Fidest – Agenzia giornalistica/press agency

Quotidiano di informazione – Anno 32 n° 259

Posts Tagged ‘imagination’

Michael Kenna: Venezia

Posted by fidest press agency su venerdì, 15 gennaio 2010

New York until 13/2/2010 210 Eleventh Avenue Robert Mann Gallery Michael Kenna’s sixth solo exhibition at the gallery, Venezia, marks the premiere presentation of Kenna’s photographs of Venice, Italy. The exhibition coincides with the publication of Michael Kenna: Venezia, available March 2010 from Nazraeli Press. With photographs spanning nearly 30 years, the exhibition reflects the quintessentially patient, quiet method of looking for which Kenna has become legendary.  Without a doubt one of the most magical cities ever to exist, Venice has captured the imagination of artists for hundreds of years. From Vivaldi to Canaletto, Shakespeare to Calvino, this almost mythical city has inspired some of Western culture’s greatest works of art. With the photographs in the exhibition Venezia, Kenna adds his own distinctive interpretation of this great city. His photographs simultaneously capture the decadence and decay of the palazzos and esplanades that line the canals. Gondolas rise and fall with the tide, the brackish water eating away at the mooring posts that punctuate many of the images. Kenna’s long exposures, some times lasting several hours during the darkest hours of the night, smooth over the surfaces of the canals, further emphasizing their street-like function in this floating city. With typically meticulous prints, Kenna distills Venice to its iconic, elemental characteristics of water and light.  Image: Michael Kenna, Campo San Vio Viewpoint, Venice, Italy, 2007. Courtesy of Robert Mann Gallery.

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Tullio Lombardo An Antiquity of Imagination

Posted by fidest press agency su lunedì, 6 luglio 2009

imaginationWashington until 1/11/2009 National Gallery of Art  4th Street and Constitution Avenue curated by Alison Luchs  In the first exhibition dedicated to Venetian Renaissance sculptor Tullio Lombardo (c. 1455-1532), his romantic approach to portraiture is revealed in four of his greatest marble carvings, which are joined by eight related works from his closest circle. On view at the National Gallery of Art’s Italian galleries in the West Building from July 4 through November 1, 2009, An Antiquity of Imagination: Tullio Lombardo and Venetian High Renaissance Sculpture celebrates the artist’s pioneering talent.  The exhibition is sponsored by The Exhibition Circle of the National Gallery of Art. A fully illustrated exhibition catalogue includes scholarly essays by Luchs; Adriana Augusti, director of the Galleria Giorgio Franchetti alla Ca’ d’Oro, Venice; Matteo Ceriana, deputy director of the Pinacoteca di Brera, Milan; Sarah Blake McHam, professor of art history at Rutgers University; Debra Pincus, independent scholar; and Alessandra Sarchi, research project manager at the Fondazione Federico Zeri, Università di Bologna. Published with Yale University Press, the catalogue is 160 pages with 62 color and 23 black-and-white illustrations and will be available in July 2009 from the Gallery Shops for $60 (hardcover).
Tullio and his younger brother Antonio, both gifted sculptors, worked with their father Pietro Lombardo in the family firm, a leading force in architecture and sculpture in Venice well into the 16th century. While traditional demand for sculpture in Renaissance Venice centered on projects for churches, public monuments, and architectural decoration, Tullio created new forms of private art.  The exhibition presents other close-up bust-length images, in relief and in the round, that display Tullio’s sensuous and expressive qualities. They include his own soulful, curly haired Relief Bust of a Youth (c.1505) as well as Simone Bianco’s Bust of a Woman (c.1515/1520), in a pleated gown that falls suggestively open, and Antonio Minello’s Grieving Heroine (1520s), a delicate miniature bust with elaborately bound and loosened hair winding over her bare shoulders.  (imagination)

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Multiverse Group show

Posted by fidest press agency su sabato, 27 giugno 2009

multiverseLondon until 26/7/2009 123 Kennington Road Danielle Arnaud Contemporary Art Multiverse brings together artists who use fiction to access the virtual potential for multiple co-existing worlds. The term multiverse, first coined by William James, has become associated with quantum theory and new cosmology. Applied to the universe it implies that there could be an infinite number of universes decohered from each other. It also operates in relation to the idea of a multidimensional hyperspace. The scientific future of the term might be uncertain, but it can describe a radical way of considering fiction. With respect to the potential existence of a number of possible worlds, our own physical world is just a freak possibility. Following this line of thought, fictional realities are downloaded from the multi-virtual rather than invented. Imagination is then no longer a private faculty, but a transpersonal way of accessing alternative modes of subjectivity. For each specific medium of the artwork there are laws of coherence of a relative autonomy. But in each work of Multiverse there is also the presence of alien forces. In a multiverse both brimful of consciousness and dissymmetry there is the potential for parallels, correspondences and synchronicity as well as fragmentation, disunity and obfuscation. Fiction must employ the imagination to probe the proliferation of worlds just at the point of formation to fulfil its role as a medium for other possible realities.
Jemima Brown was born in 1971 and lives and works in London. In 1995 she completed her MA at Chelsea College of Art and Design. Her recent exhibitions include a solo show at The Agency Contemporary, London 2009 and Broodwork at the Eaglerock Centre, LA, 2009. David Burrows was born in London in 1965; he completed his MA at Goldsmiths College in 1994 and exhibits internationally. Dr Ole Hagen was born in Norway and received his PhD in Visual Arts at Goldsmiths College in 2007. Recent exhibitions include Homebodies, London, San Francisco, Frankfurt, 2008. Alicia Paz completed her MA at Goldsmiths College in 2000, she exhibits internationally and recent shows were at Unit 2 Gallery, London and at Galerie Dukan & Hourdequin, Marseilles. Dr Simon O’Sullivan is an academic whose research and writing focuses on aesthetics, continental philosophy, especially Deleuze and Guattari and Art Theory. He is a senior lecturer at Goldsmiths College.  (Image: multiverse)

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Peter Coffin

Posted by fidest press agency su martedì, 7 aprile 2009

coffinSan Francisco from 7/4/09 to 2/5/09 CCA Wattis Institute for Contemporary Arts 1111 Eighth Street (California College of the Arts). The three pieces by New York-based artist Peter Coffin included in Passengers continue his study of behavior, through examining instincts and environments from the world around us. In his work, Coffin frequently uses strategies of displacement to make the natural seem highly unnatural.  Untitled (Gallery Soundtrack, 415-551-9206), from 2008, can be experienced remotely by calling the main Wattis Institute gallery phone number. The artist has created a series of imagined environments through the use of sounds-such as a babbling brook, playground noises, and birdcalls-that can be heard in the background of the phone line, situating callers into an environment that is highly removed from the one they assume to be dialing.  Coffin’s mesmerizing video Untitled (One Minute Breach), from 2007, documents a whale breaking the surface of the ocean in one continuous circle. The artist highlights the extraordinary trait of breaching by isolating the whale’s momentous leap.  Inspired by a definition of the term aesthetics as “an idea that sets humankind apart from other animal species,” Untitled (2008) is based on the artist’s quest for an animal that does have an aesthetic sensibility. Coffin discovered that the Satin Bower bird exhibits this sense of aesthetics in seeking out blue objects for building its nest. Using a collection of blue flowers, egg shells, and more typically trash and man-made blue items, the bird’s impressive display is meant to attract mates. Visitors to Passengers are invited to participate in building a Satin Bower bird nest on a human-scale by contributing blue objects to the work, encouraging the viewer to be taken temporarily out of his own aesthetic element to adopt the bird’s visual preference.  Image: Untitled, 2007. Conveyor system, release mechanism and balloon, 11.9 x 33.7 x 15.3 feet, Installation View: Galerie Emmanuel Perrotin, Paris, Courtesy the artist and Andrew Kreps Gallery, New York  Launched in September 2007, the exhibition Passengers aimed to overcome the often-restrictive programming schedule of a typical art institution by implementing a format that was constantly transforming and self-perpetuating. At the beginning of every month, one of the artists from the group portion of the show would move into the central cube to present a solo show, and then at the end of the month he or she would leave the exhibition completely and a brand-new artist would enter the group show, thus constantly repopulating the display.  A new presentation opens to the public on the first Tuesday of every month, with a short artist talk at 7 p.m. followed by a reception. (photo coffin)

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