Louvre Abu Dhabi’s first international exhibition of 2021 to open
ABU DHABI, February 16, 2021 Louvre Abu Dhabi’s first international exhibition of 2021, Abstraction and Calligraphy – Towards a Universal Language invites visitors to explore the dawn of modern abstraction through sign and symbol, tracing origins to Asian and Arabic calligraphy and charting sites of mutual inspiration around the world. Curated by Didier Ottinger, assisted by Marie Sarré, the exhibition, which opens on February 17, marks a second major collaboration between the Centre Pompidou and Louvre Abu Dhabi. This international exhibition is sponsored by Montblanc, a Maison whose innovative craftsmanship continues to influence the culture of writing and will run till June 12.
Louvre Abu Dhabi to open exhibition in partnership with Centre Pompidou Video Image
ABU DHABI, 16th February, 2021 (WAM) Louvre Abu Dhabi’s first international exhibition of 2021, Abstraction and Calligraphy – Towards a Universal Language, from 17th February to 12th June, 2021, invites visitors to explore the dawn of modern abstraction through sign and symbol, tracing origins to Asian and Arabic calligraphy and charting sites of mutual inspiration around the world.
Curated by Didier Ottinger, assisted by Marie Sarré, the exhibition marks a second major collaboration between the Centre Pompidou and Louvre Abu Dhabi. This international exhibition is sponsored by Montblanc, a Maison whose innovative craftsmanship continues to influence the culture of writing.
The Vinyl District
February 4, 2021
Part one of the TVD Record Store Club’s look at the new and reissued releases presently in stores for February 2021.
NEW RELEASE PICKS: Douglas Lee,
Themes for Falling Down Stairs (Self-released) This album, available on 180gm vinyl, CD, cassette and digital, was released back in October, but it just recently entered my consciousness, and since the entrance was an impressive one, here we are and here it is. This looks to be Lee’s first record, but it’s obvious he’s accumulated experience along the way, as the compositions are his, and he plays a variety of (often unusual) instruments together with leading a large band that’s immersed in a neo-lounge jazz/ soundtrack mode (of a sort) that’s a bit like a puree of Henry Mancini, Nino Rota, Combustible Edison, and Angelo Badalamenti, with Mike Patton and John Zorn giving slow nods of approval from the sidelines. This batch of references will hopefully establish that Lee’s approach
The other half is something more mysterious, a mélange of footage flowing like a stream of the subconscious, moving underneath and alongside the more ordinary moments of Rebick’s life.
These twinned pairings of sound and image sometimes touch, but other times they lurch away from each other so that a third narrative can come into being, one created in the mind of the viewer themselves as they watch the depictions of events detailed in the film to unfurl.
The combination reminded me of another artist, Brion Gysin, who dated his epiphany on the nature of consciousness to a bus ride where the play of sunlight and shadow flickering across his eyelids induced a trance-like state.