEO:0.0;0.0 LOCATION:NGV (National Gallery Victoria) The Ian Potter Centre\,Federation Square Cnr Russell & Flinders Sts \nMelbourne\, Victoria SEQUENCE:0 SUMMARY:When This You See Remember Me\, David McDiarmid UID:332524 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Now in her 98th year\, Inge King is one of our most senior a rtists. This exhibition will present the most complete survey of Inge&rsquo \;s remarkable career to date.

Since arriving in Australia in 1951\, Inge King has been a major contributor to the development of abstrac t sculpture in this country. She has exhibited her work consistently in sol o exhibitions and has participated in many group exhibitions. Her work is h eld in all major national collections and through her numerous public commi ssions she has become one of Australia&rsquo\;s best known and most promine nt sculptors.

Inge and her late husband\, Australian painter a nd printmaker Grahame King\, built their home and studio in the outer Melbo urne suburb of Warrandyte in 1952. Designed by Robin Boyd\, the building se rved as a creative haven where Inge and Grahame could work and support each other&rsquo\;s art practices. Their careers were inextricably interwoven f rom when they met in 1948 at the Abbey Arts Centre in Hertfordshire\, UK\, continuing until Grahame&rsquo\;s death in 2008.

This major su rvey of Inge King&rsquo\;s work will be installed in the foyer spaces over three levels at NGV Australia and will include work produced over an extrao rdinary period of almost 70 years. In addition to sculptures from the NGV a nd other public and private collections\, the exhibition will include many works drawn from Inge&rsquo\;s personal collection. It will present her rec ent sculptures alongside many of her early works\, some of which have never been on public display.

The exhibition will celebrate Inge Ki ng&rsquo\;s outstanding contribution to Australian art. With the inclusion of some of Grahame&rsquo\;s work it will also recognise the unique and sign ificant artistic collaboration that existed between the two of them.

DTEND:20140831 DTSTAMP:20140416T131354 DTSTART:20140501 GEO:0.0;0.0 LOCATION:NGV (National Gallery Victoria) The Ian Potter Centre\,Federation Square Cnr Russell & Flinders Sts \nMelbourne\, Victoria SEQUENCE:0 SUMMARY: Constellation\, Inge King UID:332521 END:VEVENT BEGIN:VEVENT DTEND:20140501T170000 DTSTAMP:20140416T131354 DTSTART:20140501T100000 GEO:0.0;0.0 LOCATION:NGV (National Gallery Victoria) The Ian Potter Centre\,Federation Square Cnr Russell & Flinders Sts \nMelbourne\, Victoria SEQUENCE:0 SUMMARY: Constellation\, Inge King UID:332522 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The holdings of Italian art in the Museo Nacional del Prado\ , Madrid are unique and unrivalled in museums outside Italy. \; Drawn f rom its magnificent collection\, this exhibition of over 70 paintings and 3 0 drawings presents a rich selection of works spanning 300 years of Italian art\, from the early sixteenth to the eighteenth centuries.

M ore than 70 artists are represented including Raphael\, Correggio\, Titian\ , Tintoretto\, the Carracci\, Poussin and Tiepolo. \; The exhibition re flects the taste of the Spanish Royal Court whose Kings and Courtiers avidl y collected Italian art. \; Successive rulers also commissioned works d irectly from the artists in Italy or enticed them to Spain to work in the R oyal Household. \; Many of these works are at the heart of the Prado&rs quo\;s collection and have never before left Spain.

DTEND:20140831 DTSTAMP:20140416T131354 DTSTART:20140516 GEO:-37.8610974;144.9848245 LOCATION:NGV (National Gallery of Victoria) International\,180 St Kilda Roa d \nMelbourne\, Victoria 3000 SEQUENCE:0 SUMMARY:Italian Masterpieces from Spain's Royal Court\, Museo del Prado\, C olleen Choquette-Raphael\, Antonio da Correggio\, Tiziano Vecellio\, Jacopo Tintoretto\, the Carracci\, Nicolas Poussin\, Giovanni Battista Tiepolo UID:332519 END:VEVENT BEGIN:VEVENT DTEND:20140516T170000 DTSTAMP:20140416T131354 DTSTART:20140516T100000 GEO:-37.8610974;144.9848245 LOCATION:NGV (National Gallery of Victoria) International\,180 St Kilda Roa d \nMelbourne\, Victoria 3000 SEQUENCE:0 SUMMARY:Italian Masterpieces from Spain's Royal Court\, Museo del Prado\, t he Carracci\, Colleen Choquette-Raphael\, Antonio da Correggio\, Nicolas Po ussin\, Giovanni Battista Tiepolo\, Jacopo Tintoretto\, Tiziano Vecellio UID:332520 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition ahead of &ldquo\;The 5th Fukuoka Asian Art T riennale (FT5)&rdquo\; presents a snapshot of FAAM&rsquo\;s four triennale shows to date\, from FT1 (1999) to FT4 (2009). Focusing on various works fr om each show\, the exhibition includes records on the exhibition spaces and performances along with print articles. Throughout\, the exhibition will u pdates on FT5 as preparations unfold. (*The exhibition is divided into two parts\, with FT1 and FT2 highlights displayed until 3 June\, and FT3 and FT 4 highlights shown after 5 June)

DTEND:20140819 DTSTAMP:20140416T131354 DTSTART:20140403 GEO:33.5913576;130.4148783 LOCATION:Fukuoka Asian Art Museum (FAAM)\,3-1 Shimokawabata-machi Hakata-ku \nFukuoka City\, SEQUENCE:0 SUMMARY:Countdown for the 5th Fukuoka Asian Art Triennale ! : The FT A to Z UID:332514 END:VEVENT BEGIN:VEVENT DESCRIPTION:

From natural resources to chemical materials\, human-beings have discovered and processed various raw materials throughout their histor y. Metal\, one of these\, has revolutionized our lifestyle. In this exhibit ion\, many artworks made from metals\, such as iron\, bronze\, and stainles s steel will be brought together to be shown. Metal is usually over looked in our everyday live\, so let&rsquo\;s take this chance and search for the ideas behind these artworks.

DTEND:20140819 DTSTAMP:20140416T131354 DTSTART:20140424 GEO:33.5913576;130.4148783 LOCATION:Fukuoka Asian Art Museum (FAAM)\,3-1 Shimokawabata-machi Hakata-ku \nFukuoka City\, SEQUENCE:0 SUMMARY:Mega-Metals Medley UID:332512 END:VEVENT BEGIN:VEVENT DTEND:20140424T200000 DTSTAMP:20140416T131354 DTSTART:20140424T100000 GEO:33.5913576;130.4148783 LOCATION:Fukuoka Asian Art Museum (FAAM)\,3-1 Shimokawabata-machi Hakata-ku \nFukuoka City\, SEQUENCE:0 SUMMARY:Mega-Metals Medley UID:332513 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A typhoon scourged an indigenous community in the mountains and forced its people to relocate afoot another hill. Amidst the rebuilding efforts\, artist Etan Pavavalung creates a new style nurtured by his nativ e culture. A dialogue is formed between visual art\, ecology\, theology and the lost ancient wisdom of the mountains. A primitive power exudes from th e layered patterns engraved in his prints\, as they help build dreams\, men d souls and propagate beauty recalling the innocence of unspoiled homeland.

Nature has taken her revenge upon destruction caused by human advancement and greed. We are forced to reflect on how we brought ourselve s into this predicament. It is high time to re-learn how to live in harmony with the land\, so that she will once again bathe us in her fragrant winds .

DTEND:20140518 DTSTAMP:20140416T131354 DTSTART:20140329 GEO:25.1253109;121.530997 LOCATION:Taipei Fine Arts Museum\,181\, ZhongShan N. Road\, Sec. 3\, \nTaip ei \, SEQUENCE:0 SUMMARY:The Fragrant Mountain Winds-Meet Etan’s Depictions Through Markings and Patterns\, Etan Pavavalung UID:332508 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For four years\, Liu Chih-Hung has engaged in his Drawing &a mp\; Sketch project: In the Moment\, maintaining an uninterrupted pace of c reativity that has become a habit as natural as breathing.

The Roman poet Marcus Valerius Martialis wrote\, &ldquo\;He lives two lives wh o relives his past with pleasure.&rdquo\;

In early 2010 Liu Ch ih-Hung began the first part of his project\, The Elapsed Time\, attempting to capture and re-express many significant moments from life experiences o f the past\, depicting recollected images in paint. Released from late 2010 through early 2011\, The Other Side introduced rapidly produced paintings with a solid tonality and amassed more images of moments in life. His Guang Wu of 2013 was a realistic portrayal of a year in military service\, docum enting many moments of army life and many strange experiences. Liu continue s his four-year project with his current solo exhibition. Short Fiction ser ves as a concluding segment\, presenting a complete thread of time reflecti ng his own experiences\, memories and images.

DTEND:20140518 DTSTAMP:20140416T131354 DTSTART:20140329 GEO:25.1253109;121.530997 LOCATION:Taipei Fine Arts Museum\,181\, ZhongShan N. Road\, Sec. 3\, \nTaip ei \, SEQUENCE:0 SUMMARY:Short Fiction\, Liu Chih-Hung UID:332506 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The finalists are: C.J.S Architecture-Art Studio / Atelier O rogen / \;Mezz Studio / Gizmo co- / GT Consulting Planners / ROEWU arch itecture / Double A / R Studio / Book Site- Binding Architecture

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Tr ends in early twenty-first century architecture tend to no longer adhere to architectural principles. Rather\, site-specific installations and experim ental visions help us to understand or re-see the reality of architecture. As architecture critic Aaron Betsky has said\, the challenge &ldquo\;is to collect and encourage experimentation\, not by presenting existing building s\, but through seductive images.&rdquo\; With its 2014 inaugural call for entries exhibition Program X-site\, the Taipei Fine Arts Museum intends to expand its artistic domain into the field of architectural installation. Th e program sets the outdoor public square adjacent to the museum's main entr ance as its site for imaginative reflection and creativity. By extending ar chitectural art from the building's interior out into public space\, the pr ogram liberates the positions of architect\, artist and curator\, while pro moting discussions about urban living and planning\, including the use of m obility and temporal architectural installations to explore temporary inter ventions as a means of driving urban development.

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The exhibition Fi nalists for Program X-site 2014: Nine Ways to Imagine the Space presents pr oposals submitted by nine teams of finalists and provides an opportunity to review their concepts\, backgrounds\, materials\, technologies and artisti c concepts. Items such as models\, blueprints\, text\, animations and insta llations are included. It is hoped that this exhibition can advance contemp orary architecture and the understanding of alternative architecture in Tai wan\, generate enthusiasm for architecture and express gratitude to those w ho generously spent time preparing proposals for the exhibition competition .

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Recyclable packaging\, wooden pallets\, work lamps\, wood and tra nsparent materials are used for the exhibition venue design as a symbol of the move towards environmental progressivism in contemporary architecture a nd to promote the concept of sustainability.

DTEND:20140518 DTSTAMP:20140416T131354 DTSTART:20140412 GEO:25.1253109;121.530997 LOCATION:Taipei Fine Arts Museum\,181\, ZhongShan N. Road\, Sec. 3\, \nTaip ei \, SEQUENCE:0 SUMMARY:Finalists for Program X-site 2014: Nine Ways to Imagine the Space UID:332504 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The waters that surround the islands of Japan and flow from its mountain ranges to form rivers and lakes host \;plants and animals that have sustained human life \;since prehistoric times. This exhibiti on features a selection of prints\, paintings\, illustrated books\, and cer amics that depict Japanese appreciation for the beauty and variety of fish and other species. A highlight is the \;public debut of the &ldquo\;lar ge fish&rdquo\; series&mdash\;twenty woodblock prints by Hiroshige (1797&nd ash\;1858) gifted to the Freer by John Fuegi and Jo Francis.

DTEND:20140914 DTSTAMP:20140416T131354 DTSTART:20140308 GEO:38.8887205;-77.0240872 LOCATION:Freer Gallery of Art (A Smithsonian Institution)\,Jefferson Drive \nWashington\, DC SEQUENCE:0 SUMMARY:Bountiful Waters: Aquatic Life in Japanese Art UID:332418 END:VEVENT END:VCALENDAR