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DTSTART;VALUE=DATE:20231108
DTEND;VALUE=DATE:20231219
DTSTAMP:20260515T153739
CREATED:20231030T170012Z
LAST-MODIFIED:20231030T170012Z
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SUMMARY:Nowhere And Everywhere At The Same Time No.2
DESCRIPTION:Now this is an unexpected offering from Berklee: the revised version of William Forsythe’s Nowhere And Everywhere At The Same Time\, a kind of DIY performance piece that encourages you to experience space\, movement\, other people\, the absence of other people … \nThe original version was a dance piece created at Tate Modern in 2009\, devised by the eminent choreographer and performed by the dancers of his company. The Tate’s Turbine Hall was filled with dozens of metal pendulums suspended from wire rope; the dancers used the pendulums as catalysts for movement\, their bodies reacting to the objects\, and each other\, as they moved through the field. Forsythe has commented that the work’s choreography is “based on observations; so the dancers are observing the room\, observing each other\, and producing conclusions or expressing their observations”. By conceiving the Turbine Hall as both ‘nowhere and everywhere at the same time’\, this performance sought to unleash the kinetic and metaphorical potentials of the space. \nThe No.2 version does not involve a specific choreography or indeed dancers as such. The field of moving pendulums is retained\, and visitors are invited to move through them at will. In doing so\, they effectively generate an infinite range of individual choreographies. As the Berklee puts it\, “The spectators are free to attempt navigation in this statistically unpredictable environment but are requested to avoid coming in contact with any of the swinging pendulums. This task\, which automatically initiates and alerts the spectator’s innate predictive faculties\, produces a lively choreography of manifold and intricate avoidance strategies …” \nThe piece is accompanied by two of Forsythe’s short films. Solo (1997) is a performance for the camera by Forsythe himself that has close-ups and rapid cuts of his twisting body contrasted with overhead shots that capture his movements across a starkly lit stage. Antipodes I/II (2006) consists of two videos shown on facing screens suspended at different heights; on the raised screen\, Forsythe attempts to hold on to a table attached to the ceiling\, while in the second video he moves between two tables resting on the floor. The result\, which apparently dramatises Forsythe’s childhood belief that someone traveling to the South Pole risked falling off the planet\, subverts the relationship between embodiment and gravity. \nShould be fun. The performance/installation/movement piece is open between 8 November and 18 December; you need to book a one-hour time slot between 10am and 8pm (there is a maximum of 50 people per time slot so you should get the one you want).
URL:https://magpie.ae/event/nowhere-and-everywhere-at-the-same-time-no-2/
LOCATION:Berklee Abu Dhabi\, UAE Pavilion\, Saadiyat ISland\, Abu Dhabi
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20231115
DTEND;VALUE=DATE:20231116
DTSTAMP:20260515T153739
CREATED:20231017T092341Z
LAST-MODIFIED:20231108T161840Z
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SUMMARY:I Can No Longer Produce the Limits of My Own Body
DESCRIPTION:The fourth exhibition at NIKA Project Space is a group show for seven artists highlighting ecofeminist perspectives\, curated by Nadine Khalil and featuring work by Liane Al Ghusain\, Lilia Ziamou\, Dalia Khalife\, Sara Niroobakhsh\, Mirna Bamieh with Isaac Sullivan\, and Christiane Peschek. \nKhalil notes that the show features predominantly women-centric perspectives\, but says “the works are not about the gendered body per se. Rather\, they take a post-human perspective of entanglement and fluidity and interrogate the notion of boundaries by creating unique and site-specific architectures of occupying space – whether this is building a kitchen for fermentation or creating the material manifestations of grief”. \nThe standout is probably the second iteration of Sour Things\, a multimedia installation by Palestinian artist Mirna Bamieh. Sour Things: The Kitchen builds on an original commission for Sharjah Biennial 15 with a new sound composition by the UAE-based American artist Isaac Sullivan. \nPalestinian-Kuwaiti artist and writer Liane Al Ghusain explores a number of forms including video\, sculpture\, and text “to research the fields of mysticism\, feminism\, post-colonialism\, and science fiction”. Lebanese artist and scenographer Dalia Khalife does installations\, site-specific interventions and paintings which examine elements of spectacle and play within power structures\, social events\, and rituals. Abu Dhabi-based Iranian-Canadian artist Sara Niroobakhsh\, references the notion of cultural objects through installations and performance layered with her own technology and science-based interventions. Greek-American NY-based Lilia Ziamou explores how technology can transcend the biological and ideological constraints that shape the body in digital paintings\, sculptures and drawings. And Christiane Peschek\, an artist who says she lives and works in The Cloud\, produces multi-sensory installation and retouched self-portraits “observing the possibilities of online and offline intertwined lifestyles”. \nShould be an interesting show\, and it’s good to see that it’s getting a decent run. \nTo 7 January. \nAbove: Mirna Bamieh\, Sour Things (2023)
URL:https://magpie.ae/event/i-can-no-longer-produce-the-limits-of-my-own-body/
LOCATION:NIKA Project Space\, Unit 11 Al Khayat Avenue\, 19th Street Road — Al Quoz 1\, Dubai
CATEGORIES:Art,Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20231115
DTEND;VALUE=DATE:20231116
DTSTAMP:20260515T153739
CREATED:20230508T160812Z
LAST-MODIFIED:20230509T133415Z
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SUMMARY:Cartier\, Islamic Inspiration and Modern Design
DESCRIPTION:This exhibition highlights the influence of the Islamic arts on design at the luxury goods brand from the beginning of the 20th century to the present. Co-curated by Évelyne Possémé\, Former Chief Curator of Ancient and Modern Jewellery at the Musée des Arts Décoratifs\, and Judith Hénon-Raynaud\, Curator and Deputy Director of the Department of Islamic Art at the Musée du Louvre\, the exhibition will present more than 500 pieces ranging from jewellery and Islamic art to drawings\, books\, photographs\, and archival documents. \nThis kind of collaboration between a reputable institution and a commercial brand is often fraught with danger\, but in this case it seems a more natural fit. Cartier\, which was founded in 1847\, created an archive department 50 years ago (it was the first jewellery house to do that) and began collecting its own antique designs ten years later; there’s some depth to its involvement. \nThe present exhibition is based on one that was initially displayed in 2022 at Musée des Arts Décoratifs and the Dallas Museum of Art. A big hit in both Paris and Texas\, it majored on the influences of Louis Cartier – a noted collector of Persian and Indian paintings\, manuscripts\, and other objects – and his younger brother Jacques\, a frequent traveler to India and Bahrain. \nThe 2022 show did a great job of drawing out the variety of influences that were in the air at the time of some of Cartier’s most iconic creations\, especially from the 1920s and 1930s; the arts and architecture of the Islamic world are cleverly diagrammed and dissected to show how they relate to iconic Cartier pieces. \nMuch of the applause for that show went to its designer\, Liz Diller of the hip architectural practice Diller Scofidio + Renfro\, who cleverly used visual tricks\, digital video\, and glass display cases to draw the viewer through the space. The same scenography is being used in Abu Dhabi\, which bodes well. \nTo 24 March.
URL:https://magpie.ae/event/cartier-islamic-inspiration-and-modern-design/
LOCATION:Louvre Abu Dhabi\, Saadiyat Island\, Abu Dhabi
CATEGORIES:Design,Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20231115
DTEND;VALUE=DATE:20231116
DTSTAMP:20260515T153739
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SUMMARY:Abdulrahim Salim: Muheera & I
DESCRIPTION:Abdulrahim Salim’s first solo exhibition with the gallery presents a collection that spans two decades of his career\, including figurative drawings\, paper collages\, and  abstract paintings. Central to his artistic vision is the enduring influence of folklore and the character Muheera. Through her story\, Salim celebrates the strength and resilience of women and challenges preconceived notions about their role within society. \nTo 15 February. \nAbove: Abdulrahim Salim\, Untitled 36 (2023)
URL:https://magpie.ae/event/abdulrahim-salim-muheera-i/
LOCATION:Aisha Alabbar Gallery\, Warehouse C19\, Alserkal Avenue\, Dubai
CATEGORIES:Art,Exhibition
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BEGIN:VEVENT
DTSTART;TZID=Asia/Dubai:20231115T200000
DTEND;TZID=Asia/Dubai:20231115T220000
DTSTAMP:20260515T153739
CREATED:20231003T103732Z
LAST-MODIFIED:20231003T103732Z
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SUMMARY:Wednesday Night Impro: Maestro
DESCRIPTION:Ten actors converge for a night of scenes\, songs and games based on audience suggestions. After each round you score the players on a scale of 1 to 5\, and the one with the lowest score is eliminated. Eventually only one remains\, to be crowned the Maestro. “Fast-paced\, unpredictable\, and hilarious” says the promo\, and you couldn’t argue with that. As with all Courtyard improv evenings it’s free\, but you need to put your name on the guestlist (via the website); and it’s first-come first-served\, so get there early enough to grab a seat.
URL:https://magpie.ae/event/wednesday-night-impro-maestro-10/
LOCATION:Courtyard Playhouse\, Street 4B\, Al Quoz 1\, Dubai\, United Arab Emirates
CATEGORIES:Improv
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