Optimismo Radical PR Final
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Biennals 10-13 CUBAN
Iniva: Stuart Hall Library: Select Bibliography 2008 States of Exchange: Artists from Cuba/ Estados de Intercambio: Artistas de Cuba Jeanette Chávez Autocensura / Self-Censorship , 2006 Video, 2:52 min Image courtesy of the artist CONTENTS CUBAN ARTISTS 2-7 CUBAN ART 7-9 CUBAN ART: Biennals 10-13 CUBAN ART: Biennals: Journal articles 13 CUBA ART: Context 14-15 Iniva: Stuart Hall Library: Select Bibliography 2008 States of Exchange: Artists from Cuba/ Estados de Intercambio: Artistas de Cuba ITEM LIBRARY SHELF NUMBER CUBAN ARTISTS Alfonzo, Carlos AS ALF Viso, Olga M. (ed.) Triumph of the Spirit, Carlos Alfonzo: a survey 1975-1991 . Miami: Miami Art Museum 1998. Bedia, Jose AS BED Jose Bedia: Fabula . Bogota: Galeria Fernando Quintana, 1993. Brugera, Tania AS BRU Tania Bruguera: esercizio di resistenza = exercise in resistance . Turin: Franco Soffiantino Arte Contemporanea, 2004. Campos-Pons, Maria Magdalena AS CAM Maria Magdalena Campos-Pons: meanwhile, the girls were playing . Cambridge Mass.: MIT List Visual Arts Centre, 2000. Capote, Ivan AS CAP Ivan Capote . Herausgabe: Havana Edition, 2007. Ivan Capote: Aforismos . AS CAP Cuba: Galeria Habana, 2007. Capote, Yoan AS CAP Yoan Ca pote. Herausgabe: Havana Edition, 2007. Carmona, Williams AS CAR Todos miran, pocos ven /they all look, but few only see . [Paris]: Corinne Timsit International Galleries, [n.d.] Castro, Humberto AS CAS Humberto Castro: le radeau d'Ulysse Paris: Le monde de l'art, [n.d.] [Text in French] Ceballos, Sandra AS CEB Ceballos, Sandra and Suárez, Ezequiel (curs.) Dónde está Loló: Pinturas: Sandra Ceballos . La Habana: Centro Wifredo Lam, 1995. Text in Spanish] 2 Iniva: Stuart Hall Library: Select Bibliography 2008 States of Exchange: Artists from Cuba/ Estados de Intercambio: Artistas de Cuba ITEM LIBRARY SHELF NUMBER Cuenca, Arturo AS CUE Arturo Cuenca: Modernbundo . -
View a PDF Programme
Speaker bios Bani Abidi is a visual artist working with video, photography, drawing and sound. She lives in Berlin and Karachi. Recent solo shows include: ‘Funland’, Sharjah Art Foundation, Sharjah; ‘Bani Abidi - They died laughing’, Gropius Bau, Berlin; ‘Bani Abidi - Exercise in Redirecting Lines’ Kunsthaus Hamburg, Hamburg and ‘Bani Abidi – Look at the city from here’, Gandhara Art Foundation, Karachi. Group shows include Karachi Biennial (2018), Busan Biennale (2018), Edinburgh Arts Festival Commissions (2016), 8th Berlin Biennial (2014) and DOCUMENTA 13 (2012). Her work is in the permanent collections of Tate Modern, Museum of Modern Art NY, Fukuoka Asian Art Museum, Guggenheim Museum and the British Museum. Iftikhar Dadi & Elizabeth Dadi have collaborated in their art practice for twenty years. Their work investigates memory, borders, and identity in contemporary globalization, the productive capacities of urban informalities in the Global South, and the mass culture of postindustrial societies. Exhibitions include the 24th Bienal de São Paulo, Brazil (1998); The Third Asia-Pacific Triennial, Brisbane, Australia (1999); Walker Art Center, Minneapolis (2000); Centre Georges Pompidou, Paris (2000); Liverpool Biennial, Tate Liverpool (2002); Moderna Museet-Stockholm (2005); Whitechapel Gallery, London (2010); Fukuoka Asian Art Museum, Japan (2012); Art Gallery of Windsor, Canada (2013); Dhaka Art Summit (2016); Office of Contemporary Art Norway, Oslo (2016); Lahore Biennale 01 (2018); and the Havana Biennial (2019). Iftikhar Dadi is an associate professor in Cornell’s Department of History of Art and Director of the South Asia Program, and a board member of the Institute for Comparative Modernities. He is the author of Modernism and the Art of Muslim South Asia (2010) and the edited monograph Anwar Jalal Shemza (2015). -
Heri Dono the World and I
FINE ART HERI DONO THE WORLD AND I Jalasveva Jaya Mahe, 2013 Flying Angels, 1996 Tyler Rollins Fine Art is pleased to host the first New York solo exhibition for Heri Dono, taking place from October 30 – December 20, 2014. Entitled The World and I, the exhibition features an overview of paintings, sculptures, and installations from throughout his thirty- year career. It follows a major mid-career survey of Dono’s work, The World and I: Heri Dono’s Art Odyssey, on view earlier this year at Art 1: New Museum in Jakarta, Indonesia, for which a 260 page catalogue was published. One of Indonesia’s most well known and internationally active contemporary artists, Dono has achieved iconic status both internationally and in his native Indonesia. Born in Jakarta in 1960, and a graduate of the Indonesian Institute of the Arts in Yogyakarta, Dono early on developed a distinctive style that came out of his extensive experimentation with the most popular form of Javanese folk theatre, wayang, a vibrant and eclectic art form that enacts complex narratives, often derived from ancient mythology, incorporating music with performances by two-dimensional shadow puppets as well as more lifelike wooden puppets and even human actors. Dono’s elaborate sculptural installations take inspiration from these puppets, bringing them into the contemporary world of machines, robots, and television. Often featuring unusual juxtapositions of motifs, a variety of moving parts, and sound and video components, these multi-media works make powerful statements about political and social issues as well as the often jarring interrelationship between globalization and local cultures. -
The Budapest Carnivals
THE BUDAPEST CARNIVALS HX 632 Al W9 uojyt-7^0 TIRANA, I960 &.x m m THE BUDAPEST CAR NIVA LS THE «NAIM FRASHERI» PUBLISHING HOUSE TIRANA. 1968 LIBRARY ^ UNivtKsnrUNIVERSITY ui-OF ALBERTA3 THE COUNTER-REVOLUTIONARY BUDAPEST MEETING — A NEW TREACHEROUS STEP OF THE KHRUSHCHOVITE REVISIONISTS The revisionist leaders of Europe and of some other parties which mainly depend on them, will meet on February 26 in Budapest around the Khrushchovite leaders of the Soviet Union to discuss the ^preliminary arrangements for the new world communist forum*. In a previous article we have explained in detail the counter-revolutionary aims of this meeting and its purposes to oppose the re¬ volutionary and anti-imperialist struggle of the people. Today we shall dwell only on some aspects of the confused, contradictory and desperate at¬ mosphere, characterizing the revisionist pack on the threshold of a meeting for which the Soviet revisionists have not spared either big propaganda words or numerous material means. The Brezhnev-Kosygin clique has for several years tried through flattery, pressure, fraud and threats, to organize a big revisionist parade that would acclaim its line and recognize it as a supreme guide of the international communist movement*. It has pinned great hopes on this meeting which it has regarded as the promised land. In the first place, 3 being under the constant pressure of the people’s masses and upright communists, because of the incompatibility with its treacherous course of res¬ toration of capitalism at home and of collaboration with imperialism abroad, the revisionist leadership of the Soviet Union is seeking to deceive the Soviet people by telling them that its line cannot but be «Marxist-Leninist», since it has been ap¬ proved also at a large communist meeting which was attended by so many parties. -
Open Ana Zorrilla Dissertation Final
The Pennsylvania State University The Graduate School College of Education MORE THAN MEETS THE EYE: ADULT EDUCATION FOR CRITICAL CONSCIOUSNESS IN LUIS CAMNITZER’S ART A Dissertation in Adult Education by Ana Carlina Zorrilla © 2012 Ana C. Zorrilla Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Education May 2012 ii The dissertation of Ana Carlina Zorrilla was reviewed and approved* by the following: Elizabeth J. Tisdell Professor of Adult Education Dissertation Advisor Chair of Committee Ilhan Kucukaydin Affiliate Assistant Professor of Education Peter Kareithi Associate Professor of Communications and Humanities Robin Veder Associate Professor of Humanities and Art History/Visual Culture Fred M. Schied Associate Professor of Education In Charge of Graduate Program in Adult Education *Signatures are on file in the Graduate School iii ABSTRACT The purpose of this study was to explore the connection between art and adult education for critical consciousness through the conceptual art of Luis Camnitzer. The theoretical framework grounding this research was critical public pedagogy, influenced by both critical theory and Stuart Hall’s systems of representation (1997). This framework attempts to understand the learning and unlearning that takes place through various texts and in public venues. The study aimed to further understand adult education for critical consciousness through art as evidenced in the work of Camnitzer. There is limited literature on critical public pedagogy because it is a nascent branch in the adult education field. For data collection, this qualitative research study used interviews with conceptual artist Luis Camnitzer and with others familiar with his work as well as textual analysis of his work. -
Reynier Leyva Novo
GALLERIA CONTINUA Via del Castello 11, San Gimignano (SI), Italia tel. +390577943134 fax +390577940484 [email protected] www.galleriacontinua.com REYNIER LEYVA NOVO El peso de la muerte Opening: Saturday 13 February 2016, via del Castello 11 and via Arco dei Becci 1, 6pm–12 midnight Until 1 May 2016, Monday–Saturday, 10am–1pm / 2–7pm Galleria Continua is pleased to present the first solo exhibition by Reynier Leyva Novo in Italy. One of the latest generation of Cuban artists, Novo has already had occasion to show his work in important international events and venues such as the Havana Biennial, the Venice Biennale, MARTE Museo de Arte de El Salvador and the Liverpool Biennial. El peso de la muerte is a project specially conceived for Galleria Continua and brings together a series of new works in which investigation and procedure are key elements. Deeply poetic but also alive with questions, Novo’s work is situated in the context of the daily battles to get to the bottom of individual and collective identity. In his artistic practice he moves forward turning his back on the future, penetrating into the most hidden folds of history to offer us a fresh dialogue and a different point of observation. His works are often the result of joint efforts involving historians, cartographers, alchemists, botanists, musicians, designers, translators and military strategists, all engaged in the eternal struggle to gain freedom – individual and collective – , in the attempt to set into motion ideological mechanisms blocked by the rust and sediment that have accumulated over years of immobility and lethargy. -
CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale Di Venezia La Biennale Di Venezia President Presents Roberto Cicutto
LE MUSE INQUIETE WHEN LA BIENNALE DI VENEZIA MEETS HISTORY CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale di Venezia La Biennale di Venezia President presents Roberto Cicutto Board The Disquieted Muses. Luigi Brugnaro Vicepresidente When La Biennale di Venezia Meets History Claudia Ferrazzi Luca Zaia Auditors’ Committee Jair Lorenco Presidente Stefania Bortoletti Anna Maria Como in collaboration with Director General Istituto Luce-Cinecittà e Rai Teche Andrea Del Mercato and with AAMOD-Fondazione Archivio Audiovisivo del Movimento Operaio e Democratico Archivio Centrale dello Stato Archivio Ugo Mulas Bianconero Archivio Cameraphoto Epoche Fondazione Modena Arti Visive Galleria Nazionale d’Arte Moderna e Contemporanea IVESER Istituto Veneziano per la Storia della Resistenza e della Società Contemporanea LIMA Amsterdam Peggy Guggenheim Collection Tate Modern THE DISQUIETED MUSES… The title of the exhibition The Disquieted Muses. When La Biennale di Venezia Meets History does not just convey the content that visitors to the Central Pavilion in the Giardini della Biennale will encounter, but also a vision. Disquiet serves as a driving force behind research, which requires dialogue to verify its theories and needs history to absorb knowledge. This is what La Biennale does and will continue to do as it seeks to reinforce a methodology that creates even stronger bonds between its own disciplines. There are six Muses at the Biennale: Art, Architecture, Cinema, Theatre, Music and Dance, given a voice through the great events that fill Venice and the world every year. There are the places that serve as venues for all of La Biennale’s activities: the Giardini, the Arsenale, the Palazzo del Cinema and other cinemas on the Lido, the theatres, the city of Venice itself. -
Supplemental Infomation Supplemental Information 119 U.S
118 Supplemental Infomation Supplemental Information 119 U.S. Department of State Locations Embassy Abidjan, Côte d’Ivoire Dushanbe, Tajikistan Abu Dhabi, United Arab Emirates Freetown, Sierra Leone Accra, Ghana Gaborone, Botswana Addis Ababa, Ethiopia Georgetown, Guyana Algiers, Algeria Guatemala City, Guatemala Almaty, Kazakhstan Hanoi, Vietnam Amman, Jordan Harare, Zimbabwe Ankara, Turkey Helsinki, Finland Antananarivo, Madagascar Islamabad, Pakistan Apia, Samoa Jakarta, Indonesia Ashgabat, Turkmenistan Kampala, Uganda Asmara, Eritrea Kathmandu, Nepal Asuncion, Paraguay Khartoum, Sudan Athens, Greece Kiev, Ukraine Baku, Azerbaijan Kigali, Rwanda Bamako, Mali Kingston, Jamaica Bandar Seri Begawan, Brunei Kinshasa, Democratic Republic Bangkok, Thailand of the Congo (formerly Zaire) Bangui, Central African Republic Kolonia, Micronesia Banjul, The Gambia Koror, Palau Beijing, China Kuala Lumpur, Malaysia Beirut, Lebanon Kuwait, Kuwait Belgrade, Serbia-Montenegro La Paz, Bolivia Belize City, Belize Lagos, Nigeria Berlin, Germany Libreville, Gabon Bern, Switzerland Lilongwe, Malawi Bishkek, Kyrgyzstan Lima, Peru Bissau, Guinea-Bissau Lisbon, Portugal Bogota, Colombia Ljubljana, Slovenia Brasilia, Brazil Lomé, Togo Bratislava, Slovak Republic London, England, U.K. Brazzaville, Congo Luanda, Angola Bridgetown, Barbados Lusaka, Zambia Brussels, Belgium Luxembourg, Luxembourg Bucharest, Romania Madrid, Spain Budapest, Hungary Majuro, Marshall Islands Buenos Aires, Argentina Managua, Nicaragua Bujumbura, Burundi Manama, Bahrain Cairo, Egypt Manila, -
2016 AIA Fellowship Entry 133503 Nominee Hsinming Fung Organization Hodgetts + Fung Location Los Angeles Chapter AIA Los Angeles
This cover section is produced by the AIA Archives to show information from the online submission form. It is not part of the pdf submission upload. 2016 AIA Fellowship Entry 133503 Nominee Hsinming Fung Organization Hodgetts + Fung Location Los Angeles Chapter AIA Los Angeles Category of Nomination Category One - Design Summary Statement Hsinming Fung’s emphasis on rigorous formal logic and precise delineation of materials has translated into exceptional designs, balancing innovation and poetic sensitivity. Her academic leadership has been instrumental in bridging the discipline and contemporary practice. Education University of California, Los Angeles, 3 years (1977-1980), Master of Architecture California State University, Dominguez Hills, 3 years (1974-1977), Bachelor of Arts Miami University, Ohio, 1 year (1973-1974) Oxford College, Oxford, 2 years (1971-1973) Licensed in: California Employment Hodgetts + Fung, employed 31 years (1984-present) Charles Kober Associates, employed 4 years (1980-1984) October 8, 2015 ALTOON | Strategic Diane Georgopulos, FAIA Chair, 2016 Jury of Fellows THE AMERICAN INSITITUTE OF ARCHITECTS 1735 New York Avenue, NW Washington, D.C. 20006-5292 Re: Sponsorship of Hsinming Fung, AIA Dear Diane Georgopulos and the 2016 Jury of Fellows: As a student of leadership, I am honored to sponsor Hsinming Fung, AIA, a most worthy nominee to the AIA College of Fellows. I do so with comprehensive 35-year awareness of her contributions, having hired her as a designer in 1980. Ming immediately demonstrated curiosity, resourcefulness, commitment and competency. Perhaps because she was a immigrant relocating from Viet Nam driven to achieve “the Amerian Dream”, she volunteered for any task, seized every opportunity, took every risk, and never disappointed. -
Tirana - Durrës Region: Upgrade of the Electricity Transmission Network
Tirana - Durrës Region: Upgrade of the Electricity Transmission Network Project Financing WBIF Grant TA3-ALB-ENE-01 € 577,000 WBIF Grant WB4-ALB-ENE-01 € 577,605 OST Own Contribution € 5,000,000 KFW Loan € 40,000,000 Total € 46,154,605 Total Grants € 1,154,605 Total Loans € 40,000,000 Project Description This project will enable the construction of a reliable electricity transmission system in Tirana and neighbouring region, towards Durres. Specifically, it will entail: construction a 220 kV double circuit line from SS Tirana 2 to Rrashbull, a new 220/220 kV substation in Rrogozhina as well as power transformer upgrade in SS Rrashbull. construction of a new 220/110 kV substation (SS Tirana 3) with an installed capacity of 120 MVA (Sauk area) and the reinforcement 110 kV Tirana ring. The improvements will reduce electricity losses as well as power cuts, which regularly affect 50% of the region's residents and 30% of its private businesses. Current air pollution caused by the diesel generators used during power outages is also expected to decrease. The WBIF has allocated more than €1,100,000 as EU grant to the preparation of feasibility studies, including preliminary designs, for these two developments. Results and Benefits encourage economic growth in the Tirana area due to better electricity supply and reduced load shedding afford the electricity supply load growth rate which, for Tirana areas, is about 5.8% yearly (average one for the period 2003-2008) normalize supply of unsupplied load which actually for sub-urban areas is about 10-15% -
Albania 2020 Report
EUROPEAN COMMISSION Brussels, 6.10.2020 SWD(2020) 354 final COMMISSION STAFF WORKING DOCUMENT Albania 2020 Report Accompanying the Communication from the Commission to the European Parliament, the Council, the European Economic and Social Committee and the Committee of the Regions 2020 Communication on EU Enlargement Policy {COM(2020) 660 final} - {SWD(2020) 350 final} - {SWD(2020) 351 final} - {SWD(2020) 352 final} - {SWD(2020) 353 final} - {SWD(2020) 355 final} - {SWD(2020) 356 final} EN EN Table of Contents 1. INTRODUCTION 3 1.1. Context 3 1.2. Summary of the report 4 2. FUNDAMENTALS FIRST: POLITICAL CRITERIA AND RULE OF LAW CHAPTERS 8 2.1. Functioning of democratic institutions and public administration reform 8 2.1.1 Democracy 8 2.1.2. Public administration reform 14 2.2.1. Chapter 23: Judiciary and fundamental rights 18 2.2.2. Chapter 24: Justice, freedom and security 37 3. FUNDAMENTALS FIRST: ECONOMIC DEVELOPMENT AND COMPETITIVENESS 51 3.1. The existence of a functioning market economy 51 3.2. The capacity to cope with competitive pressure and market forces within the Union 57 4. GOOD NEIGHBOURLY RELATIONS AND REGIONAL COOPERATION 59 5. ABILITY TO ASSUME THE OBLIGATIONS OF MEMBERSHIP 62 5.1. Chapter 1: Free movement of goods 62 5.2. Chapter 2: Freedom of movement of workers 64 5.3. Chapter 3: Right of establishment and freedom to provide services 64 5.4. Chapter 4: Free movement of capital 65 5.5. Chapter 5: Public procurement 67 5.6. Chapter 6: Company law 69 5.7. Chapter 7: Intellectual property law 70 5.8. -
Export / Import: the Promotion of Contemporary Italian Art in the United States, 1935–1969
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2016 Export / Import: The Promotion of Contemporary Italian Art in the United States, 1935–1969 Raffaele Bedarida Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/736 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by RAFFAELE BEDARIDA A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 RAFFAELE BEDARIDA All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy ___________________________________________________________ Date Professor Emily Braun Chair of Examining Committee ___________________________________________________________ Date Professor Rachel Kousser Executive Officer ________________________________ Professor Romy Golan ________________________________ Professor Antonella Pelizzari ________________________________ Professor Lucia Re THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by Raffaele Bedarida Advisor: Professor Emily Braun Export / Import examines the exportation of contemporary Italian art to the United States from 1935 to 1969 and how it refashioned Italian national identity in the process.