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CURATORS
We are selecting a new projects
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Please send to: curator@nybiennaleart.org
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Artist: Louel (Loucas Ioannou & Elena Kotasvili)
Location: Garden or any other space given by the commission of the NY Biennale.
Duration: 1 hour.
Performers: Loucas Ioannou, Elena Kotasvili.
The project titled recreating, repeating, reassessing will be a live action within an installation.
Recreating the scene:
The scene from David Lynch’s movie Mulholland Drive, where the director chooses an actress, the actress through series of auditions with the sixties imagery, will be recreated for the project. Specifically the installation will consist of a stage obviously influenced by the sixties imagery and character of the movie scene.
The action will take place within the installed set where performer1 will perform an actress auditioning. Performer1 will be performing the song I've told every little star written by Jerome Kern & Oscar Hammerstein II and performed by Linda Scott. Performer2, the director, will be sitting on a director’s chair facing the scene and assessing the acting of Performer1. The audience will not have specifically arranged sits but will be able to move around the scene, becoming part of it.
When performer1 finishes the performing the song Performer2, the director, will thank performer1 and call to the stage, using the phase Next, the next performer.
Repeating the performance:
The next performer will be once more Performer1, who will reappear on the same stage performing the same song. This will be repeated again and again for an hour.
Reassessing the connotation:
This performance is conceived based on the idea of simulacra where a copy of a copy of the original gets made so that the last copy stands alone as its own form, and hence escaping the realm of simulation. The reproduction and reinterpretation of earlier products and works is becoming more prominent in art, which coincides with the amount of reinterpretation and reproduction that is occurring commercially and culturally.
With appropriation and reproduction, Duchamp and Warhol, have set a new platform for interpretation of art as reproduced and mass-produced. Duchamp’s innovation as an artist lying in the gesture of selecting the urinal as an art piece and displaying it in an artistic context, questioning the originality and authenticity of the artistic object. At nearly every level of his work, Warhol challenged and parodied the fantasy of artistic production as an original and unmediated expression. Warhol toyed with social anxieties about reproduction but he refused to set himself up as master or originator. He dispelled the mystique of artistry and genius by comparing artistic and industrial production.
Biography: Loucas Ioannou & Elena Kotasvili
Nationality: Cypriot (EU)
E-mail: i.loucas@gmail.com
Education
Exhibitions
Publication- Internet Blocks
The installation is based on Bob Dylan's son called "Sara", and is dealing with the different phases of the couple presented in this song, as a reflection on different anonymous couples, regarding the home space as the reference and playground.
The installation is divided into three small spaces, each one telling the story of the couple in a different stage, while in each part a different singer is singing the song which is projected in a video on one of the house elements that are in the space.
On the walls of each part are hanged the photographs of Saras and of Bobs i chose. Each space has a dominant color on which are all the elements in it are colored.
This is the space reflecting the couple after the breakup- the stage of the song itself. The space is all white.
On two parallel walls facing each other are hanged photographs of Saras and Bobs, all siting in their homes, waiting.
On the middle wall there's a sentence written with white sewing pins - "Everything breathes again the tablecloth is white", and underneath it hanged a cupboard inside which a video of the song is projected. The singes is Joana Levine, a young american singer, who''s filmed singing in a huge industrial barn, while she's trying to create herself an intimate corner, which is almost impossible to do in such a space. she's dressed in a white dress with a long "tail" going far behind her. The dress is hanged on a chair in the space, while the "tail" keeps on out of the two walls space.
The installation is dealing with the relation between the home, private space and the mutual life of a couple especially around expectations. The starting point is Bob Dylan's song called "Sara".
When i was little i used to hear this song and imagine Sara and Bob sitting each in their room, waiting for the other.
And now, i wanted to find my Saras and Bobs- anonymous people, women called Sara and men called Bob, and i took pictures of them- each one sitting in his\her room, waiting for something else.
They all gave me a tiny look at their intimate space and to document their sitting and expecting for something i could only imagine.
And as the freezing of waiting, so does the camera, extracting even more this freezing. And from their spaces and houses i move to the space of the gallery- creating corners of rooms each in a different color and objects remaining from this memory of freezing the time in a personal space.
Tamara Erde was born in 1982 in Tel-Aviv, Israel. Tamara received a Bachelor's degree of Design in Visual Communication and Photography, specializing in Video and Motion Graphics, from Bezalel Academy of Arts and Design, Jerusalem. Tamara takes part in various programs and events worldwide, while experimenting with a wide range of audiovisual arts: the performing arts, video, and stills photography. She currently works as director of documentary movies and creator of video installations in Tel-Aviv and New York. Tamara is interested in the grey areas between the various arts: "I aspire to tell my stories and share my thoughts in what I feel is the most appropriate medium for any particular project". This explains why she has been working on various projects ranging from documentary films to installations combining still photographs, videos, sculptures and movement.Cinema
"Very Heavy Stones" – director, director of photography. 2009
(50 min, documentary).
"Alone is Alone" - director, d.o.p. 2009 (Music video for Hadara Levin)
“Morning Glory” – Director, director of Photogrpahy. 2008
"Rober"- director, director of photography. 2007 (20 min. documentary).
"Breakdown"(dir. Asaf Saban) – Art direction and set design. 2006
"Declare independence" design in Michele Gondry’s clip for Bjork 2007
Exhibitions and Festivals
May 2009 - "Very Heavy Stones" in Napolidanza Film Festival, Italy.
May 2009 - director in KinoDynamique project, Vienna, Austria.
March 2009 - "Rober" in NewFilmmakers Spring Festival, Anthology film archives, New-York,NY.
March 2009 - "Festival VideoDance de Breuille" - "Elbowless" video, and dance photography exhibition, France.
February 2009 - "Saras and Bobs" Installation in P8 Gallery, Tel-Aviv
January 2009 - Secret Art TLV in Bank Leumi auction, Tel-Aviv.
November 2008 - Group exhibitiion, Micro Museum, Brooklyn
November 2008 - Group exhibition A-Forest Gallery (london and NY)
November 2008 - Group exhibition Aeon Logic Gallery, Brooklyn,NYA
October 2008 - Group exhibition "Artishowk", Tel-Aviv.
October 2008 - Participant in "Attitude" 4, Video festival in Macedonia.
October 2008 - Winner to Group exhibition ArtoConecto, Miami.
August 2008 – Group exhibition in Junto Gallery, Brooklyn.
August 2008 – Participant in ARTcamp resiendcy, New-York.
July 2008 - Group exhibition in ExitArt Gallery, New-York.
January 2008 - Group exhibition in JAC gallery, NY
January 2007 – Group exhibition in NYSG Gallery, New-York.
Work Experience
Photographer
Freelance photographer for fashion catalogues and interior design
First photographer's assistant KZNY studio, NY (2007)
Designer
Clutch studio for Animation and Broadcast design (2008)
Zarmon Goldman publicity(2006)
Other Projects in progress
Black Forest – Experimental fiction-Documentary on the black forest
Dir Yassin - Political documentary
Isaura - A Dance and Video Performance in collaboration with Tamar Borer.
Saras and Bobs – video and photography instellation of three parts.
Curator: Pietro Franesi
About twenty years ago, a great historian of art, Michael Baxandall, wrote a fundamental book for the methodology of the studies, Patterns of Intention, in which, on the basis of a series of principles, he proposes an “inferential criticism” based on nature and fundamental affirmations that we support when we analyze a work of art. That is to say, “If we think or speak of a picture as, among other things, the product of situated volition or intention, what is it that we are doing?” He analyzes, for instance, the expectations that we have towards the work of art as bearer of the formal values of the period (How can we know them? What value they assume for us? How can we be sure that the public is aware of them?) He studies the relationships between the artist and his potential target, the artist and his colleagues, the artist and his client (Did they use common communicational codes? So then, how can we explain the changing of the taste during history? When we speak about “stylistic influence” what do we mean exactly?) Or, again, the relationship between the work of art and the scientific (or philosophical and economical) theories of its period (How can we affirm that the artistic product mirrors them, and if this reflection is intentional or not?)
All this, taking on Baxandall’s previous studies, is made more complicated from the fact that in order to express any critical judgment, we use a language that is not the one of the work of art, that is to say it’s not the visual or sensorial one. Rather, it is the cultural one, which belongs to the written language and bases itself on its own structures that change throughout time.
In the previously quoted text, the critical effort is displayed in four examples, which are different
for technical typology and periods: an iron bridge, the scotch Fort Bridge; Picasso’s Portrait of Daniel-Henry Kahnweiler; Chardin’s A Lady Taking Tea; and Piero della Francesca’s Baptism of Christ.
The chronological order is not respected, because the matter of method, though applied to different objects, must respect a formal rigour that transcends the specificity of the singular case (however bearing it in our mind).
Apart from that, and from some other few anomalous cases of methodological consciousness, especially in the phenomenological sphere, what would happen if the mental forms of contemporary art history were applied to the concrete production of exhibition catalogues, monographic studies or other scientific occasions, to medieval art? Or vice versa? If we read the Renaissance, as the manuals or the students of art history usually do, as “avant-garde” in the modern twentieth-century sense of the term, we will not understand neither its importance, nor its ways of diffusion, nor even the influences on (and from) the client’s taste.
The mimetic distance from the visual reality that an impressionist, or a futurist, or even a landscapist puts in his works, cannot be measured, neither on the basis of motivation nor on material ways, similar to the iconic allusiveness of Byzantine art. There is a feeling of the loss of references in metaphysical art, for instance, like how we feel when we look at Duchamp’s pissoir or bottle dryer, but also at a steady filming of a skyscraper.
Could this be possible in the art of the fourteenth century? The famous pipe, perfectly mimetic, doesn’t aim to be what it is, as the man of an Irish miniaturist of the early Middle Ages pretends to be what he is not, that is to say a material and recognizable reality.
The examples could be numerous.
Most contemporary critics base themselves on the outpouring of known facts regarding the author of the work of art seen in the work itself. From Picasso to Warhol to Haring we have a large documentation, which has built a sort of a daily agenda. But if we go back to the past ages where the information is fewer this agenda we are less likely to find. Hasn’t Cimabue only been a phase of Italian Art for the Anglo-Saxon world, losing a specific argumentum ad personam? (Not by chance, of his 50-year long activity as an artist we know only two concrete facts, as archival data). So, when we have a scheme of interpretation so lacking in details do we need to eliminate in the critical process the need to turn to biographic analysis? Yet, we are still attached to
the idea of genius and formal independence, especially in periods when the artist is quite far from contemporary representation. Some interpretations of medieval production as craftsmen clashed with the fondness for a history of art made of people, as we have been taught by Vasari: Yes, Antelami and Giotto are in fact multiple productive entities, but they are also – and they must be – identifiable as characters of an absolute level.
The idea of materiality opposed to the one of immateriality is not a key of interpretation exclusively based on the present age. Of course, the “immaterial values” that Bacon expresses with material choices in his manner of painting, in relation to the support constituted by the canvas, don’t follow the same of Titian.
Today, when with a plastic card pretending to be money (immaterial money) we buy two letters pretending to be a pair of jeans, or underwear, this doesn’t have a direct parallel to the Middle Ages, even if the signatures of Calvin Klein and Giotto have something in common. They express an immaterial value of quality with reference to the physicality of the object.
We don’t know what Piero della Francesca was thinking concerning the concrete values of his media, in his projects, perceptively rationalizing spaces and shapes. Sometimes we have the impression that he would gladly give up his tables, lime, and chalk if he had available realities that today we would define as more “virtual” (He could be thought as the remote patron of the supporters of Photoshop and AutoCAD).
While we all know very well Bill Viola’s theoretical speculations about technical devices able to overpass the instant temporality, in order to enter a tradition, that is, in the majority of the cases, deliberately and deeply “classic”.
Early on, Petrarch made a distinction between the learned elite and the uneducated public, between the expectations of the ones “who know” and the simpler ones “who don’t,” the stifling nature of ignorant evaluations like “Ah…look! What a nice painting! It seems like a picture!” and, “Look at this nice picture, it really seems like a painting!” always exist, and constitute the basis of a fundamental matter of art history.
From ancient Greek painters on, from Apelle‘s flowers and fruits, which seem so real that the birds crash into the wall in order to pick them up, some of the principles of evaluation have always been how far is the work of art from the reality that it portrays or suggests, if this distance is consciously achieved, or, vice versa, unintentional and not perceived and, finally, if it is permissible to see in the painting, or sculpture, something different from what materially we see.
In this way, without having any claim to offer a homogenous and coherent key of interpretation, or to be particularly original, it could be useful to have a look at some facts of the history of non-contemporary art regarding some ways to look beyond the materiality of the work of art. To show determinate objects, so it doesn’t count as an historical introduction, a sort of “history of art according to us,” but rather as a playful critical hint to highlight the critical course.
If we speak exactly about feeling of a loss of references, why we don ‘t remind ourselves of the scene in which Giotto, at the end of the thirteenth century, places the viewer from the “wrong side” with reference to the common senses? If we speak of “avant-garde”,
why don’t we call back the examples of conscious self-affirmations of the artist, as in Lanfranco’s, Wigelmo’s or Antelami’s eulogies in Northern Italy between the end of the eleventh and the beginning of the thirteenth century?
When we speak about “iconicity” in today’s art production, and nowadays we abuse this concept without having completely understood it, maybe it is better to keep in our mind a concrete example of Byzantine painting, and of the ways of its mental and visual fruition.
One of the biggest masterpieces of the Italian Renaissance is Piero della Francesca’s Legend of the True Cross, in the church of San Francesco in Arezzo.
As we know, the protagonist of the paintings is the sacred wood: born from Adam’s mouth, recognized by the queen of Sheba, hidden by Solomon, collected and employed to crucify the Savior, brought to light from Elena, mother of Constantine, and became the symbol of the new faith and the Christianization of the Roman Empire.
This is an event that is repeated and evocated through many other periods, whose main point is a common material that becomes extraordinary because it constitutes the physical object on which the death of God as human, the theological absolute reality of the foundation of Christianity, is carried out.
This is the only aim of the history.
But there is no crucifixion scene, it is a stage that is skipped, only physically recalled from the painted wooden cross placed on the altar, mentally perceived as the immaterial entity that this pictorial cycle has determined.
http://www.nybiennaleart.org/the_immaterialism_home.htm
Biography: http://www.rothko.com/biography.shtml
Born in Bologna February 3, 1964.
After receiving a Bachelor degree in Classics (University of Bologna), a specialization degree in Medieval and Modern Art History (State University of Milan) and a Doctorate in History and Critique of Art, he taught Medieval Art History and History of Illumination as an adjunct professor at the University of Bologna in Ravenna and at the University “Ca’ Foscari” in Venice.
He has been a researcher of Medieval Art History at the Department of Visual Arts at the University of Bologna, since November 1, 2002 and has received tenure.
* Institutional activities: in the academic years 2002-03, 2003-04, 2004-05, 2005-06, 2006-07, 2007-08 and 2008-09 he taught the course Medieval Art History for all the undergraduate majors of the Department of Humanities and Philosophy; in the academic years 2004-05 and 2005-06 he taught the course Medieval Art History for the specialization degree in Art History at the University of Bologna; in the academic years 2003-04, 2004-05, 2005-06, 2006-07, and 2007-08 he taught the course Art History of the Middle Ages at the School of Specialization for Higher Education, Art and Drawing major of the University of Bologna; he taught the course and workshops of History of Illumination for the School of Specialization in Medieval and Modern Art History at the University of Bologna for the academic years 2003-04, 2004-05, 2005-06, and 2006-07.
* Master: he held meetings on the subject of medieval art history for the Master in Ecclesiastic Cultural Heritage (University of Bologna, Departments of the Conservation of Cultural Heritage and Law) in the academic years 2002-03, 2003-04, 2004-05, 2005-06, and 2006-07; in the academic years 2004-05, 2005-06, 2006-07, 2007-08 and 2008-09 he held lessons on the subject “Nourishment and visual arts” for the International Master in History and the Culture of Nourishment (University of Bologna, Department of Humanities and Philosophy); he was also sent to hold the same course at the partner site of the Université de Tours in France (2006, 2007, 2008 and 2009).
* He collaborated with the organization of exhibitions at the Malatestiana Library of Cesena (“Corali miniati del Quattrocento nella Bibliotea Malatestiana” and “Libraria Domini” 1989; “La biblioteca di un medico del Quattrocento: i codici di Giovanni di Marco alla Biblioteca Malatestiana” 1998; “Due papi per Cesena” 1999; “Scritte dal dito di Dio. Codici biblici e liturgici manoscritti e a stampa nella Biblioteca Malatestiana” 2002), Imola (“Miniature della Biblioteca Comunale”, Biblioteca Comunale, 2006), Ferrara (“Cosmè Tura e Francesco del Cossa”, Palazzo dei Diamanti, 2007), and in Bologna (“Tra le due sponde dell'Adriatico: la pittura nella Serbia del XIII secolo e l'Italia”, Museo Civico Medievale, 1999; “Il libro si mostra. Dal manoscritto alla stampa attraverso i tesori del Convento dell'Osservanza di Bologna”, Convento dell’Osservanza, 2000; “Uomini denaro istituzioni. L'invenzione dei Monti di Pietà”, Oratorio dei Filippini, 2000; “Duecento. Forme e colori del Medioevo a Bologna”, Museo Civico Archeologico, 2000, of which he also curated the didactic and the CD-rom presentation); he participated in the writing of the catalogue of many other exhibitions (to mention one, “Giotto e le arti a Bologna”, Bologna, Museo Civico Medievale, 2005)
* Sole scientific curator of the exhibition “Corali miniati di Faenza, Bagnacavallo e Cotignola. Tesori dalla diocesi” (Bagnacavallo, Biblioteca Comunale, 2000)
* He curated for the I.B.C. (Institute for Cultural Heritage) of Emilia-Romagna the cataloguing of all the illuminated manuscripts of the Biblioteca Comunale Panizzi in Reggio Emilia (1996-97), and of the Biblioteca Comunale dell’Archiginnasio in Bologna (2003-04)
* Professor at Dickinson College’s (Carlisle, Pennsylvania, U.S.A.) overseas program site in Bologna, Italy where he taught The Arts of Italy in the academic years 2005-06, 2006-07, and 2007-08; in 2007 he was sent to the main campus in Carlisle, Pennsylvania, U.S.A. for conferences and lessons.
* Member of the scientific board of several exhibitions (the most recent “Cosmè Tura e Francesco del Cossa. Arte a Ferrara nell'età di Borso d’Este”, Ferrara, Palazzo dei Diamanti, 2007; “Gotico a Imola 1350-1450”, Imola, Musei di San Domenico, 2008)
* Professor for Education courses in Conservation/Preservation of Cultural Heritage (Region Emilia-Romagna, 1998; City of Bologna, 2000; Comunità Montana of Northern Lazio, 2001)
* International partner for projects of the Academia Romena (Romanian State Academy, Bucharest)
* He was invited to many national and international conferences in addition to those organized by the University of Bologna
* He has written more than one hundred publications (including the catalogues of the complete collection of illuminations of Reggio Emilia and Imola's libraries, and many recent sections of catalogues of exhibition)
The society's Revolutionary process is usually compared with the Progress. The Faust of Goethe and the darwinian's teachings, together with the Science's infallibility, have often become the new Gods of modern man. Today the economical, social, cultural, religious, environmental, crisis of the Planet, assumes some epochal dimensions and it forces us to reconsider the pillar founding of the modernity.
A new evolution's theory is needed or better a Revoluzionism that, departing from the exploitation of the knowledge as an immaterial good and, therefore, not exhaustible, on one side discuss the concept of human superiority on the other forms of life and, on the other side, extend the Revoluzion's benefits to ampler categories of those that up to today have enjoyed of it and have made that the border between progress and privilege has been very thin.
Finally humans should understand that all scientific and technical discoveries, to be complete and effective, should be incorporated in interior, revaluing a non-material dimension of life.
We call this path: Revoluzionism, proposing with this new word a different technical and technological concept of progress and an exhortation to a parallel reflection on the man and on the relationships among this last and the other forms of life that surround us, near or distant.
Revoluzionism will be an installation of plastic works in Central Park in the run among the Metropolitan Museum of Modern Art and the Museum of Natural History in New York.
The subjects, in scale 1:5 in comparison to the human dimensions, will be turned toward the Natural History Museum symbolically accompanying us in a Revoluzional run from the Contemporaneity, identified with the Art of Metropolitan Museum, to the Nature and the Science that see their landing in the Museum of Natural History, but also the beginning of a new Revoluzionism.
If the humanoids, from the monkey to the man, have been the symbols of the actual modernity, who will the symbol of the new Revolution be?
Sentiments From The People
Curator: Pietro Franesi
Artist: Helena V. de Vengoechea
Discreet Messages : Sentiments From The People is my way of calling attention to how we are surrounded by verbiage that is significant to someone. These messages aren't your everyday graffiti but - words that I believe artists, as well as the general public, create for individuals who are searching for humor, visual pleasure or guidance.
On a trip to Newport Beach, California I came across some messages about the environment that volunteers wrote in a 300 foot tunnel in Crystal Cove Park. Presently, we are in an environmental crisis so I thought documenting these messages that individuals painted on these walls would be appropriate so I may share them with others through an exhibition on the East Coast.
Although the original messages are not my creation, my goal is to document and share the work of these anonymous artists in exhibitions and publications so that others can enjoy their contributions. By focusing in on, and cropping these visual elements, my intent is to decontextualize the words to a point where they are able to work independently as my own message.
From Nub, nubes, lead us to the evanescent cloud representing the difficult perception of reality, which can be considered as a static representation or a dynamic pick-up, but also to the nub of the problem and centre of immaterial configuration. The spirit of Nub Art consists in the attempt to configure physical space through morphometric gradients associated with postural, behavioral, proxemic, pshycoperceptive features. The body, vibrating in the cloud of geometric reference dots that describe his position in the space, is not only the wrapping.
We can access to an immersive investigative possibility (to surf) and extractive (to cut into slices) of the morphological domain. Bodies and space are no more static or dynamic images in the world, but also Vesalian geometric ready to be cut by Leonardo, associated to psychical an behavioral investigations able to fill the gaps and re-organize the space between the millions of coordinates x, y, z. The space of the traditional geometric representation, in the qualitative density of clouds points, returns to be marginal, fissured, porous, oblique, similar to the one experienced from the conscious life. To enter in the cloud is a little bit as being inside the fog, sailing blacked-out, waiting for the impact…. But also as looking the egg of the snake, the transparency of the wrapping, what we really are inside.
Rnvp is a fantastic strategic board game, produced by C.I.A. Rnvp is a turn-based game for two to six players, and is played on a board depicting a stylized new-era political map of the Earth, divided into forty-five territories, which are grouped into nine continents.
Players control special armies, with which they attempt to capture territories from other players. The goal of the game is "TOTAL WORLD DOMINATION," to control all the territories—or "conquer the world"—through the elimination of the other players. Using area movement, Rnvp ignores limitations such as the vast size of the world, and the logistics of long campaigns.
" I killed the father, the mother and their son. Now I am God "
'Origin' develops the concept of personal experience with one or more subjects 'narrated' with sensibility and using several forms of expression, inside a communitarian space.
'Origin' tries to create a subjective discussion about the passing of time, personal life events and perception of space.
The viewers will be able to compare the work and the subjects and, also have the chance to create a visual and conceptual link to think about the complex dynamics of individual growth.
My aim is to gather, in one place, subjects with different characteristics and experiences and create the positive and negative interaction that exists between them.
Provoking the viewer to think about a human's ability to perceive our existence through other people's lives.
1. When I began this work, the word "Atonement" kept running through my mind. I came to refer to this piece by that name. The definition of atonement is: Amends or reparation made for an injury or wrong; expiation. Reconciliation or an instance of reconciliation between God and humans.
2. From the very beginning of the work it was important to me that I convey that there were two victims; the unborn child and the mother.
3. I believe it was important for a woman artist to create this work.
Pietro Franesi concepted this work, and chose me to create it. I could not know until I was involved in the work itself just how much I could bring to it, and how deeply it would affect me.
4. I wept while I sculpted her face.
5. The dreams fell away for so many women, Marriage, the promise of family, the hopes for real genuine love.
6. As women have sought equality and liberation, all too often they found that the price was to carry all the responsibility…..alone.
7. I personally feel that for so many women the sense of having to make a "terrible choice" has come from a sense of abandonment in a world gone mad.
8. This piece is an Icon of Self Sabotage.
9. Issues of diminished opportunity and survival cloud the ability to see and act for a better future. Hope is lost, and the promise of life is sacrificed.
10. This work is my atonement. It is my offering to those that suffer.
Web: www.joycedibona.com
Among the works of the Japanese film director Yasujiro Ozu there is a movie known as "Tokyo Twilight" (Tokyo Boshoku). In the last scene of the film, the father puts his hands together at the family altar and prays for the soul of his daughter, who committed suicide. The father then leaves for work, as usual. He steps into the hallway of the house in the morning sunlight, and lingers there alone for a while, then begins to walk. He is alone. The setting of that morning can be seen as the end of his world, and it can be seen as the beginning of his world. It is a peaceful, quiet scene, but the whole world has been destroyed, it has completely ended. His leaving in that scene can also be taken as the beginning of the next world.
The work I now want to create is the landscape of the beginning that emerges from the complete destruction of one's own world. That scene is silent, and without a sound, the stillness controls me. I overflow with the energy of a new beginning.
Could we go to a whole new level of creating virtual intimacy:
holograms of gorgeous people that will appear to have sex with you, without all that messy conversation, touching, kissing, smelling, fluid exchange, emotional risk or intimacy?
Humm or whoa?
Curator: Sara Franesi
Artist: W9
Paintings. Mixed Media on Canvas. Gold and Silver leaf.
Since there are cultural expressions, artists are searching for symbols. Where words are insufficient, pictures start. Komski works in this tradition. In the latest works mostly religious, symbols are made of fruit. Intriguing. surprising and in a way logical. The man became man thanks to Eve's apple. The orb is the apple of power.
Food and vegetables in particular stand for fertility and vitality. The Horn of Plenty is filled with fruit, the grape bunch is the symbol for the Last Supper. Maybe Komski prepares a last supper for each religion.
Or, perhaps it is an expression of irony. Or the everlasting circle of life. Or a message to everyone which says: enjoy the healthy symbols, don't die for a cross or a half moon, but eat them and celebrate the life.
Komski studied the old masters profoundly, he translate their ideas to images of the 21st century in which the observer defines the spiritual content of the symbols.
Installation. Mosaic made of fresh fruits and vegetables in the shape of Bull of Wall St.
Mosaic – is one of the oldest art forms existing on Earth. Mosaics adorn Palaces and Villas, Churches and Synagogs from Ancient Rome to now days symbolizing beauty of nature and human being.
Here is a mosaic of different kind. It made from fresh fruits and vegetables so fragile, that they will deteriorate during the relatively short period of time.
The end of the Old Era, the Wall street crisis, greed of new Aligarh and old Billionaires.
In his installation-mosaic Komski creates a statement.
The Bull of Financial Market, The Bull of Wall Street made of his signature materials, fruits and vegetables goes down.
Curator: Eri Otomo
Artists: Yusuke Asai / Keisuke Kondo / Ichiro Endo / Ai Kato / Chiharu Mizukawa
The moving generation - Young artists and today's art scene in Japan
To think of the today's young artists in Japan also means to look back the art scene for the past 10 years.
They are busy to travel around Japan for their projects. Tokyo, Yokohama, Toride, Mito, Osaka, Kobe, Hiroshima, Fukuoka ... from city to city, space to space, project to project as leaving their footprints. There are active art centers or projects where they visit. For the last decade, the number of such organizations have increased linked with the community and they give platforms to artists. Both of them have developed together as meeting people, sharing experience with the community, then create exciting moments.
Next, they come to New York!
(Supported by Japan Foundation)
On March 22, 2003, police in Bingyan, Guangxi Province seized 28 female babies smuggled in a truck from Yulin, Guangxi Province going to Houzhou in Anhui Province. The oldest baby was only three months old. The babies were packed three or four to a bag and many of them were near death—none were claimed by their parents.
On the morning of October 9, 2004, a person rifling through the garbage on the outskirts of Jiuquan city in the Suzhou region, found dismembered babies in a dumpster. There were two heads, two torsos, four arms, and six legs. According to the investigation, these corpses were no more than a week old and they had been dismembered after cooking.
Straight fibre-optic lines configuring in relation to the planes of an environment can create a dynamic field of taut forms with the appearance of slender surfaces.
Eliminating real lighting to transform the coordinates of a dark environment with design in light, water and space can be integrated to become the architecture of a "mental design".
A structured three-dimensional form whose volume can from one specific viewpoint be ascribed to a single, flat geometrical figure as the lines are optically superimposed will, from the opposite angle within the installation, go through a series of distinct geometrical figures.
It is not the installed form that adapts to the place, but the place that is transformed to accompany the image. Idea and artwork are thus in the material itself, or in its intrinsic transformation.
The precise mental design can therefore only be composed with strokes of light.
Unsuitable For Molding is a movement performance work by Shizu Homma.
As we move into a new time in all ways, we will start to become. We have been investigating individuality for sometime, but this uniqueness is packaged and has given way to commercialism. Products packaged in blister plastic, or in plastic bags. We will see less plastic, as our earth's oil economy changes, and as our consciousness expands we will no longer have to consume and buy our identity. This dance is a funeral for the old ways people are molded, and a birth out of a plastic past.
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Biography:
Light Art is the art of possibilities. In my view, during the last few decades light has increasingly become one of the most important artistic media due to the opto-electronic revolution and to the cooperation of artists, scientists and engineers. I have built my works, the holograms and the laser environment to be presented at NYBA, upon these results. In holography, I am first of all interested in those virtual possibilities which are hidden behind the basic magic of it: it means not reproduction, but visual creation. I am searching for those possibilities which are opened up only by holography. For example, the contestation of the spatial evidences (e.g., Spring for Voltaire), transparency of masses (Hun-Jarrya), floating/levitation (e.g., Light Calligraphies).I would like to show a multimedia light sculpture, mobile in time and space and accompanied by music, too. Today, drawing with light lines is almost magical. It is pulsating, alive, you see it being born from a point of light, the scale of the line drawing is expanded. These potentialities for me are inevitably contrasted with the start, the very beginning, the pictograph – with the drawing of the prehistoric age. These prehistoric drawings could be reinterpreted with light. They could become a virtual reality by which the space of a gallery could be turned into a light-bunting. A thoughtful experience is created which makes an unusual contrast between one of the world's most dynamical cities, New York, and the prehistoric paintings that were one of the first visual experiences of mankind.
Web: http://www.sztaki.hu/~csaji/
Biography:
Curator: Pietro Franesi
"I am weak, I have done the same mistake over and over again. I see this happening again, and where it all started. He was put into a hospital a week ago. This is all about the next room with a thin wall. Actions he committed three years ago."
Only a few days ago a miracle occurred.
The theme for the work is "Extreme Prelude".
The structure is a compound architecture created by my memory of past apartments and my husband's parents' house. The various episodes or dream story, happened in different times and places, which are told by characters who do not have eyes. All the episodes are connected through the holes in the walls or the broken windows and the dramatic light direction. Prelude is a step away from a flood of emotion, condensed time, and before an emancipation, struggling in an unstable condition of limbo. This moment may make people have an intense feeling of an end, but this miracle can also happened in an individual's mind.
The world changes first in our mind.
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The room is a trapezium with entrance/entry on the shortest side. The visitor goes through a curtain of beads of various colors and shapes I stringed myself, as if he/she were penetrating though a light playful water fall. The room opens up to three walls of a painted imagery forest, when he turns around he/she sees himself mirrored inside the forest: he/she becomes part of the forest. The floor is painted in shades/waves of blue with scattered fish and plants.
Curator: Pietro Franesi
Artist: Eddie Alfaro
The prisons we create for ourselves, and how we escape. This is my room.
This is my prison cell. Slowly I am escaping. I use my art to dig my tunnel.
Little by little, I get there. The guards watch me, I have to hide my creativity.
They do not want me to escape.
All of the works are visual metaphors used to illustrate the conceptualization and symbolization of space – something that is by definition immaterial and intangible. Things get even more vague if I try to define it as a space governed by emotions and desires – a personal imaginary space to which one runs with the desire to be protected. I refer to this space as "emotional landscape."
An emotional landscape is a refuge – a place where one can rest, recharge, feel protected. At the same time it is not a place where one can live. Since all refuges are temporary, they are not made for permanent habitation, only for rest. It is important to note that I'm talking about this space as a spatially defined place, but not in a geographic sense. This space is internally defined by each human being, and everyone may have very different visions of this place.
These spatial references are found in my work within large empty spaces, in the extensive black fields on the paper, where the entire sheet becomes an acre, a square mile, 10 square miles. The paper becomes the visible filed, the most extensive vista, as far as the eye can see. And what measurement can give the spectator a tool for comparison? In my landscapes, it is the clouds. The clouds are my reference with which to measure space.
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Biography:
Curator: Pietro Franesi
Artist: Kukai
Who wanna can this strapped Calypso? Two cans I'm blazing, under the mistletoe, full back design, fall back this time, Chems botanical, trees is tropical. Igniting unstoppable, puffing an optimo, urban mechanical, quite understandable rolling the Hannibal, eloquent, spit magnificent, bear to grip corrupt, melancholic, equipped with trucks that gyrate, high rate ladies, raise the stakes on style, popping your eyes, out the sockets, dick I cocked it reload don't stop it, chopping up players seeking small profits. I will make an installation called "Crucible Garden" with mixed media sculptures. It is all about my tension of life, where I was born and grew up in NYC, a culture crucible of the world. I believe culture, difference, humor, and the relationship between people and art. I will use this "Garden" idea which is one of the closest entertainment or healing spots for my daily life.
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Silence is waiting.
Waiting to say something, waiting to hear something.
But, hesitating to say, because it's afraid there will be no response.
This drawing project, "silence is waiting" is about the poverty and the difficulty of communication in a relationship. The project is divided into three different parts, "Listening", "Hiding", and "Talking".
In "Listening", I draw an ear along with symbolic and recognizable images, such as tree, thread ball, or blood. Each drawing indicates how I react to the communication, specifically about listening.
"Hiding" titled "Keeping a silence" shows repetitive drawings of red yarn ball. After exhausting and disappointing of communication in the relationship, the communication becomes meaningless and not helpful for the relationship. It makes me not talking and keeping a silence. It is sometimes timid, but also prudent.
In "Talking", I embroider words on a handkerchief with red thread. It is sometimes a sentence, or a letter that I cannot talk in person to somebody. I show words on the handkerchief, but do not show the front. Viewers only can read the back.
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