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Published by VANDA_project 2015 London

National and International Š 2015 remains with individual artists and writers. All rights reserved collective Š VANDA_project/ABSC_ND 2015 No reproduction in part or whole without prior permission from the publisher. vandaproject@yahoo.com Editor : Victoria Coster Design & Layout : Victoria Coster Cover Image/Sculpture : Mark Beattie Supplement Cover : Suso Flores FLUX Theme : Chantel Sykes www.vandaproject.com

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An independent publishing platform dedicated to the diverse practices of artists, writers and multi- disciplinarians ... All pushing the boundaries of theme.

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Cover Image : Sculpture by Mark Beattie

Cover Image : Video/Sound by Suso Flores

FLUX_is the sixth ABSC_ND theme and the one to introduce an exciting new feature of the publication : ABSC_ND_sound & video. Sound & Video the supplement feature of ABSC_ND works on the same principle as the main digizine. In that it's contents are theme based and will be published on-line. The two will run alongside one another, inviting artists working in sound and video to showcase their work as an additional feature to the existing publication. ABSC_ND_FLUX_2015 It would be easy for me to get caught up in the definition of the meaning of the word FLUX. An extensive corridor with many doors leading to rooms that could potentially keep me hostage until each definition be completely and thoroughly understood. Theoretical Rooms full of Physics, Chemistry, Pathology, Linguistics, Theosophy, Philosophy, Music and Art, each one overflowing with knowledge accumulated throughout the ages, all waiting to be absorbed by this fluctuating mind - body - being, a being that is only too eager to establish meaning and find purpose in every-thing.


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To make it easier for myself i’m entering the door labelled ‘Art’ - not because art is a lesser beast to tackle and tame, simply that art is the room most familair to me, the one where we as contributors and readers have come together to share ideas, in this case a digital room and space of common interest. 1960 saw the birth of FLUXUS, a group founded by Lithuanian/ American artist George Maciunas. His manifesto was built to some extent on the re-defining of the word, he discovered that the word ‘FLUX’ not only existed as a noun, verb and adjective but that his dictionary also contained seventeen different meanings, five of which he rearranged to bring new meaning to his coined term ‘Fluxus’. By the end of 1961 Maciunas had already mapped out the first six issues of Fluxus Magazine. With himself as publisher and editor-in-cheif he planned to include essays and articles on electronic music, anarchism, experimental cinema, nihilsim, happenings, lettrism, sound poetry and painting. Thus further emphasising his intent and use of the word Fluxus and consequently expanding the use of the ‘Magazine’ format, taking it to meet the full extent of its meaning - a storehouse for treasures. It is in this storehouse of treaures, ABSC_ND, that the theme FLUX brings together 36 national and international practising artists. To keep interpretations of the theme as far reaching as possible, the who and why of how it was selected was not disclosed. This theme is the first to have been chosen by an individual who does not call herself an artist. Chantel Sykes is a young woman who survived ovarian cancer and wanted to see how the theme would be responded to, she said ‘Imagine a leaf, a bud tightly closed that gradually opens, becoming hard and strong, getting bigger and greener as time passes by, then something happens, the leaf loses strength, the colour slowly drains and it becomes brittle and hard, its life has been used, it falls from the tree to float in a light breeze, then from where it rests on the ground, through another spring a new tree has grown’ The tree that has grown here has it’s roots in a movement gone by, the pulp of the past has evolved into digital rhizomes, we cannot re-create Maciunas’s vision but we can attempt to move the dialogue forward. VICTORIA COSTER_VANDA_project founder


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FLUX theme is dedicated to the loving memory of Artist Felicity Powell 1961 - 2015 With eternal thanks for her tutorage and friendship.

Obituary


CONTRIBUTORS Mark Beattie pg. 13 Jessica J Giacobbe

pg. 21

Dimitri Dimov & Lora Azza

pg. 31

Klaus Pinter pg. 45 Beatrice Mar pg. 49 Thomas Garnon pg. 55 Sarah Hull pg. 63 Akeelah Bertram pg. 69 David Foster pg. 77 Andrew Moon pg. 85 Lex Blintzios

pg. 90 + 158

Laura Iosifescu pg. 93 Ana Pallaris pg. 107 Aaron Krach pg. 123 Radhika Prahbu pg. 131 Jonathan Burnett pg. 135 Lee Tal pg. 143 ABSC_ND_FLUX_2015


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Christine Holley pg. 161 Andy Gashe pg. 171 Darica pg. 179 Aaron Doig pg. 195 Row Walker pg. 210 Suso Flores pg. 213 Elliot Hall pg. 217 Randall S Perry

pg. 229

Karen Thomas pg. 241 Rebecca Chitticks pg. 247 Katrina Stamatopoulos

pg. 251

Rafeal Blasco pg. 265 Lewd Jaw pg. 281 The Bird and The Monkey (Sarahjane Swan & Roger Simian)

pg. 289

Sasha Alexander pg. 303 Ionaum + Victoria Coster

pg. 321

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“In FLUXUS there has never been any attempt to agree on aims or methods, individuals with something unaameable in common have simply naturally coalesced to publish and perform their work. Perhaps this common feeling is that the bounds of art are much wider than they have conventionally seemed, or that art and certain long established bounds are no longer useful� George Brecht

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MARK BEATTIE MA European Arts Practice, Kingston University 2015 Xerxes Sculpture Prize Winner

Mark is an emerging sculptor who lives and works in London. Following his graduation in 2012 he has continued to work with various metals in all their contrasting properties of texture and finish, relishing the challenge of making these industrious materials appear fluid, malleable and delicate. His recent experimentation with Neon and LED’s led to the first showing of Neon Orb (pg.19) at The Other Art Fair, Victoria House London.

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May 2015 Xerxes Sculpture Prize with Double Helix.

The sculpture is made from building materials provided by Xerxes who founded the sculpture prize to celebrate the launch of their new company Omnis (Latin for complete).

“Double Helix arises from the idea that the materials provided are the building blocks or DNA of construction. The linking of the two strands in “Double Helix” echoes the creation of the new company Omnis.” Mark Beattie

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Double Helix 200 x 85 x 85cm


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Since graduating from his BA in 2010 Mark’s work has been exhibited in numerous exhibitions throughout the UK, including Burghley House (Lincolnshire), Great Fosters Hotel (Surrey) and Jean-Luc Baroni Gallery (London), as well as exhibiting alongside renowned artists such as Helaine Blumenfeld, Jonathan Yeo, Tracey Emin and the late Lynn Chadwick. Mark's work can be found in private collections in both the UK and USA.

Global Odyssey (pg.17) can be seen in exhibition throughout the summer until mid September 2015 at : VJB Arts 10 Gresham Street EC2V 7JD.

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JESSICA J GIACOBBE

In travel one will likely find, symmetry similarities familiarity.

www.jessicajgiacobbe.com


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Pulling and gathering from other experiences to make sense of the place you’re in. But what comes from an encounter that is incomparable unrecognizable unfamiliar? Something strange happens.

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The mind works hard to identify, creating surreal and often bizarre narratives. Asking questions such as: Why is this place here? Where did it come from? How does this not resemble anything I’ve seen before?


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A constant flux between the real and surreal

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and that’s where you’ll find that grey area.


Video stills from an experimental film titled, Oscillation Transia Release date July 2015


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DIMITRI DIMOV & LORA AZZA Metamorphoses We are two visual artists working in France. We are Bulgarian, a half-barbaric tribe coming from the East to get all of the social benefits and jobs of the Western citizen (in particular England if we can trust the British media, which only provokes Chomsky to be even more proud of his theories - Noam Chomsky; Media Control, The Spectacular Achievements of Propaganda, 59p). Bulgaria is a country situated on the Black Sea and the Danube, it has borders with Turkey, Greece, Macedonia, Serbia and Romania. At the moment it is the Black Sea, which interests us and especially its coast filled with rich history. Recently we moved into a new apartment. The exact address is 67, Roman Road, Strasbourg. Our residence is called Julius Caesar. Yes, Julius Caesar on the Roman Road in his precious Gaul: what a coincidence. This famous Julius is murdered, but not before adopting his nephew, Octavian, the first Roman emperor. It is the latter who lived during the time of Ovid, the famous author of “Metamorphoses�.

www.dimitridimov.com/cv www.cargocollective.com/loraazza/About


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The work tells stories of the transformation of men, heroes or gods in animals or plants. Ovid lived in the first century, a time when the worship of the sacred mysteries in Ancient Rome was flourishing. This is deducted by the place accorded by Ovid to Orpheus (the famous Thracian singer who lived 150 km away from our home town, in the sacred mountain of Thrace: Rhodopi) and Pythagoras (book XV). We find a deep interest in the philosophy on the fate of souls. Moreover, we also notice the fact that for Ovid the metamorphoses can be ascending and descending. His work inspired numerous artistic works through the centuries to our days. We as artists want to develop several objects and ideas which pull his influence of these antique texts. Nevertheless, we want to adapt them to our modern time. Today we changed our heroes, we changed our gods. We present you a series of small objects which translate Ovid’s "Metamorphoses with our own heroes and gods, the heroes and gods of computing and information. Interesting questions immerse, as for the direction of the metamorphoses: upwards or downwards.

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One last notice: Ovid begins the writing of Metamorphoses� in year 1, the year Jesus Christ was born according to the monk Denys Le Petit in 523. Given that in-depth studies on the Gospels (James D.G. Dunn, Jesus Remembered, Eerdmans Publishing, 2003, pg324) show us that his birth would occur 3 to 5 years before that and taking into account that the second major event with traces during the centuries of this year is the writing of " Metamorphoses " we can say that we are 2015 After Metamorphoses (AM). Nevertheless Ovid falls into disgrace and he is exiled by the emperor. He was sent to the beginning of our story: to the Black Sea, on the territories of former Thrace. He dies in Tomis, current Constanta in Romania (named after a different emperor). Our story made a complete tour and now it is necessary to pursue a last line of thought.

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We must admit that we began this artwork statement with a certain idea. This statement is going to be different. We wanted to explain and work on the metamorphosis. The Larousse dictionary gives us the definition of the term: a) Change of a being in another one, a total transformation of a being to the point that it is not recognizable anymore; and b) Complete modification of the character, the state of somebody, the aspect or some shape of something.

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It is necessary to add that the metamorphosis sticks perfectly to the evolutionary concept which was crucial for anthropology science. Then from an anthropological and biological point of view we can say that the metamorphosis is actually a kind of evolution.


So you can consider this statement as a thing which wants to evolve. Think of all artwork statements who want to be more, they want to be the Artwork. Maybe the real metamorphosis is not in the objects which we are presenting? Maybe this text, which is supposed to be nothing else than a simple statement, said to itself "Why not me?... I can be the first one.� We would like to believe that those were the same exact words as the first organism, that the first plant and the first animal said the same to themselves. Then the total change begins. Nevertheless, this text cannot make the ultimate step of evolution without the works which provoked its existence in the first place.


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KLAUS PINTER

www.klaus-pinter.net


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BEATRICE MAR

My practice aims to cross-fertilise the mediums of writing and drawing within the parameters of the sketchbook.

www.beatricemar.com https://twitter.com/BeaVMar


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A place where ideas converse as they drift in and out, a gathering of thoughts and observations from immediate experiences which emanate into memories.

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Through these connections I use the suggested imagery from language to trigger a series of drawings.

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THOMAS GARNON

My practice is an exploration of perception - the way in which we perceive our surroundings and our understanding of place. Recently I have been investigating means of abstracting everyday objects by creating constantly changing compositions. Light works with the form and colour of a given object, reflecting and fragmenting its composition to create a continuous cycle of abstraction. Every angle and every moment thus creates a new image.

www.thomasgarnon.com


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'Little Sensations' 2015 Oil-based Silver Metallic Paste on Hardboard 22.9 cm x 30.5 cm

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'In the Offing (Surface Cloud)' 2014 Unique Site-specific event Salt Water on Stone. Dimensions Variable

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'In the Offing (Surface Cloud)' was a temporal site-specific installation made during a residency at the Aldeburgh Beach South Lookout in 2014. Through the chemical reaction, Hygroscopy, where natural sea salt absorbs water in the air, gestural marks were made on the shore using seawater. During the course of a week, the formations began to appear and disappear depending on the moisture in the atmosphere.


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'Untitled' 2014 Site-specific event Silver Metallic Paste on Postcard Dimensions Variable


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SARAH HULL

My art practice is inspired by our connection to the universe and our understanding of it. Exploring the way in which scientific understanding shapes the way we view it highlights how one discovery can change the way we see our own existence. I contemplate our place within the universe and how we attempt to conceive theories to explain it. I am inspired by the concept of how we as humans tend to operate at a surface level on a day to day basis, accepting reality for how it appears. With my practice I force the viewer to contemplate the invisible workings which combine to create our reality.

www.sarah-hull.com


'Infinity' - C Type Print Exploring the way in which scientific understanding shapes the way we see the universe highlights how one discovery can change the way we see our own existence. I wanted to highlight that this involved everyone, not just the scientific community. We constantly try to piece together an understanding of how the cosmos works but as one theory becomes well known and believed another discovery can completely disprove it; For example the hypothesised idea of 'Dark Matter' completely warps how we look at the universe. I intended to explore how we catch glimpses of understanding which then recede into the apparent infinity of the void of the ever expanding universe. As you move around the installation the forms change and appear to advance out of apparent empty space. What at first appears as a line evolves into a plane of light. The concept of distorting reality is key to this installation. I wanted to create an environment in which the forms appear out of obscurity.

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String Theory' - C Type Print Intentionally kept mathematically constant, this structure of 16,383 lengths of string is directly modelled on the growth patterns seen throughout nature. As the form increases in density the fractal scaling increases as shapes begin to reoccur. In this way it is acting as a fractal as opposed to representing one. Replicating natural structures such as that of a lung or a star constellation, it mimics the way fractals link the microscopic to cosmic. Between order and chaos, complex dynamical systems are seemingly attracted to certain repeatable patterns as they break down into or emerge from chaos.

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'In the case of this structure the more it grows the further along the spectrum towards chaos it travels; however certain structured shapes start to appear, in this case irregular polygons. These shapes offer stability within disorder. The use of a simple rule; each 23cm length of string tied at both ends, when repeated in succession, creates a chaotic yet ordered existence.


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AKEELAH BERTRAM

Metaphysical frequency; extra-terrestrial energy; probe for the soul.

www.akeelahbertram.com


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DAVID FOSTER

Fluid Permanence Do things ever change, or do they always remain as they are? Henry Miller is quoted as saying, "Chaos is the score upon which reality is written". No matter how disordered a system of any sort may appear, there exist within the complexity, patterns to indicate how it will behave at some future in time and space. From internal context, external context and sufficient knowledge of behaviour, it is possible to predict the unobserved probability of the occurrence of an event, along with a range of statistical parameters for the likelihood of being able to observe something approaching nature herself.

www.about.me/DavidFosterPhotography


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ANDREW MOON

The flux I have been working with is the sense of ambulation across the planet, be it in the name of migration, refuge, commuting, or just good old plain pointless wandering. As I take a wide screen view of the Earth and all its human migrations, it occurs to me that we are perhaps defined by our movements, not just by their intentionality but also through their nuances. viz a viz drawing - something about the tensions existing between flow and its observance, something that appears to occur on so many levels.

www.andrewyogi.wix.com/andrewmoondrawings


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The fact of movement and the way of movement. And yet movement only makes sense when seen in the context of stillness?

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This is perhaps as true for tribal migrations as it is for an individuals sense of agitation vs stillness?

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LEX BLINTZIOS

Insect Voice There are flies on the sun, Flies and insects on the sun and stars, Flies with minds and eyes And their echoes are the opposite of meaning There are flies in the sky also Stuck amidst the daydream dew And the shades of a blue - eyed child’s day Wallowing in oceanic depth And burrowing their way through the flaming fruit of labour And they become charcoal and sulfur As the place starts to reek of discharge and discomfort However the sound of wavering birdsong is a pungent aroma Cleaning up this infant’s accident… With the voice of the unmusical but talented And the scuttling continues….


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Colony holds! And scavengers eat their fill The dead remain silent And breathe in archaic dialects There are flies on the sun! They can feel it’s heat death brooding As flaming shadows collapse Onto a submissive world Dead weight! Heavy bodies, swollen revolt! The bodies are insects With legs and a mind Following in loyal silence within the streets and cities Snapping at heels with a tepid sense of integrity‌ Their toothless apathy is the humour of our times, For we are homeless ghosts, With moth-eaten minds

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LAURA IOSIFESCU

Laura’s unique 3D paintings bridge the gulf between the fluid, graceful movement of dance and the stillness of traditional painting; creating her own art which Laura describes as “Performance Paintings”. These works are not defined by the theatrical performance of the artist, but rather each piece takes its lead in the action. In Laura’s 3D art the work undergoes a radical transformation; departing the realm of the passive object to greet the living dimension of the active subject.

www.laura-iosifescu-art.com


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“Imagine a painting that is alive; like the plants growing in your window or flowers blossoming in your garden. You witness their transformation and in that brief moment of witnessing you freeze time; establishing a moment of unspoken unity between subject and object. A moment where materiality and possibility are overcome by the imagination.� Laura I.

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Laura’s art is absent of the motive which characterised the impressionist movement. It does not confront the question of finding an idealised visual representation of any particular emotional or spiritual state. Rather, Laura’s 3D paintings attempt to resolve with paint the contradiction which arises from the experience of being in the world; the paradox between eternity’s potential and the limitation of every now. In Laura’s art, paint acquires new dimensions and visual qualities to create a momentary world which has no boundaries. The paint is no longer mere material which sits on the canvas passively waiting to be seen. The paint becomes a ‘living’ object, a part of the experienced world which reaches out and grabs attention. The juxtaposition of this blurred relationship between the art and the artist, the work and the witness is most clearly contained in Laura’s contribution to fashion- her wearable art.

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where forms “My paintings paintings are are like likeaafilm filmyou’re you’rewatching watching where forms and and shapes are moving; literally dancing before your eyes shapes are moving; literally dancing before your eyes and inand invoking long-forgotten memories of a childish world voking long-forgotten memories of a childish world with no rules; with no rules;you transporting youworld back of tochildhood that worldgames” of transporting back to that Laura I. childhood games” Laura I.


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The distinct energy present in Laura’s relationship to paint as medium comes to fruition in the flux of the natural world, symbolizing the relationship between the artist and her creation. The paint becomes alive through the deliberately-formed, organic shapes which characterise Laura’s radically unique 3D paintings. Sculpted flowers, intertwining leaves and stems are playful manipulations of paint, purposely positioned by the artist, to create the unusual, yet breath-taking beauty present in Laura’s extraordinary accumulations of paint.

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The passion and vitality of the final art is overwhelming; the viewer embarks on an aesthetic journey through raw, thick, straight-fromthe-tube textures which combine in a cornucopia of colours as dazzling as white light but yet present in their distinctive individual form.


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ANA PALLARES

A young autodidact artist from Barcelona. She tries to investigate, analyse and reflect on those things that can’t be explained or understood by reason, as pain and death can be, through art. She creates new meanings with these concepts and she perceives them in a healthier way. Ana wants to turn destruction into construction and give some value to all the suffering she feels. Anna’s statement is that she likes ambiguity as it plays with the surprise effect. She finds it great to paint the deformed faces of her paintings with rainbow colours. People feel lost while watching them whereas Ana feels she could not have expressed the tragicomedy of life in a better way.

www.anapallares.tumblr.com www.facebook.com/anapallaresart


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AARON KRACH

www.aaronkrach.com


GAUGUIN, Paul Nafea faa ipoipo, 1892 Wann heiratest Du? Quand te maries-tu? When will you marry?

Aaron Krach, 2015/ www.aaronkrach.com


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Why are you leaving? ABSC_ND_FLUX_2015


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Where are you going? VANDA_project initiative


Will you come back?


1892 Painted during Gauguin’s first visit to Tahiti. 1893 Carried back to Paris and exhibited at Durand-Ruel Gallery. Anxious before the show Gauguin wrote: “Finally I will know if what I have done [leave Paris] was worth it.” Reaction to the work is poor. Only a few paintings sell including Nafea faa ipoipo. 1893 Nafea faa ipoipo is purchased by Fritz Meyer-Fierz for 1,500 French Francs. March 1917 Placed on sale for 25,000 Swiss Francs at Maison Moos Gallery in Geneva. June 1917 Rudolf Staechelin, a Swiss industrialist, buys Nafea for 18,000 Swiss Francs. 1923 Staechelin stops collecting European paintings–he will later collect Asian art and antiquities–after adding major works by Picasso, Pissarro, Van Gogh, Cezanne, Delecroix, Mattisse, Manet, Monet, and others to his collection. 1923 – 1947 Nafea faa ipoipo is loaned to select exhibitions but otherwise remains in Staechelin’s home in Basel. 1936 Ownership of the collection is transferred to a foundation “to ensure, as far as necessary, the welfare and support of the members of the Staechelin Family.” In a handwritten note, Staechlin adds: “To prevent that treasure, so lovingly collected and for which no sacrifice has been spared, be dispersed to the four corners of the world unless out of dire necessity.” 1946 Rudolf Staechelin dies. His son Peter inherits control of the foundation. 1947 Peter lends Nafea faa ipoipo, along with a handful of other French paintings, to The Kunstmuseum Basel as a long-term loan. 1997 Control passes to Rudolf’s grandson, Reudi, who sends Nafea faa ipoipo to The Kimbell Museum in Dallas to protest changes in Swiss property law. 2000 With Swiss laws unchanged, Nafea faa ipoipo returns to public view in Basel. 2014 As the museum prepares to close for a year of renovations, Reudi Staechelin renegotiates the terms of his family’s loans. January 2015 Nafea faa ipoipo is sold for $300 million to collectors in Qatar becoming the most expensive painting ever sold. “In a way it’s sad,” Reudi Staechelin said, “but on the other hand, it’s a fact of life. Private collections are like private persons. They don’t live forever.” 2015 Nafea faa ipoipo leaves Basel to begin a previously scheduled year-long tour that will end at The Phillips Collection in Washington D.C. 2016 Nafea faa ipoipo travels to a new and still unknown location.


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RADHIKA PRABHU

SWEET SORROW (I) Time is nothing but a drunken child, often we let it fool us. We all sit high on the cliff, with our legs dangling in the waters of our lives, lashing out in waves. We have all stopped, at the same time, to sit and wonder why we are all here. The sky hurries above us – hollow mornings crunched and creased by impatient heavy noons, heavy noons swallowed by colossal fading lights. Sometimes the sun cried out to me, with burning sobs - it always tried to wriggle into the sky’s arms, only to be spit out. Again and again. And what else were we doing, but trying to stuff ourselves into an illusion of surety while not even knowing what we were breathing between us. We finally catch the reflection of the artificial crown of meaning on our heads. And this is where it got beautiful. With intentions killed, a poetic metamorphosis acquires its permission to take place - In one moment, we all shrink from continental breadths to the size of a fly’s footprint.

www.radhikaprbh.blogspot.co.uk www.artbyradhika.wordpress.com


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(II) It is night. Which means we keep each other aside, snuggle within ourselves and engage in strange thoughts. Nights usually anchor themselves at the tip of my nails. I struggle in my little corner, trying to pin them down and smear their black ink on to the white sheet which is already a marble town of yesterday’s lavish rain. I do manage a collage of cut up shadows. My palms are comforted by the warmth of a cup of coffee, but my mind is stained by ages of cold. I cannot remember when it happened, but there was a time when I carried a lush, wild forest in my interiors. Somehow, somewhere along the way, I had allowed it to dry up. Tendrils and creepers had disappeared. Now the dryness makes me dizzy, hot breathed. The earthquakes inside are reflected in the cracks of my lips. Everyone mistakes it for a smile, though.

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(III) Our feet have seen more than our eyes ever could hope for. So we decide to start walking as soon as we wake up. We carry centuries of weight within us, and we carry the cobwebs of the left over hours. Our eyes try to adjust to each other again (Or do we just pretend?). The waters of our lives are still there, not as waves but as puddles. We wash ourselves up in it for one last time. I wonder if everyone has lost their forests. Or if there were some who had oceans and skies within them. I would have so loved to be born with an ocean! Perhaps in my next life, I muse. We walk on till we reach the end of the cliff and we realize we are required to jump down from here if we were to go on to the next one. No one knew if there was any waters of life below. But someone caught sight of silhouettes moving on the faraway cliff. That illusion comforts us. We do not have any choice anyway, so one by one we start hurling ourselves down. As our crowd thinned out, we hear neither screams nor hopeful laughter from below. But from above, thunder drenched us as we prepared for our graves


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JONATHAN BURNETT

Her vision + Colour and Contraband An individual flowing in and out between two situations. The photography manages to contrast the moving visuals, whilst still holding onto the same concept. The main difference being that the Photography images are ‘clean’ with a dose of vibrant tones, whereas the Video Art is Dark, Glitchy and Grungy. Both feature tales from a females vision of her own ‘aftermath state’, subsequent to a worse-off, woeful situation. Taking inspiration from the uncanny Vienesse Actionist ‘Herman Nitsch’ to create my Video Art work, I am influenced by the idea of creating work which posseses the ability to transform a space.

Jonathan Burnett’s accompanying video can be seen in ABSC_ND’s new sound & video supplement www.readymag.com/Vandaproject

www.burnett101.co.uk/


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LEE TAL

Interlock objects Consist to combine in two different fields of vision. The idea that every one of the fields is open in a different direction, the basics of daily living, as with all ingredient’s that are used in our daily life. Minimizing the artistic abstraction that is already a reality in art. The combination between these two orders is my attempt to bring them both into a signal concept.

www.verni.io/leetal/galleries/276 www.facebook.com/lee.tal.art


I don't set out to produce art about one subject matter or another, instead my interest is more in the shape and form of how it reacts to the space itself. I’m trying constantly to combine the two different fields of vision that exist in the world in general and more particular in the art world. While using the connection between geometric abstract shapes and readymade objects and cast of readymade objects from the everyday existence, I’m trying to produce several effects and influences between the objects the space and the abstract background.

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One of the key components in my work is the space itself. And the possibility to minimize the artistic abstraction that is already a reality in art, combining these two orders as I attempt to bring them both into a new concept.

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The main thing that currently leads me in my art practice is the idea that the options that every one of those artistic fields is open to a different direction of reality. And while I’m creating in two main mediums (sculpture and photography) and use different processes in each on of them, my methodology stays consistent. So although there may not appear to be material similarities between the mediums, they are linked by a single conceptual line.

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At this point in my work I have realized that a space itself has the same potential as the object, and that the objects have the same Conceptual spatial perception as the space. So occasionally the space makes the object unnecessary and vice versa.

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LEX BLINTZIOS

North

I left the metallic North The low, pulsating drone Of last night’s trepidations is toxic, And rumbles heartily within A casual savagery that follows you to the day’s end And so I left feeling that I hadn’t arrived These ‘feelings’…of alienated citizenship align themselves Complex vibes of a thriving irrelevance As the men still seethe behind eyebrows of Sheffield steel The women exclaim “ouch!” as they ache everywhere And the children are versions of adultery


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So why have I placed myself within metal to be here? This “armoured travel” So as to arrive and be greeted by something worse than emptiness A spiteful solitude And it’s inhabitants are the sound it makes when bleeding Slow oozings Squelched through the pours of a skinned mongrel They bleat loudly at nothing but pollution As I’m left standing on tiptoes clicking my fingers Waiting for sparks to fly As I swim beneath the gazes of northerners

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CHRISTINE HOLLEY

An extensive dance and choreographic background shines through in Chris’s fluid images. Her major creative motivators are aspects of dance, movement and music and works are mainly produced from memory and imagination. Exhibiting regularly in solo and group shows regionally and in London, her specialist subject, on which she gives frequent illustrated talks, charts the huge impact of Diaghilev and Ballets Russes on visual arts. You’ll find her writings on this rich topic at the British National Library of Art at London’s Victoria and Albert Museum, as well as in other UK and overseas arts archives.

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“Visual art, dance and music share great affinities and - for me - the boundaries between them continually blur, forming sources of infinite inspiration.” Christine Holley

Blues Stream IIII Acrylic on canvas 35 x 35 cm

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Cantus I and II, Oil on canvas, 60 x 90cm


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Tabula Rasa Oil and silver leaf on canvas, 60 x 75cm

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ANDY GASHE

Caught in snippets I present to you these multi-layered and fragmented places. The excitement and energy of a city as I cross bridges on my bicycle. The city as it submits to the sunset and the twinkling light of early dusk.

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A city of tower blocks and billboards, caught sporadically as I weave through my day in an intimate engagement in my own London.

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It is the exchange of energy through the building up and the tearing down, the destroyed and rebuilt, the peace in the bustle.

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DARICA

"The raw waste materials, of the consumer society ... That gallop with the eternal transition, are a growing part of the surfaces on which these works have been performed. Used, discarded, old and forgotten ...... Left as a pile of ruins. All parts are made with the spray, and little acrylic. I decided for spray paint, since I was fascinated by his practical and easy applying feature, the power of pressure bursts, releasing countless tiny drops pounding on the surface. Maybe that fascination is based on a direct empathy, not only with this ready-made product ... but directly with the pressure that contains and releases. The same pressure may be paraphrased with one internal, psycho physical ‌."

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AAARON DOIG

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ROW WALKER a.k.a

IONAUM

FLUX The inner yearning for silence, stillness , peace and absolute zero in a sea of numbers, shapes and frequencies plagues the I, the observer of self. Caught in a current of mass and energy it travels through time and space, destined and bound by the laws of life. Destination, the resting place, an end to begin and journey again with a new direction in sight. Lost in a sense, five through two they express action, desire, preference, aversion. Ensnared in repetition the feedback loop screams perpetually louder, reinforcing its form and presence. Separation from no-thing and no-one is seen in the image and likeness of itself. Illusive foundations bear the weight of a stage for one to stand in existence.


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Can one know zero when he travels back on himself, another one is easy to know when it's another you, so two becomes three, five, eight a twist at the waist, the knot that ties you. Weaving patterns on a tapestry, intent is the form, idea the design, geometry the language, sacred the word. Acting characters read lines from the forgotten script verbatim dreaming the cosmic play. Awakening is the game, truth in essence the goal, absolute understanding equals the winner. Caught between two worlds, balancing the vessel which holds them together, the pillar of separation, installed into the mirage of duality. Manifested constructs dance to the music, resonating keys inaudible to ears, to untamed minds it is unheard of, though it is felt and seen by all living in the sea of the quantum flux.

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SUSO FLORES Music maker and circuit bender.

Colourful Mess #1 Circuit modification from a sound toy. Recycled things to flow with the cycle of things.

Watch, listen and check out Suso’s next event details in ABSC_ND’s new sound & video supplement www.readymag.com/Vandaproject

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ELLIOT HALL

Discourse of Self The concept of the non-linear has always been a fascination. To understand art and understand life where the cadence structure is always imperfect; this has always driven me when making work.

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My work focuses on the controlled nature of gesture and the way in which abstract movement can be hemmed in to such an extent it breathes its own right. By breath I care to say that one can understand the nominal values of each independent movement. I mean this in opposition to the works of someone like Jackson Pollock, whose work was always a perfect banquet of plutonic structure. A structure that was almost perfect from its outset it could not be brought further. A breakthrough yes, beauty, almost certainly however paintings that are almost to cathartic to be almost just be simply bewildering? Yes; so this is where I began my discourse, a place where the beginning of my manifesto reads; Isolate. Consolidate. Reevaluate Understanding the point of gesture and the mode in which abstraction is a moment of pure bliss, unrepresentable other than on canvas or within the human subconscious (metaphysically). Mattise remarked that, ‘black is a force: I depend on black to simplify the construction,’ black for me has this power, black controls the space, dominates; but has the power to allow other colours to breath and grow. This was something I wanted to build upon from my earlier work, ‘Nothing More I Can Say,’ this was a developmental study into the abject beauty of colour. Momentum. Consolidation. Building. Let the gesture lead you onto the next mode of movement. Colour speaks its own language (metalanguage) and it is through this discourse we can begin to hit the most basic cornerstone of painting, the ability to be moved.

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‘“Action is not done under the full control of consciousness; action should rather be felt as a node, a knot, and a conglomerate of many surprising sets of agencies that have to be slowly disentangled. It is this venerable source of uncertainty that we wish to render vivid again in the odd expression of actor-network.’ (Bruno Latour, Reassembling the Social, 2005: 44)

Nothing More I Can Say : 2015 120 x 100 cm, Household Gloss, Oilbar on Aliminium

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Study I : 2015 : 165 x 140 cm Oil, Household Gloss, Oilbar, Chalk, Pastel, Graphite on Canvas, mounted on board.

My actions and gesture have toned down, I have consolidated. I am at one with the beauty of movement and I am at peace with my making. I want my movements to be seen and the moment of insecurity, not covered up by layers. But allowing each moment to be bare in an honest rendition to the viewer, it is almost like a portrait of my frailties. Drawing thoughts, the sketchbook is where an artist's heart lies, no fear, and I want the sketchbook to be my canvas. It is here, ‘Naive Realism,’ ‘Study 1 (Discourse of the self),’ & ’Study 2,’ came to the fray. These were the points of gestural innocence and complexity; where I lay down my own thoughts, my inner workings. The balance and poise of hierarchy structure (The Triangle). ‘Graffiti

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My point of reevaluation in painting is always playing over the experience. This is why my work has become focused on using as many materials as I can. Here I begin to create a cathartic and familiar surface building with household gloss, pencil, ink, pen, oilbar’s and aluminium, these are almost every day but using them in a way that makes the viewer take a new look at their everyday and begin to think of the physiological expression that abstract painting offers, a higher state of being cannot be attained. I want to achieve the beauty of transcendence to a place of psychological understanding. To isolate my gesture, to consolidate my own idiosyncratic rational, to reevaluate the mode of creation. And this is what you see. The works of a cadence, which will always be incomplete, a G Sharp minor.

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RANDALL S PERRY

Matter, stars, moons, wood, water, paint and canvas are composed of many things, always in motion, always in a state of attraction or repulsion or annihilation but always existing, always finding a way to be part of something larger, something bigger than themselves. But even then never still, never stagnant. In our environment electrons are what they are because they carry a negative charge. What happens when an electron with its negative charge meets an electron with a positive charge, a positron. The positron and the electron annihilate each other leaving no trace of their existence. What if galaxies are made of positrons instead of electrons? We could see them through eyes and telescopes but we certainly wouldn’t want to touch them. The Milky Way, the galaxy we inhabit, colliding with a galaxy with opposite charge would vanish without a trace. If something can vanish how did they get into our universe in the first place? How do these tiny particles magically appear? Only to sometimes disappear. Bubbling through the fabric of the universe they come into existence, in theory, through a quantum ‘flux’-uation.

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The world is in a constant state of motion, flux, transition. Our solar system spins in our galaxy. Moons of Pluto tumble and wobble. The planets and small, leftover chunks of 4.5 billion-year-old rock swing and smash their way through the ether, orbiting our sun, their irresistible muse. Comets venture far out into space and then at lightning speed are draw back to our siren sun, leaving a trail of vapor. All the while the entire solar system and indeed galaxy race through the dark matter in a constant state of twisting-tumbling flux.

Drip dot Door 81 x 195 cm, Oil, Acrylic on Canvas

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The table I am writing on seems solid, yet deep inside nothing is still. Electrons spin and orbit in ceaseless motion. Even the elements are far from elementary. Water is just a simple liquid made up of two hydrogen’s and one oxygen…But, it is not quite that simple. On a large scale, water is in a constant state of movement, inspired by the moon’s call. On a smaller scale, water is in a constant back and forth of hydrogen (H) plus charged (H+) and hydroxyls (OH¯) and when they get together, as they mostly do, they combine, one H+ and an OH¯ to make H2O. Back and forth combining, separating and re-forming. Never the same, never still, never just the simple fluid we think it to be.

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Art is composed of matter and ideas. Both in a constant state of flux moving from one form to another, often colliding, fleeing and returning to join the whole that is creation. Artists’ minds generate a never-ending kaleidoscope of new images. Ideas shifting and combining and attracting and repelling. Even the molecules of paint themselves refuse to stand still. Pigments ceaselessly move through media. Electrons are gained and lost from the structure. The work itself is altered. To our eye paintings appear as still and permanent as the sun, but inside they are all in a constant state of change.

Black Spaghetti 97 x 132 cm, Acrylic on Canvas

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What follows are in “reality”, unstable images of “real matter” things that an artist interprets and attempts to stabilize, creating the illusion of permanence. The Paintings here are interpretations of high magnification electron micrographs (small scale), visible light spectroscopy (large scale) and optical microscopy (close to human scale). Ceaselessly moving matter transposed onto canvas through the artist’s eye, entering into yet a different state of flux.

Blue Basalt 81 x 117 cm, Acrylic on Canvas

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“Matter, stars, moons, wood, water, paint and canvas are composed of many things, always in motion, always in a state of attraction or repulsion or annihilation but always existing, always finding a way to be part of something larger, something bigger than themselves. But even then never still, never stagnant� R S Perry

Pink Schist 120 x 130 cm, Acrylic on Canvas

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KAREN THOMAS

Flux is vital energy. The icons I represent catalyze this flux, the paintings are representative flashes.

www.karen-thomas.org


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‘The Village People’ 3 Postcard Collectibles : 2014

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REBECCA CHITTICKS

As an artist I am fixated by beauty portrayed through the portrait. I see these works as fragments of mirrors, allowing the viewer to catch glimpses of the beautiful. In my paintings each of the figures inhabits a void-like artifice, each scenario describes an interaction between the figure and its void, this nothingness may ultimately overwhelm my models. The tension inherent in this uncertainty also translates to my preoccupation with light and shadow and its contact and interplay with the subjects. Light and dark like all dichotomies are a vast spectrum unified by unique fleetingness. This may be seen as a metaphor for the transient quality that beauty possesses.

www.rebeccachitticks.com


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Unknowable: 2015 48 x 58 cm, acrylic on board

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KATRINA STAMATOPOULOS

True in my fictional world

www.katrinastamatopoulos.net


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Mermaids exist at the nexus of mythology and popular culture. Legendary aquatic creatures, these human-animal hybrids participate to a broader mythological scheme that subsists as expressions for understanding general psychological, cultural or societal truths.

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True in my Fictional world defies the conflict between rational and imagined through exploring water environments. As an impossible existence for human beings, they remain unfamiliar and fantasised. With the impossibility of deciphering what lies in the depths, the liquid world and its real or dreamt inhabitants are sources of fears and fascinations.

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Glaze

The photographs I have made are with characters I have found through collecting; I collect mermaid objects on Ebay. Whether they have previously been used as ornamental figurines, fishing lures or fish tank bubblers, I have interpreted these objects to find new fiction homes for them. Having no awareness or information on the mermaids origin and history, I am reenacting a lost past, isolating it in its own imaginary terrain.

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RAFAEL BLASCO

Architecture is at the epicenter of my last sculptural and photographic dialogue. I establish parallelisms between sculpture and photography, they always run together and feed each other, despite I never mix the two disciplines. Estrangement and rootlessness are also key concepts in the contextualization of my work. Those thoughts takes us to the edges of the iconological, where images and significance (form and content) are complemented by one another. In this way, a theatrical image takes on a more performative meaning other than what it is in its everyday life.

www.behance.net/RafaelBlascoCiscar


Metaphors of rootlessness

The pieces wich make up the Metaphors of rootlessness series, are sculptures that later on turned into a photographic series as well. The sculptures are made with uprrooted trees taken away from their original setting, fields that were being grub up, and provided with a new meaning.

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They are subjected to a dramatic artistic intervention, by being inverted, with their roots pointing to the sky and their branches to the earth, and then wrapped in an oppressive layer of ropes, chains or pierced with nails. Under this new code, the final image, wich falls somewhere between the grotesque an the fetishistic, is one of disoriented, unstable, bewildered beings in their environment.


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Even though I can get inspired by my daily landscape, translating visuals artistically and filtering observations to consider specifics, I delve as well into structures such as: abandoned and derelict houses, sheds, bunkers, small power stations, the foundations of buildings under construction‌ Because of their sculptural aesthetic. Mixing the characteristics of those kinds of buildings turns into final works where one cannot recognise the original source wich they reference. They seem void of a context and therefore make us consider a past time, or an unknown future. The viewer is forced to try to understand and imagine their place and relevance. Contemplating the work becomes useless and we are forced to consider a time without object and without history.


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The shed of conscience The shed of conscience is a sound installation, with regards to the sound, it was recorded directly inside a beehive. When penetrating this shed, the spectator hears a constant buzzing, at the same time, he feels the heat of orange heating bulbs . To cross this room from one end to the other there is nothing more than a small passage with room enough for just one person. The spectator is forced to zig zag splintered wooden “spikes� wrapped in chains that hang on the walls. The safe aspect of the outside of the shed turns to be an anxious passage once you are inside.

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LEWDJAW

Watch LewdJaw’s accompnaying video Azerty in ABSC_ND’s new sound & video supplement www.readymag.com/Vandaproject

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THE BIRD AND THE MONKEY (Sarahjane Swan & Roger Simian)

IN THE DARK I SAT In the days beyond The Fluxing, the times of The Soft Borders, The Great Anomolies, Hypocritical Phenomena, when worlds collapsed and the fabric between realities became fluid, an artist and the man she lost search for each other in reflections, shadows and dreams.

Watch IN THE DARK I SAT in ABSC_ND’s new sound & video supplement www.readymag.com/Vandaproject

www.thebirdandthemonkey.com www.vimeo.com/thebirdandthemonkey www.soundcloud.com/athenenoctuarecords


INT. Bedroom. Day. A woman sits, demure and melancholy, trying out her various personae in the glare of the mirror.

Woman's Voice: What if I went looking? Came to find you? What if I came to find you? What if I were to press my palm flat against this icy reflection? Instead of the cold solidity I was expecting I found something warm, something fluid? I would push my fingers into this glass, into this glass like a knife into honey. I'd watch my hands slip on through, my reflected self rippling, glass rippling around my wrists like the ocean around the rocks. What if I went looking? Came to find you? What if I came to find you?

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EXT. Busy Street. Evening. A man briskly wanders through the dark streets. Shadows creep and spin in the strobe-flash of passing traffic and electric shop front lighting.

Man's Voice: I had a dream. I had to get out, take a walk. I had a dream about The Fluxing, when worlds disintegrated and the fabric between realities became fluid. Vines and tree roots grabbed at my arms and ankles like monstrous fingers. My pursuers - shadowghasts with snaking necks and blazing eyes - fell on me, spitting and hissing like geese, their long necks swaying in a malevolent dance. I hoped, I prayed that some uncharted Soft Border would appear. That I could rip through the membrane of this reality into a safer world.


INT. Bedroom. Day.

Woman's Voice: I think I saw him again. Saw him in my peripheral vision. He was important to me. My husband, I think, in that other place. In that other world before The Fluxing. We had a life together. He saw me red on the screen. I was a photographer. Or... or was I an actress? I wish I had some photographs. I wish I'd photographed the life we had together. I can almost see him in the shadows.

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INT. Hallway. Day. In split-screen the woman stands before us, before the mirror, with her camera, attempting to capture her own reflection.

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Woman's Voice:

(as though tape has been cut up and wrongly spliced back together like a William Burroughs / Brion Gysin recording) The 244 x 173 cm painting covered a canvas in Indian red Barnett down the centre. By sticking a thin strip of European-influenced 'biomorphic' style to test the colour in reference to his own article, 'The First Man Was a lighter cadmium, the artist was the thin band only a few centimetres thick down the unevenly spread gallery wall, 'the motive force for red intended to invoke that terror of the 'New York School', whose style became known as the 'unknowable' dense masking tape.

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EXT. Busy Street. Evening.

Man's Voice: My mind drifted on the foaming waves, momentarily unshackled from time or space or logic until it washed over the sands and encountered consciousness. For an instant I saw her there. Somewhere in the shadows. The artist. In the misted distance of a glass.


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SASHA ALEXANDER

Travellers, travellers, travellers They all have one aim in mind, to get to the destination, to get where they need to be. Why is that, where are they going, who are they going to meet, the mystery of unknown adventures excites Sasha Alexander and drives him to encounter and engage with these solely individual characters on the so isolated with madness Delhi Express. This train travels across the whole of India, backwards and forwards, forwards and backwards, week after week people coming and going, changing, swapping seats, eating, drinking, shouting, swearing. The carriages are full, vast majority of travellers are workers, business people with the aim to make money wherever they can; one thing is certain the flux of people will never change.

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IONAUM +

VICTORIA COSTER

IONAUM a.k.a Row walker Producer of eclectic electronic sounds Debut album soon to be released : check back at VANDA_project for dates

Watch and Listen in ABSC_ND’s new sound & video supplement www.readymag.com/Vandaproject

www.soundcloud.com/ionaum/static www.cargocollective.com/victoriacoster


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STATIC 2015 was produced by IONAUM both in response to FLUX and an earlier sculptural installation by Victoria Coster titled Statically Charged. The initial video was eidted with no accompanying sound, this specific collaborative dialogue is one that spans time : Statically Charged was produced in 2004 while under the tutorage of the late Felicity Powell at University College Falmouth. The sculpture explores the relationship between object and environment. Theatricising and combining materials, nylon hair, rubber and adapted eyelash curlers to produce a statically charged kinetic sculpture, Statically Charged is a personal enquiry into how to make the unseen seen.

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To express your interest in submissions please contact Victoria Coster : vandaproject@yahoo.com The next theme will be released via the website: www.vandaproject.com To submit a theme visit VANDA_project’s THEME_BANK

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SPECIAL THANKS To all contributors for making this theme AWESOME

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FLUX  

36 National & International Artists, Writers, Music-Makers, Multi-Disciplinarians all pushing the boundaries of THEME.