Popular Events in January, 2024(April Updated)

The "Reflections & Inspirations from Emirati Heritage" exhibition is the result of a collaboration between Sharjah Heritage Museum and University of Sharjah's College of Fine Arts and Design. The exhibition includes 54 artworks that shed light on students' interpretations of Emirati heritage, created with a variety of materials and ideas to express the students' feelings and thoughts about heritage design elements and inscriptions. The works were overseen by a number of distinguished professors from the College of Fine Arts and Design, representing various artistic disciplines. The exhibition aims to help students understand heritage concepts, form a unique perception of tangible and intangible heritage elements, and creatively translate this perception through artistic works that reflect the heritage character.

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.

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.

Artist Ian McChesney created two opposing sculptural forms hand carved from solid granite, designed to resemble nautical bollards. Project Description Ian McChesney’s sculptures are a tribute to Plymouth’s maritime heritage and the many historic voyages that are part of Plymouth’s history as well as our own personal journeys. Each part is a two-tonne piece of granite from De Lank quarry (in nearby Bodmin), carved smoothly with a tactile appeal. McChesney was awarded the commission following an open brief competition led by Peninsula Arts, the arts and culture public programming organisation for University of Plymouth. The university started as a School of Navigation in 1862 and 2012 marked their 150th anniversary. The work was unveiled as part of the programme of year long celebrations in which more than 50,000 people took part.

A walkway, which has extended the coastal path through Plymouth, comprises a distinctively marked trail across 9.3 miles designed to enhance the rich social, industrial and naval history of Plymouth. This is an entertaining and engaging walk where art is used to highlight the city's history and heritage. The Plymouth Waterfront Walkway was developed by the City Council in 2002 as a unique part of the South West Coast Path National Trail. It links the Cremyll Ferry landing stage on the shores of the Tamar with Jennycliff on the eastern side of Plymouth Sound. Along the way you’ll come across larger than life characters such as Sir Arthur Conan Doyle, Isambard Kingdom Brunel, Robinson Crusoe and Lawrence of Arabia. Then there’s the wall of stars, a golden scallop, a ten ton rhino and so much more. The features were created by the artists of Why Not Associates, and bring to life many of the stories that make Plymouth special.

A mirrored panel behind the figure reflects a warped vision of the work to represent the impact and distortion that war has on all ordinary life but particularly civilians and children. Commissioned by the University of Plymouth, the sculpture is located behind the University’s Portland Square Building as a memorial to those who lost their life at the site during the Second World War. The night of 22–23 April 1941 saw Plymouth’s heaviest loss of civilian life in a single incident in which 76 people are known to have died. The 'Hope' memorial sculpture is a lasting testament to those who tragically lost their lives that night in the underground bomb shelter, sited on what is now the University campus. The sculpture design itself was inspired by the harrowing account Favata was told by Portland Square Historian Tony Rees. He recounted the tale of a young couple who, on the night of the terrible bombing, sent their child to Plympton to be cared for. Sadly they died in the blast. As well as a symbol of hope; the sculpture stands as a tribute to the enduring spirit of the community. Favata said:“I wanted to make a statement about the tenacity of the people of Plymouth... When I learned about the disaster I started to think about all the wars Plymouth has gone through–the Armada, the civil war, the Napoleonic war, the First and Second World Wars–and I was struck by how much upheaval the people of Plymouth have survived.”

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 sculpture is made of corten steel (a weathering steel) which gives it the appearance of rusting over time.‘Spare, simple, strong and timeless… its scale always totally in charge of its setting’ are words that have been used to describe the sculpture. Ann Christopher once said:‘I am drawn to the contemplative and calm image and that is what I strive for – journeys of discovery – journeys into the mind.’

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 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.

Every important building has its foundations, not only structural, but also symbolic. The pillar of the National Museum are its collections. They are the most important thing inside the building, which in itself is one of the most precious items. However, it is the people, not only the founders, employees, donors, but also the visitors, who make the museum come alive. Collections, buildings and people – this is the National Museum. Together they form added values. The Museum from the cellar to the attic exhibition offers its visitors to peek into the life of the institution. It is symbolically installed in period cabinets designed more than a hundred years ago by Josef Schulz, the architect of the Historical Building. Individual collections and themes across the institution compose a puzzle-like image of the museum in the cabinets. It reflects contemporary scientific practices and knowledge, cultural norms and political changes, as well as modifications in the ways of acquiring, preserving and presenting collections over a period of more than 200 years.

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.

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.

During his eleven years of exploration in South Africa, traveller Dr. Emil Holub collected tens of thousands of objects, made observations covering the fields of natural history and ethnography, hunted game, and studied the ethnic groups he encountered on his travels. His portrait with a typical tropical helmet is basically iconic. To this day, his immense popularity has been exploited by various artistic and advertising projects, shaping and distorting the traveller into an image that has become almost cult-like. The aim of the Emil Holub exhibition is not to convey a comprehensive view of Holub's personality, but to open up questions directed towards the present. How do we perceive Emil Holub and the activities associated with him today? How do various myths and legends influence this perception? What is the value of Holub's collections, how did he work with them and how does contemporary exhibition and collection-building work with them? Where can we see objects from these collections? How do we perceive Holub through the lens of colonial studies? The exhibition is divided into four parts. The first one is devoted to two journeys to Africa that Holub made in the 1870s and 1880s. Through several examples, it shows how Holub created a depiction of the course of these journeys, what their original goals were, how they were fulfilled, and how they were reacted to by some of the later products of mass culture. It also shows the most important discoveries made by Holub during his expeditions in South Africa and presents his natural history collection.