1,946,144 research outputs found
Phillip Lai: group exhibition (Sydney, 2019)
No full textGroup exhibition including artists Yona Lee, Phillip Lai, and Hany Armanious
EXHIBITION TEXT
Fine Arts, Sydney is presenting an exhibition of sculpture, comprising new works by Yona Lee, Phillip Lai, and Hany Armanious.
Yona Lee was born in Busan, South Korea, in 1986, and lives and works in Auckland, New Zealand. She has recently made solo exhibitions at museums and institutions including City Gallery, Wellington, New Zealand (2018-2019); Art Gallery of New South Wales, Sydney, Australia (2018-2019); OCI Museum, Seoul, South Korea (2017); Te Tuhi, Auckland, New Zealand (2017); Alternative Space LOOP, Seoul, South Korea (2016); and West Space, Melbourne, Australia (2016). Lee’s work will be included in the forthcoming 15th Lyon Biennale of Contemporary Art (2019), and has recently been included in curated exhibitions at the Art Gallery of New South Wales, Sydney, Australia (2018); Sungkok Museum, Seoul, South Korea (2016); Changwon Sculpture Biennale, Seoul, South Korea (2016); Seoul Art Space Geumcheon, Seoul, South Korea (2016); and Seoul Museum of Art, Seoul, South Korea (2016). Yona Lee studied BFA (2009) and MFA (2010) at the University of Auckland Elam School of Fine Arts, Auckland, New Zealand. Yona Lee will make her first solo exhibition with Fine Arts, Sydney in 2020.
Phillip Lai was born in Kuala Lumpur, Malaysia, in 1969, and has lived in London, United Kingdom, since childhood. He has exhibited widely since 1994, having made exhibitions in Europe, North America and Asia, and was nominated for the second Hepworth Prize for Sculpture in 2018. Phillip Lai has recently made institutional exhibitions at the Hepworth Wakefield, Wakefield, United Kingdom (2018); and Camden Arts Centre, London, United Kingdom (2014). Lai’s work has been included in curated exhibitions and projects at Nottingham Contemporary, Nottingham, United Kingdom (2014); Tate Modern, London, United Kingdom (2010); Artists Space, New York, United States (2006); The Showroom, London, United Kingdom (2006); CCA, Glasgow, United Kingdom (2005); Tramway, Glasgow, United Kingdom (2000); Museum of Modern Art, New York, United States (1998); and Institute of Contemporary Arts, London, United Kingdom (1995). Phillip Lai studied BA Fine Art and MA Fine Art (1990-1994) at Chelsea College of Art & Design, London, United Kingdom. This is the first showing of Phillip Lai’s work in an exhibition in Australia.
Hany Armanious was born in Ismailia, Egypt, in 1962, and has lived in Australia since childhood. He represented Australia at the 54th Venice Biennale (2011), and has made solo exhibitions at museums and institutions including City Gallery Wellington, New Zealand (2016, 2007); MUMA, Melbourne, Australia (2012); Contemporary Art Museum, St Louis, United States (2008); Institute of Modern Art, Brisbane, Australia (2006); Auckland Art Gallery, Auckland, New Zealand (2004); National Gallery of Victoria, Melbourne, Australia (2002); and the Hammer Museum, Los Angeles, United States (2001). Over the past three decades Armanious’ work has been included in large-scale thematic exhibitions including the Adelaide Biennial (2010), Tarrawarra Biennial (2008), Busan Biennale (2006), 1st Johannesburg Biennale (1995), 46th Venice Biennale (2005), and the 9th Biennale of Sydney (1992), as well as curated exhibitions at museums and institutions including MUMA, Melbourne, Australia (2017, 2006, 1996, 1993); Secession, Vienna, Austria (2012); Art Gallery of New South Wales, Sydney, Australia (2006, 2003, 2000, 1991); Australian Centre for Contemporary Art, Melbourne, Australia (2006); National Gallery of Australia, Canberra, Australia (2005, 1998, 1994); Artspace, Sydney, Australia (2003, 2001); National Gallery of Victoria, Melbourne, Australia (2002, 2001, 1997); and the Museum of Contemporary Art, Sydney, Australia (1998, 1994, 1993, 1991). Hany Armanious lives and works in Sydney, Australia, where he is Head of Sculpture at the National Art School. Hany Armanious is represented in Sydney by Roslyn Oxley9 Gallery
Phillip Lai monograph (2022)
No full textThis first monograph on Phillip Lai (b.1969, Kuala Lumpur, Malaysia) charts the artist’s sculptural development over the course of the last two decades. From a basement soy-sauce factory to the Hepworth Prize for Sculpture, the publication surveys several of the artist’s exhibitions across London, Wakefield, Turin, Berlin and Hong Kong. The nine chapters explore an evolving oeuvre that finds form in materials like aluminium, pewter, concrete, resin, rice, cooking pots, textiles and film. It is through these technologies that Lai broaches the material limits of the everyday world, often working with casting processes that see the abstraction and changing stability of materials as they transition from fluid to solid. What comes into focus is a fascination with how objects can relieve or modulate primal human urges to food and water and how, by extension, a material world might be re-envisioned around concerns of depletion and survival. This publication includes an essay by critic and writer Jan Verwoert, with bilingual text in English and Chinese throughout
On Reading and Writing: an Interview with Larissa Lai
Full text linkCultural activist, author and Creative Writing Professor Larissa Lai is interviewed by Spanish critic Sonia Villegas López
Pseudorandomness Analysis of the Lai-Massey Scheme
Full text linkAt Asiacrypt’99, Vaudenay modified the structure in the IDEA cipher to a new scheme, which they called as the Lai-Massey scheme. It is proved that 3-round Lai-Massey scheme is sufficient for pseudorandomness and 4-round Lai-Massey scheme is sufficient for strong pseudorandomness. But the author didn’t point out whether three rounds and four rounds are necessary for the pseudorandomness and strong pseudorandomness of the Lai-Massey Scheme. In this paper we find a two round pseudorandomness distinguisher and a three-round strong pseudorandomness distinguisher, thus prove that three rounds is necessary for the pseudorandomness and four rounds is necessary for the strong pseudorandomness
The theory and practice of utopia in our troubled times : a conversation with author Larissa Lai and critic Sherryl Vint
No full textAmid current global crises, the international conference “The Knock at the Door: Utopian Dreams for Post-Covid Times,” jointly organized by the University of Huelva (Spain) and the University of Calgary (Canada) on May 21–24, 2023, at the University of Huelva, provided a forum for reflecting upon the role played by speculative fiction in (re)imagining better futures, while remaining vigilant to possible threats and dangers. The title of the conference, borrowed from philosopher John Rajchman,1 is intentionally ambiguous. Lying behind that door could be total liberation for all—or it could be secret police who lead us toward genocides, deportation, rapes, and mass graves. Taking this dichotomous trope, “the knock at the door,” as a point of departure, professors Larissa Lai (University of Toronto, Canada; recipient of a Maria Zambrano fellowship at the University of Huelva at the time of the interview) and Sherryl Vint (University of California Riverside, USA) engaged...Depto. de Estudios Ingleses: Lingüística y LiteraturaFac. de Ciencias Económicas y EmpresarialesTRUEpu
Optical instruments for measuring leaf area index in low vegetation : application in Arctic ecosystems
Full text linkAuthor Posting. © Ecological Society of America, 2005. This article is posted here by permission of Ecological Society of America for personal use, not for redistribution. The definitive version was published in Ecological Applications 15 (2005): 1462–1470, doi:10.1890/03-5354.Leaf area index (LAI) is a powerful diagnostic of plant productivity. Despite the fact that many methods have been developed to quantify LAI, both directly and indirectly, leaf area index remains difficult to quantify accurately, owing to large spatial and temporal variability. The gap-fraction technique is widely used to estimate the LAI indirectly. However, for low-stature vegetation, the gap-fraction sensor either cannot get totally underneath the plant canopy, thereby missing part of the leaf area present, or is too close to the individual leaves of the canopy, which leads to a large distortion of the LAI estimate. We set out to develop a methodology for easy and accurate nondestructive assessment of the variability of LAI in low-stature vegetation. We developed and tested the methodology in an arctic landscape close to Abisko, Sweden.
The LAI of arctic vegetation could be estimated accurately and rapidly by combining field measurements of canopy reflectance (NDVI) and light penetration through the canopy (gap-fraction analysis using a LI-COR LAI-2000). By combining the two methodologies, the limitations of each could be circumvented, and a significantly increased accuracy of the LAI estimates was obtained. The combination of an NDVI sensor for sparser vegetation and a LAI-2000 for denser vegetation could explain 81% of the variance of LAI measured by destructive harvest. We used the method to quantify the spatial variability and the associated uncertainty of leaf area index in a small catchment area.This research was funded by U.S. National Science Foundation
grant DEB0087046
A Conversation with Jimenez Lai
No full textJimenez Lai works in the world of art, culture, and education. Lai’s Master of Architecture thesis was a science fiction about a post-teleportation world. Previously, Jimenez Lai lived in a desert shelter at Taliesin and resided in a shipping container at Atelier Van Lieshout on the piers of Rotterdam. Before founding Bureau Spectacular, Lai worked for various international offices, including MOS and OMA. Lai is widely exhibited and published around the world, including the MoMA-collected White Elephant. His first book, Citizens of No Place, was published by Princeton Architectural Press with a grant from the Graham Foundation. Draft II of this book has been archived at the New Museum. Lai has won various awards, including the Architectural League Prize for Young Architects and Debut Award at the Lisbon Triennale, and the 2017 Designer of the Future Award at Art Basel / Design Miami. In 2014, Lai represented Taiwan at the 14th Venice Architecture Biennale. In 2015, Lai organized the Treatise exhibition and publication series at the Graham Foundation. Lai’s work is in the permanent collection of MoMA, SFMOMA, Art Institute of Chicago, and LACMA. Jimenez Lai was the 2024 Gwathmey Chair at Cooper Union
Supplemental material for publication JAAD-D-19-02389 (Chun-Yu Lai et al. Association between bullous pemphigoid and ischemic heart diseases: A systematic review and meta-analysis. J Am Acad Dermatol. 2020)
No full textSupplemental material for publication JAAD-D-19-02389 (Chun-Yu Lai et al. Association between bullous pemphigoid and ischemic heart diseases: A systematic review and meta-analysis. J Am Acad Dermatol. 2020
Relational Art: empirical analysis of Maria Lai case
No full textreservedL'elaborato dimostra l'importanza di Maria Lai nel panorama artistico internazionale
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