Sentences with phrase «present imagining spaces»

Henrique Faria Fine Art is pleased to present Imagining Spaces: Constructions in Color and Text, a group exhibition focused on the formal and thematic elements of color and text in Latin American art of the last sixty years.

Not exact matches

Whiteheadians seem able to imagine such ecstatically spanned unities - across - time on the so - called «microscopic» scale of the «specious present,» but give up on the idea as the scope of the temporal disclosure space is widened to the scale of human lifetime and of generations.7 But worse than this from the point of view of Heidegger's temporal problematic, by submitting the ecstatic unities of their «specious presents» to the before / after ordering and metric properties of linear time, at least in terms of their mutually external relations and arrangements, they give back ontologically every advantage they gained from the use of an cc - static - temporal disclosure horizon in the first place, even though it was only the single horizon of presence.

2009 The Embassy, Curated by Xerxes Cook and Alex Dellal, 33 Portland Place, London, UK Artists» Art / Artists» Books, Glenn Horowitz Bookseller, East Hampton, NY Elevator to the Gallows, Galerie im Regierungsviertel / Forgotten Bar Project, Berlin, Germany Story without a Name, Curated by Blair Taylor, Peres Projects, Berlin, GermanyPrivate, Con Der Hydt Museum, Wuppertal, Germany The Collectors, Curated by Elmgreen and Dragset, Danish and Nordic Pavillions, 53rd Venice Biennale, Venice, Italy Onedreamrush, Beijing Independent Film Forum, Beijing, China DLA Piper Series: This is Sculpture, Tate Liverpool, Liverpool, UK Mexico: Expected / Unexpected, Tenerife Espacio de Las Artes, Santa Cruz de Tenerif Imagine, There: Three Contemporary Mythologies, A Space Gallery, Toronto, Canada The Porn Identity, Kunsthalle Wien, Wien, Germany The Temptation to Exist: Douglas Gordon, Any Warhol, On Kawara, terence koh, Yvon Lambert Gallery, London, UK KKK: Featuring terence koh, Jeff koons, and Mike Kelley, Mary Boone Gallery, New York, NY A Tribute to Ron Warren, Mary Boone Gallery, New York, NY New York Minute, Macro Future Museum, Rome, Italy Objective Affection, Boffo, Brooklyn, NY Dancing with Rodin, The Brooklyn Museum, Brooklyn, NY Tompkins Square Park Procession, Tompkins Square Park, New York, NY Art History 1642 - 2009, National Arts Club, New York, NY Performa 09, Third Biennial of Visual Art Performace, New York, NY Degeneration / Regeneration, Marina Abramovic Institute, San Fransico, CA Compassion, Curated by AA Bronson, The Institute of Art, Religion and Social Justice, New York, NY Contemporary Artifices and Baroque Difformities, Arcos - Sannio Museum of Contemporary Art, Benevuto, Italy Marina Abramovic Presents..., The Whitworth Art Gallery at the Universtiy of Manchester, UK Get a Rope, Ctrl Gallery, Houston, TX

In 2001, Sean Kelly gallery presented an exhibition that included works inspired by the indigenous architecture of the Caribbean Island of Nevis, traditional Japanese architecture and an imagined gallery space.

The exhibition will include works from 1999 to the present which are being shown in New York for the first time., Casebere's latest works are inspired by Thomas Jefferson's utopian Monticello, the indigenous architecture of the Caribbean island of Nevis, traditional Japanese architecture and an imagined gallery space.

The selected works present a conceptual understanding of the constructed environment; through a re - imagining of context and materiality, the works consider our relationship of space as imagined, evasive, and unstable.

At 20 feet in diameter, and surrounded by wide fields, the steel sphere also resembles various real and imagined structures of the present and extrapolated future, such as radio transmission towers, satellites, and other large - scale devices related to space exploration and scientific inquiry.

2015 Mobile M +: Live Art, M +, Hong Kong, China The Malady of Death: Écrire and Lire, commissioned by M + for Mobile M +: Live Art, Hong Kong, China The Eighth Asia Pacific Triennial of Contemporary Art (APT8), Queensland Art Gallery, Brisbane, Australia Office Space, Yerba Buena Center for the Arts, San Francisco, USA Paradox of Place: Contemporary Korean Art, Seattle Asian Art Museum, Seattle, USA Remember Lidice, Edition Block, Berlin La vie moderne, 13th Biennale de Lyon, Lyon, France J'adore, Kunsthalle Lingen, Lingen, Germany Future Light, MAK — Austrian Museum for Applied Arts / Contemporary Art, Vienna, Austria Passing Leap, Hauser & Wirth, New York Scenes for a New Heritage: Contemporary Art from the collection, MoMA, New York, USA As We Never Imagined: 50 Years of Art Making, STPI gallery, Singapore After Babel, Moderna Museet, Stockholm, Sweden Absolute Collection Guideline, Sifang Art Museum, Nanjing, China Storylines: Contemporary Art at the Guggenheim, Guggenheim Museum, New York, USA Works on Paper, Greene Naftali, New York, USA Fiber: Sculpture 1960 - present, Des Moines Art Center, Iowa, USA Temporary Permanent, Galerie Wien Lukatsch, Berlin, Germany Feminismen, Nordsternturm Videoart Center, Gelsenkirchen, Germany Suppleness and Rigidity — The Art of the Fold, Kunstraum Alexander Bürkle, Freiburg, Germany The past, the present, the possible, Sharjah Biennale 12, Sharjah, UAE Scenes for a New Heritage: Contemporary Art from the Collection, MoMA, New York, USA Man in the Mirror, Vanhaerents Art Collection, Brussels, Belgium 360 °: Die Rückkehr der Sammlung, Stiftung Kunstmuseum Stuttgart, Stuttgart, Germany

In the first, Xi Zhang presents a selection of his most recent large - scale paintings in the solo exhibition IMAGINE, a collaboration with ATC DEN, Denver's newest and most elegant exhibition space run by Plus Gallery artist Laura Krudener.

Some of the works in the show are more abstract than others, presenting imagined structures as a way of exploring the notion of permanence and impermanence in «new» territories and spaces.

, you are lying on the floor of your place looking up, a small draft runs through the room, between the door and the window, and all things seem perfectly still, wind only disturbs concrete in imperceptible ways, or it may take millions of years to be noticed and, as the air runs through the space, all your plants move and all is animated and all is alive somehow, and here are the thoughts of all men in all ages and lands, they are not original with me, and that wind upon your plants is the common air that bathes the globe, and we have no ambitions of universalism, and I'm glad we don't, but the particles of air bring traces of pollen and are charged with electricity, desert sand, maybe sea water, and these particles were somewhere else before they were dragged here, and their route will not end by the door of this house, and if we tell each other stories, one can imagine that they might have been bathed by this same air, regrouped and recombined, recharged as a vehicle for sound, swirling as it moves, bringing the sound of a drum, like that Kabuki story where a fox recognizes the voice of its parents as a girl plays a drum made out of their skin, or any other event, and yet I always felt your work never tells stories, I tend to think that narrative implies a past tense, even if that past was just five seconds ago, one second ago was already the past, and human memory is irrelevant in geological time, plants and fish know not what tomorrow will bring, neither rocks nor metal do, but we all live here now, and we all need visions and we all need dreams, and as long as your metal sculptures vibrate they are always in the Present, and their past is a material truth alien to narrative, but well, maybe narrative does not imply a past tense at all and they are writing their own story while they gently move and breathe, and maybe nothing was really still before the wind came in, passing through the window as if through an irrational portal to make those plants dance, but everything was already moving and breathing in near complete silence, and if you're focused enough you can feel the pulse of a concrete wall and you can feel the tectonic movements of the earth, and you can hear the magma flowing under our feet and our bones crackling like a wild fire, and you can see the light of fireflies reflected in polished metal, and there is nothing magical about that, it is just the way things are, and sometimes we have to raise our voice because the music is too loud and let your clothes move to a powerful bass, sound waves and bright lights, powerful like the sun, blinding us if we stare for too long, but isn't it the biggest sign of love, like singing to a corn field, and all acts of kindness that are not pitiful nor utilitarian, that are truly horizontal as everything around us is impregnated with the deadliest violence, vertical and systemic, poisonous, and sometimes you just want to feel the sun burning your skin and look for life in all things declared dead, a kind of vitality that operates like corrosion, strong as the wind near the sea, transforming all things,

In the downstairs gallery, Scheibitz presents paintings that represent the imagined space of the studio, which are meant to function as places for mental reflection.

Loosely inspired by the liminality — the interfacing of the threshold between two planes — of such an imagined space, Indian artist Surendran Nair's new body of work in «Cuckoonebulopolis: (Flora and) Fauna,» presented in the artist's first solo exhibition at Aicon Gallery, explores notions of indeterminacy and ambiguity, while intending to push the viewer to consider new hypothetical realms of possibilities.»

Using architectural models to represent schools he attended, his 1995 work, Educational Complex, presents forgotten spaces as frames for private trauma, real or imagined.

At Raven Row, Chodzko presented an absence by imagining the implications of introducing into the exhibition space something that could never be permitted to exist there: a sixty - foot palm tree, contaminated with an insect banned in the UK.

Their works present landscapes that are both real and imagined, and allow the viewer to move between historic and contemporary narrative spaces.

In doing so, Rebetez creates a transitional space, constantly fluxing between the real and imagined, past and present.

Reframing the Border presents work by established and emerging Irish - based photographers who explore the diverse physical, social, psychological and imagined spaces of the borderlands in Ireland.

The death of Dr David Kelly imagined in paint, a haunting Scottish lament heard beneath the bridges of the Clyde and a history of the present told as if by a voyager on the Soviet space station in 2103 — all these are works by the artists on a lyrical, melancholic, even elegiac shortlist for the 2010 Turner prize.

The scene in The Dudes depicts a space between the real and the imagined, between the present and the uncertain future, between midnight and dawn.