Friday, 18 April 2014

Chance Encounters #22: Evelin Stermitz

CHANCE ENCOUNTERS #22 meets Evelin Stermitz.

Evelin Stermitz, M.A., M.Phil., studied Media and New Media Art at the Academy of Fine Arts and Design, University of Ljubljana, Slovenia, and holds the degree in Philosophy from Media Studies. Her works in the field of media and new media art focus on post-structuralist feminist art practices. In 2008 she founded ArtFem.TV – Art and Feminism ITV ( and received a Special Mention for the project at the IX Festival Internacional de la Imagen, VI Muestra Monográfica de Media Art, University of Caldas, Manizales, Colombia, in 2010.
Her works have been exhibited and screened at various venues such as the MMoMA Moscow Museum of Modern Art, Russia / Vetlanda Museum, Sweden / Centro Nacional de las Artes, Mexico City / Museum of Modern Art, Buenos Aires, Argentina / PAN Palazzo delle Arti Napoli / CAM Casoria Contemporary Art Museum, Naples, Italy / Museum of Contemporary Art of Vojvodina, Novi Sad, Serbia / Fundació Joan Miró and CCCB Centre de Cultura Contemporània de Barcelona, Spain / Museum of Fine Arts, Florida State University, USA / MAC/VAL Musée d’Art Contemporain du Val-de-Marne, France / Chelsea Art Museum, New York, USA / International Museum of Women, San Francisco, USA.

 How did you first decide that art was your path in life ?
Actually, I have always been interested in different fields of the arts, first in contemporary dance, later in visual arts and time-based art. I decided to study media and new media art, since it came close to my occupation. Actually, I did not decide on the path of the arts, but it got tied to me somehow since art became the largest part of my life and constitutes a part that I find most interesting.When I remember earlier, my first visits of art exhibitions in galleries or museums through an art teacher made mereal curious to find out more about art that seemed to be something secret to me and that I wanted to explore further.Later, I remember that I felt total peace when visiting those institutions. I enjoyed the silence and just watching art. If to describe them as white cubes, I would say that they are areas of peace and freedom that attracted me and created meaning to me.
                                                                                       Gender transmission, 2005

What's your main interest as an artist ?
My main interest is my involvement in gender and socio-cultural issues, thus expressed through images, might it be as a still in photography or moving in video pieces. Through this the aesthetics of art can provide a frame for entering another level of perception and experience.This means, to deal with these issues outside of only logic experience and analysis, to receive another approach on those aspects, and to see later what meaning does it construct for the logic perception.Further, I think that the sensibility for women’s issues in the arts is limited through the trained male perception of art.Although plenty of women graduate from art academies, but develop a perception that goes along with the male discourse in the arts and that strengthens a male system without any critical approach.

Where do you get the ideas for your work ?
My ideas or the themes of my works emerge from personal issues as well as from the perception of our current society and current issues. Central are women related issues and an aesthetics that provides space for gender aspects. The visual aspect is foregrounded, but sometimes the visual level becomes expanded through textual elements. Actually, although I also have been working with sound, I recognized that I am a lousy listener and just developed the ability to listen carefully recently. Therefore, I found new interest in the spoken word and sound. Actually, the ideas for my works come from fields of interest, from the need to explore and transfer these fields, actually suddenly they are here, and actually I cannot really say why and I just do it. Later I can put them in a contextual frame to see what I have done and what I have explored.I do have a previous conceptual frame to the idea and deal with this, but the process of creating is vivid and not static. I cannot do an art project like a mathematical statistic work where the output is predicted, previously settled and determined.When I was a child, I got a book entitled “He was there and sat in the garden” (German title) with the original English title “He Was There from the Day We Moved In” byRhoda Levine. Actually, I sometimes think about this book. It is about a long-haired dog that suddenly sat in the garden and does not want to move. I loved the drawings (by Edward Gorey), but I did not understand the meaning of the book, which is “that some things are unknowable.” I think it is like this with art, suddenly it is in the garden of your life and you have to deal with it.
                                                                                     Into the Ceiling, Part1, 2011

What would you most like to make that you haven't so far ?
I would like to realize a multiple channel video installation in a single room, since it is not so easy to find an appropriate room with all the technical equipment and facilities to do this. Also, I would love to find the time to work on a larger project like to create an artistic motivated documentary or an artistic inspired feature film.

What do you think is the social role of art ?
The social role of art is manifold, art engages the perceiver and can change the perception in our society, can raise awareness, or can provide different point of views on issues and open new paths. Art offers reflection and movement.
                                                                                  Stars and stripes on darkness, 2013

What place does creativity have in education ?
To be creative as an educator can provide playful methods on learning and joyful understanding of the process of learning. Thus making the process of learning a life-long joyful engagement with intellectual curiosity. Creativity beneath general education is further important in helping to find creative solutions for actual difficulties and to solve them in cutting-edge ways. Science says that in times of crisis, creative thinking is important toassist in finding new ways of solving current societal problems. But actually in times of crisis the politics are cutting down budget for art education and creative methods.
I find the research on creativity and education by Arthur D. Efland interesting, for example in American schooling “In the last decade there has been a resurge of interest in creativity and the role that education might play in its cultivation. Creativity is the process by which the mind generates new and original ideas and innovation. – ideas and things that have not existed before. In large part this new interest has been brought about by multiple problems and challenges facing civilization on a global scale – problems such as environmental degradation, climate change, the globalization of the world’s economies, and economic competition. … The kind of creative thinking involved in solving societal and economic problems seems to be a far cry from the creativity that occurs within art practice.” (Efland, p. 2)
It is interesting for creativity and education in the U.S. after World War IIwhat Efland analyzes as follows: “Schooling for the working class stressed obedience to vested authority, punctuality, and cultural uniformity. By contrast schools for the middle class children stressed the development of individuality where each child was recognized for his or her unique abilities, interests and accomplishments.” (Efland, p. 9) “By contrast, the creative class … (-nowadays-) … is a thesis advanced to explain connections between creativity and economic development and the role the arts might play in the development of cities and nations in the future. … At very least the preparation of the creative class will rely on the ability to transcend conventional ideas in favor of receptivity to the new, the original and the different. I believe that this is not so much a matter of change in subject matter as it is a change in the atmospherics of schooling, making of it a place filled with curiosity and wonder.” (Efland, p. 15) (Arthur D. Efland, From Creative Self Expression to the Rise of the Creative Class: A Speculative Inquiry in the History of Art Education, in: InJAE8.2, The International Journal of Arts Education, Volume 8, Number 2, December 2010, NATEC National Taiwan Arts Education Center.)

Do you think that by challenging conventional views, art can truly make a change in the public's perception ?
Art can raise awareness of unconventional views, but for conservative societies the impact of creating change is minimal and only influential in the intellectual art circles themselves. Actually, art movements always have been ahead from societies but developed within their societal and technologic scopes. But at least, art attempts to open (some) people of a society for new directions of perception. We have to be aware that still a large part of our society does not have any access to or interest in the arts and sees art merely as a decorative element.

                                                                            White band cut, 207

What are your future plans and projects ?
I hardly talk about future plans, because I prefer to talk about realized projects that can be discussed in concrete.

     Many Thanks !

Thursday, 17 April 2014

Alan Rankle @ The BlackShed Gallery

----------------> 17 May 2014

A L A N  R A N K L E


Alan Rankle and the blackShed gallery would like to invite you and a guest to the opening of a special exhibition of new works on the evening of
Saturday 5 April between 6 - 8pm
Exhibition dates
5 APRIL - 17 MAY

"In 1995 I rented an extraordinary modernist beach house at Pett Level and stayed there throughout Autumn and Winter. The house was about 50 metres from the English Channel and had 360 degree views from the open-plan top floor."      Alan Rankle 2014

In this exhibition Alan Rankle exclusively showcases a series of small works on panel inspired by his stay at Pett Level. Some of these works are made using pure gold leaf and also gold leaf mixed with copper, which gives rise to the natural formation of verdigris as a component part of the drawing. Following the tradition of sepia landscape sketches these works mirror conceptually the effects of the salt spray and high weather landfalls at the coast.

Gallery hours
Tuesday to Saturday 10am - 4pm
or by appointment
learn more about Alan Rankle

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Monarch Army - Temporary Occupation

-----------> 30 April 2014

Artur Fidalgo Gallery
R. Siqueira Campos 143 2° piso 147/150
Copacabana - Rio de Janeiro

Monarch Army - Temporary Occupation
Monarch Charger Plate 4
polychrome glazed hand painted faience
2013 | 31 cm (d)
photo: Fábio Carvalho

opening: 9th april - 7 P.M.
utill: 30th april
monday/saturday, from 10 A.M. to 7 P.M.

Eight hand-painted faience charger plates, created by Fabio Carvalho during an artist residency in Portugal last year, will now be presented in a solo exhibition at the Artur Fidalgo gallery.

By the end of 2013, Fábio Carvalho participated in an Artist Residency at OF Ceramics, a small ceramic workshop in Portugal. In this residency, Fabio Carvalho's fourth artist residency in Portugal, the artist explored the traditional Portuguese method of faience painting with the use of stencils, a technique emerged in the nineteenth century, and long abandoned by the industry. The OF Ceramics is one of the rare ceramics that preserves this technique.

The artist, thinking about the traditional Portuguese faience plates with human figuration, which often represent kings, nobles, historical figures and national heroes, created an original design of a soldier in camouflage uniform with butterfly wings on his back.
Then, Fabio Carvalho created variations of this design, producing a total of eight pieces. The plates were supplemented with painted rims, with traditional patterns of Portuguese faience. The chosen patterns for the rims, although always being floral representations, also suggested barbed wire, or other elements used in the trenches.

The use of the monarch butterfly on some of Fabio Carvalho's works goes far beyond the simple fact that butterflies are usually associated with the feminine, fragile and delicate universe, as opposed to other symbols usually accepted as belonging to the male gender, which both combined composes the main dialectic of his artistic production , which seeks to raise a discussion on gender stereotypes, and to question the common sense that strength and fragility, poetry and virility, masculinity and vulnerability cannot coexist .

The specific use of the monarch butterfly, and not any butterfly, emerged as a counterpoint to the camo military uniform. The monarch butterflies are poisonous, and so avoided by predators. But there are other species of non-poisonous butterflies that mimic the colorful and lush pattern of the monarch butterfly, with obvious benefit to the 'imitators', which are also avoided by predators.

With camouflage, one wants to blend against the environment , so it won't be seen. With mimicry what happens is the opposite, it's purpose is to drawn attention, pretending to be what it isn't. But both are equally protective and survival strategies, which aim to confuse and deceive.

a3bandas 2014

--------------> 23 May 2014

Hablar en Arte
C/ Atocha 91
28012 Madrid
Javier Martín Jiménez
Phone: +34913080040

Finnisage Madrid and Barcelona: May 24

a3bandas celebrates its fourth edition in Madrid and Barcelona between April 3th and May 24th.

Each year, a3bandas invites contemporary art galleries of Madrid and Barcelona, to include an exhibition proposal designed by an independent curator in their costumary schedule during April and May. The exhibition, collective or individual, not necessarily showing artists represented by the gallery, ad hoc and unprecedented, always ensures the interests of all parties involved.

22 galleries in Madrid and 6 galleries in Barcelona participate in the fourth consecutive edition of a3bandas. The opening will take place in Barcelona on Thursday, April 3th from 17 to 21 hours; the opening in Madrid will be on Saturday April 5, whose participating galleries will keep their doors open from noon to 20:30.

More activities, more participation.

One of the main objectives of a3bandas is to enhance visibility of the labour of galleries, curators and artists for a general public. For this reason, we have designed a rich side-program of activities. Among others, there will be Guided tours for the general public on Fridays and Saturdays (tours last for an hour and a half). It is a free activity, but you must reserve by the online registration form.

Additionally, a3bandas and Absolut launch again an Audience Award determined by popular ballot votes deposited at the participating galleries in Madrid and Barcelona. Fill out the paper ballot at the galleries and enter the running to start or build upon your art collection.

More news about all the exhibitions and parallel activities of a3bandas at

TIME is Love.7 [show 3] @ Pink Gallery, Seoul

25 - 30 April 2014
Pink Gallery presents

TIME is Love.7 [Show 3] 비데오
International video art program
Curated by Kisito Assangni 큐레이팅

Banpodaero 33, 2nd Fl
South Korea 137-070

Alexis Milne & Tom Bresolin (UK), Amina Zoubir (Algeria), Anahita Razmi (Iran),  Anders Weberg (Sweden), Anne Lise Stenseth (Norway), Antonello Matarazzo (Italy), Arnaud Brihay (France), Belle Shafir (Israel), Carlo Giuseppe Zuozo (Italy), Eva Olsson (Sweden), Francesca Leoni (Brazil), Gianluca Capozzi (Italy), Evelin Stermitz (Austria), Guli Silberstein (Israel), Grace Kim (Korea), Irina Gabiani (Luxembourg), Joas Nebe (Germany), Jose-Man Lius (France), Justyna Scheuring (Poland), Laura Focarazzo (Argentina), Marcello Mercado (Germany), Marie-Paule Bilger (France), Marina Fomenko (Russia), Margarida Paiva (Portugal), Matthias Mollner (Austria), Maximilian Schmoetzer & Fabian Heitzhausen (Germany), Max Hattler (Germany), Monica Elkelv (UK), Nao Sakamoto (Japan), Nina Lassila (Finland), Otto Berchem (USA), Rahman Hak-Hagir (Afghanistan), Rehema Chachage (Tanzania), Robert Croma (UK), Riham Isaac (Palestine), Said Afifi (Morocco), Said Rais (Morocco), Sandra Bouguerch (UK), Saul Levine (USA), Sheri Wills (USA), Simone Stoll (Germany), S/N Coalition (USA), Sylvia Toy St-Louis (USA), Tina Hochkogler (Austria), Veronique Mouysset (France), William Esdale (UK).

 TIME is Love is a video art project gathering several artists, and has traveled to major cities in the world from New York to Tehran, Paris and now Seoul. Preoccupied with love, the project represents love stripped from its traditional clichés and timeless idealism. Each of the artists leads an interdisciplinary practice bringing a questioning and a criticism on a system of relation to others which appears to us as being dying.

Taking these ambivalent feelings as a starting point, the artists develop their own language according to their sensibility and history. The selected videos deal with prevented communications, disturbed feelings, globalisation, memory and spirituality. As a result, each video inspires the viewer to question the normative understandings of relationships in the occidental world.

Pink Gallery & Art Consulting
서울시 서초구 서초동 1460-21, 2층
Seoul, SuChoKu SuChoDong 1460-21, 2nd Fl, South, Korea
Gallery Hours:
월 Mon - 금 Fri: 11 am - 6 pm
토 Sat. 공휴일 Holidays: 1:30 - 6pm
일 Sun 휴관
방문전 전화 주시면 도움이 됩니다.
Tel: 070.8887.6388 or 02.588.7388

International Photography Festival Knokke-Heist 2014

---------------> 9 June 2014

Scharpoord Cultural Centre Knokke-Heist
Meerlaan 32
8300 Knokke-Heist

International Photography Festival Knokke-Heist 2014:
Image: Namsa Leuba, Vili statuette, Fanta, Guinea, 2011. C-print, 28 x 35 cm. Courtesy of the artist.

Haute Africa: free outdoor exhibition, 16 locations in Knokke-Heist.

Maps can be obtained from the Tourist Office or the Scharpoord Cultural Centre or online.

Unknown Masterpieces: free exhibition, Cultural Centre. Open every day from 10 a.m. until 7 p.m.

From 30 March up to and including 9 June 2014, Knokke-Heist will once again focus on contemporary photography.

The Photo Festival's main exhibition, 'Haute Africa', highlights the work of several leading international photographers in various locations in Knokke-Heist's public space. Photos have been beautifully integrated in the intimate Zoute Church as well as along Zeedijk and in the dunes of the J. Stübben Park, for example.

'Haute Africa' focuses on the work of photographers who are not interested in African fashion per se but who choose instead to conduct an anthropological study of contemporary African clothing culture. Several African countries, including Ivory Coast, Kenya, Nigeria, Tanzania and Zambia have a flourishing economy. South Africa's economy is the largest in Africa, making it a major global player. These countries primarily owe their progress to the exploitation of the minerals in Africa's rich soil, but creative and sustainable economies are also seeing growth.

The fashion industry is a good example of such a creative industry. Many African designers, entrepreneurs and photographers inspire the world with new designs that convey and renew African identity. Their creations find their way to the West, through the Internet, during international fashion weeks and thanks to several initiatives aimed at promoting fashion. Artists and photographers soon also noticed this development. They use clothing cultures to better understand the convictions, thoughts and feelings of the wearers or the history of a particular place. They examine such topics as Westernisation, post-Colonialism, race and gender equality, religious beliefs or political power.

The participating artists/photographers are: Martin Parr, Wangechi Mutu, Viviane Sassen, Zanele Muholi, Jodi Bieber, Jim Naughten, Phyllis Galembo, Héctor Mediavilla, Sabelo Mlangeni, Jehad Nga, Hassan Hajjaj, Nontsikelelo Veleko, Baudouin Mouanda, Daniele Tamagni, Namsa Leuba and Yinka Shonibare.

But Knokke-Heist also gives lesser-known talent a platform. In the Scharpoord Cultural Centre, you can visit 'Unknown Masterpieces', an artistic free exhibition that highlights the photos of tomorrow's trendsetters.

The photo world has a lot of hidden talent, including close to home. In the exhibition entitled 'Unknown Masterpieces', the curators, Stephane Verheye and Freddy Van Vlaenderen, highlight contemporary home-grown photography. 'We want to give emerging photo talent that is not very well known the opportunity to put themselves in the spotlight with work that strays off the beaten path. We mainly focused on prospection and innovation. The intention is to encourage a debate in our rapidly changing digital society, which undoubtedly also leads to uniformity, about various themes such as love, confusion, coldness, simplicity, war, injustice and oppression', the curators said.

Unknown Masterpieces showcases the work of Julie Scheurweghs, Jef Paepen, Aaron Lapeirre, Martine Laquiere, Dirk Janssens, Arno de Pooter, Veerle Scheppers, Jamie-Lee Sienes, Dieter Vanfraechem, Maroesjka Lavigne and Danny Van der Elst. These photographers are considered trendsetters because of the composition, impact, symbolism and power of their work.

Gina Soden: The Art of Decomposition

-----------> 2 May 2014

Gina Soden: The Art of Decomposition.
Decadenza is a new collection of work by British photographer and winner of The National Open Art Emerging Artist of the Year Award 2013, Gina Soden.

At the heart of Soden’s photography is a preoccupation with abandoned structures and locations. Traveling widely to undisclosed sites throughout Europe, she explores the boundaries of beauty, decay, nostalgia and neglect.

To book an appointment please email or phone us on 02034322580.

The exhibition is held at 83 Great Titchfield Street, London W1W 6RH and continues through until Thursday May 2nd. Monday - Fri day 9am -7pm


18th International Video Festival VIDEOMEDEJA

October 31 - November 2, 2014  
Museum of Contemporary Art of Vojvodina
Novi Sad

Like previous years we are looking for new video art works and short films,
media installations, live audiovisual performances, network based projects.
In addition, we are very glad to receive proposals from curators and
producers/distributors for the non-competitive special screenings.

Entry forms are online and artists can easily
provide their video previews directly by web form.

Categories: Video/Film | Media installations | Network and Software projects
| Live av performances

Saturday, 15 March 2014


--------------> 14 May 2014

Lehman College Art Gallery
250 Bedford Park Boulevard West
Bronx, New York 10468

Exhibition dates:
February 4 - May 14, 2014
Images on the card, from left to right: Anthony Goicolea. Aunt (Positive Negative Diptych), 2008

March 17, 2014 6 - 8pm
(With a performance by artist Carmelita Tropicana)

Gallery hours:
Tuesday to Saturday 10 am to 4 pm

Artists in the show include: Alejandro Aguilera, Jairo Alfonso, Alexandre Arrechea, Tania Bruguera, María Magdalena Campos, Yoán Capote, Los Carpinteros, Luis Cruz Azaceta, Christian Curiel, Alessandra Expósito, Teresita Fernández, Carlos Garaicoa, Anthony Goicolea, María Elena González, Armando Guiller, Luis Mallo, María Martínez Cañas, Abelardo Morell, Gean Moreno & Ernesto Oroza, Glexis Novoa, Geandy Pavón, Emilio Pérez, Javier Piñón, Carlos Rodríguez Cárdenas, Andrés Serrano, & Katarina Wong.

Video program: Juan Carlos Alom, Allora and Calzadilla, Humberto Díaz, Felipe Dulzaides, Luis Gárciga, Tony Labat, Glenda León, and Ana Olema.

Cuban America: An Empire State of Mind is co-curated by Yuneikys Villalonga and Susan Hoeltzel and includes a related Cuban video art program organized by guest curator Meyken Barreto. A series of special programs is conducted by guest curator Elvis Fuentes.

The exhibition includes over 35 contemporary artists of Cuban descent, who have been raised and/or educated in the States or in Cuba. In this exhibition, a myriad of themes are inspired by America: as the familiar homeland for second and third generation children of Cuban parents, or as the distant, imagined place, that has historically empowered diverse ideologies on the Island. These views, rarely put together, portray multiple landscapes of the concept of empire, so easily associated with both countries. They add many nuances to the complexity of the cultural relationships between Cuba and America, often simplified to politics.

El Che y Carlos Santana, 2006, by Alejandro Aguilera is a sculpture made from recycled pieces of wood, Georgia clay, metal, and graphite, among other materials connected to the tradition of popular wooden sculpture in the American South. A standing, disproportioned figure with stylized head and long hair crowned with a halo, resembles a wooden saint. Instead, here the controversial hero and the rock star intersect, and with them their ideologies, ideals and nature. The piece recalls the moment when Santana appeared wearing a Che T-shirt at an Academy Awards Ceremony – an action that unleashed a furor of protests in the States because of the infamous reputation of Guevara as a ruthless man. Other historical characters are drawn on the flat back of the sculpture, among a wooden structure of shelves, turning it into a kind of shrine.

Carlos Garaicoa's four silver coins, from the series Heads or Tails, 2010, also introduce a reflection on the dual nature of images and texts. They make reference to political issues, which appear as opposing forces or complements, only for us to discover that they are literally 'sides of the same coin.' Flip/Flop bears the surnames of Mariano Rajoy and José Luis Rodríguez Zapatero, Spanish political leaders of the right and the left wings, respectively; Fundamentalisms depicts a Catholic woman versus a Muslim woman, while the other two coins share the texts in their titles: Party/Not Tea Party, as a reference to the conservative American political movement; and Castro/Castro, that relates to Cuban leaders.

Tatlin's Whisper No. 6, 2009, by Tania Bruguera, takes advantage of a structure that has been used in Cuba to protest against the US government for the last 50 years to address freedom of expression in Cuba. On view is the video documentation of her performance of the same title that took place during the X Havana Biennial of Contemporary Art. Bruguera built a stage similar to that used by politicians in Cuba to make speeches. After distributing disposable cameras within the audience, she invited the public to stand on the podium and talk freely for a minute, after which they would be conducted out of the tribune by a couple dressed in military outfits. During the time people spoke, the couple would place a white dove on the shoulder of the speaker. This action created a reenactment of what happened during Fidel Castro's first speech in Havana, in 1959, when a white dove landed on his shoulder and was interpreted as a religious omen.

Another piece addressing freedom of expression on the Island is the edition No. 29 of The Tabloid, 2014, an editorial initiative of artists Ernesto Oroza and Gean Moreno. For this issue, launched here at Lehman College Art Gallery, Oroza and Moreno invited artists Ana Olema and Annelys PM Cassanova to provide the design and content. The outer page of the tabloid bears a wallpaper design, used in the exhibition to cover the central column between the galleries, where the public can pick up a copy to take home. Its design is the drawing of 'Zamora's Rainbow Brush', a digital tool for Photoshop and Illustrator Ana Olema and Cassanova are launching. It reproduces the patterns on the facade of the home of one of the members of the opposition in Cuba – Lisset Zamora – after a group of people threw asphalt at her house, in punishment for her opposition. This edition uses asphalt as the central subject from which multiple associations can be made.

Visual/verbal mixed metaphors and 'plays on words' characterize many of the works of Yoán Capote. His 'I Want You for the War', 2004, is a riff on the familiar Uncle Sam poster. A long steel cylinder with a bronze forefinger at one end, is accompanied by the inscription 'I want you.' At the other end of the cylinder, the text 'for the war' is positioned next to a rifle site. In a second work in the exhibition, In tran/sit, 2003, a few suitcases form an impromptu bench on which a lone figure sits. It captures the tedium of both travelers and immigrants when having to deal with 'a heavy load.' The drawing is a study for a cast concrete and stainless steel sculpture of a bench.

Luis Cruz Azaceta's allegorical landscape, Shifting States: Iran, 2011, is encoded with symbols of power, conflict, and change on the horizon. Technology fuels each arena as the past and the present merge with cell phone towers, satellite dishes, mosques, and churches, forming the architecture of cities. The imagery offers a frenetic rush of lines and shapes with the dimensional texture of paint, symmetrically divided about and below a central horizon line. In this dystopian vision, Azaceta finds hope for the future in the recent shifts in the Middle East, also enhanced by technology.

On the other hand, Private Drone, 2011, a mixed-media-on-paper work by Glexis Novoa, proposes a differing vision of a futuristic landscape. A colossal drone occupies the center of the composition against golden striped clouds, while other smaller planes fly in the distance. The horizon line, traced with a thin wire that juts out of the sides of the paper, is the bottom line for tiny drawings of a communications tower in Miami, a Russian bust of Lenin, Havana's National Hotel, and other symbolic elements and architecture from different cities of the world.

Landscape is a subliminal presence in Emilio Perez's a mighty good reason, 2010. Its gestural abstraction resonates with the sweep of ocean currents and crashing waves – as if feeling as well as seeing the ocean. (He has been a surfer for many years.) The works begin with layers of paint over a wooden panel, first latex, then acrylic, into which Perez cuts and removes strips of acrylic. His lines take shape intuitively, viscerally. Perez collects phrases that he comes across while reading and often uses them as titles for his paintings.

Teresita Fernández's panoramic Night Writing (Tropic of Cancer), 2011, depicts the aurora borealis. Created using hand-made paper pulp backed with mirrors, it is a unique photographic print that shimmers like the night sky. 'Night writing' alludes to a code developed under Napoleon, intended to convey information without light or sound. It became the basis of braille. In this series of works, indecipherable words in the form of braille-like perforations struggle to communicate language. The Tropic of Cancer, a latitude marking the northern most path of the sun, falls between Cuba and the US.

Along with natural and imaginary places, cities and their architecture have been an inspiration for many of the artists in the exhibition. Transforming a room into a pinhole camera and photographing the results, Abelardo Morell creates disorienting views of familiar surroundings using one of the oldest techniques for creating a photographic image. In Camera Obscura: Manhattan View Looking West in Empty Room, 1996, he superimposes an inverted, exterior view on an interior wall. An empty apartment with only a ladder, perhaps being prepared for the next tenant, is overlaid with a panoramic view of New York City's Upper East Side, West Side, and Central Park, which fills its walls and ceiling.

In The Key of New York City, ca. 1998, a painting by Carlos Rodríguez Cárdenas, the skyline of Manhattan is superimposed over a sword. After having lived in NYC, the artist moved across the Hudson River to an apartment with a view of Manhattan: a landscape that triggered many associations regarding placement and identity. The city as a key, as an island, or a ship connects both his homelands – Cuba and New York. Imagery is reduced to simple geometric forms. The transparency of the pastel colors allows certain depth, as buildings overlap each other, while disappearing in the distance, as if the city was buried in the fog.

Geandy Pavón's Empire, 2013, is part of a body of work in which the artist depicts wrinkled photographs or pieces of paper with iconic, often historical and political images. A trompe l'oeil paper lays against and casts shadows into an otherwise empty canvas. A photograph with a panoramic view of Manhattan's skyline looks as if it had been crumbled before. A pearl necklace curls up on top of it and picks up the golden light of the picture. In the shift from being a photograph to becoming a still life, the represented image carries Pavon's own relationship with its content.

Empire State, 2012-2013, and Chrysler, 2013, from the series No Limits by Alexandre Arrechea, are maquettes for the larger pieces installed last year along New York City's Park Avenue. While the facade and main attributes of the Empire State and the Chrysler buildings are still recognizable in the works, they are modeled into other objects and architecture – the Pentagon, in the case of Empire and a hose-snake, for Chrysler. Making use of the concept of 'elastic architecture,' these landmarks are morphed after economic, political, and social changes in their surroundings.

With a background that combines visual arts and mechanical engineering, Armando Guiller applies math formulas to conceive sculptures such as Helical Work 4, 2006, where the helix is a leitmotif to arrive to its final appearance. In this work, precisely cut sheets of steel and birch plywood of identical shape are combined and lay on top of each other, around a central bar. Slightly spinning in one direction on their way up, these pieces form a spiral column. Studies of rhythm and sound, as well as architecture – especially that of New York – have also influenced Guiller's work.

In Camera No. 19, 2002, by Luis Mallo is part of a wider series where different landscapes can only be seen through fences of all sorts. In this work, a dark green net fence obscures the view of a wild green area near a red house. Lively colors can be discovered through a small opening in the net, from which we can imagine the rest of the picture.

María Martínez Cañas' Untitled [Eakins], 2007, was born out of the photographs taken by José Gómez-Sicre, a prominent mid-century Cuban curator, and friend of the family, who was among the first to promote Latin American art in the United States. His archive includes images from his travels to exhibitions throughout the Americas. After choosing some of these photographs, Martínez-Cañas lays a sheet of tracing paper over part of the images, highlighting some of the lines and shapes, to recreate the compositions. Together with the rest of the works from her Adaptation and Tracing series, they become the artist's personal curatorships with which to provide crossed references and comments that range from the personal to the art historical.

María Elena González's Climb II, 2007, is a triangular sculpture made of a frosted plexi that encases an inner wooden triangle. Stairs form one side of the wooden structure and although they can be seen, the steps cannot be climbed. This work was inspired by González's experience in Rome, where she became fascinated with Catholic reliquaries, and frustrated with not having access to the relics inside of them. This sentiment of alienation transcends that context into other personal and social realms.

Identity and the body have been dominant themes in María Magdalena Campos-Pons' work, along with memory and the experience of displacement. In When I am not Here/Estoy allá (Identity), 1998, three photographs depict the artist covered in brown and white makeup with Spanish and English texts – 'here,' 'allá' (there), 'identity could be a tragedy,' and 'patria una trampa' (homeland is an entrapment). African culture also plays a role in this series of large format Polaroid prints – with particular references to the syncretic practice of Santeria and to the orisha Elegguá, who opens pathways. His hooked stick, the garabato, is seen in one of the three photographs and his colors, red and black, dominate many of the works in this series.

Anthony Goicolea, a first generation Cuban-American, uses his family lineage as an avenue to explore the sense of cultural dislocation, which often accompanies immigration. Aunt (Positive Negative Diptych), 2008, part of his on-going series, 'Related,' depicts a likeness of a family daguerreotype by drawing in negative an image of his aunt as a young girl, posed formally in beautiful clothing. This painstaking image reversal process is followed by a photograph of the image which produces a second generation of this portrait, the mirror positive.

Christian Curiel, introduces self-referential elements in Saved, 2013, an oil and mixed media on panel work depicting a young man. He wears a black hat and gloves, and a red, short-sleeved top. His facial features are not distinguishable and blend into the background. As in most of his paintings where each character is somehow the artist himself, this work becomes a psychological portrait.

Tarnished Chimp (Monkey Mind), 2013, by Katarina Wong, on the other hand, focuses on an emotional state and is one in a series of animal heads the artist casts and then, individualizes. 'Monkey mind,' a term borrowed from Buddhist meditation, refers to the scattered thoughts and chattering in one's head, in contrast to disciplined focus. The chimp's bared teeth suggest insight into the animal nature of the creature. A high gloss, glazed surface freezes the moment. Wong's work acknowledges both raw emotions and the desire for equanimity.

Visual metaphors are employed to probe the psychological in Javier Piñón's series of collages featuring the all-American cowboy as an archetype and hero. Untitled, 2006, features the protagonist climbing a precariously stacked tower of chairs, capturing a sense of disequilibrium and potential loss of control. Piñón's sources for these seamlessly combined collage constructions range from vintage rodeo to classic Hollywood magazines, perhaps connected to his childhood in Texas.

Andrés Serrano's photograph Wunmi Fadipe, Sales Assistant at Investment Bank, 2002, is from the ''America'' series. Created after September 11th, the series explores the diversity of this country through portraiture in an attempt to understand who Americans are. Initially inspired by a request from the New York Times Magazine for photographs for a commemorative issue produced ten days after the attack, the series expanded to over one hundred images of people from many different backgrounds – a Boy Scout, a firefighter, a Playboy Bunny, a homeless man, a postal worker, Snoop Dogg, and Arthur Miller. Wunmi Fadipe's portrait, 50-by-60-inches, is both monumental and heroic.

Alessandra Exposito's Cinnamon, 2008, weaves together layers of associations and references. Using an actual horse skull painted pink and embellished with a large rack of antlers from which carrots and a horseshoe hang and flowers are placed, Exposito establishes a fictional narrative around the life of Cinnamon. With his name in script above his portrait, painted on the skull, Cinnamon is also surrounded by painted flowers and snapshots of a human family. At once tied to trophy culture, it also easily qualifies as an adolescent girl's object of desire. The sculpture too serves as a memento mori.

Jairo Alfonso draws an accumulation of objects from every day life. In 386, 2013, a Remington typewriter, a Singer sewing machine, an American toy car from the 50s, and a piggy bank, are among the many objects drawn closely together and superimposed in a kind of horror vacui. The number 386, in the title, indicates the number of objects drawn. Each of them is life size. This series is inspired by the peculiar behavior of hoarding. Alfonso pairs it with the impulse of consuming. He is interested in how specific objects define a generation, a civilization. At the same time, drawing frantically and cataloguing objects becomes his obsession.

The improbable combination of ordinary objects is the territory mined by Los Carpinteros, a conceptual art collective. (The duo is comprised of Marco Antonio Castillo Valdés and Dagoberto Rodríguez Sánchez, and originally included Alexandre Arrechea, who launched a solo career in 2003.) Trash-Shopping Cart, 2008, a combination trash container and shopping cart, is at once contradictory and an ingenious idea. The artifact itself is a summary of the cyclic process that goes from buying goods to discarding them. With the look of a functional object that is flawlessly mass-produced, it offers humorous comments on consumerism.

Cuban America: An Empire State of Mind brings together a group of artists with diverse impressions of the world they live in today. Some artists reflect on the shifting politics and society in the United States; others envision futuristic landscapes, or reconsider the natural ones through their own, personal experiences. The city and its architecture are common ground for many works, while self-representation and identity find their way through portraits and objects. Works in this exhibition add to the construction of a fresh, as well as complex, image of America: a Cuban America.


- March 17, 2014, 6 - 8pm
Reception and Performance by artist Carmelita Tropicana

- March 18, 2014 at 6pm
In a Material World: Cubans Discuss Their America
A conversation with Ileana Fuentes and Edmundo Desnoes, led by Elvis Fuentes

-April 8, 2014 at 6 pm
Lecture: Material Culture and Archive: Cuba and the United States, by María Antonia Cabrera
Lecture: Possible Destinies: Reflections on Cuban/American Video, by curator Meyken Barreto

- May 8, 2014 at 12:30pm
Gallery talk: The City and the Humanities, gallery talk with three of the artists from the exhibition


Project [SFIP] @ Ben Uri Museum, London


Video art from Africa
Curated by Kisito Assangni

13- 30 March 2014

108a Boundary road
London NW8 ORH

Said Afifi | Nirveda Alleck | Jude Anogwih | Younes Baba-Ali | Rehema Chachage | Saidou Dicko | Ndoye Douts | Kokou Ekouagou | Mohamed El Baz | Samba Fall | Dimitri Fagbohoun | Wanja Kimani | Nicene Kossentini | Kai Lossgott | Michele Magema | Nathalie Mba Bikoro | Victor Mutelekesha | Johan Thom | Saliou Traoré | Guy Woueté | Ezra Wube.

PV: Thursday 13 March > 6.30 - 8.30pm
Panel discussion: Monday 17 March > 6.30pm
with David Glasser (Chair, Ben Uri Gallery) | Yvette Greslé (South African Art critic and writer) | Dr Marie Rodet (Lecturer in African History, Soas London) | Kisito Assangni (Independent curator) moderated by curator Alix Smith.

Free admission!

Daniel Harms @ BAP//ISTANBUL

----------------> 14 April 2014

Luleci Hendek 20 Tophane

6th March – 14th April 2014

BAP//ISTANBUL presents DANIEL HARMS' second solo exhibition „HOLD TIGHT' in Istanbul.

The exhibition 'HOLD TIGHT' displays twelve new exhibits by Daniel Harms. The artist was born in Hamburg in 1980 and has been living in Berlin since 2007. His colourful images have titles such as „Aasfresser' (scavenger) or „Konflikt' (conflict), banned onto large-format canvases in acrylic and charcoal. Daniel Harms' collage-like art depicts alienation and connections, his pictures are brave and full of allusions. 'Here we have an artist stepping on the throttle. Full speed. A tour de force through various styles of alternative art and rock music,' is how art historian Christoph Tannert (translated by Mason Ellis Murray) puts it. Harms' work is inspired by comics and characters in children's books. It is radical and full of strong emotions.
A native of Hamburg Daniel Harms is motivated by his personal history and events deeply rooted in his home town of Hamburg. His previous last solo exhibition presented by BERLINARTPROJECTS and titled 'Redux' was shown in the gallery in Berlin.

BERLINARTPROJECTS, based in a former automobile factory in Berlin-Kreuzberg, works closely together with young, upcoming artists. The gallery primarily supports and promotes recent art school graduates during the important stage when they enter the art world and it accompanies them along the way. Another important emphasis is the focus on contemporary artists from Berlin and Istanbul, an aspect reflected in both the selection of artists featured in its programme and its close ties to the Turkish art fair Contemporary Istanbul. In June 2012 BERLINARTPROJECTS opened up a large showroom, BAP//ISTANBUL in Tophane, a trendy district of Istanbul, in which you can also find the Museum Istanbul Modern and the Mimar Sinan University of fine arts.

DOCTORATE IN FINE ART @ University of Hertfordshire

Application deadline 1 August 2014

University of Hertfordshire
College Lane
Hatfield, AL109AB

A limited number of places (5) on the online doctorate in Fine Art, with option of studio space at the University
Full or Part-time Modes
Focus on practice, the contribution of professional practice to research, and practice-based methods

Announcement: 5 new places with studio space on the DFA at the University.

The University of Hertfordshire is making available 5 new places on its innovative distance-learning Professional Doctorate in Fine Art. In addition to the opportunity for overseas-based study in your own country, each of these new places has an individual studio space at the university that you can access for blocks of time.

The DFA uses a specially designed study package delivered online that enables you to build your skills as a researcher while staying in your home location and your own studio. The program offers expert supervision for your personal projects, and leads to high level innovative practice and a sound understanding of the artist as researcher. Candidates may study part-time or full-time, and swap between modes, for example coming to UH for a full-time intensive block in the university studios during a part-time degree, thereby shortening the overall study period.

Although this program has been designed around the needs of overseas-based students, it is equally available to UK students. Study and practice Fine Art just 25 minutes from London, with access to fully equipped workshops and technical support! Have time for yourself in your own studio and have access to university life and the buzz of Art School.
or email the Program Director
Prof Michael Biggs <>

Sound Development City 2014

Application deadline:
April 25, 2014

Heller Enterprises
Giessereistrasse 5
8005 Zürich
Duscha Kistler
Phone: +41 43 233 91 37

Image: Sound Development City 2013 participant Malose Malahlela conducting a 'Third Space' sound walk in Marseille. Photo by Patrice Terraz, October 2013.

Every year in late summer, Sound Development City sends ten artists on a three-week-long expedition between two European cities.
Sound Development City is an adventure, a place for experimentation, and a research trip.

Summer Expedition 2014:
August 28 - September 13 


Sound Development City was initiated in 2012 by Sound Development with the aim of providing creative freedom to artists working in various disciplines. Every year in late summer, Sound Development City sends ten artists on a three-week-long expedition between two European cities. During the expedition, the artists work on individual projects, explore new cities, cultures, and different living environments, and establish new connections.
Sound Development City is an adventure, a place for experimentation, and a research trip. The expedition gives artists time – time for processes to develop, for experimentation, for taking new paths – but also going astray, and for detecting and discovering the unexpected.


The expedition 2014 will explore the cities of Riga, Helsinki and the Baltic Sea area. We are looking for interventions, sound surveys, performances, experiments, and artistic research projects that will benefit from being on the road, and will probe urban environments as sites of both playfulness as well as social involvement. Riga and Helsinki serve as resonating urban spaces, as work material, sources of inspiration, and playground for public presentations.

Each edition of Sound Development City follows a specific thematic focus. Participants are selected through an open call.
Sound Development City 2014 is seeking projects that engage with theme Mind the Gap! in an independent and dedicated manner.


The gap, it seems, is everywhere: between here and there, me and you, yesterday and today, between Riga and Helsinki. It can cleave and unite; one either trips over or is inclined to leap. In fact these gaps carve out a proverbial space that can be used creatively and become a new artistic reality.

On that note, Mind the Gap! should be understood as an invitation to look inward and sharpen the senses to subtle in-between states, recognize ruptures, transitions and no-man’s-land.

Sound Development City is looking for project proposals and work theses that comply with the invitation to Mind the Gap! and that could utilize the three-week expedition from Riga to Helsinki for realizing these endeavors.


Artists working in all disciplines can apply through the open call process . The key requirements are curiosity, openness to experimentation, process-oriented work, and adventurousness. We also welcome an inter-disciplinary approach and readiness to collaborate.

The expedition format itself is meant both as practical instructions as well as metaphor. Sound Development City is a studio on the road, a research trip for artists and their projects.

An international Jury of five will select about 10 participants from the submitted applications.
The jury’s decision will be made public no later than May 30, 2014.

Application details:
Application deadline: April 25, 2014
Application contact:


Sound Development City is made possible by Sound Development . Travel costs, daily expenses and budget required for materializing the individual projects are supplied. In addition, Sound Development City provides a stipend of 3,000 Euros to all participants.

Participants must agree to take part in the expedition throughout its entire duration in an active and comprehensive manner. Public presentation and networking events are integral to the program.

The expedition will be documented with photos and communicated online and via a self-produced radio broadcast. Sound Development City reserves the right to use work provided by participants for press and public relations purposes.

Following the end of the expedition, the participating artists will collaborate with Sound Development City on a print publication. Artists must agree to generate content that would be used for communication and documentation and be published.

The works produced during the expedition belong to the artists.

Sound Development City  is a project by Sound Development . It was developed in collaboration with Heller Enterprises . The project is financed by Sound Development and organized by Heller Enterprises.

Further project information:


22 March - 27 April 2014

M Contemporary
37 Ocean Street
Sydney 2025

From the Streets will bring together street artists from around the world in an exhibition highlighting the many different genres of street art and the different practices that artists utilise in their work.

Adnate (Melbourne)
Beastman (Sydney)
Chris Uphues (New York)
Ever (Buenos Aires)
Jaz (Buenos Aires)
Jef Aerosol (Lille)
Mademoiselle Maurice (Paris)
Morley (LA)
Shannon Crees (Sydney)
Slinkachu (London)
Will Coles (Sydney)

Three Australian artists working live at the gallery to produce works to be auctioned in aid of Operation Smile. Watch the artists work and enjoy opening drinks from 4-6pm.

9th Biennial of Photography and Visual Arts, Belgium

-------------------> 25 May 2014

MNEMA - Cité Miroir
Boulevard d’Avroy 86
Liège, Belgium

The 9th International Biennial of Photography and Visual Arts - Liège presents the World Premier of Robert Boyd's 3-channel video installation, The Man Who Fell To Earth. Boyd's work will be showing at MNEMA Cité Miroir in Liège as part of this year's Biennial entitled Pixels of Paradise: Image & Belief.

Robert Boyd’s triptych video installation is a poignant and forceful montage on the fall of regimes and men. Introduced by footage of former Romanian dictator Nicolae Caeusescu’s deadly fall from power in December of 1989, the video proceeds to images of Saddam Hussein’s subsequent demise, George W. Bush’s visible decline in political influence, the cracks forming in Kim Yong Ill’s reign in North Korea and the political tumult resulting from Mahmoud Ahmadinejad 2009 re-election in Iran.

Interspersed throughout dreamlike images of mass spectacles and military processionals are clips from Nicholas Roeg’s sci-fi classic of the same title, in which a humanoid alien who lands on Earth in search of a way to save his dying home planet becomes lost to despair, embitterment, and alcoholism. By comparing the end games of contemporary heads of state to the dejected alien of Roeg’s film, Boyd's video reflects on the transient nature of power and its ability to corrupt, while serving as a harbinger to the politically ostentatious…and to lonely aliens.