Kimsooja EDUCATION
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Kimsooja Weaving the World
KIMSOOJA WEAVING THE WORLD 18.11.2016 - 18.12.2016 THREAD ROUTES THREAD ROUTES CHAPTER II CHAPTER II THREAD ROUTES THREAD ROUTES 2010 – lopend project 2010 – on-going project 16mm-film overgebracht op hd-dvd 16 mm film transferred to HD format 5.1 surround sound audio 5.1 surround sound audio Thread Routes is Kimsooja’s eerste reeks van 16mm-films. Voor elk hoofdstuk van Thread Routes experimenteerde Thread Routes is Kimsooja’s first 16mm film series, after From each chapter of Thread Routes, Kimsooja experimented Voor de reeks besteedde ze meer dan drie decennia aan het Kimsooja met een andere reeks zwart-witfilms, waarin digitaal having spent more than three decades contextualizing and with another series of black and white film, which shows ontwikkelen van het contextuele en conceptuele apparaat verweven spectrale lichtgolven verwerkt zijn. conceptualizing textiles as a canvas that supports a structural digitally woven spectral light waves. In addition to this film, a waarbij textiel net als het canvas van een schilderij de drager In Cc Strombeek zijn behalve de film ook een reeks nachtelijke investigation of human life, nature and the world. series of images of the nightscape photos titled Architecture of werd van een structureel onderzoek van het menselijk leven, de foto’s te zien, getiteld Architecture of Vulnerability – Darkness. Vulnerability - Darkness, taken by the artist during the filming natuur en onze wereld. De kunstenaar maakte deze tijdens het filmen van Thread Divided into six chapters, Thread Routes takes place in six of Thread Routes Chapter II in Paris will be on view at CC Routes Chapter II in Parijs. -
Press Release
Lee Bul Interlude: Perdu November 7, 2019—January 18, 2020 536 West 22nd Street, New York #leebul | @lehmannmaupin New York, October 9, 2019—Lehmann Maupin is pleased to announce Interlude: Perdu, a solo presentation of new works by South Korean artist Lee Bul. This exhibition will feature recent mixed media paintings from the artist’s Perdu series that blend biomorphic and cybertronic forms, vividly yet delicately rendered in acrylic paint and mother of pearl. Among the most radical and internationally regarded figures in contemporary Korean art, this is Lee Bul’s first U.S. exhibition since two of her sculptures were featured in the 58th Venice Biennale. This marked Lee Bul’s second presentation in the Biennale; the artist was invited to return after representing her country in South Korea’s pavilion and receiving an honorable mention in 1999. There will be an opening reception for the artist on November 7, at 536 West 22nd Street, from 6 to 8pm. Lee Bul was born in the 1960s in South Korea under the country’s military dictatorship. She thus came of age during a period of incredible social and economic upheaval marked by the transition to a democratic state. This political shift experienced over her lifetime has informed much of her work and has been expressed in various ongoing themes over the course of her career. Beginning her practice in the 1980s with performances and sculpture, Lee Bul has continued to push the boundaries of representation with her architectural and technologically wondrous installations and mixed-media paintings that expose the human desire to transcend mere evolutionary progress. -
Sessions, Papers, and National Reports on the State of Classical Education
II C I T R F M F ED 023 336 FL 001 035 By -Else, Gerald r Ed. Report of the Colloquium on the Classics in Education, 1965. American Council of Learned Societies, New York, N.Y. Pub Date Jan 66 Note -72p. EDRS Price MF -$050 HC -$3.70 Descriptors -AncientHistory,Classical Languages, Classical Literature, ConferenceReports, Foreign Countries, Grammar, Greek, History Instruction, *InternationalPrograms, Language Instruction, Language Programs, Latin, Teaching Methods This is the report of an international meeting on theClassics, conducted August 1965 in London, England. Resolutions adopted bythe Colloquium, minutes of group sessions, papers, andnational reports on the state of classicaleducation are presented. Group sessions discuss the teachingof classical languages, classical literatures, and ancient history and civilization.Special papers presented on some aspects of these topics includeDavid H. Kelly's "Grammar and Methodology:Kenneth Ouinn's 'The Nature of Literary Documents: andHW.Pleket's 'The Teaching of Ancient History: National reports (Including several inFrench and one in Italian) discuss the currentstateofclassicaleducation in Australiaand NewZealand,Brazil, Czechoslovakia, France, GerMany, Ghana, GreatBritain, Greece, Italy, Japan, the Netherlands, Spain, Sweden, and the UnitedStates. (AF) U.S, DEPARTMENT OF HEALTH, EDUCATION & WELFARE OFFICE OF EDUCATION THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE DERSON OR ORGANIZATION ORIGINATING IT. POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDUCATION POSITION OR POLICY, REPORT OF THE COLLOQUIUM ON THE CLASSICS INEDUCATION 1965 7 7 7.77771,7777-7,71. 77777-7:717.4T.7.77r r - REPORT OF THE COLLOQUIUM ON THE CLASSICS IN EDUCATION 1965 edited by GERALD F. -
Five Walks in Search of the Future in Shanghai
The Hyperstationary State: Five Walks in Search of the Future in Shanghai By Owen Hatherley Abstract Shanghai is invariably used in film sets and popular discourse as an image of the future. But what sort of future can be found here? Is it a qualitative or quantitative advance? Is there any trace in the landscape of China's officially still-Communist ideology? Has the city become so contradictory as to be all-but unreadable? Contemporary Shanghai is often read as a purely capitalist spectacle, with the interruption between the colonial metropolis of the interwar years and the commercial megalopolis of today barely thought about. A sort of super-NEP has now visibly created one of the world's most visually capitalist cities, at least in its neon-lit night-time appearance and its skyline of competing pinnacles. Yet this seeming contradiction is invariably effaced, smoothed over in the reigning notion of the 'harmonious society'. This essay is a series of beginners' impressions of the city's architecture, so it is deeply tentative, but it finds hints of various non-capitalist built forms – particularly a concomitance with Soviet Socialist Realist architecture of the 1950s. It finds at the same time a dramatic cityscape of primitive accumulation, with extreme juxtapositions between the pre-1990s city and the present. Finally, in an excursion to the 2010 Shanghai Expo, we find two attempts to revive the language of a more egalitarian urban politics; in the Venezuelan Pavilion, an unashamed exercise in '21st century socialism'; and in the 'Future Cities Pavilion', which balances a wildly contradictory series of possible futures, alternately fossil fuel-driven and ecological, egalitarian and neoliberal, as if they could all happen at the same time. -
Athens Programme 2016. the Art of Building Cities
città THE ART OF BUILDING CITIES. THE CRAFTS OF TEACHING Lorenzo Degli Esposti The city, conceived in the Albertian sense as a large house just like the house is a small city, can be understood – as a whole or in its components – as the antithesis of two poles: the solid and the void, articulated on one side by an indistinct mass 2 or defined objects, on the other by an open space or delimited envelopes of air. The Andrea Palladio, Pyramidal site, from The Four Books of Architec-building, the edifice in general can likewise be considered in dialectical pairs, of a ture, Book II-XVII, 1570 body seen from the outside as a “thing” and of an enclosed and contained space perceivable from within, or in other words of an envelope made up of architectural elements and an inhabitable room. Both the city and the building are therefore readable according to alternative and complementary methods, which are nevertheless not mutually exclusive; indeed the oscillation between them is the richness of the architectural experience. If we consider the building positioned in the city, the ambiguity of each term remains: we can understand it as an isolated object, independent from the indistinct urbanized mass, or in the more rarefied infrastructural landscapes of the contemporary metropolis, or vice versa we can bring together buildings that form groups and continuous perimeters of the blocks, delimiting streets and squares, in turn open-air, circumscribed rooms. This bivalent relationship between the buildings and the city is iconically depicted in the seventeenth-century plans of Rome designed by Nolli and by Piranesi: the former paints in the background undifferentiated urban fabrics carved by the streets and perforated by squares and the interiors of public buildings; the latter orchestrates celibate typologies that paratactically resemble one another, occupying the entire urban space up to occluding the streets in the establishment of an immeasurable architectural forum. -
Author's Response
Dear Tiziana Lanza, Thanks for your useful review and very interesting suggestions. Your indications have been really appreciated, and included in the new version of the paper. In detail: Abstract We followed all your suggestions. We deleted part of the affirmation “The high participation and sharing in social networks and the attendance by a very large and varied audience, mostly without a scientific background, at our live shows, demonstrated a great interest in the geological history, resulting relevant for the development of geo-tourism.” We agree that, since we still did not collect the feedback of participants in a systematic way, this phrase could convey the readers to expect numbers, graphics and tables in the following text. We added some words to stress the importance of the conservation of the natural heritage (as Reeve suggested). Answering to Reeve: the abstract explains that the paper concerns about a teaching method and we illustrate some case studies, where we create a personal connection for the geo-sites in question. We inserted not here, but in the text, some data coming from the YouTube channel and from social network. Objectives and methods We modified the title in “Motivation and Objectives”, and changed accordingly the contents of the paragraph. We insert some sentences trying to answer to the requests of Reeve in “need and relevance” (Why is this “new approach” needed and what might it achieve?). We avoided speaking of a “new” approach, but we stressed some aspects of the working method of “our” approach. We also tried to clarify the main aim of our work. -
Extended Curriculum Vitae
Extended Curriculum Vitae Professor Dr Andreas Papatheodorou, FHEA, FTS Professor in Industrial and Spatial Economics with Emphasis on Tourism University of Aegean, Greece Athens, January 2017 Table of Contents 1. Career Mission Statement and Realisation .......................................................... 4 2. Personal Details .................................................................................................... 5 3. Tertiary Education and Academic Qualifications ................................................. 5 4. Other Skills and Qualifications ............................................................................. 5 5. Professional Appointments .................................................................................. 6 6. Research and Scholarship .................................................................................... 7 a. Dissertations and Theses (3) ............................................................................. 7 b. Papers in Scientific Journals with Referees (29) .................................................. 7 c. Papers in Scientific Journals without Referees (2) ............................................... 9 d. Papers in Proceedings of International Conferences with Referees (36) ................. 9 e. Papers in Proceedings of International Conferences without Referees (2) ............ 13 f. Presentations at International Scientific Conferences and Meetings with Referees without Proceedings (8) ...................................................................................... -
Days & Hours for Social Distance Walking Visitor Guidelines Lynden
53 22 D 4 21 8 48 9 38 NORTH 41 3 C 33 34 E 32 46 47 24 45 26 28 14 52 37 12 25 11 19 7 36 20 10 35 2 PARKING 40 39 50 6 5 51 15 17 27 1 44 13 30 18 G 29 16 43 23 PARKING F GARDEN 31 EXIT ENTRANCE BROWN DEER ROAD Lynden Sculpture Garden Visitor Guidelines NO CLIMBING ON SCULPTURE 2145 W. Brown Deer Rd. Do not climb on the sculptures. They are works of art, just as you would find in an indoor art Milwaukee, WI 53217 museum, and are subject to the same issues of deterioration – and they endure the vagaries of our harsh climate. Many of the works have already spent nearly half a century outdoors 414-446-8794 and are quite fragile. Please be gentle with our art. LAKES & POND There is no wading, swimming or fishing allowed in the lakes or pond. Please do not throw For virtual tours of the anything into these bodies of water. VEGETATION & WILDLIFE sculpture collection and Please do not pick our flowers, fruits, or grasses, or climb the trees. We want every visitor to be able to enjoy the same views you have experienced. Protect our wildlife: do not feed, temporary installations, chase or touch fish, ducks, geese, frogs, turtles or other wildlife. visit: lynden.tours WEATHER All visitors must come inside immediately if there is any sign of lightning. PETS Pets are not allowed in the Lynden Sculpture Garden except on designated dog days. -
Aichi Triennale 2019 Has Announced the List of Additional Artists
Aichi Triennale 2019 Press Release _ Participating Artists As of March 27, 2019 Aichi Triennale 2019 Has Announced the List of Additional Artists Aichi Triennale—an international contemporary art festival that occurs once every three years and is one of the largest of its kind—has been showcasing the cutting edge of the arts since 2010, through its wide-ranging program that spans international contemporary visual art, film, the performing arts, music, and more. This fourth iteration of the festival welcomes journalist and media activist Daisuke Tsuda as its artistic director. By choosing “Taming Y/Our Passion” as the festival’s theme, Tsuda seeks to address “the sensationalization of media that at present plagues and polarizes people around the world.” He hopes that by “employing the capacity of art— a venture that, capable of encompassing every possible phenomenon, eschews framing the world through dichotomies—to speak to our compassion, thus potentially yielding clues to solving this predicament.” Aichi Triennale 2019 announced the addition of 47 artists to its lineup on 27 March 2019; the list now comprises a total of 79 artists. Outline of Aichi Triennale 2019 http://aichitriennale.jp/ Theme | Taming Y/Our Passion Artistic Director | TSUDA Daisuke (Journalist / Media Activist) Period | August 1 (Thursday) to October 14 (Monday, public holiday), 2019 [75 days] Main Venues | Aichi Arts Center; Nagoya City Art Museum; Toyota Municipal Museum of Art and off-site venues in Aichi Prefecture, JAPAN Organizer | Aichi Triennale Organizing -
Artforum (May 9, 2019)
INTERESTING. Few words have such angular ambiguity, signifying both a viewer’s interpretive generosity while subtly acknowledging that the thing in question just might not be that good. Ralph Rugoff, the artistic director of the fifty-eighth Venice Biennale, which opened Tuesday to select press and professionals, played on the word’s double meaning in the title for his show, “May You Live in Interesting Times,” a phrase attributed as an “ancient Chinese curse,” but, like, the Ivanka Trump/fortune cookie variety, with no actual “ancient” or “Chinese.” The dash of Orientalism was either snarkily intentional from the start, or simply reclaimed as snarkily intentional after news of the title riled tempers east of the Urals. So how’s the exhibition itself? Interesting. Rugoff has packed his show of roughly eighty artists with whizzbang Instagrams-in-waiting, through an eclectic survey of exclusively living artists that felt more like someone had emptied Chelsea and the Lower East Side (the new, tonier one, not the one from seven years ago) into the Giardini’s Central Pavilion. But after a day of mulling it over, I decided this zeitgeist approach could be a throwback to the biennial’s days as a salon rather than a definitive statement on our life and times. Rugoff might argue that this is his point: In an age of “fake news” and myriad malleable perspectives, consensus is no longer possible. Even his exhibition is divided in two, with Proposition A in the Arsenale and Proposition B in the Giardini. In the absence of a strong thesis or even a clear curatorial vision, what we get is call and response. -
2013 PKSS Proceedings Editorial Board
This proceedings is a collection of papers presented at the 2013 Philippine Korean Studies Symposium (PKSS) held on December 13-14, 2013 at GT-Toyota Auditorium, University of the Philippines, Diliman, Quezon City. This event was organized by the UP Center for International Studies and the Korea Foundation. Copyright © 2013 Philippine Korean Studies Symposium Speakers, Contributors, UP Center for International Studies ALL RIGHTS RESERVED ISSN 2362-8553 (Printed Publication) ISSN 2362-8677 (Online / Electronic Publication) 2013 PKSS Proceedings Editorial Board Kyungmin Bae (Department of Linguistics) Mark Rae C. De Chavez (Department of Linguistics) Ma. Crisanta N. Flores (Department of Filipino and Philippine Literature) Jay-ar M. Igno (Department of Linguistics) Francezca C. Kwe (Department of English and Comparative Literature) Aldrin P. Lee (Department of Linguistics) Louise M. Marcelino (Department of Art Studies) Edgar Emmanuel Nolasco (Center for International Studies) Lily Ann Polo (Asian Center) Sarah J. Raymundo (Center for International Studies) Amparo Adelina C. Umali III (Center for International Studies) Cynthia N. Zayas (Center for International Studies) Managing Editor. : Kyungmin Bae Copy Editors : Aldrin P. Lee, Edgar E. Nolasco Assistant Copy Editor.: Michael S. Manahan Logo & Cover Design: Fatima De Leon. Michael S. Manahan i CONTENTS Messages DR. HYUN-SEOK YU v President, The Korea Foundation H.E. HYUK LEE vi Ambassador, The Embassy of the Republic of Korea in the Philippines CYNTHIA NERI ZAYAS, PhD vii Director, Center for International Studies, University of the Philippines Papers GLOBAL KOREA 3.0 2 Charles K. Armstrong KOREAN FAMILY SYSTEM AND ITS TRANSITION: Between Ethnography 12 and History Kyung-soo Chun HOW SHOULD KOREAN STUDIES DEAL WITH FILIPINOS IN KOREA 26 AND KOREANS IN THE PHILIPPINES? Minjung Kim SUBJECTIVITY AND REPRESENTATIONS: NEWS REPORTS IN THE 36 INDEPENDENT ON THE 1896 PHILIPPINE REVOLUTION Raymund Arthur G. -
The Laura Bulian Gallery Is Pleased to Announce the Exhibition Life From
The Laura Bulian Gallery is pleased to announce the exhibition Life from My Window, curated by Andrey Misiano, that studies the contemporary experience of artists who were born in the Caucasus during the Soviet period yet that are rapidly losing touch with their socialist past. First and foremost, all the artists participating in the exhibition – Babi Badalov (Lerik, Azerbaidjan, 1959), Lusine Djanyan (Ganja, Azerbaijan, 1981), Aslan Gaisumov (Grozny, Russia, 1991), Musay Gaivoronskiy (Dagestan, Russia, 1987) , Taus Makhacheva (Moscow, Russia, 1983), Koka Ramishvili (Tblisi, Georgia, 1959) have in common a painful search for their place in the world in the conflictual conditions of the new world order. They depict people that have experienced the end of history in one way or another and are now living in a disjointed globalized world. At the same time, they retain recollections of Soviet life and the first post-Soviet decades that are currently seen in an extremely contradictory historical perspective. On the one hand, the practice of analyzing, reconsidering and debunking the Soviet project is rapidly spreading in the academic and artistic communities. On the other, at the political level, the regimes that have arisen on post-Soviet territories are selectively speculating on recollections of positive aspects of socialist life in order to patch holes in their profane ideological programs. To sum up, although it is difficult to say in what form the Soviet past is returning today, it is clear that the great expectations of the period continue to exist in the future conditional tense. The exhibition’s title stems from the well-known work of an artist participating in the project: Koka Ramishvili’s War from My Window.