U.S.A. - ST. LOUIS-MISSOURI - Christodoulos Panayiotou


Christodoulos Panayiotou : ONE THOUSAND AND ONE DAYS

Christodoulos Panayiotou’s multidimensional work addresses issues and concerns ranging from the complex contemporary understanding of what constitutes “the public” to the construction of national identity and history. He frequently takes ceremonies, festivals, and theatrical spectacles as points of departure from which to explore the structures and customs that inform social experience. His process also engages the archives of the press and regional and state agencies of his country, Cyprus, to reflect on how interpretations of a collective sense of identity are dependent on the manner in which images and information are arranged and presented. For his presentation at CAM — the artist’s first solo museum exhibition in the United States — Panayiotou will present new and preexisting works that demonstrate both the range of techniques and the socio-political concerns that define his practice. New works being created for the exhibition include a multi-part series of appropriated photographs from official Cyprus archives and a site-specific mural based on a particular historical set design that develop interrelated themes of celebration, festival, display, hegemony, and symbolic domination. The title of the exhibition combines allusions to A Thousand Days, a 1965 book by Arthur M. Schlesinger, Jr. about the Kennedy Administration (seen in one of the images sourced at the Press and Information Office Archives), and the collection of traditional Middle Eastern folk stories, 1001 Nights, to underscore Panayiotou’s emphasis on building narratives about power and presentation both within and between his works.

Christodoulos Panayiotou (b. 1978, Limmasol, Cyprus) lives and works in Berlin. His work has been presented in solo exhibitions at the Museum of Contemporary Art, Leipzig, and the Norrlands Operan - Vita Kuben, Umeå, Sweden (both 2011); the Kunsthalle Zürich, and Cubitt, London (both 2010); and Künstlerhaus Bethanien, Berlin (2009), among others. Recent group exhibitions include: Incongru. Quand l’Art Fait Rire, Musée Cantonal des Beaux-Art, Lausanne, Switzerland; The End of Money at the Witte de With, Rotterdam; and You are not alone, Joan Miro Foundation, Barcelona (all 2011); Live Cinema / In the round, Philadelphia Museum of Art, Philadelphia; The Living Currency, 6th Berlin Biennale - Hebbel am Ufer (HAU1), Berlin; and Catastrophe, The Quebec City Biennial, Quebec City (all 2010); Insiders, CAPC Musée d'art contemporain, Bordeaux, France; Lyst, Overgaden Institute of Contemporary Art, Copenhagen; The Columns Held Us Up, Artist Space, New York; and Convention, Museum of Contemporary Art, North Miami (all 2009). In 2011, he received the “Future of Europe Prize” from the Museum of Contemporary Art, Leipzig, and in 2005, he won the 4th DESTE Prize from the DESTE Foundation for Contemporary Arts, Athens. Panayiotou has been an artist-in-residence at CAPACETE, Rio de Janeiro (2011); IASPIS, Stockholm (2009); and at Künstlerhaus Bethanien, Berlin (2008).

Christodoulos Panayiotou: One Thousand and One Days is organized by the Contemporary Art Museum St. Louis and curated by Chief Curator Dominic Molon.

Contemporary Art Museum St. Louis      27.01.2012 - 22.04.2012

Website & source : CAM

Website : City of St. Louis

FIC123.BE een website met info en cultuur.


U.S.A. WASHINGTON DC - Antico: The Golden Age of Renaissance Bronzes


This exhibition is the first in the United States devoted to the Mantuan sculptor and goldsmith Pier Jacopo Alari Bonacolsi, known as Antico (c. 1455–1528) for his expertise in classical antiquity. Antico also developed and refined the technology for producing bronzes in multiples. His exquisite bronze reductions of ancient Roman sculptures such as the Apollo Belvedere (c. AD 120–140) are enlivened with gilding and silvering. Antico's bronzes are so rare that the nearly 40 works—including medals, reliefs, busts, and the renowned statuettes—constitute more than three quarters of the sculptor's extant oeuvre.

National Gallery of Art     06.11.2011 - 08.04.2012

Website & source : National Gallery of Art

Website : Washington - Official Tourism Site

FIC123..BE  een website met info en cultuur.


U.S.A. - WATERBURY-CONNECTICUT - The Art of Sol Lewitt and His Friends


Distorted Cubes, by Sol LeWitt, LeWitt Collection

During the early 1960s, Sol LeWitt (1928-2007) was prominent among a group of artists who searched for alternatives to the long-established conventions of traditional painting and sculpture. He helped establish Conceptual Art and Minimalism by creating works that reduced art to the most basic shapes and colors. This exhibition includes both the work of Sol LeWitt and the work of contemporary artists who were his friends and co-workers. Among the 20 works by LeWitt in this exhibition are a structure from the Incomplete Open Cube series and colorful works on paper that demonstrate the tactics LeWitt used to define and push the limits of art-making, among them, Full Cube (1974) and Dancing Lines, 1997. Selections from the LeWitt collection feature more than 40 works by 17 artists, including paintings, sculpture, photography, and works on paper by artists Alan Cohen, Charles Gaines, Arlan Huang, Julie Moos and Richard Ziemann among others.

Mattatuck Museum Arts & History Center       14.10.2011 - 18.03.2012

Website & source : Mattatuck Museum Arts & History Center 

Website : Waterbury

FIC123.BE een website met info en cultuur.


U.S.A. - WILLIAMSTOWN-MASSACHUSETTS - Rembrandt and Degas: Two Young Artists


One of Rembrandt’s earlier self-representations. Dark shadows fall over half of his stern-looking face, while the other half is brightly lit. Rembrandt used similar strong contrasts to heighten the drama in many of his etchings, as well as in his paintings.

“What I do is the result of reflection and study of the great masters,” stated the French artist Edgar Degas (1834–1917) late in life. Among those he studied most closely was the Dutch master Rembrandt van Rijn (1606–1669).

By examining Rembrandt’s work—and his prints in particular—Degas discovered an approach to portraiture and self-portraiture that emphasized the expressive and technical potential of the form, an approach that was not encouraged in Degas’s traditional early training. After enrolling briefly at the École des Beaux-Arts in Paris, he soon began to turn away from standard academic models that emphasized clarity and line.

In 1856 Degas embarked on a three-year trip to Italy to study classical sculpture and Renaissance painting. While in Italy, he saw a number of prints by Rembrandt in Italian collections and copied several in his drawings and sketch books, developing one of them into his own etching after Rembrandt.

Inspired by the Dutch artist’s example, Degas made a series of self-portraits that explored a range of tonal effects, from subtle shading to dramatic contrasts of light and dark, just as Rembrandt had done as a young artist in Leiden and Amsterdam. This series of some forty paintings, prints, and drawings dates to Degas’s early years, between about 1854 and 1862, when the choice of a non-academic role model helped to define Degas’s identity as one of the emerging leaders of the French avant-garde.

This exhibition was organized by the Rijksmuseum, Amsterdam, in association with the Sterling and Francine Clark Art Institute, Williamstown, and The Metropolitan Museum of Art, New York.

The Clark    23.11.2011 - 05.02.2012

Website & source : The Clark

Website : Town of Williamstown

FIC123.BE een website met info en cultuur.