Natvar Bhavsar: RANG RASA (Transcendent Color) has been organized by Ai Kato, Director of Tower49 Gallery, and includes seventeen large-scale paintings on canvas and six works on paper works spanning the years 1970 to 2014. The exhibition continues on the 24th floor galleries. The exhibition catalogue, available at the front desk, features an essay by poet, novelist, and art critic Carter Ratcliff.
Painting as Process, Painting as Life
An artist of singular stature, modernist painter Vasudeo Santu Gaitonde (1924–2001) was known to fellow artists and intellectuals, as well as to later generations of students and admirers, as a man of uncompromising integrity of spirit and purpose. Born in Nagpur, India in 1924, Gaitonde was briefly affiliated with avant-garde collectives such as the Progressive Artists’ Group and the Bombay Group in the early ’50s. Nonetheless, he remained independent throughout most of his career. This exhibition draws an arc from Gaitonde’s early, figurative, mixed-medium compositions and watercolors inspired by Paul Klee, through his major bodies of signature canvases from the 1960s and ’70s, to his late works from the 1980s and ’90s. Departing from Klee, Gaitonde’s practice began in the late 1950s in a nonrepresentational mode—or, as he preferred to call it, a nonobjective style. This turn towards abstraction is in accordance with the artistic principles first espoused by Vasily Kandinsky, as is embodied by the Guggenheim’s origins as the Museum of Non-Objective Painting, and also dovetails with Gaitonde’s lifelong interest in Zen Buddhism.
Recognized throughout Asia and Europe for his bold experiments in new media, performance, and installation art, Beijing-based artist Wang Jianwei presents Wang Jianwei: Time Temple, the first of three commissions of The Robert H. N. Ho Family Foundation Chinese Art Initiative at the Guggenheim Museum. The initiative, which launched in 2013, was established to advance the achievements of contemporary Chinese artists and expand the discourse on contemporary Chinese art by commissioning Chinese artists to create major works that will be exhibited in the museum and enter into its permanent collection.
Just as money is the paper, the gallery is the room
The exhibition takes as its point of departure artist-organized exhibitions between 1979 and 2006 in Shanghai. By inviting local and international artists to re-examine and respond to an archive of materials relating to these exhibitions, Just as money is the paper, the gallery is the roomattempts to reactivate the knowledge of artist-led exhibition making; the exhibition will explore exhibitions as an epistemological engine rather than strategized showcase events, and re-think the rituals within the art system.
Division of Labor
Division of Labor addresses the impact of parenthood on an artist's creative practice and career. Featuring a select group of emergent to internationally recognized contemporary artists working across media, a diversity of perspectives and approaches are represented. Division of Labor examines direct links between the aesthetics, materiality and meaning of an artist’s work in relation to parenthood while also revealing unexpected moments at the intersection of art-making and family life.
Hong Kong Bestiary
HONG KONG BESTIARY - To rethink our relationship with animals
We tend to consider animals as a kind of global and undefined entity, an Absolute Otherness from which we can mirror ourselves and define human beings in a paradoxical gesture, claiming both differences and kinship with them. Therefore we usually exploit animals, asking them to speak for us to reflect our society, and to tackle political, social or moral issues Pliny, Plutarch have written about animals for moral purposes, highlighting their non-‐corrupted and wise nature, while fable makers of all times and modern writers such as George Orwell used them to circumvent censorship.
We imitate their rituals, rules, hierarchy or behaviour to serve our own human purposes, or magnify their beauty to glorify the splendour of nature. But what if they could speak for themselves? What if we could restore an equal communication with them and break down the barriers that separate them from us?
Observing animals from their own points of view, ten Hong Kong artists are here offering the public the opportunity to discover fresh and alternative angles to look at animals. At the age of this new geophysical era called the Anthropocene, this show is an attempt – even though impossible -‐ to move away from our usual anthropocentricism.
Visions and Beyond
Two chronologically overlapping, but perhaps directly unrelated, historical episodes in Kerala during the 14th to 17th Centuries become parallel points of departure for Whorled Explorations. Drawing from them, allusions to the historical and the cosmological recur throughout the exhibition like exaggerated extensions to gestures we make when we try to see or understand something. We either go close to it or move away from it in space, to see it clearly; we also reflect back or forth in time to understand the present. Whorled Explorations draws upon this act of deliberation, across axes of time and space to interlace the bygone with the imminent, the terrestrial with the celestial.
Whorled Explorations is conceived as a temporary observation deck hoisted at Kochi. The exhibition draws upon a wide glossary of signs from this legendary maritime gateway to bring together sensory and conceptual propositions that map our world referencing history, geography, cosmology, time, space, dreams and myths.
The NTU Centre for Contemporary Art Singapore presents the first major solo exhibition of Yang Fudong in Southeast Asia. Yang Fudong is one of China's best known contemporary artists who has gained international acclaim for his photographic, film and video works. The exhibition presents four of Yang’s works, each emblematic of his multi-faceted approach towards the creation of visual imageries that complicates our understanding of reality/fiction, and our experience of space/time.
Fundación Proa is pleased to present IMPROMPTU, the first solo exhibition of contemporary artist Cai Guo-Qiang in Argentina. Born in Quanzhou, China in 1957, Cai moved to Japan in 1986 and has lived in New York since 1995. Heis considered one of the most significant artists active today; his versatile and creative approach to materials is as impressive as the magnitude and scale of his works. Cai Guo-Qiang’s first visit to Argentina is the result of an invitation from Proa to hold a solo exhibition along with an ephemeral “explosion event” that will take place on the river adjacent to the foundation’s premises.
Asamayavali / The Untimely Calendar
Untimely Calendar embraces the impressive range of the Collective’s diverse practices to act as a springboard for Raqs’ explorations into the future, even as it offers a recension of their works spanning over a decade. Spread across 3,200 square meters of the NGMA’s Jaipur House Gallery in New Delhi, Untimely Calendar is the largest and most wide ranging exhibition of the Raqs Media Collective’s work till now.
An asamayavali, an un-chronology, is by definition, un-retrospective. What Untimely Calendar offers is an acute way of reading contemporaneity, a working mill of ideas that face the future. Raqs aver that asamaya is both untimely and unlikely time, an unseasonable time. It can also be a time that we wish not to come to pass, or a time of desires and dreams, an imagined time. An asamayavali is an account of a time that is out of sorts; a time that is exciting and sits uneasily on our consciousness. It’s the kind of time that repairs days and nights, cooks the hours, does a bit of gardening of the minutes. It needs other devices—other clocks and calendars—for us to take a measure of its passage.
Featuring a selection of old and never-to-be-seen new works, LAST YEAR is a further development of MA’s ongoing interest in the interpretation of history and the nature of historical knowledge. Anchoring around her eponym artwork Last Year, the exhibition feeds itself on both personal encounters and gazes of current and past events from the perspective of subjects who are actively or involuntarily involved in the unfolding of historical events.
From past events as chronicled in the work Leaving to fictional representation of historical figures as depicted in Birds, LAST YEAR speaks of the present moments perceived and felt as the already past. Between the past and the present, MA strives to transcend both and the sense of time together, intimating that every subject inherits both a present and a past reality and hitting on the question of the constitution of human history.
Shen Wei - In Black, White & Grey
MDC Museum of Art + Design (MOA+D) in partnership with MDC Live Arts will present Shen Wei - In Black, White and Gray, the artist’s first museum exhibition in the United States dedicated to a solo series of paintings in collaboration with site specific performances. This world premiere exhibition combines Shen Wei’s award winning choreography with a groundbreaking new series of large scale works to be unveiled during Art Basel Miami Beach 2014 at the College’s Historic Freedom Tower in Downtown Miami.
Views of Kendo: New Photographs from Japan
At war with themselves, each other, and the cruelty of the world, Toshi and May turn to Kendo to humanize and discipline their wilder impulses. Desire, emotional need, and the contradictory longings for freedom and security drive May an American woman writer, and Toshi a Japanese sword fighting teacher, into a relationship that is a labyrinth of trust, suspicion, and ultimately love ~ where courage takes surprising forms.
Sense nature Photosynthesis of wood and new media, Blossom a sensory and symphonic journey of sound and sculptures.
A journey opening up your ears and eyes, stimulating all your senses. Multi-disciplinary sound and sculpture experiment, new media music interaction. When eyes and ears and all senses resonate, shaping the most sensory and organic music journey.
Display design for big window & 16 small windows. Made by Gendai Kobo & Hacienda / Concept by Taiyo Kimura
Invisible Atlas is inspired by the Chinese philosophy of Qi - an unseen life force and a method of healing. For Shen Wei, this mysterious vital energy is poetic and seductive. Using his own body and personality as a subject, he envisions the internal and external forces channeling through the body and its surroundings. Drawing from memories of his childhood, as well as religious, historical and mythological imagery, the narrative is interwoven with elements of fantasy. Photographic subjects of the figure, objects and landscape are combined with minimally rendered drawings, where luminous dots, circles, arcs, arrows and waves give tangible form to imagined flows and concentrations of Qi.
Suga’s installations, which take form in a given space, and use stones, wood, and metal plates as materials, can be described as generating a situation" (kei) that arises as a consequence of the coexistence of each piece of matter. Matter coexists in a group, and a mutual connectivity (renkansei) is born from that situation. By manipulating these intellectually, and with abundant sensitivity, space and matter begin to transform. The activation of space resulting from the intervention of the creative act is the essence of Suga’s art.
In today’s virtual, networked society, Suga’s works reflect our internal desire for contact with a world complete with physical complexity and real sensation. We do not simply relate to these works superficially; each individual interacts with the entirety of the space. Focusing on the 1970s, when Suga’s concepts were highly radical, this exhibition presents 38 works—including ten large-scale installations, 13 paintings, 15 photographs, production notebooks, and documentary footage—to present perspectives that are rich with allusions regarding matter, the body, and space.
The exhibition will present video works, including both The Class and Conversation series, where Rasdjarmrearnsook conducts discussions with corpses. Also included is Village and Elsewhere: Artemisia Gentileschi's Judith Beheading Holofernes, Jeff Koons' Untitled, and Thai Villagers (2011), a video in which a Buddhist monk leads a comical conversation about these two Western paintings in a temple. A more recent group of works featured focuses on the status of dogs in Thai culture and beyond. The exhibition will premiere a new series of sculptures, each a portrait of the stray dogs that Rasdjarmrearnsook cares for in her home and at Chiang Mai University, where she teaches.
The Grand Topology
In this exhibition, Liang Shuo builds a topological space in the gallery. The audience enters the gallery and thus gets into a topological space. The theme “Tuo Pu Ou Le Ju” is a trick, a figure of speech that stresses the rhetoric itself. The fond taste for the excessive and the affected, boasts an undisguised affection for kitsch. An irony somehow arises from this overtness. This is perhaps what Liang means by the aesthetics of “Zha”.
I Wanna Eat Yummy Yummy
"I wanna eat something good" – how many times do you hear this phrase every day in Hong Kong? Reflecting the importance of eating in the lives of local residents, the oft-heard refrain has inspired guest curator Janet Fong to invite six artists to join her in a food-themed exhibition project filled with local flavours.
The participating artists will create works around the axis of food and art. ACC Fellow Choi Yan-chi sets out to facilitate a dialogue with participants on virtual space and trigger an exchange of thoughts through sharing food. Freeman Lau is planning to create a gigantic fortune cookie for visitors to make wishes in the gallery. Samson Young will present a contemporary version of "Coffee Cantata", a secular cantata by JS Bach in 1732. Li Peng takes inspirations from local history, rituals and tableware. Ng Ka-chun begins with the concept of a greenhouse and is creating handmade utensils from the wooden handles of hoes, not only to extend the life of farming tools through his craftsman's skills, but also to care about the development of local farming and Morgan Wong expresses his concerns about issue of lifespan through his installation work.
Eurasia Consort, Early Music Along the Silk Road
This program imagines what music travelers on the Silk Road might have heard between 500 and 1500 AD. It had become a conduit of silk, music, Buddhism, etc. Versions of the instruments played here – harp, lute and percussion – had originated in western Asia and traveled to eastern Asia along the road.
Through the activation of an integral segment of the Lopez Museum and Library’s collection, the World War II propaganda and election-related archival materials, Propaganda fleshes out the idea of myth-making and its ability to inspire change in society, and conversely, the formation of a fantasy or outright fallacy packaged as a promise that never gets fulfilled. The exhibition brings together works of featured artists Nunelucio Melocoton Alvarado, Santiago Bose, Joey Cobcobo, Don Salubayba, and Alvin Yapan along with a selection from the museum and library’s collection such as works of Juan Luna, Félix Resurrección Hidalgo, National artists Napoleon Abueva, Fernando Amorsolo, Jose Joya, J Elizalde Navarro, J. Elizalde Navarro, and Cesar Legaspi. Propaganda is co-curated by Ricky Francisco and Ethel Villafranca.
Music From Japan: East Asian Vibrancy
Music From Japan’s 40th anniversary will feature cross-cultural collaborations between musicians from Japan, China, Korea and the United States in two concerts at Asia Society, in New York, followed by a tour to Washington DC, Fukushima City and Tokyo. Two unique programs will be presented. The first—East Asian Vibrancy—will introduce audience members to traditional and contemporary repertoire for three East Asian instruments: the Japanese sho, the Korean komungo, and the Chinese pipa. The performers are each known worldwide for their versatility and virtuosity as soloists and ensemble players: Mayumi Miyata will perform on sho, Jin Hi Kim on komungo and electric komungo, and Wu Man on pipa.
Liu Wei (b. 1972, Beijing) is one of the most important artistic voices of his generation. Coming from the heated conceptual climate of the China Academy of Art in Hangzhou during the 1990s and a key member of the late 1990s “Post-Sense Sensibility” formation, Liu Wei has gone on in the past decade to pioneer an artistic language all his own. Based on a fastidious combination of elements abstract and concrete, Chinese and universal, his practice addresses the new ways of seeing and knowing made possible in contemporary China. Present throughout his practice is a unique sense of how juxtapositions of objects and materials create meanings, and of how objects placed in space structure viewers’ experiences. This exhibition, Liu Wei’s largest institutional solo show to date, revolves around a grouping of major new paintings, sculptures, and videos which refer back to his fifteen years of mature output while also opening up interpretive pathways for works yet to come.
Isle of Rhapsody: Introduction
Few writers have turned issues around ethnicity and identity into a widely acclaimed and award-winning career like David Henry Hwang. This Chinese American playwright is best known as the author of M. Butterfly. That enduring 1988 work, which won a Tony Award, Drama Desk Award, John Gassner Award, and Outer Critics Circle Award, was also a finalist for the Pulitzer Prize. Other plays include Obie Award winners, FOB and Golden Child, as well as Yellow Face which earned Hwang yet another Obie Award and Pulitzer Prize nomination. His play, Chinglish—the text that BABEL audiences will be focusing on—was named the Best New American Play of 2011 by TIME Magazine. Over his 30+ year career, Hwang has collaborated with Prince, Elton John and Tim Rice, Phil Collins, Philip Glass, and Aimee Mann, earning him numerous Tony Awards and two Grammy Awards.
Spiral Ramp Library
Wang Jianwei’s work examines the contact between art and social reality. His highly innovative artworks consider space and time in elaborate ways: working from the notion that the production of artwork can be a continuous rehearsal, connecting theater, visual art, and film. Wang Jianwei: Time Temple is the artist’s first solo exhibition in North America. This exhibition comprises installation, painting, film, and a live theater production.
On Monday, February 16 at 7:30 p.m. in Weill Recital Hall, Ensemble ACJW-an inspirational collective of young professional musicians-performs the New York premiere of a new three-movement work Backlight by acclaimed composer Meredith Monk, holder of the Richard and Barbara Debs Composer's Chair at Carnegie Hall this season. Backlight, which plays sonically with the idea of shadow and light and was commissioned by Carnegie Hall for Ensemble ACJW, receives its world premiere by the group in the Arthur Zankel Music Center, Helen Filene Ladd Concert Hall in Saratoga Springs, New York, on Friday, February 13 at 8:00 p.m., as part of a week-long residency at Skidmore College. Both concerts also include Roussel's Trio for Flute, Viola, and Cello, and Ravel's Piano Trio in A Minor.
Yosuke Yamashita & LOTUS POSITION EU Tour
Yosuke Yamashita＆LOTUS POSITION EU Tour
【Date】 Monday,February 16,2015
【Venue】 [Slovak／Bratislava] Slovak Radio Concert Hall Studio1
【Date】 Wednesday,February 18,2015
【Venue】 [Slovak／Kosice] Kosice Culture Center
【Date】 Friday,February 20,2015
【Venue】 [Czech／Prague] Archa Theatre
【Date】 Saturday,February 21,2015
【Venue】 [Czech／Pilsen] Conservatoire Pilsen
【Inquiry】 Japan Foundation
Laughter in Art
Artist: Ay-O, Akira Yamaguchi, Taiyo Kimura, Marcel Duchamp, Yasumasa Morimura
Works: Small Death 2014 / Untitled(stool for guard) 2007/ Questionnaire 2009 / Visitor’s Book 2011
Digital Dance Festival
Live Arts' Digital Dance Festival (DDF) began in 2014 as a continued way to challenge how audiences view and interpret live performance. Pulling from their archive of past seasons, the DDF presents screenings of performances that provoke and intrigue the ever-growing dance public. Past participants have included Steven Reker/People Get Ready, Donna Uchizono Company, Jen Rosenblit and Live Arts' resident dance company, the Bill T. Jones/Arnie Zane Dance Company. Performances are viewed online and tickets are pay what you wish.
Perhaps best known for her work with Pina Bausch’s Tanztheater Wüppertal, Shantala Shivalingappa is also one of the world’s leading experts in South Indian Kuchipudi, a narrative classical dance form. Expect an evening of storytelling, surprising rhythms, and quicksilver movement in a format seldom seen in Boston.
Huayi - Chinese Festival of Arts: Rice(稻禾)
Rice is an arresting dance work borne of the Chihshang landscape and farming community in Taiwan, created in celebration of Cloud Gate’s 40th anniversary. Awed by immense waves of grain rolling across expansive rice fields and inspired by the environmentally conscious farmers, acclaimed choreographer Lin Hwai-min and his dancers toiled alongside farmers for the rice harvest.
From their experience, Lin created exuberant movements woven through soil, sun, wind, water and fire, to tell a powerful story of the land that also contemplates the undoing of our planet. The formidable dancers of Cloud Gate enact a human drama that parallels the life cycle of rice, about death and rebirth, devastation and resurrection.
The Legend of Mulan
The Legend of Mulan re-tells a tale of the globally recognized and iconic heroine from ancient China, who was originally presented in a Chinese poem known as the Ballad of Mulan dating to the fifth century. Mulan, a peasant girl, disguised herself as a man to join the army in place of her aged father. She fought for a decade and gained much respect. She gave up a position at court and retired to her hometown instead. Traditional Chinese virtues are examplified through the unusual adventures and touching story of Mulan, who shows extraordinary courage when it comes to protecting her country and family. A heroine with moral courage and intelligence, Mulan’s exceptional wisdom and vision transcend fame and fortune
Shantala Shivalingappa, a "child of the east and west," was born in Madras, India, and raised in Paris. She grew up in a world filled with dance and music, initiated at a young age by her mother, acclaimed dancer Savitry Nair. Lauded by artists and connoisseurs around the world, Shantala brings a captivating contemporary sensibility to the 2,000-year-old traditional South Indian Kuchipudi dance form. Deeply moved and inspired by the grace and purity of Kuchipudi, she dedicated herself to intense and rigorous training from one of its greatest teachers, Vempati Chinna Satyam. She proceeded to work with prestigious artists such as Maurice Bejart, Peter Brook, Bartabas, Ushio Amagatsu (Sankai Juku), and Pina Bausch.
Sharjah Biennial 12: The Past, the present, the possible
Beginning with March Meeting 2014 and continuing through March Meeting 2015 (May 11–15, 2015), Sharjah Biennial 12: The past, the present, the possible (SB12) invites over fifty artists and cultural practitioners from over twenty-five countries to introduce their ideas of the possible through their art and work. The exhibition takes place in Sharjah, United Arab Emirates, crossing the emirate to sites in and around the city as well as in the city of Kalba on the Gulf of Oman. Over two-thirds of participating artists will present new works and commissions.
Parasophia: Kyoto International Festival of Contemporary Culture 2015
"Parasophia” was inspired by the femininity of the word sophia, the light ring of the word para, the visual image these words suggest, and Kyoto’s position on the world map. It is a coinage derived from the Greek para and sophia, the latter meaning “wisdom,” and the former being a prefix meaning “beside or adjacent to” or “beyond or distinct from, but analogous to,” as in paradox, parasol, parachute, paraphrase, paranoia, parameter, and so on. In the context of high school Chemistry, the term para also indicates a combining form designating the position straight across the hexagonal aromatic compound known as the benzene ring. The other positions are ortho and meta (see diagram). Ortho generally means “straight” or “upright,” as in orthodox, and meta suggests something that is “higher” or “beyond.” I prefer para to the rigidness of ortho and to the sense of hierarchy suggested by meta"
Preview of Paradise Interrupted
The sneak-peak of the eagerly awaited opera will be staged in the glorious Temple of Dendur in the Sackler Wing. Paradise Interrupted is a poetic weaving of the western myth of the Garden of Eden and the Chinese myth of the Peony Pavilion. The narrative follows a woman in search for an unattainable ideal, exploring a world that is activated by her singing voice as she attempts to return to the garden.
Meredith Monk and Friends
Meredith Monk invites a group of colleagues from the new music, classical, jazz, and DJ worlds to demonstrate her wide-reaching influence and to celebrate her 50th anniversary of creating work in New York. Featuring an all-Monk program with Monk and her acclaimed Vocal Ensemble at the helm, the concert includes music from her opera ATLAS, selections from the acclaimed Songs of Ascension, and new arrangements and interpretations of existing works.