La competencia ofrece a artistas de América Latina, el Caribe y de la diáspora latinoamericana la oportunidad única de presentar su arte a un público internacional en el famoso distrito de arte de Chelsea, en la ciudad de Nueva York. Los premios (valorados en USD $ 55,000) incluyen la participación en una exposición en la ciudad de Nueva York, participacipación en una feria de arte en Estados Unidos y oportunidades de promoción en línea y premios en efectivo. Un panel de jurados especializados en arte Latinoamericano revisará todas las inscripciones en busca de grandes talentos. El Concurso de Artes Visuales Contemporáneas de América Latina es una plataforma espectacular para promover tu obra a nivel internacional. ¡Aprovecha esta excelente oportunidad para artistas latinos en cualquier etapa de sus carreras! Para obtener más información o para participar, visita http://www.agora-gallery.com/competition/latin-american/spanish
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The Latin American Contemporary Fine Art Competition - June 25 to August 15, 2018
The competition offers artists from Latin America, the Caribbean and the Latin American diaspora the unique opportunity to present their art to an international audience in the famous art district of Chelsea, in New York City. Prizes (valued at $ 55,000) include participation in an exhibition in New York City, participation in an art fair in the United States, online promotion opportunities and cash prizes. A panel of juries specialized in Latin American art will review all the entries in search of great talent. The Latin American Contemporary Fine Art Competition is a spectacular platform to expose and promote your work internationally. Take advantage of this excellent opportunity for Latino artists at any stage of their careers! For more information or to participate, visit http://www.agora-gallery.com/competition/latin-american Contact us at firstname.lastname@example.org or on Facebook. read more »
submission date: 5/14/2019
“La Foresta dei Violini”: Piuarch's tribute to the lost forest From the 8th to the 19th April 2019 at University of Milan, an evocative installation showcases the relation between nature and music, the spruces and the arts which from that wood give life to emotional instruments
University of Milan, Interni Human Spaces - During Milan Design Week 2019, Piuarch presents “La Foresta dei Violini”: an installation sponsored by CityLife, which aims at representing the value of the spruces wood of Fiemme Valley (Trentino Alto Adige, Italy). On the 29th October 2018 a storm and a 200-km/h-wind ravaged a centuries-old natural balance, hitting more than 12 million trees on the Alps. Among these there is Paneveggio Forest, also known as Stradivari's Forest. A place renowned for the spruces growing there: their wood has extraordinary features, and it has been forever used to make the best acoustic violin sound cases, which master luthier Stradivari chose for his masterpieces. Based on a concept by Nemo Monti, Piuarch designed an evocative installation which will stand out in the Main Courtyard of the University of Milan within the INTERNI HUMAN SPACES event. The project is sponsored by CityLife, with the support of the Province of Trento and the Magnifica Comunità di Fiemme (Magnificent Community of Fiemme) as technical sponsors providing the wood used to build the installation.
CONCEPT “La foresta dei violini” is an evocative sign of the lost forest, and its absence. A tribute to the territory, to the forests, to the nature; to the communities that create their crafts thank to that natural environment, as well as to the wood supply chain born on those territories; to the arts that create those wooden instruments and to the artists that those instruments play to give back emotional music. Made of rough wood, using broken trees eradicated by the wind, “La Foresta dei Violini” represents a place of memories, witness of the violated nature, where architecture is both support and relief.
THE INSTALLATION Two large spruce trunks emerge from the loggia of Main Courtyard of the University of Milan: the roots suspended in the void overlook a balustrade on the courtyard, supported by an architectural easel made of worked red spruce wood. Disrupted trees, segments of memory, evidence of the infringed nature. Roots in the wind. Architecture remains in between. The easel is an elementary support, the essential structure, which follows the work in all its stages. The artifact is a bridge between things and ideas: a geometric shape that lies in the wood carving, in the intersection of straight forms, it is the sum of singularities. It bears the weight, connects different borders, has many names and functions in the human jargon. For these reasons it is the simplest, most common and universal symbol of the ancestral relationship between technique and nature, between raw material and transformation. Made of worked red spruce, it is the archetype of the craftsman work who repairs. The dimensions are amplified, the roles turned upside down, the priorities acknowledged. Nature comes first. “We want to celebrate the primordial architecture of the forest, respecting its structures and forms of intersection with the planet and its inhabitants. This project evokes the ability of nature to communicate with human beings, inviting them to tactfully observe its rules, taking care of it and following the natural order of the earth.” piuarch.
PANEVEGGIO FOREST, THE ACOUSTIC FOREST Paneveggio Forest is renowned because is where the spruce trees used to make the most elegant and precious instrument, the violin, grow. Spruce trees are almost the 90% of the trees in the forest, associated with silver firs at lower altitudes, larch and Swiss pine to the upper ones, while the undergrowth is made up of a carpet of black and red blueberry. And it is among these thousands of shades of green that master luthier Stradivari got lost looking for the most suitable trees for the making of his violins: the centuries-old red fir trees whose wood, thanks to its particular resonance capacity, provides the ideal raw material for the construction of sounding boards. This wood is characterised by a great elasticity that guarantees to better transmit the sound, and its lymphatic channels are like tiny organ pipes that create resonance. For this reason the trees are felled in the waning moon, between October and November, when in the trunk there is less quantity of sap. The best ones can be recognised for the very thin and perfectly concentric growth rings with straight and fine fibers and few knots. It was in this forest that the greatest violin makers of Cremona reached the perfection of sound and many of the specimens made with the spruce of this forest are still kept today in the Violin Museum of the city.
LA FORESTA DEI VIOLINI 8 - 19 April 2019 INTERNI HUMAN SPACES
Università degli Studi di Milano - Ca’ Granda ex Ospedale Maggiore Via Festa del Perdono 7, Milan, Italy read more »
submission date: 4/12/2019
Born in Cape Town, South Africa, under apartheid, he combines rhythmic influences of South Africa with jazz. After the notorious Sharpeville massacre of 1960, mixed-race bands and audiences were defying the increasingly strict apartheid laws, and jazz symbolized resistance, so the government closed a number of clubs and harassed the musicians and he left the country. None other than Duke Ellington produced an album on him in 1963 and in 1974, he recorded "Mannenberg Is Where It's Happening," an unofficial anthem for black South Africans; he performed at the 1994 presidential inauguration of Nelson Mandela. He has performed at Carnegie Hall and the Newport Jazz Fest, joined the Elvin Jones' quartet for a time, and made an album with Max Roach.
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submission date: 4/12/2019
I consider myself a visual composer who, with lightness, careless and without shame, utilises and mixes different techniques and visual arts.
I don’t go along or belong to any group, school or trend.
Groups and schools are prisons. Bounds are boundaries to the freedom, the freedom which is the base to try understand who I really am, who You really are.
Artistically I don’t have conscious influences. I usually improvise, in art so in life. I don’t use to prepare and organise things before to do something. It’s tedious and I don’t have enough discipline for it. In Italian I would say: Navigo a vista. Literally Dead Reckoning. My interest goes to people and their faces, that’s why only love figurative arts in every style or form I like to observe people which are the mirror of myself and the understanding of Myself in their daily activities and emotions, and I keep myself ready. Sometimes, for few seconds, it’s like I can experience their momentary emotions, especially if it is frustration or sacrifice. A stranger can make us feel emotions that don’t belong to Us. Empathy. And it is that vision, in which I transcend, that I want to translate into something real using Art as a device tool. I use the others. I then confront them with myself. It can be seen often in my art where my portrait is often the background layer, hidden or drowned under other’s emotions.
I was born in Bologna, Italy, the 8th of August 1973 in a middle-class family, basically formed by Teachers, Doctors and Economists. I was forced to follow my parents steps so I graduated in Economics. Meanwhile, I was 18, I met and get along with Massimiliano Valli, a talented Film director and peculiar person witch I still admire. He made Best Boy in his movies. That’s where my love and dreams for Cinema light up. In secret I attended a Cinema university, DAMS Bologna. During the university time in Urbino, I I get really well along with the Maestro Bruno Tontini, a contorted painter and sculptor, known in Urbino for being hot-headed alcoholic and untameable trouble maker. With him I spend 5 years of real friendship, interrupted by his incarceration.
Together we mostly experiment with the videocamera doing short videos using us as actors. He also teaches me the basic of sculpture and painting. I consider Bruno my first Maestro d’arte, even if his style didn’t influenced any of my works. Bruno is in prison and I get my graduation. Back to Bologna I start to work in my parent’s business as business consultant. After 6 month I buy a ticket to Shanghai and I quit the job. Since that day I still wandering around asia doing videos, photos, drawing and tattooing. Nick Suzuki (Nicola Suzzi)
submission date: 4/4/2019
Eugenio Galli nasce nel 1951 a Seregno (MB), dove lavora tuttora, e vive a Briosco (MB). Sin dall’adolescenza coltiva la passione per la pittura.
Terminati gli studi scientifici a Monza lavora per circa vent’anni nella bottega orafa di famiglia specializzandosi in gemmologia.
Dopo aver abbandonato la figurazione, agli inizi degli anni ’90 si sofferma sulla questione della luce approdando ad uno spazio creativo sottolineato da un colorismo fine e sommesso. Iniziano così i suoi cicli astratti, denominati materia e spirito, percezioni universali, iridescenza cromatica, sino ad arrivare alla recente produzione che sfocia in una particolare filosofia alla ricerca dell’universalità spirituale che va sotto il nome di “La trascendenza di Eugenio Galli”.
A questa nuova linea pittorica-scultorea appartengono l’elegia del bianco, le opere multimateriche e le sculture in materiali vari, specie in cor-ten.
Eugenio Galli ha partecipato a numerose personali e collettive in Italia e all’estero tra Roma, Firenze, Milano, Berlino, Lugano, Lione, Budapest, Sharjah (Emirati Arabi) e il Cairo.
Sue opere sono conservate in collezioni pubbliche e private, nazionali ed internazionali.
…ecco allora la Trascendenza cioè l'”andare oltre”… quindi andare oltre la realtà dell’universo fisico, del pensiero e della ragione. Questa mia linea pittorica-scultorea non prende perciò spunto da elementi materiali, da immagini o elaborazioni mentali, ma è l’individuo in quanto essere spirituale che crea scevro da qualsiasi interferenza. È vero per fare ciò deve usare il proprio corpo, gestire i vari attrezzi e materiali ma questo non è pensiero ma unicamente automatismo che deriva dalla tecnica acquisita. Non si deve quindi confondere questa condizione con la casualità in quanto qui abbiamo la consapevolezza dell’essere.
submission date: 3/29/2019
The Italian Studio Vudafieri-Saverino Partners has designed four kindergartens in China, where the immersive and experiential architectural space becomes a stimulus for imagination and learning.
An ever closer relationship links architecture and pedagogy: school spaces play today a decisive role in the education of children, fostering their wellbeing and accompanying their learning process. This is the principle behind the project by Vudafieri-Saverino Partners, architecture studio based in Milan and Shanghai, for Gymboree Play & Music. The American brand – with 700 centres in more than 40 countries around world - offers courses for infants and children up to the age of 6, with the aim of developing their cognitive and relational skills in early childhood, through play activities based on listening to music, art classes, group activities and problem solving games. To translate Gymboree’s educational philosophy into architectural language, the architects have come up with the concept of the four schools - two in Shenzhen and two in Suzhou - designing places capable of arousing children's curiosity and also encouraging them to learn. The spaces are designed to interpret the theme of "travel" through shapes, colours and materials, with different areas recreating different environments: the ocean, the forest, the desert, the Arctic, the canyon and space. A magical, dreamlike context stimulates the children to use their imagination to live unique experiences and visit unknown worlds. Without leaving their classrooms they are able to rest in the shade of a tree in the middle of the forest; immerse themselves underwater with inhabitants of the ocean, run up and down dunes until they reach an oasis in the desert. The protagonists of this adventure are not only the children, but also their parents, who are able to relive the fun of childhood and develop their creative potential along with their children.
The inspiration for the design of the spaces, which stand out for their simple geometries, bold colours and different materials, derives precisely from this identification with the children. "We tried to interpret the environments through the eyes of children, creating a context that provided them with sensations rather than images, so as to leave them free to fly on the wings of their imagination. The imagination of children is pure and original, they see the world with the independence and creativity of their own thoughts. Imagination is more important than knowledge, since knowledge is limited, while imagination is the driving force behind progress and the source of the evolution of knowledge", say architects Tiziano Vudafieri and Claudio Saverino.
The concept finds its brightest expression in the school of Shenzhen Upper Hills, a space of over 2000 square metres, which accommodates the offices of Gymboree employees as well as the classrooms. Here the whole building - and not just the classrooms - is an immersive and highly experiential space. Colours, shapes and geometries become tools for giving life to an imaginative world, which characterises the corridors, transit areas, the reception, the bar, the common areas and the classrooms. The central garden with playground allows children to interact and play in the open air. The offices are located on the upper floor and accommodate the entire Gymboree team in Shenzhen with meeting rooms and training areas, bar and kitchen. The lavish programme of collateral activities - such as gymnastics and cooking classes - is also open to parents, who can enjoy themselves while their children are having fun in class. The Gymboree logo and its iconic orange colour characterise the facades, making the space immediately recognisable from the outside. read more »
submission date: 3/25/2019
ESCALA is a fountain pen designed by Los Angeles-based studio ēnsso, winners of the Red Dot and Good Design awards. The designers conceived this pen as a tool for architects and engineers. The pen’s triangular cap serves as a scale ruler graded with 6 imperial and 6 metric scales. The fountain pen slides in or out the cap so they can be used simultaneously. The pen is expertly machined from a solid block of aluminum anodized in matte black and comes equipped with a Peter Bock, German-made nib that provides the smoothest writing experience. It comes with a Schmidt K5 ink converter to use with bottled ink but also accepts short and long standard international ink cartridges.The metric scales included are 1:20, 1:50, 1:100, 1:200, 1:400, and 1:500 while the imperial scales engraved are 1/32, 1/16, 1/8, 1/4, 1/2, and 1.
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submission date: 2/4/2019
LAS VEGAS, NV – (January 28, 2019) - International Market Centers (IMC), owners and operators of World Market Center Las Vegas, broke ground today on construction of The Expo at World Market Center Las Vegas, a new 315,000-square-foot exhibition facility, scheduled to open in summer 2020 on the World Market Center Las Vegas campus.
The new Expo at World Market Center Las Vegas will feature 194,785 gross square feet of exhibit space, which is divisible into two halls – North with 97,684 gross square feet and South with 97,101 gross square feet – which can accommodate up to 1,000 booths. The Expo at World Market Center Las Vegas will feature an expansive lobby area, registration area, onsite shuttle bus depot, attached parking garage and two permanent “grab and go” food service areas.
“IMC is making a $90 Million investment in the creation of The Expo at World Market Center Las Vegas, a new state-of-the-art, purpose-built facility,” said Robert Maricich, CEO of IMC. “We’re delighted to cooperate with the city of Las Vegas and the state of Nevada to bring this new exhibition venue to Las Vegas. Our use of local labor, at ‘prevailing wage rates’ will make this project a win-win for the exhibition industry and the city of Las Vegas.”
Construction is scheduled to begin fully in April and the grand opening is expected for IMC’s Summer 2020 Las Vegas Market, a semi-annual marketplace for the gift and home furnishings industries. “According to the Las Vegas Convention & Visitors Authority (LVCVA) in 2017, the exposition industry generated $58.8 billion in economic benefit to Southern Nevada,” said Mayor Carolyn Goodman. “With the addition of this new facility, Las Vegas now offers the exhibition industry a total of 4,214,047 gross square feet of exhibit hall space at four facilities – the Las Vegas Convention Center, Sands Expo, Mandalay Bay and The Expo at World Market Center Las Vegas.”
The Expo at Las Vegas Market will be the new permanent venue for presentation of temporary gift and home décor exhibits at IMC’s semi-annual Las Vegas Market, which showcases 4,000+ gift, home décor and furniture resources in five million square feet of permanent showrooms and temporary exhibition space. During the Las Vegas Market, IMC plans to use the lobby of the Expo at World Market Center Las Vegas for attendee and exhibitor registration, making the new facility the gateway to its entire marketplace. The Expo’s contiguous positioning with Building C also will improve attendee traffic flow between Las Vegas Market’s permanent showrooms and temporary exhibits, which IMC expects will drive new resources to campus and enrich the pipeline for permanent showroom presentations. read more »
submission date: 1/28/2019
It's myself art journey. Last 10 years to continue I am busy in myself search through the art and painting. For me painting is a language. It's need vision not any kind of texts ...
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submission date: 1/21/2019
Agora Gallery is pleased to invite artists from across the globe to enter the 34th Annual Chelsea International Fine Art Competition. Selected artists will receive prizes and opportunities that will grant invaluable exposure, boost recognition, and promote career growth.
“The Chelsea International Fine Art Competition has been an annual tradition within New York City’s vibrant art scene for more than 30 years. Artists from around the world can have their work reviewed by distinguished jurors and, if selected, exhibit their work in a major Chelsea gallery. It’s a marvelous opportunity open to all and we strongly encourage artists at every level of practice to participate!” -Eleni Cocordas, Director, Agora Gallery
The 2019 competition awards are valued at more than $70,000. In addition to cash prizes, other awards include participation in the collective exhibition, featured magazine profiles, valuable PR opportunities, and an honorable mention. A portion of the gallery’s proceeds from artwork sales will be donated to the Children’s Heart Foundation.
“My experience with Agora has been almost a dream come true. I never imagined ever exhibiting in a New York City Chelsea Art Gallery. I thought that would have been the extent of my reward for being selected but I was amazed at how much Agora was committed to the success of the artist… This was absolutely a dream come true. I highly recommend Agora to all artists, especially new and up-and-coming artists. I also reached out to my brother who is a painter and an old high school friend, a photographer. The best thing about Agora was that it reignited the fire in me to continue painting. Thank you.” -Herold P Alexis Patrick, United States, 2018 Selected Artist
The 2019 Chelsea International Fine Art Competition will be accepting submissions between February 5th and March 12th, 2019. Results will be announced on April 16th, 2019, with the competition exhibition slated for August 10–20, 2019.
Are you ready to take your career to the next level? Apply to be recognized by Agora’s reputable jury. Visit http://www.agora-gallery.com/competition/ for more information and detailed instructions on how to enter. You can also contact us at email@example.com. read more »
submission date: 1/8/2019