Archive For The “Top News” Category

Francis Bacon – Man and Beast

Francis Bacon – Man and Beast

Francis Bacon – Man and Beast
Royal Academy of Arts – Jan 29 to April 29, 2022 London (UK)

 

 

 

 

 

Explore the visceral paintings of Francis Bacon. Where the border between human and animal is constantly blurred. Reminding us that our primary instincts lie just below the surface.

Irish-born artist Francis Bacon was the son of the horse breeder who became one of the most important painters of the 20th century.

Homosexuality.

An openly homosexual man at a time when homosexuality was illegal. He was banished from his conservative family home by his father at 16. After that he passed through Berlin and Paris before settling in London. Then, with his formative years paralleled some of the most deeply disturbing events of the 20th century.

This powerful exhibit will focus on Bacon’s unerring fascination with animals. How it both shaped and distorted his approach to the human body. How, taken in the most extreme moments of existence, his characters are barely recognizable as humans or beasts.

Eadweard Muybridge.

It also explores how Bacon was fascinated by the movement of animals, observing animals in the wild on trips to South Africa. Filling his studio with wildlife books and constantly referencing Eadweard Muybridge’s 19th century photographs of humans and animals in motion. Whether it’s chimpanzees, bulls, dogs or birds of prey. Bacon felt he could get closer to the true nature of humanity by observing the uninhibited behavior of animals.

50 years of career.
Spanning Bacon’s 50-year career, highlights include some of Bacon’s early works and his latest painting. As well as a trio of corrida paintings which will be exhibited together for the first time.

Taken together, these raw expressions of anxiety and instinct – both animal and human – feel poignantly relevant today.

 

 

Royal Academy of Arts →  Burlington House, Piccadilly Mayfair – London, UK W1J 0BD

 

 

 

 

 

 

Use our Art Geolocation App

 

Our App Arts Culture Platform

Crip*

Crip*

Crip*
Gallery 400 – Until March 12, 2022 Chicago (US)

 

 

 

 

 

 

Crip* is a collective exhibition featuring artists who address disability and intersectional thinking. Some of the performers identify as disabled. Some don’t, but everyone has a relationship to (at least one) non-normative identity. Artists are often expected to “perform” their identity for the art world by imagining themselves. On the one hand, it diversifies the world of art. But on the other hand, this, in effect, classifies artists with non-normative identities. Reinforcing the distinction between normative and non-normative. This reduces the rich and complex knowledge gained through lived experience to a more flattened and singular interpretation.

Emilie Gossiaux.

Crip* artists are attuned to concepts that exist beyond the scope of simplified identity distinctions or interpretations. For example, Emilie Gossiaux’s work is informed by her hearing loss and vision loss. However, what drives her work is a broad interest and deep understanding of communication. On the interdependence and the link between meaning and memory. . His sensory capacity offers him a unique but not limiting point of view. Thus, Gossiaux has no interest in producing a work that is reduced to simply imagining its specific sensory constitution.

Alison O’Daniel.

The vast project of Alison O’Daniel. The Tuba Thieves, utilizes O’Daniel’s understanding of sound through both his access to it and his awareness of its absence due to his hearing loss. Scene 55 The plants are protected draws magnificently on the generative space of translation. In fact, O’Daniel created his cinematic visuals based on sound scores produced by five different composers. Deaf sound artist Christine Sun Kim produced the Stage 55 soundtrack. Through O’Daniel’s project, we are able to reconsider the rich liminal space formed between absence and presence.

Artists on show.

Liz Barr. Shannon Finnegan. Emilie Gossiaux. MaxGuy. Christopher Robert Jones. Carly Mandel. Darrin Martin. Alison O’Daniel. Berenice Olmedo. Carmen Papalia and Heather Kai Smith. Bronte Purnell.

 

 

Crip*

Shannon Finnegan

Berenice Olmedo

Berenice Olmedo

Christopher Robert Jones

Christopher Robert Jones

Carly Mandel

Carly Mandel

 

Gallery 400→  400 South Peoria Street Chicago, IL, USA 60607

 

 

 

 

 

 

Use our Art Geolocation App

 

Our App Arts Culture Platform

Evelyn Loschy & Laura Fitzgerald: Tickling a sensible space

Evelyn Loschy & Laura Fitzgerald: Tickling a sensible space

Evelyn Loschy & Laura Fitzgerald: Tickling a sensible space
Galerie Michaela Stock – Jan 22 to Mar 06, 2022, Vienna (Austria)

 

 

 

 

 

The issue of identity is often a sensible space.

Identity is the way we perceive and express ourselves as individuals. As a society, or as a nation. Space whether, real, virtual or imagined, is crucial in constructing new enviroments for artistic communties, allowing them to explore and promote new values in society. Opening this space through the production of artworks, allows questions to be asked of stereotypes, conventions, gender issues, sexuality, race, nationality and heritage.

Tickling a sensible space.

The exhibition titled “Tickling a sensible space” presents two young female artists. Evelyn Loschy from Austria and Laura Fitzgerald from Ireland. Both artists have different backgrounds, education and working conditions, but explore the same topic. Identity and it’s representation in socio-cultural spaces. This investigation, into the shifting ecology of identity, allows the artists to propose alternative questions to where our place is within contemporary culture.

Laura Fitzgerald.

Laura Fitzgerald searches for her identity through the family farm in County Kerry, Ireland. Highlighting comparisons between rural identities and the work of an artist. She probes in a satirical way, the difficult task of being an artist through drawings, videos and virtual sound installation.

Evelyn Loschy.

Evelyn Loschy prompts the viewer to question at what point the self becomes other. New works such as a kinetic sculpture, a performance / video. And an animated 3D sculpture, built especially for the virtual exhibition space. Work with identity and thematically intersect to sharpen one’s view of the complex processes of the human being . They appear to lose their original form. Confront the visitor with the view on behaviour of human beings and the visualisation of the innerself.

 

 Laura_FitzgeraEvelyn Loschy & Laura Fitzgerald: Tickling a sensible space

Galerie Michaela Stock→  http://www.galerie-stock.net/

 

 

 

 

 

 

Use our Art Geolocation App

 

Our App Arts Culture Platform

Leo Marz: The Ancient Incident

Leo Marz: The Ancient Incident

Leo Marz: The Ancient Incident
Museo Jumex – Until 09 Jan 2022 Mexico City (Mexico)

 

 

 

 

 

 

The Ancient Incident is an immersive installation by Mexican artist Leo Marz (Zapopan, 1979) that connects different moments. From monumental historical sculpture to contemporary snapshot.

The Battle of Puebla (May 5, 1862).

A finger of cast bronze is the instigator of this chain of associations. The sculpture is an exact copy of General Ignacio Zaragoza’s finger on a monument in Monterrey. Inspired by the fact that the Battle of Puebla (May 5, 1862) was the first to be relayed in real time by telegram. Marz combines it with contemporary interfaces where you can immediately access the news via touch screens. The installation also includes sculptural designs. One of which is derived from a group selfie found online. Between these poles of a historically significant moment and a fleeting moment, Marz suggests how modern technology and art make moments visible or invisible. Then, how the past, present and future can be connected in unpredictable ways.

Hang the disembodied finger.

As part of the project, Marz will produce a series of actions attempting to suspend the disembodied finger of Zaragoza at the height of the original monument in the square of the Museo Jumex. Each attempt will use a different medium ranging from cinematic chromo-keying. The audience will be faced with a seemingly absurd physical situation, with online documentation that will make the structure invisible by letting their finger float in the air. More than an investigation of the line in space, Marz reconfigures the drawn line to suspend it. Thus, create dynamic situations where the audience is involved physically and metaphorically.

 

 

Leo Marz: The Ancient Incident

Fundación Jumex (@FundacionJumex) / Twitter

Museo Jumex  Miguel de Cervantes Saavedra 303 Santa Maria Tulpeltac – Mexico City, Mexico 11529

 

 

 

 

 

Use our Art Geolocation App

 

Our App Arts Culture Platform

Ushio Shinohara: Blast !!! My Punches on the Aurora !!!

Ushio Shinohara: Blast !!! My Punches on the Aurora !!!

Ushio Shinohara: Blast !!! My Punches on the Aurora !!!
Anomaly Gallery – Until Jan 15,  2022 Tokyo (Japan)

 

 

 

 

 

Shinohara (born 1932) quickly became the lion of the Japanese art scene with his “action”. Who stood out for his intense and extraordinary character. As well as by its production of works that attract attention. These include his Imitation Art series referring to Drink More by Jasper Johns. Then, to Robert Rauschenberg’s Coca-Cola plan (Shinohara got to know these artists when they came to Japan in 1964 * 5). His Oiran series merges traditional Japanese perspectives with Pop Art expression.

Boxing paintings.

Ushio Shinohara continues to hurtle down the “vanguard road”. With a mind that remains as incisive and at high speed as it was in his youth. His “boxing paintings” whose hits are too fast even for him. This exhibition celebrates his return to Japan.

 

 

Ushio Shinohara: Blast !!! My Punches on the Aurora !!!Pin on Психологическое насилиеMay be art

Anomaly→  1-33-10-4F Higashi-shinagawa Shinagawa-ku – Tokyo, Japan 140-0002

 

 

 

 

 

Our App Arts Culture Platform

 

Tomás Saraceno – in orbit

Tomás Saraceno – in orbit

Tomás Saraceno – in orbit
K21, Kunstsammlung NRW – Until 01 July 2022 Düsseldorf (Germany)

 

 

 

 

 

 

Suspended at a height of over 25m above K21 Square is the enormous orbiting facility. A work by artist Tomás Saraceno. The installation appears like a surrealist landscape. It is reminiscent of a sea of ​​clouds. Floating planetary bodies. The physically accessible work is constructed of steel trellis. Virtually transparent that interweaves three levels spanning the massive glass dome. Five air-filled “spheres” are positioned in the mesh structure which encompasses an area of ​​2500 m².

Miniature figures.

Visitors are invited to enter the facility and explore it by climbing. The brave who venture into the structure consider visitors to the museum below. Wandering the square, like miniature figures occupying a miniature-like world. From the ground floor and mezzanines of the Ständehaus, visitors to the installation on the net seem to float in the sky.

As soon as several people enter the structure simultaneously, it starts to move. Modifying the tension of the steel cables and the distances between the three levels of the interlaced net. The floating space now becomes a vibrant web of relationships. Of resonances and synchronous communication.

Spider in a web.

Like a spider in a web, visitors perceive the presence of others through vibrations. This echoes Saraceno’s interest and research, carried out in his studio in Berlin, on new hybrid and more than human forms of communication, and cohabitation. “To describe the work is to describe the people who use it – and their emotions,” explains Saraceno.

 

 

 

K21, Kunstsammlung NRW→  Ständehausstrasse 1 Düsseldorf, Germany 40217

 

 

 

 

 

Use our Art Geolocation App

 

Our App Arts Culture Platform

Decision making: the decisive moment

Decision making: the decisive moment

Decision making: the decisive moment
Canadian Cultural Center – Until April 15, 2022 Paris (France)

 

 

 

 

 

From December 10, 2021 to April 15, 2022. The Canadian Cultural Center in Paris presents “Decision-making: the decisive moment” as part of the official program of Némo – International Biennial of Digital Arts of the Île-de-France Region produced by CENTQUATRE-PARIS, in partnership with Elektra (Montreal).

Our common future.

Decisions are the result of complex cognitive processes. Considering them collectively, because they involve our common future, makes them absolutely crucial. But, more and more often, we integrate machines in such processes through algorithms qualified as decision-making. Of course, this raises questions that artists know how to put into perspective.

 

 

May be an image of 1 person and text that says 'PROGRAMME DE LA SEMAINE WHAT'S ON THIS WEEK némo biennale internationale des arisnumériques e Région le-de-France CENT QUATRE #104PARIS ELEKTRA Région îledeFrance P PARADISE S'

Canadian Cultural Center →  130, rue Faubourg Saint-Honoré Paris, France 75008

 

 

 

 

 

 

Our App Arts Culture Platform

 

Bernd Oppl: Background

Bernd Oppl: Background

Bernd Oppl: Background
Galerie Krinzinger – Until Jan 15, 2022 Vienna (Austria)

 

 

 

 

 

 

We inhabit space. Bernd Oppl’s objects highlight how human emotions are projected onto the architecture and the interiors around us. Its parts are often absent from the real human body. His practice is situated between object and architecture, sculpture and installation. The environments it recreates. Whether they are perfect detailed miniature sculptures or animation and movies are also seemingly neutral. But their sterility makes them obsessive. They look like the future horror of Japanese and Korean horror movies. The Ballardian fear of the suburbs and the company. The isolation and alienation of screen life.

Edward Hopper’s atmosphere.

The artist plays with architectural modeling but it is not the utopian projection of a future urban landscape. Oppl creates scenes from the present. The laptop on a bare mattress on the floor. Oppl’s works echo the atmosphere of Edward Hopper’s paintings. There is a feeling of black in her silhouetted interiors. A manifestation of ideas from Olivia Laing’s book The Lonely City. The horror here is muted.

The ghosts.

The haunted house is no longer a creaky 19th-century mansion but an airport waiting room. Or a black ink desk floating in space like a ghost. There is no sound in his work, except sometimes the hum of an analog projector. Here, the ghosts of the history of cinema or IT emerge. Like his reconstruction of the Black Maria, a skeleton of a historical scene that would shoot in front of a static camera. Or a minimalist maze that looks like a stripped-down version of the iconic computer game Wolfenstein 3d.

 

 

Bernd Oppl: Background

Galerie Krinzinger→  Seilerstätte 16 Vienna, Austria 1010

 

 

 

 

 

 

Use our Art Geolocation App

 

Our App Arts Culture Platform

Ubuntu, a lucid dream

Ubuntu, a lucid dream

Ubuntu, a lucid dream
Palais de Tokyo – Until February 20, 2022 Paris (France)

 

 

 

 

 

The exhibition is an invitation to occupy Ubuntu, a space still little frequented by our imaginations and our knowledge. Untranslatable in Western languages. The meaning of this term, derived from the Bantu languages ​​of southern Africa. Unites notions of humanity, collective and hospitality and can be interpreted as: “I am because we are”.

African philosophies.

This requirement of “a humanity of reciprocity”. Evoked by thought Ubuntu, is one of the essential contributions ignored by African philosophies. This notion, in its philosophical and spiritual dimensions. Can be considered one of the rare characteristics of African societies. To have survived six hundred years of slavery. Colonialism and imperialism of all kinds, which have destabilized societies and undermined the traditional modes of transmission of knowledge.

The Ubuntu thought.

Rooted in many African languages ​​and cultures, Ubuntu thought remains active in the conception of the place of the individual in a community. But also in relations between peoples, structuring a consciousness and a vision of the world within an interdependence of relations. This notion thus nourished the reflection of the liberation movements in the African post-colonial experiences of the 1960s. Feeding, for example, the aspirations for the construction of an African socialism or the idea of ​​a political pan-Africanism.

Nelson Mandela.

This way of thinking emerges from contemporary literary and poetic productions of the continent and its diasporas. From Edouard Glissant to Vumbi Yoka Mudimbe. Alain Mabanckou, Yanick Lahens or Léonora Miano to name only a few French-speaking authors, among others. In terms of musical creation, Fela Kuti or Miriam Makeba remain the legendary spokespersons of this idea of ​​unity in rapprochement. Since Ubuntu symbolizes the bond woven between all peoples. It was used and widely popularized by Nelson Mandela to portray the ideal of an anti-segregation society during Apartheid. Then to promote the national reconciliation of South Africa.

About twenty artists.

The “Ubuntu, A Lucid Dream” exhibition aims to bear witness to these current dynamics and brings together the contributions of some twenty artists or groups of artists whose work joins the Ubuntu philosophy of “making humanity together”. By trying to approach it as a resource. A space for invention, or fiction. As well as mediation with the real world.

 

 

 

Palais de Tokyo  13, avenue du President Wilson 16th – Paris, France 75116

 

 

 

 

Use our Art Geolocation App

 

Our App Arts Culture Platform

Damien Hirst: His Own Worst Enemy

Damien Hirst: His Own Worst Enemy

Damien Hirst: His Own Worst Enemy
White Cube – Nov 24, 2021 to Jan 08, 2022 Hong Kong (China)

 

 

 

 

 

 

White Cube Hong Kong is pleased to present a personal exhibition of Damien Hirst. Displaying sculptures from his acclaimed installation in Venice. “Treasures from the Wreck of the Unbelievable” (2017). As well as a new series of paintings, “Revelations”, produced in his London studio. Presented for the first time in Asia. “Treasures from the Wreck of the Incredible” was developed over ten years and from the idea of ​​an archaeological find of an ancient wreck. The figures in bronze, marble and crystal combine the multifaceted illusionism of Hellenistic sculpture. With the whimsical extravagance of Disney. Highlights of the Hong Kong exhibition include the black bronze The Severed Head of Medusa (2008). The Large Scale Dead Woman in Marble (2016). As well as the unseen black granite Mickey (2018).

 

 

Damien Hirst - His Own Worst Enemyボード「ダミアンハースト」に最高のアイデア 22 件 | ダミアン・ハースト, ハースト, アクセサリー ディスプレイAlice Brezzo (alicebrezzo) - Profilo | PinterestWhite Cube on Twitter: "On View: #DamienHirst 'Archaeology Now' at  @GallBorghese, Rome (until 7 November 2021) Visit https://t.co/W4F52MXkFH  to find out more.… https://t.co/mntq8bSf4k"

White Cube Hong Kong→  50 Connaught Road Central – Hong Kong, Hong Kong

 

 

 

 

 

Use our Art geolocation App

 

Our App Arts Culture Platform

Go Top