Curriculum Vitae
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9 rue Milton 75009 PARIS Tel: 01 53 34 04 04, Fax: 01 53 34 04 11 email: [email protected] Société de Ventes Volontaires aux enchères publiques, agrément n°2002-84 Vente Drouot Richelieu 9 rue Drouot - 75009 PARIS LUNDI 7 DECEMBRE 2015 salle 16 à 13 h 15 Expositions publiques à l’hôtel des ventes Drouot Samedi 5 décembre de 11h à 18h Dimanche 6 Décembre 2015 de 11h à 18h Lundi 7 décembre de 11h à 12h ARTS AMERINDIENS lots 1 à 100 ART PRECOLOMBIEN lots 101 à 183 ARTS PREMIERS lots 184 à 451 (catalogue à part) Alain LEROY commissaire-priseur habilité titulaire d’une charge de commissaire-priseur judiciaire CATALOGUE EN LIGNE AVEC NOMBREUSES PHOTOGRAPHIES SUPPLEMENTAIRES www.auctioneve.com 1 CATAameriques 2 7 12 15.indd 1 10/11/2015 16:29:53 2 CATAameriques 2 7 12 15.indd 2 10/11/2015 16:29:55 Quelques citations Dans « e Hopi Tutuveni », journal de la tribu Hopi , July 1, 2014, première page « Even in the United States there is no U.S. law against sacred Native American art and artifacts being collected or sold by private owners. » Dan Talayesva écrit, relatant la mort de son oncle, le chef Tawaquaptewa lui remis les masques de son oncle «On a partagé ce qui restait de la propriété de mon oncle...moi j’ai reçu trois très anciens masques sacrés...» Soleil Hopi, ed Terre des Hommes, pg 397 «Also, whereas the man owns the masks and ceremonial equipment, under Hopi common law these figurines ( les poupées kachinas) belong to the woman....» Frederick Dockstader, e Kachina and the White Man, University of New Mexico Press, Albuquerque (1954) rédition 1993, page 97 « in the case of the regular Kuitu masks, these are personnal property...He may own several , if he is quite active in the Kachina rites, but the masks are in- herited by his son, brother or nephew. -
Artistic Subversions: Setting the Conditions of Display (Amsterdam, 2-4 Feb 17)
Artistic Subversions: Setting the Conditions of Display (Amsterdam, 2-4 Feb 17) Amsterdam, Feb 2–04, 2017 Deadline: Aug 30, 2016 Katja Kwastek Preceding the Stedelijk Museum Amsterdam’s ‘Lose Yourself! – A Symposium on Labyrinthine Exhibitions as Curatorial Model’(03.-04.02.2017) this young researchers’ colloquium (02.02.2017) at the Vrije Universiteit Amsterdam will consider the strategies and methods by which artists take control over the space of installation. Without the artist’s permission Triple Candie, an exhibition space in New York, featured a retro- spective of Maurizio Cattelan. Entitled Maurizio Cattelan is Dead: Life & Work, 1960-2009 (2009), the show did not include a single work by the artist. Instead, it brought together a selection of pho- tocopied images from previous exhibitions with (vaguely recognizable) replicas of works by the artist. Cattelan, still very much alive, urged the Deste Foundation – established by Dakis Joannou, a prodigious collector of Cattelan’s work – to acquire the entirety of the show. In the foundation in Athens it was later installed in a room expressly selected by the artist. By repositioning the show in a new space of his own devise, Cattelan altered the conditions of its setting thereby incorporat- ing the complete exhibition into his oeuvre. This anecdote demonstrates a blurring of authorship between the artist and the curator, but it is also indicative of the significance of the setting of art, or its context, to its interpretation. This shift in emphasis to the conditions of display can be traced at least as far back as the Exposition Internationale du Surréalisme (1938). -
PETER HALLEY Biografía
BARCELONA GALLERY WEEKEND 2020 galeria SENDA PETER HALLEY Biografía Peter Halley (Nueva York, 1953) se dio a conocer a mediados de los años ochenta en Nueva York como impulsor del Neo-conceptualismo, corriente que aparece como reacción al neoim- presionismo y que supone un resurgimiento de la abstracción geométrica. Su estilo refleja la idea del lenguaje como sistema estable y autorreferencial, y critica las reivindicaciones tras- cendentales del minimalismo. Además, su obra presenta una influencia por la teoría social del Estructuralismo, la cual plantea el análisis de los sistemas socioculturales y de los lenguajes, a partir de configuraciones y estructuras simbólicas profundas, que condicionan y determinan todo lo que ocurre en la actividad humana. Así pues, las celdas y los conductos que Peter Ha- lley articula y combina en sus lienzos, no son una simple composición geométrica abstracta, sino más bien una imagen simbólica de los esquemas sociales que nos rodean. “En nuestra cultura, la geometría se suele considerar un signo de lo racional. Yo, por algún motivo, considero que es al revés, que la geometría posee una significación primaria, más psi- cológica que intelectual”, afirma en su ensayo “La Geometría y lo Social” de 1991. Peter Halley ha sido director de estudios de pintura de la Universidad de Yale y ha impartido clases en la Universidad de Columbia, en UCLA y en la Escuela de Artes Visuales de Nueva York. De 1996 a 2005 fue editor de la revista cultural Index Magazine. Ha realizado exposicio- nes individuales en la Academia de Arte de la Bienal de Venecia, en el contexto de la Bienal de Venecia de 2019, el MoMA de Nueva York en 1997 y el Museo Nacional Centro de Arte Reina Sofía de Madrid en 1992. -
Sommario Rassegna 8 Al 10 Dicembre 2018
Sommario Rassegna Stampa Ricerca dal 08/12/2018 al 10/12/2018 N. Data Pag. Testata/Emittente Articolo/Trasmissione Rubrica 1 10-12-2018 -- Ferpress.It CONFITARMA RICORDA ALDO GRIMALDI. MATTIOLI, SE NE VA GRANDE SIGNORE DELLO SHIPPING ITALIANO Confitarma 2 09-12-2018 -- Ilgiornale.It LUTTO NEL MONDO DEGLI ARMATORI: MORTO A 96 ANNI ALDO GRIMALDI Confitarma 3 08-12-2018 45 Corriere Della Sera ADDIO A GRIMALDI, PIONIERE DELLE NAVI VELOCI (E. Dellacasa) Confitarma 4 08-12-2018 11 Il Sole 24 Ore ALDO GRIMALDI, IL DECANO DEGLI ARMATORI (R. De Forcade) Confitarma 5 08-12-2018 1 Il Secolo XIX ADDIO A GRIMALDI VECCHIO LEONE DELLO SHIPPING ITALIANO (G. Carozzi) Confitarma 6 08-12-2018 14 Il Secolo XIX "HA SAPUTO DARE SPAZIO AI SOGNI DEI PIU' GIOVANI" (S. Gallotti,A. Quarati) Confitarma 7 08-12-2018 13 La Repubblica - Ed. Genova SHIPPING, E' MORTO A 96 ANNI IL DECANO DEGLI ARMATORI ALDO GRIMALDI Confitarma Il Giornale Del Piemonte E Della Liguria (Il 8 08-12-2018 7 ADDIO ALL'ARMATORE ALDO GRIMALDI Confitarma Giornale) 9 08-12-2018 23 La Stampa MORTO A GENOVA L'ARMATORE GRIMALDI, RE DELLO SHIPPING (R.E.) Confitarma 10 08-12-2018 19 Il Mattino GRIMALDI ADDIO AD ALDO DECANO DEGLI ARMATORI (A. Pane) Confitarma Corriere Del Mezzogiorno - Campania 11 08-12-2018 5 SHIPPING, E' MORTO ALDO GRIMALDI Confitarma (Corriere Della Sera) 12 08-12-2018 20 La Nazione - Ed. La Spezia GENOVA E' MORTO ALDO GRIMALDI ERA L'EX PRESIDENTE CONFITARMA Confitarma 13 08-12-2018 4 Milano Finanza SHIPPING IN LUTTO, ADDIO AD ALDO GRIMALDI Confitarma 14 08-12-2018 -- Primo-Magazine.Blogspot.It -
International Press
International press The following international newspapers have published many articles – which have been set in wide spaces in their cultural sections – about the various editions of Europe Theatre Prize: LE MONDE FRANCE FINANCIAL TIMES GREAT BRITAIN THE TIMES GREAT BRITAIN LE FIGARO FRANCE THE GUARDIAN GREAT BRITAIN EL PAIS SPAIN FRANKFURTER ALLGEMEINE ZEITUNG GERMANY LE SOIR BELGIUM DIE ZEIT GERMANY DIE WELT GERMANY SUDDEUTSCHE ZEITUNG GERMANY EL MUNDO SPAIN CORRIERE DELLA SERA ITALY LA REPUBBLICA ITALY A NEMOS GREECE ARTACT MAGAZINE USA A MAGAZINE SLOVAKIA ARTEZ SPAIN A TRIBUNA BRASIL ARTS MAGAZINE GEORGIA A2 MAGAZINE CZECH REP. ARTS REVIEWS USA AAMULEHTI FINLAND ATEATRO ITALY ABNEWS.RU – AGENSTVO BUSINESS RUSSIA ASAHI SHIMBUN JAPAN NOVOSTEJ ASIAN PERFORM. ARTS REVIEW S. KOREA ABOUT THESSALONIKI GREECE ASSAIG DE TEATRE SPAIN ABOUT THEATRE GREECE ASSOCIATED PRESS USA ABSOLUTEFACTS.NL NETHERLANDS ATHINORAMA GREECE ACTION THEATRE FRANCE AUDITORIUM S. KOREA ACTUALIDAD LITERARIA SPAIN AUJOURD’HUI POEME FRANCE ADE TEATRO SPAIN AURA PONT CZECH REP. ADESMEUFTOS GREECE AVANTI ITALY ADEVARUL ROMANIA AVATON GREECE ADN KRONOS ITALY AVLAIA GREECE AFFARI ITALY AVLEA GREECE AFISHA RUSSIA AVRIANI GREECE AGENZIA ANSA ITALY AVVENIMENTI ITALY AGENZIA EFE SPAIN AVVENIRE ITALY AGENZIA NUOVA CINA CHINA AZIONE SWITZERLAND AGF ITALY BABILONIA ITALY AGGELIOF OROS GREECE BALLET-TANZ GERMANY AGGELIOFOROSTIS KIRIAKIS GREECE BALLETTO OGGI ITALY AGON FRANCE BALSAS LITHUANIA AGORAVOX FRANCE BALSAS.LT LITHUANIA ALGERIE ALGERIA BECHUK MACEDONIA ALMANACH SCENY POLAND -
Max Neuhaus, R. Murray Schafer, and the Challenges of Noise
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 MAX NEUHAUS, R. MURRAY SCHAFER, AND THE CHALLENGES OF NOISE Megan Elizabeth Murph University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2018.233 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Murph, Megan Elizabeth, "MAX NEUHAUS, R. MURRAY SCHAFER, AND THE CHALLENGES OF NOISE" (2018). Theses and Dissertations--Music. 118. https://uknowledge.uky.edu/music_etds/118 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
Adelina Cüberyan V. Fürstenberg
Adelina Cüberyan v. Fürstenberg Founder of ART for The World, curator and film producer Member of the advisory board (ARTPORT_making waves) Website: www.artfortheworld.net Adelina Cüberyan v. Fürstenberg, Swiss citizen, Armenian origin, is a renowned international art curator and independent film producer. A pioneer in the field, she is known for broadening contemporary art and cinema to include a multicultural approach. Founder and the first Director of the Centre d’Art Contemporain of Geneva and Director of Le Magasin at the Centre National d’Art Contemporain of Grenoble, and its School of Curators awarded by the Jury of the Biennale of Venice in 1993. In 1995 she founded ART for The World – an NGO associated to UNDPI (the UN Department of Public Information) and partner of SESC Regional Direction Sao Paulo, Brazil. The NGO was created in the context of the 50th anniversary of the UN and the art exhibition Dialogues of Peace. Its goals are the dissemination of projects and links between contemporary culture and Human Rights. During the past years, she has been invited to organize numerous large-scale art projecte around the world for the UN and its agencies, among them : In 1998-99 The Edge of Awarenss, to mark the 50th anniversary if WHO in Geneva, NY, Sao Paulo and New delhi and Milan ; in 2000 P&T the 50t annovesary of HCR. In 2008 she was appointed by UNHCR and the European Commission to produce « Stories on Human Rights », 22 short fiction films for the 60th Anniversary of the Universal Declaration of Human Rights, in 2010 followed by with the series of seven other short films « Then And Now, Beyond Borders and Differences », commissioned by the UN Alliance of the Civilizations and the Council of Europe. -
GALLERIA MASSIMO MININI Via Apollonio 68 – 25128 Brescia Tel
GALLERIA MASSIMO MININI Via Apollonio 68 – 25128 Brescia tel. 030383034 [email protected] www.galleriaminini.it PETER HALLEY b. 1953, New York, NY, USA Lives and works in New York, NY, USA EDUCATION 1975 B.A., Yale University, New Haven, Connecticut, CT, USA 1978 MFA, University of New Orleans, New Orleans, LO, USA SELECTED SOLO EXHIBITIONS 2019 Heterotopia II, Greene Naftali Gallery, New York, NY, USA Peter Halley: New Paintings, Galerie Thomas Modern, Munich, DE Qube, Split, Croatia, HR (collaborative installation with Lauren Clay) Heterotopia I, Magazzini del Sale, with Flash Art Magazine and the Accademia di Venezia, IT (installation) Still, Peter Halley and Ugo Rondinone, Stuart Shave/Modern Art, London, GB Biel train station, Biel, Switzerland, CH (installation) Galerie Forsblom, Stockholm, SE 2018 Peter Halley: Unseen Paintings: 1997-2002, from the Collection of Gian Enzo Sperone, Sperone Westwater, New York, NY, USA New York, New York, The Lever House Art Collection, New York, NY, USA (installation) Peter Halley: New Paintings, Maruani Mercier, Brussels, BE AU-DESSOUS / AU DESSUS, Galerie Xippas, Paris, FR (installation) Peter Halley. Patterns and Figures, Gouaches 1977/78, Galerie Thomas Modern, Munich, DE 2017 Greene Naftali Gallery, New York, NY, USA Gary Tatintsian Gallery, Moscow, RU Boats Crosses Trees Figures Gouaches 1977-78, Karma, New York, NY, USA Peter Halley Paintings from the 1980s, Stuart Shave Modern Art, London, GB 2016 Peter Halley: New Paintings—Associations, Proximities, Conversions, Grids, curated by Richard -
TERENCE KOH Born 1980, China
TERENCE KOH Born 1980, China. Lives and works in NY. SELECTED GROUP EXHIBITIONS 2003 Attack – The Kult 48 Klubhouse, K48 and Deitch Projects, NYC, NY. Today’s Man, Hiromi Yoshii, Tokyo, Japan. Game Over, Grimm/Rosenfeld, Munich, Germany. Mixer 03, Monique Meloche Gallery, Chicago, Illinois. Now Playing, D’Amelio Terras, NYC, NY. Today’s Man, John Connely Presents, NYC, NY. DL: The Down Low in Contemporary Art, Longwood Art Gallery, Bronx, New York. Retreat, Peres Projects, Los Angeles, California. Hovering, Peres Projects, Los Angeles, California. 2004 Such things I do just to make myself more attractive to you, Peres Projects, Los Angeles, California. Biennial Exhibition, Whitney Museum of American Art, NYC, NY. Get Off! Exploring the Pleasure Principle, Museum of Sex, NYC, NY. Do a Book: Asian Artists Summer Project 2004, Plum Blossoms, NYC, NY. The Black Album, Maureen Paley/Interim Art, London, England. The Temple of Golden Piss, Extra City - Center for Contemporary Art, Antwerp, Belgium. Harlem Postcards Fall 2004, The Studio Museum in Harlem, NYC, NY. Phiiliip: Divided By Lightening, Deitch Projects, NYC, NY. 2006 Log Cabin, Artists Space, NYC, NY. No Ordinary Sanctity, Kunstraum Deutsche Bank, Salzburg, Austria. (curated by Shamim Momin) The Zine UnBound: Kults, Werewolves and Sarcastic Hippies, Yerba Buena Center for the Arts, San Francisco, California. Blankness Is Not a Void, Standard, Oslo, Norway. (curated by Gardar Eide Einarsson) SELECTED SOLO EXHIBITIONS 2011 Mary Boon Gallery, NYC, NY. 2009 Flowers for Baudor Baudelaire, Vito Schnabel Gallery, NYC, NY. ansonias, Galerie Thaddaeus Ropac, Paris, France. Auta no Tama Raku, Domanus Gallery, Port-au-Prince, Haiti 2008 Captain Buddha, Schirn Kunsthalle, Frankfurt, Germany Love for Eternity, MUSAC, Museo de Arte Contemporáneo de Castilla y León, Leon, Spain. -
From Music to Sound: Being As Time in the Sonic Arts Christoph Cox
From Music to Sound: Being as Time in the Sonic Arts Christoph Cox In the summer of 1979, The Kitchen, New York’s center for the experimental arts, mounted a festival titled “New Music, New York.” 1 The week-long program presented performances by Philip Glass, Meredith Monk, Tony Conrad, George Lewis, Michael Nyman and others, and marked the coming-of-age of minimalist and experimental music.2 In the Spring of 2004, The Kitchen and a host of other New York arts institutions celebrated the 25th anniversary of that event with a festival titled “New Sound, New York,” billed as “a citywide festival of performances, installations and public dialogues featuring new works by sound artists who are exploring fresh connections among music, architecture and the visual arts.”3 The shift in title—from music to sound—is emblematic. For, over the past quarter century, “sound” has gradually displaced “music” as an object of cultural fascination. Not only has “sound art” become a prominent field of practice and exhibition, embraced by museums and galleries across the globe. The academy has also witnessed an explosion of interest in auditory history and anthropology led by social scientists who have turned their attention to sound as a marker of temporal and cultural difference.4 Within the field of music itself, composers, producers, and improvisers have become increasingly attracted to the broader sonic domains against which music has always defined itself: noise, silence, and non- musical sound. It is common to think of music as a subcategory of sound. According to this view, sound encompasses the entire domain of auditory phenomena, while music is a narrower domain delimited by some selection and organization of sounds. -
The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Spring 4-27-2013 Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Part of the Music Commons Recommended Citation Chapman, David Allen, "Collaboration, Presence, and Community: The hiP lip Glass Ensemble in Downtown New York, 1966-1976" (2013). All Theses and Dissertations (ETDs). 1098. https://openscholarship.wustl.edu/etd/1098 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Peter Schmelz, Chair Patrick Burke Pannill Camp Mary-Jean Cowell Craig Monson Paul Steinbeck Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966–1976 by David Allen Chapman, Jr. A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2013 St. Louis, Missouri © Copyright 2013 by David Allen Chapman, Jr. All rights reserved. CONTENTS LIST OF FIGURES .................................................................................................................... -
Quotidiani Correnti Catalogo Annuale a Cura Dell’Ufficio Per L’Acquisizione E Per L’Ordinamento Delle Pubblicazioni Periodiche E Degli Atti Ufficiali
Quotidiani correnti Catalogo Annuale a cura dell’Ufficio per l’acquisizione e per l’ordinamento delle pubblicazioni periodiche e degli atti ufficiali 2009 Progetto grafico e impaginazione: Haunag Design Biblioteca del Senato Biblioteca del Senato “Giovanni Spadolini” “Giovanni Spadolini” Piazza della Minerva, 38 00186 Roma www.senato.it/biblioteca biblioteca del senato “giovanni spadolini” biblioteca del senato “giovanni spadolini” QUOTIDIANI CORRENTI catalogo annuale a cura dell’ufficio per l’acquisizione e per l’ordinamento delle pubblicazioni periodiche e degli atti ufficiali 2009 quotidiani correnti Catalogo annuale a cura dell’Ufficio per l’acquisizione e per l’ordinamento delle pubblicazioni periodiche e degli atti ufficiali Biblioteca del Senato “Giovanni Spadolini” Piazza della Minerva, 38 00186 Roma Tutte le pubblicazioni sono ricercabili dall’opac della Biblioteca: U http://opac.parlamento.it Indice Quotidiani correnti . pag. 3 Quotidiani italiani . “ 17 Quotidiani stranieri . “ 19 Indice per città (Italia) . “ 21 Indice per regione (Italia) . “ 25 Indice per nazione . “ 29 quotidiani correnti Il catalogo annuale Quotidiani Correnti riporta i giornali che la Biblioteca del Senato acquista e conserva. I dati di questa edizione sono aggiornati al 31 dicembre 2009. Di ogni testata vengono indicati il titolo corrente, il luogo di edizione e l’anno d’inizio nella collezione della Biblioteca. Sono riportate poi la collocazione ed il posseduto della versione cartacea, la collocazione ed il posseduto di quella su microfilm e la copertura della testata nel Servizio QuID - Quotidiani In Digitale. Per i giornali che hanno cambiato titolo o che sono nati dalla fusione di più testate vengono riportate tutte le variazioni di titolo e/o periodicità.