Category: Sculpture Page 26 of 28

A Glimpse @ Galerie Camille

On February 7, 2016

Galerie Camille, Exterior image on Cass Avenue

The Galerie Camille opened a group exhibition, Glimpse, January 22, 2016 under the new directorship of Melannie Chard, a Michigan native who has returned from New York City where she worked as Vice President, Head of Valuations, Americas at Sotheby’s Auction House over the past ten years. The gallery is the creation and manifestation of Adnan Charara, Detroit artist and entrepreneur who purchased the building nestled in the heart of midtown on Cass Avenue, in the block south of Willis. He says, “The gallery was founded in 1987 and renamed after the birth of my daughter, Camille. I renovated the space in midtown Detroit and first opened my artist’s studio in January of 2012 with the gallery following in May 2014. In addition to regular exhibitions, we also provide support to estates and collectors who wish to sell art and antiques on the secondary market.”

Spike the Punch Bowl, 2016 – Mixed media on canvas

John McLaughlin’s abstraction is a kind of mixed media of cut paper, some drawing, and paint where he embraces gesture from both natural and man-made imagery. The layers of his collage are purposely balanced both in shape, form and color. McLaughlin says, “ My art depicts a daily routine, combined with nature and music, with some mistakes along the way.” His array of hardline and organic shapes in his work Spike the Punch Bowl, becomes a field of balance where he allows the audience to form their own conclusions, a popular approach made by painters of the abstract field. I think he’s right about it when he says ultimately, “I make them because I like the way they look.”

Fruit of Klimt, 2016 – Photo on aluminum, 8 x 12 inches

The exhibition includes the work of photographer John Dykstra, whose photograph Fruit of Klimt, is a variety of Photoshop work on aluminum where he brings his attraction of Gustav Klimt’s women in robes, to his image. The solemn figure holds a pomegranate, the symbol of the ancient Greeks for the “fruit of the dead.” There is a theme to Dykstra’s work: when he uses the female figure in isolation, sitting at the end of a dock, asleep in an abandoned home, or floating in a marsh, in one word… loss.

LISA SPINDLER/ SPINDLER PROJECT  in collaboration with Dr. Lycia Trouton/  nail project entitled “DRIVEN” Queen Bee Photograph on paper Edition 1/25

Another photographer in the Glimpse exhibition is Lisa Spindler, whose large 40 X 60 black & white photo, Driven, is a close-up of hands that have stood the test of time. A Detroiter for the last 25 years, Spindler is a commercial photographer who has made a lot of time to produce personal work, particularly her black & white photographs of the nude female figure that uses classic composition and an acute sensitivity to light. I personally know a lot of commercial photographers who have a large body of personal work, and there is no shame in making a living with the camera for artists who must survive in today’s expensive world. Lisa Spindler’s work is divided up into categories where you find more art than product, where much is non-objective and abstract. The end result is finding your work in a gallery, instead of a high-gloss magazine. Works for me.

Totally Serious, 2015 Oil on canvas

Among the group of artists in the Glimpse exhibition, is the representational painter William Harris, whose Totally Serious oil painting captures the figure in multiple positions overlaid with light and movement. His work carries a commentary, and he has to keep is eye on the blurry line between a painting and an illustration. His draftsmanship and composition seems to be headed towards painting. When he opens the scale of his work to larger dimensions, good things could easily happen.

Opening and pursuing a gallery business is a noble and altruistic venture that everyone in the Detroit art community has to admire. “Glimpse is a window into what the gallery will be showing over the next year” says Melannie Chard, “We hope to provide opportunities to both seasoned and emerging artists.” Galerie Camille has a good location, a well-designed space, and ownership with a kind heart.

The Glimpse exhibition participants: Jon Parlangeli, Dessi Terzieva, Karianne Spens-Hanna, William Harris, MALT, Lisa Spindler, Scott Taylor, TEAD, Aimee Cameron, Brian Day, Robert Mirek, Paula Zammit, Paula Schubatis, John McLaughlin, Adnan Charara, Tony Roko, Alan Kaniarz, Kim Fey and John Dykstra.

Gallery hours are Wed-Sat 12-5. All other hours are by chance or appointment(313) 974-6737 [email protected]

4130 Cass Ave, Suite C

Detroit, MI 48201

http://www.galeriecamille.com

Coleman, Gardner, & Egner @ N’Namdi Contemporary

By Sarah Rose Sharp

On February 1, 2016

In Paintings, Sculpture

N’Namdi Winter Line-Up :Warm Woodworks and Emotional Moving Blankets

ncoca

Each work by Johnny Coleman in his main gallery show at the N’Namdi Center for Contemporary Art http://nnamdicenter.org/ is dedicated to someone; “For Maya Angelou,” some say, or “For Wendall Logan,”—Andre Burbridge, Toni Morrison, Brother Yusef, Kamau Daaood, even one dedicated more generally “For the Poets.” This is fitting with the show’s title, Homage: Regular Folk, which reflects Coleman’s sense that these illustrious names “Are all regular folk…each of them is deeply connected to the people and cultures from which they emerged. They do not set themselves apart.”

Johnny Coleman “Poem for Brother Yusef”, 2015/16, Mixed media, audio

Johnny Coleman, “Lifted” (For Shoulders), 2015, Mixed media

The homage is paid through totemic arrangements of found materials, including musical instruments, salvaged wood, and chalkboards. Coleman speaks of the chalkboards as a visual articulation of memory: “Though erased, one can see traces of what has been written there before.” But all of his materials radiate a residual energy, infusing his precisely finished woodworks with a sense of soul. The central, and most elaborate, installation features a tabletop composition supported by a base made of wood-framed chalkboard segments, which stands before an illuminated fabric scrim, amid a carpet of oak leaves. The scene is peaceful and full of autumn melancholy; gourds loll in the thick, even, scattering of leaves, two little stools support oregano and basil stuffed in bottle gourds. There is sense of an odd and elevated picnic in progress, with the table full of dry brown rice that serves to anchor a spread which includes a medley of spices, a bamboo flute, and a recovered radio set, among other items. Underscoring this ceremonial layout is an improvisation on “12 Bar Blues,” interspersed with found sound, including Yusef Lateef’s breath, and afternoon traffic outside the Detroit Public Library. Says Coleman, “The relationship between “Poem For Brother Yusef” and the blues piece emerging from within the installation, for me, speaks to the manner in which Yusef Lateef in particular, and jazz and the blues in general, serve as vehicles for the transformation of struggle and pain into something more than tenacity.”

John Egner, “Two Tone Plinth 2012, Wood

John Egner, “Al Dente Top”, 2012-15, Wood

This is just one of almost a dozen incredibly thoughtful arrangements in Homage: Regular Folk. The incredible care in finishing these materials creates smooth and engaging tones and surfaces that speak to the sonorous qualities that lend wood to be the base material of stringed instruments. The impact of wood as a versatile material is demonstrated perfectly in the works of John Egner in the Rose Gallery. The simply-titled Wood Constructions tells it like it is, with just over a dozen compact wall hangings that suggest architectural scale models or clusters of frame-shop samples, at a glance. The small, interlocking pieces of each arrangement build up layers of depth and an interplay of colors with natural wood tones, creating little modernist houses that perch somewhere between two and three dimensions. There is glorious tension here; one imagines each piece being constructed like a game of Jenga, with Egner precariously removing and adding little slips of wood, one at a time, to find the perfect stopping point between balance and collapse.

Saffell Gardner, – Cosmic Spirits, installation view

Saffell Gardner, One within the “Cosmic Spirits” series, 2015, 72 1/2” x 81 1/2”, Acrylic on moving blanket

Eschewing wood, but picking up on spiritual explorations, a new body of work, Cosmic Spirits, by Saffell Gardner fills the Black Box Gallery and stretches along the corridor. Inside the gallery, large-scale pieces rendered on heavily gessoed moving blankets layer riots of color and form over a base layer of geometrics created by the quilting of the blankets. Gardner first experimented with moving blankets as canvases during the 2014 Big Painting show, and finds them attractive for both the texture and the scale. “The quilting texture added the depth that felt was necessary for the spiritual aspect I wanted to convey in this series of paintings,” says Gardner. With the overlay of painted shapes—including the iconic Xhango, a double-ax shape that has been a recurring motif in Gardner’s work for quite a few years—and the underlying geometries places his work in conversation with Enger’s. The sense of cosmic exploration and connection to influential figures aligns it very much with Coleman’s. “What I see going on is my idea of a tribute to my ancestors the were lost during middle passage,” says Gardner.

All three of the shows, which will run at N’Namdi until April 1^st, bring a unique perspective to the table, but the overall effect is quite seamless, with the mastery each of these artists brings to his craft grounding their playful and heartfelt explorations. Whether you’re interested in tributes to regular folk, meditations on cosmic spirits, or just simple wood constructions, N’Namdi’s winter line-up has something inspiring to offer.

52 E Forest Ave, Detroit, MI 48201 (313) 831-8700

About

Carlos Rolón/Dzine @ OUAG

By Ron Scott

On January 27, 2016

In Installation, Performance, Sculpture

Oakland University Art Gallery invites the audience to an installation that includes objects and performance.

Carlos Rolon Dzine, Barbershop, Mixed Media & Three Channel Video 2016 All images Courtesy of the Detroit Art Review

The installation work by Carlos Rolón/Dzine at the Oakland University Art Gallery is called Commonwealth and was created by this first generation Puerto Rican artist from Chicago.

Its title makes reference to the Commonwealth of Puerto Rico, a self-governing unit voluntarily grouped with the United States even though it remains an independent country. A post-colonial perspective melds Rolón’s memories of his youthful Hispanic cultural that includes a diverse hybrid of carefully crafted objects, installation, and performance that inform his work.

One entire gallery space is devoted to the re-creation of a 1940’s urban Barbershop that includes wall paneling, flooring, barber’s chairs and four surrounding video panels that display the hair cutting process. Rolón says “My intention is to introduce the Barber as artist/sculptor and how the barbershop creates a home and safe-haven to allow for freedom of expression.” The site-specific installation is inspired by a photograph by Jack Delano, Barbershop in Bayamon 1941, and on the opening night, two barbers were on site to provide haircuts to attendees. My interest was piqued because of my relationship with the Puerto Rican culture after having been immersed via my marriage for forty years. The food, music, religion and way of life have been part of my life since the early 1970’s.

Carlos Rolon Dzine, Fine Regal China, Hand Made Porcelain, 2016

The porcelain vase/pitcher was designed by Rolón but produced in China and replicates some of the faux objects his mother collected when he was a child. For a family steeped in religious traditions, these type of porcelain objects represented high cultural art based on objects that you might think belong to an aristocracy, as do silk flower arrangements and clocks imbedded in ceramic frames. Adding these types of objects to the exhibition recreates markers or icons within Hispanic cultural traditions. Typically, these pieces were on display in ornate wooden display cabinets along with wedding favors and family photographs, all part and parcel of the culture.

Carlos Rolon Dzine, Afrocomb, High Density Urethane, Resin, Paint 2016

Included in the exhibition is a large and carefully crafted ‘pop art’ object, the Afro hair pic that includes a clenched fist as part of the handle, both symbols during the 1970s in urban cities. The cultural object here is used to shape hair and represent the Black Power Movement, prominent in the struggle against the establishment and a promotion of self-determination. This is yet one more part of Rolón’s installation, creating an environment that paints a picture of his early personal and cultural memories.

Carlos Rolon Dzine, Nomadic Habitat, Mixed Media & Merchandise 2016

In cities like New York or Chicago, there was a time when the vendor cart was commonplace. These carts represented all kinds of ethnic food, from hot dogs, pretzels, bagels, and blintzes to the Hispanic cart that sold tostones, empanadas, fritas and pasteles. The nomadic vending carts were located in neighborhoods where people sought a bite on the go. In his piece, Nomadic Habitat, Carlos Rolón/Dzine intentionally uses the memory of the cart to recreate a replica as a symbol of his cultural. First on exhibit in “The Potential of Spaces: The Arts Incubator helps bring the Chicago Architectural Biennial to the South Side” from the Chicago Art Institute, the piece articulates the relationship of culture to the community.

For me, writing about installation and performance art feels a little like a rubber band, causing this writer to stretch his experience to include new and emerging forms of artistic expression. Certainly there is a tradition in installation that includes British Artists Andy Moss, and Jamie Wardley, who created The Fallen, a visual display at D-Day landing on the beach of Arromanches in France, and Rain Room, by Berlin-based collective Random International where at Rice University you experience the rain without getting wet. Most recently at Art Prize 2014 in Grand Rapids, Michigan, Anila Quayyum Agha’s installation Intersections, casts a delicate web of shadows by filling a room with carefully crafted patterns from a laser cut wooden cube powered by a single light source. The result was a room illuminated with lace-like geometries cast onto the surrounding walls, and like Carlos Rolón/Dzine, she says, “For me the familiarity of space visited at the Alhambra Palace, created memories of another time and place from my past.” Both artists used memory and culture to form their biographical oeuvre.

Perhaps this brings me to the role of the Oakland University Art Gallery in exposing its audience of students, faculty and community to new trends in all forms of art, free from commercial purpose. The Oakland University Art Gallery has been leading in this respect for a number of years and continues to set the bar for others. University based galleries have the financial base to support such important endeavors and play an important role in educating the community in Metro Detroit.

http://www.ouartgallery.org

Shannon Goff @ Susanne Hilberry

By Sarah Rose Sharp

On November 14, 2015

In Sculpture

Shannon Goff – Installation of hand-built Ceramic, 2015 All Images Courtesy of Sarah Rose Sharp

At first glance, there is little common ground between the two sides of Susanne Hilberry Gallery; unusual, because both sides are part of a solo show, Miles to Empty, by Detroit native Shannon Goff. Goff has two distinct bodies of work in the show: a playful collection of pastel-shaded ceramic pieces, and an exacting full-scale replica of Lincoln Continental rendered in crisp while cardboard.

“I first started working with cardboard in grad school, as an intermediary material when my ceramic work grew more ambitious in scale,” Goff says, “I needed a material to help me figure out how to scale up while defying gravity.” Indeed, the sheer scale of the cardboard construction (also called “Miles to Empty”) draws the viewer in immediately, but the attention paid to detail really underscores the meticulousness of the hand-building work involved in Goff’s process. This, of course, mirrors the labor-intensive process of assembling actual automobiles—a process that is collectively well understood in the birthplace of the automobile assembly line, but largely invisible to most end users of cars, on the whole.

Shannon Goff – Miles to Empty, Cardboard, 2015

Once an understanding has been achieved of the importance of hand-building within Goff’s practice, a connection to the ceramic and unfired clay works that populate the other side of the gallery becomes obvious. Long white tables house collections of sculptures that can be seen as three-dimensional iterations of drawings. In fact, with its bright colors, blobs of metallic glaze embellishments, and loosely figurative subjects, the whole of this gallery could be taken as a kind of fine art fridge, covered in a child’s drawings.

This is not to say that Goff’s sculptural work lacks sophistication. What seems gestural and spontaneous is, of course, a deeply challenging question of physics, when it comes from ushering clay in its unfired state through a molding and firing process that leaves it standing strong. “My three-dimensional ceramic drawings saddle somewhere between engineering and experiment. I’ll pose a question to myself, for example, what if I change the line weight? Or what if I play with the density? How many times can I fire a piece before a potential collapse or catastrophe occurs.? If and when such an event occurs, can I salvage it or part of it? One of ceramics main opponents is gravity…I suppose it’s a main opponent of humans as well”

Some of Goff’s works betray the fight against gravity, like “Ka Lae” (2014), in which a top-heavy section of jagged blue peaks has sent the orange superstructure beneath canting off at a now-frozen angle. This reflects Goff’s ambition, with this piece, to see how little material could support a “forest of density.” For the most part, they support surprisingly complex and dense configurations with seeming effortlessness. Although Goff says, of her work in cardboard, “It [is] far easier to engage a large amount of space without all of the problems and limitations of ceramic,” scale with ceramics seems to be a constraint that she has overcome. The crowning achievement of the clay-based works, standing in a gallery on its own, is “Doyenne”—an unfired clay piece that stands 82” high, and was constructed on-site, due to its size and complexity. This piece, which initially began as an attempt to channel and create the aura of Goff’s grandfather, took on a different life and identity as it progressed. “I wanted this piece to be rooted in place, so I decided to abstractly start from a map of downtown Detroit and see what happened,” says Goff. “I even aligned it directionally the best I could. On the third day it grew tall enough to reveal a skirted figure. I knew then that this piece was not my grandfather but the true doyenne of the Detroit art scene. On the 4th day, it looked back and I listened.”

Shannon Goff, Doyenne — Hand-Built Ceramic, 2015

Goff refers, of course, to Susanne Hilberry—the gallery’s founder, and a tireless champion of the Detroit art scene, who sadly passed away amidst preparations to mount Goff’s show, after a long illness. Her passing leaves a hole that cannot be filled, but Goff’s timely monument to her influence seems a fitting send off. From the ghosts of cars past, to the doyenne whose memory lives on in the place she built, Miles to Empty captures a vital mixture of remembrance and hopeful energy. “I guess in many ways it’s about birth and life and death,” Goff says. “And memory. And loss.”

The 56th International Venice Biennale through Detroit Eyes

By Ron Scott

On November 3, 2015

In Installation, Paintings, Sculpture

Venice overview Image, Courtesy of the Venice Biennale

There is a mystique about the Venice Biennale, partly because of its age, (it was established in 1895) and partly because of its location in the Giardini area of Venice, Italy. By 1910 it exhibited artists like Renoir, Klimt, Courbet and Picasso. Over the years it has diversified beyond art to include film, architecture, dance and music. For the purpose of this piece, I will comment on the art exhibition at the Arsenale, but there are exhibits at Giardini and throughout Venice.

The 56^th International Venice Biennale celebrates its 120^th birthday with 136 artists from 53 countries around the world. The curator of this year’s Biennale, All the World’s Futures, is Okwui Enwezor, a Nigerian curator, art critic and writer specializing in history. He lives in New York and Munich and, in 2006, received the Frank Jewett Mather Award for art criticism from the College Art Association.

To write a review of the 56^th Biennale as a whole would be lengthy, exhaustive and near impossible, so I will confine my remarks to work at the Arsenale that exhibited over a hundred works of art in a decommissioned warehouse once used by the Navy (to build ships, I assume). The Arsenale would easily be four or five football fields long and 200 feet wide. From that experience, I have selected ten artists to mention, based on my interest and curiosity. From the opening section that was dominated by Bruce Nauman’s neon pieces, rather simple works that simulate a restaurant sign in the window, to the entire section three devoted to Katharina Grosse’s Color Riot, which was an enormous room filled with spray painted dirt and cloth. There are many pieces like Color Riot, conceptual and installation works, that I do not have either the context or familiarity with to comment on.

Katharina Grosse, Untitled Trumpet, 2015 – Germany

Chris Marker, Passengers, 2011 – France

One of the most breath-taking moments in the Biennale was the work of the late French artist, Chris Marker (1921 – 2012) and his photographic installation, Passengers, 2011. The 134 color photograph images around the perimeter of the room are of anonymous people from the Paris Metro and include small, ever-changing LCD images from above. In Passengers, Marker tracks his Parisians and captures them in an unguarded way, often looking for imagery that reminds him of images found in art history.

Chris Ofili, UK, 2015 Bending Over for Justice & Peace

Chris Ofili, Bending Over for Justice and Peace, 2015 – Great Britain

Having seen the solo exhibition Night and Day at the New Museum in NYC, November 2014, it was not surprising to see Chris Ofili’s work at the Biennale representing Great Britain. The vibrant and technically complex work enlists sexual, cultural, historical and religious references. His subject matter challenges and reinterprets racial stereotypes. Represented by the David Zimmer Gallery in New York City, his work often exposes the darker undercurrents of society. His M.F.A. was completed in 1993 at the Royal College of Art, and he won the prestigious Turner Prize in 1998. Bending Over for Justice and Peace, Ofili presents a staggeringly mysterious painting with flowing patterns around two inverted figures. The London-born, Trinidad-based artist presents four paintings in this year’s Biennale.

Daniel Boyd, Untitled Diptych, 2014 – Australia

A young indigenous Australian artist, Daniel Boyd provides a fresh abstract interpretation of line and space to this year’s Biennale. Counter to his earlier figurative work in which he explored the relationship between the aboriginal people and the British Empire, he has moved to abstraction with the same methods except filters out color and focuses on interconnected space. The lively compositions are comprised of a dotted, intense surface that engages the viewer in the overall matrix.

Terry Adkin, Matinée, 2007-2013 – Bronze, steel, hangers, burnt cork – USA

The late artist, Terry Adkins (1953 – 2014) was a professor at the University of Pennsylvania and was born in Washington, D.C. A musician and multi-media artist, his work explores historical figures and acts from Beethoven to Hendrix. His work Matinee at the Biennale approaches the art-making process from the viewpoint of the composer over a lifetime that was shortened in 2014 when he died of heart failure. His work has been arranged as sculpture, video and photography where he modifies musical instruments that are repurposed as objects.

Kay Hassan, South Africa, Untitled 2015 Paper construction

Kay Hassan, Untitled, 2011, Paper – South Africa

Born in Johannesburg, South Africa in 1956, Kay Hassan is best known for his pieces of printed billboard posters but also works with painting installation and video. His themes have always revolved around migration, dispossession and urban life. Growing up as a child in Soweto, he witnessed the constant flight of South Africans as apartheid policies forcibly took peoples’ land. The mural-sized work depicts townspeople on the run. His techniques of deconstructing and constructing are realized fully on close inspection when it is clear that the work was made up entirely of disregarded paper.

Meric Algun Ringborg Turkey, Souvenirs for the Landlock 2015 Installation

Meric Ringborg, Souvenirs for the Landlocked, Installation, 2015 – Turkey

Meric Ringborg was born in Istanbul, Turkey in 1983 and now lives in Stockholm. Her ready-made installation, Souvenirs for the Landlocked, is a large room reconstructed in Section 6 with objects that have a particular meaning for her. The installation is typical of her earlier work in that it takes a group of sculptural works and places them in a domestic-like room space environment. In her narrative she writes about her grandfather’s maritime travels, from which he would bring objects from all parts of the world. Each object in the installation carries with it a special meaning that reveals a type of interconnectivity. Ringborg did her graduate work at Royal Institute of Art, Stockholm, and she says in her statement, “Souvenirs are representative of what ‘has been seen’ and thus echo a highly subjective sight, much like photographs; albeit contrary to an image they are sculptural representations of experiences, markers of the transference from event to memory.

Lorna Simpson, US Three Figures, 2014 screenprint on Clayboard

Lorna Simpson, Three Figures, Ink & Screen-print on Claybord, 2014 – USA

The artist Lorna Simpson is represented at the Biennale with figure paintings and her photo-silkscreen, Three Figures. Her early work was as a street photographer where she reflected her feeling about race, society and multiculterism. She came of age during the early 1980’s after a generation of black power and the civil rights movement. Eventually she began to question the truth these supposedly objective photographs revealed and shifted to conceptual photography, which focuses on the idea, rather than the end product. She completed her M.F.A. in 1985 at the University of California and now lives and works in Brooklyn, New York.

Gedi Sibony, U.S. Trident, – USA

Born in New York in 1973, Sibony received his M.F.A. from Columbia University in 2000. His paintings draw on minimalism in a kind of pared down aesthetic. In the painting Trident, he uses a self-contained object, here a riveted piece of a ship or plane part. He has used cardboard, wood, and plastic sheeting, in a kind of simple style focusing on color and composition. Sibony has the ability to elevate this ready-made work to a kind of poetic beauty. He says in his statement, “I want to convey a kind of discovery by moving through things the way allegory incorporates various energies in a harmonious environment. This might be understood as an alignment of symbolic thinking and material tactility.”

Emily Young, Fufluns, Rouge de Vitrolles Marble, Great Britain – 2015

Additionally, I would like to mention an artist whose work was not on exhibit at the Biennale. Instead, sculptor Emily Young’s Call & Response was on display at the cloister of Madonna dell’Orto church in Venice. Using rock from quarries near her studio in the Etruscan hills, Young’s work fuses the age-old principles of stone carving with a progressive, widely informed approach to form and composition. The contemporary and ancient are united in these sculptures, creating a rare and poetic presence.

So how does an artist, say, from Detroit, get their work accepted into the 56^th International Venice Biennale? Well, I am not sure I have the answer to that question because what you come to realize is that the answer lies between the published lines. There are eligibility requirements: You must be a U.S. citizen and come from a non-profit museum, school, gallery or visual art organization. An advisory committee convened by the National endowment for the Arts and composed of curators, museum directors and other curatorial experts reviews proposals. You don’t send off your images in an application. And it is written that you don’t submit a proposal without first discussing your project with the Cultural Programs Division of the U.S. State Department. Translation: You have be connected. To be selected as the curator of the Venice Biennale, you probably have to walk on water.

The 56th International Venice Biennale, All the World’s Futures,was curated by Okwui Enwezor, organized by la Biennale di Venezia and chaired by Paolo Baratta. The exhibition opened at the Giardini della Biennale and at the Arsenale to the public on Saturday, May 9th, and will close November 22nd, 2015. The awards ceremony and the inauguration took place on Saturday May 9th, 2015.