NONAMECOLLECTIVE OCTOBER 19 MAG

solar

system

EDITOR’s...

The Solar System is the gravitationally bound system of the Sun and the objects that orbit it, either directly or indirectly. Of the objects that orbit the Sun directly, the largest are the eight planets, with the remainder being smaller objects, the dwarf planets and small Solar System bodies.

Of the objects that orbit the Sun indirectly—the natural satellites—two are larger than the smallest planet, Mercury. The Solar System formed 4.6 billion years ago from the gravitational collapse of a giant interstellar molecular cloud. The vast majority of the system’s mass is in the Sun, with the majority of the remaining mass contained in Jupiter. The four smaller inner planets, Mercury, Venus, Earth and Mars, are terrestrial planets, being primarily composed of rock and metal. The four outer planets are giant planets, being substantially more massive than the terrestrials. The two largest planets, Jupiter and Saturn, are gas giants, being composed mainly of hydrogen and helium; the two outermost planets, Uranus and Neptune, are ice giants, being composed mostly of substances with relatively high melting points compared with hydrogen and helium, called volatiles, such as water, ammonia and methane. All eight planets have almost circular orbits that lie within a nearly flat disc called the ecliptic. The asteroid belt, which lies between the orbits of Mars and Jupiter, mostly contains objects composed, like the terrestrial planets, of rock and metal. Beyond Neptune’s orbit lie the Kuiper belt and scattered disc, which are populations of transNeptunian objects composed mostly of ices, and beyond them a newly discovered population of sednoids. Within these populations, some objects are large enough to have rounded under their own gravity, though there is considerable debate as to how many there will prove to be.

The Solar System also contains smaller objects. Such objects are categorized as dwarf planets.

The only certain dwarf planet is Pluto, with another trans-Neptunian object, Eris, expected to be, and the asteroid Ceres at least close to being a dwarf planet. In addition to these two regions, various other small-body populations, including comets, centaurs and interplanetary dust clouds, freely travel between regions. Six of the planets, the six largest possible dwarf planets, and many of the smaller bodies are orbited by natural satellites, usually termed “moons” after the Moon.

Each of the outer planets is encircled by planetary rings of dust and other small objects.ù The solar wind, a stream of charged particles flowing outwards from the Sun, creates a bubble-like region in the interstellar medium known as the heliosphere. The heliopause is the point at which pressure from the solar wind is equal to the opposing pressure of the interstellar medium; it extends out to the edge of the scattered disc. The Oort cloud, which is thought to be the source for long-period comets, may also exist at a distance roughly a thousand times further than the heliosphere. The Solar System is located in the Orion Arm, 26,000 light-years from the center of the Milky Way galaxy.

Valentine

NO NAME COLLECTIVE MAGAZINE - ART MAGAZINE © 2027 by No Name Collective Gallery LONDON Registered office: W7 2J UK London UK info@nonamecollectivegallery.co.uk Editor in Chief Victoria Pagesour

Art Curators Celine Flamboyant Valentine H.Hyman Special Guest Curator Vanessa Rusci

Advertising Enquiries info@nonamecollectivegallery.co.uk Pubblished by No Name Collective Gallery London (Issuu - peecho.com)

COVER BY Christos Kalogiros collective 18

- Greece

No Name Collective Magazine Mission Statement Every month we look for artists, FOR OUR MAGAZINe, for our future collectives, to make them known in the world.

Every month, IN 2018, we dedicate a space to the artists of our #Collective17, the artists we selected in 2017 and who will be promoted and supported by our gallery for free.

Every month we select ONLY 5 Artists to whom we dedicate many pages.

First of all, we are a Visual magazine, but we want artists feel IT LIKE an art catalog.

We give visibility to emerging artists but also to professionals and INSIDE WE tell everything we organize and WE meet in the contemporary art world!

DURING the year we select artists for the next collective #Collective2019 We are looking for Talents!

NO NAME COLLECTIVE MAGAZINE - ART MAGAZINE © 2027 by No Name Collective Gallery LONDON

interview 17 questions for collective 18

Fiamma b

r

a

z

viola

i

l

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.

Women arrive in the world with their course of life already predetermined. There are endless challenges that we must face to break this pattern and being protagonists of our lives, owners of our bodies, our desires and deserving of respect.

This inherent search of the female condition led me to explore creatively the exercise of constructing narratives that show women’s powerful energies and miseries, resulting in a creative process where the female subjectivity is a territory of construction.

I seek the development of a multidisciplinary work, so, instead of following a unique technique, I try to find the technique or style that fits best on each project.

Within which mood of art you place your artwork (if there is a specific one) I like the freedom of seeking aesthetic references in various artistic movements, like the Brazilian modernism or the Dadaist collages of the 1920s. However, I think that my work is aligned with the artistic practices aimed at renewing the social and cultural imaginary about feminine universe through an ethical, aesthetic and political stance of resistance and creation of other representations for the body, the feminine and its subjectivities.

Could you tell us something about the art in your country? Is there an active artistic community? Are you part of it? (if there are links to suggest, please indicate them.)

I see the contemporary art produced in Brazil as an expression of it current society, mirroring their complexities, injustices and challenges. Although it adopts the same precepts of the American and European counterparts, the influences coming from the Brazilian political/social moment and the traditional popular culture, guarantee authenticity and singularity to the artistic production on the present time.

However, art still seems to be a privilege of the big metropolis, and still doesn´t have a significant scope in the landscapes of the country due to its continental dimension and social injustices.

I´m participating on initiatives in Brazil, in my trips and also long distance. In 2019 I have participated in three collective exhibitions and I´m planning an individual one. for next year.

I also participate in Mail Art groups and virtual communities. https://artluv.net/artista/fiamma-viola/ https://cataclismacritica.tumblr.com https://suyandemattos.wixsite.com/cartaobratres https://suyandemattos.wixsite.com/cartaborda https://www.instagram.com/colabirinto/ https://magentaart.co What’s a typical day in fiamma’s life?

1- A long breakfast ritual containing meditative practices, music, yoga, dance; 2- Internet, social networks, readings; 3- I try to schedule the working days, dividing “bureaucratic” or “creative” because mix these tasks on the same day usually upsets me a lot.

All of this added to the routine of mothering a 10-year-old girl, who is also my little “creative assistant”. Although overwhelmed, the routine of reconciling motherhood and my creative process is very rich. We often exchange tender and playful moments guiding all to a delightful end.

Traveling for art, for example for personal exhibitions or for other art exhibitions you want to see?Do you like to see others’ art?

My lifestyle is heavily influenced by travel because my companion Marco, is a professional traveler. I have traveled a lot on the recent years and I´m always trying to go on exhibitions of recognized and unknowned artists.

I recently went to Firenze for the exhibition “The Cleaner” by Marina Abramovic and the next trip will be to the Biennal of Venezia.

The last trip I had to exhibit my work was in December 2018, when I went to Lecce, an antique charming baroque town on the extreme south of Italy.

Where are your favorite places or themes where you can find inspiration for your work?

My work is centered on female sexuality and women’s fights and threats, so, in addition to exploring my own experiences, I am always attend to the situations, stories, characters, contexts, connections and trips that enable me to explore this universe from a critical-inventive position facing the World.

Have you studied art or are you self-taught?

I have started as a self-learner and then studied classical techniques of drawing and painting, art history, creative process, Art and Queer theory, and holistic therapies of reconnection with the feminine energy. I´m always seeking new knowledges because I think that the formation of an artist has no end.

Do you remember the first artistic work you did?

I remember the first time when I had 15, I was surprised by an abstract drawing I’ve made and, I asked myself, “Is this art?”

What do you think about social networks and the web about art and artists?

It is a powerful tool and full of possibilities, but also full of problems and pitfalls because it is a reflection of the real world. Overall, I believe it as a great ally of the artists.

Could you talk to us about the idea of your project?

Since 2017 I have been concentrated mainly on three series with diverse inspirations: oil paintings; collages and erotic illustrations.

Now I’m currently working on a new project for a series of installations where I intend to diversify the narrative using as a central theme, the trajectory of female bodies exploring their transformations over time and their relationship with themes such as sacrifice, pleasure, objectification and aging.

Have you organized any exhibitions in the past?

How does it feel to involve others in your art?

I´m inclined to criticize the actuation of museums, galleries and curators especially because usually women participation still reflects the logic of devaluation of female production.

However, my relationship with these agents is a great learning experience and I´m liking a lot of strengthening and increasing the network around my art.

What is your favorite artwork?

My favorite artwork in the art world is “The Dinner Party” (1974-79) from Judy Chicago, because it represents the huge richness of women’s heritage in our culture.

My own favorite artworks are “Inferno Astral” (oil on canvas) for being a psychological self-portrait, and “Flesh Flowers” (collage), where I tried to

liberate objectified bodies from a 1970s porn magazines through a cosmic narrative.

If you could show off your artwork anywhere in the world, where would you choose?

Tokyo, Mexico City, London, Amsterdam.

Are you reading a book at the moment?

There is one book you have on your reading list?

I like to read what my fellows writers and other little-known Brazilians write, especially women.

Currently I´m reading the books of two Brazilian indigenous writers “The thunder and the wind” by Kaká Werà and “Ay KkYri Tama” by Márcia Wayna Kambeba. In my list still the biography of Frida Khalo in Italian, and “Lugar de Fala” by the Brazilian philosopher Djamila Ribeiro.

Is there a famous contemporary artist that you want to report?

Marina Abramovic Judy Chicago Cindy Sherman Maria Bonomi Yun Bai Adriana Varejão 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?

Yes! I really like the idea of collective projects with artists from around the world because the different point of views and experiences are an expression of diversity.

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 is fundamental that payed projects must be serious with the imperative of a good curatorship and their profitability does not depend exclusively on artists’ money. Unfortunately, this is not the rule.

These projects should be fundamental to support emerging artists because many of then don´t have resources enough to self-finance and invest. https://instagram.com/fiamaviola

Froso Papadimitriou greece

S E L E C T E D september 2019

Jörg Coblenz germany

juan pablo mapeto chile

special guest

Giulia Spernazza Italy

#collective17

#collective17

#collective18

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check out our calls to become an artist of our gallery

www.nonamecollectivegallery.co.uk

back cover Balazs Berzesenyi collective 17

our magazine offers its pages to a limited number of artists we want to give accurate visibility to each of them if you want to know more about who we have published click on the links you find in the magazine or contact us at info@nonamecollectivegallery.co.uk

thanks for your time

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