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believe that effective science communication is of crucial importance for the advancement of science and that it will make our world a better place.
By simply following this
Why are so many health organisations funding art projects and what can artists and scientists gain from close collaboration?
An interesting article by Laura Barnett, Guardian Professional
Read it here: http://www.theguardian.com/culture-professionals-network/culture-professionals-blog/2014/jan/20/art-health-science-culture-medicine?CMP=twt_gu
Art meets science: a work from The Romantic
Disease by artist Anna Dumitriu. Photograph: Watermans
Politics, Ethics, Power and Propaganda – An ‘ICT and Art Connect’ Event by Waag Society
This special evening of short talks, discussions and networking brings together artists, scientists and technologists to investigate the role of art and public engagement in science. We consider forms of best practices and hope to develop new collaborations.
Many people believe that art is able to communicate important issues in science and technology to a wide range of audiences, that aren’t reached by traditional science communication techniques. But is this view well founded? What are the issues that need to be considered to achieve best practices? Are we talking about the instrumentalisation of art to create science propaganda? Or about enabling artists to work with cutting edge technologies in contexts that enable audiences to participate in debates around emerging technologies and ethical problems that they would not otherwise have access to? And how can we help achieve the best results for both art and science?
For more information on the programme follow this link:
Texts: Prof. John Wood and Steven Brown Specially handbound edition and a book inside the book, app. 140 pages, 24 x 30 cm. Available in April/May 2014
Spanish painter born in 1959 in Zaragoza. Since 1988, he has lived and worked in Madrid. Building on a childhood passion for drawing, Valls taught himself to paint in oils beginning in 1975. After completing his degree in Medicine and Surgery at the University of Zaragoza in 1982, Valls devoted himself full-time to the profession of painting.
As one of the Spanish representatives of the vanguard of figurative art, Valls’ work displays the strong influence of past masters and their studies of the human being. In the early ’90s, Valls began studying the use of egg tempera, adapting and customizing the techniques of Italian and Flemish masters from the fifteenth to seventeenth centuries to create new works in combinations of tempera and oil. His paintings elaborate and expand upon the methods of past masters, employing formal figurative techniques as the medium through which to explore the human psyche in a conceptual framework laden with profound psychological weight and symbolism.
Valls has participated in important international exhibitions of contemporary art, and has held numerous showings in Europe and the United States.
“I know of no other contemporary painter whose work is grander in conception or more beautiful in its execution than that of Dino Valls, nor do I know of any living painter whose work is more filled with the imagery of pain than Dino Valls’. How does one reconcile the pain and the beauty? Are they reconcilable, and, if so, what do they mean? His paintings can deliver the same terrifying shock of Grünewald’s Isenheim Altarpiece or Titian’s Flaying of Marsyas. Valls is our great contemporary master of pain and beauty. His work staggers us and forces us back to it again and again, which is art’s most ancient and magical power.”
Prof. John Wood
Pre-order Dino Valls’ Monograph here:
Januray 7 – April 4, 2014.
Mid-Manhattan Library, Front Windows and Third Floor.
Opening exhibition of Heather Dewey-Hagborg entitled “Stranger Visions” at the New York Public Library, Mid-Manhattan branch of.
This work is exhibiting as part of Art Wall on Third and Art in the Windows series.
Saturday, February 1, 2014, 2:30 – 4:30 p.m.
Mid-Manhattan Library, 1st Floor Corner Room.
455 Fifth ave. (at 40th st.), New York, NY 10016
On February 1 at 2:30pm Heather Dewey-Hagborg will be discussing the work with 319 Scholes, curator Lindsay Howard, as part of the library’s Artist Dialogue series. Technical details of the work such as collecting and analyzing genetic material from public
http://www.nypl.org/locations/tid/45/node/229458Recent news about Heather’s Dewey-Hagborg work
Stranger Visions recently returned from a surveillance-themed exhibit Trace Recordings at the University of Technology Sydney as well as Destroy Yourself locally at Kunsthalle Galapagos in Brooklyn. Heather Dewey-Hagborg completed a site-specific version of the work for the show Grow Your Own at the Dublin Science Gallery and spoke on a Norwegian Biotechnology Advisory Board panel about issues of genetic surveillance.Stranger Visions was reviewed by Chin-Chin Yap in Arts Asia Pacific, featured in C Magazine as part of their winter surveillance issue, and made the cover of Government Technology.*Photograph: Thomas Dexter
“Firebird,” by Benjamin A. Vierling
7:00pm/Geo Studio (3rd floor)Showcasing select drawings and paintings from 10 years of work, 2004-2014, A Decennary Retrospective is California artist Benjamin Vierling‘s first solo exhibition in Seattle. Employing primarily a 15th century mixed media technique of egg tempera and oil paints on panel, he integrates mythical references with contemporary subjects to bridge the timeless with the ephemeral. The iconic compositions of these panels indicate a rich historical precedent, distilling influences from the classical era, through the renaissance, the romantic period and into the present.Artists’ Reception: January 17, 6:00pm –
For more information for the exhibition check here: http://www.gageacademy.org/events/?page=current&type=5
The first NATURAL SCIENCE exhibit by Jennifer Willet will open at Artcite Gallery in Windsor Ontario Canada on January 17, 2014.
In July 2011, twenty artists, scientists, filmmakers, theorists and students engaged in an art/science research experiment where a diverse set of individuals came together to live and work at a bioart field research station in the Canadian Rocky Mountains. BioARTCAMP was a collaborative art/science project designed by Jennifer Willet and co-produced by INCUBATOR Lab and The Banff Centre. Participants worked to build a portable laboratory in the forest and conducted a variety of scientific, ecological, creative, and theoretical projects. BioARTCAMP served to provide alternative visions of of the biotech future: ecological, embodied and responsible visions of our relations and responsibilities to the other life forms we share our planet and our laboratories with.
In this exhibition, NATURAL SCIENCE, Willet will present an un-natural history collection; a collection of items, life forms, images, and stories resulting from the BioARTCAMP project. In the NATURAL SCIENCE collection traditional hierarchies between what is natural and unnatural are undermined. Lab specimens co-exist with local ecological specimens, cultural artefacts and human subjects. These objects, in tandem with photographic, video, and archival documentation of the camp attempt to recount the BioARTCAMP experience and serve to re-imagine the role of biotechnology in our shared natural history.
Video Direction: Jeanette Groenendaal, Zoot Derks
BioARTCAMP Participants: Iain Baxter&, Angus Leech, Tagny Duff, Paul Vanouse, Marta De Menezes, Marie Pier Boucher, Kurt Illerbrun, Bulent Mutus, Jeanette Groenendaal, Zoot Derks, Jennifer Willet, Jamie Ferguson, Britt Wray, Kacie Auffret, David Dowhaniuk. Additionally, Tokio Webster, Grant Yocom, Louise Baxter&, Joan Linder, Dylan Leech.
Project Assistants: Billie Mclaughlin, Arturo Herrera, Lauren DiVito, Dianne Clinton, Patrick Bodnar.
Supporters: The Canada Council for the Arts, the Banff Centre, the University of Windsor, the Social Sciences and Humanities Research Council of Canada, the Ontario Arts Council, Hostelling International, Parks Canada, Banff National Park, The Art and Genomics Centre at The University of Leiden, Fonds BKVB.
The exhibition will travel to three more confirmed sites; Forrest City Gallery (London Ontario, Jan 2015) to Harcourt House Gallery (Edmonton, August 2015) and to Open Space (Victoria, 2016).
The New Institute
Netherlands Architecture Institute (NAi)
Premsela, the Netherlands Institute for Design and Fashion
Virtueel Platform, e-culture knowledge institute
How Do You Do Biodesign
How Do You Do Biodesign is an evening for architects, urban designers, product designers, fashion designers, artists and developers of digital technology and media, which will illuminate exactly what biodesign co-produced by Het Nieuwe Instituut and the Willem de Kooning Academy.
For more info, follow this link here.