Ikea Art Event 2015 Limited Collection April 2015 Ikea Press Kit / April 2015 / 2
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Vision Art Festival
vision Art festivAl OPTICHROMIE (1500-2927) FLYBOY THE SECRET MOUNTAINS LE DAHU REFORM SWISS SHELTER Le Haut-Lieu de l’Art Contemporain des Alpes Felipe PANTONE Hebru BRANTLEY OKUDA Joshua KEEN VALENCIA REKA ONE 2ALAS Espagne USA Espagne USA Australie Costa Rica / Cuba 2015 2014 2015 2015 2015 2015 www.felipepantone.com 1 www.hebrubrantley.com 2 www.hebrubrantley.com 3 www.facebook.com/joshuakeenvalencia 4 www.instagram.com/rekaone 5 www.facebook.com/2alas 6 Le spectre de ses œuvres s’étend du graffiti à l’art kiné- Hebru Brantley est né en 1982 à Bronzeville, Chicago, Okuda San Miguel de Santander, est connu pour son Joshua Keen Valencia est basé à Los Angeles. Il a obtenu Son oeuvre est largement influencée par la culture pop, 2Alas, duo d’artistes portoricain et cubain, basé à Miami tique; elles sont marquées par de forts contrastes, des Hebru Brantley vit et travaille à Chicago, plus précisé- style distinct, impressions géométriques et bâtiments un B.A. en Art et son travail marie avec succès la jux- les bandes dessinées et les illustrations de son pays travaille aussi bien en galerie que dans la rue. 2Alas uti- couleurs vives et l’usage de techniques mixtes dont le ment dans le quartier où il est né, quartier afro-améri- multicolores qui se mêlent à des corps gris et des formes taposition de sujets totalement différents en utilisant des natal; ses muraux dont le style particulier est un mélange lise pinceaux et rouleaux et leur style est très particulier. savant mélange cherche à accrocher l’oeil du specta- cain situé au sud de la ville. -
Street Art & Graffiti in Belgrade: Ecological Potentials?
SAUC - Journal V6 - N2 Emergence of Studies Street Art & Graffiti in Belgrade: Ecological Potentials? Srđan Tunić STAW BLGRD - Street Art Walks Belgrade, Serbia [email protected], srdjantunic.wordpress.com Abstract Since the emergence of the global contemporary graffiti and street art, urban spaces have become filled with a variety of techniques and art pieces, whether as a beautification method, commemorative and community art, or even activism. Ecology has also been a small part of this, with growing concern over our environment’s health (as well as our own), disappearing living species and habitats, and trying to imagine a better, less destructive humankind (see: Arrieta, 2014). But, how can this art - based mostly on aerosol spray cans and thus not very eco-friendly - in urban spaces contribute to ecological awareness? Do nature, animal and plant motifs pave a way towards understanding the environment, or simply serve as aesthetic statements? This paper will examine these questions with the example of Belgrade, Serbia, and several local (but also global) practices. This text is based on ongoing research as part of Street Art Walks Belgrade project (STAW BLGRD) and interviews with a group of artists. Keywords: street art, graffiti, ecology, environmental art, belgrade 1. Introduction: Environmental art Art has always been connected to the natural world - with its Of course, sometimes clear distinctions are hard to make, origins using natural materials and representing the living but for the sake of explaining the basic principles, a good world. But somewhere in the 1960s in the USA and the UK, example between the terms and practices could be seen a new set of practices emerged, redefining environmental in the two illustrations below. -
The Wanås Foundation
Pressinformation 7 augusti, 2017 Maria Hassabi and Fall Program at Wanås Konst – The Wanås Foundation The exhibition SculptureMotion brings together six Swedish, Nordic, and international artists in an exhibition that includes moving image and performance. The artists begin with movement – adding, being, reproducing movement, the memory of movement, and emphasizing the dual meaning of the word “movement”: active physical movement, but also movement as mobilization. One of the world’s foremost choreographers, William Forsythe, presents his Choreographic Objects in Sweden for the first time. The exhibition program has included a Walk & Talk with William Forsythe, a performance weekend with the artist collective Mammalian Diving Reflex as well as a performance by Sonia Khurana. August 19 and 20 choreographer Maria Hassabi’s outdoor performance STAGED? (2016) – undressed will take place in the sculpture park at the Wanås Foundation. Maria Hassabi, STAGED (?) 2016., 2016 Photo: Thomas Poravas. “Coming into contact with art at Wanås Konst is not superficial. It is live, physical and could be characterized as unavoidable: you feel the dirt under your feet, understand the weight of your body relative to a river of concrete, sense its width in a maze of trees, or its height distorted through bent glass. You seek out the specific work you would like to see and your sense of time is altered. The journey becomes just as important as the object you are looking for. Art is all around. Nature is all around. You activate it, it activates you.” – Rachel Tess, Associate Curator Dance, Wanås Konst About Maria Hassabi Maria Hassabi’s intent to stillness and sustained motion is pursued in her ongoing work as she examines the tension between the human form and the artistic object. -
Årstryck 2011 Göteborgs Konstmuseum
GÖTEBORGS KONSTMUSEUM ÅRSTRYCK 2011 ÅRSTRYCK GÖTEBORGS KONSTMUSEUM ÅRSTRYCK Göteborgs konstmuseum Götaplatsen 412 56 Göteborg Telefon: +46 31 368 35 00 www.konstmuseum.goteborg.se ISSN 0432-126X 11 GÖTEBORGS KONSTMUSEUM ÅRSTRYCK 2011 INNEHÅLL Redaktör: Kristoffer Arvidsson Förord ............................................................................................................................... 7 Medredaktörer: Anna Hyltze 2011: året i korthet ............................................................................................................ 9 Isabella Nilsson Utställningar ...................................................................................................................... 10 Medverkande: Kalle Andersson Malin Borin Omhängningar .................................................................................................................. 16 Margaretha Dahlström Per Dahlström Pedagogik .......................................................................................................................... 17 Malin Gustafsson Helena Karlsson Evenemang ........................................................................................................................ 19 Eva Lekvall Philippa Nanfeldt Bue Nordström Information och marknadsföring ........................................................................................ 25 Eva Nygårds Lennart Pettersson Forskning .......................................................................................................................... -
St+Art-India-Brief-Combined-Festivals
ST+ART INDIA FOUNDATION is a not-for-profit organisation that works on art projects in public spaces. The aim of the foundation is to make art accessible to a wider audience by taking it out of the conventional gallery space and embedding it within the cities we live in - making art truly democratic for everyone. In the past 3 years, the foundation has hosted 6 St+art festivals across 4 cities, creating iconic landmarks across India. years cities festivals artists walls HENDRIK ECB (GERMANY) & ANPU (INDIA) • ITO BUILDING In a first of a kind engagement between a government body and street art, German artist Hendrik ECB Beikirch and Indian artist Anpu painted the tallest mural of India - 158 feet. This mural is located at the Police Headquarters in ITO, connecting thousands of citizens who get to view this iconic artwork on a daily basis. HAND PAINTED TYPE MURAL BY INDIAN SIGN PAINTERS • TIHAR JAIL Tihar Jail is the largest prison complex in Asia, with over 11,000 prisoners. India’s longest mural - 968 metres - was painted on the boundary wall of Tihar Jail with the help of several sign painters from India, who spent a fortnight painting verses of a poem: Chardiwari - written by one of the women inmates. STREET ART FESTIVAL • MUMBAI • NOV 2014 - DEC 2014 On 7th of November 2014 ,Anpu (Ind) and Tika (Swi) began work on the first wall of the festival at Pali Village in Bandra. BOND (GERMANY) • PALI VILLAGE, BANDRA TIKA (SWITZERLAND)• NEW FRIENDS COLONY, BANDRA MTNL BUILDING (BEFORE) • BANDRA RANJIT DAHIYA (INDIA) • MTNL, BANDRA A tribute to the forgotten legend of Bollywood, Dadasaheb Phalke, considered as the father of Indian Cinema. -
September 4Th September 5Th
facebook.com/nolimitboras @nolimitboras @nolimitboras During 4-7th of September the city of Borås will turn into a gigant outdoor gallery Abecita Art Museum) the city has now opened it´s walls to the mural culture. This art created by 11 internationally well known street artists representing 8 different movement, which began with artists painting murals illegally, is now being embraced countries (The Netherlands, France, Brasil, Italy, Germany, Poland, Spain and Sweden). by the public and is letting artists turn Borås into beautiful public spaces that are The artists, some of which have been painting graffiti and street-art as far back as blanketed by artwork of artists worldwide. 1981, are bringing a wide range of talent to Sweden. The walls, which the artists will be painting over the course of the four days long event, reaches as high as 7-storey The murals that will decorate the city of Borås are hopefully here to stay for a long time buildnings. to be enjoyed by many. Borås, with it´s history in opening it´s doors to art (from the International Sculpture A warm welcome to No Limit Street Art Borås – don´t forget to share your experience Biennale to it´s extensive exhibitions at the Borås Museum of Modern Art and on social media! BLEK LE RAT (pronounced: [blзk le KOBRA Brazilian artist Eduardo Kobra The program will be updated continously – please check nolimitboras.com for updates ʁa]; born Xavier Prou, 1952) was one utilizes bright colors and bold lines whi- and more info. of the first graffiti artists in Paris, and le staying true to a kaleidoscope theme has been described as the “Father of throughout his art. -
Kön Och Makt I Det Offentliga Rummet En Undersökning Av Carolina Falkholts Feministiska Praktik
Kön och makt i det offentliga rummet En undersökning av Carolina Falkholts feministiska praktik Alveola Ämting Ämne: Konstvetenskap Nivå: C Poäng: 15 hp Ventilerad: VT 2014 Handledare: Karin Wahlberg Liljeström 1 ABSTRACT Institution/Ämne Uppsala universitet. Konstvetenskapliga institutionen, Konstvetenskap Författare Alveola Ämting Titel och undertitel: Kön och makt i det offentliga rummet. En undersökning av Carolina Falkholts feministiska praktik Engelsk titel: Gender and power in the public sphere. An examination of Carolina Falkholt’s feminist practice Handledare Karin Wahlberg Liljeström Ventileringstermin: Höstterm. (år) Vårterm. (år) Sommartermin (år) 2014 Content: The artist Carolina Falkholt has during the recent years emerged as one of Sweden's most renowned artists, although she has a long background in graffiti and mural painting. During 2013 and in the beginning of 2014, there has been several media storms around her paintings. In the center of the conflict is both the subject, the female genitalia, and the placement, in the public sphere. This thesis aims to investigate why Carolina Falkholt paints these types of murals, and why people get offended by them. I also study how the media portrays the debate. My study is a discourse analysis of the media discussions around five of Falkholt’s mural paintings. Around the works are two discourses that are in conflict with each other. They are the discourse of Falkholt’s defenders and the discourse of her critics. None of them seem to dominate the other, except locally in some places. Carolina Falkholt’s own way of speaking about her art also forms a separate discourse, as she emphasizes her feminist agenda more than what the defenders do. -
Download His Report from the Project (PDF)
Lars Vipsjö Rapport DIGITAL SITE-SPECIFIC NARRATION ALCHEMY OR TOOL? Lars Vipsjö Lars Vipsjö Abstract This report is based on the site-specific art that developed during the latter part of the 20th century, by practitioners who wanted a more engaging dialogue between works and viewers. The strategies led many artists to move from galleries and art galleries to landscape and urban environments. A concept for the works that the movement from the galleries led to is Land Art. The Creative Europe-funded project Off Season Art Gardening (OSAG) is based on this movement. The project carries out activities in the form of workshops and lectures and creates artistic installations in the public space, adjacent to three rural towns, in the Netherlands, Sweden and Lithuania. My contribution to the project has partly been to place OSAG in an art and visual science context, and partly to relate the work carried out within the project Kulturarv och Spelteknologi i Skaraborg (KASTiS) - Cultural Heritage and Game Technology in Skaraborg, to the same context. Within KASTiS is the demonstrator Kiras and Luppe's Bestiarium – KLUB. KLUB is a transmedial children's book project that is used to build a contextualising narrative platform for otherwise disparate cultural heritage sites and objects within a large sub-region via fictional characters. The intangible cultural heritage from the area is also part of the project. The report concludes with a recommendation to actors in digital site-specific storytelling, which is partly based on the artist Robert Smithson's thoughts on a dialectic between his works of art displayed inside galleries (Nonsites) and the works created in the landscape (Sites). -
Anna U Davis and Carolina Falkholt in Conversation at House of Sweden - East City Art
12/5/2017 Anna U Davis and Carolina Falkholt in Conversation at House of Sweden - East City Art Tuesday 5th December 2017 Home About Ads ECA Quarterly Publication Guidelines Search... FEATURES PROFILES REVIEWS CALLS FOR ENTRY CLASSES ARTIST TALKS OPENINGS AND EVENTS EMULSION Home » Artist Talks » Anna U Davis and Carolina Falkholt in Conversation at House of Sweden ARTIST TALKS Sign up for the Newsletter Anna U Davis and Carolina Falkholt in Conversation at Sign up House of Sweden PLEASE VISIT OUR SPONSORS By Editorial Team on December 4, 2017 Untitled in Jönköping, Sweden, 2017. Photo: Marcus Gyllborg . Talk: Tuesday, December 5 at 7pm (doors open at 6:30pm) . RSVP here. The Embassy of Sweden and International Arts & Artists explore Gender, Race, Sexuality, and Representation of the Female Form with Leading Swedish Contemporary Artists. On December 5, the Embassy of Sweden and International Arts & Artists will host mixed media artist Anna U. Davis and muralist, street artist, and musician Carolina Falkholt (“Blue”) for an artist talk moderated by Phil Hutinet, publisher of East City Art. With one foot in both the Swedish and American art worlds, Davis and Falkholt will discuss their recent and upcoming works in relation to their subject matter interests – often gender, race, sexuality, and http://www.eastcityart.com/artist-talks/anna-u-davis-carolina-falkholt-conversation-house-sweden/ 1/3 12/5/2017 Anna U Davis and Carolina Falkholt in Conversation at House of Sweden - East City Art representation of the female form – as well as the interface between Swedish and American contemporary art. Davis is a native of Lund, Sweden who has lived and worked in the United States since 1998. -
Sculpture Becomes Motion in the Sculpture Park at The
Press Release April 27, 2017 Sculpture becomes Motion in the Sculpture Park at Wanås Movement is the theme as The Wanås Foundation’s feature exhibition opens on May 7 and the exhibitions at Wanås celebrate 30 years. SculptureMotion brings together works that examine sculpture and movement and sculpture that invites action both swift and still. Six Swedish, Nordic, and international artists – one of which is an artists collective – participate in the exhibition that also includes moving image and performance. The artists begin with movement – adding, being, reproducing movement, the memory of movement, and emphasizing the dual meaning of the word “movement”: active physical movement, but also movement as mobilization. One of the world’s foremost choreographers, William Forsythe, presents his choreographic objects in Sweden for the first time, and the exhibition also introduces Sonia Khurana. The exhibition program includes a Walk & Talk with William Forsythe, a performance weekend with artist group Mammalian Diving Reflex, and choreographer Maria Hassabi’s outdoor performance Staged which is also part of this year’s documenta. Press Opening Thurday May 4 Press Lunch at Wanås Restaurant at 12pm, followed by Guided Tour at 1pm with Artistic Director Elisabeth Millqvist. Please RSVP to Bertilsson, press@wanaskonst before May 2. SculptureMotion: Carolina Falkholt (SE), William Forsythe (USA), Henrik Plenge Jakobsen (DK), Sonia Khurana (IN), Éva Mag (SE), Mammalian Diving Reflex (CAN/DE) Exhibition period: May 7 – November 5 2017. Opening: May 7, 2017, inauguration at 1pm. 1. William Forsythe, Nowhere and Everywhere at the Same Time No 3, 2015. Photo: Dominik Mentzos. 2. Henrik Plenge Jakobsen, If the People Have No Bread Let Them Eat Cake, 2002. -
Analyse Des Streetart-Festivals ST+ART in Neu Delhi | Indien
Universität Potsdam Humanwissenschaftliche Fakultät Department Lehrerbildung – Fach Kunst Erstgutachterin: Dr. Tania Meyer Zweitgutachter: Prof. Dr. Dirk Wiemann Masterarbeit Zur Erlangung des Grades „Master of Education (M.Ed.) LSekIP / Schwerpunkt Primarstufe an der Universität Potsdam über das Thema #artforall – Analyse des Streetart-Festivals ST+ART in Neu Delhi | Indien Eingereicht von: Alexandra Krug Schönefeld, den 05.12.2018 Inhaltsverzeichnis ABBILDUNGSVERZEICHNIS 2 1 EINLEITUNG 3 2 METHODIK 4 3 GRAFFITI VS. STREETART 5 4 ENTWICKLUNG DER STREETART IN DELHI 9 4.1 DELHI STREET ART 12 4.2 ST+ART INDIA FOUNDATION 13 5 RAUMVERSTÄNDNIS UND RAUMPRODUKTION 15 5.1 DIE PRODUKTION DES SOZIALEN RAUMS NACH HENRI LEFEBVRE 15 5.1.1 DIE RÄUMLICHE PRAXIS 16 5.1.2 DIE RAUMREPRÄSENTATION 17 5.1.3 DIE REPRÄSENTATIONSRÄUME 18 5.1.4 DER SOZIALE RAUM 19 5.2 DAS RAUMVERSTÄNDNIS VON MARTINA LÖW 19 6 ÖFFENTLICHE RÄUME - DER ANSPRUCH AUF FREIEN ZUGANG 22 7 ALLTAGSPRAKTIKEN – MICHEL DE CERTEAU 25 8 PRAKTIKEN DER AKTEURE IM LODHI ART DISTRICT 29 8.1 STREETART-KÜNSTLER 30 8.1.1 INTERNATIONALE KÜNSTLER - DER KÜNSTLERNOMADE 30 8.1.2 LOKALE KÜNSTLER 32 8.2 ST+ART INDIA FOUNDATION ALS ORGANISATOR UND KURATOR 34 8.3 REZIPIENTEN 37 8.4 STREETART 41 8.4.1 DIE SICHTBARKEIT DER FRAU IM RAUM DURCH DIE STREETART 41 8.4.2 IDENTIFIKATION MIT DEM RAUM DURCH DIE STREETART 44 9 FAZIT 47 LITERATURVERZEICHNIS 49 ANHANG I KÜNSTLER IM LODHI ART DISTRICT I WEITERE ABBILDUNGEN II ABBILDUNGSNACHWEIS VI Abbildungsverzeichnis Abb. 1: Mülleimer in Lodhi Garden S. 12 Abb. 2: Gandhi an Wand des polizei-Hauptquartieres Delhi S. -
Stadslaboratoriet 1
RAPPORT - STADSLABORATORIET 1 Tillsammans utforskar vi staden! En rapport om … STADSLABORATORIET Sommaren 2011 1 RAPPORT - STADSLABORATORIET 2 Innehållsförteckning Förord – arbetet med rapporten Stadslaboratoriet - eftertankar med riktning på framtiden Vad är Stadslaboratoriet? Måluppfyllelse Kunde vi arbeta på det sättet vi tänkte oss – fugerade det? Hur har vi nått ut? Hur fortsätter vi? Bilagor WORKSHOPS OCH AKTIVITETER UNDER PROJEKTET SOMMARKURSEN – Shaping the city VERK AV STUDENTERNA/POINTS OF VIEW VAD BEHÖVER MARIESTAD? Synpunkter från allmänheten MSTD KONST OUTREACH/MEDIA SAMARBETSPARTNERS ARBETSGRUPPEN LABBET OM PRIOJEKTET UTRYMME, Unga konstnärers behov – konstens roll i Mariestad. 2 RAPPORT - STADSLABORATORIET 3 Bild: Del av mural vid Järnvägsövergången i Mariestad FÖRORD – arbetet med rapporten Idén om Stadslaboratoriet började växa fram efter en tumultartad höst i efterdyningarna av graffitiprojektet. Graffiti Mariestad som ägde rum sommaren 2010, hade väckt mycket positiv energi, men också många frågor som behövdes processas och arbetas vidare med. Resultatet av detta blev projektet Stadslaboratoriet. Det finns oerhört mycket dokumenterat kring Stadslaboratoriet. Den här rapporten är dock bara en sammanfattning, skriven av flera personer som varit aktiva i projektet. Tanken var att den fjärde och avslutande projektdelen skulle omfatta en djupanalyserande sammanställning. Detta skedde aldrig pga en minskad projektbudget. Konsekvensen blev då att två moment minskades ner. Det ena var sammanställningen/dokumentationen av hela