Dolven AK Bio (AWG)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Internationalization of Contemporary
INTRODUCTION International experience and professional contacts are important for artists. Historically, western artists have gathered in vibrant art centers such as Paris, New York, London, and Berlin, and continue to do so. Nevertheless, international exchange on a more local level is also important. For example, contacts and exchanges between Sweden and Finland are, and have been tight for centuries. The two countries’ geographical proximity, a joint 700 years long history, and a widely established Nordic cooperation in general are some explanations for mutual interests, also in an increasingly globalized world.1 Finnish art and culture has a strong position in Sweden in many ways, for example, through a cultural institution, Finlandsinstitutet, in Stockholm, but Finnish artists also exhibit at Swedish art institutions, that is, Swedish art museums and art galleries.2 Purpose This thesis examines the internationalization of Finnish contemporary artists who have exhibited in Sweden. The focus is on their exhibitions at art institutions in Sweden, covering the period 2004–2013. By mapping the artists’ international contacts, I aim to investigate the processes that made these exhibitions possible, and in particular to uncover the contacts leading to exhibitions in Sweden. Questions I explore are: How do different actors, networks, collaborations, and the field of artistic production look like when Finnish art is exported to Sweden for exhibition purposes? What factors lead to that a younger generation of Finnish artists exhibits their art in Sweden? Scope In order to keep the thesis within reasonable limits, I will focus on art exhibitions at art institutions in Sweden, thus excluding commercial art galleries. -
Annual Report 2018/2019
Annual Report 2018/2019 Section name 1 Section name 2 Section name 1 Annual Report 2018/2019 Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Coordinated by Olivia Harrison Designed by Constanza Gaggero 1 September 2018 – Printed by Geoff Neal Group 31 August 2019 Contents 6 President’s Foreword 8 Secretary and Chief Executive’s Introduction 10 The year in figures 12 Public 28 Academic 42 Spaces 48 People 56 Finance and sustainability 66 Appendices 4 Section name President’s On 10 December 2019 I will step down as President of the Foreword Royal Academy after eight years. By the time you read this foreword there will be a new President elected by secret ballot in the General Assembly room of Burlington House. So, it seems appropriate now to reflect more widely beyond the normal hori- zon of the Annual Report. Our founders in 1768 comprised some of the greatest figures of the British Enlightenment, King George III, Reynolds, West and Chambers, supported and advised by a wider circle of thinkers and intellectuals such as Edmund Burke and Samuel Johnson. It is no exaggeration to suggest that their original inten- tions for what the Academy should be are closer to realisation than ever before. They proposed a school, an exhibition and a membership. -
Jesper Just Biography
JESPER JUST BIOGRAPHY Jesper Just Born in 1974 in Copenhagen, Denmark. Lives and works in New York EDUCATION 1997-2003 The Royal Danish Academy of Fine Arts. REPRESENTED BY Galleri Nicolai Wallner, Copenhagen Galerie Emmanuel Perrotin, Paris James Cohan Gallery, New York SOLO EXHIBITIONS 2011 ––– This Nameless Spectacle, MAC/VAL, Vitry-sur-Seine, France A Vicious Undertow, Single-Chanel Series, Des Moines Art Center, Des Moines, IA, USA John Curtin Gallery, Perth, Australia This Nameless Spectacle, BALTIC Centre for Contemporary Art, Gateshead, UK Photo Spring, Beijing, China MAP, Mobile Art Production, Stockholm, Sweden Le Mois de la Photo à Montréal, Montréal, Canada 2010 ––– ARTscape: Denmark – Jesper Just, Galerija VARTAI, Vilnius, Lithuania Jesper Just: Romantic Delusions, Tampa Museum of Art, Tampa, FL, USA 2009 ––– Invitation to Love, Kunstnernes Hus, Oslo, Norway Jesper Just, Centro de Arte Moderna José de Azeredo Perdigão - Fundação Calouste Gulbenkian, Lisbon, Portugal Tromsø Gallery of Contemporary Art, Norway 2008 ––– Romantic Delusions, Galerie Emmanuel Perrotin, Paris, France Romantic Delusions, Brooklyn Museum of Art, Brooklyn, NY, USA Romantic Delusions, U-turn / Kunsthallen Nikolaj, Copenhagen, Denmark A Voyage in Dwelling, Victoria Miro Gallery, London, England Jesper Just, La Casa Encendida, Madrid, Spain 2007 ––– A Vicious Undertow, Perry Rubenstein Gallery, New York Jesper Just, Kunsthalle Wien (Museumsquartier), Vienna Jesper Just, SMAK Stedelijk Museum voor Actuele Kunst, Gent Belgium Jesper Just, Witte de With Center -
Geschäftsbericht 2013/14
Zumtobel Group Geschäftsbericht 2013|14 / Annual Report 2013|14 LIVING THE NORDIC LIGHT Erstellt in Zusammenarbeit mit / Created in collaboration with Snøhetta. Vorwort / Preface Zumtobel Group Inhalt / Contents Vorwort / Preface Snøhetta Hundertjährige blicken zurück / Centenarians Looking Back Dunkelheit / Darkness Vorwort / Preface Zumtobel Group 6 Licht / Light Vorwort / Preface Snøhetta 13 Hundertjährige blicken zurück / Centenarians Looking Back 23 Forscher blicken in den Norden / Scientists Looking North Dunkelheit / Darkness 114 Licht / Light 214 – Forscher blicken in den Norden / Scientists Looking North 292 Geschäftsbericht 2013|14 / Annual Report 2013|14 – | | Markenberichte / Brand Reports Geschäftsbericht 2013 14 / Annual Report 2013 14 Thorn Markenberichte / Brand Reports Zumtobel Thorn 338 Tridonic 342 Tridonic Zumtobel 348 Zahlen und Fakten / Facts & Figures Zahlen und Fakten / Facts & Figures Fünfjahresübersicht / Five-Year Overview 350 Fünfjahresübersicht / Five-Year Overview Konzernlagebericht / Group Management Report 352 Konzernabschluss / Consolidated Financial Statements 377 Konzernlagebericht / Group Management Report Konzernabschluss / Consolidated Financial Statements – Service Service 388 Kolophon / Colophon 395 Kolophon / Colophon Zumtobel Group Vorwort CEO Zumtobel Group Vorwort CEO Geschäftsbericht 2013|14 Geschäftsbericht 2013|14 Liebe Kunden, Partner und Aktionäre, 6 es war mir eine große Ehre und Freude, Anfang Oktober letzten Jahres den Unternehmen einige fundamentale Weichenstellungen eingeleitet. Mit dem Ziel, 7 Vorstandsvorsitz der Zumtobel Group zu übernehmen. Ich habe seitdem ein die Zusammenarbeit im Konzern deutlich zu verbessern und die Potentiale aus Unternehmen kennengelernt, das dank seiner engagierten und hervorragend unserem Mehrmarkenansatz zu nutzen, haben wir das Unternehmen zum qualifizierten Mitarbeiter, seiner intensiven und langjährigen Kundenbeziehungen Dezember 2013 organisatorisch neu aufgestellt. In der neuen Struktur wird die und seiner international etablierten Marken über ein enormes Potential verfügt. -
Per Bak Jensen Kat Indhold
ÅRSSKRIFT - 2010 2011 m Kort om Novo Nordisk Fonden Novo Nordisk Fonden blev oprettet i 1989 ved en sam menslut ning kan deltage i fremtidige kapitaludvidelser i Novo Nordisk A/S af Novo’s Fond, Nordisk Insulinfond og Nordisk Insulinlaboratorium og Novo zymes A/S. Fonden bør gen nem Novo A/S tilstræbe at og har til formål: opretholde en væsentlig indfly delse i både Novo Nordisk A/S og Novozymes A/S. I at udgøre et stabilt fundament for den er hvervs mæssige og forskningsmæssige virksom hed, som drives af Novo Nordisk A/S, Novo A/S har til formål at administrere de af Fonden i Novo A/S Novo zymes A/S og eventuelle an dre selskaber, hvori Fonden indskudte obligationer, at administrere og udøve stemmeret på gennem sit datterselskab, Novo A/S, måtte besidde en væsentlig Novo A/S’ A- og B-aktier i Novo Nordisk A/S og Novo zymes A/S og ejer andel eller på an den måde udøve væsentlig indflydelse derigennem sikre Fonden et tilfredsstillende økonomisk afkast. I at yde støtte dels til fysiologisk, endokrinologisk og me tabolisk Dette for mål skal op nås gennem Novo A/S’ forskning, dels til anden lægevidenskabelig forskning I at bidrage til opretholdelsen og driften af Novo Nordisk A/S’ I tilsikring af, at alle virksomheder, hvori selskabet har en væsent- forskningshospitalsvirksomhed lig indflydelse, bidrager aktivt til Novo Grup pens udvikling og I at yde støtte til andre videnskabelige, humanitære og sociale driver de res virksomhed i over ens stemmelse med Novo formål. Gruppens visioner og værdier I opretholdelse af en væsentlig indflydelse på Novo Nordisk A/S Struktur og Novozymes A/S Novo Nordisk Fonden stiftede i 1999 et helejet datterselskab, Novo I overholdelse af de regler og principper, som er fastlagt i Novo A/S, gennem indskud i selskabet af en del af Fondens obligations- Nor disk Fondens vedtægter vedr. -
Museumslovens\ Puljt
Bevillinger fra erhvervelsessum og hastesum (museumslovens puljemidler (§16, stk. 2)) til enkeltmuseers erhvervelser af billedkunstværker uddelt af Kulturarvsstyrelsen 1. januar 2001 – 15. oktober 2008. Oversigt til brug for Kulturministeriets besvarelse af spørgsmål fra Finansudvalget vedr.: Aktstk. 7, §21 spørgsmål 1. Erhvervelsessum Hastesum Nationalmuseet 2001 Ulrich F. Beenfeldt: Det Fengerske Familiebillede. 1769 95.000 Ferdinand Richardt: Parti fra Brede. Den gamle klædefabrik. 1845. 35.000 2002 Elisabeth Jerichau Baumann: Portræt af Conrad Engelhardt 50.000 2004 Maleri: ’Udsigt mod Brede’. (Bredeværk). 25.000 1841 Statens Museum for Kunst 2001 Svend Wiig Hansen: Jorden græder. 1981. 400.000 Michelangelo: Syv afstøbninger. 100.000 2003 Michael Elmgreen og Ingvar Dragset: "Please, keep quiet!" 450.000 Wilhelm Freddie: 'Dagen D', 1944 150.000 Werner von Valckert: Galathea og Neptun 250.000 2005 William Louis Sørensen: Black & White. 1978-82. 100.000 Bjørn Nørgaard: Venus spejler. 2005. Skulptur 400.000 2006 Matthew Buckingham: Sandra of the Tuliphouse or How to live in a Free State. Videoinstallation. 150.000 William Louis Sørensen: Installation 75.000 2007 Viera Collaro og Niels Nedergaard: ’1000 Farver’, 1975. 200.000 Susanne Ussing: ’Uden titel’ (Tre hjørner), 1968. 200.000 2008 Paul Gernes: ’Bagsider’, 1968. 300.000 G.F. Clement: Dekorativt billede. Den hellige Frans’ vision med de tre hvide jomfruer’, 1893. 400.000 Joris Hoefnagel: ’Venus afvæbner Amor’. 400.000 Gouache. Ny Carlsberg Glyptotek 2005 350.000 Vilhelm Hammershøi: Et græsk relief. Kunstindustrimuseet 2001 Asger Jorn, Karel Appel og Corneille: Tre keramiske arbejder. 85.000 2002 Karin Blom, Th. Bindesbøll, Kr. Møhl- Hansen: Akvareller 15.500 2003 - To saltglaserede stentøjskrukker af 50.000 keramikeren Bente Hansen 2004 P.V. -
INGER JOHANNE GRYTTING Solo Exhibitions 2013 Galleri Svalbard, Longyearbyen, Norway W/ Eva Faye Recen
INGER JOHANNE GRYTTING Solo Exhibitions 2013 Galleri Svalbard, Longyearbyen, Norway w/ Eva Faye Recent Work, The Boiler Room Gallery, Oslo 2012 Nordnorsk Kunstnersenter, Svolvær, Norway w/ Susanne Kathlen Mader New Paintings, Rose Burlingham Gallery, New York 2010 Drawings, Trygve Lie Gallery, New York 2005 Tromsø Kunstforening, Tromsø Bodø Kunstforening, Bodø Atelier Lofoten, Svolvær 2003 Tegnerforbundet, Oslo Group Exhibitions 2012 Water, water everywhere. The Boiler Room Gallery, Oslo Righteous Perpetrators, A.I.R Gallery, Brooklyn, NY. Curator/Jennifer Wroblewski Higher Ground, Travelling exhibit of drawings from the collection of NN Kunstmuseum, Tromsø (Catalogue) (2012-2013) 2011 Paralleller, NordNorsk Kunstmuseum, Tromsø (Catalogue) Åpent Hus, Tegnerforbundet, Oslo Selected Works from the Collection of Sparebank 1 Nord-Norge Summer Show, Muriel Guepin Gallery, Brooklyn, New York Art Chicago, w/Muriel Guepin Gallery, Brooklyn, New York 2010 Muriel Guépin Gallery, Brooklyn, New York Heiberg Cummings Gallery, New York. Curator/Turid Meeker Åpent Hus, Tegnerforbundet, Oslo NNKS 30 år, Harstad Kunstforening, Harstad 2009 Nordnorsk Kunstnersenter 30 år, Svolvær 2008 Hommage à Iver Jåks, Travelling exhibit, through 2010 (Catalogue) Tegnerforbundet’s Vårutstilling, Oslo 2006 Jubileumsutstillingen, Tegnerforbundet, Oslo 2005 Far East, Christiansands Kunstforening, Kristiansand Den 59. Nordnorske Kunstutstilling, Bodø (& 02, 00, 94, 93, 92) 2004 Nordnorsk Samtidskunst Triennale Gallery 402, New York 2001 Mørketidsutstillingen, Tromsø Kunstforening, Tromsø Tegnerforbundet’s Vårutstilling, Oslo Reykjavik Art Museum, Repr. in Slide exhibition-TF 1998 Statens 111. Kunstutstilling, Oslo Collections: Jan Groth’s Samling, Stavanger Kunstmuseum (2013, 2003, 2000 & 1999) Nordland Fylkeskommune (2012) Troms Fylkeskommune, Tromsø (2011 & 1995) NordNorsk Kunstmuseum, Tromsø (2011, 2000 & 1995) SpareBank1 Nordnorge (2011) A/S Pellerin, Tromsø (2011) Nord-Norsk Kunstmuseum. -
ART, CRAFT and DESIGN (7201/X) Component 2 Externally Set Assignment 2018
A-level ART AND DESIGN ART, CRAFT AND DESIGN (7201/X) Component 2 Externally set assignment 2018 To be issued to candidates on 1 February 2018 or as soon as possible after that date. All teacher-assessed marks to be returned to AQA by 31 May 2018. Time allowed • 15 hours Materials For this paper you must have: appropriate art materials. Instructions Read the paper carefully. Before you start work, make sure you understand all the information. Choose one question. As soon as the first period of supervised time starts you must stop work on your preparatory work. You may refer to it in the supervised time but it must not be added to or amended. • The work produced in the supervised time may take any appropriate form but must show evidence of working in areas of study drawn from one or more of the endorsed titles. You must show evidence of personal work relating to your chosen question. You must show evidence of research and of investigating and developing ideas. This should include visual work and, if appropriate, annotations or written work. Sketchbooks, workbooks and/or journals may be included. Practical responses to the work of other artists, designers, craftspeople and photographers must show development in a personal way. The work submitted for this component must be produced unaided. You must not produce work for this component after the 15 hours of supervised time. Information The maximum mark for this paper is 96. • You should make sure that any fragile, temporary or ceramic work is photographed, in case of accidental damage. -
This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
“This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more. -
Innspill Til Nordområdemelding 25 Juni 2020
særpreg lešláhki distinctiveness Kunst og kultur i nordområdene Nordnorsk kunstmuseum Office of Contemporary Art Norway RiddoDuottarMuseat og Svalbard Museum Presentasjon Nordområdene er Norges viktigste strategiske ansvarsområde og regjeringen ønsker å opprettholde Arktis som en fredelig og stabil region, samtidig som det er et mål å utvikle Nord-Norge til en av landets mest skapende og bærekraftige regioner. Regjeringen legger til høsten frem en ny stortingsmelding om Nordområdene hvor hovedvekten skal være på samfunnsutviklingen i nord, næringsliv og kompetanse, infrastruktur, klima og miljø, samt sikkerhet og beredskap. Urfolk og samiske spørsmål har også, ifølge regjeringen, en <<<<<selvfølgelig plass i meldingen. Nordnorsk kunstmuseum (NNKM), Office of Contemporary Art Norway (OCA), Riddo- DuottarMuseat (RDM) og Svalbard Museum vil med dette innspillet be om at kunst og kultur som drivere for samfunnsutvikling, innovasjon og skaperkraft får en styr- ket posisjon i den nye Nordområdemeldingen. Arktis og de norske nordområdene står sentralt i viktige diskusjoner om fremtidens scenarier. Når vi kjenner kraften og ressursene som gjemmer seg i isen, hvordan global oppvarming skaper nye utfordringer for alt fra fortidsminner som ikke lenger ligger trygt i tørr is, til nye kommunikasjonsruter via nordøstpassasjen, nordområ- dene som forskingsfelt og lyttestasjon for global utvikling, og de store økonomiske og samfunnsmessige utfordringene – forstår vi at vi trenger innovative tilnærminger, menneskelig kreativitet, lokal kunnskap og forankring, og mot – for å imøtese, bearbeide og utvikle alt fra landbesittelse, makt og ressurser: Vi trenger med andre ord fokus på kunsten og kulturen inn i meldingen som har hovedvekt på sam- funnsutvikling i nord. Kunsten og kulturen får sin verdi gjennom enkeltmenneskers liv og samfunnet, når den gjenkjennes og gjenkjenner samfunnet rundt oss, i vår tillit, vår mistillit, vår tro, vår kraft og våre scenarioer for fremtiden. -
The Fire Station Project the Fire Station
THE FIRE STATION PROJECT THE FIRE STATION THE FIRE STATION PROJECT THE FIRE STATION PROJECT ACME STUDIOS’ WORK/LIVE RESIDENCY PROGRAMME 1997 – 2013 1 THE FIRE STATION PROJECT Published in 2013 by Acme Studios 44 Copperfield Road London E3 4RR www.acme.org.uk Edited by Jonathan Harvey and Julia Lancaster Designed by AndersonMacgee/Flit London Typeset in DIN and Avenir Printed by Empress Litho The Fire Station Project copyright © Acme Studios and the authors ISBN: 978-0-9566739-5-4 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electrical, mechanical or otherwise, without first seeking the permission of the copyright owners and the publishers. Cover illustrations: Robert Ian Barnes Architects 2 Acme Studios is a London-based housing charity dedicated to supporting artists in economic need through the provision of studios, accommodation and professional support. Acme manages 16 buildings providing affordable, long-term and high-quality studios (620) units and work/live space (20 units). Through this resource it helps over 700 artists each year. Acme’s Residency & Awards Programme adds to this core service of studio provision by awarding selected UK-based artists with studio residencies, bursaries, professional mentoring and exhibiting opportunities at the Acme Project Space, working with a range of partners. At any one time over 20 artists benefit from this support. Acme’s International Residencies Programme currently manages 23 annual London residencies on behalf of eight agencies together with an Associate Artist Residencies programme for international artists applying directly to the organisation. -
Manus Pagecv 4
Helgi Þorgils Friðjónsson born : 7th. March l953, Búðardalur, Dalasýsla, Iceland. Adress: Rekagrandi 8, lO7 Reykjavík, Iceland. tel: + 354 55 18797. Studio: Brautarholt 18, 105 Reykjavík. tel/fax: + 354 55 1O2O2 e mail : [email protected] Education: Icelandic Colege of art and craft, Reykjavík, 1971 – 1976. De Vrije Academie, Haag, Holland, 1976 – 1977. Jan van Eyck Academie, Maastricht, Holland, 1977 – 1979. One man exhibitions: 2013 Gerdarsafn, Kopavogur Art Gallery, Kopavogur. / Stalke, Sonnerup, Danmark. 2012 EG SE, For V. Brauner, A surreal atopos 1, Gallery Arkitektvägen 44, Stockholm, Sweden. / Manngerdir (Portret), Galleri Stafn, Reykjavik. / Familytree, with Holger Bunk and Lars Ravn, ASI Museum, Reykjavik. 2011 Hringekjuþrahyggja, with Birgir Snaebjorn Birgisson and Helgi Hjaltalin Eyjolfsson, Galleri Stafn, Reykjavik. / Fyrir Jean Leon Gerome, Galleri Listamenn, Reykjavik. 2010 Angurværð í minni, with Amelie Von Wulffen, Birgir Snæbjörn Birgisson, Helgi Hjaltalín Eyjólfsson, Listasafn Íslands / The National Art Gallery, Reykjavík. / Stripped away, Tintype Gallery, London 2009 Galerie Caesar, Oloumouc, Czech Republik. / Religious Dream (with Robert Devriendt), Galery Duet, Varese, Italy. 2008 Gallerí Terpentine, Reykjavik, Iceland. / Human Nature – Telling the Truth, Nord Atlantis Brygge, Köbenhavn, Danmark. 2007 Leifsbud ( with Einar Falur Ingolfsson ), Budardal, Dalasysla, Iceland. / H. Th. F. meets H. C. Andersen, Populus Tremula, Akureyri, Iceland. / Seal, Gallery Start Art, Reykjavik, Iceland. 2006 Galerie Leger, Malmö, Sweden. / Skard, Galleri Amina (with Einar Falur Ingólfsson), Reykljavik, Iceland. / Viaggio in Islanda, Galery Duet (with Salvo), Varese, Italy. 2005 Galerie der Stadt Salzburg im Mirabellgarten (with Eggert Petursson), Austria / The Beauty of Mwelancoly, Akureyri Art Museum, Akureyri, Iceland. / ASI Museum, Reykjavik, Iceland. / 101 Galleri, Reykjavik, Iceland. 2004 Sleeper Gallery, Edinburgh, Scotland.