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Two Native American portraits from Hoosh ang Khorasani's personal collection are on display at the Attleboro\, Massa chusetts\, Arts Museum in the show "Art Unites Communities" from April 11 t o May 9.

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"It has long been understood that visual art can transcend cult ural boundaries and is in fact a universal form of human expression\," a st atement from museum officials said. "In 'Art Unites Communities' artists fr om all corners present their work side-by-side to honor the unifying force of visual creativity."

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The collection of visual and folk artists' work w ill celebrate heritage\, cultural experience\, native language and points o f view. Selected work will be displayed as one community of visual expressi ons\, museum officials said.

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In connection with the show\, a mask-making workshop will be held May 2 at 1:30 p.m.\, facilitated by artist Sandy Col eman. It's open to adults and teens 14 years and older. Please RSVP by Apri l 29 if interested in attending.

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Hooshang's paintings in the show are "B uffalo Hump\, Comanche\," 26x33 inches\, and "Big Tree\, Young Kiowa Chief\ ," 24x29 inches. Both are acrylic-mixed media on paper.

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The works are pa rt of a series of Native American portraits that Hooshang painted after tra veling throughout the West and Southwest and after a study of their lifesty le and history.

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Limited-edition prints from the Native American series are available from Hooshang Studio\, 1001 Cedar Creek Road\, Ruston.

DTEND:20150509 DTSTAMP:20150418T172450 DTSTART:20150401 GEO:41.9443413;-71.2814454 LOCATION:Attleboro Arts Museum\,86 Park Street \nAttleboro\, MA 02703 SEQUENCE:0 SUMMARY:Art Unites Communities\, Hooshang Khorasani UID:380943 END:VEVENT BEGIN:VEVENT DTEND:20150502T000000 DTSTAMP:20150418T172450 DTSTART:20150502T133000 GEO:41.9443413;-71.2814454 LOCATION:Attleboro Arts Museum\,86 Park Street \nAttleboro\, MA 02703 SEQUENCE:0 SUMMARY:Art Unites Communities\, Hooshang Khorasani UID:380944 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150731 DTSTAMP:20150418T172450 DTSTART:20150509 GEO:51.06768;13.75488 LOCATION:Galerie Gebr. Lehmann\, Dresden\,Gorlitzer Strasse 16 \nDresden\, D-01099 SEQUENCE:0 SUMMARY:True RGB\, Joep van Liefland UID:380848 END:VEVENT BEGIN:VEVENT DTEND:20150508T210000 DTSTAMP:20150418T172450 DTSTART:20150508T180000 GEO:51.06768;13.75488 LOCATION:Galerie Gebr. Lehmann\, Dresden\,Gorlitzer Strasse 16 \nDresden\, D-01099 SEQUENCE:0 SUMMARY:True RGB\, Joep van Liefland UID:380849 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An annual event at Grounds For Sculpture\, this year&rsquo\;s Members&rsquo\; Musings will be the sixth e xhibition exclusively featuring artwork by members ofGrounds For Sculpture. In addition to supporting the arts\, many GFS members are gifted artists t hemselves. This exhibition showcases the diversity of the organization&rsqu o\;s membership through theirvaried artistic creations and unique inspirati ons.

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ELIGIBILITY
The Grounds For Sculpture member exhibition is open to current and new members\, whose mem bership must be valid on May 15\, 2015. Members employed by Grounds For Scu lpture\, members who volunteer for Grounds For Sculpture\, or members who h ave work in the collection are not eligible to participate.

JURO R
This is a juried exhibition. This year&rsquo\;s juror is Dejá\ ;y B. Duckett\, the Associate Director &\; Associate Curator at the Arth ur Ross Gallery at the University of Pennsylvania. Her interests include Af rican American and international contemporary art in all media\, with a par ticular focus on ecology\, and collaborative site-specific projects. At the Arthur Ross Gallery\, Dejá\;y has organized exhibitions and programs including\, Henrique Oliveira: Adenocalcinoma Poliresidual (2014)\; Willia m H.Johnson: An American Modern (2014)\; In Material: Lucy Arai\, Sonya Cla rk\, Mi-Kyoung Lee\, and Cynthia Schira (2012)\; Jacob Lawrence and the Urb an Experience (2010)\, and Darkwater: A Recital in Four Dominions\, Terry A dkins after W.E.B Du Bois (2003). Prior to the Arthur Ross Gallery\, she wa s Gallery Coordinator for Nexus Contemporary Art Center (Now Atlanta Contem porary Art Center)\, where she co-curated the 1995 Atlanta Biennial. From 1 996-98\, she was Associate Curator for the City of Atlanta&rsquo\;s Bureau of Cultural Affairs\, City Gallery East. After returning to Philadelphia in 1999\, Dejá\;y curated Women on the Verge at the African American Mus eum in Philadelphia. She has worked on independent projects as well as writ ten and edited numerous gallery brochures and publications. Dejá\;y e arned her B.A. in 1994 in Art History from Spelman College\, and an M.A. in Museum Studies from Seton Hall University in 2001\, focusing her research on the changing role of the culturally specific museum in the 21st Century.

ENTRY REQUIREMENTS
Members may submit up to two works per person. 2-D\, 3-D\, and multi-media works will be accepted\, however photog raphy will not be accepted for this exhibition. Photographers are encourage d to submit to the annual Focus on Sculpture exhibition. Accepted works wil l be on display in the Education Gallery from July 11 &ndash\; August 23\, 2015. Framed works should be no larger than 40 inches in any one direction. 3-D works should not be larger than 30 inches in height\, width or depth. Paintings should either be framed or have a finished edge. All works on pap er must be framed professionally behind plexi or glass\, matted\, and have a black wood ormetal frame\, with hanging wire attached. Any work that does not meet these requirements will not be eligible for selection.

DTEND:20150823 DTSTAMP:20150418T172450 DTSTART:20150711 GEO:40.2482028;-74.6985891 LOCATION:Grounds For Sculpture\,18 Fairgrounds Road (mailing address) 126 S culptors Way (GPS location)\nHamilton\, New Jersey 08619 SEQUENCE:0 SUMMARY:Education Gallery: Members’ Musings 2015 UID:380804 END:VEVENT BEGIN:VEVENT DTEND:20150711T180000 DTSTAMP:20150418T172450 DTSTART:20150711T100000 GEO:40.2482028;-74.6985891 LOCATION:Grounds For Sculpture\,18 Fairgrounds Road (mailing address) 126 S culptors Way (GPS location)\nHamilton\, New Jersey 08619 SEQUENCE:0 SUMMARY:Education Gallery: Members’ Musings 2015 UID:380805 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Through images created by Prin ceton Photography Club members\, view the transformation of our site from t he barren New Jersey State Fairgrounds into the lush 42-acre sculpture park that GFS is today. Included in the exhibit are newspaper articles from the Hamilton Historical Society\, memorabilia from the New Jersey State Fairgr ounds\, and historic GFS photographs.

DTEND:20151101 DTSTAMP:20150418T172450 DTSTART:20150919 GEO:40.2482028;-74.6985891 LOCATION:Grounds For Sculpture\,18 Fairgrounds Road (mailing address) 126 S culptors Way (GPS location)\nHamilton\, New Jersey 08619 SEQUENCE:0 SUMMARY:Education Gallery Exhibition: GFS History - The Land in Pictures an d Words UID:380802 END:VEVENT BEGIN:VEVENT DTEND:20150919T180000 DTSTAMP:20150418T172450 DTSTART:20150919T100000 GEO:40.2482028;-74.6985891 LOCATION:Grounds For Sculpture\,18 Fairgrounds Road (mailing address) 126 S culptors Way (GPS location)\nHamilton\, New Jersey 08619 SEQUENCE:0 SUMMARY:Education Gallery Exhibition: GFS History - The Land in Pictures an d Words UID:380803 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This spring\, we&rsquo\;re ple ased to exhibit artwork from the talented students at Bear Tavern Elementar y School in nearby Hopewell Valley Regional School District. The multimedia exhibition pairs artwork inspired by explorations at GFS with selected stu dent writings. Come see how a range of media can be used to interpret a sin gle subject\, and how expressive young artists can be.

DTEND:20150621 DTSTAMP:20150418T172450 DTSTART:20150509 GEO:40.2482028;-74.6985891 LOCATION:Grounds For Sculpture\,18 Fairgrounds Road (mailing address) 126 S culptors Way (GPS location)\nHamilton\, New Jersey 08619 SEQUENCE:0 SUMMARY:Reflections in the Classroom UID:380800 END:VEVENT BEGIN:VEVENT DTEND:20150509T180000 DTSTAMP:20150418T172450 DTSTART:20150509T100000 GEO:40.2482028;-74.6985891 LOCATION:Grounds For Sculpture\,18 Fairgrounds Road (mailing address) 126 S culptors Way (GPS location)\nHamilton\, New Jersey 08619 SEQUENCE:0 SUMMARY:Reflections in the Classroom UID:380801 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The DAB Mezzanine Gallery will feature the sculptural installations of Lauren Clay. \; Clay works pri marily in paper\, attracted to its ephemeral qualities\, which she hand-dye s\, cuts\, and reassembles into carefully constructed three dimensional for ms. This exhibition will feature a series of works that are both playful an d symbolic. Also included in the exhibition is a series of work that refere nce the great American sculptor David Smith.

DTEND:20150621 DTSTAMP:20150418T172450 DTSTART:20150509 GEO:40.2482028;-74.6985891 LOCATION:Grounds For Sculpture\,18 Fairgrounds Road (mailing address) 126 S culptors Way (GPS location)\nHamilton\, New Jersey 08619 SEQUENCE:0 SUMMARY:Solo Exhibition\, Lauren Clay UID:380798 END:VEVENT BEGIN:VEVENT DTEND:20150509T180000 DTSTAMP:20150418T172450 DTSTART:20150509T100000 GEO:40.2482028;-74.6985891 LOCATION:Grounds For Sculpture\,18 Fairgrounds Road (mailing address) 126 S culptors Way (GPS location)\nHamilton\, New Jersey 08619 SEQUENCE:0 SUMMARY:Solo Exhibition\, Lauren Clay UID:380799 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition\, on view on t he Museum Mezzanine\, reveals that the artist is a powerful and inventive m etal sculptor who also served as one of Robert Rauschenberg&rsquo\;s assist ants for 15 years at the renowned artist&rsquo\;s Captiva Island studio.

DTEND:20150621 DTSTAMP:20150418T172450 DTSTART:20150509 GEO:40.2482028;-74.6985891 LOCATION:Grounds For Sculpture\,18 Fairgrounds Road (mailing address) 126 S culptors Way (GPS location)\nHamilton\, New Jersey 08619 SEQUENCE:0 SUMMARY:One\, Jonas Stirner UID:380796 END:VEVENT BEGIN:VEVENT DTEND:20150509T180000 DTSTAMP:20150418T172450 DTSTART:20150509T100000 GEO:40.2482028;-74.6985891 LOCATION:Grounds For Sculpture\,18 Fairgrounds Road (mailing address) 126 S culptors Way (GPS location)\nHamilton\, New Jersey 08619 SEQUENCE:0 SUMMARY:One\, Jonas Stirner UID:380797 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Museum Building will host the powerful steel sculptures of Pennsylvania-based sculptor Karl Stirner a nd his son\, Florida-based sculptor Jonas Stirner. \; \;Karl St irner: Decades in Steel \;explores the artist&rsquo\;s legendary w elded and manipulated industrial forms which are often inspired by the huge sections of steel Stirner reclaims from steel manufacturing yards. \; His sculptures have influenced generations of sculptors including his son J onas\, whose works will be on view on the Museum Mezzanine.

DTEND:20150621 DTSTAMP:20150418T172450 DTSTART:20150509 GEO:40.2482028;-74.6985891 LOCATION:Grounds For Sculpture\,18 Fairgrounds Road (mailing address) 126 S culptors Way (GPS location)\nHamilton\, New Jersey 08619 SEQUENCE:0 SUMMARY:Decades in Steel\, Karl Stirner UID:380794 END:VEVENT BEGIN:VEVENT DTEND:20150509T180000 DTSTAMP:20150418T172450 DTSTART:20150509T100000 GEO:40.2482028;-74.6985891 LOCATION:Grounds For Sculpture\,18 Fairgrounds Road (mailing address) 126 S culptors Way (GPS location)\nHamilton\, New Jersey 08619 SEQUENCE:0 SUMMARY:Decades in Steel\, Karl Stirner UID:380795 END:VEVENT BEGIN:VEVENT DESCRIPTION:

New Jersey/New York based arti st Robert Lobe has been selected to exhibit a collection of his textured an d patinated aluminum wall reliefs\, made by hammering sheets of aluminum ov er natural forms in a technique similar to the tradition of repoussé\ ;. \; The exhibition will also feature three wall sculptures that incor porate the noted paintings of New York based painter Kathleen Gilje in a se ries titled \;Forest Projects: \; Robert Lobe and Kathleen Gilje. \; This exhibition will be on view in the West Gallery from Apr il 11\, 2015 &ndash\; January 17\, 2016.

DTEND:20160117 DTSTAMP:20150418T172450 DTSTART:20150411 GEO:40.2482028;-74.6985891 LOCATION:Grounds For Sculpture\,18 Fairgrounds Road (mailing address) 126 S culptors Way (GPS location)\nHamilton\, New Jersey 08619 SEQUENCE:0 SUMMARY:In the Forest of Drawn Metal\, Robert Lobe UID:380793 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This season\, we are pleased t o present the work of Korean-born artist\, Jae Ko. Her exhibition\, entitle d \;Selections\, includes a major new commissioned installatio n in the East Gallery. Spanning more than 80 feet\, \;Force of Natu re\, 白 Shiro \;transforms over 20\,000 pounds of varying shades of white recycled Kraft paper into her largest and most ambitious piece to da te. Inspired by the natural world\, Ko states\, "In my culture Shiro 白\, me ans white\, pure and clear\, very glacier like. The installation is really a glacier cut or sliced to expose the ancient layers within it."

Ko's exhibition continues in the Domestic Arts Building\, where her bold u se of black and red stained paper serves as a primal counterpoint to the Ea st Gallery. \;Force of Nature\, 白 Shiro \;opens to the pub lic on March 28. The full exhibition\, \;Selections\, opens to the public on May 9. The exhibition is made possible in part through award s from the \;Nati onal Endowment for the Arts \;and \;Bank of America .

DTEND:20160207 DTSTAMP:20150418T172450 DTSTART:20150328 GEO:40.2482028;-74.6985891 LOCATION:Grounds For Sculpture\,18 Fairgrounds Road (mailing address) 126 S culptors Way (GPS location)\nHamilton\, New Jersey 08619 SEQUENCE:0 SUMMARY:Selections\, Jae Ko UID:380792 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150618 DTSTAMP:20150418T172450 DTSTART:20150523 GEO:60.1642165;24.9402654 LOCATION:Galleria Heino\,Uudenmaankatu 16-20 \nHelsinki\, FI-00120 SEQUENCE:0 SUMMARY:Solo Exhibition\, Eila Maaret Forsström UID:380791 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150618 DTSTAMP:20150418T172450 DTSTART:20150523 GEO:60.1642165;24.9402654 LOCATION:Galleria Heino\,Uudenmaankatu 16-20 \nHelsinki\, FI-00120 SEQUENCE:0 SUMMARY:Solo Exhibition\, Sari Kemppinen UID:380790 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Petri Ala-Maunus is known for his outrageously romantic large-scale landscapes that transport the viewer\ , with effortless ease\, to his mountainous fantasy lands. With Ala-Maunus& acute\;s landscapes\, the "truth" lies as far as the mind can carry you.

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In Hinterland\, Ala-Maunus continues to explore his idiosyncratic style\, creating landscapes imbued with a shimme ry darkness\; stormy seas\, impenetrable deciduous forests\, mountain range s viewed from on high and magical moon-lit skies. Some of the works are so enormous and full of detail that\, in order to make sense of them\, you are forced to traverse the painting from side to side\, pull away to a distanc e and get back up close again.

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The wo rks undeniably call to mind the Romantic era in the Nordic countries\, Euro pe as well as the US. Ala-Maunus himself has stressed the visual associatio n with the artists of the 19th century Hudson River School\, whose works fe atured dramatic natural elements\, such as rugged mountain ridges and steep water falls. Ala-Maunus´\;s enthusiasm for these kitschy landscapes c an also be traced back to the wall displays at the \;Happy Pizza \;pizzeria in Tampere\, Finland. The posters adorning the restaurant also depict escapist landscapes rendered in a fast food restaurant aesthet ic.

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While the Romantic landscapes inv ariably depicted tiny human beings and the ruins of their culture set amids t magnificent expanses of nature\, Ala-Maunus´\;s works are entirely d evoid of any pictorial references to people or culture. His are natural lan dscapes\, untouched by the era of man.

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This is precisely why the title of the exhibition\, Hinterland\, is so th ought provoking. The term hinterland\, also known as the outback\, the wild erness or the backwater\, usually refers to an area located on the outskirt s of human habitation that nevertheless forms an intrinsic part of a city o r a similar economic entity. Ala-Maunus\, however\, appears to employ the t erm literally. It is as if he is seeking to emphasise that\, in the back of beyond\, there remains a place entirely untouched by human hand.

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Hinterland is Ala-Maunus´\;s magical imag inary world\, which he now tackles with more boldness than before. In his n ew works\, Ala-Maunus sets about dismantling the illusion of an ideal lands cape by assigning primacy to the act of painting - the landscapes are cover ed\, enclosed and blended in the abstract medium of pigment\, the drips on painted surface emphasising the paint´\;s own movement.

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Ala-Maunus´\;s Hinterland operates on two leve ls\, both of which are equally artificial\; between the notion of the untou ched landscape and the abstract painted finish. In this\, he continues a lo ng and unbroken tradition\, which Robert Rosenblom in his 1961 article The Abstract Sublime\, insightfully extended to cover abstract painting.[1]

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The abstractions in Ala-Maunus´\;s Hinterland works are also possessed of the same "molten paths of energy\, [ that locate] us once more on a near-hysterical brink of sublime chaos"\, Ro senblom saw in the works of William Turner. With Ala-Maunus\, that energy i s found in the act of painting and in the earth´\;s gravity that pulls on the paint\, causing it to drip downwards.

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Hanna Johansson

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[1] Rosenblum\, Robert 1961. The Abstract Sublime.&nbs p\;ARTnews\, February 1961.

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Petri Ala-Maunus on tullut tutuksi yltiö\;romanttisista suuriko koisista maisemamaalauksista\, joiden tehtä\;vä\; on liu´\;utt aa katsoja keveä\;sti vuoristoisiin pilvilinnoihin. Ala-Maunuksen maise mien "totuus" on niin kaukana kuin mieli jaksaa kantaa.

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Hinterland nä\;yttelyssä\; Ala-Maunus jatkaa tun nistettavalla tyylillä\;ä\;n ja maalaa hä\;mä\;rä\;&aum l\; hohtavia maisemia myrskyä\;vistä\; meristä\;\, lä\;pip& auml\;ä\;semä\;ttö\;mistä\; lehtimetsistä\;\, taivaalta nä\;hdyistä\; vuoristoista ja satumaisista kuutamotaivaista. Osa m aalauksista on niin suuria ja niin tä\;ynnä\; yksityiskohtia\, ett& auml\; niiden hahmottamiseksi on kä\;veltä\;vä\; edestakaisin\; peruutettava kauas ja palattava taas aivan lä\;helle.

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Maalaukset tuovat eittä\;mä\;ttä\; mielee n romantiikan ajan maisemataiteen niin Pohjoismaissa\, Euroopassa kuin Yhdy svalloissa. Ala-Maunus korostaa teosten visuaalista yhteyttä\; 1800-luv ulla toimineeseen Hudson-joen koulukuntaan (Hudson River School)\, joiden m aalauksissa yhdistyvä\;t dramaattiset luonnonelementit: terä\;v&aum l\;reunaiset vuoret ja jyrkä\;t vesiputoukset. Innoitus nä\;ihin ki tschiä\; kosiskeleviin maisemiin on perua myö\;s Tampereen Hatanp&a uml\;ä\;ssä\; sijaitsevan \;Happy Pizza \;-ravinto lan seinä\;julisteista. Niissä\; kuvataan niin ikä\;ä\;n es kapistisia maisemia pikaruokalatyylillä\;.

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Siinä\; missä\; romantiikan maisemissa kuvattiin poikkeuk setta pikkuruisia ihmisiä\; ja heidä\;n kulttuurinsa raunioita osan a valtavaa luontoa\, ovat Ala-Maunuksen maalaukset poikkeuksetta ilman pien intä\;kä\;ä\;n kuvallista viittausta ihmisiin tai kulttuuriin. Ne ovat ihmisen ajan ulottumattomia luonnonmaisemia.

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Juuri tä\;mä\;n vuoksi nä\;yttelyn nimi Hinterl and pistä\;ä\; ajatukset liikkeelle. Hinterland\, takamaa\, syd&aum l\;nmaa\, erä\;maa\, viittaa tyypillisesti ihmisasutuksen laidalla sija itsevaan\, mutta kaupunkiin tai muuhun talousalueeseen kiinteä\;sti kuu luvaan hyö\;dynnettä\;vä\;ä\;n alueeseen. Ala-Maunuksen maa lauksissa termi on otettu kirjaimellisesti. Aivan kuin Ala-Maunus haluaisi korostaa\, että\; olisi olemassa paikka\, kaiken takana\, johon ihminen ei ole kajonnut eikä\; kä\;ynyt.

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Hinterland on Ala-Maunuksen mielikuvien maaginen maailma\, johon h&aum l\;n on nyt kä\;ynyt kä\;siksi aiempaa rohkeammin. Uusissa maalauks issaan Ala-Maunus rikkoo ideaalimaiseman illuusion antamalla maalaustapahtu malle ylivallan kun maisemat peittyvä\;t\, sulkeutuvat tai sulautuvat a bstraktiin maaliaineeseen\, jonka valumajä\;ljet maalauksen pinnalla ko rostavat maalin omaa liikettä\;.

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Ala-Maunuksen Hinterlandissa liikutaan kahdella tasolla\, joista molemmat l ienevä\;t viime kä\;dessä\; yhtä\; lailla tehtyjä\;: ko skemattoman maiseman idean ja abstraktin maalauspinnan vä\;lillä\;. Tä\;ssä\; hä\;n jatkaa pitkä\;ä\; katkeamatonta maalau staiteen traditiota\, jonka Robert Rosenblum vuonna 1961 kä\;ä\;nsi oivaltavasti koskemaan myö\;s abstraktia maalaustaidetta tekstissä \;ä\;n "The Abstract Sublime".[1]

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Hinterland maalauksien abstraktioissa on nä\;itä\; "sulavien energ ioiden polkuja\, jotka paikantavat meidä\;t katsojat jä\;lleen l&au ml\;hes hysteerisen ylevä\;n kaaoksen reunalle"\, kuten Rosenblumin muk aan William Turnerin maalauksissa tapahtuu. Ala-Maunuksella tuo energia on kuitenkin sijoitettu maalaustapahtumaan ja maalia alaspä\;in valuttavaa n maan vetovoimaan.

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Hanna Johanss on

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[1] R osenblum\, Robert 1961. The Abstract Sublime. \;ARTnews\, Febr uary 1961.

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DTEND:20150517 DTSTAMP:20150418T172450 DTSTART:20150418 GEO:60.1642165;24.9402654 LOCATION:Galleria Heino\,Uudenmaankatu 16-20 \nHelsinki\, FI-00120 SEQUENCE:0 SUMMARY:Hinterland\, Petri Ala-Maunus UID:380788 END:VEVENT BEGIN:VEVENT DTEND:20150417T190000 DTSTAMP:20150418T172450 DTSTART:20150417T170000 GEO:60.1642165;24.9402654 LOCATION:Galleria Heino\,Uudenmaankatu 16-20 \nHelsinki\, FI-00120 SEQUENCE:0 SUMMARY:Hinterland\, Petri Ala-Maunus UID:380789 END:VEVENT BEGIN:VEVENT DESCRIPTION:

LOVE &\; LOSS
Fashion and Mortality

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13 March to 7 June 2015

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In the 1980s new content and a revolutionary new aesthetic made their first appearance in the world of Western fashion. Features such as th e search for authenticity\, melancholy as a pervasive attitude\, and bold f ormal experiments had been exclusively reserved to the fine arts until then . Now they were taken up by fashion. Martin Margiela\, Rei Kawakubo and oth er outstanding designers subjected the concept of beauty in fashion to a ra dical makeover\, where deformation and wear and tear become exciting stylis tic devices. The torn jeans that are a staple of mainstream fashion these d ays first saw the light of day in designs by Maison Martin Margiela and Com me des Garç\;ons. Fashion becomes a mirror in which we come face to f ace with our own mortality. It emphasizes the traces of time\, praises tran sience and flirts with death.

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A great number of exhibits on loan fr om international museums and studios substantiate moments between the 1980s and today\, in which fashion and the art inspired each other. The exhibiti on celebrates beauty and the abyss\, poetical moments and black humour. It presents fashion designers together with exponents of the visual arts\, Hig h Fashion and Street Fashion\, photographs\, videos\, sculptures and instal lations. The majority of exhibits has never before been seen in Austria.&nb sp\; \;

Curator: Ursula Guttmann

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(Text from Lento Ku nstmuseum - \;http://www.lentos.at/html/en/3308.aspx)

DTEND:20150607 DTSTAMP:20150418T172450 DTSTART:20150313 GEO:48.308947;14.290062 LOCATION:LENTOS Kunstmuseum Linz\,Ernst-Koref-Promenade 1 \n Linz\, 4020 SEQUENCE:0 SUMMARY:Love and Loss: Fashion and Mortality\, Apparatus 22\, Cloed Priscil la Baumgartner\, Alexander Blank\, Bless\, Célio Braga\, Beatrice Brovia\, Úna Burke\, Coop Himmelb(l)au\, Cooper & Gorfer\, Corinne Day\, A K Dolven\ , Fantich & Young\, Franzthomaspeter\, Jean Paul Gaultier\, Bob Goedewaagen \, Meg Grant / Anja Hertenberger\, Luise Gypser\, Yoshiki Hishinuma\, Joann a Hogg\, Barbara í Gongini\, Robert Jelinek / Sabotage | Birgit Jürgenssen\ , Rei Kawakubo / Comme des Garçons\, Kora Keller\, SHOWstudio/Nick Knight\, Kobakant\, Manon Kündig\, Kirstin Lamb\, Maskull Lasserre\, Delaine Le Bas \, Martin Margiela / Maison Martin Margiela\, Marta Mattsson\, Alexander Mc Queen\, Issey Miyake\, NOKI\, Micha Payer + Martin Gabriel\, Michael Petri\ , Carol Christian Poell\, Q Hisashi Shibata\, Ute Rakob\, Louise Richardson \, Daniele Tamagni\, Juergen Teller\, Ivonne Thein\, Katja Then\, Walter Va n Beirendonck\, Imme van der Haak\, Iris van Herpen\, Viktor&Rolf\, Käthe W enzel\, Bernhard Willhelm\, Heimo Zobernig UID:380785 END:VEVENT BEGIN:VEVENT DESCRIPTION:

 \;&ldquo\;Magical&hellip\ ;the sheer breadth of the imagery&hellip\;is unlike anything you've seen be fore.&rdquo\; &mdash\; \;Los Angeles Times \;  \;

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A newcomer to Boston\, LA-based multimedi a artist Miwa Matreyek combines animation\, video installation\, and perfor mance for one-of-a-kind experiences that have appeared at international art centers and festivals including Sundance Film Festival. These two pieces c ombine stunningly lovely imagery with inventive movement and shadow play fo r works that are\, \;as she says\, &ldquo\;at once semi-scientific (lik e flipping through a children&rsquo\;s encyclopedia)\, emotional\, and drea m-like\, rich in \;surrealism\, metaphor\, and fantasy.&rdquo\;

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Appropriate for all ages.

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Funded in part by the Expeditions program of \; the New England Foundation for the Arts\, made possible with funding from t he National Endowment for the Arts\, with additional support from the six&n bsp\;New England state arts agencies.

DTEND:20150417T210000 DTSTAMP:20150418T172450 DTSTART:20150417T200000 GEO:42.3528233;-71.0430586 LOCATION:ICA (The Institute of Contemporary Art - Boston)\,100 Northern Ave nue \nBoston\, MA 02210 SEQUENCE:0 SUMMARY:'Myth and Infrastructure' and 'This World Made Itself'\, Miwa Matre yek UID:380779 END:VEVENT BEGIN:VEVENT DESCRIPTION:

"Deliciously sensual...Sonic Arboretum will take you somewhere else." \;&mdash\; \;The Bosto n Globe

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Sculptor/instrume nt-maker Ian Schneller and composer/violinist Andrew Bird share a fascinati on with sound and its interaction with the natural world.

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Since 2010\, the duo has collaboratively produced Soni c Arboretum\, an installation of over 30 colorful horn speakers made from r ecycled newsprint\, dryer lint\, baking soda\, and shellac and powered by c ustom-made tube amplifiers. Through the speakers\, Bird plays an original\, 50-minute composition\,Echolocations: Canyon\, which he recorded by whistling and playing his violin in a canyon to experiment with the site 's reverberations.

DTEND:20150510 DTSTAMP:20150418T172450 DTSTART:20150204 GEO:42.3528233;-71.0430586 LOCATION:ICA (The Institute of Contemporary Art - Boston)\,100 Northern Ave nue \nBoston\, MA 02210 SEQUENCE:0 SUMMARY:Sonic Arboretum: Sculpture by Ian Schneller/Sound by Andrew Bird\, Ian Schneller\, Andrew Bird UID:380778 END:VEVENT END:VCALENDAR