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

To enhance and nurture the connection of the Filipino commun ity with its international community\, the Metropolitan Museum\, in partner ship with the Japan Foundation\, presents the travelling exhibition Winter Garden: the Exploration of the Micropop Imagination in Contemporary Japanes e.

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The exhibition will feature works from 14 acclaimed Japanese art ists who will tap on the theme called Micropop\, as coined by the curator\, Ms. Midori Matsui. Micropop\, according to Ms. Matsui\, is a combination o f the artists' distinct views of the world through the combination of fragm ents and imbuing the obsolete or the commonplace with new functions or mean ings. This exhibition will reflect the struggles of the newer artistic gene ration in the face of globalization\, and will gradually transform the perc eption of the world with the use of small\, but impactful changes on everyd ay objects.

DTEND:20140408 DTSTAMP:20140724T081040 DTSTART:20140218 GEO:14.5693892;120.982663 LOCATION:Metropolitan Museum of Manila\,Bangko Sentral ng Pilipinas Complex Roxas Boulevard\nMalate-Manila\, 1554 SEQUENCE:0 SUMMARY:WINTER GARDEN UID:320050 END:VEVENT BEGIN:VEVENT DTEND:20140218T180000 DTSTAMP:20140724T081040 DTSTART:20140218T090000 GEO:14.5693892;120.982663 LOCATION:Metropolitan Museum of Manila\,Bangko Sentral ng Pilipinas Complex Roxas Boulevard\nMalate-Manila\, 1554 SEQUENCE:0 SUMMARY:WINTER GARDEN UID:320051 END:VEVENT BEGIN:VEVENT DESCRIPTION:

All around a former Izba. Inventing an archive\, recording m emory and daily life in a village.
This exhibition turns around a for mer cotton estate\, an Izba\, the house and the offices of this estate and the former workers camp turned today into a village. Two life-worlds\, remn ants of the previous landowner&rsquo\;s life styles and today's village.

DTEND:20140410 DTSTAMP:20140724T081040 DTSTART:20140329 GEO:30.064742;31.249509 LOCATION:Mashrabia Gallery\,8\, Champollion street \nCairo\, SEQUENCE:0 SUMMARY:"Majesty and decline: once upon a time there was cotton"\, Mona Aba za UID:329065 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Two abstracts by Ruston\, La.\, artist Hooshang Khorasani wi ll be part of the Masur Museum of Art's fifth annual "Off the Wall" event.< /p>\n

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This silent auction of art by local and national ar tists will be hosted by the Twin City Art Foundation from 6:30-9:30 p.m. Fr iday\, April 11\, 2014.

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Hooshang's paintings are "S pringtime View" (A and B)\, both 6x6-inch acrylic/mixed media on canvas.

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In addition to the exhibit and auction\, the evening will also include music by Rocket 88 of Oxford\, Miss.\, and the popular Bo n Voyage Trip Raffle. Proceeds from the fundraiser support exhibitions and educational programs at the Masur.

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Tickets for admi ssion are $50 per person\, which includes one chance in the Bon Voyage Raff le. Extra chances are $50 each.

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The Masur is locate d at 1400 S. Grand St. in Monroe\, La. For additional information contact E velyn Stewart at (318) 329-2237.

DTEND:20140411 DTSTAMP:20140724T081040 DTSTART:20140411 GEO:32.490012;-92.113225 LOCATION:Masur Museum of Art\,1400 South Grand \nMonroe\, LA 71202 SEQUENCE:0 SUMMARY:Off the Wall\, Hooshang Khorasani UID:331075 END:VEVENT BEGIN:VEVENT DTEND:20140411T213000 DTSTAMP:20140724T081040 DTSTART:20140411T183000 GEO:32.490012;-92.113225 LOCATION:Masur Museum of Art\,1400 South Grand \nMonroe\, LA 71202 SEQUENCE:0 SUMMARY:Off the Wall\, Hooshang Khorasani UID:331076 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Scholastic Art and Writing Awards\, a national competiti on\, was founded in 1923 to identify and document outstanding achievement b y young artists and writers in the visual and literary arts. Year after yea r the program continues to see increased participation from students and co mmunities across the country. In the past six years\, submissions have exce eded 1 million works. More than $30 million in awards and scholarships have been awarded. The Scholastic Art and Writing Awards is the longest-running \, most prestigious recognition program for creative teens in the U.S.\, an d the largest source of scholarships for young artists and writers. Past aw ard winners include important American artists and writers such as Truman C apote\, Robert Redford\, Sylvia Plath\, Richard Avedon\, Cindy Sherman\, An dy Warhol and Reno&rsquo\;s own Michael Sarich.

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Since 1999\, the Ne vada Museum of Art has overseen the Northern Nevada regional visual arts co mponent of The Scholastic Art and Writing Awards. The Museum proudly partne rs with the Holland Project Gallery to present this diverse exhibition of e xceptional artwork\, representing the talents of middle and high school stu dents from Carson City\, Churchill\, Douglas\, Elko\, Eureka\, Humboldt\, L ander\, Lyon\, Mineral\, Pershing\, Storey\, Washoe\, and White Pine counti es. Submissions were judged on originality\, technical skill and the emerge nce of a personal vision.

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From over 1\,300 pieces of art submitted in 15 categories\, a blind panel of four judges selected 53 individual piec es and three portfolios to receive Gold Key awards. Of the Gold Key individ ual pieces\, five were nominated for the American Visions Award. These Amer ican Visions nominated works are displayed at the Nevada Museum of Art\, wh ile all other Gold Key works are featured in the exhibition at the Holland Project Gallery. Gold Key award winners and American Vision nominees also g o on to compete at the national level\, where the artworks are juried along with more than 15\,000 other works. National award winners are eligible fo r a number of scholarships and are recognized in a ceremony at Carnegie Hal l in New York City. Judges selected 75 additional individual submissions an d one portfolio to receive the Silver Key award for outstanding achievement at the regional level. The panel selected 158 individual submissions and 1 4 portfolios to receive Honorable Mention recognition. Finally\, students d emonstrating exceptional talent will be awarded scholarships.

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Ameri can Visions Award Nominees will be on display at the Museum. View Gold Key award winning works at the Holland Project Gallery\, 140 Vesta Street\, Ren o.

DTEND:20140411 DTSTAMP:20140724T081040 DTSTART:20140307 GEO:39.520885;-119.813266 LOCATION:Nevada Museum of Art\,160 W. Liberty St \nReno\, NV 89501 SEQUENCE:0 SUMMARY:Scholastic Art Awards 2014 Gold Key Works UID:327157 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Anita Schwartz Galeria de Arte apresenta\, a partir de 12 de fevereiro de 2014\, a exposiç\;ã\;o coletiva &ldquo\;É\; ter&rdquo\;\, com 24 obras de 17 artistas representados pela galeria\, send o trê\;s delas &ndash\; dos artistas Gustavo Speridiã\;o e Ot&aa cute\;vio Schipper &ndash\; iné\;ditas. As demais obras foram produzi das entre 1999 e 2013\, em diferentes té\;cnicas e suportes\, como pi ntura\, desenho\, escultura\, instalaç\;ã\;o e site specifi c.

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&ldquo\;É\;ter é\; uma reuniã\;o de obras do acervo que preenchem delicadamente o espaç\;o da galeria. Na most ra\, encaramos o desafio de selecionar trabalhos que se confundem com o amb iente expositivo\, seja por transparê\;ncias\, reflexõ\;es ou ca muflagens. Por isso\, o tí\;tulo da exposiç\;ã\;o se refe re ao é\;ter\, no sentido de uma substâ\;ncia hipoté\;tica \, menos densa que o ar\, que já\; se acreditou ocupar todo universo& rdquo\;\, afirma Anita Schwartz.

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A mostra\, que ocupará\; tod o o espaç\;o expositivo da galeria\, terá\; obras dos artistas Abraham Palatnik\, Ana Holck\, Angelo Venosa\, Antonio Manuel\, Carla Guagl iardi\, Carlos Zí\;lio\, Claudia Bakker\, Daisy Xavier\, Estela Sokol \, Everardo Miranda\, Gustavo Speridiã\;o\, Ivens Machado\, Nuno Ramo s\, Otavio Schipper\, Sabrina Barrios\, Waltercio Caldas e Wanda Pimentel. As pinturas &ldquo\;Eis que surge&rdquo\; e &ldquo\;Nuvem&rdquo\;\, ambas e m carvã\;o sobre tela\, de Gustavo Speridiã\;o\, e a escultura &ldquo\;Ó\;culos para Ernst Lanzer #3&rdquo\;\, de Otavio Schipper\, foram produzidas no ano passado e serã\;o mostradas pela primeira vez ao pú\;blico.

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Os trabalhos sã\;o muitas vezes tã \;o sutis que exigem do espectador uma atenç\;ã\;o\, uma entreg a do olhar. &ldquo\;A exposiç\;ã\;o busca encorajar os visitant es a contemplarem as obras\, propondo um novo olhar sobre o espaç\;o& rdquo\;\, diz a galerista.

DTEND:20140412 DTSTAMP:20140724T081040 DTSTART:20140212 GEO:-22.9735446;-43.2278414 LOCATION:Anita Schwartz Galeria de Arte\,R. José Roberto Macedo Soares\, 30 - Gávea \nRio de Janeiro\, 22470-100 SEQUENCE:0 SUMMARY:Éter\, Abraham Palatnik\, Ana Holck\, Angelo Venosa\, Antonio Manue l\, Carla Guagliardi\, Carlos Zilio\, Celia Euvaldo\, Claudia Bakker\, Dais y Xavier\, Estela Sokol\, Everardo Miranda\, Gustavo Speridião\, Ivens Mach ado\, Nuno Ramos\, Otavio Schipper\, Wanda Pimentel UID:327570 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Robert Kushner's exhibition at Carl S olway Gallery includes paintings from 2010 to the present\, a small selecti on of prints and The Four Seasons\, four large-scale paintings recently rem oved from Cincinnati's Tower Place. The works feature his signature botanic al subjects\, often set against backgrounds of richly textured geometric pa tterns. An early participant in the Pattern and Decoration Movement in the 1970s\, Kushner continues to draw upon a wide range of influences including the decorative arts of Asian and Islamic cultures\; such recognized Wester n artists as Henri Matisse\, Georgia O'Keeffe and Pierre Bonnard\; and Asia n artists such as the 18th century Japanese painter\, Jakuchu Ito\, and Chi nese painters\, Wu Changshi (1844-1927) and Qi Baishi (1836-1957).

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To quote the artist\, "I never get tired of pursuing new ideas in the realm of ornamentation. Decoration\, an abjectly pejorati ve dismissal for many\, is a very big\, somewhat defiant declaration for me &hellip\;The eye can wander\, the mind think unencumbered through visual re alms that are expansively and emotionally rich. Decoration has always had i ts own agenda\, the sincere and unabashed offering of pleasure and solace."

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In 1990\, Robert Kushner was commissioned t o create paintings for the atrium of Tower Place\, the shopping mall adjace nt to the Carew Tower. Completed in 1930\, the Carew Tower is one of Cincin nati's finest buildings from the Art Deco era. The mall was a busy center o f downtown activity until many of the stores moved to the suburbs. The Towe r Place building was recently sold and Carl Solway Gallery was able to resc ue the four paintings\, 9 feet by 27 feet each.

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Best known as a painter\, Robert Kushner's prolific artistic output enc ompasses large-scale murals for public and private spaces\, installations\, performances and costume designs for dance companies. In 2004\, he install ed two monumental mosaic murals titled Four Seasons Seasoned at the 77th St reet and Lexington Avenue subway station in Manhattan. He recently complete d an 80-foot long marble mosaic\, Welcome\, for the Raleigh Durham Internat ional Airport in North Carolina. Kushner's most recent installation\, Scrip torium\, comprised of over 1000 drawings of flowers and plants on book page s dating from 1500 to 1920\, has been exhibited internationally.

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Kushner's work is included in many major public collec tions such as The Museum of Modern Art\, New York\; The Metropolitan Museum of Art\, New York\, The Whitney Museum of Art\, New York\; The National Ga llery of Art\, Washington\, D.C.\; The Philadelphia Museum of Art\; J. Paul Getty Trust\, Los Angeles\; San Francisco Museum of Modern Art\; Tate Gall ery\, London\; Museum Ludwig\, St. Petersburg\, Russia and the Galleria deg li Ufizzi\, Florence\, Italy. His work has been extensively exhibited since 1973 in the United States\, Europe and Japan and was included in the Whitn ey Biennial three times (1975\, 1981 and 1985) and the Venice Biennale twic e. He was the subject of solo exhibitions at the Whitney Museum of American Art\, the Brooklyn Museum and the Institute of Contemporary Art in Philade lphia.

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Born in Pasadena\, California in 1949 \, Robert Kushner attended the University of California\, San Diego. He was first active in the arts community of southern California and moved to New York City in the 1970s where\, as a young artist\, he supported himself as a restorer and collector of Oriental carpets. In addition to his artwork\, Kushner has written many articles for art publications and\, in 2006\, edi ted Amy Goldin: Art in a Hairshirt\, a collection of her writings. The late critic was an important professor and mentor to the artist.

DTEND:20140412 DTSTAMP:20140724T081040 DTSTART:20140110 GEO:39.11613;-84.5244589 LOCATION:Carl Solway Gallery\,424 Findlay Street \nCincinnati\, OH 45214 SEQUENCE:0 SUMMARY:Paintings 2010-2013 & The Four Seasons\, Commissioned in 1990 for T ower Place Cincinnati\, Robert Kushner UID:315169 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Nicaraguan Biennial BAVNIC IX
March 1 8th - April 12th\, 2014
21 national artists
16 \; Internation al artists
9 \; locations

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Official Inauguration BAVNIC IX

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When: Tue\, March 18\, 7:00PM - Tue\, March 18 \, 9:00PM

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Where: Plaza Españ\;a\, Managua\, Nicaragua

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The official opening event will be held in the recently o pened Ortiz-Gurdian/BANPRO Fundation Art Center\, Plaza Españ\;a\, Ma nagua\, Nicaragua.

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This year\, the biennial will be held in differe nt locations and provinces. www.bienalnicaraguense.org

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For more information\, please contact:

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Juanita Bermudez
jbermudez@fundacionortizgurdian.or g
Tel: 88834837

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Managua\, Nicaragua

DTEND:20140412 DTSTAMP:20140724T081040 DTSTART:20140318 GEO:12.1363889;-86.2513889 LOCATION:Centro de Arte Fundación Ortíz - Gurdian /Banpro\,Edificio Malaga\ , Plaza España Managua SEQUENCE:0 SUMMARY: Nicaraguan Biennial BAVNIC IX UID:324645 END:VEVENT BEGIN:VEVENT DTEND:20140318T210000 DTSTAMP:20140724T081040 DTSTART:20140318T190000 GEO:12.1363889;-86.2513889 LOCATION:Centro de Arte Fundación Ortíz - Gurdian /Banpro\,Edificio Malaga\ , Plaza España Managua SEQUENCE:0 SUMMARY: Nicaraguan Biennial BAVNIC IX UID:324646 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An exhibit of works by students Preschool-12 from Coos\, Cur ry\, and western Douglas counties. Sponsored in part by grants from Coquill e Tribal Community Fund\, Coos County Cultural Coalition and The Autzen Fou ndation.

DTEND:20140412 DTSTAMP:20140724T081040 DTSTART:20140307 GEO:43.367203;-124.214786 LOCATION:Coos Art Museum\,235 Anderson Avenue \nCoos Bay\, OR 97420 SEQUENCE:0 SUMMARY:CAM Biennial Student Art Exhibit 2014 UID:321593 END:VEVENT BEGIN:VEVENT DTEND:20140307T170000 DTSTAMP:20140724T081040 DTSTART:20140307T150000 GEO:43.367203;-124.214786 LOCATION:Coos Art Museum\,235 Anderson Avenue \nCoos Bay\, OR 97420 SEQUENCE:0 SUMMARY:CAM Biennial Student Art Exhibit 2014 UID:321594 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Annual art competition for high school students from through out southern Oregon. Sponsored in part by Southwestern Oregon Community Col lege Foundation.

DTEND:20140412 DTSTAMP:20140724T081040 DTSTART:20140307 GEO:43.367203;-124.214786 LOCATION:Coos Art Museum\,235 Anderson Avenue \nCoos Bay\, OR 97420 SEQUENCE:0 SUMMARY:VISION 2014 UID:321595 END:VEVENT BEGIN:VEVENT DTEND:20140307T170000 DTSTAMP:20140724T081040 DTSTART:20140307T150000 GEO:43.367203;-124.214786 LOCATION:Coos Art Museum\,235 Anderson Avenue \nCoos Bay\, OR 97420 SEQUENCE:0 SUMMARY:VISION 2014 UID:321596 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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What prompts us to see music in the everyday noise that s urrounds us? In this second solo exhibition with Damien Minton Gallery\, Sy dney artist Connie Anthes looks for meaning in the mundane. This new collec tion of uncanny paintings and objects explores the phenomenon of pareidolia \, or the unprompted seeing of faces and bodies in inanimate objects.

Connie Anthes graduated from the National Art School\, Sydney with a Masters of Fine Art (Painting) in 2 010. She has had solo shows in Sydney\, Melbourne\, Hobart\, Launceston\, a nd Leipzig and has work in the collections of Artbank and Bathurst Regional Gallery. She has been a finalist in numerous art prizes including the Haze lhurst\, Hobart\, Calleen\, Fisher's Ghost\, and the Georgio Armani Commiss ion\, and undertaken residencies at Artspace\, Hill End and Arthur Boyd's B undanon. Anthes continues to be active in the emerging arts community as a past director of Firstdraft &ndash\; Australia's longest running artist-run initiative &ndash\; and she currently sits on the board of Runway experime ntal art journal.

DTEND:20140412 DTSTAMP:20140724T081040 DTSTART:20140401 GEO:-33.8905937;151.2076998 LOCATION:DAMIEN MINTON GALLERY\,583 Elizabeth St\, Redfern \nSydney\, NSW SEQUENCE:0 SUMMARY: ORNAMENTAL NOISE \, Connie Anthes UID:329061 END:VEVENT BEGIN:VEVENT DTEND:20140401T200000 DTSTAMP:20140724T081040 DTSTART:20140401T180000 GEO:-33.8905937;151.2076998 LOCATION:DAMIEN MINTON GALLERY\,583 Elizabeth St\, Redfern \nSydney\, NSW SEQUENCE:0 SUMMARY: ORNAMENTAL NOISE \, Connie Anthes UID:329062 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Cuatro artistas colombianos se reú\;nen en esta exposi ció\;n para aportar sus reflexiones y ejercicios creativos apoyados e n una disciplina artí\;stica que afianza cada vez má\;s su crec iente presencia en el panorama del arte contemporá\;neo: la fotograf& iacute\;a\, que como instrumento de creació\;n\, té\;cnica de r egistro o extensió\;n expresiva de las ideas de los artistas\, ha ido impregnando de manera notable las diversas propuestas creativas de la posm odernidad. La fotografí\;a es hoy un lenguaje dominante en casi todos los campos\, utilizado por muchos artistas\, lo que avala el cará\;c ter de transversalidad y permeabilidad de los discursos plá\;sticos d el arte contemporá\;neo.

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Juanita Carrasco (Bogotá\;\, 1977)\, Adriana Duque (Maniza les\, 1968)\, Federico Pardo (Bogotá\;\, 19 82) y Javier Vanegas (Bogotá\;\, 1984) son cuatro fotó\;grafos colombianos que registran e interpretan su r ealidad\, definida por un contexto histó\;rico social determinado\; s on artistas que viven y trabajan en Colombia\, paí\;s al que miran y particularizan desde sensibilidades muy distintas. Sus fotografí\;as abarcan temá\;ticas diferentes\, y es el tratamiento y el enfoque que le dan a la imagen fotografiada lo que confiere singularidad a cada una de sus propuestas.

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Juanita Carrasco construye su obr a en torno a la ciudad y el territorio\, y se centra en la dualidad de la p ercepció\;n para documentar una realidad a partir de aproximaciones y alejamientos respecto de la imagen fotografiada\, o como lo define la prop ia artista\, combinando una perspectiva macro y una micro para registrar la transformació\;n de la vida urbana. La obra que se exhibe en la mues tra pertenece a la serie Microcosmos\, y recrea las mú\;ltiples arist as de una ciudad contemporá\;nea\, su ciudad: Bogotá\;\, reflex ionando sobre el tiempo y el espacio\, revelando zonas inconscientes de la geografí\;a que luego construye y articula. El trabajo de Carrasco no se enfoca ú\;nicamente hacia la fotografí\;a topográ\;fi ca\; ha producido diversas series como &ldquo\;El tí\;pico Corrientaz o&rdquo\;\, &ldquo\;Darse Cuenta&rdquo\; o &ldquo\;Champeta&rdquo\;\, en la s que busca fragmentos de calles de ciudades\, costumbres\, comidas\, resid uos\, trabajadores\, para luego reutilizarlos en los complejos laberintos q ue recrea.

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Adriana Duque pertenece a ese grupo de fotó\;grafos subjetivos que narran historias\, sugiriendo algo m&aacu te\;s de lo que revelan sus imá\;genes. A partir de una cuidada elabo ració\;n de la imagen fotográ\;fica\, Duque propone situaciones metafó\;ricas a medio camino entre la realidad y la ficció\;n. Las fotografí\;as seleccionadas para la exposició\;n sintetiza n los argumentos del crí\;tico Carlos E. Betancourt cuando apunta que &ldquo\;algunas imá\;genes oscilan entre lo siniestro y la familiari dad de lo cotidiano\, en espacios con un cará\;cter ambiguo. Sus esce narios son espacios identificables que combinan arquetipos espaciales occid entales con lugares familiares de la cotidianidad domé\;stica colombi ana&rdquo\;.

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La imagen como testimonio y documento se convierte en el cuerpo conceptual de la obra fotográ\;fica de Federico Par do\, que registra la transformació\;n de un espacio como med io para conservar la memoria. Las obras de la serie &ldquo\;Sucesió\; n&rdquo\; que se exponen en esta muestra tienen como punto de partida el re lato de un acontecimiento que marcó\; la historia de una poblaci&oacu te\;n colombiana: Armero\, que en noviembre de 1985\, fue sepultada por una avalancha de lodo que arrasó\; con todo\, pero que tras el abandono y la pé\;rdida\, encontró\; color en un espacio rebosante de os curidad.

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Con estas obras\, Pardo se propone retratar un proceso eco ló\;gico inevitable. Un proceso de sucesió\;n bioló\;gica en el que unas especies colonizan un espacio\, permitiendo con su presenci a que otras lleguen y se establezcan má\;s tarde. Para el artista\, e sta serie pretende manifestar el paso del tiempo a travé\;s de la bio logí\;a y la ecologí\;a de un paisaje en sucesió\;n. Las fotografí\;as son testigo del ciclo natural de vida-muerte-vida\; y s e convierten en la mirada de un bió\;logo que rescata lo que existe s obre lo que dejó\; de existir. A Federico Pardo le interesa capturar ese fenó\;meno bioló\;gico de destrucció\;n y construcci& oacute\;n\, revelando un documento que dialoga con el entorno y los signifi cados que de allí\; se derivan.

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Javier Vanegas\, presenta en esta exposició\;n su serie fotográ\;fica Ampo\ , té\;rmino que define lo blanco resplandeciente y que se utiliza esp ecialmente para hablar del blanco de la nieve o para resaltar la pureza. En esta serie\, su autor &ldquo\;intenta reconocer y evidenciar a un grupo so cial particular haciendo uso de un medio que visibiliza el motivo de su exc lusió\;n&rdquo\;\, y este grupo concretamente es el de los albinos\, personas que por una condició\;n gené\;tica determinada carecen de una pigmentació\;n normal y que\, en determinados momentos hist&o acute\;ricos\, han sufrido segregació\;n\, discriminació\;n\, e incluso persecució\;n.

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Vanegas\, que en series anteriores ha bí\;a abordado el tema de la exclusió\;n o discriminació\ ;n por condiciones sociales\, sexuales\, etc.\, en esta ocasió\;n afi nca su discurso valié\;ndose de una té\;cnica fotográ\;fi ca prá\;cticamente en desuso en la fotografí\;a contempor&aacut e\;nea\, conocida como colodió\;n hú\;medo o ambrotipo. Aqu&iac ute\;\, el artista examina las posibilidades expresivas de la propia discip lina fotográ\;fica\; se centra en la correspondencia del medio fotogr á\;fico y el modelo a fotografiar\, enfatizando así\; una relac ió\;n de tipo simbió\;tica entre té\;cnica y temá\; tica. Para Vanegas\, la solució\;n té\;cnica empleada en la ser ie de Ampo &ldquo\;evidencia la condició\;n del modelo\, en tanto que só\;lo mediante la positivació\;n a travé\;s de un fondo oscuro\, la imagen consigue hacerse visible&rdquo\; y es que\, parad&oacut e\;jicamente\, só\;lo la irrupció\;n de la oscuridad permite pe rcibir el blanco sobre blanco\, el Ampo\, en definitiva.

DTEND:20140412 DTSTAMP:20140724T081040 DTSTART:20140312 GEO:40.4228864;-3.6868107 LOCATION:Galeria Fernando Pradilla\,Claudio Coello 20 \nMadrid\, Spain 2800 1 SEQUENCE:0 SUMMARY:Cuatro Fotógrafos Colombianos\, Juanita Carrasco\, Adriana Duque\, Federico Pardo\, Javier Vanegas UID:326041 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140412 DTSTAMP:20140724T081040 DTSTART:20140313 GEO:-19.9376743;-43.9377343 LOCATION:Galeria Murilo Castro\,Rua Antônio de Albuquerque\, 377 - conj\, 0 2 \nSavassi\, Minas Gerais 30112-010 SEQUENCE:0 SUMMARY:2014: Exposição coletiva de Acervo\, Rosana Ricalde\, Noé Klabin\, Caroline Valansi\, Camille Kachani\, Fábio Cançado\, David Cury\, Maria Lyn ch\, Felipe Barbosa\, Julio Villani\, José Bento UID:328739 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Galeria Quadrado Azul\, in Porto\, opens a solo exhibition by Isabel Ribeiro on March 8\, 4 pm. A series of recent works in painting a re focused on two topics that have been approached by the artist: the city and the absence.
The term fracciente was freely created by the artist from the collage of the words &lsquo\;failure&rsquo\; and &lsquo \;conscious&rsquo\;. This idea runs through the oil paintings and the mural that reveal interior and exterior details of the contemporary city: detail s which are empty\, desolate and without inhabitant.
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Isabel Ribeiro born in 1976\, in Covilhã\;\, Portugal. Lives and works between Porto and Lisbon. Painting\, drawing\, sculpture an d video are the media used by the artist to represent situations and spaces . For the construction of images she appropriates references from the weste rn literary imaginary or from everyday signage.
Starting exhibiting in 2001\, she is interested in the diversity of anxieties generated in modern ity that have to do with a failure of the individual with his environment: the individual and the collective crisis\, the conflict between the individ ual and the social\, transformations of space\, forces of change\, the cons tant failure of the movements that advocate change\, the loneliness of the fight\, dilemmas and the longevity of the community\, depression and tedium .
A usual procedure in many of her paintings is the production of slig htly changes\, displacements\, new frameworks\, the substitution or deletio n of elements from the image of reference. They are images indicating place s to escape\, places that talk about failure. Other works\, auto-biographic al\, are distorted only by the contingency of the technique.
The arti st&rsquo\;s name is also connected to the foundation of Salã\;o Ol&ia cute\;mpico and Projecto Apê\;ndice\, two of the spaces that arouse in Porto\, in the last years\, managed by the artists themselves.
Most r ecent exhibitions include\, in 2013: the solo intervention in the group pro ject Casa Ocupada\, at Casa da Cerca\, Almada\, Portugal\, ant the participation in the group exhibitions: PROYECTOR\, Espaç\; o Malmo\, Madrid\, Spain\; War(m) Up\, Casa Bernardo\, Caldas da R ainha\, Portugal. In 2012: Au delà\; des mots\, Ré\;si dence André\; de Gouveia\, Paris\, France\; Para alé\;m das palavras\, Espaç\;o Campanhã\;\, Porto\, Portugal\; s hapes and forces\, Galeria Quadrado Azul\, Porto\, Portugal\; Apro ximaç\;õ\;es à\; profundidade\, Sala do Veado\, Lisb on\, Portugal\; Cinco Sé\;culos de Desenho na Colecç\;&atil de\;o da FBAUP\, Museu Nacional Soares dos Reis\, Porto\, Portugal.

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DTEND:20140412 DTSTAMP:20140724T081040 DTSTART:20140308 GEO:41.1493019;-8.6237949 LOCATION:Galeria Quadrado Azul\, Porto\,Rua Miguel Bombarda\, 578 \nPorto\, 4050-379 SEQUENCE:0 SUMMARY:fracciente \, Isabel Ribeiro UID:324798 END:VEVENT BEGIN:VEVENT DTEND:20140308T180000 DTSTAMP:20140724T081040 DTSTART:20140308T160000 GEO:41.1493019;-8.6237949 LOCATION:Galeria Quadrado Azul\, Porto\,Rua Miguel Bombarda\, 578 \nPorto\, 4050-379 SEQUENCE:0 SUMMARY:fracciente \, Isabel Ribeiro UID:324799 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Galerie Urs Meile is pleased to present Yan Xing&rsquo\;s first solo exhibition (*1986 in Chongqing\, China\; lives and works in Beijing and Los Angeles) in Lucerne. Known as one of the emerging artists on the Chinese contemporary art scene \, Yan Xing creates multilayered works using different media such as video\ , photography\, installation and performance. The exhibition will show two of his recent projects\, which refer to a variety of sources from art\, his tory\, politics\, and literature. The artist describes his practice as a &l dquo\;unique system of integration\,&rdquo\; which\, at first glance\, coul d be thought of as a practice of reconstructing and quoting. But Yan Xing s ees himself as an artist in the avant-garde tradition\, who understands art as a kind of game in which the players make their next move according to t he rules and actions of their colleagues. So it is only natural that Yan Xi ng&rsquo\;s works refer to\, appropriate\, and refine the work of other art ists who blazed the trail for him. According to avant-garde custom\, Yan Xi ng also writes short\, highly articulate texts on his works. These comments tend to obscure rather than convey the work&rsquo\;s individual point of o rigin. But this is really not what they were intended for. With these texts Yan Xing simply situates his work in the context in which he wants them to be regarded.
For Arty\, Super-Arty1 Yan Xing res taged seven of Edward Hopper&rsquo\;s (1882&ndash\;1967) famous paintings a gainst a black background\, even imitating their famous light contrasts. Un like the original\, he uses film and photography\; his images are black and white\; his characters are all male\, and Yan Xing himself is in every pic ture. His reinterpretation of Hopper&rsquo\;s famously melancholy works emp hasizes the lack of communication between the protagonists. Somehow one alw ays seems to be waiting for the other\, looking at his vis-à\;-vis\, who seems withdrawn and unaffected. Yan Xing&rsquo\;s intention is to confr ont Hopper&rsquo\;s artistic universe with his more realistic approach. It is as if he is trying out an old ritual on himself\, as if he is conducting a kind of experiment to find out if the old rites are still of value to hi m. As a historical movement\, Appropriation Art was mainly concerned with i nstitutional critique\, and Yan Xing is also walking in the shoes of his fo rbears\, with the aim of providing insight into the rules and rituals of ar t itself. A similar topic&mdash\;namely &ldquo\;the core theme of contempor ary art&rdquo\;&mdash\;is also one of the subjects of the second exhibited project\, Two videos\, three photographs\, several related masterpieces \, and American art (2013)2. The videos\, photographs\, ins tallation and marble sculpture extol acts of violence\, sex\, captivity\, a nd enslavement\, while combining modern and classic aesthetics. Wooden dild os\, modeled after cultural relics\, are presented on a shiny steel plinth next to two whips\, a bowl\, and a handkerchief. The series of photographs depicts two nude black males engaging in ancient sports\, such as archery o r javelin throwing\; their poses are reminiscent of antique Greek statues a nd the overall staging was inspired by Robert Mapplethorpe (1946&ndash\;198 9). The same two models reappear in the video installation\, playing flute to a caged bird\, next to the Chinese character 寿\, which means longevity. This character is also carved in a marble block reminiscent of a gravestone \, and thus contradicts its meaning.
Despite the variety of different inspirations and allusions\, the end result is recognizably Yan Xing\, who gives his complex and complicated subtexts a sleek appearance. He combines the different media\, connecting ancient Greek sculpture with American pho tography from the 1960s\, American painting from the 1940s\, Chinese supers tition\, queer topics\, and theoretical commentary. It is Yan Xing&rsquo\;s &ldquo\;unique system of integration&rdquo\; that turns all these seemingl y unrelated interests and aesthetics into a harmonious composition.
Yan Xing was born in Chongqing in 1986\, and currently lives and works in Beijing\, China\, and Los Angeles\, USA. He graduated from the Oil Paint ing Department of Sichuan Fine Arts Institute in 2009. Yan Xing has won the Chinese Contemporary Art Award (CCAA) &ndash\; Best Young Artist Award and also received a nomination for the Future Generation Art Priz e from the Victor Pinchuk Foundation in 2012. His recent major exhibit ions include: Building Bridges &ndash\; Zeitgenö\;ssische Kunst aus China\, Wolfsberg\, Ermatingen\, Switzerland (2013)\; 2012 Future Generation Art Prize\, Collateral Event of the 55th Venice Biennale\, Palazzo Contarini Polignac\, Venice\, Italy (2013)\; China China\ , PinchukArtCentre\, Kiev\, Ukraine (2013)\; ON | OFF: China&rsquo\;s Y oung Artists in Concept and Practice\, Ullens Center for Contemporary Art (UCCA)\, Beijing\, China\; Yan Xing\, Chinese Arts Centre\, Ma nchester\, UK (2012)\; Unfinished Country: New Video From China\, Contemporary Arts Museum Houston (CAMH)\, Houston\, USA (2012)\; The II I Moscow International Biennale for Young Art\, Central House of Artis ts (CHA)\, Moscow\, Russia (2012)\; The Seventh Shenzhen Sculpture Bien nale\, OCT Contemporary Art Terminal (OCAT)\, Shenzhen\, China (2012). His works are also in the Rubell Family Collection\, Miami\, USA\; M+ Muse um for Visual Culture\, Hong Kong\; the Yuz Foundation\, Jakarta\, Indonesi a\; and the Kadist Art Foundation\, Paris\, France.

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1 2013\, 3 film stil ls\, photography (b/w)\, ultra giclee\, 96 x 136 cm (framed)\, based on sin gle channel HD video\, b/w\, silent\, 9&rsquo\;16&rsquo\;&rsquo\;
2 2013\, video installation\, 2-channel digital video (b/w\, silent\ , loop)\, photographs\, sculpture\, installation

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Die Galerie Urs Meile freut sich\, die erste Einzelausstellung von Yan Xing (*1986 in Chongqing\, China\, lebt und arbeitet in Beijin g und Los Angeles) in Luzern auszurichten. Als einer der aufstrebenden Kün stler der chinesischen Kunstszene bekannt\, kreiert Yan Xing ausdifferenzie rte Arbeiten unter Einbezug verschiedener Medien wie Video\, Fotografie\, I nstallation und Performance. Die Ausstellung wird zwei seiner jüngsten Pro jekte zeigen\, für die der Künstler Quellen aus den Bereichen Kunst\, Ges chichte\, Politik und Literatur heranzieht. Yan Xing bezeichnet sein Vorgeh en als «\;eigenes System der Verwertung»\;. Auf den ersten Blick kö\;nnte dies als künstlerische Praxis verstanden werden\, die sich au f das Rekonstruieren und Zitieren konzentriert. Aber Yan Xing sieht sich in der Tradition der Avantgarden und deren Verstä\;ndnis von Kunst als ei ner Art Spiel\, in dem die Akteure ihre nä\;chsten Schritte abhä\;n gig von den Manö\;vern ihrer Mitspieler planen. Daher ist es nur konseq uent\, wenn er sich in seinen Arbeiten auf die Werke seiner Wegbereiter bez ieht\, diese sich aneignet und schä\;rft. Ganz den Gepflogenheiten der Avantgarden verpflichtet\, schreibt Yan Xing auch kurze\, dichte Texte\, di e allerdings eher den Ausgangspunkt des individuellen Werkes verunklä\; ren\, als ihn zu beleuchten. Aber das ist auch nicht das Ziel seines Kommen tars\; mit ihm ordnet er lediglich sein Schaffen in den Kontext ein\, aus d em heraus er es verstanden haben will. In der Arbeit Arty\, Super-Arty< /em>1 hat Yan Xing sieben ikonische Gemä\;lde von Edward Hop per (1882&ndash\;1967) neu inszeniert. Vor einem schwarzen Hintergrund stel lte er sie bis auf ihre berühmten Lichtkontraste nach. Anders als das Orig inal benutzt er Film und Fotografie\, beschrä\;nkt sich auf Schwarz-Wei ss und seine Personen sind allesamt Mä\;nner\, auch ist er selbst in je dem Bild. In seinen Versionen von Hoppers bekanntermassen melancholischen A rbeiten ist der Mangel an Kommunikation zwischen den Protagonisten versch&a uml\;rft. Einer der Dargestellten scheint immer auf den anderen zu warten\, sein Gegenüber erscheint gleichgültig und verschlossen. Yan Xings erkl&a uml\;rte Absicht war es\, dem künstlerischen Universum von Edward Hopper s einen eigenen realistischeren Zugang entgegenzusetzen. Es ist\, als ob er e in Experiment durchführt\, um herauszufinden\, ob die alten Rituale noch v on Wert für ihn sind. Institutionskritik war das Hauptbestreben von Approp riation Art als historischer Bewegung und auch Yan Xing wendet die Methoden seiner Vorgä\;nger an\, um die Regeln und Riten von Kunst zu ergründe n.
Eine ä\;hnliche Frage &ndash\; die nach dem «\;Kernthema Zeitgenö\;ssischer Kunst»\; &ndash\; beschä\;ftigt ihn in der zweiten ausgestellten Werkgruppe Two videos\, three photographs\, sever al related masterpieces\, and American art2. Die Videos\, d ie Fotografien\, die Installationen und die Marmorskulptur idealisieren Gew altakte\, Sex\, Gefangenschaft und Versklavung durch ihre Umsetzung in eine r zugleich modernen und klassischen Ä\;sthetik. Auf einem polierten Sta hlsockel liegen Holzdildos\, Kopien von historischen Fundstücken\, neben z wei Peitschen\, einer Reisschale und einem Taschentuch. Die Serie von Fotog rafien zeigt unter anderem zwei nackte\, dunkelhä\;utige Mä\;nner b ei der Ausübung klassischer Sportarten wie Speer- oder Diskuswurf. Ihre Po sen erinnern an antike griechische Statuen und die Gesamtinszenierung ist v on Robert Mapplethorpe (1946&ndash\;1989) inspiriert. Dieselben Darsteller kommen in der Videoinstallation vor. Einer von ihnen spielt Flö\;te fü r einen Vogel\, der in einem Kä\;fig gefangen ist\, wä\;hrend gleic hzeitig auf dem zweiten Monitor das chinesische Symbol 寿 (zhou) für Langle bigkeit zu sehen ist. Dieses Schriftzeichen ist auch in eine Marmorplatte e ingraviert\, die an einen Grabstein erinnert und mit dieser Symbolik den gu ten Wünschen für ein langes Leben zuwiderlä\;uft.
Ungeachtet de r Vielzahl an unterschiedlichen Inspirationen und Referenzen ist das Enderg ebnis immer unverkennbar Yan Xing\, der seine komplexen und komplizierten S ubtexte in einer aufgerä\;umten und klaren Sprache materialisiert. Er k ombiniert unterschiedliche Medien\, vereint Skulpturen aus der griechischen Antike mit amerikanischer Malerei der 1940er und amerikanischer Fotografie der 1960er\, chinesischem Aberglauben\, queeren Themen und theoretischem K ommentar. Sein «\;eigenes System der Verwertung»\; fügt all dies e scheinbar unverwandten Interessensgebiete und Stile zu einem harmonischen Ganzen zusammen.

Yan Xing wurde 1986 in Chongqing geboren und l ebt aktuell in Beijing\, China und Los Angeles\, USA. Er schloss 2009 sein Studium der Ö\;lmalerei am Sichuan Fine Arts Institute ab. Yan Xing hat den Chinese Contemporary Art Award (CCAA) &ndash\; Best Young Artist A ward gewonnen und war 2012 für den Future Generation Art Prize der Victor Pinchuk Foundation nominiert. Eine Auswahl seiner jüngsten A usstellungen beinhaltet: Building Bridges &ndash\; Zeitgenö\;ssisch e Kunst aus China\, Wolfsberg\, Ermatingen\, Schweiz (2013)\; 2012 Future Generation Art Prize\, Collateral Event of the 55th Venice Bie nnale\, Palazzo Contarini Polignac\, Venedig\, Italien (2013)\; China C hina\, PinchukArtCentre\, Kiev\, Ukraine (2013)\; ON | OFF: China& rsquo\;s Young Artists in Concept and Practice\, Ullens Center for Con temporary Art (UCCA)\, Beijing\, China\; Yan Xing\, Chinese Arts C entre\, Manchester\, UK (2012)\; Unfinished Country: New Video From China\, Contemporary Arts Museum Houston (CAMH)\, Houston\, USA (2012)\; The III Moscow International Biennale for Young Art\, Cen tral House of Artists (CHA)\, Mosau\, Russland (2012)\; The Seventh She nzhen Sculpture Biennale\, OCT Contemporary Art Terminal (OCAT)\, Shen zhen\, China (2012). Seine Arbeiten befinden sich in den folgenden Sammlung en: The Rubell Family Collection\, Miami\, USA\; M+ Museum for Visual Cultu re\, Hong Kong\; Yuz Foundation\, Jakarta\, Indonesien und The Kadist Art F oundation\, Paris\, Frankreich.

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1 2013\, Fotografie (b/w)\, ultra giclé\;e\, 96 x 136 cm (gerahmt)\, basierend auf Einkanal HD Video\, s/w\, stumm\, 9&rsquo\;16&rs quo\;&rsquo\;
2 2013\, Video-Installation\, Zweikanal-Digit al-Video (s/w\, stumm\, Loop)\, Fotografien\, Skulptur\, Installation

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DTEND:20140412 DTSTAMP:20140724T081040 DTSTART:20140214 GEO:47.0625196;8.3080015 LOCATION:GALERIE URS MEILE Lucerne\,Rosenberghöhe 4 \nLucerne\, 6004 SEQUENCE:0 SUMMARY:Solo Exhibition\, Yan Xing UID:317691 END:VEVENT BEGIN:VEVENT DTEND:20140214T200000 DTSTAMP:20140724T081040 DTSTART:20140214T180000 GEO:47.0625196;8.3080015 LOCATION:GALERIE URS MEILE Lucerne\,Rosenberghöhe 4 \nLucerne\, 6004 SEQUENCE:0 SUMMARY:Solo Exhibition\, Yan Xing UID:317692 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Speerstra Gallery presents for the first time in Switzerland America n street artist Shepard Fairey (OBEY). The "Print Show" presents a selectio n of 50 prints dated from 2005 untill 2013\, the show will be curated by Fr ench collector and art specialist Jé\;rome Catz.

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Shepard Fairey is one of the greatest contemporary street artist today. Hailed by his peers since the mid-1990s\, his work became recognized worldwide in 2008\, when h e signed the image of the poster campaign of Barack Obama. Activism\, Punk Rock\, Skate Kulture are his sources of inspiration. It's propaganda campai gn "Obey" associated with the stylized face of the icon\, the wrestler Andr e the Giant\, quickly takes on international proportions. His ability to ic onify famous people or noble cause\, coupled with his vision of the city an d its labor force make him worthy heir to Andy Warhol. The first major art institution to pay tribute to his works has been the ICA Boston in 2009 and Jeffrey Dietch (former director of MOCA) hold the exhibition Mayday at Die tch projects in 2010.

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Speerstra Gallery / Jerome Catz \n


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La Speerstra Gallery pr&ea cute\;sentes pour la premiè\;re fois en Suisse l'artiste street art A mé\;ricain Shepard Fairey (OBEY). L'exposition "The Print Show" pr&ea cute\;sente une sé\;lection de 50 sé\;rigraphies datant de 2005 a 2013 ré\;unis par la Gallery Speerstra et Jé\;rome Catz\, co mmissaire de l'exposition.

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Shepard Fairey est l&rsquo\;un des plus grand s street artist contemporain. Acclamé\; par ses pairs depuis le milie u des anné\;es 1990\, son travail ne fait que monter en puissance jus qu&rsquo\;en 2008\, date à\; laquelle il signe l&rsquo\;image du post er de campagne de Barack Obama. Militantisme\, Punk-Rock\, Skate Kulture so nt ses sources d&rsquo\;inspiration. Sa campagne de propagande "OBEY" assoc ié\;e au visage stylisé\; de son icô\;ne\, le catcheur And ré\; The Giant\, prend trè\;s rapidement des proportions intern ationales. Sa facilité\; à\; iconifier des personnages cé \;lè\;bres ou une noble cause\, associé\;e à\; sa vision de la Ville et sa force de travail font de lui le digne hé\;ritier d& rsquo\;Andy Warhol. La premiè\;re grande institution artistique &agra ve\; lui rendre hommage aura é\;té\; le ICA de Boston en 2009\, puis Jeffrey Dietch (ex-directeur du MOCA) lui à\; dé\;di&eacu te\; un de ses Dietch project en 2010 avec l&rsquo\;exposition Mayday.

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Speerstra Gallery / Jerome Catz

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Le vernissage aura lieu le samedi 15 mars d e 14 à\; 18 heures en pré\;sence du \;commissaire de l&rsqu o\;exposition Mr Jé\;rome Catz\, ce dernier fera une pré\;senta tion gé\;né\;rale du travail de Shepard Fairey. Dé\;but d e l&rsquo\;intervention à\; 16h. duré\;e 30 minutes.  \;Mr Catz est aussi auteur de l&rsquo\;ouvrage Street Art Mode d&rsquo\;Emploi p aru chez Flammarion en juin 2013.

DTEND:20140412 DTSTAMP:20140724T081040 DTSTART:20140315 GEO:46.4501598;6.285466 LOCATION:Gallery Speerstra - Bursins\,Chemin des Cerisiers 1 \nBursins\, CH -1183 SEQUENCE:0 SUMMARY:Obey Print Show\, Shepard Fairey UID:315768 END:VEVENT BEGIN:VEVENT DTEND:20140315T180000 DTSTAMP:20140724T081040 DTSTART:20140315T140000 GEO:46.4501598;6.285466 LOCATION:Gallery Speerstra - Bursins\,Chemin des Cerisiers 1 \nBursins\, CH -1183 SEQUENCE:0 SUMMARY:Obey Print Show\, Shepard Fairey UID:326484 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In 2012 Goshka Macuga visited Afghanistan twice to research her project for DOCUMENTA(13) opening that same year. During he r stay she visited the Afghan Film Archive in Kabul and learnt about their precarious and endangered operation during the Taliban era. The threats to the archive are due to a constant lack of resources needed to digitize stoc ks of newsreels\, feature and documentary films\, and funding to maintain e quipment and the premises. Macuga became interested in supporting the archi ve and decided to buy small strips of film that have been

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thrown away through the process of digitization. Following extens ive email correspondence with an Afghan mediator\, she was sent a parcel of 35mm cut offs. Surprisingly\, the material turned out to be 19 separate fi lm rolls containing only censored\, sexually explicit scenes from foreign a nd Afghan films.

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For her newly commiss ioned works presented at Index &ndash\; The Swedish Art Foundation in copro duction \; with BAC &ndash\; Baltic Art Center\, Visby\, the artist pro posed to re-edit and recontextualize \;these censored footages. In re-o rdering the material Macuga presents a new \;comparative reading to the differing perception\, \;norms\, conditioning to and permitted exposur e \;of physical intimacy\, violence and gender discrimination in Afghan  \;and Western cultures. The \;display defines a dialogue with the archival material that in Non-consensual Act (in progress) \;t akes the form of a film\, prints and documents. Included in the exhibition are excerpts of \;correspondence uncovering the \;obstacles\, contr adictions and opportunities that arose in \;approaching the material un der scrutiny. \;

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Macuga&rsquo\;s p ractice connects different areas and methods of research. Her inquiries are often focused on institutional histories proposing unconventional associat ive readings of their social and political histories. Her strategic orchest ration of existing materials\, collectables and archival documents support the reframing of established narratives.

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This is not the first time Macuga has worked wi th materials that have been removed from their source. Her series Untit led (2008) used photographs belonging to a Vietnam War veteran as part of the installation I Become Death\, as well as the documentary f ilm Snake Society in collaboration with the anthropologist Julian Gastelo\, both shown at Kunsthalle Basel in 2009. In these works she select ed images that resonated with her on-going research on Aby Warburg&rsquo\;s study of the rituals and iconography of Hopi American Indian art.\n

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Born in Poland in 196 7\, Goshka Macuga lives and works in London since 1989. She has exhibited e xtensively internationally in solo exhibitions at Museum of Contemp orary Art Chicago (2012)\, Walker Art Center\, Minneapolis (2011)\, Zacheta National Gallery of Art\, Warsaw (2011)\, Whitechapel Gallery\, London (2010)\, K unsthalle Basel (2009)\, and Tate Britain\, Londo n (2007). Macuga&rsquo\;s work was also included in dOCUMENTA(13) (2012)\, the 53rd

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Venice Biennial (2009)\, the 5th Berlin Biennial (2008) and the Liverpool Biennial (2006). In 2008 she w as nominated for the prestigious Turner Prize contemporary art award.

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< span class="Apple-style-span" style="font-size: small\;">Non-consensual Act (in progress) was co-commissioned by Index &ndash\; The Swedish Contemporary Art Foundation and BAC &ndash\; Baltic Art Center\, Visby. The exhibition is kindly supported by the Polish Institute Stockholm\, < strong>Andrew Kreps Gallery and Iaspis The Swedish Arts Gr ants Commitee.

DTEND:20140412 DTSTAMP:20140724T081040 DTSTART:20131214 GEO:59.330318;18.050469 LOCATION:Index\,Kungsbro strand 19\, \nStockholm\, SEQUENCE:0 SUMMARY: Non-consensual Act (in progress)\, Goshka Macuga UID:311657 END:VEVENT BEGIN:VEVENT DTEND:20131213T210000 DTSTAMP:20140724T081040 DTSTART:20131213T180000 GEO:59.330318;18.050469 LOCATION:Index\,Kungsbro strand 19\, \nStockholm\, SEQUENCE:0 SUMMARY: Non-consensual Act (in progress)\, Goshka Macuga UID:311658 END:VEVENT END:VCALENDAR