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17. Oct. 2014
bosicontemporary /
3h
/
48 Orchard Street

Opening Reception October 29 from 6 pm to 9 pm

BOSI Contemporary is pleased to present, No Greater Fiction, a photography based group exhibition featuring the works of Peter Baker, Felix R. Cid, Sarah Muehlbauer, Yorgos Prinos, Manal Abu- Shaheen, Hrvoje Slovenc, and Mónika Sziládi. While disparate in their approaches and processes, what links this group of artists is a shared sense that what passes for everyday public activity in our current society is more bizarre, baffling, and incomprehensible than our imaginations are capable of contriving.

16. Oct. 2014
karinjanssen /
504h
/
London (UK)

CHINESE WHISPERS

Karin Janssen Project Space
213 Well Street London, E9 6QU London, UK
6 Nov - 23 Nov 2014
Opening Thursday 6 November 6 - 9 pm
Thu - Sun 12 - 6 pm

Galerie Nasty Alice, Eindhoven, the Netherlands:
29 Nov - 21 Dec 2014
Opening Saturday 29 November 3 - 6 pm
Wed - Fri 12 - 6 pm, Sat - Sun 12 - 5 pm

Chinese Whispers is a collaborative art project between Karin Janssen Project Space in London and Gallery Nasty Alice in Eindhoven, the Netherlands. Together the galleries have invited forty-nine artists, twenty-five living in the Netherlands and twenty-four living in the United Kingdom, to take part in the project.

The aim of Chinese Whispers is to research the artistic differences and similarities between Dutch and English artists: how much are artists formed by their country of residence? Is there a common language in their art? Is there a national difference in how artists respond to a given task?

By asking the artists to play a game of Chinese Whispers, in which each artist reacted on the previous artist’s work without knowing what the rest of the series looked like, the project has resulted in a series of interrelated works which are each still highly autonomous.

For four months the artists from both countries have made A4 drawings, painting and photographs, bookended by Karin Janssen (Karin Janssen Project Space) and Sebastiaan Dijk (Galerie Nasty Alice), both gallery owners and artists, who created the opening and concluding works.

Chinese Whispers will be exhibited at Karin Janssen Project Space from 6 until 23 November and will then travel to the Netherlands where it will be shown from 29 November until 21 December at Galerie Nasty Alice, Eindhoven.

Participating artists from the UK
Eliza Bennett, Benjamin Bridges, Boudica Collins, Sue Cohen, Fran Copeman, Jim Cowan, Antony Crossfield, Rebecca Davy, Karin Janssen, Helen Jillott, Cathy Lomax, Kate Lyddon, Sarah Maple, Emi Miyashita, Anne Moses, Richard Moon, Tamara Muller, Anja Priska, Chris Roantree, Christine Sawyer, Patricia Shrigley, Angela Smith, Stephanie Spindler, Tisna Westerhof

Participating artists from the Netherlands
Ron Amir, Anouk Bax, Liesje van den Berk, John Boelee, Karin Bos, Alice Brasser, Airco Caravan, Sebastiaan Dijk, Marie Louise Elshout, Jakob de Jonge, Anouk Griffioen, Simone Hooymans, Jacquem, Natasja van Kampen, Erik Klaassen, Danielle Lemaire, Daniëlle Luinge, Edith Meijering, Jolanda Moolenaar, Jos van der Sommen, Marielle Videler, Roos van Vliet, Rogier Walrecht, Daphne ter Wee, Hanneke Wetzer

For more information: www.chinese-whispers-project.com

13. Oct. 2014
Barakat Gallery /
48h
/
London (UK)

1 November - 7 December 2014
The Barakat Gallery 58 Brook Street W1K 5DT

Private view: 6pm - 8pm, 31 October 2014

The Barakat Gallery is proud to announce the opening of an exhibition dedicated to the art of Mingqi. This event will coincide with the week of Asian Art in London. The exhibition will feature ten extraordinary pieces of early Chinese funerary objects, including beautiful animal sculptures, magnificent Tang dynasty warrior figures, and a rare pair of large well-preserved Lokapala statues.

Mingqi, literally meaning “brilliant artefacts”, were any variety of funerary furniture or objects placed in Chinese tombs in order to re-create the material environment and provide the deceased with the same comfort they enjoyed while living, thus assuring immortality. Burial figurines of graceful dancers, mystical beasts and everyday objects reveal both how people in early China approached death and reflected their attitude towards the afterlife. Viewing the afterlife as an extension of worldly life, Mingqi artefacts symbolise an eternal transcendence for the deceased.

As an example of Chinese renaissance, objects from the Tang dynasty will take centre stage as a representation of the golden age of Chinese culture. While the Tang era was one of the apices of Chinese art, the exhibition will feature sculptures from the Liao and Ming dynasties as well.

The Tang dynasty was a golden age of Chinese culture, and its art reached new levels of sophistication. Poetry and literature, sculpture and painting all flourished under an enlightened rulership. The trading route known as the Silk Road brought fortunes on the backs of camels to China, spreading the legacy of Chinese Art.

One of the most impressive objects featured in the gallery exhibition is a pair of Tang Sancai glazed terracotta Lokapala. Also known as the Devaraja, or Celestial King, these grand life-sized figures are one of the biggest Lokapala statues in existence. The fierce-faced warriors of Tang dynasty stood menacingly outside royal tombs of deceased nobles to ward off potential robbers while protecting the dead from the evil spirits. Traditionally, these harsh, armoured guardians stood on a recumbent ox, the symbol of the Celestial King’s authority. However, the guardian figures on exhibition are trampling on fully modelled demons with webbed feet and hands.

The two guardians are exquisite representations of the Sancai, or “three-coloured” glazing technique. The main technical advantage of the Sancai method was its comparatively low firing temperature of around 800 degrees. The forms of the sculpture were impressed from moulds, the various parts assembled together while still wet. With highlights added, the entirety was covered in glaze and fired. Metallic ores were used as the colouring agents: iron for red and brown, antimony for yellow, and copper for green. Occasionally, work would be coated with a special glaze and fired again in order to achieve a glossier coat. The Sancai glaze was not reserved for any particular type of work and was applied to the full range of Mingqi, including warriors, guardians, civic officials, and animals.

The refined artistry and sophisticated beauty of Mingqi continues to amaze art lovers and collectors alike. It is with reverence that these items are displayed and appreciated, as they were never intended to be seen by the living.

Please come and join us in the celebration of Asian Art in London week!

For more information about exhibition, or to RSVP to the private view, please contact us at barakat@barakatgallery.com

10. Oct. 2014
karaelizbrooks /
3h
/
Schema Projects

Lorem ipsum
Curated by Kara Brooks

October 30 - November 2, 2014

Opening Reception: Thursday, October 30th - 6–9 pm

Schema Projects, in collaboration with Brooklyn Collage Collective, is proud to present Lorem ipsum, a group exhibition of 10 emerging artists, working and living in Brooklyn.

Lorem ipsum refers to the ubiquitous filler text used in publishing and graphic design as a placeholder for other content. Once belonging to a larger text by Cicero, this meaningless string of Latin words is now iconic and recognizable in its own right. Decontextualized, cut-up and re-appropriated, the phenomenon of Lorem ipsum is analogous to the strategies and elements of collage utilized by the artists in this show.

Exhibiting artists include:
Lizzie Gill, Claire Lachow, Morgan Lappin, Jon Legere, Miguel Libarnes, Kieran Madden, Elise Margolis, Jay Riggio, Jacqueline Silberbush & Richard Vergez.

About the Brooklyn Collage Collective:
BCC is a group of collage artists from Brooklyn and the surrounding area. The BCC hosts quarterly exhibitions and releases publications in collaboration with sponsors Squarespace and X-acto. The collective officially began in 2013 with the mission to bring attention to the medium of collage and collage artists. The collective displays a wide rand of materials and styles. The BCC is currently working with Collage Collective Co., based out of Australia, on a publication featuring 30 artists in the Brooklyn area that will be released in early 2015. Past BCC shows include: Armature Art Space, Brooklyn Fireproof and Bushwick Open Studios.

26. Sep. 2014
bosicontemporary /
2h
/
BOSI CONTEMPORARY

Upcoming panel “Performing Objects” on the occasion of our current exhibition “in, side - Throughout” curated by Naomi Lev

October 2, 7-9 PM

How do our bodies engage with objects? What is the role of the object in an exhibition, and how does the body differ from an object in performative environments?

This unique body-object relationship will be explored by three cultural producers: Jovana Stokic, Jennifer Krasinski, and Lydai Bell. Utilizing their background and expertise as a point of departure, the panelists will address the notion of the “body” from an eye of an art historian, an art critic, and a dance curator referencing past and present performance, sculpture, and dance works. The “object” will be addressed in its performative aspect as a humanized entity with a life of its own. The discussion will evolve into the realm of feminism exploring the role of women artists, writers, and curators from a historical perspective, while defining the various characteristics of feminism today.

TJ /
1h
/
Anywhere dotcom -- prefer NYC

Please translate the English text into Italian.

Please dictate the Italian language as an MP3 (or any audio file format).

Ideally, you are in NYC and can meet, so that I may use my own recording device.

Text to be provided.... 100 words.

10. Sep. 2014
the popmodule /
0h
/
residencyforartistsonhiatus.org (RFAOH)

RFAOH co-directors, Shinobu Akimoto and Matthew Evans are pleased to invite international “artists on-hiatus” to apply to our 2nd call for participation in our ongoing project, Residency for Artists on Hiatus (RFAOH).

Residency For Artists On Hiatus is a virtual yet functioning residency available to artists who, for one reason or another, are NOT currently making or presenting art. The residency exists in the form of a website, and the participants are selected based on their proposals of “on-hiatus” activities (or non-activities). To be eligible to apply, artists must have previously created an independent body of work and have exhibited in a public context. Selected artists will be represented on the RFAOH website by a dedicated page on which they are asked to post periodic reports throughout their residency. A modest stipend will be awarded to successful applicants to assist in their on-hiatus endeavours. At the conclusion of their residency, residents are expected to submit a written report on how they benefited from or were otherwise influenced by this opportunity.

For a DIY project with such modest beginnings, our first year brought us amazing collaborations and responses that developed beyond our expectations. The scope of our inaugural participants’ on-hiatus activities ranged from meditation to being a full time professor of architecture, from organic gardening to applying to an MBA programme or explorations into various leisure activities for leisure sake. While stepping back from their art practices yet maintaining some life-line to their artist identity, all our residents uniquely perceived, approached, and used this opportunity. Their inspiring posts and final reports may be read on the RFAOH website. We also sincerely thank Mr. Tehching Hsieh for accepting our invitation to sit on our advisory board, as well as those who brought us opportunities to present RFAOH worldwide.

Given the currently topical discussions around the institutionalization of art practice and artist's identity, we are excited to host the 2nd cohort of residents, and continue our discourse surrounding the role of art within the greater culture at large. To know more about Residency For Artists On Hiatus and its first year of operation, please visit our website. http://residencyforartistsonhiatus.org. Detailed information on how to apply can also be found at http://residencyforartistsonhiatus.org/application.php.

The deadline for applications is September 15, 2014.

Residency For Artists On Hiatus continues to seek a host organization who may promote the residency through their own website and assist in funding the programme. The amount of the stipend paid to the residents as well as the format of the final publication will be contingent on this funding. Should you be interested in supporting RFAOH, please contact us at info@residencyforartistsonhiatus.org, or go to our support page to see how you can help.

https://twitter.com/_RFAOH
https://www.facebook.com/ResidencyForArtistsOnHiatus

http://residencyforartistsonhiatus.org

06. Sep. 2014
bosicontemporary /
3h
/
BOSI CONTEMPORARY

Object-human relationships can be perceived in many different ways. The object can become humanized and fetishized and the human on the other hand, can be objectified. In this show Aimée Burg, Tamar Ettun, and Mónika Sziládi bring their own take on the interdependences between bodies, minds, and the objects surrounding them. The combination of the works in the show explores the charged relationships we have with the objects we use every day; whether in terms of religious, ceremonial, mundane, or psychological interdependencies. The impact of these relationships on our lives ranges from the very physical, through mental and emotional experiences, to metaphysical and spiritual attributes.
Aimée Burg’s comprehensive installation revolves around the notion of rituals, play, and the suspension of time, while incorporating repetitive and meditative tasks using metaphoric objects from everyday life. Her re-interpretation of mundane items utilized in our home, kitchen, and with our family and friends, resemble archeological artifacts that preserve ancient ceremonial events. The installation’s dynamic presence plays with the relevance of “time” by bringing the past into a sci-fi-like future.
In her recent series of works, Tamar Ettun explores the concept of empathy through “neuron mirroring.” Originally defined as “mirror neuron” it refers to a neuron that fires both when an animal acts and when the animal observes the same action performed by another. Her works in the show comprised of sculptures, a video, and photographs, are a reflection of a longer process which traces the correspondence between objects and bodies, as well as sculptures and movement. As she often states, in her works the body becomes sculptural, and the objects, performative.
Through a photographic process Mónika Sziládi creates unique digital collages that are constructed from scenes she shoots at networking events, conventions, and meet-ups of various subcultures that engage through social networks. In her most recent assemblage of works “Left to Our Own Devices,” Sziládi emphasizes moments of the complex psychological exchange we develop with garments, technological devices, costumes and toys, or other people we surround ourselves with.

12. Aug. 2014
bosicontemporary /
3h
/
BOSI CONTEMPORARY

Curated by Roya Sachs
Unconscious Lens

August 27 – 30, 2014

Opening Reception: Wednesday, August 27, 6-9 pm

BOSI Contemporary is pleased to announce the opening of Unconscious Lens, a group exhibition curated by Roya Sachs, featuring works by New York based artists Najib Aschrafzai, Rosanna Bach, Mike Fernandez, Gabriele Giugni, Alison Nguyen, and Anh Thuy Nguyen.

The show revolves around Freud’s theory of the Unconscious – the source of our most instinctual desires that are repressed and released in our dreams. Each artist attempts to explore the different realms of the Unconscious and Conscious world, by demonstrating the different visions, techniques, and concepts of their optical lens.

Najib Aschrafzai’s (b. 1968, Caboul, Afghanistan) Dada-influenced project takes a rather organic approach to the Unconscious, by representing the unpredictability of our emotions through collage. One is brought to question the confusing lines between our dreams and reality.

Rosanna Bach’s (b. 1990, Geneva, Switzerland) use of analogue experimentation in her large-scale double-exposure series brings to light poetically melancholic juxtapositions of nature and the human body.

Mike Fernandez’s (b. 1985, Lima, Peru) video and photographic works create a subtle and intrinsic duality between human and animal behaviour, encouraging the viewer to re-evaluate their identity.

Gabriele Giugni (b. 1980, Rome, Italy) evokes his perception of the Unconscious through the use of light boxes and silhouettes, allowing you to enter the mind of individuals through the positions and movements of their body. By focusing on individuals within the crowd, it enables him to isolate their trajectory and create an intrinsic link between the observer and the subject.

Alison Nguyen’s (b. 1986, Wilmington, Delaware) in-camera multiple exposures create vastly evocative, lively, and gestural textures in her photographs. Treating the film negative as an entire image, Nguyen's improvised, intuitive approach explores the complexities of what theorist Walter Benjamin termed the "optical unconscious."

Anh Thuy Nguyen’s (b. 1993, Hanoi, Vietnam) Faceless series enters a painterly-esque dream world, by using multiple exposures and capturing blurred faces. Through these the viewer is left with a ghostly separation of a dream-like state, and a reality. Her photographic and chemical experimentations reveal only certain spontaneous aspects of her identity, and appropriately repressing the rest.

The opening night, 27th August, will include a unique performance at 7.45pm, of La Mamma Morta, an aria from Umberto Giordano’s Andrea Chenier, performed by opera singer Mithra Mastropierro and dancer Katherina Tsirakis. Contextually, the opera first premiered in 1896, one year after Freud’s first big publication, Studies on Hysteria. Katherina is the subject in Rosanna Bach’s photographs, bringing her works to life through the performance. Its purpose will be to stress the dual existence of the Unconscious dream world, which Mithra sings about in the aria, and the reality of the Conscious world, which Katherina's movement and physical presence will represent.

25. Jul. 2014
umag.hk /
2 000h
/
University Museum and Art Gallery

The University Museum and Art Gallery is excited to announce its exhibition of “Picasso Ceramics” from the Nina Miller Collection, which provides a unique opportunity to study the sculptural qualities and three-dimensional aspect of Pablo Picasso's work, never before seen in Hong Kong. From World War II to the end of Picasso's life in 1973, the Spanish artist created thousands of carefully sculpted and, often, colourfully glazed, objects that give testimony to his artistic diversity, ingenuity and enormous creative powers.

The exhibition includes more than 100 ceramic works, both Picasso's Madoura editions and unique individual pieces, as well as lithographs and posters designed by the artist, and images by renowned photographers depicting Picasso in his studio and home. Coming from one of the largest collection of the artist's ceramic ware in the world, this is the first time that the London-based Nina Miller Collection is ever seen publicly.

16. Jul. 2014
bosicontemporary /
3h
/
BOSI CONTEMPORARY

BOSI Contemporary is pleased to announce The Loss of So Many, a solo exhibition by David Mellen. The exhibition will feature works that question the idea of dimensionality and how a canvas can become a vehicle for more than just two-dimensional representation.

Combining the sculptural and the painterly in Red Lies Body, Meter, Still Stand, and Into the Throats of Birds, Mellen creates a trapeze act between the flat and the three dimensional, between the placeable and the unidentifiable. The physical malleability of the sculptural parallels the impressionable subject matter.

Drawing inspiration from Samuel Beckett’s quote from the Endgame: “There’s something dripping in my head…A heart, a heart is in my head,” Mellen’s work allows us to access our own individual personality. Mellen’s paintings create complex algorithms of illusory and invisible correlations between visual interpretations and inner monologues. Endgame, a term referencing the final stage of a chess game when there are only a few pieces left on the board, corresponds to the intellectually prevalent game between the exhibition and the audience, between painting and viewer. The paintings’ titles characterize known physical and emotional attributes that are then contested by their visual gestures.

The Loss of So Many, like a chess game, demonstrates the complexity and never ending way to explore different endgames within our own humanity. Like chess pieces, these paintings serve as signifiers which allow the viewer to explore what drives us, breaks us, consoles us, what it means to be human on the way to the pursuit of happiness. These images, both abstract and familiar, are devised by the artist to make us rife with connotations of the physical and immaterial space of our everyday life, and the things we lose in between.

David Mellen (b. 1970, Chicago, USA) attended the American Academy of Art. He exhibited his work in his hometown of Chicago until 1994, when he moved to Europe. He has exhibited both internationally and nationally, including a solo exhibition at Frey Norris Gallery in San Francisco and group exhibitions in New York and Chicago. Mellen has also been featured in international exhibitions in Paris, Brussels, and London, in institutions such as Kursaal Exhbition Center, Belgium; Centre de Cheques Postaux XV, Paris and APT Gallery, London. Mellen lives and works in Connecticut.

07. Jul. 2014
videotage /
0h
/
Videotage

Both Sides Now – Somewhere between Hong Kong and the UK presents contemporary and historical film and video work from Hong Kong and China, curated by Isaac Leung of Videotage and Jamie Wyld of Videoclub. The films explore developments within the culture and society of Hong Kong and China over the past three decades, including work which reflects on the on-going dynamics of cultures in Hong Kong, China, and the UK. The programme contains work by some of Hong Kong and China’s most exciting artists working in film and video, and varies between animation, documentary and artist’ moving image.

Screening Date in UK
24 June 2014 : FACT, Liverpool
26 June 2014 : Duke’s at Komedia, Brighton
05 July 2014 : Whitechapel Gallery, London
13 July 2014 : Floating Cinema, King’s Cross, London

Screening Date in HK
Exhibition : 15 – 20 August 2014
Location: Osage Kwun Tong, 4/F, Union Hing Yip Factory Building, 20 Hing Yip Street, Kwun Tong, Hong Kong
Curatorial Talk: 16 Aug (SAT) 3-6pm
Location: British Council, 3 Supreme Court Road, Admiralty, Hong Kong

Participating Artist
HONG KONG ARTISTS
“LOWEREST TO LOWER”
CHAN Chui Hing, Nose
“The Doors”
CHENG Chi Lai, Howard
“Star” & “Move”
CHOI Sai Ho
“Complaint Song of Hong Kong – Youtube Karaoke”
Complaint Choir of Hong Kong & CHOI Thickest
“97 TONS OF MEMORIES”
CHU Shun
“Cycling to the Square“
CHUNG Wai Ian & LEE Chung Fung
“X-mas Half-Nude Party “
Forever Tarkovsky Club & Gregor SAMSA
” I Love the Country But Not the Party (Party version) “
Bjorn HO
“A Woman in A Flat”
HO Sik Ying
“A Flags-Raising-Lowering Ceremony at my home’s cloths drying rack “
KWAN Sheung Chi
“Door Games Window Frames – video version (2012)”
Linda LAI
“Vaseline”
LEE Kit
“SUCK/BLOW”
LEUNG Chi Wo
“Meditating at the Central Point of the Kingdom”
LO Yin Shan
“Goodbye”
Anson MAK
“EAST IS RED“
MAK Chi Hang
“TV Game of the Year”
Ellen PAU
“Playing Cards 1997”
TSE Ming Chong
“Under the Lion Crotch”
WONG Ping

UK ARTISTS
“Sludge Manifesto”
Benedict Drew
“Sounds from Beneath”
Mikhail Karikis and Uriel Orlow
“The Delinquents Part 1 (Jobseekers) “
Alexis Milne
“handclap/punchhole”
Charlotte Prodger
“New Materials in the Reading of the World”
Chooc Ly Tan
“Just About Managing “
Edward Thomasson

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