You have art fairs, symposiums and Biennales based in the continent.
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In 2007 he demanded that artists should stop flying to biennales abroad.
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He represented Italy at the Venice Biennales of 1964, 1966 and 1984.
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Having been to many biennales over the years, I can tell you that most, if not all, biennales are nothing more than crafty PR stunts that cities use to cultivate cultural capital in order to entice wealthy, foreign, Western-educated tourists.
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The pavilion itself has been an active part of previous Biennales, both art and architecture.
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At their worst, biennales are like circle-jerks for the pre-initiated, Western art jet-set elite.
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There's a lot of music events, film festivals, art biennales, and a lot of them are very transitory.
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His work has been seen at the Lyon and Berlin Biennales and at the New Museum Triennial in 2012.
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All exhibitions are free, unlike some biennales that charge more than $30 for entry fees to each exhibition space.
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Thirty other established artists, several of whom had represented Ireland at Venice biennales for example, also lost their working spaces.
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As with most biennales, the most interesting projects at Manifesta took place not within the official program, but on the periphery.
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Scores of cities now host biennales, the every-two-years-let's-put-on-a-show idea inaugurated in Venice in 1895.
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There has been a recent spate of biennales in Australia, Morocco, Yinchuan China, and Singapore where postcolonial identity has staked its claim.
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Big biennales like Manifesta, in contrast, remain up there with building glitzy contemporary art museums on many modern cities' lists of priorities.
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Yet, without improving the quality of experiences on offer at such biennales, it seems that this model has now reached its logical conclusion.
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In 1954, for example, MoMA bought the US pavilion in Venice, determining through successive Venice Biennales what American art "is" to the world.
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At their best, biennales can offer space for much-needed debate, research, projects, and new commissions that examine both local and broader international issues.
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His chicken art project has been seen worldwide, including in Shanghai, Beirut and Havana; he has participated in three Venice Biennales, most recently in 2015.
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The city had hosted three major art biennales in 1968, 1970 and 1972, encouraging the artists to begin planning for a museum to exhibit contemporary art.
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While biennales like Manifesta might pay lip service to various social justice causes, the commercial motives of such exhibitions undermine their power to foment real social change.
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It could be said that the biennales, design capitals, conferences, and conventions seen today in a multitude of fields are descendants and usurpers of the World's Fair.
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Mr. Erlich has since shown his work at biennales around the world and has had solo shows in New York, London, Paris, Beijing, Tokyo, Madrid and other cities.
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EVERY odd-numbered year, more than half a million culture-vultures descend on Venice to visit the Art Biennale, the art show on which all other biennales are based.
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Meanwhile, on the shores of fortress Europe, brimming with museums full of classical antiquities and objects spanning cultures and centuries, biennales continue to make desperate pleas for social change through contemporary art.
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Contemporary art in Turkey, a country of more than 80 million people, is almost exclusively concentrated in Istanbul, home to scores of museums and galleries and one of the world's most prestigious biennales.
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Take the fact that contemporary-art biennales flicker on and off around the planet like fireflies on a summer night, fed by dealers and collectors in places where such people were not known before.
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" Nonetheless, Sehgal has achieved significant critical success in the confines of the art world's most important museums and prestigious biennales, even earning Jerry Saltz's praise for creating the only work of art he's ever encountered that "could cry back.
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But other biennales are probably also prey to this to a certain extent, although Qi does not call itself a biennale, and the expansive curated exhibition that is usually central to that format has not been the model here.
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I no longer received invitations to basement bowling alleys or damp attics or absurdist theater performances or group shows or biennales, over the course of a summer I was expelled from the artistic group, I was driven out like a leper.
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Art collectors have picked up her works — which also include video, photography, painting and performance art — at art fairs like Art Basel, Paris Internationale and the New York Armory Show and in biennales from Venice to Sydney, Australia, to Dakar, Senegal.
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The inclusion of Zeid's work at the Istanbul and Sharjah biennales in 2015 grabbed the attention of Western curators, leading to the shows in Berlin and London, and helping Zeid regain her rightful place in the western oriented global art circles.
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Advertise on Hyperallergic with Nectar Ads YOKOHAMA, Japan — Unlike the recent trend in biennales and triennales to bombard the audience with works by numerous artists, the sixth edition of the Yokohama Triennale, Islands, Constellations, and Galapagos, comprises merely 38 artists and one makeshift collective.
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Advertise on Hyperallergic with Nectar Ads BERLIN — New York fashion collective DIS utterly dis-appoints, dis-integrating the Berlin Biennale, what was once one of Europe's most socially engaged and politicized biennales, into a bricolage of ahistorical rubbish, second-rate post-internet aesthetics, and crass co-branding opportunities.
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Christine Eyene became the first African woman to curate two biennales in the same year; the German-Cameroonian Marie-Ann Yemsi curated the 11th Bamako Encounters at the National Museum of Mali; and Sandrine Colard was appointed artistic director for next year's Biennale of Lubumbashi in the Democratic Republic of Congo.
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Karapet Yeghioazaryan participated in numerous exhibitions, international symposiums and biennales, had his personal exhibitions in Armenia and abroad.
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Pondick's work has been included in international exhibitions including the Lyon, Venice, and Johannesburg Biennales, the Whitney Biennial, and Sonsbeek.
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He participated in numerous art festivals and biennales, including Manifesta 10 in Saint Petersburg, Moscow Biennale of Contemporary Art, and Photoquai in Paris.
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In 2014, the Jerusalem Biennale became a member of the Biennial Foundation, together with more than a 100 Biennales from around the world.
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Participated in two Biennales of São Paulo (1985 and 1994). Lives and works in São Paulo, Brazil. Some of his works are in important collections, such as MOMA's.
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Yuki Kihara will represent New Zealand at the 2021 Venice Biennale, making her the first artist of Pacific descent to represent the country at the world's oldest art biennales.
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Levin organized three Biennales at the museum. At the end of 2013, Levin retired. The last exhibition that she curated, Rising Star (2014), brought together leading graduates of Israel's art schools.
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Their work has been exhibited additionally at the Tate Modern, Centre Pompidou in Paris, Istanbul Modern, Artists Space, NY, 8th Berlin, 9th Gwangju, 1st Yinchuan and 10th Manifesta Biennales, among other institutions.
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Anselmo's first solo exhibition was in 1968 at the Galleria Sperone in Milan. One of his works from 1971 is titled Invisible. Another from 1984 is titled senza titolo. Anselmo participated in the Venice Biennales of 1978, 1980 and 1990.
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In late 2007 he had a solo exhibition at the National Gallery of Victoria, that set his works on colonialism in an international context. Bennett exhibited his work in biennales in numerous cities, including Sydney, Venice, Gwangju, Shanghai, Prague and Berlin.
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It was the establishment of the Biennale of Sydney, in November 1973, that constitutes the most important contribution to Australian and international arts by Transfield. From 1973, when Prime Minister Gough Whitlam officially opened the first Biennale at the newly opened Sydney Opera House until today, Transfield has been the major sponsor of this event. During the span of over 30 years, the company probably invested over $6 million in-kind and cash to the fifteen Biennales. Amongst other contributions, it refurbished the Biennale venues at Pier 2/3 and Bond Store 4, Walsh Bay for three Biennales.
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Miriam Stannage (1939 – 2016) was an Australian conceptual artist. She was known for her work in painting, printmaking and photography, and participated in many group and solo exhibitions, receiving several awards over her career. Her work was also featured in two Biennales and two major retrospective exhibitions.
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With financial assistance from the firm of Salviati & C., for whom he produced products, he formed in 1950 his own glass firm, Vetreria Alfredo Barbini (reorganized in 1983 as Alfredo Barbini Srl). His firm exhibited his work at the Venice Biennales from 1950 to 1961. He died in 2007.
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Eric Nakamura is a Japanese American magazine publisher, gallerist, and entrepreneur. He is the co-founder of Giant Robot, owner of the Giant Robot store and GR2 Gallery, and curator of the Giant Robot Biennales and other museum exhibitions.Vivien Hao, , AsianWeek, November 19, 2007. Retrieved September 13, 2015.
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Biennalist is another Art Format by Thierry Geoffroy / Colonel, concurrently commenting on active biennals and managed cultural events through artworks. Biennalist takes the thematics of the biennales and similar events like documenta, festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate. Often the pertinence of the themes of the biennales is tested on location. Biennalist has been activated at the Istanbul Biennial 2007, Venice Biennale 1999, 2001, 2003, 2005, 2007, 2009, 2011, 2013 and 2015, Athens Biennale 2007 and 2011, Biennale of Sydney 2010, Sarema Biennale 1997, Rotterdam Biennale 1990, U-Turn Quadriennale 2008, Manifesta 2010 and Liverpool Biennial 2010.
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The success of the circus arts during the Marseille Provence 2013 inspired the Archaos company to create the first Biennale Internationale des Arts du Cirque in 2015. The first biennale featured circus companies such as Nofit State Circus, Cirque Éloize, and the Chinese State Circus. The first Biennale was such a success that in 2016 the company created the L'Entre–Deux Biennales to meet public demand and continue to foster the circus arts in years when the Biennale was not being held. Archaos was nominated for the Best Producer award for the L'Entre-Deux Biennales project at the 2016 Annual International Professional Circus Awards in Sochi, Russia that were organised by the Russian Ministry of Culture.
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He was appointed an Officer of the New Zealand Order of Merit, for services to the arts, in the 2001 New Year Honours. Cleavin has represented New Zealand at various international print biennales, in Berlin, Krakow, Ljubljana, Paris, Sapporo, San Francisco, and Tokyo."Barry Cleavin," Solander Gallery. Retrieved 23 November 2019.
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Zemplényi's In the Church (1889), exhibited at the 1900 Paris Exposition Tivadar Zemplényi (1864, Eperjes – 1917, Budapest) was a Hungarian painter, noted for his realism. A medalist at the 1904 St. Louis World's Fair, he also exhibited at the 1900 Exposition Universelle, as well as the Venice Biennales of 1901, 1905, and 1909.
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Akhavan's family immigrated to Canada during the Iran–Iraq War. His work has gained international acclaim, exhibiting in museums, galleries and biennales all over North America, Europe and the Middle East. He is the recipient of the Kunstpreis Berlin (2012), the Abraaj Group Art Prize (2014), and the Sobey Art Award (2015).
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In 2002, he created an installation artwork named Tenth Planet. In 2005, he followed with Sea Anemone. During Goa's first IFFI in 2004, Kerkar was chosen to set up 500 metres of installations along Miramar beach. Following this, he was invited by some international biennales and art projects to create public sculptures.
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Barker is based in Johannesburg. He rose to prominence in the late 80s, at the height of political unrest under the Apartheid regime. His work has featured in several global biennales, art fairs and important retrospective exhibitions. He works in various mediums, including but not limited to painting, printmaking, sculpture, video, performance and installation.
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His ongoing curating projects include large-scale collateral projects for the prestigious Venice Biennales from 2007-2017 (52nd~57th Edition), and a series of critically acclaimed exhibitions that he collaborates with Sophie Calle, Sarah Lucas, Andy Hope 1930, Ellen Gallagher, Mat Collishaw, Noble & Webster, Miroslaw Balka and Gavin Turk in the Freud Museum, London.
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In 2001, Giancarlo Politi started the so-called "no-budget biennales". The first one was held in Tirana, Albania, but then, following a disagreement with the local art institutions, he opted for Prague. The first Prague Biennale inaugurated in 2003 and was followed by five other editions as well as three editions of the Prague Photo Biennale.
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Zabala is ICREA Research Professor at the Pompeu Fabra University, where he currently teaches contemporary and political philosophy, supervises Ph.D. students and directs the UPF Center for Vattimo’s Archives and Philosophy. In addition to an extensive speaking schedule at conferences, festivals, and art Biennales, Zabala is also visiting professor at Renmin University, IDSVA, and several other international institutions.
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Furthermore, he has been a featured composer at numerous music festivals, including Music Today and the Suntory International Program in Japan, the Edinburgh and Proms festivals, the Helsinki and Zagreb biennales, the Darmstadt Courses, New Music Concerts (Toronto), Warsaw Autumn, Why Note? (Dijon), Musica Viva (Munich), the Agora Festival (Paris), various ISCM festivals, and the New York Philharmonic's Horizons.
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Many of Jamaica's contemporary artists in the 1990s were concerned with post- colonial issues of identity and place. They explored these issues through group shows, such as the Caribbean Biennales and other regional exhibitions. This allowed them to establish commonality with artists from other islands. The art of this past decade appears to be shifting in focus once again.
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Stylistic themes across the 58th Biennale included figurative painting, immersive video installation—including a virtual reality work by Dominique Gonzalez-Foerster—and kinetic sculpture. There were also several art duos in exhibition. Over 600,000 visitors attended. In light of the climate crisis and iconic, severe flooding in Venice in the Biennale's last days, Artnet asked whether future Biennales should better advocate for sustainability.
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The most prominent of the festivals that evolved from the original Istanbul Festival is the Istanbul Biennial, held every two years since 1987. Its early incarnations were aimed at showcasing Turkish visual art, and it has since opened to international artists and risen in prestige to join the elite biennales, alongside the Venice Biennale and the São Paulo Art Biennial.
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Adriana Jadranka Maraž (26 December 1931 – 8 May 2015) was a Slovene graphic artist. She was born in Ilirska Bistrica. From 1949 until 1957, she studied painting and graphic art with the professor Maksim Sedej at the Academy of Fine Arts (Akademija za likovno umetnost) (ALU) in Ljubljana. She had many solo exhibitions and has participated in the Graphic Art Biennales in Ljubljana.
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They showed interiors of churches and his studio, and still lifes. During 1938–1942 he painted a series of church interiors, developing a new approach to depicting space. Deep three- dimensional spaces taken from many different viewpoints are balanced by a refined treatment. The Trogir cycle of 1936 was welcomed by critics, and he was elected to participate in the Venice Biennales of 1942 and 1952.
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Some important exhibitions where he participated include the Biennales in Paris (1971), and in Venice (1978) and the Documenta in Kessel (1975). Das was previously married to Varsha Das. He currently married to Bidisha Roy Das. Jatin has three children; actress & filmmaker Nandita Das, Siddhartha Das a cultural professional working through art and design for developmental issues, and Rehaan Das who is a student.
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In 1988 he started to cultivate silk worms, to meet his attraction to rough silk which he uses amply in his art works.Brouwer, Marianne, biographyBrouwer, Marianne (2009) Article on Liang Shaoji Credit Suisse (2010) Today Art Award ShanghART Gallery, resume He exhibits internationally. Among others, he has presented his work at the biennales of Venice (1999), Istanbul (1999), Lyon (2000) and Shanghai (2000 and 2006).
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The Biennale of Sydney is an international festival of contemporary art, held every two years in Sydney, Australia. It is the largest and best-attended contemporary visual arts event in the country . Alongside the Venice and São Paulo biennales and Documenta, it is one of the longest running exhibitions of its kind and was the first biennale to be established in the Asia-Pacific region.
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Olga Lomaka (born September 10, 1982) is a Russian gallerist, contemporary artist and curator. Her style is known for working primarily within the pop- art movement, combining diverse materials and techniques in her pieces. Lomaka is actively exhibiting worldwide, participating in global art-fairs and biennales. She was named the Best Artist of the Year and won The Annual Award at the Aurora European Awards in Moscow in 2014.
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In the same year he exhibited at the Venice Biennale, the first Futurist to do so. In the course of his life he participated in ten Biennales. From 1926 to 1939 he lived in Rome, contributing to various art magazines. In 1925 he exhibited at the Permanente and in 1927 at the Gallery Pesaro in the first of a series of Futurist exhibitions, including a one-man show in 1931.
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Hans Danusers work is regularly showcased in important solo and group exhibitions at home and abroad. He has been invited to contribute to international events such as the biennales in Venice and Lyon. He is one of the first photographer to have taken the conceptually compelling step of presenting his large-format tableaux on the floor in a museum exhibition.Hartmut Böhme in conversation with Hans Danuser, Die Oberflächen sind niemals stabil.
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The Arab Museum of Contemporary Art and Heritage is the first Arab museum of Contemporary Art, established in Israel. It was founded by two Israeli artists Belu-Simion Fainaru and Avital Bar-Shay. After curating several Mediterranean Biennales they decided that the idea of exhibiting Arab, Jewish and Mediterranean artists together worth a museum collection. The museum was inaugurated in June 2015 by Sakhnin Mayor Mazen Gnaim and President's Reuven Rivlin wife Nechamia Rivlin.
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Hernmarck lived in Canada from 1964–1972, followed by England 1972–1975, eventually moving to New York in 1975. Hernmarck married industrial designer Niels Diffrient in 1976. She participated in the Lausanne Biennales of 1965, 1967, and 1969, received a solo exhibition at MoMA in 1973, and a second solo exhibition at the Los Angeles County Museum of Art in 1974. In 1973, she received the American Institute of Architects Craftsmanship Medal.
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White began exhibiting in 1957 and held her first solo in 1962 (Broken Hill); significant solo shows include New York, Cologne, Amsterdam, Munich, Adelaide, Sydney. White has represented Australia in over 60 international biennales, triennales, etc. in US, Germany, Japan, Italy, Spain, Brazil, China, Hungary, Poland, Canada, Yugoslavia, US, and UK.McCulloch, Alan, McCulloch, Susan & McCulloch Childs, Emily (eds). The New McCulloch's Encyclopedia of Australian Art, 2006, Melbourne: Aus Art Editions, p. 1020.
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In the early 1990s she started on a series "El oro de los tigres" (The Gold of Tigers) in which dark structures were placed on yellow backgrounds. By the late 1990s, the geometry of her work was characterized by the sensuality of color. From 1954 to 1992, Freire had 17 solo exhibitions in Montevideo, Buenos Aires, São Paulo, Río de Janeiro, Barcelona, Bruselas and Washington. She took part in many group exhibition and international biennales.
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Melissa Chiu (born 1972) is a museum director, curator and author, and the Director of the Hirshhorn Museum and Sculpture Garden in Washington, DC. She is a board member of the Association of Art Museum Directors, the American Alliance of Museums, and the Museum Association of New York. She is also on the founding Advisory committee for the USC American Academy in China and has participated in the advisory committees for the Gwangju and Shanghai Biennales.
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Firoz Mahmud (ফিরোজ মাহমুদ) is a Bangladeshi visual artist. He was the first Bangladeshi fellow artist in research at Rijksakademie Van Beeldende Kunsten in Amsterdam. Mahmud's work has been exhibited at the following biennales including Sharjah Biennale, 1st Bangkok Art Biennale, entry at the Dhaka Art Summit, Setouchi Triennale (BDP), 1st Aichi Triennial, Congo Biennale, 1st Lahore Biennale, Cairo Biennale, Echigo-Tsumari Triennial, Asian Biennale. He was an awarded guarantee from Asian cultural(ACC) in New York.
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Parmakelis has represented Greece at many international exhibitions and Biennales. His work is anthropocentric, characterized by elliptical figures that combine solid structure and expressive mobility.Yiannis Parmakelis bio from the contemporary greek art institute Examples are exhibited at museums, public spaces, private institutions and organizations in Greece, Europe and the Americas.Ο γλύπτης που αγαπούσε τα άλογα, το Βήμα onLine, 14 Οκτωβρίου 2012; archived here In 2011, he was elected a member of the Academy of Athens in the section of Letters and Fine Arts.
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Zaatari has been exploring issues pertinent to post-war Lebanon. He investigates the way television mediates territorial conflicts and wars, and is particularly interested in logic of religious and national resistance movements, and the circulation and production of images in the context of today's geographic division in the Middle East. His work has been widely exhibited worldwide in biennales and venues such as the Centre Pompidou and is in the permanent collection of museums such as Tate Modern and the Thyssen Bornemisza Contemporary.
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Proportion of female artists in ten recent global biennales, 2017 The report states that half of the persons working in the cultural and creative industries are female. However, a gender gap persists worldwide concerning equal pay, access to funding and prices charged for creative works. Consequently, women remain under-represented in key creative roles and are outnumbered in decision-making positions. Women make up only 34% of Ministers for Culture (compared to 24% in 2005) and only 31% of national arts program directors.
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He also participated in numerous collective exhibitions in Mexico and countries such as Japan, France, Hungary and Cuba. Many of these were biennale events such as the Salón Annual de Pintura y Grabado in Mexico City in 1958, the International Biennale of Painting, Sculpture and Engraving in 1960, various biennales of the Instituto Nacional de Bellas Artes for sculpture in the 1960s, the International Printing Biennale in Tokyo in 1960 and 1972 and the Sao Paulo Biennale in 1961 and 1972.
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He educated himself in modern art and at the Venice Biennales saw the work of Mark Rothko, Barnett Newman, and Ellsworth Kelly. For the history or glass art he used the local resources of the Murano Glass Museum, and his attempts to recreate historical models expanded his vocabulary as well. Nine years later, at the age of 25, he earned the rank of maestro. He interrupted his years of training to complete his compulsory service in the Italian military in 1952-54.
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He was awarded the Guggenheim Fellowship in 1987, the Internazionale di Cultura Citta di Anghiari in 1985, in 1993 he received the National Endowment for the Arts in conjunction with Jonathan Green and the California Museum of Photography in Riverside. He has also received numerous awards in Mexican Photography Biennales and the very first grant destined to a Web project, awarded by the Rockefeller Foundation. In 1995, Meyer was selected in Time magazine as one of the best Mexican photographers.
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By 2008, he had held 146 one-man shows in the Czech Republic and abroad – in the Netherlands, Belgium, Germany, Japan, the USA, Sweden, Denmark, Poland and Slovakia. He has taken part in almost 300 exhibitions, including international biennales of graphic art – Ljubljana, Kraków, Paris, Trieste, Grenchen, Buenos Aires, Frechen, Bradford, Biella, Rijeka, Segovia, Tokyo, Heidelberg, Nuremberg, Malbork, Lodz, Frederikshavn, Berlin, Miami, Toronto, Fredrikstad and Beijing. Since the 1970s, his colour lithographs have been exhibited in European galleries presenting modern Czech graphic art.
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In 1996, Ashbery won the Grand Prix des Biennales Internationales de Poésie (the "Grand Prize of the International Poetry Biennials") from the Maison Internationale de la Poésie (the "International House of Poetry") in Brussels, Belgium. Ashbery was the first English-language poet to receive the prize, which is given once every two years to "crown the published work of a living poet, whatever his nationality may be." It was accompanied by a cash prize of 150,000 Belgian francs, which at the time was worth about .
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According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to, produce or frame the history of the site and communities' collective memory.Vittoria Martini e Federica Martini, Just another exhibition. Histories and politics of biennials, Postmedia Books, 2011 , .
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His performance repertoire includes concertos, chamber music and solos. He has given numerous recitals in Europe, Asia and North America and has performed with orchestras including the Orchestre Philharmonique de Luxembourg, with which he recorded Concerto for Marimba and Orchestra by Camille Kerger (1997). He has participated in many festivals, including "Archipelago" in Geneva, "Ars Musica" in Brussels, "Ultima" in Oslo and "Musica" in Strasbourg, the Huddersfield and Zurich festivals and the Venice and Zagreb Biennales. He has recorded for Universal, Fingerprint and Auvidis studios.
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One of the founder-editors of Journal of Arts & Ideas (Delhi), she has also been on the advisory boards of Third Text (London), Marg (Mumbai), and ARTMargins. She was a jury member of the Biennales of Venice (2005), Dakar (2006), and Sharjah (2007). She is a member of the Asian Art Council at the Guggenheim Museum, Asian Art Archive in Hong Kong, and the Kochi-Muziris Biennale. She was awarded the Padma Shri for her contribution to Art by the Government of India in 2009.
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ArtSchool Palestine (ASP) is a non-profit organisation based in the Palestinian territories and in London. It was founded in 2005 by Charles Asprey, Sacha Craddock and Samar MarthaBritish Council to promote and support Palestinian artists and aid their participation in international contemporary art exhibitions and biennales. ASP has held events and exhibitions, including As If By Magic, to which the British artist Damien Hirst lent his support; and Points of Departure, a group exhibition and public programme with six residencies in London and Ramallah by British and Palestinian artists, organised with the British Council.
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Launched in 2008, and open to the public since January 2009, RMB City is a platform for experimental creative activities, one in which Cao and her collaborators use different mediums to test the boundaries between virtual and physical existence. Collaborators were for example Uli Sigg, wo received a virtual city hall or Rem Koolhaas. Within this virtual city art institutions could organize online biennales or similar virtual gatherings. RMB: A Second Life Planning By China Tracy was acquired by The Solomon R. Guggenheim Museum for its contemporary art collection in 2008.
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Nieuwdorp was also a member of the scientific committee of various national and international exhibitions. In this capacity, he organized, among others, ‘Jordaens’ (1993), 7 Middelheim-Biennales (1980, 82, 84, 86, 88, 90, 92), ‘Antwerp Altarpieces’ (1993), ‘Antwerps Masters from the Hermitage’ (1968), ‘Jan Boeckhorst’ (1990), and ‘Juan de Flandes’ (2011). In 2014, Nieuwdorp donated his complete collection of documentation on 15th- and 16th- century South Netherlandish altarpieces to Illuminare – Centre for the Study of Medieval Art (KU Leuven). In the course of 2015, Illuminare will catalogue and make available his documentation for research purposes.
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Between 1978 and 1988, Escobar was the curator for Paraguay at the Biennale of São Paulo. Furthermore, he was curator for several versions of the Venice Biennale and the biennales of Cuenca, Trujillo, San Juan, Buenos Aires, Lima and Porto Alegre, and for a number of expositions in Latin America and Europe. At the beginning of the 1990s, he joined two movements for Indigenous peoples' rights: the Asociación Indigenista del Paraguay and the Asociación Apoyo a las Comunidades Indígenas del Paraguay (ACIP). From 1991-1996 he was Director of Culture of the city of Asunción.
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After graduation, Nakamura worked at VideoGames & Computer Entertainment shortly before starting Giant Robot. In 1994, he and Martin Wong co-founded Giant Robot, which began as a self- published magazine and grew into a widely circulated bi-monthly magazine about Asian pop culture. In 2001, he opened the first Giant Robot store in Los Angeles. The magazine ceased publication in February 2011, but Nakamura continued publication through the curation of several Giant Robot Biennales at the Japanese American National Museum and the SuperAwesome: Art and Giant Robot exhibition at the Oakland Museum of California Art.
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Neudecker has shown widely internationally, notably in Biennales in Japan, Australia and Singapore, also solo shows in Ikon Gallery, Tate St Ives and Tate Britain. In 2010 she presented a solo exhibition at Galerie Barbara Thumm, Berlin, won the Ludwig Gies Preis for her participation at Triennale Fellbach 2010 (Germany), made a new commission for Extraordinary Measures, Belsay Hall, Castle and Gardens, Newcastle upon Tyne (UK) and was invited to spend three month at the Headlands Centre for the Arts, San Francisco (USA). She was born in Düsseldorf, Germany.
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Stingel has participated in the 1999 and 2003 Venice Biennales. His work was the subject of a mid-career retrospective called Rudolf Stingel and was organized by the Museum of Contemporary Art, Chicago. It was exhibited at the MCA and at the Whitney Museum of American Art, New York, in 2007. In his first solo museum exhibition in the United States, Stingel lined the MCA's three-story atrium space, and a gallery space at the Whitney, with an aluminum-faced installation and suspended an ornate chandelier from the ceiling.
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Lyons was Head of Sculpture at the Manchester Metropolitan University between 1989 and 1993 and also taught at college in the USA, China, and Canada. He represented Britain in Biennales in China, Argentina, Mexico and Australia. His drawings and sculptures are in various collections, including those of the Canary Wharf Group, Arts Council England, the Henry Moore Institute, and the Yale Centre for British Art. In 2011, three sculptures, 'Mayflower', 'Energy Of The Mountain: Echo And Revelation' and 'Energy Of The Mountain' were stolen from Lyons' studio and were never recovered.
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Around the same time she received international recognition at the IV Biennale International de la Tapisserie in Lausanne, Switzerland. Grossen went on to exhibit at subsequent International de la Tapisserie Biennales (V-VIII). Throughout the 1970s and 80s the artist had solo exhibitions at the Museum Bellerive, Zurich, Switzerland, The Hadler Galleries in New York City, Kaplan Baumann Gallery in Los Angeles, Reed College Art Galleries in Portland, Oregon, and the Musee d'Art et d'Histoire, Neuchatel, Switzerland. Grossen's most recent solo exhibition was at Blum & Poe in New York City, June 4 - August 14, 2015.
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He has exhibited at documenta IX (1992), Venice Biennales in 1993 and 2003, and four Whitney Biennials. In 2012, Ray participated in Lifelike, a group exhibition that originated at the Walker Art Center. In 2015, Ray's major one-person exhibition "Charles Ray: Sculpture, 1997-2014" opened at Kunstmuseum Basel in Switzerland before moving to the Art Institute of Chicago. The Art Institute devoted the of its second floor Modern Wing to 17 pieces.Ken Johnson (May 22, 2015), ‘Charles Ray: Sculpture 1997-2014’ Is at the Art Institute of Chicago The New York Times.
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Shortly after Serra arrived in New York, Robert Morris invited him to participate in a group show at Castelli Gallery. He had his first solo exhibitions at the Galleria La Salita, Rome, 1966, and in the United States at the Leo Castelli Warehouse, New York. The Pasadena Art Museum organized a solo exhibition of Serra's work in 1970. Serra has since participated in Documentas 5 (1972), 6 (1977), 7 (1982), and 8 (1987), in Kassel, the Venice Biennales of 1984 and 2001, and the Whitney Museum of American Art's Annual and Biennial exhibitions of 1968, 1970, 1973, 1977, 1979, 1981, and 1995.
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Gladwell has been exhibiting extensively throughout Australia, Asia, the United States and Europe since 2001. He has participated in many international biennales and triennales, including: the Yokohama Triennale (2005); Busan Biennale and Bienal de São Paulo (both 2006); La Biennale di Venezia (2007 & 2009); the Biennale of Sydney, Taipei Biennial and Biennale Cuvée, Linz (all 2008); Cairo Biennial (2010); the Shanghai Biennale, China (2012); The California-Pacific Triennial and SCAPE 7, Public Art Christchurch Biennial, New Zealand (both 2013); as well as la Biennale d’Arte Contemporain, Douai (2015). In 2009, Gladwell was Australia's representative at the 53rd Venice Biennale.
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While at the school she established a Women in Leadership Programme, curated participation in international biennales and exhibitions, supported an artist in residence programme, and founded the Association of Women Artists and in 1991, the Artists Alliance. In 1993, with Anne Gambrill, and support from the Auckland Zonta International Club, she organised the Zonta New Zealand Women's Print exhibition. The exhibited toured galleries throughout New Zealand to celebrate the centenary of women's suffrage in New Zealand. In the 2002 New Year Honours, Shepheard was appointed an Officer of the New Zealand Order of Merit, for services to the arts.
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His works have since been displayed at several places including National Gallery of Modern Art, New Delhi, Berlin State Museum and the National Gallery, Prague, Royal Academy of Arts, London, Tokyo festival of India of 1988, and at the biennales in Venice, Tokyo, São Paulo, Mainichi and Sydney. De received the Lalit Kala Akademi National Award in 1958 which he received a second time in 1964. The Government of India included him in the Republic Day honours list for the civilian award of the Padma Shri in 1992. He died 12 March 2011, at the age of 84.
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Retrospectives of General Idea's work continue to tour Europe and North America. General Idea Editions: 1967-1995 was featured at the Centro Andaluz de Arte Contemporáneo, Seville, Spain from 30 January - 1 April 2007 , and included a recreation of the installations Magic Bullet and Magic Carpet, as well as the major installation Fin de Siècle. Before that Editions was exhibited at the Andy Warhol Museum in Pittsburgh, the Munich Kunstverein, Kunstwerke (Berlin), and the Kunsthalle Zürich, Switzerland. General Idea has been featured in the Paris, Sydney, São Paulo and Venice Biennales, as well as at Documenta 8 in Kassel, Germany.
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Over his career, Filcer has had over 300 exhibition around the world, especially Mexico, the Netherlands, the United States, Belgium, Japan, France, Israel, Italy and Germany. He began his career in Mexico, where he sold his first painting and in 1949 worked at the Taller de Gráfica Popular. He represented Mexico in biennales in Chile, Japan and England, which led to a scholarship to study in Paris and Rome. His work was also part of an exhibition organized by the Palacio de Bellas Artes called Jewels of Mexican Art which traveled the world for fifteen years.
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Fine art exhibited at Tate Britain Art exhibitions include an array of artifacts from countless forms of human making: paintings, drawings, crafts, sculpture, video installations, sound installations, performances, interactive art. Art exhibitions may focus on one artist, one group, one genre, one theme or one collection; or may be organized by curators, selected by juries, or show any artwork submitted. Fine arts exhibitions typically highlight works of art with generous space and lighting, supplying information through labels or audioguides designed to be unobtrusive to the art itself. Exhibitions may occur in series or periodically, as in the case with Biennales, triennials and quadrennials.
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Born and raised in Buenos Aires, Squirru was educated at Saint Andrew's Scot School and at the Jesuit El Salvador Secondary School. He graduated with a Law Degree at the University of Edinburgh in 1948. After founding the Buenos Aires Museum of Modern Art in 1956, he went on to champion the cause of Argentine and Latin American art as Director of Cultural Affairs (1960) in the government of Arturo Frondizi. Among his many initiatives of that period, Alicia Penalba’s sculptures and Antonio Berni’s etchings were sent to the São Paulo and Venice Biennales respectively, both artists obtaining First Prize.
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Sagita's paintings were selected as the Best Work at the 7th and 8th Jakarta Biennales of Painting in 1987 and 1989, and he was awarded the silver medal at the Osaka Triennale in 1996. His first solo exhibition was at the Duta Fine Art Gallery in Jakarta in 1988. Selected group exhibitions include: The Third Asian Art Show (Fukuoka Art Museum, Japan, 1989); The Seventh Asian International Art Exhibition (Bandung, Indonesia, 1992); The First Asia-Pacific Triennial of Contemporary Art (Queensland Art Gallery, Brisbane, Australia, 1993); The Asian Water Color (National Gallery, Bangkok, 1995); and Modernity and Beyond (Singapore Art Museum, 1996).
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Le Bas told the Travellers' Times that “I actually liked going to school which was difficult because I am the only one out of five of us that finished school. And then I had ideas about going to Art College.” She said that until starting school she had been sheltered from how racist people can be towards Gypsy Traveller people. Delaine Le Bas has shown her art extensively both in the UK and internationally, including at the International Festival of Singular Art, Roquevaire, France; the American Visionary Art Museum in Baltimore, U.S., Transition Gallery and the 2005 and 2007 Prague Biennales.
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The exhibition was held in memory of Archaos founder Pierrot Bidon, who died earlier in the year. The obituary in The Guardian celebrating Bidon's life noted that Archaos was "one of the ensembles that galvanised the new circus movement, in which traditional arts have been re-imagined and combined with contemporary artistic sensibilities and theatrical techniques." A website hosting an archive of Archaos is online.Institut de formation professionnelle, Luis Orelha Most recently, Archaos was nominated for the Best Producer award for the L'Entre- Deux Biennales project at the 2016 Annual International Professional Circus Awards in Sochi, Russia.
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Its desert-eroded ruins show both where people once lived and the effects of time and nature on human enterprise. She joined the Professional Photographers in Southern Africa (PPSA) in 1989, received their President's Award in 1993, and was awarded a fellowship in fine art photography in 1998. Throughout the 1990s, she held solo exhibitions in Windhoek, Swakopmund, and Cape Town, and at the 1995 Miss Universe beauty pageant in the Namibian capital. Kohl participated in group exhibitions in Windhoek and Johannesburg, and in several Standard Bank Namibia biennales, of which she won first prize in 2001.
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Hiary was born in Amman, Jordan in 1969. Before acquiring her academic training, she had already been exhibiting as a self-trained artist for about a decade, beginning in the late 1980s. Hiary completed a BA in Political Science and Sociology at University of Jordan in 1990, and later completed an additional BA of Fine Art in printmaking at Amman’s Al Zaytoonah University in 2004. Since the mid 1990s, she has been featured in solo and group shows in the Middle East, Europe,USA and the North America and Asia, while contributing to symposiums workshops and biennales.
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The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space. A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,Im Weltinnenraum des Kapitals, 2005. the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition.
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Most of Keita's support for the arts was cancelled, but the "Semaines Nationale de la Jeunesse" festival, renamed the "Biennale Artistique et Culturelle de la Jeunesse", was held every 2 years starting in 1970. Notable and influential bands from the period included the first electric dance band, Orchestre Nationale A, and the Ensemble Instrumental National du Mali, comprising 40 traditional musicians from around the country and still in operation today. Mali's second president, Moussa Traoré, discouraged Cuban music in favor of Malian traditional music. The annual arts festivals were held biannually and were known as the Biennales.
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Oxygen, oil on linen, 97 × 162 cm by Kasia Domanska. Kasia Domanska (born 15 February 1972 in Warsaw, Poland) is a Polish painter. She studied in the Faculty of Painting of the Academy of Fine Arts in Warsaw, where she graduated in 1995. She has participated in numerous individual and group exhibitions. Domanska’ paintings have been the subject of numerous solo and group exhibitions including the National Museum in Warsaw, she was selected for acceptance into the Biennales in Florence, The National Festival "The Supermarket of Art" two times and she has been a finalist the Art & Business competition "Painting of the Year" two times.
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After completing his medical studies at the University of Athens, Kostas Spiropoulos traveled to the United States, where he studied art at Heron Art Institute alongside Peter Richardson, who was a pop-art painter. He has participated in individual and group exhibitions in galleries in Greece and Europe, in International Artfairs and Biennales in Europe and North America. He was teaching human anatomy for artists for 8 years as an Associate Professor of Fine Arts in the School of Fine Arts in University of Ioannina and he wrote a book on the subject. His last book on art was published in 2016 and presented in Katsigra Museum in Larissa, Greece .
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After leaving the National Academy of Arts shortly before graduation, Kanchev took part in exhibitions and biennales in Bulgaria and abroad over the next 22 years, including Belgrade, Budapest, Berlin, Moscow, Warsaw, Brno, Ljubljana and New York City. During this time, individual exhibitions of his work were organized in Sofia, Moscow, Prague, Berlin, Warsaw and Budapest, among other cities. In 1967 when he was 52, Kanchev participated in an AIGA (American Institute of Graphic Arts) international exhibition in which he presented 23 of his logos, including his Petrol AD trademark. Fifteen years later, in 1982, Japanese magazine Idea ran a 16-page feature on Kanchev and his work.
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Since the beginning of the 21st century, at least seventeen art biennials popped up on the African continent (see end list). 17 The great difference with the 20th century is that almost all of these biennials are independent initiatives led by artists and non-profit organizations, i.e. East Africa Art Biennale, Salon Urbain de Douala, AFiRIperFOMA Biennial, Kampala Art Biennale or Rencontres Picha/Biennale de Lubumbashi. Some areas stand out as active artistic centers like Douala (Biennale de Douala DUTA, Salon Urbain de Douala), Morocco (with Casablanca and Marrakech Biennales), Congo (Biennale de Lubumbashi, Yango Biennale) or the city of Kampala (KLA ART, Kampala Art Biennale).
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Andreas Emenius (born February 24, 1973) is a Swedish cross-disciplinary artist known for installation, painting, and performance, based in Copenhagen. Emenius has shown work in multiple global biennales as well as museums, and is currently the curator and co founder of the Nordic Contemporary, a gallery for contemporary art featuring Scandinavian artists, in Paris, France. Emenius works additionally as a film director and is a contributor for SHOWstudio, a fashion and film platform founded by British photographer Nick Knight. Emenius teaches occasionally as a visual arts professor at The Royal Danish Academy of Fine Arts, and is currently represented by Shin Gallery In New York.
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Bonvicini began exhibiting her work internationally in the mid-1990s. Bonvicini describes her practice as an exploration of relationships between architecture and space, power, gender, sexuality, space, surveillance and control. Her works aim to question and investigate the meaning of making art alongside the flexible nature of language and primarily the idea of freedom and the limits and opportunities that are associated with the word. Her works have been featured in several biennales, such as the Berlin Biennale (1998, 2003 and 2014), the Istanbul Biennial (2003 and 2017), and the Venice Biennale (1999, 2005, 2011 and 2015), are included in numerous public collections, and had solo presentations in renown institutions worldwide.
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Foreign composers she has worked with include B.A.Zimmermann, Henri Dutilleux, Pierre Boulez, Holliger, D. Schnebel, K. Huber, J. Petric, André Bon, R. Wittinger, Liza Lim and others. She has 10 records of her own and plays on more than 20 records. She is a returning guest of European festivals such as Holland Festival, Warsawian Autumn, Biennales of Berlin, Venice, Zagreb, Helsinki, München, Wien Modern, Salzburger Festspiele, Bartók Seminary in Szombathely, Avignon, Festival d’Automne (Paris), Proms (London), I.G.M.M. Festival in Graz, Athens; Welfmusiktage (Essen), Mondsee Festival, György Kurtág Festival, Milano etc. She performed duets with guitar and with cimbalom, played in trios with flute and guitar, flute and cello.
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Retrieved 2018-05-10. Stapleton has produced over 50 international exhibitions including at Museums and Biennales in London, New York, Venice, Istanbul, Berlin, Dubai, Riyadh, Jeddah, Miami, Aspen, Houston, Oslo, San Francisco, Salt Lake City, Detroit, Memphis, Lewiston, Washington D.C. and Los Angeles."A Conversation With Ahmed Mater, Co-founder of Edge of Arabia" Huffington Post. Retrieved 2018-05-10. Stapleton has published six internationally distributed books and produced a series of Virtual Reality and Short Film documentaries for distribution via international media platforms including The Guardian, Creative Time and VR Forum."Saudi artist: Standing Rock protesters are warning us to save what we can – video" The Guardian. Retrieved 2018-05-10.
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With the encouragement of her colleagues, notably well-known Lebanese artist Aref Rayess, Khal pursued her art and she held her first individual exhibition in 1960 in Galerie Alecco Saab in Beirut. Her other one-woman shows took place at Galerie Trois Feuilles d'Or, Beirut (1965); Galerie Manoug, Beirut (1968); at the First National Bank, Allentown, Pennsylvania (1969); in Kaslik, Lebanon (1970); at the Contact Art Gallery, Beirut (1972, 1974 and 1975) and at the Bolivar Gallery in Kingston, Jamaica in 1975. Her work also appeared in the Biennales of Alexandria and São Paulo. She also taught art at the American University of Beirut from 1967-1976 and at the Lebanese American University from 1997-1980.
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Endel, launched in 2018 as the brainchild of a Berlin-based team of artists, developers, and entrepreneurs: Oleg Stavitsky, Protey Temen, Philipp Petrenko, Dmitry Evgrafov, Kirill Bulatsev, Dmitry Bezugly. Oleg Stavitsky is a serial entrepreneur and Endel's CEO, Protey Temen is a mixed media artist, whose works exhibited at galleries and biennales around the world and used by the likes of Commes des Garçones, and Dmitry Evgrafov is a neoclassical composer with releases on FatCat Records and Deutsche Grammofon. By then, that core team had already worked together on a multitude of digital projects, including the award-winning kids’ app series, BUBL, eventually acquired by the Berlin- based apps studio Fox & Sheep.
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Carolina Caycedo (born 1978, London, United Kingdom) is an multimedia artist based in Los Angeles. Born to Colombian parents, Caycedo's art practice is based on environmental research focusing on the future of shared resources, environmental justice, energy transition and cultural biodiversity. Through contributing to community-based construction of environmental and historical memory, Caycedo seeks the ways of preventing violence against humans and nature. Her works have been shown in museums around the world, including in a number of international biennales, such as the 2019 Chicago Architecture Biennial, 2018 “Made in L.A.” biennial, 2016 São Paulo Art Biennial, 2010 Pontevedra Biennial, 2009 Havana Biennial, 2009 San Juan Poligraphic Triennial, 2006 Whitney Biennial, and 2003 Venice Biennale.
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She took part in most local exhibitions in Egypt from 1956 onwards and held her first private etching exhibition in 1966. She participated in many international biennales of etchings in West Germany, Yugoslavia, Poland, Italy, Tokyo, and India. She won the Saloon Du Caire award in 1959 and 1960, the Cairo Production Exhibition prize in 1957, and the Ljublyana Honorary Prize in 1961. Helmy went on to become a lecturer at the Fine Arts Institute in Cairo, a Professor of Fine Arts at the Helwan University in Cairo, an Honorary Professor of Etching at the Accademia delle Arti del Disegno in Florence, Italy, and a member of the Print Maker Council in the United Kingdom.
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In this capacity, Craddock reviewed exhibitions of many up and coming Young British Artists, and was the only journalist to review the pre-YBA exhibition: Freeze, which featured early work by artists such as Damien Hirst, Sarah Lucas, and Mat Collishaw. In 1996 Craddock became chair of Bloomberg New Contemporaries (formerly Young Contemporaries), a role which she continues to hold. In 2005 Craddock co-founded ArtSchool Palestine (ASP) with Charles Asprey, and Samar Martha, in order to promote and support Palestinian artists and aid their participation in international contemporary art exhibitions and biennales. ASP has held many events and exhibitions, including "As If By Magic", to which the British artist Damien Hirst lent his support.
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She has lectured in the United States as well as internationally and her work has been exhibited at venues such as the Queens Museum of Art, Storefront for Art and Architecture, and the 2014 and 2018 Venice Biennales. In spring 2008 she was one of 100 designers chosen by Swiss architects Jacques Herzog and Pierre de Meuron to receive a commission for a villa project organized by the Chinese artist Ai Wei Wei in Ordos, Inner Mongolia, as part of cultural district being built by local tycoon Cai Jiang. She presented the academic paper “Subtraction” in the workshop Mine the city - With logistics to circular metabolisms at the 3rd International Holcim Forum 2010 in Mexico City.
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Enwezor served on numerous juries, advisory bodies, and curatorial teams including: the advisory team of Carnegie International in 1999; Venice Biennale; Hugo Boss Prize, Guggenheim Museum; Foto Press, Barcelona; Carnegie Prize; International Center for Photography Infinity Awards; Visible Award; Young Palestinian Artist Award, Ramallah; and the Cairo, Istanbul, Sharjah, and Shanghai Biennales. In 2004 he headed the jury for the Artes Mundi prize, an award created to stimulate interest in contemporary art in Wales.Alan Riding (30 March 2004), "Artist Who Worked With 9/11 Dust Is the First Winner of a Welsh Prize", The New York Times. In 2012, he chaired the jury for Vera List Center Prize for Art and Politics.
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This marks the beginning of an increased presence in international art fairs such as FIAC, Frieze, and the Armory Show in years to come. At the same time, many of ShanghART's artists start to gain international recognition, participating in shows in museums and galleries globally as well as international art festivals and biennales, cementing ShanghART's position as one of the leading galleries in China. In the early 2000s, ShanghART Gallery started to move into the emerging art district at 50 Moganshan Road where many of their artists have rented studios at. The gallery finally moved into its newly renovated permanent space in 2006, after renting a separate warehouse, H-Space, in 2004 to exhibit large-scale works.
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When Posse put together the German contribution to the XIII Venice Biennale in 1922, he featured Kokschka's work. As curator of the Dresden International Art Exhibition 1926 and both the 1922 and 1930 Venice Biennales, Posse advocated for avant-garde works to be considered as a legitimate part of the German art world. This stance provoked bitter opposition from German nationalist artists, whose attacks he suffered from 1926 on. In his speech on 12 June 1926 for the opening of the International Art Exhibition, Posse emphasized the international orientation of Dresden's contemporary art life, which was necessary for the artists of Dresden to remain relevant, and avoid the stagnation of provincialism and possible extinction.
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The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions. The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting.
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In 2006, she received a grant from Asian Cultural Council to conduct a research and internship at The Asia Society, New York. Swastika received additional study grants from the Art Hub (Shanghai, 2007) and the National Art Gallery (Singapore, 2010). Recent shows include: “The Past The Forgotten Time” (Amsterdam, Jakarta, Semarang, Shanghai, Singapore, 2007–2008); “Manifesto: The New Aesthetic of Seven Indonesian Artists” (Institute of Contemporary Arts, Singapore, 2010); and solo exhibitions for Eko Nugroho, Tintin Wulia, Wimo Ambala Bayang, and Jompet Kuswidananto. Swastika co-curated the 2011 Biennale Jogja XI with Suman Gopinath (India). The Biennale Jogja XI / Equator # 1, was the first in a series of five international biennales to take place in Yogyakarta, Indonesia, aimed at exploring Indonesia’s cultural engagement with the participating countries.
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Regular items in Art Monthly include artist interviews, feature articles, an editorial opinion column, news briefings, exhibition reviews, book reviews, an art-law column and exhibition listings. Other items include artist profiles, reviews of artists' books, films, performance, and reports from particular events such as festivals, conferences and biennales as well as ‘Letter From' articles from all parts of the world. 2007 saw the publication, in association with Ridinghouse, of volume 1 of Talking Art: Interviews with Artists Since 1976, published to celebrate the magazine's 30th anniversary, followed by volume 2, Interviews with Artists Since 2007, on the occasion of its 40th. The Talking Art books are an indispensable resource, comprising the best of Art Monthly's interviews since the magazine's inception in the early 1970s.
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The gallery juxtaposes solo shows with group exhibitions to introduce the Swedish public to a variety of artists often seen in Biennales and art fairs internationally. For example, Face Your Demons features internationally recognized artists Zsolt Bodoni, Mircea Cantor, Keren Cytter, Jessica Jackson Hutchins, Josiah McElheny, Goshka Macuga, Aleksandra Mir, Alyson Shotz, Magnus Wallin, and Adrian Williams. While some exhibitions have historic value, (such as the exhibit featuring work by KP Brehmer, a contemporary to Joseph Bueys) others delve into issues surrounding the Visual Arts, exploring ideas like the relationship of Art with Craft and Design. Simple, curated by writers/artists Dr. Ronald Jones and Laurie Makela, included artists such as Andrea Zittel, Rirkrit Tiravanija, and early 20th century painter Hilma af Klint.
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His absurdist sculptures and installations often depict celebrities, art historical figures, or taxidermied animals set in surreal scenes. His oeuvre engages controversial subjects such as suicide, anxiety, religiosity, and the decadence of American culture. He has participated in several Venice Biennales, the 2004 Whitney Biennial, and exhibited in numerous solo exhibitions, including at the Solomon R. Guggenheim Museum, New York; the Museum of Modern Art, New York; the Museum of Contemporary Art, Los Angeles; and the Centre Georges Pompidou, Paris. Cattelan was recently thrust into the political spotlight when President Donald Trump requested a Vincent van Gogh landscape from The Guggenheim Museum and their chief curator, Nancy Spector countered instead with his 18-karat solid gold toilet installation entitled America.
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With the last two Biennales as example, under the directorships of Jean Clair and Germano Celant, Szeemann determined that the international exhibition and national pavilions should be dedicated to young artists and he informed this to all participating countries. As a result of many countries' selection systems this came as late news, but for a few others who were more unencumbered to react this was not problematic. Szeemann decided that the international exhibition and Aperto, created by Szeemann in 1980, would be combined and artists would no longer be divided by age. As well there would be an emphasis on the representation of female artists and their contributions to contest their past roles, with such artists as Rosemarie Trockel from Germany and Ann Hamilton from the USA.
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Lee has curated biennales as well as solo and thematic group shows. He curated two editions of Gwangju Biennale in 1995 and 2004. Solo and group exhibitions he curated include Information and Reality (Contemporary Art of Korea, Fruitmarket Gallery, Edinburgh), Whitney Biennial in Seoul (National Museum of Contemporary Art Korea), Nam June Paik Retrospective (National Museum of Contemporary Art, Seoul), The Flower of May (The 30thAnniversary Exhibition of the Gwangju Civil Uprising hosted by the Gwangju Biennale Foundation and Gwangju Museum of Art), Dansaekhwa (Palazzo Contarini Polignac, Collateral Event of 56th Venice Biennale), Tiger’s Tail (Palazzo Vendramin, Venice), International Film and Video Since the1980s (Shanghai Himalayas Museum), The Challenging Souls (Yves Klein, Lee Ufan, Ding Yi) at the Power Station of Art (PSA), Shanghai, among others.
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Kostas Spiropoulos has participated in more than 32 individual exhibitions and 36 group exhibitions in Greece and in other European countries, including Italy (Florence, Piacenza, Verona, Brindisi, Azzolo, Palermo, San Marino), Austria (Insbruck), Bulgaria (Sofia), France (Paris, Le Louvre) , Turkey (Istanbul), Belgium (Brussels), Czech Republic (Praha, Plzen), Azerbaijan (Kabala) and in Serbia. He has also exhibited his work in the USA (Los Angeles) and in Canada (Vancouver). He has participated in International Artfairs: Turkey (Istanbul 2005, 2009), Czech Republic (Praha 2005), Austria (Insbruck 2009), Greece (Athens 2010), Italy (Florence 2006, Verona 2013, Piacenza 2016), Azerbaijan (Kabala 2015), France (Paris 2016), Canada (Vancouver 2016). He has demonstrated his work in Internatioan Biennales: Czech Republic (Plzen 2006, 2008), Italy (Azzolo 2010, Palermo 2013), China (Beijing 2017) and he has received award in two of these.
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Kataoka is a key figure in documenting and analyzing trends within contemporary Japanese art since 2000, considering relevant social historical and generational themes evident in contemporary Japanese art.Fragments of our time: New Japanese contemporary art She most recently guest curated “Phantoms of Asia: Contemporary Awakens the Past” (2012) at the Asian Art Museum of San Francisco.Phantoms of Asia: Contemporary Awakens the Past, 2012 Kataoka was a Co-Artistic Director of ROUNDTABLE: The 9th Gwangju Biennale (Korea, 2012).e-flux announcement of joint artistic directors of 9th Gwangju Biennale, 2012 Recognizing the temporary and circulatory nature of biennales, which by definition reflect shifting curatorial themes and structures in rotation, Kataoka's work as part of the ROUNDTABLE curatorial team confronted the diverse inter-connectivities of different contexts within which we can find our own temporal positioning.
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Rintala first came to public and critical attention with the joint projects he made with Marco Casagrande, under their partnership, Casagrande & Rintala, from 1998 to 2003, when their partnership dissolved. Casagrande & Rintala produced a series of critically acknowledged architectural installations around the world, often at art biennales, including the Venice Biennale. These works combined architecture with a critical thinking towards society, nature and the real tasks of an architect, all within a cross-over art practice using space, light, materials and the human body as tools of expression. Casagrande & Rintala had their first wider recognition in 1999 with the award-winning project 'Land(e)scape:' Three abandoned wooden barns were raised on high legs to follow their farmers to the cities as a critical comment on the deserting process of the countryside.
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Von Habsburg regularly participates in biennales by commissioning new works of contemporary art through a foundation called Thyssen-Bornemisza Art Contemporary (TBA21) which she founded in 2002 in Vienna. She has built up her own art collection with around 700 works of contemporary video and digital art, by artists such as Candice Breitz, Simon Starling and Kutluğ Ataman.Gareth Harris (May 30, 2017), Final show in Vienna for Thyssen-Bornemisza Art Contemporary as organisation relocates to Prague The Art Newspaper. In 2002, Von Habsburg rented a four-storey palace in Vienna’s UNESCO-protected first district, set up home there and opened TBA21's first exhibition space in the same building.Emma O’Kelly (February 28, 2019), Art patron and TBA21 gallery founder Francesca von Habsburg opens the doors to her Vienna residence Wallpaper.
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She represented India at the Paris, Algiers, and São Paulo Biennales and at three Triennales in New Delhi. Being a well-known muralist, Anjolie Ela Menon has done over 35 solo shows and many group shows in India and abroad and in 1968, 1972 & 1975 she performed along with I, II, III International Triennale by Lalit Kala Akademi, with Paris Biennale, France in 1980 and in 1980 at New York & Washington D.C. In the year 2000, Government of India conferred Anjolie Ela Menon with the most prestigious Padma Shri Award. She is on the board of trustees in IGNCA ( Gandhi National Centre for the Arts). In 2002, her work was shown in a major exhibition event at the National Gallery of Modern Art, Mumbai which eventually toured other towns including Bangalore, Chennai and Delhi.
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Roy Ascott (born 26 October 1934) is a British artist, who works with cybernetics and telematics, on an art which is technoetic, focusing on the impact of digital and telecommunications networks on consciousness. Ascott exhibits internationally (including the Biennales of Venice and Shanghai), and is collected by Tate Britain and Arts Council England. He is recognised by Ars Electronica as the "visionary pioneer of media art", and widely seen as a radical innovator in arts education and research, having occupied leading academic roles in England, Europe, North America, and China, and is currently leading his Technoetic Arts studio in Shanghai, and directing the Planetary Collegium. In 2018 he became the subject of Cybernetics & Human Knowing: A Journal of Second Order Cybernetics, Autopoiesis and Cybersemiotics entitled "A Tribute to the Messenger Shaman: Roy Ascott".
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Every year, La Pocha conducts a summer and a winter performance art school in which the troupe's radical pedagogy (body-based methodology that has been developed during the last 20 years) is shared with international groups of rebel artists. Gómez-Peña's work with La Pocha Nostra has been presented across the US, Canada, Mexico, Latin America, Europe, Russia, Australia and South Africa. In recent years, the troupe has presented work at Tate Modern (London), Arnolfini (Bristol), the Guggenheim Museum (New York), LACMA (Los Angeles), the House of World Cultures and the Volksbuhne (Berlin), MACBA (Barcelona), El Museo de la Ciudad (Mexico City) and the Encuentros Hemisféricos in Lima, Rio de Janeiro, Belo Horizonte, Buenos Aires and São Paulo. Gomez-Peña and La Pocha Nostra have participated in the following biennales: Havana, The Whitney, Sydney, Liverpool, Thessaloniki and Mercosur.
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Campos has had over thirty five individual exhibitions including those at the Instituto Francés de la América Latina (1967), the Museo de Arte Carrillo Gil (1981), a retrospective that toured Aguascalientes, Guanajuato and Zacatecas (1995), the Universidad Autónoma Metropolitana (2002) and at the Salón de la Plástica Mexicana (1974, 2012). Her work has participated in over fifty collective exhibitions in Mexico, other parts of Latin America and the United States as well as in biennales in Cuba, Puerto Rico and Ecuador. In 1982, she formed a group called El Caracol made up of photographers, painters and graphic artists, which included Herlinda Sánchez Laurel and Consuelo Salazar. From 1988 to 1998 she worked at a studio located at the old Christ College (Antiguo Colegio de Cristo), working with painting, photography and installation with other artists, mostly from the Salón de la Plástica Mexicana.
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During her career, Hakobyan has participated in numerous exhibitions, sculpture symposia, festivals, and biennales both in Armenia and abroad. Her minor sculptures and graphics are held in many state and private galleries and museums, while monumental sculptures can be found throughout the world. Hakobyan has received many awards and prizes including the International Mon-Art Prize of Florence (Italy, 1998), Third Prize at the International Festival of Ice Sculpture (Russia, 2004), Second Prize at the competition “Stone-Monument” (China, 2001), Third Prize at the International Sculpture Symposium (Lithuania, 2003), Bronze medal at the 12th International Biennale dedicated to Dante's "Divine Comedy" (Italy, 1996). Her monument "Faith", dedicated to the 1700th anniversary of the adoption of Christianity as a state religion in Armenia was commissioned by the Armenian community of Vienna and now stands at the Armenian square adjacent to Vienna’s Armenian Apostolic Church.
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The artist's first individual exhibition was in 1969 at the Universidad Autónoma de Baja California, followed by a second in 1974 at the Galería de Pintura Joven in Mexico City. During her career, she has had over thirty five individual exhibitions in Mexico and participated in over 150 collective shows in Mexico and abroad. All of her individual exhibitions have been in Mexico in venues such as the Carrillo Gil Museum, the Rafael Matos Gallery, the Centro Cultural Tijuana and the Palacio de Bellas Artes. Her collective shows have been in Mexico and abroad, with foreign shows sponsored by the Secretaría de Relaciones Exteriores, the Instituto Nacional de Bellas Artes and various Mexican embassies in North America, Europe and Asia, along with biennales such as the first Bienal de Artes Plásticas de América Latina y el Caribe in Havana and the Bienal Rufino Tamayo.
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For info on Bruno Buozzi, see it:Wiki. Cf. also Bio note , on Appuntiallostadio.com, Accessed 26/05/2011 After winning an award at the Marzotto Prize Convention, with Il Pastore con la capretta (Shepherd with small goat), Omiccioli exhibited at many important arts centres: especially noticeable are his anthologic displays at the Hermitage of Leningrad, his personal at the La Medusa Modern Gallery of Naples, and in the 1950s his participation in exhibitions at Pittsburgh, Boston, and Tokyo. He also took part in a travelling exhibition around the Scandinavian countries organised by the Italian Art Club, as well as displying some paintings at the various Rome Quadriennales of 1955, 1959 e poi del 1966, and at the Venetian Biennales of 1952, 1954, 1956. In 1959 he also presents a religious painting on hardboard, Cristo crocifisso (Crucified Christ), at the VIII Biennale d’Arte Sacra in Bologna.
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Average number of countries accessible without visas passport-holders Global North and Global South, 2017 The report demonstrates that predominantly restrictions in terms of mobility represent great challenges to persons pursuing careers in the cultural and creative industries, specifically to those from the Global South. It reveals that a holder of a German passport can travel to 176 countries without a visa while a holder of an Afghan passport can only travel to 24 countries without a visa. As a matter of fact, artists and cultural professionals need to travel to perform, to reach new audiences or to attend a residency or to engage in networking. The report exposes that travel restrictions, including difficulties in obtaining visas oftentimes impedes artists from the Global South to participate in art biennales or film festivals, even when invited to receive an award or to promote their works.
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Her most famous works were created in the world of artistic underwater photography where she stages the depicted characters in dreamy, seemingly weightless underwater worlds to create a feeling of freedom, self- reflection and detachment from reality. She achieves these effects, for example, through long durations of exposure and playing with natural and artificial lighting. In addition to exhibitions at biennales and festivals, Stemmer also presents her works in solo exhibitions worldwide, for instance in her pop-up galleries in Vienna and Paris, where her photography is shown for one day only. In her video installations, which are projected in large format on facades, the focus is on underwater visuals too, such as her work Beneath, presented on the occasion of Venice Biennale 2017 and at Nuit Blanche Paris 2018, as well as Beneath II two years later onto the building of the Austrian Economic Chamber (WKO) in Vienna.
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National Gallery of Australia's extension, completed in 2010, which houses a representative collection of Indigenous art, including the Aboriginal Memorial (above) The public recognition and exhibition of contemporary Indigenous art was initially very limited: for example, it was only a minor part of the collection of Australia's national gallery when its building was opened in 1982. Early exhibitions of major works were held as part of the Sydney Biennales of 1979 and 1982, while a large-scale sand painting was a feature of the 1981 Sydney Festival.Mundine, Djon, 'Save Your Pity: Masterworks of the Western Desert', in Murphy (2009), pp. 168–169. Early private gallery showings of contemporary Indigenous art included a solo exhibition of bark paintings by Johnny Bulunbulun at Hogarth Gallery in Sydney in 1981, and an exhibition of western desert artists at Gallery A in Sydney, which formed part of the 1982 Sydney Festival.
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Since 1986 the Peggy Guggenheim Collection has worked with the United States Information Agency, the US Department of State and the Fund for Artists at International Festivals and Exhibitions in the organization of the visual arts exhibitions at the US Pavilion, while the Solomon R. Guggenheim Foundation has organized the comparable shows at the Architecture Biennales. Every two years museum curators from across the U.S. detail their visions for the American pavilion in proposals that are reviewed by the NEA Federal Advisory Committee on International Exhibitions (FACIE), a group comprising curators, museum directors and artists who then submit their recommendations to the public- private Fund for United States Artists at International Festivals and Exhibitions. Traditionally the endowment's selection committee has chosen a proposal submitted by a museum or curator, but in 2004 it simply chose an artist who in turn has nominated a curator, later approved by the State Department.
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Noero has completed over 200 buildings and is known for The Red Location Precinct in New Brighton, a township in Port Elizabeth. The Red Location Gallery was named the Best Building In the World at the 2013 Icon Awards in London, while The Red Location Museum won the Lubetkin Prize in 2006 for the Most Outstanding Building Outside the EU, as well as The Dedallo Minosse President's Award, The RIBA International Award, and a World Leadership Award for Public Architecture. Noero’s architecture has been exhibited at The Museum of Modern Art (MoMA) in New York, the MAXXI National Museum of the 21st Century Arts in Rome, and the Museum of Architecture in Munich, as well as at Biennales in Venice, São Paulo, Singapore, Chicago and Istanbul. Locally, the South African Institute of Architects awarded Noero the Gold Medal for Architecture in 2010, as well as three awards of Excellence, 15 Awards of Merit and 14 Project Awards.
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She served as director of the 2008 Brussels Biennial and organised multiple exhibitions as well as various international biennales including the Taipei Biennial: Do You Believe in Reality? in 2004 at the Taipei Fine Arts Museum, Manifesta 2, European biennial of contemporary art (1997), Generation Z at MoMA PS1 in New York, and Two Hours Wide, Two Hours Long 58/98 at Cultural Centre of Belém in Lisbon. In 2002 she co-curated with Boris Groys The Art Judgement Show and in 2000 she was co-curating with Adriano Pedrosa, Ivo Mesquita, Cuauhtemoc Medina, Louise Neri and Lilian Tone the defunct 25th São Paulo Art Biennial. Vanderlinden is the author of a reference book in the field of exhibitions and biennials stories in Europe called The Manifesta Decade: Debates on Contemporary Art Exhibitions and Biennials in Post-Wall Europe (MIT Press, 2005) and co-author (with Francesco Bonami and Nancy Spector) of Maurizio Cattelan (Phaidon Press, 2003).
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Hasegawa graduated from Kyoto University with a Bachelor of Arts in Law, and from Tokyo University of the Arts with an Master of Fine Arts in Art History. Past positions include Chief Curator and Founding Artistic Director of the 21st Century Museum of Contemporary Art, Kanazawa from 1999 to 2006 and Chief Curator of the Museum of Contemporary Art, Tokyo from 2006 to 2016. Hasegawa was a board member of Hong Kong’s West Kowloon Cultural District Authority from 2009 to 2011, and has remained a member of the Asian Art Council at the Solomon R. Guggenheim Museum in New York since 2008. She is also a member of the Istanbul Biennale Advisory Board. She is known for her work in various biennales including the 7th Moscow Biennale (Curator, 2017), 11th Sharjah Biennale (Curator, 2013), 12th Venice Biennale of Architecture (Artistic Advisor, 2010), the 29th Sao Paulo Biennale (Co-Curator, 2010), the 4th Seoul International Media Art Biennale (Co-Curator, 2006), and the 7th Istanbul Biennial (Curator, 2001).
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The fifth edition of the Athens Biennale, symbolically titled “Omonoia” (concord), launched its activities in June 2015 and run for almost two years, until February 2017, around the iconic and omonymous central square of Athens, Omonoia, using the historic Bagkeion Hotel as its base. AB5to6 also expanded across the broader area of Omonoia through collaborations with cultural institutions, independent art spaces, professionals and small-scale enterprises, such as the National Theatre of Greece, Unit of Innovation and Entrepreneurship (IEU) of the Athens School of Fine Arts (ASFA), Exile Room, BIOS – Romantso etc. In 2015, the Athens Biennale – constantly intuitive towards the institution of biennales – revised its identity by extending its duration to two years. Bridging the past to the present and the future and by building on its successful previous edition, AB5 arose both as a reaction to the current political and social conditions and as a need to activate the public through art and contemporary theoretical viewpoints. Unlike traditional Biennial formats, Massimiliano Mollona’s role of Programme Director combined theory, curating and process-based urban interventions.
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In 1978, she was appointed to the Royal Danish Academy; in 1994, she became a member of the Académie Européenne de Poésie ("European Academy of Poetry");Inger Christensen er død (2009-01-05) . Politiken. in 2001, a member of the Academy of Arts, Berlin."Poet Inger Christensen dies: Danish poet Inger Christensen dies at 73", Agence France Presse, as published on the Singapore Straits Times website, retrieved January 7, 2008 She won the Grand Prix des Biennales Internationales de Poésie in 1991; She received the Rungstedlund Award in 1991.Blixen.dk The Rungstedlund Foundation Der österreichische Staatspreis für Literature ("Austrian State Prize for European Literature") in 1994; in 1994, she won the Swedish Academy Nordic Prize, known as the 'little Nobel'; the European Poetry Prize in 1995; The America Award in 2001; the German Siegfried Unseld Preis in 2006;"Danish Writer Inger Christensen Dies at Age 73", Associated Press article (no byline given), as published on The New York Times website, January 5, 2009, retrieved January 7, 2009 and received numerous other distinctions.
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Khachik Abrahamyan was born in 1960 in Yerevan. In 1990 he graduated from Yerevan State Academy of Fine Arts. During his student years and since the eighties, the artist took part and contributed to numerous national and international exhibitions, symposiums, biennales and art fairs. Khachik Abrahamyan founded the “Center of Young Armenian Artists” with the aim to initiate and to bring to life innovative art projects on international level. As center’s president and mentor Khachik Abrahamyan leads its activities over many years launching many original avant-garde events and artistic projects in Armenia and abroad.Kh. Abrahamyan, "I do not want to set boundaries between branches of art..." Khachik Abrahamyan is member of the Artists’ Union of Armenia (since 1992), of the Artists’ Union of the Russian Federation (since 1994) and of Moscow Artists Union (since 2011). In 1995, the artist having gained a high professional reputation became a member of the International Artists’ Association of UNESCO (Paris, France). In 2016, Khachik Abrahamyan is elected Full Member of the European Academy of Natural Sciences (Hanover, Germany).
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He has participated several times at the Venice Biennale, Documenta in Kassel and the Biennales of Sao Paulo, Sydney, Istanbul, Valencia, and has exhibited in the most important museums and galleries all over the world. Among his neon installations in public places and institutions it is worth mentioning: Carpenter Center, Harvard University, Cambridge; Auditorium Parco della Musica, Roma; Bibliothek des Deutschen Bundestages e Altes Museum, Berlino; Kunsthalle, Vienna; Lenbachhaus München; Villa Arson, Nizza; Fondazione Peggy Guggenheim, Venezia; Mamco, Ginevra; Galleria d’arte moderna, Torino; Hubbrücke, Magdeburgo; Galleria degli Uffizi, Firenze; Museum of Fine Arts, Boston; Maxxi, Roma. Several the recent installations of Nannucci in public spaces in Milano: from the large “And what about the truth” at the Triennale (2006) to “No more excuses”, realizes for the Expo 2015 on the façade of the Refettorio Ambrosiano in Piazzale Greco. Recent exhibitions include: “Anni Settanta”, at the Triennale in Milano (2007); “Fuori! Arte e Spazio Urbano 1968/1976”, at the Museo del Novecento (2011); “Ennesima”, at the Triennale (2016); “L’Inarchiviabile” at the FM Centro per l’Arte Contemporanea (2016).
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A shooting gun for Louis Philippe II, Duke of Orléans (future Philippe Égalité) is presented to the Museum of the Porte de Hal in Brussels. First Consul Bonaparte's sword is exhibited at the Château de Malmaison. The Musée de la Chasse et de la Nature in Paris also has several beautiful Le Page pieces including two of Emperor Napoleon I's shooting guns belonging to a series made in 1775 for King Louis XVI and modified around 1806 ; a silex gun that had belonged to King Louis XVIIILa Gazette de l'Hôtel Drouot, N°44, 12 décembre 2003 and a nécessaire box containing a pair of silex guns for children, a gift from King Charles X to the Duke of Bordeaux, future Count of Chambord.Le Figaro Magazine, "Biennales Internationale des Antiquaires au Carrousel du Louvre: Des siècles de splendeur et de Faste", p89, 12 septembre 1998 Le Page’s store was at number 13, rue de Richelieu (which became number 950 rue de la Loi during the period of the Revolution), near the Palais Royal which strategically placed it in the midst of the action in 1789 and in 1830.
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His concerts have taken him to Rome (notably to the Villa Médicis), Prague, Moscow, Budapest, Vienna, Montreal, Seoul, etc. Moutier shared the stage with Gérard Jarry, Olivier Charlier, Raphaël Oleg, Boris Garlitsky, Amy Flammer,Ami Flammer on Conservatoire de Paris Roland Daugareil,Roland Daugareil on France Info Laurent Korcia, Dong-Suk Kang, Gérard Poulet, Tasso Adamopoulos, Bruno Pasquier, Pierre-Henri Xuereb, Michel Michalakakos, , Roland Pidoux, Philippe Muller, Alain Meunier, Jacques Di Donato, Alain Marion, Vincent Lucas, Philippe Pierlot, and with the Rosamonde, Ludwig and Castagneri string quartets. On 1 September 2009, Moutier was appointed director of the Conservatoire national supérieur musique et danse de Lyon, establishment he will leave after three successive terms. While putting training by the stage at the heart of the curriculum he developed the Doctorate of Music Research and Practice, the international programs of artistic creation InMics and CoPeCO, numerous professional production and distribution partnerships (major festivals, orchestras, opera, companies, creation centres, CCN, Biennales), the renewal of musical and stage creation forms with other art schools (, Ensbal, Ensal, ), and deep, intellectual and practical links with leading scientific and social science schools (co-founder of the CHELS with ENS, Sciences-Po, Ecole Centrale, ).
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From the mid-1980s onward, Somaini came back again to the execution of large scale works in Italy and Japan, where the dialectics of the mark brought the sculptor to deal with positive/negative shapes, as in Europe’s Gate, Como, 1995. This activity went on in successive works of great commitment like Fortunia (1988), in a series of Lotte con il serpente characterized by an organic nature overbearingly lively, as in Fortunia Vincitrice (2000). Some of the above-mentioned works were presented in the anthological exhibition set up in the Brera Palace of Milan in 1997, in the Quadrennial of Rome of 1999, in the Carrara Biennales of 1998 and 2000 and in the anthological exhibition at the Pergine Castle (Trento) in 2000. In recent years the sculptor carried forward, side by side to his plastic activity, his drawing and painting activity in a more intensive way. In 1999, he realized a large series of works on paper that recalled in a fantastic way the myths and legends related to the Vulcan Etna, revisited also through the reading of Maria Corti's book (Catasto magico, Einaudi, 1999).
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In the course of all of his public functions Mr. Diakhate actively participated in a large number of literary festivals and conferences in Africa, Europe, and Asia. Thus he attended several Biennales Internationales de Poésie, for example the V. and und XII. Biennale of Knokke-Le-Zout in Belgium (September 1961; 1975), the Première and Troisième Biennale de la Langue Française in Namur and Liège (Belgium) in the years 1965 and 1969, the Colloques des Écrivains Afro- Scandinaves in Stockholm, Sweden, the Congrès des Ècrivains Afro-Asiatiques in Beirut, Lebanon in March 1967, the Festival Poétique de Struga (ex-Jugoslavia) in August 1976, the Fourth World Congress of Poets in Seoul, Corea, from July 2 until 7th, 979, as well as the 15e Congrès de l’Union Internationale des Journalistes et de la Presse de Langue Française in Paris from September 29. September until bis October 6, 1979. On several occasions Mr. Diakhate became one of the organizers, for example of the Premier Festival Mondial des Arts Nègres from April 1 until April 24, 1966 in Dakar, the Festival Culturel Panafricain d’Alger of the year 1969, the Journées Culturelles Africaines de Turin, Italy, in April 1967.
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Born in Aley, Mount Lebanon, Aref El Rayess started his career as a self-taught artist exhibiting for the first time in 1948. He lived in Africa for many years during which he traveled between Senegal and Paris. In Paris, he joined the studios of Fernand Léger, André Lhote, Marcelle Marso and Ossip Zadkine while studying at the Académie de la Grande Chaumière. In 1957, he returned to Lebanon, but left again for Florence in 1959 with a scholarship from the Italian government. From 1960 to 1963, he lived in Rome where he went on studying and exhibiting. In 1963, he returned to Lebanon. Rayess participated in many group shows including the biennales of São Paulo (1960) and Bagdad (1974); the Unesco exhibition in Montreal (1978); the Mall Galleries, London (1986) and the Salons of the Sursock Museum, Beirut (1961, 1962, 1963, 1965, 1966, 1968). He has held more than fifteen solo shows in Lebanon. Internationally, his Individual exhibitions include: the Poliani Gallery, Rome (1959); Numero Gallery, Florence (1959); D'Arcy Gallery, New York; Excelsior Gallery, Mexico (1964); the Rodin Museum, Paris (1966); a retrospective of his works, 1957–1968, at the National Museum of Damascus (1969); Ornina Gallery, Damascus (1974), Gallery Rasim, Algeria (1976) and in Venezuela.
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