ART CITY Bologna Musei, Mostre, Luoghi D'arte 29
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Art at the Silo Hotel a Brief History
ART AT THE SILO HOTEL A BRIEF HISTORY The history of Africa is the history of being plundered for its most valuable resources. This was exemplified by the original grain silo building in Table Bay from which grain was exported to Europe. The new building represents a showcase retaining Africa’s greatest creative resources. The building itself can be seen as a work of art, offering it’s beautifully reimagined structure as an industrial canvas that highlights the very best of African art and design. “I have always included wonderful art at each of The Royal Portfolio properties. Art brings a space Liz Biden, owner of The Royal Portfolio pays tribute to this vision, through her use of to life, it creates warmth and tells stories. But moreover, art takes you on a journey which evolves contemporary African art and local craftsmanship in her interior design of The Silo as we evolve. Our guests love to enjoy the art collection at our properties. The Silo Hotel will take Hotel. that art experience to a whole new level with a focus on contemporary African art…” LIZ BIDEN During her trips throughout Africa, aided by her well-travelled eye for the exquisite FOUNDER AND OWNER and the unusual, Liz Biden has acquired a unique and varied collection of art that complements that of Zeitz MOCAA situated below The Silo Hotel. Highlighting both young, aspiring artists, as well as established, highly acclaimed artists such as Cyrus Kabiru, Mahau Modisakeng and Nandipha Mntambo. Liz Biden has specifically chosen pieces to complement the unique interiors of each of the 28 rooms, offering individualised experiences for guests and many a reason to return. -
Antichi E Rari
Studio Biblio Orfeo - Tel. 051 6360113 - Cell. 335 8388397 - [email protected] 1 Antichi e rari 1 Accademia della Crusca. Vocabolario della hanno un proprio frontespizio. Il retro del frontespizio Crusca. Quinta impressione. In Venezia, Appresso della seconda deca è una bella incisione della città di Francesco Pitteri, 1741. 5 volumi, in 4°, 26 cm, rilegatura Bologna con le sue torri. Iniziali decorate e animate. coeva in cartone “alla rustica”, dorso in pergamena Antico ex libris privato al risguardo, 2 timbretti privati di con titolo manoscritto, p. (24), 628; 630, (2); 519, (3); un cm di diametro, qualche brunitura. Alone marginale 547, (1); 304. Frontespizio del primo volume in rosso a 25 carte complessive. € 2000.00 e nero, bella e grande vignetta incisa con l’emblema dell’Accademia della Crusca e suo motto: “Il più bel 5 Aldini, Giovanni. Al governo della Repubblica fior ne coglie” ad ogni frontespizio, testo incorniciato e Italiana. Riflessioni sulle fabbriche spettanti all’università su tre colonne, ex libris privato ai risguardi. Esemplare nazionale di Bologna e prove della necessità di leggermente brunito, con barbe. € 600.00 conservare l’antico Archiginnasio per uso della medesima. Bologna, 1804. In 4°, (28x20) cm, copertina 2 Agucchi, Giovanni Battista. Antica fondatione muta recente; p. 13. Al verso del frontespizio: “Prospetto e dominio della città di Bologna. Lettera risponsiva di dell’antico Archiginnasio” inciso da Pio Panfili e in fine, Monsignor Gio. Battista Agocchi Arcivescovo d’Amasia fuori testo, l’incisione: “Idea della pianta del piano & C. Al signor canonico Bartolomeo Dolcini Historico superiore che contiene le principali scuole dell’antico Bolognese, ove si discorre della potenza, & imperio de Archiginnasio di Bologna”. -
Filing in the Gaps
University of Cape Town The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town , " ,; r •\ Ii r, i" Filling In The Gaps Ruth Sacks 2007 ., I ~ ! :J I; I !I A dissertation submitted in fulfilmentUniversity of the requirements for the ofaward ofCape the degree of Master Town of Fine Art, Faculty of the Humanities, University of Cape Town DECLARATION: This work has not been previously submitted in whole, or in part, for the award of any degree, It is my own wOrk. Each significant contribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed, and has been cited and referenced. I am the author of all Images unless otherwise stated in captions. Signature: Date:________ / Acknowledgements: To my father Benzion Sacks, for his unconditional support. My supervisors Jane Alexander and Virginia Mackenny for their insight, advice and patience. Andrew Lamprecht for his skilled editorial assistance and sustained encouragement. Ed Young for teaching me how to stand up for myself and allowing me to use his books. Douglas Gimberg for being an utter1y reliable assistant and maintaining a sense of humour. University of Cape TownChad Rossouw for proofreading and keeping me calm. The staff and students of the Michaelis School of Fine Art, particular1y everyone who works at Hiddingh Hall Library. -
Cameron Platter Monster June 7
Cameron Platter Monster June 7 – July 19 2014 Cameron Platter’s interdisciplinary work examines consumption, excess, detritus, identity and violence within a fragmented society. Through engagement with unorthodox and transient sources, his work schizophrenically documents and unearths contemporary reality. Entitled Monster, this exhibition presents an installation of new sculptures, drawings, ceramics and tapestries that look towards an internal landscape while cannibalizing the personal, political and social. These hybrid monuments to transience and impermanence and nightmare highlight Platter’s continued subversion of both medium and content. In his sculptural series, ‘Aliens’, carved wooden forms recreate totem-like artifacts. Drawn from disparate sources such as Brancusi and Moore; ethnographic objects (from the future or the past); futuristic sci-fi weapons; sex toys and fetish objects – they are an attempt to produce an authentic sculpture in an inauthentic manner. The monolithic sculpture ‘Monster’ is a shape-shifting collage/ assemblage that embodies the collapse of meaning and medium. Standing over 3 m tall, it is parts totem, dysfunctional consumerist object, monument and portal to the 4th dimension, a relic from a dystopian future. The drawings presented in Monster act as formal and conceptual links between the different works. The focal point of these drawings is ‘Stations II’ a large-scale pencil crayon triptych that reflects the artist’s ongoing investigation of the residues of excessive consumption and decay. In the same vein, the ‘Stain’ series of pencil crayon studies capture fallouts and defects, reclaiming unresolved fragments (of other drawings) and reanimating them as formal compositions. ‘River’, a series of charcoal drawings, has its genus in a set of drawings made in strip clubs. -
THE SILO ART - PUBLIC SPACES “I Have Always Included Wonderful Art at Each of the Royal Portfolio Properties
THE SILO ART - PUBLIC SPACES “I have always included wonderful art at each of The Royal Portfolio properties. Art brings a space to life, it creates warmth and tells stories. But moreover, art takes you on a journey which evolves as we evolve. Our guests love to enjoy the art collection at our properties. The Silo Hotel takes that art experience to a new level with a focus on contemporary African art…” LIZ BIDEN FOUNDER AND OWNER A BRIEF HISTORY Throughout much of its history, Africa’s valuable resources have been extracted for the benefit of foreign economies. This was exemplified by the original grain silo building in Table Bay from which grain was exported to Europe. The new building represents a showcase retaining Africa’s greatest creative resources. The building itself can be seen as a work of art, offering its beautifully reimagined structure as an industrial canvas that highlights the very best of African art and design. Liz Biden, owner of The Royal Portfolio pays tribute to this vision, through her use of contemporary African art and local craftsmanship in her interior design of The Silo Hotel. During her trips throughout Africa, aided by her well travelled eye for the exquisite and the unusual, Liz Biden has acquired a unique and varied collection of art that complements that of Zeitz MOCAA situated below The Silo Hotel. Highlighting both young, aspiring artists, as well as established, highly acclaimed artists such as Cyrus Kabiru, Mahau Modisakeng and Nandipha Mntambo. Liz Biden has specifically chosen pieces to complement the unique interiors of each of the 28 rooms, offering individualised experiences for guests and many a reason to return. -
Photography at Auctions
AFRICAN CONTEMPORARY PHOTOGRAPHY AT AUCTIONS CONFIDENCE IN THE INTERNATIONAL MARKET REACHES AN ALL-TIME HIGH CAPE TOWN ART FAIR’S RISING PROFILE ART 14 LONDON, SETTING NEW HEIGHTS HASSAN HAJJAJ DAVID GOLDBLATT SIMON OTTENBERG JOACHIM MELCHERS UGOCHUKWU - SMOOTH C. NZEWI PAUL SIKA JOHN FLEETWOOD ARTUR WALTHER THE PHOTOGRAPHY ISSUE II OMENKA MAGAZINE 2 3 4 6 7 0 8 8 1 0 0 0 0 VOLUME 1 ISSUE 2 Ben (Benedict Chukwukadibia) Contact Enwonwu, M.B.E +44 (0) 20 7468 8355 (Nigerian, 1917 - 1994) [email protected] ‘Snake Dance’ carved wood 141 x 20 x 20cm (55 1/2 x 7 7/8 x 7 7/8in) (including base) £50,000 - 80,000 US$83,000 - 133,000 Africa Now New Bond Street bonhams.com/africanow 2014 Sandton Convention Centre, Johannesburg 22-24 August To submit your application, please visit www.artlogic.co.za/fairs The deadline for applications is the 28th of February 2014. Decoration or Asset? The Art Exchange’s Products and Services include... Advisory Services Acquisition Financing Custodian & Insurance Services www.theartexchangelimited.com [email protected] +234 706 590 4800 VOLUME 1 ISSUE 3 118 99 FEATURES Spot Lighting The Sanlam Food Wine Design Fair 2013 100 John Fleetwood: The Market Photo Workshop 106 Peer Conversation 114 Jude Anogwih and Adejoke Tugbiyele Art 14 London, Setting New Heights 118 Cape Town Art Fair’s Rising Profile 124 5 OMENKA MAGAZINE VOLUME 1 ISSUE 3 COLUMNS 81 ArtTactic 82 Confidence in the International Photography Market Reaches an All-time High Ask the Curator 84 Ugochukwu-Smooth Nzewi Letter to the Editor -
29 - 30 - 31 January 2016
ART CITY Bologna Museums, exhibitions, venues 29 - 30 - 31 January 2016 From January 29 to January 31 2016 an intense weekend on art and culture will be held again in Bologna, with the fourth edition of ART CITY Bologna, promoted by the City of Bologna and BolognaFiere with the coordination of the Istituzione Bologna Musei. It will be a special edition to celebrate the fortieth anniversary of Arte Fiera with a full institutional pro- gramme of exhibitions, events and initiatives, which will be even richer thanks to the involvement of more institutions and cultural operators of the city. More than 70 initiatives will be held in the 46 different locations open to the public, with free access or reduced price access for the holders of any Arte Fiera ticket, all the relevant information can be found in the guide ART CITY Map. The locations are accessible with the free mobility service ART CITY Bus. ART CITY Bologna promotes the historical-artistic heritage through the intervention of contemporary artists who were invited to exhibit in significant places of the city. The exhibitions held in 2016 with the collaboration of some museums include: David Adika at Casa Morandi, Luca Lanzi at the Collezioni Comunali d'Arte, Andrea Salvatori at the Museo Davia Bargellini and Alberto Tadiello at the Museo in- ternazionale e biblioteca della musica. The special events for the fortieth anniversary of Arte Fiera include the Italian preview of the masterpiece film by Matthew Barney & Jonathan Bepler, River of Fundament, at Bologna’s Teatro Comunale and the project ARTE FIERA 40 which will span across the history of the most prestigious exhibition on Italian modern and contemporary art, looking into the future. -
Comunicato Stampa Da GIOVEDÌ 19 DICEMBRE a MERCOLEDÌ 1
Comunicato Stampa n. 53 del 18 dicembre 2019 Istituzione Biblioteche del Comune di Bologna prot. N° 1/2019 ISTITUZIONE BIBLIOTECHE: GLI APPUNTAMENTI DA GIOVEDÌ 19 DICEMBRE A MERCOLEDÌ 1 GENNAIO 2020 Ogni settimana le Biblioteche di Bologna propongono un calendario di appuntamenti – conferenze, convegni, laboratori, visite guidate, mostre – per far conoscere il proprio patrimonio, informare sui più diversi aspetti della vita culturale e sociale del territorio, fornire strumenti di conoscenza, raccontare la storia della città. IN EVIDENZA Festività natalizie. In occasione delle festività natalizie le biblioteche dell'Istituzione resteranno chiuse, come di consueto, il 25 e il 26 dicembre. Nel resto del periodo l'Istiuzione Biblioteche garantisce, grazie ad un sistema di turnazione, un'ampia e diffusa copertura del servizio in tutto il territorio cittadinio. Qui tutti gli orari in dettaglio Il Palazzo dell’Archiginnasio sarà aperto per le visite turistiche con i seguenti orari da lunedì - venerdì ore 10-18, sabato ore 10-19, domenica ore 10-14. Nei giorni festivi osserverà i seguenti orari: 25 dicembre CHIUSO, 26 dicembre dalle 10 alle 18, 1 gennaio dalle 14 alle 18, 6 gennaio lunedì dalle 10 alle 18. info: bit.ly/2HKF8d8 Il museo Casa Carducci sarà aperto il 26 dicembre e il 6 gennaio secondo gli orari consueti. Chiuso il 25 dicembre e il 1° gennaio. info: bit.ly/2HKF8d8 Il Palazzo dell’Archiginnasio sarà aperto per le visite turistiche da Lunedì - venerdì ore 10-18, sabato ore 10-19, domenica ore 10-14. Nei giorni festivi osserverà i seguenti orari: 25 dicembre CHIUSO, 26 dicembre dalle 10 alle 18, 1 gennaio dalle 14 alle 18, 6 gennaio lunedì dalle 10 alle 18. -
1 December 2018, Cape Town
o Nnenna Okore Yinka Shonibare Cyrus Kabiru Naomi Wanjiku Gakunga Kate Got dge Igshaan Adams Frohawk Two Feathers Peterson Kamwathi Peju Alatise Patrick arker Mongezi Ncaphayi Peju Alatise Cameron Platter Goncalo Mabunda Wallen era Barthélémy Toguo Jeanne Gaigher Wayne Barker Thania Petersen Igshaan Ad s Hlobo Nnenna Okore Yinka Shonibare Cyrus Kabiru Naomi Deborah Bell Kate G dge Frohawk Two Feathers Peterson Kamwathi Patrick Bongoy Peju Alatise Patrick yne Barker Mongezi Ncaphayi Jeanne Gaigher Cameron Platter Goncalo Mabund uo Naomi Wanjiku Gakunga Thania Petersen Igshaan Adams Peju Alatise Nnenn holas Hlobo Nnenna Okore Kate Gottgens Yinka Shonibare Cyrus Kabiru Naomi G wk Two Feathers Peterson Kamwathi Peju Alatise Nicholas Hlobo Patrick Bongoy W Okore Mongezi Ncaphayi Cameron Platter Goncalo Mabunda Cyrus Kabiru Walle Toguo Jeanne Gaigher Hank Willis Thomas Peterson Kamwathi Thania Petersen Ig olas Hlobo Nnenna Okore William Kentridge Yinka Shonibare Cyrus Kabiru Kate Go Bell Wallen Mapondera Frohawk Two Feathers Peterson Kamwathi Peju Alatise Pat er Mongezi Ncaphayi Gonçalo Mabunda Blessing Ngobeni Cameron Platter Yinka nda Wallen Mapondera Barthélémy Toguo Mongezi Ncaphayi Jeanne Gaigher H k Thomas Thania Petersen Igshaan Adams Nicholas Hlobo Blessing Ngobeni Nnen onibare Cyrus Kabiru Naomi Wanjiku Gakunga Nnenna Okore Kate Gottgens Willia rah Bell Frohawk Two Feathers Thania Petersen Deborah Bell Mongezi Ncaphayi P Bongoy Cameron Platter Mongezi Ncaphayi Blessing Ngobeni Goncalo Mabunda n Mapondera Barthélémy Toguo Yinka Shonibare -
Flavio Bertelli Armoniose Visioni Di Natura 1865 - 1941
! Flavio Bertelli Armoniose visioni di natura 1865 - 1941 Bologna, Palazzo D’Accursio 13 dicembre 2015 - 10 febbraio 2016 L’Associazione Bologna per le Arti, dopo diciassette anni di intensa e notoria attività di promozione delle arti figurative, e per questo premiata con due Medaglie dal Presidente della Repubblica, giunge quest’anno alla sua dodicesima retrospettiva. La mostra, in collaborazione con il Comune di Bologna e curata da Stella Ingino, rende omaggio al pittore felsineo Flavio Bertelli (San Lazzaro di Savena 1865 - Rimini 1941). Figlio del celebre Luigi Bertelli, Flavio frequenta lo studio di Telemaco Signorini a Firenze e conosce, durante uno dei soggiorni tra Milano e Torino, Vittore Grubicy de Dragon. Ammaliato dalle teorie del divisionismo, Bertelli trae ispirazione per la composizione delle sue tele, affermandosi come l’unico artista divisionista sulla scena bolognese, insieme ad Alessandro Scorzoni. Le sue difficili condizioni di vita non hanno mai intaccato la lievità ed il sentimentalismo romantico delle sue opere, che, attraverso un’armoniosa stesura del colore e un’attenta ricerca degli effetti di luce, si presentano come delle “visioni” di paesaggio scevre di qualsiasi riferimento sociale o politico. I suoi dipinti sono rielaborazioni della sua personale percezione della natura, in un’equilibrata sintesi emotiva tra simbolismo e naturalismo. Con le parole di Nino Bertocchi, artista e critico, possiamo affermare che “nelle ore di lavoro ispirato, Bertelli ha detto qualche parola di poesia vera”. La retrospettiva di Flavio Bertelli, composta da oltre settanta opere del pittore provenienti dalla Fondazione Cassa di Risparmio in Bologna e da collezioni private, è patrocinata dal Ministero dei Beni e delle Attività Culturali e del Turismo, dalla Regione Emilia Romagna, dal Comune di Bologna e dall’Accademia di Belle Arti di Bologna. -
Da Bertelli a Guidi Vent’Anni Di Mostre Dell’Associazione Bologna Per Le Arti
Da Bertelli a Guidi Vent’anni di mostre dell’Associazione Bologna per le Arti a cura di Stella Ingino e Giuseppe Mancini mostra promossa da Associazione Bologna per le Arti Palazzo d'Accursio, Bologna 8 dicembre 2019 – 16 febbraio 2020 inaugurazione sabato 7 dicembre, ore 18.00 L’Associazione Bologna per le Arti celebra i vent’anni di attività con una grande mostra a Palazzo d’Accursio, “Da Bertelli a Guidi – Vent’anni di mostre dell’Associazione Bologna per le Arti”, che inaugurerà sabato 7 dicembre alle ore 18.00 presso la Sala Ercole di Palaz- zo d’Accursio (piazza Maggiore 6, Bologna). La mostra, a cura di Stella Ingino e Giuseppe Mancini, con il patrocinio del Ministero per i beni e le attività culturali e per il turismo, della Regione Emilia-Romagna, della Città Metropolitana di Bologna, del Comune di Bo- logna e dell’Accademia di Belle Arti di Bologna, presenterà un consistente corpus di opere di quindici artisti, a cui sono state dedicate le esposizioni monografiche nel corso di questi vent’anni. Un’occasione imperdibile per ripercorrere visivamente le declinazioni dell’arte bo- lognese di fine Ottocento e inizio Novecento attraverso le opere di Luigi Bertelli, Luigi Busi, Giovanni Paolo Bedini, Raffaele Faccioli, Coriolano Vighi, Mario de Maria, Alessandro Scorzoni, Fabio Fabbi, Flavio Bertelli, Carlo Corsi, Alfredo Protti, Guglielmo Pizzirani, Giovanni Romagnoli, Giulio Fiori e Ugo Guidi. Il Presidente Gianarturo Borsari dichiara: “Questa mostra vuole rappresentare l'incanto e la poesia della bellezza, la quale è una forma del genio, anzi mi permetto di dire più alta del ge- nio perché non necessita di alcuna spiegazione. -
Africa-Lite: Cultural Appropriation and Commodification of Historic Blackness in Post- Apartheid Fabric and Décor Design
Africa-Lite: Cultural appropriation and commodification of historic blackness in post- apartheid fabric and décor design By Annemi Conradie Dissertation presented for the degree of Doctor of Visual Arts in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Prof. Lize van Robbroeck Department: Visual Arts April 2019 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this dissertation electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. April 2019 Copyright © 2019 Stellenbosch University All rights reserved Stellenbosch University https://scholar.sun.ac.za Abstract Over the past few years, cultural appropriation has gained a degree of notoriety as a buzzword, after emerging into the wider public arena from academic, legal and political discourses. Internationally and in South Africa, debates arise predominantly around cases where historically asymmetric power relations are symbolically or materially re-enacted when dominant groups appropriate from economic or political minorities. This study examines the appropriation of colonial images of black individuals and bodies for commodification in twenty- first century South African décor and fabric design. A prominent trend in post-apartheid visual design, the re- purposing and commodification of archival photographs, and its circulation within local and global image economies and design markets demand further research and comprehensive theorising.