The art collection has its own identity and focus – even when Strategies change from time to time. Therefore it’s best to have your art collection embedded within all levels of the entire organization and communication – because then the art collection creates a culture that defines the corporate identity and supports the company.[/rs_special_text]
The members club Salon de Bricolage (Athens, Greece) is pleased to invite you on Wednesday, October 24, 2018 at 20:00 to the private viewing of Anna Fafalious’ exhibition ‘Few Things We Left Unsaid’, curated by the art historian and art advisor Anna Chatzinassiou. The exhibition follows the presentation of the interactive art project, which was presented in 2017 at the Scotch of St James in London.
Salon de bricolage constitutes a non-profit, urban project that aims to promote the arts, gastronomy and the organization of contemporary art events. Its exclusive collaboration with affiliated international members clubs ensures its members’ experience of the highest standard of service.
MURAL ART INSTALLATION FOR GOLDMAN SACHS
Eighty feet long by twenty-three feet high, Julie Mehretu’s “Mural” dominates the entrance lobby of Goldman Sachs’s new steel-and-glass office building, in lower Manhattan. Its abstract forms and high-velocity, intersecting colors accompany arriving employees on their long walk from the security turnstiles to the elevators, and catch the eye of passersby on the corner of Vesey and West Streets.
Read article about the art installation here [/rs_special_text]
During the makeover Ford’s footprint in the building shrunk, making room for other organizations, with a new open plan and more shared space. From bottom to top, art by Henry Taylor, Maria Berrio and Nobuaki Takekawa. Preservation is not just about bricks and mortar, in the end. It’s also about cultivating a public to feel invested enough to keep something. Something that’s meaningful to daily life. By opening up the building, Ford’s renovation serves the foundation’s social justice mandate.
READ MORE ABOUT IT HERE[/rs_special_text]
15 artists collaborate to turn the interior of London Royal Children’s Hospital into as fun and colourful a place as a hospital can be. Despite being limited by the fact that hospital environments need to be easy to clean, the artists were still able to use vinyl, ceramics, wood and even rugs to liven up these hospitals, each approaching the wards they decorated with their own unique style.
Two LOVE HATE welded metal sculptures are on display at one of the most prominent spots in the cityscape, the Siegestor. The sculptures, by Mia Florentine Weiss, with their red-orange rusted surfaces are in marked contrast with the aged stone of the looming Victory Gate. The ambigram sculptures can be read by one side as LOVE, the other as HATE. They fit in perfectly with the program of the Faust Festival Munich, which at the same time draws its way through the state capital as an artistic leitmotif.
LOVE HATE not only stands for the multi-layered ambivalence of this most humane of sentiments in Goethe’s most famous drama but also gains new meaning in the 100th year of the end of the World War I as a worldwide symbol of peace in Germany, transforming hatred of the world into love.
The location of the two LOVE HATE sculptures to the north and south of the Victory Gate could hardly be more ideal – the inscription tells: THE VICTORY IS WONDERED, DESTROYED FROM WAR, TO MAKE PEACE.[/rs_special_text]
on display, until november 26th outside the ca’ sagredo hotel in venice, italian artist lorenzo quinn‘s support sculpture features two large hands emerging from the grand canal for the venice art biennale 2017. represented by the halcyon gallery, the massive sculpture aims to make a statement on the effects of global warming. Quinn, known to use body parts – and especially hands – in his sculptures, uses the gigantic limbs as a force of nature that braces the canal-side structure, both reinforcing it in the face of decay while at the same time suggesting a force of nature equally capable of destroying it. the commentary exposes the fragility of our built and natural environment and its susceptibility to the forces of nature and man.
READ MORE HERE[/rs_special_text]
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