Search results for ""Author Exhibitions International""

A mind‐blowing genre crossing deep purple velvet adventure (formerly known as "BOOK"). This publication concerns a multimedia project consisting of visual arts, micro stories and music, with a history on Instagram.

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Plantin travelled a lot, to Paris, where he had a bookstore and lace trade, to Leiden where he had a second business, to Frankfurt for the buchmesse, ... He was on his way almost half of the year. He was an experienced traveller. How did people travel in a time without motorways, GPS, smartphone or trip advisor? Plantin had tables available that calculated how long the trajectories lasted. Unfortunately, he did not keep track of where he slept, ate, and how much he spent. Fortunately, there are other contemporaries, such as Dürer and Montaigne who did take extensive notes during their travels. In the wake of Plantin, we send young photographers on different journeys with various means of transport. How do travel distances and travel times differ from journeys in the 16th century?

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Carta Canta shows a selection of Alechinsky's working on paper from 270 works that were donated to the royal museums in the past, as well as a number of works from more recent exceptional donations. More than 200 drawings, watercolours, etchings, lithographs and paintings invite you to dream and travel. Dive into the infinity of the imagination. The exhibition and publication reveal how Alechinsky, with a sharp feeling for technical experimentation, scanning its own imagination. For example, he elevates the act of drawing ‐ and therefore the drawing itself ‐ to the core of its rich and versatile oeuvre. In addition, the interdisciplinary view of the exhibition exposes connections between the artist and the collection of the museums, from Ensor to Magritte.

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Indonesia and its more than 17,000 islands are spread out over a surface area equivalent to that of the European Union. As an area of confluences and encounters, the Indonesian archipelago has always been one of the most important crossroads of world trade, where Austronesian ships, Arab dhows, Chinese junks, Iberian caravels, and other ships of the East India Companies berthed long before the container ships and oil tankers of today. The history of this archipelago is that of a multitude of links and connections, where the near and the far intermingle, forced to compete in a ubiquitous maritime world. The sea brings together more than she separates, and the monsoon winds have made this intersection a mandatory stop for merchants, clerics, and foreign diplomats, whose presence has left traces in the myths, monuments, arts, and traditions of contemporary Indonesia. Overlapped, blended, reinterpreted by rich and complex societies, these inflows have forged multiple worlds that the relationship with the sea has finely coloured and chiselled. Archipel invites us to discover this world, with the sea as the common thread, and an exceptional collection of major artworks as markers of a history to be discovered and admired.

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Today, known for its black and white portraits covering entire buildings, Hendrik Beikirch today presents the Siberia project, a project in the continuity of Tracing Morocco started in 2014. The intensity of these powerful foreign faces recalls a familiarity that can be experienced anywhere in the world. Beikirch takes these studies of humanity with him on his travels and permeates them as traces of personified life in new contexts. The project is the result of Beikirch's meeting with this distant immensity that is Siberia. From this project was born the book Siberia, which gives an overview of all the works created, paintings, and 10 murals carried out all over the world. Text in English, French and Russian.

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With the help of 100 artworks, this book guides you through the collection of the Stedelijk Museum Amsterdam. Learn more about Kazimir Malevich's groundbreaking abstract paintings, the ingeniously knotted chair by Marcel Wanders, nearly kitschy art by Jeff Koons, and Rineke Dijkstra's intense portraits. Ten introductory texts impart everything you need to know in 1,000 words about modern art, photography, and design. For instance, why waste and junk can also be art. Or why something skillfully appropriated in art is better than badly conceived. Or why these days an unsuspecting visitor can suddenly join in a work of art. We lined up the 100 featured works from the collection on the included sheets of stickers. Pick your favorites and give the cover your own twist! With this guide, every curious visitor can be well prepared for their next encounter with modern art.

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Camiel Van Breedam (°Boom 29/06/1936) made his first artworks in 1956: reliefs and small zinc sculptures. Later followed by assemblages, collages, objects, sculptures, environments - exhibited in many places in Belgium and abroad. Influences and inspiration come among others from: his father's plumber workshop, the region of the river Rupel and the brickyards, Paul Klee, ethnic art, Indians, Joseph Cornell, the Russian avant-garde, Chaïm Soutine, Oskar Schlemmer, Bauhaus, De Stijl, dreams, nightmares and RED. His social involvement provides the red thread and the binding element.

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Antwerp artist Eugeen Van Mieghem (1875-1930) documents the pulsating life around the port of Antwerp at the turn of the twentieth century. Dockers, sack sewers, passengers, local communities and general labourers are the subjects of his lifelong fascination with Antwerp port. His affinity with his subjects makes his work direct and sincere and is unique in the genre of social realism. The port is one of the great gateways to the city, facilitating the constant movement of goods and people - migrations that are essential for the economy as well as for the evolution of people and society. Ports also are scenes of human tragedy, witnessing the forced emigration of families and communities fleeing persecution and poverty, as immortalised in the paintings and drawings of Eugeen Van Mieghem. Antwerp does have strong associations with Irish artists in the late nineteenth century, many of whom, attracted by the pioneering developments in art practice on the Continent, travelled to Antwerp to study at the Royal Academy of Fine Arts artists, including Roderic O'Conor, Walter Osborne and Norman Garstin. The result was light-filled fleeting images painted out of doors, en plein air, a radical departure from the official teachings of the established art academies. It is not known if Van Mieghem and any of those Irish artists ever came in contact with each other, but this exhibition shows for the first time Van Mieghem's oeuvre alongside that of his Irish peers, proving yet again how vital are ongoing migrations of culture and people in illuminating and understanding our contemporary society.

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