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Art Exhibitions, Art Fairs, Visual Arts, Photography, Graphic Arts, Design, Video Art, Architecture, Films, Photo / Imaging Equipments, Publications


March 26, 2005

Hong Kong FILMART 2005 Survey

 

Hong Kong's Film and Television Market (FILMART) is tagged as the leading market in Asia says FILMART survey

FILMART's position as the leading trade platform for the film and entertainment industry in Asia has once again been confirmed, according to an independent survey released today (24 March).

The survey was commissioned by the Hong Kong Trade Development Council (HKTDC) and conducted by Citigate DVL Smith. A total of 336 were interviewed, comprising of 253 visitors and 83 exhibitors at FILMART this week (22 - 24 March 2005).

According to interviewees, Hong Kong's FILMART ranked first as the most important film and entertainment industry event, followed by the Tokyo Film Market (TIFCOM) and the Pusan Film Market.

Among industry players surveyed, over 65% agree that Hong Kong is the major content production centre in Asia, driven by creative talent, state-of-the art technology and freedom of expression. 75% of respondents also regard Hong Kong as a major content distribution centre in Asia because of its international profile and strong distribution network.

HKTDC's Director of Service Promotion, Mr. Raymond Yip said, " This year's success at FILMART, further strengthens Hong Kong's position as the major content and distribution hub of Asia. FILMART represents a golden opportunity for International companies to explore the emerging business opportunities with Hong Kong as a gateway into the Chinese mainland, especially with the implementation of CEPA. This year, we have seen a double-digit growth in the number of exhibitors and visitors from Europe and the US.

Key findings of the survey are as follows:

Sectors with best business growth prospects: digital entertainment, followed by TV and film.

Company expansion plans within the next three years: 74% and 71% of the surveyed companies plan to expand in respectively in Hong Kong and the Chinese mainland.

Desirable improvement areas in the Chinese mainland: Increased effort to combat piracy, simplification of censorship and the adoption of film classification.

FILMART 2005 attracted over 350 exhibitors from 23 countries and regions, a 15% increase from 2004. The number of international visitors rose dramatically by more than 40%. This year, FILMART celebrated its 9th birthday as part of the inaugural Entertainment Expo Hong Kong.

Monica Mariniello à la Galerie Marie Demange

Exposition d’art contemporain

Monica Mariniello

Galerie Marie Demange, Paris

26 mars - 6 mai 2005

 

La galerie Marie Demange présente une série de sculptures récentes de Monica Mariniello. Le travail de cette artiste toscane nourri de splendeurs florentines et de références à l’Antiquité offre des œuvres d’une sensibilité très contemporaine et d’une grande originalité.

Toute l’oeuvre de Monica Mariniello semble l’expression d’une rêverie fascinée par la puissance et la fragilité de la terre, de la pierre, du fer, de l’air, de l’eau et du feu.

De cette fascination pour les éléments, quand le ciel et la terre se rencontrent par la magie du paysage et du temps, naissent ces œuvres où la photographie, moment volé, moment fixé, se laisse inclure, comme avalée par la pierre, matière pérenne contre la fluidité du temps qui passe.

L’univers de cette artiste ouvre à une poésie du fugace, de l’éphémère et de la métamorphose. Elle attrape au vol l’immatérialité du temps, en saisit les traces, ombres changeantes, reflets dans l’eau, nuages, pour en faire la matière même de son travail.

La dimension « artisanale » de son oeuvre la rend d’autant plus précieuse qu’il est devenu rare aujourd’hui qu’un artiste contemporain manie avec ce raffinement et ce sens de l’harmonie la pierre et le métal. Ce remarquable travail sur les matières livre une œuvre sensible et sensuelle, aux contrastes subtils.

A l’apparente dureté, pesanteur, permanence de la pierre et du fer répondent la légèreté, la fragilité, l’évanescence de l’eau, des nuages et du ciel évoquant dans une harmonie inattendue d’une grande beauté. De manière étonnante, il se dégage de ces matériaux bruts une impression de douceur, de calme et d’apaisement. Ses compositions sérielles, propices à la contemplation, invitent à la méditation et conduisent tout doucement à retrouver en son monde intérieur les souvenirs oniriques de paysages passés ou imaginaires.

Hymne à la vie, en sa beauté, en ce qu’elle doit à la nature, forte et fragile, libre et soumise, c’est surtout un travail d’une grande humanité, dans ce que nous pouvons en espérer de meilleur : sa sensibilité au monde.

BIOGRAPHIE de MONICA MARINIELLO

Née à Sienne en 1954, Monica Mariniello a étudié le dessin à l’Académie de Florence, puis la sculpture aux Beaux-Arts de Paris entre 1980 et 1986. Elle a été lauréate du prix Renoir en 1995.

A la fin des années 80, elle expérimente un premier langage formel, dans un travail subtil  sur le métal récupéré et refaçonné. Les « Portes du temps », « Le jardin aux mille oeufs » en sont les plus émouvants exemples. A partir de 1995 apparaissent les terres cuites puis, vers 2000, les inclusions travaillées de photographies, qui font sa spécificité aujourd’hui. Elle enchaîne les expositions personnelles et collectives depuis 1988, de Paris à San-Francisco, de Collioure à Toluca, au Mexique, mais aussi en Italie. Elle y a réalisé en 1996 des oeuvres sculpturales monumentales, notamment à Guyancourt (Yvelines) en 2001 dans le cadre d’une commande publique. Elle vit en France et travaille dans son atelier de Montreuil, dans la banlieue parisienne.

Galerie Marie Demange

Exposition MONICA MARINIELLO

26 mars - 6 mai 2005

Galerie Marie Demange
12, rue Beautreillis
75004 Paris  

March 18, 2005

Basquiat Exhibition Brooklyn Museum

Basquiat
Brooklyn Museum
March 11 - June 5, 2005

Following the Brooklyn Museum presentation, the exhibition will travel to the Museum of Contemporary Art, Los Angeles from July 17 to October 10, 2005, and the Museum of Fine Arts, Houston, from November 18, 2005 to February 12, 2006.

Over 100 works by Jean-Michel Basquiat, whose meteoric career coincided with the emergence of the hip-hop movement and who contributed to the revival of painting in the United States before his untimely death, are on view in the major exhibition Basquiat at the Brooklyn Museum. A number of works in the exhibition have never been seen in the United States.

The most comprehensive re-evaluation of the prolific artist’s career since a 1992 retrospective at New York’s Whitney Museum, the exhibition includes more than seventy paintings and fifty works on paper presented on two floors. This exhibition celebrates the extraordinary achievement embodied in Basquiat’s work—his skillful use of color, his aptitude at drawing, his unique and complex iconography, his integration of text into his canvases and his development of themes from the African Diaspora. Born to a middle-class Brooklyn family of Haitian and Puerto Rican heritage, Jean-Michel Basquiat was active for just one decade, yet he is one of the best-known artists of his generation and enjoyed unprecedented international recognition. Jean-Michel Basquiat died of a drug overdose in 1988 at the age of 27. His works continue to break auction records for art made during the 1980s.

When still in his teens, Jean-Michel Basquiat first gained recognition among New Yorkers for the cryptic graffiti poetry he sprayed on the walls of Lower Manhattan under the pseudonym SAMO. In 1981, however, when he was twenty years old, Basquiat burst upon the art scene under his own name with an original body of work that quickly developed toward a complex and highly diverse, mature style, marked by innovation, sophistication, skill, and a stirring emotional depth. By the age of 21, he had already enjoyed five important one-person exhibitions and been included in the prestigious Documenta 7 in Kassel, Germany.

A talented, self-taught artist, Jean-Michel Basquiat’s skill set him apart from many of the artists of his generation. He drew constantly, producing hundreds of works, which he sometimes photocopied to incorporate into his paintings as collage elements. He admired other draftsmen, including Leonardo da Vinci, whose anatomical studies he quotes, and Cy Twombly, whose influence is seen in many of Basquiat’s earliest works. Among the finest examples of this aspect of Basquiat’s work is a series of 32 drawings currently referred to as the Daros Suite, and once belonging to the legendary collector and dealer Thomas Ammann. The portfolio will be seen in its entirety for the first time in the United States.

Jean-Michel Basquiat’s paintings are frequently inhabited by primitive-looking figures with large, mask-like heads and consequently have been considered Neo-Expressionist in style. Nevertheless, although he exhibited many of the qualities of such modernists as Picasso, Matisse, Kirchner, Dubuffet, Rauschenberg, and, his friend Andy Warhol, he had a unique style, one that synthesized many of the main tendencies of the 20th century art.

Basquiat’s art was also part of the cultural movement that began sweeping the country at the time: hip-hop. As a musician and performer, he was friendly with many figures on the downtown New York music scene and even performed in a feature film loosely based on his life entitled Downtown 81, directed by Edo Bertoglio. Indeed, a second film on his life, the posthumous Basquiat, directed by artist Julian Schnabel, achieved some critical success.

Basquiat - Catalogue The co-curators for Basquiat include Marc Mayer, Basquiat Project Director, former Deputy Director for Art, Brooklyn Museum, and now Director of the Musée d’art contemporain de Montréal; Fred Hoffman, Ahmanson Curatorial Fellow at The Museum of Contemporary Art, Los Angeles; Kellie Jones, Assistant Professor of the History of Art and African American Studies, Yale University; and Franklin Sirmans, an independent writer, editor, and curator based in New York.
A full-color catalogue with essays by the co-curators has been published by the Brooklyn Museum in association with Merrell.

Basquiat is organized by the Brooklyn Museum. The national tour of Basquiat is sponsored by JPMorgan Chase. Additional generous support has been provided by Fernwood Art Foundation. The exhibition was also supported in part by the Brooklyn Museum’s Richard and Barbara Debs Exhibition Fund and the Museum’s Contemporary Art Council. The Federal Council on the Arts and the Humanities has granted an indemnity for this exhibition. The Village Voice and WBGO are media sponsors. Promotional support provided by MTA New York City Transit.

BROOKLYN MUSEUM
200 Eastern Parkway
Brooklyn, New York 11238-6052

March 9, 2005

Spencer Finch, Prussian Blue - Galerie Nordenhake, Berlin


Spencer Finch, Prussian Blue
Galerie Nordenhake, Berlin
March 5 - April 9, 2005

Galerie Nordenhake in Berlin presents its first solo exhibition with the American artist SPENCER FINCH. For a viewer acquainted to Spencer Finch's work this exhibition reveal well-known and recurrent themes. We have references to philosophical phenomenology and psychology of perception: What does it actually mean to experience a colour? What is seeing? How do we communicate experiences? How can a sensual stimulus trig an existential reconstruction of a cultural context - as in the case of the famous Madeleine in Marcel Proust's Recherche? And how can such a context be shared? Spencer Finch has worked consistently with these questions during his career as an artist. "Prussian Blue" is yet another step in the development of a deeply personal "Cultural Colour Doctrine" that involves such disparate phenomena as the pink colour of Jacqueline Kennedy's hat the day her husband, the President, was shot, or the tone of the ceiling above the sofa in Sigmund Freud's examination room, and the shade of blue in the sky over the place where the first atomic bomb was developed in the desert of Los Alamos in 1945.

For his first solo exhibition in Berlin, Spencer Finch delves into Prussian blue, the pigment that was the first artificial pigment, and invented in this very city by Heinrich Diesbach some 300 years ago. Suddenly blue was for the first time available as an affordable colour, both commercially and artistically. Its use quickly spread to textiles and it was notably used to dye the uniforms of the Prussian army. In the 19th century it showed itself useful for the early photographical pioneers and was used for cyanotypes or blueprints.

Prussian Blue, 2005 is a three-dimensional model of the molecular structure of said pigment, executed using standard light bulbs in different sizes. As all Spencer Finch's works, the chandelier is representational. This is in fact what the pigment looks like on the molecular level.

In Self Portrait as Crazy Horse, 1995-2005, a large site specific cyanotype photograph made directly on the wall, Spencer Finch again connects to the use of Prussian blue but also to the German fascination with Indians as manifested in the huge success of Karl May's stories. Using the whole gallery space and its large windows as a camera and a gesso-primed, and photosensitised wall as the "film", he spends a day in front of the wall, using the time from sunrise to sunset as exposure time. The final result is a cyanotype made directly on the wall that shows himself as the famous Indian chief. The cyanotype process uses the same components as the ones found in Prussian blue and gives an image traced in white on a blue background. In the work, which hovers between, painting, photography and performance, the artist seems to appear as a white shadow on the wall. Or is it only your imagination? Crazy Horse was a Lakota warrior and mystic who successfully lead an uprising that culminated in the battle of Little Big Horn, also known as Custer's Last Stand. However, even if occupying a place in our collective memory, and even if coming from an era when photography already played a significant role in defining historical key figures and places, Crazy Horse never allowed anyone to take his picture, "Why would you wish to shorten my life by taking from me my shadow?"

The main work that Spencer Finch has made especially for the exhibition is an installation called Two Examples of Molecular Orbital Theory (Prussian Blue) 2005. Blue light is seen coming from two large door openings leading in to large light-filled rooms. Both appear blue, but the colour is achieved by different means. Again the artist questions what we see but also shows faith in representing the unattainable - be it the colour of Jackie's pillbox hat or the elusive position of electrons in a molecule. Similar ideas come back in a series of water-colours, Study for a Transparent Language, Index of Prussian Blue (35 watercolour drawings), 2005, that catalogues alphabetically 35 different names for the pigment, ranging from American Blue to Williamson's Blue. But again, does anyone know what blue is?

This is Spencer Finch's first solo exhibition at Galerie Nordenhake. In 2003 he participated in the gallery's exhibition on painting, "Pale Fire", with the light installation New York Boogie Woogie, 2003, (the light at Times Square on the night of April 27, 2003).

NORDENHAKE Berlin
Gallery's website: www.nordenhake.com