Art movement – The Idyllists Wed, 15 Jun 2022 06:06:03 +0000 en-US hourly 1 Art movement – The Idyllists 32 32 New Artwork Installation Comes to Marshalltown Performing Arts Center | News, Sports, Jobs Wed, 15 Jun 2022 05:30:16 +0000

CONTRIBUTED PHOTOS — Piece by artist Stephen Johnson before it was painted. It will arrive in Marshalltown next week and is expected to be installed at the Marshalltown Performing Arts Center.

The Marshalltown Performing Arts Center Foundation and the Marshalltown Community School District/High School, in partnership with Arts & Culture Alliance, are thrilled to announce the installation of new artwork at the Marshalltown Performing Arts Center.

The artwork, titled ‘Scherzo’, by Kansas artist Stephen T. Johnson will arrive next week. “Scherzo” will consist of colorful abstract shapes based on musical notations such as the bass clef, fort f and musical notes, as well as three mouth-like kinetic shapes at the top that celebrate rhythms, sounds and rhythms. ideas generated within this exceptional performing art. venue.

The title “Scherzo” refers to a short piece of orchestral music, particularly in the second or third movement of a symphony or sonata. The scherzos are vigorously composed and generally have a light and playful character with intensely interesting, fresh and familiar themes.

Stephen T. Johnson’s rich body of work establishes connections between words, objects and ideas. His art spans a wide range of concepts and contexts and can be seen in site-specific public art commissions, gallery and museum exhibitions, and award-winning original children’s books such as Alphabet City, a Caldecott Honor and a New York Times Best Illustrated. Book of the year.

“Riggs Fabrication does an exceptional job translating my designs into glorious steel. It’s hard to convey scale with a few photos that really capture all the nuances and parallaxes that occur when viewing 360 degrees,” Johnson said. “Each step reveals new juxtapositions of form and hopefully accelerates musical associations. The final phase is to add the color, then we look forward to coming to Marshalltown next week to install the sculpture. I am so grateful for the support and enthusiasm of the community during this exciting and creative journey.

Among Johnson’s public art are a 70-foot mosaic mural at the DeKalb Avenue subway station in Brooklyn, NY, a 60-foot mosaic mural at the Universal City subway station in North Hollywood, and 33 glass panels for Dallas Love Field airport. . His last commission was three large glass mosaic murals for the downtown Lenexa Library in metropolitan Kansas City.

“I’ve been looking forward to seeing this dream come true since 2016 when the Roundhouse addition was conceived,” said Amy Ose, Vocal Music Director and MHS Auditorium Foundation Board Member. “With drastic changes planned for the north side of the MHS campus, I was eager for us to find a way to create a visual impact at the entrance to the Performing Arts Center that would welcome people to our incredible facility, while representing the importance of the fine arts within our school and our community.The installation of ‘Scherzo’ will be the realization of this dream.

Storytime and “Meet the Artist” events will be held with Johnson at the Marshalltown Public Library on June 22 at 10:30 a.m. and 11:30 a.m. A reveal celebration will also take place on June 30 from 5-7 p.m. at Marshalltown Performing Arts. Center. The evening will begin with a chamber ribbon cutting, followed by opening performances by MHS students and ending with the Marshalltown City Band at 6 p.m. Bring a lawn chair.

“We have long awaited the arrival of ‘Scherzo’ and are thrilled with the continued growth of artwork in Marshalltown, especially on the campus of Marshalltown High School. This piece will be an amazing addition to highlight value this exceptional performing arts facility and all of the talented artists who perform for our community,” said Amber Danielson, Executive Director of the Arts and Culture Alliance.

The Arts & Culture Alliance, a non-profit organization, cultivates an arts and culture community by supporting, promoting and enriching existing opportunities and seeking out new ones.

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Abstract works by Anne Marchand on July 30 at IMAS Mon, 13 Jun 2022 13:47:42 +0000
LEFT; Anne MarchandMirror, 2016. 72 x 72, acrylic, ink, marker, beads, latex, bark and fabric on canvas. RIGHT; Anne Marchand, Unity, 2018. 70 x 62, acrylic and latex on canvas. Images courtesy of IMAS
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Texas Border Affairs

McAllen, TX- The International Museum of Art & Science (IMAS) is pleased to announce an exhibition of paintings by artist Anne Marchand from July 30 to November 13, 2022. The paintings in the exhibition, Abstraction: Anne Marchandtrace the evolution of his abstract work, animated by expressive color and inventive use of materials.

Marchand creates vibrant paintings that evoke a sense of cosmic and bodily energy. His large-scale works are in constant transformation and suggest the movement of natural forces, patterns of growth, the insistence of memory, and inner states of feeling.

The first works in the exhibition were born out of Marchand’s involvement in the images of galaxies, nebulae and planets from the Hubble telescope. These paintings have opposing arcs and circular shapes reminiscent of elliptical orbits and celestial bodies. Curves play against slicks of color established by vigorous manipulation of paint, implying a sense of order inscribed on an ever-changing world.

A series of more recent paintings by Marchand are distinguished by a compositional structure based on geometry that is energized by color, applied with a scraper or spatula to create complex and varied fields. Sometimes nested shapes delineate the underlying structure; alternatively, it is expressed in paint applied with gestural vigor. Often many approaches are combined in a single painting: a wandering line moves in a cloud-like expanse, or the image of a temple or a house appears in a swirl of pigments, or the transit between the above and below is outlined in a flash of lightning. of color, both schema and embodiment of movement. Marchand’s most recent works were affected by his 2016 residency at Project Space in Mt. Rainier, MD. In the large industrial space, his paintings grew to 72″x72″, using a process driven solely by paint flow. The new work is underpinned by a structure of patterned fabrics embedded beneath translucent paint, anchoring a more chaotic array of pigment and charcoal markings, threads, glass beads and other elements. The artist’s introduction of a variety of materials into his paintings began years ago, with the use of mica, sand, Indian silks, and interference and pearlescent pigments. In recent work, Marchand combines enamel, ink and acrylic, the differing viscosities of which form liquid fields, reminiscent of weather systems, topography and biological growth.

Color is crucial to the power and enjoyment of Marchand’s art. It exists both as an energetic phenomenon and, in his own words, as an “indispensable aid in achieving the emotional quality of the work”. John Mendelsohn wrote that “everything is animated by color…in myriad ways: as a blush in a cloud, a hue in water, a harmonic chord, or a glowing fire.”

Marchand’s paintings allow poetic associations to arise naturally. She wrote that “During the painting process, new insight is released…. The qualities of radiance and light have become active metaphors reflecting an inner state of being. It became clear to him that “there was a connection between deep space and the human body – it is the same energy in the macrocosm and the microcosm”.

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Marchand has exhibited his work extensively in solo shows at the Wallace Wentworth Gallery, Washington, DC; Montgomery College, Silver Spring, MD; Green Chalk Contemporary, Monterey, CA; Zenith Gallery, Washington, DC; and in group exhibitions at the Washington Project for the Arts, Washington, DC; Porter Contemporary, New York; Blackrock Center for the Arts, Germantown, MD; Athenaeum, Alexandria, Virginia; and McLean Project for the Arts, McLean VA.

A preview reception for Abstraction: Anne Marchand will take place on Thursday, July 28, 2022 at the museum from 5:00 p.m. to 7:00 p.m. The reception is free for members and $10 per non-member guest. Visit or call (956) 681-2800 for more information.


The International Museum of Art and Science (IMAS) located in the Rio Grande Valley inspires audiences of all ages to explore art and science through its permanent collections, exhibitions, programs and partnerships by allowing learners to discover their interests and pursue their passions. IMAS is fully accredited by the American Alliance of Museums and is affiliated with the Smithsonian Institution. The museum is located at the intersection of Bicentennial Way and Nolana Avenue at 1900 W. Nolana in McAllen, Texas. Hours of operation are 10 a.m. to 5 p.m. Wednesdays, Thursdays, Fridays and Saturdays; 1:00 p.m. to 5:00 p.m. on Sunday. Regular admission is $3 with a $1 discount for children 4-12 and museums for all (WIC/EBT). Please see our website or call (956) 681-2800 for more information.

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Freddie Mercury’s ‘priceless’ stamp collection will be celebrated | Freddie Mercury Sat, 11 Jun 2022 13:52:00 +0000

All Queen fans know how much Freddie Mercury enjoyed riding his bike, but fewer know about the flamboyant singer’s other great childhood hobby: collecting stamps.

Today, for the first time, the Postal Museum is displaying one of Mercury’s “priceless” collector’s albums – its value is enhanced by the fact that it is one of Mercury’s few personal possessions. the late rock star belonging to the museum.

The stamps that young Mercury has grouped together are unusually shaped into designs on each page and will be on display to museum visitors in London from July 13. The display is part of the city’s celebration of the 50th anniversary of the Pride movement in Britain.

Mercury, who died of AIDS in 1991, was born Farrokh Bulsara in Tanzania in 1946. He spent his youth in Zanzibar, where his father, Bomi, worked for the British Colonial Office. Mercury inherited his father’s passion for stamps and is said to have collected between the ages of nine and 12.

Many of his stamps come from British Commonwealth territories, including some from Eastern Europe, and they often reflect his early life. “The real value of this collection lies not in the stamps themselves, but in its rich historical value and its connection to one of the world’s greatest artists. As pop memorabilia and cultural reference, Freddie Mercury’s collection is invaluable,” said the museum’s senior archivist, Gavin McGuffie.

There are clear signs on its pages of artistry to come. Each stamp has been positioned to produce symmetry in both shape and color, leaving plenty of space on the black pages. They betray the idiosyncratic visual sense that Mercury was to pursue at Ealing College of Art, after the family moved to Feltham, Middlesex, in 1964, and later with Queen in elaborate stage performances and theatrical pop videos.

A page from Freddie Mercury’s childhood stamp album. Photography: © Postal Museum

Bomi Bulsara auctioned off his son’s stamps, along with his own, in 1993, with proceeds going to the Aids charity set up in memory of the singer, Mercury Phoenix Trust.

Georgina Tomlinson, curator at the Postal Museum, said she was delighted to present the album to the public until the end of October to mark the history of Pride. Previously it was only occasionally exhibited privately at stamp exhibitions in Britain and abroad. “The album is a startling glimpse into the youth of a man who is remembered around the world for his incredible musical prowess and theatrical presence,” said Tomlinson.

The 54 pages of the Mercure album will also be available online this summer on the museum’s website.

Eight years after Mercury’s death, his creative legacy has been marked with his own commemorative stamp, but the image has become controversial, with a Daily mail columnist criticizing the Royal Mail for honoring the star’s ‘degenerate lifestyle’. Other stamp enthusiasts were upset that Queen’s drummer Roger Taylor could be seen in the background. The guidelines for official stamps included a stipulation that the only living people who can be depicted on a stamp are members of the British Royal Family.

The offending stamp was part of a millennium series in 1999 to recognize famous Britons of the past 1,000 years.

Queen, admired for her anthemic hits and the lyrical grandeur of her pop, had more than one band member with a childhood passion for historical artifacts. Guitarist Brian May has collected prototype 3D images dating back to the Victorian era. He is now one of the foremost experts in the art, known as stereoscopy.

Two years ago, a collection of 13 stamps featuring Queen was issued to mark the 50th anniversary of the band’s founding. The stamps featured album covers, including Queen II (1974), pure heart attack (1974) and A night at the opera (1975). Others showed scenes from live shows, including Mercury on stage at Wembley Stadium in 1986 and May in Budapest in 1986.

“Sometimes it is strange to wake up and realize the position we are in now – we have become a national institution. And nothing brings that home more than this amazing Royal Mail tribute,” May said at the time.

Queen were the third rock band to receive this honor, following The Beatles in 2007 and Pink Floyd in 2016.

The unusual collections of rock stars

Rod Stewart revealed his passion to the world three years ago: model railroading. A man who must have plenty of space to work in, he said he’s been working on a massive, intricate model of an American city for 23 years.

Phil Collins is also an avid collector, donating his large collection of Battle of the Alamo memorabilia to a Texas museum eight years ago.

Kelley offer used to sell hand-knit scarves online while touring with his band, the Breeders. Her passion extended to writing a book on the subject – Bags That Rock: Knitting On The Road with Kelley Deal.

Lawsuit challenging Trump Tower Black Lives Matter mural dismissed Thu, 09 Jun 2022 21:36:18 +0000

A judge has upheld the previous dismissal of a lawsuit brought by a group of conservative women against a Black Lives Matter mural, painted in large-scale yellow lettering on the street outside New York’s Trump Tower.

The mural was created in July 2020 on the Fifth Avenue roadway directly across from the skyscraper and was reportedly funded (to the tune of $6,000) by the New York City Department of Transportation, apparently in the part of then-mayor Bill de Blasio’s commitment to commissioning several murals dedicated to the Black Lives Matter movement across the city.

That same month, the group Women for America First (WFAF), which supported then-President Donald Trump (who questioned the mural via Twitter when plans were first announced), asked the mayor to paint his own mural in the street or a “similar” street. The group’s request to create a mural with their motto – “Engage, inspire and empower women to make a difference!” — was not granted and prompted the band to allege a violation of their First Amendment right to free speech.

In February 2021, U.S. District Judge Lorna Schofield ruled that city officials violated no rights by not allowing the group’s mural and had the right to apply ‘restrictions’ to surfaces streets under his control. He concluded that the Black Lives Matter mural was a government speech act rather than a private act, whereas the WFAF version would not have fallen within that range and therefore could not enjoy the same right to create. a mural on the site.

In the latest Second Circuit ruling, released in late May, Justices John Walker, Jr, Joseph F. Bianco, and Beth Robinson upheld the decision and added that “if a government undertakes[es] in [its] own expressive conduct, then the free speech clause has no application”, and adding that “in short, the city’s propagation of its own message through the murals has not converted the surfaces of the street in a public forum”.

Representatives for the defendants did not respond to a request for comment. Ronald D. Coleman, a Dhillon Law Group attorney representing the WFAF, said, “Understandably, we were disappointed. We believe the court should have looked clearly at the limits, if any, to outspoken political and partisan government speech – and taken a closer look at the whole concept of “government speech” in this age of partisanship. As for any other possible action, he said: “We are still considering our options.”

The move joins a broader dialogue about the role and agency of public art sparked by the Black Lives Matter movement, which has sparked a wave of murals and memorials across the United States and around the world, including at the following the May 2020 police killing of George Floyd.

Other disputes have included the unsuccessful lawsuit brought by California police officers over a BLM mural they deemed ‘discriminatory’ earlier this year, the American Civil Liberties Union’s unsuccessful lawsuit against the city of Miami Beach for the removal of a mural in remembrance of a victim of police brutality, and continued dialogue about the future of public works of art erected to commemorate historical figures linked to colonialism and slavery.

The MeToo film movement moves from rhetoric to action Wed, 08 Jun 2022 05:52:15 +0000

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Paris (AFP)- As the MeToo movement evolves, the film industry is looking for practical ways to ensure that its opposition to harassment and abuse translates into tangible improvements.

Campaign group Time’s Up UK is the latest to come up with a concrete initiative, announcing plans for an expert panel to hear complaints, similar to standards authorities for doctors, teachers and other professionals.

Currently, workers in film productions often fear “that if they make a complaint against a senior official, they will be eaten up”, Dame Heather Rabbatts, president of Time’s Up UK, told AFP.

The proposed three-person panel will include harassment and abuse experts who can offer “assistance, mediation and investigation”, she said.

The idea goes both ways in the debate, seeking to counter those who say allegations of abuse lead to people being “cancelled” before there has been a proper investigation.

“We want to avoid lawsuits by the media. That doesn’t help anyone,” Rabbatts said.

“The independent standards body would have the highest levels of confidentiality and alleviate the problem of people being treated as if they were guilty until proven guilty.”

“Deep distrust”

The Hollywood Commission, created in 2017 to combat abuse in the American industry, is working on a similar panel, as well as an anonymous reporting platform to collect complaints.

France has also put in place practical measures, including insurance that covers the cost of production stopped while a complaint is being investigated.

Previously, “people spoke up but nothing happened because there was too much money involved to stop filming,” said film and genre writer Iris Brey.

Since last year, the National Cinema Center has been organizing training in the prevention and detection of sexual harassment, mandatory for any film benefiting from generous subsidies from France.

Having more women on set is also a crucial part of the battle.

Some companies, including Netflix and Amazon, now require productions to have various department heads before a project goes green.

Protesters declared Polanski ‘best rapist’ after his Cesar win in France despite history of abuse Lucas BARIOULETAFP

But there is still a long way to go.

Riley Keough, who happens to be the granddaughter of Elvis Presley, won the Un Certain Regard newcomer section at the Cannes Film Festival last month with her debut film, ‘War Pony.’

She told reporters that, despite her fame, she and co-director Gina Gammell had struggled to raise funds.

“A lot of newbie male filmmakers make a lot more money than newbie filmmakers,” she said.

“There is a deep distrust of women in leadership positions. Maybe it’s not conscious, but I see it happening.”


France’s prolific industry has a particularly high proportion of female directors, but misogyny is still entrenched, said Reine Prat, who writes on gender and culture.

“An exception is made for culture,” she told AFP. “Behaviour is permitted in this sector that is unacceptable elsewhere.”

She highlighted the best photo of Roman Polanski at the César 2020 – the French version of the Oscars.

Adele Haenel, star of
Adele Haenel, star of ‘Portrait of a Lady on Fire’, was one of the main voices of the MeToo movement in France -AFP

This is despite new rape allegations against him, adding to his long-standing conviction for violently raping a 13-year-old girl, for which he remains a fugitive from US justice.

“We talk about separating the art from the artist, but they were clearly paying homage to Mr. Polanski himself,” Prat said. “It was a green light for anyone who behaved that way.”

The incident caused an outcry, with French actress Adèle Haenel – herself the victim of director abuse at the age of 12 – ostensibly leaving the ceremony and Cesar’s board resigning en masse in the stride.

Prat argues that the rot begins at the top of French society, pointing to the three ministers in President Emmanuel Macron’s governments who have been accused of rape.

But to complicate matters, the French collective 50/50, which campaigns for gender parity in cinema, was recently torn apart after a board member was accused of sexually assaulting a woman during from one of its meetings.

Real progress requires more fundamental change, says Brey.

“Nothing will change unless we ask ourselves why desire is so often linked to dominance. Questioning our desires is something both men and women need to do,” she said.

“The movie industry shapes our images of sex and desire. That’s why it’s so important to have these conversations on film sets.”

Birmingham Festival 2022 will host sports-inspired performances, films and visual arts installations Mon, 06 Jun 2022 14:00:55 +0000 As Birmingham and the West Midlands prepare for the Birmingham 2022 Commonwealth Games, the Birmingham 2022 Festival is hosting a range of performances, films and visual art installations, all inspired by sport.

Until September 30, the Birmingham Festival 2022 is the biggest cultural celebration ever in the region, as well as one of the biggest cultural programs for the Commonwealth Games in history.

Sports-inspired performances range from an interactive show featuring a robot playing table tennis to a performance featuring basketball players and drummers, and from a piece about women’s cricket to a public art installation reflecting the speed of elite swimmers.

Kicking off this exciting selection of events is a celebration of women’s cricket being part of the Commonwealth Games for the first time. A Thousand Threads (various dates through July 17), from Women and Theatre, explores big themes about the lives and aspirations of women and girls, both on and off the pitch. Developed from research and performed by local women and girls, the shows take place at outdoor venues in Ward End, Edgbaston and Smethwick, with final performances at the Midland Arts Center in July 2022. A self-contained audio experience is also available via podcasts and listening stations.

A beautiful and moving theatrical performance, Precious Emily (July 14 and September 15 – 17) tells how Precious McKenzie, born in apartheid-era South Africa, overcame extraordinary odds to become a Commonwealth weightlifting champion, first for England, then for New Zealand, and how inspirational Emily Campbell from Nottingham is preparing to strike gold in 2022. Internationally acclaimed theater company Stan’s Cafe from Birmingham will collaborate with primary school pupils to create 12 versions of Precious Emily ahead of a gala that will bring together scenes from each school’s production to celebrate the two weightlifting champions.

Johannesburg-based painter and filmmaker Thenjiwe Niki Nkosi, in collaboration with Eastside Projects, presents Equations for a Body at Rest (July 11 – August 8), a multi-site video and multimedia work offering a provocative meditation on the experiences of black athletes in the field of elite sports competition.

Come Bowl With Me (July 23-27) is a fun and interactive outdoor performance by renowned Coventry theater company Talking Birds, celebrating the popular and accessible sport of Lawn Bowls, taking place in Leamington Spa for the Games Commonwealth of Birmingham 2022. The public is invited to join Lorna Bowles, Dwaine Hardball and Roger Rinkwell as they lead you through the sweet joys and fierce competition of this much-loved game. Tensions can rise in the Strictly Come Bowling arena as players vie for the Glitter Bowl trophy.

Gymnasts and musicians feature in Movement Inspired (July 20) directed by Sam Lockyer with accompanying soundtracks by Ed Puddick. These eight short films bring together gymnasts and musicians from the West Midlands to show how gymnastic moves can inspire jazz improvisation and composition. Each film represents one of the eight apparatus used in artistic gymnastics: floor, vault, high bar, parallel bars, uneven bars, rings, pommel horse and balance beam. The screening at Birmingham’s Electric Cinema will be followed by a Q&A.

Robots playing table tennis feature in Anthem Anthem Revolution (July 21 – 24 & 26, July 29 – August 2) – a new interactive show from Tasmanian theater company Terrapin. In Anthem Anthem Revolution, participants compete against a table tennis robot to hear a new national song written by children, an anthem that reflects their hopes and dreams and recorded by the Tasmanian Symphony Orchestra. However, to unlock the anthem, participants must battle an increasingly defensive table tennis robot bent on protecting the ancient national anthem. Commonwealth Games visitors will take over and reveal a new, updated word of the anthem with each successful return, testing their skills and commitment to the children of Tasmania.

Fluitō (July 23 – August 8) is a new immersive outdoor public art installation by Birmingham artist Georgia Tucker. The spectator is invited to enter two large sculptural cubes, placed one inside the other. This world within a world reflects the escapist and meditative experience of swimming while showcasing the incredible speed and agility of elite swimmers, including professional swimmer Michael Gunning. Through immersive sound and an underwater reality experience, Fluitō also shines a light on water inequities in Commonwealth countries and ocean pollution.

Award-winning artist, photographer and filmmaker Ravi Deepres, in collaboration with Film and Video Umbrella, presents Origin (July 28 – August 8): a series of powerful and inspiring films featuring elite athletes and budding youngsters from different cultural backgrounds in Birmingham. Cutting seamlessly between the model and the young athlete as if to suggest they might be the same person, the films examine the idea that anyone can achieve their dreams, regardless of background. Origin depicts the intense psychological and physical preparation of athletes in different fields, and also shows how sport is a vector of unification. The films offer a contemporary take on the idea of ​​the Commonwealth and explore what it means to represent Britain, while questioning its cultural heritages and influences.

Three Birmingham basketball players, three drummers and an electronic musician run, jump, shuffle, bounce and play at the Commonwealth Games 3X3 training ground in Amaechi (July 30 – 31), creating an energetic and sound-rich performance that finds itself in the space between sport and music. This action is frequently intercut with three singers quoting in close harmony the inspiring words of psychologist and former NBA player, John Amaechi, the first basketball player to come out as gay in the very straight world of sports. This gay-led performance is a celebration of sport, teamwork, collaboration, difference and the human spirit, while drawing attention to the challenges faced by gay people in sport and on the status of homosexuals in 35 Commonwealth countries that criminalize homosexuality, 13 of them punish homosexuality with imprisonment or death.

Louisa Davies, Birmingham Festival 2022 Senior Producer, said: “Through many conversations with the artists, it became clear to us how excited they were about the Commonwealth Games context and they immediately saw the opportunity to bring together sport and the arts in exciting ways that engage and involve fans of both.

“The festival program explores many Commonwealth sports, from table tennis to swimming, gymnastics to women’s cricket, with some even featuring professional sportspeople, playing and enjoying the festival program alongside the Games.”

Last month, current Commonwealth squash gold medalist James Willstrop of the England team made his professional stage debut in a new squash play. Outside the Box was played on the glass-walled squash courts at the University of Birmingham and explored the sport’s fascinating origins from a London prison to the mountains of Pakistan, as well as discovering the incredible struggles that players like Maria Toorpakai have crossed over just to be able to play the game.

Elsewhere in the 2022 Birmingham Festival, people from across Birmingham have handcrafted ornate gifts for the 4,600 athletes who will arrive in the city in July. A contemporary craft organisation, Craftspace’s 4600 Gifts (June 30 – July 9) will be presented to the Library of Birmingham before being given as a welcome gift to every athlete taking part in the games.

Birmingham communities will also organize their own events for the festival. The Creative City programme, generously supported by Birmingham City Council, has enabled 107 community groups to organize their own festival events – highlights include a film, Boxer Beats, made by the Rectory Amateur Boxing Club which explores rhythm boxing and an outdoor art installation, Cricket in the Park, made from old cricket bats by the Kings Rise Academy PTFA.

Festival Birmingham 2022 is generously supported by Arts Council England and the National Lottery Heritage Fund.

For more information visit

WA Symphony Orchestra and Asher Fisch play Haydn, Beethoven and Brahms at the Perth Concert Hall Sat, 04 Jun 2022 05:59:00 +0000

A sense of nostalgia with a hint of mystery hung over the concert hall on Friday for the WA Symphony Orchestra’s star work, Haydn’s Sinfonia concertante.

Four of WASO’s principal musicians – Liz Chee (oboe), Jane Kircher-Lindner (bassoon), Semra Lee-Smith (violin) and Eve Silver (cello) – were featured as soloists, but a harpsichord took center stage .

Haydn’s classical strains took on a wistful, nostalgic quality, perhaps because it would be the last in a heroic series of concertos and ensembles performed by the orchestra’s own artists during the COVID curbs, with the return of international talent next week.

The four voices and their complementary colors faithfully captured the elegant simplicity of the melody, a whiff of sigh in the composition and a languor in the delivery as if spinning this special moment.

Lee-Smith brought nostalgia to the solos and cadenzas of Allegro’s first movement, taken up by double-reed duets, with the assured sustain and virtuoso flourishes of Silver.

The Andante second movement opens with violin and bassoon, then oboe and cello, playing through the quartet with an empathy and lightness of touch that spoke of easy familiarity; softly landing on the cadence on mellow horns.

A sudden onslaught in the finale of the Allegro con spirito gave way to violin cadenzas alternating with the orchestra, Lee-Smith’s confident lead echoed by Silver in a matching tone quality, backed by the oboe and the bassoon; the quartet in dialogue with the orchestra punctuated by a deliciously exposed violin.

A heartfelt hometown cheer at the end said it all.

And the harpsichord? A late addition to the scripted program with Fisch playing and conducting from the keyboard.

The instrument is a staple of the Baroque era, which Fisch ironically compared three years ago to “someone walking on broken glass while we’re trying to play a symphony.”

Camera iconAsher Fisch conducts WASO in Haydn, Beethoven and Brahms at the Perth Concert Hall. Credit: Rebecca Mansell

The evening opened with Brahms’ Variation on a Theme by Haydn, another whiff of nostalgia stretching back from the Romantic to the Classical era, the familiar theme led by young guest oboist Kyeong Ham, intensifying with much effect with Chee absent in solo. .

The woodwinds were reinforced by German trumpets then transplanted by strings while the woodwinds and brass sounded a rhythmic accompaniment.

Fisch was relaxed and expressive on the podium, invoking disparate elements in turn, delicately balancing the dynamic as the theme moved through variations and sections; at times more classically Haydn, at others full of Romantic Brahms — especially in the grand finale, which earned Ham a hearty ovation.

After the break, Beethoven’s Leonore Overture No. 3 channeled the drama of the French Revolutionary era, an opening explosion and sustained chord sequence gradually turning into a sharp explosion with full woodwind effects , brass and strings.

Fisch was in full flight with vigorous gestures painting sound on a canvas of air; leaving nothing on the ground by invoking the zeitgeist of Beethoven’s revolutionary decade.

Standing ovations followed for offstage trumpeter Brent Grapes, flautist Andrew Nicholson and bassoonist Adam Mikulicz – again, a replacement for a principal on solo duty.

Rounding out the program was Beethoven’s much-neglected Symphony No. 8, another sudden onslaught echoing the soaring, swirling melody and dynamics of the better-known Symphony No. 7 before suddenly falling to a curiously unsettling conclusion.

The Allegretto’s second movement was almost whimsical, a characteristic Fisch accompanied by deft directions to another abrupt cadence.

The third verse of the Tempo di minuetto was definitely a classic throwback, a soft dance bar with trumpet highlights over soft horns and woodwinds as the strings snaked their way to another halt in the woods.

It was left to the final Allegro vivace to revive the opening’s vigor, almost experimental in harmonic progressions with disruptive dynamics and rhythm, before finally delivering a typical Beethoven crash-bang conclusion.

Standing ovations for cellos, horns and clarinetist Allan Meyer closed the evening.

WASO returns to the Concert Hall on Friday June 10 and Saturday June 11, at 7:30 p.m., with Elgar’s Cello Concerto and Bruckner’s Symphony No. 3.

Liz Chee (oboe), Jane Kircher-Lindner (bassoon), Semra Lee-Smith (violin) and Eve Silver (cello) with Asher Fisch on harpsichord and WA Symphony Orchestras perform Haydn's Sinfonia concertante at the Perth Concert Hall.
Camera iconLiz Chee (oboe), Jane Kircher-Lindner (bassoon), Semra Lee-Smith (violin) and Eve Silver (cello) with Asher Fisch on harpsichord and WA Symphony Orchestras perform Haydn’s Sinfonia concertante at the Perth Concert Hall. Credit: Rebecca Mansell
City Life Org – Times Square Arts presents LaJuné McMillian’s motion portraits for June Midnight Moment Thu, 02 Jun 2022 03:09:24 +0000

The artist uses VR technology and motion capture data to create individual video portraits in an archive of black dance culture

Times Square Artsthe largest public platform for contemporary performance and visual arts, is pleased to present Motion Portraits by artist LaJune McMillian for the month of June as part of the signing of the organization midnight moment series. Motion Portraits is presented with a gallery of bitforms.

Midnight Moment is the world’s largest and longest-running digital art exhibition, synchronized to more than 90 electronic billboards across Times Square every night from 11:57 p.m. to midnight. This year, Times Square Arts celebrates the tenth anniversary of the Midnight Moment series with a list of all female artists through April 2023.

LaJune McMillian’s Motion Portraits inspired by the artist Black Motion Library (BML) project, a library for activists, performers and artists to create various XR projects, and a space to research how and why we move, as well as an archive of black existence. Using Motion Capture and Unreal Engine, performers send their motion data to be translated into visuals. Through this series of VR performances and installations, the artist has created a growing archive and digital tool dedicated to black dance and movement, reflecting the idea that bodies and movement are more than data points. and avatars.

For Midnight Moment, McMillian will present a collection of Motion Portraits which show performance of Roobi Gaskins, Lamb, Maurice Renaldo, Rukijah Towersand RaFia Santana with documentary footage shot by Manuel Molina Martagon. Past performances have featured artist Nala Duma and dancer Renaldo Maurice.

Motion Portraits serve as a way to learn more about the performers who contribute their motion data to the Black Movement Library. What happens when we ritualize the process of archiving data collection and invite the community to testify? The black movement not only represents our individual experiences, but it also represents our collective memory, transcending space, time, and oppressive social structures. It allows us to connect to each other, to our ancestors, to our innermost selves, and gives us space to communicate about our future. The black movement is a technology that contains the stories of our existence across the diaspora. said artist LaJuné McMillian.

McMillian was inspired to start the Black Movement Library by the lack of diverse characters and movements in 3D modeling software, flaws in motion capture databases, and lawsuits against the video game Fortnite for using dances by predominantly black creators without permission, compensation or credit. The “Milly Rock” dances became “Swipe it”, the “Carlton” became “Fresh”, and so on, effectively erasing the origins of these dances. McMillian’s project explores methods of combating the erasure, dilution and exploitation of black culture and people. The artist’s work asks the viewer to reflect on how they can discover, learn, invest and manage systems that privilege liberation and abundance.

LaJune McMillian’s first solo exhibition, Embedded metadata, will be visible at the bitforms gallery from June 23 to July 30, 2022. The artist Black Movement Library Portraits will also be presented at the Tribeca Film Festival as a VR experience as part of the festival’s New Voices competition from June 8-19, 2022.

LaJuné McMillian is a new media artist and educator who creates art that incorporates performance, extended reality, and physical computing to challenge our current forms of communication. They are passionate about discovering, learning, manifesting and managing spaces for liberated black realities and black imaginations. McMillian believes in fabrication by diving into, navigating, critiquing, and breaking down the systems and technologies that maintain systemic injustices to decommodify our bodies, undo our indoctrination, and make room for different ways of being.

McMillian has had the opportunity to show and talk about his work at Pioneer Works, National Sawdust, Leaders in Software and Art, Creative Tech Week, and Art & Code’s Weird Reality. Previously Director of Skating at Figure Skating in Harlem, they integrated STEAM and figure skating to teach girls of color about movement and technology. McMillian continued her research on darkness, movement, and technology during residencies and fellowships at the Jerome Hill Artist Fellowship, Eyebeam, Pioneer Works, Barbarian Group, and Barnard College.

Founded in November 2001, bitforms gallery represents established, mid-career and emerging artists critically engaged with new technologies. Covering the rich history of media art through its current developments, the gallery’s program offers an incisive perspective on the fields of digital, internet, temporal and new media arts. Since 2020, bitforms gallery has maintained a satellite location in San Francisco at the Minnesota Street Project which became permanent in 2021. Supporting and championing the collection of ephemeral, temporal and digital artworks since its founding, gallery artists bitforms are in the collections of the Museum of Modern Art, New York; Tate Modern, London; the Solomon R. Guggenheim Museum, New York; the Smithsonian American Art Museum, Washington, DC; the National Portrait Gallery, Washington, DC; Arts and Media Center (ZKM), Karlsruhe; Center Pompidou, Paris; Victoria and Albert Museum, London; Stedelijk Museum, Amsterdam; and Borusan Contemporary, Istanbul, among other international institutions.

Times Square Arts, the public art program of the Times Square Alliance, collaborates with contemporary artists and cultural institutions to experience and interact with one of the world’s most iconic urban places. Across the Square’s electronic billboards, plazas, vacant areas and popular venues, as well as the Alliance’s online landscape, Times Square Arts invites leading contemporary creators, such as Mel Chin, Tracey Emin , Jeffrey Gibson, Ryan McGinley, Yoko Ono and Kehinde Wiley. , to help the public see Times Square in a new way. Times Square has always been a place of risk, innovation and creativity, and the arts program ensures that these qualities remain central to the neighborhood’s unique identity.

Young activists create Asian American history lesson to fight racism Tue, 31 May 2022 13:45:30 +0000
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“Education is so important to creating change and fighting racism,” said 14-year-old Mina Fedor. “But there are so few [taught] in schools about AAPI [Asian American and Pacific Islander] the history and contributions of Asian Americans.

An organization founded by Mina last year called AAPI Youth Rising aims to correct this. She and several other middle schoolers from Oakland, Calif., started the group “to take small steps to bring about positive change in our communities.” Those who are part of it – AAPI youth and their allies across the United States – have been involved in speaking out, supporting legislative action, arts activism – and more recently, a program free courses on the history of the AAPI.

Mina and three other teens launched the program this month to coincide with Asian American, Native Hawaiian and Pacific Islander Heritage Month. Since March, they have researched and designed their slide presentation. Their hope is that over time, more schools nationwide will offer at least one such lesson during the school year.

The debut took place at the Chandler School in Pasadena, California. Mina, Siwoo Rhie, Charlee Trenkle and Max Wong traveled from their homes in the San Francisco Bay Area to speak to fifth and eighth graders.

The team spoke about the diversity of the Asian American experience, with more than 20 million Asian Americans, representing more than 20 countries, living in the United States. They shared information about the first anti-Asian laws and the rise of the AAPI civil rights movement 40 years ago.

“I was a little nervous at first [about the presentation]but I had a great time,” Mina told KidsPost by phone from Pasadena.

“The students seemed really interested,” Max said.

The past two years have seen an increase in attacks against Asian Americans.

This is related to the coronavirus pandemic. Some people mistakenly blame China, the site of the first cases, for the pandemic, and some have responded by lashing out at anyone of Asian descent. The Center for the Study of Hate and Extremism reported that 369 anti-Asian hate crimes occurred in 21 major US cities in 2021. This represents a 224% increase from 2020.

Even when anti-Asian actions are not criminal, they can be hurtful. Mina and Max were bullied, including mean jokes about whether they had covid-19 or ate certain animals. Mina was also disturbed early last year by a racist gesture directed at her mother, who is Korean.

To speak out against the hostility and violence, Mina planned a rally in Berkeley, California in March 2021 that drew more than 1,200 people. Young activists carried signs that read “I am not a disease” and “Stop Asian hatred”. AAPI Youth Rising was created soon after.

“We wanted to raise the voices of young people,” Mina said. “Young people have opinions and ideas, but we didn’t see any of that” made public.

Since the rally, the organization has sponsored an art exhibit for young people of diverse voices, contributed to a mural of Asian American heroes in San Francisco’s Chinatown, and spoken to other social justice groups.

Their work has been widely recognized. Mina recently received the Changemaker of the Year award from the anti-bullying group act to change. In January, American Girl partnered with AAPI Youth Rising when the company announced its doll of the year: a Chinese-American doll named Corinne Tan. In February, Mina was named a finalist for Time’s 2022 Kid of the Year.

Plans for AAPI History Video

Mina is not focused on rewards, but on next steps. Schools have signed up for the AAPI History Lesson, which will be offered virtually and in person through the end of the school year. This summer, the team plans to adapt their lesson in video format. It will be available on the organization’s website.

“That way we can reach more schools because we won’t need to be there” to present, Mina said.

The team’s lesson in Pasadena inspires greater understanding and change, according to Jill Bergeron, principal of Chandler’s middle school.

“By raising awareness, [Mina and her team] help reduce stigma in our communities,” she said. “Our students see people their own age doing work often attributed to adults, and they get an idea of ​​what is possible and how they could be involved. »

To get involved, children and teens can contact AAPI Youth Rising via There are chapters in California, Maine and Michigan.

To schedule an AAPI history lesson for students in grades 4-12, teachers can contact It’s free.

]]> Abrazo Queer Tango in Berkeley is part of a global movement Sun, 29 May 2022 13:03:02 +0000
Instructor Mira Barakat and Abrazo Queer Tango organizer Karen Lubisch dance at Finnish Hall on May 15, 2022. Credit: Kelly Sullivan

On a recent Sunday afternoon at Finnish Hall, tango teacher Mira Barakat demonstrated a connection exercise designed to help students better respond to their partner’s movements.

“Leaders, hands up,” she said, playing the music on her laptop. It was time for the students to pair up and practice.

Although men have traditionally assumed the role of leaders and women of followers of social dancing, but it was Abrazo Queer Tango, meaning some women led, some men followed, and a few students did both during the one-hour class. It always takes two to tango, but in a queer tango class, the role you choose won’t be determined by your gender.

Abrazo is part of the Bay Area’s queer tango community, one of the largest in the country and an outgrowth of a global movement.

“Queer tango is Argentine tango without the homophobia, transphobia and rigid heteronormative rules that exclude many people from dancing,” says Karen Lubisch, one of the founders of Abrazo Queer Tango, which offers classes and dances, called milongasin Berkeley since 2012.

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Abrazo Queer Tango participants dance at Berkeley Finnish Hall on May 15, 2022. Credit: Kelly Sullivan

Tango has its origins in late 19th-century Buenos Aires, a style of dance and music that brought together influences from black Argentines, Spanish and Italian immigrants, and Europeans of Argentine descent, according to Tango: The Story of the Art of Lovethe groundbreaking 2005 book by Robert Ferris Thompson, which officially recognized the dance’s often overlooked African roots.

The queer community has also been overlooked in the history of tango, although “queer people have been tango dancing since the beginning of tango,” Lubisch said. In fact, American and French postcards of women dancing the tango in the 1920s promoted it as a homosexual dance.

Once the tango gained popularity in Europe and the United States in the 1910s and 20s, it became more of a couple dance for a man and a woman, fueled by films starring Rudolph Valentino. In the 1980’s, argentinian tangoa stage extravaganza performed by dancers from the Buenos Aires neighborhood, created “the strongest tango revival of the 20th century”, according to Thompson.

It has taken more than a century since its inception for the LGBTQ community to reconnect with dance. In 2000, Tango Queer classes and milongas in Hamburg, Germany, helped codify the movement, leading to the creation a year later of Tango Queer in Buenos Aires.

Lubisch discovered queer tango after dabbling in salsa and country western. When her queer salsa teacher started teaching tango in 2009, she took her first steps and had an epiphany.

“I was overwhelmed,” she said, before quoting tango teacher and writer Iona Italia: “Tango is a delight for the physical body that comes from the joy of being alive.” For soft-spoken Lubisch, a self-proclaimed introvert, tango was all that and more. “Tango felt like a distilled fusion of joy,” she said.

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Karen Lubisch, organizer of Abrazo Queer Tango, poses for a photo outside the Berkeley Finnish Hall on May 15, 2022. Credit: Kelly Sullivan

Queer tango began in the Bay Area around 2006 by queer tango dancers who became teachers and organized the first classes and dances. With the help of a friend (who wishes to remain anonymous), Lubisch started Abrazo Queer Tango in San Francisco. He operated briefly in Oakland before making Berkeley his permanent home in 2012. She chose the word hugbased on the spanish word for kiss, encouraging the idea of ​​kissing queer tango.

The Bay Area is the nation’s most active and largest queer tango community, Lubisch said, as it offers weekly queer tango classes, offered by Abrazo and individual teachers who run their own classes, as well as Abrazo’s monthly queer classes. milongas.

Abrazo has a mailing list of 300 dancers. About 25-35 people attend his weekly classes at the Finnish Hall, where a beginners class is followed by a one-hour class practice, or practical, followed by an intermediate course. About 35 to 50 people attend its monthly milonga. Fifty to 75 are regulars, but there are also foreigners “who make the Bay Area their year-round queer tango destination,” Lubisch said. Abrazo held annual festivals until the pandemic, which have yet to restart.

Abrazo is part of an informal network of queer tango communities here and abroad that “support each other, learn from each other and grow together,” communicating primarily through Facebook and newsletters, Lubisch said. Washington, DC, New York, Philadelphia and Seattle have well-established queer tango groups, while Chicago, Portland, Austin and Santa Fe have more of a fleeting presence, Lubisch said.

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Abrazo Queer Tango takes place on Sundays at Berkeley Finnish Hall. Credit: Kelly Sullivan

David Lefkowitz, who comes from San Francisco to dance at Abrazo every Sunday, said he also dances elsewhere, but because Abrazo is “more queer oriented, it feels a bit more welcoming.” He dances both roles in the tango in order to improve his mastery.

Compared to other social dances, tango requires a high level of sensitivity from the partner in order to perform the complicated footwork and physical contact. The open embrace creates a kind of separation from its partner, similar to a waltz. The close hug is the cheek-to-cheek stereotype that requires full body contact. Thus, trust issues with a partner also become consequential.

In addition to dancers being assigned a dance role based on their gender, Lubisch said he saw other forms of homophobia, including a teacher unwilling to teach a woman to lead or a man to follow. Such incidents occasionally happened in the early days of Abrazo, but aren’t as much of a problem anymore, Lubisch said.

“What do you do if you’re filming and there are people who don’t want to dance with a woman who’s directing? What if the next man wants to wear heels? asked Lubisch. “It could be dangerous.”

Abrazo is run by volunteers, although the rotating staff of three queer tango teachers and three to five straight teachers and DJs are paid. “They’re straight but not straight,” Lubisch said. “All are wonderful.”

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Tango instructor Mira Barakat gives Donzi De Souza and Janette Cariad tips on tensing their hands and arms at Finnish Hall on May 15, 2022. Credit: Kelly Sullivan

Although Abrazo is designed to be a safe space for the LGBTQ community, not all attendees are gay. A few of the older women told Lubisch that they are often overlooked in a straight environment, where men prefer younger women as partners.

Janette Cariad, a pelvic physical therapist from Berkeley, who describes herself as “open queer,” has been coming to Abrazo for at least seven years.

She first learned to follow but started to lead. “You learn a lot more about dancing playing the opposite role,” she said.

Cariad also dances with The Bruja at the Berkeley City Club, the Argentine Tango Club of (UC) Berkeley and Rhythm on Ninth Street. “What I love about Abrazo are the people,” she said, “with its diversity, and the fact that it’s a very safe space, where I can experience the culture of consent and inclusivity in action.”

“If you go to other milongas, a lot of people have been dancing together for years,” Lefkowitz added. “Here, it’s more about community than parade.”

Like seeing the world in living color

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Instructor Mira Barakat and Abrazo Queer Tango organizer Karen Lubisch pose for a photo outside Berkeley Finnish Hall on May 15, 2022. Credit: Kelly Sullivan

Barakat, originally from Berkeley, is one of Abrazo’s main teachers.

After discovering tango, she moved to Buenos Aires in 2010 and lived there for two years, studying dance. Since then, she has led intensive immersion programs there, called BA. Tango Evolutions.

As a teacher, Barakat said she needs to be aware of everyone’s dance goals to ensure they are supported in dancing the role they want in the way they want. To that end, she asked students at the beginning of class to indicate their preferred pronouns and roles. “I would try to do the same in a live venue, but the queer community is a little more explicitly open to that,” she said.

At the end of the lesson, about half a dozen dancers showed up for practice. Some seemed to have been dancing together for a long time, due to their expertise. Men danced together, women danced together, straight couples too. Barakat mingled with the students as the rapid thrusts of the bandoneon, an accordion-like instrument that is a mainstay in a tango orchestra, kept the dancers aware of the rhythm.

A faster, more rhythmic tango, also called a milonga, brought Lubisch to the ground with an accomplished follower. Everyone descended into deep concentration, as the pace demanded quick footwork. They danced flawlessly. As the song ended, the partners bowed to each other, acknowledging their accomplishment.

“That’s what it’s like to have a kaleidoscope of emotions and feelings in the moment,” Lubisch said. “Dancing the tango is like seeing the world in color when you’ve only seen it in black and white.”

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Tango instructor Mira Barakat demonstrates a step with tango participant Donzi De Souza at Finnish Hall on May 15, 2022. Credit: Kelly Sullivan

Joanne Furio moved to Berkeley because it has sidewalks. She specializes in design in all its forms, innovation and the arts.