Events. list: API endpoint that allows events to be viewed. retrieve: API endpoint that allows single event to be viewed. create: API endpoint that allows event to be created. update: API endpoint that allows events to be updated. partial_update: API endpoint that allows events to be partially updated. delete: API endpoint that allows events to be deleted.

GET /api/v1/events/?format=api&offset=2412&ordering=end_time
HTTP 200 OK
Allow: GET, POST, HEAD, OPTIONS
Content-Type: application/json
Vary: Accept

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                "username": "stephane_941",
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                "first_name": "Stéphane",
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                "display_name": "Stéphane Biesenbach",
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                "id": 2851,
                "name": "Galerie Biesenbach",
                "slug": "galerie-biesenbach",
                "city": "Cologne",
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                    "created_at": "2020-04-29T16:25:56.474679Z",
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                "created_at": "2020-06-02T15:33:40.525202Z",
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                "name": "Gallery Shows",
                "description": "",
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            "published_at": "2018-08-30T17:26:38.000000Z",
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            "slug": "catherine-seher",
            "created_at": "2018-08-30T17:26:38.000000Z",
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            "summary": "Catherine Seher is an Gallery Shows event starting on 10/11/2018, 12:00 and ending on 22/12/2018, 12:00. Event is in Galerie Biesenbach with address St. Apern-Str. 44-46\r\n50667 Köln/Cologne, Germany,\r\nT: +49-221-169 38 92\r\nart@galerie-biesenbach.com.",
            "title": "Catherine Seher",
            "content": "Solo exhibition by Paris-based artist Catherine Seher (*1958) ... more >\r\nSecond solo exhibition by Paris-based artist Catherine Seher (*1958 in Paris) at Galerie Biesenbach, presenting new paintings and works on paper.",
            "start_time": "2018-11-10T12:00:00.000000Z",
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            "address": "St. Apern-Str. 44-46\r\n50667 Köln/Cologne, Germany,\r\nT: +49-221-169 38 92\r\nart@galerie-biesenbach.com",
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                "username": "mario_954",
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                "first_name": "Mario",
                "last_name": "Bermel",
                "display_name": "Mario Bermel",
                "display_name_full": "Mario Bermel",
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                "created_at": "2020-03-26T14:39:45.206955Z",
                "updated_at": "2021-09-13T11:26:17.821669Z",
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                "caption": null,
                "alt_text": "Peter HERRMANN - Malerei von 1984 bis 2018",
                "description": null,
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            "venue": {
                "id": 2859,
                "name": "Bermel von Luxburg Gallery",
                "slug": "bermel-von-luxburg-gallery",
                "city": "Berlin",
                "country": {
                    "code": "DE",
                    "name": "Germany"
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                "id": 1,
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                "slug": "gallery-shows",
                "created_at": "2020-06-02T15:33:40.525202Z",
                "updated_at": "2021-03-29T12:19:01.299372Z",
                "name": "Gallery Shows",
                "description": "",
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            "country": "DE",
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            "published_at": "2018-10-23T15:20:54.000000Z",
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            "slug": "peter-herrmann-malerei-von-1984-bis-2018",
            "created_at": "2018-10-23T15:20:54.000000Z",
            "updated_at": "2020-07-16T08:13:57.047508Z",
            "summary": "Peter HERRMANN - Malerei von 1984 bis 2018 is an Gallery Shows event starting on 15/11/2018, 18:00 and ending on 22/12/2018, 18:00. Event is in Bermel von Luxburg Gallery with address Fasanenstrasse 29\r\n10719 Berlin.",
            "title": "Peter HERRMANN - Malerei von 1984 bis 2018",
            "content": "Bermel von Luxburg Gallery invites you for Peter Herrmann's solo show \"Malerei von 1984 bis 2018\".<br />\r\n<br />\r\nOpening: 15/11/2018 from 6 until 9 pm<br />\r\n<br />\r\nShow: 16/11 until 22/12/2018<br />\r\n<br />\r\nA catalogue will be published for this event.<br />\r\n<br />\r\nWe are looking forward to receiving you with an amazing show by this great Master in Berlin.",
            "start_time": "2018-11-15T18:00:00.000000Z",
            "end_time": "2018-12-22T18:00:00.000000Z",
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            "address": "Fasanenstrasse 29\r\n10719 Berlin",
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            "price_currency": "EUR",
            "exhibitors_previous_year": 0,
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            "buy_tickets_url": null,
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        {
            "id": 2328,
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                "username": "StephenBulger",
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                "display_name": "Allison",
                "display_name_full": "Allison",
                "email": "info@bulgergallery.com",
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                "alt_text": "Dawoud Bey: Places in History",
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            "venue": {
                "id": 869,
                "name": "Stephen Bulger Gallery Toronto",
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                "city": "Toronto",
                "country": {
                    "code": "CA",
                    "name": "Canada"
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                    "created_at": "2020-04-29T16:21:09.068176Z",
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                "slug": "gallery-shows",
                "created_at": "2020-06-02T15:33:40.525202Z",
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                "name": "Gallery Shows",
                "description": "",
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            "published_at": "2018-11-15T18:53:49.000000Z",
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            "slug": "dawoud-bey-places-in-history",
            "created_at": "2018-11-15T18:53:49.000000Z",
            "updated_at": "2020-07-16T08:14:07.159168Z",
            "summary": "Dawoud Bey: Places in History is an Gallery Shows event starting on 21/11/2018, 11:00 and ending on 22/12/2018, 18:00. Event is in Stephen Bulger Gallery Toronto with address 1356 Dundas Street West.",
            "title": "Dawoud Bey: Places in History",
            "content": "Stephen Bulger Gallery is pleased to present “Places in History”, our first solo exhibition of work by Dawoud Bey, presented in conjunction with the release of his most recent monograph Seeing Deeply, published by University of Texas Press, 2018. <br />\r\n<br />\r\nDawoud Bey (born 1953) is an American photographer and educator renowned for his large-scale colour portraits of adolescents and other often marginalized subjects. This exhibition presents works from four distinct series. The earliest work is from “Harlem USA”, a series that reconnected Bey with the neighbourhood where his parents first met, and where he visited the family as a child. Bey began photographing in the streets of Harlem in 1975 with a small format camera while reacquainting himself with the neighbourhood and engaging with the people he had glimpsed from the car window years before. Over a five year period, he eventually became a permanent fixture at public events taking place in the community, such as block parties, tent revival meetings, and anywhere else where people gathered. He experienced transformational relationships and exchanges with people he met, and it is in those relationships and the lives of the people that these pictures recall that the deeper meaning of these photographs can be found. <br />\r\n<br />\r\n“The Birmingham Project” commemorates the tragic killing of six young African-Americans killed in Birmingham, Alabama on September 15, 1963. The bombing of the 16th Street Baptist Church killed four young African-American girls: Addie Mae Collins, aged fourteen, Denise McNair, aged eleven, Carole Robertson, aged fourteen, and Cynthia Wesley, aged fourteen. Several hours later, two young African-American boys: Johnny Robinson, aged sixteen, and Virgil Ware, aged thirteen, were shot and killed in related violent incidents. Receiving a commission from the Birmingham Museum of Art, Bey spent seven years of repeated trips to Birmingham in advance of beginning portrait sessions, photographing over a five-month period in two locations: the original sanctuary of Bethel Baptist Church and the Birmingham Museum of Art. This series was first exhibited in 2013. The subjects of his diptychs are local community members who mirror the age of the youths at the time of their death, paired with adults who are the age these youths would have been if they were not killed. This project asks that we, the viewer, consider the past through the present. <br />\r\n<br />\r\nReturning to his first subject after approximately 40 years, Bey stated “I returned to visualize Harlem in the midst of profound transformation. Due to increasing gentrification, demographic shifts are permanently altering the social and physical landscape, bringing both new amenities and population displacement, resulting in a radical reshapement of the built environment.” The large-scale colour photographs titled “Harlem Redux” include urban landscapes and subtle, yet poignant details of this changing environment.<br />\r\n<br />\r\nHis most recent series “Night Coming Tenderly, Black”, is a visual reimagining of the movement of fugitive slaves through the Cleveland and Hudson, Ohio landscape as they approached Lake Erie and the final passage to freedom in Canada via the Underground Railroad. Using both real and imagined sites these landscape photographs seek to recreate the spatial and sensory experiences of those moving furtively through the darkness.<br />\r\n<br />\r\nThese photographs are also a material conversation with the photographs of Roy DeCarava, in which the black subject often emerges out of the darkness of the photographic print; that material darkness here being a metaphor for an enveloping physical darkness, a passage to liberation that was a protective cover for the escaping African American slaves. A final touchstone for the work is the title, which references Langston Hughes’s poem Dream Variations, with its final refrain: Night coming tenderly/Black like me.<br />\r\nDawoud Bey is the recipient of a 2017 “Genius Grant” from the John D. and Catherine T. MacArthur Foundation and fellowships from the Guggenheim Foundation, and the National Endowment for the Arts. He holds a Master of Fine Arts degree from Yale University and is currently Distinguished College Artist and Professor of Art at Columbia College Chicago, where he has taught since 1998. Since 1979, his work has been exhibited and collected in many prestigious museums around the world, including Albright-Knox Art Gallery, Buffalo, NY; Amon Carter Museum of American Art, Fort Worth, TX; Art Institute of Chicago, Chicago, IL; Metropolitan Museum of Art, New York, NY; Museum of Fine Arts, Houston, TX; Museum of Modern Art, New York, NY; National Gallery of Art, Washington, DC; National Museum of African American History and Culture, Washington, DC; National Portrait Gallery, London; Nelson-Atkins Museum of Art, Kansas City, MO; Ryerson Image Centre, Toronto; San Francisco Museum of Modern Art, CA; Solomon R. Guggenheim Museum, New York, NY; Studio Museum in Harlem, New York, NY; and Whitney Museum of American Art, New York, NY, amongst many others.  He is represented by Stephen Daiter Gallery in Chicago, and Rena Bransten Gallery in San Francisco.",
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            "press_release": "The architectural film\r\nA sculpture is surrounded by three transparent film screens (10 x 13 feet each). On each screen is a different film projected with short quotations taken from the interviews Alex Vermeulen did with fifty-five very different New Yorkers on the sculptures that form States of Humanity. The duration of each film is different (7, 9 and 11 minutes). By repeating each film, the combination of the three will never the same; it will be a constantly changing “dialogue”…\r\nBy moving through the installation, the audience will experience a three-dimensional film , a combination of three different films and the sculpture (seen through the transparent film screens). The visitor is physically part of the film. The whole installation is surrounded by a quadraphonic sound composition.\r\nBecause all the different elements complete the experience of a three-dimensional film, this experiment is called an Architectural film.",
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            "summary": "CONCRETE JUNGLE: Featuring John “CRASH” Matos is an Gallery Shows event starting on 08/11/2018, 12:00 and ending on 05/01/2019, 12:00. Event is in JoAnne Artman Gallery New York with address 511A West 22nd Street, New York, NY 10011.",
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            "content": "JoAnne Artman Gallery, Presents:\u2028CONCRETE JUNGLE: Featuring John “CRASH” Matos \r\nFall/Winter 2018\r\nArtist Reception: Thursday, November 8th, 2018 from 6pm-8pm\r\nPlease RSVP: 949.510.5481 by November 1st, 2018\r\n\u2028JoAnne Artman Gallery\u2028511A West 22nd St. | New York, NY 10011\u2028Contact:  JoAnne Artman\u2028Telephone:  949-510-5481 | E-mail: joanneartman@aol.com \u2028Website: www.joanneartmangallery.com\r\n\r\nCRASH\r\n\r\nIconic, sleek and smooth, the visual style of John “CRASH” Matos resounds with a singular, signature vibrancy. Throughout his almost four decade career, CRASH’s work has engaged with environments on a huge scale - ranging from his early murals on the sides of NYC subway trains in the 70’s, to more recent projects such as a large mural commission at Miami’s Hard Rock Football Stadium. JoAnne Artman Gallery is pleased to present the artist’s new body of work that continues this conversation around scope, scale, and environment, through a continued exploration of the spray paint medium.\r\n\r\nCRASH’s radiant, fluorescent palette cements his work firmly in the present as the artist works within a dialogue culled from classic pop culture, comic book and print references. A frequent collaborator, CRASH’s process is rooted within his identity as a Bronx-born graffiti artist, having come of age in the hip-hop fueled Bronx of the late 1970s. His distinct style made him an iconic part of the NYC visual landscape, while also pioneering a new age for graffiti in 1980 when he curated the pivotal “Graffiti Art Success for America” exhibition at Fashion MODA. In his new work he widens the scope in a gestural exploration of form and shape, with a continuously unfolding narrative that plays out over each surface, barely contained to the planes of the canvas.\r\n\r\nWhether on city streets or gallery walls, concrete or canvas, CRASH’s works are instantly recognizable. Continuously engaged in various projects and commissions his work is also part of numerous museum shows, with works in many permanent museum collections such as the Museum of Modern Art (New York), Brooklyn Museum (New York), Scottsdale Museum of Contemporary Art (Scottsdale), and Stedeljik Museum (Amsterdam).\r\n\r\nCRASH’s work will inspire, provoke, engage and mesmerize. With visual perceptions always changing, peek behind the stories told and you're sure to find the right artistic expression!",
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            "summary": "CONCRETE JUNGLE: Featuring John “CRASH” Matos is an Gallery Shows event starting on 08/11/2018, 12:00 and ending on 05/01/2019, 12:00. Event is in JoAnne Artman Gallery New York with address 511A West 22nd Street, New York, NY 10011.",
            "title": "CONCRETE JUNGLE: Featuring John “CRASH” Matos",
            "content": "JoAnne Artman Gallery, Presents:\u2028CONCRETE JUNGLE: Featuring John “CRASH” Matos \r\nFall/Winter 2018\r\nArtist Reception: Thursday, November 8th, 2018 from 6pm-8pm\r\nPlease RSVP: 949.510.5481 by November 1st, 2018\r\n\u2028JoAnne Artman Gallery\u2028511A West 22nd St. | New York, NY 10011\u2028Contact:  JoAnne Artman\u2028Telephone:  949-510-5481 | E-mail: joanneartman@aol.com \u2028Website: www.joanneartmangallery.com\r\n\r\nCRASH\r\n\r\nIconic, sleek and smooth, the visual style of John “CRASH” Matos resounds with a singular, signature vibrancy. Throughout his almost four decade career, CRASH’s work has engaged with environments on a huge scale - ranging from his early murals on the sides of NYC subway trains in the 70’s, to more recent projects such as a large mural commission at Miami’s Hard Rock Football Stadium. JoAnne Artman Gallery is pleased to present the artist’s new body of work that continues this conversation around scope, scale, and environment, through a continued exploration of the spray paint medium.\r\n\r\nCRASH’s radiant, fluorescent palette cements his work firmly in the present as the artist works within a dialogue culled from classic pop culture, comic book and print references. A frequent collaborator, CRASH’s process is rooted within his identity as a Bronx-born graffiti artist, having come of age in the hip-hop fueled Bronx of the late 1970s. His distinct style made him an iconic part of the NYC visual landscape, while also pioneering a new age for graffiti in 1980 when he curated the pivotal “Graffiti Art Success for America” exhibition at Fashion MODA. In his new work he widens the scope in a gestural exploration of form and shape, with a continuously unfolding narrative that plays out over each surface, barely contained to the planes of the canvas.\r\n\r\nWhether on city streets or gallery walls, concrete or canvas, CRASH’s works are instantly recognizable. Continuously engaged in various projects and commissions his work is also part of numerous museum shows, with works in many permanent museum collections such as the Museum of Modern Art (New York), Brooklyn Museum (New York), Scottsdale Museum of Contemporary Art (Scottsdale), and Stedeljik Museum (Amsterdam).\r\n\r\nCRASH’s work will inspire, provoke, engage and mesmerize. With visual perceptions always changing, peek behind the stories told and you're sure to find the right artistic expression!",
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            "slug": "the-memory-of-an-imagination",
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            "summary": "THE MEMORY OF AN IMAGINATION is an Gallery Shows event starting on 16/11/2018, 18:30 and ending on 19/01/2019, 18:32. Event is in Under the Mango Tree with address Merseburger Strasse 14, 10823 Berlin, Germany.",
            "title": "THE MEMORY OF AN IMAGINATION",
            "content": "The way I go is the way back to see the future. – Jitka Hanzlová<br />\r\n<br />\r\nAt times life plays only between a few tools on your painting table. Between the ink, water and the brushes. And paper. And the overwhelming scale of imagination and your ownself placed between them. And then the artists wants the viewer to feel a relationship with a work, to respond with ones own perception to the environment created. Between the time when Katharina Hacker went through her diagnosis of Cancer, the operation and her ongoing process of healing she has been painting faraway snow clad mountains and landscapes. In a later discussion about her works, she admits that these are the places that she visits regularly in her imagination and that is where she finds her solace . Closely related to the mountains that she initially started in the 2014,  her works differ now in their narrative. Comparing with her earlier works, in which the mountains were the silent observers of the time, her series done between the 2016-2018 is of greater contrast between the light and dark and strokes. She recreates a world for herself in which she experiences herself as a traveller. <br />\r\n<br />\r\nMost of the works are done in one sitting and in this time, she loses control over making of the images, relying on her body memory to produce the work. By body memory here -the artist refers to the reallife experiences that may have been erased in mind due to the pain of  illness and time – but they stay as a memory within the body - to be able to go through the landscapes again. „When I create these landscapes, I am right there, in the middle of them; I walk through them. I feel them.  One place that I visit without reservations; i do not carry the remains of my reality. I am free there.“ Due to the illness and the  sideeffects of the medication the artist could not travel physically to the mountains which she has always liked to do.<br />\r\n<br />\r\nAlthough all the works are initiated on the basis of Sumi-e painting originating from Japan, that she had learned, one observes the determining factor is the unbound freedom of the strokes and her wish to stay longer in the work. The observer may also get to sense the vastness of the experience, of being alone in these landscapes –but in keeping the works small, she returns with a sense of  belonging to life. And then she comes to paint the fragility of the flowers. They make the beholder wonder how could one achieve this lightness and at the same time it is an impressive proof that flowers in paintings are still a genre of surprising timeliness.<br />\r\n<br />\r\nBetween the memory and imagination, this exhibition recalls on aloneness; the mountains as \"solitary\" spaces, covered with snow, distant and majestic – generate an interest for sharing- strength, peace and the idea of the identity. Every change means a painful loss of continuity- a realisation that all is transcient but at the same time is an opportunity for the enrichment of the self. <br />\r\n<br />\r\nWith the memory of her Imaginations, the artist travels and returns with the power to live and celebrate yet another solo exhibition of her works. The gallery <br />\r\nUNDER THE MANGO TREE gladly presents you  the exhibition from the 16.November at 18:30 p.m.. Till the 19th Jan. 2019",
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