Contemporary – Harp Maker http://harpmaker.net/ Thu, 23 Sep 2021 03:14:14 +0000 en-US hourly 1 https://wordpress.org/?v=5.8 https://harpmaker.net/wp-content/uploads/2021/06/cropped-icon-32x32.png Contemporary – Harp Maker http://harpmaker.net/ 32 32 10 amazing contemporary buildings in China – SupChina https://harpmaker.net/10-amazing-contemporary-buildings-in-china-supchina/ Wed, 22 Sep 2021 22:50:20 +0000 https://harpmaker.net/10-amazing-contemporary-buildings-in-china-supchina/ Architecture: 10 amazing contemporary buildings in China – SupChina Skip to content Find a company based in China Find a company based in ChinaEvergrande GroupGanfeng LithiumShenghe Resources HoldingNorth China Rare Earth GroupBaotou Iron and SteelGemLens technologyKanzhunKuaishouMissFreshXuanji technologyVolitationHuimingjieAEEEHangThree Gorges Society of ChinaChina across the oceanHoneycombXAGCMSGDUFoiaSYS SkyTIMAutel roboticsChina Aviation Industry CompanyChinese Academy of Aerospace AerodynamicsEngines of the […]]]>



Architecture: 10 amazing contemporary buildings in China – SupChina






















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Contemporary art was offered in exchange for British bronzes from Benin https://harpmaker.net/contemporary-art-was-offered-in-exchange-for-british-bronzes-from-benin/ Wed, 22 Sep 2021 16:25:46 +0000 https://harpmaker.net/contemporary-art-was-offered-in-exchange-for-british-bronzes-from-benin/ Some of the Benin bronzes on display in the British Museum. Dan Kitwood / Getty Images The Ahiamwen Artists Guild, an organization based in Benin City, Nigeria, has proposed a new method to accelerate the return of Benin Bronzes to their country of origin: the Guild has just announced that it wishes to offer the […]]]>

Some of the Benin bronzes on display in the British Museum. Dan Kitwood / Getty Images

The Ahiamwen Artists Guild, an organization based in Benin City, Nigeria, has proposed a new method to accelerate the return of Benin Bronzes to their country of origin: the Guild has just announced that it wishes to offer the British Museum several works of art from Benin. This offer is made in the hope that the donations will encourage the British Museum to return the Benin bronzes that the institution has in its possession; the debate on these objects has been going on for years. Concretely, the Guild wishes to offer the British Museum a bronze plaque retracing the history of Benin and a life-size ram made up of spark plugs.

So far, the British Museum has only said that the question of accepting the offer and completing the exchange was a discussion that would only take place between the institution and the Guild, but that is certainly a generous and interesting offer from a group that owes the British institution nothing at this point. “We never stopped making the bronzes even after they were stolen,” said Osarobo Zeickner-Okoro, founding member of the Ahiamwen Artists’ Guild. Reuters. “I think we’re making them even better now.”

“Part of the crime that was committed, it’s not just ok, they were looted, is the fact that you portrayed our civilization as a dead civilization, you put us in ancient Egypt or something. something like that, “Zeickner-Okoro continued. So far, the British Museum has indeed been slow to return the objects, unlike other countries entirely; Germany, for example, has stepped up talks to return the Benin Bronzes to the country in Nigeria.

In France, meanwhile, endless bureaucratic tangles, diplomatic communication problems and a lack of funding have so far delayed the quai Branly museum’s alleged plans to return its bronzes to Benin.

Nigerian contemporary art offered in exchange for British bronzes from Benin


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An international jury exhibition of contemporary still lifes opens at the Bluegrass Art Center – The Advocate-Messenger https://harpmaker.net/an-international-jury-exhibition-of-contemporary-still-lifes-opens-at-the-bluegrass-art-center-the-advocate-messenger/ Tue, 21 Sep 2021 19:41:02 +0000 https://harpmaker.net/an-international-jury-exhibition-of-contemporary-still-lifes-opens-at-the-bluegrass-art-center-the-advocate-messenger/ Program of still lifes for all ages highlighted this fall BLUEGRASS ART CENTER Press release “The Object Seen: Contemporary Still Life” opened on September 15 and runs through October 30 at the Art Center of the Bluegrass, one of Kentucky’s premier art exhibition spaces. The exhibition celebrates one of the oldest traditions in the history […]]]>

Program of still lifes for all ages highlighted this fall

BLUEGRASS ART CENTER

Press release

“The Object Seen: Contemporary Still Life” opened on September 15 and runs through October 30 at the Art Center of the Bluegrass, one of Kentucky’s premier art exhibition spaces. The exhibition celebrates one of the oldest traditions in the history of art, the study and practice of still life as a subject. This exhibition showcases both traditional realism and more experimental contemporary techniques and welcomes a variety of media.

“Still Life with Peony Tulips” by John Andrew Dixon de Danville

The exhibition is presented by a jury of nationally recognized artist, Sheldon Tapley. Tapley is a Stodghill professor of art at Center College, where he has taught painting and drawing throughout his career and is a master of still life. His works have been exhibited and collected in public institutions across the country.

“Tapley masterfully blends the discipline of hard-earned classical technique with an utterly modern and personal vision,” Bill Creevy wrote in American Artist.

“We are delighted to bring together this group of contemporary still life works, with the help of a still life master like Sheldon Tapley. The purchase of Sheldon’s Still Life with Flowers, for the permanent collection of the Art Center, was the inspiration for the theme of this exhibition, ”said Niki Kinkade, Executive Director of the Art Center.

When selecting the works submitted for the exhibition, Tapley noted that a major theme was “the contrast between very personal, even intimate, and neutral, fabricated, very impersonal objects.”

Still life is at the same time very old, going back to the Egyptian frescoes, and completely modern by representing our glut of “stuff”. Tapley said: “The things we have describe us. Thus, artists describing things describe themselves and the world around them by reflex.

Twenty-four works by 22 artists have been selected and reflect and express the theme of contemporary still life while demonstrating creativity, strength of execution and overall artistic excellence. Artists hail from Kentucky, Tennessee, Florida, New Hampshire, Pennsylvania, Oklahoma and all the way to Ontario, Canada, becoming one of the Art Center’s most geographically diverse exhibits. last years.

Commentary on the pandemic and its effects on the artist and society is a recurring theme.

Describing his piece, “Still Life with Inedibles,” a black and white photograph of rotten fruit, Louisville artist Mitch Eckert comments that “the lonely nature of making photographs feels right now. And making art out of decaying objects and seeking out their latent beauty seems to be a digest of our particular moment in time. “

“The pandemic has shown us how quickly our lives and our perspectives can change. Most of us have found ourselves living, working and going to school in our homes and using our creativity to adapt and find comfort, ”wrote artist Jackie Lucas of Louisville, Kentucky, describing his exhibition photograph, “Wardrobe 2020”.

Other artists were interested in the concept of the title.

“I was intrigued by the title of this show because it matched my job so well,” New Hampshire artist Tracy Meola wrote. “L’Objet vu reminds me of the transparent glass objects that I love to paint so much. The object is there and can be seen, but because it is transparent it can also be seen through. So often there are colors reflected in the glass that we see but don’t realize they are there. We have objects all around us and in Still Life paintings they become much more than ordinary objects, they become seen.

Regional art supply company DecoArt sponsors monetary prizes for the show’s top three entries, which range from $ 500 to $ 100. “DecoArt has been supporting artists, makers and DIY enthusiasts for over 35 years. As a Kentucky-based arts and crafts paint manufacturer, we were thrilled to have the opportunity to support the Art Center of the Bluegrass and its mission to showcase regional artists in our region. We can’t think of anything more appropriate, ”says Elizabeth Hurst, Marketing Manager at DecoArt.

Additionally, Danville artist Wayne Daugherty will present his exhibit The Object Obsession in the upstairs gallery in conjunction with The Object Seen exhibit. His “sculptures” are made of EVA (ethyl vinyl acetate) foam. Visitors will recognize pieces from Star Wars, Wall-E, and The Iron Giant to name a few. They are built with foam, painted with a primer, then acrylics. He builds them with cutters, Dremel tools and super glue or contact glue as well as pipe and wood for the internal support.

“Careful observation and engagement with the subject is what appeals to me,” Daugherty writes in his exhibition statement. “The challenge is to see the objects in a unique way. Look beyond the object itself and see the beauty of the details that make the object more than just an object.

Currently, the Art Center plans to host the public opening of The Object Seen: Contemporary Still Life and The Object Obsession on Friday, September 24 from 5:30 p.m. to 6:30 p.m. Social distancing and masks required.

Autumn still life program:

• Sheldon Tapley: The Object Seen Lunch with the Arts event

Wednesday September 22, 12 p.m. to 1 p.m.

Virtual program via Zoom

• Youth workshop on still life

Thursdays, Sept. 23 and 30, 6:30 p.m. to 8 p.m.

• Workshop on still life with Sheldon Tapley

Saturday, October 2, 10 a.m. to 4 p.m.


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Contemporary art from Italy at CerModern https://harpmaker.net/contemporary-art-from-italy-at-cermodern/ Tue, 21 Sep 2021 04:00:00 +0000 https://harpmaker.net/contemporary-art-from-italy-at-cermodern/ ANKARA The Italian Embassy in Turkey has organized a major exhibition of contemporary Italian art in Ankara which represents a rich kaleidoscope of artistic trends and techniques from established masters and young emerging artists. class = “cf”> Almost 40 works, some of which come from the collection of the Ministry of Foreign Affairs and International […]]]>
ANKARA

The Italian Embassy in Turkey has organized a major exhibition of contemporary Italian art in Ankara which represents a rich kaleidoscope of artistic trends and techniques from established masters and young emerging artists.

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Almost 40 works, some of which come from the collection of the Ministry of Foreign Affairs and International Cooperation, are presented at CerModern, as part of an international traveling exhibition that will stop in five other countries along the old Route Silk. The exhibit will also arrive in Xi’an, China, where it will end its journey.

The exhibition, entitled “The Silk Road: Contemporary Art and Italian Artists”, also highlights the contribution of new proposals which are carried, as in the past, from one continent to another and to across Asia.

“Particular attention”, said the curator, Angela Tecce, “was devoted to highlighting both the value of well-known artists and the proposals of young artists, to offer the public a panorama that would take into account the complexity and the diversity of newer and older trends.

The exhibition offers a brief overview of contemporary Italian art from the end of the 1960s to the present day and aims to strengthen its extraordinary vitality and, at the same time, to tell about its ability to interact with distant realities and worlds, to become a natural tool for dialogue.

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It offers a wide panorama of avant-garde art in Italy starting with masters such as Carla Accardi, Enrico Bay, Maria Lai, Michelangelo Pistoletto Jannis Kounellis, Mimmo Paladino, Ettore Spalletti, Giulio Paolini, Luigi Ontani and Emilio Isgró, while also including the experiences of young and very young artists. In addition, the works of undisputed masters of Italian photography such as Mimmo Jodice, Gabriele Basilico, Nino Migliori are presented in the exhibition.

The exhibition is on view at the CerModern museum until October 10.

culture,


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SALT contemporary dance becomes intimate with ‘The Invitation’ – The Daily Utah Chronicle https://harpmaker.net/salt-contemporary-dance-becomes-intimate-with-the-invitation-the-daily-utah-chronicle/ Mon, 20 Sep 2021 17:45:01 +0000 https://harpmaker.net/salt-contemporary-dance-becomes-intimate-with-the-invitation-the-daily-utah-chronicle/ SALT Contemporary Dance presented their performance of “The Invitation” at Kingsbury Hall September 16-18. As spectators attending live performances, we rarely see beyond the main theater and stage. “The Invitation” uses theater in a non-traditional way and takes audiences through spaces they wouldn’t normally have the opportunity to see, providing them with an intimate, behind-the-scenes […]]]>

SALT Contemporary Dance presented their performance of “The Invitation” at Kingsbury Hall September 16-18. As spectators attending live performances, we rarely see beyond the main theater and stage. “The Invitation” uses theater in a non-traditional way and takes audiences through spaces they wouldn’t normally have the opportunity to see, providing them with an intimate, behind-the-scenes experience of the live performance.

Up close and personal

From the start it was clear that this was not going to be a traditional live performance where the audience would sit in the theater and watch the stage. We would walk, explore and laugh with each other.

“The Invitation” is designed to resemble a tour of Kingsbury Hall. The audience follows an unlikely tour guide (the maintenance worker) to different parts of the theater backstage, boxes, stairs, loading dock where we watch the dancers perform, sometimes even accompanied by live singing. Each space in the theater has been treated as a performance space, a space of potential. The specific architecture of Kingsbury Hall influenced every part of the show, almost as if the performance couldn’t exist in any other theater.

At each stop our guide interacted with us through questions. Eventually, members of the audience felt comfortable enough to start joking with him. Being close to the dancers, the theatrical space and other spectators created a feeling of intimacy in the show that I don’t often get to experience.

Choreography

The dancers played each other’s movements, responding in a way that seemed improvised. The performance increased organically from moment to moment always playful and fun, giving the feeling of organized chaos. At other times, the dancers would burst into synchronicity, giving us an impression contrary to improvisation.

Not only did the dancers play with each other, their movements also responded to the environment around them. At one point in the show, the maintenance man’s tour guide argues with the person who was supposed to be the original tour guide. The dancers altered their movements to respond to fluctuations in the voice in their argument.

The uncut but also intimate feeling of “The Invitation” was reinforced by the fact that the dancers would sometimes pronounce their steps aloud during the performance, or cuddle up and try to understand the choreography on stage, as if they were rehearsing without an audience. . Attending the traditionally “behind the scenes” portions of a live performance made this moment special.

Accept the invitation

Towards the end of the performance, we are brought to our final destination – The scene. Why are we, the audience, on stage? “The Invitation” is a testament to how, as members of the audience accepting the invitation to attend a performance, we are part of the performance. We are participants, not passive observers. Audiences need dancers, but dancers also need audiences.

For a performance to exist, we need each other. This is what is so special about the art of performance. This is what we have been missing during the COVID-19 pandemic, and this is what we are happy to slowly return to. My invitation to return to the performing arts space could not have started better.

SALT Contemporary Dance will be holding their “fall concert” from November 3-6, although tickets are not on sale yet. Visit their website for updates and more information.

[email protected]

@tervela_g



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Four preselected teams in the NGV Contemporain competition https://harpmaker.net/four-preselected-teams-in-the-ngv-contemporain-competition/ Mon, 20 Sep 2021 05:29:40 +0000 https://harpmaker.net/four-preselected-teams-in-the-ngv-contemporain-competition/ The Victorian government announced the four shortlisted teams that will compete to design a new museum of contemporary art and design for the National Gallery of Victoria. The Australian-only design competition for NGV Contemporary has issued a call for proposals for a “global architectural landmark that demonstrates the skills and capabilities of the local design […]]]>

The Victorian government announced the four shortlisted teams that will compete to design a new museum of contemporary art and design for the National Gallery of Victoria.

The Australian-only design competition for NGV Contemporary has issued a call for proposals for a “global architectural landmark that demonstrates the skills and capabilities of the local design industry”.

“This design competition offers a tremendous opportunity to support our country’s local design and architecture sector,” said Tony Ellwood, Director of NGV.

Four shortlisted teams were selected by an international jury for their innovative designs, consideration for sustainability and connection to the place. They are:

Angelo Candalepas and associates: Angelo Candalepas and Associates, Aspect Studios, Carr Interiors, Andy Fergus Design Strategy, BoardGrove Architects, Richard Stampton Architects, Steensen Varming, Mott MacDonald, TTW, Affinity Fire Engineering, Freeman Ryan Design, AX Interactive and Art of Fact

Field: Architects, Edition Office, Durbach Block Jaggers, Openwork, Daniel Browning, Karen Milward, Lovell Chen, WSP, Finding Infinity, Surface Design, Speirs Major and Art Processors

John Wardle Architects: John Wardle Architects, Oculus, Pierce Widera, Searle x Waldron Architecture, Greenshoot Consulting, Hecker Guthrie, Hodyl and Co, Atelier Ten, WSP, Steensen Varming, Fabio Ongarato Design, Phillip Chun, L’Observatoire International and Mott MacDonald

Open weave: Grimshaw, Winwood Mckenzie, Baracco and Wright, McGregor Coxall Australia, Foolscap, Relative Projects, 20-20 Studio, Flux Consultants, AECOM, Eckersley O’Callaghan, 2X4 Inc and Paul Memmott.

Located at 77 Southbank Boulevard, Southbank, the NGV Contemporary project will create 18,000 square meters of public space dedicated to art, design, fashion and architecture of local, national and international significance in the center of the city.

“The new gallery is part of the largest cultural infrastructure project ever in Australia that will be at the heart of Melbourne’s reinvented arts district and create thousands of local jobs,” said Prime Minister Daniel Andrews. “NGV Contemporary will showcase Australian design excellence to the world and create an extraordinary new gallery for all Victorians. “

The international jury was composed of the Dutch architect Francine Houben of Mecanoo, Xu Tiantian of DnA Architecture in Beijing, the Australian architect Gerard Reinmuth of Terroir, the indigenous artist Maree Clarke as well as the director of NGV Tony Ellwood, of Victorian government architect Jill Garner and architect and administrator of NGV Corbett Lyon.

Shortlisted teams will now move on to the second stage of the competition to further develop their designs. The successful design team will be announced in early 2022.


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SLR on contemporary political spouses and the privilege of awakening https://harpmaker.net/slr-on-contemporary-political-spouses-and-the-privilege-of-awakening/ Sun, 19 Sep 2021 12:05:31 +0000 https://harpmaker.net/slr-on-contemporary-political-spouses-and-the-privilege-of-awakening/ Former U.S. First Lady Melania Trump has been the target of a lot of criticism. In her defense, the majority of those criticisms were purely because she was the wife of former U.S. President Donald Trump – a democratically and almost globally hated figure. This is where the madness comes in. A world where Donald […]]]>

Former U.S. First Lady Melania Trump has been the target of a lot of criticism. In her defense, the majority of those criticisms were purely because she was the wife of former U.S. President Donald Trump – a democratically and almost globally hated figure. This is where the madness comes in. A world where Donald Trump might even have been right from a distance is a world that seems upside down. In this article by Simon Lincoln Reader, a London-based tech investor and popular columnist at BizNews, Reader takes a look at contemporary political spouses and the potential fate that may befall them, being “tied and forced into a plexiglass cube and hung in public as a ‘performance art / political statement representing a fringe group that makes up approximately 0.0000001% of the US population.’ Readers’ articles are always fresh and entertaining. This one is downright hilarious. – Nadya Swart

The problem of contemporary political spouses

By Simon Lincoln Reader *

I have always admired Melania Trump for her dignity in the face of these filthy, relentless, deeply personal and often xenophobic attacks. As you might expect, these attacks often emerged from hyper-feminist, unwashed and outraged university neighborhoods – but because they were intersectional activist-feminist, they were always excused (that’s what you call ” wake-up privilege ”). Ten years ago, my friend sat across from Melania at a dinner party in New York – sitting to her right was a sneering high-profile liberal media reporter who began to talk about how good Europe is. of the East was uncivilized. My friend told the moron that he would turn off his lights: Melania told her husband, sitting elsewhere at the table, who then approached my friend: “you are the greatest, the greatest”.

I miss Graca Michel, because unlike Jill Biden, she wasn’t running around growling, “If you don’t call me ‘Doctor Michael’, I’ll stab you.” Is Jill Biden a doctor like Anthony Fauci is a doctor? He has not seen a patient since 1967. Jill Biden was recently mutilated when critics of her husband’s rambling, curious habits and breathtaking incompetence suggested that she was responsible “for allowing him to run for office when even the ANC in South Africa can tell you. he chuckles out of the reserve. This is totally unfair: Jill Biden does not own or manage the remote that controls her husband – which is owned by WANKER Inc – the machine that belongs to the Democratic establishment club that you and I are not – and will not be. never – invited.

Here, Carrie Johnson (née Symonds) causes a similar level of irritation. She’s much more ambitious than Jill – but even though her father was editor of the terrible Independent, she doesn’t seem to understand the term ‘constitutional democracy’, or she does, but she also understands that many passengers can get on board. of climate change. pathogenic and because climate change is such a threat, we don’t have time to organize pesky things like elections or appointments on merit. Sorry. Over the weekend, Carrie reportedly expressed her admiration for British tennis sensation Emma Raducanu by comparing her to Sweden’s Greta Thunberg, which is great, because it’s like comparing Secretariat or American Pharaoh to a baboon, n ‘ is this not ?

You could argue that Carrie and Jill Biden are at least trying to leverage their positions in ways that provide more substance to otherwise miserable lives. In New Zealand, the Prime Minister’s partner is totally surrendered to it (no one even knows his name?), And, like Mr. Meghan Markle, forced to read intersectional “resources”, uh. If he said something like “Well, uh, maybe this lockdown thing is a little mental yeah” he can be assured that Open Society, his partner’s backers, will make it go away. This same fate potentially awaits MEP Alexandra Ocasio-Cortez’s partner. His name is Randy or Riley, and at some point in the future Randy or Riley will be kept on a leash and forced into a plexiglass cube and displayed in public as performance art / political statement representing a fringe group that represents approx. 00000001% of the American population.

With Jacob Zuma, it was difficult to understand the role of the political spouse because the political spouse could have been one of the twelve (or more) people. But Zuma would have been fair in sharing the responsibilities and the junkets – except for the poor wife he appointed keeper of the Nkandla spaza shop, who then would have had to spend every day of every week delivering orders from Khulubuse or shouting on the phone. to vendors (“Come on, Dwayne, what do you mean, there’s no more yellow polony?”) It’s not a first lady’s kind of life.

I once saw Philip May, husband of the former prime minister, eat a sandwich on his own in Victoria Station. He was no slouch – he held a leadership position in a very serious asset manager – but he didn’t care to wake up, to cry out about a perceived injustice. The best he could do, he clearly thought, was to make his wife a strong whiskey toddy in the evening and, if she could still speak after that, listen. I imagine the same goes for Helen Zille’s husband, or for Thabo Mbeki’s wife.

  • Simon Lincoln Reader works and lives in London. You can follow it on Substack.

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The Downtown Contemporary Arts Festival returns in October after a 2-year hiatus https://harpmaker.net/the-downtown-contemporary-arts-festival-returns-in-october-after-a-2-year-hiatus/ Sat, 18 Sep 2021 22:33:31 +0000 https://harpmaker.net/the-downtown-contemporary-arts-festival-returns-in-october-after-a-2-year-hiatus/ After a two-year absence, the Downtown Contemporary Arts Festival (D-CAF) will bring art back to the stages and streets of downtown Cairo, with groundbreaking works from creators from all corners of the world. The festival will run from October 1 to 22. True to its long-standing mission of showcasing the city’s unprecedented heritage, D-CAF will […]]]>

After a two-year absence, the Downtown Contemporary Arts Festival (D-CAF) will bring art back to the stages and streets of downtown Cairo, with groundbreaking works from creators from all corners of the world. The festival will run from October 1 to 22.

True to its long-standing mission of showcasing the city’s unprecedented heritage, D-CAF will highlight a wide range of historic sites and dynamic new spaces in the city center.

The ninth edition of the festival will open with a lively music concert at the GrEEK campus, featuring rappers from Egypt and the United States.

The once stoic building on Mohamed Mahmoud Street, which housed the American University Library for more than 40 years, now houses dozens of magnificent works of graffiti art dating from the revolution – a testament to all the changes that the city has suffered over the past decade. After numerous renovations, the GrEEK campus now houses Egypt’s first technology park and regularly hosts outdoor film screenings, concerts, etc.

Another must-see at D-CAF is the Tahrir Cultural Center (TCC). It was created to revive the strong and important presence of the American University of Cairo (AUC) in the heart of Cairo. The AUC has played a dynamic and vital role in enhancing the public cultural, artistic and intellectual life of Egypt, the region and the world from this central location for 100 years. Since the university moved to New Cairo ten years ago, this role has not been fully fulfilled.

Since its creation, TCC has come to fill this gap and is a proud partner of D-CAF. The cultural center has made a significant contribution to the Egyptian arts sector and carried AUC’s strong heritage to the downtown cultural scene. This year, the AUC Falaki Theater will host performances by artists from Egypt, France, Tunisia, Morocco, Burkina Faso and Chile.

This year, D-CAF’s selection of venues benefits once again from its successful partnership with Al Ismaelia for Real Estate Investment, which shares the festival’s commitment to securing the city center’s position as a thriving cultural hub of the city. Since its creation in 2008, Al Ismaelia for Real Estate Investment has undertaken to recover, restore and revive the unprecedented heritage of downtown Cairo by renovating the historic buildings of the district into mixed-use spaces suitable for commercial, retail uses. retail, entertainment and hospitality. Al Ismaelia is proud to be a partner of D-CAF since the launch of the first edition of the festival in 2012.

In this ninth edition, three of Al Ismaelia’s halls will host a spectacular selection of works of art as part of the festival.

D-CAF’s new media and visual arts program will kick off with the stunning photograph by Egyptian artist Hana Gamal, displayed on the roof of the Adly building. This historic place is a token of the long-standing cultural centrality of downtown Cairo. First purchased by Kodak in 1924 and used to open the company’s second store in the world; the building was acquired by Al Ismaelia for Real Estate Investment in 2008, which renovated the pedestrian crossing bordering each side of the building and transformed its storefronts into exhibition spaces. The renovations were carried out in 2014 as part of D-CAF, with the aim of hosting a solo art exhibition by Egyptian artist Hassan Khan, marking the inauguration of this dynamic new art venue.

The program will also bring its unique lineup of VR games, films and interactive installations to two venues above the historic Davies Bryan Building, better known as El Shorbagy. One of the city centre’s most beautiful architectural gems, the building overlooks three of its bustling streets: Adly, Mohamed Farid and Abdel Khaleq Tharwat; with a roof offering a breathtaking view of the city center. Al Ismaelia for Real Estate Investment acquired El Shorbagy in 2008, and began renovations in 2015 to restore the building to its timeless glory and establish the Violet and Victoria Rooftop homes. This year, these two world-class exhibition spaces will feature works from Hungary, Denmark, France, as well as an interactive installation curated by Egyptian VR expert Omar Kamel.

This edition of D-CAF will also see the birth of Orient Productions’ latest acquisition: the brand new Rawabet Art Space. Formerly known as the Rawabet Theater, this iconic venue opened its doors to artists in 2006 and has since become a mainstay of the independent Egyptian theater scene. After a long absence, Rawabet was recently taken over by Orient and redeveloped into a versatile and multidisciplinary art space. Orient has carried out major works to renovate the floors, walls, auditorium and office spaces of the place; so that they can accommodate a wider range of artistic activities. Rawabet can now accommodate a maximum of 280 participants, a substantial increase from the old cap of 120 people. Improvements have also been made to soundproofing installations, electrical circuits and the fire-fighting system, to provide artists and the public with a world-class experience. This year, Rawabet Art Space will host conferences, musical performances and exhibitions by French, Syrian, Danish and Egyptian creators.

Because D-CAF believes that art should not be confined to gallery walls, the festival’s Urban Visions program will take art to the streets and sidewalks of the capital. Two works designed by French and Hungarian artists will invite the public to explore Cairo’s unique urban fabric and experience the city center in a new light.




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Watch brands team up with the art world https://harpmaker.net/watch-brands-team-up-with-the-art-world/ Sat, 18 Sep 2021 12:00:00 +0000 https://harpmaker.net/watch-brands-team-up-with-the-art-world/ Hublot Classic Fusion Chronograph Shepard Fairey, with symbols representing natural life cycles and multicultural unity. Courtesy of Hublot Text size Watch brands frequently seek the help of celebrities and star athletes to endorse their products, but a growing number have broadened that focus to include contemporary artists and designers who turn watches into canvases expressing […]]]>

Hublot Classic Fusion Chronograph Shepard Fairey, with symbols representing natural life cycles and multicultural unity.

Courtesy of Hublot

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Public Energy of Peterborough presents outdoor performances of two contemporary dance works in September https://harpmaker.net/public-energy-of-peterborough-presents-outdoor-performances-of-two-contemporary-dance-works-in-september/ Fri, 17 Sep 2021 19:54:37 +0000 https://harpmaker.net/public-energy-of-peterborough-presents-outdoor-performances-of-two-contemporary-dance-works-in-september/ As part of Public Energy Performing Arts’ Pivot 2.0 outdoor performance series this fall, the team of dancers / choreographers of Norma Araiza and Olga Barrios will perform “Hybrid Women” accompanied by musician Edgardo Moreno at the Warren Garden of the Trent University on September 22. 2021. (Photo: Marcela Lucía Rojas) Public Energy Performing Arts […]]]>
As part of Public Energy Performing Arts’ Pivot 2.0 outdoor performance series this fall, the team of dancers / choreographers of Norma Araiza and Olga Barrios will perform “Hybrid Women” accompanied by musician Edgardo Moreno at the Warren Garden of the Trent University on September 22. 2021. (Photo: Marcela Lucía Rojas)

Public Energy Performing Arts in Peterborough continues its Pivot 2.0 series of outdoor performances this fall with two contemporary dance works in September: Hybrid women and Armor.

On Wednesday September 22 at Warren Garden at Trent University, Vanguardia Dance Projects will perform Hybrid women, an experimental dance ritual by artists of Mexican and South American descent.

Previously performed in Peterborough at the 2021 Nogojiwanong Fringe Festival, on 25 minutes Hybrid women uses dance and music “as a ritual to make a connection between the throbbing body and the rhythms of nature,” according to a press release from Public Energy.

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Co-created and performed by the team of dancers / choreographers of Norma Araiza and Olga Barrios, Hybrid women will also feature composer and performer Edgardo Moreno.

Araiza is a Mexican performer and choreographer. and instructor of indigenous origin from the Yoeme Nation in Sonora. Originally from Bogotá, Colombia, Barrios is a multi-award winning artist who has collaborated with theater, music and dance companies as well as in multidisciplinary projects in Canada, the United States and Colombia. Moreno is a Hamilton-based composer who has worked extensively with contemporary dance choreographers creating sound designs and musical scores.

There will be two performances of Hybrid womenat 12 p.m. and 5 p.m. The Warren Garden is located outside the First Peoples of Nozhem Representation Space at Trent University, with parking available at Gzowski College at 2510 Pioneer Road.

Has already performed in Peterborough at the Nogojiwanong Fringe Festival 2021, "Hybrid women" is an experimental dance ritual created and performed by the team of dancers / choreographers of Norma Araiza and Olga Barrios, artists of Mexican and South American origin.  (Photo: Marcela Lucía Rojas)
Previously presented in Peterborough at the Nogojiwanong Fringe Festival 2021, “Hybrid Women” is an experimental dance ritual created and performed by the team of dancers / choreographers Norma Araiza and Olga Barrios, artists of Mexican and South American origin. (Photo: Marcela Lucía Rojas)

At 7 p.m. on Friday September 24 and Saturday September 25, at Armor Hill’s Heritage Pavillion Stage (300 Hunter Street East), Peterborough-born Christy Stoeten will present the world premiere of Armor, a dance-theater piece about growing up in the city.

“When I was in high school, there really wasn’t much to do on a Saturday night in Peterborough,” Stoeten recalls. “Options included the Mustang Drive-In, midnight trips to the new Sobey’s 24 hours a day, or a drive to Armor Hill. There was always something exciting about taking the winding road to the top of Armor Hill, like we didn’t know what to expect when we got to the top.

Now based in Toronto, Stoeten has had a busy career as a dancer and choreographer with many artists and dance companies in Toronto.

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“This piece captures the essence of what it’s like to be young in Peterborough,” Stoeten says of the 20-minute performance. “Or at least how we sometimes feel about ourselves. With stories from my teenage experience and those of my collaborators, we have created a work that looks like a series of snapshots from another time.

Designed by Sonia Gemmiti, Armor will be performed by Madie Brown, Sharazade Vahid and Simon Mazziotti.

“The play does not take place at a specific time, but transports the audience to a nostalgic, bizarre and sometimes sentimental time and place. Think The Twilight Zone meets Fast Times at Ridgemont High.

In line with Public Energy’s efforts to maintain open access to the performing arts, tickets for both Hybrid women and Armor pay what you can.

Tickets are available online at publicenergy.ca. Due to the meeting restrictions related to the pandemic, tickets are limited.

For more information on Public Energy’s Pivot 2.0 series of site-specific performance for physically remote outdoor audiences, visit publicenergy.ca/performance/pivot-2-0/.

kawarthaNOW is proud to be a longtime media sponsor of Public Energy Performing Arts.



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