PINK SPARROW’s Post

#FEATURES VALERIE KRAUSE @valerie_krause Valerie Krause’s artistic research focuses on the connection between object and space; in her works, volumes, voids, materials and forms transcend the strict definition of the material itself and expand to embrace the relationships that define the space in which they are found. Read more at: buff.ly/3ItJDba

My new column for TAEX. 👇🏻

It's easy to overlook a piece of art when surrounded by many other artworks, especially when it's this small! 🧐 This red-figure squat oil flask (lekythos) decorated with a swan is one of those pieces. It's these types of pieces where you have to ask yourself, "Why is it so small? Did they really only put oil in this thing? And what's the significance of the swan?" Ask these questions! Engage with the art and start the conversation, maybe you'll get new insight. 😉🦢 Attica, Greece; Classical period, ca. 450-400 BCE Ceramic vessel Tampa Museum of Art, Joseph Veach Noble Collection, 1986.082

Catch Struan Watson sharing some wisdom if you can!

I have selected this work for the offer "Behind the Masks of Utopian Joy", which will be held at Chili Art Gallery (13-15 Dimofontos Street, Thissio) from Thursday, 22 February to Saturday, 2 March 2024 and online via ARTgrid, for a month. I have four works to choose from. Two of them will be selected to be put on display during the exhibition. The works are available in 5 hand-signed prints on museum-quality materials. I'm very interested in the exhibition's theme: what's behind the overly optimistic masks. What do we use to mask or reveal our thoughts/feelings? 1. Red Scarf 1

JOSHUA SEARLE MUSEO DEL ORO ROBADO MUSEUM OF STOLEN GOLD THU 13 JUN - SAT 10 AUG DAWN TO MIDNIGHT EXHIBITION (VIEW FROM 37 DAVEY STREET FRONT) CUBE 37, GLASS CUBE GALLERY Image: Joshua Searle, (installation detail) Joshua Searle (Australian/Colombian) examines and unpacks Pre- Columbian artefacts held in museum collections encountered through texts, as a means to further understand his own diasporic history and identity as an Australian-Colombian. From an initial examination of collective cultural identity and societal impact to a more individual personal exploration, this exhibition includes paintings exploring practices of institutional collecting and impact of colonisation. Searle undertakes a process of reclamation of his own identity as part of the colonial diaspora, and of the works themselves. Museo del Oro Robado (Museum of Stolen Gold) is a critique of institutionalised practices of theft. For the artist ‘stolen gold’ refers to both the literal and metaphoric gold taken by colonisation.

🗣️Call for papers! Check out the link below!

Shanshui: Echoes and Signals is a thematic exhibition of works drawn from the M+ Collections that explores the complex connections between landscape and humanity in our post-industrial and increasingly virtual world. Shanshui (‘mountain and water’) is a cultural legacy integral to Chinese philosophical thinking and poetic imagination, and motivates a millennium-old tradition of ink painting across East Asia. Although commonly translated as ‘landscape’, shanshui can take us far beyond observable reality. It manifests invisible resonances—between stillness and motion, vision and imagination, the fleeting immediacy of experience and the persistence of history and memory. Details: https://lnkd.in/gbTaWbzN

I have selected this work for the offer "Behind the Masks of Utopian Joy", which will be held at Chili Art Gallery (13-15 Dimofontos Street, Thissio) from Thursday, 22 February to Saturday, 2 March 2024 and online via ARTgrid, for a month. I have four works to choose from. Two of them will be selected to be put on display during the exhibition. The works are available in 5 hand-signed prints on museum-quality materials. I'm very interested in the exhibition's theme: what's behind the overly optimistic masks. What do we use to mask or reveal our thoughts/feelings? 1. Red Scarf 2

Unlikely Monuments exhibition curated by Giovanna Calvenzi From 31st January to 7th February 2024 Istituto Storico Parri, Bologna Promoted by Istituto Storico Parri and Lavì City on the occasion of Art City Bologna 2024 On show part of an ongoing series of monuments dedicated to women who have had a public role or a relevant role in the public sphere, known, unknown, or forgotten. These monuments are undoubtedly unlikely, like many of the places in which they are placed in this series, which is nothing but imaginary cataloguing as much as the monuments themselves. What is also proposed is a reflection on the meaning of "monument", on how we are remembered and how we would like to be represented, perhaps through other forms than the patriarchal ones that monuments have assumed. The series is presented as an excerpt from a catalogue.