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Василий Слонов «\;ДРУЗЬЯ ДЕТСТВА»\;. 29 августа-18 сентября 2016г.

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Екатеринбургская галерея современного искусства открывает выс тавку «\;ДРУЗЬЯ ДЕТСТВА»\; художника Василия Слонова. Автор сканд ально известной серии олимпийских плакатов «\;Welcome! Sochi 2014&raqu o\; Вася Слонов разрабатывает почву новой русской мифологии\, предлагая сво й «\;русский сказ»\; на новый лад.
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В Екатеринбур ге известный художник-иронист Вася Слонов представит свой собственный миф о жизни любимых литературных героев\, в реальности которых он не сомневается и приводит нам оригинальные доказательства: рентгенограммы Карлсона\, Коло бка\, Буратино\, Мышки-норушки\, Чебурашки и многих других. Рентгеновские с нимки\, как известно\, имеют единственный экземпляр. Здесь невозможны никак ие цифровые вмешательства\, так как изображение создаётся рентгеновским луч ом\, проходящим через «\;тело»\; литературного персонажа. Экспози ция из двадцати лайтбоксов предлагает зрителю вспомнить любимых «\;дру зей»\; со страниц детских книг и опознать их рентген-портреты.
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Впервые проект был показан на Четвёртой Красноярской биеннале &la quo\;Искусство памяти»\; в 2001 году\, а также в Москве на Винзаводе в Галерее 11/12 в 2013 году.
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Выставка открыта с 29 августа по 18 сентября 2016г.

DTEND:20160918 DTSTAMP:20160831T003001 DTSTART:20160829 GEO:56.834585;60.616523 LOCATION:Yekaterinburg Gallery of Modern Art\,32\, Krasnoarmeyskaya-St. \nY ekaterinburg\, Yekaterinburg SEQUENCE:0 SUMMARY:ДРУЗЬЯ ДЕТСТВА\, Vasily Slonov UID:426780 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Yekaterinburg gallery of moder n art is glad to present &ldquo\;Cryptogram&rdquo\; exhibition by Salvador Dali. Dali was a skilled draftsman\, best known for the striking and bizarr e images in his surrealist work.

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Ther e will be 60 graphics such as lithographs and wood engravings produced by e ither Dali himself or his assistants.
It took more than 3 years to or ganize this exhibition in Saint Petersburg from private collections in Euro pe and the USA.
You can see Carmen series of 8 selected lithographs f rom 1968 edition\, &ldquo\;Alice in wonderland" series of 12 lithographs (1 969/1984)\, Dalinean horses (18 lithographs\, 1972/1983) and 20 wood engrav ings from &ldquo\;The Three-Cornered Hat&rdquo\; novella by Pedro Antonio d e Alarcon in 1958.

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The highlight of t he exhibition is an excellent suite &ldquo\;Trilogy of love&rdquo\; (1976). Art historians call this suite the most important masterpiece of Dali.

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Organizers:
- Art Centre in Perinn ye Ryady (Saint Petersburg)
- Yekaterinburg gallery of modern art

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Екатеринбургская галерея совреме нного искусства открывает выставку «\;Тайнопись»\; Сальвадора Дал и.

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Пестрые образы\, рожденные в леген дах и мифах\, на страницах сказок и повестей\, по мановению руки художника перенеслись в красочный сюрреалистический мир. Будет представлено около 60 графических произведений\, среди которых литография и ксилография\, выполне нные как самим мастером\, так и его учениками.

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Коллекция\, которую привезут в наш город из Санкт-Петербурга\, со биралась более 3-х лет в частных галереях Европы и Америки.
В состав экспозиции вошли литографии из серий «\;Кармен»\; (8 избранных ра бот из уникального издания 1968 г.)\, «\;Приключения Алисы в Стране Чу дес»\; (12 работ\, 1969/1984 г.)\, «\;Далинианские лошади»\; (18 работ\, 1972/1983 г.)\, а также 20 иллюстраций к повести Педро де Алар кона «\;Треуголка»\;\, выполненные в технике ксилографии в 1958 г .

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Изюминка выставки - великолепный тр иптих «\;Трилогия любви»\; (1976 г.). Искусствоведы называют трип тих вершиной творчества испанского мастера.

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Организаторы проекта:
- Арт-центр в Перинных рядах (Санкт-Петербург)
- Екатеринбургская галерея современного искус ства

DTEND:20160828 DTSTAMP:20160831T003001 DTSTART:20160605 GEO:56.834585;60.616523 LOCATION:Yekaterinburg Gallery of Modern Art\,32\, Krasnoarmeyskaya-St. \nY ekaterinburg\, Yekaterinburg SEQUENCE:0 SUMMARY:Cryptogram\, Salvador Dalí UID:426779 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20161004 DTSTAMP:20160831T003001 DTSTART:20160903 GEO:25.2145565;55.3032906 LOCATION:XVA Gallery Al Fahidi\,Al Fahidi Neighborhood \nBur Dubai\, SEQUENCE:0 SUMMARY:Just a Look\, Tor Seidel UID:426777 END:VEVENT BEGIN:VEVENT DTEND:20160903T210000 DTSTAMP:20160831T003001 DTSTART:20160903T180000 GEO:25.2145565;55.3032906 LOCATION:XVA Gallery Al Fahidi\,Al Fahidi Neighborhood \nBur Dubai\, SEQUENCE:0 SUMMARY:Just a Look\, Tor Seidel UID:426778 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160918T120000 DTSTAMP:20160831T003001 DTSTART:20160918T110000 GEO:45.5242594;-122.6798072 LOCATION:Waterstone Gallery\,124 NW 9th Ave. \nPortland\, OR 97209 SEQUENCE:0 SUMMARY:Artist Talk: Lisa Onstad\, Lisa Onstad UID:426776 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Onstad&rsquo\;s recent paintin gs are a reflection of her travels in the greater world as well as her dail y trips to her North Portland studio. The wildly colorful and dramatic land scape of Nicaragua serves a backdrop for her exploration of complex emotion s and her relationship to her creative process. Using many layers of color and form\, Onstad hopes to evoke feeling and spark memories in her viewers &ndash\; connecting them to their own exotic and everyday journeys.

\nPreview reception: Aug 31\, 5-8pm
First Thursday Reception: Sept 1\ , 5-­\;8pm DTEND:20161002 DTSTAMP:20160831T003001 DTSTART:20160830 GEO:45.5242594;-122.6798072 LOCATION:Waterstone Gallery\,124 NW 9th Ave. \nPortland\, OR 97209 SEQUENCE:0 SUMMARY:Blue Fire\, Lisa Onstad UID:426774 END:VEVENT BEGIN:VEVENT DTEND:20160831T200000 DTSTAMP:20160831T003001 DTSTART:20160831T170000 GEO:45.5242594;-122.6798072 LOCATION:Waterstone Gallery\,124 NW 9th Ave. \nPortland\, OR 97209 SEQUENCE:0 SUMMARY:Blue Fire\, Lisa Onstad UID:426775 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20161015 DTSTAMP:20160831T003001 DTSTART:20160903 GEO:47.5657684;7.5738861 LOCATION:Von Bartha\, Basel\,Kannenfeldplatz 6 \nBasel\, 4056 SEQUENCE:0 SUMMARY:Everyday Alchemy\, Bruno Baptistelli\, Omar Barquet\, Otto Berchem\ , Monika Bravo\, Elena Damiani\, Michael Günzburger\, Engel Leonardo\, Mont ez Magno\, Johanna Unzueta\, Adán Vallecillo UID:426772 END:VEVENT BEGIN:VEVENT DTEND:20160902T210000 DTSTAMP:20160831T003001 DTSTART:20160902T170000 GEO:47.5657684;7.5738861 LOCATION:Von Bartha\, Basel\,Kannenfeldplatz 6 \nBasel\, 4056 SEQUENCE:0 SUMMARY:Everyday Alchemy\, Bruno Baptistelli\, Omar Barquet\, Otto Berchem\ , Monika Bravo\, Elena Damiani\, Michael Günzburger\, Engel Leonardo\, Mont ez Magno\, Johanna Unzueta\, Adán Vallecillo UID:426773 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20161015 DTSTAMP:20160831T003001 DTSTART:20160903 GEO:47.5657684;7.5738861 LOCATION:Von Bartha\, Basel\,Kannenfeldplatz 6 \nBasel\, 4056 SEQUENCE:0 SUMMARY:Decoded\, James Howell UID:426770 END:VEVENT BEGIN:VEVENT DTEND:20160902T210000 DTSTAMP:20160831T003001 DTSTART:20160902T170000 GEO:47.5657684;7.5738861 LOCATION:Von Bartha\, Basel\,Kannenfeldplatz 6 \nBasel\, 4056 SEQUENCE:0 SUMMARY:Decoded\, James Howell UID:426771 END:VEVENT BEGIN:VEVENT DESCRIPTION:

It is a pleasure to present Character an exploration of artists with a strong and independent vi sual identity that all deploy an idiosyncratic character or characteristic in their oeuvre. The exhibition is a celebration of character in practice a nd work.

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We look forward to seeing yo u.

DTEND:20160917 DTSTAMP:20160831T003001 DTSTART:20160820 GEO:55.667614;12.5613121 LOCATION:V1 Gallery\,Flæsketorvet 69 - 71 \nCopenhagen \, 1711 SEQUENCE:0 SUMMARY:Character\, KAWS\, Todd James\, Daniel Johnston\, Grace Weaver\, Hu skMitNavn\, Monica Kim Garza\, Misaki Kawai\, Devin Troy Strother\, Margare t Kilgallen\, Ted Gahl\, Danny Fox\, Andy Cahill\, Peter Saul\, Tal R UID:426768 END:VEVENT BEGIN:VEVENT DTEND:20160819T220000 DTSTAMP:20160831T003001 DTSTART:20160819T170000 GEO:55.667614;12.5613121 LOCATION:V1 Gallery\,Flæsketorvet 69 - 71 \nCopenhagen \, 1711 SEQUENCE:0 SUMMARY:Character\, Andy Cahill\, Danny Fox\, Ted Gahl\, Monica Kim Garza\, HuskMitNavn\, Todd James\, Daniel Johnston\, Misaki Kawai\, KAWS\, Margare t Kilgallen\, Tal R\, Peter Saul\, Devin Troy Strother\, Grace Weaver UID:426769 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A selection of new works on display by our gallery artists.< /p> DTEND:20160930 DTSTAMP:20160831T003001 DTSTART:20160914 GEO:43.393823;-79.7084768 LOCATION:Trias Gallery\,11 Bronte Road Unit 29\nOakville\, Ontario L6L 0E1 SEQUENCE:0 SUMMARY:Fall Exhibition: New Work\, Joanne Clarke\, Ernestine Tahedl\, Jodi Wheeler UID:426766 END:VEVENT BEGIN:VEVENT DTEND:20160914T200000 DTSTAMP:20160831T003001 DTSTART:20160914T180000 GEO:43.393823;-79.7084768 LOCATION:Trias Gallery\,11 Bronte Road Unit 29\nOakville\, Ontario L6L 0E1 SEQUENCE:0 SUMMARY:Fall Exhibition: New Work\, Joanne Clarke\, Ernestine Tahedl\, Jodi Wheeler UID:426767 END:VEVENT BEGIN:VEVENT DESCRIPTION:

New abstract paintings by pain ter Hanna Ruminski.

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Like an old wall covered in layers of paint\, posters\, graffiti\, etc.\, my work aims to r ecreate these urban textures on canvas.The overlapping of letters represent s dialogue\; expression through communication within society\, both persona l and public. By repeating a process of building and scraping off layers\, what is revealed underneath is always a surprise. Just like with our emotio ns and memories\, this uncovering creates a sense of vulnerability and expo sure. As I have personally discovered\, this only makes you stronger and mo re resilient. Dedicated to Curtis.

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O pening to coincide with Bronte's Lake Walk evening on the first Thursday of every month.

DTEND:20160911 DTSTAMP:20160831T003001 DTSTART:20160801 GEO:43.393823;-79.7084768 LOCATION:Trias Gallery\,11 Bronte Road Unit 29\nOakville\, Ontario L6L 0E1 SEQUENCE:0 SUMMARY:New Paintings\, Hanna Ruminski UID:426764 END:VEVENT BEGIN:VEVENT DTEND:20160801T200000 DTSTAMP:20160831T003001 DTSTART:20160801T180000 GEO:43.393823;-79.7084768 LOCATION:Trias Gallery\,11 Bronte Road Unit 29\nOakville\, Ontario L6L 0E1 SEQUENCE:0 SUMMARY:New Paintings\, Hanna Ruminski UID:426765 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A selection of new pieces by our gallery artists.

DTEND:20160830 DTSTAMP:20160831T003001 DTSTART:20160817 GEO:43.393823;-79.7084768 LOCATION:Trias Gallery\,11 Bronte Road Unit 29\nOakville\, Ontario L6L 0E1 SEQUENCE:0 SUMMARY:New Paintings by Gallery Artists\, Vadim Dolgov\, Joanne Clarke\, D ouglas Edwards\, Elizabeth Lennie\, Kirsten Muenzberg\, Hanna Ruminski\, Ew a Stryjnik\, Ernestine Tahedl\, Katya Trischuk\, Karoline Varin-Jarkowski\, Jodi Wheeler\, Brian Wyers UID:426763 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Letting go or giving up is n&rsquo\;t an act of cowardice\; quite often it&rsquo\;s an act of supreme bravery.
&mdash\; Lisa Lipton

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Halifax-based artist Lisa Lipton brings together the n ine chapters of her film and performance opus THE IMPOSSIBLE BLUE ROSE< /em>. Three years in the making\, Lipton&rsquo\;s project is the culminatio n of video\, theatre\, dance\, poetry\, sculpture\, and more that surfaced on her dreamy and rebellious journey throughout North America. In this fina l iteration\, basketball games\, food vendors\, and long distance running m erge with live music\, dance\, and a feature length screening offering the visitor a collaborative opportunity for exchange. \; For more informati on on the live performance click here.

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L ipton&rsquo\;s story follows its own path\, one of spontaneity and intuitio n\, yet with recurring characters\, objects\, and symbols. It began with Room 95\, a film documenting her trip across North America to Los An geles meeting drummers along the way\, swapping tales\, and finding a share d rhythm in the conflation of personal/private spaces with the public stage . Since then she has gathered stories from around the continent\, among the m dance parties in Vancouver\, looking for her own grave in Death Valley\, and in the end\, searching for paradise in Oahu. With each episode\, Lipton &rsquo\;s narrative grows rhizomatically\, accumulating signifiers like sou venirs that she invests with meaning\, recurring like an echo but repurpose d in multiple forms. Thus\, the tropical palm tree\, that superlative symbo l of paradise and longing\, first introduced in the fabric of the Californi a party shorts worn in Room 95\, resurfaces often\, including as a glittery prop in HARANA (Chapter Four). Nostalgic pop references from the 80s and 90s are found throughout\, such as Dawson&rsquo\;s Cre ek&rsquo\;s Joey Potter\, Axel Rose\, or her appropriation of John Cus ack from the iconic movie Say Anything.

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THE IMPOSSIBLE BLUE ROSE
is as much a met aphysical quest for the self as an interdisciplinary &ldquo\;docu-fiction.& rdquo\; For all the loaded references\, the circuitous narratives\, the gen der switching\, and general ambiguity\, there is a strong sense of letting go &ndash\; of a lingering past\, of an anticipated future\, of hang ups an d conventions\, of high school crushes\, and of teenage angst - and in doin g so\, a connection is made. It is in this exchange\, be it between the art ist and audience\, the actors\, the musicians\, and even between the variou s and multifaceted forms of her practice itself\, that Lipton&rsquo\;s jour ney truly takes place.

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Maritime-born Lisa Lipton is a multidisciplinary artist and musician who received her B.F .A. from NSCAD University in 2003\, and M.F.A. from the University of Winds or in April\, 2006. She has exhibited her work on both a national and inter national level\, most notably in Toronto\, Vancouver\, Montreal\, Windsor\, Winnipeg\, New York\, Detroit\, Texas\, Berlin\, and Amsterdam. She recent ly served as one of the Shortlist representatives for the Maritime Province s within the Sobey Art Awards (2015).

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THE IMPOSSIBLE BLUE ROSE is organized by the Southern Alberta Art Gallery in association with MS:T Performative Arts Festival. \; Fundin g assistance from the Canada Council for the Arts\, Alberta Foundation for the Arts\, and the City of Lethbridge.

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Performance: Saturday\, October 1 at 6:30 PM at Fritz Sick (420 1 1 St S) and the Yates Memorial Centre (1002 4 Ave S)
Opening Reception: Saturday\, October 1 at 8 PM
Reception sponsored by North &\; Company LLP

DTEND:20161120 DTSTAMP:20160831T003001 DTSTART:20161001 GEO:49.69597;-112.8370982 LOCATION:Southern Alberta Art Gallery\,601 Third Avenue South \nLethbridge\ , Alberta T1J 0H4 SEQUENCE:0 SUMMARY:The Impossible Blue Rose\, Lisa Lipton UID:426761 END:VEVENT BEGIN:VEVENT DTEND:20161001T220000 DTSTAMP:20160831T003001 DTSTART:20161001T200000 GEO:49.69597;-112.8370982 LOCATION:Southern Alberta Art Gallery\,601 Third Avenue South \nLethbridge\ , Alberta T1J 0H4 SEQUENCE:0 SUMMARY:The Impossible Blue Rose\, Lisa Lipton UID:426762 END:VEVENT BEGIN:VEVENT DESCRIPTION:

R. Dennehy lived most of h is life in Salmon Arm\, British Columbia\, Canada. Not a lot is known about him\, but he is listed in the telephone book as Royal Dennehy. One thing w e do know is that he once collected opera records. He was infatuated with g reat tenors. We are aware of these facts because we bought all his records (which were signed at the top) at the second-hand store in Salmon Arm. Ther e were approximately one hundred records.

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We are interested in the extreme cultural juxtaposition betw een opera and the small western town in which R. Dennehy lived. What did he think about while listening to these records\, recorded in cities half-way around the world? Was he a trained singer? Did he want to have a career in opera? Did he lose a lover and find solace in the music? Did he dream of t raveling to faraway opera houses one day? We imagined him singing along to the records\, creating his own opera\, displaced in time and space.

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So we made a small room for the op era of his life. There are twenty-four antique loud speakers out of which c ome songs\, sounds\, arias\, and occasional pop tunes. There are almost two thousand records stacked around the room and eight record players which tu rn on and off robotically syncing with the soundtrack. The sound of someone moving and sorting albums is heard. A shadow occasionally moves across the back wall when the music changes\, as if there is an invisible DJ not cont ent to listen to one full song. The man&rsquo\;s voice is projected out of a megaphone: &ldquo\;In the middle of the stage a man sits alone in a room filled with speakers\, amplifiers\, and records.&rdquo\; His use of stage d irections reinforces the illusion that he is a man alone\, trying to create a dramatic world for himself.

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< em> The audience cannot enter the room. To see and hear his world\, they ha ve to look through windows\, holes in the walls\, and cracks in the doorway s. Colored lights sequence around the room\, coming on and off\, fading up and down\, pulsing to emphasize the mood and beat of the music. Through the use of lighting\, the piece shifts in feeling from a nostalgic setting of an old attic room to that of a night club or theater stage.

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&mdash\; Janet C ardiff &\; George Bures Miller

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Internationally acclaimed artists Janet Cardiff and George Bures Mill er return to Lethbridge to present Opera for a Small Room. Like many of the duo&rsquo\;s major works\, this meticulously orchestrated audio-visual ins tallation offers an uncanny world rife with narrative and opportunities to explore. Coinciding with SAAG&rsquo\;s 40th Anniversary\, the exhibition ce lebrates Cardiff and Miller\, artists who have left their mark throughout m any decades of the gallery&rsquo\;s institutional history and who continue to influence and inspire artists and audiences around the world. Cardiff an d Miller live and work in the interior of British Columbia.

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Opera for a Small Room is organized by the Southern Alberta Art Gallery. \; Funding assistance from the Canada Cou ncil for the Arts\, the Alberta Foundation for the Arts\, and the City of L ethbridge.

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Opening Reception: Saturday\, October 1 at 8 PM
Reception sponsored by North &\; Com pany LLP

DTEND:20161120 DTSTAMP:20160831T003001 DTSTART:20161001 GEO:49.69597;-112.8370982 LOCATION:Southern Alberta Art Gallery\,601 Third Avenue South \nLethbridge\ , Alberta T1J 0H4 SEQUENCE:0 SUMMARY:Opera for a Small Room\, Janet Cardiff & George Bures Miller UID:426759 END:VEVENT BEGIN:VEVENT DTEND:20161001T220000 DTSTAMP:20160831T003001 DTSTART:20161001T200000 GEO:49.69597;-112.8370982 LOCATION:Southern Alberta Art Gallery\,601 Third Avenue South \nLethbridge\ , Alberta T1J 0H4 SEQUENCE:0 SUMMARY:Opera for a Small Room\, Janet Cardiff & George Bures Miller UID:426760 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Winnipeg-based artist Holger K alberg explores the history and legacy of Modernism and its relationship to utopian ideals. \; In The Colony\, a mixed media installation of paintings and sculptural elements\, Kalberg challenges the language of abstraction and representation\, combining a visual lexicon of Modernism wi th the aesthetics and materials of craft and DIY.

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Throughout the exhibition a subtle tension arises between the handmade quality of Kalberg&rsquo\;s works and their use of formalist modes and sensibilities. \; Kalberg describes this tension as &lsquo\;confli cted appreciation&rsquo\; for the visual language and ambitious aims associ ated with modernist utopian ideologies of the 1960s and &lsquo\;70s. \; His process-driven paintings take the form of abstracted and fragmented po rtraits\, calling to mind a historical period of optimism when social chang e was championed through individual action.

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A sense of nostalgia pervades the exhibition. \; The works creat e a longing for a utopian world that may or may not arrive\, and a sober re alization of the futility inherent therein. \; The Colony pres ents a space to reflect on the historical moments where desire for an alter native model of society surfaced\, moments where modernist ideals merged wi th experimentation and play. \; Within these instances\, Kalberg is as much interested in the flaws as in the successes of these utopian models &n dash\; even the word utopia itself\, from the Greek meaning &ldquo\;no plac e\,&rdquo\; reflects this embroiled relationship between optimism and impos sibility.

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In a sense\, Kalberg&rsquo\ ;s works become anachronistic souvenirs from a future that has not yet come to pass. \; His exhibition can be seen as a starting point for a conve rsation about the various concepts of utopia and its relevancy in today&rsq uo\;s society. \; The notions of experimentation\, appropriation\, craf t\, and design are central motives for much of the work and are reflected i n a collaborative artwork installed on the exterior of the gallery. \; There will be opportunities for patrons to contribute to this piece during our public programming and children's camps.

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Holger Kalberg\, born in Germany\, lives and works in Winnipeg\, Ma nitoba. \; He graduated from Emily Carr University in 2001 and received an MFA from Chelsea College of Arts in London in 2007. \; Recent exhib itions include Reconfiguring Abstraction at the School of Art Gall ery (2013)\, Paint at Vancouver Art Gallery (2007)\, as well as sh ows in Agnes Etherington Art Centre at Queens University\, Monte Clark Gall ery in Vancouver\, Clark &\; Faria in Toronto\, Galerie Bertrand &\; Gruner in Geneva\, Switzerland\, and Galerie Hellebrand in Duisburg\, Germa ny. \; He was shortlisted for the RBC Canadian Painting Competition in 2002\, 2004\, and 2005 and was a juror for the 2013 competition. \; He received a Canada Council Production Grant in 2006\, BC Arts Council grants \, as well as a University of Manitoba Creative Works Grant in 2013. \; Kalberg&rsquo\;s work can be found in collections in Germany\, Switzerland \, US\, UK\, and Canada. \; Holger Kalberg is represented by Monte Clar k Gallery in Vancouver.

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The Colon y is organized by the Southern Alberta Art Gallery and curated by Ryan Doherty and Christina Cuthbertson. \; Funding assistance from the Cana da Council for the Arts\, Alberta Foundation for the Arts\, and the City of Lethbridge. \;

DTEND:20160911 DTSTAMP:20160831T003001 DTSTART:20160624 GEO:49.69597;-112.8370982 LOCATION:Southern Alberta Art Gallery\,601 Third Avenue South \nLethbridge\ , Alberta T1J 0H4 SEQUENCE:0 SUMMARY:The Colony\, Holger Kalberg UID:426758 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The photographic portrait has taken a leading role in visualizing Western Canadian people and in the maki ng of regional history\, whether we like it or not. \; A piece of each Western photographic portrait\, in its styling of subject and dé\;cor within the pictorial frame\, in the positioning of its subject and their l ook of self determination\, is in every history book of Western Canada.&nbs p\; Even those who don&rsquo\;t know anything about studio or field-based p hotography know the visual template of the portrait of Western rural inhabi tants. \; It can be a complex reading that emphasizes physicality\, the body\, forms of masquerade and subtle disguise.1

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From the mid-19th and well into the 20th centuries\ , Western portrait photography had been a refined\, mostly indoor craft\, g eared toward people in their Sunday best outfits stopping by the commercial photo studio for a portrait that would reaffirm their human presence on a fragile frontier landscape. \; Each portrait was likely to be shared wi th family and friends and reprinted in regional history books.2& nbsp\; With the advent of Polaroids and new forms of digital image exchange s in the late 20th century\, the studio-to-field movement became fluent and interchangeable and the photographic portrait took on other values.

\n< p style="text-align: justify\;">Field Portraits of Contemporary Western Culture\, presents works by five artists who focus on the essence of 21st century subjects in mostly rural environs\, capturing their subjects i n the great outdoors\, at work\, between rodeos\, or in temporary\, mobile studios. \; Their photographs exist both within and beyond the photogra phic template of Western photographic field portraiture. \; Jon bowie\, Luis Fabini\, Blake Little\, Collier Schorr\, and Sheila Spence are concep tually attuned to traditional portraiture and to the social changes in cont emporary Western cultures. \; Each registers these changes in subtle sh ifts in visual narrative to delimit the traditional poses\, gestures\, cost uming\, looks\, settings\, and compositions. \; In doing so they direct our attention to a new range of Western subjects and values beyond the med iated average.

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Unlike their 19th and 20th century predecessors\, who looked at image making opportunities in the building of a ranch or an oil rig\, the artists in Field Portraits of Contemporary Western Culture skew lingering perceptions of their subje cts and related evidence of innocence\, physical defects\, cowboy bravado\, human bonding\, and any relation to the Other or diversity issues. \; In subtle shifts of perspective\, each offers an open\, flexible\, and unfi nished Western narrative of identity\, advocating for greater mediation in the illusion of presence.

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Field P ortraits of Contemporary Western Culture is organized by the Southern Alberta Art Gallery and curated by Wayne Baerwaldt. \; Funding assistan ce from the Canada Council for the Arts\, the Alberta Foundation for the Ar ts\, and the City of Lethbridge.

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1. A ll of which have been examined to Roland Barthes critique of photography\, &ldquo\;of identity\, of civil status\, of what we might call\, in all sens es of the word\, the body&rsquo\;s formality.&rdquo\; Barthes\, Roland\, Ca mera Lucida (New York: The Noonday Press\, 1981\, 79).

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2. Each new generation comes with fresh eyes to the picto rial styling of works by Geraldine Moodie\, Edward S. Curtis\, and others\, and eventually finds the frontal and confrontational portrait styling of W estern subjects attributed to Richard Avendon. \; With an almost modern sensibility\, these photographers were part of a small but growing group o f roving photographers who humanized the Western landscape.

DTEND:20160911 DTSTAMP:20160831T003001 DTSTART:20160624 GEO:49.69597;-112.8370982 LOCATION:Southern Alberta Art Gallery\,601 Third Avenue South \nLethbridge\ , Alberta T1J 0H4 SEQUENCE:0 SUMMARY:Field Portraits of Contemporary Western Culture\, Jon Bowie\, Luis Fabini\, Blake Little\, Collier Schorr\, Sheila Spence UID:426757 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The installation Model of Good \, consisting of Jenni Luhta's images\, video and sound\, is a description of a mechanism of human evolution\, in which good is defined as that which\ , in its nature\, succeeds in moving towards absolute best.

Ac cording to Luhta\, humans are too ingenious to strive only for immediate ne eds and goals attainable in this time. The movement towards the best requir es imagining and picturing the best and the worst\, all of which Luhta find s in the tradition of antiquity and Christianity. In her model Luhta presen ts\, through her own images\, teachings and piano accompaniments\, characte rs such as Gorgo\, Satyr\, Aphrodite and Emperor Augustus. Luhta proposes t hat the meaning of humanity is that which turns\, instead of itself and the immediate\, to what is eternal and best. In the centre of the installation \, Luhta places a Christian icon\, an image of mother and son\, as an image over images\, by juxtaposing it against an altar within a model of how a s pace can be consecrated to viewing what is best. Model of Good is a work\, which aims at beholding God and showing how God is beheld.

The installation consists of images printed on canvas\, speech performed on vi deo and musical accompaniment. The characters it presents are pictured with their characteristic visual descriptions and musical accompaniments (playe d by Luhta herself). The multi-part work illustrates the connection between the world of classical antiquity and Christianity and also the transformat ion contained therein\, which shows through the work as its structural shif t. What is direct and discernible in antiquity\, like powerful images and c ompositions\, turn into a more vague\, less easy to receive\, but more comp act performance. In this model of good\, Christianity is an achievement of a human being without many gods and many faces but only once face which is here evaluated. Luhta models Christianity through her own example by pledgi ng to her model with her own name\, skills\, words and face.

J enni Luhta (né\;e Markkanen\, b. 1986) is a visual artist based in He lsinki. Her works investigate self-revealed truth and its presentation as a rtistic works. Luhta presents her works in the form of pictures\, installat ions\, videos\, performances and speeches. This is her seventh solo exhibit ion.

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Jenni Luhtas installatio n Det godas modell\, bestå\;ende av bild\, video och ljud\, ä\;r e n beskrivning av den mä\;nskliga evolutionens mekanismer\, dä\;r de t goda definieras som det som lyckas flytta sig mot det absolut bä\;sta .

Enligt Luhta ä\;r mä\;nniskan fö\;r smart f&oum l\;r att eftersträ\;va endast det omedelbara &ndash\; de behov och m&ar ing\;lsä\;ttningar som realiseras hä\;r och nu. Strä\;van mot d et bä\;sta krä\;ver inlevelse i och avbildning av bå\;de det b ä\;sta och det sä\;msta. Luhta hä\;mtar sina exempel ur antiken s och kristlighetens traditioner och presenterar i sitt verk gestalter som Gorgo\, Satyren\, Afrodite och kejsar Augustus. Luhta visar mä\;nskligh eten som nå\;got som i stä\;llet fö\;r att vä\;nda blicken mot sig sjä\;lv och det omedelbara\, vä\;nder den mot det eviga oc h bä\;sta. Till installationens medelpunkt lyfter Luhta den kristna iko nen\, bilden på\; modern och sonen\, bilden ö\;ver alla bilder. P& aring\; detta sä\;tt visar hon hur utrymmet kan helgas å\;t att sk å\;da det bä\;sta. Det godas modell ä\;r ett verk som strä \;var efter att betrakta Gud och att visa hur Gud betraktas.

D e gestalter som presenteras i installationens bilder och video skildras med ett fö\;r dem typiskt bildsprå\;k och med av Luhta framfö\;rd a pianokompositioner som beskriver deras karaktä\;rer. Det må\;ngf acetterade verket å\;skå\;dliggö\;r det som binder ihop den a ntika och kristna vä\;rlden och ser den fö\;rskjutning som sker som en strukturell fö\;rä\;ndring. Det som i antiken ä\;r tydligt och iakttagbart\, så\;som kraftiga bilder och melodier\, blir i kristl igheten vagare och svå\;rare att ta till sig ä\;ven om presentatio nen ä\;r mera koncentrerad. I Det godas modell utgö\;rs kristlighet en av en mä\;nniska\, som inte har flera gudar och så\;ledes inte heller flera ansikten\, utan endast ett\, som vä\;rderas. Luhta avbilda r kristlighet med hjä\;lp av sitt exempel\, genom att binda sig till si n modell med sitt eget namn\, sina fä\;rdigheter\, ord och ansikte.

Jenni Luhta (fö\;dd Markkanen\, 1986) ä\;r en bildkonstn ä\;r som bor och arbetar i Helsingfors. I sitt konstnä\;rliga arbet e undersö\;ker hon sjä\;lvinsedda sanningar och presenterar dem som konstverk. Luhta utrycker sig i bild\, installation\, video\, performans o ch tal. Utstä\;llningen på\; Sinne ä\;r hennes sjunde separatu tstä\;llning.

DTEND:20160925 DTSTAMP:20160831T003001 DTSTART:20160902 GEO:60.1633568;24.9420087 LOCATION:Sinne\,Iso Roobertinkatu 16 \nHelsinki\, 00120 SEQUENCE:0 SUMMARY:Model of Good\, Jenni Luhta UID:426755 END:VEVENT BEGIN:VEVENT DTEND:20160901T200000 DTSTAMP:20160831T003001 DTSTART:20160901T180000 GEO:60.1633568;24.9420087 LOCATION:Sinne\,Iso Roobertinkatu 16 \nHelsinki\, 00120 SEQUENCE:0 SUMMARY:Model of Good\, Jenni Luhta UID:426756 END:VEVENT END:VCALENDAR