Sunday, December 11, 2016

Last Monday night, forty-four years after the people of Delaware first sent me to the United States Senate, I presided over a Senate vote for one of the last times.

As Vice President of the United States and president of the Senate, I served as the presiding officer as the Senate moved forward on the 21st Century Cures Act, a bill that will harness America’s best minds in science, medicine, and technology to tackle the biggest health challenges of our time.

This bill will help us combat the heroin and prescription opioid epidemic ripping apart families and communities. It invests in programs to improve mental health treatment and suicide prevention. It will provide resources for President Obama’s BRAIN and Precision Medicine initiatives, so that our world-class researchers can figure out how to better prevent, treat, and eventually cure Alzheimer's, epilepsy, and traumatic brain injuries.

And this is the part that's personal for me and for millions of Americans: The 21st Century Cures Act invests $1.8 billion to help us end cancer as we know it. For over a year, I've been leading our National Cancer Moonshot to fundamentally change the culture of our fight against cancer and inject a sense of urgency into it. This bill goes a long way to help us -- investing in promising new therapies, enhancing prevention and detection efforts in every community regardless of zip code, and bringing us closer to the day when there are vaccines for all kinds of cancer, just as we have them for measles or mumps.

While I was presiding in the Senate, my colleagues from both sides of the aisle renamed the section of this bill on cancer research for my son, Beau, who lost his battle with brain cancer, but like countless Americans who lost their own battles, inspires us to do everything we can for the loved ones we can save. My thanks goes out to the bipartisan leadership -- Democrats and Republicans in the House and the Senate -- who ensured that this important bill became law. Without this true bipartisan support, this piece of legislation, which will help millions of Americans, would not have been possible.

Today, President Obama will sign the 21st Century Cures Act into law. One last time in our Administration, I will stand right by him at a signing ceremony -- proud of our country, and proud of the work we’ve done to give people hope.


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New York Botanical Garden's December 13, 2016.
New York Botanical Garden's
Holiday Train Show Is Bigger Than Ever: See Mini NYC Landmarks & More.
Celebrate the season inside the New York Botanical Garden's 25th annual Holiday Train Show, where G-scale model trains zip around you on a nearly half-mile journey around a miniature version of New York City, all under the twinkling glow of the Enid A. Haupt Conservatory. Visionary artist Paul Busse and his team have created a world filled with tiny versions of such tourist attractions as the Brooklyn Bridge, the Statue of Liberty and Rockefeller Center -- 150 replicas in all -- intricately crafted with bark, leaves and other natural materials. The recent exhibition expansion continues with more trains and a true New York finale featuring a whimsical tribute to the iconic Coney Island amusement park's architecture and attractions. Don't miss this unique melding of art, nature, science and imagination that The New York Times calls "one of New York City's best holiday gifts to itself."
On weekdays, you’ll be admitted into the Holiday Train Show at the next available time slot. On weekends, you’ll be admitted into the Holiday Train Show at the next available time slot between 4-5:30 p.m.
Additional fees apply. For events with a discounted price, no coupon or promo code is necessary.
Read more 
School of Rock December 19, 2016.
School of Rock: Andrew Lloyd Webber's Hit Musical Has Broadway Rocking
Bar Car Nights: Adults-Only Viewing of Holiday Train Show
Gospel Christmas concert December 24 & 31, 2016 (11 a.m.)

3.New Year’s Eve - Times Square | December 31, 2016
New Year’s Eve in Times Square has dazzling lights, big-name music, balloons, confetti, fireworks, and a crystal ball that drops at midnight. To join the crowd seeing it live, read the FAQ and arrive early. Free.
4.New Year’s Eve - Madame Tussauds | December 31, 2016
Enjoy appetizers, an open bar, and 4-D cinema (with wind, snow, mist, and scent) at New Year’s Eve at Madame Tussauds New York. All ages welcome.
New Year’s Eve with Cécile McLorin Salvant features a jazz vocalist, a view of Central Park, and a three-course meal in Dizzy’s Club at Broadway and 60th. The 11 p.m. show includes a champagne toast at midnight.
New Year’s Eve Bike Ride & Outdoor After Party for bikers or skaters has three starting points that all lead to a dance party with fireworks at Belvedere Castle in Central Park. Free. 
Parisian Follies by Dances of Vice has an opulent theme that “will traverse through Paris’ Golden Age, the 1890s Belle Époque, to the vibrant 1920s Années folles” at Grand Prospect Hall. Optional 8 p.m. dinner.Discount tickets $55.

Merry Christmas and Happy New Year!
Sula CostaExecutive Director
+55 61 4042-3635

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Tanya Bonakdar Gallery is pleased to announce The Serpent’s Energy Gave Birth To Humanity, a solo exhibition of new works by internationally acclaimed artist Ernesto Neto, on view from October 29 through December 17, 2016. For his first gallery exhibition in New York since 2012, Neto will present a new body of finger-crocheted immersive sculptures, installations and wall works that fill both floors of the gallery’s space, inviting the viewer into an all-encompassing sensorial experience.

Emerging as a synthesis of Neto’s own decades-long practice and the artist’s recent collaborations with the Huni Kuin, an indigenous community from the Brazilian Amazon, The Serpent’s Energy Gave Birth To Humanity marks a major moment in Ernesto Neto’s practice, when formally rigorous questions intersect with notions of interactivity, connectivity and spirituality as related to the natural world.

Known for his handcrafted sculptural installations of crochet, tulle, spices and stones, Neto’s renowned art-making practice draws from a wide variety of sources, from Modernist traditions of biomorphic abstraction, through Arte Povera and American Minimalism, to the legacies of Brazilian neo concrete, conceptual and Tropilcália movements. Citing Constantin Brancusi and Lygia Clark as his artistic forebears, Neto has fused seemingly disparate influences into a cohesive language. Since the 1990s Ernesto Neto has created a body of work in which elements of improvisation and chance interconnect with the forces of tension and gravity to dictate form. The artist’s work connects the mind and body through the experience of space, using sensory perception to align the physical and the psychological. Together, these aspects form the signature voice and the unique vocabulary that has influenced a generation of artists worldwide and rendered Neto as one of the foremost artists of his generation.

Central to the current presentation is Neto’s exploration of shamanism as science, the natural world and its phenomena, and community based crafts. In 2014, Neto and members of the Huni Kuin embarked on a series of artistic exchanges that investigate the rituals and shamanistic traditions of the tribe. The Huni Kuin’s spiritual life, their desire for healing in harmony with nature, and the wisdom and serenity they draw from their deep connection with the energy of the planet, introduced into Neto’s work a new awareness to the scared dimension of nature and to its internal geometry. Drawing inspiration from these traditions, medicines and customs, his new body of work speaks of internal transformation, and adds layers of meaning to his inquiry into connectivity as a social and ecological concern. This joint exploration has taken form with major sculptural and architectural installations mounted at such institutions as The Guggenheim Museum Bilbao; TBA21, Vienna (2015); Museum of Contemporary Art Kiasma, Helsinki, Finland (2016); KUNSTEN Museum of Modern Art, Aalborg, Denmark (2016).

At Tanya Bonakdar Gallery, viewers are encouraged to explore, touch, smell and even wear the objects on display. At the entrance to the gallery, a massive crochet structure engulfs the main space and invites the viewer to wander through it, as the exhibition slowly unfolds beyond the knitted net. This massive, womb-like structure invites interactivity that is at once intellectual and physical. Blurring the lines between viewer and artwork, the installation physicalizes Neto’s concept of living sculpture - a practice in which process is equal to outcome.

Key to the exhibition is Neto’s continued use of crochet as a formal and symbolic element. The act of knitting transforms small-scale artisanal craft to the building blocks of large-sized sculptural installations and intricate two-dimensional artworks. The slow, collective activity, which is precisely planned yet organic, passionate, on the verge of ritualistic, is yet another powerful expression of Neto’s artistic inquiry. Dynamic color patterns are conjured by the craft of hand dying each thread and mixing the colors. This represents a fusion of cultures, and the merge of life and nature into a more unified experience.

At the heart of the gallery’s space, Adam Boa Eve Apple Egg (2016) - a round, canopied structure - hangs from the ceiling to the floor. Inside this room, a finger-knitted carpet traces the shape of the overall structure, evoking the image of an infinite serpent - an important motif in the Huni Kuin’s vocabulary and to this exhibition. A protagonist in Brazilian mythology as well as in Judeo-Christian tradition, the boa represents our connection with the cosmos through different types of acquired knowledge. The spirit of the boa is an energy” says Neto, “it’s a vibration that is inside all the matter, and in all life.” Tree-like columns filled with leaves and stones invoke the tribal iconography of nature while serving as a counter balance for the crocheted architecture - bringing together the tradition of the Brazilian Neo Concrete movement with the rituals of Brazil’s indigenous cultures.

Neto’s career long investigation of our relationship with nature is further amplified in the exhibition as its informed by the Huni Kuin’s spiritual and corporal understanding of the cosmos. Here, the artist pivots from the Western legacy of classification and systematization, its linear environments and excesses of information to a more heterogeneous, multi dimensional environment, an environment which, much like the forest, hums with energy that is created simultaneously by all of it inhabitants, be it the plants, birds, the earth or the air.

On the second floor, living plants and crochet colonies filled with spices summon a sensory experience of smell, texture, tactility and color. The shape of an evolving double helix appears interchangeably as a serpent, a ladder, a tree or even a DNA sequence throughout the exhibition. In tandem with the relational world-view of the Huni Kuin, this fluctuating form bridges the gap between all spatial-temporal components of the cosmos. Combining his signature biomorphic shapes with the sacredness of nature, Neto creates an alluring environment of color, texture, and smell that collapses the distance between viewer and artwork, familiar and distant, known and unknowable.

Ernesto Neto’s recent major solo exhibitions include Ernesto Neto, at the Museum of Contemporary Art Kiasma, Helsinki, Finland, 2016; Enresto Neto, KUNSTEN Museum of Modern Art Aalborg, Denmark 2016; The Jaguar and the Boa, Kunsthalle Krems, Krems an der Donau, Austria, 2015; Ernesto Neto and the Huni Kuin ~ Aru Kuxipa | Sacred Secret, TBA21–Augarten, Vienna, Austria, 2015; Haux Haux, Arp Museum Bahnhof Rolandseck, Remanagen, Germany, 2015; Ernesto Neto, Aspen Art Museum, Aspen, CO, 2015; Ernesto Neto: The body that carries me, Guggenheim, Bilbao 2014; O ABRIGO E O TERRENO: Arte e sociedade no Brasil, Museu de Arte do Rio (MAR), Rio de Janeiro, Brazil, 2013 ; Fecundation, Loucura é parte da vida / Madness is part of life, Espace Louis Vuitton, Tokyo, 2012; Cuddle on the Tightrope, Nasher Sculpture Center, Dallas, TX. 2012; La lengua de Ernesto: retrospectiva 1987–2011, at the Museo de Arte Contemporáneo de Monterrey, MARCO, Mexico, traveling to Antiguo Colegio de San Idelfonso, Mexico City, Mexico, 2011–2012; Ernesto Neto: O Bicho SusPensa na PaisaGen, Los Molinos Exhibition Hall, Faena Art District, Buenos Aires, Argentina, 2011; Ernesto Neto: The Edges of the World, Hayward Gallery, Southbank Centre, London, UK, 2010; Ernesto Neto: Intimacy, Astrup Fearnley Museum of Modern Art, Oslo, Norway, 2010; Dengo, Museu de Arte Moderna de São Paulo, Brazil, 2010; and anthropodino, Park Avenue Armory, New York, NY, 2009 among others.

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