Christian Rainer. IL SILENZIO E LA LODE

6 March - 6 May 2015
Galleria Doppelgaenger
Via Verrone 8 - Bari Italy

Opening: Friday 6th March 2015 h. 19:00

On Friday, March 6th 2015, Doppelgaenger art gallery is pleased to present ‘’Il silenzio e la lode’’ (Silence and Praise), a new and original project by Christian Rainer, four years after his last personal exhibition.
In this recent production Rainer’s work has a deeply traditional and classical content, which is the result of a personal quest, as opposed to worldly and secularized thought and to history seen as contingency.
The distinction between classical-traditional and contemporary art is rejected; what brings them together is a shared intent, a common archetype and the same approach in reading the artist and the work, overcoming any risk of anachronism. With self-denial and dedication to the universal, the artist does not place himself at the centre of his thought or his message, but is merely their humble vehicle.
Rainer conceives his work as classical artists would have done, if they were alive today, and he does so, by following the ‘’shape of the thought’’, imagining what a thought would look like if it had a shape.
This explains the artist’s tendency to use indiscriminately photography, videos, music, painting, environment art, and even plants, people and animals.
The works, presented here for the first time, take their inspiration from Psalm 65, For thee, silence is praise. The Sacred is one of the artist’s most explored terrains, to which he now returns, with a project on the celebration of the Creator through the Created. Distancing himself from the idea of praise as exaltation, as noisy celebration or cult of the voice, Rainer prefers to deviate his artistic quest toward the immense and silent alphabet of Nature: in other words, the Created, alphabet, musical scale, well-ordered chessboard, but also vessel of every possible remedy. Silence as the highest form of praise.
Giving a form to silence and to all the elements hidden within it and recognising man’s place within this form are the principles informing the works that go to make up the exhibition Il silenzio e la lode.

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Merry Christmas!

Serene festività e auguri di felicità e pace
Joyeux Noël et bonne année
Feliz Navidad y próspero año nuevo
Happy Holidays and best wishes for joy and peace

from all the editorial staff!

Strange Beauty: Masters of the German Renaissance

19 February – 11 May 2014
The National Gallery
Trafalgar Square
London, Uk

This exhibition takes a fresh look at German Renaissance paintings in the National Gallery Collection, providing insights into the way these works were perceived in their time and in the recent past, and how they are seen today. It will focus on some of the best-known artists of the period, including Hans Holbein the Younger, Albrecht Dürer and Lucas Cranach the Elder. All famous artists in their own time, the exhibition will highlight the ways in which their paintings, drawings and prints were valued in the 16th century for qualities such as expression and inventiveness. The exhibition will also examine the evolution of the perception of German Renaissance art and the reasons why attitudes towards it were mixed in the 19th and early 20th centuries, especially in the context of the National Gallery Collection. While some viewers admired the artists’ technical mastery and their embodiment of a perceived German national identity, others saw these works of art as excessive or even ugly – particularly when compared to works of the Italian Renaissance. This exhibition is the result of collaboration between the National Gallery and the University of York.

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14-16 November 2013
San Juan Foundation
University of Seville
Archdiocese of Seville
Seville, Spain

From the 14th to the 16th of November, the Metropolitan Seminary of Seville, Spain will host the 3rd international Conference on Contemporary religious Architecture, promoted by the Archdiocese, the Fundacion S. Juan and the local University.

Architecture and evangelization have often been related in a way that can be described as not very orthodox. In the realm of religious architecture, because of the dramatic technological and social changes in the last few years, the controversy created by applying the liturgical reforms promoted by the Vatican II Council was in certain way overwhelmed by the events. "After all - concludes Marc Fumaroli - it is easier to attend a big mass in front of a giant screen installed outside St. Peter in Rome or Notre-Dame in Paris than inside the nave" (Paris-New York-Paris, 2010). In the context of the Year of Faith in which the Catholic Church is immersed right now, the 3rd International Conference on Contemporary Religious Architecture aims at becoming a meeting point for all the researchers interested in these topics.

Further information
The conference will be held in Spanish and English
Themes, topics, program, participation info are available online at: https://sites.google.com/site/

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13 - 16 Aprile 2013
Vicenza Fairgrounds
West Entrance (Ovest)
Halls F,B,G
Via dell’Oreficeria 16
Vicenza, Italy

Koinè (15th edition) is the world’s largest, oldest, most au- thoritative exhibition-conference with more than 300 exhibiting companies, artists, craftsmen, religious institutions, supplying the Church leaders, the industry professionals and the global distribution channels. Archi- tecture and Sacred Arts, building compo- nents and technologies, liturgical furniture and ornaments, statuaries and mosaics, reli- gious and devotional articles. The most com- prehensive display of new quality products and services, 80% made in Italy. Laboratory of ideas and in-depth analysis on projects and design issues, according with postconciliar orientation. Meetings, semi- nars and exhibitions on liturgical design, church planning, church adaptation.

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Sharon Lockhart | Noa Eshkol

Until March 24, 2013
The Jewish Museum
1109 5th Ave at 92nd St
New York NY USA

The most recent body of work by the Los Angeles-based artist Sharon Lockhart (born 1964) engages the work of the Israeli dance composer and textile artist Noa Eshkol (1924 –2007). Since the 1990s Lockhart has examined specific moments in the everyday life of particular communities. Through extensive research and by working closely with her subjects, sometimes over a span of years, she gains an understanding of their day-to-day rhythms and routine movements. With her camera, she both choreographs and captures this collaborative experience. Lockhart conceives this project as a two-person exhibition: she integrates her film installation and a series of her related photographs with a selection of scores, drawings, and textiles by Eshkol. The centerpiece is Lockhart’s Five Dances and Nine Wall Carpets by Noa Eshkol, a large-scale film installation that features a selection of Eshkol’s dances, performed with nine of her textile works, known as “wall carpets.” The Five channels are projected onto carefully positioned sculptural volumes that create a winding corridor through the exhibition’s primary gallery, encouraging the viewer to move through the space in tandem with each projection. The elements of the soundtrack, a ticking metronome and the subtle sounds of the dancers’ movements, work together to indicate proper timing. While Eshkol considered her dances and wall carpets separate artistic practices, Lockhart presents them together for the first time, illuminating correspondences between them. The exhibition creates an encounter between the two artists that explores the nature of artistic practice, its preservation, and its interpretation, as well as the experience and representation of space, time, and movement.

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Masterworks: Jewels of the Collection

February 6, 2013 - January 13, 2014
Rubin Museum of Art
150 West 17th Street
New York, NY USA

Masterworks: Jewels of the Collection displays some of the museum's most stunning works of art. The stylistic diversity and relationships between various strands of Himalayan and neighboring cultural and artistic traditions are represented by important works of art spanning a period of over one thousand years. In addition to a wide range of Buddhist and Hindu deities rendered in all major media, Masterworks also highlights the museum's most notable recent acquisitions, all of which have rarely or never been exhibited. Life-size facsimiles of an entire sequence of murals from the Lukhang, the Dalai Lamas' Secret Temple near the Potala Palace in Lhasa, Tibet, provide an exceptional opportunity for viewing Himalayan art at its most lavish. The original eighteenth-century wall paintings--inaccessible to the public until the late twentieth century--uniquely depict the most esoteric of meditation and yoga practices in vivid color and detail. Created with new photographic methods by Thomas Laird and Clint Clemens, this display of large-format, high resolution pigment prints allows for even better access to the paintings than is possible in the temple itself. Their presentation at the Rubin marks the first showing in the world of prints created using this technology and also provides the first-ever opportunity outside Tibet to view full-size Tibetan murals in their relationship to portable art from the region.
Curated by Christian Luczanits

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Phyllis Galembo. Masquerade from Africa to the Americas

Thursday, January 10, 2013 from 6:30 PM to 8:00 PM
The Annenberg Space for Photography
2000 Avenue of the Stars
Suite 10
Los Angeles, USA

The Annenberg Space for Photography offers live programming through our IRIS Nights lecture series, a public program offered free of charge, by online reservation on a first-come, first-served basis. The series brings to life the most current exhibit with presentations by exhibit featured photographers and other notable experts and guest artists. These programs give attendees unique access to the artists in the intimate setting of the Photography Space.

For over two decades, Phyllis Galembo has documented cultural and religious traditions in Africa and the African Diaspora. Travelling widely throughout western and central Africa, and regularly to Haiti, her subjects are participants in masquerade events – traditional African ceremonies– who use costume, body paint and masks to create mythic characters. Galembo was born in New York and lives in New York City. She has been a professor in the Fine Arts Department of SUNY Albany since 1978. Her work is included in numerous public and private collections including the Metropolitan Museum of Art, Museum of Fine Arts, Houston, Schomberg Center for Research in Black Culture, New York Public Library, and the Polaroid Corporation. Solo exhibitions include the The Smithsonian Museum of Natural History, F.I.T. Museum, the Mead Art Museum at Amherst College, and the George Eastman House. A series of portraits was included in the exhibition Heroic Africans at the Metroplitan Museum of Art. Galembo has produced several publications, including the monograph MASKE in the fall of 2010.

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We humans think of ourselves as supreme beings, above all others and in absolute control of our destiny and our surroundings. We live with a false sense of security only to be awakened by Mother Nature’s fury, almost as if she needs to remind us of her presence and our responsibility towards her child (The Earth). After having seen the ravaged coast of Thailandand the Hurricane that affected the Southern States I decided to create a sculpture dedicated to Mother Nature. This would be reminiscent of the early statues made as peace offerings to the Gods in the hope of quenching their anger. In essence, people are not very different today from the people who lived thousands of years ago. We still devote ourselves to symbols in order to escape our destiny. (Lorenzo Quinn)

Paramount Group, Happy Hearts Foundation, March to the Top Foundation, Halcyon Gallery and the artist Lorenzo Quinn, are privileged and honored to be a part of this important installation of a dynamic work of art that will certainly make an impact on all who view it. This project represents the commitment to making a difference in the lives of those most deserving. The "Force of Nature II" is on display to all tenants and visitors in the lobby at 1301 Avenue of the Americas, New York City, for a limited time, as part of an impactful initiative to raise funds and awareness to build schools in areas affected by natural disasters.

The "Force of Nature II
Bronze and stainless steel. Edition of 8
265 x 254 x 80 cm

Stephen P. Durchslag 'The Jewish Experience and the Haggadah'

Sunday, May 20, 2012 2:00 p.m. free and open to the public
Xavier Hall Theatre
Museum of Contemporary Religious Art (MOCRA)
Saint Louis University

221 N. Grand Blvd.
St. Louis, MO USA

The Jewish holiday of Passover recalls and celebrates the freeing of the Israelites from slavery in Egypt. The haggadah is the book that contains the ritual guide to the Passover Seder meal, along with scripture passages, commentary, prayers, and songs. For centuries the haggadah has been one of the most celebrated items of Jewish literature and art. The Exodus narrative and its primary theme of liberation from oppression have resonated with people in many times and places over the centuries, who have adapted the haggadah to respond to political and social developments such as the Holocaust, feminism, and gay rights. There are many examples of both handwritten and printed haggadot with intricate illustrations. Some haggadot are unique masterpieces, while others have been printed in large, widely available editions. Stephen Durchslag holds what is considered to be the largest private collection of haggadot in the world, numbering some 4,500 volumes dating from 1485 to the present day. Drawing on examples from his collection, he will show how the haggadah is a central element of the Jewish experience, a text that sustains both tradition and innovation, and is a vehicle for myriad expressions of the Jewish imagination. 

Durchslag, now retired, was an attorney for 44 years at the Winston and Strawn Law Firm in Chicago, serving as Chair of the Intellectual Properties Department of the firm. He is currently pursuing a master's degree in Jewish Studies at the University of Chicago. His wife Ruth is an ordained rabbi and psychologist, and they are the parents of two beautiful daughters.

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September 30th – December 10th 2016
Ass. Cult. Doppelgaenger
Palazzo Verrone
Via Verrone 8
Bari, Italy

On September 30th, at 6 p.m., Doppelgaenger gallery opens Solitario, first personal exhibition in Italy for the artist Domingo Milella. “[…] the matter of my work is time, memory and forgetfulness, illiteracy, beauty and violence. The irony and the brutality of Time”. Solitario tells about Domingo Milella’s investigation, as a traveller in time and space, on the dialogue between man and nature. Milella’s photographs, incessant proof of the stratification of the interventions that our culture imposes on the surface of Earth, depict dazing and sudden gashes on the real human existence, which appears - as a paradox in its manifestations of extreme artificiality - as a huge,
continuous natural phenomenon. The artist exposes in the exhibition a prism developed on a wide surface, in 190 works, a visual map of the last ten years of his work.

Domingo Milella was born In 1981 in Bari , where he lived till he was 18. After moving to New York he has studied photography at the School of Visual Arts, under Stephen Shore. Thomas Struth had been his mentor, who widely influenced his work. Currently he lives in Bari and London. Due to his work, he reached places such as Mexico City, Ankara, Anatolia, Sicily, Tunisia, Mesopotamia and Turkey. His works had been exposed at Brancolini grimaldi gallery (London), Tracy Williams gallery (New York), FOAM (Amsterdam), at the 54th Venice Biennale and at the Photography Rencontres in Arles. In 2016 his works has been exposed at the Margulies Collection in Miami, and at Borusan Contemporary in Istanbul.

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ARTISTIC HOLY CARDS. Modern interpretations for devotional images

18 to 21 April 2015
Vicenza Faigrounds
Via dell'Oreficeria 16 - 36100 Vicenza (North East of Italy)
Halls 1, 2 and 7
Main Entrance West (OVEST)

Among the great variety of devotional images handed down by history and tradition, printed images of saints still enjoy wide circulation today: bought by the pious and pilgrims in religious goods stores or in stores near churches or sanctuaries, they constitute a significant part of the more general devotional sector on display at Koinè.
The representation of saints in devotional images, nevertheless, has remained bound to iconographical models no longer in vogue (above all, from the 1800’s), despite the renewing winds of the Second Vatican Council that swept the Church in her artistic expression as well. In 2015, therefore, to celebrate the jubilee of the conclusion of the Council and the promulgation of the Pastoral Constitution “Gaudium et Spes” on the Church in the modern world, Koine will carry out an exhibit dedicated to the Catholic Church’s image of the saints on devotional holy cards which will be interpreted through the perception and graphic language of contemporary artists. Selected Saints: Saint Anne, Saint Anthony of Padua, Saint Francis Of Assisi, Saint James the Greater, Saint Joseph, Saint Lucy, Saint Mary Magdalene, Saint Michael the Archangel, Saint Paul the Apostle, Saint Rita of Cascia. Historical holy cards courtesy of: Natale Salvardi di Sisera Loris. Selected Artists: Federica Bordoni, Calusca (Luca Scandura), Gianni Cestari, Marina Fusari , Ivo Mosele, Barbara Ortelli Pin, Arianna Piazza, Vincenzo Piazza, Sonia Maria Luce Possentini, Nadia Ruju, Silvia Zaccaria, Giovanni Zoda. Prototypes printed by: Cromo NB Srl, Egim Srl, Eurotrading Snc, Fars Srl, Officina d’Arte Torre Snc, P&L Snc.

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“Pinoccolo' towards the Pole by Bios Vincent

The man who wants to save the world.
From a true story, a journey into the drama of being a Man, the courage to spread the life.

Bios Vincent, artist and performer, returns in the contemporary Italian and international art Scenery with a new and complex artistic and cinematographic project entitled “Pinoccolo towards the Pole” that on Tuesday, December 2, 2014 present to the public through the International crowdfunding website www.indiegogo.com to receive Support and funding to his ambitious project. The campaign closed on January 31st, 2015.
The project is promoted by the Cultural Association "Vertical Line" in Milan in collaboration with other third sector cultural associations various associations including animatedly Animatamente and ASC artesacracontemporanea). Collaborators of the project team are Gabriella Ferlazzo Natoli doctor within MSF Medicins Sance Frontieres, Giacomo Sferlazzo songwriter and President of the Cultural Association Askavusa, Toni d’Andrea architect, Christian di Domenico actor and Nicola Genna graphic designer, Giorgio Maria Tromba digital compositor, Francesca Ferlazzo Natoli architect, Gianluca Brandis architect and Jean Civiletti archaeologist. The Pinoccolo towards the Pole Campaign is in partnership with #GivingTuesday.

The character of Pinoccolo comes from a true story, the personal experience of the artist in a difficult time of his lives. Wearing the mask of Pinoccolo and lying to offer hope, he was able to save his world. Since then for Bios Vincent, Pinoccolo (Pinocchio) represents the last bastion of salvation and becomes, as an alter ego, the protagonist of all his performances.

Camerardente. Against “every” Death Penalty
Through the language of art, Bios Vincent, sensitive to issues of violence in all its forms and acts of injustice that become real "death sentences" of the human being, gives life with the project Camerardente. Against <every> death penalty to a real contemporary via crucis through the symbolic places of suffering. The mask of Pinocchio offers reflection insights on the issues that the artist proposes and the need to safeguard the human being and the planet, laying bare the negligence and the culprits human breach who generated disasters, and still continue. Highlighting the disastrous consequences of these acts, the hope is that, eventually, the community will understand the cruelty and act to protect the integrity of the human soul.  
At each stage there was designated a coffin with a shot crucifix inside. The coffins were brought on the shoulders, deposited in the desired place of memory and offered to the public who became an actor and interacted leaving their thoughts written on the outside of the coffin.
The journey began March 15th, 2013 and reached twelve places of memory: Turin, Milan, Vajont, Bologna, Naples, Lampedusa, Palermo, Taranto, Lecce, L'Aquila, Assisi, Rome, Vatican. The stage in Vatican was not realized because hampered by the authorities.

Now Bios Vincent has a dream, to bring his hope and salvation message beyond the Italian boundaries through the realization of the international stages of the project Camerardente. Against <every> death penalty represented by the memorial sites, places who must not be forget, because the memory of violence becomes hope (Santiago di Compostela, Canada, Messico, New York, Florida, Giappone, Irlanda del Nord, Sarajevo, Congo, Gabon, Polonia, Berlino). The last stage stop will be the South Pole because the South Pole is a "pure and pristine place" and it is “a place to be safeguarded”.

Pinoccolo towards the Pole
Pinoccolo towards the Pole is the today’s completion of Camerardente. Against <every> death penalty. It is a real cinematographic project, a docufilm that, by using the trace by Collodi, will try to lead the human soul and mind through a journey of purification using indelible marks that have marked our existence, the "death penalty" imposed unjustly on ours or our neighbor’s body or soul.
Bios thinks it's important to stop, stop owns existence and talk, share and celebrate what has been, not to forget the tragedies of the past and to find the strength to continue, enabling us to recognize the violence that surrounds us and to prevent with courage the future acts of that violence, to protect our world and what's more precious, the gift of life, our children, a seed of hope.
The project Pinoccolo towards Pole is a condemnation of the violence made by humanity against humanity, it is a hymn to life. It will be dedicated to the project a publication that will contain also all the thoughts engraved on the coffins. It is a book for children: in fact, the task of turning the strong meaning of Camerardente. Against <every> death penalty in a message of universal love for the future, will be given to them.

To realize the artistic performances cycle in the new international stages of Camerardente. Against <every> death penalty, and to support the pre-production, production and post-production costs of the docufilm Pinoccolo towards the Pole, which amount in total to €600,000, the association "Vertical Line" asks a contribution to all, to all those who feel involved with the issues discussed, and that as godparents want to shout to the world that there is hope of salvation, that there is future for our children, a better world.

With your contribution Bios Vincent will make his journey and will spread wherever his hope message, becoming witness of the sufferings perpetrated in every corner of the earth, and shaking the conscience of all those who together can ending them.

For every generous donation thank you with a special gift.
Donate Now! We would be extremely grateful: https://www.indiegogo.com/projects/pinoccolo-towards-the-pole-pinoccolo-verso-il-polo/x/9247336

Title: Pinoccolo verso il Polo (Pinoccolo towards the Pole)
Date: From Tuesday, December 2, 2014
To learn more and donate: https://www.indiegogo.com/projects/pinoccolo-towards-the-pole-pinoccolo-verso-il-polo/x/9247336
Trailer: http://youtu.be/FBdm9vYqk3M 

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UNSTABLE TERRITORY Borders and identity in contemporary art

11 October 2013–19 January 2014
Centre for Contemporary Culture Strozzina
Fondazione Palazzo Strozzi – Palazzo Strozzi
Piazza Strozzi 
Florence, Italy

Opening: Thursday 10 October 2013 at 19.00

Artists: Kader Attia, Zanny Begg & Oliver Ressler, Adam Broomberg & Oliver Chanarin, Paolo Cirio, Tadashi Kawamata, Sigalit Landau, Richard Mosse, Paulo Nazareth, Jo Ractliffe, The Cool Couple.

Unstable Territory. Borders and identity in contemporary art, curated by Walter Guadagnini and Franziska Nori, showcases work by international artists which will encourage visitors to reconsider the notion of territory in a contemporary world. Whilst the latter is increasingly characterised by the obsolescence of such concepts as the nation state and borders, there is, at the same time, a return to new forms of nationalism and renewed interest in the individual in relation to a specific area or community. The astonishing development of mobility for both people and goods, the digitisation of communication and knowledge, migration and an increasingly global economy have all radically changed people’s perception of territories, borders and boundaries. In view of the instability of these concepts crucial to the definition of personal identity, two different –though not necessarily conflicting – trends appear to be taking shape: one based on seeking shelter in the safety and proximity of the micro-territory, the region or even the family; the other, as theorised by sociologist Ulrich Beck, involving a new conception of cosmopolitanism in its most democratic and egalitarian sense. What does it mean when we talk about “territory” today? The term does not simply refer to a geographical or spatial area, it also refers to a concept of social and cultural belonging and extends into the personal, psychological and mental sphere. The works in this exhibition reflect different approaches, lifestyles and ways of perceiving the unstable relationship between identity, territory and borders in an age of great expectations (and illusions) regarding a borderless society, a shared global territory. Photographs, videos and installations spark reflections on the notion of the border as discovery or barrier, on the hybridisation between cosmopolitism and territorial claims, on the figure of the artist himself as traveller, nomad or experimenter teetering on the edge of physical and symbolic territories. The exhibition catalogue (Italian/English) is published by Mandragora and features critical essays by the curators Walter Guadagnini (independent curator) and Franziska Nori (CCCS Director) together with texts by Ulrich Beck (Munich University and London School of Economics) and Francesco Careri (Università di Roma).

Information: Tel +39 055 2645155 / news@strozzina.org

NINA SUREL Monuments of Unageing Intellect

September 28th – November 30th, 2013
Galleria Claudio Poleschi Arte Contemporanea
Via Santa Giustina 21 - Lucca, Italia
Chiesa di San Matteo
Piazza San Matteo 3, Lucca, Italia

Opening Saturday September 28th 6.30pm

The wide selection of works - set up in the suggestive San Matteo church and in the gallery’s spaces - comprehends some of them from the new series Madonna with Child and Byzantine, beyond other works of great dimensions and characterized by the accurate fusion of materials, the same that distinguishes the poem Sailing to Byzantium (1928) by William Butler Yeats, from which the exhibition’s title derives: “That is no country for old men. The young / In one another’s arms, birds in the trees / – Those dying generations – at their song, / The salmon‐falls, the mackerel crowded seas, / Fish, flesh, or fowl, commend all summer long / Whatever is begotten, born, and dies. / Caught in that sensual music all neglect / Monuments of unageing intellect.” In these paintings the mixed media pushed to their limits configure a strategy oriented to blur the boards between reality and fiction, through the stratification of techniques – photography, painting, digital intervention, assemblage – and of objects: porcelain, buttons, dresses, jewelry. The accumulation confers to these artworks a peculiar and steep trait of decadence, obsession; the artist becomes the object and the subject of this transformation – a material among the materials -, playing the roles of the different characters within the narrative and constantly changing her features. The overload lets the works protrude always, with bravery and audacity, their identity towards the kingdom of kitsch, gaining the creation of perturbing worlds that challenge the viewer: duplication, reproduction, mirroring are the main functions of this process. The resin freezes all the elements and relationships, draining on figures landscapes objects as a wrap: the artificial balance of the levels has definitively crystallized in time and space.

Nina Surel was born and raised in Buenos Aires, Argentina, and lives and works in Miami since 2001. She studied at the Architecture & Urban Planning University of Buenos Aires and The Art Institute of El Teatro Colón, also in B.A, Argentina. Her work has been exhibited widely in institutions, galleries and art fairs both in the United States and South America, including the Naples Museum of Art, The Art & Culture Center of Hollywood, as well as Art Fairs in Buenos Aires, Chicago, New York, Miami, and London. She has been reviewed in national and international publications, and is an Artist-in-Residence at ArtCenter South Florida.

More informatio:
Ph: +39 0583 469490


29 March−28 July 2013
Centro di Cultura Contemporanea Strozzina -
Fondazione Palazzo Strozzi, Palazzo Strozzi

Piazza Strozzi
Florence, Italy

Opening: Thursday 28 March 2013

An Idea of Beauty, on view at the Centre for Contemporary Culture Strozzina (CCCS) at Palazzo Strozzi, Florence, sets out to explore the work of eight contemporary international artists – Vanessa Beecroft, Chiara Camoni, Andreas Gefeller, Alicja Kwade, Jean-Luc Mylayne, Isabel Rocamora, Anri Sala and Wilhelm Sasnal – and will encourage visitors to reconsider the concept of beauty and to question not only the ‘need’ for it but also its function, value and purpose. Today’s world is heir to an historical and philosophical process that has separated art from beauty, in the sense of a world vision incapable of expressing the complexity and inconsistency of the modern era. At the same time, the term ‘beauty’ in daily use has become more trivialised and debased, and is often used as a synonym for appreciation (like/don’t like) or as the mark of a hedonistic and superficial approach typical of today’s trend towards extreme aestheticisation. In order to rediscover an idea of beauty, we need to adopt a different approach to our sense of reality, to our search for a value, a spiritual moment or to explore an intellectual intuition in greater depth. Thus beauty arises anew from our ability to look at it differently, to grasp and recognise it even in a mundane object, moment or gesture. Visitors to the exhibition will be confronted with works of art soliciting their physical and emotional participation. Through their work the artists seek to highlight the subjectivity with which a person views art, triggering individual responses that can become a tool for forging new connections with other people and with the world at large. On the one hand, they address and revisit such traditional artistic techniques and genres as the themes of landscape and the human figure while, on the other, it is almost as though they are attempting to listen to nature, capturing its moments and its fragments, or reflecting on the power of beauty in its social dimension or in the power to transform that it exercises on each and every one of us. The exhibition is accompanied by a catalogue published in Italian and English by Mandragora.With the support of: Comune di Firenze, Provincia di Firenze, Camera di Commercio di Firenze, Associazione Partners Palazzo Strozzi – Regione Toscana – Unicoop Firenze, Ataf. With the patronage of the Polish Institute in Rome.

T. 055 2645155

The church dome painted by graffiti artists. By Gerry Hadden

The attempt to sell a Banksy mural taken from a London street at a Miami auction house - until it was withdrawn this week - shows that graffiti is no longer viewed simply as an urban blight. But it's still not often that graffiti artists are let loose in a church. 

Spanish graffiti artist Raul Sanchez Araque, also known as House, has a varied portfolio of work under his belt - including spray-painting the outside of a sex shop and countless works of old-school guerrilla graffiti. But it was a surprise when he was contacted by a priest at the Santa Eulalia church in l'Hospitalet, near Barcelona. Could he, House, and fellow "graffitero" Rudi, paint a neo-Romanesque church? Specifically, the ceiling of the dome above the main altar?
As in many Catalan churches, the decoration is austere. The walls are painted nondescript colours, the statues of Jesus, the Virgin Mary and the saints are simple. To compensate, Father Ramon Borr decided to make the main dome a little different. "Even though the press is scandalised by graffiti artists, for me graffiti is just another artistic technique," he says. There were practical considerations behind his choice too - quote after quote from traditional artists had come in well over budget. He was a little tentative to start with. "I said we need to have sober colouring," begins Father Borr. "But they said, 'Look, let us try with brights and if you don't like it, we'll take it off.'" It took his two graffiti artists 10 days and one frantic all-nighter, as they rushed to finish it for a wedding.
The result is a spectacular splash of colour - rich blues, bright reds and greens, on the dome of the church. But don't think street art. In fact, the style of the painting is faithfully Romanesque, with static, two-dimensional renderings of Saint Eulalia, the Virgin Mary and baby Jesus, and the congregation.
"I told them they couldn't start until they visited a museum in Barcelona to study the Romanesque style I was interested in," Father Borr says. "So they went, and studied, even took out some books." Only then did the spray cans come out. House, 34, works full-time as an artist, doing a mix of commissioned works, for which he is paid, and what he calls his "personal graffiti", splashed on walls across Alicante where he lives. For the latter, he has been arrested numerous times. When Father Borr hired him he was surprised, and thrilled, and nervous.
"Only a graffiti artist can tell we used aerosol cans to do the work," House says. "We tried to conceal that. In the Roman period, spray paint obviously didn't exist." Not that House completely conformed, with the Father's wishes. If you look carefully at the figures in the congregation, you see an elderly woman passing a thimble to a young boy. That woman was House's grandmother, a keen seamstress, who, he says, was miraculously cured of a fatal spinal disease in the 1950s. House says he is not religious in the traditional sense, but he doesn't think that matters.
"Even if you don't believe in God, you can believe in the good will of people." Father Borr says he's happy the artists personalised the work. And he's considering getting House, Rudi and their spray paints back to decorate more of his church, some of which dates from the Middle Ages, and some from 1957. Anything to bring more people in. "As Pope Benedict XVI has said, art should attract the faithful." In a bar just around the corner a group of non-church-going men are enjoying beers after work. They've never seen the dome, but are impressed by photos. Then a man at the far end of the bar speaks up. "I've seen it," he says. "I saw it in the newspaper, and went to check it out. It's beautiful." "You guys ought to set your drinks down for once and go on over," he yells to the others. "It wouldn't hurt you to spend a little time in the house of God."

Gerry Hadden is Europe correspondent for The World - a co-production of the BBC World Service, PRI and WGBH

Living Shrines of Uyghur China. Photographs by Lisa Ross

February 8, 2013 - July 8, 2013
Rubin Museum of Art
150 West 17th Street
New York, NY USA

The Xinjiang Uyghur Autonomous Region is China’s largest province. It came under Chinese rule in 1949. With few exceptions, artists and foreign researchers have been denied meaningful access to the rural areas in Xinjiang. Ross's close working relationships with a Uyghur anthropologist and a French historian focusing on Central Asian Islam have guided her more than eight-year exploration in the region. The extensive body of work from which this exhibition draws is rare in that it captures a time and place that is rapidly modernizing and transforming, as Xinjiang is now China’s largest source of untapped natural gas, oil, and minerals. Ross’s work broadens our understanding of an understudied region at one of the world’s greatest cultural crossroads. At the same time, the conceptual and aesthetic dimensions of Ross’s photographs speak to the visual beauty, visceral ardency, and sacred gravity of these sites. The depth of Ross’s work will be enhanced by a book, Living Shrines of Uyghur China, to be released by Monacelli Press at the time the exhibition opens.
Curated by Beth Citron. This exhibition is supported, in part, by Peter Hutchings and Martha Wolfgang.

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22 January - 20 February 2013
PO Box: 506759, The Gate Village Bldg. 3
Level 2, Dubai International Financial Center
Dubai, U.A.E.

ARTSPACE Dubai is pleased to announce that it will be showcasing a solo show of works by prominent Syrian master calligrapher Mouneer Al Shaarani, featuring pieces from his latest collection. The sponsor of the exhibition is the prestigious Banque Vontobel, Private Banking winner of the Best Boutique Private Bank 2011.

Mouneer Al- Shaarani is a renowned calligrapher, designer and writer, living and working in Cairo, Egypt. Born in Syria, he graduated from the Faculty of Fine Arts in Damascus ( 1977). He studied under the great Syrian calligrapher, Badawi Al Dirany. His work has been exhibited internationally in Syria, Jordan, Lebanon, Egypt, Tunis, Algeria, Morocco, Bahrain, Abu Dhabi, Switzerland, France, Germany, Belgium, Italy, Yugoslavia, India, England and the USA. He is highly regarded across the globe for introducing uniquely innovative calligraphic styles and for taking his inspiration from everything that surrounds him, old and new.

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Ashé to Amen African Americans and Biblical Imagery

FEBRUARY 15–MAY 26, 2013
Museum of Biblical Art
1865 Broadway at 61st Street
New York, NY USA

The exhibition examines the complex place of the Bible in the life and art of African Americans, with particular emphasis on how biblical traditions were used by artists of African descent to help cope with the life that was imposed on them in the Americas. Although the majority of the works included in the exhibition date from the 19th and 20th centuries, they often reflect the experiences of the Middle Passage and slavery, which left their indelible mark on the artistic consciousness of the African American community. Ashé to Amen: African Americans and Biblical Imagery is supported, in part, by awards from the Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts.

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Happy holidays, peace and joy.

The ASC Contemporary Sacred Art editorial staff wish to everybody happy holidays, peace and joy.

Joyeux Noël et bonne année.
Feliz Navidad y próspero año nuevo,
Serene festività e auguri di felicità e pace

Sabrina Palmieri
ASC Editorial Office 

Wayne Adams. The (Sacred) Void

Thursday, November 29, 2012 at 6:00 PM
First Things Editorial Offices
35 East 21st Street, Sixth Floor
(between Broadway and Park)
(212) 627-1985

Wayne Adams is a Brooklyn-based painter. He received his BFA from Calvin College and earned his MFA from Washington University in 2000. Adams' work has been exhibited throughout the Midwest, New York, and Europe. He has written articles for various publications including Image: A Journal of the Arts and Religion, Comment Magazine, and The Curator and has taught at various New York City institutions including Parsons The New School for Design, Nyack College, and The International Center of Photography. Adams currently serves on the Board of Directors for Christians in the Visual Arts (CIVA).

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Tarshito belongs to that breed of artists who, from the late sixties throughout the seventies and beyond, have experienced a new ability to cross cultures, religions, and "other" places capturing precious legacies of knowledge, thought, and techniques to be developed into profound formulations of modernity and even projected towards the future.

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Palma il Vecchio, lo sguardo della bellezza

Until 21st  June 2015
Accademia Carrara-GAMeC
Via San Tomaso, 53
Bergamo, Italy

Palma il Vecchio was honoured with nine monographs, but the artist has never been celebrated in a monographic event. This is to offer the opportunity to hold an important exhibition with an international appeal, in the place where he was born, celebrating one of the protagonist of the Venetian Renaissance alongside Titian and following Giorgione. This unique event will see the arrival of 35 of Palma’s masterpieces from Italy and abroad, many of which were restored for the occasion.
The masterpieces of one of the undisputed geniuses of the Italian Renaissance will be reunited and on exhibit in Bergamo for one hundred days thanks to the outstanding support of the greatest museums in the world – the National Gallery in London, the Thyssen-Bornemisza Museum in Madrid, the Hermitage in St. Petersburg, the Kunsthistorisches Museum in Vienna, the Gemäldegalerie in Dresden, the Philadelphia Museum of Art, the Staatliche Museen in Berlin, and major Italian museums including the Uffizi in Florence, the Galleria Borghese in Rome, and the Gallerie dell’Accademia in Venice. Palma was a master at creating female figures brimming with life, and these figures marked his career, making him the great interpreter of female beauty infused with sensual appeal, which influenced the image of ideal woman of the late Renaissance. Palma Vecchio’s works were idealized and soon sought after by collectors, creating a veritable myth of the artist. His art develops mythological and allegorical subjects, but also sacred conversations in extraordinary landscapes. A poem of glances, stories, nostalgia, discoveries and glimpses of landscapes, inevitable references to his native land, Palma’s works offer us a depiction of the spectacular beauty that can still be admired in Bergamo today.

Per informazioni:

Speciale Tarshito 'Caresses to the Soul'

Sunday, April 27th 2014, from 11am to 1pm 
Speciale Tarshito
Strada Torre di Mizzo snc
70126 Mungivacca-Bari-Italy
tel/fax +39 080 5484699
mob +39 3355341129

The performance 'Caresses to the Soul' is the result of an experience of inner work, attempting to unite between performance art an spiritual quest. The performance will be during the event Mediterranean Spring. Since mid-February a group of people have met weekly with the guidance of some spiritual masters throught videos to increase awarness of their owner inner space. During the meetings, becoming even more intense and silent, everyone has searched and found a "gesture", a natural expression of that part of the internal space to maifest itself on the outside. During the performance, which will be the platform of meditation at Speciale Tarshito, visitors, in small groups, will enter without shoes will receive, through the gesture of the performer, a unique sound, a caress to his or her soul. 

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SS 100, mungivacca stazione exit, after crossing the tracks, turn right for 50 meter

Sacred Music Concert - The Musicians of Saint Clare

Sunday 27 April 2014 - h 21.00
Basilica di S. Ignazio
Piazza S. Ignazio
Rome, Italy

Director: Carma Romano-LaMorte
Programm: Arcadelt, Gabrieli, Monteverdi ed other author of sacred music.

Carma Romano-LaMorte began her musical education in the San Francisco Bay Area under such noted conductors as Maestro Vincenzo Giannini and Hugo Rinaldi of the San Francisco Opera. Her early liturgical education was in the Dominican tradition, with the Dominican Congregation of San Rafael, and at the San Domenico School. After secondary school, she entered the Oberlin College Conservatory of Music in Ohio, where she held a double major in violin performance and choral conducting, studying with members of the New Hungarian String Quartet, and with famed choral conductor Daniel Moe. After a summer fellowship at the Aspen Music Festival in Colorado, graduate school took her to New York, where she was enrolled at Sarah Lawrence College and the Juilliard School. In 1977, Romano-LaMorte made her first appearances in Switzerland and Austria as assistant conductor of the Sarah Lawrence College Choir. That same year, she won the Choral Conductors Prize at the International Bach Festival in San Moritz, Switzerland. Romano-LaMorte came to Colorado in 1978 to spend the next four years on the music faculty at the University of Northern Colorado. Moving to Denver in 1982, she became active as a violinist in area orchestras and music festivals. In 1991, she accepted the invitation to become Director of Liturgy for the Archdiocese of Denver. In 1993, in addition to forming the Musicians of Saint Clare, Romano-LaMorte was Liturgical Director for Catechesis for World Youth Day. Since 1996, the Musicians of Saint Clare has been an independent non-profit corporation. The Choir maintains a busy yearly concert schedule, as well as international tours and pilgrimages, including Christmas 1999 in Saint Peter's Basilica, Rome, for the opening of the Jubilee Year 2000, in the presence of His Holiness Pope John Paul II, and Easter 2002 at the Vatican. In November, 2003, she prepared the Musicians of Saint Clare for a performance of the Mozart Requiem in Rome, under the direction of Paul Salamunovich with the St. Petersburg Philharmonic Orchestra. Other international engagements have included a concert in the Sistine Chapel, and a concert for the Festival of Music and Sacred Art, in Rome. From 2000-2006, Romano-LaMorte held the podium of the Golden Concert Choir, a civic chorale dedicated to the performance of major classical choral works for the community of Golden and surrounding Jefferson County, Colorado. She lives in Golden, Colorado, with her husband, Andrew LaMorte, who is a tenor in the Musicians of Saint Clare.

The Musicians of Saint Clare was founded in 1993, in preparation for the VIII World Day, when Pope John Paul II visited Denver. After participating in that great event, the Choir began a schedule of concerts and liturgies in America, as well as regularly scheduled concert tours and pilgrimages to Rome, Assisi, and northern Europe. The Choir typically gives four concerts yearly in Colorado and the United States, and frequently tours internationally. Today, the Musicians of Saint Clare is a non-sectarian, ecumenical (faith-based) choral performing organization.

Programm- CONCERT
Magnificat (1610, Vespro) ................................Monteverdi (1567 - 1643)
Eripe Me ..................................................Robert Kreutz (1922 - 1996)
Thinking my Country ...................................Robert Kreutz (1922 - 1996)
Confide in Domino ......................................Robert Kreutz (1922 - 1996)
Totus Tuus ............................................Henryk Gorecki (1933 - 2010)
O Nata Lux .............................................................Pat Heid (*1949)
Adoramus te, Christe ..................................................Pat Heid (*1949)
Regina Coeli ............................................................Pat Heid (*1949)
Tu es Petrus ...................................................Palestrina (1525 - 1594)
Ubi Caritas (canto: 2.47; mottetto: 1.52) .....................Duruflé (1902 - 1986)
Jubilate Deo ......................................................Gabrieli (1557 - 1612)
Ave Maria .......................................................Arcadelt (1504 - 1568)

Direttore Artistico: Mons. Pablo Colino
Patrocinio: Associazione Internazionale Amici della Fondazione Pro Musica e Arte Sacra
Tel: 0039 - 06 68805816; email: info@aiams.it; www.amicimusicasacra.com

Organizzatore Tecnico: Courtial International s.r.l.
Via Paolo VI, 29 - 00193 Roma - Italia
tel. 0039 - 06 6889951; fax. 0039 - 06 68308568; email.info@courtial-international.it 


Until 21 april 2014
Pavillon de Verre
Louvre Lens

99, rue Paul Bert, Lens
Nord-Pas de Calais, France

Seeing the Sacred is based on a small number of artworks, seven, to give visitors at the end of their tour of the Galerie du Temps, a commentary on one of the themes that runs through it: the sacred. For each of the three major historic and artistic periods (Antiquity, Middle Ages and modern times), two artworks are compared, one from the collections of the museums of the Nord-Pas de Calais region, the other from the Louvre's collections, in order to investigate a theme more deeply, at the same time as putting the artworks back into context to enable visitors to understand them better.
Three themes have been chosen, the relationship with the hereafter and with the future, salvation and the apparition.

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The Angle of God

July 28th – September 14th, 2013
Saturday July 27th between 5.17 and 6.30

Church of San Matteo
Piazza San Matteo 3
Lucca, Italy

The artwork “The Angle of God” will be visible to the naked eye at 5,17 p.m. It will be perceivable by all present as a unique work that has within itself an action generating device, without the use of any technical or technological tools and without specific special effects: “The Angle of God” will activate and be in motion at certain times and for short intervals. The artwork will be installed on the pavement of the Church of San Matteo, in the central nave: the light filtering in from the rose window will refract on it offering a true epiphany to visitors. Three round kaleidoscopic mirrors, which segmented, broken and painted, will generate their own visions from their fragments, allowing all to observe the same image of light and color at three different times and in three different “solar phases” on the opposite wall. “The Angle of God” is a reflective and chromatically revealing device; by being an archetypal mandala, it announcesthe divine presence in the same light of creation and of vision. An immaterial, vibrant corner which, similarly to a literary “green ray”, will be a performing act of sculpture, positioned on the ground, radiates its image that at the same time, almost miraculously, coinciding with its own message. Blue and Joy have calculated that on July 27th, between 5.17 and 6.30 p.m. the sun’s rays will shine into the church: by working on the sunbeam's projected movement they have been able to create this unprecedented project which also includes other recent works that have defined their research. On display Blue and Joys post–Byzantine mosaics, large Masonite bas-reliefs made up ofthousands of emptied, fiberglass-like pills that represent graphic signs of punctuation. The capsules, in their pharmaceutical single-dose form, will serve as boardwalks for viewers, symbolic gangways over the linguistic and artistic meaning of exclamation and question marks. The installation paper planes, a tribute to Boetti's Aerei (1977), will also be shown at the Church di SanMatteo. The aluminum paper planes land horizontally on the walls, pivoting around the apse whilst the extra-largealuminum notepads, typed up or scribbled by pen & magic marker,   private musings on destiny, on what tomorrow holds, on the future, on art. A journal of intimate reflections, dreams and feelings thought “out loud” and openly, directly declared similar to “instantthoughts”. Thus Blue and Joy formulate their confidential aesthetics and the message simultaneously becomes their Doing. “The Angle of God” will be open until the 14th of September with the following schedule: Monday to Saturday from 4.30 pm to 7.30 pm. and on appointment (tel. + 39 0583 469490).

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Reaching Out

FEBRUARY 15–MAY 26, 2013
Museum of Biblical Art
1865 Broadway at 61st Street
New York, NY USA

Reaching Out traces American Bible Society’s relationship with the African American community built through Bible publication and distribution. Beginning shortly after 1816 and through the following decades, the Society was quick to respond to requests for Bibles mainly in the Northern States. During the Civil War, ABS provided with Bibles both Union and Confederate soldiers and escaped slaves who came North. The Reconstruction era allowed the Society to intensify its work among freedmen and African Americans living freely in the North. At the turn of the century ABS created a special “Agency for the Colored People of the South” to satisfy the African American community’s need for Scripture and hired local distributors who also brought relief in times of natural disasters. In the 1960s, with the advent of the Civil Rights Movement, ABS reached out to its African American constituency through pamphlets and special imprints. ABS’ activity reached new milestones with the publication of the African American Jubilee Edition of the Bible in 1999 and the release of the first New Testament translated into Gullah or Sea Islands Creole in 2005.

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Threshold to the Sacred: The Ark Door of Cairo's Ben Ezra Synagogue

March 2, 2013 - May 26, 2013
The Walters Art Museum
600 N. Charles Street
Baltimore, MD USA

Threshold to the Sacred: The Ark Door of Cairo's Ben Ezra Synagogue focuses on a work of exceptional historical importance jointly owned by the Walters Art Museum and the Yeshiva University Museum: an intricately decorated and inscribed wood panel from a Torah ark, a special cupboard that holds the sacred Jewish scripture. The panel is believed to come from the famous Ben Ezra synagogue of Old Cairo (Fostat), Egypt, which has captivated public imagination for over a century. Associated with the famous medieval thinker Moses Maimonides (1135–1204), the Ben Ezra synagogue is the site of the great 19th-century discovery of the Cairo Geniza, a treasure trove of documents on medieval Jewish life around the Mediterranean. This exhibition presents Geniza documents, photographs of the Ben Ezra synagogue, and art from Jewish and Muslim artisans, together with conservation science research, to relate the fascinating ‘object biography’ of the Walters-Yeshiva ark door. A version of this exhibition will travel to the Yeshiva University Museum in New York City in the autumn of 2013.

For more information:

The Collectors Show: Weight of History

25 Jan - 5 May 2013
71 Bras Basah Road
Singapore 189555

The Collectors Show is one of the most anticipated shows on the arts calendar and continues to present compelling contemporary artworks from private collections in Asia. Defying conventional expectations of private art collections as being merely showpieces to be hung on walls, this edition features a spectrum of more than 20 works that show how artists perceive, and re-conceive the multiple facets of history in the Asia-Pacific region. Curated and independently organised by SAM, Weight of History examines how artists engage with, and evaluate, local traditions and culture, translating them into masterpieces which display the interconnected relationship between past ahttp://singart.comnd present in our increasingly globalised societies.

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The Call of the Forest. Trees and Forests in the Würth Collection

Until 19 May 2013
Musée Würth France Erstein
Z.I Ouest
Rue Georges Besse BP 40013

The idea for an exhibition based around the theme of the forest first came to collector Reinhold Würth about ten years ago. The exhibition was first shown at the Kunsthalle Würth in Schwäbisch Hall in 2011, the international year of forests, and has now been adapted for presentation at the Musée Würth in Erstein. For artists, the forest, and more broadly nature, is an ideal terrain into which to project fantasies, fears and hopes. As a reflection of their culture, their history and the society contemporary to them, it constitutes a “mirror subject” for humanity, according to the art historian Fabrice Hergott. A place of danger, evil, ordeals and adventures, but also a refuge offering protection and peace in Antiquity, the forest soon became the backdrop for fairy tales inhabited by witches, ogres and other fantastic creatures embodying human violence. After the phenomenon of Waldsterben (decline or death of the forest) entered our consciousness in the 20th century, the taste for the forest evolved: in an essentially urban, ordered, controlled world, people were attracted more by the idea of urban regeneration than the wild aspect. It became a part of the setting for urban life. The dark, obscure, menacing forest gave way to a promise of a more essential life and a return to original harmony. The vision of the forest also varies according to different cultures: the Anglo-Saxon conception of nature, often represented in the naïve form of a garden, stands in opposition to the Germanic view of forests as icons of the nation, darker places marked by history. Today, these criteria tend to blur: the vision of the forest is more universal, more globalised, as it becomes a key to survival, a space to be preserved, an ideal of non-urbanised life. The Würth collection possesses a vast and unique body of works exploring the theme of the forest, and a broad selection is being presented at the Musée Würth France Erstein. From Ernst Ludwig Kirchner to David Hockney, by way of Alfred Sisley, Georg Baselitz, Max Ernst, Gerhard Richter and Christo, the exhibition explores the diverse aspects of the representation of the forest in the history of modern and contemporary art. 

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The Place of Provenance. Regional Styles in Tibetan Painting

Until March 25, 2013
Rubin Museum of Art
150 West 17th Street
New York, NY USA

The fourth in a series of exhibitions curated by the renowned Tibetan scholar David Jackson, The Place of Provenance: Regional Styles in Tibetan Painting explores the four distinctive provincial artistic styles of Tibet as well as those of Bhutan, Mongolia, and Qing-dynasty China. Although provincial styles are crucial to identifying the origin of Tibetan paintings, the elements of each style are largely unknown to Western scholars. The exhibition compares certain key elements of landscape, such as skies, clouds, and snow mountains, as a means of exploring the unique artistic attributes of each region. Through his research and this exhibition, Jackson debunks the common Western belief that a single style, the Lhasa-based New Menri, dominated the majority of these provinces in recent centuries. In the last four centuries, the Menri style (founded by the artist Menthangpa in the mid-fifteenth century) dominated Tibetan painting. It differs from the earlier Indic styles (Sharri and Beri) by featuring Chinese-inspired landscapes in its backgrounds. Four of Tibet's five provinces had their own dominant styles, each of which was a local variety of the Menri. Though the provincial styles are a crucial feature of Tibetan painting, they are virtually unknown to most Western art historians. Yet it is essential in order to determine the time and place of creation, to discriminate, for example, painting from the two central provinces U and Tsang. It is also necessary to note that minority styles also existed in each province, including non-Menri styles. Curated by David Jackson. The exhibition will be accompanied by a catalog supported by the Henry Luce Foundation.

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Contemporary Archeologies

1 June – 14 October 2012
Musée du château des ducs de Wurtemberg
Cour du Château
Montbéliard, France

Opening: 31 May 2012, 6pm

In the eighteenth century, with the excavations of Pompeii and Herculaneum, archaeology gradually took shape as a scientific discipline in its own right whose main objective was to discover possible traces of past civilizations in order to gain a better understanding of the present. Although it is indeed a science, archeology has always been a fantastic source of myths, of marvelous imaginary stories that inspire many creative people, whether writers, theoreticians, visual artists, composers, or film makers. The ruins of entire cities, vestiges and production processes, as much as the objects themselves, have had a strong impact on the mindset of artists, who, since the 1960s, have reconceived this discipline from a contemporary viewpoint. Visual language (stratifications, fragments, calligraphies, drawings, impressions, traces…), materials and tools (molds, objects, sculptures) that have been borrowed from archeology have been given a fresh reading. In the same museum 'Contemporary Archeologies' showcases how archeology inspires visual artists in their work, either constantly or in specific projects. Installations, sculptures, photographs,16 mm films by some fifteen artists of every background and nationality offer a range of views on this discipline, re-experienced, reinterpreted and reinvented in light of our contemporary reality. 'Contemporary Archeologies' can be understood as a continuation of the exhibition simultaneously devoted to the archeologicalsite of Mandeure. The event is accompanied by a bilingual (French and English) catalogue with introductory text by the curator, interviews with artists and colour illustrations of all the works included in the show. The exhibition includes works by: Katinka Bock, Sophie Bueno-Boutellier, Chiara Camoni, Thea Djordjadze, Camille Henrot, Ian Kiaer, Hassan Khan, Gabriel Kuri, Lloyd Corporation, Chloé Maillet and Louise Hervé, Adrien Missika, Jean-Luc Moulène, Nashashibi / Skaer, Shahryar Nashat, Gyan Panchal.

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VideoTop Paolo Simonotti presenta IOTIAMO 2045 Capsula del tempo di Antonio Spanedda

Incontro con William Xerra Accademia di Brera 1a parte

Incontro con William Xerra Accademia di Brera 2a parte

Incontro con William Xerra Accademia di Brera 3a parte

Incontro con William Xerra Accademia di Brera 4a parte

Presentazione mostra Bellezza divina tra Van Gogh, Chagall e Fontana

IOTIAMO Contemporary Art Project


Revealing GOØD


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Fe & Arte 2012 - Sequeri 2

Mostra di Artisti Contemporanei insieme per il Fund Raising 'Dona Gioca Colleziona Arte'

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No Strangers

Mimmo Paladino, installazione in Piazza Santa Croce, Florens 2012


Passio 2006-2010

Meet the Artist Jan 2012: Brandenburg Spring Choral Festival

Black Voices - Something Inside So Strong

Makoma - Moto Oyo

The Tree of Life Chapel - Braga, Portugal

Calligraphy : Julien Breton - Kaalam

The Art of Living Sri Sri Ravi Shankar

Terra Rut di Camilla Marinoni

Fuoco Mosè di Camilla Marinoni

Mina - Dalla Terra (Magnificat di Marco Frisina)

Ravi & Anoushka Shankar - Raga Anandi Kalyan

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ASC DAY 2010 Alta Valsesia VC Italia


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Intervista Don S. Barbaglia, A.B. Del Guercio


L'armonia della Vita di Terzani

IO TI AMO by Antonio Spanedda

Divine Comedy Divina commedia inferno 1° canto

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Affezione di Mons. Pierangelo Sequeri

Madre Teresa. Una bambina di nome Gonxhe

Eremo outing di Paola Lotti

O Tannenbaum (Oh, Christmas Tree) (Vince Guaraldi)

I am Jesus

Passione secondo Luca: ANTEPRIMA

The White Light Festival

ČIURLIONIS: Un viaggio esoterico 1875 – 1911

Waldemar Januszczak on Raphael

Homage to Muslim Art depicting Muhammad

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Insieme a Don Tonino Bello...

Flare II - A Conversation with Antony Gormley

Jeremy Rifkin, 'La civiltà dell'empatia'

Sacred Music Colloquium (CMAA)

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Antonio Spanedda


Stefano Pizzi


Roberto Priod


William Xerra


Associazione WeDoCARE


Nizzoli Architettura


Gabriele Mandel


'Tarshito' Nicola Strippoli




Ministero per i Beni e le Attività Culturali


Udine città del Tiepolo




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Michelangelo Pistoletto