The Summer Collection At The Ritz Carlton Lake Tahoe

 Audra Weaser's Water Tones
Audra Weaser’s Water Tones

SLATE is presenting the Summer Collection at The Ritz-Carlton, Lake Tahoe. Works in this exhibition were selected to compliment the interior architecture and mountain resort lifestyle with both landscape and nature-inspired abstract paintings and photographs.

Exhibition Dates: Through November 2018

The Ritz-Carlton, Lake Tahoe
13031 Ritz-Carlton Highlands Ct
Truckee, CA

Being Seen At Slate Contemporary

Barbara Kyne's, At the Museum 3
Barbara Kyne’s, At the Museum 3

SLATE contemporary is presenting Being Seen a three-person photography exhibition that explores themes of identity, anonymity, privacy, and space. Richard Koci Hernandez has been practicing street photography for decades, favoring low-tech media such as pin-hole cameras, Holgas, and, more recently, the iPhone to create mysterious images of the urban landscape and people on the move. Barbara Kyne‘s series At the Museum takes the subject of viewers looking at art as its own subject. Sherry Karver‘s work tackles themes of loneliness and alienation in our fast-paced society, the concept of personal identity and the loss of it, and the individual as part of the crowd.

Being Seen
Exhibition Dates: Through October 26, 2018

Slate Contemporary
473 25th St, Suite A
Oakland, CA

Renato RANALDI At Galerie Piece Unique

Renato RANALDI Contenzioso 2018, Cm 187 x 243 Toiles et couleurs à l’huile / Linen and oil colors
Renato RANALDI
Contenzioso 2018,
Cm 187 x 243
Toiles et couleurs à l’huile / Linen and oil colors

Pièce Unique is presenting for the first time in Paris an exhibition of Renato Ranaldi ” FUORIQUADRO ” which will be held in both spaces of the gallery.

Renato Ranaldi was born in 1941 in Florence where he still lives and works.

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Pièce Unique est heureuse de présenter pour la première fois à Paris une exposition de Renato Ranaldi “FUORIQUADRO” qui se tiendra dans les deux espaces de la galerie.

Renato Ranaldi naît en 1941 à Florence où il vit et travaille.

Renato Ranaldi « FUORIQUADRO »
Du 20 Septembre au 20 Novembre 2018
Vernissage en présence de l’artiste: Jeudi 20 Septembre de 18h00 à 20h30

Exhibition Dates: September 20 – November 20, 2018
Opening: Thursday, September 20, 2018 from 6pm – 8:30pm

GALERIE PIECE UNIQUE
4 rue Jacques Callot
75006 Paris

PIECE UNIQUE VARIATIONS
26 rue Mazarine
75006 Paris

Takashi Murakami At Gagosian Hong Kong

Takashi Murakami, The Lion of the Kingdom that Transcends Death, 2018, acrylic on canvas mounted on aluminum frame, 59 1/8 × 118 1/8 inches (150 × 300 cm) © 2018 Takashi Murakami/Kaikai Kiki Co., Ltd. All rights reserved / 圖片:村上隆,《超越死亡的王國獅子》,2018年,壓克力、畫布、鋁框,59 1/16 x 118 1/8 英寸(150 x 300 厘米) ©2018 村上隆/Kaikai Kiki Co., Ltd. 版權所有。
Takashi Murakami, The Lion of the Kingdom that Transcends Death, 2018, acrylic on canvas mounted on aluminum frame, 59 1/8 × 118 1/8 inches (150 × 300 cm) © 2018 Takashi Murakami/Kaikai Kiki Co., Ltd. All rights reserved / 圖片:村上隆,《超越死亡的王國獅子》,2018年,壓克力、畫布、鋁框,59 1/16 x 118 1/8 英寸(150 x 300 厘米) ©2018 村上隆/Kaikai Kiki Co., Ltd. 版權所有。

When I manage to snatch the tail of an idea, I must then transport a fragment of it to a completely different region of my brain . . . Once a deadline is met, that region can relax, so I graft the new idea onto that relaxed region in order to nurture and grow it. This is the process I endlessly repeat, and as such, I can never see the end of it; each day of unease is followed by another, and only for a moment when a project is complete do I get to experience a modicum of liberation. As a distant result of such a thankless, humorless repetition, interesting works get made. — Takashi Murakami

Murakami seamlessly blends commercial imagery, anime, manga, and traditional Japanese styles and subjects, revealing the themes and questions that connect past and present, East and West, technology and fantasy. His paintings, sculptures, and films are populated by repeated motifs and evolving characters of his own creation. Together with dystopian themes and contemporary references, he revitalizes narratives of transcendence in continuation of the nonconformist legacy of a group of eighteenth-century Japanese artists known as the Edo eccentrics.

Takashi Murakami was born in 1962 in Tokyo, where he lives and works.

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當我設法抓住靈感的尾巴,我必須將零碎的構思傳送到大腦另一個截然不同的區域……及時完成工作後,這個區域就可以放鬆,於是我能將新構思轉到放鬆區,慢慢培養。這是一個不斷重複的過程,永無止盡。焦慮不安的生活日復一日,只有在完成項目後,我才能感到一絲解放。全靠這個吃力不討好、枯燥乏味的重複過程,方可完成有趣的作品。
—村上隆

村上隆將商業圖像、日本動漫、漫畫和傳統日本風格及題材完美地共冶一爐,揭示連繫古與今、東與西、科學與幻想等主題和疑問。他的畫作、雕塑及影片經常採用反覆出現的圖案和自創的特殊人物。透過結合反烏托邦主題和現代元素,村上隆探討一群在18世紀被稱為「江戶怪傑」的日本藝術家,延續他們打破規條的精神,重溫超然脫俗的主題。

村上隆於1962年生於東京,現於當地定居及工作。

TAKASHI MURAKAMI村上隆 Change the Rule! 改變規則!
Opening reception: Thursday, September 20, 6–8pm
開幕酒會:9月20日(星期四)晚間6時至8時
Exhibition Dates: September 20–November 10, 2018
2018 年 9月 20日至11月10日

Gagosian Hong Kong
7/F Pedder Building, 12 Pedder Street, Central
香港中環畢打街12號畢打行7樓

Elio De Luca At L.u.C.C.A.

Elio De Luca
Elio De Luca

The only poem of love present in the Old Testament, contained both in the Hebrew and in the Christian Bible, the Canticle tells in verses the love between two lovers, with tenderness but also with a boldness of tones rich in sensual nuances, which has gained across the centuries many admirers even among the laity. “What has always intrigued the Tuscan artist – explains the curator Maurizio Vanni – was the analysis of the invisible through the visible and the mystery surrounding this composition could not but conquer his attention. De Luca tries to portray the feelings and moods arising from his reading, but also tries to investigate the words from new optics proposing a constant quest to unite the opposites: the divine with the matter, the sacred with the terrestriality, the infinite with the finite, the celestial light with the consistency of the bodies, where the supernatural could transform itself into the red thread that binds all the things of the world “.

De Luca does not limit himself to illustrating the most suggestive passages of the Canticle, but he borrows them to celebrate love in all its facets, ecstasy, sighs, lucid dreams, chasing each other, finding oneself, sensory stunning. , looking for, finding oneself, but also the embrace and moments of sweet eroticism in which the two bodies merge into one. The gold represent the non-real, something distant and unreachable, and give a mystical and supernatural effect. “The result is extremely refined works – continues Vanni – in which the lightness of the bodies seems almost immersed in a golden sea. The incarnates appear illuminated from the inside, with an intense glow that makes them elegant and almost intangible. Everything moves slowly, almost punctuated by a martial metronome that marks a time that is more existential than chronological. Love is transformed into a supreme symbol that can accept in itself multiple meanings, material and transcendental, human and divine “.

In addition to the tender and sensual love between the two protagonists, his paintings also refer to the love of the creator (God or perhaps the artist himself) for his creatures and the spiritual approach to earthly existence. “The love of the Canticle is human – underlines Vanni – but has within it a divine spark that makes it unique and brings it closer to the light of the Most High. Seen from another perspective, the human love of the Canticle opens up to be the most effective pretext to talk about God. De Luca’s Song is an ode to life, a hymn to true and deep love, a symbol of promises eternal earthly and supernatural, but also concretely ethereal trace of infinity and completeness. Only this kind of love can save the world “.

Elio De Luca, born in 1950 in Pietrapaola (Cosenza), moved very young to Prato, where he graduated in 1969 at the Leonardo da Vinci School of Art.

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Unico poema d’amore presente nell’Antico Testamento, contenuto sia nella Bibbia ebraica che in quella cristiana, il Cantico racconta in versi l’amore tra due innamorati, con tenerezza ma anche con un ardire di toni ricco di sfumature sensuali, che ha guadagnato nei secoli schiere di estimatori anche tra i laici. “Ciò che ha sempre incuriosito l’artista toscano – spiega il curatore Maurizio Vanni – è stata l’analisi del non visibile attraverso il visibile e il mistero che circonda questo componimento non poteva non conquistare la sua attenzione. De Luca tenta di raffigurare i sentimenti e gli stati d’animo scaturiti dalla sua lettura, ma cerca anche di indagare le parole da nuove ottiche proponendo una costante ricerca di unire gli opposti: il divino con la materia, il sacro con la terrestrità, l’infinito con il finito, la luce celestiale con la consistenza dei corpi, dove il soprannaturale potrebbe trasformarsi nel filo rosso che lega tutte le cose del mondo”.

De Luca non si limita a illustrare i passaggi più suggestivi del Cantico, ma li prende a prestito per celebrare l’amore in tutte le sue sfaccettature, l’estasi, i sospiri, i lucidi sogni, il rincorrersi, il trovarsi, lo stordimento sensoriale, il cercarsi, il ritrovarsi, ma anche l’amplesso e i momenti di dolce erotismo nei quali i due corpi si fondono diventando una cosa sola. I fondi oro rappresentano il non reale, qualcosa di distante e irraggiungibile, e danno un effetto mistico e sovrannaturale. “Ne scaturiscono opere raffinatissime – continua Vanni – nelle quali la leggerezza dei corpi sembra quasi immersa in un mare dorato. Gli incarnati appaiono illuminati dall’interno, da un bagliore intenso che li rende eleganti e quasi immateriali. Tutto si muove lentamente, quasi ritmato da un metronomo marziale che scandisce un tempo più esistenziale che cronologico. L’amore si trasforma in simbolo supremo che riesce ad accogliere in sé significati molteplici, materiali e trascendentali, umani e divini”.

Oltre al tenero e sensuale amore tra i due protagonisti, le sue tele rimandano anche all’amore del creatore (Dio o forse lo stesso artista) per le sue creature e all’approccio spirituale all’esistenza terrena. “L’amore del Cantico è umano – sottolinea Vanni –, ma ha in sé una scintilla divina che lo rende unico e lo avvicina alla luce dell’Altissimo. Visto da un’altra ottica, l’amore umano del Cantico si apre ad essere il pretesto più efficace per parlare di Dio. Il Cantico di De Luca è un’ode alla vita, un inno all’amore vero e profondo, simbolo di promesse eterne terrene e sovrannaturali, ma anche traccia concretamente eterea d’infinito e di completezza. Solo questo tipo di amore potrà salvare il mondo”.

Elio De Luca, nato nel 1950 a Pietrapaola (Cosenza), si trasferisce giovanissimo a Prato, dove si diploma nel 1969 presso la Scuola d’Arte Leonardo da Vinci.

ELIO DE LUCA: AMORE. CANTICO DEI CANTICI | Song of Songs
Dal 18 settembre al 14 ottobre 2018
il Lu.C.C.A. Lounge & Underground

Exhibition Dates: September 18 – October 14, 2018
In the Lu.C.C.A. Lounge & Underground

Lu.C.C.A. – Lucca Center of Contemporary Art
Via della Fratta, 36
55100 Lucca