City Lives: Contemporary Art in a Changing World

Bristol Museum and Art Gallery, Queen's Road, Bristol, BS8 1RL

http://www.bristol.gov.uk/page/leisure-and-culture/exhibitions-bristols-museums
Julia.Carver@bristol.gov.uk

Saturday 30 November 2013 – Sunday 02 March 2014
Opening Hours: Monday ? Friday 10:00 - 17:00, Weekends 10:00 - 18:00

New international contemporary art exhibition at the museum.

Half the world’s population lives in a city and it is estimated that by 2050 this will rise to more than three quarters. The virtual ‘global village’ anticipated by Marshall McLuhan has become a physical reality as the reach of the city spreads to even the most remote areas. In City Lives artists from around the world chart the changing landscape, consumer culture, disaffection, subcultures and high hopes in a range of media including photography, video, sculpture and installation.

The exhibition brings together new acquisitions purchased in partnership with Arnolfini through Bristol’s £1million award from national charity the Art Fund, under their Art Fund International scheme. For the first time visitors to Bristol will be able to see photography by Iranian artist, Shirin Aliabadi, and video by Israeli artist Omer Fast, as well as new installations from African artist Meschac Gaba and Lebanese artist Akram Zaatari. In addition the show will feature new photography by British artist Sarah Dobai, acquired with support from the Friends of Bristol Art Gallery through the Contemporary Art Society acquisition scheme and a new commission from Bristol-based Anouk Mercier. City Lives also includes images of Bristol by Magnum photographer Martin Parr and the docks by British landscape photographer Jem Southam. City Lives presents artists' visions of life in the city, from our dreams to our anxieties, our past and possible futures.

City Lives is the second in the Global to Local trilogy of exhibitions showcasing new international art acquired in partnership with Arnolfini with a £1million award from the Art Fund. The exhibition is supported with a grant from the Henry Moore Foundation.
 

Image: © Shirin Aliabadi

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