Sentences with phrase «what separates this exhibition»

What separates this exhibition from others in the city is its rich history and the amount of artists, according to Weiss.

Not exact matches

His most recent exhibition, What Separates Us, at the Embassy of Brazil in London, centers around themes of circuits of exchange and value from a cultural, social, and political point of view.

Well what a year 2014 was for the gallery, in the past 12 months we've held 8 separate solo exhibitions, two seasonal group shows and...

Gaylen Gerber's Backdrop / The Lasting Concept (2016) monopolizes multiple, separate gallery walls in what is perhaps the exhibition's subtlest intervention.

Titled They Knew What They Wanted, this exhibition is comprised of four separate group exhibitions out of the same collection.

As the title suggests this exhibition focuses on what connects rather than separates us.

For her recent commission for dOCUMENTA (13), for example, Macuga presented Of what is, that it is; of what is not, that it is not (2012), two tapestries that were shown simultaneously in the two separate locations of the exhibition: Kassel, Germany, and Kabul, Afghanistan.

This exhibition promoted discussion of what happened during the 28 years East and West Berlin were separated by the wall, and how to promote an understanding of the two sides.

Group exhibitions include; «Soft Power, Arte Brasil», Kunsthal KAdE, Amersfoort, The Netherlands (2016); «All Heritage is Poetry», Fundação Eugénio de Almeida, Evora, Portugal (2016); «What Separates Us», HS Projects, The Embassy of Brazil, London, England (2016); «Drawing Biennial», Drawing Room, London, England (2015), «Warp and woof», The Hole, New York, USA (2014), «A Sense of Things», Zabludowicz Collection, London, England (2014); «Threaded Stories», Stephen Friedman Gallery, London, England (2013); «3 am: Wonder, Paranoia and the «Restless Night», The Bluecoat, Liverpool, UK; travelling to Chapter, Cardiff, Wales, UK; The Exchange, Penzance, Cornwall, UK; Ferens Art Gallery, Hull, UK; «Site: Place of Memories, Spaces with Potential,» Hiroshima City Museum of Contemporary Art, Hiroshima, Japan (2013); «Labour and Wait,» Santa Barbara Museum of Art, California, USA (2013); «Além da Vanguarda,» Bienal Naifs do Brasil, SESC Piracicaba, São Paulo, Brazil (2012); «Mythologies, Cité Internationale des Arts,» Paris (2011); «Undone: Making and Unmaking in Contemporary Sculpture,» Henry Moore Institute, Leeds (2010); «Epílogo,» Museo de Arte Zapopan, Guadalajara, Mexico (2010; «Going International,» The Flag Art Foundation, New York, USA (2010); «Textiles Art and the Social Fabric», MUHKA, Museum of Contemporary Art, Antwerp, Belgium (2009); «Blooming: Brazil - Japan Where you are,» Toyota Municipal Art Museum, Japan (2008); «The British Art Show 06,» Hayward Gallery touring exhibition, UK (2006).

Just like a reality TV show, the premise behind this year's Whitney Biennial aims for high spectacle: What happens when you take three curators and ask them to put on three separate exhibitions at one of the world's most prestigious museums?

In what Pioneer Works calls a «posthumous return to White's work» (the artist lost her battle with cancer in 2014), the two separate but interconnected exhibitions revolve around the two artists; «formidable colleagues, they were mutually affected by the AIDS crisis then unfolding in the 1980s and 90s.»

It's possible to imagine an exhibition one day where the «Armi» and the «Finte sculture» would be shown near the last groups of works — albeit ideally in separate rooms — illustrating what a jump it was for Pascali to make sculptures based on animal forms, or how he moved from using industrial materials to re-create contemporary weaponry into using domestic materials to conjure a world of prehistoric fantasy.

What's on view: The gallery, which is separated into two exhibition spaces, contains a series of Fraga's amorphous, figurative paintings on crinkly found paper in one space, while in the other, his collection of altered found objects and materials forms the basis of a spacious, room - sized installation.

What separates «Religious Life in Early America» from the other exhibitions is not just scale, but discernment and restraint.

What separates us — a group exhibition by four crucial contemporary Brazilian artists, Tonico Lemos Auad, Adriano Costa, Rodrigo Matheus and Matheus Rocha Pitta - examines value systems and exchange mechanisms from a cultural, social and economic perspective.

RW: Based on what you've both described, it seems like the process of putting the exhibition together was a collaborative one without clearly defined, separate roles of curator, gallery director, exhibiting artist, allowing everything to come together somewhat organically, which is certainly not the case with a more conventional gallery or institutional space.