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architectnews · 3 years ago

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Firstsite Colchester, Essex: Museum of the Year

Firstsite centre for the visual arts, Colchester Building, Architect, Rafael Viñoly England

Firstsite Colchester, Essex Building Award

22 Sep 2021

New Centre for the Visual Arts

Design: Rafael Viñoly Architects

Firstsite Is Winner Of £100,000 Art Fund Museum Of The Year 2021

photograph © Marc Atkins

Firstsite in Colchester, Essex

Firstsite in Colchester, Essex, is announced as Art Fund Museum of the Year 2021 this evening (21 September 2021). Sally Shaw, Director of Firstsite, was presented with the £100,000 prize – the largest museum prize in the world – by broadcaster Edith Bowman at a ceremony in the spectacular setting of the Science Museum, London.

Celebrating its 10th anniversary, Firstsite is a contemporary arts organisation showing a diverse mix of historic, modern and contemporary art from around the world in an inclusive environment. It has built a strong, critical reputation nurturing long and deep relationships with artists and the local community.

photograph : Jayne Lloyd

During the pandemic it mobilised at speed to support local people, lending its building to neighbouring charity, Community 360 to run a food bank. Within days of lockdown, Firstsite created activity packs which went on to feature over fifty artists and were downloaded by over 92,000 households. The organisation led on The Great Big Art Exhibition which encouraged people to display their own art in their windows during lockdown to create a nationwide gallery, and Michael Landy’s Welcome to Essex exhibition was enjoyed by thousands of visitors over the summer.

photograph © Marc Atkins

In response to Black Lives Matter, Firstsite commissioned Elsa James to make a downloadable work in solidarity and continued the Super Black festival celebrating black culture in Essex. Other significant initiatives have included My name is not Refugee, an Arts Council Collection exhibition curated by clients of Refugee Action Colchester, and Art For Life, an exhibition commissioned by the NHS with key workers to aid understanding of the impact of Covid-19 on mental health.

photograph © Richard Bryant

Jenny Waldman, Art Fund director and chair of the judges for Art Fund Museum of the Year, said, ‘We’re proud to announce Firstsite in Colchester as Art Fund Museum of the Year 2021. From inspiring everyone to turn their windows into a nationwide gallery during lockdown to feeding local kids in the school holidays, they are an outstanding example of innovation and integrity. At their core is powerful, engaged contemporary art, housed in a gallery that gives space for everyone, from artists to NHS staff to local families and refugee groups. They exceeded all our expectations. Here is a small organisation thinking big and caring for their local community. Here is excellence in Essex.’

photo © Marc Atkins

Fellow judge, Edith Bowman said, ‘Museums and galleries are a portal to infinite creative avenues. I’ve had the real pleasure of visiting each one of the five finalists. Words fail me at what they’ve done with tiny teams and budgets. What Firstsite has achieved is mind-blowing.’

The winner was one of five finalists. The other shortlisted museums were: Centre for Contemporary Art Derry~Londonderry (Derry~Londonderry, Northern Ireland), Experience Barnsley (Barnsley, South Yorkshire, England), Thackray Museum of Medicine (Leeds, West Yorkshire, England) and Timespan (Helmsdale, Sutherland, Scotland).

Each of the other finalist museums receives a £15,000 prize in recognition of their achievements.

The members of this year’s judging panel are: Maria Balshaw, director of Tate and chair of the National Museum Directors’ Council; Edith Bowman, broadcaster; Katrina Brown, director of The Common Guild; Art Fund trustee; Suhair Khan, strategic projects lead at Google, artist Thomas J Price and Jenny Waldman, director of Art Fund.

photograph © Marc Atkins

The news was announced in a live broadcast on BBC Radio 4’s Front Row, BBC News Channel and BBC iPlayer, presented by John Wilson.

Among the 250 guests at the event hosted by Jenny Waldman were the following artists: Jeremy Deller, Chila Kumari Singh Burman, Cornelia Parker, Yinka Shonibare and Clare Twomey. Guests also included leading figures from the world of arts and culture such as: Secretary of State for Digital, Culture, Media and Sport, Nadine Dorries; Director of the Science Museum Group, Ian Blatchford; Director of Tate, Maria Balshaw; Director of Wellcome Collection, Melanie Keen; Director of the Design Museum, Tim Marlow; Chief Executive of the Royal Academy of Arts, Axel Rüger; Chair of Arts Council England, Nicholas Serota; and London’s Deputy Mayor for Culture, Justine Simons. Many other high-profile figures also attended such as: poet and broadcaster Ian McMillan; and Museum and Heritage Consultant, Sandra Shakespeare.

Art Fund, the UK’s national charity for art, awards Art Fund Museum of the Year annually to one outstanding museum. The 2021 edition reflects the resilience and imagination of museums throughout the pandemic. At this moment of museums re-opening and starting their recovery, the 2021 prize highlights and rewards the extraordinary and innovative ways in which museums have, over the past year, served and connected with their communities against all the odds, even when some have had to close their physical spaces for the greater part of the year. Art Fund Museum of the Year is the largest museum prize in the world.

photograph © Marc Atkins

#museumoftheyear

Art Fund Museum of the Year 2021 Finalists

The Art Fund Museum of the Year 2021 finalists were:

Centre for Contemporary Art Derry~Londonderry The Centre for Contemporary Art has been exhibiting emerging artists from Northern Ireland alongside international peers since 1992. Today CCA creates opportunities for audiences to experience ambitious, experimental and engaging contemporary art and supports the development of artists through commissions, solo and group exhibitions, public programmes, artist residencies, alongside its own publishing programme.

In the past year, it has supported 65 artists with paid for opportunities including social media takeovers, as well as developing its CCA Supports programme. This includes an online platform providing artists with information on emergency support through Government schemes and initiatives, crit groups and surgeries along with a series of Roundtable podcasts. Moreover, CCA has continued to engage with the community by displaying artwork in its windows. It presented the biennial exhibition URGENCIES 2021 in spaces across the city such as in shop windows, theatres and a shopping centre, and delivered activity packs to hundreds of schoolchildren, essential in an area of social deprivation.

Experience Barnsley Since opening in 2013, the collection at Experience Barnsley traces the known history of the borough from pre-historic times to the 21st century. Located in the iconic Town Hall and one of five Barnsley Museums sites, it is supported by thousands of local people who have shared their precious memories and objects, making up the displays in the Barnsley Story Gallery. As well as this there are spaces dedicated to changing, community created (temporary) exhibitions, such as the recent story of the Barnsley Canister Company as well as learning spaces and an archives centre.

Experience Barnsley’s recent digital activities, such as an online festival of archaeology, the daily digital jigsaw, and working with Ian McMillan, their Poet in Lockdown, has inspired local audiences to write poems, submit sketches and get creative, demonstrating how culture can make a difference to the local community with an increased digital reach to 17 million and an engagement of 942,000 across social media. In addition, thousands of care packages were sent to schools, care homes and local families through their partnerships, virtual trips to the pub kept communities connected and IT provision was catered for vulnerable groups.

Thackray Museum of Medicine The Thackray Museum of Medicine is the UK’s leading independent medical museum located between Europe’s largest teaching hospital and some of the most deprived neighbourhoods in West Yorkshire. The museum building first opened in 1861 as the purpose-built Leeds Union Workhouse. New buildings were gradually added to the workhouse complex including a separate infirmary, later to be renamed St James’s Hospital. By the 1990s, the old Leeds Union Workhouse building was considered unfit for modern medicine and Parliament gave permission for it to house the museum.

It now has a reimagined immersive visitor experience and, through a redisplay of the collections, eleven new galleries showing how people have triumphed over disease. It became the first museum in the pandemic to host a vaccination centre delivering 50,000 Pfizer vaccines. Tackling a range of medical subjects and enterprising outreach projects, the Thackray Museum has worked with schools to generate content to reinforce the science behind handwashing, created the online exhibition Mothers in Lockdown, and it became a locus for food distribution and converted an ambulance to carry out outreach projects around the city.

Timespan Located in the Scottish Highlands, Timespan comprises a local history museum, contemporary art programme, geology and herb gardens, shop, bakery and café. Timespan responds to urgent contemporary issues that are rooted in the local context of remote, rural Scotland, with a global and multi-disciplinary perspective to produce four projects a year, each aligned with broader social movements, alongside a programme of artist residencies. Timespan has operated as a social hub for the community during the pandemic and demonstrated a clear ambition for art and heritage.

In the past year, the exhibition Real Rights reframed local history within the intersection of climate change and colonialism. YASS (Youth Actions Social Squad) activity packs were sent to homes of local village children and tackled themes of social justice in creative ways, a consequence of which was the formation of a young gardeners’ association. Their online cooking show, Recipes for a Disaster, proved popular and featured local produce and producers.

Art Fund Museum of the Year

Art Fund has supported Museum of the Year since 2008. Its forerunner was the Prize for Museums and Galleries, administered by the Museum Prize Trust and sponsored by the Calouste Gulbenkian Foundation from 2003-2007. The prize champions what museums do, encourages more people to visit and gets to the heart of what makes a truly outstanding museum. The judges present the prize to the museum or gallery that has shown how their achievements of the preceding year stand out, demonstrated what makes their work innovative, and the impact it has had on audiences.

Winners 2008 – 2020

2008 – The Lightbox, Woking 2009 – Wedgwood Museum, Stoke-on-Trent 2010 – Ulster Museum, Belfast 2011 – British Museum 2012 – Royal Albert Memorial Museum 2013 – William Morris Gallery, London 2014 – Yorkshire Sculpture Park, Wakefield 2015 – Whitworth Art Gallery, Manchester 2016 – Victoria and Albert Museum (V&A), London 2017 – The Hepworth, Wakefield 2018 – Tate St Ives 2019 – St Fagans National Museum of History, Cardiff

In a unique edition of the prize in 2020, Art Fund responded to the unprecedented challenges that all museums faced by sharing the prize money equally between five winners: Aberdeen Art Gallery; Gairloch Museum; Science Museum; South London Gallery; and Towner Eastbourne.

photograph © Marc Atkins

About Art Fund

Art Fund is the national fundraising charity for art. It provides millions of pounds every year to help museums to acquire and share works of art across the UK, further the professional development of their curators, and inspire more people to visit and enjoy their public programmes.

In response to Covid-19 Art Fund has made £3.6 million in urgent funding available to support museums through reopening and beyond, including Respond and Reimagine grants to help meet immediate need and reimagine future ways of working. Art Fund is independently funded, supported by the 131,000 members who buy the National Art Pass, who enjoy free entry to over 240 museums, galleries and historic places, 50% off major exhibitions, and receive Art Quarterly magazine. Art Fund also supports museums through its annual prize, Art Fund Museum of the Year. www.artfund.org

Previously on e-architect:

22 Sep 2011

firstsite Colchester

New Centre for the Visual Arts

Design: Rafael Viñoly Architects

firstsite, a major new centre for the visual arts, designed by internationally acclaimed Rafael Viñoly Architects, will open in Colchester on Sunday 25 September 2011.

photo : Richard Bryant/ arcaidimages.com

firstsite, Colchester centre for the visual arts design by Rafael Viñoly

Location: firstsite, Colchester, Essex, England, UK

Essex Building Designs

Essex Buildings

A House for Essex, England Design: FAT Architecture + Grayson Perry photo : Jack Hobhouse A House for Essex

Meadow House Design: Strom Architects rendering : Numa Meadow House Essex

Key contemporary Essex Buildings

Newhall Be, Harlow, north west Essex Design: Alison Brooks Architects photo : Paul Riddle Newhall Housing

Institute For Democracy and Conflict Resolution, University of Essex Daniel Libeskind University of Essex Institute For Democracy and Conflict Resolution

Stansted Airport, Stansted Foster + Partners Stansted Airport

Comments / photos for the Firstsite Colchester, Essex: Museum of the Year Building page welcome

The post Firstsite Colchester, Essex: Museum of the Year appeared first on e-architect.

#e-architect

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veale2006-blog · 7 years ago

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The Truth About Easter and the Secret Worship of the Anunnaki

April 1,2018 Easter is an annual celebration observed throughout the Christian world. However, there are absolutely no verses in the Bible that authorize or endorse the keeping of this tradition.

Further – the Bible does not mention anything about Easter eggs, Easter baskets, Easter bunnies, or even Lent.

Where did the tradition of celebrating Easter originate?

Easter - Anunnaki Connections The name Easter actually comes from Ishtar / Easter who was worshiped as the moon goddess, the goddess of spring and fertility, and the Queen of Heaven. She is known by so many other names in other countries and cultures that she is often referred to as the goddess of one thousand names.

[Inanna is the Sumerian name of Ishtar, and definitely the most important one. Inanna was the granddaughter of Enlil, who in turn was Anu's son. Anu was the highest ranking Anunnaki and his name translated "Great Sky Father". Anu was revered as 'god of the Heavens' and he was the central figure of mankind's first religion. According to the Sumerian tablets, he only visited Earth twice].

The Babylonian Connections (John 8:44, II Corinthians 11:14, 1 Peter 5:8) Ishtar – the Babylonian goddess – is the one for whom Easter is named. Ishtar is but another name for Semiramis – the wife of Nimrod. This post-Flood festival was part of the false religion Mystery Babylon and was started by Nimrod and his wife Semiramis (also known as Ishtar).

They not only instituted the building of the Tower of Babel, they also established themselves as god and goddess to be worshiped by the people of Babylon. They are the co-founders of all the counterfeit religions that have ever existed.

Nimrod was worshiped as the Sun God. He was worshiped in numerous cultures and countries under a variety of names: Samas, Attis, Uti, Merodach/Marduk, Ninus, Bel/Baal, Moloch, Tammuz - the list is virtually endless. [He was also known as Dumuzi by the Sumerians and as RA by the Egyptians, as I have detailed in this article].

Millions of people are unknowingly worshiping and praying to this pagan goddess today. What is her present-day name?

The Babylonians celebrated the day of Ishtar / Easter as the return of the goddess of Spring – the re-birth or reincarnation of Nature and the goddess of Nature. Babylonian legend says that each year a huge egg would fall from heaven and would land in the area around the Euphrates River.

[The pope's ceremonial clothes copy those worn by the ancient priests of Dagon, and not by coincidence. According to the Sumerian tablets, when the Anunnaki god Enki first arrived on Earth, he landed his space ship on water. He later emerged from water wearing his 'scaly fish-suit' (astronaut's suit?). Thousands of years later, the ceremony of the fish god was still celebrated in Akkadia, Assyria and Babylon, by the priests of Dagon... and seemingly it still is today].

In her yearly re-birth, Ishtar would break out of this egg and if any of those celebrating this occasion happened to find her egg, Ishtar would bestow a special blessing on that person. Does this explain the origin of our modern-day tradition of Easter eggs and baskets and Easter egg hunts?

Other pagan rites that were connected with this celebration and which are part of our modern Easter tradition are Easter offerings to the Queen of Heaven (consisting of freshly cut flowers, hot buns decorated with crosses, and star-shaped cakes); new clothes to celebrate this festival (The pagan priests wore new clothes or robes and the Vestal Virgins wore new white dresses or robes and bonnets on their heads.); and sunrise services (to symbolically hasten the yearly arrival of Ishtar’s egg from heaven - the re-incarnation of the spring goddess).

[The Vatican is secretly perpetuating the ancient pagan rituals and the worship of their ancient "gods" - a.k.a. the Anunnaki. The shadow religion of the world's "elite" is Satanism and all the positions of power are occupied by Satanists].

Related: The Vatican City And Rome: Esoteric Beyond Belief;

The Satanic Connections Easter has its origins in the world of the occult. The Occult / Satanic calender is comprised of four periods of 13 weeks each. Occultists believe that numbers contain inherent power, and many base their lives on numerology. Numerology is also a key component of astrology – another system occultists follow closely. Thus the occult calendar is divided into 4 parts of 13 weeks each. Note that 13 x 4 = 52 weeks – our year.

In the occult system, the number 6 = man, the number 7 = divine perfection or god, and the number 13 = rebellion against authority and depravity. So, in the occult or satanic world, the number 13 represents the state of man’s having reached divine perfection, self-achieved perfection, and illumination.

According to 8th century scholar St. Bede (also known as the Venerable Bede / Bede, the Venerable), the name Easter is derived from the Scandinavian "Ostra" and the Teutonic "Ostern" or "Eastre" - both of whom were goddesses of mythology and were identified with spring and fertility.

Festivals for these goddesses were celebrated on the first day of the vernal equinox – March 21. Important parts of these pagan celebrations included the rabbit, red eggs, and gifts – all of which represented fertility. Easter is steeped in the Mysteries of ancient Babylon – an evil and idolatrous system.

Related: The Secret Worship of the Illuminati: The Statue of Liberty is Goddess Ishtar/Inanna;

The Satanic Ritual of Sacrificing Children Every year, the priests of Ishtar would impregnate young virgins on an altar dedicated to herself and her husband*. The children were born on Christmas (!!!), and the next year they were sacrificed in the Easter's Sunday at the sunrise service. The priests would take Ishtar's eggs and dye them in the blood of the sacrificed children.

*Inanna's husband was none other that the infamous god Moloch or Melekh, to whom children were - and still are - sacrificed in Satanic rituals. Satanism is the religious worship of the Anunnaki, and the human and animal sacrifices were/are part of the rituals.

If you're finding it hard to believe, then here is an excerpt of the Encyclopaedia Judaica, which identifies Ishtar/Inanna and her husband as the gods to whom children were sacrificed:

"(...) The identification of Hadad-Baal with Moloch provides the background to Jeremiah 32:35, which fulminates against the bamot-altars of Baal in the valley of Ben-Hinnom where male and female children were burnt to Moloch, i.e., Baal-Hadad. Furthermore, a series of Assyrian-Aramean documents analyzed by K. Deller showed that Adadmilki or Adadšarru ("Adad the king") was actually the god to whom children, sometimes firstborn, were burned (see below).

"The Assyrian material sheds new light on II Kings 17 where Adadmelech (to be read instead of Adrammelech) is the god to whom the Sepharvites burn/dedicate their children (verse 31). Adadmelech in this verse stands next to Anammelech who has been correctly related by scholars to Anath who bears the title 'Queen of Heaven,' the standard term for Ishtar in Akkadian (šarrat šamê; cf. Sumerian nin.anna.ak = Inanna). The pair Adad and Ishtar, or the 'king' and the 'queen,' are the ones to whom children are dedicated in the Assyrian-Aramean documents quoted above." - The Cult of Moloch, Jewish Library;

Most of the world's "elite" (active and former Presidents, Prime Ministers, Politicians, Judges, etc. and even Royalty), take part at this annual ritual. Notice the fish-god priests conducting the ritual.

More Inconsistencies Our traditional Good Friday to Sunday celebration however only accounts for Jesus’ being in the heart of the earth for two nights and one day. Were the facts of Jesus’ death, burial, and resurrection purposely distorted? Learn who is not telling the truth -- and why!

There are absolutely no verses anywhere in the Bible that authorize or endorse the keeping of an Easter celebration. Further, the Bible says nothing about the practice of observing Lent, dying Easter eggs, having Easter egg hunts, baskets of candy, bonnets – and so on. Easter has long been known to be a pagan festival. America’s founders knew this.

In the children’s book Easter Parade: Welcome Sweet Spring Time (pp 4-5) Steve Englehaty states:

“When the puritans came to North America, they regarded the celebration of Easter – and the celebration of Christmas with suspicion. They knew that pagans had celebrated the return of spring long before Christians celebrated Easter. (...) For the first 200 years of European life in North America, only a few states - mostly in the South - paid much attention to Easter.

“Not until after the Civil War did Americans begin celebrating this holiday... Easter first became an American tradition in the 1870’s... The original 13 colonies of America began as a Christian nation, with the cry of ‘No king but King Jesus’. The nation did not observe Easter within an entire century of its founding.”

Most people accept traditions as fact because they have been part of our culture for so long.

Unfortunately, most of these traditions are dark and gory Satanic rituals.

Trust me, I am just as disgusted as you are (or should be), but the truth must be known.

Check out these videos: Easter Celebrates Killing Kids and Sex Gods. CHRISTIANS WATCH THIS! Michael Rood Interview. https://www.youtube.com/watch?v=L3HpuZvNASU

Origin of Easter/Ishtar https://www.youtube.com/watch?v=FzQslWHOqgE

Get Rid of Easter! (Pagan origins of Easter and Christmas Exposed) Part 1 of 8 https://www.youtube.com/watch?v=4EUAMyTYwno

Get Rid of Easter! (Pagan origins of Easter and Christmas Exposed) Part 2 of 8 https://www.youtube.com/watch?v=JnepcFOZY0M

Get Rid of Easter! (Pagan origins of Easter and Christmas Exposed) Part 3 of 8 https://www.youtube.com/watch?v=0kZtsskWP7Y

Get Rid of Easter! (Pagan origins of Easter and Christmas Exposed) Part 4 of 8 https://www.youtube.com/watch?v=4aNpq1MWB04

Get Rid of Easter! (Pagan origins of Easter and Christmas Exposed) Part 5 of 8 https://www.youtube.com/watch?v=3rwFkYFwJTs

Get Rid of Easter! (Pagan origins of Easter and Christmas Exposed) Part 6 of 8 https://www.youtube.com/watch?v=esLKjcnAB6w

Get Rid of Easter! (Pagan origins of Easter and Christmas Exposed) Part 7 of 8 https://www.youtube.com/watch?v=S3GhJkPdLKM

Get Rid of Easter! (Pagan origins of Easter and Christmas Exposed) Part 8 of 8 https://www.youtube.com/watch?v=vpHKrtb-H4E

Have a blessed day and weekend. May Yeshua the Messiah bless you, Love, Debbie

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worldfoodbooks · 7 years ago

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NEW IN THE BOOKSHOP: SKULPTUR PROJEKTE MÜNSTER 2017 For forty years, the Sculpture Project Münster has been an important event for contemporary art. Held every ten years, its curatorial direction has been in the hands of Kasper King since its inception in 1977. In 2017, it was in close cooperation with Britta Peters and Marianne Wagner. For the exhibition, international artists are invited to develop site-related works for the urban space. The fifth edition of the Sculpture Project features around thirty new artistic positions moving between sculpture, installation, and performative art. This publication produced in conjunction with the exhibition contains seven essays, an extensive series of images, and short texts provide information about the projects. Edited with text by Kasper König, Britta Peters, Marianne Wagner. Text by Inke Arns, Claire Doherty, Mit Sanyal, Mark von Schlegell, Gerhard Vinken, Raluca Voinea. Includes the work of : Ei Arakawa, Aram Bartholl, Nairy Baghramian, Cosima von Bonin, Andreas Bunte, Gerard Byrne, Camp (with Shaina Anand and Ashok Sukumaran), Michael Dean, Jeremy Deller, Nicole Eisenman, Ayşe Erkmen, Lara Favaretto, Hreinn Fridfinnsson, Monika Gintersdorfer and Knut Klaßen, Pierre Huyghe, John Knight, Xavier Le Roy with Scarlet Yu, Justin Matherly, Sany (Samuel Nyholm), Christian Odzuck, Emeka Ogboh, Peles Empire with Barbara Wolff and Katharina Stöver, Alexandra Pirici, Mika Rottenberg, Gregor Schneider, Thomas Schütte, Nora Schultz, Michael Smith, Hito Steyerl, Koki Tanaka, Oscar Tuazon, Joelle Tuerlinckx, Cerith Wyn Evans, Herve Youmbi, Barbara Wagner and Benjamin de Burca Available via our website and in the bookshop. #worldfoodbooks #skulpturprojekte2017 #pierrehuyghe #hitosteyerl #sany (at WORLD FOOD BOOKS)

#hitosteyerl #pierrehuyghe #worldfoodbooks #skulpturprojekte2017 #sany

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todayclassical · 8 years ago

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May 02 in Music History

1600 FP of Cassini's "I che dal ciel cadere io renderebbe a luna" Florence.

1660 Birth of Italian composer Alessandro Scarlatti in Palermo.

1692 FP of Henry Purcell's opera The Fairy Queen at the Queen's Theater, Dorset Garden, London.

1729 Birth of composer Florian Johann Deller.

1733 FP of Hasse's "Siroe rè di Persia" Bologna.

1738 Unveiling of Louis-François Roubiliac's statue of Handel at Vauxhall Gardens in London.

1742 FP of Glucks "Demetrio" Venice.

1752 Birth of German oboist and composer Ludwig August Lebrun.

1754 Birth of Spanish composer Vicente Martín y Soler in Valencia.

1810 Birth of Danish conductor and composer Hans Christian Lumbye.

1843 Birth of Austrian conductor and composer Carl Michael Ziehrer.

1846 Birth of Polish composer and conductor Zygmunt Noskowski.

1855 Birth of American composer Theodore Tobani.

1855 FP in US of Verdi's opera Il Trovatore 'The Troubadour' at the Academy of Music in NYC.

1857 Birth of composer Frederic Cliffe.

1861 Birth of French composer Maurice Emmanuel in Bar-sur-Aube.

1864 Death of German composer Giacomo Meyerbeer.

1882 Birth of tenor Josef Rosenblatt in Biela Tserkov Kiev.

1885 FP of Bruckner's Te Deum in Vienna.

1886 Death of Polish tenor Julian Dobrski.

1887 Birth of German bass-baritone Michael Bohnen in Cologne.

1895 Birth of German tenor Carl Hartmann in Solingen.

1896 Birth of American contralto Sonia Sharnova in Chicago.

1899 FP of Paul Linke's operetta Frau Luna, Apollo Theater, Berlin.

1903 Birth of Norwegian composer and conductor Øivin Fjeldstad in Oslo.

1905 Birth of English composer Alan Rawsthorne in Haslingden.

1906 Birth of Finnish soprano Aulikki Rautawaara in Vaasa.

1906 Birth of composer Maurice Thiriet.

1909 Birth of Chinese composer Wen-Ying Hsu.

1911 Birth of composer Lillian Rambach.

1914 Death of Italian soprano Fanny Torresella.

1915 Birth of composerJan Hanuš.

1918 FP of Heckscher's "The Flight of Time" and "Rose of Destiny" Philadelphia.

1920 Birth of Italian soprano Elda Ribetti in Florence.

1920 Birth of American bass-baritone Louis Sgarro in New York, NY.

1921 FP of Mascagni's "Il piccolo Marat" in Rome.

1923 Birth of American violinist and composer Arnold Black.

1924 Birth of Dutch mezzo-soprano Aafje Heynis in Krommenie.

1928 Birth of German conductor Horst Stein in Elberfeld.

1928 Birth of British soprano April Rosemary Cantelo in Purbrook.

1929 Birth of American composer Edward Levy.

1932 Birth of British composer Malcolm Lipkin.

1934 Birth of Italian baritone Giuseppe Di Prima in Catanis.

1935 Birth of German bass-baritone Werner Haseleu in Wittenberg.

1935 FP of Jacques Ibert's Concertino da Camera for saxophone and chamber orchestra, in Paris.

1936 FP of Prokofiev's Peter and the Wolf at a children's concert by the Moscow Philharmonic.

1936 Birth of American violinist Michael Rabin in NYC.

1947 Birth of Belgian conductor Philippe Herreweghe in Ghent.

1947 FP of Aaron Copland's In the Beginning. Harvard University, commissioned for the Harvard Symposium.

1948 Birth of American soprano Jeanine Altmeyer.

1951 FP of John Cage's Imaginary Landscape No. 4 for 12 radios, in NYC.

1951 FP of Ulysses Kay's Sinfonia in E in Rochester, New York.

1953 Birth of Russian conductor Valeri Guérguiev.

1953 Death of German composer Walter Rummel in Bordeaux.

1954 Death of Dutch mezzo-soprano Pauline De Haan-Manifarges.

1960 Birth of American composer Barry Drogin.

1964 Birth of Scottish soprano Gillian Webster in Larbert.

1965 FP of William Bolcom's Oracle for orchestra, in Seattle.

1965 FP of Ferde Grofé's Trick or Treat: Halloween. Philadelphia Orchestra, André Kostelanetz conducting.

1976 Death of German soprano Lotte Leonard.

1981 FP of David Amram's Violin Concerto. St. Louis Symphony, Leonard Slatkin conducting, with Charles Castleman soloist.

1984 FP of Ezra Laderman's String Quartet No. 7. Colorado Quartet in NYC.

1990 FP of Elliott Carter's Violin Concerto. San Francisco Symphony conducted by Herbert Blomstedt, with Ole Böhn was the soloist.

1990 Death of American composer and trombonist William Levi Dawson.

#classicalmusic #today in music history #todayclassical #musichistory #onthisday

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fashionimageproject-blog · 8 years ago

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NORTH: IDENTITY, PHOTOGRAPHY, FASHION6 JANUARY - 19 MARCH 2017

#North

North: Identity, Photography, Fashion explores the way the North of England is depicted, constructed and celebrated in select photographs, artworks and fashion collections. The show brings together collective visions of the North, unpicking themes that appear regularly in design and media.

Featured objects include documentary work dating back over eighty years, and fashion media from the last thirty years. The ways in which the realities captured in the early projects have become tropes, rehashed and recreated year on year, season on season, is considered. In Looking North, the cultural historian Dave Russell writes, ‘The real skill will be in learning to look beneath the clichés and habits of imagination that lie at the heart of these myths.’  With this in mind, this exhibition is both about the style and cultural heritage of the North, and the ways in which ideals of it – the clothes, the music, the smells, the houses, the men, the women, the communities – have spread and, in turn, been shaped by others through visual representations. It is about the evolution of tradition, character and identity as much as it is photography and fashion.

The cultural output of the North has had a global influence. On display, work by international designers shows the far-reaching relevance of North-inspired motifs and their appeal to audiences who may never have set foot in the region but feel a connection through music, graphics or style. Testimonies to this are Paul Smith’s Manchester themed pieces, which are sold exclusively in Japan under his  R. Newbold line. To many, the influence of the North relates to highly personal reflections or formative experiences – their designs or artworks pay tribute to the heroes of their youth, the streets they used to walk or the characters they once wishes to emulate.

Also on display are interviews from designers that hail from the North of England, who discuss the impact the region and their upbringing had on their creative output. Created by the team at SHOWstudio, a platform dedicated to fashion film and live media, these original commissions are available online on SHOWstudio’s North series, which corresponds with this exhibition and features additional contributions and writing. showstudio.com/project/north

Exhibition curated by Lou Stoppard and Adam Murray. Set design by Tony Hornecker. Display Units by Theo Simpson and Alisdair Simpson. Kindly supported by adidas.

Special thanks to Peter Saville, Nick Knight and the team at SHOWstudio, Mike Chetcuti, Gary Aspden and the team at adidas, and all contributing artists.

Featured artists are Alasdair McLellan, Glen Luchford, Corinne Day, David Sims, Jamie Hawkesworth, Jason Evans, Alice Hawkins, Mark Leckey, Jeremy Deller, Raf Simons, Paul Smith, Virgil Abloh, New Power Studio, adidas, Elaine Constantine, Christopher Shannon, Maxwell Sterling, Simon Foxton, Ben Kelly, Stephen Jones, Gareth Pugh, Nick Knight, Peter Saville, John Bulmer, Peter Mitchell, Nik Hartley, Claire Barrow, Humphrey Spender, Thom Murphy, Ewen Spencer, Brett Dee, Humphrey Jennings, Dave Turner, Rob Williams, David Ellison, Scott King, Shirley Baker, Greg Leach, John Davies, John Stoddart, Martin Roberts, Michael Robinson, Michelle Sank, Paul O’Donnell, Stephen McCoy, Tom Wood, John Skelton.

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virgilabloh · 8 years ago

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"installing" Off-White™ c/o Ben Kelly "SET" @openeyegallery curated by @loustoppard & @adam__murray NORTH: IDENTITY, PHOTOGRAPHY, FASHION 6 JANUARY - 19 MARCH 2017 Please join us for the Launch Night Thursday 5 January 2017, 6pm-9pm Co-curated by Lou Stoppard and Adam Murray, North explores the way the North of England is depicted, constructed and celebrated in select photographs, artworks and fashion collections. The show brings together collective visions of the North, unpicking the tropes and themes that appear regularly in design and media and takes into account the rich cultural history of the region. Fashion garments include a Raf Simons parka from the renowned A/W 2003 Control collection, which featured graphics from Peter Saville’s archive and made headlines this year for its current value of $20,000. New collaborative work, such as a project by Hacienda designer Ben Kelly and American fashion designer Virgil Abloh, who is a long term fan of the sounds and graphics of 1980s Northern England, will also be on display. Featured artists are Alasdair McLellan, Glen Luchford, Corinne Day, David Sims, Jamie Hawkesworth, Jason Evans, Alice Hawkins, Mark Leckey, Jeremy Deller, Raf Simons, Paul Smith, Virgil Abloh, New Power Studio, adidas, Elaine Constantine, Christopher Shannon, Maxwell Sterling, Simon Foxton, Ben Kelly, Stephen Jones, Gareth Pugh, Nick Knight, Peter Saville, John Bulmer, Peter Mitchell, Nik Hartley, Claire Barrow, Humphrey Spender, Thom Murphy, Ewen Spencer, Brett Dee, Humphrey Jennings, Dave Turner, Rob Williams, David Ellison, Scott King, Shirley Baker, Greg Leach, John Davies, John Stoddart, Martin Roberts, Michael Robinson, Michelle Sank, Paul O’Donnell, Stephen McCoy, Tom Wood, John Skelton.

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lookintomyeyeblog · 6 years ago

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Dấu ấn tuần qua: Thế giới kỷ niệm 27 năm Pháp Luân Công được giới thiệu ra công chúng

Hoa Kỳ, Canada, Đức, Pháp, Australia... rất nhiều nơi trên thế giới trong những ngày gần đây đã tổ chức các sự kiện chào mừng môn khí công đem lại lợi ích cho hàng triệu người trong suốt 27 năm qua: Pháp Luân Công hay Pháp Luân Đại Pháp.

"Hiệu quả của Pháp Luân Đại Pháp trong việc cải thiện sức khỏe, cũng như các nguyên tắc nền tảng của môn tập, đã được chứng minh là rất phổ biến trên toàn thế giới", trích Nghị quyết 1115 của Thượng viện bang tiểu bang New York (Hoa Kỳ) nhân kỷ niệm ngày Pháp Luân Đại Pháp thế giới 13/5/2019. "Pháp Luân Đại Pháp là môn tập mang lại sức khỏe tốt hơn và sự bình an về nội tâm cho hàng triệu người trên khắp thế giới."

Là môn khí công cổ truyền theo nguyên lý Chân - Thiện - Nhẫn, Pháp Luân Công lần đầu tiên được Đại Sư Lý Hồng Chí giới thiệu rộng rãi ra công chúng vào ngày 13/5/1992 tại Trung Quốc và nhanh chóng được đón nhận tại nhiều quốc gia trên thế giới.

Nhân ngày 13/5 - còn gọi là Ngày Pháp Luân Đại Pháp thế giới, nhiều học viên Pháp Luân Công từ các quốc gia đã chia sẻ những lợi ích mà họ có được nhờ Pháp Luân Đại Pháp.

"Ngay khi tôi thực hiện bài thiền định, tôi cảm thấy thật nhẹ nhàng, thoải mái, cơ thể như thể được nhấc bổng lên vậy, cảm thấy thật trong lành, tinh khiết, tự do. Thật là một cảm giác tuyệt diệu", diễn viên kiêm người mẫu Anh Quốc Victoria Ledwidge nói với NTD khi cô tham dự các hoạt động mừng ngày Pháp Luân Đại Pháp thế giới 2019 được tổ chức tại Luân Đôn.

[caption id="attachment_1145698" align="aligncenter" width="700"] Bên trái: Ảnh chụp màn hình mạng xã hội Twitter của diễn viên kiêm người mẫu Anh Quốc Victoria Ledwidge. Bên phải: Victoria tham gia cuộc diễu hành mừng ngày Pháp Luân Đại Pháp thế giới 2019 tại Luân Đôn, Anh Quốc (Ảnh: Twitter của Victoria Ledwidge)[/caption]

Ông John Deller, học viên Pháp Luân Công người Australia, nói với NTD nhân sự kiện mừng ngày Pháp Luân Đại Pháp được tổ chức tại Úc: "Lần đầu tiên tôi biết đến Pháp Luân Đại Pháp là từ 20 năm trước. Một người đã cho tôi mượn cuốn sách 'Chuyển Pháp Luân'. Ngay lần đầu tiên tôi nghe đến cụm từ Chân-Thiện-Nhẫn, tôi đã cảm thấy trái tim mình rộng mở, vì tôi nhận ra rằng đây là môn tập mang lại lợi ích cho bất kỳ ai. Môn tập thật sự rung động đến trái tim của tất cả mọi người và giúp họ hiểu được ý nghĩa đích thực của cuộc sống.

[caption id="attachment_1145701" align="aligncenter" width="700"] Ông John Deller, học viên Pháp Luân Công người Australia, phát biểu tại một cuộc mít tinh kêu gọi chấm dứt cuộc đàn áp Pháp Luân Công tại Trung Quốc (Ảnh: Minghui.org)[/caption]

Tại Hoa Kỳ, hơn 10.000 học viên Pháp Luân Công từ các quốc gia khác nhau đã tập trung tại New York để tham gia một hội thảo giao lưu chia sẻ kinh nghiệm, một cuộc diễu hành trên đường phố và các buổi biểu diễn tập thể nhằm giới thiệu với công chúng về vẻ đẹp của Pháp Luân Đại Pháp và nâng cao nhận thức về cuộc đàn áp đang diễn ra tại Trung Quốc.

Cuộc diễu hành đã được phát sóng trực tiếp trên Facebook fanpage của Đại Kỷ Nguyên Việt Nam vào tối thứ Năm (16/5) theo giờ Việt Nam. Nhiều học viên Pháp Luân Công Việt Nam trong trang phục áo dài truyền thống cũng tham gia vào đoàn diễu hành cùng các học viên từ hàng chục quốc gia khác.

"Dù tôi đã học đến trình độ tiến sỹ, điều đó cũng không thật sự giúp tôi lý giải được ý nghĩa cuộc đời và những vấn đề uyên thâm hơn. Tôi tìm hiểu Pháp Luân Công và thấy rằng các bài giảng của pháp môn này ở trình độ rất cao, rất rõ ràng và đơn giản", Scott Chinn, một học viên Pháp Luân Công người Mỹ, cho biết.

[caption id="attachment_1145787" align="aligncenter" width="700"] Scott Chinn, học viên Pháp Luân Công người Mỹ, trả lời phỏng vấn của NTD (Ảnh: Epoch Times)[/caption]

Bà Jeanne Mitchell, một học viên Pháp Luân Công khác sống tại New York, cho biết: "Tâm trí tôi trở nên nhẹ nhõm, trước đó tôi hay lo nghĩ, nhiều phiền não, nhiều cảm xúc tiêu cực, nổi cáu, tâm trạng tồi tệ. Các mối quan hệ của tôi đã được cải thiện. Chồng tôi nói rằng tôi đã trở nên 'dễ sống cùng hơn' chỉ trong vòng một tháng."

[caption id="attachment_1145816" align="aligncenter" width="700"] Bên trái: Bà Jeanne Mitchell chạy bộ khi mặc chiếc áo vàng có dòng chữ 'Tự do cho Pháp Luân Đại Pháp' (Ảnh: Facebook của bà Jeanne Mitchell). Bên phải: Bà Jeanne Mitchell phát biểu tại sự kiện mừng ngày Pháp Luân Đại Pháp thế giới 2015 được tổ chức tại New York (Ảnh: Minghui.org)[/caption]

"Chúng tôi ở đây để thể hiện rằng Pháp Luân Đại Pháp là môn tập có tính quốc tế, chứ không chỉ là của Trung Quốc, môn tập có rất nhiều lợi ích lớn lao đối với bất kỳ ai quyết định theo tập", June Fakkert, một học viên Pháp Luân Công người Mỹ tham gia đoàn diễu hành nói với The BL, trang tin tiếng Anh có trụ sở tại New York.

[caption id="attachment_1146113" align="aligncenter" width="700"] Bên trái: Ảnh chụp màn hình mạng xã hội Twitter của học viên Pháp Luân Công người Mỹ June Fakkert. Bên phải: Cô June Fakkert trả lời phỏng vấn của The BL trong cuộc diễu hành mừng ngày Pháp Luân Đại Pháp thế giới 2019 được tổ chức tại thành phố New York, Hoa Kỳ (Ảnh chụp màn hình từ video)[/caption]

Trái ngược với các quốc gia trên thế giới, chính quyền Trung Quốc đàn áp Pháp Luân Công từ năm 1999 đến nay, sau mệnh lệnh của cựu Tổng Bí thư kiêm Chủ tịch nước Giang Trạch Dân, người nảy sinh lòng ghen tị khi chứng kiến sự ưa chuộng của người dân đối với môn tập có số học viên vượt quá số lượng đảng viên đương thời.

[videoplayer link="https://video2.dkn.tv/giai-ma-that-bai-19-nam-cua-quai-vat-thanh-rome-trung-quoc_a0148ab48.html"]

Suốt 20 năm qua, các học viên Pháp Luân Công trên khắp thế giới luôn bền bỉ chia sẻ thông tin về cuộc đàn áp tại Trung Quốc, với hy vọng góp phần chấm dứt những vi phạm nhân quyền đang diễn ra đối với các học viên ở đại lục.

Ông Bjorn Neumann, một học viên Pháp Luân Công người Đức sống tại Mỹ, nói với The BL: "Tôi tham gia cuộc diễu hành hôm nay để nâng cao nhận thức về cuộc đàn áp đẫm máu đối với các học viên Pháp Luân Công đang diễn ra tại Trung Quốc".

[caption id="attachment_1146157" align="aligncenter" width="700"] Ông Bjorn Neumann, một học viên Pháp Luân Công người Đức sống tại Mỹ, trả lời phỏng vấn của The BL khi tham gia đoàn diễu hành mừng ngày Pháp Luân Đại Pháp thế giới tại thành phố New York, Hoa Kỳ, ngày 16/5/2019 (Ảnh chụp màn hình từ video)[/caption]

Cô Helen Tong, một học viên người Pháp đến từ Paris, nói với The BL: "Là một học viên phương Tây, tôi ủng hộ mạnh mẽ Pháp Luân Công, môn tập đã làm nên những thay đổi to lớn và tích cực đối với cuộc đời tôi. Tôi hy vọng Pháp Luân Công sẽ không còn bị đàn áp ở Trung Quốc nữa".

[caption id="attachment_1146152" align="aligncenter" width="700"] Bên trái: Cô Helen Tong, một học viên Pháp Luân Công người Pháp, trả lời phỏng vấn của The BL. Bên phải: Ảnh của cô Helen Tong trên trang Facebook cá nhân.[/caption]

Cô cũng cho biết: "Tôi bắt đầu tập Pháp Luân Công từ năm 1999 và môn tập đã mang đến những thay đổi lớn đối với cuộc đời tôi. Tôi từng là một người rất ích kỷ, dễ bức xúc, hay có mâu thuẫn với mọi người. Giờ thì tôi sống một cuộc sống bình yên hơn nhiều, tôi có thể giải quyết những mâu thuẫn bằng những cách không bạo lực".

Nhiều nhân sỹ và các nhà lãnh đạo trên thế giới cũng lên tiếng chào mừng ngày Pháp Luân Đại Pháp thế giới và ghi nhận những đóng góp tích cực của Pháp Luân Công đối với cộng đồng địa phương.

"Có hàng triệu người ở Trung Quốc và thế giới đang thực hành các nguyên lý của Pháp Luân Công hay Pháp Luân Đại Pháp một cách ôn hòa", ông Peter Kent, Nghị sỹ Canada, Chủ tịch "Hội các nghị sỹ Canada là bạn của Pháp Luân Công" phát biểu tại sự kiện mừng ngày Pháp Luân Đại Pháp thế giới 2019 được tổ chức trên Đồi Nghị viện, thủ đô Ottawa, Canada ngày 8/5/2019.

[caption id="attachment_1145845" align="aligncenter" width="700"] Nghị sỹ Canada Peter Kent, Chủ tịch "Hội các nghị sỹ Canada là bạn của Pháp Luân Công". Bên trái: Nghị sỹ Kent phát biểu tại sự kiện mừng 27 năm Pháp Luân Đại Pháp được giới thiệu ra công chúng, được tổ chức trên Đồi Nghị viện, thủ đô Ottawa, Canada, ngày 8/5/2019 (Ảnh: Epoch Times). Bên phải: Ảnh chụp màn hình mạng xã hội Twitter của Nghị sỹ Peter Kent.[/caption]

"Pháp Luân Đại Pháp đem lại lợi ích thể chất và tinh thần cho hàng chục triệu người tại hơn 100 quốc gia trên thế giới kể từ khi môn tập được giới thiệu ra công chúng ở Trung Quốc vào ngày 13/5/1992", ông Bill Beamish, Thị trưởng thành phố Gibsons, Canada, phát biểu với NTD nhân ngày Pháp Luân Đại Pháp thế giới 2019.

"Dựa trên nguyên lý Chân - Thiện - Nhẫn, các học viên Pháp Luân Công luôn cố gắng áp dụng những tiêu chuẩn này vào cuộc sống hàng ngày", ông Alan Adler, nhà phát minh người Mỹ, Giám đốc điều hành Hội những người bạn của Pháp Luân Công (FOFG), phát biểu trong cuộc mít tinh trước khi diễu hành mừng ngày Pháp Luân Đại Pháp thế giới tại New York ngày 16/5/2019.

The BL đã ghi lại đoạn video trong đó nhà phát minh Adler phát biểu: "Các bạn hãy hỏi bất kỳ học viên nào ở đây, họ sẽ nói cho các bạn rằng môn tập đã thay đổi cuộc đời họ theo hướng tốt đẹp hơn như thế nào, từ khía cạnh sức khỏe thể chất, sức khỏe tinh thần, đến hạnh phúc gia đình."

[caption id="attachment_1146121" align="aligncenter" width="700"] Ông Alan Adler, nhà phát minh người Mỹ, Giám đốc điều hành Hội những người bạn của Pháp Luân Công (FOFG) phát biểu tại cuộc mít tinh kỷ niệm 27 năm giới thiệu Pháp Luân Đại Pháp ra công chúng, được tổ chức tại thành phố New York, Mỹ ngày 16/5/2019 (Ảnh chụp màn hình video của The BL)[/caption]

Ông Michael Gahler, Đại biểu Nghị viện châu Âu của Cộng hòa Liên bang Đức, nói với NTD trong một sự kiện mừng ngày Pháp Luân Đại Pháp thế giới được tổ chức tại Đức: "Vì tương lai của tất cả các học viên Pháp Luân Công, tôi xin chúc tất cả các học viên Pháp Luân Công ở hải ngoại và đại lục vui vẻ thuận lợi, hy vọng không lâu sau họ sẽ được tự do, không lâu sau họ sẽ có thể tự do tập luyện ở Trung Quốc".

Một số nghị sỹ Hoa Kỳ cũng đưa ra lời chúc tương tự đối với các học viên Pháp Luân Công nhân ngày Pháp Luân Đại Pháp thế giới.

"Chúng tôi mong muốn hòa bình, tự do, và quyền được hưởng tự do tín ngưỡng trên toàn thế giới và cho Pháp Luân Công", hạ nghị sỹ Sheila Jackson Lee (Đảng Dân chủ, bang Texas) nói với NTD.

[videoplayer link="https://video2.dkn.tv/paris-ngay-nang-trong-veo_8f0869b0c.html"]

Hạ nghị sỹ Chris Smith (Đảng Cộng hòa, bang New Jersey) nói với NTD: "Nhân ngày kỷ niệm 20 năm những học viên [bị đàn áp] vẫn tiếp tục bền bỉ, [tôi chúc] các học viên Pháp Luân Công và những người có đức tin khác một ngày nào đó sẽ được trả tự do ở Trung Quốc".

[caption id="attachment_1146304" align="aligncenter" width="700"] Hạ nghị sỹ Chris Smith gửi lời chúc tới các học viên Pháp Luân Công nhân ngày Pháp Luân Đại Pháp thế giới 2019 (Ảnh chụp màn hình từ NTD)[/caption]

Các sự kiện mừng ngày Pháp Luân Đại Pháp thế giới 2019 cũng được tổ chức tại nhiều quốc gia khác, như New Zealand, Thái Lan, Nhật Bản, Hàn Quốc, Đài Loan, Ấn Độ, Singapore, Ukraine, Thụy Điển, Na Uy, v.v. Theo thống kê của trang tin Minh Huệ (Minghui.org), các học viên từ hơn 50 quốc gia đã gửi lời chúc mừng đến Đại Sư Lý Hồng Chí nhân ngày Pháp Luân Đại Pháp thế giới 13/5, cũng là ngày sinh của ông, người được đề cử giải Nobel Hòa bình năm 2000 và 2001.

[caption id="attachment_1146173" align="aligncenter" width="602"] Các học viên Pháp Luân Công Thụy Điển luyện công và tổ chức kỷ niệm Ngày Pháp Luân Đại Pháp thế giới tại Vườn Hoàng gia ở Stockholm vào ngày 11/5/2019. (Ảnh: Minghui.org)[/caption]

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caveartfair · 6 years ago

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The 18 Best Booths at Frieze London and Frieze Masters

The 16th edition of Frieze London opens to the public on Thursday, with some 160 galleries participating. If you leave the main tent hungry for more art, a 15-minute walk through Regent’s Park brings you to the seventh edition of Frieze Masters, where more than 130 galleries are showing older work (here, “older” simply meaning pre–21st century). As part of the main fair, there’s also live performance programming from artists like Camille Henrot and Liz Glynn, and Frieze Sculpture, which places outdoor installations by Virginia Overton, Tim Etchells, and others throughout the park. Art fairs, as usual, can get exhausting. If your time (or attention span) is limited, here are 18 presentations across both Frieze London and Frieze Masters that you shouldn’t miss.

kamel mennour

Frieze London, Main Section, Booth A2

With works by Tatiana Trouvé

Installation view of Tatiana Trouvé, The Shaman, 2018, at kamel mennour’s booth at Frieze London, 2018. © ADAGP Tatiana Trouvé. Courtesy the artist and kamel mennour, Paris/London.

The French gallery’s booth, located right by the entrance to the fair, is entirely given over to one massive, 30-ton sculpture by Tatiana Trouvé. The Shaman (2018) has as its centerpiece a patinated bronze tree, felled on its side, showing as much meticulous attention to detail as Charles Ray’s equally elaborate arboreal sculpture Hinoki (2007). A platform of crooked, partially broken concrete surrounds the tree, which is submerged in a small, burbling pool of water. Nearby, marble facsimiles of moving blankets and a pillow, plus some erratic strands of metal, complete the enigmatic scene. For all its apocalyptic undertones, the epic work is oddly contemplative. Cash-rich institutions, take note: The dramatic showpiece is on offer for €650,000.

The Modern Institute

Frieze London, Main Section, Booth D5

With works by Martin Boyce, Anne Collier, Jeremy Deller, Duggie Fields, Urs Fischer, Kim Fisher, Mark Handforth, Nicolas Party, Eva Rothschild, Hayley Tompkins, Michael Wilkinson, and more.

Installation view of The Modern Institute’s booth at Frieze London, 2018. Courtesy of the gallery.

With works hung on eccentrically angled walls—plus a recreation of an entire bedroom tucked around a corner—the Glasgow-based gallery squeezes a lot into its space. The always-impressive Nicolas Party has a lush pastel portrait of a woman holding flowers, plus a bronze sculpture, Black Cat’s Head, which plays fast and loose with its interpretation of feline features.

A large textile banner by Jeremy Deller shouts its message, adapted from the opening line of a poem by John Betjeman: “Come, Friendly Bombs, and Fall on Eton.” Light Year 6035 (2017) by 2011 Turner Prize winner Martin Boyce is a standout: a painted triptych of perforated steel sheets, ornamented with a dangling industrial chandelier. And toward the back of the booth, don’t miss the faux “bedroom” by Duggie Fields, which is densely decorated with 1980s-chic paintings and ephemera.

Gagosian

Frieze Masters, Main Section, Booth C2

With works by Man Ray

Installation view of work by Man Ray in Gagosian’s booth at Frieze Masters, 2018. © Man Ray Trust / Artists Rights Society (ARS), NY / ADAGP, Paris 2018. Photo by Lucy Dawkins. Courtesy of the

Demagogue, 1966. Man Ray Gagosian

A l'heure de l'observatoire: les amoureux, 1970. Man Ray Gagosian

Permanent Attraction, c. 1970. Man Ray Gagosian

Self Portrait, 1924. Man Ray Gagosian

Man Ray Playing Chess, 1922. Man Ray Gagosian

Gagosian, with its booth devoted to a Man Ray survey, has brought a miniature museum exhibition to Frieze Masters. Small sculptures made from odds and ends—twine, metronomes, chessboards, springs, baguettes painted blue—are joined by photographs, paintings, and assemblages. A 1966 collage, entitled Demagogue, looks shockingly fresh, combining images of a parrot, a smiling blonde woman, and a silver wheel rim. A mixed-media work finds Man Ray mounting a toilet seat atop a photograph of an egg, and in Anal Sunrise (1956), he puts an anatomical spin on the landscape tradition. Not everything here is a masterpiece, certainly, but the pieces combine to form a picture of an artist who wasn’t afraid to follow his quirkiest inclinations.

Simon Lee Gallery

Frieze London, Main Section, Booth E6

With works by Jim Shaw

Installation view of work by Jim Shaw in Simon Lee Gallery’s booth at Frieze London, 2018. Photo by Sebastiano Pellion. Courtesy of the artist and Simon Lee Gallery, London.

Ah, Jim Shaw—what a welcome salve for our desperate times! The artist—a peer of Mike Kelley and a like-minded aficionado of pop-cultural weirdness—has one of Frieze’s most cohesive, must-see solo presentations. First, there’s the wallpaper, whose patterns resemble Rorschach patterns of smeared gold. Look more closely and you’ll find that the pattern is made up of many contorted, cartoon faces of Donald Trump.

I've Got Your Back, 2018. Jim Shaw Simon Lee Gallery

Official Portrait #1 (Polyphemus), 2018. Jim Shaw Simon Lee Gallery

Tragedy Display, 2018. Jim Shaw Simon Lee Gallery

The works hanging atop this fitting homage to the U.S. president are what look like history paintings, if they were based on Tim and Eric Awesome Show, Great Job! sketches.One of them presents a scene of Aztec sacrifice, with cameos from Richard Nixon, Paul Manafort, and Roger Stone (the latter holds a knife and someone’s bloody heart). A smaller piece appropriates Francisco de Goya’s Saturn Devouring His Son (1820–23), superimposed with Uncle Sam’s “I Want You For U.S. Army” recruitment poster. In an even stranger painting, reclusive right-wing funder Robert Mercer smiles proudly in front of an alien abduction scene unfolding in the parking lot of a restaurant called “Ass Burgers.” The world might be going to hell, but at least we have Shaw to chronicle the dramatic end as we flame out.

Galerie Chenel

Frieze Masters, Main Section, Booth C11

With works by Marc Held and various sculptural works from antiquity

Installation view of Chenel Gallery’s booth at Frieze Masters, 2018. Courtesy of the gallery.

One of the appeals of Frieze Masters is the way it forces wildly different eras to coexist; Artemisia Gentileschi, Giorgio Morandi, Steven Parrino, and Dutch still lifes all have to share the same big tent. This Parisian gallery exemplifies the appeal of that transhistorical approach in something so simple as its choice of furniture: a set of sleek Marc Held chairs from 1967, from which prospective buyers can admire precious fragments of ancient Greek, Roman, and Egyptian sculptures.

The Approach

Frieze London, Main Section, Booth C16

With works by Heidi Bucher, Sara Cwynar, Allison Katz, Caitlin Keogh, Jack Lavender, Patrick Procktor, Magali Reus, John Stezaker, and Evren Tekinoktay

Installation view of The Approach Gallery’s booth at Frieze London, 2018. Courtesy of the gallery.

Using textiles, latex, and mother-of-pearl, the late Swiss artist Heidi Bucher applied her materials to the insides of rooms or to discrete interior details, peeling them off to create what she dubbed “skinnings.” (The process-based results have something in common with rubber works by American artist Robert Overby from the early 1970s.) The gallery is showing Wassertor (“Water Gate,” 1986), which is on offer for 250,000 Swiss francs. It’s a large, wall-mounted piece that is uncommon for Bucher, in that the form mimics nature, rather than architecture—in this case, a cascading flume of water.

Other standout works on view include Jack Lavender’s Remember me to them (2018), a totem-like sculpture pairing skulls with scratch-off lotto tickets, and three figurative paintings by Allison Katz, whose surfaces are enlivened by the inclusion of sand or rice.

Salon 94

Frieze London, Main Section, Booth C5

With works by Marina Adams, Lyle Ashton Harris, Takuro Kuwata, Max Lamb, Marilyn Minter, Jayson Musson, and Laurie Simmons

Installation view of Salon 94’s booth at Frieze London, 2018. Courtesy of the gallery.

The gallery’s aim here is to unite the design and fine art aspects of its programming, and the results are winning. A mob of chairs by Max Lamb cluster in the center of the booth; priced between $18,000 and $40,000, they’re composed of carved Styrofoam covered with thermal spray aluminum. Contorted ceramics by Takuro Kuwata—including one that is dotted with awkward gold protuberances—have a similarly raw energy. Looming behind it all is Marilyn Minter’s three-panel Big Bang (2012)—a photorealistic depiction of a spidering bullet hole in a sheet of water-streaked glass—which is going for $550,000.

Galería Elvira González

Frieze Masters, Main Section, Booth E9

With works by Carl Andre and Donald Judd

Installation view of Galería Elvira González’s booth at Frieze Masters, 2018. Photo © Sebastiano Pellion. Courtesy of the gallery.

The Madrid-based gallery is showing these two giants of American Minimalism together, with a focus on their work in wood. Carl Andre’s Pyramus and Thisbe (1990), composed of 20 blocks of Western red cedar, is installed on either side of one of the booth’s walls. It jibes nicely with a four-part series of wall-mounted Donald Judd sculptures from the 1980s and ’90s, made of unadorned Douglas fir plywood.

Galerie Greta Meert

Frieze London, Main Section, Booth B14

With works by Edith Dekyndt, Jean-Luc Moulène, Anne Neukamp, Thomas Struth, and Pieter Vermeersch

Installation view of work by Edith Dekyndt, Jean-Luc Moulène, and Thomas Struth at Galerie Greta Meert’s booth at Frieze London, 2018. Courtesy of the gallery.

This smartly curated presentation unfurls around ideas of abstraction and the effects of light. The works include Pieter Vermeersch’s Untitled (2018), a composition of pure color, with a pinkish-salmon hue that subtly fades into white at the top of the canvas. It’s priced at €35,000, perhaps a savvy buy in advance of the artist’s upcoming survey at Museum Leuven.

Os vert (Paris, 2018), 2018. Jean-Luc Moulène Galerie Greta Meert

GRACE-Follow-On Bottom view, IABG, Ottobrunn, 2017, 2017. Thomas Struth Galerie Greta Meert

S.T. 005, 2018. Jean-Luc Moulène Galerie Greta Meert

Void (Paris, 2017), 2017. Jean-Luc Moulène Galerie Greta Meert

Hanging across from the Vermeersch is Edith Dekyndt’s Havbro (2016), an IKEA rug that the artist has covered in silver leaf; the material slowly oxidizes, meaning it’ll require a collector who isn’t afraid of change. (The Dekyndt is on offer for €45,000.) Jean-Luc Moulène, meanwhile, contributes a simple abstract work—a bisected rectangle, with one side done in silver leaf and the other in heavy graphite scrawl—as well as a bronze sculpture of a hat. Altogether, the Brussels-based gallery sets an elegant yet inventive mood.

Modern Art

Frieze London, Main Section, Booth A5

With works by Yngve Holen, Sanya Kantarovsky, Josh Kline, Phillip Lai, and Steven Shearer

Installation view of Modern Art’s booth at Frieze London, 2018. Photo by Robert Glowacki. Courtesy of Stuart Shave/Modern Art, London.

Rose Painting, 2018. Yngve Holen Modern Art

Boy on Horse, 2016. Steven Shearer Modern Art

, . Sanya Kantarovsky Modern Art

TBC frieze, 2018. Sanya Kantarovsky Modern Art

The London-based gallery uses its booth’s significant footprint sparingly, with each work given ample breathing room—pun intended in the case of a Josh Kline sculpture of a businessman curled into a fetal position, wrapped suffocatingly in a plastic bag. No matter how often one sees this series, it doesn’t get any less jarring. Looming across from two monotypes by Sanya Kantarovsky are a pair of 2-meter-wide wood sculptures by Yngve Holen. They’re modeled on Range Rover rims, but are meant to resemble the design of certain Catholic church windows.

Sprüth Magers

Frieze Masters, Main Section, Booth F12

With works by Bernd & Hilla Becher, Andreas Gursky, and Thomas Ruff

Installation view of work by Andreas Gursky in Sprüth Magers’ booth at Frieze Masters, 2018. Photo © Kris Emmerson. Courtesy of the gallery.

The Dusseldorf School of Photography is the focus of this Berlin-, London-, and Los Angeles–based gallery’s booth, bringing together classic works by Bernd & Hilla Becher with that of their former students Thomas Ruff and Andreas Gursky. Of special note are the selections from Ruff’s first formal photo series, made in the early 1980s: understated, small-scale images of the interiors of German homes. Gursky’s Bochum University (1988) is captivating in a different way: an ordinary scene of students congregating on a campus patio made sublime, thanks to the grandeur of the surrounding landscape.

W&K - Wienerroither & Kohlbacher

Frieze Masters, Main Section, Booth G24

With works by Günter Brus, George Grosz, Gustav Klimt, Elke Krystufek, Elizabeth Peyton, Egon Schiele, and Franz West

Installation view of Wienerroither Kohlbacher Galerie’s booth at Frieze Masters, 2018. Courtesy of the gallery.

The Vienna- and New York–based gallery brings a smart mix of early and late 20th-century work, mingling Franz West collages and sculptures with a tiny tondo portrait of Marie Antoinette by Elizabeth Peyton, as well as drawings by George Grosz, Egon Schiele, and Gustav Klimt. The latter two artists command a cozy back room built into the booth, a sedated setting to take in their effortlessly evocative lines. And while both Schiele and Klimt are known for the eroticism in their work, they’re no match for Viennese Actionism co-founder Günter Brus. His 1970 drawing Freizeitgestaltung (“Leisure Activities”) is not for the squeamish.

Garth Greenan Gallery

Frieze Masters, Spotlight Section, Booth H12

With works by Rosalyn Drexler

Installation view of Garth Greenan Gallery’s booth at Frieze Masters, 2018. Courtesy of the gallery.

In these works from the early 1960s, Rosalyn Drexler evidences an omnivorous appetite for subject matter, pulling from nudie magazines, books about the mob, promotional photos of the Beatles, and news images. As part of the Pop art scene, Drexler followed a simple but generative process: gluing down images appropriated from various sources, and then painting directly atop them. Because of that, her paintings have a “craftiness” that isn’t present in the work of someone like Roy Lichtenstein, according to gallerist Garth Greenan.

Luxembourg & Dayan

Frieze Masters, Main Section, Booth H1

With works by Rodolfo Aricò, Stefano Arienti, Jean (Hans) Arp, Erico Baj, Alighiero Boetti, Alberto Burri, Alexander Calder, César, Gino De Dominicis, Gisetta Fioroni, Lucio Fontana, Alberto Giacometti, Fausto Melotti, Claes Oldenburg, Steven Parrino, Mimmo Rotella, Ed Ruscha, Mario Schifano, Andy Warhol, and Franz West

Installation view of Luxembourg & Dayan’s booth at Frieze Masters, 2018. Courtesy of the gallery.

Let’s face it: Booths get boring, fast. In trying to break free of the constraints of the form, galleries can easily misstep. (I’m looking at you, White Cube, and your confounding decision to install various paintings and sculptures on and around purpose-built metal partitions.) Luxembourg & Dayan’s solution is smart—the gallery has constructed an intricate, light-green shelving unit with cubbies to hold dozens of small-scale paintings, drawings, and sculptures.

“Minimonuments,” as the selection is called, includes plenty of Alighiero Boetti pieces, along with modest works by Claes Oldenburg, Mimmo Rotella, Ed Ruscha, and Alexander Calder. My only qualm is the exceedingly male-heavy roster, with Gisetta Fioroni being the only woman artist featured in this handsome space.

Galerie EIGEN + ART

Frieze London, Main Section, Booth A11

With works by Martin Eder, Stella Hamberg, Ricarda Roggan, and Bosco Sodi

Installation view of Galerie EIGEN + ART’s booth at Frieze London, 2018. Courtesy of the gallery.

I sold my devil to the soul, 2018. Martin Eder Galerie EIGEN + ART

Ricarda Roggan, Apokryphen (Johann Gottfried Seume, Briefbeschwerer), 2014. Courtesy of Galerie EIGEN + ART.

Ricarda Roggan, Apokryphen (Albert Dulk, Zwei Löffel), 2014. Courtesy of Galerie EIGEN + ART.

Ricarda Roggan, Apokryphen (Claire Goll, Becher), 2014. Courtesy of Galerie EIGEN + ART.

The highlight of this eclectic booth is I Sold My Devil to the Soul (2018), a large-scale, ironically sentimental painting of a kitten by Martin Eder, who has a concurrent solo show on view in London at Damien Hirst’s Newport Street Gallery. The work has an asking price of €110,000. It’s joined by two other Eder canvases, as well as a few earthy, crackled abstract paintings by Bosco Sodi and a series of black-and-white photographs by Leipzig-based artist Ricarda Roggan (€6,000 each, in an edition of three). The latter are sober studies of simple objects—utensils, small sculptures—sourced from museums, which once belonged to German authors, philosophers, and other notables. Roggan travels to these institutions with a sort of “mobile suitcase studio,” as senior director Astrid Hamm put it, shooting each item against the same backdrop using a Hasselblad camera.

Casey Kaplan

Frieze London, Main Section, Booth D8

With works by Kevin Beasley, Jordan Casteel, Sarah Crowner, N. Dash, Judith Eisler, Haris Epaminonda, Jonathan Gardner, Giorgio Griffa, Mateo López, Matthew Ronay, and Garth Weiser

Installation view of Casey Kaplan’s booth at Frieze London, 2018. Courtesy of the gallery.

Blue Womb Rupture with Stipe, 2018. Matthew Ronay Casey Kaplan

Repository, 2017. Matthew Ronay Casey Kaplan

4, 2018. Garth Weiser Casey Kaplan

Untitled, 2018. N. Dash Casey Kaplan

Untitled #09 g/i, 2017. Haris Epaminonda Casey Kaplan

Two Tone, 2018. Jonathan Gardner Casey Kaplan

Tilda, 2017. Judith Eisler Casey Kaplan

The New York gallery’s eclectic tastes are on full display here. From Kevin Beasley’s painting-shaped mass of compacted CDs, clothing, jewelry, and other materials ($75,000) to the figurative paintings of Jordan Casteel; the cool minimalism of N. Dash ($52,000); and the carved-wood whimsy of Matthew Ronay ($32,000), there’s something for every aesthetic sensibility. Garth Weiser’s glinting silver abstract painting is also a stunner, leaning heavily on the influence of the late Jack Whitten.

Waddington Custot

Frieze Masters, Main Section, Booth G2

With works by Patrick Caulfield, Allan D’Arcangelo, and John Wesley

Installation view of Waddington Custot’s booth at Frieze Masters, 2018. Photo by Mark Blower. Courtesy of the gallery.

The focus of this booth is the interplay between Americans John Wesley and Allan D’Arcangelo and British artist Patrick Caulfield. All three possess a graphic style that hews close to illustration or sign-painting techniques, and each subjects familiar imagery to an off-kilter dream logic. Wesley’s canvases can often seem like jokes without punchlines, relying on simple imagery and repetition: two bulls floating over a bed, a row of moustached men. Caulfield mixes clean, rigid outlines with areas that are much more worked over; in Still Life: Father’s Day (1975), the roses at the bottom left provide a pop of unexpected verisimilitude. D’Arcangelo, in works from the 1960s, applies a punchy, pared-down approach to road markings and highway vistas.

Gió Marconi

Frieze Masters, Main Section, Booth G14

With works by Valerio Adami

Valerio Adami, L’uovo rotto/The Broken Egg, 1964. Courtesy of Gió Marconi

Italian painter Valerio Adami, now 83, was making explosive work in the 1960s, which now looks like it paved the way for artists like Elizabeth Murray and, later, Carroll Dunham or Sue Williams. Drawings (priced at €7,000) and a few smaller canvases (between €35,000 and €50,000) show Adami’s ease with a loose, cartoon-inspired figuration—many of the works resemble a human body that has been exploded and then roughly reassembled into a sculpture.

The showstopper here—and the biggest painting in the booth—is not for sale: L’uovo rotto (“The Broken Egg,” 1964) is a dizzying jumble of spurting yolk, foliage, fingers, and the front end of an automobile. Despite having been painted over a half-century ago, it’s almost frighteningly contemporary; it could hang between a KAWS and a Chris Hood without anyone batting an eye.

from Artsy News

#Artsy News

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klara-radio · 9 years ago

Link

tracklist:

Padma Newsome, DM Stith, Shara Worden: The Song (Comp. Sarah Kirkland Snider) - Unremembered - New Amsterdam NWAM 067 - [0:03:36]

Padma Newsome, DM Stith, Shara Worden:

The Swan (Comp. Sarah Kirkland Snider) - Unremembered - New Amsterdam NWAM 067 - [0:03:59]

Georg Holm; Orri Pall Dyrason ; Hilmar Orn Hilmarsson; Kjartan Holm: Ladies And Gentlemen, Boys & Girls (Comp. Georg Holm; Orri Pall Dyrason ; Hilmar Orn Hilmarsson; Kjartan Holm) - Circe (Music Composed for The Show of Shows) - Krunk 2015 - [0:08:06]

Radiohead: Everything In Its Right Place (Comp. Radiohead) - Kid A - Parlophone ? 527 7532 - [0:04:11]

Hauschka: Palace in the Sky (Comp. Volker Bertelmann) - A NDO C Y - Temporary Residence Limited ?TRR250 - [0:03:46]

Saskia Lankhoorn: Joy (Comp. Kate Moore) - Kate Moore: Dances and Canons - ECM 2014/15 - [0:12:04]

Current 93; Antony Hegarty: Mourned Winter Then (Comp. David Tibet) - I Am the Last of All the Field That Fell - The Spheres 9 - [0:05:56]

Capsule & Abattoir Fermé: Interludium (Comp. Capsule ) - Alice - Rotakt Records - [0:01:40]

Manuel Zurria: Lachrimae Coactae (Comp. John Dowland) - The Wire Tapper 37 - [0:03:31]

Alfred Deller, Wieland Kuijken, William Christie: O Lead Me To Some Peaceful Gloom (Comp. Henry Purcell) - Purcell: Music For A While - Harmonia Mundi HMD 94249 - [0:02:56]

Eric Thielemans; Ensemble Artists Repertoire Research (Claron McFadden; Jozef Dumoulin; Jean-Yves Evrard): Music For A While (Comp. Henry Purcell) - EARR Plays A Snare Is A Bell - Sub Rosa 339 - [0:02:28]

William Purefoy; Homecoming Strings: The Leaden Echo For Voice And Instruments (Comp. Leonid Desyatnikov; Gerard Manley Hopkins) - The Leaden Echo - Quartz QTZ2087 - [0:13:49]

Guide De Neve; Frank Agsteribbe: The Eye (versie voor viool en pianoforte) (Comp. Frank Agsteribbe) - Frank Agsteribbe. Compositions for fortepiano - Apotheosis Records AR13-02 - [0:07:53]

Tigran Hamasyan; Yerevan State Chamber Choir; Harutyun Topikyan: Orhnyal e Astvats (Comp. Komitas Vardapet) - Luys i Luso - ECM 2447 - [0:04:10]

Tigran Hamasyan; Yerevan State Chamber Choir; Harutyun Topikyan: Ankanim araji Qo (Comp. Mesrop Mashtots) - Luys i Luso - ECM 2447 - [0:05:09]

Andrew Marriner; Michael Tilson Thomas: London Symphony Orchestra: To A Child Dancing In The Wind - He Wishes For The Cloths Of Heaven (Comp. John Tavener; W.B. Yeats) - The Repentant Thief - Rca Red Seal 88697217612 - [0:04:47]

Tania Giannouli Ensemble: From Foreign Lands (Comp. Robert Schumann) - Transcendence - Rattle Records D059 - [0:06:32]

Leszek Mozdzer: Mazurka nr. 23 In D, Op. 33 nr. 2 (Comp. Frédéric Chopin) - Chopin Tomorrow - Demain: Impressions - Opus 111 OPS 2014 - [0:04:49]

Elina Duni Quartet (Elina Duni, Colin Vallon, Patrice Moret, Norbert Pfammatter): Syte (Comp. Trad. Albanië) - Dallendyshe - ECM 2401 - [0:05:09]

Han Bennink & Irène Schweizer: Bleu Foncé (Comp. Irene Schweitzer) - Welcome Back - Intakt CD 254 - [0:03:42]

Mostly Other People Do the Killing: All Blues (Comp. Miles Davis) - Blue - Hot Cup Records Hot Cup 141 - [0:09:47]

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mominaanwar786 · 7 years ago

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What is Socially Engaged Practice? (Sam Ingleson)

-All art involves communication with others but all art is not social. -Socially engaged practice: something that doesn’t remind you of culture. - Started in the 1960′s

Some words to describe it: -Community -Collaborative -Public art -Social context -Social sculpture -Interventionist artist

It’s the type of art when it sometimes involves artists acting like: -Organisers -Activists -Politicians -Ethnographers -Sociologists -Educators -Counsellors

* Artists placement group- 1965- John Latham and Barbara Steveni

- ‘I like America and America likes me’ Joseph Bevys 1974 >’Every human being is an artist, a freedom being, called a participation...’

- Some performance arts have been created to raise money for important issues regarding society.

> Stephan Willats: Living with practical realities, 1978. It’s about history and interacting. It’s about documenting and visually representing someone’s views and opinions, most of the his work has diagrams. >Michael Rakouitz- Parasite 1998 >Public art: Culture in action- Chicago, 1990 > Simon Grennan and Christopher sperandio- Sited Communities > ‘We got it’- Chocolate bar. Artists decided to make (along with the community) a chocolate bar to represent that specif community. > Mark Dion and the Chicago Urban Ecology action group: Invented communities- development of new communities to work together. > Indigo Manglano- Street level video- Visualising artists who are already part of the community, they propose to work in. . The roof is on fire: A performance with 200 teenagers- Suzanne Locy, Amice Jacoby an Chris Johnson, Oakland, California, 1994- giving the public a voice.

- Creative participation: Jeremy Deller, The battle of Orgreave, performance in Orgreave, England 2002. Recreated the battle between the police and the mining community.

#contextualresearch

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nofomoartworld · 8 years ago

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Hyperallergic: Art Movements

A selection of indigenous masks recovered in Alaska (courtesy University of Aberdeen)

Art Movements is a weekly collection of news, developments, and stirrings in the art world. Subscribe to receive these posts as a weekly newsletter.

Over 50,000 frozen indigenous Alaskan artifacts will be returned to the village of Quinhagak following preservation work by archaeologists at the University of Aberdeen. It has taken over seven years to recover and preserve the massive archeological find, which is thought to be the largest of its kind from a single site in Alaska. The objects will go on display at the new Nunalleq Culture and Archaeology Research Center later this year.

President Trump unveiled his proposed federal budget for 2018. Entitled “America First,” the budget seeks to eliminate the National Endowments for the Arts and Humanities, the Corporation for Public Broadcasting, the Institute of Museum and Library Services, and the Woodrow Wilson International Center for Scholars.

President Trump’s son-in-law and senior advisor, Jared Kushner, failed to disclose his art collection in required financial disclosures. Kushner and Ivanka Trump own a multimillion dollar contemporary art collection that includes work by Alex Israel, Dan Colen, and Alex Da Corte.

Art dealer Perry Rubenstein was sentenced to six months in jail after pleading no contest to two counts of grand theft by embezzlement.

The Guardian obtained over 100 of Facebook‘s internal training manuals and spreadsheets. The documents provide an inside into the social media giant’s policies on sex and nudity in art posted by the site’s users.

A Camille Pissarro painting recovered from the Gurlitt trove was returned to the heirs of Max Heilbronn.

Turner Prize-winning artist Jeremy Deller confirmed authorship of a poster featuring the phrase “Strong and stable my arse,” a play on the oft-repeated (and much derided) campaign slogan of Prime Minister Theresa May. The poster was wheatpasted at various locations across London last weekend.

(via Twitter/@RichardBattye)

The Isabella Stewart Gardner Museum doubled its $5 million reward to $10 million for the return of the 13 works stolen from its collection on March 18, 1990.

The Italian government launched an initiative to give away 103 historical sites to individuals who will commit to their renovation.

The Queens Museum launched a Kickstarter campaign for Never Built New York, an exhibition exploring unrealized architectural projects from the last 200 years.

The Foundation for Contemporary Arts established the Roy Lichtenstein Award, a new annual grant.

Artist David Černý unveiled “Lupič” (or “thief”), a moving mechanical sculpture installed on the façade of the Olomouc Museum of Art.

The Bailang Bridge Ferris Wheel — the world’s tallest spokeless design — was unveiled in Weifang, China.

Britain’s oldest Roman arch was damaged by a truck driver.

Artist and Vincent van Gogh lookalike Matt Butterworth posed for hundreds of selfies outside the National Gallery of Victoria’s Van Gogh and the Seasons exhibition.

Transactions

Faith Ringgold, “American Collection #4: Jo Baker’s Bananas” (1997), acrylic on canvas with pieced fabric border, 80 1/2 x 76 in, National Museum of Women in the Arts, purchased with funds donated by the Estate of Barbara Bingham Moore, Olga V. Hargis Family Trusts, and the Members’ Acquisition Fund (photo by Lee Stalsworth)

The National Museum of Women in the Arts acquired works by Louise Bourgeois, Yael Bartana, Lalla Essaydi, Berthe Morisot, Jami Porter Lara, and Faith Ringgold.

The Rijksmuseum acquired a handwritten botanical book by Anna Atkins, who is credited by some sources as the first female photographer.

Michael R. Bloomberg donated $75 million to the Shed‘s $500 million capital campaign.

The Windgate Charitable Foundation donated $15 million to the Crystal Bridges Museum of American Art.

An anonymous $2.27 million donation was made to the University of Wyoming’s art museum.

The Huntington Library, Art Collections, and Botanical Gardens acquired George Tooker’s “Bathers (Bath Houses)” (1950).

George Tooker, “Bathers (Bath Houses)” (1950), egg tempera on gessoed board, 20 3/8 x 15 3/8 in (courtesy The Huntington Library, Art Collections, and Botanical Gardens)

Transitions

Over a a dozen members of the current staff and board of directors of the Brooklyn Rail resigned. An official press release did not cite a reason for the collective departure.

William D. Adams resigned as the tenth chairman of the National Endowment for the Humanities.

Lord John Browne of Madingley was appointed chairman of the Courtauld Institute of Art.

Susana Bautista was appointed executive director of the Pasadena Museum of California Art.

Kheli R. Willetts was appointed executive director of Art League Houston.

Jenny Gibbs was appointed director of the Sotheby’s Institute of Art’s graduate program in New York.

Brian Sholis was appointed executive director of Gallery TPW.

Matt Carey-Williams was appointed director of Blain Southern, London.

Ellen Rudolph was appointed chief curator of the Akron Art Museum.

Aaron T. Pratt was appointed curator of early books and manuscripts at the Harry Ransom Center at The University of Texas at Austin.

Jo-ey Tang was appointed director of exhibitions at the Columbus College of Art and Design’s Beeler Gallery.

Artists Space will open a new venue at 80 White Street in 2018. The nonprofit has been operating out of its “secondary space” since its lease for 38 Greene Street expired in June 2016.

Galerie Urs Meile opened a new exhibition space in Beijing.

The Musée Dapper in Paris will permanently close next month.

CRG Gallery will permanently close this Summer.

Deutsche Bank plans to open a new arts centre in Berlin next year.

Curator Zissou Tasseff-Elenkoff will open All Star Press, a sports-themed art gallery, in Chicago next month.

Accolades

Kiluanji Kia Henda, “Under the Silent Eye of Lenin” (2017), installation and performance (courtesy the artist)

Kiluanji Kia Henda received the 2017 Frieze Artist Award

Rachel Rose was awarded the inaugural Future Fields Commission, a new collaboration between the Philadelphia Museum of Art and the Fondazione Sandretto Re Rebaudengo.

David Adjaye received a knighthood for services to architecture.

Rebecca Rabinow received the 2017 Walter Hopps Award for Curatorial Achievement.

Olivier Culmann was awarded the 2017 Prix Niépce.

Dana Lixenberg was awarded the 2017 Deutsche Börse Photography Foundation Prize.

The Graham Foundation awarded over $560,ooo in grants for the support of 72 architectural projects.

Margaret Ricciardi will receive an honorary doctorate from CUNY’s College of Staten Island next week. Ricciardi has been taking art classes at the college every week since her husband passed away in 1983.

Obituaries

A recent sculpture created by Raymond Han (courtesy Jason McCoy Gallery)

Roxcy Bolton (1926–2017), feminist and women’s rights activist.

William Brohn (1933–2017) theater orchestrator.

Stanley Brouwn (1935–2017), conceptual artist.

Alexander Burdonsky (1941–2017), theater director. Grandson of Joseph Stalin.

Rand Castile (1938–2017), director of the Asian Art Museum of San Francisco.

Barbara Smith Conrad (1937–2017), mezzo-soprano. Subject of a high-profile race row at the University of Texas at Austin in 1957.

Lloyd Cotsen (1929–2017), philanthropist and art collector.

Anne R. Dick (1927–2017), jewelry designer. Wife and muse of Philip K. Dick.

Stanley Greene (1949–2017), photojournalist.

Johannes Grützke (1937–2017), painter.

Raymond Han (1931–2017), artist.

Elinor Bunin Monroe (1920–2017), graphic designer.

Frankie Paul (1965–2017), reggae singer.

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veale2006-blog · 8 years ago

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The Truth About Easter and the Secret Worship of the Anunnaki

April 11,2017 Easter is an annual celebration observed throughout the Christian world. However, there are absolutely no verses in the Bible that authorize or endorse the keeping of this tradition.