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The Creative Time Summit—the world's largest international conference on art and social change—is headed to Washington, DC! Occurring in the nation's capital just weeks before the 2016 Presidential Election, the Creative Time Summit DC will take this important moment to collectively consider what it might mean to radically transform the current state of democracy.
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Lunds konsthall is very pleased to open two new exhibitions. One is about Staffan Nihlén and is in response to requests from many visitors. It takes place in the lower galleries. The other is an in-depth presentation of artists' books and is shown in the upper gallery.
Nihlén's stone sculptures appear to be both well-planned and instantaneous. It is as if the stone shapes are incubating hidden stories—ones that the artist coaxes out of the stone mass. Nihlén describes how he stopped using ready-made blocks of stone and instead sought out rocks in natural settings.
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Ahead of the major Robert Rauschenberg retrospective at Tate Modern, writer and poet Vincent Katz explores the pioneering artist's lifelong spirit of collaboration.
In anticipation of British surrealist Paul Nash's forthcoming exhibition at Tate Britain, Marc Camille Chaimowicz, Inga Fraser, Michael Bracewell and Alice Channer discuss the lesser-known sides to the artist's work, covering his ground-breaking multidisciplinary practice across art, design and photography.
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This fall De Hallen Haarlem presents the first museum solo exhibition of work by Meiro Koizumi (1976, Gunma) in the Netherlands. One of the most distinctive voices in contemporary art in Japan, Koizumi engages in social and historical critique in video and performance works that aim for high affective impact through subtle, sometimes provocative manipulation of his performers' emotions. In Today My Empire Sings, he presents recent and new work. The power relationship between authority and subject, and the tension between collective ideals and individual expression constitute major themes in Koizumi's work.
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Beirut Art Center presents The Portrait is an Address, the first solo exhibition by artist Hassan Khan in Beirut, following a long and profound relationship with the city, starting with Khan's collaboration on Akram Zaatari's Transit Visa project in 2001 running through several editions of Home Work space Program (HWP) by Ashkal Alwan. This exhibition will also be the first to focus on the portrait as one central aspect of Khan's practice in such depth. While recent critically acclaimed survey exhibitions of Khan's work have had a wider focus and were on a much larger scale, this exhibition digs into one significant direction within the wider constellation that his practice encompasses.