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This article is dedicated to the “Baltars” collective porcelain painting workshop (1924–1930), founded in Riga, Latvia by three modernist artists: painters Romans Suta (1896–1944) and Aleksandra Beļcova (1892–1981) and graphic artist Sigismunds Vidbergs (1890–1970).The “Baltars” phenomenon is significant because of the innovations that the artists brought to the landscape of Latvian porcelain manufacturing and its exhibition activities in the 1920s and the early 1930s, both local and in the Baltic Sea region—Lithuania, Estonia, and Sweden. The article investigates “Baltars” foundation and closure, artistic activities of the company, its attempts to enter the international art and trade scene, and its accomplishments. Special attention is paid to the amalgamation of modernisation, nationalism, and state-building manifested in their paintings on porcelain. Due to the present growing interest in porcelain art in Latvia, triggered by numerous exhibitions and publications, discourse on the “Baltars” phenomenon has become topical.

Abstract

Performance art has become over-represented in contemporary art museums, at art fairs, at major international exhibitions. In this context, I have proposed a brief overview of the history of performance in North America and Europe, to identify conceptual variations or continuities in post-1989 performing arts practices. What kind of queries caused the resort to the body? Which of the criticisms are still current and which new issues are formulated in the present geopolitical framework or in particular socio-political contexts? In order to answer these questions, I’ve selected a number of national and international male/ female artists whose practices illustrate the main directions in today’s performance art.

under the Patronage of the Society of Arts’ Friends from Strasbourg.], 3-12. Paris: Exposition Internationale des Arts Décoratifs et Industriels Modernes [International Exhibition of Modern Decorative and Industrial Arts]. Trifescu,Valentin. 2009. Le campanilisme dans l’histoire de l’art. Hans Haug et sa conception de l’art alsacien. [Campanilism in Art History. Hans Haug and His View on Alsatian Art.] In Perspectives contemporaines sur le monde médiéval 1. [Contemporary Perspectives on the Medieval World 1], 413- 419. Piteşti: TipArg.

a synchronous generator with a boost converter in wind turbines: an experimental overview, IET Renewable Power Generation, 2012, Vol. 6, No. 6, 414-423. [10] OLSEN RODRIGUES, SATISH RANADE, Energy storage system sizing for rotor angle stability of synchronous generators, 39th North American Power Symposium Conf. Proc., NAPS ’07, 2007. [11] SZULAWSKI P., KOCZARA W., Synchrogenverter - Novel Hybrid Generator, Conf. Proc., PCIM Europe 2015; International Exhibition and Conf. for Power Electronics, Intelligent Motion, Renewable Energy and Energy Management, 2015. [12

Eurocentrism to North Atlantic Feedback - documenta as an „International Exhibition“ (1955-1972). In: Richter, Dorothee, Buurman, Nanne (Hgg.) documenta. Curating the History of the Present. Oncurating, Issue 33/June 2017, S. 97-108. Grasskamp, Walter (2003): Kunst, Medien und Globalisierung. Ein Rückblick auf die documenta 11. In: Liessmann, Konrad Paul (Hg.) Die Kanäle der Macht. Herrschaft und Freiheit im Medienzeitalter. Wien: Zsolnay, S. 195-213. Haftmann, Werner (1955): Einleitung. In: documenta. Kunst des XX. Jahrhunderts. Internationale Ausstellung im Museum

) (Bratară medicală cu efect de reechilibrare energetică), MEDALIE DE AUR (GOLD MEDAL) la Salonul International de Invenții și Inovații Traian Vuia, Timișoara (International Innovation Salon Traian Vuia), 14 iunie 2019. Travel cushion with energy rebalancing effect (2019) (Coussin de voyage a effet de reequilibrage energetique). GOLD MEDAL, Geneve, le 12 avril 2019, SPECIAL AWARD, Taiwan Invention Association, International Exhibition of Inventions, Geneva, 12 May 2019. DIPLOMA DE MERIT a Ministerului Cercetării și Inovării (MERIT DIPLOMA of the Research and Innovation

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science and art perspectives. Hope- fully, further research might follow these paths. International exhibitions became showrooms for this expertise and contributed to disseminate Australia’s riches, as societies started foreseeing the preservation of native fl ora and the environment. Although the readers can easily understand why this new chapter ends in 1913, they may not be able to grasp why ‘Reconciling town and country (1893-1913),’ begins in 1893, especially since the author points out Ebenezer Howard’s Garden- Cities of Tomorrow (1898) as the European

also developed in parallel with the artisan industries in the city. In 1838, there were over 800 tradesmen working in Bitola. Most of them traded inside the Ottoman Empire, but a few also traded with countries from Western Europe, and Persia as well as India. (This is supported by a document from 1829, in which it states that the tradesman Anastas Tsalis from Bitola traded “on land and sea with Western Europe, Persia and India“ ( Turkish documents on Macedonian history 1958 : 53-56). In 1862, artisanal products from Bitola were present at the International

advantage of this vast knowledge base about the night sky. Indigenous qualitative observations of Northern Lights may not directly relate to the specific kinds of phenomena and energies making up cosmic rays, but this is not known for sure and 35 Andrew Applejohn, “Coincidence Mixer? A Few Questions,” email correspondence, December 9, 2019. 36 This trip was part of the content development for the International exhibition One Sky, Many Worlds: Indigenous Voices in Astronomy, lead by Ingenium: Canada’s Museums of Science and Innovation, and Indigenous co

waterfront area offered the ideal urban expanse to accommodate new office development ( Figure 13 ). Saito noted, “The waterfront sub-centre was chosen as a primary area to enhance Tokyo’s global communication and exchange function” ( 2003 , p. 295). On this site, Tokyo’s governor Suzuki also planned to set up a very ambitious open-air international exhibition called ‘Tokyo Frontier’ “to show off how the futuristic city was to be built with the aid of new technology to improve human life in the city [ TMG, 1989 ]” [ Saito, 2003 , p. 297]. The economic recession following