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Art of the Moment

English
  • Arte del Momento

    • Para rendir homenaje a uno de los más grandes pintores abstractos de todos los tiempos se muestran sus obras más relevantes en Londres.

    El Tate Modern exhibe la magnífica obra Paul Klee / 

    Pocos creadores son tan representativos del espíritu lúdico del arte como lo es Paul Klee. Este mágico pintor incita, con su paleta y libertad geométrica, al juego de la mente y asombro de la vista. Tal vez por eso sus obras sirvieron de inspiración para grandes creadores de vanguardia y contemporáneos.

    Para Paul Klee no fue intimidante que una terrible guerra atentara contra su trabajo. Siguió pintando a pesar de que su arte era considerado, por los nazis, como degenerado. Y junto con sus colegas integrantes del “Jinete Azul”, transformó el curso de la historia, a través de caprichosas formas y colores.

    Ahora tenemos la oportunidad de apreciar el trabajo de Paul Klee como nunca antes. Con una muestra que reúne obras significativas del artista, la Tate Modern presenta desde octubre hasta el 9 de marzo del 2014, The EY Exhibition: Paul Klee - Making Visible, muestra que honra la trascendencia de este autor. Para ampliar la experiencia, el museo organiza pláticas y talleres que ahondan en el discurso artístico de Klee.

    Sin duda, las primitivas formas que emergieron del imaginario de este pintor, son relevantes como materia onírica, creativa y espiritual y nos recuerdan la importante conexión de la humanidad con el pasado distante.

    Tagged: arte del siglo XX, pintores, Paul Klee, exposiciones, Tate
  • Art of the Moment

    • To pay homage to one of the greatest abstract painters of all times, the London museum will feature his most important works.

    Tate Modern exhibits the wonderful oeuvre of Paul Klee / 

    Few creators are as representative of art’s playful spirit as Paul Klee. Brandishing his palette and geometric freedom, this magical painter encourages the viewer to participate in a game of the mind and eyesight amazement. Perhaps this is why his works became a great source of inspiration for the creators of the great vanguards and their contemporaries.

    Paul Klee was not intimidated by the fact that a terrible war seized his work. He continued to paint even though the Nazis considered his creations to be degenerate. Together with his colleagues from the Blaue Reiter movement, he transformed the course of history through whimsical forms and colours.

    Now we have the opportunity to appreciate his work like never before. With an exhibition that gathers the most significant works by the artist, Tate Modern presents from October to the 9th of May 2014, The EY Exhibition: Paul Klee - Making Visible, which honours this author’s transcendence. To widen this experience, the museum is organising conferences and workshops that delve deeply into Klee’s artistic discourse.

    Undoubtedly, the primitive forms that emerged from this painter’s imagery are as relevant as they are oneiric; they deal with creative and spiritual matters and remind us of humankind’s important connection to a distant past. 

    Tagged: Paul Klee, painters, twentieth century art, exhibitions
  • Art of the Moment

    • The National Museum of Computing presents an exhibition that shows how women have influenced the development of computing, reclaiming their role in this sphere.

    The ‘Women in Computing’ exhibition: a tribute to the heroines of computer science / 

    Even with the presence of a liberal ideology in most developed countries, the percentage of female engineers is minimal. The ‘Bachelor of Arts’ remains the preferred professional field for this gender, and statistics confirm that women continue to choose humanities. According to a study made by the community statistics office (Eurostat), in the European Union, the average of female scientists or engineers is 29%, while in the United States the number reaches 30%.

    Women have never been protagonists, at least not within the mainstream world, but the latter however does not mean they have been absent from the development of this science. Due to the latter, the National Museum of Computing in the United Kingdom will be showing the historical manifestations by women that have contributed to this science. The exhibition plans to inspire more women to participate in this sphere so that they will contribute to its evolution from a different perspective, perhaps one that is more sensitive.

    Using multimedia technology on touchscreens, this exhibition will present interactive videos and graphs that narrate the stories of cyber-heroines, according to a museography conceived to make the visitors interact with its contents. The organisers in this exhibition, named “Women in Computing”, also published an email where people can send the stories of transcendental women in the development of the informatics world, the latter in order to widen the scope of the exhibition.

    Among the protagonists in Women in Computing, we can find Sophie Wilson, the co-designer of the BBC Micro and ARM chips, Joyce Wheeler, one of the first researchers to use a computer (EDSAC), Mary Coombs, the first commercial programmer to use (LEO) and Margaret Bullen, who worked in the construction of the first original Colossus computers.

    Although the professional women in the world continue to prefer social sciences, perhaps by employing intelligent advertising, and the expansion of electronic culture, exact sciences usually considered a complicated and boring world, will be more attractive for both genders: some women —as this historical exhibition evidences, adapted to digital art, have already successfully begun, this adventure. 

    Tagged: women, exhibitions, computing
  • Art of the Moment

    • After an exhaustive study made by several institutions over the course of four years, the result of this wonderful exhibition is this beautiful catalogue.

    Oriental eroticism at the British Museum: ‘Shunga, sex and pleasure in Japanese art’ / 

    Exploring the sexual imagery of their time, the master engravers of Japan journeyed into the delicate art of Shunga, a beautiful erotic-creative manifestation, highly popular from the seventeenth to the nineteenth centuries. At times humorous and at times evil, always creative and unconcealed, these stamps were thought of for large audiences, designed to please both sexes and different social classes. They were widely distributed throughout the Japanese territory until they were forbidden in the nineteenth century, at the precise moment when westerners where beginning to fall in love with their charms.

    “Shunga” is literally translated as spring images and were crafted by the same artists that worked on the impressive “Floating Life” and ukiyo-e styles. Inspired by sensuality they began experimenting with sexuality and the popular imagery that surrounded it —resulting in sublime stamps of a remarkable complexity that were massively printed and distributed. It’s generally believed that this graphic style inspired what today is known as manga, anime and the popular figures of Japanese tattoos. Its influence was widespread; echoed in the works of Toulouse-Lautrec, Beardsley, Rodin and Picasso.

    Within the frame of the 400th anniversary of British-Japanese relations, the British Museum is exhibiting Shunga: sex and pleasure in Japanese art. This wonderful exhibition shows this enriching artistic manifestation in London for the first time ever; sponsored by Shunga in Japan LLP; it was the product of four years of research made by The British Museum, the School of Oriental and African Studies (SOAS), the International Research Centre for Japanese Studies and Ritsumeikan University.

    These institutions’ fortunate encounter and joint efforts, as well as their shared enthusiasm for Shunga, has burgeoned a magnificent catalogue that complements the exhibition, and is also accompanied by a series of lectures and conferences. The exhibition will be open from October 3rd to January 5th 2014. 

    Tagged: shunga, eroticism, Ukiyo-e, Japanese art, Hokusai, exhibitions, shunga British Museum
  • Art of the Moment

    • It’s about time that a renowned and prestigious institution like MoMA exhibited this type of work.

    MoMA Soundings: A contemporary Score, the first great exhibition of sonorous art within this enclosure / 

    The interdisciplinary creative spirit twenty-first century art has undoubtedly been actively spread; since the late 1990s and due to communication technologies, any artist is now able to share their work. The flow of urban, sonorous and photographic creations has intensified exponentially.

    A clear example of this profound interdisciplinary activity has been developed in the MoMA exhibition Soundings: A Contemporary ScoreSixteen of the preeminent creators in the field of sonorous arts have conjugated their creations to burgeon the first great exhibition of its kind within the walls of the MoMA. The exhibition consists of projects which are explored using different optics, working towards the challenge of creating interactive pieces and immersive sonorous landscapes.

    This exhibition is the result of a joint effort between professionals in performance, visual art, programming, music and architecture. It was inaugurated the 10th of August and will remain open until November 3rd. Following the premise which states “the way we listen determines what we hear”, a series of surprising aesthetic experiences appear before our eyes: immersions in grainsound environments, composed by multiple and minuscule sounds, pieces that remit to inaudible sounds, and discourses that use the viewer’s body as a resonant medium. 

    Tagged: MoMA, exhibitions, Soundings: A Contemporary Score, sound art, sounds Credits: Image (Hong-Kai Wang. Still from Music While We Work. 2011. Multichannel sound and two-channel video installation)
  • Art of the Moment

    • The Hayward Gallery in London presents an exhibition of heterogeneous artists gathered for the extravagant reinvention of reality.

    Follow “The Alternative Guide to the Universe” and reinvent your reality / 

    Reality is unique but also multiple. Reality is collective and individual also, there is a common ground we all tread, but we all do it in our own way. There exists an absolute reality that we all share and also a personal reality that only belongs to whoever experiences it —with the possible or consistent opposition between one and the other.The Hayward Gallery in London recently inaugurated an exhibition which stands out for its dual character, as well as for this dual character of reality, and for certain extravagance that seems to run secretly below the surface of the world: The Alternative Guide to the Universe.The pieces shown are made by characters that, beyond the curatorial will, seem to have at least one circumstance in common: marginality. For one, all the participants are fairly unknown in the art world, and on the other hand, most of them inhabited at some point or another, the very frontiers of this world, whether this was because of madness or because they are self-taught, or in general, because when they confronted reality they found it to be insufficient. Perhaps it was because physical, social laws, the structure of existence itself, forced them to build a parallel route following their imagination’s unbridled path, delirious construction, and inordinate invention.The exhibit also features pieces by Lee Godie, a homeless woman from Chicago who worked during the Sixties, and who considered she was an impressionist, just like Monet or Renoir. Godie sold her paintings to pedestrians on the stairs of the Chicago Art Institute. In this case, however, what she is showing are her photographic self-portraits, in which she played with the appearance we show the world on a daily basis, with a style that we now believe only belongs to the renowned Cindy Sherman.The Alternative Guide to the Universe also gathers a couple of extravagant architects. The first is Bodys Isek Kingelez, a sculptor of Congolese origin, who shows his series Extrêmes maquettes, which are imaginary, at times futurist cities of a childish daydream charm. The exhibit will also feature the photographic archive of the houses that Richard Greaves built in the forests of Canada, while lacking practically any technical construction knowledge, reusing materials from abandoned mills.Lastly, following this tendency to rescue or re-signify things society has discarded, we can find the work by Wu Yulu, perhaps one of the few known artists featured in the exhibit. Yulu has gained some recognition because of his domestic robots, which he also builds from discarded materials he finds in dumpsters in the area surrounding the farm where he lives. Some do the cleaning, some do the dishes or light cigarettes. In The Alternative Guide to the Universe he shows a robot that can climb the wall and another which looks like a child and chases people around.Evidently, this is an eccentric but falsely heterogeneous collection. Towards the end we can discern certain logic, characteristic of the artists and the work. Similar to what is said in the review in the We make money not art website, these pieces say a lot less of themselves than of “the stories and personalities of the individuals behind them”.Which is the common thread? Perhaps the always present possibility of superimposing planes onto reality, of modifying or imagining it with other forms, seeing it through a different filter: re-inventing it.  ImagesI. Alfred Jensen, Twelve Events in a Dual Universe (1978) ©ARS, NY and DACS, London 2013, Photo: Linda Nylind, Courtesy Hayward Gallery.II. Paul Laffoley, The World Self (1967), (Installation view ‘Alternative Guide to the Universe’), Courtesy Hayward Gallery 2013, © the artist, Photo: Linda Nylind.III. Rammellzee, Color Letter Racer Set (c.1988) and White Letter Racer Set (c.1991), (Installation view ‘Alternative Guide to the Universe’), Courtesy Hayward Gallery 2013, © Estate of Carmela Zagari Rammellzee, Photo: Linda Nylind.

    Tagged: art, contemporary art, installations, The Alternative Guide to the Universe Hayward Gallery, exhibitions
    • The Gagosian Gallery presents Lichtenstein: Expressionism, a magna exhibition that we should not miss.

    Paris exhibition shows Lichtenstein’s pop art studies on German Expressionism / 

    Roy Lichtenstein (1923-1997) was a pioneer when it came to projecting the inclusive vision we now know in art, which is not against popular forms of creation, nor against the incorporation of industrialised processes; this American artist’s pop art projects a precise synchrony with its time, it implies a specific way of seeing the world and perceiving art; while at the same time, his research reached an incisive vision of aesthetic interests, as did his perception of expressionist art.

    The Gagosian gallery in Paris presents Lichtenstein: Expressionism, in which the painter’s interest in the vanguards’ artistic notions are highlighted, his research on Picasso’s, Paul Klee’s and Miro’s work is reflected through the techniques he adopted from advertising, to show his works contribute a perception of art someone had to project.

    On the other hand, the exhibition also manifests that the Lichtenstein’s expressionist incursions are, to a certain degree, an actualisation of what artists such as Kirchner or Otto Dix did, painters who also caricatured the representation of their times, employing physiognomic distortions and harsh colours and themes.

    Reds, blues, yellows involved in the Benday printing process make up dotted faces that are synthetic versions of what the Germans’ did decades before; the graphic black dots are a direct allusion to the etching prints which proliferated during Expressionist times. The reflections on the medium, materials and the aesthetic that Lichtenstein makes surrounding expressionism, elicits the viewer to undergo a necessary reflection on tradition and historical consciousness.

    The exhibition opened on the 1st of July and it will close on the 12th of October, giving us plenty of time to make the most of this opportunity to explore this facet, in the work of a man whose work has influenced our era profoundly.

    For further information about Lichtenstein: Expressionism, follow this link.

     

    Images

    I

    The White Tree, 1980

    Oil and Magna on canvas

    105 x 204 inches (266.7 x 518.2 cm)

    © Estate of Roy Lichtenstein

    RL 0870

     

    II

    Portrait of a Woman, 1979

    Oil and Magna on linen

    70 x 54 inches (177.8 x 137.2 cm)

    © Estate of Roy Lichtenstein

    RL 0824

     

    Dr. Waldmann, 1980

    Woodcut with embossing on Arches Cover paper

    41 5/8 x 34 1/4 inches (105.7 x 87 cm)

    Edition of 50 + 13 AP

    © Estate of Roy Lichtenstein / Gemini G.E.L.

    RL 3673

     

    III

    Female Figure, 1979

    Oil and Magna on canvas

    70 x 50 inches (177.8 x 127 cm)

    © Estate of Roy Lichtenstein

    RL 0822

     

    Portrait of a Woman (study), 1979

    Graphite and colored pencil on paper

    8 1/8 x 5 7/8 inches (20.6 x 14.9 cm)

    © Estate of Roy Lichtenstein

    RL 2206

     

    IV

    Head, 1980

    Oil and Magna on canvas

    50 x 36 inches (127 x 91.4 cm)

    © Estate of Roy Lichtenstein

    RL 0846

     

    Woman Drying Her Hair, 1980

    Oil and Magna on canvas

    46 x 42 inches (116.8 x 106.7 cm)

    © Estate of Roy Lichtenstein

    RL 0848

    Tagged: Roy Lichtenstein, Lichtenstein Gagosian Gallery, painters, twentieth century art, exhibitions
  • Art of Inspiration

    • This exhibition, which studies the creative evolution in the life of the Oriental master engraver in the Art institute of Chicago, is a must.

    The stylistic culmination in Hokusai’s legacy: 36 views of Mount Fuji / 

    Katsushika Hokusai (1790-1849) is the Oriental master of Japanese engraving that influenced art, life and the unconscious. His editions where magnanimous, his name and several aliases multiplied throughout Japan. Among his series, the one that probably stands out the most is the one the artist entitled: Thirty-six views of Mount Fuji (1826-1833); the most renowned impression of the series is what today we know as The Great Wave off Kanagawa, in sum, the complete series is a masterpiece of graphic art.

    Mount Fuji is the highest in Japan, and in Hokusai’s times, the clear natural spectacle commended the figure of the giant —an earthly titan that throughout history inspired great works in different disciplines. At the elderly age of 70, the artist decided to homage the sacred mount, and the daily life the giant oversaw. The thirty-six visits were made on multiple wooden boards, each one made of at least three boards, which the artist then assembled to the size that culminated in the virtuous matrices; afterwards the master imprinter was in charge of the engraving process.

    Beyond the Great Wave: Hokusai’s Images of Mount Fuji, is the exhibition that the Art Institute of Chicago is hosting from the 20th of July, through to the 6th of October. The works on display show how the mastery of the series, in the latter years of this genius’ career, is the climax of multiple stylistic experiments, throughout Hokusai’s life.

    During the Edo period, appreciating the works that now hang in the most distinguished museums, in the streets was a popular practice, the stamps were coveted in Europe and squandered in Japan; an estimated thirty thousand works were made by Hokusai under a series of different pseudonyms, in different currents which encompassed everyday life, the landscape, eroticism and the extraordinary tales of his time. This creative genius left a millenary legacy, an artist who permeated his own time and whose influence continues to thrive even to this day. 

    Tagged: Hokusai, Hokusai Art Institute Chicago, inspiration, exhibitions, Japanese art
  • Art of Inspiration

    • Five videos explore the idea of departure and separation in different spatial, temporal and existentialist fields of humanity, Bill Viola presents his first solo exhibition in the Argentinian capital.

    “Punto de Partida”, Bill Viola’s first exhibition in Buenos Aires / 

    Bill Viola’s name is undoubtedly one of the most meaningful in the history of Video art. This is an artist that has known how to take the expressive possibilities of this multidisciplinary technique towards the explorations concerned with the most essential human issues —queries that are, per se, phenomena, such as the dualisms of life/death, light/darkness, sounds/silence, tension/calm, or even consciousness itself. With influences that range from Renaissance painting to Mark Rothko, Viola’s creations explore the limits of the meaning of these concepts, which to a greater degree constitute our vision of the world, both individually and socially.

    Recently, Punto de Partida, was inaugurated in Buenos Aires, the first individual exhibition the American artist has had in Argentina. In this case, this entails presenting five videos surrounding the ideas and effects of departure, separation, that rupture which at times is painful, at times unpredictable, sudden, that disbands time and space, a person and their surroundings, that differentiates the ‘here’ from ‘there’, the past from the present, life and death, the State and the individual.

    Symbolically, Punto de Partida, is being shown, free of charge, in Memory Park in Buenos Aires, in the "Presentes, Ahora y Siempre" (Present, Now and Always) exhibition room, and will be open until the 2nd of September of the present year. 

    Tagged: Bill Viola, video art, contemporary art, Bill Viola Buenos Aires Argentina, inspiratin

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