Popular Events in February, 2024(April Updated)

Explore your connection to the natural environment through art making in Ngā Pakiaka: Like the Roots of a Tree. Be inspired by the whenua (land) and all its living creatures in fun, family-friendly activities that encourage you to feel with your fingers, play with your imagination, connect with each other and be a proud, creative kaitiaki (guardian) of our planet. Explore your connection to the land and all its living creatures through art making in Ngā Pakiaka: Like the Roots of a Tree. Be inspired by the land

位於上海市的不可思議運動街區（莘莊維璟店）是一個令人驚嘆的展覽，將於2023年12月12日至2026年1月31日期間舉行。該展覽地點位於上海不可思議運動街區莘莊維璟印象城03(3樓)-002鋪位號，地址在七莘路1507號。這裡將呈現獨特而富有活力的運動主題，結合了娛樂與教育，定能帶給您全新的體驗。展覽票價範圍從69.9元到248元不等，讓更多的人有機會參與其中。不可思議運動街區（莘莊維璟店）將為您呈現一場極具震撼力的運動藝術盛宴，讓您感受運動之美、創新之靈感。不容錯過的精彩展覽，歡迎蒞臨一同體驗。

This exhibition will explore the theme of diversity by comparing mythical creatures from different cultures. While these fantastical animals may look different, they serve a similar purpose – to help humans make sense of the world. On view in Gallery 339 will be classic Chinese legendary mythical creatures—the dragon, phoenix and qilin—juxtaposed with collection highlights from Japan, Korea, South and Southeast Asia, as well as Persia and Western Europe, to show the diversity of mythical creatures throughout the world, as well as their similarities and differences. Elaborately embroidered costumes and silver headdresses created by Miao, Yi and other minority peoples decorated with dragons, phoenixes, and creatures relating to origin myths will be on display in Gallery 326. In a third space (Gallery 321) Chinese contemporary works of mythical creatures by artists Xu Bing and Ai Weiwei show how the past continues to inform art today.

Throughout their lives, people remember events and people that are important to them. The exhibition begins with very personal memories - recorded in poetry and photo albums or baptismal certificates. A wall-filling type case filled with souvenirs also shows that memories are often linked to things. Over 400 exhibits from the museum collection bear witness to this. They contain personal information such as births, weddings or deaths. But they also remind us of social events, wars, catastrophes, the opening of borders or independence days. Memory aids The exhibition shows how these moments are remembered - or how they are kept secret or forgotten. There are a wide variety of practices and forms involved. The similarities are also revealed. For example, memory aids to prevent forgetting are widespread all over the world. The Incas in Peru tied knots in strings to record dates and stories. And in Switzerland, people recorded on notched sticks who was allowed to use water and when. For thousands of years, great epics and holy scriptures have guaranteed that experiences and history are not forgotten. The Bible, Torah, Koran, healing scrolls from Ethiopia and healing books of the Batak from Indonesia are impressive testimonies to this. These writings were written by scholars. In the 1980s, social organizations, artists and politicians recorded events on fabrics, paintings and posters: decolonization, the end of apartheid in South Africa or grievances, violence and oppression in Latin American dictatorships. In remembrance The exhibition ends with the remembrance of the dead. In Europe, hair images, stone monuments and grave crosses commemorate the deceased. In Mexico, the dead are happily celebrated on the "Día de los Muertos". Funny skeleton ensembles dance on an exhibition podium. In Peru, however, the Matsiguenga ethnic group creates wooden guardian figures to protect against the dead.

Throughout their lives, people remember events and people that are important to them. The exhibition begins with very personal memories - recorded in poetry and photo albums or baptismal certificates. A wall-filling type case filled with souvenirs also shows that memories are often linked to things. Over 400 exhibits from the museum collection bear witness to this. They contain personal information such as births, weddings or deaths. But they also remind us of social events, wars, catastrophes, the opening of borders or independence days. Memory aids The exhibition shows how these moments are remembered - or how they are kept secret or forgotten. There are a wide variety of practices and forms involved. The similarities are also revealed. For example, memory aids to prevent forgetting are widespread all over the world. The Incas in Peru tied knots in strings to record dates and stories. And in Switzerland, people recorded on notched sticks who was allowed to use water and when. For thousands of years, great epics and holy scriptures have guaranteed that experiences and history are not forgotten. The Bible, Torah, Koran, healing scrolls from Ethiopia and healing books of the Batak from Indonesia are impressive testimonies to this. These writings were written by scholars. In the 1980s, social organizations, artists and politicians recorded events on fabrics, paintings and posters: decolonization, the end of apartheid in South Africa or grievances, violence and oppression in Latin American dictatorships. In remembrance The exhibition ends with the remembrance of the dead. In Europe, hair images, stone monuments and grave crosses commemorate the deceased. In Mexico, the dead are happily celebrated on the "Día de los Muertos". Funny skeleton ensembles dance on an exhibition podium. In Peru, however, the Matsiguenga ethnic group creates wooden guardian figures to protect against the dead.

Egypt’s 26th Dynasty (664–526 BCE) was a period of revival and renewal. It marks the last great phase of native pharaonic rule in ancient Egypt and is notable for its exceptional artworks, particularly stone sculpture. The achievements of Egyptian artists of this period are vividly expressed in the sculpted portraits of officials associated with the court and priesthood, which were created to be displayed in tombs and temples. The works in this exhibition are on special loan from the British Museum, London.

Egypt’s 26th Dynasty (664–526 BCE) was a period of revival and renewal. It marks the last great phase of native pharaonic rule in ancient Egypt and is notable for its exceptional artworks, particularly stone sculpture. The achievements of Egyptian artists of this period are vividly expressed in the sculpted portraits of officials associated with the court and priesthood, which were created to be displayed in tombs and temples. The works in this exhibition are on special loan from the British Museum, London.

「穿越舊時光」展覽將於珠海市的3000 ANTIQUE HOUSE隆重舉行。這場展覽將帶領觀眾穿梭於時光隧道，感受昔日的風華與情懷。展覽地點位於鳳凰公寓負一樓，為您締造一場與眾不同的文化饗宴。活動將於2024年01月30日至2025年05月01日期間舉行，讓您有充裕的時間深度體驗。門票定價為68元，讓每位觀眾都能輕鬆踏入這段時光隧道。不容錯過的「穿越舊時光」展覽，將為您呈現一場前所未有的文化之旅，讓您在急促的現代中尋回那份悠遠的情懷。趕快安排您的行程，共同見證這場匠心獨運的展覽盛事！

En 2024, pour la 8e édition des prix AWARE, deux prix seront attribués : le prix Nouveau Regard, récompensant une artiste en milieu decarrière et le prix d’honneur, attribué à une artiste justifiant de plus de 40 ans decarrière. À nouveau cette année, quatre rapporteur·euse·s – professionnel·le·sengagé·e·s du monde de la culture – présélectionneront chacun·e un duo d’artistes, nommées respectivement au prix Nouveau Regard et au prix d’honneur, et présenteront et défendront leur travail devant un jury composé de sept figures majeures du monde de la culture. Les quatre rapporteur·euse·spour l’édition 2024 sont Simona Dvorák, Antoine Idier, Noelia Portela et Olivier Zeitoun. Simona Dvorák Simona Dvorák est curatrice et historienne de l’art basée à Paris. Elle s’intéresseà des pratiques performatives, sonores, radiophoniques et vidéo, en mettanten valeur un travail collectif à long terme. En tant que curatrice au sein de l’Initiative for Practices and Visions of Radical Care, elle étudie la manière dont nous pouvons créer des espaces communs et solidaires dans la sphère culturelle. Son travail souligne l’importance des « processus d’exposition » qui anticipent les futurs possibles : antisexistes, antiracistes, inclusifs. Plus récemment, elle a été boursière du programme Art et éducation à la documenta fifteen à Kasselet a collaboré sur la conception du programme public Walking with Water, imaginé en relation avec le pavillon serbe de la 59e Biennale de Venise. Elle a été également chargée de programmation au Centre Pompidou à Paris ouelle a notamment travaillé sur le programme Cultures d’avenir. Actuellement, Dvorák est curatrice invitée, avec Tadeo Kohan, pour le programme « actes delangage » à la Maison populaire de Montreuil. Parallèlement, elle développe un projet de recherche sur la politique des archives au Rockbund Art Museum, Shanghai, en collaboration avec Merv Espina. Antoine Idier Antoine Idier est maître de conférences en science politique à Sciences Po Saint-Germain-en-Laye, où il coordonne les enseignements « Art & culture » et dirige le Master Politiques de création. Il a publié de nombreux ouvrages, dont Les Vies de GuyHocquenghem. Politique, sexualité, culture(Fayard, 2017), Archives des mouvements LGBT+ (Textuel, 2018), Pureté etimpureté de l’art. Michel Journiac et le Sida (Sombres torrents, 2020) ou encore Résistances Queer. Une histoire des cultures LGBTQI+(avec Pochep, Delcourt/La Découverte, 2023). Il a édité des écrits de Guy Hocquenghem (Un journal de rêve, Verticales, 2017) et de yann beauvais (Agir le cinéma, Presses du réel, 2021). En 2022-2023, il a été commissaire de l’exposition Dans les marges. Trente ans du fonds Michel Chomarat à la bibliothèque de Lyon. Pour un projet en cours d’écriture, il a également reçu une bourse de recherche de la fondation Robert Rauschenberg. Noelia Portela Noelia Portela est commissaire d’exposition indépendante et coordinatrice de projets culturels basée à Paris. Noelia Portela est diplômée de l’école d’Architecture et de Design de l’université Victoria de Wellington en Nouvelle-Zélande. En 2017, elle fonde Persona Curada, un projet curatorial itinérant et expérimental à but non lucratif qui vise à promouvoir l’art contemporain latino-américain, mis en perspective avec la scène artistique française. Avec Persona Curada, elle organise des expositions, des projections, des performances et des débats en collaboration avec des institutions et des espaces d’art contemporain. Ses textes ont été publiés dans des revues comme Artishock Magazine (Chile), Relieve Contemporaneo (Argentina) et Obra Latinoamericana (Suisse). Olivier Zeitoun Olivier Zeitoun est attaché de conservation au département Design et Prospective industrielle du Musée National d’Art Moderne, Centre Pompidou, à Paris. Diplômé en philosophie, histoire de l’art et en sciences sociales, il est l’auteur de nombreux articles et essais sur les enjeux liés aux champs du numérique et du vivant, dans l’art et le design. Il a été co-commissaire des expositions « La Fabrique du Vivant » (Centre Pompidou, 2019), « Réseaux-Mondes » (Centre Pompidou, 2022), « Mimésis, un design vivant » (Centre Pompidou-Metz, 2022), avec Marie-Ange Brayer, et a co-dirigé les catalogues les accompagnant. Il poursuit ses activités de commissariat, d’enseignement, de recherche et de publications en tant que commissaire et critique indépendant. Il ouvrira prochainement au Huidenclub, à Rotterdam, avec Léo Orta, l’exposition « Design Sediments ».

En 2024, pour la 8e édition des prix AWARE, deux prix seront attribués : le prix Nouveau Regard, récompensant une artiste en milieu decarrière et le prix d’honneur, attribué à une artiste justifiant de plus de 40 ans decarrière. À nouveau cette année, quatre rapporteur·euse·s – professionnel·le·sengagé·e·s du monde de la culture – présélectionneront chacun·e un duo d’artistes, nommées respectivement au prix Nouveau Regard et au prix d’honneur, et présenteront et défendront leur travail devant un jury composé de sept figures majeures du monde de la culture. Les quatre rapporteur·euse·spour l’édition 2024 sont Simona Dvorák, Antoine Idier, Noelia Portela et Olivier Zeitoun. Simona Dvorák Simona Dvorák est curatrice et historienne de l’art basée à Paris. Elle s’intéresseà des pratiques performatives, sonores, radiophoniques et vidéo, en mettanten valeur un travail collectif à long terme. En tant que curatrice au sein de l’Initiative for Practices and Visions of Radical Care, elle étudie la manière dont nous pouvons créer des espaces communs et solidaires dans la sphère culturelle. Son travail souligne l’importance des « processus d’exposition » qui anticipent les futurs possibles : antisexistes, antiracistes, inclusifs. Plus récemment, elle a été boursière du programme Art et éducation à la documenta fifteen à Kasselet a collaboré sur la conception du programme public Walking with Water, imaginé en relation avec le pavillon serbe de la 59e Biennale de Venise. Elle a été également chargée de programmation au Centre Pompidou à Paris ouelle a notamment travaillé sur le programme Cultures d’avenir. Actuellement, Dvorák est curatrice invitée, avec Tadeo Kohan, pour le programme « actes delangage » à la Maison populaire de Montreuil. Parallèlement, elle développe un projet de recherche sur la politique des archives au Rockbund Art Museum, Shanghai, en collaboration avec Merv Espina. Antoine Idier Antoine Idier est maître de conférences en science politique à Sciences Po Saint-Germain-en-Laye, où il coordonne les enseignements « Art & culture » et dirige le Master Politiques de création. Il a publié de nombreux ouvrages, dont Les Vies de GuyHocquenghem. Politique, sexualité, culture(Fayard, 2017), Archives des mouvements LGBT+ (Textuel, 2018), Pureté etimpureté de l’art. Michel Journiac et le Sida (Sombres torrents, 2020) ou encore Résistances Queer. Une histoire des cultures LGBTQI+(avec Pochep, Delcourt/La Découverte, 2023). Il a édité des écrits de Guy Hocquenghem (Un journal de rêve, Verticales, 2017) et de yann beauvais (Agir le cinéma, Presses du réel, 2021). En 2022-2023, il a été commissaire de l’exposition Dans les marges. Trente ans du fonds Michel Chomarat à la bibliothèque de Lyon. Pour un projet en cours d’écriture, il a également reçu une bourse de recherche de la fondation Robert Rauschenberg. Noelia Portela Noelia Portela est commissaire d’exposition indépendante et coordinatrice de projets culturels basée à Paris. Noelia Portela est diplômée de l’école d’Architecture et de Design de l’université Victoria de Wellington en Nouvelle-Zélande. En 2017, elle fonde Persona Curada, un projet curatorial itinérant et expérimental à but non lucratif qui vise à promouvoir l’art contemporain latino-américain, mis en perspective avec la scène artistique française. Avec Persona Curada, elle organise des expositions, des projections, des performances et des débats en collaboration avec des institutions et des espaces d’art contemporain. Ses textes ont été publiés dans des revues comme Artishock Magazine (Chile), Relieve Contemporaneo (Argentina) et Obra Latinoamericana (Suisse). Olivier Zeitoun Olivier Zeitoun est attaché de conservation au département Design et Prospective industrielle du Musée National d’Art Moderne, Centre Pompidou, à Paris. Diplômé en philosophie, histoire de l’art et en sciences sociales, il est l’auteur de nombreux articles et essais sur les enjeux liés aux champs du numérique et du vivant, dans l’art et le design. Il a été co-commissaire des expositions « La Fabrique du Vivant » (Centre Pompidou, 2019), « Réseaux-Mondes » (Centre Pompidou, 2022), « Mimésis, un design vivant » (Centre Pompidou-Metz, 2022), avec Marie-Ange Brayer, et a co-dirigé les catalogues les accompagnant. Il poursuit ses activités de commissariat, d’enseignement, de recherche et de publications en tant que commissaire et critique indépendant. Il ouvrira prochainement au Huidenclub, à Rotterdam, avec Léo Orta, l’exposition « Design Sediments ».

【油畫&水彩】手繪時光展覽將於北京市隆重舉行。這場展覽將於蘇菲畫室舉行，地址位於北京市東城區東直門東外公館1棟807。展覽時間從2024年2月21日持續至2025年4月30日，讓您有充足的時間來欣賞。門票售價為299元。這將是一次難得的機會，讓您沉浸在油畫和水彩藝術的世界中，感受藝術帶來的美好和震撼。無論您是藝術愛好者還是尋找靈感的訪客，【油畫&水彩】手繪時光展覽都將是一個不容錯過的精彩體驗。立即計劃您的行程，一窺這場藝術盛會的魅力，讓心靈在藝術的海洋中遨遊。

The Louvre’s Department of Near Eastern Antiquities is hosting ten major works from New York’s Metropolitan Museum of Art, whose Department of Ancient Near Eastern Art is currently closed for renovation. The Louvre and The Met have created a unique dialogue between these two collections, which is displayed in the Louvre’s permanent galleries. These ‘special guest’ artworks from The Met, dating from between the late 4th millennium BC and the 5th century AD, show some remarkable connections with the Louvre’s collection. In some cases, a pair of objects has been reunited for the first time, while in others, pieces complement each other by virtue of specific historical features of their respective collections. Representing Central Asia, Syria, Iran and Mesopotamia, this dialogue between collections is (re)introducing visitors to these extraordinary, age-old works of art and the stories they tell.

Created by artist and sculptor Carole Vincent the artwork features a large sundial design and fountain. The artwork was commissioned by Plymouth City Council as part of the pedestrianisation of the City Centre in 1987. The work was officially launched on 22 July 1988 by Queen Elizabeth II and commemorates the ‘Armada 400’ celebrations in the city. (Image courtesy of Plymouth Herald image archive) Cast in concrete with Terrazzo and stainless steel, the sundial also features 12 plinths around the outside. Information panels on top of the stone plinths offer in detail ways to ‘read’ the sundial in a range of different languages. The information plinths were made a particular feature of in 2010 when they were covered with decorative textiles as part of ‘Mrs Smith’s hit on Plymouth sundial’ – a secret commission by Plymouth College of Art. Guerrilla textiles installed overnight to the surprise of the public! The sundial is set to G.M.T which differs in the summer (B.S.T) by one hour in advance. The sun is also due south in Plymouth 17 minutes later than it is at Greenwich; therefore at some points of the year the dial runs 1 hour 17 minutes behind G.M.T. About the Artist Carole Vincent (1939-2019) was an artist working in concrete. She lived and worked in Boscastle, Cornwall. Painter as well as sculptor, she explored the use of natural colour and texture in concrete for sculpture. Her work with pigments achieved remarkable success, opening new doors to architects, engineers and planners. Her passion was to work on commissions for specific environments, ranging from public spaces to individual buildings and gardens.

Created by artist and sculptor Carole Vincent the artwork features a large sundial design and fountain. The artwork was commissioned by Plymouth City Council as part of the pedestrianisation of the City Centre in 1987. The work was officially launched on 22 July 1988 by Queen Elizabeth II and commemorates the ‘Armada 400’ celebrations in the city. (Image courtesy of Plymouth Herald image archive) Cast in concrete with Terrazzo and stainless steel, the sundial also features 12 plinths around the outside. Information panels on top of the stone plinths offer in detail ways to ‘read’ the sundial in a range of different languages. The information plinths were made a particular feature of in 2010 when they were covered with decorative textiles as part of ‘Mrs Smith’s hit on Plymouth sundial’ – a secret commission by Plymouth College of Art. Guerrilla textiles installed overnight to the surprise of the public! The sundial is set to G.M.T which differs in the summer (B.S.T) by one hour in advance. The sun is also due south in Plymouth 17 minutes later than it is at Greenwich; therefore at some points of the year the dial runs 1 hour 17 minutes behind G.M.T. About the Artist Carole Vincent (1939-2019) was an artist working in concrete. She lived and worked in Boscastle, Cornwall. Painter as well as sculptor, she explored the use of natural colour and texture in concrete for sculpture. Her work with pigments achieved remarkable success, opening new doors to architects, engineers and planners. Her passion was to work on commissions for specific environments, ranging from public spaces to individual buildings and gardens.

The mural is made up of varying sizes and textures of ceramic tiles in a mosaic design which highlights Plymouth’s agricultural and naval heritage. The differing glazes and patterns woven into the design represent the rich detail and description on the original maps. The work was initially unveiled by HRH Princess Anne in an underpass on the Drakes Circus site; but relocated in 2007 when the area was redeveloped into a new shopping centre.

The mural is made up of varying sizes and textures of ceramic tiles in a mosaic design which highlights Plymouth’s agricultural and naval heritage. The differing glazes and patterns woven into the design represent the rich detail and description on the original maps. The work was initially unveiled by HRH Princess Anne in an underpass on the Drakes Circus site; but relocated in 2007 when the area was redeveloped into a new shopping centre.

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 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 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.

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

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.

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.

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.

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.

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.