Stasys Museum’s Post

HOJE /// TODAY >>> 16h <> 20h >>> Felix Vong | NATARAZ 15 August – 22 September 2024 "𝐴𝑟𝑡𝑖𝑠𝑡-𝑟𝑢𝑛 𝑠𝑝𝑎𝑐𝑒𝑠 𝑓𝑖𝑡 𝑎𝑙𝑙 𝑘𝑖𝑛𝑑𝑠 𝑜𝑓 𝑚𝑜𝑑𝑒𝑙𝑠. 𝑇ℎ𝑒𝑦 𝑎𝑟𝑒 𝑡𝑒𝑠𝑡𝑖𝑛𝑔 𝑔𝑟𝑜𝑢𝑛𝑑𝑠 𝑎𝑛𝑑 𝑠𝑝𝑟𝑖𝑛𝑔𝑏𝑜𝑎𝑟𝑑𝑠 𝑡𝑜 𝑡ℎ𝑒 𝑐𝑜𝑚𝑚𝑒𝑟𝑐𝑖𝑎𝑙 𝑎𝑟𝑡 𝑤𝑜𝑟𝑙𝑑, 𝑖𝑛𝑡𝑖𝑚𝑎𝑡𝑒 𝑔𝑎𝑡ℎ𝑒𝑟𝑖𝑛𝑔𝑠 𝑖𝑛 𝑎𝑝𝑎𝑟𝑡𝑚𝑒𝑛𝑡𝑠, 𝑎𝑛𝑑 𝑝𝑙𝑎𝑐𝑒𝑠 𝑓𝑜𝑟 𝑟𝑒𝑎𝑑𝑖𝑛𝑔 𝑔𝑟𝑜𝑢𝑝𝑠 𝑎𝑛𝑑 𝑠ℎ𝑎𝑟𝑒𝑑 𝑚𝑒𝑎𝑙𝑠. 𝑇ℎ𝑒𝑦 𝑎𝑟𝑒 𝑙𝑖𝑡𝑡𝑙𝑒 𝑝𝑜𝑐𝑘𝑒𝑡𝑠 𝑜𝑓 𝑎𝑐𝑡𝑖𝑣𝑖𝑡𝑦 𝑡ℎ𝑎𝑡 𝑠𝑒𝑟𝑣𝑒 𝑝𝑎𝑟𝑡𝑖𝑐𝑢𝑙𝑎𝑟 𝑎𝑢𝑑𝑖𝑒𝑛𝑐𝑒𝑠 𝑎𝑡 𝑝𝑎𝑟𝑡𝑖𝑐𝑢𝑙𝑎𝑟 𝑡𝑖𝑚𝑒𝑠, 𝑓𝑖𝑙𝑙𝑖𝑛𝑔 𝑔𝑎𝑝𝑠 𝑎𝑛𝑑 ℎ𝑜𝑙𝑒𝑠 𝑓𝑜𝑟 𝑎𝑙𝑙 𝑡ℎ𝑎𝑡 𝑡ℎ𝑒 𝑎𝑟𝑡-𝑤𝑜𝑟𝑙𝑑 𝑓𝑎𝑖𝑙𝑠 𝑡𝑜 𝑝𝑟𝑜𝑣𝑖𝑑𝑒." «Making-do: a pragmatist approach», from «Artist-run Chicago Digest», threewalls/Green Lantern press (2009) "𝐼 𝑐𝑙𝑎𝑖𝑚𝑒𝑑 𝑡ℎ𝑒 𝑠𝑝𝑎𝑐𝑒 𝑎𝑛𝑑 𝑝𝑟𝑒𝑠𝑒𝑛𝑡𝑒𝑑 𝑖𝑡 𝑎𝑠 𝑎 𝑤𝑜𝑟𝑘 𝑜𝑓 𝑎𝑟𝑡. 𝐼𝑡 𝑤𝑎𝑠 𝑎 𝑟𝑒𝑎𝑑𝑦𝑚𝑎𝑑𝑒 𝑖𝑛𝑠𝑡𝑎𝑙𝑙𝑎𝑡𝑖𝑜𝑛, 𝑎 𝑝𝑖𝑒𝑐𝑒 𝑜𝑓 𝑟𝑒𝑎𝑙 𝑙𝑖𝑓𝑒 𝑡ℎ𝑎𝑡 𝑏𝑒𝑐𝑎𝑚𝑒 𝑎𝑟𝑡 𝑖𝑛 𝑡ℎ𝑒 𝑐𝑜𝑛𝑡𝑒𝑥𝑡 𝑜𝑓 𝑎𝑛 𝑎𝑟𝑡 𝑚𝑢𝑠𝑒𝑢𝑚." «Tom Marioni, Museum of Conceptual Art (MOCA)» by Gabriele Detterer & Maurizio Nannucci, from «Artist-Run Spaces», JRP Editions (2012) We are thrilled to present NATARAZ, the first solo exhibition of Felix Vong in Portugal. In recent years, he has developed a path of citing and ironically imitating not only the artwork of national and international artists, but also the main entities and actors that compose the art system. In this sense, last year he perpetuated a series of artistic operations: he create a public simulation of an 𝑎𝑟𝑡𝑖𝑠𝑡'𝑠 𝑠𝑡𝑢𝑑𝑖𝑜 in the group show “Adjuntamento Cultural Olisiponense”, curated by João Viotti; he presented his first solo show in Macau, which consisted in the recreation of an 𝑎𝑟𝑡 𝑚𝑢𝑠𝑒𝑢𝑚 ; he created a fake 𝑎𝑟𝑡 𝑓𝑎𝑖𝑟 titled “Drowning Room”, imitating the more known “Drawing Room” in Lisbon. Conceptually to continue this act, this exhibition is referred to as a simulation of an 𝑎𝑟𝑡𝑖𝑠𝑡-𝑟𝑢𝑛 𝑠𝑝𝑎𝑐𝑒 - Zaratan. The name of Zaratan is based on an imaginary animal: a huge sea turtle floating above the ocean and being asleep, from time to time other beings confused this creature for an island in the middle of the sea. Humans and animals started to live there, to build their home, to hunt, to create a society, and so on. At the verge of welcoming the tenth years of its existence in Lisbon, Zaratan meets its reverse spelling NATARAZ, which is also an imaginary animal, its sister (or brother), who only appears every 10 years walking backward to reflect and retrospectively explore the passage of time. OPEN | Thu-Sun, 16:00-20:00 GUIDED TOUR | 7 September, 17:00 SUPPORT | República Portuguesa – Cultura / Direção-Geral das Artes

Two Roads In essence, there are two ways to approach the art scene. The first, and most common, is to learn how it works, understand the rules, and then try to get the best out of it. You might find a small studio in the neighborhood with like-minded people, start meeting in a bar, and after some time, have your first group show in an alternative space. If you're lucky, an art dealer passing by might notice your work and invite you to a group show in their gallery. If collectors respond positively, you become a gallery artist, and soon after, you might have an individual exhibition. Then, a curator from an important museum might include your work in a thematic exhibition, which could catch the eye of a selector for a major international event like the Venice Biennale. By then, you're already a well-known artist with a promising career ahead of you. The second approach, which is less common, also involves understanding how the system works—but with a different question in mind: Why? Why do exhibitions exist? Where did galleries and museums originate? How and when was art itself "invented"? Taking this road, you would discover that museums originated from Pope Julius II’s Belvedere Garden in the Vatican, where he presented his collection of antiquities as beautiful or aesthetic objects. The first permanent display of paintings was at the Uffizi Gallery, and the first temporary exhibition was held by the Académie Royale in Paris, which became a regular event known as the Salon. The first modern museum was the Louvre, where ancient statues (antiquity) and modern paintings (modernity) were brought together under one roof. Then came the 19th-century International Exhibitions, which were structured by "national schools"—a concept that also shaped the structure of museums and art history. This evolved into the Museum of Modern Art's focus on "international movements" (e.g., Cubism and Abstract Art), which dominated throughout the 20th century. Today, however, all of this seems to be losing relevance, and soon we may be left without a unifying story, without a common narrative—hopefully, for not too long... #art #artgallery #artmuseum #arthistory #moma #biennale3h

Supporting global cultural, arts, and creative movements can have a profound impact on societies and individuals. Here are some ways to support these movements: 1. Financial Support and Sponsorships    - Donations and Grants: Contribute to organisations and foundations that support artists, cultural projects, and creative initiatives globally.    - Crowdfunding: Participate in crowdfunding campaigns for artistic and cultural projects. 2. Promotion and Advocacy    - Social Media: Share and promote artists’ work and cultural events on social media platforms.    - Networking: Connect artists with potential collaborators, sponsors, or audiences. 3. Educational Initiatives    - Workshops and Classes: Support or organise workshops and classes that teach various art forms and cultural practices.    - Cultural Exchange Programmes: Facilitate or participate in cultural exchange programmes to foster mutual understanding and appreciation. 4. Attending and Participating    - Events and Exhibitions: Attend art exhibitions, cultural festivals, theatre performances, and music concerts.    - Workshops and Classes: Engage in workshops and classes to learn about different cultures and art forms. 5. Creating Inclusive Spaces    - Cultural Centre: Support the establishment and maintenance of cultural centres and art spaces where artists can create and exhibit their work.    - Residency Programmes: Fund or participate in artiste residency programmes that provide artistes with the space and resources they need to create. 6. Buying and Commissioning Art    - Purchasing Art: Buy art directly from artists or through galleries that support emerging artists.    - Commissioning Work: Commission artists to create unique pieces for personal or public spaces. 7. Policy and Advocacy    - Lobbying: Advocate for policies that support funding for the arts and cultural initiatives.    - Public Awareness Campaigns: Raise awareness about the importance of cultural and creative industries. 8. Volunteering and Community Engagement    - Volunteer Work: Offer your time and skills to help organise and run cultural events.    - Community Projects: Engage in community-based cultural projects that bring people together through art. 9. Supporting Digital Platforms    - Online Platforms: Support and subscribe to digital platforms that showcase and sell art, music, and other creative works.    - Virtual Events: Participate in and promote virtual cultural events and exhibitions. By taking these steps, individuals and organisations can contribute significantly to the vitality and sustainability of global cultural, arts, and creative movements.

RIANA RAOUNA Gallery is excited to announce the first solo exhibition of MATETE MARTINI in Cyprus titled “HUG EACH OTHER AGAIN”. The exhibition will take place from 23 May until 5 June, at 276 Ermou Street in Nicosia. The exhibition debuts a new group of paintings on canvas, photographs, and drawings on paper, in which the physical and emotional need for intimacy is explored through the symbol of the hug. The embrace is examined as a vehicle with which we accept and understand each other, but also as a means of understanding ourselves. The conceptual core of “HUG EACH OTHER AGAIN” is based on the doctrine of French philosopher Maurice Merlau-Ponty, which suggests that the body should be regarded  not as a mere biological or physical unit, but as the body that structures one’s situation and experience within the world. Matete Martini explores anatomy and skin; the relationship between the brain, the touch and emotion and reflects upon the primitive, profound gesture of the embrace through confident brushstrokes, fast lines, spray on canvas and deeply emotional photographic works. “HUG EACH OTHER AGAIN” also addresses the fragile notion of “home” which involves a complex set of tensions related to the possibility of making oneself feel safe and protected in contemporary society. The fact that the exhibition takes place in Nicosia, the only divided European capital, has particular significance; it tackles the symbolic lack of the embrace which creates a barrier that separates self and other, challenging viewers to reflect upon the need for acceptance and togetherness between people living within the same territory. For more information, please contact +357 22 462888, info@rianaraouna.com or visit www.rianaraouna.com. #matetemartini #hugeachotheragain #Hug #artexhibition #rianaraounagallery #contemporaryart #nicosia

From the article: "“Institutions often perceive odors emitted from facilities as unnecessary information, and perhaps even as undesirable pollution. However, from now on, visitors will be able to explore the smell of historic objects in a completely new and little-explored way. This project is truly groundbreaking," Elżbieta Zygier, Chief Conservator of the National Museum in Kraków, says. Developed through chemical analysis, the pen attempts to replicate how the object itself would have once smelt. ... Part of the Odotheka project, the world's first library of scents of historic objects, Sawoszczuk's team are working in collaboration with colleagues at the ­Ljubljana University and Slovenian national museum to recreate the scents of nine other objects of great importance to Polish and Slovenian heritage. ... For decades, arts venues have contemplated ways to make the experience of viewing something more engaging through multi-sensory techniques. ... "We [the research team] were joking that it's near 4K sightseeing now, so you not only use your eyes to see the objects, not only use your ears with the audio guide, not only use your touch because, outside of the showcase of 'Lady with an Ermine', there is the 3D copy of it, so you can touch the copy," Sawoszczuk says. All of this, along with scents, hopefully creates a genuinely immersive experience that enhances our understanding and emotional response to what we're viewing. More importantly, the addition of tailored smells could greatly improve gallery and museum experiences for those that are blind or partially sighted, helping them to feel more connected to historical objects. "One of the big parts of this project is surveying the emotions of people after the exhibition. We will also do the same with blind people and ask them if this way of sightseeing with the smell is for them attractive, and how it influences their emotions about the exhibition itself. This is what we want to gather," Sawoszczuk says." #mediapsychology #transmedia #accessibility #museum #innovation #storytelling #archaeology Jean-Pierre Isbouts Krishna Stott Christy Dena Geoffrey Long Kerry Opel, Ph.D., ABC-CC

ANNOUNCING GAZA BIENNALE 2024-2025 Deir Al Balah, Gaza, November 20, 2024 – "In April 2024 artists from Gaza began to gather together under a single project, to find ways to utilize art to resist this genocide. Many artists in Gaza have been working throughout this war, defying all challenges, creating works that remind us that art is essential to life and our survival as a species. A collective project has emerged into a global art event, the Gaza Biennale. The significance of this project lies in its ability to place art at the forefront of a global awakening, to challenge the art field to reckon with the weight of genocide, and to present a model of resilience, and fulfill a desperate need to recognize the depth and complexity of human life. The right of a people to exist with dignity on their land is fundamental to the purpose of art itself. The work we present goes beyond breaking news, media coverage, and statistics. Despite the sorrow and pain brought by the circumstances, and amid the scent of death, artists in Gaza plant seeds of hope for humanity, not only in Gaza but across the world, through creativity and innovation. The Gaza Biennale marks a creative step outside the traditional frameworks of exhibitions. It reflects the sensitivity and specificity of our situation, making it an urgent and exceptional event. At the heart of the artistic purpose is the struggle of a people to survive. The Gaza Biennale is a collective event, a growing network, and perhaps a movement. While war has scattered and displaced our people, the biennale gathers over 40 artists on a single platform, uniting their voices. Emerging from deep roots, this Biennale extends an open invitation to local and international institutions to host and produce these exhibitions and to work with us as partners. We offer a unique opportunity to art institutions to exhibit invaluable works that reflect the need for creativity in the darkest of times. Can the art world turn its attention to the reality of Gaza today? Should Gaza’s artists create art under the weight of genocide? Will the art world honor this work rather than exploit it? These are the questions this project contends with.  This biennale proposes new rules of engagement within the context of art. The stakes are too high to wait for the appraisal from some established framework. At the same time, we are witnessing the failure of institutional frameworks to prevent the desecration of human life. So, from these cracks, each artwork exists despite the impossible reality from which it is born, as its material forms emerge in its defiance. With the near total destruction of artworks, monuments, museums, mosques, churches, and cultural heritage sites, how can we reclaim what is lost? There is much to accomplish, and this biennale is only the beginning, as Gaza will continue to begin again and again, just as humanity and art is a perpetual rebirth".   https://lnkd.in/dAy4kwFs

Read this and more articles on current art #exhibitions in top European #Museums on lot-art.com (Art News section)

★ Mika's Recommended Exhibition in Korea The upcoming exhibitions in Korea invite us to look within, aiding us in the journey of self-discovery and understanding our true existence. These exhibitions aim to stimulate the senses of art enthusiasts and awaken their sensibilities, becoming a small beacon of light on the path to finding one's true self. Explore these themes further in my full column below [한 눈에 갤러리] 빛과 그림자: 나만의 여정 < 문화 < 칼럼/에세이 < 기사본문 - 더칼럼니스트 (thecolumnist.kr) <Yoo Youngkuk: Visible Storage> Yoo Youngkuk (劉永國, 1916-2002) is celebrated as a first-generation Korean Western-style painter and a pioneer of Korean abstract art. Born in Uljin, Gyeongbuk, he left Kyungsung Second High School early and moved to Japan in 1935 to pursue serious art studies at the Tokyo Bunka Gakuin. Interacting with contemporaries such as Kim Whanki, Chang Ucchin, and Lee Jung-seob, he chose the path of 'abstraction,' the most avant-garde art movement of the time. Yu actively participated in progressive art groups like the Independent Art Association and the Free Artists Association. After returning to Korea, he became a professor at Seoul National University's Art Department and founded the New Realist Group, Korea's first abstract art organization, thus opening new horizons for Korean abstract art. Yoo Youngkuk's works are characterized by their vibrant colors and restrained abstract forms, often depicting the natural landscapes of Korea, especially its mountains and seas. His renowned "Mountain" series captures the beauty of Korean nature in a powerful and abstract manner, leaving a profound impression on viewers. In this exhibition, his "Mountain" series is displayed inside glass cases, allowing visitors to sit and appreciate the paintings while brief explanations are repeatedly provided on screens. This exhibition holds great significance for art enthusiasts interested in Korean abstract art, particularly those who wish to delve deeper into Yu Youngkuk's artistic world. It also offers fresh inspiration to viewers looking to see Korean nature through his intense colors and abstract forms. Moreover, the unique concept of 'visible storage' will appeal to visitors interested in experiencing both the storage and display of artworks simultaneously. Exhibition Period: April 30, 2024 (Tue) - September 8, 2024 (Sun) Venue: National Museum of Modern and Contemporary Art, Cheongju, 314 Sangdang-ro, Cheongwon-gu, Cheongju, Chungcheongbuk-do

🎨 𝗛𝗼𝘄 𝗜 𝗧𝗿𝗶𝗲𝗱 𝘁𝗼 𝗙𝗶𝗻𝗱 𝗔𝗿𝘁 𝗘𝘅𝗵𝗶𝗯𝗶𝘁𝗶𝗼𝗻𝘀 𝗶𝗻 𝗧𝗯𝗶𝗹𝗶𝘀𝗶 (𝗔𝗻𝗱 𝗪𝗵𝗮𝘁 𝗜 𝗟𝗲𝗮𝗿𝗻𝗲𝗱) I love art, especially contemporary art, and visiting exhibitions is one of my favorite hobbies. Living in Tbilisi, with its many galleries and museums, you’d think it’d be easy to find exhibitions. But announcements are often buried in single Instagram or Facebook posts—which I might not even see. So, I tested 𝗖𝗵𝗮𝘁𝗚𝗣𝗧, 𝗣𝗲𝗿𝗽𝗹𝗲𝘅𝗶𝘁𝘆, 𝗚𝗲𝗺𝗶𝗻𝗶, 𝗚𝗼𝗼𝗴𝗹𝗲 𝗦𝗲𝗮𝗿𝗰𝗵, and 𝗕𝗶𝗻𝗴 with the query: “art exhibitions in Tbilisi Georgia this weekend” Here’s what I found: 1️⃣ #𝗖𝗵𝗮𝘁𝗚𝗣𝗧 It suggested 4 exhibitions at the Dimitri Shevardnadze Georgian National Gallery from the state website art(.)gov(.)ge. True to its reputation, SearchGPT prioritized trusted sources! But it ignored exhibitions at other locations listed on the same site, as well as the rest of the vibrant art scene in Tbilisi. 2️⃣ #𝗣𝗲𝗿𝗽𝗹𝗲𝘅𝗶𝘁𝘆 Pulled several venues from a Madloba listing, including one recommendation to “enjoy art while sipping on Georgian wine” 🤨. It did mention two exhibitions, but they were from Tbilisi Art Fair that ended back in April 2024. To be fair, the confusing date format on the festival’s website could mislead anyone. 3️⃣ #𝗚𝗲𝗺𝗶𝗻𝗶 Gemini basically said, “Do it yourself!” with suggestions like: “Check local gallery websites and social media.” It felt like being politely told off. 4️⃣ #𝗚𝗼𝗼𝗴𝗹𝗲 𝗦𝗲𝗮𝗿𝗰𝗵 The first result was art(.)gov(.)ge’s list of upcoming exhibitions, followed by links to museum websites and local venue listings. Solid, but uninspired. 5️⃣ #𝗕𝗶𝗻𝗴 Led with a Tripadvisor article: “THE 10 BEST Tbilisi Art Museums Updated 2024.” It also showed a preview map of top museums, plus art(.)gov(.)ge and Tbilisi Art Fair links. 👀 𝗪𝗵𝗮𝘁’𝘀 𝗠𝗶𝘀𝘀𝗶𝗻𝗴? None of these tools listed smaller, incredible local galleries like 𝗔𝗿𝘁𝗕𝗲𝗮𝘁, where the exhibition Field for Prey is currently running. For example, when I asked about ArtBeat: • 𝗖𝗵𝗮𝘁𝗚𝗣𝗧 claimed the exhibition ended on October 25 (false!). • 𝗣𝗲𝗿𝗽𝗹𝗲𝘅𝗶𝘁𝘆 said the gallery is hosting Tamo Jugeli - Random Order, which actually took place in 2022! • 𝗚𝗲𝗺𝗶𝗻𝗶 just directed me to ArtBeat’s website. 👉 Galleries need a constantly updated website with clear exhibition announcements (structured data will be great!). 👉 Relying solely on social media for promotion isn’t enough. Events should also be listed on trusted platforms and authoritative websites. This applies not only to galleries but to all local businesses. A few years ago, websites seemed obsolete in the age of social media. Now, with LLMs like these shaping how people find information, 𝘄𝗲𝗯𝘀𝗶𝘁𝗲𝘀 𝗮𝗿𝗲 𝗺𝗼𝗿𝗲 𝗶𝗺𝗽𝗼𝗿𝘁𝗮𝗻𝘁 𝘁𝗵𝗮𝗻 𝗲𝘃𝗲𝗿. Funny how things have come full circle, isn’t it? #SEO #LocalSEO #DigitalMarketing

Please read my article about three hidden gem museums in the Marais https://lnkd.in/eNWHVFSe