Una fenice a ricordare la rinascita dalle ceneri, opera di Mauro Sgarbi. Camilla, cagnolina morta dopo aver aiutato a rintracciare molti dispersi, illustrata da moby Dick. Una donna tra palazzi distrutti, per Giusy. Un piatto di amatriciana, ricetta e simbolo riconosciuti nel mondo, celebrato da Maupal. Infine, le operazioni di salvataggio con i cani che Beetroot mostra tra le macerie, ponendo in primo piano il muso dell’animale che scava.
VIA DEL CASTAGNETO
E’ un messaggio di rinascita declinato attraverso più soggetti legati a storia e cronaca della zona, quello che gli artisti Mauro Sgarbi, Beetroot, Giusy, Maupal e Moby Dick, romani per nascita o adozione, hanno affidato all’intervento pittorico eseguito su un muro lungo via del Castagneto nell’ambito dell’iniziativa “Street art per Amatrice”, ideata dallo stesso Sgarbi, a cura di Simona Capodimonti e creata dall’associazione Up2Artists. “Sentendo i problemi della ricostruzione – spiega Sgarbi – ho iniziato a chiedermi che tipo di contributo avrei potuto dare come artista. Ho pensato che l’arte avrebbe portato sollievo alle ferite dell’animo degli abitanti. Ho parlato col Sindaco. Mi ha assegnato un muro molto grande, ho coinvolto altri artisti”. Il tema è stato deciso insieme: la speranza.
Ian Wolter‘s new film, the Knowledge, has been selected to be shown at FLUX 2018
FLUX Exhibition is a ground breaking art event – a collection of the most dynamic painters, sculptors and performance artists which represents an alternative way to encounter today’s best new art.
FLUX has established itself as the platform for contemporary artists to be discovered and to be part of an exceptional, unconventional art event. Hosted by Chelsea College of Arts in London and curated by Lisa Gray, the founder of FLUX, this fifth, much anticipated edition of FLUX brings 90 artists to the fore. Gray has hand selected the very best emerging and established artists for a five-day interactive event.
In the game-show setting of The Knowledge Ian Wolter emphasises the seemingly unconcerning, popular belief that rapidly advancing technologies will sweep aside the Knowledge and both cab and uber drivers as well as any number of other jobs. This work also probes our sentimental desire to preserve traditions like the Knowledge.
FLUX Exhibition will run from the 11th to the 15th of April 2018 at the Chelsea College of Arts, London.
For more information, visit http://www.fluxexhibition.com/
Viktorija Damerell, Artrooms Fair Roma 2018’s applicant, has been shortlisted for the JCDecaux Award.
” ‘Slow Schools’ is already the second exhibition from the cycle of yearly exhibitions entitled ‘JCDecaux Award’, initiated by the Contemporary Art Centre together with ‘JCDecaux’ in 2016. The cycle aims to present Lithuanian young artists and encourage production of new artworks, produced by the Contemporary Art Centre. On the 14th of December the international board will announce one artist from this exhibition, who will receive an award of 3000 euros.
Between the 19th of June and the 7th of August young artists were invited to send their proposals for new artworks answering to the guidelines prepared by exhibition curators. More than 40 applications were presented for the open call. On the 3rd of September five artists or artists’ collectives were selected to participate in this exhibition.
The artists were invited to create new pieces reflecting social phenomena, researching, how artworks can comment about old structures of society or become new ones themselves, tell stories about identity, the everyday, the body or become a pretext for creating new stories of the kind.
‘Slow Schools’ is the exhibition of five artworks about a time, when originality is a resource of a constant remaking and a value is determined by the amount of copies and remakes as well as the speed of their dissemination. These artworks comment recent popular culture and art history, actualise problems identity of an author and individual artwork, but also invite the return of the intimacy of a gaze, where conclusions, manifests and statements lose their importance, giving space to dialogue and hesitations, details and gestures that are not noticed at once, as well as accidentally recorded eventualities. ‘Slow Schools’ present continuous individual learning processes, techniques and habits, that cannot be summarised into one topic or field, but raise the question: what was the old school like and what will become of the new one?
The result is a fluid exhibition in which artworks do not always have a fixed position, constantly changing their place and changing themselves. This way it reveals tensions between different artistic means of expression of the participants, their experiences and attitudes to problems, which may look similar only at the first glance.
‘Armen’ by Andrius Arutiunian is based on music, created by popular music producers of the Armenian diaspora. Because of the Armenian Genocide and the emigration waves that followed it, nowadays Armenia has one of the biggest diasporas in the world. Audio and video pieces created outside of Armenia are recomposed, the fragments of pop and disco music from the vinyls of 1970s–1990s are juxtaposed with textures, consisting of noise and glitches. The audio part of the piece is presented as a vinyl, thus returning the musical material to its original analogue format.
The continuous painting series ‘Heart Matters’ by Rūtenė Merkliopaitė consists of four pictures from the cycle ‘Christina’ and three figurative pieces from the cycle ‘McQueen’. Paintings ‘Christina’ reflect the author’s creative method, when an artwork begins as an abstraction, but in the process of painting gains motives of some objects. ‘Christina’ may be a coat of arms, an arch, an outline of a portrait – the artwork has a potential of an emerging figurative image, which the author tries to grasp without making the image concrete. The pieces from the cycle ‘McQueen’ are repainted photographs from different collections of the British fashion designer Alexander McQueen. In these works, one can see motives from traditional painting genres – portrait, interior, equestrian. The painter appropriates certain images and moves them to the field of painting technique – costumes, interiors and objects turn into gestures, colours and touches.
The installation ‘Session’ by Viktorija Damerell presents an antagonistic attitude towards classical representation of a human body. Classical standard of body image is a physically trained, resting body, the vitality of which is represented in the hard material like stone or metal. “Session” lacks this kind of body; instead it presents the cycling-simulator and a never appearing body image in a dark, empty space of a TV screen. The piece comments on the contemporary cult of body perfection and its influence on how humans perceive themselves, when a body does not present individual deeds any more, all bodies are made similar through a neurotic training in artificial conditions while aiming at a temporary ideal.
In the piece ‘Emotional Trilogy’ Austėja Vilkaitytė combines the genres of dance, performance and installation. In the performance cycle, the structure of which is loosely based on the antique drama theatre, the artist uses images and motives from Lithuanian ethnography and contemporary popular culture. Personages from different time-spaces meet in the piece: Eglė the Queen of Serpents, Antigone, the warrior princess Xena, „Ruki Vverh” and others. The performance cycle ‘Emotional Trilogy’ is extended into the continuously changing installation, which gains new features and functions in time. The artist comments about the static conception of time in the epic genre and the dominance of male personages in it – by using emotional and erotic “logics” she turns the usual power relationships upside-down.
Young performance artist Antanas Lučiūnas and graphic designer and publisher Monika Janulevičiūtė work as an artists’ duet. Their piece ‘Girl on Fire’, performed by five personages, takes place in the world of a recently published graphic novel ‘The Great Outdoors’ – in the green isle between two traffic lanes, where personages face the lancinating collective reality. In the exhibition the performance is perceived not as a stable, integral installation, but is experienced through many objects, located in the North Hall and other spaces of the Contemporary Art Centre – fire hoses, smoky lamps and the smell of fluttering wires in the air.
Artists: Andrius Arutiunian, Viktorija Damerell, Antanas Lučiūnas and Monika Janulevičiūtė, Rūtenė Merkliopaitė, Austėja Vilkaitytė
FLUX Exhibition will run from the 11th to the 15th of April 2018at the Chelsea College of Arts, University of the Arts London (UAL). 16 John Islip Street, SW1P 4JU, London.
For more information, visit http://www.fluxexhibition.com/
Yasin David Sarfraz, Artrooms Fair Roma 2018’s applicant, is glad to announce his participation at the Bergamo Art Fair 2018, in collaboration with the art dealer and gallery owner Dr. Marco Antonio Patrizio, Padua, Italy 35122. Sarfraz will be exhibiting acrylic abstract and expressive artworks on canvas.
Bergamo Art Fair will run from the 13th to the 15th of January 2018 at Via Lunga, 24125 Bergamo, Italy. Opening hours are Saturday and Sunday from 10am to 8pm and Monday from 10am to 12:30pm.
For more information visit bergamoartefiera.it
L’ Installazione Eko 500 Project di Gianni Depaoli a cura di Valerio Dehò per il progetto Limited sairà esposta a Milano Scultura dal 17-19 novembre 2017 alla Fabbrica del Vapore, Via Procaccini 4 Milano, Italia.
“Milano Scultura – Una buona idea
Il progetto di una fiera tematica, piccola e combattiva, dedicata alla scultura negli anni si sta consolidando, sta diventando un appuntamento atteso.
Milano Scultura rinnova il suo appuntamento e vuole consolidarsi nel panorama nazionale per la sua pecularietà. Del resto altre fiere tematiche stanno venendo fuori, quindi la strada, se viene seguita, vuol dire che ha un senso che va coltivato e sviluppato. Fare una fiera sulla “scultura nel campo allargato”, per dirla con Rosalind Kraus, cioè di quella scultura che diventa un medium che unisce codici e linguaggi, è stata una scelta coraggiosa che è stata vincente. Ormai per gli artisti la terza dimensione è un corredo genetico, siamo abituati a vivere un senso di partecipazione all’esperienza artistica totale. La scultura è diventata un punto fermo indispensabile cui fare riferimento per tutto ciò che non è architettura, non è paesaggio e non è immagine bidimensionale.
Restiamo a Milano, al centro del sistema artistico italiano e anche molto più vicini all’Europa che il resto d’Italia. Siamo anche dentro la mitica Fabbrica del Vapore, il quartiere delle arti milanese. Per questo ci siamo sforzati di creare una piccola fiera di qualità, con galleria di personalità e degli artisti raccolti con attenzione curatoriale. Ci interessa mandare un messaggio di grande apertura, continuiamo a guardare avanti. Anche l’occasione di una fiera non può prescindere dal rapportarsi con quello che accade intorno, con le prospettive di sviluppo di un territorio, a monitorare l’evolversi del sistema dell’arte e del mercato.
La Fabbrica del vapore del resto è un luogo privilegiato, una spazio imprescindibile, un territorio di creatività che sa suggerire grandi idee e che fa sentire al centro del mondo. Per questo abbiamo invitato le gallerie e gli artisti che espongono a collaborare con il nostro progetto. Ma è anche importante che una piccola fiera riesca a dare spazio agli studenti dell’Accademia Brera e ai docenti che li seguono, spesso impegnandosi con passione ben oltre il dovuto e il richiesto. Brera del resto è Milano. La sua presenza per noi è necessaria per dare anche ad una mostra-mercato quella dimensione politico-culturale sempre più assente nel nostro paese.”
“If I like a work, if it disturbs me, I try to look at it beyond its
Life is always right.
I try to split hairs, to exaggerate, to a certain extent to slow
down, to arrive at the time of Knowledge.
Future invades us, in order to metamorphose into us, long
before it happens.
The seeking of Sabina Elena Dragomir is reflected in her
works, becoming the matter and the essence, reaching
those strings which disturb and subvert the understanding.
Personal, artistic, professional.”
HABITUS at IAGA Contemporary Art Gallery – a project initiated by artist Sabina Elena Dragomir.
The exhibition that carries the name HABITUS, proposes in the spaces of IAGA Contemporary Art Gallery to create an artistic journey and an almost obsessive visual debate found in the contemporary artistic research resulting through the displayed works the attempts to understand the surrounding world, ambient, the construction, the matter or the essence of things, through the filter of our senses, our sensitivity and the profound knowledge of us as individuals.
The whole concept of the exhibition and the chosen title tries to explain the multitude of visions, shapes and rephrased language, through which the interest of the contemporary artists manages to float above this delicate subject, full of social and philosophical weight. This project was born from Sabina Elena Dragomir’s initiative who puts forward to the public an exhibition that investigates the differences and the affinities of the artists for the status of the human condition and for the humanitarian principles that count themselves between the principles of the contemporary relativist visions.
Taking all of this into account, the artist’s debate becomes complex, and the figurative/non-figurative context blends itself with a thorough investigation of social structures in a partial level of the artistic individuality. The visual universe of the exhibition varies from the realistic precision, to geometrical abstract, lyric or minimalist, thus creating a bridge between the languages of the artists, who have different social and cultural background. An individual speech that is described through the cultural aspects found in different daily activities.
HABITUS exhibition, bring together the works of Arman Fernandez, Badulescu Stefan, Bulea Liviu, Christo, De Molfetta Francesco, Dragomir Sabina Elena, La Rosa Marco, Omar Hassan, Pasquali Francesca, Vakarcs Lorand and Vrabies Mihai. Thus becoming an important cultural event, not only in the Romanian art perimeter but also in the international one.
IAGA Contemporary Art Gallery reveals once again its main objective, that of being a vivid cultural ground in the search of a possible cultural exchange and an international dialog. Born from the desire of a real contribution in the cultural development of a generation, the gallery chooses to create not just an exhibition but a moment of ponder towards the meaning of promoting and collecting contemporary art.
The exhibition is open for the public between 6th of October and 4th of November 2017 at IAGA – CONTEMPORARY ARTStr. Cloșca, nr.9-11 / Cluj-Napoca Romania.
Follow and subscribe Sabina Elena Dragomir’s website for further information and updates.
Forevermore Art Collective, selected artists for Artrooms London 2018, have just recently showcased their newest mural on Saturday, 1st October, at House of VR on Nuit Blanche Art Event. A 6ft x 6ft painted plywood panel animated with Augmented Reality, this is the first piece designed for open-air spaces animated by this practice based in Canada.
You can see this art become alive by downloading the app available for free at google play store: Forevermore (third icon).
Just download the app, open the experience named Mermaid Lunch and point your camera towards the painting on your computer screen.
Artist Spotlight: Anne Cecile Surga – interview published on the 4th August 2017 by EuropeNow Journal.
“EuropeNow: Can you tell us a little about yourself and about the kind of art you create?
Anne Cecile Surga: I was born in France in 1987 and graduated with a Master in Business Administration in 2010. In 2013, I graduated from the Christie’s Education Master Program in New York City. I always wanted to be part of the art world from as far as I can remember. Creation has consistently been a part of me: in my childhood I was crafting rag dolls or playing with salt dough, and in my teens I began to create with papier maché and clay. As the artist lifestyle was deemed a little bit too obscure, I went to a business school, which then allowed me to work in the art world from the managerial side.
Even though it was going well, I decided to become a full-time artist three years ago. I now live and work in the south of France, and my materials are marble and mixed media. Without a formal education in visual art, I’ve been able to discover and establish the rules myself. My art practice is the result of introspection on a universal level. I try to understand my feelings and thoughts through the prism of contemporary society, and then try to translate them into a sculpture that can connect with others.
EuropeNow: What about your primary medium do you like best?
Anne Cecile Surga: My primary medium is marble. My favorite is Statuario white marble from Carrara in Italy. I also work with French marble that I can easily find in the Pyrenean Mountains, where I live, and with pink Portuguese marble. I think marble is quite an unusual material for contemporary art as I feel it will always be linked to classical sculpture, but to me it is the most satisfying material I can work with. Carrara marble especially allows you to create an infinity of details with a clarity that cannot be equaled. There is also an intrinsic beauty to the material, in my opinion everything looks better in marble! It gives an ethereal feeling while being of unbelievable strength.
On the other hand, marble is not easy to work with. One must be armed with patience to remove the stone in order to reveal the form from the block. It is physically and intellectually challenging–physically, as one requires the strength to work the material, and intellectually as it is a reverse process: you take material out of the sculpture and you are not allowed to make a mistake. This emotional, intellectual, and physical challenge makes marble sculpture the most complete art form to me.
EuropeNow: Can you tell us about the piece you donated for this auction?
Anne Cecile Surga: The work is a bas-relief made of French black marble and Portuguese pink marble. I have been discovering the possibilities of marble and developing my artistic approach on my own in the last years. There is a predominance of anatomy in my earlier works, and I have recently explored abstraction through an organic approach. This piece could be understood as a snapshot of my recent artistic evolutions.
A recurring aspect of my work is to insert other marbles or materials on my marble pieces. I made bas-reliefs using black and white marbles, and sculptures where I mixed steel, wood, gold leaf, ribbon, or even piercing with marble. Formal beauty is important in my approach: the line, the balance, and also the finesse of execution are essential elements of my work.
EuropeNow: Who has shaped your development as an artist?
Anne Cecile Surga: One of most the influential people in my artistic development has been Pablo Atchugarry. Not only has he been the one to introduce me to marble cutting –from how to handle the tools to how to choose a marble bloc, or how to move these heavy stones–but he also accepted me in his artistic circle, thus allowing me to learn a lot from this world-renown artist on a daily basis. Being born in a non-artistic family, it has been eyes- and heart-opening to realize all that can be made thanks to art.
Having him as a role model teaches me so many values and life lessons. Marble does require an incredible amount of working hours and that can lead to much frustration and sometimes the will to quit, but being mentored by a passionate and hard-working individual made all the difference for me. I learned you can never work too much or be too good at your practice, but most importantly that art and all its benefices have to be shared with as many as possible. I do wish I will one day have the opportunity to make such a positive impact in a young artist’s life.
EuropeNow: Do you have a favorite non-art activity that connects you to your art in a meaningful way?
Anne Cecile Surga: My only hobby is the only thing in my life that is absolutely not related to art. I am an amateur boxer and I have been practicing fighting sport for 6 years. It might seem strange, but there are a lot of parallels between boxing and cutting marble. The first is obviously the need or development of strength. The first time I cut marble, I would have not been able to handle the tools if I had not had all that fighting training beforehand, I am sure of it. From a mental point of view, there is also a lot of dexterity at play, along with resilience, concentration, and the ability to keep your head cool when things are not going the way you intended.
Both in boxing and in marble cutting, one needs to master a technique in order to free oneself, and to be able to express his true self through it. The only thing that really differs is that I would compare artist life to a marathon more than to an explosive boxing competition. Last but not least, for both practices, you can only get better with time!”
Jessie Pitt, one of the 70 selected artists for Artrooms London 2018, has seen an insightful interview on her art and inspirations published on the fifth issue of CreativPaper, a digital magazine dedicated to the arts whilst highlighting social & environmental issues. Released in August this year, the interview explores how the Australian artist is influenced by the environment she grew up in – the montainous region of Melbourne – and the one she also shares her time with – the mountains in Austria.
“There is a majestic, eternal kind of strengh about mountains. They are strong yet exude an indescribable sense of stillness and of peace” – Jessie Pitt
You can read the full interview here, pages 72-81.