art magazine
april 2021
gordon Coldwell collective 18 Greta
EDITOR’s... I am really happy to introduce the April issue to you. Our project grows and proceeds smoothly. The whole Western world is slowly starting up again. This is a number full of art and information. We have given space to the works of two artists from our collectives, Gordon Coldwell - Collective 18 and David Atozki - Collective 19 -, the magazine was created to promote and support the NNC VWorld’s artists. Together with them, you will also find the finalists and winners of April Challenge. In addition, two interesting projects by Radmila Uroševic from France - Collective 18 and her indoor exhibition, and the book by artist Pablo Caviedes Artist from NYC: “On the Map,” presents immigration as a common denominator of American identity. In addition to them our Special Guest by Vanessa Rusci and the Artist of the month, with us all the artists of the Collectives of our gallery. We are working and expanding collaborations with gallery owners and curators to give maximum visibility to the art we select because we believe that art can be the medicine for all the ills in the world. Enjoy the reading!
Valentine NO NAME COLLECTIVE MAGAZINE - ART MAGAZINE © 2027 by No Name Collective Gallery LONDON Registered office: London W7 2JB - V London - UK Non-profit cultural Art Project VWorld Art Project Leaf Group Commerce All rights reserved. Virtual Gallery V Amsterdam V Gallery art project From September 2019 : Business EU Manager Business NO NAME COLLECTIVE info@nonamecollectivegallery.co.uk
Editor in Chief Victoria Pagesour
Pubblished by No Name Collective Gallery London (Issuu - Calaméo - peecho.com)
Art Curators Celine Flamboyant Valentine H.Hyman Special Guest Curator Vanessa Rusci Advertising Enquiries info@nonamecollectivegallery.co.uk
COVER BY Radmila Uroševic - collective 18
No Name Collective Magazine Mission Statement
A challenge for artists. Each month we select artists who will participate in the grand final of December 2021. Among the finalists, the artists who will be part of our next Collective will be selected. The winners will have space on our website, in our magazine and in our events. In each issue an interview with one of our artists and the selected of the month. We also dedicate a space to a special guest and artist of the month. At the bottom you will find the artists of our Collectives currently represented. Enjoy the reading! We are looking for talent: candidates for the Challenge on our site.
NO NAME COLLECTIVE MAGAZINE - ART MAGAZINE © 2027 by No Name Collective Gallery LONDON
interview Collective 18
gordon coldwell challenge 2018
Annunciation of the Wrong Madonna
Tell us about your artistic work: why do you do it, what do you want to express, if you have a precise style and a specific technique or change them in every project. Up until my 50s I made artworks using traditional paint and drawing material & techniques - you can see examples: http:// www.coldwellandcoldwell.co.uk/early-work. At the time of writing, I am 67 - for the last 6 years - partly due to arthritis and Parkinson’s disease I have made digital paintings pretty much every day. Over the past 6 years, I have made 1000+ artworks (not all good)... the better works can be seen in themed collections here: http://www.coldwellandcoldwell.co.uk/gordon-collections. All of my work is representational and collectively might be described as Art About Art.In terms of a ‘precise style’, I think the most accurate answer I can give is that my work is eclectic in terms of approach, sources and subjects... every day I ask myself questions about what I am making, who is it for, what is it about, does it have value... the answer lies somewhere in the following conundrum: I strive to find my own pictorial language, which innevitably references a lifetime of looking at and thinking about art... I would like to think that my work leaves the viewer with a ‘smile in the mind’ and that if they see a lot of my work they might be able to see the same hand and brain at work.
We share: http://www.coldwellandcoldwell.co.uk/
What’s a typical day in Gordon Coldwell’s life? I usually work from 6.30am to 5.30pm with the odd short break. On warm, sunny days, I might have an hour long siesta in my garden. Evenings are spent in the company of the artist Caron Coldwell (my wife) - a ‘colourist’ painter.
I presented an artist’s speech via Zoom on March 30, 2021:
Traveling for art, for example for personal exhibitions or for other art exhibitions, you want to see? Do you like to see others’ art? See my exhibition history: http://www.coldwellandcoldwell.co.uk/about A lifetime of studying and teaching art & design has led me to be selective about the art I look at and study, and the exhibitions, galleries and museums I visit. Wherever I travel I make an effort to visit galleries and museums e.g. Amsterdam, The Hague, Paris, Barcelona, Florence, Athens, Cairo etc. Where are your favorite places or themes where you can find inspiration for your work? I have my own substantial collection of books about art and artists. I visit regional and London based galleries regularly and use the internet as a research tool... I have been making artworks via a collaborative ‘mail art’ project since 1997. Have you studied art or are you self-taught? I studied Art at university and taught art & design for 20 years in colleges... I taught myself how to use image manipulating software - after 6 years of learning, I am still learning!
Do you remember the first artistic work you did? I can’t, however, I still have a drawing I made at Sunday School when aged 7. I did have my own secret Within which mood of art, you place your artwork? imaginary horse when I was 4... I think that a creaMy approaches to work are a mix of the best of tive artistic invention. Pop Art, aspects of Surrealism and Dada - the outcomes might deal with Political Satire, Art What do you think about social networks and the About Art (I often revisit and remodel classic works web about art and artists? They provide access to the of art from e.g. the Dutch 17th century Masters millions of images being made by professional and or Italian Renaissance favourites), Conflict and amateur artists ‘today’ - the fact that they are all Current Affairs... others have described my work available to be viewed on screens varying in size and projected with light leaves many unanswered queas Neo-Pop... stions e.g. what gets ‘liked’ on Twitter isn’t the same Could you tell us something about the art in your as on Instagram. To really appreciate a visual work country? Is there an active artistic community? it needs to be viewed as an object that has sensory Are you part of it? I am a UK based artist. I am qualities beyond those presented by light. not part of any art group or movement. There are a number of artists and art critics whose work Could you talk to us about the idea of your project? I value and respect. However, you might visit: Yes, as a former Art College lecturer and Head of Department AND former Branding business owner, http://www.coldwellandcoldwell.co.uk/abou I am a practiced, confident and capable public speaker.
https://www.clayhillarts.co.uk/activity/artist-talkgordon-coldwell/
Gordon Coldwell Friends ReUnited in the Garden of Earthly Delights
Gordon Coldwell - Grand National Parade
You have organized exhibitions in the past. How does it feel to involve others in your art? I have organised and curated many student exhibitions in the past, had numerous solo exhibitions and been represented in many group shows. What is your favorite artwork? That’s a difficult question to answer... it might be a work by Rembrandt, Vermeer, Hals, Richard Hamilton, Duchamp, Peter Blake, Caravaggio, Velazquez or someone else... it depends on the day or the moment. If you could show off your artwork anywhere in the world, where would you choose?Another difficult question to answer... I could list 1 or more venues... I think it more important to think about who would see the work. If I were to be the only visitor to my own exhibition, a gallery with spaces like those in Bristol’s Arnolfini would be good or the Houser & Wirth Gallery in Bruton, Somerset. Are you reading a book at the moment? There is one book you have on your reading list? Caravaggio - A Life Sacred & Profane by Andrew Graham Dixon - ‘What Am I Doing Here’ by Bruce Chatwin - Haroun & The Sea of Stories by Salman Rushdie Is there a famous contemporary artist, that you want to report? And an artist who is not famous but who you like and whose artistic research do you share? The artist who has had the greatest influence on my thinking about art is Richard Hamilton (Pop Artist), who died in 2011. You have been contacted by No Name Collective Gallery and did not know what kind of project we would have made: are you happy to trust us? Trust is a problematic concept... to date, I have no reason not to trust NNC. We ask for a small fee for the selection of the magazine and our other calls (artistic residencies and art clashes) but for the artists, we have selected and which we will select every year then we work for free. What do you think about this thing? Since I have been selected, in theory, I am delighted.
CONTACT http://www.coldwellandcoldwell.co.uk/ Instagram https://www.instagram.com/gordonartworks/ Twitter https://twitter.com/ColdwellContact Website
ISSUU Flipbooks NOW & THEN
https://issuu.com/gordonartworks/docs/now_then US & THEM https://issuu.com/gordonartworks/docs/us_them1 WHEN & WHY https://issuu.com/gordonartworks/docs/when_why BREXIT https://issuu.com/gordonartworks/docs/brexit TRUMP https://issuu.com/gordonartworks/docs/trump_new YouTube Videos
https://www.youtube.com/watch?v=wTgteU6fpVU&t=498s Art About Art https://www.youtube.com/watch?v=rwzLXV8HJNk&t=14s Art About Brexit https://www.youtube.com/watch?v=bhQq979eysM&t=50s Art About Trump https://www.youtube.com/watch?v=XOtTDGS5JaA&t=35s
Art Men & Virtual Exhibitions
https://www.nonamecollectivegallery.co.uk/gordon-coldwell
Gordon Coldwell - Culture Club
Gordon Coldwell -
Milk MADE
Gordon Coldwell - Hollywood Las Meninas
Gordon Coldwell - The Unbiquity of Icons
Gordon Coldwell Taking Liberty - ME TOO
Gordon Coldwell Guardians of the Sacred Goat
Gordon Coldwell
Gordon was born in Newcastle Upon Tyne (UK) in 1954. His mother was Dutch and could draw well. Both of these facts are significant in terms of influences and experiences. As a teenager, his summer holidays were spent in the Dutch seaside town of Scheveningen (his mother’s birthplace). He would stay with his grandmother and visit relatives... great uncles who collected stamps and others who painted everyday objects in the style of 17th-century artists... an uncle who was a graphic designer. They had landscape and still life paintings on their walls. Scheveningen is close to the Hague, and Amsterdam an easy train journey away. Both places have world-famous art galleries that Gordon visited with a Dutch cousin. To this day, the emotionally moving experience of seeing Vermeer’s beautifully quiet Girl with a Pearl Earring and standing in front of Rembrandt’s frozen yet energy filled, The Night Watch has stayed with him. His art teacher at secondary school was a graduate of Newcastle University. He had been taught by Richard Hamilton (Pop Artist) and Victor Pasmore (Formal Abstraction). They went to exhibitions at the University’s Hatton Gallery to see exhibitions of work by Kurt Schwitters (Merz/Dada Art) and John Heartfield (Anti Nazi Montage/Collage Art). All of these early experiences had a major impact on his career choice and still inform the artworks he makes. Practice His work might broadly be described as ‘Art About Art’ - it is multi-layered in construction and in potential meaning. He makes his artworks by importing pictorial content into two kinds of image manipulating software, the composition is then constructed, developed and finessed digitally. Often utilising elements taken from classic ‘Old Master’ paintings, he re-presents them in new contexts and relationships. And, by fusing history with contemporary additions, he works with the iconic and the cultural, merging them to create new narratives. His artworks are, in part, referential in their intent rather than simply appropriated or copied from masterworks. He sees his imitation as a sincere form of flattery. In addition to explicit references, some may find humour in his alterations. By leaving out familiar elements or by adding new elements to known works, or reconfiguring components within them, much of his work is a visual commentary. Viewers often recognise ‘familiar’ elements in his re-imagined compositions. However, seeing them in unexpected and surprising compositions can lead to a reassessment of the original… and a ‘smile in the mind’ in witnessing the new. All of Gordon’s artworks have the potential to be produced on a very large scale. Political Works In 1970, Gordon saw an exhibition of John Heartfield’s ‘Anti Nazi’ work at Newcastle University’s Hatton Gallery in the NE of England - he found Heartfield’s works to be profound, apocalyptic and poster-like compositions. The exhibition left a lifelong impact on his thinking about the importance of art as a means of communicating concerns about political developments that have the potential to lead to conflict and social unrest. Since 2016, Gordon has made a significant body of ‘Anti Donald Trump’ and ‘Anti BREXIT’ artworks. In August of 2020, he said: “The political landscape in the USA (re: Trump), UK (re: BREXIT) and elsewhere, seems to me to have undergone a significant shift to the right. Strategically presenting contrived, accusative, provocative and distorted bite-sized phrases that are essentially emotive, manipulating and pandering. These messages are the essence of today’s ‘climate of ideas’ and have Populist appeal. My response has and continues to be one of making artworks, often remaking, re-modelling and re-populating ‘Old Master’ painting compositions to present oblique and at times humorous or ambiguous narrative and comment on, for example, President Trump’s extremely odd, self-caricatured appearance and behaviour. His use of language, his spitefulness etc. all point to a potential for extreme outcomes… AND… the politicians responsible for the disharmony and fracture that is self-evident in the UK because of the whole BREXIT process, which could ultimately have a seriously damaging impact on the UK’s economy and social cohesion.” Art Heroes Rembrandt van Rijn, Jan Vermeer, Frans Hals, Michelangelo Merisi da Caravaggio, Diego Velasquez, George Stubbs, Théodore Gericault, Jean-Auguste-Dominique Ingres, Eugène Delacroix, Georges Seurat, Pablo Picasso, Kurt Schwitters, Marcel Duchamp, Andrew Wyeth, Victor Pasmore, Jim Dine, Larry Rivers, Richard Hamilton, Peter Blake, George Deem, John Heartfield. Exhibitions Gordon has exhibited (and, on occasions, won awards) at Worthing Museum & Art Gallery (West Sussex), Ilminster Arts Centre, The Tacchi Morris Centre (Taunton), The Sugar Cube Gallery (Hambridge), The Great Bow Wharf (Langport), Artifex Gallery (Sutton Coldfield) , Thelma Hulbert Gallery (Honiton), Black Swan Arts Centre (Frome), The Atkinson Gallery (Millfield), Evolver Cover Exhibitions (Wessex), Bernie Grant Centre (Tottenham), Blue Cedar Printworks Gallery (Glastonbury)… and CICCIC (Creative Innovation Centre, Taunton). Abbreviated CV - Education and Career Born Newcastle upon Tyne 1954 Bachelor of Education Hons Degree - Warwick University 1976 Art Teacher - Saintbridge School, Gloucester 1976-78 Art & Design Lecturer - West Sussex College of Design 1979-86 Head of Art, Design & Media - Bridgwater College 1987-1996 Marketing Manager - Bridgwater College 1996 - 2007 Owner of ‘I More Than Brand’ - Marketing Business 2007-2014 Full-Time artist 2014 - Present
interview collective 19
David Atozki CHALLENGE 2019
Tell us about your artistic work: why do you do it, what do you want to express, if you have a precise style and a specific technique or change them in every project. My work starts from the craft learned in a family workshop, to later expand through my own concerns. The beginning is in jewellery, but it does not stick to the artisan tradition and is nourished by components that provide a discourse linked to contemporary. My goal is to obtain pieces that do not remain in something merely decorative, simple complements, but that transmit emotions, display their symbolic value and can tell a story. Depending on the piece to be made, the style or technique can change, although normally I like to play with very basic elements to discover all the range they can give me. Stretching as much as you can the possibilities of the known to achieve unknown results. In this way, many times I start from a previously drawn design, and during the process the piece asks me a different way and ends up being something different than what I had initially imagined. This has to do with the issue of chance and its influence on our lives, a question that often overflows my work. An example of this is the pieces I make with stones collected from the ground. Stones without any monetary value that, however, contain a sentimental value linked to the encounter. So, something so small is resized by giving it a fair prominence. This has a poetic and also a political undertone, since it brings into focus the small, the discreet. The opposite of what we find in our present society, where the big, the spectacular, is what the system applauds.
Brava (2019) Silver, found stone
Meteor (2018) Silver, found stone
Proun IV (2019) Silver, enamel
Within which mood of art you place your Artwork? As I said before, my work is part of a millennial craft, but it is not limited to the practice of handicrafts as an exercise that simply repeats some learned techniques, but uses them to create unique pieces. Therefore, my work flows between contemporary crafts and art, with great influence of the language of sculpture. By never repeating the same design, making each piece one by one, they can be considered small sculptures, works of art to be able to dress. The historical avant-gardes and contemporary art are reflected in them, adding a high artistic value.
Proun IV (2019) Silver, enamel
Lost and found (2019) Silver, found stone
Could you tell us something about the art in your country? Is there an active artistic community? Are you part of it? As is well known, Spain is a country with a long artistic tradition. All that cultural legacy remains in the collective subconscious after many centuries giving birth to brilliant artists. That is why, even contemporary art derives from those sources, and the vanguards that broke with academicism during the last century could not deny coming from this genealogy. The current artistic panorama in my country is very diverse, rich in proposals of all kinds and with many young artists working at a high level. On the other hand, artistic practice often takes place in very precarious conditions, with great dependence on governmental institutions or foundations associated with banks or insurers. Private initiative is costly to develop and a long-postponed Sponsorship Act is still expected. Today, and for a few years, I have my workshop in an industrial building that I share with other artists. In this space, I work with other creators who develop their work in fields other than mine: photography, video art, installation, sculpture… This greatly enriches the experience, having around me artists younger than me and of great talent, who with their work also influence mine. What’s a typical day in David’s life? I usually go to the workshop every day to work on new pieces or commissions that have been made for me. I am fortunate that our studio is an ideal place to work, with lots of natural light and large windows with beautiful views. It is a very inspiring place, where you often spend the whole day almost without knowing it. Outside the workshop I also spent a lot of time on my other occupation: the theatre. I work in the production department of a municipal theatre and also as an actor and puppeteer in a professional company. So I combine my creative side with the jewelry that I develop in the theatre. Traveling for art, for example for personal exhibitions or for other art exhibitions you want to see? Do you like to see others’ art? In all my travels I am interested in discovering the artistic work that takes place in the places I visit. Not only seeing the great museums, that too, but visiting independent galleries and even artists’ workshops when that is possible. It is always inspiring to know the work of other artists, even when they do a job that has nothing to do with yours. You can always find a different point of view, a new perspective that you had never thought of. I don’t believe in the figure of the artist himself, isolated from the world with his own work. On the contrary, sharing your work and knowing other artists enriches you personally, and somehow that will end up being reflected in your work. Where are your favorite places or themes where you can find inspiration for your work? I really like to walk, wander aimlessly and get lost. Sometimes during these walks I find ideas to develop that often have to do directly with the walk itself. It’s the case I was talking about earlier. I am very interested in the subject of chance, and on my way stones appear that were undoubtedly waiting for me to bend down to pick them up and turn them into an artistic object. I don’t collect all the stones I find, of course, only those that were meant for it. Working with these stones, as I do with other elements such as wood, shells or plastics, also positions my work before the consumer world that devours the planet. Here, the imprint of Art Povera is clear. This artistic movement is a great inspiration to me, no doubt, like other great artists and schools throughout the history of art. Henry Moore, Jorge Oteiza and his experimentation of the void, the Bauhaus...
Islatu Oteiza (2018) Silver
Have you studied art or are you self-taught? My academic training was with a degree in Dramatic Art, to develop later the theatrical work I mentioned earlier. In the specific field of art, and my approach to it from jewelry, after learning the craft in a workshop of my family all my subsequent growth has been self-taught. Do you remember the first artistic work you did? When I was an apprentice and worked with my family, many years ago, the kind of jewelry we made was very classic and had nothing to do with my current style. I remember at the time, there was a time when a friend asked me to make her some earrings. But she didn’t want classic earrings, she wanted me to do whatever I wanted, something personal that no one else would wear. I remember the feeling I had then of being able to do whatever I wanted, with complete freedom, without adhering to the style learned from my family. I made some very large earrings, so they were not as common as now, with rounded geometric shapes as if they were DNA spirals. Surely those earrings were the first authentically personal piece I made in my life. Pity I lost that contact and didn’t get a picture of them! What do you think about social networks and the web about art and artists? Formerly it was very difficult to cross the barrier that was your closest circle. Outside the local circuits, only in special events such as fairs or temporary exhibitions could you get to know the work of others and make yours known. With the development of the internet and social networks, today we can know what is done anywhere in the world and access an unlimited image bank at any time. A feedback in which you can show your work and seeing that of other artists we all get rich. Well used, Internet can be a source of knowledge for anyone. We can find information about the artist we want, resources, tools, calls. I do consider this to be a very positive way of communicating and continuing to learn. Could you talk to us about the idea of your project? In 2018 I made a series of pieces in homage to the artist Antoni Tàpies. In them you can see some of the characteristics that define my work, such as the combination of noble materials with other more common ones, something that also happened in the work of Tàpies. The painting of the brilliant artist had a material quality that overflowed the canvas, and I think it makes it very interesting to explore from other artistic disciplines. I am also very interested in the spiritual projection of his work, which contains a great humanism and with which I fully connect. These pieces were exhibited at the National Museum of Decorative Arts in Madrid, selected in the III Contemporary Goldsmithing and Jewelry Exhibition.
Homage to Tàpies I Silver, found stone, jasper
Homage to Tàpies II Silver
Homage to Tàpies III Silver, found stone, onyx
http://www.culturaydeporte.gob.es/mnartesdecorativas/exposiciones/historico/2019.html
You have organized exhibitions in the past. How does it feel to involve others in your art? Confronting your work with other artists is always interesting. Synergies are always created and a dialogue is completed between the exposed pieces that enrich them. Likewise, making your work known to people who have no relation to the art world is necessary, and I like to show it to know their reaction and see what it does to them. Although it is always a question of creating something personal, the work acquires its full meaning when it is shared with a receiver. Otherwise, it wouldn’t make much sense. What is your favorite artwork? It’s very complicated to name a single work of art your favorite. I have very eclectic tastes, so I am interested in very different things, and over time I have also been able to have different preferences. In any case, to cite one, I will name a “Baignade à Asnières” (1884), from Seurat. I remember how, despite being such a well-known painting, when I had it in front of me at the National Gallery in London, it impressed me. For me it is an example of how painting can have great power, for a long time I did not get rid of its influence and could not stop looking at it. Despite his apparent placidity, the author portrays the most disadvantaged classes, who bathed in this stretch of the Seine River because of the impossibility of going to other, more affluent areas. https://www.nationalgallery.org.uk/paintings/georges-seurat-bathers-at-asnieres Are you reading a book at the moment? I usually read more than one book at the same time. In addition to narrative, I like to read poetry and also essay. For professional reasons it is normal for me to read dramatic literature, and right now I am reading several Shakespeare comedies, as I take part in a show about female characters in the Shakespearean theatre. I have also “Sobre héroes y tumbas”, by Ernesto Sábato, a superlative novel, and in between I am rereading “Las moras agraces”, a book of poems by the Spanish author Carmen Jodra. Is there a famous contemporary artist that you want to report? Among contemporary Spanish artists I would like to mention Susana Solano, one of the most relevant figures of our art with a great international projection. His work, especially in sculpture, interests me a lot and I always keep it in mind as an influence on my work. And an artist who is not famous but who you like and whose artistic research do you share? I invite you to know the work of my colleagues. It is really interesting, each in their proposal: Florencia Rojas and Julia Llerena. You have been contacted by No Name Collective Gallery and did not know what kind of project we would have made: are you happy to trust us? Of course. I think this is a great initiative and I am happy and grateful to be involved in it. NNC Gallery is doing a great job of showing the work of many artists and it is a pride to have been included among them. We ask for a small fee for the selection of the magazine and our other calls (artistic residencies and art clashes) but for the artists, we have selected and which we will select every year then we work for free. What do you think about this thing? It represents a way to manage the entire NNC Gallery activity in a fair and proportionate manner. For the artist it is not an excessive expense and in return he gets the opportunity to make known his work in an area that would otherwise be difficult to access. For this reason the work of NNC Gallery is even more appreciated. David Atozk, spain www.nonamecollectivegallery.co.uk/portfolio/david-atozki
Forest refuge (2019) Bracelet. Silver, wood, bronze.
Landscape I (2018) Necklace. Silver, agate.
Marina (2018) Earrings. Silver.
Home away from the void (2019) Object. Silver, wood, shell, slate.
We’re not territory (2019) Earrings.
Woodoo Voodoo Heart (2018) Brooch, pendant. Silver, wood, majorica pearls.
The Durruti column (2019) Brooch. Silver, jasper, agate.
Proun II (2019) Brooch. Silver, gold, pearls.
Spilled heart (2018) Brooch. Silver, rubber, acrylic.
I was born in Pamplona, north of Spain, in 1970. Parallel to my studies in drama, I learned the trade of jeweler in a family workshop. After several years working with my family, focusing mainly on classic jewelry, I started my own career to develop a type of jewelry closer to my concerns. Over the years I have been creating unique pieces, designs that I never repeat, so that the person who has a piece of mine receives a certificate of authenticity and exclusive design. At the same time as I made my designs, I also worked for other jewelers, although in recent years I have focused only on my own work. The jewellery work I have always approached from an artistic point of view. At the same time I have continued to work in the theatre sector, combining both artistic disciplines professionally.
CHALLENGE 21
giuseppe francavilla italy
April SHORTLIST
Ritzenthaler Theotime France
Federica Zianni Italy
Maree Hensey ireland
Laura Sandroni italy
Andrea Cerquiglini
Italy
camila Rodriguez Triana colombia
Enzo Tramontano
italy
nuria gonzalez Alcaide Spain
Giannis Stempilis Greece
Giovanni Marceddu italy
SELECTION april 2021
Barbara Porczynska
Pavel Feat
John Boudreau
soufflet Pierre
Nina Schonian Michelle Marrod
valentina Albino chiara Ferrin
dione kefalas
Frederick Valentin
Olivia Maria da Costa
Xavier Ramos Sol
Irina Hvalina
Ronald Paredes
Frenchaire Gardner
Gerhard Fresacher
Margarita Baranova
Arthur Gabbas
Focus on
home Exhibition, NNC, Radmila Urosevic Victoria Pagesour interviews Radmila Urosevic
How did you come up with the idea of creating an exhibition in your home? As I have been working in people’s places in the past, to put my artworks in a domestic context, exhibiting in my home seemed obvious to me. In the times of lockdown, especially here in France where during the pandemic all places of exhibition have been closed, I thought of using my own space to exhibit. My artworks need to take place a real space to be variable and to live. Showing it in a context matters to me, not just a picture or a White Cube, which is also interesting but does not put the viewer in a domestic context. I have also been disappointed by the lack of projects about the Covid-19 here in France. After the first lockdown, as soon at the galleries had reopen artists have been exhibiting but mainly without a reflection about our times. For most of them, they have been showing their usual artworks, and there was no reflection about the lockdown itself or the Coronavirus. Only a very few pandemic projects have been done. I thought that, as an artist and a visual arts researcher I should think about the context and do something about it, not just sit and wait that the pandemic goes away. Besides my artwork is made to take think of space and context, whether it is space, time or era. How important are social media in your work? In my opinion social medias are a part of exhibition of my work. It provides a good support to show my work and spread it, through pictures or videos. It is not the primary subject of my artwork, but it contributes to make me think of space, time, and point of view on painting. Taking pictures of painting, is not the same as producing painting, but it is a way to help the painter think. That is why I have created a stop-motion video of my home exhibition, to show it on the social media. In between a real exhibition and a virtual one, the video helped me spread my artwork. It also helped me getting from a physical space to a virtual space. It makes me think a lot to create new projects. Do you think it would be possible to create virtual exhibitions with your artworks? How could your art be declined in virtual environments? I think it is possible, and I have already been exhibited in a virtual exhibition by your gallery (The Covid-19 exhibition), but it is not the same point of view on my artwork. The “minisrouleaux” are a small piece I have made about the Covid-19 but in the virtual exhibition it seems big, and it is shown as a photograph. It is a volume painting, made of solid acrylic paint. I thought it was interesting to use the virtual exhibition as another way to show the diversity of point of views on painting. About this work we can talk about augmented reality. In a virtual exhibition my art could be declined as augmented, reduced, or distorted. I think a virtual exhibition brings an interesting reflection on painting, volumetric artworks, and space.
How do you see the future of the art world after the pandemic? Right now, I am not really thinking about the future. However, I think that the art world should be more collaborative and opened to new spaces to get out of museums and traditional galleries. Besides this pandemic taught us that art and culture should be in people’s lives and not only depend on institutions. That is why putting the artwork in a domestic context is also a way to show that art is in everyday life, and that it should be a way of living. It is not only about contemporary art but crafts and lifestyle too. I think our western societies have lost that sense of home space and joy of creativity in outside entertainment. There is a dangerous mixed-up made between culture and entertainment, that drives to the loss of art and culture in our society. Entertainment is entertaining from thinking, in contrary culture is improving thinking. Culture is a part of people’s education, life and thinking, it should be saved for the sake of world. I also think that we need to rethink the whole society to manage to create a collaborative artworld. The price of artworks should also be rethought, as well as wages for artists. What is the most important thing for you in art? We mean: What is really important today for an artist in your opinion and especially for you? In my art the most important thing is to keep creating, producing and exhibiting to show my art. But I would also love to sell more, to keep producing and live normally. I think the price of an artwork should be fair regarding the time of work, the material costs, the unicity of the work and taxes. But I also think that most of the time we see unreasonable prices on the art market, which a part of financial speculation. Why shall art be only for wealthy people? The price needs to be fair for the artist and the buyer. What would be important for me is to continue producing artworks, because production is already a part of exhibition: to produce is to create and to reveal, unveil to the world. The artwork takes place in its presentation or exhibition. So, it is a cycle, you produce and show your artwork, it cannot be separated. project In the context of the pandemic that we are currently experiencing, I organized a solo exhibition of my artworks at home. Entitled Home, this exhibition questions the domestic space as a place of exhibition and the work of art in everyday life. Living with my works for a week was an interesting experience, more precisely it was living in the exhibition or living my exhibition. It was also to question the lockdown and the impact of the global pandemic on artistic creation, especially here in France where we already came to the third lockdown. The absence of exhibition spaces pushed me to create this exhibition at my home following my research and reflection on painting, art, and everyday life. This exhibition was broadcast on social networks as a stop-motion video, to question intimate space and privacy in the era where we display ourselves online… www.instagram.com/urosevic_radmila/
special project I was very impressed by this initiative and I introduce it to you in these pages. Valentine
ON THE MAP “On the Map,” conceived by artist Pablo Caviedes, presents immigration as a common denominator of American identity. Published and officially presented by the Ministry of Culture and Heritage of Ecuador in 2019, this bilingual (English-Spanish), large format, 13 X 11 in. hard cover, 204-page book with text by the esteemed art historian Dr. Jose Rodeiro magnificently lays out Caviedes’ visual metaphor of the immigrant experience and its impact on American culture through portraits of three individuals: the artist himself, representing the talents and resolute spirit of first-generation immigrants, and President Barack Obama and Andy Warhol, representing the enormous contributions of second-generation immigrants. First Lady Michelle Obama commended Caviedes in a letter in response to his “On the Map” book by saying, “Talents like yours demonstrate the power of our glorious diversity to make us smarter and more creative, and I hope you will continue to use the power of your voice to lift up those around you.” James Warhola, nephew of Andy Warhol, writes in the prologue of the “On the Map” book, “Not enough attention can be brought to second-generation people and their immigrant parents, for these new residents are often the ones who are at the forefront of discovery and innovation in their newly adopted country, just as Andy Warhol was in changing the path of art history forever.” Raúl Pérez Torres Minister of Culture and Heritage of Ecuador states, “On the Map” is a revelation of the transformational spirit that breathes life into it. This volume that we place in your hands is nothing if not proof of what an Ecuadorean can achieve when passion for the visual arts turns to flesh of his flesh.”
Artist: Pablo Caviedes Title “On the Map” Obama’s Portrait in 3D Medium: Acrilic on wood.
Pablo Caviedes: New York, NY FACEBOOK: https://www.facebook.com/pablo.caviedes.5 INSTAGRAM: https://www.instagram.com/pablocaviedes/ LINKEDLN: https://www.linkedin.com/in/pablo-caviedes-0219a1115/ WIKIPEDIA: https://en.wikipedia.org/wiki/Pablo_Caviedes www.pablocaviedes.com
SPECIAL GUEST April 21 BY VANESSA RUSCI
maternity
annalisa lenzi italy
www.annalisalenzi.com www.instagram.com/annalisalenzi_artist www.facebook.com/AnnalisaLenziVisualArtist
special guest sci nessa Ru by Va
special guest
MATERNITY Link to the complete project: www.annalisalenzi.com/maternita.html Annalisa Lenzi, born in Trento in 1982, lives and works in Pergine Valsugana (TN). She is a self-taught artist, she has followed several courses in drawing, painting and photography to perfect the technique and the use of materials. Her artistic research did she directs towards contemporary themes, recounting the positive and negative aspects of our time with a language full of meaning. Her works are part of the public collection of the Autonomous Province of Trento and the Municipality of Pergine Valsugana, as well as numerous private collections. solo exhibition: 2016 “PEACE & WAR”, Forte Colle delle Benne, Levico Terme (TN) 2016 “PEACE & WAR” - Spazio Klien, Borgo Valsugana (TN) 2016 “PEACE & WAR” - Palazzo della Regione, Trento (TN) 2016 “PEACE & WAR”, Pergine Valsugana (TN). 2014 “ARTE A PALAZZO”, Palazzo della Regione , Trento (TN) 2014 “IL MIO OCCHIO SI E’ FATTO PITTORE”- Biblioteca Civica di Rovereto, complesso del Mart (TN) 2014 “WAITING FOR THE SUNlaspettando il sole” , Biblioteca Civica Tartarotti di Rovereto, complesso del Mart (TN) 2013 “TRA DUE MONDI” - Spazio Klien, Borgo Valsugana (TN) 2013 “CONTEMPORARY SEASON” - Hall Auditorium teatro S.Chiara (TN) luglio2013 “TRA PRECARIETA’ E SPERANZA” -Antica Pieve sconsacrata S.s Giacomo e Cristoforo Grigno (TN) 2013 “CONFUSION” - Cantine di Torre Mirana, Trento (TN) 2013 “(s)CARPE DIEM” - Kosmos Stare and Gallery,Trento (TN) 2012 “DIMENSIONI PARALLELE” - Sale AereoplaninoAdElastico, Rovereto (TN)
artist of the month
Moscu Magdalena www.saatchiart.com/account/profile/893900
1988 Sibiu, Romania ARTISTIC ACTIVITY • 2017 - Group exhibition at GLO’ART, Global Art Center in Lanaken, Belgium (International); • 2017 - Solo show, Brasov, Romania (National); • 2014 - “Signs of dexterity” Art Fair, Greenhouse, Berlin, Germany (International); • 2013 - ArtBoutique Art Fair, Habitus Gallery, Sibiu, Romania (National); • 2013 - Group exhibition at Business Park Art Fair, Brasov, Romania (National); • 2013 - Solo exhibition, Bistro de l’Arte, Brasov, Romania (National); • 2012 - Charity Art Auction, “Depoul de Arta Urbana”, Romania (National); • 2012 - Group exhibition at “Artist Wanted / Art Takes Times Square”, New York (International); • 2012 - Painting workshop supported by me, in Art Project “Incubator 107”, Brasov, Romania ; • 2012 - Group exhibition at FatzaDa Street Art Fest, Brasov, Romania (National); • 2012 - Creative Painting camp, “Icon the lighting path to our soul”, Biertan, Romania (National); • 2012 - Group exhibition, “Museum of 12 hours”, Brasov, Romania (National); • 2012 - Solo exhibition, Fusion Café, Brasov, Romania (National); • 2012 - Solo exhibition, Ceai et caetera, Brasov, Romania (National); • 2011 - Group exhibition at FatzaDa Street Fest, Brasov, Romania (National); • 2011 - Solo exhibition, TeaSpot, Sibiu, Romania (National) (National); • 2010 – Solo exhibition.
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back cover sharon alviz collective 19