El Anatsui CV
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DANH VO Education Solo Exhibitions
DANH VO 1975 Born in Bà Rịa, Vietnam Lives and works in Berlin and Mexico City Education 2000–01 Royal Academy of Fine Arts, Copenhagen, Denmark 2002–04 Städelschule, Frankfurt, Germany Solo exhibitions 2020 Chicxulub, White Cube Bermondsey Danh Vo oV hnaD, The National Museum of Art, Osaka Danh Vo, Wising Art Palace Atelier, Taipei, Taiwan Danh Vo Presents, The Nivaagaard Collection, Denmark 2019 Danh Vo: The Mudam Collection and Pinault Collection in Dialogue, Mudam Luxembourg Danh Vo Untitled, South London Gallery Danh Vo: Cathedral Block, Prayer Stage, Gun Stock, Marian Goodman Gallery, London Kurimanzutto, Mexico City 2018 Noguchi for Danh Vo: Counterpoint, M+, Hong Kong CAPC Musée d'art contemporain de Bordeaux, France Take My Breath Away, Guggenheim Museum, New York; Statens Museum for Kunst, Copenhagen, Denmark Danh Vo: Garden with Pigeons in Flight, Casa Luis Barragán, Mexico City 2016 White Cube, Hong Kong Ng Teng Fong Roof Garden Gallery Commission, National Gallery Singapore We The People, Roof Deck Sculpture Garden, Aspen Museum of Art 2015 Homosapiens, Marian Goodman Gallery, London Danish Pavilion, 56th Venice Biennale, Venice, Italy Ydob eht ni mraw si ti, Museum Ludwig, Cologne, Germany Galerie Chantal Crousel, Paris, France Banish the Faceless: Reward your Grace, Palacio de Cristal, Museo Reina Sofia, Madrid, Spain 2.2.1861, Mirrored Gardens, Guangzhou, China 2014 Metal (with Xiu Xiu), The Kitchen, New York Nottingham Contemporary, Nottingham, United Kingdom We The People, Public Art Fund, City Hall Park & Brooklyn Bridge Park, New York Museo Jumex, Mexico City, Mexico ,الحجارة وادي 2013 Go Mo Ni Ma Da, Musée d’Art moderne de la Ville de Paris, Paris, France I M U U R 2, Solomon R. -
Balmoral Brochure 2019 2.Cdr
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Catalogue 103 Michael Graves-Johnston Michael Graves-Johnston 54, Stockwell Park Road, LONDON SW9 0DA Tel: 020 - 7274 – 2069 Fax: 020 - 7738 – 3747
Books from the Library of Professor Frank Willett Catalogue 103 Michael Graves-Johnston Michael Graves-Johnston 54, Stockwell Park Road, LONDON SW9 0DA Tel: 020 - 7274 – 2069 Fax: 020 - 7738 – 3747 Website: www.Graves-Johnston.com Email: [email protected] Books from the library of Frank Willett: Catalogue 103 Published by Michael Graves-Johnston, London: 2013. VAT Reg.No. GB 238 2333 72 ISBN 978-0-9554227-6-8 Price: £ 5.00 All goods legally remain the property of the seller until paid for in full. All prices are net and forwarding is extra. All books are in good condition, in the publishers’ original cloth binding, and are First Editions, unless specifically stated otherwise. Any book may be returned if unsatisfactory, provided we are advised in advance. Your attention is drawn to your rights as a consumer under the Consumer Protection (Distance Selling) Regulations 2000. All descriptions in this catalogue were correct at the time of cataloguing. The cover illustration is from number 232. Ife Festival of the Arts, 10 - 19 December 1968. Books from the Library of Professor Frank Willett. Frank Willett (1925–2006) was widely regarded as the leading Africanist of his day. He became the Keeper of the Department of Ethnology at the Manchester Museum in 1950. In 1956 he was encouraged by William and Bernard Fagg to take up an excavation in Nigeria where he worked during the late 1950s and early 1960s as Archaeologist for the Department of Antiquities and Curator of the Ife Museum. Ten years was spent as Professor in African Studies at Northwestern University, Evanston, Illinois, after which he returned to Britain to become the first director of the Hunterian Museum at the University of Glasgow. -
Asia Arts Awards Hong Kong Auction to Benefit Asia Society Thursday, March 23, 2017 1
ASIA ARTS AWARDS HONG KONG AUCTION TO BENEFIT ASIA SOCIETY THURSDAY, MARCH 23, 2017 1. Xu Bing (b. 1955, Chongqing, China; lives and works in Beijing and New York) Phoenix, 2015 Digital print on paper 15 3/4 x 18 3/4 in. (40.1 x 47.7 cm) Artist Proof 1 of 8 Courtesy of the artist Suggested value: US$1,500.00 Xu Bing is a conceptual artist whose work draws on the creative use of language, words, and text. This is a print of an original drawing of Xu’s large-scale installation of the same name made from construction debris and light-emitting diodes. Phoenixes are traditionally associated with rebirth and Xu’s interpretation may be seen as a reflection on urbanization. The artist received a BFA in printmaking in 1981 and an MFA in 1987 from the Central Academy of Fine Arts (CAFA), Beijing. A recipient of the MacArthur Fellowship in 1999, Xu’s artworks have been exhibited worldwide, including at the 56th and 45th Venice Biennales (2015, 1993); Arthur M. Sackler Gallery, Washington, D.C. (2013, 2001); the Victoria and Albert Museum, London (2013); The Museum of Modern Art, New York (2007); The Metropolitan Museum of Art, New York (2006); the Biennale of Sydney (2002); and Johannesburg Biennale (1997), among others. The artist served as the Vice President of the Central Academy of Fine Arts, Beijing, from 2008 to 2014, and is currently a professor and member of the Academic Committee at CAFA. He was awarded a Doctorate of Humane Letters by Columbia University in 2010. -
Danh Vō Bà Rja, Vietnam, 1975 Lives and Works in Berlin, Germany
kurimanzutto danh vō Bà Rja, Vietnam, 1975 lives and works in Berlin, Germany education & residencies 2013 Villa Medici Artist Residency, Rome. 2009 Kadist Art Foundation Residency, Paris. 2006 Villa Aurora Artist Residency, Los Angeles. 2002–2004 Städelschule, Frankfurt. 2000–2001 Royal Academy of Fine Arts, Copenhagen. grants & awards 2015 Arken Art Prize, Denmark. 2012 Hugo Boss Prize awarded by the Solomon R. Guggenheim Foundation, United States. 2009 Nominee for the Nationalgalerie Prize for Young Art, Germany. 2007 BlauOrange Kunstpreis der Deutschen Volksbanken und Raiffeisenbanken, Germany. solo exhibitions 2020 Danh Vo. Wising Art Place Atelier, Taipei, Taiwan. Danh Vo oV hnaD. The National Museum of Art, Osaka, Japan. Danh Vo Presents. The Nivaagaard Collection, Denmark. Chicxulub. White Cube Bermondsey, London. 2019 The Mudam Collection and Pinault Collection in dialogue. Mudam, Luxemburg. Dahn Vo: Untitled. South London Gallery. kurimanzutto To Each his Due. Take Ninagawa, Tokyo. We The People. Media Gallery, New York. Danh Vo. kurimanzutto, Mexico. Danh Vo. Cathedral Block Prayer Stage Gun Stock. Marian Goodman, London. 2018 Garden with Pigeons at Flight. Estancia FEMSA – Casa Luis Barragán, Mexico City. Take My Breath Away. Guggenheim Museum, New York. Noguchi for Danh Vo: counterpoint. M+ Pavilion, West Kowloon, Hong Kong. Take My Breath Away, SMK, Copenhagen. Danh Vo. Musée d’art contemporain de Bordeaux, France. 2017 Ng Teng Fong Roof Garden Commission, National Gallery, Singapore. 2016 We the People. Aspen Art Museum, United States. Ng Teng Fong Roof Garden Commission: Danh Vo. National Gallery Singapore. Danh Vo. White Cube, Hong Kong. 2015 Destierra a los sin rostro / Premia tu gracia (Banish the Faceless / Reward your Grace). -
MUSEUMS AS CULTURAL HUBS the FUTURE of TRADITION MUSEUMS AS CULTURAL HUBS the Future of Tradition
THE NATIONAL COMMITTEE MAGAZINE NO 9 | JUNE 2019 | ISSN 2683-5282 MUSEUMS AS CULTURAL HUBS THE FUTURE OF TRADITION MUSEUMS AS CULTURAL HUBS The Future of Tradition May 13-19, 2019 FOR MUSEUMS MUSEUMS OF SERBIA International Museum Day - European Night of Museums - National Museum Week Free Admission 2 ICOM SRBIJA A WORD FROM PRESIDENT Jubilee Year From content This year, museum pro- fessionals will gather at the jubilee, 25th ICOM General Conference in magical Kyoto. There is plenty of symbol- 4 ism in the fact that the ICOM 25th General Conference - Kyoto 2019 Land of the Rising Sun is hosting 3,000 partic- Redefined Future of Tradition ipants who are going to discuss important is- sues of concern to the international museum 6 Interview community. This will be the right opportunity for Suay Aksoy, the new museum defi- nition to “rise” so as to ICOM President reflect the changed role of museums which have developed a closer bond 16 with the audience and New Museums become a more active part of the community The Largest Serbian Museum they belong to. Abroad The central theme of this year’s Conference, Museums as Cultural Hubs: The Future of Tradition, was exactly the thread that bonded 26 museums all over Serbia during the event Museums for 10, coor- International Cooperation dinated by ICOM Serbia. For the fifth time, the largest museum ini- Museum Connections tiative in Serbia presented museums as places where creativity and On The Silk Road knowledge unite, and visitors take an active part in creating and -ex changing ideas, and interact with each other, prioritizing the quality of knowledge exchange and development of critical awareness of major issues. -
56Th Venice Biennale—Main Exhibition, National Pavilions, Off-Site and Museums
56th Venice Biennale—Main exhibition, National Pavilions, Off-Site and Museums by Chris Sharp May 2015 Adrian Ghenie, Darwin and the Satyr, 2014. Okay, in the event that you, dear reader(s), are not too tired of the harried Venice musings of the art-agenda corps rearing up in your inbox, here’s a final reflection. Allow me to start with an offensively obvious observation. In case you haven’t noticed, Venice is not particularly adapted to the presentation of contemporary art. In fact, this singular city is probably the least appropriate place to show contemporary art, or art of any kind, and this is from a totally practical point of view. From the aquatic transportation of works to questions of humidity to outmoded issues of national representation, Venice is not merely an anachronism but also, and perhaps more importantly, a point of extravagance without parallel in the global art-circuit calendar. When you learn how much it costs to get on the map even as a collateral event, you understand that the sheer mobilization of monies and resources that attends this multifarious, biannual event is categorically staggering. This mobilization is far from limited to communication as well as the production and transportation of art, but also includes lodging, dinners, and parties. For example, the night of my arrival, I found myself at a dinner for 400 people in a fourteenth-century palazzo. Given in honor of one artist, it was bankrolled by her four extremely powerful galleries, who, if they want to remain her galleries and stay in the highest echelons of commercial power, must massively throw down for this colossal repast and subsequent party, on top of already, no doubt, jointly co-funding the production of her pavilion, while, incidentally, co-funding other dinners, parties, and so on and so forth. -
An Apology for Modernity
NSK STaTE PavIlION — 57Th vENIcE BIENNalE 2017 11 May – 15 July 2017 Exhibition: Palazzo Ca’ Tron, IUAV University of Venice Commissioned by IRWIN Inaugural lecture by Slavoj Žižek Curated by Zdenka Badovinac and Charles Esche 11 May 2017, Aula Magna Tolentini Installation by Ahmet Öğüt AN APOLOGY List of contents FOR MODERNITY It is cruel to refuse shelter to refugees. For the state in time, transgression of But it is much more cruel to make people the bounds of the ethical idea is as serious Introduction by IRWIN 2 refugees. The refugees fleeing to Europe as violation of the boundaries for the state are put in an impossible situation of seek - in space. It is imperative for NSK as the Zdenka Badovinac and Charles Esche, NSK State ing help from the perpetrators of their suf - state in time that we take a categorical Pavilion in the context of the 57th Venice Biennale 3 fering and misery. We, the liberal Western stance toward these developments. Since world, have destroyed their life world. we cannot expect our Western leaders to Editor’s note by Mara Ambrozič 4 The governments of our states in space act ethically, we take the burden of moral have done it. We as their citizens are all responsibility and guilt on ourselves and Slavoj Žižek, The Courage of Hopelessness 4 complicit in the crimes our elected and sincerely apologize to the refugees, as well unelected leaders have committed or as - as to those who were unable to or chose Eda Čufer, It is Time to Rethink the State: sisted in the regions from which the not to flee, for all the crimes and suffering On NSK State 5 refugees flee. -
ANGELA FILENO DA SILVA Vozes De Lagos
UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS DEPARTAMENTO DE HISTÓRIA ANGELA FILENO DA SILVA Vozes de Lagos: brasileiros em tempos do império britânico Versão corrigida São Paulo 2016 UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS DEPARTAMENTO DE HISTÓRIA Vozes de Lagos: brasileiros em tempos do império britânico Costa da Mina, 1840-1900 Angela Fileno da Silva [email protected] [email protected] Tese apresentada ao Departamento de História da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo para obtenção do título de Doutor em História. Área de Concentração: História Social Orientadora: Profa. Dra. Leila Maria Gonçalves Leite Hernandez Versão corrigida São Paulo 2016 2 3 ANGELA FILENO DA SILVA Vozes de Lagos: brasileiros em tempos do império britânico Costa da Mina, 1840-1900 Tese apresentada ao Departamento de História da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo, aprovada pela Banca Examinadora constituída pelos seguintes professores: ___________________________________________________ Profa. Dra. Leila Maria Gonçalves Leite Hernandez DH – FFLCH/USP Orientadora ________________________________________ Prof(a) Dr(a) Mônica Lima e Souza – Instituição Universidade Federal do Rio de Janeiro/ CFCH ________________________________________ Prof(a) Dr. Acácio Sidinei Almeida Santos – Instituição Universidade Federal do ABC/ RI ________________________________________ Prof(a) Dr. Alexandre Almeida Marcussi – Instituição Universidade Federal de Minas Gerais/FAFICH ________________________________________ Prof(a) Dr(a) Marina de Mello e Souza – Instituição Faculdade de Filosofia, Letras e Ciências Humanas/DH São Paulo, 25 de abril de 2016. 4 Para minha avó Maria Gonçalves Fileno, que nunca assinou seu próprio nome, mas ensinou aos filhos e netos o valor do conhecimento. -
The Postcolonial African Museum in the Age of Cultural Informatics
The Postcolonial African Museum in the Age of Cultural Informatics O Museu Africano Pós-Colonial na Era da Informática Cultural1 Sylvester Okwunodu Ogbechie, Ph.D. Departamento de Arquitetura e História da Arte, University of California Santa Barbara, EUA. Resumo: O artigo avalia como a informática cultural pode auxiliar a definição de estratégias de gestão do patrimônio cultural para museus africanos pós-coloniais por meio da aplicação de novas tecnologias de mídia. A ascensão da tecnologia da informação abriu novas formas para análise do patrimônio cultural. Definido como “informática cultural”, esse novo campo avalia como as instituições culturais organizam as informações sobre os seus recursos e usam essas informações para desenvolver novas estratégias de representação cultural e análise. Ao adaptar seus protocolos às pesquisas na área de ciências humanas na era da informação, a informática cultural apoia a pesquisa interdisciplinar em múltiplas conjunções, oposições e sinergias entre informação, historicismo e contextos culturais, e, neste caso particular, nas áreas de história da arte, museologia e economia do patrimônio cultural. Sua pesquisa investiga o significado do cânone da arte africana nos contextos duplos de museus ocidentais e africanos na era con- temporânea. Pretende estimular a reflexão sobre como a arte africana nativa é incorporada aos sistemas de conhecimento ocidentais e às estruturas específicas de exibição de museus. Sugere como museus africanos pós-coloniais podem garantir maior acesso ao patrimônio cultural afri- cano e também definir os modos de representação museológica relevantes para a exposição do patrimônio cultural africano em contextos africanos, já que museus continuam a enfrentar a opressiva localização de objetos de arte africana (com status historicamente aceito) em museus e coleções de arte ocidentais. -
Love Me, Love Me Not Contemporary Art from Azerbaijan and Its Neighbours Collateral Event for the 55Th International Art Exhibition – La Biennale Di Venezia
Love Me, Love Me Not Contemporary Art from Azerbaijan and its Neighbours Collateral Event for the 55th International Art Exhibition – la Biennale di Venezia Moshiri and Slavs and Tatars, amongst selected artists. Faig Ahmed, Untitled, 2012. Thread Installation, dimensions variable Love Me, Love Me Not is an unprecedented exhibition of contemporary art from Azerbaijan and its neighbours, featuring recent work by 17 artists from Azerbaijan, Iran, Turkey, Russia, and Georgia. Produced and supported by YARAT, a not-for-profit contemporary art organisation based in Baku, and curated by Dina Nasser-Khadivi, the exhibition will be open to the public from 1st June until 24 th November 2013 at Tesa 100, Arsenale Nord, at The 55th International Art Exhibition – la Biennale di Venezia. Artists featured: Ali Hasanov (Azerbaijan) Faig Ahmed (Azerbaijan) Orkhan Huseynov (Azerbaijan) Rashad Alakbarov (Azerbaijan) Sitara Ibrahimova (Azerbaijan) Afruz Amighi (Iran) Aida Mahmudova (Azerbaijan) Taus Makhacheva (Russia) Shoja Azari (Iran) Farhad Moshiri (Iran) Rashad Babayev (Azerbaijan) Farid Rasulov (Azerbaijan) Mahmoud Bakhshi (Iran) Slavs and Tatars (‘Eurasia’) Ali Banisadr (Iran) Iliko Zautashvili (Georgia) "Each piece in this exhibition has a role of giving the viewers at least one new perspective on the nations represented in this pavilion, with the mere intent to give a better understanding of the area that is being covered. Showcasing work by these artists in a single exhibition aims to, ultimately, question how we each perceive history and geography. Art enables dialogue and the Venice Biennale has proven to be the best arena for cultural exchange." explains curator Dina Nasser-Khadivi. The exhibition offers a diverse range of media and subject matter, with video, installation and painting all on show. -
Yelena Vorobyeva and Viktor Vorobyev Yelena Vorobyeva Was Born 1959 in Balkanabat (Former Nebit Dag), Turkmenistan
www.aspangallery.com Yelena Vorobyeva and Viktor Vorobyev Yelena Vorobyeva was born 1959 in Balkanabat (former Nebit Dag), Turkmenistan. Viktor Vorobyev was born 1959 in Pavlodar, Kazakhstan. They live and work in Almaty. Education: Yelena Vorobyeva 1985-1990 – State Institute of Theatre and Art Viktor Vorobyev 1986-1991 – State Institute of Theatre and Art Selected solo exhibitions: 2015 The Artist Is Asleep, organised by Aspan Gallery, A. Kasteev Museum of Arts, Almaty 2013 Yelena Vorobyeva and Viktor Vorobyev: Provincial Sets, Laura Bulian Gallery, Milan Solo exhibition, LES, Almaty 2010 In Search of Reason…, Tengri-Umai Gallery, Almaty 2009 Kazahkstan: Blue Period, Laura Bulian Gallery, Milan VIP (Very Impotent Persons), Tengri-Umai Gallery, Almaty 2008 Vtoraia popytka materializatsii [Second Materialisation Attempt], Tengri-Umai Gallery, Almaty 2003 Hitchkok’s Teapot, Art Navat Gallery, Almaty 1996 Solo exhibition, Soros Foundation for Contemporary Art, Almaty 1 www.aspangallery.com Selected group exhibitions: 2018 Eurasian Utopia: Post Scriptum, Suwon I’Park Museum of Art, Suwon (upcoming) Phantom Stories: Leitmotifs of Post-Soviet Asia, Lunds Konsthall, Lund Human Condition, National Centre for Contemporary Art, Jewish Museum and Tolerance Centre, MMOMA, Moscow At the Corner: City, Place, People, Tselinny Center for Contemporary Culture, Almaty Alternativnye Tezisy: Group Show of Contemporary Central Asian Art, Esentai Gallery, Almaty Water Stream, Artbat Fest’9, Almaty 1st April Competition, Bishkek 2017 VIVA ARTE VIVA, 57th Venice