Powerhouse Museum ,Sydney
Opens 5 May 2012
From street-style to red carpet dresses, this exhibition explores the emerging modest fashion market and the work of a new generation of Australian clothing brands offering stylish clothing for Muslim and non-Muslim women.
Censorship authorities have banned the screening of a movie that features a love story between a Coptic woman and a Muslim man, a group of intellectuals said in a statement Sunday.
Cross-religion love affairs are frequently cited as the reason for sectarian strife in the country.
Hisham Essawy directed the movie, titled “Al-Khoroug min al-Qahira,” “The Exit from Cairo,” which was first screened in the 2010 Dubai Film Festival. Egyptian actress Marihan plays the Coptic woman and Mohamed Ramadan plays the Muslim man.
The film was scheduled to be screened at the first session of the Luxor African Film Festival but was banned by censorship authorities, the statement said.
“We reject all forms of restrictions on freedoms and feel sorry that such practices remain after the breakout of a revolution that called for freedom and the establishment of a civil state,” the statement, signed by various actors, writers and cinema critics, said.
Actors Mahmoud Hemedia and Fathi Abdel Wahhab, film director Mohamed Khan and movie critic Tareq al-Shennawy were among those who signed the statement.
Sayed Khattab, the head of the Censorship on Artistic Works authority, told state-run news agency MENA that the film was not given permission for screening at the festival or in cinemas.
The festival administration did not include the film in question in its list of films submitted to censorship authorities for approval, Khattab said.
Several love affairs between partners of different religions, particularly between Muslim men and alleged female Muslim converts, have caused bloody clashes between the families of the partners in recent months, including an instance in the district of Amreyya, where Christian families were asked to relocate following violence.
Correction: An earlier version of this article mistakenly stated that the film discussed a love story between a veiled Muslim woman and a Coptic man. The article has been revised to reflect the actual storyline.
©2012 ALL RIGHTS RESERVED EGYPT INDIPENDENT
Grünesleuchten 7
Gotlind Timmermanns shows her recent work in Galerie an der Pinakothek der Moderne, a contemporary gallery space right in the heart of Munichs Museums Quartier:
New abstract “Farbklang” paintings with catch the visitors attention with breathtaking combinations of bright shining or mineral colours in sometimes huge formats. Paint dripped on the canvas in many layers of various viscosity. Her recent paintings of forest or wood topics that from a distance give a representative impression, the closer you come the more you discover the abstract qualities. Gotlind Timmermanns compositions are open for poetic interpretations and create colourful deep image spaces – the viewer is invited to enter.
Gotlind Timmermanns Malerei /Paintings
Peter Heesch Skulptur /Sculpture
2. März – 22. April 2012 Eröffnung 1.März 19h
Öffnungszeiten /Opening hours
Montag nach Vereinbarung
Dienstag bis Freitag 12 — 19 Uhr
Samstag 12 — 18 Uhr
Sonntag 12 — 18 Uhr (Nur Besichtigung)
Pinakothek der Moderne – Munich
New Frontier : l’art américain entre au Louvre.
Thomas Cole et la naissance de la peinture de paysage en Amérique
du 14 Janvier 2012 au 16 Avril 2012
Cette exposition-dossier consacrée à Thomas Cole (1801-1848) et à la naissance du paysage américain constitue la première étape d’une collaboration entre le musée du Louvre, le Crystal Bridges Museum of American Art de Bentonville (Arkansas), le High Museum of Art d’Atlanta et la Terra Foundation for American Art. Ce projet de collaboration de plusieurs années est fondé sur un programme d’échanges d’œuvres, mais aussi sur des projets éducatifs et scientifiques.
Le Louvre possède une seule œuvre du peintre américain Thomas Cole : La Croix dans la solitude, qui marque l’aboutissement de sa réflexion, initiée dès 1825-1826, autour de la représentation d’un certain type de paysage américain, grandiose et en partie sauvage (the wilderness). Portées par un sentiment particulier de la nature élaboré par la littérature américaine contemporaine, les oeuvres de Cole et bientôt de son compagnon Asher B. Durand initièrent un genre particulièrement fécond et spécifique de la jeune école de peinture américaine. Cinq peintures provenant des collections des institutions partenaires permettent de rendre compte de ce moment inaugural.
En regard de la peinture du Louvre est proposé le grand Paysage avec une scène du « Dernier des Mohicans » peint par Cole en 1826 (collection de la Terra Foundation) et qui compte parmi les premiers chefs-d’œuvre de l’artiste fortement inspirés par les textes fondateurs d’un certain imaginaire américain.
The Design Museum marks Sir Terence Conran’s 80th birthday with a major exhibition that explores his unique impact on contemporary life in Britain. Through his own design work, and also through his entrepreneurial flair, Conran has transformed the British way of life. The Way We Live Now explores Conran’s impact and legacy, whilst also showing his design approach and inspirations. The exhibition traces his career from post-war austerity through to the new sensibility of the Festival of Britain in the 1950s, the birth of the Independent Group and the Pop Culture of the 1960s, to the design boom of the 1980s and on to the present day.
The exhibition is curated by Stafford Cliff and Deyan Sudjic
As the brutality of police and military forces against protesters has increased across the Arab World over the past year, it’s easy to forget that the region does not have a monopoly over this violence.
“The Summit,” an investigative documentary screened last week at the Berlin International Film Festival, reminds us that while the frequency of crackdowns varies in different parts of the world, when security forces decide to attack, they often do so with a similar level of brutality.
In the film, Italian journalists Franco Fracassi and Camillo De Marco dissect the brutal security crackdown against anti-globalization protests at the G8 summit in Gonoa, Italy in June 2001. The police attack left one dead and hundreds of protesters severely injured.
“The Summit” offers rare insight into a seemingly out-of-place human rights breach that has somehow failed to leave a mark on the global consciousness. Fracassi and De Marco succeed in fully reconstructing the incident, which took place over a decade ago, using firsthand accounts by protesters, chilling documentary footage, released police tapes and emergency calls from horrified eyewitnesses.
The filmmakers, along with an investigator, sifted through hours of documentary footage that show a very different narrative from the official one propagated by local police forces.
Still, some parts of the film are a bit cliché, seemingly influenced by mainstream detective shows. For example, one scene shows the detective-looking narrator sitting in an interrogation room, facing the camera with a raised eyebrow, questioning the “official” version of the story.
In an interview with Egypt Independent after the film screening in Berlin, Fracassi commented on some of the staggering similarities between the police tactics shown in the film and those used by police and military forces in Egypt. These similarities suggest that police forces in both countries were trained in the same place — the US — says Fracassi.
While the identity of the thugs who are believed to “infiltrate” or attack protesters in Egypt, often dubbed “the third party,” remains unknown, “The Summit” clearly identifies a vandalism group, called the Black Bloc, as Italy’s “third party.”
It seems that deploying violent groups to justify attacks on peaceful protesters is a standard tactic in the police manual.
Eyewitnesses in the film testify to seeing Black Bloc members — or “thugs” as they are often described in the Egyptian media — instigating violence, and then hiding behind the police lines as security forces attack peaceful protesters.
Especially resonant with the Egyptian experience are the tapes of emergency calls featured in the film, which reveal that operators responded to frantic callers reporting criminal acts by saying they have orders not to intervene.
Eyewitnesses in “The Summit” also discuss how deploying violent gangs during protests was meant to place the blame for violence and vandalism on protesters and turn the public against them. Revolutionaries in Egypt have been facing similar accusations throughout the past year.
In the testimonials shown in “The Summit,” people describe police brutality as animal-like, giving off a strong stench of testosterone and sweat — a description that could easily be used to describe the Egyptian military forces dragging female protesters by their hair and beating the bodies of dead protesters before throwing them on piles of garbage on street corners.
In Egypt, many activists subjected to torture and serious injury in clashes with security forces are back on the streets, protesting. The Gonoa attack, however, seems to have left much deeper scars on its victims, who were taken by surprise as they were used to police forces protecting protests, not attacking them.
Fracassi, who is both the director of “The Summit” and a subject in the film, as he was attacked by police in Genoa while working as a journalist, says that making the film was part of his healing process. Fracassi and other victims said that, a decade later, it was still difficult for them to watch the incident or read about it, and their voices shook up as they recounted their ordeals.
“The Summit” thoroughly investigates an incident that mirrors the periodic use of violence against protesters in Egypt, and possibly offers Egyptians clues to find the truth about the events of the past year.
©2012 Heba Afify
La producción artística de Pablo Siquier se divide en dos líneas creativas que en ciertos momentos han sabido converger. Por un lado, pinturas sobre tela tradicionales: superficies que requieren del espectador su capacidad de observación y lectura; y por otro, intervenciones en el espacio que lo comprometen en un tipo de percepción más física y ambiental. Es esta dimensión de su obra la que se despliega en esta exposición.
El recorrido abarca sus primeras instalaciones a fines de la década del ochenta y principios de los noventa: la realizada en el Instituto de Cooperación Iberoamericana en la muestra Inocentes Distractores, o en Centro Cultural Recoleta junto al Grupo de la X.
La muestra incluye una instalación de maderitas pintadas a mano con infinidad de puntitos que Siquier proyectó en esos años pero que nunca llegó a realizar y otra realizada en poliestireno expandido como las presentadas en la Galería Ruth Benzacar en el año 1995 y en el Centro de Arte Reina Sofía de Madrid años más tarde. Asimismo la sala será intervenida por una enorme instalación confeccionada en hierro trefilado.
La muestra contará con dos murales de gran tamaño, uno de los formatos que más ha desarrollado Siquier en estos años y en donde se unen sus dos líneas de trabajo. Uno en vinilo autoadhesivo de 590 x 1340 cm. y otro en carbón de 590 x 730 cm.
Murales e instalaciones
Sala Cronopios
Jueves 23 de Febrero al
domingo 4 de abril de 2012
Bruno Taut compte parmi les architectes les plus significatifs du Mouvement Moderne et est l’un des premiers membres du Deutschen Werkbund, l’Association Allemande des Artisans. A l’occasion du 125ème anniversaire de sa naissance, le Berliner Werkbund lui consacre une exposition présentée au Centre Méridional de l’Architecture et de la Ville (CMAV) par le CAUE 31, l’AERA et le Goethe-Institut de Toulouse.
Les cités résidentielles de Taut dans les années 20 à Berlin établissent de nouveaux critères architecturaux et urbains. Avec peu de moyens, le souci du détail et l’intégration des espaces extérieurs au logement, il a réformé les formes de l’habitat. La qualité de l’architecture de Bruno Taut ne réside donc pas seulement dans ses couleurs expressives qui sont devenues la marque de son oeuvre.
Cette exposition présente de manière systématique les lotissements et les ensembles résidentiels de Bruno Taut à Berlin et dans les environs. Pour chaque projet sera pris en considération sa phase de réalisation, ses modifications ultérieures et son état actuel.
Le curateur de cette exposition est l’architecte Winfried Brenne, qui a largement contribué à la redécouverte et à la conservation de l’héritage de Taut. L’analyse méticuleuse et le savoir artisanal réalisés ici, ainsi que les résultats de la réhabilitation ont valeur d’exemple pour les témoins architecturaux du XXème siècle, menacés en tant de lieux.
Le Berliner Werkbund s’est fait un devoir de redonner aux monuments du Mouvement Moderne la place qui leur est due dans la conscience collective, tout en les protégeant des menaces du présent et en intervenant prudemment sur ces ouvrages uniques. Les efforts pour inscrire quatre cités significatives de Bruno Taut au patrimoine mondiale de l’humanité sont fortement soutenus.
L’exposition rend hommage au «maître des bâtiments colorés», qui a profondément marqué l’architecture du XXème siècle et dont la contribution à une ville sociale est restée vivante jusqu’à nos jours.
Bruno Taut – Un architecte à Berlin 16 janvier – 7 avril 2012
Vernissage le 16 janvier 2012
Centre Méridional de l’Architecture et de la Ville 5, rue Saint Pantaléon
31000 Toulouse
Tel. 05 61 23 30 49
cmav@cmaville.org
Du lundi au samedi de 13h à 19h Métro Capitole
www.cmaville.org
December 21, 2011–March 18, 2012
Accompanied by a catalogue and an Audio Guide
Gallery 699
It has been said that the Renaissance witnessed the rediscovery of the individual. In keeping with this notion, early Renaissance Italy also hosted the first great age of portraiture in Europe. Portraiture assumed a new importance, whether it was to record the features of a family member for future generations, celebrate a prince or warrior, extol the beauty of a woman, or make possible the exchange of a likeness among friends. This exhibition will bring together approximately 160 works—by artists including Donatello, Filippo Lippi, Botticelli, Verrocchio, Ghirlandaio, Pisanello, Mantegna, Giovanni Bellini, and Antonello da Messina, and in media ranging from painting and manuscript illumination to marble sculpture and bronze medals, testifying to the new vogue for and uses of portraiture in fifteenth-century Italy.
During the early Renaissance, artists working in Florence, Venice, and the courts of Italy created magnificent portrayals of the people around them—from heads of state and church to patrons, scholars, poets, and artists—concentrating for the first time on producing recognizable likenesses and expressions of personality. The rapid development of portraiture was linked closely to Renaissance society and politics, ideals of the individual, and concepts of beauty. The object may have been to commemorate a significant event—a marriage, death, the accession to a position of power—or it may have been to record the features of an esteemed member of the family for future generations.
Featuring many rare international loans, this exhibition will present an unprecedented survey of the period and provide new research and insight into the early history of portraiture. It will be divided into three sections and will span a period of eight decades. Beginning in Florence, where independent portraits first appeared in abundance, it moves to the courts of Ferrara, Mantua, Bologna, Milan, Urbino, Naples and papal Rome, and ends in Venice, where a tradition of portraiture asserted itself surprisingly late in the century.
In Florence, the most striking innovations occurred first in sculpture and were then taken up in painting. In the courts, thanks in large measure to the genius of Pisanello, the medal became the preferred means of recording a likeness. The medals, which were durable, could be produced in multiple casts, and were easily exchanged among the social elite. In Venice the painted portrait held sway, thanks to the achievements of Antonello da Messina and Giovanni Bellini, whose portraits resolutely abandoned the dominant Italian convention for the profile to present the sitter turned three-quarters, his or her distant gaze and delicately modeled features expressing hints of an interior life.
As Leon Battista Alberti declared in his treatise on painting, composed in 1435: “Painting possesses a truly divine power in that not only does it make the absent present (as they say of friendship), but it also represents the dead to the living many centuries later, so that they are recognized by spectators with pleasure and deep admiration for the artist.”
Censorship, Muslim´s Fashion
Dear Readers
Tags refresh for whom who was not online when we publish
Faith, fashion, fusion: Muslim women’s style in Australia
Authorities ban film featuring Muslim-Copt love story, intellectuals say
Prosumerzen Editorial Team
Posted by prosumerzen on February 28, 2012 in Uncategorized
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