Sentences with phrase «exhibition space surrounded»

The concert was held in an exhibition space surrounded by Le Brun's work, an experience that has encouraged the artist to make more explicit how central to his imaginative process music and ideas of composition have always been.

Not exact matches

Example Membership, attend approach decision sector call concentration number deny contact used appeal proper something surround dream public speed resource stop other shape focus somewhat video perhaps human argue league sound that enable plan expenditure collect the burn murder amount appoint grant task girl time similar crime since divide once space reform measure glass exhibition judge hide appear piece cost end drink profit wild lord life few although anybody want stand refer drive lot continue insist read well sea existence map operate act release area holiday belief but thing drink

Renovations include luxurious rooms, top - ranked restaurants, more than 100,000 sq. ft. of flexible meeting and exhibition space and unconventional meeting settings, such as the Havana Room, Tropicana Theater and outdoor event space surrounded by lush pool gardens.

The exhibition will include untitled (to Helga and Carlo, with respect and affection), 1974, a work configured in a modular sequence of square units that dramatically bathes the surrounding space in blue light.

This year, DESTE's Project Space will feature a site - specific exhibition by Kara Walker, conceived in a dialogic relationship with both the original elements of this unique exhibition space and with the landscape which surroundSpace will feature a site - specific exhibition by Kara Walker, conceived in a dialogic relationship with both the original elements of this unique exhibition space and with the landscape which surroundspace and with the landscape which surrounds it.

The conversation surrounding the dual exhibition — an intriguing pairing of practices that is particularly resonant and dimensional — touched upon themes of iconography and filmic sources, the performative potential of the photograph, and the dynamics of experiencing pictorial space.

Occupying the entire gallery space, as well as the building's façade and surrounding garden, the exhibition highlights the extraordinary expansion of an artistic movement that developed on the streets of New York in the early 1970's to rapidly become a worldwide phenomenon.

The location of an exhibition becomes her temporary studio and, after a period of meditative observation — which Gomes has described as an attempt «to try and enlarge perception, as a stone thrown in the water» — she creates compositions that are intimately related to the surrounding space.

Notoriously elusive Dean Blunt gives little away in the materials surrounding New Paintings, his latest exhibition for Hackney's [space].

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.

In this part of the exhibition space, the artists presented a six - channel video on projection screens situated in a way that mirrors the video's own 5.1 surround sound, engaging the visual, sonic, and physical fields as a combined object.

Screenprints of slide drawers, a harbinger of technology now obsolete, surround the exhibition space; the nameplates that once featured the names of predominantly male artists have been replaced with strips of Color - aid paper.

In the main exhibition space, Grosse has made the void the dramatic centre of her project, masking the floor with a large foam stencil, then painting over it and the surrounding walls.

There, Trecartin presents his newest movie, a video work that situates various projection screens throughout the exhibition space in a way that mirrors the movie's own 5.1 surround sound, engaging with the visual, sonic, and physical fields as a combined object.

The exhibition presents works whose center is surrounded by a painterly space of sea and water — depicted in various thechniques, including painting, print, photography and video.

Fundación / Colección Jumex's exhibition space is located within the juice corporation's factory grounds, in the dense, industrial landscape of Mexico City sprawl, surrounded by distant green hills.

A K Dolven, Anders Weberg, animation, Ann Lislegaard, architecture, artificial, computer generated, conceptual, digital, Digital Art, Elina Brotherus, environment, exhibition, exploration, hyperspace, imaginary, imagination, installation, interactive, interactive media, Jacob Tækker, Jette Gejl Kristensen, Katja Aglert, knowledge, light, light sculpture, material, media, mediation, memory, Moving Image, natural, Olafur Eliasson, ordinary, Per Platou, perception, Peter Møller - Nielsen, Petra Lindholm, real, representation, rural, Scandinavia House, simulation, space, surrounding, Tanya Toft, uncanny, unknown, urban, video, video art, virtual, voyage

Recent exhibitions includes Puppet Show, Eastside Projects, Birmingham (2013), Things That Go Without Saying, Grazer Kunstverein, Austria (2013), The Parliament, Archive of Disobedience, Umeå Bildmuseet, Sweden, Social Fabric, Iniva, London and Lund Konsthall, Sweden, Surrounded by the Uninhabitable, SALT Istanbul (2012) «There is nothing left», Alexandria Contemporary Arts Forum, Townhouse, Egypt and Oslo Kunstforening (2011 - 12), Something Stronger than Skepticism, Alias, Krakow Photomonth (2011), Manifesta 8, Murcia (2010), Revision, part 1 and 2 (Artists Space, New York, 2009, and Cell Projects, London, 2010), Curtain Show (Eastside Projects, 2010), and Life always Escapes (Wysing Arts, Cambridge, and e-flux journal 2009).

Using the gallery's main exhibition space as her canvas, the artist masked the floor with a large foam stencil, painting over it and the surrounding walls in sprayed - on, bright acrylic paints, before lifting the stencil to create large, white, disconcerting voids upon entering the space.

The main exhibition space will feature an immersive installation, in which the viewer is surrounded by documentation of a reenactment of a historic narrative: the 1909 polar expedition of Robert Peary and Matthew Alexander Henson.

In addition to artworks which literally claim the entire space of the room, the exhibition features a number of pieces that function as prisms or mirrors to activate their surrounding space.

The new masterplan comprised the restoration of Lowell's buildings, a general redesign of the circulation inside the museum, a new landscaping of the green spaces surrounding the complex, and the construction of an array of new spaces which included a new information center, the Art of the Americas Wing, a cafe, and a new special exhibition gallery.

The main exhibition space featured an immersive installation, in which the viewer is surrounded by documentation of a reenactment of a historic narrative: the 1909 polar expedition of Robert Peary and Matthew Alexander Henson.

DallasSITES: Available Space, a companion space to the exhibition DallasSITES: Charting Contemporary Art, 1963 to Present, is the DMA's first experimental project space located in the Museum's iconic Barrel Vault and surrounding galleSpace, a companion space to the exhibition DallasSITES: Charting Contemporary Art, 1963 to Present, is the DMA's first experimental project space located in the Museum's iconic Barrel Vault and surrounding gallespace to the exhibition DallasSITES: Charting Contemporary Art, 1963 to Present, is the DMA's first experimental project space located in the Museum's iconic Barrel Vault and surrounding gallespace located in the Museum's iconic Barrel Vault and surrounding galleries.

In the South London Gallery's main exhibition space, Grosse has made the void the dramatic centre of her project, masking the floor with a large foam stencil, then painting over it and the surrounding walls.

During the residency we explore the relationship between the urban and the natural, un-designed landscapes and wilderness found in abandoned spaces, post-industrial sites surrounding the park and the Flushing River, culminating with Chance Ecologies exhibition at the Queens Museum in October 2016.

MOCA's presentation of work by sculptor and installation artist Virginia Overton will encompass new and site - specific works that directly confront the exhibition space and its surrounding materials, which she sources for these pieces.

Melanie McLain Self - Extension Roll is a performance that will activate the space, architecture, and audience surrounding the exhibition.

The installation as a space for social engagement will also be a haven for public programming; film screenings, conversations and entertainment surrounding the theme of the exhibition.

He believes that it is always good to have galleries gathered in one place because if one gallery holds an exhibition opening, visitors are likely to pop into surrounding spaces, too.

A key component of Third Space will be a program series titled Chapters, which invites artists and curators from across the country to Birmingham to discuss their respective practices and ideas surrounding the exhibition.

Recent exhibitions include bau bau, GfZK, Leipzig, Germany and Hangar Bicocca, Milan, Italy; Ten Thousand Wiles and a Hundred Thousand Tricks, MuHKA, Antwerp, Belgium (all 2014); Additionals, Project Art Centre, Dublin, Ireland; The Parliament, Archive of Disobedience, Castello di Rivoli, Italy; Puppet Show, Eastside Projects, Birmingham; Things That Go Without Saying, Grazer Kunstverein, Austria (all 2013); Surrounded by the Uninhabitable, SALT Istanbul (2012); There is nothing left, Alexandria Contemporary Arts Forum, Egypt and Manifesta 8, Murcia (2010 - 12); Revision - Part 1, Artists Space, New York (2009) and Revison — Part 2, Cell Project Space, London, (2010).

The gallery serves to activate the space with a monthly exhibition and opening, but also to tie the Madera showroom to the surrounding eclectic and vibrant community.

Since the whole exhibition space is sloped and the surrounding walls are not vertical, it is arguable that sculptures could be exhibited either by following the ramp inclination or by keeping them in a perfectly vertical position using a special pedestal or a small platform.

The exhibition, which includes new paintings and sculptures, creates a poetic dialogue with the surrounding space and invites viewers to consider the connections between the past, present and future.

The exhibition explores both exterior and interior spaces, as well as builds collaborations with others that work at Hestercombe and the surrounding areas.

With the restoration of its fine historical building and the rejuvenation of its surrounding gardens, the Canada Pavilion will provide Canadian artists with a most dignified exhibition space.»

The exhibition will feature Alise Anderson's textile and rug manipulations, Malcolm Kenter's miniature replicas of different dwellings, Terry Powers» observational paintings of lived spaces, Sofie Ramos's site - specific installations utilizing re-purposed household materials, alongside Maryam Yousif's surreal pottery and macramé — each artist spotlighting a deeper interpretation of the notion of «home» and the familiarity, chaos, beauty and melancholy that often surrounds it.

Seeing works in an artist's studio as they're readied for exhibition is oh so different from viewing them in the surround of a gallery space.

Walking through the exhibition space, audiences are surrounded by art that they can touch, stimulating memories and individual reactions.

In the exhibition space of the Future Generation Prize at the Palazzo Contarini Polignac during the last Venice Biennale, the viewer was surrounded by looped hand - drawn animations of 9 naked woman projected onto the wall of the gallery space.

Entering into a somewhat unusual contract with the Fisher family (their works are on loan to the institution for 100 years, and every decade an exhibition from the collection must be mounted), and the closure of the museum for three years, while the Snøhetta - designed expansion renovated the original Mario Botta building that opened in 1995, adding 170,000 square feet of new gallery space, only expanded the cacophony of opinion surrounding the new structure.

Recent exhibitions include bau bau GfZK, Leipzig, Germany; Ten Thousand Wiles and a Hundred Thousand Tricks, MuHKA, Antwerp, Belgium (both 2014); Additionals, Project Art Centre, Dublin, Ireland; The Parliament, Archive of Disobedience, Castello di Rivoli, Italy; Puppet Show, Eastside Projects, Birmingham; Things That Go Without Saying, Grazer Kunstverein, Austria (all 2013); Surrounded by the Uninhabitable, SALT Istanbul (2012); «There is nothing left», Alexandria Contemporary Arts Forum, Egypt and Manifesta 8, Murcia (2010 - 12), Revision - Part 1, Artists Space, New York (2009) and Revison - Part 2, Cell Project Space, London, (2010).

Recent exhibitions include: Clouds ⇄ Forests (7th Moscow International Biennale of Contemporary Art), Camoufleur (VITRINE, London), Chimera (Antenna Space, Shanghai), The Last Vehicle (UCCA, Beijing), 2015 Triennial: Surround Audience (New Museum, New York), Unseen Existence (HK Arts Centre), Going, going, until I meet the tide (2014 Busan Biennale), The Part In The Story Where A Part Becomes A Part Of Something Else (Witte de With, Rotterdam), Tetraphilia (Third Floor Hermés, Singapore).

As a human mime shapes the air suggestively above an empty plinth, the surrounding works in the exhibition seem to come alive, revealed to be the manifestations of each artist's complex relationship to space, matter, and history.

The exhibition will also feature pieces by John Baldessari, whose works would often draw viewer's attention to minor details, absences or the spaces between things; Alfredo Jaar, multidisciplinary artists best known for his installation works; John McCracken, whose monochromatic sculptures explore the relationship between objects and their surrounding spaces; Bruce Nauman, whose conceptual works conceptual works that explore space, language, and the body; Lorna Simpson, whose photo - conceptualist works investigate the relationship between image and text; and Vassilakis Takis, a kinetic artist who uses electromagnetism to suspend human beings and objects in space.

Daniel Berndt reviews Jumana Manna's first UK solo exhibition, at London's Chisenhale Gallery, a show that comprises of the artist's first feature - length film, A Magical Substance Flows into Me (2015), as well as presenting a variety of vessel - like sculptures that surround the theatrical space.

For the first time in our history, Prefix ICA has dedicated all three of our exhibition spaces — the main gallery, audio art gallery and surround gallery (the latter a ten - metre glass enclosure for the exhibition of site - specific installations)-- to a single artist.

Since he began showing his work in the late nineties, Kolding has presented posters in his exhibitions and, frequently, in the public spaces surrounding those venues.

After creating a series of wall - mounted fluorescent light works in 1966 — each one also tethered to the surrounding architecture via an electrical plug — Corse «freed the light from the wall» by hanging her lone 1967 light work from the ceiling in the centre of the exhibition space.