contents 1-2 - Aysegul Turan
5 - 2040 Sarah Kitteridge
7-16 - Photography
9-10 - Lisa Allen
15-16 - David Gilliver
17-18 - Kitty Bew Review
AB O U T M U R Z E T H R E E Issue three of Murze is the first since 2017, having had a break in production of the magazine we are delighted to be back at it exploring new artists and artworks. We have received an exceptional amount of support for the magazine, and a huge amount of submissions for our projects whilst we cannot show all the work entered to our projects in the magazine the rest of the work entered can be viewed on our website murze.org In this 2018 edition of Murze we are featuring works from all our recent open calls that have been taking place over the last few months; photography, minimalist, and circular art. The photography project received a diverse response from photographers internationally, we examine Lisa Allen, and David Gilliver’s work closer in a series of questions put to them about their work. Minimalist explores simplicity within art practice and demonstrates the hugely
varied approach the term ‘minimalist’ evokes. We take a closer look at experimental artist Mimi Eunmi Kim. Circular art simply looks at artwork in the round, and work captivated by the idea of exploring the circular canvas. Take a look at Carragh Amos work. Murze is keen to explore art theory and conceptual ideas forming a bases to review and discuss art practice, kitty Bew’s art review of Sarah Sze, Victoria Miro is a great critical exploration of the artists work. We also take a look at a couple of art essays, 2040 by Sarah Kitteridge and Nell Nicholas essay Exploring the Significance of Site in Michael Rakowitz’s “The Invisible Enemy Should Not Exist”. We are keen to showcase a diverse range of artists (current and emerging), designers, photographer and creators, providing a platform to discuss art practice.
19-22 - Josh Herrington
23-34 - Minimalist
Natalia González Martín
27-28 - Eunim Mimi Kim
31-32 - Anthony Hou
35 - Nell Nicholas essay
36-38 - Circular Art
37 - Carragh Amos
41 - Art things
42 - Contributes
‘My practice has been primarily concerned with matter and the need of humanity to preserve it from the decay of time. Throughout the creation of fictitious organic and archaeological-like objects and their arbitrary classification, my work questions the precariousness of the established value given to objects. Different layers of time and space merge
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together loading the work with historical, cultural and iconographic references that might necessitate deciphering. ‘ Take a look at Natalia’s essay ‘The contemporary experience of shock through the media. Art and terrorism as instruments to satisfy our desire for the sublime.’ on our website murze.org/blog
Chronic Arrangement Of The Perishables, (left) Chicken wire, plaster, oil paint, wax, wood, installation shot, 2017
Universal Languages, (right) Oil on canvas, metal painted wood, fabric, 2018
Natalia González Martín