BEGIN:VCALENDAR VERSION:2.0 PRODID:-//ACLA - ECPv6.17.1//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-ORIGINAL-URL:https://acla.fondazionecomel.org X-WR-CALDESC:Events for ACLA REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:Europe/Rome BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20230326T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20231029T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20240331T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20241027T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20250330T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20251026T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20260329T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20261025T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:20270328T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:20271031T010000 END:STANDARD END:VTIMEZONE BEGIN:VTIMEZONE TZID:UTC BEGIN:STANDARD TZOFFSETFROM:+0000 TZOFFSETTO:+0000 TZNAME:UTC DTSTART:20210101T000000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;VALUE=DATE:20260116 DTEND;VALUE=DATE:20260117 DTSTAMP:20260723T140531Z CREATED:20260718T204505Z LAST-MODIFIED:20260723T140531Z UID:57497-1768521600-1768607999@acla.fondazionecomel.org SUMMARY:Measure\, Mind and Mathematics: The Closing Symposium of De Humana Mensura DESCRIPTION:Venue: Palazzo della Cancelleria\, Rome \nDate: 16 January 2026 \nA few days before De Humana Mensura closed at the Palazzo della Cancelleria\, the Sala Vasari hosted a symposium that made explicit what the exhibition had been arguing all along: that Linda Karshan’s practice belongs as much to the history of ideas as to the history of drawing. \nThree speakers approached the same body of work from three different disciplines. His Excellency Marco Salvi\, Bishop of Civita Castellana\, returned to the Renaissance terrain he had opened at the exhibition’s launch a month earlier\, this time setting the perspectival thinking of Piero della Francesca alongside that of Luca Pacioli — mathematician\, friar\, and author of De Divina Proportione — as two faces of a single conviction that harmony\, balance and the golden proportion were not aesthetic preferences but descriptions of how the world is actually put together. \nAlexis Nanavaty\, of the Courtauld Institute\, drew the line forward from Pacioli’s century to Karshan’s own studio practice\, tracing suggestive parallels between her rhythmic\, counted method of mark-making and Leonardo da Vinci’s lifelong pursuit of a universal system of proportion — the same territory the artist herself has long claimed as her own. Where Leonardo diagrammed the body as a system of measurable ratios\, Karshan’s drawings record proportion as it is lived: performed in real time\, breath by breath\, rather than calculated after the fact. \nThe most unexpected contribution came from Luca Caldironi\, a psychiatrist and psychoanalyst\, who turned the discussion toward the Fibonacci sequence and its quiet presence in Karshan’s compositions\, reading her grids and spirals through the lens of psychodynamics rather than art history. It was a reminder that the numerical order Karshan works within is not only a Renaissance inheritance but also\, potentially\, a structure with something to say about how the mind organises experience — an angle entirely at home with Karshan’s own academic background in humanistic psychology. \nTaken together\, the three papers resisted any single account of what Karshan’s drawings are “about.” They are\, at once\, a continuation of a Renaissance mathematical tradition\, a case study in how proportion migrates from Leonardo’s notebooks into a living body four centuries later\, and a possible object lesson for psychoanalysis. For an exhibition staged in the closing weeks of the Jubilee Year of Hope\, in a palazzo built to embody the very humanism under discussion\, it was a fitting way to send the show off: not with a summary\, but with three further doors left open. URL:https://acla.fondazionecomel.org/event/measure-mind-mathematics-de-humana-mensura-symposium/ ATTACH;FMTTYPE=image/jpeg:https://acla.fondazionecomel.org/wp-content/uploads/2026/07/Linda-Karshan_De-Humana-Mensura_ph.-Valentina-Sensi-via-ufficio-stampa-HF4_4853-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20251217T000000 DTEND;TZID=Europe/Rome:20260119T000000 DTSTAMP:20260718T204227Z CREATED:20260718T195302Z LAST-MODIFIED:20260718T204227Z UID:57481-1765929600-1768780800@acla.fondazionecomel.org SUMMARY:De Humana Mensura: Karshan Comes to Rome DESCRIPTION:Venue: Palazzo della Cancelleria\, Rome \nDate: 17 December 2025 – 19 January 2026 \nThe sixteenth-century halls of the Palazzo della Cancelleria hosted De Humana Mensura\, Linda Karshan’s first exhibition in the Italian capital\, staged in the closing weeks of the Jubilee Year of Hope. Curated by Laura Villani\, the show brought together\, for the first time\, a selection of Karshan’s works drawn from Italian and international collections\, gathered to restore a dialogue the artist has long carried on with the Renaissance: with Leonardo and Michelangelo\, with Plato and Alberti\, with an idea of harmony that moves across centuries rather than settling into any one of them. \nFew venues could make that argument more persuasively than the Cancelleria itself. Built in the late fifteenth century\, with a courtyard attributed to Bramante and a piano nobile frescoed by Vasari in a famous hundred days in 1546\, the palazzo is one of the Renaissance’s most complete surviving statements in stone. To install Karshan’s works on paper within it was to let two expressions of the same proportional thinking\, four centuries apart\, address each other directly. \nThe show opened on 17 December with a Walked Drawing\, a site-specific performance conceived for the Sala Vasari. Under Vasari’s mannerist frescoes\, Karshan traced an invisible drawing with her own body — footsteps becoming line\, breath marking rhythm\, the same choreographic method behind her works on paper\, now filling the volume of a Renaissance state room. Reviewers present described a folding of time in the room\, as if the geometry in the walls and the geometry being drawn by a living body had briefly become one thing. \nThe inauguration gathered voices from across Karshan’s Roman reception: His Excellency Marco Salvi\, Bishop of Civita Castellana\, spoke on the Renaissance between Piero della Francesca’s perspective and Leonardo’s geometry; Laura Villani introduced what she called an elective affinity between the artist and the palazzo; and Giulia Martina Weston — who curated The Universe on Paper at the Domus Comeliana in 2022 — spoke on the humanism running through Karshan’s practice. Villani then interviewed Karshan on her performative method\, in which each mark corresponds to breath\, to the counter-clockwise turn of the paper\, and to a musical counting of time rooted in Plato’s numerical ordering of the cosmos. \nKarshan introduced the exhibition with a thought from Italo Calvino’s Norton Lectures — that a single life can hold the breadth of an encyclopaedia — a fitting frame for a show built from decades of drawings\, scattered across two continents\, reassembled briefly under one Roman roof. It sits comfortably with ACLA’s own conviction: that a body of work\, patiently accumulated over a lifetime\, can be endlessly reordered\, each configuration revealing a different facet of the same underlying order — and that Rome remains one of the truest places to test that idea against stone. URL:https://acla.fondazionecomel.org/event/de-humana-mensura-karshan-rome/ CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/jpeg:https://acla.fondazionecomel.org/wp-content/uploads/2026/07/De-Humana-Mensura-di-Linda-.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20251014T000000 DTEND;TZID=Europe/Rome:20251014T000000 DTSTAMP:20260718T195947Z CREATED:20250917T092826Z LAST-MODIFIED:20260718T195947Z UID:25784-1760400000-1760400000@acla.fondazionecomel.org SUMMARY:'Celebrating the Karshan Gift to The Courtauld' DESCRIPTION:[vc_row full_width=”stretch_row” css=”.vc_custom_1705506757731{margin-bottom: 0px !important;padding-top: 120px !important;}”][vc_column offset=”vc_col-lg-6 vc_col-md-6 vc_col-xs-12″][vc_column_text css_animation=”none”]Venue: The Courtauld\, London \nDate: 14 October 2025 \nHosted by The Society for the History of Collecting[/vc_column_text][/vc_column][vc_column disable_custom_paddings_tablet=”true” disable_custom_paddings_mobile=”true” css=”.vc_custom_1705687289010{margin-left: 0px !important;padding-right: 50px !important;padding-left: 50px !important;}” offset=”vc_col-lg-6 vc_col-md-6 vc_col-xs-12″][vc_single_image image=”25792″ img_size=”full”][/vc_column][vc_column css=”.vc_custom_1578656655697{margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column_text css_animation=”none”]Attendees will hear about the legacy of lifetime collector Howard Karshan told by artist Linda Karshan in conversation with staff from the Courtauld\, as well as through archival footage created by the collector’s two sons. \nAttendees will first gather in the Drawings Gallery to study a suite of prints by Wayne Thiebaud. They will then go to the Study Room to admire a selection of drawings from the Karshan Gift where Linda Karshan will be in dialogue\, explaining how the Karshan Gift was made. Finally\, a short documentary shown in the Learning Centre will explore Howard Karshan’s passion for collecting drawings\, and the context in which he was able to acquire some of the finest works by modern and post-war masters available on the market. The evening will close with a drinks reception. \nThis event is to coincide with the launch of the Griffin Catalyst exhibition ‘Wayne Thiebaud. American Still Live’\, on view at The Courtauld between 10 October 2025 and 18 January 2026\, which features one of the drawings gifted by the Karshans to the Courtauld. For the first time\, a Karshan drawing is used as a trigger for a major show\, which sets the stage for future exhibitions of that kind. It is highly recommended to see the show prior to attending this event. \nMore details are available from the following link:\nhttps://thesocietyforthehistoryofcollecting.wildapricot.org/event-6318198[/vc_column_text][/vc_column][/vc_row] URL:https://acla.fondazionecomel.org/event/celebrating-the-karshan-gift-to-the-courtauld/ ATTACH;FMTTYPE=image/jpeg:https://acla.fondazionecomel.org/wp-content/uploads/2025/09/LD.2020.HK_.16-small-300dpi-0x1400-c-default-e1784404773192.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20250128T000000 DTEND;TZID=Europe/Rome:20250128T000000 DTSTAMP:20260718T195614Z CREATED:20250128T101221Z LAST-MODIFIED:20260718T195614Z UID:25743-1738022400-1738022400@acla.fondazionecomel.org SUMMARY:Screening of 'Walking the Western Range II' DESCRIPTION:[vc_row full_width=”stretch_row” css=”.vc_custom_1705506757731{margin-bottom: 0px !important;padding-top: 120px !important;}”][vc_column offset=”vc_col-lg-6 vc_col-md-6 vc_col-xs-12″][vc_column_text css_animation=”none” css=”.vc_custom_1747653102056{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”] \nWalking the Western Range II\n[/vc_column_text][vc_column_text css_animation=”none”]Venue: Remarque Institute\, New York \nDate: 28 January 2025 \nHosted by Stefanos Geroulanos[/vc_column_text][/vc_column][vc_column disable_custom_paddings_tablet=”true” disable_custom_paddings_mobile=”true” css=”.vc_custom_1705687289010{margin-left: 0px !important;padding-right: 50px !important;padding-left: 50px !important;}” offset=”vc_col-lg-6 vc_col-md-6 vc_col-xs-12″][vc_column_text css_animation=”none”][/vc_column_text][vc_single_image image=”25746″ img_size=”large” alignment=”center” onclick=”custom_link” link=”https://legacies-and-visions.eventbrite.it/”][/vc_column][vc_column css=”.vc_custom_1578656655697{margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column_text css_animation=”none”]In January 2025\, The Remarque Institute of New York\, our esteemed institutional partner\, hosted the screening of Walking the Western Range II\, choreographed and performed by Linda Karshan and filmed by Ishmael Annobil (Western Galleries\, British Museum\, London\, July 24\, 2023). \nThis initiative was part of a series concerning Legacies of Classical Ideas and their Recasting in the 20th Century\, generously supported by the Gladys Krieble Delmas Foundation and presented in collaboration with ACLA. \nThe event was hosted by Stefanos Geroulanos\, Director of the Remarque Institute and Professor of European Intellectual History at New York University\, in conversation with Linda Karshan\, President of ACLA. \nThe discussion was followed by the recitation of an ekphrastic poem by Karthika Nair\, composed in response to Karshan’s work. We thank Karthika Nair for agreeing to publish the poem wRiting Time II: Wandering the Western Range through Linda Karshan in our journal De Litteris et Artibus. \nAs a means of introduction\, we are pleased to share a meaningful extract of Linda Karshan’s correspondence with Karthika Nair\, in which the artist reflects upon her performance drawing in the Western Range. \n“In The Western Range\, I walked a labyrinthine form\, by necessity. While decisions were made at every turn\, it all seemed inevitable. As if I had no choice. I drew my art in Karshan time. \nI began in the Egyptian galleries\, at the very spot visitors-of-old entered the British Museum. While I had not much affinity with these oversized kings and queens\, I warmed to them\, over time. \nAs they did to me. We developed a professional relationship. \nThey lead me to The Rosetta Stone\, around which I ‘twirled’\, readying myself for classical Greece–close to my heart. And mind (The Rosetta Stone\, key to learning\, grounded me for all that lay ahead.) \nIt should be noted\, Karthika\, that The Parthenon Galleries were built only in 1966. I visited them\, by design\, in 1968\, crossing The English Channel by ferry. I sensed\, already then\, that these marbles and I belonged together. \nFrom the Rosetta Stone\, it was almost straight ‘run’ towards the Parthenon Galleries. \nI nodded\, respectfully\, to the Hellenistic copies en route. But copies they are; they had little hold on me. I navigated past them\, eager to enter the world of ancient Greece in the age of Pericles. \nHere I felt at home\, in perfect harmony with the frieze. It may even be a case of ‘energetic inversion’ as Warburg would put it\, where classical forms reappear in modern dress. \nThe Parthenon Galleries are grand\, and they took time. Karshan Time. \n‘I wanted to construct a time that belonged to me\, alone’ (Italo Calvino\, On Shells and Time). \nThe sound of the work kept me in pace and in place. \nExiting the Parthenon Galleries\, I moved forward in time. I was still at home in this later\, Greek world. The smaller temple was in my sights; the three\, winged figures ‘had my back’. \nQuickness\, lightness\, exactitude\, visibility and multiplicity were the orders of the day. \nLess taken with the Hellenistic galleries\, I nodded\, respectfully\, but not in awe. \n‘Passing through’: a bardo\, of sorts. They were a necessary transition to Assyria\, and the lion hunt of King Ashurbanipal. \nI bore in mind his pride in being an educated man. A king who ruled with wisdom and intelligence. I aimed to match that with grace\, born of respect\, while worrying about the lions aloft by my side. \nI slowed down a bit\, in response to their call. Variety was needed\, I felt. \nFinally\, I could exit\, and pose between two giant\, winged figures. \nFor effect\, without affect. \nSimply to mark human scale and proportion.”[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column] [/vc_column][/vc_row] URL:https://acla.fondazionecomel.org/event/screening-of-walking-the-western-range-ii/ ATTACH;FMTTYPE=image/jpeg:https://acla.fondazionecomel.org/wp-content/uploads/2025/01/27-_DSF1027-1024x576-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/Rome:20241123T000000 DTEND;TZID=Europe/Rome:20241124T000000 DTSTAMP:20260718T195742Z CREATED:20241023T133222Z LAST-MODIFIED:20260718T195742Z UID:25725-1732320000-1732406400@acla.fondazionecomel.org SUMMARY:Fibonacci Days 2024 DESCRIPTION:[vc_row full_width=”stretch_row” css=”.vc_custom_1705506757731{margin-bottom: 0px !important;padding-top: 120px !important;}”][vc_column offset=”vc_col-lg-6 vc_col-md-6 vc_col-xs-12″][vc_column_text css_animation=”none” css=”.vc_custom_1736804164034{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”] \nFIBONACCI DAYS 2024 \n[/vc_column_text][vc_column_text css_animation=”none”]Venue: Various locations in the city of Pisa \nDates: 23 – 24 November 2024[/vc_column_text][vc_column_text css_animation=”none”] \nNovember 23rd marked the conventional day of the birth of Leonardo Pisano\, known as Fibonacci. A series of celebratory events took place in honor of the Pisan mathematician throughout Pisa. \nLinda’s Shell was chosen as the emblem to represent the 2024 Fibonacci Days celebration. \nThe full agenda for the event can be found HERE. \n[/vc_column_text][/vc_column][vc_column disable_custom_paddings_tablet=”true” disable_custom_paddings_mobile=”true” css=”.vc_custom_1705687289010{margin-left: 0px !important;padding-right: 50px !important;padding-left: 50px !important;}” offset=”vc_col-lg-6 vc_col-md-6 vc_col-xs-12″][vc_column_text css_animation=”none”][/vc_column_text][vc_single_image image=”25727″ img_size=”large” alignment=”center”][/vc_column][/vc_row] URL:https://acla.fondazionecomel.org/event/fibonacci-days-2024/ ATTACH;FMTTYPE=image/jpeg:https://acla.fondazionecomel.org/wp-content/uploads/2024/10/fi2-613x1024-1.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20240927 DTEND;VALUE=DATE:20241007 DTSTAMP:20251012T213524Z CREATED:20240119T165155Z LAST-MODIFIED:20251012T213524Z UID:25351-1727395200-1728259199@acla.fondazionecomel.org SUMMARY:Art Exhibition: Legacies and Visions. From Comel to Karshan DESCRIPTION:[vc_row full_width=”stretch_row” css=”.vc_custom_1705506757731{margin-bottom: 0px !important;padding-top: 120px !important;}”][vc_column offset=”vc_col-lg-6 vc_col-md-6 vc_col-xs-12″][vc_column_text css_animation=”none” css=”.vc_custom_1760312111262{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”] \nLegacies and Visions.\nFrom Comel to Karshan\nMasterpieces from the collection of the Institutio Santoriana – Fondazione Comel\n(19th to 21st century)\n[/vc_column_text][vc_column_text css_animation=”none”]Venue: Domus Comeliana\, Pisa \nDates: 27 September – 6 October 2024 \nCurated by Giulia Martina Weston[/vc_column_text][/vc_column][vc_column disable_custom_paddings_tablet=”true” disable_custom_paddings_mobile=”true” css=”.vc_custom_1705687289010{margin-left: 0px !important;padding-right: 50px !important;padding-left: 50px !important;}” offset=”vc_col-lg-6 vc_col-md-6 vc_col-xs-12″][vc_column_text css_animation=”none”][/vc_column_text][vc_single_image image=”25721″ img_size=”large” alignment=”center” onclick=”custom_link” link=”https://legacies-and-visions.eventbrite.it/”][/vc_column][vc_column css=”.vc_custom_1578656655697{margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column_text css_animation=”none”]The exhibition displayed a significant body of unpublished artworks from the collection of Professor Marcello Comel (1902–1995)\, founder of the Institutio Santoriana – Fondazione Comel. Best known for his lifelong commitment to medicine and medical humanities\, Comel emerges as a visionary patron and a distinguished collector. \nThe selection of masterpieces included paintings by Gerolamo Induno\, Moses Levy\, Giovanni Lomi\, Arturo Tosi\, Lorenzo Delleani\, Giuseppe Pallanti\, Carlo Sbisà and Arturo Nathan\, as well as works on paper by Telemaco Signorini\, Mario Sironi\, Filippo De Pisis and Renato Guttuso. Furthermore\, the show unveiled a suite of drawings by American artist Linda Karshan\, belonging to various stages of her career. Forming the core of her prestigious gift to the Fondazione Comel\, these magnificent artworks document the relevance of Comel’s collection in the present and its impact upon future generations. \nCatalogue Artemide edited by Giulia Martina Weston.[/vc_column_text][vc_column_text css=”.vc_custom_1729076671670{margin-top: 0px !important;margin-bottom: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]”La cultura è fondamentalmente unità spirituale” / Culture is fundamentally a spiritual unity \nMarcello Comel\, De Humanis Humane (1976) \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column] [/vc_column][/vc_row] URL:https://acla.fondazionecomel.org/event/art-exhibition-legacies-and-visions-from-comel-to-karshan/ LOCATION:Domus Comeliana\, Pisa CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/jpeg:https://acla.fondazionecomel.org/wp-content/uploads/2024/01/Evento.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20221013 DTEND;VALUE=DATE:20221017 DTSTAMP:20240920T090536Z CREATED:20240119T093927Z LAST-MODIFIED:20240920T090536Z UID:25166-1665619200-1665964799@acla.fondazionecomel.org SUMMARY:Art Exhibition: The Universe on Paper. The Art of Linda Karshan DESCRIPTION:[vc_row full_width=”stretch_row” css=”.vc_custom_1705506757731{margin-bottom: 0px !important;padding-top: 120px !important;}”][vc_column offset=”vc_col-lg-6 vc_col-md-6 vc_col-xs-12″][vc_column_text css_animation=”none” css=”.vc_custom_1706255803335{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”] \nThe Universe on Paper.\nThe Art of Linda Karshan\n[/vc_column_text][vc_column_text css_animation=”none”]Venue: Domus Comeliana\, Pisa \nDates: 13-16 October \nCurated by Giulia Martina Weston \n—– \nThe exhibition is sponsored by[/vc_column_text][vc_row_inner][vc_column_inner width=”2/3″][vc_single_image image=”1182″ img_size=”full”][/vc_column_inner][vc_column_inner width=”1/3″][vc_single_image image=”1184″ img_size=”full”][/vc_column_inner][/vc_row_inner][/vc_column][vc_column disable_custom_paddings_tablet=”true” disable_custom_paddings_mobile=”true” css=”.vc_custom_1540472881684{margin-left: 0px !important;padding-left: 0px !important;}” offset=”vc_col-lg-6 vc_col-md-6 vc_col-xs-12″][/vc_column][vc_column css=”.vc_custom_1578656655697{margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column_text css_animation=”none”]This exhibition displays a fine selection of the works produced by distinguished artist Linda Karshan during various stages of her career. Born in Minneapolis (Minnesota) in 1947\, Linda Karshan was educated at Skidmore College\, Saratoga Springs\, New York\, from 1965 to 1966\, under the tuition of the architect Robert Reed\, a pupil of Josef Albers (1888-1976)\, a founding member of the Bauhaus. As an émigré\, Albers was a protagonist of Geometrical Abstract painting in America.\nKarshan’s subsequent studies at the Sorbonne in Paris\, the Slade School of Art in London and the Antioch Centre for British Studies\, London deepened her expertise in art history\, especially Renaissance Art\, and in psychology. Notably\, her MA thesis of 1983\, entitled Play\, Creativity and the Birth of the Self\, focused on Donald W. Winnicott’s theories of transitional space and creativity\, which are central to Karshan’s artistic practice.[/vc_column_text][/vc_column][/vc_row][vc_row content_placement=”top”][vc_column][/vc_column][vc_column offset=”vc_col-lg-6 vc_col-md-6″ css=”.vc_custom_1590571662912{margin-right: 15px !important;}”][vc_column_text]In 1994\, Linda Karshan developed a performance-based method to bring her drawings into existence. Guided by what she has termed her ‘inner choreography’\, the artist draws freehand\, standing at a table\, and\, despite being left-handed\, uses her right. As she reaches forward with her graphite pencil\, her left leg rises up naturally\, so she balances like a ballerina in an arabesque and draws a line to a rhythm of 1-2\, 3-4\, 5-6\, 7-8. She then goes back over it\, and makes a 90-degree anticlockwise turn of the paper. Thus freed\, or – better – found\, Karshan’s iterative images of intersecting lines\, geometrical shapes and organic patterns stem from her rhythmic breathing\, her anticlockwise turn of the paper\, and the motion of her entire body and mind.[/vc_column_text][/vc_column][vc_column offset=”vc_col-lg-6 vc_col-md-6″ css=”.vc_custom_1590571667512{margin-left: 15px !important;}”][/vc_column][vc_column][/vc_column][/vc_row][vc_row content_placement=”top” custom_css_code=”LndwYi1qcy1jb21wb3NlciUyMCU0MGlkJTIwLnZjX3R0YS52Y19nZW5lcmFsLnZjX3R0YS1hY2NvcmRpb24udmNfdHRhLXN0eWxlLXNpbXBsZV9zb2xpZCUyMC52Y190dGEtcGFuZWwlMkIudmNfdHRhLXBhbmVsJTIwJTdCJTBBJTIwJTIwJTIwJTIwYm9yZGVyLXRvcCUzQSUyMDFweCUyMHNvbGlkJTIwJTIzZGZlNWU4JTNCJTBBJTdE”][vc_column offset=”vc_col-lg-6 vc_col-md-6″ css=”.vc_custom_1590571756877{margin-right: 15px !important;}”][/vc_column][vc_column offset=”vc_col-lg-6 vc_col-md-6″ css=”.vc_custom_1590571752497{margin-left: 15px !important;}”][vc_column_text]The show aims to shed light on the path pursued by Linda Karshan over several crucial decades of artistic output by presenting a selection starting from a large work of 1983 and culminating in a suite of drawings of 2021\, created during the Covid-19 pandemic. \nAll the pieces presented are on paper\, and testify to the consistency of Karshan’s personal marks – particularly the constructive element of the grid\, either manifest or implied – and the recurrence of seemingly geometrical patterns such as circles\, squares or lozenges.[/vc_column_text][/vc_column][/vc_row][vc_row content_placement=”top”][vc_column][/vc_column][vc_column offset=”vc_col-lg-6 vc_col-md-6″ css=”.vc_custom_1590571662912{margin-right: 15px !important;}”][vc_column_text]Karshan’s oeuvre naturally resonates with chiefly humanistic preoccupations such as the relationship between micro and macrocosms\, the dialectics of gravity and grace\, and an understanding of the body as measure of the universe. \nDisplayed in the prestigious venue of the Domus Comeliana in Pisa – in the first exhibition hosted by the Institutio Santoriana – Fondazione Comel – Karshan’s works become a testament to contemporary humanism.[/vc_column_text][/vc_column][vc_column offset=”vc_col-lg-6 vc_col-md-6″ css=”.vc_custom_1590571667512{margin-left: 15px !important;}”][/vc_column][vc_column][/vc_column][/vc_row][vc_row css=”.vc_custom_1587051302928{margin-bottom: 0px !important;padding-top: 20px !important;padding-bottom: 118px !important;}”][vc_column] [/vc_column][/vc_row][vc_row content_placement=”top” custom_css_code=”LndwYi1qcy1jb21wb3NlciUyMCU0MGlkJTIwLnZjX3R0YS52Y19nZW5lcmFsLnZjX3R0YS1hY2NvcmRpb24udmNfdHRhLXN0eWxlLXNpbXBsZV9zb2xpZCUyMC52Y190dGEtcGFuZWwlMkIudmNfdHRhLXBhbmVsJTIwJTdCJTBBJTIwJTIwJTIwJTIwYm9yZGVyLXRvcCUzQSUyMDFweCUyMHNvbGlkJTIwJTIzZGZlNWU4JTNCJTBBJTdE”][vc_column][/vc_column][/vc_row] URL:https://acla.fondazionecomel.org/event/art-exhibition-the-universe-on-paper-the-art-of-linda-karshan/ LOCATION:Domus Comeliana\, Pisa CATEGORIES:Exhibitions ATTACH;FMTTYPE=image/jpeg:https://acla.fondazionecomel.org/wp-content/uploads/2024/01/2022-10-16_F4A4471_risultato.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20221013 DTEND;VALUE=DATE:20221014 DTSTAMP:20240920T090501Z CREATED:20240119T161328Z LAST-MODIFIED:20240920T090501Z UID:25329-1665619200-1665705599@acla.fondazionecomel.org SUMMARY:International conference: The Universe on Paper. The Art of Linda Karshan DESCRIPTION:[vc_row full_width=”stretch_row” css=”.vc_custom_1705506757731{margin-bottom: 0px !important;padding-top: 120px !important;}”][vc_column offset=”vc_col-lg-6 vc_col-md-6 vc_col-xs-12″][vc_column_text css_animation=”none” css=”.vc_custom_1706255997579{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”] \nThe Universe on Paper.\nThe Art of Linda Karshan\n[/vc_column_text][vc_column_text css_animation=”none”]Venue: Museo Dell’Opera del Duomo\, Pisa \nDates: 13 October 2022 \na conference organised by Giulia Martina Weston \n—– \nPDF PROGRAMME[/vc_column_text][/vc_column][vc_column disable_custom_paddings_tablet=”true” disable_custom_paddings_mobile=”true” css=”.vc_custom_1540472881684{margin-left: 0px !important;padding-left: 0px !important;}” offset=”vc_col-lg-6 vc_col-md-6 vc_col-xs-12″][/vc_column][/vc_row][vc_row content_placement=”top”][vc_column][/vc_column][vc_column offset=”vc_col-lg-6 vc_col-md-6″ css=”.vc_custom_1590571662912{margin-right: 15px !important;}”][vc_column_text]The launch of the exhibition The Universe on Paper. The Art of Linda Karshan is conceived in conjunction with and international conference\, to be hosted in the neighbouring Museo dell’Opera del Duomo on 13 October 2022. Bringing together eminent scholars from an array of institutions and specialisms\, the symposium is structured in three parts. \nThe first section explores the art of Linda Karshan in both its links with Renaissance principles and ideas\, and its resonance with contemporary practices. The second group of papers focus on bodily knowledge\, questioning the issue of the ‘intelligent hand’ in the practice of drawing\, and the possibility of knowledge-making granted to and by works on paper. The last pair of speakers will focus on the body as cosmos\, exploring the ‘latitudes of the body’ in medical treatises and contemporary reception\, and deciphering the art of Linda Karshan in a scientific perspective. \nThe conference gathers a highly original group of speakers: distinguished academics and professionals from various institutions and countries\, who have all gained first-hand and in-depth knowledge of Karshan’s art. Collectively\, their fields of expertise encompass art and architecture\, ethics and psychology\, medicine and astronomy. \nRead the abstracts here\nPDF ABSTRACTS \nAt the end of the conference\, the audience and speakers will join the artist Linda Karshan and curator Giulia Martina Weston for a preview of the exhibition at the Domus Comeliana\, followed by further moments of conviviality during an exclusive cocktail party on the terrace.[/vc_column_text][/vc_column][vc_column offset=”vc_col-lg-6 vc_col-md-6″ css=”.vc_custom_1590571667512{margin-left: 15px !important;}”][/vc_column][vc_column][/vc_column][/vc_row][vc_row css=”.vc_custom_1587051302928{margin-bottom: 0px !important;padding-top: 20px !important;padding-bottom: 118px !important;}”][vc_column] [/vc_column][/vc_row][vc_row content_placement=”top” custom_css_code=”LndwYi1qcy1jb21wb3NlciUyMCU0MGlkJTIwLnZjX3R0YS52Y19nZW5lcmFsLnZjX3R0YS1hY2NvcmRpb24udmNfdHRhLXN0eWxlLXNpbXBsZV9zb2xpZCUyMC52Y190dGEtcGFuZWwlMkIudmNfdHRhLXBhbmVsJTIwJTdCJTBBJTIwJTIwJTIwJTIwYm9yZGVyLXRvcCUzQSUyMDFweCUyMHNvbGlkJTIwJTIzZGZlNWU4JTNCJTBBJTdE”][vc_column][/vc_column][/vc_row] URL:https://acla.fondazionecomel.org/event/international-conference-the-universe-on-paper-the-art-of-linda-karshan/ LOCATION:Domus Comeliana\, Pisa CATEGORIES:Symposia ATTACH;FMTTYPE=image/jpeg:https://acla.fondazionecomel.org/wp-content/uploads/2024/01/Conference-4-1.jpg END:VEVENT END:VCALENDAR