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http://maregina-arte.blogspot.com/

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quinta-feira, 17 de abril de 2014

The Scoop - News from Leicester Print Workshop






Promoting Fine Art Printmaking across the Midlands
Leicester Print Workshop is the centre for Fine Art Printmaking in the Midlands. Our fully equipped studio based in Highfields, Leicester, close to the City Centre and Leicester Rail Station welcomes beginners and experienced printmakers alike.
We have facilities for screenprinting, letterpress printing, stone and photoplate lithography, etching and drypoint etching, linocut, woodcut, mezzotint, collagraph, monoprint and more.
We send out The Scoop every two months. Read on for our news and updates - our exhibitions, projects, opportunities, artist talks, printmaking courses and more information about joining our printmaking community.












What's Coming Up




Artist Talks at LPW
Kathryn is a visual artist and fine art printmaker based in Leeds, West Yorkshire. She works for West Yorkshire Print Studio and exhibits nationally. Join us for an informal evening of discussion and dialogue as Kathryn talks about her lithography internship at LPW (for which she was awarded funding from Arts Council England) and her art practice. Read more about Kathryn here
PRINT RUN talks: Is this a print?
Wednesday 14th May, 6.00pm - 8.00pm.
Is this a print? Is this an edition? How should I frame this? How can I exhibit this? In the first of our PRINT RUN series of talks, LPW artists Sarah Kirby and Serena Smith discuss the professional practice of printmaking, from signing your prints to preparing them for an exhibition.
P2P 2014
Passion2Print is Leicester Print Workshop’s biennial exhibition of contemporary printmaking.
This year P2P 2014 will take over Leicester’s Cultural Quarter with the exhibition being held in multiple venues: Phoenix Café Bar, Curve Theatre’s exhibition areas and mezzanine and the LCB Depot’s café, gallery and Print Room.
P2P will promote printmaking through an ambitious, high quality exhibition of work by LPW artists. If you would like to take part this year please get in touch to become a member. Associate Membership is only £20 per year. Find out more
P2P 2014: 14 October to 12 December 2014
Phoenix Café Bar, 4 Midland Street, Leicester, LE1 1TG
Curve Theatre, Rutland Street, Leicester, LE1 1SB
LCB Depot, 31 Rutland Street, Leicester, LE1 1RE
More about this exhibition

Spring & Summer Courses

Introduction to Etching, Four week evening class. Thursday 1st May - Thursday 22nd May, 6.00pm - 9.00pm.
This four week evening course will introduce you to the wonderful technique of etching.
Join our Artist in Residence Kate Da’Casto as she teaches you how to prepare and draw a plate, how to add tone and etch, then to ink and print. More information & course booking link
Life Drawing & Waterless Lithography, Saturday 17th & Sunday 18th May, 10am - 4pm
Waterless Lithography is a process which uses silicone and water soluble materials to produce printable lithographic plates. It is perfect for people who like to draw and offers a great range of marks. This course is taking place at Embrace Arts and Leicester Print Workshop.  Day one takes place at Embrace Arts. Drawing directly from the life model onto printable lithographic plates you will explore mark making and composition. Then, on Day two you will learn how to print the plates at our studio. More information & course booking link
Letterpress & Little Books, Three Day Bank Holiday course. Saturday 24th May - Monday 26th May, 10.00am - 4.00pm.
This course will introduce you to the wonderful technique of letterpress. You will learn the processes of setting lead type, working up to A4 in size and will use our Adana, galley and Britannia presses. Once you have finalised your design and printed it, you will be shown how to create a simple book structure to house your prints. This course is suitable for beginners, artists wishing to explore type and designers wanting to develop practical letterpress skills. More information & course booking link
Monoprinting, Sunday 1st June 10.00am - 4.00pm.
Experiment with monoprinting on this day course and create vibrant, one off prints. You will experiment with mark making, stencils, painterly techniques, transfer monoprinting and use of mixed media to create simple unique prints quickly and with stunning effect. More information & course booking link
Introduction to Print, Thursday 5th June - Thursday 10th July, 6pm - 9pm
This popular 6 week evening course is the perfect introduction for those new to printmaking and wishing to explore it further. You will learn drypoint, monoprint, linocut, hard ground etching and collagraph techniques. With three hours per evening there is plenty of time for learning, development and experimenting. More information & a booking link
Full Colour Screenprinting (CMYK), Saturday 21st June 10.00am – 5.00pm.
During this day course you will learn how to produce full colour photographic screenprints onto paper. You will be shown how to separate a photographic image into four colours (Cyan, Magenta, Yellow and Black), how to transfer your image to a silkscreen and print onto paper. The course will focus on colour, registration and layers in addition to enabling you to continue developing your screenprinting skills, making it ideal as a next step for those that have attended the introduction to screenprint course and want to extend their learning and refine their technique. More information & course booking link
You can reserve a place on any of our courses using the online booking links, by email, or by calling us on 0116 255 3634. We can take payment by card over the phone, or you can send payment by cheque if you prefer.


Offsite @ Lakeside Arts Centre, Nottingham
Collagraph, Structure, Shape & Line, Sunday 8th June, 10am - 4pm
Our workshops at Lakeside Arts Centre in Nottingham run alongside the exhibition programme at Djanogly Art Gallery.
Using the Perminder Kaur exhibition Hiding Out as your starting point you will create rich, tonal collagraph plates inspired by structured lines, bold shapes and sculptural forms.
Collagraph is an unique printmaking technique in that you can combine adding layers of adhesive or solid material to add texture to the surface of a printing plate, as well as cutting away, scoring and drawing into the surface of the plate. This makes it possible to incorporate both intaglio and relief methods on one plate.
More about this course

Learning and teaching printmaking



We offer a wide range of opportunities for people of all ages and abilities to learn and experience printmaking. This might be throughone to one tuition, in a school setting or a bespoke workshop for a group. In addition we also offer artist opportunities for post-graduate learning and twilight printmaking introduction & refresher sessions for arts educators.
Find out more

Vouchers for Printmaking



Want to treat someone special to a printmaking gift?
Our gift vouchers can be made up to a value of your choice and redeemed on our ourses, browser prints and membership. 
Find out more

Becoming a Member of LPW
We offer two types of Membership: Full Print Membership and Associate Membership.
Full Print Members can use our studio during our Open Access hours to make work.
To become a Full Print Member, you must be fully competent in your chosen printmaking technique. Often a course is all you need to get started. View our course programme online here. If you would like to become a member of Leicester Print Workshop please get in touch.
Associate Membership is perfect for those who do not need to use the printmaking facilties of the Workshop but who would like to benefit from some of the perks of being a LPW artist - a monthly newsletter filled with printmaking news and opportunities, the chance to take part in our exhibitions, specialist materials at affordable prices and the opportunity to be featured free on our website.
Associate Membership is £20 per year. Please get in touch for more information and join our printmaking community!


Visiting Leicester Print Workshop
We are open Tuesday 10am - 5pm, Wednesday 10am - 8pm and Thursday 10am - 5pm, plus the first full weekend of every month, Saturday & Sunday from 10am - 5pm.
We always welcome visitors to the studio. Please get in touch if you would like to visit the studio so we can make sure that a technician is available to show you around.

















London Original Print Fair - Inglaterra

London's longest-running art fair.

Held at the Royal Academy of Arts in April, the London Original Print Fair offers an opportunity to view works from all periods of printmaking, from the earliest woodcuts of Dürer, to the latest editions by contemporary masters. The intimate, boutique Fair provides a friendly atmosphere for both budding collectors and seasoned print enthusiasts to engage with dealers and artists.
Get interested in intelligent collecting.

6º encontro internacional de aquarelistas Paraty - RJ

banner6encontro2014.jpg


Luiz Angel Garcia
Rua Tapajós, 46 - Itaguá - Ubatuba-SP - CEP : 11.680-000
Rua da Matriz, 27 - Centro Histórico - Paraty-RJ - CEP : 23.970-000
http://www.navegareart.com.br
aquarelasparaty@bol.com.br
(12) 3833-5870 - Ubatuba
(12) 3832-2966 - Ubatuba
(24) 3371-4103 - Paraty




terça-feira, 15 de abril de 2014

Encontro performático - lançamento do livro 'SincrétiKa' - Massimo Canevacci - SP

                       IEA USP

Edição 10 — 14 de abril de 2014




Issue 10 — April 14, 2014
O livro "SincrétiKa — Explorações  Etnográficas sobre Artes Contemporâneas" do antropólogoMassimo Canevacci, da Università degli Studi di Roma La Sapienza e professor visitante do IEA-USP, será lançado em encontro performático no dia 16 de abril, às 17 horas, na Tenda Cultural Ortega Y Gasset da USP. Na ocasião, a artista Néle Azevedo apresentará seu projeto de ação urbana "Mínimo Monumento".
The book "SincrétiKa - Ethnographic Explorations of Contemporary Arts", by Anthropologist Massimo Canevacci, from the Università degli Studi di Roma La Sapienza and a visiting professor at the IEA-USP, will be released during a performative meeting on April 16, at 17 am, at USP’s Tenda Cultural Ortega Y Gasset (an open space on campus). At the event, artist Néle Azevedo will present her project for urban action "Minimum Monument".


INSTITUTO DE ESTUDOS AVANÇADOS DA USP / INSTITUTE OF ADVANCED STUDIES OF USP — Diretor / Director: Martin Grossmann — Vice-Diretor / Vice-Director: Carlos Roberto Ferreira Brandão — Conselho Deliberativo /  Board: Carlos Roberto Ferreira Brandão, Ellen Gracie Northfleet, Guilherme Ary Plonski, João Palermo Neto, Martin Grossmann, Renato Janine Ribeiro, Roberto Mendonça Faria, Rudinei Toneto Jr., Sedi Hirano e Tomás Costa de Azevedo Marques    www.iea.usp.br  iea@usp.br — (+ 55 11) 3091-3922 — A SEGUIR / UP NEXT — Redatores / Editors:  Mauro Bellesa (MTb-SP 12.739) e Flávia Dourado — Tradutor / Translator: Richard Meckien — www.iea.usp.br/noticias/a-seguir — Para receber: envie mensagem para boletim-iea@usp.br / To subscribe: send a message toboletim-iea@usp.br — Para cancelar: escreva "Retirar" no "Assunto" da resposta / To unsubscribe: write "Remove" in the "Subject" of your answer

segunda-feira, 14 de abril de 2014

Treasures from Korea - Philadelphia Museum of Art - USA



Korea’s artistic treasures – and their links to China and Japan

Japanese art is well known to western audiences. Less so is the Korean art and culture from which much of it derived
In what are sometimes referred to as the “ceramic wars”, Toyotomi Hideyoshi, a Japanese warrior-general, launched two invasions of the Korean peninsula in the last decade of the 16th century. Although both attacks were eventually repelled, partly thanks to a famous victory won by the Korean naval commander Yi Sun-shin, the Japanese armies took thousands of captives, many of them lashed together with ropes, and hauled them back to Japan.
Among the most prized were potters. The Ri brothers were taken to the castle town of Hagi in western Japan where they began firing a new style of stoneware with a milky white glaze. Their descendants are still producing the same, prized style of pottery in Hagi today. Other kidnapped Korean potters were taken to Arita and Satsuma where they established centres of porcelain. As with Hagi, they remain among Japan’s most famous kilns to this day. Such were the brutal origins of some of the world’s most exquisite tableware.
A stunning exhibition at the Philadelphia Museum of Art, titled Treasures from Korea, featuring screens, ceramics, textiles, clothing, metal ware, paintings and furniture of the richest Korean homes, aims to redress the balance. Described as the most comprehensive collection of treasures from the Joseon period (1392-1910) ever displayed in the US, many of the exhibits have never left Korea before.
Much as in the 1970s and 1980s, when there was heightened interest in Japanese culture, so today there is a greater western appetite for art produced by Korea, whose economic miracle has only recently become widely known. If 20 years ago we wanted to know about the culture of Sony and bullet trains, today there is a desire to discover the country that produced Samsung and K-pop.
The exhibition, which will move on to museums in Los Angeles and Houston, focuses on the Joseon dynasty (sometimes written as Chosun), which spanned a line of 27 kings over 518 years. The dynasty overlapped virtually all of what in China were the Ming (1368-1644) and Qing (1644-1912) periods. During Joseon, Korea turned away from Buddhism and installed a form of neo-Confucianism, with an emphasis on family, hierarchy and civil service exams.
©National Museum of Korea, Seoul
Portrait of Yi Jai (late 18th century), artist unknown
Korea had been a tributary state of Ming China, but under Qing, China fell under the control of Manchu forces. In some ways, the Korean peninsula, for long periods locked into an isolation that gave rise to its designation as the “Hermit Kingdom”, became the purest expression of a Chinese Confucian culture that was now shifting under Manchu influence. The complex artistic links between China, Korea and Japan are fraught with a historical tension that resonates all-too powerfully today. “They are inseparable. We all understand that Korea, China and Japan – the best of friends and the best of enemies – share so much culture,” says Hyunsoo Woo, the exhibition’s curator.
The art on display in Philadelphia is spot-lit to perfection and displayed in sufficient space to allow the visitor to concentrate on each exhibit in isolation. Many come from palace interiors. Among the most beautiful are several silk-painted screens in dark yet vibrant colours. One called “Sun, Moon, and Five Peaks”, a stylised but gorgeous representation of earth, sea, sky and forest, depicts a symmetrical and ordered view of nature in deep blues, greens and reds. Two discs, one red, one white, representing the sun and the moon, hang in suspended animation above mountains whose waterfalls crash down into a symmetrically tumultuous sea. The painting would have been displayed behind the king’s throne from where it conferred the mandate of heaven upon the royal personage, proof that nature itself stood in awe of his authority.
Another, “Ten Longevity Symbols”, painted on a hinged, 10-panel screen that is 8ft high and 19ft wide, shows a mountainous scene scattered with deer, cranes, magical mushrooms, bamboo, pine and other symbols of long life. A subtle, and itself rather beautiful, liquid-screen display (how very Samsung!) allows visitors to select parts of the painting and learn more about the individual symbols.
Another clever use of technology accompanies one of the exhibition’s highlights, the book of “Royal Protocols”, which is crammed with hundreds of tiny painted figures illustrating the exact procedures for the ceremonies of state: weddings, coronations and funerals. A virtual book allows visitors to flick through the pages not on display. When I was there, two small boys were fighting over who would turn from one 18th-century Korean procession to another.
They are inseparable. We all understand that Korea, China and Japan – the best of friends and the best of enemies – share so much culture
Some of the ceramics are breathtaking. A “Moon Jar”, named for its resemblance to a full moon, has the milky white quality so prized by Japanese invaders. Produced in two halves, one can just make out the delicate join that gives the shape a pleasing, naturalistic imperfection. “Bottle with Rope Design” is a 16th-century porcelain vase with a narrow neck, painted with an almost provocatively jaunty brown lasso that contrasts with much of the exhibition’s austere formality. A third, and perhaps the most exquisite, is an off-white jar decorated by a court painter in lovely brown brushwork with bamboo and plum.
Under Joseon, the status of women was diminished. The exhibition recreates separate living quarters, where the men practised calligraphy and the women embroidery. In the men’s section is a display of wooden furniture, including an elongated four-tiered stand open on all sides, the better to display high-quality ceramics. There is also a section dedicated to the accoutrements of calligraphy, collectively known as the “Four Friends of Study”, namely inkstones, brushes, paper and ink sticks. The women’s quarters include a pedestal table with a single leg, like the gnarled trunk of a tree, and a lotus-leaf top inlaid with mother of pearl. There are ornamental hairpins, one decorated with a dragon’s head, and a scarlet silk spectacle case, designed to be hung from the waist.
Although Buddhism was officially suppressed during the Joseon period, the religion continued to coexist with the prevailing ideology. Even some monarchs followed it. The largest item in the exhibition is a Buddhist banner painting, 40ft by 25ft, only 80 of which have survived. The one on display has been designated a national treasure. Painted on hemp, the banner was produced by monks to celebrate the rebirth of those who had died repelling Japanese invaders and Manchu aggressors from the north. Ms Woo says the form is unique to Korea. The banner, depicting the Buddha and his disciples, was used in an outdoor ceremony to send the souls of the dead to heaven.
The end of the exhibition features the aftermath of the Joseon period when the Korean king designated himself an emperor. In 1892, the US forced open the isolated country via an unequal port treaty. Paintings begin to depict clocks and other symbols of the modern world. There are even some delicate handblown lightbulb covers shaped like lotus buds.
The final item in the exhibition is a portrait, painted on a hanging silk scroll, of Yi U, grandson of the emperor. By the time Yi was born, Korea had become a colony of Japan. He was sent to Japan where he was inculcated in Japanese culture, part of Tokyo’s effort to assimilate the Joseon royal family. Like other members of the Japanese imperial family, Yi was inducted into the military. In 1945, he was transferred to Hiroshima where he perished when the city was incinerated by an atomic bomb.
‘Treasures from Korea’ will run at the Philadelphia Museum of Art until May 26; philamuseum.org
David Pilling is the FT’s Asia editor and author of ‘Bending Adversity: Japan and the Art of Survival’, published by Allen Lane/Penguin, £20