Our Annual Conference brings together international research and critical debate about art, art history and visual cultures. This key annual event is an opportunity to keep up to date with new research, hear leading keynotes, broaden networks and exchange ideas.
The cultural scene in the United Arab Emirates (UAE) has witnessed a dramatic shift over the past few decades, marked by rapid development of art initiatives, institutions, auction houses, galleries, and creative hubs. The country’s annual art fair, biennale, and a number of large-scale international partnerships have also garnered it global recognition. However, amidst this very fast progress, an important question arises in regards to the art scene’s connection to local communities and audiences, and its critical acknowledgement and representation of earlier artistic histories within the Emirates and the region. Have some of these art initiatives developed in relative isolation from the public and bypassed their needs and realities, catering instead to a select smaller audience? It is also important to consider, in the context of these rapid and ongoing developments, the longer histories of artistic practices in the region and cultivate a study and recognition of possible continuities, rather than only focus on building anew. This presentation will question the trajectory of the UAE’s cultural development, and address possible tactics of making its art sector more accessible and inclusive. via
Cultural venues are introducing a huge range of distancing and hygiene measures – from managing visitor routes and extending opening hours to installing screens and new ventilation systems. While it is often national governments determining the rules, cities have a vital role to play in interpreting the regulations, and providing guidance for their local context and needs of the sector. The Cities of Vienna and Los Angeles have worked directly with public health departments to launch guidelines for cultural venues with extensive sector consultation. via
The calligraphed Photo does not refer to photographs, but rather to photo in its Latin meaning of light. The Spanish painter’s works ask for an active contribution of the viewer, who is called on to complete the meaning of the canvas and work out why blue is the color of dreams and how the two elements relate to one another. The relationship between color and symbolism is strong in Miró’s oeuvre, who also worked with color field painting, in which the color itself becomes the subject of the artwork. via
Despite the fact that the trade in large Richter abstracts has slowed down a bit, the overall market is still going strong, albeit at a lower level, numerous auction experts and advisors said.
At Phillips’s recent major summer auction, a picture titled Abstraktes Bild (801-3) (1994) hammered at just over $3 million, a hair above its high estimate. (With fees, it went for $3.7 million.)
Since the sale, there have been two more private Richter sales for similar works and at similar prices, says Jean-Paul Engelen, Phillips’s deputy chairman.
But in the past, when demand has risen and driven up estimates, activity has intensified. “Then you hit the point where it breaks, and you have to restart about 20 percent lower. Now it feels very solid again,” Engelen says. via
A cultural architecture design, Snøhetta was winner of the Busan Opera House Competition in 2012.
The elements of heaven, earth and water make up the layout of the attraction, with these meeting areas surfacing and touching. Using soft wrapping, the skin of the building is protection to the foyer, which is laid against panels of glass and marble.
Recently MNPG Emerge talked with co-founder, Lisa Harouni of Digital Forming, “a 3D software house that is revolutionizing product customization.” First a video introducing the company and then to the interview. Enjoy!
Can you please talk about your background as a designer?
I am not a designer. I started my career at Deutsche Bank in the Global Economics team, then left to start my own fashion distribution company which I was involved in for 5 year. I founded and now run Digital Forming, which was established 3 years ago with 3 partners: Assa Ashuach, Dr Siavash Mahdavi and Nicolas de Cordes. If you would like a designer’s perspective, Assa is the one to speak to!
What kind of 3D printing does your platform offer?
We offer access to every kind, from Laser Sintering in plastics and metals (precious and semi precious included), to processes that allow for additive production in materials such as ceramics, resins, and chocolate.
How is Digital Forming different then other rapid prototyping businesses?
We are one of the first UK companies to offer software solutions for Additive Manufacturing machines. Our focus is to offer businesses and designers tools to allow them to exploit Additive Manufacturing for the mass customisation of lifestyle products, using the technology for direct production as opposed to prototyping.
What has been your favorite thing to work on in recent months?
Our soon-to-launch co-design platform that will allow businesses and designers to create customisable products over the web without needing a development team, and in turn, invite their customers to tweak / personalise these virtual products and produce them on-demand at the click of a button. Visit: www.ucodo.com
The site will be changing in March to something very exciting!! Stay tuned!
Is there any new aspect of this industry that you would like to be a part of?
Getting more 3D printers (and associated tools) in schools and universities.
When do you think there will be a 3D printer in everyone’s home?
I think we are some way away from that. First, I envisage local 3D print shops around the corner!
How would you encourage printers making the transition from hobbyist to professional?
It’s all about the quality of production and freedom of design.
What is your favorite part of working with objects?
Seeing an idea born and brought to life in a number of hours!
Established in 1895, the Venice Biennale continues to be one of the most respected cultural institutions. Initially launched as an International Art Exhibition, the Biennale eventually expanded into other areas such as music, cinema, theatre, architecture, and dance.
The Architecture Exhibition, one that I follow closely, was launched in 1980. It is one of the most important event on the architectural calendar. This year, David Chipperfield was appointed as the Director and Curator for the Architecture Exhibition. The exhibition titled Common Ground will present 69 projects, with participants from the likes of Toyo Ito (Awarded Best Pavilion 2012 for his Japan Pavilion shown in the image above).
David Chipperfield speaks about Common Ground:
“We began by asking a limited group of architects to develop ideas that might lead to further invitations: everyone was asked to propose a project along with a dialogue that reacted to the theme and showed architecture in its context of influence and affinity, history and language, city and culture.
We want to emphasise the common ground that the profession shares, notwithstanding the apparent diversity of today’s architectural production. The sharing of differences is critical to the idea of an architectural culture.”
The twelfth commission for the annual summer Pavilion at Serpentine Gallery in London (June 1st – October 14th, 2012) is designed by Herzog & de Meuron and Ai Weiwei. For the first time, the entire interior is made of cork and can hold up to 200 people. Above the Pavilion’s round steel roof lays a thin layer of water (25mm) that reflects the surroundings and the changes in the skyline.
The design is a response to the previous pavilions like from Frank Gehry and SANAA. This year, the architects and artist gave a new life to the past memories of former pavilions, by constructing on site and utilizing ghosts of each pavilion to form what is there today. Each pavilion from year 2000 to 2012 is given a column within the space of the pavilion, with each post extruding out of the foundation and the twelfth column as a part of this commission.