2022 / Independent & Image Art Space Catalog, Fluid Time Exhibition

Exhibition statement: Fluid Time

From August 8, 2022 to September 5, 2022, Independent & Image Art Space is glad to present a group exhibition “Fluid Time”.

Armen Avanessian, an Austrian philosopher, says that “The basic thesis of the post-contemporary is that time is changing. We are not just living in a new time or accelerated time, but time itself—the direction of time— has changed. We no longer have a linear time, in the sense of the past being followed by the present and then the future. It’s rather the other way around: the future happens before the present, time arrives from the future.”

In this new era, time is fluid, and there is no obvious progression from a before, to a during and an after in historical terms. The fluidity of time indicates the blurring of boundaries, escaping categorizations, and not being concretely defined. In such a time how does an artist imagine the future? How to view histories? How to create unexpected narratives and connections to tell untold stories? How to even use time as an artistic medium to interpret the life we experience?

Artists: B. Quinn, Cécile Lobert, Chris Ohlson, Christy Love, Claudia Habringer, digger, JBeaumont, Liu Xiaoyu, Nero Cosmos, Sarah Kathryn Ahearn, Tiziana Rasile, Tom Rosenthal, Yuho

issuu.com/independentimage

 

展览前言:流动的时间

奥地利哲学家阿尔曼·阿瓦尼斯安认为,“后当代的基本论点 是时间处于变化之中。我们不仅生活在一个新的时代或者说加 速的时代,而且时间本身——时间的方向——也发生了变化。

我们不再拥有线性的时间。线性的时间意味着,过去之后是现在,现在之后是未来;恰恰相反,未来发生在当下,时间由未来而至。”这意味着在这个新时代,时间是流动的,不再是由过去发展到 现在、由现在发展到未来的渐进。时间的流动性意味着边界的 模糊,不被划分,没有具体的定义。那么在这样的时间下,艺 术家如何设想未来?如何看待历史?如何创造意想不到的叙述 和关联,讲述不为人知的故事?甚至如何把时间作为艺术媒介,解读此时此刻正在体验的生活?

参展艺术家:B. 奎因,塞西尔·洛伯特,克里斯·奥尔森,Christy Love,克劳迪娅·哈布林格,digger,JBeaumont,刘 筱雨,Nero Cosmos,莎拉·凯瑟琳·阿赫恩,蒂齐亚娜·拉西 雷,汤姆,Yuho

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2022 / The Purposeful Mayonnaise, art journal , volume 2, issue 1

Welcome to Volume 2 Issue 1 of The Purposeful Mayonnaise Journal! We wanted to begin our second year with an open theme. We would like to thank all our readers, our past and present contributors, and everyone around the world who entrusted us with their work. We begin Issue 2.1 with mixed media works by Los Angeles native Jana Charl, who reimagines materials destined for landfills to address sustainability. In the artist interview, multidisciplinary artist Michelle Gallagher talks to us about her practice, which explores the female and femininity. We delight in images and words from Coco Rohart, Sharin F. Ali, Malcolm Easton, Alexey Adonin, Morgana Rubini and many other accomplished artists and writers. This issue also presents the entire selection of the Mélange anniversary group exhibition presented by TPM Gallery between April 22nd and May 22nd, 2022. Our mission is to bring you a new issue overflowing with art, words, ideas.

The Purposeful Mayonnaise Journal is intended as an online journal that anyone with an internet connection can access from anywhere in the world. www.thepurposefulmayo.com

2022 / Al-Tiba9 Art Magazine, Original Issue 10

The Original 10 issue (altiba9.com/original10-print-art-magazine) is a special edition of Al-Tiba9 Art Magazine specifically curated and designed to celebrate the Issue 10 of the magazine. With innovative visions, testimonies, and a rich list of artworks, it celebrates a fundamental milestone in Al-Tiba9’s history. The Original 10 Magazine features 56 selected artists, architects, and designers from around the world with a high focus on contemporary art.

It features on its Front Cover the work “Dome” by Ekaterina Pavlova, the “Dream Painting F10” by the artist Kyle Yip on the Inner Cover and “The Toilette of Venus” by Oleg Tsyba also signs the back cover of the magazine with the painting “Madonna with the Egg.”

Artists: A Young Lee, Akane Akamidget, Alexander Zev Gustafson, Amaía Diez, Amy Yoshitsu, Apollinariia Ilina, April Winter, Beatrice Spadea, Blick, Chelsea Brown, Christopher Fluder, Dave Hanson, Ekaterina Pavlova, Elvin Ou, Emy Kavvadia, Geraldina Khatchikian, Hadriel Torres, Herok, Imani McCray, Insha Manzoor, Ioana Florina Andrei, Jenny Papalexandris, Jerry Helle, Jiageng Lin, John Ralston, Joonyoung Lee, Kaoru Shibuta, Kayee C, Kosmas Pavlidis, Kristin Man, Kyle Yip, Maggie Wen, Maria Raquel Cochez, Maria Soroniati, Matthias Pilsz, Megumi Otsuka, Nadja Shkirat, Nata Buachidze, Nero Cosmos, Nora Lagström Jebara, Oleg Tsyba, Olha Yefymova, Oxana Kovalchuk, Phyllis Wong, Quinda Verheul, Reina Suyeon Mun, Renata Crespo, Rick Bogacz, Ruta Naujalyte, Sergio Capuzzimati, Sunyoung Park, Suridh Das-Hassan, Taeyang Hong, Thelma Pott, Yien Xu, Yulia Artemyeva.

2022 / Juliet Contemporary Art Magazine

The power of art in the vision of the future: the exhibition “Utopia, Dystopia” in Venice

An all-female collective that for some time now has been turning its attention to emerging Italian and international art, with particular attention to artistic interpretations of current debates and forms of activism. This is a.topos, a cultural association led by Lucia Trevisan and Fernanda Andrade, who in the heart of Venice present a new event dedicated to a more than ever necessary reflection on the post-pandemic future. The exhibition Utopia, Dystopia is the first appointment of a series that is part of the second edition of THE CREATIVE ROOM, a call for artists dedicated to the theme “The Future of Art and the Art of the Future”. The spaces of SPARC*, the Venetian gallery and home of the VeniceArtFactory project, for this occasion host the works of the artists: Mário Afonso, Damiano Fasso (Italy), Lina Zylla (Germany), Sève Favre (Switzerland), Sarah Valente (France), Doris Schamp (Austria), Madalena Corrêa Mendes (Portugal), Armin Amirian (Iran), Lucrezia Costa (Italy), Oona Nelson (USA), Constanza Camila Kramer Garfias (Chile), Jia-Rey Chang (Taiwan), Elena Xausa & Lorenzo Fonda (Italy), Nero Cosmos (Switzerland).

The narrative starts with the work of the American artist Oona Nelson (San Francisco, 1961), whose practice consists of burning still life paintings, reproductions of masters, symbols in the past of wealth and worldly pleasures. The act, a symbol for the artist of the decline of civilisation and of an inexorable future towards extinction, has led Nelson to burn eighty paintings to date. The video installation The perfect world by Damiano Fasso (Montecchio Maggiore, 1976), filmed in Italy and China, with video and audio by the artist, shows the visitor a succession of images of fairground rides and fairs, evoking a moment of play, serenity and inner lightness. The gradual appearance of flashing signs and the music accompanying the video slowly reveal the artist’s true message: a criticism of a society that invites the waste of resources and excessive consumerism.

Austrian artist and cartoonist Doris Schamp (Oberpullendorf, 1983) presents a drawing of a human body outlined by a thick black line, which only at a close distance reveals to the viewer a game of graphic cutouts and non-random shapes: Hang in there! is a naked body at someone’s mercy, trapped by a banded structure, referable to bondage, a metaphor for the power and domination that can affect human beings in various situations, from pandemic to global warming to the more recent war in Ukraine. Elena Xausa‘s 3D printed sculpture Sundial with Lorenzo Fonda reflects on time in the age of the anthropocene, when the Earth is the victim of a human being who shapes and scans everything around him with his own hands; the work does not hide the pop and colourful style typical of Xausa, already known for her international collaborations in the world of illustration.

Costanza Camila Kramer Garfias (Viña del Mar, 1988) is a Chilean artist who trained in Germany and later in Japan, where she lived with Japanese masters and learned from them the traditional techniques of creating natural pigments from plants. Proof of her talent for combining art, textiles and philosophical theories is her creation Autobahn, in jacquard fabric and metal chains, which raises questions about the reproduction of viruses and their development over generations. The work of the German performer Lina Zylla (Munich, 1986) consists of a performance, Finding the Wind’s Direction, which took place in a rural Italian landscape in the year 2021; a film project supported by the Yong Art and New Ways programme of the Free State of Bavaria and the Gisela and Erwin von Steiner Foundation, in which some detailed and close-up shots of glass and its pictorial realisation in relation to inclined glass in nature can be seen. Born and grown up in Iran, Armin Amirian (Isfahan, 1995) is a self-taught artist who sees art as the universal medium for communication, “where nothing matters but the truth and honesty you put into all aspects of creation”. Small black and white windows on a region scarred by conflict and war, Amirian’s photographs tell the story of everyday life in his Middle East in no uncertain terms, triggering curiosity and amazement in the visitor.

The series Unspoken bond – returning to favour by Roman artist Lucrezia Costa is a documentation in ten photographs of an act of restitution by the artist: after having “asked” the landscape to lend her some earth to create natural bricks for the performance La casa vivente at Mudec in Milan, Costa felt she had to return the favour, bringing back what she had taken away after using it. A hidden and unspoken link between artist and landscape. The works of Sarah Valente (Paris, 1988) aim to show a hidden and invisible side of the world, to which we often do not give due attention: the infinite richness of the forest and its inhabitants. With Jungle I – Canpy Mapping, Valente presents a series of works on paper and oil colour with an intervention of pigment that allows certain shapes to be perceived through ultraviolet light. An exceptional reflection on Canopia and the vision of insects, which can distinguish fluorescent signs in the infinite abundance of the forest. Taiwanese artist Jia-Rey Chang (Taipei, 1982), a designer and researcher whose reflections focus on space as a living being, is the author of Monitoring Room, an immersive and interactive virtual reality work – presented here as a video installation – that asks the question “What is reality?”, with the intention of investigating the current issue of monitoring and manipulation of information and personal data, due to the advent of the internet and social media.

The artistic path of Nero Cosmos (Bern, 1964), a conceptual artist based in Zurich, experiments with artificial intelligence, creating images and videos in a constant state of metamorphosis; the video in the exhibition, Urbanization, process of changing, explores the process of change in urban areas and its visual translation through artificial intelligence and algorithms. Sève Favre (1975), an artist originally from Sion, focuses her investigation on the concepts of integration and interaction between the viewer and the work of art: by means of an original installation (Amazing Robin IV) consisting of an image broken down into various paper boxes, with its digital twin in an ipad placed to the side, each user present has the opportunity to create his or her own personal idea of a visual work, by moving the boxes physically on the paper work or digitally in the technological support. In the case of the latter there is the possibility of sending it by email or sharing it on the media with the hashtags #interaisproject and #interagisgif. The exhibition concludes with the work A Hug by Madalena Corrêa Mendes, a Portuguese artist who involves the viewer in the creation of an alternative, reinvented and borderless geographical map that can be cut, torn and rebuilt, demonstrating that we are the real builders of our future.

Between multiple interpretations of reality and utopian and despotic visions of the human future, the exhibition brings together works that together form an expanded horizon: Utopia, Dystopia is an immersion in readings that are optimistic in some ways and devastating in others, prognoses of a cynical and uncertain destiny, analyses of various aspects of an everyday reality that we will have to appreciate, and many other visions in which art demonstrates its power in the future of humanity.

The power of art in the vision of the future: the exhibition “Utopia, Dystopia” in Venice
Source: Juliet Contemporary Art Magazine, Paola Natalia Pepa, March 10, 2022

2022 / Artribune

a.topos Venice for the second edition of THE CREATIVE ROOM, presents the exhibitions Utopia, Dystopia e Retrotopia.

The artists involved are: Mário Afonso, Damiano Fasso, Lina Zylla, Sève Favre, Sarah Valente, Doris Schamp, Madalena Corrêa Mendes, Armin Amiriam, Lucrezia Costa, Sebastian Riffo Montenegro, Oona Nelson, Constanza Camila Kramer Garfias, Jia-Rey Chang, Elena Xausa, Nero Cosmos, Veronika Dräxler, Adélaïde Feriot, Chiara Tubia, Degann, David Michel Fayek, Ian Callender, Finn Theuws, Anna Maconi, Tanguy de Thuret, Lorenzo Peluffo, Bernardo Tirabosco, Fadwa Rouhana, Daniela di Lullo.

The artworks gathered are an array of different interpretations about the future, converging into an enlarged horizon of expectation; an immersion in a compelling mixture between optimistic prognosis, cynical readings of the future and a nostalgic dive into a longing – either experienced or idealized – past.

Opening the narrative, the first show, Utopia, Dystopia, harvests works of art offering either utopic sceneries or gateways to a dystopian tomorrow. The audience is presented with an exhibition path that creates visual and sound spaces shifting between an invitation to sail together instead of adrift and evidence of the burden of times to come.

In the second exhibit, Retrotopia, a world struck by an appalling pandemic and an art scene flooded with NTFs as backdrop brings past and future to walk sideways in what Zigmund Bauman defined as retrotopia. Either through form, content or both, the displayed artworks depict a strive to (re)establish a mythified – even if unfaithful – past. And in case nostalgically revisiting a longing time does not chase uncertainty away, art can at least attempt righteous grief.

Exhibition curated by a.topos Venice, THE CREATIVE ROOM #2 has been organized in collaboration with Portrait Eyewear and Demoni Danzanti creative residency.

a.topos Venice presents the exhibitions Utopia, Dystopia e Retrotopia.
Source: Artribune, Utopia, Dystopia e Retrotopia, March 2, 2022

2021 / Limitless Issue 5, Florence Contemporary Gallery

Limitless Issue 5, December 2021 The official catalogue of the selected artist regarding the exhibition Limitless. The artists were selected through a free open call promoted by Florence Contemporary Gallery. Selected artists: Matthias Lück, Michael J. Lindow, Christian Door, Zoie Lam, Andrea Ehret, Artmoods TP, Carolina Ramos, Marilena Ramadori “Zizza”, Francesco De Lorenzo, Marta Nyrkova, Dan Obana, Salome Kobulashvili, Meri Aisala, René Siepmann, Maja Puda, Jasmine Liaw, Laura Dimitrova, Eri Kato, Snezhina Biserova, Paul-Yves Poumay, Ivana Dukic, Jack Savage, Martinu Schneegass, Marine Kearney, Var Sahakyan / Vartist, Sofya Danilova, Mandelbroz, Christian Door, Nero Cosmos, Natalie Sobo, Ayuko Dan, Alexandra Ghimisi, Bianca Paraschiv, Ryo Kajitani, Victor Hernandez, Yin Lu, Max Wolf, Nino Memanishvili, Maria Di Gaetano, Emily Zou, Flavie Guerrand, James Johnson-Perkins, Raquel Gandra, Ambra Scali, Anna Hrbacova, Pantelis Nicolaou, Steve Jensen, Ulyana Korol, Yvonne Welman, Milica Lilić, Ethan Samaha, Alma Bibolotti. The online exhibition starts on December 20, 2021.

Limitless Issue 5, Florence Contemporary Gallery

2021 / Digital Community Archive, Kunsthalle Steffisburg

Digital community archive is an image library on the topic of (digital) community. In relation to last years’ events, the question of community is more important than ever. Under the restrictions people experienced, our desire for community has increased. At the same time, it seems to be the right moment to critique previous forms of being together. In this sense, the exhibition series «Communitas» – curated by Kollektiv Kollektiv at the Kunsthaus Steffisburg – examines different modes of community and puts them to the test in various projects and events.

For their third project «Communitas III: Digitale Gemeinschaft» (Digital Community) the curatorial group initiated an open call and received artistic works from places all over the world. Together the works of the participants contribute to this online platform and to the third “communitas” exhibition at Kunsthaus Steffisburg .Digitalcommunityarchive.com is based on the idea of «Movie-Dromes» by Stan Vanderbeek (1927–1984).

digitalcommunityarchive.com

2001 / Chut!, Creatio Helvetica

In this issue the editor proposed a topic giving ten artists carte blanche to express themselves on the theme of noise. He did not give any guidelines that might be influence these noisy projects except for the format and deadline to complete this stylistic exercise. Creatio Helvetica focuses on creative work in Switzerland. The magazine wants to talk about the Swiss who are, whether at home or abroad, forging new trends, from the fine arts to the human sciences.

1996 / Never say Never, Kunsthalle Bern

The Young Art group exhibition “Never Say Never” supported by the Providentia insurance company took place in Kunsthalle Bern in 1996. An exhibition catalogue, “Never Say Never, Art Today” (editor John Armleder, Offizin, 1996), was published for the exhibition. Selected artists: Silvia Gertsch, Priska Lühti, Roland Reichen, Philip Delaquis, Francis Baudevin, Sidney Stucki, Dina Scagnetti, Fancesca Gabiani, Stefan Altenburger, Istvan Balogh, Markus Bürgi, Reto Boller, Andrea Crociani, Andreas Dobler, Christoph Draeger, Nicolas Fernandez, Fabrice Gygi, Roland Herzog Romelia Höpflinger Teresa Hubbard, Alexander Birchler, Michel Huelin, Judith Jörger, Davide Legittimo, Prisma Lüthi, Denis Pernet, Anuschka Pfammatter, Ugo Rondinone, Pierre Vadi, Ibrahim Zbat, Marco Simonetti and Sylvie Fleury.