Galerie Michael Janssen announces an online solo exhibition by artist Jana Cordenier
Jana Cordenier, Untitled, 2020. Watercolour on paper, 84 x 150 cm.
BERLIN
.- For the second installment of its online exhibition series, Galerie Michael Janssen presents a solo exhibition by artist Jana Cordenier titled Watercolours. This exhibition is the artists second showing with the gallery, who debuted last year with her solo exhibition Paradise. Eponymously, Watercolours presents a selection of four watercolors on paper, which are on view for the first time. The works were painted over the course of a year from 2019 to 2020.
Cordeniers large scale watercolors contain interpretations of the artists surroundings: landscapes and nature of the South of France and Belgium, whose colors and impressions the artist records en plein air. The paintings bear traces of the artists investigations, collections of leaves, flowers, branches, and stones gleaned from ambulatory promena
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A new cross-sector partnership between the Extractive Industries Transparency Initiative (EITI) and Open Ownership (OO), supported by the BHP Foundation, aims to end
the use of anonymous companies linked to corruption and mismanagement in the extractive sector.
The EITI and Open Ownership today launched
Opening Extractives, a global programme to advance beneficial ownership transparency. It aims to make a dramatic and sustainable difference to the level of publicly available information on the individuals who own and control extractive companies.
Anonymous companies remain a major obstacle in the fight against money laundering and corruption. They enable corrupt and criminal actors, often with close political connections, to hide behind chains of companies registered in multiple jurisdictions.
Philanthropy is becoming an important strategic choice for companies as they fight to attract and retain talent and keep consumers, local communities and investors onside.
Cleveland Museum of Art’s revelatory “Stories from Storage’’ exhibit brings hidden gems into the light
Updated Feb 08, 2021;
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CLEVELAND, Ohio The Cleveland Museum of Art faced a curatorial nightmare last year when the coronavirus pandemic turned its precisely calibrated exhibition calendar from a Swiss watch into Swiss cheese.
Big shows on topics including 7th-century sculpture from Cambodia, and Pablo Picasso’s works on paper got postponed, punching holes in a timetable complicated further by temporary closures of the museum from March to June, and then again from November to this
January
.
The museum first addressed its exhibition dilemma by extending the run of “Proof,’ a major show on contact sheets by famous modern and contemporary photographers.
Ralph Steadman is a rare thing, a celebrity illustrator. His fame goes hand in hand with that of Hunter S. Thompson, for whose novel
Fear and Loathing in Las Vegas (1971) he drew the cover and other illustrations. It’s hard to imagine a reprint without Steadman’s ink drawing of Raoul Duke and Dr Gonzo driving out across the desert. Steadman’s depiction of the two characters as grotesque and twisted madmen and his rendering of the book’s title in scrawled, inky capitals chime perfectly with Thompson’s writing. Even when it was adapted into a film in 1998 – starring Johnny Depp as Duke, Thompson’s alter ego – Steadman’s handwriting was still used for the poster alongside Depp’s contorted face.