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quinta-feira, 18 de junho de 2015

Daegu Art Museum, a municipal art museum inaugurated in May 2011 and supported by the Daegu Municipal Government, is confident it is at the highest level of artwork management and exhibition halls.

The museum has presented exhibitions promoting Daegu art's advancement through study and the re-illumination of Daegu modern and contemporary art's historical value.

The museum also has planned exhibitions introducing social, artistic issues of the times and leading trends in theglobal art scene through domestic and overseas exchanges. It has also executed diverse performances and events, such as celebrity invitation lectures and academic programs for children, teenagers, and citizens of all ages, in harmony with the museum spaces.

On the third floor of the museum building visitors find the Art Information Center where they can peruse art-related books and a lounge where they can take a rest. The museum will develop quality programs to improve viewer satisfaction and will sincerely perform the role of creative cultural forum together with citizens, offering careful service while leading the times.

Yinka Shonibre MBE: Wilderness into a Garden
May 30 –October 18, 2015

Yinka Shonibre MBE
British-born Nigerian artist Yinka Shonibare MBE (b.1962, London) is an acclaimed contemporary African artist known for his superb aesthetic sensibility. Shonibare contracted a rare inflammatory disease when he was 18, resulting in physical disability. Overcoming such unforeseen adversity through sheer willpower, he went on to study art at university. His singular view of the world is expressed in his art. As a dark-complected individual raised in a white society, Shonibare unflinchingly examines how Eurocentrism and racism are deeply and unthinkingly embedded in Western society. However, his works are approachable, for his criticism of imperialism, colonialism and the distortions of history that lie at the root of racism and Eurocentrism are tempered by a sense of humor. 

The Crowning, 2007
Two mannequins, Dutch wax printed cotton textile, shoes, coir matting, artificial silk flowers, 160x280x210cm
Commissioned by the Musée du Quai Branly for the exhibition ‘Jardin d’Amour’ 2007.
courtesy of the artist and Stephen Friedman Gallery.
Photo : Patrick Gries for the Musee du Quai Branly © The Artist

Dutch Wax
A hallmark of Yinka Shonibare’s art is his use of Dutch wax, known for brilliantly colored abstract patterns produced on fabric . Dutch wax is widely viewed as native to Africa, even called African textile, due to its popularity on the continent. In fact, the fabric originally hails from the former Dutch colony of Indonesia, and was introduced to Africa by the British Empire, the dominant colonial power on the continent. Shonibare purposefully uses Dutch wax in his works to capture the irony of the fact that a symbol of Africa is the product of imperialism and colonialism, the legacies of which still hobble Africa today. Dutch wax is Shonibare’s inspired choice to symbolize the dualism of history and its twisted, tangled cultural legacy.

Cake Man II, 2014
Unique life-size mannequin, Dutch wax printed cotton textile, plaster, polystyrene, pocketwatch, globe, leather and steel baseplate, 315 x 88 x 120 cm
Courtesy of the artist and Pearl Lam Galleries, Hong Kong and Shanghai© The Artist

Planets in my Head (Music), 2012
Dutch wax printed cotton, child’s grand piano, Victorian stool, Victorian lesson music, leather, 115x90x176cm
Courtesy of the artist and Stephen Friedman Gallery, London © The Artist

Revolution Kid (Fox Girl), 2012
Unique life-size mannequin, Dutch wax printed cotton, fibreglass,leather, taxidermy fox head, steel base plate, lackberry, and 24 carat gold gilded gun. 111.8 x 91.4 x 76.2 cm
Courtesy of the artist and James Cohan Gallery, New York and Shanghai. Photo: Stephen White © The Artist

Esthetics of Yinka Shonibare MBE
The two fundamental themes underlying the art of Yinka Shonibare MBE are the “duality of history”and “cultural hybridism”. Shonibare recognizes that written history has at least two sides, and that no historical account portrays the whole truth. Those hailed as heroes were also brutal aggressors; similarly, the march of progress did not come without enormous sacrifice. Even if we accept that history is inherently relative, the danger is that historical distortions produce distortions in values and world views. Despite such distortions, Yinka Shonibare offers an alternate view of the world as a resplendent garden. Shonibare’s works offer a singular view of what was, and what could be. Using varied media –sculpture, installation, film, and photography –Shonibare’s readings of history incorporate art, music, literature and culture to create rich narratives and a unique voice.

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    Museum size
    • Land area: 71,202m2
    • Building area: 8,807.27m2
    • Surface area: 21,701.44m2

  • Building composition
    • 1B: Project Room / Storage / Machine Equipment Room / Multi-purpose Hall / Auditorium / Art Shop / offices
    • 2F: Gallery 2 / Gallery 3 / Gallery 4 / Gallery 5
    • 3F: Art Information Center / View Lounge

  • Organization : Two departments (Curatorial Office / Administration & Support Department)

  • Location : Misoolgwan-ro 40 (374, Samdeok-dong), Suseong-gu, Daegu, S. Korea

fonte: @edisonmariotti #edisonmariotti

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