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A discussion about ethnic and racial equality: Caino's Handbag

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  • newmediart
    hello, i will begin about a discussion on the Caino s handbag, that we will see on the european tv SKY.TV at the beginning of the 2008. Kind regards New entry
    Message 1 of 1 , Jun 7, 2007
      hello, i will begin about a discussion on the Caino's handbag, that
      we will see on the european tv SKY.TV at the beginning of the 2008.
      Kind regards

      New entry at the MOSA, Art and Science: CAINO'S HANDBAG – HUMAN






      According to the words of Kofi Annan, "ARTISTS HAVE A SPECIAL ROLE TO
      dialogue is an opportunity for people coming from different cultures
      and traditions to get to know each other better, whether they live at
      the opposite ends of the world or wheter they live in the same street"

      TG Gallery is pleased to announce an exhibition of installations (new
      media arts: science - art) by Andrea Tomasi. Opening concurrently at
      SAATCHI GALLERY (Europe) and TG GALLERY (USA), Andrea Tomasi: CAINO'S
      HANDBAG – HUMAN CLONED SKIN – I. is the artist's first exhibition in
      London over a decade. In these works, Tomasi expands on the iconic
      motif of the HandBag as a symbol of the beauty and inherent fragility
      of life, reaching new heights of complexity, refined detail and

      To receive an invite please email mailto:ulc.advisor-at-gmail.com
      giving your name and address.
      All images available for viewing on our website from opening date

      - Series 1: Caino's HandBag – Human Cloned Skin-I.
      - Series 2: Caino's HandBag – White
      - Series 3:Caino's HandBag – Black
      - Serie 4: Caino's HandBag – Kamikaze Bag
      - Serie 5: Caino's HandBag – White & Black
      - Serie 6: Caino's HandBag – With Barbered Wire
      - Serie 7: Caino's HandBag – With Chains
      - Serie 8: Caino's HandBag – Exposed To Fire
      - Serie 9: Caino's HandBag - With A Bar Code
      - Serie 10: Caino's HandBag – With A Bullet Hole
      - Serie 11: Caino's HandBag – Torn By A Blade
      - Serie 12: Caino's HandBag – Minotaur's Bag
      - Serie 13: Cainos' HandBag – With a Cross
      - Serie 14: Caino's HandBag – With Piercing
      - Serie 15: Caino's HandBag – With Money
      - Serie 16: Caino's HandBag – With A Diamond Necklace
      - Serie 17: Caino's HandBag – With a Fashion Tie
      - Serie 18: Caino's HandBag – With An Exclamation Point

      Throughout his work over the last ten years, Tomasi has taken a
      direct and challenging approach to ideas about existence. His work
      provokes a critical dialogue by calling into question our awareness
      and convinctions about the boundaries that separate desire and fear,
      life and death, reason and faith, love and hate. In his art Tomasi
      uses the tools of science (human cloned skin – I.) and religion,
      creating installations whose beauty and intensity offer the viewer
      insight into art that transcends our familiar understanding of those

      For inspiration and ideas:

      The Saatchi Gallery, www.saatchi-gallery.co.uk ; The Australian
      Accademy of Science, http://www.science.org.au/reports/clone.pdf ;
      Arts Catalyst, www.artscatalyst.org.uk since 1993 has worked
      nationally and internationally to promote undertanding and
      cooperation between the arts and the sciences – a driving interest is
      to extend the practice of artists engaging with scientific processes,
      facilities and technologies in order to reveal and illuminate the
      social, political and cultural contexts that brought them into being;
      National Endowment for Science, www.Nesta.org.uk ; Arts Council of
      England, www.artscouncil.org.uk ; Science Museum,
      www.sciencemuseum.org.uk ; The Calouste Gulbenkian Foundation,
      www.gulbenkian.org.uk ; Institute of Contemporary Arts,
      www.ica.org.uk ; The Museum of Science and Industry in Manchester,
      www.msim.org.uk ;The Wellcome Trust, www.wellcome.ac.uk
      www.sciart.org.uk ; University of Wisconsin-Madison, www.wisc.edu ;
      The Serpentine Gallery, www.serpentinegallery.org ; Rena Bransten
      Gallery, S. Francisco, www.renabranstengallery.com .


      Art is our one true global language. It knows no nation. It favors no
      race. It acknowledges no class. It speaks to our need to heal, reveal
      and transform. It transcends our ordinary lives and lets us imagine
      what is possible. It creates a dialogue between individuals, and
      communication between communities. It allows us to see and to listen
      to each other.


      There has been in recent years an intriguing and important
      development in worldwide culture. Exhibition spaces, associated more
      usually with artists, have made room for the debates, findings and
      even the hardware of science. Laboratories, in amongst the daily and
      busy business of producing science, have welcomed into their
      communities artists of varying sorts, and given them the space to get
      on with their craft. It is not unusual now to find science centres
      and museums with works of art on permanent display; to hear of plays
      with specifically scientific themes, and to come across gatherings
      and conferences where scientists and artists debate their points of
      contact, and their differences. Finally, but significantly, the
      science-art collaboration , where an artist and a scientist work
      together on a common project, has become, if not commonplace, then at
      least a recognisable and legitimate activity, capable of drawing
      substantial grants from major funders, both in the arts and the

      Part of the interest of science-art is the diversity of the people
      involved: sculptors, neurophysiologists, hospital architects, film
      makers, perfomance artists, psychologists, photographers, particle
      physicists, writers and mechanical engineers are all on the roll
      call. The list is long, and growing.

      Some readers might doubt that there is anything very novel in the
      idea of exchange between science and art. As one scans back through
      history, there appear multiple examplea of the one influencing the
      other. The physicist Neils Bohr had a cubist painting on his wall –
      could this have helped him see a particle as both a wave and a
      particle? Was it not the roman poet, Lucretius, who in his didactic
      poem On the Nature of the Universe, propagated the ancient greek idea
      that the material universe is divisible into particles? Most people
      like to think that Leonardo da Vinci, with his catapults and his
      paintings, as both a scientist and an artist – the original
      renaissance man. Wee know too that the artist Jan Vermeer used
      optical devices to project the scenes he painted: most recently David
      Hockney, in his book Secret Knowledge argues that the old masters
      used lenses much often than had been thought. The idea of an artist
      being also a person of scientific skills is supported by the fact
      that for centuries a knowledge of human anatomy was central to the
      professional development of painters (George Stubbs, indeed, was an
      expert in comparative anatomy).

      Scientists who have always had an interest in the arts now know that
      science-art collaborations have the formal support of major funding

      Tomasi Gallery
      1230 Avenue of the Americas
      Rockefeller Center
      7th Floor
      New York City, New York 10020
      United States
      T: videoconference
      F: 212-208-0939
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