#stadtgalerie bern

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Kornhaus Atelier / Stadtgalerie & Hochschule der Künste Bern (HKB) / Basis Kunst und Bau (BAKUB) – Macharten von Ost bis West / Poster / 2020

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Group Show at Stadtgalerie

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Kornhaus Atelier / Stadtgalerie & Hochschule der Künste Bern... https://ift.tt/Vwj2W4Y Telegram: https://t.me/gdesignbot

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Camille Aleña

Fortnum and Mason for Kasten 28.02.–16.05.2020 Stadtgalerie Berne, Switzerland

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Lil Emo, 2019 Toy trucks and photographs in presspan collecting virtines with sliding glass panes; 6 parts, each 60 × 80 × 9,5 cm (installation view: Stadtgalerie Bern, 2020)

by Phung-Tien-Phan

source: collectionarchive.tumblr.com

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Four Seasons 1 (CCA Berlin) ​Benjamin Saurer, Frankie, and Kelman Duran

29 April 2022

12 Apostel Kirche An der Apostelkirche 1 10783 Berlin

Benjamin Saurer is a Berlin-based trained organist and visual artist. He practiced church music from 1997 to 2003 and received his MFA from Städelschule, Academy of Fine Arts Frankfurt am Main in 2008. In parallel to his painting practice, he writes music to accompany exhibitions of artist colleagues and regularly performs as an organist in similar frameworks. Most recently Saurer has composed and performed at Stadtgalerie Bern, Internationale Ferienkurse für Neue Musik Darmstadt, Kunsthalle Wien, Kunsthalle Basel, Portikus, and Kunstverein Oldenburg. At the Twelve Apostles Church, Saurer will play an excerpt of Die Fregatte/The frigate, a work by Thys/de Gruyter, 2008; The Elect, an ambient soundtrack for Yannic Joray’s exhibition of the same name at Stadtgalerie Bern, 2021; and Ich bin eine rufende Stimme [I am a Calling Voice], 2022, composition for organ.

Frankie is the solo music project of Franziska Aigner, consisting of a solo cello and vocal set combined with a hyper-emotional lyricism. Mostly working in choreography and performance, the past few years have continuously brought more and more music to her life. Aigner performed in and co-wrote the music to FAUST by Anne Imhof for the 2017 Venice Biennale, and joined the Holly Herndon vocal ensemble in 2019. She continues to work and perform with artists such as Anne Imhof, William Forsythe, and Austin Jack Lynch, and recently completed her PhD in philosophy. Frankie will perform songs from her newly-released EP, Styx, which can be purchased here.

Kelman Duran is a musician and artist born in La Ermita, in the countryside of the Dominican Republic, and raised in New York City. Prior to making music, he produced videos at the Pine Ridge Indian Reservation. Through his music, Duran explores the legacy of the black rebellion during Haitian Revolution and today’s unbalanced racial climate, reinterpreting and propelling the parameters of Afro- rhythms like reggaeton and dancehall. His latest LP, Night In Tijuana, was released in 2021 on the label Scorpio Red, which he co-founded with artist Annie Mackinnon. Duran will close the evening with an ambient mix conceived for the occasion.

Co-conceived with Edwin Nasr.

[juliacastleberry]

Eva has a BFA in Photography from Gerrit Rietveld Academy in Amsterdam. She has been featured in Aperture Magazine and Aperture Foundation has produced a limited-edition portfolio of her photograms. Eva’s work has won numerous awards and has been widely exhibited. She is represented by Gallerie STAMPA in Basel, Switzerland. A new book project of her photograms is in the works and she is currently organizing a group show of like-minded artists from Bern, Amsterdam and Berlin that will open at the Stadtgalerie in Bern, Switzerland this October.

Fotogramme

In my work, I collect and utilize plants found in the wild as my working material. How plants have been depicted, studied and used over the course of history is a big inspiration for me. By editing, arranging and reproducing my own collection of specimens I construct renderings of my imagination. I am interested in the appearance of the plant specimens, their diversity of growth and development as well as the impact of their surrounding environment on their appearance.

http://lenscratch.com/2015/07/eva-fiore-kovacovsky-fotogramme/

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Doppelseite mit unserer Installation “Overworked Dog” in der Publikation “Sichten” der Stadtgalerie Bern

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Next Chance #feiernbiszumumfallen Morgen 18 Uhr Stadtgalerie #cantonale #binda (hier: Stadtgalerie Bern)

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"Kasten" at Stadtgalerie Bern

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Kornhaus Atelier / Stadtgalerie & Hochschule der Künste Bern... https://ift.tt/3CNFU2o -> Telegram Design Bot

[micaramel]

This week’s featured exhibitions:

Tishan Hsu at Hammer Museum

Anna Schachinger at Sophie Tappeiner

Michael E. Smith at Secession

Judith Bernstein at Karma International

Lily Wong at Kapp Kapp

Rochelle Goldberg at Miguel Abreu

Luchita Hurtado at Los Angeles County Museum of Art

Darren Bader at The Journal Gallery

“Creative Beginnings. Professional End.” at Villa Vassilieff

James Benning at O-TOWN HOUSE

Josh Kline at Various Small Fires

Sung Tieu at Nottingham Contemporary

Christine Sun Kim at MIT List Visual Arts Center

Luisa Kasalicky at Galerie nächst St. Stephan Rosemarie Schwarzwälder

Alex Olson at Feuilleton

Anne Minich at White Columns

Keith Farquhar at Neuer Essener Kunstverein

“Kasten” at Stadtgalerie Bern

Leila Hekmat at Bortolozzi

Anne-Lise Coste at Dortmunder Kunstverein

Sam Falls at Franco Noero

Michael Rey at Philip Martin

Petra Cortright at Team Gallery, Inc

Andrea Bowers at Weserburg Museum für moderne Kunst

Andrea Bowers at Museum Abteiberg

Have an excellent week.

from Contemporary Art Daily https://bit.ly/2zsc6gF

[micaramel]

  Artists: Rosa Aiello, Camille Aleña, Adelhyd van Bender, Karin Borer, Patricia L. Boyd, Manuel Burgener, Lisa Herfeldt, Samuel Jeffery, Maggie Lee, K.R.M. Mooney, Kaspar Müller, Phung-Tien Phan, Vaclav Pozarek, Marta Riniker-Radich, Julia Scher, Richard Sides, Davide Stucchi, Sergei Tcherepnin, Angharad Williams, Amy Yao

Venue: Stadtgalerie Bern

Exhibition Title: Kasten

Date: February 28 – July 11, 2020

Curated By: Cédric Eisenring and Luca Beeler

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of the artists and Stadtgalerie Bern

Press Release:

1

SAMUEL JEFFERY

Untitled, 2017

PVC, acrylic primer, insulating tape

30.5 x 47.5 x 28 cm

Untitled, 2019

PVC, acrylic primer, vintage car motor oil

30.5 x 50.5 x 32.5 cm

Two containers, formed from cut, heated and bent PVC sheets, are part of an ongoing series of works by Samuel Jeffery. Each is placed on a plinth. The container-like objects are treated with various materials and coated with hardware store paint. Seemingly manufactured according to precise standards, they nevertheless differ from one another in detail. The outer surface of Untitled (2019) has been treated with motor oil used for vintage classic engines. Much like a car, the box-works could be imagined as carriers of sorts, transport for unidentified transmissions. The motor oil and its mechanical associations only accentuate the containers’ state of inertia and give them a slightly nostalgic, military-industrial feel. Offsetting a longing for the bygone with the anticipation of pending action, these works look both backwards and forwards.

2

RICHARD SIDES

The slowest plane crash ever recorded in history, 2020

1-channel HD, monitor, concrete, plywood

120 x 50 x 25 cm

The slowest plane crash ever recorded in history—the title suggests an event so drawn out as to defy the event-focused, technical logic of media. Plywood covers the front face of Richard Sides’s work. One face broken up into four parts only allows indirect views from the face into the inner space of the concrete structure. The faces move toward the back in perspective, thus drawing the eye slowly into the interior toward a flickering light source—in a hypnotizing way, like watching an unstoppable, eternally dragged-out event. The title of the work is taken from a You-Tube commentary on the Prince Andrew interview, in which he tries for fifty minutes to wriggle himself out of the Epstein scandal.

3

K.R.M. MOONEY

Accord, A Chord I, 2016

Wood composite, vinyl, folded aluminum, steel, spray millet, cast silver, whistle, solder

Two parts: 45.7 x 35.6 x 7.6 cm; 53.3 x 45.7 x 7.6 cm

Composite board form the outer shell of Accord, A Chord I, initially installed in a residential shed that formerly served as a mechanic’s workshop, the work consists of two small, box-like sculptures placed directly on the floor. Incorporating materials with generative qualities or structures that shift with environmental factors, obscured within their interior are seeds and plants—some cast, others dried—that are used by humans and animals alike, normalizing alliances between materials with multiple associations. Linking participatory actors such as existing systems and their adjoining surroundings with sculptural form and behavior, K.R.M. Mooney’s works occupy intermediary positions between abstract, autonomous and the site-specific.

4

AMY YAO

Weeds, 2015

Artificial flowers, silicone, artificial nails

30.5 x 43 x 18 cm

Silk flowers, bones, plastic fingernails and nuts fill the volume of a transparent protective cover for pillows. These materials mark spaces where a specific domesticity and industrial production meet. The preserved and ever-blooming silk flowers are confronted with a logic of circulation and production in which waste is not a by-product, but a basic prerequisite. In this sense, Weeds also illustrates the extent to which the rigid separation of the categories “natural” and “artificial” is associated with a particular form of production.

5a / 5b

ROSA AIELLO

Resolve (tritone inward), 2020

2 motion-activated loudspeakers

Dimensions variable

Detecting movements in their vicinity, the sensors of the two small devices function as electrical switches. Motion activates

the integrated speaker causing each device to play a different chord: the first part of a two-part tritone. The devices are arranged in a particular order in the room. The first chord creates a feeling of anticipation or tension. The second erodes or fulfills the expectation. The minimal variances reinforce to an even greater degree the conditions in the space that are altered by the devices and show how the configuration of the room can impact lived experience.

6

LISA HERFELDT

Slithering, 2019

Acrylic glass, nylon fabric, polyester fleece

23 x 67 x 23 cm

These tongue-like objects perform synthetic affects. Transparent cubes of acrylic glass serve as containers for otherwise disembodied tongues.

7

MAGGIE LEE

Alfred Hitchcock Microchipped Pigeon, 2020

Packing tape, flock fiber, acrylic, photocopy

33 x 27.9 x 2.5 cm

Brown packing tape on canvas. Three photographs serve as labels for this visual package: a low-resolution print of a child’s antique bedframe, a cropped magazine image of a gift of flowers and a dove with a microchip on its head. Alfred Hitchcock Microchipped Pigeon can be interpreted as a suggested title for a fictional (and non-existent) film by Alfred Hitchcock. In attempting to describe the mechanisms of tension in his films, Alfred Hitchcock coined the term “MacGuffin.” The MacGuffin more or less describes any object or creature in a film that triggers or advances the action without serving another functional purpose. The externally controlled behavior of a microchipped pigeon or an unwanted gift could assume this function within the narrative implied here.

8a

MARTA RINIKER-RADICH

A Frame of Cast Iron Lace, 2018

Color pencil and pencil on paper

29.7 x 21 cm

8a

MARTA RINIKER-RADICH

The Vapors, 2019

Color pencil and pencil on paper

29.7 x 21 cm

The tiny vanity cases depicted in the series of drawings by artist Marta Riniker-Radich address the privileged aspect of personal care that allows us to isolate ourselves, to think about ourselves and only about ourselves and no one else. The cases condense domestic space, with its promise of providing protection from the outside world, creating in the process an ever-threatening negative pressure. The meticulous technique of colored pencil drawings only reinforce the latent feeling of tense silence. The space of the box is often the starting point for Marta Riniker-Radich to formulate her drawings: both enclosed and infinite, like a magic box with a false bottom.

9

KASPAR MÜLLER

Ohne Titel, 2020

Wood, metal, coins, lacquer, acrylic paint, glitter, rhinestones

46 x 16 x 32 cm

As is evident, this object served as a historical medicine chest while it has not necessarily been stripped of its original function. In working with the object, the artist has only altered its status. As a box coated in layers, Ohne Titel is suggestive of various temporalities: the artist’s time in the studio, the time of the material, historicism. A seductive patina that serves any desire for authenticity but remains permanently unfulfilled at the same time.

10

PATRICIA L. BOYD

SL-1200MK2 Face: Christian Andersen, 10/25/19-12/21/19, 2019–2020

Used cooking fat, wax, damar resin, particle board

63 x 54 x 10 cm

SL-1200MK2 Face: Christian Andersen, 10/25/19–12/21/19 is part of an ongoing series of works by artist Patricia L. Boyd.

The works in the series go through various stages, forming links with the physical and logistical architecture of an institution

or gallery: the negative forms, cast from a mixture of used cooking fat, wax and damar resin, are embedded on site into

the walls of the exhibiting gallery or institution. The cast is held in place by particle board that is integrated into the gallery

wall. Like a prosthesis, the piece of particle board is not only attached to but also alters and reconfigures the work. After the

closing of the exhibition, the negative form and plate are removed and converted into a free-standing sculpture (box), which

can now be circulated and shown in any number of subsequent exhibitions. The exhibition dates and name of the location

where it was exhibited first is then added to the work’s title. The various negative forms are from components of two objects

Patricia L. Boyd purchased at the liquidation sale of a San Francisco-based tech company: a Herman Miller Aeron office

chair and a Technics SL–1200 record player.

11

MANUEL BURGENER

Untitled, 2017

Glass, cardboard, LED, alcoholic spirits

43.5 x 25.5 x 44 cm

The volume of the glass cube on the bottom is derived from that of the shipping package of Sia Abrasives sandpaper. The cardboard box is positioned in such a way that it defies all structural logic; opening it up is the only way to release the glass structure that supports it. Found inside is a bottle with self-distilled gin and glasses—a situation visitors can activate.

12

CAMILLE ALEÑA

Fortnum and Mason, 2017

9 music boxes, Arduino board

41ø x 17 cm

Fortnum and Mason consists of music boxes from the eponymous British luxury department store. Imprinted with a horse carousel, the nostalgic product is both a biscuit tin and music box. For Camille Aleña’s work the original melodies and rotary motors have been retained, transformed and rearranged into a ghostly choreography that repeats every six minutes.

13

ANGHARAD WILLIAMS

Wet flannel on my side like the saddle on a horse, 2016–2020

Paper, air-dried clay, acrylic ink, hinges, storage box

55 x 18 x 78 cm

Angharad William’s plastic boxes are micro scenes. Oscillating between makeshift display cases and material storage boxes, they create certain reading contexts for the texts that accompany them: stories that feed on despair, vulgarity and seduction. The objects illustrate collages of absent characters – remnants taken from the stories. The box presented at the Stadtgalerie is part of this ongoing series.

14

DAVIDE STUCCHI

Her Mess, 2019

Carton, various unloaded items

38 x 13 x 6 cm

Her Mess, 2019

Carton, various unloaded items

38 x 13 x 5 cm

Her Mess, 2019

Carton, various unloaded items

38 x 13 x 4 cm

Her Mess, 2019

Carton, various unloaded items

38 x 13 x 3 cm

“Personal effects is a mind-boggling way to phrase belongings. I love word plays, especially when English is not our native language so we take ‹meanings› / etymology even more literally—at least I do. It exposes the limits of one’s cognitive abilities, and the labour to keep up with everyday flows. […] Personal effects, titles of my works such as Her Mess or Neck Laced are a lovely way to situate the pieces on a timeline of actions. It definitely feels the works conjure an absent user. The many signifiers point to their class/societal position. To me it came across distinctively bourgeois. It’s incredible to grasp the residue people leave in our lives, especially how immaterial it is mostly. Scents, body areas once touched by lovers and friends, specific times of the day. I don’t know how this happened, but every now and then for years I turn my head to see the time and it is 4:40pm, or around that hour. I used to wait for a really good friend of mine, who I was deeply obsessed and in love with, to meet and have a snack after school. We don’t talk to each other anymore.”

Davide Stucchi in correspondence with Bruno Zhu

15

SERGEI TCHEREPNIN

Baby Box #2 (Ringing Rock Stages of Production), 2013

Steel, copper, transducer, amplifier, iPod

18 x 18 x 18 cm

The object Baby Box # 2 (Ringing Rock Stages of Production), featuring a copper tongue and a steel box, is a sound sculpture that works simultaneously as a loudspeaker and an instrument. The box belongs to a group of sound system-based works, characters that encourage interaction. The material configurations and their specific sounds allow viewers to navigate around using their ears and bodies.

16

JULIA SCHER

For fairness (Pink and Black box), 2019

3-print, paint, cotton glove

3 x 9.5 x 9.5 cm

Artist Julia Scher’s box is a hybrid: deeply rooted in everyday regular boxes, it nevertheless points to the hybridity of future conditions. It could provide support, protection, and nourishment for a range of functions and activities for future entities. Its construction and materiality shifts between the domestic (storage, preservation, cupboard and table) and the terrestrial: it is made out of minerals, cellulose, natural adhesives and colour. Inside the box is a white cotton glove, but it could basically host anything one might deem necessary. Based on a source code, the design is reproducible with any 3D-printer: the code merely suggests an initial state from which to derive new functions and meanings. 

A hybridity of theme- a unique artwork 

A hybridity of making- a formal articulation that celebrates the uniqueness of any making 

A hybrid of assembly- a combination usually called montage or collage 

It seems built for one hand but can suggest the expression of multiplicity. 

Can (anything) work together…as one?

Julia Scher

17

KARIN BORER

Danger, 2018

Charred wood

43 x 6 x 190 cm

The dark surfaces of the ceiling-mounted wooden box have been burned and carbonized—a traditional technique to prevent insect attacks. The box has slits on the bottom and sides. These form links between different habitats. Karin Borer’s work aims to generate intersecting gazes: human and non-human. Here she plays with aspects of the box as addressing the registers of visibility and non-visibility.

18a

DAVIDE STUCCHI

Personal Effects, 2019

Cardboard, adhesive tape

83 x 15 x 15 cm

18b

Infusion d`Iris, 2019

Plexiglass, perfume packaging

23 x 17 x 17 cm

19

PHUNG-TIEN PHAN

Lil Emo, 2019

Toy trucks, photographs in wooden display cases with sliding glass panels

Each 60 x 80 x 9.5 cm 

The work Lil Emo by artist Phung-Tien Phan consists of six commercial display cases. Photographs of male, international pop stars, actors, musicians, models and writers appear as reified rites of passage: a specific collection representative of certain fragile ideas, memories, concepts and masculine imagery, and also of a certain biography and its social background. The images are juxtaposed with a collection of toy trucks of primarily German companies and brands. They suggest different ideas about cultural identification, masculinity and coming of age. Beyond the aspect of adopting things for personal usage, both collections refer to larger industrial and infrastructural links. The objects are arranged into a single letter inside each display case; together they form the title of the work: Lil Emo.

20

ADELHYD VAN BENDER

Untitled (1–14), 1999–2014

Cardboard, metal handles and rivets, adhesive tape, varying contents

Each about 50 x 37 x 25 cm

Folders and boxes serve as physical structures in Adelhyd van Bender’s work, whose cryptic systematization employs graphic and scientific means, repetition and variation. Against the backdrop of impending self-destruction during the Cold War, Adelhyd van Bender developed an obsessive fascination with atomic radiation that preoccupied him up to his death in 2014. Repeatedly appearing in his countless drawings are geometrical diagrams reminiscent of atomic models, orders of the universe or mystical models – like the Sefiroth of the Kabbalah. These also include missile-like structures, maps of alleged nuclear power plants in Germany, plans for the city of Moscow and radiation warning signs. The status of the contents inside the fourteen commercial and variously patterned storage boxes remains unclear. The A4 sheets, often copied multiple times and in some cases showing slight variances, are most likely original material the artist intended to work on further. The boxes also contain official documents – some of which also reappear in drawings – mail-order catalogs, magazines and other material.

21

LISA HERFELDT

Lilac Licker 3, 2019

Acrylic glass, nylon fabric, polyester fleece

45 x 23 x 11 cm

22a

VACLAV POZAREK

Geschlossen, 2016

Wood, painted

75 x 71 x 100 cm

22b

VACLAV POZAREK

Wandrelief halboffen, 2002

Wood, painted

44 x 72 x 57 cm

Terms such as geschlossen [closed], halb offen [half-open], offen halb offen halb leer [open half-open half-empty], or offen [open] are recurring titles or additions to titles in the work of Vaclav Pozarek. They describe an object’s state. The often reappears in Vaclav Pozarek’s sculptures, drawings and photographs. Even the crates used to transport his works, made by the artist himself, look like stand-alone works. The sculptural boxes create space—both visible and invisible. They require no pedestals and most are themselves support structures. Vaclav Pozarek also frequently creates display cases, shelves and entire exhibition arrangements.

  Link: “Kasten” at Stadtgalerie Bern

from Contemporary Art Daily https://bit.ly/3bCsZUj

[micaramel]

Welcome to Week in Review, our Sunday round-up of the last seven days of activity here at Contemporary Art Daily. Please subscribe to our RSS feed, follow us on Twitter, follow us on Tumblr, follow us on Instagram, and become a fan on Facebook.

This week’s featured exhibitions:

Yuji Agematsu at Lulu

Fiona Connor at Sydney

Genoveva Filipovic at Federico Vavassori

Hanna Hur at Bel Ami

Sophie Reinhold at Sundogs

Lin May Saeed at Jacky Strenz

Paul Heyer at Night Gallery

Miltos Manetas at Hussenot

Richard Aldrich at Misako & Rosen

Shelagh Cluett at greengrassi

Group Show at Stadtgalerie Bern

Shaan Syed at Parisian Laundry

Group Show at KAYOKOYUKI + soda

Have an excellent week.

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://bit.ly/2XioT0u

[micaramel]

Artists: Marc Asekhame, Ilya Lipkin, Richard Sides, Gili Tal

Venue: Stadtgalerie, Bern

Exhibition Title: Emotion Is an Unlimited Resource

Date: May 24 – June 29, 2019

Note: A text associated with the exhibition written by Gili Tal is available for download here. A poster is available for download here.

Click here to view slideshow

Full gallery of images, press release, and link available after the jump.

Images:

Video:

Richard Sides, Like a pig in shit, 2019, HD-video, sound, 18:50

Images courtesy of the artists and Stadtgalerie, Bern. Photos by David Aebi.

Press Release:

Emotion Is an Unlimited Resource functions like a Kippbild (an ambiguous image). On one hand, it is a buzzword used by international advertising agencies with their constant optimism; here, emotion is an in- exhaustible resource for boundless growth. On the other hand, it suggests a growing exhaustion when facing the notion that every emotion can be fed back into an empty circular movement of economic exploitation. From this apparent hopelessness, vanishing point lines move outwards towards smaller social units, promising individual experience and authenticity.

We tend to take photographs personally. Today, pictures look at us just as we look at them, they affect us, the viewer. Often, they want us to feel, rarely to act. Even today, after the so-called digital revolution has made it more obvious than ever that pictures have their own, often contradictory, relationship to reality. They produce realness effects, which become momentarily authenticated by their distribution – especially in social media. A camera has both the ability to objectify and to internalize at the same time. We let the personal circulate as content to achieve social self-positioning through photography. In this cycle, the personal becomes the commodity and the currency of a new reality of pictures.

Technology is inclined to attune image content to make it readable for machines; an infrastructure of hardware and software designed to capture impulses and to speculate on future impulses for marketing and surveillance purposes. Photography thus becomes part of the affect-machinery prevailing today, within which it functions as information that can be managed and supposedly self-managed.

And what is art inclined to do? Marc Asekhame, Ilya Lipkin, Richard Sides, and Gili Tal use their own or other’s photographs as source material for their work. They are united in their practice by the examination of visual stimuli incessantly produced in digital images. Their examination – which also functions like a Kippbild – is the starting point for the group exhibition Emotion Is an Unlimited Resource. It takes a critical stance towards the material and ideological abysses present in the mutual construction of image and reality, of the individual and society; but it is at the same time a critique that participates in this very reality.

Emotion, affect, feeling; ultimately, it becomes apparent that these impulses are conflicting. It is not just since psychoanalysis that we have known about a chasm in the self; a chasm in which – like the crack in a wall – life grows and imagination thrives. This also raises the question of how the impulses discussed in Emotion Is an Unlimited Resource can be manipulated and utilized. We do not want to answer it. But we do want to make new Kippbilder possible.

Link: Group Show at Stadtgalerie

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://bit.ly/2FAAJrV