#2020 exhibition venue grants

[ccp-visualarts]

Call for Proposals for 2020 Exhibition Venue Grants

The Cultural Center of the Philippines (CCP) has maintained its thrust of promoting contemporary visual expressions and has earned a reputation for accommodating non-commercial, innovative, and even controversial projects and exhibits. 

The VAMD offers exhibition venues where current visual art expressions may be mounted, featured, studied and analyzed. In support of this, the VAMD offers grants in the form of free use of exhibit space and curatorial assistance to encourage, initiate, support and sustain creativity and artistic excellence in the visual arts. It also organizes artist talks, workshops, and other public programs in conjunction with current exhibitions.

THE VAMD VENUE GRANT PROGRAM

The VAMD is accepting proposals for the 2020 Venue Grant Program. Since the Center’s inauguration in 1969, the CCP has been known as venue for contemporary, experimental, and multidisciplinary works. It has also served as a launching pad for artists to enter the local and international art community. The CCP also serves as an implementing agency for cultural programs and agreements between the Philippines and other countries. Artists, curators, art organizations, and institutions are welcome to submit proposals for the following venues at the CCP Main Theater Building:

Pasilyo Carlos V. Francisco (Little Theater Lobby) Wall space measures 3.77 x 19.58 meters. Located at the outer wall of the Little Theater, ground floor.

Pasilyo Vicente Manansala (2F Hallway Gallery) and Pasilyo Guillermo Tolentino (3F Hallway Gallery) Slightly convex wall space that measures 2.59 x 25.3 meters each. Located at the second and third floors.

Bulwagang Fernando Amorsolo (CCP Small Gallery) Rectangular space measuring 78 m². Located at the fourth floor.

Pasilyo Victorio Edades (4F Floor Hallway Gallery) Bracket-shaped wall space; longest wall measures 2.41 x 18.64 meters. Located at the fourth floor.

Outdoor Mural Wall Rectangular wall measuring 3.85m x 20 meters. Located at the CCP South Parking area along Vicente Sotto Street. Minimum of 1 year duration.

Floor plans of exhibit areas are available upon request via [email protected] but proponents are highly encouraged to view the exhibit spaces before creating proposals. Interested parties may also propose site-specific installations and exhibitions in outdoor sites and alternative spaces within the CCP complex. All proposals are subject to approval.

Earth Day Outdoor Installation Grant Artists are encouraged to submit a proposal for the Earth Day Outdoor Installation Grant highlighting relevant environmental issues through public art. Held annually at the CCP Front Lawn from April to May, the Earth Day Outdoor Installation Grant covers the cost for professional fees, materials, preparation and fabrication of modular elements, its transport to and from the CCP, and mounting of the art installation at the above mentioned site.

CCP Collections Exhibition Program Curators are encouraged to engage with selected artworks and artifacts from the CCP Visual Arts Collection, the Museo ng Kalinangang Pilipino Collection, and the CCP Collection of Asian Traditional Musical Instruments. Further information about these collections are available upon request.

Application Requirements

Exhibit concept

Preliminary studies/works-in-progress/past works similar to those to be included in proposed exhibition

Physical and logistical requirements of presentation of exhibit (exhibit layout, carpentry needed,  technical equipment to be used, etc.)

Contact details of artist/curator/artist group (email, mobile number, landline, website, social media, etc.)

Background information about artist/curator/artist group (artist bio, curriculum vitae, artist statement, bibliography, etc.)

Documentation of past works and exhibitions of artist/curator/artist group

Other pertinent information related to the proposed exhibit  (possible public program/talks/workshop and other activities, dialogue with the CCP Collections, interaction with other CCP offices/divisions/programs, etc.)

All hard copies sent should include a USB/CD containing the digital format of the application materials. Incomplete proposals will not be evaluated. Should the VAMD find it necessary, proponents may be requested to submit or supply further information or additional materials in connection with their proposals, or the CCP may also collaborate with the artist/s towards the development of a project.

Review Criteria

Proposals are evaluated based on the following criteria:

1. Quality and maturity of artistic skills 2. Innovativeness and contemporaneity of proposed exhibit 3. Sensitive awareness of the artist’s responsibility to the Philippine art society 4. Consistency with the CCP’s goals, scope and general program for the year, including:          a. Exhibitions that present activities related to CCP festivals and national and international celebrations          b. Exhibitions that encourage collaboration with government and non-government institutions involved in education 5. Appropriateness, feasibility and adaptability to the specified venue

Proposals may be disqualified based on the following reasons:

Fund raising activities, product launches and advertising campaigns which would be more suitably held in other venues, including exhibitions by commercial art galleries/entities

Exhibitions that are prejudicial to the rights and welfare of other people

The CCP VAMD may accept the following proposals on exceptionally meritorious grounds:

Exhibitions which have been previously presented in other venues

Solo exhibitions by artists who have not had any solo exhibits in the CCP within the last two years

Submission of  Proposals

Proposals for exhibitions for the succeeding year shall be submitted to the Visual Arts and Museum Division from January to September 30 of the current year. All proposals submitted shall be reviewed by the VAMD and presented to the CCP Artistic Programming Committee for final approval.

Proponents of approved proposals for exhibitions shall be notified via email and invited for a production meeting three months prior to their scheduled exhibit.

An Exhibition Agreement shall be prepared stipulating the terms and conditions agreed during the production meeting.

Components of  the Grant

Grantees are given the following support:

Free use of venue with basic lighting (spotlight: 10/20watts)

Subsidy for printing of exhibition collaterals such as invitations, outdoor marquee, brochure, and wall text

Curatorial support

Publicity in mainstream media and online platforms

Exhibit photo and video documentation

Deadline for 2020 exhibitions: 30 SEPTEMBER 2019

Proposals may be sent via email to [email protected] or delivered to: Visual Arts and Museum Division, Production and Exhibition Department 4F CCP Main Theater Building, Cultural Center of  the Philippines Roxas Boulevard, Pasay City from Tuesday to Friday, 9am to 6pm.

For more information, please contact [phone] loc. 1504/1505 and [phone], mobile [phone]

#ccp #cultural center of the philippines #ccp visual arts #2020 exhibition venue grants

[unfade]

How To Watch NFR Live Stream 2021 Las Vegas Rodeo On the web

When discussing 2020 Rodeo is essentially it fundamentally alludes to a yearly Public Finals Rodeo occasion that is intended to occur on Thursday, December second to the Saturday eleventh at the Thomas and Mack Center which is situated in Las Vegas, NV, US. Moreover, the planned occasion should cover about Without any protection Riding, Barrel Dashing, Bull Riding, Seat Bronc Riding, Steer Wrestling, Group Roping and Time-down Roping. Critically, NFR live stream 2021. The NFR is turning out to be quite possibly the most aggressive and engaging rodeo that the world has seen at any point ever. The top cowhands on the planet will put their boots on and taking each other on to attempt to guarantee a big showdown in their particular occasions. Write in your schedules and ensure you don't pass up a solitary second of activity this December.

Some time before the Dallas Cowhands were winning Super Dishes in American football, genuine ranchers were contending in the "Super Bowl of Rodeo" in Dallas, Texas as ahead of schedule as 1959. The seven-contest custom started there, yet additionally saw stops in Los Angeles, California from 1962 to 1964, Oklahoma City, Oklahoma from 1965 to 1984, and Las Vegas have since 1985 however in 2020 The Public Finals Rodeo will move from its standard home in Las Vegas to Globe Life Field in Arlington in what might be the recreation center's first major non-baseball occasion since its initial this previous spring.

Rodeo fans are excitedly holding back to see the NFR live stream. The Public Finals Rodeo isn't the main grandstand of the best cattle rustlers yet additionally exhibit of persistence, boldness and spikes.

When is the Public Finals Rodeo?

For people who anticipate going to the NFR celebrations in Las Vegas, there are an assortment of supported exercises to engage with during the 10-day time frame between 9:00AM to 5:00PM (PT). Every night's NFR exhibitions will authoritatively occur between 6:45PM to 9:00PM (PT). See total NFR plan page.

Where will the NFR Texas 2021 be held?

The entirety of the NFR's primary exhibitions will happen at the Globe Life Field in Arlington, Texas. Typically home of the home of the Texas Officers ball club, this scene can situate up to 40,300 individuals and tickets will go marked down to general society on Sept. 25, 2020.

What Television station will the NFR be on?

The Cowpoke Channel is the authority media accomplice for the PRCA and Wrangler NFR 2021 Live Stream. Since this is a selective arrangement between the organization and the PRCA, the NFR won't be displayed on some other Television station during the 10-day time frame.

Well before the Dallas Ranchers were winning Super Dishes in American football, genuine cattle rustlers were contending in the "Super Bowl of Rodeo" in Dallas, Texas as ahead of schedule as 1959. The seven-contest custom started there, yet in addition saw stops in Los Angeles, California from 1962 to 1964, Oklahoma City, Oklahoma from 1965 to 1984, and Las Vegas have since 1985 yet in 2020 The Public Finals Rodeo will move from its typical home in Las Vegas to Globe Life Field in Arlington in what might be the recreation center's first major non-baseball occasion since its initial this previous spring.

Rodeo fans are anxiously holding back to see the NFR live stream. The Public Finals Rodeo isn't the main grandstand of the best cowpokes yet in addition exhibit of tolerance, grit and prods.

Public Finals Rodeo 2021

Venue Thomas and Mack Center, Las Vegas, NV, US

Start Date Thursday, second December 2021

End Date Saturday, eleventh December 2021

Broadcast The Cattle rustler Channel

Live Stream Watch Here

Thus, don't miss a solitary snapshot of the Wrangler NFR surprisingly realistic. Relax, In the event that you can't go to in Texas NFR, we'll talk about here how to watch Public Finals Rodeo online continuous television inclusion.

When is the Public Finals Rodeo?

For people who anticipate going to the NFR merriments in Las Vegas, there are an assortment of supported exercises to engage with during the 10-day time frame between 9:00AM to 5:00PM (PT). Every night's NFR exhibitions will formally occur between 6:45PM to 9:00PM (PT). See total NFR plan page.

Where_will_the_NFR_Texas_2020_be_held

Where will the NFR Texas 2021 be held?

The entirety of the NFR's primary exhibitions will happen at the Globe Life Field in Arlington, Texas. Typically home of the home of the Texas Officers ball club, this scene can situate up to 40,300 individuals and tickets will go discounted to people in general on Sept. 25, 2020.

What Station will the NFR be on?

The Cattle rustler Channel is the authority media accomplice for the PRCA and Wrangler NFR 2020. Since this is an elite arrangement between the organization and the PRCA, the NFR won't be displayed on some other Television station during the 10-day time frame.

2020 NFR live stream on The Cowhand Channel

The most effective method to watch NFR Live Stream 2020 On the web

The Wrangler NFR is a 10-day occasion that incorporates the fan-most loved Cowhand Christmas just as the PRCA Public Show. The timetable additionally incorporates daily Clasp Introductions, Benny Binion's Reality Popular Wrangler NFR Kicking Pony Deal, the PRCA Grants Feast and Occasion likewise the Ace Rodeo Class of Ladies Style Show and Lunch get-together. All exhibitions will be covered by The Cattle rustler Channel live and simulcast on RFD-television. Wrangler Public Finals Rodeo (NFR) move to The Cattle rustler Channel (TCC) and RFD-television starting in 2020. The exhibitions will likewise be spilled on the PRCA on Cowpoke Channel In addition to application. The PRCA on Cattle rustler Channel In addition to application clients will actually want to stream occasions both live and recorded.

The Cattle rustlers Channel

A definitive yearly rodeo occasion will presently be seen by a huge number of individuals live all the while on two public Telecom companies. Additionally remembered for the arrangement is a wide assortment of other PRCA programming, including extended live inclusion of the PRORODEO Visit and the PRCA's Xtreme Bulls Visit occasions which will bring about an immense expansion in the sum, accessibility and nature of PRCA PRORODEO inclusion on The Cowpoke Channel here. The Rancher Channel now accessible on Dish Organization 232, Direct television 603, Cox-260 whenever, and anyplace. You can appreciate Provincial Media on these stages:

AT&T (Channel 568 and 1568)

Contract Range

Comcast

Cox

DIRECTV (Channel 345)

DIRECTV NOW

DISH (Channel 231)

Mediacom

Sling television's Heartland Bundle

Suddenlink

To see whether RFD-television and The Rancher Station are accessible in your space, kindly snap here and enter your postal division additionally pick your Compensation television supplier.

[wearejapanese]

A new online historical exhibition hosted by J-Sei aims to shake up the notion of who the Issei were by exploring queer Japanese Americans prior to 1945.

Stan Yogi and Amy Sueyoshi, co-curators of the exhibit, discussed their efforts in an exhibit opening hosted via Zoom by J-Sei, a multi-generational Japanese American organization based in Emeryville, Calif.

Yogi, a co-chair of Los Angeles-based Okaeri: A Nikkei LGBTQ Gathering, said he conceived the idea in 2018, in hopes of creating an exhibit for Okaeri to host in 2020. With no formal funding, however, he was unable to hold the exhibit at the Japanese American National Museum, where the conference would have been held. A year later, Yogi’s long-time acquittance Jill Shiraki, program director at J-Sei, informed him of a potential California Humanities grant and an opportunity to work on a smaller and more focused project at the Northern California venue.

The gay Sansei curator added that he had an “emotional and almost kind of spiritual” motivation to organize the project.

“About four years ago, Okaeri organized a potluck for gay men over 40 who identify as Japanese Americans, and I participated in that. And we were lamenting that most of us didn’t know other gay men who are Japanese American, but we also lamented that we never knew any Nisei, let alone Issei, who identified as gay or lesbian, or queer in today’s language,” Yogi said.

Research from several scholars on Japanese American history and literature contributed to the exhibit. Yogi first tapped Sueyoshi, San Francisco State University’s dean of the College of Ethnic Studies, to co-curate the exhibit. Together, they compiled research from Sueyoshi’s own work, as well as that of Tina Takemoto, Andrew Leong, and Greg Robinson to find instances of Japanese Americans who might have been considered queer in their time.

The coronavirus pandemic canceled Yogi and Sueyoshi’s plans to hold the physical exhibit in Emeryvillle, causing the organizers to move to an online format last June.

The five-section exhibit is organized in a mix of chronological order and themes, outlining early examples of gender non-conformity and homo-social relationships among early Japanese immigrants to changing attitudes against same-sex sexuality in the 20th century, and what is known of gay inmates during the wartime incarceration of Japanese Americans during World War II.

“One of the arguments we make is that, in fact, same-sex sexuality, as well as what they call gender impersonation back then, was quite prevalent and also accepted to some degree in the Japanese immigrant community,” Sueyoshi said. “It’s not to say that same-sex sexuality and gender impersonation were embraced and totally lauded — that’s not what we’re seeing necessarily — but it was actually common in the Japanese American press and it wasn’t necessarily written about pejoratively.”

Yogi said homophobia grew more prevalent as Issei were encouraged to assimilate into American society by settling down in heterosexual relationships and create families.

“So there was like this conscious shift in the community’s attitudes, so that was both enlightening to me, and — also, to be frank — a little angering,” he said.

Kei Matsuda, a J-Sei board member, expressed his excitement over the exhibit.

“Growing up in Japan in the 1960s and 70s, it was not easy for me to find my place in the society as a gay person. I looked and largely failed to find historical figures that I could uphold as my role models,” he said. “Times have changed. I’m happy that today’s young LGBTQ persons have access to an exhibit like this, and perhaps feel less isolated and less unsure of their self worth.”

Seen and Unseen will be available online through February 2021 at https://seenandunseen.net. For more information on J-Sei, including related programs to the exhibit, visit https://j-sei.org.

In addition to the virtual exhibit, J-Sei will host a series of free online programs via Zoom. Amy Sueyoshi will present “Queer Compulsions: Love, Sex and Scandal in Turn of the Century Japanese America” Nov. 8 at 4 p.m. Andrew Leong, assistant professor of English at the University of California, Berkeley, will present “We Were Here and Queer Before the Issei” Nov. 17 at 7 p.m. Queer filmmaker Tina Takemoto will speak on her films on queer Japanese Americans incarcerated during World War II in “Queer Cinematic Visions of Nikkei History” Dec. 1.

#Japanese American #History #lgbt #lgbtqia #Stan Yogi #Amy Sueyoshi #Nichi Bei

[nyfacurrent]

Introducing | 2020 Canadian Women Artists’ Award Recipients Destinie Adelakun and Sara Jimenez

The Canadian Women Artists’ Award is offered by NYFA with funding from the Canadian Women’s Club of New York.

The New York Foundation for the Arts (NYFA) has announced interdisciplinary artists Destinie Adelakun and Sara Jimenez as its 2020 Canadian Women Artists’ Award recipients. The $5,000 award is designed to provide financial support to women-identifying emerging or early career artists working in any discipline, and can be used in any manner the recipient deems necessary to further their artistic goals. The award program is supported by funding granted to NYFA by the Canadian Women's Club (CWC) of New York as a way to continue its philanthropic work when it disbanded. This year, in response to the impact of the COVID-19 pandemic on the creative community, the CWC and NYFA decided to award two prizes.

“We’re proud to partner with the Canadian Women’s Club to offer this award, and are especially grateful to recognize not one but two artists,” said Michael L. Royce, Executive Director, NYFA. “Destinie Adelakun and Sara Jimenez are exceptionally talented cross-disciplinary artists, and we are excited to hear more from them as they continue to push their careers forward,” he added.

Destinie Adelakun is a Lagos, Nigeria-born, Nagpur, India-raised Canadian artist whose work extends from mixed-media, painting, and photography to film and sculpture, and explores topics ranging from African history, mythology, and spirituality. She utilizes individuals in her work as a personification of principles and ideas, and a way to re-illustrate African and Indian mythological tales. Adelakun, who received a BFA degree in Fashion Production from The London College of Fashion, celebrates women of the African diaspora and plays with the adornment that embodies the creative direction of the work. She has collaborated with noted art world icons such as Renee Cox, Mickalene Thomas, and Taha Clayton to name a few, and curated several art shows in the New York region before recently transitioning to showing her own art and photography work. She currently lives and works in New York, NY.

Said Adelakun upon receiving a 2020 Canadian Women Artists’ Award: "As a biracial daughter of the diaspora, life has thrown countless battles on my path to success. I recently became a mother during this global pandemic, and just when I felt overwhelmed and buried by the challenges of life I received this ray of opportunity. This award means that I have the opportunity to continue to create work. It is an opportunity for me to allow other young women of color, especially mothers, to see that creativity and achievement doesn't end after childbirth. This award and its recognition will elevate my career to a whole new level, and it's an affirmation to continue working and believing in myself."

Sara Jimenez explores the material embodiment of deep transcultural memories. As an interdisciplinary Filipinx-Canadian artist, she is interested in materializing existing global narratives around concepts of origins and home, loss and absence. She works in collage, sculpture, installation, and performance to create visual metaphors that allude to mythical environments and forgotten artifacts. Jimenez is a collector and alchemist: among other things, she collects familial narratives, abandoned objects, debris, compost, colonial texts and photos, maps, and textiles. Through material experimentation, she combines and rearranges elements from her collections to complicate pre-existing narratives of place, lineage, and temporality. Her work has been exhibited at the Pinto Art Museum (Philippines), El Museo del Barrio, Brooklyn Museum, and others, and she has performed at numerous venues including The Dedalus Foundation, The Noguchi Museum, and Dixon Place. Upcoming, Jimenez will have solo shows at Irvine Fine Arts Center and The Center for Chinese Contemporary Art in Manchester, England, and will participate in the 2021 Cornell Biennial curated by Tim Murray. Jimenez received her BA degree from the University of Toronto and her MFA degree from Parsons the New School for Design. She teaches at Parsons, New York University, and Borough of Manhattan Community College and mentors graduate students at the Vermont College of Fine Art and School of Visual Arts. Jimenez is based in Brooklyn, NY.

Said Jimenez upon receiving a 2020 Canadian Women Artists’ Award: "I am incredibly honored to receive this award. It is humbling and moving to be gifted resources to pursue my vision and share it with the world. I want my work to be of service to the public and to shift the paradigm of visual culture."

Lorraine Bell, Board Director Bridgemarq Real Estate Services, Hot Docs Foundation USA, the University of Toronto Associates, Inc., and former Canadian Women’s Club member, spoke about the rationale behind giving two awards in 2020: "I know the financial struggles that artists face during the best of times can be difficult, but layer a global pandemic onto that and it can be overwhelming. So the decision to award two worthy Canadian recipients in 2020 was made and we are thrilled with the selections of artists Adelakun and Jimenez."

Find out about additional awards and grants here. Sign up for our free bi-weekly newsletter NYFA News to receive announcements about future NYFA events and programs.

Images from top: Destinie Adelakun and Sara Jimenez, Photo Credits: Sheridon Poyer and Sara Jimenez; Destinie Adelakun, ADE - Oshun and Oya's crown, 2020; and Sara Jimenez, Cenotaph, 2018

#announcements #instagram #canadian women artists award #canadianwomenartistsaward #destinieadelakun #destinie adelakun #sara jimenez #sarajimenez #canadian artist #canadianartist #artist award #artistaward #cwc #canadian womens club #canadianwomensclub #canadian women artists #canadianwomenartists

[voidplus-jp]

Unknown Image Series no.8 #2 鈴木のぞみ「Light of Other Daysー土星の環」 Nozomi Suzuki "Light of Other Days - The Rings of Saturn"

void+では、Unknown Series no.8 #2 鈴木のぞみ個展「Light of Other Days－­土星の環」を7月31日より開催いたします。本シリーズ２回目となる鈴木は、何気ない日常の事物に潜む潜像のような記憶の可視化を、写真の原理を通して試みています。その作品は静かで控えめでありながら、写真の本質をとらえた独自の構造と豊かさ、広がりがあり、見る人の想像力に働きかけます。

近年は、東京都写真美術館、埼玉県立近代美術館、MOTサテライトなどの国内の主要な美術館や場で発表を続け、昨年は、ポーラ美術振興財団在外研修員としてイギリスのロンドンとベルファストに滞在していました。この地で鈴木が出会ったアンティークの眼鏡や舷窓、そして、ベルファスト出身のSF作家であるボブ・ショウやイギリスを旅したドイツの作家W・G・ゼーバルトの書物からインスピレーションを��けた本展は、帰国後初の個展となります。

また、今回は、埼玉県立近代美術館学芸主幹の梅津元氏をゲストに迎え、作家にメールインタビュー＊を行います。Unknownシリーズにおいては初の試みとなります。この記録はvoid+のHPで後日発表予定ですので、個展をご覧になるとともに、ぜひお読みくださいますようお願いいたします。

（＊大変申し訳ございませんが、予定されていたトークイベントは、感染症流行のため中止となりました）

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＜展覧会概要＞

■タイトル：Unknown Image Series no.8  #2 鈴木のぞみ「Light of Other Days－­土星の環」 ■会期：2020 年7月31日（金）— 8月21日（金）14:00-18:00 ■メールインタビュー：鈴木のぞみ＋ 梅津元（埼玉県立近代美術館学芸主幹／芸術学） ■会場：void+ 東京都港区南青山3-16-14, 1F ■定休日：日、月、祝日 ■お問合せ：[email protected]  

［主催］void＋／Unknown実行委員会 ［企画］カトウチカ                                                                                         ［協力］rin art association／Pola Art Foundation

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Light of Other Days －土星の環　について  

イギリスで過ごした日々の中で、写真の黎明期とともに発展したヴィクトリア朝とそれ以降の土着的な文化において、人々のまなざしを拡張した事物の潜在性を顕在化したいと思索していた。

展覧会タイトルの《Light of Other Days》は、ベルファスト出身のSF作家であるボブ・ショウによって1966年に書かれた短篇から引用している。物語の中に登場する、過去の光を遅れて届ける魔法のガラスである〈スローガラス〉という発明品は、それ自身が写真そのもののようである。

《土星の環》は、晩年を東イングランドで過ごしたドイツの作家 W・G・ゼーバルトによって1995年に書かれた書物のタイトルから引用した。脱線と連想を繰り返しながら、ヨーロッパ帝国主義の史実と文学への思索による断片が、イギリスの地を巡礼するゼーバルトの足どりとともに散りばめられ、記憶を想起するような書物だ。

私はこれらの書物を参照し、事物に残された痕跡からその来歴を辿ることを試みた。かつての人々の営みへと想いを馳せ、事物に宿る記憶のようなまなざしを写真によって可視化してみたい。〈スローガラス〉を通してそれぞれの事物が孕む小さな物語と私たちのまなざしが交叉し、新しい物語が紡がれる場となることを願って。

(2020年6月　鈴木のぞみ)

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まなざしの余白

展示空間には、円形のまなざしが浮遊している。窓、眼鏡、ルーペ、カメラ・オブスクラ、望遠鏡、そして人間の双眸……。

それらは何を見てきたのか。鈴木の紡ぎだす空間は、それ自体がカメラの構造を孕んでもいる。そこでは、時間と光に関わる事物のイメージ、形、物語が浮遊しながら連鎖する。

本来、生命も意思も持たないはずの事物が、感光性を与えられ、身体とまなざしを獲得する。客体であったはずのものが主体となる。その透明なまなざし。これらの蒐集された事物を使っていた人々は、すでにこの世界にいない。だが、人とは別の時間を蓄積してきた事物はまだそこに残っていて、かつてそこにあった風景や物語のかけらを写し出し、見る人の感情を揺さぶる。過去の光と影、言葉を写した一片は、人々を果てしない時間の旅に誘う。空間を訪れた人々の間で共有されながら、その内面で個々に変化する物語。小さき事物のまなざしの余白は、見えざるイメージと物語で満ちている。

死者、生者、事物、空間、時間、光、あらゆるまなざしと記憶が交錯する場で、私たちはその中の一粒となり、全体ともなるのだ。

カトウチカ（Unknown Series キュレーター）

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鈴木のぞみ　SUZUKI Nozomi

1983年 埼玉県生まれ。東京藝術大学大学院 美術研究科 博士後期課程在学中。何気ない日常の事物に潜む潜像のような記憶の可視化を、写真の原理を通して試みている。現前しているが不在であるという性質を持つ写真を事物に直接定着することで、写真に触覚的な身体のようなものが付与され、過ぎ去りゆく時をいまここに宙づりにする。近年の主な展示に「あした と きのう の まんなかで」（はじまりの美術館、2019）、「MOTサテライト2018 秋 うごきだす物語」（清澄白河、2018）、「無垢と経験の写真 日本の新進作家vol.14」（東京都写真美術館、2017）、「NEW VISION SAITAMA 5 迫り出す身体」（埼玉県立近代美術館、2016）など。受賞歴多数。平成30年度ポーラ美術振興財団在外研修員としてイギリスにて研修。

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梅津元　UMEZU Gen

埼玉県立近代美術館学芸主幹。専門は芸術学。同館での主な企画（共同企画を含む）に「DECODE/出来事と記録ーポスト工業化社会の美術」（2019）、「版画の景色 現代版画センターの軌跡」（2018）、「生誕100年記念　瑛九展」（2011）、「アーティスト・プロジェクト：関根伸夫《位相ー大地》が生まれるまで」（2005）、「ドナルド・ジャッド 1960-1991」（1999）、「＜うつすこと＞と＜見ること＞ー意識拡大装置」（1994）など。ギャラリーαMでの企画に「トランス／リアルー非実体的美術の可能性」（2016-17）がある。美術手帖や展覧会カタログなどに寄稿多数。

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＜Unknown Image Series no.8 展覧会＞

未知のイメージを創出する

イメージが持つ力と本質を探り、未知のイメージを創出する。

この世界においては、日々膨大なイメージが生まれては消えていくが、ときに稀有なイメージが出現する。今回の参加アーティストは、三田村光土里、横山奈美、鈴木のぞみ、山元彩香、庄司朝美の５名。連続する個展の形式をとる。各回のトークイベントとテキストのゲストには、光田由里、梅津元、飯田志保子、中村史子、中尾拓哉らを招く。 シリーズの終了後にはバイリンガルの記録集を制作し、本というメディアにおいても新たな表現の展開をはかっていく。

女性たちがつくるイメージ

Unknown Imageのシリーズは、イメージをテーマに、今、注目すべきアーティスト一人一人の作品とその世界を深く掘り下げ、その可能性をさらに見出していく場でもある。今回は、はからずも全員が女性アーティストとなった。

初回の山元彩香は、言葉の通じない国で神秘的なまでの美しさと暴力性をもつポートレートを撮影する。被写体の名前や意識すら剥ぎ取り、空の器にしようとしても残るものとはなんなのか。鈴木のぞみは、写真や時間の原理の静かな探求者である。生命なき事物に「視線」と「記憶」を出現させ、写真に身体のようなものを与える。横山奈美は、絵画の大きな歴史と私的な小さな歴史を交錯させ、日常の取るに足らないものたちの美しさや、明るく輝くものの背後にある存在を描き出す。庄司朝美の描線は、舞台のように見る人を引き込む物語性と、生命と死のエネルギーに満ちた身体的絵画空間をつくり出す。三田村光土里は、このシリーズではもっともキャリアの長いアーティストである。ごく私的なイメージや言葉の数々は、写真、映像、オブジェ、ドローイング、インスタレーションとなるが、それらは個人の物語やアートの枠組みを越えて普遍性を帯び、見る人の心を捉えて離さない。そして、ゲストは性別や年代は幅広いが、いずれも芸術の発生の現場において、極めて優れた批評の言葉を紡いできた方々である。

美術史において、かつて周縁の存在であった女性アーティストたちは、今、最先端にいる。彼女たちがつくるイメージはどのようなものなのか。なぜそれを生み出さねばならなかったのか。参加者の出自やキャリア、テーマ、歴史や現在の状況との向き合い方、その目指すところも様々である。だが、彼女たちの存在と彼女たちがつくるイメージは、それぞれに強く鮮やかだ。その未知のイメージは見る人を深く静かに揺るがし、世界に多様な変化を生み出す力ともなっていくだろう。

カトウチカ

＜Unknown Image Series no.8　今後のスケジュール＞

#3｜庄司朝美  ［会場／会期］未定

ゲスト：光田由里（DIC川村記念美術館学芸員） ＊開催を予定していたHIGURE 17-15 casですが、新型コロナウイルス感染症を考慮した上、当面の間休廊することとなりました。新しい会場と会期が決まり次第、発表いたします。

#4｜横山奈美　［会場］void+ 2021年5月（予定） ゲスト：飯田志保子（キュレーター）

#5｜三田村光土里 ［会場］HIGURE 17-15 cas   2021年（予定） ゲスト：中尾拓哉（美術評論家）

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Unknown Image Series no. 8 #2 “Light of Other Days – The Rings of Saturn,” an exhibition of work by Suzuki Nozomi, will open at void+ on July 31. In this second exhibition in the series, Suzuki endeavors to render visible by means of photographic principles the memories, akin to latent images, that dwell in mundane, everyday objects. These works may be calm and understated, but their unique structure, richness, and expansiveness, which together capture the essence of photography, mean they are sure to fire the viewer’s imagination.

Recent years have seen Suzuki present work in major museums and other venues around Japan, including the Tokyo Photographic Art Museum, Museum of Modern Art, Saitama, and MOT Satellite, and last year she also spent time in London and Belfast on a POLA Art Foundation overseas study grant. This exhibition inspired by the antique spectacles, portholes and similar objects Suzuki encountered during her stay in the UK, plus books by Belfast sci-fi writer Bob Shaw, and the German author W.G. Sebald, who traveled around Britain, will be her first solo show since returning to Japan.

In a first for the Unknown series, there will also be an email interview* with the artist, courtesy of Umezu Gen, curator at the Museum of Modern Art, Saitama. A transcript of the interview will be posted at a later date on the void+ website, as an informative accompaniment to the exhibition.

*We regret the scheduled talk event has been cancelled as a measure against COVID-19 transmission.

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＜Exhibition＞

■Title: Unknown Image Series no.8  #2 SUZUKI Nozomi “Light of Other Days－­The Rings of Saturn” ■Exhibition Period: 2020.7.31(fri) — 8.21(fri) 14:00-18:00 ■Email Interview: SUZUKI Nozomi ＋ UMEZU Gen（Curator, The Museum of Modern Art, Saitama / Art Studies） ■Venue: void+  3-16-14, 1F, Minamiaoyama, Minato-ku, Tokyo ■Closed: Sundays, Mondays and holidays　 ■Inquires: [email protected]  

Organized by void＋/ Unknown executive committee Curated by KATO Chika                                                                                     In cooperation with rin art association / Pola Art Foundation

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About “Light of Other Days – The Rings of Saturn”

During my time in the UK, I mused on the idea of revealing latent images of objects that have served to expand the human gaze, in the context of the vernacular culture of Britain since the Victorian era, a period in which the nation’s development coincided with the dawn of photography.

The title of the exhibition, “Light of Other Days,” is taken from a short story written by Belfast sci-fi author Bob Shaw in 1966. The magical “slow glass” of the story, an invention that delivers delayed light from the past, could for all the world be photography itself.

“The Rings of Saturn,” meanwhile, is borrowed from the title of a 1995 work by German author W. G. Sebald, who spent his later years in the east of England. Sebald’s English pilgrimage is accompanied by scattered snippets of thought; meditations on the true history of European imperialism, and on literature, laced with digressions and connections, as if recalling memories.

Using these works for reference, I attempted to trace the history of objects from the marks left on them. Turning my thoughts to the endeavors of past people, my aim is to use photography to render visible the memory-like gaze that dwells in objects, in the hope that through “slow glass” the little narratives filling each of these objects will intersect with our gaze, and create settings for the spinning of new stories.

(SUZUKI Nozomi, June 2020)

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A blankness of gaze

Circular gazes—windows, eyeglasses, magnifiers, camera obscura, telescopes, and pairs of human eyes—float in the gallery space.

What have they seen? The very space spun by Suzuki also harbors the structure of a camera, images, shapes and narratives of things related to time and light, floating and forming links therein.

Things originally devoid of both life and thought are given photosensitivity, and acquire body and gaze. What should be objects, become subjects, all clear gazes. The people who used these collected items are no longer of this world. Yet, accumulating a different time from humans, they remain, describing pieces of the landscapes and narratives once there, and stirring complex emotions in those who see them. Fragments portraying the light and shadow, the words, of the past, invite people on an endless journey through time. Stories are shared among those who visit the space, each changing within each visitor. The blank gaze of these small items is suffused with unseen images and narratives.

In a place where dead and living, objects, space, time, light, all manner of gazes and memories intersect, we constitute just another tiny piece, and also, the whole.

KATO Chika (Unknown Series curator)

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SUZUKI Nozomi

Born 1983 in Saitama, Japan. Currently in the doctorate course of Intermedia Art at Tokyo University of the Arts. Suzuki Nozomi attempts to visualize, through the principles of photography, the memories resembling latent images submerged in innocuous everyday objects. Fixing photographs, which have the characteristic of being present yet absent, directly to objects, she assigns photographs something like a tactile body, suspending passing time in the now.   Recent group exhibitions include “In the middle of tomorrow and yesterday” (Hajimari Art Center, 2019), “MOT Satellite 2018 Fall: To Become a Narrative” (Kiyosumi-Shirakawa, 2018), “Photographs of Innocence and of Experience: Contemporary Japanese Photography vol.14” (Tokyo Photographic Art Museum, 2017), and “New Vision Saitama 5: The Emerging Body” (The Museum of Modern Art, Saitama, 2016). Among a number of other awards, she was recipient of the POLA Art Foundation Grant for Overseas Research in 2018, under which she studied in the UK.

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UMEZU Gen

Curator, The Museum of Modern Art, Saitama, specializing in art studies. Exhibitions he has organized/co-organized at MOMAS include ”DECODE / Events & Materials: The Work of Art in the Age of Post-Industrial Society” (2019), “A View of Prints: Trajectory of the Gendai Hanga Center” (2018), “100th Birth Anniversary, Q Ei” (2011), “Artist Project: Toward the Emergence of Sekine Nobuo’s Phase – Mother Earth” (2005), “Donald Judd 1960–1991” (1999), and “Visualization in the End of the 20th Century” (1994). He also organized as guest curator the Gallery αM series “Trans / Real: The Potential of Intangible Art” (2016-17). He has contributed a great number of essays to the art magazine Bijutsu Techo, as well as to art catalogues and books.  

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＜Unknown Image Series no.8 exhibitions＞

Creating unknown images

Exploring the power and essence possessed by images, to create unknown images.

A vast number of images are generated every day in this world, only to vanish, but just occasionally, some extraordinary images do emerge. The artists in this eighth Unknown exhibition are Mitamura Midori, Yokoyama Nami, Suzuki Nozomi, Yamamoto Ayaka, and Shoji Asami, who will stage consecutive solo shows. Those serving as guests for the talk events for each of these shows, and providing the texts, will include Mitsuda Yuri, Umezu Gen, Iida Shihoko, Nakamura Fumiko, and Nakao Takuya. After the series is finished a bilingual document will be produced, thus extending the exhibition into another form of expression:  that of the book.

Images made by women

The Unknown Image series is also an opportunity to delve deeply into the individual work of some of today’s most noteworthy artists and their worlds, identifying further possibilities for each. This time, albeit not by design, all the artists are female.

Yamamoto Ayaka, featured in the first of the exhibitions, travels to countries where she does not speak the language, and takes portrait photographs suffused with a beauty and violence verging on the mystical. What is it that remains even when everything is stripped from her subjects, down to their names and consciousness, in an attempt to turn them into empty vessels? Suzuki Nozomi is a quiet explorer of the principles of photography and time. Endowing non-living things with a “gaze” and “memory” she gives her photos something like a physical body. Yokoyama Nami blends the vast history of painting and small personal histories to depict the beauty of everyday, insignificant things and what lies behind the bright and shiny. Shoji Asami’s lines create a narrative quality that draws the viewer in like a stage, and a corporeal painterly space suffused with the energy of life and death. Mitamura Midori is the artist in this series with the longest career. Her many very personal images and words are presented in photographs, videos, objects, drawings and installations, that go beyond individual stories or the confines of art, taking on a universal quality that irrevocably captures the heart of the viewer. The guests, meanwhile, are a varied lineup in terms of age and gender, but all individuals on the frontlines of art creation, of superb critical talent.

Once a marginal presence in art history, female artists are now at its cutting edge. What kind of images do these artists make? Why have they felt the need to produce them? The artists participating in these exhibitions have different origins and career trajectories, different ways of engaging with their themes, with history and current circumstances, and different aims. Yet their presence, and the images they create, are without exception strong and vibrant. Their unknown images will quietly shake the viewer to the core, and likely serve as a force for many types of change in the world.

KATO Chika

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<Unknown Image Series no.8 exhibitions schedule>

SHOJI Asami   Venue and period: TBD Guest: MITSUDA Yuri (Curator, Kawamura Memorial DIC Museum of Art) *HIGURE 17-15 cas, where the exhibition was to be held, is closed for the time being in light of the COVID-19 pandemic. The new dates and venue for the show will be announced as soon as they are determined.

YOKOYAMA Nami　@ void+ May 2021 (TBD) Guest: IIDA Shihoko (Curator)

MITAMURA Midori　@ HIGURE 17-15 cas   2021 (TBD) Guest: NAKAO Takuya (Art critic)

写真：森政俊 2枚目の舷窓の写真：鈴木のぞみ

[feliciamontagues]

Official promo pictures and episode summaries for  episodes 6-10 of Father Brown Series 8, airing on BBC in January 2020. Summaries under  the cut for length.   (Promo pics and photos for episodes 1-5 can be found here.)

The Numbers of The Beast (13 Jan 2020)

Mrs McCarthy strikes it lucky at the church bingo with the help of a fortune-teller.

Mrs McCarthy (Sorcha Cusack) is stunned when her sister Roisin (Niamh Cusack) arrives in Kembleford. Roisin’s made friends with a fortune-teller named Trafalgar Devlin (Grant Masters) and wants Mrs McCarthy to meet him. Over a cup of tea, Trafalgar predicts the winning jackpot line numbers for the Hambleston Church bingo event run by Samuel Hinds (Nigel Betts). Later, at the church bingo, Mrs McCarthy buys a card with Trafalgar’s numbers on it and wins the jackpot prize, much to her astonishment!

Meanwhile Anna Bailey (Alison Pargeter) is keen to speak to Father Brown (Mark Williams) urgently about some fraud she’s discovered. When Father Brown goes to see her the next morning to discuss the matter, he finds her dead. Her husband Peter (Graeme Hawley) is holding a bloodied murder weapon, and insisting it wasn’t him. But is Peter telling the truth?

The River Corrupted (14 Jan 2020)

Sid returns to Kembleford to ask his old family to help save his new one.

After Maeve Lochlin’s (Bronte Terrell) father Pat (Ian Puleston-Davies) is accused of murdering Roger Barford (Andrew Whipp), Maeve and her boyfriend Sid Carter (Alex Price) travel to Kembleford to ask Father Brown (Mark Williams) to help them clear his name.

Father Brown promises to do all he can and pays a visit to Blind ‘Arry’s (Alan Williams) where Pat is laying low. Things don’t look good for Pat when it is revealed that he and Roger had an argument about money on the night Roger was killed. Roger’s widow Georgina Barford (Hannah Yelland) is convinced that Pat is guilty, but Father Brown’s suspicions turn towards barmaid Polly Beavington (Gabrielle Creevy), who used to work for Roger at his textile factory. Were the two having an affair? And did Roger finish it? When Pat is arrested for murder, it’s down to Father Brown to prove his innocence before it’s too late.

The Curse of the Aesthetic (15 Jan 2020)

Father Brown must discover who is out to kill a tortured artist before it’s too late.

Tortured artist Benjamin Milton (George Webster) struggles to contain his emotions when an exhibition at his estate, Milton Manor, dedicated to his ‘muse’ Isabella (Isabella Peroux), doesn’t go to plan. A bust of her likeness is defaced; and a suspected attempt on his life is made when art collector Conrad French (Justin Avoth) tries to enter Benjamin’s studio and is electrocuted.

Meanwhile Benjamin is also at loggerheads with his sister Katie (Rhiannon Neads) over his share of the estate, which they both occupy. He also has to fend off the unwanted advances of would-be life model Rose (Danielle Phillips). Things get even worse when his housekeeper Nanny Ribble (Harriet Thorpe) is found murdered, with a knitting needle stuck in her neck. It’s down to Father Brown (Mark Williams) to work out who is responsible for Nanny Ribble’s death, and who would want to kill Benjamin and why.

The Fall of the House of St Gardner (16 Jan 2020)

A gossip columnist is murdered after threatening to expose the secrets of a fashion house.

When fashion designer Lady Vivien St Gardner-Verde (Rosalie Craig) heeds Bunty’s (Emer Kenny) warnings not to let gossip columnist Barbara Farrell (Amanda Lawrence) attend her new fashion show, Barbara promises revenge on the House of St Gardner. But when the fashion show venue falls through, Vivien decides to stage the event in Kembleford instead, along with the help of Sir Ralph Verde (Nick Waring), Harvey St Gardner (Ben Lamb), and model Camille Hogan (Ingvild Lakou).

However, when they arrive, they discover Barbara has tracked them down to Kembleford and is just as vicious as ever. Father Brown (Mark Williams) implores Barbara to choose a righteous path; but she ignores him. Soon after, Barbara is found dead in her lodgings - her head bashed in with a typewriter. Was she planning to publish a secret that would bring the St Gardner house down? Meanwhile Bunty, who is romantically involved with Harvey, is left wondering if he could be Barbara’s killer…

The Tower of Lost Souls (17 Jan 2020)

Father Brown joins forces with Chief Inspector Valentine to uncover a dark secret at Helmsley House.

After the body of Reginald Brody is discovered at the bottom of Helmsley Tower, Chief Inspector Valentine (Hugo Speer) returns to Kembleford to investigate. Suspecting that there is more to his death than suicide, Valentine enlists Father Brown (Mark Williams) to help investigate.

Meanwhile Alistair Helmsley (Gyuri Sarossy) and his wife Emily (Susannah Wise), with gardener George Oakley (Cal Macaninch), are determined to continue organizing a fundraiser for injured veterans at Helmsley House. Valentine suspects Alistair’s brother William (James Anderson) may have pertinent information and brings him in for questioning, but he refuses to talk. Later, at the top of Helmsley Tower, William is about to reveal the identity of Reginald’s killer when he is murdered, and Valentine is framed for his death, leading to his arrest. It is down to Father Brown and Chief Inspector Sullivan (Tom Chambers) to clear Valentine’s name and find the real killer.

#father brown #bbc father brown #y'all don't understand; i've literally been checking the bbc website multiple times every day since the ep 1-5 summaries came out #and *finally* we get something #overall i'm less enthused about these eps than ep 1-5 tbh #with the exception of the valentine & sullivan ep which sounds amazing #also i'm glad to see my theory that sorcha's real life sister is playing her sis on the show was right

[rabbitcruiser]

Fauna and Flora, Chicago (No. 3)

In 2014, Chicago attracted 50.17 million domestic leisure travelers, 11.09 million domestic business travelers and 1.308 million overseas visitors. These visitors contributed more than US$13.7 billion to Chicago's economy. Upscale shopping along the Magnificent Mile and State Street, thousands of restaurants, as well as Chicago's eminent architecture, continue to draw tourists. The city is the United States' third-largest convention destination. A 2017 study by Walk Score ranked Chicago the sixth-most walkable of fifty largest cities in the United States. Most conventions are held at McCormick Place, just south of Soldier Field. The historic Chicago Cultural Center (1897), originally serving as the Chicago Public Library, now houses the city's Visitor Information Center, galleries and exhibit halls. The ceiling of its Preston Bradley Hall includes a 38-foot (12 m) Tiffany glass dome. Grant Park holds Millennium Park, Buckingham Fountain (1927), and the Art Institute of Chicago. The park also hosts the annual Taste of Chicago festival. In Millennium Park, the reflective Cloud Gate public sculpture by artist Anish Kapoor is the centerpiece of the AT&T Plaza in Millennium Park. Also, an outdoor restaurant transforms into an ice rink in the winter season. Two tall glass sculptures make up the Crown Fountain. The fountain's two towers display visual effects from LED images of Chicagoans' faces, along with water spouting from their lips. Frank Gehry's detailed, stainless steel band shell, the Jay Pritzker Pavilion, hosts the classical Grant Park Music Festival concert series. Behind the pavilion's stage is the Harris Theater for Music and Dance, an indoor venue for mid-sized performing arts companies, including the Chicago Opera Theater and Music of the Baroque.

Navy Pier, located just east of Streeterville, is 3,000 ft (910 m) long and houses retail stores, restaurants, museums, exhibition halls and auditoriums. In the summer of 2016, Navy Pier constructed a DW60 Ferris wheel. Dutch Wheels, a world renowned company that manufactures ferris wheels, was selected to design the new wheel. It features 42 navy blue gondolas that can hold up to eight adults and two kids. It also has entertainment systems inside the gondolas as well as a climate controlled environment. The DW60 stands at approximately 196 ft (60 m), which is 46 ft taller than the previous wheel. The new DW60 is the first in the United States and is the sixth tallest in the U.S. Chicago was the first city in the world to ever erect a ferris wheel.

On June 4, 1998, the city officially opened the Museum Campus, a 10-acre (4.0 ha) lakefront park, surrounding three of the city's main museums, each of which is of national importance: the Adler Planetarium & Astronomy Museum, the Field Museum of Natural History, and the Shedd Aquarium. The Museum Campus joins the southern section of Grant Park, which includes the renowned Art Institute of Chicago. Buckingham Fountain anchors the downtown park along the lakefront. The University of Chicago Oriental Institute has an extensive collection of ancient Egyptian and Near Eastern archaeological artifacts. Other museums and galleries in Chicago include the Chicago History Museum, the Driehaus Museum, the DuSable Museum of African American History, the Museum of Contemporary Art, the Peggy Notebaert Nature Museum, the Polish Museum of America, the Museum of Broadcast Communications, the Pritzker Military Library, the Chicago Architecture Foundation, and the Museum of Science and Industry.

With an estimated completion date of 2020, the Barack Obama Presidential Center will be housed at the University of Chicago in Hyde Park and include both the Obama presidential library and offices of the Obama Foundation.

The Willis Tower (formerly named Sears Tower) is a popular destination for tourists. The Willis Tower has an observation deck open to tourists year round with high up views overlooking Chicago and Lake Michigan. The observation deck includes an enclosed glass balcony that extends 10 feet out on the side of the building. Tourists are able to look straight down.

In 2013, Chicago was chosen as one of the "Top Ten Cities in the United States" to visit for its restaurants, skyscrapers, museums, and waterfront, by the readers of Condé Nast Traveler.

Source: Wikipedia

#flora #flower #blooming #Chicago #Wacker Drive #architecture #cityscape #original photography #summer 2019 #nature #Chicago River #old wood #rusty chain #water #fountain #North Michigan Avenue #Magnificent Mile #the Loop #downtown #Millennium Park #tourist attraction #Illinois #USA #Midwestern USA #Great Lakes Region #Windy City #Chitown #Lake Shore East Park #Daley Plaza #Crown Fountain

[goldstarnation]

JULY 2020 GOLD STAR MEDIA SCHEDULES & REVIEW

Members may earn 3 points each (up to 6 points) for writing, by the end of August 7 KST:

A solo para of 400+ words based on their monthly schedule (does not count toward your monthly total).

A thread of six posts (three per participant, including the starter) based on their monthly schedule.

Threads do not have to take place directly during an important date listed on the schedule, but must be related to what the muse is mentioned to be doing in the paragraph explaining their schedule/the company’s schedule for the month and/or their thoughts on the mentioned activities or lack thereof.

These schedules may be updated throughout the month if new information needs to be added.

Reminder: June schedule posts are due by the end of July 7 KST. Please do not post schedule posts in the fmdschedule tag.

OVERALL COMPANY

All Gold Star idols are scheduled for a meeting with upper management the day before the news of the upcoming base Culture Complex is leaked to the media. They’re given a more detailed rundown of plans for the facility than the public is, although not all the details are made clear. In the meeting, everyone is informed Gold Star has partnered once again with BC and Dimensions to fund the construction of a new building in Gangnam meant to become the ideal location in the world for fans of idols. The building will include a museum with exhibits dedicated to the history and music of each group and soloist, a handful of theatre venues for intimate concerts and company-sponsored musical productions, a merchandise mall, a cafe, and many other fan experiences. (admin note: For reference, imagine something similar to SM COEX Artium —with over three times the budget.) The idols won’t spend much time there even once it’s finished being built, but content starring them is critical to the financial success of the venture, so the next several months leading up to its opening will have all three companies’ idols working hard to make its opening a success. This month, that mostly involves producing photo shoots: all idols will attend a photo shoot session this month where three categories of photo will be tacked: profile pictures for the artist wall (grayscale, professional and serious tone), images for life-sized cutouts of each idol (wardrobe will consist of jeans and a single-color top for each idol, fun and bright tone with fanservicable poses such as here and here encouraged) and 3D imaging for 3D-printed figures of each idol.

Important dates:

July 5: base Culture Complex briefing meeting.

July 12-July 31: Photo shoots for base Culture Complex, as individual muse schedule allows, at unspecified photo studio in Gangnam (admin note: muses may encounter idols from other companies while there).

GOLD STAR SOLOIST 1

Now that “Blueming” promotions are complete, it’s time for her to prepare for her concert tour. The set list includes her latest songs as well as older favorites. This month, the focus is making sure she has the performances of each song down with hours spent in the practice room, with extra time and focus spent on the ones that involve back-up dancers.

Important dates:

N/A

GOLD STAR SOLOIST 2

Now that her concert tour is done, she’s been granted a vacation from the company. She’s allowed to schedule her vacation as she wishes throughout the month (she may travel abroad if she wishes, with or without a manager), though she will need to be in Seoul a few days out of the month to listen to demos for potential new songs as Gold Star has been throwing around the idea of a holiday release at the end of this year for her.

Important dates:

N/A

GOLD STAR SOLOIST 3

The release of his English-language album approaches and as the track list has now been finalized, he’ll be expected to spend long hours in the recording studio this month to finish laying down the final vocal tracks on the album before he heads into the final stretch of album preparations next month.

Important dates:

N/A

SILHOUETTE

On their tenth anniversary, they receive a rare video by way of their manager’s phone from CEO Bang Sunyoung herself congratulating them on ten years. In it, she gives encouragement for their comeback and thanks them for their dedication to the company for ten years. On the same day, they host a mini outdoor fanmeeting for fans in honor of the occasion. Their new comeback releases on the third and it seems Gold Star’s marketing of a reinvention of Silhouette for their tenth anniversary worked, as the song climbs up the charts to a Gaon number one in its third week

Important dates:

July 1: Ten year anniversary mini fanmeeting.

July 3: Release of “Sixth Sense” & Sixth Sense album, music show promotions continue through August 3.

July 6: Guesting on MBC FM Starry Night radio show.

July 13: Guesting on SBS PowerFM Youngstreet radio show.

July 15: Radio Star appearance filming (to be aired: July 22).

ARIA

Aria finishes off music show promotions mid-month after a busy schedule of music show promotions. Before that, they make an appearance on School Attack, where they’ll visit a middle school. At the beginning of filming, they’ll split themselves up into pairs of their choosing and be given a mission where they pick three Korean consonants and must find a food with at least two of the consonants in it in order to eat before they leave for the school. If they fail, they have to walk to get to the school instead of riding the bus with the rest of the members. Once they are all at the school, the members must find clues to lead them to start the school attack performance for the students. They’ll also be filming the first two episodes of Queendom on July 16 and July 30 (the latter date also happens to be their debut anniversary), and they’ve been asked to prepare a performance of their representative hit song, “Ah-Choo”. Full details of Queendom filming for this month can be found here.

Important dates:

July 6: School Attack appearance filming (to air: July 13).

July 15: End of music show promotions.

July 16: Queendom episode one filming (introductions).

July 30: Queendom episode one & two filming (representative hit song stage).

ORIGIN

July is a month of filming for Origin. In total, five music videos will be filmed for their comeback this month, though only three will consist of the full group. Those three videos will be filmed while Origin is on a trip to California from July 21 to July 27 and will include their “Black Swan” music video, to be filmed at The Los Angeles Theatre, their “On” Kinetic Manifesto, to be filmed near the Sepulveda Dam, and the week-long filming of their official “On” music video, to be filmed at Vasquez Rocks Natural Area Park. The members will continue to practice their performances while abroad.

Important dates:

July 8: “Shadow” MV filming (lead rapper only).

July 16: “Ego” MV filming (main dancer/rapper only).

July 21-July 27: “On” Official MV filming in Agua Dulce, CA, USA.

July 21: “Black Swan” MV filming in Los Angeles, CA, USA.

July 22: “On” Kinetic Manifesto MV filming in Los Angeles, CA, USA.

IMPULSE

Before Impulse makes their comeback at the end of the month, they need to shoot their comeback teasers along with the music video for their comeback. Shortly after they make their comeback, they’ll need to return to the dance studio to record a name tag survival dance practice for fans in addition to their standard dance practice, which will be filmed before their comeback.

Important dates:

July 1: Comeback teaser photo shoot [2] [3] [4].

July 7: “You Calling My Name” MV filming.

July 27: Release of “You Calling My Name” & Call My Name album, music show promotions continue through August 27.

FUSE

Their comeback date is finalized for the end of next month, meaning they have to begin to wrap up preparations this month. In addition to fittings for outfits that are quite a change from their “Zimalabim” and “Umpah Umpah” concepts, they have the album photo book to shoot and, near the end of the month, the music video. Fuse’s creative team and management begin to feel more pressure for Fuse’s comeback to do well after the company sees the success of Silhouette’s comeback, which could threaten Fuse’s place on Gold Star’s priority list, and the pressure management is feeling is evident as their own comeback gets closer.

Important dates:

July 6: MV and stage outfit fittings.

July 15: Album photo book shoot.

July 25: “Psycho” MV filming.

ELEMENT

To keep fans entertained while Element is away from activities, Gold Star will have them shoot a video for Youtube of them playing a game of Mafia in the first half of the month. For their third anniversary, Gold Star has planned a day of livestreams for Element to interact with their fans. Each member will be asked to do a solo thirty minute to one hour livestream some time when they’re available on July 19 before 6pm KST, at which point, all four members will hold a one to two hour group livestream where they’ll talk to fans and play games and reflect on the last three and a half years since they released their first pre-debut single.

Important dates:

July 10: Mafia Youtube video filming.

July 19: Third debut anniversary VLive.

FEMME FATALE

Femme Fatale only have concert dates in one city this month (as they continue to film for their video diaries series), which is a change from all of the traveling they’ve been doing since the beginning of the year. While they’re in Seoul, they’ll lay down the needed vocals for the upcoming release of the Japanese version of their Kill This Love EP, but other than that, they’ll have some downtime this month, though they’re still busy enough they won’t get a true vacation.

Important dates:

July 17: Femme Fatale In Your Area World Tour concert at IMPACT Arena in Bangkok, Thailand.

July 18: Femme Fatale In Your Area World Tour concert at IMPACT Arena in Bangkok, Thailand.

July 19: Femme Fatale In Your Area World Tour concert at IMPACT Arena in Bangkok, Thailand.

#fmdschedule #queued post

[vopmagazine]

「六歲時我與父母到海邊出遊，我獨自在沙灘上堆沙，父母親坐在我正後方的長椅上休息，十五分鐘後我回過頭去，我的父母、包括海灘上的整排長椅，一切都消失了。這段離奇而無從考究的記憶，因此串連了一些平行的想像。」

以兒時在海灘時空轉換之經驗展開，透過當時事件據點的重組與想像，將個人經驗、意識上的斷裂轉化成「夢」與「現實」之間移動的過程。當世界的運作方式逐漸改變，並建立了不同的觀看方式與經驗認知時，今日的我們究竟身處想像的真實，亦或現實的真實？當物質介面改變了，「在場」與「不在場」是否存有差異性？而時間所累積的記憶，最終是否只是一場虛空？

本書為王湘靈2020年於台北市立美術館所舉行的「快要降落的時候 Take Me Somewhere Nice」個展專刊，其中收錄了展覽影像作品，及藝術家於展覽期間在展場拍攝再製的影像。本書採套繩裝訂，折疊分為內外兩面，讓觀者在閱讀時除了左右翻，亦有正反、部分及全幅等不同的閱讀方式。

At the age of six, I went on a trip with my parents to a seashore. I piled up sands on the beach on my own as my parents sat and rest on a bench at my back. Fifteen minutes later, I turned back. My parents, the row of benches on the beach, and everything disappeared. Such strange memory with no reference thus strings up some parallel imaginations.

Unfolded with the experience of space-time conversion at the beach in the childhood, the fissures in the personal experience and in mind are transformed into the moving process between “dream” and “reality” via reconstruction and imagination of the places in the past events. As the world evolves and establishes different means to viewing and experience recognition, where are we exactly, the imagined reality or the realistic reality? In the event of a change in the material interface, is there a difference between “presence” and “absence”? Will the recollection accumulated in time end up a liquid dream eventually?

This album is the collection of Take Me Somewhere Nice, Hsiang-Lin Wang’s solo exhibition at the Taipei Fine Arts Museum in 2020, in which the exhibited image works as well as images recaptured and reproduced by the artist in the exhibition venue during the exhibition are collected. Take Me Somewhere Nice is a string-binding album that is folded and divided into two facets inside and outside, granting readers reading experiences not just turning leaves horizontally, but also reading invertedly, partially, and in full width.

購買 Order

#王湘靈 #快要降落的時候 #Take me somewhere nice #Wang Hsiang-Lin #book #bookshop #VOP

[architectnews]

St Peter’s Seminary Cardross Building

Cardross Seminary Photos, Scottish Modern Building Development, Architect News, Scotland

St Peter’s Seminary Cardross

Images of Cardross Seminary Building design by Gillespie Kidd & Coia Architects, Glasgow

4 Sep + 27 Aug 2020 Hill House ‘Box’ architects join bid to restore St Peter’s Seminary

The architects behind the £3.2 million ‘Box’ at the Hill House in Helensburgh have been brought in to work on the latest attempt to revive the former St Peter’s Seminary in Cardross.

Award-winning London architects Carmody Groarke has been appointed to work with the Kilmahew Education Trust and landscape architect Dan Pearson Studio on its plan to breathe new life into the derelict building in Cardross, according to The Architects’ Journal.

View looking south from north end of the building: photo © Daniel Lomholt-Welch, 2019

Kilmahew Education Trust took on the property, which is one of the best examples of ‘Brutalist’ design in Britain, from the Roman Catholic Archdiocese of Glasgow in July.

Arts charity NVA decided in 2017 not to proceed with its plans for the building.

East facade photo © Isabelle Lomholt

The Scottish Government declined a request from the Archdiocese in 2019 to take the site into the care of the state, leaving ‘curated decay’ as the only likely option – until the Trust came forward.

Carmody Groarke was responsible for the design of the ‘Box’ around Charles Rennie Mackintosh’s Hill House, which opened in June 2019.

CGI of the ‘Box’ at the Hill House:

The structure, consisting of an aluminium frame and roof with a chain-mail mesh around the sides, is aimed at protecting the building from the rain and salty seaside air which have eaten away at the Hill House’s exterior walls for virtually the whole of its life, while the property’s owners, the National Trust for Scotland, work on a solution to keep the building wind- and water-tight in the long term.

Carmody Groarke Architects

26 July 2020 Modernist ruin given away by Catholic church

The BBC run an article on the ownership of this derelict Brutalist building:

Catholic church give away St Peter’s seminary Cardross

The ownership of an A-listed modernist building which the Catholic Church has been trying to get rid of for years has been transferred to a charitable trust.

Last year, the church described St Peter’s Seminary in Cardross, near Helensburgh, as an “albatross around our neck” which it could not give away.

The Archdiocese of Glasgow (a diocese of the Roman Catholic Church in Scotland) said the Kilmahew Education Trust would be the new legal owners.

The Archdiocese said they bequeathed the estate and buildings free of charge to the trust.

Stuart Cotton of the Kilmahew Education Trust said he was delighted to be the new custodian of “this outstanding and unique heritage asset”.

“We simply need to develop a viable vision, with education at its core, and execute the plans that develop from that to the best of our abilities,” he said.

“We look forward to sharing our initial masterplan in due course and welcoming the public to share our experiences along the way.”

Building photo, 2 Jan 2019, by architecture student Daniel Lomholt-Welch:

lateral view looking west trhough the narrow arched cells

The seminary was deconsecrated in 1980.

In 1992 the seminary was Category A listed by Historic Scotland.

We have five pages online with around 9000 words, forming a useful resource to the architectural community, including around a hundred original photos of the building.

16 Feb 2019 Scottish modernist ruin awaits a saviour – a photo essay

The Guardian run an article on this Scottish Brutalist building:

A-listed St Peter’s seminary in Cardross

14 Jan 2019 St Peters Seminary BBC: “Albatross”

Professor Alan Dunlop did a piece on the future for St Peters for the BBC Friday, filming on site.

There is a web piece published:

https://www.bbc.co.uk/news/uk-scotland-46822229

and also a radio news feature (link now non-functioning, thanks BBC)

The radio feature starts at 1:16:36 last around six minutes.

We hope this attracts some debate and response:

“This building is as important as the Glasgow School of Art” says Professor Alan Dunlop

https://ift.tt/1U3Gb9v

3 Jan 2019

St Peter’s Seminary Cardross Photos

St Peter’s Seminary Photos: GK&C Building

Building photos, 2 Jan 2019, by Daniel Lomholt-Welch:

elegant architectural promenade around the altar hugging the southern facade internally

A low-down view looking south

Concrete stair spines, bereft of former steps

View looking south from first floor

Final view lookinng south, two figures at altar for scale

View looking south east towards altar from middle of western flank

Building photos, 2 Jan 2019, by Isabelle Lomholt:

Entry from south east

Views of the east facade

Building photos, 2 Jan 2019, by Adrian Welch:

ancillary Corbusian building to north west

View looking south from first floor

29 Aug 2017 Doors Open Day at St Peter’s Seminary

Tickets for Doors Open Day at St Peter’s will be released today at 10.30am, 29 Aug 2017.

Walked tours of the building will take place on 23 + 24 Sep. This is a good opportunity to visit Scotland’s most iconic modernist building in its raw and ruined state.

About to be reclaimed by NVA as an arts venue and visitor attraction, this is your chance to visit St Peter’s before construction begins.

Places are limited, advance booking essential – see our Glasgow Architecture events page for more details:

Website: St Peter’s Seminary Doors Open Day

1 Aug + 31 Jul 2017

Grant for St Peter’s Seminary Cardross Building

St Peter’s Seminary Cardross One of Twelve Recipients of Getty Foundation’s Keeping It Modern Grants

Grant for: NVA (Europe) Limited

The Getty Foundation announced $1.66 million in architectural conservation grants dedicated to twelve significant 20th century buildings as part of its Keeping It Modern initiative.

Designed for the Catholic Archdiocese of Glasgow, St Peter’s Seminary was instantly recognized for its unabashedly brutalist use of in-situ and precast panel concrete, which formed a modern homage to traditional religious forms— cloister, chapel, refectory, and cells.

Hinterland Kilmahew/St Peter’s:

Architects Andy MacMillan and Isi Metzstein won the Royal Institute of British Architects’ Royal Gold Medal for Architecture and earned the highest ranking of significance in Scotland for a design that artfully rearranged traditional religious spaces in unexpected ways. Yet after only 14 years of use this training college for priests was shuttered, and deteriorating conditions landed the site on the World Monuments Fund’s most endangered cultural landmarks list in 2008.

After 30 years of dormancy, many despaired that the complex was beyond repair and could not be salvaged. Now, after thoughtful research and a feasibility study, stewards are seeking a new life for the site as a performance space, cultural venue, and exhibition center. This creative adaptive reuse cannot happen, however, until the remaining structure is stabilized and conserved.

Practitioners will conduct a comprehensive diagnostic analysis and log every individual element of the structure’s frame and pre-cast paneling, ascertaining the varying deterioration states of concrete throughout the complex. Work will also include test repairs and mock-ups, as well as cleaning trials, which will guide future conservation protocols.

Grant support: £112,000

Getty Foundation Keeping it Modern 2017 Grants

10 Dec 2016

St Peter’s Seminary Book

New Book about Cardross Seminary

St Peter’s, Cardross Birth, Death and Renewal

Diane M Watters, with photo essay by Angus Farquhar

RRP £30

The ruin of St Peter’s College has sat on a hilltop above the village of Cardross for more than three decades. Over that time, with altars crumbling, graffiti snaking across its walls and nature reclaiming its concrete, it has gained a mythical, cult-like status among architects, preservationists and artists.

St Peter’s only fulfilled its original role as a seminary for fourteen years, from 1966 to 1979. As its uncompromising design gave way to prolonged construction and problematic upkeep, the Catholic Church reassessed the role of seminaries, resolving to embed trainee priests not in seclusion, but in communities. Although briefly repurposed as a drug rehabilitation centre, the building was soon abandoned to decay and vandalism.

Ever since, people have argued and puzzled over the future and importance of St Peter’s. It has been called both Scotland’s best and worst twentieth century building, and was category A listed in 1992. One of its architects suggested the idea of ‘everything being stripped away except the concrete itself – a purely romantic conception of the building as a beautiful ruin’. And now in 2016, St Peter’s is renewed as a cultural space through the work of the arts organisation NVA.

In this landmark book, Diane Watters looks at the history of a structure that emerged out of an innovative phase of postwar Catholic church building. She traces the story of an architectural failure which morphed into a tragic modernist myth. This is a historian’s account of the real story of St Peter’s College: an exploration of how one of Scotland’s most singular buildings became one its most troubled – and most celebrated.

Image Essay by Angus Farquhar

Across 54 pages of imagery of St Peter’s and the globally publicised Hinterland event, Angus Farquhar recounts how his independent arts organisation came to play the key role in the renewal of St Peter’s.

Author

Diane M Watters is an architectural historian at Historic Environment Scotland and teaches at the University of Edinburgh. A specialist in nineteenth and twentieth century architecture and conservation in Scotland, she has undertaken a succession of research based publications and is currently researching the history of Edinburgh’s school architecture.

Contributor

Angus Farquhar has been Creative Director of Glasgow based NVA – one of the UK’s most noted independent public arts organisations – since its inception in 1992. Previously he spent ten years performing as a founding member of the radical industrial music group Test Dept.

source: https://ift.tt/3jKA60n

ISBN 9781849172233

Publication: 30 November 2016

Hardback

290 x 256 mm

Published by: Historic Environment Scotland

Price: £30.00

New Book about Cardross Seminary

Previous book by the same author on the same subject:

‘Cardross Seminary: Gillespie, Kidd & Coia and the Architecture of Postwar Catholicism’

Author: Diane M. Watters

Contributor: Royal Commission on the Ancient and Historical Monuments of Scotland

Edition: illustrated

Publisher: Royal Commission on the Ancient and Historical Monuments of Scotland, 1997

ISBN: 074805829X, 9780748058297

Length: 96 pages

Cardross Seminary Book by Diane M. Watters

23 Mar 2016

St Peter’s Seminary Building Renewal Funding

Award by Heritage Lottery Fund and Creative Scotland

A plan to transform the derelict St Peter’s Seminary in Cardross into a unique arts venue and heritage destination has today been awarded £4.2 million of funding from the Heritage Lottery Fund (HLF) and Creative Scotland.

The HLF awarded funding of £3,806,000 to arts organisation NVA to carry out the revamp while Creative Scotland confirmed a National Lottery funding award of £400,000 towards the project.

The Seminary near Helensburgh is currently the centrepiece of a sell-out public art event called Hinterland, marking the launch of the Festival of Architecture and is a key highlight of the Year of Innovation, Architecture & Design.

Regarded as one of Europe’s greatest Modernist buildings, St Peter’s opened as a training centre for young priests in 1966 – its ground-breaking design by Isi Metzstein and Andy McMillan of Gillespie, Kidd and Coia. It closed its doors in 1980 and has lay abandoned since with the effects of the elements and vandalism contributing to its now ruinous state.

This major investment will see key elements of the building restored whilst others will be consolidated to allow the public safe access to large scale events and performance as well as to smaller community activities. The triple-height chapel will be partially restored and converted into a 600-capacity venue while the former sacristy and crypt will be a focal point for exhibitions.

St Peter’s Seminary Renewal Funding

Cardross Seminary Photos

Location: just north of Cardross, nr Helensburgh

Date built: 1958-66/8; closed 1980

Architects: Gillespie Kidd & Coia

Hinterland 5 Dec 2015 – Hinterland video by NVA –

Hinterland from NVA on Vimeo.

Event dates: 18 – 27 March 2016

In March 2016, Kilmahew / St Peter’s will officially launch the Festival of Architecture 2016 with Hinterland near Helensburgh, Argyll and Bute.

“As dusk falls to darkness, a walked route will weave through atmospheric woodland towards the abandoned building complex. Hinterland will reveal the full glory of the towering concrete ruin, combining moving light installations and projection with a haunting choral soundscape by composer Rory Boyle, recorded by the St Salvator’s Chapel Choir of the University of St Andrews.”

This should prove to be an interesting project, to take place in March 2016, combining art, music and of course, architecture!

“Discover Scotland’s greatest modernist ruin, St Peter’s Seminary, transformed by light and sound at the official launch event of Scotland’s Festival of Architecture 2016. Fifty years on since the building opened, you can explore this architectural masterpiece re-animated at night for the first time.

Hinterland is an open manifesto for the ground-breaking creative work that will be programmed at St Peter’s Seminary from 2018 onwards. The long term plans will rescue, restore and reclaim this outstanding example of 20th century architecture and bring it back into productive use as a national platform for public art and world-class heritage destination.”

Website: Hinterland at Kilmahew / St Peter’s

New photos, by Niels Lomholt, 3 Apr 2012:

photo © Niels Lomholt

Article by e-architect Editor, Adrian Welch, architect

Shock Horror

These are the emotions that engulfed me as I burrowed into this building.

St Peter’s Seminary is a post-war Modernist masterpiece designed by former Scottish architects practice Gillespie, Kidd and Coia. It is located near Cardross, close to Glasgow in western Scotland. It dates from 1966. It closed in 1980.

Since I first visited this building about a decade ago I’ve been part of many discussions about it, and read numerous articles arguing whether to retain and or not, and if so, how?

These finely tuned architectural discussions about retention fade into the background as you encounter this beast in the flesh. It is monumental, but half destroyed. It is inspirational but at the same time forbidding and horrific.

The author – e-architect editor Adrian Welch – contemplating the destruction: photo © Niels Lomholt

The ruin towers out of a wooded gorge – the sheer confidence of the architects to persuade a Client to build this building at this spot is for me the core of the project. Yes the Corbusian vaults dancing through the seminary are powerful, and the top-lit altar space is moving, but it is the audacity to build such a fine, monolithic structure on these wooded slopes that is truly captivating.

Here destruction, graffiti and general mess bring other powerful emotions. So there are conflicting feelings as you crinkle your way over the broken glass – awe and despair.

Cardross Seminary is widely held to be Scotland’s best building of the 20th century, indeed I can’t see a challenger to that claim, so it is sad to witness its demise.

photos © Niels Lomholt

There is hope of course, but it is taking time, naturally, and meanwhile the building’s slide into disrepair goes on.

Arts charity NVA purchased St Peter’s Seminary at Cardross as part of £10 million plans for its redevelopment.

NVA acquired the building from site owner the Roman Catholic Archdiocese of Glasgow under ‘conditional missives’ and hopes to raise £10 million for its redevelopment over the next two years. They plan to convert the Cardross Seminary building into an ‘intentional Modernist ruin’.

The ‘incremental’ introduction of artists and artworks to the site would create an ‘intellectual context’ for the ‘partial’ restoration, according to NVA.

Last March UK developer Urban Splash abandoned high-profile plans to transform the Cardross Seminary building into a mixed-use housing and leisure redevelopment. The project was designed by Glasgow-based Gareth Hoskins Architects.

Angus Farquhar, the creative director of NVA, has been inspired by restoration projects such as the Duisburg-Nord Landscape Park in Germany, where a former industrial wasteland has been transformed over more than 10 years into parkland. Angus Farquhar has also been influenced by the El Matadero in Madrid, a former slaughterhouse that is now a cultural centre. NVA is currently developing the master-plan for the estate with the support of a £100,000 grant from Creative Scotland’s National Lottery Fund.

photos © Niels Lomholt

Film-maker Murray Grigor (who made a film about the seminary, ‘Space and Light’ shot in 1972 and reshot in 2009 as Space and Light Revisited) told me today: “Although plans are still in flux my hopes are high that at least the roof structure above the altar can be reinstated and the chapel area consolidated through the intercession of a concerned donor.

The remaining ruins of the seminary could then be left as a lamentation to our troubled times.”

I also spoke with Gareth Hoskins (director of Gareth Hoksins Architects, who had worked with Urban Splash on the previous proposals for St Peter’s Seminary Cardross, what he thought of the current proposals.

He said, “We had an extremely interesting scheme we had developed with Urban Splash with support from Historic Scotland that looked both at a comprehensive reuse of the seminary buildings, insertion of new build elements and the reinvention of the wider Kilmahew Estate setting.

These proposals were reviewed and endorsed by Andy and Isi and the Diocese. We had also involved NVA in the dialogue as we felt they could bring a good, complimentary role in terms of developing the landscape strategy for the wider site. Because of the economic downturn Splash weren’t in a position to take the scheme forward at present. Rather than hold on, the Diocese have I understand sold the buildings to NVA on the basis of a different strategy they have developed which retains the buildings as ‘stabilised ruins’.

Whilst this idea of a ‘modern day ruin’ is one means of interpreting and responding to the building, which is verging on the reverential towards, I personally feel a bold reuse of the buildings would be more appropriate and was certainly the new life the original architects were hoping for…”

A also wanted to get the view of Penny Lewis on the current proposals. We’d had many frank discussions about the building’s future when I was on the board of Prospect magazine and she was editor. Penny helped form the St. Peter’s Building Preservation Trust back in 2006 that campaigned for action.

Penny Lewis said, “At a basic level- to me – although the landscape is quite interesting and well used by locals there is little point in investing a great deal in it except as a mechanism to aid the reuse of all or part of the building. This is one of Scotland’s few grade 1 listed modern buildings – to treat it as an accessory to a landscape scheme seems inappropriate. I support the current project as a means to an end – not an end in itself.”

photos © Niels Lomholt

What is clear to me is that there need to be people on the site, and soon. I’m not clear as to what “the ‘incremental’ introduction of artists and artworks to the site” by NVA would entail. I asked NVA for comment – at this point in time they were unavailable.

A ‘stabilised ruin’ is impossible here, however high the security fence it won’t stop ongoing destruction, that is for sure. But the idea of an ‘Arts Project’ on the site sounds workable, people who might be in tune and draw inspiration from the building and the site, people who can help protect it better than any security guards.

It made me think about Haystack Mountain School of Crafts. It is an international, non-profit, studio program in the arts offering workshops to craftmakers and visual artists of all skill levels led by prominent faculty artists. The school is located in on Deer Isle in Maine, USA:

photo from Haystack Mountain School of Crafts Maine

Of course there are key differences, but the idea of arts and crafts lovers pottering away in distinctive architecture within a wooded environment create a resonance for me, and maybe one that NVA could pick up on: these quiet woods above Cardross are a long way from the populous Rurhgebeit (Duisburg-Nord Landscape Park) or Madrid (El Matadero) examples mentioned above.

St Peter’s Seminary & How not to Protect Key Buildings

The building is listed Grade A and has been included World Monument Fund list of the 100 most endangered sites (in 2008). What is the point of protective legislation if it isn’t adhered to? This stunning Modernist building should have been saved years ago, time is running out.

I wrote back in 2006, “My view is simply that the ‘big deal’ has already occurred ie Cardross is so ruined, of such a specific type and style, and in what could be called a peripheral location, that the time for really saving it is well past.

The key issues for me are the ‘building’s path to ruination’ and ‘how to enshrine into law a formula that forces owners to try to work with parties that may take on a property’, ie to oblige an offer to the market when an owner finds their building no longer affordable / fit for purpose / of use. That way no-one has an excuse and groups can work to raise money when sentiment is strong enough, as it is in this case.”

My viewpoint hasn’t really changed. There are two problems – the building and the system. Both need fixing. The ‘building’ has great attributes, saving it would have benefits to our society. Meanwhile the ‘system’ that allowed not only the decay and stifling of opportunities at Cardross but thwarts many positive architectural agendas across the land remains. Again, fixing this negative system would benefit architecture and wider society.

We all know that system breaches that go unchallenged encourage system breakdown. Likewise this disrespect of the listing system – which aims to conserve what experts believe are the most important buildings in our culture – encourages others to think they can do the same. Buildings which mysteriously burn or fall over in the dead of night. So the building authorities and regulators should do their bit and ensure their protection system is properly policed.

I wish NVA and Creative Scotland well with their proposals.

e-architect Editor, Adrian Welch, architect

Cardross Seminary photographs by Niels Lomholt – external link

Comment from Anthony Sully, received 4 Apr:

“This worthy building has been neglected which is a crime. The sources of those who let this happen should pay for its restoration, not the taxpayer. But my guess is that it is not worth restoring on grounds of cost, so it should be demolished. The recent vandalised use of the building is a sad reflection of a non-caring society.” Anthony Sully DesRCA FCSD FRSA FHEA IIDA

Comment from Alan Dunlop, received 4 Apr:

The proposals by NVA and erz are evidence of a committed client working with a talented group of young designers and their work brings some fresh thinking to an old problem. As such their ideas should be supported, absolutely. As Penny Lewis says though, it’s important that the work is considered as a means to an end, not the end.

The continuing decay of the seminary is a scandal but one that is in danger of being sidetracked by a seemingly new age of Philistinism, brought on by the global recession and the consequent scant regard for good design and architecture. However, all the more reason why we should focus not on demolition but on its rehabilitation. It should remind all architects of a quite recent time when architecture in Scotland was truly great and could be again.

Comments re proposals for St Peter’s Seminary Cardross welcome

Cardross Seminary

St Peter’s College, Cardross – news items and discussions through the years photo © Neale Smith St Peter’s Seminary Cardross building

St Peter’s College, Cardross – letters re what to do with the building image from St. Peter’s Building Preservation Trust St Peter’s Seminary Cardross building

Gillespie Kidd & Coia photograph © Adrian Welch

Isi Metzstein, Glasgow, Scotland 1928-2012 photo from RIAS

Gareth Hoskins Architects

Location: Cardross, western Scotland

Architecture in Scotland

Celebrated building close by: Hill House

Scottish Architecture Designs – chronological list

Scottish Architecture

Helensburgh Pier Competition

Scottish Architecture

Robert Burns Museum Robert Burns Birthplace Museum : Simpson & Brown Architects

Film re the Cardross Arts Project (login required sadly) – https://ift.tt/1LUgSwq

Scottish Architect

Comments / photos for the St Peter’s Seminary Cardross page welcome

Website: Architecture

The post St Peter’s Seminary Cardross Building appeared first on e-architect.

#e-architect

[dallasairduct0]

Arts District Dallas:

On This Page

Arts District Dallas

24 hours in the Dallas Arts District

Discover rentals near work and play

Popular searches near Dallas, TX

Apartments for Rent in Arts District, Dallas, TX

7 Must-See Museum Exhibits for 2019

Top Real Estate Markets in Texas

Arts District Dallas

3. Explore the Nasher Sculpture CenterThe Nasher Sculpture Center is considered one of the foremost collections of sculptures in the world. The center features more than 300 modern sculptures from great artists like Gormley, Matisse, Miró, Picasso, and Rodin. Be sure to save time to stroll through the city-block long outdoor sculpture garden.

24 hours in the Dallas Arts District

5. Check Out the Crow Museum of Asian ArtIf you’re a fan of Asian art, then the Crow Museum of Asian Art is not to be missed. It’s one of only a handful of museums in the country dedicated solely to the arts and cultures of Japan, China, India, and Southeast Asia. During your visit, you’ll see jade ornaments from China, delicate Japanese scrolls, and a rarely seen 2-by-28-foot sandstone façade of an 18th-century Indian residence.

Discover rentals near work and play

Nearly 9,000 Dallas residents have engaged in this process to develop over a hundred initiatives and strategies under these six priorities:

Dealey Plaza Dallas

As of July 2020, the average apartment rent in Arts District is $1,121 for a studio, $2,218 for one-bedroom, $2,609 for two bedrooms, and $2,964 for three bedrooms. Apartment rent in Arts District has decreased by -1.2% in the past year.

6. See a show at the Winspear Opera HouseThe Arts District is not just famous for its visual arts. Performing arts reign high here as well. One example of this is the Winspear Opera House, home to the Dallas Opera and Texas Ballet Theater. The horseshoe-shaped performance hall was specifically designed for opera and musical performances.

Popular searches near Dallas, TX

Boasting the largest contiguous urban arts district in the nation and an array of vibrant and breathtaking visual and performing arts experiences across the city, Dallas offers world-class exhibits and adventures for culture lovers.

http://airductcleaningdfw.com/commercial-duct-cleaning-dallas-tx/ These properties are currently listed for sale. They are owned by a bank or a lender who took ownership through foreclosure proceedings. These are also known as bank-owned or real estate owned (REO).

Coming Soon listings are homes that will soon be on the market. The listing agent for these homes has added a Coming Soon note to alert buyers in advance.

Perot Museum of Nature and Science Disclaimer: School attendance zone boundaries are supplied by Pitney Bowes and are subject to change. Check with the applicable school district prior to making a decision based on these boundaries.

Apartments for Rent in Arts District, Dallas, TX

Vision: Transform the Dallas Arts District into a dynamic destination for locals and tourists alike while creating a fulfilling urban experience. The District is powered by the imagination of artists globally, while seamlessly integrating exemplary artistic, residential, cultural, and commercial life.

ABOUT: The first donation given to the foundation was by the Crow Family Foundation. Over the past 30 years, the Dallas Arts District Foundation has awarded over 420 grants totaling $1.1 million to Dallas arts and culture organizations. In 2018, the Dallas Arts District (DAD) took a year’s hiatus to review, revise, and develop the application and grants process to promote access, collaborations, and new audiences in the neighborhood. DAD partnered with HALL Group and created Through the Lens: Dallas Arts District, a coffee table photo book with 91 incredible photos by 56 talented photographers. All sales of the book will go toward growing the Foundation Grants Fund. This project marks the first effort to grow funding to support local artists through the grants program for the Dallas Arts District Foundation since the first donation by the Crow Family Foundation. The revised application is now ready to launch online, and the book will be available in Fall 2019 with the opening of the HALL Arts Hotel.

Dallas Arts District is excited about the partnership with HALL Group and Through the Lens: Dallas Arts District with 91 incredible photos by 56 talented photographers. This is the first fundraiser that will support the grants program for the Dallas Arts District Foundation since the first donation in 1984 by the Crow family. With this opportunity, Dallas Arts District is taking the next six months to review, revise, and develop the application and grants process to create access, collaborations, and new audiences in the Dallas Arts District. The revised application will be ready in the summer of 2019; the book will be available in Fall 2019 with the opening of the HALL Arts Hotel, and the grant recipients will be announced in December 2019 for projects in 2020. Over the past 34 years, the Dallas Arts District Foundation has awarded over 420 grants totaling $1.1 million to Dallas arts and culture organizations since 1984.

7 Must-See Museum Exhibits for 2019

The Crow Collection of Asian Art is one of only a handful of museums in the country dedicated solely to the arts and cultures of Japan, China, India and Southeast Asia. Experience a peaceful world of beauty and spirituality in the heart of the city with pieces dating from 3500 B.C. to the early 20th century. Don’t miss a glimpse at precious jade ornaments from China, delicate Japanese scrolls, and a rarely seen 2-by-28 foot sandstone façade of an 18th-century Indian residence.

Located in the northeast corner of downtown Dallas, the Dallas Arts District is the largest contiguous urban arts district in the nation, spanning 68 acres and 19 contiguous blocks. This iconic neighborhood has more buildings designed by Pritzker award-winning architects than any location in the world. Dallas Arts District unifies culture and commerce with integrated and exemplary artistic, residential, cultural, educational, recreational, religious and commercial life and was awarded a maximum 3-star rating by the prestigious Le Guide Vert – Michelin Green Guide. Its programmatic highlight is the Signature Block Party Series comprised of two free public events that support events at the cultural venues, featuring local, state, and national artists drawing more than 50,000 visitors from over 144 zip codes.

–Sustainable arts ecosystem: Model sustainability to the arts and culture community through OCA’s facilities and encourage and support the development of future sustainability in the broader arts and cultural sector.

Top Real Estate Markets in Texas

Aside from major attractions and entertainment spots, Dallas’s Arts District is home to the popular Klyde Warren Park, an urban neighborhood green space that’s host to a range of community events. Enjoy food truck lunches, live music performances, outdoor fitness classes, local art shows, and kid-friendly fun. The Arts District sits along Woodall Rodgers Freeway and neighbors Downtown Dallas, home to an array of office buildings, local restaurants, and major attractions. The Arts District is within reach of the Dallas World Aquarium, the Giant Eyeball, the JFK Memorial Plaza, and so much more.

The Arts District is home to 13 facilities and organizations including The Annette Strauss Artist Square, the Belo Mansion/Dallas Bar Association, Booker T. Washington High School for the Performing and Visual Arts, Cathedral Shrine of the Virgin of Guadalupe, Dallas Black Dance Theatre, Dallas Museum of Art, Dallas Symphony Orchestra, Dallas Theater Center, Morton H. Meyerson Symphony Center, Nasher Sculpture Center, St. Paul United Methodist Church, Fellowship Church, Trammell Crow Center, and the Trammell & Margaret Crow Collection of Asian Art.

The compact, vertical orientation of the Dee and Charles Wyly Theatre, climbing 12 stories into the Dallas skyline, was designed by Joshua Prince-Ramus of REX and Rem Koolhaas of the Office for Metropolitan Architecture. The theater, home to the Dallas Theater Center, Dallas Black Dance Theatre and the Anita N. Martinez Ballet Folklorico, is a prime destination for music and theatre enthusiasts.

from http://airductcleaningdfw.com/arts-district-dallas/ from https://airductclean1.tumblr.com/post/623019719134494720 from https://dallasairductcleaning00.blogspot.com/2020/07/arts-district-dallas.html

[airdutdallas0]

Arts District Dallas

Arts District Dallas:

On This Page

Arts District Dallas

24 hours in the Dallas Arts District

Discover rentals near work and play

Popular searches near Dallas, TX

Apartments for Rent in Arts District, Dallas, TX

7 Must-See Museum Exhibits for 2019

Top Real Estate Markets in Texas

Arts District Dallas

3. Explore the Nasher Sculpture CenterThe Nasher Sculpture Center is considered one of the foremost collections of sculptures in the world. The center features more than 300 modern sculptures from great artists like Gormley, Matisse, Miró, Picasso, and Rodin. Be sure to save time to stroll through the city-block long outdoor sculpture garden.

24 hours in the Dallas Arts District

5. Check Out the Crow Museum of Asian ArtIf you’re a fan of Asian art, then the Crow Museum of Asian Art is not to be missed. It’s one of only a handful of museums in the country dedicated solely to the arts and cultures of Japan, China, India, and Southeast Asia. During your visit, you’ll see jade ornaments from China, delicate Japanese scrolls, and a rarely seen 2-by-28-foot sandstone façade of an 18th-century Indian residence.

Discover rentals near work and play

Nearly 9,000 Dallas residents have engaged in this process to develop over a hundred initiatives and strategies under these six priorities:

Dealey Plaza Dallas

As of July 2020, the average apartment rent in Arts District is $1,121 for a studio, $2,218 for one-bedroom, $2,609 for two bedrooms, and $2,964 for three bedrooms. Apartment rent in Arts District has decreased by -1.2% in the past year.

6. See a show at the Winspear Opera HouseThe Arts District is not just famous for its visual arts. Performing arts reign high here as well. One example of this is the Winspear Opera House, home to the Dallas Opera and Texas Ballet Theater. The horseshoe-shaped performance hall was specifically designed for opera and musical performances.

Popular searches near Dallas, TX

Boasting the largest contiguous urban arts district in the nation and an array of vibrant and breathtaking visual and performing arts experiences across the city, Dallas offers world-class exhibits and adventures for culture lovers.

http://airductcleaningdfw.com/commercial-duct-cleaning-dallas-tx/ These properties are currently listed for sale. They are owned by a bank or a lender who took ownership through foreclosure proceedings. These are also known as bank-owned or real estate owned (REO).

Coming Soon listings are homes that will soon be on the market. The listing agent for these homes has added a Coming Soon note to alert buyers in advance.

Perot Museum of Nature and Science Disclaimer: School attendance zone boundaries are supplied by Pitney Bowes and are subject to change. Check with the applicable school district prior to making a decision based on these boundaries.

Apartments for Rent in Arts District, Dallas, TX

Vision: Transform the Dallas Arts District into a dynamic destination for locals and tourists alike while creating a fulfilling urban experience. The District is powered by the imagination of artists globally, while seamlessly integrating exemplary artistic, residential, cultural, and commercial life.

ABOUT: The first donation given to the foundation was by the Crow Family Foundation. Over the past 30 years, the Dallas Arts District Foundation has awarded over 420 grants totaling $1.1 million to Dallas arts and culture organizations. In 2018, the Dallas Arts District (DAD) took a year’s hiatus to review, revise, and develop the application and grants process to promote access, collaborations, and new audiences in the neighborhood. DAD partnered with HALL Group and created Through the Lens: Dallas Arts District, a coffee table photo book with 91 incredible photos by 56 talented photographers. All sales of the book will go toward growing the Foundation Grants Fund. This project marks the first effort to grow funding to support local artists through the grants program for the Dallas Arts District Foundation since the first donation by the Crow Family Foundation. The revised application is now ready to launch online, and the book will be available in Fall 2019 with the opening of the HALL Arts Hotel.

Dallas Arts District is excited about the partnership with HALL Group and Through the Lens: Dallas Arts District with 91 incredible photos by 56 talented photographers. This is the first fundraiser that will support the grants program for the Dallas Arts District Foundation since the first donation in 1984 by the Crow family. With this opportunity, Dallas Arts District is taking the next six months to review, revise, and develop the application and grants process to create access, collaborations, and new audiences in the Dallas Arts District. The revised application will be ready in the summer of 2019; the book will be available in Fall 2019 with the opening of the HALL Arts Hotel, and the grant recipients will be announced in December 2019 for projects in 2020. Over the past 34 years, the Dallas Arts District Foundation has awarded over 420 grants totaling $1.1 million to Dallas arts and culture organizations since 1984.

7 Must-See Museum Exhibits for 2019

The Crow Collection of Asian Art is one of only a handful of museums in the country dedicated solely to the arts and cultures of Japan, China, India and Southeast Asia. Experience a peaceful world of beauty and spirituality in the heart of the city with pieces dating from 3500 B.C. to the early 20th century. Don’t miss a glimpse at precious jade ornaments from China, delicate Japanese scrolls, and a rarely seen 2-by-28 foot sandstone façade of an 18th-century Indian residence.

Located in the northeast corner of downtown Dallas, the Dallas Arts District is the largest contiguous urban arts district in the nation, spanning 68 acres and 19 contiguous blocks. This iconic neighborhood has more buildings designed by Pritzker award-winning architects than any location in the world. Dallas Arts District unifies culture and commerce with integrated and exemplary artistic, residential, cultural, educational, recreational, religious and commercial life and was awarded a maximum 3-star rating by the prestigious Le Guide Vert – Michelin Green Guide. Its programmatic highlight is the Signature Block Party Series comprised of two free public events that support events at the cultural venues, featuring local, state, and national artists drawing more than 50,000 visitors from over 144 zip codes.

–Sustainable arts ecosystem: Model sustainability to the arts and culture community through OCA’s facilities and encourage and support the development of future sustainability in the broader arts and cultural sector.

Top Real Estate Markets in Texas

Aside from major attractions and entertainment spots, Dallas’s Arts District is home to the popular Klyde Warren Park, an urban neighborhood green space that’s host to a range of community events. Enjoy food truck lunches, live music performances, outdoor fitness classes, local art shows, and kid-friendly fun. The Arts District sits along Woodall Rodgers Freeway and neighbors Downtown Dallas, home to an array of office buildings, local restaurants, and major attractions. The Arts District is within reach of the Dallas World Aquarium, the Giant Eyeball, the JFK Memorial Plaza, and so much more.

The Arts District is home to 13 facilities and organizations including The Annette Strauss Artist Square, the Belo Mansion/Dallas Bar Association, Booker T. Washington High School for the Performing and Visual Arts, Cathedral Shrine of the Virgin of Guadalupe, Dallas Black Dance Theatre, Dallas Museum of Art, Dallas Symphony Orchestra, Dallas Theater Center, Morton H. Meyerson Symphony Center, Nasher Sculpture Center, St. Paul United Methodist Church, Fellowship Church, Trammell Crow Center, and the Trammell & Margaret Crow Collection of Asian Art.

The compact, vertical orientation of the Dee and Charles Wyly Theatre, climbing 12 stories into the Dallas skyline, was designed by Joshua Prince-Ramus of REX and Rem Koolhaas of the Office for Metropolitan Architecture. The theater, home to the Dallas Theater Center, Dallas Black Dance Theatre and the Anita N. Martinez Ballet Folklorico, is a prime destination for music and theatre enthusiasts.

from http://airductcleaningdfw.com/arts-district-dallas/ from https://airductclean1.tumblr.com/post/623019719134494720 from https://airductdallas0.blogspot.com/2020/07/arts-district-dallas.html

[airductclean1]

On This Page

Arts District Dallas

24 hours in the Dallas Arts District

Discover rentals near work and play

Popular searches near Dallas, TX

Apartments for Rent in Arts District, Dallas, TX

7 Must-See Museum Exhibits for 2019

Top Real Estate Markets in Texas

Arts District Dallas

3. Explore the Nasher Sculpture CenterThe Nasher Sculpture Center is considered one of the foremost collections of sculptures in the world. The center features more than 300 modern sculptures from great artists like Gormley, Matisse, Miró, Picasso, and Rodin. Be sure to save time to stroll through the city-block long outdoor sculpture garden.

24 hours in the Dallas Arts District

5. Check Out the Crow Museum of Asian ArtIf you’re a fan of Asian art, then the Crow Museum of Asian Art is not to be missed. It’s one of only a handful of museums in the country dedicated solely to the arts and cultures of Japan, China, India, and Southeast Asia. During your visit, you’ll see jade ornaments from China, delicate Japanese scrolls, and a rarely seen 2-by-28-foot sandstone façade of an 18th-century Indian residence.

Discover rentals near work and play

Nearly 9,000 Dallas residents have engaged in this process to develop over a hundred initiatives and strategies under these six priorities:

Dealey Plaza Dallas

As of July 2020, the average apartment rent in Arts District is $1,121 for a studio, $2,218 for one-bedroom, $2,609 for two bedrooms, and $2,964 for three bedrooms. Apartment rent in Arts District has decreased by -1.2% in the past year.

6. See a show at the Winspear Opera HouseThe Arts District is not just famous for its visual arts. Performing arts reign high here as well. One example of this is the Winspear Opera House, home to the Dallas Opera and Texas Ballet Theater. The horseshoe-shaped performance hall was specifically designed for opera and musical performances.

Popular searches near Dallas, TX

Boasting the largest contiguous urban arts district in the nation and an array of vibrant and breathtaking visual and performing arts experiences across the city, Dallas offers world-class exhibits and adventures for culture lovers.

http://airductcleaningdfw.com/commercial-duct-cleaning-dallas-tx/ These properties are currently listed for sale. They are owned by a bank or a lender who took ownership through foreclosure proceedings. These are also known as bank-owned or real estate owned (REO).

Coming Soon listings are homes that will soon be on the market. The listing agent for these homes has added a Coming Soon note to alert buyers in advance.

Perot Museum of Nature and Science Disclaimer: School attendance zone boundaries are supplied by Pitney Bowes and are subject to change. Check with the applicable school district prior to making a decision based on these boundaries.

Apartments for Rent in Arts District, Dallas, TX

Vision: Transform the Dallas Arts District into a dynamic destination for locals and tourists alike while creating a fulfilling urban experience. The District is powered by the imagination of artists globally, while seamlessly integrating exemplary artistic, residential, cultural, and commercial life.

ABOUT: The first donation given to the foundation was by the Crow Family Foundation. Over the past 30 years, the Dallas Arts District Foundation has awarded over 420 grants totaling $1.1 million to Dallas arts and culture organizations. In 2018, the Dallas Arts District (DAD) took a year’s hiatus to review, revise, and develop the application and grants process to promote access, collaborations, and new audiences in the neighborhood. DAD partnered with HALL Group and created Through the Lens: Dallas Arts District, a coffee table photo book with 91 incredible photos by 56 talented photographers. All sales of the book will go toward growing the Foundation Grants Fund. This project marks the first effort to grow funding to support local artists through the grants program for the Dallas Arts District Foundation since the first donation by the Crow Family Foundation. The revised application is now ready to launch online, and the book will be available in Fall 2019 with the opening of the HALL Arts Hotel.

Dallas Arts District is excited about the partnership with HALL Group and Through the Lens: Dallas Arts District with 91 incredible photos by 56 talented photographers. This is the first fundraiser that will support the grants program for the Dallas Arts District Foundation since the first donation in 1984 by the Crow family. With this opportunity, Dallas Arts District is taking the next six months to review, revise, and develop the application and grants process to create access, collaborations, and new audiences in the Dallas Arts District. The revised application will be ready in the summer of 2019; the book will be available in Fall 2019 with the opening of the HALL Arts Hotel, and the grant recipients will be announced in December 2019 for projects in 2020. Over the past 34 years, the Dallas Arts District Foundation has awarded over 420 grants totaling $1.1 million to Dallas arts and culture organizations since 1984.

7 Must-See Museum Exhibits for 2019

The Crow Collection of Asian Art is one of only a handful of museums in the country dedicated solely to the arts and cultures of Japan, China, India and Southeast Asia. Experience a peaceful world of beauty and spirituality in the heart of the city with pieces dating from 3500 B.C. to the early 20th century. Don’t miss a glimpse at precious jade ornaments from China, delicate Japanese scrolls, and a rarely seen 2-by-28 foot sandstone façade of an 18th-century Indian residence.

Located in the northeast corner of downtown Dallas, the Dallas Arts District is the largest contiguous urban arts district in the nation, spanning 68 acres and 19 contiguous blocks. This iconic neighborhood has more buildings designed by Pritzker award-winning architects than any location in the world. Dallas Arts District unifies culture and commerce with integrated and exemplary artistic, residential, cultural, educational, recreational, religious and commercial life and was awarded a maximum 3-star rating by the prestigious Le Guide Vert – Michelin Green Guide. Its programmatic highlight is the Signature Block Party Series comprised of two free public events that support events at the cultural venues, featuring local, state, and national artists drawing more than 50,000 visitors from over 144 zip codes.

–Sustainable arts ecosystem: Model sustainability to the arts and culture community through OCA’s facilities and encourage and support the development of future sustainability in the broader arts and cultural sector.

Top Real Estate Markets in Texas

Aside from major attractions and entertainment spots, Dallas’s Arts District is home to the popular Klyde Warren Park, an urban neighborhood green space that’s host to a range of community events. Enjoy food truck lunches, live music performances, outdoor fitness classes, local art shows, and kid-friendly fun. The Arts District sits along Woodall Rodgers Freeway and neighbors Downtown Dallas, home to an array of office buildings, local restaurants, and major attractions. The Arts District is within reach of the Dallas World Aquarium, the Giant Eyeball, the JFK Memorial Plaza, and so much more.

The Arts District is home to 13 facilities and organizations including The Annette Strauss Artist Square, the Belo Mansion/Dallas Bar Association, Booker T. Washington High School for the Performing and Visual Arts, Cathedral Shrine of the Virgin of Guadalupe, Dallas Black Dance Theatre, Dallas Museum of Art, Dallas Symphony Orchestra, Dallas Theater Center, Morton H. Meyerson Symphony Center, Nasher Sculpture Center, St. Paul United Methodist Church, Fellowship Church, Trammell Crow Center, and the Trammell & Margaret Crow Collection of Asian Art.

The compact, vertical orientation of the Dee and Charles Wyly Theatre, climbing 12 stories into the Dallas skyline, was designed by Joshua Prince-Ramus of REX and Rem Koolhaas of the Office for Metropolitan Architecture. The theater, home to the Dallas Theater Center, Dallas Black Dance Theatre and the Anita N. Martinez Ballet Folklorico, is a prime destination for music and theatre enthusiasts.

from http://airductcleaningdfw.com/arts-district-dallas/

[micaramel]

Artists: Lutz Bacher, Renée Green, Arthur Jafa, Josh Kline, Eric N. Mack, Cady Noland, Lorraine O’Grady, Sondra Perry, Cameron Rowland, Wu Tsang, Danh Vo

Venue: Watergate, Washington D.C.

Exhibition Title: Exodus

Date: October 26, 2019 – January 25, 2020

Curated By: Paul Pfeiffer

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of the artists and Bortolami, New York. Photos by Kristian Laudrup.

Press Release:

Bortolami is pleased to announce the seventh Artist/City project, Paul Pfeiffer/Washington, D.C. A group exhibition at the Watergate curated by Pfeiffer, Exodus brings together a selection of artworks – primarily found-object sculptures – to investigate the collapsed boundary between representation and reality that now defines everyday life. It includes works by Lutz Bacher, Renée Green, Arthur Jafa, Josh Kline, Eric N. Mack, Cady Noland, Lorraine O’Grady, Sondra Perry, Cameron Rowland, Wu Tsang and Danh Vo.

The show explores the question: How can an existing object be a mask? The artists in the exhibition draw materials from daily life, distilling them down through processes of selection, sampling, editing, and arranging. The resulting artworks take the form of everyday gestures and appearances, and yet their installation within the stripped-down setting of the white cube renders them alien. On first encounter, they appear like fragments of reality isolated and objectified through their enshrinement as art objects. They radiate a presence and pathos akin to that of living beings, or forensic clues from the scene of a crime. While their material presence may speak volumes, they also invoke their former context. They resist easy explanation, refusing to identify. Their uncanny status contradicts their seeming familiarity, so that in the end they become like mirrors, merely reflecting what we want to see. Which begs the question: who or what is behind the mirror? And what is their true purpose?

This game of seemingly simple appearances and hidden motives is nothing new, dating back at least to Duchamp’s ready-mades a hundred years ago. But then context is everything. What was once called trompe l’oeil, then appropriation, then simulacrum, then sampling, has proliferated exponentially along with handheld screens and social media, reaching into every aspect of public and private life, ubiquitous to the point that it no longer has a name. In the era of personal branding strategies, algorithmic pinpoint marketing, and other self-encapsulating feedback loops, the line between human personality and image machine has become indistinguishable.

Society today is a stadium, a circus, and a hall of mirrors. Everything can be turned into a widely distributed image, from the most prosaic customs and routines, to human and environmental tragedy, to political discourse, to intimate encounter. Violence nor pleasure are less real, but our state of war is mediated through images. If data-driven algorithms can interpret personal preference from clicks and eye movements, then customize a feed predicting our appetites as consumers, how then to discern free will from manufactured habit? If A.I. sets the ontological horizon beyond the limits of human perception, how can we be sure that the images we see are real and not a customized projection?

This is the ontological Exodus, the voyage we’re on as we navigate the perverse spaces and temporalities of global capitalism.. But while the technologies are new, the state of cognitive dissonance is not. The uncanny has been fundamental to human experience from the very beginning. In the current moment of sensory overload we are reminded that the Exodus was never simply a geographic journey, it was always ontological – a journey to liberate human consciousness – and has been ongoing for millennia.

To amplify the strategic selection of artworks in the exhibit, the choice of the Watergate Building as setting is meant to communicate strongly and wordlessly the urgent context of contemporary societal transformations to which this project responds.

Paul Pfeiffer (b. 1966 in Honolulu, HI) lives and works in New York. He has had solo exhibitions at the Whitney Museum of American Art, MIT’s List Visual Arts Center and the Museum of Contemporary Art Chicago, the National Gallery of Victoria, Melbourne, MUSAC León, Spain, the Hamburger Bahnhof, Berlin, the Albright-Knox Art Gallery, Buffalo, NY. He was the subject of a retrospective at Sammlung Goetz in Munich, Germany. Pfeiffer’s works have also been included in international, large-scale exhibitions such as the Venice Biennale, Biennale of Sydney, Busan Biennale, Cairo Biennale, and Whitney Biennial. He has received numerous awards and fellowships, including a Fulbright-Hayes Fellowship and the Bucksbaum Award from the Whitney Museum.

Artist/City is Bortolami Gallery’s experimental programming initiative that pairs an artist with an American city. Taking place in unconventional settings for longer durations than the standard gallery exhibition, these site-responsive projects grant artists freedom to present their work according to their own creative vision. Previous projects include Daniel Buren/Miami, Eric Wesley/St. Louis, Tom Burr/New Haven and Barbara Kasten/Chicago. Ann Veronica Janssens/Baltimore is ongoing. Paul Pfeiffer/Washington, D.C was developed in conjunction with Denniston Hill’s thematic program for 2017-2022 (https://www.dennistonhill.org/exodus-and-the-ethics-of-uncertainty).

Link: “Exodus” at Watergate

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://bit.ly/2uQRgFI

#micaramel

[nyfacurrent]

Conversations | Managing Your Practice as an Immigrant Artist with Claudia Sohrens

The German artist, NYSCA/NYFA Artist Fellow, and IAP Mentor shared actionable steps for making the most out of your career.

We’re interviewing German artist Claudia Sohrens in honor of October’s German-American Heritage Month. Sohrens is also a researcher, archivist, producer, and circulator. Her work is featured in private collections and has been presented in numerous group and solo exhibitions nationally and internationally. She has served as a mentor in NYFA’s Immigrant Artist Mentoring Program for Visual & Multidisciplinary Arts since 2011.

NYFA: Based on your experience as an immigrant artist from Germany, what was the biggest challenge you faced when you first came to the U.S., and what did you do to adjust to it?

Claudia Sohrens: I came to New York as a student in 1997. During that year, I immersed myself in a one-year full-time program at the International Center of Photography (ICP) that is now called Creative Practices. I focused on taking classes and making work. I also took advantage of the creative dialogue and constructive feedback from my teachers and peers.

It was challenging to transition into the reality of living and working in New York. Although I had become part of a greater creative community and network of photographers through my studies, all my peers seemed to be competing for the same opportunities. At that time, ICP was just starting up their Digital Photography Department, and because of my background in Fashion and Communications Design, my previous professional experiences, and my OPT (Optional Practical Training) documentation, I was offered the opportunity to teach a few digital classes at the school right off the bat. Right time, right place!

My proudest accomplishment is being a mother and artist, while also being a creative educator in New York. Over the years, I’ve become part of a strong community that is passionate about using creative production as a strategy to inspire, to generate critical dialogue, and to empower communities (ICP, Pratt, NYU Tisch, Parsons, BRIC, Artists Space, NYFA’s Immigrant Artist Program, Brooklyn Arts Council, Sotheby’s Art Institute, among others).

NYFA: You’ve participated in NYFA’s Immigrant Artist Mentoring Program since 2011. What are some of the best strategies for creating and locating opportunities that you recommend to your mentees?

CS: Exposure is key to fully take advantage of the many opportunities out there. Here are some strategies that have been successful to me and my mentees in the past:

Immerse yourself in a creative environment and expose yourself to a wide range of disciplines and international developments.

Look for opportunities, including opportunities other artists have received throughout their careers.

Cultivate your creative community and professional network of peers, alumni, curators, presenters, editors, and other creative professionals.

Most deadlines such as residencies and fellowships are recurring. Create a calendar and exchange your research and resources with other artists.

Engage in a critical dialogue with the public through exhibitions and curatorial projects, scholarly research and writing, engagement in panels, lectures and conferences, as well as on social media and through community outreach.

Create your own opportunities to show your work through independent curatorial projects, exhibitions, and other art events also in lesser-known, alternative venues.

NYFA: What are the most important steps for you in order to organize and manage your practice?

CS: Here’s my advice:

Dedicate time and focus to the creative process, develop a rigorous practice!

Set short-term and long-term goals for individual projects and your career as an artist at large.

Be part of a creative community!

Use your creative production and research as a strategy to generate a critical dialogue inside and outside the studio.

Participate in exhibitions, artist residencies, and curatorial projects etc, as well as interdisciplinary and collaborative practices

Apply for grants and create funding opportunities that will support your creative practice.

NYFA: What are you currently working on? Do you have any ongoing/upcoming shows on the horizon?

CS: My academic research is concerned with the status of the photographic image as raw material for the construction of historical narratives informed by public policy with a special emphasis on the history of the photograph and race.

In my creative practice, I force my research through familiar cultural tropes and in contested accounts of the past and present to reveal our latent social desires and raise questions about the stories that are told and preserved and those that are suppressed or forgotten. My work generally unfolds through a range of media–photography, video, books, and multilayered image spaces. I am currently working on a project that focuses on the vernacular for a two-person exhibition in Hamburg, Germany in the summer of 2020.

- Interview Conducted by Alicia Ehni, Program Officer at NYFA Learning

About Claudia Sohrens Claudia Sohrens is an artist from Germany. Her work, which has been featured in private collections and presented in numerous group and solo exhibitions nationally and internationally, expands on the notion of the artist as researcher, archivist, producer, and circulator. As an independent curator, she has worked on projects including the 2017 Pop-Up Archive at Mana Contemporary, which featured works by alumni from her “What is an Archive?” class at ICP; the Action Archive, created during her artist residency at A.I.R in 2015; Foto/Pod What is a photograph? at the 2013 Dumbo Arts Festival; and the exhibition Ulrike ist Schuld at the German Embassy in New York in 2001. Fellowships and residencies include the 2018 Vermont Studio Center residency, the 2017 ICP Artist Residency at Mana Contemporary, a 2014-15 A.I.R. Fellowship, a 2010 NYSCA/NYFA Artist Fellowship in Photography, and the AIM23 Artist Residency at the Bronx Museum in 2002. Her long-term photographic research project Mise En Abyme: Archive is fiscally sponsored by NYFA, where she has served as a mentor for NYFA’s Immigrant Artist Program since 2011. Sohrens is a teaching artist for Photography and Youth Media programs with Artists Space, BRIC Arts & Media, and Sotheby’s Art Institute. She is a Visiting Assistant Professor at Pratt Institute and faculty at the International Center for Photography.

This interview is part of the ConEdison Immigrant Artist Program Newsletter #121. Subscribe to this free monthly e-mail for artist’s features, opportunities, and events. Learn more about NYFA Immigrant Artist Mentoring Program.

Images from the top: Claudia Sohrens, RV | Untitled - III, Dye-sub on Aluminum, 44 x 30 in, 2017, Courtesy of the artist; Claudia Sohrens, Diptych: Aufheben #005 Box of Lighters, Aufheben #006 Livingroom, Archival Pigment Print, 24 x 63 inch, 2009/2017, Courtesy of the artist; Claudia Sohrens, RV | 2 3/4 - I, Dye-sub on Aluminum, 30 x 44 in, 2017, Courtesy of the artist

#claudia sohrens #alicia ehni #interview #conversations #iap #immigrant artist mentoring program #immigrant artist program #iap newsletter #nyfa learning #instagram

[theillustrationconference]

ICON 11 Call for Papers

Download a PDF of the ICON11 Call for Papers

Academic and professional submissions are invited for peer review for ICON11: The Illustration Conference. The Conference will be in Kansas City, Missouri, from Sunday, June 28 until Wednesday, July 1, 2020. The first two days of the conference are devoted to the Education Symposium and workshops; the second two days of the conference consist of main stage events with speakers, panels and presentations representing a broad range of specialties from the fields of illustration and design.

ILLUSTRATION AS PRIVATE / PUBLIC PRACTICE 

Symposium Date: June 28–29, 2020 

Venue: Epperson Auditorium, Vanderslice Hall, Kansas City Art Institute, Kansas City, MO 

Dates for abstracts submission: August 1, 2019 

The ICON11 Education Symposium seeks to explore how educators can inspire students to cultivate their individual voices and perspectives while situating themselves in the marketplace in viable and sustainable ways. The multitude of contemporary mechanisms to create and distribute work have expanded the opportunities for illustrators and redefined the creator/client relationship. How do educators incorporate these realities into their teaching? 

CALL FOR SUBMISSIONS 

An open call is made for contributions that broaden the understanding of how illustration is changing in the classroom and in practice. Unusual avenues of practice and inquiry are welcome, including both theory and practice-based researchers, academics, illustrators, typographers, designers, painters and artists.

POSSIBLE THEMES MIGHT INCLUDE 

Hand Made: How do we allow for illustration programs to dovetail with classes that teach traditional crafts and media; to apply illustration to media beyond paper? What are cross-institutional opportunities?

Illustrator as Artist: How do teachers encourage a private practice of self-initiated artwork? To what degree is the province of the studio artist explored, the avenue of grant writing and gallery exhibitions? Does this necessitate the creation of entirely separate bodies of work? 

Artist as Author: How is storytelling expanded beyond picture making into incorporated language? Is the narrative a purely personal one, as in memoir? 

The Illustrator in the Marketplace: How do we expose students to opportunities to engage in direct sales, both online and through events? 

Space & Time: The evolution of 3-D, Interactive and Motion-based Illustration (and how to teach it all) 

The Invisible Classroom: How does digital technology affect traditional teaching? What are the flaws and assets of remote teaching? 

Style: How do teachers help students cultivate their own styles? Does individual style matter? 

Thinking Globally, Working Locally: What are topical societal issues that propel students? How can they incorporate matters that matter to them in their work and in their community? 

Collaboration: What are projects that involve collective thinking and making; how are they managed? 

Inspiration: What are processes that effectively jump-start creative brainstorming? 

Artist as Mentor: How can students engage with younger, (or older!), disadvantaged or isolated communities, to share, articulate, and inspire with what they know? 

The Art of Seeing: How do we teach students to look closely, to develop a critical eye, to become thoughtful consumers of visual images and to clearly express what they think about what they see? 

Shifting Realities: How do we keep up with the changing nature of illustration?

Those wishing to participate are invited to submit proposals for research papers and presentations addressing the themes suggested above or other themes pertinent to the current state of the field of illustration and the challenges facing illustration faculty and students. 

ABSTRACT FORMAT 

Initial submissions should take the form of an abstract of up to 300 words. 

Bullet points of key concepts will be accepted. 

In addition to the abstract, please include the presenter’s name(s), affiliation, email and postal address together with the title of the paper and a 150 word biographical note on the presenter(s). These can be as PDF or Word documents.

Please name your abstract document: LastFirstname_ICON11Abstract.

SUBMIT ABSTRACTS BY AUGUST 1, 2019 

Email to Marty Blake: [email protected] 

Acknowledgment of receipt of your abstract submission will be made within 5 working days. 

Selected proposals will be juried by ICON11’s panel of peer reviewers, including Education Chair Marty Blake, Syracuse University and Education Advisor, David Terrill, Kansas City Art Institute. If selected, papers should be from 3000–5000 words including bibliography. Please note: Submissions must follow Harvard system of referencing. 

Authors of selected papers will be invited to present at ICON11, June 28–29, 2020. Presentations will be allowed 20 minutes. 

DEADLINES 

Receipt of the Abstracts | August 1, 2019 

Notification of Provisional Acceptance  | September 25, 2019 

Receipt of Full Paper | January 12, 2020 

Notification of Final Acceptance | March 23, 2020 

Presentation Date | June 28–29, 2020

With permission of the authors, papers will later be archived and shared online.

Download a PDF of the ICON11 Call for Papers

ICON10 PAPERS ARCHIVE 

To review papers presented at ICON10 in Detroit, 2018, click on the presenter’s name to access a downloadable pdf: https://icon10.theillustrationconference.org/papers/

#ICON11 #illustrator #art #artist #education #callforsubmissions #callforpapers #academic #educator #faculty #conference