San Carlo Cremona is pleased to present Dara Friedman, “The Tiger’s Tail”, June 11

is pleased to invite you to DARA FRIEDMAN The Tiger's Tail   Opening reception Saturday 11 June, 8 pm Via Bissolati 33 - Cremona, Italy

San Carlo Cremona is pleased to present Dara Friedman, “The Tiger’s Tail”, the third show of San Carlo Cremona to be held in the 17th-century deconsecrated church of San Carlo in Via Bissolati 33, Cremona. Dara Friedman’s solo show will be on view from June the 11th to September the 9th, 2022. For the first year of the project San Carlo Cremona (September 2021 - September 2022) the artist Servane Mary has invited artists friends to exhibit in the space of San Carlo Cremona. Each exhibition is a site-specific solo presentation of an artist’s work that features various media. Initiating the series with painting: Servane Mary, “Glitches”; following with sculpture, Mark Handforth: “White-Light-Whirlwind”; we now present film, sound installation and performance with Dara Friedman, “The Tiger’s Tail”.  The installation presents as its main theme the “vesica piscis”. The symbol revealed itself during the course of creating the exhibition in both the video projection “Mandorla” and the floor drawing in chalk pastels, “The Tiger’s Tail”. This form found its way into the work. “I wasn’t looking for it and didn’t know what it was when it arrived” states Dara Friedman.  “Mandorla” projected on a large, two-sided screen, suspended from the central dome of the church, floats above “The Tiger’s Tail” labyrinth spiraling on the floor. In “Mandorla”, 35 mm film transferred to 4K video, the bright orbs overlap each other as if you were crossing your eyes. Under exquisite spiraling tension the arcing movement anticipates fleeting meetings and glancing misses.  Occasionally a panther laps water, her tail curling and uncurling while making eye contact, locking eyes with the viewer’s. The ripples on the water mirror the bright rings of “The Tiger’s Tail” labyrinth on the floor of the church. An unsynchronized soundtrack of gong and single violin notes, sound waves from musical instruments intentionally not composed, allows space for their vibrational qualities to overlap and collide haphazardly like ripples of water.  “The Tiger’s Tail” labyrinth drawn in bright chalk on the terra-cotta floor of San Carlo, strains against the edges of the nave, the drawing’s centrifugal force expansive yet held. The monumental drawing is temporary, perhaps similar to a Buddhist mandala, marking an exquisite and passing time. Surprisingly within the central “perfect” oval of “The Tiger’s Tail”, the “vesica piscis” form was waiting to be discovered.  As a filmmaker Dara Friedman understands the labyrinth as another form of movie making. The path moves us through space, physically pivoting the body, changing our point of view to see the world (inner and outer) from various perspectives, as the filmmaker does. At the same time the narrative that we bring to this walk is our own, unprescribed emotional journey, with the possibility of creating a muscle memory of the event. Putting one foot in front of the other. Moving forward along a path whose end we cannot see, because it curves. Dara Friedman is a German born artist and filmmaker working in Miami and New York. Among her numerous solo shows are Harburger Kunstverein (2019), a mid-career survey “Dara Friedman: Perfect Stranger”, Pérez Art Museum Miami (2017-2018), Aspen Art Museum (2017), Hammer Museum, Los Angeles (2014), Museum of Contemporary Art of Detroit (2014), Contemporary Art Museum of Raleigh, North California (2012), Public Art Fund New York (2007), and Gavin Brown’s Enterprise, New York (1998, 2000, 2002, 2007, 2011, 2014 and 2017), Galleria Massimo Minini, Brescia, Italy (2002), Supportico Lopez, Berlin (2017), Galleria Franco Noero, Turin, Italy (2018), and Kayne Griffin Corcoran (2014, 2017). Major public collections include The Museum of Modern Art, New York; Whitney Museum of American Art, New York; Hammer Museum, Los Angeles; Pérez Art Museum, Miami; French National Collection, and Julia Stoschek Collection, Düsseldorf. Friedman is a recipient of the Rome Prize (1999) and a Guggenheim Fellow (2019).    RSVP: info@sancarlocremona.com - +39 3389736491   #sancarlocremona#fineartmagazine#thetigerstailfun

From 20 May, the Van Gogh Museum presents Colour as Language, a retrospective of work by artist Etel Adnan (1925-2021)

 

Colour as Language: first retrospective exhibition of Etel Adnan alongside works by Vincent van Gogh  From Friday, a wide range of Adnan’s works go on display in a new exhibition at the Van Gogh Museum

The painting Mount Tamalpais (1985) left the Nicolas Ibrahim Sursock Museum in Beirut for the first time to be displayed in Colour as Language. Oil on canvas, 126.5 x 149 cm. © The Estate of Etel Adnan. The Nicolas Ibrahim Sursock Museum, Beirut (donation of the artist, 2007).  Amsterdam, 18 May 2022 - From 20 May, the Van Gogh Museum presents Colour as Language, a retrospective of work by artist Etel Adnan (1925-2021). The exhibition focuses on Adnan’s colourful paintings, which are presented alongside ten works by Vincent van Gogh, who was a source of inspiration for Adnan. Colour as Language was developed in close collaboration with the artist herself: before Adnan’s death in November 2021, the museum spoke with her on numerous occasions regarding her life, work, and Van Gogh. Her own words are a theme throughout the exhibition. Colour as Languageexplores the connection that both artists felt with nature, their intense use of colour as a form of expression, and the role of language in their lives and work. The exhibition opens this Friday, and is on display until 4 September 2022.    An encounter with Van Gogh  Adnan’s work is inextricably linked with her mixed cultural background and the fact that she lived in so many different places around the world: language and culture are essential concepts in her oeuvre. Adnan started her career passionately writing poetry and award-winning books about her native country of Lebanon. She had previously studied philosophy at Sorbonne University in Paris, which is where she had her first encounter with Van Gogh: ‘It was a big shock for me to see Van Gogh’s work for the first time. It must have been in Paris in the early fifties. Coming from Beirut, I had never even seen any reproductions of art – we had no museums in Lebanon. […] I remember his self-portraits. I was amazed that a person could look at himself with such precision, such intensity, to an unbearable degree. That shock never disappeared.’ Adnan started painting around her 34th birthday. At the time, she was living in California and teaching the philosophy of art. Adnan’s poetry in French, and later English, often reflects on the horrors of war, yet she said that her visual work shows her cheerful side. It is in these works that Adnan found a universal language, with colours instead of words: ‘Colours make visible what the person is trying to say, but silent.’ The world in colour  Colour as Language features 78 of Etel Adnan’s works, 72 of which have never before been on public display in the Netherlands. A number of untitled paintings, which Adnan made in the late 1960s, offer insight into the artist’s earlier work. Many of these paintings, from collections including those of the Lille Métropole Musée d’art moderne, d’art contemporain et d’art brut and the Centre Pompidou, are abstract combinations of areas of colour, and reveal how to Adnan, colour was an entity in itself. Her later works are smaller, and feature landscapes. Adnan believed that nature expressed itself most powerfully in colour, and she considered Van Gogh to be the first artist to dare to apply this in his art. Adnan said that Van Gogh paved the way for subsequent generations of artists. In the exhibition, Orchards in Blossom, View of Arles (1889) is displayed alongside Adnan’s Landscape (c.1990), an extraordinary loan from a private collection in Lebanon. The painting has never before been exhibited in America or Europe. Works such as California #9 (2003) from Museum Voorlinden and Calm Landscape (2013) from the Musée de l’Institut du monde arabe show Adnan’s favourite way of capturing nature.    ‘I don’t know if you’ll understand that one can speak poetry just by arranging colours well.’ (Vincent van Gogh, 12 November 1888)   Mountains and the sun  After Etel Adnan returned to California in 1980, Mount Tamalpais became the central to her oeuvre. In her drawings and paintings, she made countless new interpretations of this mountain, which she looked out on from her house in Sausalito. Colour as Language features more than 30 such works, including the painting Mount Tamalpais (1985), a remarkable loan from the Nicolas Ibrahim Sursock Museum in Beirut. This painting has never before been offered on loan.  ‘I love nature, particularly, it doesn't leave me, I'm in it all the time.’ (Etel Adnan, 2021) In addition to this mountain, the sun plays a significant role in her work: one of her most vivid memories of her youth in Beirut. Adnan saw the sun as the ‘architect of the landscape’, in her own work and that of Van Gogh, as in The Sower (1888). The sun – depicted by Adnan as a crimson circle or square – frequently appears in paintings such as Landscape (2014) and other loans from the Centre Pompidou and Mudam Luxembourg. Woven art  There were no museums in the Lebanon of Adnan’s youth, but there were Persian carpets. Together with her father, she visited the carpet traders at the bazaars. The fabrics were Adnan’s first introduction to art. She came to see no difference between a painting, a carpet and a painted vase. It was all art and equally valuable. Three tapestries designed by Adnan will be on display in the exhibition. These colourful tapestries, which Adnan also called ‘hanging gardens’ will be presented alongside works by Van Gogh such as Garden of Saint Paul’s Hospital (‘Leaf-Fall’) (1889) and Tree Roots (1890). Writing is drawing Van Gogh and Adnan both had a masterful command of language. For Adnan, the leporello (a book with folded concertina-style pages) was the ideal means of uniting images and language. The exhibition features five leporellos, including Journey to Mount Tamalpais (2008), a vibrantly illustrated work to which Arabic text has been added. In a letter to his brother Theo on 28 May 1888, Van Gogh also mentioned leporellos. In the letter, which is on display in the exhibition, he outlined his burgeoning ideas for ‘albums of original Japanese drawings’ with scenes of the Southern French landscape near Arles. His drawing The Enclosed Wheatfield after a Storm (1889) reveals just how much his drawing style resembled handwriting. ‘Drawing is writing and writing is drawing’, in Adnan’s words. She said that you do both with the same movement of your hand and arm, and letters are actually drawn shapes. ‘To a degree, Van Gogh writes on his canvas, he is writing a landscape.’ (Etel Adnan, 2020) Writer, artist, activist In her written work, Adnan spoke out about war and violence in her native country of Lebanon and elsewhere in the world. Her visual work also sometimes hints at her preoccupation with existential concerns. The series The Weight of the World, from which five paintings will be on display in Colour as Language, and works such as Satellites 12 (2020), reveal Adnan’s fascination with the cosmos and the vulnerability of our planet.  It was only at the age of 87 that Adnan received international recognition for her art, at the Documenta in Kassel in 2012. When she died in Paris nine years later, on 14 November 2021, she left behind an oeuvre that is now read and exhibited all around the world. Colour as Language is the first and only exhibition in which works by Van Gogh and Adnan can be seen side by side. The exhibition is only on display in Amsterdam. Book  The exhibition is accompanied by Etel Adnan – Vincent van Gogh. Kleur als Taal / Colour as Language, the first book in Dutch about Adnan’s work. The 144-page publication features exclusive interviews with Etel Adnan, which form the foundations of the exhibition. Van Gogh Museum curator Sara Tas wrote an essay on the artist in relation to Van Gogh, and Simone Fattal (Etel Adnan’s partner) also contributed to the book. Price: € 22.95, bilingual edition (Dutch/English). Supporters   Colour as Language was realised with the support of the Ministry of Education, Culture and Science and the museum’s main partners: the VriendenLoterij, Van Lanschot and ASML. The exhibition was also supported by the Institut Français and the Rabbani Foundation.   Note for editors / not for publication: For more information, please contact the Van Gogh Museum Press Office by calling +31 (0) 20 5705 292 or by sending an e-mail to pressoffice@vangoghmuseum.nl

Van Gogh Museum                                          Press images can be downloaded from the website             Museumplein 6, Amsterdam                                             www.vangoghmuseum.nl            pressoffice@vangoghmuseum.nl            T +31 (0)20 570 52 92

#vangoughmuseum#adnan&vangogh#fineartmagazine

THREE THOUSAND YEARS OF LONGING starring Idris Elba and Tilda Swinton, directed by George Miller

What would you wish for?

Watch the official trailer tease for  THREE THOUSAND YEARS OF LONGING starring Idris Elba and Tilda Swinton, directed by George Miller   See the full trailer online this Friday   WATCH NOW

Metro Goldwyn Mayer Pictures presents in association with FilmNation Entertainment, Elevate Production Finance, and Sunac A Kennedy Miller Mitchell Production A George Miller Film   THREE THOUSAND YEARS OF LONGING In Theaters August 31st   Dr Alithea Binnie (Tilda Swinton) is an academic - content with life and a creature of reason. While in Istanbul attending a conference, she happens to encounter a Djinn (Idris Elba) who offers her three wishes in exchange for his freedom.    This presents two problems. First, she doubts that he is real and second, because she is a scholar of story and mythology, she knows all the cautionary tales of wishes gone wrong. The Djinn pleads his case by telling her fantastical stories of his past. Eventually she is beguiled and makes a wish that surprises them both.   Directed by: George Miller Written by: George Miller and Augusta Gore Based upon: The short story “The Djinn in the Nightingale’s Eye” by A.S. Byatt Executive Producers: Dean Hood, Craig McMahon, Kevin Sun Music by: Tom Holkenborg Cast: Idris Elba, Tilda Swinton Genre: Fantasy Drama   Rating: R for some sexual content, graphic nudity and brief violence.   Facebook | Instagram | Twitter #3000YearsOfLonging   Available assets on EPK.tv   Distributed Through United Artists Releasing. © 2022 Metro-Goldwyn-Mayer Pictures Inc. All Rights Reserved. #000yearsoflonging#fineartmagazine#cannfilmfestival

Catch The Photography Show interview with Gary Burny May 21, 2022 12:30 PM

2022 Guggenheim Fellow Gary Burnley in conversation with Stephen Frailey Founder and Editor Dear Dave, Magazine   Saturday, May 21st 12:30 pm     View information on The Photography Show here.

Website Instagram Facebook Twitter

Copyright © 2017, Elizabeth Houston Gallery, New York, All rights reserved. Elizabeth Houston Gallery +1 646.918.6462 #elizabethhustongallery#fineartmagazinephotography#artfunphotography

After my own hart! Photographic auction at Phillips May 25 2022.

 

Phillips Announces Highlights Ahead of the London Photographs Sale

 

Rare 19th Century Gustave Le Gray Album Featuring in ULTIMATE to Lead the Sale on 25 May

 

 

Gustave Le Gray

Manœuvres du 3 Octobre and Manœuvres de Cavalerie de la Garde Impériale

from Souvenirs du Camp de Châlons au Général Regnaud de Saint-Jean d'Angély, 1857

Estimate: £100,000-150,000

 

LONDON – 17 MAY 2022 – Phillips is pleased to announce highlights ahead of the upcoming London Photographs auction on 25 May. The Spring auction brings together a selection of artists from an impressive array of contemporary image makers, 20th Century masters, and 19th Century luminaries. The sale will feature ULTIMATE, Phillips’ bespoke selection of classic and contemporary rarities, and also includes a carefully curated selection of unique works by Peter Beard alongside contemporary highlights from Vik Muniz, Gregory Crewdson, and Wolfgang Tillmans. The auction is online now and on view to the public from 19 May at Phillips London galleries on Berkeley Square until the auction on 25 May at 2pm.

 

Yuka Yamaji, Head of Photographs, Europe, and Rachel Peart, Head of Department, London, said, “We are thrilled to present the 15th edition of ULTIMATE this spring which will feature 12 exceptional works available for sale only at Phillips. Led by Gustave Le Gray’s recently rediscovered Camp de Châlons album, this sale highlights an extraordinary breadth of work from photography’s formative years to the vanguard of contemporary practice, including the auction debuts of Rafael Pavarotti, Lina Scheynius, Mark Clennon, and Namsa Leuba. Our auction this May celebrates the art of photography in its many and varied forms. We look

Peter Beard, Gariaffes in mirage on the Taru desert, Kenya, June.

 

Edward Steichen, Gloria Swanson, New York.

 

Vik Muniz, Starry Night, after Van Gough, form pictures of magazines

P H I L L I P S

30 Berkeley Square, London, W1J 6EX

T +44 20 7901 7903

M +44 7557 147 613

achapman@phillips.com | phillips.com     

    

#phillips#artfunphotography#fineartmagazine