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🎨 𝐃𝐨 𝐲𝐨𝐮 𝐛𝐞𝐥𝐢𝐞𝐯𝐞 𝐢𝐧 𝐚𝐫𝐭 𝐚𝐬 𝐚 𝐩𝐨𝐰𝐞𝐫𝐟𝐮𝐥 𝐦𝐞𝐝𝐢𝐮𝐦 𝐟𝐨𝐫 𝐫𝐚𝐢𝐬𝐢𝐧𝐠 𝐚𝐰𝐚𝐫𝐞𝐧𝐞𝐬𝐬 𝐚𝐧𝐝 𝐝𝐫𝐢𝐯𝐢𝐧𝐠 𝐬𝐨𝐜𝐢𝐚𝐥 𝐜𝐡𝐚𝐧𝐠𝐞? I truly believe that art, especially public art, plays a crucial role in engaging communities and encouraging positive action. During my recent visit to Paris, I checked several exhibitions that reaffirmed this belief. 🌳 From the gigantic participative installation 𝒮𝓎𝓂𝒻𝑜𝓁𝒾𝒶 by Rachel Marks who invited thousands of youth to celebrate the diversity of the world 🎸 To 𝑀é𝓉𝒶𝓁 exhibition powerful display of how music reflect societal issues and always took part in protest movements 💫 To the inclusive sculpture 𝒩𝑒𝓈𝓉 𝐼𝐼𝐼 evoking both diversity and unity of humanity by #JaumePlensa at Espace Monte-Cristo 💬 To Centre Pompidou exploring how comics are a medium to critisize society with humour or a "what if" imaginarium 🎡 To 59 RIVOLI where accessibility to art is at the heart of the concept and you can meet artists in their studio 👩🎨 Where the artist Sandra Cheres making affordable art with positive messages made of upcycled materials 🎈 To 𝒲𝐸 𝒜𝑅𝐸 𝐻𝐸𝑅𝐸 exhibition where street artists took over the Petit Palais - attracting a diverse audience among the historical artworks. These exhibitions comforted my belief that art has always been a tool for all to express their voices. Public art should be more prevalent in our spaces, serving as a 𝐜𝐚𝐭𝐚𝐥𝐲𝐬𝐭 𝐟𝐨𝐫 𝐜𝐨𝐧𝐯𝐞𝐫𝐬𝐚𝐭𝐢𝐨𝐧 𝐚𝐧𝐝 𝐞𝐧𝐠𝐚𝐠𝐞𝐦𝐞𝐧𝐭. As #ShepardFairey claims on Paris' Walls: "𝐓𝐡𝐞 𝐟𝐮𝐭𝐮𝐫𝐞 𝐢𝐬 𝐮𝐧𝐰𝐫𝐢𝐭𝐭𝐞𝐧". Art has the power to awaken a sense of community and responsibility, driving us towards a more engaged and aware society. 🎇 𝐖𝐡𝐞𝐧 𝐰𝐚𝐬 𝐭𝐡𝐞 𝐥𝐚𝐬𝐭 𝐭𝐢𝐦𝐞 𝐚𝐧 𝐞𝐱𝐡𝐢𝐛𝐢𝐭𝐢𝐨𝐧 𝐨𝐫 𝐚𝐧 𝐚𝐫𝐭𝐰𝐨𝐫𝐤 𝐫𝐞𝐬𝐨𝐧𝐚𝐭𝐞𝐝 𝐰𝐢𝐭𝐡 𝐲𝐨𝐮? #ArtForChange #PublicArt #PowerofArt #ArtConnection

The annual report of Asortymentna kimnata 2023 is out and in the first link. 16 exhibitions with over 152 exhibition days featuring works by 114 artists. 4 art books and 3 art residencies. Several transport missions of Ukrainian contemporary art to Europe and 2 exhibitions abroad. One School of Contemporary Art and one tailor made program for the artists affiliated with southern regions of Ukraine as well as for more connections between south in west inside the country. One important remark - in 2023 we were not evacuating any new art pieces, but we taking care for those which are staying in our shelter since 2022. From almost 1000 evacuated pieces we’ve got one third still in our shelter — those are mostly the pieces which do not have a place to come back. In 2023 we’ve also started to restore some of those pieces. Since spring 2023 we do not have external funding for the costs, connected with shelter, security and restoration. This is being financed from the own costs of the organization and/or from some smaller rests of overheads for other programs. We are still understuffed and lacking resources for institutional sustainability. But we are working on it and doing our best with what we have and where we are.

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Thrilled to be part of this upcoming exhibition with these artists at RK Contemporary, South Africa THE DISTANCE BETWEEN There are small places in this world where artists have settled, finding where the spaces between living and creating transform into, in this case, visual artworks. Places where creatives (artists, musicians, poets, chefs and other artisans) are fortunate to be enveloped by calm and appealing environs that are conducive to creativity. With some 120 kilometres between them, covering varied landscapes from the coast moving inland, Riebeek Kasteel and Kommetjie are two such places connected by a metaphoric creative heartbeat. In describing the physicality of these two lovely places, we cannot ignore the spiritual power of the natural world, described by some as a thin place, which is where the veil between the physical and spiritual world becomes permeable and where our perspectives of the world could develop differently. Because of these beautiful places, and an idea of this aesthetic being ‘perfect’, it has to raise awareness of the opposite also being present – a place where there is so much struggle, where life is lived on the edges. However, the sense of being in a thin place can attest to the healing power of the natural world, where one could move into an in-between place, with possibility. This exhibition is a result of a concentration of people who make art, distilling an essence of where they live, continually inspired to develop their work and are also lucky enough to form their own closely knit community within Kommetjie.

#contenporaryart #ZERO #sonicart #soundart #radio #deventer #museum #eicas From February 4 to May 26, one can visit three installations by Roland Kuit at the Museum EICAS in Deventer. This museum makes art from the 1960s onwards accessible. Its point of departure is the pioneering ideas of the Zero movement, which still echoes in contemporary art. ZERO = language. Roland explores in three installations the discussion that is not being had. For example, about people not reading anymore. About the role of the masses when balls are thrown up via social media. About what happens when people stop thinking or stop thinking for themselves. Mass installation. Where six thousand table tennis balls form a social media landscape and emit pulse sounds as mass communication, from taps to noise-like sounds. They travel trajectories in the ball-covered terrain. https://lnkd.in/eSnECW5x

Aga Khan Museum building itself speaks eloquently to concept of light and is an ideal venue for an exhibition on Light: Visionary Perspectives which celebrates our Museum’s 10th anniversary. In his letter (excerpted) to Fumihlko Maki, on 3 January 2006, His Highness the Aga Khan articulated his vision: "For the Aga Khan Museum, Light might be the concept around which you could design an outstanding Museum. The notion of Light has transversed almost all of human history, and has been an inspiration for numerous faiths, going as far back of course to the Zoroastrians and their reverence for the Sun, to the Sura in the Holy Qur'an titled al-Nur (the light). Decades of Western history are referred to as the ‘Enlightenment' for good reason." “I hope that the building [of the Museum] and the spaces around it will be seen as the celebration of light, and the mysteries of light, that noture and the human soul illustrate to us at every moment in our lives.* Light would be an appropriate design direction for the new museum and this concept is of course particularly validated in Islamic texts and sciences: apart from the innumerable references in the Qur'an to light in all its forms, in nature and in the human soul, the light of the skies, their sources and their meaning have for centuries been an area of intellectual inquiry and more specifically in the field of astronomy.” [Source: Philip Jodidio - Under The Eaves Of Architecture - The Aga Khan: Builder and Patron]

We were honored to partner with the Peabody Essex Museum event last week, and thank you to those who joined us. Via Salem News today... THE LOCAL CREATIVE ECOSYSTEM To the editor: Last week, the Peabody Essex Museum and Creative Collective co-hosted a Creative Ecosystem Roundtable, which brought together over 50 community stakeholders from across the region. This event followed a Networking Breakfast and Leadership Forum held in November and offered a chance to delve into our creative community’s unique opportunities and challenges. These events are part of a partnership series on the creative ecosystem that will continue in the fall. According to a 2024 study by the U.S. Bureau of Economic Analysis and the National Endowment for the Arts, with data from 2022, the arts and culture sectors, both for-profit and nonprofit, contribute 4.31% to the nation’s GDP, support over 5.2 million jobs, and represent a $1.02 trillion industry—more than the retail, construction, and transportation sectors. We need more support for the arts and culture sector and this came through loud and clear at the roundtable discussions. The conversations need to shift towards how this sector can be better supported and increase the voices of creatives in discussing our most pressing issues. Collaboration and open and honest dialogue are how we can move even the most difficult issues forward toward resolution. Acknowledging the need for these conversations, last week’s Creative Ecosystem Roundtable gathered a diverse mix of practicing artists, working creatives, government officials, and community leaders. It encouraged participants to break down silos and collaborate on the following themes: Living a Creative Life; Sustainability in the Creative Community; Partnerships and Opportunities; Tourism and Festivals; and Advocacy and Governmental Affairs. The discussions were vibrant and infused with active listening, open-mindedness, and mutual respect. This cross-disciplinary roundtable format was experimental but impactful. The room buzzed with energy as new connections were forged and fresh ideas circulated. A recurring theme was how rare and valuable it is to bring together a wide range of creative stakeholders to tackle old challenges from a fresh perspective. We are compiling notes to identify broad themes, trends, and action items for prioritizing, nurturing, and sustaining creative communities. We sincerely appreciate the participants’ openness and collaboration and for fostering honest dialogue for collective problem-solving. Kurt Steinberg, COO, Peabody Essex Museum, John Andrews, Founder and President, Creative Collective https://lnkd.in/eVhXy8mg

Last Friday marked the unveiling of the exhibition "Manus: A Conscious Journey" at Sudakara ArtSpace by Sawidji. This captivating showcase delves into the profound symbolism of the human experience through the lens of the hand, referred to as 'Manus' in Latin. Coined in 1867 to represent the distal segment of the vertebrate forelimb, Manus prompts a reflective exploration into what truly defines our humanity. Within the intricate tapestry of scientific discourse, the opposable thumb emerges as a pivotal factor in human evolution, setting us apart from other species. "Manus: A Conscious Journey" brings together the works of five talented artists, collectively examining the multifaceted aspects of our shared humanity. The exhibition embarks on an intangible and mysterious quest, reflecting the paradoxical, boundless, and obscure nature of human essence. Much like navigating a labyrinth to explore all the intricacies of the world, it serves as a visual sojourn, encouraging viewers to contemplate their perceptions of consciousness and humanity. This collaborative odyssey invites participants to join the artists on a reflective journey, exploring both the micro and macro aspects of existence. It is an examination of the creative process, a shared experience that prompts the question: What truly defines our humanity? The opening of the exhibition, enriched by special dance performances from Kita Poleng, added an extra layer of vibrancy. The showcase will run until February 3, 2023, providing an opportunity for art enthusiasts and curious minds to engage with this thought-provoking exploration of human consciousness and creativity. See the full catalog here: https://lnkd.in/gWk5-MV8

Andre Breton In Front of the Curtain (2) To go back ten years is not only to identify, in the vortex surrounding the exhibition of ten years ago, something that fairly well expresses the spiritual climate of the year 1938, but also to identify the structure of the exhibition that corresponds to a plan, a plan that seeks to bring the tumultuous region that extends to the border between the poetic and the real into very general proximity within our psyche. The exhibition's structure, as such, can be accurately positioned in the context of the true vision of the exhibition - though, again, not the vision of art. The efforts of the exhibition organizers, in fact, tended to create, as much as possible, an environment oriented toward an "art" gallery. I emphasize the fact that they did not consciously follow any other order than the above. I emphasize the fact that they did not consciously follow any other imperative than the above, since, in retrospect, the totality of their attempts ultimately transcended their original intentions. Regarding the criticism of the time, which believed that the holding of the 1938 exhibition could be attributed, as usual, to the need to surprise and compromise the "snobbery" of the public, and which almost universally bemoaned the "gratuitousness," poverty, and bad taste of which we were more than once witnesses, we can say the following We can say the following. (Continue to next paragraph)

Explore the Expanded Motown Museum This Founders Day! (video)