Sentences with phrase «between ica»

She was instrumental in developing two curricular collaborations between ICA and the University of Pennsylvania's departments of Art History and English, each an intensive year - long seminar.

Max Hollein on the link between the ICA's small but important archival displays, and Baselitz's early paintings at the Städel Museum

A Collaboration Between ICA and the Henie Onstad Kunstsenter (HOK) in Norway, Exhibition Features Seven New Commissions and New and Recent Works by Ane Graff, Rachel de Joode, Chris Marker, Florian Meisenberg, Shahryar Nashat, Sondra Perry, and Jacolby Satterwhite, Among Others

The artist, who was born in 1958, grew up on the outskirts of Warsaw, and first showed in the UK at the end of the 1980s, in Possible Worlds, a groundbreaking exhibition of new European sculpture that was shared between the ICA and the Serpentine Gallery.

Following a solo exhibition at the Chisenhale Gallery in 2011, his Turner prize nomination in 2014 and recent collaborative projects between ICA, London, Bergen Kunsthall and Kestnergesellschaft, Hannover, this opportunity comes at a pivotal moment to consolidate Richards» practice at one of the most significant international platforms for the visual arts.

This is the first direct comparison of RSNs between ICAs and graph - based network analyses at a comparable resolution.

Not exact matches

A widely - used method for comparing brain networks between groups is dual regression ICA.

We then combined confocal microscopy and electrophysiology to explore the interactions between temperature, adrenergic stimulation and contraction frequency on the temporal and spatial properties of Δ [Ca2 +] i, and the excitation profiles of AP and ICa in isolated myocytes.

Illustrated with full - color images of her paintings throughout, this publication includes a preface by Richard Powell, contributions from Marshall N. Price and Natalie Y. Moore, and a great conversation between Abney and curator Jamillah James of ICA Los Angeles.

At ICA, artist Erika Vogt staged a live collaboration with Performa 15; at his El Fresco showspace in Little Havana, graffiti artist Daniel Fila painted before everyone who paid a $ 24 entrance fee; and at Locust Projects» home gallery, artist Martha Friedman worked with 1,000 lb (453 kg) of liquid rubber to explore the biomorphic substructure of western medicine and, in a collaborative performance with the dancer Silas Riener, to explore the tension between stillness and movement.

The first in an annual rotation of site - specific commissions that animate the museum's main passageway between the second and third floors, a dramatic two - story installation by Charles Gaines will activate the vertical cantilevers of ICA Miami's central stairway.

The Institute of Contemporary Art Philadelphia organized a 2003 mid-career retrospective that traveled to the Contemporary Art Center, Cincinnati and the Kemper Museum of Art, Kansas City, MO and was accompanied by a monograph publication with contributions by Ingrid Schaffner, Tim Griffin and, Irving Sandler along with an interview between the artist and former ICA director Claudia Gould.

JH: I think what the Smithsons were amazing at doing was placing themselves as outsiders, and always being flux and fluid between an established centre which to them was the Independent Group and the ICA.

Drawing on EAI's extraordinary archive, and building upon ICA's history of engagement with media art since 1975, Broadcasting will foster a dialogue between early innovators and contemporary practitioners, such as Ulysses Jenkins, Shigeko Kubota, Tony Cokes, and Kristin Lucas.

Crocheted Environment is an important installation in the ICA's collection of fiber works, including pieces by artists such as Eva Hesse, Françoise Grossen, and Sheila Hicks, and marks the museum's commitment to examining the relationships between craft - based media and contemporary art.

Ritchie's project visualizes the connections between the history of Boston and of the United States; science, religion and politics; and the ICA building, which, in Ritchie's opinion, is itself a beacon on the bay.

Opening April 28, the Institute of Contemporary Art at the University of Pennsylvania (ICA) will present Ginny Casey & Jessi Reaves, an exhibition featuring new and recent works by two emerging artists exploring the relationship between contemporary painting and sculpture, domestic objects, and decorative surfaces.

The first in an annual rotation of site - specific commissions that animate the museum's Margot and George Greig Stairway and its main passageway between the second and third floors, a dramatic two - story installation by Charles Gaines activates the vertical cantilevers of ICA Miami's central stairway.

He was included in the ICA exhibitions «Between Poetry and Painting» and «Poor.

«We are thrilled to present the first in - depth view of the work of both Ginny Casey and Jessi Reaves in a U.S. institution, providing an opportunity for our audiences to deeply engage with the meaning of objects as they move between domestic interiors and their presentation in a museum context,» noted Amy Sadao, Director of ICA.

The Family Tree of Russian Contemporary Art; Field Research: A Progress Report and Rikrit Tiravanija: Tomorrow is the question at Garage Museum of Contemporary Art, Moscow Julien Prévieux, Francisco Sobrino, Raphaël Zarka at Jousse Entreprise, Paris Antje Majewski: E.F.A. im Garten at neugerriemschneider, Berlin Oscar Tuazon: Break the Glass at Kastro, Antiparos, Cyclades Rochelle Goldberg: The Cannibal Actif at Vava, Milan Mark Bradford: Sea Monsters at Gemeentemuseum den Haag, The Hague Momentum 8: The Nordic Biennial of Contemporary Art: Tunnel Vision, various venues, Moss After Babel / Poetry will be made by all / 89plus at Moderna Museet, Stockholm Giorgio Griffa: A Retrosptective, 1968 — 2014 at Centre d'Art Contemporain, Geneva Eloise Hawser: Lives on Wire at ICA, London Thomas Hirschhorn: In - Between at South London Gallery Glenn Ligon: Encounters and Collisions at Tate Liverpool Radames «Juni» Figueroa at Edel Assanti, London Not with nothing but.

Related events to this programme include Technology Now: Blackness on the Internet at London's ICA on November 16, which will host a discussion between Rizvana Bradley, Taylor Le Melle, Derica Shields and moderated by Russell.

London's ICA presents a solo exhibition by Sonia Boyce (b. 1962) centred on a performance piece that explores issues of power in the interplay between an audience and those on the stage.

In 2003, The Institute of Contemporary Art, Philadelphia organized a mid-career retrospective that traveled to the Contemporary Art Center, Cincinnati and the Kemper Museum of Art, Kansas City, Missouri and was accompanied by a monograph publication with contributions by Ingrid Schaffner, Tim Griffin, and Irving Sandler, along with an interview between the artist and former ICA director Claudia Gould.

Haitian - born, Miami - based artist Tomm El - Saieh inaugurates ICA Miami's signature project space with a series of new painting exploring the connections between abstraction and the Haitian tradition of narrative icon painting.

For the exhibition, the relationship between the colour changer mechanism and the illuminated console is re-established and demonstrated using the ICA's Lower Gallery lighting system, to control the colour and intensity of the gallery's lights.

As well as publishing prodigiously and lecturing at the Royal College of Art and the Destruction in Art Symposium (DIAS) among other venues, he showed his work at Lisson Gallery, London (consistently between 1967 - 70); the Institute of Contemporary Arts (ICA), London, (1965); the Victoria & Albert Museum (V&A), London (1971); the Museum of Modern Art, Oxford and the Laing Art Gallery, Newcastle, UK (1972).

Inszenierung / Mise en scene», Museum im Kulturspeicher, Würzburg 2008 «Bending the Word / MATRIX 226», BAM / PFA — UC Berkeley Art Museum, Berkeley 2008 «Time Crevasse», Yokohama Triennial 2008, Yokohama 2008 «ICA: 60 Past, Present and Future», performance at ICA — Institute of Contemporary Arts, London 2008 «Fia Backstrom: That social space between speaking and meaning», White Columns, New York (performance) 2008 «The Store», Tulips & Roses, Vilnius 2008 «Experiment Marathon Reykjavik», Reykjavik Art Museum, Reykjavik 2008 «Oral Culture», performance at Jan Mot, Brussels (performance) 2008 «Tate Triennial 2009 Prologue 1», Tate Britain, London (performance) 2008 «Self - Storage», CCA — California College of the Arts, Metro Self Storage, San Francisco 2008 «Of this Tale, I can not Guarantee A Single Word», Royal College of Art, London 2008 «5th Berlin Biennial», KW Institute for Contemporary Art, Berlin 2007 «Monumental Detours / Insignificant Fixtures», performance at KW Institute for Contemporary Art, Berlin (performance) 2007 «Performa 07», The second Visual Art Performance Biennial, New York (performance) 2007 «Playground», Stuk Performance Festival, Leuven 2007 «The Year of the Human Sciences», performance at Hebbel am Ufer (HAU), Berlin (performance) 2007 «Experiment Marathon», Serpentine Gallery, London (performance) 2007 «Floating Territories», Evens Foundation, Transbiennial Project, Istanbul and Athens (performance) 2007 «The Present Order», Museum de Hallen, Haarlem 2007 «The Moment You Realise You Are Lost», Johann Konig, Berlin 2007 «Köln Show2», European Kunsthalle, Cologne

His work has been exhibited widely in the US and internationally: Strachan represented The Bahamas in the country's first national pavilion at the 55th International Venice Biennale; segments of his «Orthostatic Tolerance» project were exhibited at MIT List Visual Arts Center (Cambridge, MA), ICA (Philadelphia, PA), and Grand Arts (Kansas City, MO); and «The Distance Between What We Have and What We Want» was exhibited in The Bahamas, Miami, and at The Brooklyn Museum.

For this exhibition, the artist initiated a collaboration (between himself, the curator, the poet Charles Bernstein, and the graphic design team of the Purtill Family Business) aimed at guiding him through a consideration of his work over the past 3 1/2 years and the work's installation at ICA.

Prem Sahib: Side On at ICA Two jackets sandwiched between panes of glass, sculptures made from bathroom tiles and a stained white shirt are all works relating to the intimacy of the gay clubbing scene.

Curated by Jasia Reichardt March 1 — May 13, 2017 This exhibition recognizes the landmark exhibition curated by Jasia Reichardtat the ICA - London in 1968, regarded as one of the important early exhibitions devoted to the relationship between the arts and new technology.

This week, the PAMM is also presenting a commissioned collaboration, Dimensions, between musician Devonté Hynes and artist Ryan McNamara, while ICA Miami features solo shows by artists Alex Bag and Shannon Ebner and the Rubell Family Collection has opened an exhibition, «No Man's Land,» featuring female artists from their collection.

As well as publishing prodigiously and lecturing at the Royal College of Art and the Destruction in Art Symposim (DIAS) among other venues, he showed his work at Lisson Gallery, London (consistently between 1967 - 70); the Institute of Contemporary Arts (ICA), London, (1965); the Victoria & Albert Museum (V&A), London (1971); the Museum of Modern Art, Oxford and the Laing Art Gallery, Newcastle, UK (1972).

2016 Artistic Differences, ICA, London, UK RA - Summer Show 2016, (curated by Richard Wilson), Royal Academy of Arts, London, UK Artists with Liberty, Paul Stolper Gallery, London, UK The Difference Between Sunrise and Sunset, Schloss Tüßling, DE Forever, BUBOX, Kortrijk, BE Group Show, 12 Solos, Blain Southern Berlin, DE Pillow Talk, Palm Tree Gallery, London, UK The Nude in the XX & XXI Century, S 2, Sotheby's, London, UK The Funnies, MOT International, Brussels, BE

Between the Lines exhibition at GRAD London is a collaborative project by students from Goldsmiths University and Institute of Contemporary Arts in Moscow (ICA), a response to a series of workshops and seminars undertaken during a 2015 summer school held at the Academic Dacha near the town of Vishniy Volochek.

By the time Serota arrived it was suffering the consequences of a turf war between the Hayward, the Tate and the ICA, its grant had been cut and it had had three directors in five years.

The second in a series of events programmed around the exhibition Barbara Kasten: Stages, the ICA hosts a conversation between Kasten herself and representatives from a younger generation of artists — including Sara VanDerBeek — who have found inspiration in her work and process.

The publication will feature three specially commissioned texts by critic JJ Charlesworth, independent writer, curator Ellen Mara De Wachter and cultural historian Timotheus Vermeulen, alongside an interview between Anita Zabludowicz and Gregor Muir, Executive Director of the ICA.

This fully illustrated catalogue features a discussion between the artist and ICA Boston Chief Curator Helen Molesworth.

Inszenierung / Mise en scene», Museum im Kulturspeicher, Würzburg 2008 «Bending the Word / MATRIX 226», BAM / PFA — UC Berkeley Art Museum, Berkeley 2008 «Time Crevasse», Yokohama Triennial 2008, Yokohama 2008 «ICA: 60 Past, Present and Future», performance at ICA — Institute of Contemporary Arts, Londra 2008 «Fia Backstrom: That social space between speaking and meaning», White Columns, New York (performance) 2008 «The Store», Tulips & Roses, Vilnius 2008 «Experiment Marathon Reykjavik», Reykjavik Art Museum, Reykjavik 2008 «Oral Culture», performance at Jan Mot, Brussels (performance) 2008 «Tate Triennial 2009 Prologue 1», Tate Britain, Londra (performance) 2008 «Self - Storage», CCA — California College of the Arts, Metro Self Storage, San Francisco 2008 «Of this Tale, I can not Guarantee A Single Word», Royal College of Art, Londra 2008 «5th Berlin Biennial», KW Institute for Contemporary Art, Berlino 2007 «Monumental Detours / Insignificant Fixtures», performance at KW Institute for Contemporary Art, Berlino (performance) 2007 «Performa 07», The second Visual Art Performance Biennial, New York (performance) 2007 «Playground», Stuk Performance Festival, Leuven 2007 «The Year of the Human Sciences», performance at Hebbel am Ufer (HAU), Berlino (performance) 2007 «Experiment Marathon», Serpentine Gallery, Londra (performance) 2007 «Floating Territories», Evens Foundation, Transbiennial Project, Istanbul ed Atene (performance) 2007 «The Present Order», Museum de Hallen, Haarlem 2007 «The Moment You Realise You Are Lost», Johann Konig, Berlino 2007 «Köln Show2», European Kunsthalle, Colonia

As part of Frieze Projects and the ICA off site program over Frieze Week, the Dominican artist will discuss her practice and her new «occasions»: a term coined by Lewis herself to describe a celebratory and sensory gathering of things, people, plants, music, dance and smells, a social meeting place that situates itself somewhere between a bar, a lecture and a salon.

Finally, the ICA will present a celebration of a groundbreaking 1968 exhibition designed by Franciszka Themerson: Cybernetic Serendipity was the first international exhibition in the UK devoted to the relationship between the arts and new technology.

Over the last few months, Luke Fowler has been exploring the recorded history of the ICA, conducting an in - depth study into the Institute's music, performance and talks programme between the 1960s and 1980s.

Atmos Sala Alcalá 31, Madrid (catalogue) Hemispheres and Continents Matthew Marks Gallery, New York 2012 All Things Pass Galerie Max Hetzler, Berlin (catalogue) Patricia Low Contemporary, Gstaad Fullmoon and Night + Fog Domaine de Chaumont - sur - Loire, Chaumont - sur - Loire 2011 Landscape with Path The High Line, New York Xippas, Montevideo L'Abbaye de la Chaise Dieu, Chaise Dieu Nocturne Villa Merkel, Esslingen (catalogue)... between here and the surface of the moon FRAC Auvergne, Clermont Ferrand; traveled to: FRAC Haute - Normandie, Sotteville - lès - Rouen 2010 As it is Alfonso Artiaco, Naples The Principle of Moments Whitecube, London Fullmoon@Eifel Weidingen, Eifel Matthew Marks Gallery, New York PKM Trinity Gallery, Seoul 2009 Sommer Gallery, Tel Aviv Xippas Gallery, Athens Sometimestill Galerie Max Hetzler, Berlin 2008 Nail to Nail David Patton, Los Angeles SCAI The Bathhouse, Tokyo In The Between Eye of Gyre, Omotesando Substitute Galleri K, Oslo Fire under snow Parasol unit, London (catalogue) Moons of the Iapetus Ocean White Cube, London (catalogue) 2007 Galleria Alfonso Artiaco, Naples Day Return Castle Ujazdowski — Center for Contemporary Art, Warsaw (catalogue) Night + Fog Galerie Max Hetzler, Berlin (catalogue) In the Between Musée d'art contemporain, Montreal SITE Santa Fe, Santa Fe Matthew Marks Gallery, New York 2006 Day Return Museum Folkwang, Essen (catalogue) Darren Almond and Janice Kerbel: Impossible Landscapes The Horticultural Society of New York, New York If I had you Domus Artium 2002 — Center for Contemporary Art, Salamanca Darren Almond / Albert Oehlen: Time 2 Kill Galerie Max Hetzler, Berlin 2005 Take Me Home Matthew Marks Gallery, New York Alfonso Artiaco, Naples Isolation K21 - Kunstsammmlung Nordrhein - Westfalen, Düsseldorf Only Sound Needs Echo and Dreads its Lack Galerie Chantal Crousel, Paris 2004 Live Sentence Lentos Kunstmuseum Linz, Linz (catalogue) If I Had You Galerie Max Hetzler, St. Johannes Evangelist Church, Berlin 2003 11 miles... from Safety White Cube, London (catalogue) If I Had You Fondazione Nicola Trussardi, Palazzo della Ragione, Milan Mine, A Galleri K, Oslo A Galerie Max Hetzler, Berlin Full Moon Sommer Contemporary Art, Tel - Aviv 2002 A National Theatre, London; Yorkshire Sculpture Park, commissioned by Public Art Development Trust, London at speed (with Sarah Morris) Galerie Max Hetzler, Berlin 2001 Coming up for air Matthew Marks Gallery, New York Kunsthalle Zürich, Zurich (catalogue) Night as Day Tate Britain, London (catalogue) De Appel Foundation - Center for Contemporary Art, Amsterdam Galerie Max Hetzler, E-Werk, Abspannwerk Buchhändlerhof, Berlin 2000 Mean Time Matthew Marks Gallery, New York Geisterbahn The Approach, London Traction Chisenhale Gallery, London 1999 Galerie Max Hetzler, Berlin The Renaissance Society, University of Chicago, Chicago 1997 ICA - Institute of Contemporary Arts, comissioned by Toshiba Art & Innovation, London Fan White Cube, London 1995 KN120 Great Western Studios, London 1991 Crawford Art Collegbetween here and the surface of the moon FRAC Auvergne, Clermont Ferrand; traveled to: FRAC Haute - Normandie, Sotteville - lès - Rouen 2010 As it is Alfonso Artiaco, Naples The Principle of Moments Whitecube, London Fullmoon@Eifel Weidingen, Eifel Matthew Marks Gallery, New York PKM Trinity Gallery, Seoul 2009 Sommer Gallery, Tel Aviv Xippas Gallery, Athens Sometimestill Galerie Max Hetzler, Berlin 2008 Nail to Nail David Patton, Los Angeles SCAI The Bathhouse, Tokyo In The Between Eye of Gyre, Omotesando Substitute Galleri K, Oslo Fire under snow Parasol unit, London (catalogue) Moons of the Iapetus Ocean White Cube, London (catalogue) 2007 Galleria Alfonso Artiaco, Naples Day Return Castle Ujazdowski — Center for Contemporary Art, Warsaw (catalogue) Night + Fog Galerie Max Hetzler, Berlin (catalogue) In the Between Musée d'art contemporain, Montreal SITE Santa Fe, Santa Fe Matthew Marks Gallery, New York 2006 Day Return Museum Folkwang, Essen (catalogue) Darren Almond and Janice Kerbel: Impossible Landscapes The Horticultural Society of New York, New York If I had you Domus Artium 2002 — Center for Contemporary Art, Salamanca Darren Almond / Albert Oehlen: Time 2 Kill Galerie Max Hetzler, Berlin 2005 Take Me Home Matthew Marks Gallery, New York Alfonso Artiaco, Naples Isolation K21 - Kunstsammmlung Nordrhein - Westfalen, Düsseldorf Only Sound Needs Echo and Dreads its Lack Galerie Chantal Crousel, Paris 2004 Live Sentence Lentos Kunstmuseum Linz, Linz (catalogue) If I Had You Galerie Max Hetzler, St. Johannes Evangelist Church, Berlin 2003 11 miles... from Safety White Cube, London (catalogue) If I Had You Fondazione Nicola Trussardi, Palazzo della Ragione, Milan Mine, A Galleri K, Oslo A Galerie Max Hetzler, Berlin Full Moon Sommer Contemporary Art, Tel - Aviv 2002 A National Theatre, London; Yorkshire Sculpture Park, commissioned by Public Art Development Trust, London at speed (with Sarah Morris) Galerie Max Hetzler, Berlin 2001 Coming up for air Matthew Marks Gallery, New York Kunsthalle Zürich, Zurich (catalogue) Night as Day Tate Britain, London (catalogue) De Appel Foundation - Center for Contemporary Art, Amsterdam Galerie Max Hetzler, E-Werk, Abspannwerk Buchhändlerhof, Berlin 2000 Mean Time Matthew Marks Gallery, New York Geisterbahn The Approach, London Traction Chisenhale Gallery, London 1999 Galerie Max Hetzler, Berlin The Renaissance Society, University of Chicago, Chicago 1997 ICA - Institute of Contemporary Arts, comissioned by Toshiba Art & Innovation, London Fan White Cube, London 1995 KN120 Great Western Studios, London 1991 Crawford Art CollegBetween Eye of Gyre, Omotesando Substitute Galleri K, Oslo Fire under snow Parasol unit, London (catalogue) Moons of the Iapetus Ocean White Cube, London (catalogue) 2007 Galleria Alfonso Artiaco, Naples Day Return Castle Ujazdowski — Center for Contemporary Art, Warsaw (catalogue) Night + Fog Galerie Max Hetzler, Berlin (catalogue) In the Between Musée d'art contemporain, Montreal SITE Santa Fe, Santa Fe Matthew Marks Gallery, New York 2006 Day Return Museum Folkwang, Essen (catalogue) Darren Almond and Janice Kerbel: Impossible Landscapes The Horticultural Society of New York, New York If I had you Domus Artium 2002 — Center for Contemporary Art, Salamanca Darren Almond / Albert Oehlen: Time 2 Kill Galerie Max Hetzler, Berlin 2005 Take Me Home Matthew Marks Gallery, New York Alfonso Artiaco, Naples Isolation K21 - Kunstsammmlung Nordrhein - Westfalen, Düsseldorf Only Sound Needs Echo and Dreads its Lack Galerie Chantal Crousel, Paris 2004 Live Sentence Lentos Kunstmuseum Linz, Linz (catalogue) If I Had You Galerie Max Hetzler, St. Johannes Evangelist Church, Berlin 2003 11 miles... from Safety White Cube, London (catalogue) If I Had You Fondazione Nicola Trussardi, Palazzo della Ragione, Milan Mine, A Galleri K, Oslo A Galerie Max Hetzler, Berlin Full Moon Sommer Contemporary Art, Tel - Aviv 2002 A National Theatre, London; Yorkshire Sculpture Park, commissioned by Public Art Development Trust, London at speed (with Sarah Morris) Galerie Max Hetzler, Berlin 2001 Coming up for air Matthew Marks Gallery, New York Kunsthalle Zürich, Zurich (catalogue) Night as Day Tate Britain, London (catalogue) De Appel Foundation - Center for Contemporary Art, Amsterdam Galerie Max Hetzler, E-Werk, Abspannwerk Buchhändlerhof, Berlin 2000 Mean Time Matthew Marks Gallery, New York Geisterbahn The Approach, London Traction Chisenhale Gallery, London 1999 Galerie Max Hetzler, Berlin The Renaissance Society, University of Chicago, Chicago 1997 ICA - Institute of Contemporary Arts, comissioned by Toshiba Art & Innovation, London Fan White Cube, London 1995 KN120 Great Western Studios, London 1991 Crawford Art CollegBetween Musée d'art contemporain, Montreal SITE Santa Fe, Santa Fe Matthew Marks Gallery, New York 2006 Day Return Museum Folkwang, Essen (catalogue) Darren Almond and Janice Kerbel: Impossible Landscapes The Horticultural Society of New York, New York If I had you Domus Artium 2002 — Center for Contemporary Art, Salamanca Darren Almond / Albert Oehlen: Time 2 Kill Galerie Max Hetzler, Berlin 2005 Take Me Home Matthew Marks Gallery, New York Alfonso Artiaco, Naples Isolation K21 - Kunstsammmlung Nordrhein - Westfalen, Düsseldorf Only Sound Needs Echo and Dreads its Lack Galerie Chantal Crousel, Paris 2004 Live Sentence Lentos Kunstmuseum Linz, Linz (catalogue) If I Had You Galerie Max Hetzler, St. Johannes Evangelist Church, Berlin 2003 11 miles... from Safety White Cube, London (catalogue) If I Had You Fondazione Nicola Trussardi, Palazzo della Ragione, Milan Mine, A Galleri K, Oslo A Galerie Max Hetzler, Berlin Full Moon Sommer Contemporary Art, Tel - Aviv 2002 A National Theatre, London; Yorkshire Sculpture Park, commissioned by Public Art Development Trust, London at speed (with Sarah Morris) Galerie Max Hetzler, Berlin 2001 Coming up for air Matthew Marks Gallery, New York Kunsthalle Zürich, Zurich (catalogue) Night as Day Tate Britain, London (catalogue) De Appel Foundation - Center for Contemporary Art, Amsterdam Galerie Max Hetzler, E-Werk, Abspannwerk Buchhändlerhof, Berlin 2000 Mean Time Matthew Marks Gallery, New York Geisterbahn The Approach, London Traction Chisenhale Gallery, London 1999 Galerie Max Hetzler, Berlin The Renaissance Society, University of Chicago, Chicago 1997 ICA - Institute of Contemporary Arts, comissioned by Toshiba Art & Innovation, London Fan White Cube, London 1995 KN120 Great Western Studios, London 1991 Crawford Art College, Cork

He was included in the exhibition, Between Poetry and Painting at the ICA also in 1965 when he contributed a finger poem, this was one of many examples of concrete poetry in the exhibition.

Charles Gaines, whose work is featured in ICA's presentation of The Freedom Principle, is best known for his utilization of the grid as a means to better understand the relationship between the creation of form and meaning and systems or rule - based procedures.

His work has also been the subject of important group and solo shows throughout the span of his almost 50 - year career, including Against the Grain: Wood in Contemporary Craft and Design, Museum of Art and Design, New York (2013); superhuman, Central Utah Art Center, Ephraim (2012); Reenactor, Williams Center Gallery at Lafayette College, Easton, PA (2012); The Last Newspaper, New Museum, New York (2010); 30 Seconds Off an Inch, The Studio Museum in Harlem, New York (2009); Corbu Pops, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA (2009); Thirty Americans, Rubell Family Collection, Miami (2008); Black Is, Black Ain't, Renaissance Society at the University of Chicago (2008); Drawing, Dreaming, Drowning at Art Institute of Chicago (2008); Art After White People: Time, Trees, and Celluloid... at Santa Monica Museum of Art, Santa Monica, CA (2007); William Pope.L: The Black Factory and Other Good Works, Yerba Buena Center for the Arts, San Francisco (2007); 7e Biennale de l'Art Africaine Contemporaine, Dakar, Senegal (2006); Double Consciousness: Black Conceptual Art since 1970, Contemporary Arts Museum Houston (2005); The Interventionists: Art in the Social Sphere, Massachusetts Museum of Contemporary Art, North Adams (2004); The Big Nothing, Institute of Contemporary Art, University of Pennsylvania, Philadelphia (2004); Only Skin Deep, International Center of Photography, New York (2004); William Pope.L: the friendliest Black artist in America at ICA at Maine College of Art, Portland, DoverseWorks Artspace in Houston, Portland Institute for Contemporary Art, ME, Artists Space in New York, and Mason Gross Art Galleries at Rutgers University in New Brunswick, NJ (2002 - 2004); eRacism: Retrospective Exhibition, Institute of Contemporary Art at Maine College of Art, Portland (2002); eRacism: White Room, Thread Waxing Space, New York (2000); Eating the Wall Street Journal and Other Current Consumptions, Mobius, Boston (2000); and Out of Actions: Between Performance and the Object, 1949 — 1979, Museum of Contemporary Art, Los Angeles (1998).

Recent solo exhibitions include Time Between Spaces at Palais de Tokyo and the Musée d'Art Moderne, Paris, 2008; Tramway, Glasgow, 2008; Yesterday, Today, Tomorrow etc. at Kunstverein Hannover, Kunstmuseum St Gallen, Kunsthalle Nurnberg, Leiterin Haus am Waldsee, Berlin from 2006 - 07; A continuous Project Altered Daily at ICA, London, 2006.

In the second and final part of our featured discussion between Hans Haacke and Jon Bird at the ICA, we conclude that Mr Haacke's work crosses boundaries of Conceptual, Minimal, Pop and site specific Land Art.