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Cover Title Authors Edition Volume Genre Format ISBN Keywords The Museum of Found Mirjam, LINSCHOOTEN Exhibition Soft cover 9780968546819 Objects: Toronto (ed.), Sameer, FAROOQ Catalogue (Maharaja and - ) (ed.), Haema, SIVANESAN (Da bao)(Takeout) Anik, GLAUDE (ed.), Meg, Exhibition Soft cover 9780973589689 Chinese, TAYLOR (ed.), Ruth, Catalogue Canadian art, GASKILL (ed.), Jing Yuan, multimedia, 21st HUANG (trans.), Xiao, century, Ontario, OUYANG (trans.), Mark, Markham TIMMINGS Piercing Brightness Shezad, DAWOOD. (ill.), Exhibition Hard 9783863351465 film Gerrie, van NOORD. (ed.), Catalogue cover Malenie, POCOCK (ed.), Abake 52nd International Art Ming-Liang, TSAI (ill.), Exhibition Soft cover film, mixed Exhibition - La Biennale Huang-Chen, TANG (ill.), Catalogue media, print, di Venezia - Atopia Kuo Min, LEE (ill.), Shih performance art Chieh, HUANG (ill.), VIVA (ill.), Hongjohn, LIN (ed.) Passage Osvaldo, YERO (ill.), Exhibition Soft cover 9780978241995 Sculpture, mixed Charo, NEVILLE (ed.), Catalogue media, ceramic, Scott, WATSON (ed.) Installaion China International Arata, ISOZAKI (ill.), Exhibition Soft cover architecture, Practical Exhibition of Jiakun, LIU (ill.), Jiang, XU Catalogue design, China Architecture (ill.), Xiaoshan, LI (ill.), Steven, HOLL (ill.), Kai, ZHOU (ill.), Mathias, KLOTZ (ill.), Qingyun, MA (ill.), Hrvoje, NJIRIC (ill.), Kazuyo, SEJIMA (ill.), Ryue, NISHIZAWA (ill.), David, ADJAYE (ill.), Ettore, SOTTSASS (ill.), Lei, ZHANG (ill.), Luis M. MANSILLA (ill.), Sean, GODSELL (ill.), Gabor, BACHMAN (ill.), Yung -
Yun Mi Hwang Phd Thesis
SOUTH KOREAN HISTORICAL DRAMA: GENDER, NATION AND THE HERITAGE INDUSTRY Yun Mi Hwang A Thesis Submitted for the Degree of PhD at the University of St Andrews 2011 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/1924 This item is protected by original copyright This item is licensed under a Creative Commons Licence SOUTH KOREAN HISTORICAL DRAMA: GENDER, NATION AND THE HERITAGE INDUSTRY YUN MI HWANG Thesis Submitted to the University of St Andrews for the Degree of PhD in Film Studies 2011 DECLARATIONS I, Yun Mi Hwang, hereby certify that this thesis, which is approximately 80,000 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student and as a candidate for the degree of PhD in September 2006; the higher study for which this is a record was carried out in the University of St Andrews between 2006 and 2010. I, Yun Mi Hwang, received assistance in the writing of this thesis in respect of language and grammar, which was provided by R.A.M Wright. Date …17 May 2011.… signature of candidate ……………… I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of PhD in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. -
Censuring the Expression of Satire in the President's Last Bang (2005)
University of Wollongong Research Online Faculty of Arts - Papers (Archive) Faculty of Arts, Social Sciences & Humanities 1-1-2008 Planet hallyuwood's political vulnerabilities: censuring the expression of satire in the President's last bang (2005) Brian M. Yecies University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/artspapers Part of the Arts and Humanities Commons, and the Social and Behavioral Sciences Commons Recommended Citation Yecies, Brian M., Planet hallyuwood's political vulnerabilities: censuring the expression of satire in the President's last bang (2005) 2008, 37-64. https://ro.uow.edu.au/artspapers/396 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] International Review of Korean Studies Vol.5, No. 1, 2008 37 Planet Hallyuwood’s Political Vulnerabilities: Censuring the Expression of Satire in The President's Last Bang (2005)* Brian Yecies† South Korea’s cinema has recently enjoyed a Golden Age that has opened up new spaces for creative and cultural expression in Korea and probably in the larger Asia-Pacific region. Domestic market share of local films, lucrative pre-sales, a robust screen quota and fresh genre-bending narratives and styles have attracted admiration in Korea and abroad. However, since its peak of success in late 2005 and early 2006, extreme competition between domestic films, piracy and illegal downloading, halving of the screen quota and the erosion of ancillary markets have impacted on the industry’s ability to sustain vitality and profitability. -
Anoli Perera's Art Displayed at the India Art Fair
1/22/2020 Anoli Perera’s Art displayed at the India Art Fair | Home News Weekly Digital Newsletters Foreign Relations Spotlight Diplomatically Speaking Diplomatic Travel Archive Events Diplomatic Representation sea Anoli Perera’s Art displayed at the India Art Fair by Srimal Fernando, Global Editor, The Diplomatic Society Anoli Perera The New Delhi India Art fair with 85 exhibiting galleries having 90 booths showcased a variety of modern and contemporary art genres including paintings, sculpture, new media, installation and performance art was held in New Delhi from 29 January to 1 February 2015. India Art Fair, New Delhi The exhibition will present several works that have never been exhibited earlier publicly. The India Art Fair gallery walls were filled with carefully selected quality art works, paintings and sculptures. The collection includes works of many artists. One of the best known Sri Lankan visual artists, Anoli Perera with over twenty years of experience of working and exhibiting in Sri Lanka and internationally, displayed a bright red blood-like aura, at first glance life-like and life-size, but transformed upon closer inspection into a massive, imposing, solid form despite the open fragility of its construction at the India Art Fair booth. The booth was filled with the innovative work of many contemporary artists. ___________________________________________ The fifth edition of India Art Fair was held in 2013. Anoli Perera’s ‘Blue Cupboard’ theme was one of the new works which assumed higher significance before the fair ended. ‘Blue Cupboard,’ in addition to the attractive élan and finesse of art in it, also holds a key to unlock the political debates emerging from contemporary visual art in Sri Lanka. -
Catalogue Fair Timings
CATALOGUE Fair Timings 28 January 2016 Thursday Select Preview: 12 - 3pm By invitation Preview: 3 - 5pm By invitation Vernissage: 5 - 9pm IAF VIP Card holders (Last entry at 8.30pm) 29 - 30 January 2016 Friday and Saturday Business Hours: 11am - 2pm Public Hours: 2 - 8pm (Last entry at 7.30pm) 31 January 2016 Sunday Public Hours: 11am - 7pm (Last entry at 6.30pm) India Art Fair Team Director's Welcome Neha Kirpal Zain Masud Welcome to our 2016 edition of India Art Fair. Founding Director International Director Launched in 2008 and anticipating its most rigorous edition to date Amrita Kaur Srijon Bhattacharya with an exciting programme reflecting the diversity of the arts in Associate Fair Director Director - Marketing India and the region, India Art Fair has become South Asia's premier and Brand Development platform for showcasing modern and contemporary art. For our 2016 Noelle Kadar edition, we are delighted to present BMW as our presenting partner VIP Relations Director and JSW as our associate partner, along with continued patronage from our preview partner, Panerai. Saheba Sodhi Vishal Saluja Building on its success over the past seven years, India Art Senior Manager - Marketing General Manager - Finance Fair presents a refreshed, curatorial approach to its exhibitor and Alliances and Operations programming with new and returning international participants Isha Kataria Mankiran Kaur Dhillon alongside the best programmes from the subcontinent. Galleries, Vip Relations Manager Programming and Client Relations will feature leading Indian and international exhibitors presenting both modern and contemporary group shows emphasising diverse and quality content. Focus will present select galleries and Tanya Singhal Wol Balston organisations showing the works of solo artists or themed exhibitions. -
Korean Film Nights 2018
Korean Cultural Centre UK presents KOREAN FILM NIGHTS 2018 MARCH TO JUNE Korean Novels on Screen KOREAN FILM NIGHTS 2018 The Korean Cultural Centre UK would like to welcome audiences once again to Korean Film Nights, our year-round programme of film screenings and talks. With the aim of fostering a deeper knowledge and appreciation of Korean cinema amongst London audiences through thematically curated strands, these screenings have presented everything from little-known classics to UK premieres of rare indie gems over the past 10-years. After a successful 2017 that saw audiences pack into screenings across three distinct film seasons - horror, migration and essay films - 2018 continues in a similar vein, splitting the year into two strands. This first programme will run from the end of March to June and will focus on films adapted from Korean novels. This follows on from a 2014 programme that came about when the London Book Fair shone a spotlight on Korea as their featured country that year. Appreciation for Korean literature has continued to rise thanks to the success of Han Kang’s International Man Booker Prize winning The Vegetarian, and the release last year of Familiar Things, a new work from famed novelist and political activist, Hwang Sok-yong, amongst others. Returning to the topic of Korean literature and film, the Korean Novels on Screen season focuses on stories that cover the key historical events that have shaped modern Korea. Going back to the period of Japanese occupation and subsequent independence, through both the Korean and Vietnam Wars, and then onto the anti-authoritarian government and pro-democracy protests that have risen over the years, prominent writers have often focused their own perspectives and personal experiences onto the page. -
YOUR DHAKA ART SUMMIT “Dhaka Art Summit Has Set the Gold Standard for the Visual Arts in South Asia.” -Bunty Chand, Director of Asia Society, India CONTENTS
YOUR DHAKA ART SUMMIT “Dhaka art summit has set the gold standard for the visual arts in South Asia.” -Bunty Chand, Director of Asia Society, India CONTENTS ABOUT DAS ........................................................................ 6 PROGRAMME ..................................................................... 8 SCHEDULE ........................................................................ 25 VENUE MAP ...................................................................... 54 DHAKA ............................................................................... 56 OUR PARTNERS ................................................................ 60 Front Cover: Louis Kahn, National Parliament Building, Dhaka. Image credit: Randhir Singh 2 3 The Missing One installation view. Photo courtesy of the Dhaka Art Summit and Samdani Art Foundation. Photo credit: Jenni Carter DHAKA ART SUMMIT 2018 “I have never experienced something as art focused, open and inclusive as I just did at Dhaka Art Summit. The calibre of the conversations was a rare happening in our region.¨ -Dayanita Singh, DAS 2016 Participating Artist 5 The Dhaka Art Summit (DAS) is an international, non-commercial research and exhibition platform for art and architecture connected to South Asia. With a core focus on Bangladesh, DAS re-examines how we think about these forms of art in both a regional and an international context. Founded in 2012 by the Samdani Art Foundation, DAS is held every two years in a public- private partnership with the Bangladesh Shilpakala Academy, with the support of the Ministry of Cultural Affairs and Ministry of Information of the People’s Republic of Bangladesh, the National Tourism Board, Bangladesh Investment Development Authority (BIDA), and in association with the Bangladesh National Museum. Rejecting the traditional biennale format to create a more generative space for art and exchange, DAS’s interdisciplinary programme concentrates its endeavours towards the advancement and promotion of South Asia’s contemporary and historic creative communities. -
Das Hausmädchen PH
Präsentiert DAS HAUSMÄDCHEN (Originaltitel: Hanyo) PRESSEHEFT Start: 21. April 2011 Verleih: Pressebetreuung: Alamode Filmdistribution Cinemaids Dachauer Str. 233 Kidlerstraße 4 80637 München 81371 München Tel: 089 - 17 99 92 0 Tel: 089 / 44 23 98 11/12 Fax: 089 / 17 99 92 13 Fax: 089 / 44 23 98 13 [email protected] [email protected] www.alamodefilm.de www.cinemaids.de Auf www.alamodefilm.de stehen Ihnen unter PRESSE-SERVICE alle Pressematerialien, Fotos und weitere Informationen als Download zur Verfügung. 1 INHALTSVERZEICHNIS BESETZUNG / STAB / TECHNISCHE DATEN 3 KURZINHALT 4 PRESSENOTIZ 4 INHALT 5 DAS REMAKE EINES KOREANISCHEN KLASSIKERS 7 INTERVIEW MIT IM SANG-SOO 8 DIE DARSTELLER UND IHRE CHARAKTERE 11 REGIE & PRODUKTION 14 INTERNATIONALE PRESSESTIMMEN 15 2 BESETZUNG BESETZUNG Jeon Do-youn Eun-yi Lee Jung-jae Hoon Seo Woo Hae-ra Ahn Seo-hyun Nami Youn Yuh-jung Byung-sik STAB Regie Im Sang-soo Drehbuch Im Sang-soo, Kim Ki-young Produktion Jason Chae, Kim Jin Sup, Choi Pyung Ho, Kim Dong Won, Kim Kyung Kamera Lee Hyung Deok Schnitt Lee Eun Soo Szenenbild Lee Ha Jun Musik Kim Hong Jip TECHNISCHE ANGABEN Länge 106 Min. Bildformat 2,35:1 Tonformat Dolby Digital 3 KURZINHALT Die hübsche Eun-yi wird von einer reichen koreanischen Familie als neues Hausmädchen eingestellt. Sie soll sich um die kleine Tochter des Hauses und die mit Zwillingen schwange- re Mutter kümmern. Der Hausherr Hoon ist es gewohnt, sich zu nehmen was ihm gefällt. Eines Abends verführt er das neue Hausmädchen und beginnt eine leidenschaftliche Affäre mit ihr. Doch den wachsamen Augen der erfahrenen alten Hausdame Byung-sik entgeht nichts. -
Sri Lankan Contemporary Art
Sri Lankan Contemporary Art Serendipity Revealed Contemporary Sri Lankan Art Curated by Annoushka Hempel 9 th October - 20th December 2014 BRUNEI GALLERY, LONDON Foreword Curators’ Note SriLankan Airlines, as the national carrier of Sri Lan- SERENDIPITY REVEALED: ka, is immensely pleased to support the budding A POST WAR PERSPECTIVE Sri Lankan artists whose selected works of art are featured in the much anticipated exhibition, “Se- rendipity Revealed.”, unveiled at the Brunei Gallery, When looking at the contemporary art of a London. country like Sri Lanka, it is impossible to do so without engaging with the island’s recent his- “Serendipity Revealed” presents an assortment of tory. Sri Lanka has seen historical events that Sri Lankan contemporary art, displayed in various have marked the country, its people and its mediums such as sculpture, installation, video, pain- artists. When observing the art, the viewer is ting and photography. Even though traditional Sri presented with a narrative that not only takes Lankan art has evoked much interest globally, the a macrocosmic view telling the stories of a world is yet to explore our contemporary art that country and its people, but also focuses on the emerged during and following the years of conflict; micro-cosmic levels of individuals and their per- that is thematically and contextually diverse. As sonal experiences. much as art reveals the hidden sides of a culture, Serendipity Revealed presents the works of it inspires the viewer and the art enthusiast to ex- fourteen carefully selected artists, to unveil plore more into a country’s hidden artistic traits. some of the multitude of stories the country Hence, the viewers, apart from the knowledge of and its people have witnessed. -
2-South-Asia-Journal-Vol-2.Pdf
South Asia Journal for Culture is an annual refereed journal published jointly by the Colombo Institute for the Advanced Study of Society and Culture and the Theertha International Artists' Collective. The journal is open to scholarship and exchange of ideas across the region and beyond, on issues that are of central importance to the region with regard to the broad areas covered by the key term 'culture'. The fact that the journal is based in South Asia does not mean that its focus is restricted on the basis of this regional or geographic identity. The idea is to enhance access of South Asian writers to a journal that is regionally published, regionally edited and managed and is responsive to intellectual needs, interests and concerns in the areas covered by the thematic focus of 'culture.' While striving for a certain degree of specialization, the term 'culture' is deliberately meant to be broad. That is to ensure that the complexity and the varied manifestations of culture can be accommodated within the intellectual forum of the journal. In terms of conventional disciplinary parameters, the journal would accommodate contributions from the fields of sociology, social anthropology, history, archeology, art histor·,, cultural studies and other related fields of study. More precisely, within and beyond these areas, its interest would be in culture and its extensions that would focus on cultural theory, art history and different domains of the 'arts' such as theatre, visual arts, architecture, film, music, dance, literature and the politics of these domains. In the general context outlined above, the journal welcomes papers, reviews, photo-essays and opinions for publication. -
1 In/Genuine Encounters: Fiona Hall's Cross-Cultural Creations a Thesis
In/genuine Encounters: Fiona Hall's Cross-cultural Creations A thesis presented by Sophie E. Prince 638005 to The School of Culture and Communication in partial fulfillment of the requirements for the degree of Bachelor of Arts (Honours) in the field of Art History AHIS40021 in the School of Culture and Communication The University of Melbourne Supervisor: Dr. Susan Lowish October 2016 Word Count: 15, 023 1 Abstract This thesis examines the integrity of cross-cultural relationships in a particular art world context. Through critically examining selected cross-cultural artist residencies, this research project adds to the field of postcolonial analysis of cross-cultural engagement through art. Fiona Hall’s cross-cultural residencies within colonised cultures that are not her own makes her an interesting case study for contributing to postcolonial discourse. Hall has undertaken three artist residencies amongst colonised cultures that were specifically intended to be immersive and educational experiences. Inquiries into the intentions and outcomes of Hall’s residencies address my thesis question: To what extent do the cross-cultural experiences undertaken by Fiona Hall, reinforce the colonial traditions they seek to overcome? 2 Table of Contents Abstract .......................................................................................................................... 2 Acknowledgements ........................................................................................................ 4 Introduction ................................................................................................................... -
Mujeres En El Parlamento. Más Allá De Los Números
Mujeres en el Parlamento. Más allá de los números Serie Manuales 02-08-26 10.34 Sida II Mujeres en el Parlamento. Más allá de los números International IDEA Con Gehan Abu-Zayd, Julie Ballington, Elisa María Carrio, Piedad Córdoba, Drude Dahlerup, Lourdes Flores Nano, Frene Ginwala, Mala N. Htun, Azza Karam, Joni Lovenduski, Richard E. Matland, Mavivi Myakayaka-Manzini, Myriam Méndez-Montalvo, Nineth Montenegro, Karen Olsen de Figueres, Nina Pacari, Jacqueline Peschard, Christine Pintat, Shirin Rai, Nadezhda Shvedova y Hege Skjeie. Editoras de la edición en español (2002) Myriam Méndez-Montalvo Julie Ballington Editora de la versión original en inglés Edition (1998) Azza Karam I Mujeres en el Parlamento. Más allá de los números Esta es una versión traducida y adaptada para América Latina del manual Women in Parliament: Beyond Numbers, originalmente publicada por International IDEA en 1998. Esta es una publicación de International IDEA. Las publicaciones de International IDEA no reflejan ningún interés específico nacional o político. Las opiniones expresadas en esta publicación no representan necesariamente los puntos de vista de International IDEA, de su Junta Directiva o de los Miembros de su Consejo. Los países se mencionan con los nombres que se usaban oficialmente en la época en que se recopilaron los datos pertinentes. Los mapas representados en esta publicación no implican por parte de International IDEA criterio alguno sobre el estatus legal de ningún territorio o sobre el reconocimiento de sus fronteras. Tampoco la ubicación o tamaño de algún país o territorio refleja una posición política del Instituto. Los mapas se han incorporado en esta publicación con el único objetivo de agregar claridad al texto.