Popular Events in February, 2024(February Updated)

The pub was demolished in the 1990s but the sign remained as a symbol for the community. The artist worked with the local residents and school to refurbish the sign with a new design inspired by memories of the pub and its landlord.

The Forest of Dean Sculpture Trail celebrates 30 years of commissioning contemporary artworks with two new permanent commissions by artists Henry Castle and Pomona Zipser, unveiled on 15th July 2016. In Coal Measure Giants, rising British star Henry Castle brings to the surface aspects of what lies hidden beneath the Forest’s surface. Exploring the geological, industrial and sociological aspects of the Forest’s history, visitors will be able to touch the fossilized remains of 300 million year old trees and see the form of the mine shaft sets that provided a livelihood for generations of local freeminers. Two sculptures placed 300 metres apart act as markers, measuring the depth of the coal seam that lies directly below the ground. The work invites the public to experience a physical expression of this vertical depth. Meanwhile, Yaşasin by established Romanian artist Pomona Zipser creates a space and a structure from which to contemplate and observe the ever-changing forest. Berlin-based Zipser’s sculpture has been handcrafted from sweet chestnut felled from the site of the Trail and Zipser has collaborated with local artists and craftsmen to make the sculpture. It makes a thought-provoking and visual connection to the surrounding environment, playing with density, dimensions and colour.

The Forest of Dean Sculpture Trail celebrates 30 years of commissioning contemporary artworks with two new permanent commissions by artists Henry Castle and Pomona Zipser, unveiled on 15th July 2016. In Coal Measure Giants, rising British star Henry Castle brings to the surface aspects of what lies hidden beneath the Forest’s surface. Exploring the geological, industrial and sociological aspects of the Forest’s history, visitors will be able to touch the fossilized remains of 300 million year old trees and see the form of the mine shaft sets that provided a livelihood for generations of local freeminers. Two sculptures placed 300 metres apart act as markers, measuring the depth of the coal seam that lies directly below the ground. The work invites the public to experience a physical expression of this vertical depth. Meanwhile, Yaşasin by established Romanian artist Pomona Zipser creates a space and a structure from which to contemplate and observe the ever-changing forest. Berlin-based Zipser’s sculpture has been handcrafted from sweet chestnut felled from the site of the Trail and Zipser has collaborated with local artists and craftsmen to make the sculpture. It makes a thought-provoking and visual connection to the surrounding environment, playing with density, dimensions and colour.

Beginning in 2016, the Glass Tank has been acquisitioning works of art from both the annual BA Fine Art Degree Show and School of Architecture End of Year Show. Just as the Glass Tank produces shows which are dedicated showing the work of it's staff, students and alumni; this collection is a celebration of the creativity and talent of Oxford Brookes students. The works, from both Art and Architecture are purchased into the Oxford Brookes Student Art Collection. Managed by the Glass Tank gallery, these art pieces are permanently mounted onto the walls of the University, and can be found across all of Brookes' campuses. As a public institution, the pieces of this collection are available for the public to view. Ranging in medium from film and photography to sculpture to print, the Student Art Collection is a must see for any one visiting Oxford. http://file:///C:/Users/p0078514/Downloads/Public%20Art%20Headington%20Road%20site%20(1).pdf

Guillaume Bottazzi has signed more than forty artworks in public spaces. He created the biggest painting in Japan (900 square meters) on all the walls of the Miyanomori International Museum of Art in Sapporo. The artist is also the author of 6 paintings, each one 6m x 6m, at La Défense in Paris, the largest open-air contemporary art space in France. The painting, which can be seen by the public at its location in the European District and which took two and a half months to produce, is already well-known. The monumental artwork, 16 metres by 7 metres, now belongs to the heritage of Brussels-Capital. The painting is one of the first abstract works to be painted in the manner of the Old Masters. The abstract nature of the work and the traditional techniques used to produce it create a feeling of strangeness, a dichotomy. The artist worked alone to produce the work, using fine brushes and oil paints. Successive transparent overlays give depth, diffuse light and softness to the colours. Before starting to paint, the artist installed a supporting structure that enabled him to reproduce as closely as possible the techniques of creation he uses in the workshop. The poetic dimension of this painting will extend throughout Place Jourdan: the colours of the painting will appear on the street furniture in particular, especially the cafe parasols. This project was carried out with the partnership of the European Commission in Belgium and support of the French Embassy. More reading: http://www.guillaume.bottazzi.org

Explore the interactive displays, listen to recordings and view the different objects on display to gain an insight into the work, life, and cultural context of one of the twentieth century’s most significant writers. The exhibition is family friendly, free, and open Tuesday to Sunday. The exhibition comprises a main room, a temporary exhibition area which houses changing displays, and a learning space which is open to the public when not in use for workshops. There’s lots to explore on the interactive Timeline, such as the Children’s Trail which features some of the animals that appear in Dylan’s writing. Follow the People Trail around the Timeline, too, and discover some of the key people in Dylan’s life, and the rich cultural context in which he lived and worked. One section in the centre of the exhibition is dedicated to Dylan the writer, and another to Dylan the performer. There are fun interactives, and touchscreens which tell the story of Dylan’s Notebooks, explore his famous poem ‘Do not go gentle into that good night’ and look at the circumstances surrounding his death. Listen to Dylan himself, and those who knew him, via the built-in speakers in the chairs.

Liverpool Mountain is Swiss-artist Ugo Rondinone’s first public artwork in the UK and the first of its kind in Europe. Inspired by naturally occurring Hoodoos (spires or pyramids of rock) and the art of meditative rock balancing, this 10-metre high sculpture stands within Mermaid Courtyard, outside Tate Liverpool on the Royal Albert Dock Liverpool. It consists of coloured rocks, stacked vertically which seem to defy gravity. This outdoor sculpture marks the 10th anniversary of Liverpool European Capital of Culture, the 20th anniversary of Liverpool Biennial and the 30th anniversary of Tate Liverpool. Commissioned by Liverpool Biennial and Tate Liverpool as part of the Liverpool 2018 events programme with support from Royal Albert Dock Liverpool.

After having created a 6m x 6m painting as part of Marseille-Provence 2013, a 20m x 12m work in Nice, many private commissions in the region and most recently a painting in Marseille-Prado … it is in Martigues , the Provençal Venice, that the artist has realized a permanent work of 10m high by 8m wide. This monumental artwork now belongs to the city heritage. This permanent painting marks the entrance to the harbour. It is to discover from the mayor house, or by boat, using the free shuttle service operated by the city of Martigues. Guillaume Bottazzi has signed more than forty artworks in public space. One of them is the biggest painting in Japan, realized for the Miyanomori International museum of Art. One other, a polyptych, compound of 6 canvas of 6mx6m each, takes place in the artistic path of Paris La Défense, the largest open-air contemporary art space in France, with artists Alexander Calder, Richard Serra, Joan Miró, César, and so on... Guillaume Bottazzi was a guest of “French May” in Hong Kong in 2016. He created one of his most recent work in a public space in Belgium, in Brussels, with the partnership of European Commission in Belgium; a painting 16 metres high that now forms part of the heritage of Brussels-Capital.

Created by Cornish-born sculptor Joseph Hillier to mark the completion of the Theatre’s Regeneration Project in 2013, she was unveiled in March 2019 and measures seven metres (23 feet) high. 'Messenger' was announced in autumn 2016 and revealed to the public on 22 March 2019 by actress Nicola Kavanagh. The monumental sculpture was cast in bronze by a skilled team from North Wales' Castle Fine Arts Foundry. She was then transported to Plymouth in sections and assembled at the city's Devonport Naval Base. She arrived in the city centre in a blaze of publicity; travelling across Plymouth Sound on a barge before being driven slowly through the streets and craned into position in front of a watching crowd. Hillier's inspiration came when he captured 3D images of actors from Frantic Assembly as they rehearsed for a production of William Shakespeare's 'Othello'. He'd already been commissioned by the Theatre Royal to create a series of small sculptural figures and subsequently came up with the idea to turn one of them into a large-scale public artwork.

L’œuvre d’art est conçue avec des émaux et mesure 3.55 m de large par 1.20 m de long. Visible de l’extérieur, elle est située devant la Saône, au 2 Quai du Commerce à Lyon 9e, à côté de la brasserie ouest de Paul Bocuse et marque l’entrée de l’immeuble « La Vague ». Avec ce matériau naturel dont il est devenu le spécialiste au fil de ses trente années d’expérience, l’artiste dépose des dégradés et superpose des couches transparentes de poudre qui réagissent à la cuisson. Guillaume Bottazzi a déjà créé plus de 65 œuvres dans des espaces publics, par exemple un polyptique de 100m² à Paris La Défense, à Hong-Kong ou au Japon où il est l'auteur de la plus grande peinture du Pays, commandée par le Musée International d'Art Myanomori. Ses œuvres sont achetées par des villes, des collectionneurs, ou des musées d’art, notamment en Asie, aux Etats-Unis et en Europe. Site internet de Guillaume Bottazzi : https://www.guillaume.bottazzi.org

Guillaume Bottazzi a réalisé un tableau fruité en face du parc Montsouris. Il est visible de l’extérieur, au 34-36 avenue Reille, à Paris dans le 14ème arrondissement. Ce tableau apporte l’art ou on ne l’attend pas forcément et accompagne le quotidien des habitants. Cette huile sur toile de lin mesure 0,90m de haut par 1,80m de large. Elle a été conçue pour habiller l’entrée d’un bâtiment et dialogue avec les éléments qui l’entourent. L’artiste a déjà créé plus de 65 œuvres dans des espaces publics, comme un polyptique de 100m² à Paris La Défense, à Hong-Kong ou au Japon où il est l'auteur de la plus grande peinture du Pays, commandée par le Musée International d'Art Miyanomori. Ses œuvres font partie de collections muséales, notamment en Asie et aux Etats-Unis.

Guillaume Bottazzi a réalisé un tableau fruité en face du parc Montsouris. Il est visible de l’extérieur, au 34-36 avenue Reille, à Paris dans le 14ème arrondissement. Ce tableau apporte l’art ou on ne l’attend pas forcément et accompagne le quotidien des habitants.Cette huile sur toile de lin mesure 0,90m de haut par 1,80m de large. Elle a été conçue pour habiller l’entrée d’un bâtiment et dialogue avec les éléments qui l’entourent. L’artiste a déjà créé plus de 65 œuvres dans des espaces publics, comme un polyptique de 100m² à Paris La Défense, à Hong-Kong ou au Japon où il est l'auteur de la plus grande peinture du Pays, commandée par le Musée International d'Art Miyanomori. Ses œuvres font partie de collections muséales, notamment en Asie et aux Etats-Unis. Site internet de Guillaume Bottazzi : https://www.guillaume.bottazzi.org

Il s’agit d’une œuvre collective réalisée dans le cadre de la réhabilitation de la résidence menée par Toit et Joie – Poste Habitat. L’association culturelle La Lisière, centre de création pour l’espace public, a été missionné par Toit et Joie – Poste Habitat pour mener un projet de résidence artistique et poétique d’octobre 2019 à septembre 2021. Elle a invité deux artistes plasticiens, Anton et Teurk, à imaginer et créer des œuvres pour et avec les habitants. Les objectifs étaient de créer du lien et de favoriser l’ouverture aux autres ; de permettre dans une démarche participative l’appropriation des pratiques artistiques et des œuvres ; d’accompagner les mutations urbaines, les grandes transformations d’un territoire ; et de travailler en synergie avec les structures culturelles et éducatives du territoire. Cette action s’inscrit dans le dispositif créé en 2015 par le Ministère de la Culture « 1 immeuble, une œuvre », avec pour objectif de défendre l’accès à la création artistique pour tous, et d’installer l’art au plus près de chaque habitant dans des bâtiments privés. À l’issue de la première année de résidence, le projet s’est concrétisé par une création artistique impressionnante : un animal totem, « Le Lion des Genêts », devenu l’emblème du quartier et baptisé Chelsea B’Gem par les jeunes complices de l’aventure.

A Virtual Reality Art Exhibition that you can view in any location and on any device. Please see the above picture instructions for how you can view it on a tablet/mobile. You can view the exhibition with or without a virtual reality headset. Copy this link to view the Virtual Reality Art Exhibition on a computer/laptop: https://edu.cospaces.io/PMB-KAV The Virtual Private View of the Exhibition was held on Thursday 14th of May 2020 at 8:15pm on Zoom (Virtual drinks provided.)

A large art project called Day's End now stands in the Hudson River near Pier 52. Created by David Hammond, it's made of slender steel pipes and pays tribute to artist Gordon Matta-Clark, who transformed an abandoned shed on the same pier in 1975. The sculpture changes with the light, connecting to the history of the waterfront as a shipping hub and a gathering place for the gay community. It took seven years to complete the installation, and it's now open to the public for free. The Whitney Museum collaborated with the Hudson River Park Trust on this project, and they will work together on a maintenance plan. To celebrate its completion, the Whitney offers free admission on May 16, and there will be family workshops throughout the day. You can find Day's End at Hudson River Park, across from the Whitney Museum, on the southern edge of the new Gansevoort Peninsula, where it will remain permanently.

A large art project called Day's End now stands in the Hudson River near Pier 52. Created by David Hammond, it's made of slender steel pipes and pays tribute to artist Gordon Matta-Clark, who transformed an abandoned shed on the same pier in 1975. The sculpture changes with the light, connecting to the history of the waterfront as a shipping hub and a gathering place for the gay community. It took seven years to complete the installation, and it's now open to the public for free. The Whitney Museum collaborated with the Hudson River Park Trust on this project, and they will work together on a maintenance plan. To celebrate its completion, the Whitney offers free admission on May 16, and there will be family workshops throughout the day. You can find Day's End at Hudson River Park, across from the Whitney Museum, on the southern edge of the new Gansevoort Peninsula, where it will remain permanently.

The famous artist Guillaume Bottazzi has signed about 100 artworks for public spaces. This environmentally-friendly and poetic three-metre-tall sculpture, is made with enamel. It is a natural material reduced to powder and composed of different minerals. It has been erected in June 2021 at the Domaine des Diamants Blancs, in the extension of the Mallet-Stevens garden which adjoins the Villa Cavrois, an emblematic listed building. Cette création nous emporte dans un univers irréel et nous fait rêver. Elle crée un espace onirique, enchanteur, qui évolue en fonction de notre imaginaire. Cette sculpture est une ode à la joie de vivre.

The Mandala Lab, located on the Museum’s remodeled third floor, invites curiosity about our emotions. Consider how complex feelings show up in your everyday life and imagine how you might have the power to transform them. Inspired by powerful Buddhist principles, the Mandala Lab features five thought-provoking, playful experiences—including videos, scents, sculpture, and curated percussion instruments—that guide you along an inner journey focused on self-awareness and awareness of others. See, smell, touch, and breathe your way through the space, designed to inspire connection, empathy, and learning. The Mandala Lab includes artist contributions from:

The Sculpture Park includes important works by notable artists such as Henry Moore, Elisabeth Frink, Lynn Chadwick, Liliane Lijn and Antony Gormley. As well as formal sculpture gardens, the Park offers the tranquillity of the Broad and Yare river valley and dense urban modernist architecture, designed by leading architects such as Norman Foster, Denys Lasdun and Rick Mather. The natural environment includes a wide range of fauna and flora including a number of remarkable ancient oaks and is home to a population of wild rabbits and rare and endangered species. We welcome all ages, from individuals to families. Visit our Online Studio to find free resources which can be downloaded and used when visiting the Sculpture Park. Please do not climb on the sculptures.

The exhibition is aimed at gamers of all ages, but also at visitors who have little experience with computer games. The fact that computer games have developed into a leading medium is no longer a daring thesis. The social and aesthetic significance of the interactive and multimedia medium can no longer be overlooked. The computer game has freed itself from its origins as a laboratory experiment and toy and has become "the" medium of digital society, somewhere between pop culture, entertainment and art. With the opening of the exhibition »The World of Games« in the fall of 1997, the ZKM was one of the first art institutions worldwide to give video game culture a permanent public platform in an art context. Since then, the ZKM has repeatedly reshaped the presentation of games in a series of different exhibitions.

Twelve highlights from its premium collection will be guests at the Berlinische Galerie from October 2022. They bring new tones to the permanent in-house exhibition, sparking a conversation with resident works. Sharing collections and jointly making them accessible to the public must become standard museum practice in the future. In this instance, the partnership was prompted by extensive conversion work at the Märkisches Museum, which is scheduled to close for four years in 2023, leaving the foundation Stadtmuseum Berlin without its principal home. To ensure that significant paintings from its collection can remain on display, the idea was born in the two houses of integrating selected works into the permanent exhibition “Art in Berlin 1880-1980”. Early modern art is a particular strength of the Stadtmuseum Berlin holdings. The paintings to be hosted at the Berlinische Galerie are by Max Beckmann, Theo von Brockhusen, Lovis Corinth, Ernst Ludwig Kirchner, Walter Leistikow, Max Liebermann, Edvard Munch and Lesser Ury. All of them were important figures who enriched the city’s art scene in the early 20th century.

Lincoln Center for the Performing Arts is one of the world’s premiere performing arts organizations. On October 8, 2022, David Geffen Hall reopened as a welcoming cultural anchor for New York City, some 60 years after it was first inaugurated as the home of the New York Philharmonic. The new Hall reimagines the concert-going experience by providing more inclusive public spaces for diverse cultural performances and community uses. This initiative includes an annual program of art commissions, where all members of the public are invited to engage with the work of leading contemporary artists free of charge. The democratic approach instills a sense of welcome both indoors and out, beckoning those who may never have interacted with Lincoln Center or the New York Philharmonic, and encouraging those long familiar with the campus to see it afresh. Public Art Fund partnered with The Studio Museum in Harlem to advise Lincoln Center on the selection of artists for this first iteration of the art program. Two prominent sites were identified for the site-specific commissions: the 50-foot Hauser Digital Wall in the lobby, which Jacolby Satterwhite has animated with a richly layered and inclusive celebration of performance that brings into dialogue the past, present and future; and the Hall’s 65th Street façade, which Nina Chanel Abney has transformed into a captivating tribute to the vibrant history and culture of San Juan Hill. Both artists undertook extensive research to develop their works. They emerge as gifted visual storytellers, committed to a more inclusive understanding of the past while giving us all a sense of future potential at a moment of reopening and reinvention. The artworks are commissioned by Lincoln Center for the Performing Arts in collaboration with The Studio Museum in Harlem and Public Art Fund. Nina Chanel Abney, Nina Chanel Abney’s monumental work of art for the façade of David Geffen Hall pays homage to San Juan Hill. In the 1940s and 50s, this predominantly Black and Brown neighborhood was forcibly displaced to make way for redevelopment, including what would become Lincoln Center for the Performing Arts. Abney’s constellation of figures, words, shapes, and symbols reflects the thriving community that lived here. Featured residents include pioneering healthcare workers Edith Carter and Elizabeth Tyler. Also pictured are James P. Johnson, whose music gave rise to the Charleston dance craze, and Thelonious Monk, a pioneer of Bebop and other jazz styles. Reclaiming this important history in her bold and vibrant style, Abney aims to spark curiosity and inspire a more inclusive future. Jacolby Satterwhite, Jacolby Satterwhite’s commission for David Geffen Hall reconsiders the past, present, and future of Lincoln Center and the New York Philharmonic. weaves together archival images, live action footage, and digital animation. We see a colorful and densely layered festival of performance that traverses historical periods through virtual space. Satterwhite’s inclusive cast represents artists since the Philharmonic’s founding in 1842, while featuring young musicians and dancers from across New York City. They play instruments and dance on stages and sculptural monuments set into a landscape inspired by Central Park and surrounded by buildings covered in screens, reminiscent of Times Square. Grounded in a more democratic view of history, Satterwhite’s work offers us his playful and richly inventive vision of a creatively empowered future. is known for combining representation and abstraction. Her paintings capture the frenetic pace of contemporary culture. Broaching subjects as diverse as race, celebrity, religion, politics, sex, and art history, her works eschew linear storytelling in lieu of disjointed narratives. The effect is information overload, balanced with a kind of spontaneous order, where time and space are compressed and identity is interchangeable. Her distinctively bold style harnesses the flux and simultaneity that have come to define life in the 21st century. Through a bracing use of color and unapologetic scale, Abney’s canvases propose a new type of history painting, one grounded in the barrage of everyday events and funneled through the velocity of the internet. Abney’s work is included in collections around the world, including the Brooklyn Museum, The Rubell Family Collection, Bronx Museum, and the Burger Collection, Hong Kong. Her first solo museum exhibition, , curated by Marshall Price, was presented in 2017 at the Nasher Museum of Art, North Carolina. It traveled to the Chicago Cultural Center and then to Los Angeles, where it was jointly presented by the Institute of Contemporary Art, Los Angeles, and the California African American Museum. The final venue for the exhibition was the Neuberger Museum of Art, Purchase College, State University of New York. is celebrated for a conceptual practice addressing crucial themes of labor, consumption, carnality, and fantasy through immersive installation, virtual reality, and digital media. He uses a range of software to produce intricately detailed animations and live action film of real and imagined worlds populated by the avatars of artists and friends. These animations serve as the stage on which the artist synthesizes the multiple disciplines that encompass his practice, namely painting, performance, illustration, sculpture, photography, and writing. Satterwhite draws from an extensive set of references, guided by queer theory, modernism, and video game language to challenge conventions of Western art through a personal and political lens. An equally significant influence is that of his late mother, Patricia Satterwhite, whose ethereal vocals and diagrams for visionary household products serve as the source material within a decidedly complex structure of memory and mythology. Satterwhite received his BFA from the Maryland Institute College of Arts, Baltimore and his MFA from the University of Pennsylvania, Philadelphia. His work has been presented in numerous exhibitions and festivals internationally, including most recently at Haus der Kunst, Munich,2021; Gwangju Biennale, Gwangju,(2021; and Wexner Center for the Arts, Columbus, OH, 2021. Nina Chanel Abney , 2022 Latex ink and vinyl mounted on glass Commissioned by Lincoln Center for the Performing Arts in collaboration with The Studio Museum in Harlem and Public Art Fund Photo: Nicholas Knight, courtesy Lincoln Center for the Performing Arts, The Studio Museum in Harlem, and Public Art Fund, NY. Jacolby Satterwhite , 2022 HD color video and 3D animation 27:23 mins Commissioned by Lincoln Center for the Performing Arts in collaboration with The Studio Museum in Harlem and Public Art Fund © Jacolby Satterwhite. Courtesy of the Artist and Mitchell-Innes & Nash, New York Photo: Nicholas Knight, courtesy Lincoln Center for the Performing Arts, The Studio Museum in Harlem, and Public Art Fund, NY.

LOGOS _____ ἐν ἀρχῇ ἦν ὁ ΛΟΓΟΣ (en arxh ein o LOGOS) Κατὰ Ιωάννην 1.1 What once stood for the reason, the initial cause, is now comically reduced to corporate trademarks - shiny brand names of vulgar affordable or fetishized banality.In a futile effort to subvert, reroute and reinstitute LOGOS to his former essence, we install images of beauty, poetry and personal value in the rural wilderness, where the corporeal pillars of goddess Hestia still stand unnoticed and only the lost now wander. _____ 7 artworks installed in various exterior locations in and around the city of Preveza, Greece. Marking the winter solstice. Set to remain on display for an unspecified period of time, exposed to the (un)favorable touch of natural and human intervention. Produced & curated by Θ Η Ε Λ Α

The Berlinische Galerie has devoted over 1000 square metres to presenting its collection. Waiting to be discovered among the roughly 250 works on show are paintings, prints, photographs, architecture and archive materials rarely or never displayed before.Walking around this exhibition is like time travel and takes visitors through Berlin in 17 chapters: the Kaiser’s era, the Weimar Republic, the Nazi dictatorship, the new beginnings after 1945, Cold War in the divided city, and the counter-cultures and unconventional lifestyles that evolved in East and West under the shadow of the Wall. In East Berlin, an alternative art community developed from the late 1970s. In West Berlin from the late 1970s, aggressive art by the “Neue Wilden” placed the divided city back in the international limelight.

Embark on a Jawsome Adventure with Live Sharks, Ancient Behemoths, and Fascinating Shark Facts We’re gonna need a bigger exhibit hall. Debuting on a floor all to itself is Sharks! The Meg, The Monsters & The Myths. We’re making your dreams come true and bringing you up close and personal with live sharks for a hands-on experience that will be – dare we say – jawsome. You’ll get a chance to touch a shark and discover what makes these creatures unique – from bait balls to bioluminescence. Further immerse yourself in the world of sharks as every order of shark known to mankind is represented within the exhibition, including a life-size model of the ancient behemoth, the Megalodon. And don’t forget to pick up a few Megalodon teeth of your own in the island shop. Don’t miss out on the frenzy and purchase your tickets today!

GALLERIA CONTINUA presents The Ability to Dream, a group exhibition in three chapters at its French spaces in Paris and Les Moulins, and at the Centre Interculturel Leila Alaoui (CILA) in Fontvieille, Provence, marking the inaugural exhibition of this new art centre. This new trilogy follows on from the eponymous exhibition presented at GALLERIA CONTINUA / San Gimignano in 2022.

New York is one of the most filmed cities on earth. Generations of moviegoers have seen New York depicted and distorted, celebrated and denigrated, idealized and mocked, built up and demolished over and over again on the big screen. Over the past 100 years, legions of filmmakers have drawn attention to New Yorkers’ joys and struggles, shaping our ideas of what the city is—or could become. You Are Here draws on this rich archive of movies set in New York, combining thousands of cinematic moments across 16 screens. Sources include Hollywood blockbusters, independent films, documentaries, and experimental works. By juxtaposing these multiple visions, the dazzling montages of You Are Here make connections and contrasts that allow movies to comment on each other across time and space. Together, they shed new light on the varied New Yorks of our collective imagination. Sometimes New York stars in these movies; sometimes, a studio set or even another city stands in. In the introductory room, Scenes from the City explores the city as a film set, showing how movies have been captured on location throughout the five boroughs. From there, we invite you to enter the immersive central space, where you can explore a narrative tapestry woven from hundreds of films—one impressionistic storyline that strives to represent the multifaceted realities of our countless New York stories.

Experience the Civic District afresh this August 2023 onwards, with Benchmarks, a new public art trail commissioned by the Civic District Alliance (CDA). Designed by six Singapore-based artists, Lua Boon Kai, Joyce Beetuan Koh, Immanuel Koh, Yang Jie, Jeffrey Tan and Jason Wee, the public art initiative features a series of six unconventional artwork benches inspired by punctuation marks dotted around the arts and culture precinct. Each art bench draws from the rich heritage of the district, inviting visitors to have meaningful exchanges with themselves, other visitors, or even the surroundings while appreciating the beauty of the Civic District and its colourful stories. These art benches for Benchmarks are located at key areas of the Civic District, such as the Asian Civilisations Museum, The Arts House, The Esplanade – Theatres on the Bay and along the Singapore River. The benches are open to public all-day.

What new stories can familiar works of art tell? This exhibition showcases longstanding favorites from The New York Historical's permanent collection alongside recent Museum acquisitions and selected loans. Pointed juxtapositions raise questions, create unexpected resonances, and shift established meanings.Martin Wong’s Canal Street (1992) and Oscar yi Hou’s Far Eastsiders, aka: Cowgirl Mama A.B & Son Wukong (2021) establish a longstanding lineage for queer Asian diasporic artists in New York City. And the juxtaposition of Thomas Cole’s five-painting series The Course of Empire (ca. 1834–1836) with Contact 2,021 (2021) by contemporary Shinnecock artist Courtney M. Leonard exposes the racial and gender politics of the Hudson River School landscape tradition. The groupings aim to center long-marginalized experiences and prompt a rethinking of both American art and the way museums tell history. Curated by Wendy Nālani E. Ikemoto, senior curator of American art.