Sentences with phrase «choreographed exhibition»

Lacey has founded a number of projects with ambiguous borders: Projet Bonbonnière, a research and living project designed to rehabilitate Italian theatres; Prodwhee, a series of performances using the concept of dance residency as currency; Robinhood, a mythical and invisible performance with the artist Cerith Wyn Evans; and Transmaniastan — a work commissioned for A Choreographed Exhibition at the Kunsthalle, St. Gallen (curator Mathieu Copeland).

A cover to cover, Motto Destribution, Berlin Toba Khedoori, Published by David Zwirner / Radius Books «JulienBismuth & Loreto Martinez Troncoso», Choreographing Exhibitions, (Ed) Mathieu Copeland, Julie Pellegrin, Les Presses du Réel «Julien Bismuth», Playing the City Interview,, (Hg.

Not exact matches

Move: Choreographing You is an exhibition at Hayward Gallery, London from 13 October 2010 to 9 January 2011 which explores the interaction between contemporary art and dance.

But with Berlin - based media artist Nils Völker's latest exhibition, Bits and Pieces, the gallery becomes a space of «poetic performance» through a choreographed dance of what the artist calls «ordinary objects.»

Parreno sees his exhibitions as choreographed spaces -LSB-...]

Isaac Julien's critically acclaimed, nine screen film installation TEN THOUSAND WAVES - starring Maggie Cheung, the legendary siren of Chinese cinema - is to receive its London premiere at the Hayward Gallery on 13 October, as part of the exhibition Move: Choreographing You.

The exhibition presents an improvised chronology of the American musician by an arrangement of choreographed kinetic sculptures on a stage.

Ranging from his earliest photographs of Los Angeles architecture begun in 1975 to his most recent inkjet prints incorporating dance and architecture, «Choreograph,» the exhibition presents for the first time Welling's two «glass house» projects together — buildings by Philip Johnson and Pierre Chareau and Bernard Bijvoet.

Utilizing the «exhibition medium,» he creates cohesion and makes the audience aware of the empty space surrounding the artworks, choreographing their interaction with the work and encouraging multiple readings and interpretations.

Choreographed by interior designer Manfredi della Gherardesca, the exhibition brings together almost 30 works by both artists, including Claude Lalanne's latest creations.

Recently, the artist has shown his work in solo exhibitions at the Tate Modern, London (Bodyspacemotionthings, 2009); at the Museum Abteiberg, Mönchengladbach (Notes on Sculpture — Objects, Installations, Film, 2009/2010) as well as in a group exhibition at the Hayward Gallery, London (Move: Choreographing You — Art & Dance, 2010/2011).

Additionally, Sarah Beth Oppenheim will choreograph a site - specific dance that she will perform in the space toward the closing date of the exhibition.

Choreographing a Collection: The Dr. Beatrice H. Barrett Collection of Art, exhibition catalogue, DeCordova Museum and Sculpture Park, Lincoln, MA, pp. 176 - 177, 2000, (reproductions).

The pupils experimented with this possibility for themselves: they made choreographed interventions into the main gallery space during Heman Chong's exhibition, directing each other's movements; they drew up proposals for artworks covering their school buildings; they created a performance on Peckham Rye Park, working together as one body.

Exhibitions include «Illuminations d'eau» (directed and choreographed by Robert Castle, with a creative reconstruction of fragments of the (now lost) original score by Willy Merz) at the Fondazione Mario Merz, Turin (2008); «The solitary body», Riccardo Costantini Gallery, Turin (2013); «Glasstress 2011», 54th Esposizione Internazionale d'Arte, Venice Bienale, on display at the Palazzo Cavalli Franchetti and the Berengo Centre for Contemporary Art and Glass on Murano.

I'm also a musician — I play the cello — so there is something «performative» about the exhibition as well, like it's choreographed, which is a different sensibility than being «curated».

Immovable, a ballet choreographed by Julia K. Gleich and created in collaboration with artist Rachel Beach, is coming to the Visual Arts Center of New Jersey on Sunday, March 19, as part of the closing reception of Beach's exhibition, Touchstone.

Pablo Bronstein has participated in numerous group exhibitions such as Tate Live: Performance Room at Tate Modern, London (2012); MOVE: Choreographing You at Hayward Gallery, London, Haus der Kunst, Munich, and K20, Dusseldorf (2010 — 2011); and The Garden of Forking Paths at Migros Museum für Gegenwartskunst, Zurich.

For instance, her recent exhibition at Sadie Coles HQ, London, titled «Odd Man Out,» invited viewers to enter a carefully choreographed world in which every decision they made had a range of political consequences.

He conceives his exhibitions as choreographed spaces that follow a script where a series of events unfold.

Previously, David choreographed his figurative works to imply dramatic narratives, at times using the exhibition space as a stage.

Exhibitions, lectures, residencies, publications, performances, screenings, and informal gatherings are choreographed to create a place where visual literacy, knowledge production, contemporary art, and critical inquiry seamlessly meet.

The exhibition also presents paintings in which, for the first time, White has begun to choreograph the narrative by pairing two seemingly separate scenes onto the same surface, creating a self - contained dialogue filled with ambiguous tension.

At Tate Modern, don't miss the unveiling of French artist Philippe Parreno's Hyundai Commission in the Turbine Hall, a multimedia artist whose exhibitions — or «choreographed spaces» in his words — erase the line between reality and fiction.

She uses exhibition spaces as studios or laboratories where an experimental, itinerant, site - specific performed work can unfold, building improvised actions and choreographed movements.

Exhibition review, «Move: Choreographing You — Art and Dance since the 1960s» at the Hayward Gallery, Journal of Curatorial Studies, vol.

She has curated the Robin Rhode exhibition Who Saw Who at the Hayward Gallery for autumn 2008, Walking in my mind (summer 2009), which explored the inner workings of the artist's imagination through the medium of large - scale installation art; Move: Choreographing you a show about the relationship between visual art and dance (2010); Pipilotti Rist: Eyeball Massage (2011); and Art of Change: New Directions from China (2012).

She's taught them to paint themselves for the duration of the the exhibition, and although their movements have been choreographed, they have a certain autonomy that represents an evolution in the artist's work.

South Bank Centre Hayward Gallery, London: Exhibition, Move: Choreographing You 13 October 2010 - 9 January 2011 - # 12,000

Artists Jessica Karuhanga and Brandy Leary's exhibition blends live performance with visual art, creating what is described as «part performance, part laboratory, [and] part choreographed sculpture.»

Sehgal's interpretations of the dance aesthetics of twenty of the greatest choreographers of the modern era, including Pina Bausch, Trisha Brown, Merce Cunningham, Isadora Duncan, Martha Graham, Yvonne Rainer, and Le Roy, represented for the artist a transformation from his past experience in choreographing a single, discrete piece into what might be understood as a conceptual artwork - exhibition of collected performances — in his words, «a museum of dance» 2 incarnate.

These sounds, lights and above all a neon text that wrapped frieze - like around the entire exhibition space, drew visitors around the building in a choreographed promenade, punctuated by encounters with objects and unexpected vistas.

The exhibition will be launch with an exclusive performance piece at Scream, choreographed and performed by Vanessa Fenton of the Royal Ballet, and sung by Lynne Jackman of rock band St. Jude.

This exhibition features 29 collages by Romare Bearden that envision a ballet hoped Alvin Ailey would choreograph, but was never staged.

The artist referenced Jackson Pollockʼs drip paintings — made 20 miles away in Springs — in the work through the substitution of saliva and dribbles from wildlife for Pollock's choreographed drips of paint, according to exhibition information.

During Adkins's lifetime the Corps performed within and in conjunction with Adkins's exhibitions; described by Adkins as «recitals,» these performances incorporated spoken word, live music, video projection, and costumed, choreographed movement.

His group exhibitions include: Move: Choreographing You, Hayward Gallery, London, UK and The Record: Contemporary Art and Vinyl, Nasher Museum at Duke University, Durham, NC.

Prior to joining Wysing in 2015, Chelsea worked at Southbank Centre, London from 2007, initially as Exhibitions Assistant for Hayward Gallery where she worked on a number of exhibitions including The New Décor (2010) and Move: Choreographing You (2010 - 11) which toured to GermanyExhibitions Assistant for Hayward Gallery where she worked on a number of exhibitions including The New Décor (2010) and Move: Choreographing You (2010 - 11) which toured to Germanyexhibitions including The New Décor (2010) and Move: Choreographing You (2010 - 11) which toured to Germany and Korea.

The exhibition features about 30 works and will be on display in the Vivian & David Campbell Centre for Contemporary Art (Level 5) and in Walker Court, where Tino Sehgal's ephemeral Kiss (2002), a choreographed dance referencing sculptural kisses from art history, will be exhibited alongside two of the works that inspired it: Auguste Rodin's The Kiss and Constantin Brâncuşi's Kiss.

2011 Becoming, Artsdepot, London Family Matters: The Family in British Art, Norwich Castle Summer Exhibition 2011, Royal Academy of Arts, London Why I Never Became a Dancer, Sammlung Goetz Collection, Haus der Kunst, Munich True Stories, Locks Gallery, Philadelphia Light Fantastic, Broadfield House Glass Museum, Dudley Dance / Draw, ICA, Boston Family Matter, Norwich Castle Museum and Art Gallery, (touring), Norwich The Art of Chess, University of the Queensland Art Museum, Brisbane Crossing Centuries: Works by Women Artists 1830 to 2000, ASC Gallery, London Naked, Jensen Gallery, Sydney Donne, Donne, Donne, Fondazione Pier Luigie Natalina Remotti, Camogli, Move: Choreographing You, K20, Dusseldorf Images From a Floating World, Fredericks & Freiser Gallery, New York Readykeulous, Invisible Exports Gallery, New York Newspeak, The Gallery of South Australia, Adelaide Royal Academicians, I - MYU Projects, Sungnam Art Centre, Seoul Text / Video / Female: Art after 60's, PKM Trinity Gallery, Seoul Watercolour, Tate Britain, London The Shape We're In (Camden), 176 Zabludowicz, London Moving Portraits, De La Warr Pavillon, Bexhill - on - Sea LUMIERE, Durham Sex Drive, Atlanta Contemporary Art Center, Pennsylvania House of the Nobleman, Zabludowicz Collection, London He disappeared into complete silence: re-reading a single artwork by Louise Bourgeois, Frans Hals Museum │ De Hallen Haarlem Sometimes, Ciragan Palace Kempinsky Gallery, Istanbul Fertility, Akim Monet, Berlin At Work, The Government Art Collection, Whitechapel Art Gallery, London Peeping Tom, Kunsthal in Amersfort, Netherlands Paint Me A Drink, 20 Hoxton Square Projects, London Contemporary Art, Fredericks & Freiser, New York

Choreography by Madeline Hollander Music by Celia Hollander aka $ 3.33 Dancers: Jeremy Pheiffer, Marielis Garcia, Madeline Hollander Presented in conjunction with Elizabeth Jaeger's solo exhibition, Six - Thirty, on view through November 9th DRAFT is a continuously looping performance choreographed by Madeline Hollander featuring live music by the LA - based sound artist, Celia Hollander ($ 3.33).

5 «DANCING AROUND THE BRIDE: CAGE, CUNNINGHAM, JOHNS, RAUSCHENBERG, AND DUCHAMP» (PHILADELPHIA MUSEUM OF ART; CURATED BY CARLOS BASUALDO WITH ERICA F. BATTLE) This magisterial and thrilling show stood out among the growing genre of performance - based exhibitions, bringing the works of Duchamp, Cage, Cunningham, Johns, and Rauschenberg into a theatrical setting masterminded by artist Philippe Parreno, who carefully choreographed the interaction of radical paintings, sculptural installation, dance, music, and set design, complete with entrance marquee.

This point is made eloquently in the current Lawrence Weiner exhibition at the Whitney Museum, with its cryptic phrases flung across walls, and the staged interactions in Tino Sehgal's debut show at the Marian Goodman gallery, where the atmosphere is charged by mere talk and a few choreographed poses.

2010 The Visable Vagina, Ben Nolan Gallery & Francil M Naumann Fine Art, New York Summer Exhibition 2010, Royal Academy of Arts, London Five in Istanbul, Borusan Muzik Evi, Istanbul Love Lines, Robischon Gallery Redline Exhibition Space, Denver Cocker Spaniel and Other Tools for International Understanding, Kunshalle zu Kiel, Germany The Exquisite Corpse, David Zwirner, 2010 Quilts 1700 — 2010, Victoria and Albert Museum, London This Is Sculpture, Tate Liverpool, Liverpool The Body in Women's Art Now, New Hall Art Collection, Cambridge Contemporary Magic: A Tarot Deck Art Project, The National Arts Club, New York Make Room, New Art Gallery, Walsall No New Thing Under the Sun, Royal Academy of Arts, London Move: Choreographing You, Hayward Gallery, London House of the Noble Man, Zabludowicz Collection, London Just Love Me, MUDAM, Luxembourg Do Not Abandon Me, Carolina Nitsch Project Space, New York Cream, KIASMA, Helsinki The Body in Women's Art Now, Rollo Contemporary Art, London Kupferstichkabinett: Between Thought and Action, White Cube, London The Tell - Tale Heart (Part 2), James Cohan Gallery, New York Emporte - moi / Sweep me off my feet, Musée d'Art Contemporain du Val de Marne, Vitry en Seine Naked, Jensen Art Gallery, Auckland I Love You, Aarhus Kunstmuseum, Aarhus Peeping Tom, Vegas Gallery, London Desire, Blanton Museum of Art, Texas Mat Collishaw, Tracey Emin & Paula Rego: At the Foundling, Foundling Museum, London Sur le Dandysme Aujord» hui, Centro Galego de Arte Contemporanea, Santiago de Compostela

Fornieles pursues his ongoing interest in the blurred lines between the virtual and the real to create a complex exhibition featuring digital images, sculpture, choreographed performance and a new online commission.

This new exhibition emerges from VanDerBeek's collaboration with dancers in her hometown of Baltimore, Maryland, where she worked with them on the actions and phrases of certain improvised dances, directing them to explore lines and angles, before choreographing and capturing selected movements as photographs.

Marking a recent shift in the artist's practice, this exhibition brings together both sculptures and photographs in carefully choreographed dialogue with each other.

Choreographed in a subtle sequence of marks within the exhibition, each work calls to the other, but leaves just enough space for conversation to ebb and flow.

The centerpiece of the exhibition is a display of costumes designed by Chagall in 1942 for the production of the ballet Aleko, choreographed by Léonide Massine with music by Pyotr Ilyich Tchaikovsky.

Yet, nudity, the act of being unclothed, infuses the exhibition with complexities as amorphous and arresting as Maruyama's depiction of these choreographed arrangements: Nude questions and challenges the traditional thoughts surrounding intimacy, power, and the spirit behind artistic expression.