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Replicas of Parthenon marbles to go on view


While we focus on Indian art, we can’t obviously function in a vacuum. It’s a small world and everything is connected, especially on the web. So, let’s train our spotlight across the world map to see what’s going on — from art trends to socio-political issues to everything that affects the great aesthetic global consciousness. Or, let’s just travel the world and have some fun!

Ultra-Precise digital replicas of the Parthenon marbles on view at Freud Museum

ONE WEEK TO GO!! Our exquisite Pentelic recreation of the Selene horse will go on public display in London on November 1st at the Freud Museum. Stay tuned for details! https://t.co/dXLL5GjsEI pic.twitter.com/GHbW6SCR9z

— Digital Archaeology (@DigiArchaeo) October 25, 2022


As arguments between the U.K. and Greece rage over who rightfully owns the Parthenon Marbles, the Institute of Digital Archaeology (IDA) has come up with a solution for the meantime: a near-perfect replica—made by a robot—which will go on view at the Freud Museum in London. In January, the Oxford-based institute announced plans to replicate the Parthenon marbles, which originally adorned a temple to Athena atop the Acropolis, with a cutting-edge stone sculpting technology known as Robotor. They wanted to forge a win-win solution for both the U.K. and Greece by making copies for the British Museum’s educational purposes, while returning the original, culturally significant artifacts home to Greece. By August, the institute had taken 3D scans of the marbles, which have lived at the British Museum since Lord Elgin took them from Greece in 1801, under the auspices of the Ottoman Empire, as a gift to Queen Victoria. More on Artnet News

Chinese Canadian museum names its first chief executive


Just as the Rennie Museum in Vancouver’s Chinatown has closed its doors after 13 years and a farewell exhibition featuring highlights from its extensive collection, the Chinese Canadian Museum (CCM) due to occupy the same space by next summer has hired Melissa Karmen Lee as its inaugural chief executive. “I am thrilled to launch an important institution such as the Chinese Canadian Museum in the oldest building in Vancouver’s Chinatown” Lee says, referring to the Wing Sang complex first built by a Chinese merchant in 1889. “This is a tremendous opportunity for the museum to offer an authentic place-based experience in sharing the histories and heritage of Chinese Canadian communities.” Lee’s prior experience includes management and development, as well as curatorial, research and programming, including during her time as the curator of education and public programmes at Hong Kong’s Tai Kwun Centre for Heritage and Arts—a Unesco World Heritage site—from 2016 to 2019. When she returned to her hometown of Vancouver in 2019, Lee joined the Vancouver Art Gallery as director of education and public programmes, pioneering new digital initiatives and broadening institutional relationships both locally and internationally. For more, head on to Art Newspaper.

Archives of Laszlo Moholy-Nagy becoming the source of inspiration for NFT artist Dmitri Cherniak


For his latest series, Light Years, algorithmic artist Dmitri Cherniak is taking a fresh pair of eyes to the life and legacy of László Moholy-Nagy. His aim? To illuminate the connections between generative art and the work of the Hungarian artist, technologist, and Bauhaus instructor. A polymath, Moholy-Nagy was one of the earliest artists to integrate technology into his art, using tools such as the telescope, microscope, and photogram to produce his sculptures, photographs, and films. A century on, his innovations in fusing art and technology remain intriguing, informing exhibitions such as the Guggenheim’s “Moholy-Nagy: Future Present” in 2016, while serving as a guiding light for digital creators—not least Cherniak. Read more on Artnet News.

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