The Permanent Exhibition of Art of the Commanderie de Peyrassol

“Philippe Austruy wished to present works of art protected from badweather. In the beginning, he planned on building only a small chapel to put on display a work of Franck Stella that he particularly liked and which was stored in a small space in the winery. During a lunch, Diane and Bernar Venet suggested him to go further and create a permanent collection. This new artistic entity became an extension of Valerie Bach gallery « La Patinoire Royale », in Brussels.

In one piece, the permanent exhibition of Peyrassol is a vast room with natural lighting coming from the skylight. Its modern design was a real challenge: how to integrate modern architecture at a large scale without removing the intemporality of the historical buildings?

To solve the equation, the new space should not be perceived as a singular separated identity but needed to be designed as a covered space inside the path of the monumental sculpture, a giant hallway where people can wander inside, amid the vines. Constructed like a sculpture, the building breaks the code of classic architecture. There are no doors, no windows, no roof, inspired by the movement of Land Art.
On one side, you will find a monumental mural and on the other side a scree, typical of Peyrassol, these two walls are connected by a gigantic shape of weathering steel, above the ground, highlighting its shape by its horizontality.” – per website

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“In the Midi-Pyrénées region, nearly 80,000 people make a living from the aviation industry, the driving force behind the region’s economy:
manufacturers, sub-contractors, suppliers, design offices, service providers…

Between the first powered aircraft designed in secret in the town of Muret by Clément Ader, and the first flight in the skies of Blagnac of the A380, flagship of the European aviation industry, more than a century has passed.

To fly across the seas and the continents, first came the aircraft made by Latécoère and Dewoitine, then the Languedoc and the Armagnac.
At the end of the fifties Caravelle, the first French jetliner, proved to be a resounding success. Then in 1969 it was Concorde’s turn to take to the skies for the first time in Blagnac.

These aircraft were followed by the entire Airbus family, affirming Toulouse’s mission to fly higher, faster and farther.
This is also the story of the great pioneers of aviation.

Here, in the birthplace of global civil and military aviation, the Airbus Group laid the foundations of its head office in January 2014 and the commercial successes of Airbus and ATR boost the economy of the Midi-Pyrénées region.
For more than 30 years, the players and witnesses of this industrial, technical and human saga, as well as those who love aircraft and love to fly, have strived for this history to be forever remembered and shared. For the preservation of this historical heritage.

Aeroscopia, an aviation museum, addresses this expectation.

The foundation stone was laid on the 16th of June 2011.” – per website

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“The Fondation Marguerite et Aimé Maeght is France’s most important private art foundation and among the world-leading cultural institutions. It was created by Aimé and Marguerite Maeght, a visionary couple of publishers and art dealers, who represented and were friends with some of the most important artists of the 20th century, including Joan Miró, Alexander Calder, Fernand Léger, Georges Braque, Alberto Giacometti, Marc Chagall and many others. The Maeght Foundation was inaugurated on July 26, 1964, by Charles de Gaulle’s legendary Culture Minister André Malraux, who was a close friend of the Maeghts. The Foundation was France’s very first private art institution and was modeled after American institutions such as the Guggenheim Foundation, the Barnes Collection or Phillips Collection, which the Maeghts visited during their frequent trips to the United States in the 1950s.

Located near the famous village of Saint-Paul de Vence, 25 km from Nice, the Fondation Maeght receives more than 100,000 visitors every year in a unique architectural complex designed by Josep Lluís Sert, showing modern and contemporary art in all its diversity. Painters and sculptors worked in collaboration with the Catalan architect to create a place where art, nature and architecture blend in perfect harmony. The Foundation’s highlights include the Giacometti courtyard, featuring an exceptional ensemble of sculptures by the Swiss artist, the Miró labyrinth, a whimsical sculpture garden by the Catalan artist, monumental mural mosaics by Marc Chagall and Pierre Tal Coat, a pool designed by Georges Braque as well as a mechanical fountain designed by Pol Bury. Visitors can also enjoy the sculpture garden, with a rotating selection of works by Calder, Takis, Miro, Arp and other, two rooftop terraces with spectacular views, exhibition galleries hosting temporary exhibition as well as selected works from the permanent collection, a consecrated chapel, an art library and a gift and book shop.” – per website

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“In Point of View, thirteen artists explore how new perspectives expand our concept of the world. Through their art, they play with the definition of perspective, flip its rules, and present abstract and literal forms. Though the methods and media are all different, each artwork opens us up to the views of others.” – per website

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The Pima Air & Space Museum is one of the largest non-government funded aviation and space museums in the world!

Featuring over 350 historical aircrafts, from a Wright Flyer to a 787 Dreamliner. Sitting on 80 acres the museum opened its doors to the public in May of 1976. Over the past forty years, the museum has grown immensely and today encompasses six indoor exhibit hangars (three dedicated to WWII). 

Docent-led walking tours and museum ground Tram Tours are offered daily. The museum is the exclusive operator of bus tours of the 2,600-acre “Aircraft Boneyard”/U.S. military and government aircraft storage facility (10-business day advanced reservations required, tour offered Monday-Friday, non-federal holidays only). – per website

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“In the 21st century, each of us—often unknowingly—leave a digital footprint in everything we do from texting to a simple internet search. This exhibition presents the multiple ways in which we, as users, interact with an artwork and the response or output the artwork provides in return. These interactions are meant to get the viewer thinking not only about the traces we leave behind, but the effects we have on technology. In this important moment in time, humans and technology are evolving together and interactive art exemplifies this relationship. This intimate level of engagement with an artwork opens the opportunity to shift the viewer’s perspective on the meaning and boundaries of art itself.

The work of pioneering artists in the field of interactive digital art will be on view alongside emerging artists on the cutting edge of technology and art, including work by a local artist using virtual reality. The nine artists included in the exhibition are: Ernest Edmonds, Rafael Lozano-Hemmer, Marpi, Aakash Nihalani, Mimi Onuoha, Purring Tiger (Aaron Sherwood and Kiori Kawai), Daniel Rozin, and Tiffany Trenda.

Organized by Scottsdale Museum of Contemporary Art. Curated by Curator of Programming Julie Ganas.” – per website

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“Marnie Weber emerged in Los Angeles’s punk music and performance art scene of the 1980s, and has since become known for installations in which sculpture, film, music, costuming, and collage come together to form whole, fantastical worlds. Weber’s homespun, haunted-house aesthetic evokes the gothic side of American folkloric traditions, imparting a sense of old-time magic to narratives of lost innocence. Her dream-like films feature a cast of motley characters, including animals, monsters, trees, and clowns, with supernatural female protagonists at their centers. In the artist’s macabre fairy tales, these figures navigate uncanny landscapes on journeys of transformation.

In 2005, Weber debuted her filmic installation Songs That Never Die, which introduced the Spirit Girls, a fictitious all-female rock band whose members died tragically in the 1970s. Wearing white masks, long wigs, and Victorian attire, the Spirit Girls were inspired by the male theatrical rock bands of Weber’s youth. The band also reflects Weber’s interest in the American Spiritualist movement of the 19th century, in which young women were the central public actors, performing séances before audiences. Like the Spiritualists, who ushered in the nascent women’s rights movement, the Spirit Girls’ music delivers messages of liberation from the great beyond. With Weber performing as lead singer, the Spirit Girls appeared in three subsequent films and numerous live performances over the course of a decade. This focused exhibition of recent acquisitions from MCASD’s collection presents three Spirit Girls films—Songs That Never Die (2005), A Western Song (2007), and The Campfire Song (2008)—in conjunction with sculptures, photographs, and a related early film, The Forgotten (2001).

Marnie Weber: Songs That Never Die and Other Stories is organized by the Museum of Contemporary Art San Diego and made possible by lead underwriting support from Sandra and Arthur Levinson with additional support from Karen Fox. Institutional support of MCASD is provided by the City of San Diego Commission for Arts and Culture and the County of San Diego Community Enhancement Fund.” – per website

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“While on assignment to document poverty in Brazil for Life magazine, American photographer Gordon Parks encountered one of the most important subjects of his career: Flávio da Silva. Parks featured the resourceful, ailing boy, who lived with his family in one of Rio’s working-class neighborhoods known as favelas, in his 1961 photo essay “Freedom’s Fearful Foe: Poverty.” His reportage resulted in donations from Life readers but also sparked controversy, particularly in Brazil, where the popular picture magazine O Cruzeiro issued a scathing condemnation of Life’s coverage.

This exhibition explores the celebrated photo essay, tracing the extraordinary chain of events it triggered and Parks’s representation of Flávio over several decades.

This exhibition has been organized by the J. Paul Getty Museum and the Ryerson Image Centre, Toronto, Canada, in collaboration with The Gordon Parks Foundation and Instituto Moreira Salles.” – per website

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“Founded in 1931, the Nevada Museum of Art (the Museum) is the only art museum in Nevada accredited by the American Alliance of Museums (AAM).

Co-founded in 1931 by Dr. James Church, an early climate scientist, humanist, and lover of art, the Museum in its early days was run by a small group of outdoor landscape painters. As a result, the Museum has long understood the importance of examining how humans interact with their natural, built, and virtual surroundings. Designed by internationally renowned architect Will Bruder, the present Museum facility opened in 2003 at the heart of Reno’s downtown Liberty district. The four-level, 70,000-square-foot building is inspired by geological formations in northern Nevada’s Black Rock Desert, and serves as a visual metaphor for the institution’s scholarly focus on art and environment.

The institution’s identity continues to be shaped by the geographic location and environment. The Museum’s proximity to the San Francisco Bay Area, the Sierra Nevada, Lake Tahoe, and the surrounding Great Basin desert region places it at the nexus of both awe-inspiring scenery and a rapidly changing landscape. It is an ideal place for dynamic conversations about the ways that humans creatively interact with environments. This idea is reflected in the Museum’s permanent collection, which is divided into four thematic focus areas: the Robert S. and Dorothy J. Keyser Art of the Greater West Collection, the Carol Franc Buck Altered Landscape Photography Collection, the Contemporary Art Collection, and the E. L. Wiegand Work Ethic in American Art Collection.” – per website

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(from website) Celebrating today’s most significant creatives and leading contributors to the worlds of design and visual arts, the fair assembles 45 leading international galleries; prominent 20th-century and contemporary design dealers; a weekend of exciting programs; and 21POP, a special installation created by Stanlee Gatti.

FOG has become a focal point for the design and arts communities on the West Coast and further afield. The fair is synonymous with a uniquely pioneering spirit due to its bold hybrid approach and intimate presentation of art and design, dynamic programming on-site and its community-led mission to champion art and design in its historic Fort Mason setting. Building on FOG’s longstanding commitment to cultural institutions, the fair’s Preview Gala is honored to continue its crucial support of SFMOMA’s exhibitions and education programs. FOG represents a key moment in which the local and global community congregate to engage in critical dialogue, artistic exchanges and a shared passion for creative pursuits.

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